Sambodhi 1981 Vol 10

Author(s): Dalsukh Malvania, H C Bhayani, Nagin J Shah
Publisher: L D Indology Ahmedabad
Catalog link: https://jainqq.org/explore/520760/1

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SAMBODHI (QUARTERLY) < VOL. 10 APRIL 1981-JANUARY 1982 No. 1-4 EDITORS DALSUKH MALVANIA DR H. C. BHAYANI NAGIN J. SHAH Taunus L. D. INSTITUTE OF INDOLOGY AHMEDABAD-9 STRES TE b aldamine For Pall& boue On www.allery

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CONTENTS 73 Jaina Bibliography Colette Caillat and Nalini Balbir The Treatment of the Pancagni-Vidya in the Bi cas Ill. i N. M. Kansara Why Did Jainism Not Develop the View that Samsara =Nirvana Arvind Sharma Gahasattasai B. K. Khadabadi Numbe: of Pramanas R. D. Hegde Jaina Manastambhas at Deogarh Tahsildar Singh A Fresh Peference to Bhartmitra's View on Laksana Biswanath Bhattacharys Ranasimha Paramara Ram Vallabha Somani A Note on the Crowned Buddha in Bharat Kala Bhavan Lalit Kumar Ibn Sina : His Philosophy of Being R. L. Raval The Gauridigambara Praha sana Chitra Shukla Bhaskaravarma of Dandi and Bana : An Appraisal Sudarshan Kumar Sharma Chittapa and His Subhasitas Smt. Nilanjana S. Shah Freudian Psychoanalysis and Psychodynamics of Yoga M. V. Baxi Prakrit Poetry and Sanskrit Poetics V. M. Kulkarni Some Less Known Verses of Siddhasena Diyakara M. A. Diaky Reviews 112 136 145 169 174 192 Jel-Education alomatica fueraltalen www

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JAINA BIBLIOGRAPHY Books and Papers published in French or by French scholars from 1906 to 1981 Colette CAILLAT and Nalini BALBIR In the various fields of "Indology", the need for up to-date and systematic, as far as possible exhaustive, bibliographies has recently been. emphasized. This is particularly true as far as Jainism is concerned, the more so as it appears that only books and monographs written in English have been generally accessible. As a contribution to this task, we here list all the publications (books, articles, notices) on Jainism which have been written by French or by French-writing scholars, including the few works by foreign scholars which have been written or translated into French. It seems that the rules followed by A. GUERINOT in his, Essai de bibliographie jaina (Paris 1906) supplemented by his Notes de bibliographie jaina (Paris 1909) have been accepted (cf. CHHOTE LAL JAIN, Jaina Bibliography, Calcutta 1945, Jaina Bibliography Series No. 1), they have guided us also. For example, under the main headings, the contributions. are listed according to chronological order, detailed informations of translations, etc., are given. We have added the number of pages, and have, naturally, followed the international system of transcription of Indo-Aryan. * Equipe de Recherche Associee au CNRS 094, "Philologie bouddhique et jaina", For Personal & Private Use Only

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TABLE OF CONTENTS 1. General works or notices on Jaina Religion and No. 1-20 Literatures II. Catalogues of Manuscripts 21-22 IJL. Grammar and Lexicography 23-34 Studies in Canonical Religion and Literature 35-49 V. Non-Canonical Literature 50-54 VI. Religious Poetry . 55-58 VII. Epigraphy . 59-60 VIII. Art 61-69 IX. History Varia 74-94 A. Life of the Jaina Community (74-80). B. Jainism and other Religions and Philosophies (81-94). XI. Bibliognoment ations 95-102 70-73 For Personal & Private Use Only

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I. General works or notices on jaina Religion and Literatures A. GUERINOT. La religion djaina, Histoire, Doctrine, Culte, Coutumes, lostitutions. - Paris, 1926. (25 plates). VIII-353 p. P. 1-90. Part 1, History. P. 91-277, Part 2. Doctrine. 91-95. The principles 96-113. (1) True faith 114-207 (2) True soience 208-277 (3) True conduct. P. 278-328. Part 3. Cult, customs, institutions. P. 329 f. Conclusion. P. 331-343. Index. P. 343-351. Tables. P. 353. Errata. A very clear general exposition of Jaina religion. L. ALSDORF. Les etudes jaipa. Etat present et taches futures. - Paris, College de France, 1965. 97 p. Text of fundamental lectures given by L. ALSDORF at the College de France. P. 1-25: The necessity of Jaina Studies : importance of the Jaina Canon for the knowledge of Buddhist doctrine and vocabulary (ex. asava, malavihara, tai, P.3-6); richness of the uninterrupted tradition of Jaina Literature; problems concerning the "original". language of the Jaina Canon and discussion of the term "Ardha-Magadbi". P. 25-50 : Need of a complete edition of the Canon and survey of the work done so far in this field; relations with exegetical literature; problems arising from text transmission. P. 51-84: Metrical analysis as a chronological criterion by which various strata can be seen in the Pali Canon (data from the Jatakas, P.61 sqq.), as well as in the Jaina Canon (special references to the Uttarajjhaya, P.72-81): presence of aryas denotes recent composition; Critical investigation of the Avasyaka literature as a must of the future Jaina Studics (P.81-83). For Personal & Private Use Only

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Colette Caillat and Nalini Balbir P. 84-97 : Necessity of studying more Digambara material in order to solve the problems related to "Digambara Prakrit", to the chronology of Digambara texts and their relations with the Svetambara Canon (with reference to the Mudbidri collection of so-called canonical texts, to the Mulacara and the Mularadhana). Special notices on Jainism in Encyclopaedias, Series, etc. 3 A. BAREAU - W. SCHUBRING - C. von FURER-HAIMENDORF. Les religions de l'Inde III. Bouddbisme, Jainisme, Religions archaiques. (Bibliotheque historique. Coll. Les Religions de l'humanite). - Paris, 1966. P.247-276. Le jainisme. Unreliable translation into French of the important and difficult contribution by Walther SCHUBRING, Der Jinismus (sic), in A. BARBAU-W. SCHUBRING- C. von FURER- HAIMENDORF, Die Religionen Indiens III. Buddhismus, Jinismus, Primitivvolker (Die Religionen der Menschheit. Herausgegeben von Ch. M. SCHRODER 13.)- Stuttgart, 1964. P. MASSON- OURSEL- H. de WILLMAN-GRABOWSKA- Ph. STERN. L'Inde antique et la civilisation indienne. -Paris, 1933 (L'evolution de l'humanite, 1.5.4.) 497 p. P. MASSON-OURSEL. Part 3 : Spiritual life, religions and philosophies. Chap. II. Primitive Jainism and Buddhism. P. 160-166. I. Situations common to both P. 168-179. II. Jainism (168 The Nirgrantbas. The Jina; 171 The Community; 173 The Canons; 176 Archaism and Realism; 178 The soul and its salvation). A few lines on philosophy (P.239), Jaipa cosmology (244-45), Prakrits (259-260). L. RENOU et J. FILLIOZAT. L' Inde classique. Manuel des etudes indi. ennes. 2 vol. - Vol. I. - Paris, 1947 (Bibl. scientifique Payot). For Personal & Private Use Only

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Jain Bibliography Chap. III The languages of India : L. AENOU $ 100 - Jaina Sanskrit $ 109-110 - Prakrit $ 114-117 - Jaina Prafrits. Apabhramsa. Chap. IV History of India (from the origins to the 7th century): J. FILLIOZAT $$204; 219; 222; 228; 242; 281 : Jaina sources of the history of India (archaeological, philological, epigraphic) $ 370-376 India at the time of the Buddha and Jina (375-376 : dates of Buddha and Jina) $ 393-395 Candragupta ($ 394 : 313 B.C. date of Candragupta's accession to the throne, cf. the Jaina sources, in accordance with Justinius). See also No. 73. $ 396- Jaina traditions concerning Candragupta and Bhadrababu in Sravana Belgo!a. SS 430. Kalakacaryakathanaka. English translation of this contribution, see No. 72. Chap. VI Brahmanism. 2. Non Sanskrit sources : P. MEILE SS 973 The Gujarati Jains' contribution to Indian civilisation (architecture) : publications in Gujarati language. - Vol. II. -Paris-Hanoi, 1953. Chap. VIJI Erudition. L. RENOU $ 1531; $ 1535 Jaina grammarians SS 1547; $ 1549 Jaina lexicographers $ 1554 Jaina metricians SS 1563. Jaina poeticians. Chap. IX Sciences. J. FILLIOZAT $ 1676. Jaina medicine $ 1702. Jaina mathematicians (Mahaviracarya) ; $ 1712. Jaina astronomy, Suri yapannatti. Chap. X Literatures. L. RENOU SS 1763. Jaina compositions in kavya style SS 1798. Vajjalagga of Jayavallabha $ 1807. Jaida didactic literature (Haribhadra's Dhurtakhyana). $ 1816. The Pancatantra and the Jainas (Panca khyanaka) SS 1822. Jaina recensions of the Brharkatha (The Vasudeva-hindi confirms the authenticity of the Nepalese version of the B.) * For Personal & Private Use Only

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? Colette Caillat and Nalini Balbir J. FILLIOZAT SS 1921-1928 The Tamil "Five poems". (Pahjakapplyam; SS 1922. Cilappadigaram; SS 1925 Cindamani); SS 1926 Salamani, SS 1927 Perun-Kadei (Tamil adaptation of the Brhatkatha), SS 1928 Yofodarakaviyam. Chap. XII Jainism (SS 2387-2493). L. RENOU. 1. SS 2387-2433. The sources 2. 2434-2466. The history of the Church 3. SS 2447-2454. Rites and customs. O. LACOMBE. SS 2455-2492. The doctrines (following Umasvati and Kundakunda) J. FILLIOZAT. SS 2493-2494 (Addition to the previous section): Jaina logic: Siddhasena Divakara, Appendice 1. Palaeography. J. FILLIOZAT. Script and figures: P. 678 Jaina Nagari. P. 693-695. Jaina figures. 6 L. RENOU. Les litteratures de l'Inde, Paris, 1951 (reprint 1979. C611. Que sais-je ?). Chap. IV. Buddhist and Jaina literatures. P. 59-60 Jainism. P. 66-70 The Prakrits (67-70 Jaina Prakrits and Apabhramsa). - 7 L. RENOU. Litterature sanscrite, in Encyclopedie de la pleiade. Histoire des litteratures.1. Paris, 19551, pp.941-983 (reprint 1977, pp.841-895). P. 979-980 (-1977, P.881-883) Buddhist and Jaina Literatures. P. 980 (1977, p.882) Jainism. 8 L. RENOU. Litteratures en langues moyen-indiennes : Pali, Prakrits, Apabhramsa, in Encyclopedie de la pleiade. Histoire des litteratures. 1, -Paris, 1955, pp 984-988 (reprint 1977, pp.885-889). P. 986-988 (1977, p.887-889) Prakrit and Apabhramsa. For Personal & Private Use Only

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Jain Bibliography 9 J. BLOCH. Litteratures neo-indiennes du Nord, in Encyclopedie de la Pleiade Histoire des litteratures. 1. -Paris, 1955, p.989-1045 (reed. 1977, p.890-947). P. 1008-9 (=1977, P.908) A Jaina novel in old Gujarati by Manichand. 10 P. MEILE. Litteratures dravidiennes, in Encyclopedie de la Pleiade. Histoire des litteratures. 1. -Paris, 1955, p.1046-1082. P. 1070-1072 Especially Kannara Literature of the Jains. See also No. 17. 11 J. AUBOYER. Jainisme, in Grand Larousse encyclopedique, vol, 6. -Paris, 1962. P. 302 a-b. A short survey of the history and principal tenets of Jainism, R. REGNIER. L'Inde et les pays indianises. - Paris, 1963. (Religions du monde), P. 50-58. Jainism : The Mahavira; the Church; the doctrine; perennity of Jainism, 13 Civilisations Peuples et Mondes. Grande Encyclopedie des Civilisations depuis l'Antiquite jusqu'a l'Epoque contemporaine. (Civilisations anciennes des peuples de l'Asie, l'Amerique l'Afrique et l'Oceanie). - Paris, 1966. L. RENOU-M. -S. RENOU. L'Inde et le Sud-Est Asiatique. P. 18-20. A brief sketch of Jainism. Photographs : P. 52 views of Abu temples P. 58 detail of Bahubali statue, (Sravanabelgola). P. 66 Tirthamkara reliefs in Gwalior. 14 C. CAILLAT. Le jinisme, in Encyclopedie de la Pleiode. Histoire des * Religions, 1. Religions antiques. Religions de Salut. - Paris, 1970. P. 1105 1145; P. 1107 map. A general survey of Jainism, in French, Translated into English, cf, No. 14 bis. For Personal & Private Use Only

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Colette Caillat and Nalini Balbir 14 bis C. CAILLAT. Jainism, in C. CAILLAT-A, N, UPADHYB-B.PATIL. Jai. nism. -Bombay-Delhi, 1974. P. 1-48. P. 1-3. Introduction P. 3-11 The origins (Parsva; Vardhamana Mahavira; Mabavira's disciples). P. 11-21 The expansion of Jainism P. 21-25. The Canon P. 25-37. The Doctrine P. 38-42. The Community P. 43-47. Ethics and Asceticism P. 47f. Short bibliography. 15 Encyclopaedia Universalis. - Paris. 15a. 1975. Vol. 8 Entry : Jode; by various authors 4. J. FILLIOZAT, The Philosophical doctrines P.828f. The ancient Jaina doctrine 5. M.-Th. de MALLMAN. The arts. . P.880 f. Jaina iconography. Vol. 8 Entry : Indo-aryennes (Litteratures); by J. FILLIOZAT P.920c. The Prakrits and Jaina literatures. 156. 1975. Vol. 9 Entry : Le Jinisme; by C. CAILLAT and M.-S. RENOU P.494-497. A general notice on Jainism 1. First stages 2. Expansion 3. Doctrine 4. The way to Delivery. Photographs of Palitana (P.495) and of a Nandi svara-dvipa plate (P.496). 15c. Entry : Kannara (Langue et litterature) : by F. GROS P.615c. Early great Jaina poets and prose-writer For Personal & Private Use Only

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Jain Bibliography 13d. 1975. Vol. 15 Entry : Tamoules (Langue et litterature): by F. GROS P.722b. Early Jaina kavyas; Jaina contribution to grammar and lexi cography. 15e. 1975. Vol. 20 Entry : Tirthamkara : P.1926c-1927a. 16 A. L. BASHAM. La civilisation de l'Inde ancienne. Traduit de l'anglais par C. CARME et alii. - Paris, 1976 (Coll. Les grandes civilisations, 15). Translation into French of A. L. BASHAM, The Glory that was India, ed. 1967, with additions and adaptations. Chap. VI. Religions. P.278-284. Jainism and other heterodox sects (general survey of Jainism). 17 F. GROS. Litteratures dravidiennes, in Encyclopedie de la Pleiade. Histoire des litteratures. 1, p.948-1025. - Paris, 1977. P.991-1002. Kannada literature. P.993-994. Biographies of Jaina "Great Men" : Gunavarma's Neminathapurana and Sudraka; Pampa's Adipurana; Ranna's Ajitapurana; Ponna's santipurana; Cavundaraya's Trisastilaksana mahapurana; Valda. tadhane : nineteen biographies. P. 995. Jaina poetry, among which the Sukumara carite. P. 996-997. Works by the Jaina poetess Kanti and Nagacandra; Brahma siva's Samayaparik se; Nemiccandra's Neminathapurana; Janna's Anantanatha purana; Nayasena's Dharmamsta; Salva's Jain version of the Mahabharata (15th century); Vaibhava's poem (1557) about Bharata's fight against Bahubali. 18 C. CAILLAT. Lo jinisme, in Encyclopoche Larousse, Le monde indien, religions et civilisations. -Paris, 1979. P.43-48. Notice on Jainism. Papers. 19 F. R. HOERNLE. Origine et premiers developpements du Jainisme. Trad. de l'anglais par A. GUERINOr.(Museon, Nouvelle serie, VII, p, 109-134). Louvain, 1906. Sambodhi Vol. X(2) For Personal & Private Use Only

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Colette Caillat and Nalini Balbir 20 J. FILLIOZAT. L'abandon de la vie par le sage et les suicides du criminel et du heros dans la tradition indienne (Arts Asiatiques, 15.1967, 65-88). -Paris, 1967. P. 72. On samlekhana. See also No. 87; 88, 92. II. Catalogues of manuscripts. 1 21 J. FILLIOZAT. Etat des manuscrits de la collection Emile SENART. (JA 228, 1936, p.127-143). --Paris, 1936. P. 127-140, Manuscripts in Sanskrit, Prakrit and Bhasa. Manuscripts of various famous Jaipa works, canonical and non canonical, including an illustrated manuscript of the Kalpasutra (date 1493, 38 miniatures); also some Ksetrasamasas. . 22 J. FILLIOZAT. Bibliotheque Nationale. Department des manuscrits. Catalogue du fonds sanskrit. --Paris, 1970. P.50 f. No. 212 K. Jinavallabhagani's Pindavisuddhi-prakarana in Prakrit with commentary; Candra suri's Pindivisadhyavacurni in Sanskrit. IU. Grammar and Lexicography General Studies. 23 S.LEVI. Observations sur une langue precanonique du boudhisme. (JA XIleme serie, 2, 1912,p.495-514). - Paris, 1912. Remarks on phonetic anomalies observed in some Pali and Buddhist Hybrid Sanskrit words; comparisons with Ardhamagadhi. Some Buddhist and Jaina techanical terms : P.502. Pa. opapatika, Amg. uvavaiya. (S.L. accepts the derivation from upapara). P: 503-6. Pa. parajika etc., Amg, paranciya. Etc. P.511. The concurrence between Jainism and Buddhism provides critical studies with a means of control 1. A remarkable collection of Jaina manuscripts has been organised in Strasbourg (presently located in Bibliotheque Nationale et Universitaire) : it has been catalogued by CB. TRIPATHI : Catalogue of the Jajna Manuscripts at Strasbourg. Leiden: Brill, 1975. (Indologia Beroligensis, 4), XVIII + 425p. 8 platis, 1 map. For Personal & Private Use Only

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Jain Bibliography 24 L. RENOU. Grammaire sanscrite. Paris, 1930; second edition 1961. X-570-20 p. Passim : Pecularities of Jaina Sanskrit (mainly following Bloomfield's and Hertel's studies and editions of Jaina natrative texts). 25 L. RENOU. Histoire de la langue sapscrite. -Lyon, 1956 (Coll. "Les langues du monde"). 248 p. Chap. 5. Buddhist and Jaina Sanskrit. P.222-229. Jaina Sanskrit (with some samples of texts). 26 C. CAILLAT. La langue primitive du bouddhisme. (Die Sprache der altesten buddhistischen Uberlieferung. The Language of the Earliest Buddhist Tradition. Symposien zur Buddhismusforschung, II). Abhandlungen der Akademie der Wissenschaften in Gottingen. Philologisch-Historische Klasse. Drittee Folge. 'Nr. 17. -Gottingen, 1980. P.43-60. Various references to and comparisons with Ardhamagadhi (suffixes, "haplology of desinence", ete.). P.57-60. English summary. * See also No. 5 (Languages; Palaeography). Points of Grammar and Lexicography : 27 C. CIALLAT. Deux etudes de moyen-indien. (JA 248, 1960,p.41-64). :- Paris, 1960. I. A propos de pali phasu-vihara-, ardhamagadhi pha suya-esanijja-. Ana lysis of some old Pali and Ardhamagadhi formulas. Phasu(ya) is derived from the root SPRS- "to touch", with suffix -u- (of active-transitive value). Original meaning: that "which makes (one) attain" (the goal); hence the semantic evolution, Pa. "easy, comfortable", Amg. "pure, without living beings" (of alms). See also No. 28. II. Sur l'origine de gona (sic): Masculine back-formation from goni (ni, -ni, suffix denoting feminine beings) : mrgi mrga=goni X. . 28 C. CAILLAT. Nyuvelles rem irques sur les adjectifs moyen-indiens phasu, phasuya (JA 219, 1961, p.497-502). - Paris, 1961. Addenda to No. 27 (1). For Personal & Private Use Only

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Colette Caillat and Nalini Balbir 29 C. CAILLAT. Les derives moyen-indiens du type karima (JA 253, 1965. p.289-308). - Paris, 1965. Analysis of the Middle Indo-Aryan derivatives with suffit -ima and participial (passive) meaning. They are more frequent in Ardhamagadhi texts than elsewhere in MIA (because of their techanical value ?- hence for stylistic rather than linguistic reasons ?). 30 C. CAILLAT. la finale -ima dans les adjectifs moyen- et neo-indiens de sens spatial. (Melanges d'indianisme a la memoire de Louis RENOU, p.187-204). -Paris, 1968. (Institut de Civilisation Indienne, 28). The type Sanskrit pascima, Middle Indo-Aryan pacchima is particularly frequent in Pali and Buddhist Hybrid Sanskrit. In Ardhamagadbi, Jaina Maharashtri, -ima is also found in ordinals; there, the suffix is moreover often enlarged with (k)a or - illa (Amg. Jm. majjhimaya, majjhimilla), or is simply replaced (majjhilla : cf. Neo Indo-Aryan majhila ...). On the other hand, it survived in the North and North-West area of NIA. - Thus, it shifted out of the Central NIA, just as it has tended to disappear from later MIA. 31 C. CAILLAT. A propos de sanskrit candrima-, "clair de lune". (Melanges linguistiques offerts a Emile BENVENISTE, p.65-74). - Paris, 1975 (Coll. linguistique publiee par la Societe linguistique de Paris, 70). P. 70-72. Among the literary Prakrits, Ardhmagadhi is the only one to have kept some traces of the old uses (attested in Pali) of candima as masculine (with data from the Jaina Canon). 32 C. CAILLAT. Quelques observations a propos d'une publication nouvelle sur le Malacara. (Wiener Zeitschrift fur die Kunde des Sudasiens 23, 1979, p.155-162). - Wien, 1979. A critical review of K. OKUDA's dissertation, Bine Digambara-Dogmatik. Das funfte Kapitel von Vattakeras Mulacara berausgegeben, ubersetzt und kommentiert von. Wiesbaden, 1975, dealing with some so-called "pecularities" of the language (bare-stems, split-compounds, etc.) : far from being mere isolated or arbitrary "incorrections" or "licences", especially when met with in a clearly didactic work, they often represent real linguistic features traceable elsewhere in Middle Indo-Aryan morphosyntax as well as in Vedic phraseology. P.161-162. English summary. For Personal & Private Use Only

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Jain Bibliography 33 C. CAILLAT. Grammatical incorrections, stylistic choices, linguistic trends (with reference to Middle Indo-Aryan). Paper read at the 4th International Sanskrit Conference, Weimar, 1979. To be published in Indologica Taurinensia, vol. 8. Non-inflected stoms, problems of gender-distinction, etc., with references to the language of the Jaina Siddhanta (Ayaranga, Dasaveyaliya). 34 C. CAILLAT. Pronoms et adjectifs de similarite en moyen indo-aryen. Indianisme et Bouddhisme. Melanges offerts a Mgr Etienne LAMOTTE. - Louvain, 1980 (Publications de l'Institut Orientaliste de Louvain 23). P. 33-40. See also No. 42 (Style). IV Studies in Canonical Religion and Literature General Papers 35 C. CAILLAT. L'ascetisme chez les jaipa. (Archives de Sociologie des Religions, 18, 1964, p.45-58). -Paris, 1964. The importance of the six "internal" tapas. 36 C. CAILLAT. The recent critical editions of the Jaina Agama. (Paper read at the 21st session of the German Oriental Society, Berlin, 24-29 March 1980). How the so-called "Jaina Agama Series" editions, by the wealth of the material presented (variant-readings of manuscripts, but also traditions handed down by various commentaries, etc.) throw invaluable light on the transmission of the Svetambara Siddhanta; cf, the grammatical variants and, still more important, the textual variants" ("real varients",) cf. K.BRUHN - C.B. TRIPATHI, Jaina Concordance and Bhasya Concordance, Beitrage zur Indien-forschung, Ernst Waldschmidt zum 80 Geburtstag gewidmet, Berlin, 1977, p.62-80) recorded in the critical notes and introductions. For further developments, see No. 48; 49. Agama 37 C. CAILLAT, Contribution a l'etude d'une penitence jaina, la "relegation" (parihara). (JA 250, 1962, p.505-529) - Paris, 1962. * Preliminary study on the sixth prayascitia according to the Chedasutras (cf. with corrections and additions, No. 38 and 38 bis, Part 2, chap. VII). For Personal & Private Use Only

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Colette Caillet and Nalini Balbir 38 C.GAILLAT. Les expiatations dans le rituel ancien dos religioux Jaina. Paris, 1965 (Publications de l'Institut de Civilisation indienne, 25). Study of the prayascittas according to the Chedas atras (Kappa-, Vavahara-, Nissha-sutta) and the commentaries of the Vavahara-sutta. See also No. 38 bis. 38 bis C. CAILLAT. Atonements in the Ancient Ritual of the Jaina Monks.Ahmedabad, 1973. (L.D. Series, 49). 13+ 209 p. Trpslation into English, with additions and corrections of the preceding book. 1975 ed. 1965 ed. 235-9 Table of contents P.11-13 7-8 Foreword P.1-22 9-31 Introduction. I. General remarks; II. The texts. P.23-65 33-82 Part I. Organisation of the monastic life. The subdivisions of the monastic Community. The Jaina religious; their titles. The hierarchy The teachers The change of gana 67-185 83-212 Part 2. The atonements. Chap. I. General principles Chap. II. Dispensations. Exceptions to the second and fourth "great vows". Chap. III. The atonements. The atonements and mortification. - Theoretical problems. - The offences. - Transgressions and merits. - Freedom and responsibility. - Complementary observance: the "service" (veyavacca: vaiyavrtya). Chap. IV. First atonement : Confession (alo yana; alocana). Chap. V. Second atonement : Repentance (padikkamana; pratikramana). For Personal & Private Use Only

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186-8 189-203 204-9 211 213-215 Jain Bibliography Third atonement: Mixed (misa; misra). Chap. VI. Fourth atonement Restitution (vivega; viveka). Fifth atonement: the Undisturbed abandonement of the body (viussagga, kaussagga, vyutsarga). FS Chap. VII. Sixth atonement: Isolation (parihara), afterwards replaced by the Mortification(tava, tavo; rapas). Chap. VIII. Seventh and eighth atonements: partial and radical suppression of religious seniority (cheya, cheda; mula). Chap. IX. Ninth and tenth atonements : Demotion and Exclusion (amavathy, anavasthaya; parahciya, parancita). Conclusion. Coherence, unresolved points and contradictions. -Humanity of the teachers. -Benefit of community life. Individual perfection and unselfish abnegation. 217-229 Bibliography. 230-40 Index. Errata. 39 C. CAILLAT. Translation into French and philological commentary of Vavahara-sutta 1-3. In Drei Chedasutras des Jaina-Kanons. Aydradasao, Vavahara, Nistha bearbeitet von Walther SCHUBRING. Mit einem Beitrag von. Colette CAILLAT. Hamburg, 1966. (Alt- und Neu-Indische Studien herausgegeben vom Seminar fur Kultur und Geschichte Indiens an der Universitat Hamburg, 11). P. 48-69. 40 C. CAILLAT. The Religious Praya cittas according to the old Jaina Ritual (Shri Mahavira Jaina Vidyalaya Golden Jubilee Volume, Part 1, p.88-117). -Bombay, 1968. Summary, in English, of No, 38 For Personal & Private Use Only

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16 Colette Caillat and Nalini Balbir 41 C. CAILLAT. Candavejjhaya. Introduction. Edition critique. Traduction. Commentaire. -Paris, 1971. (Institut de Civilisation Indienne, 34) 159 p. Critical study of this Painna. P.3-14 Abbreviations and bibliography. : P.15-56. Introduction : The C. - Manuscripts. Editions. -Script, Orthography of the manuscripts. - Language of C. -Metre. Style (with table of internal and external concordances, p.50-54). P.57-77. Text (with critical apparatus; based on nine mss. and three ed.) P.79-98. Translation into French. P.99-151. Philological commentary. P.153 Index. P.155-158. Addenda (including some variants from a palm-leaf manus cript of C.) 42 C. CAILLAT. Stylistic Notes on Candagavejjahaya. (India Maior. Congratulatory Volume presented to Jan GONDA. Edited by J. ENSINK and P.GABFFKE, p.85-90). Leiden, 1972. Examples of sabda- and artha- alamkaras, serving didactic as well as stylistic purposes. 43 C. CAILLAT. La mort par le jeuac chez les jaina. (Bulletin de la Societe Ernest- Renan., Nouvelle Serie No. 21, Seance du 29 janvier 1972, p. 103107); -Paris, 1972. Fasting unto death, with special reference to the Viyabapannatti (Khandaga Kaccayana) and some other texts. 44 C. CAILLAT. Sur les doctrines medicales dans le Tandulaveyaliya. (Indologica Taurinepsia, vol. 2, 1974, p.45 -55). For Personal & Private Use Only

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Jain Bibliography - Torino, 1975. 1. Enseignements d'embryologie. This section of this Painnaya dealing with embryology is based on Suya.. gadanga 2, 3, 21 and, often literally, on Viyahapannatti (ed. Gurgaon 1%, p.406); some additions and alterations have been introduced, in accordauco with the Caraka- or Susruta-samhita. See also No. 45, p.104-105;114. 45 C. CAILLAT, Sur les doctrines medicales dans le Tandulaveyaliya. (The Adyar Library Bulletin 38, 1974, Mahavira Jayanti Vol., p. 102-114). - Madras, 1974. 2. Enseignements d'anatomie. Analysis of the treatment of this locus communis in T. Synoptic table of correspondances with various Brahmanic texts (Caraka- and Susruta-samhita, Visnu- and Yajnavalkya-smoti, Garbha-Upadisad, Varaha-parisista) : though broadly conveying the classical doctrine, T. shows some discrepancies with it. P. 114. English summary. 46 C. CAILLAT. Fasting unto Death according to the Jaina Tradition Orientalia 38, 1977, p.43-66). -Copenhagen, 1977. .: Samlekhana, one of the supreme austerities (tapas) recognized by the Jainas, can be looked upon as the culmination of the faithful believer's life : he has to renew bis vows before undertaking this heroic effort that will bring him nearer to the Goal of Perfection. 47 * C. CAILLAT. Fasting unto Death according to ayaranga-Sutta and to some Painnayas (A. N. UPADHYB et alii, Mahavira and His Teachings, p.113-117). -Bombay, 1977. While the Ayaranga 1 (=Bambhaceraim, chap. 8) exclusively considers the monk's carrier, and insists on the necessity of a life-long preparation progressively leading to samlehana, the Painnayas mainly insist on the ultimate struggle which has to be fought at the hour of death. Nevertheless, though "the ways to Perfection have changed, the Goal has remained the fame". Sambodhi Vol. X(3) For Personal & Private Use Only

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Colette Caillat and Nalini Balbir 48 C. CAILLAT. Notes critiques sur la tradition du Dasaveyaliyasutta. Felicitation Votume in honour of Dr. Ludwig STERNBACH. Indologica Taurinensia, Review of the most important among the true variants : cf. No. 36. 49 C. CAILLAT. Notes grani maticales sur la tradition du Dasaveyaliyasutta. A review of the grammatical variants of Dasaveyaliya. See also No. 32 (Mulacara). V. Non-Canonical Literature 50 A. GUERINOT. Note sur un manuscrit jaina. (JA, Xeme serie, 19, 1912, p. 605-608). -- Paris, 1912. Notice on a manuscript of Dharmasagara Gani's Gurvavali-sutra, with a commentary by the author : the authentic text, revised and corrected in 1648 following the advice of Hiravijaya (=recension B, in WEBER, Verzeichniss II, 2, p.651-2); further, it adds the 21st and last stanza of WEBER's recension A, ibid, II, 3, p.997-1015, No. 1980, with the name of its author, viz. Sivavijaya. 51 R. RAVEAU. L'adaptation des Lois de Manu chez les jaipa d'apres Hemacandra (JA 245, 1957, p.267-272). Paris, 1957. A preliminary attempt to assess the political significance and historical import of Hemacandra (with reference to Yogasastra and Arhannitisastra). 52 L. STERNBACH. Indian Riddles. A Forgotten Chapter in the History of Sasakrit Literature. Nishveshvaranand Vedic Research Institute. -Hoshiarpur, 1976(V.1. Series, 67) P.31. Riddles in Jaina Literature. P 99-103, Collections of Riddles; Jinavatlabha Sari's Peasnattara (p.99); Priskottararatnamaka (p.85 and fn.235). For Personal & Private Use Only

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jain samliography L. STERNBACH. On some Non-canonical Subhasita Collections in Jaina Literature. (A. N. UPADHYE et alii, Mahavira and His Toachings, p.41-75), Bonnbay, 1977. P.41. Subhasita-samgraha-s and Gnomic Subhasita Literature. P.41-59. 1. Jaina Subhasita-samgraha-s. A. The Vajjalagga of Jayavallabha (p.42-44). -B. The Suktamuktavali (p.44-46), -C.Ekadasadvaranibaddha Upadesa (p. 46). -D. Other Priated Jinistic Subhasita-samgraha-s (p.47-49). -E. Collections of Anyokti-s (p.49). -F. Unpublished Jaina Subhasita-s samgraha-s (p.49-59). P.59-75. II. Jaipa Didactic and Gnomic Subhasita-Literature. A. Amitagati'c Didactic Works (p.59-67). -B. Srngaravairagyatarangini of Somaprabha (p.67-70). -C. Sukta muktavali of Somaprabha (p.70). -Other Jaina Didactic Poems (p.70-75). 54 Nalini BALBIR. Un recueil de narrations jaina svetambara sur le don. Introduction. Edition critique. Traduction. Notes. (Unpublished dissertation, University of Paris -III- Sorbonne Nouvelle. June 1980). D A Text, translation and study of an anonymous Jaina work written in Sanskrit prose intermingled with Sanskrit and Middle-Indian stanzas. It contains eight stories started from a verse of Dharmadasa's Uvat samala (ga. 240) and illustrating the gifts to be done by the layment to the monks. P. III-XIV. Abbreviations and Bibliography. P.1-114. Introduction : Manuscripts. - Title of the wosk (Danas.com kakaihd) and number of stories acoording to various post - Parallel works containing the same storias in thon stylca': Caritraratnagani's Danapradipa (sam. 1499); Punya kusala's Danadharma (17th century); morsover Kanakakukata's Danaprakasa (sam. 1656). - Other independent versions of the stories. - Philological study. - Stanzas quoted in the storing - Religious teachings of the work, - Magic elements and For Personal & Private Use Only

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Colette Caillat and Nalini Balbir their function. - Narrative literature about dana to Jaina monks. P.115-191. Text of the Danastakakatha (based on eight mss.): 1. Kuru candramantrikatha (vasatidana); 2. Padmakarak. (sayanad.); 3. Karirajak. (asanad.); 4. Kanakarathak. (bhaktad.); 5. DhanyaPunyaka.. (panad.). 6. Revatik. (bhesajad.): 7. Dhvajabhujangak. (vastrad.): 8. Dhanapatik. (patrad.). - Text of four stories found in two-three mss. : a. Mangalakalasak.; b. Amaradatta-Mitranandak. (beginning only); c. culhakopari candroda yak. (or Mrgasundarik.); d. Sanatkumarak. P.192-278. Translation into French and philological notes... P.279-290, Appendix : Uvaesamala ga. 230-246. French translation. 1.291-300. Indexes. N.B. To the above text should be added an Old-Gujarati prose version of the eight stories (ca. 16th century), given by one paper ms. VI. Religious Poetry 55 Ch. VAUDEVILLE. Barahmasa : A Comparative Study. (Journal of the Oriental Institute, 13, June 1964, No. 4, p.341-349). -Baroda, 1964. Preliminary study (see No. 56), with some references to Jaina Phagus and Caupai. .. . 56 Ch. VAUDEVILLE. Barahmasa. Les chansons des douze mois dans les litteratures indo-aryennes. -Pondichery, 1965. (Publications de l'Institut Francais d'Indologie, 39). XLI-97 p. P.XX-XXV. Jaina phagu : Neminatha-phagu of Rajasekhara Suri (c.1349) and Sthulibhadra-phagu of Jinapadma Suri. The text of the second one is reproduced (following Prof. H. C. BHAYANI's ed., Bombay, 1955) and accompanied by a French translation (P.84-97). P.XXXIII-XXXIV. Jaina barahmasa and especially the utilisation of viraha-barahmasa by Jaina munis. Text of Neminatha-Catuspadika by Vinayacandra Suri is reproduced (following Prof. H. C. BHAYANI's ed., Bombay, 1955) and accompanied by a French translation (P.8-21). For Personal & Private Use Only

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Jain Bibliography 57 C. CAILLAT. L'offrande de distiques (Dohapahuda). Traduction de l'apabhramia. (JA 264, 1976, p.63-95). Paris, 1976. French translation, briefly commented, of this mystic (Digambara) anthology by Ramasimha Muni (ed. H. L. JAIN, 1933). See also No. 57 bis and 58. 21 57 bis C. CAILLAT. The Offering of Distics (Dohapahuda). Translated from Apabhramia with Critical Notes. (Sambodhi 5, 2-3, 1976, 175-179). -Ahmedabad, 1976. English translation. 58 C. CAILLAT. Expressions de la quete spirituelle dans le Dohapahuda (anthologie jaina en apabhramsa), et dans quelques texts brahmaniques. (Indologica Taurinensia 3-4, 1975-76, p.125-138). -Torino, 1977. Various distics of DP. echo formulas, (ideas, phraseology, images) used in the Upanisads etc., or announce some of Kabir's utterances : as shown elsewhere by A. N. UPADHYE, the mystic communities have not been affected by sectarian divisions. P.125 English summary. VII. Epigraphy. 59 A. GUERINOT. Repertoire d' epigraphie jaina. Precede d'une Esquisse de l'histoire du jainisme d'apres les inscriptions. - Paris, 1908. (Publ. de l'Ecole Francaise d' Extreme-Orient, 10). VIII-313 p. P.1-68. Introduction. Sketch of a history of Jainism according to the inscriptions. I. Royal dynasties; II. Geography of the inscriptions; III. The Jaina schools. P.69-280. Epigraphic repertory+ Appendix + Supplement (Nos. 1-850). P.281-284. List of the localities where the inscriptions originated. P.285-311. Index. For Personal & Private Use Only

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Colette Caillat and Nalini Balbir 60 V. FILLIOZAT, L'epigraphie de Vijayanagar du debut a 1377. Paris, 1975. (Publ. de l'Ecole Francaise d'Extreme-Orient, 91). 104 39 No. 34 (EC VIII Soraba 110 p.29, p.42) No. 35 (-EC VIII p.40) No. 41 (-EC XI Citradurga 55,p.24.p.35). No. 114 (EC VIII, Soraba 115 p.30,p.43) No. 115 (EC VIII, Soraba 199 p.63,p.86) No. 148 (-EC VIII, Soraba 263. p.86). Appendice No. 2 (= IE Annual Report for 1958, No. 678, p.94) No. 27 (?) (IE Annual Report on Indian Epigraphy, 194748, Stone I Inscriptions 1947 48 p. 27 No. 233 No. 28 (No. 183 Finance (Separate Revenue). 23 Sept. 1921 (MER 1921). APP, B Stone Inscriptions copied in 1920, P. 18 No. 326). VIII. Art1. 61 Guide illustre du Musee Guimet de Lyon. -Chalon-Sur-Saone, 1913. P.63. Some references to the Jaina collection in the Museum. 62 G. JOUVEAU-DUBREUIL. Patlava Painting. (Indian Antiquary 52, March 1923, p.45-47). Bombay, 1923. The Jaina cave temple at Sittanavasal (near Pudukkotai), 17th century: the ceiling fresco; reproduction of a dancing girl from the left pillar of the facade. 63 J. FILLIOZAT. Inde. Nation et Traditions. Paris, 1961. P.242-244, Buddhism and Jainism. Photographs: P.133. Jaina monks in Delhi P.237. Jaina manuscript BN Skt. 1453, 16th cent. P 240. Jaina temple in Khajuraho 1) Only a few books are specifically devoted to Jaina Art; but most of the works on Indian Art contain a few pages about it and some illustrations of the most famous sites (for example Mount Abu). For Personal & Private Use Only

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Jain Bibliography P.243. A Jina image. P.245. Ceiling in Abu temple P.246. Tirthamkara frieze near Tenji (Madras). 64 Ph. S. RAWSON. La peinture indienne. Traduit de l'angalais par G. LAMBIN. -- Paris, 1961. P.87-91. Western India illumination-paintings (11-16th cent.). They appear mostly on Jaina manuscripts. Evolution of the miniatures. Islamic influences towards the 15th century. Survivals after the 17th century (Jaipur), also on temple hangings. 65 D. BARRETT et B. GRAY. La peinture indienne. Traduit de l'anglais par Y. RIVIERE. -Geneve, 1963. (Coll. Les tresors de l' Asie). P.54-59. The western school of miniatures (Gujarat, Rajasthan, Malva, It is the third great school of miniatures in classical India. Historical conditions. -Jaina manuscripts, first on palm, then on paper, especially after the 14th century. - Possible influences. Importance.--Examples (illustrations from Kalpasutra, Kalakacaryakatha, with detailed commentary). 66 M.-S.RENOU. L'Inde que j'aine ... racontee par M.-S.RENOU. photographiee par J.-L.NOU, --Paris, 1968. P.98-113. Memories of a Terapanthis' meeting in Rajaldesar (Bikaner) in 1949. Photographs : P.50. Palitana. (Gujarat). Jaina temples p.27. A temple in Palitana P.34-35. Jaina temple in Mount Abu. See No. 68 (new ed.) 67 M. BENISTI. A propos du triratna. (Bulletin de l'Ecole Francaise d' Ex4-treme-Orient 64, 1977, p.43-81). -Paris, 1977. P.76. Discussion of o. von HINUBER's conclusions concerning rDas Nandyavarta-symbol". ZDMG Supplement II 18 (1974), p.356-365. For Personal & Private Use Only

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Colette Caillat and Nalini Balbir 68 N. MENANT. L'Inde que j' aine ... racontee par N. MENANT, photographiee par J.-L. NOU. -Paris, 1979. (new ed.). Photographs : P.46. Gujarat. Jaina temples in Palitana. P.47. Image of a Tirthamkara in Mount Abu P. 48. Jaina monks in Palitana P.97. Image of a Tirthamkara in Adinatha temple in Mount Abu. New ed, of No. 66 69 C. CAILLAT, Cosmologie jaina. Ed. Ravi Kumar. -Paris-Bale-New-York, 1981. Diagrams, mainly from manuscripts of Samgrahanis and K setragamasa from Ravi Kumar's collection. General survey and plates commented by C. CAILLAT. 69 bis C. CAILLAT. Jaina Cosmology. Ed. Ravi Kumar. - Paris-Bale-NewYork, 1981. English rendering of No. 69 by K.R. NORMAN. 69 ter C. CAILLAT. Die Kosmologie der Jainas. Ed. Ravi Kumar. - Paris-BaleNew-York, 1981. German rendering of No. 69. by Von O. HINUBER IX. History 70 L. de LA VALLEE POUSSIN. L'Inde aux temps des Mauryas et des Barbares Grecs, Scythes, Parthes et Yue-tchi. - Paris, 1930 (Histoire du Monde publiee sous la direction de M.E. CAVAIGNAC, 6). P. 193-198. 5. The inscription of the Elephant Cave. Kharavela and Kalinga. - A summary of the various interpretations of the Kharavela inscription. P.295. Note on Girnar. For Personal & Private Use Only

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Jain Bibliography 71 S. LEVI. Kaniska et satavahana, Deux figures symboliques de l'Inde au premier siecle. (JA 228, 1936, p.61-121). Paris, 1936. P. 66-72. Jaina traditions on the fights for Barygaza (cf. K. P. JAYASWAL, JBORS 16, 1930, p.290 f. ; Abhidhanarajendra, s.v. ananuoga, and Nahavahana). At the time of the Periplus of the Erythraean Sea, Nahapana's Ringdom was part of Aryake, and was the first province of India proper. 72 J. FILLIOZAT. Political history of India, from the earliest times to the 7th century A.D. Translated from the French by Philip SPRATT. -Calcutta, 1957. An accurate translation of J. FILLIOZAT's contribution to L. RENOU et J. FILLIOZAT, L'Inde Classique I, chap. 4 (See No. 5). 73 J. FILLIOZAT. La date de l'avenement de Candragupta roi de Magadba (313 avant J.C.), (Journal des Savants, juillet-septembre 1978, p.175-184). --Paris, 1978. Critical study of Justinius, Epitoma historiorum philippicarum 15, 4, 11-21. It confirms the synchronism between Candragupta's accession to the throne and the beginning of the Seleucid Era, compare JACOBI, ed. of Kalpasutra, p.8 f. (despite V. SMITH, Oxford History of India 1919, and the third edition .. 1958, Part 1 p.96 f. ; also E.J. RAPSON, Cambridge History of India I, 1922, p.698, but cf. J. CHARPENTIER; p.156 and 0.1 etc.). - The year 313 B. C. (rather than 312) seems the most probable. See also No. 5. See also No. 50; No. 86 6). X. Varia. A. Life of the Jaina Community. ; 74 A. GUERINOT. La situation morale des Jains d'apres une lettre du prince de Baroda adressee a la 3eme conference svetambara, Ajmer, mars 1909, For Personal & Private Use Only

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iku Colette Caillat and Nalini Balbir (JA, Xeme serie, 14, 1909, p.543-548) Paris 1909. [Chroniques, Religion jaina] Summary of a letter sent by the Gaekwar of Baroda to the President of the third Svetambara Conference held in Ajmer (March 1909), proclaiming the necessity of a social reform, including suppression of caste-system in order to improve the moral conditions of the Jains and fight against illiteracy, children-marriage, etc., encouraging study of Jainism and its historical problems and the undertaking of an edition of the Siddhanta. 75 A. GUERINOT. L'association jaina internationale. (Jaina Samagama Samaj. (JA, Xeme serie, 15, 1910, p.377-378). Paris, 1910. [Chroniques. Religion jaina]. Short notice on the organisation of this association, the creation of which is planned in London. Its aim is to propagate Jaina faith and ethics by means of translations, lectures, etc. 76 A. GUERINOT. Un maitre jaina du temps present: Sri Vijayadharma Suri. (JA, Xeme serie, 18, 1911; p.379-384. Paris, 1911. Outline of Sri Vijayadharma Suri's life and personality, based on information given by his first disciple, Indravijaya Muni, and one short Sanskrit poem of 214 verses (Sri Dharmamahodaya) composed by Ratnavijaya, Muniraja. Summary in No. 98 (T) 77 D. MENANT. Pelerinage aux temples jainas du Girnar. Annales du Musee Guimet. Bibliotheque de Vulgarisation. Tome 39. P.189-239.-Paris, 1912. With 17 plates. P.189-205. General ideas about Jainism. P. 205-214. Brief geographical and'historical presentation of Kathiawar and Mount Girnar. Literary accounts of it. - Life of Nemi. P.215-239. Itinerary and account of the pilgrimage. - Jaina ritual, Girnar, For Personal & Private Use Only Temples o

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78 A. GUERINOT. Chroniques et notices bibliographiques. (JA, Xeme serie, 5, 1915, p.371-375). Paris, 1915. Jain Bibliography Relation of the ninth session of the Svetambara Jaina Conference (april 1914) at Sujangadh (Bikaner). Review of the Bibliotheca Jainica Series (The Sacred Books of the Jainas) and its first volume, Nersicandre's Dravyasamgraha. Account of Tukaram Krishna Laddu's speech on occasion of the tenth birthday of the Benares Syadvada-Maha-Vidyalaya (25-26 December 1914), published in Jaina Gazette (February 1915). -Account of the celebrations for Mabavira's birthday in 1915, Baview of Vincent A. SMITH's article Archaeological Research, a Jain Duty (Modern Review, Calcutta, april 1915). Short obituaries of Seth Maneckchand Hirachand (sic) and Mahabhinava Carukirti Pandita Acarya Mahavamin of Sravana Belgola. - 79 Louis et Marie-Simone RENOU. Une secte religieuse dans l'Inde contethporaine. (Etudes, mars 1951, p.343-351). -Paris, 1951. On the Terapanthis' sect: its foundation, its community and its religious life. Relation of the 1949 meeting in Rajaldesar (Bikaner). Based on a paper read at the Societe Asiatique, Paris: "Une secte jaina de l' Inde contemporaine" (cf. JA,238,1950,p.478.). 80 C. CAILLAT. Les mouvements de reforme dans la communaute indienne des jaina (Comptes-rendus de l'Academie des Inscriptions et BellesLettres seances de l'annee 1978 janvier-mars, p. 143-150). Paris, juillet 1978. Reform-movements since Pariva-Mahavira until modern times. See also No. 100 (Muni Punyavijaya), 98 II) B. Jainism and other Religions and Philosophies (special topics). 81 E. SENART. Essai sur la legende du Buddha. Son caractere et ses origines. Seconde edition revue et suivie d'un index. - Paris, 1882, P. 121, 131, 158 306f. The Mahapurusas of the Jainas. - Similitudes between the laksanas etc. of Buddha and Mahavira. For Personal & Private Use Only

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18 Colette Caillat and Nalini Balbir 82 S. LEVI. La doctrine du sacrifice dans les Brahmanas. - Paris, 1898. (Bibliotheque de l'Ecole des Hautes Etudes. Sciences religieuses 11). Second Edition, Paris, 1966 (EPHE Sciences religieuses, 73). P. 11, (Introduction): Jainism and Buddhism are, so to say, forecast and prepared by the Brahmanas. 83 L. de LA VALLEE POUSSIN, Le Bouddhismed' apres les sources brahmaniques, - I. Sarvadarsanasamgraha, Suite Arhatadarsana (Museon, Nouvelle serie, 3, p.40-54), Louvain, 1902, Translation into French, with commentary, of the first part of Chap. 3 of the S, (Polemic of the Jains against the Buddhists). 84 L. de LA VALEE POUSSIN. Une stance jaina et bouddhique. (JA, Xeme serie, 17,1911, p.323-325). Paris, 1911. On a stanza from Haribhadra's Saddarsanasamuccayah satikah (ed, L. SUALI, Bibl. Indica 1905-1907): paksa-pato na me Vire, na dvesah Kapiladisu: yuktimad vacanam yasya tasya karyah parigrahah. Cf. Manjughosahasavajra, quoting Devatisayastotra, in which it is possible to reestablish: paksa-pato na me Buddhe, na devetah Kapiladiu 85 P. MASSON-OURSEL. Esquisse d'une histoire de la philosophie indienne. Paris, 1923. P.65 ff. Part 3. Early Jaina and Buddhist thoughts. General remarks, P.69-79, Jainism, P.69-72. Origins; sketch of a history of Jainism. P.72-76. The doctrine, according to Umasvati, Tattvarthadhigam Sutra. P.76 f. The means to delivery. For Personal & Private Use Only

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Jain Bibliography 29 P.77 f. Antiquity of some tenets; importance of Jainism for the history of ideas in India; originality. P.82-84. Similitudes between Jainism and Buddhism; they testify to new ideals (organization of religious communities); source of some dogma (Pratyekabuddhas, cf. p.126). P.96-99. Both answer the same preoccupations; Originality of Sramanic culture, connexions with Brahmanism. P.111. Renouncement in popular Hindu religious movements and in Jainism-Buddhism. P.145. Jainism and "atomism" P.165. P.168. P.173. P.186. P.189. Jainism, Buddhism, Brahmanism and Yoga P.193. Jaina logic versus Naiyayika logic. P.214 ff. Part 7. Heterodox darsanas' thought. Carvaka and Jainism P.218-227. Mediaeval Jainism Karman according to Jainism and to Mimamsa. "Realist structure" in Jainism and Vaisesika Idem in Samkhya (cf. p. 175). Idem in Yoga P.219. Development of sects and of their literature P.220. Versatility of Jaina scholars P-224-225. Early Jaina logic; P.226 syadvada. P. 238 f. Jainism and Saivism Notes P.266 f.,n.22-32, P.280 f., n.118-125. 86 Memorial Sylvain LEVI. -Paris, 1937. a). P.16-23. La science des religions et les religions de l' Inde (first published Paris, 1892). Buddhism and Jainism versus Brahmanism. The importance of both for the history of Indian religions. See GUERINOT; Bibliographie, No. 16. b) P. 218-234. Les donations religieuses des rois de Valabhi. (first published Paris, 1896). Importance of the Jaina tradition for the history of India. - For Personal & Private Use Only

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Colette Caillat and Nalini Balbir See GUERINOT, Bibliographie, :No. 732. 87 L. RENOU, L'hindouisme. Paris, 1951, reprint 19797 (Que sais-je ?). P.32 f. Relations of Hinduism with Buddhism and Jainism P.33. Influence of Hinduism on early and later Buddhism and Jainism. 88 L. RENOU. Religions of Ancient India. - London, 1953 (SOAS. Jordan Lectures in Comparative Religion, I.) P. 111-133. Sixth Lecture : Jainism. The lectures aim at giving an account of the present state of the main problems concerning the religions of ancient India. - Parallels and comparisions between Jainism and other Indian systems, particularly Buddhism. P. 133 (concluding page) : Based on profoundly Indian elements, it (i.e. Jainism) is at the same time a highly original creation, containing Very ancient material, more ancient than that of Buddhism, and yet more highly refined and elaborated". 89 L. SILBURN. Instant et cause. Le discontinu dans la pensee philosophique de l'Inde. - Paris, 1955 (Bibliotheque d'histoire de la philosophie). P.127 ff. The relations between Buddha and the contemporary schools of thought. P. 130 tf. Heterodox tenets quoted by the Jainas (cf. Suyagada, Thananga). P. 159 f. Buddha and the Jainas P.189; 333. Buddhist tenets opposed by the Jainas. 90 E, LAMOTTE, Histoire du bouddhisme indien. Des origines a l'ere Saka. - Louvain, 1958. Reprint 1967. (Bibliotheque du Museon 43). P. 242 f. The Jaina tradition concerning Candragupta (according to Parisistaparvan 8, 415 f.) For Personal & Private Use Only

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Jaina Bibiliography P. 502. The Sahis' conquests (Kalakacaryakathanaka), P. 533 f. The Orissa Jaina caves. 91 L. RENOU. Jaina's (sic), in Etudes Vediques et Papineennes, SS 28,p.42-43 tome 6, Paris, 1960 (Publ. de l' Institute de Civilisation Indienne, 10). Brief survey of the Jainas' critics against Vedic tradition and sacrifices (with reference to Somadeva's Yasastilaka). 31 92 J. FILLIOZAT. Les philosophies de l'Inde. -Paris, 1970 (Que sais-je?). Chap. 11. Ancient extra-canonic speculations, P. 25. The Thananga (as quoting the akiriyavadis) Chap. III, Thought developed by the great monastic Orders, P. 33-35. I. The doctrine of the Jainas. 93 C. CAILLAT et G, FUSSMAN. Les etudes bouddhiques et jaina, (Courrier du CNRS No, 34, octobre 1979, p.36-40). -Paris, 1979, P.39. Jaina,studies. Photographs P,37. Muai Punyavijaya and Pandit Dalsukh Malvania in Ahmedabad, 1966. P.40, Short bibliography. P.39. One page of an illustrated manuscript of the Uttarajjhaya of 1471-72 A,D. (Collection of Jaina manuscripts at Strasbourg). P.40. A view of Satrunjaya temples. 94 C. CAILLAT, Le sadhaka saiva a la lumiere de la discipline jaina. (studien zum Jainismus(sic) und Buddhismus/Studies in Jainism and Buddhism Gedenkschrift fur L. ALSDORF. Herausgegeben von K. BRUHN und A. WEZLER. (Alt-und Neu-Indische Studien, 23). The Jaina data can help us to define some of the concepts which, having been elaborated by the Jainas, can go back to a common background For Personal & Private Use Only

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32 Colette Caillat and Nalini Balbir of Indian thought : thus a comparision may be tempted between the salva sadhaka, as described by Somasambhupaddhati (H.BRUNNER, Pondichery 1963-68-75) and the Jaina niravekkha. See also No. 2 (Jainism and Buddhism). XI. Bibliographical Informations. 95 A. GUERINOT. Essai de bibliographie jaina. Repertoire analytique et me thodique des travaux relatifs au jainisme. Avec 9 planches hors-texte. - Paris, 1906. ( Annales du Musee Guimet, Bibliotheque d'etudes, 22). XXXVII-568 p. This bibliography lists the books and papers published before the end of the year 1905; also some which appeared in early 1906. Reviews are normally not listed (except if equivalent to an original paper). Altogether 852 entries. P. I-III. Foreword. V- XXXVII. Introduction (=a short notice on Jainism) P. 1-42 I. General works (No. 1-80) P.43-109 II. Catalogues of manuscripts (No. 81--150) P.111-127 III Grammar and Lexicography (No, 151-210) P.129-145 IV. Canonical Treatises (No. 211-250) P.147-168, V. Non-canonical Treatises (No. 251-320) P.169-202 VI Historical and legendary Literature (No. 321-420) P.203-217 VII Religious Poetry, Hymns, Prayers (No. 421-490) P.219-280 VIII Epigraphy (No. 491-550) P.281-359 IX Archaeology, Religious Art (No. 551-640) P.361-430 X Chronology, History (No. 641-750) P.431-462 XI Geography, Ethnography, Statistics (No.751-780) P.463-484 XII Varia (No. 781-852) P.485 Indexes : 1. Authors and works 2. Jaina authors 3. Jaina works 4. Geographical index For Personal & Private Use Only

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Jain Bibliography 33 5, Index of journals 6. General index. See also No. 96. 96 A. GUERINOT. Notes de bibliographie jaina. (JA Xeme serie, 14, 1909, p.47-148). - Paris, 1909. P.48-54. Addenda to the Essai de bibliographie jaina (supra, No,95). P.55-135. Supplement to the Essai, i.e. bibliography of the publications concerning Jainism from 1906 to the end of 1908 (entries No. 853-1145). P.135-138. Alphabetical index P.139-148, Index of Jaina authors and works. 97 A. GUERINOT. Les ouvrages jainas au programme des examens universitaites. (JA, Xeme serie, 15, 1910, p.378). - Paris, 1910, Chroniques, Religion jaina. Jaina works of the University syllabus (B.A. and M.A.) for 1910-1914. 98 A. GUERINOT. Quelques collections de livres Jainas. I. La Yasovijaya-jaina-grantha-mala, Benares. (JA, Xeme seric, 16, 1910, p.581-586). - Paris, 1910. About the foundation by Sri Vijayadharma Sari of the Sri Yasovijaya Jaipa Pathasala (Benares) and the creation of the above mentioned collection (first volume in 1904). Critical list of the first eighteen volumes published and some to follow (various works). II. La Rayacandra-jaina-sastra-mala, Bombay. (JA, Xeme serie, 19, 1912, p.373-378). - Paris, 1912. Biography of Rayacandra, a progressive contemporary Jaina who wrote several books on Jainism, Critical list of the first eight volumes published in this newly founded collection : general accounts on Jaina doctrine and treatises of logic, For Personal & Private Use Only

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34 Colette Caillat and Nalini Balbir 99 C. CAILLAT. Notes de bibliographie jaina. (JA 256, 1968, p.145-155). - Paris, 1968. P.145. W. SCHUBRING, Jinismus, Stuttgart, 1964. P.145-147. L. ALSDORF, Les etudes jaina. Etat present et taches futures, Paris, 1965 (cf. supra No. 2). P.147-149. L. ALSDORF, The Arya Stanzas of the Uttarajjhaya, Mainz, 1966 P.150-154. W. SCHUBRING, Drei Chedasutras des Jaina-Kanons, Auaradasao, Vavahara, Nisha.., Hamburg, 1966 (cf supra No 39). 100 C. CAILLAT. Notes de bibliographie jaina et moyen-indienne (JA 260, 1972, p.409-432). Paris, 1972. P.409. Muni Punyavijaya (1895-1971) P.411-414. Walther SCHUBRING (1881-1969) P.414. W. SCHUBRING, Ganivijja, The Hague, 1969;" Tandulaveyaliya, Mainz, 1969 Isibh siyaim. Ausspruche der Weisen, Hamburg, 1969. d.422. H. WARREN's Jainism. Ed. by Dr, N.J, SHAH, Bombay, 1968. P.426. D. BHARGAVA, Jaina Ethics., Delhi-1968 P.426. A.N UPADHYE, The Kuvalayamais, (no place), 1969. P.430, AN. UPADHYE, ed. of Saptasatisara with Bhavadipika of VEMA BHUPALA, alongwith the Chappannaya-Gahao (Text and Chaya), Kolhapur, 1970. Jaina recension of Ch. GA. 101 C. CAILLAT. Notes de bibliographie moyen-indienne et jaina. (JA 264, 1976, p.221-243). Paris, 1976. P221. N.R. GUSEVA, Jainism, Bombay, 1971. P222. S. GOPALAN, Outlines of Jainism, New Delhi, 1973. P.224, J.DELEU, Viyahapannatti (Bhagaval). Brugge, 1970, For Personal & Private Use Only

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sain Bibliography P.227. Jaina-Agama-Series, Bombay, 1968-, Vol. 1-4. P.231. A. METTE, Pind'esana, Wiesbaden. 1974. See a more deve loped review in Wiener Zeitschrift fur die Kunde des Sudasiens, p. 194-197 (P.197 English summary). P.232. A. N. UPADHYE, ed. SIDDHASENA's Nyayavatara and other works, Bombay, 1971. P.235. Brahmavidya. The Adyar Library Bulletin, vol. 38, 1974, Mahavira Jayanti Vol., Madras, 1974. Journal of the Oriental Institute, M.S. University of Baroda, vol. 24, 1-2 (Sept.-Dec. 1974). Special issue to celebrate the 2500th year of Nirvana of Bhagavan Mabavira, Baroda, 1974, P.238. Sambodhi, Ahmedabad, 1972P.240. G. ROTH, ed. Bhiksuni-Vinaya, Patna, 1970. 102 C. CAILLAT, Jaina Studies in France. Prof. K.K.HANDIQUE Felicitation Volume Survey of various works on Jainism (literature, language, religion, contemporary rites of the Jaina community, relations with Buddhism, etc,) by French scholars. see also no. 78. For Personal & Private Use Only

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INDEX (Authors and works). (References are to the number of the entry). 16 67 . 9. 101 31 ALSDORF, L. The Arya Stanzas of the Uttarajjhaya (review Les etudes jaina. Etat present et taches futures "id." (review). AUBOYER, J. Jainisme BALBIR, N. Un recueil de narrations jaina svetambara sur le don BARRETT, D. and GRAY, B. La peinture indienne BASHAM, A. L. La civilisation de l'Inde ancienne BENISTI, M. A propos du triratna BLOCH, J. Litteratures neo-indiennes du Nord Brahmavidya. The Adyar Library Bulletin (review) CAILLAT, C. A propos du sanskrit candrima L'ascetisme chez les jaina Atonements in the Ancient Ritual of the Jaina Monks Contribution a l'etude d'une penitence jaina, la "relegation" Cosmologie jaina Les derives moyen-indiens du type karima Deux etudes de moyen-indien Les expiations dans le rituel ancien des religieux jaina Expressions de la quete spirituelle dans le Dohapahuda Fasting unto Death according to Ayaranga-Sutta and some Painnas Fasting unto Death according to the Jaina tradition La finale -ima dans les adjectifs moyen- et neo-indiens de sens spatial 38bis For Personal & Private Use Only

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99 31 39 91 99 19 99 23 " " 99 d. ,, 99 99 98 99 "1 99 19 Jain Bibliography Grammatical incorrections, stylistic choices, linguistic trends Jaina Studies in France Le jinisme (Encycl. de la Pleiade) Le jinisme (Encyclopoche) La langue primitive du bouddhisme La mort par le jeune chez les jaina Les mouvements de reforme dans la communaute indienne des jaina Notes de bibliographie jaina Notes de bibliographie jaina et moyen-indienne Notes de bibliographie moyen-indienne et jaina Notes critiques sur la tradition du Dasaveyaliyasutta Notes grammaticales sur la tradition du Dasaveyaliya-sutta Nouvelles remarques sur les adjectifs moyenindiens phasu-; phasuya The offering of Distics (translation) L'offrande de distiques (transl.) pronoms et adjectifs de similarite en moyen indo-aryen Quelques observatios a propos d'une publication nouvelle sur le Mulacara The recent critical editions of the Jaina Agama The religious praya cittas Le sadhaka faiva a la lumiere de la discipline. jaina Stylistic notes on Candagavejjhaya Sur les doctrines medicales dans le Tandulaveyaliya Sur les doctrines medicales dans le Tandulaveyaliya Ed. transl. Candavejjhaya Translation. Dohapahuda Transl. Vavahara-sutta 1,3 For Personal & Private Use Only 37 33 102 14 18 26 6 9 : g 100 101 48 49 28 57bis 57 34 32 36 40 94 42 (1) 44 (2) 45 41 57: 57bis 39

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38 33 99 39 Candavejjhaya (Ed. transl.). CARME, C. (traas!). See BASHAM, AL. Danastakakatha (Ed. transl.) DELEU, J. Viyahapannatti (review) Dohapahuda (Transl.) FILLIOZAT, J. L'abandon de la vie par le sage et les suicides du criminel et du heros dans la tradition indienne "9 Bibliotheque Nationale. Catalogue du fonds Sanscrit La date de l'avenement de Candragupta Encyclopaedia Universalis (collab.) Etat des manuscripts de la collection Emile Senart Inde Nation et Traditions Les philosophics de l'Inde Political History of India and L. RENOU. L'Inde Classique FILLIOZAT, V. L'epigraphie de Vijayanagar FUSSMAN, G. See CAILLAT, C. GOPALAN, S. Outlines of Jainism (review) GRAY, B. See BARRETT, D. GROS, F. 99 39 99 99 GUERINOT, A. L'association jaina internationale 99 and and 93 Colette Calllat and Nalini Balbir G.FUSSMAN, Les etudes bouddhiques et jaina M.-S. RENOU, (collab.) Encyclopaedia Universalis "9 and A.N. UPADHYE B. PATIL, Jainism 93 Encyclopaedia Universalis (collab.) Litteratures dravidiennes Chroniques et notices bibliographiques Essai de bibliographie jaina Un maitre jaina du temps present Notes de bibliographie jaina Note sur un manuscrit jaina Les ouvrages jaina au programme des examens universitaires For Personal & Private Use Only 93 15b 14bis 41 54 101 57; 57bis 2 22 282 28 20 73 15a 21 92 72 5 60 101 15c 17 :::: 9 t - 75 78 76 96 79

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Jain Bibliography Quelques collections de livres jainas La religion djaina Repertoire d' epigraphie jaina La situation morale des jaina (trapsl.) F.R. HOERNLE, Origine et premiers develo ppements du jainisme Guide illustre du Musee Guimet de Lyon GUSEVA, N. R. Jainism (review) von HINUBER, O. (transl.) Die Kosmologie der Jainas 69ter HOERNLE, F. R. See GUERINOT, A. Jaina-Agama-Series (review; studies) 101;36;48;49; Journal of the Oriental Institute (review) JOUVEAU-DUBREUIL, G. Pallava Painting LACOMBE, O. L'lade Classique (collab.) LAMBIN, G. (transl.). See RAWSON, Ph.S. LAMOTTE, E. Histoire du boudhisme indien LA VALLEE-POUSSIN, L. de.Le Bouddhisme d'apres les sources brahmaniques L'Inde aux temps des Mauryas [..] Une stance jaina et bouddhique LEVI, S. La doctrine du sacrifice dans les Brahmanas Kaniska et Satavahana Observations sur une langue precanonique du boudhisme MALLMAN, M.-Th. de Eucyclopaedia Universalis (collab.) MASSON-OURSEL, P. Esquisse d'une histoire de la philoso phie indienne L'Inde antique MEILE, P. L'Inde Classique (collab.) # Litteratures dravidiennes Memorial Sylvain LEVI MENANT, D. Pelerinage aux temples jainas du Girnur MENANT, N. L'Inde que j'ainisme METTE, A. Pind'esana (review) For Personal & Private Use Only

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Colette Caillat and Nalini Balbir NORMAN, K.R. (transl.) Jaina Cosmology PUNYAVIJAYA (Muni) Bibliography and works 69bis 100 RAVEAU, R. L'adaptation des lois de Manu chez les jaina d'apres Hemacandra RAWSON, Ph.S. La peinture indienne REGNIER, R. L'Inde et les pays indianises RENOU, L. Grammaire sanscrite L'hindouisme Histoire de la langue sanskrite L'Inde Classique Jaina's Les litteratures de l'Inde Litteratures en langues moyen-indiennes Litterature sanscrite Religions of Ancient India .. and M.-S. RENOU L'Inde et le Sud-Est Asiatique Une secte religieuse dane l' Inde contemporaine RENOU, M.-S. L'Inde que j'aime . and C. CAILLAT. Encyclopaedia Universalis (collab.) ,, and L. RENOU. See RENOU, L. RIVIERE, Y. (transl.). See BARRETT. D. Sambodhi (review) SCHUBRING, W. Drei Chedasutras des Jaina-Kanons (review) Gasivijja (review) Isibhasiyaim (review) Le Jainisme Jinismus (review) Tandulaveyaliya (review) Biography and works of W. SCHUBRING SENART, E. Essai sur la legende du Buddha SILBURN, L. Instant et Cause SPRATT, Ph. (transl.) STERNBACH, L. Indian Riddles 89 72 For Personal & Private Use Only

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TRIPATHI, C.B. UPADHYE, A.N. The Kuvalayamala (review) Ed. Saptasatara (review) Jain Bibliography On Some Non-Canonical Subhasita Collections in Jaina Literature Ed. Siddhasena's Nyayavatara (review) VAUDEVILLE, Ch. Barahmasa: A Comparative Study Barahmasa. Les chansons des douze mois dans les litteratures indo-aryennes Sambodhi Vol. X(6) Catalogue of the Jaina Manuscripts at Strasbourg Vavahara-Sutta (transl.), WARREN, H. Jainism (review) For Personal & Private Use Only 41 53 n. 1, p.9 : : : : : : 100 100 101 35 56 100:

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THE TREATMENT OF THE PANCAGNI-VIDYA IN THE BRAHMA-SUTRAS III. i.* N. M. Kansara The first pada of the third adhyaya of the Brahmasutras of Badarayana is devoted to the discussion of the texts treating the topic of the transmigration of the individual soul after the death of the present body and before the birth of the next one assigned to him. As has been noted by Dr. Ghate, the sutrakara now proceeds to enquire, in the third and the fourth adhyayas respectively, into the nature of the means of attaining the Brahman and the nature of that attainment; and first, in the first pada of the third adhyaya, he goes on to describe the imperfections of the individual soul and its course from one birth to another, with a view to produce vairagya or aversion to worldly pleasures, a most necessary antecedent condition without which one cannot even so much as epter upon the path to moksa or final beatitude.1 Almost all the commentators of the Brahmasutras, except Vallabhacarya, are agreed on this point. Almost all the commentators of the Brahmas utras, except Madhvacarya, are agreed that there are in all twenty-seven sutras in the pada; according to Madhvacarya the total number of the sutras in the pada is twenty-nine, since he splits up the eighth sutra into two and adds one more of his own after the twenty-first. These sutras are divided into six adhikaranas by Sankara, Bhaskara, Ramanuja, Srikantha, Sripati and Vijnanabhiksu, while Nimbarka arranges them into four adhikaranas, and Vallabha into seven ones. The Upanisadic texts referred to by the commentators adhikarana-wise are generally the following : Adhi. I- Chhaod. Up. V.iii.3; V. iv 2; V.ix.1: V.x.3-4, Brbad. Up. I.iv.10; III.ii.13; IV.iv. 2. Adhi, II - Chhand. Up.V.x. 5: V.x.7. Adhi. III - Kausi. Up. 1.2; Kath. Up. II.6; Chband. Up. V.x.8; V.j.3: VI.iii.1. Adhi. IV - Chband. V.x.5. Adhi. V - Chhand. V.x.6 And Adhi. VI - Chband. Up. V.x.6-7. These texts treat what is popularly known as the Pancagnividya in the Upanisads. As to the purpose of the third adhyaya of the Brahmasutras, that it is exclusively devoted to the topics concerning the means (sadhapas) for the realisation of the Bsabwas, all the commentators are generally agreed. So also are almost all the commentators, except Vallabha, agreed on the point * The paper accepted by the A.I.Q.C. XXXth Session, Shantiniketan, 1980, For Personal & Private Use Only

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the Treatment of the Pancagni-Vidya that the purpose of the first pada is to produce aversion to worldly pleasures. But Vallabha differs from all of them and maintains that the purpose is not that of producing vairagya; it is rather that of chalking out the divine process through which the individual soul passes for suitable human re-birth in the case of those who have performed disinterested actions throughout their lifetime but have not yet attained the realisation of the Brahman; this human re-birth is necessary to enable them to prosecute their pursuit for God-realisation further. Vallabha has put forth the following arguments in favour of his contention. The person who performed the sacrifices disinterestedly during the life-time could not attain to the realisation of the Brahman. The fruit of such disinterested sacrificial performances can be nothing but such a realisation. Since it did not come about, the performances have to be taken to have served only to purify his gross elements. Further since the performances were disinterested, the gross elements of the person cannot but be dependent upon the presiding deities of the sacrifices And the deties concerned-take over the responsibility of transporting the soul into a new body reconstructed from the purified gross elements, by passing them through the process of five oblations (ahuti). And this, according to Vallabha, is wbat is discussed in the pada under discussion, since the passage referring to the fifth oblation specifically mentions that the waters are so transformed in it that they are indicated by the term 'person'.3 There is no difference among the commentators as to the five stages in the process or the journey from the death to the next birth. They are: Soma, Vrsti, Anna, Retas, and Purusa. And the Upanisadic texts, as well as almost all the commentators, are agreed on this point. . The question here arises as to the purpose of the 'Doctrine of the Five Fires in the Upanisads themselves, and that in the first pada of the third adhyaya of the Brahmasutras. In the Chbandogya Upanisad, the discussion starts with the querries of Pravahana Jaivali directed to Svetaketu, the son of Aruni. The questions are : "Do you know to what place men go from here? .. Do you know how they return again ? .. Do you know where the paths leading to the gods and leading to the fathers separate ?..Do you know now that (yonder) world never becomes full ?.. Do you know how in the fifth libation water comes to be called a person ?..."4 Then, having elaborated the answers through the analogy of the heavenly region to the sacrificial fire, the five successive libations of Faith For Personal & Private Use Only

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N. M. Kansara (Sraddha) i.e. Water, Soma, Rain (vrsti), Semen (retas), and Foetus (garbha) are said to respectively give rise to Soma, Rain, Semen, Foetus, and Person. Further, the Upani sad adds that those who know this doctrine of five fires, and those who stay in the forest and meditate on faith as austerity (or with faith and austerity) go to the light and from light to the day, from day to the brighter half of the month of the waxing moon), from the brighter half of the month to the six months during which the sun moves northward, from those months to the year, from the year to the sun, from sup to the moon, and from the moon to the lightoing. In the lightning, there is a person who is non-human. He leads them to Brahma. This is the path leading to the gods.5 With reference to the path of the fathers, the Upanisad elaborates as follows: But those, who in the village practise a life of sacrifices and perform works of public utility and almsgiving they pass into the smoke, from smoke to night, from night to the latter dark half of the month, from the dark half of the month to the six months in which the sun moves southwards, but they do not reach the year. From those months they go to the world of the fathers, from the world of the fathers to the space from space to the moon. That is the king Soma. That is the food of gods. That the gods eat. Having dwelt there as long as there is residue of good works they return again by that course by which they came to space, from space into air; and after having become air they become smoke; after having become smoke, they become mist. After having become mist they become cloud, after having become cloud they rain down. They are born here as rice and barley, borbs and trees, as sesamum plants and beans. From thence release becomes extremely difficult for whoever eats the food and sows the seed he becomes like unto him. Those whose conduct here has been good will quickly attain the good birth of a Brahmin, a Ksatriya or a Vaisya. But those whose conduct here has been evil, will quickly attain an evil birth of a dog, a hog or a Candala. But on neither of these ways are those small creatures which are continually revolving those of whom it is said be borne and die. Thoir's is a third state. By this it comes about that world becomes full. Therefore let one seek to guard himself.? And finally the Upanisad adds that he who knows these five fires thus is not stained by evil ... ... He becomes pure, clean and obtains a virtuous world. Coming to the Brahmasutras, in III.i., we find that the first sutra starts with the proposition that the soul departs from the body enveloped For Personal & Private Use Only

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The Treatment of the Pancagni-Vidya by subtle material elements with a view to obtain a different body; so is it known from the questions and explanations in the scripture. The water mentioned in the scriptures consists of the three elements, viz., fire, water and food, all of them constituting the seed of the body.10 When the works are exhausted the soul descends with the residual karma, as it went from here, and differently.11 The residual karma determines the nature of the new birth on earth. As to those others who have not performed sacrifice, after having experienced the fruits of their actions in the abode of Yama, ascent and descent take place.12 There are seven hells mentioned in the Puranas to which the evildoers go to experience the results of their evil deeds.13 The specification that ali must go to the moon for the purpose of obtaining a new body, to complete the five oblations that cause the new birth, does not apply in the case of the evil-doers who are born irrespective of the oblations. The rule about five oblation is not universal; for of the four forms of life, viz., viviparous, oviparous, life springing from moisture and plant life, the last two are born without any mating and there is not the fifth oblation in their case.15 The evil-doers do not go to the moon. The souls return through the ether, air and the rest, by attaining the similarity of nature. 16 The descent through different stages takes place quickly.17 The descending souls enter into plants etc., occupied by other souls as in the previous cases.18 After that the soul comes in contact with him who performs the act of generation, 19 and from the womb of the woman the soul acquires a new body fit for experienciog the results of the past residual karma.20 The controversial points in the matter are raised on the basis of differing statements in some of the Upanisadic passages. The Chand.-text mentions only water (apah) with reference to the fifth libation. So the natural inference should be that the soul gous enveloped by water only and not the subtle parts of all the elements. The Sutrakara meets this point on the ground that water is specifically mentioned on account of its prepondsrence and not because it is the only element. "Water' implies the subtle parts of all the three elements which constitute the seed of the body.21 This is indicated particularly in Chandogya Upanisad which declares elsewhere that each of the three elements, viz., heat (tejas), water (apah) and food (annam) becomes threefold when they reach the human being.22 This phenomenon of becoming threefold or tripartrite happeos when the God enters these three elements by means of the living self in order to manifest names and forms.28 And the Bshadaranyaka Upanisad declares that when the soul departs from the body, the life (pranab) and vital breaths (sarve pranah) depart with him. He becomes one with the intelligence. His knowledge (vidya) and his work (karma) take hold of him as also his past experience (purva-prajna).24 For Personal & Private Use Only

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N. M. Kansara Here there arises another doubt, on the basis of the statement in another passage of the Brhadaranyaka Upanisad that the speech of the dead person enters into fire, the breath into air, the eye into the sun, the mind into the moon, the hearing into the quarters, the self into the ether, the hairs of the body into the herbs, the hairs on the head into the trees and the blood and the semen into water.25 The Sutrakara meets the doubt by declaring that this statement is but metaphorical. Another objection is that the Chandogya Upanisad mentions only faith (sraddha) in the elaboration of the first of the offerings. It does not mention waters (apab).2 The Satrakara replies that by 'sraddha' we should understand water, on the strength of the consistency (upapatti) of the passage. To take 'raddha' as water is the only coherent interpretation. And in fact there is a Taittiriya text which classifies that sraddha is water as it produces in the person a will for the holy works.27 The objection of the non-mention of water in the elaboration of the first of the oblations is further ruled out in view of the fact that the passage is supposed to refer to the performers of sacrifices, etc. (istadikarinam). This implies that the path of five offerings is concerned with those who perform sacrifices and depart, from the dead body with their krta, i.e. apurva, that attaches to the sacrificer. 46 A further objection is raised with reference to the first oblation in view of the statement in the Chandogya Upanisad that the Soma is the food of the gods; that the gods eat.28 To this the Sutrakara explains that the statement is metaphorical, and concerns those who have not realised the self.29 Against the conclusion that on the exhausion of the works the soul descends with the residual karma,30 an objection is raised on the basis of the statement in the Chandogya Upanisad that those whose couduct is good will quickly attain a good birth, which implies that it is the conduct (carana), and not residual karma, that determines the new birth. To this the Satrakara replies by quoting the opinions of Karspajini and Badari. Karsnajini thinks that in the above-mentioned passage the word 'carana' is used in the sense of residual karma, and that karma depends on the conduct (carana). Badari thinks that 'carana' means only good and evil works,, thus, implying that there is no real difference between carana and karma. This settles that when the soul departs from the body he is enveloped by subtle tripartrite elements referred to as waters (apab), and he is accompanied by the residual karma which determines the next birth. Now, in the Chandogya Upanisad we find that three kinds of future is indicated with regard to the soul of human being,3 Those who adopt For Personal & Private Use Only

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The Treatment of the Panchgni-Vidya the way of enlightenment go by the path of the gods (devayana). They are not liable to return from that path they are heading for final beatitude and freedom from the cycle of birth and death. Those who perform sacrifices reach the moon by passing along the path of the fathers (pitryana) and after having experienced the fruits of their works they return again with a residuum of their karma. The distinction between the devayana and the pitryana is that of the consequences of two different systems of culture, the way of the works and the way of knowledge; each resulting in its own corresponding spiritual estate. Then there is the third state of all those small creatures which continuously revolve in the cycle of birth and death, deprived as they seem to be of any free will to improve their lot and hopelessly consigned to the experience of their accumulated evil works. And th: Upanisad warns one to guard against this third state. Badarayana, the Sutrakara seems to refer to this state as the fate of the non-performers of the sacrifices; they have to go to the abode of Yama, from where they ascend or descend as per the consequence of their residual karma. This third state includes the seven hells mentioned in the Puranas.33 The Sutrakara here clarifies that he is concerned with the two paths only, viz., the path of knowledge and that of karma. We can now revert to the problem of the underlying purpose of discussing the Pancagni-vidya in the first quarter of the third chapter of the Brahmasutras. It is well known that out of the two paths mentioned above, this pada discusses only the path of the fathers, the one by which those who perform the sacrifices go to heaven and return from their to be born as human beings again. It also discusses the fate of the non-performers of the sacrifices. Naturally, the discussion of the path of the gods is reserved for the last two quarters of the fourth chapter. 47 The very fact that the Sutrakara discusses the Pitryana and the fate of the non-performers in the third adhyaya devoted to the means of knolege, while he consigns the discussion of the Devayana to the fourth adhyaya devoted to the result and goal, indicates that the discussion in the third chapter is meant to inspire the aspirant to realise the transitory nature of the heavenly happiness and arouse the curiosity and urge for the permanent bliss. The majority of the Acaryas are thus on the proper track when they declare the purpose of B.S. III. i, as that of generating a sense of aversion to the happiness in the mortal world as also in the heaven. Vallabhacarya, however, prefers to interprete this pada as revealing the channel through which those who performed disinterested actions throughout their life in order to realise Brahman, but died half way to it, would get the proper birth calculated to help them prosecute their Sadhana For Personal & Private Use Only

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48 N. M. Kansara from the point it was cut short abruptly. But we do not find any reference or indirect indication of such a qualifying condition in the Upanisadic passage discussed. However, Vallabhacarya would argue that if those who have attained to the knowledge go by the path of the gods, why should it not be in the case of those whose subtle elements are channelled through the five oflerings by the gods.34 The simple answer to this would be that the probationers cannot enjoy the benefits of pensioners. And surely the Acarya realises that he is stretching the point too far in favour of those who have not yet attained the knowledge, and accepts that the path of the fathers starting with smoke (dhuma) too is for the disinterested sacrificers. 35 But the difference between the ordinary sacrificer and the disinterested one is that while the former has to go to the stations like smoke etc, on the path for the enjoyment of the fruits of his karmas, the latter is immediately channelled through the five oblations and helped to get next human birth in accordance with the statement in the Bhagavadgita about the return of the yogi. This indicates that while the pitryana is a path of ascent to heaven resulting from sacrifice, i. e. good actions, the Pancagoi channel is a path of return to human birth, and perhaps to all types of births human, sub-human and non-human, including animals and plantlife. Vallabhacarya, however, tries to make out a subtle difference between the normal fate of the interested performers of sacrifices and the disinterested ones and reserve the pancagni channel for the latter. But the Chandogya Upanisad, as also the other ones, do not warrant all this hairsplitting. The Satrakara too does not seem to be concerned with this problem. Nor does any of the rest of the Acaryas subscribe to the opinion of Vallabhacarya. It seems he tries to make out this point in the light of the authority of the Bhagavadgita passage quoted above. But the Bhagavadgita too does not make such difierence, nor does it mention the Pancagai channel specifically, except in general way in the reference to the Yajnacakra 37 Perhaps, Vallabhacarya is under the compulsions of his own system of Vedanta when he un iertakes this hairsplitting. We must remember that in his suddhadvaita system of the Vedanta he has classified the spiritual aspirants into various categories as Pustibhakta, Joanibhakta, Jnanamargi-niskama -karma-yogi, and sakama-bhaktas, and etc. Now for the Pusti bhaktas the highest state of sayujya with the Purusottama, i.e. Lord Knina, the Personal God, is reserved, while the jnani-bhakta reaches upto salokya only. For the Jnanamargi-niskama-karma-yogi the fate is dissolution in the unqualified Brahman. And for both the latter aspirants on the path of knowledge, the specially chosen birth is assured through the Pancahuti channel chalked out in the Pancagni-vidya, till they attain to the realisation of Brahman after a series of human births. And the rest of the aspirants For Personal & Private Use Only

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The Treatment of The Pascagni-Vidya who perform disinterested sacrifices are required to go to various stations on the path of the fathers. It is clear that this is not found in the Upanisads, nor in the Brahmasutras, nor in the Bhagavadgita. Evidently it is the special contribution of Vallbhacarya, evidently an innovation suited to his own system of Suddhadvaita Vedanta. References : 1. Ghate, Dr. V. S. - The Vedanta, p.114. 2. Brahma-sotras (B.S.) III.1.1, Anubhagya with Prakaba, p.sff. : Tatra prathame pade jivasya brahma-jnanaupayikam janma vicaryte 3. Ch. Up, V.ix.1 : Iti tu paficamyam ahutav apah purusa-vacaso bhavanti 4. Ch. Up., V.iii,2-3; Radhakrishnan - Prin. Up.. pp.426-427. 5. Ch. Up. V.x.1, Radhakrishnan - Op.cit., p.431. 6. Ibid., V.x. 2-7; Radhakrishnan - Op. cit.pp.431-433. 7. Ibid., V-x 8. 8. Ibid., V.x.10. 9. B.S.IU.i.1; Radhakrishnan - B.S., p.432. 10. Ibid., III.1.2; Radhakrishnan - Loc. cit., p.432. 11. Ibid, III.1.8; Radhakrishnan - Loc. cit., p.435. 12. Ibid., III.1.13; Radhakrishnan - Loc. cit., p.437. 13. Ibid., III.1.14: Radhakrishnan - Loc. cit, p.438. 14. Ibid. III.1.18; Radhakrishnan - Loc. cit. 15. Ibid., III.1.20; Radhakrishnan - Loc. cit. p.439. 16. Ibid., III.1.22. 17. Ibid., III.i.23 18. Ibid., III.1.24. 19. Ibid., III,1,26. 20. Ibid., III,1.27. 21. Radhakrishnan - B.S., p.433. 22. Ch. Up. VI.iv.7. 23. Ch. Up., III,iii, 4. 24, Brhad. Up. IV. iv.2. 25. Ibid., III..13. 26. B.S.III.S. 27. Tait. Sam. I.vi.8.1 : Apo basmai iraddharh sanpamante punyaya karmape 28. Ch. Up. V.x.4. 29. B.S. III.1.7. 30. Ibid., III.1.8. 31. Ch. Up. V.x.7. 32. Ibid., V.x.8. 33. B.S. III.i. 14-15. 34. Anu-bhagya Iti.i.l : "Tad ya ittham.. "iti ataj jnanavato'pi yatrarcih-praptis tatra tatha devahut anam katbhi na syat, ja partham eva tathotpatteh 35. Ibid., Atbava niskam eva dhuma-margah 36. B.G. IX.25. 37. Ibid., III.14. Sambodhi Voh X(7) For Personal & Private Use Only

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WHY DID JAINISM NOT DEVELOP THE VIEW THAT SAMSARA=NIRVANA Arvind Sbarma In the first part of the paper I will try to demonstrate how, like Buddhism, Jainism could have developed the view that Samsara-Nirvana. In the second part I will try to show why it did not. The position that Samsara = Nirvana is one of the basic ontological propositions of Mahayana Buddhism. The classical formulation of this position is found in the Mulamadhyamakakarika of Nagarjuna in verses 19 and 20 of the Twentyfifth chapter, which translate as follows: 19. There is nothing whatever which differentiates the existence-in-flux (sansara) from nirvana; And there is nothing whatever which differen-. tiates nirvana from existence-in-flux. 20. The extreme limit (koti) of nirvana is also the extreme limit of existence-in-flux; There is not the slightest bit of difforence between these two.2 How does Nagarjuna arrive at this conclusion ? Nagarjuna argues that "There are no existing phenomena (bhavas) anywhere ... which occur (ut-pad, we may also understand originate', usually sam-ut-pad) out of themselves (svatas) or out of an other (paratas) or out of both or without any cause (a etutas)3 ... everything (all this) is empty...".. Now "If everything is einpty then what of extinction (nirvana)? In his chapter 25 Nagarjuna argues that it is not an existing phenomenon, not non-existing, not both existing and non-existing, not neither existing nor non-existing ... But we have learned above that the supposed phenomena' of the universe are equally none of these things...",5 Thus there is no distinction between Nicvana and Samsara, "for ultimately both of them are empty sunya)!'. It should be noted that they represent afnegative identity".7 Nagarjuna has used the catuskoti to demonstrate this idontity. A closer inspection reveals that although four options are utilized in this technique it really offers six options as follows: For Personal & Private Use Only

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Why did Jainism not develop the View (1) A exists; (2) A does not exist; (3) A both exists and does not exist; (4) A neither exists nor does not exist. In a particular case any of these could apply or (5) none or (6) all of them, theoretically speaking. Nagarjuna concludes that Samsara=Nirvana because option (5) can be applied to both. Comparable to the catuskoti of Buddhist logic is the septabhangi8 of Jaina logic. The basic difference between the two is that in Buddhism "only one alternative could be true, but in Jainism each of the seven alternate forms of description (or any disjunction of them) could be true".9 It is true that the fourth member of the catuskoti (neither is nor is not) is not included in the Jaina seven-fold formula', but the former distinction that is the Buddhist case only one option can apply and in the Jain case all can apply is much more significant. Yet the fact remains that if Nagarjuna could say that none of the four statements apply in the case of Samsara and Nirvana, the Jains could argue that all of them apply - in the spirit of the Saptabhangi - to both Samsara and Nirvana and therefore they are the same ! After all if the Buddhists regard the nature of Reality as empty, the Jains regard it undetermined, 10 IV But Jainism never moved in that direction. Why? The reason appears to be that while logically this was possible, ontologically it was not because Buddhism does not concede a soul and in it Nirvana possesscs no definite location. But in Jainism not only is there the jiva, it possesses a spatial quality in that it is variable in size. Not only that the kaivalya is spatially located - at the siddha-sila on top of the lokakasa. How then could samsara and nirvana be identified when their spatial locations differ! V To conclude, although logically there was no obstacle to the identity of samsara = Nirvana arising in Jainism as in Buddhism, ontologically the spatial dimension associated with the fiva and kaivalya, notwithstanding the commonality of the association of the spatial dimension with the two, prevented this from happening. For Personal & Private Use Only

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Arvind Sharma 1 Edward Cunze, The Mahayana in R.C. Zachner, ed., The Concise Encyclopedia of Living Faiths (Boston: Beacon Press; 1959), p.317. 2 Frederick J. Sireng. Emptiness: A study in Religious Meaning (Nashville : Abing don Press, 1967). p.217. 3 A.K. Warder, Indian Buddhism (Delhi ; Motilal Banarsidass, 1970), p.381. 4 Ibid., p.382. 5 Ibid., p.384. 6 Frederick J. Streng, op. cit., p. 75. 7 Ibid. 8 M. Hiriyanna, Outlines of Indian Philosophy (London : George Allen & Unwin Ltd., 1932), p. 164. 9 K.N. Jayatilleke, Early Buddhist Theory of Knowledge (London: George Allen & Unwin Ltd., 1963). p.348. 10 M. Hiriyanna, op. cit., pp. 162-163. For Personal & Private Use Only

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GAHASATTASAI B. K. KHADABADI The Gahasattasai (Gathasaptasati) is one of the most valuable works of ancient Indian literature. It can also be said to have been the first to represent the ancient Indian folk-poetry. From an excessively large number of verses composed in the Maharastri Prakrit and in the gaha (arya) metre by different numerous poets, Hala (Satavahana), a king of the Andhrabhrtyas, selected only seven hundred, edited them and presented them in the form of an anthology under the title Sattasai or Gahasattasai. Of these several bear the name of Hala himself.1 Hala (Satavahana) was the 17th King (C. 1st century A.D.) in the line of the Andhrabhrtyas, who ruled in the Daksinapatha (Southern India). He was proud of, and partial to, the Prakrit language, Himself a poet, he had in his heart a soft corner for poets. Being of an amorous disposition, he led a life of pleasure and liberally extended petronage to literature and writers. Eminent poets like Palitta (Padalipta) flourished in his court. While collecting these gathas, he is said to have paid a large amount of money for some of them. At first this anthology of Prakrit verses was called Gahakoso (Gathakola). It contained about 400 gahas.2 By the 10th-12th centuries A.D., the number of gahas increased to 700,3 hence the anthology began to be called Sattasai or Gahasattasai. The boost in the number of gahas and the change in the title of the anthology gave rise, among some scholars, to a shortlived controversy about the Gahasattasai being quite different from the Gahakoso. The Gahasatrasat (Gathasaptasati) first appeared in print in India in 1911. But the great Indologist, A. Weber, had edited and presented its complete German Edition as early as 1881.6 The literary and cultural value of the Gahasattasal is unique. Each gaha in it is a muktaka, an independent lyrical verse complete in itself. Composed by folk-poets or after the pattern of folk-songs," these gahas evince a lovable style, precise and homely, easy and natural. Most of these gahas depict the joys and sorrows of the love-life of the village people. The scenes, situations and experiences reflected in these gahas could occur in anybody's life. Hence they invariably strike a sympathetic chord among listeners or readers of any clime and time. The natural grace and sweetness of the Prakrit language have imparted to these gahas a special charm. For Personal & Private Use Only

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54 B. K. Khadabadi The main sentiment of the gahas being love, we find throughout the anthology a lively vein of lyricism, charm and literary beauty. The suggested sense, which is harldly found anywhere in such a fine form and manner, has made these gahas immortal. Soft to the voice and pleasant to hear, these muktakas would scarcely spare the hearts of listeners or readers. For all these reasons, they won considerable popularity among scholars as well as laymen. In course of time, they had gained the status and fame of aphorisms (subhusitas). More than 18 commentaries have been written ona this anthology by different scholars at different times. Rhetoricians picked up from it a number of gahas for illustrating rasas and alankaras. It was seriously imitated in Sanskrit, Hindi, Gujarati etc., but with little success. It has been also translated into several Indian languages and some Western languages like German and English. Weber's German prose translation of the Gahasattasai is held to be as good as its critically reconstituted text. Then M. Winternitz, in his History of Indian Literature, Volume III, Fasciculus 1, translated a few of the gabas from it into German, the English translation of which was presented later by Miss H. Kohn in the Calcutta Edition of the volume. Similarly, a few other writers of the History of Sanskrit Literature gave an English translation of some of the gahas by way of specimens. A complete English translation, in prose, of the Gahasattasai was presented for the first time by Prof. Radhagovind Bhasak in his English edition of the work published recently in 1971.9 I have been an admirer of the Gahasattasai ever since I was acquainted with it. As I taught during the academic years 1961-62 and 1962-63, its first two centuries of the gabas, the text prescribed for the final year of the Degree Course of Karnatak University, I translated them into Eng. lish prose. 10 And it hardly needs to be reminded that the translation sounded prosaic and also often needed the help of a commentary for fully understanding the suggested sense and other nicities of the original text. Since then I have nourished an ardent desire in my mind to translate these gahas in such a way that they would require very little help from a commentary and would strike a balance between fidelity and creativity, between interpretation and objectivity. 11 Such translation, surely, could not be literal. And as I experimented in this direction, I found free verse, or rather free quatrain, 12 is the right medium. 13 The following is my translation of some of the gabas in the Gahasaitasai :14 (1) pasuvaino rosarunapadimasarkamtagorimuhaamdam / gabiagghapamkaa mia samjbasalilamjalim namaba 11 (I-1) For Personal & Private Use Only

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Gahasattasai Salutations to Pasupati's cupped palms Filled, at dawn, with the twilight-offer of water Wherein's reflected Gauri's jealous red moon-like face Resembling the red lotus held in worship ! amiam pauakavvam padhium soum ca je na anemti / kamassa tattatattim kunamti te kaha na lajjamti // (1-2) Prakrit poetry, verily, is like nectar; Those who know not how to recite or listen to it, Yet discuss aloud the philosophy of love; Are they not ashamed ? I do wonder ! satta saaim kaivacchalena kodia majjhaarammi / Halena viraiaim salamkarana gahanam II (1-3) From a huge heap of ten million gahas Selecting seven hundred only with a poetic core, King Hala Satavahana, the dearest to poets, Compiled this wondrous Gahasattasail * ua niccalanipphamda bhisinivattammi rehai valaa / nimmalamaragaabhaanaparitthia, samkhasutti vva // (I-4) Behold ! There sits alone a female crane : Silent and motionless on that green lotus-leaf, Looking a monster-conch milky as it were, Placed on an emerald plate glowing and rare ! kim ruasi onaamuhi dhavalaamtesu salichettesu / harialamamdiamuhi nadi va sanavadia jaa // (1-9) Looking at the paddy-fields turning white space, Why do you weep so, casting your face down ? There romains a hemp-field like an actress, lo ! Hor face besmeared with yellow orpiment ! For Personal & Private Use Only

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B. K. Khadabadi (6) kim kim de padibasai sahihi ia pucchiai muddhae / padhamuggaadobalinia navara daiam gaa dittbi // (1-15) "What are the objects of thy longing now?" Friends asked the young woman in her first pregnancy. The blushing innocent one did'nt open her lips or ponder; But just cast a loving look at her husband there! aliapa suttaa vinimiliaccha de suhaa majjha oasam / gamdaparicumvanapula iamga na puno ciraissam // (I-20) By feigning asleep tire not thy eyes in vain; Make me room a little to be by thy side ! Ah ! Here are prickles on thy cheek so lightly kissed ! By my heart, darling, I will not tarry again. (8) kallam kira kharabiao pavasibai pio tti suvvai janammi / taha vaddha bhaavai nise jaha se kallam cia na hoi // (1-46) 'My husband is to travel away tomorrow Is the news outside afloat ! Ah ! He's stone-bearted ! O revered Night, I pray, lengthen thyself To the extent that morrow does't turn up for him. (9) vajjavadanairikkam paino souna simjinighosam / pusiai karimarle sarivamdinam pi acchiim // (1-54) Hearing the bow-string twang excelling the thunderbolt, The captive woman marked it as her husband's own ! Puffed up with joy at the close of calamity, She wiped away tears of her co-captives too ! (10) dakthinnena vi erto suhaa suhavesi amba hiaxim / nikkaiavena janam gao si ka nivvui tanam ll (I-85) For Personal & Private Use Only

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Gahdsatta sal :57 Out of courtesy, O favoured one, you came to me today; And yet it gives me so much pleasure ! What vast bliss must they15 be enjoying, they Whom you approach without any deceit ? (11) jo ta 80 ccia abararao rattimuvvasio piaamena / disaigose savattinaanesu samkamto // (II-6) The red colour she had put to her lovely lips Was wiped off the previous night by her spouse; But the next morn she, the buoyant, did find it In the co-wives' eyes as fully reflected ! (12) kamalaara na malia hamsa uddavia na a piuccha / kena vi gamatadae abbham uttaniam chudham // (II-10) of the lotus-beds none is crushed nor faded; Amongst the numerous swans not one is fled ! In our village lake, O my paternal aunt, The sky is thrown supine by some gallant ! (13) ajja vi valo Damoaro tti ia jampie Jasole / Kanhamuhapesiaccham nihuam hasiam vaavahuhim 1/ (II-12) Fondling her son warmly mother Yasoda said : "My Damodara is a child even to this day." The gopis hidden aside cast mutual looks And wondering smiles as they looked askanco ! (14) naccanasalahananihena pasaparisamthia nivunagovi / sarigoviana cumvai kavolapadimagaam Kanharh 11 (11-14 Feigoing to appreciate the dancing gopis, there Gently advances another gopi artful and clever, And while whispering praises, she also kisses Krsna's image mirrored on their glossy cheeks ! Sambodhi Vol. X (8). For Personal & Private Use Only

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158 B. Kadabadi ahaam lajjaluini tassa a ummaccharai pemmdim / sahiaano vinivano alahi kim paraena 11 (11-27) I am so very bashful, you know it well : And my spouse's love vebe krenit by far ! Friends are all quite clever and quick; Hence dye pot my feet, away with the red lac ! (16) saloa ccia sure sharini gharamiassa ghettona / necchamtassa vijpae, dhugi basamui hasaratassa // (11-20) The clever house-wife, as the sun's yet to set Holds her husband's feet against his will And washes16 them well with a light smile; He too knowing her will, smiles as well! aims uddhaccho piai jala m jana-jahd vitalamguli ciram pahio / pavalia vi taha-taha dharam tunuam pi tanuei // XIT-61) The traveller drinks from the cup of his palms With eyes uplifted and chinks of fingers laxed; . And the maiden at the water-stall responds at will By making the thin pitcher-stream thirner still ! (18) jhamjavaultinagharavivarapalottamtasaliladharahim / kuddalibiohidiabam Takkhai ajja "karaalehim 11 (11-70) Deranged by gale is the cottage-tbatch; Torrential rains soon rush in streams ! With hasty palms does the house-wife protect Counts of husband's journey marked on the wall ! (19) (dubhaina Whermia visaddho 'so sunaho ajja mario tena / Golaadaviadakudamgavasina dariasibena II (U-75) Move about with free mind, o pious man, The fear of that dog is no more tow; The baughty lion in the horrid thicket On the Godavari bank finished it off todya! For Personal & Private Use Only

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Gehasestasar (20): vahuso vi kahijjamtam tuha vaanamh majjha hatthasamdittham / na suam ti jampamana punarofthsaam kunai ajja // (II 98) I told thy wife four or five times indeed Thy message sent with me the other day; "It is'nt clear, I could'nt hear !" Saying.so. She made me repeat it a hundred times! (21) pasasamk kao necchi dinnam pi pahiagharinle / onattakaraaloaliavalaamajjhatthiam pimdam // M The face of my beloved looks like the full moon atop And the juice of her mouth is like nectar-drop! But what would the kiss, speedily wrought By grasping her curly, locks, be like, h know not !. (23) The traveller's wife for husband's early return. Offers bending adown the ball of oblation; Around it drops a bracelet from the wasted wrist. But the crow taking it. for a snare, touches. it not!! (22) camdasarisam muham se sariso amaassa muharaso tissa / sakaaggaharahasujjalacumvanaam kassa sarisam se // (III-13) T ekkekkamavaivedhanavivaramtaradinnataralananae / tai volante valaa pamjarasaiah te As you went away that day; O simpleton, She moved to each chink on the fence around And stared afar with eyes so tremulous In the manner of a bird that is kept in a cage ! (24) 15 paisambharanapalottamtevahadharanivaabhiae / dijjai vamkaggivai divo pahiajaae // With fear that the lamp would be put off For Personal & Private Use Only 0634 (III-5) tears streaming with the thought of her spouse, (III-20) (III-22)

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B. K. Khadabadi The traveller's wife with all precaution Hands it over with her face turned away ! (25) ta majjhimo ccia varam dujjanasuanehi dohi vi na kajjam / jaha ditpho tavai kbalo tahca suano aisanto // (III-24) It's better, friend, to get a common spouse ! A good or a bad one is of no use, be sure : The bad one's company is too troublesome And the good one's, you know, is hardly found ! (26) savvassammi vi daddhe taha vi hu hiaassa nivvui ccea / jam tena samadabe hatthabatthim kudo gabio || (III-29) Almost the whole village was suddenly on fire; All that belonged to me was burning around; But what immense pleasure rushed to my mind, As well both took the pitcher of water from hand to hand ! (27) vevirasingakuramgulipariggahakkhalialehanimagge sotthi ocia na samappai piasahi lehammi kim lihimo // (III-44) From the pen that oft slips through the fingers Trembling and sweating for reasons scrupulous, Not oven the first two letters come down in order What more, friend, can I write in this letter ? (28) . - Ber8 manosabar va pijjai piai manamsinia daiassa / karasampudavaliuddhananai mairai gamd uso || (IJI-70) Raising up, with support of both the palms, The beloved's face cast down in sulky hush, He puts a mouthful of wine between her lips Which she takes for a cure for sulking and gulps anon ! (29) dadham Olavaddhagamthi vva moia kahu vi tena me vabo amhcbi vi tassa ure khutta vya samukkhaa thanaa // (III-76) For Personal & Private Use Only

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Gahasaitasai In manner of undoing the hardest known knot, Did my lover free my arms in aident embrace! Then I too in willing feat pulled out my breasts So very deeply dug in his wide warm chest! (30) Asei parianam parivattamtta pahiajaao / nitthamuvvattanavaliahatthamuhalo valaasaddo // (III-83) The traveller's wife, quite pale and ematiated Lies on the bed as does a hopeless patient; But the sound of bracelets from a casual side-turn Brings a beam of hope on the attendants' faces ! Notes and References This paper is presented here in memory of A. Webers' Das Saptasatakam des Hala (Leipzig, 1881) marking its centenary year of publication. 6i The names of all the authors of these verses are not known. The later commentaries on this anthology, however, mention their names for each separate couplet. But these commentaries differ considerably about these names and, hence, are not reliable. A.Weber finds that only 430 gahas occur in all the six recensions of the Gahasattasat. Hence these gahas may have been the contents of the Gahakoso. 3 Each gaha being independent and a complete whole, there was ample scope for interpolations. And when the number of the gahas rose to 700, the anthology was called Sattasai. Later, this number rose to nearly 1,000. Yet the anthology is popularly known as Gahasattasa; (Gathasaptasati). 4 Vide Introduction to the Hindi Gathasaptasati by Narmadeshwar Chaturvedi, Chowkhamba Vidyabhavan Sanskrit Series. No. 55, pp.13-16. 5 Edited by Pandit Kedarnath and Vasudev, Bombay, 1911. 6 Das Saptasatakam des Hala, Leipzig, 1881. 7 The gahas of the Gahakoso, which claim great antiquity, can be said to have been composed by folk-poets, and the later ones by the classical poets after the folk pattern. 8 (i) The only authorised translation into English, published by the University of Calcutta, 1959, (ii) After this paper was completed, I learnt that two more editions. the Gahasattasal have just come out one from Ahmedabad (Prakrit Text Society) and another from Udaipur. 9 Bibliotheca Indica, No.295, The Asiatic Society, Calcutta, 1971. 10 Then I also translated them into Kannada prose. 11 The Poet-translators' Workshop at Bhopal, organized by the National Sahitya Academy, declared that such translation is really effective: News item, The Times of India, 13-9-1976, For Personal & Private Use Only

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B. KKhadobbedi 12 As I would call it so 13 I also carried on such experiments in Kannada (my mother tongue)'and trans lated a pretty good, number of gakas after this ideal, 14 I have followed here in the transcript the text of the gabas as found in Weber's Leipzig edition of 1881. 15 They - Other wives. 16 In those days there was a custom that, after washing one's, feet in the evening, one should not go out. The shrewd house-wife. thus prevented her husband from going to another woman, possibly another wife, then staying at her parents' in the same village. 17 We- my lover and I, endeavouring to quenche the fire. $ I am grateful to Prof. A. Menezes (Karnatak University) who read the transla tion of these gahas and gave me some suggestions. For Personal & Private Use Only

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NUMBER OF PRAMANAS *R. D. Hefde The purpose of this monograph is to study the views of the Carvaka thinkers on the number of pramanas, and their refutation by Bharta Jayanta, the author of Nyayaman jari. In India, at the time of Dbatta Jayanta, the Canvakas and the Bauddha thinkers were the prominent rivals of the Nyaya System of Indian Philosgphy. Each of them had held its own philosophical views and developed its own epistemology widely-differing from one another. Bojh the Bauddhas and the Carvakas had been vetemently attacking the Nyaya polemics and had kept the Naiyayikas in the place of constant confrontation. Plenty of evidences may be found in the works of Vatsyayana, Uddyotakara and Vacaspati Misra, as to how they had to use their sole. force to resist the onrush of the Bauddhas and the Carvakas. The task was, continued even by Bhaata Jayanta through his Nyayaman jari. Jayanta belongs to the camp of the ancient Naiyayikas. He flourished a little earlier than the time of Nyaya-Vaise sika amalgamation. Therefore, he is, taken as, a spokesman of the ancient Naiyayikas, and his views as representing the early Nyaya-polemics. In Jayanta's Nyayamanjari, wide references may be found to the different philosophical points discussed by the Carvakas, which were, in a way, being discussed as an unavoidable matter, by all the contemporary philosophical systems. But the present essay is limited only to the Carvaka view on the number of promanas and their refutation by Jayanta. The main argument of the Caryakas is that the pramanas are innumerable and they are as many as the prameyas or the objects of valid knowledge. They also criticise that any effort to define pramanas becomes fruitless as the pramanas function differently on different occasions. The Carvakas argue by Hlustrations that one can easily Bnow in the dark room that one's fingers are not straight and that they are distant. Such a knowledge is possible even to 'a person who closed his eyes. This cognition is not percoptual, for the visual sense cappot apprehend the objects in the absence of light. Nor does this cognition emerge by the tactual sense, because the skin which is the orgnn of touch, capnot touch itself.1 The sense of touch can know whether a stick is 'straight or otherwise, but not itself. The senses cannot get the cognition of their own, e.g., the visual sense cannot produce the cognition of its own pupils. Thus, the Knowledge either of the distance between any two fingers, or that the For Personal & Private Use Only

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R. D. Hegde fingers are distant, or of their contraction, is not perceptual. Nor is it inferential as there is no knowledge of Vyapti, the invariable relation, associated with it. Therefore, the cases as such do not come under the cognition produced either through perception or through inference. Even analogy and verbal testimony cannot produce such cognitions; their objects of knowledge are different even according to the Naiyaikas. Hence, the cognition illustrated is entirely different and independent.2 64 Another example that the Carvakas take to illustrate, is of the cognition of spreading around of a lamp-light in the night.3 In this particular cognition, a lamp-light spreading around would be perceived. What exactly one perceives here is the 'spreading around in space,' of the lamp-light. The cognition takes place in a person who notices the lamp 'from a distance', and, the time is 'night'; cognition of the person is valid. The cognition is not perceptual, because, to perceive the spreading of the lamp-light, the space should be perceived first. But space is not perceptible. Secondly, the cognition of pervasion here is not inferential either; because inference does not function in the absence of the cognition of invariable relation i.e. Vyapti. The cognition of pervasion here has no precedents for establishment of invariable relation. Therefore, the cognition of the spreading of the lamp-light is quite peculiar to other types of cognitions and obviously. it is different. It may be proved, however, that in such cases, perception and the other recognised means of valid knowledge are not competent to produce cognition. It is further argued that the cognitions of this kind are not rare phenomena. Carvakas analyse one more cognition of a lotus-lake sufficiently distant, which is produced by the fragrance sensed in the moving wind. The olfactory sense perceives the fragance first and then the existence of the distant lotus-lake is cognised. Here the knowledge is valid or yathartha. But, this knowledge, as a rule, cannot be produced by the olfactory sense, as the olfactory sense has the capacity to produce the knowledge of fragrance only, not of the existence of a distant lotus-lake. Moreover, as the lotus-lake is very distant, the knowledge cannot be produced by the visual sense, knowledge of the existence of a distant lotus-lake is not even inferential, because inference presupposes syllogism, knowledge of the invariable relation and the like. It is not even known by analogy or by the words of a reliable person. Therefore, the knowledge of the existence of a distant lotus-lake is entirely a different kind of knowledge produced by an independent means of valid knowledge. Thus, having examined the different illustrations of knowledge, the Caarvakas declare that the ascertainment of the exact nature and number For Personal & Private Use Only

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Number of Pramanas its fragrance by the olfactory sease, also is inferential; inferential because the cognition of invariable relation causes the cognition of the distant lotus-lake on sensing the fragrance from a distance, brought by the wind. The form of invariable relation is like this: a person smells for many times the fragrance of lotus and also notices tbe lotus in the lake. By his repeated oxporience of the same kind, he gathers the invariable relation between fragrance of that sort and the lotus-lake. Having sensed the fragrance brought through the wind, he remembers the invariable relation obtained in the carlier experiences. Here fragrance is the middle-term (linga). Thus, his knowledge of the invariable relation between the middle-term and the major term, produces in him the knowledge of the existence of a distant lotuslako, in the form of 'far away, thare is a lotus-lake'.? Existance of a distant sandal tree also would be inferred in the same manner by smelling its fragrance, 18 This is tho account of how Jayanta refutes the Carvakas' theory of infinite pramanas. Study of the above discussion proves that the amlygis of the illustrations is not merely mechanical, but it requires some weal intelligence. It may also be noticed that the Naiyayikas first classify the means of valid. knowledge, and then, test them practically. Thus, quite contrary to the Bauddha and the Carvaka view, it is proved that the prameyas caanot ascertain the number of pramanas. References m 1 CP. 'The papers of Th. Stcherbatsky'. P.22. 2 "Vakrangulih praviralanguliresapanih Ityasti dhih tamasi militacakpuso va Neya tvagindriyakrta na hi tatkarastham Tatraiva hi pramitimindriyam dadbati." 3. Vide NM.P.60. "Darkkaroti nit dipaikha ca data Pratyantadelavisstasu matim prabhasu" alo see 'Nyayasaurabha' on NM.,P.169 : 'Ahoparyantaprassmaraprabhabhtsure yam dipafikheti'. 24. Sce NM : P.60 : 'Dhatte dhiyam pavanakampitapundarikapando' nav tabhuvi daragate' pi gandhe'. Vide Granthibhanga on it, P.43; alsd Nykyasaurabha on NM., P.169. ? 3 Soe NM. P.59 : 'Pramapasankhyaniyamabakyakaraniyatvasiddhaye ca potemiti2 bhedin ... Idrianupadarsayat'., also see P.33; 'asakya ova pramidasarkhyani yamah Iti subiktita tarvakan'. Cf. Nykya Philosophy of Gautama, 106-107; Sto see litory of Indian Philosophy, III, P.539, Sombodhi VI 9 For Personal & Private Use Only

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R. D. Hegde' 6 Vide, P.22. 'Papers of Tb.Stcherbatsky', also Cp. 'History of Indian Philosophy, 1. MI, P.599. 57 Granthibhanga'identifies the Carvakadhartas with 'Udbhata and his followers'.. Soe Grantibhanga P.43; also Se. NM.P.59. 8 'Athuto tattvam vyakhyasyamah' and prchivyapastejovayuriti tattvani' .. Sco * NM. P.59, Granthibhanga P.43; Tattvopaplavasimha P.xli. Yatb korutarthaty Agen Inyatha varpayam asa' - Granthibhanga, P.4, introduction P.S., also Cp. 'The Papers of Th. Stcherbatsky', P.22. 19 See NM. P.27 : Te hi prameyadvaividhyat pramknam dvividham jaguh, nig: yah praminabh-dasya heturvinayabhedatab". 11 See NM P.30; "Anye eva hi samagripbale pratyakna-lingayoh, anya eva ca s&ma. griphale dabdopamanayoh". 12 See NM. P.60 'Vyaptitvat indriyamakusalam na'; also see Grapthibhanga. P.43. 13 See Granthibhanga; P.43. 'Nanvantargatasya tvagindriyasya grabakatvam kva drogamityba anabheh tuhinajalamiti'. 1 See NM P.60, Samyogabuddhikca yatha,taduttha, tathaiva tajja tadabhavabuddbih'; noi Cp. Granthibhanga P.43; also Cp a Nyaya maxim "yenendriyena ya vyaktih or srbyato tenaivendriyena tadgunah tadabhavasca grbyante". 15 See Granthibhanga P.43 "Akuficitangulya iti visegyajtanam yat tat tajjameva yathk cakpus& Caitragatam calanamupalabhya calatyayam Caitra Iti viheyyajnanam cakuram evam idamiti siddham". 16 Soe Nyayasaurabha on NM : P.169. Pratyantaprassmarabhasureyam dipaki kha iti'. 17. See NM, P.60. 18 Cr. Nyayasaurabha on NM., PP.169-70. CAR BIBLIOGRAPHY : 1 Granthibhanga of Cakradhaa on Nyayamanjari (M.); editor Dr. N. J. Shah, L.D. Institute of Indology. Ahmedabad (1972). 2 History of Indian Philosophy, III Volume, by S.n. Dasgupta, Cambridge Uni versity Press, (1951-2). 3 Nyaya Pbilosophy of Gautama; Sadholal Lecturers 106-107. by Ganganatha i Jha, Published from Indian Thought. 4 Nylyasaurabha on NM; editor K.S. Varadacharya, Oriental Research Institute, Mysore, (1969). -3 Nykyamanjari (abri Iged as NM.) of Bhafta Jayanta, Chowk hamba sapskrit - series, (1971). 6 Tattvopaplavasimba of Bhatta Jayarali; editors : Pandit Sukhalalji Sangbvi and Prof. Rasiklal C. Parikh; Baroda Oriental Research Institute (1940). 7 The papers of Th Stcherbatsky; Trans). by H.C.Gupta, Indian Studies Past and Present (1969) For Personal & Private Use Only

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PL. 1 Manastambha in front of Jina temple 2, c. 11th cent. A.D. PL. 2 Manastambha in front of Jina temple 12, c. 11th cent. Jain Education internacional For Personal & Prwale Use Only

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PL. 3 Manastambha to the S-W of Jina temple 1, c. 11th cent. A.D. PL, 4 Manastambha to the S-E of Jina temple 1, c. 11th cent. A.D. For Personal & Private Use Only

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. a PL. 10 Manastambha in front of Jina temple 14, c. 12th cent. PL. 5 Manastambha in front of Jina temple 11, dated V.S. 1116/1059 A.D. Jain calon Interational For Personal & Prvale Use Only

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PL, 6 Manastambha in front of Jina temple 11, dated Vs. 1116/1059 A.D Detail showing Cakresvari seated. PL. 7 Manastambha in front of Jina temple 11, dated V.S. 1116/1059 A.D. Detail showing Padmavati seated. www.jamelibrary.org

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PL. 8 Manastambha in front of Jina temple 11, dated V.S. 1116/1059 A.D. Detail showing Ajitabala seated. N 18 A PL. 9 Manastambha in front of Jina temple 18, dated V.S. 1121/1064 A.D.

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Crowned Buddha, See p. 76 For Personal & Private Use Only

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citra 1 khajurAho, pArzvanAthamaMdira, dakSiNa jaghA aura zikhara SA citra 2 khajurAho; pArzvanAthamaMdira; dakSiNa jaMghA Jair Educa For Personal & Private Use Only www.ainelibrary.org

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citra 3 zAntinAtha saMgrahAlaya, khajurAho kI jina eva aMbikA mUrtiyA~ citra 4 RSabhanAtha kI dhyAnastha mUrti purAtAtvika saMgrahAlaya, khajurAho la. 11 vIM zatI I. For Personal & Private Use Only

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JAINA MANASTAMBHAS AT DEOGARH Tahsildar Singh The custom of erecting pillars or votive columns in honour of the gods, cither. in front of their sbrines or elsewhere, was a fairly popular practice in ancient India. Among Hindus it was closely connected with the worship and installation of an image and consecration of a shrine to some god which, in course of time, was adopted by Jainas, particularly Digambaras, in form of manastambhas. The prototypes of these manastambhas are easily discernible in the wooden sthunal of the Vedic burial mounds and YupaStambhas? of the vedic sacrifices. Besides, these remind us the memorial columns.3 As there are no remains dating from Vedic period it seems probable that in those days they were made of wood and timber. As for their Jithic specimans are concerned the columns erected by Asoka, the gros: test Maurya emperor, appear to be the carliest ones which are still extent. the tradition sems to have been continued by Kusana and Gupta Abonarchs, This same practice was adopted by Jainas, at least in another way." - Their reliefs in sculpture are traced on the Ayagapata dedicated by Siha Vanika. (with a pillar surmounted by a dharmacakra and another superimposed by an elephant) and on the pedestals of the images discovered from KankaliTila, Mathura (with pillars superimposed by dharma-cakra being worshipped). The pillar in Kabaun, 10 Distt. Deoria, shows five Jinas-one (Parivanatha) a base and four at top, one on each side.11 This pillar bears.an inscription of Skandagupta dated Gupta Era 141=460-61 A.D. and records the erection of a sailastambha, resembling the peak of the best of mountains with the images of five Adikartin Arhats.12 Perhaps, this is the earliest pillar treated as a Jaina manastambha 13 Known by different names like Indradhvajas, manastambhas, manavakastambhas and even Kiritistambhas they are also mentioned in some impor, tant Jaioa literary compositions. Tiloyapanpatti (c. 45.-816 A.D.) tells that the manastambhas were twelve times bigger than the image of the Tirthamp kara. They were ornated with camara, ghanta, kinkini, ratnahara and dhva ja and one image of Jinendra in each direction. There were four ponds one in each direction. 14 Adipurana of Jainasena (c. 753-843 A.D.) gives in elaborate description of mariustambhas erected in the first rampart, the Whilisala, of the samavasarana of Vrsabhadeva.15 According to it the tall Taldea mdnastambhas were erected, one in each direction inside the dhulidla, in the midst of the vithis (streets or passages for walking). They For Personal & Private Use Only

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Tahsildar Singh ware raised in the centre of the jagari (platform) on a pithika (basegment) approached by a flight of 16 golden stsps, purified by the waters of Jina's ablution, had four gopuras (gateways) and surrounded by three salas (walls). The sky-high manastambhas were so called because they curb (stambha) the pride (mana) of the infatuated. They looked like diggajas bedecked by dhvaja (flag), ghanta (bell) and camara (fly-whisk). The golden images of Jinendras worshipped by Indras with the waters of Kairasagara, were enshrined at the bases of the manastambhas. The pithika in the middle of jagat was studded by the articles of worship like flowers etc. Dance and music were performed continuously before the images of the Jinas. The pithika was trimekhala (three-tiered). On these stood the manastambhas, adorned with three chattras (umbrellas) on their top. Being erected by Indras they are also known as Indradhvajas. Their height measuring the three, worlds give them the name manastambha.16 An elaboration of this concept of manasiambha, the pillar of honour, became the kirttistambha, the pillar of glory, in the later times. 68 In the Vastuvidya of Visvakarma (late 11th-early 12th cent.) too, the kirtsistambhas are mentioned but unfortunately the text is still unpublished because it has so far been lost though now retrieved by P.O. Somapura.17 The continuation of the tradition, initiated at Kahaun in Gupta period, ia perceived at Deogarh with satisfactorily faithful implementation of the details established in the contemporary literary accounts. I will endeavour to illustrate this viewpoint in following lines. Actually, manastambha is treated as an significant part of a sarana in the Digambara tradition. Therefore it has been very popular amongst the followers of Digambara sect and such free-standing stambhas are commonly found erected near a Digambara Jaina temple either in front of it or in its courtyard. At Deogarh there is a sizable number of such manastambhas erected near and in front of a number of shrines in the Jaina group of temples. As their large number and numerous varieties suggest, manastambhas seem to have been votive pillars at Deogarh, This fact is also vouched by the language of the inscriptions engraved on the manastambhas standing in front of Temple 18. The left-hand pillar reads: Mula-samghe Yasahkirtty-acaryena-gau[ravanvi ?] tau Rajyapala-mathasyagre manastambhau prakalpitau samvat 1121 The right-hand pillar reads :18 Srimad-Vimalakirttyakhya-guror bhakty ayam sr Viracandra muning dastambhah prakalpitah samvat 1121 For Personal & Private Use Only

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taina Marastamdhas At Deogarh Both of these flokas record the consecration of manastambhas in VS 1121/1064 A. D. It seems that upto this day Jainas use the word 'manasi. ambha' for their numerous votive pillars. However, stylistically they represent a vast range of varieties though their purpose of erection being, perhaps, almost the same. The simplest form of the manastambhas is merely a free-standing pillar. It has four Jaina images, on the top, one on each face, a ghatapallava motif at base and kink isika with ghanta on each facet. (Pl. 1.) This specimen is found in front of Temple 2. The second type has more elaborate niches, decorated with foliage, on top, harbouring Jigas, standing in kayotsargamudra. The ghantas emanate from kirtimukhas on the middle portion of the stambha, the yasti. These were surmounted by an amalaka and a bijapuraka (Pl. 2). Generally the cronwing members are lost. Near Temple 1 there are two manastambhas of the same category. They are one step ahead to the previous variety. There are yaksis seated at the base below there corresponding Jinas. Though the images of Jinas show no difference the lanchanas of Yaksis prove that the Jinas above, were supposed to be their respective Lords. (Pl. 3) Sometimes yaksas too, were sculpted at the base with the yaksts. (Pl. 4). The yaksas replade their yaksis but generally three yuksis and one yaksa are carved on a pillar. The fully evolved mana stumbha is standing in front of Temple 11. (PI, 5) It exhibits four yaksis at base and four Jinas on the top. The Jinas are standing in kayotsargamudra while the yaksis are seated in ardhaparyankasana on their respective mounts. There are Ambika, Cakre svart, Padmavati and Ajitabala. Four armed Ambika accompanied by Bhairava with his dog, weilds ankusa, pasa, amralumbi and a child in her lap. She mounts a lion. (Pl. 5). Cakresvari is ten-armed. Mounted on Garuda she holds varada, ankusa, gada, khadga and cakra in right hands and sankha, dhanusa, musala and cakra, again in left hands. (Pl. 6). Twelve-armed Padmavati riding her vahana kukkuta bears varada, vana, ankusa, sanalapadma, Srikhala, danda, in right hands and matulinga, dhanusa, pasa, sarpa, rajra and chatra in her left hands. (Pl. 7). She is covered by five-hooded snake. Ajitabala (?) is shown. eight-armed riding her vahana bpl.19 She carries varada, donda, vana and cakra in right hands and matylinga, ankusa, dhanusa and pasa ia left hands. (P1, 8)., The depiction of Parsvadatna above Padmavati is clearly noticeable due to the hooded snake. Thus there seems a inter-relation between these Jinas' and yaksis' images. We can say that the Jinas carved above are For Personal & Private Use Only

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Tahsildar Singh Neminatha, ksabhanatha, Parsvanatha and Ajitanatha standing in kayotsargamudra, does'nt matter they are with or without their respective lanchanas. The yapti of this manastambha is also profusely embellished with scrolls, rarnahara, ghanga and kinkini etc. (Pl. 5). It is superimposed by an amalaka and kalasa. Being dated in VS 1116/1059 A. D. it is as important specimen amongst the manastambhas discovered at Deogarh. Another dated specimen is a pair of monastambhas. They look like two free-standing pillars sometime suporting a torana but the inscription on them explicitly states that they are manastambhas, as mentioned above, erected (prakalpita) in VS 1121/1064 A. D. in front of Temple 18. They are well orbated by four images of Jinas on top and ghatapallavas at the base. Both of them are quite similar (Pl. 9). The decoration of their yasti portion is on same pattern of that which is standing in front of Temple 11 (pl. 5). The most interesting example is erected in front of the Temple 14. It shows four yaksis standing at the base, one on each face. The yasti portion, is studded with miniature images of seated Jinas on its four sides. It reprosents, perhaps, an idea of sahasrabimba-pillar.20 It is surmounted by doublo ribbed discs, which seem to be a converted form of amalaka or amalasaraka and a kalasa (pl 10). Ambika standing on one of its face is clearly identifiable. 11 Thus it may be surmised that at Deogarh there was an incessant tradition of erecting votive pillars near or in front of a temple in the name of manastambhas which were well adorned with Jaina images having full consonanco, in iconographical and ornamental details, with the contemporary scripture. As for the evolution is concerned there seem to have been three stages; the first-when only four images of Jinas standing or seated were relieved on a plain pillar like a sarvatobhadrika-pratima; the second-wben minor and semi-divine figures like that of yaksas or yaksis also took their places at base and finally, the third-when the simple sarvatobhadra became an elaborately embellished manastambha with ghanta, kinkini, ratnahara etc. along with the images on the four faces at the base and on the top. FOOT NOTES 1. See Rgveda. 18, 13. 2. See Mahabharata, III, 198, v. 13, v. 28-29 and Raghuvamia VI, 38. 3. Banerjea, J. N.. The Development of Hindu Iconography, p. 103, Calcutta, 1956, And, The Besnagar Garudadhvaja is a famaus example of a pillar in front of a shrine of Vasudeva, 4. Though the Abokan columns are actually sasanastambhas (see Epigraphia Indica, XII. pp. 195 ff. they are described as silastambhas in his own edicts, he himself alludes in his Rupanath Rock Edict, lines 4-5, For Personal & Private Use Only

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- - Jaina Manastambhas At Deogarh 71 5. Vogel, J. Ph., Mathura Museum Catalogue, P. 189. refers to Ihapur stone yupa with a Brahmi inscription of the time of Vasiska, the successor of Kaniska cated - in the 24th year of Kugana era. 6. See Fleet, J. F., Corpus Inscriptionum Indicorum, III, p. 253 referring to Bijay. agadh sacrificial post with an inscription of the Krta year 428. Bilsad stone pillar inscription of Kumaragupta also records the tradition of erecting pillar, see CII, III pp. 44. See also Bhitari stone pillar inscription of Skandagupta, C11, III, P. 54. 7. Shab. U. P., Studies in Jain Art. p. 61, Benaras, 1955. 8. Now housed in State Museum, Lucknow, See also, Coomarswamy, A. K History .. of Indian and Indoncaean Art, fig. 71. 9. Shah, U. P. op. cit. p. 61. 10. For full description see Cunningham's Archaeological Survey of India Report, I pp. 91-95, plate 29. XVI pp. 199 ff, Plate 29. 11. See Fleet, J. F., (CII, III p. 66) Bhagwanlal Indraji indetified the five Arhats as Adipasha, Santinatha, Neminatha, Paravanath & Mahavira. 12. For the inscription soe Fleet, J. F., CII, III p. 66 ff. And, for photographs of the pillar and the Jinas refer to P. K. Agrawala. Negatives also preserved in the photoarchives of American Institute of Indian Studies. Ramnagar. Varanasi. 13. No pillars dating from pre-Gupta period are discovered as yet, So this seems to be the earliest extant speciman, See, Shah, U. P., op. cit., p. 61. 14. Tiloya apnati of Yativrsabha, pt, I. 4th Mahadbikara, 761-791, pp. 240 ff, edited by A.N. Upadhya and Hiralal Jain, Sholopur, 1956. 15. Adipurapa, 22. 77-83., Bhartiya Jhanapitha, Kasbi, 1963. 16. Ibid., 22, 92-103; pp. 515 ff. 17. For a passing reference see Somapura P. O., The Vastuvidya of Visvakarma", Studies in Indian Temple Architecture, p. 56, edited by Promod Chandra, Vara... nasi. 1975, 18. See Bruhn, Klaus, "The Jain Images of Deogarh". p. 209, Leiden, 1969. edited J. E. Van Lohuizen-De Leeuw, being vol. 1 of the Studies in South Asian Cul ture. 19. See Shukla, D.N., Bhartiya Vastusastra, Pratima Vijfkina, Book 4, p. 317 (in Hindi), Lucknow 1956. Here he describes Ajitabala, the yaksi of Ajitanktha, mounting on bull, go-vahana. 20. See Bruhn, Klaus, op. cit p. 198. 21. Ibid, see Plate 3. Acknowledgement The photographs are published by the courtesy of American Institute of ladian Studies, Centre for Arts & Archaeology, Ramnagar, Varanasi, For Personal & Private Use Only

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A Fresh Reference to Bhartrmitra's View on Laksana Biswanth Bhattacharya Bhartsmitra's well-known view on the fivefold relationship that laksana bears to the vaoyartha has been upheld as authoritative by many early and mediaeval alankarikas. He has been cited by name only in a few cases while in other his verse has been quoted anonymously. Thus he has been cited by name by Mukula-Bhatta in the Abhidha-vrtti-matrka, and somesvara and Manikyacandra in their senketas (commentaries) on ManmataBhatta's Kavya-prakasa But the selfsame verse has been quoted anonymously by Abhinavagupta in the Locana on Anandavardhana's Dhvanyaloka, Mammata-Bhatta in the Sabda-vyapara-vicara, sridhara, Gunaratna-ganin and Kamalakara-Bhatta in their commentaries on the Kavya-prakasa, King Gopendra-Tripurabara in the Kavyalankara kamadhenu on Vamana's Kavyalankara-sutra-vytti and Mallavadi Laksmana-sari in the Mandara on Dharma-sOri's Sabitya-ratnakara. The rel:vant verse occurs also in the Agni-Parana. Toe variants are minor. Narendraprabha-sori also seems to have envisaged the same verse in his Alankara-mahodachit), Now, the purport of the present research paper is to place on record a fresh finding of an anonymous quotation of the verse in question by Narahari Sarasvati tirtha in his Bala-cittanuranjari on the Kavya-prakasa as follows : vaiparityad api laksana pravartate/ tatho(tha) coktam (coktam......sic.) abhidheyena samyogat samtpyat samavayatah/ ya iparstyat kriya-yogal laksana pancadba mata/l (iti/] 2 SrI-Guru-carana-samarpanam astu 11. 1) Cf. the present writer's research papers entitled 'A Note on Bhartsmitra the Mimamsaka' in the Sri Venkateswara University Oricotal Journal, Tirupati, Vol. XVII, Parts 1 & 2, January. December, 1974 pp. 131-132; 'A Further Note on Bhartsmitra the Mimaraisaka' in the same Journal, Vol. XIX. Parts 1 & 2, January-December, 1976, pp. 11-13; and 'Fresh Data on Bhartsmitra's View on Laksana (accepted for publication in the Visvesvarananda Indological Journal, Vol. XVIII (=Dr. K. V. Sarma Felicitation Volume), Hoshiarpur, Panjab). 2) Mammata's Kavya[ - ]prakasa (I-VI) with the Sara[ - ]dipika of Gunaratna gani[n]ed. Dr. Tapasvi s Nandi, Gujarat University, Ahmedabad-380009, First Edition, 1976, Appendix I, p.325 Bala-citta nuranjadi on Ullasa IV]. . This verse cannot be found in the corresponding text of the Balacittanuranjant edited by Dr. Goparaju Ram ard Dr. Jagannatha Pathak, Allahabad. 1976, p. 61 which has a big lacuna in this case. For Personal & Private Use Only

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RANASIMHA PABAMARA Ram Vallabh Semani Soon after his accession, Chalukya Kumarapala had to face a violant attack of Chauban Arnoraja of Ajmer. Several disgruntled Chiefs of Gujarat including Vikrama-Simba of Abu also slanted in favour of Arnoraja considering Kumarapala, as an usurper. After successful move against the invading forces, Kumarapala removed Vikrama Simha from Chandravatt and appointed Paramara Yasodbavala in his place. This event seems to have taken place before V. B. 1202 (1145 A. D.) az two inscriptions from Ajaria and Devkpetra of Yasodhavala of above date have been noticed. He was a distant cousin of Vikrama. Simha3, as is apparent from the detailed genealogy available in the Rohida. and Palis plates of Dhxravard Paramara. Yabodhavala remained an adherent follower of Kumacapalarand participated in many battles actively. His gallant success in the war fares of Malawa, against Paramara Ballala is repeatedly described in many inscriptions of Abu. After his death his son Dharavarsa succeeded him. Accor diog to Pindawara and Kayandra inscriptions of V. E. 1220 (1163 A.D.)? and the colophon of MS. Jnata-Dharma-Kathas. dated V. E. 1221 (1164 A.D.), he was ruling at Chandravati. We do not hear any details about him for a few years between V. E. 1222 (1163 A, D.) to 1230 (1173 A. D.). Fig. ding Dharavarsa' busy in Malawi, Paramar Vikrama Simba's son, Ranasimba spatched the power. As already stated Vikrama Simba was removed by Kumarapala. Ranasimha, therefore, seemed to have attempted to regaio the same. The Rohida and Pall plates mention that when Dhacavarsa was fighting in a battle, held on the bank of river Parna in Malawa, Ranasimha captured Chandravati. On the basis of inscriptions 10 dated V.E. 1220 (1163 A. D) and V. E. 1222 (1165 A. D.) of the reign of Kumarapala found from Udaipur (Malawa), it is clear that the Chukyas had their possession over the Malawa. Dharavarsa's long stay in Malawa, proves that there was rebellion of some local Chiefs. Thus, Ranasimha successfully spatched the power without any oppoistion. The following inscriptions of his reign have been noticed... (1). The Ajari inscriptionil of V, B. 1223 (1167 A. D.) (Rajpatana Museum, Ajmer): It mentions that when Ranasimha was ruling at Chandravati, 8 draugamas were given away in charity for arranging the Rathayatra of God Kankalesvara. The names of Jaisal as the Prime Minister and Jagadeva as the Chief of Pancakula are also referred, Sombodhi X 10 For Personal & Private Use Only

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74 Ram Vallabha Somani (ii) The Acalesvara inscription of v. B. 1225 (1168 A. D.) mentions the grant12 of 16 drammas by Ranasimha Paramara for performing certain rites in the temple of Acalesvara (Abu.) The names of Jagat Simha and Yasodhavala as the members of Pancakula are also mentioned in it. (iii) The Acalesvara temple inscription13 of V. E. 1228 (1271 A. D.) refers to the name of Jorsal, Somarasi and Kelbana. The purport is not clear, as the letters have become blurred. The Ajari inscription, stated above, specifically refers Jaisal as the Minister appointed by Ranasimha. Therefore, it seems that upto that time the rule of Ranasimha remained unwielded. (iv) In the Jaip temple of Kojarafi (Distt. Sirohi) there are two inscriptions of V. B. 1224 (11047 A.D.) One of these dated V. E. 1224 Bbadawa Vadi 14) mentiods That Rai Rayasi's queen Singaradevi constructed a pillar in the **Parsvanath- Rana Rayasi of this inscription seems to be different from Ranashia. He was perhaps a local Chief. A careful study of the above inscriptions proves that Ranasimha continued to rulo from V. E. 1223 (1167 A, D.) to 1228 (1171 A. D.). It seems that he could not snatch the power without the approval of Kumarapala. Paramara Dharavarsa perhaps committed some serious seditious offence. There fore be was not allowed to be reinstated by Kumarpala. We find some hints in the Rohida and Pali Plates stated above." It is said that Dharavarga having pleased his master by means of his wisdom, devotion 15 and valour got back his own kingdom. This event perbaps took place during the reign of Chalukya Ajayapala. Dharavarsa's younger brother Prahaladana actively assisted him during his war against Samantasimha16 of Mewar, which took place in the early part of his reign. This event is repeatedly described in the Surathotsava, Partha-Parakrama-Vyayoga17 and Abu inscri. ption of V. E. 1287 (1230 A. D). This proves that Dharavarsa bad rogained the throne in the early years of the reign of Ajayapala. On the basis of the Pindawara insciiption 19 of V. B. 1233 (1176 A. D.) and Candravati inscription 20 of V. E. 1232 (1175 A. D.) it can be said that Dbaravarsa had successfully removed Ranasimha, before that date. In this way, we may safely conclude that Ranasimha ruled over Abu and Candravati between V. B. 1223 (1167 A. D.) and V. B 1228 (1271 A. D). 1. According to Chroniclers of Gujarat, Vikrama Simba attempted to murder Kumarapala whom he considered an usuper. But Kumarapala was informed well in advance of this machination. Thus, he was saved (A.K. Majumdar-The Chalu kyas of Gujarat (Bombay 1956) P. 110 2. The Ajari inscription was published in Indian Antiquary vol. LVI p.49. Deva ksetra inscription is still unpublished. It mentions after saa 93.2 aufer sudi--dine zrI jasadhavala vijayarAjye tasminkAle pravartamAne dra02...... For Personal & Private Use Only

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Kanasimha Paramara 3. Paramara Dhandhaka of Aba had three sons namely (i) Parmapala (ii) Danti varma and (iii) Kypadeva. Vikram Simha was the grand son of Krinadeva while Yasodhavala was the descedant of Dantivarma (Epigraphia Indica Vol. xxXII P.197). 4. It was first noticed by G.H.Ojha. Later on it was edited by Sadhuram (Epigrapbia -Indica Vol. XXXII p.137). 5. Edited by Ambalal Premachand Shah, Svadhyaya Vol. VII p. 153-154 6. Ibid Vol. VIII p.211. The antecedents of Ballala are referred in MS Pajjunna Cariu (Mahavira-Bhavan, Jaipur). 7. Indian Antiquary Vol. LVIp.51. The Progress Report of Archaeological Survey, Western Circle 1907 p.27 and 1911, p.39 8. saMvata 1221 jyeSTha sudi 7 zukra dine bhagheha zrImadaNahilapATake mahArAjA dhirAja jinazAsanaprabhAvaka paramazrAvaka zrIkumArapAladeva rAjye zrIcaDDAvalI ca kumArapAladeva prasAda spada zrI dhArAvarSa narendra rAjye --- (Muni Jinavijay- Jain Pustaka-Prasasti-Sangraha (S.J.G.M.) p. 109 9. Epigraphia Indica Vol. XXXII P.137 Verse 10 10. A.K. Majumdar-Op.Cit. p. 117 11. saMvata, 2231 phAlguNa sudi 13 ravau bhoha cAMdAvatyA mahAmaMDalezvara zrI raNasiMhadevaH niyukta maha. zrI jaisala prabhRti vAdikA gaNe maMha0 jagadeva prabhRti paMcakula akSarANi (un-published inscription). 12. Annual Report on Indian Epigraphy year 1961-62 No. B. 719 13. Ibid No. B. 712. 14. savata 9225 varSe bhAdavA vadi 14 zuke zrIpArasvanAthadevacetye rANA rAyasI bhAryA siMgAra devi thAMbho dattaH (Muni Jayanta Vijay, Arbudacala Pradak sina Jain Lakha Sandoha No.450). 15. Epigraptia Indica Vol. XXXII p.137 Verse 11. -16. History of Mewar by the Author, 1976, PP.76-77 17. C.D.Dalal-Partha Parakrama Vyayoga (GOS) p.4 18. E.I. Vol. VILI P.211 19. Annual Report on the Rajputaua Museum, Ajmer, year 1912, P. 2. Pratipal Bhi tiya-The Parmars (Delhi) 1973 . 20. svasti sa. 1232 varSe mAgha sudi 4 budha vAsare zrImadarbudAdhipati mAMDalika sura zaMbhu zrI dhArAvarSadevakalyANavijayarAjye (Unpublished inscription of State Mureum, Abu).. For Personal & Private Use Only

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LA NOTE ON THE CROWNED BUDDHA IN ili BHARAT KALA BHAVAN : Lalit Kumar Eastern Indian school of mediaeval sculputure yielded a large number. of Buddhist sculptures. They are generally classified as the stelae, because they owe their origin from Sarnath stelao. 1 The stelae from Eastero India have been studied extensively by Shri R. D. Banerji and published in his monumental work. In the present article the author has taken up a stelae in the collection of 'Bharat Kala Bhavana which is perhaps one of the most beautiful examples of its own class. (Acc, No. 21866) * 41000) Generally the stelae show a main figure of Buddha either seated or standing. The later is the type of stelae of our issue which are quite a few in number. In this sculpture the main figure is a 'crowned Buddha' standing jo samapadasthanaka attitude. The hand posture shows abhaya by the right hand and vara by the left. Each hand is holding a full bloomed lotus; one in the right is facing but the other in the left hand is turned back (Fig.1). He is decked with a necklace and Karsaphala in: the ears. Other features are usual which may be seen in the case of other standing Buddha images of this school. . i The Buddha is standing on a pedestal which shows a seven fold projections, similar to the ground plan of some of the Hindu temples of the contemporary period. The pedestal can be divided into two parts. The lower part is decorated with lotus scroll and the upper is carved with a double lotus (mabambuja-pitha). It's stalk originates from the scroll below. This is also a unique feature of the school. The back-slab is plain and assume the shape of the siluette of an curvilinear but not sharply pointed at the top. Seven miracles of Buddha's life carved in high relief on it. The sequence, perhaps, has never been so important as their representation. Here, they are adjusted in four registers in accordance with compositional harmony a standing fixed at its bottom, a seated figure in bhadrasana and another in padmasana in the middle and a recumbant figure at the top. The scenes from the life of Buddba begins with the pativity (Jati) which is carved on the lower left corner. It's representation is slightly elaborate. Maya Devi is shown holding the branch of a sala tree and the child Siddhartha is sien on the right side, suspended in air and seven lotuses are also 939n arranged telss=opically one abyv: the other beneath For Personal & Private Use Only

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A Note on the crowned Buddha the child. On the opposito side, the subjugation of Nalagiri is shown.. can be identified by the presence of a small elephant kneeling before the Buddha, the right hand of his is shown as bestowing bliss to the beast. In the next upper register, two Buddha figures are shown seated ip bhadrasana on the either side. Their feet are resting on a double lotus. The attitude of the bands show dharmacakra-pravartana-mudra. The head of the Buddha figure on the left is damaged. On the stalac of Eastern India, ithis mudra denotes either the first secmon at Sarnath or the miracle iat Sravasti. Both representations of these miracles could be identified by the presence of a cakra flanked by two deers in the case of his preaching the first sermon at Sarnath and the presence of the otthaka bocomos imperative for the miracle of Sravasti.6 But upfortunately no such identifying features are present alongwith these two. Thus it may be concluded that both shows either of the two miracles or repeatation of one event on either side. In the third register above two dhyaoi Buddhas are seen seated in padmisana, The Buddha on the left side is holding a bowl in his lap. It represents the offoring of honey by the monkeys at Vaisals. On the other side Buddha is seated in bhumisparsa mudra representing attajoment of sambodhi at Bodhgaya. It may be noted in the present stelao that all the figures show ubhyanyika samghati except the Buddha figure in bhumisparsa mudra. Here, t e right shoulder is shown bare. If we compare it with other stelae from Eastern India representing Sambodhi it may be observed that in all the icons similar treatment of drapery is maintained." It perhaps Heads us to conclude that this had been the trend in delineating the Buddha figure that are particularly in bhugisparsa mudra. . On the top, a recumbant Buddha is shown with his right arm folded uoder his head representing his great demise. Now, it may be observed that seven great miracles of Buddha's life are represented on the present stalae. The descent from the tryastrimsat heaven at Sankisa is conspecuous by its absence however, the event is seen in other stelae where the main figure is shown seated. Invariably, it has been observed at the same time that the main figore is seed reprosenting one of the great miracles of Buddha's life. But it is difficult to explain the main figure of standing Buddha in the present felae as to what does it actually represent? Mr. R.D. Banerji has identified the Buddha's figure on the similar stelae as representing the descent of the Master from Tryastrimsat heaven at Sankisao. But he has not For Personal & Private Use Only

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Lalit Kumat given the convincing reasons for such identification. It may be tecaliga that the stelae from Bastern India show a unique phonomona of the evolution and the development of icons. For instance, in tho iconic representation of this particular miracle the sculptors have followed the iconology:10 Similar phenomena may also be observed in the iconic representations of the other seven miracles where the related iconology help us in their proper identificatoin. But in the present case it does not bear any feature pertaining to the story which may help us in its identification, Therefore, it may be concluded that such type of stelao where standing Buddha is shown in similar attitude can not be identified as reprosenting the descent of the Master from Triyastrim sat heaven at Sankisa. But a possible explaination may be given as to what does it stand for. It has been observed earlier that he holds full-bloomed lotus in both the hands. His right hand is in abhaya and left in vara mudra, The hand gesture of the left hand has also been known as Katakamukhall wbich has been described as to hold a lotus or lily but its actual meaning is not clear. As noted earlier the lotus in the right hand in facing but that of in left hand is seen turned back. This feature possibly can explain the Solar association of Buddha as a god of sun risc ar d dawn or with the opturned fogers of the left hand it appears that the master is inviting those to follow his steps who wants to get emancipation from chains of life and death. FOOT NOTES 1 Banerji, R.D., Eastern Indian School of Mediaeval Sculputure, (Calcutta, 1933). p. 44. 2 The auther is thankful to Shri O.P. Tandon, O.S.D., for his kind pormission to reproduce the photograph. 3 Banerji, R.D., Op. cit., * 4 Ibid., p. 49. 5 Ibid.. p. 76. 6 Ibid. 7 Cf. Ibid., P1. XVI (a) XVIII (c); XIX (b); XX (a) & (c); XXI (a), (b) & (c); XXII (a) & (b); XXIII (a); XXIV (c), (d) & (e); XXV (c). 8 Ibid., p. 43 9 Ibid., p. 81. 10 It is represented by a standing Buddha figure 'flanked with Indra holding an umbrella and Brahma holding a fly-wisk or Kamandalu (Ibid. p.80). The proper right hand always shown in an attitude of blessings while the left hand holds the end of the drapery (Ibid., p.81). These iconological feature may be seen in the icons reprerenting this miracle, see Ibid, pl. XIII (b). XXX (a) & (b). 11 Sivaramamurti, c.. The Art of India, (New York. 1974), p. 535. For Personal & Private Use Only

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* IBN SINA : HIS PHILOSOPHY OF BEING R. L. RAVAL I The history of the Muslim peoples and countries in the medieval period is a unique example of a culture with a religious foundation, which united the spiritual and terrporal. The Islamic culture of this period was a meeting point of all the ancient Greek, Bazantine and Indo-Persian cultural trends with its own stamp which ultimately paved a way to the European renaissance. It has remained as one of the most important turning points in the human history serving the purpose of a golden link between the ancient and modern periods in the realm of thought and scintific achivements. Between the seventh and the fifteenth centuries Islamic civilization reached great cultural heights maturing into different dimensions. However, period from the end of the eighth to the beginning of the eleventh century can be considered a truly golden age of Arabo-Muslim culture. And in Abu Ali al-Husein Ibn Sina (980-1037) we find the climax of an intellectual thinking and effiorescence of the Arabo-Muslim culture. The study of Ibn Sina is, in a way, a microcosmic study of the Islamic heights. It indicates an incessant yearning for the quest of truth with its multifacted forms mirroring the collective endeavour of a civilization from Indus to Spain. ... The intellectual activities of the Islamic people were connected with Christianity in their origins owing to the fact that it was Christian Syrians who first translated Aristotle and other ancient philosophers into Arabic. The greatest advance took place in the ninth century when the advent of Greek thought and learning caused the Arabo-Muslim, and soon afterwards, the Perso-Mulim cultures to embrace new method of thought. The period of Caliph al Mamun (p.805), the son of Harun al Rashid, can be considered as an age of brilliant humanism. Caliph al Mamun as well as the PersianVazier, Jafat the Barmicide, had zeal for ancient learning in its Persian, Indian and Babylonian forms in general and its Greek and Hellenistic forms in particular. As a result, in 830 the famous Bait al Hikmah (the House of Wisdom) an official institute and library for translation and research was set up at Baghdad. * This paper was read at The Millenary Colloquium on Ibn Sina organised by the Department of History, The M. S. University of Baroda, on August 8-9, 1981. For Personal & Private Use Only

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80 R. L. Raval The libraries multiplied: among them were, besides Bait al Hikmah Dar al Kutub (House of Books) at Basra, and a century later, Fatimi/Cairo was enriched by the huge Palace Library with 18000 works of 'foreign science and by the Dar-al-ilm (House of learning) founded by al-Hakim in the tenth century. Such institutes and libraries produced Arabic versions of Greek works including those of Plato, Aristotle and others. The translation into Arabic of Doo-Platonic commentaries on Aristotle helped to popularise among; the Arabu a neo-Platonic interpretation of Aristotelian system. Moreover, the diroethy Hellinistic influence, added to the Pero-Greek and Indian contributioas of Jund-e-Shahpur, produced a whole activity of scientific research in the modern meaning of the torm: mathematics, astronomy, physics, chemistry, medicino etc. The sciences continued to be interwoven with philosophy. The impetus thus given, encouraged a whole intelligentia in the exercise of a free thought which took little account of the literal interprotation of the Quran, This period also witnessed a gradual break up of the political unity of the Muslim empire and the eclipse of that splendour that was characteristio of the reign of the carly Baghdad Caliphs. It was now dottod with small principalities governed by various rulers. This was a period of saveke political and social uphoavals. It witnessed a dangerous, conflict in religion too. Ismaili Fatimids in Egypt encouraged Shiite princes in Persia to overthrow the Supni Caliphs of Baghdad. It was also a period of dispute between faith and philosophy. In Persia, Samanid Khorasan and its brilliant capital of Nisbapur, Hamadan under the Daylemite Buyids and Isfahan under the Katuyid Kurds were centres of intense cultural activities. Such was the background of Ibn Sina, Ibn Sina was born in 980 at Apshapa in the Kharmaithan district of Bukhara. Bukhara, where his father moved from his hometown, Balkh, was for many centuries, one of the chief glories of the Iranian Kingdom, with its mixed population of the Persians, Turks and Arabs. Being a prodigy okviddi iton Sina listened to the Ismaili philosophers. However, according to him, they did not impress him much. Then, he came under the influence of the Epistles of the Breatheren of Purity. He was also influcnood by Abu Abd Aibh al-Natili, who claimed to be a philosophrr. Natili introduced Ibn Sina into the study of Greek works. He gradually, at very young age, mastored various texts and commentaries on natural science, medicina, logic and metaphysics. As a youth of truely astonishing and voragious scientific For Personal & Private Use Only

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Ibn Sina : His Philosophy of Being curiocity he gained complete mastery of all Greek works on mathematics, scieace and medicine by his eighteenth birthday. Then he turned to Aristotle's Metaphysica which he read over forty times without being able to understand it. But when he came across Abu Nasrs al Farabi's book, On the objective of the Metaphysica' he got clarity into the content of Aristotle's Metaphysica. On the other hand, as a grown up person, Ibn Sina, in search of right patron, moved from place to place. He served many rulers until be moved on to Hamadan since 1015, and then to Isfaban which become his home for the last fourteen years of his life. Bzing a versatile genius Ibn Sina contributed to the fields of medicine, mathematics, astronomy, misic, literature etc. However, he was metaphysician by temperament. He passionately devoted himself to the study of metphysics. As a result he became perhaps the most remarkable Islamic philospher of the medieval period. It is already mentioned that through al-Farabi's commentary on Aristotle's metaphysica he could grasp its content. But his inquisitive mind made further discoveries with his own original contribution in the realm of thought. Among his works on philosophy, Kitab al Shifa (Book of Healing) is considered the greatest one. He made an abridgement of it called Kitab-al-Najat (the Book of Salvation). Another famous philosophical work is Kitab al Isharat wal Tanbihat (Book of Remarks and Admonities.) His philosophical treatises, among others, included Philosophy el-Arudi, Philosophy el Atai, Guide to Wisdom, an epistle on The Fountains of Wisdom, a treatise on the Soul, a mysterious poem on the Soul, and a series of mystical treatises which like Kitab al Ishara show distinct progress in the direction of what Ibn Sina designed the "Oriental Philosophy" or " Illumination". So far as Ibn Sina's contribution to metaphysics is concerned it should be noted that though he borrowed from Aristotle and Neo-Platonism he had thought out his system carefully and independently. He couched his own discoveries into Aristotelian logical frame-work, however, he transcended the limits of Aristotelian thought process. And in this process he seemed to have been iufluenced by mystical experiences of others, though not of his own. As mentioned earlier, al Farabi's commentary on Aristotle helped him much to solve some of the metaphysical problems. In this context it should be noted that al Farabi himself was attached to a mystical school of the Sufis. Moreover, Ibn Sina himself also was influenced by Sufism. He had personal contacts with the most famous Sufi of his times, Khwaja Sambodhi-X. 11 For Personal & Private Use Only

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R. L. Raval Abu Said Abdul Khair, the founder of a mystical school in Nishapar. Thus, we find in Ibn Sina, a devout Muslim, a pagan streak of thinking. Hj kaowledge had been growing with his advance in age and his views had undergono significant change in many matters, perhaps owing to the influence of Sufism on him. In this context Ibn Sina's philosophy of being is worth examining. III * Ibn Sina developed the fundamental concept of Being. In Kitab-al-Nafat he writes, "Being can not be commented upon except by the name of being for it is the first principle of all comments". According to Ibn Sina, we possess an intuitive notion of the reality of Being. In his typical way of explaining it he gives his famous imaginary example of a "Floating man", who is suddenly created, who can not see or hear, who is in space and whose organs are so disposed that they can not touch each other. This "floating man', can not use or exercise his physical senses. And even if he can not acquire the notion of Being through an external experience he will still acquire it through self conscionsness. Thus according to Ibn Sina, the existance of Being can not be empirically proved or analysed or argued upon. It means that it is a direct perception of reality. Somewhat similar view is expressed in Mundakopanisad. Accordingly, this Being or Brahma is everywhere. It encompasses everything. It is the supreme. It can not be grasped by reading Vedas. It can not be analysed by even the sharpest of intellects. It can be realized only by one who is completely open to it. " However, to apprehend Being, Ibn Sina has tried to give a philosophical formula, which, though seems like an Aristotelian cne, it, to some extent, does not suffer from the limitations of what is called a metapbsical doubt or inherent contradiction in the very proceess of reasoning. Thus, in order to develop the philosophy of Being, Ibn Sina has given us a framework of the "Necessary Being and Possible Being," as a mode of communication, though ontologically there is only Being. Here, the modifications in Aristotle are evident in Ibn Sina's notion of God, his doctrine of creation and cosmology. He describes God not only as eternal, unchanging, immaterial and Uomoved Mover but also as the Being whose existence is necessary'. Ibn Sina's description of all beings in the world other than the SINecessary Beiog" appears at first to be involved. The beings in the world, when considered in themselves, are only possible. It means they may or may not exist, For Personal & Private Use Only

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Ibn Sina : His Philosophy of Being These beings in the world can be considered as the effect, in some respects, of the "Necessary Being." For, the beings in the world do, in fact, exist, and they are true and real. But the reason of their reality and existence can not reside in themselves, since the beings in themselves are only possible, that is to say, they may or may not exist. Their existence is due to the only truly existent being namely "Necessary Being." Therefore, according to Ibn Sina, the Beings in the world, other than the "Necessary Being" are possible when considered in themselves and at the same time, necessarily existent when considered in relation to the "Necessary Being." Such beings are contingent and free. They are not predetermined mechanically. They are not determined by antecedent causes, for otherwise they would cease to be possible. They are thus, in a certain sepse, new creation. However, these "possible beings" are, according to Ibn Sing, determined since their existence is the effect of the "Necessary Being". It is like a notion of Brahma and Maya, Il Brahma is 'Necessary Being', all other beings which are "possible", is Maya. Brahma is infinite but it is manifested infinites Maya. Here Maya means measurement-from-limitation, albeit not strictly in the sense as being used in Sankar's Vedantic view. Here, pure duration or eternity or timelessness or nothingness-emptinessis placed in juxtaposition with beings finites. Therefore, this Brahma can be realized by only negative way of thinking. Because our thinking process work within the lingustic frame-work of time and space. That is to say, one can not think of nothing. This whole approach sounds contradictory in logical terms. So, when Ibn Sina says that the reality of the "Necessary Being" can be apprehended by an act of intuition only he, the foremost intellectual of the period, becomes a mystic all of a sudden. He realios the limitations of physico-mathemetical reason to grasp the reality, which can be-apprehended only by, what we may call, non-verbal thinking. Moreover the act of intuition apprebending the "Necessary Being" is not limited to the "Necessary Being" itself. It, at the same time, apprehends the "Possible Beings" also. It is thus a single and indivisible act of perception which embraces the "Necessary and possible Beings" together, and in which Reality becomes revealed derivation of the "Possible Beings" from the Necessary Being". Thus, Ibn Sina introduced into the Arabic philosophy the notion of intuitive reality,' though he has not used this phrase explicitly. It is disgvised under the cloak of the cumbersome formula of the Necessary and Musible Being". It should be noted that he was grounded in the ratiopli, otio philosophy of the Greeks. However, he seemed to have recognised For Personal & Private Use Only

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R. L. Raval "Cho validity of the intuitive philosophy though being conscious that tooth the philosophics could not be combined together. A chasm between the two could be bridged only by the means of mystical experience which in "Sina did not seem to have had. Nevertheless, Ibn Sina has tried to evolve a philosophy, the edifice of which is a rational one; while its dweller is a sout of mystic. The most curious effects of the juxtaposition of rationalistic and intuitive elements in Ibn Sina's philosophical system can be observed in his emanation theory of the origin of the celestial spheres. He accepted the picture of the universe which he obtained in his days constructed from olements of astronomy and of Aristotelian, Platonic and Neoplatonic metaphysics and physics. The whole system of the nine heavenly sphores and ten intelligences was conceived as a successive emanation from the First Cause". Thus the formula of the "Necessary and the possible Beings"becomes meaningful only if applied to reality as a process of becoming. the world is, at the some time, created and eternal. It is created, sinee creation means the emanation of "Possible Beings" from the "Necessary Being". It is a process beyond time or rather a process to which the "category of time does not apply. The world of appearnance is relative to an individual and conditioned by the structures of his sense organs add the categories of his thinking. Therefore, it is the world of rationalistic thought to which the notion of time and space is applicable. But it is not applicable to the world of Reality-"Necessary Boing". It means that time has a meaning only if applied to the world of the appearances Shah Maya-the phenomenal world. Therefore, the phenomenal world is not the world of ghaib, of Necessary Being", which is beyond time. Thus, Being and Becoming are not seperate. In the very process of Becoming Being is implicit. As Ibn Sina says that in the "Necessary Being", estence and existence are one, while in the "Possible Beinga", that #s, in the process of becoming essence and existence seem to be seperated. According to him; existence or form in the "Possible Being" is an accidental one. But at the ultimate stage both become one, Here, he has attompted to evolve his sphilosophical system using an Aristotelian frame-work of rationalistic categories of time and movement, however, with the help of a mystical stroak. The notion of reality as a flux, intiutively apprchended by man is Heit in Ibn Sina's philosophy, though it has not achieved a unified Hit of Reality from the Vedantic point of view. It is still a dualistic bet dentisti in very special sense, because it combines in itself of intitutive and rationalistic elements. For Personal & Private Use Only

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ion Sina ; His Philosophy of Being Ia Ibn Sina's philosophy of Being we find two modes of communication out of four as given in the accient Indian philosophical systems these are Madhyama and Palyanti. Compared to the first mode Vaikhari, which is a verbal communication apprehended through the auditory organ, Madhyamd is. apptehooded by mind. In both the modes, that is Valkhari and Madhyama there is sequence. In Madhyama there is the sequence of what is mentally conceived: Both these modes of communication belong to the rationalistic frame-work. But in Pas yanti there is no sequence, it does not have the attributes of priority or posteriority; perception and commu. nication are undivided. In that perception thinking and acting become obe. In it, there is a transcendence of association with the diverse objacts of the world, and also of time and space. Such a state is free of the distinctions of the cognizer and the cognized, Sufis or mystics' communicate at the Pasyanti level. Here, it would be pertinent to mention the remarks made by Ibn Sina's Sufi-master, Said ibn Ibil Khayr, that what Ibd Sina knew he saw. To which Ibn Sina reverently answered that all his master saw he knew. That is to say, Ibn Sina tried to intellectualize the Marefat Allah -the knowledge of God of his Sufi master. Nevertheless, Ibn Sina's conception of "Necessary and Possible Being" was a break-through in the realm of philosophical system. It lifted the whole Arabic and Jewish speculation above the rage of ancient and medieval philosophies of the West. Here was a genius who believed truth universal and eternal. Though for him philosophy was knowledge, his flesh was at violent war with his spirit, and his intellectual pride with his inclination to the mystical life. He admited the limitations of mathemetico-physical reason and thorefore 'envisaged a possibility of knowing intuitively which is clear in his "mystical territories", thus his mind gained the medium of flight into mystical territories. I conclude with the words of Peter Sterry by way of paying my homage to one of the greatest savents of mankind. "Dist thou ever descry glorious eternity in a winged moment of time? Dist thou ever see a bright iofinite in the narrow point of an object? Than thou knowest what spirit meaos- the spire-top whither all things accend harmoniously, where they meet and sit contended in an unfathomed depth of Life". Reference : 1 Avicenna: Commemoration Volume (Iran Society, Calcutta, 1950) 2 Arab Concept : Vol. I No. 3, (New Delhi, January, 1981) 3 Encyclopaedia Britannica Vol. II (London: 1950) For Personal & Private Use Only

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R. L. Raval 4 Encylopaedia of Religion and Ethics Vols. I & II (New York: 1951) 3 Ansari Muhamad Fazl-Un-Rabman, The Quarnic Foundation And Structure of Muslim Society Vol. I (Zubir Printing Press. Karachi) 6 Frank N. Magill (ed) Masterpieces of world Philosopky (Georage Allen & Unin Ltd., London: 1963) 7 Fredrik Copleston, S. J.; A History of Philosophy Vol. 2, Part I (Image Books Edition, New York, 1962) 8 Holt, Ann, Lambston & Lewis (ed). The Cambridge History of Islam. Vol. II (Cambridge Uni. Press, 1970) 9 Majid Fakhry, A History of Islamic Philosophy (Columbia University Press, New York, 1970) 10 Thomas A. and Alfred G. (ed): The Legacy of Islam (Oxford Press: 1931) 11 Wickens G.M., (d): Avicenna : Scientist and Philosopher (Luzac & Company Ltd., London: 1952) 12 Saiyid Athar Abbas Rizvi : A History of Sufism in India, Vol. I (Munshiram Manoharlal, New Delhi, 1978) For Personal & Private Use Only

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THE GAURIDIGAMBARA PRAHASANA i Chitra Shukla i dr . The Gauridigambara Prabasana of Sankara Misra depicts Lord Siva's marriage with Parvati in one act. The author, Sankara Misra is the son of Bhavanatha Misra and Bhavaol. Bhavanatha Mitra was the grandSOD of Suresvara Misra, who received the village Sarisava as a prize for his scholarship. The town was also known as Sodarapura, because Suresvara's brothers also lived in the same town. Bhavanatha Misra was a profound scholar of Nyaya and Mimamsa. He was constantly engaged in teachiog. He never asked for any financial help for the maintenence of his family and students, and therefore was known as Ayaci Misra. For a fairly long time Bbavanatha and Bhavani were childless. Bhavanatha then propitiated Lord Siva in Vaidyanatha. Lord Siva appeared in a dream and promisod Bhavanatha that He will be born as his son. Bhavani then gave birth to a child. The child was extremely brilliant and was named Sankara. Bhavanatha Mjsra himself educated his son, who impressed King Sivasimba by composing a verse in his childhood. Well-versed in many Sastras, Sankara Misra wrote many works in Nyaya-Vaiscsika. Among his works may be mentioned (1) Vadivinoda, (2) Amoda (3) Khandanakhandakhadyalika (3) Upaskara (4) Kanadarahasya (5) Nyayalilavatikanthabharana (6) Atmatattvavivekakalpalata (7) Mayukha (8) Bhedaprakasa (9) Tris utrioibandhapa Vyakhya (10) Kiranavaliniruktiprakasa. He also wrote literary works like Gauridigambara Prahasana, Krsnavinodanataka, Manobhavaparabhavanataka and Rasarnava. Rasarnava eulogizes King Purusottamadeva. Paksadhara Misra was a descendent of Sankara Misra's family. It is accepted that Paksadhara Misra flourished in the first half of 15th century. Sanakara Misra may therefore be placed in 1400 A.D. A Mapuscript of Sankara Misra's Bhedaprakasa, written in his life time, bears the date Samvat 1519 (1462 A.D.). This confirms the time fixed up above. The Nandi verse of the Guridigambara worships Lord Siva. It can be gathored from the Prastavana that Bhavanatha Misra composed a verso and asked Sankara Misra to write a Prahagana with this verse as the Nandi. Though unwilling, Sankara Misra wrote a Prabasana and named it Gauridigambara. The Sutradhara gives us hints about the first scene. It is spring time, Siva's attendant Nandi and Bhtngt are worriod about For Personal & Private Use Only

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Chitra Shukla Lord Siva's marriage. Mainaka has come for escorting Lord Siva for the marriage ceremony. Mainaka is very much displeased to seo Lord Siva with serponts, the garland of skude, third eye and wishes to go back without Lord Siva and to disapprove his sister's choice. Lord Siva, eagar and impatient for the marriage, req'ieses Maigaki to wait. In the moantime, Giurt declares that she is firm in her love for. Lord stva. Mainaka and Lord Siva reach the marriage place. Nandt and Bhagi are afraid that Himalay& will not accept Lord Siva as his sonin-law. Narada appears on the scene and describes the marriage ceremony whero Brahma was acting as a priest. When Himalaya offerred two garments to the bridegroom, he hid them in his matted hair. When asked by Brahma Lord Siva could not give the names of His father, Gotra or Pravasa. Brahma ridicules Lord Siva. Himalaya requests Brahma to complete the marriage ceremony as soon as possible, so that Siva may leave bis house quickly. Lord Siva then gives Kasyapi as the nam: of his Gotra. Brahma raises the objection that Siva and Gauri cannot marry because both of them are Sagotra. Anyway the marriage ceremony is over. Narada takos leave. Two of Siva's servants quarrel for Gaurl's maid Sumangala. Lord Siva, in the end, accepts and wears the garments and also gives ornaments and garments to Gauri. . Sankara Mista's style is lucid and elegant. His verses display his poetic ability.e.g. . itaH pikakuTumbinIkalakalaH parizrUyate, ayaM madhuramAdhavIparimalopanetA marut / .. itaH kumureNubhirdigaruNA marullAsitaiH, itaH kanakaketakIsurabhireti pampAnilaH / Sankara Misra's prose consists of short and simple sentences. His fondness for. Anuprasa and Yamaka may be seen in-: revAsevAmalayajadalAndolanaM vAranArIzArIrAmbhonirasanakalAkautukaM kAminInAm / karNATInAmalakatilakollAsanaM keralInAM vakSaH pIThe luThanamasakRt vAti vAto vitanvan / samApyatAmeSa vidhiH kathaJci- ... digambaro dRkpadavIM jahAtu / imA tu mAtuH savidhe vidheya____ mAlocayatvAtmahitAya tAvat // For Personal & Private Use Only

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The Gauridigambara Prahasana The following may be cited as illustrations for Hasyaraga. Manaka disapproves the marriage and says: mA kaumAramapetu tiSThatu ciraM patyA vinA kiM tato maNDUkAdikamannamattu pitarAvArAdhya tadvezmani / digbAsA vikRtAkRtiH phaNiphaNAphUtkAraporazvitA bhasmAkto va punarmayA varatayA neyo bhaginyAH kRte / Lord Siva requests: ___aye ! gaurIsahodara ! aye girijAsodarya ! aye pArvatIsagarthya ! aye himavattanUja ! aye mainAka ! na vayamupekSAmarhAmaH / sarvathA zItalaprakRteH khalu himavatastvaM putraH / kathamasmAn santApamasi ?... tatsarvathA kAruNyena vartitumarhasi / Nandi expresses his anxiety: nandI (salajjamadhomukhaH)-sakhe ! bhRGgiriTe ! etAdRzI varayAtrA na dRSTapUrvA nApi zrutapUrvA / yadi himavAn kanyApradaH svAminamimaM maNDapAdapasArayettadA kiM syAt maNDapapravezAvasare nArI sahasreNa parivAryamANasya yadi mAnmatho vikAraH syAt tadA ca kiM syAt utpAditaveraH khalvayaM * manmatho labdhAvasaraH kathaM sahiSyate kathaM vAsmAnna payiSyati ? . . Narada describos the marriage ceremony: . brahmA caivaM vAkyamuvAca omadya vaizAkhakRSNapaurNamAsyAM tithau......omadya vaizAkhazuklAmAvAsyAM tithau omadya vaizAkhazuklakRSNobhayapaJcadazyAM tithI kAzyapagotrasya zANDilyagotrasya kAzyapAvatsAranaidhruveti tripravarasyeti vAkyaniSThA brahmaNo'pi nAbhUt / ....... - tato brahmA tathaiva vAkyamArabhata omadya gotrarahitasya pravarahInasya pitRpitAmahahInasyAzAtavarNavibhAgasyAnekakandarAvato himavataH putrIM gaurInAmnImimAM kanyAM sAlaGkArAya digambarAya gotrarahitAya niHpravarAya pitRpitAmahaprapitAmahahInAya virUpAkSAya kapAline patnItvena tubhyamahaM sampradade iti vAkyazravaNAnantaraM santuSTo digambaraH OM svasti ityabhidhAya gaurIzirasi hastaM vinihitavAn / It can be said that the Gauridigambara Prahasana violates the concepts of Sanskrit Prahasana, It is well known that according to the theory of Sanskrit Rupaka the heroine in a Prahasana is a courtesan, and the hero, a hypocritic Brahmin or ascetic. Lord Siva and Gauri, universally accepted as the Father and Mother of the world are presented here as the hero and heroine of this Prahasana. Sankara Misra praiscs Lord Siva in the beginning of his works and strangely enough, makes him the target of laughter. The Prahasana reminds us of a similar tincident in Kumarasambhava where Siva in the guise of Batu abuses himself for Sambodhi-X. 12 For Personal & Private Use Only

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Chitra Shukla His serpents, ashes, bull and queer appearance. This incident is very humourous, aod yet, nowhere is Lord Siva deprived of dignity and greatness ! In Gauridigambara, Lord Siva's impatience, his flatterings and requests to Maipaka make him the object of laugbter and create an impression of farce. Though all sorts of impropriety and exaggeration #e: allowed in Prabasanas, the strange innovation of turning a God into a farcical hero certainly hurts our aesthetic sense. The love depicted in the Prahasanas is of a very low type:s because neither the hero por the heroine, is serious in love.. In Latakamelaka, for example, ascetice of different sects try to win the love of the young and be&utiful courtesan Madagamanjarr. le Dhurtasamagama, the preceptor Visvalagata and his disciple Duracara try fo wir ithe love of Anangaseda and when they go to the court, the judge Asajjati and his disciple also try to win the love of Anangasena. The frail, physical love becomes the cause of Laughter in - Prahasanas. In other words, Syngara becomes subordinate to Hasya. The love of Siva and Parvall can never be compared with the cheap love depicted in the Prabasanas ! In * spite of all protests from all sides, Gaurt ramains firm 'in her love for Lord Siva. The pious and firm love of Gaur! inspireradmiration and devotion, and not laughter. Ssngara here fails as a subordinate Rasa, because it cannot effectively lead us to Hasya, Mattavilasa and Bhagavadajjuka, the earliest of the known Prabasanas, depict the sentiment of Hasya in a very digoified way. - The weakness of the ascetics of different sects are sarcastically, and yet, decently presented in these * Prahasadas. Tbis dignity is not maintained by the fucceeding Prabasanas like Lalaka nelaka, Hasyarnava or Hasyacudamani where the hypocracy and ignorance of the Preceptors ard Pb ysicions are laughed at and where an old barlot is shown murrying a young disciple. Though lacking in dignity,' thiese Prabasanas have reflected religion, reliigfoos sects and contemporary society. Still moto realistic irre the Prabasanas of 18th and 19th centuries. Prahasanas like BDanuprabandha Unmatta - kavikalasa, Candanuranjada reflect the differences and prejudices of different sects of religions and tend to be vulgar and indecent, when they depict the malpractices prevalent among the Preceptors. All these Prabasanas presented a real picture of the society, and saved Sanskrit literature from being too much artificiaal and unreal. The Gauridigambara lacks in this important trait. Its hero and heroine are divine. They therefore do not represent a class, and fail to project the weakness of a class or society. The Gauridigambara lacks in the dignity of the earliest. Prabasanas for this very reason. The characters are divine beings and not types. This Prabasana therefore, fails to reflect reality. In spite of the elements of farce, For Personal & Private Use Only

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The Gauridigambara Prahasana Lord Siva's impatience for marriage suggests his love for Gauri. His inablity to give the names of his father, Gotra or Pravara, suggests that Lord Siva is beginningless and eternal. As the element of farce leads us to Saata Rasa, it can well-be said that the sentiment of Hasya is not tho principal sentiment but is subordinate to Sinta Rasa. The Gauridigambara apparently lookiog like a farce, is aot really a farce. It cannot therefore be called a pure Psahasana. For Personal & Private Use Only

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BHASKARAVARMA OF DANDI AND BANA: AN APPRAISAL* ** Sudarshan Kumar Sharma Dandi in his Dasakumaracarita (Visrutacaritam) has described Bhaskaravarma as a son of Anantavarma and a grandson of Punyavarma, a king of Vidarbha. Punyavarma was a righteous king acting upon the saner suggestions of Vasuraksita while Anantavarma duped by the wicked counsel of Vibarabhadra led a dissolute life and fell a prey to the overtures of Vasanta-Bhaou the king of Asmaka who having incited Bhanuvarma, a king of Vanavasi made the latter wage a war against Anantavarma. VasantaBhanu in league with other princes encampted at the Bank of Narmada while Anantvarma was busy enjoying the dance of a female dancer in service of Avantideva, the ruler of Kuntala. He joined together with Vlrasena, the King of Murala, Ekavira, the ruler of Rsika, Kumaragupta the ruler of Koskana and Nagapala the prince of Nasikya, killed Apaatvarma and also arranged a quarrel among the four rulers and destroyed them. Having disposed of Bhanuvarma with a small share of the booty he ostablished himself over the kingdom of Vidarbha. This implies that Vasantabbanu became the sovereign lord of Asmaka Vidarbha confedoration along with that of Kuntala-Murala-Rsika-Konkana and Nasikya. After the death of Andatavarma and the escheatment of his territory Vasuraksita the old Hereditary Counsellor of Punyavarma in conformity with some hereditary servants of the king managed to escape alocg with the minor prince Bhaskaravarma, his elder sister Maojuvadini, about thirteen years old and the Queen Vasundhara, their mother. Vasurak sita died of burning fever. Nalijangha took the queen to Mabiqmati and conducted her along with her childern to Mitravarma king of that place and a half brother of Anantavarma. Jilted by the queen Mitravarma planned to kill Bhaskaravarma but with the expert anticipation of Nalijan ha Bhaskarvarma was conducted safely to the Vindhya forest where Visruta came in contact with them. Visruta pledged to restore the lost kingdom from Vasantabhanu and reinstate Bhaskaravarma in so far as Visruta was a son of Susruta, son of Sindhu Datta, and Susruta and Vasundhra had the same maternal grand father. The king of Utkala Pracandavar na a brother of Capdavarmt bad planned 10 espouse Manjuvadini daughter of Mitravarma (as known in public). Visruta proclaimed the supposed death of Kumara Bhaskaravarma at the hands of a lion and sent a poison Vatsanabha along with a garland through Nalijangha who managed to kill Mitravarma and For Personal & Private Use Only

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Bhaskaravama of Dandi und Buna : An Apparaisul 93 Pracandavarma by skilful religious dogma. The queen thereafter married Manjuvadini to Visruta who was made ruler (regent for Bhaskara-Varma) of Utkala and Mahismati. Later on he contrived to win over the subjects of Vidarbha and having severed Vasanta. Bhanu of their alliance he succeeded in killing Vasantabhanu. With the help of Aryakatu the minister of Mitravarma. Hence Utkala-Mabismati-Asmaka became the domain of administration of Bhaskaravarma. Vasundhara being a daughter of Kusumadhanvan king of Kosala by Sagaradatta daughter of Vaisravana a merchant of Pataliputra we cannot preclude the possibility of the alliance of Kosala with Utkala, Mahismati Asmaka Kuntala the territories of reign of Bhaskaravarma. Rajbamsa has been described as the Sovereign Lord of Magadha whose son Rajavahana had gone on the Digvijaya with the princes. Rajahamsa alloyed Utkala to Visruta who proceeding in search for Rajavahana met him in Campa the capital of the Angas whose king Simhavarma sought bis Succour. The entire illustration makes it evident that Bhaskaravarma became the subsidiary King under Rajavahana king of Magadha having Visruta owning Utkala, Simhavarma, Anga, Kusumadhanvan, King of Kosala (probably having some Successor to the throne by now) forming the complete set of subsidiary vassals reigning over the kingdoms illustrated in the earlier Ucchvasas. The motive of the present paper is to find out the place of Bhaskaravarma of Dandi and the one referred to by Bana in the VIIth Ucchvasa of Harsacarita. Bhaskaravarma of Dandi ultimetely came to hold sway over Asmaka, Mahismati, Kuntala and even Utkala later on handed over to Visruta who virtually became the patron of Bhaskaravarma. Bana has referred to Bhaskaravarma, as a king of Pragjyotisa (Kamar Opa) being a son of Susthiravarma, grand son of Sthita Varma great-grand-son of Candramukha-Varma and great-great-grandson of Bhutivarma descended down from Bhagadatta, Puspadatta and Vajradatta descended down from the Primeval being Naraka.3 Bana has also illustrated an Historical event of the past in the Vith Ucchvasa wherein he says "Priyatantrivadyasya alabuvinabhyantara-susiranihitataravarayo Gandharvacchatracchadmanah cicchidurasmakesvarasya sarabbasya siro ripupurusah. "The secret spies of the enemy chopped off the head of Sarabha the overlord of Asmaka, guised as they were as students of music having swords concealed within the lute Gourds, deeming instrument of lute fascinating for him". Before taking into account the name Bhaskaravarma we shall have to find out if Sarabha the king of Asmaka referred to by Bana has got some For Personal & Private Use Only

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Sudarshan Kumar Sharma affinity with Vasantabhanu referred to by Dandi. But at the same time we cannot define Bhaskaravarama of Dandi without having defined Bhaskara-- varama of Bana. Let us first prove the veracity of the history contained in Bana's account with a view to verifying the bistoricity of the geneology given by Bana we are constrained to make a comparative review of the Nidhanapura Copper Plates of Bhaskaravarma. Nidbanapura is in Pancakhanda Sylhet, Assam. The Tascription is dated 7th Century A.D., is written in Sanskrit Northern Brahmi: It is edited by Padamanatha Bhattacarya Vidyavinoda, Epigraphia Indica Vol X. 11. pp 65-79. The comparative Goncology is given as under:Nidhanapara Copper ron, Bina's Plates. Harsacarita VII Naraka Narakati Bhagadatta Bhagadatta Vajrandattam Puspadatta Pusyavarma - Vajradatta Samudravarma-Dattade vi Bhativarma Balavarma-Ratoavati Candramukha-Varma Kalyanavarma-Gandbarvavati Sthiti Varma Ganapati-Yajaavati Susthira Varma Alias Mahendravarma-Suvrata Mrganka Narayanavarma-Devavati from Mahabhutavara-Vijdanavat Syamadevi Candramukha-Bhogavati Bhaskaradyati Sthitavarina-Nayanadevi alias Susthitavarma-Mrgankai Bhaskaravarma From Syamadevi Supratisthitavarma Bhaskaravarma . . A comparison of the two tables makes it evident that Bana bad the correct knowledge of the geneology as handed down to him by his sources in so far as starting from Bhativarma and ending with Bhaskara-Varma we find a faithful-account having, unnecessary details evaded by the poet. The copper plates on the other hand are faithful to their own norm of requirements. As has been done by Bana in Ucchvasa IV. in omitting Naravardhana, Rajyavardhana and Adityavardhana after Puspabhati, so has been done by him in omitting, Samudravarma, Balavarma, Kalyanavarma, Ganapati, Mahendravarma, Naraynivarma. alwd. For Personal & Private Use Only

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Bhaskaravarma of Danai and Bana : An Appraisal 93 Rai K L. Barua Bahadur B.L. has taken up this topic in details in his "Early History of Kaparupa" Chapter III.5 While determining the position of Kamarupa in the Gupta period he has tried to establish the synchroni. stic-co-existence of the kings of Kamar Opa in the periods of various Emperors. upyavarma gupta (Alla The Pratyo then green He says: "The name of the Kamparupa king Pupyavarman was probably given aft-r the renowned Sunga King of Magadba (Pusyamitra). Similarly, we find Pusyavarman's son named Samudravarman after Samudragupta the famous Gupta Emperor who ruled from 330 to about,385 A,D, Even Samudravarman's queen bore the same name as the queen of Samudragupta. This goes to show that Samudravarma probably ruled for short time after Samudragupta whose illustrious name was then green in the memory of the people of Northern India." The Pratyanta napati of Kamarupa who submitted to Samudragupta (Allahabad Inscription) was very, probably no other than Pusyavarman. Samudragupta performed the horse sacrifice but Candragupta Vikramaditya, his son algo did the same is pretty doubtful. In the traditional accounts of Kamarapa it is however, stated that a king of the Naraka dynasty named Subabu detained the Sacrificial horso of Vikramaditya who then invaded Kamatupa and put Subahu to flight. Subabu might have been the popular name of Susthitavarman and Samudragupta was the Vikramaditya referred to in the traditional account. It is quite possible that following the ancient custom Simudra Gupta in his Digvijaya prior to the Asvamedha, led his sacrificial horse and challenged all the kings to detain the horse. Those who accepted the challenge had to fight while those who wanted to avoid fight acknowledged the over-lordship of the Conqueror and allowed the horse to pass uprestricted. Pusyavarman otherwise known as Subabu having stopped the horse had to fight and being, worsted acknowledged the suzerainty of the Gupta emperor and performed abeisance. Pusyavarman was succeeded by his son Samudragupta who was perhaps the contemporary of Capdragupta Il Vikramaditya and tho celebrated poet Kalidasa who had amply illustrated the hydrographical condition of Bengal *(Raghuvemsa IV 34-38) and even described that Aja, son of Raghu selected the king of Kamarupa as the best man in his marriage with lodumati. This king according to Rai K.L. Babador was Samudravarman. Balavarma I, the son of Samudravarma who also a powerful king who hadi maintained ties with the Kashmir King Meybavahana who married his daughter AmritPrabha by Svayamvara ceremoney which was marked with the presentation For Personal & Private Use Only

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96 Sudarshan Kumar Sharma of a parasol of Varuna and a garland. Bans refers to this parasol sent through Hamsavega to Harga by Bhaskaravarma. Kalyanavarma, Ganapativarma, Mahendravarma and Narayana Varma were not so renowned. Ganapativarma was generous in his gifts while Narayanavarma was like king Janaka. Mahabhutivarma has been named as Bhutivarma by Bana. It was he who granted to a large number of Brahmanas lands in the Candrapuri Visaya; the copper plate relating to this grant having been destroyed by fire his geat grandson Bhaskaravarma recorded what is known as the Nidhanapura Grant to confirm the gift made by his ancestor. The inscription as well as the Harsacarita agree on the point that the kings of Kamarupa were devotees of Siva. Even Bhaskaravarma was a staunch devotee of Siva. The Agrahara mentioned in the inscription was also a Siva temple. The land grant record issued by Mahabhutivarma and destroyed by fire and later on revived in Nidhanapura copper plates makes it evident that the lands granted as per these grants were on the banks of the old Channels of River Kausika or Kosi that virtually changed over to an, easterly course and following to the West of Purnea fell into Ganga at Rajamahala in the reign of Bhaskaravarma. Rai K.L. Barua Bahadur takes this Kosi of Nidhanapura inscription in modern Bihar and not the Kusiara river in Sylhet. Another vital point of importance has been disclosed by Rai K.L. Barua Bahadur who says: "Towards the close of the sixth century A.D. the dynasty of the later Guptas produced a powerful king named Mahasenagupta who checked the Maukharis in mid India and re-established the Gupta power to some exten. After this he turned his attention towards the East where Kamarupa Kings had appropriated to themselves the whole of the Pundravardhana Bhukti. He was therefore compelled to declare war against the then Kamarupa king Susthitavarm, the father of Bhaskaravarma. It appears that Susthita Varma sustained a crushing defeat and Mahasenagupta earned a great victory which was glorified by his grandson in the Aphsad inscription. Bhaskaravarma regained these lands after Sasanka's extripation." Hence Mahisenagupta's contemporaneity with Susthitavarma places Mahasenagupta in the period between 580-600 A.D. and Bhaskaravarm's reign period has been established by Barua Bahadur as ranging between 600 and 650 A.D. the period practically synchronising with the reign. period of Harsa and the writing period of Bana (606-648 A.D. etc.). Bhaskaravarma has also been established as an elder contemporary of Hares by Barua Bahadur.7 The Nalanda Seal of Bhaskara-Varma likewise confirms the geneology of Bhaskaravarma right from Ganapati Varms onwards down to Bhaskara For Personal & Private Use Only

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Bhaskaravarma of Dandi and Bana : An Appraisal 97 varma having an elder brother in Supratisthitavarma. The bird eye view taken of the above historical facts makes a number of points clear. Bhaskaravarma was a contemporary king of Harsavardhana. He was a yong prince when Prabbakaravardhana was the overlord of the Earth having Hunas, Sindhuraja, Gurjara, Gandhara, Lata and Malava owing alegiance to his paramountsy.11 Mabasenagupta the later Gupta monarch was a contemporary of Susthitavarma and Mabasenagupta's son Madbavagupta was a contemporary of Harsa-Vardhana. Bhaskaravarma was older in age than Harsavardhana. Apart from being a king of Kamar upa he also held sway over the vast areas of Bengal and Bihar and contiguous regions barring aside Thanesar and Kanauj. That formed the domain of Harsavardhana. 4. Mahasenagupta 12 was the king of Magadba whose discomfiture of Susthitavarma was seen by Supratisthita-varma the elder son, Supratisthita-varma died during the life-time of his father and Bhaskara varma took the reios of administration as such. Bhaskaravarma was a bachelor throughout his life and was succeeded by some Devavarma who was overthrown by one Salastamba. Bhaskaravarma sought the succour of Harsavardhana in overthrowing Sasanka of Gauda who in collusion with Devagupta of Malava had murdered Rajyavardhana, elder brother of Harsa while Devagupta had chastised and killed Grahavarma Maukhari in collusion with Sasanka. Madhavagupta was a subsidiary overlord son of Mahasena Gupta. Sasanka's relation with Mahas nagupta and Madhavagupta is not very clear. Bhaskaravarma overthrew Sasanka in alliance with Harsa who allowed Bhaskaravarma to rule over Gauda and Karna Suvarna and established Madh..va Gupta son of Mahasena Gupta in Magadha as vassal ruler. 8. Bana, however, refers to Kumaragupta and Madhavagupta as the two sons of Malava-raja. "Yatah sarvadosabhisangaih asangatau bahudba upadhabhih pariksitausucau vinitau vikrantau abhirupau putrau bhratarau bhujau iva' sairat avyatiriktau Kumaragupta-Malhavaguptau asmabhir bhavatoh anucaratvartham imau nirdist au 13 Sambodhi-X. 13 For Personal & Private Use Only

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Sudarshan Kumar Sharma The namo proper of the Malavaraja is not given by Band but the opithet "Mulavarajaputrau" when compared with Aphsad (Nawada Subdivision, Gaya District, Bibar 672 A.D.) referring to Srikrsnagupta, Hanya gupta, Jivitagupta, Kumaragupta, Damodaragupta, Mabasenagupta, Madhavagupta and Adityasena give an inkling to the point that Madbavagupta as Malavarajaputra a younger brother of Kumaragupta refered to by Bana may be deemed as the son of Mahasenagupta whom Dr. Baijnath Sharmait construes as having shifted to Malava or Eastern Malava and settled there. Dr. B.N. Sharma, however, postulates Maba senagupta's retention of the Eastern parts of the Gupta empire and bis bringing under sway the dominions from Malava to East Bengal." But Adityasena issued his inscription from Gaya district of Bihar which implies that he remained the overlord of Magadha as such. Dr. Sharma postulates the marriage of Mabasenagupta the sister of Mabasenagupta with Adityavardhana father of Prabhakara-Vardhana. 15 He also postulates that Yasovati the queen of Prabhakaravardbana. was the daughter of Yasovardhana Vikramaditya.16 He therefore makes Prabhakaravardhana as a sister's husband vying with the brother-in-law for the supermacy of Malava. Bana refers to the death of Graha-Varma Maukhari son of Avantivarma and son-in-law of Prabha-.. karavardhana at the hands of Malavaraja.17 He, however, refers to the soige and occupation of Kusasthala (Kanauj) after Rajyarardhana had been despatched to the heavens, the revered queen Rajyasrl having broken loose from the bondage, entered the Vindhya forest along with her entourago, 18 This Gupta may preferably be identified with Deva-Gupta mentioned in Banskhera and Madhuban Plates of Har sa19. Devagupta and others have been described as having been brought under control by Rajyavardbana. But this does not seem to be 80 as indicated by the subsequent sentence in Ucchvasa VIII. "Bhuktavamsca bandhapatprabhsti vistaratah svasuh Kanya-Kubjat Gaudasambhramam guptito Gupta Damna Kulaputrena niskasanam20 Dirgatayasca Rajyavardbana-marana sravanam srutva ca abaranita-karanam" etc. Which means that she was taken out of bondage by some noble scion named 'Gupta' or noble scion of secret appellation. This narration in the eighth Ucchvasa is nothing but a reiteration of what bas been said on p.813/814 of the Calcutta Edition. "Deva devabuvam gate Deve Rajyavardhane Guptanamna ca grhite Kusasthalo Devi Rajyasrih paribhrasya bandhanat Vindhyatavim pravieta jti lokato varttamassavam" For Personal & Private Use Only

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Bhaskaravarma of Dandt and Bana: An Appraisal The version in this paragraph affords double sense in "guptanamna ca grhite Kusasthale" 99 "Kusasthala having been occupied by one named Gupta." Bana here wanted to keep concealed the name of the person who performed the rescue operation in case of Rajyasri lest she could be molested by the enemy and lest the named person could also be taken into custody by the enemy. Hence this version applies both to Devagupta as well as to Gupta scion of noble descent who took out Rajyasri from the bondage. Bana has invariably referred to "Malavaraja" as the assassin of Grahavarma. This poses a problem as to who was the father of Kumaragupta and Madhavagupta 7, Had Devagupta referred to in the inscription of Harsa been the father of the two Princes, the two Princes could not have been made susbservient to Rajyavardhana and Harsa during the life-time of Prabhakaravardhna. But treachery of the Gauda king Sasanka also could suggest treachery of Malavaraja Devagupta who could raise his head after the death of Prabhakaravardhana. If Kumaragupta and Madhavagupta were the two sons of Malavaraja Devagupta, the theory of their being the two sons of Mabasenagupta 22 falls to the ground. Dr. Brij Nath Sharma and Dr. Kailash Chandra Jain 23 have postulated the point of Mahasena Gupta the later Gupta monarch of Magadha retiring to Malava being a relative of Devagupta and also being a father of Kumaragupta and Madhava Gupta. But Rai K.L. Barua Bahadur takes Mahasenagupta to have been the ruler of Magadha who escalated his reign dominions to Bengal. The inscription of Adityasena (Aphsad) (dated 672 A.D.) the grandson of Mahasena Gupta does not refer to Kumaragupta as the elder son of Mahasenagupta. It refers only. to Madhavagupta as the son of Mahasenagupta and a father of Adityasena issuing his inscription from Bihar. Hence Madhavagupta younger brother of Kumara Gupta referred to by Bana could be a distinct person from Madhavagupta son of Mahasena gupta. Dr. H.C. Ray Chaudhari, however, remarks: "Between Mahasensgupta, the contemporary of Prabhakara-Vardhana and his younger or youngest son Madhavagupta, the contemporary of Harga we have to place a king named Devagupta II who is mentioned by name in the Madhuban and Banskhera inscriptions of Harsa as the most prominent among the kings who resembled wicked horses who were all punished and restrained in their evil career by Rajyavardhana. As the Gupta Princes are uniformly connected with Malava in the Harsacarita there can be no doubt that the wicked Devagupta is identical with the wicked. lord of Malava who cut off Grahavarma Maukhari and who was himself For Personal & Private Use Only

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180 Sudarshan Kumar Sharma defeated with ridiculous case by Rajyavardhana. But Dr. R.S. Trathi treats Devagupta as the son of Mahasenagupta who formed an alliance with Sasanka of Bengal and advanced against Grahvarma Maukhart of Kathu Whom he killed. The murder was, however, soon avenged by Rajyavardhana, for he in turn vanquished and perhaps slew Devagupta. A sefon of this family hamed Madhavagupta, was subsequently placed by Harvardhana in Magadha as his feudatory or Viceroy, so that he might be a bulwark against the aggression of Sasanka, 25. These statements of various scholors are based upon the forced imposition on Mahsenagupta the suzerainty of Malava which does not appear to be more plausible. In case Mahasenagupta is to be deemed the 'Malavaraja of Bana who had two sons Kumaragupta and Madhavagupta we may be constrained to identify Devagupta as Kumardgupta the elder son of Mahasena Gupta bearing Devagupta as a variant name. But Bana nowhere. styles Malavaraja as Mahasenagupta. He has neithamed Devagupta nor Mahsenagupta as 'Malavaraja'. He has simply referred to Kumaragupta and Madhavagupta as two brothers, the sons of Malavaraja.. He has left to the scholars to probe into it. Aphsad inscription refers to the discomfiture of Damodaragupta the father of Mahasenagupta at the hands of Isanavarma Maukhari, the king of Kanauj 20 It also refers to Mahasenagupta's victory over Susthitavarma. Mahasenagupta has been compared to Vasudeva and Madhavagupta to Madhava in the, inscription.37 Normally the inscriptions do not omit the Geneology proper even when an elder brother is succeeded by a younger brother as has been in the Nidhanapura Copper plates of Bhaskara Varma in referring to Supratatisthita varma as the elder brother of Bhaskaravarma. In the Allahabad inscription of Samudragupta. "Aryohityupaguhya bhavapisunaih utkarpitaih romabhib sabhyasoch vasitesu tulya-kulaja mlanananodviksitah snehavyalulitena vaspaguruna tattveksina caksusa yah pitrabhihito nirtksya nikhilam pahuevamurvimiti." There is a clear allusion to the predecession of an elder brother as a violation of the right of primogeniture giving rise to the controversial problem of Ramagupta so often discussed by scholars of repute. Had there been a cause of Kumaragupta son of Mahasenagupta predecessing or predeceasing Madhevagupta, the Aphsad inscription of Adityasena would have positively given some clue to it. But on the contrary Madhavagupte - has been described as the direct descendant of Mahasenagupta who was For Personal & Private Use Only

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Bhaskaravarma of Dandi and Band : An Appraisal .. pt essentially a king of Magadba or else Bana would have not concealed bin, pame and substituted it by the term 'Malavai aja' who in Ucchvasa IV, has been shown as owing allegiance to Prabhakaravardhana. But in Ucchvasa VI he has been styled as duratma29 who the day he heard of the death of Prabhakara Vardhana, put an end to the life of Grahavai ma, Maukheri and held captive Rajyusri the sister of Harsa. Malavaraja has been identified by the grant of Harsa as Devaraja killed by Rajyavardhana later on killed by Sasanka king of Gauda who was most probably a nearest kin of Devagupta who might have been a descendant of the direct line of Candragupta II Sakar 130 the Paramount Sovereign of Malava defeated by Prabhakaravardhana (MalavaLaksmi-lataparabuh) after Whoso death he found a loop-hole (Pisacaoamiva Dicanam caritani chidraprabarini prayaso bhavanti)31 to raise his head aloft in collusion with Sasanka tb ureat his vengeadce on the sons of Prabhakaravardhana who had Kumaragupta and Madhavagurpta the two sons of Devagupta as their subserviants 32 ordained as such by Prabhakaravardhana. As has already been observed Mahasenagupta the later Gupta monarch of Magadha had a sister Mabasena guptadevi who was married to Adityavardhana 33 father of Prabna kafavardhand we can easily presume that Mahase nagupta was a maternal uncle of Prabhakaravardhana and could hardly be the Malavaraja vanquished by him as sending his two sons as subserviants to his court for the attendance of Rajyavardhana ar d Harsavardhana. Hi therefore, makes one point more reasonable that Madhavagupta son of Mahasona-gupta was altogeather a different personality from ofre referred to by, Bana in his Har sacarita.: . Dr. B.N. Sharma takes siladitya the king of Malava as the adversary of Prabhakaravardhana.34 Dr. Budha Prakash 35 however, giving an outine. of the history of Malwa ia the Sixth Century says: Ho Data Century says: I. In the eighties of the fifth century Rudravarma probably the son and successor of Bandhuvarma ibuted and challenged Gupta authority in Wes. tern Malwa. Hence the Guptas dismissed him and replaced him.by. Adityavardhana of a new family who had perhaps distinguished himself, in local wars againist local recalcitrant chiefs on the Vakatakas and proved his fidelity and loyalty to the Guptas. This Adityavardhana ruled over Westera Malwa including Dasapura upto about 510 A.D. Then the Hona, lance he descended from the North West and swept him away and thereafter submerged eastern Malwa also. From about 510 A.D. to 525-530, Ad the Hunas first foramana and then Mihirakula were dominent in the whole of North India including Malwa. About 530 A.D. Yasodbarman; ; Visnuvardhana rose from the ranks and made a clean sweep of Malwa, He ! beaueathed a well founded empire in Malwa to his successor Dravyavar For Personal & Private Use Only

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los Sudarshan Kumar Sharma dhana about the middle of the Sixth Century. After a fairly peaceful reiga of more than a quarter of a century Dravyavardhana lost eastern Malwa to the later Gupta Ruler, Mabasenagupta and Western Malwa to the Kalachuri ruler Sankaragana. In the beginning of the Seventh century (601 AD) the Calatyas of Badami defeated and ousted Sankaragama's son and successor Budharaja and became paramount in that region". These views of Dr. Buddha Prakash makes it evident that : 1. The Gupta monarch replaced Rudravarma son of Bandhuvarma in Malwa in the Eighties of the fifth century A.D. by Adityavardhana. 2. Adityavardhana lost to the Hunas in 510 A.D. 3. About 530 Yasodharman Visnuvardhana extirpated the Huna-s and occupied whole of Malawa having himself risen from ranks. 4. Dravyavardhaoa succeeded him about the middle of the Sixth Century i.e. 550 A.D. and reigned upto 573 A,D. 5. Ho lost Eastern Malawa to Mahasonagupta and Western Malawa to Sarkaragana. 6. Sankaragana's son Buddharaja was defeated and ousted by Calatyas of Badami who became the paramount sovereigos of the Malawa. But Dr. R. S. Tripathi dealing with the History of the Kings of Valabhi makes it clear that Harsa (Siladitya), had his son-in-law in Dhruvabhata who was a nephew of Siladitya of Malawa.3. Dr. Tripathi calls Harsa as the quondam adversary of Dhruvabbata. He even identifies Siladitya the former king of Malawa with siladitya Dharmaditya of Valabhi (612 AD)37 who extended his sway over Malawa at that time. This view of Dr. Tripathi gives us a clue that $iladitya Dharmaditya of Valabhi was the Malavaraja the uncle of Dhruvabhata who was the son-in-law of Harsa. But the testimony of Yuanchwang can be based on sooondhand information as compared with the firsthand information of the inscriptions such as Madhuban and Banskhera plates of Harya which describe the extirpation of Dovagupta and others at the hands of Rajyavardhana who certainly killed the Malavara ja who could not have been Mahasenagupta who was a maternal uncle of his father Prabhakaravadhapa and a brother of the grandmother of Rajyavardhana and Harta who could hardly censure him as a wicked horse. The problem of Bhaskaravarma of Bana having been examined and that of Malavaraja Devagupta' having boen discussed in the light of the divergent views of the scholars For Personal & Private Use Only

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Bhaskaravarma of Danai and Bana : An Appraisal Yos the problom of Bhaskaravarma of Dandi requires some examination in the Wight of the historical background pertaining to the history of Magucht depicted by Dandi in his Dasakumara Carita which names Rajahamasa a the king of Magadha38 and Manasara as the king of Malava.39 Dr, H. C. Raychaudhari" bas refuted the arguments of Dr. R. D. Banerji that Mabe sona Gupta father of Madhava Gupta of the Aphsad inscription, the associate of Harsa and the vanquisher of Susthitavarma of Kamarupa was not a king of Malava but of Magadha. He has adduced the evidence of Deo Baranark inscription of Jivita Gupta II having allusion to Baladityadeva and after him to that of Maukhari Sarvavarma and Avantivarma to the total exclusion of the reference to the later guptas. He also quotes Barabara and Nagarjuna bill cave-itscription containing allusion to another line of Maukbaris occupying Magadha. He also quotes Bana referring to Madhavagupta as the son of the king of Malava. But the point goes against his arguments that Bana has also mentioned KUmara Gupta as the elder brother of Madhava Gupta exclusively mentioned in Aphsad, inscription as such and Bana has also referied to Malavaraja as the "Duratma" in VIth Uccbvasa. Banskbera and Madhuban plates of Harta refer to Devagupta and others extirpated by Rajyavardhana. This proves D:vagupta to have been the Malayaraja who owed allegiance to Prabhakaravardhana and sent his two sons Kumaragupta and Madhavagupta to his court as subserviant princes meant to serve the King or else how could Devagupta remain subdued to him. He could only raiso his head after the death of Prabhakaravardhana a fact that stands illustrated by Bana as such. Rajyavardhana marched against Devagupta and his sons could not have kept alliance with Rajyavardhana and Harga as such. They could have found an opportunity to alliga with Devagupta and might have got killed in battle. 'Devagupta dayah' in the inscription of Harga makes it evident. Mahasena-gupta re-established himself on the throne of Magadha and extended his reign to Kamar Upa and Malava could have been his dominion of Gphita-pratimukta mode with Devagupta and others conspiring incognito. Since Mabasenagupta was maternal uncle of Prabhakaravardhana, the latter having been described as 'Malavalaksmflata. parafuh' by Bana we can casily consider Prabhakaravardhana as the Paramount Sovering of Thanesar having Maukharis and Malavas as bis subsidiaries in conjoint effort with MabaseDagupta whose son Madhavagupta could casily succeed to the throne of Magadha hiving small disintegrated parts of Bihar held by vassals of Maukhari descent and others. Mabasena Gupta had banquished Susthitavarma of Kamarupa. That is why later on Bhaskar varma son of Sustbikavarma sought alliance of Harsa for the discomfiture of Satanka of Gauda with a view to consolidating the paramountsy of For Personal & Private Use Only

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Sudarshan Kumar Sharma Harga ia alliance with Madhayagupta son of Mahasenggupta and uncle Harga, Adityasena being his younger cousin. Hence Malavaraja Devagupta was the real king of Malava deposed by Prabhakaravardbaca whom Rajyavardhana killed later on along with his two sons raising heads after the death of Prabhakaravardhana, Madhavagupta being an uncle of Rajyavardhana and Harsa, Adityagena being their cousin having Bhaskaravarma king of Kamarupa confederating with Harsa for the consolidation of suzerainty in Thanesar, Kadauj, Malava and Gauda. This contention of ming in corroborated by Dr. R. C. Majumdar'l who says : "The probability, therefore, is that the later Guptas had got founded any distinct kingdom until after the overthrow of the Gupta empire and then they fought with the Maukharis and other powers for a share of the spoils. They probably retained as much of it as they could and may be regarded as the residuary legatee of the Gupta Empire. Magadha and Nor thern Bengal which were the last strong-holds of the Gupta emperors, wero probably seized by them. They also probably held claims to other parts of the empire including Malwa of which they might have got possession even some. what earlier after the downfall of the short-lived empire of Yasodharman. Later, when Sasaoka established an independent kingdom in Gauda the later Guptas were confined to Malawa. But Dr. Majumdar's contention of later Guptas having been confined to Malwa does not appear to be very conclusive 48 confessed by the worthy scholar himself. Later Guptas were decidedly the rulers of Magadha as clearly evidenced by the Aphsad inscription of Adi., tyasega. Dr. R. C. Majumdar's contention pertaining to Damodaragupta the latec Gupta monarch of Magadha, the son of Kumaragupta and father of Mabasega-Gupta that he defeated the Maukharis though he himself probably died of was seriously wounded (Samm Urcchitah)"? strikes me as holding parallel to the description of Dandi in wbich Rajahansa the king of Magadha was lost to sight and came to light only after his son Raja. vabapa had been born to Vasumati who on the verge of committing a suicide had been rescued by the ministers baving been dissuaded from her resolve. Rajayahana of Danai may be compared to Mabasca-Gupta who made a chivalrous effort towards integration of the entire country under one sceptre by defeatiog Susthitavarma of Kamarupa and by entertaining matrimonial alliance with Adityavardhana father of Prabhakaravardhana in the focm of marriage of Mahasec agupta his sister with Adityavardhana Isangvarma Maukhari may be identified as Manasara of Malava who had Devagupta and others killed by Rajyavardbana as his successors aspiring for tho resurrection of regnal glory. Kautilya in Arthasastra identifies Asmaka, with Maharastra while Panioi refera, to the pair names of For Personal & Private Use Only

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Bhaskaravarma of Dandi and Bana : An Appraisal "Ayantyasmakah" supported accordingly by Rhys Davids." Asmaka was probably cantiguous to Avanti (Modern Malava). Honce Vasantabhanu king of Asmaka was a king of an area contiguous to Avanti. Dandi has also referred to Vidarbha as the kingdom of the Bhoja King Puayavarma having a son Anantavarma followed by Bhaskara Varma. Kalidasa refers to Agniditra as the King of Vidisa and refers to Yajnasena as the king of Vid. arbha. Vidisa (Malava) was not far away from Vidarbha. Asmaka being contiguous to Avanti was also not far away from Vidardha. Dandi has also mentioned Avantideva as the king of Kuntala. Bhadu Varma as that of Vanavasi, Vfrasena that of Murala, Bkavira that of Roika, Ktmaragupta as that of Konkana and Nagapala as the prince of Nasilya, Pracandavarma of Utkala, Simba Varma of Anga and Mitravarma of Mahismati. Bana'get allusion to sarabha, the overlord of Acmaka having his head chopped off by the spies of tho onemy guised as students of muste, Abmaka lord having ponchant for lute' refers to Sarabha as the king of Asmaka prior to the first half of the Sovonth Century. Whether this Sat. abha was a variant name of of Vasantabhanu changed by Dandi as such or Sarabha was a predecessor of Vasanta Bhanu we shall have to oxataino on the basis of comparative logic. Thore is a reference to one Sarabha raja in the Eran stone pillar inscription of the time of Bhanugupta (Sara: bha raja daubitrah Svavamsatilako' dhuna Sri Bhanu gupto)". This Sara bearaja may be the king Sarabha of Assmaka alias Vasantabhanu reffered to by Dandi. These facts shall have to be proved on the basis of ovidencos external as well as internal or refuted as such. This comparative examination resulting in some tangible conclusions shall help os establish ultimately the comparative chronology of Dandi and Bapa as writers of prose romance. Our examination shall revolve round the comparative status of Vidarbha, Asmaka, Mabisnati, Utkala, Adga and other Geographical units bearing impact on contemporary history. Bana's allusion to Sarabha as the Asmaka lord duped to decapitation by some spies of the onemies guised as students of Music deservas examination in the light of the description of Dandi in the Visrutacarita Vasantabhaou the king of Asmaka managed to kill Annatavarma by dint of his superior diplomacy. Visruta on hearing the whole account from Nalijangha that Bhaskaravarma the minor son of Anatavarma had been rescued by strategy and brought to the Vindhya forest and that his father (i.. Busruta's) and that of the mother of Bhasbaravarma (i. e. Basundh. ara's) maternal grandfather was the sams, avowed to extirpate the king Sombodhi X 14 For Personal & Private Use Only

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106 Sudarshan Kumite Sharing of Asmaka by; diplomacy and re-establish Bhaskaravariir of Anantavarm. on the thrond "tam nay valiptamasmakendram nayenaivonmalya balamenam pitryepade pratisthapayeyam -iti pratijnaya" etc, This avowal of Visruta proclaims him as an enemy of the king of Asmaka. The strategy employed by him as illustrated in the subsequent narr. ation also comes up to the mark of Bana's-illustration quoted-above. Having heard it from the Kirata that Pracandavarma younger brother of Candavarma king of Utkal was eager to marry Manjuvadint the proclaimed daughtar of Mitravarma king of Mabismati and Mitravarma who equally cager to put an end to the life of Bhaskaravarma thereby depriving Bhaskaravrma to succeed to his ancestral throne. Visruta sent words through the forester to Vasundhara promising her full protection that she should kill Mitravarm & with the help of poison-soaked garland and then he himself frightened Pracandavarma to death in a cemetry, himself marrying Manjuvadini in the bargain :'He made it proclaimed in public that Vasantabhanu the Biog of Asmaka had organised the downfall of Mitravarma and Pracandavarma. Ho-conviroed the people that Asmaka Lord as the defaulter deserved a lessen to be taught. He had managed to-kih Pracandavarma with the help of spies guistu as dancers' (Kusitavas). He himself had become a dancer and Tdiverted him. When lost in revelry Pracandavarma was killed by hit with the help of daggers (Taravarayah of Bana) borrowed from the dan. cers (spies) concealing them within their lute gourds. He sought the succour of Aryaketu the minister of Mitravarma and employing strategies superior to Aryaketu's intellect, he won over the favour of people of Asmaka and Vidarbha and employing all the devious tactics guided by Aryaketu he managad aff-irs in such a way that Vasaptabhanu was left alone under the marvellous impact of Durga whose attendant Visruta was. Visruta struck a counter blow when struck by Asmaka lord and des patched him to the heavens. He re-established Bhaskaravarma on the throno of his ancestors. The outline synopsis of the strategems of Visruta makos it evident that Bana's account might be true to the factual norm and Dandi's' ascount of describing the death of Pracanda Varma' in the manner of the death of Sarabha the Asmaka lord and that of Asmka lord also at the hands of Visruta may be twisting of the reality which he endeavoured to colour with a tinge of literery exaggeration in pootto norm. To my dpinion Bana had the correct information of what Dandi tried to make a fictfon in his own times leaving it to Bana in later tintos to expound in correct words. Sarabha might have been the real name of For Personal & Private Use Only

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Bhaskaravarma of Dandi and Bana: An Appraisal A makeavara referred to by Bana and changed to Vasanta Bhanu by Dandi who wrote his work more as a romance than as a chronicle as illustrated by Bana who was writing the factual chronicle of Harsa. Dandi's Romance has shrouded fact by fiction, the latter normally revealing its real by conjectures. Sarabharaja the maternal grandsire of Goparaja and Bhanugupta mentioned in the Eran stone Pillar inscription of Bhanuguptadated 510 A.D. may be considered as the Asmaka lord involved in a series of strifes with the contiguous Kindgoma. Dandi as a romancer could har dly preserve the faithful account more accurately than Bana who was writing the chronicle of Harsa. There is another possibility. Sarabha, meeting, his end by the strategem of Kunilavas, might have been changed to Pracandavarma by Dandt being not the same person as Sarabharaja of Eran inseription. This Sarabharaja might have been a different person. Pracandavarma-Vasanabha u-apisode might have been one single unit divided into two by Dandi both getting the same treatment at the hands of Visruta who acting the role of a leader of the 'Ripupurush' employed the device. of Kusilavas on both of whom Pracandavarma might have been a better contender for supremacy in comparision to Vasantabhanu and Mitravarma etc. Hence Pracand varma of Dandr appears to be more akin to the Asmafetvara Sarabha of Bana. Finally we come to the point of Bhasakaravarma of Dandt and Bhits karavarma of Bana. Do the two Prose writers refer to one and the same Bhaskaravarma in his early minority and youthful majority or two different persons hailing from two different regimes in two different epochs far removed from each other. Dindt has referred to Bhaskaravarma as a son of Anantavarma and a grand son of Punyavarma king of Vidarbha and a scion of the Bhoja lineage. Dr. V. V. Mirashi has identified Bhaskaravarma with Harisana's grand son who regained the ancestral throne with external help and could not maintain it for long in so far as Vidarbha was occupied by Kalachuris about fifty years after the death of Harisena (Vakataka King)4. He defines Vidarbha as comprising of Vatsa-Gulma country which extended from the Narmada in the North to the Godavari in the South. He identified Afmaka as lying directly to the South of Malaka (Aurangabad District,48. These identifications of Dr. Mirashi go against the idea of Bhaskaravarma of Dandi and Bana being considered as one and the same person in his Minority and Majority. But Dandi has referred to the shore of Narmada where all the vassals of Asmaka-lord assembled with armis to offer assistance to the war between Anantavarma and Bhanuvarma the two kings of Vidarbha and Vanavast.40 Dandi has named Avantidiva as the king of Kuntala whom As naka lord extirpated alongwith other. vassals except the king of Vanavast, whom he gave only 100 For Personal & Private Use Only

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108 Sudarshan Kumar Sharma a part of the spoils of the kingdom of Anantavarma. Against Dr. V. V. Mirashi's identification of Bhaskaravarma with Harisona's grandson Dr. D. K. Gupta remarks "But bere Dandi seems to have made a conveniost departure from the actual events to suit the plot of his narrativo, for wo koow for certain that not long after Harigena's death Vidarbha sufforod occupation by Kalacuhris who had in the meantime established themselves at Mahiqmati.50 Dr. A. S. Altekar51 likewise establishes the fall of Vakatakas by 550 A. D. wheo Caulukyas occupied the region of Vidarbha. He further says : "The Vakataka empire disappeared by C. 549 because Kadambas of Karnataka, the Kalachuris of Northern Maharastra and the Nalas of Baster State managed to absorb most of its territories during the weak rulo of successor (or successors) of Harisena. None of these powers, however, succeeded in building up an empire embracing the whole of the Deccan. Un expectedly, then arose a new ruling house in Karsataka that of the Caulakyas which soon managed to defeat every one of these powers and apocx its territory52. These points refute the argument of Dr. Mriashi that Bhas karavarm, was Harisena's grand son. Let us examine the point if we can identify the vidarbha kings Punyavarma, Anantavarma and Bhaskaravarmt with the Caulukyas of...Vatapi. The description of Vidarbha as given by Dandi in the Visrutacarita having Punyavarma of righteous conduct gives us clues to suromise that Punyavarma should be identified with Pulakesin II - who came to the throne about the middle of the 6th Century A. D, u a figure of some note after Jayasimha and Ranaraga bad initiated the lineage Polaket II made Vatapi (Modern Badami, Modern Bijapur Distt.) bis capital and even indulged in imperial pretensions by celebrating an Aivamedha Sacrifice. His successor was Kirtivarma who defeated the Mauryas of North Konkana as well as the Kadambas of Vanavasi (North Kanara) and the Nalas, whose exact location is uncertain. According to certain epigraphs armics penetrated right upto Bibar (Magadha) and Vanga (Bengal) in the North and the Cela and Pandya territories in the South, but in the absence of any other corroboration it is doubtful if the alleged exploits are founded on fact. When Kirtivarma died, his younger brother bru. shed aside the minor nephews and assumed the crown himself. Mangalaraja or Mangalesa is said to have subjugated the Kalachuris of Northern Dekkan (Sankaragana and Buddha-raja). Mangalesa's last days were clouded by court intrigues leading to a civil war. Evidently all. attempts to - settle the succession on his son came to naught and be met his death while fighting against the forces of his energetic and vigilantnephew.13. Pulakesin II was his vigilant nephew who through his expert strategies: -- overthrew his uncle with the help of his wise coussellors, Kirtivarman : For Personal & Private Use Only

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Bhaskaravama of Bandi and Bana - An Apparaisal 10g therefore, strikes a' peer to Adaptavarma and Pulakesin II to Bhaskara-! varma who was a minor at the time of the death of Kirtivarma and had to face the diplomatic viles of Mangaleba before succeeding to the throne of Kirtivarma with the help of his patrons and counsellors, Pracandavarma already established as Asmakendra of Pandi might have been Mangalesa or Mangalaraja given a variant name and variant charactor role to play in the Dasakumaracarita. . . ! !! The points illustrated above make it equally bvident that Dandi describing Bhaskaravarma in his early boyhood in the garb of Pulakesin fr (reign perlod 609-642 A.D.54) definitely antedated Bana by a period of few years or was an elder contemporary of Bana who joined the court of Harsa when the king had established himself on the throne of Thapesar and Kananj after the death of Prabhakata-Vardhana, Rajyavardhana; Grabayarma and settled himself well to become one as capable of enjoying the patronage of renowned poet i.e. not before 610 or 615 AD., when he started writing his work Harsacarita. Dandi probably flourished in the South, Subandhu in the Central Provinces preferably Malwa (R.G. Harsha's opinion)55 and Bana in the Northern region. Since Sinhavisnu the Pallava king of Kanci flourished in the latter half of the 6th century56, Danki, his ide ? court poet (if his authorship of ASK is to be believed) cannot have flourished beyond the time of Bana even though he alludes to claim in his introductory verse 19 of th: Avagtisundari Katha, Bhaskaravarma of Bana, was altogether a different person, an elder contemporary of Ham, whoso father Sustbitavarma was defeated by Mabdrenagupta of later Guptas. In Avanti-Sundari Katha Dandi 'has referred to Bana along with Mayura, the latter believed to have been the father in law of the former, He probably refers to Bana in the early days of his career when he had some strife with Mayura while leading a vagrant life. An elder contemporary can easily learn about a younger comtemporary and allude to him in some work being prepared by him synchronistically with the early life of the junior contemporary. Daudi knows about Simhavisnu but he knows nothing about Harsa and Pulakcsin II who bad Narasimha Warmason of Mahendravarma and grand son of Simbavisnu for his contemporary rival. Since Hana had a war with Pulakesin II obviously Narasimhavarma 1. was a contemporary of Harja and Pulakesin II and also of Bhasakacavarma of Kamarapa whose alliance had been sought by Harga for his expedition against the Malava Gauda confederation. Had Dandi been a poot posterior to the age of, Rana he would have described in his narrative even the political eircumstances of the days of Harsa and Pulakcsin existing in the middle of the Seventh Century A.D. Hence. Danai the contemporary of Subaadhu and an eldur contemporary of Bana flourished not later than W TH! ! For Personal & Private Use Only

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110 in Sudarshan Kumar Sharma the Instgarter of the Sixth Century since Dr. Umegh; Prasad Rastogi has plaogd Bhagpyl the grand father of Dandi in the begining of the Sjuh Contury.57 NOTES Paper presonted for the 5th world Sanskrit Conference Varansi. Oct. 21-26 1981, 1. Dalakumaracarita, M.R.Kale, pp 186-201. 2. Ibid p.p. 204-210 -3. Haecacita, Cal. ed. VII pp 786-788 14. Ibid VI 692. 49. Madhuban and Banskhera Plates of Haryavardhapa. Banskkera, dated 628-629 A.D. and Madhuban dated. 631-632 A.D. (fn on line 5 from belew p. 94) 5. pp 27-97 7. Early History of Kimarupa p. 366. 8:10. A study of Ancient Indian Inscription-Dr. Vasudeva Upadhayay p. 236. . u. Tupu caivamutpadyan nesu kramona udapati Hunaharina kesark - Sindhuraja jarah Gurjjaraprajagarah Gandbaradhipadvipakatapakalab. Lata piktavapafaccarpbr Malevalakrmilat parasub Pratapadla iti Prathit parapama Prabhakara vardhana nima, rajadhirajah. H.C. Caled, pp. 342-343. 12. Barly History, of Kapacapa.....p 38-39. 13.. MC. IV p. 412. 14. Harja and his timos pp 29-30 15. Ibid p.30 16. Ibid p.106 17. Dova ! Pikacanamiva nicanam caritani chidra praharimi pruyado bhavanti yato yasmine aheal avanipatih uparatah iti abhutvartta Agami papa dexo. Ggahayarpa duratman, Malayarajena * Uvalokam ktmanah Sukstena sahatyajitah HC VI AP 606-907. Cal Ed. , 18. Ibid p. 813 19. Rajano yudhi dufpavajina iva bridevaguptadayahkstvayena kakapraharayimukha! Barve rmam samyatih. 20. HC YHI p 903 CAL-ed. 21. HC. VI pp.606-607. Nirpulan. Aronmglaplya ibid. VI p 609 Yo Malavaih paribbavah Puspabbotiyambaya ibid. p. 612 and ibid IV p 412 of 13 above Kumkragupta was eighteen years of age while Midhavagupta was younger to him. Madhavagupta was extremely robust and tall while Kumaragupta Wagot tall and was alim. 22. Hagha and his times p. 29-30 23. Malva Through the Ages. pp 264-265 24. Political History of Ancient India p. 607 25. Hhtory af Ancient India p. 287. For Personal & Private Use Only

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Bhaskaravarma of Dandi and Bana : An Appraisal 26. Sridamodragupta bhuatanayastasya bhupateh. Tena Damodarepeva daitya iva hatih dvirab Yo Maukhareh samitisuddhatahiga sainyaValgadghata vigbatayannoruytranknam . sammurcchirah suravadhu varayan mameti Historical and literary Inscriptions Dr, Raj Bali Pandeya p. 151 27. Vasudevkdiva tasmacchrisevanalobhitacaragyugah Srimadhvagupto'bhun'madhava iva vikra ma katast : Ibid. Littes 11-12 Verse 15. 28. Line 8 Verse 4 p 72. HALI Dr Raj Bali Pandeya. 29. Cff 17 above. 30. Aripure ca parakalatrakinukam, kaminivesagupta-ica Candraguptah Sakapatin alstay at. HC VI pp 696-697 Caled 31. Ibid VI p. 606 Cp 17 above Cfr. 32. Mulawarajaputrau' bhratatau...Kumaragupta-Madhavgapeau afmathirbhik Vatan anuocratvaratham imau nirdi tau. ibid IV p. 412 33. Banskhera insc. of Harsa L.2 p 145 HAL I Dr. R.B. Pandeya: 34. Harsa and his times p. 106 35. Aspocts of Indian History and Culture p. 100 36. History of Ancient India p.284. 37. Ibid p.285. 38. DKC pup 39. Ibid! 40. Appeadir di pes 623-625 41. The Vakafaka Gupta Age Chi X The Disintegration of the Gupta Empire pp. 192.. 193. 42. Aphead inscription of Adityasena L.11 Verse 11 p. 151 HAL-I Dr. R.B. Pandeya the Vakataka Gupta' Age p. 190- 43. Geographical encyclopaedia of Ancient and Mediaeval India. Dr. K. D. Bafpani and others. 44. Cf. 5 above. 43. Versea 2-3-11. 4-5 P. 109 HAL I Dr R. B. Pandeya. 46. Studies in Indology Vol. I p.176. 47. Jbid Vol. II p. 163 48. Ibid p 166 49. DKC P 200 M. R Kale 50. Society and Customs in the times of Dandi p. 32 51. Vakataka-Gupta Age p. 114-115. 52. Vakataka-Gupta Age pp. 114-115 53. History of Ancient India by Dr. R. S. Tripathi pp. 395-396. 51. An advanced History of India by Dr. R. C. Majumaar. p. 175. . 55. P. V. Kano Commemoration volume pp 214220. 56 An advanced history of India P. 173 57. Bharari Kavya nen Arthantaranyaga pp. 6-7 For Personal & Private Use Only

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NY CHITTAPA AND HIS SUBHASITAS Smt. Nilanjana S: "Shah Introduction : In sanskrit anthologies, many verses are ascribed to pocts who are otherwise unknown to us ag authors of any literary compositions. These anthologies sometimes agree as regards the ascciptions, sometimes they diffor. Out of these several poets known only through the stray verses appoa. ring in anthologies, we have here attempted to collect all the verses attributed to Chittapa, (the court poet of Bhoja.) either unanimously or otherwise Bhilsa stone inscription't mentions the poet Chittapa as the author of one poem containing the eulogy of the Sun-god. From the study of these verses, we have endeavoured to trace hints for his probable place, time and to appreciate his genius. : i . . The Subhasitas culled here are taken from the Subhasitaratna-Kosa (Srk) of Vidyakara (11th century), Sadukti-Karnamsta (Skm) of Sridhara.. dasa (1205 A. D.), Saktimuktavali (Smv) of Jalhana (A. D. 1258), Suktiratoakosa (Sk) of Laksmana2 (13th century), saragadharapaddhati (Sp) of Sarngadhara (4. D. 1363), Subhasitavali (Sv) of Vallabbadeva (13th cen. tury), and Prasanna-sabitya-ratnakara (Psr) of Naodana3 (15th century). Out of these anthologies, Srk is the earliest. It includes 12 of these verses. But it ascribes only one (749) verse to Chittapa specifically, while it assigns four verses (54, 61, 1059, -1457) to other poets, the rest being given without any ascriptions. The largest number of these Subhasitas are found in Skm, which cites as many as 46 out of 525. Among these, 40 ate ascribod to Chittapa, wbile only 4 (73, 396, 1476, 1636) are credited to other po'ts, the remaining two (3, 61) being anonymous. In Smv., Jalhana cites -14 of these verses, 'eight of which he assigas to Chittapa, while he differs as regards the authorship of the three verses (90.1, 97.10; 97.37) and leaves the three (2-105; 72-4; 97-33) others, anonymous. In Sk Laksmana cites three verses (110, 111, 112). and ascribes them all to Chittapa. These verses, appear exclusively in this anthology. Sp includes five of these verses?. It attributes one verse (98) to Chittrama. It is one of the variants of the poet's name. Three verses (583,777, 1248) are assigned to other poets while verze no, 4019 is left without any asori. ption, For Personal & Private Use Only

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Chittapa and his Subhasitas Sv contains, four of these verses, but ascribes none to Chittapa. It attributes two (843, 2419) to other poets whereas two others are shown as anonymous, Psr includes 10 of these verses; and ascribes them all to Chittapa. It may be noted that one of these verses is such that it is not found in any other anthology except Psr. * As some of the verses are common in more than one anthology, the total number of subhasitas assigned to Chittapa in all these anthologica comes to 52. In the Ganaratnamahodadhi (a work of Sanskrit grammar) Vardham on (A.D. 1141) quotes two. verses by Chittapa as illustrations of certain grammatical rules. These two verses form a supplement to 52 Subhasitas, Stanzas .cited in Alankara works: --- - We shall now trace these verses to some prominent works of Alatkara-sastra where they serve as appropriate illustrations of various alatka. ras and poetic gunas. These verses are referred to under the serial numbers given in the text constituted here. .. Sarasvatikanfhabharana (SKA) cites verse 3 (SKA III. 135) and verse 23 (SKA. III.131)as illustrations of separate varieties of Vyatireka. Verse 4 ocour in this work (SKA, II 66) as an illustration of Artharacana. Verse 10 (SKA.1.98) illustrates sabda-paka according to Bhoja. Verse 24 is given in SKA. I. 87 as an illustration of the quality "Gambhirya'. SKA (II. 356) cites verse no. 32 as an illustration of Citrokti. Verve 43 is cited in the Pariccheda V of SKA (v. 500) with reference to rasa treatment. The verse 49 illustrates the quality Kanti', according to SKA, 1, 81. Srngaraprakasa (Sf. Pra) of Bhoja gives verse 1 as the opening Mat. gala Sloka.1o Verse 5 is given in Sr. Pra, as an illustration of apunadadhvani, one of the varietics of dhvani." According to Kavyaprakasa V. 118, verso 8 illustrates how one bhava is subservient to the other. It is interesting to note that in Jhalakikar's odition of Kavyaprakasa, the verse is attributed, on the authority of the Dipika of Jayanta Bhatta to a poet named Pancaksarl, who is said to havo addressed it to King Bhoja. Verse 44 is given by Mammata (VI. 139) as illustrating sabdacitra. It is noteworthy that Appaya Diksita also cites a number of Chittapa's verses as illustrations of various figures of speech in Kuvalayananda, Verse 4 occurs in this work (p. 126) as an examplo of Ekavall, Verse 8 is Sombhodhi X-15 For Personal & Private Use Only

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Smt. Nilanjana S. Shah quoted by Appaya Diksita as an illustration of Preyas (p. 184). Ono variety of Aprastu taprabamsa (p. 87) is illustrated by verso 14. Verse 35 occurs in this work as an illustration of Tadrupyar Upaka (p. 17). The figure of speech, Uttara is illustrated by v. 41 (p. 167). Verse 8 again occurs in Citramimitia 13 of this author as illustrating Preyas. Jagannatha cites the same verg as an illustration of Preyas in Rasagangadhara. 14 Author and his date : The name of the poet appears in several variant forms such as ch ttapa, Chittipa, sittipa, 15, Cittapa, 16 Chinnamalt and Chitrama.18 Among them Chittapa occurs most frequently and it is that which is generally adopted. 19 The form Chittapa or Cittapa obvoiusly seems to be a Sanskritised form of a name belonging to Kannada language. It seems that Chittapa originally belonged to the Kuntala region, but for the major part of life, he resided in Malava.20 - We do not know the name of the father of Chittapa, but Prabhavakacarita2l introduces him as the pupil of Kardamaraja. Chittapa is introduced in this work as a member of Bhoja's court. One incident narrated in this work as indicates that Chittapa had won high esteem in the court of Bhoja, by his learning and poetic genius. When Dhanapala the famous Sanskrit poet threatened to defeat the courtpandits of Dhara with his dialectical skill, the Kaula poet Dharma proclained that Dhanapala will not win as Chittapa was presont in the court. The Bhilsa stone inscription 23 in the last stanza mentions Dandanayaka Candra as the friend of Chittapa. It refers to Chittapa as Mahakavi-Cakravarti. It seems therefore that Bhoja may have conforred this title on the poet. One reference in the Prabandhacintamani! also confirms the fact that Chittapa and Dhanapala vied with cach other in the court of Bhoja. We do not get any authentic information about the religion of the poct. But in seven verses Chittapa invokes Siva with ardent devotion, therein he seeks the blessings of the god Siva. This obviously implies that the favourite deity of the poet was Siva,35 In the eulogy, composed by him on the Sun--god, the poet icems to have been inspired under the local influence of Bhilsa Bhilsa (the head. quarter of Bhilsa Dist. in M.P.) is named after Bhaillasvamin, the name of an image of the Sun-god worshipped in a great temple at that place. The BhIlsa inscription of V.S. 933 (A. D. 878) records a grant made in For Personal & Private Use Only

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Chittapa and his Subhasitas iis favour of the temple of this god. This Bhilsa was a centre of Sun-worship and therefore it is but natural' that this eulogy of the Sun-god was inscribed on stone and embedded in the wall of the celebrated Sun-temple at Bhilsa,28 Chittapa is one of the few Sanskrit poets whose date can be fixed with some certainty. As for internal evidence, it may be observed that the poet refers to Malavaraja in two verses and specifically to Bhoja in three verses. This Bboja is obviously the Paramara king Bhoja of Malava (A, D. 1026 to 1055) In two verses he alluded to the king of Kuntala whose aggression on the Malava territory brought about the distress of Malavi ladies. This reference seems to imply some clash which took place between Bhoja and the king of Kuntala. A perusal of history27 of this period, particularly the history of the later Calukyas of the Deccan, reveals that Jayasimha II (A. D. 1015-1043) had defeated Bhoja sometime before A. D. 1024. He was succeeded by his son Somesvara whose reign ranged from A. D. 1043-1068. About A. D. 1017, Somesvara I invaded the adjoining territory of Malava and plundered Ujjayini and Dhara, the capital of Paramara Pboja 'who fled away. Therefore the king of Kuntala referred to here must be either Jayasimba II or Somesvara I. The fact is well known that the territory of the later Calukyas of Kalyana was known as Kuntala.28 . From this internal evidence it may be inferred that Chittapa flouri. shed during the regin of Paramara king Bhoja (A. D. 1026-1055 ) of Malava. The external evidence corroborates this conclusion, Bhoja himself quotes some of Chittapa's verses in SKA. (Sarasvatikanthabharana) and Sr. Pra. (Srngara Prakasa), without specifying the author's name. It is wellknown that Bhoja has cited illustrations from the works of the earlier and even contemporary poets. Verses of Chittapa are cited by later authors such as Vardhamaga (A. D. 1143) and Prabhacandrasuri (A. D. 1278). Thus the end of the reign of Bhoja can be regarded as the lower limit for the date of Chittapa. In the Prabhavakacarita (A. D. 1278) the author has specifically in. dicated that Chittapa was a member of Bhoja's court and that the fame of this poet excelled even that of Dhanapala. Merutunga mentions in his Praband hacintamani (A.D. 1304),29 Chittapa in connection with Bhoia's court. For Personal & Private Use Only

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ijo Smi. Nilanjana S. Shah A verse given by Vallabhadeva in Sv.30 mentions Bhoja as glorified by Chittapa, Bilbana and others. All these references lead us to adsert that Chittapa was a court poet of king Bhoja and his fame was fully established during his reign. On the basis of the known period of Bhoja's roiga, the poet Chittapa may be ascribed to the second or the begioning of the third quarter of the eleventh century. * An eulogy of San-God composed by Chittapa. An inscription from Bhilsa31 contains an eulogy of Sun-God composed by Mahakavicakravartin Sri Chittapa. The record bears no date but is assignable to the 11th century on paleographical grounds. This inscription contains a short poem of 23 stanzas in Anustubh. It was composed by the poet Chittapa at the instance of Danpanayaka Srr Candra as stated at the end of the inscription. Bhilsa region formed a part of the dominion of the Paramara king. Dandanayaka Sri Candra, a friend of Chittapa, appears to have beco an officer in the employment of Paramara Bhoja. ** As the top and the left side of the inscribed stone have broken down, we are not in a position to have the complete text of the inscription. From the observation of the extant portion, it appears that the inscription originally contained at least 23 stanzas in the Aoustubh metre. They are all addressed to the Sun God. The last stanza speaks of the composition as a stuti (eulogy). Out of these, the text of 10 stanzas has been fully deciphored. The remaining 13 stanzas are completely lost. Verse 5 refers to the sage Agastya who is famous in the solar mythology of India. Verso 6 describes how the Sun-God's youngest brother i.e. Visnu cut off the head of Rahu. Verse 8 represents the Sun's rays as the source of splendour. The Dext stanza alludes to the various diffusion of the Sun's rays, Verse 11 illastrates the maxim: love's way is torturous. Verses 18 and 20 are remarkable for their pleasant ideas and sweet expressions and are really worthy of the great poet. Verse 23 refers to the conclusion of the eulogy. None of the verses of Bhilsa is quoted in the Subhasita-Samgrabas. Chittaps as a grammarian Chittapa's two verses illustrating certain rules of grammar are found in Vardhamanas Ori's Ganaratnamahodadhi, A study of these verses reveals that Chittapa was a grammarian, who has illustrated certain grammatical rules through verses specially composed for them, wherein sometimes his view differs from that of others. One verse of Chittapa occurs in the Svopajna commentary of VardhaDana og verse 46 in chapter 1.32 The verse enumerates certain words to For Personal & Private Use Only

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Chitrapa and his Subhasias which he termination applies. As regards, the form farmheft, Vardhamana explains in the commentary on this verso that the termination of applios to fares, faster and 963 only, when they denote the meaning related to vagaspati, but otherwise their feminine forms would be fa , F67 & gout by taking Ery. He further remarks that Chittapa however applios the termination 9 to face, frothes and get in general, irrespective of the meaning denoted by them. In his verse, na puSkalI te svarloke janatA kintu saamrii| vikalI zalkamAtreNa mahatI niSkalIyate // the words othes and op do not depote - vanaspati, yet they take offer while forming feminine, whereas the word fas also takes even when it denotes. Vanaspati. It is necessary to note that according to Pa.IV. 1.41, these words are included in the 1933 and therefore they form their feminine forms by kISa termination. Thus their feminine forms would be vikalI, niSkalI and yopat. Vardhamana here notes that his opinion is supported by Bhoja in his statement, kartha vikalAH kAlavizeSavAcino nityaM strIviSayatvAdyASeva bhavati / On referring to the Sarasvatskankhabharana, we notice that its author Bhoja only gives the sQtra, EATTETTEN FORTSITERU - paannddraamrsundrviklnissklpussklebhyH|" (III. 4.53) in this context. But the sentence quoted by Vardhamaoa and attributed to Bhoja, is given in the vstti as that of Dandanatha Naraya nabhatta in the printed edition of the Sarasvatikanthabharana.35 Does it therefore imply, that this Vitti was ascribed to Bhoja in the times of Vardhamana, thoughit was in fact composed by the author named Dandanatha Naraya. nabbajta ? In this context it may be noted that the editor of the work bas taken Dandanatha Narayanabhatta as a high officer in the court of king Bhoja. From the above discussion it will be evident that Chittapa was bold enough to differ from contemporary grammarians. the other verse of Chittapa is quoted in Vardhamana's commentary a verse 98 in chapter II.36 This verse of the work enumerates the words For Personal & Private Use Only

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St. Nilanjana S. Shah in the area and enjoins Tatpurues compound in the sense of ap is one of the words included in this gana. Vardhamanasuri ven two meanings of arthekRtya, sArthakaM kRtvA and saprayojanaM kRtvA He supports the latter, leaning by quoting Chittapa's verse : sAkSAtkRte'tha varNaikRti dinmukhAnAM uSNakRto'Si vaze kRdamakadAste / AsthAkRtAH kRtanamaskRtayo'rthamathai-.. kRtya vratI ca nRpatI ca nRpasya jagmuH // In this verse, is used in the sense of making fruitful rather than making meaningful." T Here it may also be noted that in this verse, Chittapa has, also given illustrations of sAkSAt, lavaNa, uSNa, vaza, amA, AsthA and namaskRti in additiog to artha. In this context, it deserves notice that three verses included in our dollection of Chittapa's Subhasitas are obviously intended to give similar illustrations for certain grammatical forms. They are verses no. 12, 14 and 38. They are cited by Laksmana in his SK. In verse 12, he has illustrated two forms bASpAyamANa and uSmAyamANa which are present participles of a. In verse 14 also, he has illustrated two forms & kohitAyaMte which are forms of nAmadhAtu. In verse 38, desiderative forms vicikitsati and jugupsate are illustrated. Sternbach37 has rightly guessed that probably Chittapa was the author of a Kavya illustrating grammar (ganaratna) and also of Sriggra-prakasa, Even Raghavan,38 in his Sragara-Prakasa has doubted Bhoja's authorship of the work and presumably ascribed it to Chittapa or to some other pobt. Agreement and disagreement as regards the ascriptions of the Subhajitas Out of fifty two Subhasitas collated here, 24 are found only in Skm, 2 only in Smv, 1 only in Psr, while 3 verses found in SK are also not found cis el where. These verses are ascribed to Chittapa in these works. The remaining 22 Subbasitas occur in more than one anthologies. The anthologists do not specify the author's name in the case of all verses. When an anthologist is not in a position to specify it, he either the verse unattributed or introduces it as composed by 'somebody. I the case of some of these verses, the author's name is given by some other For Personal & Private Use Only

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chhapa arid 3 Subhasitas Mayura ; 10 anthologist. The latter must have some tradition for the ascription some particular poet. These verses may safely be attributed to the author montioned by one or more anthologists though the verses are introduced as anonymous by other anthologists. Tho information regarding the sources of the Subhasitas and their authorship according to the anthologies is given below : Verse No. Source Author Skm. 131 Chitrapa 2 Skm 22 Chittapa Psr 31 Chittapa, Cittapa Cittupa Skin 90 Chittapa Smv 2.24 Chittaps Spa-98 Chittramp Skm 82 Chittapa Srk 54 Bhojadeva Skm 61 anonymous Sav 2.12 Chittapa Sek 101; Skm 5; Smv 2.105; Psr 22 anonymous 1 : :sk.61; Skm 73 Stm 1407; Chittapa, Smy 97-10 Han umat 9 Skm 1460 Chittapa Skm 1636, Hapomat, Sov 97.5 Chittapa Skm 1491; Chittapa, Sv 2419; Sp 583 Simhadatta Sk 111 Chittapa Srk 1005; anonymous, Skm 1616; Psc 76 Chittapa Skm +372 Chittipa 15: Srk 749; Skm 1399; Psr 141 Cwittapa SK 113 Chittapa Skm 1506 Chittapa Smy 97-33 anonymous Skm; 1561 Chittapa Skm 1373 Chittipa Skm 1424 Chitta pa Skm 1516 Skm 1602; Chittapa, Smy.97.39; Hanomat Per 32 Chittaga. [7. This verve cannot be traced to any known poem of this post. 8. 10. These verses do not occur in Hanumanpataka. 19. Lutrecht's transcript preserved in India Office library begins the Vorse with vacanh but does not give the rest of the line. Edition of Skm by Ramavarata Sarma, Lahore, supplies the first lide given here (Skm dedition by Banerli. 1 p. 370). 2. This yergo does not occur in Hanumaonacaka.] 13 Chittapa For Personal & Private Use Only

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Chittapas Smt. Nilanjana S. Shah Skm 1408 Skm 1426; Smy 97.6 Ciattpa Srk 1435 Anonymous Skm 1423 Chittapa Skm 1550 Chittapa Skm 1466 Chittapa Skm 1387 Chittipa Skm 1371 Chittipa Smy 97.37 Chittapa Srk 1012; anonymous Ski 1617: Psr 77 Chittapa Skm 1438 Chittapa Srk 1401 anonymous Stm 1593 Chittapa Skm 1406 Chittapa Skm 1427 Chittapa Smv 106.2 Cittapa Skm 2119 Cbittapa Skm 1875 Chittapa Smy 90.1; Narendravarmd Sy 660; Sp 4015 anonymous Sk 112 Chittapa Skm 2372 Chittapa Skm 628 Sittipa Srbo 1457: Khipaka Skm 1476; Sp 1248; Handmat Smv 97.47 Chittapa 43 Skm 1573 Chittapa [42. This verse can be traced to Hanumannataka as XIV. 77. But the fact that this verse occurs in the drama should not carry much weight. As noticed by Shri D. D. Kosambi in his Introduction to SrK, "The present drama has been restored by open plagiarism from any poet whose stanzas might be made to fit."] 44 Srk 926 Anonymous Skm 396 Rajasekhara Smy 72.4; Sy 2004; Psr 50 Anonymous Srk 1059; Dvandaka Skm 1755: Chittapa Sv 843 Daksinktya Sp 777 Akalajalada 46 Skm 2053 Chittapa Skm 1975 Chittipa Srk 1650; Anonymous $km 2117 Chittapa For Personal & Private Use Only

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Chittapa and his Subhasitas 121 49 Skm 1785; Smv 19.8 Chittapa Skm 2110 Chittapa 51 Psr 33 Chittapa 52 Sim 2000 Chittipa [44. This verse is 'not found in any known work of Rajasekhara. 45. This verse occurs anonymously in Bhojachauraviprasamvada in Bhojaprabandha of Ballala. 31. This verse is found only in Psr, where it is ascribed to Chittapa (Index Srk, p. 329).) * Shri S. K. De, editor of Padyavali (p, 239) thinks it possible that there was a poet named Hanumat, whose verses cited in the anthologies wore mixed up with those of Hanumannasaka. Other possibility is that the authof who composed or compiled the drama was a good poet also. But the poems were presumably lost in the course of time, while some verses survived in the anthologies. We can also assume that Hanumat and Chittapa both being contemporaries of Bhoja, their verses were mixed up in the course of time and therefore the same verse is ascribed in one anthology to Hanumat, while in the other to Chittapa. General Features of the Contents Verses 1-7 pertain to God Siva, 8 to 35 pertain to the King and 36 to 52 touch miscellaneous subjects. 28 Subhasitas out of 52 are eulogistic of the king. Most of these are such as would apply to any king in general. However, the specific mention. of Malavaraja in two verses and Bhoja in particular in three other versos implies that all these verses probably pertain to the king Bhoja of Malava and describe him as an ideal king. His extraordinary valour forms the subject of many stanzas which make special reference to his victorious expeditions, favourito horse and elephant corps. The other virtues, particularly his great benevolence, gracee and fame are depicted in other verses, which mako him unique and god-like. Various deities and other objects form the subject matter of the remaining 17 verses. One verse each is separately devoted to Indra, Rama, Hangman and Ravana. Various phases of the moon during the night are dolineated poetically in verse 44. The holy waters of the river Narmada are worshipped by a benedictory verse (46). Three verses refer to the ardent lover's yearning for the beloved. The vastness of lake which can compete even with the sea forms the subject of one other verse. The dry lake Sombhodhi X-15 For Personal & Private Use Only

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Smi. Nilandana s. Shock which was in no time filled to the brim by the advent of an untimely, cloud is described in verse 43. The submarine fire in the sea is represented as a spark only of the fire raging in the belly of the great sage Agastya in verse 51. The verses reforing to the deer, the tiger, the beo and the Swan are such as can be used as apt illustrations of Aprastutaprasamsa. Critical Appreciation. Even a cursory reading of these subhapitas would convince. Anyone that Chitta pa was a very enlightened poet. In these subbasitas we find a proper equipoise between Sabda and Artha. Read for example the verse HUHTET, RFT (v. 46). Here the anuprasa finely coincides with the description of the waters of Narmacht, fragrant with the ofephant's ichor, and bearing the colour of the Kumho kum paste on the breasts of the Siddha women. Another verse fart..... (v. 4) has been cited, as an illustration of artharacana by Bhoja in St. Verse 5 is cited by Bhoja in Sr. Pra. as an instance of apunadadhavani. The poetic expression depends on how a thing is said. and not upon what is said. The touch of Chittapa's pen convorts any ordinary subject. into omotional poetry-The simple ordinary glorification that the king's famo traversed the three worlds has been presented in a poetic form in verse 22. Chittapa excels in the grace and felicity of poetic expression. This characteristic secures for him a foremost place among the writers of subhasitas. .. These subharitas are replete with suggested songe (vyanjana). This very much enhances the charm of the subhasistas. The verses 43 and 49 are instances in point. The verse 45 describes a dry lake which was Aled to the prim by an untimely cloud. But it suggests some place wbich has become fortunate by the advent of a generous personality who at once satisiod all the needy persons. Vesse 49 is one of the best vorses composed by Chittapa. The expressed sense here pertains to a bee who annot forget the taste of honey of the lotus of Laksemi. The bee, there.fore cannot find pleasure on the mango tree or the Bakul tree or even Priyangu creeper. This verse suggests the condition of some noble man, who has become unhappy after having enjoyed ihe best things, he cannot now reconcile with ordinary things. In many of these verses, this suggested SODBE is subservient to Rasa or Alamkara., Chitta' pa doos not lag behind in delineating various sentiments. It is but natural that as most of his subhasitas are in-glorification of the king. the Herbic sentiment figures predominantly. At the same time, other rasas are not absent here. In the preliminary benedictory verscs, ardent devotion For Personal & Private Use Only

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Chittaja and his Subhasitas ins to sia is reflected. In some verses, though very few, which depict the poignant condition of the beloved or the lover, the erotic sentiment finds expression. The verse, in the mouth of a femalo deer about to be killed by the hunter, represents a good instance of pathetic sentiment. Apart from the verses related to the stuti of Siva and the king, 17 miscellaneous verses testify specially to his versatile talent. He touches a vast number of other subjects as well. The different phases of the moon, anxiety of the lover, the resounding holy waters of Narmada, the adventures of Ravana and the unhappy plight of the bee hovering on the Kunda, Mango otc.: all these he can depict with equal caso. - His selection of the dialogue form in certain subhasitas lends special charm to the verses such as T (1.13) or left etc. (v. 14). As is natural with any good poet, the present work also is adorned with a variety of figures of speech. Our author introduces Rupaka (v.35), Aprastutaprasamsa (v. 14), Ekavall (v. 14), Vya jastati (v. 22) Apahnuti. (v. 43), Utprekna (v. 51), Vyatireka (v. 23), Uttara (v. 41), Preyas (v, 8), ete. Naturally his subhasitas abound in the use of Aprastutaprasamsa The very fact that his different verses have been cited in works on poetics as examples for figures of speech is enough proof of his skill in the use of various figures. : The account of the various matres used in the verses is given below: The favourite metre of this poet seems to be Sardalavikridita in which he has composed as many as 33 versos out of 52 verses. It display: his skill in handling difficult metres. He has used seven other metres. Sragdhara. occurs in five verses, (14, 26, 36, 42, 46), sikhariot in four vorges (27, 40 49, 52), Vasantatilaka in three verses (1, 10, 38), and Harin in two veries. (44, 47). One verse (41) is in Arya metre, while one verso (35) is in Mandakar&nt# motre. Threo veracs (12, 16, 39) found from Laksmaza's Sk" are in Anustup as the whole anthology contains subhasitas in Apuntur matge. of the two versos pertaining to grammar ono (v. 1) is in Amunlup while the other verse (v. 2) is in Vasantatilaka.. queen ??,?&, S, Strat- xl, #1971- 34, nardol-9, 90, realaatitisa-, 2, 8, 4, 6, 9, 6, S .A ??,??,84,80,86,45.20,21,22,23, px, 84,26,39,20,21,22,23, DSC For Personal & Private Use Only

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124 Smt, Nitanjana S. Shak 78; 30,82,84,86,40,48 faraftont-20,80,89,42 917-88,7&,74,82,82,88 aftunt-88,8 Tho poet is not known to have left any big composition except the brief eulogy of the suo-god. Unfortunately even the latter is not available in its complete form. However even from the general survey of his Subhasitas compiled from various anthologies, we get glimpses of his poetic geninus, Even the hitherto known verses are sufficient to give us a peep into the personality of this genius. Nevertheless it may be admitted that from the available subhasitas, the poet leaves an impression of being a court poet, as noticed above in the context of the author and his works. Chittapa is also known as a grammarian and has left a fine eulogy of sun god; possibly he also composed a monumental work like Spngara-prakasa which seems to have been ascribed to Bhoja, the great patron of poets. I am highly thankful to Dr. H. G. Shastri, Dr. H. C. Bhayani, Dr. Indukalaben Zaveri and Dr. J. M. Shukla for their valuable suggestions. Footnotes 1. "Two inscriptions from Bhilsa". Epigraphica Indica, Vol. XXX, pp. 210-219 2. Intro. to Sk, to be shortly published by L.D. Institute of Indology, Ahmedabad, 3. Introduction to Srk, P.p. XXII-XXIII. 4. Srk, verso nos. 54, 61, 101, 749, 926, 1005, 1012, 1059, 1401, 1435, 1457, 1650. 5. Skm, (Ed. by S. C. Banerji), nos. of the verses :- 5, 22, 61, 73, 82, 90, 137, 396, 628, 1371, 1372, 1373, 1387, 1399, 1406, 1407, 1408, 1423, 1424, 1426, 1427, 1438, 1460, 1466, 1476, 1491, 1506, 1516, 1550, 1561, 1573, 1593, 1602, 1616, 1617, 1636, 1755, 1785, 1875, 1975, 2000, 2053, 2110, 6887. 6. Smy. (G. O's, Edittion), verses 2.12, 2,24, 2.205, 29.8, 72,4, 90.20. 97.5, 97.6, 97.10, 97.33, 97.37, 97.39, 97.47, 106.2. 7. Sp : (Ed. by peterson) verse nos. 98, 583. 777, 1248, 4015, 8. Sy (Ed. by Peterson) verses nos :- 660, 843, 5004, 2419, 9. The editor of SRK has indicted that verses 54, 61, 101; 749, 926, 1005 & 1012 also occur in Por, while three verses are given in Appendix as oxtra Stanzas in Psr. 10. Srigara Prakasa, edited by G. R. Josyer I.I. ii. Ibid., Part I, p. 249. 12. Kuvalayananda (N. S. Press), Tenth Edittion, 1955, 13. Citramimgnsa (Ed, by J. C. Misra, Varanasi 1971 p. 191). 14. Rasagangadhara, N, S. Press, Sixth Edittion, p. 190. 15. Skm names him as Sittipa in verse no 68, wbile in majority of versus aser ibed to this author his name is given as Chittapa and sometime as Chittipa, For Personal & Private Use Only

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Chittapa and his Subhasitas 16. Smv. generally gives the name as Cittapa. It must be noted that Raghanan mentions him as, Cittapa in the Introduction to Syngara-Prakasa (pp. 6-7). 17. Aufrecht gives his name as Chinnama in his article, "Uber die Paddhati on Sarngadhara", ZDMG, Vol. XXVII, p. 19. 18. Sp. ascribes verse 98 to Chitrama. 19. (i) Aufrecht, Catalogus Catalogorum, I, p. 193; (ii) Report on the search for Skt. Mss in Bombay Presidency during A. D. 1887 -1891 by R. C. Bhandarkar, pp. XXVII. (iii) Intro to Srk. p. LXXVII; (iv) Mahasubhasita-Samgraha, Vol. I, Luduig Sternbach, 'Index of Authors and Sources". p. 331. 20. Srikantha Sastri indudes Chittapa in his article, 'Some forgotten Sanskrit poets of Karnataka", ABORI, Vol. XXIII, pp. 414-418. 21. Ch, XVII. Mohendrasuricarita, v. 188 22. Ibid, Mahendrasuricarita, v. 288 23. Op. Cit. 24. Bhoja-Bhima-Prabandha, p. 40-41: 25. In a few verses he alludes to other Gods like Indra, Rama and Hanuman, but the allusions are of a general character and bear no sectarian significance, 26. The temple is also mentioned in the Bhilsa inscriptions of the tenth century A. D. An inscription from Udaipur in the Bhilsa dist. dates v. s. 1139 (A. D. 1173) refers to the surrounding area as the Bhaills svamin Mandala consisting of 11 Sub-divisions. The temple was demolished by Sultan Iltutmish of Delhi iu A. D, 1813 or 1834 and again by Alauddin Khilji in A. D. 1199. Thus ended the worship of the god at the city which received his name and still continus to enjoy it in the colloquial form. 27. Struggle for Empire, Vol. V, Later Chalukdas and Kalachuris of Kalyana, pp. 166-172 28. Nandolal Dey Geographical dictionary of India, p. 109. -Kuntala Desa at the time of the Calukyas, was bounded on the north by the Narbada, on the South by Tungbhadra, on the west by Arabian Sea and on the east by Godavari. 29. Probandhacintamani, Bhoja-Bhima-Prabandha, p. 40-41. 30. Op cit. See Appendix at the end. 31. Ganaastnamahodadhi, 1.d. by Eggeting Ch. I, p. 80 33. Ganapatha (Arya Sahitya Mandal Ajmer). 42. p. 43; 34. Part, 1II, p. 122. 35. Sarasvatikanthabharana, Part I (Trivendrum, 1938), Preface, III. 36. Ch. II, p. 140. 37. Mahasubasita Samgraha, Vol. III, Index I-Anthors and Sources, p. 1508. 38. Ibid, ch. III, P, 7. For Personal & Private Use Only

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II SUBHASITAS OF CHITTAPA 1. acchinname khalamalabdhadRDhopagUDham aprAptacumbanamavIkSitavaktrAnti / kAntAvimizravapuSaH kRtavipralambhasaMbhogasakhyamiva pAtu vapuH smarAreH // 2. kaNThacchAyamiSeNa kalparajanImukta samandAkinIrUpeNa pralayAbdhimUrdhvanayanavyAjena kalpAnalam / bhUSA pannaga ke lipAna kapaTAde konapaJcAzataM vAtAnapyupasaMharannavatu vaH kalpAntazAntau zivaH // 3. kalpAnte zamitatrivikrama mahAkAlabaddha skura ccheSastana siMha pANinakhara protAdikolAbhiSaH / vizvaikArNavatAvizeSamuditau tau matsyakUrmAvubhau karSan dhIvaratAM gato'syatu satAM mohaM mahAbhairavaH / / 4. dikkAlAtmasamaiva yasya vibhutA yastatra vidyotate yatrAmuSya sudhIbhavanti kiraNA rAzeH sa yAsAmabhUt / "yastatpittamuSaH su yo'sya viSaye yastasya jIvAtaveM boDhA yadgaNameSa manmatharipostAH pAntu vo mUrtayaH // 5. bhRtyai vosstu kapAladAma jagatAM patyuryadIyA lipi kvApi kvApi gaNAH paThanti padazo nAtiprasiddhArAm / vizvaM strakSyati vakSyati kSitimapAmIziSyate'ziSyate bhAgairAziSu raMsyatetsyati jagannirvekSyati yAmiti // 6. mAtastedharakhaNDanAtparibhavaH kApAlikAtho'bhavat sa brahmAdiSu kathyatAmiti muhurbAlyAdguhe jalpati / gaurI hastayugena SaNmukhavaco roddhuM nirIkSyAkSamAM caturasya niSphalaparAvRttizciraM pAtu vaH // For Personal & Private Use Only

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Chliapa and his Subhasitas "7. saMvyAnAMzukapallaveSu taralaM veNIguNeSu sthiraM mandai kaJcukasAMdhiSu stanataTotsaneSu dIptyaSim / Alokya tripurAvarodhanavadhUvargasya dhUmadhvajaM. hastamastazarAsano vijayate devo dayArdekSaNaH / 8. atyuccAH paritaH sphuranti girayaH sphArAstathAmbhoSayaH / / stAnetAnaSi vibhratI kimiti na kalAntA'si tubhyaM namaH / AzcaryeNa punaH punaH stutimimA prastomi yAk vastAvadvibhradimAM smRtastaka bhujo vAcastato mudritAH // 9. bhaviSyadbhirayaM cirAtkathamapi prAyeMta yadyarthidhi thi tvaM punararthinaH pratidinaM yatnAtsamanviSyasi / prAptau cintitamAtrakaM dadadasau cintAtiriktapradaM tvAmAlokya vidIryate yadi na ladagAvaiba cintAmaNiH // 10. abhyuddhRtA basumatI dalitaM ripUraH kroDIkRtA balavatA balirAjalakSmIH / ekatra janmani kRtaM tadanena yUnA janmatraya yadakarot puruSaH pugaNaH / / 11. bhAkarSanniva gAM bamanniva khurAnpazcArSamujjhanniva svIkRmiva saM pibanniva dizazcachAyAmamanniH / sAnAraprakarAM spRzanniva dharAM vAtaM samaznanniva zrImannAtha sa vAjirAda tava kathaM mAdRggirAM gocaraH // - 12 . USmAyamANayA tanvyA dRzA bASpAbamANayA / nadyaH zuSyanti vinye yasyAriyoSitAm // 13. kA tvaM kuntalamallakItirahaha kvAsi sthitA na kvacit saMkhyastAstava kutra kutra vardai vAglakSmIracaH saMprati / vAtryAtA caturAnanasya vadanaM lakSmIrmurAreruraH kAntimaNDalamaindavaM mama punarnAdhApi vizrAmabhUH // For Personal & Private Use Only

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128 Smt. Nilanjana s. Shah 14 kAlindi ! bahi kumbhodbhavajaladhirahaM nAma gRhNAsi kasmA chatromeM narmadAhaM tvamapi vadasi meM nAma kasmAtsapatnyAH / mAlinyaM tarhi kasmAdanuharamiM milatkajjalairmAlavInAM vASpAmbhombhiH kimAsAM samajani kupitaH kuntalakSoNipAlaH // . 15-kiM vAtena vilacitA na na mahAbhUtArditA kiM na na zrAntA kiM na na saMnipAtalaharIpraccharditA kiM na na / tarika muhyati roditi zvasiti ca smeraM ca dhatte mukhaM .. dRSTaH kiM kathamapyakAraNaripuH zrIbhojadevo'nayA / / 16 dizaH paTapaTAyante gaganaM lohitAyate / / karNatAlAstasindUre hAstike yasya sarpati // 17 deva ! tvaM malayAcalo'si bhavataH zrIkhaNDazAkhI bhuja stasminkAlabhujaGgamo nivasati sphUrjatkRpANacchalAt / eSa svAGgamanargala riputaruskandheSu saMghaTTaya dIrgha vyomavisArinirmalayazo nimokamunmuJcati // 18 deva tvadbhujayobalaM na gadituM vAcA vayaM zaknumaH / kurvANA hRdaye'pi tatpulakitAH pratyaGgamete vayam / zaktA saiva punastavAsipatanacchinnadviSatkandharA- .:: randhrodvAntasamIrabhairavarabA yuddhasthalI jalpitum // . 19 dRptodAmakarIndravRndazitimacchAyeSu nIrArthiSu . pAthodeSu taTAbhighAtadivasAdArabhya nastAmyati / nUnaM mAlavarAjadigjayavidhau taiH pItamambhonidhe audyadgandhagajasravanmadanadIgandhAnuviddhaM payaH // 20 dvIndraM bhAti jagattidhAma gaganaM vizvaM caturdaivataM : paJcAmnAyamidaM vAGmayamayaM SaTsAyako manmathaH / saptAzaH parivatsaro'STajaladhisphAraM dharAmaNDala dikcakra navanAyakaM kSitipatizreSTha tvayi bhAjati, / / For Personal & Private Use Only

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129 Chittapa and his Subhositas 21 paryako rAjalakSmyA haritamaNimayaH pauruSAbdhestaraGgo bhagnapratyarthivaMzolvaNavijayakaristyAnadA rAmbupaTTaH / saMgrAmatrAsatAmyannarapatisuyazorAjahaMsAmbuvAhaH khaDUgaH kSamAsauvidallaH samiti vijayate mAlavAkhaNDalasya / / 22 mAtuH khedamayaM tatAna pRthukaH kroDe'pi dhAyAzcaran rAgADhayastaruNaH purandarapurazrInyastakaNThagrahaH / jyAyAnapyabhajaspitAmahapadaM nityAvinItastanU janmA te yazasAM gaNastaducitavIDo'si tatkIrtanAt // 23 mithyA deva bhujena te'lpavibhavaH kalpadramaH spardhate nahyenaM bhuvanatrayAbhayamahAsatrI kRpANo'cati / cintyastatrabhavAn sa kalpaviTapI yasyautadekArNave kalpAnte vinivezya vizvamakhilaM chAyAsu zete hariH // 24 maulau dhAraya puNDarIkamamitaM tanvAtmano vikramaM . cakrAGka vaha pAdayugmamani doNNA samabhyuddhara / lakSmI bhranikaTe nivezaya bhava jyAyAn divaukaspate-- vizvAntaHkaraNaikacaura tadapi jJAto hariH khalvasi // 25 saGkalpe'GkuritaM dvipatritamatha prasthAnavelAgame mArge pallavitaM puraM pravizataH zAkhAzatairudgatam / bhrAtarbhAvini darzane mukulitaM dRSTe tu deve tvayi / protphullaM phalitaM ca saMprati manorAjyadrumeNAdha me // 26 saptAmbhodhIpibadbhirdizi dizi saritaH svAdayadbhistaDAgavyUha gaNDUSayadibhagaganatalagatAM jAhnavImullihadbhiH / yAtrAyAM yasya helAcalaturagacamUzazvaduddhRtadhUlI rairaikAbdhimAtravyayajanitamado lajjitaH kumbhajanmA // 27 samAje samrAnAM sadaSi viduSAM dhAmni dhaninAM nikAye nIcAnAmapi ca ramaNInAM prissdi| kathaMcidyatra smaH kSaNamatithayastatra zRNumaH sphuradromojhedAH subhaga bhavataH pauruSakathAH // For Personal & Private Use Only

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130. Smit. Nilanfanaa S. Shah ... cA'bhyantare . ___ 28 sUryo dhAmavatAM na kiM na kimayaM prahlAdakazcandramA gambhIro na kimambudhiH kSitibhRtAM rAmaH sa jetA na kim / kiM tvekaikaguNastutau na hi vayaM zaktAstadetadguNa-- zrotRNAM sumahotsavAya nRpate tvAmekameva stumaH // 29 svAminnambujanAtha dhUrjaTizirazcUDAmaNe candramaH pAdau vAM praNato'smi sAdhu vadataM kSatraprasUti yuvAm / rAjA yadhupasevitAdhirakhilakSmApAlacUDAzatai-- rAsIdasti bhaviSyati kSititaLe zrIbhojadevopamaH / / 30 yasyAdhoM gaganaM rasAtalamuparyambhodhayo'bhyantare yatprApazcimadakSiNottaradizaH kRtvA'nyathA vartate / yasya dhvAntamanuSNarazmirucayo nIlAstathArkopalA . deva svayazaso'dbhutAd bhuvanatastasya stutau ke vayam // 31 rAmaH sainyasamanvitaH kRtazilAseturyadambhonidheH pAraM lachitavAnpurA tadadhunA nAzcaryamutpAdayet / ekAkinyapi setubandharahitAnsaptApi vArAMnidhIn helAbhistava deva kIrtivanitA yasmAtsamullaMghati // . 32 labhyante yadi vAJchitAni yamunAbhAgIrathIsaGgame deva preSyajanastavaiva bhavato bhartavyatAM vAJchati / nanvatanmaraNAnna kiM nu maraNaM kAyAnmanovicyutidIrgha jIva manaHsvadanrikamale kAyo'tra naH kevalam // 33 varSAsaMbhRtapItisAramavazaM stabdhAGgrihastadvayaM bhekaM mUrdhni nigRhya kajjalarajaHzyAmaM bhujaGga sthitam / mugdhA vyAdhadhadhRstavArinagare zUnye cirAtsaprati svospaskRtimuSTisAyakadhiyA sAkUtamAditsati / / 34 bAlmIkeH katamo'si kastvamathavA vyAsasya yeneSa bhoH ilAdhyaH syAttava bhojabhUpatibhujastambhastutAvudyamaH // paMguH parvatamArurukSasi vidhusparza karaNehase dobhyAM sAgaramuttitIrSasi yadi bramaH kimatrottaram / For Personal & Private Use Only

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Chittapa and his Subhasitas 35 haMsajyotsanA kumudaviza de sakate'smin sarayvA vAdayutaM cirataramabhUtsiddhayUnoH kayozcit / eko brUte prathamanihataM kaiTabhaM kaMsamanyaH sa tvaM tattvaM kathaya bhavatA ko hatastatra pUrvam // 36 anyaH kaH kSAravArthe tvamiva niyamito vAnarairvA narairvA vipreNaikena ko'nyaH karakuharapuTIpAtramAtre nipItaH / jalpannitthaM pRthUrmidhvanibhiravata ratna kUTA hAsaiH spardhA dhatte payodheradhikamadhipuraM nirmito yattaTAkaH // 37 anyA sA'dhigatA tvayA kva yuvatI yasyAH sa mAna graho yAte locanagocaraM priyatame saMpratyapakrAmati / asmAkaM punarugrapUruSazatA zleSa pragalbhAtmanA - metAdRzyanabhijJapuruSapariSvaGge kutaH sAdhvasam // 38 AdAya mAMsamakhilaM stanavarjamaGgAt mAM muJca vAgurika yAhi kuru prasAdam / adyApi zaSpakavalagrahaNAnabhijJA mavartmacaJcaladRzaH zizavo madIyAH || 39 tAsa gopa vicikitsAM cikitsati / zrutirna yadahalyAyai jAretyenaM jugupsate / / 40 kimasmA vikSi kSapita bahu doSavyatikarAn guNAnvaidheyAnAM zriyamudayinIM vokSya dhaninAm / paricchedaH zaucaM vinayaparatA cendriyajayo viveko naH kRtyaM na khalu vayamarthapratibhuvaH / / 41 kuzalaM tasyA jIvati kuzalaM pRSTA'si jIvatItyuktam / punarapi tadeva kathayasi mRtAM nu kathayAmi yA zvasiti // 42 kUrmaH pAdo'sya yaSTirbhujagapatirasau bhAjanaM bhUtadhAtrI telotpUrAH samudrAH kanakagirirayaM vRttavartiprarohaH / arcizcaNDAMzurocirgaganamalinimA kajjalaM dahyamAnaH zatruzreNIpataGga jvalati raghupate svatpratApapradIpaH / / For Personal & Private Use Only 131

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Smt. Nilanjana S. Shah 43 padbhyAmUrUyugaM vibhajya bhujayormadhyaM nipIDyorasAM pArveSu prasabhaM prahRtya nakharairdantairvilupyAdharam / saMsuptAnavabodhya yuSmadahitAnbhUyo'pi bhuGkte vane ki kAntA surataiSiNI nahi nahi vyAghrI karAlAnanA // . 44 prathamamaruNacchAyastAvattataH kanakAkRtiH tadanu virahottAmyattanvIkapolataladyutiH / prabhavati tato dhvAntakSodakSamaH kSaNadAmukhe sarasabisinIkandacchedacchavimaMgalAJchanaH // 45 bhekaiH koTarazAyibhitamivakSmAntargataM kacchapaiH pAThInaistanupaGkapIThalaThanAyasminmuhurmUcchitam / tasminneva sarasyakAlajaladenAgatya yacceSTitaM . . yenAkumbhanimagnavanyakariNAM yUthaiH payaH pIyate // 46 majjanmAtaGgahastacyutamadamadirAmodamattAlijAlaM snAnaiH siddhAGganAnAM kucayugavilasatkuGkumA saGgapiGgam / sAyaM prAtarmunInAM kuzakusumacayacchannatorasthalIkaM pAyAdvo narmadAmbhaH karikaramakarAkalAntaraMha staraGgam // 47 taTamupagataM padma padma nivezitamAnanaM pratipuTakinI patracchAya pratikSaNamAsitam / nayanasalilairuSNaruSNIkRtA jalavIcayo jaladamalinAM haMsenAzAM vilokya gamiSyatA // 48 teSAM tvaM nidhirAgasAmasahanA mAnonnatA sApyato gantavyaM bhavatA na tadgRhamiti tvaM vAryase yAsi cet / gADhaM mekhalayA balAnniyamitaH karNotpalenAhataH kSiptaH pAdatale tadekazaraNo manye ciraM sthAsyasi // 49 nirAnandaH kaunde madhuni vidhuro bAlabakule rasAle sAlambo lavamapi lavaGge na ramate / For Personal & Private Use Only

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Chittupa and his Subhasitas 133 priyaGgo nAsaGga racayati na cUte vicarati smaraMllakSmIlIlAkamalamadhupAnaM madhukaraH / / 50 lUne paJca tatazcatuSTayamiti srakasaMnivezaiH ziraH pamairanyatamAvalokanamitairucchoNitairarcitaH / hastasparzavazena mUgni dazamaM mUrdhAnamadhyAsaya-- zambhoruddhatasAhasaikarasikaH kairna stutau rAvaNaH // 51 saptApyambudhayo dharAdharazataM vizvastadaiva kSaNaM saMbhUyApi na kumbhasaMbhavamuneH prANAhuti tarpyati / ___ yadyasyApi mRSA niSevaNaghRNAdrAkpItavAntodadhi-- prabhrazyajjaTharAzuzukSaNikaNo jAgaya'yaM vaaddvH| 52 samAlambyAnyonyaM masRNacaraNAH kampanajuSo na yAtAH ke pAraM sati jaladhibandhe kapibhaTAH / taTAdeko'rvAcazcakitasurasiddhasthitisamu-- samutplutya prAyAtparamaparapAraM sa hanumAn // Two verses pertaining to grammar na puSkalI te svaloke janatA kintu sAmarI / vikalI zalkamAtreNa mahatI niSkalIyate // 1 // sAkSAtkRte'tha lavaNaMkRti diGmukhAnAm uSNaMkRto'ciMSi vazekadamA kRdAste / / AsthAkRtAH kRtanamaskRtayo'rtha marthe-- kRtya vratI ca nRpatI ca nRpasya jagmuH // 2 // Text of Inscription from Bhilsa. 1 ................(1)................(2)....... ....(gRhNAti) 2.................. t / myete... .......(tRSNAhIno lilekha te) // (3)............ .. nUnaM tejasvino (s) nyasya na va (tvaM) nAmApi mRSyasi / (4) culukA cAntasaptAdhi (bdhi) ragastyo (s) nye (s) pi tAdRzAH / For Personal & Private Use Only

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Smt. Nilanjana S. Shah ... ................rAga-vyAjena bhattaM (tuM) bhikSAM nu yAcate // (5) rAhustvadrociSe druhyannahataste (s) nujanmanA / ziro lUtvA (s) pi* duSTeDarau yAcanAkauzalaM hi tat // (6) tejastavAmAIrdeSu karaM kareSu jRmbhate / bhaktAbhiprAyanidhnasya caMdrA-- 4 ............ .... kSate // (7) phaNAmaNiSu zeSasya muktAmaNiSu toyadheH / tArAmaNiSu ca vyomnastava rocivirocate / / (8) tavasaMkrAntameNAMke cakravAle payomuci / ........ .... ....jyotiryotsneti saMdhyeti suradhanveti gIyate // (9) ....(Te) lAkSAmadarAgaH kapolayoH / payodharataTe te(s)ciH pratIcyAH kuMkumadravaH // (10) svarbhAnustvAM na gRhNAti krIDAlolaH kalAvati antarddhatse tvamabji (bji) nyAH premNo (hi) ku (TilA) gatiH / / (11) na tatho (s) nidra-majA (bjA) syA-- 6............si padminI (nIm) / nUnaM vikatthano'rthena (za) vde (bde) na tvaM vikartanaH // (12) yAmAliMgAji (bji) nI (nI) cumba (mba) zrayApAcI vajo'ttarAM (rAm) / raja prAdhyAM pratIcyAmvA (cyAM vA) dinazrIstvAnna muca (ti / ) (13) prAta (hiM ?) rahasA ya (ta) tvaM dinalakSmyA ........(ro) camAnaM punaH sA tvAmajhAmante (s) nugacchati / (14) pUrvamutthIyate protaH pazcAtsaMvizyate nizi / aho sugRhiNIvRttamu SasA te (s) nugRhyate / (15) namastasmai prabhA (tA) ya ga............ (yAM sthirAyate / ) . 8. ....................da (di) vaM tvamupagRhasi / / (16) kapola (bhitau ?) svacchAyAM svacchAyAM tvaM vilokayan / di (vo devyAzcinta ? ) yA tadopAvezaM vizaMkase / (17) karasparza (s) pi te nAtha caunimIlita tArakA / yAsau sI (ga saMkrAntA na vidmaH kiM kariSyati // ) (18) For Personal & Private Use Only

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Chittapa and his Subhasitas ___135 9. ...............caMdra tADaMkaH pra (prA) cyAM (cyA) saMdhyAMzukaM divaH / hiya te'ha (ho) Du hArazca pUrNa-pAtraM tavAgame // (19) prAdhyAmudgacchato yAtuH pratIcIM zliSyato divaM (vm)| svadate nAtha va (ba) hI (hI) Su pratipattiH priyAsu (te // ) (20) 10. .... .... ....gRhNAsi puNyAni ca mahAtmanAM (nAm) / na tathA sitati (te) jAMsi viyato'bhyudgate tvayi // (21) tamo bhe (stu) yathA vA (bAhyaM tathA ntaramapIziSe / tavodaye yathA rAtristathA nidrApi na nazyati // (22) na (ro).... .... .... 1.1. ............tma-gu (Na) saMpannUzayA / inosyoM (s) si sUryo'si paryAptetyeva te stutiH // (23) kRtiriyaM mahAkavincakravartipaMDita zrI chittapasya ( / ) lekha.... ......... 12. .... .... .... (ma) (gala) (mahA) zIH (zrIH) / / kAriteyaM daMDanAyaka zrIcandreNa // cha / For Personal & Private Use Only

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FREUDIAN PSYCHOANALYSIS AND PSYCHODYNAMICS OF YOGA * M. V. Baxi We are all concerned with freedom, creativity, joy, self actualization, relief from mental tensions and constructive expressions of human personality. The Psychoanalytic liberation of man in the 20th century was therefore an important event. Even an insight into one's own unconscious mind has a liberating effect on man. Man cannot get truth about himself without the cooperation of a therapeutic communication. This Psychoanalytic insight has made truth for an individual a social product. Cognitive sociodynamics was born with psychoanalysis. Yogic withdrawal, on the other hand, arrives at truth for an individual through unaided individual enterprise. Truth is unmasked in therapeutic communication. In Yoga it is revealed through pratyabara and disengagement. The epistemology of disengagement voderlying Yogic withdrawal is different from the epistemology of cooperative therapeutic communication. Knowledge is not a relation between the subject and an object but between two subjects in therapeutic situation, In Yoga it is a relation between the subject and his innermost being. With this difference in view, we now proceed to discuss some themes of Sharma's The Psychodynamics of Yoga. It is an intersting attempt to offer an Indian alternative to Freud. To treat Yoga as a therapy in modern sense would perhaps require a revision of Samkhya metaphysics underlying classical Yoga. The distinction between classical Yoga and Yoga as a therapy should be constantly kept in view throughout this discussion 1 Modern Psychology Sharma does not reject any of the glorious achievements of modern Psychology. He however accepts the ideal of creative self-actualization. He therefore opts for Yoga Psychodynamics. He is dissatisfied with Freudian or Skipnerian determinism, and endorses the concept of human freedom. Sharma rejects the operation of causality in Psychology. Compatibilism is not at all discussed by Sharma. Sharma praises Freud for having introduced dynamic point of view in psychology but he does not endorse the reductionism of Freud ia tracing Review Article reviewing The Psychodynamics of Yoga by Sharma H.L, published by GDK Publications, Delhi, 1981. For Personal & Private Use Only

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Freudian Psychoanalysts and Psychodynamics of Yoga psychic energy to biochemistry. He awaits a scientist bold enough to accept consciousness as a transcendent phenomena. The unconscious only explains the past: It is not adequate in so far as it does not look to future. Self-actualization involves the dimension of future because growth is selftranscendence at each step. 137 2. Purua and Prakti Sharma equates Prakrti with the Unconscious and Purusa with the Conscious, Prakrti conditions Purusa, Sharma endorses Samkhya metaphysics which forms the basis of Yoga psychodynamics. Consciousness which is the essence of self is, according to Sharma, a transcendent reality, and yet he also believes that Prakrti involves the self through her charm." This analogy of sexual seduction is unfortunate for metaphysics. Enjoyment of Prakrti by Purusa is not objectionable but the involvement of Purusa in Prakrti leads to bondage, Enjoyment therefore is not involvement! Why this is so is never discussed either by Samkhya thinkers or by Sharma. Why the transcendental reality of consciousness was at all fascinated by the charm of Prakrti is an unanswered question in Samkhya metaphysics. Prakrti is 'Jada' but it is threedimensional involving sattva, rajas and tamas. So all dynamism belongs to Prakrti. Purusa therefore should dissociate from all dynamism because Prakrti casts a magic spell on the onlooker Purusa leading to his excessive involvement. Sharma admits that somehow Purusa gets enslaved by Prakrti. The relation between man and nature is thus conceived in anthropomorphic terms and the word "somehow" does the rest. Sharma complains about the number of legends which Freud has used in his psychoanalytic system against the principle of 'Parsimony of Hypo. thesis, but it appears that Samkhya legends endorsed by Sharma also go against the same principle. Sharma is too willing to accept the concept of self as trans-psychic, far beyond the conscious-unconscious polarity. Once the empirical base of a system is left far bahind, the transcendental entities seen to monopolize the theoretical domain, Sharma proposes a psychodyanimes based on the concept of superconscious. 3. The Superconscious: Superconscious means 'cetana' free from its conditionings brought about by psychic and situational factors. Sharma claims that superconscious "helps to straighten out some angularities of psychoanalysis. Sombhodhi-X-18 For Personal & Private Use Only

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138 M. V. Baxt There is some difficulty in getting clear about the concept of superconscious introduced by Sharma. Superconscious is not superior to or separate from the conscious mind. It is not a part of mind, but mind itself. It is a trapsego reality. It goes beyond Id-ego-superego triangle. Atman is the superconscious Superconscious is the uncondit goned consciousness. It expresses itself in an urge to be free and full of joy. The source of tremendous creativity in an infant is its superconscious. Sharma not only introduces this concept but belives that sure therapy of neurosis is the revival of the superconcious in the patient. The therapy of course has to be Yoga-therapy because the ""techniques of Yoga aim at rebuilding and strengthening the process of actualization of the superconscious" (PY, P. 30). The unconscious grows out of superconscious and "superconscious, draws freely from the uncong. cious" (p. 30). Superconscious is the source of "experience of being". It sets the goal of life. It is the source of all human values. Sharma also points out that superconscious does not deny sex. Yoga accepts sex as a vital function of life. Sharma does not accept mind-matter dualism of cartesian origin but he does not mind saying that consciousness has to be accepted as a distinct category. "Consciousness is cetana and cetana is the superconscious". (P Y, p. 37). We wonder whether consciousness is the superconscious, and whether classical Samkhya-Yoga system can bear any further burden of such an additional category. Whether Sharma is constantly revising the classical Yoga system or wbether he is only elaborating it has not been made sufficiently clear throughout his analysis of the concept of superconscious. Superconscious is peace, joy, creativity, freedom, health, light source of values etc. In short, it is worth realizing through Yoga techniques. It can even be used to cure neurotics and psychotics. : We wonder whether the classical Yoga system had the same concept of montal abnormality which the Western psychologists have advanced on the basis of their clinical practice. We can not also help wondering whether the concept of the superconscious is at all required and whether it can legitimately function at a clinical level. Western psychologists like Maslow and Rogers have discussed selfactualization without bothering about any category of the superconscious Even the existential psychotherapy has been based on the concepts of human freedom and fulfilment and this shows that psychology can be non-Freudiap, non-mechanistic, non-behaviouristic without bringing in the concept of superconscious. Freudian system might be inadequate but it may not be for all the reasons advanced by Sharma. The alleged inadaquacy of psychology might be overcome by alternative models of phenomenological, exis For Personal & Private Use Only

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Freudiam Psychoanalysis and Psychodynamics of Yoga 138 tential or humanistic psychologies and hence there may not be any need for appealing to Samkhya-type of metaphysics to Freudian limitations. Sharma has referred to Maslow (PY, p. 137) but not to Rogers, Binswanger, Medard Boss and other psychologists who have tried on their own premises to overcome the inadequacies of Freudian system; many neo-Freudians have also introduced new categories within the system. Let us now discuss the concept of freedom. 4. Freedom ; Sharma uses the concept of human freedom at a metaphysical level. He uses it to convey the concept of moksa advanced by Yoga and Vedanta, but human freedom in its modern socio-political-cultural meaning is not the same as human freedom in its metaphysical meaning. Individual liberation from the bondage of Praksti is different from individual freedom in the context of state, church, press and other institutions. So even if Sharma is sure that the Western mind will not find it difficult to accept the Yogic concept of freedom, it appears that the radical difference betwoen the two concepts of freedom can not be overcome. Sharma rightly points out that the West has done so much to evolve and interpret the meaning of liberty of thought, action and life to modern man' (PY P. 47) but, liberty of thought, action and life is a totally different concept when compared to the concept of Moksa. Moksa has nothing to do with sociopolitical-cultural freedom. It is an individual liberation from metaplysical bondage. It is true that psychoanalytic liberation is also an individual liberation, but even the psychoanalytic liberation is not the same as Yogic liberation. Sharma has distinguished between freedom as a methodological assumption as opposed to the methodological postulate of Psychic determinism but we should also distinguish between freedom as mode of action as contrasted to coerced action. Similarly, one may distinguish between autobiographical freedom in the sense that one is relatively free from tensions, delusions, superstitions etc. and social freedom in the sense that one can express his opinions and act upon them without feeling threatened or insecure. Yogic techniques may free one's mind from stress and strain without at the same time making him socioculturally free because of circumstances beyond his power. A psychoanalytically liberated person or a person liberated by the techniques of Yoga may be peaceful and joyful, may be more creative and less rigid, but all this may be short-lived if the sociocultural setting in which he exists does not constructively respond to his new being. For Personal & Private Use Only

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140 M. V. Baxi Sharma of course recognizes this problem (PY. p.38) but he goes on to say that Yoga denies that human destiny can be derived from family dynamics, social dynamics or even psychodynamics. Sharma talks of destiny beyond death i.e. freedom from the stress of becoming. Yoga is more concerned with such an experience of being. Now such an otherworldly orientation would hardly inspire ordinary men and women to undertako yogic sadhana. If Yoga is to be employed for the welfare of all men, then destiny before death is more important than destiny beyond death, but according to Sharma we must move from the stage of wanting to the experience of non-wanting. It would however be more important if as Maslow has shown, man wants to actualize his higher needs. We do not advocate hedonism or excessive satisfaction and preoccupation with material goods, but even Yoga should lead to the satisfaction of higher needs. In recent philosophical literature in this problem area, many varieties of freedom are distinguished e.g. (1) Freedom to act with a different degree of effort or attention (2) Freedom to act with different knowledge or ability and (3) Freedom to act with different reasons or values. Similarly freedom from coercion and freedom of the will have also been distinguished (PPR, Vol XLI, No. 4,1981, p.520). The concept of freedom has been analysed with reference to the problem whether John could have given up smoking if he had so willed, whether the motorist who ran red light colliding with an incoming automobile could have attended more carefully to his driving and so on, Freedom thus is discussed with reference to ordinary human actions and such analysis of routine human actions in relation to the concept of freedom makes it clear that even philosophical analyses of human freedom need not necessarily be undertaken in the context of ultimate metaphysical freedom. Sharma, at times, refers to such kinds freedom, e.g. freedom as an actualization of potentiality is accepted by Sharma but this idea again has nothing to do with the concept of moksa, Sharma moves from Yoga to Psychoanalysis and vice-a-versa with an ease which is commendable but occasionally confusing. For example he admits that freedom has a metaphysical dimension in Yoga because of the Samkbya concept of identification of Purusa and Prakrti (PY, p. 55). In the very next paragraph he notes that happily, identification, involvement etc. are in common use in current psychological literature. He then goes on to discuss identification in the life of a neonate and other psychoanalytic details. We are left wondering whether Samkhya concept of identification is anywhere near the psychoanalytic corcept of identification. Sharma rightly clarifies that freedom is freedom from the bondage of Prakrti. A Yogi leaves Nature behind. (PY. p.69) But if so, then a Freudian For Personal & Private Use Only

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Freudian Psychoanalysis and Psychodynamics of Yoga 141 Psychoanalytic cure would be irrelevant and Yogic cure has to be recommended because Yogic therapy has been derived from Yogic metaphysics. 5. Maya Sharma points out surprisingly that Maya is a vital concept of Yoga (PY, p56). Maya is relativity and Maya is nature also. It is also the embodi ment of relativity (p 56). This means that one can do what one likes with any transcedental concept. It could mean Newtonian physics if one is arguing in 17th century and it could mean Einsteinian physics if one is arguing in 20th century, just as Moksa could also mean psychoanalytic liberation in 20th century. The contrived flexibility of the concepts of Prakti, Purusa, Maya, Avidya, Moksi, Sakti, etc. is amazing. It appears that it is better to stick to the meanings of the concepts in their classical context and 'Maya' there should mean Maya and not relativity, otherwise, Maya would mean whatever is established by the physics of the day. 6. Definition of Yoga Sharma discusses different kinds of Yoga, and claims that Raja Yoga is Yoga for all. He however points out that Patanjali's definition of Yoga is negative because it refers to cessation of mental modifications (PY, 89). He then refers to the latest electronic devices used to record ceaseless brain-activity going on even during sleep. Modern physiological psychology has found that even during dreamless sleep and meditation, a particular brain-wave pattern is constantly generated. So there is no cessation of cerebral activity at any stage of life. Now Sharma, reinterprets "mental modifications" (cittavrtti) as 'cerebral modifications' in the modern sense and then claims that "the cerebral modifications cease for a while" (p.90). Such cessation is possible by Yoga practice. Cessation of cerebral activity by conscious efforts of the seeker is the first principle of mental economy according to Sharma. But, in fact, voluntary cessation of all cerebral activity is not possible. "Even temporary voluntary cessation of all cerebral activity is not possible according to neurophysiology." Chittavrtti Nirodha is not the same as cessation of all cerebral activity. Patanjali need not be neurophysiologically interpreted, just as modern concepts of cosmic or biological evolution are not equivalent to Samkhya concept of evolution. Different kinds of cerebral activities accompany different kinds of normal and altered states of consciousness and even meditative consciousness has been found to be correlated with certain cerebral activity patterns, but correlation is not identity. Sharma claims that during Samadhi, nerve-fibres and cell-bodies ren ain unexcited. (PY, p 111). Neurophysiological evidence should have been cited to substantiate this empricial claim. For Personal & Private Use Only

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142 (7) Action Action is the manifest Prakrti. This is Gita's concept of Praktis Sharma has pointed out (PY, p. 114, 115). Sharma also states that Gita's finding is simple to understand in the context of biopsychology. Sharma has explained action in terms of feedback systems, circuits, hormonal secretions and concentrations in blood (p 115), to show that action belongs to the order of nature, i. e. on the neutral and neural base of nature. It is true that action involves neurophysiological mechanisms and to that extent action belongs to nature but we must distinguish between molar and molecular interpretation of action in psychology and psychology qua psychology is more concerned with molar interpretation of action rather than with the molecular interpretation of action As even some behaviourists have shown, behaviour qua molar is cognitive and purposive, e.g. singing a song, driving a car, writing an essay etc. This means that physiological processes and muscular responses by themselves do not constitute action at a molar level though at a molecular level such processes do occur. Sharma comes close to recognizing this distinction when he talks about superstructure of culture and civilization based on neutral and neural basis of nature. (PY, p 115). M. V. Baxi We still wonder whether human actions like smoking, dancing, fighting, writing, speaking, etc. should be conceived in terms of Avyakta and Vyakta as Sharma has shown (p. 114). Action as he says "is nature's channal to relieve itself of high inner tensions" (p. 117) Sharma moves at two levels; molar and molecular. He talks of 'action' of every cell. This is a molecular level of 'Action'. Not to act in this sense is not the choice for living being. This is Gita's conclusion, but this means that so long as you are alive the celluar activities will go on. The interesting question is not whether molecular actions are unavoidable; the intersting, question is whether molar actions are unavoidable. Fighting is action at a molar level, it is hardly unavoidable. In fact, in fighting, it is not nature that acts; fighting is an act of men. If action is a myth, then total determinism and fatalism would follow. Sharma would not endorse such consequences. In fact, Sharma accepts the concept of free action, i. e. whole and integrated action. (p. 120). It appears that there are many meanings of 'Karma' e. g. Karma as a channal of nature; karma as an expression of stored up storms of emotions; karma as the medium of social participation (p, 121); karma as Yukta karma, free from ahamkrta bhava (p. 118); etc. A set of propositions about karma does not thus give us a clear pattern of the hard-core of Karma Theory. A question naturally arises as to whether all behaviour acts identified by contemporary psychology are actions characterized as 'Karma' by Gita. The molar-molecular distinction might be helpful in this context, For Personal & Private Use Only

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Freudian Psychoanalysis and Psychodynamics of Yoga 143 8. Jnana Yoga The liberating role of self knowledge is the basic insight of psychoanalysis. Sharma acknowledges it and finds close parallels to Jnana Yoga in current thought. (PY, 132). From Freud's therapy to Frankl's logotherapy, insight and self-understanding play an important role in healing. Still however, Sharma could have claimed that Jnana Yoga based on Vedantic insight differs significantly from Jnana Yoga based on psychotherapy and logotherapy because it is obvious that Freudian view does not involve the concept of cognition involving tbe basic identity between Atman and Brahman. The insight and self-understanding of a successfully psychoanalysed individual is confined to his own personal cognition whereas a Vedantic realization based on knowledge is ultimately based on Brahamajnana. The question is not whether knowledge has a liberating influence. t be question is as to what exactly counts as such a liberating knowledge. It is in this area that philosophical disputes would go on proliferating. The epistemology of disenagagement (Yoga) differs from the epistemology of therapeutic process. 9. Testing Yogic Concepts 1 Sharma rightly refers to techinques of the release of tensions in psychoneuromuscular system. He is right in saying that with the help of personality tests we can measure the amount of tension before and after the Yogic training and practice. Physiological measures also can be valid indicators for discriminating tension affected systems. Yogic practice can have a significant impact on the physiological functioning of human being and it may lead to an increase in peace and joy also. Thus normal human beings can function more effectively by adopting Yogic practices. This is an empirical claim and is therefore available for testing procedures. Even some kinds of abnormality can be cured by the relevant Yogic methods as Sharma has shown (PY, P 148). Sharma views Yoga as technique of spiritual engineering'. Yoga, as a technology, is thus non-controversial if it is emprically established. 10. Yoga as a technique Sharma's book can be studied profitably by those who have basic knowledge of Samkhya-Yoga Metaphysics and Western psychoanalytic tradition. The reader equipped with both these traditions would be stimulated by a number of interesting observations made in the course of his discussion on Yoga in relation to Freud. His chapter on freedom, joy and creativity raises problems of comparative philosophy some of wbich have been referred to in this review, For Personal & Private Use Only

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144 M. V. Baxi Self-actualization, freedom, joy, release from mental tensions, creativity and liberating knowledge are instrinsically worth striving goals and Sharma's deep concern for the liberation of man from overload of psychic tensions is genunine. Yoga in its practical aspects should be promoted. An yogic practice which advances the cause of human happiness should be endorsed, verified and promoted. Any such scientific technique for eliminating mental pathology deserves urgent attention. Sharma has strongly felt the need to examine Yoga system in relation to the welfare of men and this point of view is commendable. The disputes in philosophy however are not about the empirical effectiveness of Yogic techniques. Such disputes regarding the effectiveness of psychotherapies can be statistically and experimentally evaluted in psychology and Yoga therapy can also legitimately claim such empirical analysis. The problems arise at a theoretical and not at an empirical level. Should one endorse a dualistic or monistic metaphysics for legitimately understanding the effectiveness of Yoga therapy ? Is the concept of a self which is nonatural and superconscious required for Yogic therapies to succeed ? It should be clearly understood that classical Yoga was not a clinical science in the sense in which psychoanalysis is a clinical science. Treating Yoga as a therapy is a practical extension of classical Yoga. There need not be any objection to this approach but whether the classical Yoga metaphysics should be endorsed for Yoga-therapy also should be an extensively discussed question. Metaphysical freedom and practical freedom should be distinguished. Psychological freedom should be distinguished from psychological determi. nism. If we reject psychological determinism it might be that we are rejecting it in favour of practical freedom i. e. freedom of thought, will etc. rather than in favour of metaphysical freedom i. e. freedom from Prakrti. The Purusa-Prakrti metaphysics serving as the foundation of classical Yoga can not also be mixed with Vedanta or Gita-metaphysics. Yoga in its varied practical aspect need not be logically tied to any praticular metaphysics. So Yoga-technology can be developed without insisting on PurusaPrakrti metaphysics but this should be clarified in any discussion of Yoga in modern sense. Sharma's book thus raises provoking question for theoretically oriented philosophers because one may have some doubts about Samkhya metaphys underlying the pshchodynamics of Yoga, For Personal & Private Use Only

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PRAKRIT POETRY AND SANSKRIT POETICS V. M. Kulkarni (1) Poetry in Mabarastri Prakrit : Prakrit literature is vast and varied. It is composed in different languages like Ardhamagadhi, Maharaslri, Jain Mabarastri, Saurasent, Jain Sauraseni, Paisaci and Apabhramsa. I confine myself to poetry in Maharastri Prakrit. for, writers on Sanskrit pogtics mostly draw upon poetic works in Maharastri, for their illustrations. The principal works in this Prakrit are : (1) Hala's Sattayai or Saprasatakam or Gahakoso or better known as Gatha saptasati (GS) (c. first century A. D., according to some scholars second or third century A. D.) is the earliest known anthology of Prakrit to be precise, of Maharastri, verses comprising some seven bundred g.11has. It is the most famous and best known of Maharastri works. Its value as an anthology is high and it also affords evidence to show that Maharastri literature was once very extensive and widespread.2 Its popularity is attested by the large number of commentaries on it and scores of quotations from it in works on poetics and the use of it made by the Prakrit gram tiarjans. Eminent poets like Bana, Uddyotanasuri, Abhinanda and Soddhala bestow high praise on it. And if imitation is an index of popularity we have its imitation in Sanskrit in Govardhana's Aryasaptasat.i which is certainly modelled on Hala's Gotha saptasail. The work is divided, as is clear from the title, into seven satakas, centuries, collections of hundred gathas each, which however differ very much in various MSS preserved to us. This anthology is mostly of erotic contents. Each gaiha presents a mioiature picture complete in itself. These gathas mainly depict village life and the peasantry. The fainily life of the lower strata of the society is portrayed in its various contexts, but the erotic aspect dominates. These gathas are not specimens of ancient songs of the Indians dealing with the joys and sorcows of their lives but only artistic poems closely modelled on them. Next to the gathas portraying love in its various aspects we have picturcs of nature. We also get a few glimpses of the town and court life as some of the gathas are composed by kings and their court poets. The anthology is rich in maxims and Popular sayings and sheds light co the customs and conventions prevalent in those times. There are allusiops to deities like Siva Parvall, Gauri, Sambodbi-X-19 For Personal & Private Use Only

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146 V. M. Kulkarni Ganapati, Visnu, Liksmi, etc and to mythological events from the epics. The references to Vindhya, Sahya and Goda indicate the locality of the composition of the majority of these gathas, namely, the Deccan or more particularly, Mabajastra. (2) Ravanavijaya (aow lost) : Although this kavya is ranked by Bhoja and after him, by Hemacandra, along with Harivijaya and Setubandha, nothing is knowo about its author or its contents beyond a solitary citation by Bhoja which is repeated from his work Srngaraprakasa by Hemacandra in bis Kavyanusasana. (3) Sarvasena's Harivijaya (c-first balf of the fourth century A. D.; now lost): We are a little more fortunate to have about forty citations, a few of them are repetitions, which we can definitely ascribe to Harivijaya on the strength of their contents and or on the basis of clear reference by Anandavardhana and Bhoja. There are many more verses in Srngaraprakasa which are in Maharastri and are composed in Skandhaka metre. As they are not found in Setubandha they are probably drawn from Harivijaya, especially in view of their simi- .. farity of ideas, phrases, diction, stylo and metro. (4) Pravarasena's Setubandha?, also known as Ravanavaho, (c. first half of the Sih century A.D.) : This work is completely available with Sanskrit commentaries Setutattva-Candrika (Anonymous, od, Basak, Calcutta, 1959) and Rumasetupradipa (of Ramadasa, NS edn, Bombay 1935). There are eight more commentaries which are unpublished. Some of them aro incompleto and fragmentary. The Setubandha deals with a portion of the story of Rama from the return of Hanumat from Lanka with tidings of Sita to the death of Ravana, with special emphasis on the construction of the great causeway between the mainland and the island. It follows the story of Rama as related in the Ramayana with only a few minor variations. The designations of the different cantos of the Setubandha listed below from the commentary of Ramadasa give a sufficient idea of its contents : Rama-prasthanam (Rama's March) 2 Samudrotkarsah (The Glory of the Ocean) 3 Sugriva praudnih (Sugriva's war-like speech and proudly boasting of his own powers) 4 Ramasad gunyam (Rama's application of the six political expedients-Consecrating Vibhisana as the future ruler of Lanka) 5 Samudra-quathah (The boiling distress of the Ocean) 6 Parvatoddharah (The uprooting of mountains) 7 Seturudyogah (Active preparation for building the causeway) 8 Setu-nispatrih (The successful building of the causeway) , Suvelotkarsah (The Glory of the Suvela mountain) 10 Kamint-kelih (The gaieties of love of the young women of Lanka) 11 Mayottamangam (The exhibition of a severed head of Rama by magic-and the lamentation of For Personal & Private Use Only

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Prakrit Poetry and Sanskrit Poetics 141 Sita and Trijati's consolatory speech) 12 Sainya-sanghattah (The battle of the two armies of the Vanaras and the Raksasas) 13 Dvandva-sangramah (Single Combats between leaders of the. Vanaras and the Rakrasas) 14 Raksoviksobhah (The convulsions of the Raksasas) and 15 sita-sampraptih (Attainment of Sita after the slaying of Ravana). The Setubndha is the only extant Mahakavya written in Prakrit. Its affinity to the Sanskrit Mahakavya is one of the main causes of its popularity through the centuries (8) (5-6) Vakpatiraja's Mahumahaviaa (Sk: Madhumathavijaya) and Gailavaho (Sko Gaulavadha)-these two poems were composed in the first half of the eighth century A. D. Of these two kavyas, Mahum haviaa is now lost. Vakpati himself refers to this work in his Gau davaho. "Haw - can my robust . (flowery) language (employed) in the Madhumathavijaya sbrick to the state of a concise, compact) bud ? (But then) the later floral bloom of forost-creepers is much thinner and softer than its first bloom." ) . Abhinavagupta while conmenting on Dhvanyaloka(10) cites the following gatha as formaig part of Pancajanya's speech : "O (Madhu-matha (-mathana, Visnu), you once in the boar-incarnation) carried with ease the entire terrestrial globe on the tip of your rusk: then how is it that today you find even this (very light) ornament of lotus-fibre heavy to carry on person ?"(11) The following gaiha in Maharastri, cited by Anagdavardhana in hia Dhvanyaloka, is most probably drawn from this muhakavya (now lost). For in its thought and its expression it has very close resemblance with Gaudavaho v. no. 66. The two gathas in their translation are as follows : One, "The literary art of great poets is all conquering. For it causes various ideas to enter the heart of the reader) and appear (there) in a form which is different, as it were, from their real form." (Translated by Masson and Patwardhan)(12) and two, "What is real appears as unreal and what is unreal appears as if it were real, and (sometimes) a thing appears exactly as it is-these are the ways (Praktayah or Padavyah) of good poets." (Translation by. Masson and Patwardhan)(13) Vakpati's second work is completely available (4) It is a unique histo rical poem in Mahasastri Prakrit. It is a stupendous work comprising over 1200 gathas. It is no doubt a mahakavya having a wide variety of topics but unlike its prototype Ravanavaho (better known as Setubandha) it "has no divisions called asvasakas. It is just one long, continuous composition with kulakas appearing here and there. The purpose of this poem is For Personal & Private Use Only

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148 . V. M. Kulkarni : to celebrate the glory of his patron, King Yasovarman, with particular reference to his slaying of the Gauda King. This very important event, however, has been only cursorily mentioned in the whole poem. The principal topics dealt with in this long poem may briefly be touched upon here : The opening sixty-one gathas present by way of mangalicarana (invocations) word-pictures of the various devatas (divinities) like Brahma, Visnu, "his incarnations, Siva, Gauri, Kumara, Parvati, Sarasvati, the Moon, the Sun, Seas, etc Verses 62-98 treat of Kavi-prasamsa (Praise of Poets). The poem begins with verse >>9 which glorifies his patron King Yasovarman; and the verses 100-160 sing of his glory and greatness and how even Indra, who cut away the wings of flying mountains, honours him. The poet then gives a picturesque description of Pralayu. Then follows a description of the lamentable condition of the wives of the King's enemies. Verse 192 informs us of the king's expedition for, world-conquest;, his visit to the temple of the Vindhyavasini Goddess, his reflections at the sight of a dead body, the summer, the rainy season, his slaying of the Magadha King, his defeating the King of the Vangas and the Southern King, the defeat of the Parasikas, marchi across the Marudesa (Marwar), visit to the famous lake in Kuruksetra, visit to the Mandara mountain and tracts in the North, desolation of enemies' cities, depiction of scenes of love's enjoyment of the King with his beloved, his playful acts of gallantry, etc are then described (vv 193796). vv 797-803 give us some details of the poet's personal life. His listeners request him to describe to them how the Magadha King was slain by King Yas ovarman. He agrees but first describes the ways of the world in 150 gathas. Then he describes his patron King's virtues, evening, the moon-rise the 'Night Life of lovers, the advent of dawn, the sun-rise and announces his intention to describe the life of the great King and with this the poem ends. Vakpatiraja claims that his graceful literary composition is : picturesque, steeped in sentiments, soft for the tongue to recite, full of permanent value and all brilliant.(15) His claim is more or less just. He is a master poet finding out all the poetry that is in ordinary things. He is a true poet of nature and his picture of the country scenery is very charming He presents mythical events with imagination. He chiefly delights in two figures of speech, the upama and the Uspreksa, If Kalidasa is a master of upama Vakpati is a master of utopreksa. His partiality for long compounds detracts, however, from the merits of his otherwise most excellent poem. He remained unnoticed, however, for centuries, just because he wrote in Prakrit. For Personal & Private Use Only

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Prakrit Poetry ani Sanskrit Poetics (7) Lilavai(19) (Sk. Lilavati) : is a katha (a romance) in verses and in Maharastri Prakrit. Its composition is assigned to c A. D. 800. The poet does not disclose his name although he gives his father's name as Bh Usanabbalta and his grandfather's name as Bahuladitya (gathas 19, 21 and 23). According to the commentator, however, the word 'Kouhalena (SK Kautuhalena) in gatha 23 refers to the poet's name (Kaut Ohala=Kutuhala). This Katha consists of 1333 gathas. At the beginning of the work the poet invokes deities of the Pauranic pantheon like Hari, Madhumathana, Gauri, Candi and others. The main story deals with the love of Haja, the far-famed King of Pratisthana in Maharastra, well-known as a Prakrit Poet and renowned for his partiality or preference for Prakrit and Lilavati, a princess of Simhaladvipa who is prophesied to make her husband a universal monarch. The main story embodies sub-stories of Kuvalayavali (daughter of King Vipulasaya and the celestial nymph Rambha) and Citrangada, the Gandharva prince, and of Mahanumati (daughter of king of Alakapuri and his wife Vasantasri, born of the Vidyadhara King Hamsa and his wife Padma) and Madhavanila, (the son of the. Siddha King Malayanila and his queen Kamala). It is a secular and romantic poem mostly in gathas with a few prose sentences and verses in other metres; its structure is complex like that of Bana's Kadambari. The poet himself is the chief narrator, and addresses the entire poem, leaving out Invocation and Introductory portion. In the body of the plot the chief characters or their companions are made to unfold various details about themselves, thus supplying the readers, stage after stage, with various threads of the story which get duly joined in the concluding portion of the poem. The ruling sentiment is that of Singara (eroticism). The characters drawn from the semi-devine beings like the Vidyadharas, the Siddhas, the Yaksas, add the element of supernaturalness and awe to the atmosphere of the poem. Destiny and Chance play the supreme role in the whole story. . The poem shows close affinity with Brhatkatha in regard to legendary background, characters, motifs, episodes and stray events. The religious back-ground, which is positively Sajvite, is also not different from that of Brhaikatha. Further, the poem shows influence of literary works like the Abhijnana-Sakuntalam the Vasavadata, and the Ratnavali in depicting characters and situations. The literary merits of this poem are certainly high although only a few gathus from it are cited by Sanskrit writers on poetics. (8) Visamabinali a : Anandavardhana (c 850 A. D.), the famous author of Dhvan, aloka, was a poet of considerable merit who wrote both in Sanskrit For Personal & Private Use Only

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130 V. M. Kulka'ni and Prakrit. The only Prakrit work of his that we know is the Visamabana-lila (now lost). We have only a few gathas quoted from this work by Anandavardhana himself in his Dhvanyaloka and by 'Abhinavagupta in his commentary on it called Locana. In one gatha (!?) the poet says : "Merits become merits when they are appreciated by the cultured critics. Lotuses become lotuses when they are favoured by the rays of the sun." From a reference in Dhvanyaloka we come to kaow that the work coatained speeches of the god of love and his companions like Spring, Youth, wind from the Malaya mountain, and others. (18) In another gatha Anandavardhana says : "There is no limit to them and they never look like repetitions; (They stand for) the sportive graces of the beloveds and the meanings of the words of good poets."(19) In still another gatha the poet says: "The heart of the Asuras was solely intent on seizing the kausiubha jewel which was churned out of the ocean along with the goddess Laksmi. But the god of love set it on the bimba-like red lower-lips of their beloveds."(20) From the contents of these gathas and from the title itself : "The Sports of Cupid" it is reasonable to infer that the work must have dealt with the subject of love. (2) Praise of Prakrit Poetry Hala, the renowned poet and compiler whose literary fame rests on Gatha saptasati in Prakrit, thus sings the glory of Prakrit Poetry : "Those who do not know how to recite and hear (appreciate) Prakrit poetry which is (like) nectar (itself) - how do they not feel abashed (embarrassed) while they carry on discussion or talk about the nature of love ?''(21) Here Hala draws our attention to two salient features of Prakrit Poetry - its sweetness and its eroticism. In his anthology called Vajjalaggam Jayavallabha includes the following two gathas which are in praise of Prakrit Poetry : "The utterances of fair women) full of indistinctly uttered letters. their charming and playful smiles and side-long oblique glances shot through half-closed and half-opened eyes -- these to be sure cannot be understood without acquaintance with the gathas.(22) And, While Prakrit poetry, charming, full of sweet (pleasing) sounds (diction), loved by young ladies and characterised by the sentiment of love is available, who can possibly bear to read Sanskrit Poetry ?(23) For Personal & Private Use Only

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Prakrit Poetry and Sanskrit Poetics 131 Vakpati speaks of the greatness of Prakrit (poetry) in these words : "It is only in Prakrit that we shall have in an abundant measure till (the end of) the world's duration, a presentation of ever fresh-themes, and a rich variety of styles, soft caressingly cool and sweet in their composition." "A peculiar delight which dilates and closes the eyes, thrills the heart, rushing inwards and outwards."(?!) Rajasekhara, an eminent poet and dramatist, compares and contrasts Sanskrit and Prakrit languages as follows: "Sanskrit speech is praiseworthy whereas Prakrit speech is naturally sweet."(25) "Harshare Sanskrit compositions but Prakrit composition is very tender or delicate. The two kinds of composition are as different from cach other as are men different from women'' (26) (3) Praise of Prakrit Poets In his introductory verses to Harsacarita the poet, Banabhatta praises (Satavahana, also known as Salivahana and)Hala, for his (Gatha-)Kosa better known as Gatha saptasart in these glowing terms : "Satavahana made a treasure with fine sayings as with jewels, avinafinam immortal 2 inexhaustible) agramyam (1 not vulgar or indecent, i.e. refined 2 not produced in villages -- for jewels are found in the sea or in mines, not in villages) visuddha jati (1 containing description of nature or objects that is not vulgar 2 of purest character).", 17) Uddyotana suri; the author of Kuvalavamala (a unique Campa in Prakrit), extols Hala and his (Gatha-Kosa) in these words : What is the use of (composing) poetry after the passing away of Hala like that of raw flesh after the effect of wine is over ? - that Hala who. by virtue of his mastery over graceful speech made even the farmers recite his gathas" (while ploughing their fields).(28) The popularity of Gaha sattsai can also be seen from the good number of commentators and the vast number of quotations from it in later works on Sanskrit poetics; further, the fact that Govardhanacarya modelled his Aryasaptasati in Sanskrit on Hala's Gahasattasai in Prakrit bears witness to its great popularity. Anandavardhana ranks Sarvasena with Kalidasa when he compliments him for deviating from the original story and inventing new episode with a view to investing it with suitable rasa.(29) For Personal & Private Use Only

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152 V. M. Kulkarni Abhinavagupta explains in his commentary Locana that he invented the episodes of Parijataharana, etc., and introduced them in his Harivijaya, although they have no basis in the Itihasa, etc.(80) Kuntaka mentions Sarvasena next in order to Kalidasa as a poet of the Sukumara (graceful), popularly known as Vaidarbhi, style of composition, (32) Although Hemacandra assumes Sarvasena to have composed the galitakas, he, following Bhoja, mentions the view that some 'literary critics regarded these galitakas as interpolations by self-styled Pandits. If that view be correct Hemacandra's criticism loses all its force. But for this single critical reference Hemacandra is, like Bhoja, all praise for Sarvasena and his Harivijaya. Like Bhoja he mentions Harivijaya with Ravuna-vijaya and Setubandha as the three well-known Prakrit mahakavyas; and like Bhoja he mentions it approvingly several times with other well-known Sanskrit and Prakrit kavyas, while -illustrating the salient features of a mahakavya. Bhoja shows his high esteem for Sarvasena and his high appreciation of his Harivijaya by drawing on it for exquisite examples on more than fortyfive occasions in the course of his exposition of poetics. Banabhatta eulogizes Pravarasena's Setubandha, like Hala Saravahana's (Gatha-) Kosa, in equally glowing terms: Pravarasena's fame bright like the white water-lily cro-sed over to the other shore of the ocean by Setu (1 bridge 2 his Setu-Kavya composed in Prakrit) like the army of monkeys, glorious with Kumuda, a commanderin-chief of monkeys, crossed over to the other shore of the ocean.(32) There is a tradition that the Setubandha was composed by Kalidasa and that Pravarasena was only the patron of that great poet. This tradition itself linking Pravarasena's Setuhandha with the name of Kalidasa speaks volumes for its high literary merit. Dandi the renowned author of Kavyadarsa, bestows high praise on Setubandha when he says: "The Maharastri is the best of all Prakrits. Setubandha (and other poetic compositions) composed in this Prakrit are verily an ocean of jewel-like Subh7sitas (fine witty sayings)." Two centuries before the Hurivijaya of Sarvasena was appreciated by Anandavardhana, the Setubandha was extolled by eminent writers like Bana and Dandi. This fact clearly shows that Setuban dha was regarded as the best among the Prakrit mahakavyas, That Setubandha of Pravarasena was well-known in literary circles in Cambodia in the ninth centary A.D. is attested by a verse from an inscription of the Cambodian king Yasovarman who reigned in the last decade For Personal & Private Use Only

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Prakrit Poetry and Sanskrit Poetics 153 of the ninth century A. D. The verse makes a comparison between Yasovarman and Pravarasena. The former is also Pruvara-sena 'one that has an excellent army'; but while he built a bridge of piety-dharmasetu- consisting of his religious foundations, the other Pravarasena made only a Prakrit-setu which apparently means 'an ordinary bridge, but really means the Setukavya composed in Prakrit.(34) Numerous Sanskrit commentaries on this Prakrit epic also attest to its immense popularity. (The eminent German scholar, Jacobi refers to this work (also known as Ravana-vaho) as "the most famous mahakavya of the Prakrit literature." * The eminent and erudite scholar S. P. Pandit, who first drew the attention of scholars, both in India and abroad, to the Prakrit Kavya Gaudavaho (of Vakpati) by bringing out its edition, extols it as 'most excellent poem'. (4) Influence of Prakrit Poetry on Sanskrit Writers On Poetics Although we do not find Prakrit illustrations in the early works on poetics like Bhamaha's Kavyalamkara, Dandi's Kavyadarsa, etc., they clearly state the fact of the existence of Prakrit literature side by side with Sanskrit and Apabhramsa literature. The absence of Prakrit quotations in their works is due to the scheme of composing their own examples and not of quoting examples from the works of other authors. The few Prakrit examples we come across in Rudrata are his own compositions. The fact that about two thousand and eight hundred verses from Prakrit works are cited by later alamkarikas beginning with Anandavardhana is a clear and definite proof of the great influence Prakrit poetry exercised on them of all the writers on Sanskrit Poetics it is Anandavardhana who is considerably influenced by the Serubandha and the Gaudavaho. He as well as Kuntaka, the author of Vakroktijivita frequently use the expression bandha-cchaya (beauty of composition) in expounding their poetical theories. Anandavardhana refers to the objectives of 'bandha-cchaya' and "ahinava atthugai' (Sk abhinava arthagatih, a new range of meaning or the novelty of ideas) mentioned by Pravarasena in his Setuhandha in almost identical language : "Novelty of ideas as well as great beauty of composition is achieved by adopting a single sentiment as predominant in any poem as a whole."(36) Vakpati, taking his cue from Pravarasena, also speaks of new ideas and beauty of composition in his Gaudavah ) (37) before Anandavardhana : Sambodhi-X-20 For Personal & Private Use Only

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V. M. Kulkarni "It is only in Prakrit that we shall have in abundant measure, till (the end) of the world's duration, a presentation of ever fresh themes and a rich variety of compositions that are cool and pleasing in their arrangement." (38) Anandavardhana quotes Gaudavaho v, no. 406 to illustrate 'atyantatiraskrta-vacya (dhvani)': "How charming when the clouds reel in the sky, how lovely when in the woods the white Arjuna trees are torn (? shaken) by great downpours of rain. Though in the sky the moon has lost all pride yet these black nights have a haunting beauty of their own." (9) Here the words "reel" and "has lost all pride" are full of suggestion with the literal meaning completely lost. Anandavardhana seems to have quoted another Prakrit gatha most probably from Vakpati's Mahumahaviaa (Sk Madhumathavijaya) as pointed out earlier.(40) 154 As pointed out by Dr. Masson and Prof. Patwardhan(41) several of Anandavardhana's (or Karikakara's) most cherished ideas come from this great poem (Gaufavaho): In his Vriti on Karika II. 16 Anandavardhana observes......"In the case of a poet who is intent upon suggesting rasas and who has imaginative genius (pratibhanavar), even figures of speech which may appear (to the reader) difficult (to create) clamour to present themselves to him". This statement is similar enough to Gaudavaho, verse 86 (42). "The minds of other (i.e. ordinary) poets wander about frantically searching for subjectmatter. (But) in the case of great poets the themes themselves rush to their hearts, without any effort on their part." Again, Anandavardhana's long discussion on anantya, the endlessness of poetic themes is certainly influenced by Vakpati's some of the fine gathas dealing with 'The praise of poets,' Anandavardhana's long discussion may briefly be summarised as follows: For literature (vani) that is embellished with any one of these varieties (of suggestion) though it reproduce ideas already treated, appears fresh (navatvam). By using rasa in a poem even subjects seen time and again will appear new, just as do trees in the month of March - with the advent of spring. By using divani and gunlbhuta-vyangyu in this manner, there will be no end to the subject-matter of poetry as long as there is the gift of poetic Imagination. For Personal & Private Use Only

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is's Prakrit Poetry and Sanskrit Poetics "By its very nature (even without the help of a suggested sense), the purely denoted sense is inexhaustible because of differences of circumstance, place, time, etc." Though assiduously written about by thousands of thousands of (poets similar to) Vacaspati, the subject-matter, cannot be exhausted any more than the prakrti (primordial matter) of the universe." (3) Here now are the gathas from Vakpati's Gaud avaho that must have influenced the author of Dhvanyaloka in writing the Karikas cited above : Earlier poets through the virtue of their times (i. e. because they were born in ancient times) were able to wander on virgin paths but some others (i. e. modern poets) are guided on difficult paths in imitation of the genius of the earlier poets."(44) "It is true that there is nothing that has not been seen on the well-trodden paths of poetry. But actually this is true for only the very beginnings of the path. All else is new " 45) "Glorious is the poet's speech pulsating with inspiration ! Though every day great poets have drained its essence from the beginning of creation yet it still seems as if its seal remains unbroken-in tact (i. e. its riches have barely been tapped."(6) Again, Anandavirdhana's discussion about Prakrtyaucitya (propriety in relation to the nature of characters) which is divided into propriety relating to high, middle and low characters as well as propriety relating to divya (divine), manusa (human) and divya-manusa characters strongly reminds us of the threefold katha (story): divya, divya-manusi and manusi spoken of by the author of Lilavai(47). Further, Anandavardhana's specific reference to Satavahana's superhuman exploit of going to the netherworld of ridgas which has been described in Lilavai indicates that he knew this Prakrit woik and has utilised it in the context of describing Prakrti-aucitya:48) The whole discussion would show how the Prakrit works Setubandha, Gaudavaho and Lilavai have greatly influenced Anandavardhana, the greatest writer on Sanskrit Poetics. (5) A Few Illustrative Verses : It is extremely difficult, almost impossible to select only a few of the exquisitely beautiful verses cited by the alamkarikas. But as there is no alternative I do so with great diffidence. Gathasaptasati: This anthology is highly popular with the writers on Sanskrit poetics beginning with Anandavardhana. It is, however, the author of Sarasvatikanthabharana and Singarapraktsa, who freely * quotes the glas from this anthology by hundreds. We may refer here to only a few of the quotations : The maiden in love begs the moon to touch her with the rays which have touched her lover.(49) Another maiden begs of night to stay for ever For Personal & Private Use Only

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V. M. Kulkarni , since the morning is to see her lover's departure.(50) The lover who is om travel bids the thunder and lightning do their worst on him, if they but spare his beloved at home.(61) A tender (hearted) wife rejoicing at her husband's return does not put on festal/gay dress lest she embitter the grief of her neighbour whose husband has not come home (52) One of the loveliest gathas, steeped in pathos, says : "When of two have long shared joy and sorrow together one dies, he alone is really alive, it is the other who dies."53) This beautiful sentiment has a distant parallel in Bhasa's line : "Vasavadatta (lit., Mahasena's daughter) who is dead is not dead if the King (Udayana) has such a soft feeling for her" (59) and also in Bhavabh uti's line, 'He is not dead of whom a beloved thinks, in other words surely he is not dead who lives in the memory of a loved person.(56). But absence may be a joy where the heart is false; "the faithless one bemoans her unprotected state, and begs her (neighbour-)friend to come to her home, merely to secure her safety. (56) Another gatha tells us of a naughty wife who pretends to be bitten by a scorpian in order to go to the house of the physician - her paramour (57) Another gatha brilliantly describes the removal of anger of the woman offended (manini) : The wife who is overpowered with sulky wrath at the offence of faithlessness of her husband (suddenly) laughs as their little boy crawls on his father's back, when he falls prostrate at her feet in penitence for his offence.68 Another gatha presents a graphic picture of a traveller and a maid (who distributes water to travellers) who fall in love at first sight : "Looking upwards and with his fingers thin (not close) the traveller drinks for long water and the water-maid makes thinner and thinner the already thin stream of water that she pours in the hollow of his hands."69 In another gatha the poet beautifully brings out Parvati's 'untaught cleverness' in not allowing Siva to gaze at her unclothed or nude beauty : "In the course of enjoying love's delights Parvati has her garment stripped off; immediately she closes the pair of Siva's eyes with her tender arms, and closes the third eye of Siva by planting a kiss on it." This gatha strongly reminds us of Kalidasa's famous verses from Kumarasambhava.(60) The poet of this gatha it would seem, has improved upon Kalidasa's lovely description of the situation. In another gatha the poet graphically describes how a cow in the cow-shed rubs her eye on the horn of a wicked bull. This description finds a parallel in Kalidasa's picture in Sakuntala wherein the desires to represent a dos rubbing her left eye on the horn of a black antelope. For Personal & Private Use Only

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Prakrit Poetry and Sanskrit Poetics Harivijaya: Anandavardhana cites the following verse from Harivijaya to illustrate a variety of suggestion. Apparently it describes the advent of spring which causes restlessness in the minds of young people : Madhu-Laksmi had bedecked her ears with mango-sprouts; and her mouth was bearing sweet fragrance of wine taken in celebration of the (Spring-) festival. Kusumasara (the god of love) caught her face, although not offered (i. e. by force) (in order to kiss it.) Here we have a beautiful samasokti. The topic of manini (The woman offended) is a popular subject in Sanskrit as well as Prakrit Verse. The offence consists in the faithlessness of her lover. Bhoja cites the following verses from among many from Harivijaya which deal with manini. With a view to giving his beloved (Satyabhama) the highest enjoyment of love's delights, not even conceived of or dreamt of by her, Hari with a smile on his face and with both of his hands holding his mukusa in its place fell at her feet. Hari in order to appease the anger of his beloved (Satyabhama) fell prostrate at her feet; and what a wonder ! Drops of tears of joy, which welled up in her eyes, and which she did her best to suppress fell on his back. Setubandha : Here are a few more examples of manini the woman offended from Setubandha : The anger of the proud women, heightened by love, died away slowly in their hearts, gratified for a moment by the entreaties of the lovers, but saddened and perturbed again by the remembrance of offence given. The young women, who greeted their lovers even without being appeased by them were abashed when covertly admonished by their maiden friends with severe looks. As they stood scared their beloved knew that they only pretended to be angry. They pretended anger to please their sakhis-girl friends, who had advised them to practise mana, and silently reproved them for being cordial to the lovers without waiting to be appeased by them for past offences. They spoke in one way before their maiden friends, and in another way while instructing the messenger girls, and something quite different, excitedly, at the sight of the beloved. 62 Gauduvaho; Here is a verse from Vakpati describing manini : The lady was angry; but when her man held her lower lip between his * own lips, the flush of anger began wearing away, like wine in a crystal For Personal & Private Use Only

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V. M. kuikarni cup which goes on subsiding when sipped, after being seized between the two lips by the drinker. 6 Principal theme and governing sentiment : Prakrit verses quoted in works on Alamkarasastra are mostly of erotic contents, love in its various phases and stages being the dominant sentiment: No doubt there are some verses cited which contain maxims, popular sayings, Subhasitas and some others deal with nature, seasons, etc; and still some others with heroism. But as a rule Prakrit poems and anthologies from which these verses are drawn mainly deal with love. Young women, the blossoming of love, the message from mistresses to absent lovers, the efforts of a duti (go-between) to bring about the union of lovers, love in enjoyment-kisses, embraces, nailmarks, tooth-bites, intercourse are described. The manini (woman offended), love in separation, the asati (an unmarried woman who is not chaste, or an adulteress, a wanton woman) a puspini etc., are portrayed with zest-gusto in these works. The Prakrit poets are proud of the fact that their poetry mainly deals with love, and mainly interested in evoking the beautiful sentiment of frigara. This preference for the theme of love and the erotic sentiment should be easy to understand on psyschological grounds : Love is the most dominant of all feelings, and is easily within the experience of one and all(63) Anandavardhana was fully conversant with human psychology so well expressed by Bhamaha : "They say princes to be instructed or pupils in general) study Sastras if they are touched up with sweet pleasurable rasa. Children who first lick honey easily take bitter dose of medicine. Keeping in mind this aspect of human psychology Anandavardhana most probably chose to cite erotic Prakrit gathas to illustrate the theory of dhvani and its varieties which he, for the first in the history of alamkarasastra, formulated and propounded in his Dhvanyaloka. His lead is enthusiastically followed by later alamkarikas, Bhoja topping them all by citing in his two alamkara works about two thounsand Prakrit verses. (7) Prakrit Poetry highly erotic but not obscene : In some quarters it is alleged that the alamkarikas cite Prakrit verses which are full of obscenity and vulgarity and which glorify illicit or clandestine love as illustrations because the obscenity remains hidden under the garb of the Prakrit language. This allegation, on the face of it, is false. For the very purpose of citing illustration is defeated if the verses be unintelligible. The fact is in the classical period there was no compartmentalisation or bifurcation of studies into Sanskrit and Prakrit. The For Personal & Private Use Only

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Prakrit Poetry and Sanskrit Poetics . 199 long standing practice of writing dramas in Sanskrit and Prakrit will casily bear out this statement. Again, eminent Sanskrit writers like Bana, Dandi, Kuntaka, Anandavardhana, Bhoja have paid handsome tributes to Hala Satavahana, Sarvasena, Pravarasena for their exquisite Prakrit works. This fact corroborates the statement that there was integration of SansErit and Prakrit studies. Naturally, the alumkarikas appreciated first-rate Prakrit works and freely drew upon them - as they did in the case of Sanskrit works - for illustrations in their alamk dra works. It is therefore an insult to the intelligence of these alamkarikas to allege that they quoted Prakrit verses with an ulterior motive. Now let us examine the charge of obscenity against the Prakrit verses. The alaikarikas have defined in their works what constitutes the poetic blemish of obscenity. Use of words which give rise to feelings of shame, of disgust or convey the sense of inauspiciousness-such words are taboo in cultured and polite society and therefore it is that their use is condemned as obscene ani vulgar. They have, with their sharp intellect, recorded and denounced as obscene even particular combination of letters giving rise to words meaning the names of the private parts of the human body. So there is no question of defending obscenity in literature --whether Sanskrit or Prakrit. These Prakrit verses fall into two groups, Those which are highly erotic and those which portray illicit, clandesting or adulterous love. We must clearly distingush between the erotic and the obscene. The writings of great poets, both Sanskrit and Prakrrit are highly erotic and artistic or poetic. To brand them obscene, as impatient critics of Prakrit Verses do would mean putting these great works out of the reach of the sensitive sahrdayas. We must not be carried away by highly erotic descriptions and mistake the highly erotic for the obscene. The Prakrit poets, as a rule, remain strictly within the bounds of propriety and refinement and avoid vulgarity and obscenity. According to the European scholars of the Victorian age or nineteenth century Western morals, the descriptions of rati-kalaha (love's battle), the lover's wounding his mistress with nails (nakha-ksata), and biting her (lower) lip with teeth (dania ksara), contrary intercourse where the woman takes the man's position above while the man lies below (viparlta-rata) depart very far from standards of propriety and taste and therefore are offensive. But Indian pasikas or sahrdayas have all along been enjoying these descriptions; they reigster their dissent or disapproval only when they overstep the bounds of aucitya (propriety or decorum) according to our standards. Thus Anandavardhana, (Ksemendra) and Panditaraja Jagannatha would like to censure For Personal & Private Use Only

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160 V. M. Kulkarni Theot Ban, espect Kalidasa and Jayadeva for frankly describing the amorous sports of Siva and Parvati - the parents of the whole world - and the amours of Radha and Krsna in Kumara-Sambhava and Gitagovinda respectively. As far as Gathasaptasati is concerned the renowned poet Banabhatta unequivocally states that it is not vulgar (argramyam). The verses dealing with Caurya-raia are fine specimens of dhvani-kavya. There is a class of literary critics who hold the view that art is for the sake of art. According to them we must never mix up aesththetics with ethics. In the realm of literature and its appreciation we must be solely guided by aesthetics and we must refuse to be impressed by extraneous considerations of morality and immorality and its effect or impact on Society. As literary critics our duty ends when we appreciate the beauty of the literary creation and experience aesthetic rapture. To censor passages from works on grounds of morality or their evil influence on Society is the job of law-courts. Viewed in this light the amours of Radha and Krsna and the amorous sports of Siva and Parvati and the descriptions of Cuurya-rata in Gatha-saptasati would not appear improper or obscene. According to these critics, the theme of art may be any. thing which has a basis in life, if it is beautifully presented by poet it is enough for us; we appreciate it whole-heartedly. Dananjaya rightly observes in his Dusarupa : , "There is nothing in this world, a postic mind cannot appreciatemay it be beautiful or disgusting, great or mean, terrifying or pleasing, incomprehensible or obvious, real or fictitious.65 In other words, life in all its aspects has a place in literature. It is for the poet to present it in a beautiful form. (8) Conclusion : In conclusion, I would like to say that poeti: works in Maharastri Prakrit are of a high order. They easily bear comparison with their counter-parts in Sanskrit Literature. Notwithstanding the difference in language the alamkarikas (writers on Sanskrit poetics) made no difference between Sanskrit and Prakrit literatures. They appreciated both. Some of them wrote in both. The norms laid down in their works are equally applicable to both. That is why even a scholar of Hemacandra's eminence who has to his credit works on Sanskrit and Prakrit grammar and prosody did not feel the necessity of preparing a work on Prakrit poetics. His Kavyanusasana is devoted to Sanskrit poetics only. In fact, literatures in modern Indian languages like Marathi, Gujarati, Bengali, etc. before they were influenced by Western literary thought and literature were judged by the norms laid down by Sanskrit literary critics and they had no separate poetics of their own. We all would do well to keep before us the For Personal & Private Use Only

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Prakrit Poetry and Sanskrit Poetics 161 ideals of Anandavardhana, Abhinavagupta, Bhoja, Rajasekhara and Hemacandra who studied and wrote and appreciated literature both in Sanskrit and Prakrit. Let us keep our minds open. The responsibility of preserving our heritage-rich treasures in Sanskrit and Prakrit-rests chiefly on us Indians. How I wish our Indian universities show their wisdom, far-sightedness and vision by integrating and strengthening the Sanskrit and Prakrit studies! We must shed all our narrow prejudices that Sanskrit is the language of the Brahmanas only and Prakrit of the Jains only. A hurried glance at the history of Sanskrit literature and of Prakrit literature is enough to convince any body that authors-poets, dramatists, story-writers, etc., belonging to different sects, creeds and religions have made noteworthy contributions to the development of literature in both the languages. 1) A. Weber: Ueber das Saptasatakam des Hala, Leipzig 1870; Das Saptasatakam of Hala, Leipzig 1881; the Gathasaptasati, Kavyamala 21, 2nd edn, 1911; Ibid, 3 rd edn, Bombay 1933. Keith: A History of Sanskrit Literature, Oxford 1928, pp. 223 ff.; A. M. Ghatge: Maharastri Language and Literature, Journal of the University of Bombay, 1V. 6, May 1936. Footnotes 2) Cf. satta saAI kaivacchaleNa koDIa majjhaArammi / hAle viraibhAi sAlaMkArANa gAhANaM // -GSI. 3 3) Vide, infra, Praise of Prakrit Poets. 4) Vide A. M. Ghatage: Maharastri Language and Literature, Journal of the University of Bombay, IV, part 6 (pp 19-70) May 1936; Keith A History of Sanskrit Literature, Oxford 1928, pp 223 ff.; A. N. Upadhye: Prakrit Literature, Encyclopaedia of Literature 1, New York 1946. 5) kaviprazaMsA yathA rAvaNavijaye -- alaM cer viMdha dohiM paehi kalusa pasaNNaM ca Thia / jANaMti kaNa kaI suddhasahAvehi lobhaNehiM ca hi // [sakalameva nibandhe dvAbhyAM padAbhyAM u prasannaM ca sthitam / jAnanti kapInAM kapayaH zuddhasvabhAvAbhyAM locanAbhyAM ca hRdayam // ] -Kavyanuisana, Mahavira Jaina Vidyalaya edition, Bombay, 1964 p. 456. 6) Vide the present writer's paper: The Harivijaya of Sarvasena, Annal, Bhandarkar Oriental Reasearch Institute, Poona, 1977-78 (Diamond Jubilee Volume), pp. 691-710. Sambodhi-X-21 For Personal & Private Use Only

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182 V. M. Kulkarnt . 7) Ravanava a oder Setubandha Prakrt and Deutseh herausgegeben von Siegfried Goldschmidt I, Lieferung : Text, Index. Strassburg, 1880; Second edition, with Rainadasa's commentary, Nirnaya Sagar Press, Bombay, 1935; Pravarasena's Ravanavaha-Mahakavyam edited by Dr Radhagovinda Basak, Sanskrit College, Calcutta, 1959; Pravarasena's Setubandha, Translated by K. K. Handiqui, Prakrit Text Society, L. D. Institute of Indology, Abmedabad-9 For its popularity and its influence on writers on Sanskrit poetics vide infra "Praiso of Prakrit Poets" and "Influence of Prakrit Poetry on Sanskrit Writers on Poetics." . 8) 11) mahabhaha- vibhaa-pauttA vAA kaha NAma maulau imammi / padama-kasamAhi taliNa pacchA kasama vaNa-laANa // [madhumatha(na)-vijaya-prayuktA vAk kathaM nAma mukulayatvasmin / prathama-kusumAt talinaM pazcAt kusumaM vanalatAnAm // ] :- Gaudavaho. 69 0) tad yathA madhumathanavijaye pAJcajanyoktiSu -Dhvanyaloka III, 15, (p. 345) lIlAdAdaggumvUDhasaalamahimaMDalassa cia ajja / kIsa muNAlAharaNaM pi tujjha gareAi aMgammi // [lIlArdaSTrAgrodvyUDhasakalamahImaNDalasyaivAdya / kasmAt mRNAlAbharaNamapi tava gurUyate''Gge // ] -Dhvanyaloka-Locana (III. 15), p. 346 12) atahaTie vi taha saMThie vva hiaammi jA Nivesei / asvavisese sA jaai piaha-kai-goarA vANI // [atathAsthitAnapi tathAsa sthitAniva hRdaye yA nivezayati / ." avizeSAn sA jayati vikaTa-kavi-gocarA vANI // ] -Dhvanyaloka IV. 3-4, p. 13) ThiamaDi va dIsai aThiapi pariTThi va paDihAi / ' jahasaThi ca dIsai sukaINa imAo payaIo // [sthitamasthitamiva dRzyate'sthitamapi pariSThitamiva pratibhAti / yathA-saMsthita ca dRzyate sukavInAmetAH padanyaH | prakRtayaH // ] -Gaudavaho. v. No 66 14) Gaudavaho by Vakpatiraja, edited with an Introduction, Sanskrit Chaya. English Translation, Notes, Appendices, and Glossary by Prof, N. G. Suru, pub, by Prakrit Text Society, Ahmedabad-9. 15) Alekkhi ca sarasa ca parisa-loNa ca sAravaMta ca / thiramujjalaM ca chAyAghaNaM ca gI-vilasiaM ca // AlekhyaM ca sarasaM ca sparzalavaNaM ca sArakhacca / sthiramujjvalaM ca chAyAdhanaM ca gIrvilasitaM ca // ] -Gaudavaho v. no. 801 For Personal & Private Use Only

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. Prakrit Poetry and Sanskrit Poetics 16) Lilaval of Kouhala with the Sanskrit Vrtti of a Jain Author, edited by Prof. A. N. Upadhye, Bharatiya Vidya Bhavan, Bombay-7, 1949 A. D. 17) tAlA jAaMti guNA jAlA te sahiaehiM gheppaiti / rai-kiraNANuggahiAI hoti kamalAi~ kmlaaii|| [tadA jAyante guNA yadA te sahRdayairguhyante / ravi-kiraNAnugRhItAni bhavanti kamalAni kamalAni // ] 18) ( evaM madhumathanavijaye pAJcajanyoktiSu ) viSamavANalIlAyAM kAmadevasya sahacarasamAgame'rthavyaJjakatvamudAhAryam / Abhinavagupta in his commentary. Locana, explains: sahacareti / (kAmadevasya) sahacarAH vasanta-yauvana-malayAnilAdayastaiH saha-samAgame / humi avahatthia-reho, NiraMkuso aha vivearahio vi / - siviNe vi tujjha samae, pattima/pattihi bhattiM Na pamhusami // . [bhavAmyapahastitarekho niraGkuzo 'tha vivekarahito'pi / svapne'pi tava sama(ka) pratIhi bhaktiM na vismarAmi // ] ityAdayo yauvanasyoktayastattannijasvabhAvavyaJjikAH / - -Locana, p. 346 19) # a tANa ghaDai ohI, " a te dIsaMti kahavi puNahattA / je vinbhamA piANaM, asthA vA sukai-vANINa // na ca teSAM ghaTate'vadhiH na ca te dRzyante kathamapi punaruktAH / ye vibhramAH priyANAmarthA vA sukavi-vANInAm // ]. -Dhvanyaloka ly. 7-8 20) yathA vA mamaiva viSamabANalIlAyAmasuraparAkramaNe kAmadevasya- . taMtANa siri-sahoara-raaNAharaNammi hiaamekarasaM / / bibAhare piANaM NibesiaM kusumavANeNa // .. [tatteSAM zrIsahodararatnAharaNe hRdayamekarasam / bimbAdhare priyANAM nivezitaM kusumabANena // ] .. -Dhvanyaloka II..27-28 21) ami pAia-kavaM padiuMsouMca je Na jANaMti / kAmassa tatta-tati / vattAM kuNaMti te kahaM Na lajjati // [amRtaM prAkRta-kAmyaM paThituM zrotu ca ye na jAnanti / kAmasya tattva-cintAM ! vArtA kurvanti te kathaM na lajjante // ] -Gathasaptainti-I.2 22) addhakkhara-bhaNiyAi nUNa svilaas-muddh-hsiyaaii| addhacchi-pecchiyAI gAhAhi viNA Na Najjati // [ardhAkSara-bhaNitAni nUnaM savilAsamugdhahasitAni / ardhAkSi prekSitAni gAthAbhivinA na jJAyante / ].. ___-Vajjalaggain, No. 9. . For Personal & Private Use Only

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164 ... V. M. Kulkarnt 24) . 23) lalie mahurakkharae jubaIjaNavallahe sasiMgAre / saMte pAiakavve ko sakkai sakkayaM pddhiu|| [lalite madhugakSare yuvatijanavallabhe sazRGgAre / sati prAkRtakAvye kaH zaknoti saMskRta paThitum // ] -Vajjalaggah, No 29. NavamatthadasaNa saNivesa-sisirAo bNdhriddhiio| aviralamiNamo AbhuvaNavadhamiha Navara paaammi / / harisaviseso viasAvao amalAuvao a acchINa / iha bahihutto aMtomuho a hiaassa vipphurai // [navamarthadarzana sanivezazizirA bandhayaH / aviralametadAbhuvanabandhamiha kevala prAkRte / harSavizeSo vikAsako mukulIkArakazcAkSNoH / iha bahirmukho'ntarmukhazca hRdayasya visphurati // -Gaudavaho, Nos. 92, 94 25) giraH zranyA divyAH prakRti-madhurAH prAkRtagiraH / -Balaramayana I. 11 26) pharusA savayabaMdhA pAiyabaMdho u hoi 'suumAro / purisa-mahilANa jettiyamihaMtaraM tettiyamimANaM // [paruSAH saMskRtabandhAH prAkRvandhastu bhavati sukumAraH / puruSa-mahilAnAM yAvadihAntaraM tAvadanayoH // ] -Karpuramanjari, I.7 27) avinAzInamagrAmyamakarot sAtavAhanaH / vizuddhajAtibhiH kozaM ralairiva subhASitaiH // -Harsacarita I-13 28) bhaNii-vilAsa-vaittaNa-colikke (vokkille) jo karei halie vi / kanveNa kiM pautthe hAle hAla-viyAre bva // . -Kuvalayamala p. 3, 1 21-22 29) itivRttavazAyAtAM kathaJcid rasAnanuguNAM sthiti tyaktvA punaH utprekSyApi abhISTarasocitakathonmayo vidheyaH / yathAkAlidAsaprabandheSu, yathA ca sarvasena-viracite harivijaye / -Dhvanyaloka III. 14-15, pp. 335-36 30) harivijaye kAntAnunayanAGgatvena pArijAtaharaNAdi nirUpita- . mitihAseSu adRSTamapi / - -Locana, p. 335 313 evaM sahajasaukumAryasubhagAni kAlidAsa-sarvasenAdInAM / ...kAvyAni dRzyante / tatra sukumAra-svarUpaM carcanIyama / -Vakroktijivita 1.52-53, Dharwad edn p.66 For Personal & Private Use Only

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Thrakrit Poetry and Sanskin Poerios 32) kIrtiH pravarasenasya prayAtA kumudojjvalA / .. sAgarasya paraM pAraM kapiseneva setunA // -Harracarita I. 14 mahArASTrAzrayAM bhASAM prakRSTa prAkRta viduH / sAgaraH sUktiralAnAM setubandhAdi yanmayam // Kavyadasha1-34 34) yena pravarasenena dharmasetuM vivRNvatA / paraH pravaraseno'pi jitaH prAkRtasetukRt // - Cited by Handique in his Introduction to his Translation, Pravarasena's Setu. bandha, pp. 17-18 35) abhinavA pUrvairanuktA arthagatiH abhidheyapaddhatiH bandhacchAyayA saMdarbhazobhayA duHkhaM kRcchrAt saMpAdyate / Kulanatha on Setu I. 11 ("It is hard to cambine new ideas (Lit, a new range of meaning) with beauty of composition.") And agibhUtarasAdyAzrayeNa kAnthe kriyamANe navArthalAbho bhavati bandhacchAyA ca mahatI saMpadyata iti / --Dhvanyaloka IV. 5-6 36) See footnote (16) supra. 37) Gaudavaho was composed probably about A. D. 736. Anandavardhana; the pe riod of Anandavardhana's literary activity lies between 860--890 A. D. 38) Translation adopted from N. G. Suru's edition mentioned in foot note (7) supra. gaaNaM ca mattamehaM dhArAluliajjuNAI avnnaaii| pirahaMkAra- mikA haraMti NIlAo a (vi ) NisAo / [gagana ca mattamegha dhArAlulitArjunAni ca vanAni / nirahaGkAra-mRgAGakA haranti nIlAzca (1 nIlA api) nizAH ] For a brillaint and highly poetic exposition of this gatba read Locana, p-173 : ca zabdo'pizabdArthe / gaganaM mattameghamapi, na kevalaM tAraktim / dhArAlulitArjunaakSANyapi vanAni, na kevalaM malayamArutAndolitasahakArANi / nirahaMkAramRgAMkA nIlA api nizA, ma kevalaM sitakaradhavalitAH / haranti utsukayanti ityarthaH / mettazabdena sarvathaivehAsambhavatsvAthaina bAdhitamadyopayogakSIbAtmakamukhyArthena sAdRzyAn meghAn lakSayatA'samaJjasakAritva-durnivArasvAdidharmasahasra dhvanyate / nirahaMkArazabdenApi candraM lakSayatA tatpAratantrya-vicchAyatvojjigamiSA rUpajigISAtyAgaprabhRtiH / 40) Vide p. 2 supra. 41) The Dhvanyaloka and the Gaudavaho, Prof D. D. Kosambi Commemoration . Volume, Science and Human Progress, Popular Prakashan. 42) atthAlobhaNa-taralA iara-kaINaM bhamaMti buddhiio| attha uceaNirAraMbhameMti hia kaIdANa // [arthAlokana-taralA itarakavInAM bhrAmyanti buddhayaH / arthA eva nirAraMbhamenti hRdayaM kavIndrANAm // ] For Personal & Private Use Only

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i6 M. Kulkarni 43) ato hyanyatamenApi prakAreNa vibhUSitA / vANI navatvamAyAti pUrvArthAnvayavatyapi // dRSTapUrvA api hyarthAH kAvye rasa parigrahAta / sarve navA ivAbhAnti madhumAsa iva drumAH // dhvaneritthaM guNIbhUtavyaGgyasya ca samAzrayAt / na kAvyAthevirAmo'sti yadi syAt pratibhAguNaH / / vAcaspatisahasrANAM sahasrairapi yatnataH / nibaddhA sA kSayaM naiti prakRtirjagatAmiva // -Dhvaryaloka IV. 2, 4,6 12 44) kAlaguNA paDhamakaI hiM bhamiamapariggahesu magosu / iharA maIhiM hIrati dukkara ke vi kANaM pi // [kAlaguNAt prathamakavibhintimaparigRheSu mArgeSu / idAnI matibhirhiyante duSkara ke'pi keSAmapi // ] 45) katto NAma Na dihra saccaM kavi-seviesu maggesu / sImate uNa mukkammi tammi savvaM gavaM cea // [kuto nAma na dRSTaM satyaM kavi-seviteSu mArgeSu / .. sImante punarmukta tasmin sarva navameva // ]. 46) AsaMsAraM kaipugavehiM taddiaha-gahia-sAro vi|| ajja vi abhiNNa-muddo vva jaai vAA-pariphaMdo // [AsaMsAra kavipuGgavaH pratidivasa gRhIta-sAro'pi / adyApyabhinnamudra iva jayati vAkparispandaH // ] . .. . . -Gaudavaho. 84, 85, 87 ... ....... tivihA kahA bhaNiyA // taM jaha divvA taha dighamANusI mANusI taha ceya / - . NAyajjuNa-bhikkhu-purassareNa Nai-tIra-saMThio rAyA / vijaANaMdeNa sama vivarAhutta parikkato // -Lilavai, v. 1021 43) bhAvaucityaM tu prakRtyaucityAt / prakRtighuttamamadhyamAdhamabhAvena divyamAnuSAdibhAvena ca vibhedinI / .......nanu nAgalokagamanAdayaH sAtavAhanaprabhRtInAM bhUyante tadalokasAmAnyaprabhAvAtizayavarNane kimanaucityaMsarvorvIbharaNakSamANAM kSamAbhujAmiti / / -Dhvanyaloka III. 14-15 49) 1.16 50) 1.46 51) VI. 66 52) I.39 . .. -Lilavai v. 85 " Nai-tIra-saMThio raayaa| For Personal & Private Use Only

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Prakrit Poetry and Sanskrit Poetics 53) sama-sokkha-dukkha-parivaDhiANa kAleNa rUDha-pemmANaM / / mihuNAMNa marai jai taM khu jiai iaraM mujhe hoi // [sama-saulya-duHkha-parivardhitayoH kAlena rUDha-premNoH / / mithunayomriyate yat tatkhalu jIvati itaraM mRtaM bhavati // ] -GS II. 42 54) uparatApyanuparatA mahAsenaputrI evamanukampyamAnAryaputreNa / .. . -Svappavasavadattam VI 9-10 55) Na hu so uvarado jassa valaho sumaredi / na khalu sa uparato yasya vallabhaH smarati // ] . . . . . . . . . . -Malati-Madhava v. 24-25 56) IV. 35 57) III. 37 58) pAbha-paDiassa paiNo puThThi putte samAraha tammi / daDha-maNNu-dUmiAe~ vi hAso ghariNIe Nikkato / [pAda-patitasya patyuH pRSTha putre samAruhati / dRDhamanyudanAyA api hAso gRhiNyA niSkrAtaH // ] -GS I. 11 59) uddhaccho piai jalaM baha baha virala gulI cira phio| pAvAliA vi taha taha dhAra taNuI pi taNuei // [UokSaH pibati jalaM yathA yathA viralAgulicira pathikaH / prapApAlikApi tathA tathA dhArAM tanukAmapi tanUkaroti // ] GS II. 61 60) rahakeli-hia-NiaMsaNa-kara-kisalaa-ruddha-NaaNa-jualassa / . rudassa taibha-NaaNaM panvai-paricuMbiaMjaai / / riti-keli-hRta-nivasana-kara-kisalaya-ruddha-nayana-yugalasya / . rudrasya tRtIya-nayana pArvatI-paricumbitaM jayati // cf. zUlinaH karataladvayena sA saMnirudhya nayane hRtAMzukA / tasya pazyati lalATa-locane mogha-yatna-vidhurA rhsybhuut|| and GS. V 60 -Kumarasambhava VIII. 7 61) ...........zRGage kRSNamRgasya vAmanayana kaNDUyamAnAM mRgIm / ___-A. Sakuntala, VI. 17 62) anyaditi 'kiM tena zaThena'ityAdi sakhIjanapurataH / dUtIjana saMdizan cAnyatheti-"yathAzakti dayitamAnaya" iti vimuktadhairya yuvatIjano jalpati / anyadiva dayitadarzane / sabahumAnamiti bhAvaH / -Kulanatha on Setux.75 69) tatra kAmasya sakala-jAti-sulabhatayAtyantaparicitatvena sarvAn prati hRdyatA / -Abhinavabharati Vol, I, P167 For Personal & Private Use Only

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V. M. Kulkarni and bhAvAntarebhyaH sarvebhyo ratibhAvaH prakRSyate / Srigaraprakasa XIII, P565* and also zRGgAraraso hi saMsAriNAM -niyamenAnubhavaviSayatvAt sarvarasebhyaH kamanIyatayA pradhAnabhUtaH / -Dhvanyaloka III. 29-30 and also zRGgArasya sakalajanamanoharAbhirAmatvAt tadaGgasamAvezaH kAvye zobhAtizayaM puSyati / -Dhvanyaloka IlI. 30-31 64) svAdukAmyarasomizra zAstramapyupayuJjante / prathamAlIdamaghavaH pibanti kaTubheSajam // -Bhamaha : Kavyalamkara v.3 65) ramya jugupsitamudAramathApi nIcamugra prasAdi gahana vivRtaM ca vastu / yadvApyavastu kavibhAvakabhAvyamAna tannAsti yanna rasabhAvamupaiti loke // -Daiarapaka IV. For Personal & Private Use Only

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SOME LESS KNOWN VERSES OF SIDDHASENA DIVAKARA M. A. Dhaky The illustrious Jaina epistemologist, dialectician, and poet of the calibre of Kalidasa, namely Siddhasena Divakara (c. late 4th and early 5th cent. A. D.) had produced more than what today is extant. Among his lost works is the treatise on Jaina logic, the Nayavatara1; a couple of ph rases perhaps from this very work2 are cited by Simha Suri ksamasramapa (c. A.D. 625-675) in his commentary on Mallavadi ksamairamana's Dvadasara-nayacakra (e. mid 6th cent. A.D.). And although his 20 dva trimlikas in Sanskrit are available (from the alleged 325), the existence of some of the unavailable can be inferred from the quotations therefrom by other writers. The Siddhasena-carita" inside the Prabhavaka-carita (S. 1344/A.D. 1278) of Prabhacandracarya of Raja-gaccha gives a legendary account of Siddhasena, the account at best can boast to contain only a few fragmented facts that could be historical7. Among the significant data preserved in this work are a few quotations whose utterance is ascribed to Siddhasena Divakara, though these are not traceable inside his currently known works. Among such verses are the following which he is alleged to have composed in praise of and recited before, king Vikramaditya (probably Candragupta II, A.D 382-415): apUrveya dhanurvidyA bhavatA zikSitA kutaH / mArgaNaidhaH samabhyeti guNo yAti digantaram // amI pAnakaraMkAbhAH saptApi jalarAzayaH / yadyazorAjahaMsasya paJjaraM bhuvanatrayam // sarvadA sarvaze'sIti midhyA saMstUyase budhaiH / nArayo lebhire pRSThaM na vakSaH parayoSitaH // bhayamekamanekebhyaH zatrubhyo vidhivatsadA / dadAsi tacca te nAsti rAjan citramidaM mahat // These verses do not figure in Siddhasena's Gunavacana-dvatrimiika (Dv 11) which evidently is addressed to a king. The style of the aforenoted verses apparently is pre-medieval. They do possess wit, strength, Sambodhi-X-22 For Personal & Private Use Only

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170 M. 4. Dhaky kick, and dynamism not unlike those that characterise stanzas in some of Siddhasena's known dvdtrimsikas. However, these verses are today not traceable in other known sourcos which otherwise show. familiarity with one or the other of Siddbasena's works. Under the circumstances, Siddhasena's authorship of the ver ses can genuinely be doubted. Indeed, there were in the past several premedieval Sanskrit poets possessing considerable skill and virtuosity. And the medieval prabandha, kathanaka and caritra writers possessed strong propensity for picking up quotable quotes from various sources and different authors and, regardless of the period, style, and provenance, used them depending on what the situation demanded ! The case of the above-cited verses must, therefore, be kept open, even when one may grant the possibility of their being the product of Siddhasena Divakara. (As an after thought, and indeed with some hesitance, I would suggest that, if the above-cited verses could be by Siddh asepa Di. vakara, they may as well have formed the part of the Gunavacana-dvatrimsika which today contains 28 verses, falling short by 4 for making it a complete dvatrimsika. How far the former verses fit in this Gunavacana composition, and, if they do, where exactly their position could be is a point that can be settled by experts on Sanskrit poetics.) : The Prabhavaka-carita, at one other place, introduces four verses in the context of Siddhasena10, which, judging by their style, cadence, content and colour can be unhesitatingly hailed as coming from the pen of none else but Divakara : prakAzitaM yathaikena tvayA samyagjagattrayam / samaprerapi no nAtha paratIrthAdhipaistathA // vidyotayati vA lokaM yathaiko'pi nizAkaraH / samudgAtaH samagro'pi kiM tathA taarkaagnnH|| tvadvAkyato'pi keSAJcidabodha iti me'dbhutam / bhAnomarIcayaH kasya nAma nAlokahetavaH // na cAdbhutamulUkasya, prakRtyA kliSTacetasaH / svacchA api tamastvena bhAsante bhAsvataH karAH // However, the Prabhavaka-carita is a work of a date late in the medieval period; for permitting an indubitable conclusion, a definite evidence for the indicated attribution from an earlier and a more reliable source is needed. For the first two verses the evidence comes from the Dharmopaedsamala-vivarana (S. 905/A. D. 859) of Jayasimha Sari". The author qu cics these verses as of Siddhasena Divakara's by an un ambiguous qualifi statement to the effect ; For Personal & Private Use Only

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Some Less known Verses of Siddhasena Divakara 171 Tad-uktam ca SiddhasenaDivakarena . p. 37) Jayasimba Suri, -disciple of Krsparsi, -is a pre-medieval writer who wrote his vivarana some 419 years aoterior to Prabhacandracarya. There can, then, be absolutely no doubt that what he quotes is genuine Siddha. sepa. The authenticity of the next two verses is upheld by an authority no less than Yakinisunu Haribhadra suri (active c. A. D. 745-785). In his Avasyaka-vstti (c. A. D. 750) he cites those very verses as from Vadi. mukhya"12. By Vadimukhya', at two other occasions, he also had meant Mallavadi sori (c. A.D. 500-550) and Samantabhadra (c. A.D. 600-650)', the former a Svetambara logician and dialectician (earlier referred to) and the latter his counterpart of the Digambara sect. However, in these latter two cases, in the gloss, he specifically alludes to their names as well. In the case of the third "Vadimukhya", referred to in the above context, Haribhadra offers no such nomenic clarification, and, in this case, by reductio ad absurdum, the "Vadimukbya" has to be a third person, very plausibly Siddhasena Divakara. That it must be so is supported by another reference, in Haribhadra suri's Prajnapand-sutra-tika (pradesavyakhya), where he quotes a verse by "Vadimukbya"", which is verse 13 in Siddhaseda's Dvatrimsika 2. That Siddhasena Divakara was the author of the se. aforenoted four exquisite Verses cited in the Prabhavaka-carita, is thus beyond doubt 'established. The Dharmopadesamala-vivarana, after the first two verses, quotes the following one and not those two quoted in the Prabhavaka-carita :15 tvanmatAmRtabAmAnAM sarvathaikAntavAdinAm / / AptAbhimAnadagdhAnAM pre(sve)STaM dRSTena bAdhyate // The stanza, however, is from the Aptamimamsa of Samantabhadra as Dr.Nagin Shah has ascertained and communicated to me. Samantadhadra's style is usually somewhat more evolved and involved than the stylo of Siddhasena Divakara, Hopefully, some day the lost Dvatrishsikas will come to light from some uncombed area when we possibly can identify the original lodgmont of the earlier verses in Divakara's productions. Till then we may at least cherish these verses as a precious small addition to our Siddhasena pols essions. . There are, of course, a couple of further Sanskrit verses from Siddha. spa which may next be considered. Kogtarya-vadi-gaai (c 7th cent, A, For Personal & Private Use Only

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M. A, Dhaky D.), in his portion of the Sanskrit commentary on the Vises-Avas yakabhasya of Jinabhadra gaai ksamasramana, cites a verse in the context of the yugpad-abheda-vada concept regarding the omniscience of a Kevali16 : stutikAreNa yathoktaM eka kalpitabhedamapratihataM sarvajJatAlAJchanam / / sarveSAM tamasAM nihanta jagatAmAlokanaM zAzvatam / nityaM pazyati budhyate ca yugapannAnAvidhAni prabho! sthityutpattivinAzavanti vimala dravyANi te kevalama // By 'Stutikara' the commentator assuredly meant Siddhasena Divakara'; for both content and the style clearly are indicative of him. Moreover, in view of the relatively early date of Kottarya gani, it is reasonable to assume that he refers to none other Siddhasena but the one with the epithet Divakara. From the purport of the verse it is clear that Siddhsena possibly had composed a Dvatrissika pertaining to "Yugpadvada" as well as Abbedavada" of "Kevala-Jnada' and Kevala-darsana' which he discusses in full in his Sanmatiprakarana. While searching for more verses by Siddhasena, I came across one more; it is possibly from one of his hitherto unknown Dvatrinsikas. The verse graphically describes, as it seems, the condition of a bad speaker in. the assembly of erudites 17 : tathA cAhuH zrIsiddhasenadivAkarapAdAH svedaM samudvahati jRmbhaNamAtanoti nidrAyate kimapi jalpati vastuzUnyam / 371971 faalufa gaza wat bhUtAbhibhUta iva durvadakaH sabhAyAm // Since this verse does not figure inside his known Dvatrissikas, it may have belonged to a Dvatrimsika treating the theme of sabha and sabhasad. The verse in question has been quoted by Jinaprabha suri of Kharatara-gaccha in his Katantra-vibhrama-tika (s. 1352/ A.D. 1296), as of Siddhasena Divakara. The style, tone, proclivity, cadence and cunning doubtless are of Siddhasena Divakara. A diligent search inside the Jaina literature, particularly inside the agamic curnis, vrttis, tikas, and of course kathanakas, caritas, prabandhas as well as subhasita-anthologies and works on poetics is likely to reward with the discovery of some more such stan. Zak. For Siddhasena's compositions glitter like jewel in any corner they For Personal & Private Use Only

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Some Less known Verses of Siddhasena Divakara lie hidden or undetected. They cannot be missed, nor can they be mistaken as anybody else's, by a perceptive eye. (This is a revised and enlarged version of my original paper sent to Shri Deshabhushanji Maharaj Felicitation volume.) Notes and References 1. Cf. Muni Jambuvijay (editor), Dvadasaran rayacakran, pt. 1, Bhavnagar 1966, Preface (Sanskrit), p. 10, and Introduction (Gujarati), p. 48. 2. "fa-4981-faafatetia-adap: afa wangi: Freef:"' gcalastact Facala - fagealtor | Muni Jambuvijaya, p. 314 And : tathAcAcAryasiddhasena Aha-'yatra hyartho vAcaM vyabhicarati nAbhidhAnaM tat" iti / Cf. Muni Jambuvijaya (editor) Dvadasaram nayacakram Pt. 2. Bhavnagar 1976, p. 588. 3. Janubuvijaya, Dvadasaram-nayacakram, p 314. 4. The style of the phrase under reference does remind of Siddhasenacarya. 5. The medieval and later medieval prabandhas and caritras so aver. There are at present no means available to confirm or contradict their statement. 6. Ed. Jinavijaya Muni, Singhi Jaina Series, No. 13 Ahmedabad-Calcutta 1931. 7. I am discussing this question at some length in my paper "A propos of the "Yapaniya Affiliation of Siddasena Divakara." 8. For detailed discussion, see Charlotte Krause, "Sidhasena Divakara and Vikra maditya," Vikaram Volume, Ujjain 1948, pp. 213-280. Pt. Hiralal Jain wrote a paper in Hindi in which he places Siddha-ena Divakara exclusively in Chandra. gupta Il's time instead of his predecessor Samudragupta as well as Candra. gupta II as was done by Krause: Cf. "A contemporary Ode to Candragupta Vik ramaditya" Madhya Bharati, No. 1, Jabalpur University. Jabalpur 1962 9. Perhaps the nature and content of the e stanzas are such that the Jaina writers hardly had use of them in their con mentatorial writings. 10. Jinavijaya Muni, p. 59. 11. Ed. Pt. L. B. Gandhi, Singhi Jaina Serics, No. 28, Bom ay 1949. 12 Cf Mohanlal Mehta, Jaina Sahitya ka Byhad Itihas, pt. 3 (Hindi), Parshwa nath Vidyashram Series No. 11, Varanasi 1967, p. 375, for quotation. 13. Cf. H. R. Kapadia (ed), Anekantajayapatakas Vol. II, Gaekwad's Oriental Series No. CV, Baroda 1917, Introduction. pp. LC, LCVI, and LCVII. 14. Mehta, Jaina sahitya., p 370. 15. Gandbi, p. 37. 16. Cf. Visesavatyahabhasyu, Pt. III, Eds. Pt. Dalsukh Malvania and Pt.Bechardas "J. Doshi, Lalbhai Dalpatbhai Series No. 21, Ahmedabad 1968, p. 741. 17: Comp. Muni Shri Punyavijayaji, Catalogue of Sanskrit and Prakrit Manuscripts Jesalmer Collection, L. D. Series 36, Ahmedabad 1972, p. 207. For Personal & Private Use Only

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svAdhyAya REVIEWS Fucets of Jain Religiousness in Comparative Light by L. M. Joshi, Publisher L. D. Instute of Indology, Abmodabad, 1981. (L. D. Series no. 85.) pp viji + 78 (Royal Size), Rs. 18 This book presents in print a series of three lectures delivered by Prof. L. M. Joshi in the L. D. Lecture Series in February 1981. The first two lectures deal with anupreksa-s (soteriological reflections) and the third one concentrates on the panca-namaskara-mantra (sacred formula of five fold obeisance) in Jainism : its history and religious purport. the third sm: its history and antra (sacred for The introduction to Lecture I (pp. 1-15) points out the specific characteristics of the sramana tradition (inclusive of both Jainism and Buddhism) as against the Brabminical one. The next section records in detail references to twelve anupreksa-s in different Jaina texts, together with the variations in ordering and/or nomenclature. Sections iji and iv discuss the meanings assigned to anuprekya and its related terms : bhavana (occurring also in Buddhism and Hinduism), smsti and anusmrti (found only in Buddhist texts in the technical sense of contemplation). Finally, section V gives us translations of the 12 Jaina anupraksa-s and an elucidation of their purpose or utility, viz, that of inspiring renunciation of desires which promotes detachment and dispassion, thereby serving as one of the six agencies of samvara (i e. 'stoppage of influx of impure Karmic Matter into the soul); and samvara on accomplishment, takes the individual one step nearer to the ultimate goal of life, viz, attaiment of the eternal bliss of Release (moksa or kaivalya). Lecture II (pp. 16-37) provides a detailed study of the themes of 12 Jaina anupreksa-s as depicted in various texts, along with extensive comparisons with related Puddhist concepts, and also Brahminical ones wherever possible. The introduction to Lecture III (pp. 38-69) elaborates on the concepts of Religion and Faith, insisting that a creed such as Jainism, although not believing in a personal god, can still qualify as a religion (Dharma) because it does involve faith, not in god but in the teachings of the Jinathat vouch for purity of the soul in its real nature and for the plausibi. lity as also the possibility of attaining that purification once more through rigorous discipline of mind, body and speech. For Personal & Private Use Only

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Review 175 Section ii tells us of the most important and fruitful manifestation of faith in the Jaina creed, viz. obeisance to the holy pentad (panica paramesphin-s). The author reviews various versions of the formula of this fivefold obeisance throughout canoncial and non-canonical Jaina literature scrutinizing carefully the textual structure of each formulation. He also points out the close association of the namaskara-mantra with another Jaina formula : that of catuhsaranam, i. e. fourfold refuge in arhats, siddhas, sadhus (including also the acarya-s and upadhya-s) and in dharma (pp. 5051). On pp. 52-3, Dr. Joshi explains why the obeisance-formula invokes first the arhats (accomplished sagos) and then the siddhas (released souls), although the latter are soteriologically superior as per Jaina thought. He also points out texts wherein is found the reverse order as well. Sections iii through vii discuss one by one the Jaina concepts of the arhat, siddha, acarya, upadhyaya and sadhu (: the panca-paramesthin-s :) in great detail on the basis of various textual references, Section viii offers comparative references to Budabist as well as Brahminical concepts underlying the same terms, if available. (Thus guru, a synonym of acarya in Jainism, is used for a specific esoteric preceptor in Tantric Buddhism and sects of the Natha School. Various sects of medieval "santa-mata" regarded the guru as the very image of god. Sometimes they venerated him even more, as the revealer of the path to Liberation.) In these lectures, Dr. Joshi has used a language and style that is di. rect, flowing and lucid, making everything crystal clear. His method of comparative elucidation proves. very interesting and revealing. One feels, however, that, bad the Buddhistic and Brabminical concepts, as well as discussions on bhavana, smrti, anusmrti, etc., been introducod cach in a separate sub-section, it would have helped the reader to spot them more easily rather than to go on reading continuously in search of the relevant portions. Similarly, the definition and utility of a theme of anupreksa is often lost amidst other points (c.g. in Lecture II : section iii, vii. etc:). This could be avoided by following a fixed order : first the definition of each theme, then its explanation, and finally its utility followed by comparative material from other religions. Such systematic presentation would also avert confusing statements as on p. 29, where samvaranupreksa means meditation on merits of restraint in linos 20-21, but on 'ways and means of arresting asrava-s' in lines 27-28. Section II. ix starts off saying "The concept of nirjara is peculiar to Jainism"; actually, the term alope is. For, towards the end of the section, For Personal & Private Use Only

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176 Review Dr. Joshi himself refers to four Right Efforts of Buddhism, one of which relates to the process of removing impure roots of Karm in. Later Hinduism also stressed such a process under the nam, of karmaksaya or prayascitta. . The theme of Anyatvanupreksa (IL. V) is explained by some Jaina texts as 'I am different from my family members, attendents, wealth ani body,' or as implying that different [unrelated] souls become father, son, wife, etc. in this world'- (: cf. p. 26). This mutual distinction and unrelatedness of souls, however, forms the lagitimate theme of Ekatvanupreksa (cf. II. iv) p. 24-5). One wonders, therefore, as to why Dr. Joshi offers no comm. ent to this effect. In the last para on p. 36, Dr. Joshi rightly points out that the most important teaching of Buddhism is the practice of karuna (interchangeable with Ahimsa), upon which are founded all other social virtues (: Maitri, Dana, Seva etc.) and the entire system of moral restraint & ascetic disci. pline. But as a point of correlation and synthesis with discussions in the preceding lecture, he could also have mentioned Karuna as one of the four Brahma vihara-8 (cf, p. 10). On p. 10, again, one expects a brief elucidation of the Buddhist Brahma in comparison with Brabminical Brahman, but is disappointed. Nor is it clarified whether the 4 Buddhist Brahmavihara-s form sources of the four Bhavana-s prescribed in yogasatra 2.33. 4 (cf p. 9, para 1) At the beginning of section III. iv (p. 58), Dr. Joshi expresses disapproval of Walther Schubring's remark that the Siddha-s are soul, pure and simple". Neverthless, his own remarks that Siddhas are released souls (p. 52) "free from all traces of karma, change and unrest (p. 59), decribed in entirely negative words as being without any shape, size, colour smell and taste", "devoid of body", "neither male nor female" (p. 58)..., reminds one of the characterization of soul os neti neti by the Upanisads in general and as naiva stri na puman esa in Svetasvatara Up., etc. However Dr. Joshi takes no note of these striking parallelisms. Section III. v gives two Jaina synonyms for acarya : ganadhara and guru. At the end of III. vi, acarya seems to be equated with suri also. The latter is, in any case, a very common appendage with names of Jaina monks, and its exact connotation ought to have been given here. Apart from the few minor points made above, the book makes a very interesting and revealatory reading. Dr. Joshi has ingeniously explained unbelievably large numbers in the texts as being symbolic (p. 64, para 3) For Personal & Private Use Only

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Review and the paramesthin-s as 'not individual persons but certain ethical and spiritual qualities idealized and personified' (p. 65, para 3). His rejection of the concept that these five classes are different ranks that a man may bold as an ascetic before he finally attains Release (p. 53) and his discussions regarding the real essenco of Dharma are, indeed, thought-provoking. One cannot but applaud his painstaking study of original textsPrakrit, Pali and Sanskrit-and careful record plus translation of their relevant portions, authenticating almost every statement that he mates. At the end, he has also provided us with an extensive Bibliography and an index of proper names. A striking point is the total avoidance of the use of afbreviations, either of toxt-names or of technical terms. The book can further boast of an excellent get-up, good quality of paper and fine printing with very few errors, (B.g. p. 6, 12 th line from below : 'existance for existence; p. 14, line 9 : vajragya for vairagya; . p. 23 line 5: u missing in thoroughly; ibid, last line : loose for lose; p. 24, 1st line of para 3 : e missing in loneliness; p. 32, last lino :whole for hole; 34 : FN 96 is printed as 95 in main body; 39, para 3 : freedem is printed for freedom; p. 53, line 8 : first verses ; final s should be deleted; p. 54, line 6: the middle e should be doleted from entreance; .. p. 68, line 4 : his printed for is.) Most of these howover, are crrors that cause no serious problem for the reader (except, of course, loose and whole noted above). In the end, we can say that the author as well as the authorities of the L. D. Iostitute of Indology must be complemented on bringing out this very useful lecture-series in bool-form, for the benefit of all those who are interested in various aspects of Jaina Religion in particular and in a Comparative study of religions in general. Y. K. Wadhwani Wisdom of Vedanta : by H. L. Sharma; pub. GDK Publications, 3623 Chawri Bazar, Delhi 110006, 1981; pp. demy xvi+140; Rs. 45.00 This book must be viewed (and reviewed) from a different angle. Akhough based on the principles and theoretical concepts of the Vedgata Sambodhi-X-23 For Personal & Private Use Only

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178 Review philosophy, the writing is not an academic exercise in interpretation and exegesis of the source-texts of Vedanta. Nor is it a commentary on the text content. There is evaluation of Vedantic thought but is not done to elucidate, expound or judge a philosophical or metaphysical statement of a text. The academic approach which cares for textual rectitude, sematic explanation, logical consistency and tries for rationalising or harmonising opposition among related texts, is not at all used here. The reader is expected to understand this approach and use the book accordingly. Knowledge and philosophical speculation in India were not pursued for their own sake since ancient days. Knowledge was generally always used as a means to liberate man from the bondage of life, to lift man above the transitoriness of the phenomenal world, to enable him to discover his true self and his identity with the Supreme Principle of the Universe. In this sense knowledge becomes only a sadhana and the entire process of knowing and the disciplinary practices to reach it become a sadh ana, a spiritual preparation to attain freedom and absolute peace. This is wisdom as distinguished from knowledge. With this approach the usual terms of Vedanta philosophy lose their conventional or doctrinaire meaning and acquire a special sense. The author does not look upon the Upanisads as containing a systematic elucidation of Vedanta or any other metapbysical exposition. They expound, in his view, sadhanas, vidyas, upa sanas, a body of spiritual techniques (p. xii). Vedanta, to him, is 'wisdom in action' as represented by the togetherness of Krsna and Arjuna in the Gita (p. 7). A mood of other-worldliness, pessimism, individualism, escapism, asceticism, which are associated with Vedantic view of life, are regarded by the author as the results of a clash of different peoples and cultures, and of the catholicity of Vedanta to accommodate all views and its spirit of tolerance. The essential voice of Vedanta is the acceptance of man's right to be free and to act in the light of his highest experience (p. 21). Vedanta is not esoteric or mystic. It is an affirmation of man's spirituality. Its aim is the attainment of spiritual being, which is beyond becoming. Vedanta is a way of Yoga and Yajna. Yoga, according to the author is integration as opposed to disintegration; and Yajna is 'giving away to the Universal Spirit what does not belong to me, so that the self shines in its own light by shodding away the alien elements' (p. Xiii). Trained in philosophy, aesthetics, Sanskrit, Yoga and psychology, the author has considerable experience in research, education, Yoga technics of psycho-therapy. He believes that Vedanta is ancient but not archaic For Personal & Private Use Only

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Review (p. 118). What is needed is to interpret it in modern idiom, to bring it in relation to the common man, without ignoring or denying the advances in modern science and philosophy, For, Vedanta, according to him, is a science of the unknown, and the unknowable' (p. 111). Vedanta employs the 'tools of enquiry of which modern science can well be proud' (p. 112). To 'save the modern man from himself' ho needs must be taught that 'bappiness' is not to be sought in pleasures that the becoming' or the material world (praksti, maya) can bring, but in going beyond the limitations of ego, in reaching the being which transcends the 'becoming'. The true destiny of human life is not happiness but joy (ananda) which is peace transcendental. The author therefore advocates reformulating the meanings of concepts lite maya, satyam, tam, cit etc. Maya is measurement, relativity, which is the nature and condition of the external universe and life; and the truth of being (sat) lies beyond it. Cit is the being, and it is knowing when knowing is the same thing as being. (p. 115). Though man has to live within the limits of aham and maya, he can go beyond them. And it is here that Vedanta, understood in modern idiom, becomes a scheme af life'; with its discipline, tapas, vairugya, it enables a man to go beyond the contra. dictions and polarities (dvandva-s) like pleasure and pain, life and death etc. From this point of view, the author outlines 'a day with Vedanta' (ch. 1) for the guidance of man, and chalks out a programme of work for Vedantins in a vital area of life (pp. 116-117). The book is thus << spiritual guide for such who entertain faith (sraddha) and wish to rise up to the level of man's true spiritual being. Relating the exposition to man's practical need, using the modern scientific idiom to explain the terms of spiritual experience, method and practice, and writing in language which has the air of lucidity and charm of a 'Grandpa's wisdom' are some features of the book which bring it in the living present. - G. K. Bbat Nyayatatparyadipika of Bhatca Vagisvara edited by Dr, Kishor Natha Jha, published by G. N. Jha Kendriya Sanskrit Vidyapeetha, Aljababad, 1979, pp. 20+160+50, price not mentioned, This work is a commentary on the Nyayas atras, edited by Dr. Kishor Nath Jha on the basis of the only available manuscript preserved in the Govt. Oriental Manuscript Library of Madras. It is learnt that the Library procured the manuscript from Kerala. Hence it is conjectured that the author Bhatta Vagisvara should be a Southernor. Nothing is known about For Personal & Private Use Only

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180 Review him. In his learned Sanskrit introduction to this work Prof. Anantalal Thakur infers that our author is different from Vadi Vagtsvara, the author of Manamanohara as the style of Nyayatatparyadipika greatly differs from that of Manamanohara, Moreover, on the basis of the absence of any direct or indirect mention of Udayana and his works, he deduces that he should have belonged to the period prior to Udayana.. This commentary is brief and mostly tries to give the substance of Nyayabhaya, Nyayavartika and Nyayavartikatatparyatika. As the commentaries explaining the sutras from the viewpoint of old Nyaya are very few, this commentary will be welcomed by those who want to study the traditional old interpretation of the sutras. The terse and difficult V Adhyaya is lucidly and clearly explained. This is to be regarded as the special feature of this Vrtti. The version of the Nyayasutra accepted by the commentator deserves our attention, As is noted by the learned editor, he considers eleven short Bhasya sentences to be the sutras, accepts different readings in the thirteen satras and outright rejects the traditionally accepted sixteen sutras. The Sanskrit introduction by Prof. Anantlal Thakur, a renowned. scholar of Nyys, traces the origin and development of the Nyaya system of Indian Philosophy and evaluates the present commentary. It also gives a glimpse into the healthy interaction of the Nyaya and Buddfrist thoughts. For the benefit of the scholars, Dr. Jha has added four valuable appendices giving comparative notes, sutra-index, index of important words and index of authors and works quoted. All this has greatly enhanced the value of the present work. The editor and the publisher both deserve our heartfelt congratulations. Nagin J. Shab The Prabhakara School of Parva Mimamsa by Mm. Ganganath Jha, published by Motilal Banarasidass, Delhi, pp. 15+318, Price Rs. 45/ The book under review is reprint of the first edition published in 1911. As the work is the result of the deep study of the original texts by a renowned scholar Mm. Ganganath Jha, it presents lucid and authentic exposition of the Mimamsa philosophy. The author claims that: (1) In no work,-not even in the innumerable prakaranagranthas in Sanskrit, is the whole Mimarhs-Sastra found explained in the systematic and connected way in which it is presented here. (2) No work known to exist is found to contrast the views of the two sister schools on all points. (3) The bearing of Mimamsa upon legal literature is not found brought out, in For Personal & Private Use Only

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Review the manner in which it is done in this work. (4) This is the first attempt at a systematic account of the Prabhakara system. There is no work known to the modern world which offers a detailed account of what that system is; the Prakaranapancika confining itself only to a few philosophical points, and a very few of the purely Mimamsa topics. His claim is justified as even now, 72 years after the publication of the first edition of the present work, we are not having any study that may surpass it. 181 The work is divided into five chapters, viz. 1. The Beginnings of MImamsa, 2. Psychology and Metaphysics, 3. Analytical account of the Sastra, 4. Sacrifices and 5. Bearing of Mimamsasastra on Legal Literature. Chapter I deals with the topics: the origin of the Mimamsasastra, its original sutras and commentaries, Prabhakara's time, place and works, and position of Prabhakara in relation to Kumaila. Chapter II has three sections. Section I discusses Prabhakara's theory. that all cognitions except memory are valid, entailing the examination of doubt, illusion and dream. It expounds clearly his fundamental doctrine of Svatahpramanya and svaprakasata. The author nicely explains how his interpretation of Svaprakalata does not lead him to Buddhist idealism (Vijnanavada). Section II is devoted to the treatment of five pramanas. The author has not paid as much attention to the problem of verbal congnition as it really deserves. Section III deals with the doctrine of self and explains the categories, viz. Sadreya, Sakti, Karma, Samavaya, dravya, guna and jati. Chapter III has eleven sections. Section I discusses meaning of Dharma and the means of knowing Dharma. Section II expounds differentiation of actions and texts, Section III deals with mutual subserviency among actions as also six means, viz. sruti, linga etc. of ascertaining what is subsidiary to what. Sections IV and V explain the motive of actions and order of performance respectively. Section VI expounds as to who is entitled to perform sacrifices. Sections VII and VIII are devoted to transference of details and modifications respectively. Section IX explains annulment or suspention of details, samuccaya, and meaning of the negative word. Section X is on Tantra and Avapa while XI is on Prasanga and Vikalpa Thus Chapter III is very important as it presents and expounds the rules of interpretation of the text in the context of sacrifices. As the sacrifices are not performed nowadays, the students and scholars could not grasp these rules explained in the context of Sacrifices. So, the explanation of these rules in the context of the cases and events with which we are For Personal & Private Use Only

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Review acquainted in our modern living is urgently desired. Of course, some rules are applied to Hindu Law books. Thus Chapter V gives a glimpse into what is expected. 182 Chapter IV on sacrifices enumerates actions classed under 'Dharma", explains the difference among yaga, dana and homa, discusses why deity is postulated and how Deity is ascertained, presents classifications of sacrifices etc. As Chapter V is devoted to bearing of Mimams Sastra on legal literature, it contains the exposition of Evidence, Joint Concern, Inheritance, Sources of Proprietory Right and Adoption. There is a general misconception that Mimamsa is concerned with rituals only and has very little to contribute to Indian Philosophy. And on account of this misconception scholars have paid scant attention to the study of Mimarhsa. In the field of metaphysics, it is generally declared that they follow Vailesikas; but even there they propound their independent views and accept some categories not accepted by the Vaisesikas. In the field of Logic and epistemology, their contribution is remarkable, Svatahpramanya, Aavitabhidhanavada, Abhihitanvayavada, Jaattavada, Abhavapramana, Arthapattipramana, Akhyativada, etc. are some of the interesting and important theories they have propounded in this field. Its claim to vakyarthaiastra par excellance is justified And it is high time. we should study the texts of this school, focussing our attention on this speciality of the school. We are really grateful to Mm. Ganganath Jha for his poineering efforts in expounding the Mimarhsa philosophy to modern scholars and students. And publishers deserve our thanks for bringing out this reprint of the first edition which was not available in the market for the last so many years. Kapilayam by Dr. Jagannath Pathak, Published by the Ganganath Jha Kendriya Sanskrit Vidyapith Granthamala, Allahabad, 1980. Price-not mentioned, Pages 104. Nagin J. Shah The present work is No. 9 in the text series. The fa in the work explains the title in details, but still it remains a little vague. It would be best explained by the word drAkSArasamayI nUtanamuktakakAvyaracanA as stated on the title page itself. Even with this, however, the title would not sound delicate, sweet and intoxicating like the meaning that it is expected to convey. For Personal & Private Use Only

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Review 184 - This does not of course speak for any lack or absence of charm, delicacy and some intoxicating sweetness in the muktakas in the eleven titles in which the work is divided. The principal of course is the first one in 46 pages and 405 mulitakas. It is entitled #forteat and after it the book is given the same title. As the other titles-AHETA:, festa Teat:, starfa, qaf4T, Touaren, garsata etc. show, there is ample of variety and the reader would atonce be drawn to these muktakas. kApizAyanI The fact has conceded and it is clear that in both content and style, as also in sentiment and thought, the poem is influenced by the famous Rubaiyat of Omar Khayyam. He also seems to have been influenced at places by Mirza Ghalib, as also Urdu poetry of some others. It would not yet be just to call this work an imitation; it is at the most deyafaa in the words of Rajasekhara, The writer tries to keep intact the Indian values and Indian atmosphere as far as possible. We here enjoy the Kavya as being thirst for the Divine as the thirst for wine, through the pain of love; the Divine being conceived as the beloved at whose hands them after Truth seeks the cup of wine. The poem is in Vaidarbhi Riti. It is therefore to the point in development of idea, lucid, sweet, full of depth of love and spiritualism and yet simple and easy to grasp. Suggestion being the soul of poetry' is mostly preserved in the poem and in some verses the camatkare of Dhvani attains to lofty heights. Quite properly f, faut a: and 994 etc. are punned and yield two meanings-the love of man and woman and the love of man for God, his struggle and efforts at spiritual uplift of Self and God-realisation. The difference between the dry wife and the f a af is also on the same lines. One would wish that the other smaller poems and muktakas were of the same lofty poetic height; sweet emotional experience and lofty philosophical revelation. Unfortunately that is not so, though featured: and TSHTET are a romarkable succoss. Some of the muktakas in Harga: are enjoyable in their beautiful poetic thought and effective miniature painting, Some of the muktakas in taraf are nice. In the titles mentioned above, the style of the poet is simplo, lucid and natural at places; his imagination now and again scales good poetic heights. His effort at writing a beautiful love poom in 'Yavanika' has not encopeded much and there is not much trace of the fino love-story of Jag appatha in it. His the fara written with great and conscious effort, fail to bring in the charm, music, delicacy and sweetness of the Gazal, For Personal & Private Use Only

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Review 1 The diction in the whole work however, is mature and the style of f ear as it should be. The work reveals the poet and scholar in Dr. Pathak; on the whole it is enjoyable and welcome. The work can also prove that Sanskrit vorso is not difficult to compose, read and enjoy. The muse of poetry can express herself at her best in Sanskrit language, which we, not quite rightly call a dead language. One more reason of it is that the work adopts traditional metres, but the topics and subject matter are new.. R. S. Betal. Dhvanyaloka, Anandavardhanano Dhvant- vicara by Nagindas Parekh (in Gujarati), published by Gujarati Sahitya Parisada, Ahmedabad380 009, First Edition, March 1981, pp 8+35+368 (in Gujarati)+ Dhvanyalokah pp 124 (in Devanagari Script), price Rs. 40/-- Adandavardhana's Dhvanyaloka enjoys a unique position in the History of Alamkara Literature. It is regarded by all later Alamkarikas, with the excoption of one or two, and modern bistorians of Sanskrit poetics as 'an epoch-making work' or 'a Prasthana-grantha of Alamkara Sa stra'. Sri Nagindas Parekh deserves our warmest congratulations for his masterly exposition of this work in chaste and lucid Gujarati. It is indeed a desideratum that the source-books dwelling on Sanskrit postics and aesthotics are made accessible to modern scholars and critics (whose acquaintance with the Sanskrit language is rather insufficient) by such masterly and very lucid expositions in Modern Indian Languages. They could then realise and appreciate much better the contribution our Alamkarikas have made more than a thousand years ago to the Theory of Beauty vis-a-vis the contribution of Western writers to Aesthetics. It is no exaggeration when I say that professors of Sanskrit, especially Alamkarasastra, would envy Sri Nagindas Parekh for this his brillient achievement. It is indeed, a boon to advanced students of Alaskara Sastra as it is prefaced with a detailed table of contents and as suitable sub-headings are added in the course of tho exposition of the text. This exposition guins in authority as it is presented in the light of Locana, the invaluable commentary of Abhinavagupta on Dhvanyaloka. When going through the Gujarati exposition I came across some places where the translation is not quite accurate or the stataments need to be revised or corrected. I may refer to them hero: P. 14 L 10"(from below); 'Ma maari sayya mahim padato' 'a Ait TeqT FEW qat!....., For Personal & Private Use Only

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Reylew Abhinavagupta, however, remarks in his Locana (Dhvanyaloka with Bala. priya commentary, Chowkhamba edo. ; Benares, 1940, P 71): maha iti nipAto'nekArthavRttiratrAvayorityarthe na tu mama iti / * PSI L, 14-15 (from below): Tenavi hovane karane- 'te navI hovAne kAraNe. This translation is off the mark. The Prakrit expression navalaae' contains the term Navalaya. Hemacandra explains it in his Desi-nama-mala (Desi-saddasaragaha, edn by pt. Bechardas Doshi, p141) as follows: jastha palAsalayAe jaNehiM paiNAma pugchiyA juvaI / akahatI NiNijjai Niyamaviseso NavalayA sA // yadAha --"niyamavizeSazca NavalayA jJeyA / AdAya palAzalatAM bhrAmyati loko'khilo yasyAm / pRSTA patinAma strI nihanyate cApyakathayantI // " yathA-- ... dolAvilAsasamae pucchaMtIhiM sahIhiM paiNAmaM / laTThIhi haNijjatI vahuyaM NavalayavayaM bharai // One may very well compare at this "navalaya" with the love festival Cuta. latika or Navalatika (vide Bhoja's Srigara-Prakasa, 3rd edn, p. 632). .. P64 L 3: "Kavit- The name of the poet is Vakpatiraja (the author of Guudavaho). P. 104 LL 4-6: Jena hathio.........bahu-parigho jeva che. 'jenA hAthIo..... ... bAhuparigho jevA che.' The Gujarati translation does not bring out the intended sense. Locana (p 238) clearly says.....bahu-parigha eva yasya gajendra iti; and Hemacandra's Viveka (P. 79 LL 19-20) aptly remarks; bhatra bAhayoH paridharUpeNAtmanA rUpakAlaGkAreNa bhujadvayAdanyad gajAzvAdisAmagrIrUpaM tasyAnupAdeyamiti vastu myajyate / P 119: Karika II. 243; It would be only appropriate if Sri Nagindas Parekh draws attention to the criticism levelled against this classification by Hemacandra (Kavyanusasana, pp 72-74); _ iha cAryaH svataH saMbhavI, kaviprauDhoktimAtraniSpannazarIraH, kavinibaddhavaktRprauDhoktimAtra- . __ niSpannazarIro veti bhedakathanaM na nyAyyam |............kiN prapaJcena / ' Sambodhi-X-24 For Personal & Private Use Only

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186 Review and Panaitaraja Jagannatha in his Rasagangadhara: afara afacer Fantara maagfiugamaudifah.... ... guarda alfarar-...... Afraintalo are: Anana II, opening para. . P 121; L 16 (from below): The translation "morane marava jetalo ja samaya male che". Aitza arat at RY HO, though it has the support of Bulapriya commentary, the suggested sense as pointed out by Anandavardhana himself is far more poetic and charming; Teata (mat) mayUramAtramAraNasamarthaH patirjAta ityarthaprakAzanAt...... tatsaMbhogakAle karivaravadhanyApArasamartha reifer ATTAICI -Dhvanyaloka III P300 (Guj. Exposition): p. 153, last but one paragraph); also Cf. the gatha frontagnant etc., ch IV p 529; (Gujarati exposition p. 345). P 185 LL 1-2- Here mention may be made of the Prakrit work Lilavaikaha which describes Satavahana's visit to the nether world. P 185: L 11- Tbe punctuation mark is through oversight left out. But it has neccessarily to be there. P 200 L 6 (from below) The gatha is in Maharastri Prakrit and not in Apabbramba. P 202 L 7 (from below) | Speaks of three reasons but the discussion deals P 203 L 4 J with four reasons. . P 223 LL 4-5 (from below):- Here the source of this verse may briefly be discussed-whether it is from Vikramorvasiyam or whether it is the spooch of Yayati at the sight of Devayani (Vide Jhalakikar's edn. of Kavyaprakasa, p. 126). P 290 L.4: A kayo juda ja prakara no lavanyasimdhu che 't get 991 arqugfeny 3... As the description has reference to a paragon of feminino beauty it would be proper to take Lavanya-Simdbu in the Femi (Lavanya-Sarit). P 335 LL 5-13:- 'purusa' needs to be corrected to Parusa. The precise distinction between 'Sukumara Vstti' and 'Komal Vitti' should be brought out. Some technical or peculiar Sanskrit words needs to be duly explained in Gujarati, for example, upalaksana (p 57 LL 2, 4, 6, etc.), nalini (p124 L 5), vikata-bandha (P180, L 3), anukirtana (P 184, Ls), difference between upanayaka and pratinayata (P 184 L 14), anupamdhana (P 190 L 2, from below), panagosthi (p 292 L 12). For Personal & Private Use Only

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!. Review One regrets that this otherwise maggifisceat exposition should b; disfigured by misprints, some of which only are corrected in the corrigenda (suddhipatra). Such a long list of errors irritates the reader. These few shortcomings and a large number of misprints apart, Anandavardhanano dhvano-vicara" may rightly be described as perhaps the most out-standing exposition in Gujarati of Dhvanyaloka, the masterpiece of Anandavardhana, V. M. KULKARANI. Indian Society, Religion and Mythology-A. J. Rawal, Pages 360. D. K. Publications, Delhi 110007. Price Rs. 150. The present work is a study, mainly cultural, of the Brahmavaiyartapurana (BVP), which tries to follow similar other studies such as Agnipurana by Gyani, Matsyapurana by Kantawala, Vayupurana by Patil etc. As the author claims in his preface, he has undertaken "an intensive and critical study of the cultural data embedded in BVP." The claim of the author seems fairly justified when we look to the systematic and scientific distribution of the topics and sub-topics, and their detailed treatment. is Besides dealing with the different problems pertaining to the Purana, the author divides his study into four broad groups-society, socio-economic life, Religion and Philosophy and Mythology. These four well-divided broad groups cover up all allied sub-topics described and discussed by the BVP. The narration and analysis is faithful to the work and cach sub-topic is given its due importance with emphasis on the original or near-original thinking of the Purana. The treatment of the following sub-topics is most enlightening, informative and therefore important: Society-sixty occupational sub-castes; kinship terms. Socio economic Life-vegetables, cereals etc.; ornaments; musical instru ments. Religion and Philosophy-Different forms of worship. Mythology-Kllna; Ganeba; Durga. : At several places the author grows scholarly, as in-Marriage ceremony (p.59 onwards); position of women (p.69 onwards); units of measurement of time (p.103 onwards); science of medicine (p.118 onwards); Vignu (p.189 onwards); Radha (p.220 onwards). on the whole also, a fairly high loval of croatment is maintained. For Personal & Private Use Only

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18 Review One question arises. The author has distributed well the sub-topics into four good groups. But once that the sub-topics are analysed following the contents of the Purana, a synthesis of the contents of these topics into a systematic whole is expected in all the four groups. This would have and could have tested the author's scholarship and would have taken him to higher heights. In a similar way, a chapter summing up the treatment of these broad topics would have thrown light on the rol importance and value of the Purana. These two are conspicuous by their absence. The work gives five appendices of which 2, 3 and 4 add to the value of the book. It is, however, felt that the brief summary of the Purana in Appendix one should have been given after the Introduction or in the latter half of the Introduction. In this case the reader would be in the know of the contents of the Purana before he proceeds to read the critical study and he would have a better appreciation of it. The author has carefully planned the list of abbreviations. However some like AV, Vyp, Ts, Nrp. DM etc. that find place in the text are not given in the list. It is also felt that the author should have got his entire work read and corrected from the viewpoint of language by someone with a very good command over English. The language and expression of the study require a careful, thorough brush up. : The price of the book, Rs. 150/-, is exhorbitantly high. R. S. Betai. The Dialectical Method of Nagarjuna (Vigrahavyavartani), franslated from the original Sanskrit with Introduction and Notes by Kamleswar Bhattacharya, Text critically edited by E. H. Johnston and Arnold Kunst. Publisher, Motilal Banarsidas, Delhi-7, 1978, PP 53+54, price: 35/ The book under review is an authentic and intelligible English translation of Nagarjuna's Vigrabavyavartani (Refutation of opposition) with the Author's commentary based on critically edited text by E. H. Johnston and Arnold Kunst (in melanges chinois et bouddhiques, published by the Institute, Belge des Hautes otudes chinoises, Vol-IX 1948-51, PP.99-152). The original Sanskrit text was edited for the first time by K. P. Jayaswal and Rahula Sankstyayana in an Appendix to Vol-XXIII, part III(1937), of the Journal of the Bihar and Orisa Research Society, Patna. The profound scholar Prof. Satkari Mookerjee has translated this work under the title of the Madhyamika's Logical position in the Vigrabavyavartadi (Nava For Personal & Private Use Only

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Review Nalanda-Mahavihara Research Publication, Vol-I, 1957). Prof. Mookerjee does not give literal translation of the text, but gives the faithful exposition" of the arguments (verse-wise), 'in a language and manner intelligible to the modern mind'. Prof. G. Tuchi's English translation also is available on this work, which is based on the Tibetan and Chinese Versions (in the author's pre-Dianaga Buddhist Texts on Logic from Chinese sources, Baroda, 1929). The present English translation is based on critically edited Sanskrit text with introduction, which is considered as 'the possibly nearest approximation of Nagarjuna's original text'(p-3). The special feature of this translation is that it follows the original Sanskrit text closely and as literally as possible. Nagarjuna is a founder father of Madhyamika (Sanyavada) school of Budhism. His works viz, Madhyamika karika and Vigrahavyavartan are the finest specimen of his dialectical Skill. It is the irony of fate that this greate man's doctrine of Sanyata is generally misunderstood by his opponents as mere emptiness or voidness and consequently he is dubbed as propagator of nihilism at his own time. It is very clear by his statements that we do not negate anything. There is nothing which can be negated, Even the charge that we negate every thing is made by our opponent' (Vigrahavy KvartanI-64) 189 The word anya is used by Nagarjuna in two senses. It is used to indicate the Absolute Reality (which is indescribable) as well as to show! the unreality of the phenomenal world. The phenomenal world is sunya in the sense that it is svabhavasanya i.e. devoid of independent substantial reality of its own. From the Absolute point of view, it means prapancasunya i.e. devoid of thought descrimination and plurality. It is indescribable in human language. It is transcendent to thought. It does not mean mere negation of all things or absolute blank (Madhyamika karika-XVIII-9,XXII-11). In this short work, Nagarjuna shows all his dialectical skill in refuting, the objections raised by the Naiyayikas. For Nagarjuna,-everything that, exists is relative, dependent and thus unreal. He interpretes Pratitya-Samutpada (Dependent origination) in terms of relativity and proves the, dependent, unreal nature of all things. There is to real independent existence of entities, since, there is no elements of existence (dhrama) which comes into manifestation without conditions, therefore, there is no dhrama which is ot sunya i,e. devoid of real independent existence (vv-22). This work is divided into two parts viz, objection (purvapaksa) and reply (uttarapaksa). In the first part, Nagarjuna gives the anticipated For Personal & Private Use Only

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190 Review . objections of the opponents against the doctrine of sunyata in 20 Verses and then, in second part he refutes all of them in remaining 52 verses. The central theme of the work may be summarised in the following manner: The opponents argue that, sOnyata which is the denial of the reality of all existencos (dharmas) is not true, because (A), tho statement used for the existence of sunyata (i.c. 'all things are devoid of intrinsic nature or void') is also unreal; (B) and if it is not so, (i.e. if sunyavadin's statement is not void or unreal), then it logically goes against sunyavadin's promises that all things are unreal; (C) Sdnyavada has no pramana in its favour to establish itself (v.v.1-6). Secondly, if all things are devoid of intrinsic Dature or unreal, then (a) the distinction between virtue and vice preached by Buddhist scriptures also becomes unreal. It cannot be acceptable to any 'seeker of truth. (b) If all things are unreal, and thus have no individuality, then, they would not be capable of being designated by particular names. The non-existent things have no name; (c) refutation of reality cannot be proved since it involves self-contradiction; (d) the thing to be refuted can also be not proved (v.v.7-20). Nagarjuna defends his doctrine by replying in the following manner: Sdayata or denial of reality of all existences is true, because, (a) the acccptance of the ultimate unreality of words and statements do not go against the theory of unreality. By sunyata we do not mean mere negation; by it we mean Dependent origination (pratstya samutpanna); (b) our statements do not go against our premises. We never say that this particular statement of our's is true while other's are false'. We say that 'all arguments are ultimately unreal' (v.v. 24-29); (c) the validity of parmanas, through which reality of existence can be proved, themselves cannot be established. A pramana cannot be established by another pramana, for it will lead to infinite regress. A pramana, unliko fire, also cannot prove itself. Again, a pramana can be proved neither by an object of cognition (prameya) nor it can be proved by accident (v.v.30-52). Secondly the unreality or devoid of intrinsic nature of all things is true because (a) it does not go against the conception of the division of the virtue and vice, which is based on the dependent origination of thing(v.v.53-7); (b) to say a non-existont thing has no name is not correct. because, it is also bereft of intrinsic reality (v.v.58-60); (c) invalidity of refutation of the reality of existence cannot be established, becauso, wo do not negate any thing. There is nothing which can be negated(v.v.61-72). Entire work is elaboration of these main arguments. The objections in verses 7 and 8 certainly raised by Naiyayikas, though the matters are taken from some Budhist realists. The verses of the present text are composed in Arya metre, but are not polished. considering the difficulties involved in the translation of any For Personal & Private Use Only

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Review 191 Sanskrit philosophical text into English, we can certainly say that the prescat translator has achieved remarkable success. Rendering of difficult pbilosophical terms into intelligible English and critical notes thereon show that the translator has clear grasp over the original text and philosophical contents. Three indices, giving list o. techn.cal terms, un-common words and ancient authorities quoted in the introduction and in the notes, obviously, enhance the Value of the present work. Critically edited original Sanskrit text is given in the end in Roman Script along with author's commentary; editor's critical iutroduction and an alphabetical index of vorsos of the text. However, it is felt that, the translator could have taken littlo pain to give a brief summary of this treatise in his introduction. The book is beautifully printed and the get up is very attractive. The translator and publisher deserve high appreciation. Y. S. Shastri, For Personal & Private Use Only

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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. Printer's Name Swami Shri Tribhuvandasji Shastri Nationality Indian. Address Shri Ramanand Printing Press, Kankaria Road, Ahmedabad-22. 4. Publisher's Name Nagin J. Shah. Nationality Indian. . Address Acting Director, L. D. Institute of Indology, Ahmedabad-9. 3. Editors' Names (1) Dalsukh Malvania (2) Dr. H. C. Bhayani (3) Nagin J. Shah Nationality Indian. Address L. D. Institute of Indology, Ahmedabad-9 6. Names and Address of L. D. Institute of Indology, Indiuiduals who own the Ahmedabad-9. newspaper and partners or shareholders holding more than one-percent of the total capital. I, Nagin J. Shah, hereby declare that the particulars given above are true to the best of my knowledge and belief. Nagin J. Shah Signature of Publisher . For Personal & Private Use Only

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khajurAho kI jaina mUrtiyAM mArutinandana prasAda tivArI madhya pradeza ke 'chatarapura jile meM sthita khajurAho candela zAsakoM kI rAjadhAnI rahI hai| candeloM ne navoM (nagnuka-825-10 I.) se bArahavIM zatI I. ke madhya (madanavamana' 1199-63 I0 ) isa kSetra meM zAsana kiyA / candela zAsakoM ke zAsana kAla meM yahAM aneka maMdiroM evaM mUrtiyoM kA nirmANa huA / ye maMdira evaM mUrtiyAM zaiva, vaiSNava, zakti evaM jaina saMpradAyoM se sambandhita hai| janazruti ke anusAra khajurAho meM kula 85 maMdira ye| kintuH vartamAna meM kevala 22 mandira hI surakSita haiN| khajurAho ke ina mandira kA nirmANakAla sAmAnyataH navoM se gyArahavIM zatI I. ke madhya svIkAra kiyA gayA hai| khajurAhoM ke" ye mandira apanI vAstukalA evaM zilpa-vaibhava ke lie vizvaprasiddha hai / vibhinna mandiroM para utkIrNa kAma-kriyA se sambandhitaH mUrtiyAM paryaTakoM kA vizeSa AkarSaNa hai| dharmasahiSNu candela zAsakoM ne jainadharma ko bhI apanA samarthana diyA thA / khajurAho ke tIna vizAla jaina mandira evaM vahAM kI bikharI prabhUta jaina mUrtiyAM isakI spaSTa sAkSI hai| pArzvanAtha kA vizAla jaina mandira dhaMga ke zAsana kAla meM nirmita huA / jaina AcArya vAsavacandra dhaMga ke mahArAjaguru the' cinhoMne apane prabhAva kA nizcita ho upayoga kiyA homA / isakA pramANa dhaMga ke zAsana kAla kA pArzvanAtha mandira hai / sAtha hI vyApArI pAhilla dvArA pArzvanAtha mandira ko pAMca vATikA dAna diye jAne ke phalasvarUpAcaMga, dvArA usake sammAna kA ullekha bhI jaina dharma ke prati udAra dRSTikoNa kA hI sUcaka / . pArzvanAtha mandira kA nirmANa sambhavataH pAhilla dvArA kiyA gayA thaa| pArzvanAtha mandira ke vi0 saM0 1011 (954 I.) ke abhilekha meM ghaMga ke sAtha hI mahArAjaguru vAsavacandra kA bhI ullekha hai| mandira kI vizAlatA, bhavyatA; evaM dIvAroM para brahmA, ziva, viSNa rAma va balarAma jaise hindU devoM kI svatantra evaM zaktisahita mUrtiyAM spaSTataH mandira ke nirmANa meM zAsakIya sahayoga evaM hindU prabhAva ko darazAte haiN| khajurAho kI jaina mUrtiyoM ke nirmANa meM vyApArI varga kI bhI mahatvapUrNa bhUmikAhI mUrti-lekhoM se jJAta hotA hai ki vyApArI parivAra ke pADi usake pitA zreSThI dedU tathA usake pUrvajoM ne jainadharma svIkAra kiyA thA aura jaina dharma ko sakriya samarthana diyA thA / khajurAho ke eka mUrtilekha (1075 I0) meM zreSThI bIvanazAhI bhAryA padamAvatI dvArA AdinAtha kI mUrti sthApita karAne kA ullekha hai| khajurAho ke 1148 I0 ke eka anya mUrtilekha meM zreSThI pANidhara ke putroM (trivikrama, AlhaNa tathA lakSmodhara) ke nAmoM kA, tathA 1158 I0 ke eka tIsare lekha meM pAhilla ke vaMzaja evaM grahapati kula ke sAdhu sAlhe dvArA saMbhavanAtha ko mUrti kI sthApanA kA ullekha hai| . For Personal & Private Use Only

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khajurAho kI jaina mUrtiyAM khajurAho meM saMprati cAra prAcIna jaina mandira evaM kaI navIna jaina mandira (32) hai| prAcIna jaina mandira pArzvanAtha, ghaNTaI, zAMtinAtha evaM AdinAtha mandira haiM / ina prAcIna jaina mandiroM ke uttaraMgoM ke atirikta hameM khajurAho meM 17 se adhika aise uttaraMga bhI mile haiM jinapara jinoM tathA cakrezvarI, ambikA evaM padmAvatI jaisI jaina yakSiyoM kI mUrtiyAM banI hai| ye uttaraMga niHsaMdeha caMdela kAla meM uparyukta cAra mandiroM ke atirikta bhI kucha anya jaina mandira ke nirmANa kI sucanA dete haiM / ye mandira saMbhavataH AkAra meM choTe rahe hoMge / khajurAho ke jaina mandiroM kA samUha khajurAho kA pUrvI deva mandira samUha kahalAtA hai / saMprati kevala pArzvanAtha evaM AdinAtha mandira hI pUrI taraha surakSita hai / ghaNTaI mandira ke atirikta anya sabhI prAcIna evaM navIna jaina mandira eka vizAla parakoTe meM sthita haiN| khajurAho ko sampUrNa jaina zilpa-sAmagrI digaMbara sampradAya se sambaddha hai, aura usakI samaya sImA lagabhaga 950 se 1150 I0 hai| jinoM kI nirvastra pratimAeM mandiroM ke praveza dvAroM para 16 mAMgalika svapnoM kA aMkana khajurAho ke jana zilpa kI vizeSatAeM hai| jJAtavya hai ki ye vizeSatAeM kevala digaMbara saMpradAya se hI sambaddha hai / prAraMbha meM hama khajurAho ke prAcIna jaina mandira kI mUrtiyoM kA pratimA nirUpaNa kreNge| taduparAnta khajugaho kI zeSa zilpa sAmagrI kA vivecana kreNge| apane adhyayana meM jinoM evaM yakSa-yakSI yugaloM ke nirUpaNa para hama vizeSa bala deMge / pArzvanAtha mandira ___ pArzvanAtha mandira jaina mandiroM meM prAcInatama aura sthApatyagata yojanA evaM mUrta alaMkaraNoM ko dRSTi se sabakRSTa evaM vizAlatama hai / kRSNadeva ne pArzvanAtha mandira ko dhaga ke zAsanakAla ke prArambhika dinoM (950-70 I0) meM nirmita mAnA hai pArzvanAtha mandira mUlataH prathama jina RSabhanAtha ko samarpita thA / garbhagRha meM sthApita 1860 I. kI kAle prastara kI pArzvanAtha mUrti ke kAraNa hI kAlAntara meM ise pAvenAtha mandira ke nAma se jAnA jAne lagA / garbhagRha meM mUla pratimA ke siMhAsana aura parikara surakSita haiM / mUla pratimA kI pIThikA. para RSabhanAtha ke vRSabha lAMchana aura yakSa-yakSo, gomukha-cakrezvarI, utkIrNa hai| mUlanAyaka ke pAvoM meM supArzvanAtha ora pArzvanAtha kI kAyotsarga mUrtiyA surakSita haiM / ardhamaNDapa ke lalATabiMba para bhI cakrezvarI kI hI mUrti banI hai| mandira ko bAhya bhitti para tIna samAnAntara paMktiyoM meM devamUrtiyAM utkIrNa hai| pratimAvijJAna kI dRSTi se kevala nicalI do paMktiyoM kI mUrtiyA~ hI mahatva ko hai| UparI paMkti meM kevala puSpamAla se yukta vidyAdhara yugala, gaMdharva evaM kinnara-kinnariyoM kI uDDoyamAna AkRtiyAM ho utkINita hai / madhya ko paMkti meM vibhinna devayugaloM, lakSmI evaM lAMchanarahita jinoM kI mUrtiyAM banI hai| nicalI paMkti meM jinoM, aSTa digpAloM, devayugaloM (zakti ke sAtha AliMganamudrA meM), jaina yakSI aMbikA, ziva, viSNu, brahmA evaM vizva prasiddha apsarAoM kI mUrtiyAM hai / ye apsarA mUrtiyAM strI saundarya kI sAkAra abhivyakti haiM / mandira kI darpaNa dekhatI, patra likhatI, paira se kAMTA nikAlato, paira meM pAyajeca bAMdhatI kucha apsarA For Personal & Private Use Only

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mArutinandana prasAda tivArI martiyA. apanI manamohaka bhAvabhaMgimAoM evaM zilpagata vizeSatAoM ke kAraNa vizvaprasiddha hai| jJAtavya hai ki apsarA mUrtiyoM kA utkIrNana khajurAho ke sabhI mandiroM meM vizeSa lokapriya thaa| nIcalI donoM paktiyoM kI devayugala' evaM svatantra mUrtiyoM meM devatA sadaiva caturbhuva hai| para devatAoM kI zaktiyAM sarvadA dvibhujA haiM / sabhI mUrtiyAM tribhaMga meM khar3I hai| ina mUrtiyoM meM zakti kI eka bhujA AliMgana mudrA meM hai aura dUsarI meM darpaNa yA padma hai / tAtparya yaha ki vibhinna devoM ke sAtha pAraMparika zaktiyoM, yathA viSNu ke sAtha lakSmI, brahmA ke sAtha brahmAjI evaM ziva ke sAtha pArvatI, ke sthAna para sAmAnya evaM vyaktigata vizeSatAoM se rahita deviyA~ nirupita haiN| dUsarI ora devatA pAramparika lakSaNoM vAle haiN| yahAM yaha ullekha prAsagika hogA ki vibhinna devatAoM kA zaktiyoM ke sAtha AliMgana mudrA meM aMkana jaina paramparA ke viruddha hai / jaina paramparA meM koI bhI devatA kabhI apanI zakti ke sAtha nahIM nirUpita hai, phira zakti ke sAtha aura vaha bho AliMgana mudrA meM unake citraNa kA prazna hI nahIM utthtaa"| ___ jaMghA kI svatantra devamUrtiyoM meM ziva (19), viSNu (10), evaM brahmA (1) kI mUrtiyAM haiM / devayugaloM meM ziva (9), viSNu (7), brahmA (1), agni (1), kubera (1), rAma (1), evaM balarAma (1) kI mUrtiyAM haiN| maMdira ke dakSiNI zikhara para rAma kathA se sambandhita eka dRzya utkIrNa hai| jisameM hanumAna ko azokavATikA meM baiThI klAMtamukha sItA ko rAma kI aMgUThI dete hue dikhAyA gayA hai" / jaina yakSI. aMbikA (2-dakSiNI jaMghA evaM zikhara) evaM cakrezvarI (1) tathA sarasvatI (6), lakSmI (5) evaM trimukha brahmANI (3) kI bhI mUrtiyAM utkIrNa hai| jina, aMbikA evaM cakrezvarI kI mUrtiyoM ke atirikta maNDovara kI anya sabhI mUrtiyAM hindU devakula se sambandhita aura prabhAvita haiN| uttarI evaM dakSiNI zikhara para kAmakriyA meM rata do yugala bhI citrita hai / yahA~ ullekhanIya hai ki khajurAho ke dulAdeva, lakSmaNa, kandariyA mahAdeva, devI jagadaMbA evaM vizvanAtha mandiroM ke vibhinna bhAgoM para akIrNa kAmakriyA se sambandhita mUrtiyoM meM anekazaH muNDita mastaka vAle nirvastra evaM mayUrapicchikA liye hae jaina sAdhuoM ko ratikriyA kI vibhinna mudrAoM meM darazAyA gayA hai-jo tatkAlIna dhArmika evaM sAmAjika vyavasthA meM digaMbara jaina sAdhuoM evaM saMpradAya kI sthiti ke vivecana ke lie eka gaMbhIra prazna cihna upasthita karatA hai / garbhagRha kI bhitti para aSTadikpAloM, jinoM, bAhubalI evaM ziva (8) kI mUrtiyAM hai| uttaraMgoM para dvibhuja navagrahoM (3 samUha) aura dvAra zAkhAoM para makaravAhinI gaMgA aura kUrma-' vAhinI yamunA kI sthAnaka mUrtiyAM hai| maNDapa kI bhitti kI jina mUrtiyoM meM lAMchana aura yakSa-- yakSI nahIM utkorNa hai| para garbhagRha ko bhitti kI jina mUrtiyoM meM lAMchana, aSTapratihArya evaM yakSa-.. yakSI AmUrtita haiN| yakSa-yakSI sAmAnyataH abhayamudrA (yA padma) evaM phala (yA jalakalaza) se yukta / hai / tAtparya yaha ki jinoM ke sAtha pAraMparika yakSa-yakSI kA aMkana nahIM huA hai| lAMchanoM. ke AdhAra para kevala abhinaMdana (kapi lAMchana), puSpadaMta (makara lAMchana) candraprabha (ardhacandra * lAMchana) evaM mahAvIra (siMhalAMchana) kI pahacAna sambhava hai / mandira kI jina mUrtiyAM mUrti baijJAnika dRSTi se prArambhika koTi kI hai / For Personal & Private Use Only

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khajurAho kI jaina mUrtiyAM garbhagRha kI dakSiNI bhitti para RSabhanAtha ke putra bAhubalI kI eka mUrti hai / yaha uttara bhArata meM bAhubalI kI dusarI prAcInatama jJAta mUrti hai" / bAhubalI kAyotsarga mudrA meM siMhAsana para mistra khaDe hai / bAhubalI ke sAtha jina mUrtiyoM kI sAmAnya vizeSatAeM, yathA siMhAsana, cAmarapara sevaka, prabhAmaNDala, uDDIyamAna gandharva, dharmacakra evaM gaja AkRtiyAM, pradathita :helo bAhubalI ko jinoM ke samAna pratiSThA pradAna kiye jAne kA sUcaka hai / isa prakRti ko devagar3ha meM (mandira-11, 12 boM zatI I0) bAhubalI ke sAtha yakSa-yakSI yugala ko sambaddha karake pUrNatA pradAna kI gyii| khajurAho meM bAhabalI ke mastaka ke Upara trichatra ke sthAna para eka chatra pradarzita hai / bAhubalI ke zarIra se mAdhavI lipaTI hai aura vakSaHsthala para chipakalI aura vRzcika utkIrNa haiM / bAhubalI ke pAvoM meM digaMbara paramparA ke anurUpa hI do vidyApariyoM ko bAhubalI ke zarIra se lipaTI huI mAdhavI ko haTAte hue dikhAyA gayA hai| ghaNTaI maMdira kRSNadeva ne sthApatya, mUrtikalA aura lipi sambandhI sAkSyoM ke AdhAra para ghaNTaI mandira ko dasavIM zatI I0 ke aMta meM nirmita mAnA hai| vartamAna meM isa mandira ke maNDapa aura ardhamaNDapa kA hI kucha bhAga zeSa bacA hai / mandira ke uttaraMga para lalATabiMba ke rUpa meM aSTabhuja cakrezvarI kI mUrti utkIrNa hai, jo mandira ke RSabhanAtha ko samarpita rahe hone kI sUcaka hai| uttaraMga para dvibhuja navagrahoM evaM gomukha (8) kI bhI mUrtiyAM hai / gomukha AkRtiyoM kI bhujAoM meM padma aura ghaTa hai| pravezadvAra para 16 mAMgalika svapna aura gaMgA-yamunA kI saMbAhana mUrtiyAM haiM / ardhamaNDapa kI chata tathA maNDapa ke stambhoM para jino evaM baina bhAcAryoM ko sAmAnyataH zAstrArtha karate hue dikhalAyA gayA hai / AdinAtha maMdira yojanA, nirmANa zailI evaM mUrtikalA ko dRSTi se AdinAtha mandira khajurAho ke vAmana mandira (gabhaga 1050-75 I.) ke nikaTa haiN| kRSNadeva ne isI AdhAra para mandira ko gyArahavIM zatI I0 ke uttarArddha meM nirmita mAnA hai / garbhagRha meM 1158 kI kAle pallara kI RSabhanAtha kI mUrti sthApita hai / lalATaciMba para RSabhanAtha kI yakSI cakrezvarI bhAmUrtita hai| mandira ke maNDovara para mUrtiyoM kI tIna samAnAntara paMktiyAM haiN| Upara kI paMkti meM garadharva, kimAra evaM vidyAdhara mUrtiyAM haiN| madhya kI paMkti meM cAra konoM para tribhaMga meM ATha caturbhuja gomukha AkRtiyAM utkIrNa haiM, jo sambhavataH aSTa vAsukiyoM kA citraNa hai" / inake karoM meM varadamudrA, cakrAkAra sanAla padma (yA parazu), cakrAkAra sanAla padma evaM jalapAtra hai"| nicalI paMkti meM aSThadikpAloM kI caturbhuja mUrtiyAM hai / inake atirikta manabhAvana asarAmoM evaM zArdUla kI bhI kaI mUrtiyAM banI hai / dakSiNI adhiSThAna para lalitamudrA meM AsIna cana kSetrapAla kI eka mUrti hai| kSetrapAla kA vAhana zvAn hai, aura usake karoM meM gadA, nakuLaka, sarpa eva' phala pradarzita hai| siMhavAhanA aMbikA kI tIna aura garuDavAhamA carI kI do mUrtiyAM hai| For Personal & Private Use Only

Page #207
mArutinandana prasAda tivArI AdinAtha maMdira ke maNDovara kI 16 rathikAoM meM 16 deviyoM kI mUrtiyAM utkIrNa hai| ye mUrtiyAM pratimAvijJAna kI dRSTi se vizeSa mahatva kI hai / bhinna AyudhoM evaM vAhanoM 'pAlI svatantra deviyoM kI saMbhAvita pahacAna 16 mahAvidyAoM se kI jA sakatI hai| jJAtavya hai ki 24 minoM aura unake yakSa-yakSI yugaloM ke bAda jaina devakula meM vidyAoM ko ho sarvAdhika mahatva pradAna kiyA gayA / prArambhika granthoM meM vidyAoM ke aneka ullekha hai| inhIM vidyAoM meM se 16 pramukha vidyAoM ko lekara AThavoM-nabIM zatI I0 meM 16 mahA vidyAoM kI sUcI niyata huI, jisake prArambhikatama ullekha bappabhaTTisUri kRta caturvizatikA (743-838 I.) evaM zobhanamunikRta stuticaturvizatikA (973 I0) meM hai| AThavIMnavIM zatI I. meM hI zilpa meM bhI inakA nirUpaNa prArambha ho gayA, jisake prArambhikatama udAharaNa osiyA ke mahAvIra mandira para dekhe jA sakate haiN| zvetAmbara sthaloM para navIM se bArahavIM zatI I0 ke madhya isakA citraNa vizeSa lokapriya rahA hai| digaMbara sthaloM para mahAvidyAo kA aMkana nahIM huA hai / zvetAMbara sthaloM para 16 mahAvidyAoM ke sAmUhika citraNa ke udAharaNa kuMbhAriyA ke zAMtinAtha mandira (11 vIM zatI I0) vimalavasahI (do samUha : raMga maNDapa eva devakulikA 41. 12 vIM zatI I0) evaM lUNavasahI (raMgamaNDapa123. I.) se prApta hote haiM / khajurAho ke AdinAtha mandira ke maNDovara ko rathikA mUrtiyoM meM deviyAM lalitamudrA meM AsIna yA tribhaMga meM khar3I haiM; aura cAra se ATha bhujAoM vAlI haiM / uttara aura dakSiNa kI bhittiyoM para 7-7, aura pazcima kI bhitti para do deviyAM nirUpita haiM " / sabhI udAharaNoM meM rathikA biMba kAphI virUpa haiM, jisakI vajaha se unako pahacAna kaThina ho gayI hai| kevala kucha hI deviyoM ke nirUpaNa meM pazcima bhArata ke lAkSaNika graMthoM ke nirdezoM kA AMzika anukaraNa kiyA gayA hai| sabhI deviyAM vAhana se yukta haiM. aura unake zIrSabhAga meM nagha jina AkRtiyAM utkIrNa hai| deviyoM ke skandhoM ke Upara sAmAnyataH abhayamudrA, padma, padma aura jalapAtra se yukta deviyoM kI do choTI mUrtiyAM utkIrNa haiM / hamane digambara graMthoM (pratiSThAsAroddhAra-AzAdharakRta evaM pratiSThAsArasaMgraha-vasunandikRta) se tulanAtmaka adhyayana ke AdhAra para kucha deviyoM kI saMbhAvita pahacAna ko prayAsa kiyA hai / vAhanoM yA kucha viziSTa AyudhoM, yA phira donoM ke AdhAra para jAMbUnadA, gaurI, kAlI, mahAkAlI, gAndhArI, acchuptA evaM 'vairoTyA mahAvidyAoM kI pahacAna kI gayI hai| __ mandira ke pravezadvAra para vAhana se yukta caturbhuja deviyAM nirUpita haiM / inameM kevalaM gajalakSmI, cakrezvarI, aMbikA evaM padmAvato kI hI nizcita pahacAna sambhava hai 291 dahalIja para do'caturbhuja puruSa AkRtiyAM lalitamudrA meM utkIrNa haiN| inakI tIna avaziSTa bhujAoM meM abhayamudrA, parazu evaM cakrAkAra padma hai / devatA kI pahacAna sambhava nahIM hai / dahalIja ke bAyeM chora para gajalakSmI kI mUrti hai / dAhine chora para padamAsanA devI kI mUrti hai| tIna sarpaphaNoM ke chatra vAlI devI kA vAhana karma hai| devI ke eka avaziSTa hAtha meM padma hai| devI yakSI padmAvatI ho sakatI hai| pravezadvAra para makaravAhinI gaMgA aura karma vAhinI yamunA tathA 16 mAMgalika svapna bhI utkIrNa haiN| For Personal & Private Use Only

Page #208
khajurAho kI jaina mUrtiyAM zAMtinAtha maMdira (maMdira / ) mandira meM 16.veM jina zAMtinAtha kI camakadAra Alepa vAlI 12 phITa UcI eka kAyotsarga mUrti hai / kaniMghama ne isa mUrti para 1028 I0 kA lekha dekhA thA, jo saMprati plAsTara ke andara chipa gayA hai / bhaba hama khajurAho kI jina evaM yakSa-yakSI mUrtiyoM kA pratimAzAstrIya vivecana kreNge| jJAtavya hai ki uparyukta mandiroM ke atirikta sthAnIya navIna jaina mandiroM evaM tIna saMgrahAlayoM (zAMtinAtha, purAtAttvika evaM jADina) meM bhI jina evaM yakSa aura yakSiyoM kI aneka mUrtiyAM haiN| prastuta adhyayana meM una sabhI kA upayoga kiyA gayA hai| jaina devakula meM jinoM ko sarvAdhika pratiSThA prApta hai| unheM devAdhideva kahA gayA hai| jaina devakula ke anya sabhI devatA kisI na kisI rUpa meM sahAyaka devatA ke rUpa meM jinoM se hI sambaddha haiM / bartamAna avasarpiNo yuga meM kula 24 jinoM kI kalpanA kI gayI hai, jinameM se kevala aMtima do jinoM pArzvanAtha evaM mahAvIra, kI hI aitihAsikatA asaMdigdha hai| prAcInatama jina mUrti lagabhaga tIsarI zatI I0 pU0 kI hai / yaha mUrti paTanA ke samIpa. : lohAnIpura se milI hai aura saMprati paTanA saMgrahAlaya meM hai / mUrti kI nagnatA aura kAyotsarga mudrA spaSTataH isake jina mUrti hone kI sUcanA dete haiM / lohAnIpura se hI zugakAla yA kucha bAda kI eka anya mUrti bhI milI haiM / lagabhaga dUsarI-pahalI zatI I0 pU0 kI pArzvanAtha ko eka kAyotsarga mUrti (kAMsya) priMsa oNpha velsa saMgrahAlaya, bambaI meM surakSita hai| pArzvanAtha nirvastra hai aura unake sira se Upara pAMca sarpaphaNoM kA chatra hai| lagabhaga pahalI zatI I0 pU0 kI pArzvanAtha kI eka anya kAyotsarga mUrti causA (bihAra) se milI hai / yahAM bho pArzvanAtha nirvastra hai, aura unake sira para sAta sarpa phaNoM kA chatra hai" / uparyukta prArambhikatama jina mUrtiyoM meM vakSaHsthala para zrIvatsa-cihna kA aMkana nahIM huA hai| jinoM ke vakSaHsthala meM zrIvatsa cihna kA aMkana sarvaprathama pahalI zatI I0 pU0 meM mathurA meM prArambha huaa| lagabhaga pahalI zatI I0 pU0 meM ho mathurA ke AyAgapaToM para sarvaprathama jinoM kA dhyAna mudrA meM aMkana bhI prArambha huaa| jJAtavya hai ki jina mUrtiyAM sadaiva kevala inhIM do mudrAoM meM banIM / kuSANakAla meM mathurA meM jinoM kI paryApta mUrtiyA~ bniiN| RSabhanAtha evaM pArzvanAtha ke atirikta mathurA se saMbhavanAtha, munisuvrata, neminAtha evaM mahAvIra kI kuSANa kAlIna mUrtiyA~ milI haiN| kuSANakAla meM hI sarvaprathama jina mUrtiyoM meM prAtihAryoM, dharmacakra, mAMgalika cinhoM evaM dharmacakra ke donoM ora upAsakoM kA aMkana prArambha huaa| kuSANakAla meM ATha meM se kevala sAta hI prAtihArya (siMhAsana, prabhAmaNDala, cAmaradhara sevaka, uDDIyamAna mAlAdhara, chatra, caityavRkSa evaM divyadhvani) pradarzita hue| jaina paramparA meM varNita sabhI ATa prAtihAryoM kA aMkana gupta kAla meM prArambha huaa| kuSANa kAla meM RSabhanAtha evaM mahAvIra ke jIvana dRzyoM kA bhI aMkana huaa| jina mUrtiyoM ke vikAsa kI dRSTi se guptakAla vizeSa mahattvapUrNa thA / jina mUrtiyoM kI kaI mahatvapUrNa lAkSaNika vizeSatAeM sarvaprathama gupta kAla meM ho niyata huI / guptakAlIna graMtha For Personal & Private Use Only

Page #209
mArutinandana prasAda tivArI bRhatsaMhitA ( varAhamihirakRta 58.45 ) meM jina mUrti ke sAmAnya lakSaNoM kI carcA hai / jina mUrtiyoM meM pAramparika lAMchanoM, yakSa-yakSI yugaloM evaM aSTaprAtihAryo kA pradarzana gupta kAla meM hI prArambha huA / lAMchanoM se yukta prAcInatama jina mUrtiyA~ neminAtha evaM mahAvIra kI haiN| ye mUrtiyA~ kramazaH rAjagira ( bihAra ) aura vArANasI ( bhArata kalA bhavana, vArANasI - kramAMka 161 ) se milI haiM / RSabhanAtha evaM pArzvanAtha ke sAtha pUrvavat laTakatI jaTAoM aura sAta sarpaNoM ke chatra kA pradarzana huA hai / yakSa-yakSI yugala se yukta pahalI jina mUrti ( lagabhaga chaThIM zatI I0 ) zvetAMbara sthala akoTA (gujarAta ) se milI hai / RSabhanAtha kI isa mUrti meM yakSa-yakSI sarvAnubhUti ( yA kubera ) aura aMbikA haiM / lagabhaga sAtavIM-AThavIM zatI I0 se jina mUrtiyoM meM yakSa-yakSI yugaloM kA niyamita aMkana hone lagA / jaina graMthoM meM lagabhaga AThavIM-navIM zatI I0 taka sabhI 24 jinoM ke lAMkana aura yakSa - yakSI yugaloM kI sUcI nirdhArita huI / prArambhikatama sUciyA~ kahAvalI evaM tiloyapaNNanti meM haiM / 24 yakSa-yakSI yugaloM kI svatantra lAkSaNika vizeSatAe~ lagabhaga gyArahavIM-bArahavIM zatI I0 meM niyata huI, jinake ullekha nirvANakalikA, triSaSTizalAkApuruSacaritra, pratiSThAsArasaMgraha evaM pratiSThAsAroddhAra meM haiM / 24 binoM meM prathama jina RSabhanAtha evaM aMtima tIna jina, neminAtha, pArzvanAtha evaM mahAvIra hI sarvAdhika lokapriya rahe haiM / sarvatra inhIM cAra jinoM kI sarvAdhika svatantra mUrtiyA~ bniiN| inhIM cAra jinoM se sambandhita yakSa aura yakSiyoM ( gomukha - cakrezvarI, kubera-aMbikA, dharaNendra- padmAvatI, mAtaMga - siddhAyikA) ko bhI sAhitya aura zilpa donoM meM hI sarvAdhika lokapriyatA prApta thI / rUpamaNDana meM 24 jinoM meM se uparyukta cAra jinoM evaM unase sambandhita yakSiyoM ko vizeSa rUpa se pUjya batAyA gayA hai" / khajurAho meM jinoM kI sarvAdhika mUrtiyA~ utkIrNa huI / khajurAho meM lagabhaga 950 I0 se 1150 I0 ke madhya kI 200 se adhika jina mUrtiyA~ haiM / isa saMkhyA meM maMdiroM kI dIvAroM evaM uttaraMgoM kI choTI jina mUrtiyA~ nahIM sammilita hai / svatantra jina mUrtiyoM ke sAtha hI khajurAho meM jinoM kI dvitIrthI, tritIrthI aura caumukhI ( sarvatobhadrikA pratimA) mUrtiyA~ bhI bniiN| khajurAho kI jina mUrtiyA~ pratimA lAkSaNika dRSTi se pUrNa vikasita jina mUrtiyA~ hai / jinameM lAMkSana, yakSa-yakSI yugala, aSTa prAtihArya, laghu jina mUrtiyA~, navagraha evaM anya pAramparika vizeSatAeM pradarzita haiM / khajurAho kI prAcInatama jina mUrtiyA~ pArzvanAtha mandira (950-70 I0) kI hai| saMkSepa meM khajurAhoM kI jina mUrtiyoM kI nimnalikhita vizeSatAeM haiN| sabhI mUrtiyoM ke vakSaHsthala meM zrIvatsa cihna hai / jinoM ko kevala pAramparika mudrAoM (dhyAnamudrA aura kAyosarga) meM hI nirUpita kiyA gayA hai| dhyAnamudrA meM AsIna jina mUrtiyAM tulanAtmaka dRSTi se adhika haiM / khajurAho kI jina mUrtiyAM mathurA evaM devagar3ha jaise samakAlIna digaMbara kalAkendroM kI jina mUrtiyoM ke samakakSa ThaharatI hai / khajurAho meM jinoM ko alaMkRta AsanoM para kAyotsarga meM khar3A yA jamAna dikhAyA gayA haiM / alaMkRta Asana ke nIce siMhAsana hai, jisake For Personal & Private Use Only dhyAnamudrA meM virAchoroM para siMhAsana

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khajurAho kI jainamUrtiyAM ke sUcaka do raudramukha siMha bane haiN| siMhAsana ke madhya se upAsakoM dvArA pUjita yA binA upAsakoM ke dharmacakra utkIrNa haiM / siMhAsana choroM para do ardhastambha aura yakSa-yakSI yugaloM kI mUrtiyAM haiN| dharmacakra ke samIpa hI jinoM ke lAMchanoM kA aMkana kiyA gayA hai| mUlanAyaka ke pAryoM meM mukuTa evaM hAra Adi se zobhita cAmaradhArI sevakoM kI do sthAnaka mUrtiyAM haiM / inake eka hAtha meM cAmara hai jaba ki dUsarA hAtha kaTi para sthita hai / kabhI-kabhI dUsare hAtha meM padma bhI pradarzita hai| mUlanAyaka ke kandhoM ke Upara donoM ora gajoM, uDDIyamAna mAlAdharoM evaM mAlAdhAra yugaloM kI mUrtiyAM banI haiM / gajoM para sAmAnyataH ghaTa lie eka yA do AkRtiyAM baiThI hai| jinoM ke siroM ke pIche jyAmitIya, puSpa evaM anya alaMkaraNoM se yukta prabhAmaNDala utkIrNa hai| jinoM kI gucchako ke rUpa meM pradarzita keza racanA uSNISa ke rUpa meM Abaddha hai.| RSabhanAtha, supArzvanAtha evaM pArzvanAtha ke sAtha kramazaH laTakato jaTAoM, pAMca tathA sAta. sarpaphaNoM ke chavoM kA niyamita pradarzana huA hai / mUlanAyaka ke siroM ke Upara trichatra aura dundubhi bajAtI adhaleTI AkRti bano hai / parikara ke UparI bhAga meM kabhI-kabhI kucha anya mAlAdhara gandharvo evaM vAdyavAdana karato AkRtiyoM kA bhI nirUpaNa huA hai| kucha udAharaNoM meM siMhAsana para yA parikara meM dvibhuja navagrahoM kI bho lalita:mudrA meM AsIna mUrtiyAM uttIrNa haiN| parikara meM ladhu jina mUrtiyoM kA citrapa vizeSa lokapriya thA / kabhI-kabhI parikara ko 23 choTI jina mUrtiyAM mUlanAyaka ke sAtha milakara jina caubIsI kA nirUpaNa karatI hai|| jina mUrtiyoM ke choroM para eka ke Upara eka kama se gaja, vyAla, makara evaM yodA kI AkRtiyAM banI haiN| ____ mUrtiyoM meM yakSa evaM yakSI (zAsana devatAoM) kI mUrtiyAM kramazaH siMhAsana ke dakSiga aura vAma choroM para banI hai / yakSa-yakSI yugala sAmAnyataH dvibhuja yA caturbhuja tathA lalitamudrA meM AsIna haiM / kucha udAharaNoM meM yakSa-yakSI anupasthita haiN| aisI mUrtiyoM meM siMhAsana choroM para do laghu jina AkRtiyAM banI haiM / khajurAho meM sabhI 24 jinoM kI svatantra mUrtiyAM nahIM utkIrNa huii| yahAM kevala RSabhanAtha, ajitanAtha, saMbhavanAtha, abhinaMdana, sumatinAtha, padmaprabha, puSpadaMta, supArzvanAtha, caMdraprabha, zAMtinAtha, munisuvrata, neminAtha, pArzvanAtha evaM mahAvIra kI hI mUrtiyAM banIM / isa prakAra khajurAho meM kevala 14 jinoM kI hI mUrtiyAM banIM / pArzvanAtha aura mahAvIra kI kevala 15 aura 9 mUrtiyAM haiM, jaba ki RSabhanAtha kI lagabhaga 60 mUrtiyAM hai / yaha mUrti saMkhyA RSabhanAtha kI sarvAdhika lokapriyatA kI sUcaka hai / ina mUrtiyoM ke atirikta khajurAho ke tInoM pramukha jaina mandiroM (pArzvanAtha, ghaNTaI evaM AdinAtha) kA RSabhanAtha ko samarpita rahA honA bhI isa tathya kA udghATana karatA hai| abhinaMdama, sumana tinAtha, puSpadanta, padmaprabha, candraprabha evaM munisuvrata kI kevala eka-eka mUrti milI haiN| zeSa / / jinoM kI 2 se 6 mUrtiyAM haiN| khajurAho meM 24 zAsana devatAoM kA nirUpaNa nahIM huA hai / upalabdha jina mUrtiyoM meM bhI.sabhI jinoM ke sAtha pAramparika yakSa-yakSI nahIM AmUrtita haiN| khajurAho kA kalAkAra kevale RSabhanAtha ke yakSa-yakSI, gomukha-cakrezvarI, nemInAtha ke sarvAnubhUti (kubera)-aMbikA evaM pAzca- For Personal & Private Use Only

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mArutinandana prasAda tivArI nAtha ke dharaNendra -padamAvatI ke ho pAramparika lakSaNoM se paricita thA / mahAvIra ke sAtha nirUpita yakSa-yakSI pAramparika lakSaNoM vAle nahIM haiN| mahAvIra ke mAtaMga-siddhAyikA yakSa-yakSI svatantra lakSaNoM vAle haiM, jo sambhavataH kisI sthAnIya paramparA se nirdezita haiM jo vartamAna meM hameM upalabdha nahIM hai / anya jine ke yakSa-yakSI viziSTatArahita aura sAmAnya lakSaNoM vAle haiM / sAmAnya lakSaNoM vAle yakSa-yakSI ke karoM meM abhaya ( yA varada ) mudrA, padma, mudrAkoza, kalaza evaM phala meM se koI do sAmagrI pradarzita haiN| RSabhanAtha . prathama jina RSabhanAtha ke sAtha laTakatI jaTAoM aura vRSabha lAMchana kA aMkana huA hai| kabhI dono pAvoM meM pAMca aura sAta sarpa phaNoM ke chatra vAle supArzvanAtha kI kAyotsarga mUrtiyAM bhI bano haiN| jArDina saMgrahAlaya (kramAMka 1651 ) kI eka viziSTa mUrti meM RSabhanAtha ke pAramparika yakSa-yakSI, gomukha-cakrezvarI, ke sAtha hI lakSmI evaM aMbikA kI bhI, mUrtiyA utkIrNa haiM, jo RSabhanAthakI vizeSa pratiSTA kI sUcaka haiM / eka udAharaNa meM parikara meM bAhubalo ko laghu mUrti banI hai / gomukha-cakrezvarI ke nirUpaNa meM mukhya lakSaNoM ke saMdarbha meM digambara graMthoM ke nirdezoM kA pAlana kiyA gayA hai| kucha udAharaNoM meM yakSa ke rUpa meM mudrAkoza dhAraNa kiye hue kubera kA bhI aMkana huA hai| jina- saMyukta mUrtiyoM meM gomukha yakSa ke sAtha kabhI-kabhI vRSabhavAhana (pAzrvanAtha mandira-garbhagRha ) pradarzita haiM / gomakha yakSa ke karoM meM sAmAnyataH abhaya (yA varadamudrA,) gadA ( yA parazu), pustaka (yA padma ) evaM kalaza (yA phala) pradarzita haiM / garuDavAhanA cakrezvarI ke karoM meM sAmAnyataH varada (yA abhaya-) mudrA , gadA. ( yA cakra ), cakra eMva zaMkha haiM / gomukha yakSa kI svatantra mUrti nahIM milI hai / para cakrezvarI yakSI kI kama se kama 13 svatantra martiyAM haiM / yakSiyo meM ambikA ke bAda cakrezvarI hI sarvAdhika lokapriya thiiN| pirITa makaTa se zobhita cakrezvarI garuDa (mAnava rUpa meM) para ArUDha aura cAra se dasa hAthoM vAlI haiN| ghaNTaI aura pArzvanAtha mandiroM ke lalATabiboM meM cakrezvarI kI ATha aura dasa bhujAoM vAlI mUrtiyAM haiM / cakrezvarI ke hAthoM meM cakra, zaMkha, gadA aura abhaya ( yA varada-) mudrA kA niyamita pradarzana huA hai / atirikta hAthoM meM cakra, khaDga, dhanuSa, bANa evaM kalaza Adi pradarzita hai| devI spaSTataH hindu devI vaiSNavI ke lakSaNoM se prabhAvita hai| supArzvanAtha sAtaveM jina supArzvanAtha kA lAMchana svastika hai / para mUrtiyoM meM svastika lAMchana nahIM pradarzita kiyA gayA hai / kevala pA~ca yA no sarpaphaNoM ke chatroM ke AdhAra para hI supArzvanAtha kI pahacAna kI jA sakI haiN| inakI do mUrtiyA~ ( 11 vI -12 voM zatI I0) mandira 5 aura 28 meM hai| donoM yakSa-yakSI anupasthita haiN| . neminAtha nAmanAtha . . / 22. veM jina neminAtha kI kevala do hI mUrtiyAM (ke0 14, 11vIM-12vIM zatI I0) haiN| inameM dhyAnamudrA meM virAjamAna neminAtha ke sAtha lAMchana zaMkha hai, aura yakSa-yakSI ke rUpa meM For Personal & Private Use Only

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khajurAho kI jaina mUrtiyAM kubera aura ambiko nirUpita haiM / kubera ke eka hAtha meM mudrAkoza hai, aura dvimucA ambikA mAmralaMbI aura bAlaka se yukta haiN| jina-saMyukta mUrtiyoM ke atirikta kubera evaM ambikA kI svatantra mUrtiyAM bhI milI / yakSoM meM kevala kabera ( yA sarvAnubhUti) ko hI svatantra matiyAM milI hai| inameM catarbha evaM lalitamudrA meM virAjamAna kubera ke karoM meM abhayamudrA, padma, phala evaM mudrAkoza pradarzita hai| caraNoM ke samIpa nidhi ke sUcaka do ghaTa bane haiN| jaina paramparA kI prAcInatama yakSI ambikA kI khajurAhoM meM sarvAdhika svatantra martiyAM hai| pArzvanAtha mandira kI dakSiNa jaMghA kI dvimujI mUrti ke atirikta anya sabhI udAharaNoM meM ambikA caturbhujA haiM / dvibhujI mUrti meM ambikA ke eka hAtha meM Amralu bi hai aura dUsare meM bAlaka / jJAtavya hai ki digambara paramparA ke graMthoM meM ambikA ke caturbhuja svarUpa kA nirUpaNa nahIM haA haiN| ina graMthoM meM ambikA kA sadaiva dvibhunI rUpa meM hI nirUpaNa hayA hai| / maMtu jI mUrtiyoM meM zIrSabhAga meM neminAtha kI choTI mUrti evaM AmravRkSa kI TahaniyoM se yukta ambikA ke UparI hAthoM meM sAmAnyataH padma ya padma meM lipaTI pustikA pradarzita hai| kevala mandira 27 kI eka mUrti meM UrdhvakaroM meM aMkuza evaM pAza haiM, jo spaSTataH zvetAmbara paramparA se nirdezita / / siMhavAhanA ambikA ke nicale hAthoM meM sarvadA Amralubi aura bAlaka (stanasparza karatA) pradarzita haiN| samopa hI dUsare bAlaka ko bhI dikhAyA gayA hai| purAtAttvika saMgrahAlaya, khajurAho kI eka viziSTa caturbhujI mUrti ( kramAMka 1608-11 vIM zatI I.) meM ambikA ke sAtha dvibhuja yakSa-yakSI yugala tathA kucha anya deviyoM kA aMkana huA hai, jo spaSTataH ambikA kI vizeSa pratiSThA kA paricAyaka hai| yakSa abhayamudrA evaM mudrAkoza aura yakSI abhayamudrA evaM kalaza se yukta hai| pArzvanAtha ___23 veM jina pArzvanAtha kA lAMchana sarpa hai aura yakSa-yakSI dharaNendra ( yA pArzva ) aura padmAvatI hai / inake zIrSabhAga meM sAta sarpa phoM ke chatra ke pradarzana kI paramparA hai| khajurAho meM inakI 15 mUrtiyAM haiM, para kisI meM pIThikA para sarpa lAMchana nahIM banA hai| sAta sarpa phaNoM kA chatra sabhI udAharaNo meM utkIrNa haiN| pArzvanAtha kI kAyotsarga mUrtiyAM adhika haiN| mUlanAyaka ke zarIra ke pichale bhAga meM sAmAnyataH sira se paira taka sarpa kI kuNDaliyAM pradarzita haiN| sarpaphaNoM ke kAraNa hI pArzvanAtha ke sAtha prabhAmaNDala nahIM dikhAyA gyaa| kAyotsarga mUrtiyoM meM yakSa-yakSI kA nirUpaNa nahIM huA hai / kevala dhyAnastha mUrtiyo meM tIna udAharaNoM meM yakSa-yakSI ko mUrtiyAM banI hai / do udAharaNoM meM pArzvanAtha ke eka aura cAmaradhArI dharaNendra aura dUsarI ora chatradhAriNI padmAvatI kI mUrtiyAM utkIrNa hai| ina donoM ke siroM para sarpaphargoM kA chatra pradarzita hai| do sundara mUrtiyAM ( 11 vIM zatI I0 ) kramazaH mandira aura jArDina saMgrahAlaya ( kramAMka 1668 ) meM haiN| ina dhyAnastha mUrtiyoM meM cAmaradhArI dharaNendra eva chatradhAriNI padmAvatI AmUrtita haiN| purAtAttvika saMgrahAlaya, khajurAho (kramAMka 1618) kA eka mUrti meM sarphaphaNoM ke chatra vAlA dvibhuja yakSa namaskAra bhadrA meM hai| tona sarpaphaNoM ke chatra vAlI dvibhujI yakSI ke avaziSTa bAyeM hAtha meM sarpa prada For Personal & Private Use Only

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mArutinandana prasAda tivArI zita hai| dvibhuja yakSa aura caturbhujI yakSo kI AkRtiyoM vAlI eka mUrti sthAnIya zAMtinAtha saMgrahAlaya (kramAMka ke. 100) meM surakSita hai| yakSa aura yakSI donoM hI sarpaphaNoM ke chatra se yukta hai| yakSake hAthoM meM phala va jalapAtra haiN| yakSI ke do avaziSTa karoM meM padma aura abhayamudrA pradarzita hai| pAramparika vizeSatAoM vAle yakSa-yakSI kA aMkana kevala eka udAharaNa ( zAMtinAtha saMgrahAlaya, ke0 68) meM huA hai / bArahavIM zatI I0 kI isa mUrti meM yakSa-yakSI caturbhuja aura sarpaphagoM ke chatra se yukta haiN| unake karoM meM abhayamudrA, sarpa aura jalapAtra haiN| yahAM bhI kevala zIrSabhAga meM sarpa phaNoM ke chatra evaM hAtha meM sarpa ke pradarzana meM hI paramparA kA pAlana kiyA gayA hai| aMbikA aura cakrezvarI ke bAda padmAvatI kI hI sarvAdhika mUrtiyAM banI / khajurAhoM meM padmAvatI kI tona mUrtiyA haiM / 11voM zatI I0 / kramAMka 1467) evaM pravezadvAroM para haiN| pAMca yA sAta sarpaphaNoM ke chatra vAlI padmAvatI kA vAhana kukkuTa hai, aura hAthoM meM pAza, aMkuza, padma (yA jalapAtra) aura abhaya (yA varada) mudrA pradarzita haiN| mahAvIra ___ aMtima. jina mahAvora kA lAMchana siMha aura yakSa-yakSI mAtaMga-siddhAyikA haiN| khajurAho meM mahAvIra kI 9 se adhika mUrtiyAM haiN| eka udAharaNa ke atirikta anya sabhI meM mahAvIra. dhyAnamudrA meM baiThe haiN| siMha-lAMchana sabhI meM pradarzita hai / para yakSa-yakSI yugala kevala : hI udAharaNoM meM nirUpita hai| mahAvIra mUrtiyoM kI eka viziSTatA yaha hai ki yahAM siMha lAMchana ko kucha mUrtiyoM meM siMhAsana ke madhya se jhAMkate hue dikhAyA gayA hai| isa kAraNa siMha kI pUrI AkRti ke sthAna para kevala sAmane kA bhAga pradarzita hai / siMha lAMchana kA isa rUpa meM citraNa anyatra durlabha hai| mahAvIra kI prAcInatama mUrti pArzvanAtha mandira ke garbhagRha kI dakSiNI bhitti para hai| isameM vibhuja yakSa-yakSI sAmAnya lakSaNoM vAle (abhayamudrA evaM phala) haiN| mandira 2 kI mUrti (1092 I.) lakSaNoM meM yakSa-yakSI caturbhuja hai / yakSa ke hAthoM meM mudrAkoza, zUla, padma aura daNDa hai, tathA vAhana siMha hai / siMhavAhanA yakSI ke hAthoM meM phala, cakra, padma aura zaMkha pradarzita haiN| anya udAharaNoM meM bhI yakSatyakSI donoM kA vAhana siMha hai, aura yakSI ke hAthoM meM, cakra evaM zaMkha pradarzita haiM / eka udAharaNa meM ( zAMtinAtha saMgrahAlaya, kramAMka ke. 13) caturbhuja yakSa kA vAhana kUrma hai aura hAthoM meM abhayamudrA, parazu, pustaka evaM phala hai| eka anya meM siMha para ArUr3ha caturbhuja yaza ke hAthoM meM gadA, aspaSTa, padma evaM mudrAkoza hai| eka anya meM (ke0 28-1) dvibhuja yakSa kA vAhana meSa hai, aura eka hAtha meM zakti hai| bAyA~ hAtha nIce laTakA hai| isa prakAra spaSTa hai ki khajurAhoM meM mahAvIra ke yakSa kA koI eka sAtantra svarUpa niyata nahIM ho sakA / para yakSI ke nirUpaNa meM nizcita hI cakrezvarI yakSI ke lakSaNoM (cakra evaM zaMkha) ko grahaNa kara usake svatantra svarUpa kI kalpanA kI gyii| yakSa ke For Personal & Private Use Only

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13 khajurAho ko jaina mUrtiyAM sAtha siMhavAhana kA pradarzana mahAvIra ke lAMchana ( siMha ) se prabhAvita pratIta hotA hai / para yakSI ke sAtha siMhavAhana kA pradarzana paramparA sammata haiM / ___ siddhAyikA ko eka mUrti mandira 24 ke uttaraMga para bhI hai| caturbhujA siddhAyikA siMha para ArUr3ha aura varadamudA, khaDga, cakra evaM jalapAtra se yukta haiM / dvitIrthI, tritIrthI evaM caumukhI jina mUrtiyAM - anya digambara sthaloM ke samAna hI khajurAho meM bho dvitIrthI evaM tritIrtho jina mUrtiyoM kA aMkana lokapriya thA / khajurAho meM dvitIrthI tathA tritIrthI jina mUrtiyo ke kramazaH nau bhaura eka udAharaNa haiN| inameM do yA tona jinoM kI kAyotsarga mUrtiyAM banI haiN| pratyeka jinake sAtha svatantra siMhAsana evaM anya prAtihArya tathA sAmAnya lakSaNoM vAle dvibhuja yakSa-yakSI nirUpita haiM / yakSa-yakSo yugaloM ke karoM meM abhayamudrA ( yA padma ) aura padma ( yA phala yA jalapAtra ) pradarzita hai| mandira 8 ko tritIrthI jina mUrti ( 11 vIM zatI I0 ) meM aMtima tIna jinoM, neminAtha, pArzvamAtha, evaM mahAvIra kI kAyotsarga mUrtiyAM haiM / dvitIrthI mUrtiyoM meM jinoM ke . lAMchana nahIM pradarzita hai| isa varga kI jina mUrtiyoM kA uddezya sambhavataH do yA adhika . jinoM ko samAna mahattva ke sAtha nirUpita karanA rahA hai / khajurAho meM jina caumukhI kA kevala eka udAharaNa hai, jo purAtAttvika saMgrahAlaya, khajurAho (kramAMka 1588) meM hai / gyArahavIM zatI I0 kI isa mUrti meM kuSANakAlIna caumukhI mUrtiyoM kI paramparA meM hI kevala laTakatI jaTAoM vAle RSabhanAtha evaM sAta sarpaphaNoM ke chatra vAle pArzvanAtha kI pahacAna sambhava haiN| sabhI jinoM ke lAMchanoM se paricita hone ke bAda bhI zeSa do jinoM ke sAtha lAMchana nahIM utkorNa hai / cAra pramukha jinoM ke atirikta cAroM ora 48 choTI jina mUrtiyAM bhI utkIrNa haiM / isa prakAra kula 52 jina mUrtiyAM utkIrNa haiM, jo sambhavataH nandIzvara dvopa kA bhAva vyakta karato haiM / yakSa-yakSI yugala kA aMkana nahIM huA hai aura mUrti kA UparI bhAga mandira ke zikhara ke rUpa meM nirmita hai| mukhya jina mUrtiyA dhyAna mudrA meM bhAsIna haiN| pAda-TippaNI 1. 'jenAsa, I0 tathA Aboyara, je0, khajurAho, hega, 1960, pR0 61. 2. kRSNadeva 'di Tempalsa oNva khajurAho ina senTrala iNDiyA', ainziyaNTa iNDiyA a0 . 15, 1959, pR0 45. 3. zAstrI, paramAnanda jaina, "madhyabhArata kA jaina purAtattva", anekAnta varSa 19, aM0 1. 1-2, pR0 57. 4. vijayamUrti (saMpAdaka), jena zilAlekha saMgraha, bhAga 3, bambaI, 1957, pR0 79, 108. For Personal & Private Use Only

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mArutinandana prasAda tivArI 5. koSTha kI saMkhyA maMdiroM evaM mUrtiyoM kI saMkhyA kA saMketa detI hai| 6. zvetAmbara sampradAya meM mAMgalika svapnoM kI saMkhyA 14 batAyI gayI hai| matsya yugala, siMhAsana evaM nAgendra bhavana kA zvetAMbara sUcI meM ullekha nahIM hai / zvetAMbara sUcI meM siMhAsana ke sthAna para siMhadhvaja kA ullekha hai / 7. kRSNadeva, pUrvanirdiSTa, pR0 55. 8. vistAra ke lie draSTavya, bruna, klAja, "di phigara oNva TU loara rilipasa bhAna di pArzvanAtha Tempala aiTa khajurAho" AcArya zrI vijayavallabha sUri smAraka pratha, bambaI, 1956, pR0 7-35. 9. devayugaloM kI kucha mUrtiyA~ mandira ke anya bhAgoM para bhI haiN| .:. .. 10. ye mUrtiyA~ spaSTataH hindU mandiroM para utkIrNa AliMgana mudrA meM devayugala mUrtiyoM se prabhAvita haiM / vaise pUrva madhyakAla meM jaina dharma ke prati sAmAnya saMsArI vyaktioM ko AkarSita karane ke uddezya se jaina dharma graMthoM meM isa prakAra ke kucha ullekha prApta hote haiN| harivaMzapurANa (783 I0) meM eka sthala para ullekha hai ki jina mandira meM eka seTha ne saMpUrNa prajA ke kautuka ke lie kAmadeva aura rati, kI bhI mUrti bnvaayii| yaha bhI ullekha hai ki upayukta jina mandira kAmadeva ke mandira ke nAma se prasiddha hai aura kautukavaza Aye logoM ke lie jina dharma kI prAti kA kAraNa kA hai| harivaMzapurANa (jinasenakRta) sarga 29, zloka 1-5. . (saM0 pannA lAla jaina, jJAnapITha mUrti devI jaina graMthamAlA, saMskRta graMthAMka 27, . vArANasI, 1962, pR. 378). 11. tivArI, mArutinandana prasAda, "e noTa Ana aina imeja oNva rAma aiNDa sItA Ana di pArzvanAtha Tempala, khajurAho", jena jarnala, khaM08, a9.1, pR0 30-32. 12. lakSmaNa mandira kI uttarI bhitti kI eka mUrti meM mayUra pocikA se yukta muNDita mastaka vAle nirvastra jaina sAdhu ke vakSaHsthala meM zrIvatsa cihana bhI utkIrNa hai| jaina sAdhu ke liMga ko nIce baiThI eka strI AkRti mukha meM praviSTa karAye hue hai, jo mukha maithuna kA bhAva vyakta karatA hai / 13. kevaLa cAra udAharaNoM meM lAMchana spaSTa hai / 14... bAhubalI ko uttara bhArata meM prAcInatama jJAta mUrti jUnAgar3ha saMgrahAlaya meM hai| draSTavya, tivArI, mArutinandana prasAda, "e noTa oNna sama bAhubalI imejeja phrAma nArtha iNDiyA" -IsTa eNDa vesTa, kha023, a03-4, sitambara-disambara 1976, pR.347-53 15. harivaMzapurANa, 11. 101. 16. kRSNadeva, pUrvanirdiSTa, pR0 60. 17. vahI, pR. 58. For Personal & Private Use Only

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khajurAho kI jaina mUrtiyAM 18. khajurAho ke caturbhuja, dUlAdeva evaM kucha anya hindU mandiroM para bhI samAna vivaraNoM. vAlI Ava gomukha AkRtiyAM utkIrNa haiM / inakI bhujAoM meM varadamudrA (yA varadAkSa) trizUla (yA saka), pustaka-padma aura jalapAtra pradarzita hai| 19. isa lekha meM hAtho ke AyudhoM kI gaNanA sarvadA ghar3I kI saI kI gati ke krama meM nicale dAhine hAtha se prArambha karake kI gaI hai| 20. digaMbara paramparA meM 16 mahAvidyAoM ke sAmUhika citraNa kA yaha ekamAtra saMbhavita 21. uttara mitti kI do rayikAoM ke biMba saMprati gAyaba haiM / 22. draSTavya, tivArI, mAruti nandana prasAda, "khajurAho ke AdinAtha mandira ke praveza dvAra kI mUrtiyA~", anekAnta, varSa 24, a0 5, pR. 218-21. 23. kaniMghama, e., ArkialAjikala sarve ova iNDiyA, ainuala riporTa, 1864 65, khaM0 2, pR0 434. 24. jAyasavAla, ke. pI., "jaina imena oNSa maurya pIriyaDa", jarnala bihAra, ur3IsA risarca sosAyaTI, khaM0 23,. bhAga 1, 1937, pR0 130-32. 25, zAha, yU0 pI0, sTaDoja ina jaina ArTa, banArasa, 1955, pR0 8-9. 26. prasAda, eca0ke0, "jaina bronjeja ina di paTanA myUjiyama", mahAvIra jaina vidyAlaya golDena jubilo vAlyUma, bambaI, 1968, pR. 275-80. 27. ye aSTa prAtihArya azoka vRkSa, cAmaradhara sevaka (cAvara), mAlAdhara gandharva (devapuSpavRSTi), - divyadhvani, siMhAsana, trichatra, devadundubhi evaM prabhAmaNDala haiN| 28. vistAra ke lie draSTavya, candA, Ara0 pI0, 'jaina rimensa eTa rAjagira', Arkia lAjikala sarve oNva iNDiyA, enuala riporTa, 1925-26, pR0 125-26; tivArI, mArutinandana prasAda, "ena anpachilazDa jina imeja ina di bhArata kalA bhavana, vAsapasI", vizvezvarAnanda iNDolojikala jarnala, kha0 13, aM0 1-2, pR zAha, yU0 pI0 akoTA bronjeja, bambaI, 1959, pR0 28-29. 29. rUpamaNDana, 6.25-27. 30. yahA~ ullekhanIya hai ki khajurAho ke devI jagadaMbI evaM vizvanAtha mandiroM ke bhadhi. ThAnoM para bhI jinoM kI do laghu mUrtiyAM banI hai| ye mUrtiyAM kramazaH uttarI aura dakSiNI adhiSThAna-para hai|. dono ho udAharaNoM meM madhya kI bhyAnastha jina marti ke donoM ora kAyotsarga. mudrA meM do jina khar3e haiM / inameM lAMchana, prAtihArya yA yakSayakSI kA aMkana nahIM huA hai| hindU mandiroM para ina jina mUrtiyoM kA utkIrNana spaSTataH khajurAho meM hindU evaM jaina saMpradAyoM ke madhya ke acche sambandhoM kA paricAyaka hai| For Personal & Private Use Only

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mANDavagaDha ke mahAmantrI pethaDazAha ne kitane jina-mandira banavAye ? ma. vinayasAgara rAjasthAna prAcya vidyA pratiSThAna, jayapura ke saMgrahAlaya kA bhArata sarakAra ke zikSA maMtrAlaya dvArA svIkRta paddhati se saMskRta evaM prAkRta bhASA ke hastalikhita granthoM kA navIna sUcIpatra banAte samaya graMthAMka 7460 (2) para AcArya bhI somatilakasari racita pRthvIdhara sAdhu (pathadazAha) kArita caitya stotra ko vikrama kI 16 vIM zatAbdI kI prati prApta huI / isa stotra meM peMthadazAha ke dhAmika sukRtyoM, audAyaryAdi guNoM aura dharmaniSTha jIvana kI zlAghA karate hue btaayaa| ki pethar3a ne 78 navIna jina mandiroM kA nirmANa karavAyA / kauna-kauna se tIrthaMkaroM ke kisa-kisa sthAna para mandira banavAe, inakA tArtha kara nAma aura sthaLa-nAma nirdeza ke sAtha isa stotra meM ullekha huA hai, yaha isa stotra kA vaiziSTya hai| isa stotra ke praNetA zrI somatilakasari hai jo pethada ke dharmaguru zrI dharmapoSasUri ke pautra paTTadhara bhaura zrI somaprabhasUri ke paTTadhara AcArya haiM / tapAgaccha paTTAvalI ke anusAra inako janma vi0 saM0 1335, dIkSA 1369, mAcArya pada 1373, aura svargavAsa 1424 meM huA thA / ye baDe prabhAvika aura vidvAna AcArya the / inake dvArA nirmita bahadravya kSetrasamAsa prakaraNa, saptatizatasthAnaka prakaraNa aura bhaneka stotra prApta hai| mANDavagaDha ke mahAmantrI sAdhu pRthvIdhara (prasiddha nAma pethaizAha ) ke nAma se baina samAna suparicita hai / jina mandira nirmANa, svadharmIbandhuoM kA poSaNa, gurubhakti, zAstrabhakti, dAnazAlA nirmANa Adi sukRtyoM ke prasaMgoM para Aja bhI sAdhuvarga vyAkhyAmAdi meM peMthAzAha kA uddharaNa dete haiM aura unakA kathAnaka kaha kara dharmakAryoM kI mahattA kA pratipAdana karate haiN| . pethaizAha osavAlajAtIya dedA ke putra the| ye mANDavagaDha ke paramArapezIvA mahAgaNa bayasiMha ke mahAmaMtrI the| inakA samaya 13 vauM zatAbdI kI antima caraNa aura 4thI yato kA pUrvArda hai / pethar3a ke sukRtakAryoM kA kAryakAla 1318 se 1338 ke madhya kA hai| dedA, pethada aura inakA putra jhAMjhaNa tInoM hI dharmaniSTha, bhAvaguNoM ke dhAraka-pAlaka aura parama gurubhakta the / inake sukRta kriyAkalApoM kA saMvistAra-varNana zrIratnemaNyana (ratnamandira) gaNi racita sukRtasAgara kAvya (vi0 saM0 1517) aura upadezataraMgiI ke taraMga 2-3 meM prApta hai / ina granthoM ke AdhAra se pethar3a kA saMkSipta paricaya isa prakAra hai : nAndurI purI meM deda nAmaka nirdhana vaNik rahatA thaa| eka yogI meM suvarNarasamiti karake use deda ko pradAna kI usase vaha dhanADhya zrImaMta ho gyaa| kisI kI hI zikAyata se vahA~ ke rAjA ne deda ko bandIgRha meM DAla diyA / staMbhana pAvabhAvakIlAMba se vaha chUTA / deda nAMdurIpurI kA tyAga kara vidyApura (bocApura ) pAkara rahane lgaa| vahA~ se vaha khaMbhAta mayA aura stabhana pArzvanAtha kI pUjA kara, svarNa dAna karane se samAva dvArA kinakagiri biruda prApta kiyA / vahA~ se vaha kisI kAryavaza devagiri gayA aura vahI vidyAka dharmazAlA kA nirmANa karavAyA / ' deda kA putra pathada huaa| / For Personal & Private Use Only

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ma. vinayasAgara tapAgacchIya prasiddha vidvAna zrI devendrari ke ziSya zrI dharma dhoSasari' vihAra karate hue bIjApura Aye aura vahA~ cAturmAsa kiyA / AcArya ke upadeza se prabhAvita hokara pethar3a ne parigrahapramANa kA vrata grahaNa kiyaa| 'mAlava deza meM terA bhAgyodaya hai' aisA AcArya se saMketa prApta kara, pethada mANDavagaDha Akara rahane lagA / mANDavagar3ha meM paramAravaMzIya jayasiMha bhUpati kA rAjya thA / mANDavagaDha meM namaka aura ghI kA vyApAra karate hue eka ghI becane vAlI mahilA se pethar3a ko 'citrakavelI' prApta huii| citrakavelI ke prabhAva se pethar3a koTyAdhIza banA / rAjA ke sAtha maitrI huI, rAjA se chatra-cAmara Adi rAjyAdhikAra prApta kara sammAnita huA / pethar3a kA putra jhAMjhaNa thA / jhAMjhaNa kA vivAha dillI nivAsI bhIma seTha kI putrI saubhAgyadevI se huA / zAkaMbharI nareza cauhAna gogAde ne pethar3a ko bulAkara usase vitrAve kI mAMgI ora pethar3a ne unheM pradAna kara dI / pethar3a ne jIrAvalA pArzvanAtha aura AbUtIrtha kI yAtrA kii| .eka samayaH AcArya, dharma ghoSasUri ke maMDapadurga padhArane para pethar3a ne 72000 kA vyaya kara bar3e mahotsava ke sAtha nagara praveza krvaayaa| unake upadezoM se bodha prApta kara pethazAha ne bhinna-bhinna sthAnoM para 84 jinamandiroM kA nirmANa karavAyA / maNDapadurga (mAMDavagaDha) meM 18 lAkha dramma kharca kara 72 jinAlaya vAlA zatrujayAvatAra RSabhadeva kA maMdira banavAyA aura zatrujaya tIrtha para zAntinAtha kA vizAla jinAlaya bnvaayaa| auMkArezvara meM zreSThatama toraNa yukta mandira bnvaayaa| oMkAra nagara meM satrAgAra (sadAvrata sthAna) kholA / zatrujaya aura giranAra tIrtha kI saMgha ke sAtha yAtrAyeM kI / giranAra kI yAtrA ke samaya alAvaddIna khilajo dvArA mAnya dillI nivAsI saMthapati pUrNa agravAla jo ki digambara jaina thA ke sAtha segharSa hone para bhI saMghapati kI indramAla pahale pethar3a ne hI pahanI / pethada ne vipula dravya kharca kara, bhRgukaccha (bharuca), devagiri, mANDavagar3ha, AbU, Adi sAta sthAnoM para jaina jJAna bhaNDAra sthApita kiye aura una bhaNDAroM meM sahastroM prAcIna aura arvAcIna (navIna likhAkara ), grantha unaH bhaNDAroM meM sthApita kiye / . AcArya dharma poSasUri ke mukha se gyAraha aMgoM kA zravaNa kiyA / bhagavatI sUtra kA zravaNa karate hue jahA~-jahA~ gautama zabda AyA vahA~-vahA~ eka-eka svarNa mudrA car3hAI / isa prakAra 36000 svarNa moharoM se bhagavatI sUtra kI pUjanA kii| - pethar3a ke putra jhAMjhaNa ne AcArya dharma ghoSasUri ke sAnnidhya meM, mAMDavagaDha se vi0 saM0 thimovi tIrthayAtrArtha vizAla yAtrI saMgha nikAlo jisakA vizada varNana aneka. kRtiyoM meM prAsaH isa saMgha kA saMghapati jhAMjhama hI thA / isameM pethar3a kA ullekha na hone se yaha saMbhAki 1340 ke pUrva hI pethar3a kA svargavAsa ho gayA thaa| ...1. tapApAccha padAvalI ke anusAra inako AcArya pada vi0 saM0 1323 yA 1304 meM prAsa isA thA. aura.sa. 1356, meM inakA svargavAsa huA thA / gurjarAdhIza inakA mitra thA aura ye bar3e camatkArI, prabhAvazAlI AcArya the / For Personal & Private Use Only

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mANDavagar3ha ke mahAmantrI pethaDazAha ne kitane jina-mandira banavAye ? 17 sukRtasAgara caturthataraMga meM pethar3a nirmApita 84 jinAlayoM kA ullekha karate hue sthAnoM ke nAma bhI pradAna kiye haiM: zrutvA gurugiraM pRthvIdharo'tha pRthupuNyadhIH / caityaM nyastA''dayatIrthazaM dvAsaptati jinAlayam / / 40 // zatranayAvatArAkhyaM raidaNDakalazAMktim / drammASTAdazalakSAbhirmaNDapAntaracIkarat // 41 // yugmam / bibhranmaNDapamudaNDa koTAkoTIti vikSatam / dvAsaptatiM ca raidaNDakumbhAnbhArASTakAtmakAn // 42 // zatrujaye zrIzAntyahaccaityamatyakSizaityadam / .oGkAre caikamutkRSTatoraNAGkamarIracat // 43 // yugmam / bhAratIpattane tArApure darbhAvatIpure / somezapattane vAkimAndhAtRpuradhArayoH / / 44 // nAgahRde nAgapure nAsikyavaTapadrayoH / sopArake ratnapure koraNTe karaheTake // 45 // candrAvatI-citrakUTa-cArupaindrISu cikkhale / vihAre bAmanasthalyAM jyApurojjayinIpuroH // 46 / / jAlandhare setubandhe deze ca pazusAgare / pratiSThAne vardhamAnapura-parNavihArayoH // 47 // hastinApura-depAlapura-gogapureSu ca / jayasiMhapure nimbasthUrAdro tadadho bhuvi / / 48 // salakSaNapure jIrNadurge ca dhavalakke / makuDayAM ca vikramapure durge maMgalataH pure / 49 // ityAyanekasthAneSu raidaNDakalazAnvitAH / caturaDAdhikAzItiH prAsAdAstena kAritAH // 50|| saptabhiH kulakam / + somatilakasUri racita prastuna stotra ke prAraMbhika 5 padyoM meM pethar3a ke sojanyA de guNoM kA varNana karate hue likhA hai : sAdhu pRthvIdhara (pethaDa) vidhipUrvaka dInoM ko dAna detA thA / nRpati jayasiMha ke dvArA sammAnita huA thA / arahaMta aura gurucaraNoM kI bhakti meM tallIna rahatA thA / zIlAdi zreSTha AcaraNoM ke dvArA apanI AtmA ko pavitra karate hue mithyA buddhi aura krodhAdi zatruoM kA nAza karatA thA / isane anekoM vizAla pauSadhazAlAoM kA nirmANa karAyA thA / mantragarbhita stotra ke paThana se zivaliMga kI vidIrNa kara prakaTita pArzvanAtha pratimA ko bo vidyummAlI deva dvArA nirmita aura pUjita thI tathA atizaya yukta thI-kI pUjana karatA thA / For Personal & Private Use Only

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18 ma. vinayasAgara vaha jinamUrti kA trikAla pUjana karatA thA / pratidina donoM samaya pratikramaNa karatA thA / svadhI mAtra kI mahato bhakti karatA thA / zreSTha paryoM meM svayaM poSadha karatA thA aura parvo meM pauSadha karane vAle sAdharmikoM kI vaithAvRtya ( sevA ) karatA thA tathA pramudita hRdaya se svadharmIvAtsalya karatA thaa| gurumukha se mahArAjA samprati, kumArapAla bhUpAla aura mahAmantrI vastupAla ke udAra, zreyaskara aura sukRtamaya caritroM ko sunakara aura punaH punaH smaraNa kara apane hRdaya-bana ko sukRtamaya jala se siMcana karatA thA / ___ nyAyopArjita vitta ke dvAga pethar3a ne jina-jina zreSTha sthAnoM, parvatoM, nagaroM aura grAmoM meM nayanAhalAdaka jinamandiroM kA nirmANa karavAyA una-una sthAnoM kA kalyANakArI mUlanAyaka jinezvaroM ke nAma ke sAtha maiM zraddhApUrvaka stavanA karatA hai| __ chaThe padya ke do caraNoM meM kahA gayA hai ki pethar3a ne vi0 saM0 1320 meM maNDapagiri ( mANDavagaDha ) meM zatra'jaya tIrtha ke samAna hI vizAla aura prottuMga AdinAtha bhagavAn kA mandira banavAyA / chaThe padaya ke tIsare caraNa se padyAGka 15 taka meM stavakAra pedhar3a nirmApita caityasthaloM ke nAma nirdeza ke sAtha mUlanAyaka jinezvara devoM ke bhI nAmollekha karatA hai / antima solahaveM zloka meM stotrakAra kahatA hai ki, pRthvI dhara ne parvata-sthaloM, nagaroM aura grAmoM meM himazikhara kI spardhA karate hue uttuMga zikhara vAle jina mandiroM kA nirmANa kara, jina bimboM kI pratiSThA karavAI ve tathA aura anya devoM evaM manuSyoM dvArA nirmApita jo bhI binacaitya aura pratimAeM haiM una saba ko maiM namaskAra karatA huuN| isa stotra meM ullikhita sthala nAma aura mUlanAyaka ke nAmoM kI sUcI ke sAtha hI sukRtasAgara meM pratipAdita sthalanAmoM kI sUcI kA tulanAtmaka vivaraNa isa prakAra hai :mandira saMkhyA mUlanAyaka nAma stotra meM sthala nAma sukRtasAgara meM sthala nAma AdinAtha maNDapagiri ( mANDavagaDha) mANDavagaDha neminAtha nimbasthUra parvata nivasthUra parvata pArzvanAtha nimbasthUra parvata kI talahaTI nimbasthUra parvata kI talahaTI ujjayinIpura ujjayinIpura neminAtha vikramapura vikramapura pArzvanAtha mukuTikApurI makuDI AdinAtha (makuDI ) mallinAtha vindhanapura pArzvanAtha AzApura AdinAtha ghoSakIpura zAntinAtha aryApura jyApura neminAtha dhArAnagarI dhArA vardhanapura * AdinAtha candrakapurI candrAvatI pArzvanAtha bIrApura nAma For Personal & Private Use Only

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mANDavagar3ha ke mahAmantrI pethaDazAha ne kitane jina-mandira vanavAye ? 19 16. pArzvanAtha jalapadra 17. , mAndhAtRpura dAhaDapura haMsalapura mAndhAtRpura ghanamAtRkApura maMgalapura cikkhalapura jayasiMhapura maMgalapura cikkhila jayasiMhapura 18. aranAtha 19. ajitanAtha 20. AdinAtha 21. abhinandana 22. pArzvanAtha 23. mahAvIra 24. neminAtha 25. pArzvanAtha 26. 27. zAntinAtha 28. aranAtha 29. pArzvanAtha 30. neminAtha siMhAnaka salakhaNapura aindrIpura salakSaNapura aindrIpura tAlhaNapura hastinApura karaheTaka nalapura hastinApura karaheTaka 31. " 32. mahAvIra vihAra 33. " vihAraka lambakarNIpura . khaNDoha citrakUTa parNavihArapura citrakUTa parNavihAra candrAnaka vako vAMki 34. kunthunAtha 35, RSabhadeva 36. AdinAtha 37. pArzvanAtha 38. AdinAtha 39. ajitanAtha 40. AdinAtha 41. pArzvanAtha 42. candraprabha 43. naminAtha 44. mallinAtha 45. pArzvanAtha nAgapura nIlakapura nAgapura madhyakapura darbhAvatI nAgahRda dhavalakka jIrNadurga somezvara pattana zaMkhapura sauvartaka vAmanasthalI nAsika darbhAvatI nAgahRda dhavalakka jIrNadurga somezapattana 47. munisuvrata 48. mahAvIra 49. neminAtha 50. candraprabha vAmanasthalI nAsika For Personal & Private Use Only

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ma. vinayasAgara 51. pArzvanAtha sopArapura sopAraka 52. ,, rUNanagara 53. ,, urugala pratiSThAnapura pratiSThAna 55. neminAtha setubandha setubandha 56. mahAvIra vaTapadra vaTapadra nAgalapura 58. ,, a(1)STakArikA 59. ," jAlandhara jAlandhara 60 ,, devapAlapura depAlapura 61. ,, devagiri 62. zAntinAtha cArUpa cArUpa 63. neminAtha droNapura 64." ratnapura ratnapura 65. ajitanAtha abukapura ( arbuda ) 66. mallinAtha koraNTaka koraNTa 67. pArzvanAtha Dhorasamudra pazusAgara 68. ," sarasvatIpattana bhAratIpattana 69. zAntinAtha zatru jaya zatrujaya 70. AdinAtha tArApura tArApura 71. munisuvrata vardhamAnapura vardhamAnapura 72. AdinAtha vaTapadra (vaTapadra) 73. ,, gogupura gogapura 74. candraprabha picchana 75. neminAtha oMkAra ( nagara) oMkAra mAndhAtRpura (mAndhAtRpura) vikkana 78. AdinAtha celakapura isa tAlikA se spaSTa hai ki stotra meM prApta 78 sthAnoM meM sukRtasAgara kAvya meM 46 sthAna aura tIna sthAnoM-mukuTikApura (makuDI ), 2 vaTapradra aura 3 mAndhAtRpura meM 2-3 mandiroM kA nirmANa hone se kula 49 sthAnoM kA ullekha mAtra hai, aura 'ityAdi' karake zeSa 29 sthAnoM kA ullekha nahIM hai| stotrakAra somatilakasUri kA samaya vi0 saM0 1335 se 1424 taka hai aura pethar3a ke sukRta kAryoM kA kAryakAla 1318 se 1338 hai| arthAt pethada ke samaya meM hI stotrakAra kA janma ho cukA thA, sama-pAmAyika the / sAtha hI peyar3a ke sadguru dharmadhoSapUri. the aura unhIM ke pautra paTavara stotrakAra the / atarava yaha mAnanA adhika yuktisaMgata hogA ki pethar3a ne 75 sthAnoM para 78 jina mandiroM kA nirmANa karavAyA thA na ki 84 / 76." 77. " For Personal & Private Use Only

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r3ha ke mahAmantrI peDazAha ne kitane jina mandira banavAye ? 21 sukRtasAgara aura upadezataraMgiNIkAra zrI ratnamaNDana gaNi jo ki zrIratnazekharasUri ke ziSya haiM aura jinakA kAryakAla 16vIM zatI kA pUrvArdha hai, ke aura per3a ke madhya meM kama se kama bho 160 varSo kA antara hai| ataH yaha nizcita hai ki ratnamaNDanagaNi ne paramparAgata janazruti ke anusAra 84 mandiroM ke nirmANa kA ullekha kiyA hai / pUrNa jJAtavya prApta na hone ke kAraNa hI saMbhavata: mUlanAyakoM ke nAma tathA samasta sthAnoM ke nAma bhI pradAna nahIM kara sake hai / ataeva ratnamaNDanagaNi kA 84 jina mandiroM ke nirmANa kA ullekha vicAraNIya hai / AcArya somatilakasUri viracita prApta stotra bhI jijJAsuoM ke lie yahA~ diyA jA rahA hai / pUjya zrI somatilakasUrikRta pRthvIdharasAdhukArita caityastotram / ( zArdUlavikrIDitaM vRttam ) zrI pRthvIvara sAdhunA suvidhinA dInAdiSUddAninA, bhakta zrIjayasiMhabhUmipatinA svaucityasatyApinA | arhadbhaktipuSA gurukramajuSA mithyAmanISAmuSA, sacchIlAdipavitritAtmajanuSA prAyaH praNazyaduSA // 1 // naikAH pauSadhazAstrikAH suvipulA nirmApayitrA satA, mantrastotravidIrNaliGgavivRta zrI pArzvapUjAyunA / vidyunmAli suparvanirmita lasa devAdhidevAhvaya- khyAtajJAtanUruhapratikRtisphUrjatsaparyAsRjA // 2 // triHkAle jinarAjapUjanavidhiM nitya dvirAvazyake, sAdhau dhArmika mAtra kespi mahatIM bhaktiM viraktiM bhave / tanvAnena suparva pauSavatA sAdharmikANAM sadA, vaiyAvRtyavidhAyinA vidadhatA vAtsalyamuccairmudA // 3 // zrImatsampratipArthivasya caritaM zrImatkumArakSamA pAlasyApyatha vastupAlasacivAdhIzasya puNyAmbudheH / smAraM smAramudArasammadasudhA sindhUrmiSUnmajjatA, zreyaH kAnana se canasphururuprAvRDbhavAmbhomucA // 4 // samyagnyAyasamarjitorjitadhanaiH susthAna saMsthApita ye ye yatra girau tathA puravare grAme'thavA yatra ye / prAsAdA nayanaprasAdajanakA nirmApitA: zarmadA steSu zrIjinanAyakAnabhivayA sArddha stuve zraddhayA // 5 // paJcabhiH kulakam / For Personal & Private Use Only

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ma. vinayasAgara zrImadvikramatastrayodazazateSvabdeSvatIteSvatho, viMzatyAbhyadhikeSu ( 1320 ) maNDapagirau zatruJjayabhrAtari / zrImAnAdijinaH 1, zivAGgajajinaH 2 zrIujjayantAyite, nimbasthUranage'tha tattalabhuvi zrIpArzvanAtha: zriye 3 // 6 // jIyAdujjayinIpure phaNiziraH 4, zrIvaikramAkhye pure, zrImAnnemijino 5, jinau mukuTikApuryA ca pAzrvAdimau 6-7 / malli zalyaharostu vindhanapure 8, pArzvastathA ''zApure 9, . nAbheyo bata ghoSakopuravare 10, zAntirjino'ryApure // 7 // zrIdhArAnagare'tha vardhanapure zrIneminAthaH pRthak 12, 13, zrInAbheyajino'tha candrakapurIsthAne 14, sajIrApure 15 / zrIpAzryo jalapadra-dAhaDapurasthAnadvaye 16-17, sampadaM, deyAda vo'rajinazca hasalapure 18, mAndhAtRmUle'jita: 19 // 8 // AdIzo dhanamAtRkAbhidhapure 20, zrI maGgalAkhye pure, turyasvIrthakaro- 12, 'tha cikkhalapure zropArzvanAthaH zriye 22 / zrovIro jayasiMhasajJitapure 23 nemistu siMhAnake 24, zrIvAmeyajinaH salakSaNapure 25, pArzvastathaindrIpure 26 // 9 // zAntyai zAntijino'stu tAlhaNapure-27 'ro hastinAdaye pure 28, zrIpAzvaH karaheTake 29, nalapure 30, durge ca nemIzvaraH 31 / / zrI voro'tha vihAra ke 32, sa ca punaH zrIlambakarNIpure 33, khaNDohe kila kunthunAtha 34, RSabhaH zrI citrakUTAcale 35 // 10 // AdyaH parNavihAra nAmani pure 36, pAvazca candrAnake 37, baGakyAmAdijino-38, 'tha nIlakapure jIyAd dvitIyo jinaH 39 / ' Adyo nAgapure- 40 'tha madhyakapure zrIazvasenAtmajaH 41, zrIdarbhAvatikApure 'STamajino 42, nAgahrade zrInamiH 43 // zrImallirdhavalakA-nAma-nagare 44, zrIjIrNadurgAntare 45, zrIsomezvarapattane ca phaNabhRllakSmA jino 46 nandatAt / / viMzaH zaGgapure jina: 47. sa caramaH sauvartake 48, vAmanasthalyAM nemi janaH 49. zaziprabhajino nAsikyanAmnyAM puri 50, // 12 // zrIsopArapure-51, 'tha rUNanagare-52 coruGgale-53 'tha pratiSThAne pArzvajinaH 54, zivAtmajajinaH zrIsetubandhe 55, zriye / zrIvIro vaTapadra-56, nAgalapure 57, (5) SThakkArikAyAM 58 tathA, zrIjAlandhara-59-devapAlapurayoH 60 zrIdevapUrve 61, girau|| 13 // cArupye mRgalAJchano jinapati- 62, naimizriye droNate 63, nemI ratnapure-64, 'jito 'rbu kapure 65, mallizca koraNTake 66 / For Personal & Private Use Only

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mANDavagar3ha ke mahAmantrI pethaDazAha ne kitane jina-mandira banavAye ? 23 pAryo DhorasamudranIvRti(?) 67, sarasvatyAhvaye pattane 68, koTAkoTijinendramaNDapayutaH zAntizca zatrujaye 69 // 14 // zrItArApura-vardhamAna purayoH zrI nAbhibhU-suvratau 70-71, nAmeyo vaTapadra - gogupurayo: 72-73 candraprabhaH picchane 74 / oGkAre'dabhutatoraNa jinagRhaM 75, mAndhAtari trikSaNaM 76, nemi vikkananAmni 77, celaka pure zrInAbhibhU-78rbhUtaye / / 15 // (sragdharAvRttam ) itthaM pRthvIdhareNa pratigirinagaragrAmasIma jinAnA muccaizvaityeSu viSvagahimagirizikharaiH sparddhamAneSu yAni / bimbAni sthApitAni kSitiyuvatiziraHzekharANyeSa vande, tAnyapyanyAni yAni tridazanaravara: kAritAkAritAni // 16 // / iti pRthvIdharasAdhukArita-caitya-stotram / 16 kAvyam / pUjyazrIsomatilakasUrikRtam // ( rAjasthAna prAcya vidyA pratiSThAna, jayapura, granthAGka 7460 (2) patra 15-16, mApa 26.2411.2 sI0 ema0, kula paMkti 26, akSara 55, lekhana anumAnataH 16 vIM zatAbdo ) For Personal & Private Use Only

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pizala ke prAkRta-vyAkaraNa meM anupalabdha vasudevahiMDI ke kriyA-rUpa ke. Ara. candrA vasadevahiMDI ke nimnalikhita kriyA-rUpa pizala ke prAkRta vyAkaraNa meM anupalabdha haiN| ina kriyA-rUpoM meM kucha aise zabda bhI zAmila haiM jinako speliMga meM thor3A sA bhI antara ho aura jo pizala meM usa rUpa meM nahIM milate haiM / isI ke sAtha jina rUpoM ko Age se tArAMkita kiyA gayA hai ve rUpa pAiya-sadda-mahaNNavo meM bhI upalabdha nahIM haiN| 1 aiccha, aticcha (atikram ) (*aticchihiti, 189.1) 2. aI (dekho 'atI') 3. *agghA yasi (Ajighrasi) 172.18 4. aNuThA (anusthA), (*aNuThehiti 168.5) 1. atI (ati+i) (*matIha atotha, 129.21 pizala 493 meM aise rUpa kI saMbhAvanA kI gayI hai), [movisaMDi : atyeti (Rgveda)] 6. *aparibhuttA (aparibhuJjya) 136.11 7. *ayai (aci) 152.9 [pAsamaH adai]. 8. *ahIya (adhISva) 182.19 9. Aikkhiya (AkhyAta) 191.6 10. Agamissa (AgamiSyat ) 189.12 11. *AgameUNa (Agamya) 7.14 jAnakara 12. ANAviya (AnAyita) 190.32-[guja. ANAviyu 13. AbhaTTa (AbhASita) 177.4; 179.12 tulanA karo-vuTTha-vasita 14. *Arubhau (Arohatu) 120.26 15. AyAya (AyAta, AjAta) 173.13,16 16. *Ayayati (Adatte, AdadAti) 167.18 15. *IsAyamANa (IjmANa) 126.15 18. uvaujjai (upayujyate) 183.26 [pAsama : uvauMja] 19. *uvAsae (upAsUte) 183.17 20. *ejjaha (ita) 138.31 21. *kahaissa (kathayiSyAmi) 197.12 [pizela : kadhaizzaM] 22. *kahayati (kathayati) 150.12 23. *kahayasu (kathaya) 169.28,180.29,190.11,194.9 24. *kahesa (dekho kahaissa) 166.2 [pi. kahissaM] For Personal & Private Use Only

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vasudevahiMI ke kriyArUpa 25. *kahehAmu (kathayiSyAmaH) 129.2 26. kAraha (kArayata) 200.6 [pAsamaH kAreha] 27. kAhai (kariSyati) 103.9 [pAsama, piH kAhii] 28. kAheha (kariSyatha) 153.18 [Ni. kAhiha] 19. *kIrahii (kariSyate) 104.5,106.22 [pi. kIrihiha] 30. *gacchiu~ (gantuma) 20.23 [pi. gacchidaM] 31. gamemi (gamayAmi) 127.1 32. gaheUNaM (gRhItvA) 123.21 [pAsama., pi.,gahiUNa] 33. gaheyantra (gRhItanya) 167.5 34. gAhAvia (grAhita) 192.25=abhyAsa karavAyA huA 35. gAhia (mAhita) 194.24,200.15= grahaNa karavAyA huA 36. *gAhemi (grAhayAmi) 191.29-sIkhAtA huuN| 37. *gihijjAhi (gRhANa) 38. gharatha (grasta) 83.21 39.. *gheppaDa (gRhyatAm ) 181.15 40. cAia (zakta) 195.26 41. choDhUNa (kSipavA) 162.25 42. jAiyavva (jAtavya) 131.2 =gamya (janma-janmAntara) 43. jippaDa (bIyate) 127.20 44. *ThAiuM (sthAtum) 82.21, 165.28 (ThAya sthA) 45. ThAuM (sthAtum) 200.9 4.6. *ThiyAmo (tiSThAmaH) 137.18 47. NieMti (niryanti) 182.12 [pi. Niiti] .. ' '48. *Niti (nayanti) 122.25, 195.23 [pi. aiti] . 49 *Nijjae (nIyate) 94.2 / 50. *Nessati (neSyanti) 149.7 51. *NihieUNa (nidhAya) 127.2 52. *NIu (niryAtu) 120.10 53. *NIhi (niryAhi) 146.17 54. *torihii (tariSyate) 122.18 55. *thAviu (dekho thAveUNa) 185.14 565 - *thASiya (sthApita)- 193.18 . 57 thAneUNa (sthApayitvA) 185.14 . 58. yAvejA (sthApayatu)- 192.18. . *danchissa (drakSyAmi) 187.18 60. dassUNaM (dRSTravA ) 129.16 61. diti ( dadati ) 127.11 [pi. deti ] For Personal & Private Use Only

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26 65 66. 62. *divajAmi (daM ye) 155.2, 3 63. naissati (neyanti ) 151.2 64. navivahiti (jJAsyate) 153.28 nijmANa ( nIyamAna) 126.15 nijjAi (niryAti ) 120.4 nijAmi ( niryAmi ) 149.27 nisuya ( nizrutya ) 135. 5 *par3atA ( pradIpya 149.4 * pajjeuM ( pAyayitum ) 142.22 71. *paNettA (praNIya ) 99.7 67. 68. 69. 70. 72. *payaissaM ( prayatiSye ) 171.21 73. pariNevvaya ( parinirvRta ) 173.30 74. *paribhuttA ( dekho ' aparibhuttA ' ) 75. 77. *parisajjiUNa (pariSvajya ) 150.19 76. *parisiMcittA ( pariSicya ) 121, 4 *paromi ( paryemi ) 147.27 78. *paribhottUNa ( paribhujya ) 175.24 79. *pAuNiya ( prApya ) 134.17 80. *pAsiUNa ( dRSTvA ) 168. 26 81. * picchaha ( prekSadhvam ), 180.29 82. pUrayanva ( pUjayitavya ) 179.25 83. *poemi ( pravayAmi ) 81.20 * posijjau (puSyatAm ) 104. 13 bhaNNAmi ( bhaNye ) 172.1 bhijjante ( bhidyante ) 134.17 [ vi. bhijanta ] 87. * miNiuM ( mAtum ) 172.9 88. moyaMta ( mocayat ) 140.14 89. ruttu ( roditu N ) 152.8 [ pi. pAsama. rotu ] 90. 84. 85. 86. ke0 Ara0 candra lehiUNaM ( likhitvA ) 173.17 91. vahiuM ( voDhum ) 200.9 92. vimhaya ( vismita ) 170.3 93. vitrADe ( vipAday ), vitrADe ( vipAdayitum 124.13 (vivADeUga) (vipAya 197.) 17 ), vivADejjA ( vipAdayet 124.11 ), vivADe ( vipAdayeyam 139.30 ) vivAhasaM ( vipAdayiSyAmi 122.28 ), vivADesi ( vivAdayasi 190.15 ) 94. * visAmi ( vizAmi ) 119.21 95. vimujjhamANa ( vizudhyamAna) 111,22 For Personal & Private Use Only

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vasudevahiMDI ke kriyArUpa 16. vocchasi (vayasi ) 105.19 97. bosaTha (vyutsRSTa ) 187.19 98. bIeUNa ( vIjayitvA) 138.30 19. vedeDa (vedayati ) 169.33 1... vRttu (vaktum ) 193.29 1.1. vuttarNa ( uktvA) 118.20 102. velliya (velita) 188.3 11. saMjujya (saMjujihisi-saMyokSyase ) 183.31 [pAsama : saMjuja] 104. samajjiNittA ( samaya ) 114.8 105. samavAeUNaM ( samavetya ) 129.2 .101. samulsiyata (samalliyaMta-samAlIyamAna) 130.36 1.7. samussavega (samutsRtya) 984.15 108 simiNAyaMta (svapnAyamAna ) 120.6 109. hIrAmi (hiye) 199. 23 11.. humbau ( hRyatAm ) 132.26 111. hoUga ( bhUtvA ) 188.2 nimnalikhita kriyA-rUpa pizela ke vyAkaraNa meM jaina mahArASTrI ke antargata nahIM diye gye| parantu anya prAkRta bhASAoM ke antargata diye gaye haiM jinakA nAma una una zabdoM meM sAmane ullikhita hai| mAha ( asoti ati++ti ) 116.19, 128.5, 18 6.4 [ mahA ] AIti ( atiyanti ) 192.26 [ mahA. ] ti ( yanti, Ayanti ) 152 3 [ arSamA ] gammau (gamyatAm ) 188.5 [ mahA. ] pAhiti (zAsyate ) 127.13, 153.28 [ardhamA. ] jimmAya (nirmina) (nirmAta ) 77.7 188.24 ( zora.) (pizana ke anusAra galata rUpa) nimbA (nIyate ) 94.5 [mahA. NijjA ] . parIha ( paryeti ) 167.18 [ mahA. ] pAhiM (pAsyAmi ) 122.14 [ arghamA ] sAmAsi ( pAnAsi ) 79.28 ( pAThAntare ) [ mAga. ] bolUNa ( uktvA ) 120.21, 133.26 [ mahA. ] sunAhi (bhruNu ) 199.12 [ arghamA. ] For Personal & Private Use Only

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meghavijaya ko prApta mAtha kA dAya satyavrata satarahavIM zatAbdI ke prasiddha paNDita - kavi mez2iya citrakAvya ke brigrahasta zilpI hai / unheM khyAti to sarva prathama meghadUtasamasyAlekha se prApta huI ki vaibhava saptasandhAna meM dikhAI detA hai, jisameM pAMca tIrthakaroM tathA rAma orAkRSNakAra vvarita zleSavidhi se gumphita 3' / meghavijaya kA devAnandamA kA unake citrakAvyako kA eka anya dhruva upasthita karatA hai / isameM jaina dharma ke prasiddha prabhAvaka, tApIya AcArya vijayadevasUri tathA unake paTTadhara vijayaprabhasUri ke sAdhu bhoSana ke katipaya saMnaddha karane kA upakrama kiyA gayA haiM / kavi kA vAstavika uddezya citrakAvya : ( samasyA pUrti) ke dvArA apane pANDitya tathA praur3ha kavitva kI pratiSThA karanA hai / isIliye devAnanda meM svaritAtmakatA kA kaMkAla citrakAvya kI bAr3ha meM DUba gayA hai aura yaha mukhyataH eka kunipradhAna camatkAra - janaka kAvya bana gayA hai / meghadUta samasyAlekha tathA zAntinAthacarita jaise kramazaH kAlidAsa ke meghadUta aura zrIharSa ke naiSadhacarita kI samasyApUrti ke rUpa meM racita hai, usI prakAra meghavijaya ke 'devAnanda mahAkAvya meM mAghakAvya kI samasyApUrti karane kA ghanaghora udyoga kiyA gayA hai| zizupAlabagha para AdhArita hone ke kAraNa devAcanda meM meghavijaya kI zailI kA mAgha se prabhAvita honA svAbhAvika thA, kintu kathAvastu kI : yojanA meM bhI ve mAgha ke RNI haiM mASakAnya ke nAyaka kRSNa vAsudeva haiM / devAnanda kA nAyaka meM saMyogavaza zreSThiputra vAsudeva haiM / kRSNa parama puruSa haiM, vAsudeva AdhyAtmika sAdhanA le bahupUjya pada prApta karate hai / zizu ke prathama sarga meM devarSi nArada ke Agamana tathA Atithya kA varNana hai / devAndre kisI sarga meM gujarAta, IMDara tathA usake zAsaka kA varNana kiyA gayA hai / mAghakAvya ke madvitIya varga meM kRSNa, uddhava tathA balarAma rAjanaitika mantraNA karate haiM / devAsanda ke dvitIya sarga meM kumAra kI mAtA tathA pitRvya use vaivAhika jIvana meM pravRtta karane ke liye vicAra-vimarza karate haiM / vaha unakI yuktiyoM kA usI prakAra prativAda karatA hai jaise kRSNa balarAma ke tarkoM kA i SThira ke nimantraNa para zrIkRSNa rAjasUya yajJa meM sammilita hone ke liye indraprastha) (dillI) jAte haiM / vAsudeva bhI upayukta guru kI khoja meM ahamadAbAda aura sUspida mAsa karane ke pazcAt, jahA~gIra ke anurodha para dillI jAte haiM / zizupAkSa ke tRtIya sarga meM zrIkRSNa senA ke sAtha indraprastha ko prasthAna karate haiM / devAnanda ke tRtIya sarga meM jayadeva ke pravezotsava ke samaya IDararAja kalyAmamalla kI senA kI gajaghaTA tathA azvArAma kA varNana hai / donoM ke caturtha sarga meM raivataka kA varNana hai kintu mAne jahA~ masa)varNana para lagA diyA hai vahA~ meghavijaya ATha-dasa padyoM meM hI revataka kA varNana kara ke ne meghavijaya ne isa sarga meM kathya kI ora bar3ha gaye haiN| mAgha kI bhAMti 1. saptasandhAna ke vistRta vivecana ke liye 'agaracanda nAhaTA abhindana grantha ' bhAga 2 (pR. 297 - 307) meM prakAzita merA nibandha 'citrakAvya kA utkarSa - saptasandhAna' draSTavya hai / 2. sampAdakaH becaradAsa jovarAja dozI, siMdhI jaina granthamAlA, granyAMka 7, san 1937 / For Personal & Private Use Only nAnA ( teIsa ) chandoM ke

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meghavijaya ko prApta mAgha kA dAya yoga ke dvArA apane chandaHzAstrIya pANDitya kA paricaya diyA hai| mASakAvya tathA devAnanda hogoM ke chaThe sarga meM SaD-Rtu varNana kI rUDhi kA pAlana kiyA gayA hai, jo yamaka se AcchAkti hai| - devAnanda kI racanA mASakAvya kI samasyApUrti ke rUpa meM huI hai| isameM mAgha prAma sAta. sargo ko ho samasyApUrti kA AdhAra banAyA gayA hai / adhikatara zizupAlavadhA ke padyoM ke caturtha pAda ko samasyA ke rUpa meM grahaNa karake anya tIna-caraNoM kI racanA kravi ne svayaM kI hai, kintu kahIM-kahIM do athavA tIna caraNoM ko lekara bhI samasyApUrti kI gayI hai| kucha padyoM ke vibhinna caraNoM ko lekara alaga-alaga loka race gaye hai| mASa ke 3.48 bAseM pAdoM ke AdhAra para meghavijaya ne cAra svatantra padyoM kA nirmANa kiyA hai (3:51-54) yAmI-kabhI eka samasyA-pAda kI pUrti cAra padyoM meM kI gayI hai / mAgha ke 3.69 * baraNa prAyeNa niSkAmati cakrapANI' kA kavi ne cAra padyoM meM prayoga kiyA hai (3. 113-120) / kahIM-kahIM eka samasyA do athavA tIna padyoM kA viSaya banI hai| 'neSTaM puro dvAravatIasvamAbIta (mAgha, 3169, caturtha pAda), 'pArejalaM nIranidheraparayan (mAgha, 70, prathama), misAivendoH sa ruca.'dhinIraM vilaM]' (mAgha, 3153, tRtIya), 'udamvataH svedalavAn mamArja' mAtra, 379, dvitIya), - 'tasyAnuvelaM mato'tiva)velaM (vahI, tRtIya), vicit kavinayamti cAmIkarAH' (mAgha, 4 // 24, baturtha) ke Abhara para meSavijaya ne krapathaH 3 / 121-192, 31123-1:24,3 / 138-139,3 / 165-166, 3967-168 tathA 4 / 32-33 kI racanA kI hai| 'utsaMgazayyAzayamamburAziH' (mAgha, 3178, dvitIya) meghavijaya ke tIna padyoM (3 / 159-161) kA AdhAra banA hai| devAnanda ke kartA ne do samasyApAdoM ko eka hI padya meM pAdayamaka ke rUpa meM prayukta karake bhI apane racanA-kauzala kA camatkAra dikhAyA hai| . 'akSamiSTa madhuvAsarasAram', 'prabhAvo ketanavaijayanto', 'paritastAra raverasatyava..zyam', 'ruciraM kamanIyata rogamitA' ko kramaza 6179,80,81,82 ke pUrvArdha tathA aparAdha meM prayukta kiyA gayA hai, yadyape AdhArabhUta samasyApAdoM kI bhA~ti donoM bhAgo meM, inake artha jameM, bhAkAza-pAtAlakA antara hai| samasyApUrti meM pUraNIya caraNa ke zabdoM ko na badala kara artha kI pUrti karanI hotI hai / mASa tathA meghavijaya meM kahIM-kahIM pAThabheda' mI milatA hai / yaha parivartana samasyAkAra ne int. sAharaNArtha- devAnanda, 2.2.3, tR. ca, 2.83, dvi. tR., 2.112, pra. dvi, 4.45, .vi.ca, 6.72, dvi. ca. 11. udAharaNArtha-dezananda, 2.12, pra. dvi. ca, 4.44, pra. dvi. ca.. . dAharaNArtha- mAgha / meghavijaya saMDisA gaNeriva (1.8) taDitAM guNariva (1.8) udapradazanAMzubhiH (2.21) udaMzudazanAMzubhiH (2.21) satazravasaH sutaH (2.41) sa sutazravasaH sutaH (2.42) sarvaH svArtha samIhate (2.65) sarvasvArtha samIhate (2.68) For Personal & Private Use Only

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satyavrata apane prayojana kI siddhi ke liye kiyA hai athavA yaha mAgha kA hI pAThAntara hai, isakA nizcaya mAgha ke vizeSajJa ho kara sakate haiN| yadi yaha parivartana svayaM samasyAkAra dvArA bhI kiyA gayA ho, to bhI samasyApUrti meM bAdhaka nahIM hai| samasyApUrti kI sArthakatA isa bAta meM hai ki samasyArUpa meM gRhIta caraNa kA prasaMga meM abhISTa bhinna artha kiyA jAe / meghavijaya isa kalA ke pAraMgata AcArya hai| samasyApUrti meM unakI siddhahastatA kA anumAna isI se kiyA . bA sakatA hai ki unhoMne mAgha ke atirikta meghadUta, naiSadha tathA kirAtArjunIya ko samasyApUrti ke rUpa meM svatantra kAvyoM kI racanA kI thii| bhASA kA catura zilpI hone ke kAraNa meghavijaya ne mahAkAvya se gRhIta samasyAoM kA bahudhA bhajJAta tathA camatkArabanaka artha kiyA hai| vAMchita navIna artha nikAlane ke liye kavi ko bhASA ke sAtha manamAnA khilavAr3a karanA par3A hai| kahIM usane mUla pATha ke visarga tathA anusvAra kA lopa kiyA hai, kahIM vibhakti-viryaya, vacanabheda tathA kriyAbheda kiyA hai| sandhimeda tathA zabdasthAnabheda kA bhI usane khulakara Azraya liyA hai / kintu kavi ne abhISTa artha kI prApti adhikatara navIna padaccheda ke dvArA kI hai / abhinava padaccheda ke dvArA vaha aise artha nikAlane meM saphala huA hai, jinakI kalpanA mAgha ne bhI nahIM kI hogii| isameM use pUrva caraNa kI padAvalI se bahuta sahAyatA milI hai| meghavijaya ne apane uddezya kI . pUrti ke liye mAgha kI bhASA ko kisa nirmamatA se tor3A-maror3A hai tathA usase kisa-kisa . artha kA savana kiyA hai, usakA kucha AbhAsa nimnokta tAlikA se mila sakatA hai / mAgha meghavijaya 1. kramAdamunArada ityabodhi saH (1.3) kramAd amunnArada ityabodhisaH / 1.3-4 [ amud aharSaH tasya nAraH vikSepaH dhvaMsaH harSaH taM datte iti / ityabodhisaH ityA prAptavyA bodhisA jJAnalakSmIryasya saH] 2. dharAdharendra bratatItatoriva (1.5) vibhrataM dharA dharendra vratatItatIriva / 1.6 (yathA vratatItatIH bibhrataM gharendra prApya guNAdhi kApi dharA atidurgamA rasarahitA bhavati ] 3. purAtanaM tvAM puruSaM purAvidaH (1.33) purAMtanaM tvAM puruSaM purAvidaH 1.34 yatra amantamujjaguH' yatra purANapuruSaM kRSNam zrI lakSmI bhavantaM-babhantaM-purAvidaH ujjaguH] 4. vilaMdhya laMkAM nikaSA haniSyati (1.68) tamo'vadhervila dhyalaMkAM nikaSA hamiSyati / 1.71 [vAsudevaH cicchaktiM vidhRtya avadhevilaMghi nissIma tamaH pApaM rAhu vA haniSyati / kiMbhUtAM cinAktim ? araMkAm ugrAM dIptAM nikaSA pAveM bAlatve'pi asmin bhve| yadvA alam atyartham, kAMcid anirvacanIyAm !] . For Personal & Private Use Only

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meghavijaya ko prApta mAgha kA dAya 31 5. zerate te'bhimArutam (2.42) pradakSiNAkriyAyai smA''zerate te'bhimArutam / 2.43 [Azerate AzayaM cakruH pradakSiNAkriyAyai] 6. AsattimAsAdya janArdanasya (3.61) AsattimAsAdya'banArdanasya / 2.82 [A ISat AsattiM nRpasya prApya ajanArdanasya / mAriniSedhasya DhakkA paTaha vAdayati sma / kiMbhUtaH zreSThI 1 sAdI azvArUDhaH rAjaprasAdalabdhA'. zvavAn / yadvA AsAdi sAdinam avadhIkRtya azvAro ho'pi jIvarakSaka ityarthaH) 7. samA nava premaNi sAnurAgAH (4.27) 'samAnavapre maNimA nurAgAH / 4.36 . [asamAnavapre atulyaprAkAre mANasA upAttadehA mUrtimatI tvaM maNisA ratnalakSmIH nurAgAHnuH manuSyasya atra pure AgA: AgataH] 8. sAratarAgamanA yatamAnam (4 45) sArataragamanA yatamAnam / 4.58 [arataragaM yad manaH tatsahitaH (sa +aratarAga + manAH) 'yatamAnam' yatanayA calantam] 9. malinimAlini mAdhAyoSitAm (6.4) maleni mAlini mA'dhavayoSitAm / 6.8 [kiMbhUte jane malini arthAt sazoke / he mAlini ! adhavayoSitA puSpANi adya mA dAH] 10. amRtayA nRtamA vAsAdapaH (6.10) anRtayA'nRtayA vanapAdapaH / 6.15 [anRtayA asatyayA kkuirvitayA anRtayA aprAptayA / 'vanapAdapa:' vana jalaM pAtIti vanapo varuNaH, tataH apaH vAroNi vyamucat ambumuvAM ghaTayA] devAnanda meM mAgha ke katipaya padya bho yathAvat , adhikala, grahaNa kiye gaye haiM, kintu - akalpanIya padaccheda se kavi ne unase citra-vicitra tathA camatkArI artha nikAle haiN| devAnanda ke tRtIya sarga ke prathama tIna padya mAra ke upo sarga ke prathama padya hai, para unake artha meM virATa antara hai / kavi ke Ipsita artha ko hRdayaMgama karanA sarvathA asambhava hotA yadi kavi ne ina padyoM para TippaNI likhane kI kRpA na kI hotI / eka udAharaNa se bAta spaSTa ho jaaegii| mAghaH kauberadigbhAgamapAsya ma rgamAgastyamuSNAMzurivAvatINa: / apetayud dhAbhinivezasaumyo hariha riprasthamatha pratasthe // 3.1 meghavijayaH ko bairadigbhAgamapAsyamA gamAgastyamuSNAMzurivAvatIrNaH / apetabud dhAbhini vezasaumyo harihariprasthamatha pratasthe // 3.1 __'be digbhAgam' uzca A ca vA tAbhyAM yuktA izca lazva dazca iladAH te santi asmin iti [vA + ilada + in-veladI] veladI sa cAso ga gakAraH, tena bhAti IdRzA aH sakAraH tam For Personal & Private Use Only

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32 satyavrata gacchati prApnoti tat veladigbhAgam-ilAdugam-ityarthaH / punaH kiMbhUtam 'gam' raM rakAra gacchati / prApnoti gam-ilAdurganAmnA pratItam / 'apAsyabhA' am arhantaM siddhaM pAti rakSati- apaH AsyamA mukhacandro yasya / mAsa-sakArAntaH candravAcI / apetayud azva pA ca apau-tyoH / lakSmIH yasya Ihaka taH takAraH tena yauti mizrobhavati-apetayut / 'dhAbhini' na vidyate bhI: yasya abhiH, sa cAsau nIH nAyakaH dyoH dhanadaH-tadvad abhinIyaMtra tad dhAbhini hariprastham / 'vezaumyo" vA athavA Izazca cAsau saumyazca / pakSe 'beradigbhAgam' beraM zarIraM tasya diga dezaH janmabhUmiH tatra bhAnti IdRzA agAH parvatAstaravo vA yatra / 'Agastyam' AgaH aparAdhaH anyAyaH taM tyajati iti 'Da' pratyaye Agastyam / saubhyaH hariH munIndraH hariprasthaM parvatataTaM prati prtsthe| meghavijaya ne zizupAlavadha ke samasyApAdoM kA navIna padaccheda ke vinA bhI prAsaMgika bhinnArtha karake pAThaka ko camatkRta kiyA hai / isake liye usane kahIM samasyA ke pada/padoM kA svaracitta * vizeSya pada/padoM ke vizeSaNa ke rUpa meM anvaya kiyA hai, kahIM unakA vicitra padaccheda kiyA hai aura kahIM pado ke ajJAta athavA apracalita artha ke dvArA navArtha grahaNa kiyA hai / katipaya udAharaNoM se tathya kI puSTi hogii| 1. . nanAma vAmAM samavekSya yaM zritaM hiraNyagarbhAgabhuvaM muni hariH / 1.1 hiraNyavat samujjavalA garbhA gabhUH garbhAzayasthAnaM yasyAH tAm-IdRzIM vAmAM mAtara bhitam AzritaM yaM pArvajinaM muni samavekSya hari IndraH nanAma iti / 2. . na cAstyamuSyA nagarIti me 'karot gurustavaivAgama eSa dhRSTatAm / 1.31 ___ amuSyAH puryAH gurustavA adhikavarNanayogyA nagarI nAsti iti AgamaH siddhAntaH "TatAm akarot / 3. utkandhara dAruka ityuvAca / 424. dArUNi ke mastake yasya sa bhAravAhI saMghasArathirvA / 4. tadabhinandanamAzu rajakaNairdivi tatA tatAna zukAvaliH / 6.63 tasya ASADhasya abhinandanaM vardhApanam / zukAvaliH zirISapuSparAjiH / 'zukaM pranthipaNe. 'ralU zirISapuSpayoM' iti anekArthaH / ___ mAgha kAvya se gRhIta samasyAoM kI saphala pUrti ke liye usI koTi kA, vastuta: usase bhI adhika, guru-gambhIra pAMDitya apekSita hai / mAgha kAvya kI bhAMti meghavijaya kI sarvatomukhI vidvattA kA paricaya to unake kAvya se nahIM milatA kyoM ka devAnanda kI viSayavastu aisI hai ki usameM zAstrIya pANDitya ke prakAzana kA adhika avakAza nahIM hai / kintu apane / kathya ko jisa prauDha bhASA tathA alaMkRta zailI meM prastuta kiyA hai, usase spaSTa hai ki megha. vijaya citramArga ke siddhahasta kavi haiN| unakI tathA mAgha kI bhASA zailI meM kahIM bhI antara nahIM dikhAI detA / apane prayojana kI siddhi ke liye meghavijaya ne bhASA kA jo hRdayahIna utpIDana kiyA hai, usase jUjhatA-jUjhatA pAThaka jhuMjhalA uThatA hai tathA bhASAyI cakravyUha meM phaMsa kara vaha hatAza ho jAtA hai, parantu yaha zAbdI krIDA tathA bhASAtmaka uchalakUda unake gahana pANDisya tathA bhASAdhikAra ke dyotaka hai, isameM tanika sandeha nahoM | meghavijaya kA uddezya hI citrakAmya se pAThakako camatkRta karanA hai / For Personal & Private Use Only

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kyA ematisundarapari aura mumatisAdhuvari eka hai? agaracanda nAhaTAH phArbasa gujarAtI sabhA, bambaI-4 se san 1955 meM 'paMdaramA zatakanAM cAra phAgukAbyo' gAmaka grantha prakAzita huA hai| isake sampAdaka haiM pro0 kAntilAla baladevarAma pyAsa, jo ailphinsTana kolena bambaI ke gujarAtI vibhAga ke adhyApaka the| unhoMne pATaNa ke jaina bhaNDAra se muni binavijayajI ke nakala karavAyI huI 'tumatisundarasari phAgu' ko isa uparokta grantha meM vartamAna gujarAtI meM padyAnuvAda karake prakAzita karavAyA hai| 35 zyoM kA yaha andara phApanAvya hai| jisameM kavi ne sumatisundarasUri se manmatha-kAmadeva se kuddha karavAke sariDI kI vijaya kA varNana kiyA hai| isa kAvya kA kavi ne. 'rasasAgara pAya yaha nAma bhI dUsare padya meM upanAma ke rUpa meM diyA hai| kavi ne apanA nAma nahIM diyA aura mumatisundarasUri kA bhI koI vizeSa paricaya nahIM diyA / aMta ke 35 - 36 veM pala meM unako kevala tapagaccha ke somasundarasUri kA ziSya batalA diyA hai| usake janma sthAna, saMvana, mAtA-pitA, dozA saMvata aura viziSTa kAryoM kA vivaraNa isa kAmya meM kavi ne kucha bhI nahIM diyA / 35-36 vA padya isa prakAra hai jisameM supatimundarasari ke ga aura guru kA nAma pAyA jAtA hai| tavacchi mahimAvata, mahIali ati guNavata / somadeva muharu e, bursi suragurU e // 35 // tAsa sIsa sUriMda, bhattiI nemaI nadi / mumatisundara guru e, jagi jayavaMta puru e // 36 // .... isa kAgukAlaya ke sampAdaka pro0 kAntilAla vyAsa vaise gujarAtI ke bahuta bar3e vidvAna / para unhoMne sumatisundarasUri sambandhI vizeSa khoja nahIM karake unhIM ke samakAlona sumatisAdhusUri kA paricaya dekara donoM ke eka hone kI bAta kaha dI / / para yaha nahIM hai| donoM nAma bahuta milate julate haiM va eka hI gaccha ke evaM eka hI samaya hAla se unhoMne sumatisundarasUri / sumatisAdhusUri ko eka mAnakara jo sumatimadhusUri kA banma Adi kA paricaya thA, vaha sumatisundarasari ke lie prayukta kara liyA / aura donoM ke eka hI hone ke samarthana meM agnI ora se eka paMkti aura mor3a dI ki "sumatisAdhu ne upAdhyAya pada maLayu tyAre sumatisAdhune sthAne sumatisundara abhidhAna dhAraNa karAvyu haze, ema anumAna thaI zake che / " para vAstava meM aisA anumAna karane kA koI kAraNa nahIM haiN| samakAlIna somacAritragaNi racita "gurugugaratnAkarakAvyam" bo aba se 70 varSa pahale bho yazovijaya jaina granthamAlA (24) dvArA prakAzita ho cukA hai, usake dvitIya sarga ke roka 21 se 29 taka meM lakSmIsAgarasUri ne 9 sAdhuoM ko AcArya pada diyA thA unake nAma diye haiN| una nAmoM meM zloka 26-27 meM sumatisundarasUri va sumatisAdhusari dono ko spaSTataH alaga alaga batalAye haiN| unake sambandhita zloka isa prakAra hai- ., For Personal & Private Use Only

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agaracanda nAhaTA vikramAtyANipAdAkSakSamAvarSe svaharSataH / tapAgacchasya yairveSairArabdhA paridyApanA // 18 // lakSmIsAgarasUrIzaiH pUrva taiH paridyApitAH / satvahasaMyatAryAH zrIsudhAnandanasUrayaH // 21 // vizvabhUtahitAcAracAritryAryAJcatAstataH / sUrayaH sundarA matyA zrImatsumatisundarAH // 26 // bhayendriyajayeddhazrIzramaNAryA'nurAgiNaH / svaziSyAgyAzca sUrIzAH zrImatsumatisAdhavaH // 27 // ___ vAstava meM tapAgacchaya somasundarasUri ke ziSya somadevasari hue unake ziSya sumatisandarasUri the| jabaki sunanisAdhusure lakSmosAgarasUri ke paTTadhara bane / isalie unakA to paTTAvaliyoM Adi meM vizeSa vivaraNa milatA hai| unake sambandha meM saMskRta aura tatkAlIna lokabhASA meM kaI kAsya bhI race gaye haiN| para sumatisundarasUri paTTadhara na hone se ke sambandhI vizeSa jAnakArI nahIM miltii| somadevasUri ke ziSya cAritrahaMsagaNi ke ziSya somacAritra ne uparokta guruguNaratnAkarakAvya sNv| 1541 meM banAyA ataH vaha eka samakAlIna va pramANika racanA hai| unameM jaba sumatisundara va sumatisAdhu ko alaga alaga batalAyA hai to donoM ke eka hone kA anumAna karane ko AvazyakatA hI nahIM rhtii| __ 'sumatisAdhusUri vivAhalo' kavi lAvaNyasamaya racita aba se 65 varSa pahale zrI vijayadharmasUri saMzodhita aitihAsika rAsasaMgraha meM prakAzita haA thA use yadi pro0 kAntilAla vyAsa dhyAna se dekha lete to yaha galato unase nahIM hoto / aitihAsika rAsa saMgraha bhAga-1 ke rAsa sAra pRSTha 28 ko TippaNI meM lakSmIsAgarasUre ne jina 9-10 va 11ko AcArya banAyA unakA spaSTa ullekha va nAma diye gaye haiM unameM sumatisundarasUri va sumatisAdhu ke alaga alaga nAma diye hai| ataH pro0 vyAsa ne donoM AcAryoM ko eka mAnakara jo sumatisAdhusUri kA vivaraNa sumatisundarasUri ke lie prayukta kara liyA hai vaha ThIka nahIM hai tathA sNshodhniiy| sumatisundarasUri kA vizeSa paricaya abhI mere bhI dekhane meM nahIM AyA ataH anveSaNIya hai| For Personal & Private Use Only

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prAcIna bhAratIya vivecanamAM alaMkAranI vibhAvanA citrA zukala kAvyamAM alaMkAranuM pradAna nAnuMsanuM nathI. bhAvanI vaividhyasabhara sUkSma chAyAo, padArthonA saundaryanI agocara viziSTatAo alaMkArathI saceTa rIte upasI Ave che. alaMkArathI bhASA citrAtmaka ane bhavya bane che. game tevA sama bhAvanI pratIti paNa alaMkArathI vizada bane che. zailIne mohaka gaurava ApI alaMkAra kavinA vicArane sauMdarya Ape che. . kAvya pitAnI camatkRtine kAraNe AsvAdya bane che. jagannAthe camatkRtine mAna~ziroSa | sadAcAyatramALA / kahI che. camatkRti ke vaicitryathI sauMdarya lAvatAM tane bhAmahe "alaMkAra" evuM nAma ApyuM che. rasa, vagere paNa AnaMda ApatAM hevAthI bhAmale rasa, bhAva vagerene paNa alaMkAramAM samAviSTa karyo. bhAmaha, daMDI jevA prAcIna AlaMkArikee alaMkAranI vyAkhyAo, udAharaNa ane bhedaprabhedonI savistara caMrcA karI alaMkAranuM mahatva svIkAryuM che. ThaMDIe thazomAsAnuM parNonArAnuM prati evI vyAkhyA ApI, alaMkAranuM kArya kAvyane zobhA ApavAnuM che evuM spaSTa karyuM che. kAvyanuM zarIra ISTa arthathI yukta padAvalI che evuM daDI mAne che. A uparAMta guNane paNa kAvyanuM aMga gaNI daMDIe vidarbha ane gauDa mArganA gune vicAra karyo che. guNa ane alaMkAra vaccenI bhedarekhA daMDIe bahu spaSTa nathI kerI paNuM gune temaNe kAvyamAM nitya dharma kahyA che ane alaMkArane anitya dharma mAnyA che. daMDI pachI AcArya vAmana ahaMkArane kAvyanI zobhA vadhAranArA dharmo mAne che. alaMkAro kAvyanI zobhA upane karI zake nahIM, mAtra vadhArI zake. kAvyanI zobhA upanna karavAnuM kArya gu ja karI zake. tharomAthAH jartAro dhaH junADA tatizayatavavArA: evuM vidhAna karI guNanI sarakhAmaNImAM alaMkArane teo bAhya gaNe che. kAvyano AtmA rIti che, zabda ane artha kAvyanA deha sthAne che ane alaMkAronuM kArya dehane alaMkata karavAnuM che. deha-zabda ane artha alaMkAya che, te yamaka anuprAsa jevA zabdAlaMkArA zabdane ane upamA-ulTekSa jevA arthAlaMkAra arthane alaMkata kare che. ' ' vAmane alaMkArane bahiraMga gaNavAnuM valaNa darzAvyuM hatuM. AvuM ja valaNa AnaMdavadhana paNa apanAve che. alaMkArane teo bhakita kahe che. A citAravAra majA ja dakitaevuM vidhAna karIne teo spaSTa kare che ke kaDuM, kaMkaNa, hAra vagere alaMkAra hAtha, kaMTha vagere aMgane alaMkRta kare che. tevI rIte alaMkAro zabda ane artha rUpI avyadehane Azraye rahe che. kAvyadehane Azraye rahetA hovA chatAM alaMkAro rasanuM sauMdarya vadhAre che. vyaMgya artha alaMkArya che ane alaMkAre tenI zobhA vadhAre che.' alaMkAravAdI temaja rItivAdI AcAryo abhivyaktinA sauMdaryane kAvyamAM kendrasthAne zake che. AnaMdavane pitAnA kAvyavivecanamAM rasa, bhAva jevAM mitarone kendramAM rAkhyAM For Personal & Private Use Only

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citrA zukla che. abhivyaktinu saudarya" mAnava"na ISTa jarUra gave che paNa Urmitattvane anurUpa hAya evu ane eTalu ja abhivyaktinuM saundaya" temaNe mAnya rAkhyu che. yama, zleSa, ane khagabadha, suraja dha jevI caturAI bharelI racanAmAM cuka ja thaLa pasaMda karavA paDe, tene amuka ja rIte gAThavavA paDe. A badhA AyAsa karavAmAM kavinI buddhi rAmAyelI rahe tA Urmi tattva mATe meAkaLA avakAza rahe nahI, AthI UrminI abhivyaktinI sAtheAsAtha je gAtAra pragaTI jAya, ane kavi pAse chUTA AyAsa mAMge nahIM tene te dhvanikAvyamAM lAr mAne che. Ama zAnadhananA vivecanamAM apRthagyantunivattva ane dhAratu raNa banI jAya che, pratibhAzALI vinI vANImAM alaMkAra Ape|mApa AvI jaya he. nagaranI citraNa dhavana, kavinuM dhyAna Urmitatra tarathI khaseDI letA heAvAthI zRMgAra ke karaNa jevA sukumAra raseAmAM temane prayeAjavA nahI evI khAsa sUcanA teo Ape che. paNa pratibhAmAMthI ja jo ala kAre; pragaTatA hAya to tene bahiraMga zA mATe mAnavA ane temane guNathI judA pADI, guNune aMgI (rasa)nA dharmo ane ala kArane agarbhita pharI AganA dharmo ja kema gaNavA? mAnavadhananI kAvyavicAraNAmAM A muddo samAya royA nathI. vaLI rasanimAM alakArA athagyananivatya DhAvA joIe. paNa avivativAya tinA prabhedyamAM Ave DhAI niyama emaNe darzAvyA nathI. eTalu ja nahIM, rasAlAsamAM 5, anuprAsa jevA alaMkArA paratve paNa temaNe vAMdhA lIdhe nathI. pUrvavattI AAla kArikAnI prabaLa asarane kAraNe hoya ke pachI alaMkAramati anyanI sumA anubhavasiddha hAya tene kAraNe alakAra jyAre pradhAnarUpe vyaMgya ane tyAre mALa dhvaninI kADhimAM AvI jAya evuM Anada na mAne che. alakAradhvanimAM mama ala kAranuM cAruva vAcya artha karatAM vadhu hoya che. samAsakti, aprastutaprakSA, vyAjastuti jevA alaMkAro guNIbhUtavyaMgakAvyanA udAhazA bane. kAraNa, vyAkhyA tAM vAmAInI cArutA ahIM vadhI jAya che. Ana dha na pachInA AcAya` kuntaka alaMkArane kavinA saundaryalakSI vyApAranA e dhAviSkAra mAne che. saundaya lakSI kavivyApAranA pazuiAmarUpa, vivecakrAne AhlAda Ape evA bhadhamAM vyavasthita zabda ane arthane te vya mAne che. kavine sobalanI vyApAra va, pada, vAkaya, prabhudha vagere rUpe avikAra pAme che. alaMkArane kuntaka upacAranatA temaja vAyavakratAmAM samAviSTa kare che. . alaMkArane kuntaka bAva gaNatA nathI parane kavivyApAra sAthe tenA sIdhA sa MbaMdha mAnya rAkhe che, Ana dhavananI kAvyayeAjanA rama dhvanine kendramAM rAkhI, judA judA kAvyAMgAne vya jarUpe svIkAratI hatI. vaLI gaI sabhara sabhyane teo zreSTha mAnatA hatA ane zreSTha kAvyane anulakSIne temanI vivecanA tha hatI. mAM vivecana vadhu vyApaka che. sabaLa misa MvedanA n hAya tA pazu saunI bhUti thaI zake. mAthI ja AnaMdavardhananI jema ni, guNIbhUtAya ane citra evuM kAvyanuM tAratamyamUlaka vagI karazu na karatAM, kavienA traNa mArgo batAvI, te traNa mArgone temaNe matsya gaNyA che. ala kAra kavinI pratibhAmAMthIja janme che ane rUpaka jevA alakArAnA - For Personal & Private Use Only

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prAcIna bhAratIya vivecanamAM ahaMkArane vibhAvanA rahe mULamAM upacAra-eka vastu sAthe saMbaddha bIjI vastunI rajuAta-che; vaLI AkAra pate suMdara he joIe evuM kuntaka mAne che, AnaMdavardhana pachInA AlaMkAri vani, guNIbhUtabaMga ane riba evuM kAmanuM vaga karaNa Ape che temaja vyaMjanAvyApAranI carcA kare che tethI AnaMdavardhanane anusaratA hoya tevuM lAge che. paraMtu vanisiddhAMtane temaNe sAce svIkAra karyo hato te, alaMkAronI saMkhyA ane vistAra ghaTavo jete hatA. paraMtu mammI, Avaka, ze jAkara mizra, apUNya dIkSita ane jagannAtha jevA samartha AlaMkArikAe alaMkAronuM vistRta vivecana karyuM che. spakanA alaMkArasava, zAbhAkara mizranA alaMkAraratnAkara, apagya dIkSitanA kuvalayAnaMda ane citramImAMsA jevA saMghemAM te mAtra alakAranirUpaNuM ja thayuM che. avanikAra pachI samayamAM alaMkAronI saMkhyA paNa vadhatI jAya che. masUTa dUra, , , ze kSaNika 10, vizvanAtha 77, appa dIkSita 123 ane jagannAtha 70 alaMkAra kare che. vanikAra pachInA samayamAM ela kArane kavipratibhAnirvatya mAnavAmAM AvyA che. pratibhAnA avaguninAmI temaja pavano vANiI evI vyAkhyA ApavAmAM AvI che. jaganAtha pratibhAne jAgRpanAnurAri kahe che, sAmAnya rIte pratibhA eTale kavikalpanA e artha karavAmAM Ave che. A kora kavitAnI nIpaja che, kAvyamAM alaMkArane bahiraga kevI rIte gaNI zakAya? ahaMkArane kavinI abhivyakitamAMnI vira karI zakAya evuM nizara pachInA AlaMkArike mAnatA nathI. A saMvAzi alaMkAraniSpatti pAchaLa kAma karatA sama kavivyApAranuM UMDuM adhyayana kare che. ullekSA ane atizayokti alaMkAronA mULamAM rahelI athavAthanI prakriyA samajatAM ruTa kahe che ke A pramANa (dA.ta. caMdra) ane AroSaviSaya (dA.ta mukha) ne abhinna amita karavAnI prathama kAvya avasthAmAM hoya tyAre ukSA alaMkAra thAya. sukha no che ja che evuM kahetI vakhate kavinA tArAmAM reDe mukhamAM candravanI azamatA pratyenI mbaramatA che. atyaMta sAmyane kAraNe atizaktimAM AvI jAgatA sahelI nathI. riNAme asatya (caMdra) atya (mukha) phare 2ju thAya che. A vakhate aSyavasAya ziva thaelo gaNAya che. pariNAme mukha najara samakSa heya paraMtu zabda na jatA bApa candra evo zabda prajIe chIe. A daSTibiMduthI jotAM ran, jANamALa, cina jevI saMjJAo Adhunika bhAratIya bhASAomAM jene pratIka (jmware kahe che, tenI jamAnAthI thaI rahe che. temanAva, vikhyAtivikhyama, mAkha, jANa vagaranI vivecanA paNa kavivyApAranI paricAyA banI rahe che, alaMkAranA zabadalAza ane dharmalA vAra ela e vize vidhi che alaMkAratA vAratA, pama, aMkiya ane zene maLI cIra virya pAmrA che smaka opa, virAdha, zaMkhalA, tarkanyA, vAyAma, tAjA sAhAnA nIti ane zivattine AdhAre alaMkAranuM vargIkaraNa kare che. A uNata kara ane sahi evA be sima avatAra paNa Ape che, jemAM be athavA vadhu prakAranuM chonala mizrita rUpe Ave che, For Personal & Private Use Only

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citrA zuM : . bhAratIya alAravicAraNA ane pazcimanI alaMkAravicAraNA vacce keTaluMkane dhAtra sAmya che. vAmana ane AnaMdavardhananI jema pazcimanA nIo kalAsisISTa Aleca alaMkArane vANInA AbhUSaNe mAnatA. AnA virodhamAM eca. je. sI. grIarsana lakhe che : "The ancient writers on rhetoric spoke of them too much as mere ornaments of style, to be added or taken away at will and were content to make long lists of them with an elaborate nomenclature and to illustrate their use from poets or orators. They spoke, as Professor Saintsbury has put it, as though the figures were a sugar which you sifted into the pudding in greater or less quantity as you thought well." - vanikAra pachInA AlaMkArSinI jema pazcimamAM 5Na alaMkArojanA kavinI abhivyaktinA ja eka aMtargata bhAga tarIke svIkArAI. rene veleka ane osTIna vaoNrena : ' lakhe che : "Like metre, imagery is one component structure of a poem ..it is a part of syntactical or stylistic stratum. It must be studied finally not in isolation from the other strata, but as an element in the totality, the integrity of the literary work." : A5Ne sAmya, virodhAbhAsa, zaMkhalAnyAya vagerene vagIkaraNanA siddhAMta tarIke svIkAryA che. tevI ja rIte pazcimamAM AvA siddhAMti svIkArAyA che. ApaNI upamA te Cha Simile, Hal Metaphor = 345, Epic Simile, = ufaa244711, Personification = samApti . pazcimanA Euphemism ane Periphrasis jevA alaMkAre ApaNuM paryApta alaMkAra jevA thaze, pazcimanI Allegory = aprastuta prazaMsA, Paradox ane Oymoron = virodhAbhAsa, climax = sAra ane Anticlimax = avaroha alaMkAra thAya. AnaMdavardhane alaMkArone guNIbhUtavyaMgya kAvyanI TimAM mUkI, temanI madhyama prakAranA kAvyamAM gaNatarI karI hatI. jagannAtha AmAM theDe sudhAre sUcave che. jemAM rasa pradhAnarUpe vyaMgya hoya tene uttamottama kAvya, vAyArthI ane vyajJArthanuM saundarya jyAM samakakSa che evAM samApti , aprastutaprazaMsA vagerene uttama kAvya, jyAM agyArthanI cArutA ochI raya evA rUpaka, dIpaka vagere alaMkArone guNIbhUtavyagya ane vyarthanI cAtA nahIvata hoya tevAM kAvyane citra kAvya gaNavAnuM teo sucave che. Ama alaMkAranuM gaurava vadhArI, jagannAtha alaMkAranuM saudarya hoya te kAvyane uttama gaNavA tatpara thayA che. maravirAja sava ke aniziva mue surata jevA be vAkayakhaMDamAM dekhItI rIte mukha ane kamaLanuM sAmya darzAvAyuM lAge, paraMtu payata thate bedha mina hoya che. jagannAtha alaMkAronI abhivyakti pAchaLa thatA zabdabodhanI atyaMta suMdara carcA karI alaMkAramImAMsAmAM sakSama For Personal & Private Use Only

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prAcIna bhAratIya vivecanamAM alaMkAranI vibhAvanA ma ciMtana kare che. Ane kAraNe alaMkAronA bhedaprabhedamAM rahelI viziSTatAe spaSTa thAya che. alaMkAronI janAmAM aucitya jaLavAvuM joIe. upamA jevA alaMkAramAM upamAna pramANasaranuM hovuM joIe, te uparAMta liMga, vacana - vagerenuM aucitya paNa jaLavAvuM joIe. alaMkAranI paNa vizada carcA ApaNuM alaMkAragraMthamAM jovA maLe che. alaMkAra pite suMdara che ane ene ucita rIte viniyoga thAya te kAvya jarUra suMdara bane che. For Personal & Private Use Only

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naMdicUrNi ane vizeSAvazyakabhASyanuM pIrvAparya haranArAyaNa paMDayA anAvara zrI aravijayajI maMdiNi vizeSAvAkabANa pachI mUke che, jyAre sAgarAnaMdasUri AvasyakarNikAra ane nAdicUrNikArane abhinna mAne che. AvazyakarNi viSAvazyaka bhASyanI pUrve che. AthI ema kahI zakAya ke temanA mate naMdicarSine kALAma vizeSAvasthA bhASyanI parve che. Ama nadiNi ane vi. bhASyanA kALakramamAM ekamata nathI. nahi, AvazyakaNi, diNi ane vizeSAvAyAbhASyanI tapAsa karatAM nIcenI vigata phalita thAya che (1) mAvasyA caNi naMdi pachI che. (2) vizeSAvazyaka bhASyanuM lekhana AvasyakaNi pachI thayeluM che. (3) naMdiNi ane vizeSAvasthAkabhASyamAM keTalAMka sthaLAmAM sAmya che. (4) Avazyaka cUNi ane naMdigruNine lekhaka eka nathI. (5) nAdicaNikArane vizeSaNavatInI ane vizeSAvazyaka bhASyanI jANa che. (1) Ava. caNi, nahicaNi, vizeSAvazyaka bhASAmAM keTalAMka sthaLoe vicArane kamika vikAsa jaNAya che. A bAbate viSe kime vicAra karIe- (1) AvA cUrNi nahi pachI che-Ava, caNimAM nahi melalekha che [ saMhis | mAn 6.22] uparAMta naMdigata pratibodhaka ane mallakAta, saMsiasaMjhikRtanI kAlike pareza, hetavAda pradeza ane daSTivAdopadeza e traNa samajUtIo zratanI vyAdi viSayaka vicAraNA", aupattikI buddhinAM maNijita, maraNia05, mali07 ane jainacijonAM nimitte 8 Adi udAharaNenI sUci ApatI gAthAo vagere keTalIka vigata AvazyakarNimAM che, je Avazyaka niryuktimAM nathI. 2) vizeSAvazyaka bhASyanuM lekhana AvazyakarNi pachI thayeluM che?jinabhadra amRtanimita buddhinAM udAharaNa Avazyaka cUrNimAMthI joI levAnI bhalAmaNa karI che. [bAyaparalULanetAnyuvAranAni vistaLa zAtAri ! vi. 3603 svapajJabhAga,I matizatanI bedarekhA pas! karatI ki lidhe mAthe e pUrvagata gAthAgata taraha zabdano artha Ava. cUrNikAre Abhinidha jJAna karyA che, jyAre ji.bhaTTe A arthavaTananuM khaMDana karyuM che. A vigatonA AdhAre ema kahI zakAya ke jinabhadranI najara samakSa Avazyaka cUrNi hatI. (7) nAdiNi ane vizeSAvazyaka bhASyamAM keTalAMka sthaLomAM sAmya javA maLe che. - ukta bane kRtiomAM kesUlAMka sthaLoe sAma jovA maLe che, je A pramANe che : For Personal & Private Use Only

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naMdithI ane viramabhA pIvIpa -- () kevalamegaM sudaM sammamAcAramaM ataM / ityarthaH 5 / nAgamo ya samvatthAssminikoSikAdINa samANAdhikaraNo dadubo, hAsyAminimoniya taM nANaM ca Abhinitro. cikanArNa / evaM samvesu dachanvaM / (naM. 7, pR.14] kevalamekaM pradaM sakaLamasAdhAraNaM cetyarthaH / mAnadhandana sarvatrAminivoSikAdinAmabhiH samAnAdhikaraNo draSTavyaH / tadyathA AbhiniboSikaM ca tad zAna ceti, evaM sarvatra / (vibhA084svIpakSa) (kha) tullasAmittaNato samvakAlagavigchedahitavaNato iMdiyA'NidivanimittataNato tullakhatovasamakAraNataNatI samvadanvAdivisayasAmaNNataNato pAvasAmannattaNI ya tambhAvai ya sesaNANasaMbhavAto bhato AdIe matisutAI katAI / [nacU. 7 pR. 14.] ..iha samAnasvAmitvAt sarvakAlAnucchedAt samAnasthivivAra indriyAnindiyanimittatvAt ayogazamakAraNatvAt sarvavyAdiviSayasAmAnyAt parokSaravasAmAnyAtU tabhAve ca zeSazAnasabhAvAdAdo matizrute / [vibhA. 85 svopaka) (ga) matisuyasamANakAlattaNato......avahisamargataraM maNapanyavanANaM ti / [nacU.7 pR.14] matizrutasamAnakAlatvAt......mAnasamiti gAthArthaH / [vibhA. 87 svopana] (1) iha bIvo akkho / ...... bhaNidiyaM ti putaM bhavati / [naM. 8] iha bIvo'kSaH / ....... matIndriyamityarthaH / [vibhA. 89 svopaza] (Da) tatya nANaskharaM.......cetanetyarthaH / naca. 59 kSarasaMcaraNe.......cetanetyarthaH / vibhA. 153 svopaza. (ca) gaNu oSI khayovasamite......bhavaphacahato bhanchati / [naMca. 12.] nanu zAyopazamike......avadhirucyata iti / [vibhA. 57.-01]. pakSimAmAkAzagamanavat / [vibhA. 169] (cha) vyaktIkaraNa vacaNa.......dasya / nacU. 62. nyajyate anenArthaH......sadasya / vibhA. 16... (ja) ihAdipadalovo......vattavyaM / nacU. 66. ihAdipadalopAt.......saMzeti / vimA. 506 . (sa) dabato ceva......va vahA / nacU 72. dravyata.......anAdyaparyantam / [vibhA. 546 svIpara.] 132 A () Avazyaka sRSTi ane navarAtri lekhaka eka nathI - - trimAM saMgrahAyelI Avazyaka niyuktinI gAthAonI hiM jinadAsagaNie pharI nasa, Ytha nahA pe Dhagae nicU. 23, 41, 58]; bar3A NamokAre dahA dammAmo [naMcU For Personal & Private Use Only

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sava heranAzamaNuM paDA 06]; nAhA / caitraN ThA ! [jU cha] ane sela Ta [AnyU 22] kahIne mauna sevyu che. Avazyaka ane naditimAM malika nita pachI malimiMDha evA gAthAkrama che, [vizeSAvazyaka bhASyamAM AthI UlaTA krama che.103 nadimAM laykSaranA cha bhedAnA ullekha che, jyAre Avazyaka grUSi ane nIimAM pAMca bhede svIkArAyA che.11 A badhI vigatA AvazyakaNi, ane naMdicUrNa nA lekhakanI abhinnatA sUcavI zake tevI che. paNa AnI saMgati ema besADI zakAya ke jinadAsagaNine AvazyakacUrNi karatAM vizeSa kahevAnuM na hatuM tethI ukta gAthAonI cUrNi karI nathI. ane keTalAMka sthaLAmAM te A karNane anusaryAM che. vaLI, kayAMka teoe AvazyakacUrNiA mata 'anye' kahIne ullekhyA che, jema ke, Avazyaka cUrNimAM mazruitanI bhedarekhAnA spaSTIkaraNamAM ApelA varlDasukhanA udAharaNane viryA mAM pratye kahIne ullekhyu. che [Avu pR. 9, sa~skrU chu]. uparAMtana'dicUM ikAra samakSa jinabhadranI banne kRtie vizeSaNuvatI ane vizeSAvazyakabhASya hatI. A vigatA Avazyaka cUrNi` ane na'disU`inA lekhakanI bhinnatAnuM sama'na kare che. A pUrve ame kahI gayA chIe ke Avazyaka pachI ja vizeSAvazyaka bhASyanI racanA che. >>{1}** (5) naDhicUrNikArane vizeSaNavatI ane vizeSAvazyakabhASyanI jANa che : kevalajJAna kevaladarzananI vicAraNAmAM jinadAsae naMdarNimAM [narlR40] vizeSaNuvatInI cAvIsa gAthAe uSkRta karI che. vizeSAvazyaka bhASyagata keTalAka gAthAzA ane eka gAthA nadarNimAM jovA maLe che. jemake, (1) vevamAM yuddha satjhamAbALa agata. 212 / (2) koliviyovRddhI gAhA pUrvavad vyAkhyeyA' 3 (2) yuddhIvaDe. II:! patIva mAhAra, astyo tivrukSo ya lahA vaselAvAne tathA mALita14| na dicUrNimAM prApta vizeSAvazyakabhASyanA A nAmanirdeza jinabhadra pachI jinadAsagaNuinA kALakrama sucave che.(4) mana-haMmeLagAhA / 15 (1) sattaSikSetaLAto.......LALa16 | A gAthA naMdicUNi'mAM saMpUrNa paNe ullekhAyelI che. upayukta ullekhAmAM sortiyiovandvI ane buddhITTei A be pUgata gAthAo che, jenI samajUtI AvazyakacUrNimAM che. 17 naramaLa gAthA AvazyakacUrNimAM che18 eTale e sivAyanA upayu*kta ullekhA jinadAsagaNune jinabhadra pachInA kALamAM sUcave che. manI ghaNI gA ahI... eka evA prazna upasthita thAya che ke e jinadAsagaNue naMdicUrNa'mAM vizeSaNuvatI19 kapabhASya20 ane anya keTalAka purAgAmI prathAnI21 sAmagrInA upayAga karyAM, tA vizeSa vasyakabhASyanI ane vizeSAvazyaka bhASyamAM deTalAka sthaLeAe zabdazaH sAmya jovA maLe che tenA atha zA ? gAthAo kema uddhRta na karI ? bIjI taraph nadisRSTi prastuta praznanA uttara e rIte ApI zakAya (1) purogAmI lekhakanI sAmagrInA kevA ane keTalA upayAga karavA te paravatI lekhakanI svataMtratA che. (2) athavA kreI evA graMtha jinabhadra ane jinadAsaNanI najara samakSa haze, jemAMthI khanne lekhakeAe utArA karyA hAya, vizeSAvazyaka bhASyamAM 'jinabhake keTalIka gAthA pUrogAmI graMthanA nAnirdeza For Personal & Private Use Only

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nadikSi ane viziSavAkjhakabhAmanuM pauvapakSa sivAya utArI che jema ke amRtanizcita matinA udAharaNa sacavatI, Avazyaka niryuktimAM nahIM maLatI, paNa naMdimAM maLatI sAta gAthAo vizeSAvasyaka bhASyamAM nadinA nAmanirdeza sivAya saMprahAI che. A A badhI vigatenA AdhAre evuM anumAna karI zakAya ke, jinabhadra pachI jinadAsa gaNi che. paNa AvazyakarNi, nAdicUrNi ane vizeSAvazyaka bhASyamAM keTalAka sthaLoe vicArane kamika vikAsa jaNAya che je ukta anumAnamAM visaMgati upasthita kare che. jema ke * . (1) Avazyaka cUrNimAM cakSu ane manane janAvagraha' svIkAra nathI. naMdicarNimAM eka tarapha naMdigata ulekhane anusaratAM jinadAsagaNi janAvagrahanA cAra bhedanoM vAta kare che, te bIjI tarapha malaka daSTAnnanI majUtimAM manamAM janAvagrahane svIkArate svamata rajU kare che ane enA samarthana mATe A pramANe dalIla kare che ? te aLadiyasthvaavaare vi maNase jujjate vaMjaNAvaggahA, uvayogassa asakhejjasamayattaNayo, uvayogaddhAe ya pratisamayamaNodavvaggahaNato, maNodavvANaM ca vaMjaNavavadesato samaye ya asaMkhejjatime manaso niyamArthagrahaNaM bhavet / tasya ca prathamasamayArthaprati bodhakAle'rthAvagrahaH, tasya pUrvamasaMkhyeyasamayeSu jhanAvaNa:24jinabhadra A uttarapakSane pUrvapakSamAM mUkIne tenuM kevuM che ke pi viSayamasamprApya gRhNAti manastathApyasya vyajanAvagraho yujyata eva, asaMkhyeSasamayatvAdupayogasya, pratisamayaM ca manodravyopAdAnAt, dravyANAM ca vyaJjanavyapadezAt , latsambadasya vA, shrotrendriyaavgrhvt| yatheha zronendriyeNa zabdadravyANi pratisamayamAdadAnasya vyajanAvagnajhe bhavaTyasaMkhyeyasamayastadante cArthAvagrahaH tanmanaloDoti | jinabhadde A uparAMta thoDI anya vigata paNa parva pakSamAM umerI che jema ke, atha anizcaratasyApi ca svadehAt svadeha[hRd] dezamacintayataH tajjJeyesambandhe saMti prAptakAritA tAva kAnAvomAmANya ti | jinabhadra pUrva pakSanuM khaMDana karyuM che. . (2) mati-zrutanI Ava.curNi gata bhedarekhAo uparAMta anya spaSTatAo paNa naMdirNimAM che. vi. bhASyamAM A badhI spaSTatAo uparAMta anya spaSTatAo paNa che, uparAMta jarUrI sudhArA paNa che.' (3) akSaranA asvaparyAya, svaparyAya, saMbaddhaparyAya ane asaMbaddhaparyAyanI samajUtI Ava. cUrNi ane vi. bhASyamAM uttarottara vizeSa spaSTa che. 27 : . (4) zrutajJAnanI nadimata kayAdi vicAraNAmAM AvazurNimAM dine vAta vAti pATha zIkAryo che ane tenI saMgati besAkatAM kahyuM cheke.devara sAdinuM Alekhana jANe jotA jANatA hoya tema karavAmAM Ave che te naMdi cUrNimAM paNa A ja pATha svIkAryo che. ane ukata samAdhAna uparAMta prajJApanakata pazvAttAnA saMdarbhamAM bIja paNa samAdhAna ApyuM che. jinabhadra utapATha uparAMta bALati no viuMti ema paMraparAprApta zabane pAThanI saMgati besADavA prayAsa karyo che. nAgati jJAti vALe mate anya kahIMne ulekhe che ane acakSudarzananA saMdarbhamAM tenI saMgati besADI che. 18, ' : * TA For Personal & Private Use Only

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hamanArAyaNa paDayA (5) matiyutanI bedavivAraNAmAM jAva. yuNimAM jaNAvyA pramANe mati nakSara che, jyAre zrata akSara ke anAra hoI zake che. maMdiNi anusAra mati anakSara che, jyAre zruta akSarAnugata che. jinabha' ukta bane samajUtI ane suvyavasthita karI che. (6) bhAva cUrNimAM jaNAvyA pramANe temanA paryAyane viSaya parakIya mane gata bhAva che. naciNimAM tene sudhAre che jene vizeSa rupeNa karIne jinabhadde svIkAryo che.20 * A badhI vigatanI saMgati ema besADI zakAya ke, jinabhadra ane jinadAsagaNi samakSa koI purogAmI vra hatA, jenA keTalAka vicArona, jinabhake khaMDana kareluM hovA chatAM, jinadAsagaNie samarthana karyuM che. A badhI vigate tapAta ema svIkAravuM paDe ke keTalIka vigate jinadAsagaNine jinabhannI pUnA kALamAM sUcavatI hovA chatA, anya samartha pramANe jinadAsagaNine nimaka pachI jaNAve che. pAdaTIpa 2 naM- pad. 9. S. 2 naM. pradi. p. 22. 2 naM. 11, 12; , , 24. 4 . 26 18, pU . 24 che , majU.. -ra4. dha na 41, chuM. 144-46, ' naM. 46, mA pR. 210-12 8 naM. 46, mAr. . 22-16. mAr. . 6, dvimA. 224. { Av. pR. 24, gU. 4, limA. 2605-2 26 naM. 62. mAlU, 3, 27, raMjU.. 22 mi. 84, 6, 7, 44. 22 vimA. 26, , 2, pR. 22. 24 mi. 227, naka, dha cima. 22, raMgU. 74, 11. # vimA 224, 128 2, 44. 27 mAr. p. 8, . 28 cAjU, . . 26 naM. 40. ja For Personal & Private Use Only

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naciNika ane vizeSAvazyaka bhASyanuM pauvA 20 nacU, 74, 75. 21 nacU. 31-32, 38, 68, 77, 110. 22 naM. 46, gA. 56, 59, 58, 60, 62, 63, 69 = mA vi.mA. bhAM 3596, 3601, 2, 3, 8, 9, 25 bhane cha. 23 AcU. pR. 11, naMcU. 49. 24 naMcU. 56, pR. 41-42. 23 vibhA. 236-243. 26 AcU. pR. 9, nacU. 43, vibhA. 96-175. 27 AcU. pR. 29, nacU. 74, pR. 55, vibhA. 477-495. 28 mAcU. pR. 35-36, na cU. 117, vibhA. 550-52. AcU. bhA 'ANati Na pAsati' 'anye' DI senya che. naMcU mAM nathI. 29 AcU. pR. 9, naMcU. 43, vibhA. 161, 169. 30 AcU. pR. 71, nacU 32 pR. 24, paM 1 thI 3, vibhA. 810. ___ saMdarbhasaci bhAcU. = AvazyakacUrNi - jinadAsagaNimahattara na = na disUtra, zrIdevavAcaka, [ zrI jinadAsagaNimahattaraviracitacUyA yuktam ] __prAkRtagranthapariSadprakAzana, I.sa. 1966. prAkRta Te. so. sirIja na 9. naMcU. = nadicUrNi = zrI jinadAsagaNimahattara, prakAzana na. anusAra. . vibhA = nizeSAvazyakabhASyam - binabhadaMgaNezamAzramaNa, lAlabhAI dalapAbhAI bhA. saM. - vidyAmaMdira prakAzana, I.sa. 1966. For Personal & Private Use Only

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apabhraMza sAhitya meM kRSNa-kAvya harivallabha bhAyANI - 1. prAstAvika apabhraMza sAhitya meM kRSNaviSayaka racanAoM kA svarUpa, iyattA, prakAra aura mahattva kaisA thA yaha samajhane ke lie sabase pahale usa sAhitya se sambandhita kucha sarvasAdhAraNa aura prAstAvika tathyoM para lakSya denA Avazyaka hogA / samaya kI dRSTi se apabhraMza sAhitya pAMcavI-chaThavIM zatAbdI se lekara bArahavIM zatAbdI taka pnpaa| aura bAda meM bhI usakA pravAha kSINa hotA huA bhI cAra sau pAMca sau varSa taka bahatA rahA / itane dIrgha samayapaTa para phaile hue sAhitya kI hamArI jAnakArI kaI kAraNoM se atyanta truTita hai| pahalI bAta to yaha ki navIM zatAbdI ke pUrva ko eka bhI apabhraza kRti aba taka hameM hastagata nahIM huI hai| prAyaH tIna sau sAla kA prArambhika kAlakhaNDa sAga kA sArA andhakAra se AvRta sA hai / aura bAda ke samaya meM bhI dasavIM zatAbdI taka kI kRtiyoM meM se bahuta svalpa upalabdha haiM / dUsarA yaha ki apabhraMza kI kaI eka lAkSaNika sAhityika vidhAoM kI ekAdha hI kRti bacI hai aura vaha bhI Thoka uttarakAlIna hai / aisI pUrvakAlIna kRtiyoM ke nAma mAtra se bhI hama vaMcita haiN| isase apabhraMza ke prAcIna sAhitya kA citra acchI taraha dhuMdhalA aura kaI sthaloM para to bilakula korA hai / tIsarA yaha ki apabhraMza kA bacA huA sAhitya bahuta kara ke dhArmika sAhitya hai aura vaha bhI svalpa apavAdoM ke sivA kevala jaina sAhitya hai / jainetara-hindU evaM bauddha sAhitya kI aura zuddha sAhitya kI kevala do-tIna racanAeM milI hai| isa taraha prApta apabhraMza sAhitya jaina-prAya hai aura isa bAtakA zreya jainiyoM kI granthaM surakSA kI vyavasthita paddhati ko denA cAhie / magara aisI paristhiti ke phalasvarUpa apabhraMza sAhitya kA citra aura bhI khaNDita evaM ekAjI banatA hai| isa silasile meM eka aura adhika bAta kA bhI nirdeza karanA hogaa| jo kucha apabhraMza sAhitya baca gayA hai usameM se bhI bahuta choTA aMza aba taka prakAzita ho sakA hai / bahuta sI kRtiyA~ bhANDAroM meM hastapratiyoM ke hI rUpa meM hone se asulabha haiN| ina saba ke kAraNa apabhraMza sAhitya ke koI ekAdha aMga yA pahalU kA bhI vRttAnta taiyAra karane meM aneka kaThinAiyA~ sAmane AtI haiM aura phalasvarUpa vaha vRttAnta apUrNa evaM aTaka rUpa meM hI prastuta kiyA jA sakatA hai / ____ yaha to huI sarvasAdhAraNa apabhraMza sAhitya kI bAta / phira yahA~ para hamArA sIdhA nAtA kRSNakAvya ke sAtha hai / ataH hama usakI bAta lekara cale / ___ bhAratIya sAhitya ke itihAsa kI dRSTi se jo apabhraMza kA utkarSakAla hai vahI kRSNakAmya kA madhyAhnakAla / saMskRta evaM prAkRta meM isI kAlakhaNDa meM paurANika aura kAvyasAhitya kI For Personal & Private Use Only

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apabhraMza sAhitya meM kRSNa-kAvya anekAneka kRSNaviSayaka racanAe~ huii| 'harivaMza', 'viSNupurANa', 'bhAgavatapurANa' Adi kI kRSNakathAoM meM tatkAlIna sAhitya-racanAoM ke lie eka akSaya mUlasrota kA kAma kiyA hai| viSaya, zailI Adi kI dRSTi se apabhraza sAhitya para saMskRta-prAkRta sAhitya kA prabhAva gaharA evaM lagAtAra rahatA thA / ataH apabhraMza sAhitya meM bhI kRSNaviSayaka racanAoM kI dIrgha aura vyApaka paramparA kA sthApita honA atyanta sahaja thaa| kintu uparivarNita paristhiti ke kAraNa hameM na to prApta hai apabhraMza kA eka bhI zuddha kRSNakAnya, na to hameM prApta hai eka bhI jenetara kRSNakAvya / aura jaina paramparA kI jo racanAe~ milatI haiM ve bhI bahuta kara ke anya bRhat paurANika racanAoM ke ekadeza ke rUpa meM milatI haiN| itanA hI nahIM unameM se adhikAMza kRtiyAM aba taka aprakAzita haiN| isakA artha yaha nahIM hotA ki apabhraMza kA ukta kRSNasAhitya kAvya-gugoM se vaMcita hai| phira bhI itanA to avazya hai ki kRSNakathA jaina sAhitya ke eka aMza ke rUpa meM rahane se tajanya maryAdAoM se vaha bAdhita hai| 2. kRSNakathA kA svarUpa vaidika paramparA kI taraha jaina paramparA meM bhI kRSNacaritra purANakathAoM kA hI eka aMza thaa| jaina kRSNacaritra vaideka paramparA ke kRSNacaritra kA hI sampradAyAnukUla rUpAntara thA / yahI paristhiti gamakathA Adi kaI anya purANakathAoM ke bAre meM bhI hai| jaina paramparA itara paramparA ke mAnya kathAsvarUpa meM vyAvahArika dRSTi se evaM tarkabuddhi ko dRSTi se kucha asaMgatiyAM batAkara use mithyA kahatI hai aura usase bhinna svarUpa kI kathA jise vaha sahI samajhatI hai usako prastuta karatI hai / tathApi jahA~ taka sabho mukhya pAtroM kA, mukhya ghaTanAbhoM kA aura unake kramAdi kA sambandha hai vahAM sarvatra jaina paramparA ne hindu paramparA kA hI anusaraNa kiyA hai| . .jaina kRSNakathA meM bhI mukhya prasaMga, unake krama, evaM pAtra ke svarUpa Adi dIrghakAlIna paramparA se niyata the| ata: jahA~ taka kathAnaka kA sambandha hai jaina kRSNakathA para AdhArita vibhinna kRtiyoM meM parivartanoM ke lie svalpa avakAza rahatA thA / phira bhI kucha choTImoTI taphasIloM ke viSaya meM, kAryo ke pravRtti-nimittoM ke viSaya meM evaM nirUpaNa kI iyattA ke viSaya meM eka kRti aura dasarI kRti ke bIca paryApta mAtrA meM antara rahatA thA / digambara aura zvetAmbara paramparA ke kRSNacaritroM kI bhI apanI apano viziSTatAeM haiN| aura unameM se koI eka rUpAntara ke anuparaNakartAoM meM bhI Apasa Apasa meM kucha bhinnatA dekho jAtI hai / mUla kathAnaka ko kucha viSayoM meM sampradAyAnukUla karane ke lie koI sarvamAnya praNAlikA ke abhAva meM jaina racanAkAroM ne apane apane mArga liye haiM / - jaina kRSNacaritra ke anusAra kRSNa na to koI divya puruSa the, na to Izvara ke avatAra yA 'megavAna svayaM' / ve mAnava hI the, hAlAMki eka asAmAnya zaktizAlI vIra puruSa evaM samrATa / jaina purANakathA ke anusAra prastuta kAlakhaMDa meM tirasaTha mahApuruSa yA zalAkA-puruSa ho ge| caubIsa tIrthakara, bAraha cakravartI, nava vAsudeva (yA nArAyaNa), nava baladeva aura nava prtivaasudev| vAsudevoM kI samRddhi, sAmarthya evaM padavI cakravartiyoM se AdhI hotI thI / pratyeka For Personal & Private Use Only

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harivallabha bhAyANI bAmadeva tIna khaMDoM para zAsana calAtA thA / vaha apane prativAsudeva kA yuddha meM saMhAra karake vAsudevatva prApta karatA thA aura isa kArya meM pratyeka baLadeva usakA sAhAyya karatA thaa| rAma, lakSmaNa aura rAvaNa kramazaH AThave baladeva, vAsudeva aura prativAsudeva the / navI tripuTI thI kRSNa, balarAma aura jarAsandha kii| - lirasaTha mahApuruSoM ke caritroM ko prathita karane vAlI racanAoM ko 'triSaSTizalAkApuruSacarita' yA patriSaSTimahAkuruSacarita' emA nAma diyA jAtA thaa| jaba nava prativAsudevoM kI ginatI nahIM kI jAtI thI taba aisI racanA 'catuSpaMJcAzatmahApuruSacaritra' kahalAtI thii| digambara paramparA meM isako 'mahApurANa' bhI kahA jAtA thaa| mahApurANa meM do mAga hote the-AdipuroNa aura uttrpuraann|| AdikSarANa meM prathama tIrthakara aura prathama cakravartI ke caritra die jAte the| uttarapurANa meM zeSa mahApuruSoM ke critr| sabhI mahApuruSoM ke caritroM kA nirUpaNa karanevAlI aisI racanAoM ke alAvA koI eka tIrthakara, cakravartI, vAsudeva Adi ke caritra ko lekara bhI kRtiyAM racI jAtI thii| aisI racanAeM 'purANa' nAma se khyAta thiiN| kRSNa vAsudeva kA caritra tIrthaMkara ariSTanemi ke caritra ke sAtha .. saMlAna thaa| unake caritroM ko lekara ko gaI racanAe' 'harivaMza' yA 'ariSTanemipurANa' ke nAma se jJAta hai| jahAM kRSNa vAsudeva aura balarAma ko kathA svataMtra rUpa se prApta hai vahAM bhI vaha anya ekAdhika kathAoM ke sAtha saMlagna to rahato thI hI / jaina kRSNakathA niyama pe hI alpAdhika mAtrA meM anya tInacAra vibhinna kathAsUtroM ke sAtha gumphita rahatI thii| eka kathAsUtra hotA thA kRSNapitA vasudeva ke bhramaNoM kI kathA / dUsarA bAIsaveM tIrthaMkara ariSTanemi kA caritra / tIsarA kathAsUtra hotA thA pAMDavoM kA caritra / inake atirikta mukhya mukhya pAtroM ke bhavAntaroM kI kathAeM bhI dI jAtI thii| basudevane eka sau barasa taka vividha dezoM meM bhramaNa karake anekAneka mAnavakanyAeM aura vidyAgharamyAe prApta kI thiiN| usakI rasika kathA 'vasudevahiNDi' ke nAma se jaina paramparA meM pracalita thI / vAstava meM yaha guNADhya kI lupta 'bRhatkathA' kA hI jaina-rUpAntara thaa| kRSNakathA ke prArambha meM basudeva kA vaMzavarNana aura caritra AtA hai| vahAM para vasudeva ko bhrakSaNakathA bhI choTe moTe rUpa meM dI jAtI thii| ariSTanemi kRSNa vAsudeva ke cacere bhAI the / bAIsaveM tIrthakara hone se unakA caritra jainadharmiyoM ke lie sarvAdhika mahattva rakhatA hai| ata: aneka bAra kRSNacaritra nemicaritra ke ekadeza ke rUpa meM milatA hai| isake alAvA pANDavoM ke sAtha evaM pANDava-kaurava-yuddha ke sAtha kRSNa kA ghaniSTha sambandha hone se kRSNa ke uttaracaritra ke sAtha mahAbhArata kI kathA bhI prathita hotI bhii| phalasvarUpa aisI racanAoM kA 'jaina mahAbhArata' aisA bhI eka nAma pracalita thaa| usa prakAra sAmAnyataH jisa aMza ko prAdhAnya diyA gayA ho usake anusAra kRSNacaritraviSayaka racanAmoM kA ariSTanebhicaritra' (yA 'nemipurANa'), 'harivaMza', 'pANDavapurANa','jaina mahAbhArata' mAdi nAma die jAte the| kintu isa viSaya meM sarvatra ekavAkyatA nahIM hai| amuka viziSTa aza, ko samAna prAdhAnya dene vAlI kRtiyoM ke bhinna bhinna nAma bhI milate hai| jaise ki Arambha meM For Personal & Private Use Only

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apabhraMza sAhitya meM kRSNakAvya sUcita kiyA thA, jaina purANakathAoM kA svarUpa paryApta mAtrA meM rUDhibaddha evaM paraMparAnikta thaa| dUsarI aura apabhraMza kRtiyoM meM bhI viSaya, vastu Adi meM saMskRta-prAkRta kI pUrvapracalita racanAoM kA anusaraNa hotA thaa| isalie yahAM para apabhraza kRSNakAnya kA vivaraNa evaM AlocanA prastuta karane ke pahale jaina paramparA ko mAnya kRSNakathA kI eka sarvasAdhAraNa rUparekhA prastuta karanA Avazyaka hogA / isase uttaravartI AlocanA Adi ke lie bhAvazyaka sandarbha sulabha ho paaegaa| nIce dI gaI rUparekhA san 784 meM digambarAcArya jinasenaracita saMskRta ' harivaMzapurANa' ke mukhyataH 33, 34, 35, 36, 40 aura 41 sargoM para AdhArita hai| zvetAmbarAvArya hemacandra ke san 1965 ke karIba race hue saMskRta 'triSaSTizalAkApuruSacarita' ke AThaveM parva meM bhI savistara kRSNacarita hai| jinasena ke vRttAMta se hemacandra kA vRttAMta kucha bheda rakhatA hai / kucha mahattva kI vibhinnatAeM pAdaTippaNiyoM meM sUcita kI gaI hai| (harivaMzapurANa kA saMketa 'hapu0' aura 'triSaSTizalAkApuruSacarita' kA saMketa 'trica.' rakhA hai )kRSNacarita atyanta vistRta hone se yahAM para usakI sarvAMgINa samAlocanA karanA sambhava nahIM hai / jaina kRSNacarita ke spaSTa rUpa se do bhAga kie jA sakate haiN| kRSNa aura yAdavoM ke dvArAvatI. praveza taka eka bhAga aura zeSa carita kA dUsarA bhAga / pUrvabhAga meM kRSNa jitane kendravartI hai utane uttarabhAga meM nahIM hai| isalie nimna rUparekhA pUrvakRSNacarita taka sImita kI gaI hai| ... 3. jaina kRSNakathA kI rUparekhA ..harivaMza meM jo ki harirAjA se zurU huA thA, kAlakrama se mathurA meM yadu nAmaka rAjA hubhaa| usake nAma se usake vaMzaja yAdava kahalAe / yadu kA putra narapati hubhA aura narapati ke putra zUra aura suvIra / suvIra ko mathurA kA rAjya de kara zUra ne kuzadya deza meM zauryapura basAyA / zUra ke andhAvRSNi Adi putra hue| aura suvIra ke bhoSaka vRSNi bhAdi / andhakavRSNi ke daza putra hue unameM sabase bar3A samudravijaya aura sabase choTA vasudeva thaa| ye saba dazAI nAma se vikhyAta hue / kuntI aura mAdrI ye do andhakavRSNi kI putriyAM thiiN| bhojakavRSNi ke ugrasena Adi putra the| krama se zauryapura ke siMhAsana para samudravijaya aura madhuga ke siMhAsana para ugrasena ArUDha hue / . atizaya saundarya yukta vasudeva se mantramugdha hokara nagara kI striyAM apane paravAra kI upekSA karane lgii| nAgarikoM kI zikAyata se samudravijaya ne yuktipUrvaka bamadeva ke ghara se bAhara nikalane para niyantraNa lagA diyA / vasudeva ko eka dina akasmAta isakA patA laga gyaa| usane pracchanna rUpa se nagara chor3a diyA / jAte jAte usane logoM meM aisI bAta phailAI ki vasudeva ne to agnipraveza kara ke AtmahatyA kara lii| bAda meM vaha kaI dezoM meM bhramaNa kara ke aura bahuta mAnavakanyAe~ evaM vidyAdharakanyAe~ prApta kara ke eka sau varSa ke bAda bharipura kI gajakumArI rohiNI ke svAmbara meM A pahu~cA / rohiNI ne usakA varaNa kiyaa| vahAM Ae samudravijaya Adi vandhuoM ke sAtha usakA punarmilana huA / vasudeva ko rohiNI se . rAma nAmaka putra huA / kucha samaya ke bAda vaha zauryapura meM vApisa A gayA aura vahIM dhanurveda kA AcArya bana kara rahA / magadharAja jarAsaMdha ne ghoSaNA kara dI ki jo siMhapura For Personal & Private Use Only

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harivallabha bhAyANI ke rAjA siMharatha ko jIndA pakar3a use saupegA usako kumArI jIvadyazA evaM manapasaMda eka nagara diyA jaaegaa| vasudevane yaha kArya uThA liyaa| saMgrAma meM siMharatha ko yasadeva ke kaMsa nAmaka eka priya ziSya ne pakar3a liyaa| apanI pratijJA ke anusAra jIvadyazA dene ke pahale jarAsaMgha ne jaba ajJAtakula kaMsa ke kula kI jAMca kI taba patA calA ki vaha ugrasena kA hI putra thaa| jaba vaha garbhameM thA taba usakI jananI ko patimAMsa khAne kA dohada huA thaa| patra kahIM pitaghAtaka hogA isa bhaya se jananI ne janmate hI putra ko eka kAMse kI peTI meM rakhakara yamunA meM bahA diyA thaa| eka kalAlina ne peTI meM se bAlakako nikAlakara apane pAsa rakha liyA thaa| kaMsa nAmaka yaha bAlaka jaba bar3A huA taba usakI ugra kalahapriyatA ke kAraNa kalAlinane usako ghara se nikAla diyA thaa| tabase vaha dhanurveda kI zikSA prApta karatA hamA basadeva ke pAsa hI rahatA thA aura usakA bahuta prItipAtra bana gayA thaa| isI sapata sane bhI pahalI bAra apanA sahI vRttAnta jAmA / so usane pitA se apane bera kA badalA lene ke liye jarAsandha se mathurAnagara mAMga liyaa| vahIM nA kara usane apane pitA ugrasena ko parAsta kiyA aura usako baMdI banAkara durga ke dvAra ke samIpa rakha diyaa| kasane vasudeva ko mathurA bulA liyA aura gurudakSiNA ke rUpa meM bhapanI bahana devakI usako dii| 'devakI ke vivAhotsava meM jIvadyazAne 'atimuktaka muni kA aparAdha kiyA' / phalasvarUpa manine bhaviSyakathana ke rUpa meM kahA ki jisake vivAha meM matta hokara nAca rahI ho usakehI putra se tere pati kA evaM pitA kA vinAza hogA / bhayabhIta jIvadhazA se yaha bAta jAna kara kaMsane vasudeva ko isa vacana se pratibaddha kara diyA kI pratyeka prasUte ke pUrva devakI ko bAkara kaMsake AvAsa meM ThaharanA hogaa| bAda meM kaMsakA malina Azaya jJAta hone para vasudeva ne bAkara atimuktaka mune se jAna liyA ki prathama chaha putra caramazarorI hoMge isalie unakI apamRtyu nahIM hogI aura mAtaSAM putra vAsudeva banegA aura vaha kaMsakA ghAtaka hogaa| isake bAda devakI ne tIna bAra yugalaputroM ko janma diyaa| pratyeka bAra indrAzA se negama devane unako - uThAkara bhadrilanagara ke sudRSTi zreSThI kI patnI alakA ke pAsa rakha diyA aura alakA ke mRtaputroM ko devako ke pAsa rakha diyaa| isa bAta se ajJAta kaMsa pratyeka bAra ina mRta putroM ko paTaka kara samajhatA ki maiMne devakI ke putroM ko mAra ddaalaa| devakI ke sAtaveM putra kRSNa kA janma sAta mAsa ke garbhavAma ke bAda bhAdrapada zukla dvAdazI ko rAtri ke samaya hubhA4 / balarAma navajAta zizu ko uTha kara ghara se bAhara nikala 1. dIkSA lene ke pUrva atimuktaka kaMsa kA choTA bhAI thaa| hapu. ke anusAra jIvadyamA ne haMsate-haMsate atimuktaka muni ke sAmane devakI kA rajomalina bastra pradarzita kara una kI AzAtanA kI / trica. ke anusAra madirA ke prabhAvavaza jIvadyazA ne atimuktaka muni ko gale laga kara apane sAtha nRtya karane ko nimaMtrita kiyA / ... 2. trica0 ke anusAra janmate hI zizu apane ko sauMpa dene kA vacana kaMsane vasudeva se le liyA / 3. trica0 meM seThaseThAnI ke nAma mAga ora sulasA haiN| 4. trica0 ke anusAra kRSNajanma kI tithi aura samaya zrAvaNa kRSNASTamI aura madhyarAtrI hai| For Personal & Private Use Only

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apabhraMza sAhitya meM kRSNakAvyaH gayA / ghanaghora varSA se usakI rakSA karane ke lie vasudeva usa para chatra dhara kara calatA thaa| nagara ke dvAra kRSNa ke caraNasparza se khula ge| usI samaya kRSNa ko choMka aaii| yaha sunate vahI bandhana meM rakhe hue ugrana ne AzISa kA uccAraNa kiyA / vasudevane usako yaha rahasya gupta rakhane ko kahA / kRSNa ko lekara vasudeva aura balarAma nagara se bAhara nikala gae / ' dedIpyamAna zRgadhArI daivo vRSabha unako mArga dikhAtA unake Age Age daur3a rahA thaa| yamunA nadI kA mahApravAha kRSNa ke prabhAva se vibhakta ho gayA / nadI pAra karake vasadeva vRndAvana pahu~cA aura vahAM goSTha meM base hue apane vizvasta sevaka nandagopa. aura usakI parano yazodA ko kRSNa ko sauNpaa| unakI navajAta kanyA apane sAtha lekara vasudeva aura balarAma vApasa Ae / kaMsa prasUti kI khabara pAte hI daur3atA gyaa| kanyA khAna usakI hatyA to nahIM kI phira bhI usake bhAvi patikI bhora se bhaya hone kI AzaMkA se usane usakI nAka ko dabA kara cipaTA kara diyaa| gopagopI ke lADale kRSNa vana meM vRddhi pAne lage / kaMsa ke jyotiSI ne batAyA ki tumhArA zatru kahIM para bar3A ho rahA hai| kaMsane apanI sahAyaka deviyoM ko Adeza diyA ki ve zatru ko DhUMDha nikAle aura usakA nAza kareM / isa Adeza se eka devIne bhISaNa pakSI kA hA lekara kRSNa para AkramaNa kiyA / kRSNa ne usakI coca jora se dabAI to vaha bhAga gaI / dUsarI devI pUtanA-bhUta kA rUpa lekara apane viSalipta stana se kRSNa ko stanapAna karAne lagI / taba devoM ne kRSNa ke mukha meM atizaya bala rkhaa| isase pUtanA kA stanAgra itanA daba gayA ki vaha bhI cillAtI bhAga gii| tIsarI zakaTarUpadhArI pizAcI jaba pApA mAratI AI taba kRSNane lAta lagAkara zakaTa ko tor3a DAlA / kRSNa ke bahata Udhamo se taMga Akara yazodA ne eka bAra unako ukhalI ke sAtha bAMdha diyaa| usa samaya do| deviyAM yamalArjuna kA rUpa dharakara kRSNa ko mArane aaii| kRSNane donoM ko girA diyaa| chaThavIM vRSabharUpadhArI devI kI garadana mor3a kara usako bhagAyA aura sAtavIM devI jatra kaThora pASANavarSA karane lagI taba kRSNa ne govardhanagiri uMcA uThA kara sAre gokula kI rakSA kii| 5. trica0 ke anusAra devakI ke parAmarza se vasudeva kRSNa ko gokula le claa| isameM kA para chatra dharane kA kArya unako rakSaka devatAeM karatI haiN| 6. triva0 ke anusAra devatAoM ne ATha dIpikAoM se mArga ko prakAzita kiyA aura unhoMne . zveta vRSabha kA rUpa dhara kara nagaradvAra khola die / 7. trica0 anusAra ye prArambha ke upadrava kaMsakI ora se nahIM apitu vasudeva ke berI vidyAdhara kI ora se Ae the| vidyAdharaputrI zakunIne zakaTa ke upara baiTha kara nIce se kaSNa ko dabA kara mArane kA prayatna kiyA / aura pUtanA nAmaka dUsarI kRSNa ko viSati. stama pilAtI hai / kRSNa kI rakSaka devatAe~ donoM kA nAza karatI hai| 2. trica0 ke anusAra bAlakRSNa kahIM calA na jAya isalie unako ukhalI ke sAtha kara yazodA kahIM bAhara gaI taba zUpeka ke putrane yamalArjuna bana kara kRSNa ko dabAkara mAyA cAhA / kintu devatAone usakA nAza kiyA / trica. meM govardhanadhAraNa kI jAna For Personal & Private Use Only

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52 harivallabha bhAyANI kRSNa ke parakramoM kI bAta sunakara unako dekhane ke lie devakI balarAma ko sArtha lekara mopUjA ko nimitta banAkara gokula AI aura gopaveza kRSNa ko nihArakara vaha Anandita huI aura mathurA vApasa gaI / balarAma pratidina kRSNa ko dhanuvidyA aura anya kalAoM kI zikSA dene ke lie mathurA se AtA thaa| bAlakRSNa gopakanyAoM ke sAtha rAsa khelate the / gopakanyAeM kRSNa ke sparzasukha ke lie utsuka rahatI thIM, kintu kRSNa svayaM nirvikAra the| loga kRSNa kI upasthiti meM atyanta sukha kA aura unake viyoga meM atyanta duHkha kA anubhaSa karate the / - eka bAra. zaMkita hokara kaMsa svayaM kRSNa ko dekhane ko gokula bhAyA / yazodA ne. pahale se hI kRSNa ko dUra vana meM kahIM bheja diyaa| vahAM para bhI kRSNane tADavI nAmaka .. pizAcI ko mAra bhagAyA evaM maNDapa banAne ke lie zAlmali kI lakar3I ke atyanta bhArI stambhoM ko akele ho uThAyA / isase kRSNa ke sAmathrya ke viSaya meM yazodA miHzaka ho gaI .. aura kRSNa ko vApisa lauTA liyA / mathurA vApisa Akara kaMsa ne zatrukA patA lagAne ke lie jyotiSI ke kahane para .. aiso ghoSaNA kara dI ki jo mere pAsa rakhI gaI siMhavAhinI nAgazayyA para ArUDha ho sake, . ajitajaya dhanuSya ko car3hA sake evaM pAMcajanya zaMkha phUka sake usako apanI manamAnIcIca pradAna kI jaaegii| aneka rAjA ye kArya siddha karane meM niSphala hue / eka bAra jISadhazA kA bhAI bhAnu kRSNa kA bala dekhakara unako mathurA le gayA aura vahA~ kRSNa ne tInoM parAkrama siddha kie| isase kasakI zakA prabala ho gii| kintu balarAmane zIghra hI kRSNa ko braja bheja diyaa| - kRSNa ko vinAza karane ke lie kaMsa ne gopa logo ko Adeza diyA ki yamunA ke hada meM se kamala lA kara bheMTa kareM / isa hada meM bhayaMkara kAliyanAga rahatA thaa| kRSNa ne hada meM praveza kara ke kAryAlaya kA mardana kiyA aura vaha kamala lekara bAhara AyA" / jaba kaMsa 9. trica. ke anusAra kRSNa ke parAkramoM kI bAta phailane se vasudeva ne kRSNa kI surakSA ke lie balarAma ko bhI nandayazodA ko sauMpa diyA / unase kRSNa ne vidyAeM sokhI / 10. trica0 ke anusAra jo zAGga dhanuSya car3hA sake usako apanI bahana satyabhAmA dene kI ghoSaNA kaMsane kI / aura isa kArya ke lie kRSNa ko mathurA ke jAne vAlA kRSNa kA sautelA bhAI anAvRSThi thA / 11. tric0 meM kAliyamardana kA aura kamala lAne kA prasaMga kaMsakI mallayuddhaghoSaNA ke bAda Ate trica0 ke anusAra kesa gopoM ko mallayuddha ke lie Ane kA koI Adeza nahIM bhejatA hai| kaMsa ne jo mallayuddha ke utsava kA prabandha kiyA thA usameM saMmilita hone ke lie kRSNa aura balarAma kautukavaza svecchA se calate haiM / jAne ke pahale jaba kRSNa snAna ke lie nA meM praveza karate hai taba kaMsa kA mitra kAliya Dasane AtA hai| taba kRSNa usako nAtha kara usake upara ArUDha hokara use khuba ghumAte haiM aura nirjIva sA karake chor3a dete haiN| For Personal & Private Use Only

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apabhraMza sAhitya meM kRSNakAvya ko kamala maiTa kie gae taba usane nandaputra ke sahita sabhI gopakumAroM ko mallayuddha ke lie upasthita hone kA Adeza diyA / apane bahuta se malloM ko usane yuddha ke lie tayAra rkhaa| kaMsa kA malina Azaya jAna kara vasudeva ne bhI milana ke nimitta se apane nava bhAIoM ko matharA meM bulA liyaa| balarAma goMkula gae aura kRSNa ko apane sahI mAta-pitA, kula Adi ghaTanAmoM se paricita kiyA / isase dRSTa ho kara kRSNa kaMsa kA saMhAra karane ko utsuka ho uThe / donoM bhAI mallaveza dhAraNa karake mathurA kI ora cale / mArga meM kaMsa se anurakta tIna asuroM ne kramazaH nAga ke. gadhe ke aura azva ke rUpa meM unako rokane kA prayAsa kiyA / kaSNa ne tonoM kA nAza kara diyA / mathurA ke magaradvAra para kRSNa aura balarAma jaba A pahuMce taba unake upara kaMsa ke Adeza se campaka aura pAdAbhara nAmaka do madamasa hAthI chore ge| balarAma ne campaka ko aura kRSNa ne pAdAbhara ko dA~ta ukhAike mAra ddaalaa| nagarapraveza karake ve akhADe meM aae| balarAma ne isAre se kRSNa ko vasudeva, anya dazAha. kaMsa Adi kI pahacAna krvaaii| kaMsane cANUra bhora muSTika ina do pracaNDa maloM ko kRSNa ke pAsa bhejA / kintu kRSNa meM eka sahasra siMha aura balarAma meM eka sahasa hAthI kA bala thA / to kRSNa ne cANUra ko bhIMca kara mAra DAlA aura balarAma ne muhika prANa mudhiprahAra se hara lie / itane meM svayaM kaMsa tIkSNa khaDga lekara sAmane bhaayaa| kRSNa ne lAga chIna liyA, kaMsa ko pRthvI para paTaka diyA, use pairoM se pakar3a kara patthara para pachAra kara mAra DAlA,'4 aura eka pracaNDa ahahAsya kiyA / bhAkramaNa karane ko khar3I huI kasakI senA ko balarAma ne maMca kA khaMbhA ukhAr3a kara prahAra karake bhagA diyA / kRSNa pitA aura svajanoM se milA / ugrasena ko bandhanamukta kiyA aura usako mathurA ke siMhAsana para phira se baitthaayaa| jIvadyazA jarAsandha ke pAsa calI gii| kRSNa ne vidyAdharakumArI satyabhAmA ke sAtha bhIra balarAma ne revatI ke sAtha vivAha kiyA / 12. trina meM sarpazayyA para ArohaNa aura kAliyamardana ina parAkramoM ke pahale jabaki kRSNa . gyAraha sAla ke the taba ye parAkrama karane ko bAta hai| trica0 ke anusAra kRSNa kI kasoTo ke lie jyotiSI ke kahane para kesa ariSTa nAmaka vRSabha ko, kezI nAma azva ko, eka khara ko aura. eka meSa ko kRSNa kI ora mejatA hai| ina saba ko kRSNa mAra DAlate haiM / jyotiSIne kasako kahA thA ki jo inako mAregA vahI kAliya kA mardana karegA, malloM kA nAza karegA aura kaMsakI bhI hatyA kregaa| 13. trica0 meM pAdAbhara' ke sthAna para 'padmottara' aisA nAma hai| 24. trica. ke anusAra prathama kasa kRSNa aura balarAma ko mAra DAlane kA apane sainikoM ko Adeza detA hai / taba kRSNa kUda kara maMca para pahu~catA hai aura kezoM se khIMca kara kaMsa ko nIce paTakate haiN| bAda meM caraNaprahAra se usakA sira kucala kara usako maNDapa se bahAra pheMka dete haiN| 15. trica0 ke anusAra satyabhAbhA kasa kI hI bahana thii| For Personal & Private Use Only

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54. harivallabha bhAyANI kasabadha kA badalA lene ke lie jarAsandha ne apane putra kAlayavana ko bar3I senA ke sAtha bhejA" / satraha bAra yAdavoM se yuddha karake anta meM vaha mArA gyaa| tatpathAt / jarAsandha kA bhAI aparAjita tIna sau chiyAlIsa bAra yuddha karake kRSNa ke bANoM se maaraa| gyaa| taba pracaNDa senA lekara svayaM jarAsandha ne madhurA ko ora prayANa kiyaa| usake bhaya se aThAraha koTi yAdava mathurA chor3a kara pazcima dizA kI aura cala paDe / narAsandha ne pIchA kiyA / vindhyAcala ke pAsa jaba jarAsandha AyA taba kRSNa kI sahAyaka deviyoM ne bhaneka citAe~ racI aura vRddhAoM ke rUpa lekara jarAsandha ko samajhA diyA ki usase bhAgate hue yAdava kahoM zaraNa na pAne se sabhI jala kara mara gae / isa bAta ko - sahI mAna kara jarAsandha vApisa lauTA / jaba yAdava samudra ke mikaTa pahuMce taba kRSNa aura balarAma kI tapazcaryA se prabhAvita indra ne gautama deva ko bhejA / usane samudra ko dara haTAyA / vahA~ para samudraviSaya : ke putra evaM bhAvi tIrthakara neminAtha kI bhakti se prerita kubera ne dvArakA nagarI kA nirmANa kiyA / bAraha yojana lambI, navaM yojana cauDo aura vajramaya koTa se yukta isa nagarI meM usane sabhI ke lie yogya AvAsa banAe aura kRSNa ko aneka devI zastrAstra, ratha bhAdi bheMTa kie| ... yahA~ para pUrvakRSNa caritra samApta hotA hai / uttarakRSNacaritra ke mukhya-mukhya viSaya isa prakAra hai : rUkmiNIharaNa, zAmbaprazamnautpatti, AmmavatopariNaya, kuruvaMzotpatti, draupadIlAbha, kIcakavadha. pradyamnasamAgama, zAmbavivAha, jarAsandha ke sAtha yuddha evaM pANDavakoravayaka kaSNa kA vijayotsava, draupadIharaNa, dakSiNamathurAsthApana, nemi-niSkramaNa, kevalazAnaprApti. dharmopadeza. vihAra, dvArAvatovinAza, kRSNa kI mRtyu, balarAma kI tapazcaryA, pANDavoM kI pravrajyA bhora neminirvAga / bhinna-bhinna apabhraMza kRtiyoM meM uparyukta rUparekhA se kisa-kisI bAta meM antara pAyA jAtA hai / yathAprasaMga usakA nirdeza kiyA jAegA / aba hama kRSNaviSayaka vibhinna apabhraMza racanAoM kA paricaya kareM / apabhraMza sAhitya meM aneka kaviyoM ko kRSNaviSayaka racanAe~ haiN| aura kaliyoM meM neminAtha kA caritra atyaMta rUTa aura priya viSaya thA aura kRSNacaritra usakA eka aMza hone se apabhraMza meM kRSNa kAvyoM ko koI kamI nahIM hai| yahA~ para eka ta trinA ke anusAra pahale jarAsandha samudravijaya para kRSNa aura balarAma ko usako sauMpa dene kA Adeza bhejatA hai / samudravijaya isa Adeza kA tiraskAra karatA hai| bAda meM jotiSI kI salAha se yAdava mathurA chor3akara cala dete haiN| jarAsandha kA putra kAla yAdavoM ko mArane ko pratijJA karake Ane bhAI yavana aura sahadeva ko sAtha lekara sAnoM kA pIchA karatA hai / rakSaka devatAoM dvArA die gae yAdavoM ke agnipraveza ke samAcAra sahI mAna kara vaha pratijJA kI pUrti ke lie svayaM agnipraveza karatA hai| For Personal & Private Use Only

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apanaza sAhitya meM kRSNakAcya rAmAnya paricaya dene kI dRSTi se kucha pramukha apabhraMza kaviyoM kI kRSNaviSayaka racanAoM kA 'vivecana aura kucha viziSTa aMza prastuta kie jAte haiN| inameM svayambhU, puSpadanta, haribhadra aura babala kI racanAe~ samAviSTa hai / dhavala kI kRti aprakAzita hone se usake bAre meM - saMkSepa meM kahA hai| 4. svayambhU ke pUrva navIM zatAbdo ke apabhraMza mahAkavi svayambhU ke pUrva kI kRSNaviSayaka apabhraMza racanAoM ke bAre meM hamAre pAsa jo jJAtavya hai vaha atyanta svalpa aura RTaka rUpa meM hai| usake lie ko AdhAra milate haiM ve itane hai- svayambhUkRta chandograntha 'svayambhUchanda' meM die gae kaDa uddharaNa aura nAma, bhojakRta 'sarasvatIkaNThAbharaNa' meM prApta ekAdha uddharaNa, hemacandrakRta 'sidahemazadvAnuzAsana' ke apabhraMza vibhAga meM die gae tIna uddharaNa aura kucha apabhraMza kRtiyomeM kiyA huA kucha kaviyoM kA nAmanirdeza / ___svayambhU ke purogAmiyoM meM caturmukha svayambhU kI hI kakSA kA samartha mahAkavi thA / aura sambhavataH vaha ajaina thA / usane eka rAmAyaNaviSayaka aura eka mahAbhArataviSayaka aise kama se kama do apabhraMza mahAkAvyoM kI racanA kI thI yaha mAnane ke lie hamAre pAsa paryApta AdhAra hai / usake mahAbhArataviSayaka kAvya meM kRSNacaritra ke bhI kucha aMza honA anivArya hai / kRSNa ke ullekhavAle do-tIna uddharaNa aise hai jinako hama anumAna kI kRtiyoM meM se lie hue mAna sakate haiM / kintu isase hama caturmukha kI kAvyazakti kA thor3A sA bhI saMketa pAne meM nitAnta asamartha hai" / caturmukha ke sivA svayambhU kA eka aura khyAtanAma pUrvavartI thA / usakA nAma thA govinda / 'svayambhUcchanda' meM die gae unake uddharaNa hamAre lie amUlya haiN| govinda ke jo chaha chanda die gae hai ve kRSNa ke bAlacarita viSapaka kisI kAvya meM se lie haezana 'par3ate haiN| anumAna hai ki isa pUre kAvya kI scanA kevala raDA nAmaka dvibhaMgI chanda meM huI hogii| aura sambhavataH usI kAvya se preraNA aura nidarzana pAkara bAda meM haribhadra ne mA chanda meM hI apane apabhraza kAvya 'neminAthacarita' kI racanA kI hogii| uddhata chanda kRSNa aura 17. vizeSa ke lie dekhie isa lekhaka kA lekha Caturmukha, one of the earliest Apabhramsa epic poets. Journal of the Oriental Institute, Baroda, grantha 7, aMka 3, mArca 1958, pRSTha 214-224 / / ...'svayambhacchanda' 6-75-1 meM kRSNa ke Agamana ke samAcAra se Azvasta hokara matharAre paurajanoM ne dhavala dhvaja pharahagaye aura isa taraha apanA hadayabhAva vyakta kiyA aisA abhiprAya hai|6-122-1 meM kRpa, karNa, aura kaliMgarAja ko evaM anya subhaToM ko parAjita karake arjana kRSNa ko jayadratha kA patA pUchatA hai aisA abhiprAya hai| inake alAvA 3... aura 6.35-1 meM arjuna kA nirdeza to hai kintu usake sAtha karNa kA ullekha hai. nahIM kRSNa kA aura mukhya bAta to yaha hai ki ye padya caturmukha ke hI mAnane ke lie koI nizcita AdhAra nahIM hai| For Personal & Private Use Only

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harivallabha bhAyANI rAdhA ke premaprasaGga viSayaka haiM / isI kAraNa govinda kavi kA kAvya janetara jAna par3atA hai| 'svayambhUgchanda' meM uddhata govinda ke sabhI chanda yadyapi mAtrAeM haiM, ye mUla meM raDAoM ke pUrvaghaTakake rUpa meM rahI hogI aisA jAna par3atA hai| yaha anumAna hama haribhadra ke 'neminAthacarita' kA bhASAra lekara lagA sakate hai evaM hemacandra ke 'siddhahema' ke kucha apabhraMza uddharaNoM meM se bhI hama kucha saMketa nikAla sakate hai| 'svayambhUchanda' meM govinda se lie gara mattavilAsinI mAtrAchanda kA udAharaNa kRSNabAlacaritra kA eka supasiddha prasaMga viSayaka hai / yaha prasaMga hai kAliyanAga ke nivAsasthAna bane hue kAhindI hada se kamala nikAla kara bheMTa karane kA Adeza, jo nanda ko kaMsa se diyA gayA thA / padya isa prakAra hai ehu visamau suThu Aesu pANaMtiu mANusaho, dihivisu sappu kAliyau / kesu vi mArei dhuu, kahiM gammata kaI kilau // (sva0cchaM0 4-10-1) 'yaha Adeza atIva viSama thA / eka ora thA manuSya ke lie prANaghAlaka dRSTiviSa kAliya sarpa, aura dUsarI ora thA Adeza ke anAdara se kaMsa se avazya prAptavya mRtyudaNDa to aba kahAM jAyA jAyaM aura kyoM kiyA jAya ?' ___govinda kA dUsarA padya jo ki matrakariNI mAtrAchanda meM racA huA hai rAdhA kI aura kRSNa kA premAtireka prakaTa karatA hai| hemacandra ke 'siddhahema' meM bhI yaha udaghRta huA hai (dekho8-4-422:5) aura vahIM kucha aMza meM prAcInatara pATha surakSita hai| isake alAvA siddhahama' 8-4-420 : 20 meM jo dohA uddhRta hai vaha bhI merI samajha meM bahuta karake govinda ke hI usI kAvya ke aise hI sandarbha meM race hue kisI chanda kA uttarAMza hai / "svayambhUbanda" meM diyA gayA govindakRta vaha dUsarA chanda isa prakAra hai (kucha aMza hemacandra vAle pATha se liyA gayA haiM / TippaNI meM pAThAntara die gae haiN|): ekkamekka1 jai vi joedi hari suTTha vi AareNa, to vi dehi nahiM kahiM vi raahii| . . .. ko sakkai saMvarevi, davaNaaNa NeheM paluTTA (sva0 chaM. 4-10-2) pAThAntara : (1) saba goviu, (2) joei, (3) suThTha savvAyarega, (4) de diTUThi, (5) DaiTa nayaNA, (6) nehiM, (7) paloTTau 'eka-eka gopI kI aura hari yadyapi pUre Adarase dekha rahe haiM tathApi unakI dRSTi vahIM mAtI hai jahA~ kahIM rAdhA hotI hai : sneha se jhuke hue nayanoM kA saMvaraNa kauna kara sakatA hai bhalA ? isI bhAva se saMlagna 'siddhahema' meM udaghRta dohA isa prakAra hai- hari naccAviu praMgaNai, vimhai pADiu lou / evahiM rAha-paoharahaM, jaM bhAvai ta hou // For Personal & Private Use Only

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40 apabhraMza sAhitya meM kRSNakAvya - 'hari' ko apane ghara ke prAMgaNa meM macAkara rAdhA ne loMgo ko vismaya meM gala diyA / bhaba to gadhA ke payodharoM kA jo honA ho so ho / ' hemacandra ke 'triSaSTizalAkApuruSacaritra' (8,5) meM kiyA gayA varNana isase tulanIya haigopiyoM ke gIta ke sAtha bAlakRSNa nRtya karate the aura balarAma tAla bajAte the / 'svayambhUcchanda' meM uddhRta bahurUpA mAtrA ke udAharaNa meM kRSNaviraha meM tar3apatI huI gopI kA varNana hai / pada isa prakAra hai ra pAlI thamahaM, pambhAreM toppiNu NaliNidalu, harivioa-satAve tattI / - phala bhaNNuhi pAviyau, karau daiu jaM kiMpi rucaI // (4.1.1.1) : kRSNaviyoga ke saMtApa se tapta gopI unnata stanapradeza para nalinIdala tor3a kara rakhatI F / usa mugdhAne apanI karanI kA phala pAyA / aba daiva cAhe so kareM / ' mAnoM isa se hI saMlagna ho aisA mattabAlikA mAtrA kA udAharaNa hai kamalakumuANa ekka uppatti - sasi tovi kumuAarahaM, dei sokkhu kamalahaM divAaru / pAvijjai avasa phalu, jeNa jassa pAse Thaveiu // (sva0 ccha0 4-9-1) 'kamala aura kumuda donoM kA prabhavasthAna eka hI hote hue bhI kumudoM ke lie. candra evaM kamalo ke lie sUrya sukhadAtA hai / jisane jisake pAsa dharohara rakhI ho usako usI se apane karmaphala prApta hote haiN|" - mattamadhukarI prakAra kI mAtrA kA udAharaNa sambhavataH devakI kRSNa ko dekhane ko AI usI samaya ke gokulavarNana se sambandhita hai / mUla aura anuvAda isa prakAra hai-, . ... ThAmaThAmahi ghAsasaMtuTTha - rattihiM parisaMThiA, romaMthaNavasacaliagaDaA / dIsahiM dhavalujjalA, joNDANihANAi va gohaNA // (svacchaM0 8-9-5). 'sthAna-sthAna para rAtri meM vizrAnti ke lie Thahare hue aura jugAlI meM jabar3e hilAte hue gaudhana dikhAI dete hai - mAnoM jyotsnA ke ghavalojjavala puna / ' .. ina padyoM se govinda kavi kI abhivyakti kI sahajatA kA tathA prakRticitraNa aura bhavacitraNa kI acchI zakti kA hameM thor3A sA paricaya mila jAtA hai / yaha ullekhanIya hai ki bAI.ke.bAlakRSNa kI kroDAoM ke jana kaviyoM ke varNana meM kahIM gopiyoM ke viraha kI tathA rAdhAsambandhita praNayaceSTA kI bAta nahIM hai| dUsarI bAta yaha hai ki mAtrA yA rahA jaisA makula chanda bhI dIrgha, kathAtmaka vastu ke nirUpaNa ke lie kitanA sugeya evaM layabaddha ho + 1, rahosa ke prasiddha dohe kA bhAva yahAM para tulanIya hai-- 'jala meM base kamodanI, caMdA vase akAsa / bo AhiM ko bhAvatA, so tAhiM ke pAsa // For Personal & Private Use Only

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- harivallabha bhAyANI sakatA hai yaha bAta govinda ne apane saphala prayogoM se siddha kI hai| Age calakara haribhadra se imI kA samarthana hogA / aura choTo racanAoM meM to raDDA kA pracalana paMdraha--sobA atAbdI taka rahA hai|' . . 5. svayambhU navIM zatAbdI ke mahAkavi svayambhU ke do apabhraMza mahAkAvyoM meM se eka thA 'harivaMza purANa' yA 'ariSTanemicaritra' ('ritttthnnemicriu')| yaha sabhI upalagna kRtiyoM meM prAcInatama apabhraza kRSNakAvya hai| aThAraha sahasa zloka jitane It vistAra yukta isa mahAsAmya ke 112 sandhiyoM meM se. 99 saMdhi svayambhU viracita haiN| zeSa kA kartRtva svayambhU ke putra tribhuvana kA aura paMdrahavIM zatAbdI meM hue yazaHkIrti bhaTTAraka kA hai / harivaMza ke cAra kANa isa prakAra 1-yAdavakANDa (13 sandhi), kurukANa (19 sandhi), yuddhakANDa (60 sandhi) uttarakANa (10 sndhi)| kRSNa janma se le kara dvArAvatI-sthApana taka kA vRttAnta yAdavakANDa ke cAra se le kara ATha sandhi taka calatA hai| svayambhU ne kucha aMzoM meM jinasena vAle kathAnaka kA, to anyatra vaidika paramparA pAle kathAnaka kA anusaraNa kiyA hai| kRSNa janma kA prasaMga svayambhU ne isa prakAra prastuta kiyA hai (sandhi 4, kaDavaka 12): 'bhAdrapada zukla dvAdazI ke dina svajanoM ke abhima na ko prajvalita karate hue asuravimardana janArdana kA (mano kaMsa ke mastaka zUla kA) janma huA / jo sau siMhoM ke parAkrama se yukta aura atulabala thA, jinakA vakSaHsthala zrIvatsa se lAMchita thA, jo zubha lakSaNoM se alaMkRta evaM aMka sau ATha nAnoM se yukta thA, aura jo apanI dehaprabhA se AvAsa ko ujvala karatA thA, usa madhupathana ko vasudeva ne uThAyA / baladeva ne upara chatraM rakhate hue usakI barasAta se rakSA ko / nArAyaNa ke caraNAMguSTha kI Takkara se pratolI ke dvAra khula 1. 'siddhahema' 8-4-391 isa prakAra hai ittauM goppiNu sauNi thiu, puNu dUsAsaNu broppi / to hauM jANau eko hari, bai maha bhaggaI broppi // 'itanA kaha kara zakuni raha gayA / aura bAda meM duHzAsana ne yaha kahA ki mere sAmane A kara, jaba bole to maiM jAnU ki hari aisA hai'| isameM artha kI kucha aspaSTatA hote hue bhI itanI bAta spaSTa hai ki prasaMga kRSNaviSTi kA hai| saSTa rUpa se yaha koI purAnI mahAbhArata viSayaka racanA meM se liyA gayA hai| 2. mallaveza meM mathurA pahu~cane para mArga meM kRSNa dhobI ko lUTa letA hai aura sairandhI se vilepana balajorI se lekara gopasakhAoM meM bAMTa detA hai-ye do praMsaga hindU paraMparA kI hI kRSNa kathA meM prApta hote haiM aura ye svayambhU meM bhI haiN| For Personal & Private Use Only

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apabhraMza sAhitya meM kRSNakAvya gae / dIpikA ko dhAraNa kiyA huA eka vRSabha usake Age Age calatA thA / usake Ate hI yamunAjala do bhAga meM vibhakta ho gayA / hari yazodA ko sauMpA gyaa| yazodA kI putro ko badale meM le kara haladhara aura vasudeva kRtArtha hue / gopabAlikA ko lA kara unhone kaMsa ko de dii| magara vindhyAcala kA adhipa yakSa usako uThA kara vindhya meM le gyaa| jaise gagana meM bAlacandra kA varNana hotA hai, vaise goSTha ke prAMgaNa meM govinda kA saMvardhana hotA rahA / jese kamalasara meM svapakSa-maNDana, nirdaSaNa koI rAjahaMsa kI vRddhi ho vaise hI harivaMza-maNDana, kaMsakhaNDana hari nanda ke ghara vRddhi pAte rhe| isake bAda ke kaDavaka meM kRSNa kI upasthiti ke kAraNa gokula kI pratyeka viSaya meM ko zrIvRddhi evaM mathuga kI zrIhonatA huI usakA nirUpaNa hai / Amane sAmane AtI haI paMktiyoM meM gokula aura mathurA ina donoM sthAnoM kI paraspara viruddha paristhitiyAM grathita kara ke yaha nirUpaNa kiyA gayA hai| pAMcavIM sandhi ke prathama kaDavaka meM bAlakRSNa ko niMda nahIM AtI hai aura ve akAraNa rotA hai isa bAta eka sundara utprekSA ke dvAga prastuta kI gaI hai / kavi batAte hai ki kRSNa ko isa cintA se niMda nahIM AtI thI ki pUtanA, zakaTAsura, yamala rjuna, kezI, kAliya Adi ko apanA parAkrama dikhAne ke lie kaba taka pratIkSA karanI hogii| isake bAda ke kaDavaka meM sote hue kRSNa kI ghuraghugahaTa ke pracaNDa nAda kA varNana hai| pAMcavIM sandhi ke zeSa bhAga meM bAlakRSNa ke pUtanAvadha se lekara kamala lAne ke lie kAlindI ke ida meM praveza karane taka kA viSaya hai| chaThI sandhi ke Arambha ke cAra kaDavaka kAliyamardana ko die gae hai| zeSa bhAga meM kaMsavadha aura satyabhAmAvivAha hai| ___ svayambhU kI pratibhA kAvyAtmaka paristhitiyoM ko cunane ke lie satata jAgarUka thii| kAliyamardana viSayaka vaDavakoM se svayambhU kI kalpanA kI uDAna kI evaM varNana-sAmarthya kI hama acchI jhalaka pAte haiN| vaha aMza mUla aura anuvAda ke sAtha isa prakAra haimusumariyamAyAsaMdaNeNa kkhijjA maThaNa aNadaNeNa bhalivalayajalayakuvalayasavaNNa ravibhajhyae gaNisi tAla NisaNNa' gaM suhavaraMgaNarobharA ___.. NaM baDma yaNakaDhaNivihAi iMdaNIlamaNibhariya khANiNaM kAliyAhibhahimANahANi - tokAle NihAlA Aya sambagAmINa gova'cAyava sagava .. " thiya bhAvaNa deva dharittimagge joijjai sAhasu surehiM sagge'ADohiu daNataNumahaNeNa pauNAdahu devANaMdaNeNa . 'selohiya jalayara balu visaha NI sariu sappu pasariyamaraTu kaisaDa kAliDa kAliMdajAlu aMdhArIhayau sabdu tiNNi vi miliyaI kAlAI kAI NiyaMtu NihAlAI ... (0.6, 20 1) For Personal & Private Use Only

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harivallabha bhAyANI 'mAyAzakaTa ke saMhAraka janArdana ko bhramaskula, megha aura kuvalaya ke varNako dhAraNa karane vAlI yamunA dRSTigocara huI, mAnoM sUrya-bhaya se bhUsala para bhA kara nizA baiTha gaI ho| mAnoM vasudhAsuMdarI kI romAvali, yA indranIlamaNi se pUrNa khAni, yA to kAliyanAga kI mAnahAni / usa samaya sabhI grAmINa gopajana evaM garviSTha yAdava kRSNa ke parAkrama dekhane ko. Ae / deva bhI antarIkSa evaM svarga meM Thahara kara kRSNa kA sAhasa dekha rahe the| dAnavamardana . devakInaMdanane yamunA kA hrada vikSubdha kara DAlA / sabhI jalacaroM meM khalabalI maca gii| alagazi chinnavicchinna ho gayA / garviSTha sarpa bAhara nIkala aayaa| kRSNa, kAliya evaM kAlindIjala tIno zyAma padArtha eka dUsare meM samilita ho ge| saba kucha kAlAkaluTA.ho gayA / aba dekhanevAle kyA dekheM ?' uddhAiu visaharu visamalIlu kalikAlayatarauddasIlu kAliMdipamANapasAriyaMgu vivarIyacaliyajalacarataraMgu vipphuriyaphaNAmaNikiraNajAlu phukkArabhariyabhuvaNaMtarAlu muhakuharamaruddhayamahihariMdu . jayaNaggijhulukkiyaamarabiMdu visadUsiu jauNAjalapavAhu avagaNiyapaMkayaNAhaNAhu . dappuDhuru uddhaphaNAlicaDu NaM sarie pasAriu vAhudaMDu / uppaNNau paNNau ajau kovi paharijjahi NAha NisaMku hovi to visamavisuggAruggameNa hari vediu uri urajaMgameNa pauNadahe ekku muhuttu kesau salIlakIla kara rayaNAyare maMdaru NAI visaharavediu saMcaraha (saM0 6, ka. 2) huA viSadhara kRSNa ke prati lapakA / kaliMkAla bhaura kRtAnta se raudra kAliyane kAlindI jitanA aMga phailAyA / jalacara aura jalataraMga pratApagamana karane lge| usake phaNAmaNi se kiraNajAla kA visphuraNa hone lagA / phutkAra se baha bhavanoM ke bhaMtarAla ko bhara detA thaa| usake mukhakuhara se nikalate hue niHzvAsoM kI sapaTa se pahAra bhI kAMpate the| usakI dRSTi kI AMgnajvAlA se devagaNa bhI jalate the| usake viSa se yamunA kA jalapravAha duSita ho gayA / kRSNa ko avagaNanA kara ke darjeddhata kAliyane pracaNDa phaNAvali ko U~cA utthaayaa| mAnoM yamunAne apane bhujadaNDa pasAre / 'yaha koI ajeya pannAga utpanna huA hai| usa para he nAtha, niHzaMka hokara prahAra karoM' taba ugra viSavamana karate hae uragane hari ke uraHpradeza ko lapeTa liyA / yamunAhada meM eka muharta kezava alakrIDA karane lage / viSadhara se veSTita hue ve sAgara meM mandarAcala kI taraha ghUmane lge|' Niyakatie asuraparAyaNeNa kAliu Na dilR NArAyaNeNa uppaNNa bhati Na NAu gAu vipphuriu tAma phaNamaNiNahAu ujjoeM jANiu parama cAru / ko guNehi Na pAviDa beSaNAra .. to samarasahAsahiM dummaheNa bhuyadaMDa pasAriya mahumaheNa For Personal & Private Use Only

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apabhraMza sAhitya meM kRSNakAvya paMcAMgulipaMcaNahujjalaMga Na phuriyaphaNAmaNi varabhuaMga taho tehiM dhariujai phaNakaDappu Nau NAyai ko kara kavaNu sappu kkhijjai Navara viNiggameNa ujjalau leiu sirisaMgameNa vihaDapphabu paDa-phaDa-jhaDau deha gADiyaho visaharu kiM karei ghattA NatyeSiNu mahumaheNa kAliu Na iyale bhAmiyau / bhIsAvaNu kesaho NAI kAlada'Du uggAmiyauM // (saM0 6, ka. 3) ___'AnI zyAma kAnti se nArAyaNa kAliya ko dekha na pAyA / unako bhrAnti ho gaI isase nAga cInhA na gayA / itane meM kAliya ke phana ke maNigaNa jhlmlaae| isa udyota se nAga. ko acchI taraha pahacAna liyA / 'guNoM se kauna bhalA bandhana nahIM pAtA ! aba sahasroM saMgrAmoM ke vora madhumathana ne pAMva nakhoM se ujjavala banI huI pAMca ugalI bAle apane bhujadaNDa pasAre / mAno ve phaNAmaNi se sphurita bar3e bhujaga ho| inase unhoMne kAliya ke phaNAmaNDala ko pakar3a liyA / aba kauna-sA hAtha hai aura kauna-sA sapeM isakA patA nahIM calatA thA / kintu zrIpatine.......nikalane se pA liyA (1) / kAliya vyAkula hokara phaNoM se phaTaphaMTa jhapaTa dene lgaa| magara viSadhara 'gAruDo' ko kyA kara sakatA thA ? kRSNa ne kAliya ko nAtha kara AkAza meM ghumAyA / mAnoM kaMsa ke prati bhISaNa kAladaNDa uThAyA / ' maNikiraNakarAliyamahihare hiM visaharasiharasilAyalehi NiyavatthAI ki samujjalaI . piMjariyaI auNamahAjalAI / tahiM hAu gAu NaM gillagaha puNu toDiu ka'caNakamalasA 'viNivaddha bhAruppari vihAi bIyau govaddhaNu dharita gAI nIsarita jaNaddaNu daNuvimahi NaM mahaNe samasae madaradi taDi bhAru paDicchiu halahareNa Na bijuju siyajalahareNa godaI samappeva AyareNa sambhA bhAyaru bhAyareNa ghacA ble| ahimuhu etu hari avaru Diu tahiM samajha siyarakkheM tAmasapakkhu NAi paha tari pADavai / (sa0 6, ka. 4) ___ 'sarpa ke ziromaNiyoM ko kiraNoM se parvata vyApta ho gae / unase kRSNa ke vastra samujvala ho gae aura yamunA kA jalarAzi raktavarNa / vahA~ kRSNane mada se Ada' gaNDavAle gamarAja kI nAI snAna kiyA aura kAMcana kamala kA jUhA toda liyA / zira para rakhA huA pUlA aisA bhAtA thA mAnoM dUsarA govardhana uThAyA ho / zatru ke mardana karane vAle janArdana bAhara nikale / mAnoM samudramaMthana ko samApti karake bAhara nikalA huA mandarAcala / kinAre para haladhara ne kRSNa se bosa le liyA / mAnoM zveta bAdala ne vidyatpuja ko apanA liyA / For Personal & Private Use Only

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harivallabha bhAyANI use gvAloM ko sauMpa kara usa samaya baladeva ne saMmukha Ate hue Apane bhAI kR bhAliMgana diyA / mAnauM pratipadA ke dina zuklapakSa kRSNapakSa ko bheTA / ' saMgrAma ke varNanoM meM svayambhU kI kalA pUrNa rUpa se prakaTita hotI hai / 'harivaMza' meM yuddhakANDa sATha sandhiyoM ke vistAra ko bhara kara phailA hai / kRSNa ke bAlacaritra meM bhI yuddhavarNana ke kaI avasara svayambhU ko mila jAte hai| 6-12 meM muSTika aura cANUra ke sAtha kRSNa aura balabhadra ke mallayuddha ke varNana meM madhyayamakoM ke prayoga se citra meM tAdRzatA siddha huI hai| dekhie :- . dappuddhara duddhara ettahe vi uhiya muThiyacANUra ve vi Na Niggaya diggaya gillagaDa __Na sAsahu kasahu vAhudaDa apphoDiu sarahasu sAvaleu raNu maggiu vaggiu Na miu kheu asataNhaho kaNhaho eku mukku uddAmaho rAmaho avaru dukku .. subhayaMkara-Dhaukara-kattarIhiM NIsaraNehiM karaNehiM bhAmarIhiM karachohehiM gAhehiM pIDaNehiM avarehiM aNeyahiM koDaNehi ityAdi / ''itane meM darzobura evaM dughara cANUra aura muSTaka donoM uTha kara khar3e hue / madamatta gajoM kI taraha sAmane A gae / mAnoM AzAnvita kaMsa ke bAhudaNDa / harSa aura darpa se AsphoTana karate hue unhone chalAMga mAra kara yuddha kI satvara mAMga kii| yaza / tRSNA vAle kRSNa ke prati eka ko chor3A gayA aura uddAma balarAma ke pAsa dUsarA pahu~ca gayA / bhayaMkara 'daukara' 'kartarI' 'niHsaraNa' Adi dAMvapeca ke prayoga karate hue, bhaMvarI ghUmate hae, mukkebAjI, pakar3anA, pIsanA Adi aneka mallakrIDA ve karate the| 9-14 meM gaNavRtta pRthvI kA viziSTa prayoga milatA hai / pratyeka paMkti ATha aura naSa akSaroM ke bhAgoM meM vibhAta kI gaI hai aura ye do khaNDa yamaka se baddha kie gae hai| dolaya kI radhi se pariNAma sundara AyA hai| dekhie : kayaM Navara saMjuya. siyasarAsaNIsa ju sarappaharadAruNa' NavapavAlakadAruNa samucchaliyalohiya suravilAsiNolohiye paNacca vayaruMDaya bhamiyabhUribheru'DayaM ityaadi| 'umake pazcAt yuddha pravRtta huA-jisameM tIkSNa dhanuSya prayukta hote the, kaThora pahAroM ke kAraNa jo dAruNa thA, jisameM abhinava koMpala jainA lAla loha uchalatA thA, jo apsarAbhoM ko AkarSita karatA thA, jisameM kaMbaMdha nAcate the, aura aneka bheruDa paMcha' ghUmate the....' aise hI pRthvI chanda kA viziSTa prayoga 9-18 meM kiyA gayA hai| ___kisI eka nirUpya viSaya saMbandhita dIrgha varNanakhaNDo kI racanA ke atirikta svayambhU kI bhora eka vizeSatA bhI lakSyayogya hai| kaDavakanibaddha bhAva kI parAkA bahA para For Personal & Private Use Only

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apabhraMza sAhitya meM kRSNakAMgya bhanyasthAnIya pattA meM saghatI hai vahAM parAkASThA koI tIkSNa upamA, utprekSA yA rUpaka baise alakAra se abhivyajita kI gaI hai| kaDavaka kA samApana eka ramaNIya bimba se hotA hai, bo citta ko eka smaraNIya mudrA se aMkita kara detA hai / ina parAkASThAdyotaka bimboM meM svayambhU kI maulika kalpanAzakti ke abhinava udayana evaM pragalbha vilAsa ke darzana hama pAte 1 aura unakI sUkSma radhi se hama kaI bAra prabhAvita ho jAte haiN| kucha udAharaNa dekhie yaha hai pUtanA ke viSalipta stana ko donoM hAthoM se pakar3a kara apane muMha se gAte hue bAlakRSNa : so thA dhAradhavA hariuhayakaratare bhaaiyu| pahilArau asurAhayaNe Na pacajaNNu muhi lAiyau // . 'pUtanA kA duradhadhArA se dhavala stana hari ke donoM karoM meM aisA bhAtA thA vaisA asurasAhAra ke lie pahale pahale muMha se lagAyA huA pAMcajanya / ' chaThave sandhi ke sAtaveM kaDavaka ko dhattA meM dhobI se lUTa lie gae vastroM meM se baladeva zyAma vastra evaM kRSNa kanakavaNa vastra jo khIMca lete haiM usa ghaTanA kaMsa ke kAlA aura pIlA pitta khIMca lene kI bAta se utpre kSata kI gaI hai| vaise hI dAsI se vilepana dravya aura usako gvAloM meM bAMTa dene kI bAta cANUra ke jIvita ko bA~Ta dene kI utprekSA se varNana kI gaI hai| akhAr3e meM idhara udhara ghUmate hue kRSNabaladeva kA prekSakoM para ko prabhAva chA gayA usakA varNana isa taraha huA hai : jahAM jahAM baliSTha kRSNa evaM baladeva ghUmate the, ve raMgasthala unakI dehaprabhA se kRSNavarNa evaM pAMDuravarNa ho jAte the| aparAjita aura jarAkumAra ke yuddha ke varNana meM aka udbhaTa utprekSA dI gaI hai : vidhatehiM tehi bANaNiraMtara gayaNu kiu / . . . sabhuvaMgamu savvu upare NaM pAyAlu thiu // .. (7-7, pattA) . 'bhanyonya ko bIMdhate hue unake vANoM se gagana niraMtara chA gayA / mAnoM sarpasahita sArA pAtAla U~ce uTha kara sthagita ho gayA ho / ' dvArikAnirmANa ke lie bhUmipradAna karatA huA samudra piche haTa jAtA hai yaha bAta bhI eka sundara utprekSA se prastuta kI gaI hai : lakSya lacchi kotthuhu uddAliu, evahiM kAI karesai Aliu / eNa bhaeNa jaloharaudde, diNNa yatti NaM harihe samuDhe // ( 7-8, AdighattA) 'pahale kaustubhamaNi jhapaTa liyA thA aura lakSmI bhI le gae the / aba na mAlUma ' aura kauna-sI zarArata kareMge - mAnoM isa bhaya se samudra ne hari ko jagaha de dii| kvacita kahAvatoM aura saduktiyoM kA bhI samucita upayoga milatA hai jaise ki For Personal & Private Use Only

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halillama bhAyANI * jehau diNNau Asi taM tehau samAvaDai / - kiM vayae koddavadhaNNe sAlikaNisu phale nnivddaa|| (6-14, pasA) 'basA dete vaisA pAte / kyA kodoM bone se kabhI dhAna na pajegA ?' hassoha vi sohA rUvavai / (7-1-4 ) 'rUpasvinI zobhAhIna hone para bhI suhAtI hai|' 6. puSpadaMta caturmukha aura svayambhU ke stara ke apabhraMza mahAkavi puSpadantaracita 'mahApurANa (racanAkAla hai. 957-965) ke sandhi 81 se 92 jaina harivaMza ko die gae hai / saM. 84 meM vAsudevajanma kA, 85 meM nArAyaNa kI bAlakrIr3A kA aura 86 meM kaMsa evaM cANUra ke saMhAra kA viSaya hai / varNanazailI, bhASA aura chandoracanA saMbandhita asAdhAraNa sAmarthya se saMpanna puSpadanta ne ina tIna . sandhiyoM meM bhI kucha utkRSTa kAvyakhaNDa nirmANa kie haiM / usane kRSNa kI bAlakrIDA kA nirUpaNa .. purogAmI kaviyoM se adhika vistAra aura satarkatA se kiyA hai / pUtanA, azva, gardabha evaM yamalArjuna ina upadravoM ke varNana meM (85-9,10,11) aSTamAtrika, tathA varSAvarNana meM (85-16) paMcamAtrika aise laghu chandoM kA usa kA prayoga saphala rahA hai aura isa laya kA sahArA lekara cAha dhvanicitra nirmANa karane kI apanI zakti kI vaha pratIti karAtA hai / 85-12 meM prastuta ariSTAsura kA citra evaM 85-19 meM prastuta gopavezavaNena bhI dhyAnAhe hai| puSpadanta ke yuddhavarNana-sAmarthya ke acche udAharaNa 86-8 meM (kaMsakRSNayuddha) aura 88-5 se lekara 15 taka (kRSNajarAsandhayuddha) hama pAte haiM / kucha cune hue aMza nIce die hai / navajAta kRSNa ko le jAte hue vasudeva kA kAlindIdarzana :tA kAliMdi tehiM avaloiya maMtharavAggiAmiNI / ' gaM sarisSu dharivi thiya mahiyali ghaNatamajoNi jAmiNI // NArAyaNataNupahapaMtI viva aMjaNagirivariMdakaMtI viva mahimAyaNAhiraiyarehA iva bahutaraMga jarahayadehA iva mahiharadaitidANarehA iva kaMsarAyajIviyamerA iva vasuhaNiloNamehamAlA iva sAma samuttAhala bAlA iva NaM sevAlavAla dakkhAlai. pheNuppariyaNu NaM tahi gholAi geruyarattu tou rattavaru NaM parihA cuyakusumehiM kavvurU kiNarithaNasihAi NadAvai vibhabhehiM NaM saMsau pAvai phaNimaNikiraNahiM NaM uboyi| kamalacchihiM NaM kaNhu paloyaha bhisiNitathAlehi suNimmala uccAiya NaM jalakaNataMdula 1. yaha utprekSA svayambhU se prabhAvita hai / dekhiye, 'riNemicariya', 6 1-2. For Personal & Private Use Only

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khalakhalati NaM maMgala ghosai u kAsu vi sAmaNNahu aNNahu vihiM bhAihiM thakkar3a tIriNijalu darisiu~ tAi talu pekkhivi mahumahaNu apabhraMza sAhitya meM kRSNakAvya ghantA kiM bAjahu~ gAhahu rattI mayaNaM sari vi vigutI mAnoM kRSNa kI dehaprabhA kI dhArA / mAmoM aMjanagiri kI AbhA / 'taba maMthara gati se bahatI hui kAlindI unako dRggocara huI / mAnoM dharAtala para avatIrNa kharitArUpadhAriNI timiraghana yAminI / NaM mAhavahu pakkhu sA posa avaseM tUsai jauNa savaNNahu NaM dharaNArivihattaDaM kajjalla mAnoM dharAtala para khIMcI huI kastUrIrekhA / mAnoM girirUpI gajendra kI madarekhA / mAnoM kaMsarAja kI AyuH samApti-rekhA / - mAnoM gharAtala para avasthita meghamAlA / S vRddhA sI 'taraMga bahula' / zyAmA sI muktAphalavatI / vaha zaivAlabAla pradarzita kara rahI hai| phenakA uttarIya phaharA rahI hai / geruA jalakA, byuta kusumoM se karburita raktAMbara pahane huI hai / kinnarIrUpI stanAgra dikhalA rahI hai / vibhramoM se saMzayita kara rahI hai / sarpamaNi kI kiraNoM se udyota kara rahI hai / kamalanayana se kRSNa ko mAnoM nihAra rahI hai / ('mahApurANa', 85-2) kamalapatra ke thAla meM (svaccha jalakaNa ke bhakSata uchAla rahI hai / kalakala zabda karatI maMgala gA rahI hai / mAnoM kRSNa ke pakSa kI puSTi kara rahI hai / yamunA sacamuca 'savarNa' para prasanna hotI hai, jaisoM taisoM para nahIM / phalarUpa usakA jala do vibhAgoM meM ba~Ta gayA, mAnoM dharArUpI nArI ne kAjara lagAyA / * kyA hama samajheM ki apane priyatama para anurakta hokara usane apanA nimnapradeza prakaTa kiyA 1 madhumathana ko dekhakara nadI yamunA bhI madanavyAkula ho uThI / For Personal & Private Use Only

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ariSTAsura kA saMhAra dui aDideu visave seM siMgajuyalarsa cAliyagirisilu saravara ve jAla viluliyagaDa jaya ravapUriyabhuvaNaM taru sahakiraNaNiyaraGkuzru kira zaDa NiviDa dei bhAvepizu moTi kaMThu kati virsida hu bhohAmiyadhavalu dhavalANa vidhatralu varSAvarNana : govardhanoddharaNa : kAle jaMte chajjai pattau hari gouli dhavalahiM gijjai / kuladhavala keNa Na thunijjai // ('mahApurANa', 85-12-8 se 16) 'madhurAdhipati kaMsa ke Adeza se duSTa ariSTAsura vRSabha ke veza meM AyA / yugala goM se girizilA ukhAdatA huA, khara khurAgra se dharaNItala khodatA huA, gale se hilateM - Dulate sarovara-vallI ke jAloM se yukta, padAghAta se jalasthala ko kampita karatA huA, garjanArava se bhuvanAMtarAla ko bhara detA huA, mahAdeva ke mandigaNa ko bhI bhaya se jvarita karatA huA, candrakiraNoM se bhI adhika zubhra, kailAsa ke ucca zikhara kI zobhA ko dhAraNa karatA huA vaha vRSabharAja Akara gaharI coTeM de na de itane meM hI kRSNa ne apane bhundaMDoM se usakA kaMTha kar3akar3AhaTa ke sAtha mor3a diyA / govinda kA pratimalla tIna bhuvanoM meM bhI kauna ho sakatA hai bhalA ? dhavala ko parAjita karanevAlA hari gokula meM bhavala-gItoM meM gAyA jAtA hai / bhavaloM meM bho jo dhavala hai usa kuladhavala kI stuti kauna nahIM karatA 1* hariyaDa pIyalaDaM uSari paoharaha diu iMdacAu puNupuNu vaNavAraNa besi NaM harivallabha bhAyANI jalu galai dari bharai taDayaDai giri phuDai mada calai ghantA ghantA 7 dubaI Au mahura vaiAe / kharakhuraMga ukkhaya caraNIyatu / kama zivAya kaMpAviyajalathala | haravaraSasahaNivaha kayabhayacara / gurUkelAsa siharasohAhaba / tA kaNhe bhuyadaMDe leppinu / ko parimala tijagi goviMdaDu / AsAda' gami vAsAratau er jaNa suru | NaM Nalacchihi uppariyaNu // aha pathiyahiyayamevaho / maGgalatoraNu NahaNikeyaho // jhalajhalar3a sari sarai taDi paDai sihi NDai tara dhulai For Personal & Private Use Only

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apabhraMza sA apabhraMza sAhitya meM kRSNakAvya meM kRSNakAvya jalu thalu vi goulu vi Niru rasiu bhayatamiu tharaharaha kira maraha bA tAba thirabhAvadhIreNa vIreNa saralacchi jayalacchitaNheNa kaNheNa surathuiNa bhuyajuiNa vitthariu uddharita mahiharau dihiyarau tamabaDiuM pAyaDi mahivivara phaNiNiyaru phuphphuvai visu muyai parighulaha calavalai taruNAI hariNAI taTThAI .. NaTThAi' .. kAya vaNayaraI. paDiyAI raDiyAI' cittAi cattAI .. hiMsAla caMgala caMDaI kaMDAI paravasaI dariyAI jariyAI ghattA govaddhaNapareNa gogomiNibhAru va joiu / giri govaraNa govaddhaNeNa uccAiu / . . ('mahApurANa', 86-15-10 se 12, 16-1 se 12) kucha samaya ke pazcat ASADha mAsa meM barasAta A kara sobhA de rahA / loga harita aura pIta varNa kA suradhanu dekhane lage / mAnoM vaha nabhalakSmI ke 'payodhara' para rahA huA uttarIya ho / pathikoM ke hRdaya vidAraka isa iMdracApa ko ve bArabAra dekhane lge| mAnoM vaha baganagaha para pamahastI ke praveza ke avasara para lagAyA gayA maMgala toraNa ho / bala malAla bAda se gira rahA hai| saritA bahata huI khoha ko bhara detI hai| tar3ataDA kara taDit paDatI hai| jisa se pahADa phaTatA hai / mayUra nAca rahA hai / taruoM ko ghumAtA pavana cala rahA / gokula ke sabhI jalasthala bhayatrasta ho kara tharatharAte hue cIkhane lge| unko maraNamaya mata dekha kara saralAkSI jayalakSmI ke liye satRSNa ghoravIra kRSNane suraprazasta pujyugala tAvarUI For Personal & Private Use Only

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harivallabha bhAyANI se vizAla govardhana parvata uThAyA aura logoM ko dhRti baMdhAI / aMdhakAra se bharA dubhA pAtAlavivara prakaTa huA, jisa meM phaNIndroM ke samUha phuphakArate the, viSa ugalate the, salasakate aura dhumarAte the / trasta hokara hirana ke zizu nAsane lage / kAtara banacara gira kara cillAne lage / hiMsaka cAMDAloMne caMda zara pheMka diye / paravaza tApasaloga bhayacarjara ho / utthe| gooM kA vardhana karane vAle govardhanane rAjyalakSmI kA bhAra asA samaja kara giri . govardhana uThAyA / ' 7. harimadra aura dhavala puSpadanta ke bAda apabhraMza kRSNakAya kI paramparA meM do aura kavi ullekhAI hai / ve haiM haribhadra aura ghavala / dhavalako kRti abhI to aprakAzita hai / phira bhI ekAdha hastalikhita prati ke AdhAra para yahAM usakA kucha paricaya diyA jAtA hai / haribhadra haribhadra kA 'neminAhacariu' (1160 meM racita) pradhAnataH raDA chanda meM nibaddha 3300 chandoM se bhI adhika vistAra kA mahAkAvya hai| unase 653 chanda samagra kRSNacarita: ko-kRSNajanma se le kara dvArAvatIdahana taka-diyA gayA hai / zatAdhika chandoM meM kRSNajanma se kaMsavadha taka kI kathA saMkSepa meM dI gaI hai| haribhadra kA chandaHprabhutva prazaMsanIya hai| prasaMgavarNana. vyakticitra, saMbhASaNa ityAdi ke liye vaha atyanta AsAnI se rakhI kA prayoga karatA hai| sarvatra prAsAdikatA pratIta hotI hai| kRSNacarita meM katipaya sthaloM para varNanameM utkaTatA sabhI mallayuddha ke prasaMga varNana meM harimadrakI kavitvazakti kA hama kucha paricaya pAte haiN| kRSNa kI hatyA ke lie bheje jAne vAle vRSabha, khara, turaga aura meSa ke citra bhI raha rekhAoM se aMkita kie gae haiN| dhavala kaSi dhavala kA 'harivaMzapurANa' gyArahavIM zatAbdI ke bAda kI racanA hai / samaya ThIka nirNIta nahIM huA hai phira bhI 'harivaMzapurANa' ko bhASA meM AdhunikatA ke cinha suspaSTa hai| usakeko pada evaM prayogoM meM hama AdikAlIna hindI ke saMketa pAte haiM / kAvyatva kI dRSTi se bhI dhavala apabhraza kaSiyoM kI dvitIya-tRtIya zreNi meM kahIM hai| hitopadeza aura armacaudha 'hariva'ca' kI zailI meM pragaTa haiM / phira bhI dhavala ke 'hariva'za' ke kucha aMzoM me re sandhiyoM ke vistAra ke phalasvarUtra aura viSaya evaM racanAzailA kI sudIrgha verI ke phalasvarUpa, kAzyatva kA pa'za avazya hai / aura kucha aMzo kI viziSTatA kI aya bhASA aura varNana meM praviSTa samasAmayika tatvoM ko denA hogii| ... - alakRta harivaMza kI 53, 54 aura 55 ina tIna sandhiyoM meM kRSNa janma se le kareM ra taka kI kathA hai / kathA ke nirUpaNa meM aura varNanoM meM bahuta kucha rUDhiM kA hI anu ska phira kahI para kavine apanI rAha liyA hai| For Personal & Private Use Only

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apabhraMza sAhitya meM kRSNakAvya navajAta kRSNa ko nandayazodA ke karo meM vasudeva se sauMpane kA prasaMga isa prakAra bhAMkita kiyA gayA hai :. naMda ke bacana suna kara vasudevaM gardaigardai kaNTha se kahane lagA, 'tuma merA sarvottama iSTamitra, svajana, sevaka evaM bAndhava ho / bAta yaha hai ki jo jo durjeya, aMtulabalaM, tejasvI putroM ne mere yahAM janma pAyA una saba kI kasane mere pAsa se kapaTabhAva se bacana le kara hatyA kara dii| taba iSTaSiyoga ke duHkha se taMga ho kara isa bAra maiM tumhArA Azraya DhuMDhatA AyA hai| bArabAra nanda ke karoM ko grahaNa karate vasudeva ne kahA-'yaha merA putra tumhe arpaNa kara rahA huuN| apane peTa ke putra kI nAI usakI dekhabhAla karanA / kasa ke bhaya se usakI rakSA karanA / kaMsane sabhI putroM kI hatyA karake hameM bAra bAra slAyA hai / devaniyoga ho to yaha kaccA ubaregA / yaha hamArA ikalautA hai yaha jAna kara isako samhAlanA / ' (53-4)' 53-17 meM naimittika bAlakRSNa ke asAmAnya guNalakSaNoM kA varNana karatA hai|log badhAI dene ko Ate haiN| yahA~ para janmotsava meM gvAlinoM ke nRtya ke varNana meM ba ne agnI samasAmayika grAma.Na vezabhUSA kA kucha saMketa diyA haiM: kA~su vi khabarI uppari nettI kAsu vi loI lakkhArattI kAsu vi sIse liMja dharAlI kosu vi cuNNI phullaDiyAlauM kAsu vi tugu mauDa suvisuTUThau oDhaNu vauDu kaha mi maMjiu sambaI sIse ratteM vaddhA rIrI ghaDiya kaDAkaDi muddA 'kisI ke khaMghe para nettI (netra vastra kI sAr3I) thI to kisI kI loI (kamalI) gakha gaisI raktavarNa thI / sira para dhAradAra 'liMja' (nIja 1) thI to kisI kI dhunarau pulavAlI thI / kisI ko kisI kA maura u~cA aura darzanIya thA to kisI kI audanI aura bIDa (eka prakAra kI kaMcukI 1) majIThI the / sabhI ke sira para lAla (vastrakhaNDa ?) baMdhA thA aura ye pItala ke kaDe, kaDiyAM bhaura mudrikA pahanI huI thiiN|' nandayazodA aura gopiyoM kA dulArA bAlakRSNa bhAgavatakAra se lekara asaMbhava kapiyoM kA aMtarasa kAmyaviSaye rahA hai, jisako parAkASTho hama sUra meM pAte haiN| to dhavasa ke maukA ke varNana ke do kaDaka hama 54 vIM sandhi meM se dekhe : (2) - bahulakkhaNaguNapuNNavisAlau jima jima viddhi Ai so vAla .. dhRhahi (2) hoi NirAriDa caMgau diThihiM amiyahiM siMcai aMgaTha vatiya monvaNattha jA vAlI jA jA kaNhu Niyaha govAlI jeNa miseNa teNa muhu jovai puNu ucchagi karivi thaNu dovaha 1. dhavala ke hAravaMza kA paricaya yahA~ para jayapura ke digambara atizaya kSetra bhImahAvIrathI / saMsthAna ke saMgraha kI hastaprati ke AdhAra para diyA hai / prati kA upayoga karane kI mainumati ke lie maiM zodhasaMsthAna kI RNI hU~ / prati kA pATha aneka sthala para mAba / For Personal & Private Use Only

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9 kaNihiM kaNNAharaNaI rUppiya gali kaMThu lliyAhiM soha' tihiM kaDiyali somAliya so sohai jima jima kaNDu vai su thAiya jA ucchagi lei karai, rayaNasuvaNNaNihANu jima, geha' gaNi bhamei dhukkaDa puNu laggivi unbhau ThAi khaNu "dhAvara jasoya vali vali bhAMti jima jima vAlau viddhihiM jAi .: ucchaMgi jasoyahiM puNu caDei kaDUDhebiNu loNiu khAi puNu DhAla maMthaNi mahiyaha bhariya bollaMta phullavayaNu piyai khaNi rovai hasai paDai dhAi goDa asesaha maMDaNa', akkha vaDUDha vairiyahauM, harivallabha bhAyANI karahiM kaya samaNohara hemiya dhAihiM ghugghurAhiM vajjaM tahiM vAlau samvaha maNuvi su mohai naMdajasoyahu tosu Na mAiya ghantA uSNaiya sarai, jANai Nimisu Na mukacai | puNNehiM tima, jaNajaNahu aiyAre' ruccara ( 3 ) 'ujjou NAI savaha' karei akkhuDai paDai gai diMtu puNu siru cuM vivi havase hasati avivi para ekkeka dei mathAdidu vihu~ karahiM lei jasoya raDai gavi gaNai khaNu tahiM khellai darisai vahu cariya koDe khullAvai jo Niyai puNu dhUlihiM taNu maMDevi ThAi ghanttA khillAvaNa N, ra ghavaha, suda suhAvau NaMdahu NaMdaNu jima jima viddhihi jAi jaNaddaNu "kaI lakSaNoM, guNoM aura puNyoM se yukta vaha zizu jaise jaise vRddhi pAtA gayo baise vaha atIva suMdara hotA gayA / gopiyA~ usake aMgoM ko amRtadRSTi se siMcita karatI thIM / zro kisI taruNI ke dRSTipatha meM kRSNa AtA thA vaha kisI nimitta se usakA mukha nihAra letI thI, aura goda meM lekara usakA muMha apane stana se lagAtI thii| kAnoM meM kuNDala, hAthoM meM kar3e, gale meM kaMThala, pAdoM meM Thanakate ghUgharU, kaTi para mekhalA - inase suhAtA zizu sabhI ke mana mohita karatA thA / baiThanA sIkhate usako dekhate hue nanda-yazodA kI tuSTi kI koI sImA na rahatI thii| apane hAthoM meM se aura goda meM se usako ratnasuvarNa kI nidhi ke nAI ve kSaNabhara bhI alaga nahIM karate the / ghuTane khIMcate ghUmatA vaha ghara ke aMganA ko ujiyArA karane lagA / saTa kara kucha dera khaDA rahe aura kadama uThAte hI laDakhaDAe aura lur3haka jAya / "lauTa ke A, lauTa ke A" kahatI aura haMsatI huI yazodA dauDa kara usako uThA letI thI aura mastaka cUmatI thI / kucha bar3e hone para kRSNa sthiratA se kadama uThAne lagA / vaha kabhI jazodA kI goda meM car3ha kara baiThe, kabhI donoM hAthoM se mathAnI kasakara pakar3a rakhe, kabhI makkhana uThA kara khA jAya aura yazodA ke cillAne para bhI rukA na rahe / dahIM se bharI mathanI DharakAya / aise taraha taraha kI For Personal & Private Use Only

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apabhraMza sAhitya meM kRSNakAvya kogA vaha karatA thA / gAla phulA kara bolatA huA vaha bahuta pyArA lagatA thaa| jo koI usako dekhatA thA vaha kautukavaza usako bulAe binA raha nahIM sakatA thA / pala meM vaha satA thA to pala meM rotA thA / pala meM gira paDatA thA to pala meM dauDatA thA / to kisI samaya zarIra ko dhUla se lIMpatA thA / sAre goSTha kA maNDana aura khilaunA, bhatIva suhAvanA nandanandana jaise vRddhi pAtA gayA, vaise zatruoM ke asukha kI aura bAndhavoM kI prIti kI paddhi hotI gii| upasaMhAra lagabhaga AThavIM zatAbdI se lekara bArahavIM zatAbdI taka ke apabhraMza sAhitya ke kRSNa kAvya kI isa jhAMkI se pratIta hogA ki usa sAhitya meM kRSNacarita ke nirUpaNa kI (aura vizeSarUpa se bAlacaritra ke nirUpaNa kI ) eka baliSTha paramparA sthApita huI thii| isa meM bhAvAle vana eva varNanazailo kI dRSTi se ullekhanISa guNavattA kA darzana hama pAte haiN| kRSNakAbya kI sudIrgha aura vividhabhASI paramparA ke kaviyoM meM svayambhU aura puSpadanta niHsandeha ucca sthAna ke adhikArI haiM, aura isa viSaya meM bAda meM sUradAsa Adi jo siddhizikhara para pahu~ce hai usake lie samucita pUrva bhUmikA taiyAra karane kA bahuta kucha zreya apabhraMza kaviyoM ko denA hogA / bhAratIya sAhitya meM kRSNakAbya kI isa dIptimAna paramparA meM eka ora zaMskRta-prAkRta kA kRSNakAbya to dUsarI ora bhASA-sohitya kA kRSNakAnya ina donoM ke bIca apabhraza kA kRSNa kAbya eka atyanta mahatvapUrNa aura nijI vaiziSTaya evaM vyaktitva se yukta kaDI hai / isa lekha kA 'samvodhi' ke lie mudraNa kArya prAyaH samApta ho gayA thA taba patA calA kikaI sAla pahale anyatra prakAzita hone vAlA yaha lekha do bAra prakAzita ho cUkA hai| . hameM kheda hai ki una prakAzakoM kI ora se kaI bAra pUchatAcha karane para bhI hameM koI sucanA na milii| ukta pUrva-prakAzana ke sthAna isa prakAra haiM :-- 1. bhAratIya bhASAoM meM kRSNa-kAvya, khaNDa-1, (pR. 138-173), madhyapradeza sAhitya ___ pariSad bhopAla, 1979 / 1, karmayogI kesarImala surANA abhinandana graMtha, 1982 / For Personal & Private Use Only

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zrI padmasundarasUriviracita zrIpArzvanAthacaritamahAkAvya prathamaH sargaH // zrIpAraMgatAya namaH // bhAsvadbhogIndrabhogadyutitatiranizaM mUrdhni yasyaikadaNDAM dhatte saptAtapatrazriyamiva nayataH (nuktI) saptalokAdhipatyam / tanvAnA bhavyapakeruhasaghanavanodbodhane saptasaptiH sa zrImatpArzvanAthaH zaThakamaThahaThadhvaMsakRd rakSatAd vaH // 1 // mAtar ! bhArati ! bhAratI: surasaritkallolalolojjvalAH sadyaH pallavaya prasAdavizadAlaGkArasAratviSaH / kAvye'smin madhumAdhurIpariNate zRGgArabhRGgArake zrImatpArzvapavitracitracaritaprArambhacetohare // 2 // nAnAntarIpanikaraiH paritaH parItaH svarNAcalacchaladhRtAtapavAraNo'sau / gAGgaughacAmarasuvIjita eSa jambU dvIpo'dhirAja iva rAjati madhyavartI // 3 // (1) jinake mastaka para tejasvI nAgarAja ke (sAta) phaNoM kI , sAta loka ke Adhipatya ko prazaMsita karatI huI aura phailAtI huI prabhAzreNi eka daNDavAle sAta chatroM kI zobhA ko mAnoM nirantara dhAraNa karatI hai, jo bhavyajanarUpI kamaloM ke saghana vanoM ko jAgrata karane meM sUrya haiM aura jo duSTa kamaTha ke dAnavI bala ko naSTa karane vAle haiM aise ve zrIyukta pAzvanAtha hamArI rakSA kreN| (2) jisameM madhumAsa kI (yA zahada kI athavA madya kI) madhuratA udbhAvita huI hai. jo zRMgAra(rasa) kA pAtra hai aura jisameM zrImAn pArzvanAtha kA pavitra tathA vismayakArI carita prArambha se hI manohArI hai, aise isa kAvya meM he mAtA sarasvati ! gaMgA ko caMcala taraMgoM ke samAna ujjavala, prasAdaguNa aura vizada alaMkAroM ko zreSTha kAnti ko dhA.Na karane vAlI vANo ko tatkAla pallavita karo // (3) aneka dvIpasamudAyoM se cAroM ora jo vyApta hai, meruparvata ke bahAne se jisane chatra ko dhAraNa kiyA hai aura jo gaMgA ke pravAharUpI cAmara se acche prakAra se havA kiyA huA hai, aisA yaha jambUdvIpa (dvIpoM ke ) madhya meM sAkSAt samrATa kI taraha suzobhita hai // For Personal & Private Use Only

Page #276
. zrIpArzvanAthacaritamahAkAvya ArthakSitau bharatavarSasuramyadeze nAnAvanAdrisaridAvRtasanniveze / ataH sakalaparatanarmita zobhAtizAyivibhavaM bhuvi potanAkhyam // 4 // hANi yatra maNikuTTimamaJjulAni vyomAnacumbizikharANi marudgaNAnAm / svairaMzubhiH kila hasanti vimAnavRndai zubhrasphuTasphaTikabhittivirAjitAni // 5 // Aste yatra mahAjanaH paramubhavyaktau paTuH svastutau maunI kSAntiparaH svazaktivibhave dAne vadAnyo bhRzam nAtikrAmati nItivama tijakaM rathyeva nemi kvacid dharmAcAravicAraNaikacaturaH zrIdopamAnaH niyA // 6 // tatrAravindanRpatirnayacucurudyacUcApapratApaparibhRtavipakSavargaH / rAjyaM zazAsa kila. dharmapathAviruddhA vAstAM nirastaviSayasya tathArthakAmau // 7 // (4) AryAvarta meM aneka bana, parvata aura nadiyoM se AcchAdita ( =Dhake hue ) saMsthAna bArIra) vAle aise ramaNIya bhArata varSa meM samasta nagaroM se adhika samRddhi vAlA tathA zobhA ke atizaya se sampanna vaibhavavAlA pRthvI para potana nAma kA nagara thaa|| (5) maNijar3ita pharza se sundara, 'AkAza ke agrabhAga ko sparza karane vAle zikharoM vAlo, zveta camakole sphaTika kI bhitiyoM se suzobhita haveliyA~ isa nagara meM apanI kiraNoM se mAnoM devoM ke vimAnoM kI ha~sI ucca rahI ho!|| (6 / jahA~ (-ukta nagara meM) bar3e bar3e zraSThigaNa (seTha lAMga ) dUsaroM ke guNa pragaTa karane meM catura the, svakIya prazaMsA meM mauna the, apane parAkrama kA vaibhava hote hue bhI zAntiparaka the, dAna kArya meM atIca udAra the, kahIM para bhI nemi kA ullaGghana nahIM karane vAle cakra ke samAna nyAyamArga kA ullaGghana na karane vAle the, dharmAcaraNa tathA vicArazAlInatA meM dakSa the, aura lakSmI meM sadA kubera ke samAna the // (7) usa nagara meM, nyAya meM kuzala, dedIpyamAna dhana pratApa se zatru varga ko tiraskRta karane vAlA aravinda nAmaka rAjA zAsana karatA thaa| viSayavAsanAoM se rahita usake prati (-rAjA ke prati ) artha aura kAma - ye donoM hI dharma mArga se aviruddha the / ( arthAt artha va kAma dharma ke virodhI nahIM the) // For Personal & Private Use Only

Page #277
padmasundarasUridhicita zAstre'dhItI rAjavidyApragalbhastisrastasmin zaktayaH prAdurAsan / pAiguNye'sau labdhabuddhipracArI... reje rAjA sAmadAmAdidakSaH // 4 // viprastatraivAbhavad vizvabhUtiH zrauta-smArtAcAravid rAjamAnyaH / ijyAdAnAdikriyAkarmaTho'sau ziSTAcAro veda-vedAtA // 9 // tatkAntA''sIdekapatnI suzIlA - nAmnA saivANu dharIti prasiddhA / bhujAnAyAM ramyabhogAna svabharnA jAtaM putradvaitamasyAM krameNa // 10 // AsIt jyeSThaH kamaThastatpramadA zIlazAlinI varuNA / marubhUtistu kanIyastinayo'sya vasundharA patnI // 13 // gRhItavidyau janakAt sutI to SaDaGgavijJau ca-vidAMvareNyauM / zrutismRtisphAritacakSuSau sva kramocitAcAravicAradakSau // 12 // ... .... (8) vaha rAjA aravinda zAstra kA adhyayana karane vAlA, rAjavidyA meM kuzala thA tathA usameM tInoM rAjazaktiyA~ (=prabhutvazakti, mantrazakti tathA utsAhazakti) vidyamAna thii| vaha sAmadAnAdi meM dakSa thA tathA ( saMdhi Adi ) SaDguNa vidhAna meM usakI buddhi atyanta vikasita thii| isa prakAra ukta kriyA meM kuzala vaha rAjA zobhAyamAna thA / (9) usI nagara meM zrati ( veda ) aura smRti (=dharmazAstra) meM vihita sadAcAra kA jJAtA, rAjA dvArA sammAnita, yajJa, . dAna va adhyayanAdi kriyA meM kuzala, ziSTAMcArasampanna tathA vaida-vedAGga kA jJAtA vizvabhUti nAmaka eka brAhmaNa rahatA thA // (10) usa brAhmaNa kI zubhalakSaNoM vAlI aNu dharI nAma se prasiddha dharmapatnI thii| apane pati ke sAtha sAMsArika vaibhava ko bhogate hue usake kramazaH do putra utpanna hue // (11) jyeSTha putra kamaTha thA 1 varuNA usakI zIlasampanna patnI thI / tathA choTA putra marubhUti thA, va vasundharA usakI patnI thIM // (12) apane pitA vizvabhUti se una donoM putroM ne vidyA prApta kI thii| ve paMDaga (veda ke chaH aMga) ke jJAtA the, vidvAnoM meM vareNya the, zruti-smRti se vikasita netrabAle the tathA apane kulakamAMcita AcAra-vicAra meM dakSa the| For Personal & Private Use Only

Page #278
zrIpArzvanAthacaritamahAkAvyaM AnvIkSikyAM supragalbhau nitAntaM mImAMsAyAM labdhavarNo savarNo / sAyaM tattvaM dharmazAstra purANaM jJAtvA vidyAsnAtakatvaM prayAtau // 13 // brahmavidyAsu niSNAtau brahmakarmasu karmaThau / nItizAstravido jJAtvA rAjJA tau mantriNau kRtau // 14 // vizeSakam / / anyadA kamaThaH pApastAruNyaizcaryagarvitaH / pramAdamadironmAdamatto madanavihalaH // 15 // nijAnujavadhUM vIkSya rUpalAvaNyazAlinIm / pravAtendIvarAdhIraviprekSitalocanAm // 16 // bandramaNDalasaGkAzavadanathutivibhramAm / mRdubAhulatAM cArukadalIsnigdhasakthikAm // 17 // ghanAJjananibhasnigdhamugdhakuntalavallarIm / kRzodarI ca sudatIM pInatuGgapayodharAm // 18 // svakarahinakhauSazrInirjitAzokapallavAm / cakame kamanIyAM tAM kAmarAgo hi dustyajaH // 19 // paJcabhiH kulakam / / (13) AnvIkSikI meM ve pUrNatayA catura the, mImAMsA zAstra meM khyA teprApta the, sAMkhyatattva, dharmazAstra tathA purANoM ko par3hakara una vidyAoM ke snAtaka bana gaye the| (14) brahmavidyA (-vedAnta) meM niSNAta tathA brahmakarma meM kuzala, nItizAstroM ke jJAtA una donoM ko jAnakara rAjA ne unheM mantripada se suzobhita kara diyA // (15) bar3A bhAI kamaTha pApI thA / yuvAvasthA tathA aizvarya se garvita thaa| eka bAra vaha pramAda rUpa madirA ke unmAda se unmatta tathA kAmavAsanAoM se vihvala ho gayA // (16-19) apane choTe bhAI ko rUpasaundaryazAlinI aura kamanIya patnI ko dekhakara vaha usake prati kAmAsakta bana mayA / sacamuca kAma se mukta honA atyanta kaThina hai| vaha strI vAyu ke dvArA hilAye hue nIlakamala kI bhAMti caJcala dRSTivAlI thI, usake mukha ko zobhA candramaNDala jaisI thI, usakI bAhulatAe~ komala thIM, usakI jA~ceM kadalI ke samAna snigdha thIM, usako kuntalalatAe~ saghana kAjala ke samAna snigdha aura mugdha thI, usakI kamara patalo thI, usake dA~ta sundara the, usake stana puSTa tathA unnata the, usane apane hAtha aura paira ke nakhoM kI kAnti se azoka pallava kI zobhA ko parAsta kiyA thaa| For Personal & Private Use Only

Page #279
..padmasundarasUriviracita anyadA marubhUtistu jJAtvA varuNayoditaH / madbhartA tvadvadhUM reme zrutveti viSasAda saH // 20 // so'tha grAmAntaraM gatvA kRtvA rUpAntaraM tataH / sAyaM kArpaTiko'smIti suSvApaitya tadokasi // 21 // nizi vIkSya tayovRttaM bhUpo'tha marubhUtinA / uktaH so'pi viDambyanaM kamaLaM nirakAsayata // 22 // sa kRtacchadmavairAgyo dIkSAM jagrAha tApasIm / atIvomaM tapastepe khyAti lebhe mahIyasIm // 23 // svAparAdhaprazAntyartha marubhUtistamabhyagAt / kSamasveti nigadhAsau zirastatpAdayonyedhAt // 24 // vairaM sasmAra sa smeraH parivADadhamAdhamaH / tasyopariSTAnmahatIM zilAM cikSepa niSkRpaH // 25 // upAsito'pi durvRtto vikRtiM bhajate parAm / payaHsikto'pi nimbadruH kaTukatvaM kimujjhati ? // 26 // athA'sau marubhUtyAtmA vindhyAdrau kubjake vane / mRtvA viSayalaulyena gajo'bhUt sallakIghane // 27 // (20) eka bAra marubhUti baDe bhAI kamaTha kI patnI varuNA ke dvArA 'merA pati (=kamaTha) tumhAro patnI meM Asakta hai, tathA ramaNa karatA hai|' yaha sunakara bhatIva duHkhI hubhA // (21) vaha marubhUti anya grAma meM jAkara, dUsarA rUpa dhAraNa kara, 'maiM kArpaTika (bhikSuka) hU~' aisA kahakara usI (=kamaTha ) ke ghara meM pahuMcakara so gayA // (22) rAtri meM, una donoM (kamaTha tathA vasundharA) ke vRttAnta ko dekhakara marubhUti ne rAjA aravinda se kahA tathA rAjA ne usa kamaTha ko tiraskRta karake nikAla diyA / / (23) usane (kamaTha ne) kRtrima vairAgya be dhAraNa kara tApasI dIkSA grahaNa kI tathA atyanta ugra tapa karate hue bar3I prasiddhi prApta kara lii| (24) apane aparAdha ke zamanArtha marubhUti usake (kamaTha ke) pAsa gayA, 'kSamA kariyeaisA kahakara usane apanA mastaka kamaTha ke caraNoM meM rakha diyA / / (25) ha~sate hue mukhapAle hokara usa atyanta adhama parivrAjaka kamaTha ne, vaira ko yAda karate hue, marubhUti ke upara mirdaya hokara vizAla zilA pheMkI / (26) upAsanA karane para bho (kSamA mAMgane para bhI) duSTa vyakti atyanta vikAra (=krodha ) ko prApta hotA hai| dUdha se sIMcane para bhI nIma kA vRkSa kyA apane kaDavepana ko chor3a sakatA hai ? (27) anantara vaha marubhUti vindhyAcalaparvata meM sallakItRNayukta ghane kubjaka bana meM mara-kara viSayAsakti ke pariNAmasvarUpa hAtho huA / For Personal & Private Use Only

Page #280
zrIpanAthacaritamahAkAvyaM krameNa varuNA tatra vipathaivodapatha / kareNuH sa tayA reme zyAmAsu vanarAjiSu // 28 // vanyadrumAm vidalayan nijakarNatA - gummadhutratagaNaM kaTadAnalubdham / AsphAlayan vihitabRMhitanAda eSa zizleSa tatra kariNIM karalAlanena ||29 // kAntayA sa vicacAra kAnane sallakI kalamarpitam tathA / taM cakhAda jalakeliSu svayaM tAM siSeca karasIkarairgajaH ||30|| anyadA sa kila potanezvaraH khirasthito'mbare ! zAradAzramudayAdrisannibhaM vAyunA vighaTitaM niraikSata ||31|| ityanityamakhilaM jagad vidan rAjyasampadam amaMstaM gatvarIm / svApateyamakhilaM tu pAtrasAt sa cakAra saccakAra cAtithIn // 32 // (24) samaya Ane para ( kamaTha kI paramI) varuNA bhI marakara hAthinI banI aura vaha hAthI bhI usa dAdhinI ke sAtha harita zyAmala vanapaMktiyoM meM ramaNa karane lagA / (29) banya vRkSoM ko naSTa karatA huA, gaNDasthala ke dAnavArI maiM lubdhaka bane hue, gujAra karate bhramara samudAya ko karNaprahAra se tAr3ita karatA huA, garjanA kA zabda karatA huA vaha guNDA ke saJcAlana se hathinI ko AliGgana karane lagA || (30) vaha ( marabhUti ) hastI bana meM usa hathimI ke sAtha vicaraNa karane lgaa| usa hathimI ke dvArA diye gaye sallakI ghAsa ke grAsa ko vaha khAtA thI aura jalakAoM meM vaha apanI sUDa ke jala se usa hathinI ko khuda hI sIMcatA thA // (31) kUpa dina potanezvara aravinda nRpa me svaccha prAsAda zikhara para baiThe hue AkAzamaNDala maiM parvatasaMharA zAradI bAdala ko vAyu se chinna bhinna hote hue dekhA || (32) isa para se vaha ( rAjA aravinda ) isa sampUrNa sasAra ko anitya jAnakara rAjyasampatti ko bhI cancala mAnane lagA | usane sampUrNa vaibhava ko yogya tathA adhikAroM pAtroM ko pradAna kara diyA aura atithiyoM kA satkAra kiyA // For Personal & Private Use Only

Page #281
pAsundarasUriviracita so'pi jAtavizadAvadhistadA svAGgajArpitanRpatvavaibhavaH / sAraGgavirataH kSamArataH pratyapadyata sa saMyama sudhIH // 33 // nApyalipyata sadA'ravidavatU so'ravindamunipo bhavAmbuni / ... nirmamaH sa nirahakRtiH kRtI niSkaSAyakalisAntarindriyaH / / 4 // IyayA sa ca vizuddhayA carana bhASamANa iha zuddhabhASayA / eSaNAsu nirato graha-kSiposagavargasamitiSdhanAratam // 35 // kAyamAnasavacaH susaMvRto jJAnadarzanacaritrasaMyutaH / niHspRhaH sa vicacAra bhRtale jainaliGgapadavImupAzritaH // 36 // sammetamIDitumaso saha sAgareNa / sArthAdhipena sahitaH suhitaH pratasthe / prAptaH sa vindhyanagakubjakakAnanAnta statra sthitaH pratimayA nizi niSprakampaH // 3 // (33) usa rAja ne nirmala avadhijJAna prApta kara apane putroM ko sampUrNa rAjavaibhava sauMpa diyaa| svayaM anAsakta tathA kSamAzIla banakara uma. vidvAna rAjA ne saMyama strokAra kiyA / (34) kamala ko bhA~ti vaha aravinda munirAja bhavajala se samA alipta hI rahA / mamAtA va ahaMkAra rahita hote hue usane hRdaya ko ( krodha, mAna, mAyA aura lobha-ina kaSAyoM, mukta kara liyA // (15) vizuddha IyaryAsamiti se vaha idhara-udhara vicaraNa karatA thA, vizuddha, bhASAsamiti se bhASaNa karatA thA, eSaNAsamiti meM rakta thA; bhAdAnasamiti, tikSepamamiti aura utsargasamiti ina samitiyoM meM satata jAmata vaha manirAja mA // (36) mana, vacana, va kAI, se susaMvRta samyam jJAna, samyag darzana tathA sammA caritra se yukta aura niHspRha-yA vaha pRthvI para jinalakSaNa (jaina) padavI ko prApta karate hue ghUmane lagA / (35) sammetazikhara parvata kI yAtrA karane ke lie usane sArthavAi sAgara ke sAtha prasthAna kiyA aura vindhyAcala parvata ke kunjaka vana ke antaHpadeza meM pahu~cA tathA vahIM rAtri meM pratimA lyAna) meM nizcala hokara khar3A rahA / For Personal & Private Use Only

Page #282
zrIpArzvanAthacaritamahAkAvya tatrA''jagAma sa gajo nagajo'tha vIkSAcakre muni vikaruNastaruNaH krudhaitya / hantuM pravRtta iti taM munirAha vesi / mAM nAravindanRpatiM sa nizamya tasthau // 38 // prAgjanmanaH smaraNato niraNAyi tena yasyAhameva sacivo mrubhuutinaamaa|. eSo'ravindanRpatirmunibhUyamApat / pUjyo mamaiSa bhagavAniha vA paratra // 39 // atha muniguhidharmamupAdizat / parahite nirataH samadRk sudhIH / tadupadezamibhaH zubhabhAvanaH sphuTamurIcakRvAn sahadarzanam // 40 // vijJAya dharmatattvaM sa prAsukAhArabhojanaH / sAvadhabhIrurdharmAtmA gRhivratamupAzritaH // 41 // . saMzuSkataruzAkhAditRNaparNAnyadannatha lolitaM kariyUthena dRSadAsphAlitaM payaH // 42 // pAraNAhi papau sarvathA'nAhArastapodine / saMvRtazcirarAtrAya gRhIdharmamapAlayat // 43 // (18) vahA~ parvata para janme hue usI taruNa hAthI ne karuNA rahita hokara krodha se lapaka kara muni ko dekhA / jyohi vaha usa muni ko mArane ke lie udyata huA, muni ne kahA'tama mazabharavinda rAjA ko nahIM jAnate ho,' aisA sunate hI vaha (hAthI, marubhUti ) Thahara gayA / (39) pUrvajanma ke smaraNa, se usane yaha nirNaya kiyA ki isa rAjA kA maiM marubhUti nAmaka mantrI thaa| isa rAjA aravinda ne muni svarUpa prApta kara liyA hai| ataH yaha merA yahA~ aura paraloka meM bhI pUjya hai| (40) samadarzI, parIpakArazIla, vidvAn munirAja ne use gRhasthadharma kA upadeza diyaa| usa hAthI ne bhI zuddha bhAvanA se usake upadeza ko darzana lAbha ke sAtha sApa spaSTa rUpa se svIkAra kiyA / (41) dharmatattva ko jAnakara nirjIva (=nirdoSa) bhojana karatA hubhA. pApabhIka usane gRhi-vata kA Azraya liyA / (42) sUkhe per3a kI zAkhA Adi se tRNa-pattoM ko khAtA huA vaha ( hAthI ) hastI-samudAya se AloSita hone se pASANakhaNDa ke sApa TakarAve hu (nirjIva bane ) jala ko pIne lagA / (13) vrata ke dUsare dina (=pAraNA ke dina) vaha ( aisA) jala potA thA / tapasyA ke dina bilkula nirAhAra rahakara cirarAtri taka gRhasvadharma kA pAlana karatA thaa| pAna / For Personal & Private Use Only

Page #283
padmasundarasUriviracita tatra sArthajanaH sarvo muniM natvaitya bhaktibhAk / pratyapadyata suzrAddhadharmaM zraddhAluranvagAt ||44|| athA'nyadA payaH pAtu hRde prAvartatebharAT / tajjambAle mamajjAssau pulinaM yAtumakSamaH || 45|| tRSNAtaralito dhAvan saraH paGke mamajja saH / na prApa nIraM no tIram karI dhigvidhiceSTitam // 46 // sa cAtra kaMmaThA''tmApi prAptaH kukkuTasarpatAm / tena duSTena ruNDena daSTaH kumbhe sa vAraNaH // 47 // uparyupari dhAvanti vipadaH zubhasaMkSaye / bhavantyanarthAzchidreSu vardhate'--kSaye kSudhA // 48 // zubhalezyaH karI mRtvA sahasrAre suro'bhavat / tatra saptadazAbudhyAyurdivyaM saukhyaM sa cAnvabhUt // 49 // kva stamberama eSa kAnanagato dharmopalabdhi munerlabdhvA'smAdaNimAdibhRtisahitAM vaimAnikIM sampadam | (44) vahA~ sthita sampUrNa vyApArI varga ne bhaktiyukta hokara muni ke pAsa Akara, praNAma karake adeya dharma kA svIkAra kiyA aura ( bAda meM ) vaha zraddhAlu varga muni ke pIche pIche yA // (45) isake pazcAt dUsare dina tAlAba meM jala pIne ke lie jyoM hI majarAja upala huA tabhI vaha jala kI kIcar3a meM DUba gayA tathA kinAre para pahu~cane meM asamartha ho gayA 4 (46) pyAsa se vyAkula, daur3atA huA vaha hAthI tAlAba kI kIcar3a meM DUba gyaa| vaha DA ma to jala pI sakA aura na kinAre para hI pahu~ca sakA / ahA ! isa devAceSThA ( vidhi ke vidhAna ) ko dhikkAra hai / (47) kukkuTasarpa kI yoni ko prApta bar3I-bahu kapaTamA kamaTha bhI thaa| usa duSTa ne usa hAthI ko gaNDasthala para kATa (Da.) liyA 4. (48) zubha puNyoM ke kSINa hone para vipattiyA~ eka ke upara eka lagAtAra mA giratI haiM / anna kI kamI hone para bhUkha bar3hatI hI hai / avakAza milate hI vipattiyAM bhara mAtI haiM / (49) zubhalezyA vAlA vaha hAthI mara kara sahasrAra devaloka meM devatA bana gayA / vahA~ saptadazAbdhi (saptadazasAgaropama ) Ayu vAlA hokara usane divya sukha kA anubhava kiyA M (50) kahA~ usa hAthI kA jaMgala meM rahanA aura kahA~ muni se dharma prApta kara aNimA Adi. aivAlI aura saMkalpa yA icchA se ho kalpavRkSa ke dvArA phala prApta karAne vAlI vaimAnika 2 ** For Personal & Private Use Only

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bhIpArzvanAthacaritamahAkAvya . tatkalpadrumakalpitehitaphalAM lebhe kva divyaM sukha tattatsAgarajIvitAvadhi guroH sarvo'pi so'nugrahaH // 50 // matha jambUmati dvIpe prAgvidehe sumaJjule / sukacchAmikhyavijaye tad vidyAdharabhUdhare // 51 // pattane tilakAbhikhye vidyudgatirabhannRpaH / khacarezo'sya kanakatilakA prANavallabhA // 52 // karidevastatazcyutvA tadagarbhe samavAtarat / nAmnA kiraNavegAkhyaH suto janamanoharaH // 53 // zaizave'tha vyatikrAnte jagrAha sakalAH kalAH / / kalAcAryAt kalAbhijJaH kramAd yauvanamAsadat // 54 // . ciraM sa paitRkaM rAjyaM labdhvA vaiSayikaM sukham / anvabhUdanyadA dharma zuzrAva zraddhayA sudhIH // 55 // sUreH suraguroH pArve virakto'bhUnmahAzayaH / laghUpadezAdvairAgyaM jAyeta laghukarmaNAm // 56 // . tata eva gurordIkSAM kakSIcakre samAhitaH / adhItakAdazAGgo yaH svazarIre'pi niHspRhaH / / 57 // * va kI sampatti kA tathA una sAgaropama varSoM taka ke divya sukha kA lAbha krnaa| yaha gurukA anugraha (kRpA) hai // (51-52) jambUdvIpa ke zobhana prAgvideha : kSetra meM kacchamAmaka vijaya meM vaitADhya parvata para sthita tilaka nAmaka nagara meM vidyudgati. mAmaka vidyApa kA eka rAjA huA / AkAzacAra isI rAjA kI kanakatilakA nAmaka prANapyArI paramI yo / (53) vaha deva vahAM se cyuta hokara usa kanakatilakA ke garbha meM avatIrNa huaa| vaha manuSyoM ke mana ko mohita karane vAlA kiraNavega nAmaka putra thaa| (54) usa putra ne jaizavAvasthA ke vyatIta ho jAne para sampUrNa kalAoM ko kalAcArya se bAla liyA aura kalAbhijJa ho gayA / samaya bItane para usane yuvAvasthA meM padArpaNa kiyaa| (55) usane cirakAla taka apane pitA ke rAjya ko prApta kara vaiSayika sukha kA bhanumaya kiyaa| eka dina buddhimAn usane zraddhA se dharma kA zravaNa kiyA // (56) vaha mahAmanA suragara nAmaka sUri ke pAsa virakta ho gayA / alpa karma vAloM ko zIghra hI upadeza se vairAgya utpanna hotA hai| (57) usake pazcAt usane dhyAnapUrvaka dattacitta hokara guru se dIkSA grahaNa kii| ekAdaza almoM ko usane par3ha liyA / vaha apane zarIra se bhI niHspRha ho gayA // For Personal & Private Use Only

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padmasundarasUriviracitra sacaikAkivihArI sannabhUccAraNalabdhibhAk / mathAnyadA nabhogatyA puSkaradvIpamAgamat // 58 // tatra hemagireH pAveM dharmadhyAnAvalambanaH / . . pratimAyogamAdhAya tasthau svAsthyasthirAzayaH // 59 // yatsAmyasukhasAmrAjyaM mune rahasi jambhate / tanna nAkapate ke zarma tAdRg na cakriNaH // 6 // atha kukkuTasatmiA pApmA tatpApakAraNAt / dhUmaprabhAkhyaM narakaM prApto nArakayAtanAH // 6 // tena nAnAvidhAH soDhAH svAyuHprAnte tatazcyutaH / abhUd viSadharaH so'pi tatra hemagirau girau // 62 // pratimAsthaM muniM vIkSyA'daMdazyata mahoragaH / dharmadhyAnadharaH so'pi mRtvA'bhUdacyute divi // 63 // " devo jambUdmAvarte vimAne rAmaNIyake / / dvAviMzatyabdhimAnAyuraNimAdivibhUtibhAk // 6 // dvAviMzatisahasrAbdairAhAro'syAbhavat sataH / / zvAsasya sambhavastAvanmAsairekAdazapramaiH // 65 // ... (58) (guru AjJA se) akelA vihAra karane vAlA vaha. cAraNalandhi kA dhAraka humA tathA eka dina AkAzamArga se puSkara dvIpa meM pahu~cA // (59) vahA~ svarNagiri ke pAsa dharmAcaraNa va dhyAna kriyA meM lIna hokara pratimAyoga ko dhAraNa karake svastha va sthira hadaya bAlA hokara sthita rahA // (60) jaisA sAmyasukha kA sAmrAjya muni ke lie ekAnta meM vikasita hotA hai vaisA ( kalyANakRta ) sukha na to svarga meM devarAja indra ko hai aura na ho cakravartI ko hai / (61-62) isake pazcAt kukkuTasarpAtmA ( vaha pApI maTha) apane hI pApa ke kAraNa se dhUmaprabhA nAmaka naraka meM phuNcaa| vahAM usane vibhinna prakAra kI mArakoya yAtanAoM ko sahA / apanI Ayu kI samApti para vahA~ se bhraSTa hokara vaha himagiri parvata para viSadhara hubhA // (63-64) pratimAsthita (arthAta dhyAnayoga meM lAna) muni ko dekhakara usa viSadhara ne unheM Dasa liyA / dharmadhyAna meM tallIna Saha muni mara kara * acyuta svarga meM devatva ko prApta huA / vahA~ jambUdrumAvate nAmaka sundara vimAna meM isa *sAgaropama Ayu vAlA hokara aNimAdi siddhiyoM ko bhogane lagA // (65) vahA~ vaha gAIca hajAra varSoM ke aMtara se bhojana karatA thA gyAraha mahInoM ke aMtara se zvAsa letA thA // For Personal & Private Use Only

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zrIpArzvanAthacaritamahAkAvyaM mAnaso'sya pravIcAraH prAvartata mahAtmanaH / sa satkarmavipAkotthaM sukhaM bhuGkte sma nirjaraH // 66 // jambUdvIpe'tra hemAdevidehe pazcime tataH / . deze sugandhavijaye purI tatra zubhaGkarA // 67 // sA nAnAdrumataTinI kUpA''rAmairvirAjitopAntA / prAkAravalayaparikhAgopuramaNDitavibhAgA // 68 // tatrA''sa vajravIyoM nRpatirvitrAsitasvavairigaNaH / dhanapatiriva dhanado''sau tapana ivAsIta pratApena // 69 // lakSmImatI tu bhAryA nijasaundaryeNa yA ratimajaiSIt / tatkukSau munidevo'pyavAtaraccheSapuNyena // 7 // pUrNe'tha garbhasamaye janyaM smjiijnjjnnyessaa| . nAmnA sa vajranAbho vijJAtaH svajanavargAdau // 71 // abhyasya kalAH sakalA nRpavidyAnAM sa pAradRzvA'bhUta / pitrA kRtAbhiSeko rAjyaM labdhvA zazAsa mahIm // 72 // .. bhuktvA sa mahAbhogAn dattvA vidyAyudhAya putrAya / , kSemaGkarajinapAvajjaiinI dIkSAmupAdatta // 73 // (66) vaha mahAtmA mana se hI kAmasukha ko bhogatA thaa| isI taraha usa deva ne puNya karmoM ke phalasukha ko bhogA aura una karmoM se mukta huA // (67) jambUdvIpa meM, himagiri parvata kI pazcima dizA meM, mahAvideha kSetra meM, sugandhavijaya ke pradeza meM, zubhaskarA (mAmaka) eka nagarI thI / (68) vaha nagaro nAnA prakAra ke vRkSa, madI, kapa va udyAna Adi se zAbhita prAnta vAlI; prAkAra (=parakoTA ), valaya (gherA ), parikSA / khAI) evaM gopuroM (dvAra) se zobhita bhAgavalI thI / / (69) usa zubhakarA purI meM samasta zatruoM ko trasta karane vAlA vajravIrya nAmaka rAjA kubera kI bhA~ti dhana dene vAlA thA tathA pratApa ( parAkrama ) ke kAraNa vaha sUrya ke samAna thA // (70) usa rAjA kI ryA thI jisane apane saundarya se kAmadeva kI patnI rati ko bhI jIta liyA thaa| puNya ke kSoNa hone se usa deva ne usa rAnI ke udara meM avatAra liyA // (1) garbha kA samaya pUrA hone para devI lakSmImatI ne putra ko utpanna kiyaa| vaha putra apane baiDambhika varga meM vajranAbha nAma se jAnA gayA // (72) vaha rAjakumAra vajranAbha sampUrNa kA abhyAsa karake rAjavidyAoM meM pAraGgata ho gayA / pitA ke dvArA abhiSikta hokara, rAjya prApta kara vaha pRthvo kA zAsana karane lgaa| / (73) usane aneka prakAra ke aizvayoM ko bhogakara vidyAyadha nAmaka putra ko rAjya dekara, kSemaMkara jina se jaina dharma ko dIkSA grahaNa kii| For Personal & Private Use Only

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padmasundarasUriviracita zAstre'dhItI vidvAn mUlottaraguNagaNeSu sa prayataH / samitiSu paJcasu samitastriguptigupto vizeSeNa // 74 / / kurvannupratapasyAM karmopazamAt labdhimAnabhavat / vicaran sukac4 vijayaM jagAma vAcaMyamastatra // 7 // jvAlanAhayAdinikaTe nimrantho nirmamaH sa vicacAra / sarvatrApratibaddhazcakAra rAtrau tanUtsargam // 7 // yo dandazUkajIvaH paJcamanarake sa nArako'thAbhUt / tata udvayaM kiyantaM kAlaM babhrAma bhavagahane // 77 // so'pyatha jvalanAdritaTe bhomATavyAM vanecaro jajJe / mRgayAvRtti kurvannurvIdharasavidhamAsAdya // 78 // - .. rajanIvibhAtasamaye calitumanA muniratho kirAtastu / dRSTvA taM munipuGgavamapazakunaM manasi manvAnaH // 79 // vivyAdha zareNA'sau tadbANavaNamahAvyarthI sehe / dharma dhyAnadhiyaM dhuri dhanyaH samadhatta nirapekSaH // 8 // prAnte samAhitamatirvapuSi nirIho vizuddhalezyAvAn / ___ sAmyAmRtarasamagno muniH zubhArAdhanAM kRtvA // 81 // (74) vaha mUlaguNa aura uttaraguNa meM saMyamavAlA, zAstrajJa va vidvAn, paJca samitiyoM se samita aura vizeSakara tIna guptioM se gupta thA / / (75) ugra tapasyA karatA humA karmoM ke upazama se vaha labdhimAna banA tathA bhramaNa karatA hubhA saMyamI vaha sukacchavikA nAmaka sthAna (vijaya) meM calA gayA // (76) jvAlanaparvata ke nikaTa nidvendra tathA mamatA rahita hokara vaha ghUmane lagA / sabhI viSayoM se muka hokara rAtri meM usane -kAyotsarga kiyA / (7) pAMcave naraka meM jo dandazUka jIva (=kamaTha ) narakarUpa meM yA vaha vahAM se nikalakara samaya gahana saMsAra meM bhramaNa karane lgaa|| (78) vaha bhI ghAlamaparvata ke taTa para bhayaMkara bhomA nAmaka jaMgala meM vanecara huaa| zikArI kI AjIvikA karatA hubhA vaha parvata ke pAsa pahu~cA / / (7980) rAtri ke samApti samaya jaba muni calane ko udyata huA taba jAte hue usa munizreSTha ko dekhakara mana meM apazakuna mAnate hue usa kirAta ne usako bANa se bAMdha diyA / usa muni ne usa bANa ke ghAva kI bhayaMkara pIr3A ko sahana kiyA / dharmadhyAna meM buddhi lagAkara vaha ribhilASI dhanya ho gayA // . For Personal & Private Use Only

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zrIpArzvanAthacaritamahAkAvya praiveyake sa madhyama[madhyama]nAmani babhUva lalitAGgaH 1. aNimAdivibhUtiyuto'hamindratAM prApa surapUjyaH // 82 // .. sa ca saptaviMzatimitAmbhonidhitulyAyuriddhadivyarddhiH / " AsId divyazarIro divyasukhAnyeSa bhuGkte sma // 83 // samyagdarzanino hi dhairyamatulaM durgopasarge'pi yadiSTAntaM vigaNayya cinmayaparabrahmaiva nityaM smaran / bAhaye vastuni nirmamaH sadRzadRk zatrau ca mitre muni stasya svargapadaM na dUraviSayaM yadvA suniHzreyasam // 84 // iti zrImatparAMparaparameSThipadAravindamakarandasundararasAsvAdasamprINita bhavyabhavye paNDitazrIpadmameruvineyapaNDitazrIpadmasundaraviracite zrI pArzvanAthamahAkAvye zrIpArzva. bhavasaptakazaMsanaH nAma prathamaH sargaH / - (81-82) mRtyu ke samaya vizuddhalezyA vAlA, zarIra ke prati mamatvarahita, sAmyAmRtameM magna vaha muni zubha ArAdhanA karake, madhyama-madhyama nAmaka paMcama aveyaka (svarga) meM lalitAGga deva banA aura aNimAdi aizvarya se yukta, ahamindratva ko prApta kara surapUjya huA / (83) sattAisa sAgaropama Ayu vAlA vaha, var3hI huI divya RddhaoM se yukta, divya zarIradhArI, divya sukhoM kA upabhoga karatA thA // (84) jo samyagdarzI hone se bhayaMkara upasarga meM bhI atula dhairya rakhatA hai aura upasarga ke pariNAma ko iSTa samajhatA hai, jo cinmaya parabrahma kA nitya smaraNa karatA huA vAhya vastuoM meM niHspRha banA rahatA hai, jo zatru-mitra meM samadarzI hai usa muni ke lie na to svarga pada ko prApti dUra hai na mokSapada kI // iti zrImAn parama parameSThi ke caraNakamala ke makaranda ke sundara rasake AsvAda se ., bhavyajanoM ko prasanna karane vAlA, paM. padmamera ke ziSya , paM0 zrI padmasundara kavi dvArA racita zrI pArzvanAtha mahAkAvya meM zrI pArzvanAtha ke sAta bhavoM kA varNana karane vAlA - prathama sarga samApta huA / For Personal & Private Use Only

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11211 dvitIyaH sargaH sarvapAdhirAje'smin jambUdvIpe pratiSThite / bhAsvatsvarNAcalottuGgakoTIraparimaNDite svargaMkhaNDa ivAkhaNDe prAgvidehasya maNDale / tatpurANAbhidhe'nyarddhibhedane puTabhedane // 2 // yatratyanArI saundaryaM dRSTvA divi surAGganAH / nirnimeSadRzastasthuriva zaGke savismayAH // 3 // sudhAdhavalitaiH sauMdhairvizadairhAsarAzibhiH / yatpurarddhiH kRtaspardhA hasantIvA'marAvatIm ||4|| yatrArAtinRpakhyAtigirivajrasadgbhujaH / vajrabAhuriti khyAto'nvarthanAmA mahIpatiH ||5|| ikSvAkuvaMzyo gotreNa kAzyapaH kAzyapIM sadA / bubhuje bhujanirghAtapAtadhvastadviSatpuraH // 6 // devI sudarzanA tasyA'gaNya lAvaNyamaJjarI / svarUpasampadunnatyA vyajIyata ratiryayA // 7 // graiveyakASmarAtmA tu tadgarbhe samavAtarat / navamAsavyatikrAntau sutaratnamasUta sA | 8 // ( 1 - 3) dedIpyamAna hemagiri ke uttuGga zikharoM se parimaNDita aura sabhI dvIpoM ke pratiprita. adhirAja isa jambUdvIpa meM svarga' ke khaNDa ke samAna prAgvidehadeza ke akhaNDa maNDala meM dUsaroM kI samRddhi ko bhedane vAlA tatpurANa nAmaka nagara thA / isa nagara ko nAziyoM ke saundarya ko dekhakara svarga meM devAGganAe~ Azcaryacakita hokara mAno nirnimeSa vAlI rahIM aisA mana meM hotA hai / ( 4 ) cUne se dhavalita zveta mahAlayoM ke dvArA pura kI samRddhi (amarAvatI ke sAtha) spardhA karake amarAvatI kI mAno ha~sI ur3AtI hai| (5) isa nagara meM zatru rAjAoM ke khyAtirUpa parvata ko bhedane meM vajra jaisI bhujAvAlA aura sArthaka nAma vAlA vajrabAhu nAma se prasiddha rAjA thA / ( 6 ) apanI bhujAoM ke prahAra se zatruoM ke nagara ko dhvasta karane vAlA, ikSvAkuvaMza meM avatIrNa aura kAzyapagotrIya vaha rAjA zAsana karatA thA / (7) usa rAjA kI atIva saundaryayukta rUpavatI sudarzanA nAma kI rAnI thI, jisane * apane rUpa kI sampadA se kAmadeva kI patnI rati ko bhI jIta liyA thA / (8) graiveyaka nAmaka svarga se deva kI amara AtmA usa mahArAnI ke garbha meM AyI tathA usa rAnI ne nau mahInoM ke samApta hone para eka putraratna ko utpanna kiyA // For Personal & Private Use Only

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zrIpArzvanAthacaritamahAkAvya kanakaprabhanAmA''sId vapuSA kanakaprabhaH / vyatItabAlamAvaH sa jagrAha sakalA. kalAH / / 9 / bhAratI vadanAmbhoje lakSmIstasthau karAmbuje / hitvA sApatnyavikRtimujhe eva tamAzrite // 10 // dvAsaptatikalAmijJo rAjanItividAMvaraH / lakSaNagranthasAhityasauhityaM prApa nirbharam // 11 // pitA taM rAjyakuzalaM matvA nArpatyamArpayat / dhuraM vahati dhaureyo na jAtucana gorgaliH // 12 // krameNa cakravartitvaM prApya nyAyapathena saH / / * zazAsa sakalAM pRthvI prajApAlanatatparaH // 13 // tanmantrazaktyA visrastavIryA iva mahoragAH / pratyanIkamahIpAlA na cakrurvikriyAM kvacit // 14 // sa nAtitIkSNo na mRduH prajAsu kRtasammadaH / niSevya madhyamAM vRttiM vazIcakre jagad nRpaH // 15 // na ca dharmArtha kAmeSu virodho'syA'bhavanmithaH / tadvivekaprayogeNa sauhArda prApiteSviva // 16 // (9) zarIra se svarNa kI kAnti ke samAna vaha bAlaka kanakaprabha nAma vAlA thaa| bAlyakAla vyatIta hone para usane sampUrNa kalAoM ko grahaNa kiyA // (10) usa (rAjakumAra) ke mukhakamala meM sarasvatI kA bhaura hastakamala meM lakSmI kA vAsa thaa| donoM (sarasvato evaM lakSmI) apane pArasparika zatrubhAvAtmaka vikArako chor3akara usa ( kanakapabha ) ke Azrita thIM // (11) bahattara kalAoM ke zAtA, rAgamIti ke jAnakAroM meM zreSTha usa rAjakumAra ne lakSaNagranthoM sahita aneka sAhityika granthoM kA sUba adhyayana kiyA thaa| (12) pitA ne rAjakArya meM kuzala jAnakara use (rAjakumAra ko) rAjya sauMpa diyA / ( kahA bhI gayA hai ki ) dhaureya baila dhurA ko vahana karatA hai, parantu galiyA baila dhurA ko vahana nahIM kara sakatA // (13) kramazaH cakravartitva ko prApta karake vaha (rAjakumAra ) nyAyamArga se (nyAyapUrvaka ) prajApAlana meM tatpara hotA hubhA sampUrNa pRthvI kA zAsana karane lagA // (14) ( vAdI ko ) mantrazakti se kSINavIrya sarpa kI taraha usa ( rAjakumAra ) kI mantrajJakti se dhvasta parAkrama vAle pratidvandvI rAjA loga kisI prakAra kI kahIM para bhI uddaNDatA nahIM karate the // (15) vaha na jyAdA kaThora thA, na jyAdA koml| vaha prajA kA Ananda bar3hAne vAlA thaa| madhyamamArga kA avalambana karake usane sAre saMsAra ko vaza meM kara liyA thaa| (16) isa rAjA ke dharma, artha aura kAma meM paraspara virodha nahIM thA / usake viveka ke kAraNa hI mAnoM unhoMne paraspara mitratA prApta kI thii| For Personal & Private Use Only

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. pAsundarasUriviracita jitendriyeNa prabhuNA saddharmapathavartinA / umaye zamitAstenA'rayo'bdeneva reNavaH // 17 // sandhirvA vigraho yAnamAsanaM dvaidhamAzrayaH / SaDguNAstasya sAphalyaM na bhejurhatavidviSaH ? // 18 // jAtirUpabalaizvaryamadauddhatyaM na ca kvacit / prazAntasyAsya . bhUpasya prasannasyApyavaddhata // 19 // prAsAdastho'nyadA cakrI vAtAyanapathena saH / . pazyannabhasi devAnAM vRndaM nirgacchadaikSata // 20 // tadarzanasuvijJAtajagannAthajinAgamaH / samrAT sasainyaH sadbhaktyA zrIjinaM nantumAgamat // 21 // bhagavaddezanAM sphArasArapIyUSasodarAM / zrutvA tuSTAva santuSTaH spaSTavAcA jinaM kRtI // 22 // OM namo vizvarUpAya vizvalokezvarAya te / vizvavidyAsvatantrAya namaste vizvacakSuSe // 23 // tvaM vizvadazvA tvaM vizvayonivizvavidIzvaraH / jagatpatirjagaddhAtA jagabandhuranantadRk // 24 // (17) apanI indriyoM ko vaza meM karane vAle, sanmArga meM pravRtta usa rAjA ne (bhAntara bAya) donoM prakAra ke zatruoM ko isa prakAra zAnta kara diyA thA jisa prakAra varSA miTTI ke kaNoM ko zAnta kara detI hai| (18) zatruoM kA nAza karane vAle usa rAjA ke sandhi, vigraha yAna, Asana, dvaidhIbhAva aura Azraya-ye SaDguNa saphala nahIM hote the kyA ? (19) zAnta aura prasanna isa rAjA ko kahIM para bhI jAti, saundarya, zakti aura aizvarya ke mada se janya udaNDatA bar3hatI nahIM thii| (20) eka bAra, apane mahala meM baiThe usa rAjA ne khir3akI se, AkAzamArga se nikarate hue devatAoM ke samudAya ko dekhA / (21) devoM ke darzana se jagat ke svAmI jinezvara kA Agamana aka' se jAnakara, vaha samrAT zrIjinezvara kI bhaktipUrvaka vandanA karane hetu senA ke sAtha AyA / (22) (usa rAjA ne) bhagavAn jinezvara ke amRta se paripUrNa upadeza ko sunakara santuSTa aura kUtArtha hote hue spaSTa vANo se jinezvaradeva kI stuti kI / (23) vizvasvarUpa, saba logoM ke prabhu, bhApa ko, namaskAra ho / vizvavidyA meM svatantra aura vizva ke (ekamAtra) cakSurUpa Apako namaskAra ho| (14) he prabho ! Apa saMsAra ke draSTA ho, Apa saMsAra ko jJAna karAne vAle ho, bhApa. saMsAra . ko mAnane vAle ho, Apa Izvara ho / Apa jagatpati, jagatUdhAraka, jagatbandhu tathA ananta dRSTi vAle ho / . AN For Personal & Private Use Only

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" zrIpArzvanAthacaritamahAkAvya viSNurjiSNuracinyAtmA'cintyazaktirjinezvaraH / sarvajJaH sarvadRk sarvalokapaH sarvanAyakaH // 25 // sArvaH sarvezvaraH zambhuH svayambhUbhagavAn vibhuH / nirmalo niSkalaH zAnto niSkalaGko niraJjanaH // 26 // dharmAdhyakSo dharmazAstA dharmatIrthakarA jinaH / tvamaha na bItArAgastvaM dhyeyastvaM dhyAnagocaraH // 27 // mAdityavarNa tamasaH parastAt tvAM vidurbu dhAH / trikAlavedinaM sUkSma purANapuruSaM purum // 28 // syAdvAdavAdI tvaM vAgmI bhavyalokaikasArathiH / devAdhidevo devendravandho devaH sanAtanaH / / 29 // jinAya nAmarUpAya namaste sthApanAtmane / namaste dravyarUpAya bhAvarUpAya te namaH // 30 // eko'neko mahAn sUkSmo laghurgururudIritaH / vyakto'vyaktastvamevAsi brahma nityaM parAparaH // 31 // . iti stutvA jagannAthaM jagannAthajinaM nRpaH / triHparItya namaskRtya samAgAd nijapattanam // 32 // Apa hI viSNu ho, jiSNu ho, acintya AtmA ho, acintya zakti ho aura jinezvara ho| bhApa sarvajJa ho, sarvadarzI ho, sabhI lokoM ke pAlaka ho aura sabhI prANiyoM ke nAyaka ho / (26) he prabho ! Apa hI sArva ho, savezvara ho, zambhu ho, brahmA ho aura vibhu ho / bhApa nirmala, niSkalaMka (=niSkala), zAMta aura niraMjana ho / (25) bhApa hI dharmAdhyakSa ho, dharmazAstA ho, dharmatIrtha ke kartA ho, jina ho, arhat ho, vItarAga ho, dhyeya ho aura dhyAna kA Alambana ho / (28) he prabho ! vidvAna loga Apako andhakAra se pare sUryasvarUpa, trikAlajJa, purANapuruSa, sUkSmarUpa aura purU jAnate haiN| (29) he bhagavAn ! Apa syAdavAda kA kathana karane vAle ho, prazastavaktA ho aura bhavya jIvoM ke ekamAtra sArathi ho / Apa hI devAdhideva, devendroM dvArA bandanIya evaM sanAtana deva ho| (30) nAmarUpa jina aura sthApanArUpa jina, bhApako namaskAra hai| dravyarUpa jina aura bhAvarUpa jina, Apako namaskAra hai // (31) hai bhayavan / Apa eka hote hue bhI bhaneka haiM, mahAna hote hue bhI sUkSma haiN| Apako laghu aura guru kahA gayA hai| Apa vyakta bhI haiM aura avyakta bhI / Apa nitya parApara brahma hai| . (32) isa prakAra vaha rAjA agat ke nAtha jinadeva kI stuti karake, tIna bAra parikramA ke sApa namaskAra karake, apane nagara meM A gaye // For Personal & Private Use Only

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pacAsundarasUriviracita vijahAra jinendro'pi nirmamo viSayAntaram / .. kanakaprabhabhUpAlo'nyadA'rhaddharmadezanAm // 33 // vizuddhacetasA bhanyo bhAvayan jAtabhAvanaH / jAtajAtismaraH pUrvabhavAn dRSTvA vyarajyata // 34 // laghUpadezato'pi syAd nirvedo laghukarmaNAm / / prAnte'pi mohamugdhAnAM pApadhIna nivartate // 35 // dattvA svasUnave rAjyaM svayaM gatvA jinAntikam / : pravrajyAM jagRhe jainI nirvidha bhavabhAvataH // 36 // adhItaikAdazAGgo'yaM ratnatrayadharo muniH / / zuddhalezyaH prazAntAtmA jitarAgAdyupaplavaH // 37 // sa rAjarSistapastepe bAhayamAbhyantaraM dvidhA / " svakarmanirjarAhetozcakre sthAnakaviMzatim // 38 // arhatAmatha siddhAnAM bhaktiM saMghasya so'karot / gurUNAM sthavirANAM ca bahuzrutatapasvinAm // 39 // jJAnopayogamAbhIkSNyAd darzanaM vinayaM. vyadhAt / SoDhA'thA''vazyakaM zIlavateSvanaticAratAm // 40 // (33-34) ve mamatvamukta jinendra bhagavAn bhI anya pradeza ko cale gaye / . kamakAma rAjA kA bhavya jIva, dUsare hI dina, jinadeva ko dharma dezamA ko vizuddha citta se vicAratA. huA, bhAvanA aura jAtismaraNa jJAna ko prApta kara, pUrvabhava ko dekha kara virakta ho gayA / " (15) alpa karmoM vAle vyaktiyoM ko sAdhAraNa upadeza se bhI nirveda arthAt bairAgya utpanna.. ho jAtA hai aura moha se mUr3ha logoM ko pApabuddhi anta taka nivRtta nahIM hotii| (36) usa rAjA ne apane putra ko rAjya dekara, svayaM jinadeva ke pAsa pahu~ca kara, saMsAra ke, padArthoM se virakta hokara, jaina dharma kI pravajyA grahaNa kara lI // (37) usa muni ne ekAdaza agoM kA adhyayana kiyA / zuddhalezyA vAle prazAnta AtmA muni ne rAgAdi upadravoM ko. jIta liyA // (38) apane karma kI nirjarA karane ke lie. usa munirAja ne bAhya aura bhAbhyantara donoM prakAra ke tapa kiye tathA (isake sAtha hI) bIsasthAnaka tapa bhI kiye / (39) usa. munirAja ne arhatoM ko, siddhoM kI, (caturvidha) saMgha ko, sthaviroM kI, jJAniyoM kI aura tapasthioM kI sevA (bhakti) kI / (40) vaha bArambAra jJAnopayoga, darzana va vinaya ko pragaTa karatA thaa| vaha chaH prakAra ke Avazyaka kA pAlana karatA thA tathA vaha niraticAra zola aura usakA . pAlama karatA thaa| . For Personal & Private Use Only

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zrI pArzvanAtha caritamahAkAvya saMvega bhavabhAvebhyastapastyAgau svazaktitaH / vaiyAvRtyaM vratastheSu dadhau sAdhusamAdhitAm // 41 // adhItazrutAbhyAsaM zrutibhakti tathA'karot / mArga prabhAvayAmAsa sthAnAnImAni viMzatim // 42 // kAraNAnyeva sarvANi tIrthakRttvasya bhAvayan / babandha tIrthakRdgotraM trijagatkSemakAraNam // 43 // sa cADatyugraM tapastaptvA ciraM sadbhAvabhAvitaH / prAnte prAyopagamanaM kRtvA pratimayA sthitaH // 44 // muni: kSIravaNa (Ne) kSIramahAdrau sUryasammukhaH / Aste smA'tha sa bhillAmA ciraM svakRtaduSkRtAt // 45 // tamastamAyAM pApastu bhuktvA nArakayAtanAH / pracyutyA''yuH kSaye tatra girau kaNThIravo'bhavat // 46 / anyadA vicaraMstatra prAgvirodhAnubandhataH / sa siMhaH pratimAsthasya munedra kaNThamagrahIt // 47 // prAnte vizuddhalezyo'sau mRsvA'bhUt prANate divi / devo mahAprabhe yAne viMzatyambudhijIvitaH // 48 // (41) usane sA~sArika bhAvoM ke prati vairAgya ko dhAraNa kiyA, apanI zakti ke anusAra tapa aura tyAga kiyA, vrata meM sthita sAdhuoM kI sevA kI aura zubha samAdhi ko dhAraNa kiyA / (42) aMta kA abhyAsa kiye binA hI usane zrutabhakti kI (aura) mArga kI prabhAvanA kI ye haiM bIsa sthAna / (43) tIrthakRttva ke sabhI kAraNoM kI bhAvanA (dhyAna) karate hue usane tInoM lokoM kA' kalyANa karane vAle tIrthakRta gotrakarma ko bA~dha liyA / (44) atyanta umra tapa karake bahuta samaya taka sadbhAvanApUrvaka antakAla meM AmaraNAnta upavAsa karake vaha muni pratimArUpa dhyAna meM sthita rahA / (45-46) vaha muni kSIravaNa nAmaka vana meM kSIramahAparvata para sUrya ke sammukha khar3A thA / apane kiye hue duSkarma ke kAraNa bahuta samaya taka tamastamA naraka meM nArakIya yAta nAmoM ko bhoga kara Ayu kSINa hone para naraka se cyuta hokara usa pApI bhillAtmA (kamaTha) ne parvata ke Upara siMha yoni meM janma liyA / (47) eka bAra ghUmate ghUmate usa pApI siMha ne pUrva janma ke virodha ke Agraha se usa parvata para pratimAsthita usa suni ko kaNTha se pakar3a liyA / (48) antasamaya meM vizuddhalezyA vAlA vaha muni marakara prANata nAmaka devaloka meM mahAprabha vimAna meM bIsa sAgaropama bhAyu vAlA deva huA / For Personal & Private Use Only

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.. pAsunvarasUrikicita sa copapAdazayyAyAM samutpede mahardikaH / ... ... .. yuvA suptotthita ivA'ntarmuhUrtAt surottama : // 49 // .. citAbhre gagane vidyudvilAsa iva diyute / tanurasyA'marI divyanAnAbharaNabhAriNI // 50 // arajo'mbarasamvItaH keyUrAGgadakuNDalaiH / bhrAz2amAnavapuH sragvI sAlasekSaNavIkSaNaH // 51 // tadpaM tacca lAvaNyamasya divyamayonijam / vireje varNavAtItaM niSTaptakanakojjvalam // 52 // puSpavRSTiM tadaivAzu mumucuH kalpazAkhinaH / ja jambhe dundubhermandraH pratidhvAno marutpathe // 53 // 'sa kiJcit sAlasaM vIkSya dikSu vyApArayad dRzam / tadaiva praNato devaidivyakoTIramaNDitaiH // 54 // kimadbhutamidaM kasmAdahamAgAM kva cAbhavam / ko vA'yamA''zramaH ke vA susa mAM praNamantyamI // 55 // evaM vimRzatastasyA'vadhiH prAdurabhUt kSaNAt / tenA'jJAsIdidaM sarva tapaHkalpataroH phalam // 56 // ... . (79) vaha muni (=marane ke pazcAt) upapAdazayyA meM utpanna huA / vaha kSaNabhara meM hI sokara uThe hue yuvaka ke samAna maharddhika devatA bana gayA / (50) AkAzamaNDala meM bijalI ke vilAsa kI taraha vaha camakane lagA aura devasvarUpa usakA zarIra aneka prakAra ke AbhUSaNoM se sundara pratIta hone lagA / 51) vaha deva svaccha zobhana vastroM se yukta bhujabanda va kuNDaloM se zobhita zarIra vAlA, mAlAdhArI va alasanetroM se avalokana karane vAlA thaa| (52) usakA. vaha divyarUpa aura svAbhAvika lAvaNya varNanAtIta tathA tape hue svarNa ke samAna ujjvala camaka rahA thA / (53) (jaba vaha upapAdazayyA meM utpanna huA) taba yakAyaka kalpavRkSoM ne puSpa puSTi kI tathA bhAkAzamArga meM nagAr3e kA manda pratizabda hone lgaa| (54) vaha deva alasanetroM se dekhakara sabhI dizAoM meM cAroM ora dRSTi phailAne lgaa| tabhI divya mukuToM se sampanna devatAoM ne unheM jhukakara namaskAra kiyaa| (55) yaha dekhakara deva ne socA yaha kyA Azcarya hai? maiM kahA~ se AyA aura kahA~ utpanna huA ? yaha kauna sA Azramasthala hai tathA ye kauna so devatA haiM jo mujhe praNAma kara rahe haiM ? (56) aisA vicAra karate hue deva ko kSaNa, bhA.meM avadhi jJAna prakaTa huA aura unhoMne yaha saba tapasyArUpa kalpavRkSa kA phala samajhA / . For Personal & Private Use Only

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zrIpArzvanAthacaritamahAkAvya dhruvaM sa nAkaloko'yaM ta ime nAkinaH surAH / kanakapramajIvo'haM cAritrArjitapuNyabhAk // 57 // vimAna nandanobhAsi mandAradrumaveSTitam / / etAzcApsaraso nRtya-gIta-vAditrasAdarAH // 58 // nizcikAya ciraM yAvaditi devaH svasampadam / atho vyajijJapan devA 'jaya'-'nande'tizaMsinaH // 59 // svAminnidaM hi kartavyaM devAnAM puNyazAlinAm / prAgarhatpratimA pUjyA vidhinA zivazasinI // 6 // tataH pazya nijAnIkaM gAndharvAdigaNairvRtam / surAGganA'GgalAvaNyalIlAH smRtipathaM naya // 61 // tadevaM devavijJaptyA hRdi yuktiM vyacintayat / yadyapyacetanaM bimbaM nigrahAnugrahA'kSamam // 62 // tathApi vItarAgasya zukladhyAnamayAtmanaH / / baddhapadmAsanasyeyaM mUrtisphUtirvijambhate // 63 // strIzastrarAgadveSAGkapaGkazaGkAvivarjitaH / nirdoSo bhagavAneva kRtakRtyo nirAkulaH // 64 // . (57) nizcita yaha svargaloka hai| ye svargastha devatA hai / maiM kanakaprabha nAmaka jIva huuN| mapane caritra se ho maiM puNyaphala ko bhogane vAlA huuN| (58) nandanavana meM camakane vAlA, mandAra vRkSa se pariveSTita yaha vimAna hai tathA ye nRtya, gIta va vAdya meM AdaraprApta svarya kI mapsarAe~ haiM / (59) bahuta dera taka usa deva ne apane aizvarya kA jyoMhi nizcaya kiyA tadanantara devatAoM ne 'jaya' 'nanda' aisA kahate hue nivedana kiyA / (60) he svAmin ! puNyazAkI devatAoM kA yaha karaNIya haiM ki sarvaprathama kalyANasUcikA ahaM tpratimA kA vidhividhAna ke sAtha. pUjana karanA cAhie / (61) usake pazcAt (Apa) gandharva Adi gaNoM se yukta apanI senA ko dekheM tathA devAGganAoM ke aMgasaundarya kI lIlAoM ko smRtipatha meM lAyeM / (62-63) isa prakAra devatAoM ke nivedana se vaha apane hRdaya meM yukti socane lage-yadyapi acetanA pratimA bandhana va kRpA ke lie akSama hai taba bhI zukladhyAnamaya AtmA vAlA, vItarAga jo padamAsana meM sthita hai usako mUrti kI sphUrti vikasita ho rahI hai / (64) jinake ciha (krama se ). zrI aura zastra hai aise rAga aura dveSa ke kIcar3a kI zaMkA se bho jo muka hai (arthAt, aisI kIcar3a kI zaMkA bhI jisake bAre meM nahIM uThatI) aise vaha bhagavAn hI nirdoSa, kRtakRtya bhaura nirAkula hai| For Personal & Private Use Only

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padmasundarasUriviracita sa evAyaM jinazceti saMvittivIkSya jAyate / jinA mityataH sAkSAt jinamudrAmimAM viduH // 65 // tadbhaktirjinabhaktiH syAt tannutiH zrIjinastutiH / taddhyAnaM tu jinadhyAnaM puNyotkarSaphalapradam // 66 // kArya kAraNatulyaM syAd bhAvo dravyAnurUpagaH / tajjinapratimAbhaktiH puNyakaraNakAraNam // 67il vimRzyeti suraH samyagdRSTiH pUjAmacIkarat / nijadharmakramAcAro durullayo mahAtmanAm // 68 / / zuklalezyaH sArdhahastatrayotsedhaH sa cA''haret / viMzatyA'bdasahasraizca mAsairdazabhirazvasIt // 69 // mAnaso'sya pravIcAraH paJcamakSitigo'vadhiH / tAvatkSetra vikriyA'sya balaM tejo'pyavartata // 7 // kRtasukRtavipAkaprAptadivyopabhogaH suratarubhirabhISTaprArthitaM lambhito'sau / surayuvatisalIlApAGgasaGgA''ttaraGgazciramaramata nAnAnirjarAbhyarcanIyaH // 71 // (65) yaha hI 'jina' hai-aisA paricaya dekhane se hotA hai| isa kAraNa se jinadeva kI mati ko sAkSAt jinadeva kI deha (vidvAna) mAnate haiM / (66) isa dRSTi se usakI -jinapratimA ko) bhakti jinadeva kI bhakti hai. usakI stuti zrIjinadeva ko stuti hai, usakA kIyA hamA dhyAna jinadeva kA dhyAna hai, jo utkRSTa puNyoM ke phala ko pradAna karane vAlA hai| (67) isa dRSTi se kAraNatulya ho kArya hotA hai, dravyAnurUpa hI bhAva hotA hai / isalie usa jinadeva kI pratimA kI bhakti hI puNyotpAda kA kAraNa hai / (68) samyagdRSTi vAle usa deva ne aisA vicAra kara pUjA kA vidhAna kiyA / mahAtmAoM ke lie svadharma kA sadAcAra sarvathA darlaGaghanIya hotA hai| (69) zuklalezyAvAlA sADhe tIna hAtha u~cA vaha (deva) bIsa hajAra varSoM ke bAda mAhAra karatA thA aura dasa mAha ke bAda zvAsa letA thA / (70) mana ke dvArA hI pUrNa maithuna kriyA sampanna kara lene vAlA vaha tho| vaha paJcamI narakabhUmi taka jAnane kI kSamatAvAle avadhijJAna kA dhAraka thA / utane hI kSetra meM usakI vikriyA. usakA bala aura usakA teja kAryakSama tho / (71) jisane pUrvakRta puNyoM ke pariNAma se divya upabhogoM ko prApta kiyA hai, jisane kalpavRkSoM se icchita phala kA lAbha kiyA hai, jisane devAjanAoM ke apAGgoM ke saMga se Ananda prApta kiyA hai aura jo devoM ke dvArA pUjya hai aise isa deva ne cirakAla taka ramaNa kiyA / For Personal & Private Use Only

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zrIpArzvanAthacaritamahAkAvya kaNThIravo'pi duSkarmA'rjanAd bhrAntvA bahUn bhavAn / mAsId daridraviprasya sutastajjanmavAsarAt // 72 // pitR-mAtR-sagarbhAdikuTumbaM sakalaM tadA / marakopadravAnnItaM kSayaM tuga jIvati sma saH // 73 // kRpAlubhizca tatratyairmahebhyairannadAnataH / varddhito viprabAlo'yaM yauvanaM prApa ca kramAt // 7 // kRcchreNa jIvikAM kurvannavajJAM labhate sma saH / dhig duHkhabhAjanaM mAmityuktvA saMvignamAnasaH // 75 // kandamUlAdibhakSI san paJcAgnyAdi tapazcaran / babhUva tApasaH kAzimaNDalasya vane vasan // 76 // ... tatpUjAM mahatIM cakrustatratyAH kudRzo narAH / gatAnugatiko lokaH prAyaH sa! na tatvavit // 77 / iti zrImatparAparaparameSThipadAravindamakarandasundararasAsvAdasamprINitabhavyabhavye paNDitazrIpadmameruvineyapaNDitazrIpadmasundaraviracite zrIpArzvanAthamahAkAvye zrIpArvatIrthakaragotrArjana nAma dvitIyaH sargaH / .. (72-73) pApakarma prApti se siMha bhI vahuta janmoM meM bhramaNa karatA huA daridra brAhmaNa ke yahA~ putrarUpa meM utpanna huA / mAtA pitA, sakalakuTumbIjana usake janmadina hI marakI ke upadrava se naSTa ho gaye, lekina vaha bAlaka jindA rahA / (74) usa nagara ke rahane vAle dharnAnya evaM dayAlu janoM ke dvArA annadAna Adi se sambadhita vaha viprabAlaka kramazaH yuvAvasthA meM pahu~cA / (75) bahuta kaSTa se jIvikA kA nirvAha karatA huA vaha sarvatra apamAna prApta karatA thA / 'mujha duHkhI ko dhikkAra hai' aisA kahakara vaha atIva duHkho mana vAlA ho gayA / (76) kandamUla Adi khAkara paJcAgni tapa karatA huA, kAzI maNDala ke vana meM rahatA huA vaha tApasa bana gayA / (77) vahA~, jaMgala ke nivAsI mithyA. vAle usakI sUrya pUjA karane lageM / dekhAdekho kAma karane vAle sabhI sAMsArika jana tattva kI jAnakArI nahIM rkhte| iti zrImAn parama parameSThi ke caraNakamala ke makaranda ke sundara rasa ke AsvAda se bhavyajanoM ko prasanna karane vAlA, paM0 zrI padmamerU ke ziSya paM. zrIpadmasundara kavi dvArA racita zrIpAzvanAtha mahAkAvya meM 'zrIpArvatIrthakaragotrAjena' .. nAmaka yaha dvitIya sarga samApta huaa| For Personal & Private Use Only

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tRtIyaH sargaH atha madhyamalokasya madhyavartyantarIparAda / . himAdrimauliyoM jambUtarucchatracchavirbabhau // 1 // . dvIpo'yaM lavaNAmbhodhimekhalo lakSayojanaH / . vastu saptabhiH SabhiH kulAdibhiradhizritaH // 2 // yugmam / / himavallavaNAmbhodhi madhya-maNDala-maNDanam / bhArataM varSamatrAsti puNyarAziribAGginAm // 3 // . tatrA''sa kAziviSayastridivasyaikakhaNDavat / svargiNAM bhuvamAptAnAM zeSaiH puNyavinirmitaH // 4 // tatra vArANasItvAsIt nagarIvA'marAvatI / yatra saMskRtavaktAraH surA iva narA babhuH // 5 // nityAnandAH prajA yatra dharmakarmasu karmaThAH / ... nisargacaturAlApA bhAnti yatra purAGganAH // 6 // sadAnabhogairyatrayaiH paurainityakRtotsavaiH / vaidagdhyamadhurAlApaiH svargaloko'dharIkRtaH // 7 // .... 6) himavanta parvata kA mukuTa dhAraNa kiye hue aura jambUvRkSa ke chatra ko sImA kI dhAraNa kiye hue jambUdvIpa madhyamaleka ke madhya meM zobhAyamAna thA (2) lavaNa samudrarUma TimalA bAlA eka lAkha yojana vistRta yaha ambUdvIpa ( bhArata mAdi) sAta kSetroM se tathA himAla maadi| kulagiriyoM se adhiSThita hai / himavanta parvata ke aura lavaNa samudra ke madhyAmA "zImA dene vAlA mAratavarSa mAno zarIraghAriyoM ko puNyarAzi hai / (4) vahA~ svarga kA ma (bhAga) kI mauta kAzo pradeza haiM jo pRthvI para Aye svargavAsiyoM ke zeSa puSyoM sapanAyA gayA hai| (5) isa kAzI pradeza meM, devatAoM kI nagarI amarAvato kI taraha pAgaNAMzI thii| jisa nagarI meM saMskRta bolane vAle mAnava devatAoM ko taraha zobhA pAte "2110) isa nagara kI prajo hamezA Ananda meM rahane vAlo thI tathA dharmakarmoM meM kusala thii| "yahI ramaNiyoM prakRti se hI vArtAtApa meM catura hone se manohArI thiiN| () sadA AkAza bhaubaneM vAle (yo dAna ke sAtha sAtha upabhoga karane vAle ), hamezA utsava manAnevAle aura gadvattApUrNa madhura bAteM karane vAle yahA~ ke parijanoM ne svargaloka ko hIna banA diyA thaa| .. nAma For Personal & Private Use Only

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26 zrI pArzvanAthacaritamahAkAvya nepathyaiH sampado yatra sUktibhirguNinAM guNAH / yauvanAnyanumIyate paurANAM ratavibhramaiH // 8 // dhanviSveva guNAropastabdhatA yatra vA madaH / kariSvevAta patreSu daNDa bhaGgastu vIciSu // 9 // ArUDhayoginAM yatra brahmaNyevAtisammadaH / ilathatvaM vigraheSveva viSayeSveva nigrahaH // 10 // yatra gAGgAstaraGgaughAH kalmaSakSAlanakSamAH / janminAM svargasargAya puNyapujA ivojjvalAH // 11 // pAtrasAda yatra vittAni nRNAM cittAni dharmasAt / sadharmaH zAstrasAdeva nayamArgastu rAjasAt // 12 // tatrAsIdazvasenAhUvo nRpa ikSvAkuvaMzajaH / nirjito yatpratApena tapanaH paridhiM dadhau // 13 // sarvakAryeSu yasyAsssIccakSudvaitaM mahIpateH / eka cAro vicAro'nyo dRzau rUpAdidarzane // 14 // yasya dharmArthakAmAnAM bAdhA nAsIt parasparam / sakhyamAptA ivAnena yathAsvaM bhajatA nu te // 15 // (8) yahA~ veSabhUSA se ( = pahanane ke kapar3oM se) samRddhi kA anumAna hotA hai, suvacanoM se guNI-janoM ke guNoM kA anumAna hotA hai tathA kAmakrIDAoM se nagarajanoM ke (rasika), yauvana kA anumAna hotA hai / (9) yahA~ dhanuSadhAriyoM meM hI guNa (pratyaJcA) kA Aropa thA anyatra nahIM; hAthiyoM meM hI mada tathA stabdhatA thI; Atapatra ( = chAtoM) meM hI daNDa lagA huA thA ( = anya kisI nAgarika ke lie daNDa kA vidhAna nahIM thA ), tathA pAnI kI laharoM meM hI bhaGga arthAt toMr3a maror3a thA ( = janatA meM kahIM bhI tor3a maror3a arthAt avyavasthA nahIM thii)| (10) ArUda yogI logoM ko brahmadhyAna meM hI atyanta harSa thA; lar3AI-jhagar3oM meM zaithilya thA tathA viSaya vAsanAoM para pUrA damana thA / ( 11 ) yahA~ vArANaso nagarI meM gaMgA nadI kI taraMgoM ke samudAya pApa prakSAlana maiM samartha the / ve prANiyoM ke svargasRjana ke lie ujjvalapuNyoM ke Dhera ke samAna the / ( 12 ) isa nagarI meM dhana yogya vyakti ko diyA jAtA thA, manuSyoM ke citta dharma ke adhIna the, sadUdharma zAstra ke AdhIna thA tathA nItimArga rAjA ke AdhIna thaa| (13) usa vArANasI nagarI meM azvasena nAma vAlA ikSvAkuvaMza meM utpanna rAjA thA jisake pratApa se parAsta sUrya usakI pradakSiNA karatA thA / (14) usa rAjA azvasena ke do apUrva netra sabhI kAryoM meM do prakAra se saMlagna the / eka netra thA guptacara aura dUsarA thA vicAra ( =viveka) / do A~kheM to rUpa Adi ko hI dekhane vAlI thiiN| (15) usa rAjA ke yahA~ dharma-artha-kAma meM paraspara TakarAva nahIM thA / vaha rAjA unakA yathAyogya sevana karatA thA isaliye ve paraspara mitratA rakhate the / " For Personal & Private Use Only

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pAsundarasUriviracita rAjanvatI dharA sarvA tasminnAsIt surAjani / yadbhayAd bhIbibheti sma tallokeSu kuto bhayam ? // 16 // ziSTAnAM somasaumyo'sau duSTAnAM tapanayutiH / tamaH-prakAzasaMvItazcakravAla ivAcalaH // 17 // vAmAnAmnIti devyAsIt tasya saundaryazAlinI / yA vAmalocanAnAM nu cUDAmaNirivAdbhutA // 18 // mati-dyuti-vibhUti-zrI-lAvaNyAdbhutasundaraiH / strIsargasya parA koTinirmame vidhinA guNaiH // 19 // tatkukSau ziticaitrasya caturthyAM samavAtarat / kanakaprabhadevAtmA, vizAkhAyAM divazcyutaH // 20 // sA'nyadA maJcake suptA daranidrAmupAgatA / / imAMzcatudezasvapnAn . dadRze zubhasUcakAn // 21 // ibhamairAvaNAbhaM sabaMhitaM trimadatam / gavendraM kundacandrAbhaM kakumanta(taM) ghanadhvanim // 22 // mRgendramindudhavalaM kesarATopazobhitam / padmAM padmAsanAsInAM snApyAM diggajadantibhiH // 23 // . (16) usa suyogya rAjA ke zAsana karane para sArI pRthvI rAjanvatI (acche rAjAvAlI) thii| jisake bhaya se bhaya khuda hI kApatA ho aise usa rAjA ko tInoM) loka meM kahA~se bhaya ho sakatA hai? (17) ziSTAcAra sampanna vyaktiyoM ke lie vaha rAjA candramA ke samAna saumya va duSToM ke lie sUrya kI bhA~ti dIptimAn thA / vaha (rAjA) andhakAra aura prakAza se ghira hae cakravAla parvata kI bhauti thA (18) usa rAjA kI saundaryasampanna bAmA nAmaka devI (mahArAnI) tho jo zobhana netra vAlI strIyoM meM cUDAmaNi ke samAna adbhuta thI (= arthAt sarvazreSTha tho)| (19) svayaM vidhAtA ne mati, dyuti, aizvarya, lakSmI va saundarya Adi adbhuta guNoM se zrI sRSTi meM paramakoTi (ucca koTi) kA (arthAt usa mahArAnI kA) nirmANa kiyA thaa| (30) usa mahArAnI kI kokha meM caitra mAsa kRSNa caturthI meM, vizAkhA nakSatra meM, svarga se cyavana prApta kara kanakaprabhadeva kA avatAra huA / (21) eka dina, palaMga para soyI huI usane alpa madrA prApta kara zubhasUcaka caudaha svapna dekhe / (22-23-24) tIna sthAna para madanAva se yukta aura garjanA kara rahe hAthI ko kundapuSpa tathA candramA ke samAna kAntivAle, unnata kandharAvAle mIra megha samAna AvAja vAle vRSamendra ko apanI kesarA (ayAla) ke ADambara se zobhita aura candramA ke samAna zveta siMha ko puSyoM kI sugandha se AkRSTa hokara ghUmate bhramaroM kI kAra se For Personal & Private Use Only

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. . zrIpArvanAthacaritamahAkAvya dAMmadvayaM sumAmodabhramabhramarajhaMkRtam / / sampUrNamaNDalaM - candra jyotsnoyotitabhUtalam // 24 // pradyotanamathodyantamudayAdestamopaham / bahibaha vicitrAbhaM dhvajaM . daNDAgramaNDitam // 25 // pUrNakumbhaM tataH padamapihitaM supratiSThitam / nAnApadmaparAgazrIzobhi padmasaro mahat // 26 // jaladhiM pavana-kSobha-calatkallolabhAsuram / svarvimAnaM sphuradratnaniHsapatnaprabhojjvalam // 27 // .. ratnoccamaM samutsarpadIptivicchuritAmbaram / . jvalajjvalanamujjvAlaM nirdhU maM sA jinaprasUH // 28 // aSTabhiH kulakam // svapnAnte ca prabuddhA sA babhUvA''nandamedurA / vapuH pulakitaM tasyA vRSTI nIpaprasUnavat // 29 // tataH sA'kalpitA''kalyA pramoda voDhumakSamA / nijAGgeSviti tanvaGgI bharturabhyarNamabhyagAt // 30 // ucite samaye'thoce svAmin ! svapnAnimAnaham / adrAkSaM madhyayAminyAM pAvakAntAn gajAdikAn // 31 // - yukta do mAlAoM ko; tth| apanI jyotsnA se bhUmaNDala ko prakAzita karane vAle, sampUrNa praNAma vAle candra ko mahArAnI ne dekhaa| (25-26) udayAcala se uThe hue, andhakAra ko dUra karane bAle sUrya ko aura mayUrapiccha ( mora ke paMkha samAna) jaise raMgabiraMge aura daNDa ke aprabhAgaalaMkRta dhvaja ko; kasala se AcchAdita supratiSThita pUrNakumbha ko tathA aneka pAparAma kI manti se sazobhita bar3e kamala ke sarovara ko mahArAnI ne dekhA / (27) pavana janita kSobha kI caMkA taraMgoM se dedIpyamAna sAgara ko prakAzamAna ratnoM kI anupama prabhA se ujjavala svAyasimAla ko mahArAnI ne dekhA / (28) cAroM ora phailatI huI apanI dopti se AkAzamaNDalako vyApta karane kAlI ratnarAzi ko; aura UrdhvagAmI jvAlAoM vAlI jalatI huI ghUmarahita agni ko jinadeva kI mAtA ne dekhA / (29) svapna ke anta meM vaha jagI aura Anandavibhora ho gayI / varSA Rtake kadamba puSpa kI bhAMti hI usakA zarIra pulakita ho uThA / (30) tadanantara akalpita bhArata kAlI vaha kRzAGgI mahArAnI usa Ananda ko apane zarIra meM vahana karane meM asamartha hosI-I apane pati ke pAsa phuNcii| (31) ucita avasara pAkara usane mahArAja se kahA-svAmina / , maiMne madhyarAtri meM hAthI se lekara agni taka ke ina svapnoM ko dekhA / 12 For Personal & Private Use Only

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zrImataH zrImukhAdeSAM phalaM zuzrUpurasmi / tat / apUrvadarzanaM prAyo * * vismApayati mAnasam .. // 32 // narendrastatphalAnyAha kiM baktena bhAmini / / .... asmadavaMzAvataMsa . tvaM prasodhyami sutottamam // 33 // jajAgAra jagadvanyA vayasyAbhiH prabodhitA / / satkathAkathanotkAbhistalpavAmAzAyinI // 34 // udatiSThat tato devI prAtarAtAniHsvanaiH / / kIrtanandivRndAnA maGgaladhvanizaMsibhiH // 35 // nidrA jahIhi devi ! tvamiti jAgarayatyayam / vibhAtakAlaH protphullapamAJjalipuTairiva // 36.' mandimAnaM gatazcandro devi ! tvanmukhanirjitaH / prakAzayatyatha jagat prabuddha tvanmukhAmbujam // 37 // itaH mAcyAM vibhAnti sma stokAda muktAH karA ravaH / itaH sArasasaMrAvAH zrUyante sarasISvapi // 38 // itazca kokamithuna niviraviklavam / kamindraniHsvAmitramabhyarthayatyalam // 39 // 32) bhApa zrImAn ke mukha se maiM ina svapnoM kA phala sunanA cAhatI hu~ / bhapUrvadarzana prAyaH manobhAzcaryacakita kara dete haiN| (23) rAjA azvasena ne una svaghnoM kA phala kahA-dekhi ., he rAmI 1 jyAdA kyA kahu~ ? hamAre vaMza ke bhUSaNa uttama putra ko tuma utpanna karogI / (n) zayyA ke ye abhAga meM soI huI jagadvandanIyA rAnI sundara, kathAoM ko kahane meM umasa rakhane vAlI apanI sakhiyoM dvArA jagAI gaI / (35) bAda meM vaha deko prAta:-- bAloga pAcadhvani se mora bandi (cAraNa) samudAya ke maMgala dhvanyArthaH ko kahane vAle kIrtanoM se uThA / (36) he mahArAnI! nidrA tyAgo / yaha prAtaHkAla vikasita kamalapuSpA ke bhaJjalipuTI se tumheM jagA rahA hai / (37) he devi !, Apake mukha kI zobhA se jItA hubA parAza manda ho gayA / gatimAna sUrya Apa ke mukhakamala kA prabaMdha kareM / (38) ra pUrva dizA meM thor3I chor3I huI sUrya kI kiraNe camaka rahI hai, udhara sarovaroM meM sArasoM kImApAsunAI par3a rahI hai| (31) idhara cakravAka mithuna jo rAtri ke viraha se vyAkula hai apanI manda manda mara ghyami se paryApta rUpa meM apane mitra (sUrya) se prArthanA kara rahA hai| For Personal & Private Use Only

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zrIpArzvanAthacaritamahAkAvya sarasyudbhinnamukulA nalinI * bhramarAravaiH / / devi ! prabodhayantIva padmAkSIM tvAminodaye / / 4 / / tAmracUDadhvanistAro dampatyoH zliSTayorayam / dunotIva mato nUnaM sadyo virahasUcakaH // 41 // saraH zIkaravRndAnAM voDhA mandaM vavau marut / / praphullapaGkajotsarpatsaurabhodgArasundaraH // 42 // kalyANi ! te suprabhAtam anaghe ! vIrasUrbhava / iti prabodhayAmAsuH pAThemaGgalapAThakAH // 43 // susnAtaH prAtarAtodhamaGgaladhvanizaMsitaH / AjuhAva nRpaH svapnalakSaNe'dhItino dvijAn // 44 // nirNItArthA dvijAH prAhumahAsvapnAMzcaturdaza / jinAmbA cakrimAtA vA pazyatImAn na cAparA // 45 // devI tIrthakara vA'tha cakriNaM vA prasoSyati / gajasaMdarzanAt putro garIyAn / bhavitA taba // 46 // . dhurandharo vibhutvasya vRSabhAlokanAd bhuvi / siMhAdvIryAtizayavAn dAmato dharmatIrthakRt // 47 // (40) vikasita kalo vAlI sarovarastha nalinI pramaroM ke guMjana se he devi ! kamalanayanA tumheM sUryodaya ke samaya mAnoM jagA rahI hai ! (41) donoM AzliSTa (=AliMganabaddha) dampatti ke mana ko yaha murge ke ucca svara ko dhvani zIghra hI mAnoM viraha ke sUcanaH rUpa meM pIr3ita kara raho hai| (42) tAlAba ke jala ke vindu samudAya ko vahana karane vAlA manda manda pavana bahane lagA, jo pavana vikasita kamala puSa ko utkaTa sugandhi ko phailA kara sundara banA rahA hai / .(43) he niSpApa , tU vIra putra ko utpanna karane vAlI ho| he kalyANi ! tumhArA yaha suprabhAta. ho! aisA kaha kara maMgalapAThaka stotrapAThoM se unheM jAgRta karane lge| (44) prAtaH snAna karake, vAdyAdi maMgala ko sunakara rAjA ne svapna lakSaNoM ke jAnane vAle brAhmaNoM ko bulAyA / (45) brAhmaNoM ne una caudaha svapnoM ke bAre meM yaha nirNaya diyA ki jinadeva kI mAtA athavA cakravartI kI mAtA hI ye svapna dekha sakatI hai, anya koI nhiiN| (46) yaha devI sodhakara putra ko athavA cakravartI putra ko utpanna kregii| hAthI ke dekhane se tumhArA, yaha putra zreSTha putra hogaa| (47) baila ko dekhane se pRthvI para aizvarya meM agraNI tathA siMha darzana se pAra ko dekhane se dharmanAI kA kaI hogaa| For Personal & Private Use Only

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.:: padmasundarasUriviracita ladamyA labdhAbhiSekaM sa devebhyo merumUrddhani / pUrNacandrAjjanAnandI bhAskarAdatibhAsvaraH // 48 // siddhisaudhadhvajAropaM. kartA''rAdhanayA dhvajAt / nidhivAn' pUrNakumbhena panakAsAradarzanAt // 19 // aSTotsarasahasroccalakSaNaiH sahito bhavet / kSIrasAgarato. lokAlokadarzI . sa kevalI // 50 // vimAnAt svargato janma ratnarAzerguNAkaraH / .... kaughodAhakRd vahnavitA puruSottamaH // 51 / iti tatphalamAkarNya bhUpatirmumudetarAm / kRtasatkArasanmAnAn visasarja dvijottamAn // 52 // taduktaM sarvamAcalyau puro devyA yathAtatham / evamastviti sA tuSTA tadvAkyaM sma pratIcchati // 53 // cakrurvayasyAH zuzrUSAM kAcit tAmbUladAyinI / sajjA''sInmajjane kA'pi kAcit tasyAH prasAdhikA // 54 // kAciduktavatI devyai 'mandaM nigada saJcara' / tattalpakalpane kAcidaparA pAdamardane // 55 // kAcidvamanasaMskArabhUSAbhojyairupAcarat . / anyA sthiteSu prayatA dadAMvAsanamekikA // 56 // (48) lakSmIdarzana se devatAoM dvArA vaha merUparvata ke zikhara para abhiSeka prApta karegA aura pUrNacandra ke darzana se logoM ko Ananda dene vAlA hogA tathA sUryadarzana se bhatIva dIptimAna hogaa| (49-50) dhvajadarzana se ArAdhanA dvArA siddhirUpa mahAlaya ke upara dhvaja car3hAne vAlA yaha hogA aura pUrNa ghaTa ke darzana se dravyazAlI hogA; kamalapuSpoM vAle sarovara ke darzana se eka hajAra ATha lakSaNoM vAlA hogA tathA kSIrasAgara ke darzana se lokAloka ko dekhane vAlA vaha kevalajJAnI hogaa| (51) vimAnadarzana hone ke kAraNa usakA svarga se janma; ratnoM ke Dhera se guNazAlI; agnidarzana se karma ke samUha ko masma karane vAlA uttama puruSa hogA / (52) aise svapnaphala ko sunakara rAjA atIvaM prasanna huaa| sammAnapUrvaka satkAra karake usane zreSTha brAhmaNoM ko vidA kiyA / (53) ( rAjA ne) paNDitoM kI sArI bAta apanI mahArAnI ko khii| 'aisA hI ho'| - aisA kahakara usa mahArAnI ne bhI apanI svIkRti dii| (14) bhaneka sakhiyA~ (rAnI kI) sevA meM lIna thiiN| koI tAmbUla detI thI, koI lAna karAne meM udyata thI tathA koI use alaMkRta karane meM tallIna thii| (55) koI sakhI devI se 'dhIre bolo va dhIre se calo' aisA kahatI, koI zayyA taiyAra karane meM aura anya koI usake pAMva dabAne meM saMlagna rhii| For Personal & Private Use Only

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zrIpAnAthacaritamahAkAvya upAsyamAnA devIbhirdavIndrANIva sA''simiH / antarvasnI sukhaM . tasthau vihArAhAraseknaiH // 57 // dattAvadhiH sunAsIraH samAgAt tadgRhaM tadA / pitarau ca vavande'thaM triHparItyA''natakramaH // 58 // suraiH saha samAreme tANDavaM vAcaniHsvanaiH / kalagItairabhinayaiH sAGgahAraizca minitam // 19 // zakrastavena tuSTAva zrIjinaM jinamAtaram / stutvA ca parayA bhaktayA svarjagAma zatakratuH // 6 // garbhotpattidinAt satra tirSagjambhakanirmazaH / . vyadhunityamavicchinnA . basudhArAM nRpaukasi / dadhati sA babhau garbharatnamAkarabhUriva / mAturbAdhAM sa nAkArSAdivAgnirbimbatI'mbuni // 2 // nRpatirmAtRmat tasyA vadanaM paDmasaurabham / AghrAyAlirivodbhinnaM nalinInasimodaram // (16) koI (sakhI) vastrAlaMkAra, mAmUSaNa, bhojana Adi se usakA satkAra karamaMthI manya usake Thaharane para Asana diyA karato tho / (50) aneka mAno sakhiyoM ke zarA devooM se inANI kI bhA~ti sevA kI jAtI huI vaha sagarbhA mahArAno bhramaNa, bhojana Adi ke sevana se mukhaparvaka sthita thii| (58) avadhijJAna se devarAja indra agrapura hokara usa rAjA ke ghara Aye aura tIna parikramA karake mAtA pitA ko praNAma karane lage / (59) devatAbhoM ke sAtha usane bAyapAni, malA mIloM, abhinayoM aura ADiMgaka hAvabhAva se mizrita tANDava nRtya zurU kiyaa|30) ne zakastava se jinadeva aura jinamAtA kI stuti kI / paramabhakti se stuti karake indra svarga loka kA calA gyaa| (61) garbha kI utpatti ke dina se hI vahA~ tiryak evaM nambhaka devatA loga nitya bhakhaNDita dravyarAzi rAjya ke bhavana meM bikherane lge| (12) jisa prakAra khAna kI bhUmi deva ko pAraNa karake kobhA ko prApta hotI hai, usI prakAra garbha ko dhAraNa karane para vaha (sanI) shobhivyo| pAnI meM agni kA bimba jisa prakAra koI mukasAna nahIM pahu~catA hai usI prakAra rasa (parbhastha zikSa) ne mAtAko bAdhA nahIM pahu~cAI / (63) jipa prakAra mAra vikasita kamalinI ke samAna saMkara dRpta nahIM hotA hai usI prakAra usa rAnI ke kamala ke samAna supandhita mukha ko saMdhakara rAjAsta nahIM hotA thaa| For Personal & Private Use Only

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baastubhir'ir' sa mAturuMdare reje trijJAnajyotirujjvalaH / smuTasphaTikaMgehAntarvatiratnapradIpavat // 6 // surAsuranarairvandyA babhUva bhuvanatraye / kalA cAndrIva rocibhirbhAsamAnA jinAmbikA // 65 // dhanyA vAmA hi sA rAmA maulicUDAmaNiryayA / dhriyate'ntaH parabrahmadhAma kAmamanoharam // 66 // atha sA navamAsAnAmatyaye tanayaM satI / prAsUta trijagadvyApijyotiruyotitAmbaram 67 // : pauSamAsyasite pakSe dazamyAM ca vizAkhayA / yukte candre'rbharUpeNa prAdurAsId jagatprabhuH // 68 // jJAnatrayadharo bAlo bAlArka iva didyute / sa vAmAyA iva prAcyAH kukSau sodyotamudgataH // 69 // marutsIkarasaMvAhI padmakhaNDaM prakampayan / vavau manda dizaH sarvAH praseduH zAntareNavaH // 7 // harSaprakarSatA sarvAM janeSu .. samajAyata / mandArasundarAdibhyaH puSpavRSTistadA'patat // 71 // " . ... (64) sphuTa sphaTika ke ghara meM rahe ratna ke pradoSa kI taraha tIna jhAmeM kI jyota se ujjvala vaha mAtA ke peTa meM sobhita thaa| (65) tInoM loka meM candra kI malA kI bhauti kAnti se dedIpyamAna jinezvara kI mAtA sura, asura aura manuSyoM kI pUjya banI ) vaha zrI dhanya hai tathA triyoM meM mUrdhanya hai jisane apane andara (garbha meM) kAmadeva ke mana ko harane vAlA parabrahma kA teja dhAraNa kiyA hai / (65) tInoM lokoM ko pyAra krte| vA aura bhAkAza ko prakAzita karane vAle prakAzasvarUpa putra ko nau mAha vyatIta hokarI para isa mahArAnI ne janma diyaa| (68) pauSa mAha meM, kRSNa pakSa meM, dazamI timi divAnAcandra vizAmya nakSatra se yukta thA taba bAlarUpa meM jagatprabhu kA prAkaTya huA / (2) tIna sAno ko-harama karatA huA vaha bAlaka bAlasUrya kI bhAMti prakAzamAna thA; vaha parvadizAnI kA (antalAka) ke samAna vAmAdevo ko kukSi meM prakAza ke sAtha udaya meM bhayo / (ja) isa sAyasampUrNa-dizAe~ sAntadhUli vAlI thI tathA jalabinduoM ko anya sthAna para hai bAne vAlA, malakhaNDa ko kampita karane vAlA vAyu dhore dhIre baha rahA thA / (01) sarvatra loka meM huI kA adhikya samutpanna hubhA / tathA manjhara, sundara Adi vRkSoM para se puSyoM kI para hone kii| For Personal & Private Use Only

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bhIpArzvanAthacaritamahAkAvya divi dundubhayo / vedurviSvam cAnatatAmbarAH / Asan surA'surAH sendrAH sAndrAnandadhusundarAH // 72 // gajadantAyadhaHsthAstu . dikkumAryaH / samAyayuH / jinajanmAvadhetviA'dholokAt kampitAsanAH // 73 // bhogakarA bhogavatI subhogA bhogamAlinI / suvarasA vatsamitrA ca puSpamAlA ca nanditA // 7 // jinaM jinAmbAmAnabhya tAH saMvartakavAyunA / sammRjanti sma sadbhaktyA kSetra-yojanamaNDalam // 7 // atholokavAsinyo merunandanasaMsthitAH / .. abhyeyurdikkumAryo'STau ... tatkSaNAccalitAsanAH // 6 // meghaGkarA meghavatI sumeghA meghamAlinI / / toyadharA vicitrA ca vAriSeNA balAhikA 77 // vikuA'bhrANi tA gandhodakavRSTiM vitenire / avAvarI ca pAMzUnAM tatkSetre kusumAJcitAm // 7 // rucakadvIpamadhyastharucakAdiziraHsthitAH / . . catvAriMzadimAstAzca dinavidigmadhyakUTagAH // 79 // (2) svarga meM nagAr3e bajane lage, cAroM ora sundara dhvaniyoM se bhAkAma vyApta humaa| mura, asura, sabhI bhAva ora mAnanda ko camaka se saundaryasampanna bana gaye / (73) apane mAkhana kampita hone para avadhijJAna se jinaprabhu ke janma ko jAnakara gajadanta mAdi ke nIce sthita bimArikA mayolokase AyIM / (74-75) bhogaGgakarA, bhogavato, subhogA, bhogamAlinI, suvA, vatsamiMtrA, puSpamAlA va nanditA ye dikkanyAe~ jinadeva tathA jimamAtA ko praNAma karake bhaktipUrvaka samvartaka vAyu se yojanaparyanta bhUmi ko pavitra karatI thiiN| (76) Uryaloka basane vAlI merunandanasthita AThoM dikkumAriyAM, jinakA Asana kampita ho gayA thA, tatkAla (7-78) meghaMkarA, meghavatI, sumedhA, meghamAlinI, toyadharA, vicitrA, vAriSaNA, basahiyA kanyAoM ne bAdaloM kA nirmANa kara, dhUli ko dUra karanevAlI puSpasammibhita ganpoka kI huSTi usa kSetra meM ko / (72) rucakadvIpa ke madhya meM sthita, svakaparvata kI coTI para rahane vAlI, diga-vidig-madhyakUTavAsinI cAlIsa ve dikkumAriyAM bhI A pahu~cI / ' For Personal & Private Use Only

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padmasundarasUriviracita tatra nandottarA nandA sunandA nandivardhinI / vijayA vaijayantI ca jayantI cAparAjitA // 40 // etAH prAJcakAdetya natvA'rhantaM samAtaram / kalagIrti tAMstasthurdarpaNapANayaH gAyantyaH samAhArA supradattA lakSmAtI zeSavatI // 81 // suprabuddhA yazodharA / citraguptA vasundharA // 82 // aSTAvapAcIrucakAdetyaitA natatatkramAH triH parItya kRtodgAnAstasthurbhRGgArapANayaH // 83 // ilAdevIM surAdevI pRthvI padmAvatI tathA / ekanAsA navamikA bhadrA'zokA ca tA imAH ||84|| pratIcIca kAdaMSTAvabhyetyA''natatatkamAH / tisraH pradakSiNA dattvA tAlavRntakarAH sthitAH // 85 // alambusA milakezI puNDarIkA ca vAruNI / hAsA sarvaprabhA zrI hIraSTodamrucakAdimAH // 86 // bhagavanmAtaraM tathA 1 abhyetya bhagavantaM taM triH parItya namaskRtya tasthuzcAmarapANayaH // 87 // (80-81) unameM se nandottarA, nandA, sunandA, nandivarddhinI, vijayA, vaijayantI, jayantI va aparAjitA ye dikanyAe~ rucaka ke pUrvabhAga se Akara mAtA sahita bharhat deva ko namaskAra karatI thI tathA hAtha meM zIzA (darpaNa) lekara madhura kaNTha se gAtI huI sthita (82-83) samAhArA, supradattA, suprabuddhA, yazodharA, lakSmIvatI, zeSavatI, citraguptA, sudha ye mATha dikkanyAyeM rucaka ke dakSiNa bhAga se Akara natamastaka huI tathA bhArI hAtha meM lie hue tIna parikramA karake gAtI huI sthita rahIM / 4-85) ilAdevI, sukhadevI, pRthvI, padamAvatI, ekanAsA, nava. mekA, bhadrA tathA azAkA mAriyA~ ika ke pazcima bhAga se jora natamastaka hokara, tIna tIna pradakSiNA dekara vRkSa kA gucchA) kare rhiiN| (86-87) abusA, jitakezI, puNDarIkA, "vAruNI, hosA, sarvapramA, zrI, hI dikkanyAe rucaka ke uttarabhAga se Akara bhagavAn jinadeva tathA unakI mAtA ko karake cAmara hAtha meM liye hue sthita rahIM / For Personal & Private Use Only mohe" namaskAra

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zrIpArzvanAthacaritamajhakAvya citrA'tha citrakanakA sutejAzca sudAminI / vidigrucakavAsinyazcatasro dIpapANayaH // 8 // rUpA rUpAntikA cAtha surUpA rUpavatyapi / madhyastharucakAdetAzcatamro'bhyetya tatkramAt // 89 // natvA zizo bhinAlaM caturaGgulavarjitam / chittvA bhUmigataM cakruH sugandhadravyaparitam // 90 // gataM vidhAya tatrAtha vedI nirmAya nirmalAm / dUrvAbhiraJcitAM sarvA militvA bhaktipUrvakam // 11 // vizAlAn sacatuHzAlAMzcakrustrIn kadalIgRhAn / pIThatrayayutAstatrAbhyaGgIdvartanamajjanaH // 12 // jinasya jimamAtuzca bhaktiM kRtvA garIyasIm / AbhiyogikadevebhyaH kSudrAddhisavato gireH // 13 // gozIrSacandanaidhAsyA''nAyayAmAsurAhatAH / tAnyagnau bhasmasAtkRtvA bhUtikarma vibhoH kare // 94 / / rakSA baddhvA parvatAyubhavetyAziSamujjayuH / kalasvareNa tAzcakrurbhagavadguNakIrtanam / 95 // (88) citrA, citrakanakA, sutejA, sudAminI-ye cAroM rucaka ke adigbhAgoM meM rahane vAlI dikkanyAe~ hAtha meM dIpaka lie hue (sthita) thiiN| (89-90) rUpA, rUpAntikA. sunna / smakhato ina cAroM ne madhya rucaka se kramazaH Akara bAlaka jinake cAra aMgula pramANa vAdinAla - ko chor3akara zeSa nAbhinAla ko kATakara pRthak kara diyA aura se: sukhalita mukhya sahita jamIna meM gAr3ha diyA / (91) una sabane bhaktipUrvaka milakara vo eka gahA banAkara, addha vedI kA nirmANa kara use harita durvA se suzobhita kara diyaa| (SR ) (usake bAda) vahA~ una sabane milakara vizAla cAra zAlAoM kAle aura DIna pIle / se mukta bIna kadalIgrahoM kA bhaktipUrvaka nirmANa kiyA / vahA~ kadalImUhoM meM abhA, ukta smAla garA, jina ko aura jinamAtA ko bar3I bhakti karake, bhAbhiyaumika devoM ke pAsa thA himA vAlA pAhe gozoSa tathA candana ke kASTha maMgavAye aura unako ambi meM asmIna ko mAda usa dikakumAriyoM ne bhUtikarma kiyaa| bAda meM unhoMne prabhu ke hAtha meM sAsUtraH bAkara 'parvata ke samAna Ayu ho' aisA AzISa diyA aura sumadhura svara se , bhagavAn bita . guNakIrzana prAraMbha kiyA / For Personal & Private Use Only

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pAmasundarasUpivikila savayaM janmagehe tAH saMsthApyA''gurnijAlayAn / zavaH zakrAsanotkampAd jinajanma vibhAkyat // 96 // / zakrastavenAbhiSTutya sughoSAmapyavAdayat / jinajanmAbhiSekAya kSipramabhyudyato'bhavat // 97 // vaimAnika-jyotiSika-vanya-bhAvanasadmasu / nedurghaNTAH siMhanAdabherIzaGkhasvanAntarAH // 98 // zrutvaiSAmAravaM devA bhagavajjanma menire / / niryayuH svAlayAcchanAjJayA'bhrapaTalA iva // 99 // majAzvarathagandharbanartakIbhaTasaMyutAH / savRSA niryayurnAkAt saptAnikAstu nAkinAm // 10 // saudharmendraH zacIyuktaH pratasthe pAlakAbhidham / samAruhyAtmarakSAyaiH suraiH sAmAnikairvRtaH // 101 // ke'pi nRtyanti gAyanti hasantyAsphorayantyatha / valAntyanye suparvANaH pramodabharamedurAH // 102 // nabhombudhau caladivyavimAnagaNapaGktayaH / rejire mArutodbhUtaloladvelAcalAiva // 10 // .. ... (96-97) una donoM (=mAM-beTe) ko janmagRha meM sthApita karake (una dikkumAriyoMne ) apane ghara ko prasthAna kiyaa| indradeva bhI jina janma kA vicAra karate hue vahA~ Aye aura zakastava se stuti karake 'sudhoSA' nAmaka ghaTA va jAkara jinaprabhu ke janma ke bAda kiye jAne vAle abhiSeka ke lie zIghra hI udyata ho gaye / (98) vaimAnika, jyotiSka, vyantara bhaura bhavanavAsI devoM ke bhavanoM meM siMhanAda, nagAr3e, merI aura zaMkha kI dhvani se mizrita ghaNTAnAda hone lagA / (99-100) cAroM ora phailAI huI inakI dhvani sunakara sabhI devoM ne bhagavAn kA janma honA mAna liyA aura indra kI AjJA se sabhI deva apane-apane bhavanoM se bAdala ke samUha kI taraha nikala par3e / svargavAsI devatAoM ko gaja, azva, ratha, gandharva, nartakI, bhaToM aura vRSabha se yukta senAe* svarga se nikala pdd'ii| (101) AtmarakSa (sAmAnika daivoM kI eka' prakAra ) Adi sAmAnika devoM se ghire hue saudharmendra ne indrANI ke sAtha pAlaka nAmaka vimAna meM baiThakara prasthAna kiyA / (102) koI deva Anandavibhora hokara nAca rahe haiM, koI anya gA rahe hai, anya haMsa rahe haiM, anya AsphoTana kara rahe hai tathA anya kUda rahe haiM / (3) bhokAMza rUpI sAgara meM divya vimAnoM kI paMktiyA~ vAyu se uThI huI caMcala gatizIla velA zrIbhA~ti suzobhita ho rahI thiiN| For Personal & Private Use Only

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zrIpArzvanAthacaritamahAkAnya sendrAH surA'surA vyomni svairvimAnaiH svavAhanaiH / nAkAntaramivA''tenuH saMpRktArachAditAmbaraiH // 104 / avatIrya kramAt sarve namasaH kAzipattanam / / prApurjayAravonmizradundubhidhyAnaDambarAH // 105 / / ariSTagRhamAsAdya zacI natvA jagatprabhum / jinAmbAyAH stutiM cakre zatakratuyutA tataH // 106 // sarvagIrvANapUjye ! tvaM mahAdevI mahezvarI / . . ratnagarbhA'si kalyANi ! vAme ! jaya yazasvini ! // 107 // stutveti tAmatho mAyAnidrayA'yojayat tataH / .. mAyAzizuM purodhAya jinamAdAya 'sA yayau // 108 // mukhaM vIkSya prabhoddIptaM paramAM mudamApa sA / aSTamaGgalahastAstu devyastasyAH puro babhuH 109 / paJcarUpo'bhavacchakaH chatramekena cAmare / dvAbhyAM purasthekena vajramullAlayanabhUt // 11 // rUpeNAnyena zacyAt svAGkaparyaGkagaM jinam / / vidhAya viluloke taM pramodavikasadRzA // 111 / / (104) indra ke sAtha paraspara saMlagna suroM asuroM ne apane vimAnoM se aura vAhanoM se AkAza ko AcchAdita karake mAnoM dUsare svarga kA nirmANa kara diyA / (105) AkAza se kama se utarakara veM sabhI jayajayakAra se mizrita dundubhi ko dhvani karate. kAzInagara phuNce| (1.6) sUtikAgRha meM pahu~cakara indrANI ne jagatprabhu ko namaskAra karake, indradeva ke sAtha jinadeva kI mAtAjI kI stuti ko / (107) he vAmAdevI ! he yazasvini ! he kalyANi ! he devapUjyA , tuma mahAdevI ho, mahezvarI ho, ratnagarbhA ho, tumhArI jaya ho| (108) usakI stuti karane ke pazcAt, usako mAyAbhidrA se yukta kiyA maura mAyAzizu ko usake Age rakhakara vaha indrANI jinadeva ko lekara calI gaI / (:09) kAntiyukta mukha ko dekhakara vaha parama prasanna huii| hAthoM meM bhaSTamaMgala dhAraNa kiye hue deviyA~ usake sammukha zobhA pA rahI thiiN| (110) devarAja indra pAMca rUpavAlA ho gayA / eka rUpa se chatroM ko, do rUpoM se cAmara ko tathA eka rUpa se baja ko U~cA uThAye hue thaa| (111) indra anya eka rUpa se indrANI kI goda se apanI goda. spI palaMga para jinadeva ko sthita karake prasannatA se vikasita netra se use dekhane For Personal & Private Use Only

Page #313
panasundarasUriviracita 19 jaya tvaM jagatAmIza ! paramajyotirAsmabhUH / .. jagadAtA jagattrAtA svameva puruSottamaH // 112 // jagadguro ! namastubhyaM namaste vizvamUrtaye / ... anantaguNapUrNAya guNAtItAya te namaH // 113 // ityabhiSTutya devendrazcacAla prati mandaram / barddha sva jaya nandeti devairnijagire giraH // 114 // IzAnendraH zUlapANirAgAd vRSabhavAhanaH / * puSpakArUDha evAyaM merau samavAtarat / // 115 / / itthaM vaimAnikA indrA dazaiva saparicchadAH / sUryAcandramasau vanyavyantarANAmadhIzvarAH // 116 // ' dvAtriMzadizatistatra bhAvanAnAmadhIzvarAH / svAGgarakSakasAmAnikardiyuktAH samAyayuH / // 117 // athotpetuH surapathaM surAstu suracApatAm / tanvAnAH nekadhA ratnabhUmAvarNA zusaMkaraiH // 118 // 'jagurmaGgalagItAni jinezasyApsarogaNAH / ... aGgahArairvidadhire nATyaM rocakanarttanaiH // 119 // divyaM bhagavato rUpaM visphAritadRzaH surAH / .. vilokayantaH saphalAM menire svAnimeSatAm // 120 // (12) he jagadIzvara ! Apa kI jaya ho ! Apa jagatadhAtA, jamattrAtA, paramajyotirmaya, svayaMbhU tathA puruSottama haiM / (113) he jagadguru ! Apako namaskAra ho, vizvamUrtirUpa Apako namaskAra ho, guNAtIta aura anantaguNoM se pUrNa Apako namaskAra ho| (11) devarAja indra isa prakAra stuti karake mandAraparvata ko cale gaye / devatAoM ne : 'jaya ho', 'prasanna raho' 'khUpa boMaisI vANiyAM khiiN| (115) vRSabhavAhana zUlapANi IzAnendra mI puSpaka vimAna meM baiThakara sumeruparvata para utara par3e / (116-117) isa prakAra vaimAnika devoM ke dasa indra saparidhAra Aye, sUryadeva aura candramA Aye, vyantaradevoM ke indra Aye, bhavanapatiH devoM ke chaHsau cAlIsa indra apane aMgarakSaka sAmAnika devoM kI Rddhi ke sAtha Aye / (118) apane ratnAlaMkAroM kI raMgabiraMgI kiraNoM ke saMkara se meghadhanu ko nAnA prakAra se racanA karate hue devatA loga bhAkAza meM udd'e| (119) apsarAe~ jinadeva ke maMgalagIta gAne lagI aura aMgahAra nartana ke sAtha nATaka karane lgiiN| (120) bhagavAn ke divya rUpa ko visphArita netroM se dekhane vAle devoM ne apanI bhanimeSatA ko saphala mAnA / For Personal & Private Use Only

Page #314
zrIpArzvanAthacaritamahAkAvya kramAtyApuH sumeroste vipine pANDukAbhidhe / atipANDukambalAivAm zilAM kundendusundarAm // 121 // yojanAnAM paJcazataM sA dIrthA pRthulA punaH / tadarthaM ca caturyojanauccA'rdhendusamAkRtiH / 12 2 // . pIThaM dhanuHpaJcazatadIrgha taddalavistaram / dhaMnuzcatuSTayenoccaM maGgalASTakasaMyutam // 123 / nivezya prAGmukhaH zakraH prabhu svAGakagataM tataH / / tatrAcyutendreNa surA AjJaptAH kalazAn vyadhuH // 124 // aSTottarasahasraM te kumbhAn hemamayAnatha, / tathaiva rAjatAn svarNarUpotthAMzca maNImayAn // 125 // svarNaratnamayAn rUpyaratnADhyAMstrividhAnapi .. / mRNmayAnapi tAnevaM bhRGgArAdIMzca nirmamuH // 126 // yugmam // kSIzada-puSkarodAderjalaM gaGgAdisindhutaH / , padmahUdAderabjAni . vaitAdayAdestathauSadhIH // 127 / sartukAni puSpANi bhadrazAlavanAditaH / gozIrSacandanAdIni. gRhItvA te samAyayuH / / 12.8 // (121) kramazaH ve devatA sumeru ke pAMNDuka nAmaka vana meM, kunda aura candra jaisI dhabala bhatimAhukambala mAmaka zilA ke pAsa pahu~ce / (122) vaha zilA pA~casau yojana lambI thI aura caur3I tho usakA AdhA bhAga (dosau pacAsa yojn)| vaha kara yojana aMcI thI aura ardhacandra kI AkRtivAlo tho| (123-124.) (isa bhAga para bhAvI huI) pAMcasoM dhanuSalambI, usa bhAga jitanI vistRta, cAra dhanuSa U~cI, maMgalASTaka se ghukta pITha para pUrvAbhimukha indra ne apanI goda meM rahe hue prabhu ko rkhaa| bAda meM acyutendra kI AlA se devoM ne vahAM kalazoM kA nirmANa kiyA / (125) (unhoMne) eka hajAra ATha svarNameya kammabaMdhI usI prakAra ke cA~dI ke tathA svarNa meM maNi jar3ita kumbha taiyAra kiye / (26) svarNamaya, rupyaratnamaya aura mRNmaya aise trividha kalaza taiyAra karane ke sAtha jhArI bhAdi pAtra bhI banA (127-128) kSIrasAgara, puSkaroda Adi se tathA gaMgA evaM sindhu Adi se jala aura padmada Adi kamala tathA vaitAnyaparvata Adi se auSadhiyoM va bhAcAlAvA Adi se sabhI RtuoM ke puSpa tathA gosorSacandana Adi lekara ve aaye| . For Personal & Private Use Only

Page #315
padmasundarasUriviracita surAH kSIrAmbudheH kumbhaiH zAtakumbhamayairmudA / snAnIyam atha pAnIyamAnayAmAsurujjvalam // 129 / / tairambhaHpUritaiH kumbhamukhe yojanavistRtaiH / / vasuyojanagambhIrairArabdhaH savanoddhavaH // 130 // te cAndanaivairabjairmuktAdAmabhiraJcitAH / suraiH karadhRtA vyomni zatacandrazriyaM dadhuH // 131 // jinajanmAbhiSeke prAk kalazoddhAramAcarat / - acyutendro jayetyuktvA dhuri dhArAM nyapAtayat // 132 // tasthuH zeSAstu kalpendrAzchatracAmaradhAriNaH / sadhUpabhANDakalazA vajrazUlAstrapANayaH // 133 // tato dundubhayastAraM dadhvanuAptadiktaTAH / nRtyamArebhire devanartakyaH kalagItikam // 134 // kAlAgurukRtodAmadhUpadhUmaH khamAnaze / sAkSatodakapuSpANi nikSipyante sma nAkibhiH // 135 // * kecit surA gandhavarti kurvate gandhabandhurAm / pare suvarNAbharaNaratnapuSpAdivarSaNam // 136 // (129) devatA loga kSIrasAgara se svarNamaya kalazoM meM, prasannatApUrvaka snAna kA ujjvala jala lAye / (130) una jalapUrNa, aSTayojana gahare, mukha meM yojanaparyanta vistRta ghar3oM dvArA snAna kA utsava prAraMbha kiyA gyaa| (131) dravita candanacUrNa tathA motioM se alaMkRta, devatAoM ke dvArA hAtha meM dhArita ve kalaza AkAza meM saikar3oM candra kI zobhA ko dhAraNa karate the| (132) acyutaindra ne jina bhagavAn ke janmAbhiSeka meM prathama kalaza uThAyA aura 'jaya jaya' kI dhvani ke sAtha agrabhAga meM jaladhArA DAlI / (133) zeSa kalpendra chatra, cAmara dhAraNa kiye hue, dhUmapAtra aura kalaza sahita tathA vajra, zUla va astrAdi hAtha meM liye hue sthita the| (134) taba cAroM dizAoM ko vyApta kara dene vAle nagAr3e jora se bajane lage / devanata kiyA madhura dhvani se gIta gAtI huI nRtya karane lagIM / (135) kAlAguru se kiyA utkaTa dhUpa kA dhubhA AkAza meM phaila gayA aura devoM ke dvArA akSata sahita puSpa, jala Adi pheMke Ane lge| (136) koI devatA sugandhita dhUpa karane lage, kucha anya suvarNabhUSaNa ke sAtha ratna aura puSpa ko varSA karane lge| For Personal & Private Use Only

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42 : zrIpArzvanAthacaritamahAkAvya pare tataM ca vitataM zudhiraM dhanamuccakaiH / etat caturvidhaM vAdya vAdayante sma nirbharam // 137 // eke gAyanti valganti nRtyantyAsphoTayantyatha / . siMhanAdaM tathA hustibaMhitaM cakraruccakaiH // 138 // kecijinaguNodgAnaM kIrtanaM vidadhustarAm / . . indraH kRtAbhiSeko'yaM mUni baddhAJjalirjagau // 139 // .. muhurmuhurjayajayA''rAvaM sammRjya vAsasA / ... candracandanajaiH paGkarAnarca jagatAM patim // 10 // nRtyaM vidhAya sadbhaktyA cakre rajatataNDulai / maGgalAnyaSTa saMlikhya kusumotkaramakSipat // 141 // kRtadhUpo'pasRtyAtha vRttairastaunmanoharaiH / IzAnendrastathA snAtraM cakre sadbhaktinirbharaH // 142 // tataH zakro bhagavatazcaturo vRSabhAna sitAn / caturdikSu vinirmAya tacchRGgebhyo nyapAtayat // 143 // aSTadhotpatya militAmekadhArAM samantataH / kSIrodanIrajAM mUrdhni sA patantI vibhoLabhAt // 144 // (130) anya kucha devatA tata, vitata, zuSira aura ghana ye cAroM prakAra ke bAtha jora se bajAne lage / (138) kucha deva gAte haiM, kucha ceSTA karate haiM, kucha nAcate haiM tathA kucha AsphoTana karate haiM / kucha siMhanAda kara rahe haiM tathA kucha jora se hAthI kI taraha ciMghAr3ate hai| (13) kucha jinadeva ke guNagAnarUpa kIrtana karate haiM / abhiSeka karane para indradeva mastaka para hAtha jora kara stuti karane lge| (140) indra bArambAra 'jaya jaya' kI dhvani ke sAtha vastra se jagatpati ko pochakara candana se utpanna paGka se pUjA karate the / (141) indradeva badrI bhakti ke sAtha nRtya karake cA~dI ke cAvaloM se ATha maMgaloM kA mAkhama karake puruSoM kI varSA karane lage / (142) dhUpa karake, thor3A haTakara, IzAnaindra sundara stotroM se prArthanA karane lage aura bar3I bhakti ke sAtha bhagavAna ko snAna karAne lge| (143) usake pazcAt indadeva bhagavAna kI cAroM dizAoM meM cAra zveta vRSabhoM kA nirmANa karake unake sImoM se aladhAroyeM mirAne lge| (144) ATha prakAra se uchala kara, cAroM ora se ekatra hokara milI huI kSIrasAgara ke jala kI ekadhArA bhagavAn ke mastaka para par3atI huI zobhita hotI thii| For Personal & Private Use Only

Page #317
padmasundarasUriviracita saudharmendro jayetyuktvA vAridhArAM nyapAtayat / / jayadhvanipratidhvAnaH surAH sAMrAviNaM vyadhuH // 14 // doH sahasraiH sahasrAkSaH kalazAnujjahAra yat / tabhAjanAGgaiH kalpadruzAkhAbhUSAM jigAya saH // 146 // jinamuni patantI sA dhArA hArAnukAriNI / - svargaGgeva rarAjoccairhimAdrizikhare dhruvam // 147 // anantaraM ca zeSendraH samastaizca samantataH / / viSvadrIcI payodhArA pAtitA pAvanakSamA // 148 // mahApagApravAhAbhA vAridhArAH svamUrdhani / girIzavaduvAhoccairbhagavAn girisArabhRt // 149 // jinAGgasaGgaptAGgA nirmalA vAribindavaH / .. bhejurUdhyaMgati mUrdhni sampAtocchalanacchalAt // 150 // ke'pi tiryaggatA vArizIkarAH zIbhavAH iva / .. diggajAnAM karAsphAlanAgragAH kila rejire // 151 // . jaDAnAmuccasaGgo'pi nIcaiH pAtAya kevalam / ... utpatanto'pyadhaH petuH snAnIyA jalabindavaH // 152 // (145) saudharmendra 'jaya' zabda kahakara jaladhArA ko girAne lage / 'jaya-jaya'dhvani kI pratidhvani se sabhI devatA jora kI AvAjeM karane lage / (146) hajAroM bhujAmoM se indra kalaza uThAte the| usa samaya vaha una pAtroM se kalpavRkSa kI zobhA ko bhI jiitthe| (147) kaNThahAra ke samAna, bhagavAn jinadeva ke mastaka para par3atI huI vaha jaladhArA himAlaya ke zikhara para jora se par3atI huI devanadI gaMgA kI taraha zobhita hotI thI / (148) isake pazcAt samasta zeSa indra Adi devoM ne cAroM ora phailane vAlI aura pavitra karane vAlI baladhArA chodd'ii| (149) parvata ke bala ko dhAraNa karane vAle bhagavAna ne himAlaya kI bhAMti apane mastaka para gaMgA Adi nadiyoM ke pravAha ke samAna par3atI huI jaladhArAoM ko dhAraNa kiyaa| (15) jinezvara bhagavAn ke aMga ke saMga se jinake aMga pavitra hae hai aisI nirmala pAnI kI idai mastaka para par3a kara, uchalane ke bahAne se Upara uThatI thiiN| (151) snAnAbhiSeka ..ke samaya katipaya tirachI huI jala kI buMde diggajoM kI sUDa ke AsphAlana se dUra taka phailate hae 'phuvvAre kI taraha zobhita hotI thIM / (152) jar3a (=mUrkha) logoM kI ucca logoM ke sAtha saMgati bhI mAtra nIce kI ora patana ke lie hI hotI hai| isI prakAra smAnasaMbaMdhI jala kIdeM Upara uThatI huI bhI nIce kI ora hI giratI thiiN| For Personal & Private Use Only

Page #318
zrIpArzvanAthacaritamahAkAvya janmasnAnAmbunA pUtA jinasya nanu nimnagAH / jano, hi. majanAdAzu zuddhaH syAdanyathA katham // 153 // sumero ranakUTe tu vicitramaNimaNDite / .. prasarpatpayasAM pUraH suracApazriyaM dadhau // 15 // adhimeru parisphItaH kSIrAbdhipayasAM cayaH / / paridhApayati smeva dukUlaiH pANDurairamum // 155 // sphATiko rAjato vA'yaM himAdriA sudhAgiriH / / takyate sma suranIbhirmeruH snAtrAmbusamplutaH // 156 // zIkarAH sarvadigvyAptA muktAbhAzcotpatiSNavaH / kecid dadhuvibhomUrdhni zubhrabhAmaNDalazriyam // 157 // zA-kundendu-DiNDIra-hAra-hIraka-sannibhAH / . prAsaran payasAM vAhAH kIrtipUrA vibhoriva // 158 // snAnAmbhasA pravAhoghe haMso haMsa ivA''babhau / taran mandharayA gatyA jaDimAnaM paraM gataH // 159 // savanAmbunimagnAstAstArAstAratarabutaH / .. galajjalalavA byomni babhuH karakasannibhAH // 16 // EG 5) nadiyAM nizcitarUpa se jinadeva ke janma ke snAnajala se mAnoM pavitra ho" inameM) slAna karane se loga zIghra kaise zuddha ho sakate haiM ? (154) merAko vicitra maNimaNDita ratnazikhara para phailatA huA jala kA vega nidhanama mAse pAraNa, karatA thA / (155) sumeruparvata para vistRta phailA humA kSIrasAmara kamavAya mAnoM una jina bhagavAna ko sapheda rezamI- dupaTToM se Dhaka detA kA 156) saTika se banA hai yA rajata se' 'yaha himagiri hai yA sudhAgiri " aisI devAnAlo. ko snAtra ke jala meM DUbe meruparvata ke viSaya meM huI / (157) para kI kora uThatI huI; sabhI dizAoM meM vyApta jala kI bUMde jo motI ke samAna camakatI zrIbhagavAn jina ke mastaka para zubhra maNDala kI zobhA ko dhAraNa karatI thiiN| (158) pa, candra hAra aura hore ke samAna ye jala ke pravAha vibhu jinadeva ko kIrti kI kAra ra gaye / (159) snAna ke jala ke pravAhasamudAya meM sUrya haMsapakSI kI taraha mata tathA dhomo gati se tairatA huA atyanta jaDabhAva ko prApta ho gayA (ThaNya ho gayA) 116) snAtrajala meM DUbe girate hue pAnI ko bUdavAle aura atyanta ujjvala .. prakAzavAle tAre-bhAkAza meM bholoM ke sadRza camakate the| For Personal & Private Use Only

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sundarasUriviracita payaH pUrairviluptAMzupratApaM caNDarociSam / tArAmaNaH zazibhrAntyA tamasevIt paribhraman // 162 // jinasnAnAmbupUreNa nRloke nigamAdayaH / nirItayo nirAtaGkAH prajAH sarvAH pavitritAH // 162 // nRlokasyaiva garimA trijagatsu viziSyate / yatrAvatIrya bhagavAn punAti bhuvanatrayam // 163 // vatsu ratnadIpeSu paThatsu surabandiSu / gadyapadyAtmakaM stotraM vibhorvaibhavarzasanam // 164 / nindatsu mRdaGgeSu gAyantISu kalasvaram / kinnarISu ca gandharvaiH prArabdhe tatra tANDave // 165 // nRtyantISu surastrISu meruraGge savibhramaiH / agrahArairlayopetaiH kAraNaiH saparikramaiH // 166 // kRtamaGgalasaGgItaM zRNvatsu maghavAdiSu / jayanandAravonmizrapratidhvAno vijRmbhitaH // 167 // tauryatrikamahAdhvAnospUrayad rodasI asau / cakraH surAsurAH sarve mandArasumavarSaNam // 168 // (161) pAnI ko bADha se jisakI kiraNoM A pratApa naSTa ho gayA hai usako candra samajhakara tArAgaNa usako parikramA karate hue sevA kara rahe the / (162) bhagavAna jila arram kI bADha se manuSyaloka meM nigama (sArthavAha) Adi samasta prajA itiyoM se rahita bhAtaMka se mukta aura zuddha banI / ( 163) manuSya loka kI garimA ( viziSTatA) tInoM meM uttama hai, jahA~ para bhagavAn jinadeva ne janma lekara mAnoM tInoM lokoM ko pavitra kiyA hai / ( 164 - 165) ratnadIpoM ke jalane para, prabhu ke vaibhava ko prakaTa karane stotra kA pATha divya stutipAThakoM ke dvArA kiye jAne para, sadoM ke pAne para, kinnariyoM ke dvArA madhuragAna hone para gandharvo ne tANDavanRtya zurU kiyA / (166-167) hAvabhAvavAle labopeta tAlabaddha aura balayAkAra bhramaNoM se yukta abhinayoM se devajJanAoM ke dvArA meru raMgabhavana meM nRtya kiye jAne para, kiye gaye maMgala saMgIta ko indra Adi dvArA sune jAne para, 'ba' 'nanda' zabdoM kI AvAja se mizrita pratidhvani phela gaI / (168) tauryatrika (vAya, gAna aura nRtya ) ko dhvani pRthvI aura AkAza ko pUrNa kara rahI thii| sura aura asura sabhI mandAra puSpoM kI varSA kara rahe the / For Personal & Private Use Only

Page #320
zrIpAnAMcaritamahAkAvya atha dauvArikairdevaiH kRtakRtimi vanai / . kRtasaMjJAstadA auSamAsuH sAmAnikAmarAH // 169 // atha prArabdhavAn snAnaM divyagandhodakairhariH / gandhalo bhramamagArodarasasthitaiH // 17 // gandhAmbudhArA zuzubhe patantI jinavigrahe / tadaGgasauramaNaiva nirjitA''sIdadhImukhI // 171 / maNDalAyogradhAreva pratyUhavyUhavairiNAm / ... saiSA gandhAmbhasA dhArA dadyAd vo maGgalAvalIm // 172 // vanyA diviSadAM gandhAmbudhArA vizvapAvI / IzAGgasaGgaptA'sauM svadhunIva punAtu naH // 173 // evaM gandhodakaiH snAtraM vidhAya vibudhAdhipAH / / jagacchAnya tataH zAntighoSaNAM cakruruccakaiH // 174 // tadgandhAmbu gRhItvA te surAH svIyAGgasaGgatam / vidadhurmaGgalArtha tajjaganmaGgalakAraNam : // 175 // tatprAnte'tha jayArAvamirgandhAmbubhissamam / vAyokSI cakrire devAH saMcUrNaiH kRtasammadAH // 176 // 19) jinhoMne hu~kAra zabda kiye haiM aise dauvArika dedhoM se saMketa pAye hue sAmAnika deva cupa ho gaye / (170) isake bAda gandha ke loma se bhramaNa karate bhramaroMvAle, pAtragata divya gandhodaka se indra ne snAtra kA prArambha kiyA / (171) bhagavAn jina ke divya zarIra para giratI huI sugandhita jala kI dhArA mAnoM unake a kI khuzabU se nirjita nIce kI ora mukha kiye hue zAbhita ho rahI thI / (172) vighnavyUharUpa zatruoM ke lie tala. vArako ugra agredhArA kI bhAMti vaha gandhajala ko dhArA Apa sabakA kalyANa kareM / (173) devatAoM kI vaha sugandhita jaladhArA jo vizva meM vyApaka hai aura jo pUjyanIya hai, Izvara jinA ke a samparka se pavitra gaMgAnadI ko bhAMti hame pavitra kareM / (174) isa prakAra indrI ne gandhajala se snAna karake jagat ko zAnti ke lie jora se zAnti ko ghoSaNA kii| Mi4) sabhI devatAloga usa gandhajala ko lekara apane svayaM ar3oM meM kalyANa ke lie lagAye meM kyoMki vaha jala saMsAra ke kalyANa kA karane vAlA thA / (176) usake (snAtraka) aMta meM pradhani se mizrita aura cUrgayukta gandhodaka ke sAtha pavana ko madamasta devoM meM For Personal & Private Use Only

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samAptAvabhiSekasya viSAyAvabhRthAplavam / / sudhAndhaso mamatyUyaM pUjayAmAsurAhatAH // 17n. gandhaidhUpaiH pradIpaizca kusumaiH sAkSatodakaH / , samantraizca phalaiH sapirAna jagadarcitam // 178 // zacIpatiratho zacyA samaM taM jugata parim / parItya ca tridhA zuddhyA praNanAma mahAzayaH // 79|| papAta nabhasaH puSpavRSTiH saumasattA parAgapiJjarA sAndramakarandA'tizatalA // 180 // itthaM nivartayAmAsuH zrIjinasnapanotsavam / surendrAyAH samam deva-devIvRndaH paridvatAH // 1013 Ahavayan pAvanAmAnamiti sarve surAsurAH / jayamaGgalaghoSaistam pragomubhaktinirbharAH // 182 / / atha prasAdhanaM cakre zacI sarvAGgasaGgatam // . prAg divyairaMzukaijainaM vapuH sArdai mamAnai so // 183 // . sdgndhbndhurairyksskrdmairnvlimpt| vizvaikatilakasyAsya lalATe. tilakaM vyadhAt / / 1.8bhA 14) abhiSeka kI samApti para, avabhRya bhArmika snAna snAna karake samApta hokara jagatpasya jinadeva kI pUjA karane lage / (158) mantra, dhUpa, dIpa, muSpa, akSata, . hala, mala: va praloM se, jagatpUjyajinadeva ko ve Ane lage / (14) utArAzayaH indra abanI mI ibANI ke sAtha agatpati ko, tIna zuddha parikramA ke sAtha praNAma karane lage / (182) arani / manohAra, parAga se kapiza, makaranda se bharapUra, atizItala puSpavRSTi Amantra se hone lgii| (143) isa prakAra devI devatAoM ne ekatrita hokara, eka sAma bhagavAn kiladeva ke snAna - pAlpA sampanna kiyA / (182) deva evaM asura sabhI ne unheM pArzva' nAma se pukaag| . jayamAlani se bhakivibhora hokara (sabhI ne) unheM praNAma myiA / (183) hAmI ne pahale --- andA boM se bhagavAna ke gole badana ko svaccha kiyA / aura isake bAda (bhavAn ke). babI, ko prasAdhita kiyA (sajAyA) - (184) (indrANI ne) suzobhita yakSArdama (cUrNa) se zarIra ko lipta karake vizvazreSTha jinadeva ke lalATa para khisaka kiyA / .. . For Personal & Private Use Only

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48 zrImAnAyacaritamahAkAvya vizvavizvakirITasya nyadhAnmUrdhni pulomajA / mandArakusumozaMsa tenAtIva babhau vibhuH // 185 // triviSTapasphuraccUDAmaNerasya zirasyatha / cUDAmaNi nighate sma maghonI snehanirbharA // 186 // indIvaranime snigdhe locane vizvacakSuSaH / zacI cakre'JjanAcA babhau tena niraJjanaH // 187 // bhavAdhikarNadhArasya karNayoH kuNDale dadhau / draSTuM tanmukhajAM zobhAM puSpadantAvivAgatau // 188 // muktikaNThahArasya tArahArI manoharaH / nyastastayA sukaNThasya kaNThazobhAM dadhautarAm // 189 // AjAnubAhoryad bAhudvayaM keyUramaNDitam / tadbhUSaNAGgakalpadruzAkhAdvaitamiva vyabhAt // 190 // kaTItaTessya vinyastaM kiGkiNIbhiH subhAsuram / kAJcIdAma sphuradratnaracitaM nicitaM zriyA // 191 // caraNau kiraNoddIptaiH sphuradbhirmaNibhUSaNaiH / gomukhodbhAsibhirnyastai rejaturjagadIzituH // 192 // (185 ) indrANI ne sampUrNa vizva ke mukuTa rUpa jinadeva ke mastaka para mandAra puSpoM kI alaMkRta mAloM rakhI jisase bhagavAna atyanta zobhita ho rahe the / (16) indrANI ne bar3e prema ke sAtha svarga ke cUDAmaNirUpa ina jinadeva ke mastaka para cUDAmaNi sthApita kI / (187) usa indrANI ne vizva ke ekamAtra netra una jinadeva ke kamala ke samAna snigdha netroM meM abjana lagAyA jisase vaha nirajjana deva bahuta hI zobhita ho uThe / (188) saMsAra sAgara ke ekamAtra karNadhAra una bhagavAn ke kAnoM meM indrANI ne kuNDala pahanAe mAnoM unakI mukhazImA ko dekhane ke lie sUrya aura candra bhA pahu~ce hoM / (189) usa indrANI ke dvArA sundara kaNThavAle bhagavAn ko pahanAyA gayA muktirUpI stro ke kaNTha kA manohara ujjvala 'hari' prabhu ke kaNTha kI zobhA ko dhAraNa karatA thA / (190) ghuTanoM taka bhujAvAle una jinadeva bhujabandha se suzobhita donoM bAhu unake AbhUSaNoM ke maharUpa kalpahuma kI do zAkhAoM ke samAna sundara dikhAI dete the / (191) ghU~ghariyoM se camakatA huA, damakate hue ranoM banA huA evaM zobhAyamAna kandorA unakI - ( bhagavAn kI ) kamara meM pahanAyA / ( 192 ) kiraNoM se gomukhoM se prakAzita, dedIpyamAna pahanAye gaye maNibhUSaNoM se usa jagatpitA ke donoM caraNa atIva zobhita ho rahe the| For Personal & Private Use Only

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padmasundarasUriviracita lAnAntaramevAsau . babhAse bhUSavibhuH / . . sutarAM nirgato'aughAccharadindurivAMzubhiH // 193 // nisargAt sundaraM jainaM vapuSaNabhUSitam / kaveH kAvyamiva zliSTamanuprAsairvabhautarAm // 19 // dhAmnAmiva paraM dhAma saubhAgyasyeva janmamaH / saundaryasyeva saMvAso guNAnAmiva zevadhiH // 195 // sAlaGkAraH kaveH kAvyasandarbha. iva sa vyabhAt / / nUnaM tadurzanA'tRptaH saMhalAkSo'bhavadvariH // 196 // iti prasAdhita pAva dadRzuste murAsurAH / netraranimiSaiH pAtukAmA iva didRkSayA // 19 // atha zakAdayo devAstuSTuvustaM jinezvaram / bhAvitIrthakarodAmamuNagrAmanidhIzvaram // 198 // . tvameva jagatAM dhAtA tvameva jagatAM pitA / tvameva jagatAM trAtA tvameva jagatAM vibhuH // 199 // nUnaM tvadvacanA'rkeNa nRNAmantargataM tamaH / vilIyate na tad bhAnubhAnubhiH satatodgataH // 20 // (193) snAna ke pazcAt vaha prabhu bhalaMkAroM se ati zobhita the mAnoM bAdaloM ke samUha meM zarada kA RmA kiraNoM ke sAtha nikala par3A ho / (194) jinadeva kA prakRti se ati . .mundara, AbhUSaNoM se bhalaMkRta zarIra kavi ke zleSa aura anuprAsa se yukta kAvya kI bhauti . bhatyanta zobhA de rahA thaa| (195) veja kA parama bhaNDAra, somAgya kA utpattisthala, sunda. . ratA kA nivAsa tathA guNoM kA mAnoM vaha bhagavAn samudra thA / (196) kavi ke alaMkArayukta kAvya kI taraha unakI (bhagavAna kI ) zobhA thii| nizcitarUpa se unake darzana se atama indra sahasnetra hubhA / (197 ) dekhane kI icchA ke kAraNa ninimeSa netroM se unako pIne kI manokAmanA rakhane vAleM una devoM ne tathA asuroM ne isa taraha prasAdhita (alaMkRta) pArzva ko 198) isake pazcAta indrAdika devatAoM ne bhAvI tIrthakara tathA utkaTa guNasamudAya ke bhaNDAra jinezvara deva kI stuti kI / (199) he prabhu ! Apa hI jagat ke dhAraka ho, Apa hI jagat ke rakSaka ho (bhaura ) Apa ho jagat ke vyApaka prabhu ho / (200) he deva / nizcitarUpa se bhApake vacanarUpa sUrya se mAnavoM kA Antarika andhakAra naSTa ho jAtA hai| vaha andhakAra sUrya ko satata udaya pAne, vAlI kiraNoM se naSTa nahIM hotA hai| For Personal & Private Use Only

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zrI pArzvanAthacaritamahAkAvya 5 asnAtapUtastvaM vizvaM punAsi sakalaM vibho ! / snApito'sya tannUnaM jagatpAvitryahetave // 201 // pUtastvaM jagatAmeva pavitrIkaraNakSamaH / udyotavAn zazAGko hi jagaduddyotanakSamaH // 202 // avAgmanasa lakSyaM tvAM zrutirAha sma tanna sat / diSTyA naH paramaM jyotistvaM dRggocaratAMmagAH // 203 // abhUSaNo'pi subhago'naghIto'pi vidAMvaraH / adigdho'pi sugandhApraH saMskAro bhaktireva naH // 204 // yathA hyAkarajaM ratnaM saMskArAd dyotatetarAm / garbhajanmAdisaMskAraistathA tvaM viSTapatraye // 205 // entspi tvamanekAtmA nirguNo'pi guNairyutaH / kUTastho'tha na kUTastho durlakSyo lakSya eva naH // 206 // namaste vItarAgAya namaste vizvamUrtaye / namaH purANakavaye purANapuruSAya te // 207 // niHsaMgAya namastubhyaM vItadveSAya te namaH / titikSAguNayuktAya kSitirUpAya te namaH // 208 // / (201) he vibho ! Apa binA snAna ke hI pavitra sampUrNa vizva ko pavitra karate ho / jagat ko pavitra karane ke kAraNa mAtra se ho nizcayataH Apako snAna karAyA gayA hai| (202) pavitra Apa hI saMsAra ko pavitra karane meM samartha haiM kAraNa ki prakAzamAna candramA hI jagat ko prakAzita kara sakatA hai / ( 203 ) zruti ne Apako vANI tathA mana se alakSita kahA hai, yaha satya nahIM hai / saubhAgya se parama jyotirUpa Apa hameM dRSTigocara hue haiM / (204). binA AbhUSaNoM se bhI Apa sundara haiM, binA par3he hue bhI Apa zreSTha vidvAn haiM, binA leMpana ke bhI Apa sugandhita haiM tathA hamArI bhakti hI ApakA saMskAra hai / ( 205) jisa prakAra khAna se nikalA huA rahA saMskAra se atyanta camakatA hai usI prakAra garbha, janma Adi saMskAroM se Apa tInoM lokoM meM dyotita hote haiM / (206) eka hote hue bhI bhApa anekAtma haiM, nirguNa hote hue bhI Ama guNayukta haiM, kUTastha hote hue bhI Apa akUTastha hai tathA durlakSya hote hue bhI Apa lakSya haiM / (207) vItarAga Apako namaskAra ho, vizvamUrti Apako namaskAra ho, purANakavi tathA purANapuruSottama Apako namaskAra ho / (208) Asaktirahita Apako namaskAra ho, rAgadveSarahita Apako namaskAra ho, sahanazIlatA Adi guNoM se yukta pRthvIrUpa Apako namaskAra ho / For Personal & Private Use Only

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padmasundarasUriviracita dravarUpAya zuddhAya namaH salilamUrtaye / niHsaMgatAguNADhyAya dadhate pAvanI tanum // 209 // zukladhyAnAgnaye tubhyaM namaH karmendhanapluSe / rajaHsaGgaviyukAya vibhave khAtmane namaH // 210 // sarvakratusvarUpAya yajamAnAtmane namaH / namaH somasvarUpAya jagadAhlAdine'stu te // 211 // anantajJAnakiraNasvarUpAyArkatejase / aSTamUrtisvarUpAya namo bhAvijinAya te // 212 / / dazAvatArarUpAya marubhUtyAtmane namaH / .. namo gajAvatArAya namaste tridazAtmane // 213 // viSAdharAvatArAyAcyutadevAya te namaH / vajranAbhisvarUpAya aveyakasurAtmane // 214 // kanakaprabharUpAya namaste prANatarbhave / namaH zrIpArzvanAthAya lokodyotakarAya te // 215 / / kamaThAsuradAgnijaladAya namonamaH / , anekAntasvarUpAya namaste sarvadarzine // 216 // (209) dravasvarUpa zuddha salila Apako namaskAra ho| miHsaMgatAguNa se bharapUra pavanaghaTita zarIra ko dhAraNa karane vAle Apako namaskAra ho / (210) karmarUpa kASTha ko jalAne vAle zukladhyAmAgni rUpa Apako namaskAra ho / rajoguNa ke saMga se mukta vyApaka AkAzarUpa Apako namaskAra ho / (211) sarvayajJa svarUpa yajamAnarUpa Apako namaskAra ho| jagat ko AhAda denevAle apako namaskAra ho| (212) ananta jJAna kI kiraNeM hI jisakI AtmA hai aise sUryaprakAzarUpa ( Apako namaskAra ho)| (isa prakAra) aSTamUrtirUpa bhAvI jinadeva ko namaskAra' ho / (213) dazAvatArarUpa marabhUti kI AtmA ko namaskAra ho / gajAvatAra ko namaskAra ho / tridazAtman devarUpa bhApako namaskAra ho / (214) vidyAdharAvatAra ko tathA acyutadevarUpa Apako namaskAra ho / vajanAbhisvarUpa aura praiveyakadevarUpa Apako namaskAra ho / (215) kanakaprabharUpa aura prANatadevarUpa Apako namaskAra ho / loka ko prakAzita karane vAle zrIpArzvanAtha ko namaskAra ho| (216) kamaTharUpa rAkSasa kI darpa rUpa agni ko zAnta karane meM meghasamAna Apako namaskAra ho / anekAntasvarUpa samadarzI Apako namaskAra ho| For Personal & Private Use Only

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zrIpArzvanAthacaritamahAkAvya carame'pyavatAre te paramazrImahodayA / jamme'stu namastubhyamavasenasutAtmane // 217 // stutvA tvAM bhagavannevaM kyamAzAsmahe phalam / bhave bhave bhavAneSa bhUyAnnaH zaraNaM jinaH // 218 // stutveti taM guNairbhUtaiH zakrAcAnidazAvatAH / kramAcchivapurI yAtAH paramAnandananditAH // 219 // saudharmendro'tha jagatAmIzitAraM mitaiH muraiH / rAjasaudhAGgaNe siMhaviSTare taM nyavIvizat // 220 // bhazvaseno'tha nRpatiH sAnandai pulakAJcitaH / dadarza darzanatRptastaM mudA medurekSaNaH // 221 // paulomyA jinamAtAstha mAyAnidrA viyujya sA / prabodhitA taziSTa vibhumAnandanirbharA // 222 // tataH kSomayugaM kuNDalasyaM ca binAntikam / suvarNakandukaM zrIdAmagaNDaM maNiratnayuk // 223 // hArAdibhiH zobhamAna vitAne prItaye vibhoH / . cikSepa zakro dvAtriMzaddhemakoTI: kuberataH // 22 // 217)mAyake isa antima avatAra meM mahAn udayavAlI paramalakSmI phailI huI hai| (aise) bhavasena ke putra Apako namaskAra ho| (218) he prabho ! hama deva ApakI isa prakAra stuti karake isa kala kI AzA karate haiM ki pratyeka janma meM Apa jinadeva hI hamAre Azraya hoveM / (219) isa prakAra yogya guNoM se bhagavAn jinadeva kI stuti karake indrAdi sahita sabhI deva parama bhAnandapUrvaka anukrama se zivapurI ko cale gaye / (220) taba saudharmendra ne kucha devatAoM ke sAtha una jagat ke svAmI ko rAjaprAsAda ke prAMgaNa meM siMhAsana para baiThAyA / (221) harSa se romAJcita, pramoda se sabhara netravAle azvasena rAjA ne usakA darzana kiyA aura vaha (rAjA) darzana se tRpta dubhA / (222) zacI ke dvArA mAyA nidrA ko pRthak kiye jAne para jagAyI gayI jimamAtA ne Ananda vibhora hokara prabhu jina ko dekhA / (223-224) bAda meM, prabhu kI prasannatA ke liyesa ne maNDapa meM jinadeva ke najadIka do rezamI dupaTTe, do kuNDala, suvarNa kI geMda, maNihAra Adi se zobhAyamAna tathA maNiratnajaTita zrIdAmagaNDa pheMke aura kubera ke pAsa se lekara battIsa karoDa svarNamudrAoM kI dRSTi kI / For Personal & Private Use Only

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padmasundarasUriviracita zakrAjJayAs is'miyogikA ityUcuH samantataH / zRNvantu devIvAmAyA jinasyopari duSTadhIH // 225 / / katI duSTAM dhiyaM tasyArjakamajarivacchiraH / zatadhA sphuTatAdevamudhuNyAguH murAsurAH // 226 // devAH zakrAdayo'STAhnikA! nandIzvare vyadhuH / / sarve'pi svAlaya jagmuH kRtakRtyAH sasammadAH // 22 // tadrAtrau hemaratnAdivarSaNa jRmbhakAmaraiH / azvasenagRhe'kAri sAndramAnandananditaiH // 228 // yasyaiva jananAbhiSekamahimA devendravRndArakaiH / sAnanda surasundarIparilasattauryatrikADambaraiH / dugdhAmmonidhivAribhissaha mahAharSaprakarSAzcitai rAtene sa ca sampade bhavatu vaH zrIpAzrvanAthaprabhuH // 229 // ite zrImatparAparaparameSThipadAravindamakarandasundarasAsvAdasamprINitabhavyabhavye paM0 zrIpadmameruvineyapaM0 zrIpadmasundaraviracate zrIpArzvanAthamahAkAvye zrIpAyajanmAbhiSekosako nAma tRtIyaH sargaH / 25-226) indra ko AjJA se AbhiyogikoM ne cAroM ora. yaha kahA ki 'maunaye / bAmAdevI aura jinadeva para jo duSTabuddhi karegA usakA sira arjaka vRkSa kI bhArI kI taraha sau TakaDoM meM chUTa jAyegA / ' sura aura asura aisI udghoSaNA karake cale gaye / (227) indrAdi devatAoM ne usa bhagavAn ko nandIzvaradvIpa meM aSTAnhika pUjA kI tathA kRtakRtya aura harSa vAle hokara sabhI deva apane apane sthAna ko prasthAna kara gaye / (228) vahA~ rAtro meM, azvasena mahArAjA ke bhavana meM bhAvapUrNa prasannacitta hokara jRmbhaka devatAoM ne svarNa . ratnoM kI varSA kii| (229) surasundariyoM se zobhAnvita, tauryatrika vAdyoM kI dhvani seya atyanta harSa se pulakita devendroM ke samudAyoM ne jisake janmAbhiSeka kI mahimA ko kSIrasAgara ke jala ke sAtha AnandapUrvaka phailAyA vaha pArzvanAthaprabhu Apako sampatti ke lie ho / - iti zrImAnparamaparameSThoM ke caraNakamala ke makaranda ke sundara rasa ke svAda se . bhavyajanoM ko prasanna karane vAle, paM0 zrIpadmameru ke ziSya paM0 zrIpadama sundara kavi dvArA racita zrIpArzvanAthamahAkAvya meM "zrIpazvajanmAbhi Seka utsava" nAmaka yaha tRtIya sarga samApta huaa| For Personal & Private Use Only

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caturthaH sargaH athA'zvasenaH pArzvasya jAtakarmotsavaM mudA / prAreme maGgalodgItavibhAvitapurassaram // 1 // uttambhitapatAkAbhirbabhau vArANasI purI / sA tAbhirAhvayantIva kautukotkaNThitAna narAn // 2 // yasyAM kRSNAgurUddAmadhUpadhUmavivartanaiH / ghanabhrAntyA vitanvanti kekA nRtyakalApinaH // 3 // udyanmaGgalasaGgItamukhadhvAnajaDambaraiH / digdantikarNatAlAzca pApya yairbadhirIkRtAH // 4 // kRtapuSpopahArAzca puravIthayo virejire / bhAbaddhatoraNottuGgaM gopuraM kalazauchUitam // 5 // calantabhiH patAkAbhiH nRtyantIya purI babhau / paTavAsaibhivyAptamantarikSa susaMhataiH // 6 // baddhAH pratigRhadvAraM yatra vandanamAlikAH / paurA babhuH sanepathyAH sAnandAzcandanAJcitAH // 7 // nAnAgItairmahAtoyaistANDabADambarazam / pauraH sarvo'pi kutukAlokanavyAkulo'bhavat // 8 // (1) tatpazcAt mahArAjA azvasena ne pArzvakumAra ke jAtakarma saMskAra ko prasanna ho kara maMgala gAyana ke sAtha prAraMbha kiyA / (2) vaha vArANasI nagarI (usa samaya) U~cI laharAtI huI patAkAoM se zobhita ho rahI thii| aisA lagatA thA mAno vaha nagarI laharAtI huI patAkAoM ke dvArA, kautuka se utkaNThita logoM ko bulA raho ho / (3) jisa nagarI meM, kRSNAguru dhUpa Adi ke dhue~ se uThe hue cakroM meM bAdala kI bhrAnti se nAcate hue mayUra apanI kekArava (mayUroMkI dhvani) phailA rahe the / (4) gAye jAne vAle maGgala saMgIta kI mukhadhvani ke ADambara ne mAnoM diggajoM ke karNatAloM ko vyApta karake bahire kara diye hoN| (5) puSpoM ke alaMkaraNa se nagara kI galiyAM zobhita thiiN| aneka bA~dhe hue unnata toraNa vAle gopura (bulanda dvAra) ucca kalazoM se zobhita ho rahe the| (6) ur3atI huI patAkAoM se vaha nagarI (vArANasI) mAno nRtya karatI ho aisI zobhita ho rahI thI (tathA) susaMgaThita sugandhita cUrNo se sArA gaganamaNDala vyApta thaa| (1) pratyeka gRhadvAra para vandanamAlAe~ baMdhI thIM / sundara kapar3oM meM saje candanacarcita gAvAle nAgarika loga bar3e Ananda ke sAtha dedIpyamAna ho rahe the / (4) aneka prakAra ke gIta, vAdya va nRtya ke ADambaroM se yukta sampUrNa janapada kautuka dekhane ko vyAkula thA / For Personal & Private Use Only

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- padmasundarasUriviracita puro nAkapurIvA''sIt tridazA iva nAgArAH nAnA zRGgAraveSADhyA nAryo devya ivA''babhuH // 9 // dAnazauNDe nRpe tasminnazvasene yathepsitam / dAnaM dAtari ko'pyAsIdapUrNeccho na mArgaNaH // 10 // paurAH sarve'pi tatratyAH pramodabharanirbharAH / na kopyAsInnirutsAho nirAnando'tha durvidhaH // 11 // nirvRte janmamAGgalye dazAhikamahAmaham / vidhAya dvAdaze ghane nRpe jJAtimabhojayat // 12 // talpapArve tuH yat sarpamapazyajjananI tataH / mahAndhatamase cakre 'pArzva' nAma zizoriti // 13 // atha devakumArAzca savayorUpazAlinaH / pArzvasya paricaryAyai tasthuH zakranirUpitAH // 14 // indrA''diSTAstadA dhAnyo devyo'syA''sannupAsikAH / majjane maNDane stanye saMskAre krIDane yatAH // 15 // zizuH smitaM kvacit tene rivanmaNimayAgaNe / vibhracchaizavalIlAM sa pitrodamavardhayat // 16 // . ... (9) vaha nagarI svargapurI kI bhA~ti thii| nAgarika loga devatAoM ke samAna the| aneka gAra aura vezoM se sampanna nagarastriyA~ deviyoM kI bhAMti zobhita ho rahI thiiN| (10) dAna dene meM catura usa rAjA azvasena ke icchAnusAra dAna dene para koI bhI yAcaka apUrNa abhilASA vAlA nahIM thA / (11) vahA~ ke nAgarika Ananda se pUrNa the / koI bhI utsAhahIna nahIM thA, na koI Ananda rahita thA aura na koI duHkhI thA / (12) janmakalyANakotsava ke sampanna ho jAne para dazAhika mahotsava sampanna karake bArahaveM dina rAjA ne apanI jAti ke logoM ko bhojana karAyA / (13) eka bAra zayyA ke pAsa usa pArzvakumAra kI mAtA ne mahAndhakAra meM, eka sarpa ko dekhakara bAlaka kA 'pAva' nAma rkhaa| (14) isake bAda devakumAra jo pAvakumAra ke samAna hI avasthA va rUpasaundaryazAlI the, indra. kI AjJA pAkara pAva kI sevA meM sthita rhe| (15) indra ke AdezAnusAra dhAtrI deviyA~ isa kumAra kI sevA meM rahane lagI aura ve usake snAna, alaMkaraNa, dugdhapAna, saMskAra, khelakUda kAryoM meM prayatnazIla rahane lgii| (16) vaha zizu rAjakumAra maNimaya prAMgaNa meM calatA huA mandahAsa karatA thA aura zaizavalIlAeM karatA huA vaha mAtA-pitA ko prasannatA ko bar3hAtA thaa| .. . For Personal & Private Use Only

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zrIpArzvanAthacaritamahAkAvya smitalIlA babhuzcAsya bAlendoriva candrikAH / yAbhirmana:pramodAmbhonidhiH pitroravardhata // 17 // zriyaH kiM hAsyalIleva kIrtivalle: kimakuraH / mukhendozcandrikA vA'sya zizormugdhasmitaM babhau // 18 // yA jinArbhasya vadanAdabhUmmanmanabhArato / zrotrAJjalIbhistA pItvA pitarau mudamApatuH // 19 // gataH skhalatpadeH saudhAGgaNabhUmiSu sazvaran / AbaddhakuTTimAsveSa babhau subhagahukRtiH // 20 // sarUpaveSaizcikrIDa samaM surakumArakaiH / ratnareNuSu tanvAnaH sa pitro di sammadam // 21 // kalAbhiriva bAlendurjagadAhrAdakRdvibhuH / / vibhRtibhiranantAbhiH pariSvaktAbhirAnRdhe // 22 // zaizavAdapyapetasya kaumAraM bibhrato vayaH / vapuSA saha bhUyAMso vibhorvavRdhire guNAH // 23 // tasya divyaM vapurvAco madhurAH smitamujjvalam / AlokanaM salAvaNya jahUzcetAMsi janminAm // 24 // (17) bAlacandramA kI cA~danI kI taraha isa kumAra kI hAsyalIlA prakAzita thI, jina hAsyalIlAoM se mAtA pitA kA mana-pramoda kA sAgara pratidina bar3hatA rahatA thaa| (18) kyA zrIdevI kI DAsthalIkA hai, kyA kIrtilatA kA aMkura haiM yA mukhacandra kI candrikA hai ? -(aisI AzaMkAeM dekhane bAloM ke mana meM jagAtA) zizu kA mugdha hAsya mAno camaka rahA thaa| (19) isa 'jinaziza ke mukha se jo totalI (mammana) vANI nikalatI thI, usa vANo kA karNAjalI se pAna kara (arthAta sunakara ) mAtA pitA atIva prasanna hote the / (20) rAjaprasAda ke pharza vAle AMgana meM skhalita padoM se calatA phiratA vaha-pAzrvakumAra sundara hu~' hu' kI dhvani se prAMgaNa meM atIva zobhita hotA thaa| (21) apane samAna hI sundarasvarUpa tathA veSabhUSA se yukta devakumAroM ke sAtha vaha ratnadhUli meM mAtApitA ke hRdaya meM prasannatA phailAtA huA, khelA karatA thaa| (22) kalAoM se yukta bAlacandra bAra saMsAra ko AhalAdita karane vAlA vaha bhagavAna ananta vibhUtaoM se atIva bhAliMgita ho, patA thA / (23) zaizavAvasthA se bhI Age kumArAvasthA meM praveza karane kALe isa prabhu ka rI ke sAtha hI aneka guNa baDhane lge| (24) usakA divya zarIra, madhuravANo, ujjvala hAsa bhaura saundaryazAlI avalokana, prANiyoM ke cittoM ko AkRSTa karate the| For Personal & Private Use Only

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panasundarasUriviracita tadapurvanAdeva sakaca kalA api / navendoriva kAntiau guNA vavRdhire'nvaham // 25 // trijJAnabhAskAro janmadinAdArabhya vizvadRk / pUrvAbhyastA ivAzeSA vidyAstasmin prakAzita : // 26 // athASTavArSikaH pArvaH kalAcAryAntikaM tadA / pitrA nItaH kalAH sarvA vyAkarod bhagavAn syam // 27 // cakre pArzvamupAdhyAyaM pIThe vinyasya sa svayam / kalAcAyoM vineyo'bhUt pRSTaH sarvaM jagau vibhuH // 28 // sakalAnAM kalAnAM sa pAradazvA'bhavadvibhuH / / azikSito'pi sannItikriyAcAreSu karmaThaH // 29 / / anadhItyeva sarveSu vAGmayeNvasya kauzalam / vAcaspatigirI devImatizayya vibhoramUt // 30 // sa purANaH kaviH zAratA vAvadako vidAMvaraH / nisargajA guNA yasya koSThabuddhayAdayo'bhavan // // manaHprasAdaH sutarAM yasya kSAyikadarzanAt / zabdabrahmamayI yasya vizrAntA bhAratI mukhe // 32 // (25) jaise candramA ke zarIra kI vRddhi hone para candramA kI, kAnti tathA zrI ke atizaya vAlI sakala kalAe~ pratidina baDhatI haiM vaise usake zarIra kI vRddhi hone para usakI, kAnti aura zrI ke atizayavAlI sakala kalA vidyAe pratidina bar3hatI gii| (26) jJAnatraya ke sUryarUpa vaha janmadina se hI sabako dekhatA thA aura usameM saba vidyAe~ AvirbhUta ho gaI thIMmAnoM usane pahale unakA abhyAsa kiyA ho / (27) ATha varSa kI avasthA vAlA vaha pAva. kumAra apane pitAjI ke dvArA kalAcArya guru ke pAsa le jAyA gayA (kintu) usa prabhu ne svayaM hI sampUrNa kalAoM ko pragaTa kara do / (28) usa kalAcArya guru ne pArvakumAra ko Asana para biThA kara upAdhyAya banA diyA / kalAcArya svayaM usakA ziSya ho gayA aura prabhu se-pUchane para usane (prabhu ne) sArI bAteM batA dI / (29) vaha vibhu pArzvakumAra sampUrNa kAoM meM pAraMgata thA / par3hAyA nahIM jAne para bhI vaha sannIti, satkarma va sadAcaraNoM meM kuzala bana gayA / (30) binA paDhe hue hI sabhI vAGmaya (zAstroM) meM usa vibhu kI kuzalatA devagarU ispati kI vAgdevI kA bhI atikramaNa karanevAlI ho gaI / (31) vaha purANakavi thA, suzAbaka thA, vaktA thA, aura vidvAnoM meM sarvazreSTha thA / usake koSThabuddhi Adi guNa naisargika the| (32) (durzanamohanIya karma kekSaya ke pariNAmasvarUpa usameM ) kSAyika darzana pragaTa hone ke kAraNa usakA mana akliSTa (prasanna, kaSAyo se rahita) thA aura usake mukha meM zabdabrahmamayI sarasvatI ne vAsa kiyA thA For Personal & Private Use Only

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58.. ... zrIpArzvanAthacaritamahAkAvya saGkrAntamasmin sakalaM zrutaM syAt prazrayaH zrutAt / / tata eva jagannI tanaipuNyaM vavRtetarAm // 33 // khapaJcasaH vaha yaSTavarSa mAne'ntare gate / zrInemeH pArzvanA'yaM tadantarudapadyata / 34 // zatavarSa pramANAyurnavahastatanunchitiH / kadAcidvidhe goSThI zrIpAvaH suradArakaiH // 35 // ka vyavyAkaraNaspha rasa lakAroktiyuktibhiH / chandogaNasphurajAtiprastArAdyaiH kadAcana // 36 // kadAcid vAvadUkaiH sa vAdagoSThI samAtanot / gItavAditranRtyAdigoSThImapyekadA'karot // 37 // dANDI mauSTI punaH krIDAM kurvANAnapagan surAn / sAntvayannaparAneSa kRtadhAvanavalagana t / 38 // kadAcit kalamudgItaM zRNvAno devagAyanaiH / . svIyaM yazaH sphurattArahArakundendusunda'm // 39 // dIrghikAsu jalakrIDAM cakre sa sunArakaiH / kadAcana vanakrIDAM kRtakaiH pAdaH // 4 // (33) usa pAvakumAra meM sakala zruta praviSTa thA aura usameM zrutape vinaya aura vinaya se laukikanyAsa kA kauzala pragaTa huA thaa| (34) zrIneminAtha bhagavAn se tIrAsIhajAra sAta sau pacAsa (83750) varSoM kA antara vyatIta hone para ye pArzvanAtha uda-bhata hae / (35) sau varSa kI Ayu vAle aura nau ha tha U~ce yaha zrIpArzva kamI devabAlakoM ke sAtha goSThI karane lage / (36-37) kAvya aura vyAkaraNa se pracura sAlaMkAra uktiyoM vAlI yuktiyoM se tathA chandogaNa se pracura jAti, prastAra Adi se vAda karane vAle devabAloM ke sAtha ve vAdagoSThi karate the, tathA kabhI gIta, vAdya, nRtya Adi ko goSThiyA~ bhI karate haiN| (38) dANDo mauSTi Adi krIDA karate hue anya devoM ko yaha pArzvakumAra apane daur3a kUda adi kArya se sAntvanA dete the / (39) kisI samaya devoM ke dvArA sumadhura gAyA huA, atyanta ujjala hAra, kunda, puSa va candra ke samAna sundara apanA yazogAna bhI (pAzca-- kumAra) sunane lge| (40) devabAlakoM ke sAtha kabhI kabhI ve bAvar3iyoM meM jalakrIDA karane the tathA kadAcit kRtrima kalpavRkSoM ke dvArA vanakrIr3A kA bhI Ananda lete the| For Personal & Private Use Only

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padmasundarasUriviracita itthaM krIDAvinodAMzca kurvANo jagatAMpatiH / saha devakumAraistairAsAJcakre zubhaMyubhiH // 41 // madhye surakumArANAM tArANAmiva candramAH / zuzume bhagavAn pAzryo ramamANo yadRcchayA. // 42 // athA'sau yauvanaM prApAgaNyacAvaNyasundaram / smaralIlAkulAgAraM yuvatanarmakArmaNam - // 43 // vibhurbamAsate sutarAmavApya taruNaM vayaH / zazIva kamanIyo'pi zAradI prApya pUrNimAm // 4 // tadindranIlaratnAbhaM malasvedavivarjitam / vajrasaMhananaM divyasaMsthAnaM zubhrazoNitam // 45 // vapuradbhutarUpADhyaM panagandha tibandhuram / maSTottarasahasroghallakSaNairlakSitaM babhau // 46 // tadaprameyavIyaM ca sarvAmaya vavarjitam / ...... bhaprAkRtAkRtidharaM zarIramabhavat prabhoH // 47 // vibhoH kirITazobhAbya zitikuJcitakuntalam / ziro'JjanagireH kUTamiva reje maNImayam // 48 // (41) isa prakAra jagatpati krIDA dvArA manoraJjana karate hue una kalyANakArI devakumAroM ke sAya sthita the| (42) una devakumAroM ke madhya meM, tArAgaNoM ke madhya candramA kI bhA~ti yatheccha kIr3A karate hue bhagavAn pArzvanAtha atIva zobhita ho rahe the / (43) isake pazcAt usane agaNita lAvaNya se yukta, kAmakrIDA ke kulagRharUpa aura yuvatijanoM ke hAsyavinoda ke lie kArmaNarUpa yauvana ko prApta kiyA / (44) vaha pArzvaprabhu taruNAvasthA ko prApta kara isa prakAra atIva ghomita ye jaise candramA sundara hone para bhI zaradkAlIna pUrNimA ko prApta kara adhika zobhA ko prAsa hotA hai| (45-46) indranIlaratna ke samAna sundara, mala evaM pasIne se rahita. basaMhananavAlA, divya saMsthAna vAlA, zubhra zoNita vAlA, padmagandha ke samAna sundara, adbhuta rUpalAvaNyavAlA yaha zarIra eka hajAra ATha lakSaNoM se lakSita zobhA de rahA thA / (47) atulita parAkrama vAlA, saba prakAra ke rogoM se mukta, divya AkRti pAlA usa prabhu kA gharIra thA / (48) mukuTa kI zobhA se sampanna, kAle kuJcita kezoM vAlA prabhu pArzva kA mastaka maNimaya aja-nagiri ke zikhara kI bhAMti zobhA pAtA thaa| For Personal & Private Use Only

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zrIpArzvanAthacaritamahAkAvya mUrdhni mandAramAlA'sya zuzume suraDhaukitA / tuSArAcalazRGgAne patantIva surApagA // 49 // lalATapaTTamasyA'bhAdardhacandranibhaM vibhoH / lakSmyAH paTTAbhiSekAya tatpIThamiva kalpitam // 50 // bhruvau vinIle rejAte suSame sundare vibhoH / vinyaste vAgure nUnaM smaraiNasyeva bandhane // 51 // netre vinIlatAre'sya sundare taralAyate / pravAtendIvare sAdvarephe iva rarAjatuH // 52 // karNAvasya virAjete mnnikunnddlmnndditau| svaprabhAjitayoddhe sUryendayoriva maNDale // 53 // . vibhorvadanapaMna tu sAmodazvAsasaurabham / netrapamAJcanavyAjAdadhau padamAdhirAjatAm // 5 // mukhazrIH sasmitA tasya sphuradantAMzudasturA / raktotpaladalanyastahIrapaGktarivA''babhau // 55 / / tasya tuGgAyatA reje nAsikA sundarAkRtiH / lakSyete yatra vAgUlakSmyoH pravezAya praNAlake // 56 // (49) devatAoM dvArA pradatta mandAra puSpoM kI mAlA usake mastaka para isa prakAra zobhita hotI thI mAnoM himAcala ke zikhara ka agra bhAga para giratAM huI mamA nadI se| (50) isa prabhu kA ardhacandra ke samAna lalATapaTTa lakSmIdevI ke paTTAbhiSeka ke lie mAno AsAmaH kalpita kiyA gayA ho| (51) usa prabhu ke ghane nIlavarNavAle sundara aura suSamaH donova (bhauha) aise zobhita the mAno ve kAmadevarUpa hirana ko bA~dhane (pakaDane) ke lie: phailAI haI dro jAla hoN| (52) kAlI kIkAvAle usake sundara caMcala lambedoM metra: bhramarayukta aura pavana se kampAyamAna do nIlakamala kI taraha zobhita the| (5) maNijaTita, kuNDalI se alaMkRta usake do kAna aise zobhita the mAno unhoMne (do kAnoM ne) sUrya candra ke do goloM ko apane teja se jIta kara bA~dha liyA ho / (54) usa vibhu pAzva kA zvAsa se sugandhita prasanna mukhakamala sucAru netrakamala ke bahAne kamaloM ke adhirAja pada ko dhAraNa karatA thA / (55) prakAzamAna dantoM kI kiraNoM se dedIpyamAna smitayukta. usakI mukhazrI lAlakamala kI pa~khaDI para rakhe gaye hIroM kI paMkti kI bhA~ti suzo-: mithii| (56) sundara AkRtivAlI, unnata aura lambA usakI nAsikA bar3I ho zomAyamAna thI mAno sarasvatI aura lakSmI ke praveza ke lie do nAliyA~ hoN| For Personal & Private Use Only

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padmasundarasUriviracita kambugrIvA'sya ruruce rociSA rucikRtiH / naulokyazrIjayeneva yA''ste rekhAtrayAGaktiA / 57 // muktAmaNimayI kaNThe hArayaSTivibhoryabhAt / / guNiprAgrahAsyeyaM guNapavitarivojjvalA // 8 // jagalakSmI kRtAvAsAvaMsa vasya rarAjatuH / aMsau lakSmI-sarasvatyordhAtrA putrIkRtI viva // 59 // keyU bhUSitau tasya bAhU dhattaH zriyaM praaN|| phalana viva kalpad jagajanaphalapradau // 6 // karazAkhA babhustasyA''yatAH zauNanakhAGkitAH / dazAvatAra caritodyotikA dIpikA iva // 61 // nAbhilAvaNyasarasIsanAbhiH zuzubhetara!m / / madhyekAyaM sugambhIga sAvartA dIptinirbharaH / / 62 // samekhalaM ca bhUbhartuH sAMzuka jaghanaM dadhau / ... zriyaM giretimbasya zaradabhrAvRtasya ca / 63 // tadUruddhayamadvaitazrikA'bhrAjata sundaram / smara-ratyozca dampayoH kIrtistambhadvayaM nu tat // 6 // (57) kAntiyukta, sundara AkRti vAlI, zaMkha jaisI usa kI grIvA (gardana) zAbhAyamAna thI aura tInAM lokoM kI zrI ko parAjita karane ke kAraNa se hI mAno usa para (gardana para) tIna rekhAe~ aMkita thIM / (58) usa prabhu ke gale meM motiyoM va maNiyoM kI hArayaSTi guNojanoM meM uttamottama aise prabhu ke guNoM kA bhA~ti ujjvala thI / (59) jagatlakSmI ke AvAsasthAnarUpa usake donoM kandhe zobhita the / ina donoM kandhoM ko vidhAtA ne mAno lakSmI aura sarasvatI ke putratulya banAyA thaa| (60) bhujabandhoM se zobhita usake donoM bAha parama zobhA ko dhAraNa karate the mAnoM saMsAra ke logoM ko pavitra puNyaphala denevAle phalayukta do kalpavRkSa 61) usa mahAprabhu ke hAtha kI atIva vistRta, lAla nAkhunoM se aMkita aMguliyA~ bhAvAn ke dazAvatAracarita kI dyotaka dIpikAoM (dIpoM) kI taraha suzobhita thIM / (62) madhyabhAma meM atyanta gambhIra, AvoM se yukta aura kAnti ke nirjhara vAlI unakI nAbhi lAvaNya kI nirjharanI ke samAna zobhAta thii| (63) usa pRthvIpa.te pArzva kA mekhalAyukta tathA vastrayukta jaghanasthala zaradakAlIna bAdaloM se ghire hue giri ke nitamba kI zobhA ko dhAraNa karatA + thaa| (64) usake donoM uru avarNanIya kAnti se suzobhita the / ve donoM (Uru) mAno kAmadeva aura rati dampati ke kIrti-stambha the / For Personal & Private Use Only

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zrI pArzvanAtha caritamahAkAvya tajjaGghe jayalakSmyAstu dolAstambhAvivAdhikam / bamatuzcaraNau tasya sthalAnje jigyatuH zriyA // 65 // tadvapustacca lAvaNyaM tadrUpaM tadvayaH zubham / prabhoH sarvAGgasaundaryam sarvaipamyA tizAyyabhUt // 66 // : mAnonmAnapramANaistadanyUnAdhikamAbabhau / prazastairlakSaNairvyaJjanAnAM navazatairyutam dRSTvA tadadbhutaM rUpamaprAkRtama pIzituH / janAnAM netrabhRGgAlI tatraivA'ramatAnizam // 67 // 118 211 pitarAvatha vIkSyAsya tAruNyArambhamuccakaiH / cintayAmAsatuH kanyA kopayAmocitA bhavet // 69 // kAcit saubhAgyabhAgyAnAM zevadhiH puNyazAlinI / sadRzA'bhijanA'sya stAdbadhUrdadhyau pitA hRdi // 70 // athAnyadA sabhAsssIno'zvasenaH saha rAjabhiH / AgAd dezAntarAd dUtaH pratIhAraniveditaH // 71 // Aito'tha nRpeNA'sau prAvizannRpamandiram / sopahAraM namazcakre azvasenaM nRpuGgavam // 72 // For Personal & Private Use Only (65) usakI donoM jaMghAe~ vijayalakSmI ke jhUle ke khambhe kI bhA~ti thIM / usake donoM caraNa (apanI ) kAnti se sthalakamala ko jIta lete the / (66) prabhu kA vaha zarIra, vaha sauMdarya, vaha rUpa, vaha zubha avasthA aura vaha sarvAMga sauMndarya saba upamAnoM se bar3hakara thA / (37) mAna aura unmAna ke pramANoM se anyUnAdhika tathA aMgopAGga ke nau sau zubha lakSaNoM se yukta vaha zarIra zobhAyamAna thA / (68) usa prabhu ke adbhuta divya rUpa ko dekhakara logoM kI netrabhramara ke rAta-dina vahIM para ramaNa karane lagI / (69) pArzvadeva kI unnata samAvasthA ko dekhakara mAtA-pitA ne socA ki kauna kanyA isake vivAha yogya hogI ! ( 70 ) koI saubhAgya rUpa bhAgya kI bhaNDAra, puNyazAlinI, vaMzAnukUla aisI vadhU isakI ho aisA pitA ne mana meM dhyAna kiyA (arthAt vicAra kiyA) / (71) eka bAra rAjA azvasena aneka rAjAoM ke sAtha sabhA meM baiThe hue the / ( tabhI) dezAntara se eka dUta AyA jisakI jAnakArI pratihArI ne rAjA ko dI / ( 72 ) rAjA ne dUta ko bulavAyA aura rAjabhavana meM praveza karate hue usane (usa dUta ne) upahAra sahita nRpazreSTha azvasena ko namaskAra kiyA / " *

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- paznasundarasUriviracita rAjJA'pyAsanadAnAdisanmAnena puraskRtaH / saMbhASya madhurollApaiH kuzalapraznapUrvakam // 73 // pRSTaH prasannamanasA kasmAt tvamiha cAgamaH ? / sa Uce zrUyatAM svAmin ! yato'trAgamanaM mama // 7 // Aste kuzasthalAmikhye pattane pRthivIpatiH / nAmnA prasenajid rAjyaM pAlayAmAsa nItivit // 75 // tasya pAlayato rAjyamanyadA yamanezituH / sandezahArako'trAgAdUce narapateH puraH // 76 // sapramANaM aNuH svAmin ! kAlindItaTanIvRtAm / maNDalAdhipatiH svIyapratApottApitA'hitaH // 77 // rAnA yamananAmA'sti bhUpAlapraNatakramaH / tece manmukhenedaM sAvadhAnamanAH zRNu // 78 // yA rUpasya pagakoTilAvaNyatarumaJjarI / nAmnA prabhAvatItyAste tvatsutA sA madAjJayA // 79 // tvayA''zu dIyatAM mahyaM svarAjyazreyase'nyathA / sannaddho bhava yuddhe tvaM tena matprabhuNA drutam / 80 // (73-74) gajA ne bhI usa dUta kA Asana dekara sammAna kiyA / madhura sambhASaNa karake kuzala praznapUrvaka prasannacitta ho rAjA ne dUta se pachA-tuma yahA~ kaise Aye ho ? dUta ne kahA-svAmin , jahA~ se maiM AyA hU, (usake bAre meM) suniye / (75) kuzalasthaLa nAmaka nagara meM prasenajit nAmaka rAjA hai jo nyAyapUrvaka rAjya kA pAlana karatA hai| (76-78) eka bAra rAjya kA pAlana karate hue usa rAjA prasenajit ke sAmane yamanadeza ke. svAmI kA sandezavohaka dUta vahA~ AyA aura boga-he svAmin ! suniye ! kAlindI nadI ke taTavartI dezoM kA maNDalAdhipati, apane pratApa se zatruoM ko uttApita karane vAlA. aneka rAjAoM ke dvArA namaskRta yamana nAmaka rAjA hai / usane mere mukha dvArA bo kahalavAyA hai, vaha sAvadhAna hokara suniye / (79-80) yadi apane rAjya kA kalyANa cAhate ho to paramarUpa lAvaNyavAlI prabhAvatI nAma kI jo tumhArI kanyA hai use merI AjJA se mujhe de do, anyathA zIghra hI svAmI yamana ke sAtha yuddha karane ke lie taiyAra ho jaao| . For Personal & Private Use Only

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zrIpAzrvanAthacaritamahAkAvya ityAkarNya vacastasya dUtasya jvalitaH krudhA / saMdaSTauSThapuTa: so'bhUd bhRkuTIkuTilAnanaH // 8 // prasenajiduvAcA'thaM tvamavadhyo'si bhUbhRtAm / mo ced vAkyaphalaM tAvad dadAmyathaiva te drutam // 82 // -- mama dhIrasya vIrasya purataH samaragaNe / kathaM sthAsyati gantA vA yamano yamazAsanam // 83 // zrutveta tadvaco dUto gatvoce svaprabhu prati / atha svasacivaiH sArdhaM prasenajidamantrayat / / brata bhoH ! sacivAH ! so'sti yamano durmdoddhrH| tena sandhividhIyeta vigraho vA taducyatAm // 85 / / athAha vRddhasacivo rAjanItivizAradaH / / prabhUNAM tAvatA zreyo yAvat tejo'bhivardhate // 86 // madaklinnakaTairyAvat svayaM nakhavidIritaiH / mAtaGgairvartanaM tAvan mRgendrasya mRgendratA 87 // ' vihAya samaraM no cenmRtyuryuktaM palAyanam / atha mRtyudhuvasvat kiM mudhA vidhApyate yazaH // 88 / (81) usa dUta ke isa prakAra ke vacana ko suna kara jalA huA vaha rAjA prasenajit apane hoThoM ko kATatA huA kuTila bhauhoM vAle mukhavAlA ho gyaa| (82) rAjA prasenajita ne kahA-data ! tU avadhya hai / anyathA isa bAkA kA phala zIghra hI maiM tujhe detA mugna dhIra vaura (prasenajit) ke sammu va raNa rUpI A~gana meM vaha yamana kaise Thahara sakegA arthAt zIghra hI yamarAjya ko calA jAyegA / (83) dUta ne prasenajit rAjA ke yaha bacana sunakara, yamanarAjA ko jAkara kaha diye / prasenajit ne aAne mantrioM ke sAtha maMtraNA prArambha kara dI / (85) he mantriyoM !, kaho, vaha yamana bar3A hI duSTa hai, usake sAtha sandhiI jAye yA yuddha kiyA jAye. spaSTa bolo / (86) taba vaha saciA jo rAjanIti meM paNDita thA bolA-rAjAoM kA tabhI taka kalyAga hai, jaba taka (unA) parAkA bahatA hai| (15) mA 'se Tapakate hue gaNDasthala vAle aura Ane nakhoM se cIre hue hArthiyoM se * jaba taka 'mRgarAjasiMha apanI AjIvikA karatA hai taba taka hI usako mRgendratA hai / (88) yuddhabhUmi chor3ane se agara (kabhI) mRtyu hotI hI. na ho taba to (yuddhabhUmi se) bhAga jAnA, ThokA hai| yadi mRtyu nizcita hI hai to phira yaza ko bekAra kyoM naSTa karate ho ? For Personal & Private Use Only

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khajurAho kI jaina mUrtiyAM mAruti nandana prasAda tivArI mANDavagaDha ke mahAmantrI pethaDazAha ne kitane jina-mandira banavAye ? ma. vinyasAgara pizala ke prAkRta-vyAkaraNa meM anupalabdha vasudevahiMDI ke kriyA-rUpa (3) ke. Ara. candrA meghavijaya ko prApta mAgha kA dAya satyavrata kyA sumatisundarasUra aura sumatisAdhusUri eka hai ? agaracaMda nAhaTA prAcIna bhAratIya vivecanamAM ahA' kAranI vibhAvanA citro zukala na dicULuiM ane vizeSAvazyakabhASyanuM paurvAparya huranArAyaNa paDayA apanaza sAhitya meM kRSNa-kAvya harivallabha bhAyANI padmasundara racita zrI pArzvanAtha carita mahAkAvya saMpA. anu, zrImatI kSamA munazI 46-71 FESSINERucation informational StarPariendlesteuse only www.jalnellbrary and

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OUR LATEST PUBLICATIONS 108/ 48/ 45/ 73. Some Aspects of Indian Culture by Dr. A. S. Gopani pp. 26+99 (1981) 79. The Central Philosophy of Jainism (Anekanta-vada) by Bimal 16/ Krishna Matilal pp. 2+72 (1981) 80. The Ramayana In Pahari Miniature Paintings by Jutta Jaina-Neubauer pp.2 +58+plates 28 (1981) 81. Padmasundara's Juanacandrodayanataka Ed. Nagin J. Shahi pp. 4+58 (1981) 82. A study of Civakacintamani by R Vijayalakshmy pp.8+234 (1981) 54/83. Appointment with Kalidasa by Prof. G. K. Bhat pp. 10+140 (1981) 24/ - 84. Studies in Indian Philosophy (Pt. sukhlalji Memorial Volume) 60/ pp. 22+323 (1981) Ed. by Pt. D. D Malvania & Dr. N. I. Shah 85. Facets of Jaina Religiousness in Cemparative Light by 18/Dr. .. M. Joshi pp. 4+78 (1981) 86. A Study of Tattvarthasutra witi Bhasya by Suzuko Ohira (1982) pp. 1+182 87. Hindi-Gujatati Dhatukosa by Raguveer Chaudhari (1982) p 12+230 88. Secondary Tales of the Two Great Epics by Rajendra I. 501 Nanavati (1982) pp. 12+195 89. Laksmana's Suktiratnakosa Ed. by Mrs. Nilanjana S. Shah (1982) pp. 16+71 90. Suracarya's Danadiprakarana Ed. by Pt. Amrutlal M. Bhojak 9/ & Nagin J. Shah (1983) pp. 12+64 91. Ramacandra's Mallikamakarandanataka, Ed. Muni Shri 30/Punyavijayji, Eng. Intro by V. M. Kulkarni (1983) Pp. 6 F-35+166 92 Slokavartika; A Study by Dr. K. K. Dixit (1983) pp. 8+120 27/93. Vardhamanasuri's Manoramakaha (Prakrit) Ed. by Pt. Rupendra- 66/ kumar Pagariya pp. 16+337+32 (1983) - 94. Haribhadra's Yoga Works and Psychosynthesis by Shantilal M. 16/ Desai pp 6796 (1983) 95. Narasimha Mehatana Aprakasit Pada (Gujarati) Ed. by Ratilal 10/ V. Dave pp 16+102 (1983) *SAMBODHI-(The Journal of the L. D. Institute of Indology) Back Vols.1-9 (Per volume) 40/- Current Vol. 10 (1981-1982) 251VIDUSAKA (Gujarati) by G. K. Bhat (1981) Sole Distributor*Aspects of Jain Art and Architecture : Editors Dr. U. P. Shah 150/and Prof. M. A. Dhaky (1976) *Mahavira and his Teachings Ed. Dr. A. N. Upadhye 50/ v 30/ Jein Education international For Personal & Private use only www.leine trong