Sambodhi 1975 Vol 04

Author(s): Dalsukh Malvania, H C Bhayani
Publisher: L D Indology Ahmedabad
Catalog link: https://jainqq.org/explore/520754/1

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(1523) SAMBODHI 13 (QUARTERLY) 23.5.75 . VOL. 4 APRIL 1975 NO. 1 SELIGROSA EDITORS DALSUKH MALVANIA DR. H, C. BHAYANI L. D. INSTITUTE OF INDOLOGY AHMEDABAD 9

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CONTENTS An Alternative Interpretation of Patanjali's Three Sutras on Is'vara Nagin J. Shah A Reference to Bhatta Candrananda by Abhinavagupta Umakant P. Shah The World of Life according to the Jaina Literature J. C. Sikdar Vedic Origins of the Sankhya Dialectic. Harsh Narain The Treatment of Suspense ( Katha - Rasa ) as a Conscious Narrative Skill in Dhanapala's Tilakamanjari N. M. Kansara mokSadharmaprakaraNa kI dArzanika carcA kRSNakumAra dIkSita gujarAtamAMthI lupta thayelI skaMda- pUjAno eka avazeSa narottama palANa gujarAtI bhASAmAM zabdakozanI pravRtti zAntibhAI AcArya * jainasammata saMjJA ane saMjJI haranArAyaNa u. paMDayA

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23.5.255 2013 AN ALTERNATIVE INTERPRETATION OF PATANJALI'S THREE SUTRAS ON ISVARA N OR Nagin J. Shah We would like to present before the scholars of Indian Philosophy our explanation of Patanjali's three sutras on Isvara. While explaining these sutras we shall use only those concepts that are found in the Yogsutra. By doing so we intend to keep our explanation as free as possible from the later concepts. Let us take up the concerned sutras one by one for explanation. [1] klesa-karma-vi pakasayair aparamistah purusayisesah zsvarah I. 24. The extra-ordinary person who is untouched by klesas, karmas, vipaka and asaya is called Tsvara. I. 24. We sball try to explain this sutra on the basis of the concepts or ideas found in other sutras. Patanjali tells us that during the practice of Samprajnata yoga if one does not desire anything (or any siddhi) be surely attains infallible and perfect vivekakhyati, and as a result of this he attains Dharmamegha samadhi; further he says that on the attainment of Dharmamegha samadhi follows the destruction of klesas and karmas.2 From this we deduce that a viveki who has attained Dharmamegha samadhi is always free from klesas and karmas. [Bhasyakara Vyasa calls this person a jivanmukla.] Patanjali states that klesas are the root cause of karmasaya4. He further declares that so long as the root (viz. klesas) exists, there will be vipaka. These two statements imply that in the absence of klesas, there cannot be karmasaya and vipaka, On the attainment of Dharmamegha samadhi a viveki becomes free from klesas and karmas; and as soon as he becomes free from klesas he becomes free from vipaka and asaya. From all this it naturally follows that a viveka who has attained Dharmamegha samadhi is untouched by klesas, karmas, vipaka and asaya. Hence this viveki can legitimately be called extra-ordinary * 1 pratisankhyane'py akusidasya sarvatha vivekakhyater dharmameghasamadhih/ Yogasutra, 4. 29 2 tatah kleba-karmanivyttih/Ibid 4.30 3 klesa-karmanivrttau jivann eva vidvan vimukto bhavati / Yogabhasya, 4.30 4 klesamulah karmasayah.. / Yogasutra 2 12 5 sati mule tadvipakah ... Ibid 2.13 Sambodhi 4.1

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Nagin J. Shah person. By Isvara Patanjall seems to mean this vivek?". warranted by the Yogasatra to go beyond this. 2 [2] The next sutra is We are not tatra niratisayam sarvajnabijam I. 25 | In this [=Isvara] there is infinite (=niratisaya=ananta) jnana which is the seed or germ of all-comprehending (=sarvajna) jnana. 1.25. Regarding ananta-jnana and sarvajna-jnana much confusion and misunderstanding prevails among scholars who wrongly identify ananta-jnana with sarvajna-jnana. This sutra is very important as it removes the mist of misunderstanding and confusion. It clearly suggests that ananta-jnana is not identical with sarvajna-jnana. We shall have to turn to other sutras for the clear understanding of the difference between the two as also for the full explanation of the sutra in hand. Patanjali explicitly states that as soon as klesas and karmas get destroyed on the attainment of Dharmamegha samadhi, all the avaranas and malas get completely removed and jnana attains its infinity (=anantya). Thus ananta-jnana (or niratisaya-jnana) is nothing but miravarana-jnana. Jnana which is free from all obscuring veils and impurities is ananta-jnana, Ananta-jnana is not sarvajna-jnana. Patanjali says that all the objects taken together are alpa as compared to the anantya of jnana of the person who has attained Dharmamegha samadhi. What Patanjali wants to drive at is that however infinite all the objects taken together may be, their infinity can never coincide with the vast infinity of jnana. From what we studied above it naturally follows that those who say that jaana is infinite (anania) because it knows all things are committing a blunder. Again, our study shows that Patanjali does not want to attach much importance to sarvajna-jnana. As we shall see, he considers it to be simply a siddhi which a person who has attained ananta-jnana comes to acquire. And we all know Patanjali's attitude towards siddhis. Dharmamegha samadhi marks the perfection of vivekajnana. So, perfect vivekajnana can be regarded as identical with ananta-jnana. When all the avaranas and malas get removed the vivekajnana becomes automatically perfect and when vivekajnana becomes perfect there is removal of all the avaranas and malas. This means that (perfect) vivekajnana is nothing but ananta-jnana. 6 Compare 'adharma-mithyajnana-pramadahanya dharma-jnana-samadhisampada visistam atmantaram Isvarah [adharma adharma-pravrtti = klesayuktapravrtti; dharma-dharmapravrtti-klesara hitapravrtti] Nyayabhasya, 4.1.21 7 tada sarvavaranamalapetasya jnanasya anantyaj jneyam alpam | Yogasutra 4.31 8 Ibid. ca 1

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An alternative interpretation of Patanjali's three Satras on Usvara 3. Thus to say that niratisaya-jnana (=ananta.jnana) is the seed of sarvajna. jnana is the same thing as to say that sarvajna.jnana is vivekaja. Another name for sarvajna jnana is taraka-jnana, Patanjali explicitly states that taraka inana is vivekajao. As he has placed it in his treatment of siddhis, it becomes quite clear that he considers it to be simply a siddhi. Why is ananta-jnana i, e. vivekajnana regarded as the seed of sarvaj na jnana ? There is a good reason for that. Patanjali wants to suggest that sarvajna inana does never automatically follow on the attainment of ananta. jnana. As soon as one attains ananta jnana one acquires the capacity (Elabdhi) to know all, but he does not actually know all. He knows all provided he performs samyama (dharana, dhyana and samadhi) on ksana and ksanakramazo. This means that the capacity to know all functions under a specific condition. If jnana were to become automatically sarvajna on its becoming ananta, then ananta jnana would not have been regarded as the seed of sarvajna jnana; in that case it would have been regarded as identical sarvajna-jnana. But this being not the case, ananta jnana is regarded as the seed of sarvajna-jnana. On the attainment of Dharmamegha samadhi all the klesas and karmas get completely destroyed, and as soon as all the klesas and karmos are destroyed the jnana becomes ananta because all the obscuring veils and impurities have already been destroyed. The person who has attained this ananta-jnana acquires the capacity to know all but this capacity functions only if he performs a special type of samyarna. "All this discussion clearly suggests that a viveki who has attained Dharmamegha samadhi is Isvara, and it is he who is described in the sutra in land, Thus Isvara is not necessarily sarvajna; he becomes sarvaj na only when he performs that samyama. In other words, he has the capacity to know all, but this capacity functions provided certain conditions are fulfilled. This capacity to know all is a siddhi wbich is the result of his attainment of anantajnana. Thus he is invariably characterized by ananta-jnana he is not invariably characterized by sarvajna-jnana. [3] The next sutra is purvesam api guruh kalenanavacchedat/I, 26 He [=7svara) is the spiritual teacher of even the elderly persons because he is not limited by time. I. 26. Here the role of Tsvara as upadesta is suggested by the term "guru'. (b) The phrase "purvesam api guruh' reminds us of that well known t verse from the Daksinamurtistotra attributed to Ac, Sankara, viz. citram vatataror mule vrddhah sisyo gurur yuva' etc. This idea is very common in Brahmanic. Buddhist and Jaina religions. Ibid 3.54 9. tarakam sarvavisayam sarvathavisayam akramam ceti vivekajam jnanam 10 ksana-tatkramayoh samyamad vivekajam jnanam / Ibid 3.52

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Nagin 1, Shah c) What is it that qualifies him to be a spiritual teacher of even the elderly persons ? The answer to this question is provided in the remaining part of the sutra, viz. 'kalenanavacchedat' which being in the fifth case-ending gives the reason for Tsvara's being the spiritual teacher of even the elderly persons, Let us try to understand the idea suggested by the term "kalenanavaccheda on the basis of another sutraPatanjali states that for that person whose letas and karinas are destroyed on the attainment of Dharmamegha samadhi and as a result of this whose jnana has attained its infinity, gunas come to an end of the sequence of change.11 That is, gunas stop evolving citta, indriya, sarira, etc. for that person. The series of round of rebirth ends for him. For him the cycle of birth and death ceases.12 He rises above time. Now he is not limited by time. He becomes kalanavacchinna. Thus we equate kalenanavaccheda' with 'gunanam parinamakramasamaptih' (IV.32).13 Now what this sutra means is this - 'As he [=Isvara] [having destroyed klesas and karmas) has risen above the cycle of birth and death, he is the spiritual teacher of even the elderly persons (who are caught up in the cycle). The equation given above suggests that for Patanjali kala is nothing but parinamakrama. Hence one who is untouched by parinamakar ama is uitouched by kala or is not limited by kala. Kalanaraccheda or parinamakrama-samapti is the result of klesarahitya or vitaragata. Klesarahitya is nothing but supreme spirituality. So one who has attained supreme spirituality can be the spiritual teacher of even the elderly persons. It is this supreme spirituality suggested by kalanayaccheda or parinamakramasamapti that qualifies one to be the spiritual teacher of even the elderly persons. Only those who have crossed the ocean of samsara can show others how to cross it. Only those who have stopped the cycle of birth and death can show others how to stop it.14 On our interpretation Isvara according to Patanjali is identical with the viveki who has attained Dharmainegha samadhi, ananta-jnana and the capacity to koow all and is free from the cycle of birth and death. A: we have already seen, this viveki, according to Patanjall, is free from klesas 11 tatah kptarthanath parinamakramasamaptir gunanam | Ibid, 4.32 12 kulalasya [dharmameghasamadhisampannasya vivekinah) samsaracakrasa mapti netarasya iti / Yogabhasya, 4.33 13 'gunanam parinamakramasamapti' is different from 'guninam pratiprasava' whic takes place when the viveki's body falls. 14 Compare 'upadesyopadestitvattatsiddhih Sankhyasutra 3.79; "Sastrenu vivekavisas gurusisyabhavafravanad Jivanmukta-siddhir ity arthah' Sankhya pravacanabhasya 3.7 'aptakalpas cayam / yatha pita apatyanam tatha pitsbhuta Ikvaro bhutanam' Nyaya bhasya 4.1.21.

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An alternative interpretation of Patanjali's three sutras on Tavara S karmas, vi paka and asaya. Thus by 7svara Patanjali seems to mean that person whom Vyasa calls jzvanmukta. We repeat again that we are not warranted by the Yogasutra to go beyond this. Elsewherels we have shown that Nyayabhasyakara Vatsyayana's conception of Tsvara corresponds to that of jivanmukta viveki, and it is only Prasastapada, the author of the Padarthadharmasangraha, who introduced in the Nyaya-Vaisesika system the conception of Isvara as nitya mukta. Similarly, we feel that Patanjali's conception of Isvara is identical with that of jivanmukta viveki and it is only Bhasyakara Vyasa who introduced in the Yoga system the conception of Isvara as nitya mukta. The following presentation recapitulates well what we have said above. [1] kleza-karma-vipAkAzayairaparAmRSTaH puruSavizeSaH IzvaraH / 1.24 / prasaGkhyAne'pyakusIdasya sarvathA vivekakhyAtedharmamedhasamAdhiH / tataH kleza-karmanivRttiH / 4.29-30 / klezamUlaH karmAzayaH... / 2. 12 / / |- sati mUle [-satsu klezeSu] tadvipAkaH ... / 2.13 / .:. klesh-krm-vipaakaashyairpr|mRssttH dharmamedhasamAdhisampanno vivekI / :: dharmameghasamAdhisampanno vivekI (puruSavizeSaH) = IzvaraH [2] tatra niratizayaM sarvajJabIjam / 1.25 / niratizayam=anantam [jJAnam ] sarvajJabIjam sarvajJeyajJAnakAraNam .:. anantajJAna-sarvajJeyajJAnakAraNa :: anantajJAna + sarvajJeyajJAna :: tatra Izvare niratizayaM jJAnaM sarvazabIjam / :. IzvaraH anantajJAnI; IzvaraH sarvajJo'sarvajJo vaa| tadA sarvAvaraNamalApetasya jJAnasyAnantyAd jJeyamalpam / 4.31 / :. sarvAvaraNamalApetajJAna anantajJAna; sarvajJeyam=alpam :: sarvajJeyam alpam :. sarvajJeyajJAna-alpajJAna :: anantajJAna + alpajJAna :: anantajJAna # sarvajJeyajJAna tArakaM sarvaviSayaM sarvathAviSayamakramaM ceti vivekaja jJAnam / 3.54 / ::. tArakajJAna-sarvajJeyajJAna-vivekajajJAna :. sarvajJeyajJAnakAraNa-vivekajJAna ::: sarvajJeyajJAnakAraNa-niratizayajJAnaanantajJAna :. vivekajJAna-anantajJAna 15 See 'Nyaya-Vaisesika-darsana mem Isvara' Sambodhi Vol. 2. No. 4 (January 1947),

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_Nagin J. Shah kSaNatatkramayoH saMyamAd vivekaja jJAnam / 3 53 / .:. vivekajJAna [i.e. anantajJAna]+kSaNatatkramasaMyama produce sarvajJeyajJAna :: vivekajJAna [i.e: anantajJAna]=sarvajJeyajJAnakAraNa [i.e. sarvajJabIja] [3] pUrveSAmapi guruH kAlenAnavacchedAt / 1.26 / guruH mokSamArgopadeSTA pUrveSAmapi guruH vayovRddhAnAmapi guruH tataH kRtArthAnAM pariNAmakramasamAptirguNAnAm / 4.32 / kAlenAnavacchedAta pariNAmakramasamApteH saMsAracakrasamApteH

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A REFERENCE TO BHATTA CANDRANANDA BY ABHINAVAGUPTA Umakant P. Shah Muni Jambuvijayaji's edition, for the first time, of Candrapanda's Vrtti on the Vaisesika-Sutras, published as G, O. Series, no. 136 is now well-known. The date of Candrananda was not certain. However, in the Journal of the Oriental Institute, Vol. XIX no. 4 (June 1970), pp. 340-41. Ashoka Aklujkar published a note on "Candrananda's Date" quoting three passages from Helaraja's Commentary on the Vakyapadiya, and thus showing the tenth century as the lower limit of Candrananda's date. He also said that Helaraja was "ip all probability a senior contemporary of Abhinavaguptaz the famous philosopher and poetician unanimously assigned to tenth century A.D. by scholars." It would, therefore, be interesting to note here that Abhinavagupta has also referred to Candrananda, in the Isvarapratyabhijna-Vivsti-Vimarsini, edited in three volumes by Pandit Madhusudan Kaul Shastri, and pubiished in Kashmir Series of Texts and Studies Vol. LXLXII and LXV 01938, 1941, 1943, respy.) This famous commentary was completed in Noy. 1014 A. D., which is arrived at by Pandit Kaul on the basis of the following hemistich occurring at the end of this work : iti navatitame'sminvAsare'ntye yugAMze / tithi zazijaladhisthe mArgazIrSAvasAne // Abhinavagupta wrote this commentary at the fag-end of his life, at the imploration of his own younger brother Manoratha as shown by him. self in this commentary. In this comm. on Utpalacarya's Isvara pratyabhiina-Vivrti, Abhinavagupta has himself quoted from many of his earlier works like Abhinava-Bharati, Tantraloka etc. This work is a mine of quotations from various authors and works. of these. Abhinava's most favourite source is Bhartyhari and his Vakyapa. diya, Amongst other works and authors mention may be made of the Bhagavad-Gita (cited with reverence), siva-Prsti, Naresvara-Viveka, Pramana-Laksana, Ajadapramatrsiddhi, Sambandhasiddhi. Abbidharmakosa 1. In support of contemporaneity of Helaraja and Abhinavagupta, Aklujkar. cited .. (1) Charudeva Shastri, "Bhartyhari a critical study with special reference to the Vak yapadiya and its commentaries, proceedings of the Fifth All India Oriental Conference Lahore, Vol, I(1930), p. 652-653, and (ii) Subramia Iyer K, A., Vakyapadtya of Bhartyahari with the commentary of Helaraja, Kanda III, Part I. Deccan College. Monograph Series, no. 21 (Poona, 1963), p. xi,

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8 Umakant P. Shah Pramanapariksa (the author of this work is referred to as Bhatta), SrimatKalapada-Samhita, Nyaya-sutras, Yoga-sutras, Satarudriyam, Siva-Sutra, Advayopakramalh, Sri Kirana, Sri Spandasastra, Kaksya-Stotra, Sri Rauravasutra-samgraha, Vasanaprabodhasutra, Sri Mukutasamhita, etc. Amongst authors cited by name are Bhatta Divakaravatsa, Bhayta sri Narayana (author of Stava-Cintamani), Mrmamsakagranih Bhattanayakah, Avadhutacaya, Bhartrahari, Viranaga, Bhatta Sankarananda, Bhatta Sri Kallatapada, Munih Varahmihira, Dharmottaropadhyaya, Acarya Dharmottara (these two may be one and the same Dharmottara ?), Bhatta Diva. kara, Sri Laksmana-gupta-guruh, Srimad Anantapadah, Srimad Bhatta Pradyumnapada and others. The author of the Mahimnastotra is referred to as Siddhapadah while citing the verse atItaH panthAna etc. It is interesting to note that the BhagavadGita is called AdisiddhasUtra (cf. Part II, p. 73.).. Commenting on the verse sA sphurattA mahAsattA dezakAlavizeSiNI / saipA sAratayA proktA hRdayaM parameSThinaH / / 14 / / after quoting from Spandakarika etc. Abhinava-gupta, explains sphurattA as feraitute and first quotes Bhatta sankarananda about whom Abbinavagupta writes, prAktanakuzalavipAkapravatitamavitparAmarzAbhyAsatapaHprabhAvapratilabdhonmeSeNa bhaTTazaMkarAnandena api sAkSAtkAraH svataHsiddhaH sA sphuradrUpatAsya hi / / iti nirUpitam // About sphurattA, he further writes "mama sphurati ghaTa iti hi ahamaMzalamA sphurattA saMkramyate bhAve / ghaTaH sphurati iti hi ko'rthaH / ahaM tAvat prakAzAtmA ghaTarUpeNa sphurAmi bodhAtmano manAgapi atiricyamAno'natiricyamAnazca, tathA svAtantryAt' cakAsmi tadekatArUDho'pi ghaTa evamiti / ata eva ukta bhaTTa candrAnanena 'pazyato rUpamAlekhAdbhAto bhAnAnuSaGgi yat / svarUpabhAnaM pratibhA bhAvAnA............. // ' ityuktvA .............sAtmasaMzrayA // ' iti / 2. livarapratyabhijnavivrtivimarsini, Vol, II, adhyaya 1, vi. 5. p. 199.. 3. bid p. 200

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THE WORLD OF LIFE ACCORDING TO THE JAINA LITERATURE J C. Sikdar Biological Inter-relationship At first glance the world of living substances (vadrasyas) as revealed in the Jaina works appears to be made up of a bewildering variety of plants and animals', all quite different and each going its separate way at its own pace. A close study of them reveals, however, that all organisms, whether plant or animal, have the same basic needs for survival, the same problems of getting foods for energy, getting space to live, producing a new generation and so on. In solving their problems, plants and animals have evolved into a tremendous number of different forms, each adapted to live in some particular sort of environment. Each has become adapted not only to the physical environment has acquired a tolerance to a certain range of moisture, wind, sun, temperature, and so on but also the biotic environment, all the plants and animals living in the same general region. Living organisms are inter-related in two main ways, evolutionary descents and ecologically. One organism may provide food or shelter for 1. Sutra-kytanga, II. 3.48-62; Bhagavati, 33. 1. 844; 7. 5, 282; etc. Uttaradhyayana, 36. 68-202; Pannavana, Javapannavana 14-138; Jivi bhigama, 3. 96, 33-34. 35; Gommatasara (Jiva-kanda). 35, 70, 71, 72, etc. 2. Sutrakrtanga. II. 3, 40-62. 3. Ibid. 4. Ibid. 5. Uttaradhyayana, 36. 135; 144; 169; 178; 179; 186; 193; 202. 6. Sutrakgtanga, II. 3; Bhagavat; 7. 5. 232; Uttaradhyayana 36 171 T. Jivabhigama 1. 34; 35. Pannavana, Jivapannavana, Jalacara Sthalacara - Khecara pana 28-34. manusyaprajna - 7. Sutrakytanga, II. 3. 43-62. 8. It is suggestive from the study of the world of life of Jaina Biology on the basis of the structures (Samhanas) of living forms - plants and animals, on the physiologic and biochemical similarities and differences, between species, etc. and on the analysis of the genetic constitution of present plants and animals, i. e. anatomy, physiology and biochemistry of plants and animals, their embryologic and genetic histories as outlined in Jaina Biology and the manner in which they are distributed over the earth's surface, that a sort of organic evolution has occurred. 9. Sutrakgtanga II, 3. 42-62; Bhagavat 7. 5. 282. "The habitat of an organism is the place where it lives, a physical area, some specified earth's surface, air, soil or water", Biology p. 90. It is a remarkable fitness of the organism for the place in which it lives, e. g. water for aquatic animals and plants, lands for terrestrial animals and plants and air for aerial beings. It is suggestive from this fact of fitness of organism for the habitats in which they live that they are interacting and interdependent parts of larger units. for survival, as evidenced by a close study of Aharapadaniksepa (knowledge of food) in the, Sutrakrtanga II. 3.43-62. Sambodhi 4.1

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10 J. C. Sikdar anotherto or produce some substance harmful to the second, 11 The classifications of Living Substances. The Jainacaryas have tried to set up systems of classifications based on natural relationships, putting into a single group those organisms which are closely related in their evolutionary origin.13 Since many of the structural similaritiesld depend on evolutionary relations, 15 classification of organisms is similar in many respects to the one of the principles based on logical structural similarities16, that is to say, species, genus, and phyla. Many plants and animals fall into easily recognizeable, natural groups, and their classification presents no difficulty. The Vedic sages also have desrcibed and classified plants and animals. The Vedic Index of Nanies and Subjects of Macdonell and Keith17 and Vanaspatits of Mazimdar reveal large number of plants and animals (see also Aiyer),19 the equivalent scientific names of which have been given 10. Sutrakytanga 11. 3. 43-62. 11. Bhagavali 8. 2. 316. 12. e. g. ekendriya, dvandriya, trindriya, caturindriya, and pancendriya organisms are classified on the basis of natural relationships. Similarly, Jalacara and Khecara organisms are classified according to their natural relationships, as they are closely related in their evolutionary orgin. 13. Satrakttanga II. 3. Jivabhigamasutra 3 1. 96. Bhagavatt 7. 5. 282, (andaju, potaja and sammurcchima) Uttaradhyayana 36 171 ff. Jivabhigama 33 1. 34, 35. Pannavani, Juvapamnovana, Jalacara, Sthalacara Khecara and Manu sj'aprajnapana 29-34. Aquatic, terrestrial and aerial organisms have been classified into three single groups as the members of each of them are closely related in their evolutionary origin. 14. Bhagavati 8.3.324; 7.3.277; 7.5.282. Jivabhigama 3.1.91; 33. 1-34, 1-35, 1-36. Uttaradhyayana 36.135; 144, 154, 169, 178, 179, 186, 193, 202. Panrayana Sthalacaratirascan caluspada-parisarpeti bhedadvayam, p. 37. Catuspadanamekak; uradvik suridibledacatuskam p. 30. Gandi padanan hasti-payaram (de) adinamakadambakam, p. 31. Sanakhapadanam sinhavya ghradinamakadambakan p. 31, etc. (contents). Tattyarta satra 2,24,31, 15. Ibid. 16. Ibid. 17. Macdonell, A, A, and Keith, A. B., Vedic Index of Names and Subjects I and II John Murray, London, 1912 18. Mazumdar, l'anospati, University Press, Calcutta, 1927, pp. 234-254. 19. Aiyer, A. K, Y. N., Agriculture and Allied Arts in Vedic India, Bangalore Press, Bangalore, pp. 33-45, 1940.

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The World of Life according to the Jaina Literature i by the experts. There is mention of about 739 plants20 and over 250 animals in the ancient literature. The whole 24th chapter of the Yajurveda embodies valuable materials on Zoology. 21 A bewildering variety of birds, and about 21 kinds of snakes are described, each distinct by its own particular features of colour, structure, or habit. There is also mention of microscopic organism - bacteria, and insects of terrestrial and aquatic original and fish 23 Distinctions Between Plants and Animals. The living world may broadly be divided into two kingdoms, one of plants24 (vanaspati) and one of animals "5 (pasu) on the basis of the category 20 of Tairyagyauna (lower animals). The word Vanapphai27 (Plant) suggests trees, shrubs, flowers, grasses and vines - large and familiar objects of every day world. And the word 'pasu''8 indicates both wild 29 and domestico animals in a wider sense, such as, lion, tigers, cows, buffaloes, birds, frogs, fish, etc. In the Vedic literature also the plant kingdom has been divided into trees, herbs, sbrubs, creepers and grasses,31 The term 'Viksa'32 stands for trees in the Rgveda33 and the word "O sadhih or Virudh denotes minor 20. Shastry, V. R., Science in the Vedas, Bulletin of National Institute of Science of India, No. 21, p. 102, 1962, 21. Asvastu paro gomygaste prajapatya). etc., Yajurveda, 24th chapter. 22. Shrinivas Rao, H., History of our knowledge of the Indian Fauna through the Ages, Jaurnal of Bombay National History Society, 54, 251-280, 1957. 23. Macdonell, A. A. and Keith, A B., op. cit, p. 510, 1912. See Biology in Ancient and Mediaval India, Dr. R. N. Kapilvidie The Indian Journal of History of Science, Vot. 5, No. 1. 1970, p. 126, for all these references, 24. Bhagavati, (State of existence of Vanapphai), 24.16,704. 25. Bhagavati, 3.1.134; 11.9.417. 26. Tattvarthadhigama Sutra II. 6. Byhatsamgrahani, Sri Candrasuri, vv. 419-434, pp. 234-242. Gommalasara, (Jivakanda), 148. "Tiryancak Pancadhaikak sadikah Pancak sa Simakah " Lokaprakasa 4.16. 27. Bhagavati, 24.16,707; 33.1.844. 28. Bhagavati, 3.1.134; 11.9.417. 29. Ibid; 7.8.288. 30 Ibid; 5.3.325. . 31. "Yah phalinarya aphala apuspa ya'sca puspinin," Rg, Veda, 10.97.15. "Dva suparna sayuja sakhaya sananam vyksam pari pasvajate | Tayoranyah pippalam syadvattyanasnannanyo abhicakasiti 11 Rgveda 1, 164, 20 "Yasmin vyk se madhvadah suparna nivisante suvate cadhi visve / Tasyedahuh pippalai svacvagre lannonnasadyah pitaram na veda 11,' Ibid., 1.164.22 O sadhayah, Atharvaveda viii. 7. 32, Vedic Index I, p. 125. 33. "Adhvaryavo yo apo vayrivansan vytragir jaghanasan yeva vyk sam", Rgveda. 2.14.2. "Gravaneva tadidurtham jaret he gydhreva vrk sai nidhi-mantamaccha" Ibid., 2.39,1

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J. C. Sikdar vegetable growths like herbs,31 The plants which come under Osadhi contain the healing power,85 while those under the head of Virudh do not have medicinal properties 38 The word "Tina' denotes grasses.37 The word 'Pasu'39 in the Vedic texts indicates animals including man, while the word Jagat stands for domestic animals as against Svapada (wild animals). 39 Further thought about the world of life brings to mind such forins of life, such es, mushrooms and pond scuns (Sevala), etc. quite different but reconizable as plants, and insects,42 worms, 43 etc. that are definitely anitoals. Fundamentally, plants and animals, as mentioned in the Jaina Agamas. are alive in many ways, both are made of cells44 as structural and functional units and both have many metabolic processes 45 in common. But there are some obvious ways and some obscure ways in which they differ. Piants cells, in general, secrete a hard outer cell wall of cellulose (tuac) 46 which encloses the living cells and supports the plant, while animal cells 47 34. "Na lat parhivyen 10 divi yena prinanti vgrudhah, Atharvaverda, 1.32.1. lunrunmudhajaza madhui ka khunamasi / madhoradhi prajatasi sa no madhimalaskdhill, Atharrareda, 1.04. *Aghadi: a devajita vartaluputluyopani | Apu malumiru pravu sarvan macchaputhan adhi" II, Ibid. ii. 7.1. I've agne ville ampteso atruha asa devi hariradant yahutani 1, Twaya martisak svadunu osutin fra carbho virudhain jajnise suchilll . a Saahita, 2.5, 3.2. Vedie hapadhavadoriram kim yuvisho na sin we r www i felg keren sastri juga pula," et. RgVeda 10.97. 1-22. "Osadhe pisalapokentel", Amarakoski, 661; In Jain literarure also Osadhi denotes cercals-sali-bihi, etc. Pannavana 1.50. Vedic Index 1, p. 125. 36. "Pythejmanu svarechar lado saulayo virudlo abbavansa prajapatimapadhavadvriram me jaghnu sa indriyar Viriam", Tuitririya Sasthita, 2.5, 3.2. Vedic, Index, p. 125. 37, "Kims resha kiin yuvisho na ejagan........agne bhratardruna ida bhulimadima" 1 RgVeda 1.161.1. "Yad va glasya Frabhylamasye tynai sarva" Ibid l. 162.8 Nasmar trupu nodakame, etc. Ibid., 10, 102. 10. 38. Vedic Invex I, p. 509; Taittiriya Samhita, 4.2.10, 1-4, 39. "Uttam usyo adhinzmanaigiran jagatamiva vyaghra) svapadamiva" | Atharvaveda vai, 3.11, vide Vedic Index I p. 268. 40. Kuhana (a kind of mushrooms which causes the earth to burst), Urtaradh ya jalla $6,95. 41. Sevala: See Satrakrtanga II 3.55. 42. (Kunthu), Uttaradhyayana 36.137, 43. Urtaredhyayana 36.128 (Kymi). 44. Abbuza (cell), tic., Tanaulaveyaliya V.2, p. 6. 45. Tarkarahasydipika, Tika on V. 49. Gunararna on Sadarsanasainliccaya. 46. Satraktonga, II. 3.47. (Trac) Gomma/asara (Jivakanga), 188, 189 (Challi). 47. Ibid. They have ajina (skin), Sutrakrtanga II, 2,18.

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The World of Life accor ling to the Jaina Literature 13 have no outer wall and hence can change their shape. But there are some plants as without having cellulose walls and one group of animals, the primi. tive chordates 49, having cellulose walls arouud their cells. Secondly, plant growth generally is indeterminale, so that is, plants keep on growing indefinitely because some of the cells remain in an actively growing state throughout. But although the cells of animals are replaced from time to time, the ultimate body-size of most aniinals is established after a definite period of growth.51 A third difference between the two types of living substances is that most animals are able to move about (trasa),52 while most plants remain fixed in one place (sthavara),63 sending roots into the soil to obtain liquid substance and getting energy from the sunsi by exposing broad flat surfaces. Of course there are exceptions to both of these distinctions. The most important difference between plant and animal is their mode of obtaining nourishnient,55 Animals move about (trasa) and obtain their food from organisms in the environment, but plants are stationary (sthavara) 58 and inanufacture their own food, with the exception of fungi and plant bacteria which feed on the sap of other plants57 or humour of other living or decaying things. In coliclusion it can be summed up that plants may be classified into bacteria, 59 alage, 60 fungi, 6 herbs, 62 48. eg. Bulbous plants, like onion, garlic, etc., have no cellulose, walls. 49. e.g. Some fishes, amphibia, reptiles-Vertebrate animals have cellulose walls around their inner cells. 50. "Vanaspatisariramarikurak islayasakhaprasak hadibhirvise saih pratiniyatan vardhata" Tarkarahas yadipika, Tika on V. 49, p. 157, Plant's duration of life is ten thousand years in maximum, 51. Ultaradhyayana Sutra 36.132, etc.; animals' life is shorter than that of plants. Sce Tarkarahas yadipika (?'ika) on V. 49.. 52. Acaranga, I, 9.1.14; Sulrak ytanga, 11, 2.18; Sthanuiga 2.4.100; Bhagvati. 25.4.739; Uttaradli yayana, 36.68; Pamavana kayadvara, p. 86; Jivabhigama, p. 12; Tatfvarthasutra, II. 12,14 Mulacara, Pt. I, 30(226), p. 295; Jivavicara, 2; Tarkarahasyadipika. Tika on V. 49; Gomimaasara (Jiva) 3; 53.. Acaranga 1.9,114; Sthaniga, 3.1.164; Uttaradhyayana 36.39; Bhagavari, 25.4.739: Panavana kayadvara, 4.232, p. 86; Tattyarthasarra 2.13. 54. Bhagavati, 7.3.275-6. 55. Sutrakytanga, 11.3. 56. Ibid. 57. Ibid. 58. Ibid. 59. Suksnia vanaspati (subtle plant) of one class may be identical with bacteria of modern Biology; See Uttarodhyayana, 36.100. 60. Algac may be identified with Sevala, the aquatic plant, vallisneria and other water plants, etc; Sce Satraktanga, II. 3, 55. 61 Fungi lacks chlorophyll. It may be identified with some of the subtle plant bacteria growing on other objects, See Ullar udhyayana (panaga)36-92. Sec SBE. XLV, p. 103. 62. Bhagavati 21.5.691; 21.7.691; 'Hariyakaya' Uttaradliya yana 36.95.

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J. C. Sikdar shrubs, creepers, grasses 65 and trees 66 on the basis of general properties of green plant cells, the structure and functions of a seed plant, reproduction, etc. Microscopic bacteria (i.e. earth, up to plant-bacteria), insects and animals of terrestria[67 and aquatices origin, and aerial beings 69 find mention with their distinct classifications in the Jaina Agamas. It appears that plants and animals were classified into species and genus, etc, on the basis of certain principles, such as, birth, habitat, living, special structural features, utility, etc.. ie, evolutionary descent and ecology in general, Mode of Nutrition of Plants and Animals According to Jaina Biology, some organisms can synthesize their foods7o. They may be called autotrophic (self-nourishing)., eg. green plantsol. and purple bacteria.va Some organisms cannot synthesize their own food from inorganic materials, therefore, they must live either at the expense of autotrophes or upon decaying matter.74 They inay be called heterotrophs. All animals, fungi and most bacteria, are heterotrophs It is stated in the Sutrakrtanga that some organisms (e.g. trees) feed on liquid substance of the particles of earth, the oirgin of various things; these beings consume earth-bodies, water-bodies, fire bodies, wind-bodies, bodies of plants; they deprive of life the bodies of manifold movable and immovable beings; the destroyed bodies which have been consumed 63. Uttaradhyayana. 36.94, Gumma, similar to Guccha, e.g. Vrintaka Soldnum, but bring forth twigs on stems, instead of stalks, eg. Navamalika Jasminum Sambac, Kanavira, etc. See S.B.D. XLV, p. 216. 64. Bhagavati. 21.5.691; 21.6.691; 23.1.693; 23.4.693; Uttaradhyayana 36,94. 65. Bhagavati, 21.5.691; 21.6.621; 11.9.427; 12.8 459; 22 4 692, etc. Uttaradhyayana 36,91 (Tana) 66. Bhagavati, 22.2.692; 22.3.692; 22.4.692; 23.1,693; 23.3.693; 23.4.693; 23.5.693 etc. Uttaradhyayana, 36,94 (Rukkha) 67. Satrakytanga, II.3; Bhagavati 7.5.282; Uttaredhyayana 36.71; Pannavana, Tirikkhajoniya Nirapannavana), 61-91; p, 29. 68. Ibid. 69. Ibid. 70. Setraktaiga, II, 3.2 (Aharapadaniksepa); 71. Bhagavati, 7.3.275. 72. Sulphur bacteria (Sogamdhie) mentioned in the Uttaradhyayana 36.77, and Satra. kytanga II 3.61 may be indentified with purple bacteria. See The Science of Biology, Paul, B. Weisz, Forms of Nutrition, pp. 318-19. 73. Sarrakytanga II. 3.20, 21, 22-28, 29. All animals live at the expense of autotrophs in one way or other except some carnivorous animals 74. Ibid. II, 3.16. Fungi and some bacteria feed on the decaying matters, as it is found that some beings born in earth, growing there in particles of earth that are the origin of various things as Aya, kaya, mushroom (Kulana), etc. from the decomposed things in the earth. S

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The World of Life according to the Jaina Literature 15 before, or absorbed by rind (are) digested and assimilated (by them). 75 That is to say, some organisms (trees or plants) are self-nourishing and they can synthe,ize their own food from inorganic materials and bodies of plants, while som holozoic organisms among plants (like pitcher-plants, must constantly find and catch other organisms - movable and immovable, they consume, digest and assimilate them. Therefore, they must live at the expense of others, autotrophs or beterotrophs. Some organisms born in trees, originated by trees, sprung from trees, springing from trees that ated in earth, come forth as trees originated by trees, feed on the sap of the trees originated in earth (3).76 That is parasitism - heterotrophic nutrition found among both plants and animals.. That is to say, "Partasite lives in or on the living body of plant or animals (called the host) and obtains its nourishment from it. Almost every living organism is the host for one or more parasites".77 Some creepers feed on the liquid substance of the particles of earth and the sap of tree, also (6-9),78 i, e, they are both autotrophic and parasitic. In the same way grass, herbs and plants also feed on the liquid substance of the particles of earth (10-15), etc.70 Here it is suggestive that a few plants like the misletoe are in part parasitic and in part autotrophic, for although they have chlorophyll and make some of their food, their roots grow into stems of other plants, and they absorb some of their nutrients from their hosts.80 Some organisms born as aquatic plants, such as, Udaga, Avaga, Panaga, Sevala (algae), etc, feed on the particles of water, etc. (19),81 They belong to the type of autotrophs which can synthesize their own food from inorganic materials. Some organisms born as movable beings from trees born in earth, trees originatad by trees from the roots, seeds, etc. produced by trees, originated by creepers born on trees, from the roots, etc. of creepers born on creepers, from grass, from herbs, from plants, from Aya down to Kura born in earth, from trees born in water, from Udaga up to Pukkhalatthibhaga born in water feed (1)) on the sap of the trees, creepers, grass. herbs. plants, be they born in earth, or water, on trees or creepers or grass or herbs or plants; (the sap) of their roots, down to seeds of Ayas. etc. of Udakas, etc. And these creatures consume earth bodies, etc., assimilated by them.82 It is the well known fact in India that parazitic insects and 75. Sutrakytanga 11, 3.2. 76. Ibid. II. 3.3. Some parasitic plants live on the sap of the host plants. 77. Biology, p. 85. 78. Sutrakytanga, II.3. (6-9). 79. Ibid, 11.3 (10-15). 80. Biology. p. 85. 81. Sutrakytanga, II. 3,18. 82. Ibld, II. 3. (19-20), E.

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J. G. Sikdar pests are born in the host plants and destory thousands of trees and crop including paddy and wheat, etc. by feeding on their sap. These parasites are movable benigs and may obtain their nutrient by ingesting and digesting solid particles or absorbing organic molecules through their cell walls from the body fluids or tissues of the host. The children of the developing embryos at first feed on the menses of the mother and the semen of the father or both combined into unclean foul (substance). And afterwards they absorb with a part of their bodies) the essence of whatever food the mother takes. After birth the babies suck the mother's milk but when they grow older, they eat boiled rice or gruel or both movable and immovable beings. These beings consume earth bodies, etc. up to assimilated by them (21),88 This mode of nutrition of human beings is scientifically true and it may be called heterotrophic nutrition. - Aquatic animals of five organs of sense, viz. fishes up to propoises (sisumara) feed on the mother's humour as long as they are young, they eat plants, or both movable and immovable beings (22).84 This scientific observation of the mode of nutrition of aquatic animals is biologically true. The quadrupeds, terrestrial animals with five organs of sense, viz, solidungular animals, biungular animals, multiungular animals and animals having toes with nails, feed on their mother's milk as long as they are young (23),85 the rest as above. Some of the reptiles moving on the breast, terrestrial animals with five organs of sense, viz. snakes, huge snakes, Asalika and dragons bring forth eggs, some bring forth living young ones, some come out of the egg as males, some as females, some as neuters. As long as they are young, they live on wind (24)86 (The rest as above). wo). Terrestrial animal with five organs of sense, walking on their arms, are the followings, viz, iguanas, ichneumons, porcupines, frogs, chameleons, Khoras, Charakoillas, Vissambharas, rats, mpangooses, Pailai yas, cats, Gohas, Cauppaiyas, etc. (The rest as in the last paragraph. (25)87 Aerial animals with five organs of sense : birds with membranous wings, birds, with feathered wings, birds with wings in the shape of a box and birds (which sit on) outspread wings. 88 (All as befure, only tbe following passage is different, As long as they are young, they are hatched by their mother's warmth (The rest as above) (26)89 83. Sutrakytanga, II. 3,21. 84. Ibid. II, 3.22. 85. Ibid. II. 3 23. 86. Ibid, II. 3.24. 87. Sutrakytanga, II, 3,25. vide S.B.E. Vol. XLV, p. 395. 88. Sutrakytanga, II. 3.25. 89, Ibid.

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The World of Life according to the Jaina Literature It is clear from the above statements on the mode of nutrition of terrestrial. aquatic and aerial organisms that some of these heterotrophs live either at the expense of autotrophs or upon movable organisms and fungi and bacteria upon decaying matter.Ro There are several types of heterotrophic nutrition as there are various classes of heterotrophs. When food is obtained as solid particles that must be eaten, digested and absorbed, as in most animals; the process may be known as holozoic nutrition, i. e., Holozoic organisms must constantly find and catch other organisms for food. 91 The parasitic organisms (Anusuya=anusuta or anusyuta) growing on the animate or inanimate bodies'2 of manifold movable or immovable creatures feed on tha humours of various movable creatures (27).03 In this way the vermin also feeds on the humours of living animals (28, 29). It means that the parasites may obtain their nutrients by ingesting and digesting solid particles or by absorbing organic molecules through their cell walls from the body fluid or tissues of the host. Some organisms born in the animate or inanimate bodies of manifold movable or immovable creatures as that (water) body, which is produced by wind, condensed by wind, and carried along by wind, e.g. hoar-frost, snow, mist, hailstones, dew and rain, feed on the humours of these mani. fold movable and immovable creatures (30)94, etc. Some beings born in water, come forth in water (bodies) in the water, produced by manifold movable or immovable beings, feed on the bumours of the water (bodies) produced by manifold movable and immovable creatures (31). Some beings born in water come forth in water-bodies and feed on the humours of these other water-bodies produced by water-bodies (32). Some beings born in water, come forth as movable creatures in the water produced by water-bodies and feed on the humours of the water (bodies) produced by water (34).85 Some beings come forih as fire-bodies in manifold animate or inanimate bodies of moyable or immovable creatures and they feed on the IV) 90. Aya, kuhana (mushroom), etc. feed on decaying matter, i e, decomposed bodies. " 91. Sutraktanga II. 3.2 92. Sutrakytanga II, 3.27. 93. Ibid. II 3.28-29. 94. Sutrakytanga. II. 3.30. This paragraph gives the Scientific explanation of the way by which water-bodies or the bodies of water-lives are produced by wind., S.B.E. XLV., p. 226, fn. 2. 95. Satrakytanga II. 3(31-33). This statement on the mode of nutrition of water-bodied beings or bacteria needs scientific experiment and verification for its validity. It is difficult to suggest their true identifications at the present state of knowledge about them on the basis of the Agamas, Sambodhi 4.1

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18 18 J. C. Sikdar manifold movable or immovable creatures (34).00 Some beings born as wind bodies feed on the manifold movable or Immovable creatures (35).97 Some beings born as earth-bodies, e. g., earth, gravel, etc, feed on the humours of the manifold movable and immovable beings (36).98 These modes of nutrition of water-bodied, fire-bodied, wind-bodied, and earth-bodied beings as described in the Sutrakstanga needs a careful study and scientific verification by the biologists in the light of modern Biology before accepting them as true, as they are thought-provoking. Ecosystem It appears from the study of the mode of nutrition of all organisms including plants, aquatic, terrestrial and aerial beings, and man, etc. as described in the Jaina Agamas that plants and animals are not independent of other living things but are interacting and interdependent parts of larger units for survival. So their interaction and interdependence bring to light that ecosystem which is a natural unit of living and non-living parts that Interact to produce a stable system in which the exchange of materials between living and non-living parts follows a circular path, e. g., aquatic organisms-fish, green plants and snails (sambuka)"o form a very small ecosystem in their habitat-water in a pond or lake. . It has been observed in the discussion on the mode of nutrition that there are "producer" organismsloo-the green plants that can manufacture organic compounds from the simple inorganic substances drawn up from the earth or water, etc. Secondly, there are 'consumer'101 organisms-insects and Insect larvae in the plant-bodies, etc., and fish, etc. in water, which may be carnivores. Finally, there are "decomposer"l02 organisms, bacteria, and fungi "which break down the organic compounds of dead protoplasm 96. Ibid., II. 3,34. c.g. when two bulls or elephants rush upon one another, sparks of fire are seen issuing from their horns or teeth. Fire is produced when two pieces of wood or stone are rubbed one against the other, S.B.E. XLV, p. 397. fn. 1. 97. Ibid., II, 3.35. 99; 1bid., II. 3.36. According to the commentators, carth-bodies are produced in the shape of precious stones, in the head of snakes, of pearls, in the teeth of elephants, and so in reeds, etc. S.B.E, XLV, p. 397. fn. 2. 99. Tattvarthadhigama Sutra II 24. 100. Sutrakytanga IL 3.2. Trees (plants) feed on the liquid substances of the particles of earth, consume earth bodies, etc. by manufacturing organic commpounds from the inorganic substances, 101. Sutrakytanga II, 3.19-20; II, 3.22; II. 3.27, 28, 29. 102. Sutrakytanga, II. 316. Aya, kuhana (mushroom), etc. are born in the decaying matters because bacteria break down the organic compounds of dead protoplasm of dead plants and animals into organic substances which can be used by green plants.

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The World of Life according to the Jaina Literature 19 of the dead bodies of plants and animals into organic substances that can be used by green plants." Thus Jaina Biology suggests an ecosystem consisting of biotic components - producer, consumer and decomposer organisms and non-living compounds i. e, abiotic components - earth, air, water, and fire 103 Habitat and Ecology Niche A brief analysis of ecosystem of Jaina Biology brings to light two basic concepts-the habitat104 and the ecologic nichelos useful in describing the ecologic relations of organisms, i, e. the place where an organism lives, a physical area, some specific part of the earth's surface, air, soil, or water106 and the status of an organism within the ecosystein. It depends on its structural adaptations, physiologic responses and behaviour, etc.-what it eats107 and what eats it,108 its range of movement and tolerance and its effects on other organisms and on the non-living parts of the surrounding. 109 Types of Interactions Between Species of Plants and Animals. The study of the knowledge of food of organisms, the third lecture of the Second Book of the Satrakstanga, throws some light upon the types of interactions between species of plants and animals in several different ways, which take place due to their search for food, space, or some other need, e. g. the relationship of competition,110 or predatorism, commensalism. 111 mutualism, 112 parasitism118 as found between them 103. Satrakrtanga 11. 3. 104. Sutrkytanga, II. 3. 1-2., 3.16 (soil), 17(water), 18(trees), 21(carth), 22(water), 23 (earth surface), 26(aerial), 27(aninate or ananimate bodies). 105. Sutrakytanga II 3.2 (liquid substance) of the particles of earth), bodies of manifold movable and immovable beings), 3-5 (Sap of the trees), 20 (Sap of trees), 21 (mothers' milk, boiled rice, etc.), 22 mothers' humours and plants, both movable and immovable beings), 24(wind), 27 (the humours of various movable and immovable creatures),30.36 106. Sutrukytanga II, 3.30 (water) 33, 34 (fire), 35 (wind), 36 (soil). 107. Sutrakytanga 11. 3.30 (liquid substance), etc. See foot note above, 108. Satrakrtanga, II, 3,27, i.e. The parasites feed on the humours of various movable and immovable creatures-animals and plants, 109. Sutrakytanga Il. 3. The entire chapter 'knowledge of food' throws light upon behaviourism of plants and animals in addition to their mode of nutrition and reproduction. 110. Some beings (trees) deprive of life the bodies of manifold movable and immovable beings; the destroyed bodies which have been consumed before, or absorbed by rind (are) digested and assimilated by them). Satrakrtanga II, 3.2. 111. Some beings born in trees originated by trees, sprung from trees, springing from trees that originated in earth, come forth as trees originated by trees. They feed on the sap of the trees originated in earth, Ibid , II. 3.2. 12. The relations of nitrogen-fixing bacteria and legumes and algae and fungi in lichens. See Bhagavati 7,3, 275; Sutrakaanga II, 3.5.16 (kuhana), 18 (Sevala), 20, etc.

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J. C." Sikdar The host-parasite or predator-prey-relationship may be harmful to the host or prey as a species when such relationship is first set up. But the study of different examples of parasite-host and predator-prey interrelations show that "in general, where the associations are of long standing the long-term effect on the host or prey may not be very detrimental and may even be beneficial."114 20 The brief survey of the classification of living things plants and ani. mals, their distinctions, mode of nutrition, ecosystem, habitat and ecologic niche, and types of interactions between species as found in the Jaina Agamas gives a picture of the world of animals and plants, all related closely or distantly by evolutionary descent, and bound together in a variety of interspecific interactions. 113. Some organisms growing on the animate or inanimate bodies of manifold movable or immovable creatures, come forth as parasites. They feed on the humours of various movable and immovable creatures, II, 3-27. 114. Biology, 93.

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VEDIC ORIGINS OF THE SANKHYA DIALECTIC Harsh Narain The dominating section of Sankhya scholarship today is inclined to trace the orgins of the Sankhya to non-Vedic, ante-Vedic, and even antiVedic traditions. The present author proposes to strike a note in this paper. To us, the tendency is an index to the sad plight of Vedic studies at our hands and is responsible for much misreading of Indian philosophy, bistory and culture. It is a big topic, however, and refuses to be covered in a single paper of morderate size. In the present paper, therefore, we will content ourself with attacking the problem of the origin of not the Sankhya entire but only the Sankhya dialectic. According to the Sankhya, as embodied in the Sankhya texts proper available today, the ultimate reality is twofold the spiritual (Purusa) and the psycho-physical (Prakrii). The psycho-physical principle to which the is ultimately reducible is said to have three dimensions (guna-s) : Satlva, Rajas and Tamas. There are, that is to say, three dimensions to whatever there is, apart of course from the spiritual unities called Purusa-s. This trilogy of dimensions translates Variously but not aptly. Neither Epglish nor any other language for that matter has any appropriate equival. ents for the trilogy, which is so multidimensional that one has to content oneself with partial translation by selecting a particular dimension of the concept as the occasion demands. It would be advisable, therefore, to bring home to the reader the richnes of the trilogy in content by juxtaposing to it as general equivalences as possible, current somewhere or other, independ. ently, such as the following, culled from different sources, including Western thought and Sufism. Sativa Rajas Tamas | Knowing Wiling Feeling Mind Life Matter | Pleasure Pain Ennui Elan Elan vital Elan Rhythm Mobility Inertia intellectual mechanical Light Energy/ Darkness Intelligence Instinct Torpori Activity Logistikon Thumos Epithumia Nur (light) Barzakh Zalman Reason Passion Appetitel (midway) (darkness Spirit . | Ruh (soul) Nafs (life) Surat(form) Knowledge Action Desire Zat sifat Asma'-o | (existence) (essence) Af'al (Dames and works

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22 Harsh Narain The original Sankhya trilogy is not just a trilogy but a veritable tri chotomy of a dialectical character: it serves to divide the whole of reality the whole of thought, the whole of the universe of discourse into three moments exhaustively, like the moments of dialectic, viz, thesis, antithesis. and synthesis. Dialectic has developed in the main along two independent lincs, viz. dialogical or reasoning dialectic on one hand and metaphysical dialectic or dialectic as the concept of struggle of opposites on the other.1 Here we are taking the Sankhya dialectic in the latter sense. There are certain clear indications in certain ancient texts that the trilogy is allpervading, without exception. It is also suggested in serveral texts that the trilogy represents the unity, inter penetration, struggle of opposites, the proverbial form of objective or metaphysical dialectic, Vacaspati Misra has it that th: guna-s are mutually contradictory but do not destroy each other like Sunda and Upasunda (the mythological demon brothers who killed each other) because their functioning is for a common purpose, even as the wick and oil are opposed to fire and yet they cooperate with it in giving light. Indeed, it is also suggested sometimes that the cosmos is essentially dialectical.5 Well, the Sankhya dialectics has an interesting history. The burden of this paper is to show that it owes its origin to Vedic cosmogony viz. : 1) to the well-known cosmic trilogy of the Vedic texts, 2) to the cosmogonic trilogy of creation, preservation, and destruction, and 3) to the creation hymn of the Rg-Veda. On the basis of the description of the three guna-s by Caraka and Pancasikha?, Dasgupta is inclined to the view that 'originally the notion of guna-s was applied to diferent types of good and bad mental states, and they were supposed in some mysterious way by mutual increase and decrease to form the objective world on the one hand and the totality of human psychosis on the other. 8 Burrow and Johnstonio also maintain that the guna-s were originally a purely psychological division, elevated to the status of cosmogonical principles later. Dasgupta credits Vijnanabhiksu with being the first to describe guna-s as reals or super-subtle substances in a systematic manner, Vacaspati and Gaunapada keeping silent,11 But this does not appear to be the case, to the present writer. Carlton C. Rice has come forward with the thesis that, originally, the word 'guna' was an adjective signifying 'bovine', derived from the zero grade of the base 'go' and formed by the secondary suffix-na', the "na' in it betraying the influence of Prakrit. The successive states of the evolution of its meaning are as follows : (1) bovine' (adjective) (2) bovine sinew' (substantive) (3) 'sinew' (4) 'strand', cord (of rope) (5) 'quality'

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Vedic Origins of the Sankhya Dialectic 23 (6) "villue'12 The last four meanings are found actually attested in Sanskrit.13 Disagreeing with Rice, Keith suggests that 'guna' must have the same origin as the Avestan word 'gaono', meaning hair, and if this is accepted as the earliest sense of guna, it is easy to see how from the practice of plaiting the hair the meaning "strand"' might easily come to be that of guna '14 The earliest texts in which guna' figures with a thore or less clear sense are the Taittiriya-Samhita of the Black Yajur-Veda, where it means strand' as constituent of rope 15 and the Saunaka-Samhita of the AtharvaVeda, where it means constituent.'16 According to Keith, the Iranian term also assumes the sense of quality' and 'colour. According to Walde, both the Avestan word and the Vedic 'gavini (groin) are derived from the root 'geu-(Avestan), 'biegen, krummen, wolben'.1? In the Sarikhya system, 'guna retains its original (or almost original) sense of strand or constituent, whereas, in the Vaisesika system, it assumes the later sense of quality (or rather attribute). By the time of Patanjali the grammarian, it assumed a great variety of meanings.19 In the Mahabharata, monad (manas) intellect (buddhi), quantity, (sattva) 'I am the doer another is the doer 'this is mine and this is not mine,' the matrix (praktii), the manifestation (vyakti) time (kala), etc. etc. are also termed 'guna-8.'*. From these considerations, it is evident that guna' has, from the first, signified an objective fact and not just a psychological one as Dasgupta, Burrow, and Johnston take it to have signified originally. In fact, on the basis of certain clear indications in the Mahabharata the author is inclined to believe that, at first, the three mental states with which these writers identify the three guna-s were treated as dependent upon the guna-s (tadasritah) and christened bhava' or 'vedana '18 The Saunaka-Samahita of the Atharva Veda is the first extant text to refer to the three guna-s', 20 where the optological import of the expression is clear. It also bappens to be the first to mention "rajas' and 'tamas' together, by name, once, where, too, the objectivity of the concepts is unmistakable. 21 It is no less significant a fact that the trilogy of guna-s appears to have been used in the sense of the objective constituents of the Potentiality (prakrti) even in the oldest known Sankhya treatise, SastiTantra, no longer extant.22 Now, quite a number of triads are found scattered in the Vedic texts, 28 some of which are bound to interest us here. Besides the triads found therein elsewhere, a full hymn of the Saisiriya-Sakala-Samhita of the RgVeda, comprising a dozen stanzas, is denoted to triads of various sorts.'24 As is well known, a recurrent phenomenon in this text is the trilogies pertaining to fire (agni).25 Fire is spoken of as having three forms: the fire, of the waters, the fire of the firmament, and the fire of the sun,38 Correspondingly, the Vedas divide existence or the cosmos into three worlds

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Harsh Narain arranged vertically, as subjoined from lower up: (1) The dark world of the earth (pythvi) (2) The intermediate, and transparent world of the firmament (antariksa) (3) The bright world (Dyo)27. This cosmic trilogy is variously designated, such as: 24 Pithe (earth) Antariksa (firmament) Bhur (earth) Bhuvas (firmament) Madhyama (middle) Avam (low) Aram (low) Madhyama (middle) Ut (high) Ut-tara (higher) Ayam lokah Antariksa (this world) (firmament) Dyo | Idam (this) Svapna-sthana Paraloka(solar world) | (dream land) sthana or Sandhya- (word 1 sthana (midd- beyond) 33 Svar (heavens) 28 | Ul-tama | Matr (highest) 29 (mother) Parama | Manusya(extreme)30 loka (world Ut-tama of men) (highest) | Mitra Asau lokah | Prana (yonder | Sam-rat world) sa ling world) - Bhraty (brother) Pitr-loka (world of manes) Payasya Anna Vi-rat Pitt (father)84 Deva-loka (world of gods)85 Varuna Apanas Sva rat37 The three worlds constitute the three strides taken by Visnu, as the Rg Veda would have it,38 Incidentally, the three worlds are themselves devided into three sub-worlds each,39 generally speaking.40 The triads connected with fire and the cosmos are believed to be the most ancient of the Vedic triads. Now, in the Vedas, term 'rajas' is also used in the sense of firmament, over a dozen times. Therefore, the cosmic trilogy of the Vedas is also expressible as: Prthim (earth) Rajas (firmament) Dyo (solar world). This 'rajas' appears to have been a connectiug link between the cosmic trilogy and the guna-trilogy of tamas, rajas, and sattva. Well, the earth is coares, inert, dark; firmament represents activity and energy characteristic of the air and the heavenly bodies; and the solar world is all light, Such a consideration seems to have, to some extent or other, been responsible for the suggestion of the principles of darkness (tamas), energy (rajas), and light (sattva), styled guna-s. This point will receive further elucidation in the sequal. The connection of the triplicity of worlds with that of the thrown into further relief by the statements, occurring in several scriptural guna-s is texts, to the effect that sattva tends upwards, rajas remains in the middle, and tamas tends downwards.49 The Vedic deities are also divided into three, corresponding to the threefold division of the cosmos. So, fire is assigned to the earth, the air

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Vedic origins of Sankhya Dialectic or Indra to the firmament, and the sun to the solar world.44 In the Vedas, the sun is also designated as Visnu.45 So, it is said that fire is the lowest and Visnu the highest of the deities, all other deites falling in between.46 It appears that later, in order of importance, Indra and fire yielded place to Brahman (masculine) and Siva respectively. In the result, the Vedic trinity of sun, Indra, and fire was supplanted by the Puranic trinity of Visnu, Brahman (mas.) and Siva.* It is significant that even in an Upanisad of sufficient antiquity tamas is identified with Rudra or Siva, rajas with Brahman (mas.), and sattva with Visnu.47 25 Thus, the cosmic trilogy as the divine trinity envisaged in the Vedas has had much to do with the origin of the guna-trilogy. The cosmogonic trilogy of chaos (vi-sarga, parti-sarga, pra-laya), creation (sarga), and cosmos (srsti) also seem to have been at the root of the guna-trilogy. In the Veda as well as other ancient texts, the state of cosmo. gonic chaos is always identified with darkness or 'tamas', in a categorical manner. 48 An Upanisadic text identifies this "tamas' with the 'tamas' of the guna-trilogy in clear terms.49 Well, if chaos is identifiable with darkness, cosmos will naturally be indentified with light and the creative process with down or dusk as the case may be. In fact, the three cosmogonic phases are clearly described in certain texts as the night, the dawn, and the day of Brahman (mas.) on one hand 50 and slumber (pra-svapa), dream (svapna), and wakefulness (jagarana) on the other, respectively. In some texts, God is said to be dark during chaos, red during the process of creation, and white during the life of the cosmos.52 In several texts, it is also indicated that tamas is black, rajas red, and sattva white.63 As already noted, tamas is also indentfied with Rudra or Siva, rajas with Brahman (mas.) and sattva with Visnu, the gods of chaos, creation, and cosmos respectively. Puranically, the dark colour of God is the manifestation of tamas; the red colour, of rajas: and the white colour, of sattva- the three guna-s of Sankhya.54 The Upanisad has it that there is a goat or eternal one (apparently Prakrti of Sankhya)-black, white, and red-giving birth to beings of all kinds.55 Here the reference to the guna-trilogy is unmistakable. The penultimate form of the guna-trilogy in the cosmogonic context appears to be the trilogy of forms of existence (rupani) given in the Chandogya-Upanisad, viz, anna (solid), ap (liquid), and tejas (heat), which are said to be, respectively, the black, white and red forms of the world to. be50, and which are to become threefold each through contact with the purusa (self). Here the expression 'through contact with the purusa' is specially reminiscent of the Sankhya. J. A. B. Van Buitenen has very ably traced 57 the why of this trilogy to a statement in the Brhadaranyak-Upanisad, 58 which need not be discussed here, Sambodhi 4.1

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26 Harsh Narain to the So, we have been able to trace the origin of the guna-trilogy Vedic cosmogony as well, to a considerable extent. Dialectically the most significant hymn of the Rg-Veda is the one hundred and twenty-nipth one of the last book (of the Sakola-Samhita thereof), the famous creation-hymn. Baldly, the first two stanzas of the hymn translate thus : Then there was neither sat nor 2-sat, nor was there rajas, nor even the sky (uyoma) which is beyond. What did it cover up (or contain)? Who guarded it? Was there water, unfathomable, deep? Then there was neither death nor immortality. There was no beacon of night and day. That one (tad) alone sustained life, windless, by its own power (sya-dhaya). There was naught beyond, other than it,'59 Out of this rather puzzling hymn, we can, on good authority carve a significant triad, sat, a-sat, and rajas - or, at any rate, two pairs of opposites - sct-asat and rajas-vyoma - for our purpose. What does the triad or the pairs of opposites mean? One meaning of sat and a-sat is good and evil, right and wrong,60 which is not attracted here, however, for the simple reason that, since the hymo institutes an inquiry into what was not there before creation, we must interpret the expressions under consideration ontologically rather than ethically. Another meaning of sat and a-sal existent and non-existent, being and non-being, -the meaning which this pair of opposites usually bears in pbilosophical parlance. This is the meaning in which sat and a-sat are found used in the Chandogya-U panisad, 61 where, referring to those who maintain that a-sat is the root of sat and posing the question how sat can spring from a-sat Uddalaka Aruni proceeds to prove to Svetaketu, his son, that sat is the root of all, In the same vein but in stronger terms, the Tailtiniya-U panisad has it that he who thinks the Brahman to be a-sat (non-existent) himself becomes a-sat.62 Do the sat and a-sat of the Rg-Vedic hymn under examination, too, signify existence and pon-existence? May be. In which case the first verse would have to be construed to say that before creation there was neither existence nor non-existence, neither rajas por the empty space, Rajas According to Yaska, means, alternatively, light, water, world, the planet Mars, and day, 48 Here it may be taken to signify the world. It means atom according to Dayananda, who also construes sat and a-sat to mean the void and primeval matter respectively.64 Sayana interprets sat, a-sat, and rajas to mean the existent, non-existent, and worlds respectively. According to him before creation, there was neither existence nor non-existence but something beyond existence, and non-existence, indescribable, Maya 65 The Satapatha. Brahmana does say that 'then it was all indescribable (a-vyaksta).66 Manu also, speaks of the chaotic state as unimaginable and usintelligible (a-pratarkyam, a-vijneyam).67 Another verse of the Rg-Veda (Sakala-Samhita) informs us that a-sat and sat were in the supreme space (parame vyoman). Here Sayana interprets a-sat as inscrutable (a-vyakyta) and sat as scrutable

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Vedic Origins of the Sankhya Dialectic 27 (vyaklla).69 The Taittiryid-U panisad. has it that first there was as-at, from which sat sprang up.70 But here a-sat appears to be the unmanifest Brahman, as held by Sankaral and, above all, suggested by the Upanisad itself, adding, immediately after, that a-snt made itself into the world].?? It is interesting to note that, in the RgVeda iteself, there is a statement that before creation a-sat gave birth to sat 73 Sayana interprets a-sat and sat there to signify the unmanifest Brahman and the manifest cosmos respectively.74 The Sat patha-Brahmana states that first there was a-sat, that the seers (rsayah) are called a-sat, and that the breaths or vital energies (pranah) are the seers.75 Here, too, Sayana construes a sat to signify 'having the unmanifest name and forin.769 Following him, we can construe sat and a-sat to signify the chaos and the cosmos. In Hesiod, 'chaos' which be considers antecedent to the cosmos, means the space, the firmament - 'antariksa' io Vedic parlance. It is neither 'primordial disorder' nor priinordial matter but the 'yawning gap between the earth and the sun. Does it have any. thing to do with the Vedic concept of a-sat? Plato's 'space', too, which he declares 'incomprehensible' and 'hardly real and which is nevertheless the source of the four elements,77 also appears to answers to the Vedic a-sat. In the Upanisads as well, akasa is sometimes said to be the source of the four elements.78 Another import of sat and a-sat as used in the Rg-Veda that would suggest itself is 'reified' and 'unreified'. The Sata patha-Brahmana elsewhere says that there was (originally), as it were, neither sat nor a-sat and that what there was was the mind (manas).79 It adds immediately that the mind is neither sat nor a-sat.80 Sayana explains that something beyond sat and a-sat there was, which was the mind; for the mind is neither sat, being devoid of form etc. characteristic of the jar etc., nor a-sat, being cognizable. 81 Sayana's explanation does not help us much, however, In fact, being too loose in expression, too profuse in the use of adjectives, and too paradoxical and symbolical in approach - 'bahubhaktivadini', viz. likening any. thing and everything to anything and everythings, the Brahmanas cannot be taken literally. According to a passage in the Brhadaranyaka-Upanisad, nothing existed before the cosmos, which was all enveloped by death, that is, by hunger, which is death.98 The Upanisad declares elsewhere that before the cosmos there was Brahman.84 At a third place. It equates a-sat with death and sat with immortality.85 If we can make anything out of these rather obscure and mystical passages (of course to us moderns, not necessarily to those for whom these were composed), it is this that in the beginning there was the reign of the unmanifest inscrutable,

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Harsh Narain thesis "sar The hymn of creation is exquisitely dialectical. In it the is negated by the antithesis a-sat' and finally both the thesis and antithesis come to be negated altogether (nasad visin no sad asit). This line of thought is also followed by the Upanisads, which, sometimes, categorically declare that the ultimate reality is neither sat nor a-sat: (na san na casat),88 that it is neither this nor that (neti neti),87 The dialectic thus emerging is expre. ssible as under : Thesis Antithesis Synthesis Sat A-sat Neither (neti neti, avyakria) Sometimes, the Upanisads speak of the third moment as both sat and 0-301, in which case their dialectic would stand revised as under: Sat A-sat Both (sad-asat) Both these patterns are found in the Vedic and Upanisadic literature. In the last analysis, both the creation-liymn and the Upanisads come upon positive principle: the hymn, upon the one (eka):89 the Upanisads, upon the atmano A dialectical relation involves and presupposes not only a conflict but also a unity and interpenetration of opposites, and it is interesting to find that the Vedas do suggest such a relation between sat and a-sat while describing a-sat as the kin (bandhu) of sat. 01 It seems that, in their early career, the terms 'sat', 'a-sat', and 'rajas' carried, among others, the sense of luminous, dark, and activity respectvely. Buitenen is inclined to believe that "sattva' has taken the place of jyoris', 'tapus' or 'tejas'.92 In this connexon it is interesting to note that sometimes the Mahabharata tends to use 'tapas' for 'sattva' 93 equating 'Tapas' with light and knowledge.94 Likewise, while using rajas' and tamas together, as "rajas-tamas', the Athavra-Vada juxtaposes them to light' Gjyotis), which appears to be easily interchangeable with sat. It is significant, indeed, that 'sat' and 'rajas' retain their original sense in the Sankhya system and that 'a-sat' signifying 'dark' is patently interchangeable with the guna called 'tamas' in that system. It is also significant that, in the creation-hymn itself, it is also stated that in the beginning there was 'tamas' enveloped by 'tamas".97 Is the first of the two instances of 'tamas not the same as the Sankhya ? If it is, the verb 'was (asil) will have to be construed to mean 'arose' or 'came into being' (abhayat). Indeed, there is a well-attested tradition for it. As already pointed out, the Maitrayant-Upanisad identifies the Vedic 'tamas' with the Sankhya one in so many words, Besides, when another Vadic bymn speaks of the birth sat from a-sat, as we have seen alredy, the term 'a-sat may be taken to stand for the 'tamas' in the creation-hymn. This is, however, pure conjecture in the present context. Generally speaking, the pair of opposites sat and a-sat framed in the Byhadaranyaka-U panisad08

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29 Vedic Origin of the Saikhya Dialectic as well as Taittiriya-U panisado) may as well be taken to correspond to the sat-asat pair of the hymn of creation. In that case, sat and a-sat would mean immortal (satya) and mortal (an-sta) respectively. Thus, the terms 2-sat' and 'tamas' occurring in the creation hymn become synonymous. The roga-Sutra appears to refer to the guna-trilogy under a different nomenclature: 'prakasa-kriya-sthiti.'100 literally, light, activity and inertia, standing respectively for sattva, rajas, and tamas. This, too, serves to buttress the above thesis. From the foregoing considerations, the conclusion is irresistible that a-sat, rajas, and sat of the creation hymn of the Rg - Veda are the precursors and prototypes of the three guna-s - tamas, rajas, and sattva - of the Sankhya system, From an interesting passage in the Taittiriya-Bralimana, it appears that the terms 'a-sat", "rajas', and 'sat of the hymn of creation are also identifiable with the Vedic triad of the three worlds - earth, firmament, and the solar world. We have seen that the opening verse of the creation hymn says that (originally) there was neither sat, nor rajas, nor asar. The unmistakable import of this statement is that there was nothing whatever. The 'Taittiriya Brahamana also has it that first there was nothing whatever (naiva kincana) and, father in explanation of the 'nothing whatever', hastens to add that there was no solar world (dyo), no earth (prthiui), no firmament (antariksa) 101 - none of the three worlds. So, there appears to be an agreement between the following triads: A-sat Rajas Sat Earth Firmament Solar world Incidentally, the Vedic-Brahmanic nothing' is not pure void. It is something inscrutable, the 'one' of the creation-hymn already referred to. That is why the Brahmana text adds that the 'nothing' decided to 'be'. 102 and gave birth to the mind (manas), which begot Prajapati (the lord of of creation) who created the world.105 The trilogies related to the trilogy of guna-s and discused above are culled below for a synoptic view of the matter : Tamas Rajas Sattva Slumber Dream Wakefulness Earth Firmament Sun | Dark/Black Red White Darkness Energy Light | Solid Below Middle Above A-sat Rajas . Sat Fire Air/Indra Sun | Nothing Becoming Being Rudra/siva Brahman Visnu 1 A-sat Neither sat Sat (masculine) nor a-sat Chaos Creation Cosmos | A-sat Both sat Sat Night: Dawn Day and a-sat Inertia Activity Light Heat

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Harsh Varain In fact, there are hundreds of trilogies corresponding to the Sankhya ilogy of gune-s called Saltca, Rajas, and Tamas, scattered in ancient ients. Our aim being simply to trace the origin of the guna-trilogy in the profe-philosophical Vedic (including Brahmanic and Upanis adic) literature, we need not try to explore them all in the present paper. The question arises, if the Sankhya dialectic has such modest origins * set out in this paper, does it deserve to be taken so seriously as it has all along been, as a fundamental cosmological principle ? Our reply is in the affirmative. Our well considered opinion, not discussed in this paper, is that, whatever it might have been in its origins, the Sankhya dialectic Provides a wonderful key to the understanding of Vedic cosmology, for which reason, we take it, it was entitled Vedanta long before the inception of the extant Sankhya texts. Great illoughts are often found to have humble beginnings like the rose which originates from mud. Sometimes, highly original ideas are occasioned by remotest possible similarities between the terins at the farthest remove from each other, But our present project does permit a proper probe into this issue, Foot - notes 1. Harsh Narain. Evolution of Dialectic in Western thought (Varanasi: Motilal Benarsi. 2. Bagavad Ga (Gorakhpur Gita Press) 18.40; Mahabharata (Gorakhpur : Gita Press) Dest-Bh7gavata, Ramateja l'ande, ed. (Vanarasi : Pandit Pustkalaya, 1969) 6.30.49-51; 31.34 41. C. Mahabharata Santi-Parvan 187.25 and Anusasanaparva 12.4 describing the three ganas as attributes of soul (Jiva-gunah); 280,4, describing the three gunas an identical with the Lord (Narayanatmakan). 3. Bhagavad Gita 18, passim; Mahabharata, Santi Parvan 194, 37-40; 248. 22-24; Asvamedhika-Parvan 36. 4-7; 39, 1-9; Vayu-Puruna (Bombay : Sri Venkatesvara Steam press 1933), Purvardha 5.16-17; Kurma Purana, Rama Shankara Bhallacharya, ed. Varanasi : Indological Book House, 1967, 292; Sankhya Karika with Sankhya. fattvakaumudi, Ganga Nath Jha and Har Datt Sharma, eds. (2nd ed., Poona : Ori ental Book Agency, 1934), 12-13, pp, 28-31. 4. Samkayatartvakaumudi 13, pp. 30-31. 5. Mahmuti, with Matvarthamuktavali, Gopala Shastri Nene, ed.. Kashi Sanskrit Series, No. 114 (Varanasi: Chokhamba Sanskrit Series Office. 1935). 1. 26; Mahabharata Santi Parvan 238.20. 6. Caraka Samhita. Vamana Kesleo Datar, ed. (Bombay : Nirnaya-sagar Press, 1922). Sarira-Sthana 1.34, 66-67, 140. 7. Muhabharata, Santi Parvan 219.25. B. S N Dasgupta, A History of Indian Philosophy, Vol. 1 (Cambridge University Press 1922), pp. 221-222 9. T. Burrow. "Sanskrit Rajas', BSO AS, XII, p. 469, quoted in J. A. B Van Buitenen Studies in Sankhya' (all), JAOS. Vol. 77, No. 2 (April-June, 1957). pp. 92-93. 10. E. H. Johriston, Early Sankhya, Prize Publication Fund, Vol. XV (London: Royai Asiatic Society, 1937). pp. 34-41. 11. Nangapta, p. 223 12 See Language, VI (1930). pp. 36-40, discussed in A. B. Keith, "The Elymology of Guna'. X. B. Parhaka Commemoration l'olume, Government Oriental Series, Class B.

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Vedic Origin of the Sankhya Dialectic No. 7, S. K. Belvalkar, ed. (Poona : Bhandarkar oriental Research Institute, 1934), pp. 311-314. 13. See, for example, Kalidasa, Raghuvansa (Lucknow : Nawalkisliore Press. 1896) 9.54; Kumarsambhava, Narayan Rama Acharya, ed. (14th ed., Bombay : Nirnaya Sagar Press, 1955), 4.15, 29- for 'guna' as bowstring; Baudhayana-Dharmasitra, A. Chinnaswami Shastri, ed., Kashi Sanskrit Series, No. 104 (Varanasi : Chowkhamba Sanskrit Series Office, 1934), 2.3.12; 2.5.12; 4.1.12, 16. 26- for 'guna' as merit, worth, virtue. Guina as quality needs no introduction, and guna as strand follows. 14 Keith, p. 313. 15 Yajur-yeda (Taittiriya-Samhita) with Sayana's Vedarthaprakasa, Satyavrata Sama shrami ed., Bibliotheca Indica (Calcutta : Asiatic Society of Bengal, 1899), 7.2.4.2. 16. Atharva-veda (Saunaka sanhita), Shripada Damodara Satavalekara, ed. (Oundh: Svadhyaya Mandala, 1943), 10.8.43, 17. Keith, p. 313. 18. Mahabhasya (Varanasi: Motilal Banarasidas, 1967) 5.1.119. 5. . Mahabharata, Santi-Parva 320.103 ff. 19 Mahabharata, Santi-Parvan 194.15, 29-30; 219.25; 248, passim; 275,25-28; 285. 16, 22-28; 295,2. Cp. 320. 103-1 13 describing mind (manas), intelleet (buddhi), etc, as 'guna-s'. I cannot bring myself to endorse Buitenen's interpretation of Bhava to mean evolved) form of being', in his 'Studies in Sankhya' (1) JAOS Vol 76. No. 3 (July-September. 1956), pp. 153-157. 20. Atharvaveda (Saunaka-Samhita) 10.8.43. 21. Ibid 8.2.1. 22. Vyasa-Bhasya, with Yoga-Sutra, Goswami Damodara Shastri, ed., Kashi Sanskrit Series, No. 110 (Varanasi: Chowkhamba Sanskrit Series Office 1935), 4.13, p. 415; Bhamatz 2,1.3; p. 352; 23. See, for example, Rg-Veda (Sakala-Samhita) with Sayana's Vedarth-prakasa F. M. Maxmuller, ed., Chowkhamba Sanskrit Series, work No. 99 (Varanasi: Chowkhamba Office, 1966), 1.22. 17-18; 1.95.3; 1.146.1; 1.164.20; 2 40.4; 3.20,2; 3.26.7; 4.1.7; 4,53,5; 10.45, 1-2; Atharva-Veda (Saunaku-Samhita) 3.21.7; 8.1.11. 24. Rg-Veda (Sakala-Samhita) 1.34. 25. See, for example, ibid, 1.95,3; 1.146.1; 3.20.2; 3.26,7; 4.1.7; 10.2.7; 10.45. 1-2: 10.46.9: 10.88.10. 26 See for example, ibid 1.95.3; 10.45.1-2; 10.88.10. Of the last verse, we follow the interpretation given by Sakapuni. See Yaska, Nirukta, with Durga's Nirnkta-yrtti, V. K. Rajavade, ed. (Poona: Anandashrama, 1921, 1926), 7.7.5. Also see Atharva Veda Saunaka-Samhita 3.21.7; 8.1.11. 27 See, for example, Rg-Veda (Sakala-Samhita) 2,40.4; 10.45.1; Atharva-Veda (Saunaka Sanhita) 10.6 31; 12.3.20; Aitareya-Brahmana, Wasudeva Laxman Sharma Pansikar and Krishnambhatta Gore, eds. (Bombay: Nirnaya-Sagar Press, 1925), 1.5,8; SatapathaBrahmana, Satyavrata Samashrami, ed. (Calcutta: Royal Asiatic Society, 1903), 13.1. 7.3. Cp. Yajur Veda ( Madhyandina-Samhita), Shripada Damodara Satavalekara, ed. (Paradi: Svadhyaya Mandala, 1957), 17,67,68; Yajur Veda Taittiriya-Samhita 4,6 5,3,4, 28, Yajur Veda ( Madliyandin-Samhita 3 5,37; 7.29; 8,53; 23.8; 36.3; Yajur Veda (Taitti riya-Sanhita) 1.6.2.2; 5.5.5.3; 7.4.20.1; and in several other Vedic texts, 29. Rg-Veda (Sakala-Sanhita) 5.60 8. 30. Ibid, 10.81.5; Atharva-Veda Saunaka-Samhita) 10.7.8; Yajar-Veda( Madhyandina-Samhita) 17.21. 31. Rg-Veda (Sakala-Samhita) 1.50.10. .

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a Harsh Narain 32 Yajur Veda (Taittiriya Surrhita) 7.2.4.2. 33. Satapatha-Brahmana 14.7.1.9. 34 Br Yeda (Sakala-Samhita) 1.89.4; 190.7; 1.164,33; 1,191,6; 6,51.5. Atharva-vedo Garaaka-Samhita) 6,120.2. 35. Satapatha.Brahmana 14.4.3.11; Taittiriya-Brahmana V.S. R. Narayana Shastri, ed: Anandasbrana Sanskrit Series, No. 37 (Poona: Anandashrama, 1934, 1938), 2.1.8.1. 96. Sasaparka-Brakmana 12.9.2.12. 37. Vavu-Purina Purvardba 45. 87. Cp. Taittiriya-Aranyaka, with Sayana-Bhasya, Kashinath Vasudeva Shastri Abhyankara and Ganesh Shastri Joshi, eds. Anandashrama Samskrit Series No. 36 (3rd ed. Poona : Anandashrama, 1967, 1969). Prapathaka 10 (known as Narayana-Upanigad), Anuvaka, 22; Malanarayana Upanisad 14.1. 38Re-Veda Sakala-Sanhita) 1.22.17-18; 1.154, passim; 7.100.3-4. We follow akapuni's ntespreration given in Nirukta 12, 2.8. $9. See, for example, ibid 1.34.8; 2.27.8-9; 4,53,5; 7.87,5; 7,104,11; Atharva-veda (Saunaka -Sarina) 18.2.49. 40. See, for example, Atharva-Veda (Saunaka-Samhita) 4.14.3; which refers to a fourth World beyond the solar world. 41. RP-Veda (Sokala-Sarshita) 1.56.5; 1.62.5; 1.84.1; 1.124.5; 1.168.6; 1,187,4; 2.40.3; 6,629; Atkarva-Veda (Saunaka-Samhita) 4.25.2; 7.25.1; 7.41.1; 10.3.9; 13.2.8; 13.2.43; Yajur Veda (Madhyandina-Sanhita) 13.44. 42. Smkhya-karika 54: Manu-Smrti 12 40; Bhagavad-Gita 14.18; Mahabharata, Santi Parvan 302.47. 43. Re-leda (Sakala-Samhita) 1,139,11; Atharva-Veda (Saunaka-Samhita) 1.30.3; 109.12; 44, kg-Veda Sokala-Samhita 10.158,1; Nirukta 7.2.1. 145, Rg-Veda Sakala-Samhita) 1.22.16-21. 46. Aptareya-Brahmana 1.L.L. Rg-l'eda (Sakala-Samhita) 1.27.10; 3.2.5; 4.3.1, Vaya-Purara, Purvardha 5.14. 'Agnirapi Rudra ucyate "Nirukta' 10.1.7. 49. Maitrayant-Upanisad, Narayana Rama Acharya, ed., with 119 other Upanisads including those referred to infra (5th ed, Bombay: Nirnaya-Sagar Press, 1948), 5.2. 48. R Veda (Skala-Samhitaj 10.129.3; Manu-Smyti 1.5. 49. Maitriyani--Upaniyad 5.2. Cp. Mahabharata, santi-Parvan 194.33; 219.31; 247.22; 289.31. 90. Non-Smrti 1.52, 74. 51. Srimad Bhagavata (Gorakhpur: Gita Press) 11.25,20. Cp, note 33, supra. 52. Ibid. 10.3.28. 53. Mahabharata, Santi-Parvan 302,46; Devi-Bhagavata, Ranateja Shastri, ed. (Varanasi: Pandita Pustakalaya, n.d.), 3.8.4, 6.9, In Mahabharata Santi-Parvan 280.39, however wattva is called red, 34. Sremas Bhagavale 10.3.20. 55. Swetaratara-Upanisad 4,5, Mahanerayana-Upani sad (Atharva-Vedic) 9.2; Narayana Upontsad (the concluding, 10th Prapathaka of the Taittiraya-Aranyaka), Baba Shastri Phadake, ed. (Poona: Anandashrama, 1927) 10,5; Cp. Mahabharala Santi-Parvan 302.46. $6. Ckandagye-Upani ad 6.2.3-4; 6. 4. $7, Buitenen, 'Studies in Sankhya' (III), JAOS, Vol. 77. No. 2 (April-June, 1957), pp. 58. Brhadaranyaka-Upanisad 1.2 1-2. 59. Re-Veda 10.129.1-2. 60. Cp Bhagavad-Gila 17.26 defining 'sat' as truth, goodness, beauty, modernizingly speaking 61. Chandosya-Upanisad 6.2.1-2. Cp. 3.19.1. 62, Taittiriya-Upanisad 2,6-7;

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Vedic Origin of the Sankhya Dialectic 64. Dayananda. Rgvedadibhasja-Bhimika (Ajnier: Vaidika Yantralaya, 2008 Anno Vikrami) D. 131, Here Dayananda is not a trinitaria, which he is in luis Satyartha-Prakasa. 65. Sayana on Rg. Veda (Sakala-Samhita) 10.129.1. 66. Satapatha-Brahmana 14.4.2.15. 67. Man Smrti 1.5. 68. Rg-Veda (Sakala Samhita) 10.5.7. Cp. Atharva-J'edu (Saunaka-Samhita) 10.7.10; 17.1.19. 69. Sayana on Rg-Veda (Sakala-Sanhita) 10.5.7. 70. Toittiriya-Upanisad 2.7. 71. Sankara ad Ibid. 72. As in note 70. supra. 73. Rg-Veda (SAKALA-Samhita) 10.72.2.3; Atharva-Veda (Sannaka-Samhita) 10.7.25. 74. Sayana on Rg-Veda (Sakala-Samhita) 10.72.2. 75. Satapatha-Brahmana 6.1.1.1. 76. Sayana ad Ibid. 77. Plato, Timaeus, The Dialogues of Plato, B. Jowett, tr. (4th ed., Oxford: Clarendon press; 1953), 51ab, 52b. 78. Taittiriya-Upanisad 2.1; Chandog ya-Upani sad, 1.9.1; 3.14.1. 79. Satapatha-Brahmana 10.5.3.1. 80. Thid 10.5.3.2. S1. Sayana ad Ibid. 82. Nirukta 7.7.1, read with Durga's Comments thereon, 83. Byhadaranyaka-Upani sad 1.2.1. 84. Ibid 1.4.10. 85. Ibid 1,3,28, 86. Mundaka-Upani sad 2.2.1; Svetasvatara-Upani sad 4.18; Bhagavad-Gita 13.12. 87. Brhadaranyaka-Upani sad 4.5.15. Cp. Kena-Upanisad 1.4; Katha-UPani sad 1.2.20: 2.6,12; Taittiriya Upanisad 2.4; Svetasvatara-Upanisad 1.8: Mantakya-Upani sad 7. 88. Prasna-Upani sad 2.5; Bhagavad-Gita 9,19; 11.37. 89. Rg-Veda (Sakala.Samhita) 10.129.2. 90. Katha-Upanisad 1.2.20, for example, 91. Rg-veda (Sakala-Saihita) 10.129.4. Cp, Atharva-Vedla (Saunaka-Sanhita 4.1.1; 10,7,10; 17.1.19; Yajur-Veda (Madhyaudina-Samhita) 13.3. 92. Buitenen, 'Studies in Sankhya, (III) JAOS, Vol. 77, No. 2 (April-June, 1957), p. 106, note 80. 93. Mahabharata Santi-Parvan 216.1 6.18; 217.16. 94. Ibid 216.16-17; 217, 15-16, 95. Atharva-Veda (Saunaka-Samhita) 8.2.1-2. 96, Saikhya-Karika 12-13. 97. Rg-Veda (Sakala-Sarithita) 10.129.3. 98. Bihadaranyaka-Upani sad 2.3.1. 99. Taittiriya-U pani sad 2.6. 100. Yoga-Sitra, Vyasa-Bhagya 2.18. 101. Tantiriya-Brahmana 2.2.9.1. 132. Ibid 2.2.9.1. 103. Ibid 2.2.9.40. Sambodhi 4.1 2.0,

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THE TREATMENT OF SUSPENSE (KATHA-RASA) AS A CONSCIOUS NARRATIVE SKILL IN DHANAPALA'S TILAKMANJARI* N. M. Kansara A successful writer of a narrative must create an illusion of reality in the mind of his listeners or read=c3; and a sura means to this end is to hold the audience in suspense so that it is toj much interested to have any time to reason and so spoil its own enjoyment; any deviation from the legitimate uafolding of the plot is fatal as it breaks the continuity of the suspense, which is inherent in any unsolved Problem, and the solution of the Problem, with its attendant removal of the suspense, is the end of the story. 1 Dhanapala, being a skillful narrator, and a highly concious one at that, seems to have been pretty aware of these requirements. He, therefore, fully employed his skill in weaving his plot in such a way as to maintain constant interest of the audience in bis narrative, a The story of the Tilakamanjari begins with the description of the city of Ayodhya, king Meghavahana, his queen, their lack of a male issue, and his wish to undertake the propitiation of some deity to ensure male y. So far, the interest is generally sustained by the novelty of descrip. tions. The introduction of the flying Vidyadhara Munt? who predicts the birth of a son, and imparts to that end the Aparajita Vidya, marks the beginning of the suspense, and we do not expect that we shall meet with this same Vidyadhara Muni again, till bis identity is very skillfully revealed by the poet, towards the end of the story, by informing us that it was this same Maharsi who had imparted the Vidya to king Meghavahana, The advent of the Vaimanika god named Jvalanaprabha 5 is also very purposefully skillful, since it heralds bis impending descent to the human world by his gift of the Candratapa necklace to the king. The poet has here quietly introduced the necklace which is intended to be a reminder to Priyangusundari, when she is later on born as Tilakamanjari, of her love with Jvalanaprabba. Thus the future role of the necklace has been faintly indicated by the poet well in advance in a skillfully casual manner at the very outset of the story, But the suspense really gathers strength with the sudden appearance of he Vetala who introduces himself as ao attendance of the Goddess thri.? Who could ever expect that this same Mahodara would turn up again in the narrative to rescue Samaraketu and Malayasundari and actually inform

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N. M. Kansara us about it quite unexpectedly when he bappens to exchange words with the erring Gandharvaka ? The words of the Goddess Sri that the Candratapa necklace, and indirectly the Balaruna ring too, was to be presented to Prince Harivahana when he comes of age and that it should be always kept with him during the battles and calamitous situations, sound very innocent and natural till we come to know quite unexpectedly that this ring enabled the commander Vajrayudha to win the losing battlelo and to capture Samaraketu, the hero of the by-plot, to unite him with Prince Harivahana, the hero or the main plot. The ring and the necklace later on remind Malayasundari and Tilakamanajari respectively of their past births, 11 The sudden night-attack on Vajrayudha's forces: by Samaraketui 3 further enhances the suspense which is resolved oniy when we know that Vajta udha had asked, as a price of military peace, for the hand of Malavasundari who had mentally offered herself in marriage to Samaraketu, and the latter had no other choice but to help her father and win her over from him honourably,18 The poet has skillfully dropped an advance hint about it in the course of his description of the battle, 14 and it is only much later in the narratives that we come to koow about the connection of his deputation on military mission to Kanci with his love for Malaya. sundars and the consequent night-attack. ...' The enigmatic verses in the anonymous love-letter, found by Manji raka in the Manakokila warden, testifies to the conscious art of the poet who specitically reveals its significance through Harivahana's words that perhaps Samsarakelu was reminded of his past experiences, thus rousing the curiosity of the audience as to the tragic love-affair of Samaraketu and Malaya sundari.1 The interlude about Taraka, the sallor youth, and bis marriage with Priyadarsanx, gives an unexpected turn to the smoothly sailing narrative of Samarakeru's naval expedition and provides him a companion who is meant to enable him cross over the ocean;19 but in fact he becomes instrumental in almost drowning him, and consequently, his beloved too,20 by taking him, though at his own request, to the island where the prince falls in love with the unknown girl - Malayasundari -, and comes to grief. These fatal consequences are not at all clear till the poet unfolds the events at their proper places. The suspence about the sudden alluring music from the unfrequented island in the turbulent ocean conjures up an atmosphere of a fairy tale with its nymphs and spirits, but unexpectedly turns out to be the music of the Holy--Bath Ceremony at the temple of Lord Mahavira, 22 a most

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The Treatment of Suspense in Dhanapala's Tilakam anjari 37 unimaginable place for worldly affairs like youthful passion; but it is the holiness of this place that comes to the succuor of the damned lovers. 28 The poet's mastery at crcating suspense is very much evident when he brings the account of Samaraketu upto a point at which the latter sces the unknown girl (Malayasundari), and he abruptly drops the account by introducing the portrait of Tilakamanjiri. The consciousness of the literary artist in Dhanapala becomes quite transparent here as he slyly alludes to the response of the audience whose interest in the frame of the narrative has so far been well-sustained.24 The presentation of the portrait of a young girl, and through it the entry of Gandharvaka, has been skillfully utilized to introduce Tilakamanjari as a male-hater (purusa-d yesini), and inweave the episode regarding Gandharvadatta. The poet confounds the audience by throwing in a number of joint suggestions about probable causes of Tilakamanjari's aversion to males, 25 the reason being revealed at a very late stage in the narrative. 26 The suggestion that a human prince was the destined niatch for her27 faintly betrays the possibility of Harivahana's chance. The unspecified task 28 for wnich Gaudharvaka was directed to go to Vicitravirya at the Savela mountain has been disclosed later on when the aeroplane of Gandbarvaka is thrown away into the Adrstapara lake by enraged Mahodara,29 The insertion of the confirmation of the identity of Gandharvadatta rouses the curiosity which is but partially satisfied only when Malayasundari is interrogated by Vicitravirya 81 and the determination of this identity is very essential in bringing about the union of Samaraketu with Malayasundari, as it attracts the assistance of the superhuman agency in the form of Patralekha and Vicitravirya,32 Io the simple casual promise of Gandharvaka to Harivahana that he will return to Ayodhya and do a portrait of the prince, unless he is not held up on his way to Trikuta mountain, the poet shrewdly implants the seed of the incident of Mabodara's curse to Gandharvaka.The element of suspense begins to sprout when Gandharvaka does not return to Ayodliya.34 Likewise the casual polite promise containing the adjectives "sakalarthidrunasya" and "ista phaladayakam" by which Gandharvaka qualifies Harivahana and bis feet respectively,85 is very pregnant with dramatic irony suggestive of the panegyric verse about Harivahana sung by Gandharvaka, 80 who is later on rid of the cursed state of a parrot at the hands of the prince, 37 The expresa sion of the natural aspiration of Gandharvaka to draw a portrait of Harivahada so as to allay Tilakaman jari's aversion to males 88 is an advance suggestion about Harivahana's being her destined lover. Likewise, the usual customary remarks of Harivaha na to departing Gandharvaka that the latter should not forget the brief acquaintance89 is related to the task of carrying messages by the parrot. 40

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N. M, kansara "The hidden purpose of the letter of Samaraketu addressed to Malaya: sundari and handed over by Harivabapa to Gandharvakadl is disclosed wben Malayasundari suddenly finds it tied to her garment, and consequ. ently gives up the idea of cornnitting suicide again, Dhadap la betrays his consciousness as an artist when he seeks to enhance t be path of love of Harivahapa for Tilakamaujari, and almost challenges us to exercise our imagination as to the manner in which Harivahana can be spade to reach the remote region of the Vidyadhras. 43 By introducing the incident of the mad elephant to be pacified by the mugical powers of Harivahana, and the elephant suddenly flying and kidnapping the prince away, at the poet catches us by surprise and leaving us bewildered and gasping as to what will now happen to the prince, he quitely passes on to Samaraketu's search operation. The suspense intensites when the poet slyly drops in the news that the elephant was, of course, recovered but the whereabouts of the prince were untracable,40 This small detail skillfully introduced here is taken up later on to lay bare how Citrama a took the form of the prince's elephant 47 at the instance of Gandharvaka, who had promised to meet the prince again 40. The sudden arrival of Paritosa with a message from Kamalagupta adds to tbe effect of suspense especially when the former reports about the mysterious arrival of the message and equally surprising incident of carryIng away of the reply message by a parrot 50 It is noteworthy that the poet gives out the contents of the letter only after giving the full background, thus amplifying the suspense by the delaying tactics,61 This mystery is resolved only when Gandharvaka relates as to how he was transformed into # parrot and how he carried the messages,62 Tbe self-conciousness of the poet is evident in the remarks which indirectly draw our attention to the effect of the incident of the mysterious taking away of the message by a parrot) on the audience, at the same time, the solution of the riddle is wrested in the last alternative of the remarks.68 And the poet drives at kobe ingenuity as displayed in this wonderful parrot-episode.54 To beighten the suspense about the neighing of horses heard by Sama rakete, Dhanapala utilizes the former's curiosity and poses a number of alternative possibilities of gathering so many horses in a place bearby. "The poet's conscious art unfolds itself as he gives out the last alternative. 55 The conscious artist in the poet again peeps ip when Samaraketu. happens to see the Pralasti engraved in the Jaina temple at Mount Ekasmiga, and recapitulating the strange experience that he underwent and the strange places that he reached, proclaims the uniqueness of the situations so far, tbus indirectly directing our attention to their excellence in the story of the TM not only that he is also conscious about the plausibility of the delineation of various incidents.67

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The Treatment of Suspense in Dhanapala's Tilakmanjari 39 Dhanapala's conscious effort at enhancing the curiosity of the audience is most transparent when lie poses a series of questions relating to the plot and its progress. 5 And, when, through the reply of Gaodharvaka, he comments on the parrot-episode, one can easily gather that most probably these comments are aimed at the implausibility of the parrot-episode in Banas Kadambari in contrast to the one Dhanapala has himself utilised 50 The series of solutions and their points of implausibility are skillfully employed to augument the effect of suspense. The real cause is revealed when Gandbarvaka relates about his having incurred the curse from Mahodara.61 And the conscious plan in the plot is suggested when the poet indirectly consoles us that the rest of the incidents beginning with the departure of Gandharvaka to his meeting with Samaraketu at Mount Ekasnga will be narrated in due course. G2 The hint about the attempted suicide by the princess, now relaxing by the side of Harivahana creates curiosity which is doubled by the verse of the panegyric who allegorically reminds the prince about the delav being caused in entering the city of Ratha nupuracakravala.99 The lengthy description of the Vaitadhya mountain only serves to heighten the effect of already roused curiosity till the poet himself at last feels it is sufficiently aroused, 64 and proceeds to pick up the thread of the narrative from the point at which Harivahana was kidnapped by the flying elephant, and indi. cates the missing links in the story narrated so far. The leisurely unfolding of the story is in the manner of dangling a carrot in front of a donkey impelling it to go on and on. Likewise, the poet promises that the story to be unfolded henceforward is also full of pleasant surprises and expresses confidence as to his capacity to hold the joterest of the audience by his narrative skill.65 A faint indication of the solution of the mystery of the flying elephant is given in the reflections of Harivahana, and the element of destiny is put forth to rationalize the accident of the flying elephant carrying the prince particularly to the region of the Vaitadhya mountain.07 The suspense based on the unexpectedness of the situation is fully explioted by the poet for propounding the typical Jainistic ideas about the nature of the worldly happiness and this in its own turn also serves to heighten our curiosity. 68 The poet again betrays his consciousness as a narrator when he discloses the connection of the portrait of Tilakamanjari with his arrival at the Vaitadhya region which is recognized to be identical with the one seen by him in the portrait, 69 The induction of the long narrative preludero related by Malaysundari with the comment that it comprises a series of tragic incidents 71 is a common device aimed at fapning the curiosity of the audience and

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N. M. Kansara preparing them for a change as the poet seeks to give a turn to the narra. tive mood. The prediction by Vasurata about the marriage of Malayasundari12 creates the interest since it is not known as yet that she is to be the beloved of Samaraketu and going to fulfil the conditions. The narrative purpose of the prediction is partly given out in the course of the dialogue between Vicitravirya and Malayasundari, where it is connected with identity of Gandhrvadatta,73 40 Dhanapala has dexterously utilized the popular belief about the Vidyadharas that they kidnap human girls; and it is a potent means of creating suspense in as much as the poet has made full use of the technique of surprise by making Malayasundari who was sleeping in her palace bedchamber at Kanci, wake up quite unexpectedly, as though in a dream, in totally unexpected surroundings of a group of princesses gathered in a Jaina temple situated on the remote Island in the midst of the southern ocean.74 This incident of kidnapping of Malayasundari to Ratnakuta by the Vidyadharas has been cleverly made instrumental in bringing her there where she was to meet her lover, as was predicted by Jayantaswami, in her former birth as Prlyamvada. This whole incident keeps us guessing as to whether it is an illusion or a dream 7 It is partly resolved when Tapanavega is ordered by Vicitravirya to take Malayasundari back incognito to her palace,78 though not fully until we are assured by the poet later on that all this was neither an illusion, nor a dream, but a concrete reality.70 The poet's mastery in holding the credulity of the audience to his fingertips is witnessed in the dexterity with which he keeps up the element of suspense in the dialogue between Malayasundari and Vicitravirya,80 wherein problem of the indetity of Gandharvadatta is kept hanging 1 and, the audience almost forgets that the poet has already dropped the hint about its solution well in advance in the talk between Harivahana and Gandharvaka.92 In this dialogue, again, the poet has sown the seeds of further suspense when Malayasundari declares that her maternal grandfather was a 'hermit' (tapasa), thus giving an advance suggestion about the incident of Gandharva. datta's transportation to the Prasantavaira hermitage of Kulapati Santatapa;84 it has been hinted at also in the words of Gandharvadatta herself.85 The poet's skill lies in the fact that in spite of all these advance hints he could sustain the suspense successfully to the ultimate delight of, and consequent applause from, the audience. And see the poet's versatile art in slyly inserting the prediction by Muni Mahayasas about the union of Gandharvadatta with her kith and kin, which in turn proves to be the vital key to unlock the otherwise closed fate of the so far impossible union of Samaraketu and Malayaundar18", The poet is conscious enough to point out to some of the minor missing

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The Treatment of Suspense in Dhanapala's Tilakamanjari lioks in the story disclosed so far and to the solutions thereof, 88 and this in turn is meant to further enkindle the curiosity of the audience! And hardly would the audience remember that the mission entrusted by Vicitravirya to Citralekha to verify the identity of Gandhrvadtta, so has already been disclosed to them long back.90 The faint memories of Malayasundari slightly stirred at the sight of the temple of Mabavira at Ratnakutai serve as a sort of dramatic irony, referring as it does to the fact that this temple was actually built by her previous birth as Priyamvada.02 Similarly, the sight of the image of Maha. vita arouses her longings regarding some beloved seen in past and it serves as an advance suggestion about her being the beloved of Sumali during her former birth as Priyamvada.04 The poet's consiousness as a narrator again comes to the surface when he assures us, through the words of Taraka, that he has some plan ready * up his sleeves to bring about the union of Samaraketu with Malayasundary95 The poet is very much conscious, again, about the ingenious device of double-entendre based on meaning (artha-slesa) employed in the invocation apparently addressed to the boat but actually meant for Malayasundri,96 that he draws our attention to it four times,97 And as if not satisfied with this much, Dhanapala cleverly brings out the various good qualities that went into, and the purposes served by, the composition of the invocation.09 The dramatic irony is again utilized when Malayasundari somewhat sharply tells the son of the temple-priest that she would take to the principal jewel (also her beloved hero Samarketu) when the latter happens to come to Kanci.99 These same words have been repeated when Samaraketu relates his past experiences to Malayasundary.2.00 When Malayasundari swoons on finding that the princess accompanying her on the rampart of the temple at Ratoakuta bave suddenly disappeared, 102 the poet skillfully subordinates the incident of this disappearance to the effect of it on Malaysundari whose subconscious yearnings are thereby revealed. The audience does not know for certain whether Malayasundari was first made invisible to Samaraketu for a while,103 though even after that she was present there to witness the suicidal attempt of the love-lorn prince to drown himself, and she also followed suit there and then soon after 108 The poet seems to have deliberately kept certain facts uncleared in order to leave the audience guessing as is clear from the remarks of Malayasundar1.104 Future incidents are indicated by means of dramatic irony cuggesting the future marriage of Malayasundari with Samaraketu,105 and this serves to enhance our curiosity as to how the poet is going to manage this when he paade both these lovers drown themselves into the ocean.100 The poet Sambodhi 4.1

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N. M. Kansara consciously indicates his future plan by assuring us, through the words of Bandhusundari, that though drowned Samaraketu will be saved and he would set out in search of Malayasundari.107 The rationality of the poet is remarkably noteworthy when he brings the hopelessly desperate lovers, viz., Samaraketu and Malayasundary, verv near to each cther without their knowledge when the former has been passing his night alone in the temple of Cupid in the Kusumakara park at Kanci,209 while the latter reaches the door of the temple and bows down to the deity from outside lest somebody niight notice her as she is out to commit suicide 109 Dhanapala is highly conscious of his plot-construction in so far as he tries to carry his audience with him by recapitulating the past events as The narrative progresses from point to point. That is why he takes such an opportunity of summing up the incidents beginning with Malayasundari's transportation to the temple at Ratnakuta and ending with the end of her unconsciousness consequent to the strangling during her attempt at suicide by hanging herself.110 Again, Dhanapala draws our attention to certain missing links through the reflection of Malayasundari,111 to enhance the suspense and indicate the course of future events yet to be narrated. Simi. lary, the recapitulation by the poet about the events after Malayasundari's atternpt at hanging herself11e supplies the missing links in the narrative much in the manner of a veritable Viskambhaka in a Sanskrit drama. The use of identical situations in which the companion forcibly makes one of the lovers bow down to the other, as in the cases of Samaraketu 119 and Malayasundar 114 would naturally tickle the audience. So would a sort of a telepathic Instinct of both the lovers to commit suicide 115 create tragic interest in them. The recounting of past events through the answers of Samaraketu to the question of Malayasundari, has also been used by the poet to bring the narrative uptodate, though he further keeps up the interest by leaving the problem of Samaraketu's rescue from the ocean unsolved. The dramatic irony in the doubt expressed by Samaraketu as to his future unlon with Malayasundry is meant to keep the audience guessing about the future hurdles that might be coming in the path of their happy unlon, such as the transportation of Malayasundari to the hermitage of Kulapati santatapa and the night-attack by Samaraketu who is thereby captured alive by the forces of Vajrayudha. The link in the path of their marriage is provided when King Kusumasekhara comes to know how Prince Samaraketu rescued Malayasundari while she had thrown herself in the deadly noose and was being gradually strangled in her bid to commit suicide in the garden 116

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The Treatment of Suspense in Dhanapala's Tilakamanjari Dhanapala may not be taxing our credulity a little too much when, in his anxiety to summarize the past events and point out a doubt,117 he expects us to belive that the crew sailing down below could listen to the remarks of Malayasundari apparently addressed to the temple-priest boy. The poet certainly intends here to exploit the remarks fully for the purpose of drawing our attention to his ingenuity as to the clue provided well in advance to Samaraketu for tracing the whereabouts of the unknown beloved, viz., Malayasundari. The purposefulness of this recapitulation is highly transparent in the remark with reference to the letter from the father of Samaraketu,118 the contents whereof are connected with the incident of the siege of Kanei by Vajrayudha,110 It is now only that we gather the purpose of Vajaryudha episode, viz. to bring about the martial nature of Samaraketu and his love for Malayasundari for whose sake he mounted the night attack.220 The incident is recollected again in the form of news brought by a Brahmin at the Prasantavaira hermitage,121 43 The poet's minute care for gathering the threads of the narrative is evident when we notice how Gandharvadatta is made to know about her father Vicitravirya, the Vidyadhara emperor, through Bandhusundari when the latter reports to her how her daughter Malayasundari tried to commit suicide,122 Dhanapala's skill is again evident when he cuts short the narrative on linking the threads of it and also echoes the curiosity of the audience about the part of the narrative now left untold, 123 The element of suspense is again introduced when Malayasundari, who swooned on the sea-shore near the Prasantavaira hermitage, suddenly found herself in a wooden aeroplane floating in the waters of the Adrstapara lake situated thousands of miles away from the hermitage, 124 The suspense is resolved when we know how Mahodara had angrily thrown the aeroplane there when he cursed Gandharvaka.125 The event is intelligently exploited to recapitulate past events under the pretext of reflections of Malayasundari. 126 Scarcely do we remember that the letter, which Malayasundari accideutly found tied to the skirt of her garment,127 the one that was handed over to Gandharvaka by Prince Harivahana,129 The mystery as to how it came to be tied to the skirt of Malayasundary's garment is unvelled only when Gandharvaka relates about his curse,120 The suspense as to why Gandharvaka could not return 130 is resolved only when he discloses how while returning from the Suvela mountain he happened to see unconscious Malayasundari lying on the sea-shore, and how in a bid to search some medicinal herb to counter the effect of poisonous fruit she had eaten, he incurred the curse of Mahodara, and how the aeroplane, with Malayasundari lying unconscious in it, was thrown in

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V. M. Kansara the Adrstapara lake 131 The poet reminds the audience about this episode of Gandharvaka when Malayasundari happens to meet Patralekha. 132 The relation of Gandharvadatta with Citralekha and also with Patralekha is disclosed in when Citralekha introduces Malayasundari and summarizes the incident about the latter's transportation by the Vidyadbaras,134 And the poet wants us to note that the account of Malayasundari is ceaselessly fragis, 15mcant as it is to illustrate the inexorability of the Law of Karma 138 "The moral of the cpisode of the love-affair between Malayasundari and Samaraketu has been skillfully put forth in so many words in the form of philosophical reflections of Harivahana, 137 While the poet has indicated that the process of reaping the consequences of evil deeds by Malayasun. dat is now alinost over, 18 as a result of her worship at the Siddhayatana tecaple, and etc., we are still deliberately left in the dark as to what was that evil deed for which she was subjected to so much misery. It is later on disclosed in the form of Priyangusundari's anxiety for Priyarvada139 when the former entrusts the care of her temple to the Goddess Sri.110 The poet's conscious art is again to be witnessed when, while summarizing the events about Samaraketu, 141 he attempts at enhancing the suspepse by pointing out the incompatibility of the situation in view of the missing links.162 It is more evident when Dhanapala resumes the account of Harivabana by changing the focus from one scene to another in order to bring the account uptodate.148 A fresh clement of suspense, with a seed of its solution, is introduced wben Malayasundari regrets that not even a bird is at her disposal to carry a message, 44 and in response to that utterance of hers a parrut, speaking in human tongue, suddenly comes down from a nearby tree and carries the message away.145 The typically Jainistic rationality of Dhanapala is seen when he slyly makes his parrot say "Paksi-rupi nabhascaro'ham"146 in which expression the word 'nabhascara' is a double-meaning one as an adiective meaning the one soaring in the sky', and a substantive meaning a Vidyadhara'. The categorical remark of Harivabana as to the parrot's being m ebody else than a mere bird.147 is also meant to rouse our curiosity which is allayed later on in the account of Gandharvaka.148 The casual alliterative remark, viz., "Kamalaguptasya guptena bhutva satvaram ayam praparivo lekhah is ineant to justify the incidents previously narrated as to how Kamalagupta bad found the letter of Harivahana almost from nowbere, 150 The reason why Prince Harivahana first saw fresh footprints and not the ladies, 451 is revealed when he describes how they ran away as the Aving elephant crashed into the waters of the Adrstapara lake,152 The inci. dent of Harivahana's first meeting with Tilakamanjari in the creeper-bower is repeated briefly from the latter's point of view, 153 the former detailed

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The Treatment of Suspense in Dhana pala's Tilakamanjari 45 narration154 of it being from the prince's view point. The news about, and the narration of the cause of, love-sick condition of Tilakamanjari165 arouses our curiosity especially in view of her aversion for males. 150 The poet seizes an opportunity to summarize the events about Harivahana in the form of his reflections in response to the tragic tale of Malayasundari 157 Similarly, the consciousness of Dhanapala as an artist is fully revealed when he recounts, 168 of course in a quite different context, how Tilakamanjari did not show even the common courtesy of speaking to him when he first happened to meet her in the creeper-bower. A simple casual question from Mrgankalekha as to whether Harivahana could see the beauty of the city of Rathanupuracakravala, and his equally natural reply that it cannot be called 'seen' till he has the opportunity to see it leisurely and unobserved by anybody, 159 is really meant to introduce the magic mantle later on, which inducts further element of suspense as Gandharvaka is relieved of the curse of becoming a parrot and resumes his own Vidyadhara form. 160 It is resolved in Gandharvaka's narration about haviag incurred the curse ol Mahodara. Here, the return of Gandharvaka in the form of a parrot161 is introduced at a point when Hacivabana has only just arrived at Rathanupuracakravala. The message brought by Gandharvaka induces Harivahana to return to Ayodhya 112 and precipitates the rest of the events in the TM in a quick succession. The importance of the magic mantle is consciously stressed by the poet in that it is said to be invisible and to be felt by touch only; and other divine qualities of the mantle, such as its power to make one invisible, etc., are also listed, the last one, viz , to rid one of a curse, being skillfully put at the end of the list,163 We are rather amused when the poet expresses, through Harivahana, his satisfaction at the narrative purpose served by the magic mantle in the narrative, 164 and skillfully utilizes it to introduce the tragic account of Gandharvaka,166 as he now gathers the threads of the narrative. Dhanapala is very particular about minor details. Thus, he informs us that Gandharvaka had tied the message to the skirt of his upper garment166 before he set out for the Suvela mountain after meeting Harivahana at Ayodhya. The strategic importance of this detail is realized when we are told by Gandharvaka how he spread bis upper garment over unconscious body of Malayasundari, 187 since it is now only that we know how Malayasundari accidently found the message tied to the skirt of her garment, and that the seeming accident was after all no accident at all. The lamentation of Tarangalekha when Malayasundari ate the poison. ous fruit and swooned, 168 is skillfully utilized to attract the attention of Gandharvaka who was returning in an aeroplane from the Suvela mountain, 169

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N. M. Kansara Mahodara is again referred to as having assumed the form of a Velala 10 in order to remind the audience about the identity of Mahodara. the Yaksa attendant of the Goddess Sri, and the Vetala who tested the devotion of King Meghavahana. The missing links as to the rescue of Samaraketu ( along with Taraka ) and Malayasundari after they tried to drown themselves into the ocean, are supplied here by revealing that it was Mahodara who saved these desperate lovers and reached them to their respective places safely. 170 However, the little doubt lurks in our mind as to why Mahodara should have taken the trouble. This doubt is also removed when, in response to the request by Priyangusundari the Guddess Su entrusts the task of guarding both the Jaina temples, viz , the one built by Priyangusundari at Mount Ekastnga and the other by Priyam. vada at the Ratnakuta island, to the care of Maliodara,172 who therefore was naturally interested in averting the mishap in order to prevent the defilernent of the holy premises. The end of the curse of Mahodara to Gandharvaka is stipulated to be only by grace - or gift - of the Goddess Sri,173 It is noteworthy that the element of accident is not wholly irrational and is justified by Dhana pala as in the case of Gandharvaka, who, remembering that he was Vidyadhara 174 came down from the tree when Malayasundari invoked the help of a bird or a Vidyadhara to carry a message of Harivahana, who had asked him not to forget his acquaintance in times of need. It is here that the mystery of the parrot who carried the messages of Harivahana and of Kawalagupta is revealed, 176 The speech of Gandharvaka is skillfully utilized by the poet to recapitulte past events and show their interrelationship. 176 A couple of missing links are also indicated in order to maintain the interest: 177 though the solutions to these have been indirectly revealed long back.178 The skill of the poet is again witnessed when we find that the contents of the letter sent by Kamalagupta as a reply 179 are revealed only after Gandharvaka is rid of Mahodara's curse, and the message is further utilized for providing a reason for sending Harivahana back to Ayodhya in search of Samaraketu. 180 Malayasundari's doubt about the identity of Samaraketulet is meant to 'rouse our curiosity to be allayed later on when the identity of him with Sumali in his former birth 182 is disclosed. The casual reference to impending arrival of Harivahapa and his mastery of the mystic Vidyas 183 is intended to suggest the incidents to be Darrated shortly, viz., the propitiation of the mystic Vidyas by him, 154 The incident of the portrait of Tilakamanjari, 135 which was referred to in connection with the account of Gandharvaka, 1s6 is again adduced to with reference to the love lorn condition of Tilakamanjali, 187 , The Candratapa necklace and the Balaruna ring are reintroduced in the narrative at the proper juncture towards the close of the narrative in

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The Treatment of Suspense in Dhanapala's Tilakamanjari the most natural manner188 already suggested long back, 189 The recounting here of the events of the presentation of the necklace by Jyala naprabha serves to remind the audience about the original thread of the narrative and prepares them for final revelation of the identities of pairs of lovers of past birth. The presentation of the necklace and the ring to Tilakamanjali and Malayasundari respectively by Harivabapa is also justified by the poet in a very convincing manner, 190 The element of suspense is again introduced in the message from Tilakamano ri after she is reminded of Jvalanaprabha at the sight of the necklace, 191 and generates desperation in Harivahana,192 thereby preparing him for propitiation of the mystic Vidyas by rousing bis scnse of pity for Anangarati by referring to how the latter was rendered homeless by his cousins who usurped his kingdom.193 The process of unfolding is skillfully utilized to further add to it by boxing the account of Vikramabahu.194 Our curiosity is beightened by referring to some confirmation received by Virasena from the Munis on Astapada 195 The illusory aspect of the episode of Anangarati is also revealed in so many words.106 The sad news about Tilaka manjari and Malayasundari brought by Gandharvaka197 is but an attempt by the poet to wind up the story by supplying the remaining links of the story, while at the same time sustaining the interest right upto the end. It is but a projection of past events 108 utilized for bringing the parrative uptodate by shifting the focus by means of boxing technique. The suspense is completely resolved by the revelation of the riddle of past bicths by Malarsi,190 whose identity with the Vid\adhara Muni iniro. duced in the beginnig of the prose-romance290 is but slightly and carefully indicated. 201 The poet's skill at sustaining the interest in the narrative right upto the Last page of his novel is seen as we notice how he keeps the audience oscillating between bope and despair when just after the appcarance of some bad omens, 202 Sandipana brings the sad news about the attempted suicide by Harivahana and Tilakamanjari's desperate resolve to follow suit,203 The element of accident in the timely arrival of Prakarsa with a message from Cakrasena urging Tilakamanjari to postpone her recolve of committing suicide for six months 204 serves to enhance our curiosity, though the relevant events have already been described in detail only recently, 205 The conscious art of Dhanapala is again seen when he reminds the audience about the events right from the moment Tilakamianjari saw the necklace to the last day of six-monthly postponement of her resolve to commit suicide, and brings the suspense to a final end by using it as a means to rouse the memories of Harivabana about his past birth.206 The poet again points out to the past events beginning with the questions put

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N. M. Kansara by Samaraketu to Harivabana and ending with his meeting the latter sitting with Tilakamasjari, just before his ceremonial entrance into the Vidyadhara city called Gaganavallabha,207 Samaraketu's sorrow on listening to Harivahana's account 208 still leaves the audience curious. The curiosity is heightened when Malayasundari is introduced to Samaraketu as a beloved of two births (janma-dyayapranagini) 209 and Samaraketu refers to some injustice done by him 210 to her wirhout specifying what it was, also leaves us rather guessing till we remember how, as Sumali, he had fled to Nandisvarad vipa to flirt with Svayamprabha,211 leaving Priyamvada in the lurch 212 And lastly, the poet is quite a conscious artist when he poses the question about the possibility of Samaraketu being known to Vicitravirya and the fornier's being selected as a worthy match for Malayasundari inspite of the objections of the relatives, 213 and immediately proceeds to give solution, with reference to the predictions by Vasurata and Muni Mahayasas.214 Thus, Dhanapala has exhibited his complete mastery over the rare art of interweaving minute details of twin plots and their numerous motifs in a highly organized plot in which each detail is revealed gradually in such a skillful manner as to serve to enhance the suspense with reference to another, The treatment of suspense at the hands of Dhanapala has reached the dramatic level in his prose romance. Inspite of a couple of still unresolved loose ends in the plot 215 Dhanapala still remains unrivalled in the field of Sanskrit prose-romance in so far as the artistic skill of sustaining the narrative Interest through a highly dramatic and well-organized plot-construction is concerned. References Being a part of Chapter XIV of my thesis approved for the Ph. D. degree by the Maharaja Sayajirao University, Baroda, in 1972; I am thankful to the Dean of the Faculty of Arts for the kind permission to publish the thesis. 1. Kobald Knight, A Guide to Fiction Writing (2nd Edn.) London, 1947, pp. 43-45. 2. cf. Tilakamanjari-TM (N), p.3, Intro. vs. 18: Sat-katha-rasa-vandhyesu nibandhesu niyojitah ! Nicesviva bhavanty arthah prayo vairasya hetavah // also, cf, ibid., p. 7, vs. 50 d: sphutadbhuta-rasa racita katheyam | All references to the Tilakamanjari given here are to the page numbers of the Nirnaya Sagara Press (Second) Edition, Bombay, 1938, abbreviated as TM (N); the figures in the brackets refer to the line numbers. Although I have already compiled the Critical Edition of the Tilakamanjari on the basis of more than ten original Mss., it is still in press, and hence the references to the TM (N). 3. TM (N), pp. 22-33. 4. cf., ibid., p. 412 (14ff) mayaiva purva-kalam upadista-vidyaradhanasya tasyaiva saketa-narapater meghavahanasya, 5. cf., ibid., pp. 34-45,

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The Treatment of Suspense in Dherapala's Tilakamanjari 49 6. cf., ibid., p. 44 (150.) Durilsatta cvaisa inc svarga-cyntasya | Gshitay tu kadacin manusya-loke labdha-Janmanal pumar-anandayati cirstim istatama-arana in cainn + / Amara-lokacyula kala-kramena devy api me priyangusundari kadacid alokayati / Darsanibliyasajanita-parvajati-smslis ca stuarti &c. 7. cf., ibid., p. 49 (91f.) iyam amal-svamini srih / S. cl., ibid., pp. 381-383. 9. cf., ibid., p. 60 (17-23); 61 (15 ff.). 10. cf., ibla.. pp. 81-95. 11. cf., ibid., pp. 404-105. 12. cl., ibid., pp. 83-93. 13. cf., ibid., p. 326 (6-20). 14. cl., ibid., p. 95 (7ff.). 15. cf., ibid., p. 321 (15-23). 16. cf., p. 109 (13-14): Gurubhir adattan vodhum vaficha man akranuit vim acirena Sthatasi patra-padapa-gahane tatrantikastlagnili // 17. c., ibid, p. 113 (1410.) kaccin na muayi jalpilti jatim upala padayimah sya--vrttan tasya kasyacid akasmikari staran un / ; also ibill., p. 114 (311) Nijayaiva prajilaya niveditas te sakalo' pi samtinyentul-culik lil-villamtals/. 18. cli, ibid., pp. 126-130. 19. cf., ibid., p. 1230 (1411.). 20. cf., ibid., p. 292 (1ff.). 21. ct, ibid., p. 141 (12--21). 22. cf., ibid., pp. 268-269. 23. , ibill., p. 319 (1819.), 3412 (off.). 24. cf., ibid., p. 161 (1577.). Iti kata-mustikcipti-cetasi sva-vitaintam iivelayali sama raketalli niscala-paksmalckla: like hitit ival payiti tadiyut miklum abhimukha-ursi sabhya-loke slathikrti 'ntara-kathosv karnitats sakuliatiuni intar''ntara vist urita -harsa-kolahalenie pradhanat l'aja putri pacalitat Kirsi saprapricam karnayati sarasatain katha-pafijarasya banili vraule. 25. cf., ibid., p. 169 (1161.). 26. cf., ibid., 1). 410 (1917.). 27. cf., ibid., p. 169 (2011.). 28. cf., ibid., 1'. 170 (1611.). 29. cf., ibid., p. 341 (15ff.), 378 (1.3-14). 30. of., ibid. p. 170 (2016.). 31. cf., ibid., pp. 271-274. 32. cf., ibid., n. 3-12 (917.). 423 (9. 20). 33. cf., ibid., pp. 381-383. 31. 1., ibid., p. 179(2), Akstagatau ca tatra. / 35. cf., ibid., p. 171 (1517.) punarapi hasa vyam !!poliala-dayakanit Sakalarthin kalpadrumasya te carana-pravala yoga / 36. cf., ibid., p. 222 (171f.). 37. c., ibil., p. 376 (1771.). 38. cf., ibid., p. 171 (17ff.). 39. cf., ibil., p. 173 (12). 40. cf., ibid., p. 384 (9--10). 41. c., ill., p. 173 (4-3). 42. cl., ibid., pp. 338-339. 43. cf.. ibid., p. 176 (2011.): Kasya kraminyate tad le itinapayesu buddhib / Kas ya sahayakena setsyati taya saha samligama-praptili / 44. cf., ibicl., pp. 184-187. 45. cf., ibid., p. 187 (5ff.). 46. cf. ibid., p. 189 (1617.): Na kevalari gu t-drga o'pi dusjatma papa-karmabhir drsto sinablin / Kevala sa na 'sti sakal merlin cakra-caodramtili kumirah 4.7. cf., ibid., 387 (4ff.): Kumara, lurplatan idim / Na hi bhumigacara-arenuir anta. riksena sancarati / Na caparicatva fatit tencuiva vapka pungli svasthanam ayati Tan na so 'yam / Anyali ko'pi / 48. cf., ibid., p. 380 (21ff.): Avilambo daivat yogat sarjatas catub ksipram eva bhavatk parityakta-purusa-rupena ratlaniraczekravazuri kumare partivyah | Tatra hi gatent'nena mahati karyasiddhir asmikan l; 219 (5.7): 392 (911) Mayaiva gandharvakaprarthitena atta-dvirada-rupena lauliity-attiturvatagivali krupalarazil kumara. hariyahanam, /

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N. M. Kansara 50. cf., ibid., pp. 191-195. 51. c. ibid., 193 11-18). 52. cf., ibid., p. 384 (9-13). 58. l, ibid., p. 195 (2-7) Sainya-patir api jata-vismayah saha'ntikasthena parthiva tamnjena "e 'vant sukah, kits-arthan abhyarthana'nantaram eva taru-sikharad itah kptak avatirnah, kin nimittari ca lekho 'yani amuna ghita), kim va'vilambita-gatir wdricim eta disar asritya prasthital, kim paramarthatah suka evayam uta suka-Vya. jena kascid divvah iti krta'neka-vikalpah ! 4. Of, bid., p. 195 (13). Sarva jana-visnaya-karam suka-vyatikaram. / $5, of, ibid., n. 203 (12-18). ahosvid ambarit svayam eva 'vatirnah snatum sapta-sapti ratha-gandharva-sua vidyadharanam anyatamah katamo'pi kamaniyoddesadarsana kutuhali vitarati. St. cf., ibil, p. 220 1611.); Samprati hi diyate darsaniya-kathapam mudra / Kriyate tejasvi-wartastana nivstah, vitiryate ascarya-darsanasyoda kanjalih. / 57. or., ibid., p. 220 8.) Katharn nu nama'sya praninaiva kartsnyena karma-pari mate-vise gali jirayants, taynnana api kena prakarena varnyante, varnyamana api kaya yuktya parasya pratitivisayam aropyante / N. of., ibid., p. 223 22311.) $9. c. ibid., p. 234 (201): Auupajata-pratijnatartha-nirvabena yuktiyuktam apy ucyamanam kilyrarba, kiin punar asambhavyanianataya sibujanasya 'pi hasya-veddhi-hetur idrsam yac ca visada pratiltasam atidirgha-kalam anubhutam atmana 'pi na sakyate sraddharun / Tad vicara-catura--buddhch kathyamanam mahabhagasya katham iva pratiti-patham avatarisyati / 60. cf, ibid., p. 225 (147.); divyair apy a lakya-pratikaram vyasanam apanno fsmiti pra tyaksa-Viruddhain, &c. 61. cf., ibid., pp. 378-384. 62. c. ibid., p. 22; (151f.) pascad akhila-lokotpadita'scaryam asnad-vittantam aparam apy ayodhya-nirgamat prabhrti yat prstam tad api sarvam kramena jnatasi / 63. c. ibid. p. 232 (468.). 64. cfi, ibid. p. 241 17-21), Tad astam tavad asya sikharino darsana-vyavarnanani Tam eva 'vedaya yatha vsttam aditah prabhsti sarvam atmiyam vsttantam / EUR5. cf. ibid., p. 241 (2011.) Yuvaraja, kathayani yadi te kautukam / Avahito bhava Anava manja otvarihaneyam / Ayam eva blumna nirantara ''scarya-raso madiya vyttantah karisyany avadhanavantam 66. cibid., p. 243 (311.) 67. cf., ibid., p. 259 (1-4). 68. of, ibid., p. 24: (3-23). 69. cf., ibid., p. 250 (19ff.) 70. ch. ibid., pp. 259-3-5. 71. cf., ibid., p. 259 (11ff,), Kin nu sarvada sukhocitasya tena kincid aneka-duhkha -pararapara-virasena suena 'nena phalam / Atha kutuhalam tatah srunu 72. cf., ibid., p. 263 (5-10). 73. cf., ibid., p. 273 (3-10). 74. cl., ibid., pp. 264-265 . 75. cf, ibid., pp. 276-292 76. c. ibid. P. 407 (2211 ) 77. cf. ibid, p. 265 (13/1): "Kaccin maya svapno 'yam anubhuyate, vibhramo va' yam indriyanim indra -jalarn va kena 'py upadarsitam erat iti punah punas cintayanti 78. cl. ibid., P, 274 (2011.): Are tapanavega prapayainam pracchanna-rupam eya bija sadanam , 79. cf, ibid., p. 292 (1977.). Apaspta-svapna-darsana-banka ca tedavalokanena sakalamapi rutri vyttantara avitatham manyamana.. 1 80, cl., ibid., pp. 270-273.

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The Treatment of Suspense in Dhanapala's Tilakananjari 51 tas 81. cf., ibid., p 273 (22ff.) : Arya kim karomi / Etad api srutva ma me nisarga-durvi dagdham sraddadhati dagdha-hrdayam / 82. cf., ibid., p. 170 (20ff.) ya sa gandharyadatteti nama-samyad upajata-sandehena tatha-spta devena purvam asit, saiva devasya 'tmaja gandharvadatta yato, maya : gatva svayam dpsta ity avadharya karyo na devana tam prati sandehah/ . 83. cf., ibid., p. 271 (20ff.). Vatse, kas tasyah pita / Tata, tapasah kas cit 84. cf., ibid., pp. 342-343. 85. cf., ibid., 272 (14ff.) Bhagavan, akhila-bhuvana-vikhyata-vidyadhara-vamsa-sambhya : ham a punya-bhagini sisur eva nagara-viplave viyukta bandhubhih / 86. cf., ibid., p. 273 (1ff.). tat prasida punar adisa kada bhavisyati me samagamo ban dhubhih / Mahabhago, yada taveyam ayusmti duhita-ityadi kim apy avadit / 87, cf, ibid., p. 274 (5ff.). Yadi sa satyam eva vatsa gandharvadatta tatah asya eva: malayasundarya vivahasamayo mayavia prastutah sadhayita / 88. cf., ibid., p. 273 (15-19). 89. cf., ibid., p. 274 (3ff.) 90. See supra, ft, nt. 82. 91, cf., TM (N), p. 275 (5ff.). drstam iva pura, sevitam iva bhavantare, karitam iva' tmana, parimalitam iva sarvakalam avalokya prita-hrdaya prasadam 92. cf., ibid., p. 408 (9-12). 93. cf, ibid., p. 275 (17ff.) Arudha-gadhotkantha smarantiya purvasarisrstasya kasyacid abhista-janasya nirnimittodirna-inanyuvega" kampita--kuca-yuga. 1 94. cf., ibid., p., 407 (13--15). 95. cf., ibid., p. 281 (20ff.). Yatha samarthyam avasare 'sya yatuam ahameva cintayis yami / 96. cf., ibid., pp. 283-286. 97. cf., ibid., p. 286 (18ff.). Yeyam abhyarna aste ati-rupa-dhariny avanipala-nandani sa tvad-arthe mayettham abhyarthita /;287 (11) Nau-prasadana-nibhena pravartita bahulam / 296 (217.) Nau-stava-chadinana vidhaya tam tatha-vidha-prarthanam l: 320 (18ff.). Yat tada samudrodare nau-stava-chadmana tvadarthe krta-prarthanasya / 98. cf., ibid., p. 287 (3-16). 99. cf., ibid., p. 288 (20-23). 100. cf., ibid., p. 320 (20-23). . 101. cf.,ibid., p. 290 (1-9). 102. cf., ibid., p. 289 (17ff.); salaiva parijanena sa tava pranayini sya-saktya tirodhaya pasyata eva me nita kaiscid api mayavibhih / 103. cf.; ibid, pp. 290-292. 104. cf., ibid., p. 294 (11ff,): Aham tu jata-vismaya..., &c. 105. cf., ibid p. 295 (8ff.); Avitathadeso hi tatrabhavan aryavasurutali / Na tad-bhasito! 'rthah kadacid visamvadati ), &c. 106. cf., ibid, p. 292 (2-6). 107. cf., ibid., p. 296 (5ff). 108. cf., ibid., p. 324 (13--14). 109. cf., ibid., p. 305 (16-17). 110. cf., ibid., p. 310 (4-17). 111. cf., ibid., p. 312 (11--17). 112. cf., ibid., p. 314 (8-12). 113, cf, ibid., p. 286 (6ff.); ity udirya kandhara-nihita-panis tam me nspa-kumaram. caranayor apatayat / 114. cf., ibid,, p. 314 (16ff.); ity udirya kandhara-luthita--panih prathama-darsana--trapa i -vikuncita-smitardra-nayana -taraka tasya mami pranamam akarayat/ . .. 115. cf., ibid., p. 324 (10-14). 116. cf. ibid , p. 318 (21-22); pasa-ccheda-vihita' smat-prana-rakse simhalenra-sunau bandhu-buddhim abadhnat / 117. cf,, ibid., p. 321 (1-5). 118. cf. ibid., p. 321 (19ff ). 119. cf., ibid., p. 82ff,

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52 N. M. Kansara 120. cr, ibid., pp. 325-326, also 339 (5-8). arulva tyadbhutam asmad-aji-lalitam vaitalikebliyah prage Pritat kanci-naradhipat tava sakhim prapyadara-prarthitam Vodhasmiti manorathah ... &c. 121. cf, ibid., p. 331 (15-20). 122. cf., ibid., p. 327 (1-3). 123. cf., ibid., p. 332 (1-2), "Kim atah param srotavyam" iti cintayitva vadliirita-tad. Arabdha-varta-parisamaptih 124. cf., ibid., pp. 336-337. 125. cf., ibid., p. 383 (61.), ily udirya datta-humkarah sthanastha eva tad-vimana kathaficid utksipya duram adrstapare sarasi nyaksipat / 126. ef, ibid., p. 337 (19ff.)-338 (3). 127. cf., ibid., pp. 338-339. 128. cf., ibid., p. 173 (4-8). 129. cf., ibid., p. 384 (1-3). 130. ef., ibid , d. 170 170 (15Cf.), 79 (4). 131. cf,, ibid., pp. 378-383. 132 cf., ibid., p. 341 (Ziff ), kovalam idam na jane sa gandharyako varakah kam aya sthar praptah/ 133. cr, ibid., p. 312 (91.). priya niyadaya yathi sahodari gandharvadaita nama me svas yaviyasy asit &c. 134. cf., ibid., p. 343 (1981.). 135, cf, ibid., p. 345 (21) anavasanouvega-karina ciramtanena tasyah / 136. cf., ibid., 345 (221) Alo niravadhi-pracaro vidhih / Nasty agocarah pura-krta karmanam Asakya-pratikara kstanta-saktih | Avyahata gatih sarvatra bhavitayya. tayah 137. cf., ibid., p. 316 (1-18), the hj samsara-sadmani &c. 138. ch. ibid., p. 346 (19-20). Antam upagatah samprati pratikula-cari visamayah sa te visama-dasa-vipakali / Siddha sunya-siddhayatana-seva &c. 139. cf., ibid., p. 410 (1111.): Triyangusundari tyajata-pati-samagan:a 'pyanut panna vidveza sarvavid-vacasi kiicid-utpanna'ratir arati-bhagini bhavisyati bhavantare varaki stoka-kalam iti rulur muhuh priyamvadam socayanti | . 140. cf, ibid., pp. 409-410. 141, cf, ibid., p. 346 (23ff.) 142. cf., ibid., 347 (7-9). Kevalam "anasanna-defasthena katham ihasthitayas tena sama. gamo bhavi bhavatyah" ity elad eva' viditam aste 143. cl., ibid., p. 348 (4-10). Keralam idam ksinoti cetah &c. 144. cf., ibid., p. 348 (15ff). Kim tu vidhi-vasid avasaro' tra paksimatropi nikate na 'sti kascin nabhascaro yas tvadiyavsttantam avedayet / 145. cf., ibid., pp. 348-349. 146. cf., ibid., p. 348 (3). 147. cf., ibid., p. 348 (6ff.): Naisa paksi-matrah, visista-jatih kascid ayam / 148. cf., ibid., pp. 383-385. 149, cf., ibid., p. 349 (15ff.). 150 d. ibid. p. 194 (4-6). 151, cf., ibid., p. 245 (4-9). 152. cf., ibid., p. 354 (1-3). 153. cf., ibid., p. 354 (10-22) 154, cf, ibid., p. 250ff. 155. ef., ibid., pp. 352-35 156. cf., ibid.. p. 169 (8-16). 157. cf., ibid., p. 346 (8-16). 158. cf., ibid., p. 364 (3-7) 159. cf. ibid., p. 366 (19ff.): Migankalekha "kumara, drstam nagaram" iti madhuran apraksit 160, cf., ibid., p. 376., 161. cf., ibid., p. 374 (18ff.) 162. cf, ibid. p. 385 (12ff.). 163. cf., ibid., p. 376 (2-17). 164. cf. ibid. p. 377 (17ff.); tvat-prasadi-kstena divya-pataratnena punar asambhavita darsanam kuto *py aniya darsayata parama-bandhu-kalpam enam gandharvakam abhipreta rthato' dhikam jhatity eva me sampaditam abhilasitam

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The Treatment of Suspense in Dhana pala's Tilakamanjari 53 165, cf, ibid., pp. 378-384. 166. cl., ibid., p. 378 (15); uttariyaficala-nibaddha-niscalasa maraketu-lekhas ca &c. 167. cf., ibid., p. 380 (13ff.); pidhaya ca prathiyasa nija-pravarakena sarvangesu/ 168. cf, ibid., pp. 334-337. 169. cf., ibid., p. 378 (16ff.). 170. cf, ibid., p. 382 (4); avisksta-vetala-rupah 171. cf., ibid., p. 382 (11-17). 172. cf., ibid., p. 410 (9-11) Bliadra, tasya priyamvada karitasya' sya ca priyangusun. dari--prasadasya pratanur apy apasta-tandrena bhavata raksaniyah ksudra-1okopa dravah / 173. cf., ibid., p. 383 (5ff.); na cirad api praktanim prakstim asadayisyasi vina' smat svamini-prasadam / 174. cf., ibid., p. 385 (22): purva-jati-smstis tu tiryaktve 'pi me na' payata / 175. cf., ibid., p. 173 (1-2); 384 (9-10); p. 384 (9-12). 176. cf., ibid., p. 384 (2-16). 177, cf., ibid., p. 384 (14ff.); Kevalam "iyam bhartu-darika malayasundari patita matraiva tatra drstapara-sarasi katham apeta-visa-vikara sasijata, katliam ca nirni mittam eva 'lam purusarupam apannah' iti na janami / 178. cf., ibid, pp. 173 (1-2) 194-195, 337, 348-349. 179. cf., ibid., pp. 194-195. 180. cf., ibid., p. 384 (20ff.)-385 (20). 181, cf., ibid., p. 385 (6-9). 182. cf., ibid., pp. 412-413. 183. cf., ibid., p. 390 (22) sampraty upeyupo nirava sesa-vidya-para-darsinah kumara harivabanasya / 184. cf., ibid., pp. 398-401, 185. cf., ibid., pp. 161-173. 186. cf., ibid., p. 378 (1-3): "Tvam api drsta nirvighna--nihiteksanena dirgha-kalam asya paramopakarinah prasadena" ity udirya purva-vittam citrapaca-vslantam avedayam/ 187. cf., ibid., p. 391 (10-13). 188. cf., ibid, p. 395 (8-10), 189, cf., ibid., p. 60 (13--23). 190, cf., ibid., p. 395 (21)-396 (4). 191. cf., ibid., p. 396 (1918.), 192. cf., ibid., p. 397 (1-14). 193. cf., ibid., p. 398 (1918.). 194. cf., ibid., pp. 401-402. 195. cf., ibid., p: 402 (1-3). 196, cf., ibid. p. 402 (7); prayukta-vidya-pradarsi tam paraspara'nurakta-dampati marana-cestitam / 197. cf., ibid., pp. 404-418. 198. cf., ibid., p. 404 (19ff.). 199. cf., ibid., pp. 406-413. 200. cf., ibid., pp. 23-25. 201. See supra, ft, nt, 4. 202. cf., TM (N), p. 413 (19ff.). 203. cf., ibid., pp. 415-416. 204, cf., ibid., p. 417. 205. cf., ibid., pp. 398-402. 206. cf, ibid., p. 418 (18ff.); iti nivedayati hara-darsanat prabhiti purva-vsttam tilakamanjari-vrttantam agrato vinaya-kharve gandharyake sahasaiva purva-janma nubhutam sarvam api giovana-sadanavasa-sukham asmaram, 207, cf, ibid., p. 420 (8-10); iti nivedya vidyadhara-girau kutuhala-ksta-praenasya paliaratah prabhrti purva-vsttatmiyavsttantam 208. cf, p. 420 (10-15) 209. cf., ibid., p. 421 (15ff.). 210. cf., ibid., p 421 (21ff.); Aham tu keta-vipriyah priya rvada-bhavatah prabhrti tasyas trapaya na saknomi viksitum vadanam. 1 211. cf., ibid., pp. 40-41.

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N. M. Kansara 212 cf. ibid., p, 407 (14ff.); Purvam eva dvipan tara-vihara-nirgatena preyasa viprayuktaya bharty-suhrdah sumali-namno hrdaya-bhutaya priyamvada' bhidhanaya pradhana-devya / 213. cf, ibid., pp. 14-20. 214. cf., ibid., p. 263 (2-10); 273 (3-19). 215. Kansara, N. M., Tilakamanjari-sara of Pallipala Dhanapala, Ahmedabad, 1969, Intro. p., 25. 54 u

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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 Ahmedabad 2. Periodicity of its Publication Quarterly 3. Priater's Name 1. Swami Shri Tribhuvandasji Nationality Shastry, Indian Address Shri Ramanand Printing Press, Kankaria road, Ahmedabad-22. 2. K. B. Bhavasar Swaminarayana Mudrana Mandir, 46 Bhavsar Society, Nava Vadaj, Ahmedabad -13. 4. Publisher's Namo Dalsukhbhai Malvania Nationality Indian Address L, D, Institute of Indology Ahmedabad-9. 5. Editors' Names 1. Dalsukh Malvania 2. Dr. H. C. Bhayani 1. L. D. Institute of Indology, Ahmedabad-9. 2. School of Lauguages, Gujarat University, Ahmedabad-9. 6. Names and addresses of Individuals L. D. Institute of Indology, who own the Newspaper and partners Ahmedabad-9. or shareholders holding more than one-percent of the total capital. I, Dalsukh Malvania, hereby declare that the particulars given above are true to the best of my knowledge and belief. Dalsukh Malvania Signature of Publisher

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mokSadharmaprakaraNa kI dArzanika carcA kRSNakumAra dIkSita mahAbhArata ke zAntiparvagata katipaya adhyAyoM kI rAzi ko 'mokSadharma prakaraNa' ke nAma se jAnA jAtA hai / ina adhyAyoM ne zAntiparva kA antima prAyaH do tihAI bhAga gherA hai (gItA presa ke saMskaraNa meM ina adhyAyoM kI krama saMkhyA hai 174 se 365 taka, pUjA - saMskaraNa meM 168 se 353 taka) unakI viSaya vastu kA sambandha tIna prakAra kI carcAoM se hai| ( 1 ) tatvajJAna viSayaka carcAeM (2) yogAbhyAsa viSayaka carcAeM (3) mokSamArgabhUta AcAra viSayaka carcAeM PN ye tInoM prakAra kI carcAe~ eka dUsare se isa prakAra guMthI huI haiM ki unheM eka dUsare se pRthak karanA thoDA kaThina hai / yaha isalie ki graMthakAra kI dRSTi meM ye tInoM prakAra kI carcAeM eka dUsare se avibhAjya rUpa se jur3I huI haiM / lekina darzanazAstra ke vidyArthiyoM ko prastuta prakaraNa kI tattvajJAna viSayaka carcAoM para hI apanA dhyAna kendrita karanA hogA kyoMki inhIM carcAoM kA sIdhA saMbandha unake apane adhyayana viSaya se hai / ye carcAeM zailI tathA viSayavastu donoM kI dRSTi se kucha aisI vizeSatAoM se sampanna haiM jo bhAratIya darzana ke itihAsa para mahatva kA prakAza DAlatI haiM aura hameM ina vizeSatAoM kA lekhA lenA hai / mahAbhArata kI racanA eka aise pAThaka ko dhyAna meM rakhakara huI hai jo brAhmaNa - paramparA kA anuyAyI hai tathA sAmAnyataH zikSita hai / yahI kAraNa hai ki isakI prAyaH carcAeM eka aise pAThaka ko aprabhAvita chor3a detI haiM jo yA to kisI abrAhmaNa paraMparA kA anuyAyI hai yA apane adhyayana viSaya meM vizeSa zikSita hai / yahI bAta hamAre prastuta prakaraNa kI tattvajJAna viSayaka carcAoM para bhI lAgU hotI hai / niHsaMdeha yahAM tattvajJAna se sambandhita praznoM para UhApoha kiyA gayA hai lekina vaha UhApoha tattvajJAna ke vizeSa abhyAsiyoM ko chichalA pratIta hogA, aura yahAM brAhmaNa paramparA kI katipaya dhArmika AsthAoM ko isa prakAra svIkAra karake calA gayA hai ki ve anya dhArmika paramparAoM ke anuyAyiyoM kA grantha meM praveza hI asaMbhava banA deMgI / inake bAvajUda ina carcAoM kA mahattva bhAratIya darzana ke eka viziSTa tathA brAhmaNetara abhyAsI ke nikaTa bhI kama nahIM / bAta yaha hai ki ye carcAeM usa yuga meM huI carcAeM haiM jisa yuga meM racita viziSTa dArzanika sAhitya arthAt brAhmaNa paramparA kA viziSTa dArzanika sAhitya Aja hameM upalabdha nahIM / isa yuga ke pUrvottarakAla para dRSTi DAlane para yaha to kahA

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kRSNa kumAra dIkSita A sakatA hai ki isI yuga meM prAcIna upaniSadoM ke UhApohoM se una UhApoho ko dizA meM saMkramaNa huA thA jinheM hama IzvarakRSNa kI sAMkhyakArikA meM granthabaddha pAte hai lekina isa saMkramaNa kI prakriyA para prakAza DAlane vAlI sAhityanAza yA to navIna upaniSad haiM yA hamArA mokSadharmaprakaraNa, apekSAkRta prAcIna kAla ke lie navIna upaniSad apekSAkRta arvAcIna kAla ke lie mokSadharmaprakaraNa / navIna upaniSadoM tathA mokSadharmaprakaraNa donoM meM hama sAMkhyadarzana kI zabdAvalI ke mAdhyama se brahmavAda tathA IzvaravAda kA saMmizraNa pallavita hotA huA pAte haiMnavAna upaniSadoM meM IzvaravAda kA puTa lie hue brahAvAda, mokSadharmaprakaraNa meM brAhmavAda kA puTa lie hue IzvaravAda / aba sAMkhya darzana kA jo rUpa hama Izvara kRSNa ko mAMkhyakArikA meM pAte haiM usakA brahmavAda-IzvaravAda se koI sambandha nahIM (tathA IzvaravAda kA to usameM sodhe sIdhe khaMDana hai) aura prazna uThatA hai ki kina paristhitiyoM meM navIna upaniSadoM tathA mokSadharmaprakaraNa ke racayitAoM ke lie usa sAMkhya darzana se sAmagrI grahaNa karanA saMbhava banA hogA jisakA carama pariNata rUpa IzvarakRSNa kI sAMkhyakArikA hai| navIna upaniSadoM meM sAMkhya darzana ko zabdAvalI kA upayoga hai lekina svayaM sAMkhya darzana ke sambandha meM vahAM mauna dhAraNa kiyA gayA hai / isake viparIta mokSadharma prakaraNa meM mAMkhya darzana kI zabdAvalI kA hI upayoga nahIM vahAM svayaM mAMkhya-darzana ke sambandha meM sthAna sthAna para udgAra prakaTa kie gae haiN| vastutaH mokSadharmaprakaraNa meM 'sAMkhya' zabda kA (tathA 'adhyAtma'zabda kA) prayoga tatvajJAna-sAmAnya ke artha meM huA hai, aura jaba anekoM bAra sAMsya tathA yoga ke bIca bhedapradarzana kiyA gayA hai taba Azaya yahI phalita hotA hai ki kinhIM saiddhAntika tarkaNAvizeSoM kI sahAyatA se tattvajJAna prApta karanA 'sAMkhya hai tathA kinhIM vyAvahArika-prakriyA-vizeSoM kI sahAyatA se labasAkSAtkAra karanA 'yoga' hai| lekina prazna uThatA hai ki yadi 'sAMkhya' zabda tatvajJAna sAmAnya kA dyotaka hai to vaha kisI tattvajJAna-vizeSa kA dyotaka kaise ho sakatA hai / prazna sacamuca jaTila hai aura usakA samAdhAna pAne ke lie hameM nabIna upaniSadoM tathA mokSadharmaprakaraNa ke yuga kI sAmAnya paristhitiyoM para dRSTipAta karanA hogaa| prAcIna upaniSadoM ke yuga kA anta Ate Ate yAjJavalkya ne isa siddhAnta ko avatAraNA kara dI thI ki prANi-zarIra kA saMcAlaka bhUta tattva 'AtmA' tathA bAhya jar3a -jagat saMcAlaka bhUta tattva 'brahma' kathaMcit paraspara eka rUpa haiM

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mokSadharmaprakaraNa kI dArzanika carcA aura isI siddhAnta ko 'brahmAtmaikyavAda' kA nAma diyA jAtA hai / yAjJavalkya ke anuyAyI navIna upaniSadoM ke racayitAoM ke sAmane samasyA thI yAjJavalkya ke isa siddhAnta ko takeMpurassara vyavasthita karane kI / isa saMbaMdha meM saba se bar3A prazna yaha thA ki punarjanmacakra meM phaMse AtmA ko punarjanma cakrAtIta brahma se ekarUpa kisa artha meM mAnA jaae| jahAM taka zarIra se pRthak AtmA kA astitva siddha karane kI bAta thI vaha to anyathA bhI saMbhava thI lekina isa prakAra jisa AtmA kA astitva siddha kiyA gayA ho use bAhya jar3a-jagata kA saMcAlaka bhI mAnanA sarala na thA / anumAna kiyA jA sakatA hai ki sAMkhya dArzanikoM ne zarIra se pRthak AtmA kA astitva tarkapurassara siddha karane kA kAma hI apane hAtha meM liyA thA aura isa prasaMga meM unhoMne katipaya sunizcita mAnyatAeM sthApita kI yaha batalAte hue ki zarIra ke ghaTaka rUpa tattva kauna kauna se haiM tathA AtmA kA ThIka svarUpa kyA hai / isa nAte sAMkhya dArzanika brAhmaNa-paramparA ke prathama vyavasthita dArzanika siddha hue jinake niSkarSoM kA upayoga apane apane samaya meM tathA apane apane uddezya se navIna upaniSadoM tathA mokSadharmaprakaraNa ke racayitAoM ne kiyA / kahane kA Azaya yaha hai ki bAhya jar3a-jagat , zarIra tathA AtmA ke svarUpa ke saMbandha meM jina mAnyatAoM ko sAMkhya dArzanikoM ne darzanavizeSajJoM kI haisiyata se pallavita kiyA unheM hI prAyaH jyoM ko tyoM le liyA navIna upaniSadoM ke racayitAoM ne apane IzvaravAdasaMvalita brahmavAda ke samarthanArtha tathA mokSadharmaprakaraNa ke racayitAoM ne apane brahmavAdasaMvalita IzvaravAda ke samarthanArtha / sAMkhya dArzanikoM kI mUla mAnyatAeM kyA rahI hoMgI isa sambandha meM navIna upaniSad apekSAkRta kama prakAza DAlate haiM lekina mokSadharmaprakaraNa isa sambandha meM bhArI sahAyaka siddha hotA hai / hAM, eka bAta prAyaH sunizcita haiM aura vaha yaha ki ina mAnyatAoM meM 'brahma' athavA 'Izvara' kI koI bhUmikA ,na rahI hogI / jo bhI ho, navIna upaniSadoM tathA mokSadharmaprakaraNa kI dArzanika mAnyatAoM ko sabase adhika aspaSTatA brahma tathA Izvara se sambadhita praznoM ko lekara hI hai; navIna upaniSadoM kI dArzanika mAnyatAoM kA parIkSaNa isa samaya prasaMgopAtta nahIM, lekina mokSadharmaprakaraNa kI dArzanika mAnyatAoM ke sambandha meM kucha kaha diyA jaae| mokSadharmaprakaraNa kI maulika dArzanika mAnyatA ko hamane 'brahmavAdasaMvalita IzvaravAda' nAma diyA hai / isa zabdAvalI kA ThIka artha samajhanA Ava

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kRSNakumAra dIkSita zyaka hai| brahma kA kancanA kA prathama avatAraNA prAcIna upaniSadoM meM huI thI aura amlatA gayA siddhAnta yaha nizcita huA ki brAhma bAhya jar3a-jagat kA saMcAlaka isI prakAra hai jise AtmA prANi-zarIra kaa| lekina yaha to rahI zAnta kI bAta, siddhAnta kadAcit yaha rahA ki brahma eka cena tattva hai usI prakAra se AtmA ka cetana tattva hai| aba prazna uThatA hai ki jisa prakAra mAtmA dvArA saMcAdila zarIra AtmA se svataMtra astitva rakhatA hai kyA uso prakAra brahma dvArA saMcAlita bAla jar3a jagat banna se svataMtra astitva rakhatA hai / jaba muMDakAryAnapada ( 1.1.7) meM kahA gayA ki brahma se jagat utpatti usI bhAtikA ja r3A se jAle kI, pRthvI se jar3iyoM kI, zarIra se keza loma ko taba to mA pratIta huA ki mAya jar3a jagat brahA se pRthaka svataMtra astitva nahI nA. loka / jaba vetAzvatara ( 1.4) meM kahA gayA ki prakRti mAyA rUpa hai tathA brata mAyA racane vAlA to aisA pratIta huA ki bAhya jar3a jagat kA nAma se sudhaka svataMtra astitva hai / yaha saca hai ki navIna upaniSadoM kI prastuta dAnI mAnyatA prApta buMdhalI haiM lekina yahA~ dikhAI jA raho kaThinAI kadAcit ina mAnyatAoM kI vAstavika kaThinAI hai| mokSadharmaprakaraNa meM bhI kaThinAI kA svarUpa natvata: yahA hai lekina vahAM carcA atyanta vistRta hone ke kAraNa granthakAroM kA mUla Azaya utanA bundhalA nhiiN| mokSadharmaprakaraNa meM sRSTi-pralaya kA varNana aneka bAra huA hai aura ina varNanoM meM mArake ke paraspara bheda taka haiM lekina mahatva kI bAta hai ki ina varNanoM kI maulika mAnyatAoM ko samajha lenA / yahAM yaha mAnakara calA gayA hai ki kAla cakra ko moTe taura se brAhma-dina tathA brAhmamAtri meM bATA nA sakatA hai-jahAM brAhma-dina kA prAraMbha sRSTi se tathA zrAma gA~va kA prAraMbha pralaya se hotA hai / isa sambandha meM 'brAhma' kA artha 'brAhma' sambandhoM karanA vizeSa ucita rahegA ('brahmA sambaMdhI' karanA nahIM) kyoMki yahA~ dina kA prArambha brahma ke jAgane se tathA rAtrikA prAraMbha brahma ke sone se hotA hai| aura isa prakAra sone jAganevAle brahma ko nArAyaNa nAma bhI diyA gayA hai / lekina kalpanA yaha hai ki brahma athavA nArAyaNa sRSTi-zaMkhalA kI pahalI kar3I bhUta tattva ko janma dekara nivRtta ho jAtA hai / yaha pahalI kar3I bhUta tatva apAlI kar3A bhUta tatva ko janma detA hai aura isI prakAra calate calate sampUrNa zavalA taiyAra ho jAto hai / isa zaMkhalA meM bAhya jar3a jagata ke ghaTakoM kA bhI mAvA hai tathA prANi-zarIroM ke ghaTakoM kA bhI (jahAM zarIra-ghaTakoM meM

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mokSadharmaprakaraNa kI dArzanika carcA sAmAnyataH bhautika samajhe gae tattvoM ke atirikta mana, ahaMkAra buddhi bhI samAviSTa haiM) / aba prazna hai ki prastuta zarIra-ghaTakoM se bananevAle zarIroM kA saMcAlana karane ke lie 'AtmA' kahAM se AegA / zarIra se pRthak AtmA kA astitva siddha karane ke lie yuktiyAM mokSadharmaprakaraNa meM cAra bAra dI gaI haiM, ataH yaha to kahA hI nahIM jA sakatA hai ki zarIra kA saMcAlana karane ke lie kisI AtmA kI AvazyakatA nahIM / lekina yaha bAta dhyAna dene yogya avazya hai ki prAyaH kahIM bhI isa Azaya kA koI ullekha nahIM ki pralayakAla meM AtmAoM kA kyA hotA hai / kahA jA sakatA hai ki pralayakAla meM AtmAeM brahma meM lIna ho jAtI haiM tathA sRSTikAla meM brahma meM se AvirbhUta ho jAtI haiN| lekina yaha eka mahattvapUrNa mAnyatA huI aura isakA sRSTi-pralaya ke prasaMga meM kahIM bhI ullikhita na honA mArake kI bAta hai| lagatA aisA hai ki AtmAeM brahma se pRthak koI tattva haiM yaha kahane meM mokSadharmaprakaraNa-racayitAoM ko svAbhAvika hi caka hai; isake viparIta AtmA ko 'brahma' kahanA unheM rucikara lagatA hai / lekina spaSTa hI jaba prasaMga AtmA ke punajanma-cakra meM phaMsane kA ho taba AtmA ko brahma kahanA kaThinAI upasthita karegA; itanA hI nahIM, mokSadharmaprakaraNa ke AtmA saMbaMdhI adhikAMza sthaloM meM sAdhAraNa saMsArI AtmA kI hI bAta haiM aura vahAM sarvatra AtmA ko brahma kahanA kaThinAI upasthita karegA / ataH. mokSadharmaprakaraNa meM pAThaka ke mana para eka ora to yaha chApa paDatI hai ki AtmA brahma hai aura dUsarI ora ulaTe yaha chApa ki AtmA kA varNana brahma kA varNana nhiiN| adhyAya 308 (pUnA 296) meM zabdazaH prakRti ko 24 vAM tattva, AtmA ko 25 vA tattva tathA paramAtmA ko 26 vAM tattva kahA gayA hai lekina vahAM bhI bAta isa prakAra kI gaI hai jaise mAnoM 25 vAM tattva jaba apane ko 24 veM tattva se bhinna samajha letA hai taba vaha 26 veM tattva se eka rUpa ho jAtA hai / ataH niSkarSa nikAlanA hI par3egA ki mokSadharmaprakaraNa meM prayatna ho rahA hai prAcIna upaniSadoM ke brahmAtmaikya ke siddhAnta kI saMgati Atma-bahutva tathA Atma-saMsAritva ke siddhAnta ke sAtha baiThAne kA / lekina ina do siddhAntoM ke bIca saMgati baiThAne kA kAma sarala nahIM / kama se kama mokSadharmaprakaraNa kI etad sambandhI carcAeM to mana para yahI chApa choDatI hai| yaha saca hai ki Atma-bahutva tathA Atma-saMsAritva kA siddhAnta sAMkhyakArikA meM apane jisa rUpa meM upasthita hai vaha bho kama kaThinAIyoM se bharA nahIM lekina ve kaThinAIyAM mokSadharmaprakaraNa meM aneka gunI ho gaI hai; aura yahI anumAna

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kRSNa kumAra dIkSita karanA kadAcit cita rahegA ki isa prazna para mUla sAMkhya dArzanikoM kA maTa mokSadharmaprakaraNa ke mata se nahIM sAMkhyakArikA ke mata se tattvataH abhinna thA / vastutaH brahmAtmai kyavAda ke viruddha Atma-bahutva ke siddhAnta kI sthApanA mUla mAMkhana dArzanikoM kI eka mArake kI upalabdhi rahI hogI / dhyAna dene kI bAta hai ki jaba uttara kAlI nyAyavaizeSika dArzanikoMne sAMkhya nirIzvaravAda kA khaNDana karake IzvaravAda kI sthApanA ko taba ve brahmAtmaikyavAda ke siddhAnta kI ora vAyA na lauTe balki unhoMne spaSTa kahA ki Izvara zeSa AtmAoM se pRthakmRta eka AtmA hai / spaSTa hI nyAya-vaizeSika IzvaravAda ko bhI apanI kaThinAIyAM haiM kina ye kaThinAIyAM mokSadharmaprakaraNa meM aneka gunI ho gaI haiN| eka apekSAkRta kama mahatva kA prazna uThatA hai 24 jar3a tatvoM kI pariMgaNanA ke prasaMga meM / mokSa maprakaraNa meM sarvatra 24 jar3a tattvoM meM se 8 ko prakRti tathA 16 ko vikRti kahA gayA hai; ekAdha sthala para 8 prakRtiyoM meM se pahalI ko 'avyakta' tathA zeSa ko 'vyakta' bhI kahA gayA hai| sAMkhyakArikA meM bhI 24 jaDa natvoM kA kucha isI prakAra 1, 7 tathA 16 ke bIca vibhAjana hai lekina vastutaH ina do vibhAjanoM ke bIca mArake ke bheda haiN| mokSadharmaprakaraNa meM 8 prakRtiyAM (jinameM se pahalo avyakta tathA zeSa sAta vyakta haiM) haiM1-prakRti 3-ahaMkAra 2-mahata athavA buddhi 4-8 paMca mahAbhUta, aura vahAM kI 16 vikRtiyAM haiM : 1-5 rUpa, rasa, gaMdha, sparza, zabda, 11-15 pAMca karmendriya 6-10 pAMca jJAnendriya 16 mana isake viparIta sAMkhyakArikA meM 'avikRti-prakRti' hai eka mUlaprakRti, 'prakRti-vikRti' haiM nimnalikhita 7:1 mahat athavA buddhi, 3-7 paMca tanmAtra; 2 ahaGkAra aura vahA~ vikRtiyAM haiM nimnalikhi 16 : 1--5 pAMca jJAnendriya 11- mana 6-10 pAMca karmendriya 12-16 pAMca mahAbhUta ina do vibhAjanoM ke bIca samAnatAe~ spaSTa hai lekina bheda bhI kama spaSTa nahIM / aba yaha kaThinAI to ina donoM vibhAjaloM meM samAna hai ki buddhi, ahakAra tathA mana ko jar3a tattva kaise samajhA jAe lekina yadi isa kaThinAI kI upekSA kara

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mokSadharmaprakaraNa kI dArzanika carcA dI jAe to mokSadharmaprakaraNa kA vibhAjana sIdhA aura samajha meM Ane vAlA hai, sAMkhyakArikA kA vibhAjana jaTila aura durUha / kyoMki mokSadharmaprakaraNa meM kahA jA rahA hai ki kaise AkAza, vAyu, teja, jala, pRthvI ina pAMca mahAbhUtoM se zabda, sparza, rUpa, rasa gaMdha ina pAMca mUla bhautika guNoM kI utpatti hotI hai jabaki sAMkhyakArikA meM kahA jA rahA ki kaise zabda, sparza, rUpa, rasa, gaMdha, ina pAMca tanmAtroM se AkAza, vAyu, teja, jala, pRthvI, ina pAMca mahAbhUtoM kI utpatti hotI hai aura spaSTa hI inameM se pahalA kathana dUsare kI apekSA kahIM adhika samajhadArI hai / vastutaH sAMkhyakArikA kA zabda-tanmAtra Adi se ThIka Azaya kyA hai yaha samajhanA sarala nahIM / prazna uThatA hai ki yadi sAMkhyakArikA jaisA jar3a tattvoM kA vibhAjana mUla sAMkhya-dArzanikoM ko bhI abhISTa rahA ho to mokSadharmaprakaraNa meM usakI sarvathA upekSA kyoM aura usake sthAna para eka aisA vibhAjana svIkAra kyoM jo usase aMzataH sadRza tathA aMzataH bhinna hai| yaha saca hai ki mokSadharmaprakaraNa meM sAMkhya darzana kI anekoM mAnyatAoM kA ullesta bhrAnti bharA hai jise yaha kahakara nahIM TAlA jA sakatA ki sAMkhyadarzana ne ina mAnyatAoM ko vibhinna kAloM meM vibhinna rUpoM meM svIkAra kiyA hogA / aura AtmA ke prazna para to hama dekha hI cuke hai ki mokSadharmaprakaraNa kI etad sambandhI mAnyatA mUla sAMkhya darzana kI etad sambandhI mAnyatA se tattvataH bhinna hai (yahAM bhI kaThinAI ko yaha kahakara nahIM TAlA jA sakatA ki mUla sAMkhya dArzanikoM kA mata mokSadharmaprakaraNa ke mata se tattvataH abhinna rahA hogA lekina jaGa-tattvoM ke vibhAjana ke saMbandha meM sacamuca yahI lagatA hai ki sAMkhyakArikA meM kisI uttarakAlIna paramparA ne sthAna pAyA hai jo kinhIM aise dhuMdhale kAraNoM se svIkAra kI gaI thI jinakA anumAna lagAnA hamAre lie Aja saMbhava nahIM / anta meM mokSadharmaprakaraNa ke dArzanika carcAvAle sthaloM meM vizeSa dhyAna dene yogya ve haiM jinameM zarIra ke bhItara calane vAlI prakriyAoM kA - arthAt zvAsocchavAsa, pAcana, raktaparibhramaNa, Adi kA--nyUnAdhika sUkSma nirIkSaNa para AdhArita varNana hai (yaha vizeSataH isalie ki isa prakAra ke nirIkSaNa para AdhArita isa prakAra ke varNana uttarakAlona dArzanika carcAoM meM prAyaH durlabha hai)| ___ isa prakAra mokSadharmaprakaraNa ke dArzanika carcAoM vAle bhAga apane yuga ke dArzanika raMgamaMca ke eka mahattvapUrNa pArzva para vAJchanIya prakAza DAlate haiMapanI aparipakvatA tathA apanI sAMpradAyikatA ke bAvajUda /

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! ma * - . 1 karavAnuM skedanI upAsya pratimA I. sa. 600 DhAMka (ji. rAjakoTa) pheTA : narenama palANa

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gujarAtamAMthI lupta thayelI skaMda-pUjAno eka avazeSa narottama palANa dakSiNa-bhAratamAM Aje pracalita skanda-pUjA zaivamatanI eka zAkhA manAya che paNa skandapUjAno itihAsa enAthI bhinna ane rasika che. zaivamatanA vaTavRkSamAM eka zAkhA manAtI skanda-pUjA, zaivamatamAMtho UgI nIkaLelI nathI paNa zaivamata sAthe kalama thayelI zAkhA che ! skanda-pUjA enA mULamAM zava natho tema skanda, zivapArvatInA putra paNa nathI ! bhAratavarSamA thayelA devatAonA kramazaH vikAsamAM skanda paNa dhIre dhIre AgaLa AvI zaiva sAthe eka mata thaI hAla sAmAnyataH zivapArvatInA putra tarIke oLakhAya che ane dakSiNamAM to 'divya zizu' tathA 'pUrNa AnaMda tattva' tarIke tenI pratiSThA thayelI che. vAstavamA skanda 'bALakornu skandana karanAro' duSTagrahono samUha hato,' saMbhavataH tenI saMkhyA chanI hovAthI ghaDAnana' evaM skandanuM nAma Avela che. suzrutanA uttaratantramA 'namaH skandAya devAya grahAdhipataye namaH / ' evA mantrathI skandano bAlagraha tarIke paricaya ApabAmAM Avyo che. 'bhagavAn devo dhUrta:' evaM kahI atharvaveda tathA smRtiyo skandane bali caDAvavAno ullekha kare che zrI vAsudeva zaraNa noMdhe che:2 "mUla rUpamA skanda pizAcagaNamAMno eka gaNa hato, pAchaLa tho rudra sAthe teno saMbaMdha thayo, pachI agni ane indrano te joDIdAra banyo ane chelle devatAonA senApati tarIke tenI gaNanA thavA lAgI / " atharvaveda, rAmAyaNa tathA mahAbhArata skandane agniputra kahe che. skandanuM 'svAheya' nAma mAtA 'svAhA' (agnipatnI) uparathI AveluM che. mahAbhAratamAM pachIthI umerAyelA bhAgomAM ane purANomAM mahAdevanA putra tarIke skandane sthAna maLyuM tathA tArakAsuranA vadha arthe zivapArvatIthI 'kumArasaMbhava' thayAnI kathA, kAlidAsanA hAthe kAvyamaya bAnImA vyakta thaI ! / 'bALakono nAza karanAra skanda che' evI bhItithI samAjanA nIcalA vargamAM skanda-pUjAnI zarUAta thaI, A skanda dhIme dhIme zaktizALI deva banavA lAgyo, je mAtra koI eka sthA. nika samAja pUrato maryAdita hato te vikAsa ane vistAra pAmI indra jevA pramukha devatAno harIpha 1 mahAbhArata, vanaparva, adhyAya 230 mAM skaMdanA zarIramAMthI mAnava-zizune khAi janAro raudra rUpa graha utpanna thayo: 'raudrarUpo'bhavad grahaH // 25 // A ja adhyAyamA pUtanA tathA revatIno 'bALakone mahAna kaSTa ApanAra graha' tarIke ullekha che, temaja bALa konuM mAMsa jene priya che te diti, garbhamA rahelA zizunuM je bhakSaNa kare che te zakunigraha-vinatA, 'saramA' nAmanI kutarAnI mAtA je garbhastha bALakanuM haraNa kare che vagere saune 'skaMdagraha' kahevAmAM AvyA che. 'sarve skandagrahA nAma jJeyaH' // 13 // 2. a--'pANinikAlIna bhAratavarSa' pR0 346 ___ba-'prAcIna bhAratIya lokadharma' pR0 45 thI 62 saMbodhi 4.1

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narottama palANa banyo, mahAbhAratanI eka AkhyAyikA indra tathA skandano saMgharSa nirUpe che. ApaNe anubhavI zakIe chIe ke A samaye ucca varganA devo sAthe, skanda jevo nimna vargano deva saMbaMdhamAM AvI rahyo che. -- __ ane parivartana anivArya banyuH mahAbhAratakAra bhagavAna zrIkRSNanA mukhamA" "senApatiomAM skanda hai cha." evaM vacana mUko skandano svIkAra karAve che ! have devaparivAranA ucca Asane skandano abhiSeka thayo, dakSa prajApatinI kanyA devasenA tene paraNAvavAmAM AvI ane lagabhaga dareka bAbatamA bane che tema purANakAroe skandanI paNa aneka mAhAtmyakathAo joDI kADhI, jemA pramukha devo sAtheno teno saMbaMdha prasthApita thayo ! .. ___skanda AkhA bhAratavarSamA pUjAno adhikArI banyo. I.sa. nI zarUAtamAM A pUjA sarvasvIkRta ane vyApaka banyAnA purAvAo prApta chaH mathurA myujhiyamamAM AvelI kuSANakAlIna skandamUrti hAla bhAratamAM prApta sauthI prAcIna mUrti che. e to spaSTa che ke kuSANakALa (I. sa. pUrva 48 thI I. sa. 220) mAM skanda-pUjA adhika pracAramA hatI. samrATa kanikanA pautra huviSka I. sa. 106 nA sikkAo upara skandanI AkRti aMkita thayelI che. mathurA myujhiyamamAM saMgrahAyelI pAlIkheDA ane madhuvanamAMtho prApta skandamUrtio paNa kuSANakAlIna che. kuSANonA aMta samaye ane guptonA udaya vakhate I. sa. nI bojI trIjI sadImAM rohatakanA yaudheya rAjAonA iSTadeva tarIke kArtikeya pUjAsthAne hato. yaudheya rAjAonA sikkAo upara hAthamAM bhAlo laIne ubhela cha mukhavALA yuddhanA devatA manAtA skandane joI zakAya che. mahAbhArata 2.3 2.45 mAM paNa yaudheyonA rohitaka pradezane kArtikeyano priya pradeza kahevAmAM Avyo che. _ gusakALamAM skanda-yajAnI paramparA vikAsonmukha che. skandanuM svatantra mandira banyAno prathama AbhilekhIka purAvo A samaya daramyAna ApaNane prApta thAya che. pazcima pAkistAnanA ebaTAbAdathI prApta I. sa. 344 no, hAla lAhora myujhiyamamAM Avelo zilAlekha 'kumArasthAnam' baMdhAyAno nirdeza kare che. guptavaMzanA kumAragupta 1lA (I. sa. 415-455) nA dilamAi (uttara pradeza) nA zilAlekhamAM paNa 'svAmi mahAsenanA AyAtana' no nirmANavidhi thayAno ullekha che. kumAragupta 1 lAnI suvarNa mudrAomAM pAchaLanA bhAge mayUra upara beThelA 'kumAra'nI 3. mahAbhArata, vanaparva, adhyAyaH 227 1. "pataMjalInA mate skaMda eka laukika devatA cha'-'bhAratIya saMskRti koza' khaMDaH 2 pR 271 5. 'zrImad bhagavad gItA adhyAyaH 10 loka 21 6. A mUrti nIce brAjhIlipimA lakhAyelo lekha che, jemAM zaka saMvata 11 athavA 31 ...cAya che. 'zaka saMvata' samrATa kaniSkanA rAjyArohaNa vakhate-I. sa. 78 mAM zarU thayArnu manAya che. ataH A mUrti I. sa. 89 nI che athavA I. sa. 109 nI che. zrIkRSNadatta vAjapeyIH 'mathurA' (pR. 32) I. sa. 89 jaNAve che jyAre zrI vAsudeva zaraNa agravAla 'mathurA kalA' (pR.76) I.sa. 109 (kuSANa saMvat 31) jaNAve che. 7. dhI. DI. sI. sarakAra-Studies in the Riligious Life of Ancient and Medieval India" pR0 105-110 8. Akimolojikala sarve opha inDiyA, graMthaH 11 (I. sa. 1880)

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gujarAtamAthI lupta thayelI chApa jovA maLe che, temaja khuda kumAragupta ane skandagupta nAma paNa skanda-pUjAnI asara sUcave che. A samayanI aneka skanda-mUrtio prApta che. temaja anya pramukha devapratimAo sAthe skandanu takSaNa thayeluM che. mathurA myujhiyamamAM AvelI ve nAnI dvibhuja skanda mUrtio tathA zivabrahmAthI abhiSeka pAmatI mayUrAsanastha skanda-mUrti guptakAlIna hovAnI noMdha vAsudevazaraNa 'bhAratIya kalA' (pR0 318)mAM kare che / bhArata kalA bhavana, kAzImAM AvelI atIva sundara skandamUrtinI vigata zrI rAyakRSNa dAsa 'bhAratIya mUrti-kalA' (pR0 115) mAM Ape che. madhya--pradezanA devagaDhanI I. sa. nI pA~camI sadI no vikhyAta zeSazAyI viSNunI mUrtimAM upara AkAzacArI devonA samUhamA mayUra upara beThelA skanda paNa dRzyamAna banyA che. A pachI aneka sthaLe, aneka maMdiromAM skandanu astitva noMdhI zakAya che.. I. sa. nI chaho-sAtamI sadInA aihola tathA kuMbhakoNam mAM, sAtamI sadInI bAdAmI guphA mAM, AThamI sadInI prakhyAta ilorA guphAo tathA kailAsa-maMdiramAM, navamI sadInA bhuvanezvara mandiramA ane dazamI pachI to colarAjAone hAthe aneka svataMtra skanda-maMdironu nirmANa thayelu che. dakSiNa bhAratamA Aje to eka paNa gAma bhAgye ja skanda-mUrti ke skaMda-mandira vinAnuM haze ! baMgALanA amuka vistAromA hAla paNa mAgasara suda chaThane kArtikeya-SaSTI tarIke ujavavAmAM Ave che ane skandanI mATInI mUrti banAvI, putraprAptiartha tenI pUjA karI visarjana thAya che. gujarAtamA eka kALe skaMda-pUjA pracAramA hatI. atratatra prApta purANakathAone AdhAre Ajanu khaMbhAta skande karelA tArakAsuranA vadhanI bhUmi che. eka mata mujaba 'skanda'nu 'khema' thaI khabhAta banelaM che. A kSetrane skandapurANa 'kaumArikA' khaNDa tarIke oLakhAvI tenA tIrthonI sthApanA skaMdahaste thayAnI AkhyAyikA Ape che.deg skaMdapurANanA ja nAgarakhaNDamAM baDanagaranuM eka nAma 'skaMdapura' che. pATaNanA sahasraliMga taLAva upara skaMdanu eka maMdira hatuM, jenI skandamUrti siddharAja jayasiMha avaMtIthI lAvyAnI kathA sarasvatIpurANa Ape che". A uparAMta hemacaMdra potAnA dvayAzraya kAvyamA jUnA rAjAoe pATaNamA kArtikeyanu maMdira baMdhAvyAnuM naudhe che, skanda-pUjA gujarAtamA hovAnu' anumAna have prApta zilAlekho ane mUrtiothI; paNa thaI zake che. I.sa.nI bIjI-trIjI sadInA mALavAmAthI prAsa svAmI jIvadAmAnA zilAlekhamA pote svAmI mahAsena kArtikeyano upAsaka hovAnu jaNAvAyu cha: sAtamI sadInA kher3A, navasArI tathA suratamAthI prApta cAlukyanA -Na tAmrapatro skanda-pUjA . paratve prakAza pheMke che.13 9. zrI udayanArAyaNa 'guptasamrATa aura unakA kAla' pR0 251 10. skaMdapurANanA 'kaumArikA kheDa' mA ullekhita ghaNA tIrtho, khaMbhAtanI AjubAju hAla hayAta che paNa temAMthI eka kumArezvara I. sa. nI dazamI sadI jeTalA prAcIna avazeSo dharAve che. anya sthaLI soLamI-sattaramI sadInA che. juo DaoN. ramaNalAla mahetAH 'kaumArikA khaMDa ane khaMbhAta', 'svAdhyAya' ogasTa 65.. 11. zrI kanaiyAlAla daveH sarasvatIpurANa pR0227 / 12. 'gujarAtano rAjakIya ane sAMskRtika itihAsa' granthaH 2 pR. 282 . .. 13. zrI girajAzaMkara AcAryaH 'gujarAtanA aitihAsika lekho' 'graMthaH 1 cAlukya vaMzanA lekhoM'

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narottama palANaM -ghaDAmAthI prAma cAlukya vijayarAjanA I.sa 642 nA tAmrapatramA 'svAmI mahAsena pAdAnudhyAsAnA-'ma svAmI mahAsena-kArtikeyanA caraNonu dhyAna dharatA cAlukya vaMzano nirdeza che. navamAroM tathA muratamAthI maMDelA I.sa.671 ane 692 nA zilAdityanAM be tAmrapatro paNa 'kArtikeya nI bhaktiI vibhUpita banelA che. A samayanI skandanI upAsya-pratimAo paNa gujarAtamA prApta bane cha. zAmalAjIthI prApta upAsya prakAranI eka skanda-mUrti, enA alaMkRta hAthAvALA daMDa aMne ratnajaDita zirabaMdhane kAraNe I.sa. nI sAtamI sadInA uttarArdhanI 2. vaDodarAthI prAma eka hAthamA zakti ane bIjA hAthamAM kukkuTadhArI bhagnamastaka skanda mUrti, baDodagA pAsenA kapugai gAmeI prApta skandanI zobhana-mUrti ane kAravaNa pAsenI skanda-mUrti I.sa.nI sAtamI madInI mUrtio che. A lesya sAthe prasiddha thAya che te rAjakoTa jillAnA DhAMka gAmanI skanda-mUrti mArA mata ma jaba hAla gujarAtamA prAta mothI prAcIna Asya prakAranI skanda-mUrti che.15 eka hAthamAM zakti (daMDa yA bhAlI), bIjA hAthamAM AtmajJAnanA pratIka samo kukaDo, ThIgaNI kAyA, gaLAmA lokeTa vinAno ekAvalo hAra, balabhIrthI prApta keziniSUdana kRSNanI mUrtimA jovA maLatA kATevastra ma, kAMTevastra ane kuMiLayukta laMbakarNa tathA jaTAjUTa A mUrtine I. ma.60 naTarAve che. gujarAtamA kanda-pUjA kevA vyApaka pramANamA prasarelI hatI tenA A prAcIna purAvA sAthe mocamadiramA AvelI I. ma. nI AThamI sadInI upAsya skanda-mUrtiI, dazamI sadInA kacchakairAnA maMdiramA AvelI skanda mUrti, bAramI sadInA vaDanagara tathA kapaDavaNajanA toraNomAM AvelI skanda-pratimAo, DabhoinI I. sa. 1253 nI vaidyanAtha-prazastimA lavaNaprasAde vaDhavANa zaheranI nIkamA mAgara sAye spardhA karatuM, cAMdanIthI ujjavala skandana maMdira' baMdhAvyAno ullekha, porabandara pAse visAvADAnA teramI sadInA trigRhaprasAdak skanda-maMdira, porabandara tAlukAnA jabAchoDA gAme caudamI sadInA zivamaMdiranI kArtikeya-mUrti ane sAbarakAMThA jillAnA bheTALo mAmanA zivapaMcAyatana maMdiramA AbelaM paMdaramI sadInuM skanda-mandira pUrtirUpa banI rahe che. 14. mA ane A pachInI traNa skandamUrtimI prakAzamA lAvavAno yaza DaoN. umAkAMta zAhane pALe Aya che. temozrIe mA mUrtibho 'kumAra' nA mArca 55, ogasTa 55 ane bhavembara 55 mA bhakomA prasiddha karela che. teozrIe zAmaLAjInI skanda-mUrtino samaya pazcimo saiko Apela che te mane sAtamIno pUrvArdha jaNAya che, jyAre anya traNa mUrtionA kALa-mirNaya paratve haoN. zAha sAthe huM sahamata thAU chu. . 15. mA mUrti mArA taraphayo 'kumAra' julAI 71 nA aMkamA 'saurASTranI virala mUrti' nAmaka lekhamAlAmo prasiddha thayelI che. 16. jumao zrImarottama palANaH 'Times of India' tA0 26 phebruArI 1973, "New Light on Temple Idols." 17. A mUrtinI prathama modha mA lekhake lodhI che, jeno vigatavAra paricaya have pachI prasiddha thanArA 'karachanI virala mUrtio' nAmaka lekhamA. 18. DaoN. gaudAnIH 'gujarAtano bhavya bhUtakALa' pR0156 .

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gujarAtamAthI lupta thayelI A uparAMta vaDanagaranA pIThorI daravAjA bahAranA devImaMdiranI bhotamAM coDelI cAra hAthavALI skandapratimA, gAMcagoLa daravAjA najIka bhuvanezvarI mAtAnA gokhalAmAM AvelI zakti tathA kukaDA sahitanI kumAra-mUrti, hATakezvara maMdiranA aMtarALamAM AvelI moTI skandamUrti, moDherA sUryamaMdiranA staMbhanI skanda-mUrti ane rAjakoTa myujhiyamamA AvelI anumita skanda-pratimAnA ullekho zrIkanaiyAlAla dave potAnA 'gujarAtana mUtividhAna' granthamA kare che. A sau uparathI have ApaNe evA tabakAmAM AvyA chIe ke skandapUjA sArA ya gujarAtamA ekakALe vyApaka pramANamAM ho evaM vidhAna karI zakIe bIe. A skanda-pUjA gujarAtamAthI zA kAraNe lupta banI tenI vigate carcA karavA jevI che, mane lAge che ke ApaNA paDozI mahArASTramA skandanA darzana saubhAgyavaMtI strIe na karavA evI jaM mAnyatA dRDha thayelI che teno phelAvo dhIre dhIre gujarAtamAM paNa thavA lAgyo ho ane pariNAme ApaNe tyAMthI skanda-pUjA lupta banI haze. vaDanagaranA hATakezvara jevA maMdiramAM jyAM skanda-mUrti mUkavAmA AvI che tyAM strIo enA darzana na kare te arthe ADo paDado paNa laTakato joI zakAya che. Ama sadhavA strIe skandanA darzana na karavA evI mAnyatAnA pariNAme tathA gujarAtamA phelAvA mAMDela vadhu saraLa vaiSNava sAdhanAnA prabaLa pravAhane kAraNe gujarAtamAMthI skanda-pUjA lupta thayelI jaNAya che.

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gujarAtI bhASAmAM zabdakozanI pravRtti* zAntibhAI AcArya .' A lekhamAM nIcenI bAbatono vicAra karyo che___ a. "zabdakoza" zabdanI samajUtI ba. gujarAtI koza sAmagrItuM vargIkaraNa / ka. A vargIkaraNa para AdhArita tAraNo, ane ___Da. A badhAMnA AdhAre karavA jevAM jaNAtAM sUcano // gujarAto bhASAmA "zabdakoza" zabda Aje je arthamA prayojAya che te arthamAM ApaNane zabdakoza ogaNIsamI sadInI lagabhaga adhavacamAMthI maLavA lAge ch| ... ApaNe gujarAtI zabdakozanA avatAra pUrvenI sthiti tapAsIe to cheka AcArya hemacaMdranA kALamAM tenA sagaDa maLe. che| hemacaMdrAcAryanI siddhahema (I.sa. 1125) tathA "dezInAmamAlA" jevI kRtione gujarAtInA udayanI tapAsa mATenI mahattvanI kRtio gaNAvI zakAya. paraMtu kozanI dRSTie.. jotAM "siddhahema" pachI lagabhaga eka saikA bAda "bAlazikSA" temaja "auktika' nAmothI jANItI kRtio maLe che temane gujarAtI zabdakozonAM pUrvarUpo jevI gaNAvI zakAya / A bane prakAranI kRtio saMskRta zIkhavavA mATe racAtI htii| AthI kRtionA aMte saMskRta zabdonI sAme te kALanI gujarAtInA samAnArthI AlyA hoya tevI zabdasUcio paNa ApavAmAM AvatI hatI / - ThAkura saMgrAmasiMhanI saMvata 1336nI eTale ke I. sa. 1280 nI "bAlazikSA" tathA sadgata ke. ha. dhruve prakAzamAM ANelu kulamaMDanagaNinu saM. 1450 arthAt I.sa. 1394nuM "mugdhAvabodha-auktika" e baMnene AnAM udAharaNo gaNAvI zakAya / _ A baMne kRtiomAM, Ama, saMskRta-gujarAtI dvibhASI kozanA mULa jovA maLe che / ahIM zabdo kakkAvArI pramANe goThavAyelA jovA maLatA nathI / mAtra saMskRtanA te kALanA gujahAtI samAnArthI zabdo sAthenI sUci ApavAmAM AvI che / Ane ApaNe "zabdAvali" nAma ApI zakIe / A nAma ApIne ApaNe zabdAvali ane zabdakoza vacceno sAmAnya taphA'ta tAravavo hoya to ema tAravI zakIe ke : zabdakozanI saMrakhAmaNIe zabdAvali : .1. kadamAM nAnI hoya / / 2. kakkAvArInA kramayukta hoya ke na paNa hoya / 3. bahudhA dvibhASI saMdarbhamAM ja hoya / 4. ekabhASAnA zabdo bIjI bhASAnA samAnArthI ApIne samajAvyA hoya / AdhI5. mukhyArthI hoya / ... * "gujarAtamAM bhAratIya bhASAono vikAsa' zIrSaka taLe 1973 nA varSamA vidyApIThamAM jAyelA parisaMvAda mAM rajU thayelo nibaMdha !

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zAntibhAI AcArya zabdakozanA ugama pUrve, Ama, AvI zabdAvaliothI prAraMbha thayelo dekhAya che / zabda kozanA ApaNA upalabdha sAhitya ne jotAM temAM zabdakozanA paryAyavAcI nIcenA anUgo "zabda"nI mAthe jovA maLe cha / zabda-ciMtAmaNi.-Adarza, Avali-lI-LI,-koza ke koSa,-prakAza,-ratnamaho-dadhibhaNDAra,-saMgraha A uparAMta glosarI ane DikSanerI e be svataMtra zabdo paNa AnA paryAyarUpe mlech| AmAthA--Adarza,-citAmaNi,-prakAza ane--ratnamahodadhi e cAre saMskRtanI sIdhI asara taLenA cha ane saMskRta ke prAkRta-apabhraMza bhASAo saMlagna che tyAM ja vaparAyAM che / A badhAmA alaMkRta bhASA vaDe zabdakozano artha apAyo che / paDIdhI-Avali (-lI,LI), -bhaNDAra ane -saMgraha maLe che te tathA - glosarI, e badhAja Avali (-zrI-TI) nA samAnArthI che ane Upara "zabdAvali" nI carcA karI che temAM samAI bAkI rahetA ve paryAyo te-DikSanerI ane koza (koSa) che / A banene eka bIjAnA paryAyarUpa gaNAvI zakAya / je DikSanerImA apekSita che te kozamA . paNa apekSita rahe che ema amAru maanvuuch| eTale phalita e thAya che ke gujarAtI bhASAmA "koSa" thI aMgrejI "DikSanerI" no artha samajAya che / A DikSanerI ke kozano have vadhAre vigate vicAra karIe / . kozano eka artha bhaNDAra, khajAno evo cha / AmAM "zabdakoza" zabdasamUha "zabdono khajAno" ekA artha Ape cha / zabdanI vyAkhyA badhI ja bhASAomA ekasarakhI hoI zake nahIM / gujarAtImA sAmAnyarIte ApaNe lekhanamAM zabdabheda lekhanarIti vaDe dUra-najIka lakhIne karatA hAIe chIe / u. ta. navajIvana bheguM lakhoe to eka zabda ane chUTuM lakhIe to be. ApaNe hAla puratI zabdanI A samajaNane svIkArIne cAlIzu. AthI zabdakoza eTale zabdono bhaMDAra ke khajAno ema artha thaze / A zabdabhaMDAranI maryAdA gujarAtI bhASA puratI hovAthI gujarAtI sAthe saMlagna khajAnAnIja ahIM bAta karI cha / gujarAtI zabdakozanAM samagra sAhityane jotA saMkhyA dRSTie lagabhaga 150 jeTalAM nAnAmoTA grantha-pustaka-pustikA-copAniyAM thavA jAya cha / A badhAmA kendrasthAne zabda hovAthI A saMkhyAmAthI jenI svataMtra pustikAo na hoya paraMtu anya viSayanI sAthe bhAgarUpa zabdo AvatA hoya tebI pacIsekanI saMkhyAne bAda karatA bAkIno savAso jeTalI saMkhyAne ahIM AvarI levAno prayatna karavAmAM Avyo che / tema chatAM A yAdI saMpUrNa che tema ame mAnatA nathI / paraMtu A badhAMmA kendrasthAne zabda hovAthI A saMkhyAne "zabdakoza' zIrSaka nIce jarUra mUkI zakAya | paraMtu A badhA zabdasaMgrahoMne jovA tapAsavA mATe ApaNe koIka vyavasthA UbhI karavI paDaze / ane AvI vyavasthA UbhI karyA pachI A graMthone te saMdarbhamA tapAsavA ahIM dhAryu che / . bhASA samastane ApaNe judA judA hetu mATe judA judA ekabhomAM vaheMcI nAkhatA hoIe kIe / bhASAnA A rIte bhinna bhinna staro pADI zakAya / dA. ta. dhvanitaMtra, rUpataMtra, vAkya taMtra bagere / AvA bhinna bhinna staromAMthI koIpaNa eka ke vizeSa starone chUTA pADI

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gujarAtI bhApAmAM zabdakozanI pravRtti ApaNe joIe tyAre e stara paNa bhASA samastanA bhAgarUpa che ane teno bheda ApaNe eka vyavasthA mATe Ubho karyo che te ve muddAo smaraNamA rahevA joIe / A dRSTie zabda e paNa samasta bhASAnA eka starano bhAga mAtra cha / zabdakozano racayitA A starane chUTo pADIne jue tyAre bhASA samasta para tenI najara hovI jarUrI che / A vAtane dhyAnamA laIne ApaNe "zabdakoza" nI samajUti ApavI hoya to kaIka A prakAranI ApI zakIe : a. zabdakoza e bhASAnA koIpaNa prakAranA zabdonI yAdI che / ba. // yAdI te bhASAnA ghaTakonA eka staranI ja dyotaka che, samasta bhASAnI nhiiN| ka. yAdI koIpaNa prakAranI nizcita ane ekavAkyatAvALI vyavasthAyukta cha / Da. yAdIno pratyeka zabda je te bhASAmAM ke bIjI koIpaNa bhASAmA samAnArthI zabda ke samajUti athavA A baMne sahitano hovo ghaTe che / zabdakozanI A sarvasAmAnya samajUti thaI / ane A samajUti pramANe jotAM gujarAtI bhASAmAM upalabdha zabda aMgeno sAmagrInI Azare savAso jeTalI saMkhyA "zabdakoza" nIce samAI jAya / have A sAmagrIno vyavasthA pUratA UbhAM karelAM vargIkaraNonA saMdarbhamA vicAra karIe / ekabhASI zabdakoza : __ A kozanI saMkhyA lagabhaga 30 jeTalI gaNAvI zakAya / AmAM noMdhapAtra pAMca' zabda. kozo cha / A sivAyanA anya 25 jeTalA to eka yA bIjA prakAranI A kozonI asara taLenAM che / A pAMca kozanI racanA eka saikAmAM vaheM cAyelI che / I. sa. 1861 mAM 25000 uparAMta zabdo sAtheno "narmakoza" ApaNane maLyo / tyArabAda 1923 mAM (kozanu kArya to 1912 thI zarU thai gayuM tuM) ApaNane gujarAta varnAkyulara' sosAyaTI (AjanI gujarAta vidyAsabhA) no "gujarAtI bhASAno koza" pUrepUro prasiddha thayelo maLI jAya che. A' pachI thI gaNanApAtra kahI zakAya tevo paTela lallubhAIno "gujarAtI zabdakoza' (1909 ane bIjI AvRtti 1925) maLe che / A kozane AgaLanA be mukhya kozanI madada maLI cha / ahIM sudhI kozomAM joDaNInI ekavAkyatA pravezI nathI / I.sa. 1929mAM bahAra paDelA gujarAta vidyApIThanA "joDaNI koza" thI gujarAtI kozamAM joDaNInI arAjakatAno aMta Ave che / gujarAta vidyApIThano A koza pachIthI to "sArtha joDaNI koza' banI ne 1967 sudhImAM to pAMca AvRttio pAme che / gujarAtImA joDaNI viSayaka arAjakatAno A kozathI aMta Ave che / pAMcamo tacakko ApaNane "bhagavadgomaMDala' kozamAM jovA maLe che / goMDalanA rAjavI sad, bhagavatasiMhajIe moTI royala sAijamAM 9 bhAgo A nAme bahAra pADayA che / I.sa. 1944 1 narmadane vAcanamALAnA agharA zabdo samajAvavA mATe koza jevU kArya karavAnuM hatuM / saMbhava che ke A kAryanA pariNAmarUpe eka moTo koza karavAno vicAra Avyo hoya / ane AnA pariNAma rUpe 'narmakoza' racAyo hoya / saMbodhi 4.1

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zAntibhAI AcArya mAM prathama bhAga ane 1955 mAM 9 mo bhAga bahAra paDayo Ama saMpUrNa koza nava bhAgamA cha / (kAmano Arambha 1928 thI thai gayo hato) AmAM kula 9270 pAnamA 2,81,377 zabdo saMgrahAyA che| AnI eka saMkSipta AvRtti 1961 mAM bahAra pADavAmAM AvI cha / A koza parathI saMvardhana karI nUtana koza racavAnuM kArya graMtha nirmANa borDe zrI ke. kA. zAstrI ne sopyu che / te kArya pUrajhaDape cAlI rahyu che / ___ Ama I.sa. 1955 (athavA saMkSipta AvRtti gaNatAM) ke 1961 pachI ekabhASI kozamAM koI navo stabaka kahI zakIe tevo umero ke tevu pramANa jANyAM nathI / dvibhApI zabdakoza : dvibhASI kozane jotAM sauthI vizeSa saMkhyAmAM aMgrejI sAthenA kozo cha / gujarAtIaMgrejI kozonI saMkhyA 17 jeTalI che / A saMkhyA aMgrejI--gujarAtI kozonI saMkhyA karatA aDadhI che / gujarAtI-aMgrejI kozano itihAsa lagabhaga 165 varSa jUno gaNAvI zakAya / imanDathI mAMDI ne dezapAMDe sudhInA A prakAranA kozomAM pAMceka kozo mukhya gaNAvI zakAya / I.sa. 1808 nI DramanDanI "glosarI" aitihAsika dRSTie AvA kozanA prArambhakAryanA mUlyavALI gaNAya / parantu kharekhara A prakArano koza kahIM zakAya tevu pustaka to ApaNane maLe cha 1846 mAM / 15000 zabda-bhaMDoLavALA A gujarAtI-aMgrejI kozanA racanAra che mIrajA mahamada kAjhIma / tyArabAda I.sa. 1895 (prathama AvRtti)mAM upalabdha thatI belasarenI "iTImolojIkala gujarAtI-iMglIza DikzanerI" nAmano koza maLe cha / alabatta 1846 thI 1895 nA gALAmAM ApaNane bojA je je nAnA kozo maLe che temAM 1862 no karasanadAsa mULajIno dasahajAra zabdono gujarAtI--aMgrejI koza, 1863 mAM zApurajI edalajIno 27000 zabdono gujarAlI-aMgrejI koza, (1868-bIjI AvRtti), 1885 no kAlIdAsa bIjabhUSaNadAsano gujarAtI-aMgrejI koza, tathA 1874 nI zAha ukaraDAbhAInI gujarAtI ane aMgrejI DikSanerI gaNanApAtra cha / A pachIthI jenI noMdha levI ghaTe tevo A prakArano koza bhagubhAI epha. kArabhArIno gujarAtI-aMgrejI DikSanerI nAmano 1942 nI sAlamAM maLe che / - 1895 thI 1912 nA gALAmAM paNa bIjA sTuDanTasa pokeTa, henDI ityAdi zIrSako nIce bahAra paDelA nAnA zabdakozo maLe che / A pachI thI 1925 nI sAlamAM ApaNane mahetA bhAnuzaMkara ane bharatarAma bhAnuzaMkara e pitAputranA 'moDarna gujarAtI--aMgrejI koza'nA 51000 jeTalA zabdo samAvatA ve bhAgo maLe che / . 1912 thI 1925 sudhInAM A 14 varSanA A gALAmAM paNa gujarAtI-aMgrejI DikSanerI nAme bIjA nAnA nAnA zabdakozo maLe che kharA / / A pachIthI ApaNane je je zabdakozo maLe che temAM zAMtilAla ojhAnA "aMgrejIaMgrejI-gujarAtI" (1967) ane gAlAnI "gAlAjha eDavAnsa DikSanerI' (1969) ullekhanIya cha / ___ A pachIthI gujarAtI rAjya graMthanirmANa borDe zrI dezapAMDe pAse taiyAra karAvIne prakAzita karelI 'gujarAtI-iMglIza DikSanerI' (1974) paNa noMdhapAtra gaNAya /

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gujarAtI bhApAmAM zabdakozanI pravRtti 19 parantu 1925 nA gALAthI mAMDI Aja sudhI (1974) mA jene sArvatrika rIte pramANabhUta kahevAya tevo koza bahAra paGayo jANyo nathI / ___ A gALA daramiyAna kaMDensDa, liTala pokeTa ane gujarAtI aMgrejI DikSanerI jevAM nAmo nIce keTalAka kozo prakAzita thatA rahyA cha / aMgrejI-gujarAtI : aMgrejI-gujarAtI kozasAmagrI saMkhyA dRSTie gujarAtI-aMgrejI karatAM vadhAre che / Azare AnI trIseka jeTalI saMkhyA gaNAvI zakAya / __Ano prAraMbha ApaNe mumbaI samAcAranI "vokebularIH iMgliza enDa gujarAtI" e zIrSaka taLenI I. sa. 1835nI pustikAthI gaNIe ane 1970 mAM bahAra paDelA 'aMgrejI-gujarAtI koza' sudhInA gALAnI maryAdA bAMdhIe, ane saradAra paTela yunirsiTI dvArA prakAzita zrI dezapAMDe saMpAdita A prakAranA koza 135 varSa jeTalo gALo A pravRttinA prAraMbhathI Aja sudhaumAM vyatIta thayo che tema kahI zakAya / A prakAranI aitihAsika dRSTie ja mahatva dharAvatI pustIkAo tathA anya-nAnA kozone bAda karatAM A prakAranA kozonI gaNanApAtra saMkhyA sAteka jeTalI che / ___ A prakArano pahelo koSa ApaNe musa aradezara pharAmajI tathA rANInA nAnAbhAI rustamajI racita 1857 mAM bahAra paDelA 'DikSanerI-iMglIza enDa gujarAtI' prathama bhAgane gaNAvI zakIe / A Akho koSa ATha bhAgomAM bAhara pADavAnI yojanA jaNAya che paraMtu te pUrepUro bahAra paDe e pUrne 1862 mAM narmadanI madadathI 20000 zabdono A prakArano eka saMkSipta koza bahAra pADavAmAM Avyo hato / A pachIno bIjo noMdhapAtra koza te robarTa monTagomarI, ambAlAla sAkaralAla desAI ane maNidhara prasAda tApIprasAdano I. sa. 1877 mAM bahAra paDelo "iMgliza-gujarAtI-DikSanerI" zIrSaka heThaLano koza / AnI bojI AvRtti ambAlAla sAkaralAla dezAIe 1910 mAM bahAra pADo hatI / DikSanerI nAme A gALAmAM o prakAranA bIjA kozo racAyA hoya . to tenI amane jANa nathI / pachIthI ApaNane 1892 mAM paTela lallubhAI gokaLadAsano 40000 zabdo dharAvato aMgrejI-gujarAtI zabdakoza maLe che / I. sa. 1877 thI 1892 nA A paMdara varSanA gALAmAM paNa bIjI. khAsa. racanAo thayelI jaNAtI nathI / parantu A pachIthI be varase 1894 mAM vyAsa ane paTelano 'sTAnDarDa aMgrejI--gujarAtI zabdakoza' upalabdha bane cha / 'sTuDanTas sTAMDarDa' iglIza-gujarAtI DikSanerI'. zIrSaka nIce bIjI AvRttio bahAra paDelI jaNAya che / . A pachIthI Aja sudhInA gALAmAM je kozo maLe che temAM paTela ena. eca., zAMtilAla ojhA ane dezapAMDenA kozo mukhya ch| parantu I sa. 1901 thI 1970 nA gALAmAM bahAra paDelA A prakAranA nAnAmoTA kozonI saMkhyA ghaNI che / temAM sTuDanTsa ne lagatA 6, kanDensDa ane konsAIjhDa 11, pokeTa ane pokeTa DAyamaMDa 11, skolarsa pokeTa 1, kampeniyana opha iMgliza enDa' gujarAto 1, ane nyu iMgliza-gujarAtI 1, vagere mukhya cha / Ama AvA nAnA kozonI. saMkhyA 15 jeTalI thavA jAya cha /

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zAntibhAI AcArya A sivAyanA kozImA 1874 mAM bahAra paDelo zivazaMkara kasanajIno 24000 zabdo no 'gujarAtI indu gujarAtI enDa iMgliza DikSanarI' koza tathA 1934 mAM bahAra paDelo nANAvaTI kezavalAla bha. no 'presiDensI iMgliza Tu gujarAtI enDa gujarAtI Tu iMgliza DikSanero' koza tathA 1967 mAM (bIjo AvRtti) bahAra paDelo zAMtilAla ojhAno 'dhI yunivarsala moDarna DikSanerI (aMgrez2I-aMgrejI gujarAtI) koza e traNe ullekhanIya cha / A uparAMta 'iMglIzagujarAtI DikSanero e nAme zrI dezapAMDe pAse taiyAra karAvelo 1970 mA prakAzita thayelo koza paga nodhayo joIe / samagra rIte jotAM A 135 varSanA : gALAmAM saMkhyAnI dRSTi bAda karIne kozanAM dhoraNonI dRSTi jotAM hajI Aje paNa AvA prakAranA pramANabhUta kozanI zUnyatA varatAya cha / aMgrejI sivAyanI bhApAo : saMskRta : aMgrejI sivAyanI bIjI bhASAomAM gujarAtI sAthe saMlagna hoya tevI kozapravRttimA saMskRta mokhare rahe che / I. sa. 1870 nA Telara je. vI. ane zAstrI vrajalAlanA dhAtusaMgrahane vAda karoe to I. sa. 1871 nA raNajIta bAjIrAva tAtyArAva nA 12000 zabdonA saMskRta tathA gujarAtI kozane saMskRta-gujarAtI evo pahelo koza gaNavo joIe / A pachIno koza te borA savAIlAla choTAlAlano saMskRta-gujarAtI kozaH 'zabdArtha ciMtAmaNi' / 70000 zabdo dharAvato A koza I. sa. 1900 mAM prApta thAya che / A pachIthI 1929-30 mAM ApaNane 'saMskRta-gujarAtI zabdAdarza'nA ve bhAga prApta thAya cha / AnA racayitA mahetA girajAzaMkara ma. cha / A pachIno koza te 1932 no taLaveLakara ga. sa. no 'saMskRta-gujarAtI laghukoza' / tyArapachI 1960 mAM vahAra paDelA 'narmada saMskRta-gujarAtI zabdakoSa'ne noMdhI zakAya / rAvaLa narmadAzaMkara ane dave narmadAzaMkara e bane A kozanA racayitA cha / A pachIno Avo koza te 1962 no vidyApITha prakAzita 'saMskRta-gujarAtI vinIta kosh'|" prAkRtAdibhASAo: gujarAtI sAthe saMlagna tevI pachInA kALanI bhASAone laIe to temAM 1880 mAM bahAra paDelA paMDita prabhAkara rAmacandranA "apabhraSTa zabdaprakAza'', dezya bhASAno 1947 no dozI becaradAsajIno "dezI zabdasaMgraha" nAmanA hemacandranA dezIzabdasaMgrahano anuvAda, tathA bharatarAma mahetA sampAdita 'dezya zabdakoza' (1965) e traNa pustakone gaNAvI shkaay| ahIM 1923 thI 1938 sudhImA indora ane mumbaIthI jaina muni ratnacandrajIe bahAra pADelA "jainAgama zabdasaMgrahaH ardhamAgadhI gujarAtI koSa" nI paNa noMdha levI joIe / A koSa temanA cAra bhAgamA prakAzita prAkRta-saMskRta-hindI-aMgrejI-gujarAtI ema paJcabhASI koSanI prAkRta-saMskRtagujarAtI tribhASI evI saMkSipta AvRti che. hindI Adi bhASAo : ___Adhunika bhASAo hiMdI-hiMdustAnI, urdU, phArasI vagerenI sAthe gujarAtI saMlagna hoya tevA dvibhASI kozone A zIrSaka nIce samAvyA che / AvA kozono vicAra karatAM lagabhaga ATheka jeTalA koza jovA maLe che / AmAM paMDita gaNezadatta zarmAno 1924 mAM bahAra paDelo

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gujarAtI bhApAmAM zabdakozanI pravRtti "hindI-gujarAtI koza," 1952 mAM bahAra paDelo bhaTTa saMtokalAlano 'apanA hiMdI-gujarAtI zabdasaMgraha', 1957 mAM bahAra paDalo purANika rAjendrajIno 'rASTrabhASA koza', gujarAta vidyApIThanA "gujarAtI hiMdI koza" tathA "rASTrabhASAno gujarAtI koza" (hiMdI-gujarAtI kodaza) e ve kozo tathA 1961 nA paTela ane nAyakanA 'nanhA koza'no samAveza thayo joIe / hindI pachI baMgALI ane marAThI e ve bhASAnA dvibhASI koza maLe che / baMgALIno 'baMgALI-gujarAtI zabdAvali' e nAme Thakkara devajI goradhanadAsano koza 1924 mA male cha / jyAre dharmAdhikArIjIno 'gujarAtI-marAThI zabdakoza' to jo hamaNAM ja I. sa. 1967 mAM prApta thAya che / A pachI thI urdU , arabI, phArasI, ane portugIjha e dareka bhASA sAtheno eka eka koza prApta thAya che / AmAM urdUno 'udU mizra gujarAtI koSa' (svarabhAga) e nAme bahAra paDelo saiyada nijAmuddIna nUruddIna hasayanIno koza 1912 no cha / tyArapachI maNilAla nirbhayarAmano "zabdakozaH poTuMgIjha-gujarAtI ane gujarAto-pATuMgIjha' e nAme 1917 mAM prApta thAya che / A pachIthI phArasIne jotAM 1926 mAM bahAra paDelo amIramiyAM madUmiyAM phArukIno "gujarAtI-phArasI arabI zabdono koza" Ave che / sAthI sAtha ahIM nAyaka choTubhAI ra. no 1972 mAM bahAra paDelo "fArasI zabdono sArthavyutpattikoza'' paNa yAda karIe / arabIno "arabo-gujarAtI zabdakoza"nA khaMDa-1, I.sa. 1966mAM ane khaMDa 2 1969 mAM bahAra paDelA che, AnA racayitA zamsI TI. eca. che / / Ama A pratyeka bhASAnA eka eka nAnA koza maLe cha / tribhASI : tribhASIkozo gujarAtI bhASAmA hajI upalabdha banyA nathI / tema chatAM gujarAta vidyApITha prakAzita 'kacchI zabdAvali' tema ja 'codharIo ane codharI zabdAvali' e banene A prakAranAM pustako gaNAvI zakAya / bahubhASI : - AvA kozone tulanAtmaka kozo kahI zakAya / gujarAtImAM AvA prakArano koza eka paNa nathI / DaoN. TarnaranA "nepALI DikSanerI" (1933) ane ve bhAgamAM bahAra paDelA "kamperiTiva DikSanerI opha inDoAryana" (1970) e banne kozo A prakAranA cha / temAM gujarAtI bhASAne paNa AvarI levAI hovAthI ahIM noMdhapAtra cha / . zrI naravaNeno "bhAratIya vyavahAra koza" paNa A saMdarbhamAM yAda karavo joIe / A saMdarbhamAM DaoN. sAMDesarAe ullekha karelo che te tribhuvanadAsa kalyANadAsa gajjarano 1891mAM taiyAra karAvelo ane 80 jeTalA hastalikhita granthonI pratorUpa prAcya vidyAmaMdira, vaDodarAmA apragaTarUpe jaLavAyelo paryAya mahAkoza' paNa ullekhanIya gaNAya / bolIo : .. A bhASAonI sAthe ja bhinna bhinna bolIonA kozone paNa AvarI laIe / A kSetramA gujarAtImAM kArya nagaNya kahI zakAya teTalaM ja che / kaccha pradezamAM bolAtI kacchInI ve zabdAvalio upalabdha cha / jemAM ekamAM lagabhaga 300 jeTalA zabdo 1886mA paMDayA prabhudAsa 1 itihAsa bhane sAhityamA 'gujarAtI koza' zIrSaka nIce DaoN. sAMDesarAno lekha pR. 68

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22 zAntibhAI AcArya ramodajIta "kacchI zabdAvali' zIrSaka taLe yatheccha ekaTA karyA che / bIjo prayAsa te DaoN. zAtimAI AcAryanI 1566mAM bahAra paDelI kaccho zabdAvali" che / mA uparAMta DaoN. AcAryanI "bholI-gujarAtI zabdAvali' 1967 ane "codharIo ane caudharI zabdAvali" 1969 no paNa ahIM ullekha karavo ghaTe che / anya videzI bhASAo: bAkInI anya videzI bhASAono vicAra karatA "zabda-bhaMDAra' zIrSaka nIce racanA sAla vagaranI bahAra paDalI bhAnubhAI trivedInI "gujarAtI-svAhIlI ane svAhIlI-gujarAtI" pusti-, kAno ullekha karavo ghaMTe che / varya viSaya saMdarbhamA havaM gujarAtInA kozano je moTo vibhAga rahe che tene 'varNya viSayanA saMdarbhamA e vargIkaraNa nAmAbhidhAna nIce samajAvavAno ame prayatna kayoM che / AmA sAhityane lagatI I.sa. 19.30-32mAM bahAra paDelo bhaTTa vizvanAtha maganalAlanA "pAribhASika zabda-koza" gaNAvI zakAya / AnI zrI raghuvIra caudharIe saMpAdita karelI bhavadhita AvRtti 1968mAM bahAra paDI cha. dharma aMne tatvajJAna zIrSaka taLe ApaNe 1929mAM (pAMca khaNDamAM) bahAra paDelo degasarI DAyAbhAI pItAMbaradAsanI "paurANika kathAkoza", 1937-38mAM bahAra paDelo bhaTTa choTAlAla narabhegamanI "dArzanika koza" khaNDa-1-2, 1938 no mahetA bhUpatarAyano "brahmavidyAno pAribhASika koza" tathA 1936mAM prathamavAra ane 1960 mAM bIjIvAra bahAra paDelo gAMdhIjIno "gItApadArthakopa" ityAdinI samAveza karI zakIe / A pachIrthA, vijJAnanA viSayane jotAM 1920nA jozIpurA je. pI. ane mahetA bI. ena. e saMpAdita karelA "zrI sayAjI vaijJAnika zabdasaMgraha, tema ja 1938nA zAha popaTalAla go. nA "vijJAnano pAribhASika koza" e banne kozane yAda karavA rahe / paraMtu A kSetramA bhinna bhinna viSayone AvarI letI pAribhASika zabdAvalio racavAnuM kAma gujarAta vidyApITha tathA gujarAta yunivarsiTI e ve zaikSaNika saMsthAoe karyu che / A banne saMsthAonI AvI pustikAonI yAdIo ahA~ pariziSTarUpe ApavAmAM AvI che / / . 1931mAM zeTa ka. vI. nA A thesaurus of judicial precedent arthAt laoN riporTa volyuma 31-40 mAthI cUMTelA zabdono koSa "AdhArakoza" nAme ApaNane kAyadAnA koza tarIke maLe che / ane A ja viSayamA pachIthI "kAyadAnA pAribhASika zabdono koza" (aM.hiM gu.) e zIrSaka taLe ApaNane 1965nuM gujarAta sarakArane prakAzana paNa prApta thAya cha / 1899mA bahAra paDelo vaiSNava ca. zI. no 636 auSadhionA nAmono auSadhikoSa (bhA. 1) e auSadha aMgeno koza che|| 1935-38 nA gALAmAM ve khaMDamAM bahAraM paDelo derAsarI DAhyAbhAIno "bhaugolikakoza" e bhUgoLane lagato koza cha / ____ ahI, 1931mAM bahAra paDelA vahIvaTI zabdo aMgenA "sayAjI zAsana kalpataru"nI paNa noMdha levI ghaTe che /

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gujarAtI bhASAmAM zabdakozanI pravRtti o uparAMta "mAnavazarIranA avayavono koza' e zIrSaka taLe 1941 mAM bahAra paDelo dInazA dAdAbhAI doraDIno gujarAto-aMgrejI ane aMgrejI-guja. koza tathA 1948 mAM bahAra paDelI karADIkara da. cI. nI "kasaratanI zabdAvali'e be bIjA AvA prakAranA kozo cha / kadanA saMdarbhamA khIssA ke nAno: kadanI dRSTie gujarAtI kozanI sAmagrIne tapAsatAM ekabhASI zabdakozamAM tathA saMskRta . ane hiMdI bhASAonA dvibhASI koSomAM paNa gujarAta vidyApIThanu kArya mokhare rahe cha / vidyApIThanA ekabhASI khIssAkozanI 1940 thI mAMDIne 1971 sudhImAM dasa AvRttio bahAra paDI cha / A saMdarbhamAM "gajave ghumato gujarAtI zabdakoza' (1949) "zALopayogI laghukoza" (1950) tathA "nAno koza' (1954-56-58), vagerenI noMdha levI ghaTe / zALopayogI ke madhyama : ____ AmAM paNa gujarAta vidyApIThanA ekabhASImAM "vinIta joDaNIkoza" ane dvibhASImAM "gujarAtI-hiMdIkoza", "rASTrabhASAno gujarAtIkoza" ane "saMskRta-gujarAtI" vagere kozo mokhare rahe che / o sivAyanA AvA ekabhASI kozomAM "zAlopayogI gujarAtI zabdakoza" (1925), "vidyArthI zabdakoza" (1954 ane 1956), "gujarAtI zabdakoza" (1946), ane mAdhyamika joDaNIkoza" (1965)nA nAmo gaNAvI zakAya / gujarAtI-aMgrejI kozomAM "sTuDanTasa" "henDI" (1916), "kaMDensDa" (1940), ane gujarAtI-- aMgrejI zabdakoza ke DikSanerI jevAM zIrSaka nIce bahAra paDelA (1874), (1911), (1916), ane (1951)nA kozo mukhya cha / aMgrejI-gujarAtI A prakAranA mukhya mukhya kozo nIce mujaba che : kampeniyana opha iMgliza-gujarAtI DikSanerI I.sa. 1880 sTuDanTsa iMgliza enDa' gujarAtI DikSanerI 1901 sTuDaTnsa sTAnDarDa DikSanerI 1905 konsAijhDa' iMgliza--gujarAtI DikSanerI 1912 kanDensDa' iMgliza-gujarAtI DikSanerI 1917 dhI sTuDanTsa iMgliza-gujarAtI DikSanerI 1926 nyu iMgliza--gujarAtI DikSanerI 1927 .. pAyoniyara iMgliza-gujarAtI DikSanerI 1935 AmAM saMskRtanA "saMskRta tathA gujarAtI koza" (1871), "saMskRta gujarAtA zabdArtha' (1929-30), 'saMskRta gujarAtI koza' (1970), tathA "narmada saMskRta gujarAtI zabdakoza" (1960) ne; apabhraMzanAM "apabhraSTa zabdaprakAza" (1880)ne, dezyanA hemacandrAcAryanA dozI becaradAsanAM "dezI zabdasaMgraha" (1947) tathA mahetA bharatarAmanA "dezyazabdakoza' (1965) e saMpAdanone ne, ane hiMdImAM, 'gujarAtI hindI koza' (1914),

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24 zAntibhAI AcArya "rASTrabhASA zabdakoza" (1950), "rASTrabhASAno gujarAtI koza" (hindI-guja.), 'apanA |hendii gujarAtI', "zabdasaMgraha' (1952), "rASTrabhASAkoza' (1957), vagerene gaNAvI sakAya / anya bhASAonA : ___anya bhASAonA upalabdha bIjA dvibhASI kozone A vibhAga nIce mUkI zakAya / AvA kozonA nAmo nIce pramANe chaH marAThI: gujarAtI-marAThI zabdakoza (1967) baMgALIHbaMgALI-gujarAtI zabdAvali (1924) phArasI: gujarAtI-phArasI-arabI zabdono koza (1-2), (1926) urduH urdu mizra gujarAto koSa (svarabhAga) (1912) arabIH arabI gujarAtI-zabdakoza (1969) pordagIjhaH portugIjha-gujarAtI ane guja.-poTugIjha (1917) A sivAya yolInI keTalIka "kacchI zabdAvali' (1886), "kacchI zabdAvali(1966), "bholI-gujarAtI zabdAvali' (1967), "codharIo ane codharIzabdAvali' (1969) vagere jevI zabdAvalione paNa A vibhAgamA mUkI zakAya / sAmAnya ke moTo: AmAM "narmakoza" (1861), "gujarAtI koza' (1909), "gujarAtI bhASAna koza" (1923 pUrepUro), ane "sArtha joDaNI koza" (pAMcamI AvRtti 1967) no samAveza thAya / gujarAtI-aMgrejImAM "iTimolojIkala gujarAtI-aMgrejI DikSanerI" (1895) ane 'moDarna gujarAtI-aMgrejI DikSanerI' (1925), aMgrejI-gujarAtI "aMgrejI ane gujarAtIkoza' (pra. bhAga 1957), "iMglIza-gujarAtI DikSanerI (1877), "aMgrejI-gujarAtI zabdakoza' (1892), sTAMDarDa aMgrejI-gujarAtI zabdakoza (1894), ane dhI yUnivarsala moDarna DikSanerI (aMgrejI-- aMgrejI-gujarAtI) (1967), tathA saMskRtamAM "saMskRta gujarAtI kozaH zabdArtha ciMtAmaNi" (1900) ane "saMskRta gujarAtI zabdaratna mahodadhi' (1937, 1941) tathA ardhamAgadhImAM "jainAgama zabdasaMgrahaH ardhamAgadhI-gujarAtI koSa" (cAra bhAga 1923-28)mukhya cha / asAmAnya ke bRhad : ____ A samagra kAza sAhityamA A vibhAga nIce Ave tevo kadanI dRSTie "bhagavadagomaNDala" zIrSaka nIce 9 bhAgamAM bahAra paDelo koza che / . bhASAkALanA saMdarbhamAM: ___ A dRSTie jotAM jUnI gujarAtI ke madhyakAlIna gujarAtIno eka paNa koza prApya nathI / parantu A aMgenI keTalIka kAcI sAmagrI veravikhera paDelI che tenI vigata nIce pramANe cha : (1) bAlazikSAo (2) auktiko (3) Do. TI ena. davenuM vi.saM.nA soLamAM saikAnI gujarAtInA abhyAsana pustaka (4) Do. bhAyANInA "vAvyApAra" "anuzIlano" jeyAM pustako ane judA judA sAmayikomAMnA lekho (5) paMDita vecaradAsajI- "apabhraMza vyAkaraNa" ane chUTAchavAyA aneka lekho (6) Do. sAMDesarAnA lekho ane saMpAdano (7) tessItorI,

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gujarAtI bhASAmAM zabdakozanI pravRtti "olDa vesTarna rAjasthAnI" (ke AnAM hindI, gujarAtI anuvAdo) (8) phAgu, rAsa, AkhyAna, chaMda, Ujhaj, ityAdi jevU sAhitya / A badhA prakAranA sAhityano upayoga karavAmAM Ave te pahelAM AnI pUrvabhUmikA rUpe zAstrIya vAcanAovALI TeksTa taiyAra karavI anivArya bane cha / nUtana gujarAtInA saMdarbhamAM prApya sAmagrI para ApaNe vargIkaraNa (1) mAM vicAra karyo che / varNya viSayanA saMdarbha mAM : A kSetrane koI maryAdA hoI zake nahIM / jIvana samastane AvarI letA viSayo A zIrSaka nIce AvI zake tema chatAM amuka kSetronI amuka kSetro karatAM agratA je te bhASAsamAjanA mAnasamAM paDI hoya che / u. ta. be koza racavAmAM agratAnA dhoraNe pasaMdagI karavAnI hoya. to sAhityanA zabdakoza karatAM gALonA kozane sAmAnyapaNe pahelI pasaMdagI nahIM maLe / A dhoraNethI jotAM paNa gujarAtImAM vividha viSayone AvarI levAmAM kozonI saMkhyA khUba alpa gaNAya / je kaI kozo upalabdha che tenI saMkhyA mAMDa doDha Dajhana thavA jAya che / ane A paNa 1910 thI mAMDI 1950 nA gALAnA / 1950 pachInA gALAmAM "sAhityanA koza" nI saMvardhita AvRtti (1568) ne bAda karatAM koI gaNanApAtra kozakArya thayu hovArnu jANavAmAM nathI / navAM kAmomAM to A viSayamA carotara ejyukezana sosAyaTI (ANaMda) eka "bRhad sAhitya koza' taiyAra karI rahI che tene gaNAvI zakAya / A kSetramA hajI saMskRti, sAhitya, kaLA, rAjakAraNa, bhAratIya vidyAo, purAtattva, itihAsa, samAjazAstro, Ayurveda, jyotiSa, mAnavazAstra, gaNita, ityAdi jevA atyanta prAcIna viSayone paNa AvarI zakAyAM nathI to pachI dAstarIvidyA, gAMdhIvicAra ane sarvodaya, yaMtravidyA, samAjakArya ane zAMtisaMzodhana, jevA kALanI dRSTie Adhu neka kahevAya tevA viSayonI to vAta ja zI karavI ? ApaNI sAdhanasAmagrI ane mAnavazaktino vicAra karIne A kSetranA paNa zakya teTalAM ane pUrA karavAnI gaNatarIe pahoMcI vaLAya teTalAM kAmo upADavAM joIe / varNanA saMdarbhamAM : A vibhAgane ame hetupUrvaka be bhAgamAM baheMcI nAkhyo che / eka te zabdastarIya vibhAga ane bIjo zabdoparI starIya / prathama vibhAgamA je "zabda" sudhImAM samAI zake teno vicAra karyoM che ane bIjA vibhAgamAM "zabda"thI uparanA strno| A bIjA vibhAgamA ame muhAvarA, rUDhiprayogo, anuprAsa racanAo ane bhASAnA prayogo tathA kahevato vagereno samAveza karyA cha / ___A saMskRta praNAlino koza gaNAvI shkaay| kaviyo, sAhityakAro, vagerene potAnI racanAomAM chaMda, prAsa vageremo madadarUpa thAya e. rIte bhinna bhinna varNo pramANe goThavIne AcA kozo racAtA / gujarAtImAM "kozAvaLI" koza 13no (1865) e A prakArano pahelo prayAsa gaNAya / A pachIthI A paddhatie racAyelA ane kozAvaLInA chellA khaMDanI asaravALA "gujarAtI bhASAno anuprAsa zabdakoza" (1951) ne Avo bIjo koza gaNAvI zakAya / saMbodhi 4.1

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zAntibhAI AcArya Ama A vibhAga nIce Ave evA A be koza ane eka rUDhiprayogakoza tathA pAMceka kahevatasaMgrahane bAda karatA A kSetre paNa hajI "garIbI haTAvo" kAryakrama saphala thayo nthii| ___ ahIM eka khAsa nodha levI ghaTe te Do. paMDitanA 'phonemika enDa' mophaeNmika phrikvansIjha opha dhI gujarAtI leMgvejha' (1965) pustakanI / bhASAmAM kayA varNanI punarasti (phrikvansI) keTalI che tenI mAhitI para bhASAnI TekanolojIkala vikAsa amuka aMze nirbhara che| A pustaka e Adhunika gujarAtI bhASAnI punarastinA Alekhanano koza gaNAvI zakAya / upara darzAvelA A sivAyanA kozono hetu sAhityane madada karavAno che jyAre ahIM vijJAnane / vAparanAranA saMdarbhamA pahelI najare jotAM Avo vibhAga pADavo te kaIka "phezana"rUpa lAgavAno saMbhava cha / parantu jo Ano vicAra karavAmAM Ave to amane jaNAya che ke A vibhAgamA kozakAryanAM saMzodhanane ghaNo avakAza che / - kozanI racanAmAM A vibhAgamA ame je prakAro pADyA che teno vicAra karIne kozo racAyA hoya tevu upalabdha sAhityane jotAM jaNAtuM nathI / vaLI A prakAromAMtho chello prakAra "vidvAna" ne. bAda karatAM anyamA koza vAparavAnI hajI Teva paNa paDI che ke kema te tapAsano viSaya ch| vidvAnano artha ahIM "vidyAvyAsaMgI vyakti" eTalo ja uddiSTa cha / - AvA hetu niyata karIne thayelA kozo hoya to te amArI jANamAM nthii| kaIka aMze A vibhAgamA vese evA "saMpUrNa vejhika zabdakoza' (1939) ane 'pAyAno gujarAtI zabdakoza' (1956) e ve kozane gaNAvI zakAya / baneno hetu pAyAnA gujarAtI zabdo noMdhavAno cha / A kSetramA kozaracanAne ghaNo avakAza che / khAsa karIne bALaka ane prauDhonA zikSaNanA prazno che temAM A dRSTie kArya karIne madadarUpa banI zakAya / arthanA saMdarbhamAM : ___sAmAnya rIte moTA bhAganA kozo mukhyArtha ke pracalitArtha ApIne aTakI jatA hoya cha / A svAbhAvika paNa cha / samagrArthI koza racavo e ghaj ja vizALa ane atyanta kapara kArya cha / vaLI vidvadvargane bAda karatAM bAkonAne mukhyArtha ane pracalitArthothI kAma cAlI rahetuM hoya. che / paraMtu jo samagrArthI kozano prayatna thAya to te te zabdonA itihAsa ane tenA parivatano viSa mAhitI pUrI pADe / A mAhitI prajAnI saMskRtine samajavAmA atyanta upayogI thaay| parantu A sivAya paNa ApaNA samasta koza sAhityamAM A bhAga atyanta zithila jaNAya ch| arthanI dRSTie hajI ApaNA kozo prAraMbhika dazAnAM ja cha / ekabhASI kozomAM bhagavadgomaMDala sivAyanA badhA ja kozo A dazAnA che to bhagavadgomaMDalamAM arthano atireka, acokasAi ane gujarAtImAM pracalita na hoya tevo arthacchAyAonI hAramALA e apavAda karatAM niyama vadhAre hoya tema lAge che / A koza para kArya karI rahelA zrI ke. kA. zAstrIjI, A vAtane puSTi Apaze ema amAru mAnavu cha /

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gujarAtI bhASAmAM zabdakozanI pravRtti 27 Ama A dRSTie to kozano hajo have prAraMbha karavo paDe tevI sthiti pravarte che / bInavargIkRta : ApaNe je sAmagrI vargIkRta karIne joI te uparAMta upayogI evI bIjI ghaNI prakAzita sAmagrI che jeno paNa A pravRttinA saMdarbhamAM ullekha karavo ghaTe che / ahIM A ullekha mAtra A muddA pratye dhyAna doravA pUrato ja che / A koI vistRta yAdI nathI / vargIkRta yAdImA "zabdakoza' nAma nIce nahIM AvatI AvI keTalIka sAmagrI nIce mujaba che : (1) bAlazikSAo tathA auktiko jevI racanAo (2) "zabdArthakoza", "zabdanAM mULa" vagere zIrSako taLenI yAdIo (3) "utsargamALA", "dhAturatnAkara' ityAdi jevI racanAo, sorAbajI DosAbhAInI 2500 zabdonI aMgrejI-gujarAtI zabdanI yAdI (4) umAzaMkara jozIna "purANomAM gujarAta" (5) Do. sAMDesarAnA "jaina AgamomAM gujarAta", "zabda ane artha" pustako tathA bIjAM aneka saMpAdano ane keTalAka lekhA, tessItorI ela. pI. nA "noTsa ona dhI grAmara opha olDa vesTarna rAjasthAnI" ane bIjaM sAhitya, Do. TI. ena. davena "e sTaDI opha dhI gujarAtI leMgvejha ina dhI sIksaTIntha seMcurI" (6) dhruva ke. ha. saMpAdita bhAlaNanI kAdaMbarI ane bIjaM sAhitya (7) diveTIyA narasiMharAvanA "leMgveja enDa liTarecara" mA be bhAga (8) Do. bhAyANInA "zabdakathA", "vAgvyApAra", "anuzolano" pustako tathA anya saMpAdita pustako (9) zAstrI ke. kA. nA saMpAdanA (10) muni jinavijayajInA "gujarAtI gadyasaMdarbha' ane bIjeM sAhitya (11) paMDita becaradAsajInA prAkRta-apabhraMza sAhitya paranA lekho (12) Do. prabodha paMDitano " e enDa' o ina gujarAtI lekha (13) Do. TarnaranA "nepALI DikSanerI" ane "dhI kampereTIva DikSanerI opha inDoAryana laiMgvejIjha" e ve DikSanerIo tathA bIjaM sAhitya (14) jhulsa blokanA pustakanA "marAThI bhASecA itihAsa" nAme karelA parAMjapenA anuvAdamAMnA pariziSTo (15) gujarAtI sAhitya pariSadanI kAryavAhIo tathA anya sAhityika pratiSThAvALA sAmayiko (16) trimUrti saMpAdita "phaie pADadhaM nAma" (1957) (17) karANI jahAMgIra bI. racita "pArasI nAmo" (1963) (18) gajjara saMpAdita "zukanavaMtA phensI nAmo" (1965) (19) vinodinI nIlakaMTha kRta "gujarAtImA aTakono itihAsa" (20) "sthaLanAma saMsad" tathA anya sthaLanAmo para je je kAryo karI rahela hoya te A ane AvAM aneka pustakA-sAmayikA-lekhA-sUcio ityAdi sAmagrI dhyAnamA laI zakAya / zabdakozanA vargIkaraNanA AdhAre keTalAMka tAraNo : 1. gujarAtI zabdakoza pravRtti lagabhaga 150 varSa jUnI che / 2. zabdakozanI samagra sAmagrIne dhyAnamA letAM lagabhaga 150nI saMkhyA cha / paraMtu 20 jeTalI saMkhyA sIdhI "zabdakoza" nIce na samAya tevI cALI kADhatAM lagabhaga 130 nI saMkhyAne A zIrSaka nIce gaNAvI zakAya / AnuM vizleSaNa nIce mujaba che :

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zAntibhAI AcArya saMkhyA zabdakoza ekabhASI dvibhASI aMgrejI salagna saMskRta saMlagna apabhraMzAdi hiMdo saMlagna anya bhAratIya bhASAo saMlagna anya videzI bhASAo saMlagna varNya viSayanA saMdarbhamA kula 128 samayanI dRSTie prAraMbhathI AjasudhImAM dara varase sarerAza 1 zabdakoza bahAra paDayo che / ane chellA pacIsavarSamAM A pravRtti tenA AgaLanA gALA karatAM maMda paDI che| nIcenuM vizleSaNa A vAta bahAra ANe cha : samayagALo koza-saMkhyA 1850 pUrve 1851 thI 1900 1901 thI 1925 1926 thI 1950 __ 48 1951 thI 1973 25 kula 128 zabdasaMkhyAnI dRSTie (bhagavadgomaMDaLanI 2,81,377nI saMkhyAne sakAraNa bAjue rAkhatAM) hajI poNA lAkha zabdoe paNa zabdakoza pahoMcyo nathI / ___ judAjudA vargo mATenA, judAjudA varNya viSayonA ane judAjudA kadanA kozonI saMkhyA ghaNI ja alpa ch| __ ApaNI paDozanI bhASAo ane bolIonA suddhAM zabdakozo nahivat cha / kozanI samagrapravRttimA "A zAstrano viSaya che" tevu valaNa pratibiMbita thatuM nathI / A sthitimAthI bahAra AvavA mATe nIce mujabanA sUcano karavAmAM Ave che / gujagatImAM kozapravRtti aMge keTalAMka sUcano : 1. kozapravRtti karI zake tevI kSamatA dharAvanArI vidyAsaMsthAoe sAmuhikarIte A pravRttino vicAra karavo joIe / 2. gujarAtI bhASAno eka sarvasAdhAraNa moTo koza, kozazAstranAM upalabdha jJAna tathA sAdhanasAmagrIno upayoga karIne racAvo joIe /

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gujarAtI bhApAmAM zabdakozanI pravRtti 29 3. AnI vyavasthAnI javAbadArI koI eka vidyAsaMsthAe upADI levI joIe ane A kSetramA vidvAnonA saMpAdakamaMDaLe Ay saMcAlana karavu joIe / 3. judAjudA prakAranAM, judAjudA vargamATenA tema ja judAjudA viSayanA nAnA-madhya-moTA kadanA aneka kozo ke kozAvaLIo racAtI rahe tevI kAyamI vyavasthA koIka vidyAsaMsthAe UbhI karavI joiie| 4. A mATe AvI pratyeka saMsthAe kAmanI vaheMcaNo karI levI joIe ane zarU karelA kAma tathA tenI pragati viSenI mAhitI sahune upalabdha karatAM rahevU joIe / gujarAtIrAjasthAnI ane gujarAtI-AdivAsI bolIonA kozone turata hAtha dharavA joIe / 5. A kAryamAM rasa dharAvanArA yuvAna utsAhI kAryakaronI eka TIma UbhI karavI joiie| 6. kozazAstra ane kozaracanAno eka praznapatra ema. e. kakSAe sAhityamA dAkhala karavo joIe /

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jainasammata saMjJA ane saMjJI / haranArAyaNa u. paMDayA bhagavatI sUtra' ane prajJApanAmA saMjJAnA daza prakArono ullekha che. jema ke AhAra, bhaya, maithuna, parigraha, krodha, mAna, mAyA, lobha, leAka ane ogha. A daza saMjJAomAM prathamanI cAra saMjJAo mukhya che. kAraNa ke te viSe khAsa prazna pUchAyo che. bhagavatI sUtramA pRthvIkAyika jIvonA varNanamAM saMjJA ane mana banneno ullekha che. je ema nirdeze che ke saMjJA e manathI bhinna che. vaLI covIsa sthAnomAM dRSTi, darzana, jJAna ane saMjJAne gaNAvyAM che", tethI ema kahI zakAya ke saMzA e jJAna thI bhinna che. Ama A banne ullekho sUcave che ke saMjJA e mane ane jJAnathI bhinna che. ratnaprabhA pRthvI viSenI jijJAsAmA AhArAdi cAra saMjJA ane saMjJI-asaMjJI viSe prazna pUchAyo che"; tethI evaM anumAna karI zakAya ke AhArAdi saMjJAne saMjJI-asaMjJI sAthe sambandha nathI. vaLI asaMjJI jIva tarIke pRthvI kAyika vagere pAMca' ane chaThA trasa jIvone gaNAvyA che, jeo vedanAnu vedana kare che. pRthvIkAyika jIvone AhArAdi saMjJA hovA chatAM temane ahIM je asaMjJI kahyA che te ema sUcave che ke saMjJI ane asaMjJI jIvanA vyAvartaka lakSaNa tarIke 'badhA jIvomAM prApta thatI AhArAdi daza saMjJAthI atirikta' evaM kaMIka abhipreta che ke jene kAraNe jIvono saMjJI-asaMjJI bheda pADavAmAM Avyo che. A viSenuM samarthana prajJApanAmAM paNa maLe che, kAraNa ke tyAM keTalAka paMcendriya jIvone saMjJI [saMjJipaMcendriya ane keTalAka paMcendriya jIvone asaMjJI [asaMjJipaMcendriya kahyA che. saMjI, asaMjJI ane saMjJAtItanuM vargIkaraNa prajJApanAmAM jovA maLe che z2e nIce pramANe : jIvano prakAra saMjJI asaMjJI nosaMjJIasaMjJI [saMjJAtIta] * * 222 2 naiyika, asurakumArathI stanitakumAra / 3 pRthvIkAyika thI caturindriya sudhInA x 4 manuSyo 5 paMcendriyatiryakyoni ane vANavyatara. / 6 jyotiSika, vaimAnika 7 siddha uparyukta vargIkaraNa- vyAvartaka lakSaNa prajJApanAmA uktasthaLe jaNAvavAmAM Avyu narthA. eTalaM ja nahi paNa A vargIkaraNa kadAca guMcavADo Ubho kare tevu lAge che. saMbhava che ke A kAraNasara paravatI AcAryoe prajJApanAnA A vargIkaraNano ullekha karavo ucita nahi mAnyo hoya. (1) bha. sU. 7-8-4 (295) AhAra, bhaya, mehuNa, pariggaha, koha, mANa, mAyA, lobha, loga, moha. (2) prajJA0 8 muM pada (3) bha. sU. 13-1-1 (469); prajJA0 8 muM pada. (4) goyamA, tesiNaM jIvANaM No evaM takkAi vA saNNAi vA paNNAi vA maNei vA vaitti vA / bha. sU. 1-3-10 (36). (5) bha. sU. 1-6-4 (53). (6) bha. sU. 13-1-1 (469). (7) bha. sa. 7-5--4 (291). (8) prajJA0 23-27. (9) prajJA 23-23. (10) prajJA0 31 meM pada.

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22 haranArAyaNa u. paMDyA nandisUtramA prApta thatAM traNa prakAranA vargIkaraNane AdhAre paNa AmAMthI keTalAkano ja khulAso meLavI zakAya tema che, badhAMno nahi. prajJApanAgata vargIkaraNanA A guMcavADAnA AdhAre ema anumAna karI zakAva ke prajJApanAnA kALamAM saMjJI ane asaMjJI jIva viSe vibhinna vicAraNAo hanI, jenI samagranIdha prajJApanAmA eka ja sthaLe levAI che.11 prajJAyanAgata vicAraNAo uparAMta anya vicAraNAonu umeraNa kALakrame thatuM rahyu haze, jemAMnI keTalIka svIkArya to keTalIka asvIkArya lAgI haze. AmAMnI svIkArya vicAraNAnI noMdha nandisUtramA prApta thAya che. nandigata traNa prakAranA vargIkaraNanA AdhAre ema mAnavU paDe ke nandisUtranA kALamAM saMjJI-asaMjJI jIvanA vargIkaraNanI bAbatamA traNa vicAraNAo hatI, je nIce pramANe che. (1) henuvAdasaMjJA--A saMjJA pramANe jotAM je jIvamAM abhisaMdhAraNapUrvikA karaNazakti hoya te jIva saMjJI che. ane je jIvamAM AvI zakti nathI te jIva asaMjJI che.12 A vargIkaraNa pramANe kayA jIvone saMjJI ane kayA jIvone asaMjJI kahevA teno ullekha nandimA nathI, paNa nandinA TIkAkAroe teno ullekha karyo che. taduparAnta nandigata lakSaNanI spaSTatA paNa karI che. temaNe jaNAvyu che ke je jIva manathI paryAlocana karI zake te jIva saMjJI che arthAt te jIva potAnA dehanu pAlana karavA mATe potAnAmA rahelI karaNazakti vaDe vicAra karIne AhAra vagere iSTa vastumA pravRtti kare che ane aniSTa vastumA pravRtti karato nathI. A vargIkaraNa pramANe dvi-indriyathI saMmUrchima paMcendriya vagere jIvo saMjJI che ane ekendriya, matta temaja mUrchita jIvo asaMjJI che.13 bhagavatIsUtramA asaMjJI tarIke ullekhelA ekendriya ane trasa jIvono samAveza ahIM karI zakAya.4 nandinA TIkAkAroe bhagavatIsUtragata e jIvo uparAMta matta ane mUrchita jIvono samAveza asaMjJI jIvamAM ko che. (2) kAlikIsaMjJA----A saMjJA pramANe jotAM je jIvane IhA, apoha, mArgaNA, gaveSaNA, ciMtA ane vimarza hoya te jIvo saMjJI che ane bAkInA jIvo asaMjJI che.'5 nandinA TIkAkAroe A vidhAnanI spaSTatA karatAM kA ke je jIva avagrahAdi matijJAnavALo hoya arthAt manaHparyAptithI yukta hoya te jIva saMjJI che. ane tema na hoya te jIva asaMjJI che 16 A rIte garbhavyutkrAntika puruSa ane aupapAtika deva vagere jIvo saMjJI che ane saMmUchimapaMcendriya ane vikalendriya vagere jIvo asaMzI che. A jIvomA manolabdhi alpa pramANamAM hoya che (11) 'abhidharmakoSabhASyam' mAM saMjJA e pAMca skaMdhomAno eka ska'dha che [1-7], saMjJAno eka artha nimittodgrahaNa thAya che. [saMjJA nimittodgrahaNAtmikA / 1-10] arthAt kAlU, pILa, lAMbu, TraMku, strI, puruSa, mitra, duzmana, sukha, duHkha vagereyI vastuno nirdeza karavo te [1-15]. saMjJAno bIjo artha jJAna thAya che kAraNa ke saMjJA saMsArano pradhAna hetu che [121], te dharmadhAtu che [1-15], te dareka jIvamA hoya che 'vedanA cetanA saMjJA cchandaH sparzI matiH smRtiH| manaskAro'dhimokSazca samAdhiH sarvacetasi / ' [2-24] ane tenA cha prakAra che [1-14]. saMjJI ane asaMjJI ema jIvanA be prakArono ullekha che 2-41, 2-42, 3-5, 3-6, 1-44, 4-85, 4-96, 8-5. (12) naM. sU 69. (13) vi. bhA. 512, 513, naM. cU. 67, naM. ha. 69, mala. pR0 190. (14) bha, sU. 7-7-4 (291), (15) naM. sU. 68. (16) naM. ca. 66, naM. ha. 68. .

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jaina sammata saMjJA ane saMjJI 33 athavA to te hotI ja nathI.'deg eno artha evo thayo ke mAtra manolabdhinA astitvathI ja jIvane saMjJI kahI zakAya nahi, paNa jo manolabdhi pUratA pramANamA hoya to ja tene saMjJI kahI zakAya. AhArAdi daza saMjJAno artha upayoga mAtra karavAmAM Avato hato. paNa keTalAka AcAryo ogha saMjJAno artha jJAnopayoga ane lokasaMjJAno artha darzanopayoga karatA hatA, jeno ulleNDa haribhadre [naM. ha. 69] 'anye' kahIne karyo che. A artha pramANe ekendriya jIvone paNa mati jJAna thaI zake ema mAnavu paDe. pariNAme teone saMjJI tarIke svIkAravA paDe. A muzkelI nandinA TIkAkAronA khyAlamA hatI tetho temane kahevU paDayu ke manolabdhi hoya paNa jo te alpa pramANamAM hoya to te jIva asaMjJI ja che. prajJApanAmAM' je saMjJipaMcendriyano ullekha che tene ahIM garbhavyutkrAntika tarIke ullekhyo che, evaM anumAna karI zakAya. jinabhadre nArakono samAveza saMjJI tarIke karyo che.19 nandinA TIkAkAroe evI paNa spaSTatA karI che ke, saMjJI jIvone pAMca jJAnendriyo ane chahA manathI arthanI spaSTa upalabdhi thAya che. ane saMmUrchima paMcendriyathI ekendriya sudhInA jIvone kramazaH aspaSTa, aspaSTatara, aspaSTatama arthopalabdhi thAya che.20 A rIte ekendriya jIvone atyanta aspaSTa arthopalabdhi thAya che tethI temanu jJAna sarvajaghanya che.. (3) dRSTivAda saMjJA :-je jIvane saMjJizrutano kSayopazama thayo hoya te jIva saMjJI che. ane jene tevo kSayopazama thayo nathI te jIva asaMjJI che." nandinA TIkAkAroe AnI spaSTatA karatA kaDaM ke saMjJizruta e, samyaka zruta che. A prakAra- zruta samyakUdRSTi jIvane hAya che. e jIva rAga vagereno nigraha karI zakato hovAthI te vItarAga samAna che.22 ane te kSAyopazamika jJAnamAM rahelo hoya che.27 A prakAranI saMjJAne bhUtakALanA smaraNa ane bhaviSyakALanAM ciMtana sAthe sambandha che. kevalI jIvo smaraNa ane ciMtanane oLaMgI gayA hovAthI temano samAbeza saMjJI ke asaMjJImAM thaI zake nahi.24 AthI teone saMjJAtIta kahyA che. A spaSTatA pramANe (kevalI sivAyanA) samyakadRSTi jIva saMjJI che ane mithyAdRSTi jIva asaMjJI che. kAraNa ke samyakUdRSTi jIva hitamA pravRtti kare che ane ahitamA pravRtti karatA nathI. A prakArano viveka mithyASTi jIvamAM hoto natho.25 ahIM eka evo prazna upasthita thAya che ke keTalAka mithyAdRSTi jIvone hita-ahitaneA viveka karI zake tevI saMjJA hoya che. to tevA jIvone saMjJI kema na kahevA ? A praznano javAba e che ke, jema vyavahAramA kutsita zIlane azola kahevAmAM Ave che tema mithyAdRSTi jIvanA e kutsitajJAnane asaMjJA kahevAmAM Ave che. tenu jJAna kutsita eTalA mATe che ke, teNe mithyAdarzanano parigraha ko che tenuM jJAna saMsAranu kAraNa bane che; tene satasat no viveka hoto nathI ane tene jJAnanuM phaLa maLatuM nathI.26 tArkika paramparA saMjJAno artha pratyavamarza kare che.20 pratyavamarzano artha pratyabhijJAna thAya che.20 (17) naM. ha. 68, mala pR. 190 (8) prajJA. 23-24. (19) vi.bhA. 521. (20) vi. bhA-507-510, naM. cUM. 66. mala. pR. 190 (21) naM. sU. 70. (22) vi. bhA. 3991, naM. ha. 70, mala. pR. 191, (23) vi. bhA. 514. (21) vi. bhA. 515; naM. c, 68. (25) vi. bhA. 514; naM.cU. 68 na ha.70, mala. pR. 191. (26) vi. bhA. 516-18, naM. cU. 68. (27) laghIya. 3-10, nyA ku. pR. 104. (25) ta. zlo. vA 1-13-7. sambodhi 4.1

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haranArAyaNa u. paMDayA pratyabhijJAnako samA ra aramAna bha ne zramajAnamA paNa thAya che." A pramANe tArkika paraMparAmA saMjJAno artha mUla aho dRpivAdasaMjJAmAM joI zakAya, uparyunaH vaya prakAgemA henuvAdasaMnI ane kAlikasaMjJI jIvo bacce taphAvataM e che ke henuvAdamA prAyaH vartamAnakALa parato ja vicAraNA karI zake che. Ama chatAM keTalAka jIvonI vicAraNAna kSetra yA vizALa hoya che. teo bhUtakALa ane bhaviSyakALa viSayaka bicAyA paga karI zake che, Ama chanAM A banne kALa vartamAnakALanI taddana najIkanA hoya cha." jyAre kAlikamaMjI jIvo mudIrghabhUtakAlIna ghaTanAonu smaraNa ane sudIrgha bhaviSyakAlIna ghaTanAna citana karI zake che. Ama hetuvAdasaMjJI jIvonI vicAraNAnI kALamaryAdA alpa hoya 5. jyAre kAlikasaMjI jIvonI vicAraNAnI kALamaryAdA lAMbI hoya che. AthI nandinA TIkAkAgA kAlika saMjAnI garne dodha zabda mUkIne nene dIrghakAlikI saMjJA tarIke oLakhAvI che.32 hetubAda pramANe di indriyI maThima paMcendriya sudhInA jIvo saMjI kahevAya che paNa te ja jovo kAlikopadeza pramANa amejI gaNAya che. kAlikopadezA pramANe je jIvo saMzI gaNAya che temAMthI je jIvo samyakadRSTi che teo ja dRSTiyAda pramANe saMjJI gaNAya che, bAkInA asaMjJI kahevAya che. Ama uttarottara saMjJI jIvonuM kSetra maryAdita tharnu jAya che. jaina mata samyajJAna upara vizeSa bhAra de che. tethI saMjJI ane asaMhInA khyAvartaka lakSaNa tarIke dRSTivAda saMjJA astitvamA AvI hoya tema lAge che. upara joyu tema eka tarapha saMjI-asaMjJI viSe traNa prakAre vargIkaraNa thatAM hatA. to bIjI tarapha eka ja vargIkaraNano svIkAra thato hato. jemake umAsvAtie "saMz2inaH samanaskAH" kahIne eka ja vargIkaraNano svIkAra ko che. keTalAka samaya sudhI vargIkaraNanI A banne paraMparA samAna rIte cAlu rahI hatI. paraMtu paravartI AcAryone lAgyu ho ke traNa prakAranA vargIkaraNo binajarUrI che. kAraNa ke eka vargIkaraNa pramANe je jIva saMjJI kahevAya che te ja jIva bojA vargIkaraNa pramANe asaMjJI gaNAya che A rIte saMjI-asaMjJInA vargIkaraNamA ekavAkyatA jaNAtI nathI. AthI eka ja prakAranA vargIkaraNano svIkAra karavo Avazyaka che. ane tenA vyAvartaka lakSaNa tarIke mamanaskatva paratuM che. yazovijayajIe umAsvAtine anusarIne jaNAvyu ke je jIva samanaska hoya ne saMjJI ane je jIva amanaska hoya te asaMjJI che.35 (29) tena smRtyAdyavizadaM jJAnaM zrutamityuktaM bhavati / nyA. ku. pR. 405, atra ca zabdasaMyojanAt prAk smRtyAdikamavisaMvAdivyavahAra nivartanakSama pravartate tanmatiH, zabdasaMyojanAt prAdurbhUtaM tu sarva zrutamiti vibhAgaH / sanmati TI. pR. 553; SaD da0 bRha. pR. 85. udhRta nyA. ku. pR. 104. (30) vi. bhA. 513; naM cU, 67, naM. ha.69; mala. pR. 190 (31) vi.bhA. 513, naM. cU. 67. (32) vi. bhA. 506; naM. cU. 66. (33) vi. bhA. 506, naM. cU. 66, naM. ha. 68, mala0 pR. 189. (34) ta. sU. 2-25. (35) samanaskasya zrutaM saMjJizrutam / jai.ta.bhA. pR 7,

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jaina sammata saMjJA ane saMjJI tAraNa(a) saMjJAnA vividha arthonA traNa tabakkA jovA maLe cha : (1) saMjJA eTale AhArarAdi daza saMjJA. (2) (ka) hetuvAda pramANe abhisaMdhAraNazakti (kha) kAlikavAda pramANe matijJAna (ga) dRSTivAda pramANe samyakjJAna ane (gha) tArkika paraMparA pramANe zrutajJAna. (3) manovicAraNA [manovijJAna]. saMjJAno artha A trIjA tabakkAmA sthira thayo. (A) saMjJI-asaMjJI nA vargIkaraNamAM AhArAdi daza saMjJA sivAyanA artho ja upayukta thayA che. chelle manovijJAna arthaparaka saMjJA vyAvartaka lakSaNa tarIke sthira thaI. saMdarbhagrantho (1) abhidharmakoSabhASyam / saMpA. prahalAdapradhAna / kAzIprasAda jayasvAla anuzIlana saMsthAna, ___ paTanA / I. sa. 1967. (2) jai. ta. bhA. jaintrkbhaassaa-yshovijygnni| sampAdaka-paM. sukhalAlajI saMghavI / siMghI jaina granthamAlA / I. sa. 1938 / prathamAvRtti / (3) ta. lo. bA. tattvArthazlokavArtikAlaMkAra:-vidyAnanda svAmI / saMpA. vardhamAna pArzvanAtha zAstrI / solApura / I. sa. 1953. (4) ta. sU. tattvArthAdhigamasUtram-umAsvAti / baGgAla esiyATika sosAyaTI, kalakattA / saMvat 1959. (5) naM, cU. naMdIsUtracUrNi / cUrNikArajinadAsagaNimahattaraH / prAkRta granthapariSad, ahamadAbAda / I. sa. 1966. (6) naM. sU. nandisUtram / zrI devavAcaka / AcArya haribhadrasUrikRtayA vRttyA sahitama / prAkRtagranthapariSad, ahamadAbAda / I. sa. 1966. (7) naM. ha. nandisUtra haribhadriyA bRtti / (8) nyA. ku. nyAyakumudacandraH / prabhAcandrAcAryaH / saMpA. mahendrakumAra / mANikacandra di0 jaitagranthamAlA / bambaI / prathamAvRttiH / I. sa. 1941. (9) prajJA. pannavaNAsuttaM / amolakaR'pijIkRtahindIanuvAdasahitam / zAstroddhAramudraNAlaya, sIkaMdarAbAda / [dakSiNa]. (10) bha. sU. bhagavatIsUtram / suttAgame / saMpA. puppha bhikkhu / prakAzaka rAmalAla jaina / guDa __ gA~va-chAvanI / pUrvapaMjAba / prathama AvRtti / (11) mala-malayagiryAcAryapraNItavRttiyutaM nandisUtram / prakA0 veNIcanda suracanda / bambaI / I. sa. 1924. (12) laghIya laghIyastrayaH / bhaTTAkalaGkadevaH / nyAyakumudacandraH / (13) vi. bhA, vizeSAvazyakabhASyam / saMpA. paM. dalasukha maalvnniyaa| I. sa. 1966.

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Scope The Journal is primarily intended to promote researches in Medieval Indian Calture. Hence emphasis will naturally be on the languages, literature and cultural sources of that period. But it will also give sufficient space to other. articles which throw light on Ancient Indian Culture. Forms of Contributions Contributions embodying original researches; abstracts of theses accepted. by the University; critical editions of the anpublished Sanskrit, Prakrit, Apabhramsa, Old Hindi, Old Gujarati exts; appreciations and summaries of incient and medieval important original works; notices of manuscripts and textual. riticisms will be pablished in the Journal. Medium of Articles They should be written in any one of be following four languages: Sanskrit, Hindi, Gujarati and English. Articles written in language other than English should be accompanied by a ummary in English. Annual Subscription aland urope S. A. Rs. 20/ Sh. 30 Dollar 5.00 Other Rules (1) Contributions intended for publication in the Journal should be type-written (with double spacing) or legibly written on one side only of the paper. Copies should be retained by the authors. (2) It is presumed that contributions forwarded for publication in the Journal are not submitted elsewhere. (3) The copyright of all the contributions published in the Journal will vest jointly in the L. D. lastitute 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 works to be reviewed in the Journal should send two copies of the same, All contributions and correspondence may please be addressed to Director, L. D. Institute of Indology Ahmedabad-9

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OUR LATEST PUBLICATIONS 32. Philosophy of Shri Svaminarayana by Dr. J. A. Yajnik Rs. 30/34. apraforg: datatoregrafiaa: Fatanggar ya ; - saM0 munizrI mitrAnandavijayajI-nagIna jI. zAha. Rs. 6135. seruataf- F:- #97#2:; to Frita oft. Stre Rs. 36/36. New Catalogue of Sanskrit and Prakrit Mss. JESALMER COLLECTION -Compiled by Muniraja Punyavijayaji Rs. 37. Prakrit Proper Names Pt. II Compiled by Mohanlal Mehta and K. Rishabh Chandra 38. Karma and Rebirth by Dr. T. G. Kalghatgi 39. Jinabhadrasuri's Madanarekha Akhyayika. Edited, by Pt. Bechardasji Doshi 41. Collection of Jaina Philosophical Tracts Ed. Nagin J. Shah 42. Sanatukumaracariya Editors : Dr. H. C. Bhayani and Prof. M. C. Mody 43. The Jaina Concept of Omniscience by Dr. Ram Jee Singh 44. Pt. Sukhlalji's Commentary on Tattvartha Sutra of Vacaka Umasvati, Eng. trans. by Dr. K. K. Dixit 45. Isibhasiyaim Ed. by W. Schubring 46. Haimanamamalas'iloncha of Jinadevasuri with S'rivallabha's Com.; Ed. by Mahopadhyaya Vinayasagara

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1.9.15 SAMBODHI (QUARTERLY) 4!!! VOL. XIV JULY 1975 NO. 2 EDITORS DALSUKH MALVANIA DR. H. C. BHAYANI D. INSTITUTE OF INDOLCU

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ONTENTS rmn of Mudgala Bharmyasva (X. 102 ) Fresh Approach a. Mainkar lasa's Treatment of the Krsna Legend - K. Bhat sundarakRta nemIzvara bAlalIlA phAga / kanubhAI va zeTha tAta-kartRka anAthI-maharSi-saMdhi .ra. ma. zAha khitta-taraMgavaI-kahA (taraMgalolA) * anu. harivallabha bhAyANI

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d 1.9.15 204a THE HYMN OF MUDGALA BHARMYASVA (X.102) A FRESH APPROACH T. G. Mainkar The Hymn of Mudgala Bharmyasva (X.102) is a very baflling hymn and at the same time very interesting one. As it is, the Hymn appears to be fragmentary and Griffith thinks it to be impossible to interpret it fully and satisfactorily'. Sayana offers somewhat limited help for a satisfactory understanding of the Hymn and therefore Wilson who is seen following Sayana is also not of much significant use. Ludwig in his effort to understand the hymn in a cogent manner is forced to have a recourse to many conjectures, Bloomfield, Geldner, Pischel, Velankar and Dange have also rendered this Hymn, each in his own way. Not being completely satisfied with any of these interpretations though these interpretations are undoubtedly from very able and competant hands I have here undertaken a study of this very Hymn with a view to offer another interpretation, The Hymn clearly centres round an incident in which a certain Mudgala and Mudgalani are involved. Who are these two personalities ? According to Velankar, this is a Brahmin 'couple while according to Bloomfield, Geldner and others they are a 'sage and his wife'. To Dange, however, Mudgala and Mudgalani are not proper nouns and these two are according to him 'a village head-man and his wife', To Dange it appears improbable that Sage Mudgala bas anytbing to do with this hymn and he remarks that it is pertinent to note that Mudgalani does not come elsewhere as the wife of Mudgala and in the Mahabharata there is only a passing reference to Mudgala and his wife Indrasena and not Mudgalani, He explains away this reference to the obscure tradition of the Vedic hymn and he does not consider that there is historical fact bebind it. There is however evidence to show that Mudgala Bbarmyasva was a king and Mudgalani was his wife. Mudgala belonged to the clan of the Tstsus and an account of this particular dynasty is available in the Harivamsa (32.63-80) and this account is supported by an account available in several Puranas; thus the Vayu Purana (99.194-210), the Matsya Purana (50.1-16), the Brahma Purana (13.93.-101), the Visnu Purana (IV.19,56-72), the Agni Purana ( 278.18-24 ), the Garuda Purana (1. 140.17-24 ), and the Bhagavata Purana (IX 19.56-72). It will appear that this traditional account upto King Mudgala Bharmyagya is cogently preserved and confusion appears to enter in the account of the princes after Mudgala. Mudgala had two sons in Brahmistha aud Vadhryagva, The Mahabharata (III,113.23-24) informs us Sambodhi 4,2

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T. G. Mainkar illustrious Jady as that Mudgala's wife was Indrasena and she was an ladies. The would appear from her being grouped with other celebrated Epic goes on: 'nalasya wi damayanti yatha abhut yatha saci vajradharasya caiva / narayani cendrasena bubhuva vasya nityam mud galasya ajamidha // This name Indrasena appears in the Hymn of Mudgala also in such a manner as to suggest it being Mudgalani's name. The reference is rathirabhunmu galani gavistau bhare kstam vyacedindrasena / 2.cd. The grammatical form mudgalani' clearly expresses the relation of the woman with Mudgala while Indrasena being a word again grammatically co-ordinated with mudgulani' would appear to be the proper name of the lady in question. Further Mudgala's father in the Puranic accounts is Bharnyasva, a fact that seems to be confirmed in the Rg-vedic name of the seer of this hymn which is given as 'mudgalo bharmyasvah'. The Puranas seem to create some confusion in the accounts by mixing up the two peoples, the Titsus and the Pancalas, but it is to be remembered that there is a fair agreement in their accounts upto Mudgala Bharmyasva. The family tree would indicate that this king Mudgala and Indrasena flourished three or four generations prior to Sudasa Paijavana who is the central figure in the Dasarajna War. The Rgveda as it is, is largely of the times of Sudasa Paijavana and it is therefore perfectly natural and understandable if an event of three to four generations earlier involving Mudgala and his wife is regarded as an 'itihasa-akhyana' and becomes a proper subject for a ballad. Mr. Jambunatham (SP. 25. AIOC 1969, p. 13) regards Mudgala to be a typical Vedic rsi, a sage, who worshipped no other god than his mace, Mudgala Bharmyasva was a king undoubtedly and yet he was regarded as a sage or a 'mantradik' quite in keeping with the Vedic tradition for there are like Devapi and others who are 'ksatriya' seers. The Vedic hymn of Mudgala makes repeated references to Indra seeking his protection in 'indro avatu' (1, b), 'antaryaccha vajram indra obhidasatak' (3.ab) 'indra udayat patim' (7.C) and finally, there is the eulogy of Indra in "tram visvasya jagatah caksu indra' (12) and therefore it would be difficult to accept the view of Mr. Jambunathan that the sage Mudgala did not worship any other god than his mace. Similarly with the Puranic tradition so uniformly asserting the royalty of the sage Mudgala, it would be difficult to agree with Dange that he is only a representative of a village headman and the lady is bis wife the hymn furnishing no indication whatsoever in this regard. If at all an indication is available in the hymn itself it points to the royalty of Mudgala. In parivykteva pati. vid yam anat' (11) is an indication that Mudalani was like a parivykta, a neglected avoided wife and this reference would point to Mudgala's having

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The Hymn of Mudgala Bharmyasva (X. 102) many wives among whom Indrasena had an inferior status, a circumstance that would be more probable in a royal house than in a bermitage, though of course we have sages having more than one wives. The War, the Chariot, the Driver, Wives, Cattle-wealth all these items suggest a possibility of Mudgala being a King rather than ?si. He becomes a sage by virtue of bis having seen a hymn, having been a 'mantradyk'. In view of this indications from the hyin and also in view of the uniform Puranic tradition I think it would better accord with facts if Mudgala and his wife Mudgalani Indrasena are regarded as a King and his wife. So we are dealing here with a royal couple and not with a Brahmin couple as Velankar suggests, nor with a sage with Mace as his only god as Jambunathan thinks or with a village headman and his wife as Dange suggests. Geldner has interesting suggestions regarding this couple. He is of the view that Mudgala was an old person, an impotent as the word 'vad hri'(12) suggests, Mudgalani was young and fair wife of this old man." Geldner further thinks that humourous as well as biting fun has been made of this odd but victorious couple by the spectators of the race in "esaisya cidrathya jayem, pipyana kucakrena sincan' (11) in which they express their desire to have a ride with the fair and young driver Mudgalani. Ludwig takes Mudgala to be a King and the fair Mudgalani to be a parivrktu wife, a neglected wife, who made amends for her sterility by driving her husband's chariot to victory in a battle and this triumph of her's restored her to a honourable place among the wives of the King. To Bloomfield, Mudgaladi as Indrasena represents the female forces of Indra while the Mace represents the 'vajra,' the male forces of Indra. When these two forces of Indra, the male and the female as embodied in the Mace, the Vajra and Mudgalani the Sena, are combined they secure victory in war for Mudgala. Pargiter feels that an actual historical incident is here involved (JRAS. 1910. p. 1328) and connects this Mudgala with the Puranic Mudgala, Keith is not inclined to accept any history in this ballad. Dange thinks that here is plonghing ritual involved and there is no reference to any hisiorical incident, whether a war or a race. Such are the different approaches made by scholars towards this hymn in their efforts to solve its riddle. Thus it will be seen that there are three different contexts proposed for this hynn by these scholars. Griffith, Bloomfield, Ludwig suggest War as the central incident; Gelduer, Velankar think it to be a Race while Dange takes it to be a Ploughing Ritual, it would be worth our while to examine these views in the light of the internal evidence available from the hymn itself. What does the hymn tell us ? In the hymn there is a reference to a chariot as the word ratha'.(1) shows. Further Indra's protection is invoked in a famous (leading to fame)

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T. G. Mainkar driver. srarayya' contest, 'aji' at the very outset. Mudgalani became the frathi,' conquered a thousand, ajayat sahasram' and she did collect the Indra is invoked and is booty, bhare kstam vyacet indrasena (2), Again, requested to hurl his weapon at the enemies who seek to kill and the dan. gerous weapon whether of all Arya or a Dasa is desired to be warded of (3). In this contest, aji, Mudgala bas won a thousand cows, 'sahastama gayam pradhane jigaya' (5). The driver Mudgalani had her status increased on account of this victory, 'parivykteva patividyamanat pipyana' (11). Finall. there is the expression of the gratitude on the part of the victors whon Indra had favoured and wliose greatness therefore they extol (12). The victory belonged to Mudgala is asserted twice as if to emphasise the fact; for we get, 'sahasram gavan mud galah pradliane jigaya' (5) and again jigaya satavat sahasram gavam mudgalah pslanajyesti (9). Similari: the fact of Mudgalalli being the driver is asserted twice, in rathirabhut mudgalani' (2) and in 'sarathirasya kesr' and this is implied in a third somewhat clever suggestion in ycchanti sina nispado mudgalanim (6). The contest in which Mudgala and Mudgalani participate is an aii' (1) a 'gavisti' (2) a "pradhana' (5). There are three elements that seem to have brought success to Mudgala; for while speaking about the bull, it is said 'yena mudgalah jigaya' (5), so also while speaking o! the drughana''the Wooden Block or Mace' it is said that it was the associate of the bull, 'vrsabhasya yunjami' and through it Mudgala won the thousand, 'yena jigaya sahasram' (9). Mudgalani's driving too has been responsible in securing this victory and lastly there is the protection offered by Indra in response to the prayer in 'ratham indro 'vatu' and 'puruhuta no 'va' (1). At this contest the presence of murderous enemies, jighamsatah abhidasatak and of the weapons of dasa' and an "arya' is referred to (3), the oppo. nent is referred to as being attacked by the bull in 'kadam sma trmhar abhimatin eti' (4). Other graphic details supplied are that when Mudgalani drove the chariot and won a thousand, the wind made her garment flow, 'uta sma vato vahati voso asyah' (2); the bull had drunk a lake of water (udno hrdam apibat' (4) and with his shattering horn he attacked the opponent, "kutam sma trhat abhimatim eti' (4). This bull was a very vigorous and strong one, muskabhurah' and during the contest they made the bull thunder and urinate, 'nyakrandayan amehayan vrsabham' (5). As the bull ran, the dung fell on the person of the driver, the lady Mudgalani, <Page #104
The Hymn of Mudgala Bharinyasva (X. 102) the yuke, 'nusmai tinam nodakam ubharantyuttaro dhuro vahati pradedisat'(10). Indra has protected the chariot (1) given protection to the bull and given victory to a weak friend. (7, 12). It really needs no argument to prove that all this is war imagery and therefore it is a war that appears to be the central event. In spite of this, one may justifiably say, overwhelming clear internal evidence, Dange observes that it can be said with certainty that there is no indication of a race or a battle in it, though the words like aji' and 'abhimuti' are apt to lead one to this bypothesis'. He is of the view that the words 'bhare krtam'which obviously support the battle or the face.theory are not to be taken in too literal sense. To him it appears that the words are agha ko nu ittha dadarsa' (10) are difficult to be understood in the context of a battle. In yam yunjanti tamya sthapayanti,' according to him, the race or the battle is helpless. It is amusing to see liim observe again - after having denied with certainty the existence of any indication of a race or battle we have in this hymno a figurative use of the race or the battle and further in all probability. we bave here a traditional ritual couched in the terminology of battle'. On the strength of the word mithukstam in the context of rathain' (1) he takes the chariot to be a inock one, a procedure in which he is supported by Velankar and Geldner, and further takes the enemies, the jghamsato, abhidasato, uryasya va dasasya vadha(3) abhimati(4) as 'imaginary opponents' and in spite of the clear past tense in 'ajayat sahasram', jigaya sahasram (2, 5, 9), he observes that this fight is a mock one, not for anything lost, but for avoiding a possible loss. To him the words <Page #105
T. G. Jainkar field ritually to mark the beginning of the ploughing season. This ritual ended with an invocation to Indra for success in agriculture. The language used for the ritual is that of fight which goes well with the style of the Rered which uses the battle-garb even to describe a sacrifice. This Ritual theory' virtually makes the hymn stand on its head a complete inversion of the material supplied by it. The poetic observation in ma voto vahati viiso asvuh' is made to suggest that Mudgalani is quasi-naked. The Drughang about which it is said that 'yena jigaya satavat sahasranam' is made to represent the evil which is discarded at the other end of the field. Mudgala and his wife Mudgalani are made the village headman and his wife and further on the strength of the word Indrasena she is regarded as Indra's wife and represent Earth. The thousand cows that are 'woa by Mudgala for himself and his wife are for the common weal, 'bahare jantya' and are won through the normal process of cattlerearing. Dange practically refutes his own view when he points out that this hymn is not utilised for the ploughing-ritual as seen from the Sutra literature, the hyina utilised being RV. IV. 51. In spite of this absence in the later ritual, he asserts that we have here a ritual of agriculture which long back became obscure in the Vedic tradition which had in the long rast adapted it from the popular tradition of Folks. It really becomes dificuli to follow the reasoning here for whatever has been preserved in the popular practices of the Behirs, in South India, the modern Bendur, practices in Balaghat region could have been very well prserved by a people who are very zealous about a tradition, who are preeminently given to agriculture and cattle and who have an especial skill in developing and retaining a complicated structure of ritual, Imran the Vedic tradition. Thus in this theory what is given in the hymn itself is regarded as imaginary, what is poetical is regarded as real and finally all this ritualistic explanation lacks the support of the Vedic ritualistic tradition itself and what is more signi. ficant is that a very weighty, continuous and uniform historical tradition is opposed to it, Dange rightly desires an explanation that would explain the hymn as a whole' in a satisfactory manner and one is left wondering whether his explanation achieves what he is seeking. Velankar and Geldner are of the view that a 'race' is contemplated here. According to Velankar in this race episode Mudgalans is the principal figure. At this race Mudgala and Mudgalani won with the help of a single bull, yoked to a bullock cart, along with a dummy block, the Drughana, rerhans fitted with smaller wheels, in place of another bull. It is Mudgalani's skilllil driving that has been in the main responsible for this victory at the race. Mudgala also did play an important part in this episode since he fitted up the cart for the race, was hiinself in the cart and drove also with a whip in his hand (vv. 5 b, 7ab, 8ab, 9cd and jayema' in llc) He is

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The Hymn of Mudgala Bharinyasva (X. 102) therefore "astruvi' in the hymn (8a). Mudgala drove the bull while Mudgalani drove the dumuy, apparently a more diflicult part. This very dummy is the Gudhi (60) and kakardu' (6b). The dust raised by the dummy settles on the tresses of Mudgalani, 'rochanti sma nispado mudgalanim (6). Since the victory was to be joint we have the expressions like 'no'ya' and 'jayema (c). According to Velankar, the entire hymn is spoken by Mudgala himself and he is here seen reproducing the whole scene of the race before his mind and this includes ?ks 1,3 and 12 which according to some scholars, Griffith, Dange and others do not form a part of the account and are in all probability later additions. The hyinn is therefore according to Velankar a monologue of Mudgala about the race and the incident of his victory in it. Geldner is also of the vicw that we are here dealing with a race as Velankar thinks, yet his picture of the race is entirely different from that of Velankar, Mudgali according to Geldner is an old man, decrepit and impotent as the word 'vadhri' (12) suggests. Mudgaladi is the fair young wife of this old Mudgala. This odd couple participates in a race and is the but of ridicule of the spectators. The couple wins and the spectators indulge in jokes and ribaldry and appear to be jealous of the old sage with a fair young wife. They pity Mudgalani's lot in being the spouse of an impotent sage, 'kucukrent sincan (11) and express a desire to have a ride with her, "esaisya cidrathya jayema' (11). Mudgalani had no child as the word 'pariurkta' suggests and this was in all probability due to the old age and impotency of Mudgala. Thus the hymn breathes the turf-club atmosphere with fun, jokes and loose talk. According to Geldner therefore there are many speakers and the yks are to be accordingly distributed. The dummy or the urinating of the bull only represent the obstructions created by the rivals in the race. Tlie odd couple winding a race with a false car is the subject of the hymn according to Geldner's rendering. The atmos phere and the peculiar circumstances in which Geldner has put Mudgala and his wife are entirely foreign to the atmosphere of a Vedic race. Again in the hymn itself there is nothing whatsoever that even remotely suggests either the old age or impotency of Mudgala. Mudgalant is a neglected wife parivkta, and she with lier victory won the esteem of her husband. In the hymn again we find Mudgala exerting himself as his wife and the victory is a joint one, Mudgalani is the skillful driver but Mudgala is the victor, rathirabhut mudgalant' (2) but Mudgalah jigaya' (5,9). In view of all this evidence available from the hynin itself, it is difficult to accept Geldner's suggestions. He is reading a modern circumstance and atmosphere perhaps in an ancient hymn without any evidence from the text. Velanker follows the text in a very close manner no doubt. It is true that the word 'ai' refers to both, a battle and a race. So is the case with the word 'pradhana', and Kastha. Indra is invoked in both the contexs of

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T. G. Mainkar a war and a chariot race. For instance we see Ekadadyu Naudhas in his obvious race-hymn (VIII.88.8) invoking Indra, Races involved horses, orvat but I think rarely bulls, vrsabhas. One may here refer to vajesu arvatamiva' (IX.47.5), 'arianto na kustham' (VII.93.3). The words "rathasanga' (IX.53.2). 'rathya aji" (IX.91.1) do indicate the chariot races. Yet with all this evidence which I may call as indecisive in itself' being relevant in the contexts of both the war and the race, T am not inclined to accept Velankar, Geldner, Pischel and Von Bradke so far as their 'race theory' goes. My reasons are that in the first place we are dealing here with a bull and the car or the chariot since the hymn uses both the words, 'ratha' (1,2,11) and 'anas (6) and more commonly the race involves horses. It may be urged against this argument that here we have a unique race in which a chariot or car drawn by a bull and a wooden dummy and driven by a lady is shown as winning the race. This may be granted, But then what about the presence of the persons who seek to kill, those who attack and of the weapon of an arya or a dasa jighansatah, abhidasatah, aryasya va dusasya radha indicated in the hymn. (3) Who are the proud rivals, "abhimati' against whom the bull charges ? (4) Such vile enemies are not spoken of in the contexts of a race in the Rgveda as for instance, in the songs of Gauraviti Saktva (X.74), Ekadyu Naudhas (VIII. 80) and others. There is another circumstance which to me bas significance. It may be granted that mud galah pradhane jigaya' may indicate a war as well as a race; but then this view cannot be taken in the context of the words 'bhare krtam vyacedindrasena' (2). In the hymns of war and race there occur the words 'bhare krtam' and blare hitam' obviously referring to the prize collected. It is seen that the words bhare hitem' occur in the context of races while 'bhare krtam' occur in the context of wars. Thus in a clear 'race' context (VIII,88.8) we have 'urul kastha hitam dhanam'; at another place (IX, 53,2) we have 'rathasange dhane hite'; at yet another place (VI. 45.13) we have dhane hite bhare' and 'jesi litam dhanam. As against this in places where a war is contemplated we have the words 'bhare kytam'. Thus at one place (1, 132.1) we have 'yi cayema bhare kytam, vajayanto bhare krtam'; at another place (IX. 97.58) we have bhare krtam vicinuyama' and finally another supporting circumstance is that Indra, the most successful in war is called as jyestharaja bhare krinu'. (VIIT, 6.3). I might further refer to the fact that phrase for collecting the spoils in war appears to be 'bhare krtam vi ci' as is to be seen here. (IX. 97.58; I. 132.1) and this very pharse occurs in the hymn before us in 'bhare krtam vyacedindrasena' (2). To me, the Vedic poets appear to make a subtle distinction between a race and a war and are therefore deliberately using these two distinct phrases. In the race the prize is fixed, placed and so we bave 'bhare hitam dhanam' or dhane hite' and so on. On the other hand in a war the spoils are uncertain

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The Hymn of Mudgala Bharmyasva (X. 102) and really are to be made' and then collected. Hence we have bhare letom vi ci'. It is for these reasons that one cannot accept the suggestions that we are dealing here with a 'race'. There is yet another supposition in Velanker's exposition which makes his view somewhat difficult for our acceptance. According to Velanker, the car had on one side the bull and wooden dummy with small wheels on the other, to serve as another bull and so it was the companion of the bull, vrsabhasya yunjam as the drughana is described (9). Further Velanker feels that Mudgala himself drove the bull while Mudgalani did the more difficult part of driving the dummy. It is clear from the hymn itself that the bull and the dummy serving as the bull were yoked to the car and they sped to victory. But the circumstance of two drivers at one and the same time driving two animals yoked to a car is something very rare as well as strange. Neither the Veda nor the Epics show a supporting illustration for such an incident. It is for these reasons that the 'race' theory has to be discarded. In this manner we come to the conclusion that it is a war that we are dealing with here, a view that has been put forth by Bloomfield Pargiter and others. Yet the views of Bloomfield and Pargiter cannot be accepted in their entirety. According to Bloomfield it is a mythological fight and not a human one. According to him the theme of the hymn is a battle and in the course of it a hammer, drughana, plays an important part, a singular role. The coupling of the forces of Sena and 'Vajra as male and female embodiments of Indra's forces is the rock-bed upon which the legend has grown up. In Indrasena he sees the embodiment of the female forces and the drughana stands for the male forces. In combination, these two forces win. This is, as a matter of fact going too far. The cha. racters that participate are clearly treated as human individuals and it is difficult to think that symbolisin is here resorted to. The Mababharata and the Puranas as well as the earlier versions of the incident, though divergent in themselves, are yet uniform in making the characters historical persons and the incident a real happening. It is in this context that the view of Bloomfield becomes difficult to be accepted. Pargiter also is inclined to read a historical event and personalities as involved in this hymn but he introduces more characters in the incident than the hymn warrants. Pargiter (JRAS.. 1910, p. 1328) in the light of the information supplied by the Puranas regards Indrasena and Mudgalani as two different persons; for Mudgaladi is not mentioned in the Puranic geneology but, as the game clearly indicates, she must be the wife of Mudgala, Indrasena is given in the geneology as the daughter-in-law of Mudgala. Further the word 'yadhri' (12) in the hymn according to him refers to Vadhryasva who in the geneology is the son of Indrasena. Kesi is according to him a proper noun of the person who Sambodhi 4.2

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T. G, Mainkar drove the chariot and Mudgalani simply accompanied Mudgala in the cha riot. He thinks that Indrasena's husband Brahmistha is not mentioned in the hymn for he had taken to brahmanhood' and had forsaken possibly his wife Indrasena and it is therefore she and not Mudgalan, is 'parivrkta". All these suggestions conflict with the account of the hymn violently: for It is clear that Indrasena and Mudgalani are one and the same. Even if Sindrasena' is taken in an adjectival manner, it is qualifying Mudgalani and so these are not two distinct persons. The hymn clearly suggests Mudgaladi to be the driver and also a cause of the success and hence she is not a passive spectator. It is too much to think that "vad hri' refers to Vadbryasva who plays not only no part but also has no possible place in the incident in the hymn. Ludwig rightly thinks that here is a war described but assigns a different role to the drughana' which is a mace according to him. The mace was thrown in front for it showed the way the thieves had gone and when victory was achieved the king threw the mace upon the field of battle and it lay there kasthaya madhye drughanam sayanam' as the hymn puts it. The club or the mace helped King Mudgala in this manner. One feels that the correct significance of the phrase, vrgabhasya yunjam' is being lost here. The internal evidence is clear that the mace was yoked to the chariot and it drew it helping the bull. In view of these various opinions about the hymn a fresh look at it would appear to have some justification. The obscurities in the Rgveda are a constant challenge to its students, Sayana prefaces the hymn with two earlier references to the hymn. He goes on : fatrahuh mudgalasya htta gayah coraih tyaktva farad gavam / sa sistam sakate kllva gatvaika rjurahavam | drughanam yuyuje'nyatra coramarganusurakah / tatha nirukte' piyam katha sucita mud galo bhurmyasva rsih vrsabham ca drughanam ca yuktva samgrame vyayahrtya ajim jigaya iti'. (IX.23.) The Nirukta (IX. 23,24) practically comments on two yks (X.102, 5 and 9) of this hymn and in the process regards this account as 'itihasa' in its statra itihasam acaksate.' Durga's commentary further helps us to understand certain points about which confusion appears to have made in the different interpretaions. Thus the central theme is a war raji, pradhana, sangrama' in which Mudgala wins his stolen cattle. In the Rgveda we bave references to cattle-lifting and cattle-raiding, not only on the mythological plane but on the human one too. Mudgala has all his cattle stolen and is left with only one strong bull as the hymo describes the bull drinking a tank of water, attacking in a dashing manner the opponent and being non-castrated

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The Hymn of Mudgala Bharmyasva (X. 102) 14). So the traditional version of Mudgala being left with an old bull, Tiarad gau' is not in keeping with the account of the hymn. Mudgalans, so far a neglected wife, pariurkta, of the King Mudgala drove the chariot to which were yoked on one side the strong bull and on the other the drughana. the wooden dummy or mace. The hymn and the traditional account agrees in these details. Being an occasion of war it is natural for Mudgala to invoke Indra for help for protection (1) for attack on and a warding off of the enemies (3), to have a feeling that Indra bas protected him and the bull (7) and finally to thank Indra for the protection given (12). It is absolutely unnecessary to regard these verses as being interpolations or later additions. It is also perfectly natural to have a description of the driver Mudgalani (2,6), of the treatment given to the bull and to the 'drughana' before and after the war (4-10). The hymn is concluded with the desctiption of the good luck and fortune of Mudgalani and Mudgala (11, 12). If Mudgalani was the driver whose skill in driving was responsible for the success, King Mudgala was the warrior with the goad in his hand and fought with a heroic spirit once he had a view of the cows (8). It was indeed the victory of Mudgala, the hero with the goad and so the hymn is asserting the fact twice (5.9). The wind flowing the garment of Mudga. lani, the dung of the bull flying towards her, and her shouting are all gra. phic and poetic descriptions in the hymo (2,6). In this way the hymn describes in a cogent manner the wonderful victory that Mudgala achieved for the world, many people or followers of his to see (8). This then appears to me to be a perfect Rgvedic ballad and I proceed to translate and explain the hymn which has been regarded as a difficult one and which Bloomfield regards as belonging to the final irresolvable remnant of the Veda. RV. X. 102 Text, Translation, Notes Rsi : Mudgala Bharmyasva; Deity * Drughana or Indra. Metre : Tristup; 1, 3, 12 Bphati pra te ratham mithukstam indrah avatu dhrsnuya / asminnajau puruhuta sravayye dhanabhaksesu nah ava 11 (1) May Indra boldly protect thy chariot uniquely paired. Oh much and widely invoked one, protect us in this fame-securing struggle amidst wealth-eaters. (The first line is spoken by Mudgala and addressed to Mudgalaot while the second line also spoken by him is addressed to Indra. Hence 'te ratham, for Mudgalant is the sarathi. In the second line he invokes Indra to protect them both and hence 'nah ava'. By dhanabhaksa' are to be understood the cattle-lifters, the wealth-eaters, Being a plural it ill-agrees with ajau bich w is a singular. Sayana's second way is better. Nor can it refer to Mudgala and

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1. G. Mainkar Mudgalani as desiring the enjoyment of wealth, 'mithukrtam' is a problem Sayana takes it as 'mithah krtam asahayam krtam' and adds 'athaya mithuriti mithyanama' since there are no horses etc. 'asvadibhih sunyam krtam Velankar translates imposing' and understands Smithu' as connected with fraud, Griffith regards the meaning uncertain and renders that works on either side'. Geldner understands the words as meaning 'false'. It is possible that the word has some connection with 'mithuna' 'mithah 'mtih-ra pairing or binding involved rather than with "mithya or mithu' connected with fraud, For here is no fraud but there is indeed a unique pairing. Mudgala and Mudgnlani, a male warrior and a female driver, a strong bull and the wooden mace, the drughana and finally the all-powerful Indra and the weak vadhri Mudgala, We have 'vrsabhasya yunjam' (9) and 'yad hrina. yuja' (12). Hence Indra is to protect boldly' dhrsnuya'. uta sma valo vahati viso asya adhiratham yadajayat sahasram rathirabhanmud galani gayistau bhare krtam byacedindrasena // (2) And the wind made her garnient flow (flutter) when she through the chariot won a thousand. In this search of the cows the wife of Mudgala was the chief in the chariot; Indrasena collected the spoils in the war. (vato vahati vaso asya' is a beautiful description of the female driver, This is obviously due to the speed of the chariot, as Sayana observes 'sighrarathadhavanajanito vayuh amsukam calayati'. When a woman moves in some speed this is but natural. In the Mahabharata Virata parvan, Goharana 38. 31. we have a situation where Arjuna as Bpliannala, a female drives the cbariot of Uttara and in the context we get dirgham venim vidhunvanak sadhu rakte ca vosast, vidhuya venim dhavantam' etc. In the Mrccliakatikam Sudraka describes Vasantasena moving about as 'raktamsukam pavanaloladasam vahanti. This graphic description therefore cannot with justification be taken to suggest the lady to be 'scantily' clad or quasi-naked' for the agricultural ritual as Dange understands. Whatever is casual is regarded by Dange as the central fact, "bhare krtam' is to be contrasted with 'bhare hitam': uncertain booty collected in war as against the prize announced and fixed for a race. Indrasena is the proper name of Mudgalany. Griffith translates 'Indra's dart', the lady being sped swiftly on her way by Indra, Bloomfield understands as 'Indra's wife', a female personification of Indra's forces. As Pargiter has shown Indrasena in the Puranic genelogy is a daughter-in-law of Mudgala. Here the grammatical construction clearly indicates that Mudgalaoi and Indrasena are one and the same and the word mudgalani suggests her relation with Mudgala. Similar help by the wife is to be seen later in the Dasaratha-Kaikeyi episode where she put her band in place of the axis broken. The cattellifting occurs in the Mahabbarata where the Kauravas try to take away the cattle-wealth of the Matsya King Virata, "adhiratham sahasram gavam' would mean a thousand

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The Hymn of Mudgala Bharmyasva (X. 102) cows in addition to a chariot; but in the hymn there is no reference to an additional chariot being won (5,9). It would therefore be better to understand it as suggesting the instrumentality of the chariot in the victory and this is as a matter of fact suggested in the preceeding verse 'rathirabhut' must be understood in agreement with 'sarathirasya kest' (9) She is 'rathi' for she plays an important part through her skillful driving.) antaryaccha jighamsato vajramindrabhidasatah | dasasya va maghavannaryasya va sanutaryayaya vadham || (3). Oh Indra, hurl thy bolt amidst those that seek to kill and those that attack. Oh Bounteous one, keep away the secrcetly used weapon whether of a Dasa or of an Arya, 13 (Like the first verse this third one is spoken by Mudgala being a prayer to Indra. Some take antaryaccha' as keep it within, and connect it with the weapon kill and attack'. In this case 'vajra' is 'deadly weapon'; its primary meaning is would be better to connect 'antah' with the forms 'abhidasatal' and understand as 'amidst the enemy who attack. 'Vajra' then can be taken in its so well known and familiar primary sense. This way would also better agree with the request to Indra. abhi' with 'das' is to attack. 'yavaya' separate, keep away the 'vadha' weapon of one who uses it secretly going with 'dusasya or aryasya'. The contrast in 'vajra' and 'vadha' is intended deliberately, one is inclined to think) 'do not allow to come out, of the enemey who seeks to taken in a secondary sense of a the deadly weapon of Indra. It jighamsatah' and seeks to kill and udno hrdamapibajjarhrsanah kutam sma trmhadabhimatimeti | pra muskabharah srava icchamunah ajiram bahu abharat sisusan || (4) Delighting, he drank a lake of water. He attacked the enemy with a tearing horn. With massive testicles, desiring fame in no time, wishing to capture, he brought into play his arms, forelegs. (The bull is spoken of as the agent of the various action referred to here, drinking water, attacking enemy, desiring fame and running on all fours. Udno hrdam apibat' obviously has its agent the bull for this fact has a relation with 'amehayan' in the next verse. 'kuta' appears to be a problem; its meanings are horn, peak, a point etc. Velankar thinks that 'kuta' here refers to the Drugana, the dummy while Dange thinks that it refers to the plough-shore'. Wilson is following Sayana in rendering the cleft the mountain peak, he went against the enemy.' Griffith observes that 'feeling uneasy he hung his head and struck the ground with his horns,' Velankar renders the Kuta, the dummy, goes forward dashing down the proud rival'. To me, we have, it appears, a 'syabhuvokti' in which we are told that the bull after delightfully drinking a lake of water attacked the enemy with his horn flourishing, meaning his hora in a slanting position with a

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T. G. Mainkar view to tearing the object in front. Thus 'kuta' is the horn of the bull. "Irmhat' would be a present participle qualifying the 'kuta'. The forefeet of an animal are figuatively described as the 'bahu' arms of the creatrue 'muskabharah'; massive uncastrated testicles indicate vigorous strength of the bull. The bull ran on all fours srava icchamanah' is a link with the 'sravayye' in the very first verse. 'abhimati' is the thieves who had taken away the cows of Mudgala, Dange takes it as the symbolic evil that thwarts the harvest without any justification and so does Griffith refer it to Mudgalany's chief opponent. The bull contemplated here is the bull yoked to the chariot and through which Mudgala became victorious as is clear from the next verse. As a matter of fact, these two rks the present one and the next go together, wishing to win', sisasan, the bull extended his arms, brought into play his forelegs, ran very swiftly. It is difficult to understand why Velankar thinks that this bull was driven by Mudgala himself. There is no indication of this being the cnse so far.) 14 nyakrandayannupayanta enamamehayan vrsabham madhya ajeh | tena subharvam satavat sahasram gavam mudgalah pradhane jigaya || (5) Approaching the bull, they caused him in the midst of the battle, to thunder and to urinate. Through him, Mudgala won in the battle well-fed cattle in hundreds and thousands, (According to Velankar here is given the activity of the rivals of Mudgala to slacken the speed of the bull. They cause the bull to cry and to piss' in the middle of the race so that Mudgala may not win. We have here a battle and not a race. So approaching, 'upayantah' are Mudgala's men and not his rivals. They are encouraging the bull to further action in the battle. The animal is being fondly treated and is made to relieve itself, which is perhaps very natural after the drinking of a tank of water described in the previous verse. That the bull was made to thunder is also natural for mighty bulls do thunder and inspire fear in the minds of the others. This bull is a 'muskabharah' and hence thunders. Sayana is a safe guide when he is observing 'amehayan mutra purtsotsargam visramartham karitavantah.' Durga while commenting on the Nirukta IX, 23. rightly observes 'yava dayam sakrnmutram karoti tato laghu sukham bhavisyati iti'. 'sa hi gominam ajisrtam svabhavah.' This is animal behaviour when it is in a mood to undertake some vigorous activity. If this activity were an obstruction contemplated, then 'tena' at the beginuing of the next line would be irrel evant and would perhaps carry an unwarraned sense of 'in spite of' and not the one of 'through that bull so treated'. Velankar is naturally requir ed to add 'yet' in his rendering though there is nothing in the text to support its addition. 'subharvam' is well-fed and goes with the cattle won. 'tena', 'through this vrsabha' Mudgala won a thousand and hundred well-fed cattle in the battle, pradhane jigaya'. Dange thinks of 'consacrated water' in 'udno hrdam apibat' while in 'amehayan" seeks a reference to 'a ritual

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The Hymn of Mudgala Bhormyasya (X. 102) 15 practice', a way which may not win general approval, 'subharvam' may indicate the reason why the cattle were stolen.) kakardave yrsabho yukta astdavavacit sarathirasya kesi / dudher yuktasya dravatah sahanasa scchanti sma nispado mud galanim || (6) For crushing the enemy was yoked the bull, his driver with long hair shouted. Of the irresistable yoked, while running swiftly with the chariots the dust raised, moved towards Mudagalanj. ("kakardave' is a problem. The word occurs only here. Sayana takes it as "himsanaya satrunam'. Ludwig thinks "kakarda' to be a part of the charlot, farther end of the chariot pole. Griffith renders the word as in the hope of victory'. Von Bradke thinks the word to be 'ka pardave and thus tries to get over the difficulty. Velankar is of the view that .kakardave'is either dative or locative and is the duminy that was in charge of Mudgalani and Velankar further, thinks that it might be suggestive of the cracking sound made by the dummy. He also adds that this same dummy is called refractory, \dudhi' since it was mechanical and its movements had to be entirely guided by the driver. It is difficult to accept these suggestions. Dange takes the word to suitably indicate the dig in the ploughing, which has no suitable context here. Looking to the trend of the narrative and of the line, the straightforward way of the lines would be to regard them as parallel constructions and telling us something about the bull and the driver. The first line tells us about the very purpose for which the bull was yoked, hence we have "kakardave yukta' in the context of the 'vrsabha' and in the second line we have of the bull stated dudheh yuktasya dravatah'- all the genetives going together and this "yukta' is obviously identical with the yukta' in the first line. Thus "kakardave' gives the purpose while dudheh' a genetive speaks of the bull. 'Dudheh' also is a problem for it occurs only here. In 'avayacit sarathih asya kesr', 'asya' paturally stands for the "vrsabha' in the preceeding part. 'keft' is Mudgalani. the lady with long tresses. Her bair like her garment fluttered in the breeze and to indicate this fact the word "kebi' has been deliberately used. The words 'vrsabhah yukta asit' and 'sarathih asya kesi' clearly repudiates Velankar's suggestion that Mudgalani drove the drughana, the dummy and it was Mudgala himself who drove the bull. The entire verse speaks of the 'vrsabha' and the 'kesi sarathi Mud galani' and of nothing else. In the circumstances dudhi' appears to be the adjectve of the bull running with the cart, saha anasa, going with dravatah'. Griffith seems to drop the word in his rendering. Velankar takes it to mean 'refractory' and going with the dummy, the drughana. Considering all these factors I prefer it to follow Sayana who renders it as 'durd harasya' meaning of the irresistable' and this fits in well with the mighty fursabha' which is already described as

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16 T. G. Mainkar muskabharah' (4). In 'kakardave' the base appears to be 'karda' with an inten. sifying reduplication. The nearest classical is 'kadana' a war or slaughter nispada' is dung according to Geldner, paricles of dust flying from the hoofs according to Velankar, lifted heels according to Griffith and Schroeder 'nirgacchanto yoddharali according to Sayana. The tone of the line suggests dung as the likely meaning. That the driver so near the animal, inciting it to move on with speed by shouting, avavacit' is very naturally liked to be besmeared with the dung and the dust of the bull. The construction drayatah nispado rcchanti sina mudgalanim' should leave no doubt about tlie weaning intended. It is to be noted that here we are dealing with a verse in which three important words, 'kakardave, dudheh, nispadlah vital fo proper elucidation of the entire verse occur here only in the whole of the Rgveda, Any rendering therefore must appear as conjectural.) uta pradhimudahannasya vidvanu payunagvarsagamatra siksan / indra udavat palimaghnyanamaramhata padyabhih kakudman // (7) The knower raised up the yoking-place of this cart. Here controlling the one in whom speed was desired, yoked it. Indra in an excellent manner protected the lord of the cows. The one with a prominent hump sped with mighty steps. (Here is the account of the yoking of the choriot as completed by the knower, who obviously is Mudgala himself. The 'vrsabha' was already yoked for we get 'vrsabha yukta aszt' in the preceding verse. "asya' stands for the chariot and the construction is "asya pradhim udahan' the knower. widvan. raised up the pradhi of the chariot, Pradhi' is a problem, Ludwig's conjecture is that it means the car-pole. According to the St. Petersburg Lexicon it is the periphery of the wheel.' To Wilson it is the frame of the wagon and Sayana's explanation, though not quite clear, appears to make it the linchpin of the chariot, To Velankar it appears to refer to the spokes of the wheels. From the circumstance that this part was raised first, "udahan before the the yoking of the animal as indicated in 'upayunak' it appears to be the front part of the chariot where the animal is yoked, It is natural that this part is required to be raised to the height of the animal so that it could be placed properly on its neck as soon as the animal gets into its line, 'vamsaga' here as well as at X, 106.5, X, 144, 3. is understood by Sayana as 'vanantyagamana' one in whom movement and speed are desired, Velankar. Griffith take it to refer to the bull and Dange takes it to mean the lord of the herd. It is likely that the word refers to the Drughana which is now being yoked. It is of wood and in itself and by itself it is incapable of any movement, activity and speed. In this sense it is "vananiyagamana' as Savana explains. But Sayana refers it to the bull. The durghana is to be the companion of the bull, "vrsabhasya yunja (9) and therefore is to be yoked on the other side so that the two together could draw the chariot,

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The Hymn of Mudgala Bharmyasya (X, 102) 17 We also get 'yam yunjanti' later in the following verse (10). It appears that a contrast is intended in 'vamsamaga' the dummy, the drughana, inherently motiopless and the "kakudman' the vigoruos mighty bull. In one was speed to be desired while in the other it was a natural possession, siksan' refers the controlling and putting on the reins etc. treatment Datural to a living animal. Thus the line would mean that Mudgala, the vidvan, the kpower, raised aloft the yoking point of the car and treating the drughana as it were a bull, desiring speed in it yoked it to the chariot. In the next Jine we are told how the bull having a wooden mace on the other side as its companion ran on all fours and received excellent protection from Indra. 'aramhata' 'vegena agamat'. 'padyabhih with the activity of the feet. The two words "aghnyanam pati' and 'kakudman' bring out the might and the vigour of the bull. Sayana thinks that the description of the drughana starts from imam tam pasya etc.' 9); but I am inclined to think that it Is the yoking of the drughana that is referred to in the first line and later we get the description of the drughana after the battle is over. The second linc refers to the excellent protection from Indra and the speed of the bull for it ran in spite of the fact that it had a wooden companion on the other side. The animal was to run under odd conditions and it did the expected job in a very remarkable manner.) sunamastravyacarat kapardi varairayam darvanahyamanah / nymmani krnvan bahave janaya gah paspasanastavisiradhatta // (8) * The one with matted hair, having the goad, moved on happily, firmly, binding the wood in the leather-strap. Performing mighty deeds for many people on seeing the cows, put on strength. (Here is obviously described Mudgala, the hero of the episode. The Vedic poet with a superb economy of expressions has given two fine similes iu this verse. Mudgala in the chariot with the "astra' and bimself a 'kapardi" invites a natural comparison with the god Pasan. Another point of interest relevant in this context is the association of Pusan with the cattle. pasu, and Mudgala too is on this occasion after the cattle that have been stolen, Pusan is a "kapardi' and 'rathilama' (VI. 55. 2) and has an 'astra' (VI. 53. 9) which is 'pasusadhani'. In 'nimnani kinyan bahaye janaya' he is thought of in terms applicable to Indra. The binding of wood in "yaratrayam' refers to the yoking of the 'drughana' which is as a matter of fact, nothing but daru' and it in all probability has no reference to the yoking of the b:ll as Velankar understands. Nor is the bull the subject here as Griffith seems to understand, Dange has no doubts about with the epithets here being of the bull and of the Bull's being identified Indra. In 'gah paspasanah' and 'tavisirad hatta' Dange sees the "touching of the cows and the depositing of the seed in them by the bull', an idea that Sambodhi 4.2

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T. G. Mainkar on the very face of it seems to be foreign to the hymn in general and the rk in particular. Geldner is right in so far as he takes Mudgala to be the subject here. Mudgala's proper weapon appears to have been the drughana, but that was required to play the part of a bull and so firmly bound in the leather-strap, the 'varatra'. The weapon, therefore he used was the goad, the 'astra', bence he was 'astravi'. Thus in spite of the fact that the charioteer was his wife, a wooden dummy was yoked on one side of the chariot to play the part of an animal, an associate animal of the only bull that he was left with, Mudgala moved on happily. When he saw his cows he gained strength, put on a manly and heroic attitude and mixing the roles of the gods Pusan and Indra, worked a wondrous deed for many people, the deed of recovering of cows from his enemies. In three verses we see Mudgala as offering prayers (1. 3. 12) and in the present one we see him as the victor and indeed it is his victory that the hymn is seen asserting twice (5,9). There is propriety in thinking of the hero in terms of Indra and Pusan for here we have fight for the cattle, 'palu') imam tam pasya vsabhasya yunjam kasthaya madhye drughanam sayanam yena jigaya satayat sahasram gavam mudgalah prtanajyesull (9) Look at this companion of the bull, the drughana, the wooden mace, lying in the middle of the battlefield, through which Mudgala won a bund. red and thousand more in the battles. (According to Sayana from this verse onwards begins the description of the drughana', 'purvam vrsabho varnitah atra drughano varnyate/Further, Sayana thinks that this verse is addressed to one who is ridiculing the victory of King Mudgala when he had army and the like. "Vrsabhasya yunjam' conveys the sense that it accomplished whatever the bull accomplished. It is therefore that we get 'yena jigaya sahasram' in the context of the bull as well as in the context of the drughana'. After the battle was over, the drughana' was allowed to lie on the battlefield itself, practically neglected hence "kasthaya madhye sayanam'. Pytanajyesu' is rendered by Sayana as "sangrunesu". The idea appears to be that after the event, the bull as well as the drughana' were released from the chariot and the bull only was taken to the resting place and looked after in a manner befitting the victor, the animal that brought victory. In contrast the drughana' was lying on that battlefield itself, though it also was equally the cause of victory. Ludwig has conjectured that the King threw down the mace, but we know that the mace was yoked to the chariot.) are agha ko nvittha dadarsa yam yunjanti tamya sthapayanti | nasmai trnam nodakamabharantyuttaro dhuro vahati pradedisat // (10)

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The Hymn of Mudgala Bharmyasva (X. 102) 19 Far be the evil. Who has seen thus ? Whom they yoke, him they allow to lie down, be dumped. To him they do not bring grass, nor water. The superior one carried the yoke guiding properly. (Griffith regards this verse as unintelligible. Velankarthinks that the drughana' is placed on the chariot and is being taken home in a triumphant manner. la 'yam yunjanti' perhaps after Sayana 'yam' and 'tam' are taken to refer to the chariot whereas these expressions refer to the drug, hana' itself. Further this way of honouring the drughana' would go against the gross neglect as indicated in not offering it either grass or water which reveal the alfection and esteem. The verse speaks of the evil that is ingratitude as seen in this neglect. 'pradedisar' is directing the movement or showing the direction,' The drughana as the companion, not only kept pace with the bull but also guided the movement. It, hence, carried the yoke, dhuro vahati pradedisar'; therefore it is regarded as better, superior, excellent, 'ullara' having all these shades. Velankar rightly takes 'are agha' in the sense of fantam papam'. It is to be remembered that the drughana is the deity, devata'. It is the expression pradedisat that is responsible for the version that the mace was thrown in front of the chariot and it showed the way but such an indication is not availa. ble in the bymn.) pariurkteva pativid yamanat pipyanu kucakrena sincan esaisyu cidrathya jayema sumangalam sinavadastu satam // (11) Like a neglected wife swelling with milk she obtained her husband, she prospering through bad wheels. May we conquer with her as the driver eagerly seeking the desired wealth and cattle. May our gains be auspicious and rich in food. (Mudgalani's good fortune is here described. She was upto this time a neglected wife, a parivykta', perhaps because of her barrenness. Among the King's wives parivykta' is one who is avoided. But now through this victory which she gained for Mudgala by her driving, she found favours with him and she is restored to her proper and lawful place, in this sense she has found her husband. Mudgala did recognise the signal service rendered by her in this battle. The main idea appears to be expressed in the clause 'pipyana kucakrena iya sincan' which appears to mean she prospered as if sprinkliog prosperity through the "kucakra'. Kucakrena' is a problem. Velankar understands by it an endlessly moving water wheel and so kucakrena sincan' is one pouring water through a water-wheel to a thirsty person perhaps referring to the fact that she did oblige Mudgala in the hour of his peed. It is possible that we have here a simile with a pun, slisto pama; kucakra' suggesting a bad wheeled chariot and 'an ilorganised mechanism for sprinkling' a water-wheel as Velankar would like :

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20 T. G, Mainkar to take it. In that case the word 'sincan' also would give two meanings: one of showering prosperity agreeing with the sease of chariot with a bad wheel, and the other of sprinkling water, a life-giving thing to any needy, The word "sincan' is a tricky one. It obviously means 'sprinkling as connected with water espcially' and this must have led Sayana to think of the earth, kucakra and the showers from a cloud. His idea that Mudgalani showered arrows on the chemy has no support from the hymn which indicates that she was driver and nothing more. Sayana's explanation based on his idea of Mudgalan as a warrior is therefore unsatisfactory. This same word 'sincan' has perhaps led Geldner to think of ideas connected with sex. The root 'sific' has the sense in classical usage of 'sprinkling of semen' as in the word 'niseka' or in Kalidasa's 'nisincan wadhavimetam latam kaundim ca nartayan' where nisincan' has this sense. Geldner with this idea in his mind and perhaps with the suggestions conveyed by the word 'pariurkta' thinks that Mudgala was an old impoteot person and kucakrena sifcan' therefore would mean being spriokled with a bad pump' indicating the sexual weakness of the husband, Guldaer thinks this verse to be spoken by the spectators of the race and it is they who expr. ess their desire for a ride with the fair young wife in fesaisya cidrathya javema'. It is difficult to accept these suggestions for which there is no support from the hyinn. The masculine gender in 'sincan also might have been responsible for this idea for on that count one is likely to think of Mudgala here. In velankar's way of understanding things here kucakra means an endlessly moving water-wheel and 'sincan' irrespectve of the gender would refer to Mudgalani. Mudgalaoj's victory was achieved with an ill-equipped chariot, artificially repaired Smithuksta' and so in the simile the water-feeding mechanism also would be 'bad'. Thus the first line has two similes for Mudgalani: as a parivrkta she did find a husband and she showered prosperity on him with a bad wheeled chariot as watergiver would shower water to a thirsty through an imperfect mechanism *pipyana' would go with both the simlies, in one case it meaning swelling with milk and in another swelling with prosperity, and success. In the second line "rathya' is instrumental singular and hearkens back to 'rathi' (2) Mudgalani. Mudgala expresses his desire that with this charioteer, the most desired esa-esya, - now that Mudgalan; had won his favours - may we win, jayema, in times to come. Satam means gains in a battle and it is prayed that may these be sinavat, possessed of nourishing food and auspicious 'sumangalam.' tvam visvasya jagatah caksurindrusi caksusah / vrya yadajim trEana siyasasi codayan vadhrina yuja || (12) Oh Indra, thou art the eye of the entire world, in fact, the eye of the eye. Thou seekest to win the war with only one mighty bull, impelling

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* The Hymn of Mudgala Bharmyasva (X. 102) 21 him forth, though accompanied by a weakling companion, (The last verse is the expression of gratitude by Mudzala, as well as a clever resume of Indra's exploit here. This success was won because Indra protected the chariot (1), Indra kept away the deadly weapon of the enemy (3), Ladrd gave excellent protection to the bull (7) and Indra inspired Mudgala to accomplish something Indralike (8). There are three pairs participating here where in each case there is one who is strong vrsa while the other is a weak person, 'yadhri.' Thus in the first place there is Indra who is a vrsa and Mudgula who is a vad hri. Secondly there is Mud. gala who is a vrsa and Mudgalani who is a vadhri. Thirdly there is the bull who is a ursa and the drughana which is the vadhri. Thus 'vrsana vadhrina yuju' bas a triple application, Mudgala refers to himself as a 'vadhri in a spirit of devotion and submission. The word has certainly not that significance which Geldner reads into it, the one of impotence of Mudgala. The first line describes in the usual Vedic manner the greatness of Indra, here in particular as the eye of the world, for lodra saw with his eye the dire need of his weak friend Mudgala and helped him.) The hymn has been a dis pair of the scholars. Griffith declared that the hymn is fragmentary, and it seems impossible to interpret it full and satisfactorily. Schroeder regards the hymn to be a mime (Mysterium und Mimus im Rgveda) and in interpretation accepts Geldner without pay. ing any attention to Bloomfield's criticism. Keith regards the views of Bloomfield to be weighty and no satisfactory interpretation being possible unless these views are effectively refuted, Dange is of the view that no satisfactory explanation of the hymn as a whole which will hold good in respect of each of the verses in it has been accomplished. Bloomfield asserts that this bymn will ligure in the final irresolvable remnant of the Veda, unless a new accession of materials should enrich our present apparatus for its reconstruction. These remarks are in themselves a justification for a fresh attempt at the reconstruction of the hymn in question. The hymn is a war ballad and seems to utilise motifs that are to be seen in the later epic poetry. Thus cattle-lifting forms the very centre of the Viralparvan of the Mahabharata. Again a queen driving a chariot or helping the King in his hour of need and then receiving favours in return is to be seen in the Kaikeyi-Dasaratha episode in the Ramayana. In the task of interpreting hymn the principle enunciated by Roth of interpreting Rgveda in terms of Rgveda does not help us for we get crucial words like kakardu, dudhi for the first and only time here. Nor is Sayana every time helpful for there are places where he obviously besi. des the point. But with all that in mind, his value cannot be overestimated. Indian tradition when it exists, is not sufficiently uniform and harmonious

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22 T. G. Mainkar to form the basis of interpretation but it at the same tine cannot be negl. ected altogether. When it does not exist at all, it could be an argument against a particular way and when it does exist, it has a limited but weig. hty authority which it would be unwise to disregard. The Nirukta and the commentary of Durga, the Bphaddevata, the Puranas all throw light on this hymn and I believe, it would be much safer to walk in this light than to grope in sheer darkness.

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BHASA'S TREATMENT OF THE KRSNA LEGEND G. K. Bhat Among the 'cycle of Bhasa plays,' we have the Balacarita which dra. matizes the childhood-life of Krsna, beginning with his divine birth and closing with the killing of Kansa, The dramatic form necessarily imposes selection and presentation of chosen material; so that certain incidents may be omitted or merely narrated, certain details may be modified or changed, and characters or incidents may be newly added. All this is natural in a literary endeavour and is nearly always justifiable by dramatic necessity and purpose. But Bhasa's treatment of the Krsna legend shows some significant deviations. They need to be investigated. I will assume that the plot of the Balacarita is known to Sanskrit readers and draw attention only to some significant deviations in the story. (i) One such deviation is about Visnu-Krsna being the seventh or the eighth child of Devaki. Bhasa clearly regards this child as the seventh. The evidence, on the contrary, from the Harivamsa and the Bhagavata points out that this was the eighth child. In the Harivamga narrative, Narada informs Kamsa that Devaki's eighth child shall be his death. It is also stated through the speech of Visnu to Nidra that the seventh foetus of Devaki 'shall be transferred to her co-wife, Kamsa will think that Devaki had a miscarriage due to fear, and then Visnu will enter her womb as the eighth child, which Kamsa will try to kills. The Bhagavata states that Kansa killed six children of Devaki, the seventh foetus was the divine Ananta, a portion of Visnu Himself; Visnu instructed Yogamaya to transfer it to Rohini who lived in Nanda-gokula along with other women out of fear of Kamsa; with the other divine portion Visnu will permit Himself to be born as Devaki's son and Yogamaya will be born as the child of Nanda's wife4. People were expected to take the seventh child as a miscarriage. Apparently therefore Visnu becomes the eighth child. In the dramatic presentation of Kisna's childhood-life, the point whether he was the seventh or the eighth issue of Davaki is indeed a minor one. Yet this deviation from the puranic version exists in the dramatic version, Had Bhasa used it as a significant motive of introducing an already accepted incident in a new dramatic context or for some purpose of plotconstruction, it would have been easy to explain it as such. In that case it would have been a deliberate departure from the source made for a dramatic purpose. But it is not so, In Bbasa's play it serves no purpose whatsoever. He could easily have allowed Krsna to be the eighth child. The

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24 G. K. Bhat deviation therefore points to, in my opinion, either to a different source than the two puranas, or rather to an early phase of the Krsna legend I am inclined to think that the early phase looked upon Krsna as the seventh child and some traces of it can be discovered in the existing purana version, The purana story clearly states that Kamsa killed six issues of Devaki before the turn came for Krsna The statements in tlie Bhasa play are similar. But the legend now takes a turn. The seventh foetus is no doubt divine; but it is treated as a part of Visnu called agraja or the elder brother of Krsna by name Sarkarsana in the Harivansa and Ananta or Sesa in the Bhagavata. This foetus is transferred to Rohini and at the same time Visnu enters the womb of Devakr'. As a matter of fact, this could well be treated as the seventh conception, since it is a case of transference and substitution. It seems, therefore, the purana legend treats Kisna as the eighth child, (although it is the seventh conception in order to accommo. date the new idea that Rama or Balarama is also Devaki's child though born of Roblai and that he too is a divine incarnation. The punning on the name Sankarsana appears to be a poetic ingenuity to fit the myth of transference of foetusio. That Krsna could have been the seventh child but was treated as the eighth in order to accommodate Sankarsana or Bala-rama as the seventh is indirectly supported by another legend which the Harivamsa narrates and mixes up with the birth of Krsna : This legend is of demons, dwelling in the nether world, who were the sons of Kalanemi and known by the name Sad-garbha (lit. six foetuses). They worshipped Brahma with severe austerities and begged from Him a boou that they would not be killed by gods, semi-divine beings or men, or by the curse of sages or by weapons. This boon was granted. It enraged Hiranyakasipu as he was bypassed. He cursed these demons that they will be true to their names : They will remain merely as foetuses and will be killed in the womb by their father : the demons are six; Devaki will have six foetuses; and Kamsa will kill them as they lay in the womb. Visnu on his visit to Patala saw the great demons, Sadgarbhas, being asleep in water in the womb, under the spell of deathsleep. He entered their bodies, revived them, and asked Nidra to arrange that the Sadgarblia demons will be put in Deyaki's womb in due order. It Is further said that Nidra will receive Visnu's favour for this work and she will be regarded as the goddess of the world. This legend enables the linking of the issues of Devaki and Yasoda, because Nidra or Yogamaya will be born as Yasoda's child and the exchange easily facilitated: And it also underlines the original detail of only six issues. The supposition therefore, that in the earlier phase Krsna was looked upon as the seventh child

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Bhosa's Treatment of the Kysna Legend 25 of Devaks and the later attempt to bestow divinity on Balasama-Sankarsana necessitated the change in the number of order appears to be plausible. It then follows that Bhasa was drawing his material from the early phase of the Krsna legend, in which neither Sankarsana nor Yogamaya figured. (ii) In the dramatic story the exchange of children is neither preplanned nor mooted. Vasudeva's idea in the Balacarita is only to take the child to a place of safety away from the clutches of Kamsa. He crosses Yamuna, comes to the cowherd village and meets Nandagopa by coincidence. His request to Nandagopa is only to accept the child in his safekeeping and act as his custodian and guardian12. The girl that was born to Nanda's wife Yasoda was still-born. The babe would have been ordinarily buried. It was only because the babe suddenly came to life that Vasu. deva decided to take her away and use her as a substitute. It is not possible to say whether this is a deviation from the original legend or a calculated change effected for dramatic purposes. If the simuItaneous births of Krsna as Devaki's child and of Yogamaya or Nidra as Yasoda's13 and the substitution, were a later development of the legend, Bhasa's treatmant would not appear to be quite a deviation. It will be utilization of the known legend. At the same time it must be remembered that Bhasa's presentation is full of dramatic interest. It creates an atmosphere of anxiety and suspense so far as Vasudeva's effort is concerned. His meeting with Nanda is a coincidence in the drama, but a coincidence justified by dramatic necessity. The meeting creates further a tension of human emotions and Nanda's acceptance of Vasudeva's child elevates his character to the level of nobility. It is true that Bhasa retains in the story a number of supernatural factors which attend this incident. Yet the tense drama of conflicting human emotions is the dramatist's creation and that would never have been possible with the present legend of preplanned exchange and mutual substitution of the two babes. It is therefore possible that Bhasa may have changed the details of this incident to achieve bis dramatic purpose. The simultaneous birth and exchange of the two children is a factor which is really unconnected with the one whether the children were the seventh or the eighth issue. And so, it may have been a part of the legend, considering also the fact that the smashed girl is transformed into a divinity and Bhasa presents this miracle in the play. In that case, the only significant departure that Bhasa made would be to show that Yasoda's child was still-born and that the exchange of babies took place not secretly as in the present legand but in the meeting between Vasudeva and Nandagopa. The dead child would provide the necessary ground bringing Nandagopa out to the outskirts of the village and arrange the dramatic meeting between him and Vasudeva, However I have a suspicion Sambodhi 4.2

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G. K. Bhat that the details that the dramatist has presented, namely, Vasudeva's simple attempt to carry away the child to a safe place, leaving it in the custody of Nandagopa and then carrying away the girl, available by a lucky coincidence, to use as a substitute, may have been the features of the early legend before it was wrapped with mystery and miracle, 26 (iii) In the present legend the relations between Vasudeva and Nandagopa are not precisely defined, The Harivamsa describes Kamsa as the lord of the cows and Nandagopa as a cowherd under his sway14, Nanda's wife Yasoda was apparently liked by Kamsa15. The Bhagavata tells us that Vasudeva's wives including Rohini were secretly living in Nanda's village out of fear of Kamsale. Later, when Nanda had come to Kamsa to pay his annual taxes Vasudeva went out to meet him, Nanda embraced him as a brother and was sorry to find that loving friends cannot stay together. The Bhagavata thus assures of a close, affectionate and friendly tie between the two. Bhasa on the other hand, shows Nandagopa to be a serf of Vasudeva, Kamsa, as the king, is the supreme lord over the entire land of his king. dom. But Vasudeva is Nandagopa's 'master' and the latter calls him as such. We also learn that Vasudeva, at the order of Kamsa, had to inflict punishment on Nandagopa for some offence that he had committed, Nandagopa was whipped with lashes and fettered, Nanda enters the stage dragging his fettered foot18. This picture of the relations between the two enables Bhasa to make the impending meeting full of dramatic tension and also to create a fine human personality out of Nandagopa. Is this a departure from the legend in order to introduce a touching dramatic motive or does it reflect an earller phase of a simple legend? The point is of course difficult to be decided. But it is interesting to see that the Ghata Jataka which recounts the story of Kamsa and his sister Devagabbha refers to Nandagopa as the serving woman or maid of Devagabbhal, with whom the latter exchanged her ten sons for her ten daugh. ters in order to escape their slaughter at the hand of Kamsa. The Jataka version is quite likely to be a later one. It indicates only that a certain tradition may have looked upon Nandagopa and his wife as a possibility Vasudeva's servants. (iv) Towards the close of the first act, when Nandagopa accepts the responsibility of looking after the child Krsna, the dramatist presents an actual vision of Visnu's vehicle and his weapons. These are presented In human form on the stage and verse and prose speeches are assigned to them. Visnu's weapons and his vehicle, the Eagle, are quite well-known. Their presentation on the stage, although it deviates from the purana story, may have been added for a definite dramatic effect. It reveals and

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Bhasa's Treatment of the Ktsma Legend 27 emphasises the divine descent of Visnu in human form; it also presents a spectacular episode which will have a thrilling impact at least on a section of the audience. The personification of the divine eagle and the weapons serves, therefore, a dramatic purpose and this is its only justification. The only point worth-considering is that here, as also in the Dutavakya, Bhasa introduces five weapons : the discus Sudarsana, the bow Samiga, the mace Kaumodakr, the sword Nandaka and the conch Pancajanya. The usually known accompaniments are Sankha, Cakra, Gada and Padma (conch, discus, mace, lotus). Is the difference, again, a matter of chronological modification and evolution ? (v) The miracle at the smashing of the girl by Kamsa occurs In the dramatic story. But the details vary from the puranic account. Kamsa, in the Balacarita notices that a part of the smashed girl falls to the ground, but another part rises up in the sky. It reveals multiple arms all blazing with weapons and seems to have manifested itself to strike Karisa down. Kamsa feels that the time of his death has come; the apparition looks like the Night of Death (Kalaratri) weilding a spike of sharp edge and grows in size in terrifying robes20. The vision is called Kartyayani. She is accompa nied by Kuadodara, Sankukarna, Mahanila and Manoiava who form her retinue. She describes herself as having killed Sumbha, Nisurnbha, Mabisa and other enemies of gods and as now taking birth in the family of Vasudeva for the purpose of destroying the Kamsa family21 In the Harivamsa account she is Nidra who is called upon for assistance by Visnu. She is to transfer the Sadgarbha demons to the womb of Devaki so that they will be born as Devaki's children. She is also to transfer the seventh foetus to Robini and permit herself to be born as Yasoda's child and thereby she will be the ninth incarnated issue in the Visnu family22, Krsna being the eighth, Visnu promises her personal favour for this service. When Kamsa would hold her by one leg and smash her on the stone she would rise up in the sky : She will have the same dark complexion as that of Visnu, but the facial features of Sankarsana; massive arms holding three-pronged spike, a sword with gold handle, a pot of sweet wine and a lotus. She will wear a blue garment and a yellow covering garment, a necklece shining like moodsays, heavenly ear-rings. She will wear her hair in three circular piles with a crown. Her long arms will be as smooth as serpant-slough and she will have a natural shoulderornament and also a raised banger of peacock feathers. She will be surro. unded by the host of goblins. Indra will coronate her as a goddess and she will be installed on the Vindhya mountain as Kausiki. She will kill Surbha, Nisumbha and other hill-dwelling demons. On the nineth day she will be offered worship and food of meat and will fulfil the desires of her devotees. She is given various names, among which Kalaratri also occurs23.

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G, K. Bhat This descriptiou is presented as Visnu's prediction of the coming event. Later, when Kamsa actually smashes the babe, she rises up as a very beautiful divine girl, laughing and dancing in sky and promising that she will tear Kanisa's body and drink his hot blood24. The Bhagavatu account is much similar. Here she is Yogamaya whom the Divine Lord orders for assistance. She is promised worship and offerings from men. She will be known in many places and by many names like Durga, Bhadrakali, Vijaya, Vaisnavi, Kumuda, Candika Krsna, Madhavi, Kanyaka, Maya, Narayani, Isani, Sarada, Ambika2. In the actual miracle she is described as the younger sister of Visnu, eight-armed, weilding eight Weapons (bow, spike, arrow', skin or armour, sword, conch, discus, mace) and heavenly garments, garlands, unguents, jewels and ornaments 26 The significant variations present in the dramatic story will now be apparent : (i) The dramatic detail that on smashing a portion of the babe's body falls to the ground and another portion rises up in sky is not present in the purana versions (ii) The dramatist calls this Vision by the name Kailyayani. This name does not occur in ihe purana list, One of the names, Kalaratri, is found in the drama, But it is significant to reme. mber that it occurs not as a nane but in an imagery which Kamsa uses before the Vision rises up. (iii) The purana accounts refer to the accompa. nying host with a vague term 'Bhutagana'. The drama gives four specific games which are not found elsewhere. (iv) The personal appearance, number of arms, weapons etc, connected with the Vision are again different in the dramatic and puranic accounts. (v) The connection of this Vision with Visu's pre-planned arrangement is naturally absent in the dramatic Story. I am not attempting here a study of the Krsna legend in its gradual phases of growth and evolution. It is a subject that must take a separate treatment. I am concerned for the moment with Bhasa's treatment of the legend, And the comparative study so far indicates the followiog conclusions: (1) Some details in the dramatic version, like the relation between Vasudeva and Nandagopa, the visions of Visnu's weapons and of Kartyayani, may have been introduced for a dramatie purpose and for a spectacular stage effect. (2) Some variations, however, like Krsna being the seventh child of Devaks, absence of the mention of Sankarsana as well as of the prearranged plan of the exchange of babes, and in that case Nandagopa being shown as the serf of Vasudeva, cannot be completely justified by dramatic necessity. There is a possibility that some such details may refer to an early phase of the Krsna legend which was known to the dramatist,

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Bhasa's Treatment of the Kisna Legend 29 (3) The dramatist does not minimize the miraculous and supernatural elements in the story. He even uses some of them for a dramatic and spectacular effect. Yet the vision of Kartyayani contains a little puzzle. Some details in it, like the associates of the goddess, may possibly go back to a period anterior to that of the puranic account. The mention of Sumbha and Nisumbha, however, seems to be definitely associated with Kali or Durga with whom the Vision is identfied in the purana story. This according to many critics is a later development, If so, we must suspect an interpolation in the dramatic story, not in the entire episode but only in the verse put in the mouth of Kartyayanja? The point, of course, is difficult to be decided, the state of accuracy of relative chronology in Ancient Indian History being what it is. But we may admit the possibility that some passages, especially verses may have been later introduced in the play to make it up-to-date, though such insertion was an anachronism It is not necessary to assume that the entire play is spurious; it cannot become one because a few passages are of doubtful chronology. Besides, we know that Krsna worship, which is connected with the Bhagavata religion is quite old. Megasthenes (300 B. C) knew Mathura as the centre of Kinsa worship 28 Dr. Bhandarkar points out that Vasudeva-Klsna is an old personality and his identification with the cowherd Krsna (which latter is the subject of the drama) may be dated from about the beginning of the Christian era29. The present Harivamsa is supposed to be composed at about 400 A. D. Dr. P. L. Vaidya believes that it contains the oldest phase of the Krsna myth'so. The oral tradition must naturally go back quite a few centuries. Some of the divergences found in the dramatic story may be due to the fact that it drew material from beliefs which belong to a floating period between the old oral tradition and the new purana phase of the legend based on bardic variations. Foot Note : 1. Cf. Balacarita 1.10 3ftforagida grla ooit yara1997 ACH TATOUT 1.19. 11, 71-72, gyda speaking to Nandagopa 9464 23 canla Farfet gran kaMsena mama SaTputrA nidhanamupAnItA iti / ... tat saptamo'yaM dIrghAyuH / 11.12 (ayca:) qori garai A9C4 ATTH... 11.17 ($27:) 374, PE HATTA Estad ua: 1 .. 2. Harivansa (HV) (Cr. Ed. BORI) 46 15 : tatraiSA devakI yA te madhurAyAM pitRSvasA / asyA garbho'STamaH kaMsa sa te mRtyubhaviSyati / /

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30 G. K. Bhat also HIV, 47.10 : saptamAn devakIgarbhAn bhojaputro vadhiSyati / aSTame ca mayA garne kAryamAdhAnamAtmanaH || 3. Harivania, 47.32 : patito devakIgarbhaH saptamo'yaM bhayAditi / refer kaMso yatnaM kariSyati // 4. Bhagavata (Bh) X : 34 An aerial voice announces to Karisa, as he is driving the newly wed Devaki to her home, that her 8th son will kill him : pathi pragrahaNaM kaMsamAbhASyAhAzarIravAk / startargat garbho hantA yAM vahase'budha || And Bh. X.il : teSu aat are at manantaM pracakSate / garbhA babhUva devakyA harSazokavivardhanaH ||5|| yogamAyAM samAdizat // 6 // ... bhagavAnapi tatar jaThare garbha zeSAkhyaM dhAma mAmakam / tat saMnikRSya rohiNyA udare saMnivezaya ||8| athAha maMzabhAgena devakyAH putratAM zubhe / prAsyAmi tvaM yazodAyAM nandapalyAM bhaviSyasi ||9|| 5. Bhagavata Xti: garbhe praNIte devakyA rohiNIM yoganidrayA / aho visito garbha iti paurA vicukuzuH || 15 || 6. Harivania, 48.2: bAleSu devakyA auraseninA ||4|| SaD garbhAn niHsRtAn kaMsastAn jaghAna zilAtale / Bhigavata X.ii. 4 : hateSu SaTsu bAleSu devakyA augraseninA / 7. See footnote (1) above. 8. H.V. 47.31; Bh. X.ii.5;8. 9. C. HV. 48.8 : tasya garbhasya mArgeNa garbhamAdatta devakI / 10. See H.V. 47: ma devakIgarbhA yazaH saumyo mamAgrajaH / sa saMkrAmayitavyaste saptame mAsi rohiNIm // 30 // saMkarSaNA garbhasya sa tu saMkarSaNo yuvA / bhaviSyatyagrajo bhrAtA mama zItAMzudarzanaH ||31|| Also 48.6 : nasya garbhasya svagarbhe cAhitasya vai / saMkarSaNo nAma zubhe tava putro bhaviSyati // The Bh. has the same explanation, it also explains the name Rama and Bala. See Xii,13: garbhasaMkarSaNAttaM vai prAhuH saMkarSaNaM bhuvi / -rAmeti lokaramaNAd balaM balavaducchrayAt //

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11. HV, 47.11 to 29. 12. Cf. Balacarita, 1.10. 5ff. devakI - kahiM ayyautto imaM gaissadi / Bhasa's Treatment of the Krsna Legend vasudevaH - devaki satyaM bravISi / ahamapi na jAne / kintu ekacchatrachAyAM pRthivIM samAjJApayati durAtmA kaMsaH / tat kva nu khalu AyuSmAn netavyo bhaviSyati / athavA yatra deva vidhAsyati tatra bAlaM gRhItvApakAmAmi / Later he says to Nandagopa ( I. 19. 74-75 ) : nAsti mama putreSu bhAgyam / tava bhAgyAjjIvituM gRhyatAm / Nanda also says in fear (I. 19. 76-78) : jadi kaMSo LAo puNAdi-vaSudevaSSa dALao NandagovaSNa hatthe NASo Nikkhitto nti kiM bahuNA garda evva me pIrSa / 804 Also 48.11 : 13. Cf. HV. 47: Visnu directs Nidra as follows : yA tu sA nandagopasya dayitA kaMsagopateH / yazodA nAma bhadraM te bhAryA gopakulodvahA ||33|| tasyAstvaM navamo'smAkaM kule garbho bhaviSyasi / Tara saMjAtA kRSNapakSasya vai tithau // 34 // ahaM tvabhijito yoge nizAyA yauvane gate / ardharAtre kariSyAmi garbhamokSaM yathAsukham ||35|| aSTamasya tu mAsasya jAtAvAvAM tataH samam / prApsyAvo garbhavyatyAsaM prApte kaMsasya zAsane || 36 || garbhakAle tvasaMpUrNe aSTame mAsi te striyau / devakI ca yazodA ca suSuvAte samaM tadA // 47.33 : quoted above. 14. Cf. HV 15. Cf. HV, 48.12 b : nandagopasya bhAryA vai kaMsagopasya saMmatA // 16. Bhagavata X.ii. 7 31 rohiNI vasudevasya bhAryAssste nandagokule | anyAzva kaMsasaMvignA vivareSu vasanti hi / / 17. Bh. X. v. 19 ff. 18, Read, Balacarita 1.19. 22-25.: yogeNa bhaTTA vaSudeva tti jANAmi / jAva uvaSapiSSaM / ahaba tahi mama kiM kayyaM / ediNA kaMSa ThaJo vaaNaM SuNia avaLaddho kaSAhi tALia NiaLehi baddho mhi / 19. Reference quoted in Tribes in Ancient India by B.C. Law, Bhandarkara Oriental Series No. 4, 2nd ed. Poona, 1973; p. 43. See the Jataka ed, by V. Fausboll. Vol, IV, London. Trubner & Co., 1887; pp. 79 ff for Ghatajataka. The original wording is nandagopA nAm' assA paricArikA ahosi 1 20. Balacarita, II, 18, 19. 21. Ibid, II. verses 20 to 24. 22. Harivam'sa, 47. 26-34. 'Ninth' in the general order of issues; but she will be born simultaneously with Krana.

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32 G. K. Bhat 23. Ibid., 47, 38-55. 24. Ibid., 48. 28-35. 25. Bhagavata, X. ii. 6-12. 26. Ibid., X. iv. 9-11, 27. Balacarita, 11.20. 28. See Rapson, Cambridge History of India, Vol. I, p. 167. 29. Vaisnavism, Saivism and Minor Religions Systems, Bhandarkar O. R. Institute, Poona 1928; pp. 49-54. 30. Harivansa, Critical edition. Bhandarkar O.R. Institute, Poona, 1969. Introduction pp. XV and L. 1928.

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- yama sudarakRta nemIzvara bALalIlA phAga kanubhAI tri. zeTha prAstAvika prAcIna gujarAtI sAhityamAM je vividha kAvyaprakAra kheDAyelA che. emAM vasaMtanA vaNuMne eka viziSTa sAhitya prakAra upasyuM che, te phAgu, phAgu kAvyamAM kaMIka ItivRttane AdhAra laI prakRtinI bhUmikAmAM "mAnava bhAva ane prakRtinuM samanvita' nirUpaNa hoya che. vasaMtavarNana uparAMta gumAM vasaMtakrIDA paNa hoya che. gujarAtI sAhityamAM prAraMbhamAM prApta thatA phAguo prAya: jaina che, jyAre jainetara kRtio pramANamAM alpa che. enA kAraNamAM jainabhaMDAranI saMghaTita vyavasthAne gaNAvI zakAya. jainetara paraMparAmAM AvI koI vyavasthA nahIM hovAne kAraNe a85 pramANamAM kRtio prApta thAya te svAbhAvika che. phAgu kAvyaprakAra jainenI ja maulika sajanA nathI, paNa dharmopadezanA eka sAdhana tarIke sAhityane apanAvatA jainAe anya sAhitya prakAranI mAphaka A prakAra paNa paraMparAmAMthI apanAvyuM che. jenA phAguomAM sthUlibhadra, neminAtha, jaMbUsvAmI ane pArvanAtha jevAnA caritranuM nirUpaNa karatA phAgue ThIka pramANamAM prApta thAya che. atre saM. 1494 [I. sa. 1438] jevA prAcInakALanA "kavi dharmasuMdarakRta nemIzvara bAla lIlA phAga" kAvya saMpAdita karyuM che. pratavarNana ane saMpAdana paddhati prastuta kRtinuM saMpAdana lAlabhAI dalapatabhAI bhAratIya saMskRti vidyAmaMdira, amadAvAdanA nagarazeTha graMthabhaMDAranI kRti kramAMka 166 87 nI eka mAtra prata parathI karela che. pratamAM kula cAra patro che. pratyeka patranuM mApa 105"x4.4" che. pratyeka pRSThamAM Azare 16 paMktio che. pAtaLA kAgaLanI A prati devanAgarI lipimAM kALI zAhI vaDe lakhAyelI che, paNa kanA kramAMka lAla karelA che. pratane pAnAnI kinArIo kapAI gayelI che. eTale keIka akSaro naSTa thayelA che. pratane lekhana saMvat prApta thato nathI paNa lekhanapaddhati anusAra te anubhAne sattara zatakane hoya ema lAge che. AraMbha : 9 namaH vaddhamAnazAradAmai namaH | aMta ? iti zrI nemIzvara bAlalIlA phAga :. zubha bhUyAta brahma vardhamAnapAdapadmaprasAda prastuta kRtinuM saMpAdana upalabdha ekamAtra prata parathI karyuM che. sarvatra mULa pATha kAyama rAkhe che. saMskRta ke lekabhASAnI asaravALA che ane hastapratamAM paNuM e prAmaH apabhraSTa svarUpamAM maLe che te zudhdha karyA che.

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kAvyanA kartA; dharmasuMdara krAgyanI prArita parathI A kAvyanA kartA kakkasUrinA ziSya dharmasuMdara che ane enI racanA saMvat 1494 [che. sa. 18438] mAM thai hovAnuM kahI zakAya. saMvat cauda carANuvai, kAga racitra rasi badhura, jANuvai catura apAra, jiSNuvara temikumAra. X zrI kasara garUa racI, pArmIe navarsa sa'pada, * X viraciOM nemi vilAsa, sapada sakala nivAsa. kAvyam zrI neminAtha bAlakalAvi (nodA.) zrI dharmasu darakRtaM sarasaM vasante / yaH pApaThIti rasanAsphuTabhaktibhUri tasyodbhavanti sahasA sakalAdhdhayazca // A sivAya dha sudare zrIpAla prabaMdha copAI " [racanA saMvat 1504] nAmanI kRti nI racanA gujarAtImAM karI hovAnA ullekha maLe che. kAvyamaya prakAranA saMskRta zlAka sivAyau kaDIomAM kavi 'phAgu' aMdAlA' 'rAsa' ane 'kAvya' saMjJAthI prayojAyelA saMskRta nRttonA AvAtA upayAga kare che, je A AMtaraprAsa ke AMtarayamakasAMkaLIyukta 'vasaMtavilAsa' [ajJAtakRta] Adi phAgu kAvyAnA racanAprakAranI dhATIno paraparAnA sAtatyane sUrya che. chaMdanI mukta pravAha ane yamAmAM AmAsanA abhAva mAna kheMce che. prastuta phAgu--kAvyanA viSaya jaina paraMparAnA prasidhdha bAvIsamA tIrthaMkara neminAthanA caritra-prasa`gane AlekhavAnA che. 1. jaina gurjara kavio, sa'pA. mA. 6. desAI, muMbaI, 1944, bhAga 3, khaMDa 2, pR. 1488

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dharmasuMdarakRta nemIzvara bAlalIlA phAga OM namaH zrIvarddhamAnazAradAyai namaH / girinAragireaulo nattvA rAjImatIvaram / kiJcid vijJapayiSyAmi zrInemiM karuNAparam // 1 // caJcaccandramukhIM nirIkSye ramaNI rAjImatI raGgatastanvIM yAM pravadejjanaH kalakalAkauzalyato bhAratIm / divyAM kalpalatAM kimatra kamalAM lIlAvatI komalAM tAM tatyAjatarAM parAM jinapatinemozvaraH saH zriye // 2 // pahilaM praNamisu sarasati, sarasati vacana-vilAsa / mAgisu raMgi nava rasa, navarasa karai prakAsa // 3 // ugiu abhinava surataru, suranara sevai pAya / karuNArasa kiri saravara, jinavara tribhuvana-tAya // 4 // tejiI dinakara jIpai, dopai komala kAya / pAmI sarasati-Ayasu, gAyasu yAdavarAya // 5 // aMdolA sovarNamaya prAkAra, viracai deva-vihAra / maNimaya suMdara rUpa, jIpaI maMda(2), rUpa // 6 // mahIdhara maMDanasAra, garUmo jihAM giranAra / sura hari parivarI e, dvArakapura varI e // 7 // manamatha siuM sama rUpa, samudra vijaya tihAM bhUpa / dAni suratarU e, tejiM dinakaru e // 8 // kahai iti kamalA kevi, rANI chai sivadevi / tasa manamohaNU e, nemi sunaMdaNu e // 9 // suratarunu avatAra, avani nemikumAra / bhAvaThi bhaMjavai e, sura hari raMjavai me // 10 // 1. nirIkSa, 2. maMda

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dharmasundarakRta rAja karai tihiM rAu, vasudeva kerU jAu / neminu baMdhava e, nAmi mAdhavU e // 11 // . phAga samudravijaya-dhari avatariu, surataru avani-zRMgAra / proNai e. jasu tribhuvana, bana jima dhanajaladhAra // 12 // yAdavavaMzavibhUSaNa, duSaNa koi na agi / jina tani pApa-vihaMDaNi, guNa-maNi nivasai raMgi // 13 // saMpada savea samopaI, lopai pApa-praveza / catura-ciMtAmaNiM jinapati, surapati namaI asesa // 14 // dekhIya caraNa sakomala, kamala karaI vani vAsa / kamalA paMkaja parihari, jima dhAre racaI nivAsa // 15 // raMjai jasa paya suravara, asura naresara nAga / caraNa--kamali tiNi lAgu, bhAgu vAdi rAga // 16 // jasa mukhi jItu zazidhara, nisi bhari Ugai kSINa / sola kalA zazi dIdhIya, sudhIya vahai pravINa // 17 // tribhuvanajana-manamohana, mohanavalli suraMga / / nirakhIya yAdava samaratha, manmatha thiu anaMga // 18 // taruNI-jana mana-raMjana, aMjana-puMja samAna / sohagasuMdara nayaNaDAM, kamalaDAM lahai upamAna // 19 // uparibha (1) dIpaI bhamahaDI, vAMkuDI kajjala-sAra / taruNI-jana-maNa-AMkuDI. vaMkuDI dhanuSa-AkAri // 20 // surataruvara tara navadala, karatala karaI upahAsa / vidruma-pallava-nava-zikha, nakha-zikha jIpaiM jAsa // 21 // .. atha rAsau kamalA keli karai jasu aMgi, sarasati vadani vasati bahubhaMgI, raMgI sohagasAra // 22 // taruNI-jana mana-raMjana-svAmi, tarUNa-vaya lIlA gayagAmI, narapati nemikumAra // 23 //

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nemIzvara bAlalIlA phAga ramali karati jima kamali marAla, solakalA zazidhara suvizAla, uri . mugatAphala-hAra // 24 // vani vani bhaMga bhramati jiNi lIlAM, smali karati tima jina savi velAM helAM gaMjiya mAra // 25 // dhari puri nayari bhamati giri-zRgi, krIDA karai ti sauvarNa-gi, raMgi nemikumAra // 26 // gaja ratha ghoDe thAi asavAra, sAthiM yAdavarAya parivAra, sovarNa-sAra zrRMgAra // 27 // Aviu AnaMdi jiNa eka velAM, bhamata bhamata tINaiM AyudhazAlA, . lIlAM - lIdhu zaMkha // 28 // jANe jagata taNuM jasa pIdhuM, jinapati zaMkha sukhi mukhi dIdhu ___kIatihi ninAda // 29 // paMcayajJa puriu paramesari, tiNi nAdiM AkaMpiyA. sura-hari nara-hari nai . balabhadra // 30 // rAjasabhA hui sakala aceta, kRSNa kRSNa mana hUu bhayabhIta, jinapati balihiM anaMta // 31 // zaMga Talakkai dhUmaI parvata, tiNi nAdi AkaMptiu raivata, daivata mAni AkaMpa // 32 // sura taNau bhAraga tiNi buriu, nAgaloka nAdi, pariprila, curiu hari bhana-jaMpa // 33 // phAga pauruSa nija tanu parihari, hari mani huu AkaMpa, jaMpai koi savArai, vArai au ajaMpa // 34 // AsA-tarUara sUkau, mUkau niya-mani mAna, rAja achai amha parahaNuM, parahaNuM naraga-nidhAna // 35 // Adari sAhasa puNaravi, garaviM Apai bAha, pekhatAM suranara svAmIa, nAmI hari taNI bAhaM // 36 // kutigi tu rahIu jinavara, maNahara-bAha laMbAvi, tiNi khiNi hari--kopAruNa, prANa karai tihAM Avi // 37 //

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dharmasundarakRta na namaiM bAhaM mahAbala, sAmalanI sukumAla, hari hIDoliu AliM. ___bAliM bala suvisAla. // 38 // kaMsAsura jiNi roliu, toliu te bhuja-daMDi, bali chala-karaNi vadItu, jItu teha bala-caMDi / / 39 // samastha sevaiM sUrapati, narapati nemi kumAra. caraNa -kamali paripUjaI, kujaI ga jima sAra // 40 // hari Aviya hiva niya-dhari, avasari jaMpai premi, yAdavarAja alaMkari, nava pari dAkhu nemi // 41 // vacana amharAM Adari, suMdari paraNi-na svAmi, kai kahuM kamalA-sarasatI, rAjamatI abhirAmi // 42 // sura-nara-nAyaka jJAnIya, mAnI athirU saMsAra, navi paraNai vare nArIya, vArIa pApa-vyApAra // 43 // nemi na bhIjaI tarUNIaM. tarUNI lIghaI nAmi / tuM puhAtu madhu Rtupati, ratipati si abhirAmi // 44 // . madhu AviiM savi aMganA, aMganA karaI zrRMgAra / kari kaMkaNa pagi neura, keuri pahiraI hAra // 45 // bAlA gAyaI avisari, ava sari rAga vasaMta, vani vani khelaI padamini; padamiNi padama hasaMta // 46 // kAvyaM vikasita kamalAlI, raMgarelI pravAlI, tastari vanamAlI, dIpatI campakAlI, kusumazara-zarAlI, ketakI aNIAlI, ramijhimi varabAlI, phUlaDo lii rasAlI // 47 // malaya-pavana vAaI, kokilA raMga gAaiM, bhamara vani na mAaI, ulaTI kAma dhAaI, virahaNi na phirAI, vegalaI prANa jAaI phalada phali bharAyaI, aMganA raMga thAaiM // 48 //

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nemIzvara bAlalIlA phAga phAga samudravijaya-nRpa-naMdana, caMdana-vacana-vilAsa, vasaMta taNe guNi rAtu, puhutu raivata-pAsi // 49 // tatakhiNi hari-aMteura, neura ruNajhuNakAra, sAthiM cAlaI pAlakhI, navalakhI bahu parivAra // 50 // sAthi thiu rathiu mAdhava, mAdhava dasai dasAra, tArApati tihAM sohai, mohai nemikumAra // 51 // disi disi dIpaI kiM suka, kiM zuka mukha-prakAri, kiri kusamAyudha-dIpaka, kaMpaka virahiNi nAri // 52 // kiMzuka-kusuma ki AMkuDI, vaMkuDo virahiNi--cIta, tiNi kAraNi nara navi rahaI, virahaI tihAM bhayabhIta // 53 // vani vani padaminI vicarita, rati jima bahula vizAla, krami krami karaI guMjArava, Arava madhukara-mAla // 54 // kumumAyudha adhikArIya, kArIya madhukara mAla, virahaNi-jaNa mana tApIaI, ApAaI kiri karavAla // 55 // ardha rAsau goraDa-bhaMga atihiM gahagahiyA, mahimahiyA muMcakuMda re... virahaNi-jaNa-maNa-saMtApaka, tApa karaI nisi caMda re // 56 // phala-bhari bhariyA vani savi, taravara madhukara madhuru nAda re, paMcama amRta mahArasa koi, koili saralu sAda re // 5 // kAvyaM kuharIaI sahakAra vanAlI, maMjarI ruNajhuNaI bhamarAlI, kokilA kalaravi kiri gAaI, aMgi raMgi lalanA navi mAmaI 158 // phAga vAsaI daza-disi-paMjara, maMjari siri sahakAra, manamatha- kerIya e kiri, sIkiri bhamrara jhukAri / / 59 // phala-bhari zAkhA lahakaI, bahikaI parimala-sAra prINi u prabhu tiNi taruari, uravari nemikumAra // 60 //

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dharmasundarakRta kAvyam saraGgA sAraGgA saralakusumAlI zucirasA, darIdRzyante ca pratidizamaho gAnanipuNAH / pikaiH sAkaM caJcatzikharizikhareSu dhvaniparai-- vasantaprArambhe bhavati bhavinAM harSanicayaH // 6 // pADala parimali rUaDAM, . phUlaDAM joDa AkAri, madana-taNA kiri e ziraM, kesara karIya saMbhAri // 62 vihasiya vani kusumAkula bakula sa-alikula-keli phAgu diI vara kAmini, .. kAnani mana nai meli // 63 // kAvyam. . yatroccairnavanAthamanmathabhaTasyAgresarAH kesaraM, pAyaM pAyamapIddhamattamadhupAH saMrAviNaH sattvaram / dhAvantyuddhaTapadminIpadatatiM bhUmau vatIrNA rayAt. yatkA puSpacayaM kathaM sumanatAM vo vasantotsavaH // 64 // ... phAga .... Rtu-vasaMti pariNI, karaNI prathamAraMbhi, maMgala kAraNi rohai, sohaI. kadalI-thaMbha // 65 // virahaNi-jaNa-maNa damaNu, damaNu. gaMdha-pradhAna, guNa-nidhi gadhi garuu, marUu mahima-nidhAna // 66 // bAlaiM virahi karAlIya, bAlIya bAlIya deha, samaraI pathiya niya-mani, mAnini vadhaI neha // 67 // kAvyaM . cAru veula-kulI jasa dAr3ha, . kiMsUka-veli. dharaI tasa gADha, tAra pallava vahaI jasujI, dhUjatI kahai vasaMta susIha // 68 // phAga sakala suparimala supai, caMpaI ritu-vasaMta, cadanu sarasa sakomala, . parimala rabhali karaMta // 69 / / phala-bhari bharIyai bhAyaNa, rAyaNa raMgi rasAla,. vasaMta-taNA guNa gahagahiyA, mahimahiyA vanahiM rasAla // 70 / /

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nemIzvara bAlalIlA phAga jANe anaMgi raMgIma, nAriMga navaraMga, padamini-kerAM niramala, . sakala sakomala aMga // 71 // . vasaMta-taNA guNa gahagahiyA, mahimahiyA vanahiM rasAla, jANe anaMgi raMgIa, vasaMtanuM nAma vRthA vahIjai // 72 // rAseu hari-aMteura nemi sudevara, vaNi vaNi vicarai pAye neura, beu paribhajatI keli // 73 // ToDara kaMThi ThavI maMdAra, pAridhi pArijAta zRMgAra, khelaI hari mana melI // 74 // kAvyam sumazreNIbhUSA navatanuruciH kIrttitaguNaH suvarNAlaGkAraH sakalasuranArIbhirabhitaH / sarAga sindUrairmasRNadhusRNairaJcitavapuH jino bhAti zrImAn pariNayavidhAvudyata iva // 7 // phAgu vicarai vanitA vaNi vaNi, mAna melhAviya darapaNa, gaMgA-tuga-taraMgita, khelai nemi khaDokhalI, yuvatIjana-mana-raMjana, pekhIa zivadevi-naMdana, sola sahasa gopAMganA, gAyaI catura cakoriya, mRga-mada nilavaTi TolIya, jhIlaI deura-sarasIa, sauvarNa-sIMgo jali bharaiM, chaMTaiM caturi caMdrAulI, 1. mazruNa zravaNi jhabukaI jhAli. parapaNa gorIya gAli // 7 // raMgita kesari-nIra, mokalI yojani tIri // 77 // aMjana-puja-samAna, madana tijai abhimAna // 78 // aMganA karIya zaMgAra, goriya nemikumAra // 79 // DhIlIya vINi vizAla, sarasIa mAhi rasAla // 8 // saMbharai sarasa vizAla, bAulI bahula suvAsa // 1 //

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dharmasundarakRta sura-nara-kinnara mAhei, hasatIya navarasi nArIya, sulalita pauna-payohari, prabhu navi bhediu taruNo, kAma-bhugama-lahiraDI, jItIa ramataI jiNavara, jiNavara guNa gAaI, sAmala-vraNa tiNi kIdhA, pagi lAgI hari vInavai, meha bhava ahilau mAni -na paraNiu prathama tIrthakara, hari hara baMbha puraMdara suNi-na jiNesara sAmala, paraNi-na aka ji tarUNI, ugrasena- aMgobhavi', paraNau rANIya rAjamati rohai rAhI nAri, vArIya vAri majhAri // 82 / / o hari hariviu heji, taraNi'-tarUNaya teji // 83 / / lahiraDI nIra majhAri, maNahari nemikumAra // 84 / / vAaI vaMsa vaikuMTha, rIdhA kokila - kaMTha / / 85 / / nava navai bhAvi lasaMta, mAnini-vihu arahita // 86 // zaMkara tribhuvana-nAtha suMdara suravara-sAtha // 87 // viphala gamyA taI dIha, tarUNI mAhe lIha // 88 // uttami iti suvicAri, sarasati-'nai avatAri // 89 / / . kAvyam deva tvaM navayauvanAM pariNaya zrIugrasenakSite bhavyasutAM guNaikavasatiM rAjImatI satvaram // raGgatkRSNakuraGgazAvanayanAM rAkAzazAGkopamA - ko cakrazrIparipIDitAmbujabharaM proce hariH svAminam // 10 // phAga kuMkami kesara-piMjarI, maMjarI mohaNa-veli, cAlai catura cakorIya gorIya gayamara-geli // 91 // maMjula jala rattanAlI kAlIa kajjala bhAvi akhaMDI mohai tribhuvana khaMjana paMkhina bhAvi // 92 // mugatAphala-maNi rAjai / chAjai nAzAvaMza 1. taruNI 2. aMgabhami 3. rAkAzazA'kopamA 4. jala

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nemIzvara bAlalIlA phAga adhara-taNai ragi rAtuM, jAtuM aMjana-aMzi. kAvyam nAzAvaMzaprAntadeze nilonA, rAjImatyA vyaktamuktA hyarAjat bimboSThenotzoNimAM saMdadhanto, gujA-zyAma netrayoraJjanena // 24 // hoThi ThavI parivAlaya, bAlIya bholai vesi, rAjala guNihiM saMpUDI, goraDI jiNavara-resi // 95 // rosiM varajIya vAri ja vArija aMganA-aMgi, Avi rahaI Anana-misi, visi-misi vAri-taraMgiM // 16 // kuMDali caMdalu tapa tapai, japa japai vadana viyApi, rAjala torUM Anana, nivasana amhanaI Api // 97 // jala-saMyogi rINAM, lINAM caraNa-nivAsi, paMkaja prINai savimili, parimala-bahula suvAsi // 98 // rAjalanAM pada-paMkaja, aMkaja kahiNa na jAaI, kanaka thAai tasa kiMkara, nUpara naI misi jAaI // 99 // ' uravari heji himAcala, avala vasai urachAhi, navasara--hAra sucaMgati, gaMga taraMga--pravAha // 10 // kAnani nivasai tiNi hari, hari layiu jIrNa laMka, . locani aNusaraI eNIyaM veNI sarala bhuaMga / / 101 / / kAvyam pratibhavabhavAM patnI yatnAt hariH pravadadvibhu navazazimukhI premasthemakSaNaikarasAkulAm, yadupatisutasvAminneme kRtArthaya kAminI navanijakarasphAraprANairnipIDana kAmyayA // 102 // phAga pahiraNi netra-paTuloya, kulIya laMka samAya, locana amiya-kacolIya, coloya aMgi na mAi / / 103 // nilavaTi Ugiu himakara, zaMkaranI pari sAra, tilaka-taNai misi dina kare, dinakara-kiraNa-saMbhAra // 104 // 1. re dIpakAdara bharaM, hadi0 / vIkSA (vadhArAno pATha)

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dharmasundarakRta daMtaDe dADimanI kulI, nIkalI giuM abhimAna, uravara-keruM yauvana, sovana-kuMbha samAna // 105 / / kAvyam bhojyA zrIphalasannibhau susubhagau savRttapInastanau yasyA vIkSya cira' nanartta RturAD vRkSAgrajaiH pallavaiH / manmitraM kRtavAniti sthitimaho sa kSIrakumbhodvayAdhyAropAt kusumAyudho jinapatestanvyAH pRthI vakSasi // 106 // phAga jItIma adhari pravAlIa, bAlIa kalaha vesi, nivasai rosiM rillIya, vallIya jaladhi-nivesi // 107|| rUpiM jItIma apasara, pasara na maMDai Aja, hArya akSara atima, uttama e mani Aja // 10 // hara-siuM hasI anai niravati, pArvati melhIa mAna, rAjala raMgi rekhIya, pekhIya rUpa-pradhAna // 109 / / melhIya raya rasi rINau, lINau nirakhai aMga, madana-taNu mana navi rahai, virahai thAi anaMga // 110 // rUpakalAguNi raMjiya, bhajiya bhuvana-vivAda, lAchi achai sahinANIma, vANIa sarasa ninAdi // 111 // rUpiM rati kai avatari, nahu~tarI prIti ki prIti, rAjala guNavaMta-goraDo, caDiya caturbhuja cIti // 112 // kAvyam eSA manmathabhUpateH kRzatanurnavyA dhanurvallikA koTyArUDhaguNA trilokajayinI gaurI suvaMzodbhavA / cakSustIkSNakaTAkSabANanivahairAtanvatI digjayaM kAntA rAjimatI samastavanitAzRGgAracUDAmaNiH // 113 // 1. vIkSacira 2. trilokajayano 3. rAjamatI

Page #144
nemozvara bAlalIlA phAgaM phAga mekhalA kaTi-taTi vyApai, tApai tarUNa-zarIra dhAdharI maNimaya ghumaghumai, bhrami bhamaI bhramaratI dhIra // 114 // sirUvari sovana-rAkhaDI, nahu~tarI prIti ki prIti, navajovaNa navaraMgIa, caMgia nava -bhava-neha // 115 / / ratana-taNAM kari kaMkaNa, darapaNa jima DAbakaMti, mAMDa manAviu vivAhalau, vAha lahI zrIkaMti // 116 // kAvyam nAnAratnanivezapezalarasanmaJjIrama dhvaniH - vyAjAt saMstutimAtanoti kimiti svarNAcalo maJjulaH ApAdaM viracayya bhUSaNagaNaM bhojyA sphuradIdhitiH devi tvattanusaGgamAt samabhavat svarNa sugandhaM mama // 11 // phAga samudravijaya-dhari maMgala, dhavala gAaI sura-nAri, harakha-taNAM kareI kaMdala, mAdala dhUmaI bAri // 118 // maMDapa viracaI sura-nara, kinnara gAaI gAna, sujana-surAsura-gayamara, hayamari jhaMpiu bhAnu // 119 // dhavala-taNI dhara dhoraNi toriNa nAcaI raMbha dUkha-parAbhava lopai ropai kadalI- yaMbha / 120 / / gAyaNa hUha tuMbara aMbara pUriu gAni vanitA catura dhRtAcI . nAcI nija vijJAnI. // 121 // kAvyam bhAnurdIpakalAM gato himakaraH zrIkhaNDasatpAtratAM tArAH svastikatAM zrayanti satataM kalpadrumAstoraNam kSIrAbdhirjalakumbhatAM navasudhA bhakSyAdikaM cAbhavat bhojyAstatra vivAhavezmani rasAdityutsavAnAM ghaTA // 122 // phAga bihu vevAhI-maMdiri suMdari rAsa ramati varanaI raMgi vadhAvai Avai harakhi hasaMta // 123 / /

Page #145
dharmasundarakRta sujana-suhAsiNi mAlhai sAli- sukhaMDa-DuMgoraDI, nemi jiNesara samaratha vara-zRMgArai jiNesara, senA tuga turaMga-nI khura-ravi khehA-DaMbariM cAlaI matta-matagaja caDIma rahiyA AdhoraNa jANe jaladhara gAjai DolaI sAtai sAyara, sirivari meghADaMbara sevai cAmara anudina ciMdha-patAkA phurakaI khaMcIya ratha ati harakhi solaha-sahasa gAaI solahI rUpa-kalA-guNi sohai kinnarI-kaMTha samArI nemi-taNA guNa gAI chapana-koDi ratha cAhI seSa-taNI phaNi saMkIya gukhi rahInai nirakhai nava-bhava-neha jagAvai / mAnini mohana-kaMdalu kAma kahuM kaI surapati toraNi yAdava dekhIla dITu darasiNi sAmala bhajau bhavanA baMdhana pAtaka-pAsa vichoDu 1. iMgoraDI AlaI puga nai pAna uraDI bharai pakavAna. // 124 // manmatha-siuM samarUpi siruvari viracaI khUpa // 125 / / raMga-no vAhai reli aMbari jhaMpiu heli // 126 / / aMgaja kiri giranAra toraNi dasai dasAra // 127 // vAjai guhira nosANakAyara kaMpai prANa // 128 // aMbara jima suvizAla Anana-kamala-marAla // 129 / / lahakaI gaMga-taraMga nirakhaiM rahosa pataMga // 13 // dhulahI ramaNi-rasAla mohai nakSatramAla // 131 // vAroa kokila-kaMTha vAbhai vaMsa vaikuMTha // 132 // rAhoma kahai murAri vaMkIya thAsi bhAri // 133 // harakhIa rAjala -nAri Avai o bharatAra // 134 / / caidala catura apAra " jinapati nemikumAra // 135 // harakhIa hariNa-nuM sAtha Amala TAlau nAtha // 136 // jIvana jagati-sAdhAra moDau dukkha-saMsAra // 137 //

Page #146
nemIzvara bAlalIlA. phAga kAvyam ekaM / 'nAthamavetya toraNagataM jIvAnavajhaM mudA prAha prANigaNaH sa narmavacasA vetti prabhu paNDitaH / sadyo darzanamAtrato ....vatAya lambhitAH prANinaH / / taM vai vAJchati mokSameva sahasA'pyasmAdRzo'yaM janaH // 138 // pekhIa vATa ki mRga-kula Akula aMgi apAra jIva dayAM kari dumiu nImiu thira-saMsAra / / 139 / / karuNA-rasi kari piu jhUrai manaha mamjhAri nava-bhava-neha-gahillaya melhAsi varanAri // 140 // kAvyam svAmI cAmIkararucitanuH mugdhabAlAM vizA[lAM] prekSApyuccaizcakitahariNIprekSaNAM toraNasthaM / doyI nItvA viravivazAM cetasA svAntadRSTayA kiJcitkAla nayanayugalAliGgitaH kAtaro'bhUt // 141 // phAga pekhIa vATa ki mRga-kula bhAkula aMgi apAra jIva--dayAM-kari dUmiu nImiu sayala-saMsAra // 142 / / jIva -dayA-vrata pAlIai TAlIai pApa-vyApAra virUA sapana-taNI pari parihari jIva-saMhAra // 143 // kAvyam rAjImatyAzcaTulanayanairvibhramainaiva viddhaH savRttazrIstanaparilasavyaktamuktAgaNAyAH / prodyaccandrapratimavadanaprAptazobhAbharAyAH devaH sImA sa niyamavatAM neminAtho jinendraH // 144 // phAga kuNa e naraga-nibaMdhana baMdhana pazu-vadha kIgha sai-hatthi pAsa vichoDIa _ choDIa jagi jasa lIdha // 145 // 1. jIvAvanajJa 2. nayanayugalAlaTigata .

Page #147
} pasUa-vADa UghADIbha jinavara harakhita nija - mani raivata garuu bhUdhara, rAsa ramaI jasa kaMdari, dharmasundarakRta kAvyam kArAgArAt sapadi jinapo mocayitvAtha jantUn bandhUnetAniva karuNayA pyArdracetAH samantAt / krIDAzailaM surapariSadAM nagbhivAneSa mukhyaH prANitrANapravaNa hRdayAH prAyazo'mI jinAH syuH || 148 || girivara - siri girinAra, naravara nemakumAra // 149 // kAvyam sadvRttazrIkanakakalazasyopamAnaM nayantau tava ratha vAlIa jiNavara, puhatu taba paramesara, toDiya tasa tanu-pAsa nija-tana pUrai Asa // 146 // baMdhura sovana - saMga suMdari sura navaraMga // 1.47 // sadvakSojau sukaThinatanau pUrNacandrAnanAyAH / ekaM muktvA yadupatikulAmbhojamArttaNDabimbaM rAjali viraha vibhApara, uravara siMcaya jala - bhari, zrImannemiM madanadahanaM ko vihAtuM samarthaH // 150 // vara viNa sUnI sI kiri, kApi kAMi te sirajIa, phAga 1 prekSAnukamyAbharAt lopai valaya-zRGgAra, nava pari kiri jala dhAra // 151 // sIkiri sI kiratAra, varajI aje bharatAra // / 152 / / kAvyam vyAlolekSaNadIrghikAH pazuvadhaM prekSyAnukampAbharAt,' mAM tyaktvA navayauvanAM zazimukhIM gaurI kalAzAlinIm vRkSaM vRkSamadhizritA sakaruNaM brUte'tra rAjImatI yAtaH kena pathA kathAM kathaya meM cAzaukanemIzvaraH // 153 // navyodbhinnasugandhipuSpanikara vyAlolasallocanaiH caJcatkajjalamajulai ra likulAdAlokayan viSTapam /

Page #148
mI ra bAlalolA phAga uccaiHzRGgataTAniSaNNavapuSA zrIraivatArdumaH yAtaH kena pathA kathAM kathaya me cA'zokanemIzvaraH // 154 // phAga soma-vayaNi mRga--nayaNI, ramaNI rAya hasaMta, .. puNa prabhu pAchau vali vali, vali vali. jhurisi kaMta // 155 // sirUvari sauvana-rAkhaDI, AkhaDI pahiravA eha nagodara navi opai, lopai yAdava neha / / 156 // . hiva hu~ siuM karUM hAraDai, hA raDai pUriya zogi..... : madhura ma bolisi moraDA, moraDA kaMta-viyogi // 157 / / . kAvyam candrajyotsnA milanavigalaccandrakAntasya nIrai.. dhautaprekSatkanakazikharasyojayantasya mUrdhni / ..... devasyoccaistimitanayanadhyAnamudrAGkitasya rAjImatyAH paramaramaNasyAmaraiH pUjitasya // 158 // mugdhasnigdhaM caTulanayanaivIkSaNaM premapUrNamAtanvadbhiH sujalalulita raJjitaiH sAnurAgam / ...... eNIvRndaizvaturavanitA. vibhramANAM vinodAH siddhAstasya sthiti rasa .......zvAhato raivatAdreH // 159 // phAga sasihari sayari saMtApai, vyApai viraha apAra DAbha dii uri vyagatA. mugatAphala-maNi hAra // 160 // caMdana-dAha na . nIgamaI, aMgamai aMgi apAra, : yAdava hiva rathi ArUhaI, rahaiI na eka :lagAra // 161 // kamala na mujha mani bhAvai, Avai' ajIya na kaMta, ... karayali. Ali. karaMtu, kaMtahi heli hasaMta // 162 // . kAvyam svakAntakAntena samaM viyogo bhUyAnna kAsAzcidapi priyANAm Uce'tha sA vahniriva prabho me kSaNaM vipAko'sya mahAdurantaH // 163 //

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dharmamundarakRta phAga rAjana ratha hiva vA[lau], vAlau ma bAlIma deha nAhalA-nayaNi nihAla, pAlu nava-bhava-neha // 16 // kaMtanaI karauM uAraNAM, bhamaNAM nija bharatAra, guNanidhi garUa gosAi, sAiM ........ ekavAra . / 165 // rAjala-prIti saMpuriya, garUi gai giranAri, vilarai prIa-saMyogi, aMgo aMgi apAra // 166 // sakala sadA phala sevaI, revai girivara-zRgi, yAda[va] ... rasa nAgara, Agara-guNa navaraMga // 167 // .. kaavym| haraH smareNA'dhigataH kalAvAn kalaGkavRtto dinakRt saro(rA)gaH / kSAro'myudhizca dhanavAn vidhAtA na kena sAmyaM labhate jinendraH // 168 // phAga saMvata cauda caurANavai, jANavai catura apAra phAga raciu rasi baMdhura, jiNavara nemikumAra // 169 // zrImAnukezavaMze prathitaguNagaNavyaktamuktApha(laughaH) rociSNubrahmavidyAvidalitakulapaH kSINapApAripakSaH / zrImadbrahmAdisaMsthaprabhupada natibhiH pUjitAbhyantarAtmA dharmazrINAM nivAsI jayati ca satataM sundaro vAca(ko'tra) // 170 // zrIksakasari garUa racIa, viraciu nemi-vilAsa, pAmIaM navarasa saMpada, saMpada-sakala-nivAsa // 17 // - kAvyam zrIneminAthanavabAlakalAvi(nodaM), zrIdharmasundarakRtaM sarasaM vasante / yaH pApaThIti rasanAsphuTabhaktibhUri tasyodbhavanti (?) sahasA sakalAzrayazca / / 172 / iti zra nemIzvarabAlalIlAphAga zubhaM bhUyAt brahmavarddhamAnapAdapadumaprasAdAt

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ajJAta-kartRka anAthI-maharSi-saMdhi ___ saMpA. ra. ma. zAha saMbodhi va. 2 aM.1-2 meM prakAzita uttarakAlIna apabhraMza saMdhi-kAvyoM ke lekha aura do saMdhikAvya ke anusaMdhAna meM yahAM eka aura saMdhikAvyaanAtho maharSi saMdhi-diyA jA rahA hai / - prastuta saMpAdana lA. da. bhAratIya saMskRti vidyAmandira, ahamadAbAda ke zrI. puNyavijayajI saMgraha kI eka mAtra prati se kiyA gayA hai / kramAMka 1286 kI isa hastaprata meM patra 79 se 100 taka kula 22 patrameM nimna 8 kRtiyAM likhita haiM 1. Ardra kumAra-vivAhalu (apabhraMza) apUrNa patra 79 2. ajita-zAMti-namaskAra ., pUrNa , 79-80 3. zIla-saMdhi " " , 80-81 4. AnaMda-saMdhi " " " 81-83 5. kezI-gautama-saMdhi , " 84-85 6. anAthI-maharSi-saMdhi , , , 85-87 7. puSpamAlA-prakaraNa (prAkRta) , " 87-100 8. praznottara-ratnamAlikA , , , 100 isameM dUsarI kRti ajitazAMti -namaskAra ke anta meM lekhana saMvata 1486 aura antima kRti praznottara-ratnamAlikA ke antameM lekhana saMvata 1489 hone kI sUcanA prApta hotI hai / prastuta anAthI-maharSi saMdhi ke racayitA evaM racanAkAla athavA lekhanakAla se saMbandhita kucha ullekha nahIM milatA hai / hastaprata vikramIya 15vIM zatAbdI ke antima caraNakI hone se kAvya kI racanA isake pUrva kI hai yaha spaSTa hai / apabhraMzottara kAla kI aisI racanAeM alpa milatI haiM, aura prApta kRtiyoM meM bhI adhikatara aprakAzita haiN| bhASA tathA sAMskRtika sAmagrI kI dRSTi se

Page #151
azAta-kartRka ajja vi pahu taruNau juvaNatthu kAma-'ttha -bhoga-muMjaNa-samatthu / sAmannu ehu kima vahasi ajja taruNattaNi ai dukkara pavajja / mahu kahahi sayalu niya-cariu ehu kima mukka dAru dhaNa sayaNa gehu / .. pattA .. . muNi rAyaha aagii| kahai samaggai niya-vittaMtu sumahure-jhuNi / kAraNa sAmannahaM bhava-nivvinnahaM nisuNahi naravara ega-maNi // 2 // hau~ aNAho ya navi nAha maha ku vi je| kuNavi aNukaMpa aha saraNu paDivajjae / hasavi vayaNaM ca pabhaNei magahAhiyo / - esa tuha iDheimaMtassa navi nAhao // homi hAM nAha tuha vilasi suha-saMpayA / paMcaviha visaya maNaharaNa saha-bhajjayA / / demi tava rajju pAsAya haya gaya bhaDA / seja vara tUla taMbola rasa vicchaDA // paDhama appaNu aNAhosi tuhu naravarA / nAhu kima hosi avarahaM puhavIsarA // bhaNiu risi eva jA seNiu vayaNayaM / citti saMbhaMtu paDibhaNai bhinna hiyaM // vayaNu suNi nAha tuha ehu apuvvayaM / ' bhaNisi jaM maM aNAho ya suha saMpayaM // majja haya hatthi raha joha puhaI dhaNaM / dAsa dAsI ya vara kAmiNI pariyaNaM // ANavaDio ya vaTTei maha priynno| - erisA rudvi bhujemi suha-gaya-maNo / savva guNa kAma mahu ruddhi haM naravaI / kaha aNAho (ha)uM bhaNasi juTTha jaI // . bhujaNa 2, ayai 3. sumuhara 4. mahi 5, icchimaM0 6, pasAi hai ga0.. 7. tuha 8, avaroha 9. saMjaMtu 10. puhai

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anAthI-maharSi-saMdhi ghattA na vi muMNavi aNAhaha ahava saNAhaha navi lanbhahi paramatthu niva / jima hoi aNAhu vi ahavai saNAhu vi suNi akkhaDaM hauM tumhi tivaM // 3 // [4] nisuNi jaM vittu maha pucchae tuha kahaM / jima aNAho ya jaNamajjhi haDaM duha sahaM / / nayari kosaMbi dhaiNa-riddhi-jaNa-saMkulA / puri pAyAri maMdirihiM rayaNujjalA // karai tahiM rajju maha bappu jnn-suhkro| turaya-gaya-lakkha bhaDa-koDi ari-khayakaro // tastha maha dehi udaMDa heya veyaNA / pIDa savvaMga dAheNe gaya ceyaNA // tikkha-sastheNa dehassa abhitare / kuviu jima ari vidArei uyaraMtare // adri-cammAvaseso nirANaMdao / rayaNi-divasAI volei gaya-nidao || .:. majja dukkhehi maha jaNau tallicchao / jema sila tatte uvarammi jala-macchaau / rAya-bayaNeNa Ayariya bahu AgayA / vijja maMtehiM tegiccha-gaha-kusalayA // naravari deNa bhaNiyA ya tegacchiNo / kuNahu jaha hoI nIrogu maha naMdaNo / / : demi tumha rajju sAra bhu viulaM dhaNaM / . desa nagarAI vara-kanna-rayaNaM kaNaM // evaM te nisuNavi maMtagavigga vi niya niya sattha samAyarahiM / .. jasu kitti suNaMtaha dhanu icchaMtaha niya Agama-buddhihiM sahiyeM // 4 // 1. vanbhahi 2. ahavi sa0 3. dhadhaNa 4. uDaMDe huya 5. doheNa 6. Airiya pa. * varide0 8. joi 9. navArAI va0 10. sahiyA

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ajJAta-kataMka gaha-gaNiu bhaNahiM jo joisIya ravi-rAha-pIDa suNi vippa-Iya / pUyaI buhu maMgala rAhu keu ... nava-gaha-pUyA kIrati te u / maMtiga joisa piMgala bhaNaMti jala-rakkhasu raya-pIDA karaMti / cauaTTai ya maMDala pUyaMti baMli dIva kusuma navi pIDa jaMti / avare vi mAsa-java-sarisavAI tAuMti lavaNa jalaNassa mAMhiM / guggala dahati muddA dhareMu . . navi sakai pIDa ko avahareu / jujjati vijja. sIyala paleva caMdaNa-paumiNi-jala-joya seyaM / kADhei rasa dijjahiM caMdaNAI sakkara paritijjai cAujAI / pAijahi sIyala. ela-nIra ghallijjai acchaNa alla cIra / kaya homa-saMti diya cAuveya dijjati dANa bahu viviha bheya / dhaya-lilla kuMbha gAvihiM savaccha bahu uDada loNa tila roha raccha / juttA hala vAhaNa bhUmi dANa dijjahiM teDavi diyavara-pahANa / . ghattA evaM viha vijjaha rAya savijjaha gaya niSphala uvavAya savi / veyaNa navi phii dAhu na truTai hau~ ciMtemi aNAhu bhuvi // 5 // [6] . ityaMtari mahu mAya samAgaya putta-sogi roevA laggiya / bhaNai vaccha tuha kai kai dukkhai sogu karai puNu dukkhu na rakvai / baMdhava jidra phirahiM cau-pakvihiM huya sannaddha-baddha bhaDa-lakkhihi / je samattha ari-dala saMhArahiM . maha aNAha te pIDa na vArahiM / je kaNidra maha vallaha bhAI ya te mahu dukkha suNavi sahu Aviya / laDahi bhaNahi kiM bhAIya kijja to navi veyaNa lai na hu vivijja(1) / jiTTa bahiNa maMgala bolaMtI ya suNavi pIDa maha pAsi pahuttiya / mavari kaNi? saggI ya sAvakkiya dAhu na phiTTai kanhai thakkiya / anna vi susara-vagga sAlaya-jaNa : mAhava-mAula miliya saduhamaNa / mitta cayahiM je jIu maha kAraNi te nirastha duha-sAyara-tAraNi / 1. hi 2. kusama 3. avadAreu 1. hiMjahi caM0 5. pAyajahi 6. hau 7. pakkhaya

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anAthI-maharSi-saMdhi . 23 culla-mAi bhaujAI ya phUI ya bhajja--jaNaNi pitriya-mA bahiNi ya / maMgala--rakkha karahiM bahu bhaMgihiM to vaDDhai dAhu savvaMgihiM / pattA yau itau miliyau jaNu kalakaliyau to aNAhu hauM magaha niva / jA maha vallaha piya sA kanhai thakkiya gayaNi mayaMkaha juNha jiva // 6 // dukkhi maha patta sA rAyavaha kannayA, neu pAsAuThei(?) AdannayA (1) / ' calaNa caMpei pharasei siru karayalaM, piTTi jaMghoru uyaraM ca vacchatthaila / tANa mukkaM asaNa-pANa-taMbolayaM gaMdha-mallaM ca pahANaM ca vara-tuliyaM / paihi siru devi nIsAsu guru muMvae, aMsu-puNNehiM nayaNehiM uru siMcae / mukku siMgAru navi virayaeM kesayA, susiya savvaMga huya advi-ty-sesyaa| bhaNiu maI milli piya sogu pai annayaM, bhaNai tuha marisu jalu asaNu jiu maraNayaM / jima jima dehi vaddhai maha veyaNA, paDai mucchAi vicchAya nicceyaNA / dhAha milhevi pabhaNei piya-sAmiNo, piyara-kula-devi vinnavai suravara-gaNo / majja nAhassa pheDei pIDA duhaM, dAsi turha tima karahu jima hoI suhaM / kuru ghiu duddha na bhuMjemi taMbolayaM, demi tumha bhogu bali saya-sahasa-mullayaM / esa maha bhajja aNuratta-rUvaM sayA, piyai navi nIru jemei aNumanniyA / neya dukkhAu moei bahu bhattayA, maha bhaNAhassa duha pIDa sava gattayA / ghattA jA phiTTai navi duhu hoi na maha suhu tA maI citiu jaha kima i / rogihi millijjau tA paDivajau jiNaha dikkha pasaraha" tima i // 7 // 8] jAva ciMtevi jiNa-dikva maI niya-maNe, tAva suha lAgu pasaraNaha siri takkhaNe / uraha uyarassa arUNa jaMghAuyaM, jema visu maMta-joeNa tima duha gayaM / ema nisi khayaha gaya veyaNA khaya gayA, saccha niya-dehi saMladdha maiI nidyaa| tA pabhAyammi piya-mAi baMdhava-jaNo, aMgi na hu mAi harasiu sayala pariyaNo / vijja-"matiga ya nemitta-joisa-jaNA, sayala niya satti phoravahiM harasiya-maNA / 1. dohu 2. bhraSTa paMkti 3. callaNa 4. piddhi 5. vacchacchelaM 6. viyarae 5. jema 8. tumhA 9. hui 10. mahanbhajja aNu0 11. raha ti0 12. mai 13. miI 14. malA 15 sati phokhahi.

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ajJAta-kartRka bhaNita maI vahau mA ko vi maNi gavayaM, avaru naM osaha jeNa mahu duha gayaM / jAva jIvaM ca sebemi taM 'osaha, saba-sAvajja-joge ya vajjiya mahaM / kari pasAu ya mukka lahuM maha baMdhavA, lemi jima dikkha mahavayaha cattAsayA / neha-niyalAI bhaMjemi guru duvikhaNA, catta saMgo ya kaya jalaM va kuvikhaNA (1) / gahivi niNa-dikkha dasa-bheu jaI-dhammao, samAI-guttiyautta samabhAvao / / puDhavi jala jalaNa vAu ya vaNa kAiNaM, bi --tti ya cariMdi-paMciMdiya-pANiNaM / jAu haDaM nAhu appANa bhannu vi jaNe, vasuha viharaMtu saMpattu tava kANaNe / . ghattA kammaha khaya-kAraNu bhava-duha-vAraNu saraNu sahAyau rAyavara / jiNa- vayaNu suNaMtaha caraNu dharaMtaha appa i appau nAha vara // 8 // [9] appA ca naraya-gai-dukkhu dei appau sA saya-suhi mukkhi nehi / .. appau naMdaNavaNu kAmadheNu niya-appa duTu aru suTu sayaNu / baMdhai aNavadviu asuha-kammu appA supaidai karai dhammu / visu amIu sahoyaru satta loi bhava-sukkha -he u suNi jema hoi / . je gahavi dikkha mahavayaI levi sAmantu dharahiM aMgIkarevi / / rasa-giddhi na appau vasi karaMti baMdhevi kammu bhava-dui sahati / uvautta na je iriyA ye bhAsa na hu vajjai bAyAlIsa dosa / AyANa-samII nosaggayAhiM te mUr3ha na jiNa-maggeNa jAhi / ciru liMgu dharahiM tava-niyama-hINa appaM ca kile sahi mUDha dINa / ussutta kahahiM kuDI kahAhiM vIsasiya-jaMtu liu naraya jAhiM / / koUhala joisa sumiNa maMta lakSaNa ya kuheDaya vijjaH taMta / Avajahi gArava-giddha ji jaNu duhi pattai te na hu hu~ti saraNu / pattA : : na. vi karai ta kesari, visu ari ahi kari, navi veyAlu naM jala-jalaNu / daya-khati-vivajiu , appu na nijjira, karai ju jIvaha duTu-maNu // 9 // . AhAru uvahi je vasahi pattu aNae saNa muMjahiM rAI-bhattu / ., vimuyahi sacitta acitta kuddha huyavaha-sAyarammi tanha-luddha / 1. usaha 2. -hikakha 3. jaya-dhammau 4. samIya 5. vAU ya 6. sannu 7. sukkhu 8. agI0 9. i 10. 0mIya 11. ehiM 12. usatta 13. hUti 14 rAyabbhatuH / - 1

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5. anAthI-maharSi-saMdhi taNu posahiM dhovahiM bhUsihiM ji gattu te appaNi appaha huMti sattu / / kuli gAmi vasahiM mamattu karahiM sayalu vi aNiccu navi cittu dharahiM / anna vi muNi je jiNa-ANa-jutta viharahiM jagi nissaha samIya gutta / balu. satti ne govahiM vIriyAru niya-satti vahahiM sIlaMga-bhAru / pANi-vahu ar3hatta lIu bajjai adatta mehunna pariggaha jaM duTu-bhatta / vajahiM kasAya iMdiya damaMtite appa -nAhu appaha karaMti / nANiNa dasaNi cariNiNa taveNa vIriya bhAvaNa sattiNa baleNa / dasaviha jai-dhammu karaMti dhIra / uvasagga-parIsaha-sahaNa-vIra / AvassaggahaNAsevaNaM ti apamatta kAla-paDilehaNaM ti| ujjuya para-uvayArihi nirIha akhubhiya-citta jaha pavara sIha / pattA cha?-'TThama-pakkhihiM mAsuvavAsihiM NANAvihahiM abhiggahahiM / je tavi taNu sosahiM saMjamu posahiM lIlai vaccaI siva-suhai // 10 // kahiu tuha rAya niya-sayala-vittaMtayA jima aNAhI saNAhA ya jagi sattayA / rakkhiyavo pamAu ya taNu-vaya-maNo , laddhi kula jammi khittammi Ariya-jaNe / dhammu jiNa nAha evaM aroggattaNaM, sAhu-sAmaggi saddhA ya jiNa-sAsaNaM / dhammu aNagAru giha-dhammu niya-sattiNA , dhAriyavA ya bhAvaNa suha- kaMkhiNA / tucha naranAhu kaya aMjali pabhaNae , kahiu jahadviu aNAhattayaM maha tae / khamasu pahu jANa-vAghAu jo tuha kau , khohu AyAsu AsAyaNA aviNau / 1. nANiNI 2 akkhu0 3 0vihai abhiahahiM 4 aNAhAM saNAhI ya jaMgi 5 saTTA 6. ahimAru 7. 00vo

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- ajJAta-kartRka kAmabhogehiM jaM mRdu na hu tippae , kuNavi payAhiNaM puNu vi puNu khAmae / bhattisAraM ca paNamei muNi seNiu , pattu niya-nayari diNa gamai jiNa-dhami rau / mukka-saMgo ya muni viharae mahiyalaM , suddha-caraNeNa maNu sarisa sAeyanalaM () / bhaviya bohaMtu rakkhaMtu vara-saMjamo , siddhi-vahu-saMgamatthaM krNtujjmo| atthu puttassa (2) saMmuha risi-vaiyaro, kahiu niya- maNai-muho avara-jaNa-suhayaro / cariu muNirAya je suNahiM bhAvahiM maNe , tAhaM na duhu hoi suhu lahahiM aNudiNu jaNe / pattA risi-cariu suNeviNu, caraNu muNeviNu , hohu bhaviya sa-mutti thira / caMdutha(jja ?)lu maNu kari, samusasiThAyari (!) khamahu kamma saMciya ji cira // 11 // 1 samaha vi ri0 2. maNu // antaH iti zrI anAthI maharSi saMdhi samAptaH / / zloka saMkhyA 111 // 0 //

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vizvasAhityanuM eka amara sarjana sattara zatAbdI pUrve racAyelI paNa atyAre aprAya, taruNa ramaNInA praNayasaMvedana, sAhasa, prANasaMkaTa ane AtmabalidAna AlekhatI, janmajanmAMtaranI eka ananya kautukakathA pAdalitAcArya kRtA taraMgavatInI laghu AvRtti taraMgalo lA

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taraMgalolAne viSayavibhAga viSaya gAthA maMgaLa saMkSepakAranuM pravacana prastAvanA sthApITha 12 - 22 bacapaNa ane tAraNya ujANI cakravAka mithuna priyamilana 293 - 397 399 - 835 836 -1123 palAyana punarAgamana 1124-173 vyAdhakathA 1374-1522 vairAgya 15ra3-1641 samApti

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saMkSipta taraMgavatI sthA (taraMgalolA) prAcIna kAvyomAM, prabaMdhomAM ane lekakathAomAM tema ja itihAsamAM maLatI, godAvarIkAMThenA pratiSThAnanagaramAM (hAlanA paiThaNamAM) rAjya karatA sAtavAhana-hAlanI kIrtigAthA vikramAdityanI kIrtigAthAthI paNa vadhu ujajavaLatA dharAve che. tenuM "kavivatsala biruda hatuM, ane bRhatkathAkAra guNADha0 jevA aneka kavio tenI rAjasabhAnA alaMkAra hovAnI anuzruti prAcIna kALathI maLe che. tenA rAjakavio ane kavimitromAM pAdaliptasUri, pAlitta ke zrIpAlitano paNa samAveza thayo hato, Azare sAtamI zatAbdIthI pracalita jaina paraMparA pramANe A pAdaliptasUrie "taraMgavatI' nAme eka adbhuta prAkRta kathA racI hatI. pachInA prAkRta kathAsAhitya para tene sAro evo prabhAva paDavo jaNAya che. durbhAgye e kathAkRti lupta thaI gaI che.. paraMtu pAchaLanA samayamAM karavAmAM Avela teno eka saMkSepa jaLavAyo che. A saMkSepanuM pramANa Azare 1642 gAthA jeTaluM che. saMkSepakAre kahayuM che ke pAdalite racelI gAthAomAMthI ja pasaMdagI karIne tathA kaThina dezya sabdo TALIne teNe sakSepa taiyAra karyo che. saMkSepakAra koNa che ane tene samaya kare che te bAbata nizcita thaI zakI nathI. saMkSepanI aMtima gAthAmAM thoDIka mAhitI che, paNa te gAthA bhraSTa che ane teno zabdArtha tathA tAtparya aspaSTa rahe che. hAyapurIya ga7nA vIrabhadrasUrinA ziSya nemicaMdra gaNi athavA teno ziSya "jasa ( "jaina graMthAvalI " pramANe yaza sena ) A saMkSepano racanAra che ke mAtra pratilipikAra che, ane te kyAre thaI gayo, te kahI zakAtuM nathI. bhadrezvaranI "kahAvalI" (racanAkALa eka mate agiyAramI sadI)mAM paNa taraMgavatIne saMkSepa Apela che. "sakhitta-taraMgavaI-kahIne pATha I.sa. 1944mAM kastUravijaya gaNie pAMca pratane AdhAre saMpAdita karIne zrI nemivijJAna prasthamAlAnA navamA ratna tarIke prakAzita karyo che. mULa pratimAM pATha ghaNe sthaLe bhraSTa che. paraMtu moTA bhAganI gAthAo zuddha che, ane pariNAme artha na pakaDAya ke saMdigdha rahe tevAM sthAna ochAM che. A atyaMta mahatvanI prAkRta kathAkRti pratye, I.sa. 1921mAM prasiddha thayela lemAnakRta jana anuvAda dvArA sAhityarasikanuM prathama dhyAna derAyuM. A jarmana anuvAda uparathI narasiMhabhAI paTele karelo gujarAtI anuvAda 1924nA jaina sAhitya saMzodhakamAM chapAye, ane te pachI svataMtra pustikArUpe te be vAra prasiddha thayo che. ahIM saMpitta-taraMgavaIkahI 'nI mULa gAthAo keTalIka dekhItI bhUlo sudhArI laIne ane chaMdadaSTie cakAsIne gujarAtI anuvAda sAthe ApelI che. A saMkSepamAM paNa je utkaTa kathArasa, UMcI nisagavarNana ane bhAvavarNananI zakti tathA zabdaprabhutva pratAna thAya che, te uparathI paNa sattara-aDhAraso varasa pUrve racAyelI pAdaliptasUrinI amara kRtinI kAMIka jhAMkhI thaze, revalalabha bhAyANI

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saMkhitta-taraMgavaI-kahA (taraMgalolA) vaMdittu savva-siddhe dhuvamayalamaNovamaM suhaM patte / jara-maraNa-magara pauraM dukkha-samudaM samuttiNNe / / 1 saMgha-samuI guNa-viNaya-salila-viNNANa-nANa-paDahatthe / vaMdAmi viNaya viraiya-kayaMjaliuDo nao sirasA / / 2 bhadaM sarassaIe satta ssara kvv-vynn-vshiie| jIe guNeNa kaivarA mayA vi nAmehi jIvaMti / / 3 kavva-suvaNNaya-nihasa-silAe niuNa-kai-siddhi bhUmIe / parisAe hou bhadaM guNa-dosa-viyANaya sahAe // 4 pAlittaeNa raiyA vittharao taha ya desi vayaNehiM / nAmeNa taraMgavaI kahA vicittA ya viulA ya // 5 katthai kulayAi maNoramAI aNNattha guvila-juyalAi / aNNastha chakkalAI duppariallAi iyarANa // 6 na ya sA koi suNeI na puNo pucchei neva ya kaheI / viusANa navara joggA iyara-jaNo tIe kiM kuNau // 7 to ucceUNaM gAhAo pAlittaeNa riaao| desI-payAi mottuM saMkhittayarI kayA esA / / 8 iyarANa hiyaTThAe mA hohI savvahA vi voccheo / evaM vicitiUNaM khAmeUNa ya tayaM sUri / / 9 asthi visAla nivesA bhUmiyaloiNNa-devaloga-samA / kusala-jaNa-saMkulA kosala tti loe purI khAyA // 10 baMbhaNa-samaNAtihi deva-pUya-paritosiyA jahiM devA / pADeti pukkhalAo vasuhArAo kuDaMbesu // 11 tattoccayassa samaNassa avahiyA acimaNA aNannamaNA / pAlittassa ya guNa-littayassa mai-sAhasaM suNaha // 12 pAyaya?' ca nibai (?) dhamma-kahaM suNaha jai na dubbuddhI / jo dhamma suNai sirva so jama-visaya na pecchihii // 13 asthi samiddha-jaNa gaNo bahu gAma-sahassa-goTTha saMnnicio / magahA nAma jaNavao kahAsu paripAyaDiya-nAmo / / 14 niccussavANa vAso vavagaya paracakka cor-dubhikkho|| jo savva samma saMpaya-samaNNio vissuo loe / / 15

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saMkSipta taraMgavatI kathA (taraMgalelA) maMgaLa jarA ane maraNanA magarothI bharapUra evA du:khasamudrane je siddho pAra karI gayA che ane dhruva, acala, anupama sukhane pAmyA che te sahune (prathama) vaMdanA karIne, (pachI) huM vinayapUrvaka aMjalipuTa racI, mastaka namAvIne saMghasamudrane vaMdana karuM chuM - e saMghasamudra ke je guNa, vinaya, vijJAna ane jJAnanA jaLathI paripUrNa che. (1-2). kalyANa he sarasvatInuM-je sarasvatI sAta svare ane kAvyavacano AvAsa che, ane jenA guNaprabhAve, mRta kavivare paNa pitAnA nAmathI jIvita rahe che. (3). kalyANa ho vidvata pariSanuM-je pariSadu kAvyasuvarNanI nikaSazilA che, nipuNa kavionI siddhibhUmi che, ane guNadoSanI jANakAra che. (4). saMkSepakAranuM puravacana pAdalite (je) taraMgavatI nAmanI kathA racelI che, te vaicitryapUrNa, ghaNA vistAraprastAravALI ane dezya zabdothI yukta che. (5). temAM keTaleka sthaLe manarama kulake, anyatra yugale ane kAlApa, to anyatra patane praga) che, je sAmAnya (pAThaka) mATe durbodha che. (6). (AthI karIne) e kathA nathI keI (have) sAMbhaLatuM', nathI koI kahetuM ke nathI kAI tenI vAta pUchatuM : kevaLa viThabhogya heIne sAmAnya jana tene zuM kare ? (7). (eTale meM) pAdaliptasUrinI kSamA yAcIne, sAmAnya jananA hitamAM--ane, "A kathAne kyAMka sarvathA ucacheda thaI jaze' ema) vicArIne, te sUrinI racelI gAthAomAMthI cayana karI, dezya zabdo gALI nAkhI, kathAne sArI rIte saMkSipta banAvIne ahIM prastuta karI che. (8-9). prastAvanA thathakAra vizALa vasatisthAnevALI ane kuzaLa lekathI bharapUra kosalA nAme eka lekavikhyAta nagarI hatI--jANe ke dharatI upara UtarI AveluM devaleka! (10). tyAM brAhmaNa, zramaNo, atithio ane deve pujAtA hovAthI saMtuSTa thayelA che tyAMnAM kuTuMbamAM puSkaLa dhana varasAvatA hatA. (11). te nagarInA (rahevAsI) guNalipta zramaNa pAdaliptanI buddhinuM A sAhasa tame avikSipta ane ananya citto, manathI sAvadhAna thaI ne sAMbhaLe. (12). buddhi dUSita na hoya, to A prAkRta kAvya rUpe racelI dharmakathA sAMbhaLa : je kaI kalyANakAraka dhamanuM zravaNa kare te jamaleka jevAmAMthI bace. (13). kathApITha magadha deza magadha nAme deza hato. tyAMnA loko samRddha hatA. ghaNAM badhAM gAma ane hajAro gASThAthI te bharapUra hato. aneka kathAvArtAmAM tenA nAmanI bhAre khyAti hatI. (14). te nitya utsanA AvAsarUpa hato; paracakranAM AkramaNo, caro ane dukALathI mukta hato; badhA ja prakAranI sukhasaMpattivALA te deza jagaprasiddha hato. (15).

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taraMgalAlA tattha puhaie-pahANaM ramaNijjujjANa kANaNovavaNaM / / rAyagihaM tu (?) paagA(DA?) mara-nagaraM // 16 tatthAsi koNio nAma viula-bala-kosa-saMpayA jutto|| riu-jIviANa kAlo mitta-sukAlo puhai-pAlo // 17 samara-parakkama-nijiya-avaNAmiya-sayala sattu-sAmaMto / jiya savya-dosa pasaro kulavaMsa-vibhUsaNo sUro // 18. titthayarassa bhagavao vIrassa vilINa-rAga-dosarasa / / so sAsaNammi ratto jara maraNa-vimokkhaNa karammi / / 19 tassAsi tayA taNu-jIva-rakkhao svv-pyi-mnn-kNto| kula mANa-sIlaviNNANa-nANa-jutto nagara-seTThI // 20 sohaggavai gahavai va somA piya-dasaNA piyA tassa / paccakravaM dhaNapAlo dhaNapAlo nAma nAmeNa / / 21 tatiyammi vasahimmi siddhi maga parigAhaNujjuttA / bahu-sissA-parivArA jiNa-vayaNa-visArayA gaNiNI // 22 komAra vaMbhayArI bahuviha-niyamovavAsa taNuyaMgI / ekkArasaMga-saMpuNNa-dhAriyA suvvayA nAma / / 23 .. tissA viNIya viNayA sissA pAraMtacAriyA(?) kaai| chaTThasya pAraNa kaya niyamAvassayA kAle // 24 jiNa vayaNa-niuNa-nicchiya-sui-kalaNoDDiya-samANa-khuDDIyA / saMghADaeNa hiMDai dukkha-kkhaya-kAraNA bhikkhaM / / 25 tasa-pANa-bIya-harie daga maTTiya-saMkule vivjjNtii| pANa-dayaTThAya mahi juga-ppamANaM nirikkhaMtI / / 26 . ladvAviladdha-nidiya-rosa-ppasAya-samatthA sA (?) / sutta viruddhe-ya ghare loya viruddha ya vajaMtI / / 27 sA kiMci aTraya-gharaM parivADI-paDiyamaigayA ajjA / dhavalabbha-gaNa-samUha va caMdalehA nahayalasi / / 28 sA tattha aNAvAhA vavagaya-tasa pANa-bIya-hariyammi / . esaNa-sohaNa jogge ThAyai ya gharaMgaNuddese // 29 pecchijjai tattha ThiyA ghara maMdira kiMkarIhiM juvaIhiM / sA rUva-vimhiya-mANasAhiM viSphAriyacchIhiM / / 30 daga taya tAo vilayAo salavaiti shiyaao| de dhAvaha aNavaja dacchiha lacchI-nihaM ajja / / 31 bahu-loya-taNuiehiM asaM Thaviya-laTThaehiM aggehiM / .. payaI nidvahiM saMkuciehi kesehiM sohaMtI / / 32 '

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taragalelA rAjagRha nagara - temAM rAjagRha nAmanuM pratyakSa amarAvatI samuM nagara hatuM. dharatI paranAM nagaromAM te mukhya hatuM. temAM aneka ramaNIya udyAna, vana ane upavana hatAM. (16). " kuNika rAjA ( tyAM kuNika nAme rAjA hato. te vipula senA ane kAzathI saMpanna hato. zatruone jIvita kALa ane mitro mATe sukALa hato. (17). teNe yuddhamAM parAkrama karIne badhA vipakSI sAme tene harAvyA ane namAvyA hatA. teNe badhA prakAranA aparAdhane prasaratA rokyA hatA. te potAnA kuLa ane vaMzanA AbhUSaNarUpa ane zuravIra hate. (18). jemanA rAga ane dveSa vilIna thaI gayA che tevA tIrthakara bhagavAna mahAvIranA zAsanamAM te anurakta hato : e zAsana, jarA ane maraNathI mukti apAvanAruM hatuM. (19). nagarazeTha te samaye dhanapAla nAme tene nagarazeTha hatA, je sAkSAta dhanapAla hato. te sUkSma jIvone rakhavALa hato (8); sarva prajAjaneno prItipAtra hato; kulIna, mAnI, suzIla, kalIkuzaLa ane jJAnI hato. tenI patnI hatI sema-caMdra jevI saubhAgya vALI ane priyadarzana. (20-21). suvatA gaNinI - tenA upAzrayamAM suvatI nAme gaNitI hatI; te siddhi mArgano pAra pAmavA ughata hatI; jinavacanamAM vizArada hatI; bALabrahmacAriNI hatI; anekavidha niyamo ane upavAsane lIdhe tenuM zarIra kSINa thaI gayuM hatuM. saMpUrNa agiyAra aMgagraMthane te jANatI hatI (!). tene ziSyA parivAra bahoLA hatA. (22-23). gocarIe nIkaLelI ziyA tenI kaI eka vinayayukta ziSyA pArAMcika tapane aMte, chaThanuM pAraNuM karavA mATe, Avazyaka ane niyama karIne, yathAsamaye, jinavacanamAM nipuNa ane zravaNamananamAM rata evI sarakhesarakhI ziSyAonA saMgAthamAM, duHkhano kSaya karavA, nIrasa padArthonI bhikSAcaryAe nIkaLI.(24-25). jyAM trasa jIve, bIja ane vadhu lIlerI hoya tevAM bhInI mATIthI bharapUra sthAnone tyajatI, jIvadayAne kAraNe AgaLanI cAra hAtha bhUminuM nirIkSaNa karatI jatI (26), bhikSA AdarathI maLe ke anAdarathI, athavA to niMdA, roSa ke prasannatA dekhADAya-te pratye samadaSTi rAkhatA, ane je gharane zAstramAM bhikSA mATe) vaye gaNyAM hoya ane je ghare lekaviruddha hoya temane varjita karatI evI te AryAe gocarImAM krama prApta kaIka zrImaMtanA gharamAM praveza karyo-jema nabhataLamAM rahelI caMdralekhA ta azvapujamAM praveza kare tema. (27-28). tyAM gharanA AMgaNAmAM trasa che, bIja ane lIlotarIthI rahita, doSamukta ane zuddha evA sthAne kazI bAdhA vinA te UbhI rahI. (29). rUpavarNana tyAM rahelI tene, te mahAlayanI yuvAna dAsI che, tenA rUpathI Azcaryacakita thaIne viphArita ne jovA lAgI. (30). tene joIne te strIo aMdaroaMdara ekasAthe belI uThI, "are! o ! doDe! doDe ! tamAre lakSmInA jevI anavadya AryAne jovI DAya to ! vAraMvAra loca karavAthI AchA thaI gayelA, astavyasta, suMdara aMtabhAgavALA, prakRtithI ja suMvALA ne vAMkaDiyA evA kezathI e zobhI rahI che. (31-32).

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taraMgalolA taba kisiya paMDareNaM lAvaNNuppehaDeNa vayaNeNaM / dhavalabha puDa viNiggaya-puNNima caMdaM uvahasaMtI / / 33 sakkuli-desesu taNU jutta palasthA ya kaNNa pAlIyA / kaNNA guNa-saMpuNNA bhUsaNa-suNNA vi saMcha(pa.)NA // 34 AbhUsaNujjhieNa ya saMghAAMDa-viNiggaeNa hattheNa / pheNa viNiggaya nAlaM valiyaM (?) kamalaM vilaMyaMtI // 35 tAsi ca vimhiyANaM samaNI-svAhigAra-sadeNaM / aha ghara rAmuddavelA taM velaM niggayA ghariNI / / 36 gaMbhIra-sussarIyA puNakkerAyattha(?) savvaMgI / thova-mahagyAbharaNA dhavala-dukUluttarAsaMgA / / 37 daLUNa tayaM tuTThA-khuDDI-sAhaya sujAya-sunderaM / niya ghara aMgaNa dese muhutta sohA-karaM ajjaM // 38 vaMdai ya vimhiya-maNA taM ajja suddha cIvarAbhogaM / maMthiya siMdhusta samuThiyaM va pheNotthayaM lacchi / 39 khuDIe ya paNAmaM ghariNI kAUNa viNAya saMpuSaNaM / vimya viyANiyacchI mayalaMchaNa-sacchaha-cchAyaM / / 40 pecchai ajjAe muhaM chaNaM(?) acchIhiM kasiNa-majjhehiM / AlINa bhamara-juyalaM va majjha-phuDa-viyasiyaM kamalaM // 41 sukumAla-pANi-pAyaM rAhiya(?) lacchi sacchaha ajjaM / sahasA daLUNa tayaM igamo ghAregI vicitei // 42 na ya suviNae na leppe na cittakamme kahAsu ya bahUsu / / diTThA va suyA va mae ajA iva sudarA(?) mahilA / / 43 lAyaNNeNa ghaDiyA kA Nu hu sohagga maMjarI iNamo / pattA va caMda-joNhA rUva-guNa-samaNNiyA ihai // 44 kiM hojja payAvaiNA iNamo vara-juvai-savva-sAreNa / rUva-guNa samAuttA savvAyara-nimmiyA suyaNu / / 45 jai tAva erisaM se muDiya-bhAvAe hojja lAyaNaM / AsI ya gihittaNae rUba sirI kettiyaM maNNe // 46 bhUsaNa-rahiesu vi kiha va tAva jalla-mailesu aMgesu / jattha ThiyA me diTThI tatto na varajjai(?) caleu // 47 savvaMgesu a-nimisA pecchaNa-lolA mae surUvaM ti / laggaMtI laggiMtI kahiMci hiMvAviyA(?) diTThI // 48 ajjAe-kati jutte aNaNNa-sarise maNa-pAsAya-kare / accharasANaM pi bhave maNoraho erise rUve // 49 mottaNa Na pauma vaNa-saMDa(!) ghiy-nevcchaa| gharamaigayA bhagavaI dANa-guNa-paDoccayA lacchI // 50

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taraMgalAlA tenuM tapathI kRza ane pAMDura vadana tenA sabhara lAvaNyane lIdhe, dhavala abrasaMpuTamAMthI bahAra nIkaLelA pUnamanA caMdrane upahAsa kare che. (33). pAtaLA, vaLAMka vALA, joDAyelA ane vaLelA, rUpALI bUTavALA, pUrepUrA lakSaNayukta tenA kAna AbhUSaNarahita hovA chatAM saMpanna (?) che. (34). uttarIyamAMthI bahAra nIkaLelaiM teno nirAbharaNa hAi phINamAMthI bahAra nIkaLela nALavALA, vAMkA vaLelA kamaLanuM viDaMbana karI rahyo che." (35). gRhasvAminIne vismayabhAva vismita thayelI te strIonA zramaNInI rUpaprazaMsAnA udgArothI te gRhanI maryAdALa samI gRhiNI te veLA bahAra AvI. (36). tene svara gaMbhIra ane mIThe hato...sarvAge prazasta...(2); teNe thoDAMka paNa mUlyavAna AbharaNuM paheryA hatAM ane te dukulane uttarAsaMga kareluM hatuM. (37). abhijAta sauMdaryavALI te Ane celIonI sAthe pitAnA gharanA AMgaNAne ghaDIka sohAmaNo karatI nihALIne te prasanna thaI. (38). nirmaLa cIvara dhAraNa karelI te AryA, jANe ke te maMthana karelA siMdhumAMthI bahAra AvelI ane tethI phINathI AvRta evI lakSmI hoya tema teNe vismita citte vaMdanA karI. (39). celIone paNa vinayapUrvaka praNAma karIne gRhiNI te AryAnuM caMdramAnI kAMti dharatuM mukha Azcarya cakita netre eka kSaNe joI rahI; kALI kIkIvALI AMkhone lIdhe, te mukha, pUrNa vikasita ane vacce rahelA bramarayugalavALA kamaLa samuM zobhatuM hatuM. (40-41). komaLa hAtha ane caraNavALI, lakSmI samI te AryAne ekAeka joIne te gRhiNI Ama vicAravA lAgI (42) : meM AnA jevI suMdarIne svapnamAM ke zilpamAM ke citramAM ke kathAomAM nathI joI ke nathI kadI sAMbhaLI. (43). lovarNathI ghaDelI A te kaI saubhAgyamaMjarI haze. athavA to rUpaguNathI yukta evI caMdranI strI ja ahIM padhArI che ! (44). zuM prajApatie badhI urAma taruNIonA rUpa ane guNane sArabhAga laIne pitAnI pUrI kaLAthI A suMdarInuM nirmANa karyuM haze ? je muMDita avasthAmAM paNa tenuM AvuM lAvaNya hoya, to aha ! gAIbhAvamAM te tenI rUpazrI kevI haze ! (46). tenAM AbhUSaNa vinAnAM ane baLathI malina aMge para paNa jyAM mArI daSTi karI che tyAMthI te khasI ja zakatI nathI ! (47). pratyeka aMgamAM, A atizaya rUpALuM che" evA bhAvathI cUMTI rahetI, jevAnI lAlasAvALI mArI animiSa daSTi meM kyAya paNa sthira na karI. (48). AryAnA asAmAnya kAMtivALA ane manane prasannatAthI bharI detA rUpano to apsarAone paNa manoratha thAya ! (49). mane lAge che ke dAnanA guNathI AkarSAIne sAkSAta bhagavatI lakSmI ja kamaLavana tajI, sAdhvIno veza dharIne mAre ghare padhArI che. (50).

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/ taraMgalolA . .... loge i]ya ppaDissui savyA kira devayA animisa tti / a-vyAya-malla-dAmA arayabara......devIrA (?) // 51 jai vi vikuruvyamANA karati nANAvihANi rUvANi / taha vi kira tesi nayaNA havaMti nimisummisaNa-hINA // 52 jaha se rayAvakiNNA pAyA nimisaMti loyaNAI ca / eeNa kAraNeNaM na hu devI mANusI esA // 53 ahavA kiM me iya saMsaeNa pucchAmi NaM uvAeNaM / . hasthimmi dissamANe kIsa payAI vimaggAmi // 54 evaM kayabhippAyA tIse rUva-guNa-kouhalleNa / vimhaya-pulaiya-sattA sA ghariNI bhaNai taM ajjaM // 55 . deha pasIyaha ajjA jai de natthi niyamassa uvroho| . hou suhassa pavitti dhammakahaM me parikaheha // 56 .: to bhaNai eva bhaNiyA ajjA natthettha koi uvaroho / savva jagajjIva-hiyaM dhamma uvasAhamANassa // 57 do kira pUya-ppAvA do cciya pAvaMti ettha kira puNNaM / jo suNai jo ya sAhai a-vihiMsA lakkhaNaM dharma // 58 nikkhitta sattha-vero jaM hoi nisAmao muhuttamavi / soUNa jaM ca giNhai niyamaM kahagassa so lAbho // 59 dhamma kahago ya iyara' appANaM ca bhv-saagrodhaao| . tArei sAhamANo a-vihiMsA-lakkhaNaM dhamma // 60 eeNa kAraNeNaM dhammo uvasAhiu~ pasattho tti / taM suNaha aNaNNa-maNA jaM nAhaM taM kahehAmi / / 61 veti ya karayala-tAlaM detIo tAu ekmekkss| . savvAo vilayAo taM ajja pecchaNa-maNAo / / 62 saMpAiya-kAmamhe anjA-rUvamaiyassa. * amayassa / aNimisa-diTThI pADDha (?) imIhiM acchIhiM pecchAmo // 63 ghariNIe vi ya abhivaMdiUNa khuDDI(?) tIe saha ajjA / laddhammi uvaTThANammi eta(?phA)sue AsaNe tattha / / 64 tAo vi muiya magAu ajja taha vaMdiUNa viNaeNa / koTTima-tale vilayAu gharINIe samaM niviTThAo // 65 phuDa-visayakkhara saMpADiyAe sajjhAya-karaNa-lahuyAe / . bhaNiie sA subhaNiyAe kaNNa-maNa-rasAyaNa-nibhAe // 66 to sAhiu~ payattA savva-jaga-suhavahaM jiNANumaya / jara-maraNa-roga-jammaNa-saMsAra viNAsaNaM ajjA // 67 saNNANa-daMsagAI paMca-mahavvaya-mayaM viNaya-mUlaM / tava-saMjama-paDipuNNaM aparimiya-suha-pphalaM dhammaM // 68 paramANAmAtA saNa maga

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taraMgalA paNa lokomAM kiMvadaMtI che ke devatA mAtra animiSa hoya, temanI kUlamALA kadI karamAya nahIM, ane temanAM vane raja na lAge. (51). vikavaNAzaktithI teo nAnAvidha rUpa dhAraNa kare tyAre paNuM, kahe che ke temanAM netra unmeSa vinAnAM hoya che. (para). paraMtu AnAM caraNa to dhULavALAM che, ane cana paNa ughADamIMca thAya che. mATe A devI nahIM, paNa mAnavI che. (53). athavA to mAre AvI zaMkAo zuM kAma karavI ? ene ja koI nimitte pUchI jouM-hAthI najare dekhAto hoya tyAM pachI tenAM pagalAM zuM kAma zodhavA jAuM ? (54). " e pramANe manathI TharAvIne te AryAnA rUpa ane guNanA kutUhala ane vijyathI pulakita gAtravALI te gRhiNIe tene kahyuM (55), "Ava, AryA, tuM kRpA kara : je tArA dhamane bAdhA na AvatI hoya te, ane zubha pravRtti thatI hoya to mane dharmakathA kahe. (56). dharmakathAne mahimA A pramANe kahevAtAM te AryA bolI, "jagatanA sarva jIvone hitakara evo dharma kahevAmAM kazI bAdhA nathI hotI. (57). je ahiMsalakSaNa dhama sAMbhaLe che tathA je kahe che te baMnenAM pApa dhovAI jAya che ane teo puNya pAme che. (58). zretA ghaDIka paNa badhe verabhAva tajI de ane dhamakathA sAMbhaLIne niyama grahaNa kare tenuM zreya kathA kahenArane bhaLe che. (59). ahiMsAlakSaNa dharma kahenAra pitAne tathA sAMbhaLanArane bhavasAgaranA pravAhamAMthI tAre che. (6). AthI dharmakathA kahevI e prazasta che. te je kAMI huM jANuM chuM te huM kahIza, tame ekAgra citte sAMbhaLo." (1). eTale te AryAne nihALatI pelI badhI strIo ekamekane hAthatALI detI belavA lAgI (62), amArI manakAmanA pUrI thaI? A rUpasvinI AryAne ame A ne vaDe animiSa daSTithI joyAM karIzuM. (3). gRhiNIe paNa abhivAdana karIne celIo sahita AryAne Asana ApyuM. (64). pelI strIo paNa manathI rAjI thaIne ane AryAne vinayapUrvaka vaMdIne gRhiNInI pAse bheMya para besI gaI. (65). eTale, phuTa zabda ane arthavALI, sajajhAya karavAthI lAghavavALI, subhASitane lIdhe kAna ane manane rasAyaNarUpa evI uktio vaDe AryA jinamAnya dharma kahevA lAgI- je dharma jarA, roga, janma, maraNa ne saMsArane aMta lAvanAra hatA, sarva jagatane sukhAvaha hato, jJAna, darzana, vinaya, tapa, saMyama ane pAMca mahAvratothI yukta hato, apAra sukhanuM phaLa A5nAra hato. (66-68).

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: taraMgalolA 12 aha sva-vimhiya-maI nAUNa kahAe aMtaraM bhaNai / ghariNI kayaMjaliuDA saMjama-niyamujjayaM ajaM // 69 hoTa suo me dhammo iNamavaraM tA pasIya kahehi / jamiNaM bhagAmi bhayavai taM suvvau maha paseUNa // 70 rUvAloyaNa-suhayAI ajja jAyAI majjha nayaNAI / savaNA uNa uttammati tumha-uppatti-savaNammi // 71 kiM nAmassa ya piuNo amayamaiya buTThi-saNNihA taM si / . kotzuha-maNI va hariNo hiyayaM ANaMdiyaM kuNasi / / 72 guvaNasta baMdaNIyA vehAyasaM savva(?) vimala-joNhAe / jagaNI jaNaNI kANi u nAmammi ya akkharANettha / / 73 kiM ca suhaM aNubhUyaM niyaya-ghare pai-ghare tume ajjA / keNa va dukkheNa imA gahiyA ai dukarA vajjA / / 74 ilachAmi jANi je eyaM savvaM ahANupuvvIe / doso ya na kAyavyo gammateNaM agamaNammi // 75 mahilA-rayaNamsa naINa sAhuNo x x x savvassa(?) / no kira lahiu~ jutto pabhavo tti suI carai loe // 76 . eyaM piM jANamANA dhammiya-jaNa-paribhavo na jutto tti / tuha sva-vimhiya-maNA pucchAmi tuma aha raseNa // 77 to bhagai eva bhaNiyA dukkhaM kira sAhiuM imaM ghariNi / esa agatthA-daMDo nahi jujjaI. seviuM... amhaM // 78 puvya-kaya-pubba-kIliya-suhANi givAsa-samaNubhUANi / sAvajANi na juttaM maNasA vi kiNo(!) udIreuM // 79 aha puNa saMsAra-duguMchaNaM ti aharisa-paosa-majjJatthaM / taM suNaha' kahehaM me kamma-vivAga-pphalaM niyayaM / / 80 iya bhaNiyammi tuhA ghariNI tAo ya pvr-vilyaao| soyavvaucchi(1cchu)yAo ajaM vaMdaMti savvAo // 81 aha tAhi pucchiyA sA samaNI sAheI puvva-bhava-jaNiyaM / kamma vivAgaM savvaM tAsi vilayANa savvAsi / / 82 iiDhI gArava-rahiyA majjhatthA tasthima bhaNaI ajjA / dhammekka diNNa-diTThI sarassaI ceva paccakkhA / / 83 jaM ca mae aNubhUaM jaM ca suyaM jaM ca saMbhare ghariNi / thovuccaeNa evaM suNa vaNNehaM samAseNa // 84 jA bhaNai maMgulaM maMgulaM ti laTuM ca bhaNai laTuM ti / sambhAve bhaNNaMte na hoI niMdA pasaMsA vA // 85

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taraMgalolA AtmakathA kahevAnI Ane vinaMtI ane tene svIkAra te pachI tenA rUpathI vimita banelI gRhiNI, dharmakathAmAM vacce paDelo AMtara dhyAnamAM rAkhIne, saMyama ane niyamamAM tatpara evI te AryAne hAtha joDI kahevA lAgI (69), 'vAru, dharmakathA to meM sAMbhaLI. have te kRpA karIne A bIju paNa kahI saMbhaLAva. he bhagavatI, mArA para kRpA karIne huM je kahuM chuM te sAMbhaLaje. (70). Aje mArAM nayane to tAruM rUpa joIne dhanya banI gayAM, paNa tamArI utpattikathA sAMbhaLavA A mArA kAna jhaMkhI rahyA che. (71). kayuM nAma dharAvatA pitAne mATe tuM amIdraSTi samI hatI, ane jema kostubhamaNi harinuM, tema tuM tenuM hRdaya AnaMdita karatI hatI? (72). nirmaLa snAnI jananI samI jagavaMdya tArI jananInA kayA nAmAkSara hatA? (73). AryA, tame pitAne ghare tema ja patine ghare kevuM sukha bhogavyuM ? athavA te zA duHkhe A ati duSkara pratrajyA lIdhI ? (74)-A badhuM huM kramazaH jANavA icchuM chuM. paNa AmAM agamamAM gamana karavAne doSa rakhe thAya. (75). lokemAM kahevata che ke nArIratnanuM, nadInuM tema ja sAdhunuM mULa na jodhavuM (76). vaLI dhArmika janano paribhAva kare ucita nathI e paNa huM jANuM chuM ne chatAM paNa tArA rUpathI cakita thaIne kutUhalathI tane pUchuM chuM." (7). e pramANe kahevAtAM A belI, gRhiNI, e badhuM kahevuM kaThina manAyuM che. e anarthadaMDanuM sevana karavuM amAre mATe ucita nathI. gharavAsamAM bhagavelAM sukho, pUrvanAM kRtyo ane krIDAo, pApayukta heIne temane manamAM lAvavAM paNa yogya nathI, te pANIthI kahevAnI to vAta ja kevI ? (79). chatAM paNa te saMsAra pratye jugupsA janmAvI zake tema hovAthI, huM rAgadveSathI mukta rahI madhyasthabhAve te kahIza, to tame mArA karmavipAkanuM phaLa sAMbhaLo. ( 80 ), e pramANe teNe kahyuM eTale te gRhiNI tathA anya ramaNIo rAjI rAjI thaI gaI ane zravaNAtura banIne te saue AryAne vaMdana karyA. (81). A rIte temanA pUchavAthI te zramaNI te badhI strIone potAnA pUrvabhavanAM karmanA vipAkarUpa badhI kathA kahevA lAgI. (82). Rddhi ane gaurava rahita thaIne, dharmamAM ja daSTi rAkhIne, madhyathaLAve, pratyakSa sarasvatI samI AryA A pramANe bAlI (83): he gRhiNI, je kAMI meM anubhavyuM che, je kAMI meM sAMLaLyuM che ane je kAMI mane sAMbhare che temAMthI thoDuMka pasaMda karIne huM saMkSepamAM varNavuM chuM, te tuM sAMbhaLa. (84). jyAM sudhI kharAbane kharAba ane sArAne sAruM kahIe--yathArtha vAta karIe tyAM sudhI temAM niMdA ke prazaMsAne deSa) Avato nathI. (85). - -

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taraMgalolA iha anthi bharahavAse majhima-khaMDammi majjhadesammi / banchA nAma jaNavao rammo jo savva-guNa-kalio / / 86 ravaNAga unbhavo [jo] samAgamo Agama-pahANANaM / AI majjAyANaM khetaM dhammattha-kAmANaM / / 87 sokvaM va paNijjo cheya jaga-viNicchara vya ramaNijjo / nivANaM piva vAso dhammo vya kao jahA saphalo / / 88 pura-vara-jaNa-kolaMbI tattha purI devaloya-velaMbI / saba-jaNa-maNAlaMbI kosaMbI nAma nAmeNa / / 89 sA majhadesa lacchI uvamANaM aNNa-rAyanagarANaM / laliya samiddha-jaga-nihI suMdI jauNA nadI-tIre // 90 tattha ya aparimiya-balo samara-parakkama-payAva vivkhaao| nAmeNa udayaNo nAma sAhu-jaNa-vacchalo rAyA // 91 mitta-jaNa-sokkha-rukkho sattu-vaNa davAjasassa AvAso / ---- bhaGavagga-samAulo sagyo / / 92 kaMtIe puNNa caMdo sareNa haMso gaIe nara-sIho / .. hehaya-kulammi jAo hayagaya raha joha paurammi / / 93 jassa ya vAsavadattA uttama kul-siil-ruuv-sNjuttii| mahilA-guNa-saMpattI pattI rai-sokkha-saMpattI / / 94 tasmasthi nagara-siTThI vayaMsao usahaseNao nAma / .. negama-paDhamAsaNio pAsaNio savva kajjesu // 95 niuNatyasattha-paramattha-jANao savva-sattha-nimmAo / nihalo purisa-guNANaM vavahArANaM ca savvesi // 96 sommo ya guNAvAso miya-mahura pasatya kAla sNlaavii| . thiya majjAya-caritto ukkaDa-yavahAra-vavahArI / / 97 sammaIsaNa-suvisuddha-buddhi nissaMkio pavayaNammi / jiNa-vayaNa-sAvao so mokkha-suI-paMtha paDivaNNo / / 98 sAvaya-guNAga niyaro AhAro nANa-dasaNa vayANaM / baMdha-pamokkha-vihaNNU jIvAjIve kayAbhigamo / / 99 viNayammirayagokkha(?) nijjara-viveya-saMvara(?) mahatthavI / ecchAi puNNApuNNa-vihaNNU(?) sIla-vvaya-tuMga-pAgAro // 100 kula baMsassa pIvo niccaM pyi-jnn-diinn-siiy-ghro| jo lacchi majjhima gharo guNa-rayaNa-sirI-gharo dhIro // 101 6

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taraMgelilA kathAmukha vastradeza bhAratavarSanA madhyama khaMDamAM vatsa nAmano ramya ane sarvaguNasaMpanna janapada che. (86)-ratnonuM udbhavasthAna, moTA moTA jANakAronuM samAgamasthAna, maryAdAonuM AdisthAna, dharma, artha ane kAmanuM utpattikSetra (87); sukhanA jevo prArthanIya, vidagdhonA nirNaya jevo ramaNIya, nirvANunA je vAsagya, ane dharmapAlananA je phalaprada. (88). kauzAMbI nagarI temAM che nagarI nAme kauzAMbI-jANe ke uttama nagarajanonuM vAsabhavana (?), devakanuM viDaMbana, janagaNamananuM AlaMbana (89). madhyadezanI lakSmI zI, anya rAjadhAnIonA AdarzarUpa, lalita ane samRddha janasamUha vALI, te yamunA nadIne tIre vistarI hatI. (90). udayana zo tyAM udayana nAmano sajanavatsala rAjA hatA. tenuM baLa aparimita hatuM, yuddhamAM tenA parAkrama ane pratApanI khyAti hatI (91); te mitronuM kalpavRkSa, zatruvanano dAvAnaLa, kIrtine AvAsa hato; subhaTasamUhathI vIMTaLAyelo ane kSArtha hato. (92). te kAMtimAM jANe pUrNacaMdra, svaramAM jANe haMsa, gatimAM jANe narasiMha hato. azva, gaja, ratha ane subhaTa (ema caturaMga senA)nI pracuratA vALA haihaya kuLamAM te janmyo hato. (93). uttama kuLa, zIla ane rUpavALI vAsavadattA hatI tenI patnI-jANe sarva mahilAguNanI saMpatti, jANe ratisukhanI saMprApti, (94). nagarazeTha zreSThIonI zreNImAM jenuM Asana prathama rahetuM te nagarazreSThI kaSabhasena tenA mitra ane sarva kAryamAM sAkSI hato. (5). te arthazAstramAM nipuNa ane tenA tAtparyane jANakAra hato; anya sarva zAstromAM paNa te niSNAta hato; badhA puruSaguNa ane vyavahArenA te nikaparUpa hato. (96). te saimya, guNone AvAsa, mita, madhura, prazasta ane samAcita belanAro, maryAdAyukta cAritryavALe ane vistIrNa vepAravaNaja vALo hato. (7). samyagadarzana vaDe tenI buddhi vizuddha thayelI hatI; pravacanamAM te saMzayarahita zraddhA vALo hato; jinavacanano zrAvaka ane zuci mokSamArgane anusaranAro hato. (88). te zrAvakamuNone nidhi samo hato; jJAna, darzana ane vratane AdhAra hato; baMdha ane mokSanA vidhAnane jANakAra hato; jIva ane ajIvanuM tene jJAna hatuM. (99). te vinayamAM dattacitta (?), nirjara, saMvara ane vivikano ati prazaMsaka, puNya ane pApanI vidhine jANakAra ane zIlavaMtanA utuga prAkAra samo hate. (100). te potAnA kuLa ane vaMzana dIpaka, prajAjano ane dInaduHkhanuM zItagRha, lakSmIne madhyAvAsa, mugurAne bhaMDAra tathA dhIra hate. (101).

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16 tassa (?) ya vAliyA hU~ oyAiya ladviyA piyA ghariNi / kaTTiyA jAyA ||102 aTThaNha puttANaM maggeNa suha vaDhiyAe gae avimANiya-dohalAe kira kAle / saha- suiNammi jAyA supariMggahiyA ya dhAIhiM // 103 to mitta baMdhavANaM jAo accaMta kira pamoonti / cAvaNayaM ca kayaM maha jamme amma-tAehiM // 104 satyaM ca jAya-kammaM kayaM kiraM saha jahANupuccIe / nAmaM ca baMdhavA me piuNo soUNa kAsI ya // 105 ima pavAyayabhayaM (?) taraMga-bhaMgAulAe jAe / oSaNa diNNA to hou taraMgavaiya ti // 106 muTThI baMdha-sIlA AyAsaM pAyaehi No Mti / utthalA kira sayaNe uttANaya-sajjirI acchaM // 107 to aMka - khIra dhAI-jaNeNa kIDaMtareNa keNaM pi / raMgAviyA ahaM kira nANA maNi koTTina-talesu // 108 yA kira majjha ghariNI sovaNiyA khiNikkhiNiyA / phoDaNa vajjaM kira kaNaya ghaNa phaDakyA Asi ||109 nicca pahasiya-muiyA 'io io ehi' baMdhava jaNassa / aMkesu ramaMtI kira karemi hAsullae bahue ||110 aNusiri(?) kayAo kira mae jaNassa acchI- suhRttha- saNNAo / sambhamahura-palAve tattha ya bha ( ? )NiyA karemi ahaM // 111 aMka paraMpara-vUDhA ammA pii bhAi sayaNa vageNaM / kAlaMtareNa keNa-i caMka miumaha pravaktA mi // 112 avvatya maMjulayaM akaliyaM (?) 'tAtao ' tti jaMpatI / baMdhava jaNassa pII pIvaratariyaM kira karemi // / 113. nivatta-cola-kammA ceDIyA cakkavAla- parikiSNA | hiMDami jahicchA... payaIhiM me kahiye ||114 kaNayamaya- putta vIullaehi (?) paMsu - ghara ullaehiM ya ramAmi / sahiyA- yaNeNa sahiyA bAlaya-keli aNubhavAmi // 115 gamammi varise aha me buddhi cauvvihoveyA / ANIyA AyariyA kalA guNa-visArayA vIrA // 116 leha gaNiyaM rUvaM AlekkhaM gAina / pattacchejjaM pukkhara gayaM ca kamaso ya giNhAmi // 117 niuNaM ca puppha-joNi niuNaM taha gaMdha jutti satthaM ca / vivihA abhiramaNIyA kAleNa kalAo gahiyAo / / 118 kaNNA caiva sakaNNA yA mi abhiovama jiNa - mayammi / piuNA sAvaga-dhammaM kula- dhammamamuMcamANeNaM // 119 taraMgalola

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taraMgalA taraMgavatIne janma, bacapaNa, tAruNya taraMgavatIno janma he gRhasvAminI, huM tenI priya putrI tarIke janmI hatI; ATha putranI pachI mAnatAthI prApta thayelI huM sauthI nAnI hatI. (102). kahe che ke mArI mAtAnI sagarbhAvasthA (3) sukhapUrvaka ane dohadanI pUrti sAthe vItatAM, siMhanA svapanadarzana pUrvaka bhAre janma thayo ane dhAtrIoe mArI pUratI saMbhALa lIdhI. (103). mitro ane bAMdhane, kahe che ke atyaMta AnaMda thaye ane mArAM mAtApitAe vadhAmaNI karI. (104). yathAkrame mAruM badhuM jAtakarma paNa kahe che ke karavAmAM AvyuM, tathA pitAjI sAthe vicAra karIne mArA bhAIoe mAruM nAma pADayuM (105)-jaLasamUhe sabhara (?), ane bhaMgura taraMge vyApta evI yamunAe, mAnatAthI (prasanna thaIne) A dIdhI, tethI AnuM nAma "taraMgavatI" he." (106). acapaNa kahe che ke huM mUThI bIDI rAkhatI, avakAzamAM paga uchALatI, ane pathArImAM cattI sUtI houM temAMthI UthalIne UMdhI thaI jatI. (107). te pachI kahe che ke aMkadhAtrI ane kSIradhAtrIe eka vAra ramADatA ramADatAM mane vividha maNimaya chAbaMdha beya para peTe khasatAM zIkhavyuM.(108). he gRhiNI, mArA mATe kahe che ke ramakaDAMmAM senAnI khaMjarI ane vagADavAnA ghUgharA ne sonAnA ghaNA lakheTA (3) hatA. (109). haMmezAM prasanna ane hasamukhI, ahIM, ahIM Ava (ema bolatA) bhAIonA kheALAmAM khelatI huM, kahe che ke vAraMvAra khilakhila hasI UThatI. (110). lekenA anukaraNamAM kahe che ke huM AMkha ane hAthathI ceSTAo karatI ane mane bolAvatAM tyAre huM aspaSTa, madhurA uddagAra kADhatI. (111) mAtApitA, bhAIo ane svajananA eka kheALAmAMthI bIjA khoLAmAM UMcakI levAtI huM thoDAka samaya jatAM DagalAM mAMDavA lAgI. (112). vaNasamaye aspaSTa ane madhura tAtA" ema belatI huM bAMdhavonI prItine kahe che ke vadhu gADha karatI hatI. (113). cUDAkarmane saMskAra UjavAI jatAM, huM dAsIonA jUthathI vIMTaLAI yatheccha haratIpharatI ema lokee mane kahyuM che (?) (114). sonAnI DhIMgalIothI ne retInA gholaka karIne huM ramatI (ane ema) sahiyaronA sAthamAM meM bALakrIDA mANI. (115). vidyAbhyAsa pachI garbhAvasthAthI AThame varase mAre mATe cAra prakAranI buddhivALA, kaLAvizArada, ane dhIra prakRtinA AcAryo lAvavAmAM AvyA. (116). (temanI pAsethI) meM lekhana, gaNita, rUpakarma, Alekhya, gIta, vAdya, nATaya, patrachedya, puSkaragata-(e kaLAo) kramaza: grahaNa karI. (117). meM puSpaparIkSAmAM tathA gaMdhayuktimAM nipuNatA prApta karI. (Ama) kALakrame meM vividha lalitakaLAo grahaNa karI. (118). amArA kuLadharma zrAvakadharmane anusaratA mArA pitAjIe amRtatulya jinamatamAM mane temanI kanyAne nipuNa karI (119).

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taraMgalolA nayarIe je pahAgA pavayaNiyA bAyayA pabayaNassa / piuNA ANIyA me pavayaga-sAraM ubalabhAmi // 120 paMca ya aNuvvayAI guNabbayAI ca tiNi te majha / cattAri ya simyAo desaMti jahANupuvvIe / 121 kAma kaya-pamoyaM sAbhAviya-maMDaNaM sarIrassa / bAlanaNayaM rAvaNa(?) pattA haM jovvaNaM ghariNi / / 122 bahuyA kira tastha mahaM suNDa therA ya dhU(?pU)iA aDDhA / desAvayaMsa-bhUyA kuTuMviNo jAyayA Nate (? eti) // 123 to kira te pADasahai vAya-puvvamaNuvattago taao| kula-sIla sva-sArasaM majjha kira varaM apecchaMto // 124 moga samullA sArasiyA nAma ceDiyA eyaa(?gaa)| viNaovayAra-kumalA sAhei mahaM siNeheNa // 125 ayaM pi sahIhi samaM ho-sahakAriyAhi parikiNNA / manAtala-bhavaga-mihare hammiya-talAesu khellAmi // 126 purarpha bayAbharaNaM khellagayaM suMdaraM ca je bhakkhA / ammA-piyaro saM(? meM) bhAyaro ya savyaM mahaM deti // 127 vibhAga meM guru-jago tUsai dANeNa bhikkhu-jaNo ya / muhAsIlAga sAha-jago sesotha(?) jaNo mahurayAe / / 128 bhAujjAyAhiM samaM kayAi sahiyA-jaNeNa parikiNNA / niyaya ghara maMdire maMdarammi lacchi vva acchAmi / / 129 posaha-kAlesu aha bahuso sAmAiyaM karittANaM / jiga-yayaNa bhAvaNathaM gaNiNIo pajjuvAsAmi // 130 amahiya hiyaya daiyA ammA-pii-bhAi-baMdhavANaM c| kAlaM gamayAmi ahaM evaM suha-sAyas-nibuDDA // 131 aha aNNayA kayAI kAlAguru-dhUva-duddiNe tAo / citta-kusumAvayAre AsaNa-gharae suha-nisaNNA / / 132 pahAya-pasAhiya-jimio ammAe samaM maha parikahAhi / pAsa TThiya lacchIe acchai jaha ceva goviMdo // 133 api [1] hAiUNaM arahatANaM kae paNAmammi / pUiUNa(?) pUNijje ammA-pii-vaMdaNAbhigayA // 134 piuNA pAya-gahaNaM ammAe vi viNaya-puvvayaM kAsi / aha bottUNa jiyAhi ti tehiM vaisAviyA pAse / / 135 eyammi desa kAle kAlA tattha dhavalA ya paDakUlA(?) / canda-kara-bhUsiyA viva sAraya rayaNo virAyaMtI // 136 uuya(?)-puppha samiddhaM nava elayaM(? paNNaya)-saMpuDaM gaheUNa / puppha-dhara-vAvaDA Ne AsaNa gharagaM pavisei ya // 137

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taraMgalAlA nagarImAM je mukhya pravacanavida ane pravacananA vAcaka hatA temane pitAjIe mAre mATe bolAvyA, ane meM nigraMtha siddhAMtano sAra grahaNa karyo. (120 ). teoe pAMca aNuvrata, traNa guNavrata ane cAra zikSAvatano mane kramAnusAra baMdha Ape. (121). yauvana e pachI guhiNI, bALapaNa vitAvIne (2) huM kAmavRttine kAraNe AnaMdadAyaka ne zarIranA svAbhAvika AbharaNa samuM yauvana pAmI. (122). te veLA kahe che ke zrImaMta, pUjanIya ane dezanA AbhUSaNa rUpa ghaNAye vRddha gRhastha temanI putravadhU tarIke mAruM mAguM nAkhatA hatA. (123). paNa kahe che ke (mArI icchA) jALavIne vartatA pitAjI, sarakhesarakhAM kuLa, zIla ane rUpavALo vara najaramAM na AvavAthI te (bhAgane ) yuktipUrvaka asvIkAra karatA. (128). (te badhI) vAtacIta sAMbhaLIne sArasikA nAmanI eka vinayavivekamAM kuzaLa dAsI mArA pratyenI rahane kAraNe mane kahetI. (125). huM paNa " jI, jI, " karatI sakhIothI vIMTaLAIne, sAta mALanI havelInI Toce agAzImAM ramatI. (126), puSpa, vastrAbhUSaNa, suMdara kIDanaka ane je kAMI khAdya padArtho hoya te sarva mArAM mAtapitA ane bhAIo mane ApatAM. (127). mArA vinayathI saMtuSTa hatA gurujana, dAnathI bhikSuka jana, suzIlatAthI baMdhujana, ane madhuratAthI sarva itarajana. (128). kavacita bhAIothI, to kavacita sahiyarathI vIMTaLAIne huM mArA ghara - maMdiramAM maMdara parvata para lakSmInI jema rahetI hatI. (19). pauSadhazALAmAM huM vAraMvAra sAmayika karatI ane jinavacanonI bhAvanA mATe gaNinIonI sevAsuzruSA karatI. (130). mAtApitA, bhAIo ane bAMdhane hadayathI vadhu ne vadhu priya thatI huM e rIte sukhasAgaramAM nimagna banIne samaya vitAvatI hatI. (131). mAlaNanuM Agamana have koI eka vAra pitAjI nAhI, vastrAbhUSaNa sajI, jamIne beThakakhaMDamAM ArAmathI beThA hatA. khaMDamAM kRNAgurunA dhUpanA goTA prasaryA hatA, ane raMgaraMganAM kusume va sajajA karelI hatI. paDakhe rahelI lakSmI sAthe viSNu vArtAlApa karatA hoya, te pramANe teo mArI mAtA sAthe vArtAlApa karI rahyA hatA. (132-133). huM paNa nAhI, araha tene vAMdI, pUjyanI pUjA karIne bA-bApujIne vaMdana karavA gaI. (134). meM pitAjIne ane mAtAne vinayapUrvaka pAyalagaNa karyA, eTale teoe "jIvatI rahe" kahIne mane temanI pAse besADI. (135). te samaye tyAM vAne zyAma paNa veta vastromAM sajaja thayelI ane ema caMdrakiraNothI vibhUSita zarada-rajanI samI zobhatI, kUlapAtarI lAvatI mAlaNe, mosamI phUlothI bharela tAjAM parNone saMpuTa laI amArA beThakakhaMDamAM praveza karyo. (136-37).

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taraMgalolA kAUNa aMjaliM sA tAyaMte bhaNai bhamara-mahura girA / / laliya-paNayaMga-lahI ghaNa-bhara-sisseyaNa(?) viNaeNa // 138 mANasa-sara-saMpattA saMpai iha-vAsa-jAya-pariosA / sarayAgama ghosaNayaM kareMti suharisamime haMsA / / 139 sarao alliyamANo sahasA haMsehiM pamha-dhavalehiM / kAsehi payAsijjai jauNA-kacchaTTahAsehiM // 140 nIleMto galiya-vaNe asaNa-vaNe pIyae karemANo / kAse ya saktivaNNe dhavaleto Agaso sarao / / 141 gahavai vaTTai sarao naTThA sattUhiM te samaM mehA / saMpai jaha pauma-saraM taha sevau te ciraM lacchI / / 142 to evaM bhaNamANI uvagayA gahavaissa uvaNei / saMchaNNaM caMgoDaM sA sahasA sattivaNNANaM // 143 tatthugghADiya-niggaya-pahAvio dasa disAu pUreto / gayavara-maya-gaMdho viva gaMdho so sattivaNNANaM / / 144 taM sattivaNNa-puNNaM caMgoDaM matthayammi kAUNaM / pupphehiM tahA agdhaM arahaMtANaM kuNai tAo / / 145 bhajhaM ca dei tAo ammAe appaNo ya mAlei / pesei ya puttANaM .. sa-kasattANa pi pupphAI // 146 pecchai ya ukkhivaMto sAraya-sasi-nimmalehi kusumehiM / kari daMta-paMDurAo piMDIo sattivaNNANaM // 147 tattha ya kaMcaNa gAraM(?) amaliya-juvai-paohara-pamANaM / pasmai sa-rayaM payaguM ruNpaya kula(?)-piDiyaM(?) piMDiM // 148 to..................a-varaM kaNaya-sacchaha piMDi / / vimhaya phAriya-netto pecchai ya ciraM gaheUNaM // 149 tAo ya taM gaherDa maNammi su-viNicchiyaM kare je / to nicala-savvaMgo muhuttamettaM vicitei // 150 tatto hAsaviya-muho majha paNAmei taM kusuma-piDi / bhaNai ya muNehi puttaya imIe vaNNAhigAramiNaM / / 151 taM puSphajoNi satthammi sikkhiyA gaMdhajutti-satthaM ca / etyatthi tujjJa visau tti teNa bhaNiyA tumaM putti // 152 pagaIe paMDurAo piMDIu putti satti vaNANaM / kAraNa jAeNa imA keNa maNe pIiyA piMDI // 153 amhaM vimhaya-heuM ki maNNe hojja sippieNa kayA / aha joNI-satthammI sikkhiya-guNa-pAyaDaNa-heuM // 154

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ta galAlA zaradra-NuM na * hAtha joDI, dehayaSTine lAlityathI namAvI, bhramara jevA madhura svare te pitAjIne savinaya kahevA lAgI ( 138) : mAnasa sarAvarathI AvelA ane huve ahIM vasIne paritApa pAmelA A ha Mse zaradanA AgamananI saha dheASaNA karI rahyA che. ( 139 ). Azraya letA hase, zveta padmo ane yamunAtaTanA aTTahAsa samAM kAzaphUlA vaDe zaradaRtunuM prAkatha ekAeka thaI rahyuM che. (140), gaLInA vanane nIla ra Mge, asanavanane pIta raMge, teA kAza ane saptapaNuM te zveta raMge raMgate! zarada AvI pahoMcyA che. (141). he gRhasvAmI, zarada pravarte che, jema tArA zatru tema meA paNa palAyana karI gayA che, jema zrI atyAre pAsarAvarane seve che, tema te tAru' cirakALa sevana kareA. (142). 21 saptaparNanAM puSpAne upahAra ema khelatI te zeThanI samIpa gai, ane saptaparNanAM puSpAnI baMdha TApalI teNe UlaTathI tenI samakSa mUkI ( 143 ). tene udhADatAMnI sAthe ja madajharatA hAthInI magadha jevI te saptaparNanAM phUlAnI maheka UThI ane daze dizAone bharI detI te jhaDapavI prasaravA lAgI.( 144 ). saptapaNunAM phUle bharelI te TApalI mAthA para mUkIne pitAjIe te phUleAthI arahAnI pUjA karI. ( 145 ). temaNe mane tema ja mArI ammAne te phUla ApyAM, pAte paNa tenI mALA paherI, ane putrA tathA putravadhUene paNa te mekalAvyAM. ( 146 ). zaradanA caMdra jevAM zveta saptaparNanAM phUlAne uchALatAM pitAjIe temAM hAthIdAMta samAM zveta gucchA joyA. ( 147), ane te sAthe temAM taruNInA avikasita (?) stana jevaDA parAgarajavALe!, sAnAnI gaTI (?) jevA eka ladhu guccha paNa tenA jovAmAM Avye. ( 148). eTale ekanakavarNAM suMdara gucchane hAthamAM pakaDIne te vismayavisphArita taMtre kyAMya sudhI nihALI rahyA, (149). tene pakaDI rAkhIne, manamAM kazAka cAkkasa niya karavA mATe pitAjI sarvAMge nizvala banIne ghaDIka vicArI rahyA. ( 150 ). taragavatInI seATI pachI, hasatA mukhe temaNe mane te kusumaguccha ApyA ane melyA, ' meTA, A gucchanA raMganA khulAsA tuM vicArI jo. (151). tu' puSpayeAnizAstra ane gaMdhayuktizAstra zIkhI che. A tArA viSaya hoI te tethI ja, beTI, tane kahuM' bru. (152). beTI, saptaparNanAM puSpaguccha prakRtithI zveta ja hoya che. te pachI A eka guccha pILA che, tenAM kAM kAraNe| hAvAnuM lAge che ? (153). zuM kadAca koI kalAvide ApaNane Azraya pamADavA mATe e banAvyA haze, ke pachI puSpayenizAstranA zikSaNane prayAga karI batAvavA mATe ? (154).

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taraMgalolA 22 chArosahi jogehi ya puppha-phalANaM ca kIrai parAo / vigdhaM (? siTTha) kAraNa-jAyaM [ta] miMdayAle jahA diTuM // 155 uppADa(?) nihiya-mattaM rukkhANaM...osaha guNeNaM / navariM vaNNa-vihANaM puppha-phalANi ca bahU hoMti // 156 eva bhaNiyammi tAeNa tattha to hannai(?) kusuma-piDi / agghAIUNa suiraM AyarataeraNa pecchAmi // 157 vaNNa-rasa rUva-gaMdha-guNukarisaM [ca su-paricchiyaM jAhe / IhApoha-viyAraNa-guNa-saMsidvIe buddhIe // 158 to muNiya-kAraNA haM bhaNAmi viNaya-raiaMjali-maulA / AsaNNa-vihiya-paricaya-guNeNa purao ya tAyassa // 159 bhUmI-kAla-ppabhavaM posaNamapposaNaM ca viddhiM ca / nAUNa pAyavANaM pagai-vigArA ya NAyavvA / / 160 te puNa sippiya joguppAiya-vihi-kAraNehiM jAyaMti / te paMca vaNNa-heU je bhaNaha na te iTTa asthi // 161' gaMdheNa sUio me vara-kaMcaNa-reNu piMjaro surabhI / piMDIe aha rAo vara-pauma-kao imo tAya // 162 to bhaNai tattha tAo vaNassa majjhammi hohiI katto / paMkaya-rayassa puttaya uvavattI sattivaNNammi / / 163 to bemi suNaha tAyA koraNamiNamo pamANa-vihi-diTTha / jaha santivaNNa-piMDI paMkaya raya-piMjarA iNamo // 164 pupphANa pabhava-rUkkhassa sattivaNNassa tassa AsaNNe / bhaviyavyo pauma-saro sarayole pIvara-sirIo // 165 tattha divAkara kara-bohiesu niyaya-raya-piMjarIesu / paumesu chappaya-gaNA nileti mayaraMda-loheNaM // 166 to tatto uDDINA bahaso( ? ) mayaraMda-piMjarA bhamarA / alliMti sattivaNNassa tassa puppha-guliesu tahi / / 167 chappaya-gaNa-paya-nilINa-saMpha(?)-saMkaMta-reNu-bhAveNa / to teNaM lacchidharA kaya(1)vara raeNa A(? pI)yayA jAyA // 168 ettiyamettaM eyaM natthi vigappo tti jaMpiyammi mae / to puppha vAvaDA sA suThu humuNiyaM ti bhANIyA // 169 avayAseUNa ya maM sIse agghAiUNa to tAo / harisAUriya-hiyao pulaiya-aMgo imaM bhaNai // 170 suThu hu muNiyaM puttaya yiya-gayaM mama vi ettiyaM ceva / viNNANa-sikkhiyaM puNa parikkhiuM pucchiyA si mae // 171 viNaya-guNa-rUva-lAvaNNa-sIla-guNa(?) dhamma-viNaehiM / pavaraM varaM kisopari pAvasu acireNa kAleNa / / 172

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taraMgalAlA 23 kSAra ane auSadhionA vegathI phaLa phUla ne parAga (?) tvarita utpanna karI zakAya che. tenAM kAraNe ApaNe IMdrajALamAM jema jaIe chIe te pramANe darzAvAyAM che. (155). auSadhinA guNabhAve vRkSone tarata ugADavAnI (2), athavA to phaLa phUle ke vividha raMganuM nirmANa karavAnI ghaNI rIto che ()" (156): pitAjIe e pramANe kahyuM eTale meM e puSpagucchane lAMbA samaya sudhI suMghI joyo ane barAbara dhyAnathI tene tapAsyA. (157). rohApoha ane vicAraNAnI zakti dharAvatI mArI buddhi vaDe tenA raMga, rasa, rUpa ane gaMdhanA guNonI mAtrAnuM meM barAbara parIkSaNa karyuM, ane mane kAraNa samajAyuM, eTale savinaya mastaka para aMjali racIne meM, pitAjIne nikaTanA paricaya vizvasta manathI(2) kahyuM (158-159] : "vRkSanI bhega, kALa, utpatti, pASaNa, poSaNano abhAva tathA vRddhi - e badhuM samajyA pachI ja temanI mULa prakRti ane temAM thayelA vikAsa jANI zakAya. (16). vaLI te vikAro keI kaLAvidanI pragavidhine kAraNe paNa utpanna thatA hoya che. paraMtu A puSpagucchane viziSTa raMga tame je pAMca kAraNono nirdeza karyo che temAMnAM ekyanuM pariNAma nathI (161). pitAjI, A gucchane je raMga che te sugaMdhI ne ratAza paDatI pILI parAgarajanA tharane lIdhe che, ane tenI viziSTa gaMdha sUcave che ke te uttama pAne parAga che." (162). eTale pitAjI bolyA, "beTA, vananI vacamAM rahelA saptaparNanA puSpamAM kamaLaraja hovAnuM kaI rIte baMdha bese ? (163), eTale meM kahyuM, "pitAjI, saptaparNane A puSpaguccha kamaLaraja vaDe ratAza paDato pILo kaI rIte thaye haze tenA kAraNanuM meM paddhatisara je anumAna karyuM che te tame sAMbhaLe. (164). je saptaparNa vRkSanAM A phUle che te vRkSanI samIpamAM, zaradaRtumAM zobhAvRddhi pAmelI koIka kamaLataLAvaDI hovI joIe. (165). tyAM sUryakiraNothI vikaselAM ane potAnI parAgaraje ratAza paDatAM pILAM banelAM kamaLAmAM parAganA be bhramaravRMda UmaTatAM hoya. (16 6). ghATI parAgarajanI ratAza paDatI pILI jhAMyavALA e zimare tyAMthI UDIne bAjunA saptaparNanI pupapezIomAM Azraya letA hoya. (167). bhramaravaMdanA page ceTalI kamaLarajanA saMkramaNathI te saptaparNanAM puSpa kamaLarajanI jhAMya pAmyAM heya () (16 8). A vastu A ja pramANe havAmAM kaze saMdeha nathI." e pramANe meM kahyuM eTale pelI mAlaNa bolI, "tame barAbara kaLI gayAM." (169). eTale mane bheTI, bhAruM mastaka svI pitAjIe harSabharela haiye ane pulakita zarIre A pramANe kahyuM (170) : "beTA, teM marma barAbara jANyo. mArA manamAM paNa e ja pramANe hatuM, paraMtu tuM je kaLA zIkhI che tene parIkSA karavA pUratuM ja meM tane pUchayuM hatuM.(171). kRzadarI, tane vinaya, rUpa, lAvaNya, zIla ane dharmavinaya--evA guNothI yukta uttama vara jaladI maLajo." (172). S

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24 ammAe viSNavio nAo baliyaM khu kouhallaM me / taM sattivaNNa-rukvaM kaNNA nivvaNiyaM dahaM // 173 laTThati bhagai tAo pecchasu taM sayaNacagga-parikiNNA / kusuya suhAhi samaM tattha sare majjaNaM kallaM // 174 tANaM ANatA tattha ya ko DubiyA mayaharA ya / kalle kareha sajjaM bhojjaM majjaM (?) uvaNami // 175 jANi (? bANi) sohaNANi gaMdha malle ya kuNaha sajjaM ti / nohati mahiliyAo tattha sare majaNaM kAuM // 176 dhAIhi ya sahiyAhi yasa vyAhiM vi niya-bhAujAyAhi / abhigaMdiyA mi bahuso samaMta-sayarAha to ghariNi // 177 dhAIe ahaM bhaNiyA sajjaM te jemaNaM imaM putta / tA uvavisasu ya bhuMjasu mA te velA aicchihi // 178 aie bhoyaNa-kAle jo khao (?) na bhuMjai tahA putta / aggI nirighaNo viva vijjhAyai tatsa kAyaggI // 179 kAyaggI kira saMto vaNNaM rUvaM ca soumallaM ca / hagae bohissa suhe uvaNamaMto ( ? ) ||180 bhuMjasu mA te kola-vvaeNa gahiyAe / doso tti sANukaMpaM ahaM bhaNiyA // 181 sita- sukaTThe chetta ke yAra - vappa jAyassa / ukya-roviyasa suvviddha-puTTassa // 182 chAyaM balaM ca to ehi putta koI havejja khIreNa tikkhutto bhaMga-maliya- kuTTiya nikkaNiya-palaya (?) - sAriyaM sayalaM / sasi khIra- suddha-vaNaM miDa-visayaM neha-rasa- gADhaM // 183 kantima avigaliya-guNaM bahu- bappha-dukkhiyaM piva sa barpha | surahi - ghaya- pabhUya vaMjaNa- viviholla pANaya- samayaM // 184 jimiyA mi jahuddiTTiya miya-siddha (?) uiyammi kAlammi | vaNNa-rasa-gaMdhaya (?) - sayala-guNa- sAli bhujiyA sAliM // 185 hatthodakaM ca diSNaM ghariNi maha bhAyaNammi aNNAmi / hatthAya lUhiyA meM khomeNa sugaMdha the ||186 bhoNa ga... vahatyaM va (? gha) ya-tellaM tao mae chikkaM / hattha-muha-maMDaNatthaM pariyaNa- parimaMDayaMtIe // / 187 kallaM kira ujjANaM niggacchAmo nti tattha juvaINaM / maNa - pariosupphAlo muddesu pariyaTTio hAso // 188 to divasa -gaya- pavittI saMpattA cakkhu - visaya- nivvittI / raktA kamma-nivittI niMdupattI maNussA ||189 sayaNammi ya suttAe pAsa-TThiya-dIva nAsiya-tamohA | sA vi suheNa gayA me mayalacNa-leliyA ratI // 190 taraMgalolA

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taraMgalA ujANue javAne prastAva te veLA ammAe pitAjIne vinaMtI karI, "beTIe varNavelu e saptapaNe vRkSa jevAnuM mane bhAre kutUhaLa che." (173). pitAjIe kahyuM. "bahu sAruM. tuM sau svajano sAthe te jovA jaje, ane tyAMnA sarevaramAM kAle tArI putravadhUo sAthe nAna paNa karaje." (174). pitAjIe tyAM ja gharanA moTerAone ane kArabhArIone AjJA dIdhI, kAle udyAnamAM nAnajana karavA mATenI taiyArIo karajo. (175). suzobhita vastro ane gaMdhamAlya paNa taiyAra rAkhajo-mahilAo tyAMnA sarovaramAM nAna karavA jaze."(16). he gRhasvAminI, dhAtrIoe, sakhIoe tathA mArI badhI bhAIoe mane ekadama abhinaMdanothI gherI lIdhI.(177). pachI dhAtrIe mane kahyuM, "beTA, tAruM bhojana A taiyAra che, to jamavA besI jA. nahIM te bhojanaLA vItI jaze.(178). beTA, bhajanaveLA thatAM je jamI na le tene jaTharAgni baLataNa vinAnA agninI jema bujhAI jAya che.(179). kahyuM che ke jaTharAgni je bujhAI jAya to varNa, rUpa, sukumAratA, kAMti ane baLanA nAza kare.....(180). to cAla beTA, jamI le, jethI karIne veLA vItI javAthI thato koI deva tane na lAge. e pramANe lAgaNIthI mane kahyuM. (181) eTale teNe kahyA pramANe ucita veLA jALavIne, meM varNa, gaMdha, rasa Adi sarvaguNasaMpana zAlinuM bhajana karyuM. kevI hatI e zAli ? barAbara kheDelI ane dUdhe sIMcelA kakyArAomAM vAvelI, traNa vAra ukheDIne copelI, yogya rIte vRddhi pAmIne puSTa thayelI, laNelI, masaLelI, chaDelI, caMdra ane dUdha jevA veta vAnavALI, pocI, gADha nigdhatA vALI, guNa naSTa na thAya te rIte rAMdhelI, varALa nIkaLe tevI phaLaphaLatI, sugaMdhI ghIthI tara karelI ane caTaNa, pAnaka vagerethI yukta. (182-185). he gRhasvAminI, pachI mane bIjA pAtramAM hAtha dhovarAvyA ane sugaMdhI lauma vastrathI mArA hAtha lUchaLyA. (186). pachI bhejana..mATe, parivAranA zaNagAra rUpa meM hAthapaganA zaNagAra sajavAnA hetuthI (3) ghI ane telane sparza kare (2) (187). kAle to ujANIe jaIzuM ema jANIne gharanI yuvatIonAM mukha para aMtaranA umaMganI gheSaNA karatuM hAsya chavAI gayuM. (188). tyAM to jemAM samApta thaI che dinabharanI pravRtti, prApta thaI che cakSune vivaya-nivRtti, jene laIne thatI karmathI nivRtti ne nidrAnI utpatti, evI AvI pahoMcI rAtrI, (189). aMdhArAne pheData dIpaka pAse rAkhI ziyanamAM huM sUtI ne mArI e cAMdanIcItarelI rAtrI sukhe vItI. (190).

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taraMgalolA dhoya-muha-hattha-pAyA arahate baMdiUNa sAhU ya / saMkheva-paDikkatA uvavaNa-gamaNU suyA ahayaM // 191 ujANa-gamaNa-turiyAhiM tattha aha parammi juvaIhiM / alasa-gamaNa tti rattI bahuyAhi bahu uvAladdhA // 192 ujjANa-gamaNa-pecchaNa saMlAva-kahAhi jaggamANINaM / kAsi bi aikkaMtA majjaNaya bhaNoraha-kahAhiM / / 193 pUiya Arakkhiya-kammakarA mayahara-Naro pariyaNo ya / bhojjaM samIhiu~ je ujjANaM te gayA puvviM / / 194 so gayaNa-gasaNa-pahio sahasA jaasumnn-kusum-sNkaaso| uThei puvva-disa-kamala-bayaNa-viyasAvao sUro // 195 giNhati viviha-rAge paTTe khAme' ya kosiyAre ya / cINaMsue ya vatthe mahagya-molle vicitte ya / / 196 giNhate ya savisese muttAhala-kaNaya-rayaNa-saMghaDie / te bhUsaNa-savvasse sippiya-viNNANa-nimmAe / / 197 sundera-baddhaNa-karaM sohaggANuggahaM ti(?) pasAhaNayaM / jovvaNa guNa sAhalayaM... ... ... ... ...vilayA / / 198 to savva-sayaNa-mahilA AmaMtiya AgayAsu tAsu tahiM / sajjIkaya-niggamaNA ammA ujjANa-gamaNassa // 199 tAhiM mAhalAhi samayaM vaTuMte sohaNammi ya muhutte / savva-samiddhIe tao ujjANaM patthiyA ammA // 200 aNumaggao ya ammAe tattha vegeNa nIi juvai jaNo / AbharaNa-raveNa tayaM bhavaNassa . pahaM papUreto // 201 neura-ruNaruNa-sado kaNaya-rayaNa-mehalA-khaNakkhaNayA / maMjIra-khikhiNINa ya sadugghoso suho(gho!)so u // 202 tatto gacchaMtINaM jaNassa ossAraNaM piva karei / vammaha-naMdI-tUraM tAsi niyayAbharaNa-tUraM / / 203 iya tAsiM niggamaNaM kahiyaM me uvagayAhiM ceDIhiM / vAhariuM maM tatthAgayAhiM ammA-nioeNaM / / 204 ayaM pi sahIhi samaM kameNa majjiya-pasAhiyA ghariNi / savvAbharaNa-maNohara mahariha (?)-celliyaMgIhiM // 205 AgiTThi-ciMdha-paDheM kaMcaNa-piTThIe / maMDiyamuyAraM / mahariha-soTThA(?)laNhaM paTUTa-suvatthaM 'niyatthA mi // 206 AbharaNa-vasaNa-mahariha-rayaNa-samUha-ppahA-viyANeNa / biuNIkaya-lAyaNNA uu-puphiya-caMpayalaya vya / / 207

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taraMgalelA ujANuM meM hAtha, paga ane moM dheya, arahaMte ane sAdhuone vaMdana karyA, TUMkuM pratikramaNa kayu ane ujANIe javA huM usuka banI gaI (191). ujANIe javA utAvaLI hAI ne yuvatIo ane putravadhUoe paNa tyAre gayelI rAtane "kemeya vItatI nathI' ema kahIne ghaNI bhAMDI hatI. (19ra). keTalIkee to "ujANIe jaIzuM, zuM zuM jaizuM, kevAM nAhIzuM' vagere manorathonI paraspara vAta karIne AkhI rAta jAgaraNamAM ja gALI hatI. 193). taiyArI rasoIyA, rakSake, kAnavALA, kArabhArIo ane paricArke bhojananI taiyArI mATe saune pahelAM udyAne gayA. (194). tyAM te ekAeka gaganamAgane pathika, pUrvadizAnA vadana kamaLane vikasAvanAra, japAkusuma sama (rAta) sUrya Uge. (195). mahilAoe raMgaberaMgI, bhAtabhAtanAM, mahAmedhAM paTTa, laubha, kauzika ane cInAMzuka vastra lIdhAM; kasabIoe kalAkuzaLatAthI banAvelAM , senA, metI, ane ratnanAM uttamottama AbhUSaNa lIdhAM; tathA seMdaryavardhaka, saubhAgyasarSaka, yauvana-uddIpaka prasAdhana sIvAM (196-198). e pachI sagAsaMbaMdhInI sarva nimaMtrita mahilAo AvI jatAM ammAe ujANIe javA nIkaLavAnI taiyArIo karI (199), ane zubha muhUrta badhI sAmagrI sahita ammAe temanI sAthe prayANa karyuM. (200). tarata ja ammAnI pAchaLa vAsabhavananA bhAgane AbhUSaNanA raNakArathI bharI dete yuvatI samudAya cAlyo. (2001). taruNIonA nUpuranuM sammaka jhummaka, suvarNamaya ratnamekhalAne khaNakhaNATa, ane sAMkaLInI ki kaNane raNakAra-e. saune ramya gheSa UThato hato () (202). manmathanA utsavanI zaraNAI samI temane AbhUSaNanI zaraNAI jANe ke lekene mArgamAMthI dUra haThave kahI rahI hatI. (203). ammAnA AdezathI mane bolavavA AvelI dAsI oe temanA nIsaryAnA samacAra mane kahethA, (204). eTale, he gRhasvAminI, zarIre sarva zaNagAra ane manohara, mUlyavAna vastrathI susajaja thayelI mArI sakhIoe mane majajana karAvIne zaNagAra sajAvyA. (25). meM suvarNacUrNathI maMDita, mUlyavAna, sukumAra, suMdara, veta, AkarSaNa mATenA devajapaTa samuM. paTToka paheryuM. (206). vastrAbhUSaNanAM pANIdAra ratnonI jhaLahaLatI kAMtithI mAruM lAvaNya, RtukALe khIlI uThelI camelInI jema, diguNita banyuM. (07).

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taraMgalolA uvaniggayA mi sahasA ceDINaM cakkavAla-parikiNNA / bAhira-koTTa-laggaM cAussAlaMgaNaM ruMda // 208 tastha tayaM juvai-jaNaM diTuM AbharaNa-vasaNa ciMghaiyaM / iMdassa nilAe paripiMDiyaM va pavaracchara-samUhaM / / 209 tattha ya jANa-vilaggo bailla-niggahaNa coynn-smttho|| bAharai sArahI maM vonUNa ajjo(?) vva NovAlo(?) // 210 eheha kumAri tumaM saMdidu ajja seTThiNA tumha / / uvavaNa-gamaNa-vimANaM jANamiNamaNovama-sirIyaM / / 211 to evaM jaMpamANeNa teNa ceDeNa toriyA ahayaM / suha-vAabhaka(? vAhaya)mArUDhA taM kaMbala-patthayaM jANaM / / 212 dhAI ya uvArUDhA sArasiyA ceDiyA ya me jAhe / tAhe payaTiyaM taM ghaMTA-saddAlayaM jANaM // 213 mahilA-jaNa-sArakSaNa-kaya-vAvArA ya tattha kaMcuiNo / ghara-sayaharA pariyaNo maggeNaM meM samavaNiti / / 214 evaM suviraiya-maNohareNa paura-jaNa vimhaya-kareNa / niggasaNeNa pavannA naravai-maggaM sugamaNeNa / / 215 nANA-vivaNi-samaggaM sAme(? he)hiM AyayaM puravarIyaM / pecchAmi rAya-maggaM mahaggha sArobama-sirIyaM // 216 sAriya-jAla-kavADA pecchaNa-lolAhiM tattha jubaihi / oloyaNa-ummillA pecchaMti mamaM gharA ghariNi // 217 pecchaNaya-ucchuo maM tattha jaNo pecchae annimiscce| jANa-vimANArUDhaM lacchi va jahA aicchaMti // 218 tattha ya ThUNa mamaM rAya-pahatthA[Na nayari-taruNANaM / to kira vammaha-sara-pahakareNa Dajjhati hiyayAI / / 219 ramiyavya-saMpaoge magorahe tehiM taha karatehiM / jIviya-saMdeha kara khaNeNa AyallayaM pattaM // 220 accharasA-rUvAo jubaIo vi kira tattha kAsI ya / . daLUNameya-rUvaM maNorahe erise rUve // 221 maha rUva-soumallaM vippekkhiya hAva-laliya-sIlaM ca / rAya-vahe kira savvo vaNNemANo(?) jaNo jAo // 222 rAya paha ca visAlaM aNugacchaMtANa uttharaMtANa / gaMdheNa me sugaMdheNa tattha [hu] vimhAvio loo / / 223 eya maha ceDiyAo soUNa jaNassa eva saMlAve / aNudhAviUNa sAhati niggayAo puravarAo / / 224 pattA taM ujjANaM jANANaM uttaraMti vilayAo / ujjANa tIra-dese Thavio pAsammi ArakkhA / / 225

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taraMgalAlA 29 tarata ja huM dAsImaMDaLathI vIMTaLAIne bahAranA koTanI lagolagana catuzAlanA vizALa AMgaNamAM nIkaLI AvI. (208). tyAM vastrAbhUSaNathI dIpanA e yuvatI samudAyane IdanA AvAsamAM ekaThA maLelA suMdara asara same meM je. ( 20 ). tyAM baLadone hAMkavAmAM ane kAbUmAM rAkhavAmAM anubhavI, gADI para beThelA gADIvAne mane bolAvI (21), "kumArI, tame cAle, cAle, ujANIe javA mATenAM vimAna samI A saithI vadhu rUpALI gADI zeThe Aje tamArA mATe nakakI karI che.' (211-e pramANe belatA te sevaka mane jhaDapa karAvI, eTale kAmaLo pAtharelI te gADImAM huM sukhethI caDhI beThI. (212). te pachI mArI pAchaLa mArI dhAtrI ane dAsI sArasakA paNa ca, eTale ghaMTaDIone raNakAra karatI te gADI UpaDI. (213). strIonI sArasaMbhALa rAkhatA kaMcukIe, gharanA kArabhArIo ane paricA mArI pAchaLa pAchaLa AvatA hatA. (214). prayANuM A pramANe suyojita, suMdara prayANa vaDe nagarajanone vismaya pamADatAM ame saraLa gatie rAjamArga para thaIne javA lAgyAM. (215). huM vividha vATavALA, vizALa, aneka zAkhAomAM phaMTAyelA (?, lakSmInA meMghAmUlA sArarUpa, nagaranA rAjapathane jovA lAgI. (216). he gRhasvAminI, bhIDelI naLIyukta kamAMDavALAM gha, jevAnI rasiyaNa yuvatIone lIdhe jANe ke viArita lecane mane joI rahyAM hatAM. (217). jevAne usuka rastA paranA loko mane yAnarUpI vimAnamAM beThelI lakSmInI jema pasAra thatI animiSa netre jotAM hatAM (218). vaLI te veLA mane joIne rAjamArga paranA nagaranA taruNanAM haiyAM manmathanI zarataLathI jANe ke baLI rahayAM hatAM. (219). ramaNa karavAne yoga prApta karavAne manoratha karatA teo eka paLamAM te prANa saMzaya thAya tevo tIvra talasATa anubhavavA lAgyA. (220). asarA jevI rUpALI yuvatI. one paNa mAruM rUpa joIne evuM rUpa prApta karavAnA manoratha uddabhavyA. (221). mAruM rUpa, saikumArya ane hAva vaDe ramaNIya zIla joIne rAjapatha paranA sai lAke jANe ke anyamanaska (?) banI gayA. (22). vizALa rAjapatha para thaIne ame jatAM hatAM tyAre tyAM pasarI gayelI sugaMdhathI loko Azcaryacakita thaI gayA. (227). lekenI A prakAranI vAto sAMbhaLIne mArI dAsIe ame nagaramAMthI bahAra nIkaLI gayAM tyAre pAchaLa doDI AvIne mane kahI gaI. (24). e rIte udyAnamAM pahoMcIne mahilAo vAhanamAMthI UtarI. rakSakagaNane udyAnanI samIpanA bhAgamAM nikaTamAM ja sthApita karyo. (25).

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taraMgalolA ahamavi appa-taiyA oiNNA jaann-vaahnnaahito| tAhi mahilAhiM sahiyA ujjANa-varammi pavisAmi / / 226 uttuMga-dhavala pAyAra goraM phulla pAyava samiddhaM / viyarAta mahiliyAo naMdaNavaNamaccharAu vva // 227 bhaMjaMti putpha-gocche bacchANaM tattha lacchi-nilayANaM / pallA-goccha-dharANaM pecchaMtIo upavaNaM taM // 228 eeha sattivaNNaM [pa]kkhAmo taM ti to bhaNai ammA / kullehi sUio jo sara-taDa-jAo tti kaNNAe // 229 to so juvaI-sattho payaccha(?)e masiNa-gamaNa-patthANo / ammamaNuyattamANo Niei taM sattivaNNa-dumaM // 230 ahamavi samavA(?llI)NA dhAI-sArasiya-ceDiyAhiM samaM / nayaNa-maNa-mohaNesuM pecchaNaya-saesu lubhaMtI / / 231 saraya-guNa-samoyariyaM nANAviha puppha-pIvara-sirIyaM / savya-jaNa-nayaNa-subhagaM ujANa-varaM paloemi // 232 hiMDAmi puppha-mayaraMda-piMjarA mahuyarI viva vargammi / kaNNa-suhANi suNaMtI syANi pakkhI-sahassANaM / / 233 tattha ya ghaNa-vvavAe sarayAgama-galiya-pehUNa-kalAvA / moromaya-parihINA jiya-jUyayaru vva vAyati(? rovei) // 234 kelI-gharae tAlI ghare ya cittaghara-lAvaNaghare ya / dhArA-ghare ya ayaM mohaNa-gharae ya pecchAmi / / 235 dhUmAyai vva sattacchaehiM jalai va asoya rakkhehiM / tiyai va ijjaMtaM puTiphaehiM vANehiM ujjANaM // 236 saMgaliya-bahala-paNNaM kusuma-bharoNamiya-savvao-chaNNaM / aha tattha sattivaNNaM kiMci(?) paripuNNa-lAyaNNaM // 237 taM phulla goccha-dhavalaM chappaya-guMjaMta-pati-pariNaddhaM / / kaya-nIluppala-mAlaM va kAmapAlaM paloemi // 238 vAeNaM paDiyAo piMDIo tassa dharaNi-maMDIo / dahi-kUra maNNatA khuMTaMti samaMtao kAyA / / 239 patta-puDa-ppaDichaNNaM niyaya-thaNa-pamANa-pIvaraM tatto / bhaMjAmi puppha-goccha uttANaya-ruppa-kosa-nibhaM // 240 to me muha sayavattaM sayavatta-visuddha-gaMdhiyaM surabhi / paMkaya-lobheNaM mahumattA bhamarA uvasarati / / 241 bhamarA ribhiya-mohara-mahura-suha-sarA sarA aNaMgassa / / allINA me vayaNaM paMkaya-bhatIe guMjaMtA / / 242

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taragalAlA udyAnadezana e jaNIo sahita huM paNu gADImAMthI UtarI, ane bIjI mahilAonI sAthe meM e suMdara udyAnamAM praveza karyAM. (226). udyAnanAM koTa tathA dvAra uttuMga ane zveta hatAM. puSpita taruvarAthI te bharacaka hatuM. naMdanavanamAM asarAe! vihare tema te udyAnamAM mahilAe viharavA lAgI. (227). te upavanane nIrakhatAM nIrakhatAM tegmA pa gucchathI sabhara saiAM dhAma samAM vRkSenA puSpagucche cUMTavA lAgI. (228). eTalAmAM ammAe kahyuM, " cAle, cAlA, ApaNe saptapaNuM te joI e; kuM varIe enA phUla parathI sUcavyuM hatu' te, ke sarAvarane kAMThe e hovA joi e." (229). eTale e yuvatIsamudAya ammAne anusaratA masaNu gatie AgaLa vadhyA, ane pelA saptapaNuM vRkSane teNe joyu. (230). huM. paNa pazu dhAtrI ane sArasikA ceTInA saMgAthamAM, seMkaDA darzInIya, nayanameAhaka ane manamAka vastuomAM lAbhAtI, e seAhAmaNA udyAnane nihALavA lAgI-zaradaRtue tenA guNasarvasvathI tyAM avataraNa karyuM" hAI, tathA anekavidha uttama puSpAthI sAM samRddha baneluM hoI te te udyAna sa` prekSakAne mATe nayanaramaNIya banyuM' hatuM. (231-272). hunnarA paMkhIone zravaNusukhada kalarava sAMbhaLatI huM puSpaparAgathI rajita madhukarI samI bhramaNa karI rahI. (233). tyAM varSARtu vItatAM, zaradanA Agamane picchakalApa kharI paDayo hovAthI madavihANA banI gayelA mayUra, jitAyelA jugArI samA, (mArI dRSTie paDayo ). (274). tyAMnA kadalIgRha, tADagRhA, citragRhe, lAvaNyasA (!), dhArazRNDA, ane keli| meM joyAM. (275). te udyAna saptaparNone lIdhe jANe ke dhUMdhavAtuM hatu, azaeNkakSAthI Ne ke saLagI rahyuM hatuM, puSpita bhAvRkSe varDa jANe ke AgaMtukAne nihALI rahyuM hatu, (236). saptapaNa 31 e pachI me' pelA sarvAMgasuMdara samapaNa joyAH meTA bhAganAM pAna kharI paDeleA, sarvatra chavAI gayelAM puSpAnA bhAre lacatA, puSpagucchathI zveta zveta banI gayelA, ane guMjatI madhukaramALA vaDe sajaja--jANe ke nIleApalanI mALA dhAraNa karela khaladeva. (237238). pavanathI kharI paDIne nIcenI bhoMyane maDita karatI tenI pezIene dahI'bhAta samajIne kAgaDAe cAtaraphathI cAMca vaDe kheAtaratA hatA (239). me' patrapuTamAM vI'TaLAyelA, bhArA puSTa stana jevA, rUpAnA cattA kAza sameA (?) tene eka puSpaguccha cUMTayo. (240), bhramaramadhA eTalAmAM tA madhumatta bhramarA, kamaLanA lebe, kamaLanA jevA ja sugaMdhI mArA mukhakamaLanI pAse AvI lAgyA. (241). maneAhara jhaMkAranA madhura, sukhada svarane lIdhe anaMgazara samA bhramarA, gujana karatA, mArA vana upara, kamaLanI bhrAMtithI UtarI AvyA. (242)

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32 taraMgalola mahuyari kula yomisse te bhamare komalehiM hatthehi / bAremi alliyaMte muhe nileuM bavassaMte / / 243 te taha vi vAriyaMtA hatthe me uvasaraMti suTTayaraM / vAriya-pallava-paricaeNa maNNe avIhatA / / 244 to hulla (?paphulla-)caMpayalaya vya tattha aha bhamara-mahu-yas igaNehi / ahiyaM rahe rasAmI bhaya-passiNNA tharaharaMtI / / 245 so majha rasiya saho paNAsio tattha ArasaMtIe / bhamara-gaNa-dariya-mahuyari viviha-vihaga-sanninAeNaM // 246 hara-lAlA-pelavatareNa(?) tattha vArettu uttarijjeNa / occhAe uNa ya muhaM viralAmi bhaeNa mamarANaM // 247 nANA-rayaNa-vicittA kAma-sarANaM nivAsa-bhUyA ya / chiNNA dhAvaMtIe mahura-sarA mehalA tattha / / 248 bahuso parivIhaMtI agaNaMtI mehalaM taI khuDiyaM / kicchAhiM bhamara-rahiyaM pattA kayalIharaM ghariNi / / 249 to dhAciyA ya sahasA tahiyaM AsAsiya (?)giha-ceDIe / bhaNiyA ya bhIru bhamerahiM taM si na hu kira duhaviyA // 250 taM sattiyaNNa-rukavaM ahaM pi pecchAmi tattha hiNddNtii| paumasaruDDINANaM jaM khaMDaM(?) chappaya gaNANaM / / 251 nava-saraya-puppha-chaNNaM sara-taDa mauDa gharaM mahuyarINaM / bhUmiyala-puNNa-caMdaM bhamarANaM daMta(?vaMda)yaM peccha / / 252 tAhi mahilAhiM saMsagga-visaggaM puppha gaNa-lolAhi / taM pecchiUNa suiraM pauma-saraM me gayA diTThI // 253 cIra(?) kaNaya-valaya-cilalliyAe vAmAe bAhiyAe aha / avaThaMbhiUNa ceDiM taM parama-saraM paloemi / / 254 sauNa-gaNa-viviha-mihuNa-bhaya-muiya cAyAla-nAya mahAlaM / bhamarAlINa maNAhara-viyasiya-sayavatta-vaNa-gahaNaM // 255 kokaNada-kumuya-kuvalaya-vimAula-tAmarasa bhl-sNchnnnnN| ujjANa-ciMdhapaTTa pecchAmi ahaM saravaraM taM // 256 saMjhAyai vya rattuppalehiM joNhAyai vva kumuehi / gahAyai patta(?) nIluppalehiM so ya ghariNi (?) // 257 uggAyai vya mahuari-ruehi jA(?)yai va haMsa-viruehiM / naccai va vAya-payaliya-pauma-vilAsaggahatthehiM / / 258 dapiya-muhare kurare ramiyavbaya-vAvaDAu aaddiio| dhayaraTe ya pahaDhe paMDuraya-sodara (?) pAsaM / / 259 rehaMte paumAI chappaya cAhejjamANa-majjhAI / tavaNijja bhAyaNANi va tattha mahANIla-majjhaiM / / 260

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"taragalAlA bhramarInAMTALAM sahita rAtrIne mArA mukha para AzareA letA te bhramarAne hu kAmaLa kara varDa vAravA lAgI. (243). e rIte hAya vaDe vAravAmAM AvatAM te UlaTAM tee vadhu ne vadhu nikaTa AvI lAgyA--mAnuM ` ke pavanathI halatAM pallavAthI RNItA hAI ne teeA DaratA na hatA. (244). 33 bhramarabhramarInAMTALAMne lIdhe hu`. praphulla camelI samI dekhAtI hatI. ane DathI prasveda vaLI gayeA, huM tharatharavA lAgI ane memAthI cIsa pADI. (245), paraMtu matta bhramarabhramarInAM ToLAMnA jhaMkAramAM ane jAtannatanA pakSIonA bhAre dheAMdhAmAM mArI cIsane avAja DUbI gayA. (246) gheADAnI lALathI paNa vadhu jhINA uttarIya vo bhramarAne vArIne ane mukha DhAMkI Ine huM temanA DarathI nADI (?) (247), doDatAM doDatAM, kAmazareAnA nivAsa samI, citravicitra ratnamaya mArI mekhalA madhura raNakAra sAthe tUTI paDI. (248), atizaya bhayabhIta thayelI hAI ne, he gRhasvAminI, huM tUTI paDelI mekhalAne gaNakAryA vinA mahAmuzkelIe bhramarethI mukta evA kalIma`DapamAM pAMcI gaI. (249) saptapaNa eTale tyAM ekAeka doDI AvIne gRhadAsIe mane AzvAsana ApIne kahyuM, * huM bhIru. bhamarAoe tane dUbhavI teA nathIne ? ' (250). te pachI pharatAM pharatAM meM pelA saptaparNanA vRkSane joyuM, ke je kamaLasarevaramAMthI UDIne AvatA bhramaragaNAnuM AzrayasthAna(!) hatuM, je Ara bhAyelI zaradaRtu samaye eThelAM puSpathI chavAI gayu hatu, sAvaratIranA mukurUpa hatuM, bhramarIonuM piyara hatuM, bhramararUpa lAMchanavALA(?) dharatI para UtarI AvelA pUrNa caMdra rUpa hatuM. (251-252). saiA mahilAe phUla cUMTavAmAM rata heI ne ghaDIka bheLI thaI jatI te! ghaDIka chUTI paDI jatI (?). e vRkSane ghaNuA samaya nIrakhIte pachI mArI daSTi kramaLasarAvara tarapha gaI. (253). maLasarAvara suvarNa valayathI jhaLahaLatA DAbA hAthe dAsIne avala ne huM te kamaLasarAvara joI rahI (254) : temAM bhayamukta banI kalarava karatAM ane joDImAM pharatAM jAtajAtanAM paMkhIone ninAda UThI rahyo hateA. aMdara nimagna banelA bhramareAvALAM vikasita kamaLenAM gUDanAM jhuMDa hatAM. (255). praphulla kokanada, kumuda, kuvalaya, ane tAmarasanA samUhe te satra 'kAI gayuM' hatuM, udyAnanI patAkA samA te kamaLasarAvarane huM joI rahI. (256). De gRhasvAminI, raktakamaLe! vaDe te saMdhyAnA, kumudA vaDe jyAnA, teA nIlakamaLA vaDe te...nA bhAva dhAraNa karatuM hatuM. (257). bhramarIonA gu...jAravathI te jANe ke ucca svare gIta gAtuM hatuM; haseAnA vilApathI jANe ke te raDatuM hatuM; pavanathI halI rahelAM kamaLA vaDe jANe ke te agraharatanA savilAsa abhinaya sAthe nRtya karatuM hatuM. (258), dayI mukhara TIToDAe, krIDArata batakA, ane ita dhRtarASTro vaDe tenA baMne kAMDAM zveta khatI gayA hatA(?) (25). madhyabhAgane kSubdha karatA bhramaravALAM kamaLA, vacce IMdranIla jaDelAM suvaNaeN pAtra samAM zAbharyAM hatAM.(260), 4

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taraMgalolA khoma-paDa-dhavala-piMDaliya-sacchahe puliNa-saMThie pssN| sarayajjiya guNa-jAe . - saraTTahAse tahiM haMse // 261. " niyaya-paAhara-kuMkuma-vicitta-rUve ya payai-AyaMbe / .... piya-vippaoga-kAe ya cakkavAe . paloemi / / 262. ... sohaMti cakkavAyA pomiNi-pattesu saMThiyA kei / ' kAreNu-kusama-niyare vva hariya-maNi-kuTTimesu ThiyA // 263 IsA-rosa-virahie sahayari-saMjoga-rAya-ratte . ya / cakkAyaestha ghariNI saNosilA piMjare pecchaM // 264 sahayariyAhiM samagge paumiNi-patyaMtaresu ramamANe / hariya-maNi-koTTima-paloTTa-rayaNa-kalasovama sirIe // 265 temu sara-maMDaNesuM ramai ya diTThI maNAya me ahiyaM / goresu(?) royaNA-piMjaresu cakkayoesu... tahiM / / 266 daLUNa baMdhave viva te ha cakkAyae tahiM ghariNi / sariUNa puvva-jAI soeNaM mucchiyA paDiyA // 267 paJcAgaya-pANa-satti(?) soya maMta-majjha-hiyayA ya / mANasa-dukkha-payAsaM bAhaM . [baha]laM. pamuccaMtI / / 268 parasAmi ceDiyaM taM royaMtiM bhisiNi-patta-gahieNa / .. uyaeNa hiyaya-bhAgaM aMsUNi ya me papuMLaMtI / / 269 uTheUNa ya tatto gayA mi pauma-sara-saNNihiM ghariNi / . nava-nIla-patta-paumiNi-niuruva-nibhaM kayali-saMDaM // 270 tattha ya nimmala-gayaNa-talaM(le viva?) su-sAmale silAvaTe / sahasA payaTTiyaMsU soya-vivasA(?) nivesemi // 271 ... to bhaNai ceDiyA maM sAmiNi kiM te Na suTUThu parijiNNaM / ahavA parissamo te kiM vA keNAvi daTThA si // 272 aMTUNi ya me puMchai muyai ya aMsUNi majjha neheNa / pucchai mucchA ya imA keNa uvAeNa U Asi // 273 sAhahi me bhUyatthaM jAhe kIrai lahuM paDIyAro / kAla-vvaeNa mA te hoja sarIra-vyao koi // 274 vAhi dujjaNa-metti aha puNa(?) mahiliyaM ca dussIlaM / uvekkhaMto(?) pAvai pacchA kira dAruNaM pIDaM // 275 havai aNatthAsaMgo viNAsa-saMgo pamAya-saMgo tti / savvatthesu pasatthaM suMdari kAle parakkaMtaM // 276 taM na hu pamAiyavvaM payahattu (?)...samuTThiyaM dosaM / / samae jaM naha-chejjaM parasu-chejjaM imaM hojjA / / 277 eyANi ya aNNANi ya suhi-jaNa sulabhANi ceDiyA sA maM / sANuNayaM vayaNAI paccA(?) pacchANi bhANIyA // 278

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taraMgalA 35 tenA para beThelA, phIMDaluM vALelI kSauma vastra jevA dhavala ane ritu pAsethI guNagaNa pAmelA evA haMsa sarovaranA aTTahAsa samA dIsatA hatA. (261). vaLI, kesaralita mArA payodhara jevI zobhA dharatA, prakRtithI ja ratAza paDatA, priyA sAthe jemane viprayoga nirmita che (1) tevA cakravAka meM joyA. (2kara). padminI para beThelA keTalAka cakravAka lIlA maNinI pharasa para paDelA kare gunAM phUlanA peja samA zomI rahyA 9tA. (23). Iba ane roSarahita, sahacarIne saMgamAM anurakta, managila jevA ratUmaDA cakravAka meM tyAM joyAM (264). potAnI sahacarInI saMgAthe pavinIpatronI vacce ramatA cakravAka, marakatamaNinI che para daDatA ratnakalazanA jevI zobhA dharI rahyA hatA. (265). mUcha sarovaranA alaMkAra samA, gorocanA jevI lAza dharatA e (?) cakravAkomAM mArI daSTi kAMIka adhika ramamANa rahI. (266) he gRhasvAminI bAMdhavajana samAM e caDhavAne tyAM joIne mane mArA pUrvajanmanuM smaraNa thaI AvyuM, ane zekathI mUchita thaI huM DhaLI paDI. (ra7). bhAna pAchuM ApatAM, mAruM hRdaya atizaya zekathI rUMdhAI gayuM, ane huM puSkaLa AMsu sArIne manovedanA pragaTa karavA lAgI. (268). huM dAsIne, raDataraDatAM kamaLapatramAM pANI lAvIne mArA hRdayapradezane tathA AMsu lUchatI joI rahI. (269. pachI te gRhasvAmine, huM tyAMthI UThIne tAjA', lIlAM patra vALI patinInA jhuMDa samA, sarovarakAMThanA kadalImaMDapamAM gaI. (270). tyAM nirmaLa gagALa jevI atyaMta zyAma paththaranI pATa para huM zekavivazatAthI AMsu vahevarAvatI besI paDI. (21) ceTInI pRchA , eTale dAsIe mane kahyuM, "he svAminI, zuM tane khAdheluM barAbara pacyuM nathI ? athavA te vadhu paDate thAka lAge che? ke pachI kazuMka tane karaDI gayuM?' (272). mArAM AMsu lUchatI te pote paNa mArA pratyenA nehathI AMsu sAravA lAgI; vaLI teNe pUchayuM, "tane zA kAraNe A mUrchA AvI ? (273). mane sAcI vAta kahe, jethI tarata ja upAya karI zakAya. vilaMbane lIdhe tArA zarIrane rakhe kazI hAni pahoMce. (ra74). kahyuM che ke vyAdhinI, durjananI maizInI ane du:zIla strInI upekSA karanAra pachIthI bhAre duHkhI thAya che. (275). pramAda sevavothI anartha AvI paDe ne vinAza paNa thAya, mATe he suMdarI, badhI bAbatamAM samayasara pagalAM levAM e ja sAruM che, (276). eTale, AvI paDelA nAnA zA deSa pratye paNa pramAda na seva, nahIM to egya veLAe je nakhathI chedAya tevuM hoya, te pachIthI kuhADAthI chedavuM paDe tevuM thaI jAya." (277) A prakAranAM tema ja bIjAM paNa sahiyarane sahaja evAM pacce vacane dAsIe vinavaNI karatAM karatAM mane kahyAM. (ra78).

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taraMgalolA to NaM samuTTiyA haM bhaNAmi mA bhAhi na hu ajiNNaM me / navi ya hu parissamo me navi ya hu daTThA keNAvi ahaM // 279 to bhaNai kiM khu eyaM nivvatta-mahA suriMda-laTThi vva / jaM si paDiyA mahiyale mucchA-vihalehiM aMgehiM // 280 evaM khu niravasesaM suMdari paripucchiyAe jaM jAyaM / taM me ayANiyAe kahehi dAsi tti kAUNaM // 281 ayaM bhaNAmi ghariNI sArasiyaM mahura-vayaNa-saMlAve / maragaya-maNi-ghara-sarise kayalI-gharae suha-nisaNNA // 282 suNa sahi te sAhemI savvaM saMkheva-ghaDiya-[su]mahatthaM / jaM mucchyiA mi paDiyA coyaya vva Alasa vva(?) ahaM // 283 sama suha-dukkhA sama-paMsu-kIliyA taM si majjha sama-jAyo / savva-rahassaM jANasi teNa ahaM tujjha sAhemi / / 284 kaNNa-duvAramaigayaM jaha te vayaNAu neya nIharai / taha taM karesi piya-sahi sAhiMjai teNa tuha eyaM // 285 maha jIvieNa taM sAviyA si teNeva sahi pahAveNa / mA kassaI vi evaM majjha rahassaM parikahejjA / / 286 iya savaha-pariggahiyA sArasiyA bhaNai pAya-paDiyA meM / jaha bhaNasi tahA kAha icchAmi kahehi me eyaM // 287 tuha pAehiM savvaM niyaeNaM jIcieNa pasayacchi / Ai8 jaM tumae jaha ha (?) neya payAsemi // 288 niyavva(?)maNurattassa taM sArasiyA si taM(?) tuha bhaNAmi / na hu me tume rahassaM neyA(?) kiMci asAhiyau ti(?) // 289 puvvamaNubhUya-dukkhaM taM me acchINa bAha-parigalaNaM / ukkaTThA(?) paccAgaya-dukkha-bhIyA na sAhemi // 290 taM suNasu(?) avisaNNA mA hohisi ya vimaNA asiisnne(?)| piya-vippaoga-kaluNaM suha-dukkha-paraMparaM savvaM // 291 soyavyaya-dohaliNIe tIe ya etthobvitttth-tttttaae(?)| iNamo galata-nayaNA soga-visaNNA parikahemi / / 292

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taraMgalolA eTale UDIne meM tene kahyuM, "tuM bIza nahIM, nathI mane ajIrNa thayuM, nathI mane bhAre zrama paDavo ke nathI mane kazuM karaDI gayuM.' (279). eTale te bolI, "te pachI ema kema thayuM ke utsava pUro thaye jema dravajanI yaSTi paTakAya te rIte tuM mUchavikaLa aMgoe bheMya para DhaLI paDI ? (280). he suMdarI, mane kazI samaja nathI paDatI eTale tane pUchI. rahI chuM, to tuM dAsI jANIne mane A aMge rajeraja vAta kara." (281). taraMgavatIne khulAse eTale, he gRhasvAminI, te marakta maNinA gRha samA kalIgRhamAM nirAMte beThAM beThAM meM sArasikAne madhura vacane vAta karI (282). "he sakhI, huM mUcha khAIne...nI jema zA kAraNe DhaLI paDI, tenI ghaNI lAMbI kathanI huM tane TUMkamAM ja badhI kahuM chuM, te tuM sAMbhaLa. (283). tuM ane huM sAthe ja jamyAM, sAthe ja dhULamAM racyAM ane ApaNe sAthosAtha sukhaduHkha bhogavyo che; vaLI tuM to mAruM badhuM rahasya jANe che. eTale ja huM tane A vAta kahuM chuM. (284). he priya sakhI, tArA karNadvAramAM pravezeluM tArA mukhamAMthI bahAra na nIkaLe tenI tuM saMbhALa rAkhe che, tethI ja to huM A vAta tane kahuM chuM. (285). huM tane mArA jIvataranA sama dauM chuM, jethI karIne tuM mAruM A rahasya koIne paNa kahIza nahIM.' (286). A pramANe jyAre meM sArasikAne zapathathI bAMdhI lIdhI tyAre te mAre page paDIne kahevA lAgI, tuM kahe che tema ja karIza huM icchuM chuM ke tuM tArI A vAta mane kahe. (287). he vizAlAkSi, huM tArA caraNanA ane mArA jIvataranA sogaMda khAuM chuM ke tuM je kahIza te huM pragaTa nahIM je karu' (288). (meM kahyuM) he sArasikA, tuM mArA pratye anurAgavALI che tethI tane vAta karuM chuM. mAre koI paNa evuM rahasya nathI je meM tane na kahyuM hoya. (289). pUrve meM je duHkha anubhavyuM che tethI mArI AMkhamAMthI AMsu varasI rahyAM che. tIvra vedanA pharIthI sahevAnA bhaye huM kahetAM aMcakAuM chuM (290). te tuM sAMbhaLa, sAMbhaLatAM khinna ke vidaLa na banatI-priyavirahanAM jANyavALI sarva sukhaduHkha paraMparA huM varNavuM chuM. (291). sAMbhaLavAnuM tane khUba kutUhala che, te huM ahIM nirAMte beThAM beThAM zokathI viSaNuM ane gaLatAM netre mArI kathanI kahuM chuM. (292).

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38 asthi bahu-sAsa nicio vavagaya para cakka cora-dubhikkho / aMgo nAma jaNavao vayaMsao majjhadesassa // 293 jassa ya pavarA nayarI (?) ramma-vaNasaMDa-maMDiujjANA / aNaliya- egapurI sA puravara-guNa-saMpayA caMpA // 294 tattha bahu-gAma-jaNavaya- nagaro bhaya-taDa- samAulA rammA ! aMgesu picchala-puligA vihaMga-saMghAulA gaMgA ||295 kAryaMva- kuMDalA haMsa- mehalA cakkavAya: thaNa-juyalA / vacca sAyara-ghariNI pheNA- paMgutti-pAvariyA || 296 hasthi-ma-ta-hara-taDapAyava - vari (?) -kUlA / vaNamahisa-vaggha-dIviya taraccha-kula- saMkuludde sA // 297 cakkAI jamala- jUhAI jattha Apakka kalama - kavilAI | sohati : jamala- juyaliya - piekamekkAratAI // 298 jattha dhayaraTTha-sArasa-sarADi - kAryaba-haMsa kurara kulA / aNNeya saNa-saMghA ramaMti sacchaMda-vIsatthA ||299 tattha sahi cakavAI aNaMtara - bhave ahaM io Asi / kappUra-bhaMga kaMpella - sarasa (?) - niha- piMjara- sarIrA // 300 tattha ya mANusa jAIM sarAmi tatto anaMtara pattA / jAi-gaya-mANa- suha-saMyAhiM rattA - bhAve ||301 variya esa viseso (1) saMsAre hoi savva - joNIsu / jAI saraMti jIvA saMpaya-saha-mohiyA saMtA / / 302 sacchaMda-ha-payAre tattha ya sacchaMda-sAhiyavvammi / gADhA Asi rayA hai vayaMsi cakkAya-bhAvammi ||303. yA va jIva-lae citijjaMto na tArisa asthi / rAgo vilIya-rahio jArisao cakavAyANaM ||304 * taraMgalolA

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taraMgalAlA 39 cakravAka mithuna gaMgAnadI madhyadezanA mitra same aMga nAmane deza hato : dhAnyathI bharapUra, tathA zatruonAM AkramaNa, cera ane duSkALathI mukta. (293). tenI rAjadhAnI hatI caMpA-ramaNIya vanarAji ne udyAthI maMDita, badhI uttama purInA guNothI samRddha ane ema sAce ja ekamAtra purI. (294). jenA kAMThA snigdha hatA ane baMneya taTa puSkaLa gAmo, nagaro ane janapadothI bharacaka hatA tevI, paMkhIonAM jhuMDathI vyApta, aMgadezanI ramaNIya nadI gaMgA tyAM (thaIne vahetA) hatI. (295), kAdaMba pakSIrUpI kuMDaLa ane haMsarUpI mekhalA dharatI, cakravAkarUpI stanayugalavALI, sAgarapriyA gaMgA phINanuM vastraparidhAna karI gamana karatI hatI. (296). tenA kAMThA paranAM vRkSo matta vanagajenA daMkUzaLanA prahAravALAM hatAM; tenA tIrapradezamAM jagalI pADA, vAgha, dIpaDA ane tarasanI moTI vasatI hatI. (297). te nadI para, pAkavA mAMDelA kalamI cokhA jevI ratAza dharatA cakravAyugalonAM jUtha zobhI rahyAM hatAM, temanI potapotAnI jeDImAMnA sAthIdAra sadA ekameka pratye anurakta rahetAM. (ra98). tyAM dhRtarASTra, sArasa, ADi, kAdaMba, haMsa, TIDA ane tevAM bIjAM pakSIonAM ToLAM nirbhayapaNe ane svacchede krIDA karatAM hatAM. (299). cakravAkI he sakhI, tyAM huM AgalA bhavamAM eka cakravAkI hatI, kapUranA cUrNathI mizrita kapIlA jevo che ratUmaDA mArA zarIrane vAna hatA. (300). e pakSIbhAvamAM te avasthAne yogya pracura sukhasanmAnamAM huM Asakta heIne pachIthI prApta manuSyabhavanuM mane maraNa thatuM hatuM. (301). saMsAramAM sarva nionA jIvone, je teo sukhasaMpattithI mahita hoya to temane pachInA janmanI smRti thatI hoya che. (302). jemAM svacchede ane sukhe vicAravAnuM hatuM, joItI vastu vaccha de prApta thatI tevI cakravAkyonimAM huM gADhapaNe Asakta hatI. (303). jevo taddana doSamukta anurAga cakravAkomAM hoya che, te jIvalekanA anya prANIo vacce nathI letA. (304). "

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taraMgalo tattha ya agamya-sIso dr-vttul-suhy-pkkl-sriiro| AsI ya cakkavAo gaMgA-gamaNAya parihattho // 305 aNuharai ya lAyaNNaM amaliya-koraMTa-puppha-niyarassa / so kasaNa-calaNa-tuMDo nIluppala-patta-mIsassa // 306 AmaraNaMta-niraMtara-samarasa-pemmaguNa-nigutto(?) / dhammo saguNo so tAvaso vva cira naTTha-roso u // 307 kesanaggapakkhaujiyajjhausokkhakkhetuakkhaM(?) / gaikkhaukkhauNAhiyaMya maha guNa-saehiM (!) // 308 sAhaM jalAbha-saMkAsa nimmiya-sotasi(?) vijjuyA-gamaNA / viyarAmi, teNa sahiyA kaMThAbharaNaM sari-taDANaM // 309 bhisiNI-kuMkumamaccA rAyaNaNeDDAliyA giri-nadINaM / puliNa-khaNa-joga-rattA piyamaNurattA vassAyAmi(?) // 310 kaNNa-rasAyaNa-ruehiM ekkekkamasoya nivvui-karehiM / yArapaThAhAraehiM(?) remimo maNaharehiM (?) // 311 aNNoNNamaNuvayAmo aNNoNNassa saraI aNukaremo / aNNoNNa-samaNurattA aNNoNNaM necchimo mottuM // 312 iya ra[iya]-ekkamekka(?) aNuyattaNehi doNhaM pi / ekkekkama nibaTTai viliya-virAheo nikAma-kamo // 313 aNNaNNa-naisu ya bahusu pauma-saresuya maNAbhirAmesu / puliNesu vappiNesu ya evaM ramimo maNaharesu // 314 aha aNNayA kayAI nANA-sauNa-gaNa-mihuNa-majjha-gayA / bhAgIrahi-jala-paTTe ramimo maNi-koTTima-nibhammi // 315 eyammi desa-kAle ekkallo tattha majjiuM ei / hatthI maya-vasaM-pisuNo sUrAyava-taviya-sarIro // 316 raay-siriN-cNcle|he ya duMduhi-gaMbhIra mahura-saddehiM / kaNNehiM sUiyaMto asesu samAvaDatesu // 317 meho vva gulaguleto giri-siharAkAra-pavara sarIro / matto pabhiNNa-karaDo paMsu-haraNa-pIvara saroro(?) // 318 puNNeNa surabhiNA maNahareNa tassa mayarAsi-gaMdheNaM / vaNa pAyava-pupphANaM harilaM gaMdhaM sugaMdhANaM // 319 so vAya-vega-vitthArieNa nava-santivaNNa-subhageNa / maya-jala-pavAha gatteNa reNu dese ya vAseMto // 320 rudammi puliNa-jahaNammi tIe sAgara-varagga mahisIe / melamiva virayaMto eyaggaM gai laliyamei // 321

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taraMgaloya tamiyaM samaM paraMto(?) gaMgA puNa tassa taha ya bhIya vv| avasari va payattA saMpatthiya-thora vIIhi // 322 pAuNa pAuNa udayaM mukkaM thora lie vo(?)| vadahaM(?) samAvaiNNo tattha nivuDDo suhAvei // 323 hattheNa vi chabhaMto udayaM causu vi disAsu paDhe y| jala-kalusa-sohaNa-rao taM dahamussettukAmo va // 324 sahi niyaya-hattha-gahiyaM udayaM dhArAhi rehai muyaMto / siharagga(?) ujjhara-jharao vva tahA ya giri-kUDo / / 325 ussaviya-karassa muhaM rehai se ratta-tAlu-jibbhoDheM / hiMgulukAgara-kaMdaraM vilaM va jaccaMjaNa-girissa / / 326 uDUDAviyA aNegA sauNA amhe ya majjamANeNa / bAhaMteNa jalannaM bahuso ghoTTaM karateNaM // 327 uri pi hidhemANo(?) na muemo tivi(?)bhayaM duyaggA vi / ' __x x x x teNa uDUDAviyA saMtA // 328 so majjiya-nivvAo uttiNNo appaNo kameNa karI / maya-jIviya-nivyAho vAho ya tahiM samaNupatto // 329 nava-jovvaNa-saMpuNNo AraNNaya-puppha-muMDa-kaya-mAlo / / koyaMDa-kaMDa-hattho sa-kAladaMDo jamo ceva // 330 , pAehiM sama-khaNNuya-samAvaDiya-bhagga-visama-nakkhehi / ukkuDuyaTThiya-visamaMgulIhiM aNuvAhaNa-paehiM(?) // 331 uccattaramaMsorU saMkhitta(?)-suvitthaya-uro so / koyaMDa-vikaTTaNa-vAvaDAhiM kaThiNAhiM bAhAhiM / / 332 . oyaMba-rUDha-maMsU ugga-muho chAra-piMgalo roho(?) / phuDiyagga-kavila-kuMciya-palaMba-dADho mahakkhaMdho // 333 vAyAyavovahaya-daMta(?)nIla-pharusa-cchavI asuha(1)bhAsI / sAvaya-kulaMtakAlo kAlo vva uvasthio pekkha // 334 aMsAvasatta-tuMbo niyaMsio baggha-cammayaM ghoraM / kajjala-masi-cittaliyassa sarisayaM pIyala-paDassa // 335 dakhUNa taM gayavaraM so vAho hasthi-duggame dese / thoraM kaMci uvagao nai-taDa-rUDhaM mahA-rukkhaM // 336 tiracchiyacchio so aMsaya-saMnihiya-nihiya-koyaMDo / pauNaM kuNai hayAso vaNahasthi-viNAsaNaM kaMDaM // 337

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taraMgalAlA gaMgA tenA AgamanathI DaratI hoya tema, UThelA jambara kalolane miSe jANe ke dUra khasI javA lAgI. (322). pANI pI pIne pachI..dharAmAM UtarIne temAM nimagna thato te suMdara lAgato hato. (323). TUMDha vaDe te cAre dizAomAM ane potAnI pITha para jaLa uDADato jANe ke malina jaLane svaccha karavAnI AturatAthI dharAne ulecI nAkhavA te icchatA hoya tema lAgatuM hatuM. (324). he sakhI! sUkane jaLathI bharIne te jaLanI dhAra uDADatA. te agrabhAgathI jharatA nirjharavALA girizikhara same zobhatA hatA. (325). te suMDha UMcI karato tyAre tenuM rAtA tALavA, jIbha ane heThavALuM mukha, zuddha aMjananA girimAM hiMgaLakanI khANanI gartA jevuM zobhatuM hatuM. (0ra6). jaLamAM majajana karatAM, jaLa pravAhane aneka rIte DakhoLatA ane jaLa pItAM teNe amArA sahita aneka pakSIone uDADA. (327). dUra UDI gayA chatAM amAro bhaya jato na hato. (3ra1). nAhIne zAtA anubhava hAthI pitAnI icchA anusAra pANInI bahAra nIkaLyo. te veLA prANIone (mArIne) potAno jIvananirvAha calAvato evo eka vyAdha tyAM AvI pahoMce. (329). te juvAnajodha hato; jaMgalI phUlonI mALA teNe marataka para vIMTI hatI; hAthamAM dhanuSyabANa sAthe te kALadaMDa dhAraNa karelA yamarAja samo lAgato hato (330); tenA aDavANA paga thAMbhalA jevA hatA; paganA nakha bhAMgelA ane ADAavaLA hatA; paganI AMgaLIo UpaselA hADakavALI ane meLa vagaranI hatI (331); sAthaLa UpaselAM hatAM, chAtI khUba vizALa hatI; bAhu vAraMvAra dhanuSya kheMcavAnA mahAvarAthI kaThora banelA hatA (332); dADhImUcha ratAza paDatAM ane vadhelAM hatAM; moTuM ugra hatuM; AMkhe pIMgaLI ane rAkheDI hatI; dADha lAMbI, vaLelI, phATelI ane pILAza paDatI bhUkharI hatI; khabhA pracaMDa hatA (333); cAmaDI pavana ane tApanA mArathI kALI ane kakarza banelI hatI; vANI kaThora hatI; Avo pakSIonA kALa same te kRtAMta tyAM AvI lAge, (334). tenA khabhe tuMbaDuM laTakAveluM hatuM. teNe bhayAnaka vyAghracarma paheryuM hatuM, je kALA kAjaLathI kAbaracItare karelA pILA vastra jevuM lAgatuM hatuM. (335). pele hAthIne joIne te vyAdha, hAthI pahoMcI na zake tevA sthAne nadIkAMThe UgelA eka pracaMDa thaDavALA vizALa vRkSa pAse pahoMcyo. (336). khabhA pAse dhanuSyane goThavI najarane tIrachI karI te duSTa pelA jaMgalI hAthIne mAravA mATe dhanuSyanI paNacha para bANa saryuM.(337),

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taraMgolA to teNa gaheUNaM ThANaM koyaMDa-jIva-jutteNa / hatthissa pesiyaM taM jIviya-viddAvaNaM kaMDaM // 338 tatto ya aicchaMto kAla-muhutteNa sahayaro majjha / kaMDeNa kaDI-bhAe viddho samae kayaMtassa // 339 gADha-ppahAra veyaNa-vimohio naTTha-gamaNa-ceTTho u / udagammi mukka-pakkho hiyaeNa samaM maha paDio // 340 daLUNa sa-sallaM taM paDhamelluya-mANaseNa dukkheNa / soga-bharamadhAretI ahamavi paDimucchyiA paDiyA // 341 paJcAgayA muhutteNa kavi sogAulA vilavamANA / vAha-bhara-pUriyacchI acchAmi piyaM va pekkhaMtI // 342 kaDi-bhAya-lagga-kaMDe vitthAriya-muka-paDiya-pakkhauDaM / vAya-paNolliya-bhaggaM paumamiva sa-mAluyaM paDiyaM // 343 lakkhAe saMpu(?)NNaM piva jala-ullaya(?)-kaNaya-kalasayaM / passAmi ya paDaNolliya-samogaliya-lohiyaM sA hai // 344 caMdaNa-rasa-parisittaM asoya-pupphovayAra-niuruMbaM / passAmi niyaya-lohiya kuhiya-sarIraM sahayaraM taM // 345 paDio vi rehae so jala-peraMtamNi kiMsuya-suvaNNo / athavaNaMtaM paraM gao vvo sUro nibuDDaMto // 346 bIhemi ya taM kaMDaM tuMDeNokaDhiuM piyayamassa / salla-samuTThiya-dUsaha-viyaNA-dosA marejja tti // 347 taM asu duddiNacchI avayAseUNa pakkha-hatthehiM / hA hA kaMta bhaNaMtI muhaM paloemi se samuhI // 348 viyaNa-viyAsiya-tuMDaM pariyattacchaM nisaTTa-savvaMgaM / passAmi taM piyayama kaMDa-vidAviyappANaM // 349 tamahaM sa-kajja-saMmUDhayAe teNa ya sahAva-pemmeNa / vIi-paraMpara-gIDhaM mayaM pi jiyai tti maNNemi // 350 nAUNa taM vivaNNaM sahasAgaya-dussaheNa soeNa / pammucchiyA visaNNA kahaMci paDiladdha-saNNA ya // 351 luMcAmi agga-pakkhe niyae tuMDeNa dukkh-sNtttaa| tassa ya jAmami pakkhe pakkhehi ya taM samavagRhaM // 352 uDDetI ulletI taM ca mayaM savvao aNupareMtI / sahi hiyaya-vilavaNAI imANi kaluNANi moyAmi // 353

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taraMga holA. barAbara sthAna laIne, dhanuSyanI paNacha para caDAveluM te prANadhAtaka bANa teNe hAthI tarapha choDavuM (338), ane kALamuhUrtamAM tyAMthI pasAra thatA mArA sAthIne kALage te bANe kaTipradezamAM vIMdhI nakhe. (339). prabaLa coTanI pIDAthI mUrSita banele, gati ane ceSTAthI rahita thaIne te paheLI pAMkhe pANImAM dhabakAyo ne sAthe mAruM hRdaya paNa bhAMgI paDayuM .(340). viddha cakravAka tene bANathI vIMdhAyelo joI te pahelavahelA mAnasika duHkhanA zAkane bhAra dhAraNa karavAne azakta banIne huM paNa mUcha khAIne nIce paDI. (341). ghaDIka pachI game tema karIne bhAna AvatAM zAkathI vyAkuLa banI vilApa karatI huM pUre ubharAtI ane mArA piyune joI rahI. (342). tenA kaTipradezamAM bANa bheMkAyeluM hatuM; baMne pAMkhono saMpuTa, chUTa, paheLe ne DhaLI paDele ha; pavanane jhapATe DhALIne bhAMgI nAkhelA, vele vaLagelA padma samo te paDyo hato. (343). paDavAne lIdhe bahAra nIkaLI AvelA lohIthI ladabada evo te lAkhathI kharaDAyelA pANIbhIne suvarNa kaLaza same dIsato hato. (344). pitAne lohIthI kharaDAyelA zarIravALo te mArA sAthI caMdananA dravathI siMcita pUjApA mATenA azoka puSponA Dhaga samo dIsate hato. (345). jaLapravAhane kAMThe paDele kesuDAnA jevA suMdara vAnavALo te AthamavAnI aNu para AvelA, kSitijamAM DUbavA mAMDelA sUraja same zebhato hato. (346). mArA priyatamane bheMkAyeluM bANa cAMca vaDe kheMcI kADhavAmAM mane e Dara lAgato hato ke te bANa kheMcavAnI vedanAne pariNAme te kadAca mRtyu pAme. (347). pAMkha pasArIne tene bheTatI, "hA hA ! kaMtha!' ema bolatI huM tenI saMmukha thaIne AMsudherAyelI AMkhe tenuM mukha jaI rahI. (348). bANathI vinAzita chavitavALA e mArA priyatamanI cAMca vedanAthI khullI thaI gaI hatI. AMkhanA DoLA upara caDI ga hatA ane badhAM aMge taddana zithila thaI gayAM hatAM. (349). kiMkartavyavimUDha banelI huM svAbhAvika premane kAraNe, uparAupara AvatA taraMgothI vIMTaLAyelA tene mRta hovA chatAM jIvato mAnavA lAgI. (350). paraMtu te taddana phI ke paDI gayuM che tema jANIne ekAeka AvI paDelA dusaha zokAvegathI huM mUrSita thaIne bhAna gumAvI beThI. te pachI kemeya karIne bhAnamAM AvatAM huM mArA AgaLanAM pIMchAM cAMcathI toDavA lAgI. tenAM pIMchAMne paMpALavA lAgI ane pAMkha vaDe huM tene bheTI paDI. (351-352). he sakhI ! huM Amatema UDatI pANI chAMTatI, mRta priyatamanI badhI bAju bhramaNa karatI A pramANe mArA hAyanAM karUNa vilApavacane kADhavA lAgI (353) :

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taraMgalolA 46 para-siri-viNAsiNA nigdhiNeNa hA keNa eva so bhinno / sarasI-mahilA-tilao cakkAya-mao imo phusio / / 354 mahilA-sokkha-vimahaNaM sogusseha-karaNaM aNAvekkhaM / vehavyaM keNa mahaM sImA-rahiyaM imaM diNaM // 355 tuha nAha vippaoguhieNa aNusoya-dhUmeNa / ciMtA-pasaMga-jAleNaM soaggiNA DajhaM / / 356 tuha dasaNa-paricattA pauma-saresu pi raiM na lbhaami(?)| bhisiNI-pattariyaM rUvamiNaM te . apassaMtI // 357 tastha vi khaNaM Na rajjai me dihi visayaMtaraM mANaMtI (?) / bhisiNI-patnaMtario desaMtario u me Asi / / 358 kiM puNa dehA uvvario majjha adaMsaNaM tume patte / piya vippaoga-maiyaM havai u niraMtara dukkhaM / / 359 aha ei seA vaNayaro viddhaM daTUThUNa sahayaraM majjha / hA hatti karemANo tammi gayavare paDiniyatte // 360 hatthe vi nidhduNato so vAho ai-soya-saMvAho / taM Agao paesaM jattha mao so piyayamo me / / 361 piya-jIviyaMtakAlaM tamahaM kAlamiva bIhaNaya-rUvaM / daLUNaM bhauThivaggA AyAse jhatti uDDINA / / 362 to teNa cakkavAo gahio kaMDaM ca kaTTiyaM tassa / puliNammi ya nikkhitto mau tti aNukaMpamANeNa / / 363 nikkhiviUNa piyayamaM sasikara-dhavalammi puliNa-majjhammi / . to maggiuM payatto kaTTha niyaDe vara-nadIe // 364 jeNaMtareNa so ei vnny| dArue gaheUNaM / teNaMtareNa ahamavi piyassa pAsaM samallINA / / 365. . . hA hA nAha apacchima-dasaNayaM te imaM ti vilavAmi / aja(?) muhutteNaM hohisi jaha dullhe| nAha / / 366 .. to taM dadhassa seo ei vAyaro dArue gaheUNaM / majjha piyassa samIvaM to mi puNo jhatti DaDDINA // 367 .. daTUThUNa dAruNaM teo dAruya-hatthaM tayaM viciMtemi / arahai esa yAso chAuNa paulehii piyaM me // 368 eyaM viciMtayaMtI hiyaeNaM bahuNi dukkha-saMtattA / pakkhe vi nidhduNatI piyayama-uvari paribhamAmi / / 369 teNa ya chaio se| tehiM piyayamA dAruehiM savvehiM / dhaNuyaM ca sa-kaMDaM doddiyaM ca pAse ThaveUNaM // 370

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taraMgalelA 47 cakavAkI-vilApa arere! bIjAnA sukhanA vighAtaka kayA dayAhIne Ane vIMdhI nAkhyo ? koNe sarasI (=sarovara)rUpI suMdarInuM A cakravAkarUpI sabhAgRtilaka bhUMsI kADhayuM ? (354) koNe mane ocIMtuM A strIonA sukhanuM vinAzaka zakivardhaka ni:sIma vaidhavya ApyuM ? (355) he nAtha ! tArA virahamAMthI pragaTelA anutApanA dhumADA ane ciMtAnI javALAvALA zakAgnithI huM baLI rahI chuM. (356). kamaLapatranI ADazamAM tuM rahyo hoya tyAre tAruM A rUpa na jotAM huM tArA darzanathI jyAre vaMcita thatI tyAre kamaLasarovaromAM paNa mAruM mana TharatuM na hatuM. (357). mArI daSTi bIjA keI vijya para ceTatI ja nahIM-kamaLapatranA aMtare rahele tuM tyAre paNa mane deza tare gayA sama lAgate (358). tuM mAre mATe adazya banatAM have mAro A deha zuM kAma bAkI rahyo ? priyavirahanuM niraMtara duHkha AvI paDavuM. (359). dahana pelo vanagaja pAcho vaLI jatAM te vanacara mArA sahacarane vIMdhAyelo joIne hAya hAya karato tyAM AvI pahoMcyo. (36). hAtha dhuNAvato, moTA zokapravAha samo te vyA, jyAM mArA priyatama marelo paDyo hato te sthaLe Avyo. (361). priyatamanA prANadhAtaka kALa samAM bhISaNa dekhAvavALA tene jotAM ja bhayavyAkuLa banIne huM jhaDapathI AkAzamAM UDI gaI (362). pachI teNe cakravAkane jhAlIne temAMthI potAnuM bANa kheMcI kADhayuM, ane marI gayela jANIne tene retALa kAMThA para anukaMpAthI mUko. (363). mArA priyatamane caMdrakiraNa jevA Ata taTa para nAkhIne te nadInI AjubAju kASTha zodhavA lAgyo. (364). e vanacara lAkaDAM laIne pAcho Ave te daramiyAna huM priyatamanA paDakhAmAM lapAIne beThI, (365). "hAya nAtha ! huM tane A chellI vAra ja jovAnI. eka ghaDImAM te tuM sadAno durlabha banI jaIza," ema huM vilApa karavA lAgI. (366). tyAM to te vanacara jaladI lAkaDAM laIne mArA priyatamanI pAse AvI pahoMcyo. eTale huM paNa jhaDapathI UDI gaI (367). hAthamAM dAru (=lAkaDa) sAthe te dAruNane joIne huM vicAravA lAgI ke A duSTa mArA priyatamane AnAthI DhAMkI daIne bALI nAkhaze. (368). manamAM e pramANe vAraMvAra vicAratI duHkhathI saMtapta banIne pAMkho vIMjhatI huM mArA priyatamanI upara tarapha bhramaNa karavA lAgI. pachI teNe dhanuSabANa tathA cAmaDAnI kaMpI bAju para mUkIne mArA priyatamane badhAM lAkaDAMthI DhAMkI dIdhe. (370).

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ny'aaj sara-saMdhaNa-jogeNaM uDhavio araNi-saMbhabo aggI / saggo eti(?) sasaI ghosemANeNa vAheNa / / 371 iNa tayaM aggiM sa-dhUma-jAlujjalaM piyassuvari / aireNaM va vaNaM vaNa-daveNa soeNa taviyA haM / / 372 bhattANaM attANaM kayaMta-viutta(?) dukkha sNtttaa| royAmi vilavamANI hiyaeNa piyaM imaM beMtI // 373 sara-sariya-vAvi-vappiNa-talAya-jalahi-NivANesu muio taM / ramaNamaNubhUiyamiNa(?) kiha sahihisi dArUNaM aggi // 374 vAu-vala-caloNalliya-jAlA-mAlujjaleNa annlenn| kaMta tume DajhaMte DajhaMti vimajjha aMgAI / / 375 tuTTo hou kayaMto jaNassa suha-dukkha-tatti-talliccho / meNa piya-saMpaogo kAUNa vihADio majjha // 376 hamayaM me hiyayaM arahai dukkhassa bhAyaNaM maNNe / aM tujjha imaM vasaNaM ThUNa na phuTTayaM x x x // 377 tIhA(?) sayahuttaM piya-pAsa-gayAe visahiuM bhaggiM / na ya me varaM visahiu iTTa-vioguTTiyaM dukkhaM // 378 evaM bilavaMtIe mahilattaNa-sAhaseNa me jAyA / sogAirega-paripelliyAe mariyavvae. buddhi // 379 avayariUNa ya to haM piyaMga-saMsaggi-sIyalaM aggi / hiyaeNaM puvva-gayA sA hai pacchA sarIreNa / / 380 to piyayama-saMsagiMga aggi niya-kaMTha-kuMkuma-savaNNaM / bhavayariyA mi sasoyA asoya-gucchaM mahuyari vva / / 381 guru-guru-gurussa ditteNa aggiNA kaNaya-piMgala-siheNa / DajhataM pi sarIraM piya-dukkhattA na vedemi // 382 tattha vi pieNa samaya sArasie nihaNa-puvva-gaeNa ya / / soyaggi-jAla-saMdIvieNa teNaggiNAM daDDhA // 383 evaM sAItIe piyayama-maraNaM ca appaNo taha ya / dukkheNuppaNNeNaM ghariNi ahaM mucchiyA paDiyA // 384 paJcAya-pANA saMkhuhiya-maNa-hiyayA ahaM / maNiya pavare vauhara(?) bemi sArasiyaM // 385 tattha mayA haM saMto imammi kosaMbiya-nayarivvaMge(?) sabba(1)-guNa-saMpaNNe uvavaNNA siTThi-gehammi / / 386 ee ya jala-taraMge rahaMga-sari-nAmae sarayaMge / baThUNa uDhio me vayasi ukaMpao tivvo // 387

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taraMgalolA have bAdha bANa sAMdhIne aNimAM agni pragaTAche ane "tane svarga maLaze ema moTe avAje ghoSaNuM karI. (371). dhumADA vALA ane javALAthI prakAzatA te anine priyatamanI upara joIne, jema dAvAnaLe vana saLagI UThe, tema huM ekadama zekathI saLagI UThI. (372). kRtAMte pADelI AphatathI huM saMtapta banIne mArI nirAdhAra jAta para rovA lAgI, ane vilApa karatI hadayathI priyatamane saMbodhIne A pramANe kahevA lAgI (373) : dahanaveLAne vilApa sarovara, saritA, vAva, jaLatara, taLAva, samudrane navANamAM ullAsathI jeNe ramaNa mAthuM te tuM A dAruNa Aga zuM sahI zakIza? (374) A pavabaLe Amatema ghUmatI jvAlAvalIthI prakAzato agni ane bALI rahyo che tethI he kAnta, mArA aMge paNa baLuM baLuM thaI rahyAM che. (375). jemAM te mane priyatamanA sogamAMthI Ama viyoga karAvIne have lakAnA sukhadu:khanI pArakI paMcAtane rasiya kutAMta bhale dharAte. (376). lekhaMDanuM baneluM mAruM haiyuM tArI AvI vipatti jevA chatAM phATI na paDayuM, to e duHkha bhogavavAne ja lAyaka che. (377). priyatamane paDakhe rahIne AvI Aga mArAthI se vAra paNa sahevAya, paNa A priyariganuM du:kha mArAthI saruM jatuM nathI. (378). sahagamana e pramANe vilApa karatAM karatAM atizaya zokathI uttejita thaIne strI-sahaja sAhasavRttithI mArA manamAM maravAno vicAra Avyo. (379). ane te sAthe ja huM nIce UtarI ane priyanA aMganA saMsargathI zItaLa evI AgamAM, pahelAM huM hRdayathI paDI hatI, te have mArA zarIrathI paDI. (380). Ama jene priyatamanA zarIrano saMparka hato tevA, mArA kaMThanA jevA kuMkavaNuM agnimAM, meM jema madhukarI. azokapupanA gurUcha para jhaMpalAve, tema jhaMpalAvyuM. (381). ghuraghurarATa karIne saLagato sonA jevI piMgaLI zikhAvALA agni mArA zarIrane baLato hovA chatAM, priyatamanA du:khathI pIDAtI hovAthI mane kazuM lAgyuM nahIM. (382). e pramANe, he sArasikA, pahelAM mRtyu pAmelA mArA priyatamanA zokAgninI javALAe saLagelA te agnimAM huM baLI marI. (383). vRttAMtanI samApti e pramANe he gRhasvAminI, priyatamanA ane mArA maraNane vRttAMta kahetAM kahetAM pragaTelA du:khane lIdhe huM mUchita thaIne DhaLI paDI. (384). pAchI bhAnamAM AvatAM, mana ane hRdayathI vyAkuLa banI meM dhIre dhIre sArasikAne kahyuM (385): te veLA mRtyu pAmIne pachI huM A kauzAMbI nagarImAM sarvaguNasaMpanna zreSThIne gharamAM janmI. (386). A jaLataraMgamAM zaradanA aMga samAM, rathAMga(kacakra)jevA nAmavALAne(cakravAte joIne, he sakhI, mane tIvra ukaMpa pragaTavo. (387). caMkravAkonAM yugala jovAmAM huM tallIna hatI, tyAre ekAeka mArA

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taraMgalolA cakAya-juyala-pecchaNa-pariratta-maNAe tattha syraahN| so majjha cakavAo hiyaya-talAyaM samoiNNo // 388 saMbhariyA ya vayAMsI guNa-ruiyA cakkavAya-jAI me / savvA jahANuhUyA jA te kahiyA mae esA // 389 / / piya-vippaoga-kaluNaM sariyavvaya-kAraNaM mahaM eyaM / savvaM jahANubhUyaM [?te] me kahiyaM samAseNa // 390 maha jIvieNa taM sAviyA si mA kassaI parikahejjA / / e yaM teNa sahAhaM jA tAva milemi kaMteNa // 391 jai me hojja kacI teNa saha samAgamo iha loe / to navari mANuse haM vayaM si bhoe abhilasejjA // 392 / AsA-pisAya-vissA(?ttA)siyA ahaM suraya-sokkha-lohillI / satta-varisANi suMdari tallicchA haM paDicchAmi // 393 / aha jai vi na taM pekkhaM vayasi hiyaya-gharavAsaya majjha / jiNa-satthavAha-pahayaM to mokkha-pahaM pavajjAmi // 394 taha ya puNo taha kAhaM jaha haM piya-vippaoga-saMbaMdha / saMsAra-pAsa-sulahaM puNo vi dukkhaM na pAvemi // 395 kAhaM samaNattaNaya avvAMbAha-supavvayArahaNaM / jammaNa-maraNAMINaM vireyaNaM savva-dukkhANaM // 396 evaM siNeha-vasa-ahiya-pemma-rattAe tattha me ghariNi / kahaittu ceDiyAe vibhAvio ceva me sogo // 397 soUNa ya sArasiyA eyaM vacchalla-bhAva-miu-hiyayA / me dukkha-soga-saMtappaNeNa ruirI ya suiraM - pi // 398 bhaNai ya meM royaMtI hA jaha se hiyy-sos-kiivaarN(?)| piya-vippaoga-maiyaM dukkhaM sAmiNi imaM viiyaM // 399 ee puvva-kayANaM kammANaM niyaya-pAva-rukkhANaM / kAla-pariName pakkIhavaMti kaDuyA phala-vivAgA // 400 sAmiNi muyasu visAya iha pi te devayA-pasAeNaM / cira-paricieNa hehI teNa saha samAgamo bhIru // 401 iya haM tIya sa-karuNaM piya-vayaNoppiya-suhehi bahuehiM / aNuNIya pajjavatthaviyA(?) udaeNa pamajjiyaMsU ya // 402 ceDIe samaM kayalIhasahiga viniggayA gayA ahayaM / / jattha ya ammA purao lalaI yaso pariyaNI ghariNi // 406

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taraMgalolA hadayataLAvamAM mAre e cakravAka UtarI Avyo. (388), ane he sakhI, aneka guNe rucika evo mAro cakravAkIne bhava ane te bhavamAM je badhuM bhagavyuM ane je tane meM hamaNa kahI batAvyuM te sAMbharI AvyuM. (389). mArI e smRtine kAraNe priyatamanA viyogane karuNatAvALuM je badhuM meM bhogavyuM te tene saMkSepamAM meM kahyuM. (39). bhAvijIvana ane nizcaya tane mArA jIvataranA sogaMda che- jyAM sudhI mane te mArA priyatamanuM pharI milana na thAya tyAM sudhI tuM A vAta keIne paNa kahIza nahIM. (391). jo A lokamAM kemeya karIne tenI sAthe mAro samAgama thaze to ja, he sakhI, huM mAnavI sukhagenI abhilASA rAkhIza. (392), suratasukhanI pRhA rAkhatI huM AzApizAcane vizvAsa, he suMdarI, tene maLavAnI lAlace sAta varasa pratIkSA karIza. (397). paraMtu sakhI, tyAM sudhImAM jo huM mArA te hadayamaMdiranA vAsIne nahIM jouM, te pachI jina sArthavAhe kheDelA mekSamArgamAM huM pravajyA laIza. (394), ane pachI huM evuM karIza jethI karIne, sAMsArika baMdhanevALAnI upara saheje AvI paDatuM priyajananuM virahadu:kha huM pharI kadI na pAmuM. (395). huM zramaNatvarUpI parvata para nirvine ArahaNa karIza, jethI karIne janma maraNa vagere sarve duHkhanuM virecana thaI jAya. (396). he gRhasvAminI, e pramANe premamAM adhika AsaktivALI ne rahavaza dAsIne meM mArI kathanI kahIne zokane haLavo karyo. (397), ceTInuM AzvAsana e kathanI sAMbhaLIne, mArA pratyenA vAtsalyathI komaLa hRdayavALI sArasika mAsa dukha ne zokathI saMtapta thaIne keTalA samaya sudhI raDatI rahI. (398). pachI te raDatAM raDatAM mane kahevA lAgI, "arere svAminI! meM jANyuM, tAruM A priyavirahanuM duHkha kevuM haiyuM bALI nAkhe tevuM che te. (399). pote purve karelAM kamaeNrUpI pApavRkSonAM kaDavAM phaLe kALe karIne paripakava thatAM hoya che. (40). he svAminI, tuM viSAda tajI de devatAnI kRpAthI, he bhIru, tArA te ciraparicita priyatamanI sAthe sArA samAgama thaze ja, (41). e pramANe aneka mIThAM vacanethI AzvAsana ApI, manAvIne teNe mane svastha karI tathA jaLa lAvIne mArAM AMsu pakhALyAM. (402). te pachI, he gRhasvAminI, dAsInI sAthe te kadalImaMDapamAMthI bahAra nIkaLIne huM jyAM amAnI samIpamAM amAro paricAraka varga viharI rahyo hato, tyAM pahoMcI. (403).

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Zhi Dian aha majjaNa maMDaNa - virayaNAhiM bahu vAvaDaM tahiM ammaM / uvagaya tti / / 404 vAvI - taDovavi daTThUNa ahaM aveya-biMdu aMjaNa-sesa- aruNa nayaNa - ubviggaM / daTThUNa nippabhraM me pabhAya caMdovamaM vayaNaM // 405 ammA bhai visaNNA kiM puttArAma - hiMDaNa - sameNa / jAyA si vigaya- sobhA uppala-mAlA milAya vva // 406 piya-vippa oga - dukkhAimA ahaM sajjANa (?) vigaya-saccA / ammaM jala-bhariyacchI bhaNAmi dukkhei me sIsaM // 407 to putta jAhi nayariM na samatthA haM payaM pi dAu je / dukkhassa jo nihANaM jaro ya turiyaM abhilasetti (?) / / 408 suvarNa-visaNNA vacchalA mahaM mAyA / 410 bhAi ya nivvuyA taM puttaya jaha hosi taha hou // 409 ahamavinayarimayaMtI kaheM tumaM dukkhiyaM vibhuMcAmi / eNo (?) jatthAyattA kularasa savvarasa me bAlA iya bhANiUNaM ammA dhUya - siNehANurAga-rattA ya / sayaNijja -pavahaNaM meM jottAvei pavaraM (?) jANaM // 411 bei yatA mahilAo savvA majjiya-pasAhiyA jimiyA / ejjAha deha kAle ahayaM nayariM gamissAmi // 412 kiMci maha kAyavvaM turiyaM hoha ya nirussuyA tubhe / evaM aNidiyatthaM tAo samayaM ahikahei || 413 vilyA - jaNassa viggho mA hohI uvavaNammi pavve / to nayara - pavesaNa - kAraNaM pi ammA na sAhei // 414 Arakkhiya- mahayarae varisadhare tavtha vAvaDe purise / kAU sasaMde (?) sabve niyayAhigAresu // 415 appa - parivAra - sahiyA samaM mae kusala pariyaNa-samaggA / jANeNa teNa turiyaM aha nayariM uvagayA ammA // 416 bhavaNavaraM sIsatuli saMjutte tattha (2) bhimardami nisaNNA(?) kayamuttAhAraudghANaM // 417 taraMgalA cittUrNa kaMThahAro niyanttaM vivAu taha ya kaMviNNaya ( ? ) 1. kaNNANa kuMDala - juyaM desI ya karaMDae taviyA ( 2 ) // 418. ammAe tao bhaNiyaM taraMgavaiyAe aMga-moDo sthi / . naya se sIsaM satthaM na ya icchai acchiu tattha // 419 jassa kaeNa gayA hUM ujjANaM sarasI-samIva- jAu ti / so sattivaNNa-rukkho diTTho kusumehi saMchaNNo // 420

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Scope The Journal is primarily intended to promote researches in Medieval Indian Culture. Hence emphasis will naturally be on the languages, literature and cultural sources of that period. But it will also give sufficient space to other articles which throw light on Ancient Indian Culture. Forms of Contributions Contributions embodying original researches; abstracts of theses accepted by the University; critical editions of the unpublished Sanskrit, Prakrit, Apabhramsa, Old Hindi, Old Gujarati texts; appreciations and summaries of ancient and medieval important original works; notices of manuscripts and textual criticisms will be published in the Journal. Medium of Articles They should be written in any one of the following four languages: Sanskrit, Hindi, Gujarati and English. Articles written in language other than English should be accompanied by a summary in English. Annual Subscription Inland Europe U. S. A. Rs. 20/ Sb. 30 Dollar 5.00 Other Rules (1) Contributions intended for publication in the Journal should be type-written (with double spacing) or legibly written on one side only of the paper. Coples should be retained by the authors. (2) It is presumed that contributions forwarded for publication in the Journal are not submitted elsewhere. (3) The copyright of all the contributions published in the Journal will rest jointly in the L. D. Institute of Indology and the authors. (4) Ten 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 works to be reviewed in the Journal sbould send two copies of the same, All contributions and correspondence may please be addressed to Director, L. D. Institute of Indology Ahmedabad-9

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AMBODHL 4 1975-76 Nosa3-4* 13:16 Special issue to celebrate 2500th year of Nirvana of Bhagavan Mahavira DES M to * D, INSTITUTE OF INDOLOGY AHMEDABAD 9 Aid

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Editors : Datsukh Malvania Dr. H. C. Bhayani.. CONTENTS A Study of the Jaina Theory of Knowledge ---On Matijnana in the Sabhasya Tattvarthasutra Yensho Kanakura On the Etymology of Puggala or Poggala' S. M. Shaha Jaina Concept of Siddhas Suzuko Ohira An Old Version of the Jaina Ramayana J. C. Jain On the Eighteen Desi Languages B. K. Khadabadi Apabhramsa Forms in the Vasudevahindi K. R. Chandra Dhatuparayana - A Revicw Note J. M. Shukla Bhoja's S'rngaraprakasa --- Prakrit Text Restored V. M. Kulkarni About a forgotten Grammarian Dhanapala Smt. Neelanjana S. Shah The "Nagabandha' and the Pancangavira' Ceiling. M. A. Dhaky Nagada's Ancient Jaina Temple M. A. Dhaky Cont. Title P

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( 23.1.76 On A STUDY OF THE JAINA THEORY OF KNOWLEDGE JON MATIJNANA IN THE SABHASYA TATTVARTHADHIGAM ASUTRA Yensho Kapakura The Tattvarthadhigama sutra (the rest abbreviated as T.S.) of Umgsvati which has just been translated into Japanese with notes in the previous chapter gives a general outline of the doctrines of Jainism. From the translated text alone it is difficult to grasp its meaning as the style of sutra aims at the tersest possible expression, thus the explanatory notes were attached to the individual sutras for clarifying the purport. So much for the exposition of the individual sutras, but we have not yet questioned about the construction of the text. The logical construction of this text or the doctrinal system of this work involves with many problems yet to be investigated. Among them we would like to take up the theme of the theory of knowiedge, out of which a critical inquiry into matijnana in particular is attempted below as to how its contents are classified and synthesized by the author in his T.S. and his auto-commentary. The number in the parenthesises indicates the sequence of the satra in the 1st chapter wherein falls the subject in question. It reads, "samyag-darsana-jhana-caritrani moksa-margah (1)'. In another word, the religious end-in-view of the Jainas is accomplished by attaining samyag-darsana, samyag-jnana and saniyag-caritra, which are sald to stand in the relation of ekatarabhave' py-asadhanaini.' Amongst these three jewels constituting the necessary condition for moksa, samyag-darsana is defined as 'taltuurtha-sraddhanam samyag-darsanam (2)' and tattva denotes the sevenfold principles of reality, i, e, juajtyasrana-bandha-samvara-nirjaru-moksas-tattvam (4). T'attvartha-srad dhuna is commented upon, 'lattvena bhavato niscitm-ity-arthah...ta eva carthas-tesam sraddhanam', thus meaning determined faith, so the equivalent of samyag-darsana in the closest sense to the original is Rechtes Glauben or right belief as so translated by H. Jecobi and J. L. Jaini. In that case Jaina moksa mzirga must be said as consisting of sumyag-sraddhana, jnana and caritra. Samyag-darsana is taught, "tan-nisargad-adhigamad-va (3)' Out of the two, nisarga refers to the case wherein samyag-darsana reveals itself ionately as the result of good karmas of the previous birth. It is therefore This short article is taken from Dr. Yensho Kanakura's 'Indo-Seishin Bunka no Kenkyu' (A Study of Indian Spiritual Civilization - Jainism). The translation is by Sazuko Ohira. Sambodhi 4,3-4

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2 Tensho Kanakura not directly connected with our knowledge at present, and it is only proper that the text which has the acquisition of knowledge of the essentials as its purpose is not further involved with it. On the other hand, it goes into details as to the latter, i.e., nama-sthapana-dravya-bhavatas tan-nyasah (5)', 'pramana-nayair-adhigamah (6)', 'nirdesa-svamitva-sadhanadhikarana-sthiti-vidhanatah (7)' and 'sat-sankhya-ksetra-sparsana-kalantarabhavulpabahutvais-ca (8)'. The description of the text does not go beyond the enumeration of these 20 categorical concepts, i.e. 4+2+6+8=20, as the seven tattvas or as the means of requisites for having right faith in the their study and ascertainment. Closer perusal of them cannot deny, howe ver, in spite of the commentators' explanations, redundancy existing in these items, e.g., adhikarana cum ksetra and sthiti cum kala. The term bhava occurs twice. This cannot but suggest that it is due to the author's must have mechanical juxtaposition of these concept clusters which ndependently existed for long as the set formulae, without giving sufficient treatment of critcism and readjustment. numerous Furthermore, the author considers conceptual items as formulating the means of adhigama together with pramana and naya, howenature of these three categories is ver it cannot be overlooked that the distinctly different. For ascertaining an object as to what its name is, how it is installed, what kind of drayya it has and how it exists at present in the context possessed of its properties, or making a study of its ownership, cause, number and enduring time etc. can never be the simple sensory knowledge or inferential knowledge, that is, pramana, but is an all-inclusive synthetic judgment conducted on the ground of pramana. And these must be regarded as the different kinds of categorical concepts other than the fivefold (or sevenfold) nayas peculiar to the Jainas. Glasenapp calls these groups of concept such as nama, sthapana etc. as a kind of viewpoint in his Der Jainismus. He considers it as the method stereotypically applied, in brief form or otherwise, in describing the dogmas, and summarizes it under the head of "Truth and its transmission." He treats naya under the category of "Ontology and dialectics," and pramana under "The source of knowledge", thus discussing the Jaina theory of knowledge in general by taking all these three kinds together. (see H. v. Glasenapp: Der Jainismus, pp. 142ff.) With regard to how the Jalna theory of knowledge is to be classified and discussed, the other standpoints can be also accepted, but the reason why pramana, naya and the other concept clusters are to be investigated separately must have become clear by the above work. Then, the dialectics of conditional such as syadvada has to be also covered by the Jaina theory of knowledge in broad sense, in addition to the above concept clusters and nayavada. However if the

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A Study of the Jaina Theory of Knowledge-on Matij frana uestion is posed in its narrow sense, i.e., by what means the direct cogniion is possible, a study of pramana alone is sufficient. So we would like make an inquiry into pramana below, specifically on matijnana, on the jasis of the T.S, together with the autocommentary. The T. S. enumerates five kinds of knowledge, 'mati--srutavad hi-manhparyaya-kevalani jnanam (9)'. According to the spopajnabhasya, those rior to the sutra 8 constitute the exposition of samyag-darsana and those ifter 9 of samyag-jnana. Knowledge finds its mention already as a means of attaining samyag-sraddhana, but it was not the discussion of knowledge tself. The gate for an inquiry into samyag-jnana, the second jewel, is opened y the 9th sutra for the first time. The five jnanas therein are expounded, tat-prainune (10), that is, these are to be divided into two pramanas, .e., paroksa and pratyaksa, 'adye paroksam (11)' and 'pratyaksam-anyat (12).' Why these are divided into pratyaksa and paroksa is explained as follows. Matijnana, the first kind of paroksa pramana, which is said to be natih smrth samjna cintu 'bhinibodha ity-anarthantaram (13)', is divided into two, tad-indriyanindriya-nimittam (14). Indriyas are the five sense organs, i.e., the organs of sight, hearing, smell, taste and touch, and anindriya denotes manas, the internal sense organ. Matijnana consisting of fivefold sense perception derived by the eye and other sense orgaus and of manovrtti, that is, oghajnana or common knowledge before individuation (mano-vij hana), origin. ates through the medium of or depending on the senses. Therefore it is called paroksa or indirect. Sruta, the second paroksa pramana is said, 'frutam mati-purvam.... (20),' for sruta transmitted by the angapravista and angabahya arises on the ground of mati through the medium of the teaching of preceptors. For this reason, sruta is also regarded as paroksa like matiinana. On the other hand, the rest of the three jnanas transcend sense organs, therefore they are called pratyaksa or direct knowledge. After Siddhasena Divakara this term part yaksa became conventionally used in the sense of sense perception amongst the Jainas as was current in the other schools of thought, and paroksa in the sense of anumina and sabda. Thus the contents of paroksa and pratyaksa are reversed in both, and it is to be noted that the T. S. retains its old theory of the Jainas. The usage of these terms by Siddhasena Divakara is found in his Nyayavatara 4, 'aparoksatayu'. rthasya gralakam jnanam rdrsam / pratyaksam itarajjneyam grahaneksaya //.' I shall take up this work separately in the later chapter, Amongst pratyaksas, avadhi is said to be possessed by narakas and deyas through birth, but by human beings through ksayopasama of the to karmas. Manah paryaya is possessed by human beings, but confined the samyatas alone, and keyala-jnana arises, according to X:1, by the destruction of mohaniya, jnanavarana, darsanavarana and antaraya karmas. In this way these prat yksas differ by nature from that of the ordinary method

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Tenshi Kanakura of cognition which is established by the direct perception of the external world through sense organs, We shall confine ourselves within the theme of paroksa, and leave the rest aside at present. Sruta which is no other than the testimony of the Jaina canon is, according to Umasvati, tri-kala-visa. yama visuddhatara' than mati and 'matij nanan-maha-visayam.' However, this aiso arises on the ground of mati. So our disquisition below is narrowed down to the subject of matijnunz alone which is commented upon as 'samprata-kala-visayam', (indriyaniniriya-niniittam' and 'atmano ina-ma. bhavyat-parinamikam.' Now, the sutra divides matijnana into four kinds, Savagrahehapaya-dha. ranah (15)'. According to the autocommentary, avagraha means to perceive and affirin an object vaguely as it is by the respective sense organs, and its synonyms are grahana, alocana and avadharana. It is in another word a bare sensation devoid of discriminative judgment, which apprehends that here is a white thing, but not beyond it. Next, iha means according to the same commentary to know the rest of the portions of the object from its part when it was apprehended. It is commented upon as a kind of positive inquiry, and its equivalents listed are uha, tarka, pariksa, vicarana and jijnasa. Jacobi translates this teru zha as Erkennen wollen and expla. ins that it means to think whether the white object as so apprehended is a flag or a crane. According to Umasvati, cha should also connote, beside its meaning of the desire to know the object in more details, a mental operation to build up a more concrete idea or image of the object upon having examined its apprehension. When the apprehension of an object formulates a definite mencal image, it can be certainly called as a kind of judgment (apaya). However when a mental operation associates the image of a flag, for instance, with existing concept of a flag, then forms its context as good, bad, false etc., the latter operation can be inferred from the analysis of the former in the series of its mental process, Therefore it is better to understand that iha covers the entire process of the apprehension (avagraha) of the object through the third stage of judgment (apaya). Thirdly, apaya is commented upon by the author to mean to aspire for virtue and eschew vice, upon scrutinizing the object as right or wrong when it is apprehended. Apagama, apanoda, apavyadha, apeta, apagata, apaviddha, and apanutta are enumerated as its synonyms, Jacobi understands it to mean, "As it flies up and down and flaps its wings, it is a crane but not a flag". Similarly Jaini considers it to mean the judgment or ascertainment of an object as the idea of a mental image. But from the autocommentary it is understood that this mental operation means to discriminate the object as samyak or asamyak, and upon having reflected, to resolve for guna and to keep away from dosa. Therefore il

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A Study of the Jaina Theory of Knowledge-on Matijnana 5 does not signify a mere judgement or ascertainment of an idea, but denotes valuation of good cum bad and right cum wrong, which is performed upon the ground of the former. And this simple judgment or determination of a concept should rather be regarded as the province of iha of the 2nd stage, which is defined as niscaya-visesa-jijnasa' The explanation given by Jacobi and Jaini which is based on that of the commentators in tradition cannot certainly be criticized as incorrect as a whole. Rather it is thought to be proper to follw them as the traditional understanding of the Jainas. I also gave a conventional explanation in the note to the sutra 15 in the previous chapter of the Japanese translation What I am proposing here is that the sutra should be comprehended as above if it is understood in accord. ance with the Syo pajnabhasya. The word apaya primarily sigoifies to leave off', of which original sense cannot be sufficiently expressed by the word judgment. As the synonyms listed suggest, the sense of adoption and option is. it should not be forgotten, implied in it. Furthermore, the Bhasya describes as if both operations of iha and a paya immediately succeed avagraha, somehow occurring synchronically. Most probably this impression was created by the indiscreet description of the author, and the fact maintaioed by him ought to be considered that avagraha is succeeded by iha, which is then succeeded by a paya. Lastly, the fourth stage of dharana is commented upon to mean the understand ing of the respective object, retention of and ascertainment of matijnana, Pratipatti, avadharana, avasthana, niscaya, avagama and avabodha are reckoned as its equivalents. What strikes us here is that the word avadharana which was listed as a synonym of ayagraha again appears here as an equ. ivalent of dharana. It is difficult to say if this redundancy is due to the mere inattentiveness of the author or to a scribal error. Or it is not necessarily impossible to understand its meaning, if the former is taken in the sense of bare ascertainment of the apprehended object and the latter of its establishment. Jacobi takes dharana in the sense of recognition that the object is the same crane that I saw yesterday. He also notes the existence of another explanation that it denotes a memory which brings one to recognize the object, but not recognition itself. Nevertheless, Umasvati means it in his commentary to bold an image of the ascertained object in mind, in another word, he means it as an operation of impressing object in mind and remembering it. The text proceeds further to say that by the above four kinds of mati. jnana is attained the cognition of bahu-bahuvidha-ksi pranisritunukta-dhruv. anam setarunam (16)' and 'arthasya (17)'. According to the Bhasya, four divisions of mati apply each to bahu etc, as well as to their contrary cases, That is, the four processes above occur to bahu and the rest of the subdivisions respectively. Setaranam' are the antithetic concepts, c. g., al pa against bahu and eka-vidha against bahu-vidha. Thus we have twelve

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Yensho Kanakura subdivisions as to avagraha, ie, avagraha of bahu, al pa, bahu-vidha, eka-vidha. ksi pra, cirena, nisrita, anisrita, anukta, ukta, dhruva and adhruva, The same twelve cases are set up as to the rest of three processes, i, e. tha, apave and dharana, so the total amounts to forty-eight instances. On what criteria, then, these forty-eight categorical items were posited ? The four mental processes above are not those derived by discussing the peculiar functions of the respective sense organs, but are those derived by analysing the congnitive process common to the six senses, i.e.. five indriyas and manas. In that case, these forty-eight items should be naturally regarded as the categories common to the six senses. Otherwise. the visual sense can theoretically have other categories like the apprehension of red colour, so on and so forth up to innumerable categories, which can hardly be confined within forty-eight kinds. So these have to be the categories sbared by the six senses. However, when we reexamine these forty-eight categories whether or not they are sufficiently convincing to us. unfortunately we have to admit that there are some which are difficult to be fully convincing. For instance, how the concept such as ksi pra was considered to be apprehended and judged by the tongue of which province is taste ? From the empirical ground of the contrasting idea such as slowly sweet and quickly bitter, it must have probaly been thought to be applicable to taste also, In that case, the antithetical idea of strong cum weak must be also added to the above forty-eight kinds for the same reason. Thus this enumeration of forty-eight items does not necessarily mean the dete rmitate number. The next sutra, arthasya (17)', is briefly commented upon by Umasvati, "avagrahadayo matijnana-vikalpa arthasya bhavanti'. At a glance artha seems stand in parallel with the twelve categories of the previous sutra. It should not be so taken, of course, from the commentary on the sutra 12 and from the logical context also, but should be understood in the sense, with regard to the object' or 'with regard to the distinct object' which stands against the indistinct object of the next sutra. Now taking it in the sense of with regard to the object', the world artha must refer to both sutras 15 and 16 as the nominative case governing all these subdivisions. In another word, it is understood to attain the formulae of such proposition as, "It appre. hends the object as many," "It ascertains the object as quick," etc. Jacobi notes that this term artha denotes drayya in the Sarvarthasiddhi of Pajyapada. Now, the word dravya is employed in the T. s, in the following satras, i. e., 'namasthapana-drayya-bhavatas-tan-nyusah (1:5)', 'mati-srutayornibandhah sarva-drayyesu-asarva-paryayesu (1:27)', sarva-dravya-paryayesu keva. lasya (1:33)', 'dravyani jivas.ca (v:5); 'guna-paryayavad-drajyam which extends to the succeeding sutras, kalas-cely-eke (V:38)' and 'drayyasraya (V:37) nirguna gunah (V:40)'. Dravya is consideredered there as the substance upon which qualities and modes depend, which sums up at the same time the

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A Study af the Jaina Theory of the Knowledge-on Matijnana 7 totality of souls and non-souls; therefore there may be no trouble in understanding the sutra 17 as 'dravyasya' in the place of Sarthasya'. Nevertheless, this term dravya is used in the text in the definite sense as observed above, and the author preferred the word artha in particular in the sutra 17. then it is more natural for us to take it in the sense referring to the knowledge of an object in general, Then the text reads, "vyanjanasyavagrahah (18)' and 'na caksuranindriyabhyam (19).' The sutrakara explains that as to vyanjana, avagraha alone occurs, but not tha and the rest of the mental operations. So aygaraha is related to both vyanjana and artha, but tha and the rest to artha alone, Vyanjanavagraha does not take place by the eye and mind, but does take place by the rest of the sense organs i.e., the ear, nose, tongue and skin, It is said therefore that matijnana is classified into 2, 4, 28, 168 and 336 kinds. Vyanjana or indistinct object here seems to mean the object of perception which is unascertainable, for instace, whether it was the sound of a gun or a firecracker when it sounded bang. When avagraha as such remains as avagraha, why the visual sense has to be excluded from having it, then ? According to Umasvati, the object apprehended by the eye and mind is necessarily distinct, and is limited to the image retained in mind as an idea upon having gone through the fourfold mental processes. But he does not indicate to us the reasons why auditory and tacticle senses etc. alone allow the disapperance of unascertainable perception as it is, but visual sense refuses it. At any rate, the author maintains that the subdivi. sions of matijnana amount to 2 to 336 kinds. This is explained by the commentaries of Haribhadra suri and Siddhasenagani as follows: indriya + anindriya = 2; ayagraha + tha + a paya + dharana = 4; (4 x 6 senses) 4. 4 vyanj anavagrahas - 28; 28 x 6 categorical items = 168; 28 x 12 categorical Items -- 336. This can be briefly tabulated as below : Artha Vyanjana .. Mind Ski Eye Ear as mind), (>>), Nose ( Tongue 630) 111 Avagraha Ihas para Apaya Dhavana as a vagraha). Bahu Bahuvidha ksipra Anisrita Anukta Dhruva Alpa) (Ekavidha) CAksipra) (Nisrita) cukta) (Adhruva)

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Tensho Kanakura At a glance, it appears as if they are logically arranged as a whole. but for instance, the case in which the sense of touch apprehends vyanjana and concludes it as dhruva, cannot escape the criticism of logically contra. dictory conclusion. As already discussed, some points here are difficult for us to comprehend as sufficient inquiry was lacking in setting up these categorical items. Its primary defect lies bowever in the fact that five senses and mind were regarded as the coordinates without careful discrimination of their functions. It is understood that matijnana as a whole is looked at from The temporal point of view or by strata. Let us leave aside for a while the confusion of the mental elements and logical elements created in the four processes of avagraha through dharana, but as it did not classify them under the two separate divisions of mind and five senses, it merely ensued the mechanical combination of six senses and four processes. In addition to it, six or twelve categorical concepts which should rather be considered as the varieties of judgment, are uncritically combined with each one of the four processes of cognition, thus establishing 336 kinds of matijnana for contentment, regardless of producing some meaningless combinations. The inquiry and classification of matijnana itself end here in the T. S. The chapter I discusses then sruta, avadhi and manah paryaya, and distinguishes the similarity and difference of the five jnanas in general, The relevant sutras to mati therein are, mati-srutayor-nibandhah sarvadravyesu-asarva-paryayesu (27)', 'ekadini bhajyani yugapad-ekasminna caturbhyah (31)', and 'mati-srutavadhayo vi paryayasa-ca (32), thus teaching the occurence of wrong cognition in case going against samyag-darsana. The description of jnanas other than mati seems to be also satisfied with their mechanical classification more or less, instead of probing the nature and content of knowledge as its major object. Their account is very brief compared with the intricacy of that of matijnana. If we place Umasvati somewhere in the 5th-6th century A. D., although his exact date is difficult to ascertain as we have studied in the previous chapter, we can never underestimate his philosophical insight in the context of the stage of development of Indian philosophy, particularly in comparison with that in Buddhism in those days. He is certainly an outstanding systematizer of the dogmatics and is one of the eminent philosophers in India. His merit in composing the compendium out of the complexity of the tenets without losing points should be well borne in mind. It became evident however that his distinctive feature as a systematizer was displayed in giving an organic coherence to the Agamic theories to which he was faithful, rather than in establishing a new and unique system of thought upon digesting its dogmatic essentials. That he was faithful to the Agama is testified by the fact that the T. S, without

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A Study of the Jaina Theory of Knowledge-on Matijnana bhasva bas been accepted by both the Digambara and Svetambara sects. From this point of view, we can presume that the most of the doctrines and technical terms embodied in the T. S. and its bhasya must have been those already taught and employed in the canonical works or niryuktis. The major portions of the doctrinal constructions and the concept clusters of categorical items 'must have been already evolved into the readily available form to a certain extent, with which materials perhaps Umasvati composed the T.S., upon making some improvement upon them. This assumption was made by me about ten years before, which has been proved by the recent study of Schubring as almost infallible. It is not at all an easy task to trace up the source of the T.S. and bhasya in the Siddhanta as to its entire problems, and even the laborious work of Schubring cannot be said to have fully satisfied it. I would like to add therefore below some materlals justifying the above assumption in relation with the theory of knowledge for further reference. Among the canonical works, the Nandi and Anuogadara etc., refer to the classification of knowledge. According to Weber, kaowledge is discussed in the Nane after giving the genealogy of theravali, "Knowledge is of five kinds (nanam pamcaviham), i.e., abhinibodhika, sruta, avadhi, manahparyaya and kavala (abhinivohiya-nanam sua-nanam ohi-nunam mana pajjava-nanam kevala-nanam) or it is of two kinds i. c., direct (paccakkham) and indirect (parokkham). The latter consists of abhinibodhika and sruta (abhinivohiya parokk ha-nanan ca suanana-parokkham ca). Abhinibodhika is divided into srutanihsrta and asrutanihsrta (suanissiam ca asuanissiam ca), each of which is subdivided into four kinds, and asrutanihsyta is divided into four, i. e., aut pattiki (uppattiiya), (vaina yiki venaiya), karmaja (kammiya) and parinamiki (parinamiya) (See A. Weber : Indische Studien, vol. 17 S. 8.) Its comparison with the T. S. of classification of knowledge makes it clear that the latter adopted in its I: 9 the division of the five jnanas of the Nandi as it is. Abhinivohiya is called mati in the T. S. but the fact that both of them mean the same thing is evident from the sutra 13 in which these are mentioned as synonymous. It should be understood that the specific enume. ration of these synonyms in the T. S. implies, I may call the attention of the readers, the author's indication of their usage existing in the canonical literature such as Nandi. The same fact applies likewise to his autocommentary. Furthermore, the division of pratyaksa and paroksa in the Nandi corresponds to that of the T. S. I: 10, and the subdivision of paroksa into abhinibodhika and sruta is also adopted by the latter in its I:11. Nandi classification of abhinibodhika into srutaniksrta and asrutani hsyta was dropped by T.S., which instead divided it into indriya-nimitta and anindriya-nimitta. Here we can recognize a slight improvement made by the T.S., which however could not go beyond the mechanical combination of the categories due to the Sambodhi 4.3_4

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Vansho Kanakura insufficient inquiry into the function of manas as we have already discussed. "The four divisions of asrutani sta such as uppattiiyat must be the old classification, which are according to Ardhamagadhikosa mentioned in the Bhagavati, Nayadharmakahao, Vivagasuya, Rayapasenaijja and Nirayavaliyao etc. (see Ratnacandraji Maharaja; Ardhamugadkikosa, s. v. uppattya). These four subdivisions have nothing to do with the four subdivisions of matijnana such as aragraha in the T, S., of which source should be sought in the other canonical literature. (see W. Schubring: Die Lahre der Jainas, $ 72). The general classification of knowledge and its outline in the T. S. agree with those in the Nandi, which testifies that the former is not the product of the originality of Umasvati. The Jaina theory of knowledge round about the T. S. is not covered by the above study. We have questioned here matij fana alone ignoring the rest of the four kinds of knowledge as we made it clear at the beginning. Moreover in order to confine the subject matter, attempt was made to explicate these several sutras on mati by the original commentary of the sutrakura himself, minding not to go beyond this extent in question. If the problem is to be widened to cover the theory of sensation in this text, the Sutras in II : 15 onwards must be also dealt with. It would be very interesting in the study of Umasvati's epistemology, if the pramanas of the other schools are discussed in relation with his two kinds of pramana i. e., pratyaksa and paroksa. However it is not directly concerned with our problem at present. The T. S. has been translated and explained by Jacobi and Jaini, but their exposition is based on the commentaries written by those other than the author himself. They have done it right in their own position by trying to clarify the purport of the text and its traditional exposition. However, the original meaning of the text, we must say, is most properly understood through the commentary of the sutrakara himself. This is mainly how. I was motivated to write this chapter. This autocommentary cannot be evaluated as a very lucid exposition, as Jacobi also notes, and is not quite free from imperfection in assisting the understanding of the text. This is why neither its translation nor its study have yet turned out, My description above wbich was made exclusively on the basis of the autocommentary may not be free from mistakes also, but it would be rewarding if, upon accepting corrections of the scholars, this would be of use for the future studies,

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ON THE ETYMOLOGY OF PUGGALA OR POGGALA S. M. Shaba The origins of the systems of Jainism and Buddhism are traced to the "Sramanic culture' of ancient India and it is supposed that they are constituted of elements and ideas not to be usually met within what is styled as Brahmanic culture'. These two streams of culture, contemporary and running parallel to each other, are also supposed to bear close coon. ection with the distinction of Vedic and the Non-Vedic, as also the Aryan and the Non-Aryan sections of the society. It is, therefore, that we many times come across a number of commion technical terms and concepts in the religion and philosophy of Jainism and Buddhism. It is interesting at the same time to note that many such terms and concepts are missing in Brahmanical systems of thought. At other times, they undergo change in their significance or retain the same. A comparative study of such teras and concepts is bound to be fruitful and interesting for a student of thought-traditions in India. As a part of such study of selected terms, I take up here the etymology of the term Puggala or Poggala since it is one of the philosophical terms common to Jain and Buddhist philosophies yet conspicuously absent in Brahmanical philosphies. In Jainism, Puggala originally meant both 'an individual soul' and 'matter'; whereas in Buddhism it meant only an individual'. Later on, however, the meaning 'Individual soul' which came near to the Buddhist meaning, became gradually absolete in Jainism also and the other meaning, viz. 'matter' alone was retained. Now, so far as the traditional etymologies and meanings of 'Puggala', are concerned, there are two main currents - the Jain and the Buddhist. The Jain authors and commentators, both Svetambara and Digambaras, such as Siddhasena, Akalanka, Abhayadeva etc., instead of treating the form 'original Prakrit word Poggala or Puggala refer to its Sanskritised Pudgala and offer the following etymologies : (1) 'puraNAdgalanAcca pudgalAH, saihanyamAnatvAd visaMhatimatvAcca / puruSaM vA gilanti, puruSeNa vA gIryante, iti pudgalAH, mithyAdarzanAdihetuvartina' pumAMsa baghnanti veSTayantatigiraNArthaH, itaratrAdAnArtho giratiH, puruSeNAdIyante kaSAyayogabhAmA karmatayeti pudgalAH' - (Siddhasena : Tattvarthasutra Tzka, ch. 5, sutra 1, pp. 316) + Paper presented at the 27th Session of the All-India Oriental Conference, Kuruks. hetra, at the Prakrit and Jainism section on December 27, 1974,

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S. M. Shaha () grunara 1412 37: Pul ....bhedAt saMghAtAta bhedasaMdhAtAbhyAM ca paryante galante veti pUraNagalanAmikA kriyAmantarbhAvya pudglshbdo'nvrthH..|' -(Akalanka : Tattvartha Rajavurttikam., Sanatana Jain Granthamala, Vol. 4, pp. 190, Benares, 1915) () facet 112611 ...athavA pumAMso jIvAH te zarIrAhAraviSayakaraNopakaraNAdibhAveNa gilyanta iti pudglaaH| . -(ibid) (v) ana fet grotetaan taitaai geria: -(Abhayadeva : Bhagavati sulra Vitti, Vol. III, Agamodaya Samiti Prakashana, pp. 776). I may add here the etymology of Poggala offered by Yativisabha in Prakrit. (5) 'pUrati galaMti jado pUraNagalaNehi pogAlA teNa / Iglu siel a fa felett 11 (Yativrsabba : Tiloyapanatti, Part 1, Ch. I, verse 99). But I must observe that he also has followed the Sanskritization of Poggala at the hands of earlier authors, e. g. Siddhasena who certainly preceded him. From these citations, it appears that the Jain authors derived the word Puggala in two ways : (1) In the first place, the word Pudgala (Sanskrit-Puggala) is supposed to be formed of two terms-put or pud and gala. These terms are suggestive respectively of integration and disintegration (Lexicographers say fequunga nagalla 15: 1'). Though put or pud indicates the same meaning as purana it is nevertheless not clear, how it is related with and formed from the root pur (to fill) (causal of pr). This etymology of Puggala is very populor and common in Jain tradition; (2) Secondly, Puggala is said to be formed of two terms puns and gil. Siddhasena and Akalanka have presented this additional etymology. Akalalanka says, "Pudgalas are those that are swallowed (i. e, received) in the form of sarira, Ahara, Visaya, karana, and upakarana by the individual souls". Siddhasena offers two meanings of the root gil (i, e. sr gir) to receive and to swallow or to wrap or to envelope. According to him, Pudgalas are so called because they swallow or envelope an individual soul or because they are being received or taken up by an individual soul in the form of karmans etc. 1 We may trace the root or the basis of this alternative etymology of Puggala as presented by Akalarka and Siddhasena in one of the passages of Bhagavati-sutra. It reads :

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On the Etymology of 'Puggala or Poggala' 13 'poggalAtthikAeNaM pucchA, goyamA ! poragalAtthikAeNa jIvANa orAliya-vauviya - AhAraya-teyA-kammae-soI diya-civakhaMdiya-jibhidiya-phAsiMdiya-maNamoga-yaya joga-kAyoga-ANApANANAM ca gahaNa' pavattati, gahaNalakkhaNe Na poggalatyikAe / ' In this passage, galiana i, e. 'receiving' is said to be the inherent cha. racteristic of Poggala. Now, gahana implies an active as well as a passive sense, i, e, 'receiving' as well as being received'. When Siddhsena says, geu a fofia Foral a la tano, he has clearly both these meanings in mind. Here also, both Akalanka and Siddhasena appear to be uncertain about the origin of the word puggala, How puggala' is phonetically formed from purs' and 'gil is not explained by them. The Buddhist etyinology of Puggala offered by Buddhaghosa runs thus : Punti Vuccali nirayo tasmim galanti ti paggala. Pun means a hell, therefore puggalas mean those that drop i. e. fall down into that i. e. (miraya).2 As against these explanations, Prof. P. TEDESCO observes that Puggalo is essentially a Jain and Buddhist word. I believe he is right. According to him, Pudgala is a sauskritization of Middle Indic Puggala which represents an early Middle Iudic Puthakala, a derivative of Sanskrit Prthak. He points out the agreement of meaning between Pali Putin' 'individual' (Putthu atta-individual self) and Puggala "the individual (as opossed to a group)' and tries to combine them phonetically also. He assumes that, while Sanskrit bad only the neuteradverbs Pfthak, the pre-stage of tlie protoBuddhistic and Proto-Jaina-languages had besides the adverb Pythak (Puthak) 'separately an adjective Pythak (Puthaka) 'separate'. And this puthaka, he holds, was further enlarged by ---Ia- into Puthaka-la; Here the final -la-is the secondary suffix which appears as an enlargement of adjectives since Rgvedic times and more frequently later on-(e. g. bhuala (RV) Pingala (AV) etc;-La-derivatives are frequent in Ardhamagadhi also, e; g; majjhilla 'middle' bahirill-exterior etc.;) Prof. TEDESCO further investigates as to how Puthakala became puggala, Apparently, first-th was deaspirated, hence putakala. From here on, two ways are supposed : (a) either putakala became pudagala by sonorization of the intervocalics and then by syncope Pudgala and Puggala or (b) Putakala was first syncopated into putkala, pukkala, and this became puggala by sonorization of the geminate. The processes assumed above are : de-aspiration, sonorisation of intervocalics, syncope, and sonorization of geminate. Prof. Franklin EDGERTON agrees with Prof. TEDESCO so far as the Jaina or the Buddhistic origin of the term puggala is concerned; but he differs from him so far as its etymology is concerned. Prof. Edgerton, like Professors T. W. Rhys DAVIDS and William STEDES connects puggala with pursand holds that pungava a Sanskrit word, may have influenced the form with

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S, M, Shaha . nasal, Pugala, from which Pali puggala might have originated. But in the opinion of Prof. TEDESCO, this etymology is insatisfactory, both as regards its form and meaning; because one does not see how purns (man, male.) could yield puls, and purns is essentially not individual, but male. These etymologies lead one to following conclusions : (1) Both the Jaina traditional etymologies of Puggala are somewhat satisfactory as regards the meaning of the term, but they are quite unsatis. factory so far as the form is concerned. It appears that in the case of the first etymology of Puggala (i, e. put or pud+gala--pudgala Puggala or poggala) they postulated a Prakrit puggala to be derived from a Sanskrit Pud gala: wliile in the case of the second ctymology of puggala (i. e; q a r fteffa. puruSeNa vA gIryante iti pudgalAH'1) in addition to assuming Sanskrit origin of the term, they try to follow the definition of Puggaln as offered by the Bhagavatisttra i, e. 67505 ETU Up altrafic It seems that they were aware of the form Poggala "an irregular and awkward form as Mrs. Rhys DAVIDS calls it. But instead of tracing its Prakrit etymology; they kept in vicw its Sanskrit equivalent pudgala and tried somehow to impose the two activities or functions of purana and galana on it. (2) Buddhaghosa's explanation of Puggala too is fantastic and far from convinciug. His definition of puggala restricts its meaning to 'hellish-beings' and hence suffers from the fault avyapti narrowness'. (3) As pointed out by Prof; TEDESCOS etymologies offered by the lexicographer such as professor Rhys DAVIDS, Williams STEADE and Franklin EDGERTON also are not convincing: 'Pugg' cannot be derived from purs. Besides, purus means 'male' and 110t 'individual'. This derivation too suffers from avyapti 'narrowness.' (4) Prof, TEDESCO, while deriving Puggala from Pathakala, a derivative from Sanskrit Pythak rather over-emphasises its Buddhistic tradition. He has, I am afraid, not given due consideration to the meaning and form (esp. meaning) of Puggala as preserved in the Jaina tradition. Since Puggala is originally a Prakrit word and Pud gala is merely a Sanskritization of the same, the etymological investigation is concerned only with the latter form. As Pointed out by Prof. TEDESCO it is possible the Buddhist proto-canon was (probably) in a kind of old Ardhamagadhi, closely connected with the original language of the Jaina sutra (before this language was transformed into later Middle Indic and underwent western influence), and therefore, both currents of Puggala the Buddhistic and Jaina, spring from the same dialectic source-old Ardbamagadhi. And, therefore, I feel that it is not correct to treat Puggala or Poggala as a Prakritization from some hypothetical Sanskrit word. It could be a loan from non-Ary an or some Dravidian language. There are three roots with which prakrit Puggala or

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On the Etymology of 'Puggala or Poggala Poggala appears to be connected, (1) Tamil-Putai 'to swell' 'to increase" (2) Tamil kalai to dis-integrate, to dissociatelo', and (3) Tamil Ponku or Telgu Pongu 'to swell, to increase' 11 15 Now, (I) if we combine 'puta' and kala, we get Putakala, which may indicate integration and dis-integration. It may further suggest something that integrates or disintegrates, that is Puggala. The phonetic processes assumed in this respect are : (1) Putakala pudagala>pudgala>puggala or poggala or (2) Putakala> putakala>pudagala pudgala and puggala or Poggala. (II) If we take the Tamil root ponku or the Telgu pong, we have their derivatives Ponakam and Pong respectively. So Ponka or Pong+kala may also give Pongala -- Poggala. (III) But here it is presumed that the word is from two roots, And the question is: Is it necessary that this should be so? Could it not be that the word is derived from just one root? The third alternative, therefore, may be to derive poggala from the derivative pongala of panku or pong itself. Here pongala may mean 'swelling' or 'increasing' only. It may also indirectly suggest poggala 'matter'. We can investigatate the meanings of the word puggala or poggala. Prakrit dictionaries such as 'paia-sadda-mahannavo' and Ardhamagadhi Dictionary of Ratnacandra, give the following meanings referring to the Jain Canons or sutras (such as Bhagavat, Thananga, Ayaranga etc.) (1) matter. (2) soul, (c) flesh, (4) a kind of tree, and (5) a kind of fruit, If we compare the avove etymology of puggala, i.e. putakala or pongala with the Jain traditional etymology, and definition of Puggala say, 'pUraNAdgalanAcca pudgalA:'; we may conclude that the basic meaning of puggala was obviously 'the substance that integrates and disintegrates, that is, matter', Later on, Puggala assumed the meaning of Poggali 'an empirical being' receiving matter in various forms as body, 12 food, etc. In the context of material body of a sentient being Puggala may mean 'flesh' which is one of its chief constituents. Now commentators of the Jain canolcal literature, like those of the Buddhist canons tried to interpret some words and phrases, e.g. Bahu atthiyam puggalam..etc.13 as a kind of fruit or vegetable which probably originally meant flesh etc. Thus puggala is one of such words having a primary meaning 'flesh' and the secondary, rather imposed meaning, a fruit or a tree. Then we may take up the meanings of puggala as given in the Pali dictionary. Puggala in Buddism means (1) individual as opposed to a group, (2) person, (3) man in later philosophical (abhidhamma) literature, and (4) soul or Atman.

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16 S. M. Shaha Out of the two original meanings of Puggala prevalent in the Jain tradition, viz. matter' and 'empirical being' the Buddhist tradition might have adopted the later meaning alongwith the term itself. In this respect I may quote Dr. A.N. UPADHYE, who says, "The Jain term for matter is Pud qala which in Buddhism means the individual, character, being and Atman. From the shifting of its meaning, the word appears to be a later import in Buddhism alongwith Jain terms like asrava',41 In a foot-note, 15 Dr. UPADHYE quotes Mrs. C.A.F. Rhys DAVIDS-who says, "we do not know when this oddly ugly word pudgala came to be substituted for the older purisa, or pulisa, or purusa, etc." I may conclude saying: No doubt the word is 'oddly ugly'. Nevertheless, it has attracted many scholars and it still remains a riddle staring in our face. Foot-notes : 1 Siddliasena on Tattvartha-sutra 5,1. quoted above. 2 Visuddhinagga 310. 3 P. Tedesco, Sanskrit Pudgala, body; soul: Journal of American Oriental Society, Vol. 67, pp. 172-77, 4 Buddhist Hybrid Sanskrit Grammar and Dictionary Vol. II, Delhi, 1970, p. 347. 5 Pali-English Dictionary 6 Tedesco, op. cit. 7 Buddhaghosa op. cit. 8 Tedesco, op. cit. 9 T. Burrow and M.B. Emencau 'Dravadian Etymological Dictionary, Oxford, 1961, word No. 3494, p. 283. 10 T, Burrow etc, op. cit, word No. 1102, p. 93. 11 T. Burrow etc, op. cit. word No. 3658, p. 295. 12 Apart from the meaning 'body' etc. some lexicons like Hemacandra's Abhidhana cintamaai give entirely different meaning of 'Pudgala' viz. beautiful'-(sundarakara). The lexicons base this meaning on a single literary passage of doubtful authenticity from Markandeya Purana. The meaning therefore, appears to be of quite late origin and also doubtful. 13 Dasareyaliyam 5,1. 73. etc. 14 Prof. A. N. Upadhye's introduction to Prayacanasara of Kundakunda, Rajachadra Jain Granthamala, Agas, 1964, p. 68 15 Ibid, foot note No. 2.

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JAINA CONCEPT OF SIDDHAS Suzuko Obira i The states of siddhas is postulated variously by different systems o thought each according to their concept of liberation, which is ultimatel established by their ontological ground. Jainism stands on the dual principles of the soul and the matter which are the eternal substances, each plural in number, Jaina school of realism which does not subscribe to the existence of the creator God accepts these swo principles as a matter o fact that they have been in the state of bondage from times eternal. Soul: whose nature is characterised by that of the emancipated ones are consi dered to be embodied in samsara as the earthly personalities due to their association with material karmas which are of 8 divisions and 148 sub divisions. Moksa dawns to them when they are freed from these entire karmas, then they remain in the eternal siddhahood. In the Agamic literature, Aupapatika 42-43, Prajna pana 3.2 and Uttara dhyayana 36.49-681 give a lengthy account of siddhas as to their nature abode and abiding mode. The Au pa patika reads, 'te nam tattha siddha ha. vamti sadiya apajjavasiya asarira jivaghana damsana-nanovautta nitthiya tha Direyana niraya nimmala vitimira visuddha sasayam-anagayaddhar kalam citthamti.2 Thus a siddha remains in siddhabood with beginning bu without end, invisible, in the form of life, endowed with kevala jnana an darsana, accomplished, immovable, pure, eternal and so on. Isatprag bhara which is the abode of siddhas is described as umbrella-shaped 45,00,000 yojanas long. 8 yojanas thick, and situated one yojana below th end of the universe. Above Isatapragbhara up to the end of the loka, th liberated beings are said to be abiding interpenetrating each other (anno nnasamogadha), invisible (asarira) having the physical extent of 2/3 O the last bodies, in the form of virya (jiva-ghana), kevala jnana and darsana enjoying unparalleled everlasting bliss (sasayam avvabaham suba), havin transcended the misery of the bondage of birth, old age and death (jai-jara -marana-bamdha-vimukka). The treatment of this subject in the Prajnapan and Uttaradhyayana is more or less similar, to which the latter adds topic of the previous lives of siddhas from the standpoints of linga, darsana sarira, kala, sankhya and so on. Tattvarthasutra X. 7 enunciates that siddhas are to be distinguished b the application of twelve anuyogadvaras, i, e., ksetra, kala, gati, linga, tirtha caritra, pratyekabuddha-bodhita, jnana, avaga bana, antara, sankhya an alpabahutya. Its bbasya explains their application by way of two day: Sambodhs 4.3-4

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18 Suzuko Ohira called purya-bhava-prajnapaniya (by past life) and pratyutpanna-bhavaprajnapaniya (by present life of siddhahood). Nandi 21, Prajnapana 1. 7.7-10 aud Jivajivabhi gama 1.7 likewise classify the emancipated souls according to two standpoints, i, e., anantara siddha and parampara siddha by tirtha. pratyekabuddha-bodhita, linga and sankhya, Siddhaprabhrtas which is quoted by Malayagiri in his commentary on Nandisutra enumerates fifteen anuyo. gadvaras for the investigation of siddhas in the sequence of the twelve list of Umasvati with the addition of veda, utkrsta and anusamaya which are included in linga, alpabahutva aod kala in the Tattvarthasutra. Obviously Umasvati utilized these fifteen anuyogadvaras which had existed in the svetambara tradition, although complete list of them are not traceable in the Agamic resources, and replaced the old terms of anantara siddha and param para siddha by the new terminologies of two nayas. Logically speaking, jivas who are absolutely released from the entire karmas should become vibhu in the loka akasa as they have no sariras, to whom ananta jnana, ananta darsana, ananta Virya and ananta sukha are attributed. Earthly, personalities arise to the souls in their stage of samsara alone when they are bound with karmas. Upon separation from karias, the individualities of souls should disappear once for all, and they remain in the form of pure energy, omnipresent in the loka akasa, endowed with pure upayogas. In another word, all the emancipated ones should dissolve in a single universal soul as so conceived by the monistic system of Brahmavada, because their physical dimension is all pervading and because they have attained the universal qualities of siddhahood by losing their earthly individualities, Logical ground does not tolerate to surmise that the siddhas remain in 2/3 of the size of their former : bodies 4 and that they are distinguishable from their past individualities. Here the premise of the pluralisn of souls upon which realistic system of the Jainas stands suffers ontological contradiction, Dhavala 7/2.1.7gatha 4-11/14-15 lists ninefold characteristics of siddhas, i,e., ananta jnana, ananta darsana, ananta sukha, ksayika samyaktva, akasayatvarupa caritra, janma-inaranarabitata, asariratva, nica-unca rabitata and panca ksayika labdhis, Dravyasangraha 2, Gommata sara juakanda 61 etc, mention eight gunas of siddhas, which are enumerated in the Laghu siddhabhakti 8, i.e., ksayika samyaktva, ananta jnana, ananta darsana, ananta Virya, suksmalva, avagabanatva, agurulaghutya and avya. badhatva. These eightfold gunas seem to have become the standard of the characteristics of siddas in both traditions. They are treated in relation with karmic destrucion, that is, each one of these eight gunas are explained in relation with the annihilation of the respective mula karmas, i.e., samyaktva--nolaniya, jnana-jnanavarana, darsana-darsanavarana, virya-antaraya, suksmatva-nama, avagalianatva-ayus, agurulaghutya-gotra,

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Jaing concept of Sildhus and avyabadhatva---vedaniya; and akasayatvarupa caritra in the Dhavala which is dropped from the list of eight is derived from the eradication of mohaniya karma. These ninefold or eightfold gunos do not appear in the Agamic literature as the categorical items, therefore they are likely the later products systematized by the Karina specialists. All these eight qualities miaus agurulaghu are mentioned with slight difference in expression in the Aupapatikz and the two other tex's as we have noted previously, Nica-unca rahitata in the list of nine Unas is nei. ther found therein. The inclusion of agurulaghu guna which is said to be inanifest to siddhas from the cradication of gotra karma is peculiar, because gotra karma determines the social status in samsara, of which absence in siddhabood is too self-evident to be reckoned in the context of the other characteristics. Even if we allow it to be logical to be included in the list of eight which is theoretically formulated in relation with eight mula karmas it is still strange to name it agurulaghu in place of nica-uncarabitata as so called in the ninefold list of Dhavalu. Paramutmaprakasa-ka 1.61.62.1 explains agurulagliu as follows, siddhavasthayogyavisistagurulaghuvam pama-karmodayena praccladitain, gurutva-sabdenocca-gotra-janitam mahatt. vam bhanyate, laghutva-sabdena nica-gotra-janitam tucchatvamiti, tadubhaya-karana-bhutena gotra-karmodayena visistagurulaghutvam pracchadyata iti.' Its alternative explanation of agurulaghu is fantastic that it is derived by the rise of agurulaghu-game--karma, then siddhas are thrown back to samsara once again. It seems that the commentator was satisfied with the traditional exposition of agurulaghu in the sense of Dica-utcarabitata, and offered an alternative explanation to it which is utterly out of sense. Confusion here seems to have been derived due to the lack of grasping the correct meaning attached to agurulagbu, Agurulaghu is the quality of individuation which distinguishes one substance from the other, either it is the Java or the ajivas. It is the quality due to which similar jivas are able to be distinguished from one another, If we take the siddha's guna of agurulaghu in this sense, namely, the quality of individuation, but not in the sense of the quality derived by the annihilation gotra karma, it perfectly solves the ontological contradiction we are now confronting. It it as follows. Jaina metaphysicians were well aware of their ontological problem that the siddhas freed from karmas are reduced to the state of oneness as much as the concept of moksa upheld by Brahmavada, which endangers their theoretical basis of the pluralism of souls. Jainism meets here the same problem that beset the classical Sankhya school which adopted the realistic position of the plurality of souls. According to the Sikhyas, individual personalities in samsara are determined by the degrees of three gunas

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Suzuko Ohira 20 of pradhana, but once purusas attain kaivalyahood, although in reality prakrtis are those who attain moksa, the appearance of the individualities of prakrtis reflected in purusas disappears once for all, which enforced them to accept the theory of the universal soul, that they have done so in later time. The same danger had to be prevented by the Jainas. Being fully conscious of this problem, the authors of the Agama including Umasvati tried to maintain that the individualities of liberated souls are present in the siddhahood from the standpoint of their past lives, but are absent from the standpoint of their present state, and the physical size of their invisible bodies is 2/3 of their former bodies to which the application of the standpoint of past is not adopted. The Jainas persistently insisted on this point that siddhas have individual physical dimentions wbich are even classified into three kinds, i. e., maximum, medium and minimum. They avoided carefully to let thein reduce to the state of omnipresence which is exactly so maintained by the Nyaya-Vaisesikas. The Nyaya-Vaisesikas of realism also take the stand of the plurality of souls. Six categories are enumerated by them, i. e., dravya, guna, karma, Samanya, visesa and samavaya, by the total operation of which the phenomena of samsara are explained. The category of visesa therein operates to distinguish one substance from the other. Due to this category of individuation, things. either souls or matters, are held ultimately distinguishable, that is, for instance, two similar atoms are distinctly different, and two similar souls have different individualities. Siddhas are not excluded from its application. thus their possession of distinct individualities is logically maintained, It appears that Jaina metaphysicians got hold of this concept of visesa which enables them to save their ontological danger. For this very reason the quality of individuation called agurulaghu was introduced in the context of the other qualities of siddhas which are arranged in parallel with mula karmas. Agurulaghu guna has no place in this context, therefore it was forced to take the place of nica-unca rabitata which is derived by the destruction of the gotra karma. Agurulaghu guna is thus the anomaly in the list of the eightfold gunas. This explains pretty well the correct meaning of agurulaghu in the ontological context of the state of siddhas. Then the traditional meaning attached to agurulaghu in the sense of nicaunca rabitata derived by the extinction of gotra karma is required to be corrected. Once the quality of agurulaghu is introduced, there is no need to maintain that siddhas' physical extent is 2/3 of their former bodies. It seems to have been so maintained because the introduction of agurulaghu guna came in too late, by the time of which the abode of siddhas with its definite dimension in the total structure of loka had become firmly established, which compelled them to uphold the traditional idea of the size of siddhas' bodies without alteration,

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Jaina concept of Siddhas 21 Foot notes : 1. The Agama texts are all based on Suttagame. 2. Schubring notes that Samavaya 55b enumerates 31 virtues of siddhas. His Doctrine of Jainas, p, 329, ft. 2. 3. Abhidhanarajendra, under siddha. 4. Schubring suggests that the concept of the size of a siddha's body is derived from observing the corpse having shrunk, His Doctrine of the Jainas, p. 329. 5. Jainendra siddhanta kosa, under moksa, 6. ibid. 7. ibid. 8. For its full meaning refer to Pt. Sukhalalji's commentary on Tattvarthastra of Vasaka Umasvati, p. 196 ff. ft, 1.

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AN OLD VERSION OF THE JAINA RAMAYANA* J. C. Jain Introduction The narration of the well-known Rama story which is given in the Vasudevahindi (VH), the Kathasaritsagara (KSS), and the Brhatkathamanjari (BKM) shows that the tale was also included in the original Brhat katha of Gunadha which unfortunately no longer exists as an extant work but which was used as source and model for much of ancient Indian literature. Since the Brhatkathaslokasangraha (BKSS) is incomplete it contains only a few stray references to the episodes. The Vasudevahindi which it is argued here contains the oldest Jaina version of the Ramayana, raveals some interesting transformations of the popular Valmiki Ramayana, The Role of Vidyadharas Gunadhya chose vidyadharas, masters of magic art, as heroes of his popular narration, "Tales of vidyadharas are, even more interesting than tales of the gods," says Siva to Parvati when she asks him to tell her some extraordinary story. The imaginative tales later form a part of the Brhatkatha, influencing ancient Brahmanic and Jaina literature as well. "Divine beings are always happy, whereas humans are continuously sad and grieve," proclaims Somadeva, author of the KSS, "And therefore, I want to narrate the life of the vidyadharas, who are full of mirth and variety." Somadeva's composition only sunimerizes the most essential parts of the Brhatkatha, Vidyadharas are also mentioned in the well-known versions of the Ramayana and Mahabharata and later in Buddhist works, but in these narrations they do not appear as real heroes the way they do in the BKSS, the Kashmirian works (KSS and BKM), and Jaina narratives. G A particular Jain contribution to the popular Ramayana tale is that their version displays the Raksasas not as meat-eating damons but rather This paper was read in London on March 13, 1974 at the conference held by the School of Oriental and African Studies, University of London, to celebrate the Quartercentenary of Tulsi Das's Ramacaritamanasa. 1 Ramayanam in the Mayanavegalambha, 240-45. 2 107-12-26; Prabhavati is telling the story of Ramayanavyttanta to Naravahanadatta, 3 Ramakhyayika (15. 1-51). 4 IV.52; XVIII.503. 5 A comparative study based on different narrations of the Vasudevahindi, the BKSS, KSS and BKM has been presented by the author in his work on the Vasudevahindi, soon to be published. 6 The earliest reference is found in the Milindapanho (267). see H, Luders, Kleine

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An old version of the Jaina Ramayana as vidyadharas, and the vanaras are likewise portrayed as vidyadharas. In general, the vidyadharas seem to be amiable beings, and befitting pious tradition they renounce the world and join an ascetic order. They have their own kings, laws, cities and law courts. But the vidyadhara is also represented as licentious, jealous, and an abductor of women. Moreover, the Jainas emphasize, a breech of the moral code on the part of a vidyadhara can cost him his divine dignity as well as his magic art. "A vidyadhara must not show disrespect or do injury to the Jaina shrines, to ascetics or to a Jaina couple, otherwise the vidyos will abandon him." declares Dharana, and has his law inscribed in the edicts on the jewelled walls.? In the KSS we are told that the vidyadharas have two inythical regions (ved yard ha) in the Himalayan mountains, forming two major kingdoms assigned to the most distinguished vidyadharas. But once a certain Rsabha propiated God Siva with such powerful austerities that he was granted soveraignty over both the regions, and therefore over all vidyadharas. The KSS description tallies with the description offered by the Jainas; the similarity between Rsabha, the first emperor of the vidyadharas, and Usabha (Rsabha), the first Tirthankara of the Jainas, is also noteworthy here. It is most probable that the Brhatkatha of Gunadhya was the common source for both versions. The Jaina Ramayana Presented in the Vasudevahindi The Rama story contained in the Vasudevahindi seems to be the oldest version of the Jain Ramayana and it is based more or less on Valmiki's popular version. The followiog are some of the main features of the tale: (1) After accomplisbing the magic art pannatti, Ravana, is honoured by the vid yadhara lords and is attended upon by them in Lanka, The magic art Pannatti seems to have been quite popular among the vidvadharas. Dharana bestowed this magic art along with many others to Nami and Vinami (VH, 164). Pradyumna (the son of Krsna by his queen Satyabhama) obtained it from Kanakamala, a vidyadhari girl (92). Pradyumna gave it to Samba (son of Krsna by Jambavati, 108), and Prabhavati bestowed it on her husband Vasudeva so that he could defeat hls enemy (308). Prajnaptikausika is mentioned in the BKSS (XX,304), the KSS (25. 258,289) and the BKM (5.160) as a guru of the vidyadharas. We are told in the KSS (111.52) that prince Naravabanadatta concentrated on the science of Pranapti, who thereupon presented herself to him, and be asked her about his parents. Schriften, "Die Vidyadharas in der buddhistischen Literatur und Kunst," pp. 104-119 7 Vasudevahindi, 264, 20-21; Tri saspisalakapuru sacarita 1.3.213, 8 KSS 109, 61-74; 110.18. 9 L. Atsdorf, ZDMG, (1938) Vol. 92, p. 479.

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24 J. C. Jain (2) A vidyadhara called Maya approaches Ravana with a proposal of marriage to his daughter Mandodari. The experts in reading marks predict that the first product of her womb will cause the destruction of the family. But thinking that her first child could be abandoned, she was married anyway. In the course of time, Mandodari gave birth to a girl who was enclosed in a casket and concealed by the magic art tirakkharani,20 and then placed under the ground of king Janaka's garden. But while the ground was being ploughed the casket was caught in the ploughshare and was handed over to the king, who entrusted the live child to his queen Dharini and had it brought up like a daughter. There are various versions regarding the birth of Sita: a) since she is said to have sprung from a furrow (sita)11 made by Janaka while ploughing the ground, she is called ayonija, i.e, not womb-born, (b) According to the Mahabharata, Valmiki's Ramayana, and Vimalasuri's Paumacariya, she is the daughter of Janaka, born in a natural way. (c) In the Dasaratha Jataka, she is the daughter of king Dasaratba and the wife of her own brother Rama. (d) In the Vasudevahindi, Gunabhadra's Uttarapurana (9th Century A.D.) and the Mahabhagavata Devipurana (10th or Ilth Century A.D.), she is the daughter of Ravana by his queen Mandodari. An echo of this tradition can be found in the Tibetan and Khotanese versions of the Ramayana dating from about the 8th or 9th Century A.D. as well as in the versions of Indonesia and Thailand. In the Tibetan version Sita is enclosed in a copper vessel and floated on the water, where she is found and adopted by an Indian peasant who names her Rol-rned-ma (i, e, Lilavati ).12 In the Khotanese version a sage living on the bank of a river opens the box and rescues the girl out of compassion for her plight 18 Sita's leading to the annihilation of Ravana's family and her discovery in front of Jagaka's plough must be older than the composition of the Vasudevahindr. However, it seems that the Tibetan version of the Ramayana was influenced by the Brhatkatha of Gunalhya.14 (3) The achievement of the two boons by Kekai : (1) King Dagaratha, pleased witb his queen Kekaj for her expertise in the art of serving in 10 Also tirikkharini (84) and tirikkhanani (164). Tiraskarinika is used in the sense of a curtain in the BKSS (XVII 81; also the Ramayana, il.15.20) and in the sense of a rod (XVI1,157). 11 She is invoked as presiding over agriculture (Rgveda, IV, 57,6). Sit kura is counted as one of the 18 taxes (Avasyaka Niryukti 1078); Byhatkalpa Bhasu:7 (1,3647) has mentioned Strajanna (Strayajna), a festival when cooked rice was distributed to the monks 12 See Jan De Jong, "Three Notes on the Vasudevahindi, "Samjnavyakarana, Studia Indo logica, Internationalia, 1954; Rev. Father C. Bulcke, Rama-karha, 1962, p. 261ff, 13 H. W. Bailey, BSO AS, Vol. X, p. 564. 14. C, Bulcke, Ibid. p. 262,

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An old version of the Jaina Ramayana bed". (sayanovayaraviyakkhana) 15 granted her a boon. (2) Kekai led an army and got her husband released from the enemy's custody, for which she was granted another boon. A kind of service in bed" has been described in the Vasudevahind 16 and the BKSS17 when Buddhisena (Gomukha in the BKS), a close associata of Prince Samba (Naravahanadatta in the BKSS) is entertained by a young prostitute named Bhogamalini (Padmadevika in the BKS) by employing a technique of massaging known as stanapiditaka (pressing the breasts). As the original Bihatkatha was full of passionate love stories, it might well have contained such episodes, which were later utilised by other writers, Jong and Bulke bave called this form of legend "primitive."18. (4) After becoming infatuated by the beauty of Sita, Ravana directs bis minister Marica to assume the form of an illusory deer studded with gems (rayanacitta) to in order to tempt the young warriors living in the forest as hermits. As soon as Sita beholds the deer she asks for it as a pet. Rama follows the animal with a bow and arrow in hand. First the deer goes along slowly, but after it swiftly moves off. Rama begins to suspect that it is not an ordinary deer but an illusory one, Earlier in the Nalajasalambha (181, 15-20) of the Vasudevahindi a very similar description is given when Nilajasa asks Vasudeva to catch a baby peacock as a plaything for her. Vasudeva later remarks that as Rama was deceived by a dcer, so was he by a peacock, Ultimately Nilakantha assumes the form of a peacock and abducts Nilajasa while Vasudeva remains helpless. In similar circumstances Ajinavati, the prototype of Nilajasa, is kidnapped by a vidhyadhara named Vikacika who flies through the sky like a hawk carrying off a cuckoo (BKOS, XX. 202.-226). In the BKM (13.45-47) Vegavati is kidnapped by a demon (raksasa) called Manimat who assumes the form of a peacock. This all indicates that the kidnapping of women by vidyadharas or raksasas was common in early Indian literature, at least at the time of the author of the Byhatkatha. Under the circumstances we can easily take Sita's abduction as an important part of the Byhatkatha narration; moreover we should not forget that the wbole theme of the BIhatkatha is based on the abduction of Madanamanjuka by the vidhyad hara Manasavega. GO : 15 Elsewhere called paviyarasukha, 133,2. The 16 arts of sayano pacara' are mentioned in the Kamasastra (1.3.14, Jayamangala commentary), 16 102, 17-21. 17 X. 140-152. 18 See Jong's above-mentioned article; Bulcke, Ibid., p. 402. 19 Maninirmita in the Uttarapurana (68.197). The KSS, BKM, and Harisena's Byhat. kathakosa have all referred to a golden deer. However, Vimalasuri las ommitted this episode in his Paumacari ya with the explanation that since Rama was observing a vow (vratastha) he could not kill a deer. Sambdhi 4.3-4

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J. C. Jain (5) Ravana, the ruler of Lanka, his brother Vibhisana, his sister's sons Khara and Dusana as well as the characters of Hanuman, Sugriva, Vali and Jatayu are all vidhyadharas. 26 Here, as in the Ramopakhyana in the Mahabharata the story of Rama (Ramayana) begins with a long genealogy of Ravana, which is supported by Gunabhadra's Uttarapurana. Though not specifically mentioned, Ravana never tries to violate Sita's virtue while she is being kept in his custody in Lanka. The reason given by Gunabhradra is that had Ravana dared to even touch Sita he would have been deprived of his magic art of flying through the air. According to the author Ravana did not touch Sita while carrying her off, but by means of his magic art he transformed his divine car Puspaka into a palanquin, making Sita get into it by herself, 20 Similarly, the charactar of Vibhisana has been elevated. After preparing a bridge when Rama's army (accompanied by Sugriva and protected by the vidhyadharas) reached Lanka, Vibhisana approaches Ravana and requests him as follows: "Although unpleasant to hear, beneficial advice must be spoken by the teacher, a servant or a relative, by abducting Sita, the wife of Rama you have not done any good. It may be that the error has already been committed, but you should now return her back to her husband. It is no use destroying the family. Rama is so powerful that he killed Khara, Dusana and Vali without effort, even though, they possessed the magic art. The master should not desire even the wife of his own servant, much less the wife of a person who is powerful. The real victory of a king is his restraint of his senses. You are wise and intelligent, and so somehow or other you must succeed in your endeavors, but nevertheless you are devoted to an evil deed. That is why I am requesting you to stop. That morsel which is easily eaten, digested properly after eaten, and which proves wholesome after being digested, should be eaten. Take my friendly advice: return Sita to Rama. Let your family members be happy.'21 Also Hanuman, who is a vidyadhara and not a monkey king as in the Valmiki Ramayana, is a well-wisher of Rama. It is he who for the first time brings news about Sita's presence in Lanka. When Rama and Laksamana are wondering about grieved in the forest, Hanuman approaches them and learns of their sorrow. He introduces himself as one of the vidhyadharas 20 Uttarapurana (68, 213. 207); Compare the abduction of an earth-dwelling woman, Somasiri (Madanamanjuka in the BKSS) by the vidyadhara Manasavega. He could not violate her by force because of a dangerous curse which would bring him instantaneous death, sec Vasudevahindi (227, 14-15), BKSS (XIV. 89-90), KSS (105. 69-71), and BKM (13.2.51-52). 21 Exactly the same advice is offered by Ravana's minister Marica in the Uttarapurana (68.115-118).

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An old version of the Jaina Ramayana under the leadership of Sugriva. Then Hanuman proposes friendship with Rama, and fire is a witness to their pact, Tatayu is another fine character. He fights with Ravana while the latter is carrying Sita off. Ravana overpowers Jatayu and after crossing the Kikkindhi mountain, 22 he reaches Lanka. But before his death Jatayu is able to pass the news to Rama, that Sita was kidnapped by Ravana.23 (6) When Ravana does not listen to the advice given him by Vibbisana accompanied by his four ministers, he approaches Rama. The vidhyadharas in Vibhisana's family join the army of Rama and the battle between the vidhyadharas and carth-dwellers began, also a common feature of the Byhatkatha,24 (7) After Rana's army enters the city of Lanka, Laksmana marches forward, Ravana intends to kill Laksmana and releases his disc, but the weapon does not work. Laksmana casts the same disc back at his enerny and succeeds to chop off Ravana's head. (8) After the war is over, Vibhisana brings Sita back from Lanka, Then Vibhisana is coronated King of Arinjayapura, and Sugriva of a certain city in the vidhyadhara territory (vijjaharasedhi). Rama and Sita are taken to the city of Ayodhya in a heavenly car brought by Vibhisana and Sugriva, The Vasudevahindi, the oldest version of the Jain Ramayana The following points are worth considering when estimating the Vasudevahindi's real period of composition : (1) It is the oldest version of the Byhatkatha of Gunadhya among the presently available Sanskrit or Prakrit works. (2) Its mention in the Visesanavati (610 A. D.) of Jinabhadragani Ksamasramana only indicates that the work was available to him in his time. (3) Some years ago, after making a study of archaic pecularities and taking into the consideration the use of the old vedha metre unknown out 22 The mountain's locality is not known, but it seems to be somewhere in the Hima. laya. According to Hemacaudra, Mount Kiskindha was situated on Vanaradvipa. Kiskindhi is said to have founded Kiskindhapura on Mount Madhu where he sattled with his followers like Siva on Kailasa (Trisastisalakapuru sacarita. VII, Jain Rama. yana, Vol. IV, p. 109, 113.) 23 In the Khotanese version of the Ramayana, Ravana, while fighting with the bird Jatayu, gathers lumps of tin red with blood and forces the bird to swallow them. As a result Jatayu, became heavy and died. Bailey, Ibid, p. 565. 24 The battle between Rama and Ravana has been condemned by Harisena as a baltle for the sake of a women costing many lives (Byhatkathakosa, 84.56-57). This has been supported by the Khotanese Ramayana (Ibid., pp. 568 ff.) where two senior ministers are talking about the kings of Jambudvipa, who destroyed the land for a woman's sake.

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J. C. Jain 28 side of Jain canonical literature, Alsdrof showed that this work must have been of great antiquity and closer to the date of the canonical text, 26 (4) After making a study of the mutilated and corrupted Vasudevahindi text, which was edited after consulting 12 manuscripts, and making a note of a variant (ettha padho),26 it seems that the text already existed at the time of Sanghadasagaui, who just put it into its final shape. In that case the original text's date should be pushed back quite a bit. In this regard the Jaina versions of the Brhatkatha represented by Harivamsa purana of Jinasena and Trisastisalakapurusacarita by Hemacandra and others should also be taken into account. (5) While considering the composition date of the Vasudevahindi one has to also consider whether the Rama and Krsna lagends of the Jaina cosmography were borrowed from the Brhatkatha, or whether they already existed before the Bthatkatha's composition 27 (6) In his Paumacariya (end of the 3rd century A.D.),28 Vimalasuri altacks Valmiki's Ramayana by saying that thc Raksasas should not be meat-eating demons and the vanaras portrayed as lower animals lashing their tails and uprooting mountains. He has tried, in effect to 'rationalise' the tale in the Jajna version of Rama's story, On the other hand Sanghadasagani, the author of the Vasudevahindi, simply accepts the popular tale as it existed in his day, without any conscious editorialising or protest, Most likely he follows a different tradition. It may very well be that since Valmiki composed his Ramayana based on the ancient ballad's prevalent at his time, the author of the Vasudevahindi likewise based bis tale on a slightly different version arising out of some different ballads. Perhaps be followed the same version offered in the Byhatkatha,20 Whatever the case may be, the explanatory and critical tone of the Paumacariya as well as its entire language strongly suggests that the work 25 See "The Vasudevahindi, A Specimen of Archaic Jain Maharashtri," in the BSOS, VIII, 1935-37, pp. 319-333. 26 The Vasudevahindi. 306. See author's introduction to the Vasudevahindi, to be published shortly. dehortly. 27 See Alsdorf, "Introduction to the Harivamsapurana - Mahapurana Tisashimahapuri. sagunalankara by Puspadanta, p. 121, Hamburg 1936. Here criticising the date proposd by Buhler, he formulates that Gunadhya must have flaurished at least in the 1st or 2nd Century B.C. 28 V.M. Kulkarni, Introduction to Paumacariya, ed. by Jacobi, PTS, 1962. 22 According to Lacote, the author of the Byhatkatha draws inspiratian from the Ramayana, but Valmiki drew his heroes from national legends and old myths, whereas Gunadhya used accounts of fairy travels to the country of enchanters "Essay on Gunadhya and the Bshatkatha," Pt. III, Ch. IV,

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An old version of the Jaina Ramayana 29 was composed after the Vasudevahindi. We can therefore assert that the Vasudevahindi must have been composed before the end of the 3rd Century A. D., the date fixed for the composition of the Paumacariya, Certainly the contents of the Rama story contained in the Vasudevahindr reflect a very old tradition. There is no mention of an ordeal by fire imposed on Sita in the Vasudevahindi, but this episode is also absent even in the Ramopakhyana of the Mahabharata, the Uttara purana of Gunabhadra and the Tibetan and Khotanese versions of the Ramayana. Without adding too many Jaina reli. gious touches to the story, the Ramayana as presented in the Vasudevahin? is an extant version of one of the oldest traditions of the popular tale.

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ON THE EIGHTEEN DESI LANGUAGES* B. K. Kbadabadi The Nayadhaminakahao, the sixth Anga of the Ardhamagadhi Canon. refers to the Eighteen Desi Languages more than once : (1) ag uit te ERIT arcafagcarregatitetlaarsg............. ETI Prince Megha was well versed in the Eighteen kinds of Desi Languages (2) art of agro 2275 dagar ath shower aftang 311.......... egitimataifa , In the city of Campa there lived a harlot named Devadatta who was rich........ (and) well versed in the Eighteen Dest Languages. Similaraly we find references to the Eighteen Desi Languages in Vivagasutta, Ovavaiyasutta and Raya paseniya : ay af # 175 UTIR O g ....... 3ergotzarafaa zyr In Vaniyagama there was a harlot named Kamajjhaya who was skilled in the Eighteen Desi Languages. tae NaM daDhapaiNNe dArae aThArasadesIbhAsAvisArae / ' The boy Dadhapainna was well versed in Eighteen Desi Languages. ag oi casco antg ergitaideaalranithtarfarTQ 16 The boy Daghapainna was well versed in the Eighteen kinds of Desi Languages, The Jinadasagani in bis Nisuha Curni (7th century A.D.) also refers to the Eighteen Desh languages : aTThArasadesIbhAsAniyayaM vA addhamAgahaM / ' or the Ardbamagadbi language which has the characteristics of the Eighteen Desi Languages. Further Udyotanasuri, the author of the Kuvalayamala (778 A.D.) not only refers to the Eighteen Desi Languages, but also enumerates them by Illustratiog in brief the colloquial format of each of them as observed by prince Siridatta in the narrative : iya. aTThArasa desIbhASAu pulaiUNa siridatto / 3TOOT154 yang saa t-9128-watieg 11 Having observed these Eighteen Desi Languages, Siridatta observed a few other ones like Khasa, Parasa, Babbara etc. The following are the names Taper accepted by the All India Oriental Conference, XXVII session, held at the Kurukshetra University, Kurukshetra, December 27, 1974. 1. Nayadhammakalao I, I, Suttagamle I, Gudgaun 1953, p. 957, 2. lbid, 1.3, Suttagame I, p. 987. 3. Vivagasutta 1.2, Suttagame I. p. 1249. 4. Ovavaiyasutta, Suttagame II. Gudgaun 1954, p. 32. 5. Rayapaseniya, Sutragame II, p, 102. 6. Vide Intro. to Paio-Sadda-Mahannavo,, Varanasi 1963, p. 34. 7. Kuvalayamala I, Singhi Jain Series 45, Bombay, 1959, p. 153.

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On the Eighteen Debi Languages of those provincial traders whom Prince Siridatta heard speaking in the market place : Gollae, Majjhadese, Magahe, Antavee, Kure, Dhakke, Sendhave, Marue, Gujjare, Lade, Malave, Kannadae, Taie, Kosalae, Marahabe, Andhe. Thus the author illustrates only sixteen languages and according to A. Master, the two missing Dest Languages are possibly Odra and Dravidi." Moreover Camundaraya, the author of the Kannada Carundaraya Purana (978 A.D.), refers to the Eighteen languages. He, however, does not call them Dest. The contextual reference is to the Bharatakhanda consisting of countries like Trimagadha, Lafa, Vatsa, Gauda, Maharastra, Karduka wherein lived people speaking eighteen languages: "Trimagadha Lata Vatsa Gauda Maharastra Kurdaka laksanamappastadasa bhasajanaparivita Satkhanda-Bharatamam........."10 Lastly Bhattakalankadeva, while commenting on the opening verse of his Karnataka Sabdanusasanan, a grammatical work in Sanskrit (1604 A.D.)11 refers to the Eighteen Great Languages together with seven hundred dialects. It is interesting to note here that the author does not call the eighteen languages Desz but Maha (great) and at the same time he tells us that they are well known in (Jaina) scriptures. In fact we do not find any reference to the 'Eighteen Great Languages' in any of the Jaina canonical works. The opening verse of the said work is as follows: namaH zrI vardhamAnAya vizvavidyAvabhAsinI / sarvabhASAmayI bhASA pravRttA yanmukhAmbujAt / / The author's own commentary runs as follows : "savAH samastAH karNATakAndhramagadhamAlavAdinAnAjanapadavikalpaiH nAnAtvaM prAptAH.... : $#fhEn SPEEDGRAETHAT: R E#HI9T: sfa atef: 1 All languages mean those that are spoken in the various countries like Karnatak, Andhra, Magadha, Malava etc.... They are those Eighteen Great Languages well known in Agamas and Seven hundred dialects. A close scrutiny of all these references to the Eighteen languages. Dest or otherwise, would yield us the following points : 8. lbid, pp. 152-153. 9. (i) For this and other details on the subject vide Dr. Upadhye's Notes, Kuvalaya mala II, Singhi Jaina Series 45, Bombay 1970, pp. 144-145, (ii) I may add here that the Babbaras are the northerners, mentioned as Varvaras, in the Sanskrit Puranas. Vide Concordance of Purana-Contents, Hoshiyarpur 1952, p. 29. 10. Cayundaraya Purana, Bangalore, 1928, p. 70. 11. Karnataka Sabdanusasanan (With commentary of the author), Ed R. Narasimha char, Bangalore 1923,

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B, K. Khadabadi (i) All the above noted works which contain references to the Eighteen Languages, Desi or otherwise, are Jaina works. The earliest work is the Nayadhammakahao (400 B. C),12 and the latest one is the Karnalaka Sabdanusasanam (1604 A. D.). (ii) All the canonical works, the exegetical work viz., Nisitha Carni and the Kuvalayamala contain the reference as 'attharasadestbhasa' the Eighteen Desi Languages. (iii) In the Kuvalayamala the author also enumerates these languages. Actually he enumerates, of course by illustrating them, only sixteen which include the Dravidian too. Hence it is clear that the list is arbitrary and the author is trying to adhere to the number Eighteen which by his time had duly acquired traditional or conventional importance the ultimate source of which seems to be the Nayadhammakahao. (iv) Camundaraya does not call the Eighteen Languages of his refe. rence Debt. The context of his reference is the narration of the Adipurana. And hence he obviously sticks to the traditional number Eighteen in this respect (v) Bhattakalarika does not qualify the Eighteen Langnages of his reference by Defi' but by Maha' calling them Eighteen Great languages, Yet he openly announces that they are well known in the Agamas. Thus he too adheres to the traditional number Eighteen and, at the same time tries to provide rather a true linguistic picture of the country of his time by adding to it the seven hundred dialects, To conclude, during the period round about the composition of the Nayadhammakahao (400 B. C.), there must have existed some eighteen regi. onal languages. Unfortunately we have no evidence to show which actually they were. To be well versed in the Eighteen Dest Languages was a matter of proud accomplishment in those days. The number of Desi Languages and the context of accomplishment were taken up as a tradition and were repeated in later canonical works like Vivagasutta, Ovavaiyasutta and Ru ya paseniya. Jinadasagani however refers to the Eighteen Desi Languages in the linguistic context i.e., while discussing the nature of the Ardbamagadhi language. Camundaraya obviously adhers to the same number of traditional importance. So also does Bhattakalanka, but he tries to give a realistic touch to his statement by adding to it Seven hundred dialects.18 It is Udyotana who not only attempts to enumerate the Eighteen Dest Languages but also illustrates them. But we cannot take Uyotana's list as wholly and truly reflecting the linguistic picture of 12, I have taken here the approximate date of the First Redaction of the Canon. 13. This number too might have an importance of some tradition,

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On the Eighteen Debt Languages the contemporary society. Because the number of the regional languages. making allowance for the inclusion of the Dravidian too, in 878 A.D. could not be the same as it was in the days of the Nayadhammakahao. It must have been a large one. Hence we can say with certainty that Udyo. tana too adhers to the same number of traditional importance. But the true value of this dated author's list lies in its illustrating the colloquial format of the Sixteen Languages, the galaxy of specimens of which can rarely be found elsewhere. Thus the number Eigeteen which formerly denoted the Dest languages in the early literature of the Ardhamagadhi Canon, has been adhered to by the later Jaina authors in Prakrit, Sanskrit and Kannada. And this number it appears was keeping for long its hold on the Kannada people to such an extent that there has come down in the Kannada language an idiom kaown as Hadinentu jatigalu, 1 eighteen castes, possibly indicating thereby that at some juncture of the cultural history of Karnatak the importance of this numerical group of languages has been replaced by that of the same group of castes. 14. According to Shri S.B. Joshi, this idiom is connected with the Agastya legend in the Tamil tradition. Vide Karnalaka-Sanskytiya Purvapishike I, Dharwar 1967, p. 64,

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APABHRAMSA FORMS IN THE VASUDEVAHINDI K. R. Chandra Dr. L. Alsdorf 2 in his study of the language of Vasudevahindr, has come to the conclusion that the language of VHS, is archaic Jain Maba. rastri (having many archaic Ardhamagadhi and Pali forms). Dr. B. J. Sandesara while reproducing the same in Introduction to the Gujarati translation of VH.4 las noted an Apabhraisa stanza from VH. Except that Ap. stanza no other Ap. forms from VH, have becn noted by them. Here an attempt has been made to throw light on some Ap. or Ap. like forms which are available in the VH. 1. Words with lapy sruti : Eupila. (47.9, 11) and gaan (62.16). Pischel records these forms from Amg. too (ujjoviya-246 and juvalaya-231). qealfa (pravrajita, 21.17, 24.4). Pischel does not record it though it is common in Amg. Its formation should be explained as v pravraj ->pravrajapita=pauvanvia-pavyavia, Extrait (dhatri,, 27,12=a nurse). It is not noted by Pischel. It can be explained as dhe dhay (dhayati)=to suck, dha pay=to give suck dhu payitri=a nurse-dhavait-dhavi, or dhay=dhava (on the basis of atisea ziva) and then taking 7 the agentive suffix, i, e, dhavaitadhavz SETY (utaja, 18.17). It is not recorded by Pischel, PSM6 quotes it from Paiolacchinamamala. It has 'ya' for suffix .ka' and the remaining word is 'udava' which has 'va' sruti for 'ja' of Skt. word "utaja'. 2. Use of original bases as case-forms: (1) Nom. Sg. forms : (a) fagfaga (fagfaga 0 37181-38,17, in a verse) Masc., 'a', ending stem. (b) 5EUR (#AT U per fah() -30.3, in a verse) Neut., 'a' ending stem. 1. By the courtesy of the A.I.O. Conference held in Dec. 1974 at Kurukshetra. This paper was read there in the Prakrit and Jainism Section. 9. Bulletin of the School of Oriental Studies, Vol. VIII, pp. 319, ff. Vasudevalindi, Atmanand Jain Sabha, Bhavnagar. 1930, Introduction, pp. 15-30. PSM - Paja-Sadda-Mahannavo.

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A pabhramsa Forms in Vasudevahindi 35 (c) silAjauzilAjatu(tattha ya silAjau parissavati,6.10)Neut., 'u' ending stem. (d) rajju (teNa"."rajju chUDhA-70.16) Fem., 'u' ending stem. Such forms are traceable in Amg, canon and Paumacariyam. (ii) Acc. Sg. forms : (a) There are several instances of 'a' and '1' ending original feminine stems used as Acc. sg., e.g. kamalaseNA (56.6), kaMTayasAhA (61.5), purisasahassavAhiNI (16.2), dAsaDhI (31.19), rovamANI (36.9), hotI (37.21), karemANI (56.6) etc.. (b) surabhipupphadAma (tato se surabhipupphadAma sevAsaM (2) ure ulaei-(66.14) Neut., 'e' ending stem. In the PCV1 also we find such feminine forms. 3. Shortening of ending long vowel of Fem. stems, Nom. sg: ithi (tahA itthi puriso napuMsago ya kammava sagA jIvo-10.21). The editor has wrongly suggested itthI for original isthi. 4, Nom. Sg. form of 'a' ending Masc. base, changing in ou': .. pAyavaDiumpAdapatitaH (piyadasaNamUsugo...pAyavaDiu vinnavei-19.15). We can not be sure of this form because there is probability of the scribe's error in writing o as u. 5, Use of long vowel in place of a nasalised short vowel in Ace. Sg : (i) nijjiya sattU (to haM nijijaya sattU ajjuNayaM hatUrNa ...pasthio ujjeNi-46.8), Masc. 'u' ending stem. (ii) vakalacIrI (kaDhiNeNa vahai risi vakalacIrI-19.17). Masc. i ending stem. (iii) upaladdhI (so....uvaladdhI karettA Agato-33.14), suhabuddhI (....paribhoe muhabuddhI ___ aNo parikappei-15.14), asilaThThI (eyaM tAva asilaTThI giNhasu-48.38), Fem. ___i ending stem. 6. Appending of short na' as Inst. sg. termination (though after lengthening the preceding short vowel of the base, which is again metricausa) / mattUNa (mottavyo ya pieNa, mattaNa ya AvayaMteNa // -35.8 in a verse), Masc. " ending stem. Such forms are traceable in PCV. and Dhurtakhyanam. Pischel (379) notes aTThINa, muTThINa in Amg. but either before enclitic or in the end. Pischel (405) quotes from Ava. Erzahlungen mantINa metri-causa, 7. Appending of te' as Inst. sg. inflexion in a ending Masc. bases or to say that use of Loc. sg. as Inst. sg. : 1. PCV=Paumacariyam of Vimalasuri.

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mIna K. R. Chandra hatthe (se ammApiyaro niyagaceDIe hatthe paidivasaM gaddhasahassa vasaMtatilayAmAUe visajjati -29.6), (savvAbharaNANi ya....NiyadAsaceDIe hatthe visajjei-31.16); (hatthe ya ghettaNa sayaM gharamuvagIyAo-70.14); galae teNa (vaggheNa) ya so dhaNadevo vIsattho ceva galae ghettaNa nIo-60.11). In PCV. we have one such instance usame ( usame sumaMgalAe, Ao bharaho ya paDhamacaka haro-20.106). Some more instances from VH. can be interpreted as Inst. Sg. though they are in Loc. Sg., e.g. so ya galae baMdhiUNa bebayaMta ANei-29.27. tato teNa sA tammi ceva hatthe ghettaNa jANayaM vilaiyA-66.25. 8. Appending of oblique inflexion *e' without lengthening the ending short vowel of Fem. bases, rajjue (sAlarukakhassa mUle rajjue veDhiUNa-61.5), Inst. Sg., 'x' ending. 9. Similarly use of Inst. plu. for Loc. plu. vasahIhiM (vasahIhi vassamANA-43.16, gAmaMtaravasa hIhi vasaMto-69.27), rukakhatarehi (gaMtUNa rukakhatarehi-55.21), - layAgahaNehiM (tao so sohasahasajAya bhao gumma-vali-layAgahaNehi laggaMsamaggasiMgo palAo-55,23). There is a pure Locative form too, e.g. gAmaMtaravasahIsu vasatA-57.3. In the Amg. canon, PCV. and Dhurtakhyanam we can trace similar forms. 10. Use of inflexion i' in the Loc. Sg. of 'a' ending base : nAijagAiNi=jJAtijanAkINe (v.1. in the old Ms. of zAM0 (tattha ya nAijaNAiNNi mANabbhAse raha ThaveUNa bhaNiyA NeNa kamalaseNA-57.4). 11. Appending of the termination fee as Present Indicative of II sg : ehi (kahiM tuma ehi-63.14) and nehi (kIsa eyaM sagaDa nehi-57.16, i.e. Where do you come from ?' and 'Why do you take away this cart?' respectively). 12. Appending of the termination fe of the Imperative of II sg. to the stems ending in short vowel 37, i.e. without lengthening the ending short vowel (as in Ap.): vasahi (toe vadiUNa bhaNiyA! ajjAo ...asaM kiyAu vasahi tti-11.26), use of plural form is for showing respect to the concerned nun by the courtesan Kuberasena. 13. Elongation of Present and Past Passive participles by appending 'yaka (svArthe) suffix, a tendency, that is commont in Ap. : jIvaMtaya (jIvaMtayA macchA ANIyA-75.10). 1. See Introduction to Sandesarasaka by H.C. Bhayani

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Apabhramsa Forms in the Vasudevahindi 37 In the PCV. also such forms are available, e, g. 9631 fogueTET JUSSITOT -76.8. From the VH, the instances of elongation of past passive participle with but suffix are : AEDT 5590-57.16, #FIT a pafeu T-59.27. 14. Forms and words more popular in Apabhransa and NIA languages: (1) 375F2=wortby, faithful (807577, fet a safz4? 797-65,5 Oh, you) Unfaithful ! where is your that (dear) Vasantatilaka ?), Masc. Voc, Sg. Piscbel does not record it. PSM quotes it from Bhavisayattakaha as an Ap. form which stands for 'arya'=worthy, not for 'aryaka'=grand-father, (ii) TE=3f9a (ar....feel at tage #70379-60.22) Hem. (4.39) notes stresa as the adesa of fi, whereas Pischel (196, 485) derives allivai from lip - A + lip = Alimpati. Our Prakrit form efnu seems to be past passive of 317, MWSED records a root= =to go, to reach and further explains 8799'a as causal of - to cause, to move, throw, cast or to deliver, surrender, ofler, present etc. Therefore, there seems to be some possibility of the origin of 3477 from the roots and stenu as its past passive form. In Gujarati there is atrass from 375=to give and then 24141 =given. (iii) 3117=311 + $=(5), (374- 17)=to comes stigao=coming from Ujjayin,-43.21). Pischel (254) records it from Hc. 4.367.1, 419.3 under Ap. This formation is just on the line of 919, the causal of ad, from Skt. 7, from the root =to suck. (iv) UkhalI udUkhalI=a mortar (2845..... seniant 4-44.18). Pischel (66,148) records great and 31aaa from Amg, and Pkt., PSM. too records also Fer and okkhalI but ukhala or UkhalI are not noted by them. We have UkhalI and Ukhala in Gujarati and ukhalI and Ukhala in Hindi. (v) gife=alfa=loose, released, ale t agaji-67.9- Hls (the horse's) saddle was released). Pischel (238) records it under Ap. and Dr. (Smt.) R. N. Shreyan2 puts it under pure 1. Monier Williams Sanskrit--English Dictionary. 2. Shreyan=A Critical Study of Mahapurana of Puspadanta (Desya and Rare words); p. 239,

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K. R. Chandra Desya word. Its variant reading is phediya-4fee for which see further. (vi) afroja 11,28=lulls a baby to sleep, rocks in a cradle, (87511.... ERI yfiya). ali --12,5=fullaby or rocking in a cradle, (agfase fizieu HIST). It is recorded in the PSM but as oficia i.e, to praise. Pischel does not record it. Dr. Shreyan calls it a pure Desya word. 1 (vii) gaue=gaHe, sons and daughters, (ator cu gegetetfor-#paal YTIT, H = HEAST). Pischel and PSM do not record it. Dr. Shreyan records it under pure Desya words.2 (viii) feq=rifa (fferto hurt, MWSED). Here it is used in the sense of removing (feu aqavi-67.9.). Pischel does not rccbrd itDr. Shreyan records it under Desya words. In Marathi 'phedane' means 'to loosen'. (ix) FFT =171&art, brother's son (12.1). Pischel does not record it. PSM records it from later literature. In the ARK.6 it is not available. Compare Gujarati alat and Hindt hatar. (x) #afaq=#fesa, mixed with, combined with, (Hyaclaufagl-6.10). Pischel (206) records F T from the Stbananga (512) and explains it, bbil bhedane' which is not correct. Its meaning there is--to mix, to include. The ARK also explains it in the same way quoting from the Sthananga (p. 365). Compare Gujarati #a=to mix. (xi) fate=f4417, to wash off, (aqu-faagfasetvit-35.9, with her body (limbs) washed off with pure water). 9540201 TAASI records fazaifiset=uta (vide PSM). Pischel does not record faza. In Rajasthani there is the word faaco=to wash off. (xii) daireq=aaif relations by marriage, 70.10. (father-, mother-,brother and sister-in-law) 1. Ibid. p. 264. 2. Ibid. p. 266. 3. This is a variant reading for 4. Ibid, p. 269. 5. Abhidhanarajendrakosa. a which is already mentioned earlier,

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Apabhraiba Forms in the Vasudevahindi Pischel does not record it. Compare Gujarati and Rajasthan word aang (xiii) (v.1. 2121)=xar: became, (etcent Boarei fafarar equier en fer-31,12). stands for the root 1 and its past passive form h, along with other roots and prefixes such as aNuhUa, pahUa, lahuIhUa etc., is found in earlier Prakrits. But the use of the independentform EST has become popular in the Ap. language, eg. 471 Ea ju mAriA.2 The above study of the langage of Vasudevahindi covers only the #ECFIT and affhausfaci portions of its first part, i.e. 1 to 76 pages only. The data analysed here proves clearly that the text has not only the forms and words (i) which are tentatively Ap., i.e. more popular in A (ii) which positively belong to old strata also, f.e. traceable ta older Pkt. literature but (iii) there are a number of forms whtch can be called as positively Apabhrarsa, Study of the remaining portion of VH is expected to bring to our notice some more Ap. material. 1. See Hc. 4. 67. (Hemcandra's Prakrit Grammer) 2. See Hc. 4. 351 and Pischel, 476,

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*DHATUPARAYANAM-A REVIEW NOTE J. M. Shukla Ancient works on instruction1 on Sanskrit Grammar were divided under two heads, viz. Sutrapatha and Khilapatha. The latter included Dhatupatha. Ganapatha, Unadipatha and Linganusasana. The earliest Dhatupatha available to us in a complete form is that of Panini, Before Panini scholarly discussion regarding enumeration and mea. ning of roots was already well-developed. Yaska's division of parts of speech into) nana, akhyata, upasarga and nipata and the discussion regarding all nouns being root-based testify to a detailed study of roots. Small manuals and lists of nouns and verbs were prepared for purposes of study. They were named books of enumeration (Parayana). Booklets on nouns were called Nama parayana and those on roots were called Dhatupa. rayana, It is likely that grammarians like Bhaguri, Kasakstsna, Apisali and Sakatayana had prepared such manuals. These have not come down to us, but grammatical tradition has preserved some references from them, A number of references to the root-lists of grammars earlier than that of Panini are found in Ksirasvamis Ksiratarangini (1050 A. D. circa), Maitreyaraksita's Dhatupradipa and other works, Panini probably accepte considerable help from these earlier lists i, e. Dhatuparayanas. Panini's Dhatupatha which can be understood as Dhatusutrapatha constitutes Dhatupatha i, e, a list of roots and Dhatvartbapatha, a list of meanings. Both these are combined into one. From cross-references between the sutras of Panini and the sutras of Dhatupatba, we understand that * Dhatuparayanam, Kalikalasarvajna sri Hemacandrasuriviracitam, prathamo bhagah edited by Muni Yakovijaya and Muni municandravijayaji, Ahmedabad; price Rs. 15-00; 1973. 1. Uapdesa and Sastravakya are the two words used for grammatical instruction; cf. Vamana-Jayaditya "Upadisyatenenetyupadesah Sastravakyani sutrapathah Khila. pathasca. Kasika on P, Sa. 'Upadesejanunasika it", 1-3-2, 2. (a) Jinendrabuddhi understands khilpatha as Dhatupatha and accepts the suggestion that 'ca' of Khilpathasca of Kasika suggests pratipadikapatha or Ganapatha. (b) Haradatia, however, understands Dhatupatha, Ganapatha and Vartikapatha by the term khilapatha; cf. Padmanjari on Ksik on Pa. Su. 1.3.2. 3. The word seems to have had a fairly old currency (a) Patanjali uses the word Sabdaparayana in Sabdaparayanam provaca nantam jagama, Mahabhasya (Keilhor p.5; (b) Rudhisabdoyam kasyacid granthasya vacakali-Mahabhasya Dipika, p. 17, 1.1; (c) Vamaga-Jayaditya refer to works like Dhatupargyana and NamaparayanaKalika; intro, verse no. 1 a.

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Dhatuparayanam-A Review Note Panini did compose a Dhatupatha himself, although reputed commentators like Jinendrabuddhi do not accept this facts. A later tradition ascribes the list of meanings (Dhatvarthapatha) to a scholar called Bhimasena (750 A. D. about), It seems plausible that Bhimasena took considerable pains over the Dhatupathas and Arthapathas known before him and over the earlier discussion in Patanjali, edited the Dhatupatha and Dhatvarthapatha and combined both into one so that we have a complete Paniniya Dhatupatha fixed for all time. 41 In confiirmity with the system of his grammar Panini divided the Dhatupatha material into ten classes (ganas), gave further sub-classes to them, the three padas viz. Parasmai, Atmane and Ubhaya were classified, made the arrangement of roots with their sub-groups according to the final consonant and accent-determination and gave a special treatment to the tenth class. Panini's Dhatupatha had brilliant commentaries from Ksirasvami, Maitreya, Sayana and others. The Katantra system had probably an original Dhatupatha which has been called Kalapadhatusutra by Leibisch. It was remodelled by Durgasimha, the famous commentator of Katantra grammar. A recent Dhatupatha work called Kasakrtsna Dhatupatha is claimed as older and fathered on Kasakrtsna whom Panini has quoted. The internal evidence from the work does not support the claim, Of the Dhatupathas belonging to systems other than that of Panini Candra Dhatupatha bas made simpler and more systematic innovations. It gives only one meaning to each root, removes accent and specifically terms particular roots as taking the vowel i' before an Ardhadhatuka affix. Among the Dhatupathas of Jain Grammarians, Jainendra's Dhatupatha represents the general system found among them. It retains the older order of class-division (gana), removes accent, gives different anubandhas, omits vedic roots and offers simpler meanings to roots (e.g. 'guptau' for 'raksane', 'sankane' for 'sankayam', 'saithllye' for 'daurbalye' and so on. Sakatayana's Dhatupatha follows the Dhatupatha of Jainendra. Although the general remarks presented above are not relevant in a review-note on the Dhatuparayana of Hemacandra part 1 they will be 4. (a) Slisa Aiingane (Pa. Su 3.1.46) Slisa Alingane (Dhatupatha (IV.77) (b) Tanukarane taksah (Pa. Su. 3.1.76) Taksutanukarane (Dhatupatha 1.685) (c) Lubho Vimohane (Dhatupatha 1,685) Lubha Vimohane (Dhatupatha VI.12) 5. Etad ganakarah prastavyah na sutrakarah anyo hi ganakaro anyasca sutrakara ityuk tam prak. Nyasa on kasika on II. p. 373 (Rajasahi) 6. Ksiratarangini, Anhang II, Breslau and Zur Einfuhrung 1.7 Sambodhi4.3-4

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42 J. M. Shukla helpful in understanding the importance of Hemacandra's work. Hemacan. dra nanies his work Dhatuparayana not only because the name is in confirmity with the old works viz. Dhatuparayana and Nama parayana suggested by Patanjali, accepted by Bhartphari and mentioned by Vamana-Jayaditya, but also because in the strict sense of the term the work has a system of enumeration ( Parayana) which is better than in other Dhatupatha works. The perfection of order is carried to various sub-classes of roots and to the tenth class He treats the third (Hvadi) as a sub-class of the second (Adadi). He divides his 1980 roots into nine classes (ganas). He employs anubandhas to denote each class of root, except the first class, e.g. 'k' for 'adidi' and 'hvadi', 'c' for 'divadi', 't' for 'svadi', 't' for udadi', 'p' for 'rudhadi', 'y' for 'lanadi', 's' for kryadi and 's' for coradi' class. He denotes the sanit roots by using anusvara. In the bhvadi class he maintains an order of alphabetical arrangement regarding the anit, set and vet roots. Hemacandra's Dhatuparayana is a mine of roots little known to earlier and classical Sanskrit literature. For the student of lingui. sties it is invaluable. Hemacandra's enumeration of roots is accompanied by meanings given to cach root or a cluster of roots. To these he has added his own comm. entary which is called Vivrti. The commentry is greatly indebted to Ksira. tarangint of Ksirasvami so far as general remarks are concerned. This kind of writing method was prevalent with scholarly writers. We have many general remarks common to each other in the commentaries of Ksirasvami, Maitreya, Sayana and others. Hemacandra refers to his own sutras of Siddhahema. sabda-nusasana and discusses particular forms arrived at by bim from roots. In adding these illustrations he has an eye on their use in literature, The earliest edition of Dhatuparayana was published by Joh. Kirste in 1899 at Vienna under the name Haima-Dhatuparayana. He has given this name to the work against the testimony of two Deccan College mss. consulted by him, and where the work is named as Dhatuparayana, Muni Yasovljaya and Muni Municandravijaya have edited Dbatuparayanam Part 1 seventy three years after Kirste's complete edition. The editors have probably accepted as a basis of their edition fourteen printed forms of Dhatufarayana, prepared ealler by Munisri Harsavijayaji. Hence the present work which is called first part ends with commentary on iksi darsane', 10. 882 of the bhavdi class, The editors claim some improvements upon the earlier complete work of Kirste. They have given numbers to the sutras quoted in the commentary. In the footnotes they have occasionally explained the formation of a word bere and there. They have sometimes given references to the remarks quoted by Hemacandra. 7. Athadadyantargano hvadayah, P.162, Haima-dhatuparayana (Kirste)

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3 Dhatuparayanam-A Review Note 43 Some comparisons and parallels with remarks in Madhaviya Dhatuvrtti and Maitreya's Dhatupradipa are offered. The editors should deserve praise for this kind of enthusiastic endevour. The editors claim that they have made use of eight palm-leaf manuscripts obtained form Patan. They do not give details about the manuscripts. The references to the readings found in those manuscripts arc sparingly given. I may be permitted to say that they have allowed themselves to accept considerable help from Kirste's edition. It is likely that they have consulted Deccan college manuscripts. However they do not refer to the readings from them. Kirste has mainly followed the Deccan College manuscripts. 1. Against a combined testimony of the mss. Sam pa 1, Va, Pra; Sam 1, Sam 2, Tapa and Kirste in 'avayavairanyonyam dhavatiti Sarah', the editors read avayavairanyonyam sarati Dhavatili sarah (P. 12, L. 25). Here 'sarati' is unnecessary. 2. The editors read 'sankocitah' iti tu kuca sabde tare' (P. 19 L. 19) against the mss. 'Khe; 'Sam 1; 'Sam 2; 'Pra'; 'Tapa'; and Kirste which read 'sankocak ititu...' (V.L. sankocika ititu...acc. to ms. 'Va'). It seems that Hemacandra might have in mind samkocaka' an agent noun, because already the participle form 'samkocita' has been noted. 3. The editors read 'daci patadbhavati patapatabhavati' (P. 6. 1: 12). Perhaps the reading, 'patadbhavati patadbhavati patapatabhavati' acc. mss. 'Sam 1', 'khe', 'Sampa 1', 'tapa' and Kirste is better. to We congratulate the editors for this publication and await the publication of the remaining portion of the work with useful indexes.

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BHOJA'S SRNGARAPRAKASA (Chapter XXX1-XXXVI) PRAKRIT TEXT RESTORED V. M. Kulkarni (1) These last six chapters of Bhoja's Srigaraprakasa -(SP) quote round about 400 Prakrit verses as illustrations. The total number of Prakrit verses cited by the SP as a whole, exceeds the figure 1800. Of course, a considerable number of these verses are repetitions. Making allowance for these repetitions the fact still remains that among the various works on Sanskrit poetics it is the SP which quotes the largest number of Prakrit verses as examples. . In this paper I propose to present my study of the Prakrit verses occurring in the last six chapters of the SP. With a view to economising space I discuss in the main body of the paper such verses only as are highly corrupt. As regards the rest I refer readers to the sources indicated in the Index given at the end of this paper. A glance at this Index (as well as the earlier obes) would show that it has not been possible for me to restore a very large number of the Prakrit verses, as the text of the Prakrit verses is highly corrupt and as some of the Prakrit sources from where Bhoja has quoted such as Harivijaya, Ravanavijaya,Madhu-mathana, Abdhimathana, Maricavadha, etc. are now lost. (1) Utsaha-viparyayo yatha (Vol IV. p. 1071) dhIreNa NisA-AmA hiaeNa samaM aNidviA uvaesA / ucchAheNa saha bhuA bAheNa samaM galaMti se ullAvA / / (dhairyeNa nizA-yAmAH hRdayena samaM aniSThitAH upadezAH / utsAhena saha bhujau bASpeNa samaM galanti tasya ullApAH // -Setu. V.7 (2) Hetu-viparto yatha (Vol IV. p. 1091) sAhINe vi piaame patte vi chaNe Na maMDio appA / duggaa-pautthavaiaM saajjhiaM saMThavaMtIe / (svAdhIne pi priyatame prApte pi kSaNe na maNDita AtmA / durgata-proSitapatikA prativezinI saMsthApayantyA / ) (3) Sva-patrahara-krto yatha (Vol IV. p. 1098) - jaM jaM pautthapaiA piaama-NAmakkharaM lihai lehe / taM taM tallehaNiANusAra-galio pusai seo //

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Bhoja's Srngaraprakasa (yad yat proSitapatikA priyatama-nAmAkSaraM likhati lekhe / tad tattalekhanikAnusAra-galitaH proJchati(=mArjayati) svedaH // ) This gatha is included in Weber's edition (No. 841). (4) Nediyasi (avadhi-pratiksa) yatha (Vol IV. p. 1099) - gharakajjeNa vi jo callai jattha dhAvai tahiM tahi cea / gharaNIe ohidiahe paddhAvai saMkiaM hiaaN|| (gRhakAryeNApi yaH(1yatra) calati yatra dhAvati tatra tatrava / - gRhiNyA avadhidivase pradhAvati zaMkitaM hRdayam / / ) This gatba is not found to be quoted in any other work on poetics. I have tentatively rewritten it and given its Sanskrit chaya. (5) Manasa-pratyaksena priya-janavalokah susvapna-darsanam...tesu aparyapta-rupo yatha (Vol IV. p. 1103) - siviNaa-khaNa-suttuTThiAe puNaruttadasaNamaNAe / bAlAe NimIlia-loaNAe divaso vi volINo / (svapna-kSaNa-suptotthitAyAH punaruktadarzanamanasaH / bAlAyA nimIlita-locanAyA divaso pi gataH (atikrAntaH) / ) This quotation is highly important in that it helps us to restore one Prakrit passage in the Abhinavabharati (Vol.I, p. 307) which is extremely corrupt, and has baffled the editors, commentators and research scholars all these years. The context in which the Prakrit passage has been quoted by Abhinavagupta supports its identification with the present gatha. There is another Prakrit gatha which opens with the letters "sivina" and could be identified with Abhinavagupta's quotation. The gatha is included by Weber in his edition (No. 835). It runs as follows: siviNaaladdhapiaamapulaiuggamaNibharehi aMgehiM / pariraMbhaNe sahAI pAvau mA NaM paboheha / / (svapnalabdha-priyatama-pulakitodgama-nirbharairaMgaiH / parirambhaNe sukhAni prApnotu mainAM pramodhayata // ) (6) Tatra manorathopagamo yatha (Vol. IV p. 1103) - This gatha, with slight correction, when rewritten agrees with the Gatha-saptasati (II. 37): phurie vAmacchi tue, jai ehii maha pio tA suiraM / mIliadAhiNaNaaNaM tuie aviaNDaM puloissaM // (sphurite vAmAkSi tvayi yadi eSyati mama priyaH tarhi suciram / / mIlitadakSiNanayanaM tvayA vitRSNaM pralokayiSyAmi // ) . (7) Pravasato grhagamanam priyapratyagamah sa dhira-nimitto yatha (Vol. IV p. 1105) -

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46 V. M. Kulkarni maMgalavalaaM jIaM va rakkhi aMjaM pautthavaiAe / sahasatti dasaNUsasiavAhalaiAe taM bhiNaM // (maGgalavalayaM jIvitamiva rakSitaM yat proSitapatikayA / akasmAt darzanocchasitabAhulatikAyAM tadbhinnam / / ) This gatha is cited in the Sarasvatikanthabharana (SK, p. 627) as well. In the second half the SK reads pattapia in place of sahasatti. (8) Madhya-nimitto yalha (Vol. IV p. 1105) - atthakkAgaadiThe bahuA jAmAuammi gurupurao / jarai NivaDatANaM harisavisaTANa valaANaM // (akasmAdAgatadRSTe vadhUkA jAmAtRke gurupurataH / krudhyati nipatajhyo harSavikasakyo valayebhyaH // ) (9) Krtrimo yatha (Vol. IV p. 1114) taha aDaaNAe raNa paimaraNe bAharuddhakaMThIe / aNumaraNasaMkiNo jaha jArassa vi saMkiaM hiaaM / / (tathA asatyA ruditaM patimaraNe bASparuddhakaNThayA / anumaraNazaGkino yathA jArasyApi zaGkitaM hRdayam / / ) __ This gatha is included by Weber in his edition (No. 873). (10) Atma-ninda yatha (Vol. IV p. 1127) - AvAabhaaaraM...didai / (setubandhe) yathAvA tuha tAha erisaM ... hiaaN|| The text of these twe Prakrit verses, as presented here, is not only corrupt but it also has got mixed up. The text should read as follows: AvAabhaaaraM cia Na hoi dukkhassa dAruNaM nivvarNa / jaM mahilAvIhacchaM diTuM sahiaM ca tuha mae avasANaM // (ApAta-bhayaGkaraM eva na bhavati duHkhasya dAruNaM nirvaNam / yat mahilA-bImatsaM dRSTaM sahitaM (soDhaM vA) ca tava mayA avasAnam / / ) Setu. XI.74 sahiA rakkhasa-vasai diTUThaM tuha NAha erisaM avasANaM / ajja vi vaaNijja-haaM dhUmAi ccia Na pajjalai me hiaaM // (soDhA rAkSasa-vasatiH dRSTaM tava nAtha IdRzam avasAnam / adyApi vacanIyahataM dhUmAyate eva na prajvalati me hRdayam // ) A comparison of this original text with the printed text in the SP would reveal the error of the scribe in leaving out t" ca tuha mae avasANaM"the words that immediately follow and copying instead "rakkhasavasaI dihawords which really belong to the next verse but which also follow afger.

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Bhoja's Sragaraprakala (11) (Pratikopo) yatha va kiM rajiaMtI sA me...(Vol. IV p. 1138) The editor informs us that this verse is drawn from the Setubandha. The first half of this verse is very corrupt. It should, following the source, be read as follows: kiM va jIaMtIa tae (tume-pAThAntaram) jai aliaM sahi Na hojja rAhavamaraNaM / aNahe uNa rahuNAhe tuha meM maraNavihuraM kilimmai hiaaM / (kiM vA jIvantyAtvayA sakhi alIkaM yadi na bhavet rAghavamaraNam / anaghe punaH raghunAthe tava me maraNavidhuraM klAmyati hRdayam // ) ___Setu. XI. 117 (12) ...tadupajnam caisa laukikab pravadah, yaduta vaLivaLeLa aMga (Vol. I V p. 1147) - This line is corrupt, but on a closer look it is easy to reconstruct it thus : vallI valei aMga sahAva-paddhe vi rukkhammi / Now this line forms the second half of the following verse from the Gatha saptasati (IV.4) : jaha jaha vAei pio taha taha NaccAmi caMcale pemme / vallI valei aMga sahAvathare vi rukkhammi / / (yathA yathA vAdayati priyaH tathA tathA nRtyAmi caJcale premNi / vallI valayatyaGga svabhAvastabdhe pi vRkSe // ) (13) Pratinayika yatha (Vol. IV. p. 1174) - dUrapaDibaddharAe AliMgaMtammi diNaare avaradisaM / asahaMti vva kilimmai piaamapaccakkhadUsaNaM diNalacchI / / (dUrapratibaddharAge AliGganyamAne dinakare paradizam / / asahamAneva klAmyati priyatamapratyakSadUSaNaM dinalakSmI / ) This Prakrit verse is cited in the SK (p. 453) as an instance of nirudbheda-samadhi. The SK reads avaUhattammi [ ! avaUhaMtarima avagRhamAne (sk)] (14) ...jo kahavi maha sahihim (Vol. IV p. 1175) - The dots at the commencement of the gatha would seem to show that three letters are lost. But, in fact, the gatha hegins with jo kahavi". If at all the three dots might be taken to stand for "yatha va". The gatha under consideration is found in the GS (II. 44). jo kaha vi maha sahIhi chidaM lahiUNa pesio hiae / so mANo coriakAmuavva diThe pie NaTTho / / (yaH kathamapi mama sakhIbhiH chidraM labdhvA preSitaH hRdaye / sa mAnaH caurikakAmuka iya dRSTe priye naSTaH // )

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V. M. Kulkarni The two letters rvina" following the term "sahihim" in the printed text are no part of the gatha and should be dropped. (15) Rtumatinamanuragatisaya-samsinah Cesta-Visesa-vesadayah parihara-vilasalu yatha (Vol. IV p. 1182) - rehai pia-pariraMbhaNa-pasAriaM suraa-maMdira-dAre / helA-hallAvia-thora-thaNaharaM bhualaA-jualaM / / jai Na chivasi pupphavaI purao tA kIsa vArio ThAsi / chikkosi culuculaMtehi pahAviUNa mha hatthehiM / / (rAjate priyaparirambhaNaprasAritaM surata-mandira-dvAre / helA-kampita-sthUla-stanabharaM bhujalatAyugalam // yadi na spRzasi puSpavatI puratastahi kasmAd vAritastiSThasi / spRSTo'si spandamAnAbhyAM pradhAvya mama haratAbhyAm // ) These two gathas are cited in the SK (p. 620) as well. The first gatha illustrates hela, the second, hava. The second gatha is found in the Gathasaptasati (V.81). The wrong readinings in the printed text viz. rehaka, paDiraMbhaNa, maMdaraM, hekA, bhuaAjuabaMjaNAi, mAsi and cikkosi are corrected with the help of the passages in the SK, the GS and Hemacandra's grammar. (16) Candratapo jyotsna yatha (Vol. IV p, 1186)::-- goraMgautaruNIaNo etc. This passage is corrupt but it is restored with the help of the SK (p. 374) where it is cited as an example of the figure of speech called Tadguna. goraMgau taruNiaNo joNhAI ahisarai siaNevacchapaDiccheo vallahabaddharai / tacchAhAhiM puNa caliau sAmalagatto taha maaNu maMti ahiM / / (gaurAgastaruNIjano jyotsnAyAmabhisarati sitanepathyaparicchadaH / tacchAyAsu punazcalitaH zyAmalagAnastatra madano mantryabhUt // ) Minor misreadings apart, the words mAigaMtiahiMtIlauvesuvahaM which, immediately follow sAmalagatto, appear to be altogether out of place. (17) ...Ekameva Kusuma-nirbharam Salmali-vrksamasritya sunimilitakadibhiln khelana(m) krida yatha (Vol. IV p. 1191) jovi Na pucchai tassa vi kahei bhaggAI teNa valaAiM / aiujjuA haAsA ahava pio se varAIe / (yo pi na pRcchati tasyApi kathayati bhagnAni tena valayAni atitrajukA hatAzA athavA priyastasyA varAkyAH // )

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49 Bhoja's Srngaraprakasa The second half of this gatha is somewhat corrupt. It is corrected and rewritten with the help of the Gathasaptasati V. 38, which reads anai (janati, SK) in place of 'pucchai (prcchati, SK) in the first quarter. ....Krtrima-vivabadi-krida nava-patrika, Tatra ca varana-vidhanadau tesam evamvidhab parihasa bhavanti, yatha (Vol. IV, p. 1192) AsaNNakuDuMge juNNadeule bahujuANasaMkiNNe / thero pai tti mA ruasu putti diNNAsi suggAme // (AsannalatAgRhe jIrNadevakule bahuyuvasaMkIrNe / sthaviraH patiriti mA rodihi putri dattAsi sugrAme |) This gatha has been already cited in Vol. III p. 629. (18) ...tesam evamvidhah parihasa bhavanti, yatha(Vol. IV p.1193) tattha vi hoti sahIo puttii (!puttie) mA ruasu jattha diNNAsi / vaMjulaNiuMjalIlA tattha vi girivAhiNI golA // (tatrApi bhavanti sakhyaH putrike mA rodihi yatra dattAsi / / vetasanikuJjalIlA tatrApi girivAhinI godA ||) This gatha is included by Weber in his edition (Saptasataka 885). Weber reads 'puttali' in place of pullie' and 'tattha vi' in place of 'vanjula'. (19) Varsasu kadamba-nipa-haridrumadi (? haridrakadi) kusumaih prahara(na)-bhutair dvidha balam (? dalam) vibhajya kamlnam kridah kadamba-yudhani yatha- dhanno'si re....(Vol. IV p. 1193) ghaNNo si re liddaa haliasuApaNa(1pINa)thaNaharucchaMge / pecchaMtassa vi paiNo jaM tuha kusumAiuNipaDaMni(kusumAi NivaDaMti // ) (dhanyo si he haridraka hliksutaapiinstnbhrotsNge| prekSamANasyApi patyuyaMttava kusumAni nipatanti / ) This gatha is included by Weber in his edition (Saptasataka 863). (20) Etena natyasa (? abhy usa) khadike ksubhaksika ca vyakhyata yatha (Vol. IV p. 1194) - - maaNaggiNA (1vAaggiNA) karo me daDDho tti puNo puNo ccia kahei / haliasuA maliabbhUsadohali(?lI) pAmarajuANo (1juaanne)|| (madanAgninA (1 nirvANAgninA) karo me dagdha iti punaH punareva kathayati / halikasutA mRditAbhyUSadohadinI pAmarayUni // ) . The SK (p 669) quotes this gathu in the same context but with slightly different readings It reads vaaggina for maanaggnina and __maliacchusadohala' for 'maliabhasadohall' . (21) Kridante grhagamanam grha-pratyagamab, yatha (Vol. IV p.1197) kaMThAvalaMbiapio piaamakaMThAvalaMbio gehaM / aNusarai khea-pasiDhilaguruAvaavo piAsattho // (kaNThAvalambitapriyaH priyatamakaNThAvalambito geham / anusarati kheda -prazithila-gurukAvayavo priyAsArthaH // ) Sambodhi 4.3-4 PLLAGr

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V. M. Kulkarni vAlaa dUre gAmo pattalabahulA imA a vaNarAI / mA bacca tuma uziUNa sahimatthavicchUDi aM // (bAlaka dUre grAmaH patrabahulA iyaM ca vanarAjo / mA brajanu mAmujhitvA sakhisArthavikSiptAm / ) sA tui sahatthadiNNaM kaNNe kAUNa borasaMghaDiaM / lajjAluiNI bahuA gharaM gaA gAmaracchAe / (sA tvayA svahastadattaM karNa kRtvA badarasaMghaTitam lajjAvatI vadhU gRhaM gatA grAmarathyayA / / ) The editor has given the Sanskrit chayu of this gathu below the Prakrit text. His Sanskrit chayat corresponds with the first quarter only. He, being inisled by the opening quarter has reproduced the Sanskrit chaya of an altogether different gatha fiom the Gathasapta-satt (II.94) : sA tuha sahatthadiNaM ajja vi re suhaa gaMdharahiaM pi / udhvasiaNaaradharadeva vva omAliaM vahai / It may be noted in this connection that the SK (p. 636) cites quite a different gatha, opening with tlie same words, to illustrate "slaghaya prema-pariksa" sA tai sahatthadiNNaM phaggucchaNakaddamaM thaNucchaMge / parikuviA iva sAhai salAhirI gAmataruNINaM / / (sA tvayA svahastadattaM phalgU-kSaNa-kardamaM stnotsngge| parikupiteva gAdhayati(?kathayati) zlAghanazIlA grAmataruNIbhyaH / ) (22) Sakhyadnam karm ani sahaya-vyaparah, : yatha (Vol. IV p. 1197) ehehi (? e ehi) kiMpi tissA karaNa Nikiva bhaNAmi alamahavA / aviAriakajjAraMbhaAriNI marau Na bhaNissaM // (e ehi kimapi tasyAH kRte niSkRpa bhaNAmi, alamathavA / / avicAritakAryArambhakAriNI mriyatAM na bhaNiSyAmi / / ) This gaiha is cited in the Kavyaprakasa (X) as an illustration of the figure of speech called (vaksyamana-visaya) Aksapa. The Kavyaprakasa text reads "Kie vi kaena' in place of lissa kaena'. Incidently, it may be noted here that the Gathasaptasati (VII-2) reads the first half of this gatba differenily: tA suhaa vilaMba khaNaM bhaNAmi kIa vi kaeNa alamahvA / (tat subhaga vilambasva kSaNaM bhaNAmi kasyA api kRte, alamathavA / ) .. (23) Dvyartha-pada-prayogo yatha (Vol. IV p. 1199) - caMdaNa baliaMdaDDha(daDha)kaMcibaMdhaNaM dIharaM supariNAhaM / hoi ghare sAhINaM musalaM dhaNNANa mahilANaM / / (candana-valitaM dRDhakAJcIbandhanaM dIrgha supariNAham / bhavati gRhe svAdhInaM musalaM dhanyAnAM mahilAnAm ||)

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Bhoja's Sragara prakasa This gatha is found in the vajjalagga (538) where we have a variant reading suparinamam in place of suparinaham. (24) Manasyanusmaranarn mananucintanam yatha (Vol. IV p. 1217) - mharimo(?bharimo) se saaNaparammuhIe~ vialaMtamANapasarAe / kaIavasuttuvvattaNathaNaharappelaNasuhelli // (smarAmastasyAH zayanaparAGmukhyA vigalanmAnaprasarAyAH / kaitavasuptodvartanastanabharapreraNasukhakelim // ) This gatha is found iri the GS (IV. 68) It is also quoted in the SK (p. 639) with the introductory remark: Mananantare striyal Kaitavasmaranena yatha". (25) Mana-bhango mana-pradhvamsah yatha (Vol. [V p. 1217) - aNNoNacchalapesi atulaggamelINadiTThipasarAI / do vi vaNe(? maNNe) taha kaabhaMDaNAi samaaM pahasiAI // (anyonya chala-preSita-kAkatAlIyanyAya-milita-dRSTi-prasaro / dvAvapi manye tathA kRtakalahI samakaM prahasitau / / ) This gatha is found in the GS (VII. 99). (26) Tesu priyagamo ighosanam priyagamana-varta yatha (Vol. IV p. 1219) - aha Agao tti Navaria acAsaNNo vi saccabhAmAe~ harI / pariaNamuha ccia suo bAha-jalaMtaria-loaNAe~ Na diho // (atha Agata iti navaramatyAsanno pi satyabhAmayA hariH / / parijana mukhAt eva zruto bASpa-jalAntarita-locanayA na dRSTaH / / ) Possibly this Prakrit verse is drawn from Sarvasena's Harivijaya, a poem, now lost. (27) Snehatirekah prema-pustih yatha (Vol. IV p. 1222) Nimmahia-kusuma-parimala-hia-hiaAe vi mahuarAvalicaDulA / . paDhama piammi diDhI pacchA tIe~ vi supAavammi NisaNNA / / (nirmathita-kusuma parimala-hRta hRdayAyA api madhukarAvali caTTalA / prathama priye dRSTiH pazcAttasyA api supAdape niSaNNA / / ) Possibly this Prakrit verse is drawn from (Sarvansea's) Harivijaya, a poem now. lost. (28) Rati-prakarsodayalh Srigara-Vrddhih yatha (Vol. IV p. 1224), tIe savisesa-dUmia-savatti-hiaAe Nivvaddhata(?-NivvalaMta)-siNehaiM / pia-garuiAe NimiaM sohAgaNuNANa aggabhUmIeN paraM / / (tayA savizeSa dUna-sapatnIhRdayayA niSpAdyamAna-sneham / priya gurukRtayA nyastaM saubhAgyaguNAnAmagrabhUmyAM padam / / ) This Prakrit verse is cited in the SK (p 678) to illustrate Kathavyapini nayika.

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52 V. M. Kulkarni (29) Visvasopa jano visrambhotpatti]] yatha (Vol. IV p. 1227) - .. paladhaNurapavaANa samarasaNNApaDahe janaataNaA / eNoMaMti aDAe gANurAaphaNiassa phalaM || This Prakrit passage is very corrupt. The presence of the words janaatanaa' and 'tiada' gave me the clue and I could trace the verse in the Setu-bandha (XI. 135). Its text reads as follows : mAAmohammi gae sue a pavaANa samara-saNNAha-rave / jaNaa-taNaAe NAaM (pAThAntara-diTUTha) tiaDA-NehANurAa-bhaNiassa phalaM // (mAyAmohe gate zrute ca plavagAnAM samara-sannAha-rave / janakatanayayA jJAta(pAThAntaraM dRSTa) trijaTAsnehAnurAga-bhaNitasya phalam // ) A glance at the two texts of the Prakrit verse would at once reveal how corrupt the text, as printed in the Srngaraprakasa, is. (30) Pura-stri-sambhramo nagarika-ksobhaly, yatha (Vol. IV p. 1229) saMbhariaM pi Na gaNhai gahiaM pi Na saMThavei aMgammi / Thavi pi aMsuaM Na a dharei rahaseNa juai-jaNo || (saMsmRtamapi na gRhNAti gRhItamapi na saMsthApayati aGge / sthApitamapi aMzukaM na ca dhArayati rabhasena yuvatijanaH ||) This gatha, with slight corrections, is only rewritten and its Sanskrit chaya given. (31) Adyantayo 'rasvadu picumanda-pakam yatha (Vol. IV p. 1241) -- jai deva tuM pasaNNo mA kArihi majjha mANusaM jamma / jai jamma (mA pemma') aha (?jai) pemma' mA jaNe dulahe / / (yadi deva tvaM prasanno mA kArSIH mama mAnuSaM janma / * yadi janma (mA prema) atha (? yadi) prema mA jane durlabhe / / ) This gatha, with slight variation, is included by Weber in his Saptasi taka (No. 844). (32) Anavarata-pakam kapittha-pakam yatha (Voi. IV p. 1241) - sota suhaM Na lagabhaI anco pemmassa +kavisamassa / dugghaDia maMcaassa va khaNe khaNe pAa-paDaNeNa // (svapituM sukhaM na labhyate'ho premNo vakraviSamasya / durghaTita-maJcakasyeva kSaNe kSaNe pAdapatanena / ) This gatha is included by Weber in his edition of Saptasataka (NOR 910).

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" 1065 bhojadevaviracitaH zRMgAraprakAzaH (prakAzAH 31-36) prAkRta padyAnAM mAtRkAvarNakrameNAnukramaNI (yAvacchakyaM mUlasthAnanirdezasahitA) aMdhAra civai cuei ? pR. 1070 ajja mae teNa viNA - pR. 1086 (agyAi chivai cuvai) gAthA 1.29 (gAthA 7.39) (tulanA : sarasvatI pR. 614) aMto huttaM Dajjhai ajja maha imaM ? , 1104 gAthA 4, 73 (tulanA : ajjamhaurma, .pra. (tulanA : sarasvatI pR. 631) pR. 1219) aMdolaNa laMghiabaisihAe pR. 1196 ajja mhauma ? (tulanAH sarasvatI ,, 664) (tulanA : ajja maha ima, aMvo (anvo) dukakaraAraa , 1052 zu. pra. ,, 1104) ajje ulloaNAI ? gAthA 3.73 ,, 1187 aikovaNA vi sAsU aNudiahaM vadaMte ? ,, 1114 ____ gAthA 5.93 aNusolauNNai ( !=aNusoiu) ,, 1133 airA dasihisu(1si ) tuma , 1134 na icchai setu. 11. 92 setu 11. 115 airAe (a) rahutaNao , 1124 aNNapahiammi ete (?eMte) , 1100 setu 11.124 aNNadaiApasaMga "1240 gAthA 1.48 akhaMDie vi viaNae ? 1208 (tulanA : sarasvatI pR. 686) abbu(kkhu.Dai piA hiae ,, 1080 aNNe vi hu hoti chaNA gAthA 1. 44 , 1195 agahiadaiANuNao ? 1216 __ (tulanA : sarasvatI pR. 669) aNNoNNacchalapesia ? aghagi valaMta dhIraM ? , 1217 (=aNNoNNakaDakvaMtarapesia) accakkha(asthakkorUsaNaM , 1215 gAthA 7.99 gAthA 7.75 avo aNuNaasuha kiM (ka) khirIe ,,1239 (tulanA : sarasvatI pR. 624) gAthA 4.6 . accaleNu dhaNuo sahu ? ,, 1093 atthakkANagaadiTUThe ,1219 , 1105 accAsamuddhosiadaiA0 1 (tulanA : gAthA (ve) 822) acchII tA thaissai ,1216 appAhiAi tuha teNa pAhiAI tuha taNa , 1198 gAthA 4.14 ____gAthA (ve) 859 " 1066 ajja gao ti ajja appeI a juvaijaNo gAthA 3.8 amiliasAarasalilA ajja mae gaMtavvaM ,, 1173 setu 11.89 gAthA 3.49 ,1214

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V. M. Kulkarni anmaNAce vi jAhi: pR. 1064 ambaramagai ( ? ahiaMtuNAI) ,, 1065 (tulanA gAthA (ve) 870) aliapamuttaa viNimIsia , 1967 gAthA 1.20 avahia pumvadise , 1174 (nulanAH sarasvatI pR. 675) abaraNahAgaajAmAuarusa , 1105 gAthA 7.83 aparipuDaNAsAsA "1122 1211 " 1127 KG , 1195 AaMbaMtakaolaM. pR. 1211 gAthA 2.92 AabaloaNANaM ,, 1184 __ gAthA 5.73 ANiavalaubheo ? , 1290 ApucchaNovaUNa 3, 1062 (tulanA : gAthA(be) 786 ApR(? u )cchatammi pie ,, 1062 Alihadi piaamA ? Aloia ccia pie Aloie visaNNA , 1110 setu 11.53 - AvAabhaaaraM cia setu 11.74 Aveasamukkhitte ,, 1124 setu 11.71 AsaNNakuDuMge juNNadeule ? ,, 1192 AsaNNammi paviraLa 1185 setu 10.26 AsAsei pariaNaM gAthA 3.83 ALo(lo)ie visaNNA setu 11.53 ia rAmapemmakittaNa setu 11.131 iaro jaNo Na pAvai gAthA 3.11 i(?I)damahaM daTThamaNo ? imA masIkajjala kAla , 1192 uMcaurate uduMguvavasaM 1073 ua jA va sA kilammai 1220 ua NiapAava , 1224 ukkaMThANicchAA ,, 1065 (tulanA : gAthA(be)838) ukahaavarahiaM=kaiavarahia ,, 1049 (gAthA 2.24) uggAmihiaa pammaTTha ? , 1210 avalaMbiamANaparammuhIe ? , 1213 avasara marottuM ( ? rollu) cia ,, 1209 gAthA (ve) 706 (dhvanyAloka pR. 351) avasahAjaNA (tulanA:sarasvatI pR. 664) avasaha pabvaacaraNeNa ? ,1195 anbahAladaiagaiAharo ? , 1206 avahAreu Na ciraM ? " 1208 asamattamaMDaNa cci , 1199 gAthA 1.21 assiasohAisao? " 1220 aha Agao ti... 3. 1219 (harivijaye ?) aha jalaliTimmi( ? Nihimmi) ,, 1069 (setu 5.1). aha tui sahatyadiNNo , 1194 (tulanAH sarasvatI pR. 668) aha diTThavikkamammi , 1058 a / (harivijaye ?) ahi aM samAgamahivi ? " 1200 ahisAraNa Na geNhai (setu. 10, 65) " 1199 aLaaMghaAriamuhI , 1122 setu 11.105 1110 1123 1175 l AhaMsAraNaTThapatthe ?

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Bhoja's Syngaraprakasa 1202 1096 1091 uggAhiaM Na bhaNi ? pR. 1213 (tulanA : gAthA (ve) 772). mahina te ? 1196 kiM rajiaMtI sA( ? kiM pR. 1138 uThesuaasu (? muasu) soaM ,, 1137 / / va jIaMtIa te| setu 11.122. setu 11.117 . . uNha jauNAe jalaM 1055 kiM vagnamAsasie uttariaNeurahAra ? (1=ki ti samAsasiavve) umpekkhAgaiadaiaM 1068 setu 11.94 (tulanA : gAthA(ve)834) kIsa ai me subahuso ? ,, 1207 ea pia pesajjau ? . . kIsa maliAvaissaM ? ea ci putti piaM ? kuDDammi ohivAsararehA ? ,, 1219 ekkapaharuvvAaM hatthaM ? ,, 1214 kulabAliAe pecchaha ettahi uttahe jaMtahi ? .., 1187 (tulanA gAthA (ve) 871 1067 ettahi pukkia.... samIraNa vArai ,, 1092 dazarUpaka 2. 15-16 evialaMtavIraM ? , 1213 vajjAlAga 467) ehehi (? e ehi) kiMpi tissA ,, 1197 kuvalaadala uttasihiM ? , 1185 kuviA a saccabhAmA , 1172 (tulanA : kAvyaprakAza u. 10 . AkSepa udAharaNam ) (tulanA : sarasvatI pR. 647) . harivijaye ! ovijjau chaNadiahe ? , 1067 keNa maNe bhAgamaNoraheNa osiaiNNa (? osuai diNNa0),, 1183 gAthA 2.11 (tulanA : sarasvatI pR. 594) kelIevirause ? , 1216 ostaparua(?) paMkaamuhiM ? . , 1175 ko eso ti palattaM (1 palo8) ,, 1191 ohicadeNa bihurA ? , 1074 . (tulanA : sarasvatI pR. 665) kaMThAvalaMbiapio , 1197 koDi pariThaviANaNa , 1070 kaiyA jAA kaiA Nu , 1193 (setubaMdhe ?) kaDao tammiai ? ..1219 ko maM vaddhAvehai ? kajjalamalalli aMgaThiM ? , 1070 ko muhallaajaNaM gamavesA , kaNNe paDeaM hiae paDiaM 1060 khaNaNiccaLa(=la) NIsAsa , 1122 (tulanA : gAthA(ve)831) setu 11.56 kallaM kira kharahiaoM ,, 1059 khiNNassa ure paiNo , 1169 gAthA 1.46 __gAthA 3.99 kallANijjaisanvA ? ,, 1059 khiNNassa uvei(? Thavei) ure , 1184 kaha mA jhijjau majjho 1175 (tulanA : gAthA 3.99 ) ...... (tulanA : sarasvatI pR. 418 khippai hArogha(tha)NamaMDalAo , 1202 kaha virahapaDikkulAo ? - gAthA 5.29 kAvi vAridakarAlahuDukkA 1192 khujjavaeNa kaha AhatthA , 1184 kAmiNIjaNassa sahasA ? , 1201 . gamiA kalaMbabAA ,, 1070 kiM tassa pAvareNaM . 1170 setu 1. 15 ...... 1174

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56 V. M. Kulkarni gAja (? gajja) maha cia uvari pR. 1071 sarasvatI pR. 664) gAthA 6.66 je pauddha(ttha) paIA pR. 1098 gimhaM gamei kahakahavi ? , 1068 (tulanA : gAthA(ve)841) . gimhe devaggimasimailiAI , 1092 jaMjhAvAotti Nie , 1068 tulanA : gAthA 2.70 gAthA 1.70 (tulanA : sarasvatI . 450-611) (prathamacaraNamAtram) gehaM ti piaamA pia jaMpi aliopaAraM ? ,, 1208 (tulanA : sarasvatI pR. 668) jaM pIaM maMgalavAsaNae ? // 1067 goraMgau taruNIaNo , 1186 (tulanA : gAthA(ve)837) (tulanA : sarasvatI pR. 374) jaM mucchiAe Na suo "1068 gharakajjeNa vi jo calvai ( ? callaI),,1099 (tulanA : sarasvatI pR. 676 1090 (tulanA : zR.pra. 1219) __gAthA (ve)711) gharakajjeNavi jo calai " 1219 jaM vahai pIakhaMDaM ? " 1173 (tulanA zaM. pra. 1099) jai deva tumaM pasaNNo ,, 1241 ghariNIe mahANasakamma , 1173 gAthA (ve)844 gAthA 1. 13 (alaMkAraratnAkara pR.) gharaNIdhaNasthagapellaNa (jai)Na cchivasi pupphavaI , 1982 gAthA 3.61 (tulanA : sarasvatI pR. 620) gharasAmiassa baccia 116491174 jaNiaharisANatakkhahiaA ? , 1200 ghettUNa pupphamuTiM , 1194 jaha jaha vaDhaMti thaNA , 1173 gAthA 4.12 gAthA 3.92 gholai tahiM tahiM cia " 1202 jaha jaha se pariubvai (? pariubai),, 1209 caMdaNavali daDDhakAMca " (tulanA : sarasvatI pR. 633) (tulanA : vajjAlaga 538) jaha diaha virAmo NavasirI ,, 1064 caMdAavammi jAai " 1186 (tulanA : gAthA(ve) 839) caMdo vi sa saasahoara ? " 1086 jAa sahattha vakkivA ? , 1070 calaNAhaassa paiNo 1 1214 jAe paraloagae calaNovA( ? A)saNisaNNassa ,, 1217 setu 11. 80 gAthA 2.8 jANai seha ( 1 siNeha) bhaNiaM ,, 1137 cirajIvataNa ( ? cirajIvattaNa) " 1072 setu 11.119 (tulanA : gAthA (ve) 847) jAva a Na dehi(?i) ohiM , 1063 cuMbasu sahassahuttaM ? "1169 jAhiM tuma saccaviA ,, 1195 cue caDeviNukkakoLaiiM . 1217 jeNa Thiavialiadhavalavalaa ? ,, 1103 chaNapaDibaAe pade ? " 1065 jo kaha vi maha sahIhiM , 1175 gapaDivaAye pahede ? , 1065 gAthA 2.44 chaNapiTThaghU(sa)ratthaNi , 1196 / joNhArasacuNNaiaM ? "1186 (tulanA : gAthA(ve)826 jo vi Na puccha i tassa vi , 1191 , 1120

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, 1120 , 1221 "1992 Bhoja's Sragaraprakasa 57 gAthA 5.38 (tulanA : sarasvatI pR. 684) ThANe ThANe valiA pR. 1173 taM daiAhiNNANaM pR. 1085 (tulanA : gAthA(ve)876) setu 1.42 NaipUrasaccahe( ? sacchahe) , 1217 takkhaNajaNiapahassi (?paharisa),, 1209 gAthA 1.45 tattha vi hoMti sahIo , 1193 Na kaho(kao) vAhavimokkho ,1120 (tulanA : gAthA(ve)885) setu 11.55 tassAhI ? Na cchivasi pupphavaI= ,,1172 taha aDaaNAe ruNaM 1114 jaiNacchivasipupphavaI tulanA : gAthA (ve) 873 (tulanA : sarasvatI pR 920) taha taMsi gaA moha Navara maeNa a... ? ,, 1183 __ setu 11.96 Navaria karAvalaMvaNa ? , 1210 taha Nimia cciadiThI , 1122 Navaria pasAriaMgI setu 11.64 setu 11.67 taha sohai dIAgama ? NavalaapaharaM aMge taha sA jANaI jAyaloe , 1169 (tulanA : sarasvatI pR. 667) __ (tulanA : sarasvatI pR. 688) NavalaapaharatuTUThAe taM ka 1192 tA kiM karedu ujai (? jai taM) ,, 1198 (tulanA : sarasvatI pR. 623) gAthA 3.21 . (gAthA (ve)862). tA kuNaha kAlaharaNaM , 1193 Na vi taha gharammi daddhe / 1067 (tulanA : sarasvatI pR. 668) NAvevio guruaNo tAmarasakomaLAo ? , 1201 zAkuntala 5.16 tAva a tamAlakasaNa NiaiadasaNukkhitta 174 setu 10.25 (tulanA : gAthA(ve)957, tAva AraaNivahUe , 1187 __ sarasvatI pR. 683) tAva suleaadharAhara , 1186 jiMdaNikasuei ? ,, 1075 tihuaNamUlAhAraM. - 1137 NimmariasaMghiammA tAvaa 1 , 1212 .setu 11.88 NimmaviamaMDaNANa vi , 1198 tIe aNurAapasaria ? , 1209 Nivasasi dukkasahAA ? 1200 tIe Na[va]pallaveNa , 1124 NIsesapasuttajaNammi addharattammi ? ,, 1183 - setu 11.107 NIhasavevirasiMha ? tIe vialaMtadhIraM ? ,, 1210 NeurakoDivalaggaM cihuraM , 1206 tIe savisesadUmia. . 1224 - gAthA 2.88 harivijaye? NevacchadiNNahiao ___ (tulanA : sarasvatI pR. 678) taM avalavasu (1 avalaMbasu) dhIraM ,, 1136 / tIe hiaANuciMtia 1 , 1209 setu 11.129 tu si mae cUaMkuradiNNo ... ", 1196 taM kira khaNA virajjasi , 1166 (tulanA : zAkuntala 6.2) / Sambodhi 4.3-4 934 " 1185 1068

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V. M. Kulkarni ,, 1222 , 1124 1072 tuhtAha erisaM ? pR. 1127 (tulanA : sarasvatI pR. 727) (sahiA rakkhasavasai) dai assa gimmavammaha ? pR. 1184 setu 11. 102 daTTUNa uNNamaMte mehe , 1084 tuhacchAmo aridUmoM ? , 1222 tulanA : gAthA 6.38 tuha suMdari gharakuDDa ? daTUNa ciraM rottUNa NibbharaM ? ,, 1133 / / te a gaLi(hi)ovaesA darattamapattaleho ? ,, 1198 setu 11.98 dAradvavia (? Dhavia) ? ,, 1221 teNa isa(? ira) NavalaAe ,,1192 diarassa sarasamaura , 1194 gAthA 1.28 (tulanA : sarasvatI pR. 669) (tulanA : sarasvatI pR. 636) diareNa piAthaNae ,, 1194 te pucci(?cchi)ja hiMvattau ? ,, 1094 diaro vahuttiAe ,, 1194 to aDiapeLa... diDhamaNNudUmiAe ,, 1206 to puDiaveNIba ghaNa , 1125 gAthA 1.74 setu 11.106 diNNataNUaM jaNAI ? , 1198 to ia suraarukAraNa ? ,, 1209 dIpAavapiMjariA , 1186 (haravijaye 1) dIhuNNA gosAsA to jaNNiuM (thapiu) pattA , 1123 (tulanA gAthA(ve)843) setu 11.100 dubai saNeNa IsAlueNa ,, 935 to tI(ta)daTUNa puNo ,, 1132 dUi tumaM via( ? cia)NiuNA ,, 1200 setu 11.111 gAthA 2.81 to mucchiuTriTaAe dUragaammi NiattaladUra , 1210 setu 11.65 dUrapaDibaddharAe ,,1174 to vilavia NiccAmA 1134 (tulanA : sarasvatI pR. 453) (1 NitthAma) dUraviaMbhiapasaro 1221 setu 11.86 dUsahakaAvarAhaM ? ,, 1210 to se rumaMta cchia hiaa ? ,, 1209 / deI puloI apari ? ,, 1100 toseviammirasiA ? , 1223 / / desavisamaNAmitta ,, 1182 thapapariNAhe tthaie dhaui(? ghaDai) gAaNammi ,, 1185 setu 11.58 dhaNNo si , 1193 thaNavaTu ccia kalaMcareNu . ,, 1193 dhArehatthakaravattAi ? , 1100 tho pi Na NIsarai , 1144 dhIreNa samaM cA(jA)mA , 1071 gAthA 1.49 setu 5.7 thoArUda mahumA , 1215 / , 1075 . (tu unA ! sarasvatI pR. 670) ni(?Ni) mahia kumumaparimala , 1222 thoghosaraMtaroMsa , 1211 paipuri] bho ccia rahaseNa , 11 (harivijaye ?) gAthA(ve)872 ,, 1125 niMdagika suei. 1

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"1069 " 1092 . 1221 Bhoja's Srigara prakasa 59 paccUsAgaa jitadeha pR. 1168 pijjai pi pi muha pR. 1186 gAthA 7.53 pupphavai ami vALaa ? " 1164 (tulanA : sarasvatI pR. 689) =puSphabaI amhi bAla pajjattayi mAsu ? gAthA (ve) 950 =pajjattaviyAsubvella pulai siddhathauhAmuggama "1221 lIlAvai 80 pulaubveupasAhaI pattiaNmeha caMdaM ? (tulanA : ga. pra. pR. 1223) paDiAahaddhasiDhilia ,, 1120 pulaunbheuvasAhakadara , 1223 setu 11.54 tulanA : zU pra. pR. 1105 paDhamaM viTUTumaaMpo ? ,, 1186 puliIabhaNujjuacche ? , 1106 paDhamapahA.... ? ,,1200 puhavIe hohiI paI , 1126 paNaaM paDa(1 Dha)mapiAe , 1171 setu 11.77 tulanA : sarasvatI pR. 686 pUratu paNaabhaMgegaA ? , 1052 paNaa paripUraNeNa ? ,, 1047 poDhamahikA(? lA)Na je suTaThu , 1198 (tulanA : sarasvatI pR. 338,635) pammuTThapANiAe 1068 paMgu (?phaggu)cchaNaNihosa , 1195 pariaDDhiAi doNNi vi ? ,, 1067 (tulanA : sarasvatI pR. 636. pariuMbaNeNa aho ,, 1198 gAthA 4.69) parideviDaM pauttaNiaa ,, 1123 phuriaM (? phurie) vAmacchi tue ,, 1103 setu 11.73 gAthA 2.37 palaghaNurapavaANa , 1227 baMdhuriaduddhavihaaMda? ,, 1982 (tulanA : mAAmohammi gae bahalammi vi tamaNivahe ? , 1174 setu 11.135) bAlaa dUre gAmo ? pasia saaNakkavAse ? , 1182 bAhajalalollia loaNa? 1106 paliaMti pahia tuha bhava ? ,, 1098 bAhohapuriaMgaDAhArAe pahuttae vihaDia saha valaa ? ,, 1222 tulanA : gAthA 6.18 pAapaDaNANamuddhe , 1167 bhammai piAe daio , 1193 =pAapaDaNANamuddhe bhiNNatamaduddiNAI ,1186 gAthA 5.65 setu 10.44 pAapaDio Na gaNio " 1216 bhUmiNimiaMkacaLaNaM -,, 1188 gAthA 5.32 maMgalavalaaM jIaM va 1105 piavaM thuNi aNatihiMgori ? , 1101 (tulanA : sarasvanI pR. 627) piasamharaNa ( ? saMbharaNa) maaNaggiNA ko me , 1194 paloTata (tulanA : sarasvatI pR. 669 gAthA 3.22 (vAaggiNA karo meM) pie sahasattipahattitahe ? ,, 1105 maaraddhaa sAmaNumaNahi ? , 1093 1197 " 1211 ,, 1069

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60 V. M. Kulkarni ___" 1214 , 1071 1134 " 1126 magAapaladdhavala aM? pR. 1091 majjhaNNa(graha)pavyiassa vi gAthA 4.99 maTapuMbhAmi paI jANitA ? maNNe daDDa daDDhe ? mharimo(bharimo) se , 1169 maaNaparammuhIe 1217 gAthA 4.68 mA gaNaiMdahoaM ? 1080 majjhimarehAgaa ? // 1182 mArgasiNIe ahiNava ? 1, 1210 mAruamoDiaviDavaM setu 11.90 mA ruamu pusamu bAhaM setu 11.9.1 miliaNisAarapurao setu 11.97 mudheva (? muheva) veviraMgulI , 1214 muhayijjhaviaparDavaM ( ? paIvaM) ,, 1167 gAthA 4.33 molUNa a rahuNAha setu 11.123 raiaMpi taNa (? tA Na) , 1196 (tulanA : sarasvatI pR. 666) raNaraNa arajjadobbala ? , 1067 raNgammi taNa raNammi pANi , 1236 gAthA 3.87 rAINa bhaNai loo , 1073 (tulanA : gAthA (ve) 845) | rAyaviraddhaM va kaha 1070 gAthA 4.96 ruai ruaMtIe , 1054 __ gAthA (ve) 848 rehaka(1 i) pia(? piA) , 1182 (tulanA : sarasvatI pR. 620) roavaNavaLa araLAM=loaNavaiaralaggaM pR. 1125 setu 11.99 labhapusiAdharAmo llaMbIo ( ? lubIo)-aMgaNa,, 1093 gAthA 4.22 alaMkAraratnAkara (udAharaNa 438) lakkhijjaMtavisAA setu 11.110 luliyA gahavaighUA (tulamA : sarasvatI pR. 664) vaLivaLeLaaMga (=vallI valeI aMga) gAthA 4.4 dvitIyArddham ) vasaTThiammisohA ? "1221 vAasa uddAvahaMti ? ,, 1222 vA ahivatito duHkharhi ? ,,1073 vADei vidiaM gammijja vAlivahadihrasAra setu 11.126 vAhajalolliM aloaNa ? ,, 1106 vialiavioaviaNaM , 1122 setu 11.57 viasatteNa muNijjaI ? vikkiNai mAhamAsammi ,1174 gAthA 3.38 tulanA : sarasvatI pR 575 vicchiDijaI vIra ? ,, 1200 vijjhAvei paIvaM , 1066 (tulanA gAthA (ve) 836) vidda ( ?du)mavalaaddhaNihAra ? ,, 1186 virahammi tujjha ghariaM , 1126 vosaMtassa vilAsiNi hiaaM ? ,, 1202 vesa i (? vevai) sasii kila(? li)mmaI setu 10.59 saMjIvaNosahiM via pR. 1084 gAthA 4.36 sabhari piNa gaNhai ., 1229 saayaNe citAmiliaM ,, 1068 "1174

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Bhoja's Syngaraprakasa ( 1 saaNe ciMtAmaIaM) gAthA 2.33 sa alA NisAara uri(1 rI) , 1136 setu 11.120 sakaaragahavali uttA " 1213 gAthA 6.50 saccaM cia kaTThamao , 1194 (tulanA : sarasvatI pR. 668) saccaM jANaI va daTuM , 1197 gAthA 1.12 (tulanA : sarasvatI pR. 646) sa0 caMda (? sacchaMda) ramaNadasaNa ,, 1169 gAthA (ve) 890 (tulanA : sarasvatI pR. 689) samapaM thapasthiassa vi , 1079 gAthA (ve) 832 samasokkhadukkhasaMvaDhiyANa ,, 1113 gAthA 2.42 sa0vaMga (savvaMga)NisaNNAe setu 11.68 savvaMgattA kaMcuammi , 1202 sahasA pattammi pie ,, 1220 sahasA mA sAhippau(? sAhijjau) ,, 1090 / tulanA : sarasvatI pR. 591 sahi mANakkhalaNaM , 1212 sahiammi rAmavirahe , 1132 setu 11.112 puaIa vihasi sahiAhi bhaNNamANA gAthA 2.45 (sarasvatI pR. 684) sahiAhipiavisajjia pR.1193 (tulanA : sarasvatI pR. 667) sahio tujjha vioo , 1128 setu 11.79 sahi sAhasu sambhAveNa , 1052 gAthA 5.53 sahi dUti kalaMbAI gAthA 2.77 sA kusumehiM guru ? , 1211 sA tuI sahatyadi gAthA 2.94 (prathamapAdamAtram ) tulanA sarasvatI pR. 636 somaNNasuMdarINa gauDavo 891 sAloe ccia sUre gAthA 2.30 . sAhINe vi piaame gAthA 1.39 (sarasvatI pR. 647) sijjujjai uvaAroM ? ,, 1186 siviNaakhaNasuttuTTiAe , 1103 (tulanA : gAthA (ve) 835 abhinavabhAratI pR. 307 sihivehuNAtaaMsA (tulanA : gAthA 2,73) sIAvioadukkha setu 12.22 "1071 suhAe hiaaguNioM , 1195 suraasuhalAlasA hai ? ,, 1200 suhaujjaaM (1 uccha) jaNaM ,, 1200 gAthA 1.50 sarasvatI pR. 474 seollasavvaMgI pR. 1200 gAthA 5.40 (sarasvatI pR. 637) sevANakkamaNa...kAmiNIsattho , 1230 so uddeso vihiNA Na Nimmio ? ,, 1071 sotuM (? sottu) suhaM Na laMbhai , 1241 tulanA gAthA(ve) 910 1, 1125 "1183

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V. M. Kulkarni sohai vimasihAya ? haMdI kaSNulalegA ,, 1197 (tulanA : sarasvatI pR. 635) / hathe mahAmAMmabalIdharAo , 1192 hadveNa( ? hattheNa) ogari ,, 064 setu 11.48 harisaviasaMtavaNaM harihii piassa NavacUapallavo ,, 1091 gAthA 2.43 hA~saAi samALasakomaLAI pR. 1170 tulanA : sarasvatI pR. 683) haLapaLagaNa pamAhiANaM , 1168 (halTaphalahANapasAhiANaM) gAthA 1.79 hiai khuDakai goDDI ,, 1069 tulanA : hema prA. vyA. 4.395 vRttau) huM huM de bhaNasu puNo (tulanA : sarasvatI pR. 638) hota pahiamsa z2AA , 1060 gAthA 1.47 hotapiavirahadUsaha , 1059 .. iuga NibharohiaMgehi ? , 1090 ....catiappaNaccisa 1 , 1213 .... jA... taM ? ,, 1067 ...titidhi virahiNI , 1093

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ABOUT A FORGOTTEN GRAMMARIAN DHANAPALA Smt. Neelanjana S, Shah 0.0. It is a fact well-established since very ancient times but now almost forgotten that a study of the Dhatupathas formed an essential part in the process of mastering Sanskrit language and literature through that of a traditional system of Sanskrit granunar. The very basis of the Paninian School of Grammar was to explain the language by a progressive ana. lysis of words into stems and terminations, and ultimately the Yaskjan doctrine of the verbal origin of all words was implicitly accepted by the Pani. nians. Thus Dhatujathas formed the very hackbone of the language-study. It is, therefore, not surprising that numerous classical authors on Sanskrit Grammar commented on, and often condensed, the Dhatupathas in the light of semantic changes the language underwent. The condensation was often effccted as short-cut to the attainment of mastery by comparison and contrast as in ihe case of Daiva and various Dhatukavyas. Profound scho. larship in the field was the prime condition for those who attempted to write on the Dhatupathas. 0.1. Among the medieval authors on this aspect of the Sanskrit Grammar, Dhanapala is one of the few who have been simply ignored by the historians of Sanskrit Grammar. His name has hardly been mentioned in the so-far-written histories of Sanskrit Grammar, But no one interested in the history of the developments in Sanskrit Grammatical traditions, particularly pertaining to the Sanskrit Dbatupathias, can afford to ignore him in view of the fact that his opinion has been quoted not less than thirty times as that of an authority in two of the most notable treatises on the Dhatupathas. 0.2. It is not certain whether this Dhanapala was a follower of the Paninian or some other school of Sanskrit Grammar. But the editors of the Madhaviya Dharuvstti have been identifying him as Sakalayana Vyakhyakara, Any bow from his opinions cited in Purusakara, the commentary on Daiva, and in Madhaviya Dhatuvstti, it is clear that he agrees more with the views of Sakatayana than with those of others. 0.3. When and where Dhanapala lived, nobody knows. But one thing is certain about his date that his lower limit cannot he lovered than the date of the author of the Purusakara, the commentary on Daiva (13th Century A. D)', who quotes him; and his upper limit is not higher than the 1. Pandit Yudhisthira Mimamsaka, Intro. Daiva, p. 6.

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Smt. Neelanjana S. Shah date of Ksira wami (1050 A. D.), the author of Ksiratarangini, a commentary on the Dhalupatha. Ksiraswami quotes the opinions of others, but not even once has he quoted Dhanapala. Therefore, Dhanapala's date might have been somewhere between eleventh and thirteenth century, It is proposed in this article to resurrect the opinions of Dhanapala on the strength of the citations from his work, quoted by later authors. The present collected and classified data on Dhanapala's views regarding some of the controversial points about a few Sanskrit roots might serve as a source material for further research on allied material and incidentally, it might help to reinstate Dhanapala in his proper place in the history of Sanskrit Grammar. Further, it is also possible that our Dhanapala might turn out to be identical with the one referred to by Hemacandra in the introductory verse of his Brhad-Vrtti on his own Abhidhana-cintamani.3 1.1. Krsna Lilasuka, the author of the Purusakara, quotes Dhadapala forty-seven times citing his opinion either about the meaning or about anubandhas of as many as sixty-one roots. Sayanacarya, the author of the Ma. Dha. Vr. quotes him thirty times in connection with the discussion of forty-five roots. 1.2. Dhanapala has discussed various aspects of the following 'roots :Gana 1 --Ati-adi, am, i-i, ita-kita-kati, uth-ruth lutb, rj, kuth, ghusir, cak, din, taks, dr, dhvan, macun (or maci), mut, yabh-jabh, yam, lad, varh-valh (denoting 'pradbanya'), barh-balh (denoting' 'paribhasana' etc), vanu, siks, suth, sam, subh, huds-hudr-hodr; Gana 11-- Pici (or prci), Gana-111-Vislr, Gana-11-sah, sub, Gana-VI-lis', kun, sadir, Gona-VII-Vrji, Gana-IX-dl, 1 Gana- krp, cal-sphut-ghat, chtdi (or cbrda), tanu, pat-etc, pis, bhu, yam, vid, vaj, (and vraj), sniba, (or sniha) and svad.4 1. 3. It may be noted that Dhanapala agrees with sakatayana in the case of following roots. 2. Shri S. K. Belvalkar, Systems of Sanskrit Grammar, P. 52. 3. Cf. Hemacandra's Abhidhana-cintamani and the introductory Verse of his BIhadvstti thereof:- ocefagarza: 1 4. Sayana has not quoted Dhanapala's views about following roots in his Ma. Dha. Vr;-am, ati-adi, taks, dhvan, yam (Gana I), vanu, sam, lis, vrji, dr. (Gana IX), tanu. pat...etc, pad, pis and yam (Gana X).

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About a Forgotten Grammarian Dhanapala 05 i-I, rj, din, taks, dhvan, macun, yabh-jabb, lad, vaj, varb-valh (denoting pradhanya), varh-valh (denoting paribbasana etc), sam, subh, | hudy-hudy-body, sah-suh, kun, vpjt, dr, kep, tang, pis, bhu, vid, snis, and svad. 1.4. Another point of interest is that Dhanapala differs from Panini considerably. His difference from Pa. Dhatupatha is with regards to the meaning of the following roots:Gana-Imri, ghusir, subh, Gana-VIII-Vrji, Gana-IX-dr, Gana-X tapu, pat...etc, pad, pis, vid, vaj and svad. He notices the forms of the following roots different from those given by Panini: maci (macun), muta (pudi or pudu), barh-balh in the meaning of pradhanya (varh-valh), sikl (sikr) sniha (sniha)'.5 Panini does not read lis' alpibhave,' in tudadi class, while Dhanapala thinks that it should be read there alongwith lis' gatau'. Panini reads 'sah' and 'suh both in the meaning of cakyartha' (or sakyartha'), but Dhanapala omits 'sah' and retains only suh' in this sense He discards chodr' in the sense of 'gati' as read in Dhatupatha. He adda jabb' along with 'yabh' in the sense of smaithu a'..., 1.5. Dhanapala agrees with Maitreyaraksita, the author of Dhatupradupa in the case of following roots : Ghusir, din, taks, dhvan, yam (bhvadi), lad, varb-valh, sam, cao sphut-ghat, and pat...etc. 1.6. Dhadapala agrees with Ksirasvami so far as the following roots are concerned ita-kita-kati, uth, rj, ghusir, ds, dhavan, sam, sah-guh, pat etc. and svad. 1.7, Dhanapala and Ma. Dba. Vr. agree as rogards the following roots Ita - kila - kati, din, dhyan, yam (bhvadi), lad, s'am, sah - sub and sadlr. 1.8. Dhanapala agrees with Hemacandra in the case of following roots : rj, macun, mut, yabh - jabh, lad, varh-valh (denoting 'pradbanya'), kun, cat - sphut - ghat, pat-etc. and pis. 1.9. Dhanapala agrees with Durga or Daurgas in the case of following roots : taks, yabh, jabb, subh, prci, vrji and vaj. 1.10. From this comparison it is evident that Dhanapala has deeply studied $. The forms given in the brackets indicate those noticed by Dhanapala,

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66 Smt. Neelanjana S. Shah various traditions about Dbatupathas. It is noteworty that he never follows any of them blindly. He rather seems to be guided by the prevalent usage of his age, which fact might also have contributed to his difference of opinion from his predecessors and successors. 2.1. First of all let us discuss Ganawise the roots in the case of which he gives his opinion as regards their meaning, since more than half of the quotations are concerned with the meanings of the roots. 2.2.1 Gana I : am--Pa. Dhatupatha reads 'ama gatyadisu'. The commentators differ as regards the exact meaning of 'gatyadisu'. Maitreyaraksita, Ksiraswam ir and Sayana takes 'adi' in this sutra as suggesting the inclusion of senses 'bhakti' and 'sabda,' along with 'gati'. Dhanapala' cites the opinion of others, according to whom 'gatyadisu' indicates all nineteen meanings mentioned as the meanings of av'. 2.2.2 : Uth-ruth-luth-Dhanapala's views as cited by the author of Purusakara and Ma, Dha. Vl, in the case of these roots are contradictory. 10 According to the citations quoted in Purusakara, Dhanapala would seem to have accepted only 'uib' as meaning "upaghata'.-Ksirasvami is of the same opinion. According to the citations quoted in Ma.Dba. Vr., Dhanapala would seem to have accepted only 'ruth' and 'luth' as meaning "upagbata'. Pa. Dhatupatha, "Sakatayana Dhatupatha and Haima Dhatuparayana give all the three roots as meaning "upaghata'. Now which of the two contradictory views really belongs to Dhanapala ? It would, therefore be safe to conclude that the author of Purusakara seems to have misread Dhanapala, who seems to have accepted 'ruth' and luth' only as meaning 'upaghata,' In view of his trend throughout the quotations, it is easily noticed that his opinion generally tallys with the opinion of Durga and his followers whenever the root is common. Ksra. svaemi has noted that the followers of Durga take only 'ruth' and 'luth' in the meaning of 'upaghata, 22.3 Ri-Pa, Dhatupatha, Purusakara. 11 and Ma. Dha. Vp12 give the meaning 'gatisthanarjanorparjanesu' for this root. Dhanapala18 substitutes 6. Dhatupradipa, p. 38. 7. Ksiratarangini (abridged as Ksirat.), p. 71. 8. Mudhaviya Dhatuvytti (abridged as Ma. Dha. Vy.) p. 15. 9. Purusakara, p. 92 : -37a Tewalticu 27 lg'ayfa 48917: 1 10. Ibid, p. 62 :- 3 9 49135: ; Ma, Dla. Vr., p. 115 992219 ityeva petthtuH| 11, p. 53. 12. p. 87. 13. Purusakara, p. 53 : :- feefa trata*272 : 1 . gaya

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About a Forgotten Grammarian Dhana pala 'urjana' in place of, 'uparjapa' Sakalayana and Ksirasvami notice the same meaning. 2.2.4. Kuth-Dhanapala restricts meaning of this root to 'pratigbata' rather than 'gati' and 'pratighata' as given by Sakatayana, Ksirasvami and Malte reyaraksita. Pa. Dhatupatha gives only 'pratighata' as the meaning of this root, Some Madhava seems to have accepted this restriction of Dhanapala, as Vasudeval4 notes while illustrating and discussing this root, 2.2.5. $uth-Accoring to Dhanapala15, suth also denotes only pratighata and not 'gati'. 2.2.6. Ghusir-Pa. Dhatupatha, Ma.Dha.Vr.10 and Dasapadyunadi vitti,17 assign the meaning "avisabdane to this root while Dhanapala 18 thinks that this root denotes sabdartha'. Ksirasvami19 and Bhagavrttikara20 assign the same meaning to this root. Sakatayana, Durga21 and Hemacandra22 state (sabda' as the meaning of this root. 2.2.7. Cak-Pa, Dbatupatha reads "cak' twice in Gana I. First it occurs in the Sokadi sub-class where it is given as 'caka trptau pratighate ca' and it is declared Atmanepadi. Again it occurs in Ghaladi sub-class where it means only trpti' and is Parasmaipadi. Dhanapala assigns the meaning "trpti' to 'cak' read in Sokadi group and allots the meaning 'trpti and pratighata' to Ghatadi "cak'. In the case of this root he again differs from Pa, Dhatupatha in that he declares Ghatadi 'cak' to be Atmanepadi, while all other Dbatupathas and commentators read it Parasmaipadj. 2.2.8. Din-Pa. Dhatupatha furnishes 'vibayasa gatau', as its meaning. Dhan apala virtually accepts the same viz Akasagamana. Ksiraswami28. Purusakara 24 and Hemacandra25 on the other hand furnish the meaning 'vihaya sam gatau'. Dhanapala26 rejects this meaning. He seems to bave found in used in the sense of flying to the sky (in the case of human or celestia. 14, p. 141 : 370 gfaqlara yalat Fina: 1 15. Puru sakara, p. 63 :- gfagaratga yaq: 16. p. 169. 17. p. 93. 18. Purusakara, p. 102. :- Taare fa a railwara Mife #ITT: 1 19. Ksirat., p. 92. 20. Bhagavytti Sankalanam, p. 36. 21, Puru sakara, p. 102 :- rom fat " i g tot sla 271921471 22. Haimadhatu parayana, p. 61. 23. p. 149. 24. p. 26. 25. p. 71. 26. Ma, Dha. V r., p. 269:- althafa 45 TL 774aarestui ar TALI

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Smt. Neelanjana S. Shah beings). Sakalayana 27 Maitreyaraksita28 and Sayana29 agree with Dhaga. pala, In the case of assigning the meaning to this root, Dhanapala seems to have followed the worthy tradition of Candra School of Sanskrit Grammar. 229. Taks-All authors and commentators of various Dhatupathas agree in giving 'vacana' as meaning of this root. There is dispute regarding the meaning of 'tvacana', whether to explain it as 'tvaggrahana' or 'amvarana' Out of these two, Dhanapala prefers the latter, perhaps, because Durga80 favours it. The author of Purusakara31 also seems to be in favour of this meaning, His arguments run thus :- 'samvarana', as the meaning of 'tvacana' is antaranga, because Pa. Dhatupatha has stated 'vaca samvarane,' The other meaning 'tvaggrahanarupa' 'is krdvettisiddha' and therefore bahiranga' as it is derived on the basis of Ast 3-1-25. 2.2.20 subh- Pa. Dhatupatha furnishes the meaning 'bhasane bimsayami. tyanye' for this root. Dhanapala32 alongwith Durga replaces 'bhasane' instead of bbasane.' As has been pointed out by Dr. Pulsule.33 bhasane' seems to be the correct reading and due to the confusion of sibilants, bhazane' was adopted by Ksirasvami, Hemacaadra and others. 2.31. Gana VI : Sadir- This root is read both in Ganas I and VI, Dhanapala 84 agrees with Pa. Dhalupatha in noticing this root with the meanings 'visaran agatyavasadapesu' in both Ganas. Sakatayana36 and Hemacandra88 take tudadi 'sadir' to mean "avasadana' only. While Maitreyaraksita87 attests the mean. ing 'visarana' to this root. 23:2. Gana VII : Veji - Dhanapala and sakatayana38 are the only Grammarians who furnish the meaning 'varana' for this root insted of 'varjana'. Ksirasvami, Maitreyaraksita and Sayana read 'vrji varjane'. 27. Dhatusutra, no, 174. 28. Dhatupradipa, p. 70, 29. Ma. Dha. Vr., p. 269 :- 31 faize Tati 30. Ksfrat, p. 93 :- raufhla zni: 31. p. 107. 32. Ibid, p. 90 :- 34a sta z got: 1... 9797771277777 Tur gft: 33. The Sanskrit Dhatupathas. p. 133. 34. Purusakara, p. 76 :- gateladana 29915: 1 35. Dhatusutra, no. 890. 36. Haimadhatuparayana, b, 116. 37. Dhatupradipa, p. 116. 38. Purusakar:g, P, 50 :- 22 Featur. sfa waqtarifZITATI

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Aboui a Forgotten Grammarian Dhanapala . 69 2.4.1. Gana IX : Dr.-In the case of this root also, Dhanapala and Sakatayana 30 differ from all other grammarians, as they assign the meaning bhaya' to this root instead of "vidarana,' Hemacandra 40 while stating drs' vidarane' notes bhaye' ityanye'. Dasapadyunadivstti41 reads dp bhaye (kryadi).' 2.5.1. Gana X: Krp-Pa, Dhatupatha gives the sutras 'bhuvo avakalkane' and 'krpesca.' The question regarding the exact meaning of 'kip' has puzzled the grammarians. Dhanapala42 wbile trying to elucidate it states 'krpestadarthye' and supplies 'avakalpayati' as the illustration. The author of Purusakara 43 explains it as follows:- here according to Dhanapala <Page #283
10 Smt. Neelanjana S. Shah Sutra, because the first portion of the sentence is nissing. Dhanapala and Sakatayana read 'tanu sraddhopahirisayam,' while 'tanu sraddhopakaranayoh' is found in Pa. Dbatupatha, Dhatupradipa, Purusakara and Ma. Dha. Vr. While assigning the meaning to this root, Dhanapala seems to have been influenced by Candra tradition of Sanskrit Grammar; as is clear from a remark by Hemacandra.50 2.5.4. Pls - Dhanapalast reads this root with other roots tuj, pij-etc.which mean 'himsabaladane'. According to Ksirasvami. Maitreyaraksita and Purusakara this root denotes 'gati' only, Dhanapala has perhaps followed Sakatayana32, according to whom this root denotes the meanings such as "himsabaladaqaniketana' along with tuj, pij and others. 2.5.5. Yam-Pa, Dhatupatha reads. Yama ca parivesane' in Gaga X. But as noted by Purusakara, Dhanapala 53 seems to opine that in Curadi also 'yam' denotes 'aparivesana.' Ma-Dha-Vr.,54 criticises this view as 'anarsa'. All other commentators read 'yama ca parivesane.' 2.5.6. Vid Dhanapala differs from Pa, Dhatupatha in assigning the mean. ing of "vid'. Pa. Dbatupatha gives 'vida cetanakhyananivasesu'. Dhanapala55 substitutes 'pipatanesu' instead of 'nivasesu'. Sakatyana Dhatupath a gives vida nivasanesu,' Generally Dhanapala agrees with Sakatayana, therefore, it must be 'pivasanesu', rather than 'nipatanesu.' No other Dhatupatbakara nor any commentator thereof has stated in 'nipatanesu' as the meaning denoted by vid'. It is noteworthy that Halayudha's Kavirahasya56 gives "vida cetapakhyanavivasesu.' 2.5.7. Vaj-(Vraj) Pa-Dhatupatha gives 'vraja margasarhskaragatyoh'. Dhana. pala places'67 margana: in place of marga'. It is not known whether Dhanapala read 'vaj or vraj'. Maitreyaraksta and Ma-Dha-Vrttikara read 'vraj, sakalayana, Ksirasvami and Krsna Lilasuka read only 'vaj" while Hemacandra reads both, Originally only 'vaj seems to have been read, since it is common to almost all the Dhatupachas. 50. Haimadhatuparayana, p. 285;-afenagfifa FETITEL 51. Purusakara, p. 111 :-gfafafafanfar95erafaag sfa 29913: 1 52. Dhatusutra, no. 1041. 53. p. 92:- Atsaftago sfa faifa91 54. p. 548:-effer ausartacu cfa 95T aparati 55. Purusakara, p. 78:-faqiaaroafa 49917877212777 56. p. 8 :-faz Saareqrafaarag sta attretat : 57. Purusakara, p. 50:- :-Au sfa yaga: 1

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About a Forgotten Grammarian Dhanapala 71 'Vraj' seems to have been smuggled in later Dbatupathas on account of its association with 'vaj' in Gana I as observed by Dr. Pulsuless, It may be taken that originally 'vaj' alone appeared here. The word 'gati', found in the definition here, is absent in many Dhatupathas, therefore, it may be taken to be a latter addition. Now we have 'margasamskara' and 'marganasamskara' to deal with, Between these two 'marganasamskara' seems preferable, because it conforms to the actual usage of the language. Hemacandra has explained it as meaning 'perfect or trim an arrow.' From this discussion, it is clear, that Dhanapala has chosen the right meaning for 'vaj'.00 There is every possibility of his being influenced by Durga, because Ksiraswami has noted similar opinion of Durga, 2.5.8. Pat...etc-Pa. Dhatupatha gives the group of roots which are described as 'bhasarthah'. Sakatayana2 and Sayanas also take these roots to be bhasarthah. Ksirasvami, 04 Maitreyaraksita65 and Hemacandra describe these roots as bhasarthah. According to Puruaskara, Dhanapala" also takes these roots as bhasarthah. Dr. Pulsulees has suggested in his thesis that bhasarthah has a better claim to acceptance, because it is found in older Dhatupathas. Moreover, he suggests that the Dhatusutra 'Pata...etc, bhasarthah' means that these roots have meanings which are current in the language, because none of these roots either means 'to speak' or 'to shine'. After describing these roots as bhasarthah, Dhanapala interprets the sutra in a queer way. These roots 'pat etc.' form their present stem with 'nic' when they are used transitively. Other bhasartha roots also form their present stem with 'nic' under similar circumstances. Purusakara bitterly criticises this view of Dhanapala. 2.5.9. Pad--Pa. Dhatupatha reads 'vada samdesavacane', but Dhanapala(r) gives 58. The Sanskrit Dhatupathas, P. 153. 59. Haimadhatuparayana, P. 251 - t t I' 60. Anyhow, Dhanapala, as quoted by Ma. Dha. Vr. replaces 'marge ca'. It seem to be a scribal mistake. 61. Ksirat., P. 287 :- vaja mArgaNasaMskAre iti durgaH / 62. Ma. Dha. Vr., p. 561. 63. Dhatusutra, no. 1136, 64. Ksirat, p. 304. 65. Dhatupradipa, p. 144. 66. Haimadhaiuparayana, p. 265. 67. P. 41 :- dhanapAla: punarathaivAmu daNDakaM vyAvaSTe 'anye ca ye dhAtavaH te ca NicamutpAdayanti / ete paTAdathaH sarve NicamutpAdayanti / 68. The Sanskrit Dhatupathas, p. 126. 69. Purusakara, p. 77 :- dhanapAlastu pada sandezavacane, pAdayati, padati, anyatra padayate iti / Pandit Yudhisthira Mimamsaka notes here that in this sentences, we get innumerable variants, such as vada, vAdayati, and vadati, vAdayate /

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72 Smt, Neelanjana S, Shah *pada sariidesavacane? No other Grammarian has ascribed this meaning to this root i.e. pad. Anyhow Dhanapala must have noted this meaning of the root in the language current in his times. 2.5.10. Svad--Pa. Dhatupatba reads svada asvadane' while Dhanapalayo and Ksirasvamil assign the meaning 'samvarana' to this root, Hemacandra72 takes a note of this view, In the case of following roots, Dhanapala distinguishes between the usages of Aryas and Dramidas - ati-adi, lad and vislr. 2.6.1. Ati-adi (Gana 1). All Dhatupathas read "ati adi bandhane'. Dhanapala" is the first Grammarian who has distinctly pointed out that Aryas use 'adi' and Dramidas use "ati' 2.6.2. Lad (Gana 1)-Pa. Dhatupatha reads "jihyon mathane ladih'. Sakatayana, Maitreyaraksita, Hemacandra and Saysana74 give the meaning in the same words. Ksiratarangini reads jihvonmathanayoh ladih. Actually, if we dissolve the compound jihvon mathane! as Dvanda compound, it would give the same meaning as 'jihvonmanthanayoh', but if we dissolve it as sasthi tatpurusa, it would be confined to the activity of the tongue. Dbana palars has drawn our attention to the fact that Aryas read it as jihyonmanthanyoh', He himself has given jihyonmathane ladih', which presents the Dramida tradition. Was Dhanapala a Grammarian, who leaned more towards Dramida tradition rather than the Aryan one ? 2.6.3. Vislr Gana Ill).-Dhanapala76 points out the difference from the view point of Aryas and Dramidas as regards the anubandha of this root. Pa-Dhatupatha reads 'vislr vyaptau'. Aryas read it as 'udit' and Dramidas reads it as Irdit.' Sakatayana, Ksirasvami and all others give this root as 'visls vaptau'. Are they all following the Dramidian tradition ? 3.1. The following roots viz. 'cak trptau' (belonging to Ghatadi sub class of Gana I) and .bhu, praptavatmanepadi" (Gana X) are read Parasmaipad; by Dhanapala. 3.2. Cak - we have already noted that Dhanapala differs from others as regards the meaning of this root. He again differs as regards the pade of this root. The author of Pa-Dhatupatha, Ksrasvami, Krsna Lilasuk: 70. Purusakara, p. 70. 71. Kirat, p. 305. 72. Haimadhatuparayana, p 88 :-facut Batearen, dasut grua 73. Ma. Dha. Vt.. p. 73 :-377 29tas: art after gofra spiafra: da 74, p. 25. 75. Purusakara, p. 66:-Pathufe: 1 anaifonia feparaulfifa 1:1 76. Ibid, p. 104 :-Arafartafea, afacrat great sfa 19:1

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About a l'orgotten Grammarian Dhanapala and Sayana read this root, as Parasmaipadi. Dhanapala77 thinks that it is again read here for the sake of mitsamjna' and he therefore, declares it to be Atmancpadi, 3.3 Bhu Praptavatmanepadi (Gana X). - This dbatusutra means that this root forms its present stem with *nic' when it denotes prapti and takes Atmanepada. But there is an option expressed by 'va' in sutra, therefore, the commentators differ videly in the interpretation of this Sutra. The problem is, which pada this root would take when there is nicabhava'. Dhanapala78 favours Parasmaipada even in the absence of 'nic'. Purusakara strongly supports the view of Dhapapala by quoting Paribbasavrtti and Nyayasamgraha of Hemahamsagani. Sudhakara74 favours Parasmaipada of 'bhu' in the absence of 'nic and considers 'sa rastramabhavat (Tai, Bra, 1-7-7), correct from the grammatical point of view. 3.4. On the other hand Maitreyaraksita80 favours Atmanepada of bhu' in the absence of inic'. Sayana supports him and while favouring Atmanepada, he quotes Kaiyata's commentary explaining Mababhasya on Ast 6-4-8. Apy how Purusakara strongly refutes this view and argues that in this Dhalusafra bhu praptau va' nic is the principal topic (mabapraksta), therefore the option should be about Atmanepada which is a subsequent statement (anantara. prakrta) 81: 4.1 Dhanapala differs from Pa. Dhatupatha in the case of anybandhas of the following two roots macun' and 'chdi. 4.1.1. Macun (Gana) I) - Pa, Dhatupatha gives 'maci dharanochrayapuja: nesu' But Dhapapala and S'akatayana read it as macun' instead of maci', Hemacandra agrees with Dhanapala as regards the form of this root. ! 4.1.2. Chrdi (Gana X) Pa.-Dbatupatha reads "cbrdi sandipane'. But Dhae pala and Sakatayapa82 prefer the form 'chida' instead of chrdi. The author of Dhatukavya88 notes this view. 77. Ibid, p. 39 :-29 gatrzaufaa alhaagcaranda aforat Area arat selena ca iti ghaTAdau ghaTAdayo mitaH iti mitsaMjJArthaM pATha manyamAnastatrApyAtmanepadamudAjahAra / 78. ibid, p. 11 :- 49912193194) aifuaqet q qcha sfadera 79. Ibid, 80. Dhatupradipa, p. 146:1FlamHaqaifa garot 7 sat afa aqazit maqella vacanaM kevalANiz2antAccAtmanepadaM yathA syAt iti / 81. Purusakara p. 111 :-xaracainatate aplacarea facaq: galda, 7 gaAETARTET fgfore: 82. Ibid, p. 79:-qat fara gara 479/7874212at 83. P. 223 :- fara a sfare i Sambod hi 4. 3-4

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74 Smt, Neelanjana S. Shah 5.1, Prci (Gana II)--In the case of this root Dhanapala84 introduces option as regards its form. It is given as "prci samparcane' by Pa. Dbatupatha. Dramidas read the root as 'prci', wbile others like Nandisvami read it as 'prci' or 'prci'. Dhanapala agrees with Nandisvami, 5.1.1. In the case of 'prcr' also, the opinion of Dhanapala as quoted by Ma-Dha-Vr.86 differs from that referred to by Purusakara. Dhanapala according to Ma. Dba. Vr. would like to read this root as 'udit' with Durga. Kasyapa and Nandi. It will be interesting to note that Sakatayana reads 'pijun", 'prjun' and 'prcbain' in Gana II. 5.1.2 Anyhow Sayana favours 'prci', because Kasika, while commenting on Ast, 3-2-142 has given the verdict by the sentence 'prci' samparke iti rudhadirglhyate na tvadadih.' 6.1 Dhanapala discusses the problems of categorisation of the following two roots under one or the other Gana, 'Dhvan' (Gana I) and lis' (Gana VI). 6,1.1. Dhvan-The opinion of Dhanapala86 in the case of this root is not clear, It seems that Dhanapala reads this root under Ghatadi sub-class of Gana I and he assigns the meaning sabda' to it. 6.1.2. lis-Pa-Dhatupatba reads lisa alpibhave' in Gana IV and lisa gatau' in Gana VI. But Dhanapala87 thinks desirable that "lisa alpibhave' should be read in Gana VI too. Pandit Yudbisthira Mimamsaka88 has remarked that from the quotation given in Purusakara, it can be inferred that both Ksirasvami and Krsna Lilasuka must have had a dual classification (dvispatha) of the root be. fore them. However we do not get a double classification in the Ksiratarangini, It must be noted that no other Dhatupatbakara or commentator reads 'lisa alpibhave under Tudadi, 7.1, Dhanapala interprets the following dbatusutras 'yamo' parivesane, glasnayanuvamam ca' and 'samo darsane' from the point of view of their 'mittva.' 84, Purusakara, p. 46 :-277 yaifa g41%:-gra sfa efter: afa afraifa cfa i dhanapAlazca sarva nandisvAmivadevAsthita / 85. P. 336 :-'gail #797* sfaca sfa f1749afq49910169: 1 86. Purusakara p. 84 :-aan 7 saat graa sfa hafa: 1 IT Farf 2791719ta argenti 87. libd. p. 99 :- fast Breathie faile: 1 Taifa na afic Farfuaquet: 1 fant strate tudAdiH / tayoranumato'yaM paatthH| 88. Ibid :-farqiget attrakoni garat agera i 7211 957317faer altrafia 'Faster alpIbhAve' 'liza gatau' iti tudAdAveva dviSpAThaH pratIyate /

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About a Forgotten Grammerian Dhana pala 75 71.1. Yamo'parivesane (Gana I). In this Dhatusutra, a uvrtti of the words 'na' and 'mit' comes from the preceding dhatusutras. Therefore, the sutra would convey that 'yam' is not mit when it is used in the sense otber than 'parivesana' as Maitreyaraksitago has put it. Dhanapalaoo also agrees with this interpretation. Kisna Lilasuka and Sayanasi in support of this view of Dhanapala, quote from Kasika and Jinendra's Nyasa on Ast. 1-3-89, Ksicasvamio2 holds quite an opposite view. According to him, yam' gets 'mit sajna' when used in the sense of 'aparivesana, Grammarians of Candra, Kaumara and Bhoja Schouls interpret it similarly. Sayanao3 refutes this view in strong words and finds fault with them for ignoring 'na'. 7.1.2. Vanu (Gana 1)-This root occurs in the Dhatusutra "glasnavanuyamam ca'. Dhanapalas states in the case of 'vanu' that it is included in Ghatadi by Dramidas. For them this root is always .mit samjnaka,' while Aryas treat It as 'mit' optionally. 7.1.3. Samo darsane'- This Dbatusutra also gets anuvrtti of 'na' and 'mit from the preceeding sutras, Therefore Dhanapalaos is right in interpreting it thus. Sam' is not 'mit samjnaka' in the meaning of darsana. Ksirasvamios reads samo darsane', but ignores the anuvitti of 'na'. Therefore according to him the meaning of the dhatusutra is not different from that of Dhanapala as Sayanao7 has noted. Dhanapala's views are found in Purusakara as regards the forms of the following roots given in Pa-Dhatupatha as, inut, barh-balh (in the sense of pradhanya), varh - valh (in the sense of paribhasana, etc.) sikl, kun, and sniha. 8,1.1. Mut (Gana 1)- According to the quotation given in Purusakara Dhanapala gives 'puli' instead of 'muta' in the sense of pramardana,' w 89. Dhatupradipa, p. 56 :- 379fagot afrap feta i . 90. Puru sakara, p. 93 :_fragot fa fat i wara fat qayda qa agla i 91. Ma. Dha. Vr., p. 201. 92. Ksirat, p. 113 :-htsafaqot 1 47 A 572767 qffamierzgar fust! 1 93. Ma. Dha. Vr., p. 201 :-47 Farferent arealdea afe90793 fira glas 2017 tad vRttiviruddham / 94. Purusakara, p. 83 :-4a9iet G 7 413-a azifag gf afhET: 1 aat (nityaM) mitsaMjJA / AryAstu vibhASAmittvamicchanti / 95. Ibid, p. 94 :-5291575 gala Haatrywar Garantia grundt" mit! 96. Ksirat, p. 113. 97. Ma, Dka. Vy., p. 201 :-275 faith, agraden enesta sfa qe qeraraua faa' sfa 021763 qayta tota: I 98. P. 57.

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76 Smt. Neelanjana S. Shah the quotation in Ma Dha. Vr9 reads muda.' Which of these two forms must have been intended by Dhanapala ? Sakatayana reads 'pudu'. Thereforo 'pudi' is more probale. On the other hand muda' is not impossible. Because Ksirasvami reads 'mudi pramardane'. 8.1.2. Barh-balh and varh-valh (Gana I)- Dhanapala100 differs from Pa. Dhatupatha in the case of the first pair. Instead of bach-balb, he substita utes varh-valh in the meaning of pradbanya.' In this he seems to follow Sakatayana, but differs from Ksirasvami, Krsna Lilasuka and Sayana, As regards the form of varh-valh' (meaning paribhasana etc.), Dljanapalalol as quoted by Sayana reads barh-balh in the sense of paribhasana etc. 8.1.3. Siks (Gana I)-Dhanapala 102 here points out that Aryas read it as *orkt.' Ma, dha. Vp.108 names some Kasyapa along with Dhanapala as holditig this view. Of course, all authors of Dhatupathas and commentators read sikr secane'. Bhattikavya has also used sisike (XIV, 76). - The only support we get for this view of Dhanapala is that of Bhagavrtti. If the explanatory sentence of Mahabhasya on Ast, 6-1-64, Bhagavrttikarato a teads 'sikr" before sekr'. But Purusakara considers this form as being unproper for usage. 8.1.4, kun (Gana VI). Pa.-Dhatupatha reads 'kun sabde' in Gana VI. Dhanapala105 refers to the opinion of some who also read kun, because akutam' is current in the usage, Ma - Dha, Vr.106 while referring to this opinion of Dhanapala, notices that Atreya, Maitreya, Kasyapa, Sudhakara and Sammalakara also read it as dirghanta. Not only that he quotes Kalyala's Pradipa on Mahabhagya's explanation of Ast, 1-2-9 and points out Hat Kaiyata also favours dirghanta. 8.1.6. Snih (Gana X)-Pa. Dbatupatha reads. 'sniha suehane', while Dhanapala107 prefers 'sniha' as the form for this root, 8.1.7. Dhanapalaios does not read 'i-1'. 99. P. 113. TOD. Purusakara, p. 114 :-e a qala' antiara i m e of Haufalegagi 101. Mo. Dha. Vr., p. 166. 102. Purusakara, p. 42 :-Ele preraf: grafa 99918: 1 103. P. 76. 104. Bhagavpttisakalanam p. 32:-HT497 a las gafafa 284 105. Purusakara, P. 28 :-347 efeta fiat al afafa tratare sia uapa: 1 106. P. 479. 107. Purusakara, p. 114:-ffagfa eraihan alargar: 108. Ibid, P. 22 :-3097 gawarafa ofagra aqai fac 799125T142114771: 1

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About a Forgotten Granimerian Dhanapala 77 8.1.8 Dhanapala's opinion about these three roots is found only in Ma.Dha. Vr., 100 and not in Purusakara. Pa.Dhaturatha reads "ita-kita-kati' in the meaning of 'gati'. But Maitreyaraksitallo reads four roots here, ita-kitakata-1. But Dhanapala reads only three roots 'ita-kita-kati', as Ksirasvami and Dbatuvsttikara. 8.1.9. Yabh-Jabh (Gana I).-Pa. Dhatupatha reads only 'yabh maithune', Dhanapalal11 takes 'jabh' also to indicate this meaning. SakatTyanalla and Hemacandra 118 also read 'yabh-jabh maithune'. Ksiratarangin '14 notes the view of Daurgas as reading jabh' to denote 'maithune' or course Puru sakara does not agree with this view of Dhana pala. He argues that Nyasakara, while commenting on Ast. 7-1-61 gives jabha, irbhigatraviname'. Kasika also while explaining Ast. 7-2-10 gives 'rabhisca bhantesvatha maithune yabhih.' 8.1.10. huds, hudr and hody (Gana 1)-Pa. Dhatupatha reads all three roots in the meaning of 'gati'. But Dhana pala and Sakatayanal15 accept only budr and hodr in the meaning of 'gati'. They opine that "hods denotes apadare gati'. 8.1.11. Di (Gana 1)-Dhanapala considers dp bhaye' of Gana I, quite different from dr of Gana VI, Maitreyaraksita116 believes that 'df vidarane of Gana VI is read here for the sake of 'mittva', but Dhanapala117 illustrates the form darati' which indicates that he takes it to be a different root altogether. 8.1.12. Sah-sub (Gana IV)--Pa. Dhatupatha reads both 'saha suha sakyarthe'. Dhanapala118 rejects 'sah' and accepts only (suh' as denoting this meaning. Ksirasvami and Sayana also read only 'suh' in this meaning. 8.1.13. In Purusakara, we get Dhanapala's view about the interpretation of the Dhatusutra "asvada sakarmakat' as it is read in Pa. Dhatupatha, There are two problems involved in this sutra. First is as regards 109. Ma. ha. Vr., p. 111 :-4779862eerat. plan aralarga: 1 ' 110. Dhatupradipa, p. 29. 111. Purusakara p. 91 :-*127 sfa 2915 112. Dhatusutra no. 430. 113. Haimadhatuparayana, p. 47. 114. P. 152 :- 7 sfa alof: i 115. Purusakara, p. 65:-67 sfa y az#2177t i 116. Dhatupradipa, p. 57 :-facicut life: att E Hu facaref gama qt: rAbhyupagame daratItyeke iti / 117. Purusakara, p. 37 :-499rafaifiqurarareg gradare: 1 118. Ibid, p. 114 :-EUR GT 740134 ga preten waaralanti ara

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78 Smt. Neclanjana S. Shah the interpretation of the word 'asvadab'. Some grammarians understand an' to be an upsarga to 'svad'. Others take an as indicating abhividhi'. From Dhanaprla's illustration asvadayati ksiram' quoted in Purusakara, it is clear that he understands and to be an upsarga, Krsna Lilasuka and Sayana take it in the sense of "abbividhi', on the analogy of other Dhatusutras, 'a kusmad', adhrsadva etc, The second point is regarding the interpretation of the word "sakarmakat. Maitreyaraksital19 has explained it as 'sanibhavikarmatva'. According to him, this Dhatusutra means that the roots up to 'svada' form their present stem with inic' if there is the possibility of Karma'. The other view is that of Ksirasvami, who explains 'sakarmakat' as that having karina. It can be inferred that Dhanapala secms to hold this view, because his illustration contains karma'. 9.1. The above study of these stray views of Dhanapala as quoted by his successors, shows that he was a gran marian of a high order. His opinions about the roots are supported by veteran grammarians like Kaiyala, Jayaditya, Jjnendra ctc. He seems to have thoroughly studied all the facets of the roots and did not accept the Dhatupathas rigidly. The spoken language seems to have been the final authority for him. He did not accept nor reject any opinion of his predecessors, because it belonged to a particular School. If we take Durga as a commentator in Katantra School, Dhanapala might seems to have accepted many a point from this school too. Finally, it is noteworthy that he has carefully noticed the differences in the speech of Dramidas aud Aryas. 119. Dhatupradipa, p. 143

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THE 'NAGA BANDHA' AND THE SPANCANGAVIRA' CEILING M. A. Dhaky While writing The ceiling of the Temples in Gujarati, J. M. Nanavati and I had to forego detailed discussion on two popular 'illustrative' types of ceiliogs met inside the halls of the fifteenth century Western Indian Jaina temples. That was because no helpful light then seemed coming from the mediaval manuals in Sanskrit on architecture, nor from other contem. poraneous writings incidentally taking notice of such ceilings. The first type depicts Krsna trampling or humbling the serpant Kaliya in the River Yamuta: the second shows a curious human figure possessing five bodies commonly sharing a head and a single pair of arms, one of the arms usually carrying a dagger in striking posture2. In the first case the illustration could be identified without difficulty on the basis of the wellknown narration of the Krsna-lyla legends, but the authority of the vastusastra-s behind the selfsame depiction was still wanting. In the second no identification could be attempted since no parallels of motif could be traced and nothing seemed explaining the idea underlylag the motif. As for the kaliya-mardana scene, a significant reference has of late been traced in the wellknown Western Indian vasti work, the A parajitaprccha of Bhuvanadeva' (ca. 3rd quarter of the 12th century) and has been discussed by me elsewheret. The present paper is intended to focus more on the second motif and to identify if not quite explain it on the basis of the literary evidence which I of late could trace. The fifteenth century temples which illustrate one or both of these two types of ceilings are : one of the five Jaina temples at Jesalmereb and the Dharana vibara at Ranakpur (1440 and later), both in Rajasthana, and the so called Melak-vasahi (anc. Kharatara-vasabi) atop Mt. Girnar (1455) in Saurastra." And one more instance, which is anterior to these all since datable to around 1320, is the beautiful though misnamed Bhulavani temple, also known as Vimala-vasi (anc. Kharatara-vasahi) on Mt. Satrunjaya, again in Sausastra, illustrated and discussed here, The identification of these two illustrative types becomes possible on account of some pilgrims' psalms written in the fifteenth century a propos of Satrunjaya and Girnar temples mentioned in the foregoing para, Referring briefly to the plan and interior arrangement of the 'Kharatara-vasahi on Satrunjaya hills, the unknown author of the Satrunjaya caitya paripali thus mentious: There is, inside, (the ceiling depicting) nagabundha, and again (the one sbowing) the alluring pancanga vira:'

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80 M. A. Dhaky Taham Dagaba bandha puna bhusana vira-pancanga moha-1; 13, The contemporaneous author Depala, a merited poet of his times, spe. cially wrote a short but charming song in old Gujaration Satrunjaya's selfsame Kharatara-vasahi, wherein be too takes note of the two aforenoted ceilings.40 The poet remarks : '[And indeed] one forgets hunger and thirst while lost in intently watching the pancanga-vira and the nagabandha (ceilings)': bhukha ana-i trisa visara-i-e Pancanga-Vara nagabandha nihalatan. 7 Turning now to the kharatara-vasahi at Girnar, we encounter a specific reference made in a hitberto unpublished]'1 Girnar-cait ya-pari pati of the nagabandha and the pancanga-vira (ceilings) along with putali-S icons of apsaras-nayika-s in the rangamand apa (theatrical hall) of the selfsame temple : Rangamandapinagabandha ajhala-u putali-e mandapi mana vala-u Pancanga-vira vasekhi-j-e mala-khaca-i mandapa janu, 29 As for the nagabandha (snake-tangle) ceiling, it is obviously derived from the earlier Kaliya-damana type. in Instances of the latter type, the naga-s and the nagint-s are shown in half human form, generally three on either side of the central figure of Kysna trampling Kaliya. But in the nagabandha type, the human-figural representation of the praying noga-s and nagini-s is subdued and reduced in significance, and it is the 'coils' which receive prominance, forming in many and multiple folds, a inesh or a complex tangle : (cf. figs. 1 & 3). I, at this point, reproduce the exquisite ceiling in the mukhacatuski (entrance-porch) of the mandapa (hall) of the siva temple at Mula-Madhavapura (ca, early 11th century) for comparison (fig. 5), and this would demonstrate how inside of two to three centuries the changes took place in the details, even when the conception remained unchanged. As for the significance of the Pancanga-vica ceiling, what its symbolism could be, is hard to guess. Vira is of course a 'warrior' or a 'hero of the battle field.' The dagger in the hand so signifies, just as it explains the motive. But what about the five bodies' ? Does it mean a hero possessing or revealing in battle the strength or prowess equivalent of five men ? Or is be one of the Fifty-two Vira-spirits of the folk tales ? Some explanation of this may be there in ancient literature, but until it is found, it must remain both curious and mysterious ! Notes and References : 1. Cf. author's long paper (written conjointly with J. M. Nanavaci) covering the entire issue of the Bulletin of Museum and Picture Gallery, Baroda, namely vols, XVI-XVII, Baroda 1963.

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COM 3 Pancanga-vira ceiling, Kharatara-vasahi, S'atrunjaya, ca. 1320 A. D. (Copyright L. D. Institute of Indology, Ahmedabad). Pancanga-vira ceiling Dharana-vihara, Ranakapura, 1440 A. D. (Copyright M. A. Dhaky)

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w A4 WAS =*3*2 * 3 * ***** Nagabandha ceiling Kharatara-vasahi, S'atrunjaya, ca. 1320 A. D. (Copyright L. D. Institute of Indology, Ahmedabad ). Pancangavira ceiling, Dharana-vihara, Ramakapura, 1440 A. D. (Copyright M. A. Dhaky ).

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Nagadamana or Kaliya-mardana ceiling mukhacatuski S'iva temple, Mula-Madhavpur, ca. carly 11th century. (Copyright and courtesy, Archaeological Research Society, Porbandar).

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125 NA SMS URBANE See SUS VW SRL Alau Parsvanatha temple, Nagada, Mewar, Rajasthan, ca. 2nd quarter of the 11th century. ( By courtesy and assistance, The American Institute of Indian Studies, Varanasi ).

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The Nagaban.tha' and the 'Pancangavira' Ceiling 81 2. We then classed it under "Kautuki (curious) figures". 3. Ed. Popatbhai Ambashankar Mankad, Gaekwad's Oriental Series, No. CXV, Baroda, 1950, chap. 218/36 4. Cf. 'Naga damana ni Chata ane Vastusastra-vidhana' (Guj.), Puratana, Porbandara 1973. pp. 122-123 & fig. contra p. 38, 5. Cf. H. Bhisham Pal, The Temples of Rajasthan, Alwar-Jaipur 1969, fig. 91. The author docs not say in which temple at Jesalmere docs it occur. One of my older notes, which however is unsupported by source-reference, mentions this type of ceiling in tbe Laksmana Vihara there. Whether this is the same, or otherwise, I am unable to decide since never visited Jesalmere. 6. Pt. Ambalal Premchand Shah, Ranakpur-Ne Parcatirihi (Guj) First Ed, Bhavnagar V. S. 2012 (A, D. 1956), fig. 23; here see figs. 3&4. These are located in the central bay of the lowermost storey of the two storied (Western) balasaka (entry-hall), and the forebay of the second storey of the selfsame balayaka. There is one more ceiling of the nagabandha type in this temple, in the Southern Meghanada hall, in the upper storey there. 7. See Sarabhai Nawab, Jaina Tirthas in India and Their Architecture, Ahmedabad 1944 fig. 195. 8. I am discussing that temple at some length (in collaboration with Shri Amritlal Trivedi) in Satrunjaya Malatirtha-11as Jaina-mandiro (Glj.),now in the final stage. 9. Ed. Shriyut Sarabhai Manilal Nawab, "Pandarma Saika-ni Satrunjaya Caitya-Pari. vati (Guj.) Sri Jaina Satya Prakasa, Year 12, No. 3, Sr. No. 135, dt. 15-12-46, pp. 96-97. 10. I am at present editing this in a special compilation of hitherto unknown psalms, 11. Smt. Vidhatriben Vora and myself are editing this psalm at present, APPENDIX The Girnar-caitya-pari pali, as mentioned earlier, takes notice of the nagabandha ceilings in the Kbaratara-vasahi, on the Girnar hills. But the ceiling there surely does not betray the nagabandha motif : Instead, one meets Visnu encircled by human figures, whether the gopa-s (young cowherds or demons being vanquished by Him, it is hard to decide : (Cf. Nawab fig. 197). A third ceiling in the Kharatara-vasahi on Satrunjaya also depicts the same theme. One more instance is a huge stele found from near the older temple of Madhavaraya at Madhavapura in Saurasgra and now transferred to the Junagadh Museum, The purport of this theme is still unclear, but it surely is not the nagahandha, and the writer of the Girnar-caitya-parpai mistook the motif it seems. Sambodhi 4.3-4

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M. A, Dhaky LIST OF ILLUSTRATIONS 1. Pancanga-vira ceiling, Kharatara-vasahi, Satrunjaya, ca: 1320 A. D. (Copyright L. D. Institute of Indology, Ahmedabad) 2. Pancunga-vira ceiling, Dharana-vibara, Ranakpur, 1440 A. D. (Copyright M. A. Dhaky.) 3. Nagabandha ceiling, Kharatara-vasabi, Satrunjaya, ca. 1323 A. D. (Copyright L. D. Iustitute of Indology, Ahmedabad) 4. Pancaiga-vira ceiling, Dharana vihara, Ranakpur, 1440. A. D. (Copyright M. A. Dhaky) 5. Nagadamana or Kaliya-mardana ceiling, mukhacatuski, siva temple, mula Madhavapura, ca, early 11th century. (Copyright and courtesy Archaeolo. gical Research Society, Porbandar.)

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NAGADA'S ANCIENT JAINA TEMPLE M. A. Dhaky Nagada (anc. Nagabrda, var. Nagadraha) was one of the capital-clties of the Guhila-s of Mewar (anc. Medapata), particularly in the later part of the tenth century. The temple of Lakulisa (972) in the Ekalingaji group, the Visnu temple in the gorge (ca. 972) close to Ekalingajia and the famous twin temples called Sas-bahu temples at the ancient site of Nagada bear witness to the foregone statement. Nagada was also known as a Jaina centre of some consequence as gleaned from the later medieval Svetambara Jaina literature4. The svetambara Jaina temple at Nagada, however, seem to date from the fourteenth and the fifteenth centuries and although they merit attention, the focus of discussion for the present paper is the solitory Digambara Jaina shrine, which, being relatively earlier in date, is of some significance from the standpoint of the earlier history of the local style. D. R. Bhandarkar has briefly noticed this temple. But the present paper is intended to give fuller details of its structure and date. I will first describe the temple, locally known as Alau Parsvanatha, and next analyse its elements. The temple (see plate) consists of two structures, the prasada (temple proper) and the rangamandapa (theatrical hall), the latter structure being rebuilt at some later date, either in the fourteenth or possibly in the fifteenth century as judged from the nature of its great central ceiling: (not illustrated). The hall being unimportant for our study, I shall not enlarge upon its details. The temple is built of crude marble and faces the east. The prasada is about 27 ft. in basal 'width and its plan is organized on the principle of bhadra (central offset) made up of subhadra (middle proliferation) flanked by upa-bhadra-s (subsidiary sections), and pratiratha (companion of the bhadra) and karna (corner or angle) in the proportion approximately of 4:1,1. Its pitha (base), which is of the Sadharana' class of the Western Indian vustusastra-s, rests over a bhitta-plinth. Its mould.. ings in sequence are the jadyakumbha (inverted cyma recta) having a decoration of thakariku-s (caitya-dormers) evenly distributed at measured intervals, the karnaka or the knife-edged arris, and a plain paffika (band). The moulded rodibandha (podium) of the wall, particularly its kumbha (pitcher) as well as the kalasa (torus) mouldings, has no figural or other kind of carving excepting the usual thakari-s for the kapotali (cyma-cornice) which tops over the kalasa. The tall recessed jangha (middle section of the wall) likewise has no carving and its monotony is partly relieved by the presence of a medil grasa pattika-band. Each of the three bhadra-s have a shallow

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M. A. Dhaky khattaka (niche) harbouring a seated figure of Jina Parsvanatha. Above the jangha is the customary bharana (echinus), unfluted though in this particular case. (On the bhadra-parts, however, the bharana is replaced by a pattika bearing a small seated figure of Jina Parsva with attendents. This is followed by a kapotali and the khuracchadya (ribbed cyma-awning). The sikhara (spire) is composed of thirty-seven andaka-s, this way summed up: 84 Sriga-s (spirelets) : Srnga-s Urahsrnga-s (half leaning spires) Mulasrnga (central or main spire) 1st pankti (row) : 2nd pankti : 5 x 4 = 20 4 x 1 = 4 3 X 4 12 1 Total 37 The rathika-s (framed niches) along the bhadra-points show standing nude figures of Parsvanatha with fly-whisk-bearers flanking him on either side, The usual udgama-pedinient (to top the nicho) is absent here". The sikhara is beautifully carved with the jala i.e. the caitya-mesh pattern. The total form of the sikhara seems fairly balanced and the shape of the mulasriga is particularly charming, its curvature delineated like the profile of the lotus-bud, recalling the famous injunction of the vastusastra-s, namely padmakosam samalikhets. The sukanasa has been rendered in receding stages and its profile-elements show rather simply carved lozenges. The door-frame of the sanctum is partly restored, the left side though seeming older and original; it is composed of bakulika-padma, bahya and patra type of sakha-jambs. The dedication, by association of the images of Jina Parsva in significant positions, undoubtedly must have been to Him, as Bhandarkar has also noticed. There are two inscriptions, one of S. 1356/A.D. 1300, and the other of S. 1391/A, D. 1335, referring to the renovation of an alaka (niche). Both refer to the temple as of Parsvanatha and the first mentions Mulasangha of the Digambara sect." But the temple, as judged by its style, is surely earlier. Its wall treatment recalls of the Sas-bahu (ca. 1000), but the structure as a whole seems at least a quarter of a century later than the latter temples. The walls also remind of the Mahavira temple at Sewadi near Phalana, earlier dated by me to after 1000.10 The presence of karnaka in lieu of kumuda in the base makes it posterior to the tenth century temples. While the form of the thakari-s and the jala over the sikhara-faces would favour a date sometime in the second quarter of eleventh century; the style is Maru-Gurjara, somewhat local in inflexion though it seems. At a later date, possibly in the fifteenth century, the interior of the garbhagrha was treated as though the temple were an Astapada shrine.

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Nagada's Ancient Jaina Temple 85 The temple, though largely inornate, is important in that its sikhara is almost intact and thus is one of the rather fewer examples of relatively earlier Maru-Gurjara temples in Western India which have preserved that feature. It also demonstrates, to a smaller extent though, the small advances of the local style made after the Sas-bahu temples. Notes : 1. Cf. R. C. Agrawal, "Khajuraho of Rajasthana : The Temple of Ambika at Tagal", Arts Asiatiques, Tome X, Fasicule 1, Paris 1964, 2. See author's article, 'The Mahavira temple at Alar and Visnu temple, Ellingaji,' Jour nal of the Asiatic Society of Calcutta, Vol.XIV, 1972. No. 1. 3. I am discussing the 'Sas-babu' temples in detail elsewhere, 4. From a few castya-paripati psalms. 5. Progress Report of the Archaeological Survey of India, Western circle for the year 1904-05, p. 62. 6. Cf. Aparajitapyocha of Bhuvanadeva, G.O.S. No. CXV, ed. Popatbhai Anbashankar Mankad, Baroda 1950, vss. 21-23. 7. The urahsynga itself here seems to be also a functional substitute of the wilgama. 8. The Samaranganasul radhara of Bhojadeva of Malava (ca. 1035-1055) and the para jitaprccha (ca, third quarter of the 12th cent.) occasionally use this metaphor apropos the curvature of the sikhara. 9. Progress Report of the Archaeological Survey of India, Western Circle for the year 1905-06.p. 63. 10. "Some Early Jaina temples in Western India." Shri Mahavir Jaina Vidyala Golden Jubilee Volume, Bombay 1968, p. 340.

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BACTERIA, ALGAE AND FUNGI AS FOUND IN THE JAINA LITERATURE J. C. Sikdar Bacteria : Occurrence of Bacteria : The account of the types of plants-subtile and gross as given in the Jaina Agamas throws a welcome light upon the plant kingdom, touching upon the life of both subtile and gross plants, and bacterial living in plant's body, as there are not many places in the world devoid of bacteria2. They are also mentioned as individual earth-lives, water-lives, fire-lives and windlives. These earth quadrates of the Jainas are called bacteria in modern Biology and their life is explained in the following manner : "They have been found as 16 feet deep in soil, they are most numerous in the top 6 inches of soil, where it is estimated that there are about 100,000 per cubic centimeter. They are found in fresh and salt-water, and even in the ice of glacier. They are abundant in air, in liquids, such as, milk, and in and on the bodies of animals and plants both living and dead."4 The Jaina view on the earth quadrates is well supported by Biology as it appears from the study of their life. It is further stated in the Jaina Agamas that earth, roots, bulbs, stems, branches, twigs, barks, leaves, flowers, fruits, and seeds of plants are I "So nunam mula matajivaphuda..biyajivaphuda," Bhagavati sutra, 7.3.275. "Alue mulae...java anamtajiva vivibasatta," Ibid., 7.3.276. "Tiviha rukkha pannatta, tamjaha-sarkhejjajiviya asamkhejjajiviya anamtajiviya', Ibid. 8,3.324. 'Uttaradhya yana sulra 36.96, e.g. aluka, mulaka, etc. contain bacteria, Pannavana sulra, I. 40,ff. "Mula vi asamklejjajiviya....puppha anegajiviya 1" Gomma/ asara, (jivakanda), v. 189, p. 117. 2 Bhagavati sutra 33, 1. 844. Uttaradhya yana 36,68, the earth quadrates and plant bacteria are found throughout the world, Biology, p. 132, C, A, Villee. 3 "Pudhavi ya au agani ya vau," Sutrakytanga, Book I, Lecture 7. I, p. 153. Bhagavati sufra, 33.1. Utraradhyayana safra, 36,70, 84, 92, 108, 117, Paunavana sutra 1.19.55, Ekendriyajivapannavana, pp. 13-27. Gommalasara, (Jivakanda), v. 89, p. 68. Lokapra kasa, 4th Sarga, v. 25, 5th Sarga v, 1, ff, 4 Biology p. 132

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Bactreria, Algae and Fungi as Found in the Jaina Literature 87 Inbabited by bacteria". So they absorb sap or minerals from the soil by the combined action of the suction force which is connected with transpiration pull and root pressure. Roots, bulbs, barks, tendrils, stems, leaves, flowers, fruits and seeds, when clean breaking, are host (individual souled plants), when not clear breaking ( they ) are (non-host) individual." Cell Structure or Figure and Size of Earth Quadrates. The bodily figures of the earth quadrates (i.e, earth-, water-, fire-, and air-bacteria), are respectively speaking ( circular ) like masura grain (lentil), (round like a drop of water; (cylindrical like a bundle of needles, (and oblong like) a flag. The bodies of plants and mobile bacteria are of various sorts. The size of the body of earth-, water-, fire-, and air-bacteria is the innumerable part of a cubic-finger, Therefore, these are not visible as separate entities but in masslo only. The Jaina views regarding the figure and size of earth quadrates are supported by modern Biology in the following manner : "Bacteria cells are very small, from less then 1 to 10 microns in lengh and from 0.2 to 1 micron in width. The majority of bacterial species exist as single celled forms, but some occur as filaments of loosely joined cells, Because of their small size and 5 Bhagavati sutra, 7.3.275. Pannavana sutra 1.40, 41. "Kamdassa va mulassa va salakhamdhassa vavi bahulatari / Challi sana mtajiya patteyajiya tu tanukadari //" Gommalasara, Jivakanda v. 189, p. 117. 6 Bhagavati sutra, 7.3.275 Mulam syat bhumisambaddham tatra kandah samasritah I Tatra skandha iti mitho bijantah syuryuta same 5.107. "Atah prthvigatarasamaharanti....phalasamgatarin,' 5.108. Lokaprukasa, 5.302-33; 5.107-108. 7 Mule kamde challipavalasala dalakusumabije I Samabhamge sadi namta asame sadi homti patteya II.' Gommaasara, Jivakanda, v, 188, p. 117 8 'Masuramyubimdusuikalabadhayasanniho have deho I pudhavi adi caunham', Gommalasara (Jivakanda), v. 201 9 Ibid., "Tarutasakaya aneyaviha l' v. 201, p. 122. 10 Ibid. (Comm,), p. 122. Take a glass of a fresh water. Every drop of it is a mass of water-bodied bacteria which are obviously invisible to us. Under a microscope a drop of water is seen to possess many minute animalculae. These are not water-bodied bacteria, Waterbodied bacteria have water and that alone as the matter of their bodies. These ani. malculae are two or more sensed beings which live in water,

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88 J. C. Sikdar general similarity of structure, the classification of bacteria usually depends on physiological or biochemical characters rather than morphologic ones. There are rodlike forms called bacilli, spherical form, called cocci, and spiral forms. The bacilli may occur as single rods or as in the bacillus causing anthrax, as long chains of rods joined together. Diphtheria, typhoid fever, tuberculosis and leprosy are all caused by bacilli. The spherical forms occuar singly in some species; in groups of two (e. g. the gonococcus, the agent causing gonorrhea ); in tong chains ( spherical bacteria which exist in long chains are called streptococci) ; or in irregular clumps, resembling bunches of grapes (spherical bacteria which occur in such clumps are called staphylococci). There are two types of spiral forms; the spirilla, which are less coiled and sometimes resemble a comma (the one causing cholera looks like this); and the spirochetes, which are highly coiled and resemble a corkscrew. The ruost widely known of the latter is the one causing syphilis."'11 Reproduction of Bacteria. Bacteria-earth quadrates and bacterla in plants reproduce asexually ( samurcchima12 ). It is stated in the Jaina Agamasis that "Some beings are born in trees and grow in trees that are originated by trees, come forth as their roots, bulbs, stems, branches, twigs, leaves, flowers, fruits and seeds."14 "Some beings are born in earths and grow in earth particles that are the origin of various things and come forth as Kuhana.''15 " Some beings are born in water, grow in particles of water that are the origion of various things and come forth as panaga (fungus ), sevala ( algae ), etc."16 It bas already been pointed out that numerable, innumerable and infinite bacteria inhabit the roots, bulbs, stems, branches, twigs, leaves, 11 Biology, p. 132 12 Acaranga sutra, I 1.81. Sutyakytaiga, 1.7.1. A 13 Satia rukklajoniya rukkhasambhava... sukkhesu mulattac kamdattae khamdatiae tayattae salattae pavalattae patiattae pupphattae phalattae biyattae viuttamti 1' Stilrakytanga 11.3.46. 14 SBE. XLV. 11.3.5, p. 320. one soul, jiva, pervades the whole tree; it is the soul of the tree, separate souls (jivas), however, reside in the roots, etc. as bacteria, 15 'Satta pudhavijoniya.. kuhanattae ctc.' 1 Sutrakytanga, 11.3.54. 16 "Satta udagajoniya panagattae sevalattae, etc.' 1, Ibid.

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Bacteria, Algae and Fungi as Found in the Jaina Litcrature flowers, fruits and seeds of some sadbaranasargra vanaspatis including kubana, sevala, etc. It is not clearly stated bow the asexual reproduction of the plant bacteria takes place, " Futher, some beings are born in water, grow in water, and come forth as water-body, which is produced hy wind, condensed by wind, it goes upwards, when there is an upward wind, it goes downwards, when there is a downward wind, it goes in a horizontal direction, when there is a borizontal wind; its varieties are hoar-frost, snow, mist, hail-stones, dew and rain.":17 Some beings, born tn water, come forth in water bodies, in the water produced by other water bodies,"918 "Some beings born in water come forth as movable creatures."19 "Some beings come forth as fire-bodies in the manifold animate or inanimate bodies of movable or immovable creatures, ""20 << Some being are born as wind bodies, grow In wind bodies and come forth in wind-bodies."'21 6. Some beings are earth, gravel, sand, stones, rocks, rock salt, fron, copper, tin, lead, silver, gold, and diamond, orpiment, vermilion, realgar, sasaka, antimony, coral, abhrapatala (mica ), abhravaluka, hyacinth, natron, anka, crystal, lo hitaksa, emajald, masaragalla, bhujamokaka sapphire, candana, red chalk, hamsagarbha, pulaka, and sulphur, candraprabha, lapis, lazuli, jalakanta add suryakanta,"22 ( a kind of gem). It is not clearly explained by the. Jainacaryas how does the repro. duction of bacteria-earth quadrates and plant bacteria take place. But it is suggestive from the reference to their birth and death with remarkable speed at the rate of innumerable one-sensed bacteria per instant (or moment) (Samaya), of infinite bacteria in common plant body, e.g. those of aluka (white 17 Satta nanavihajoniya...vayasarosiddham...vayapariggahiyam uddhavaesu uddbabhig bhavati, ahevaesu ahebhagi bhavati, tiriyavaesu tiriyabhagi bhavati, tamjaha os himae....suddhodae,' Sutrakytanga 11.3.59. 18 'Satta udagajoniyanan....udagajoniesu udagattie viuftamti l', Ibid., 11.3.59. 19 Saita udgajoriyanam.... tasapanattie viuttamii', Ibid. 20 'Ihegatiya satta... aganikayattae viutati l' Ibid 11.3.60. 21 'Ihegativa satta.... vayukkayattne viutfamti, 1' Ibid. 22 Thegatiya satta ......pudhavittae sakkarattae....java surakamtaffae viuftarti 1,' Ibid., 11.3.61

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J. C. Sikdar potato), surana, etc. 23 and of nigodas (micro-organisms-viruses) 24 that bacteria reproduce asexually by simple fission-the cell simply divides into two cells, etc. 90 The Jaina view on the reproduction of bacteria is supported by modern biology in the following manner: "Bacteria generally reproduce asexually by simple fission, the cell division occurs in bacteria with remarkable speed, some bacteria dividing once every twenty minutes. At this rate, if there were plenty of food and nothing to interfere, one bacteria could give rise to about 2,50,000 bacteria within six hours. This explains why the entrance of relatively few pathegenic bacteria in a human being can quickly resuit in disease symptoms. Fortunately for all other forms of life, bacteria cannot reproduce at this rate for a very long time, for they soon are checked by a lack of food, or by the accumulation of waste products."25 BACTERIAL METABOLISM Like other organisms bacteria have a host of enzymes that mediate and regulate their metabolic processes. A few bacteria are autotrophic 6-they can synthesize their needed organic compounds from simple inorganic substances, present environment, through their pores, 27 Most bacteria are either saprophytes, getting their food from the dead bodies of plants or animals or from organic substances produced by plants or animals or parasites (anusuya) living in or on the living body of a dlant or animal 29. 23 Anusamayam-asamkhijja, cgimdiya humti ya cavarti ' Candrasuri, Byhatsamgrahan, 1st edition. V. S. 1993, 274, p. 28. Vanakaio anamta, ikkikkao bijam nigoyao, 'Niccani masamkho bhago, anamta jivo cayai, etc.. Ibid., v. 275, p. 28. 24 Ibid., v. 275, p. 28. See also other editions of Brhatsangrahani by Umedcand Raycand for this reference. 'Anusamayamasamkhijja egimdiya humti ya cavamti' v. 436 p. 243, Vanakaio anamta, ikkikkao-vijam nigoyao | Niccanimasamklio bhago anamta-jivo cayai ei //' Ibid., v. 436. 25 Biology, p. 135. 26 Autotrophs are self-nourishing, e. g. photosynthetic green plants and chemosynthetic iron bacteria which oxidize ferrous to ferric iron. 27 'Lomahara egimdiya,' Brhatsamgrahan, v. 200, p. 81. 'Sarjrenoyaharo, taya ya phase ya lomahara, Ibid., v. 117, p. 124. 28 They absorb their required organic nutrients directly through the cell membrane. 29 'Thegatiya satta.....nanavihanam tasathavaranam poggalanam sariresu va, sacittes u va anusuyatae viuttamti.' 'te jiva tesim nanavihanam....pananam sinehamaharemti ' etc. Sutrakytanga II, 3.58.

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Bacteria, Algae and Fungi as Found in the Jaina Literature 91 Other micro-organisms (Nigodas) Much smaller than bacteria (arth quadrates and plant bacteria) are other forms called Nigodas 30 (micro-organisms or viruses). There are two kinds of Nigodas, viz. Nigodaka and Nigodjiva31 (Nitya Nigodas and Itara Nigodas).fine and gross. 3. They may be identified with bacteriophages and rikettsias. With the exception of the last, these are too small to be seen with ordinary microscopes and can be photographed only.33 These Nigodas can be classified as plant; their status in the world of living thing is clear, But these forms exhibit some, but not all of the usual characteristics3d of living things, as some Nigodas who do not attain change, 6 wbile some36 are born and die and again, return to the original state, 87 Types of Nigodas: There are stated to be two kinds of Nigodas from the point of their size, viz, fine and gross (suksma and badara).38 Saksua Nigodas are of two kinds, viz. paryaptaka (developed) and aparya ptaka (undeveloped). Badara Nigodas also are of two kinds, viz. paryaptaka (developed) and aparyaptaka (undeveloped). Nigodajivas are of two kinds, viz, Suksma Nigod jevas (fine Nigodjivas) and Badara Nigodajivas (Gross Nigodajivas). Suksma Nigod jivas are of two types, viz, paryaptakas (developed) and aparyaptakas (undeveloped). Badara Nigodajivas also are of two types, viz, paryaptaka (developed) and aparyaptaka (undeveloped). 39 30 Bhagavati sutra, 25, 5. 749. Pangavana sutra, 1.55. 102 Lokaprakasa 1.4. v. 32 ff. Nigoda Saytrimsika Gomma asara. (Jivakanda 73.) 31 'Duvihaniuda pannatta, tamnjaha-piuyaga ya niuyajiva ya, Bhagavati sutra, 25.5.749. 32 'Suhumaniuda ya,' Ibid. 33 Blology, p. 138. 34 Size, shape, metabolism, movement, irritability, growth, reproduction, etc. 35 Byhatsamgrahani, v. 277, 36 Atthi anartajiva, jehim na patto tasaiparinamo, uppajjanti, cayamti puno vi tattheva tatheva 1, Byhatsangraham v. 277. 37 Ibid. 38 Bhagavati satra, 12.2.443. Jiyabhigama sutra, p. 997. 39 Ibid.

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j. C. Sikdar 92 Nigodas are innumerable from the substantial point of view, and thus paryaptaka and aparyaptaka nigodas also.40 Suksma Nigodas are innumerable from the substantial point of view, thus Suksma paryaptaka and aparyaptakas also and Badara Nigodas, Badara-paryaptakas-and Badara-aparva. ptaka also 41 should be known. Nigodajivas Nigoda vas are infinite in number from the substantial point of view. thus paryaptakas and a paryaptakas also, thus Suksmanigodajivas also. paryaptakas also, aparyaptakas also, badarabigodajivas also, paryaptakas also, aparyaptakas also49 should be regarded. Nigodas are infinite in number from the modal point of view, thus paryaptakas and aparyaptakas also, thus suksmanigoda paryaptakas and aparyaptakas also, thus suksma nigodaparyaptakas and aparyaptakas thus badaranigodas also, paryaptakas and aparyaptakas also 43, should be known. Nigoda jivas also are thus of seven classes and all are infinite in number from the model point of view. 44 Next the Jivabhigama sutta discusses the comparative numbers (alpatvabahutya) of all types of Nigodas and Nigodajivas from the substantial and modal points of view,46 These ultramicroscopic forms of living beings (nigodas), which take their game from the very fact that they are tiny enough exists in infinite number in common nigodsarira 46 Nigodas do not really reproduce themselves, but they are reproduced in infinite number by the enzymic machinery present in other living cells, as it is suggested by the statement that in the common body where one sou) dies there takes place the death of infinite 40 Niudanam.... davvatthayae.....no samkhejja asam khejja no anamta evam pajjattagkvi appajja ttagavi,' Jivabhigama, p. 998. 41 "Suhumaniudanam....davvatthayae..... no samkhejja no anamta, evam pajjattagavi apajjattagavi evam bayaravi pajjattagavi appajjattagavi, no samkhejja asarkhejja no ananta l', Ibid., p. 998, 42 (Niuyajivanam davvatthayae....anamta evam pajjatlagavi appajjatlagavi, evam-subu. maniuyajivavi pajjaltagavi appajjattagavi badaraaiuyajivavi pajjattagavi appajjattagavi', Ibid., p. 999 43 'Niuda nam bhamte padesatthayae....anamta evam suhumaniuyavi pajjattagavi appajjattagavi paesatthayae sa vve anamta evam, bayaraniuyavi pajjattagavi appaj. jattagavi paesatthayae savye anamta 1. lbid. 44 'Evam siudajivavi sattayiha paesatthayae savve anamta l'Ibid., p. 1000. 45 Ibid., pp. 1000-1007, 46 Ni=Niyatam, gar=bhumim, ksetran, nivasa manantanantajivanam dadatiti nigodan Gommalasara (Jivakanda), v. 191, (comm.), P. 118,

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Bacteria, Aigae and Fungi as Found in the Jaina Literature 93 souls with it, when one soul is born, there takes place thc birth of infinite souls there.47 Estimates of the size of Nigodas have been made in several different ways : The size of the body of a fine bodied and non-developable nigodaorganism in the third instant after it las taken birth in its nucleus (yoni) is an innumerable part of one (cubic) finger (anguli). This is the minimum (bodily size). The maximum size is found in the fish born in the last and the biggest ocean called Svayambhuramana of the world. 48 The body of fine bodicd non-developable Nigoda in a plant body is oblong in the first instant of its birth, square in the second instant, and in the third instant it contracts and become circular (or spherical). In the circular state the dimeusions of its body are at the ininimum, after the third instant it begins to grow, 49 i. e, it varies widely in size. The Jaina view about the size of Nigoda finds support in modern Bio. logy to some extent in the following manger : Viruses vary widely in size: one of the largest-The psittacosis virus, the cause of a disease transmitted by parrots and other birds is about 275 millimicrons in diameter, and one of the smallest, the one causing foot and mouth disease of cattle is 10 mllimicrons in diameter. The electron microscope reveals that some viruses are spherical and others are rod-shaped,50 By the operation of the common (Sadharana) body making karma the body of Nigodas become group-souled. They are gross and fine 51 That is to say, their bodies become group-souled like huge colonies of viruses of modern Biology,62 Although individual virus particles cannot be seen, virus infected cells frequently contain, inclusion bodies" (i.e, group-souled bodies of Nigodas), which are visible with ordinary microscope. These are believed to be huge colonies of viruses 08 47 Jatthekka marai jivo tattha du maranam have anamtanari Vakkamai jattha ekko vakkamanam tattha anantanam', Gs., vi., 93. 48 "Suhamanigoda apajjayassa jadassa tadiyasamayamhi angula asarnkhagarn ahannamukkassayarn macche" Gommalasara, v. 94. 49 Ibid, (Comm.), p. 70 50 Biolog p. 139. 51 "Saharanodayena nigodasarira havatiti samanna I Te puna duviha jiva badarasu humatti vinneya II', Gommatasara Jivakanda, v, 191, p. 118. 52 "Biology, p. 139. Ni Niyatam, gam=bhumin, ksetrarh' nivasamanantanantajivanam dadatiti nigodam, That which is the abode of infinite souls (viruses) in huge colonies is called nigoda in Jaina Biology, GS. p. 118 53 Biology, p. 139

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94 J. C. Sikdar It appears from the study of Jaina Biology that some Nigodas like viruses parasitize bacteria (earth quadrates and becteria in plant): they are filtrable and will grow only in the presence of living cells in cultures of bacteria, which they cause to swell and dissolve. These Nigodas are found in nature wherever, bacteria occur-"and especially abundant in the instestine of man and other animals' (Kuksikrmi). They may be compared with Bacteriophages of modern Biology 54. "Electron micrographs show that some are about 5 millimicrons in diameter (they vary considerably in size, and that they may be spherical, comma-sbaped, or they may have a tail and resemble a ping pong paddle55". Some Nigodas like Rickettsias of modern Biology (resembling viruses) will multiply only within living cells. Their cellular structure is similar in most respects of that of bacteria as already defined. Some are spherical, others are rod-shaped, and they vary in lengtb. This Jaina view is supported by Biology in this way that Ricke. ttsias resemble viruscs in that with a single exception (a non pathogenic parasite of the sheep tick), they will multiply only within living cells. Their cellular structure is similar in most respects to that of bacteria. Some are spherical, others rod-shaped, and they vary in length from 300 to 2000 milljmicrons. They are larger than viruses and hence are noufiltrable and just barely visible under the microscope"'56. ALGAE (SEVALA) According to the Jaina Agamas, the more primitive plants, which peither form embryos during development nor have vascular tissues, e.g. sevala67 (algae) and panaga 58 (fungus) may be identical with Thallophytes of modern Biology. The Thallophytes are classified into two kinds, viz. algae (sevala), 'those that have chlorophyll and can live independently and fungi (panaga) 60 (those that lack chlorophyll and must live as sap. rophytes or parasites) (anusuyattae). 54 Ibid., pp. 140-141, 55 Ibid., p. 141. 56 Ibid., p. 142. 57 'panagattae sevalattae, elc.' Sutrakytanga II. 3.55 Pannavana, I. 51, p. 21. Panaga sevalabhumi-phoda ya I', Jivavicarn 8 58 Urtaradhyayana sutra, 36, 103-104. 'Pannavana 1.51., p. 21. 'panaga sevala-bhumiphoda ya I' Juvavicara, v. 8. 59 Biology, p. 145. 60 Ibid, Sutrakytanga, II.3.55.

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Bacteria, Algae and Fungi as Found in the Jaina Literature 95 Algae are primarily inhabitants of water (Jalaruha) 1,-fresh or salt water, but according to Biology, "few of them live on rock surfaces and on the bark of tree. The ones living in such comparatively dry places usually remain dormant when water is absent"62 Algae are important food producers by virtue of their tremendous numbers. as all of the photosynthesis in fresh water or in the sea is carried on by algae. According to Biology, there are many kinds of algae, such as, blue-green algae, green algae, brown algae, red algae, etc68. Fungi (panaga): The simple plants that lack chlorophyll are called fungi (panaga). The true fungi include rust, smuts, mushrooms, toad-stood, etc. They are of five colours-red, yellow, grey (or cloudy), blask and white84. In a fungus, such as, the mushroom (kuhana), the mycelium is below ground; the mushroom cap that is eaten is a fruiting body that grows out from the mycelium. According to modern Biology "Fungi are either saprophytic or parasitic and are found universally wherever organic material is available; they grow best in dark, moist habitats86. 61 Pannavana, 1,51; Panaga also is jalaruha 62 Biology p. 145 63 Ibid., pp. 147-152 64 Jivavicara. p. 133.. 65 Biology, p. 155

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THE PARAMARA EMPEROR BHOJA THE GREAT AND KAVI DHANAPALA: A STUDY IN THEIR MUTUAL RELATIONSHIP* N, M. Kansara, The Jaina historical tradition preserved in the chronicles composed by Prabhacandra and Merutunga tallies with the internal evidence of the Tilakamanajari in testifying to the fact that the Paramara King Vakpatiraja Munja conferred the title "Sarasvanz" on Kavi Dhanapala. But it is not certain whether he enjoyed the same favour from Munja's successor Sindhuraja, who, as has been described by Padmagupta alias Parimala, ruled from Ujjayini, though Dhara also might have been continued as one of the seats of the sovereign, Otherwise, why should Sindhuraja ask Parimal, instead of Dhanapala, to compose an epic on his history ? Or perhaps Dhanapala might not have been adjudged as sufficiently mature poetically, as compared to Parimala, to execute the task satisfactorily. But Dhanapala could not have been converted to Jainism by that time. It was after at least twelve years of Bhoja's rule that Dhanapala was won over by Jainism.2 This might have been after 1111 A D. Before that, he was a staunch Brahmin well-versed in the Veda, Smrti, Stoma and sacrificial ritual.By this time Dhanapala must have been at least fifty-seven years of age. Till then his relations with Bhoja must have been very cordial and he was considered as one of the indispensable scholars of Bhoja's famous assembly of five hundred pundits. But, according to the Jaina tradition as preserved in the Prabhavakacarita (PRC) and Prabandhacintamani (PC) this relation steadily deteriorated arter the change of faith by the well-versed staunch Brahmin pundit like Dhanapala whom the Jainas seem to have considered a prize catch and a valuable asset, since he is said to have turned out to be a worthy defender of their faith-rather worthier-in tbat he was a royally recognized superior to all other pundits of Bhoja's court and a prized product of the Brahmanical faith in which they were trying to make inroads. This must have put Bhoja himself on the defensive in favour of the Brahmanaical religion, a staunch votary of which he himself was. The anecdota about the dialogues between Bhoja and Dhanapala seem to emphasize the elocutionary skill and a superior convincing power of Dhanapala who is ever shown to have defended Jainism and deprecated Brahmanical Hinduism. The dialogues generally concern such aspects of the Brahmanical faith as the status of Siva as a Yogi par excellence iuspite of his having married with Parvati, the violence involved in the sacrificial

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The Paramara Emperor Bhoja and Dhanapala : Mutual Relationship 97 ritual, the cow-worship, the practice of hunting, the ceremony of investing Mahakala with sacred fibre-garland (pavitraro pana), the superiority of the Jaina faith and of its founder Tirthankaras to the Brahmanical gods, and, above all this, the bold outspokenness and loyalty of Dhanapala in favour of his newly acquired Jaina faith. The following incidents have been preserved by the popular Jaina tradition as a proof of his having gradually acquired considerable stanchness in his faith, (1) Once when Dhanapala accompanied Bhoja to the Mahukula temple (probably at Ujjayini), the poet would not come in front of the idol of Siva even though he was called thrice by the king. When the latter asked the reason, Dhanapala replied that as the god was in company of his wife he felt it improper to witness it. Of course he used to visit the temple before he acquired the "true faith", i, e. Jainism, but that was because he was then as ignorant as a child. He further added that it was the ancient sensuous people like the king who had, on the strength of their regal power, started such an absurd worship of male and famale organs. The king, however, thought that the poet was rather joking, though, according to Bhoja, the joke had a grain of truth in it ! This seems to have occured very shortly after Dhadapala's conversion to Jainism as is evident from the question of the king, who was clearly surprised, as to why the poet had been paying homage to the same Mahakala for so long time till that day. Moreover, the poet also seems to be sufficiently advanced in age-at least fifty-seven-to be able to talk with the king on such equal terms. (2) The next incident might have been in cotinuation of the above one when they came out of the temple. The king asked the poet why Bhrngiriti looked lean. The poet bluntly, though poetically, brought out the mental confusion on the part of Bhtngiriti at the incoherent conduct of his lord Siva. viz.. if he intended to remain unclad, why keep a bow? If he wanted to keep a bow, why have the ashes ? Well, If he wanted to apply the ashes to his body, why have anything to do with a woman? And if he wanted the company of a woman, what was the sense in having the enmity with Cupid ? Poor Bbangi was, thus, worn by anxiety as to the real intentions of his master ! This incident has been noticed, but with scanty background, by Merutunga. 10 (3) The third incident, not found in the PRC, but preserved by Meru. tunga in his PC, seems to have followed in sequence to the above one. Once the courtiers of Bhoja reported to him about the concentration of Dhanapala in Jina-worship. At that the king gave him basket of flowers and ordered him to pay homage to all the deities in the city. Dhanapala

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98 N. M. Kansara did go round, but he worshipped only at the Jaina temples and return The spy, who had pursued him, reported the matter to the king who later on enquired of the poet how he worshipped the deities. The poet replied that he worshipped there only where he had a scope, and added that he had no scope before Visnu due to the invariable presence of his bride, nor before Rudra due to his being perpetually embraced by his wife, nor before Brahmu due to his being ever engrossed in meditation that one could disturb only at the risk of incurring a curse, nor before Vinayaka due to the necessity of avoiding a touch at the dish full of sweet-balls, nor before Candika due to the fear of Mahisasura running towards him out of the pain consequent to an onslought of her trident and spear, nor before Hanuman due to the fear of getting a slap as he is short-tempered. Moreover, how can one offer a garland to one who had no head nor a head-dress, to one who had no forehead; how can one dance or sing to one who had no eyes nor ears; how can one salute to one who had no feet 211 The poet, then added that he had a scope for worshipping only at the Jaina temples where the eyes of the deity were beautifully liquid like the nector. the face was always smiling and cheerful, and the demeanour was ever peaceful, 12 (4) Another incident is connected with the investiture ceremony (papi. traropana) of Mahakala (probably at Ujjayini), when the king remarked about the lack of an investiture ceremony on the part of the Jaina deities, who must, therefore, be without the sacred thread (a-pavitra), and hence impure by oblique implication, Dhanapala retorted that it was only the impure (a-pavitraka) ones who need a purifier (pavitraka); since the Jaina Tirthankaras were ever pure, they did not stand in ueed of any purifier like a thread, 18 (5) The next one also is connected with the above incident, as it seems to have occured at the porch of the Mahakala temple where the king pointed out to the poet a sculpture and asked the reason why the Love. god depicted therein was giving a clap in the palm of his beloved Rati, The poet gave a sharply intelligent reply saying that Siva, though wellknown as an ideal of abstinence, has been even now clasping to his body his beloved out of the fear of separation. And poor public believe that he has conquered the lust. It is for this reason that the Love-god is amused and enjoys a joke with his beloved ! (6) Another incident, omitted by Prabhacandra but noticed by Merutunga, concerns the cow-worship against which Dhana pala remarks that a cow is in no way superior to any other comparable animal. And if she is to be worshipped inspite of the absence of any special quality in her, why should a buffalo be not worshipped 214 Merutunga bas connected this dialo. gue with the occasion of a donation of cows to Dhanapala,

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The Paramara Emperor Bhoja and Dhanapala : Mutual Relationship 99 (7) The next one criticizes in one full sweep the Brahmanico-puranic beliefs about the cow-worship, the tree-worship, the sacrificial killing of a goat for attainig to heaven, the Sraddha ceremony, the untrustworthiness of the gods, the belief in sacrificial oblations reaching the gods through fire, and the authority of the Sruti,16 (8) Another incident censures the violence at the sacrificial ritual. The poet believed that the poor grass-eating animals deserved to be pitied rather than killed. Further he remarked caustically that if it be argued that the sacarificed animal attains to heaven, why do the sacrificer not offer their parents in the sacrificial fire and pack them off securely to the heaven.16 (9) The next incident has its roots in the caustic remarks again st hunting. Bhoja seems to have been enraged to the extent of thinking to get him secretly murdered so as not to be liable to public censure and consequent defamation.17 But the poet was accidently saved by his poetically skillful answer to the king's question as to why the old woman, passing on the road, was shakiug her head. The poet said that she was wondering whether be (i, e., Bhoja) was the famous Nandi, Murari, Cupid, Kubera, Vidyadhara, Indra, the Moon or Brahma; but at last she came to realise that he was but king Bhoja himself, superior to all of them !18 (10) Another incident is intended to emphasize the truthful propbetic authority of the Jaina Tirthankaras in general, according to Merutunga, 19 and of Dhanapala in particular, according to Prabhacandra.20 The poet was asked as to by wbich door the king would go out of the temple. Dhanapala wrote the answer which was safely secured in a sealed envelope. Merutunga bolds that the poet pointed out to the answer being contained in the work entitled "Arhac-cudamani'. According to Prabhacandra, the king then got a bole bored into the roof and went out through it !21 Merutunga, however makes the king get out through the underground passage dug in the middle of the temple hall.22 Next morning the envelope was opened and the king read the answer which tallied with what he had done. Prabhacandra's version praises a wise man's eye in the form of intelligence, while that of Merutunga eulogizes the truthfulness, and hence trustworthiness, of the Jaina works.28 (11) The next incident testifies to almost superhuman prophetic and poetic genius of Dhanapala. A traveller from Setubandha arrived at the court of Bhoja with a few fragments of inscriptional poetry and reported about the inscription on the temple submerged under the waters of the ocean. The traveller had brought a resin dye of it which contained a couple of incomplete verses. Dhanapala completed them and asserted that it must needs tally with the readings of the original ones on the temple

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100 N, M. Kansara walls 24 Merutunga adds that while the other courtpoets tried their hands unsuccessfully at completing the verses, Dhanapala could do it in a moment, 26 (12) Another one dwells upon Dhanapala's typically Jainistic attitude to public works of munificence, such as, building tanks and etc. Once the king asked him how much merit was earned by constructing huge tanks. The poet unexpectedly replied in a satirical tone pointing out to the possibiilty of equally huge demrit due to the death of the acquatic cretures in the event of the tank getting dried up due to the lack of sufficient rains. 26 (13) The next incident seems to have occured at a very advanced age in the life of Dhanapala, who was called back from his voluntary exile from Malwa. When the king asked him about the condition of his long uninha. bited house, the poet brought out, in a paronomasiaic though pathetically poetic reply, the similarity between his own delapidated dusty Servantless house and the king's palace with the goldeu uteusils, highly adorned servants and elephants.27 (14) The PC preserves in one incident the attitude of his contemporaries towards Dhanapala, who once eulogized Bhoja in a verse which metaphorically depicted the celestial Ganges as being but a chalk-mark put by Brahma as he started counting the best of human kings, 28 When the other court-poets ridiculed his metaphor as unrealistic aud farfetched, Dhanapala paid them back in their own coin by citing similar uorealistic instances from the Ramayana and the Mahabharata, adding that those very court-poets blindly praised those popular works.28 y It should be noted that there is not the slightest indication of the strained relations between Bhoja and Dhanapala in the latter's prose romance, the Tilakamanari (TM), the eulogistic tenor in the introductory verses of which does not warrant the above religious rivalry between a staunch Saivite and an equally staunch Jaina. The introductory verses and the contents of the TM definitely indicate that Dhana pala composed his prose-romance after his conversion to Jainism, which fact afforded ample scope for expression of such a relationship. But the poet might have thought it quite out of place-especially in view of his deep regard for the paternal patronage by Munja and long-standing personal friendship with Bhoja - to give vent to his personal opinion on such an occasion like the auspicious commencement of his life's labour of love, i. e. tbe TM. More properly, it is the popular tradition and the Jaina one in particuler - which would have an interest enough to preserve such minute, though minor, details. If one would take them at their face value, one would have to be thank. fu] to both Prabhacandra and Merutunga for affording such a peep into the oblivions of the past, In view of the facts that some of the points of

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The Paramara Emperor Bhoja and Dhana pala : Mutual Relationship 101 the Brahmanico-Puranic faith, criticized by Dhanapala in the incidents recounted above, have also been made the target of their satirical salvoes by veteran Jaina authors like Haribhadrasuri in his Dhuttakkhana (i, e. Dhartakhyana), by Amitagati in his Dharmapariksa, and by Soma deva in his rasastilaka-campu, one has to believe that at least Prabhacandra, though not Merutunga, cannot possibly be charged with baving fabricated the incidents with the sole intention of using Dhanapala and his prestige in favour of the propagation of the Jajna faith. In his thesis on Magha Dr. Manmohanlal Sharma has up-held the reliability of some of the basic data supplied by the Prabandbas. 30 Historical data reveals that Bhoja was a impirial monarch whose writ ran over almost the whole of North India, and who was an unrivalled patron of men of letters in his days. Naturally he must have been very proud, almost to the extent of being jealous of impatient, of his Saivite faith; of his power, patronage and unsurpassable scholarship of his assembly. Prabhacandra has noticed a few instances of Bhoja's anxiety to guard the honour of his assembly of scholars, even at the cost of the life of the adversary. Thus it is said that he almost decided to murder Dhanapala whose caustic digs at the weak points of certain Hindu religious beliefs enraged him.31 Again, he is said to have staked one lac coins for each of the five hundred scholars of his assembly to meet the challenge of Vadim vetala santisuri, who is said to have returned alive on the strength of Dhanapala's precautionary measures.32 A similar, though more serious, incident has been recorded by Prabhacandra with reference to Suracarya, a Jaina monk, who, due to his haughty scholarship, severely criticised the introductory verse of Bhoja's Sarasvati,kanthabharana, a work on Sanskrit Grammar, and obliquely abused the king to have committed a great poetic crime in composing a verse suggestive of conjugal relations with the wife of one's nephew.38 It was, again, due to Dhana pala's active assistance that Suracarya could be safely smuggled out of the strong police ring clamped around the Jaina monastery and transported beyond the pale of Malava territory, 34 In his ambitious zeal to reconcile all the systems of Indian pbilosopby, Bhoja is recorded to have had recource to dictatorial method when he rounded up various scholars of different faiths and confined them in a dungeon from which they were to be set free only if they arrive at a unanimous decision 135 And the desired unanimity did come off, not with regard to the systems, but about how to save one's life !! And the credit for setting the king on the right track by convincing him of the impossibility of such a unanimity and abondoning the crude method is said to have gone to the above-mentioned Suracarya, If we take these traditional anec. dotes at their face value, we have no ground to disbelieve the incident which narrates how at the conclusion of the public recital of the Tilakamanjari.

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102 N. M. Kansara katha by the poet in the court, Bhoja asked of the poet to introduce five vital changes in the story, and when the poet, over and above refusing to comply, denouned the king for trespassing into the forbidden field of literature, the enraged royal patron threw the manuscript into the fire of the oven placed before him as a heater in the winter season.36 Dr. D. C. Ganguly says that we have no evidence to corroborate the story of Bhoja having burnt the original first manuscript of the TM,37 But we do have some lurking evidence in a couple of missing links88 in the story of the TM which would support the Jaina tradition that the original work was about twelve thousand syllables (gramthas) in extent, but that the portion of about three thousand syllables (grainthas) in extent, which was unfortunately not read out by the poet to his young-aged daughter of extraordinariy sliarp nemory, could not be restored,39 The poet, however, is said to have harmonized the missing links somehow. It is also significant that the oldest Ms. of the work was written in the V. Sam. 1130, i, e, about 1073 A. D., at Jesalniere and nowhere in Malwa. And there is nothing impossible in the incident in view of the imperial nature of the royal patrun of the poet and their mutual rivalry in scholarship as well as in their religious beliefs Another point worth noting - a unique one in the whole history of the Sapskrit literature --- is the composition of the Sanskrit prose-romance na the Srigaramanjari-katha (SMK) by Bhoja. It was composed most probably after the composition of the TM by Dhanapala, who composed his prose... romance probably after Bhoja composed the Campu-ramayana. The SMK was composed probaly because Dhadapala relused to fall in line with the wish of Bhoja to have his name installed as the hero of the TM, in the same manner as Bana obliged his patron, King Harsa, compared to whom Bhoja was definitely a far greater scholar and a partron of the scholars. The apologetic tone of Bhoja in the beginning of the SMK with regard to describing his own capital city Dhara and resorting to the device of putting the description about his own self as the hero of the story in the mouth of a fountain-doll is very remarkable 40 And Bboja, unobliged by Dhanapala, had to indulge in this direct literary action to get himself immortalized in view of the imperial patron's then justifiable expections from the foremost of his court-poets, especially when there was such a glorious precedent formed by Bana, one can easily gauge the degree of impatience on the part of Bhoja whose hopes were lost at the refusal by Dhanapala in the matter. It might also have been that none of the other court-poets possessed the quality and the talent requisite for composing such an inimitable work with Bhoja himself as the hero, a work which would stand a fair comparision with Bana's Harsacaritam. On the evidence of the workmanship as revealed in the TM, it would seem that Dhanapala was the only

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The Paramara Emperor Bhoja ard Dhenarzla : Mutual Relationship 103 poet in Bhoja's assembly who could hear the brunt of such a responsible and tough commission. In the absence of the availability of this poet Bhoja, seems to have been constrained to compose a work which might serve as an illustration of different types of love (raga) as the Erotic (skigara) was his most favourite sentiment. And, possibly, this might have been the principal cause behind Dhanapala's refusal to comply with Bhoja's request to put his name in the place of Meghavahana and that of Dhara in that of Ayodhya. This might also have nipped in the bud even a lurking hope of Bhoja about the now-converted Jaina poet ever composing another work, of the Akhyayika type, to commemmorate him. The difference of their mutually hostile religious faiths seem to have constituted a gulf too unbridgeably wide for the imperial order made to the poet, who was a senior in age and scholarship and favoured even by the present patron's predecessor like Munja, and further who was too popular with the people to be disposed off easily, much less to be coarsed into composing a work of art to order. A sort of an inherent contempt of a Jaina poet for a Savite royal, but junior, patron surely precluded the possibility of his ever being dazzled by the king's personality so as to command an instantaneous natural eulogistic inspiration. Otherwise, a poet like Dhanapala, who admired Bana for his Harsacaritam which fetched its author boundless famedi could not have resisted a similar temptation to such a fame for himself: especially when the opportunity for such an undertaking had come uninvi. ted. It is significant that Dhanapala praises Bhoja elaborately for his personal handsomeness and valour only. As to his scholarship, however, he briefly calls him 'acquainted with the entire literature (nih-sesa-vaimaya-vid) and nothing more, Bhoja's craving for literary fame must have been whetted by Dhanapala's work, which far surpassed the former's Campu-ramayana-indirectly criticized by the latter in general terms in the introductory verses of the TM and ultimately seems to have resulted in a direct request by the emperor to his favourite court-poet, who but refused to oblige. And taking recourse to the rather justifiable grounds in view of his own considerable talents, Bhoja seems to have seized the opportunity of incidentally immortalizing himself and his capital city of Dhara rather with a vengeance, 42 while principally writing a work illustrating his main thesis of Raga-srgara treated in his magnum opus, the srngaraprakasa,48 This is a unique instance of the religious difference of opinion depriving us another historical Sanskrit prose-romance-an Akhyayika on the life of Bhoja--which could have successfully contended with Bana's Harsacaritam. And Bhoja amply deserved such an honour in view of his brilliant career, profoundly extensive scholarship and munificient patronage, the qualities that are beautifully summed up in a versed in the Udayapur Prasasti inscripton,

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104 References: Based on a part of Chapter I and that of Chapter V of my Ph. D. thesis on the TM, submitted in 1970 to the M. S. university, Baroda. The references are to the page and line numbers of the Nirnaya Sagara Edition (2nd), 1938, TM (N), while the readings are according to the Critical Text determined after collating more than ten original Mss, of the TM. Since the Critical Edition is in press and not yet published the references are given to TM (N). 1. cf TM (N), Intro. Vs. 53cd: Aksunno 'pi vivikta-sukti-racane yah sarva-vidyabdhina/ Shri-munjena sarasvatiti sadasi ksoni-bhrta vyahrtah//; also, cf. PRC, 17,271; pura jyayan maharajas tvam utsangopa vesitam/Praheti birudam sarasvati// te 'stu sri-kurcala 2 According to PRC, 17, 73, Bhoja banned for 12 years, the entry of Svetambara Jaina monks in Malwa, consquent to the conversion of Dhanapala's younger brother Sobhana; Dhanapala was converted to Jainism after that period was over. Bhoja was the king when he ordered the ban. 3. cf. PRC, 17, 53: Veda-smrti-sruti-stoma-paragah pandito 'grajah/Krtyakrtyesu nisnatah..//etc, concerning Dhanapala, 4. The year of Dhanapala's birth can be fixed tentatively at about 955 A. D. For detal's on this point see Chapter III of my thesis. Bhoja was coronated by about 999 A. D. Sobhana could not have met Dhanapala before the expiry of the period of twelve year ban, i e., before 1011-12 A. D. Thus, Dhanapala must have attained the age of atleast fifty-seven before he was converted to Jainism. 5. cf. PRC, 17, 119; Kramena dhanapalas ca dharma-tattva-vicaksanah/Drdha-samyaktva-nisthabhir dhvasta-mithya-matir babhau// 6. cf. PRC. 17,122: Devo 'sti sakti-sambaddho vridaya na vilokyate// B N. M. Kansara 7. cf., ibid., vs. 123: Raja 'ha divasesvetavatsu kim tvidrso 'rcitah/Bhavata prala so 'ham ca balatval lajjito na hi// 8. cf., ibid., vs. 125ff.: Kama-seva-paraih pracyair api bhupair bhavadrsaib/Balitvad arcanam tv asya pravartitam ihedrsah// 9. See supra, ft. nt. 7. 0. cf. PC, p. 39 (Singhi Jaina Granthamala Series Edn.). 1. cf. ibid., p. 40. 2, cf. ibid. 3. cf. PRC, 17, 157. 1. cf. ibid., vs. 163. 5. cf. PC (SJGM), p. 38. 6. PRC, 17, 134; also cf. PC (SJGM), p. 38 ff. 7. cf. PRC. 17. 151-155; PC (SJGM), p. 42. 18. cf. PRC, 17, 139 ff. Sri-bhojah kupitas tasya 'pasavya-vacana-kramaih/Dadhyav amum hanisyami vibruvantam dvija-bruvam//etc. 19. cf. PC(SJGM); p. 39. 20. cf. PRC, 17, 163. 21. cf-, ibid., vss. 166-168. 22 cf. PC(SJGM), P. 39, 23. cf. PRC, 17,171 ff; also cf. PC (SJGM), p. 39. 24. cf. PRC, 17, 177 ff.; PC(SJGM), p. 41. 25. cf. PC (SJGM), p. 40. 26. cf. PRC, 17, 177 ff.; PC(SJGM), 40. 27. cf. PRC, 17,185-190; PC(SJGM), p. 39.

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The Paramara Emperor Bhoja and Dhanapala : Mutual Relationship 105 28 cf. PRC, 17, 285 : Ppthu-karta-svara-patram bhusita-nihsesaparijanam deva/Vilasat karenu-gahanam samprati sam am avayoh sadanaml. With reference to the king's place it means pythu-kartasvara-patram 'having broad golden utensils', blusita-nih. sesa-parijanam 'having the servants all of whom are adorned', vilasar-karenu-gahanam 'packed with the sportive female elephants ; with reference to the house of Dhanapala it means pythuka-artasvara-patram 'having the utensils that make a loud jarring noise (due to being worn out and hence broken), bhi-sitarisesa-parijanam 'all the servants wherein are lying on the ground (or with the reading bhusita, 'adorned with the lack of servants', vilasatka-reril-gahanam 'packed with the heaps of dust'. 29. cf. PC(SJGM), pp. 41-42. 30. cf. Mahakavi Magha, pp. 83-90; also, Dr. G. C. Choudhary. Political History of Northern India from Jaina Sources, pp. 3-4. 31, cf, PRC, 17,139. 32. cf. ibid.. 16, 53 cd, and 60. 33, cf. ibid., 18, 153 ff. 195. 34. cf., ibid., 18. 35, cf., ibid., 18, 111 ff. 36. cf. PRC. 17. 37. History of Paranara Dynasty, p. 284 38. cf. Tila kamanjari-gara of Pallipala Dhanapala, (rit. Ed. by N. M. Kansara, Intro., pp. 25 ff. 39. cf. PRC, 17, 221-222 : PC (SJGM), p. 41 40. cf. SMK, p. 7: ..ity abhidhaya 're yantra-putraka, yady apy asmat-parisadah sammatam tatha 'pi nija-guna 'viskar anam avagitam iva pratibhasate/Tad raja varnanam bhavan eva bhanatu" ity ablihitah..sa bhanitum arebhe 41. cf. TM(N), Intro. vs. 27. 42. cf., (1) the decription of Ayodhya in the TM(N), pp. 7-12 with that of Dhara in the SMK, pp. 2-7; (2) The description of King Megliavahana in the TM (N), pp. 7-10 and rather long-drawn descriptions of Srngaramanjari and her mother Vimala bila in the SMK, pp. 10-14 and pp. 14-18 recpectively. 43. cf. SMK, Intro., Chap. V, pp. 55--73. 44, cf. Epigraphica Indica, Vol. I, pp. 233--238, vs. 18 Sadhitam vihitam dattam pitam tad yan na kena-cit/Kim anyat kavirajasya sri-bbojasya prasasyatell c. 17. 221-222 : PO o re yantra-putraka, yady watibhasate/Tad raja

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svAdhyAya / dalasukha mAlavaNiyA jainaviSaya ko lekara aneka pustakeM prakAzita hotI hai aura prAkRta bhASA * meM bhI pustakeM prakAzita hotI rahatI haiM, kintu vidvAnoM kI zikAyata hai, ki unhe unakA patA hI nahIM lagatA / ataeva saMbodhi meM pratyeka aMka meM navIna prakAzita pustakoM kA sAmAnya paricaya dene kA nizcaya kiyA gayA hai / lekhakoM aura prakAzakoM se nivedana hai ki ve apanI pustakeM bhejeM / yadi pustakeM bheja na sakeM to unakA paricaya - granthanAma, bhASA, prakAzaka, prakAzana sthAna pRSTha, mUlya aura prakAzana varSa- likhakara bheje / jainAcArya ravipeNakRta 'padmapurAga' aura tulasIkRta 'rAmacaritamAnasa'-le0 DaoN... ramAkAnta zukla, pra0 vANI paripad, dillI, pR0 480+16, mU0 sATha rupaye / I0 1974 / Do0 ramAkAnta zukla dhanyavAda ke pAtra haiM ki unhoMne isa grantha meM eka jainAcAryakI kAvyakalA kA paricaya hI nahIM diyA kintu padmapurANa kI viSaya vastu kI tulanA bhI rAmacaritamAnasake sAtha kI / yadyapi grantha ke nAma ke sAtha 'purANa' zabda lagA huA hai phira bhI. isa grantha kA sthAna mahAkAvya meM hai-ataeva usa dRSTi se bhI isakA adhyayana jarUrI thA aura Do. ramAkAnta ne apane isa Ph. D. ke lie likhe gaye mahAnibandhameM eka taTastha vidvAna ko zobhA deM isa taraha parIkSaNa kiyA hai / kevala rAmacaritamAnasake sAtha hI nahIM kintu kAlidAsa. Adi anya mahAkavioM kI kRtioM ke sAtha bhI tulanA kI gaI hai aura raviSeNase. * pUrvakAlIna kavioM kA prabhAva isa purANa meM kisa prakAra se hai yaha jo dikhAyA hai vaha Do. ramAkAnta zuklake mahAkAvyoM kA dIrghakAlIna vizeSa adhyayana kitanA gaharA hai yaha siddha karane ke lie paryApta hai / AzA karatA hU~ ki Do. ramAkAnta zukla ko jo jaina mahAkAvyoM meM rasa milA hai vaha satata baDhegA aura aise anya grantha ve likhakara vidvajjagat ko RNI bnaaeNge| citeroM ke mahAvIra-le0 DA. premasumana jaina / pra0 amara jaina sAhitya saMsthAna, udayapura / pR0 178 / mU0 chaha rupaye / I0 1975 / bha0 mahAvIra ke 2500 veM nirvANa mahotsava ke prasaMga meM bha. mahAvIra ke viSaya meM jo nibandha pratiyogitA huI thI usameM jaina TrasTa kalakattA kI orase isa granthako puraskAra milA hai / yaha grantha eka nibandha ke rUpa meM nahIM likhA gayA kintu upanyAsake rUpameM likhA gayA hai / isameM lekhakane kevala purAnI paraMparA kA hI upayoga nahIM kiyA kintu bha. mahAvIra ke jIvanakI Adhunika vyAkhyAoM kA bhI upayoga kiyA hai / ataeva yaha upanyAsa kevala upanyAsa hI nahIM rahA kintu preraNAdAyI jIvana sAhitya bhI bana gayA hai / zramaNa mahAvIra-le0 muni nathamala, pra0 jaina vizva bhAratI, lADanUM, pR0. 360, mU0 solaha rupaye / I0 1975 (?) muni zrI nathamalajI vicAra-pUta nibandha lekhaka ke rUpa meM to suprasiddha haiM hii| aba ve hamAre samakSa upanyAsa lekhaka ke rUpa meM bhI isa grantha meM upasthita haiM / bha0 mahAvIra ke jIvana

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svAdhyAya 107 ke vividha prasaMgoM ko rocaka upanyAsa zailI meM isameM varNita kiyA gayA hai / upanyAsa meM yaha jarUrI nahIM hotA ki jisa rUpa meM vaha likhA gayA hai usI rUpa meM vaha ghaTanA ghaTI ho yA jisa rUpa meM kisI kA vaktavya diyA gayA ho vaha usI rUpa meM ho / yadi pUrvAcAryoM ne * mahAvIra ke jIvana ke sAtha vAstavika nahIM aisI aneka kathAoM kA saMkalana kara diyA. ho to Adhunika lekhaka bhI aisI chUTa le to vaha sahya honI caahie| chUTa kI maryAdA yahI ho sakatI hai ki bha0 mahAvIra ke jIvana meM unake AdarzoM ke viruddha koI ghaTanA kA lekhana . na ho aura unake uccAdarzako samarthana mile aisI ghaTanA hI varNita ho / ... tIrthaMkara mahAvIra aura unakA sarvodaya tIrtha-lekhaka-Do0 hukamacanda bhArilla, pra0 paMDita ToDaramala TrasTa, jayapura, pR0 204, mU0 pAMca rupaye / I0 1974 / . DaoN. hukamacanda bhArilla kI yaha kRti bha0 mahAvIra ke jIvana ke pUrvabhavoM se lekara jIvanakA prAraMbha karatI hai aura jaina purANoM meM jo unakA jIvana diyA gayA hai use sucAru rUpase isameM upasthita kiyA gayA hai / bha0 mahAvIra ke upadezoM ko vistAra se diyA gayA hai / mukhyataH digaMbara granthoM ke AdhAra se hI jIvana aura upadezoM kA saMkalana hai| tIrthaMkara mahAvIra-lekhaka zrI madhukara muni, zrI ratana muni, zrI zrIcanda surAnA 'sarasa'; pra0 sanmati jJAnapITha, AgrA Adi, pR0 291, ma0 daza rupaye / I0 1974 zvetAmbara AgamoM aura anya granthoM ke AdhAra para bha0 mahAvIra kA jIvana tIna vidvAnoMne milakara likhA hai / lekhanazailI rocaka hai / bhASApravAha AkarSaka hai| rAjendra koSa meM 'a', pravacanakAra zrI jayantavijayajI, pra0 zrI rAjendrasUri prakAzana maMdira, ahamadAbAda Adi / pR0 412 / mU0 8 ru0 vi0saM0 2030 / pravacanakAra zrIjayantavijayajIne 'abhidhAna rAjendrakoSa' ke 'a' se prAraMbha honevAle zabdoM meM se 30 zabda lekara unakI vyAkhyA kI hai| kintu vyAkhyAnoM ko akArAdi kramase na, dekara vIravANI, patana kA mArga, ityAdi viSayoM ko lekara hai / unameM 'arhat pravacana' 'azarIrI' jaise zabdoM ko lekara vivecanA kI gaI hai| . akhila bhAratIya terApaMtha paricaya grantha, saM0 manohara chAjera, pra0 akhila bhAratIya terApaMtha yuvaka pariSada, baMgalUra / pR0 461 / mU0 ru0 35 / I0 1972 / samagra bhAratavarSa meM zve0 terApaMtha saMpradAya kA jo saMgaThana hai usakA paricaya isa grantha se milatA hai| parivAroM ke sadasyoM kI pUrI sUcI dI gaI hai / pramukha vyaktioM ke phoTo bhI haiM / zrI hemacandrAcAryaracita yogazAstra-hindI anuvAda sahita, anuvAdaka-muni zrI padamavijayajI, saM0 muni zrI nemicandrajI, pra0 zrI nigrantha sAhitya prakAzana saMgha, dillI. 6 / pR0 617 / bhU0 25 ru0 / I0 1975 / . isa grantha meM yogazAstra kA mUla saMskRta tathA usakA hindI anuvAda aura svopajJa saMskRta TIkA kA kevala hindI anuvAda mudrita hai / anuvAda suvAcya hai / - munirAja zrImatkSamAkalyANa jI gumphita-zrI aSTAhnikA vyAkhyAnam , saM0 tathA anu0. muni jayanta vijaya, pra0 zrI rAjendrasUri sAhitya prakAzana maMdira, ahamadAbAda, pR0 131, mU0 2 ru0 / dvitIya A0, vi0 saM0 2030 / ....mUla saMskRta grantha no gujarAtI ane hindI anuvAda mULa sAthe AmAM mudrita che...

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108 dalasukhamAvaNiyA samaNasuttaMi - pra0 sarvasevA saMgha, vArANasI, pR0 276, mU0 sAdA 10ru, pakkI 12ru / I0 1975 / AcArya vinobA bhAve ke prayatna se jainoM ke sabhI sampradAyoM ko mAnya ho aisA yaha grantha prakAzita huA hai / sabhI saMpradAyoM ke AcArya aura vidvAnoM kI eka saMgIti karake isa grantha ko mAnyatA bhI dI gaI hai / yaha isakA vizeSa mahattva hai / isameM bha0 mahAvIra ke upadeza ko prAkRta bhASA meM likhe gaye Agama Adi granthoM se saMkalita kiyA gayA hai| bhagavAn mahAvIra Adhunika saMdarbha meM, saMpAdaka- Do0 narendra bhAnAvata, pra0 akhila bhAratIya sAdhumArgI jaina saMgha, bIkAnera, pR0 344 | m0 40ru0 / I0 1974 | bhagavAn mahAvIra ke jIvana ke sambaMdha meM sAmAjika, Arthika, rAjanItika, dArzanika, vaijJAnika, manovaijJAnika aura sAMskRtika sandarbha meM aneka vidvAnoM ke lekhoM kA saMgraha bar3e parizrama aura sUjha bUjha se sampAdakane kiyA hai / nirvANazikhA saMpAdaka - zrI kanhaiyAlAla phUlagara Adi, pra0 - mitra pariSada, kalakattA, I0 1974 | mUlya diyA nahIM / vidvAnoM ke lekhoM 2500 veM nirvANa lekha hindI bha0 mahAvIra 2500vA~ nirvANa mahotsava ke nimitta se aneka kA saMgraha | viSaya hai, bha0 mahAvIra aura jainadharma tathA bha0 mahAvIra ke ko le kara mahotsava jo ho rahA hai usake kAryakrama AdikA bhI paricaya hai / aura aMgrejI meM hai / devAdhideva bhagavAna mahAvIra le0 munizrI tattvAnanda vijayajI, pra0 arhatvAtsalya prakAzana, muMbaI, pR 404, mU0 daza rupiyA / A pustakamA bha0 mahAvIranA mAtra atizayotuM vistArathI vivecana che. Hemacandra's Dvyasrayakavya-A Literary and cultural Study by Satya Pal Narang M. A., Ph. D. Published by Devavani Prakasana, Delhi-32, pp. 283, Rs. 30, A.D. 1972. Dr. Satya Pal Narang for his Ph. D. thesis has studied Hemacandra's Dvyasrayakavya in various aspects :-Mythological, Historical, Grammatical, Geographical, Political, Sociological, Economical, Religious etc. Evalution of the book as a historical and a poetical work is also. attempted and also in the beginning of the book life and works of Hemacandra are examined in detail. Thus nothing is left out of the view of the author. Vakpatiraja's Gaudavaho, Edited and translated by Prof. N. G. Sura, Publised by Prakrit Text Society, P. T.S. No. 18, Ahmedabad, pp. 100+ 178-+-340 Price Rs. 25. A.D. 1975. Prof. Suru has not only trauslated this difficult text but has supplied the text with copious notes and an introduction dealing with the author and his Gaudavaho. Dr. P. L. Vaidya has rightly observed in his Forword "Prof. Suru's English translation is at once faithful and fluent. His notes are scholarly and cover a wide range of his classical studies. His Introduc tion is a scholarly piece, judiciously touching almost all the aspects of the

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svAdhyAya 109 noem and its author. His exposition of the choice topics from the poem, his observation on the stark realism of Vakpati's discriptions, and his sketch of the society, as revealed in the poem, have really raised Vakpati to a higher pedestal in the galaxy of our classical poets." Sramana Bhagavan Mahavira : by K. C. Lalwani, Pub. Minerra Associates (Publications) PVT. Ltd, 7-B Lake place, Calcutta 700029, pp. 206, Rs. 36/-; 1975. Herein Prof. Lalvani who is a social scientist has presented the life and doctrine of Mahavira that would appeal to the rational mind, Apart from a brief life-sketch and Mahavira's philosophy and religious ideas the author has discussed his scientific doctrines such as cosmology, biology, physics etc. Dharmaratnakara of Jayasena : Ed. Dr. A. N. Upadhye; Published by Jaina Sanskriti Samraksaka Sangha, Sholapur, 1974, pp. 544-464; Price Rs. 20. Jayasena composed this work in A.D. 998 in Sanskrit and Dr. Upadhye bas critically edited the text for the first time and it is translated into Hindi by Pt. Jinadas Parshvanath Phadakule. Subjects dealt with by the author are-consequences of Punya and Papa, Fruits of Abhayadana, Abara dana etc., Sadhupuja, Dana and its Fruits, Jianadana, Ausadha-dana, Rise of Samyaktva, Limits of Samyaktva, Pratimas etc.. As usual Dr. Upadhye has given an extenstive Introduction and various Appendices. jinavANI : jaina saMskRti aura rAjasthAna-vizeSAMka. apraila-julAI, 1975, pR0 496, pra0 samyagjJAna pracAraka maNDala, bApU bAjAra, jayapura-3., isa * aMkakA mUlya daza rupayA / jinavANI patrikA kA yaha vizeSAMka aneka saMpAdakoM ke tathA aneka lekhakoM ke sahakAra se ucca koTikA banA hai| isameM jaina saMskRti ke viSaya ke lekhoM ke alAvA rAjasthAna meM jaina saMskRti kA vikAsa, rAjasthAna kA sAMskRtika vikAsa aura jainadharmAnuyAyI-ina do vibhAgoM meM vidvAnoM ke lekha haiN| anta meM paricarcA meM aneka vidvAnoM ne rAjasthAna ke sAMskRtika vikAsa meM jaina dharma evaM saMskRtikA yogadAna isa viSaya kI paricarcA kI hai / isa patrikA ke pradhAna saMpAdaka pro. Do. narendra bhAnAvata kI sUjha aura parizrama ke kAraNa yaha vizeSAMka abhyAsI ke lie paThanIya banA hai| __ koNa oLakhe che mahAvIrane ? zrI amaracaMda devakaraNa gAMdhI, selama-2, e lakhela ane mArca 75 mAM svayaM prakAzita pustikA vitaraNa mATe che. TraMkAmAM bha. mahAvIranA vyaktitvane sAro UThAva Apyo che.. tulasI prajJA--jaina vizvabhAratI, lADanU (rAjasthAna) kI traimAsika patrikA, janavarI 75 se prakAzita hone lagI hai / jaina vidyA ke vividha viSayoM ke saMzodhanAtmaka lekha hindIaMgrejI meM mudrita haiN| saMpAdaka zrI pro. Do. mahAvIrarAja gelaDA ke prayAsa se yaha patrikA jainavidyA ke vikAsa meM yogadAna karegI aisI AzA baMdhatI hai /

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PANCA-PARAMESTHI-STUTI ( In Apabhramia ) From Vilasavai-Kaba of Saharana ] R. M, Shah Siddhasenasuri alias Saharana' Kavi (11th cent. A.D.) is famous for his Vilasavai-Kaba, an Apabbramsa Mahakavya. The piece selected occurs in 11th Sandhi of the VK, as a prayer of five Parameschis offered Sanatkumara, the hero of the Mabakavya. * In the Prasasti of the VK, the author says that he is wellknown for his stotras which are cited by people all over the country.'2 Unfortunately, most of these stotras are lost. The stotra published hercwith is, thus, the only example to show the learned poet's mastery over stotra-composition, The stotra consists of the prayer to Panca Paranesthis. Stanzas 2-5 are dedicated to Jinas, St. 6-9 to Siddhas, St. 10-13 to Acaryas, St, 14-18 to Upadhyayas, St. 19-23 to Sadhus. St. 24-26 are general. The conclud ing stanza 27 contains the namamudras-Siddhasuri and Saharana of the poet as was the custom with Apabhramsa writers. The poet used four different metres in the Stuti(i) Chaddania (St, 1); (li) Vadanaka (Sts. 2-13) (iii) Lalataka (Sts. 14-23) and (iv) Madanavatara (Sts. 24-27), . Both Mss. (po and go) used for text-construction are photostat copies of the palmleaf mss. of Jesalmer.3 1 Visasayai-Kaha with critical study edited by Dr. R. M. Shah is to be published shortly by L. D. Institute of Indology, Ahmedabad. 2 sAhAraNo tti nAma supasiddho atthi puvva-nAmeNaM / . ab-491 FFA afersifa hili -VK, Prasasti. 3 Catalogue of Sanskrit and Prakrit Mss., Jesalmer Cellection, Ed, by Muni Punyavi. jayji, Ahmedabad, 1972. pp. 111-112.

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kai - sAhAraNa - viraiyA paMca parameTTi thuI namimo arahaMta, uttama - sattahaM, namimo ujjhAyahaM, kaya - sajjhAyahaM jayahiM jiNida iMda-vaMdiyakama akkhaya- mokkha sokskha - nihi kAraNa jayahiM sunimmala nANa-divAyara catIsaha aisa ehiM samiddhA jayahiM paramu issariu lahaMtA bhara - eravaya-videhuppannA jayahiM niviDa- micchatta-viNAsaNa jayahi bhavvahaM paDibohu karaMtA jayahiM siddha nirddhata kammayA ekatIsa vara-guNa-samiddhayA jayahiM ega ahavA aNegayA je kuliMge titthayara siddhayA buddha-baha sabuddha sAsayA mukka-kAya kaya- dukkha cheyayA tiviha- kALe tivihe vi je vae divasa - ratti- bahu-meya - ThANayA Ayariya jayaMtu mahA-guNiNI jiNa tithe pattevi siddhi gayA jiNavarehi atthu suMdaru kahiu tithayara-hRtthu matthai caDiu saMyameva vidiNNa pahANa -payA nai sUri-paIva na hoti jaNe caudasa-nava- puNvAi-dharA ...viharahi ujjupta kasAya - jae namimo siddhahaM gaNaharahaM / namimo savvahaM munivarahaM // 1 // moha - mahAri - malla. haya - vikkama / duttara bhava-samudda- uttAraNa // 2 // tittha - pavattaNammi vihiyAyara | dAruNa - visaya- suhesu agiddhA ||3|| aTTha vi pADihera arahaMtA / parama-rUva nAnAviha vaNNA ||4|| niNavariMda apaDiya - sAsaNa | tI - aNAya je viharaMtA ||5|| mukka-roga-jara-maraNa- jammayA / je atitthe titthe visiddhayA ||6|| je saliMge gihi-liMge saMgayA / je ya ajiNa patteya-buddhayA ||7|| itthi purisa ahavA napuMsayA / te jayaMtu pannarasa - bheyayA // 8 // dIva jalahi siddhA ya pavvae / te jayaMtu siddhA pahANayA ||9|| sorheti jehiM sahiyA muNiNo / surIhi carijjadda taM ca sayA // 10 // suteNa jehiM so saMgahiu / maNi jAha maMtu suMdaru paDiu // 11 // te gaNahara-deva jayaMti jayA / micchatta timiru ko haNai khaNe // 12 // bahu- suya paMca - vihAyAra - parA / Ayariya jayaMti sayA vi nae // 13 //

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112 puNu jayahiM ujjhAya kaya-nicca-sajjhAya / je bArasaMgAI ghosaMti caMgAI // 14 // pAti muNi-satthu jANaMti paramatthu / je pavara-mai-jutta tava-caraNa-ujjutta // 15 // uttama-vihANeNa uvaesa-dANeNa / je bhavya tAreti doggai nivAreti // 16 // Agamaha suttAI jesiM susuttAI / jIhAge nivasaMti maNayaM pi na khasaMti // 17 // je vimala-nANeNa ujjoya-karaNeNa / dIvaya avijjhAya te jayahiM ujjhAya // 18 // jayaMtu sabba-sAhuNo aNaMga-caMda-rAhuNo / khamAi-dhamma-dhArayA tabugga-teya-sArayA // 19 // siddhi-vimovi dubbalA viDhatta sAra-saMbalA / solaMga-bhAra-vAhiNo bhavvANa kappa-sAhiNo // 20 // sajjhAya jhANa-vAvaDA guNehiM loga-pAyaDA / gurUNa bhatti-saMtayA vitattha-mUla-maMtayA // 21 // payaMta daMta-iMdiyA jayammi je aNiMdiyA / bhanvANa moha-nAsayA amukka-gaccha-vAsayA // 22 // vibhinna-mANa-kuMjarA paNaDha-moha-paMjarA / aNNANa-rukkha-bhaMjayA jayaMtu savva saMjayA // 23 // evaM teloka-pujjA mahA-sattayA siddhi-siddhaMgaNAe samAsattayA / dhamma-vabahAra-karaNammi je sedviNo saMthuyA te mae paMca parameTThiNo // 24 // dukkaro jehiM ghoro tavo ciNNao jehiM bhavvANa mokkha-paho diNNabho / jehiM saMsAra-rayaNAyaro tiNNao jehiM micchatta-guru-pavao bhinnao // 25 // jANa nAmeNa duriyAI jati khayaM pAva-sattUNa je satthu aitikkhayaM / jANa nAmeNa pAveti suhamaggalaM paMca-paramedviNo deMtu te maMgalaM // 26 // jiNavarA siddha-sUrIhiM saMjuttayA thuNiya ujjhAya sAhU ya tihiM guttayA / deMtu bohiM samAhiM ca suha-kAraNA bhIma-bhava-khutta-sattANa sAhAraNA // 27 //

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saMghapati-nayaNAgara-rAsa (saM. 1474 kI bhaTanera se mathurA yAtrA) saMpA. bhaMvara lAla nAhaTA aba taka ajJAta 15 vIM zatAbdI ke tIna tIrthayAtrA-saMghoM ke rAsa yahA~ prakAzita kiye jA rahe haiM / ina rAsoM kI eka mAtra prati tatkAlIna likhita hamAre saMgraha zrI abhaya jaina granthAlaya, bIkAnera meM haiM / ye tInoM rAsa tIna tIrthasthAnoM ke yAtrAoM ke vivaraNa sambandhI hai / ye tInoM saMdya bhinna bhinna saMghapatiyoM ne rAjasthAnavartI bhaTanera se nikAle the / saMbata 1479 meM bhaTanera se mathurA mahAtIrtha kA yAtrI-saMgha nikalA thA jisake saMghapati nAharavaMzIya nayaNAgara the / isameM bhaTanera se mathurA jAte va Ate huve jo jo sthAna rAste meM par3e unakA acchA varNana hai / _ pahale pArzvanAtha aura supArzvanAtha ko bhAvapUrvaka praNAma karake phira manovAMchita denevAlI kuladevI vAMghula ko namana kara kavi mathurA tIrtha ke yAtrAraMbha karAne vAle saMghapati nayaNAgara kA rAsa varNana karatA hai| - jaMbUdvIpa-bharatakSetra meM bhaTanera prasiddha hai jahA~ balavAna hamIra rAva rAjya karatA hai / vahAM rAjahaMsa kI bhA~ti ubhaya-pakSa-zuddha nAhara vaMza meM nAgadeva sAha hue, jinake 1 khimadhara 2 goriku 3 phammaNa 4 kuladhara 5 kamalAgara pAMca putra dharmAtmA aura deva-guru-bhakta the / khimaghara ke putra 1 suMgAgara 2 gujjA 3 gullAgara 4 Thakkura the| gullA kA putra DAlaNa aura usake 1. mohila va 2 dhannAgara puna hue / mohila kI patnI jagasIhI kI kukSI se utpanna nayaNAgara kula meM dIpaka ke sadRza hai jinakI patnI kA nAma gUjarI hai / dhannAgara kI strI sAdhAraNa kI putrI aura vayarA, halhA, rayaNasIha parivAra kI jananI hai / . eka dina nayaNAgara ne saMghapati vinakA, vIdhau, gunnA ke putra vairA, bhullaNa ke putra, sajjana, dhannA ke putra valhA, hallA Adi parivAra ko ekatra karake mathurApurI siddhakSetra kI yAtrA dvArA sAta kSetroM meM dravya vyaya kara janma saphala karane kA manoratha kahA / vIghau, aura vaharo ke prasannatApUrvaka samarthana karane para var3agaccha ke munizekharasUri-zrItilakasUri-bhadrezvarasUri-munIzvarasUri ke pasAya se RSabhadeva bhagavAna ko devAlaya meM sthApana kara gUjarI devI ke bhari nayaNAgara aura popA ke kulazaMgAra karamAgara saMghapati sahita mitI vaizAkha vadi 2 ko saMgha kA prayANa huaa| nAnA vAjitroM kI dhvani se gaganamaMDala garjane lagA, brAhmaNa, bhATa yAcakarUpI dAdura-mora zora macA rahe the, evaM zvetAmbara muniyoM ke misa caturdika kIrti-dhavalita ho rahI thI / saMgha prathama prayANa meM hI laddohara A gayA / phira nauhara-gogAsara ke mArga se hisAra koTa paha'ce, sarasA kA bahuta sA saMgha yahA~ A milA / chaH darzana ke logoM kA poSaNa kara sthAnasthAna para bhakti karate hue saMgha sahita saMghapati nayaNAgara bahAdurapura Aye / nAgarika logoM ne bar3e samAroha se nagarapraveza karAyA / khemA-gUDara tANa kara saMgha kA par3Ava huA / dilAvara khAna ne nAnA prakAra se saMghapati ko sammAnita kiyA / aneka utsavoM aura zAntika pauSTika vidhi sahita vAje gAje se saM. 1479 mitI vaizAkha zukla 10 bhRguvAra ke dina zubha

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muharta meM caturvidha saMgha sahita zrI munIzvarasUrijI ne saMghapati-tilaka kiyA / jelhI aura caMbhI AzIrvAda deto bhAmaNA letI thii| saMghapati nayaNA-gRjarI daMpati ne jImanavAra Adi karake muyaza prApta kiyA / zubha muhUrta meM saMghapati ne bhojA ke nandana kelhU, dUgar3a mIhAgara ke putra devarAja, jhAMjhaNa ke vaMzaja arjuna ke putra sAMgAgara aura vAyela vaMza ke sikkhA ke putra sonUina cAroM vIra puruSoM ko saMpakArya ko sucArU saMcAlanArtha 'mahAdhara' pada para sthApita kie| saMghapati karamA ke putra kAlAgara, pAlhA ke putra mUlarAja, siMgharAja ke putra saravaNa ke putra saMsAracaMdrako saMghapati sthApita kie / cAroM dizAoM se apAra saMgha Akara milA, jinazAsana kA jayajayakAra huaa| bahAdurapura se prayANa kara mAnavanai (mAnava nadI ) ke tIra para calate hue viSama ghATI sahArapura hotA huA AnandapUrvaka ullaMghana kara pahAr3iya nagara pahuMce / vahA~ se dUsarI dizA meM calakara 'kAmaidhAgaDha' aura sahArapura hotA huA AnandapUrvaka saMgha mathurApurI pahuMcA / dUra se hI pavitra jinastUpa ke darzana ho gae, saMghapati nayaNA jo mohila kA nandana aura gUjarI devI kA bhartAra thA-ne saMgha kA par3Ava yamunA taTa para DAlA / nadI kI tarala taraMgoM ko dekhakara saMghapati prasanna ho gyaa| sIha malika udAra thA, jina pratimAoM ke darzana hue / nAriyala, phalAdi bheMTakara kapUra aura puSpoM se arcA kI / pArzvanAtha-supArzvanAtha aura mahAvIra prabhu ke nhavaNa-vilepana-dhvajAropaNAdi se pApoM kA nAza kiyA / siddhakSetra meM kevalI bhagavAna jambUsvAmI ke stUpa kI vandanA kI / bhAvabhaktipUrvaka calate hue stUpa pradakSiNA dekara janma saphala kiyA aura bhava bhava meM tIna jagata ke devAdhideva pAca-supAca-voraprabhu kI sevA prApta ho aisI bhAvanA kI / - mathurA se lauTa kara nirbhaya paMcAnana siMha kI bhAMti saMghasahita saMghapati sahAra nagara hote hue pahADiya nagara pahuMce / viuhA pArzvanAtha kA bahumAna pUrvaka namana kara pahAr3I mArga ullaMghanakara bhuvahaMDa pArzvanAtha kI vandanA kara jahA~ jahA~ se saMgha AyA thA, apanA apanA mArga pakar3A / tejArahapura Akara nayaNAgara saMghapati saMgha sahita hisAra koTa ke mArga se bhaTanera pahu~ce /

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prathama bhASA pahilauM pAsu supAsunAhu bhAvihi paNamevI / anu maNavaMchiya dei mAi vAghula kuladevI // nayaNAgara-saMghapatti-rAsu manaraMgi bhaNIjai / mathurApuri-tIrastha-jAtra AraMbhu thuNIjai // 1 // jaMbUdIvaha bharahakheti bhaTanayaru pasiddhau / rAju karai hamIrarAu bhuyabalihi samiddhau // nAharavaMsihi rAyahaMsu bihu-pakva-pavittau / puhavi payaDDa nagadeu sAhu dhaNa-kaNa-saMjuttau // 2 // paMca putta tamu meru jema avicala dhara dhIra / khimadhara goriku puruSarayaNa phammaNa vara vIra // kuladhara kamalAgara pavINa tiNi vaMsi pavitta / dhammadhuraMdhara devaguruha bhattihiM saMjutta // 3 // khimadhara putta pavitta cAri pahilau suMgAgaru / gujjau bIjau puttu sadharu agaNiu gullAgaru // cauthau Thakkuru nAmi dINa-jaNa-maNa-AsAsaNu / viNaya viveka vicAra sAra guNa dhammaha kAraNu // 4 // gullAsaMbhavu dhara-pavINu DAlaNu guNaAgaru / DAlaNa-naMdaNa vevi thuNau mohila dhannAgaru // mohila vara gharadharaNi rAma jima sItA rANI / jagasIhI niya-putta-jutta parivAra-samANI // 5 // tAsu kukkhi guNarayaNarAsi haMbau pabhaNIjai / kuladIpaku cahu desi sayali nayaNau jANIjai / / / nayaNA-saMghapati-gharaNi nAma gUjari supahANI / bhAgi subhAgihiM rayaNakukkhi guNa gauri-samANI // 6 //

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sAdhAraNadhiya dhammi saghara dhannAgara gharaNI / vayarA halhA rayaNasoha parivAraha jaNaNI / / iya niya-pariyaNa-kalata-putta-parivAra-saMjuttau / sohai mahiyali mahimavaMtu nayaNau jayavaMtau // 7 // // ghAta // jaMbudIvihi,jaMbudIvihi nayaru bhaTanayaru tiha rAjA haMbIravaro nyAya cAya cahudisi pasiddhau taha nAhara-vaMsi dharu nAgadeu khimadharu samiddhau gullA sAkha-siMgAra-karo DAlaNa kulihi pavittu dhamma-kamma-ujjoya-karu nayaNAgaru jayavaMtu // 8 // dvitIya bhASA .. . . anna divasa nayaNAgarihiM meliu niya-parivAru / ta vikkAgaru saMghapatti tahiM ta vIghau buddhi-bhaMDAru // 1 // ta gunnA-naMdaNu atulabalo vairo vInavi tAma / ta bhullaNa-saMghapati-kumaru ta sajjaNu saccau nAmu // 2 // ta dhannA-sutu valhau sadharo ta hallaDa suyaNa-sahAru / ta niya-mani dhari ucchAhu dhaNau vInaviyau parivAru // 3 // siddhakhetu mathurApuriya tIratha-jAtra karesu / sapta kheti vitu vAvi kare hau jIviya-phala desu // 4 // ta vIdhau vairo vayaNu suNi maNi viyasiya pabhaNati / jAta karahu kulu uddharahu jima jagi jasa pasaraMti // 5 // ta vaDagacchihi muNisiharasure siriyatilaya surirAya / tasu paTTi bhadesarasari guro muNisarasUri pasAya // 6 // devAlai thiru thappiyau nAbhi-nariMda-malhAru / ta prasthAnau kari gahagahae gujari-taNau bhatAru // 7 // vaisAkhaha vadi bIya diNe popA-kula-siMgAru / / ta karamAgara-saMghapati-sahiu cAlai saMghu apAru // 8 //

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ta bhuMgala - maddala - saMkha - sare gayaNaMgaNi garjati / maggaNa- baMbhaNa bhaTTa - misiM dadura mora rasaMti // 9 // seyaMbara - suNivara - misihiM dhavalaya cahudisi kitti | lohari saMghu Aviyara paDhana pANai jhati // 10 // ta nahara - gogAsara - pahihiM koTi hisAra pahuttu / sarasA-paTTaNa saMdhu tarhi tihi Aviyara bahu // 11 // ta chadaMsaNa poSai supare ThAmi ThAmi bahu bhakti / bahAdurapura Aviyau nayaNAgaru saMghapatti // 12 // ta paisArau ucchavi karae nayaraloDa vitdhAri / paMca saha gaDayahi tahiM jiNa sAsaNa-majjhAri // 13 // || ghAta || anna divasihi, anna divasihi meli parivAru kAju kariva bhaNiya bhAva bhagati vInavai saMghapati devAlaya thapiyau suhamuhutti siri-paDhama-jiNapati bhaTTiya yaraha Adi kare pahutau nayari hisAri nayaNAgaru tahi Aviyara bahAdurapuraha majhAri ||14|| * tRtIya bhASA nayari bahAdurapuravarihiM | khemA gUDara tANI khAna dilAvara - mAnU e lAghau nayaNai bahu parihiM // 1 / utsava karai bahUtU e vikrama cauda guNAsiyar3a | mAsi vasaMta vaisAkhI e bhRguvAsari tithi dasamIe // 2 // sAsaNadevi pasAe saMti puSTi kari vidhisahiya / maMgala gAyahiM nArI e ayahava sUhava gahagahiya || 3 || paMca sabada visathArI e vAditra vAjaI mahurasare catura - nagara - nara-nArI e saMghapati - jayajayakAra kare ||4|| saMghaviNi anu saMghapatti e saMghu catuvbiMdhu meli kare suha laganihi sumuhuttIe tilaku kiyau dhanu dhanu jaMpara rAyA e saMghapati atihi suhAvaNau jelhI diyaha asIsA e caMbhI lIyai bhAmaNau || 6 || munIsarasure ||5||

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jemaNavAra visAlA e saMghapati nayaNai supari kiya loya bhaNai jayakArU e gujarivari jagi sujasu liya / / kappar3a kaNaya kavAI e nAlakeri saMgha-pUja kare / / maggaNajaNa ANaMdI e nayaNai saMghapati nighuTa nare // 8 // saMghAhivii sumuhuttI e cAri mahAdhara thApiyai / kelhU ati guNavaMtU e bhojA-naMdaNu jaMpiyai // 9 // dUgaDa-vaMsi pasiddha e mIhAgara saMghapati-taNau / devarAju punivaMtU e dharmakAji mahiyali thuNau // 10 // jhAjhaNa-kulaha nariMdU e arajuna-saMbhavu sadhara naro / sAMgAgaru jayavaMtU e vAvela gotra-pavitra-karo // 11 // sonU suyaNa-sadhArU e sikkhA-naMdanu jaanniye| e cArai naravIrA e saMghapatikAji vakhANiyae // 12 // saMghapati karamA-kumaraha kAlAgara taha tilaku kiyau / dhAlhA-kula-naha-caMdU e mUlarAju saMghapati Thaviya u // 13 // saravaNa-kuli sAdhArU e siMdharAja-naMdanu sabalo / saMsAracaMdu udArU e saMdhabhAra hua dhuri dhavalo // 14 // cahu disi saMdhu apArU e miliyau saMkha na jANiyai / jiNasAsaNi jayakArU e sayala loya vaskhANiyai // 15 // // ghaat|| vaMsi nAharasi nAhara saguNu saMghapatti nayaNAgari uccau karavi meli saMghu bahu desi hu~tau khemA gUDara tANi kare sayala-loya-mani vacani vasabau vaisAkhaha sudi dasami diNi mahiyali mahimAvaMtu tilaku liya u saMghAhivai koDi jugga jayavaMtu // 16 // caturtha bhASA sayalu saMgho taha cAliyao, mAlhaMtaDe, mAnavanai kai tIri / viSama ghATI ullaMghi kare, suNi suMdari, pahutu pahADiya-nayari // 1 // saMghu digaMtara cAliyau, mAlhaMtaDe, kAmaidhagar3hi saMpattu / sahArapurihi saMghu gahagahiu, suNi suMdari, mathurapurIhiM pahuttu // 2 //

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durihiM nayaNihiM pekhiyao, suNi suMdari, vihu jiNadhUbhu pavittu / yamunAtIra avAsiyau saMdhu, suMdari mohila - taNau suputtu || 3 || tarala - taraMgihiM raMjiyau, mAlhaMtaDe, gUjari-taNau bhatAru / jiNavara biMba payAsaI e, suNi suMdari sIho maliku udAru || 4 || phalanAliyarihiM bheTi kare, mAlhaMtaDe, caracaI phUli kapUri / maha maNoraha pUrisa e, mAlhaMtaDe, pApu paNAsiya dUri ||5|| nhavaNa vilepaNa pUja dhaja, mAlhaMtaDe, pAsa supAsa jidi / vIra jiNesara pUjiyau, mAlhaMtaDe, nayaNAgara AnaMda ||6|| kevali jaMbUthUbhu nami, mAlhaMtaDe, siddhakhetrahi johAri / bhAvi bhagata mokalAvaI e, mAlhaMtaDe, thUbha pradakSaNa sAri // 7 // bhalau sahU nitu mANiyau puNu deje bhavi bhavi nija payaseva / pAsa supAsa prabhu vIra jiNa, mAlhaMtaDe, trijagadevAdhideva // 8 // saMghapati taha hiva cAlaI e, mAlhaMtaDe, paMthihiM payaDDu abIhu / ariyaNa-gaya- ghaDa bhaMjaI e, mAlhaMtaDe, jisau paMcAyaNa sIhu ||2|| nayara sahAra Aviyau, mAlhaMtaDe, saMghu pahADiya thAni / viuhA pAsu namati kare, suNi suMdari, saMghapati ati bahumAni // 10 // girivaTa nai ullaMdhi kare, mAlhaMtaDe, bhuvahaMDa pAsa namevi / jo jihata saMgha Aviu suNi suMdari so mani paMthu lahevi || 11 || tejArai puri Avi kare, mAlhaMtaDe, nayaNAgara saMghapatti / koTi hisAraha paMthu leI, suNi suMdari, devaguraha payabhati // 12 // bhaTTayari saMghu Aviyau, mAlhaMtaDe, paisArau bahu bhAvi / vairo valho raMjiyau, suNi suMdari, maMgala dhavala vadhAvi // 13 // pUnakalasa siri ThAva kare, mAlhaMtaDe, ayahava suhava nAri / mohilanaMdanu cira jayau e, suNi suMdari, ucchava ghari ghari vAri || 14 || mathurApuri jiNu vaMdiyau, mAlhaMtaDe, munisarasUti pasAI 1 rayaNasUri gahiu, suNi suMdari, UlaTu hiyai na mAi ||15|| sahiya suAsiNi raMjiyai, mAlhaMtaDe, nayaNa diyahiM AsIsa | putra- kalatra-ghaNa-kaNa - sahiyau, suNi suMdari, jIvau koDi varIsa // 16 //

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nyAyavizArada mahAmahopAdhyAya zrImadyazovijayagaNi viracita siddhanAmakoza saMpAdaka paM. amRtalAla mohanalAla bhojaka mahopAdhyAya zrI yazovijayakRta aneka grantho aprApya che. temA A 'siddhanAmakoza' upalabdha thayo che. ane tene ahoM be prationA AdhAre sarva prathama saMpAdita karyo che. 1. ja0 saMjJaka prati-- Arya zrI jambUsvAmi jaina muktAbAI Agamamandirasatka pU0 AcArya zrI vijayaraivatasUrisaMgRhIta pUjyapAda AcArya zrI vijayajambUsUri hastalikhita cidraMjanakoza DabhoI (gujarAta) mAM prastuta siddhanAmakoza nI prati surakSita che. patra saMkhyA 6 che. pratyeka pRSThimAM 15 paMkti che. chaThA patranI pahelI pRSThinI AThamI paMktimA siddhanAmakoza pUrNa thAya che. pratyeka paMktimA 44 athavA 45 akSara che. koIka paMktimA 48 akSara paNa che. pratyeka pRSThinI chahItho dasamI paMktinA madhya bhAgamA lekhake akSara lakhyA vinA koro bhAga rAkhIne zobhana (riktAkSarazobhana) banAvyuM che. te A pramANe-chaThIthI dasamI paMktinA madhyabhAgamAM anukrame 3-6-9-6-3 akSara jeTalo koro bhAga che. pratyeka patranI bIjI pUMThInI jamaNI bAjunA (jonAranI) hAMsiyA (mArjIna) nA nIcenA bhAgamAM te te patrano kramAMka lakhyo che. ane DAbI bAjunA hAMsiyAnA uparanA bhAgamA 'siddhanAma' lakhIne A kRtinuM nAma sUcavyu che ane tenI nIce te te patranA kramAMka lakhyo che. pratyeka pRSThanI upara nIceno a? iMca bhAga koro rAkhyo che. ane bAjU eka eka iMca korI che arthAt pratyeka pRSThimAM 81431. iMca lambAI pahoLAImAM A koza lakhAyelo che. pratyeka pRSThinI pratyeka paMktinA Arambha ane antane AvarIne UbhI be lAla lITIo dorelI che ane pratyeka pRSThinA banne cheDe UbhI eka lAla lITI dorelI che. lambAI pahoLAI 91441 iMca pramANa che. antamAM "likhita rAjanagare saM0 1739 varSe iti zreyaH" A pramANe TUkI puSpikA che. kartAnA sattAsamayamAM A prati lakhAyelI che. 'siddhanAmakoza' nI sAdyanta-saMpUrNa vAcanA A pratithI ja upalabdha che e dRSTie A pratinuM mahattva atighaNuM che. 2 ya0 saMjJaka prati-ahIM upara jaNAvelI prati maLayAnI jANa meM pa0 pU0 paM0 zrI yazovijayajI mahArAjane (mumbaI) karI. ane 'siddhanAmakoza' saMpAdita karIne 'saMbodhi' trimAsikamAM prakAzita karI rahyo chu, ema paNa meM jaNAvyu. teozrIe vinA vilaMbe temane paNa prApta thayelI . 'siddhanAmakoza nI pratinI mane jANa karI. uparAMta jaNAvyu ke temane prApta thayelI pratinu prathama patra nathI. Ama chatAM teTalo bhAga jato karIne paNa teo tenu sampAdana prakAzana karavAnI taiyAromA hatA teve vakhate meM teozrIne sampUrNa prati maLayAnI jANa karI. ane temanI pAsenI pratino upayoga karavA mATe vinaMti karI. AthI atiprasanna bhAve temaNe temanI pAsenI pratinI phoTosTeTa kaoNpI kar3hAvIne mane mokalAvI. A phoTokaoNpIne jotAM ja meM antaHpramoda pUrvaka dhanyatA anubhavI. A prati pUjyapAda mahopAdhyAyajI zrIyazovijayajI mahArAjanA svahaste lakhAyelI che. zrIyazovijayajI mahArAje potAnI aneka racanAo svahaste lakhelo che, ane anta mAM lekhaka tarIke potAnA nAmano ullekha prAyaH karatA nathI. A pramANe prastuta siddhanAmakozanA antamAM paNa temaNe lekhaka tarIke potAnu' nAma nathI lakhyu'. Ama chatAM temaNe svahastAkSararUpe jyAM potAnu nAma latyu che tevI prationA AdhAre pUjyapAda AgamaprabhA kara munivarya

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mahopAdhyAyazrIyazovijayagaNisamuccitaH zrIpuNyavijayajI mahArAje, temanA svahaste lakhAyelI ane lekhakanA nAmollekha vinAnI aneka pratio nirNIta karI che. AvI keTalIka pratio lAlabhAI dalapatabhAI bhAratIya saMskRti vidyAmandiramA surakSita muni zrI puNyavijayajInA saMgrahamAM vidyamAna che uparAMta DaddelAnA upAzraya ( amadAvAda, nA jJAnabhaNDAramAM paNa vairAgyaratigrantha che. pU0 pA0 u0 zrIyazovijayajI mahArAjanA hastAkSaranI cakAsaNInA prasaMgomAM pU0 pA0 AgamaprabhAkarajInI pAse besIne jovA - zIkhavAnuM saubhAgya mane aneka vAra prApta thayelaM. AthI ja prastuta ya0 saMjJaka pratinI phoTokaoNpI joIne AlhAda thayo. uparAMta vizeSa spaSTatA mATe lA0 da0 vidyAmandiramAMnA aha jaNAvelA saMgrahanI pU0 pA0 upAdhyAyajIe svahaste lakhelI prationI sAthai prastuta phoTokaoNpInA akSaro meLavatAM savizeSa khAtrI thaI ke A ya0 saMjJakaprati kartAe pote ja lakhelI che. kula pAMca patramAM lakhAelI A pratinuM prathama patra naSTa thayuM che. tethI prArambhathI dvitIyazatakanA teramA lokanA uttarArdhanA prathama akSara sudhIno pATha meLavI zakAyo nathI. pAMcamA patranI bIjI pRSThinI AThamI paMktimA A koza pUrNa thAya che. pratyeka patranI pratyeka pRSTimAM 15 paMktio che. pratyeka paMktimA ochAmAM ochA 41 ane vadhumAM vadhu 56 akSaro che. saMpAdana karyu che keTalAMka upara jaNAvelI be prationA AdhAre siddhanAmakoza' nuM sthAnomAM pAThabhedo che. temAM mukhyatve ' ya0' pratinA pATha mULamAM svIkAryA che. Ama chatAM koIka sthAnamA 'je0 ' pratinA pAThane paNa prAdhAnya ApyuM che. u0 zrIyazovijayajIe, svahaste lakhelI 'vairAgyarati' nI pratimAM ekaja sthAnanA vikalparUpe pote ja yojelA pAThabheda aneka sthAnomAM lakhyA che. AthI 'jaM0' pratimAM AvatA pAThabhedo kadAca sugamatA mATe pote ja nodhyA hoya tevI pratinA AdhAre A 'jaM0' prati lakhAI hoya e saMbhavita che. 'jaM0' prati kartAnA sattAsamayamA ja lakhAelI hoI termA anyakRta pAThabheda thavAnI zakyatA ochI saMbhave e paNa hakIkata che. 'jaM0' prati saMpUrNa hovAthI prastuta kozanI pUrI vAcanA Ape che. 'ya0 ' prati kartAe lakhelI che tathA 'jaM0' pratimAM AvatA koika azuddha sthAnamAM zuddha pATha Ape che. A rIte A banne prationuM AgavuM mahattva che. prastuta saMpAdanamAM pratyeka zabdanI pachI je kramAMka Apyo che te banne pratiomAM che te pramANe ja che. siddhanAmakoza ati prAcIna samayathI pratyeka sampradAyamA pota- potAnA ArAdhya deva - devIonI stavanA rUpe aneka stuti--stotro racAyAM che. stuti-stotrono ekAgratAthI pATha karanArane laukika-alaukika lAbha acUka thAya che. A hetuthI prAcInatama samayathI arvAcIna samaya sudhImAM vividha stuti - stotronI racanA ane teno pATha karavAnI paraMparA sacavAi rahI che. anekavidha vastunirUpaNa rUpe racAyelAM stuti stotromA ArAdhya deva-devIonAM nAmokIrtanarUpe racAyelAM stotro paNa ThIka ThIka pramANamAM upalabdha che. temAM ya aSTottarazatanAmastotra ane sahasranAmastotro paNa racAyelAM che. zramaNa-brAhmaNaparaMparAmAM vividha sahasranAmastotro racAyAM che. zramaNaparaMparA mAM - - AcArya zrI - jinasenakRta 'jinasahasranAstotra,' AcArya zrI hemacandrasUrikRta 'arhannAmasahasrasamuccaya', AzAgharakRta 'jinasahasranAmastotra' jovaharSagaNiviracita ''janasahasranAmastotra, ' paM. saMbodhI 4. 3-4

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siddhanAmakozaH bAhmaNaparaMparAmAM paNa 'zivasahasranAmastotra,' gaNezasahasranAmastotra,' 'ambikAsahasranAmastotra,' 'viSNusahasranAmastotra' Adi aneka sahasranAmastotro racAyelAM che. mahApuruSonu yogabala ja ebuM hoya che ke temanA hAthe dorAyelI rekhAo paNa mANasane siddhidAyaka yantra kAma Ape. ane temanA aMtaranI UmithI racAyelAM stotro tenA pAThakane A loka tathA paralokamAM sukha-zAMti Ape ja. prastuta 'sidbhasahasranAmakoza' tevA prakAranI racanA che. A hakIkata kartAe paNa upAntya lokamAM jaNAvI che. prastuta siddhanAmakozane dasa prakAzamAM pRthakkRta karIne granthakAre tenA dasa vibhAga davyA che. ekathI nava sudhInA pratyeka prakAzamAM 'siddha' zabdanA paryAyarUpa so zabdone ane atima dasamA prakAzamAM eka so ATa zabdone saMgRhIta karyA che. A rIte A koza 'siddha zabdanA 1008 zabdono saMgraha che. jema suprasiddha AcArya zrI hemacandrasUrie mahArAjA kumArapAladeva mATe racelA vItarAgastotranA pratyeka vibhAganA antamAM 'zrIkumArapAlabhUpAlasubhUSite' lakhyu che tema prastuta siddhanAmakozanA pratyeka vibhAga-prakAzanA antamAM AvelI puSpikAmAM "sA "panajI' suzraSite" lakheluM che. AthI jANI zakAya che ke prastuta siddhanAmakozanI racanA, rAjanagara (amadAvAda) vAstavya saMghamukhya ranana zAha nA putra saMghamukhya panajI zAhanA mATe thaelI che, juo pratyeka prakAzanA antanI puSpikA, panajI zAhanA pitAnA nAmano ullekha dasamA prakAzanA antanI puSpikAmAM che. pratyeka prakAzanA aMtamA AvatI puSpikArmA A kozane 'siddhanAmakoza'nA nAmathI ja ja ullekhyo che tethI meM A nAmane ja mukhya gaNyu che. Ama chatAM 'ya'0 pratimAM . dasamA zatakanI puSpikA pachI samagra racanAnA aMtane sUcavatI 'sampUrNamidaM siddhasahasranAmaprakaraNama' A puSpikAnA AdhAre A koza- bIju nAma 'siddhasahasranAmaprakaraNa' paNa graMthakArane abhimata che. granthakArano nAmollekha Ave che te sarvAntima zArdUlavikrIDita chaMda sivAya samana racanA anuSTup chaMdamAM che. . prathama prakAzanA trIjA zlokathI dasamA zatakanA bAramA zloka sudhImAM siddhanAM 1008 nAma che prathama zlokamAM-'jemanA praNidhAnathI indrasaMbaMdhi zrInI prApti, e to AnuSaMgika phala che paNa mukhya phala to mahodaya=siddhinI prApti che evA siddharnu ame dhyAna karIe chIe" ema jaNAvyuM che. ane bIjA zlokamAM-"siddhanAM 1008 nAmanu smaraNa, e sajjanone zaraNarUpa che tathA sarva maMgalomAM zreSTha maMgalarUpa che." ema jaNAvyu che. dasamA zatakanA bAramA zloka pachInA prathama zlokamAM-"jeo prabhAtamA jAgarUkapaNe A . eka hajAra ATha siddhanAmano pATha kare che teo vAraM vAra svarganAM sukha bhogavIne siddhi mokSa ne pAme che, emAM saMzaya nathI." ema jaNAvIne siddhanAmakozanA pAThanu mAhAtmya sUcavyu che. ane aMtima zArdUlavikrIDitachaMdamAM kartAe potAno paricaya A pramANe Apyo che-"gaNonA samUhathI svaccha ane sAmarthya gA dhAmarUpa, zrIvijayadevasUri sugurunA gacchamAM zreSTha sAmarthyane pAmelA jItavijaya nAmanA prAjJa puruSa che..temanA gurubhAI ane jJAniomA zreSTha evA naya

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11 . mahopAdhyAyazrIyazovijayagaNisamuJcitaH vejayajInA bAlaka-ziSya yazovijaya nAmanA munie A [siddhanAmakozarUpa] kiMcit tattvane kA che." nahopAdhyAya zrIyazovijayajI jaina zvetAMbara mUrtipUjaka paraMparAmAM Ajatho 288 varSa pUrve, bhAratanA mUrdhanya vidvAno ane saMtonI AgalI hoLamAM manAyelA nyAyavizArada mahAmahopAdhyAya zrImad yazovijayajI mahArAjanA janmasaMvata viSe judAM judAM vidhAno thayAM che. jyAre temano nirvANasaMvata 1743 che, emAM khAsa matabheda nathI. nirvANasaMvatanA saMbaMdhamAM prasiddha vidvAna pro0 zrI hIrAlAla ra0 kApaDiyAe vi0 saM0 1745ne prAdhAnya ApyuM che, ane te u0 zrI yazovijayajI kRta 'pratikramaNahetugarbhasajjhAya'nA racanAsaMvatanA "yuga yuga muni vidhu" pAThano artha vi0 saM0 1744 mAnIne. paNa pro0 kApaDiyAnA vidhAna pachInA varSImAM pUjyapAda AgamaprabhAkara munivarya zrI puNyavijayajI mahArAjane 'pratikramaNahetugarbhasajjhAya'nI vi0 saM0 1743 mAM lakhAyelI prati maLI che, AthI have prastuta nirvANasaMvata 1743 mAnavAmAM Apatti nathI.. u0 zrI yazovijayajonA jIvana ane kavanano paricaya aneka vidvAnoe vistArathI Apelo hovAthI ahIM te sabaMdhamAM pro0 kApaDiyA racita 'yazodohana' graMtha tathA 50 pU0 paM0 zrI yazovijayajI mahArAje saMpAdita karelA ane temanI preraNAthI saMpAdita thayelA u0 zrI yazovija jo racita graMtho jovAno bhalAmaNa karUM chu. A graMtho 'yazobhAratIprakAzana' taraphathI prakAzita yayA che. uccArAdinA kAraNe jemane saMskRta bhASA agharI lAgatI hoya tevA dharmAbhimukha varganI abhyarthanAthI ke vizeSa upayogitAnI dRSTie sarvasAdhAraNa lokabhASAmA 'siddhasahasranAmavarNanachaMda' nI racanA paNa u0 zrI yazovijayajIe karI che. A chaMdanI saMpUrNa prati upalabdha thaI nathI. je bhAga upalabdha che tenuM prathama prakAzana 'zrImad yazovijayopAdhyAyaviracita gUrjarasAhityasaMgraha' nAmanA graMthamAM thayu che, juo tenuM 133 muM pRSTha prakAzaka bAvacaMda gopAlajI-mubaI. AnA AdhAre, jainadharmaprasAraka sabhA (bhAvanagara) taraphathI prasiddha thayelI 'arhannAmasahasrasamuccaya' nAmanI pustikAmAM ApelAM vividha stotronI sAthe A 'siddhasahasranAmavarNana chaMda'ne punaH mudrita karyo che. A punaH mudraNamAM, prastuta chaMdanA kartA u0 zrI yazovijayajI haze ke kema? evI zaMkA jaNAvI che. enI sAme 'yazodohana' granthamAM pro0 kApaDiyAe prastuta chaMdanA kartA 30 zrI yazovijayajI kema na hoI zake ? tema jaNAvyuM che. pro0 kApaDiyAnA A vidhAnane prastata siddhanAmakoza' puSTi Ape che. prasiddha thayelA 'siddhasahasranAmavarNanachaMda'mA eka hajAra nAma nathI e barAbara, paNa tenA prAraMbhamAM maGgalAcaraNa nathI tethI anumAna karI zakAya ke 'siddhanAmakoza' nI jema 'siddhasahasranAmavarNanachaMda'mAM paNa eka so ke tethI vadhAre zabdonA samuccayarUpe vibhAgo karyA hoya jemAMno antima vibhAga prApta thayo che, je aho jaNAvyA pramANe mudrita thayo che. . prastuta kozanA saMpAdana kArya mATe potAnA graMthasaMgrahanI hastalikhita prati udArabhAve upayoga karavA mATe ApI che te badala pUjyapAda AgamaprajJa AcArya bhagavaMta zrIvijayajaMbUsUrI

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12 siddhanAmakozaH zvarajIno tathA parama pUjya paM0 zrI yazovijayajI gaNivarano vinIta bhAve upakAra mAna cha. __'ya0' pratinA lekhakano nirNaya karavA mATe lAlabhAI dalapatabhAI bhAratIya saMskRti vidyAmandiranA mukhyaniyAmaka zrI dalasukhabhAI mAlavaNiyAe u0 zrI yazovijayajInA svahaste lakhAyelI pratio jovAnI anukULatA karI Apo te badala temanA pratye AbhAranI lAgaNI vyakta karUM chu. 'ya' pratinI lipi sAthe u0 zrI yazovijayajIe lakhelA graMthonI lipinI sarakhAmaNI karavAmAM sahAyaka thavA badala lakSmaNabhAI bhojaka pratye kRtajJabhAva jaNAbu chu.

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nyAyavizAradamahAmahopAdhyAyazrImadyazovijayagaNisamuccitaH siddhanAmakozaH aindrI zrIH praNidhAnasya phalaM yasyAnuSaGgikam / mukhya mahodayaprAptistaM siddhaM praNidadhmahe // | 1 | tasyASTasahasrAkhyAsmaraNaM zaraNaM satAm / maGgalAnAM ca sarveSAM paramaM maGgalaM smRtam // 2 // anAdizuddhaH 1 zuddhAtmA 2 svayaMjyotiH 3 svayamprabhuH 4 | kevala: 5 kevalI 6 jJAnI 7 kevalAtmA 8 kalojjhitaH 9 ||3|| sArddhasattri kalAtIto 10 nyUnAdhika kalAnidhiH 11 // Dear 12 nantAtmA 13'nantaprApti 14 ranantajit 15 ||4|| parameSThI 16 parabrahma 17 paramAtmA 18 sanAtanaH 19 / sadAzivaH 20 para jyotiH 21 dhruvaH 22 siddho 23 niraJjanaH 24 // 5 // anantarUpo 25'nantAkhya 2 6 stathArUpa 2 7stathAgataH 28 / yathArUpo 29 yathA jAto 30 yathAkhyAto 31 yathAsthitaH 32 // 6 // lokApramauli 33 lokezo 34 lokAlokavilokakaH 35 / lokeDayo 36 lokapo 37 lokatrAtA 38 lokAgrazekharaH 39 // 7 // vizvadRg 40 vizvatazcakSuH 41 vizvataH pANi4 2 rAtmabhUH 43 / svayambhU 44 rvizvato bAhu45 vizvAtmA 46 vizvatomukhaH 47 ||8|| vizvakR 4 8 dvizvarUpazca 49 vizvavyApI 50 vidhu51 vidhiH 52 / vizvazIrSo 53 namadvizvo 54 vizvAdhArazca 55 vizvasuH 56 ||9|| vizvambhara [:] 57 zivo 58 vizvAvatAro 59 vizvadarpaNaH 60 / vizvakhyAto 61 jayo 62 mRtyuJjayo 63 mRtyunivAraNa 64 // 10 // sarvAdiH 65 sarvagaH 66 sarvajanInaH 67 sarvadarzanaH 68 / suzrutaH 69 susthitaH 70 susthaH 71 purANaH 72 prAktano 73 vibhuH 74 // 11 // vidhizeSo 75 vidheH sAraH 76 paro vidhi- niSedhataH 77 / prazAntavAhya 78 nirvAcyo 7 9 di sabhAgaparikSayI (1) 80 // 12 // apadI 81 nakSaro 82 niccho 83 hyatadvayAvRttilakSaNaH 84 / brahmacaryaphalIbhUto 85 brahmo 86 brahmapadasthitaH 87 ||13||

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14 siddhanAmakozaH AtmavAn 88 vedavAn 89 viSNu 90 brahmavAn 91 brahmasambhavaH 92 / sUkSmaH 93 parAtparo 94 jetA 95 jayI 96 sarvamalojjhitaH 97 // 14 // upAsanAnAM phaladaH 98 upAsyatvena dezitaH 99 / sarvAvipratipannazca 100 kRSoSTakuzalAni naH // 15 // // iti mahopAdhyAyazrI yazovijayagaNimuccite rAjanagaravAstavya saGghamukhyasAha 'panajI' suzrUSite siddhanAmakoze prathamazatakaprakAzaH // | 1 || dharmavi1ddharmakR2ddharmI 3 dharmAtmA 4 dharmadezaka: 5 / sudharmA 6 dharmado 7 dharma nAyako 8 dharmasArathiH 9 // 1 // dazadharmA 10 nantadharmA 11 dharmadhAraH 12 svadharmagaH 13 / paradharmavinirmukto 14 dharmaprApI 15 vidharmabhRt 16 // 2 // dharmacakrI 17 mahAdharmA 18 dharmamUrti: 19 sudharmadRg 20 / dharmAGga 21 dharmasanyAsI 22 dharmAdharmavivarjitaH 23 // 3 // dharmottaro 24 dharma kIrti 25rdharmamud 26 dharmamaNDalaH 27 / dharmAnoghA 28 dharmamauli29rdharmAgrI 30 dharmazAsanaH 31 // 4 // dharmakSamI 32 dharmamRdu33 rdharmaju 34dharma saMyamaH 35 / dharmasatyo 36 dharmatapA 37 dharmabrahmA 38 zucistata[:] 39 // 5 // dharmatyAgI 40 dharmamukti 4 1rdharmastho 42 dharmazAzvataH 43 / dharmalabhyo 44 dharmasevyo 45 dharmazraddhAvazaMvadaH 46 ||6|| dharmadhAtuH 47 kSamAdhAtuH 48 zuddhadhAtu4 9radhAtubhAg 50 / zrIpAtazca 51 nipAtazca 52 hRIpAtaH 53 pAtakakSayI 54 // 7 // zreSThaH 55 sthaviSThaH 56 sthaviro 57 jyeSThaH 58 praSThaH 59 purohitaH 60 / gariSThadhI 61rariSTacchid 62 bahiSTho 63 niSTha eva ca 64 // 8 // vyomamUrti65ramUrtizcA6 6ntarikSAtmA67 nabhomayaH 68 / gaganAtmA 69 mahAkAza70 zvAmbarAtmA 71 nirambaraH 72 // 9 // suyajvA 73 yajJapuruSo 74 yajJAGga75mamRtaM 76 haviH 77 / dharmayajJo 78 mahAvIro 79 yajamAno 80 niyAjabhAga 81 // 10 // mantramUrti 82 mantra cIjaM 83 mantranyAsazca 84 mantrarAT 85 / mahAmantro 86 mantrapati 876 ( 6 ) sthAnaM 88 sumantrabhUH 89 // 11 //

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mahopAdhyAyazrIyazovijayagaNisamuccitaH cinmantro 90 mantrasaMsthAno 91 mantreDyo 92 mantrapUjitaH 93 / mantramAtraH 94 sphuranmantro 95 mantradevazca 96 mAntrikaH 97 // 12 // JcamaGgalamantrazca 98. sarvamantrAvatAravAn 99 / mantrapratyakSarUpo 200 yastasmai bhagavate namaH // 13 // - // iti mahopAdhyAyazrIyazovijayagaNisamuccite rAjanagaravAstavyasaGghamukhya-mA panajI'suzrUSite siddhanAmakoze dvitIyazatakaprakAzaH // 2 // jaganAtho 1 jagajjyeSTho 2 jagatsvAmI 3 jagatpitA 4 / agannetA 5 jagaddhartA 6 jagabandhujjagadguruH 8 // 1 // jagattrAtA 9 jagatpAtA 10 jagadrakSo 11 jagatsavaH 12 / jagadIzo 13 jagatsraSTA 14 jagadvandyo 15 jagadvitaH 16 // 2 // jagatpati 17jaganmAnyo 18 jagacchAstA 19 jaganmukham 20 / jagaccakSu21rjaganmitraM 22 jagadIpo 23 jagatsuhRt 24 // 3 // jagatjyo 25 jagaddhayeyo 26 jagadvi27jjagadaryamA 281 jaganmAtA 29 jagabhrAtA 30 jagabhAnu31jaganmaNiH 32 // 4 // jagadairyo 33 jagaccintyo 34 jagatkAmyo 35 jagatpriyaH 36 / jagaddhetu3 jagatketu 38rjagatsImA 39 jagannidhiH 40 // 5 / / jagavaidyo 41 jagajjyoti42rjagatpoSI 43 jagavRSaH 44 / jagatpUSA 45 jaMgadhUryo 46 jagadbIjaM 47 jagattaraH 48 // 6 // jagatsAro 49 jaganmUlaM 50 siddhArthaH 51 siddhazAsanaH 52 / siddhasthAnaH 53 susiddhAntaH 54 siddhagI: 55 siddhadhIH 56 sudhIH 57 // 7 bhavAbdhyagasti58rbhavahRd59 bhavacchi60dapunarbhavaH 61 / kAlAtIto 62 bhavAtIto 63 bhayAtotaH 64 kalAtigaH 65 // 8 // guNAtIto 66 rajo'tItaH 67 kalpAtItaH 68 kulAtigaH 69 / varNAtItaH 70 padAtIto 71 mArgAtIto72'kSarAtigaH 73 // 9 // vAkyAtItaH 74 smayAtIto 75 vAco'tIto 76 nayAtigaH 77 / 1. ya0 saMjJakaprateH prathamaM patraM vinaSTam, ato dvitIyapatrasya prathamapRSTheH prArambhaH "pra. tyakSarUpo" ityato vidyate / / 2. namaH // 13 // dvitIyazatakaprakAzaH 2 // 0 // 3 gatsahRt ya0 // 4. jagadguruH ya0 / / 5. jagadvi 27jegada jaM0 // 6. yo ya0 / / 7. jagaduryo ja0 // 8. siddhAtaH ya0 //

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siddhanAmakozaH vRttyatItaH 78 spRhAtIto 79 nyAsAtIto 80 janAtigaH 81 // 10 // chando'tIto 82 janAtIto 83 lokAtIto 81 layA tegaH 85 / yogAtIta 86stapo'tIto 87 vratAtIto 88 yamAtigaH 89 // 11 // dhyAnAtIto90 mano'tIta91zcintAtIta 92zcayAtigaH 93 / lepAtIto 94 gadAtIto 95 kAmAtIta96stamo'tigaH 97 // 12 // vedAta to 98 vayo'tItaH 99 sarvAtItazca 300 yaH prabhuH / karmendhanAni dahyante tasya dhyAnAgninA kSaNAt' / / 13 // ||iti mahopAdhyAyazrIyazovijaya-gaNisamuccite samukhya-sA panajI-: suzrUSite zrIsiddhanAmakoze tRtIyazatakaprakAzaH // 3 // amRtAtmA 1'mRtodbhUto2'mRtasraSTA3'mRtodbhavaH 4 / amRtIgho5'mRtAdhAro6'mRtAGgo'mRtasaMsthitiH 8 // 1 // kRtajJaH 9 kRtakRtyazca 10 kRtadharmA 11 kRtakratuH 12 / kRtavedaH 13 kRtAtmA ca 14 saMskRtApti 15rasaMskRtaH 16 // 2 // bhAvaH 17 svabhAvo 18 nirvagoM 19 mukhyavargo 20'pavargabhAga 21 / sattA 22 padArthaH 23 pUrNArtho 24 lakSaNArtha25 strilakSaNaH 26 ||shaa pabhezaH 27 padmasambhUtiH 28 padmabhUH 25 panaviSTaraH 30 / hRtpamastho 31 mahApamaH 32 padmaH 33 padmAsanodayaH 34 // 4 // hiraNyagarbhaH 35 zrogarbho 36 viraJci 37ehinnshc 38 kaH 39 / vedagarbhaH 40 zatAnandaH 41 purANajJaH 42 purANagaH 43 // 5 // vizvaretA 44 haMsargati 45mahAmazca 46 haMsarAha 47 / prajApatiH 48 prajAnAtho 49 hiraNyezo 50 hiraNmayaH 51 // 6 // hRSIkezo 52 nabhaHkezaH 53 sthANu54rjiSNu: 55 pitAmahaH 56 / bhiSagvaro 57'gadaGkAro 58 vaidyo 59 vastagado 60'gadaH 61 // 7 // varadaH 62 pAradaH 63 zrIdaH 64 siddhidaH 65 sarvezamaidaH 66 / varSIyAn 67 vRSabho 68 varSo 69 vRSaketu70vRSadhvanaH 71 // 8 // mahAbodhi72varddhamAno 73 maharddhi74vRddhilakSaNaH 75 / / ahAni-vRddhi76stulyAtmA 77 triliGgo 78'tistriliGgakaH 79 // 9 // 1. 'tU // 13 // zrIsiddhanAma jaM0 // 2. gati45rdharmahaMsa jaM0 //

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mahopAdhyAya zrIyazovijayagaNisamuccitaH nirakSaH 80 kRtabhUrakSo 81 rakSohantA 82 svarakSitaH 83 | "AtmekSaNaH 84 kSaNamayaH 85 zubhaMyuH 86 puSkalekSaNaH 87 // 10 // trayImaya 88 ketu 89rdhArAvAhI 90 trayodharaH 99 / tejomaya 92stretA 93 dazapAramitezvaraH 94 // 11 // trayItanu 95strayogItaH 96 piTekAyadezitaH 97 / tristha 98strikaraNonmukta 99khi brahmaprakRtiH 400 zriye // 12 // // iti mahopAdhyAyazrIyazovijayagaNisamuccite saGghamukhya-mA 'panajI' supite zrIsiddhanAmakoze caturthazatakaprakAzaH // 4 // zakto 1 nirejaH 2 kUTasthaH 3 zIlezaH 4 zIlanAyakaH 51 zailezaH 6 prAptazailezi7rnizcayI8 vyavahAramuk 9 // 1 // anupAdhi 10 rupAdhinit 11 sarvopAdhivizuddhimAn 12 / anAcAryo 13'nupAdhyAyo 14 guru 15rguruziromaNiH 16 // 2 // svayambuddho 17 vibuddhazca 18 sambuddho 19 buddhajAgaraH 20 / turIyAvasthita 21sturyaH 22 siddhajAgarikAtrayaH 23 // 3 // azastraH 24 zastramuk 25 zastrojjhitaH 26 zastravivarjitaH 27 / azastrI 28 paramAzastro 29 zastra bhI 30 rakutobhayaH 31 || 4 || dayAsindhu 32 rdayApAlo 33 dayanetA 34 dayAnidhiH 35 / dayAlaH 36 svadayAcihno 37 dayAzreSTho 38 dayodayaH 39 // 5 // dayAsthAya 40 dayAsthAnaM 41 sarvazuddhadayAmayaH 42 / 17 dayApAtra 43 dayAmAtro 44 dayAvyApto 45 dayonnatiH 46 // 6 // AtmArAma 47zcidArAma 4 8zcidrAmo 49 rAmasattamaH 50 / zrIrAmaH 51 kevalArAmo 52 dayArAmo 53 virAmavAn 54 // 7 // ananmarAmo55'ti (tI) rAmo 56 mahArAmo 57 manoramaH 58 / svatorAmaH 59 svayaMrAmaH 60 kevala rAma 61 eva ca ||8|| mahendrArkSyo 62 mahendreDyo 63 mahendro 64tIndriyArthadRk 65 / anindriyo 6 6 'hamindrAMcya6 7DatAndro 6 8tIndriyadRk 69 svadRk 70 // 9 3. zriye // 12 // zrIsiddhanAmakoze 1. AtyekSaNaH ja0 // 2 pitRkaM ya0 // caturthaprakAzaH // 4 // jaM0 // / 4. kevalArAma jaM0 //

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siddhanAmakozaH bhUtAtmA 71 bhUtabhRd 72 bhUtarakSI 73 bhUtAbhayaGkaraH 74 / prabhavo 75 vibhavo 76 bhUtAdhAro 77 matAnupagrahaH 78 // 10 // antaprANo 79 mahAprANaH 80 prANadaH 81 prANitezvaraH 82 / prANezaH 83 prANadayitaH 84 prANAyaH 85 prANavallabhaH 86 // 11 // prANottara: 87 prANagati 88raprANaH 89 prANinAminaH 90 / agrAhyo 91 gahanaM 92 gUhya 93 praNavaH 94 praNavotsavaH 95 // 12 // prANAyAmaprakaTitaH 96 prANa mantrI 97 japaJjapaH 98 / draSTA 99 kalaGkalIbhAvaH 500 siddhaH siddhiM dadAtu naH // 13 // // iti mahopAdhyAyazrIyazovijayagaNisamuccite rAjanagaravAstavyasaGgamukhya-sA panajI'suzrUSite zrIsiddhanAmakoze pazcamazatakaprakAzaH // 5 // mahAzivo 1 mahAjyotiramahAsiddho 3 mahAdhruvaH 4 / mahAdRSTi5 mahAprApti mahArUpo 7 mahAyazAH 8 // 1 // mahAtrAtA 9 mahAcakSu 1 mahAdhAro 11 mahAvidhiH 12 / mahAvibhu 13rmahAsAro 14 mahAvedo 15 mahAgamaH 16 // 2 // mahopAsyo 17 mahAdhyeyo 18 mahAvyApI 19 mahAmahaH 20 / mahAnAtho 21 mahAjyeSTho 22 mahAsvAmI 23 mahAsuhRt 24 // 3 // mahAnaSTA 25 mahAvanyo 26 mahAmAnyo 27 mahAmuniH 28 / mahApUjyo 29 mahAbhrAtA 30 mahAkAmyo 31 mahApriyaH 32 // 4 // mahAhetu3 3mahAsImA 34 mahAvedho 35 mahauSadhaH 36 / mahAmArgo 37 mahAnyAso 38 mahApUSA 39 mahAcalaH 40 // 5 // mahAmUrti 41mahAcakrI 42 mahArAjo 43 mahAnayaH 44 / / mahAkIrti 45mahAsphUrti46 mahAsatyo 47 mahAtapAH 48 // 6 // mahAmukti 49rmahAtyAgI 50 mahAbrahmA 51 mahAzuciH 52 / mahAghAtu53mahApraSTho 54 mahAyajvA 55 mahAhaviH 56 // 7 // mahAvyoma 57 mahAbIjaM 58 mahAmAtro 59 mahAdhRtiH 60 / mahAkRtI 61 mahAbhAvo 62 mahAvargo 63 mahAdharaH 64 // 8 // mahAsano 65 mahAbhUti66mahezazca 67 mahAvRSaH 68 / mahAziSTi 69mahAdezo 70 mahAjJazca 71 mahAvrataH 72 / 9 // 1. nH||13|| zrIsiddhanAmakoze paJcamazatakaH pra jaM0 / / 2. mhaakRni61mhaay0||

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mahopAdhyAya zrI yazovijayagaNasamuccitaH mahAgati7 3 mahAsthASNu 74 mahAvRddhi 75 mahAkSaNaH 76 / mahAguru77rmahANuzca 78 mahAvezamA 79 mahAvazI 80 // 10 // mahAzako 81 mahAzIlo 82 mahAcAryo 83 mahAguNaH 84 | mahAdayo 85 mahApAtro 86 mahAvyApti 8 7rmahonnatiH 88 // 11 // mahArNavo 89 mahAmeru 90 mahAzAstro 91 mahAdhanaH 92 / mahAvasu 93 mahAvedo 94 mahApoto 95 mahAgRham 96 // 12 // mahAdityo 97 mahAsomo 98 mahAprajJAkara 9 9stathA / mahAkavitAraca 600 zreyAMsi vitanotu naH // 13 // 19 // iti mahopAdhyAyazrIyazovijayagaNisamuccite [rAjanagaravAstavya )] saGghamukhya - sA 'panajI' suzrUSite zrIsiddhanAmakoze pazatakaprakAzaH ||6|| vijayo 1 vaijayantazca 2 jayanta 3 zvAparAjitaH 4 / sarvArthasiddha5stIrthArcaH 6 svayambhUramaNo 7 jayaH 8 // 1 // sadAtanaH 9 sadAjJAnaH 10 sadAsatyaH 11 sadAzrayaH 12 / sadA suhRt 13 sadA saukhyaH 14 sadAvidyaH 15 sadodayaH 16 // 2 // sadAyogaH 17 sadAbhogaH 18 sadAtRptaH 19 sadAnaghaH 20 / sadAsnAtaH 21 sadAlepaH 22 sadoddyotaH 23 sadAsthitiH 24 // 3 // atulyo 25 sadRzo 26 kalpo 278samAno 28 savayA 29 nagaH 30 / ago 31 nagAdhirAjazca 32 sthAvaro 33 jaGgamAzrayaH 34 // 4 // prakSINabandhaH 35 kAmAriH 36 premANaparidhiH 37 pradhIH 38 / kRtAnandaH 39 kRtAmoda : 40 kRtazarmA 41 kRtodayaH 42 // 5 // kRtAntasRd 43 kRtAntacchit 44 kRtAntajJaH 45 kRtAntahRt 46 / samayaH 47 samayAtIto 48 viSamo 49 viSamAtrajit 50 // 6 // jitAri 51rajito 52 dharmamegho53 moghazca 54 zambhavaH 55 / supratiSTho 56 dRDharatho 57 vizvaseno 58 mahArathaH 59 ||7|| cintAmaNiH 60 suramaNiH 61 kAmakumbhaH 62 suradrumaH 63 / rohaNo 64 dakSiNAvartaH 65 kAmadhenu6 6 rakazmalaH 67 // 8 // cintitArthaprada 6 8zcaitya 6 9 zciracchAya 70 zcirasthitiH 71 / jaivAtRko72'nabhijJAno 73 visparzaH 74 sparzagocaraH 75 // 9 // 1. naH // 13 // zrIsidvanAmakoze SaSThazata jaM0 // 2. pramANAparidhiH jaM0 //

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siddhanAmakozaH asammohApya 76 unneyaH 77 puruhUto78'vatAramuk 79 / dazalAkSaNiko 80 dezo81'nuddezo 82'nupacArabhUH 83 // 10 // bandhuro 84 rucira 85zcAru86rbandhU 87 rucyazca 88 zobhanaH 89 / zatazAvaH 90 zatakSazca 91 zatatAraH 92 zatAdhvagaH 93 // 11 // zatopAyaH 94 zatAkhyAnaH 95 zatakIrtiH 96 zatAyaH 97 / zatagRhyaH 98 zatodgIthaH 99 zatavRttiH 700 zriye'stu naH // 12 // // iti mahopAdhyAyazrIyazovijayagaNisamuccite [rAjanagaravAstavya mahamukhya-sA 'panajI' suzrUpite zrIsiddhanAmakoze saptamazata[ka]prakAzaH // 7 // dhIzo. 1 dhiyaH pati 2dhIndro 3 dhiSaNaH 4 zemukhodharaH 5 / dhogaNo 6 ghIsamUhazca 7 gISpatizca 8 girAMpatiH 9 // 1 // vAcaspati 10rvacaH sraSTA 11 bRhadAtmA 12 bRhaspatiH 13 / bahadAraNyako[]dyotI 14 manISIzo 15 manISitaH 16 // 2 // nayotkrAnto 17 nayodbhedI 18 jJAnagarbhaH 19 prabhAsvaraH 20 / ratnagarbho 21 dayAgarbhaH 22 puNyagarbhaH 23 khagarbhagaH 24 // 3 // lakSmIzaH 25 kamalAnAtho 26 nimantu27mantumocanaH 28 / . AzAmocana 29 uddAma 30 bhAzA vizrAmabhAjanam 31 // 4 // dharmayUpo 32 dharmagaNo 33 dharmanemi34rakarmaThaH 35 / dharmacakrAyudho 36 dharmaghoSaNo 37 dharmapoSaNaH 38 // 5 // spRhAmuktaH 39 spRhAtyAgI 40 spRhApazuH 41 spaeNhozitaH 42 / dUrastho 43 dUradag 44 dUrapatha45stathya 46stithipraNIH 47 // 6 // adhyAtmagamyo 48'dhyAtmAGgo 49'dhyAtmApyo50'dhyAtmalocanaH 51 / adhyAtmAdhityako52'dhyAtmakailAzo53'dhyAtmazAsanaH 54 // 7 // adhyAtmavAso55'dhyAtmA! 56'dhyAtmArko 57'dhyAtmabhAskaraH 58 / adhyAtmAMzu59nAdhyAtmaH 60 svAdhyAtmo61'dhyAtmasaGgrahaH 62 // 8 // adhyAtmakoTi63radhyAtmasAro64'dhyAtmaparigrahaH 65 / adhyAtmasRSTi66radhyAtmapavitro67'dhyAtmapAragaH 68 // 9 // 1. "mmohAkhya 76 0 / / 2. degstu vaH // 12 / / zrIsiddhanAma jaM0 // 3. manISISTo 15 jaM0 / / 4. svagarbhagaH 24 jaM0 / / 5. spRhAdhanaH 42 jaM0 // 6. tmasaGgrahaH 54 jaM0 // 7. "tmazAsanaH 62 jaM0 / /

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mahopAdhyAyazrIyazovijayagaNisamuccitaH adhyAtmapUrNo 6 9'dhyAtmeSTo70'dhyAtmAdayo717dhyAtmasaMzrayaH 72 / adhyAtmayajJo 73'dhyAtmendro 74'dhyAtmeno 75 vyAtmavAsitaH 76 // 10 // adhyAtmabhAvyo77dhyAtmeo78vyAtmAcyA 799vyAtmamataH 80 / adhyAtmaraGgo 81'dhyAtmArtho 8 2'dhyAtmAgro 837vyAmamandirama 84 // 11 // adhyAtmapUto 85'dhyAtmAstho 8 6'dhyAtmAjJo87vyAtmasaMvaraH 88 | adhyAtmastho 89sdhyAtmadhano90'dhyAtmajJo 91vyAtmaviSTaH 22 // 12 // adhyAtmapITho9 3'dhyAtmelo 94dhyAtmeno95'dhyAtmasantataH 96 / pradhyAtmo 97'dhyAtmasantAno986yyAtmAkhyo 'pyAtmavi800nmude // 13 // 21 // iti mahopAdhyAyazrIyazovijayagaNisamuccite [rAjanagaravAstavya ] saGghamukhya-sA' panajI' muSite zrIsiddhanAmakoze'STamarAta [ka]] prakAza H ||8|| abho 1do 2 vo 3 nAdo 4 svaro5 svAno 6 svano7tiH 8 / avRddhi9raguNo 10 bindu 11 rAva sargo 12ga 1 3kanaH 14 // 1 // ahaso 15 mAtRko 16 pratyAhAro 17ghoSo 1 8nupAhitaH 19 / anAmA 20 prAtipadiko 21 samAsa 22'vigrahI 23grahaH 24 ||2|| anAkhyAto 25'kRdanta 26 zcAtaddhito 27naNu (nANAdikaH 28 | yogo 29rUDhi 30 rasto bho 3 18cchandA 32 zcApyanalaGkRtiH 33 // 3 // apAto 34'lambano 35 krAnti 36 rarAzi 37ranahargaNaH 38 / anato 39 nunnata 40 lagno 4 16nucco 42 nIco 43 digantaraH 44 || 4 || arko 45nAko 46 nATyo 4 7vibhavo 48 tanubhAvakaH 49 / sthAyo 50 raso51 zlo52 gAtha5 3kAvyo5 4 gIti 55 piGgalaH 56 // 5 anighaNTu5 73nadhyAyo58'saMhito59'vaidyako6 *'vyathaH 61 / agrAmo629mUrcchano6 3'vAdyo 64 nepathyo6 5'niGgito6 6'layaH 67 ||6|| pazyatyAtmA6 8'ghano69 bhASo70 hyavai khari71ramadhyamaH 72 / azveto737pATalo 747zyAmo 75nolo 7677pItimA 78 // 7 // 1. bhAvo 77 jaM0 // / 2 'dhyAtmAyo ?Ggo) 82 jaM0 // / 3. dhyAtmejo 94 dhyAtme jo (1Dyo) 95 jaM0 // 4 prAdhyApyo 97 ya0 // 5 nmude ||13|| zrIsikoze'STama jaM0 // 6. ayogo29 bhUmi 30 rastAbho 31 jaM0 // 7 kAyo ya0 || 8. ranadhyeyo 58 jaM0 //

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siddhanAmakozaH atikto79'madhuro 80 'namlo 8 17kapAyo82'lavaNo83'kaTuH 84 / asaugandhyo 85'padaurgandhyo 86'nuSNo 87'zIto 88'svaro89'mRduH 90 // 8 // asnigdho 91'gauravo92'kSo93'saMsthAno94'laghu95rasmayaH 96 / avedo 97 veda saGgItaH 98 zrIyuktaH 99 zrIpatiH 900 zriye // 9 // // iti mahopAdhyAyazrIyazovijayagaNisamuccite [rAjanagaravAstavya] saGghamukhyasAha pana nI'muzrUpite zrIsiddhanAmakoze navamazatakaprakAzaH // 9 // Adidevo 1 yugAdozo 2 yugezo 3 yugapo 4 yugaH 5 / upajJA 6 samayopajJa7mapratyUho 8 mahAbalaH 9 // 1 // zivanAti 10 mahAzAnti ? 1 nirvRtaH 12 saMvRto 13'vRtaH 14 / arahA 15 aruho16'roha 17 AdyadhyeyaH 18 padottaraH 19 // 2 / AtmarakSA20''tmakavaca21mAtmatrAtA22''tmapaJjaram 23 / / akuNTha24syambakaH 25 sArvaH 26 zarvaH 27 sarvezvaro 28 mRDaH 29 // 3 // AdheDaya 30 AdhacAritra31 mAdyamantraH 32 RgAdimaH 33 / AdhavA 34 gAdya bhU35rAdhanetA36''dyarSi 37rvRSAdimaH 38 // 4 // AdhameghaH 39 pradhAnAdyaH 40zmAdyo 41 nAdyo42 nirAkriyaH 43 / nancho 44 nAdInavo 45 nandyAva? 46'rhaH 47 svastiko 48'stikaH 49 // 5 // proDho50'nUDho 51 mantrazikho 52 dIpto53'righno 54 nirantaraH 55 / bhadro56'nIdR57ganinthastho58'yutasiddhaH 59 susaMyutaH 60 // 6 // alokaskRg 61 lokamadhyo 62 lokamAnyo 63 visaMzayaH 64 / jAgarUkaH 65 sadonnidro 66 nistandro 67 niHpramIladRg 68 // 7 // animeSo 69 nimeSendraH 70 pramAkartA 71 pramApyakaH 72 / pramANaM ca 73 pramAptampradAnaM 74 zuddhapramAzrayaH 75 / / 8 // pramApAdAnaH 76 sambandhI pramAyAH 77 svapramodgataH 78 / mArgoM 79 mArgaprabhu80 rgisvAmI 81 mArga vizodhakaH 82 // 9 // 1. degyaH 96 / anA97'strya98'napuSA saMjJaH 99 zriye siddhAntadevatA 100 // 9 // ya0 // 2. // 9 // zrIsiddhanAma jaM0 // 3. zatapra ya0 // 4. yuganAyakaH 4 // upajJA 5 jaM0, mUlagata 'yugapo 4 yugaH 5' iti zabdadvayasthAne jaM0 pratau 'yuganAyakaH' itye. kazabdollekhAd yA zabdakramAGkaviSaye ekAGkanyUnatA jAtA sA navamazlokottarArddhagatazabdacatuSka sthAne zabdapaJcakollekhAt kramAGkasaMvAdinI babhUva / / 5. mArgo 78 mArgeza79sanmAgauM 80 82 ||9|| jaM0 //

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mahopAdhyAyazrIyazovijayagaNisamuccitaH ekadhI 83rekA 84rekavezmai 85kasthiti 86rekabhUH 87 / ekodbhava 885caikamArgaH 89 ekadhAmai 90 kazAmanaH 91 // 10 // ekAtapatra 92 ekAjJa 93 ekAgra2.4 caikamandira: 95 // gabhasti96staraNi 97stAraH 98 savitA 99 vAntanAzanaH 1000 // 11 // catuSkabhAgaSTaguNo 2 dInapo 3 bhaktavatsalaH 5 / kRpAluH 5 sphItakaruNo 6 dhIraH 7 zrIramaNaH 8 zriye // 12 // +' // iti mahopAdhyAyazrIyazovinayagaNim muccite [gajanagaravAstavya]saGghamukhya-sA ratana suta-sA panajI'muzrUSite zrIsiddhanAmakoze dazamazatakaprakAzaH // 10 // // sampUrNamidaM zrIsiddhasahasranAmaprakaraNam // 'aSTottaraM nAmasahasametat paThanti ye prAtarapapramIlAH / te svargalIlAmanubhUya bhUyaH siddhAlayaM yAnti na saMzayo'tra // 1 // gacche zrIvijayAdidevasuguroH svacche guNAnAM gaNaiH, prauDhiM prauDhimadhAmni jItavijayaprAjJAH parAmaiyaruH / tatsAtIrthyabhRtAM nayAdivijayaprAjJottamAnAM zizustattvaM kiJcididaM yazovijaya ityAkhyA mRdAkhyAtavAn // 2 // // iti zrIsiddhanAmAni / / 4 1. - etaccihnadvayAntargataH pATho jaM0 saMjJakAtau nAsti / / 2. upendravajrAchandaH / / . 3. zArdUlavikrIDitacchandaH / upendravajrA-zArdUlavikrIDitacchandasau vihAya zeSaracanA'nuSTupchandomayo zeyA // 4. 'iti zrIsiddhanAmAni' iti ya0 pratau nAsti / / 5. ni // likhitaM rAjanagare saM0 1739 varSe iti zreyaH // iti jaM0 pratau lekhakalikhitA puSpikA'sti /

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anubandhaphalagarbhA zrIgautamastutiH / saMpAdaka paM. bAbubhAI savacaMda zAhI paM. harizaMkara aMbAzaMkara paMDyA bhagavAna mahAvIranA prathama ziSya zrIgautama gaNadharanI stutirUpa A kRti camatkArika ane AlhAdaka che. gautamasvAmInu nAma jainasaMghamAM aneka rote maMgaLadAyaka gaNavAmAM Ave che. AdhI ja aneka stutio stotro temaja rAso vagere temanA nAmadhI upalabdha che. teo janme trAhmaNa hovA chatAM bhagavAna mahAvIrano eka ja vAra upadeza sAMbhaLI temaNe jainadharma aMgIkAra karyo hato. ane AjIvana tenuM pAlana karI teo mokSagAmI canyA hatA. prastuta kRtinA kartA naMdidharmagaNi che. kavi pratiSThA somaviracita somasaubhAgya kAvya (prakAzaka, jaina jJAnaprasAraka maNDaLa, muMbAI, IsvIsana 1905) nA dazamA sarganA zloka 60 (pAna 192) mA kartA viSe nIce pramANe paricaya maLe che. A sivAya temane aMge athavA temanI bInI kRtio aMge mAhitI upalabdha bhaI zakI nathI. sadvyAkhyAnakalA camatkRtasabho ratnaprabhaH paNDitaH zIlaprojjvalazIlabhadravibudhazcAritriNAmagraNIH / tatta durgamazAstrapAThanakalAspRk nandidharmastathA tretAgnipratimAstrayastribhuvane bhAnti sma tejobharaiH // 60 // "uttama vyAkhyAnakaLAthI sabhAne camatkAra pamADanArA paNDita ratnaprabhasUri, ujjvaLa zIlanu AcaraNa karanAra paMDita zIlabhadrasUri ane cAritrIoma agresara tathA te te durgama zAstro AcAryo trANe jagatamA potAnA bhAvavAnI kaLAne dhAraNa karanArA naMdidharmasUri A traNe apUrva tejanA samUhathI tretA agninI jema zobhatA hatA " uparanA lokamAM "durgama zAstrone bhaNAvavAnI kaLAne dhAraNa karanArA " A pramANe vizeSaNa ApavAthI teo apUrva koTinA vidvAna thayela hoya tema jaNAya che. prastuta kRtinI saMkSipta racanAmAM paNa temaNe vyAkaraNamAM Apela dhAtuonA mukhya mukhya saghaLA anubaMdhonuM phala garbhita rIte samAI jAya tevA dhAtuonA prayogonI guMthaNI karavA pUrvaka zrI gautamasvAmInI stuti karela che. stutinA avacUrikartA paNa asAdhAraNa vidvAna che. teoe stutikAranA saghaLA prayogone saMkSepathI paNa vizada rIte avacUrimAM varNavyA che. temaNe aMte potAnu nAma sUcavela nathI AdhI te aMge prakAza pAtharI zakAyo nathI. A kRtinu saMpAdana ve pratione AdhAre karavAmAM Avela che. (1) lAlabhAI dalapatabhAI bhAratIya saMskRti vidyAmandira, amadAvAda. A jJAnabhaMDAranI pratino kramAMka 15954 che. pratinAM patra 2 che. parimANa 26411.5 se. mI. che. prati suvAcya temana AkarSaka rIte lakhAyelI che. paraMtu pAnu coMTI gayela hovAthI keTalAka akSaro vAMcI zakAyA na hatA je bIjI pATaNanI pratine AdhAre pUrNa karavAmAM AvyA che, prati paMcapAThamA lakhAyelI che. A pratinI lA saMjJA rAkhelI che,

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15 zrIgautamastutiH / (2) A prati zrI hemacandrAcArya jJAnabhaMDAra, pATaNamA rahela pravartaka zrIkAntivijayajI jJAnabhaMDAranI che. teno naMbara 12296 che. patra. 1 che. parimANa 26541915 se. mI. che. prati sUkSma akSarathI paMcapAThamAM suvAcya rIte lAvAyelo che. A praninI pA. saMjJA rAvadhAmA AvelI che. prathama pratimAM nava pralokamAM stuti samApta thAya che. bIjI pratimA stutinA dazA loka che. AThamA ane navamA lokano bhAvArtha lAbhaga satro cha, paNa zAbdika racanAmA pheraphAra che. dazamo zloka upasaMhAra-sUcaka che. lA. da. bhA. saM. vidyAmaMdiravALI pratimA stutinI avacUri vistArathI ApavAmA Ayo che. paraMtu koI koI sthAne sAdhAraNa azuddhi che. pATaNavALI pratimA amuka amuka sthAne avacUri saMkSipta karelI che. je pAThAMtara uparathI joI zakAze. pATaNavALI pratimA AThamA thI dazamA loka sudhIno avacUri bhinnatAvALI che. je AmAM pAchaLa ApavAmAM AvI che. avacUri hAvAthI stutino bhAvArtha samajavAmAM saraLatA thAya che.. A saMpAdanamA nIce pramANe pustakono upayoga karavAmAM Avela che. (1) zrI siddha hemacandra vyAkaraNa. (prakAzaka : ANaMdajI kalyANajI peDhI. amadAvAda. vi. saM. 1991) (2) zrI siddhahema zabdAnuzAsana. (prakAzaka : jaina grantha prakAzaka sabhA.. amadAbAda. vi. saM. 1998) (3) zrI haimaprakAza mahAvyAkaraNa uttarArdha, (prakAzaka : zrI zrutajJAna amIdhArA zAnamandira . mu. veDA. vi. saM. 2010) (4) zrI haimabRhatprakriyA (prakAzaka : hemacandra granthamAlA, amadAvAda I. sa. 1931) (5) siddhAntakaumudI vyAkaraNa. (2)

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zrI gautamastutiH anubandhaphalagarbhA / zrI gautamAya namaH / zrIvardhamAna ziSyAgraNIrmahimadhAma ! gautamAhaguro ! | anubandhaphala zlokaistvAmajJo'pi stuvannasmi // 1 // AryA || asyAvacUrirlikhyate, yathA he * zrogautamAhaguro ! anubandhA akArAdikAraparyantAnAM yatphalaM tadAdhAratvenAdhArasyAdheyopacArAt phalameva ye prayogAH teSAM tairvA ye lokA vRttavizeSAstaiH kRtvA tvAmajJo'pyahaM stuvannasmIti yogaH / atra zrI vardhamAna - ziSyAgraNIriti padaM zrIvIrasyeva zrIgotamasyApi bhRzaM stutyarhatAM pratipAdayati / mahimetyAdi tu yadajJo'pyanantaguNaM bhagavantaM stotuM zaknoti, tatra bhagavaddheturityarthaM vyakti tathA zlokairiti padaM prAya AryAnibaddhAyAmapyasyAM stutau na duSTam / "bhavai ya ittha silogo pehei hiANusAsaNaM" ityAdAvapi tathA darzanAt / bain vRttaracanAmanu lakSIkRtya ye phalabhUtAH zlokA yazAMsi tairhetubhiH kAvyaM bhavatItyarthAntarasUcanAcca / na ca yaizasAM kAvyaphalabhUtatvamayuktaM, "kAvyaM yazase" ityAdivacanAt / athAnubandhAH--akAraH sarvatra uccAraNArthaH / yathA "asaka bhuvi" (adA0 hai. bR.pra.pU. 542) vartamA0 mivi asmIti // 1 // atha prastutastutimAha minnedhamAnamud yo bhajate nandan bhavantamastvA'nyat / viSNumasitvA tamacikrIDat zrIrnAvijaccaismAt // 2 // 'minnetyAdi / snihyavardhamAna harSo'te eva nandan samRddhimAn / yaH kaizcidanyad gRhakAryacintanAdi astvA kSiptvA bhavantaM bhajate / taM nara N zrIlakSmIrviSNuM svaprANapriyamasitvA muktvA'cikrIDat vyalIlasaditi / ( nu) yathA svaprANeza * gau0 pA. / 1. 0 haparyantAnAm pA / 2. bhagavAneva hetu 0 pA / 3. athavA bandhaM pA. / 4. kIrtayaH pA. 5. 0bhirityarthavyakteH pA / 6. kIrttInAM pA / 7. kAvyasya pA. / 8. kAvyaM kurvIta kIrtaye ityukteH pA. / kAvyaM yazase'rthakRte vyavahAravide zivetarakSataye / sadyaH paranirvRtaye kAntAsaMmitatayopadezayuje // iti sampUrNA kArikA. (kA. pra. prathama u.-3 kA. 2) 9. atha stutimAha pA / 10. nindyAnyakRtyamastvA tvAm pA / 11. tasmA0 pA. / 12. 'ta.....mAn' ayaM pATho nAsti lA. / 13. kazcid garhitAparagRhavyApAraM pA. / 14. nanu pA. / 15. 0 zamasitvA pA /

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shriigautmstutiH| muktvA zrIramuM naramacikrIDattathA'mumapi muktvA kadAcidanyaH kazcit krIDito bhaviNyatItyAha- nAvijaccAsmAnna pRthagabhUdityarthaH / iha haripriyAsaMpadoramedema upanyAsaH 'kalAsaMpadoH kAmadhvaje makaramatsyayo rityAdinA tathA pratipAdanAt / bhajate ityatra vartamAnAparo nirdezo bhagavato muktiprAptatvena sAkSAdAzrayaNA'yoge'pi manasASSzrayaNepyetatphalamityarthavyaktyartham / acikrIDadityatra cAtItatvena nirdezazveda vinaya bhajasi tarhi duHziSyo jAta evetyAdAviva bhajananairantaryeNAvazyakaphalasadbhAvalyApanArthaH / evamagre'pi svayaM jJeyam // 2 // na ca bhajanameva phalavadapi tu stavanamapIti tatphalamAha-- nendoryadavaikSIjjagadagamacca prAkaTIttadasya yazaH / yo'nudvignamanAstvAmamohitaH stoSyate netaH // 3 // 'nendo riti / he netaH ! svAmin / na muhyatIti he amohitara mUDhatAmukta ! [anudvignamanAH] abhagnacetA yastvAM stoSyate tasya janasya tadyazaH prAkaTIt prakaTo'bhUt / yat indocandrasakAzAnnAvaikSIdaujjvalyena na pRthagabhUt / jagada karmatApannam agamaJca vyApacceti / mA bhUt stutikartuH svAtmani yazaHprakAzanAdanaucityaM stuterupalakSaNamAtratvaM ca / na ca stutikAla eva yazaHprAdurbhAvo'pi tu tadabhiprAye prAgapIti jJApanArthaM ca stoSyate ityatra bhaviSyantIparo nirdezaH // 3 // bhajanastutyorabhAve bhagavadvAkyArAdhane'pi phalamAha--- tvadamogdhRtapriyaGkara ! prazizriyANAparAgavAkyaM yH| sevetaiSa RtIyitavipadApotphullasAradhim // 4 // tvadityAdi / tvatsambandhi / na muhyati na zAstrArthe viparyasyatIti amogdha ata eva dhAtUnAmanekArthatvAt / RtaM satyaM priyaGkaraM hitaM 'upasargeNa dhAtvartho balAda'nyatra nIyate' / ityukteH prazizriyANaM prazAntam aparAgaM nIrAgaM ca vAkyaM vaco yaH seveta / eSa jana RtIyitApad' gatavyasanaH sannutphullasArardhimullasatsthirasampadam Apa lebhe ityarthaH / 'amogdhRta' ityatra "Rto vA tau ca (si.he.sU.1-2-4) iti 1. kadAcid0 pA. / 2. nAsti 'kadAcid' padam pA. / 3 00 pA. / 4. 0rthaH pA. / 5. yo'bhagnacetAstvAM pA. / 6. stha0 pA. / 7. yadindo0 pA. / 8. / 0zcandrAt pA. / 9. razaktI pA. / 10. tIti pA. / 11. tathA 'upa0 pA / siddhAntakaumudyAm bhUdhAtusthale uddhRtamidam 'prahArAhArasaMhAravihAraparihAravat' / ityuttarArdham /

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zrInandidharmaga NiviracitA sUtreNa RtA saha Rdeva / na ca prazizriyANetyatra *rephasaMyuktena pakAreNa chandobhaGgaH shngkniiyH| pAdAdisthitarephasaMyuktavyaJjanena prAggurutvAyogAt / 'alpavyayena sundari ! grAmyajano miSTamaznAti' ityAdAvapi tathAdarzanena / mathodAharaNAni - At 'Adita' (si. he. sU. 4-4-71 ) iti sUtreNa kayorAdau iniSedhArthI, yathA'tra 'trimidAcU snehane' ( hai bR. pra. pR. 552) mid / akarmakatvAt 'gatyarthAkarmaka0' (si. he. sU. 5 - 1 - 11 ) iti [AAdinA ] kartari 'jJAnecchAcArthajIta0' (si.he.sU.5-2-92 ) iti [AdinA] saiti ke iDabhAvAt ktaisya dasya ca nave minneti / it / 'iGitaH kartari' (si.he. sU. 3-3-22) sUtreNa kartaryAtmanepadArtho, yathA'edhi vRddhau' (bhvA0hai.bR.pra.pU. 516) edhU AtmanepaditvAdanizi zaivamAgame ca dhamAneti / It 'Igita:' (si.he.sU.3-3-95) ityanena phalavati kartaryAtmanepadArtho yathA 'yethA 'bhajIM sevAyAm' (bhvA0 hai. bR. pra. pR. 524) bhaj vartamAnA te zatrU bhajate iti / -12-30 ut "uditaH svarAnnontaH" (si. he. su. 4-4-98) iti nAgamArtho yathA - ' nadu samRddhI' (bhvA 0 hai . bR. pra. pR. 504 ) nad uditvAnnontaH zatrAdau ca nandanniti / 'RduditaH' (si.he. sU. 1-4-70 ) ityanena ca nAgamArtho yathA- na zatari / tathA 'bhAMkU dIptau' (adAdi hai. bR.pra.pU. 548) bhA 'bhAterDa vatuH ' ( uNAdi. sU. 66. si.kau ) iti vati(to) ubhayatra ghuTi RditvAduditvAcca nonte nandan bhavantam iti ca / Ut " Udito vA" (si.he. sU. 4 - 4 - 42 ) iti ktvAdo ivikalpArtho yathA / 'asUc kSepaNe' (hai.bR. pra. pR. 554) / as / kvAyAM vikalpAdiTi vA'stvA - SsitvA ceti / * 'he' iti vikalpena gurutvavidhAnAt / ida sUtra maGgAdAsa mahodayaiH svakIyachandomaJjaya piGgalasUtrasthamiti likhitaM parantu piGgalasUtre kvApi na dRzyate / 1. 0sthena pA. / 2. taruNa sarSapazAkaM navaudanaM picchilAni ca dadhIni / iti pUrvArdham / pAdAntalaghorvikalpena gurutve dRSTAntarUpeNoddhRto'yaM chandomaJjaryAm / 3. 0nAt pA / 4 nAsti pA. / 5. "radAdamUrcchamadaH ktayordasya ca" (si.he.sU. 4-2 - 69 ) / 6. rIti sU0 pA. / 7. (si.he.sU. 5-2-20 ) / 8. zabU mAgamAdau ca pA. (si.he.sU. 3-4-71) / 9. (si. he. sU. 4 - 4 - 114 ) | 10. iti pA0 / 11. nAsti pA. / 12. zavi pA. / 13. 'Nidu kutsAyAm' (hai.vR.pra.pU. 504) nidU 'RvarNavyaJjanAd...'(si.he.sU.5-1-17) iti karmaNi dhyaNi nonte ca nindyeti pA. /

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shriigautmstutiH| Rt "upAntyasyAsamAnalopi zAsvRdito ?" (si.he.sU. 4 --2-- 35) ini Gapare Nau upAntyahasvAbhAvArtho yathA-'kroDa 'vihAre' (ha.ba.pra.vA.pu.501) kroha Nigi adyatanyAM 'Nizri....'(si.he.sU.3-4-58) iti De "dvitvAdI ca prAga havAbhAvAdacikrIDat iti / Rt R[di]d....'(si.he.sU.3-4-65) ityanena vikalpanArthI yathA'viz2a kI pRthagbhAve' (hai.ba.pra.pR.550)viz2a, adyatanyAm divi ali pakSe sici vRddhacAdau cAvijadavaikSIcceti / lat / 'ladidyutAdi.... (si.he.sU.3-4-6 4)ityoM yathA... ga gau' (hai.bR.pra.pR.508) / gam adyatanyAM divi aGi cAgamaditi / eta / "vyaJjanAdevopAntyasyAtaH" (si. he.sU.1-3-17) ityanena mUtreNa prAptAyA api "na zvijAgRzasi kSaNa saceditaH" (si.he.sU.4-3-49) ityanena vRddhaniSedhArtho yathA-'apUrvaH kaTe varSAvaraNayoH' (hai.ba.pra.svA.500) kada adhananyAM divi sici "iMTa Iti" siglugAdau ca vRddherabhAvAt prAkaTIditi / aita / "DIyazvathaiditaH ktayoH' (si.he.sU.4-4-61) ityaneneDabhAvArthI tathA ot "sUyatyAyoditaH" (si.he.sU. 4-2-70) ityanena liyonakArArtho yathA utpUrva "ovijep bhayacalanayoH" (hai.ba.pra.pR. 568)vija kte iDabhAve tasya natve kAdezasyAsattvAt vijo jaisya gatve pazcAt naJyoge cAnudvigneti / __aut-'dhUgaudita' (si.hai.sU.4-4-38)ityaneneTikalpArtho yathA-'muhoca vaicittye' (hai.bR.pra.pR. 554) muhU tUMci tRni" vA guNe naJyoge iTi pakSe hasya patve turdhatve ghasya gatve ca amohita(ta) amogdhR ceti / __ anusvAraH / 'ekasvarAdanusvAretaH (si.hai.sU.4-4-56) ityaneneDabhAvArthoM 'NTuMgk stutau' (hai.bR.pr.pR.546)| Tu tasya stu bhaviSyantI syate / tathA 'NIMga prApaNe' NI 'pAThe dhAtvAde........'(si.he.sU. 2-3-97) iti nI tRci ubhayatreDabhAve ca guNe ca stoSyate netariti ca / 1. vihAyasA gatau paa.| 2. 'dvirdhAtuH...'(si.he.sU.4-1-1) ityAdinA / 3. 'Rdi cchvi ...'pA. / 4. pA. pratAvayaM pATho nAsti / 5. lA. pratAvidaM nAsti / 6. nAsti pA. pratau / 7. 'iT' iti lA. / 8. ktaktavatvoH / 9. 'cajaH kagam' (mi.he. sU.2-1-86) / 10. 'Nakatacau' (si.he.sU. 5-1-48) / 11. "tRna zIla..." (si.he.sU. 5-2-27) / 12. bhvAderdAdeghaH (si.he.sU.2-1-83) / 13. "adhazcanu. ttithodhaH" (si,he.sU. 2-1-79) / 14. "tRtIyastRtIyacaturthe" (si.he.sa.1.3 -- 49) / 15. "SaH so'STathai..." (si.he.sU.2-3-98) /

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zrInandidharmaga NiviracitA kakAro guNAbhAvArthoM yathA 'R' prApaNe [ca]' ( hai. bR. pra. pU. 494) pratyaye tathA 'prIgNU tarpaNe' (hai. bR.pra. pR. 584) prI 'nAmyupAntya zrI kR-gu-jJaH kaH (si. he.su. 51-54 ) iti ke pratyayasya kittvAd guNAbhAve 'saMyogAt' (si. he. sU. 2- 1 - 52 ) iti iyi ca 'Rta (kSema ) priya' (si. he. sU. 5- 1 - 105 ) iti ca khaH / 30 kha 'svitya navyayAruSormonto hUsvaca' (si. he. sU. 3-2-111 ) ityanena mAgamArtho yathA priyaM karotIti / 'kSemapriyamadra bhadrA khANa' (si. he. sU. 5-1-105) iti khe mAgame guNe priyaMkareti / ga / 'igita:' ( si. he. sU. 3-3-95 ) ityanenAtmanepadArtho yathA prAt 'zrig sevAyAm' (hai.bR.pra.pR.522) zri kartari kAnapratyaye 'dvitvAdau ca prazizriyAneti / ghaH / ' tesniTazcanoH kagau Siti' (si.he . sU. 4-1-111 ) ityanena kalagasvArtho yathA-'rabjI rAge' (hai. bR. pra. pR. 524) rajjU / rajyate'nena 'vyaJjanAda ghaJ' (si. he . sU. 5-3-132) iti karaNe Ji (J) 'ghaM (tri) bhAvakaraNe' (si. he. sU. 4-2-52) ityanusvAraluki / ' va bhASaNe' ( hai. bR. pra. pR. 450 ) vac 'RvarNavyaJjanAd dhyaNa' (si. he. sU. 5-1-17) iti dhyaNi ubhayatra prAg vRddhau gatve katve ca rAgavAkyaM ceti / Ga. "iGitaH kartari" (si. he.sU. 3-3-32) ityAtmanepadArtho guNAbhAvArthazca yathA - 'sevRG sevane' (hai.bR.pra. pR. 520 ) sev saptamyA Ita zavi seveteti / tathA 'Rti (ta)ghRNA - gati - spardheSu' (hai. bR. pra. pU. 503 ) Rt "RteGayaH " (si.he.sU. 3-4-2) iti GIye guNAbhAve ktAdau ca RtIyiteti / JiH "jJAnecchA[ca]rthA(rtha)jIcchIlyAdibhyaH kaH " ( si. he. sU. 5-2-92) ityanena saMti tArtho bastu vRddhyartho yathA utpUrvo'dala triphalA visaraNe' (hai.bR. pra. pU. 509) phala sati ke phullotphulla "kSIva.... phullotphulla" ( hai maprakAza. pR. 865) iti nipAte cotphulleti / tathA 'sR gatau' (hai. bR.pra. pR.494) / sR "sartteH sthiravyAdhibalamatsye" (si. he. sU. 5-3-17) iti ghani vRddhau ca sAreti / smatre sAdhanikAvistaraH svayaM jJeyo'nubandhaphalamAtra prakaTanArthatvAdasyA evamagre'pi // 4 // 1. nAmyupAnzya ha kRga rAjJaH kaH lA, nAmyupAntya prI kR za traH kaH pA / 2. karoti pA. / 3. " tatra....kAnau " (si. he. sU. 5-2-2 ) / 4. 5. J pA. / 6. ja pA / 7. 0 SaGi pA. / sarvatra / 10. anubandhamAtra0 pA. / "dvirdhAtuH 0" si. he.sU.. (4-1-1 ) 8. vartamAnAyAmityarthaH / 9. atra

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bhogautmstutiH| atha prastutastutimAhapuSpandhayImiva sthitikarI tavAnandathuprade'hikaje / yaH svAkRtrimabhaktiM cakAra tamabhakta bhajakA zrIH // 5 // yaH kazcittavAnandathuprade samRddhipradAyini aMhikaje pAdapa puSpandhayImiva saurabhalobhopanatabhRGgImiva nijasamyagbhakti sthitikarI] sthitikaraNazIlAM cakAra taM naraM bhajatAdityazAsyamAnA bhajakA zrIlaMkamArabhakkAzizriyAditi / atra zriyAH zrayaNena zrImatvAdipama sAdRzyaM bhagavahikaje nizcIyate ana evaM bhRGgayupamAnaM yuktimat iti| . atrodAharaNAni-'Ta:' 'aNayekagnanaTitAm' (si.he.sU.2-420) ityanena DyarthaH / Tustu "divato'thuH" (si.he.mU. 5-3-83) ityathupratyayArtho yathA-puSpaM dhayatIti / "zunIstanamuJjakulAsyapuSpAt dadhaiH" (si.he.sU.51-119) iti khazi mAgame dhAtoSTitvAt GyAM puSpandhayImiti / sthitiM karotIti "hetutacchIlAnukUle...." (si.he.sU. 5-1-103) ityAdinA de guNe TittvAJca Dyo sthitikarIti / tathA ApUrvaH "Tunadu samRddhau" (hai.ba.pra.pR.50 4) nad bhASe athau Anandathuriti / Da: "DityantyasvarAdeH" (si.he.sa. 2--1-114) ityanenAntyasvaralo. pArthaH, Dustu "Dvitastrimaka taskRtam" (si.he.sU. 5-3-84) ityanena trimagoM yathA-AnandadhuM pradadAtIti "prAjJazca" (si.hai.sU.5-1-79) iti De ke jala tasmAt jAta "ajAteH paJcamyAH" (si.he.sU. 5-1-170) iti he anyasvaralopAdAnandathuprade kaje ceti / tathA karaNena nivRtte tami(ti) trimaki nagi cAkRtrimeti / Nastu vRddhayoM yathA-"DukRG karaNe" (hai.ba.pra.pR.522) kR parokSANAva NittvAd vRddhau dvitvAdau cakAra iti / nastu "iccApuMsonikyAppare" (si.he.sU. 2-1-107) ityanena idabhAvArthoM yathA bhajatAditi "AziSyakan" (si.he.sU. 5-1-70) ityAni striyAM nitvAdidabhAve bhajaketi // 5 // 1. tanchIlAM / 2. vAtra / 3. "parokSe" (si.he.sU. 5-2-12) / 4. "dvirSAtuH parokSAle praa| svare svaravidheH" (si.he.sU. 4-1-1) / .

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32 zrInandidharmagaNiviracitA athAviratasyApi bhagavataH kiyAmAtrastuterbhogAdiphalamAha - yo'kRtyakRt kAntapAzadAsyA svaM saMprayacchate / so'pi cetpajAtIyamuttayA stauti te kriyAm // 6 // candrAvadAtavadanA nirjaralIlAvatI tamAzliSyet / Haatratori mAM smarArditAmava vadantIti // 7 // yugmam // yaH kazcida kAryakArI ninyA kAntA kAntapAzA, sA cAsau dAsI ca tayA sampradAnabhUtayA evaM dravyaM rAgAtirekAdahaM tvadvarAgo'smItyAtmAnaM vA saMprayacchate datte / so'pyevaMvidhAkAryakAryapi paTTI prakAro'syAH sau paTujAtIyA 1 sA cAsau mucca tasyA bhAvo, muttA tathA / cedyadi kAsau mulonmUlitamAravikAraH ka cAhaM narAdhamaH smaravazagatvena dAsyAH kAmuka ityevaM svakarma nindan te tava kriyAM stauti prazaMsati // 6 // tarhi taM naramindujjvalamukhI devAGganA jarArahitAnyastrI vA tvadIyaizaraNaprAptAM madanAtu mAmava rakSeti vadantI AzliSyet AliGge dityarthaH / athodAharaNAni - pakAro " hrasvasya taH pivkRti" (si. he. sU. 4-4 - 113) iti tAgamArthaH / " kyaGmAni pittaddhite" (si.he. sU. 3- 2 - 50 ) ityanena puMvadbhAvArthazca yathA- na kriyata iti " kRvRSi........" iti (si.he. sU. 5-1-42) iti sUtraNa kyapi naJo nakArasyAtve akRtyaM tatkaroti iti kipi talluki pittvAdubhayatra tAgame'kRtyakRt iti / tathA nindyA kAntA * " nindye pAza (pi) " (si. he. sU. 7 - 3 - 4) pitvatpu vadbhAve kAnta *pAzeti / mastu "dAmaiH sampradAne'dharmya Atmane cai" (si.he. sU. 2-2-52 ) ityatra vizeSaNArthaH / yathA saMprAbhyAM 'dAm dAne' (hai. bR. pra. pU. 490) dA vartamAnA te zavi "zrauti...." (si.he. sU. 4 - 2 - 108) ityAdinA yacchAdeze sampradAne tRtIyAyAM dAsyA svaM samprayacchate iti / 1. " dAmaH sampradAne'dharmya Atmane ca" (si.he. sU. 2 - 2 - 52 ) iti tRtIyA / 2. ayaM pAThaH pA. pratistha: / lA pratau tu 'sA paTujAtIyamuttA tayA' ityevamasti / 3. 0 lA / 4. yamava lA. / 5. AliliGgatamAmacirA devAzlikSatItyarthaH pA. / * nAsti pA / 7. "najat" (si. he. sU. 3-2 - 125 ) / 8. * * etaccihnAntarvarttipATho naSTaH pretau / evaM 9-10-11 akeSu api /

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na shriigautmstutiH| rastu "riti" (si.he.sU. 3-2-58) iti sUtreNa puMvadbhAvArtho yathA padavI prakAro asyAH 'prakAre jAtIyara' (ri) (si.he.sU. 7-2-75) puMvabhASe ca paTujAtIya iti / lastu "tilaistulin" minnyani NyaiNi stryuktAH" (hai. li. strI. a. kA. 6) ityanena strIliGgArtho yathA mudo 'bhAve tvatal' (si.he.sU. 7-1-55) iti tali litvAd "At" (si.he.sU. 2-4-18) iti sUtreNA''pi TAdau ca muttayeti / vaH 'uta aurviti vyaJjane'dve:' (si.he.sU.4-3-59) ityAdau 'avau dA....' (si.he.sU. 3-3-6) ityAdau ca vizeSaNArthoM yathA 'eTuMgk stutau' (hai.ba.pra.pR. 546) NTu tasya stu vartamAnA tivi vittvAd guNe autve ca stauti iti, tathA ava pUrvo 'daiva zodhane' (hai bu.pra.pR.495) dai 'mAtsandhyakSarasya' (si.he.sU.42-1) iti 'dA' kte vittvAhAsaMjJAbhAve dato'bhAvAdavadAteti / zaH 'kyaH ziti' (si.he.sU.3-4-70) ityAdau vizeSaNArtho yathA-kriyate iti, 'kRgaH za c (ca) vA' (si.he.sU.5-3-100) zaci (ze) zittvAt kye 'riH zakyAzorye' (si.he .sU. 4-3-110) iti ritve AbAdau ca kriyAmiti / paH 'Sito'G' (si.he.sU.5-3-107) ityanenAGoM yathA, 'jaTra bhUSAlU jarasi' (hai.ba. pra.pR. 551) na SitvAdaGi "RvarNadRzo'Gi' (si.he.sU. 43-7) iti guNe niryogAgnijareti / sastu "nAma sidavyaJjane' (si. hai.sU.1-1-21) ityanena padatvArthoM yathA-bhavata idaM iti Iyasi sittvAtpadatve bhavadIyeti / . AkAraH kacit bhvAdhupalakSaNArtho" yathA-'ava rakSaNe' (ha.ba. pra. pR. 510] av paJcamyA hau bhvAditvAt zavi herlaki aba iti / tathA "vada vyaktAyAM vAci" (hai. bR. pra. pR. 531) vad zatari bhvAditvAt zavi "yazavaH" (si. he. sU2-1 -116) iti zavaH parasyAturantAdeze vadantI ceti / akA 1. "tilastu" aya pATho nAsti pA. / 2. Nyapi - vyuktA' aya' pAThaH lA. pratI nAsti pA. pratau tu vartate / 3. 'dAMvakU lavane (hai.bR.pra.pR 534) iti pAThaH pA. / 4. "kyaH ziti" (si.he.su. 3-4--70) iti sUtreNa / 5. "ataH pratyayAlluk (si.he.sa. 4-2-85) iti sUtreNa api iti adhika pA. /

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zrInandidharmaNiviracitA rasya * vAghupalakSaNe'niyatatvAdalpaphalatvAcca pRthagatraiva darzanam / ata evAveti vedantoti nyAyye AdyanubandhAnvihAyAzeSANAmapi zeSAnubandhAnAM samAptidyotanArtha itizabdasyAntyopanyAsaH / tenAtra ye *chajajhA ThaDha thadadha phavabhAH tathA antyavisargau ca anubandhA noktAste na santItyavaseyamiti // 7 // - atha yasya bhaktyAdiryathAbhilASamiSTArtha phalaiH pamphuloti sa bhagavAneva kimapi vyAvayete jahi jADayamasya doSAn dunu pakaM kSipa tamAMsi rundhi zucam / tanu ca mudaM saccakre muSANa kumudaM prathaya supatham // 8 // ityeva yaH samudyaMyamIti bhAsvadguNairjagatyuditaH / sa tvaM nijadarzanatastanutA dina ! sapadi naH sudinam // 9 // [yugmama] .. jahItyAdi / bhAsvadbhirdIprai svataH sUryasya sambandhibhirjADyApahArAdibhirguNaiH kRtvA jagatyuditaH san jADayaM jaDatvaM zaityaM ca jahi hindhi / doSAn rAgadveSAdIn nizAM ca asya kSipa / pay pApaM kardamaM ca dunu apatApaya / tamAMsi ajJAnAni andhakArANi ca kSipa nuda / tathA saccakre vidvatsamUhe pradhAnakoke ca zucaM khedaM rundhi AvRNu mudaM prIti tanu ca vistAraya / kumudaM kutsitaprIti kairavaM ca muSANa luNTaya / supathaM sAdhumArga nirapAyAdhvAnaM ca prathaya pravartaya // 8 // ___ityeva yo bhagavAn samudhaMyamIti bhRzaM punaHpunarvA samudyacchati sa tvaM hai ina ! he svAmin ! pakSe he arka ! nijadarzanataH svakIyamatAt svasAkSAtkArAt vA no'smAkaM sapadi sudinaM tanutAditi / atra jahItyAdiSu sarveSu kriyApadeSu "pratyaye navA...." (si. he. sU. 54-43) iti sUtreNa hiH / 'athAnubandhAH-kakAro'dAderupalakSaNArthoM yathA 'hanaMka hiMsAgatyoH' / (hai. ba.pra pR. 541) han pratyayAbhAve "zAsashanaH zAdhye dhijahi" (si.he.sU. 4-284) ityanena hyantasya hanaH jahIti / 1. nAsti lA. / 2. * * etaccihnAntargatapAThasthAne pUcchAjAdya iti pAThaH pA. prato / 3. pA. pratau asya lokasya sthAne evaM zloko'sti... hanti tamo'syati doSAn dunoti pakaM ca Dipati jaDimAnam / / saccakrasyograzucaM chinatti tanute tatazca mudam // 8 // 4. adAditvAt /

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shriigautmstutiH| castu divAderyathA--"asUcU kSepaNe" (hai, bR, pra. pR. 554) as hau divAditvAt zye 'ataH pratyayAlluk' (si. he. sU. 4-2 .85) iti sUtreNa he ki asyeti / TaH svAderyathA "TuduTU upatApe" (hai. ba. a. pR. 559] du hau svAditvAt nau 'asaMyogAd oH' (si. he. sU. 4-2-86) iti herluki dunu iti / tastudAderyathA--'kSipIt preraNe' (hai. bR. pra. pR. 561) kSip hiH tudAditvAt ze herlu ke kSipeti / *paistu ru*dhAderyathA--'rudhuM*pI Avara*Ne' (hai. bR. pra. pR. 567) rudhU hiH rudhAditvAt 'rudhAM svarAt........' (si.he.sU. 3-4-82) iti ne "nAtyolak" (si. he. sU. 4-2-90) iti alluki ['hudhuTohedhiH' (si. he. sU. 4-2-83) iti hasya dhAdeze] 'dhuTodhuTi....' (si. he.sU. 1-3-48) iti rudho dhasya luki ca rundhi iti / yastanAderyathA 'tanuyI vistAre' (hai.bR.pra.pR.569) tan hau tanAditvAdupratyaye he ki tanu iti / zaH kayAderyathA-'muSazU steye' (hai.bu.pra.pR. 574) muS ho krayAditvAt nApratyaye 'vyaJjanAt nAherAnaH' (si. he. sU. 3-4-80) iti znAyukasya herAnAdeze Natve ca muSANa iti / ___NacurAderyathA 'prathaN prakhyAne' (hai. ba. pra. pR. 576) pratha ho curAditvAt Nici zavi guNe ayirla(lu)ki ca prathaya iti / yaGluk (pa) veti ki(pi)tkaraNaM yaGlubantAH sarve'pi dhAtavo'dAdau zavanarhAH parasmaipadinazceti jJApanArtha yathA samubhyAM 'ya{ uparame' (hai.bR.pra.pR.508) yam yaGo lupi tivi dvitvAdau Iti ca 'samudhaMyamIti // 9 // ityanubandhaphalagarbhA zrIgautamastuteravacUriH smaaptH(ptaa)| ||shrii|| [pA. pratau tu daza zlokAH santi, tatrASTamanavamau bhAvArthataH lA. pratisthASTamanavamAbhyAM tulyau kevalaM prayogato bhinnau / dazamazloke tu gautamasvAmino bhaktiryAcitA -tikAreNa / ayam dazamaH zloko nAsti lA. pratau / 1. etaccihnAntarvartI pATho lA. pratau truTitaH / 2.-3. * * etaccidAnta. gataH pAThaH lA, pratau truTitaH anumAnataH pUritaH / 4. pravata: Antiviyana sAnama'2. pATa. 1531 na. 248. prati na-12286 patra-1

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36 zrImandidharmagaNiviracitA pA. pratisthASTama navamadazama zlokAnAmavacUristu iyam ] atha bhagavataH kAMzcid vAgguNAnAha hanti tamo'syati dopAn dunoti paGka' ca Dipati jaDimAnam / saccakrasyozucaM chinatti tanute tatazca mudam ||8|| AryA // 1 intItyAdi - sphurad guNaistejasvitvAdibhiH kRtvA bhAsvato dedIpyamAnasya vivasvato vA bhavato gavAM vAcAM pakSe rucAM ca vilAsastamo'jJAnamandhakAraM ca hanti hinasti doSAn dveSAdIn nizAM ca asyati kSipati paGkaM pApaM kardamaM ca punardumoti upatApayati, jaDimAnaM jADyaM zaityaM ca Dipati kSepayati (kSipati ) / cakrasya vidvatsamUhasya pradhAnakokasya ca ugrazucaM tItraviSAdaM chinatti khaNDayati / tatazca zukchedanAnantaraM punarmudaM harSe tanute vismA (stA ) rayati ||8|| kumudaM muSNAti punaH padmollAsaM prapaJzcayatyanizam / rASTi govilAsaH sphuradguNairbhAsvato bhavataH || 9 || yugmam || tathA kumudaM kutsitaprIti kairavaM ca muSNAti luNTayati / padmAyA lakSmyAH padmAnAM kamalAnAM collAsaM prapaJcayati prakaTayatItyevamavamanizaM nirantaraM nizAvirAmaM ca govilAso rArASTi bhRzaM zobhate ityarthaH / , 1 1 anubandhAH | kakAro'dAderupalakSaNArthI yathA 'hanaMka hiMsAgatyoH ' varta0 tiv / adAditvAt pratyayAbhAve hanti iti / castu divAderyathA 'asUc kSepaNe' as tibU, divAditvAt zye asyati iti / TaH svAderyathA 'TuDaMT upatApe' duti svAditvAt "nuH "uzno: " (si. he. sU. 4-3 - 2) iti guNe dunoti iti / tastudAderyathA "Dipat kSepe" (hai. bR. pra. pU. 566) Dip tibU tudAditvAt ze Dipati iti / pastu rudhAderyathA 'chipI dvaidhIkaraNe' chid rudhAditvAt svarAt na chinatti zna iti / yastanAderyathA 'tanUyI vistAre' tan / vartamAnA te, tanAditvAt GaH, iti // 8 // zaH kacAderyathA - 'mupazU steye' muS tiv krayAditvAt zrA tasya Natve muSNAti iti / NacurAderyathA prAt ' paN vistAre' (hai. bR.pra.pU. 574) pac ti curAditvAt Nici nonte zavi guNe ayi ca prapaJcayati iti / yaGluk (pU) veti ki(pitkaraNaM yaGlubantAH sarve'pi dhAtavo'dAdau zavA (va) nahIM: parasmai - padinazceti jJApanArthaM, yathA "rAji (ja) ga TubhrAji (ja) g dIpto' (hai. bR.pra.pU. 524) rAj yaGo lupi tivi dvitvaSatvAdau ca rArASTri iti || 9 || || yugmm|| tanute

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zrI gautamastutiH / ityabhinnutya bhavantaM jagaduttama ! gautama ! prazamavantam / yAce na kiJcidaparaM bhUyAt tvayi bhaktireva param // 10 // 37 ityanubandhaphalena [ yuktA ] zrI gautamasvAmistutiH sampUrNA // devatAnAM gurUNAM ca nAma nopapadaM vinA uccaredityAdivacanAt he jagaduttama ! gautama ! yugapradhAnendra bhUte ! mautametyatra gautamagotrabhavatvenendra mUtyagnibhUtivAyubhUtI mAMsAmAnyanirdeze'pi zrIvardhamAna ziSyAgraNIrityanenendra bhUtireva gRhyte| mukhyagaNadharatvena tasyai (sya) ziSyApraNItvopapatteH iti prAguktaprakAreNa bhavantaM prazamavantamupazamarasopetam abhitya stutvA kiJcidaparaM zrIyazuddhisvargAdikaM na yAce nAbhyarthaye paraM kevalaM tvayi bhavadviSaye sarvopeyArthasAdhanI bhaktireva bhUyAt sampa yatAma iti / ityanubandhaphalagarbhA zrIgautamastavAvacUriH /

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siddhisarikRta pATaNa-caitya-paripATI (saM. 1576) " saMpAdaka-bhogIlAla ja. sAMDesarA madhya kAlamA racAyelu tihAsika jaina gujarAtI sAhitya bhASA ane sAhityanA vikAsanI dRSTie to agatyarnu che, parantu e sAhitya mAtra jaina samAjanI ja nahi, paNa tatkAlIna gujarAtanI dhArmika-sAmAjika sthiti upara anekavidha prakAza pADe che. vyaktigata AcAryoM ke guruo viSe vistRta rAsAoM uparAMta nAnakaDAM stavano ke phAguo racAyelAM che. jaina tIrthonu varNana karatI ke eno vRttAnta AlekhatI aneka nAnI moTI kRtio maLe che. jUnI tIrthamAlAo ke caityaparipATIonA keTalAka saMgraho pragaTa thayA che. keTalAMka viziSTa' nagaronI caityaparipATIo te te nagaronA sthAnika itihAsa mATe paNa kAmanI che. gujarAtanI aitihAsika pATanagarI pATaNa viSe eka karatAM vadhu caityaparipATIo maLe che te, e mahAnagaranAM sthaLanAmono ane sthAnika vasatImAM dhArmika-sAMpradAyika pheraphArono abhyAsa karavA mATe upayogI che. saM. 1648 (I. sa. 1592)mAM lalitaprabhasUrie ane saM. 1729 (I. sa. 1673)mAM harSavijaye racelI 'pATaNa-caitya-paripATI'nu saMpAdana muni zrI kalyANavijayajIe kayu che (prakAzaka-zrI haMsavijayajI jaina lAyabrerI, amadAvAda, saM. 1982). saM.1821 (I. sa. 1765)mA upAdhyAya jJAnasAgarajIe 'tIrthamAlA stavana' racyu che, temAM pATaNanI caityaparipATIno paNa samAveza thAya che (juo 'jaina satya prakAza, varSa 8, aGka 12, sapTembara 1943). A mudrita caityaparipATIo uparAMta saM. 1613 (I. sa. 1557)mAM 193 kaDImAM racAyelI, siMdharAjakRta 'pATaNa-caitya-paripATI'nI hastaprata amadAvAdamAM pagathiyAnA upAzrayanA bhaMDAramA che. pATaNanI upalabdha caityaparipATIomAM sauthI jUnI, siddhisUrikRta 'pATaNa-caitya-paripATI' paNa apragaTa hato, je ahoM prasiddha karavAnI taka lau chu. sadgata paMnyAsa zrI ramaNikavijayajI mahArAja pAse joyelI cAra patranI hastalikhita prata uparathI enI nakala sane 1950mAM jesalamera khAte meM karI lIdhI hatI. hastapatamAM lekhanasaMvata nathI, paNa lipi uparathI vikramanA soLamA saikAnA aMtamAM ke sattaramA saikAnA prAraMbhamA enI nakala thaI jaNAya che. racanAvarSa paratve kRtine ante 'chihattarai varasai, manaha harisai siddhasUriMdai kahIM' e ullekhamA chihattarai' arthAta chotera e, kRtinu bhASAsvarUpa jotAM, saM. 1576 saMbhave che.' eTale ke siddhisUrikRta 'pATaNa-caitya-paripATI I. sa. 1520mAM racAyelI gaNAya. saM. 1616 (I. sa. 1560) mAM 'siMhAsana-batrIsI' racanAra siddhisUri' A caityaparipATI racanAra siddhisUrithI abhinna haze ke kema e nizcitapaNe kahevu zakya nathI. 'pATaNa-caitya-paripATI' e jo siddhisUrinI prAraM 1. caturbhujakRta 'bhramaragItA'ne ante 'chihutari kIdhu chUTavA bheTavA zrI bhagavAna' e ullekhamAM 'chihutari'ne saM. 1576 gaNavAmAM Anyo che e sarakhAvo. ('prAcIna phAgusaMgraha', kAnyAMka-19). 2. 'jaina gurjara kavio', bhAga 1, pR. 206

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pATaNa-caitya-paripATI bheka kRti hoya to cAlIsa varSa bAda teo 'siMhAsana-batrIsI' jevI racanA kare e saMbhavita che. eka hastaprata uparathI saMpAdana kayu hoI mUla hastapratano pATha yathAvat ahIM Apyo che. emAM mahollAnAM nAma kALAM bIbAMmAM chApyAM che. uparyukta sarva caitya paripATIo, sthAnika jUnA dastAvejo, hastapratonI * puSpikAo, paTTAvalio Adine AdhAre pATaNa temaja gujarAtanAM anya nagaronAM sthaLanAmo viSe vistRta adhyayana karavAne avakAza che. laMDana Adi zcimanAM mahAnagaro viSe AvAM AdhArabhUta adhyayana thayelAM che.

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pATaNa-caitya-paripATI niya guru paya paNamevi, sarasati sAmiNi mani parIya, hoyaDA harapa dharevi, goyama gaNahara aNusariya, pabhaNisu cetapravADi aNahilapura paTTaNa taNIya, mujha mani parIya rahADi, diu mati niramala atighaNIya. 1 deza zaromaNi deza, gujjaradhara jagi jANIyae, vAvi sarovara kUva vaNasai viviha vakhANIyae, nayanAnaMda sucaMga narasamudra paTTaNanagara, gaDha maDha poli utaMga, jasu sama mahiyali navi avara. 2 dharmavaMta bahu loi nivasai jantha dayAsahita, uvayArI sahu koI, vinaya viveka guNe bharita, dAna puNyanI vAta karai jihAM ati....raDIya, puNya puraSa vikhyAta vasai ti UcI seraDIya. 3 mani ghari avicala bhAva, tihAM praNamauM jiNa solamau e, tribhuvana keru rAu, bhavIyAM bhagatii nitu namau e, aSTa karama dala bhaMji zavaramaNI sayavara variu e, moha mayaNa mada gaMni upazamarasa jiNi Adaryau e. ! dIThai paramANaMda, aMgihiM atighaNa Upajae, vaMdisu pUnima caMga, bhavabhayathI navi dhUnIyae, saMtikaraNa jagadeva, sevA sAra I indra save, munivara tU mahAdeva, dai darisaNa mujha bhavaha bhave. 5 vasta saMti jiNavara saMti jiNavara bhAvi vaMdevi, zakastava thuti tavana bhaNi, dUri karavi AsAyaNa nirattihiM, bhavasaya saMciya pApa savi, TAlai sUdhai dhyAni, UMcI serI vali supari bheTyA zrIvardhamAna, 6 hiva bhAsa hiva sAUkai paNamisu pAso, samaratha svAmI lIlavilAso, doThai mani ulhAso, trevIsama jiNa pAvavihaMDaNa, duSTa mahAripu dUri vihaMDana, maMDana sukkhanivAso. 4

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pATaNa- caitya- paripATI agara kapUra anai kastUrI, pUjai caMdani kesara cUrI, pUrI mana ANaMda, atihi manohara jasu prAsAda, gAvaI gAyaNa jiNa jasavAda, suNiyai nava nava nAda. iNi pari utsava uttima karatA, supari supuNya bhaMDAra subharatA, saratA bheTyau nemi, mahUkara manaha manoratha pUrai, pAsa paMcAsaraha bhAva vicUraha, sAra saMsArai lemi. cammaha bhuvani saMti jiNa garuDa, jAi sevaMtI damaNau maruu, pUjau mana ulhAse, vAsapUjya vaMdau bahu bhAvaI, jasu DaratA bhaya mUli na AvaI, Res for aSaya nivAse. siri desalahara aut prasAda, bheTisa pAsa manaha avasAdaI, pUrei pratyAsAra, palIvAlau zrImadiniNesara, AMbilIu svAmI nemIsara, nAgamahi nAma suvihAra.. zAMtinAtha bokaDIyAM bhuvaI, thAisu niramala arihaMta dhuNaNaI, guNa gAisa suvicAra, mahAvIra bhavabhAvaThi bhaMjai, bhAvahaDau tribhuvana mana raMjai, pIpalai pratyAsAra. koraTavAlai zAMtijiNaMdo, ciMtAmaNi Avai ANaMdo, citAmaNi pAsa jiNaMdo, vAsapUjya pUjau mana bhAvaI jina suSasaMpada nija ghari AvaI, parA koTaDI suhAvai. aSTApadi caMdraprabha deva, nare narapati bahu sAraI seva, Upanau UlaTa heva, aSTa karama cUrai aTTama jiNa, dIThau nayaNe dhanna ti amha dina, jagabaMdhava jagadeva. vAjaIM maddala atihiM rasAla, tivalI tAla anai kaMsAla, gAvaI apachara bAla, 10 11 12 13 14 41

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sidhisUrikRta Aratto maMgale ujhamAla, caracaI caMdani guNe visAla, prabhutanu ati sukamAla. vasta ema suparai ema suparaI namo jiNarAi, caMdraprabha caMdana samau, bhavaha pApa saMtApahAraNa, trikaraNa suddhe je namaI tAha eha AnaMda kAraNa, paratara pIpaliyAM bhavani paNami u svAmI saMti, AMgaDIyAvADA bhaNI jiNa bheTaNa mujha paMti. bhAsa padamaprabha chaTThara namauM e, parihari manaha' pramAda ta, kugati kumati dUraI gamau e, suNiyai ghaMTaha nAda ta, . ." caNahaTaDI saMtIsara e siri solamau jiNaMda ta, darasaNi doSama bahu harae, nija kula kerau caMda ta. . 17 bhANasolyAM paratara taNau e, siri saMtIsara sAmi, paTuAvADAi jiNa namiu e, jAI pApa sunAmi ta, sagara kUi saMpai karae, pAsa pragaTa avatAra ta, bIjai bhavani sukRta bharae, kaMsAravADai guNasAra ta, 18 sAhavADai muni suvrata e, vIsabhau pUrai Asa ta, aMgihiM dharI mahAvrata e, jiNi kIu siddhihi vAsa ta, bAbarakoTihiM namisu jiNa, pAsa guNe suvizAla ta, nAriMgapUri vaMchI karaNa, caracisu kusamaha mAla ta. jogIvADai jAgatA e, pAsa anai mahAvIra ta, vaMchIya jana sukha ApatA e, samaratha sAhasaghora ta, jalacaukaI jagi jANIyai e, mallinAtha jasavaMta, jIrAvalau vaSANIyae, jiNi nAmai hui saMti. 20 rAtakAvADai ratananidhi, pAsa jiNesara didai ta, pAlhaNapuravADai namauM e, jasu darasaNa guNa iTTa ta, 1. A sthAna hAla nizcita thaI zakatu nathI. ___ 2. pATaNanA bajAramA cItArAnI khaDakI pAse agAu paTavAvADo hato ema sadgata AcAya vijayameghasUrijIe vAtavAtamAM kaDaM hatu. parataNa guNa idra ta.

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pATaNa-catya-paripATI viramavADai vaMdisu e, jinavara guNi abhirAma ta, phophaliyAvADai niraSimuM, jAI pAtaka nAmi ta. trihuM bhuvane bhAvaThiharaNa, guNagaNa mahi vikhyAta ta, madanamalaNa vaMchitakaraNa, jasu adhikA avadAta ta. vivaMdaNIkavADavADai bhaNau e, dhammeM payAsaNahAra ta, lahuDapaNA lagi guNanila u e, nija kullataNau siMgAra ta. bhImapaDDi bhaNasiuM bhala e, bhAbhau pArasanAtha ta, kamaThamANa jINaI malyu e, mugatipurIna3 sAtha ta, kumarapaNai navakAra kahI, thApiu jiNi dharaNiMda ta. dIpa leI upaptagga sahI pahuta u siddhi jiNaMda ta. mana ANaMdai ApaNai e, Alasa agi nivAri ta, pADai sAha karaNA taNai e, sItalanAtha juhAri ta, ati mUrati ralIyAmaNI e, haraSa na hIyaDai mAi ta, sAmalai dIThai rati ghaNI e, petala vasahI thAi ta. vasta pAsa jiNavara pAsa jiNavara nANa maI die, kiri jANe surataru phaliu, kAmaveli maI vegi pAmIya, bhuvana vicitra sohAmaNau, namiu bhAvi maI sIsa nAmoya, AsaseNa rAyaha kumara, vammAdevi malhAra, jasu mahimA jAgai jagati, vaMza ikhAga siMgAra. bhASA bhAvana bhAvaI caMgI, bAsI ati navaraMgI. cAmara DhAlaI pAkhali, nAcaI chadihiM AgalI. vAjaI vAjina sAra, gAvaI guNa muvicAra, ika nara caracaI caMdani, ika nara sAcavaI majjana, ima leI phUlaha mAla, karaI ika dIpa amAla, ika phUla DhovaI Agali, ika DahaI dhUpa anaggala. 3, sandarbha uparathI A sthAna hAlano bhAbhAno pADo sa bhave che. 29 .

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siddhisUrikRta sm sm sm ll` b h cAvali cauka :pUrAvaI, nevaja vegi aNAvaI, DhovaiM jala puNi ANI, nija nija bhAvihi jANI. ghaNI vidhi niraSIya pUya, zAMti bheTaNa saja huA, murahIyAvADai suhANau, karamahaNaNa saparANau. bIjai bhuvaNaiM pAsa, namisuM dhari ullAsa, kaTakIyAvADAi kautiga, mUrati doThI e jhigamiga. kaMboyu pAsa jiNaMda, nava nava karai ANaMda, dhavalI parva sudhanna, bheTisu guNi hi saMpunna. jiNavara sArai kAja, saphala janama mujha Aja, DhaM DheravADai pUnamIyA, vIra jiNesara namiyA. kokAvADai pAsa, nava nava pUrai Asa, khetrapAlavADai dIThA, locani amoya paiTTA, TAlai sagalAi dukkha, Apai zavapada sukkha, pArI vAvi suhANI, saMbhala bolau vANI, vora jiNesara sAra, pAmiu bhavanau pAra. sovanavaraNa sohAvau, bhaviyaNa nita mani dhyAvau, satakara jasu chai deha, karanivAraNa eha. vasta vIra vaMdo vIra vaMdI carama jiNarAi, jasu mAnaiM surarAi savi, nara nariMda bahu seva sAraI, dhammapayAsaNa dayApara, kugai kumai micchitta vArai, tattva triNi payAsa kara, guNa gAvyA saMkhevi, namisa deva mani bhAva dhari, sAlavIvADai heva, bhAsa triserIi tribhuvanakau rAu, namisu nemi mani dhari bahu bhAu, yAdavavaMzavibhUSaNa sAmi, jasu Agali bala chaMDiu kAmi. kAmaveli sarisI kAminI, navayauvana gajagatigAminI, caMdravadani ratirUpa samAna, kamalanayana tana capakavAni, chaDi rAjamati neha nivAri, deha dAna pahutau giranAri, revatakAcali sadA sohaMti, dITha u svAmo mana mohaMti. 38

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pATaNa-caitya-paripATI bIjai bhuvani jiNesara namI, kumati kadAgraha sadA avagI, kalharabADai paNamauM deva, chaMDi pApa nirmala thi3 heva. dinAkaravADai deva jugAdi, boDai kodhA karma anAdi, Adi karaNa nai samaratha dhIra, dhAMdhalabADai paNAmasu dhAra. 41 satrAgavADai risahesara sAmi, karavInatI hiba zara nAma, pUnAvADai paragaTa malla, hAyAtaNA jiNi TAcyA satya. Adi jiNaMda namauM kara joDi, jehanai nAmi na Avai poDi, hiva AvI paNamisu golavADi, sagalA kAja sirAii cADi. 43 mUlanAyaka savi supanau sAtha, pArkhAla baMda pArasanAtha, karma ciMtAmaNi ciMtA hai, pApapaMka sAva dUraI karai. pItalinau dosai rUyaDau, bhAgyavizAla guNe gakhyaDara, bhagati karaI tihAM zrAvaka bhalA, dayAvaMta dIsai guNanIlA. navai dhari niraSauM nayaNe valI, dITai darasANa pUjaI ralI, jai e mUrati tAharI milI, dUraI nATA jAiM alI, vasta ema niraNyA ema niraNyA sayala prAsAda, ati sacitra sohAmaNA suravimANa samavaDaI sohaI, caMdrovA pahirAvaNI kari apuvva toraNe mohaI, nava nava kavilAI sahita bheTacA zrojinarAi, ghara devAlA moTakA bheTaNa UlaTa thAi. (bhAsa) pAriSi vaMza vibhUSaNa, sA bhamarolI, devAlau aticaMga ta, namatAM nAvai dUSaNa sA bhama0, nava nava thAi raMga ta. 48 koraNI kari atiruyaDau, sA bhama0, bhamarI daMtaha sAra ta, dIvai sohai sUyaDau, sA bhama0, mohaI mana motI hAra ta. 49 jhUmaNAM jhAMjhA bolIi, sA bhama0, ghaMTaha taNA ninAda ta, amara vimANa kima hiNavau, sA bhama0, dIThai amRta savAda ta. 50 dhana vijau pAraSi, sA bhama0, jeNi karAvyu eha, nami ANaMdaI ApaNai, sA bhama0, niraSi zavanau geha.

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siddhisUrikRta doThau ati ralIyAmaNau, sA bhama0, svAmI ati dhana dhana ta, namiu jiNesara mana suddhaI, sA bhama0, narasiMha naraha ratanna. 52 tasu dhari pratimA rUyaDI, sA bhama0, alavesara dAtAra ta, bhaNasAlI mahipati gharahiM, sA bhana0, namiu jiNetara sAra ta. 53 atihiM apUrava dIsata u, sA bhama0, sakala jiNesara sAmi ta, ThAkurasI pari suSa karaitau, sA bhama0, dIThau atihiM rasAla ta, dhApUnai ghari dhyAvisya uM, sA bhama0, pAsa guNe suvizAla ta. 54 be kara joDI vInavauM, sA bhama0, bhAre sukRta bhaMDAra ta, devadayA paraguNa nidhi, sA bhama0, svAmI tUM dAtAra ta. taha tUThai suSa saMpajai, sA bhama0, taI tUThai navi roga, mahiyali jasa nita vistarai, sA bhama0, pAmai sayala saMyoga. 56 vADI daulatipUri saha), sA bhama0, bhaviyaNa sAraI seva, ' vaDalI, vAvaDI, kauMNagiraI sA bhama0, namasi sIsa namevi. 57 kataupuri paNamauM sadA, sA bhama0, magalIpuri jiNacaMda ta, iNa pari cetrapavADi karI, sA bhama0, bheTyA saMti jiNaMda ta. 58 zaraNAita ra samaratha, sA bhama0, tujha namaiM iMda nariMda ta, cauviha saMghaha kAraNi, sA bhama0, dini dina diu ANaMda ta. 59 paTTaNi prasiddhI, haraSi kiddhI, cetapravADi suhAmaNI, bhagatAM guNatAM zravaNi suNatAM, atihiM chaha ralIyAmaNI, pabhaNyA ji kei namauM, tai bhavara je chai te sahI, chihattarai varasai, mana hAresaha siddhahariMdaI kahI. iti zrIpattana-cetra-pravADi smaaptaa||

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tanfasat jainavihArazatakam saM. nagIna jI. zAha In the pages that follow a small work entitled Jainavibaragataka bas been edited on the basis of the ms. belonging to the Muni Punyavijaya Collection preserved in the L, D. Lastitute of Indology, Ahmedabad. The ms, bears the serial No. 1969. Its size is 26 cms, x ll cms. It has fivc folios. Each sido of the folio has 17 lines and each line has 58 letters. The script is legible. The condition of the ms, is good. It belongs to c, 1550 A. D. It does not contain the normal colophon which always occurs at the end of the ms, The name of the author is not given anywhere in the ms. Only the title of the work occurs at the end of the ms, This is the o Ey ms. of the present work, that I have come across. The ms. seems to have been written by the author himself, In the ms. many quarters and phrases have been rejected by putting yellow paint on them-Dot because they are grammati. cally Incorrect or otherwise corrupt but because more poetical and better chiselled quarters and phrases have occurred to the mind of the composer, And he has given these newly found quarters and phrases in the margin, The script of these quarters and phrases given in the margin resembles that of the usual writing of the text. The subject-matter of this short poem is the Jalna temple in general. The poet displays his luxuriant rhetorical skill in describing it. So, the poem has become highly ornate. The poet refers to small caityas and says that with these caityas around the main temple looks like a fully blown golden lotus having a hundred petals. He mentions candrasala and rangasala and other architectural details. His description of falabhanjikas carved at the ends of torana is very interesting. He has composed all the verses (102) in sragdhara metre.

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ajJAtakavikRtam jainavihArazatakam zrI zAradAyai namaH udyanmANikyamAlA bahalata ramilanniryadaLUrapUradhvastadhvAntapratAnApratimaviracitAnuttaroddhAnacaityam / kAzcillakSmI jagAhe jalanidhivasanAmbhodhizAyipriyAyApracUDAratna mahoyaH zirasi vinihitaM ja(nAlIbhuveva (1) // 1 // AkAze pAravazyAnnalinatanuruho nissahAyAvalambo nityaprAcIpratIcIjaladhipulinabhUsImabhUmabhramIbhiH / antaHsaJjAtakhedAdiva divasamaNiH zaknuvannAbhigantuM kutrApi chAnA'syA jinapativasateH kSoNimAlambya tasthau // 2 // adhnena sthAsnuneva pramathitatamasA yena caityena nityaM vyakti bhUmau nizAhroH kathamapi na hRdA vindatAM kautukena / tallakSmI nirnimeSaM svanayanaviSayIkurvatAM kovidAnAM vRndaM vRndArakANAmiva puri sumanovakSasAM bhAsate sma // 3 // AzAsAraGgacakSuHsamudayasadanaprAGgaNAdhvanyadezyasphUrjajjyotirvitAnaprakaTitaparidhibhrAjijainendradhAmnA / udbhinnaiva vaiH svairdazazatakiraNo yena manye'bhibhUtaH sAmyAyAmbhodhizayyaM paricarati hari so'nusAyaM sametya // 4 // rudrasyApyuttamAGge haThakRtavasaterbibhrato'pi trizUlaM lakSma chidreNa rAjJaH samamapi mahasAM rAzimAdAya vimaH / prAsAdaM padmajanmA pravaNamaNigaNAkIrNamenaM vyadhatta syAnnaivaM caNDarazmeriva himakiraNasyAsya kiM na pratApaH // 5 // kokAnAmindukAntApraharavirahiNAmazrubhirvyAkulAnAM bandhUnAM yAcatAM svAM vasatimanudinaM tatkRpAludharAyAm / ughanmANikyavapropadhiparidhiyugAdhAya mUrti dvitIyAM vinaH prAsAdadambhAdgaganamaNirasau nirmimIte sma vAsam // 6 // 1 sUryaH bnaa|

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jainavihArazatakam svatpAdasparzabhAgyairabhavamahamaho nandanollAsilakSmIbisphUrjadbhadrazAlo dhanakanakamayaH devarAjAbhigamyaH / zambho / caitanyabhUyaM pravitara kimado vaktukAmaH sumeru. manye prAkAradambhAdarariyugagarutkuNDalIbhUya mele // 7 // mUrchadga ninAdaprabala jalabharAnantarAmbhodamAlAmAghadviAdvilAsaiH sphuradurukiraNaiH sodaratvaM dadhAnaH / raupyaizcaityairanuccaiH sphurati parivRtaH sarvato yo vihAraH pronmIlatkundavRndairiva parikalitazcampako jRmbhamANaH // 8 // niryAtAmbhodarodhaprasRmara kiraNaprasphurat zAradInazyAmArAmopayanturvizadimalalitajyotsnayA spardhamAnaiH kSudraizcaityaiH pItaH kamapi nayanayoryastanoti pramodaM protphullatpuNDarIkairiva kanakamayaH kuDmalaH zAtapatraH // 9 // pArAvArAmbareyAntaranicitakRtasyAptabhRmIndugeho nIcaiHprasthApitasyAzanimaNipaTalIklaptapATasya dambhAt / uzmaH(?) saMsAraraGgAGgaNanaTa najuSAM yAtanAH kurvatInAM saptAnAM durgatInAM pratighadhanamanAH yaH prahartuM pravRttaH // 10 // kSiptairyatpAdakAdhaHkanakanidhighaTairityamuSminnanavye jAte jainendragehe praNayatu sujano'muM parAvRtya kazcit / kukSyantarlabdhalIlairiva sutamaNibhirvAhinI kAntakAJcI manye taireva kumbhaiH samajani bhuvane pamagarbheti nAmnA // 11 // visphurjadvajarAjI jinapatisadanoddAmapAdaprapaJcAM yasmin saMbhAvya bhavyA iti nijamanasA tarkamAtanvate sma / sarvAsAM durgatInAM vidalayitumanA bhUdharANAmivAyaM vajrI zrImadvihAraH samamuditaruSA prAhiNod vajralekhAH // 12 // bhAsvatsvarNAdimukhyAnnijavibhavabharaiH spardhamAnAstrilokI jaitrAnnirjitya jiSNuH kSaNamiha nikhilAn vIramAnI vihAraH / pAtAlaM pAdakenAsamamahimajuSA svAtmanA bhUmilokaM zujairabhraMkaSaiH svairnikhiladivamivAkramya manye'dhitasthau // 13 // ...

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NO akSAtakavikRtam dIpairgeheSu bhegirigahanaguhAsvauSadhIbhibileSu vyAlasphUrjanmaNIbhiH zazimihirakarairnaktamahrIti khinnam / nAlaMbhUSNunivastuM kvacidapi tamasAM saGkaraH kAMdizIko yasmin manye zaraNye zaraNamiva gato nIlabhitticchale na // 14 // yasmin vismeralIlAcaladalapaTalArabdhakelImarAlInisyandisyandabindUnmipita kumudinIgaurimaspardhidharmA / reje sopAnapaGktiH pavitumiva vibhornityabhaktyA nabhasta uccairuccastaraGgIbhavadamalapayA janukanyottatAra // 15 // prItyA paurandarIyAlayaparapadavIcandrazAlAM vizAlAmAroda kAmukAnAM vRSabharasubhagaM bhAvukAnAM janAnAm / nirvAgaNyanAnAmaNigaNakalitasphItasopAnadambhA'cakre nizreNikevAvanibelinilayasvarlalAmena yena // 16 // uddhelAnandapAthonighibahalapayaHzuddhabhAvAvaruddhA yasminnabhyetya bhakkiM bhagavati vidadhatyaGgabhAjAM smuuhaaH| teSAM na syAt kadAcit kugatigatiriti vyAharan yo vihAro rekhAzcakre kimaSTottarazatagaNitAH svIyasopAnadambhAt // 17 // tvatpAdAmbhojabhaktipraNayanavazataH sarvatastuGgabhAvA dhuryatvaM dAnabhAjAM vasatirapi punaryAvadAzAvasAnam / bhe'smAbhiH punastvaM praNayajinamahAnandalolAnivAsaM jAnImo diggajendrA iti gaditumadazcitradambhAd bhajante // 18 // prAsAde toraNAntaHparilikhitavapuHzAlabhaJjIprasUnazreNIsandarbhamAlAGkitakarakamalA yatra lIlAyate sma / 'zaGke svAyaMvarasrakvalita karatalA siddhizAtodarIyaM tiSThatyasmin varItuM varamabhilaSitaM saJcaradyajjaneSu // 19 // prevanmANikyamAlAbahalataramilallolalIlArcirambhaHstomaprakSAlitorvItalamalinatamojAlajambAlamAlaH / prAkAro dhAmni zambhoravacanaviSayavaibhavaM smaa''bibhrti| svarbhANorbhIrubhAnU racitacaya iva kSoNipIThe'dhyuvAsa // 20 // 1. baliniyam pAtAlam /

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jainavihArazatakam durjeyo jaitrabhAvAsahacarapaTalIkIlanAvyAkulAnAM nirNazyatprANabhAjAmiha nijazaraNIbhAvamabhyAgatAnAm / : etaddveSyAnivAntadailayitumasAvIhamAno vihAraH prAJcavajropalAnAM nicayaparicitaM nirmimIte sma daNDam // 21 // niryajjyotirjaTAlajvaladanalazikhAlolalIlAyamAnaH .. svIyaprAzcadvibhUSAvidalitanalinInAyakAvarvagarvaH / yasminnuddAmaratnaprakaraparicito maNDapo dIpyate sma ' zaGke saGketagehaH saha militumadaH kAmukaiH siddhilakSmyAH // 22 // sphUrjadgarjannabhasyonnatasajalamIlannutajImUtamAlAdhikAridhvAnaghaNTAbadhiritabhuvano maNDapo'smiMzcakAse / manye svarlokabhUmItalabalinilayakSIrasindhUdvahAyAH uttAlaM sUtradhAryAH kanakamaNimayI nartituM raGgazAlA // 23 // antarnIlopalazrIsphuradaruNamaNIzreNisaMdarbhagarbhA yasmin jyotistaraGgIbhavadamalapayazcAndrabhUmI babhAse / manye mattAlimAlA bahalataradalallolalIlAdalAlI zoNAmbhojanmapujhA zivahariNadRzaH khelituM kelivApI // 24 // pUrva nirmathya sAraM kanakazisvariNA dattavAneSa zeSa guptaM yat kiJcidAste tadapi punarito viSNurAdAtukAmaH / tad duHkha me kRpAlo vyapanaya nikhilaM vaktumityAjagAma kApyasmin dugdhapAthonidhiriva vidhuraH sphATikorvAmiSeNa // 25 // prAsAde kumbha-bhadrAsana-zapharayugA-''darzaka-svastikAthairaSTAbhiH sAndracandropaladalakalitairvastubhirbhadrakRdbhiH / .. dadhe kAcid vibhUSA zivapuranigamAdhvanyalIlAdharANAM pratyUhavyUhabAdhaM samamiva jagatIjanmanAM kartukAmaiH // 26 // durjeyAn paJcabANaprabalatamamadAdvaitaduSTASTakarmadveSAjJAnAnurAgAsahacaranivahAn hailayaivAbhibhUya / nAnAmANikyavarNasphaTikasamudayottambhitastambhadambhAt / kIrtistambhAn jayAGkAn jinagaganamaNiH sthApayAmAsa manye // 27 //

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ajnyaanbimu AlambA andhasaMsRtyavaTanipatatAM sarvathA bobhavAmo'dhaHkartuM zaktimanto narakapari[ga]tAn kumbhikAnAM samUhAn / krAntvA kumbhIradhastAd ghanakanakamayAH stambhavArA vihAre sphUrjanniyaMtkaraiH svairjagati matimatAM vyAharantIti manye // 28 // yasminnuttaGgapInastanakalazazikhA''bhogabhugnAgabhAgAH svarNastambhAvanaddhA vidadhati kutukaM netrayoH zAlabhaJjyaH / manye yat pauranIlotpaladalanayanAvaibhavenAbhibhUtAstatsAmyaM prAptukAmA iva suralalanA devadevaM bhajante // 29 // muktAprAlambalambIkRta karakamalAH sAlabhajIsamUhA lIlAyante jinendovasativilikhitAH stambhasambaddhakAyAH / abhyetyaitAstridazyaH paribhavitumadaH santatIrIhamAnAH manye puryAH purandhrIvibhavabharajitA mantramArAdhayanti // 30 // sarvAGgINAnurUpAnaNimalavaNimAdvaitavAdAbhibhUtasvarvAmA mAlikAbhiH zaradamRtakarapratyanIkAnanAbhiH / jitvA bandIkRtAH kiM jinavRSabhagRhastambhalIlAyitAnAM vyAjAtyAM cAlikAnAM bhujagaparivRDhaprauDhapAriplavAkSyaH // 31 // yasyAM saMspardhamAnA nijavibhavabharairvarNinIvarNyavarNAnirvAnanyacitrIkRtatanulatikAH putrikANAM miSeNa / bhAjagmuH kartukAmA rahasi hRdi nije tajjayopAyamantraM zaGke sammaya bhUmIvalisadanadivismeradambhoruhAsyaH // 32 // trailokyAjeyamohatripuraripuripudveSavidveSabhAjAM saMprApathyAtidRptAniha jagati yazaHzeSabhUyaM samUhAna prAsAde sAlabhaJjIkarakamalacalaccAmaracchatrarAjI vyAjAt tadrAjacihAnyayamiva bhagavAnagrahIdAgraheNa // 33 // phAzciccaGgerikAbhirvilikhitavapuSo vyagrahastA vihAre pAJcAlyastvatpadAmbhoruhaparicaraNAt svargavAsaM prapannAH / Aptendo ! dehi baddhAJjalaya iva mahAnandasaukhyazriyaM no mAnImo vaktukAmA iti vibudhavazAH svargalokAdupeyuH // 34 //

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jainavihArazatakam mohAlasyonmadiSNupratibhaTapaTalaistADyamAnA pracaNDaidaNDAghAtairakhaNDairviSayasukhamayaiH kApyazaktA nivastum / .. yasmizcitrIkRtovItalabalinila[ya] svastrayANAM mipeNa prAsAdasyAvanIndoriva zaraNamagAt kAndizIkA trilokI // 35 // zyAmatvAzliSTamAsya vapurapi savipaM durdinaM kAritA ca zunyAkAze nivAso jagati madayazo deva ! nirNAzameti / antaHsambaddhazoNopaladalavilasannIlabhitticchale nA. zliSyadvidyatkalatro gaditumiti ghanaH zIlayAmAsa zambhum // 36 / / kurvANA spardhibhAvaM sahamahimavibhAvaibhavaiH svairasoH svarNAdizvetarocidivasamaNimukhA naipa jaitrAGkakArAn / zromajjaino vihAraH paribhavapadavA tAnninIpurvizeSAnmanye sainyaM sasajja kacana vilikhitA'nIkinokatavena // 37 // rocIrociSNusAndrAmRtakiraNamaNodhoraNIsaM nibaddha-... prAsAdAdhityakAyAM pratimitarajanonAyako nirbabhAse / / udvelollolalolajjalapaTalamiladugdhapAthodhivAtu rjAtabhrAntyA vimugdhaH kimu militumanA AjagAmendusunuH // 38 // uddaNDAkhaNDacaNDadyutimaNikiraNazreNisaGkIrNabhittinirvarNya spardhamAnaM svaparamavibhavaidizAtmIyabimbam / .. dRptastaM jetukAmo jinavRSabhagRho'bhraGkaSaiH zekharaiH svaiH roSAt saMrudhya tasyAnilapathapadavIM tasthivAneSa manye // 39 // nirdhUtAmuktamuktAsaranikaralasatkaNThapIThopakaNThyo'- : nyo'nyenotpIDipInastanakalazayugAt krAntakAntordhvakAyAH / zobhante zAlabhaJjyastridazapatipurIyatpurI nirjitazrIstasyAH saMsevanAyApsarasa iva nijAH prAhiNonmenakAdyAH // 40 // prAsAde zekharANAmupari viracita svarNakumbhAvalInAM sAdha prekha[dadhvajenAsitanabhasi bame saGgatAci[vi]bhAbhiH / saGgo'bhUdaM vAhinInAmiva divi tisRNAM smerahaimAjarAjInisyandisyandapiGgIkRtakamanasutA sUryajA jAhavAnAm // 41 //

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pa ajJAtaka vikRtam prAsAde svarNakumbhA dadhati diviruci barhibarhapraba mAGgalyasmeradUrvAGkitajalakalazAH sUcayantaH zivAni / siddheH samprasthitAnAmiva pathi mathitA'nekaduSkarmamarma - dhyAnArcirmAlika lAhutaviSayihaviH zemuSIbhUSitAnAm ||42 || muktvA saMsArakArAM zivapuragamane vaH samIhA yadi sthAdabhyetAbhyeta lokAH sapadi tadakhilaM lIlayA kartumIze / zradhvaM cenna viSNoH padi vidhRtakaraH sparzanaM citrabhAno kurvedaH kiGkiNInAM kaNanakapaTato bhASate jainagehaH // 43 // kutrApyullekha karmI kRtaturagagaja spandanonmattapattizreNIlIlAyamAnaprabalabalayuto'laGkRto naikaratnaiH / zrImatprAsAdacakrI nicitatamatamaH kanda [ rA ] yA ivAsI dvAraM nirvANapuryA iva vahatitamAM daNDamudghATanAya // 44 // AlambIkRtya kazcit prasarati bhuvane nimnagAnAthanema vAnyaH pAtAlamUlaM galadavadhitayA svairalIlAyamAnaH / vAha trisrota so'nyo nabhasi vigalitAlambasaJjAtakhedaH preGkholadvaijayantIpaTapaTukapaTAda yaM samAlambya tasthau || 45 // rambhAbhiH zrIbhirIzaiH kaviguruvibudhairnaika santAnakalpaigaurIbhirjiSNuvRndaiH samuditapuruSeSUttamaiH zevadhozaiH / saGkhyAtItairitIvAnaNunijavibhavairnirjarANAM nagaryA vizvAvasvokasArA kimu hasitamadaH ketunA nirmimIte // 46 // tumnA jyotiSA vA paramasukhamayA vAtmanA spardhamAnAn sarvAn jaitrIkakArAnabhibhavapadavIM lambhayitvA'bhiyAtIn / prAsAdaH sArvabhaumaH svazirasi vahate smAgrahagranthibaddha - preGkhallIlA patAkApaTamiva vijayoddopakoddAmacihnam ||47 || preGkholakiGkiNInAM madhurimalalitadhvAnadattAvadhAnaM nAdante no pibante na ca tRNapayasI vIkSya sAraGgazAvam / eNAGkaH prApa citte mudamiti yadasau pAnavalbhe' na kurvan gantA paJcatvamante nanu bhavati purAM kakSitirme yazazva (ca) ||48 // 1. valbho bhojanam

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jainavihArazatakam bhUmau dvIpAntare vA nikhilabaligRhe vAsagehe maghono u bhUto bhAvI bhavan vA'parimitamahimA matsadRkSo'tra kazcit / bhrAtastvaM yAhi pazyetyupahRtavacano nikaNaiH kiGkiNInAM maitryaM kRtveva kAntyA mitha iti mihiraM preSayatyAtagehe // 49 // kaivalyotphullanIlotpaladalanayanA dUradezAdhivAsAmautsukyAdIhamAnaM sahRdayanivahA bhAvamantarvahantaH / yat kiGkiNInAM bahalitaninadaiH prItisandezamasyA vibhaH samprApayantyukai lakitahRdayA antarAkRtya caityam ||50|| pAtAlaM zailamaulIna jalanidhipulinAn vAhinInAM pravAhAn tArAmArga digantAn ghanagahanaguhAH paurahUtAMzca gehAn / prAsAde kiGkiNInAM ninadasamudayAH sarvataH pUrayantaH zrImatyAvanIndostribhuvana vijayoddIpinI ghoSaNeva // 51 // yasminnunnidra sAndra maNimaNigaNotkIrNa kuDacauthadarciHstomastamberamAripratihata timironmattamAtaGgarAzeH / lIlAzayyAlikAyAM jinarajanipatermuktimattebhagatyA garbhAgArasya dambhAdiva viracayituM naikadhAH svairakelIH // 52 // tAvad bhartA purANaH sa vasati jaladhau dRptayAdobhirumaiH zete vA duSprasahyaH smaraghanasamaye nAgarAjAdhizayyaH / mudrAstavyAkulAsyAM sarasijazazinoryAmi cet tAta ! lakSmyA dhAtretavArthitena svasukhavasataye jainadhAma vyadhAyi // 53 // unmIlancaJcu citrI kRtakumudavanAnandanAmbhojabandhustomaiMH saMsevitenAmararamaNapurIle khyalIlAyitena / vAcAM pAraprayAtairvi bhavasamudayaityabhUmI maghonA manye nirjitya bandIkRta iva sumanobhUgharazcitradambhAt // 54 // kaM vA saMsaktanIlotpaladalavilulanmAlikA labdhalIlaiH kumbhairAzAvasAnaprasRmarakiraNAkIrNacAndrAvanadvaiH / yasminnakSatratArAgraha miladudayAvRttimArgAvalAneramyudgacchansahastrAmRta kiraNamiva vyoma saMjAyate sma // 55 // 1. utkalikA saMjAtA yasmin tat utkalikitam / 55

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azAtakavikRtam antaHsajAtakautUhalakalita ivAnantamapyantarikSa zrImajjanendragehaH parimitaviSayIbhAvamAnetukAmaH / anyonyAzliSyadudyadivasamaNimaNIdhoraNIdhUtanUtAnantadhvAntaprasarpadadyutikRtaparidhibhrAni daNDaM bibharti // 56 // styAnIbhUtAmRtAMzudyutiharazikharisphItakarpUrapArImuktAkSodAvadAtA ghanapavanacalatketavo yatra rejuH| nikANaiH kiGkiNInAmavanibAlagRhasvargiNAM jajhukanyA manye'nekapravAhA iha samupagatAH kurvate kiMvadantoH // 55 // nistandrajyotirudyadvidhumaNilalitottuGgazRGgAntarAle vAtUlollolaketRllikhitamakarikAbimbikAyazcakAse / AruhyAtmIyayAnaM makaramiva vibho hamArgeNa gaGgA bhUmIgaGgAM sagotrAM militumiva mahImuttaranti nabhastaH // 58 // yasminsAndrendranIlopalakRtazikharazreNilIlAviniryad- . : rAjajyotiHprarohaiH parivRtamabhito bhAsate ketuvAsaH' / :: zake saMrUDhazaSpAGkitapulinatalA siddhasindhurvahantI / citte raGgastriyAmApatihariNazizontirityAvirAsit // 59 / / vakSaHpIThAnmurAreH smitanalinavanAt svaHsadAM vAsagehAt... prANezAt kaumudInAmanaNumaNigaNAt zrImatAM vA samUhAt / AdAyAmbhojayoniH sarasijasadanAM bhinnabhinna pratiSThA- . mekatrAya didRkSuH kutukita hRdayaH kiM vihAra vyadhatta // 60 // vegenAnantatArApathacaraNavazAdantarudbhUtakhedo bhAvAdAlambanasya svanipatanabhiyA bAndhavo'mbhoruhANAm / yasminnuttuGgazRGgAGgaNazikhara zikhAbhogasaMlagnaroci14AjenevAvalamba nijakaranikarairAdadAno vihastaH // 61 // .. prAsAdena prasarpanni jakaranikaraiH spardhibhAvaM dadhAno nyaccake lIlayA'sau bahalakamalayA taM punarjetukAmaH / tuGgimnA vA zriyA'smAt kamapi gurutara bhrAmyatIvekSamANo naivaM cet kiM nu pUrvAparajaladhibhuvi bhrAmyati dvAdazAtmA // 2 // 1. vAso vastram /

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jainavihArazatakam prAsAdenAptabhartuH paramasuSamayA lokacakSuzcakorajyotsnAlIlAM dadhatyA marudavanidharo dhikkRti lambhito'sau / kartuM tasmai prasattiM punarapi kimasau sarvataH kSudracaityaprasthazreNImiSeNa vyaracayadupadAM ratnasAnUnyamUni // 63 // bhUmIpIThAvakuNThIkRtakaThinahaThadhvAntasantAnaheturyasmAdazaiH pravRddhastamapi svarakara svIyabhAsA jigAya / tasmAdetatpurastAt kimaNurahamihetyudbhavadbharibhIteH pIyUSAntaHpravAhai rajanivarayitA niHsRtaiH svidyatIva // 6 // yasmin kutrApi nIlopalakRtazikharAnniHsRtAbhAMzudUrvAnavyAGkarabhrameNAnaNumaNighaTitAnekavAhacchalena / rAjJA muktAvanAvAtmana iva turagA rakSitAste dazaivAzeSAzAlaGghanAya kimuta parimitAstasya noced bhaveyuH // 65 // yasminniyanmarIciprasRtiparicitAnekadikkhaJjanAkSIsambaddhasvarNakumbhA marakatanikaraiH kalpitottAnabhittiH / / zaGgazreNIvihArI madayati nayane prANinAM prAvRSeNyA vidyudgarbheva varSonmukhasalilanamannUtanAmbhodamAlI // 66 // antaHsandarbhagarbhIkRtadhanakanakoMdIpradIpAvamAnAmAnAsAmAnyanaddhAruNamaNizikharairambara' gAhamAnaH / / sauvarNArdidRkSAM zithilayitumahaH kautukiprANabhAjAmuccairUhe pravRddhastribhuvanaMtilakIbhUtajainendragehaH // 17 // zItAMzo ! rAjadhAnI kvacidapi tava no saMsthitiH zUnyadeze rAjJo darpa dadhAno balamapi turagAste dazaite kalaGkin / / rAtrau steyIva cArI sakalaguNabhRtA kiM mayA lajase na spardhiSNuzcatyarAjastamiti kimu vadannikvaNaiH kiGkiNInAm // 18 // dvairAjyabhrAjinityodayirajanIkarAmbhojinIjIviteza ! dvaitenAlokya zUnyaM grahasahitamasanmArgamasyeya'yeva / prAsAdasyeva dambhAdaharaharudayAdvaitarAjyA smaM dhatte bimba pAthojabandhoranaNuguNagaNairgarbhitA ratnagarbhA // 69|

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ajJAtakavikRtam bhUmIrAmAlalAmatribhuvanajanatAkIrtitAnantakIrti dRSTvA jainaM vihAraM hRdi samabhilaSanetadIyopamAnam / doSAbhivyaktibhAvavyapanayakaraNAbaddhalolAbhiyogI nityatyAgairvasUnAM dvijapatimaruNaH prINayAmAsa manye // 70 // jyotirdaNDaiH pracaNDainai bhatalamilitaistADayantaM nijaM tatspardhiSNu zrIvihAra svanayanayugayorgocarIkRtya dRptam / vahni nirvartayitvA kimu paridhinibhAt sarvatastaM jigISumadhye saMtiSThamAno jvaladanalatapaH sAdhayatyaMzumAlo / / 71 / / prAsAde jainacandre prasRtakarabharAmbhaHplavaplAvitAyAM visphUrjatsphATikovyAM pratimitazazabhR-maNDalaM dyotate sma / mugdhaH protphullalIlAsarasijasarasIvibhramabhrAntacetA aGkaprakSAlanAyA''tmana iva viyato'vAtarat zotakAntiH / / 72 / / zANAprollekhitAntarmaNimayamukurasvacchasacchAyakAyodAmArciHpArAgopalapaTalakRtAdhityakAlambibimbaH / prAsAdenAbhibhUto grahapathapathikastaM punarnirjigISuH so'yaM tasminnilIya sma vasati kimadaH sarvadoSAn didRkSuH // 73 // nirvayorjasvalAnAM prakaraparibhavArambhalumpAkazIlaM kIlazreNIkarAlajvaladanalamilajjAtavedapratApam / vAsAgAraM jinendoridamuditabhayavyAkulIbhUtacetAH vidmaH prAkAragupta dhRtaparidhinibhAt svaM vyadhattAMzumAlI // 7 // yAte'nyatrAvanI mAmapi paribhavatAdandhakArAbhiyAtimukteti sthAvarAM svAmiha jinapagRhacchatmanA mUrtimekAm / AzAprAntAntarIpAntaradhanakutukAlokanotkaNThicetA raganmUrtyA'nyayA'sau bhramati kamalinInAyakaH kautukIva // 75 // anyonyenAGgalagnaprasRtanijakarairgADhamAzliSya harSotkaSaiH zrImadvihAraH savidhimabhisaratpaminInAyakena / vyaktIkurvat svamaitryaM gaganata lamarudvegavellatpatAkAvelAntaHkiGkiNInAM mRdumadhuraravaiH svAgataM pRcchatova // 76 // .

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jainavihArazatakam lIlAkallolitAntaHprasRmara kiraNazreNinirvarNyavarNasvarNastomAvanaddhAntaravividhamaNIkarmakiAritazrIH / pAtAlakSoNipIThatridivavijayino yaH parAbhUya ladamyA vimo vellalpatAkApaTakapaTamayIM kortile khAM biti // 77|| udyaccaNDAMzurocIrucirarucimaNIsva sambaddhamittinirgacchadhUpadhUmaM vihasitasumanaHzreNilIlAbhirAmam / tUryadhvAnairamAnairnikhilamapi jagat pUrayat paurahUtaM zeSairbhAgyaiH surANAmavanitalamiva prApadetadvimAnam // 78 // krAman pAdena zeSaM dadhadacala ivottuGgatAcaGgimAnaM kAmAdhastiryaguccaiHprasRta karavaro romagucchAbhirAmaH / / vAghadghaNTAkalApapratininadajitodgarjadambhodanAdaH prAsAdo dAnavAriprakaraparicito yaH karIvAbabhAse / / 79 // bhUmI srotasvinI yaH zazikaranipataJcandrapAthaHpravAhaiH saMbibhrajjainamUrti pramuditakamalAM cAntarA svarNakAyam / nAnAratnaprazastaprasRtarucitanisphItakallolazAlI prAsAdaH kSIrapAthonidhiriva samabhUd vAdyagambhIraghoSaH // 8 // AzAsaJcArirocinicayaviracitAnekamAhendranIlastomAmollekhyakarmIkRtagaganatalottuGgazRGgazvakAse / manye yadvartmanA'sau nijaciravirahavyAkulAGgI dharitrIm trasyatsAraGganetrAM militumavatarannambumuknovitezaH // 81 // kAntyA yenAbhibhUyAkhilakharakiraNAnAtmanA spardhamAnAn bhItyekaprAptaviSNukramakajazaraNAnuddhRtAMstAnazeSAn / dveSyAn sAtaroSAdiva ghanamilitAbhIzurajjuprasAraiH saMyamyAnanyahaimAnnipanivahanibhAta(? n) rakSitA jainadhAmnA / / 82 // pArAvArAntarAlAn sikatilapulinAn kandarAn gahvarAzcAzeSAzAH dandazUkAzrayasurasadanakSoNipIThapradezAn / bhrAntvA zrAntAntarAtmA kvacana na vasaterAtmano yogyalAbhAt piNDIbhUya pratApaH kimiha bhagavato yanmiSeNAdhitasthau // 83 //

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azAtakavikRtam gantA nityAstabhAvaM zamanajanayitA cAkSuSaH svAn karAMzca pratyUSe prANabhAjAM prathayasi purato'rthIva nibIDabhAno ! nirdoSe'nAtadoSastvamapi saha mayA spardhase kiGkiNInAM nirhAdairbhASamANaH kimiti racitavAMstADanAyAsya daNDam // 84 / / yaH zambhurvAmadevaH zamanazamayitA'pyandhakArAtihantA paryanyairnIlakaNThaH zikharaparicitairnavyanATyapriyazca / IzAnAsUyayAntaHsitaghaTakapaTAdvA caladvaijayantIvyAjAnmUnIva dhatte zazisurasaritordvandvamAptendugehaH // 85 / / dhvAntAni dhvaMsamAno dhRtacayaparidhihamAno vihAyaH visphUrjavyomaketurnidhiriha mahasAM garvigandharvavargaH / doSAvirbhAvamettopagataharipadopAstinityodayazrIH kurvANo yaH prabodhaM kimavanimagamanmUrtimAnaMzumAlI // 86 // pauSpApAnonmadiSNubhramadalipaTalazyAmalacchAyamadhyAzliSayallIlAbalAkAtatiyugalamilatprAvRSeNyAbdamAlA / reje yasyopariSTAt tribhuvanavijayodbhUtagarvaM dadhAno'-- ntarmeghADambaraM yazcalacamarayugacchatramUhe vibharti // 87 / / yasmin puSpopacAraH kvacana viracitaH sacarAcaJcarIkazreNIzaGkAragItadhvanitaparicitAnekavINA vinodaH / sarvo nakSatratArAgrahanivaha iva zvetarocivibhUSAsAmAnyaM yAcamAnaH prabhumiva bhajate'bhyetya nakSatravIthyAH // 88 // usphullatparNamAlAgaladamalamadhusyandalubhyadvirepha prAsAde puNDarIkaM vilasati paritaH klaptakAntopacAram / svarbhANo rucetA nijamakhilaparIvAramAdAya sArdha matye yasminnilIyA sthitimayamatanot kaumudInAmadhIzaH // 89 / / udbhrAmyadbhaGgarAmAsamudayavividhAnokahonnidraniryatpauSpauSasyandabindUpacitasumanasAM bhAti yatropacAraH / nirjityAdvaitavIraM kusumazaramahopAlametasya zakteH .: zAstrANyAdAya bAsaukasi kimu bhagavadbhabhujA dhAritAni // 9 //

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jainavihArazatakam AtmIyAbhAtirekairvihasitavigaladvArivAhoparodhasmerArciHzAradonoditatuhinakaraM yatra zaGkha babhasti / bhUmibhRtpakSamettuH prabalabalabhidaH svaM laghUkRtya bhotyA zailaH zIlAMzumauleriva zaraNamagAdahato vAsadhAmnaH // 91 // jyotIrAjInibaddhAgrahanivahacalatketucakrAndhakAracchettArazcAndravArA haripadapaTalIsvarvahA vaijayantyaH / santyete mayyaneke madupari tadare'sthAH kathaM tADanAyai kurvannudyogamarhadgRha iva kRtavAn daNDamuddaNDamuccaiH // 12 // cacAGkArarAvAdharitasuravadhUdhoraNInRtyagIta - pronmAghabhRGgamAlAkalitasumanasAM rAzirasmizcakAse / saMprApaM saumanasyaM tava paricaraNAdetaduccaiH padaM mAM dehi zrImajjinendoragamaditi mahAnandakAGkSIha manye // 93 // zociHzreNIsanAbhIkRtanikhilamilatpaminIprANanAthaprAJcannAnAmaNIbhirghaTitayadavanInUtanAdhityakAyAm / zobhA kAmapyananyAM kalayati nalinIvallabho bimbibimba lakSmI manye'dasIyAM mitiviSayamivAnetumudyacchate'sau // 94 / / nirdhUtAnekamuktAstabakasamudayAzliSTalIlAntarAlazvacaccandrodayo'smin kvacidasitamaNIkAntasaMpRktakAntaH / bimbenovAha zobhA vyapakuru jina ! me zUnyatA sagraha ! tvaM manye nakSatravIthI: gaditumidamahorAtramenaM niSeve // 95 // sthAne sthAne pralambIkaraNaparicitAnyApta candravAse jAlAnyunmIladindudhudamRtamihikAkAntamuktAvalInAm / nirvAnanyaniryabahalataramadhusyandasandohalipsu omyantI phullapuSpastabakatatidhiyevAbhyagAd bhRGgamAlA // 96 // yenAnaGgIkRtaM svaM praNayinamavanInAyakaM panavAsAsUnuM dRSTvedamIyA vimuditaparamANUdarI vyAkulAGgI / AdAyevAtmanInaM sakalamapi parIvAramaGgaM svapatyuH pAJcAlIkaitavenArthayati punarasau yatra zambhoH purastAt // 97 //

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azAtakavikRtam AptakSoNItalendoramalalavaNimAnanyasAmAnyarUpaM sarvAGgINaM trilokIvijayakRdatithIkRtya netrotpalAbhyAm / vyAjAt pAJcAlikAnAM bhayataralamRgIlocanA nijharaNAmAzcaryAkRtabhAvAdiva samamabhavan stammitA jainagehe // 98 // valgallAvaNyalIlAvagaNitaphaNibhRllokanIlotpalAkSyaH kallolaM dvanmudambhonidhipayasi nRNAM zAlabhaJjyaH sRjanti / khelallIlAyamAnAmbudhizayanazaraccandravidveSivaktrA snehenAbhyAjagAma pravarasahacarIvApsaromAlikeyam // 99 / / yasmin vismeradambhoruhadalanayanAH stambhanaddhA natAGgyaH / pAJcAlyaH phullayanti sma nayanakumudAM vRndamindorivAlyaH / prAntAvAsaM jinendo ! vyapanaya kimidaM vaktukAmAH purastAdAzAsAraGganetrA iva jinasadane yatra sambhUya tasthuH // 10 // dhautasphItAzmagarbhaprakaraparicitAnanyasopAnapaGktiH proccairyatkuTimAntaH kimapi nayanayoH kautukaM tantanIti / kAlindIvottaraGgA kanakakRtazikhAlambikumbhe'bjabandho tyA vaptAramenaM militumiva mudopakramaM kurvatoha // 101 // yasminnurjasvalazrI kSapitaghanatamaHkoTivispaSTarociH sauvarNastambhamAlAzitimaNikiraNazreNimizrAntarAlA / zrImatsyAdvAdigehe pulakayati tanUM kautukAlokakAnAM bibhrANA nIlavAso divasapatisutA pratyanIkA ivaite // 102 // iti zrImajjainavihArazatakam

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zrIsomasundarasUrikRtaM zrIvIrajinastavanam / saMpAdaka. paM. bAbubhAI savacaMda zAha adyAvadhi apragaTa A camatkArika zrIvIrastavanarUpa laghu stavanana kartA prasiddha tapagacchIya AcArya zrIsomasundarasUri che. teozrI bhagavAna mahAvIranA pacAsamA paTadhara thayA. vi.saM. 11457 mAM teo sUripade sthApita thayA. temano samaya vi. saM. 1430 thI 1500 sudhIno sunizcita che. temaNe nAnA moTA aneka graMtho racyA che. temAMnA ghaNA chapAI gayA che. A kRti saMpAdana lAlabhAI dalapatabhAI bhAratIya saMskRti vidyAmaMdiramA rahela paMnyAsa zrIkalyANavijayajI saMgrahanI prati naMbara 545/4 uparathI karela che. pratinuM parimANa 26. 3 4 11. 4 se. mI. che. prati sattaramA zatakamAM suvAcya akSare lakhAyelI che. eka patramA lagabhaga paMdara paMktio che. eka paMktimAM sarerAza 56 akSaro che. A kRtinA zarUAtanA sAta zloko upajAti chaMdamAM ane chellA be zloko zAIlavikrIDita chaMdamAM che. sAtamA zlokamAM zleSagarbhita yamakabaddha racanA che. aMtima zlokamAM nANA, dyANaka, naMdivardhanapura, hastikuMDIpurI, brAhmaNavATaka vagere tIrthono ullekha karela che. vaLI te ja lokamAM jIvati zrIvIre A pada mUkIne zrIvIra bhagavaMtanI vidyamAnatAmAM A tIrthomAM sthApana karAyelI mUrtione namaskAra karela che. zrIsomasundarasUrikRtaM zrIvIrajinastavanam / chatratrayAlaGkRtamaulimaNDanam saMvIjyamAnaM camaraiH surezvaraiH / jinAdhirAja mRgarAjaviSTaro paviSTamekaM prabhuvIramAnumaH // 1 // gaGgAtaraGgA iva caGgazuddhatAH trilokalIlAkramavikramoddhatAH / guNAsturaGgAH kiyato'pi yAMstava zritaiH sukhApyaH kavisAdibhirjayaH // 2 // 1. pahAvalI samuccaya pR. 64-65. (prakA0 cAritrasmAraka graMthamAlA, vIramagAma.) 2. jaina sAhityano saMkSipta itihAsa, mo. 6. desAI. pRSTha 451 thI 461.

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glpiijiiblilml tava pramAvastanubhUrajalpato' pyanalpasaGkalpitaropatoSaNaH / tvadaGgaNAne yuvarAjavajavAda yAtrAmiSAlloThayate jagattrayIm // 3 // AjJA pareSAM na rarAja nirjare zvarAdikAnAM prabhavet sacetane / acetanairapyanalAmbuvidyudA - dikaistvadAjJA tu na lachayate'dbhutam // 4 // syAdaihikAnekapadArthasiddhaye . zraddhA jinAdhIza ! yathA prathAvatI / tathA'trapAratrikazarmanirmitA vupAyabhUtA tvayi sA mamA'nizam // 5 // puraH sphuraddhapajadhUmaDambaram ciraM sRjanto'pi taveha dehinaH / svamujjajvalaiH puNyadalaibarIbhrati .trilokamAtmIyayazobhirapyaho / // 6 // na rAjayakSmAdikadUSitAH syuH narA jayakSmAdikarAjyaRddhAH / prabhAvataste ravito'tizAyi prabhAvatastena na ke stuyustvAm // 7 // tejobhirvijito raviH saha parIvAreNa baddhAJjaliH / pAdAne tava sevanAM viracayatyekAgracittaH sadA // tat kiM tasya sutaH zanistanubhavA bhadrA tanUjastathA / konAzastadadhiSThitA ca bharaNI tvadbhAktikAM(kAnAM) puraH // 8 // nANadyANakanandivarddhanapurazrIhastikuNDIpurI zrImadabrAhmaNavATakeSu bRhati grAme tathA jIvati / zrIvIre kSitipAlamukhyavipulaprAsAdasaMsthApitAH tanmUrtIH gurusomasundaramahaH kIrtinamAmyanvaham // 9 //

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taraMgalIlA paka priyAMmalana ujANIe thI pratyAgamana pachI vAvane kAMThe beThelI ane snAna, zaNagAra vagere karavAmAM cIpacI ammAne joIne huM tenI pAse gaI. (404). bhUMsAI gayelI biMdIvALuM, sahejasAja bacelA AMjaNa yukta rAtAM nayanavALuM, khinna baneluM ne prabhAtakALanA caMdra samuM karyuM evuM mAruM vadana joIne viSAda pAmatI ammAe kahyuM, "beTA, udyAnamAM bhamavAnA thAkathI tuM karamAyelI utpalamALAnA jevI bhAhIna banI gaI ke zuM?' (405-06). eTale priyatamanA viyoge dukhI, sarvasva harAI gyuM hoya tevI huM AMsu bharelI AMkhe belA, "mAruM nA du:khe che." (407). " beTA, tuM nagaramAM pAchI jA," "mArAthI eka DagaluM paNa daI zakAya tema nathI. mane duHkhanA nidhAna samo tAva caDavo che.' (08). e vacana sAMbhaLIne atyaMta khina banelI mArI vatsala mAtAe kahyuM, "tuM vartha thAya te pramANe karIzuM. (409). huM paNa nagarImAM na AvuM, te AvI durdazAmAM tane ekalI kema mUkuM ? mArI putrI Ama kuLanI.. (410). e pramANe kahIne putrI pratyenA atizaya snehavALI ammAe zayanavALuM eka uttama vAhana mAre mATe joDAvyuM. (11). pachI pelI mahilAone teNe kahyuM, "tame sau snAnazaNagAra karI, bhajana patAvIne veLAsara pAchI AvI jaje, he, bhAre jarA nagaramAM javAnuM che, kAMIka tAkIdanuM anivArya kAma che, paNa tame kazI ciMtA na karazo.' e pramANe te badhAne sAruM lAge tema kahyuM. (413) ujANInA AnaMdetsavamAM strIone kaze aMtarAya na paDe e daSTie ammAe potAnuM nagarImAM pAchA pharavAnuM kharuM kAraNa na kahyuM. (414). sAthenA sau rakSaka, dekharekha rAkhanArA vRddho ane kaMcukI one potapotAnA kAryamAM barAbara sAvadha rahevAnuM kahIne, thoDAka parivArane ane anubhavI paricArakone sAthe laIne te vAhanamAM besIne ammA mArI sAthe nagarImAM AvI. (415--- 16). vAsabhavanamAM taLAIvALA..(417). gaLAnA hAra pheMkI daIne...kAnanuM kuMDaLayugala... (418). eTale ammAe kahyuM, "taraMgavatInA zarIramAM tADa che. mAthe paNa vastha nathI. eTale tyAM tene vadhu rahevAnuM goThayuM nahIM.' (19). jenA nimitte huM udyAnamAM gaI, te saptaparNanuM vRkSa sarovaranI samIpamAM UgeluM ane phUlathI DhaMkAI gayeluM meM joyuM. (42). so strIone udyAnamAM ramaNabhramaNa karavAmAM kazuM vina na thAya e hetuthI meM mArA pAchA cAlI AvavAnuM sAcuM kAraNa temane nathI jaNAvyuM.' (21). e vacana sAMbhaLIne mArA para putro karatAM paNa vadhu sanehabaMdhavALA bApujI adhika vyAkuLa ane duHkhI thayA. (42).

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54 mahilA jagassa vigyo mA hojjAvapi ramauti / Agamaga-kAraNaM to na mae samAvao kahiye ||421 evaM nisamma vayaNaM saMto ahiya dukhio tAo / areva vaddha-neho purohito maha uvari ||422 * mamaM tattha ||425 ammA kahie nAyati ANi naya viNuo vejjo / vijjA-guNeNa jo nayare sayale khAya - kittIo ||423 uttama kula-pasUo gaMbhIro sIla-pacaya samiddho / suha-tyo siva- hattho lahu hattho sattha - kusalo ya ||424 so savvAhi lakkha niyANa-niggaha pa oga vihi-kusalo / pucchai suhAsaNattho vivariya- atyaM kiM te vAhai bAleyaM jaro ya siraveyaNA yataM sAha | pattiya (?) taM velaM jA te savvaM paNAsemi // 426 keresao AhAro kaI AsIya avi ya te jiNaM / nihAvaNa yaNa- muddA (2) kaha te rattI gayA ajjaM ||427 kahio me AhAro sArasiyAe nisAe pajjato / uvaNa gamagaM ca mahaM jAissaraNaM viNA ghariNi // 428 dahU pucchiUNa ya AlakkheDaM mamaM ca gahiyattho / so jaMpiDaM pavatto satthAvatyA imA kaNNA ||429 & jaM loe jimiya- metto hoi jaro sibhio muNeyavvo / pittaM (?) jaro jarata jiNaMte bAio hojjA // 430 eetisu vi kAlesu havai so saNNivAio hoi / tarasa viya pabala-seso (?) bahuyA dosA muNeyavvA // 431 dosA ahavA tiggI etto ki lakkhagANi savarAha' / dIsaMti jattha so saNNivAya - jarao muNeyacvo ||432 daMDa-kala--sattha- patthara-pahAra- duma paDaNa- pelaNAdIhi / saMbhavai jo viseseNa so u AgaMtuo jarao // 433 jaM lakkhaNaM na peksAmi / satya- sarIrA imA kaNNA ||434 uvavaNa-parihiMDaNA [e] kilammiyA / bAlA parissamamimaM etesiM ekkayaraM ahaye satthA hu hoha tumbhe jAna- kkhobheNa dhuyA jANaijaro sarIrassa ||435 avA citta-viyAro koI eyAe soga Dara jaNio / teviggA bAlA lakkhijjai naNNahA esA ||436 bhANiUNa ya tarhi ammaM tAyaM ca heu juttIhi / kaya sammAno bhakNAo nIi visajjio vejjo ||437 ** taraMgola

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taragalAlA vaidarAjanuM Agamana ammAnI salAhathI vaidyane kheAlAvyA. te vivekamuddhivALA ane peAtAnI vidyAnA guNe AkhA nagaramAM prakhyAta hatA; uttamakuLamAM janmelA, gaMbhIra svabhAvanA ane cAritravAna hatA; zAstranA jANakAra hatA, ane tene hAtha zubha, kalyANakArI ane haLavA hA (423-424). badhA prakAranI vyAdhienA lakSaNa, nidAna ane nigrahamAM tathA tematene lagatA prayAgavidhimAM kuzaLa evA te vaidya nirAMte Asana para besIne mane vigate pRSTha paracha karavA lAgyA (425) : mane kahe, tane vadhAre kaSTa zenAthI thAya che--nAvathI ke mAthAnA duHkhAvAthI ? tu... vizvAsa rAkha, A ghaDIe ja tAruM badhuM ? huM dUra karI daiza. (4ra6). te gaI kAle bhAnamAM zu` zu` lIdhuM hatuM ? tane khAdheluM barAbara pacyuM hatuM ? tArI rAta kevI rIte gaI, AMkhAte khIDI detI UMdha barAbara AvI hatI ? ' (427). eTale sArasikAe me' je kAMI rAtre AhAra karyAM hatA te, tathA pUrva janmanA smaraNu sivAyanI ujANIe gayAnI vAta kahI jaNAvI. (428). e pramANe pUchIne ane mane joItapAsIne vastusthitine ma pAmI jaI vaidya kahevA lAgyA, ' A kanyAne kazA vaiga nathI. varatA prakAra 55 lekAne jamyA pachI tarata AvatA jvara kaphajavara hAya, pAcana thatAM je javara Ave te pittajavara ane pAcana thaI gayA pachI AvatA jvara te vAtajvara hAya, (430). A traNeya veLAe je vara Ave te sannipAta-jvara hAya, jemAM ghaNA prabaLa doSo rahelA hovAnuM jANavuM. athavA tA jemAM ukta traNeya prakAranA jvaranA doSa ane lakSaNA varatAya tene sannipAta-javara jANavA. (431-432). vaLI daDa, cAkSuka, zastra, paththara vagerenA prahArane lIdhe, jhADa parathI paDavAthI ke dhakakelAvAthI--evA koI viziSTa kAraNe utpanna thatA jvarane prAga'tuka jvara jANavA. (433). A vAmAMthI ekeyanuM lakSaNa mane ahIM dekhAtuM nathI. mATe tame nizciMta raheA, A kanyAnu` zarIra taddana svaratha che, (434), lAge che ke tamArI putrI udyAnamAM bhramaNa karIne ane vAhananI athaDAmaNuthI thAkI gaI che. A zArIrika parizrama che|karIne jANe ke javara hoya evA lAge che. (435). athavA te pachI bhAre zeka ke Darane lIdhe Ane karaze. cittavikAra thayA hAya, jethI karIne A brekarI khinna banI gaI hAya. AmAM bIju kazu kAraNa nathI.' (436). e pramANe ammAne tathA bApune kAraNe tathA dalIlAthI samajAvIne, sanmAnapUrvaka vidAya karAyelA vaidya amAre gherathI gayA. (437).

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. taraMgalolA ayaM pi tattha duhiyA soga-bharakkaMta hiyaya-dukkhattA / jemAviyA sa-savahaM ammAe varaNDa-kAlammi // 438 majjaNa-jemaNa-maMDaNa-pamoya-saMbhAya-vaiyara-visese / sAhati ya vilayAo ujjANAo niyattAo // 439 sAyara-raMga-paraMgiya-talammi sayaNammi meM asaraNAe / nihA-bu(tu!) cchacchIe kiccheNa aicchiyA rattI // 440 purisa-sayA kira kallaM mamaM vareu uTTiyA tAyaM / je mayaNa-vANa-viddhA datRRNa mamaM gurU tesiM // 441 te ya kira asarise me sIla-vyaya-niyama-posaha-guNehiM / laliyA vi atyaittA paDisiddhA seTiNI savve / / 442 tassa kahA-guNa-kittaNa-pasaMga-parivattio puNo bahuso / acchIsu orijjai pANiya-rUvo mahaM so u // 443 dhaNiyamaNusaMbhara tI e majha taM puvva-deha saMbaMdha / sA kuddhA ya ruDhA(?) bhoyaNa-saddhA paraddhA me // 444 majjAmi pasAhemi ya akAmA(?) me visaM va taM ghariNi / guruyaNa-pariyaNa-citta-parirakkhaNatthA duhaTTA vi / / 445 khaNamaci nahu jIvejjA teNa viNA tassa laMbha(?)-parihINA / jIviya kallolA me maNoraha-mayA jai na hojjA // 446 bAhai maM uu-caMDo bambhaha-kaMDo pakAma hiMDaNao / suhiya-jaNa-nivvui karo sattacchaya-gaMdhio vAo // 447 timira-paDinAsayANaM khaNamavi mayaNa-sara-saNNivAyANaM / na caemi ThAiu je AvAe caMda-pAyANaM // 448 kumuya-vA-amaya-buTThI maMdara-caTThI pagAma(?)-parituTThI / / taha sIyalA vi joNhA upahA viva me Dahai aMgaM // 449 paMcaviha iMdiyatthA iTTA visaya-suha-nivvui-karA me / te piyayameNa rahiyA ya ghariNi soyaM uIraMti / / 450 sabya-maNoraha-saMpUrayaM va saMkappiyaM mae tattha / tassa samAgama-heu vihiyaM AyaMbila?-sayaM // 451 savva-duha-viNAsaNayaM pabhavaM ca savva-sokkhANaM / aNumaNNaI ya guru-yaNo taM majjha vayaM aNuNayaMto // 452 AyaMbila-vaya-karaNeNa dubbalaM sayaNa-pariyaNo majhaM / jANai na hu maM jANai bammaha-sara-sosiyaM taNuiM // 453

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taraMgalIlA virahAvasthAnI vyathA pachI bhAre zekathI tapta hRdayavALI ane du:khAte banelI mane ammAe sogaMda daIne bapore jamADI. (438). ujANIethI pAchI pharelI pelI mahilAo paNa snAna, zaNagAra, bhojana ne AnaMdapramodanA aneka prasaMge varNavA lAgI. (39). nIlaraMgI zayanamAM azaraNa banIne sUtAM, nidrArahita AMkhoe mArI e rAgI kemeya karIne vItI. (440). kahe che ke Agale divase mane joIne je madananAM bANathI vIMdhAI gayA hatA, temanA jeo vaDIla hatA te seMkaDe puruSo bApujI pAse mAruM mAthuM karavA AvelA. (441), paraMtu umedavAro rUpALA hovA chatAM, zIla, vata, niyama ane upavAsane guNemAM te badhA mArA samevaDa na hovAthI, he zeThANuM, temane bApujIe asvIkAra karyo. (442). ene lagatI vAta ane guNakIrtananA prasaMgamAM vAraMvAra nirdeza pAmato mAre priyatama ja mArI AMkha mAM pANI rUpe UtarI AvyA karato hato. (443). pahelAMnA e mArA dehasaMbaMdhanuM vAraMvAra saMsmaraNa karatI evI mArA upara jANe ke krodhe bharAInerisAIne mArI bhojanarUci cAlI gaI (444). he, gRhasvAminI, huM du:khI du:khI hoIne, snAna ane zaNagAra mane jhera jevA lAgatAM; paNa, vaDIle ane kuTuMbIjanothI bhAre hRdayabhAva chupAvavA, huM te nIrasapaNe kaye jatI. (445) je maneratharUpI taraMgo mArA jIvitamAM prasarelA na hota, to huM tenA saMgathI vimukta rahIne eka kSaNa paNa jIvI na zakata. (446). svarapaNe bramaNa karate, kAmadevanA bANa jevo, saMtarachaMdanI saurabhavALo, sukhI lekene zAtA Apato, Rtune lIdhe pracaMDa evo pavana mane pIDato hato. (447). kaMdarpanA bANanI varSA thatAM jemane kAmavarane saMnipAta thaI AvyA che, tevA, timiranI pratimA samAM (2) lekene caMdra eka kSaNa paNa rucato nathI. (48). kumudavanane amRtavRSTi samI. atyaMta paritRpti karatI zItala snA paNa uSNa hoya tema mArA aMgane dajhADatI hatI. (449). he gRharavAminI, viSayasukhanI tRpti karavatA pAMca prakAranA iSTa IdriyArthI, mArA priyatama vinA mane zeka upajAvatA hatA. (450). te veLA meM priyatamane pAmavA mATe, sarve maratha pUrA karanAra ekase ne ATha AyaMbila karavAno saMkalpa karyo. (451). sarve duHkhanuM vinAzaka ane sarve sukhanuM utpAdaka evuM e vrata karavA mATe, mAruM mana rAjI rAkhatA vaDIloe mane saMmati ApI. (452). huM AyaMbila trata karavAthI dubaLI paDI gaI hovAnuM mArA svajane ane parijanoe mAnyuM; kAmadevanA bANathI huM zoSAIne kRza banI gaI hovAnuM teo na kaLI zakayA. (453).

Page #399
58 taraMgalola to dukkha-veda-saMtAviyAe me hiyaya-soga vissAmo / . Alekkha-kamma-joggo nimmavio paTTao ghariNi // 454 daDha-pAsiya-masiNAo juttIehi diNNa-mANa-baddhAo(?) / kAsi mhi vaTTiAo bahu-vaNNA-saha-vaNNAo // 455 ubhao tikkhaggAo avakkhaDA taha pmaann-juttaao| parisaNha-niddha-lehA pANIsu vi ujjamaMtIo // 456 tAhi ya meM taM lihiyaM tammi paDe cakkAvAya-jAIyaM / jaM meM pieNa sahiyAe samaNubhUyaM pi(?) niravasesaM // 457 jaha ramiyaM jaha cariyaM viddho ya mao ya sahayaro jaha me / jaha khAmio ya vAheNa aNumayA taM jahA ahayaM // 458 tattheva mae lihiyA bhAgIrahiNovaiTTha-gai-maggA / gaMgA uyahi-taraMgA rahaMga-nAmA uli(?) vihaMgA // 459 hatthI ya so vayattho bAha-juyAMNo ya gihiya-koyaMDo / tattha lihiyA mae to kameNa baTTIe cittammi // 460 paumasaro ya bahu-vihA rukkha-kaDillA ya dAruNA aDacI / kamala sahassAkiNNa-uu-kAla-samaNiyA lihiyA . // 461 . acchAmi ya pecchaMtI kuMkuma-vaNNaM tayaM rahaMgaM ca / maha maNa-ramaNaM citta-gayaM(?) aNaNNa-cittA haM // 462 xxx taiyA vi diNe guNa-viviha niyama-vivelliyA / x x x x x guNa-pavittI AsaNNA komuI-rattI // 463 lAgaddArANi avaMgu-pANimAdhAya(?) ghosaNA vattA / dhammo viva suha-karaNI niNya-karaNI ya ahammassa // 464 uvavAsa-dANamaiyaM vadANi saMghassa(?) teNa tattha jaNo / kuNai vihi-nippakaMpaM(?) diya-bhoya-vimANa-somANaM(?) // 465 komui-puNNima-divaso jaM Ao(?) ghariNI kameNa saMpatto / dhammassa kAravaNao diya-jaNa-dogacca nAsaNao // 466 ammA-piIhiM (sahiyA) kAMsI cAummAsAiyAra-sohaNayaM / khamaNaM paDikamaNaM pAraNaM ca ayaM piyecchIyaM (?) // 467. hammiya-tala-oloyaNa-gayA ya pavvAvaraNha-kAlammi / oloemi puravariM sagga-vimANovama-sirIyaM // 468 pecchAmi duddha-dhavale viNNANiya sukaya cittiya-kkhaMbhe / gayaNa-talamaNulihite vimANa-paDirUvae bhavaNe // 469

Page #400
taragalAlA citrapaTanuM Alekhana pachI hai gRhasvAminI, viduHkhe saMtapta banelI meM hRdayanA zAkathI visAmA meLavavA, citraka mATe yeAgya evA eka paTTa taiyAra karAvyA. (454). majabUta pAsathI bAMdhelI, ce|gya mApanI, jhINA vALa vALI, masaNa, suMdara pI'chIe taiyAra karAvI; ane khAju tIkSNa agratALI, uparakRta, sapramANa, jhINI, slik rekhA pADatI ane hAthamAM utsAha prere tevI te hatI (455-456). temanA vaDe me' te citrapaTamAM je kAMI cakravAkI tarIkenA bhavamAM mArA priyatamanI sAthe meM anubhavyuM hatuM te badhuM ja AlekhyuM. (457) : je rIte ame ramatAM ane viharatAM, je rIte mArA sahacara vidhAyA ane maraNu pAmyA, je rIte vyAdhe tene khamAvyA, ane je rIte meM tenI pAchaLa anumaraNu karyuM". (458), vaLI me' bhAgIrathInAM vaheNu, samudrasamA taraMgavALI gaMgA ane tenA paTamAM thAMga nAmadhArI ( =cakravAka ) viha Mge, hAthI, juvAnantedha ne dhanuSyadhArI vyAdhayuvaka--e badhu kramaza: tUlikA vaDe citrapaTamAM Alekhyu. (49-460). vaLI padmasarAvara, aneka prakAranA vRkSonI gIca jhADIvALI dArUchu aTavI, ane tyAMnA hajArA kamaLA vALA RtukALa cItaryA. (461). citramAM rahelA te mArA kuMkumavarNA, manerama cakravAkane hu' ananya citto jotI ja rahI. (462), pada kaumudI hatsava e samaye vividha guNu ane niyamavALI, pavitra zaradapUrNimA najIkamAM ja hatI. (463) ...dhanA jevI zubhakara, ane adharmanI pratibadhaka evI AASaNA karavAmAM AvI. lAkAe A vratanimitte upavAsa ane dAna AdaryAM. (464-465). Ama, he gRhasvAminI dvijonI durdazA dUra karavAvALA ane dha karAvAvALA zapunamanA divasa krame karIne AvI lAgye . (466). ammAe tathA bApujIe ceAmAsAnA aticAranu` zeAdhana karyuM, tathA meM paNa pitAjInI icchAnusAra upavAsa, pratikramaNa ane pAraNAM karyAM. (467). padivase apeArane samaye huM agAsI upara jovA mATe gaI ane svargIya vimAneAnI zAlA dharI rahelI nagarIne jovA lAgI. (468). dUdha jevAM dhavaLa, kaLAkArAe kuzaLatAthI cItarelA sta'bhAvALAM, AkAzane aDatAM, vimAna jevAM bhavanA mArI dRSTie paDatyAM, (469),

Page #401
60 taraMgalolA bara-bhavaNa-paDihAra-TTiyA ya kaNayamaya-bhariya-bhiMgArA / ghosaMti dANavaiNaM vara-variyaM dANa-kaya-saddhaM // 470 kaNagaM-kaNNA-go-lakkha-dUsa-bhUmI-kimicchaga-payANo / saya gAsa ga-jANANi ya asagANi jaNo. tahiM deha / / 471 tAo ammAe samaM ce iya-sakAraNaM karei pugo / vidhiha guga joga jutesu dei sAsu dAgAI // 472 nA-koDI-parisadvaM ugama-dosehiM dasahiM vi vimukaM / upAyaga dosehi ca solAI vividha jaya // 473 taM vatya pAga-bhoya ga-saya gAsaga lega-bhAya gAdoyaM / demo adeyaM dAgaM ucAikA mu vihiyANaM // 474 jigaghara-ghare mu ya pugA nAgA-mAge kAya raya ga-ruppAgaM / kunA papa gaM(?) parasta loyasa mahamalaM ghariNi / / 475 dima natya nAso dAgasa subhAsubhatsa savvattha / hAi subhe puga pugaM hoi apugaM ca anumana / / 476 vivei-guga joga-ju tenu viuThanA-saMjane ga jute su / digaM phAyadAgaM saddhA-sakAra vigaehi // 477 taM seyaM viula-phalaM pasabai tatto nirAmayaM ca puNo / sukula mna samuSpatti mAguma-bhava-somaNi kugai // 478 eega kAraNegaM demo taba-niyama-daMsaga dharANaM / pattAmma havAi u patta-dANaM saMsAra mokkha kara // 479 rAgAvagAri takara-vitaha-vaya ga-kAri-pAra-dArIsu / hoi puga agaha-kalaM phAsuya-dANaM pi jaM kiMci // 480 agukaMpAe nimittaM bahuyAgaM tatyuvAsthayAgaM to| mAiga-ke ga gI nA-prayAga diyA[i] dAgAiM // 481 duragucara-niyama-bahulo vikiTTha-khavaNovavAsa dANa-ruI / / airega dhamma-sI lo ko mui deva se jago AsI // 482 eva ya pecchAmi ahaM nANAvatthaMtare puravarIe / saMkhitta-rassi-jAlo sUro ya samottharai atthaM // 483 puvv-disaa-piy-kaaminni-pribhog-kilNt-pNddur-cchaao| avara-disA-vilayAe nivaDai vaccha-sthale sUro / / 484 naiyala hiMDaNa saMto nimmala-tavaNijja-rajju-bhUyAhi / oyarai va bhUmi-talaM sUro niyayAhiM rassIhiM / / 485 sUrammi ya asthamie timira-kalaMkijjamANa-sAmAe / paDivaNNo jiya-loo savvo vi ya sAma-bhAveNa // 486

Page #402
taraMgalAlA dAnapravRtti suMdara bhavananAM dvAra para mUkelA jaLa bharelA suvarNa kaLaze jANe ke dAnezvarIonI meM mAgyuM dAna ApavAnI zraddhAnI ghoSaNA karI rahyA hatA. (470). leke yatheccha nuM, kanyA, gAya, bhakSya, vastra, bhUmi, zayana, Asana ane bhojananuM dAna detA hatA. (47). bApujI ane ammAe caityavaMdana karIne vividha saguNa ane sapravRttivALA sAdhuone dAna dIdhuM.(472). nava keTie karIne zuddha, dasa prakAranA uddagamadoSothI mukta, soLa prakAranA utpAdanadeSAthI rahita, evuM vastra, pAna, bhajana, zayana, Asana, raheThANa, pAtra vagerenuM puNyakAraka puSkaLa dAna ame sucaritone dIdhuM. (473-74). jinamaMdiromAM paNa he gRhasvAminI, aneka prakAranA maNi, ratna, suvarNa ane rUpAnuM ame dAna karyuM, jethI paralokamAM tenuM moTuM phaLa maLe. (475). je kAMI dAna devAmAM Ave che-pachI te zubhahoya ke azubhatene kadI paNa nAza thato nathI: zubha dAnathI puNya thAya che, te azubhathI pA5 (476). vividha guNa ane yogathI yukta, vipula tapa ane saMyamavALA supAtrone zraddhA, sarakAra ane vinayathI yukta thaIne ApavAmAM AveluM ahiMsaka dAna aneka phaLavALuM zreya utpanna kare che. tene pariNAme uttama manuSyabhavathI zobhatA UMcA kuLamAM janma ane Arogya prApta thAya che. (477-78). A kAraNe ame tapasvI, niyamazIla ane darzanadhArIone dAna dIdhuM. supAtrane ApeluM dAna saMsAramAMthI mukita apAve che. (479). hiMsAkArI, cera, asatyavAdI ane vyabhicArIone je kAMI ahiMsaka dAna paNa ApavAmAM Ave che tethI aniSTa phaLa maLe che. (480). ame anukaMpAthI prerAIne, upasthita thayelA seMkaDe brAhmaNa, dInadu:khiyAo ane mAgaNane dAna dIdhuM. (481), lekIe te zaradapUnamane divase aneka duSkara niyama pAvyA, cAra divasanA upavAsa karyA, dAnavRttivALA thayA, ane ema atyaMta dharmapravaNa banyA. (482). * sUryAsta e pramANe huM nagarImAM thatI vividha ceSTAo joI rahI hatI, tyAM to pitAnI mijALane saMkelI le sUraja astAcaLa para UtaravA lAge. (483). pUrva dizArUpI preyasIne paripUrNa upabhogathI thAkelo ane phIkI paDelI kAMtivALo sUraja pazcima dizArUpI suMdarInA vakSasthaLa para DhaLI paDyo. (484). gaganataLamAM bhramaNa karIne zramita thayele suraja zuddha suvarNanA deraDI jevA pitAnA ramithI bhUmitaLa para jANe ke Utaryo. (485). sUraja AthamatAM, timire kalaMkita karelI zyAmA(=rAtrI)e samagra jIvalokane zyAmatA apIM. (486). * * * * - Si

Page #403
taraMgalolA amhe vi paDihArammi raMga-padezo kao aNaNNamao / bhavaNa-kaya-kaNNapUro keUro rAyamaggassa // 487 tasseva eka-pAsammi uddhio veiA-parikkhitto / kaMbala rayaNa-viyANo so mAjhaM paTTao ghariNi // 488 tattha uvayAra-kArI vissAsa-nihI siNeha-bhAyaNaM me / piyayama-maggaNa-paNihI citta-pade ceDiyA ThaviyA // 489 mahara-paDipuNNa-patthuya-sAisayA rasiya-vayaNa-bhAvaNNU / ghariNI sArasiyA sA bhaNiyA ya mae imaM vayaNaM // 490 AyAriMgiya-bhAvehiM jANasi taM parassa hiyaya-gayaM / maha jIviyavvayatthaM hiyayatthaM te imaM hou / / 491 jai hohI AyAo pio mahaM so ihaM puravarIe / iThUNa to paDamiNaM sarihI porANiyaM jAI // 492 jaM jIe saha piyAe jatthaNubhUyaM suhaM ca dukkhaM ca / taM tIe vippaoge daLUNukaMThio hoi // 493 sUei acchi-rAgA ja' piyayamamappiyaM ca loyammi / purisassa aNu-nivvariyaM hiyayAkUyaM nigUDhaM pi / / 494 rudassa kharA diTThI nimmala-dhavalA pasaNNa-cittassa / viliyassa(?) ya saniyattA majjhatthA vIyarAyassa / / 495 para-basaNa-darisaNeNa vi sANukkoso jaNo havai dINo / aNubhUya-paccakkho (?) vihaDio bhoga-salleNa // 496 iNamo loe vi sUI porANiM saMbharettu kira jAI / x x x x muccha suThu vi jo dAruNo haai| 497 so puNa sabhAva-vacchala-miu-hiyao apaNo aNubhavittA / paDibhAviya-dukkho daThUNa imaM gacchihii mucche / / 498 AvaDiya-soga-hiyao kiliNNa-nayaNo ya hohiI sajjo / tattANugamaNa-turio pucchihii imassa kattAraM // 499 para-loya-vippabhaTTa iya dadaThUNaM mahaM hiyaya-nAhaM / jANAhi cakkavAyaM taM mANusa-jAimAyAyaM // 500 taM nAmeNa vi guNa-vaNNa-rUva-vesehiM su-ppariNNAyaM / kAUNa majjha kallaM sAhasu jai to ahaM jIyaM // 501 hohI me teNa samaM vayaMsi tA hiyaya-soga-niTThavaNo / suraya-rai-saMpaogo AsaMgo kAma-bhogANaM // 502 jai na vihatthihisi sahI taM nAhaM majjha maMda-puNNAe / jiNa-satthavAha-pahayaM to mokkha-pahaM gahissAmi / / 503

Page #404
taraMgalAlA ame paNa mukhya dvAra pAse eka anupama raMgamaMDapa ra- amArA vIsabhavananA karNapUra sa, rAjamArganA bAjubaMdha sama. (487). tenI eka bAjue, he gRhasvAminI, vizALa vedika banAvI, upara ratnakaMbalane caMdara bAMdhIne tyAM mAruM peluM citrapaTa UbhuM karavAmAM AvyuM. (488). sArasikAne soMpelI dekharekha tyAM citrarathAne, meM mArA priyatamanI zodha mATe mArA pratinidhi lekhe, mArI vizvAsa pAtra, snehapAtra ane upakArakArI ceTIne mUkI. (489). madhura, paripUrNa, prastuta, prabhAvazALI ane rasika vacano ane bhAvanI jANakAra sArasikAne, he gRhasvAminI, meM A pramANe kahyuM (49), "AkAra, Igita ane bhAva dvArA tuM ane hRdayagata artha jANI zake che. te mArA prANane khAtara ATaluM tuM tArA hRdayamAM dhAraNa karaje. (491). je mAre e priyatama A nagarImAM avataryo haze te tene A citrapaTa joIne potAnA pUrvabhavanuM smaraNa thaze. (492 ). jeNe potAnI priyA sAthe je sukhaduHkha anubhavyuM hoya te tenA viyoge jovAmAM AvatAM te utkaMThita thatuM hoya che. (493). vaLI jagatamAM, mANasano UMDAmAM UMDe. hRdayagata priya ke apriya gUDhArtha prakaTa paNe na kahevAyA chatAM paNa, tenI akhenA bhAvathI sUcita thaI jAya che. (494). cittamAM ugra bhAva hoya tyAre dRSTi paNa tIkhI hoya che. citta prasanna hoya tyAre daSTi nirmaLa, bhaveta hoya che. lajijata thayelAnI daSTi pAchI vaLelI hoya che. te vItarAganI daSTi madhyasthabhAvavALI hoya che. (495). jeNe bhogamAM aMtarAya paDyAnuM duHkha pratyakSa anubhavyuM hoya te mANasa pArakuM du:kha joIne paNa anukaMpAvAna ane dIna bane che. (496). ane lokomAM paNa evI kahetI che ke pUrvabhavanuM maraNa thatAM, je atyaMta dAruNa svabhAvane heya tene paNa mUcha Ave che. (497). priyatamanI oLakhane prastAva paraMtu enuM hRdaya te svabhAve ja vatsala ane mRdu che, eTale te A citrapaTa jotAM, pote je anubhaveluM te ja A duHkha che ema jANIne mUchita thaI jaze (498), ane ekAeka tenuM hRdaya zekAkuLa ane AMkho bhInI thaI jaze. te kharI hakIkata jANavAne Atura thaIne A citrapaTa banAvanArane vize pUchaparacha karaze (499). tene joIne tuM, paralekathI bhraSTa thaIne manuSyonimAM avatarelA mArA prANanAtha cakravAka tarIke tene oLakhI leje. (500). tenuM nAma, guNa, vAna, rUpa ane vezabhUSA barAbara jANI laIne tuM jo kAle mane kahIza te to huM jIvI jaIza. (501). to, he sakhI, mArA hRdayane zoka naSTa thaze ane huM kAmaga bhogavatI tenI sAthe suratasukha mANIza. (502). paraMtu je mArA a9pa puNe te mAre nAtha tAre hAtha nahIM Ave te sakhI, huM jinasArthavAhe kheDelA mokSamArganuM zaraNa laIza. (503).

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64 sudara vi dIha (?) kAlaM niratthayaM tassa jIviyaM hoi / jaM ca piya-vippaoge jaM ca viNA dhamma-caraNaM // piyayama- samAgama ussuyAe appAhiyA mae evaM / ghariNI sA sArasiyA paDayaM ghettUNa gacchaMtI // * 504 sUrammi ya atthamie timira-kalaMkijjamANa - sAmAe / tattha ya taM velamahaM posaha- sAlaM gayA variNI // 506 ammA-pi samaM arahaMte su-vihie ya namiUNaM / paDikkaMtA || bhUmi-sayaNA nisaNNA ya majjha sayaNassa pAsao ghariNi / desiya- cAumA siya-paDikkamaNayaM X X X X X // 508 X 505 X X X x X 1 X X X X 11 509 maNi - rayaNa - dhAu- citaM divvAsahi-devarukkha-ciMcaiaM / gaNatala -vivaramaiyaM tuMga-siharayaM giriM rammaM // 510 sumiNammi kira gayA hUM tassa ya pavara- siharaM samArUDhA / tattha ya paDibuddhA haM dAhI kiM me phalaM sumiNA // 511 88 507 to bhai tattha tAo jaha diTThe sumiNa-satthammi ( ? ) / dhaNNo maMgalo putta hoi eso ya te sumiNo // 512 lAbhAlAbhaM dukkhaM suhaM ca maraNaM ca jIviyaM jaM vA / upphusai aMtarappA sugaNe nara-nAri - satyassa // 513 AmisaM (1) macchA ahuccheo (?) ya saruhiro ya vaNo / ruMdANi kaMdiyANi ya Alitto jo ya viddhAM (1) // 514 gaya-vasaha bhavaNa - pavvaya - khIra- dumANaM ca AruhaNayAI / sAgara-nadi-saMtaraNaM ca jANa dukkha - ppamokkhAya // 515 puNNAmayassa lAbhe lAbho puNNAmayassa davvassa / tasseva viNA sammi viNAso Sata || 516 thI - nAmayassa lAbhe lAbho thI - nAmayassa davvassa / taraseva viNAsamma viNAso thI - nAmadheyassa || 517 jaM jeNa pAviyavvaM puvva-kayaM suMdaraM va pAva vA / taM sumiNa-darisaNeNa u appA sUei savvassa || pAosio u sumiNo chammAsA aDDha rattio tiSNi / gosaggio divaDDha AsaNNa phalo pabhAyammi / / 519 nizcitassaM suha-nivyuyarasa suttassa je bhave sumiNA / te saphalA nAyavvA sesA saphalA vA aphalA vA // 518 520 taraMgalAlA

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tare galolA jenuM jIvatara priyathI virahita ane dharmAcaraNathI rahita che, tenuM dIrdhakAlIna (0) jIvatara nirarthaka che.' (pa04). he gRhasvAminI, priyatamane samAgama karavAne usuka banelI meM, citrapaTa laIne jatI te sArasikAne e pramANe saMdeza Ape. (50 5. savanadazane sUryAsta thatAM ane aMdhakArathI rAtrI gherAvA mAMDatAM, te veLA, he gRhasvAminI, huM pauSadhazAlAmAM gaI (pa06). ammA ane pitAjInI sAthe meM devasiMka ane cAturmAsika pratikramaNa karIne pavitra arihaMtane vaMdyA. (07). huM beya para zayana karatI hatI. mArA zayananI pAse............beThI.(58)...........(59). svapnamAM huM eka vividha dhAtuthI citravicitra, divya auSadhio ane devatAI vasothI suzobhita, AkAzanA pilANa sudhI pahoMcatA UMcA zikharavALA, ramya parvata para gaI, ane tenA UMcA zikhara para caDI, paNa teTalAmAM te huM jAgI gaI to e sapanuM mane kevuM phaLa Apaze ?' (510-511). rAvanI eTale bApujI svapnazAstrane AdhAre A pramANe kahevA lAgyA, "beTA, tAru. e svapna dhanya ane mAMgalika che. (512). svapnamAM strI puruSone aMtarAtmA temanA bhAvi lAbhAlAbha, sukhadu:kha ne jIvanamaraNano sparza kare che .(pa13). mAMsa, malya, lehInIMgaLato traNa, dAruNa vilApa, baLatA hovuM, ghAyala thavuM (6), hAthI, baLada bhavana, parvata, ke dUjhatA vRkSa upara caDavuM, samudra ke nadI tarIne pAra karavAM evAM svapna duHkhamAMthI muktinAM sUcaka hovAnuM tuM jANaje. (514-515). puMliMga nAmavALI vastunA lAbhathI puMliMga nAmavALA dravyane lAbha thAya che. tevA nAmavALI vastu na thatAM, tevA ja nAmavALI vastu nai thAya che. (516). strIliMga nAmavALI vastunA lAbhathI tevA ja nAmavALA dravyano lAbha thAya che. tevA nAmavALI vastu lupta thatAM, tevA ja nAmavALI vastu lupta thAya che. (51). pUrve karelA zubha karma ke pApakarmanuM je phaLa jene maLavAnuM hoya te, saune temane aMtarAtmA svapnadarzana pUrA sUcave hoya che .(18). rAtrInI zarUAtamAM AvatuM svapna cha mAse phaLa Ape, ardha rAtre AvatuM ravaM traNa mAse, maLasake AvatuM svapana deDha mAse, ane savAre AvatuM ravIna taratamAM ja phaLa Ape. (19). nizciMta ane nirAMtavA jIve sUtelAne AvatAM svapna phaLa ApanArAM haiya che. te sivAyanAM svapna phaLa Ape ke na e Ape. (50),

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taraMgalAlA pavyaya-siharAmahaNe uttama-guNa-rUva-saMpauttassa / kaNNAe pai-lAbho sesassa jaNassa dhaNa-lAbhA // 521 sattAhanbhanarao hohI te putta pahariso viulo / rottavyayaM ca hohI viNNAyaM taviogammi // 522 . citemi aNNa-purisaM jai lahihaM jIviuM na icchAmi / teNa vi citieNa viNA ko lAbho majjha iha bhoe // 523 iya me ciMtA jAyA navari ya govAmi guru-sagAsammi / hiyaya-gayaM ca rahassaM mA hoja payAsiyamiha ti // 524 tA tAba ahaM pANA dharemi jA sA na ei sArasiyA / tIse soUNa tahA tAhe appa-kkhamaM kAhaM // 525 tAeNa ya aMbAe abhinaMdiya pUiyA ahaM tattha / bhUmI-sayaNAhito uThThiyA namiya siddhANaM // 526 tatthAloiya niMdiya rAIe saMbhavaM atIyAraM / vicchaliya-pAya-karayala-muhe ya guru-caMdaNammi kae // 527 sAgara-samaM sacittaM maNi-kaMcaNa-rayaNa-maDiyamudAraM / hammiya-talamArUDhA pariyaNa-rahiyA tahiM ghariNi / / 528 vaja(hu !)yANi vicitetI evamahaM tattha saThiyA ghariNi / hiyaeNa uvvahaMtI ta cakkAyaM aNaNNa-maNA / / 529 to pavva-kAla-pabhavo niddha-Ayaba-biMva-vipulo (?) / kesuya-kusuma-savaNNo sahassa-rassi jaga-padIvo // 530 uio ya viliMpato lanha-dava-kuMkumeNa jiya-loe / paumAgara-paDibohaNa kaya-vAvAruduro sUro // 531 bhAvi-siNeha-maiyAe tattha diTThIe meM piyati vya / saphala(?) [-ppayAsa.] pariosa-hasaMta -muha-paumA // 532 mahurovayAra-mahura-bayaNa-khANI raiya-karatalAmelA / uvasariyA sArasiyA majjha sakosaM imaM ceva (bei!) // 533 so meha-rahiya-vitimira-saraya-nisAyara-samatta-muha soho / diTTho cira-ppaNaTTho maNa-ramaNo te mae(?) ramaNo // 534 AsaMsasu sIhorujiya-bhaya-saMtaThTha-bAla-hariNacchi / teNa samayaM pamuiyA kAmaM kAmassa pUrehi // 535 eva bhaNeti ya mae sahasA niya-vayaNa-muhiya-hiyayAe / tuTThAe samavagUDhA abbhuTTiya-romakUvAe // 536

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taraMgalAlA parvatazikharanA ArehaNathI kanyAne uttama rUpaguNavALo pati maLe. jyAre bIjAone dhanalAbha thAya (para1). eTale he putrI, eka aThavADiyAmAM tane e atizaya AnaMda prasaMga Avaze, vaLI ema paNa sacavAya che ke pativiyege tAre raDavAnuM paNa thaze. (52). taraMgavatInI citA A sAMbhaLIne mArA manamAM thayuM ? jo bIjo koI puruSa pati tarIke mane maLaze to mArI jIvavAnI IcchA nathI. jene huM ciMtavana karI rahI chuM, tenA vinA mane ahIM bega bhegavavAmAM zo rasa ?'.(para3). mane e pramANe ciMtA thavA lAgI. paraMtu vaDilonI samakSa meM mArA AkAranuM gopana karyuM-rakhene mAruM aMtargata rahasya prakaTa thaI jAya. (54) e sArasikA pachI na Ave tyAM sudhI te huM prANa dhAraNa karIza. tenI pAsethI vRttAMta sAMbhaLIne te pachI mArAthI thaI zakaze. te huM karIza" ema meM vicAryuM. (para 5). bAbApujIe mane abhinaMdana ApIne mAre satkAra karyo. meM pathArIethI UThIne meM siddhone vAMdyA. (526). Acana karIne ane rAtrInA atIcAranI niMdA karIne, hAthapaga ane meM joIne ane guruvaMdanA karIne, he gRhasvAminI huM paricArake vinA ekalI ja, sAgaranA jevA "sacitta' (1. jaLacara prANIvALA, 2. citravALA) maNikAMcana ane ratnathI zobhatA, ane vizALa hatALa (agAzI) para caDhI. (para7-ra8). he gRhasvAminI. saMkalpavikalpa karatI ane ekAgracitte te cakravAkane hRdayamAM dharatI huM tyAM UbhI rahI, (59). tyAM to parvakALane ubhAvaka, ratAza paDatA snigdha ane vistIrNa biMbavALe, kiMzukavara, jagatanA sahasarazima dIpa, sUrya, jIvalekane masaNa kuMkumanA dravathI lIMpato ane kamaLasamUhane vikasAva Uge .(530-531). sArasikAnuM pratyAgamana teTalAmAM bhAvI nehabhAvabharI daSTi vaDe mane jotI hoya tema, prayAsanI saphaLatAnA saMteSathI hasatA vadana kamaLa vALI, madhura vinaya ne madhura vacananI khANa samI sArasikA zira para aMjali racIne mArI pAse AvI ane A pramANe kahevA lAgI. (532 -533). vAdaLarahita ane aMdhakAra vinAzaka evA saMpUrNa zaracaMdra samA mukhathI zobhatA, lAMbA samayathI khovAyelA ane tArA manamAM ramI rahelA e tArA priyatamane meM joyo. (534). siMhagarjanAthI bhayasta banelI bAla hariNInA jevAM netra vALI he sakhI, tuM have AzvAsana le ane tenI sAthe AnaMdapUrvaka rahIne kAmaganI kAmanA purI kara. (535). e pramANe belatI tene huM saMtAthI AMkha bIDI daIne, romAMcita thaIne, ekA eka hRdayapUrvaka gADhapaNe bheTI paDI. (536).

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taraMgalolA bhaNiyA ya mae piya-sahi kaha viNNAo tae mahaM nAho / jammaMtara cakkAo pariyaTTiya-deha-saMThANo // 537 to bhaNai suNasu sararuha-viuddha-sasiNiddha-gabbha-sari-vaNNA / ... laddhaM (?) jahANupuvIe suyaNu jaha dasaNaM tassa // 538 tumae vi ahaM sAmiNi kallaM avaraha kAla-samayammi / appAhiyA sa-savaha paDaya ghettaNa gacchaMtI // 539 uDDAmi DUsa-(?) mahuyari-maMDiya-pauma-sassirIyammi / taM cittapaTTayaM te gharasAlAe visAlAe // 540 teNaMtareNa araviMda-naMdaNo gayaNa-vaMdANa (?) / ghetUNa gao sAmiNi AloyaM jIyaloyassa // 541 / / mahiya-nIsaMdo vammaha-kaMdo. umadajuNhAu (?) / uNNamai puNNa-caMdo sAmiNi rattI-muhANaMdo // 542 AyAsa-talAe nimmalammi papphulla-caMda-paumassa / maya-bhasala-calaNa-paphaMdiyassa joNhA-rao paDai // 543 tattha vara-jANa-vAhaNa-samassiyA saccha-gahiya-nevacchA / iTTi-vilAsa-pagabbhA rAyANaM te aNukareMti // 544 para-purisa-diTThi-visaya-parivajjiyA jANa-saMdaNa-gayAo / pecchaMti ratticAraM IsAluya-maMda mahilAo // 545 keI ya pAyacAreNa tattha cAraM karaMti vara-taruNA / hatthesu samAlaggA hiyayAlaggANa taruNINa // 546 keI ya iTa-goTThiya-samAgamAtura-mANasAbaddhA (?) / sAmiNi aviNaya-piMDa chaliya chaillA juyANa paDatti (?) // 547 pAusa-mahA-nadINa va uyahimaiMtINa viul-jl-vegaa| dIsaMti puri pattA jaNa-vegA rAya-maggami // 548 pecchaMti suhaM dIhA maDahA puNa upphiDaMti dttuNje| jaNa-nivaha-pelliyA ArasaMti thUlA viseseNaM // 549 ratti-kkhayaM kaheMti viva majjha-gaya-jhAma-bAmaNa-sihAgA / ubvatta-vatti-nehA ajjhAyaga-sacchahA dIvA / / 550 jaha jaha parigalai nisA taha taha nidaa-klNkiycchiio|| pecchaya-jaNovasario pavirala-puriso paDo jAo // 551 tattha jaNaM pecchaMtI ahamabi dIva-paDijaggaNa-miseNaM / acchAmi tujjha sAmiNi ANAe sa-bahu-mANAe // 552

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taragalAlA = ane meM kahyuM priya sakhI, 'badalAyelI dehAkRtivALA e mAtra pUrvajanmanA cakravAka tine te kaI rIte eLakhI kADhatho ? ' (pa37). te melI, vikasata kaLatA vizva gana vA vAnavALI he sakhI, mate tenuM kaI rIte na thayuM te vAta huM mAMrIta karyuM zuM te tuM sAMbhaLa, (538) : citradarzana sArasikAne vRttAMta he svAminI, gaI kAle bapeAranA samaye tyAre huM' citrapaTa laI te jatI hatI tyAre te mane zapatha sAthe sa MdezA ApelA, (539), me* te citrapaTane tArA gharanA vizALa gaMgA pAsenA, bhramaramaMDita kamaLanI zAlAvALA maMDapamAM rAkhyuM, (580). te gaLA OM svAmita, kamaLAne Anada ApatA sUrya jIvalAkanuM te harI laI ne gaganamAMthI adyaya thaye pa pachI he svAminI, dahIMnA nisyaMda (=mAkhaNa) trA, manthanA ke same, "nyUnA prasAratA, rAtrinA mukhane Ana dita karate pU caMdra kAgyo. (542) nimarga gaganasarevaramAM praphullita, mRgabhramaranA caraNuthI mukhya evA caMdrakabaLanA jyotsnaparAga kharavA lAgyo. (143), tyAM citranA prekSakAmAM garbha zrIma tA paNa hatA, jeo bhabhakAdAra vAvanAmAM mesA me rasAlA sAthe AvatA hArdane rAjavIe jevA lAgatA hatA, (548), parapuruSanI dRSTithI aspaSTa rahetI irSyALu mahilAe paNu rathamAM besIne rAtravihAra karavA nIkaLI paDI hatI (545), keTalAka taravirayA juvAnaDA potAnA mananI mAnelI taruNInI sAthe, hAthe hAtha bhIDIne, page cAlatA pharI rahyA hatA. (546) tA vaLI keTalAka peAtAnA managamatA gAIDane maLavAnA AturatA sevatA, vanayanA piMDa samA, chelabaTAu juvAniyA karatA hatA (?) (147) varSAkALamAM jevA samudra tarapha jatI mahAnadI AnA vipula jaLapravAha hAya, sevA nagarImAM AvI pahoMcelA janapravAhe rAjamAga upara dIsatA hatA. (548). lAMbhA la sukhe jotA hatA; kI'gujIe UMMcAnIyA thatA hatA; jADA mANasonI bhIDathI dhakelAtA bUmAbUma karI rahyA hatA. (549), vacce kALAza paDatI nAnI kSagavALA, ane vATamAMthI khalAsa thayelA telavALA dISakA, (mAthA) upara rahelI kALI nAnI zikhAvALA ane naSTa thayelI snehattivALA adhyApakeA hoya tema rAtrI pUrI thavA AvI hovAnuM sUcavatA hatA. (550), jema jema rAta gaLatI jatI hatI tema tema citrapaTane jovA AvanArA leka, khAMkhu nidrAthI gherAtI hAI te, evA te ekaThA thatA jatA hatA. (551). huM paNa tArI atyaMta mAnanIya AjJA pramANe tyAM rahIne dIpakane baLatA rAkhavAne baddAne lAkanuM nirIkSaNa karatI hatI. (papara).

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70 eyammi 554 desa - kAle aNukUla - vayaMsa- vaMdra - majjha gao / koi taruNo suruvo Agacchai paTTagaM daTuM // 553 pINa paTThiya- saMdhi - pattho kummocamANa- miu-caNo | kuruviMda - catta-kadama ( ? ) - pasattha- jaMgho thirorUo // kaNaya - silAyala - samatala -visAla-maMsala vibhatta-pihu-vaccho / bhuyaaas - bhoga-dIhara pIvara thira - bAhu-saMghAo || so vIya-caMdra-bhUo aDayaNa vayaNa- kumue vivohito | caMdAirega piya- daMsaNeNa muha puNNa- caMde so niyaya-rU - jovvaNa lAyannA ( ? ) - pINa- pIvara - sirIo surayAraMbha-nimittaM patthijjai tattha taruNI // || 556 / 557 sA tattha nathi juvatI maNammi paviTTho na hojja so jIse / sAraiya-rayaNi vitimira - samatta - caMdANaNo taruNo // devesu Asi go kira teyassI tA Na hojja ekkayaro iNamo tti imo (?) vaNijjaMto bahu-jaNeNaM // so paTTagaM uvagao pecchai kama picchiyavvaya- sarIro / taM cittayamma- karaNaM pasaMmANA imaM bhai || 560 569 * isAha - ThANa-Thiyao pitthamANo su 555 558 hi su niSya-sthiya - AsaMbhAvatta-vitta (?) -khubhiya- jalA / udghoya-dhavala - puliNA samuha-kaMtA ihaM lihiyA // 561 suThu kayA pauma-sarA ya bahala-mayaraMda-parama-vaNa- kiNNA / dAruNa rukkhA ya imA nANAvatyaMtarA aDavI || 562 sudanu vi sarayAIyA hemaMta vasaMta gimha-pajjetA / niyaya-guNa- puppha-phalayA vaNesu sunirUviyA riyavA // 563 cakkAya juvalayamaNaM nANAvatyaMtaraM kathaM suchu | ThANaka-visuddhi-viyarDa (?) appara - neha-saMbaddhaM // 564 salila-gayaM puli-gayaM gayaNayala-gayaM ca paramiNi-gayaM ca / kAma niraMtara - joiya- samANurAgaM abhimaMtaM // 565 pavara - rahassa-ggIvo (1) nivvakUlo (?) sakala - saMhaya sarIro / sudanu kao cakkAo kiMsuga-nigarovama sarIro // sukumAla - taNu-ggIvA agaliya- koraMTa - niyara sari-vaNNA / ramaNamayattamANI suThu kayA cakkavAI vi / ruveNa rutriya guNo suThu ya saMbhagga - pAyava - payArI / hatthI vi imo lihio jeTTa pamANeNa mANeNa // 568 oramANo ya nadi majjato ya salile jahicchAe / majjiya- metto matto kiliNNa- gatto ya uttiNo // 569 566 567 ANNADhie-bANa- kre| / vayattho kao vAho // 570 taraMgalAlA

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taraMgalelA eka ananya taruNa prekSaka e dezakALa hato tyAre managamatA mitronA vRdathI vIMTaLAyelo kaIka era pavAna taraNa citrapada jovA AvyA. (553). tenAM agAnA sAMdhA dara, susthita ane prazAna hatA; cakAcabA jevA mRdu hatA; pIMDI kurUviMda rAganI khAmIthI mukta, prazasta hatI; sAthaLa supramANa ul (558). vakSasthaLa senAnI pATa jevuM samatala, vizALa, mAMsala, vibhakta ane paheluM hatuM; "huyugala sarparAjanI phaNA jevuM dIrgha, puSTa ane daDha hatuM. (555). jANe bIjo caMdra hoya tevo, pUnuM caMdra sama mukha vaDe caMdra karatAM paNa vadhu priyadarzana heI nesthe reNI nA vadanakumane te vikasAvatA hato. (556). rUpa, yauvana ane lAvaNyanI samRddha zrIne lIdhe tyAM rahelI taruNI che tenI pAse suratakrIDAnI mAgaNI karavA lAgI. (557). tyAM e nI eka paNa yutI na hatI jenA cittamAM e zaradara janInA aMdhakAravinAzaka pUrNa caMdra samo taruNa praveza na pAme che. (558). devAmAM Avo tejasvI koI heta nathI eTale A koI deva nathI lAgato,' e pramANe aneka leke tenI prazaMsA karatA hatA. (559). jenuM Akhu aMga kramazaH darzanIya che tevo te pelA citrapaTTa pAse AvIne te jovA lAgyo ane citrakalAnI prazaMsA kare te A pramANe beyo (pa60): tarapha ThatAM vamaLAthI subdha jaLavALI, svaccha dhavaLa taTapradezavALI A sAgarapriyA nadI keTalI sarasa AlekhI che ! (561). bharapUra makaraMdavALA kamaLavanathI vyApta kamaLasarovara, tathA pracaMDa vALI ne vividha avasthA vyakta karatI A aTavI paNa suMdara cItarI che. (562). vaLI vanamAM zaradathI mAMDIne hemaMta, vasaMta ane grIma sudhInI RtuonuM pipo nAM phaLaphUla sAthe sarasa Alekhana karyuM che. (563). A cakravAkayugala paNa, paraspara snehabaddha ane vividha avasthAo darzAvatuM sudara cItayuM che-jaLamAM, kAMThA para, aMtarikSamAM ane pavitrI pAse raheluM, te niraMtara samAna anurAgavALuM ne ramatuMbhamatuM batAvyuM che. (564-565), suMdara, beDI grIvAvALo, snigdha mastakavALe, daDha ane kiMzuka puSpanA Dhaga samA zarIvALo cakravAka sarasa karyo che. (566). te cakravAkI paNa te ja pramANe pAtaLI ne sukumAra grIvAvALI, tAjA karaMTapuSpanA Dhaga jevA vAnavALI ane potAnA priyatamane anusaratI sarasa cItarI che (567). A hAthI paNa bhAMgelAM vRkSo para thaIne jato, AkRti dvArA tenA guNo vyakta thAya tema ane pramANanI vizALatA jALavIne sarasa Alekhyo che. (68). tene nadImAM Utarata, jaLamAM yatheccha nahAtA, madamarata banIne taraboLa zarIre bahAra nIkaLatA batAvyo che. (569). A juvAna zI kArIne paNa vaizAkhasthAnamAM UbhA rahele ane hAthIne prApta karavA kAna sudhI kheMcelA dhanuSyabANane hAthamAM dharela barAbara deryo che. (500).

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72 taraMgalAlA iNamA ya sarasa-kesara-sAli-kaNisa-piMjarujjala-sarIro / viddho muddhaya-sau kaDi-dese vAha-kaMDeNa / / 571 iNamA ya cakavAI karuNaM pai-maraNa-vikkavA lihiyA / sAli-kaNisaMga ruI paData-ukkava mukka(?) savvaMgI / / 572 vAheNa nadI-kacche jhAmijjaMto imo ya cakkAo / kaya pANa-paricAo passa viNAmo kao eso / / 573 iNamo ya kaluNaM (?) cakkAi aigayA ihaM aggiM / pai-maggaM maggaMtI soyaggi-palIviyA lihiyA / / 574 cittaM jaro(?) maNahAri komui-pecchaNaya-sAra-savvassaM / cittassa uggamaM na puNa yAvi jANejja jaM ettha / / 575 so koUhala naDio purisANaM dAviUNa dANaM (?) / cariyamiNataM pecchiuNaM citteNaM (?) gao mohaM // 576 to pavara-rajju-mukko vva iMdakeU dhasatti so pddio| sayarAhaM dharaNiyale pecchaga-pairikka suNNammi // 577 paDio cireNa nAo tehi vayaMsehi jai vi AsaNNo / so cintakamma-pecchaNa.pasaMga-vakkhitta-cittehi // 578 tehi ya paNaDha-ceho ukvitto leppa-kamma jakkho vva / neuNa ega-pAse pavAya-dese ya to mukko // 579 daNa citta-paDheM imo hu paDio tti jANiya tehi (?) / / ahamaci tattheva gayA tassa paDiya-kAraNaM gAuM // 580 hiyayaM ca me pasaNNaM sahasA pariosa-dhAriyaM tattha / lAbhAlAbha-subhAsubha-saMpattIe jaha nimittaM // 581 avi nAma cakkavAo seo hojja imo tti eva citemi / amU khu aNuggahIyA to gahavai-bAliyA hojjA // 582 soga-samudda-bigADhA aha keNa vi puvva-sukaya-kammeNa / guNa-rayaNa-paTTaNamiNaM pAvejja varaM gaya-karoru // 583 eva ya ciMtemi ahaM so ya samassAsio vayaMsehiM / vAha-paDiruddha-kaMTho kaluNa-paruNNo imaM bhaNai / / 584 hA majjha pie mayaNa-saruddavie ruira-kuMkuma-savaNNe / suraya-ppie sahayari katthacchasi niddha-kasiNacchi // 585 gaMgA-taraMga-raMgiNi cakkAi majjha pemma-maMjUse / kiha NaM aNuddhara-duhaM tume vihUNo dharIhAmi // 586

Page #414
taraMgalo juo A zALanA kaNasalAnA suMdara kesara jevA caLakatA kesarI zarIravALe. te bhoLo pakaDI zIkArInA bANathI kammare vIMdhAyelo ahIM dekhADavo che. (57). ane A pratimaNe vyAkuLa ane karUNu dazAvALI, zALanA kaNasalA jevI kAMtivALI ane paDatI ulkAnI jema zarIrane paDatuM mUkatI cakravAkI AlekhI che. (572). maraNa pAmelA A cakravAkane nadITha dA detA zIkArIe, juo, tene nAmazeSa banAvI dIdho. (577). to ahIM zakAzmathI baLatA karaNa dazAmAM AvI paDelI cakravAkI patinA paMthane anusaratI agnimAM praveza karatI AlekhA che. (574). kevuM manahara citra che ! zaradapUnamanI sarSa darzanIya vastuonuM A sarva ne che, paraMtu A citranI utpatti kaI rIte thaI haze te jaNAya tevuM nathI. (5). taraNanI mUcha pUrvabhavasmaraNa kutUhaLathI gherAIne mitrone batAvatAM batAvatAM ATale sudhInuM citramAMnuM caritra joIne te ekAeka mUrNita thaI gayo. (576). majabUta doraDAno baMdha chUTatAM nIce paDatA daranI jema te ekadama, virala prekSakone kAraNe nA banelA dharaNItA para dhaba daIne paDayo. pacha9). tenA mitro bAjumAM ja hovA chatAM, citrakane jovAmAM temanuM dhyAna geTaluM temane tenA paDavAnI tarata jANa na thaI. (578). niceSTa banelA tene teoe ledhyamaya yAmUrtinA jema UMcakA, ane lAvIne eka bAjue havAvALA sthAnamAM mUko. (579). citrapadane joIne ja e paDI gayo che evuM teo samajI gayA. huM paNa tenuM paDavAnuM kAraNa zuM che te jANavAne tyAM jaI pahocI. (580). mAruM hRdaya paNa ekAeka saMtApane bhAva anubhavatuM prasanna banI gayuM : lAbhAlAbha ane zubhAzubhanI prAptinuM A nimitta hoya che. (581). huM vicAravA lAgI, "A jo pelA cakravAka ja hoya to kevuM sAruM ! te A zeThanI putrI para kharekhara mATe anumadhu thAya. zekasamudramAM DUbatI, hAthInI saMsamAM suMdara uvALI te bAlAne, te A guNananA nidhi so vara prApta thAya." (582-583). huM e pramANe vicAratI hatI. teTalAmAM palALI tenA mitroe AsanavAsanA karI. gaddagada kaMThe karuNa rudana karatA te A pramANe bolavA lAgyo. (588). "kucira kukamanA jevo vAna dharatI, snigdha zyAma netravALI, madanabANe paDanArI, re mArI supriya sahacarI! tuM kyAM che? (585). gaMgAnA taraMga para vihatI, premanI maMjUSA samI mArI cakravAkI, tArA vinA ukaTa duHkha huM kema dhAraNa karI zakIza (586).

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taraMgalolA aNuyattaNa-pattaTTe pemma-guNa-paDAie kaha suyaNu / majjhaM nicca-bahuMmae hA majjhakie iha mayA si // 587 so eva vilavamANA aMsu-kiliNNa-vayaNo vigaya-lajjo / dukkhAhiM catta niyaya-ghassayamaccaMta-savvaMgo (?) / / 588 hA kaha kiM Nu bhullo si jaMpamANehi tehiM mittehiM / mA erisANi jaMpa tti bhaNiya nittajio bhaNai / / 589 bho mittA na vi bhullo ki khu palabasi tti tehi so mnnio| to bhaNai eha suNaha ya dharaha rahassaM imaM majjhaM // 590 jaM cakkavAya-siMgArApagaraNaM ettha paTTaeM lihiyaM / taM cakkavAya-jAI-gaeNa savvaM mae pattaM // 591 kaha te eyaM pattaM ti pucchio tehiM piya-vayaMsehiM / jAIsaro tti vimhiya-muhehi sammuha-niviTUThehi // 592 jaM ca te mai (? tae maha?) kahiyaM so aNubhUyamappaNo tesi / sAhI ya royamANo te ceva guNe vikatheto // 593 taiyA ya vAha-kaMDa-pahAra-paDisiddha-jIvio sNto| tIse navari mayAe japavA(?) cakkavAIe / 594 daThUNa citta-paTTe mamaM aNugayaM tahiM siNeheNa / sogo hiyaya-vaNadavo suThutaraM me samujjalio // 595 tA rAga-vaNa-samuTThiyaeNaM piya-vippaoga-kaluNeNa / dukkhaNa jhUriya-maNo kiha va nayANAmi hai paDio // 596 eyaM jahANubhUyaM savvaM kahiya mae samAseNa / cittAloyaNa-saMbhArieNa (?) bhAriyaM dukkhaM / / 597 ArUDhA mi paiNNaM na mae aNNa-mahilA maNeNaM pi / patthiyavvA (?) tIse aNupAlaNa-kAraNa-kaeNaM // 598 jai me kahiMci vi hojja tIya saha samAgamo varataNUe / to navari kAma-bhAge mANusse haM abhilasejjA // 599 pucchaha aveha vaccaha keNa imo cittapaTTao lihio / nUNaM pacchapattittA (?) hAhI tIse na saMdeho // 600 sayamappaNo ya lihiyaM lacchassa va(?) daMsiyaM imaM tIe / jANAmi abhiNNANehi (?) na lihejja taM AmA (!) // 601 jaM puvaM aNubhUyaM tIe samaM me tayA sauNa-bhAve / taM na caejja aNNA lihiuM tIe viNAvassaM // 602

Page #416
taraMgalAlA prema ane guNanI patAkA samI, mane anusaravAne sadA tatpara, mAre mATe sadA atyaMta mAnanIya, he sutanu, tuM arere bhAre khAtara kema maraNane zaraNa thaI' (58). e pramANe vilApa karate, AMsuthI kharaDAyelA vadanavALe, te lAja tajI daIne, du:khathI potAnuM sarvAga............... (588). "are ! A zuM ! tAruM cittabhrama thaI gayuM che ke zuM?' e pramANe be latA mitroe tene "AvuM jaMgadhaDA vinAnuM na bela' evuM kahIne dhamakAve, eTale teNe kahyuM (89) : mitra, mAruM citta bhamI nathI gayuM.' "to pachI tuM Ama pralApa kema kare che teoe kahyuM. eTale te be le, sAMbhaLo ane mArI e gupta vAta manamAM rAkhaje. (pa). A citrapaTTamAM je cakravAkane premavattAMta Alekhele che te sarva meM ja mArA cakravAka tarIkenA pUrvajanmamAM anubhavyuM che." (pa91). "te A kaI rIte anubhavyuM che?' e pramANe te tArA priyatamanA mitroe pUchayuM, eTale teNe kahyuM, "be pUrvajanmamAM anubhavyAnuM mane maraNa thayuM che. ane vismita mukhe sAme beThelA te mitrone, te mane je kahyo hato te ja pitAne anubhavavRttAMta, raDatAM raDatAM ane te ja guNonuM varNana karatAM karatAM teNe kahyo. (592-593). te veLA zIkArInA bANane prahAre huM jyAre niSNANa banI game tyAre mArI pAchaLa premane kAraNe mRtyune bheTelI te cakravAkIne citrapaTTamAM jaIne mArA hRdayarUpI vanamAM dAvAgni same zoka ekadama saLagI UThaze. (594-595). eTale anurAgarUpI vanamAM pragaTelA priyavirahanA karuNa duHkhe mana vyathita thatAM huM kaI rIte paDI game te jANato nathI. (596). A pramANe, citra jotAM sAMbharI AveluM te badhuM bhAre duHkha je rIte meM anubhaveluM te TUMkamAM meM kahyuM. (57). have pratijJA karI che ke tenA pratyenA premane kAraNe mAre bIjI koI strInI manathI paNa dahI na karavI. (598). je che suMdarInI sAthe mAre koI paNa rIte samAgama thaze, te ja huM mAnavajIvananA kAmonI abhilASA rAkhIza. (599). mATe tame jAo, jaI ne pUcho, A citrapaTa kese AlekhyuM che enI dekhabhALa karanAra koIka ahIM' haze ja. (01), citrakAre potAnA ja anubhavane Alekhana karIne ahIM pradarzita karyuM che, aneka eMdhANIo parathI huM jANuM chuM ke A citra kalpita nathI. (01). meM pUrve pakSInA bhAvamAM tenI sAthe je anubhavyuM hatuM, te tenA vinA bIjuM koI AlekhI na ja zake. (2).

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taraMgalAlA eyaM soUNaM aha muMdari osakkiyA mi citta-paDaM / hohI hu pucchiyavvaM jai to tesiM kahehAmi / / 603 dIvaM uttuyamANI se uvAya (?) tattha vAvaDA / acchAmi paloyaMtI tatto paripucchagaM iMtaM / / 604 tA Agao sasaMbhaMta-loyaNo pucchiyA hai teNa / lihiUNa citta-parTa nagarI vimhAviyA keNa / / 605 taM bemi seTiMkaNNA taraMgavaiya tti nAmao bhaTTa / tIe abhippAya-kayaM na ya kira aliyaM ima lihiyaM / / 606 so evaM gahiya-paramattha-vittharo tassa citta-kammassa / tattheva paDiniyatto jatthacchai so tuhaM nAho / / 607 aNumaggato gayA hai tassa ya to tattha ega-pAsammi / acchAmi aNaNNa-maNA vayaNe tesiM nisAtI / / 608 to bhaNai tattha gatuM taruNo hAsussuo uvahsaMto / mA bhAhi paumadevaya bAlaya tuTTA hi te gorI // 609 sehissa usamaseNassa bAliyA nAmao taraMgavatI / AppAbhippAya-gayaM tIe kira kayaM imaM cintaM // 610 na yi kira aliyaM lihiyaM eyaM kira vatta-puvvayaM sabbaM / pucchaMtaraseva mahaM dAsI dAhI ya paDivayaNaM / / 611 eyaM nisamma vayaNaM piyassa papphulla-pa uma-saMkAsaM / ghaTukkhaM (?) va pahaTa sarUvapa (?) muhaM jAyaM / / 612 bhaNiya ca NeNa tattha ya asthi hu me jIviyavvae AsA / sA esa('ttha) cakkayAI AyAyA seTThiA dhUyA // 613 kadda maNNe kAyavyaM asth-pdditthNbh-gvyi[re|] seTThI / jaM paDisehai varae savve iMte kumArIe // 614 iNamo ya kaluNataragaM jaM se AloyaNaM na saMpaDai / nahA lADallA (?) vA auvva-daTThavva daTThavvA (?) // 615 ekkeNa tattha bhaNiyaM diTThA nAyA tahiM pauttI se / saMtassa sthi uvAo uvavattI hohii kameNaM // 616 nasthi ya koI doso seTTi kaNNA-kaeNa uvazaMtuM / jAemo kira kaNNA hohI sAhAraNI loe // 617 jai vina dAhI seTThI to geha balA vi tattha gaMtUNaM / tujjha piya-kAraNattA corA hoUNa harihAmo // 618 to bhaNai eva bhaNie bahu-purisa-paraMparAgaya-parUdaM / kula-sIla-paccaya-guNaM na hu tIe kae virAheha / / 619 jai gahavatI na dAhI amhANaM kaha va geha sAreNa / to pANa-pariJcATaM kAhaM na ya erisaM kAhaM // 620

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jA taraMgalelA citrakAranI oLakha e pramANe sAMbhaLIne, he suMdarI, huM citrapaTanI pAse sarakI gaI, jethI teo je kAMI pUchavA Ave, to huM temane kahuM. (6 64). dIvAne saMkovAnA kAmamAM rokAyelI houM te rIte huM pULAcha karavA AvanAranuM dhyAna rAkhatI beThI hatI. (06). eTalAmAM vyAkuLa daSTivALe temAMne eka jaNa AvI pahoMcyo ane teNe mane pUchyuM, "A citrapaTa AlekhIne AkhI nagarIne koNe vismita karI che?' (605). meM tene kahyuM, " bhadra, enuM Alekhana zreSThInI kanyA taraMgavatIe karyuM che. teNe amuka Azayane anurUpa citra karyuM che. e kalpita nathI." (606). e pramANe citrane kharA marmanI paNa meLavIne te jyAM tAre priyatama hato tyAM pAcho Avyo. (607). huM paNa tenI pAchaLa pAchaLa gaI ane eka bAju rahIne eka citte temanAM vacana sAMbhaLavA lAgI. (608). eTale pelo tasaNa tyAM jaIne hasato hasato upahAsanA svaramAM bolyo, "padmadeva, baccA, tuM Dara nahIM, tArA para gerI prasanna thaI che. te che vRSabhasena zreSThInI putrI nAme taraMgavatI. kahe che ke teNe potAnA cittanA abhiprAyane anurUpa citra doryuM che, teNe kazuM nathI kalpita nathI AlekhyuM; e badhuM, kahe che ke pahelAM kharekhara baneluM. mArA pUchavAthI tenI dAsIe pratyuttaramAM mane e pramANe kahyuM' (609-611). e vacana sAMbhaLIne tArA priyatamanuM vadana praphulla kamaLa jevuM AnaMdita banI gayuM (12), ane teNe kahyuM, 'have mArA jIvavAnI AzA che. te e zreSThInI putrI je ahIM punarjanma pAmelI cakravAkI che. (13). have A bAbatamAM zuM karavuM ? zreSThI dhananA made garvita che, eTale tenI kuMvarIne varavA je je vara Ave che temane te nakAre che. (14). vadhu karuNa to e che ke e bALAnuM darzana paNa sAMpaDe tema nathI--keI apUrva darzanIya vastunI jema tenuM darzana durlabha che () (15). eTale eka jaNe kahyuM, "enI pravRtti zI che te te ApaNe joyuM jANyuM. te je vastunuM atitva che tene meLavavAne upAya paNa hoya che. krame krame tAruM kAma siddha thavAnuM ja, (16). ane zeThanI pAse kenyAnuM sAcuM nAkhavA javAmAM to kazo doSa nathI. te ame jaIne mAruM nAkhIzuM : kahevata che ke kanyA eTale temAM saunI. (617), ane jo zreSThI kanyA ApavAnI nA pADaze to ame tene tyAM jaIne baLAtkAre tene upADI lAvIzuM; tAruM hita karavA ame cera thaIne tenuM haraNa karI lAvIzuM,' (18). evuM belAtAM tArA priyatame kahyuM, tene khAtara, aneka pUrvajonI paraMparAthI rUDha banelA kulInatA, zIlanI jALavaNI vagere guNone lepa na karaze. (19). je zreSThI mArI badhI gharasaMpattinA badalAmAM paNa kanyA nahIM Ape, te bhale huM prANatyAga karIza, paNa evuM anucita te nahIM" ja Aca. (620). "

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78 taraMgalelA parivAreUNa jaNaM te ya gharaM (?) maMdiraM payarTeti / kula-paccaya-jANaga-kAraNeNa ayaM pi gacchAmi / / 621 tattha ya tuMgamudAraM bhUmi gaya-vimANa-puMDarIya-samaM / pAsAya-vaDesa-varaM savayaMso so aIsIya // 622 tassa piu-mAi-payatI-nAmaM ca kameNa sudchu nAUNa / nipphaNNa-pesaNA haM tatto turiya paDiniyattA // 623 jAyaM ca ritta-peraMta desa-naTTha-gaha-tAra-nakkhattaM / avaM (AyAsaM!) gaya-sAsaM avaciya-kumuyaM(?) piva talAyaM / / 624 uio baMdhuvajIvaya-jAsumaNo-kusuma-kesuya-savaNNA / sUro gayaNa-turaMgo pariyaMko(?) jIva-lAyassa // 625 ahayaM ca ihaM pattA piya-cayaNa nivedaNussuyA tujhaM / sUreNa kaNaiyAo ya suyaNu cattAri vi disAo // 626 eyaM jahANubhUyaM kahiyaM te tassa desaNaM suyaNu / pattiya savAmi hu ahaM tujjha pAya-ppasAeNaM // 627 iya tIe siTTha-mette ghariNI taM ceDiyaM ahaM bemi / tassa piu-mAi-pagati-nAmaM ca kahehi taM majjhaM // 628 to bhaNai eya bhaNiyA sArasiyA suyaNu sAmiNI eya (!) / so jassa bAlao bAla-caMda-piya-dasaNo bAlo // 629 vavahArehi samaMtA nissAro sAgaro kao jeNaM / puhaI ya rayaNa-rahiyA patthara-seso ya himavaMto // 630 jassa sabhAhi pavAhi ya ArAma-talAya-vAvi-kUvehiM / iha dese aNNattha ya sa-jaNavayA maMDiyA vasuhA // 631 kula sIla-paccaya-guNehiM(?) nAmaM ca samussiyaM phuDaM jassa / dhaNadevo tti pahiMDai sAgara-vara-mehalaM vasuhaM / / 632 apavAhassa ripUrNa tassa kula-jasAvahassa vIrassa / nANA-guNa-saMvAhassa satthavAhassa so putto // 633 rUveNa kAmadevo nAyago eNa (?) attheNa (?) / hiTTho ya nicca-lalio(?)suyaNu paumadevo tti se nAmaM // 634 ceDIe vayaNa-kamalaM paloviyaM pemma-rasa-pivAsAe / vayaNAmayaM mae taM pIyaM kaNNaMjali-puDehiM / / 635 avvIkaNe(?) ya ahaM sArasiyAe bhaNAmi dhaNNettha / jaM te ramaNo diTTho jaM ca suyA tassa te vAyA // 636

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taraMgalAlA sArasikAne vRttAMtanI samApti te pachI tene vIMTI vaLIne teo ghara tarapha javA UpaDavAtenuM kuLa ekasa jANavA mATe huM paNa tenI pAchaLa pAchaLa gaI. (21). te potAnA mitro sAthe eka UMcA, vizALa, pRthvI para rahelA uttama vimAna samA, sarvottama prAsAdamAM prave. (22). tyAM tenA pitA, mAtA ane jJAtinuM nAma krame karIne barAbara jANI laIne, mAruM kAma pAra paDatAM huM tyAMthI savara pAchI pharI. (23). AkAzanI kera paranA pradezamAMthI prala, tArA ane nakSatra adazya thatAM te cUMTI lIdhelAM kamaLavALA ne sukAI gayelA taLAva samuM lAgatuM hatuM. (24). baMdhujIvaka, jAsUda ane kesuDAnA jevA varNane, jIvalejo..... AkAzane azva, sUraja Uge. (25). huM paNa tane priya samAcAra pahecADavA utsuka banIne ahIM AvI pahoMcI. suMdarI, atyAre sUrye cAreya dizAone senerA banAvI dIdhI che. (26). A pramANe meM je rIte tenuM pratyakSa darzana karyuM te tane kahyuM. suMdarI, tuM mArA kahevAmAM vizvAsa rAkhaje, huM tArA caraNanI kRpAnA sogaMda khAuM chuM". (627). ceTIe vAta pUrI ke tarata ja meM tene kahyuM, "tuM mane tenA pitA, mAtA ane jJAtinuM nAma kahe, (128). eTale sArasikA belI, suMdarI, svAminI, e bAlacaMdra same priyadarzana taruNa jene putra che te unnata kula, zIla ane guNavALA sArthavAhanuM nAma dhanadeva che, potAnI vepArI pravRttithI teNe samasta sAgarane nisAra banAvyuM che, pRthvIne ranarahita karI che. himAlayamAM mAtra paththaro ja bAkI rAkhyA che; teNe karAvelAM sabhA, paraba, ArAma, taLAva, vAva ane kUvAothI AkhA dezanI tathA paradezanI bhUminAM gAme zobhe che. te sAgaranI mekhalAvALI samasta pRthvamAM bhramaNa kare che. (62-632). zatruenA bAdhaka, pitAnA kuLanA yazavardhaka, vividha guNanA dhAraka, zuravIra sArthavAhane te putra che." (633), suMdarI, rUpamAM kAmadeva samA,.... jevA nitya suMdara te taruNanuM nAma padyadeva che. ." (34). huM ceTIne vedanakamaLanI sAme joI ja rahI; premanI pyAsI evI meM tenA te vacanAmRtane mArA karNapuTa vaDe pIdhuM. (635). meM sArasikone kahyuM, tArA dhanya bhAgya ke te mArA priyatamane joyuM ane tenI vANI sAMbhaLI. (36).

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taraMgalolA avayAsiyA ya uddhAiUNa tattha ya (?) puNo mae ceDI / bhaNiyA ya hAsa-pulakAiyAe vayaNaM imaM ghariNi // 637 paDibhagga-soga-vegA sAhINo me pio tti AsatthA / ghariNI niyayammi ghare hariseNa ahaM na mAIyo / / 638 pahAyA kaya bali-kammA arahate suvihie ya namiUNaM / uvavAsa-pAraNaM suha-maNeNa khamaNassa kAsIya // 639 to ucakhevadA(?) sIyala-patthayammi pavaNeNa tuuli-mjjhmmi| taM ghariNi khamaNa-pAraNa-parissamaM vokkasemANA / / 640 tassa samAgama-kAraNa-maNorahe bahu-vihe vi citatI / hiyaya-gaeNa ramaMtI acchAmi pieNa vakkhittA / / 641 tAhe ya ceDiyA me pAsAo avasarittu sArasiyA / aha kaMpi muhuttaM acchiUNa puNa AgayA pAsaM // 642 uNhaM viNissasaMtI bAhAvila-loyaNA su-paritattA / bAhaM niruMbhamANI imANi vayaNANi bhANIya / / 643 so kira puhaIvAho satthAho mitta-baMdhava-samaggo / tuha (?jhaM) kaeNa uvagao seTThimuvaTThANa-majjha-gayaM // 644 bhANIya satthavAho dhaNadevo paumadevayassamhaM / dijau taraMgavaiyA bhaNaha ya kiM dijjaU mullaM // 645 to kira duTTho(?) imANi uvayAra-suNNa-virasANi / tassa paNayAvahAra-karaNANi vayaNANi bhANIya // 646 kammaM jassa pavAso [vAso] ya jassa niyae ghare nasthi / kaha tassa saba-desAtihissa dAhAmi haM dhUyaM // 647 baddhakka-veNi viyaNA-ukkaMThA naTTha-maMDaNAraMbhA / aNubaddha-ruevvaya(?)-galita-taMbacchi-muha-kamalA || 648 leha-pavattI-paNayaNA x x x bhattu-vippaogagmi / suddha-jalohaliyaMgI(?) u maillaMgI chaNesuM pi // 649 pAveja bAliyA me satthAha-kule susaMpayAe vi / thoUNaya-vehavvaM jAvajjIvaM phuDaM dukkhaM // 650 uvagaya-hANa-pasAhaNa-sugaMdha-vara-vAsa x x x / x x x x x x daridassa vi ya dejjaM // 651 . evaM kira paDisiddho paDisAmi(?) haas-pnnygg-smmaanno| payaDaM viDaMbio (?) satthAho niggao vimaNo // 652

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taraMgalolA ema kahIne huM dhasI jaI ne ceTIne bheTI paDI. hAyathI pulakita thaIne meM ceTIne A pramANe vacane kahyAM, "mAro priyatama mane vAdhIna che e jANune mArA zakano vega naSTa thayo che.' e pramANe Azvasta thatAM, he gRharavAminI, huM harakhathI mArA gharamAM samAtI na hatI. ( DA638). snAna karI, balikarma karI, pUjanIya arayaMtine vAdIne meM upavAsanuM pAraNuM sukhabharyA cittathI karyuM. (39). he gRDharavAminI, upavAsa paravAnA parizramane meM zItaLa AstaraNavALI taLAI para ArAma karIne haLavo karyo (?) (640). taragavatInuM mAthuM ? asvIkAra tene samAgama karavAnA vividha manoratha sevatI, tenI hadayamUrti sAthe ramatI, huM priyathI vyAkuLa avasthAmAM rahetI hatI. (41) teTalAmAM eka vAra sAsika dAsI mArI pAsethI cAlI gaI ane keTaleka samaya rahIne te pachI mArI pAse AvI. (642). UnA UnA niHzvAra nAkhatI, AMsuthI gherAyelI AMkhe, jematema AMsu khALIne, mananA paritApa sAthe te 2 pramANe vacane kahevA lAgI (643), "pRthvImAM bhramaNa karavAvALA te sArthavAha dhanadeva pitA, bAMdhavo ane mitra sAthe, zreSThI pAse tAruM mAruM karavA ApaNe dIvAnakhaMDamAM AvyuM hato. (644). teNe kahyuM, "tame amArA padyadevane tamArI kanyA taraMgavatI Apo. ame tame kaheze te mUlya ApIzuM." (45). eTale nirdaya zreSThIe tenI mAgaNIne nakAratAM, A vivekahIna ane kaTu vacano kahyAM (46), "pravAsa e jenuM mukhya karma che, jene pitAne gharamAM sthiravAsa hoto nathI, je sarve dezanA atithi jevo che tene huM mArI putrI kema ApuM ? (647). sArthavAhanuM kuTuMba sArI rIte samRddha hovA chatAM temAM rahIne mArI putrIne, patinA viyogamAM eka veNIe keza bAMdhatI, vedanA ane utkaMThA sahetI, zaNagAra sajavAthI aLagI rahetI, lagAtAra rudanathI bhIMjAyela rAtI AMkho ne vadana kamaLavALI, lakhavAmAM rata(!), sAdA jaLathI snAna karatI utsava prasaMge paNa malina aMgavALI evI banIne rahevuM paDe ane ema jIvanabhara, lagabhaga vaidhavyanA jevuM bhAre duHkha jogavavuM paDe. (649-6pa0). snAna, prasAdhana, sugadhI vilepana vagerethI huM kaI daridrane ApavAnuM pasaMda karuM." (651). A pramANe bhAgAne asvIkAra thatAM, hasIne tene satkAra karavAmAM Avela hovA chatAM() paSTa rIte tenI viDaMbanA karavAmAM AvI heIne te sArthavAha khinna cire pAcho pharyo. (upara).

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taraMgalelA evaM soUNa ahaM hima-ya-naliNi vva naTTha-sohaggA / soga-palIviya-hiyayA khaNeNa jAyA bigaya sohA // 653 Iso(?)vasaMta-sogA aMsUhi taha ya pUriyacchIyA / ceDi bemi ruyaMtI imANi vayaNANi to ghariNi // 654 jai kAma-saruhabio caejja so jIviyaM pio so me / to hai pi na jIvejjaM jIvejjaM jIvie tammi / / 655 jai tA tirikkha-joNiM gayAe so(?) aNumao saMto / eNhi kiha jIvissaM teNa vihUNA bahu-guNeNaM // 656 jAhi tuma sArasie mUlaMmmI tassa maha (?jjha) nAhassa / akkhara-leha ghettuM maha vayaNeNaM imaM bhaNasu // 657 lihio u bhujja-patte leho saha sijjiraMguli-kareNa / myaraddhayANupuvvo caDu-vayaNa-vaesaNA(?) pauro / / 658 pahANa-maNa(?)-maTTiyA-piMDi-muddiyaM tilaka-laMchaNaM lehaM / appakkharaM mahatthaM hatthe dAsIya [kAsIya] / / 659 behi ya tA sArasie imAI vammaha-nibaMdhaNa-karAI / mama vayaNAI (?) ramaNaM hiyayAlaMbANi vayaNAI // 660 (jA) gaMga-salilassa ramaNI aNNaM jAiM tuhAsi jA bhjjaa| sA esa cakkavAI AyAyA seTTiNo dhUyA // 661 tujjha parimaggaNatthAya cittapaTTo padasio tIe / jaM nAha taM si diTTho saphalA x x x hu se jAyA / / 662 paraloga-vippavAsiya (?)majhaM hiyaya-gharavAsiya jsssii| tujha saNNa(maga ?)mANI aNumaggaM sA ihaM pattA // 663 jai cakkavAya-jAtI-gao taoM dharai pem-sNbNdho| / to jIva-jIviyatthe [hatthaM ?] kira vIra me dehi // 664 taM sabbhAvuNpaNNa-aNurAgaM AgaraM suha-sayANaM / ramaNaM saMbhArejjA jo Ne sauNattaNe Asi // 665 eyANi ya aNNANi ya vihuriya-hiyayAe sA mae bhaNiyA / maha sokkhANa ya mUlaM piyayama-mUlammi gacchaMtI // 666 teNa saha saMpaogaM karehi suraya-rai-samudaya-karaM me / sAmeNa va bheeNa va uvappayANeNa va vayaMsi // 667 appAhiyA va'NappAhiyA va bhaNiyA va taM abhaNiyA va / savvaM pi NaM bhaNejjA jaM hoI guNAvahaM majjhaM // 668 eva bhaNiyA mae sA ceDI saMpatthiyA thira-jasassa / majjha piyassa sagAsaM hiyaeNa samaM mahaM ghariNi // 669

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taraMgalA e pramANe sAMbhaLIne himapAtathI karamAyelI nalinInI jema mA sohAga na thavuM, hRdaya zokathI saLagI UThavuM ane te ja kSaNe mArI badhI kAMti vilAI gaI. (53). zakane Avega kAMIka zamatAM, AMsu nIgaLatI AMkha, he gRhasvAmina, meM cekIne raDatAM raDatAM A vacane kahyAM (654) je kAmadevanA bANathI Akrata thayela te mATe priyatama prANAga karaze to huM paNa AvatI nahIM rahuM te Avaze te ja huM ja. (6 55. je pAnamAM rahIne paNa huM tenI pAchaLa mRtyune bheTI to have te guNavaMtanA vinA huM kaI rIte jIvanI rahuM? (56). to, sArasikA, tuM e mArA nAthanI pAse mArI patra laIne ja ane mArAM A vacano tene kaheje' (657). e pramANe kahIne meM pravede bIjI AMgaLIvALA hAthe premathI prerita ane pracura cATu vacanevALo patra bhUrja patra para lakhe. (58). sanALA aMgamardananI mATIthI(!) mudrita karIne tilakalAMti te lekha, thoDA rAkhe ane jhAjhA arthavALo meM dAsInA hAthamAM Apyo (59), ane kahyuM, "sArasikA, tuM mArA priyatamane premane anurodha karanArA ane hRdayanA AlaMbana rUpa A mArAM vacano kaheje (60): gaMgAjaLamAM ramanArI je tArI pUrvajanmanI bhAryA hatI te cakravAka zreSThInI putrI rUpe janmI che. (1), tane zodhI kADhavA mATe teNe A citrapaTTa pradarzita karyA hatA. te svAmI, tArI bhALa maLI tethI kharekhara tenI kAmanA saphaLa thaI. (662). "he paralokanA pravAsI, mArA hRdayabhavananA vAsI, yazasvI, tane khoLatI tArI pAchaLa maraNane bheTIne huM paNa ahIM AvI. (63). je cakravAka bhavamAM je premasaMbaMdha hato, te hajI tuM dharI rahyo hoya te he vIra, mArA jIvita mATe mane tuM hastAlaMbana Apa. (664). pakSIbhavamAM ApaNA vacce je seMkaDe sukhanI prANa same svabhAvagata anurAga hato, je ramaNatramaNa hatAM, te tuM saMbhAraje.' (65). mArA badhA sukhanA mULa samA priyatamanI pAse jatI tene meM vyathita hadaye A tema ja e prakAranAM bIjAM vacana kahyAM. (6). vaLI kahyuM, "sakhI, tuM tenI sAthe suratasukhane udaya karanAra mATe samAgama, sAthI, dAnathI ke jethI paNa karAvaje. (7). mAruM kaheluM ne aNakaheluM, saMdezA tarIke ApeluM ane na ApeluM, je kAMI mAru hitakara hoya te badhuM tuM tene kaheje.' (ka68). e pramANe kahevAI rahetAM, he gRhasvAminI, te ceTI mArA hRdayane sAthe laIne mArA sthira kIrtivALA priyatamanI pAse paDI. (69).

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84 tAe ya niggayAe maJjha ciMtA imA samuppaNNA / X X X X X X X X X X X x / / 670 * * * 671-676 677 tumhehi ahaM sAmiNi visabjiyA niggayA nariMdra -pahaM / suMdara ghara-sobhataM sImaMta vaccha-nayarI || samaicchiUNa caccara - caukka - siMghADae bahU ahyaM / samasa va geha sirIe uvasohiyaM pattA / / 678 vAya ( ? ) - koTThae tattha / ghaevaM (?) gaUNaM // 679 ** to haM sakiya- hiyyA gaMtUNaM dArammI viTThA bahuI saMpattI tattha nAyA mi amapuvvA ThaviyA 682 luddhAsu ( ya sa ) dAsa- ceDIsu / bhaNiyA ya katto si // 680 sambhAva- paDicchaNNaM jaM sAhINaM sayA mahiliyANaM / taM me aliyaM vayaNaM tatthuppaNNaM ca me bhaNiyaM // 681 jANAhi ajjaputtaM tti ajjaputtassa haM ca dAseNaM / iha pesiyA apulyA suTThU ya muNiyA mi tubhehi // to bhaNai siddha rakkho dAraTTho niggame pavese ya / magasya (?) - metto vi mahaM natthi avidio koi // 683 mi ya pasaMsayaMtI tamahaM ghaNNaM khu satthavAha - kulaM / jasserisayA tubhe kareha dArambhi vAvAraM / / 684 majjha vi aNugrAhaM ettiyaM tu pasiUNa dehi re ajjo / dAehi ajjauttaM jo putto satyavAssa || to bhai ajjauttaM dAejjaM te ahaM sayaM ceva / jai para dAra-nioge paDihAramahaM [la ] bhejjAmi // 686 to teNa dAsa- ceDI saMdiTThA vacimaM X X x yaM ucarima-talayaM pAmUlaM ajjauttassa // 687 to tIe ahaM nIyA khaNeNa maNi-kaNaya-khaciya-bhUmitalaM / 685 lahu uvarima-talayaM rAya paha-loNaM vAle (?) 11 688 tammajjha rayaNa-cuppAlayassa uvariM dAUNaM purao sA ceDI suhAsaNa- nisaNaM / niragayA turiyaM // 689 ahamavi ya taM uvagayA vakkhintA tattha suyaNu vIsatthA / taM cakavA - pagaNA (? pagaraNa ) - paccadvAraM karemANaM // 690 * gAthA 670nA uttaradalathI gAthA 676 sudhInoM pATha hastapratomAM truTita che. : taraMgalAlA *:

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Bactaria, Algae and Fungi as found in the Jaina Literature J. C. Sikdar The Paramara Emperor Bhoja the Great and Kavi Dhanapala : A Study in their mutual Relationship V. M. Kansara svAdhyAya dalasukha mAlavaNiyA na Panca-Paramesthi Stuti of Saharatia R. M. Shah paMcapati-nayaNAgara-rAsa saM0 bhaMvaralAla nAhaTA zrImadyazovijayagaNiviracita siddhanAmakoza saM0 paMDita amRtalAla mo. bhojaka anubandhaphalagarbhA zrogautamastutiH paM. bAbubhAI sa. zAha tathA paM. harizaMkara aM. paMDyA saddhisUrikRta pATaNa-caitya-paripATo (saM. 1576 ) saM0 bhogIlAla ja. sAMDesarA *"jAtakavikRtam janavihArazatakam saM0 nagIna jI. zAha promomasundaraharikRtaM zrIvIrajinastavanam i0 bAvubhAI savacaMda zAha khitta-taraMgavaI-kahA ( taraMgalolA) saM. anu. harivallabha bhAyANI HA- ATH- 2 8 PMIRR5/2

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