Sambodhi 1982 Vol 11

Author(s): Dalsukh Malvania, H C Bhayani, Nagin J Shah
Publisher: L D Indology Ahmedabad
Catalog link: https://jainqq.org/explore/520761/1

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SAMBODHI (QUARTERLY ) VOL. 11 APRIL 1982-JANUARY 1983 NOS. 1-4 L. D. INSTITUTE OF INDOLOGY SILVER JUBILEE VOLUME (1957-1982) EDITORS DALSUKH MALVANIA H. C. BHAYANI T. S. NANDI L. D. INSTITUTE OF INDOLOGY AHMEDABAD-9. Jan-Edunoninternational For Paschal & Private Ustaly www.janary.org

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SAMBODHI ( QUARTERLY ) VOL. 11 * APRIL 1982-JANUARY 1983 NOS. 1-4 L. D. INSTITUTE OF INDOLOG SILVER JUBILEE VOLUME (1957-198. EDITORS DALSUKH MALVANIA H. C. BHAYANI T. S. NANDI L. D. INSTITUTE OF INDOLOGY AHMEDABAD-9. For Personal & Private Use Only

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CONTENTS A Note on Visesa R. D. Hegde Free-Will and Destiny M. P. Lakhani Sokah Slokatvamagatah (Dhv. 1. 5d) T. S. Nandi The Pancagranthi-Vyakarana of Buddhisagarasuri (V.Sam. 1080) N. M. Kansara On the Variant Readings in AVS 3.12 as Noted in Sayana-Bhasya Neelima Mone Vijayaraja Paramar of Jalore Ram Vallabh Somani Critical Survey of the Jaina Puranas Devi Prasad Mishra A Note on Brick Architecture T. N. Mishra A Note on the Matrka Figures from the EME Daksina Marti Temple, 51 Baroda Maruti Nandan Prasad Tiwari and Kamal Giri Avidya in Vedanta E. A. Solomon Sanskrit Aesthetics V. M. Kulkarni Number of Pramanas R. D. Hegde For Personal & Private Use Only

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3 Tantra and Shirazad (The 360 and the 1001 Nights) A. K. Warder The childhood Exploits of Krsna H. C. Bhayani Social Thought of Yajnavalkya(1) R. S. Betai and Jaya R. Betai Is Vastu Dhvani an Expendable Form of Poetic Excellance? S. Meera Fixing up of Some Variants from Kalidasa Tapasvi Nandi The Contribution of Jain Authors to Sanskrit Chandah Sastra G. S. Shah A Unique Bodhisattva Head from Mathura Lalit Kumar Tatpurvakam' in 'Tatpurvakam Trividham Anumanam' (NS.1.1.5) in Bhasarvajna's View Laxmesh V. Joshi Observations on Some Variants in Hargacarita Satya Vrat Review-avalokana avasAna noMdha jaina sAhitya meM varNita jana-kalyANakArI saMsthAe~ prema sumana jaina alakApurI aura kAlidAsIyA saGgItavaduSI suSamA kulazreSTha 113 For Personal & Private Use Only 121 133 147 Reappraisal of Degrees of Reality in Jainism, Buddhism and Vedanta 193 Y. S. Shastri 154 166 176 180 217 231 275 ? S

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jaina mandiroM meM kAma-zilpa mAruti nandana prasAda tivArI laghu zrIpAla-rAsa saMpA. sAdhvIzrI surekhAzrI kavi rAmacandra ane kavi sAgaracandra madhusUdana DhAMkI amadAvAdane vikAsa 2. nA. mahetA narasiMha mahetAnAM be apragaTa pade saMpA uSAbena desAI 1.48 lakSmInivAsakRta-ziSyahitaiSiNITIkAsametaM meghadUtam sapA. ku. rohiNI bhara padmasundarasUri-viracita zrIpArzvanAthacarita mahAkAvya saMpA.. anu. zrImatI kSamA munazI For Personal & Private Use Only

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Fig. 1 Avalokitesvara, Mathura. [Sce: A Unique Bodhisattva Head from Mathura, pp. 176 179[ For Personal & Private Use Only

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For Personal & Private Use Only Fig. 1 : Sapta-Matrkas flanked by Virabhadra and Ganesa, Mathura. Archacological Musium, Mathura (No. 352) c. 11th Century (Sec-A Note on MatIka figures. pp. 51 56]

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S A Fig. 2 : Sapta-Matrka Panel, Preserved in the Local Digambar Jain Temple, Rajgir, 1145 A. D. [See- A Note on Matrka-figures, pp. 51-56] citra-1. khajurAho ke pAzvanAtha mandira ke dakSiNI zikhara kI mUrti / For Personal & Private Use Only

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citra-2 : khajurAho ke vizvanAtha mandira (adhiSThAna) kI kAmamUrtiyAM : bAyeM chAra para mayUrapIcchikA se yukta jaina sAdhu / citra-3 : kuMbhAriyA ke neminAtha mandira kI kAma-bhUtiyA~ -pUrvI narathara / [citra -1, 2, 3 ke lie dRSTavya-jana mandiroM meM kAma zilpa, pR. 17-22 ] For Personal & Private Use Only

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A NOTE ON VISESA R. D. Hegde The Kanada system of Indian philosophy is popularly known as the Vaisesika Darsana. It is indisputedly admitted that the system derived this appellation from the category"Visesa" or "particularity" which, Kanada the first systematiser of the Vaiscsika school, included for the first time in his categoriology. Though Kanada bad given little attention to establish this category in his Vaisesika Sutras, besides explaining in short its nature and scope, his successors and the thinkers of the other systems went to the extent of recognising Kanada's theory or his entire school of thought as the Vaidesika Dargana. Lateron the synthetic Nyaya-Vaisesita system adopted solely, the Kanada categoriology without bringing any change in the original concept. On this basis it may be guessed that the later Naiyayikas of the synthetic system may have ignored the objections and doubts variously raised against the Videsa category. To understand the nature and function of Vigeza is very simple. But at the same time, the logical process of its justification becomes too complicated a problem. The Vaisesika categoriology classifies all the Dameable and knowable realities into seven categories; they are substance, quality, Action, Generality, Particularity, Ioherence, and, Non-existence. The Nyaya Vaisesika scholars as well as the thinkers of many other philosophical systems admit the realistic nature of this classification excepting that of Visesa. It does not for certain mean that all other categories are approved prima-facie by one and all, and, visesa is condemned by all uniformly. The differences of opinion regarding it among the scholars aro wide and varied, and, some-times, recognition to visesa is altogether refused. All this is due to the several irreconcilable logical difficulties involved in the concept of visesa, and also, due to the absence of parallel defensive logic on the side of its supporters. Particularity (visesa) is a category, which according to the Vaisesikas, differentiates the eternal substances from each other. The atoms of earth, water, fire, air, and the ubiquitous substances namely space, time, direction soul and mind are the eternal substances. The eternal substances are beyond the reach of the senses. The reason as to why particularity should bo recognised independently is not hard to understand. Two constituent substances, for instance, two, jars, may be easily differentiated because For Personal & Private Use Only

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R. D. Hegde thoit constituent elements are different and thus, their separateness (prthaktva) is very clear. But in case of the eternal substances, for example, between two atoms, the difference can not be discerned because their separateness does not come under the perview of sense-perception. Eternal Substances are the partless infinite simal substances. Thus, to solve the problem of the cognizance of their separateness, the Vaietsika thinkers recog. nise particularity which is supposed to differentiate the eternal subsiances from each other. 1 Each eternal substance is different from any other eternal substance, because otherwise they should be alike, and, consequently the creation of variously different composite substances might be impossible. The eternal substances are ultimate and they have no further constituent elements. Therefore, naturally, the features of the ultimate substances too must be of ultimate characters, and, such an ultimate character. is, according to Kanada, called Visesa or the distinguishing particularity. The composite substances are distinguished by their constituent elements and the eternal substances by their particularities, 2 As the eternal substances are innumerable, so are the Visesas3. Vjsesas inherently exist in their substrata, because inherence exists o. ly between the parts and the wholes, class-characters and individuals, qualities and substances, actions and the actuated, and, eternal substances and particulari. ties. 4 Particularity greatly differs from generality. Just a contrast may make the particularity appear more clearly than it is when seen alone. Generality is a class-character and inclusive, but particularity, quite opposed to generality, is exclusive and not the general character of any class. Secondly, generality exists in all substances, qualities and actions, but particularity only in eternal substances. Particularity functions simultaneously in two ways, firstly in differentiating each eternal substance from the other, and secondly, in differentiating itself from any other particularity. Therefore, they are aptly known as svatovyavartakas or the self-differontiating. Sketching their character, Karikavali explains that particularities are antya or the ultimate because they function even when all other means of differentiation fails. It should not be argued that particularities have their class-character called visesatvajati, as they inhere in all the eternal substances. This contention leads to helpless confusion. To make it up, the Vajsesika thinkers contend that if the class-character of Vise sas is acceded, all the different particularities lose their individuality and unite in one, which ultimately circies te in thi! all eternal substances are virtually For Personal & Private Use Only

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A Note of Visesa at one and the same character. The very characteristic of the particulari. ties is to prove the distinctness and individuality of the eternal substances. Hence, in such case of losing the special-characteristic (Rupahani), it is ordained that the class-character should not be imagined. 6 Particularity is self-differentiating or Svatovyavartaka, because, in absence of such a feature, each particularity should have required as a condition another distinguishing feature, which again in turn would have given chance for, as infinitum, another distinguishing feature. This absurdity of endless chain of imagination is removed by making the particularities svatovyavartakas. 7 One thing becomes clear on going deep into the problem of visesa that this is a hypothetical category invented by the Vaisesikas. The Naiyayika Raghunatha Siromani, much to the chagrin of the synthetic NyayaVaisesika system, severely criticises the theory of particularity.8 Raghunatha's objections are not quite unfounded. He holds the opinion that if a category called particularity should be logically imagined to know the individuality of each eternal substance, and, if each particularity is self-differentiated, why should not they imagine all these characteristics directly in the eternal substances themselves ? More-over the Visesa concept involves the prolix imagination, but contrary to it, Raghunatha's suggestion settles the issue directly and precisely. And to both the sides, the help of hypothesis is equally indispensable.9 It is worth mentioning here that Mr. Harsh Narayana tries to find some relation between separate ness and visesa, and separateness as a basic idea for the Visesa concept, and ho adds "that the category differential might well have been born as a result of a process of carrying the attribute separateness to its logical extremo". 10 This is only another way to reach the same destination and does not make any difference. Usually the logical imagination does not rest assured until a safe end is reached. The Visesa concept too is such an end of logical extreme. From the point of realistic classification, the Vaisesika have failed here to prove their mettle; because another objection crops up naturally regarding visesa as a category. Visesas are not be classified under a separate category because they exist in eternal substances inhecently. Therefore they are qualities or gunas. To it the Vaisesikas may reply that qualities have a class-character or jati and consequently the special characteristic of the visesas will be lost. This may be ruled out on the basis that the self-differentiating character is imposed by imagination on the vise sas as a category; in the same way, let the very self-differentiating characrte For Personal & Private Use Only

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R; -D. Hegde bo imposed by imagination on the videsas as qualities. It is a waste and needless effort which in vain makes the list of categories lengthy. The Nayaya-vaisesika philosophers have for certain agreed as far ag etornal substances are concejned that they are partless and ultimate. It is also true that each of them is different from the other. This individuality is their special charactoristic. Naturally it means then that the problem rotates around the point whether vigera alone is capable to show tho separateness of the eternal substances or is it sufficient to think that the eternal substances are self-differentiated. Direct and simple approach scems to be a safer one tban the prolixity of imgioation. By the by it may be said that the Vaisesikas may escape the fatal blow on their popularity as realistic thinkers if they bo direct and lucid. REFERENCES : 1. Vide Nykyalil vati of Mm. Vallabhacarya p. 53 quoted in Nyayakosa pp. 784-86. 2. "Avayavabhedat avayavibhedah" Also see the Prasastapada Bhasya p.p. 321-22. "Nityadravyavrttitvad Visesastu ananta eva".-Saptapadarthi. 4. See Nyayasiddhanta Muktavali. Stan za 11 5. Karikavali "antyo nityadravyavrttirvisegah parikirtitah. "Studies in Nyaya Vai esika Metaphysics" by Sadananda Bhaduri. pp 143-146. Vide Nyayasiddhanta Muktavali, under Stanza 8 "Vyakterabhedah tulyatvam Samkarothanavasthiti". Rupahanirasambandhah jatibadhakasamgrahah". 7. Nyayakandali. p. 324, VSS edition. Vide, Padarthatattva nirupana, p. 91, Benares edition. 9. Also see, Dinakari of Mahadeva Bhatta; and, also Tarkikarakta, Stanza 5. 10. "Evolution of Nyaya-Vaisesika categoriology" by Harsh Narayana, Bharati Prakasana, Varanasi, P. 225. For Personal & Private Use Only

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FREE-WILL AND DESTINY M. P. Lakhani According as we believe in free-will or not shall we regulate and conduct the course of our lives. If fatalism is a fact, all human efforts for progress in any channel of life is a waste. There is no purpose in it, there is no initiative for it. If there is free-will, by effort, one can change, improve and control his life, and his future as well as social life and future of society. We see that life is controlled, partly, by forces of nature, and partly we control nature. Since we control nature we must be free. Then what is the nature of this freedom? What is that force in us that controls ? Is it external or is it internal, and what is its mode of operation ? According to the Karmic Law-the Law of cause and effectour birth in particular surroundings, our body, our physical, moral and intellectual capacities, our environments, are all the result of our past Karmas. One is rich, the other poor; one is beautiful, the other ugly; ono is healthy, the other crippled-all this is due to our past Karmas Science and Astrology shows man's destiny: From his birth to his death and even bis history previous to his birth and history after his death is an open book to an astrologer. Theosophical and Hindu literature tell as that the events in the evolution of a human race are fixed. A new root-race appears and disappears at a particular time. Every stane of its evolution is predetermind. The whole plan-the past, the present and the future-is known to the Beings guiding our destinies It is a fixed, predetermined pattern and we all have to fit in. And sicce we all have to fit in to produce the parteid, our positions and parts must be fixed; and hence we have no freedom. Free-willer says it is true that our personality is affected by our Karmas, that the development of our Ego depends on our Karmas, but the Monad is free and wills what an individual is to be. But, says the fatalist. who placed the Mopad there? Who ordered the existence of the Monad 7 The Master-planer of-course. But since the plan is a fixed thing, how can the Monad will any thing contrary to the plan ? And if it wills that which the Master-planer bas ordained, how is the Monad free? The free-willer says that at parting of the ways it is the individual who decides which way to take. Since there is nothing to hinder or force For Personal & Private Use Only

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M. P. Lakhani him to take one path or the other, he is free to choose. But says the fatalist, there are a hundred and one things that affect his decision : heredity, gestation, birth, nature, education, religion, vocation, politics, sex. An illustration will make the point clear. Mohan along with a party went to Kashmere. They were going to Gandharbal in a house-boat. It was 9 pm, and it meant three more hours work to reach their destination. They decided to pass the night on the way. Moban and his sister Jamuna walked along the bank to find a suitable place where they could halt their boat. They spied so.ne Ight which came from a hut which happened to be the hut of the Forest Officer in charge there. He had his police-guard with him and he advised them to stop their boat in front of hiz hut. The Forest Officer, his guard, Jamuna and Mohan walked towards the bank to reach the boat that was coming up slowly. Jamuna was a couple of steps ahead of the rest. Just at ihe place where she wanted to get into the boat the bank of the river was cut into the land making a semi-circle. It was a dark night and she did not observe this cut. She slipped and fell into the river. Mohan's first impulse was to go after herand then : "the bank is slippery, the rush of the waters is great and I am not a swimmer, not only will I am not be able to save her but lose my self also after her"-these thoughts rushed through his brain in a fraction of a second and he stood rooted at the spot. The officer's guard however jumped into the icy cold, rushing waters, luckily caught her by the waist, clung to the bank and was pulled out along with his precious burden. Now here are two individuals viz. Mohan and the guard whose conduct needs to be analysed. There were two ways open to them: to go after Jamuoa and endeavour to save her or not to go after her. What affected their respective decisions ? Because of the natural love for his sister and the value of human life Mohan did very much want to save her, but cool reasoning told him that it was folly on his part to attempt the rescue. His training as a student of science and of rational thinking prevented him from obeying his impulse to rush after her. Thus it was not he who decided what path to take; it was his training that affected his decision. The guard, on the other hand inspite of the fact that he had a boil on his foot and it was very bad for his foot to be soaked in water, jumped immediately at the risk of his own life (considering rush of the water, the boat ahead and the icy cold water). He was a swimmer, it is true, but still why should he have risked his life or endangered his foot for a mere stranger. It was not he who decided his action but it was his training as a swimmer and hence the capacity to rescue, and his vocation as a guard to protect and to save that decided. Thus there is no freedom in our decisions. For Personal & Private Use Only

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free-Will & Destiny But if we accept the principle of destiny-that is, if we accept that the Primal Cause has fixed all our thoughts, words and deeds.... if we are not free agents then why do some of us suffer and others be happy. If we are different and act differently it is no fault of ours. We are made so and made to act thus be what we are. Why then do we suffer for our actions, for our Karmas. It would be a gross injustice. The fatalist explains this on the basis that the creation is merely a play. In a drama one will be a king, the other a begger, a third a villain, a fourth a vietim and so on. The actors play the various parts only to please the audience. The pain and the joy displayed are feigned by the actors, they are not really a part of their lives. If they suffer or be happy over these feigned emotions expressed in the drama they are fools. That is why Lord Krishna says "dedicate all actions unto Me and you will be free from their fruit. Identify yourself with the Play...." Now, if God has produced actors to act the parts assigned to them, as soon as the play is over, He will reabsorb them. That is the only logical conclusion. Then, wherefore this strife, and endeavour to progress and effort for evolution ? Wherefore the suffering ? But since Lord Krishna advises "dedicate all actions upto Me.... Identify yourself with the Play....", it means that man has the freedom to dedicate and identify or to refuse to do so. This shows that man is free. Fatalist says that there is no suffering, no pain, no pleasure. That is all illusion-maya. There is nothing for us to do. Even this discussion, these doubts..... strife, endeavour, effort are all pre destined. This argument results in something grotesque-reductio ad absurdum. It means that we cannot talk, cannot question, cannot act, can do nothinga condition impossible to accept. Effort, progress, evolution seem to be the law of life. Position of a living thing is measured by its capacity to absorb the wealth of nature, use it productively, and return it back with the impress of its individuality. Thus life is a creative process. Further by the study of science, man has gained control over the forces of nature (to some extent) and shaped them to his ends. This has profoundly affected our conduct, our culture, our evolution. Thus we see that we have effort, control and evolution. It is true that this control is within certain limits. We can not do what we like. But then is it not that there is something wrong with our idea of freedom". Ordinarily by freedom we mean to be able to do anything we like. But this is orroneous. Nobody can do "anything" he likes. Even God can not do "anything". He is all Good, all Beautiful, all Truth-He cannot d) anything tha iz ot good, not beautiful, not true. He can do that For Personal & Private Use Only

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"M. P. Lakhani which is consistent with His nature. Everything and every body has ite characteristics nature and the freedom to evolve in accordance with it is the true freedom. Then the freedom for man consists in his endeavour to unfold his nature which is the same as that of the Divine. In other words, his free will consists in the faculty of co-operating with the Divine Plan, whatever that Plan may be. After accepting this idea of freedom still we see things happening inspite of us. I want to do a particular 'good' thing. I put forth all the effort that I can, yet the thing does not happen. There are forces that do oppose, and it looks as if the thing is so destined. It appears, therefore, that there is destiny as well as freedom. How can we reconcile the two ? The creation consists of two parts : Purusa and Prakrti, the Ruler and the Ruled, Spirit and Matter. Spirit is a part of the Planner and Matter a part of the Plan. The plan must obey the laws, the planner makes the la vs. The Planner expresses himself in the Law but the Law is not ho. The divine part of man is free just as a government expresses its authority in law, but government is not the law. Freedom and Law are two aspects of the Reality. Praksti, the 'Matter' part obeys the law of cause and effect. But the Spirit is free. It is true that ordinary Spirit is very much clouded by the matter part of life so that its lustre has decreased. But however dense the cloud, the spark is there-it is only a matter of degree. Thus Karma rules the lower nature of man. If the Spirit were not to assert Its freedom, the past and the present environments would account for the human actions entirely. But the Spirit-the infinite in man-helps him to transcend the finite Man oscilates between Nature (Matter) and Spirit, hence is he subject to both : necessity and freedom. What astrology foretells about an individual is about his matter part or the lower nature. It cannot speak of the Spirit because Spirit being free is not possible to say how It will decide and act. Science of Astrology warns that its predictions are only tendencies, all predictions do not necessarily get fulfilled Again, though it is true that the Masters of the planet have a fixed plan for the cycle to work out and that this cyclic law is rigidly followed, yet the individuals working out the plan have individual freedom which albeit is not capable of affecting the cyclic law. What is meant will be clear from the following illustrations; when a building is to be built, its plan is got ready; position of rooms etc is fixed; type ocofastruction is determined and contract given. The contractor has to For Personal & Private Use Only

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Free-Will & Destiny execute the design faithfully and finish the building in a stated period of time. He employs a number of labourers of different types for different pieces of work. A labourer finishes some part of the work quicker than another, he may achieve his object in any way he likes. The assemblage of materials or implements for construction is made in different ways and not in any given or standard method. Thus the contractor and the individual labourers have freedom limited by the clause that the building has to be of a particular type and has to be got ready within the stated time. Here is a point worthy of note: Occultists say that the ruling Masters have a particular plan to carry out in connection with each cycle, but the methods and the means to achieve the end are not rigidly fixed. We come across examples where Masters have endeavoured to bring about certain results, have failed, and have changed their method and so forth. For example, the Masters tried to avert the last World War. They did not succeed. Then they made use of the forces let loose by the war to further the human evolution. And then again at the end of each period depending on the results. achieved, plan for the next period is planned, depending, to some extent, on the peculiarities of the Ruler of the time. This shows that only the outline of the plan is fixed and not the details. The details can be changed and have been changed. Free-will and Destiny are two sides of the same plane Because there is free-will, is destiny (Law) a necessity. Just as darkness exists because there is light. Therefore, it should be possible for man to improve his destiny by using his free-will. Desire produces thought, thought leads to action, action repeated forms habit, habits build character and character determines the destiny. Mind receives external impressions through our senses-jana-indrivas. These impressions create desire in the mind. Mind sends out orders, which ultimately build our character, and the destiny is good or bad according as our character is good or evil. To produce good destiny which depends upon good character, we must control the mind so that it gives rise to good desires. This however, seems to be a difficult job. Normally mind is not under our control. it is the mind that controls us, the mind runs hither and thither like a monkey. We need to know how to control the mind. Mind cannot be killed or suppressed. It is the mind that can help man evolve or degrade. The desires therefore have not to be killed but transmitted. This can be done by our higher nature-the will-the ego or the Monad or the ATMAN. Ego. Monad, Atman are the words that are used synonymously for the same object inspite of some distinction between them. The Atman, through the will can control the mind. In an ordinary individual, the Arman has become weak, and has lost its authority over the mind. It is something like this: Sambodhi XI-2 For Personal & Private Use Only 9

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10 M. P. Lakhani In an Army organisation, there is a captain, General and the Chief Commander. Senses work as collectors of information, pass it on to the Captain (Mind) who passes it on to higher authorities and it finally reaches the Commander. The Commander issues necessary orders which descendingly reach the Captain who communicates them to the Jeana and Karma Indriyas for action. If however, the Captain usurps the authority of the Commander and instead of communicating the information to the higher ups and await orders from the top, he issues orders as he likes, being not so experienced and mature, as the Commander, he produces chaos. Something like this has happend in Man. The mind has become very powerful and does not await orders from above but issues orders itself which are immature and wrong resulting in evil character and bad destiny. Man, therefore, must learn to put the mind in its proper place and see that A'man and will exercise their proper authority over the mind. How can this be done? During long periods of time and through the cycle of enumerable births and deaths, mind has become very powerful and Atman's voice weak. Although the voice is weak, it is there and needs to be strengthened. If one listens to this weak voice and allows it to prevail upon the mind, the voice will grow stronger and ultimately grow strong like a bell so that our character and the destiny will be determined by the Atman by the exercise of its free will and so save us, from the web of birth and death. The dross cellected by man and his mind through ages acts as a veil around the A'man so that the brilliance of the Atman is greatly diminished and the man cannot see it and forgets that he is the Amin and identifies himself with his mind and the material world. Men isbe having like the lioncub who, at birth, was left behind in the forest. A herd of goats passing that way adopted the cub. The cub learnt bleeting, ate the food of goats. and, like goats, was afraid of hunting animals. He identified himself with the goats. One day a hungry lion, in search of food pounced upon this herd of agots. He spied the lion cub and wondered what it was doing there. He approached the cub. The cub started bleeting, was mighty afraid and wanted to run away. The lion seized the cub, asked him what he was doing there, that he that he was a lion, what had he to do with the the goats. But the cub only bleeted and wanted to run away. The lion told bim "you fool, know thyself" and forcibly dragged him to the river, showed him his image in the water of the river. The cub saw that it was a lion. The lion taught the cub to roar, to eat flesh and to hunt the goats. The cub realised his real self and became the king of the jungle. That is why Reis tell us know thyself" meaning realise that you are the Atman and not the mind or the body. For Personal & Private Use Only

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SOKAH SLOKATVAM AGATAH T. S. Nandi "The object of this paper is to analyse this expression of Anandavardhana, and also thereby to delve deeper in the problem of poetic expression, in the moments of its revealation, the attitude of the poet in the act of his literary creation, and also the aspect of aesthetic relishtopics which come up for discussion, they being relevant. (Dhv. I. 5d) The reference is clearly to the Valmiki episode which is preserved in the Balakanda of the Ramayana also referred to by Kalidasa. Abhinavagupta has tried to explain Ananda's view point. The particular verse in question, viz., the poetic expression in, 'ma nisada pratistham tvam' etc., has been also quoted by Rajas'ekhara while dealing with the account of the Kavyapurusa in Ch. III of his Kavyamimamsa. Kuntaka refers to it under I. 9 of his VJ. (i.e. Vakrokti-jivita).Later Bhoja also quotes this verse in his Srpgara-prakasa, while dealing with the topic of karuna-rasa. Those references do not seem to have much theoretical bias. A. Shankaran and M.M. Sharma have also referred to this topic. We will try to discuss this critically with a careful presentation of the views of alamkarikas and scholars. The problems to be considered are (1) The birth of poetry, (2) theattitude of the poet i.e. the condition of the poet's mind, and Bhattanayaka's view, and (3) the aesthetic relish that follows. We will begin with the account as recorded in the Ramayana, Balakandi, Sarg1-2 (Eda. S'ci-Ramayana-Sams'odhanasamiti. s'ake 1875), verses 8-18 : sa ziSyahastAdAdAya balkalaM niyatendriyaH / vicacAra ha pazyaMstatsarvato vipulaM vanam // 8 // tasyAbhyAze tu mithunaM carantamanapAyina / kroyayozcAruniHsvanam // 9 // pumAMsaM pApanizcayaH / dadarza bhagavAMstatra niSAdastasya pazyataH // 10 // tasmAttu mithunAdekaM jaghAna bairanikhyo taM zoNItaparItAGga ceSTamAna mahItale / bhAryA tu nihataM dRSTvA darAva karuNAM giram // 11 // viyuktA patinA tena dvijena sahacAriNA / tAmrazIrSeNa mattena patriNA sahitena ve // 12 // *. Paper read at the All India Orlental Conference, XXXI st session, Jaipur, Oct-182. For Personal & Private Use Only www.jalnelibrary.org

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12 T. S. Nandi tathAvidhaM dvijaM dRSTvA niSAdena nipAtitaM / ' RSerdharmAtmanastasya kAruNya samapadyata / / 13 // tataH karuNaveditvAdadharmo'yamiti dvijaH / nizAmya rudatI krauJcImidaM vacanamabravIta // 14 // 'mA niSAda pratiSThA tvamagama: zAzvatIH samAH / yatkrauJcamithunAdekamavadhIH kAmamohitam ' // 15 // tasyettha bruvatazcintA babhUva hRdi vIkSitaH / zokAtenAsya zakuneH kimidaM vyAhRtaM mayA // 16 // cintayansa mahAprAjJazcakAra matimAn matim / / ziSyaM caivAbravId vAkyamidaM sa munipuGgavaH // 17 // pAdabaddhokSarasamastantrIlayasamanvitaH / zokArtasya pravRtto me zloko bhavatu nAnyathA // 18 // 'The record as is read is sufficiently clear. Valmiki, a man prone to . poetic susceptibility is confronted with a situation, an event howsoever trivial it may look to anybody else. It gets into his mind. He is immediately personally moved to the roots. This triggers his imagination and like a flash of lightening poetry is born. The poet himself is dazed at this subtler event, the birth of poetry. 'kimidam vyabrtam mayari is the enternal question a poet asks to himself whenever he becomes an instrument in the hapds of some unknown authority which almost pushes him in drafting the lines of poetry. It is a miracle ! The stimulus is provided and the response is recorded. The world at large, a wolrdly event, makes for the stimulus. The creative spirit of the poet encounters with it, reacts intensely o tthe event and embodies his reaction in words of poetry. The poet consciously or unconsciously is having his interaction with the situation. Somerset Maugham observes1, "The author does not only write when he is at his desk. He writes all day long, when he is thinking, when he is reading, when he is experiencing Everything he sees and feels is significant 10 bis purpose and consciously or unconsciously, he is for ever storing and making over his impressions". Margaret Bally1 observes : "Without the stimulus and variety offered by contact with pature and the world about him, his, (artist's) work would tend to become monotonus and devitalised and would grow too subjective in character". Sickertl emphasises the need for "cumulative and silent observation.... a manrer of breathless listening, as it were, with the eyes, a listening extending over a long series of years." Marine writes 1 "See ms to me the true artist must perforce go from time to time to the elemental big forms-Sky , Sea, Mountain, Plains-and those things pertaining thereto, to sort of re-true bimself up, to re-change the . 1. The quotations are based on Krishna Chaitnya, "Sanskrit Poetics", Chapter 2, pp.34-37 (Edn.65). For Personal & Private Use Only

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Sokah Slokatiam dgatah battery. For these big forms have everything. But to express these, you have to love these, to be a part of these in sympathy". Valmiki is full of this sympathy. A mere objective cogoition of the stimulus is not enough. A sympatbetic interpretation is called for. Rodini makes it clear when he says that the artist's eye, grafted on his heart, reads deeply into the bosom of nature. The event, the world, floods into the heart of the poct. Hopkins called this the "inscape" and the "instress." The poet then, Valmiki here, observes the experience and colours it in his own inner light. Ananda has observed : "OTSEA ad fad, ang aftaja ", Abrams1 emphasises when he holds that the artist is not content merely to hold the mirror upto nature, but seeks to cast over the world, "the light that never was on sea and land, the consecration and the Poet's dream." The world and the self of the poet interpenetrate. Gentila1 observes like Bhattarayaka, that, "when he (the artist) has succeeded in dissolving the world in his pure subjectivity, that is to say, in feeling it, then only can he express it, drawing from himself wi at has flowed into him, and analysing in the light of consciousness, the dim and formless matter within him, the mere feeling". Bbattanayaka probably bas a similar observation when he says :-ara qulf 7 saa arana 4977 1" (quoted in Locana, on Dhy. I. 4). It is with his poetic gedius, wbich is compared to the third eye of Lord s'iva by Mahima, that the poet perceives the shape of things. Here also Valmiki is confronted with a situation. It floods into him and then floods out, taking him by surprise. Says he : "utta gal # Hag 1799 " "He is 'sokarta', - 'taken over by sorrow'. But this could not be in the worldly sense of the term. He feels unhappy in an extra-ordinary sense of the term. His heart is taken over by poetic sympathy. Poetry is born thereafter with the stuff of feelings, "recollected in tranquility". Brabma says to the sage: "4*greita a agit a atrad" (Vs. 31, Ch.JI, Balakanda). This is divine grace, pure and simple. Kalidasa (Raghuvams'a, xiv, 70) takes note of this event, the birth of poetry : "tAmabhyagacchad ruditAnusArI kaviH kuzedhmAharaNAya yAtaH / niSAdavidghANDajadarzanotthaH lokatvamApadyata yasya zoka // For Personal & Private Use Only

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T. Nandi. We can construe the second line as : "farclaqarog gestartet: 14: 777 #eagra " The suggestion is that the soka experienced by poot Valmiki is not of a personal and worldly nature. It is the-sa: aada: Hra:' as Bharata would phrase it, which finds expression through the proper complex of vibhavadi bhavas. So, even if it is Valmiki's soka in the opinion of Kalidasa, it could not be taken as ordinary s'oka that we come across in a normal context of the workaday world. If it is Valmiki's soka, then, also in the opinion of Kalidasa, it has to be extra-ordinary, as it transforms itself into poetry. Apandavardhana refers to this episode in his Dhvanyaloka at 1.5d when he wants to bring home a point that dhvani which is the soul of poetry is also illustrated as such by the great Ramayana wherein the soka takes the form of sloka. The full quotation runs as follows : "7164FFIAT a gareffen allega: gar i agafaritie: 1): 212ana; " (. 4.) He further observes: fara qq1877177279199291801: $152769 # gaia: arra: tathA cAdikaveH vAlmIkeH nihatasahacaravirahakAtarakrauJcAkrandajanita: zoka eva lokatayA pariNataH / Ananda refers to the poet's s'oka. Or, that is what he seems to do, looking at the construction of the sentence in his vitti. But even if it is 371f6a: arcilla: , we need not confuse it with the s'oka of a layman, experienced in the normal context. It fact the whole experience gets into his heart, mixes with his inner self, becomes his blood, bones and marrow as it were, and then in moments of tranquility oozses out in form of poetry, leaving the poet himself almost stupefied. We can take Ananda, with his theory of vyanjapa-dhvani-rasa, to mean exactly this and nothing else. It is for this reason that Abhinavagupta interprets him as he does and there is hardly any fairness in observing along with M.M. Sharma2 that Abhinava's observation appears to run counter to the plain words of Aganda. I do not know how far we will stand justitied in taking Ananda at any place, even in a dream, to refer to the poet's feeling as strictly personal, in the worldly sense of the term ! It is for this reason that Abhinava would prefer to read : 974: 27 : THE Ama: 1 Keeping perhaps in view this sort of a possible mis-understanding or mis-representation of Ananda's view point, Abhinavagupta in his Locana on Dhv. I.5, explains the whole context elaborately. He advances a very 2. The Dhvani Theory in Sanskrit Poetics-pp. 69, edn. '68, For Personal & Private Use Only

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Sokah slokatvath agatah practical, down to earth argument when he says that no man, under the BUD, when he is unhappy in the wordly sease of the term, sits in a corner and composes poetry. - na ca duHkhasaMtaptasya eSA dazeti / We will examine Abhinava's argument after citing a full quotation from him which runs as : zoka iti / krauJcasya dvandvaviyogena sahavarIhananodbhUtena sAhacaryadhvaMsenosthito yaH zokaH sthAyibhAvo nirapekSabhAvatvAdvipralambhazrRGgArocitasthAyibhAvAdanya eva, sa eva tathAbhUtavibhAvatadutthAkrandAdyanubhAvacarvaNayA hRdayasaMvAdatanmayIbhavanakramAdAsvAdyamAnatAM pratipanna: karuNarasarUpatA laukikazokavyatirikatA svacittadrutisamAsvAdha sArA pratipanno rasaparipUrNa kummoccalanavaJcittavRttiniSyandasvabhAvavAgvikalpAdivacca samayonapekSatve'pi cittavRttivyajakatvAditi nayenAkatakatayaivAvezavazAt samucitazabdachandovRtyAdiniyaMtritazlokarUpatAM prAptaH / mA niSAda.......etc. Iti . na tu mane: zoka iti mantavyam / evaM hi sati duHkhena so'pi dukhita iti kRtvA rasasyAtmateti niravakAzaM bhavet / na ca duHkhasaMtaptasyaiSA dazeti / evaM carvaNocitazokasthAyibhAvAtmakakaruNarasasamuccalanasvabhAvatvAtsa eva kAvyasyAtmA sArabhUtasvabhAvo'parazabdavailakSagyakArakaH / * etadevoktaM hRdayadarpaNe-'yAvatpUrNo na caitena tAvannaiva vamatyamum' / iti / . Abhinava is not only absolutelv clear, but is fully faithful to Ananda when in accordance with his master he presents the above explanation. Dr. Sankaran3 observes : Valmiki was struck with wonder and joy at this first invol'intary emanation of measured poetrv; and through deep introspection and analvsis of the state of his mind at the time of its uttorancs, ho discovered for this muster a colution which he gave out to hi Dibilk in these words - 'zokAsya pavano me zloko bhAnu nAnyathA'- Barkanda, 11-18. "That which proceded from me who w 14 overpowered by pathos shall be nothing but poetry or rhythmic expression." . This statement understood in the light of "he above tranci incident is rightly regir led h1 Arintavardhana he revealing the critic in Valmiki, and also as containing in embryo the theory of Rasa fully developed later'. Thus it is clear that the world complex is the stuff poetry is made of. The poetic mind observes it sympathetically and absurbes it. The poet ceases to be an individual in the normal sense of the term. He becomes a super-individual possessed by the spirit of poetry. His likes and dislikes are generalised His bhiva becomes thus "sadharaniksta' or 'de-individualis. el' and then, in a flash poetry is born, is 'seen', is revealed, so to sav. The sahrdava or the sympathetic reader then enjoys it and experiences 3. Some aspects of Literary Criticism in Sanskrit or The Theories of Rasa and Dhvani-p. 6, Edn. 1973, For Personal & Private Use Only

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.- T. S. Nandi assthetis relish or ras 3. This is how the whole circuit is completed. The seasible reader or spectator receives the generalised feeling of the poet into his ora soul and enjoys it. This process of eajoymeat is an active process of delectation (asvada, carvana, rasada or bhoga). Raj sekhara (ch III. 97. At. p. 7. G 0. S. edo *34) observes: so'pi prastunAmodharA putrAyAGa kapAloM dadAnA zirasi ca cumbantI svastimatA cetasA giant lati TIR agit 917531 | 397 are 1 (=blessed by) sa tayA niSAdanihatasahacarIkaM krauJcayuvAnaM karuNa kreGkArayo girA krandantamudIkSya zokavAn zlokaSITE-Atlaqte etc. [fa] 1 Rajas:khara suggests how divine grace secretly transforms and prepares the poet's local se f to draft the words of poetry It is an activity exclusive in itself and so there can be nothing worldly about it. So, here also, by 'T ', we need not understand that the poet felt unhappy in the normal worldly sense of the term. Kintaka, under v J. I. 9 explains how extraordinary traits of a given subject make for the jw of the connoesseurs. Zig Fu: etc. is an instance in prin. A further illistration is supplied by citing a verse fron Kalidasa viz.. ATQYTTET 517178127 etc (Raghu XIV 70). Kuntaka observes that here when it is asked as to, 'who was this sage Valmiki ?', instead of replving bv mentioning directly the name of the sage, it is stated hera-parama kAraNa kasya niSAdavibhinnazarunimadarzanamAtra patthitaH zokaH ilokatvamabhajata yasyeti tasya tadavastha canakarAcaputrIdarzana vivazavRteH antakaraNaparispandaH karuNarasaparipoSAgatayA sahadayahRdayAhAdakArI kverbhiprtH| This too suggests that the poet, when he writes poetry, is not his ordinary self but his super-relf ' #15fors' self, whose fa:ofiege'activity of mind-takes the form of poetry. This both Rajas-khara ini Kuntaka though carrying a semblance of difference, virtually agree with Abhinava in got holding 'a: 1:' to be of personal, local nature. For Personal & Private Use Only

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THE PANCAGRANTHI-VYAKARANA OF BUDDHISAGARASURI (V. Sam. 1080)* N. M. Kansara THE AUTHOR Although the Jaina a'thors are generally very particular in recording the day, the date and the year in which they finished their particular work, we rarelv get any information about their life from their own works. We have, therefore, to lean on secondary sources like the Prabandhas, which do give a few details about the more famous and noteworthy among them. Thus, we come across a brief account of both the pre-initiation as well as the post-initiation period of the life of both Jinesvara and Buddhisagara incidentally in the canto treating the life of Abha adeva uri, in the pineteenth Prabandha entitled Sri-abna adeva uri-prabandha-of the Prabha vakacarita of Prabhacandrasuri (V. Sam. 1334. i.e. 1277 A.D.). Prahhac andra ari has given the following details about the life of Buddhisagarasuri : During the reign of King Bhoja of Dhara in the Ma'ava country, there lived in the city a wealthy a merchant named Laksmripatil. Orce two young learned scholars named Sithara and Srirati, the sons of a Brahmin named Krsna belonging to Madhyadega, arrived in Dhara and come 1o the house of Laksmirati fos alms. There they saw the accounts of the merchant written on the wall. Since thev ca ne for alms to the merchant often the accounts struck into their memory which was extraordinarily sharp 2 During those davs the house of the merchant cought fire and along with the household the wall of the house too was damaged and the accounts got defaced consequently3. Laks nibati was worried about the disputes that might arise about the claims of money due to the absence of the records4. The two young scholars ca ne to his help and wrote down the accounts afresh to the minutest of their davwise details 5. The merchant was awe-struck *This research paper was presented before the XXXIst Session of the ALLINDIA ORIENTAL CONFERENCE held at University of Rajasthgp, Jaipur, in October, 1982. Sombodhi XI-3 For Personal & Private Use Only

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18 N. M. Kansara at this miraculous feat on their part, and honoured them with profuse presents. He further took them to his religious preceptor pa ned Vardhamanasuri when the latter arrived at Dhara.6 The preceptor recogaised the spark in these young scholars, and with a view to groom them as potential luminaries in his preceptorial tradition, iatiated them as his disciples in the Jaina monachal order under the new names of Jinesvara and Buddhisagara, educated them in the Jainistic philosophy and spiritual lore, and finally conferred on them the highest monachic degree of "Suri".7 They were, then, asked by their preceptor to go to Patan in Gujarat to pave the way for the propagation of the faith and clearing the obstacles to that end.8 , In those days Durlabbaraja was ruling in Gujarat with his capital at Patan.9 He had a royal priest named Somesvaradeva. 10 When Jinesvara suri and Bhddisagaa zuri arrived in Patan, they found that nobody was prepared to arrange for their stay in the city which was under the sway of the Caityavasi mendicants belonging to Jainism.11 They, therefore, went to the house of the royal priest, stood at the gateway and started reciting Vedic passages most accurately along with their Saranis.12 Somesvaradeva was surprised to find two Jaina monks reciting the Vedic hymns and explain ing them so marvellously, and having come to know of their plight, offered to play host to them and lodged them at his own residence.13 But the leaders of the Caitvavasi monks lodged a complaint with the king against Sonsva-adeva, alleging tha: ho had given shelter to two un. authorised monks 14 The king summoned the priest, who revealed the facts to him and convinced him about the truth that his guests were rather excellent scholars and pious monks worthy to be honoured as such 15 But th: Caitvava It objected to their stay in the city on the ground of their having been conferred a favour in the form of a promise by King Vanaraja, the founder of the Chavda dynasty to the effect that none but the Caiti ava is only will be allowed to stay in the city.16 However, at the request of the king, they condescended to permit them to stay 17 The priest requested the king to donate some land in the city.18 A Saivite scholar named Jnanadeva welcomed the proposal and agreed to s:t apart a group of three shops in the market belonging to three merchants, and built an Upasrava-a monk hostel-for Sveta abara Jaina monks 19 Thus. Jinesvarasuri and Buddhisagar isuri jointly cleared the way for propagation of the tenets of the Svetambara Jainas in Patan, and carried out the wish of their religious preceptor. 20 For Personal & Private Use Only

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The Pancagranthi-Vyakarana of Buddhisagarasuri The account appears in the canto on Abhuyadeva suri due to the fact that he was disciple of both Jinesvarasuri and Buddisagarasuri as has been clearly mentioned by him towards the close of his Vstti on Haribbadrasuri's Pancasaka-graothah 21 He completed this Vitti in the year 1124 af Vikrama Era, i.e. 1067 A.D 22 Prabbacandrasuri notes that prior to his initiation in the Jaina order, Abhayadevasuri was known as Abhayakumara the son of a merchant named Mahadhara and his wife Dharadevi in Dhara, and that he was intiated by Jinesvara uri.23 At the instance of Vardha. mana uri, his disciple Jinesvarasuri later on consecreted him as 'suri, 24 It seems Abhayadevasuri refers to Buddhisagarasuri too as his 'Guru' in the sense that the latter was equally revered to him as the co-disciple of his initiator Jinesvarasuri. Apart from Abhayadevasuri, there are other Jaina monks who have alluded to Baddisagarasuri. Thus, Dhanesvara the author of the Prakrit Surasundari-cariyain (1095 V. San., 1038 A.D.)25, Jinacandra the autho: of Samvegarangasala (1125 V. Sam., 1068 A.D.), Gunacandra in his Mahaviracarita (1139 V. Sam; 1082 A.D.) and Padmaprabha in his Kunthunathacarita are known to have mentioned our author.26 A slightly different account about the life of both Jinesvarasuri and Buddhisagarasuri is preserved in the Pattavali of the Kharataragaccha 27 It mentions that both these teachers were originally the two brothers named Sivadasa and Buddhisagara and sons of a Brabmin named Soma. When these brothers were going on a pilgrimage to Somesvara Mahadeva, along with their sister Kalyanavail, hey halted at a city named Sarasa and prayed to the god, who enjoined them to approach Vardhamapasuri to get their wishes fulfilled. Thus both these brothers got their initiation into the Jaina monachal order at the hands of Vardhamanaturi, who gave a new name 'Jinesvara' to Sivadasa, and retained the old one of Buddhi sagara. The same source further adds that the name of the royal priest of Durlabharaja was Sivasarma and that he was the maternal uncle of these brothers.28 The account of their encounter with the Caityavasi monks is mentioned here too with more colours, but without the mention of the donation of land by the Saivite. But it adds one more detail that Durla. bharaja was much impressed by the strict adherence to Jainistic conduct on the part of Jinesvara, and remarked that he was very sharp (ati khara) in exposing the looseness of the Caityavasi monks, and that then onwards Jinesvarasuri accepted tbe title 'Kharatara' since the year 1080 V. Sam., i.e., 1023 A.D.29 The account is at variance with the records of the contemporaries like Abhayadevasuri and Jinesvarasuri both of whom deciare ibat Jinesva. For Personal & Private Use Only

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N. M. Kansara rasuri as well as Buddhisagarasuri belonged to Candra-gaccba. 30 And the account of Prabhacandra suri is more reliable in view of the fact that he himself belonged to the Ca adra.gaccha 31 Buddhisagara too refers to himself as belongiog to this same preceptorial family 32 And the scholars are known to hold that the Kharatara sect arose in V Sam. 1264, i.e., 1147 A.D. from Jinadatta suri who was known to be a proud man as is evideot from his pert answers to others mentioned by Sumatigaai, that he was therefore called "Kharatara' by the people, but he gloried in the new appellation and willingly accepted it.33 At the close of his work, Buddhisagarasuri has given a few details about his preceptorial geneology, which tallies with those given by Dbanesvara towards the co.clusion of his Surasundarivariyam. From it we come to koown that he traces his line from the last Jaina Tirthankara Vardha. maga Mabavira dowa to Vajrasvami, through Sudharma, Jambu, Prabhava and Sayyambhava, and further in th: line from Varuhadapasuri to him.eli, 34 omitting the reference to the intervening two more teachers viz., Juaesvarasuri and Allakopadayaya who succeeded in the line of Vajrasvami before Vardnamnao sur1.35 And we must remember that both Daanesvara36 and Aonayadevesuc137 express prufouud respect for both Jinesvara;uri and Budaisayarasuci as their 'Guru' and the latter two 100 mention each other in their own works. 38 THE DATE OF BUDDHISAGARASURI Tae author has himself clearly meationed the date of composition of his Pansyraatai-vyakurand as the yuar 100 ut ine Vaklama Ela, 1.e. 1023 A.D; He completed this work at Jabalipura, 1.e.. Jalu..39 Prabhacandrasuri mentions that when as Sipati and Sridhara, the two brothers arrived in Dnara after their education, King Bhuja rulcd in Dhara.40 The date of thc Parauara King Bhujalaja is 996-1054 A.L41. And waen, as Jinesvarasuri and Buddorayarasuna, we wo brother co-disciples went to Patan at the instance of Vaidnaudasuri, Durnabalaja was ruling the c.42 Durlabharala is known to have rulud in Gujarat Irum V.Sam. 1037 to 1078, i e. 10 v.1022 A.D.43 Now, when as young men the two brothers went to Dbara, they had already finished their education of the Brabwia lore. This implica that their age au taat uie was atleast twaty-fivc and twenty.ibice, especuvely, allowing a ditference of alltast one and a half year between the age of the elder brother and the younger one. Afier ibat they were iniulalta by For Personal & Private Use Only

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The Pancagranthi-Vyakarana of Buddhisagarasuri Vardhamanasuri, who is said to have further educated them Jaina lores, before consecreting them as 'Surr'. This must have taken at least a decade or so. And then they went to Patan, and after that Buddhisagarasuri finished his work in Jalor, in 1023 A.D. At this time, as per our rough calcuation as chalked out above, Buddhisagarasuri must have been of about thirty-five years of age. The year of his birth, thus, falls in 988 A.D. This period of Buddhisagarasuri's life between 988 1023 A.D., coincides with that of his elder brother Jinesvaras uri. too Thus, we can surmise with a high degree of certitude that both these Jaina luminaries flourished in the first half of the 11th century AD, and were contemporaries of Paranara King Bhojaraja ct Maiva, as also of the Solanki Kings Camundaja, Vallabi araja, Duriatharaja 10 Elmaceva the First, cf Gujarat. THE WORKS 21 Although the two brothers were very sharp and equally learned both in the Brahmanic and the Jainistic lores, Buddhisagarasuri is so far known to be the author of only one work, viz, the Pancagraathivyakarana. There is no reference to any other work of his either in his own work or in those of his contemporaries and successors. On the other hand his elder brother Jinesvarasur is recorded to have been the author of about seven works, viz., Sanskrit commentary on the Astakas of Haribhadrasuri, Pancaling-prakarana, Cobalt ana pagatana, V1. acarura (Nuvana avai! kaba, Kathaku sa, and Piama laksma with au auto commentary 44 THE PANCA-GRANTHI-VYAKAKANA Jinesvarasuri who, as we have seen above, was an elder brother and a co-disciple and neuce an undoubled contemporary of Buduhisagarasuri, has speciically alluded to the P.nca-grauthi-vyakarana of the latter in the concluding verses of his Prama-lasma and nas revealed the circumstanses that inspired them oota to compose their respective works Jincsv. arasuri states that there were critics in their times who taunted the Sveranbara Jainas with the remarks that they did not have to their credit a single work on N,a, a nor on Grammar, that they depended on the work of others, thus proving that they have originated only recently, and hence they are not authentic Jainas 45 It was with a spirit of challenge, calcu lated to fill a serious gap ia the literature of the Svetambara Jainas in the field of Nyaya and Vyakarana that both these broiner Jaina pricep tors Jin.svarsuri and Buddnisagarasuri undertook to compose a work For Personal & Private Use Only

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N. M. Kansara each, viz the Prama-laks 0146 and the Subda-laksma, alias the Panca-gra. ntbi-vyakarana, respectively, . Jinesvara suri further adds, in his auto-commentary, on the Pramala. ks 01, that before conposing his work on grapmer, Buddhisagara uri had gone througa the works of Panini, Candra Ja neodra, Vibranta and Durga's commen'ary, that the work was verse bound in different metres, that it incorporated Datu, Sutra, Gina, Unali, etc and that it was supposed to treat both the Sanskrit aid Prakrit words.48 Daanesvara too alludes to Bidhisagara;uri's work with a sens: of reverence saying that it included the difficult discussions in the Fakkikas, that it was divided into Adhyayas and that it was kaown as Panca granthi. 49 Some of the Mss. in different Jaina Bhandaras in Gujarat and Ra. jasthana, call his work Buddhisagara vyakarana in the lefthand margia at th: top on each of the folios which fact seems have popularised the alternative name of this work as "Bupdhisagara-vyakarana." But the author himself, as also his disciple Dhanesvara has specifically mentioned that the work was entitled 'Panca-granthi.'50 The title suggests that the work was supposed to incorporate all the five aspects of Sanskrit Grammar such as Dhatu, Gana, Uradi, Lingaousana and Siksa in a single work wbile the cel :biated grammarians like Paniai Candra and others chose to compose independeat works on each of this aspects. The necessity of incorporating all these a pects in a single work seems to have been felt as early as a least the sixto or seventh century A D. during whick Vamana and Jayaditya of the Kas ka fa ne flourished. 51 Non, let us see, on the basis of the very contents of the work itself whether the statements of Jioesvarasuri and Dhanesvara stand corroborated or not. We must here clarify that the analysis, givea below of the coutents of the Panca-grantb -vykarana of Buddhisagai asuri is based on the very general suavey of yet unpublished version of the work in the Mss., that it is being published here for the first time since the historians of Sanskrit Grammar have so far givea no information beyond the names of work and its auther, the date of the work and a sur nise about the likelihood of the work baving contained a Linganusasana,52 This work seems to have been originally planned to have two Adhikaras one dealing with the Sanskrit language and the other treating the Prakrit lauguage as has been alluded to by Jinesvaraguri 53 But the wore that has come down to us as the Panca-granthi does For Personal & Private Use Only

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The Pancagranthi-Vyakarana of Buddhisagarasuri not go beyond the First Adhikara which is mentioned as Simskstadhikara in the colophone at the end of the last Adhya, a 54 since the work for - mally ends with the close of the last Adnyaya of the Sam kl aihi kara.55 after which start the concluding verses giving the details about the author's preceptorial genealogy from Mahavica onwards. 56 The work is divided into Adhyayas, which are further subvided into the padas. But the author has iudicated the end of the Adhyaya upto that of the second one only. Similarly, he has shown the end of the Pada upto that of the thirteenth only. Then onwards upto the end of the work, we are at a loss to find that neither the end of an Adhyaya nor that of any pada has been indicated, so much so that when the au her declares the closure of the 'Samiks.ainkara,' we are not sure as to which Pada of which Adhyaya has come to an end! We can only surmise that the work, or the Samsk stadbikara, hai proceeded upto the end of the fourteenth pida, i.e., the first half of the Fourth Adoyaya. Now, if we take Jia:svarasuri at his words regarding the Prakrit words suppye to b: treated in this work, we may have to conjecture that the portion extending to the end of the, Fifco Alayiya,' 1.e covering about six padas, has not come down to us or has not been moved by the author at all. But looking to the concl, uding verse; of th: extant work this conjecture has no valid ground as yet. The First Pada commences with the Mangala-sloka paying respect to Jina and the auther's preceptor The next two verses introduce the work Then starts the tonic-wise discussion in the follawing order: Thirty six Prataharas. Savarni and Sthanapravatnas, Paribhasas and Sajnai Svara -sandhi, Vyanjana-sandhi Visarga-sandhi ant Sva li-sandhi. The Second Pada starts with the Linearusasana, which consists of thirty-eight Gathas and the anto-commentary on it 57 The rest of the pada treats the declension of Neuter. Feminine and Masculine pronouns. nume. rals, and of padanta -vidhi. The Third Pa la opens with the discussion abut the uses of different Vibhaktis, and then takes up the topics of the Siri pratvayas The Fourth Pala deals with the Simasas and Sa Tasa tas. The Fif b Pala enumerates the Ganas. The Sixth Pada is devoted to the discussion about various uses of words in diffe.ent ivpes of sentences, repitition of words in different situa, tinq;, verbi derived fon 049s, comparatives and superlatives. For Personal & Private Use Only

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N. M Kansara The Seventh Pata treats the Taddhitas. :. The Eighth Pala continues the topic of the Tiddhitas. In the Third Adhva a, the Ninth and the Tenth Palas deal with the Shisikas, and the topic is continued in the Eleventh Pada. The Twelfth Pa la treats the verbal derivatives, and enumerates the Dhatus. In the Fourth dhrava, the Thirteenth Pada discusses the conjugation of the verbs and the Ktdantas. - The Fourteenth Pa la continues the conjugation of verbs in Aorist, Desiderative, Frequentative, and etc, With the close of this last Pala, the work ends and is followed by the verses which give the preceptorial geneology of the author, his name, th: title and the date of the work, as also it ex eat in terms of Anus fubh verses, .: Stvi stically, the work consists of Sutras and verses and the autocommentary on both of them, REFERENCES 1. PRC. XIX. 5-7. 2. ibid..xix. 9-13. 3. ibid..XIX.16-17. 4. ibid., XIX. 21-22. 5. ibid., XIX 26-28. 6. ibid., XIX. ?7-30, 33-37. 7. ibid., XIX. 38-42. 8. ibid.,XIX.44-45. 9. ibid..XIX. 48. 10. ibid., XIX. 49. 11. ibid., XIX. 59-60. 12. ibid., XIX. 50-51. 13. ibid.,XIX. 52-58. 14. ibid.,XIX. 63-64. 15. ibid., XIX. 66-68. 16. ibid.,XIX. 71-77. 17. ibid., XIX. 80. 18. ibid.,XX. 81. 19. ibid..XIX. 82-88. 20. ibid.,XIX 89. 21. Abhayadevasari - Pan. Vr. folio 301 (b), Concluding vss. 2-4: ziSyo'bhavattasya jinezvagakhyaH sUriH kRtAnidyavicitrazAstraH / / sadA nigalamcabihAravartI candra'pazcandra kulAmbarasya // 2 // anyo'pi vitto bhuvi budbhisAgaraH pANDityacAritryaguNera upamaH / zabdAdilazyapratidakAnaghagranthapraNenA pravaraH kSamAvanAm / / 3 / / tayorimAM ziSyavAsya vAkyAd vRtti vyadhAt zrIjinacandrasUreH / zipastayoreva vimugdhabuddhigranthArtha bAMdhe'bhayadevasUriH // 4 // 22. Op.cit., vs. 7: caturadhikaviMzatiyute varSasahasra zate ca siddheyam / dhavalakapure vasato panapatyobakulacandrikayoH // 7 // For Personal & Private Use Only

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The Pancagranthi-Vyakarana of Buddhisagarasuri 23. PrC. XIX. 91-96. 24. ibid., XIX. 98. 25. Dhanesvara-Surasundari-cariam XVI. 245, 249-250. 26. Velankar, Prof. H.D., Jinaratnakosa, vol.I, p.224. 27. Muniraj Shree Raja Vijayajee - Skt. Prastavana to Surasundaree-chariam of Dhanesvara, Benares Edn.,1916), p.p.25-27. Also cf. Muni Jina Vijaya-Khara tara-gaccha-brhadgurvavali (Sin. Jn. Gr. MI. Series No. 42, B'bay,1956), pp. 1-2. 28. Muni Shree Raja Vijayjee-Op.cit., p. 25. 29. ibid.,p. 26. 30. Abhayadevasuri - Pan. Vr., folio 301 (a), vs. 2, quoted above in ft. nt. 21; Jinesvarasari Astaka-vrtti, concluding vss. 2-3 : sUreH zrIvardhamAnasya niHsaMbandhavihAriNaH / hAricAritrapAtrasya zrIcandrakulabhUSiNaH // 2 // pAdAmbhojadvirepheNa zrIjinezvarasUriNA / aSTakAnAM kRtA vRttiH sattvAnugrahahetave // 3 // 31 Prabhacandrasari - PrC., Prasasti verses after the end of xXII,, pp. 213-216. ..32. Buddhisagarasuri-Panca-granthi Vyakarana, concluding vs. 5: gurupadamanukatu tadvadevAsya ziSyo .......zrIjinezo yatIzaH // 5 // 33. Dr. Buhler's Report, p.149. It may be noted in this connection that the sub sequent Acaryas of the tradition of Vardhamanasuri, the preceptor of Jinesvarasuri and Buddhisagarasuri, are known to refer to themselves as "Candrakulina, 'Bxhad- gacchiya, Suvihita' and 'Apratibaddhavihari, as has been noticed by Triputi Munis in their Jaina Parampara-no Itihasa, Vol.II, p.210. 34. Buddhisagarasuri - Op. cit., Concluding Vss. 1-3,5 and 8: AsIn mahAvIrajino'sya ziSyaH sudharmanAmA'sya ca jambunAmA / tasyApi ziSyaH prabhavo'sya ziSyaH zayyaMbhavo'syAnuparaMparAyAm // 1 // vajro'sya zAkhAmbaramaNDale'smin sAdhU tu vRndAvRtazakakAntiH / ... ... ... ... ... ... // 2 // kalAkalApopacayo nvamUrtiH zrIvardhamAno natavardhamAnaH // 3 // gurupadamanukatu tadvadevAsya ziSyo' zivadazivadakalpaH kalpazAkhopameyaH / / Sambodhi XI-4 For Personal & Private Use Only

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N. M. Kansara anatikRdatikRdabdhi vyApya citro'pyacitro 'bhavadiha vadihAza: zrAjinezo yatIzaH // 5 // zrIbaddhisAgarAcAryo'nugrAhyo'bhavadetayoH / paJcagranthI sa cAkArSIjagaddhitavidhitsayA // 8 // 35. Dhanesvara - Op. cit., XVI, 238-240: evaM sUrINa paraMparAe tA jAva vaharotti // 238 // sahAe tassa sUrI jiNesaro nAma AsI vikkhAo / tatto ya nimmalaguNo ujjhoo allao nAma // 239|| sIso ya tassa sUrI sUrovva sayavi jaNida-dosato / AsI siri vaddhamoNo pavaDDhamANo guNasirie // 240 / / 36. Ibid., XVI. 245 and 249 : ego tANa jiNesara-sUrI sUro vva ukkaDa-payAvo / tassa siri buddhisAgarasUrI ya sahoyaro cIo // 245 // tesiM sIsavaro dhaNesara-muNI ...... // 249 // 37. Abhayadevasuri - Pan. Vr. Concluding Vss. 1-4: yasminnatIte atasayamazriyAvaprAnuvatyAvaparaM tathAvidham / svasyAzrayaM saMvasato'tiduHsthite zrIvardhamAnaH sa yatIzvaro'bhavat // 1 // ziSyo'bhavat tasya jinezvarAkhyaH sUriH kRtAnindyavicitrazAstraH / sadA nirAlambavihAravartI candropamazcandrakulAmbarasya // 2 // anyo'pi vitto bhuvi buddhisAgaraH pANDityacAritryaguNairanopamaH / zabdAdilakSyapratipAdakAnaghagranthapraNetA pravaraH kSamAvatAm // 3 // tayorimAM ziSyavara [sa] vAkyAd vRttiM vyadhAt zrIjinaratnasUreH / ziSyastayoreva vimugdhabuddhimranthArthabodhe'bhayadevasUriH // 4 // 38. Loc. cit., ft.nts. 34; Jinesvarasuri - Pramalaksana, Vs.405: zrIbuddhisAgarAcArya vRttAkaraNaM kRtam / asmAbhistu pramAlakSma vRddhimAyAtu sAmpratam // 405|| 39. Buddhisagarasari-Op.cit., Concluding Vs.11: zrIvikramAdityanarendrakAlAt sAzItike yAti samAsahasra / sazrIkajAbAlipure tadAdya' ibdha mayA saptasahasrakalpam // 11 // For Personal & Private Use Only

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The Pancagranthi-Vyakarana of Buddhisagarasuri n 40. Prabhacandrasuri - Prc. XIX. 5-10. 41. Kansara, N.M. - Tilakamanjari of Kavi Dhanapala, A Critical Study (unpub lished Ph.D. thesis),Vol.I, pp.81-84. 42. Prabhacandrasuri - Op. cit., XIX. 46-48. 43. Parikh R.C. and Shastri H.G.-Gujarata-no Rajakiya Ane Samskrtika Itihasa, ___Vol. IV., p. 32. 44. Triputi Munis- Jaina Parampara-no Itihasa, Vol.II,p.215. 45. Jinesvarasuri - Paramalaksa na, Vss. 402-404, and Auto-commentary on the last vs: bhithyAtvadhvAntabhAsvanto jainAssanti mahAdhiyaH / yAnAzritya vayaM pAdareNustulyA na jAtucit // 402 / / tairavadhArite yattu pravRttirAvayoriha / tatra durjanavAkyAni pravRtte sannibandhanam // 403 // zabda lakSma pramAlakSma yadeteSAM na vidyate / nAdimantastato hyete paralakSmopajIbinaH // 404|| zabdalakSma vyAkaraNam / zvetabhikSaNAM svIyaM na vidyate / 46. Ibid., Vs.405 (ab): zrIbuddhisAgarAcArya vRttAkaraNaM kRtam / 47. Ibid., 405 (cd): asmAbhistu prabhAlakSma vRddhimAyAtu sAmpratam / 405 // 48. Ibid., Auto-commentary on Vs. 405: zrIbuddhisAgarAcArya': pANinicandrajainendravizrAntadurgaTIkAmavalokya, vRttabanH dhAdhu sUtragaNoNAdivRttabandhaiH kRtaM vyAkaraNa sNskRtshbdpraakRtshbdsiddhye...| 49. Dhanesvara-Op. Cit. XVI, 245, 247-348: egA tANa jiNesara-sUri sUronva ukkaDa-payAvo / tassa-siri-buddhisAgara sUrI ya sahoyaro bIo // 245 // jassa ya ahakuharAo viNiggayA atthavAri-sohillA / bahu-cakkavAya-kaliyA raMgaMta-suphakkiya-taraMgA // 247 // taDarUha-avasaha-mahIruhAI-ummUlaNAmma sutamatthA / ajjhAya-pavara-titthA paMcagaMthI naI pavarA // 248 // 50. Buddhisagarasuri - BS. Vyk. Concluding vs. 8: zrIbuddhisAgarAcAryo'nugrAhyo'bhavadetayoH / paJcagranthI sa cAkArSIjjagaddhitavidhitsayA // 8 // For Personal & Private Use Only

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28 N. M. Kansara 51. Cf. Kasika, Introductory Vs.1: vRttau bhASye tathA dhAtunAmapArAyaNAdiSu / viprakIrNasya granthasya kriyate sArasaMgrahaH // 9 // 52. Pandit Yudhishthira Mimamsaka - Samskrta Vyakarana Sastra-ka Itihasa, ____Vol.II,pp. 446-447. 53. Jinesvarasuri-Prama-laksana, folio 89, vs. 405, auto-commentary : - zrIbaddhisAgarAcArya vRttAkaraNa kRtam / ...... // 405 // ....kRtaM vyAkaraNaM, sNskRtshbdpraakRtshbdsiddhye...| 54. Buddhisagarasuri-Of.cit., Colophone at the end of the work ; samApto'dhikAraH / pacagraMthyAM saMskRtAdhikAra ityarthaH / 55. Ibid., The conduding verses begin just after the words paMcagranthyAM saMskatAdhikAra ityarthaH / 56. Ibid. Concluding vss: iff : AsInmahAvIrajino'sya ziSyaH sudharma nAmA'sya ca jambanAmA / tasyApi ziSyaH prabhavo'sya ziSyaH zayyaMbhavo'syAnupara parAyAm // 1 // vajro'sya zAkhAmbaramaNDale'smin ...... zrIvardhamAno natavamAnaH // 3 // ...... asya ziSyo ...... zrIjinezo yatIzaH // 5 // zrIbuddhisAgarAcAryo'nugrAhyo'bhavadetayoH ... ... ||8|| 57. The general idea about the work was given by me in an article entitled "The Linganusasana of Buddhisagarasuri", presented before the All-India Oriental Conference (XXIXth Session), held in the Bhandarkar Oriental Institute, Poona, in 1977-78, and published in the Journal of Ganganatha Jha Kendrya Sanskrit Vidyapeetha, Vol XXXV, January-June 1979, Part 1-2, pp. 97-100. The text of the work will be published in the Commemoration Voldme of Pt. Becharadasji Doshi issued by the Parshvanath Jaina Vidyashrama, Varanasi, For Personal & Private Use Only

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ON THE VARIANT READINGS IN AVS 3.12 AS NOTED IN SAYANA-BHASYA Neelima Mone Indian tradition holds that the Atharvaveda (AV) is ninefold. : navadha atharvano vedah ninefold is the atharvana veda' (Pat M.bha. I 9.22); upto this day two of these recensions have become available to us. (i) Av Saunaka ( AVS )and ii) AV Paippalada (AVP). Unfortunataly both these recensions are available only with many corruptions. The editors like S. P. Pandit, Whitney, Vishvabandhu record many such corruptions in their editions. These corruptions many times affect the corret and / or meanigful understanding of the text and interpretation. Yet, these editors give bi se readings without any comment. Again, Sayana, the only orthodox commentator of this Veda has many times shown differences of readings with those in all the editions. His commentary cites, as words from such a text under his comment, that differs with the available texts of the AVO, AVP, Pp etc. His explanation of accents also many times supposes an accent different from that of the text. Moreover, many times Sayana's text and explanation agrees with some other Samhitas. There variations are coted down by the editors of the text, but they have offered no comments. Therefore, I intend to discuss here a few variant readings in Sayana's commentary, with a view to ascertaining their correctness. It is true that Sayana's commentary is very much beneficial to the student of this Veda, yet it is necessary to study the variant readings critically and to see if they violate the meaning of the verses and disturb the tenor of the hymns-thus proving unsuitable or otherwise. Before coming to Sayana's reading, it is necessary to say about the extent to which ancillary Vedic literature would help, in a situation where there arises a doubt about the correctness of a reading of the text. The Kausika Sutra ( Kau Su) (with Darila's Bhasya-this available on part of Kau. Su and Kesava's paddhati ) and the Vailana. Sutra ( Vai Su) are the age-old authorities of the Atharvanikas which dicuss the employment of the hymns of the AV; but they can help us only to a certain extent as regards the prob'em of the variations in the text. They cannot become the final authorities, because they do not reproduce the text, they quote it by 'Pratika.' For Personal & Private Use Only

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Neelinea Mone Therefore, when we examine these variant readings, we shall have to rely on the Samhita itself, if any where else it has the same word and the m3 evidence recorded in the editions should be considered as of more reliable help. Next to it should come the Pp, both edited and in the ms and oral tradition. It can be taken as much more reliable than any other later text, since it is chronologically nearmost to the traditional AVS recensic n. Our next source is the text of AVP, but it is unfortunately so much corrupt and distorted that it very rarely proves helpful. Therefore, we should seek help from the available AVP text when the Pp does not offer any. The two Sutras also can be used only in cases of otherwise insoluble or problematic places, ie where no other source yields any plausible solution. 30 We will take up, as examples, the cases cf Sayana's (Sa) readings in AVS 111.12 (AVP 3.20). This hymn deals with the construction of a house. AVS recension has rine verses in this hymn, while the position of this hymn in AVP is rather confused! From the tenor of the hymn it appears that the whole of it has been the result of various handling of its Mantras. Sa has reported many variant readings while he commented on this hymn. While examining these readings, we shall have to consider the text, the Pp., the AVP reading where available, the Kau. Su and Vai Su and other sources for any possible help. But mostly we shall fix our attertion on the text itself. Keeping in view the tenor of the hymn, we must think of the correctness or otherwise of the variant readings. These readings are: (i) in verse 3 (sayam) asyandamanah in the Place of (sayam) aspandamanah of AVS.1 (ii) in verse 5 (devi devebhir) nirmita (asi) in place of (o) nirmita (asi) of AVS (iii) in verse 6 marzan in the Place of ma risan of AVS (iv) in varia 7 kumbhah in the place of kumbhah of AVS and kalasah in the Place of kalasaib (v) in verse 8 ( imam) patrim in the place of ( imam ) patyn of AVS (vi) in the same verse Samindhi in the place of Samangdhi Let us turn to these readings one by one. 3.1 in the first place in verse 3 which runs as For Personal & Private Use Only

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On the variant readings in AVS 3 12 as noted in Saya na-bhasyah 31 gharuNya 'si zAle vRhacchandAH pUtidhAnyA / A tvA vatso gamedA kumAra A dhenavaH sAyamAspandamAnA: / / Sa reads a syandamanah. Following AVS one can translate the verse as, 'O house, you are sustainer. heaving a big roof, rich in grains. May he calf come to you, the young child and cows streaming in inthe evening." If Sa is followed, the verse means,' 'O house, you are the supporter of all beings, baving an ample roof, rich in grains. To you may come calf sons etc; and milch cows oozing out milk in the evening.'2 Now, the Pp reads a spandamanah and the reciters of the AV also are reported3 to recite aspandamanah. It must not be forgotten that the reciters are very meticulous about their tradition. S.P. Pandit shows that many mss read aspandamanah. Whitney thinks asyandamanah to bo better and more correct reading and aspandamanah to be bad.4 He accepts ds yandao only because sankbayana Grhya Sutra 3.2 has : 'enam, Sifuh Brandaty i kumara a syandantam dhenavo nityavatsah.' The reading in AVP is currupt and therefore we do not have to consider it. We have already noted that among various ancillary texts on the ancient text of the AV, the mss, the recitation and the mss of the Pp are to be considered as more reliable. We cannot therefore consider the reading of the glya sutras of the other Vedas as more authentic than these sources which should determine the readings either of AVS or AVP. Therefore we should not discard the reading aspandamanah. The reading asyandamanah makes the difference of meaning. (cf. Sa's comment-note 2). According to him, asyandamanah is a description of the cows, that are oozing out, milk. I believe, this is rather an overdoing. Syand to flow is understood in the causative sense ( antarbhavitanyartha ) and requires one to supply the subject, viz. milk. On the other hand, V Spand- 'to stream forth' 'to run' may better indicate the 'hastening' return of the cows towards hame, at the evening. It is not impelling to read much more than that, as Sa does. Perhaps, Sa's reading can be due to the bad scribe of the Ms which he had before him. (cf. Note No.2 ). 32 Then in verse 5 mAnasya patni zaraNA syonA devI deveminimitAsyagre / tRNaM vasAnA sumanA asastvamathAsmabhyaM sahavIra rayiM dAH // For Personal & Private Use Only

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32 Neelima Mone "O wife of Mana (?), you are the protection, comfortable, fixed down (i.e. made firm ) here by the gods in past. Wearing grass, be you of good mind and give us the wealth with ( i.e. accompanied by) horoes. Sa reads * nirmita in place of Nimita. Following him, we have to change the meaning thus -'O Wife of the honourable protector of the construction, 5 protector, pleasant, being a goddess, you are created by the gods of the beginning of this creation 6 ---, In the AV, V mi with ni 'to fix down' is always used with the word sala and/or sthuna. Our hymn also uses it in the 1st verse - ihaiva dhruvam ni minomi salam 'here only I fix down (make firm) a house', and in the 4th verse also, imam salam savita vayur indro bihaspatir ni minotu prajanan 'Itt Savits, Vayu, Indra, Bphaspati fix down this dwelling, knowing our thoughts).' It seems to be a belief of Vedic times that gods fix down ile house. It is so expressed in many othej verses as in this verse; cf. AVS 9.3.19.7 Therefore it is too much advance over the seers of the AV to say that gods have 'created' the houses. Moreover while doing so, Sa goes against the Pp which everywhere reads nimita. AVP text also reads, devi devebhir nimitasi (AVP text does not have accents). No ms is reported to read nirmita. So we find no solid reason to accept nirmita. 3.3 In verse 6 : Rtena sthaNAmadhi roha vaMzoyo virAjannapabRkSva zatrUn / mA te riSainnupasattAro gRhANAM zAle zata jIveta zaradaH sarvavIrAH / , "Ascend the post, o beam, following the primordial order; shining pre-eminent, destroy the enemies. Let not the dwellers of the house be injured, O house; may we live, with all our heroes, hundred years. Following, Sa, who reads marsan in place of ma risan, the meaning of the line shall be 'may the dwellers not go (away), as Vrs. has a sense of 'going'. But Sa says marsan arta himsita ma bhu van 'may (they) not get killed', which is altogether a different sense of root Vrs. The Pp supports the reading as ma/risan AVP 3.33.2 again has the same reading as AVS. AVS 2.6.2 ma te risaan upasataro agne (O Agni, may not your attendants - who sit by the side of you-be harmed') and AVS 11.1.25 (arseyas) te ma riran prasitarah (`let not them-your partakers-suffer harm) have the phrase ma risan and not marsan. Sa, both on AVS 2.6.2 and AVS 11.1.25 comments ma risan ma vinasyantu (may (they) not parish). Then the problem is : why he reads here a different verb. With this grammatical form, the phrase means they should not injure' which Sa also gives as every where. For Personal & Private Use Only

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On the variant readings in AVS 3 12 as noted in Sayana-bhasyah 33 the tenots life of hundrense of 'going VR$ which has a sense of 'going' is altogether incongruent with the tenor of the verse and also of the hymn. The verse expresses a wish to live long life of hundred years; without any enemies; with all heroic sons. In this context, the sense of 'going' does not fit. The evidence from the AVS itself thus goes against Sa; and we know that this form is available no where in the Vedas, 8 therefore we cannot accept it in any case. 3.4 Verse 7: emAM kumArastaruNa A vatso jagatA saha / emAM paristuta: kumbha A dadhnaH kalazairaguH // *To it have come the young boy and the calf with livestock; to it bave come the pitcher of flowing honey, along with pitcher of curds.' Sa here reads for kumbhah in cas kumbhah (the pitchers of honey.) Really speaking the plural makes hardly any difference of meaning; but reference to this 'kumbha' (in singular) is made in immed ately the next verse. A little difficulty can be with kalafaih read as kalasih. In keeping with the nominative of kumbha-the word kalasi could have been in the nominativeMoreover, we can say that, as in the first half, sahatva is, expressed here in the second half by instrumental case; which is more suggestive snd poetic way of expression. The change of kalasa (m) to kalasih (f) is negligible but from the point of view of the style of the expression, we should pre-** fer kalasaih (m). Moreover the Pp is the supporting proof, (boib) for (kumbhah and) kalasaih. 3.5 - To turn to verse 8 . . . . pUrNa nArI pa bhara kumbhametaM ghRtasya dhArAmamRtena saMbhRtAm / imAM pAtRRnamRtenA samagdhISTApUrtamabhi rakSAtyenAma // 'Bring, O lady, the full pitcher and the stream of nourishment, brought to us by the immortal. Anoint the drinkers of this with immortality; may all the domestic and sacrificial) righteous. deeds protect her.' Here Sa reads imam patrn as imam patrim and samangdhi as samindhi. First we will take up imampafrn. The Pp retains the same text, AVP rea", diog of this whole verse is very corrupt. It bas imam patrair amstaih, Sambodhi XI-5 For Personal & Private Use Only

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34 Neelima Mone which does not help us, as it makes no sense. Whitney, thinks this to be grammaticaliy impossible. So he suggests the emendation of imam to iman (to g> gram nitically in apposition with patyn), and yet he thinks 'imam patrim' as a preferable reading. In the first instance, the Pp represents the tradition. Therefore, it will require strong ground to doubt the sa and apparently, Whitney does not offer any convincirg argument. Perhaps ho did not consider imam patrn to be correct ! Yet paty with its object in a suzative is not ukonat vidc Ser3, eg. bosides somasya pata, we have somam pata as well. cf. Rv. 4 44.15 paia' sutam indro astu somam may Indra be the drinker of pressed Sona'. As such imam patrn should not be discarded for fear that it is incorrect. Already it is obvious from the translation that i nain patan yields a good sense. And 'imam patrim, on the contrary, does not yield a good sense, if we see Sa's como ent : 'imam patrim' kalasin, "amstena' sudharupena udakena 'samindhi'sam yag. iddhan sand iptar knru-enkindle this vessel with amsta like water ! If the original text conveys a sensible meaning, we have no right to emend or change the text. 3.6. Let us now, consider the reading sam indhi for samangdhi Samindhi means 'enkindle in a good way', from sam vidh (cf. Sa's comment mentioned above). However, the epkindling of any vessel by water (1) makes no Senso like agnina sincati. Again, we find no srauta or glhya ritual which prescribes enkindling any flow ! 4. Then the question is , 'how to account for these readings of Sa ?' This hymn speaks of the construction of a house and reveals the ideas about the house in the poet's mind. This house is of ample roof, at ple grain, full of cattle and horses. It is protection and comfort for the housebolder. The post wishes to live in it happily with his hero-sops, a long life; his enemies and diseases destroyed. The idea of completeness and ampleness is in his mind. As we have seen above, this tenor of the whole hymn is broken by Sa's readings (except by 'kumbhah' and 'kalasih!). Therefore we cannot make case for them. It can be said that parhaps Sa might have bad before him a corrupt ms of the Samhita. But what is striking is that Sa completely disregards the Pp. Sa belongs to the 14th Century A.D. and, by that time, the Pp and the tradition of the recitation must have been well settled. Therefore, if Sa goes against these two traditions, wbat should have led him to it ? It is perhaps because of thepl comete disregard of tradition for the AV through maoy centureis ! For Personal & Private Use Only

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on the variant readings in AVS 3 i2 as noted in Sayana-bhasyah 35 Already, we find severe conflicts among the followers of the different Vedas, since the time of Durga, the commentator of Nirukta. Further, we should remember that Sa was a follower of the Taittiriya school and so it is possible that he might not have taken so keen an interest in the exegesis of the Av. From these observations, it becomes clear that sa, who bas many different readings (pot only here, but elsewhere also ! ) presents (?) some text available to him and that is apparently unacceptable. However, a full examination of all such readings has to be undertaken and their value be ascertained. 5. Post Script. This paper marks the beginning of my study in the field of the exegesis of the Av, and it may not make a strong case for the serious need of such a study of Sa bba. Yet I can say that my two other papers may be said to throw some light on the necessity of studying problem. NOTES : 1. Usually Y and P in the MSs can be mistaken each for the other. 2. Sa reads "tatha 'dhenavah dogdhrye gavah sa yam' sayaridk ale "asyand amanah prasrutam paya asravantyah. .' 3. S.P. Pandit has consulted two reciters of the Ay and has noted in his edition accordingly. Cf. his comment - "...in d, SPP adopts the bad reading aspandamanas claiming to find it in the majority of his Mss." - (Translation) The Atharvaveda-Vol. 1 P. 105; note on the translation of verse 3. 5. mananiyasya vastupateh 'patni'. 6. agre srstyadau. 7. AVS 9.3.19 - brahmana salam nimitam 'to the dwelling fixed down by Brahman'. Elsewhere in Vedic literature, V mi is used in the sense of fixing-[ and again in association with the word sthuna.) Cf. Rv 10.18.13. etam sthunam pitare dharayantu tetra yamah sadana te minotu For Personal & Private Use Only

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Neeliina Mone 'may the fathers support this pillar for you; may Yama fix up your resting place just here.' 8. From the word - index of the Veda we know this. 9. Here we have a difficulty, we can compare imam patan to somam pata but we cannot account for the accent. Therefore we can either refer to the principle of "Word economy' enunciated by Dr. H.D. Velankar (A.B.O.R.I. 1965) or accept bahulam chandasi imam is not an obvious form, we expect imam asyah by the word patyn. Therefore we can say that the poet uses as connected with dharam in ab, against Vedic idiom. Yet, this point is not clear and I keep my fingers crossed. For Personal & Private Use Only

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VIJAYARAJA PARAMAR OF JALORE Ram Vallabh Somani Jalore, Bhinmal, Kiradu and a few other parts of Western Rajasthan remained under the possession of the Paramars for a considerable tice. A copper plate of V.E. 1160 of Paramar Vijayaraja of Jalore was receatly noticed by Laxman Bhai Bhojak in Vol. VII of the Sambhodhi (Ahmed abad). It mentions that when Vijayaraja was ruling over Jalore his subordinate vassal Mithina pala's son Puranaraja held the village Bandhan. Vada (Distt. Jalore) in Jagir. However the copper plate does not supply and further information about him. The Jodhpur Museum inscriptionl of V.E, 1174 records that Paramar Visal held Jalore. His queen Meladevi put the svarnakalasa on a temple named Sindhurajesvara. The word "Sindhurajesvara gives a hint that the said temple was erected by Paramar Sindhuraja, the ancestor of the Paramars of Kiradu. His name appears as a progenitor2 in the inscription of V.E. 1218 of Kiradu and the Jodhpur Museum copperplate of v.e. 1239. But it is difficult to find his relations with Vijayaraja and Visala. The inscription of V E. 1174 referred to above from the reign of Paramar Visala names Vakpatiraja, Chandana, Devaraja, Aparajita. Vijjala, Dharavarsa and Visala. But no name of Sindhuraja appears in the genealogy. A broken copper plate3 of V.E. 1165 from Bhiomal published by R.C. Agrawala belongs to the family of Visala. It mentions the name of Paramar Vijayaraja as a ruling prince of Jalore and the family of Visal had its sway over Sabara mandala (Distt. Jalore ). This proves that upto V.E. 1165 Vijayaraja was having his incessant possession over Jalore and the family of Visal was his subordinate. An inscription of v.e. 1168 edited by the Author, from the temple4 of Auwa (Distt. Pali records the name of Vijayaraja as a ruling prince. But it does not have any family indentity. Therefore, it is difficult to connect him with Paramar Vijayaraja of Jalore. Apparently Auwa formed part of the Cauban King. dom of Nadol. From the above discussion, it is clear that Vijayaraja held Jalore from V.E. 1160 to 1165 and the families of Mithin a pala and Visala served a3 his subordinates, Paramar Visala captured Jalore between V.E. 1165 to 1174 from Vijayaraja or his descendant. For Personal & Private Use Only

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Ram Vallabh Somani FOOTNOTES (1) Indian Antiquary Vol. LXII p 41 (2) ibid............ Vol. LXI pp 135-136 (3) saa 1165 a gre gre s it amete s sataifagt ARTHEIRAT sit faattis 5484417 wft ara fagtile anta...... (Sodh- Patrika Vol vir Nos 1-2 pp 6-8] (4) Published in Vaichariki (Bikaner) Vol. 1, No. 1 For Personal & Private Use Only

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CRITICAL SURVEY OF THE JAINA PURANAS Devi Prasad Mishra The Puranas are very important branch of the Indian Literature. The term 'Purana' literally means that which is old or ancient, but in the technical sense it means a class of literature. In the Vedic literature, we come across, for the first time, with such term like 'Itihas' and 'Purana'.1 Most probably these two terms relate to the stories and parables contained in the Vedas themselves. The Puranas must be works of many ris who bad a very high reverence to the Vedic literature. The traditional Puranas were compiled to explain, illustrate and amplify the tradition of the Vedas. Thus origin and development of the Puranas may be traced in the Upakhyanas, Itivrttas, Kalpas and finally Gathas of the Vedic literature. Since the Vedas were not accessible to all and, the Puranas were written with the object of popularizing the truths taught in the Vedas among the illeterate and ignorant masses. The Jaina tradition as recorded by the Jaina authors (Acaryas), In the Mahapurana, gives credit for the origin of the Jaina Puranas to Raabhadeva, the first Jaina Thirthankara. Then this tradition continued through the thirthankara, Bharat, Ajitanatha, and Ganadhara Gautama, Srenika, Sudharmacarya, and Jambuswami etc.2 The two categories of the Puranas, viz., the Puranas, and the Maha-Puranas are known to the Jainas. The Paranas contain the description of one Salakapurusa only, where as the chief characteristics of the Mahapuranas are, that they deal the life & achievements of more than one Salakapurusa from amongst the sixty-three Salakapurusas. The earliest reference about the origins of the Jaina Puranas, is found in Sthananga-sutra which contains some episodes about the life of AdiNatha. The tradition is that Acarya Hemacandra and others (of the Svetambara Sect) have written Trisastisalakapurusacarita, and other works on the basis of the above mentioned work. In the Digambara tradition, the earlier version is found in the Prakrit work, named Tiloyapannatti and in the Svayambhustotra of Swami Samanta Bhadra. These works contain the 1. Rgveda 3.5.49, 3.58.6, 10.130.6, 9.99.4. Atharvaveda 11.7.27, 11.8.7; Gopatha Brahmana 1.2.10. 1.1,10. 2. Mahapurana, 1.183-201, 2.97, For Personal & Private Use Only

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40 Devi Prasad Mishra ally . life and teachings of twenty four thirthankaras, 12 cakravartins, 9 Naraya. nas, 9 Pratinarayanas and 9 Balabhadras. On the basis of this sourcematerial various principal (maha) Puranas and secondary (upa) Puranas were composed and compiled from time to time. In the origin and deve. lopment of the Jaina Puranas, the political, social, cultural and religious conditions have played a very important role. These Puranas are usually placed in the post Gupla period. After the death of Skandagupta (C. 455- 467 A.D.) the Gupta Empire was definitely on the wane. The Post-Gupta period is one of the most eventful epochs in the ancals of Northern India. For the large part, there was no paramount sovereign and the country was paracelled out amongst a number of warring states. It is the story of their rise and fall wbich constitute the history of the age. The social structure was caste-ridden and very complex. The society was fragmented into differeat castes and sub-castes. The masses and even the enlightened. people have great faith in magico-religious rituals and practices. The religious fabric of the society was also not an exception to the above conditions. The Gupta period is regarded as the 'Golden Ago! of the Sans. krit literature. The Ramayana, Mahabharata, the Puranas and the Dharmasastras were given final sbape in this period. Kalidas, Bharavi, Magha, Bhavabhuti, Bana etc. were enriching the Sanskrit literature by their classical style (Ritibodha Saili). The Gupta period is often taken to the rennaissance period of Brah. manism. The concept of incarnation of the Lord Visnu, their adoption and submission had become the main charac eristic feature of it. The Puranas had relegated the Vedas to a secondary position. The Ramayana and the Mahabbarata were more popular among the masses. The finish. ing touches were being given to the traditional Puranas. Mutual respect and syneretic tendencies were the marked features of the main religiors of the period. The Buddhists and the Jains were being discouraged by the traditional Puranas. The traditional Paranas were trying to assimilate Buddhism by claiming Buddha as one of the incarnations of Visnu. Through the doctrine of illusion (maya) Buddhism has almost been assimilated into the fold of the traditional Puranic religious dogma through the story of Mayamaba.1 Visn 1 Purana also gives the similar account about the Jains. Z 1. Roy. S. N. (i) Pauranika Dharma Aur Samaja, Alld., 1968, p. 35. 384 387, (ii) Historical and Cultural Studies in the Puranas, Alld., 1978, p. 247-261. 2. H. H. Wilson-The Visnu Purana-A System of Hindu Mythology and Traditions. Calcutta 1961 p, 133, 270-271. For Personal & Private Use Only

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Critieal Survey of the Jaina Puranas In the first six chapters of v th canto of the Bhagavata Purana ne come across with the story of Rsabhadeva, bis penances etc. This story has a very close similarity in its main outline with the story of Rsabhadeva found in the Jaina Puranas. This is a matter of thorough study, examination and investigatior, whether discouragment by the traditional Puranas has any thing to do with the origin and development of the Jaina Puranas. In the present state of our knowledge, no definite answer can be given. Actually speaking the Buddhism had never tried to write Puranas or to popularise them among the masses because their religious activities were not mainly confined to India. On the other hand, the main centre of the activities of the Jainism was Iodia alope. To make it more popular among the masses of Jainas had to compose such tex's The language of the Jaina literature was primarily the Prakrit, but Sanskrit was not altogether sbudned. The Jainas were not averse to the popular feelings and exigencies of the time. They have accepted Sanskrit as one of the languages. The Ramayana and the Mababbarata are generally known as the national epics of India. The story of Rama and many of the episodes of the Mahabharata are stock-subjects which have influerced even the life and literature of the Jainas. The Jainas not only borrowed the themes and episodes of the Great Epics, but also some of the names of the traditional Puranas, eg. the Padma-Purana and the Mahapuranas. This class of literature is generally known as Puranas arcong the Digambaras and as *Caritas' (Caritra) among the Svetambaras, The traditional principal Puranas are only eighteen in number, whereas the Jaina Puranas have not such a fixed number. On the basis of the subject and theme the Jaina Puranas may be divided into the following four categories 1 : (a) The Puranas based on the Ramayana. (b) The Puranas based on the Mahabharata. (c) The Puranas dealing with the theme of trisastisalakapurusa caritas. .. Sahitya Ka BIhad Itihas, Vol. VI, 1. Chaudhary, Gulab Chandra - Jain Varanasi, 1973, p. 33. Sambodhi XI 6 For Personal & Private Use Only

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Devi Prasad Mishra (d) Indepeod-nt Puranis on the trisasti-salaka purusas. (A) On the theme of Ramayana The earliest Jaioa Putani, based on the theme of the Ramayana is Paumcariyam of Vimala:uri in the Prakrit. Yocobi had placed it in the 3rd century AD. bit most of the scholars had dated it 530 V. S., i. e. 472-7; A.D. It deals with the Sveta mbaras, the Digambaras, and the Yapaniyas, all the main sects of the Jainism. It relates the story of Padma (Rama) which has a very striking similiarity with the story of Rama found in the Rama ana of Valmiki. Jainacarya Ravisena had composed bis Padma-Parana in Sanskrit in 677 A D. on the basis of the Paumacariyam This story about Rama is also found in Paumacariu of Svayambhu in Apabhramsa, Mahapu'ana of Jinasena-Gunabhadra in' Sanskrit, in Mabapurana by Puspadaota in Apabhramsa, and finally in Tris astisalakapurusacarita of Hemacandra in Sanskrit. The Padma-Purana of Ravisena (677 A. D.) in Sanskrit, closely follows the work of Vimala-Suri. Poet Svayambbu rendered it into apa. bhramsa. On the basis of Padma-Puranas the following Puranas have composed (1) The Puranas Serial No. The title of the work Author Date 1. Raidhu Jipadasa 15-16th C.A.D. 16th C.A.D. Padma-Putana (Apabbramsa) Padma-Purana (Ramadeva Purana) Padma-Purana Padma-Purana (Rama Purana) Padma-Purana V.S. 1656 V.S. 1669 Somadeva Dharma-Kirti Bhattaraka Candrakirti Candrasagara Sri Candra 17th C.A.D. 6. Padma-Purana 7. Padma-Purana (ii) The Caritas or Caritras Sitacarita Rama-Laksmana Carita Padma Mahakavya Ramacaritra Padma-Purana Panjika Bhuvanatunga Suri Bhuvanatunga Suri Subha Vardhanagani Padma-Nath Prabhacandra or Sri Candra For Personal & Private Use Only

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Critical Survey of the Jaina Puranas (Unpublished) Sitacaritra Sitacaritra Sitacaritra Sitacaritra santisuri Brahma-Ne midatta Amaradasa B. On the theme of Mahabharata Hariva msa-purana by Jinasenacarya is the earliest Jaida-purana on the subject of Mababharata. This Jinasenacarya is different from the Jinasenacarya, the author of Adipurana. The date of its cc mposition is Saka Era 703 (783A.D). On the basis of Harivamsa Purana a number of Puranas and Caritakavyas have been composed from time to time. (i) The Puranas Serial No. : Title Author Date 1. Harivamsa-Purana (Apabbramsa) (Apabhraisa) (,,) Yasahkirti 1507 V.S. Jayananda Sakalakirti 1520 V.S. Srutkirti 1552 V.S. Raidhu 15-16th C.A.D. Ramacandra VS 1360 Dharmakilti V.S. 1671 Jayasagara Mangarasa ---- Sribbusana V.S. 1675 Jayananda Svayambhudeva - - - Caturmukhadeva - (untraced) Yasahkirti 1.97 V.S. Kavi Rawacandra V.S. 1560 Subhacandra V.S. 1608 Vadicandra V.S. 1654 Sribhusana. V S. 1657 (Apabbrassa) (Apabbramsa) 13. Pandava-purani 16. 17. 18. : (ii) Caritas or Caritras 1. Pandavacarita Devabhadra uri VS. 1270 For Personal & Private Use Only

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Devi Prasad Mishra 2. Pandavacarita Devavijay agaai V.S. 1660 3. ,,(Harivamsa Purana) Subhavard banagaai --- 4. (Laghu - Pandava Carita) Unknown C. Puranas based on Trisastisalakapurusa Some of the Jaisa-Puranas have as their subject matter the life of trisasti-salaka-purusa (Sixtythree great men). These are, the twenty-four Tirthankaras, twelve Cakravartins, nine Balabhadras, nine Narayanas and nine prati-Narayanas. The Maha Purana is the earliest of this kind in Sanskrit. The first part of it by Jinasena, is called Adipurana, which ends with pir vana of Adinatha (Rsabhanath), the first Tirthamlara. The second part, called Uttara Purana by Ginabhadre, narrates the lives of the remaining twenty three Tirihankaras and the rest o the Salaka Purusas. Tte precise date of the composition of the Mabajviana is not koowo. But on the basis of internal evidence the Adipurana may be placed in the nineth and the Uttara-Purana in the tenth Century A.D. On the basis of Mahapurana, the following works have been composed: (i) The Puranas Serial No. Title Author Date Muni Mallisena S.E.969 1. Mahapurana (Trisasti Mahapurana) 2. Mahapurana 3. Puranasara V.S. 1080 Puspadanta Sricandra Unknown Sakalakirti Damapandi Puranasara Samgraba 7. 8. 9. 10. 11. Trisasti Salaka-Purusacarita Trisastismrtisastra Adipurana Uttarapurana Adipurana (Kannada) Hema Cardra Asadhara Sakalakiri C11-13th Century A.D. V.S. 1216-1218 V. S. 1292 V. S. 1520 Kavi Pamp Bhattaraka Candra Kirti c. 17th century For Personal & Private Use Only

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Critical Survey of the Jaina Puranas Serial No. Date 13. Title Auther Karnamota Purani Kesavasena & Candraprabha Laghu-Mahapuiana OR Candramuni Trisastisa'aka mabapurana C. 17th century -- -- --- (ii) The Caritas or Caritras 1. Trisastismotisastra Ragamallabhyudaya V. S. 1292 Asadhara Upadhyaya Padmasundara Vimalamati (Silacarya) Unknown Bhadresvarasuri - - - - V. S. 925 Cauappanna Maha. purisacariya V. S. 1290 V. S. 1248 Kabavali Trisastisalaka Purusa Carita V. S. 1229 Hema Candra Vimala:uri Vajrasena Amaracandrasuri C. 1238 A.D. 11. Caturvimsatijioendra Samksipta- Caritani Mabapurusa Carita Laghu-trisasti. Salaka Purusa Carita Laghu Trisasti Trisastisalakapancasika Trisasti-salaka. Purusa Vicara. Merutunga Meghavijaya Upadhyaya Somaprabha Disciple of Kalyanavijaya C. 1306 A.D. 18th C.A.D. 12. 13. 14. Unknown D. Independent puranas on the Trisastisalakapurusa In Sanskrit, Prakrit and Apabhramba, a large number of works have been composed right from circa 10th century A.D. down to the eighteenth Century A.D. However, maximum number of such works have been written between 12th and 13th centuries A.D. Tirthankara santi-Nath tops the list. The next in order come Nemi Nath, and Parsvapath, the 22nd and 23rd Tirthankaras respectively. In the third place, we may place Rsabha Nath, Candraprabha and Mahavira. It is not possible to mention all there works, because they are in such a large number. The more important of these works are - For Personal & Private Use Only

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46 Devi Prasad Mishra Serial No. Title Author Date 1. Vardhamana Purana 3rd C. Jinasena (Not available) Poet Asaga 1016 C.A.D. C. 910 A.D. Padmakirti C. 999 A.D. Santi Nath Purana Mahavira Purana Parsva Purana (Apabhramsa) Camanda Purana (Kannada) Parsva Purana (Apabbra mia) Camunda Raya . E, 980 6. Poet Raidhu 7. Parsava Natha Puana Bhattaraka Sribhusana 8. Vadicandra 9. Araotapatba purana Sri Jandacarya 10. Mallinatha Purana Bbattaraka Sakalakirti 11. Jaikumara Purana Br. Kamaiaja 12. Nemitatba Pujana Br. Nemidatta 13. Karnamota Purana Kesava Sena 14. Padmanami Porana Bh attaraka Subha Candra 19. Ajita Purana Aruna gani 16. Candraprabha Purana Poet Asa Deva 17. Dharmapath Purana (Kannada) Bahubali . 18. Mallinatha Purani ( - ) Nagacandra 19. Munisuvrata Purana Brahmakrsnadasa Bhattaraka Surendrakirti 21. Vagratha Samgraha Purana Paramesthi 22. $11 Purana Bhattaraka Gunabhadra C. 15-1616 Century AD. c. 15th Century AD. C. 1668 A.D. V.S 1209 c. 15th C. A.D. C. 1555 A. D. C. 1575 A.D. C. 1638 A D. c. 17th Century AD. V. S 1716 For Personal & Private Use Only

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Critical Survey of the Jaina Puranas Chronology of the Ja na Puranis All the Jaina Puranas were not composed at a time. On the basis of th: iateraal teu imony of Puranas and the external evidence, the Puranas written in Prakrit language may be dated from 6th to 15th centuries A.D. The Puranas composed in Sar skrit may be placed between 7th to 8th Centuries. The Puranas which were composed in Arabbramsa can be assigned a period between 10th to 16th centurics In short, it may be said that the composition of ibe Jaina Puranas began about 6th century A. D. and the tradition continued up to the 181 h century AD. The Principal Jaina Puranas composed in Sanskrit are Padma Purana, Harivamsa Purana and Mahapusana (i. e. Adipurana and Uttara-purana). These Sanskrit Puranas were composed between circit 7th century to circa 10th century A.D. Salient Features of the Jaina Paranas : The Jaina Puranas may be called the encyclopaedia of Jainism. They anlighten us on almost every topic regarding religion, philosophy, morals, rituals and the socio economic conditions, etc. The introduction of numerous subsidiary storier, to illustra!e one point, or the other, is one of the characteristic features of these puranas The authors of the Jaina Puranas have cultivated all the languages of their times and places. Prakrit, Sanskrit and Apabbramsa are the main languages patronised by them. Even the Dravidian languages of the ecuth Irdia were not neglected. The earliest literature in Kannada and other south Icdian languages have been developed and enriched ty ite Jaina contributions. The Jaira Puran s usually have Eight characteristics: Loka (Universe), Desa (place), Nagar (City), Rajya (Kingdom) Tirtha (Places of pilgrimage), Dana (Liberality), Tapa (penance), Gatis and Phala (Reward). Narra. tive and descriptive elemects are also not wanting in these works. The coctents are quite varied and cover a vide targe of human kacwledge conceived in those days. There is a good deal of valuable information ab. out contemporary thought and social history including biographical details of Icthamkaras and their contemporaries. It is clear that the Jaina puranas are a vital portion of the scriptures of the Jaipas For Personal & Private Use Only

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A NOTE ON BRICK ARCHITECTURE T.N. Mishra Wood, brick and stone are the main building materials used in Ancient Indian Architecture1. Wood being perishable very little of ancient wooden architecture has survived. Examples of only brick and stone have cone down to us3. Even a casual survey of these Indian architectural remains shows the precedence of brick over stone as building material, both with regard to antiquity and the extent and magnitude of the building activity. While the brick has been used both by the rich and poor, the stone may comparatively be regarded as the material of the king and rich. The ancient Indian civilization reached its higher stages of development primarily through cultivation, which was possible only in the alluival regions of the rivers where stone was more or less non-existent. Therefore, where the affluence of the society came to be expressed through the architecture it was the brick that played the major role, the use of the other materials as seen in the surviving architectural remains being very scare. A reading through the survey reports Sir Alexander Cunni ngham leaves the impression that the whole of Northern India was covered with building built of bricks, every ancient site exhibited remains of brick structures. The predominance of bricks contitues even in the const ruction of religious adifices, a history of which is traceable since very long A larger number of the stupas, chaitya halls, monasteries as well as temples were built with brick as the main building material 5, though in subsequent period religious buildings built under the royal patronage started a new tradition of stone architecture. But the brick architecture was bound to have its impress on the lithic monuments. In spite of the gradual increase in the popularity of stone as a building material brick continued to be used side by side perhaps more popularly as medium of construction apparently because of its being more economic, manageable and easily available. 6 However, of the innumerable monuments built in bricks very few have survived as due to handiness and reusabilities of the bricks, buildings built of the brick have been systematically and throughly revaged than those in store, and the ravage is still going or. The recorded sites still preserve such material which is likely to prove of great help and significarce for reconstructing a scientific history of ancient Indian briek architecture. For Personal & Private Use Only

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A note on brick archtecture Innovation in the art of architecture also influenced the construction and shape of the brick architecture. Architectural application of brick hand are now become a fashion in temple architecture in North India for examples the temples of Bhitargaon and Seerpur can be reffered. Thus the possibilities of presentation for entire artistic expressions were used through the medium of carved brick, brick hand and brick terracottas. Surely, I would not hesitate to say this, the sculptors had the bricks as an efficient means of construction and the architect used them abundantly. They have properly utilized the bricks from the stand-point of sculpture and decoration. A survey of archaeological sites and existing brick-edifices prompt us to conclude that brick had been equally preferred and used by the archi tect in abundance in Indian sub-continent. References: 49 1. Bridget and Raymond Allchin, The Birth of Indian Civilization, Great Britain, 1968; p. 242 2. Maba Nirvana Tantra, 13, 24-25; Panini Astadhyay, 5-1-16, V.S. Agrawala, Bharattya-Kala, 2nd Edi., Varanasi, 1977. pp. 100-103. 3. Benjamin Rowland, The Art and Architecture of India, Great Britain, 1953, pp. 13, 45 & 51, Bridget and Raymond Allchin, p. 237; A.S.I.A. R., 1911-12, p. 33 and onward, A.S.I.A.R., 1913-14, p. 4. 4. A.SIA.R., 1903-4, p. 15, A.S.I.A.R., 1913-14, p. 4, 4.S.I. Cricle Report North Western Provinces and Avadh, 1899, p. 8; Benjamin Rowland, p. 13. 5. A.S.I.A.R., 1902-4, p. 15, A.S.I.A.R.. 1913-14, p. 4, G.R. Sharma, Excavation at Koshambi, Allahabad, 1960, p. 41 and onward; A.S.I.A.R. 1905-6; p. 120; J. S. Burgess, Architectural Survey of South India, Varanasi, 1970 (Rep) p. 15, Report of the A.S. of Southern India, Vol. 15, pp. 2 and 7; Ancient India, No. 4, p. 187; A.S.I. Frontier Circle Report, 1910-11, p. 15; M.A S.I, No. 54, p. 1; Ancient India, No. 16, pp. 77 & 78: I.A R.. 115-59, p. 6; A.S.I.A.R., 1908-9, p. 6; A.S.I.A.R. (Cun), Vol. II, p. 40, A.S.I.A R., 1909-10, pp. 11 & 12; A.S.I.A.R. Eastern Circle, 1908-9, p. 32, A S.I A.R., 1909-10, p. 85; Prince of Wales Museum Bulletin, No. 7, 1959-62, p. ; M.A.S.I., No. 55, p. 1 and onward; M.A.A. Kadir, A Guide to Paharpur, Bangladesh, 1975, p. 38; A.S.I.A.R, 1928-29, p 92; A.S.I. Eastern Circle Annual Report, 1920-21; p. 25, Sambodhi XI-7 For Personal & Private Use Only

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T. N. Mishra 6. Parcy Brow 1, Indian Architecture (Hindu and Buddhist Periods), Bom bay) 1959, p. 42, R.N. Mehta and S.N. Choudhary, Excavation at Devenimore, Baroda, 1966, p. 33; M.A.S.I., No. 40, p. 117; H. Reed, Rang Mahal, Swiden, 1959, pp. 86; Daya Ram Sabani, Catalogue of the Museum of Archaeology at Sarnath, Calcutta, 1914, p. 300; V.S. Agarwala, Panini Kalin Bharat-varsa, Varanasi, 1969, p. 153; Prince of Wales Museum Bulletin, No. 7, 1959-62, p. 6, A.S.I.A.R., 1906-7, 5; A.S.I.A.R., 1909-10, p. 11. 7. A.S.I.A.R., 1908-9, p. 5 and opward, for detail study, see-Mahammed Zahir, The Temple of Bhitargaon, Delhi 1981, A.S.I.A.R., 1909-10, p. 83 and onward, Prince of Wales Museum Bulletin No. 7, A.S.I.A.R. , 1909-10, p. 11 aod onward, M.A.S.I., No. 55, p. 1 and onward, for detail study of Paharpur temple, O.C. Ganguly, Indian Terracotta Art, Calcutta, 1959 (see notes on the plates also). 8. A.S.I.A.R , 1908-9, p. 5; Indian Museum Bulletin, 1970, p. 27; A.S.Z. A.R., 1909-10, 11 & 83, Prince of Wales Museum Bulletin, No. 7, p. 6 ; O.C. Ganguly, Indian Terracotta Art, Calcutta, 1959 (aotes on the plates) p. II. M.A.S.T., No. 55, pp. 1 & onward, M.A.A. Kadir, A Guide to Paharpur, Bangladesh, 1975; A.S.I.A.R. Eastern Circle, 1920-21, p. 25, A.S.I.A.R., 1928-29, p. 92. Abbreviations A.SI. Archaeological Survey of India. A'SIAR: (Cun) Archacological Survey of India (Cunningham) Annual Report. A.S'IAR Archaeological Survey of India Annual Roport. IAR: Indian Arehaeology A Review. . A.S . Monirs 12 bogical Survey of India, For Personal & Private Use Only

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A NOTE ON THE MATRKA FIGURES FROM THE EME DAKSINA MURTI TEMPLE, BARODA* Maruti Nandan Prasad Tiwari and Kamal Giri The EME Daskina Murti temple is a recently built Siva temple, situated in the cantonment area of Barcda, Gujarat. The enclosure wall of the temple preserves in open air a good number of sculptures, tanging in date from ca. seventh to the 13th century A.D. The bulk of sculptures include the Matrkas, Siva as Bbairava, alingana murti of Siva, Visnu, Surya, Brahama, Mabisamardini and Navagrabas. Of all these, the Matrka figures are of special iconographic sigoificarce and deserve detailed study for two Coasons. First, the Matnkas are here carved as independent sculptures which was not very common. Second, these figures include some such Matrkas, which are otherwise not known through sculptures; they are Agneyl and Vayavi The other Matrkas are Vaisnavi, Brahamani, Mabesvain, Indrani, Kaumari, Varabi and Camunda. These figures are spread over from. ca. eighth to the 12th century A.D. In the present paper, we propose to make an, iconographic study of these Matnka figures. 1 The Matrkas, representing the Saktis or the endowed energies of different Brahmanical deities, were held in high veneration from the remote past2. They are usually seven or eight and even more are enurrerated in ancient texts. Of these, the most popular ones assimilated in the group of sapta-or-asta-Matkas are: Brabmani (or Brahmi), Vaisnavi, Mabesvartcor Raudri), Kaumani (or Karttiki), Varabi, Indiani, (or Aindri er Mahendi), Camunda, Candika and Narasimbi.3 Varahamibira in his Brbatsambita does not speak of the number and names of the Matrkas, but simply says that the Divine-Mothers should be made with the forms and the cognigances of the individual gods whom they are named after 4. Utpala while commenting on this passage gives the names of as many as eleven Matnkas, which at once suggests that side by side with the common concept about the stereotyped number of the Saktis of seven or eight gods, there also existed a belief about the Saktis of other gods and their aspects.5 * In connection with research projects, financed by the Indian Council of Historical Research, New Delhi, the authors recently visited the EME Dakpina Murti Temple at Baroda and personally studied the sculptural data. For Personal & Private Use Only

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M. N. P. Tiwari and K. Giri The Matnka figures are usually rendered in the group of seven or cight on a rectangular slab and are without much variations. The earliest figures belong to the Kusana period. The figures of the Kusana period do not exhibit any distinctive symbols and vehicles and are usually flanked by two Ayudha-purusas. The distioguishing emblems and the vaharas appear in the Gupta period. The Matrkas are accompanied by babies, an invariable feature of Matrka figures in all the periods. The rendering of babies, suggesting the Mother aspect of the goddesses, starts right from the Kusana period. However, the figures without babies are also not unknown. These Matskas usually flanked by Virabhadra and Gan si, bear close resemblance in regard to the attributes and the vahanas with their male counterparts.6 We may classify the Matrka figures from the EME Temple into two groups; the first with babies and the other without them. These figures, decked with usual ornaments, such as, necklaces, earpendants, armlets, bracelets and mukutas etc., are protrayed either as starding or situng with their respective conveyances. Barring one example, the Malpkas are always four-armed. We now proceed to treat of the iconographic features of each of the Matrkas. Vaissavi : Vaissavi, the female counterpart of Visnu, has been represented by two sculptures. In both the instances, the four-armed goddess wears a kiritamukuta and stands on a pedastal with garuda vahana, carved in human form. The first figure, assignable to ca. eighth century A.D. bears a disc, a mace, a disc and a conch with a child, clasped in lap.7 The second figure of ca. 12th century A.D. holds the varadaksa, a disc, a mace and a conch in her hands. The baby is conspicuous by its absence bere. The figures of Vaisnavi, however, correspond to the textual injunctions. 8 Mahesvari : Mahesvari, the Sakti of Siva, has also been represented by two sculptures. In both the cases, datable to ca. 11th-12h century A.D., the four. armed goddess stands on a pedestal with the bull vahana. In one example, she shows a water-vessel, a trisala, a baby and the varada-mudra; while in the other, she carries a trisula, a spiral lotus and a snake in three hands and the fourth one is restiog on the forehead of the bull mount. The baby, however, is rendered as standing to the left of the goddess. The Mahesvari figures follow the iconographic prescriptions so far as the distinguishing oblems and vahana are concerned.9 For Personal & Private Use Only

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A Note on Matnka-figures Bramhani : Brahmani, the Sakti of Brahma, bas also been represented by two scuIptures. In both the cases, three-faced and four-armed Brabmani is decked with jata-mukuta. She is shown as standing on a pedastal with hamsa vahana. The first figure, datable to ca. eighth century A. D., shows the goddess with a rosary, a sruk, a padma-nala and a kamandalu. The child is sitting at her right flank. In the second figure, assignable to ca. 12th century AD, the goddess is provided with the varadaksa, a sruk add a lotus in three hands, while with the remaining one she supports a baby and also holds a water vessel. The figures. However, conform with the tradition as envisaged by the texts. 10 Indrani : ladrani, the female counterpart of Inora, is also represented by two sculptures. In both the instances, the four-armed goddess stands on a pedestal with an elephant mount, carved nearby. The goddess holds the varada-mudra (or a lotus bud), a vajra and a goad in three hands, while with the remaining one she supports a child sitting in the lap. However, in one case the child is shown as standing to her left and the goddess is holding the fioger of the child. Of the two figures, the one with the child standing to the left of the goddess is datable to ca. eighth-ninth ceutury A.D. while the other one is avigoable to ca. 11th century A.D. These figures agree with the iconographic features enunciated in the texts. 11 Kaumari ; Kaumari, the Sankti of Kumara or Karttikeya, is represented by one sculpture, datable to ca. 12th century A.D. The goddess possesses two arms and stands on a pedestal. She bears a fly whisk and a Kukkuta in her two hands. Her conveyance peacock and the baby are conspicuous by their absence. However, the absesce of sula (spear) in hand and peacock as conveyance are surprising but the Kukkuta in hand is sufficient to identify the goddess with Kaumall as the rendering of Kukkuta is very much in consodance with the literary tradition, 12 also exemplified by the sculptures.13 Varabi : Varabi, the female counterpart of one of the incarnatory forms of Visnu, is represented by two sculptures, datable to ca, 11th-12th century A.D. In both the instances, the four-arme goddess staods on a pedestal. The first figure is boar-faced and a boar, meant for a vehicle, is also carved at her left flank. The goddess shows tbe varada-mudra, a mace, a child (in lap) For Personal & Private Use Only

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54 M. N. P. Tiwari and K. Giri and a mace. The second figure does not possess boar face and the vahand is also conspicuous by its absence. She holds a mace, Bhudevi and a disc in her three surviving hands. It may be noted that our Varabi figures show a complete departure from the textual prescriptions in regard to the rendering of boar (as mount) and Bhudevi (in hand). In dhyanas, she is conceived as boar-faced and riding either cn a mahisa or an elephant and holding danda, khadga, khelaka, pasa and abhaya ard varada poses.14 The Rapamandana however, envisages a mace and a disc in her hands 15 Thus it appears that the mode of representing Varaha is followed in the case. of our Varaht figures. Camunda : Camunda is represented by one sculpture, assignable to ca. 12th-century AD. The four-armed, goddess with sunken eyes, skeleton form and frightful appea: ance, is standing on a corpse(preta) lying under her feet. The four-armed goddess bears the varada-mudra, a trident. a damara and a, garland of human skulls. The baby is absent h re which has been a usual practice in case of Camunda. The rationale behind not associating child with Camunda was perhaps that a Matrka or Divine Mother can never be visualized it terrific form. In our traditional concept Mother bas to be pacific and benign in appearance. As against the available iconogr aphic prescriptions,16 the rendering of trifula and damaru in, our figure atonce suggests her close resemblance with Siva. Vayavi: Vayavi, the Sakti of wind-god Vayu, is represented by one sculpture assignable to ca. ninth century A.D. The four-armed goddess stands on a pedestal with a deer, carved as conveyance. The goddess wears a hovering dupatta and carries a vajra and a pata in two hands while with the lower left she supports a baby sitting on the lap. However, one of her hands is broken off. It may be remarked here that the deer mount is the characteristic feature of her male counterpart Vayu.17 Agney1: Agney, the female counterpart of fire god Agni, is represented by a solitary sculpture. The four-armed Matrka, wearing a Karanda-mukuta, accompanied by a mesa, carved as her vehicle. It may be remembered that mesa happens to be the traditional mount of Agni. She bears the varada-mudra and a goad in two hands while with the third she supports a child, clasped in lap. Her remaining one hand, however, is hanging. For Personal & Private Use Only

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A-Note on Matrka-figures FOOT-NOTES We regret that we could not illustrate the figures since the area being of military importance, no one is allowed to take the photographs. The exact provenance of these figures are not known. But they are from different places in and around Baroda. 2 For details consult, Rao, T. A. Gopinatha, Elements of Hindu Iconography, vol. I, Pt. II, Varanasi, 1971 (Reprint). pp. 379-89; Banerjea, J. N., The Development of Hindu Iconography, Calcutta, 1956; pp. 503-09; Sahai, Bhagwant, Iconography of Minor Hindu and Buddhist Deities, Delhi, 1975, pp. 207-19. 3 brahmANI vaiSNavI rodrI vArAhI- nArasiMhikA / kaumArI cApi mAhendrI cAmuNDA caiva caNDikA // Skanda Purana-Kashi Khanda. 83.33. Also see, Brahmava ivarta Purana (Prakrtikhanda), 64.86-88. 4 mAtRgaNaH karttavyaH svanAmadevAnurUpakRtacihnaH / Brhatsamhita 57.56. brahmezaguhaviSNUnAM tathendrasya ca zaktayaH / zarIremyo viniSkramya tadrUpaizcaNDikAM yayuH // yasya, devasya yadrUpaM yathAbhUSaNavAhanam / tadvadeva hi tacchaktirasurAnyo mAyayau / / Devi-Mahatmya (of Markandeya Purana '8. 13-14. 5 Banerjea, J:N., op. cit., p. 504. 6 For details consult, Banerjea, J.N., op. cits pp. 503-09; Sahai, Bhagwant, op. cit. pp. 210-19. 7 The attributes here and afterwards are reckoned clockwise starting from the lower right hand. 8 tathaiva vaiSNavI zaktirgaruDopari saMsthitA / zai.khacakragadAzArgakhaDgahastAmyupAyayo / * Devi Mahatmya, 8.18; Rupamandana 5-66. 9 mAhezvarI vRSArUDhA nizUlabasdhAriNI / mahAdivalayA prAptA candrarekhAvibhUSaNA // Devi Mahatmya 8.16. mAhezvarI prakartavyA vRSabhAsanasaMsthitA / kapAlazUlakhaTvAGagavaradA ca catubhunA // Rupamandana 5.64. 10 haMsayuktavimAnAgre sAkSasUtrakamaNDaluH / AyAtA brahmaNaH zaktibrahmANI sAbhidhIyate // Den-Mahatmya 8.15. hasAkhdA prakarttavyA sAkSasUgakamaNDaluH / khuvaM ca pustaka batte Urdhvahastadvaye zubhA // Rupamandana 5.63, .. For Personal & Private Use Only

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55 M N. P. Tiwari and K. Giri 11 vajahastA tathagaindrI gajarAjopari sthitA / prAptA sahasranayanA yathA zakrastathaiva sA // Devi-Mahatm ya 8.21. indrANI vindrasadRzI vajrazUlagadAdharA / gajAsanagatA devI locanairbahubhivatA / / Rupamandana 5.69. 12 The Vis nudhar mottara and the Devi Purana prescribe peacock (as vahana) and the Kukkuta (in hand) as her chief distinguishing emblems. Consult, Rao, T.A. Gopinatha, op. cit., pp. 387-88. 13 Sahai Bhagwant, op. cit., p. 231. 14 kRSNavarNA tu vArAhI sUkarAsyA mhodrii| varadA daNDinI khaDgaM bibhratI dakSiNe sadA // kheTapAzAmayAnvAme saiva cApi lasadbhujA / Visnudharmottara (As quoted by T. A. Gopinatha Rao, op. cit., p. 150). 15 vArAhI tu pravakSyAmi mahiSoparisaMsthitAm / vArAha-virAha-] sahazI ghaNTAnAdA cAmaradhAriNI // gadAcakragadA[-dharA] tadavadAnavendravidhAtinI / Rupamandana 5. 67-68. 16 According to the Visnudharmottara Purana Camunda rides a preta (dead body) and holds a musala, a kavaca, a bana, an ankuta, akhadga, a khetaka, a pasa, a dhanusa, a danda and a parasu. Consult, Rao, T.A. Gopinatha op. cit., p. 386. 17. There existed a Vayu temple at Baroda which enshrined the figures of Vayu and Vayavi both. See, Sahai, Bhagwant, op. cit.. p. 57. Prof. Dr.R.N. Mehta of the department of Archaeology and Ancient History, M.S. University. Baroda, in course of personal talk, informed that above Vayu temple and its sculptures are of much later date. Dr. Mehta further informed that he has another figure of Vayavi in the departmental collections of the department of Archaeology and Ancient History, M. S. University of Baroda. For Personal & Private Use Only

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AVIDYA IN VEDANTA* E. A. Solomon 1. Avidya in Pre-Sankara Vedanta Right from the later stage of the composition of the Vedic hymns the monotheistic tendency had started not only taking roots but also fast developing with the result that in the Nasadiya sukta even the monistic tendency is quite evident and so also an attempt to describe the evolation of the world from one Ultimate Principle which defies description. The Upanisads, whatever their differences, can be said to uphold that there is one Ultimate Reality which is one without a secord, pure, uninatured, and beginningless and endless. There are two kinds of descriptions of it (i) as omniscient, omnipotent, sentient, self-luminous, self-dependent, having all attributes, the creator, sustainer and devourer of the world. He creates himself as everything (Sa atmanam sarvam akuruta); that is to say, in later terminology. He is the upadana karana and the nimitta karana of the world. (ii) The other set of thinkers define the Ultimate Reality as of the nature of Being, sentiency, Bliss, devoid of differentiation, and unmodified and devoid of all the attributes as are found in the mundane world, which could only be said to be 'not this, not this,' but is the Ultimate Absolute Reality. The Vedantins must have been confronted with the problem as to how the Ultimate Non-dual Principle could be pure and eternally unchanging and yet be the upadana (constituent or material cause) out of which everything evolved. The individual souls could, perhaps, be said to be the sentient Ultimate Principle conditioned or limited by the different adjuncts (upadhis), viz body, etc.; but earth, water, etc. and all the insentient things of the world would certainly have to be said to be the effects of, that is to say, different modifications or transformations of Brahman or Atman, the Supreme Principle, and there was sufficient proof for this in the Upanisads. Though some support could be found in many Upanisadic statements, if carried to the logical extreme, for the view that the phenomenal world is unreal (vacarambhanam vikaro namadheyam..., neti neti, neha nanasti kimcana, etc.), yet this view, there is reason to believe, did *Two university lectures delivered at L. D. Institute of Indology on 28-2-1984. Sambodhi XI-8 For Personal & Private Use Only

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58 E A. Solomon not sufficiently develop in Vedaatic circles till the time of the GaudapadaKarika and the Yogavasistha. Earlier, perhaps, the Vedaatic thinkers were struggling with some form of 'bhedabheda (Unity-in diversity) or Visistadvaita (Qualified Non-dualism) as can be seen from some references in Sankaracarya's commentaries (e. g. Brahmusutra-Sankara-Bhasya, II 1.14) and from what Ramanujacarya says about his Purvacaryas, Among the Buddhists, the Vijnanavadin: came forward to say that the external world need not be hypostatised merely to account for our know. ledge of it and for our empirical dealings. The fact that all this is possible in a dream and that there is 'sahopalambhu' or simultaneous awareness of cognitions and their objects, can vindicate our saying that the external world is nothing but our various conceptions appearing as if they were outside. This tendency of vijaana to differentiate and diversify itself as the object and its apprehension is due to an innate tendency or flaw, which was referred to by the terms 'abhutaparikalpa', vikalpa, vitathavikalpabhyasa-vasana, etc. The Suayavadins, and of course the Tattvopaplavavadins, attacked the same problem from a different angle. We try to know the things of the world on the strength of our means of knowledge or pramanas, but our conceptions or definitions of the pramanas, as also of the things of the world are faulty; the faults of atmafraya, anyonyafraya, etc. can be detected in each of the definitions that are prevalent, including the Buddhist ones. That is to say, each thing as we now it, is sapeksa; its conception is dependent on the conception of something else, and to it is devoid of its own nature, it is 'nihsvabhava'. We cannot vouchsafe for the existence of anything, not even of the vijnana of the Vijnapavadins and even Buddha as we understand him. The Madhyamikas or the Sunyavadins obviously did not, or could not affirm the existence of some Real Principle, though there is every reason to believe that they did not deny its Reality. Only it could not fall within the scope of any of the empirical means of proof. This stand of the Vijnanavadins and the Madhyamikas seems to have appealed to some of the Vedantins. So also the Buddhist view which regarded samavaya (inherence), dharma-dharmibhava, avayavavayavibhava, etc. as but mental constructions, the reality being the svalaksana, the thing in itself. The Vedaatias, as said above, were finding it difficult to accept the Ultimate Reality as eternally unchanging, pure and devoid of differentiation and at the same time to accept it as the cause that evolved in the form of the world with all its diversity. For Personal & Private Use Only

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Avidya in Vedanta 59 The Yogavasistha seems to have incorporated some of the views of the Vijnanavada and the Sunyavada of the Buddhists. According to the Yogavasistha, all bondage is due to the perceptible universe (drsya) and it is the main thesis of this work that it does not exist. The world never existed in the past, does not exist now, and will not exist hereafter. It had no beginning and so has no end. There is no production or destruction in any real sepse, 1 A little thought on the true nature of knowledge acd experience shows that there is a unity behind the multiplicity and diversity of worldly phenomena. Action and reaction between two things presuppose identity. Two things having nothing in common between them cannot be cause and effect, or subject and object. How can cit or the conscious self come into contact with something utterly different from it? The object of our koowledge must therefore be a modification of consciousness, that is to say, an ideation or 'kalpana. There is notbing except the one reality, consci. ousness, which is both the subject and the object and the relation between the two.2 The world of appearance with its categories of time, space, etc. is a manifestation of the mind (mano-vijimbhana), ao imaginary construction (kalpana) and the various descriptions of the order of creation, etc are meant for the gradual progress of the ordinary people in the direction of the ultimate truth. The Yogavasistha very plainly says that the phenomenal world is a buge dream within the mind. Everyone has his own universe. One dream merges into another, so the conviction regarding the reality of the external objects grows stronger and stronger. What and where the cit' or the mind imagines exists there. Whatever is seen in a dream is real at the time; the same is the case with the world. Hence there is no difference between dream-objects and the so-called exterpal objects from the supra-empirical point of view.3 vandhyAputra-vyomavane yathA na staH kadAcana / jagadAkhilaM dRzyaM tathA nAsti kadAcana / / na cotpannaM na ca dhvaMsi yat kilAdau na vidyate / grafa: legit att a1TTEZT $T $91 11 -Yogavasistha, 111. 11. 4-5. See Yv. III. 121. 37-38; Yv. VI b. 257, 13-17. pratyekameva yaccittaM tadevaMrUpazaktikam / 99% g afga: afafa F ur: ll -Yv. III. 40.29 jagad dIrghamahAsvapna: so'yamantaHsamusthitaH / svapnAt svapnAntara' yAnti kAzcit bhUtaparamparAH // tenopalambhaH kujyAdAvasau dRDhataraH sthitaH / yad yatra cid bhAvayati tat tatrAsau bhavatyalam // 491 Facasa 20 th acties Hyaa aa ! -Yy IV. 18. 47-19ab For Personal & Private Use Only

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60 E. A. Solomon And yet it cannot be denied that whereas the dream is a private experience, everyone has besides this a common waking experience which be regards as real. Vasistha explains this by saying that no mind perceives anything but its own ideas thus each mind imagines a universe by itself and for itself. It is only accidentally that one ideation-series or dreamseries corresponds to another and the corresponding things are taken as the very game and real. If several persons dream about the same thing or eveat it would be very difficult for them to say whether it was really a dream, and it is quite likely that they might take it as an event in actual life. This is exactly what is true of the waking experience. This explanation is from the subjectivistic point of view and does not satisfy the Indian mind. The Yoga-Vasistha itself transcends this and propounds a view which may be styled 'Monistic Idealism'. Even the jivas or individual souls or minds are not ultimately real. Hence the empirical objects of experiecce are really ideational constructions of one Manas-the Cosmic. Mind or Brahma. It is the Cosmic Mind that has imagined the world-idea. The world will continue as long as is keeps on imagining and will case to exist when it stops doing so. Then the Cosmic Mind of the nature of ideation will merge into the Absolute Reality which is of the nature of pure tranquillity (Santa, nirvanamatra) and does not suffer any change or transformation The imaginary world-appearance is known by many names-avidya (as it is sublated by vidya), samsyti (as it is spread far and wide), bandha (as it is the cause of bondage), maya (as it is unreal) and moha (as it is the cause of delusion), mahat (great, difficult to cross), and tamas (as it hides the real nature of the Ultimate Rea ity). It is also called citta, manas, and mala (impurity).1 It may be noted that the world-appearance is called avidya or moha, though it is both the effect and the cause of these. The terms Maya and Avidya are used synonymously as denoting an illusory appearance rather than its cause. The Yoga-Vasistha does not encourage the notion of causality even for purposes of explanation in the field of thought-construction, and hence such a use of the word "avid ya'. It is immaterial whether avidya signifies the world-appearance or the cosmic avidya which is its cause. (Tena jatam tato jatam itiyam racana giram, Sastrasamvyavaharartham na Rama paramarthatah. Yy. IV. 40. 17). Manas, buddhi ahamkara, citta, karma, kalpana, sarsyti, va sana, vidya prayatna, smoti, indriya, praksti, maya, kriya are but names emphasising 1. See Yv. III. 1. 19-20; III. 4. 47. For Personal & Private Use Only

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Avidya in Vedanta 61 different aspects of the functioning of manas or citta.1 Rama is asked to give up vasana ia the form of aham' or ego. It is a mental power which is the source of all ideas of good and bad and it is due to it that the world of appearance is falsely imagined. This is what is called avidya which when not copprehended spreads the unreal world. This avidya, once it is detected and comprehended does not result in any illusory appearance. This is interesting Bothavidya (mala, maya) and vidya have been given as synonyms of manas in its different aspects. Hence, manas as vidya destroys itself as avidya and as presenfjog diverse functions. Manas alone can destroy itself. The mind compreherds itself only for its own destruction.2 Everything in the world is just manas. When this manas is dissolved the world of appearacce disappears and moksa is attained. Activity or vibration is the very nature of manas. The vibratory poyer or the creative impulse (spandasakti) of the mind brings about the world-appearance. The mind which is devoid of the vibratory power is no longer mind, and this is what is called moksa. The vibratory nature of the mind is called avidya or vasana (root-inclination). This avidya should be destroyed for the atta. inment of liberation. The mind alone can curb or destroy the mind. Can 2. - 1. Yv. III. 96. 13-14. atastva vAsanAM rAma mithryavAhamiti sthitAm / tyaja pakSIzvaro vyomagamanoska IvANDakam // 26 // eSA hi mAnasI zaktiriSTAniSTanibandhinI / anayaiva mudhA bhrAntyA svapnavat parikalpate // 27 // . - avidyaiSA durantaiSA duHkhAyaiSA vivardhate / aparijJAyamAnaiSA tanotIdamasanmayam // 28 // avidyA saMprabuddhA hi vitatA'narthadurgamA / . nAnendrajAlakalanAM zambaro hema varSati // 34 // svavinAzakriyAM caitAM mana eva karotyalam / mano yAtmavadhaM nAma nATakaM parinRtyati // 35 / / AsmAnamIkSate cetaH svavinAzAya kevalam / na hi jAnAti durbuddhivinAza pratyupasthitam ! // 36 // svayaM saMkalpamAtreNa svavinAzadRzAmidam / manaH saMsAdhayatyAzu klezo nAtropayujyate // 37 // svasaMkalpavikalpAMza vivekopahitaM manaH / saMtyajya rUpamAbhogi karotyAtmAvabodhanam // 39 // -Yv. III. 102, 26-28; 34-38 For Personal & Private Use Only

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62 E A. Solomon one who is not a kicg ever check or defeat a king 21 This vasana has falsely arisen like the unreal appear arce of so mcons and so can be dispelled. Avidya appears as if it were existent in fools. As the name itself sigcifies, it is non-existent, and carnot possibly be there in the enlightened. Avidya is bighly Celusive; it makes the non-exis. tent existent and vice-versa. As in dreams, state of copfusion and the like, the character of cloth is seen at times in a jar, what is far appears to be near and so on; so anything is possible in the case of avidya. Whatever the mind encircled ia vasana thinks about and calls into imaginary existence it experiences in that very manner; but this latter is neither sat (exis. tent) nor asat (non-existent).2 This avidya disappears at the dawn of the knowledge of the self as dew disappears immediately on there being the first touch of the rays of the sun. When this avidya apprehends the Supreme, it itself perishes like shade wisbing to enjoy sunlight. Avidya is coihing else but desire (icchamatram) and its destruction is moksa which is attained by keeping away from desires.3 The bondage in the form of manas is impure, non-existent, delusive frightful. It is called maya or avidya or bhavana (creative imagination). The wine deluding the world is known as avidya; infatuated by it, people do not attain bliss. Avidya arises by iiself out of samkalpa (will, desire) like a tree in the sky; by desisting from it the pure state is attained 4 Mind (manas) is an imaginary relationship between (cit-sakti) and the creative impulse (spanda-sakti); it is imaginary and is termed false 1. Yv. III, 112.5-19. eSA hi vAsanA nityamasatyaiva yadutthitA / dvicandrAntivat tena tyaktu rAghava yujyate // 1 // avidyA vidyamAneva naSTaprazeSu vidyate / nAmaivA'GagIkRtAbhAvAt samyakaprajJeSu sA kutaH // 2 // -Yv. III. 113. 1-2 ityeva rAghavA'vidyA mahatI bhramadAyinI / asat sattAM nayatyAzu saccA'sattAM nayatyalam // 10 // sarvametadavidyAyAM saMbhavatyeva rAghava / ghaTeSu paTatA dRSTA svapnasaMbhramitAdiSu // 12 // dUra nikaTavad bhAti mukure'ntarivAcalaH / cira zIghratvamAyAti punaH zreSTheva yAminI // 13 // vAsanAvalitaM ceto yad yathA bhAvayatyalam / tattathA'nubhavatyAzu na tadasti na vA'pyasat // 16 // -Yv. III 120. 10, 12, 13, 16 3. Yv. III. 114.7. 4. Yv. IV. 21. 36-37; III. 114. 20-48. 2. For Personal & Private Use Only

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Avidya in Vedanta 63 knowledge (mithya-jhana) or avidya or maya, it is this great ajnana that spreads the poison in the form of the mundane existence, etc. Had an entity not been hypostatised to establish a relationship between Consciousness and the Creative Impulse, the fear of mundane existerce would not have been there.1 It is not known how this avidya ca ne into existence and Vasistha advises Rama not to bother about its source, but to concentrate all his energies on the attempt to dispel it. Once avidya is dispelled everything will become apparent. It is born somehow. In fact it is not an existent entity and hence it is not possible or desirable to find out whence it was produced.2 1. bhapavitramasadarUpaM mohana bhayakAraNam / izyamAbhAsamAbhogi bandhamAbhAvayAnagha // mAgaiSA sA hyavidyaiSA bhAvaneSA bhayAvahA / saMvidastanmayatvaM yat tat karmeti vidurbudhAH // -Yv. IV 21. 36-37 See also III. 114. 20-48 spandaH prANamarucchaktizcaladrUNaiva sA jaDA / cicchaktiH svAtmanaH svacchA sarvadA sarvagaiva sA / cikteH spandazaktezca saMbandhaH kalpyate manaH / * mithmaiva tat samutpanna mithyAzAnaM taducyate // eSA vidyA kathitA mAgaiSA sA nigadyate / parametat tadazAnaM saMsArAdiviSapradam / / cicchakteH spandazaktezca saGage saMkalpakalpanam / na kRtaM cet parikSINAstadimA bhavabhItayaH // -Yv. V. 13.87-90 2. yataH katazcijAteyamavidyA maladAyinI // nUnaM sthitimupAyAtA samAsAdya padaM sthitA / kato jAteyamiti te gama mA'stu vicAraNA / / ImAM kathamaha hanmi ityeSA te'stu vicAraNA / astaM gatAyAM kSINAyAmasyAM zAsyasi rAghava // yata eSA yathA geSA yathA naSTetyakhaNDitam / vastutaH kila nAstyeSA vibhAtyeSA na vekSitA // asato bhrAntA satyarUpoM jAnAtu kaH kata: / jAteyaM prodimApanA doSAgaivAtatAkRtiH / / -Yv. IV. 41.31cd-35 See also III. 114. 66 For Personal & Private Use Only

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64 E. A. Solomon The Yoga-Vasistha moreover explains that in the pure consciousness there is a spogtaneous wave of mentation (kala kalanarupini). It is threefold-zubtle, middling and gross. Then the Miod too is imagined in these states as three-fold. This is known as Avidya or Praksti with its three gunas-sattva, rajas and tamas. Each of these gunas is three-fold and thus avidya is nine-fold. Whatever object there is in the world is permeated by it. The Yoga-Vasistha gives an account of world-creation, of course unreal in its view, as also a classification of things under this nine-fold division of avidya (Yv. Vla. 9. 2ff). Like the other works on Vedaota it is influenced by the Samkhya and adopts the Samkhya termi. nology. Avidya is thus looked upon as the material cause of the world. In reality there is neither vidya por avidya. The pure Consciousness itself when not apprehended as such is known as avidya. Due to lack of vidya there is false imagination of what is called avidya. When the pure Consciousness is realised, it is said to be the destruction of avidya'. When avid ya has been eradicated, vidya also disappears and what is left is pure Consciousness. Both vidya and avidya are phenomenal and relative modes: of Consciousness and therefore upreal.1 The Yoga-Va sistha is very emphatic in its assertion that avidya does not exist. Brahman alone, which is eternal and unchanging, exists. Avidya is but a name, a mere hypothesis. The concepts of avidya and jiva have been set up only for the instruction of the non-eolightened to make the explanation intelligible. Only as long as the manas is nonenlightened can it attain enlightenment by erroneous (-erroneous from the 1. vidyA'vidyAdRzau na staH zeSe baddhapado bhava / / nAvidyA'sti na vidyA'sti kRtaM kalpanayA'nayA / / kiMcidasti na kiJcida yaccita saMviditi tat sthitam / tadevAviditAbhAsaM sadavidyetyudAhRtam // viditaM sat tadevedamavidyAkSayasaMzitam / vidyA'bhAvAdavidyArakhyA mithyevodeti kalpanA / mithaH svAnte tayorantazchAyAtapayoriva / avidyAryA vilInAyAM kSINe dve eva kalpane // ete rAghava lI yete avApya pariziSyate / avidyAsaMkSayAt kSINo vidyApakSo'pi rAghava // yacchiSTa tanna kiMcidvA kiMcidvApIdamAtatam / tavaM dRzyate sarva na kiMcana na dRzyate // -Yv. VIa 9.20-2 , For Personal & Private Use Only

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Avidya in Vedanta 65 supra-empirical point of view-) means.1 We are reminded here of the Buddhist concepts of avidya and abhuta. parikalpa (instrument of unreal imaginary construction). Vidya for the Madhyamika is not intuition of anything, it is intuition (prajna) itself. It is a state of knowledge without any conceptual constructions or differentiations which involve comparisons, relations, etc Avidya, similarly, is not ignorance of anything but the differentiating or conceptualising function. It is Reason itself (-buddhi, samvrti). Nagarjuna carries his dialectic to the farthest extent and says that even this avidya does cot exist. In the Vijnanavada, the sub-conscious habit of false imaginative construction (vitatha-vikalpabhyasa-vasana) or abhita-parikalpa is the cognate of avidya and accounts for the world-appearance. Gaudapadacarya's philosophy is very much akin to that of the Yoga. vasistha. According to him, all the duality cognised is an illusion; in absolute truth there is tio non-duality (mayamatram idam dvaitam advaitam paramarthatah-Gaudapada-karika, I. 17 cd). Gaudapada tries to establish his thesis by reasoning, though he fully appreciates the base and support of the Vedic texts. According to him, the dream and the waking experiences are on a par, the objects in both beiog imagined by the mind either as inside or as existing outside; if the waking experiences contradict and cancel the dream-experiences, so do the dream experiences or dreamless sleep the waking experiences, and so both are false. Gaudapada holds that whatever is presented as an object is unreal. The relations of space, time and causality do not stand the test of critical examination, and so cannot be regarded as real. That which is non-existing in the beginning and in the end is necessarily so in the present also; things being brahmatatvamidaM sarvamAsIdasti bhaviSyati / nirvikAramanAdyanantaM nAvidyAstIti nizcayaH // 11 // yastu brahmetizabdena vAcyavAcakayoH kramaH / tatrApi nAnyatAbhAvamupadeSTu kramo hyasau // 12 // tvamaha jagadAzAzca dyau vizvApyanalAdi vA / brahmamAtramanAdyanantaM nA'vidyAsti manAgapi // 13 // nAmavamavidyeti bhramamAtramasadviduH / na vidyate yA sA satyA kIdRgU rAma bhavet kila // 14|| avidyayamayaM jIva ityAdi kalpanAkramaH / aprabuddhaprabodhAya kalpito vAgvidA varaiH // 15 // aprabuddha mano yAvat tAvadeva bhramaM vinA / na prabodhamupAyAti tadAkrozazatairapi // 18 // -Yv. VI 8. 49. 11-14, 17-18. Sambodhi XI-9 1. For Personal & Private Use Only

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66 E A. Solomon like an illusion are yet looked upon as real. Persistence for all time is the rest of truth for a thing cannot give up its own nature. There is therefore nothing but the eteroally unchanging Atman or Brahman, the world of appearance being like a dream or a magical illusion or 1 castle in the sky. There is no suppression, DJ origination; no one is in bondage, no one strives for success, no one aspires for liberation and no one is liberated. This is the highest truth. 1 Things which seem to be generated are not generated in reality. Their generation is like an illusion (maya) and that illusion does not exist. The highest truth is that where nothing is produced. Causality is put to a severe critical examination and since it cannot be explained in any way it follows that Ajativada is the only correct theory. Thus the mind is not originated and the objects are fiever (riginated. Those who know the truth never fall into error, 2 Gaudapada, like the Yogavasistha, speaks of spanda. As the firebrand being moved appears as a circle or a straight line, so the mind or consciousness, when it moves, appears as the subject and the object. The appearances in a moving fire-brand are not produced from anything other than it, and when it is at rest they are not in a place other than it, not do they enter into it. So also when the mind or consciousness (vijnana) vibrates, the appearances are not produced from anything other than it, and when it is at rest they are not in a place other than the mind, nor do they enter into the mind. As a matter of fact they were never there. (GK. 47 ff.) Only so long as the mind is pre-occupied with the idea of causality AdAvante ca yannAsti vartamAne'pi tttthaa| faal: EM: Aralsfaagi $7 afgan: || II. 6 sAMsiddhikI svAbhAvikI sahajA akRtA ca yA / aufa: afa fattar a H1 7 agila 21 IV. 9 svapnamAye yathA dRSTe gandharvanagaraM yathA / aer faxafa tez atrag faqa: 1 II. 31 na nirodho na cotpattirna baddho na ca sAdhakaH / 7 nga a gi raqi qrafar 11 II. 32 - 5917#lft#(GK) 2. qafa sfat arra Fria a a afga: 1 janma mAyopamaM teSAM sA ca mAyA na vidyate // -G K. IV.58 Also IV. 16 ff. For Personal & Private Use Only

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Avidya in Vedanta (e.g. karman and its fruit), is the worldly existence prolonged (GK, IV. 55-56). As the fire-brand has no appearance when it does not move and is thus 'unborn', so the mind, when it does not move, has no appearance and is 'unboro' (IV. 48). Thus when Manas becomes non-Manas, that is to say, stops imagining and conceptually constructing, there is no duality (mahaso hy amanibhave dvaitan naivopalabhyate-II], 31). Owing to the persistent belief in the reality of the unreal (abhutabhinivesa), the mind proceeds onwards to a similar object; but as soon as the absence of an object is realised, it turns back beiog free from all attachment (IV.75,79). Gaudapada says that the Atman first imagines the jiva and then the different entities-external and internal - according to experiences and the impressions left by them (Jivam kalpa yate purvant tato bhavan pethag. vidhan, bahyan adhya tmikams caiva yathavidyas tathasmotih. - Gk. II. 16). Does Gaudapada want to say that the Atman imagines the jiva and also imagines the things external and internal, or that the Atman imagines the jiva and then the jiva imagines the external and internal things ? And does he want to say that there is only one jiva (as in later Ekajivavada), or has he employed the singular number to sign.fy class ? Elsewhere the jivas are accounted for on the analogy of ghatakasa. And whose is the abhulabhinivesa (obsession for the unreal) ? Gaudapada does not dwell at length on this point as he is mainly interested in suggesting Ajativada. We find that both the Yoga-Vasistha and the Gaudapada-karika seem to be speaking of the individual and his innate flaw. Even then we cannot say that these works propound subjective idealism, as they firmly uphold the reality of one Absolute Reality. Can we call their view 'Monistic Idealism' ? We may say that these works were composed under the influence of Buddhist Idealism, in which the individual streams of consciousness are held responsible for all imagioary construction. This type of idealistic trend being a novel feature in Vedantic thought and the terminology for it not having yet evolved in these circles, nor the thought properly assimilated, we find some difficulty in the clear understanding of these concepts from these works. Moreover, because of the absolutistic trend of their thought, they wanted to keep Brahman away as far as possible from the concept of abhutabhinive sa or kalpana, even though they admitted nothing but Brahman. For Personal & Private Use Only

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E. A. Solomon 2. Avidya in Sankaracarya's Philosophy Sarkaracarya, in his writings, mostly commentaries on the Upanisads, Brahma-sutra and the Bhagavad Gita, had a more difficult task before him. Commenting on works none of which seem to clearly establish the unreality of the world he put forth his confirmed view that the eternally unchanging undifferentiated Brahman of the nature of Pure Being-Consciousness-Bliss is the only Reality, all else being false and the individual soul being nothing else but Brahman. He had in support of his view Vedic statements like 'ekam evadvitiyam', 'neha nana'sti kimcana', 'neti neti', 'tat tvam asi', 'ahan brahma'smi', etc. He had at the same time to evolve a philosophical terminology of the Vedic brand which would not directly smack of Buddhist impact, and also to show the difference of Vedantic thought from the Buddhist Idealistic Philosophy and to emphasise the distinctive characteristics of Advaita Vedanta. Sankara's line of argument is that if Brahman is taken as really evolving in the form of the world it must necessarily be accepted as being modified. And in that case either it should be accep'ed as wholly modi. fied as the world with no Brahman left in its own nature or Brahman would have to be accepted as having parts so that one quarter becomes the world and the other three quarters are left intact .('tripad asyamytan divi'). It is very well to say that Brahman is both immanent in the world and also transcendent, and to say that Brahman is both the upadana and nimitta karana of the world. But does our reason allow us to accept this when we are told that Brahman is eternally unchanging, undifferentiated and devoid of parts ? If Brahman evolves into the world it either ceases to be Brahman in its own nature, or it undergoes modification. Better still, Brahman perishes every moment and a new one is born so that all variations could be accounted for. But how could it be possible that Brahman evolves in the form of the world and the individual souls emerge from it as sparks from fire and yet it retains its pristine purity and remains eternally unchanging ? If the realisation or direct vision of the Ultimate Reality of the Upanisadic scers has any value for us, Brahman should be regarded as one without a second, eternally unchanging and pure and devoid of differentiation, the world as an unreal superimposition, and the jivas should be regarded as Brahman itself, conditioned or limited by different adjuncts (upadhi), these latter being unreal or projections brought about by Avidya, which itself is false. It may be noted that the other Acaryas while commenting on the Brahma-sutra and other texts admitted some form of Dualism or Pluralism For Personal & Private Use Only

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Avidya in Vedanta even while affirming Advaita. Ramanujacarya, for instance, says that cit, acit and Isvara are all different, but form a unity inasmuch as cit and acii are the visesanas or qualifiers of isvara or Purusottama or Brahman; or they are His farira and He is their Atman, inasmuch as they cannot exist independently of Him, and it is is a bat statements involving samanadhikaranya (like 'tat tvam asi', 'aham brahma'smi', 'sarvam khalv. idam Brahma') signify. Vallabhacar, a says that the jivas are 'amsa-s' of Brahman and the world is His karya or effect, and yet Brahman is undefiled and pure aid uomoditied as Ee has 'acintyasakti' (unthinkable power). Sankaracarya, following ia the footsteps of Gaudapada, holds that that alone is 'sat or real which is 'trikalabadhita', uesublated in all the three times. Sankaracarya has propounded bis philosophy from two points of view-the higher or supia-empirical parumarthika) and the lower or the common-sense or empirical point of view (vyavaharika). From the paramarthika point or view, Sunkara is an Absolutist. Brahmun is the only Ultimate Reality; everything else is unreal. Brahman is attributeless (nirguna) and eternally uncharging (kutastha). Sankara firmly believes that bheda (difference) and abheda (noo-difference) being mutually contradictory cannot be predicated of one and the same thing; and the Bhedabheda view, further, does not solve the problem of causation. It makes the nature of the thing silf-contradictory and this points to falsity. Sankara admits tbat there are noticed two streams of thought in the Upanisads, but one of them is but a concession to the empirical modes of thought (apara vidya or anuvada) (see Br. Su. Sankara Bhasya I. 2.21; II. 1.14 etc ). The only teachiog of the Upanisads is, according to him, that of Absolute Non-dualism (Kevaladvaita); all diversity is falsely superimposed on the lon-dual Brahman. The Samkhya recognises that there is a material element and a spiritual element in the universe, but it fails to explain satisfactorily the relation between spirit and matter. Sankara denies that there could be any relation between spirit and matter which are so distinct and opposed to each other; and yet our experience tells us that they are not only related but also identified as when we say 'I am lean', where leanness is a characteristic of the physical body and yet is predicated of the l' which should normally signify the inner self. The only way out of this difficulty is to regard the relation between them as ultimately false. A necessary corollary to this is that one of the things so thought to be related is unreal. Sankara regards matter as unreal, for For Personal & Private Use Only

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E. A. Solomon the other alternative would result in Materialism. The objective world is therefore an unreal appearance. As a serpent is superito pored on the rope, so is the material world superimposed on Brahman. The jivas (individual souls) and Tsvara (Creator God) also are unreal in the sense that yellow conch-shell or red crystal is uoreal. As the white conch-shell is due to some defect of the eye cognised as yellow, or as crystal appears red on account of the red japa flower on which it is placed, so is Brahman looked upon as jiva or Tsvara. The jiva is Brahman limited by or reflected through adjuncts such as the internal organ which are unreal as they pertain to the material world. Thus from the ultimate point of view, Brahman alone exists, unmodified, und fferentiated, remote from the slightest trace of limitation or conditioning as there is nothing which could bring it about. The world does not exist in reality at any time - past, present or future. This is the Absolutist view of Sankaracarya. From the vyavaharika point of view, Brahman is said to be possessed of attributes. It is tbe constituent and efficient cause of the world. It is the roler, the controller, the creator of the world. The jivas or individual souls can be regarded, from this point of view, as disticct from Brahman.1 Brahman creat?s the world keeping in view the actions, good or bad, of the various creatures. Even the process of creation is described. The individual souls may be said to be born, to live their mundane lives, perfcrm actions which determine their future birth and the world to which they go. Thus, from the vyavaharika point of view, whatever one sees and does and experiences is real, as it is the ordinary man's understanding, his age-long conviction of which he should not be deprived till the light of knowledge has dispelled the darkness of erroreous beliefs. Thus Sankara is, from the lower point of view, as good a realist as any one. He accepts broadly the Samkhya theory of satkaryavada, except that he would not regard Praksti as independent. But, in his view, once true koowledge dawns, this world of objectivity disappears for the emancipated, exactly as the rajju-sarpa disappears, because it had never existed in reality. He approves of the satkaryavada inasmuch as he takes the effect to be in the cause - of course because it is illusorily super-imposed on the cause, and he constantly refers the reader to his commentary on BrahmaSutra II.1.14 where he makes it very clear that the effect is unreal. 1 51869921-Br. Su. I. 17. paramezvarastvavidyAkalpitAcchArIrAt karturbhokturvijJAnAtmAkhyAdanyaH / Sankara-Bbasya 2 Br. Su SB II. 3. 1-5, II. 4, 1-13 For Personal & Private Use Only

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Avidya in Vedanta Exp'aining the Upanisadic statement Upanisadic statement "Yatha somyaikena mrtpindena sarvam mrmayam vijnatah syad vacarahbhanah vikaro namadheyam mrttikety eva sarvam" (Ch. Up. 6.1.1), he passes on from the illustration of ghatasaravadi and mrd, through ghatakasa and mahakasa to mrgatrapikodaka and asara and says that since the phenomenal world consisting of the objects of enjoyment, etc. is unreal as it cannot exist apart from Brahman as being 'drstanastasvarupa', it is utterly fictitious by nature (svarupena anupakhya). Amalananda explaining the expression drstanastasvarapa says, in his Kalpataru, that it means that it is seen somewhere and then agaia lost sight of; 'drita' is meant to exclude its existence even when it is apprehended,1 Answering the objection that Brahman could not be the cause, support and ultimate place of dissolution of the world as it would be defiled by the impurities of the latter, Sankara at first, in all fairness, takes it for granted that the world is a real transformation of Brahman. He says that things made of clay, such as jars, etc. or golden ornaments do not impart to their original matter (clay or gold) their individual qualities when they are finally reabsorbed into it, Similarly, the world when dissolved will not make Brahman impure. But then Sankara cannot contain himself, for his philosophy keeps itself at such a level that such questions do not prop up at all. In a dignified tone he puts forth his own view, "We refute the assertion of the cause being affected by the effeot and its qualities by show ing that the latter are mere false superimpositions of avidya, and the very same argument holds good with reference to re-absorption also." He gives examples which are in greater accord with his belief in the unreality of the world. 'As a magician is not at any time affected by the magical illusion projected by him, because it is unreal, so the Highest Self is not affected by the world-illusion. As a dreaming person is not affected by his dream illusions because they do not accompany the waking state and the state of dreamless sleep, so the one permanent witness of the three states, that is to say, the Highest Self, which is the one unchanging witness of the creation, subsistence and reabsorption of the world, is not affected by the mutually exclusive three states. That the Highest Self appears in these three states is a mere illusion not more substantial than the snake for which the rope is mistaken in the dark (Br.S.SB.II.1.9). 71 1 kvacid dRSTa punargaSTamadRSTam (vlo manityam ) ityarthaH / dRSTayAhaNaM pratItisamaye'pi svArtham / For Personal & Private Use Only -Kalputaru, II. 1. 14.

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72 E A. Solomon In the 'Prayojanavattvadhikarana', the problem discussed is Why was the world created by God ?' The com non-sense point of view could at best be that God created the world for mere "lila' (sport). From the paramarthika point of view, Sankara remarks that the scriptural doctrine of creation does not refer to the highest reality; it refers to the empirical world only, characterised by name and form, the figments of Avidya and it moreover aims at conveying that Brahman is the self of everything. This also should never be lost sight cf.1 The world was never created at all, so there is no sense in discussing with what motive it was created. Commenting on Brahma-sutra I 3.1, Sankara says that tho statement of co-ordination (samanadhikaranyam) in the passage All is Brahman' aims at dissolving the world and not in any way at conveying that Brahman, is cultiform in character. In his final remarks on the 'Ubhayalingadhikarana' (III. 2. 11--21), Sankara points out that prapancapravila ya, the dissolution of the world of effects is not like liquifying gbee by contact with fire, but it is like the dispelling of the illusion of the two moons, or the sublation of the rope-serpent or the dissolving of a dream. In fact it was not existent. Had it been existent, one could not have been asked to dissolve it. Or if that were possible, on one soul attaining emancipa. tion and dissolving the world, the world would not have been there at all. Sankara, thus, reduces the world of diversity to a mere unreal appearance super-imposed on Brahman by virtue (f Avidya. Io his latroduction to his co.nmentary on the Brahma-sutra, Sankaracarya says that the self and the non-self, the subject and the object are 80 opposed to each other that they cannot be identified, much less their attributes. Hence it is wrong to superimpose upon the subject of the nature of consciousness, which is the sphere of the notion 'T', the object which is the sphere of the rotion 'you' and the attributes of the object, and vice verss to superimpose the subject and the attributes of the subject on the object. In spite of this, it is on the part of man, a natural practice, which has its cause in wrong knowledge, not to distinguish the two entities (subject and object) and their respective attributes, but to superimpose on each the characteristic nature and the attributes of the other, and thus coupling the real and the unreal to make use of such expressions as 'That am I', 'That is cioe'. But what should we understand by the term 'adhyasa' (superimposition) ? It is the apparent presentation, in the 1 na ceya paramArthaviSayA sRSTizrutiH, avidyAkalpitanAmarUpavyavahAragocaratvAt , brahmAtmabhAva. pratipAdanaparatvAccetyetadapi naiva vismartavyam / - Br. Su SB, II. 1. 33. For Personal & Private Use Only

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Avidya in Vedanta 73 form of ren inbrance, to consciousness of something previously observed in some other thing (lit. in some other place). (Smotirupah paratra purva. drstavabhasah). However much the concept may differ in the various schools of philosophy, all agree in representing adhyasa as the apparent presentation of the attributes of one thing in another thing. In our day to day life also, we say 'The nacre appears as silver', 'The moon though one appears as if double'. The illusory imposition of the non-self on the self learned men call avidya, and the ascertaioing of the true nature of the self by discri. minating that which is superimposed on the self, they call vidya The self is not in the least associated with any fault of the mind, etc., nor the nonself with the attribu.es, sentiency, bliss, etc. of the self on account of mutual superimposition All empirical distinctions such as those of the object known, and the means of valid knowledge, and all scriptural texts are based on this mutual surperimposition of the self and the non-self which is termed avidya. Intelligent men and animals are all alike a prey to this avid ya as they react similarly to cases of fear or selfish interest. Attributes of the body (e.g. leanness), sense-organs (e.g. deafness), internal organ (eg. desire, doubt) are superimposed on the inner self which is only a witness of the modifications of the interoal organ, etc., and vice versa the inner self which is the witness of everything is superimposed on the internal organ, senses, etc. In this way there goes on this natural beginningless and endless super. imposition, which appears in the form of wrong conception (mithya-pratyaya), is the cause of individual souls appearing as agents and enjoyers, and is immediately experienced by everyone. It is important and necessary to analyse what Sankara says here. Ho gives a general definition of adhyasa which refers to both ordinary errors (e.g. rajju-sarpa) and the primary error of identification of self and non-self (e.g. I am lean). This primary error of identification of self and non-self is termed avidya, and it is avidya that the Vedanta proposes to dispel as it is the source of all evil.1 It is clear that avidya refers to all our worldly dealings which necessarily though wrongly identify self and non-self. Thus avidya signifies what we might call 'empirical outlcok'. Avidya can be set aside or dispelled by Vidya or the knowledge of the absolute nature of 1. avidyA hi sarvAnarthabIjamiti zrutismRtItihAsapurANAdiSu prasiddham / taducchedAya vedAntAH pravRttA iti vakSyati / pratyagAtmanyanAramAdhyAsa eva sarvAnarthahetuH na punA rajatAdivinama sfa a galaal | --Hlaat, g. Yo Sambodhi XI-10 For Personal & Private Use Only

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.74 E. A Solomon th: Self. It is said to b: naisargika or natural. This means that it is innate and beginningless. There is an innate oblique tendency in us which conditions all knowledge and compels us to work on the basis of this error. It is the cause of the individual soul's appearing as agent or enjoyer. It is beginningless and endless (upless dispelled by Atmavidya or selfrealisation). Mithya -jn-na is given as a synonym of avidy, which means that it is not negation of know!edge but positively wrong knowledge or misapprehension. Thus the whole process of an innate tendency leading to adhyasa in that in its turn strengthening the obliquencess can be termed avidya. Avidya is ingate and beginningless as avidya (superimposition or error) produces a tendency or predisposition (va sana) and that in its turn leads to adhyasa 1 Avid; is the basis of all worldly activity. Sinkara classifiez avidy among the evils that are responsible for the mundane existence or samsara. In his commentary on Br. Su.I. 3.2, Sankara defines avid ya and shows how it stands at the head of a vicious chain: The conception that the body and other things contained in the sphere of the non-self are our self constitutes avidya; from it there springs desire with regard to whatever promotes the well-being of the body and so on, and aversion for what tends to injure it; there further arises fear and confusion when we observe anything threatening to destroy it. All this constitutes an endless series of the most manifold evils with which we are asuinto.2 Cae iadividual sal coatinues as such till it dispels avidya characterised by duality and realises its identity with the absolute Brahman.3 Io all this we find Sankaracarya agreeing with the other philosophical systems which also place avidya at the head of the chain of evils and rogard it as a begininglesi in sate tendency to orr and as wrong knowledge. It can be set asid: by trug karle 13. It is represented as generative of raga (attachment), etc. on the psychological plane. Bat the difference comes in when Sarkara tegards avidy as responsible for the multiplicity of the ___1. anAdyavidyAtmakatayA kAryAdhyAsasyAnAditvam / adhyAsAt saMskArastato'dhyAsa iti pravAhato naisargikatvam / - Ratnaprabha, p. 25. 2. dehAdiSvanAtmasvahamasmItyAtmabuddhiravidyA, tatastatpUjanAdau rAgastatparibhavAdI dveSastadugchedadarzanAd bhayaM mohamcetyevamayamanantabhedo'narthavrAtaH satataH sarveSAM naH pratyakSaH / -Br. Su. SB I. 3.2 3. yAvadeva hi sthANAviva puruSabuddhiM dvaitalakSaNAmavidyAM nivartayan kUTasthanityadRksvarUpamAtmAnamaha brahmAsmIti na pratipadyate tAvajjIvasya jIvatvam / -Br Su SB. 1.3. 19. For Personal & Private Use Only

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Avidya in Vedanta 75 world (jazat-prapanca). Sankara regards the world-phenomena as unreal from the supra-empirical point of view. If avidya is deemed responsible for the world, the concept of avidya must necessarily change. For the other systems, avidy- is just individual igaorance which ideatifies the soul and the body, sense-organs, etc. and thus leads to repeated births aod deaths. But for Sankara, the jivas and the material world are both imagined or projecied by avidya. He time and again refers to the unreal universe including jivas and Isvara as avidya- kalpita (Br. Su. Sa. Bh. I. 1.7), mithya -jnana-kalpita or mithya jnana-nimitta (1. 2. 8). avidya-krta (I. 2.11), avidya - visaya (1.2.12), and so on. Karya is avidyaropita (II.1.9); karya-prapanca is avidya-ksta (1.3.1); jiva is avidya-prat. yupasthapita (1.3.19); bheda of jiva and Paramesvara is mithya-jnanakyta (1.3.19). Hence Avidya must be regarded as a cosmic force or principle which causes the phenomenal world to appear. Avidya is not only individual but also cosmic, not only affecting the individual self but overshadowing the supreme Brahman. Can we say that its locus is Brahman, as the jiva, etc. are its projections and come after it ? But how can avidya be present in Brahman which is eterpally free from all adjuncts or extra. neous factors ? Sankara admits tbat avidya is not a part of the nature (svabhava) of the self, for it can be eradicated, whereas what is part of the nature of an entity cannot be elimirated without the entity itself perishing, e.g. heat and light of the sun 1 Again, if Avidya be accepted as a principle besides Brahman, the doctrine of non duality would be contradicted. How does Sankara explain this ? In his commentary on the Brahma-sutra IV. 1. 3, he anticipates a question : To whom does avidya or aprabodha (non-eplightenment) belong? Sankara replies, "It belongs to you who are asking such a question." The inquirer retorts that the Sruti tells him that he is identical with the Lo.d. Sankara promptly replies, "In that case you are enlightened and nonenlightenment does not belong to any one." That it is to say, it does not exist. Sankara remarks that this also answers the objection of some that the doctrine of non-duality is contradicted by accepting avidya over and above Brahman 2 1. tasmAnnAtmadharmo'vidyA, na hi svAbhAvikasyocchittiH kadAcidapyupapadyate, saviturivI. eNyaprakAzayoH / -Sankara's Comm. on Brh. Up. IV. 3.20. 2. kasya punarayamaprabodha iti cet , yastvaM pRcchasi tasya ta iti vadAmaH / nanvahamIzvara evoktaH zrutyA / yadyevaM pratibuddho'si, nAsti kasyacidaprabodhaH / yo'pi doSazcodyate kaizcidavidyayA . kilAtmanaH sadvitIyatvAd advaitAnupapattiriti so'pyetenaiva pratyuktaH / --Br. Su. SB. IV. 1.3, For Personal & Private Use Only

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16 E. A Solomon Questions like "Whose is avidya ?' 'Where does it appear ?' are useless, for if avidya is not known they cannot be solved, and if avidya be perceived one would also perceive him who has it. Avidya caonot do any harm to the soul as mirage-water cannot make the desert muddy,1 Thus the nature of avid ya and its lccus cannot be determin:d. Sankara would say that such problems should not disturb us. To understand the relations between Brahman aod Avidya, avidya and the world we must be away from avidya, which we are not We are on the contrary avidya-stricken. Once avidya is dispelled by true knowledge (samyag-jnana), these problems do not arise at all. As S.K. Saksena puts it, "It is our finitude which raises questions ard also prevents an answer for after true knowledge is attained and the true reality of the Brahman is seen, there remains no acit or the pberomenal world. The explanatory principle of maya and the reality of things other than the pure Intelligence both last so long as Brahman is not realised after which peither exists."'2 But for purposes of instruction, Sankara hypostatises Avidya to acc. ouot for the insentient world, and hence avidya must be regarded as jad a (material or insentient), and avidya thus becomes an ontological principle though unreal. Sankara in his Bhasya on Brahma-sutra 1. 4. 3 points out that the word 'avyakta' in Katha Up. 1.3.11 means a previous seminal condition of the world (jagatah pragavastha). The Samkhya also admits such a pradhana but he regards it as an independent force. Accordiog to the Vedantin, however, it is dependent on the Lord. Such a previous stage of the world has to be admitted because without it the Highest Lord could not be conceived as Creator as he could not become active if He were devoid of the potentiality of action. The existence of such a causal potentiality (bijafakti) repders it, moreover, tenable that the released souls are not born again, as it is destroyed by perfect knowledge. That causal potentiality is of the nature of avidya; it is rightly signified by the term 'avyakta'; it has the Highest Lord for its substratum. It is of the nature of maya (illusion); it is a universal sleep in which ___1. na ca mithyAzAnaM paramArthavastu dUSayitu samartham , na ghaSaradeza snehena pakSIkartu zaknoti marIcyudakaM tathA'vidyA kSetrajJasya na kiMcitkatu zaknoti / atrAha -sA avidyA kasyeti / yasya dRzyate tasyaiva / kasya dRzyate iti / atrocyate avidyA kasya dRzyate iti prabho nirarthakaH / katham 1 dRzyate cedavidyA tadvantamapi pazyasi / na ca tadvatyupalabhyamAne sA kasyeti prabho yuktaH / -- Sankara's Comm. on Bhagavad Gita, XIII. 2. 2. Nature of Consciousness in Hindu Philosophy, p. 170-S.K. Saksepa. For Personal & Private Use Only

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Avidya in Vedanta 77 souls devoid for the time of the awareness are lying the transmigratory of their nature. 1 Here Sankara equates avidya with the Prakyti of the Samkhya with this difference that he regards it as dependent on the Lord. Thus Avidya can be regarded as a material causal potency. Sankara says it has Brahman as its afraya. On the other hand he says that only if this avidya as a causal potency or seminal condition is accepted, could the anutpatti of the released souls be rendered tenable, for there would be no mundane existence for the jiva by whose perfect knowledge this seminal condition is destroyed. This would mean that avidya bas the jiva for its afraya and each jiva has its own avidya which could bring about samsara and which could be destro; ed by its perfect knov ledge. This explains how the Sankaraites-those who regarded Brahman as the locus of Avidya, as also those who regarded thu jiva as its locus, could both find statements in Sankara's works to support their view. Perhaps this did not matter much for Sankaracarya who concentrated upon showing the Absolute Pure Consciousness as the only Reality. It is evident that the conception of avidya as a cosmic cau al material potency is a derivative one. Causality bas no scope in Absolute Idealism. Yet if sone explanation is to be given from the empirical point of view in crder to explain the Upanisadic passages pertaining to creation, avidya can be represented as a causal potercy to account for the phenomenal world. Sankara says that the jivas have the same qualities as Isvara, but they are covered or obscured by veils of avidya, etc. This should mean that avidya bas avarana-sakti or power of concealing. Avidya has viksepafakti.also inasmuch as it projects unreal appearerces. These two faktis can be said to be related. The true nature of the soul cannot be obscured unless it identifies itself with the adjuncts, body, etc. formed out of name and firm projected by Avidya, and avidya cannot project these ugless the true cature of the celf is hidden. The followers of Sarkara specifically described Avidya as having avarana sakti and viksepa-fakti and even a distinction was drawn between avidya and maya on the ____1. yadi vayaM svatantrAM kAMcitprAgavasthAM jagataH kAraNatvenAbhyupagacchema, prasanjayama tadA pradhAna kAraNavAdam / paramezvarAdhInA tviyamasmAbhiH prAgavasthA jagato'bhyupagamyate, na svatantrA / sA cAvazyAbhyupagantanyA / arthavatI hi sA / na hi tayA vinA paramezvarasya sraSTatvaM sidhyati, zaktirahitasya tasya pravRttyanupapatteH / muktAnAM ca punaranutpattiH / kuta:? vidyayA tasyA bIjazaktehAta / avidyAtmikA hi bIjazaktiravyaktazabdanirdezyA paramezvarAzrayA mAyAmayI mahAsaptiH. yasyAM svarUpapratibodharahitAH zerate saMsAriNo jIvAH / - Br. Su. SB. I. 4.3. For Personal & Private Use Only

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78 E. A. Solomon strength of these. But it could be said that even Sankara would have accepted these though he did not pointedly refer to them as the of Avidya. It is by Avidya that the one Being is differentiated or conceived as many things undergoing origination, destruetion and the like, like an actor on the stage.2 We have seen that Sankara regards maya, avidya as also aksara etc. as equivalents of avyakta all of which signify a causal potency which cannot be described as distinct from Brahman nor as non-distinct from it. Maya is regarded as a material causal potercy so that it can account for the material world. From the supra empirical point of view, Sankara would call this only a theological explanation, coloured with avidya, though he does not mind speaking, from the empirical point of view, of Isvara as creating the cosmos out of and by His maya. But maya has no metaphysical importance in Sankara's paramarthika view. It is popularly believed that Sankara uses the words 'avidya' and 'maya' indiscriminately. We have seen that he regards them as cognates signifying causal potency. Some of his followers distinguish between maya and avidya as being associate! with God and individual soul. Thibaut says, "Brahman is associated with a certain power called maya or avidya to which the the appearance of the entire world is due" (Vedanta-Sutras Introduction, p. XXV, SBE, Vol. XXXIV). Criticising this, Col. G. A. Jacob says, After a very careful perusal of the entire Bhasya, with this point of view, I have come to the conclusion that the above description of maya, is incorrect, and that the word maya is nowhere used by Sankara as a synonym of avidya, but is expressly said to be produced by it and that in no sense whatever does he regard i as the cause of the world." (The Vedanta-sara, Preface, p. V-G. A. Jacob). 1. kiM punarjIvasyezvarasamAnadharmatvaM nAstyeva / na nAstyeva, vidyamAnamapi sat tirohitamavidyAdivyavadhAnAt / -Br. Su. SB. III. 2.5 evamavidyA pratyupasthApitanAmarUpakRtadeha yuvA ghiyegAt sadavivekabhrama to jIvasya jJAnaizvaryatirobhAvaH / -Ibid, III, 2.6 2. sadekameva vastu avidyayA utpattivinAzAdidharme navad anekathA vikalpyate / -Sankara's Comm. on Bhagavad Gita, XVIII, 48. For Personal & Private Use Only

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Avidya in Vedanta Maya is almost always used in the sense of illusory appearacce.1 Numerous passages in the works of Sankara support Col. Jacob's con. tention. There are, however, a few passages in which maya and avidya seem to be synonymous and it is necessary to examine these. Col. Jacob refers to a discussion regarding Tfvara in Bi. Su. SB I1.14. The purva. paksin argues that the Kevaladvaitio cannot say that the creation, susten. tation and reabsorption proceed from an omniscient, omnipotent Lord as he maintains the absolute unity and non-duality of the self. Sankara explains away the difficulty thus : "Belonging to the self, as it were, of the Omniscient Lord there are name and form, the figments of Avidya not to be defined either as identical with or distinct from Brahman, the germs of the entire expanse of the phenomenal world, called in Sruti and Smrti the Maya-sakti or Prakti (Nature) of the Omniscient Lord." Col. Jacob explains the word 'maya- fakti' as illusion-producing power ! It can be better explained as the power called maya (maya eva faktih). The Lord's being a Lord, His omniscience, His omnipotence, etc. all depend on the limitation due to the adjuncts whose self is avidya, while in reality none of these qualities belong to the Self whose true nature is cleared by right knowledge from all adjuncts whatsoever.2 This passage is interesting inasmuch as it tells us that from the supra-empirical point of view, even the powers of the Lord, His omnipotence, omnisciense, etc. are all due to the adjuncts of the stuff of avidya This means that both maya and Isvara are figments of avidya. Avidya is a metaphysical cosmic principle. Maya also is a cosmic causal potency, but from a lower point of view; it is, as a matter of fact, a figment of avidya. 1. (i) prathame'dhyAye sarvazaH sarvezvaro jagata utpattikAraNam , mRtsuvarNAdaya iva ghaTarucakAdInAm...; utpannasya jagato niyantRtvena sthitikAraNa mAyAvIva mAyAyAH / -SB, Introductory to Br. Su. II. 1.1. (ii) yathA svayaMprasAritayA mAyayA mAyAvI triSvapi kAleSu na saMspRzyate avastutvAt. . . mAyAmAtraM hyetad yat paramAtmano'vasthAtrayAtmanAvabhAsanaM rajjvA iva sarpAdibhAveneti / -SB. II. 1.9. (iii) Also Br. Su. SB II. 1.2.1; II. 2.29; II. 2.2. etc. - 2. sarvazasyezvarasyAtmabhUta ivAvidyAkalpite nAmarUpe tattvAnyatvAbhyAmanirvacanIye saMsAraprapaJcabIjabhUte sarvajJasyezvarasya mAyAzakti: prakRtiriti ca zrutismRtyorabhilapyete / ... tadevamavidyAramakopAdhiparicchedApekSamevezvarasyevazvaratvaM sarvajJatvaM sarvazaktitvaM ca na paramArthato vidyayA'pA. stasarvopAdhisvarUpa AramanIzitrIzitavya sarvajJatvAdivyavahAra upapadyate / -Br. Su. SB II. 1.14. For Personal & Private Use Only

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80 E. A. Solomon Thus in Sankara's philosophy, avidya and maya are cognates, but from the lower part of view, being equivalents of Praksti, The term 'Maya moreover, is generally used in the sense of an illusory experience, but we do not find the term "avid ya' used to signify this. On the other hand compounds like "avidya-kalpita', avidya-kyta, avidyadhyasta', 'avidyanimitta', 'avidyadhyaropita', avidyapratyupasthapita' are frequently used, but we do not find the use of expressions like 'maya-kalpita', etc. in connection with the world. It would again be interesting to note a passage where 'avidya' and 'maya' are both used to signify some sakti (potency). Refuting the view that the individual soul is real, Sankara says that there is only one Ulti. mate Reality, ever unchanging, the substance of which is consciousness, and which by means of Avidya manifests itself in various ways, just as a magician appears in different shapes by means of his maya or 'magical power.1 Here maya means extra-ordinary power, magic power, power to project illusions, and is used in respect of the magician, not of Brahman. The cosmic avidy has its reflex in th: jiva, wbed also it is called avidya and signifies a pre-natal disposition to err, as also wrong knowledge (including lack of knowledge, doubtful cognition and indecision)2. We may now recapitulate the different aspects of the concept of avidya in Sankara's shilosopby. Avidya is used to sigoify (a) wrong knowledge which may also comprehend lack of knowledge, doubt, indecision, (b) particularly the erroneous mutual superimposition of tman (self) and anatman (non-self) on which all empirical hehaviour is based. Thus avidya becomes a synonym of the lower or empirical knowledge which crmprises both empirical truth and error; (c) a prenatal disposition to err, which can be dispelled by right knowledge; this conditions all knowledge, and avidya thus becomes what we may call an epistemological principle. (d) In San. kara's view, the phenomenal world is unreal from the supra-empirical point of view. He posits avidy as an explanation for the world-phenomena and the conditioning of Brahman So avidya must be a cosmic principle and a limiting principle or the principle of individuation. (e) From the lower point of view, avidya is identfied with maya, praksti, aja, avyakta, akasa, 1. eka patra kUTasthanityo vijJAnadhAtuH avidyayA mAyayA mAyAvivad anekadhA vibhAbyate nAnyo vijJAnadhAturastIti / -Br. Su SB. I. 3.19. 2. tAmaso hi pratyayaH AvaraNAtmakatvAdavidyA viparItagrAhaka: saMzayopasthApako vA'grahaNA. A at -Sankara's Comm. on Bhagavad Gita, XII. 2. For Personal & Private Use Only

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Avidya in Veddnta aksara us a causal potency. Thus avidya becomes a material causal poteccy the stuff out of which the world-phenomena emerge. It is almost an equi. valent of the Samkhya Praksti with this difference that it is not regarded as totally different and independent of the Lord. Avidya is an unintelligible and indefinable principle. Even avidya is unreal from the ultimate point of view as it cannot form a part of the nature of kutastha Brahman. It seems that avidya was hypostatised to explain away intelligibly the world-phenomena as unreal and non-existent from the ultima:e point of view, wherein avidya, its explanation, also ceases to have any reality. Max Muller defends Sankara, "It has ofien been said that it is unsatisfactory for a philosopher if he has no more to say than that it is so, without being able to say why it is so. But there is a point in every system of philosophy where a confession of ignorance is inevitable aed all the greatest philosophers have had to confess that there are limits to our understanding the world; nay, this knowledge of the limits of our under. standing has, since Kant's Criticism of Pure Reason, become the very foundation of all critical philosophy."1 1. The Vedanta Philosophy, -Max Muller-p. 57 (Susil Gupta India, Ltd., Calcutta). Sambodhi XI-!1 For Personal & Private Use Only

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SANSKRIT AESTHETICS V. M. Kulkarni Introduction : It is usual for every prominent philosopher in the West to regard the question of beauty as a part of the problem of reality he is attempting to solve. Hence aesthetics, or the inquiry into the character of beauty in Nature as well as in art, has come to be recognised there as a regular part of philosophy. They study the problem of the beautiful in relation to the good and the true. Controversies have prevailed regarding the questions : What are the characteristics of beauty ? Whether it is objective or subjective, whether the artist (including the poet) as creating beauty must preach morality ? Or whether his province is different from a preacher of morality ? Various theories of beauty have been propounded by Plato, Aristotle, Kant, Coleridge, Schopenhauer, Hegel, Croce and others. Their philosophical discussion of these questions makes aesthetics liko ethics an important part of philosophy. ' In India, however, the study of aesthetics does not form a part of philosophy. It was carried op by a distinct class of thinkers, literary critics, who were not, generally peaking, professional philosophers. Naturally, they nowhere systematically discuss in their works the essential characteristics of art in general and of the fine arts in particular. They deal mainly with beauty in creative literature, one of the fine arts. Further, they do not explicitly or emphatically speak of the distinction between the Fine Arts and the "Lesser" or "Mechanical" Arts-The Fine Arts com. prising Architecture, Sculpture, Painting, Music, Poetry (including the Drama) and Dancing, and the "Lesser" or "Mechanical" or "Useful" Arts of the smith, the carpenter, the potter, the weaver, and others like them; and some other arts such as engraving on wood or copper, the designing of decorations for walls or patterns for fabrics which lie between the Mechanical and Fine Arts and may belong to either class according to the degree of merit displayed by the artist. According to the Western critics, "The distinction which separates these two classes is based upon the fact, that broadly speaking the arts of the first class minister to the enjoyment of man, while those in the latter minister to his needs. They are both alike manifestations of the development of man; but the Fine Arts are concerned mainly with his moral and intellectual growth, and the Lesser Arts with his physical and material well-being. "Nor do they For Personal & Private Use Only

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Sanskrit Aesthetics speak of the two classifications of the Arts. "The first (classification) divides them into the Arts of the "Eye" and the Arts of the "Ear", according as they respectively use one or other of the senses of sight or hearing as their primary channel of approach to the mind. Thus grouped we get the arts of Architecture, Sculpture and Painting placed in broad contrast to the Arts of Music and Poetry. By the second (classification) they are arranged with reference to the greater or lesser degree in which they severally depend upon a material basis for the realisation of their respective purposes. "Nor do they venture upon a definition of Art, applicable to all the (Fine, Arts. They merely attempt a definition of one of the Fine Arts, namely, Poetry (or Creative literature as such) and investigate into the sources of literary beauty. Finally, they arrive at the conception of rasa as the first and foremost source of Beauty in Literature. Modern scholars like M. Hiriyanna say "...the numerous works in Sanskrit on poetics which, though their set purpose is only to elucidate the principles exemplified in poetry and the drama, yet furnish adequate data for constructing a theory of line art in general." And, "The conception of rasa.....is general and furnishes the criterion by which the worth of all forms of fine art may be judged." (Art Experience p.2, and p.64). There is the other view too, expressed by some scholars in their modern writings that in the context of other fine arts the term rasa is used by metaphorical extension only and the rasa theory is not applicable to other fine arts. There is much that could be said in favour of and aganist these two conflicting views. But without entering into this controversy let us revert to aesthetic investigation carried on by the Sanskrit Alamkarikas in relation to the fine art of Poetry (including the Drama), which is placed, among all the fine arts highest in order of dignity." 83 In the growth or development of Sanskrit literary criticism we discern two distinct stages: The first stage is represented by the early writers on poetics who preceded Anandavardhana, and the second by Anandavardhana, his able co nmentator Abhinavagupta, and reputed followers like Manmata, Visvanatha, Jagannatha and others, not se reputed. Bhamaha, Dandin, Udbhata, and Rudrata-these early alamkarikas-are regarded by common consent as the protagonists of the view that in kavya (poetry, creative literature) it is the alaskaras that enjoy the pride of place. They were aware of the pratiyamana sense but they were not aware of Anandavardhana's theory that prattyamana sense or dhvani is the soulthe essence-of poetry. The, however, include this prattyamana sense in their definitions of figures like aprastuta-prasamsa, samasokti, aksepa, paryayokta, etc. They deal with other sources of beauty, namely, gunas For Personal & Private Use Only

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84 V. M. Kulkarni like madhurya (sweetnegs), vyttis (dictions) like upanagarika (the cultured) and ritis like vaidarbhi. They fail to notice the central essence of kavya as their attention is concentrated for all practical purposes on its 'body-the outward expression or externals of poetry, viz sabda (word), and artha (sense). Certain forms of these are regarded as dosas and certain others as gunas; and they hold that what confers excellence og poetry is the absence of the one and the presence of the other. No doubt, there are minor differences in certain matters among these alamkarikas. For instance, some like Udbbat, make no distinction between gunas and alamkaras. Vamana, however, makes a clear distinction between them. Dandia defines and distinguishes between the Vaidarbha and the Gaula styles Bhamaha holds that there are no such two distinct styles. These and such other minor differences apart, these alamkarikas reveal cognate ways of thinking. We may therefore regard them as, on the whole, representing the first stage in the growth of literary criticism and aesthetics. It is Anandavardhana, the author of Dhvanyaloka, ao epoch-making work, who completely revolutionized the Saaskrit poetics and aesthetics by his novel theory that dhvani (suggestion) is the soul of poetry-the vary essence of creative literature. This novel theory he ha formulated and clearly expounded for the first time. His statement in the opening Karika "IETETICHT saraftfa : Fatratage:" : is not to be taken'literally. Ho makes this state pent with a view to investing it with authority.1 He distinguishes between two kinds of meaning-the vacyartha (including the (1) There are two clear indications in the text of Dhvanyaloku. itself which prompts one to take this view: (i) aNIyasobhirapi cirantana kAvyalakSaNavidhAyinAM buddhibhiranunmIlitapUrva' (tasya dhvaneH 2697) -Dhy. Vitti on I.1, p. 35 And, further on, (towards the end of the third Uddyota), we have the following Karika (ii) 37892efta #15i, afaha a azaknuvadbhiAkatu, rItayaH sNprvrtitaaH|| -DHV. III-46 This is a clear reference to Vamana (who flourished about 800 A.D.) who speaks of riti as the very essence of poetry and describes the three wellknown ritis, Anandavardhana's literary activity lies, according to Kane, between 860-890 A.D. As there is hardly a gap of about 60 years between Vamana and Anandavardhana, and as we do not know of any authors who flourished during this span of 60 years and wrote about 'dhvani as kavyasya atma' we are justified in saying that the Dhvanikara made this statement with a view only to investing Dhvani with authority. For Personal & Private Use Only

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Sanskrit Aesthetics laksyartha or gaunartha) and the vyangyarth the expressed or denoted meaning and in dicated meaning on the one hand and the suggested meaning on the other and holds that the expressed meaning (as well as the indicated meaning) and the words in which it is clothed, constitute the mere body of kavya. They together are the outward embodiment of the suggested meaningthe outward element of kavya and not its inner soal-feeling or emotion. He attempts to estimate or judge the worth of a poem by reference to this central essence rather than to the expressed meaning. The words and the expressed meaning are really speaking, external features but these alone appealed to the earlier writers on poetics. They misjudged the true importance of the central essence of poetry and assigned to it a subordinate place.2 Anandavardhana concentrates his attention on the suggested meaning which forms the real essence of poetry. Whatever in sound (word) or sense subserves the poetic end in view (rasa, bhava, etc.,) is a guna; whatever does not, is a dosa. Dosas and gunas are relative in character. There is no absolute standard of valuation for them. They are to be judged only in reference to the inner or suggested meaning which for is the poetic ultimate. The suggested meaning is threefold : 1 a bare idea, fact (vastu) 2 a figure (alamkara) and 3 rasa, bhava and the like. If the earlier or older alamkarikus concentrated on an analysis of the outward expression of kavya, Anaadavardhana occupied himself with what this expression signifies or suggests. The expression is important to him as saly a means of pointing to the suggest.d meaning. Apandavardaina's theory of rasadi-dhvani exacily corresponds to the Upadisadic doctrine of atman. The earlier alamkarikas mista' e the body (sarir a) of poetry for its soul (atman) - the externals of true poetry for its essence. Poetry Versus Philosophy : The alamkarikas often draw our attention to the dichotomy or distinc. tion between poetry and philosophy. We have the oft-quoted verse from Bha maha on this distinction : - gurUpadezAdadhyetu zAstraM jaDadhiyo'pyalam / kAvya tu jAyate jAtu kasyacit pratibhAvataH / / - Kavyalankara 1.5 2. iha hi tAvad bhAmahodbhaTaprabhRtayazcirantanAlaGkArakArAH pratIyamAnamartha vAcyopaskAratayAlaGkAra kakSanikSiptaM manyante / . ...tadevamalaGkArA eva kAvye pradhAnamiti prAcyAnAM matam / Alamkarasarvasva pp. 3-7 For Personal & Private Use Only

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85 V. M. Kulkarni "Byen a stupid man can learn the fastra - philosophy from the teachings of his teacher. But poetry is only given to the person who has imaginative (or creative) genius - pratibha and that only once in a while." Another well-kaowa verse, probably from Bhattatauta's Kavyakautuka, now lost, clearly distinguishes between sastra and kavya, Philosophy and Poetry : dve varmanI girAM devyAH, zAstraM ca kavikarma ca / prazopajJa tayorAdya, pratibhodbhavamantimam // "There are two paths of th: goddess of speech : 012 is the sastra (philosophy) and the other is kavikarma (poetry). The first of the.e arises from intellectual ability (prajna) and the second from genius (pratibha). He (Bhattatauta) also refers to the twofold gift of the poet, of seeing visions of striking beauty (dar Sana) and of communicating to others through appropriate laog sage the visions he sees. Rudrata defines fakti which is synonymous with Pratibha as follows : manasi sadA susamAdhini visphuraNamanekadhAbhidheyasya / akliSTAni padAni ca vibhAnti yasyAmasau zaktiH / / Kavyalamkara 1.15 "Sakti is that whereby in a mind, that is free from distractions, subjects of description always flash and words that are perspicuous shine forth." Rajasekhara defines pratibha as : yA zabdagrAmamarthasArthamalaMkAratantramuktimArgamanyadapi tathAvidhamadhihRdayaM pratibhAsayati sA gfahr! "Pratibha is that which causes to appear in the mind (of the poet) appropriate words, meanings or ideas, alamkaras, diction and style(uktimarga) and other similar things as well." He divides pratibha into two kinds : Creative (karayitri - that with which poets are gifted) and apprecitative (bhavayitri - which belongs to sahsdayas, sensitive and sympathetic critics or readers) Abhinavagupta quotes the following definition of pratibha : pratimA apUrvavastunirmANakSamA prajJA / For Personal & Private Use Only

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Sanskrit Aesthetics "(Creative) imagination is that form of intelligence which is able to create new things." He further adds "the speciality of a great poet's creative imaginstion consists in the ability to produce poetry that is en. dowed with beauty and clarity dus to the onrush of emotional thrill in the heart." Elsewhere he defines fakti in almost identical terms: zaktiH pratibhAnaM varNanIyavastuviSaya nUtanoslekhazAlizyam / The most famous definition of pratibha occurs in the following passage quoted by Vidyacakravartin, in his Sampradayaprakasint: smRtirvyatItaviSayA matirAgAmigocarA / buddhistAtkAlikI proktA prajJA traikAlikI matA // prajJA nayanabollekha (pA. bhe. tadanuprANanA jIvadvarNanAnipuNaH kaviH // tasya karma smRtaM kAvyam / navonmeSa) zAlinI pratibhA matA / 87 "Smrti is that which refers to an object of the past. Mati refers to something that is still in the future. Buddhi deals with that which is present and prajaa belongs to all the three times (past, present and future). Pratibha is that (form of) intelligence which shines with ever new scintillations, that is, which presents ever fresh delineations or pictures of the matters to be described with 'ullekha' or ever fresh flashes of ideas (with 'unmeza")." Mahimabhatta describes the nature of pratibha in a striking manner: rasAnuguNazabdArthacintAstimitacetasaH / kSaNa svarUpasparzotthA prajJeva pratibhA kaveH // sA hi cakSurbhagavatastRtIyamiti gIyate / yena sAkSAtkaretyeSa bhAvAMstrailokyavartinaH // Vyaktiviveka II 117-118 "Pratibha is tha: intellectual function of the poet whose mind is concentrated (or fixed) on thinking about words and meanings that are appropriate to rasa (to be portrayed in the poem). It arises for a moment from the contact of the poet's mind with the essential nature (of his own Atman)". "It is that which makes the things that exist in all the thres worlds seem as if they were right before one's very eyes, and hence it is known as the third eye of Siva." For Personal & Private Use Only

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V. M. Kulkarni 19 brief, "pratibha is that power whereby the poet sees the subjects of his poem as steeped in beauty and gives to his readers in appropriate language a vivid picture of the boa aty he has seen. It is a power whereby the poet not only calls up in his reader's heart the impressions of past experiences, but whereby also he presents ever new, wonderful and charming combinations and relations of things never before experienced or thought of by the plain or ordinary map. A poet is a seer who sees visions and possesses the additional gift of conveying to others less for tunate through the medium of language the visions he has or the dreams he dreams."'1 W. have dwelt on pratibha for long for the simple reason that it is regarded if not universally, generally, as the sole cause of poetry. Whatever is touched by the magic wa ad-power of pratibha becomes a-laukika, sui generis, unique; the world of Beauty, the poet's creation is altogether different and distinct from our everyday world. What renders the poet's creation unique is his pratibha. In other words, creative literature whose ball-mark is originality is the art of pratibha (genius). And by extension we might as well say that like Creative Literature, Architecture, Sculpture, Painting, Music and Dancing are also the arts of pratibha. Pratibha is undoubtedly as already said, the sole cause of poetry but to appreciate this poetry you require a reader who is also gifted with pratibha. Abhinavagupta recognises this affinity of nature between the poet and the reader of poetry wben he declares in the mangala sloka at the commencement of Locana : sarasvatyAstasvaM kavi-sahRdayAkhyaM vijayate / "Victorious is the essence of speech called Kavi-sahrdaya, (the inevitable pair iavolved in all aesthetic activity) 'the poet, the artist and the dis. boraiaenjoyer, the critic' (it is equally possible to understand the com. pound Kavi-sahrdaya as meaning the creator-enjoyer, the poet, who himself is the disceraing reader)." It is on the basis of this affinity most probably that Bhatta Nayaka explains that appreciation of poetry is esse atially the same as the creation of it : nAyakasya kave: zrotuH samAno'nubhavaH / / of the pair, the word sahsda ya cannot be easily rendered in English. I literally means 'one of similar heart' 'one who is of the same heart', of like heart with the poet.' It may be taken to signify a person whose T Kane's 'History of Sauskrit Poetics'. (pp. 334-35) For Personal & Private Use Only

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Sanskrit Aestheties insight into the nature of poetry is, in point of depth, next only to that of the poet. Abhinavagupta thus defines the sahrdayas: "Those people who are capable of identifying with the subject-matter, as the mirror of their hearts has been polished through constant repetition and study of poetry, and who sympathetically respond in their own hearts-those (people) are known as sahrday as sensitive, sympathetic and responsive readers spectators." yeSAM kAvyAnuzolanAbhyAsavazAdvizadIbhUte manomukure varNanIyatanmayI bhavanayeogyatA se svahRdayasaMvAdabhAjaH sahRdayAH / -Locana pp. 38-39 We thus find what place of supremacy pratibha enjoys in the realm of creative literature, one of the fine arts and we might go a step further and assert, in the sphere of all the fine arts. Poets on the Nature of Beauty: Every one of us is familiar with the two oft-quoted subhasita type slokas : kimapyasti svabhAvena sundaraM vApyasundaram | yadeva rocate yasmai bhavettattasya sundaram || And, dadhi madhuraM madhu madhuraM drAkSA madhurA sudhApi madhureva / tasya tadeva hi madhuraM yasya mano yatra saMlagnam / "There is nothing in the world which is inherently beautiful or ugly. A thing which one likes becomes a thing of beauty to him." And, "Curds is sweet or pleasant or agreeable to taste, so is honey, so are grapes and so too nectar. Of these pleasant or agreeable things that thing alone, to which he is attached, is a pleasant or agreeable thing to him." Again, taM ciya paramatyeNaM ramaNijjaM jattha hiyayavIsAmo | harisaMti asoyalayA jeNa pAyappahArehiM // [ tadeva paramArthena ramaNIyaM yatra hRdayavizrAmaH / hRSyanti azokalatAH yena pAdaprahAraiH // ] c9 Sambodhi XI-12 -- Ramacandra: Mallikamakaranda III. 2 For Personal & Private Use Only .

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90 V. M. Kulkarni "What affords aesthetic repose is alone really beautiful. For, the As ka trees are pleased-thrilled with rapture-and put forth flowers)-by leiclas (from beautiful young women)." and, yad yasya nAbhirucitaM na tatra tasya spRhA manoze'pi / ramaNIye'pi sudhAMzI na nAma kAmaH sarojinyAH // -Ramacandra : Mallikamakaranda V. 4 "What is not agreeable to one, one has no longing for it although it be beautiful. Sarojini (a lotus flower) does not indeed covet the (nectarrayed) moon-although beautiful." These poets want to drive home the truth, as they see, that beauty is not a natural quality of things - not a physical character of things like their size or weight or movement, not a property of things independently of ns. It is a property leat them by the human mind. In other words, they, it would seem, support the view that beauty is subjective. But the charming subhasita-like a rthantaranyasas such as Bhasa's G ATISFACTA as an AIA (Beauty gladdeos every eye). -Svapnavasavadattam II (p. 16), G. K. Bhat's edn. Kalidasa's kimiva hi madhurANAM maNDanaM nAkRtInAm / - sakuntata I. 20 d Bbaravi's na ramyamAhAryamapekSate guNam / -Kirata. IV. 23 What is beautiful needs no external beauty-aid. Magha's ramyANAM vikRtirapi zriyaM tanoti / - Sisupalavadha VII. 5 Or Kalidasa's statement in Malavikagnipitra : aho sarvAsvavasthAsu cArutA zobhA puSyati / -- (IT 5 For Personal & Private Use Only

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Sanskrit Aesthetics 91 "Beauty under all conditions develops fresh charms. In every posture, the beauty of the form is always seen at an advantage." Or Bhartphari's observation in his Sungarasataka (v 40) : lokeSu saptasvapi tathyametat nAnyanmanohari nitambinIbhyaH / "I truly swear that in all the seven worlds there is nothing more beaut ful thao nitambinis (women with large and handsome hips), lovely women." Magha describes the oature of ramaniyata (Beauty) in his famous line : kSaNe kSaNe yannavatAmupaiti tadeva rUpaM ramaNIyatAyAH / - sisu. IV. 17 "Evernew winsomeness is the essential characteristic of beauty." In other words, Beauty is what reveals or presents ever new aspects every. time it is contemplated. These arthantaranyasa-type statements, it would seem, support the view that beauty is objective. Now let us consider the view, that ala mkarika-s take of beauty. Alamkarikas on the Natue of Beauty : To the older alankariks (literary critics, thinkers) like Bbamaha, Udbhata, Rudrata who pame their works as Kavyalaskara, alamkara is a beautiful expression, the distinguishing feature of poetry. According to them, even the rasas subserve beauty of expression. Dandin, although he calls his work Kavyadarsa, 'Mirror of Poetry', pays the greatest tribute to alamkara when he unequivocally declares : yacca sandhyaGgavRttyaGgalakSaNAdyAgamAntare / vyAvaNitamidaM ceSTamalakAratayaiva naH // -Kavyadarsa II. 367 Bhoja, after Dandin, considers guna-s, alamkara-s, riti-s, vitti-s, sarndhi-s, laksana-s, rasa-s, language, metre, form of composition, namely epic, drama, etc., as alamkara. Kuntaka, who describes his work as Kavy. alamkara, regards his vakrokti as continuation of alamkara. It is Vamana who names his work Kavyalamkara-sutra, and who follows Dandin, realises the full significance of the term alamkara aod says explicitly : For Personal & Private Use Only

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92 'Alamkara is Beauty." V. M. Kulkarni saundaryamalaGkAraH / - 1.1.2 So, Sanskrit Alamkara-fastra (Sanskrit Poetics) in a sense-in a very limited sense-would correspond to the Western name Aesthetics-which embraces the critical appreciation of literature and other fine arts including sculpture, painting and music. The words for beauty are saundarya, camatkara, carutva, fobha, ra manyata. The words vicchitti, vaicitrya and vakrata finally mean beauty. Anandavardhana uses very often the word caru for the beautiful and Abhinavagupta frequently uses the words caru, sundara, and saundarya with reference to poetry in his commentary Locana on Anandavardhana's Dhvanyaloka. Anandavardhana and Abhinavagupta say explicitly that what makes a poem is 'beauty' and not merely dhvani (although dhvani is called the essence, the soul of poetry). In the course of his Vrtti on III.33 Anandavardhana says that the suggestiveness intended by him, namely that which is a real source of beauty-that which can afford aesthetic repose (to the reader) is not present in such examples as gangayam ghosah agnir manavakah and 'manicah krosanti' (Cots cry) because they do not possess sufficient beauty-they are not sources of beauty. Thus what is essential to poetry is the creation of beauty. Abhinavagupta fully agrees with Anandavardhana when he says: nanu vyaJjakatvena kathaM zUnyA guNavRttirbhavati yataH pUrvamevoktam- " mukhyAM vRddhiM parityajya " ( 1.97, pR. 148) iti / na hi prayojanazUnya upacAraH prayojanAMzanivezI ca vyajanavyApAra iti bhavadbhirevAbhyaghAyItyAzaGakvAbhimataM vyaJjakatvaM vizrAntisthAnarUpaM tatra nAstItyAha -Locana p. 432 'Objection: How can there be a secondary use of words without suggestion, for earlier you yourself said 'mukhyam vettim parityajya' etc. There is no secondary usage of words without a purpose, and you yourself have said that the function of vyanjand is always responsible for conveying the element in the form of the purpose (of the secondary usage). In order to answer this objection, Anandavardhana says that the suggestiveness intended by him, namely that which can afford aesthetic repose (to the For Personal & Private Use Only

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Sanskrit Aesthetics 93 reader) is not present in such examples as gangayam ghosah and agnir manavakah) (because they do not possess sufficient beauty).' Earlier, while commenting on Dhyan yaloka I.1 Abhinavagupta has already said : atiramaNIyam iti bhAktAd vyatirekamAha-na hi siMho baTuH, 'gaGgAyAM ghoSaH' ityatra ramyatA kAcit / -Locana p. 37 Dhvani is essentially extremly lovely-beautiful. And this essential feature of dhvani distinguishes it from secondary usage. For in the examples of secondary usage like 'Thu b@y is lion', 'There is a settlement of cowherds on Ganga', there is no beauty at all.' Again in the course of commenting on Dhvan ya loka I. 13 (p. 105) Abhinavagupta notes that beauty is really essential to poetry : yaccokta 'cArutvapratItistahi kAvyasyAtmA syAt' iti tadaGgIkurma eva / nAmni khalvayaM vivAda iti / -Locana p. 105 As for what has been said (by a critic) : Then the perception of beauty will be the soul of poetry,' we actually accept this. The only dispute-between you and us is about the name (namely, whether to call this carutva-pratiti or to call it dhvani. Abhinavagupta asserts : . cArurUpaM vizrAntisthAnam , tadabhAve sa vyaJjakatvavyApAro naivonmIlati, pratyAvRtya vAcya eva vizrAntaH, kSaNadRSTanaSTadivyavibhavaprAkRtapuruSavat / -Locana p. 433 Beautiful means 'that which gives rise to aesthetic repose.' In its absence the function of suggestion does not unfold itself, because, recoiling backwards, it comes to rest in the literal sense itself (i.e. it spends its power in justifying the literal sense). It is like a man who sees heavenly wealth for one moment only, and the next moment it is gone.' These passages from Locana incidentally provide us with Abhinava. gupta's definition of beauty in the context of poetry, one of the fine arts : Beauty is that which gives rise to aesthetic repose. This definition could be made applicable to other fine arts as well. For Personal & Private Use Only

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94 V. M. Kulkarni Jagandatha defines poetry as followes : ramaNIyArthapratipAdakaH zabdaH kAvyam / ramaNIyatA ca lokottarAilAdajanakajJAnagocaratA / lokottaratvaM cAhUlAdagataH camatkAratvAparaparyAyaH anubhavasAkSiko jAtivizeSaH / -Rasagangadhara (Kavyamala, edn., p. 4) And, in his treatment of the figure upama he says: saundarya ca camatkArAdhAyakatvam / camatkRtirAnandavizeSaH sahRdayahRdayapramANakaH / -p. 157 Jagannathi's view about bea aty may be stated in simple language as follows: Beauty (ramanzyata or saundarya) produces non-worldly, extraworldly (different from our everyday worldly experiece) aesthetic delight. Camat. kara or camatasti is another name for this non-worldly(aesthetic) delight. This delight is directly experienced by the sensitive, sympathetic and responsive reader-spectator-sahrdaya. So according to Jagannatha, Beauty is what produces aesthetic delight (when the sensitive reader or spectator contemplates on it or wrontally views it or gazes upon it.) This definition deserves conparis n with the definition of Thomas Aquinas : '. "Beauty is what pleases in the mere contemplation."(3) . The view of Anandavardhana and Abhinavagupta as to whether beauty is subjective or objective : A perusal of relevant passages from Dhvanyaloka and Locana, it would seem, does not support either of the two views about beauty. These passages are collected here below for ready reference. (i) yathA hyaGganAsu lAvaNyaM pRthaGa nirvarNyamAnaM nikhilAvayavavyatireki kimapyanyadeva sahadayalocanAmRtaM tattvAntaraM tadvadeva so'rthaH / -Vitti on DHV 1.4 lAvaNyaM hi nAmAvayavasaMsthAnAbhivyaGgyamavayavavyatiriktaM dharmAntarameva / na cAvayavAnAmeva nideSitA vA bhUSaNayogo vA lAvaNyam, pRthaGanirvarNyamAna kANAdidoSazUnyazarIrAvayavayoginyAmapya: (3) Tne Theory of Beauty by E.F.Carritt, University paperbacks, Methuen : London, p. 6 For Personal & Private Use Only

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Sanskrit Aesthetics 95 lakRtAyAmapi lAvaNyazUnyeyamiti, atathAbhUtAyAmapi kasyAJcillAvaNyAmRtacandrikeyamiti sahRdayAnAM vyavahArAt / -Locana pp. 49-50 That the suggested sense exists over and above the denoted sense is brought out with a happy simile here (Dhvanyaloka I.4). The incomparable beauty in women is quite distinct from the beauty of individual limbs, natural as well adorned; it delights-gives pleasure to a sahrdaya, a rasika, a man of taste-a connoisseur (a critical judge) of beauty. Here we clearly see that beauty is spoken of as a quality of women: and it causes pleasure to the perceiver-- sahrdaya. (ii) alaGkAro hi cArutvahetu: prasiddhaH, na tvasAvAtmaivAtmanazcArutvahetuH / / -Dhvanyaloka II p. 197 . upamayA yadyapi vAcyo''laMkriyate, tathApi tasya tadevAlaMkaraNaM yad vyaMgyArthAbhivyaJjana sAmarthyAbhidhAnamiti vastuto dhvnyaatmaivaalNkaaryH| kaTaka-keyUrAdibhirapi hi zarIra-samavAyibhizcetana Atmaiva tattazcittavRttivizeSaucitya sUcanAtmatayAlakriyate / tathAhi-acetanaM zavazarIraM kuNDalA do.. tamapi na bhAti, alaMkAryasyAbhAvAt / yatizarIraM kaTakAdiyukta hAsyAvahaM bhavati, alaMkAryasyAnocityAt / na hi dehasya kiJcidanaucityamiti vastuta AtmaivAlaGkAryaH ahamalakRta ityabhimAnAt / -Locana p. 198 Hore Adandavardhana asserts that an alankara (like upama) is univer. sally known as the source of beauty. All alamkuras truly become so if they are used as subservient to rasa etc., which is the very soul (or the essence) of kavya. Abhinavagupta comments on this as follows "Upama, embellishes the literal sense. However this literal sense, hen endowed with excellence by upama (or any other alamk ra), serves to suggest (rasadi-) dhvani. So really speaking the dhvani-atma is alamkarya. The ornaments like bracelet, keyura, etc., when put on one's person embellish the sentient person by suggesting his particular mental condition-appropriate or inappropriate. For instance, a dead body when decorated with alamkaras does not shine as the soul has departed from the body. An ascetic if he puts op ornaments such as a bracelet of gold etc., becomes a laughing-stalk, as in his case the mental condition of a lover, is inappropriate. As far as the body is concerned the question of propriety or impropriety does not For Personal & Private Use Only

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96 V. M. Kulkarnt arise. It is, therefore, one's self alone that is alamkarya as one proudly feels I am splendidly decorated." (iii) ...vyaGgyAMzasaMsparze sati cArutvAtizayayogino rUpakAdayo'laMkArAH sarva eva guNIbhUtavyaGgyasya mArgaH / guNIbhUtavyaGgyatvaM ca teSAM tathAjAtIyAnAM sarveSAmevoktAnuktAnAM sAmAnyam / -Dhvanyaloka III. p. 472 tathAjAtIyAnAm iti cArutvAtizayavatAm / tad viniyukta rUpaM na tatkAvye'bhyartha - yam / upamA hi 'yathA gaustathA gavayaH ' iti / rUpakaM 'khalevAlI yUpa' iti / ... atizayoktiH 'samudraH kuNDikA' iti / ... vyaGgyasya ca cArutvaM rasAbhivyaktiyogyatAtmakam, rasasya svAtmanaiva vibhAntidhAmna AnandAtmakatvam / -Locana pp. 472-73 Here Anandavardhana and Abhinavagupta clearly point out that the figures like upama, rupaka, etc., must possess the characteristic of beauty (caruta). If they are devoid of this element of beauty they have no place in poetry. Poetry attains beauty when it embodies suggested sense in the form of rasa; this rasa consists of pure pleasure, joy, or delight and it (alone) affords aesthetic repose or restful joy (visranti-dhama). 2 (i) vastucArutvapratItaye svazabdAnabhidheyatvena yat pratipAdayitumiSyate tad vyaGgyam | na sarva guNavRtterviSayaH prasiddhayanurodhAbhyAmapi gauNAnAM zabdAnAM prayogadarzanAt / ... -Dhvanyaloka III. 33-34, p. 426 (ii) vyaJjakatvaM ca yatheAktacArutvahetu vyaGgyaM vinA na vyavatiSThate / guNavRttistu... saMbhavati, yathA- tIkSNatvAdagnirmANavakaH', AhlAdakatvA'ccandra evAsyA mukham' ityAdau / ... guNavRttiH cArurUpavyaGagyapratItiM vinApi saMbhavatyeva, yathA-maJcAH krozantItyAdau viSaye / -Dhvanyaloka III. 33-34, pp. 432-433 na hi prayojanazUnya upacAraH... abhimata vyaJjakatva vizrAntisthAnarUpaM tatra nAsti...cArurUpaM vizrAntisthAnaM, tadabhAve sa vyaMjakatvavyApAro naivonmIlati, pratyAvRttya vAcya eva faena:.... -Locana pp. 432-433 Anandavardhana and Abhinavagupta say explicitly that beautiful suggested sense, which affords aesthetic repose, alone makes a poem. In other words, cre ation of beauty is essential to poetry. And earlier in the course of his commentary on DHV I.13, Abhinavagupta accepts the position that the perception of oxity is the soal of poetry: For Personal & Private Use Only

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Sanskrit Aesthetics 97 yaccoktam--'cArutvapatItistarhi kAvyasyotmA sthAt' tadaGgIkurma egha / nAmni khalavayaM vivAda iti / -Locana, p. 105 Now, carutva-pratiti (perception of beauty) Presupposes the existence of objective beauty due to a beautiful suggested sense and its perception or cognition by a sahrdaya. ( 3 ) zaGgAra eva madhuraH paraH prahalAdano rasaH / tanmayaM kAvyamAzritya mAdhurya pratitiSThati // -Dhvanyaloka II. 7 rato hi samastadevatiyanarAdijAtiSvavicchinnaiva vAsanAsta iti na kazcittatra tAdRgyo na na hRdayasaMvAdamayaH yaterapi hi taccamatkAro'styeva / ata eva madhura ityuktam / madhuro hi zarkarAdiraseo vivekino'vivekino vA svasthasyAturasya vA jhaTiti rasanAnipatitastAvadamilaSaNIya eva bhavati / -Locana p. 205 In these passages sprgara-rasa is said to be sweet and the source of the highest aesthetic pleasure. Even an aseetic (who has renounced all worldly things) enjoys and appreciates a poem imbued with the erotic sentiment. (4) na hi vItarAgo viparyastAn bhAvAn pazyati / na hayasya vINAkvaNitaM kAkaraTita kalpa pratibhAti / - -Locana p. 488 When Abhinavagupta says : "For it is not true that a man without passion must see things topsy turvy. If he hears the sounds of a lute. he does not after all think that he has heard the raucous (harsh sounding) crowings of a crow," he implies that the sounds of a lute are inherently beautiful, and that they are also perceived as beautiful even by a passionless ascetic." 15) naiva tatra rasapratItirasti yathA pAkAnabhijJasUdaviracite mAMsapAkavizeSe / nanu stusaunda ryAdavazyaM bhavati kadAcittathAsvAdo'kurAlakRtAyAmapi zikhariNyAmiva ityAzakyAha...ajJakRtAyAM ca zikhariNyAmaho zikhariNIti na tajjJAnAccamatkAraH, api tu dadhi-guDa-maricaM caitadasamajasayojitamiti vaktAro bhavanti / -Locana, pp. 496-497 Following Bharata, who brings in the analogy of sadava beverage and gourmet (fastidious eater) savouring tasty food, Abhioavagupta speaks bere Sambodhi XI-13 For Personal & Private Use Only

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98 V. M. Kulkarni of a meat-dish (mamsapaka-videsa), prepared by an unskilled cook, and of fikharin which might be inherently beautiful (i.e. delicious). All the above passages speak of a sahrdaya who perceives beauty. that is a property or quality of things-thus attesting to the self-evident truth that it takes two, a subject and an object, to make beauty. So, according to these Sanskrit theorists, Beauty is, by nature, subjective-cum. objective: In other words, perception of beauty is a bipolar phenomenon, being the result of the operation of a highly responsive, sensitive mind on an inherently beautiful thing. Sanskrit theorists, it would seem, support Alexander who wrote: "Some there are who believe beauty to be a character which belongs intrinsically to the beautiful object and is merely observed or discovered by us."(4) As against this we have the statement by Lipps: "Aesthetic pleasure is an enjoyment of our own activity in an object." The two views seem mutually exclusive. But they can be harmonised. To the extent that the power to yield delight is the generic quality of objects of art, it seems to be an objective feature. But delight is an inward reality in the relisher (the sahrdaya) .. Beauty is objective when the beautiful object can evoke delight again and again. But the individuals who confront it should have the right sensibility."(5) Disinterested relishing of the rasa which the poet has embodied in a poem is possible for a sahrdaya since there is the basic identity of human nature between individuals-here the poet and the reader of like heart with the poet. Admittedly, sensitivity or poetic sensibility varies widely between individuals but the reaction and experience of all true sahrdayas, when they enjoy disinterestedly the aesthetic emotion, is almost identical and this proves indisputably the objective nature of beauty. The Nature of Rasa: Now, the greatest source of beauty in literature, is, according to Anandavardhana and Abhinavagupta, the depiction-portrayalof emotional situation which gives a sahrdaya higher pleasure, aesthetic rapture of rasa. The word 'rasa' primarily means "taste" or "savour", such as sweetness; and by a metaphorical extension, it has been applied to aesthetic experience. The point of the metaphor is that, as in the case. of a taste like sweetness, there is no knowing of rasa apart from directly experiencing it. Rasa experience is predominantly emotional. It naturally differs according to the specific kind of emotion portrayed-love, sorrow, (4) Alexander Beauty and other Forms of Value (5) Sanskrit poetics A Critical And Comparative Study by Krishna Chaitanya, Asia Publishing House, Bombay, 1965, p.55, For Personal & Private Use Only

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Sanskrit Aesthetics 99 fear, wonder and the like. Rasa is, however, in its intrinsic nature, but one and its so called varieties are only different forms of it due to a difference in their respective psychological determinants. In its fundamental character rasa signif:s an emotion, experienced by itself, transcending the subject-object relation. Rasa experience consists in an ideal revival, kindling up or wakiog to life in the reader's mind of an emotion like the one depicted in the poem which lies latent in the sahtdaya. Being a revival it necessarily goes back to his past experience. This past experience serves merely as the centre round which the reconstruction takes place. He ipaginatively reproduces or reconstructs in his mind the whole situation as it has been depicted by the poet and enjoys it. In this aesthetic experience the reader or speciator forgets himself altogether; and he will be aware then of nothing beyond the object or the situation portrayed by the poet; and he rises above the duality of pain ard plea. sure and experiences 'higher pleasure', pure joy or delight. Abhinavagupta provides a philbsophical foundation for this theory of rasa. "Reduced to its bare essentials the theory is as follows : watching a play or reading a poem for the sensitive reader (sahtdaya) entails a loss of the sense of present time and space. All worldly considerations for the time being cease. Since we are not indifferent (tatastha) to what is taking place, our involvement must be of a purer variety than we nor. mally experience. We are not directly and personally involved, to the usual medley of desires and anxieties dissolve. Our hearts respond sympathetically (hrdayasamvada) but not selfishly. Fically the response becomes total, all-engrossing, and we identify with the situation depicted (tanmayibhavana). The ego is transcended, and for the duration of the aesthetic experience, the normal waking "I" (aham) is suspended. Once this actually happens, we suddenly find that our responses are not like anything we have hiterto experienced, for now that all normal emotions are gone, now that the hard knot of "self-pess" has been untied, we find ourselves in an unprecedented state of mental and emotional calm. The purity of our emotion and the intensity of it take us to a higher level of pleasure than we could know before-we experience sheer undifferentiated bliss (anandaikaghana)." (6) And this absorption results in the aesthetic rapture of rasa. Emotions : The Content of Kavya : "Anandavardhana says in the third Uddyota : (6) Santarasa and Abhinayagupta's philosophy of Aesthetics, Introduction (p vii), by J. L. Masson and M. V. Patwardhana, Bhandarkar Oriental Research Institute, Poona, 1969. For Personal & Private Use Only

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100 V. M. Kulkarni "In the province of kavya where we perceive suggested sense, the notions of satya (truth) and asatya (falsehood) are meaningless. To examine kavya through the well-known pramanas (means of valid knowledge) would simply lead to ridicule." kAvyaviSaye ca vyaGgyapratItInAM satyAsatyanirUpaNasyAprayojakatvameveti tatra pramANAntaravyApAraparIzepahAsAyaiva saMpadyate / -Locana p. 455 He means to say that things in kavya have no place in the everyday world of space and time, and wing to this lack of ontological or physical status the question of reality or upreality does not apply to them. That bowever does not mean they are unreal. In fact, the distinction of existence or non-existence does not at all arise in th: ircase. Abhinavagupta elucidates this passage of Anandavardhana by citing a dissimilar example (vaidharmya-drstanta): We are not to examine these statements in kavya as to whether they are true and consider whether they command us to do something as the Vedic sentences enjoining agnistoma sacrifice do. They simply directly contribute to giving aesthetic delight and only indirectly to refining or influencing our character and culture of miod and heart). It is essentially of the nature of alaukika camtk ara. na hi teSAM vAkyAnAmagniSTomAdivAkyavatsatyArthapratipAdanadvAreNa pravartakatvAya prAmANyamanvidhyate, prItimAtraparyavasAyitvAt / prItereva cAlaukikacamatkArarUpAyA vyutpattyaGgatvAt / etacoktaM vitatya prAk / upahAsAyaiveti-nAyaM sahRdayaH kevalaM zuSkatarkopakramakarkazahRdayaH pratIti parAmaSTuM nAlamityeSa upahAsaH / - Locana, p. 455 It is evoked in a reader when a vastu or alamkara or rasadi is/are portrayed by the poet in bis kavya. The rasadi-dhvani is given the place of supremacy as it is the source of the highest delight next only to that of Brahma-realisation. Naturally, emotions are the central theme and content of kavya according to both Ajandavardhana and Abhinavagupta, the two greatest aestheticians India has so far produced. Dhvani : The Method of Kavya : Anandavardhana regards "Sabdartbau" (word and sense) as only the outer vesture of kavya and emotion as its atman'. Now emotions are never conveyed by the mere naming of them. They can be conveyed or communicated only indirectly through an appropriate portrayal of their causes and effects. This indirect method of conveying emotions and feeling For Personal & Private Use Only

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Sanskrit Aesthestics 101 is called 'dhvani' (suggestion, suggestiveness). This method is extended to two other spheres of theme and content of kavya. viz vastu (a fact, a bare idea) and alamkara (figure of speech) Both vastu-dhvani and alamkara -dhvani can be paraphrased but rasadi dhvani can never lend itself to paraphrase. The beauty lent by suggested sense is the greatest alamkara oi poetic speech just like bashfulness of womeo. (i) tRtIyastu rasAdilakSaNaH prabhedo vAcyasAmarthyAkSiptaH prakAzate, na tu sAkSAcchandavyApAraviSaya iti vAcyAd vibhinna eva / -Dhvanyaloka, p. 80 vastvalaMkArAva pe zabdAbhidheyatvamadhyAsate tAvat / rasabhAvatadAbhAsatatpazamAH punarna kadAcidabhidhIyante, atha cAsvAdhamAnatAprANatayA bhAnti / tatra dhvananavyApArAhate nAsti kalpanAntaram / -Locana, p. 78 (ii) mukhyA mahAkavigirAmalaMkRtibhRtAmapi / ___ pratIyamAnacchAyaiSA bhUSA lajjeva yoSitAm / / -Dhvanyaloka II. 37 (iii) pratIyamAnatA chAyA zobhA sA ca lajjAsadRzI gopanAsArasaudaryaprANavAt / [ kAminI kucakalazanidarzanadizA ] -Locana, p. 4.5 Abhinavagupta too upholds this method of dhvani as propounded by Adandavardhana in the course of his exposition he often diaws our attention to 'gopanasarasaundarya'; and in one passage he aptly compares dhvani to a beautiful or noble lady's breasts partly covered or concealed and partly revealed the better to excite curiosity (and passion) tallakSaNAprayojana.. azabdavAcyatvena gopyamAna sannAyikAkucakalazayuga. lamiva mahArghatAmupayad dhvanyata iti / -Locana, p. 138 This simile on account of its inherent beauty and aptness became famous in later alamkara literature. At one place be makes a perceptive remark : what cbarm is there if the sense to be conveyed is directly or openly conveyed by the power of denotation ? zabdaspRSTe'the kA hRyatA / - Locana, p. 138 Anandavardbana boldly declares that dhvani (suggestion) is 'kavyasya atma (the soul, the very essence of poetry, creative literature). It may present itself in the form of vastu or alankara or rasadi. He is perfectly aware of the importarce of rasa-dhvani. But it is Abhinavagupta who For Personal & Private Use Only

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102 V. M. Kulkarni gives it the pride of place and asserts that the othor two dhvanis are only its aspects, and that they are not really valuable in themselves but only in so far as they lead to rasadi-dhvani. ...tena rasa eva vastuta AtmA, vastvalaGkAradhvanI tu sarvathA rasaM prati paryavasyete iti vAcyAduskRSTau tAvityabhiprAyeNa dhvaniH kAvyasyAtmeti sAmAnyenoktam / -Locana, p. 85 Avaadavardhana is perfectly aware of the fact that the hackneyed examples of secondary usage (laksana, and gunavrtti) like 'gangayam ghosak', 'agnir manavakah', 'sinho batuh', although suggest particular purposes, their suggested sense is not so charming or beautiful. vyajakatvaM ca yathoktacArutvahetu vyaGagyaM vinA na vyvtisstthte| guNavRttistu vAcyadharmAzrayeNaiva vyaGgyamAtrAzrayeNa cAbhedopacArarUpA saMbhavati, yathA-tIkSNatvAdagnirmANavakaH, AhalAdakatvAccandra evAsyA mukham ityAdau |...yaapi lakSaNArUpA guNavRttiH sApi...cArurUpavyaGagyapratIti vinApi saMbhavatyeva, yathA-maJcA: krozantItyAdau viSaye / -Dhvanyaloka, pp. 432-:33 Abhinavagupta expards and develops this idea in bis Locana. He insists that the perception of beauty is the salient or charactesistic feature of Kavya. He further adds that the perception of beauty must afford the reader aesthetic repose (visranti-sthana). When commenting on the word (dhvaneh svarupam) atiramantyam7 from Anandavardhana's Vitti he rightly observes : "By this expression he points out the differer ce of dhvani from (and its superiority to) the bhakta (the secondary usage) : There is hardly any beauty in these exam. ples of secondary usage : "simho batuh (the boy is a lion), 'Gangayam ghosah' (there is a settlement of cow herds on the river Ganga)." Why these and such other examples lack beauty and why they do not deserve the title kavya he explains in another passage8 : The Objector : Thus the sentence "the boy is lion" might constitute as the soul in the form of suggestion is present in it. 7. [tasya hi dhvaneH svarUpam...atiramaNIyam ] atiramaNIyamiti bhAktAd byatirekamAha / na hi 'siMho baTuH', 'gaGgAryA ghoSaH' ityatra ramyatA kAcit / Locana, p. 37 8. nanvevaM 'siMho baTuH' ityatrApi kAvyarUpatA syAt dhvananalakSaNasyAtmano'trApi samanantaraM vakSyamANatayA bhAvAt nanu ghaTe'pi jIvavyavahAraH syAt, Atmano vibhutvena tatrApi bhAvAt / zarIrasya khalu viziSTAdhiSThAnayuktasya satyAtmani jIvavyavahAraH, na yasya kasyaciditi cetguNAlaGkAraucityasundarazabdArtha zarIrasya sati dhvananAkhyAtmani kAvyarUpatAvyavahAraH / - Locana, p. 59 For Personal & Private Use Only

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Sanskrit Aesthetics 103 The Siddhantin : If so, you will have to call a jar 'living' for atman which is all-pervasive is also present in it. The Objector : If the soul is possessed of a body endowed with various organs etc., then only it is called 'living' and not any kind of body. The Siddhantin : If the soul of dhyani (suggestion) is invested with a body consisting of words and meanings that are beautiful on account of the presence of gunas (excellences) and alam karas (figures of speech) appropriate to the particular (rasa.) dhvani, then we call those sabda and artha as kavya (fabdar thau kavyam). Aim/s of kavya : Dhvanyaloka werely refers to priti orananda, (aesthetic) pleasure, joy or delight as the unique goal of literature. The discussion of Kalidasa's Kumarasambhava (Canto VIII, Devisambhogavarnana) by Anandavardhana, however, is a pointer to his view that literature (or art as such) cannot be divorced from morality. So one may not be wrong if one were to draw the inference that Anandavardhana believed in prii and vyutpatti (aesthetic pleasure and culture or refinement of character or moral sensitivity or proficiency in the preads of attaining the four goals of human life,) as the twin aims of literature. In contradistinction to Anandavardhana, Abhinavagupta discusses this important issue of aesthetics in his Locana on occasions more than one : While commenting on Bbamaha's verse meaning : "Study of (genuine and) good kavya poetry (literature) leads to fame and delight as well as proficency in the means of attaicing) the four great ends of man and proficiency in the fine arts," Abhinavagupta pronounces his view : The readers of genuine kavya attain vyutpatti and priti (aesthetic delight or pleasure) no doubt, but between them, says Abhinavagupta, aesthetic delight is the chief aim. Otherwise one could pose the question : "Since the Vedas and Smstis which are authoritative like masters (who issue command) and Puranos which advise or guide us like friends (they do not command, only tender advice) these two along with kavya are equally sources of vyutpatti, what is the distinctive feature of kavya leading to the same goal ? As similarity with a loving wife (who successfully persuades her husband to do what she likes keeping her persuasive character concealed from view and providing love's enjoyment) has been recognised as the characteristic feature of kavya, the answer to the above question is that immediate aesthetic pleasure is the major aim of kavya; For Personal & Private Use Only

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104 V. M. Kulkarni and the aesthetic pleasare is also the ultimate fruition of vyutpatti and of karti (fame) too. He emphatically asstris : "Nor are priti and vyutpatti different from one another, for they both have the same source."9 From this discussion of Abhinavagupta it would seem that he does not differ with Anandavardhana as regards the ultimate aim of kavya. He makes explicit what Avandavardhana implies in the course of his discu. ssion of aucity, and of the predominaot rasa of the Mahabharata and the Ramayana (10) 9. (i) tatra kavestAvatkIyApi prItireva saMpAdyA / yadAha --'kIrti svargaphalamAhuH' (vAmana kAvyAlaMkArasUtra 1.1.6-lo. 2) ityAdi / zrotRNAM ca vyutpattiprItI yadyapi staH yathoktam-dharmArthakAmamokSeSu...(bhAmaha-kAvyAlaGkAra 12) tathApi tatra prItireva pradhAnam / ... iti prAdhAnyenAnanda evoktaH / caturvargavyutpatterapi cAnanda eva pAryantikaM . mukhyaM phalam / Locana, pp. 40-41 . (ii) hRdayAnupravezazca rasAsvAdamaya eva / sa ca rasaH caturvargApAyavyutpattinAntarIyakavibhAvAdi saMyogaprasAdopanata ityevaM rasocitavibhAvAdidyupanivaMdye rasAsvAdavaivazyameva svarasabhAvinyAM vyutpattI prayojakamiti prItireva vyutpatteH prayojikA / prItyAtmA ca rasaH......na caite prItivyutpattI bhinnarUpe eva dvayorapyekaviSayatvAt / Locana p. 336 (10) Select References (Note: In preparing this lecture I have freely used the works mentioned below. I gratefully acknowledge my indebtedness to their authors.) 1 Santarasa and Abhinavagupta's Philosophy of Aesthetics by J. L. Masson and M. V. Patwardhan, B. 0. R. Institute, Poona, 1969 2 Aesthetic Rapture (in two volumes) by J. L. Masson and M. V. Patwardhan, Deccan College, Postgraduate and Research Institute, Poona, 1970 3 Art Experience by M. Hiriyanna, Kavyalaya Publishers, Mysore, 1954 4 Studies on Some Concepts Of The Alamkara Sastra by V. Raghavan, The Adyar Library and Research Centre, Adyar, Madras, 1973 (Revised edn.) 5 Sanskrit Poetics by Krishna Chaitanya, Asia Publishing House, ___Bombay, 1965 6 Judgment In Literature, by W. Basil Worsfold, Bedford Street, London, 1917 7 What Is Beauty ? by E. F. Carritt, Oxford, 1932 8 The Theory of Beauty by E. F. Carritt, University Paperbacks, Methuen London. 9 The History of Sanskrit Poetics by P. V. Kane, 3rd edn, Bombay, 1951 10 Saundaryamimamsa (in Marathi) by R. B. Patankar, Mauj Prakashan Griha, Bombay 400 004, 1974 For Personal & Private Use Only

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NUMBER OF PRAMANAS R. D. Hegde The purpose of this monograph is to study the views of the Carvaka thinkers on the number of pramanas, and their refutation by Bhatta Jayanta, the futhor of Nyayamanjari. In India, at the time of Bhatta Jayanta, the Carvakas and the Bauddha thinkers were the prominent rivals of the Nvaya System of Indian Philosophy. Each of them had held its own philosophical views and developed its own epistemology widely differing from one another. Both the Bauddhas and the Carvakas had been vehemently attacking the Nyaya polemics and had kept the Naiyayikas in the place of costa it cafrontation. 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 Bhatta Jayanta through bis Nyayananjari.. Jayanta belongs tothe camp of the ancient Naiyayikas. He flourished a little earlier than the time of Nyaya-Vaisesika 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 pramanas, and their refutation by Jayanta. The main argument of the Carvakas 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 promanas function differently on different occasions. The Carvakas argue by illustrations that one can easily know 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 has closed his eyes. This cognition is not perceptual, for, the visual sense cannot apprehend the objects in the absenco of light. Nor does this cognition emerge by the tactual sense, because the skin which is the organ of touch, cannot touch itself.1 The sense of touch can know whether a stick is straight or otherSambodhi XI-14 For Personal & Private Use Only

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106 R. D. Hegde wise, bat not itself. The senses cannot get the cognition of their own, e.g., the Visual senso cionot produce the cognition of its own pupils. Thus, the kaowledge either of the distance between any two fingers, or that the 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 sucb do not come under the cognition produced either through perception or through inference. Even analogy and verbal testimony cannot produce such c. gnitions; their objects of knowledge are different even according to the Naiyayikas. Hence, the cognition illustrated is entirely different and independent.2 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 lamplight, 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 secognised means of valid knowledge are not competont 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 oltactory sense perceives the fragrance 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 lotuslake. 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 comparison or by the words of a reliable person. Therefore, the For Personal & Private Use Only

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Nnmber of Pramanas 107 knowledge of the existence of a distant lotus-lake is entirely a differeot kind of knowledge produced by an independent means of valid knowledge. 4 Thus, having examined the different illustrations of knowledge, the Carvakas declare that the ascertain ment of the exact nature and number of the means of valid koowledge and their objects, is never possible. The illustrations are provided here by the Carvakas just to how how hard it is to classify the knowledge and their means into any particular number; as the objects of knowledge become more, means too become more.5 Th. Stcherbatsky sums up the Carvaka view as follows : "Herce it is proved by this method that all the accepted teachings about the sources of valid knowledge do not withstand criticism. Once it is seen that the cognition cannot be determined, it follows here from that the processes however conscious, are in reality, mechanical phenomena or Jada".6 As the Carvakas have been taken generally, they have not reviewed the theories of the rival systems superficialiy. Even a cursory study of their commentery available till date on the Lokayata aphorisms of Bphaspati, is enough to prove that the Carvakas had built up their own method of argumentation, and also chat they had interpreted well the Lokayata aphorisms so as to suit their epistemological teachings. Even here, in support of their view that the pramanas are innumerable, the Carvakas trace the origin of their theory in the aphorisms of Bphaspati. Jayanita identifies this camp of the Carvakas sith the Carvakadhurtas or the astute Carvakas. 7 The Carvaka thinkers have interpreted differently the first two apho. risms of Brhaspati, viz., 'now we deal with reality', and 'the realities are innumerable; they are earth, water, fire, air, and so on'.8 To give antiquity to their views the astute Carvakas have deviated from the traditional way of interpreting these two aphorisms, and they argue that 'tattva' in the first and the second aphorisms, and the word 'iti' in the second aphorisms mean respectively reality' or 'prameyas' and 'infinity'. According to their traditional interpretation the first aphorism means that now wo deal with the 'dharma' or 'rightous path'; and the second aphorism, Searth, water, fire and air, these four 'only' are the prameyas'. Thus the astute Carvakas argue that the objects of knowledge are innumerable, therefore the means of knowledge too are innumerable. The illustrations studied above also indicate that the prameyas ascertain the number of pramanas. According to the Carvakas pramanas are infipite. For Personal & Private Use Only

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108 R. D. Hegde Jayanta's Critique There is a strong and diametrical opposition from Bhatta Jayanta to the above views of the Carvakas He criticises their illustrations to show that the Carvakas have made a surfac: analysis of differeot cogoitions just with a view to defending their stand-point. Jayanta bas been an adherent of the school of thought which firmly believes in the theory of four fold pramanas. The Naiyavikas contend that prananas other than perception, inference, analogy and verbal testimony cannot establish their separate identity as they are inherently of the nature of one or other of the four pramanas. They charge the Minamsakas for similar mistakes and bring the presumption which is co::sidered as an independent pramana by the Minamsakas, under inference. Even the Bauddhas are strongly criticised for recognising only perception and inference. According to Jayanta, the very method of ascertaining the number of pramanas on the basis of the number of prameyas is unpractical, and, disagreeable to logical judgement. More-over, it is foolish to enumerate the prameyas first and then ascertain the number of their means. Both the Bauddbas and the Carvakas seem to have followed a uniform method to ascertain the number of pramanas, because, like the Carvakas, the Bauddhas too contend that the number of pramanas is the same as the number of prameyas. The Bauddhas recognise only two prameyas or the objects of koowledge, i.e., pratyaksa (the perceptible) and paroksa (the nonpercep. tible), and believe that perception and inference are their respective pramanas. Bauddhas proclaim this norm to be the best of all, which may be adopted to ascertain the number of pramanas.10 The above contention of the Bauddhas deserves refutation as the processes involved in the verbal knowledge and analogy are different to the processes of perception and inference, and the impressions that these cogaitions leave on mind also are not uniform. 11 On the same ground, Jayanta criticises the contention of the Carvakas. Carvakas hold the theory of infinity of pracinas on the basis that prameyas are iafinite. A reappraisal of the illustrations given by the Carvakas justifies as to how illogical their method of analysis is. The first illustration is that sitting in a dark room in the night, or with the eyes closed, a man can know whether his fingers are straight or otherwise. Naiyayik as say that this is a perceptual cognition produced by the tactual sense. The cognition that the fingers are distant is also perceptual, for For Personal & Private Use Only

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Number or Pramanas 109 the tactual sense pervades the whole body, 12 Another illustration of this kind may clarify the contention at this point still more clearly : We experience coldress of water after drinking as it reaches the navel in the stomach, this cognition is produced by the internal tactual sense,13 It may be objected here that the knowledge of the cool water entered inside is entirely different and cannot be compared with the knowledge of the fingers in the dark room, because in the first one, two objects associate to produce the cognition, viz., association of the cool water with the internal tactual organ; and in the cognition of two fingers, there is no such association of two different objects. This objection does not hold good here as th: tactual sense perceives touch as well as the absence of touch.14 In the same manner, the visual sense perceives the object, e.g., a pot on the ground and also its absence in the same place, the auditory sense perceives .sound as well as the absence of the sound. Sepses perceive actions too. In the cognition that the fingers are contracted, the action of contraction is perceived by the tactual sence. Such a qualified cognition would take the form of the fingers are contracted'. To illustrate it again, A perceives the movements of B by the visual sense, and A's cognition takes the form of there is movement in B'. This is what we call the qualified cognition.15 As explained with these illustrations, the cognition that the fingers are distant, is a tactual perception. In another illustration, the Carvaka, argue that to cognise from a distance spreading of the lamp-light around, any of the four-fold pramanas is not competent, hence enumeration of pramanas is impossible. According to the Naiyavikas even this illustration deserves criticism. Naiyayikas contend that the pramana of the cognition here is inference. If the Carvakas say that there is no previous cogaition of a similar instance and as a consequence the invariable relation too, how does the person get cognition of the spreading of a lamp-light which is very distant ? Here the cognition never takes place under the said circumstances if the person is really ignorant of any previous perceptual cognition. One has observed in the past that the lamp-light spreads around in the surrounding space, and has obtained the knowledge that wherever there is a lamp, there the light spreads around. This is the cognition of iavariable relation. Likewise, one perceives a lamp from a distance in night and remembers that wherever there is a lamp burning, there the light spreads around. Spreading of the light around is the major term (paksa), and the lamp is the middle term (linga). Thus, it may be found that all the processes of inference are present here. Therefore the For Personal & Private Use Only

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110 R. D. Hegde cognition of the spreading of a lanp-light is inferntial, and the means is inference, 16 That the cognition of a far distant lotus-lake is possible by the mere cognition of its fragrance by the olfactory sense, also is inferential; infe. rential 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 the lotus in the lake. By his repeated experience 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 earlier experiences. Here fragrance is the middleterm (linga). Thus, his knowledge of the invariable relation between the middle-term and the major term, produces in him the koowledge of the existence of a distant lotus-lake, in the form of 'far away, there is a lotus-lake'.17 Existence of a distaot sandal tree also would be inferred in the same manner by smelling its fragrance.18 This is the account of how Jayanta refutes the Carvakas' theory of infinite pramanas. Study of the above discussion proves that the analysis of the illustrations is not merely mechanical, but it requires some real 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 cannot ascertain the number of pramanas. REFERENCES : 1. CP. The papers of Th. Stcherbatsky'. p. 22. 2. 3. "Vakrangulih praviralanguliresapanih Ityasti dhih tamasi militacak suso va Ne am tvagindriyaklla na hi fatkarastham Tatraiva bi pramitimindriyamadadhati." Vide NM.p.60. "Dutatkaroti nisi dipasikha ca dista Pratyan!adesavisstasu matim prabbasu" also see 'Nyayasaurabha' on NM., p. 169 : Ahoparyantaprassmaraprabhabhasureyam dipasikheti'. For Personal & Private Use Only

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Number of Pramanas 111 4. See NM, : p.60 : 'Dhatte dhiyam pavanakampitap indarika Sando 'nuvatabhuvi duragate' pi gandhe.' Vide Granthibbanga on it, p.43, also Nyayasaurabba on NV., p. 169. 5. See NM. p. 59: "Pradana jamkhyaniya nasakyakaraniyatva-siddhaye ca pramitibhedao ... idrsaoupadarsayat', also see p.23: "asakya eva pramanasamkhyaniyamah iti susiksitacarvakah'. Cf. Nyaya Pbilosophy of Gautama, 106-107; also see History of Indian Pbilosophy, INI. p. 539. 6. Vide, p.22, Papers of Th. Stcherbatsky', als) CP. 'History of Indian Philosophy', III, p. 539 7. Granthibhanga identifies the Carvakadhuttas with 'Udbhata and his followers'., See Granthibanga p. 43; also See NM. p. 59. 8. 'Atbato tattvam vyakhyasyamah' and 'prthivyapastejovayuriti tattvani ,' See NM. p. 59; Granthibhanga p. 43; Tattvopaplavasimha p. XII. 9. Yathasrutarthatyagenanyatha varna amasa' - Granthibhanga, p. 4. introduction p. S., also CP. The Papers of Th. Stcherbatsky', p. 22, 10. See NM. p. 27 : "Te hi prameyadvaividhyat prananadvividham jaguh, nanyah pramanabhedasya heturvisayabheda(ah". 11. See NM. p. 30; "Anye eva hi samagriph ale pratyaksa-lingayoh, anye eva ca samagriphale sabdopamanayoh". 12. See NM. p. 60 'Vyaptitvat indriyamakusalam na'; also see Granthi bbanga, p. 43. 13. See Grenthibhanga; p. 43; 'Naovantargatasya tvagindriyasya grabaka. tvam kva dTstamityaha anabheh tubina jalamiti'. 14. See NM. p. 60, 'Samyogabuddhis ca yarba taduttha, tathaiva tajja tadabhavabuddhih'; CP. Granthibhanga p. 43; also CP. a Nyaya maxim "yesendriyena a vyaktih grhyate tenaivendriyena tadgunah tadabhavas ca ghyante". 15. See Grapthibbanga p. 43 Akuncitangulya iti visesyajnadam yat tat tajjameva yatba caksusa Caitragatam calanamupalabhya calatyayam Caitra iti visesyajnanam caksunam evam idamiti siddham". 16. See Nyayasaurabha on NM: p. 169, Pratyantaprassmarabhasureyam dipasikba iti'. 17. See NM. p. 60. 18. CP. Nyayasaurabha on NM., pp. 169-70. den For Personal & Private Use Only

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R. D. Hegde 1. BIBLIOGRAPHY : Granthibhanga of Cakradhara on Nyayamanjari (NM.); editor Dr. N. J. Shah, L. D. Iostitute of Indology, Ahmedabad (197) History of Indian Philosophy, III Volume, by S. N: Dasgupta. Cambridge University Press, (1951-2). 3. Nyaya Philosophy of Gautama; Sed holal Lectures 106-107, by Ganganath Jha, Published from Indian Tho vght. 4. Nyayasaurabha on NM; editor K.S. Varadacharya, Oriental Research Institute, Mysore, (1969). 5. Nyamanjari (abridged as NM.) of Bhatta Jayanta, Chowkhamba sanskrit series, (1971). 6. Tattvopaplavasimha of Bhatta Ja varasi; editors : Pandit Sukhalalji: Sanghvi and Prof. Rasikla! C. Parikh; Baroda Orientel Rescarch Institute (1940). 7. The pepers of Th. Stcherbatsky; Transl. by H. C. Gupta, Indian Studies Past and Present (1969). * In Vol X this article was prioted but it was incomplete. So, it is here printed again. For Personal & Private Use Only

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TANTRA AND SHIRAZAD (THE 360 AND THE 1001 NIGHTS) A. K. Warder The Sanskrit text Tantropakhyana, known from a single fragmentary manuscript lacking both beginning and ending and printed in the Trivandrum Sanskrit Series (1938), has generally been taken as version of the Pancatantra. After some introductory verses which appear to be sparious it proceeds with two prakaranas, having the titles Nandaka and Paksin, and so ne fragments of a third, a Manduka. The frame story of the Nandaka bears some resemblance to that of the first tantra of the Pancatantra, with the bull Nandika substituted for his colleague Samjivaka and a different ending. It has twenty emboxed stories, seven which are found in the original Pancatantra in variant versions whilst the other thirteen are entirely different (some are found in later versions of the Pancatantra such as Parnabhadra's: we shall see below that the Tantropakhyana is earlier than Purnabhadra, who probably copied many stories from it). Someone named Vasubhaga, perhaps the author himself. otherwise anonymous, recites a didactic verse for each story. The Paksin frame story is developed from Pancatantra III.2 on the election of a king. of the birds. It contains nineteen emboxed stories, four of them from the original Pancatantra and three of these remarkable in being th frame stories of Pancatantra III, IV and V. The frame story of the Manduka fragment is an expansion of the story of the frogs and the snake (Pancatantra I11.10) with only seven emboxed stories preserved, one of which is a mere variant of another. Now there is a text in Lao, the title of which is Mula Tantai, consisting of a Prologue and four prakaranas named Nandaka, Paksin, Mandaka and Pifaca (see K. Raksamani, The Nandakaprakarana attributed to Vasubhaga, a Comparative Study. University of Toronto PhD Thesis, 1978, who has translated part of it, pp. 221 ff.). It is complete, though abbreviated in style even to the point of seeming to have eliminated essential details of the narratives and sometimes to have obscured or dislocated a story. The Sanskrit Tantropakhyana as far as it is available generally agrees with the Mala Tantal, which evidently is the same work and paraphrased from a complete text. Thus the twenty emboxed stories Sambodhi XI-15 For Personal & Private Use Only

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A. K. Warder of the Nandaka are the sins in both versions, though in the Paksin only tw.lve stories agree. The Pisacaprakarana completely missing from the Sanskrit text has as its frame the story of an unsuccessful attempt by the 'Goblins' to elect a king from among themselves, thus it complements the Paksin story. Only one of its fifteen emboxed stories is found in the original Pancatantra. 114 The Thai Nang Tantrai, of which thers are several versions, is again the same in origin, though its Pisacaprakarana is different in content from the Lao version and there are numerous smaller variations (Raksamani, pp. 26-7, suggests that it is less faithful to the Indian original than the Lao version). In Tamil an incomplete manuscript in Tanjore (Sarasvati Mahal No. 105), vaguely labelled Pancatantravacanam, contains a version of this same work (summarised by A. Venkatasubbiah in the Adyar Library Bulletin Vol. XXIX, 1965, pp. 74-143; Dr. G.T.Artola identified it with the Tantropakhyana in the Adyar Library Bulletin, 1957, pp. 45ff., but regards both texts as mere versions of the Pancatantra, se: Bhartiya Vidya Vols. XX-XXI, pp. 86-7). The Prologue agrees with the Lao and Thai texts. and is followed by a Nandakaprakarana and about half a Mandakaprakarana, the Paksin and Pisaca prakaranas being missing. A remarkable feature is that at the end a version of the Matsyahasita, Fish Laugh, story is tacked on as further emboxment in the Mandakaprakarana, unknown to any other available version of this prakarana, though it breaks. off unfinished along with the whole fragmentary text. If it really belongs. to the original Tantropakhyana, this Fish Laugh narrative, much too long to be one of the emboxed stories of a prakarana, is probably misplaced and appended arbitrarily by a scribe who did not know where it be longed but wanted to make up his defective Mandikaprakarana. We shall take up this possibility below. In Old Javanese we find yet another version of this work, the Tantri Kamandaki (C. Hooykaas, Biblioteca Javanica No. 2, Bandoeng. 1931), again incomplete. It contains a Prologue similar to the Lao version and a Nanakaprakarana with twenty-four emboxed stories, eighteen of which. are the same as in the Lao and Sanskrit texts. The other prakaranas are missing. An Important piece of information supplied by this text is that the translation was made early in the 11th cantury A. D., which establi For Personal & Private Use Only

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Tantra and Shirazad 115 shes that the Indian original belongs to an earlier period than that, before the time of Purnabhadra and other rewriters of the pancatantra Now in all the texts which contain the Prologue the heroine is named with only slight variations due to the varying languages of the transcribers Tantai (or Tanteyya). Tanrai, Taoturu and Tantri. From this it appears certain that the original Sanskrit name is Tantra, found only in the title of the Tantropakhyana whose Prologue is missing. Consequently we must translate the title as "The Episode of Tantra', Evidently the name is fictitious and derived from tantra, 'system' in politics), on acco. unt of the heroine's skill in that art or science. Let us now examine the Prologue in the Lao version, or at least in Dr. Raksamani's English translation of it. King Manda Cakkavatti in Uddhodaoa saw a wedding procession and conceived the desire to have a wedding and a new bride for himself every day. He gave orders accordingly to his Chief Minister to supply a beautiful new girl every day. Haviog in due Course despatched every girl he could find, the Minister became distraught at having none available for the next day. His daughter Nang Tanteyya (or Tantai, whom he had naturally kept bidden) seeing him in such a state extracted the reason and offered to go herself, sayiog simply that she would tell the King stories so that there would be no more trouble. The Mioister being forced to agree, Tantai took her maid with her and when the King seemed to be asleep, resting after their union, Tantai proposed to the maid telling stories to pass the time The prakaranas follow as the stories told, but this abridged text hardly. explains the development of the situation in the frame story. The Dame Manda might be a corruption of Nanda, who was certainly a cakravartin emperor, but this alone would be slender evidence for the identification. The mere seeing of a wedding procession seems an insufficient motive for Manda's drastic order to his Minister. One would expect that he should be dissatisfied with his previous queen or queens, indeed that she or they had been banished for some serious fault. It is here that the Fish Laugh story, of which we noted a version appended to the Tamil text, would come in as just the right kind of introduction. Having discovered the depravity and hypocrisy of his queen or queens, the emperor resolved to eliminate any further possibility of being deceived and made ridiculous by taking a fresh queen every day. For Personal & Private Use Only

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116 A. K. Warder The Fish Laugh story is told about the Emperor Nanda, more preci. sely the 'False' Nanda, the brahman Indradatta whose soul had replaced that of the real tyrant in the Eaperor's body, in the (North) Western recension of the BIhatkatha koovo to us through th: paraphrases of Ksemendra (p. 18, Kavyamala edition) and S@madeva (p. 11. Nirnaya Sagara Press edition). This Nanda was extremely jealous of his queens and seeing the Chief Queen one day looking fron the palace at a brah. man guest ordered the visitor's immediate execution. As the condemned man was led through the market on his way to the place of execution, a dead fish displayed for sale laughed. Hearing of this strange thing, Nanda delayed the execution, ordering his minister Vararuci to find out why the fish laughed. Vararuci consulted a goddess (Ganga or Sarasvali) and was advised to hide that night in the top of a certain palm tree. There he heard a demoness placatiag her hungry children by telling them the brahman whose flesh they should have had that day had not yet been killed but they would have him tomorrow. She told them his execution had been delayed because a fish laughed. Then when they asked her why the fish laughed she explained that Nanda's queens were all depraved and his inner citadel full of men disguised as women, yet the fool was killing an innocent brahman out of jealousy. Vararuci made a secret report on this to the Emperor, who caught those beloveds of his queens, freed the brahman and held Vararuci in high esteem. A version of this story would make a perfect introduction to that of a king ordering a fresh queen to be supplied every day. Among the other versions of the Prologue to the Tantropakhyana the Thai (Raksamani p. 277) reads the Emperor's name as Aisuriyabha and gives his city as Pataliputra, as is correct for Naoda. His minister, appa rently anonymous in the Lao fext, is here named Vicitravicarana. Tantrai first tells her father eight stories to convince him that she can save bis life, then in the palac: tells the Emperor eleven more stories before embarking on the Nonthuka (Nandana) Prakarana, Ph.ch here has thirty-two emboxed stories. Thus the Thai Prologue has pineteen emboxed stories and is like another prakarana (its Manduka is missing, its paksin has twenty. four emboxed stories and its pisaca thirty-one). This text mentions (Rak. samapi p. 268, see also p. II) that there are 369 stories altogether, 90 in each prakarana. This is either in exaggeratic or, more probably, a mistake for 360 nights. The figure 360 suggests a year, in round numbers and according to certain old traditions, at the end of which, the Thai text tells us, the Emperor was so delighted that he made the Lady For Personal & Private Use Only

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Tantra and Shirazad 117 Tantrai his Chief Queen. It appears necessary to her success that she should not finish a story at th: end of each night's session but instead leave the Emperor in suspense so that he recalls her the next night to hear the continuation. The eighty, or perhaps at most one hundred and thirty, stories actually narrated would be spread over 360 nights in this way, a new one being begun immediately each was ended. In the Tamil version of the Prologue the Emperor is named Ayivariyapalan (Aisvar yapala) and it is said that Tanturu told him stories for one year, at the end of which a divino voice called upon him to rule with her as his Queen. The comparison of the various South East Asian versions of the Tantropakhyana with the Tamil makes it cirtain that the original name of the heroine was Tantra It is equally clear that she is the original of Shirazad, who in the 1001 Nights so famous in modera times beguiles the King of India and China with stories in exactly the same way and thus established herself as his Queen. It is lesz certain that the king was originally the infamous tyrant Nanda of the 4th century B.C., though no other historic king in Inaia seems so well fitted to be the hero of such B story. The Lao Manda re noted suggests Nanda misheard and the Thai places the hero in Nanda's capital Patalipotra. What appears to be the earliest version of the Fisb Laugh story, whether or not it was told by Gonadhya himself as part of the Prologue to the Bthatkatha, is told about Nanda. It remains our conjecture, so far, that the author of the Tantro. pakhyana adopted this story of Nanda's jealousy and disillusionment and then imagined his episode of Taatra as a natural sequel. Professors P. E. Pavolini and P. Rajna seem to have been the first to point out clear traces of an Indian original of the 1001 Nights ('Appunti di novellistica indiana- 1. Di un altro richiamo indiano alla "cornice" delle "Mille e una notte" ' and 'Per le origini della novelle proemiale delle "Mille e una notte" ' in the Giornale della Societa Asiatica Italiana Vol. XI, 1899, pp. 159-62 and 171-96 respectively). But the Tantropakhyana hidden in manuscripts was completely unknown to them and in its place they had only the Jaini story of Kinakamanjari as printed by Jacobi (Ausgewahlte Erzahlungen im Mahardstri pp. 19-52) from Devendra's Commentary on the Uttaradhya yana and the Sukasaptati. Kanakamanjari monopolisises a king's affections through telling him stories, simply for the purpose of excluding rival queens. Each night she ends with an enigma, for the solution of which the king must invite her again the following For Personal & Private Use Only

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118 A. K. Warder night. Moreover we read that she kept up her story telling for six months, with 180 stories, though only a few are given by Devendra and a subcommentator by way of exainple. This suggests a connection with the same tradition which gave rise to the Thai reference to 360 or 4 X 90 stories. Evidently this narrative in the Jaipa commentaries was adapted from the original Tantropakhyana. Devendra (12th century A.D.) took over his narratives from earlier Jaina commentaries, in which Kanakamanjari's story might be traced back at least to the 8th century and probably earlier. Here it is emboxed in the story of the fourth Praty e kabuddha, Nagnajit. Thus the criginal story can be seen to have been in existence early enough to have been translated into Pahlavi in the Sasadian period, like the Pancatantra. The Sukasaptati on the other hand contains a version of the Fish Laugh story, the exposure of an unfaitbful and hypocritical queen, which further incorporates an episode of a minister's daughter, Balapan dita or Balasa. rasvall, saving her father by telling stories to the king, here for the purpose of gaining time and meanwhile getting the king himself to help in the solution of the mystery. Ultimately he does this by agreeing to the release of another minister, Puspahasa, Laughing Flowers, who knew the queen's secret bui had been unjustly imprisoned for failing to laugh at the right time (having been depressed over his wife's misconduct). In Puspahasa, Rajoa saw the original of Shahzeman (brother of Shahriyar, Sbirazad's king) and further of Ariosto's Giocondo in Orlando Furioso Canto XXVIII. It is most rea arkable that Rajna should have connected the Fish Laugh story with Shirazad without having any idea of its presence in the Tamil text of the Tantropakhyana. This Tamil version of the story comes after a jumble of fragments from the broken Prologue cor cerning Tanturu, which bave been inserted into the previous emboxed story (numbered II. 10 by Venkatasubbiab). The Fish Laugh story is then emboxed as II. 11, apparently with a gap at its beginning. A fisherman brought a female fish to the King of Avanti. The King asked him whether this fish thought about males, whereupon the fish laughed loudly and died. The King then gave his minister 8 days to fiod out why the fish laughed. Thinking this impo. ssible the minister abstained from food, but his son persuaded the King to spare his father, instead allowing the boy 15 days to find the explanation. The boy then left the country to avoid being put to death. Being clever, he obtained Madanamchini, the equally clever daughter of a merchant, as his wife, then returned home with her. The King summoned For Personal & Private Use Only

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Tantra And Shirazad 119 him, but he merely remarked that even a farm-girl could answer such a small question and offered to send one He told Madanamohioi of this and she visited the King, who allowed her 8 days to find the answer. She then decided to end her life by giving herself up to the goblins in a temple of the Goddess Kali. When she exposed herself there, the Goddess refused permission to the goblins to eat her because she had come to them for refuge. Instead, they would be able to eat the lovers of the King's five queens, hidden in boxes in their apartments, who were about to be discovered by the King. Madanamohini went to the King in the morning, but before breaking this distressiog news to him started to tell him a story. In the middle of this the Tamil text ends abruptly. Thus Puspahasa does not appear and the explanation of the mystery is discovered in much the same way as in the (North) Western recension of the Byhatkatha, though by the daughter-in-law instead of by the minister himself. Thus these two versions seem related and the original Tantropa. khyanu may have had the minister solve the mystery and then be charged with the task of providing new queens. For puspahasa in place of the Goddess as the revealer of the queens' depravity we thus have only the tenuous evidence of Shahzeman requiring a prototype and of his presence in the Sukasaptati version of the story. In any case it does not seem likely that the minister's daughter should appear in this part of the narrative, as in the Sukasaptati. Here the King is to be disillusioned about women and the heroine must remain hidden. She must be revealed only later, when her father is in desperate straits over the supply of new queens. The early appearance of Balasara svati seems to be a mere reflex of that of Tantra, who of course does not appear in the Sukasaptati. Her presence is also not essential in bringing about the release of puspahasa. We need not here trace the history of Tantra as Shirazad in the lost Hazar Afsaneh and its Arabic derivatives. The emboxed stories passed into popular and largely oral tradition and consequently were freely varied, changed and made con temporary for the entertainment of new audiences. Though some stories of Indian origin remained among them, their main theme became the adventures of lovers. This is quite contrary to the stories told by Tantra. As her name implies, her genus is in policy (niti). Moreover her purpose is to beguile a king and a tyrant. Her four prakaranas are all about kings : the Lion King misled by a crooked jackal minister so that he loses his life; the election of the King of the For Personal & Private Use Only

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120 A. K. Warder Birds (Garuda); the Frog King destroyed by a deceitful external enemy through misguided policies; the failure of the Goblins to find a competent king among themselves. The more varied emboxed stories, with a mixture of animal and human characters, fall within the same field of policy in its broadest sense, the illustration of foolish or wise behaviour. Thus the Tantropakhyana, like the Pancatantra, the Sukasaptati and Danodaragupta's Kuttanimata (see Bhoja, Srngaraprakasa, Vol. II p. 469, Josyer's edition), belongs to the kavya genre of the illustrating novel' (nidarsanakatha). As befits Tantra's situation, it has more the nature of an anthology of stories than the Pancatantra and lacks the latter's purely theoretical discussions. It also brings in a large number of human characters, usually less intelligent than the non-human characters with whom they are generally mixed. Finally one may remark that the outlook is more ethical, as is to be expected of Tantra holding a mirror to a tyrant, than the frequently unscrupulous but successful intrigues of the Pancatantra, this contrast appearing especially in the Nandakaprakarana which is a revision of the first Tantra. Corrections P. 113, line 2 from bottom, read : Nang Tantai (for Mul.a), P. 116, line 9 from bottom, read : (Nandaka) (for -na), P. 117, line 16, read : establishes ( for -d), P. 117, line 3 from bottom, read : Monopolises ( for -isises ) P. 120, line 3 from bottom, insertin': than in the frequently...... For Personal & Private Use Only

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SOME PRE-ELEVENTH CENTURY PRAKRIT AND APABHRAMSA TEXTS RELATING TO THE CHILDHOOD EXPLOITS OF KRSNA* HC. Bhayani Originally this paper was planned to contain two sections : the first section to give infor nation about a few little known Prakrit and Apabhrasa tex's relating to the early life of Krsna in Gokula, Vrodavana and Mathura and especially those dealing with the love-sports of Krsna with Radba and the other cowherd girls, The second section was to touch upon the regional aspect of the Krsna-literature aod Krsna-bhakti prior to the eleventh century. As it was however felt that in that case the paper would be unreasonably lengthy, the present attempt is confined to the first of the two above-mentioned themes. The tradition of presenting and representing Krsna's childhood in literature and art extends over more than two thousand years. So it is bound to have numerous variations of epis: Jes, individual details and motifs. These variations tie up with chronology, religious sect and region. The importance of the Krsna literature of different periods for interpreting some of the aspects of the art of those periods depicting Krsna's life is self-evident S) far mostly the Sanskrit and Hindu sources have been explored for this purpose. The Prakrit. Apabhramsa and Jaina sources remain neglected for the most part. No doubt some specialized work on the Jaio Krsna-katha has been done by a few scholars. But this, as also come relevant Prakrit and Apabhramsa works remain more or less inaccessible to the students of the history of Indian Art. The great in act of Jayadeva's Gitagovinda (12th Cent. A.D.) on the qubzaleat art an iteratur i3 well-known. Lilasuka Bilyamangala * This paper was read at the National Seminar on 'The Impact of Vaishnavism on the Indian Arts' held from 28th November to 2nd December 1983 under the auspices of the Faculty of Fine Arts, M. S. University of Baroda. The author thanks the Director of the Seminar for granting permission to publish the paper. Sambodhi XI-16 For Personal & Private Use Only

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122 H. C Bhayan. (possibly 11th Cent. in one viow) preceded Jayadeva in the characteristic type of Krsna-bhakti which had the Bhagavatapur ana (c. 750 A.D.)" as its fountain-head. There is a gap of som: three centuries between the Bhagavata aod the tv lyricists. Waich predecessors, if any, did inspire or influence the latter? Where dois Radba absent in the early Picanic sources, come from ? These questions have not been satisfactorily answered. 2 A glance at the few Prakrit and Apabhramsa works preserved from the extensive literature produced during the post-Gupta period shows that Krsna's childhood exploits and his love-sports with Radha and other Gopis were for the poets the ne of perensial interest. Onwards from the fifth century, there was a tradition with the Prakrit poets to include for homage Krsna also in the deity-list figuring in the opening section (mangalacarana) of their poems Thus Pravarasena's Setubandha (5th Cent. A D.) refers to the killing 1. A. Gail, Bhakti im Bhagavatapurana, 1969, p. 16. 2. Earlier, S. L. Katre has collected references to Radha from pre-twelfth century Sanskrit works the like Pancatantra, Venisamhara, Dhvan yaloka, Kavyamimamsa, Nala-campu, Yasastilaka-campu, Vakroktijivita, Sarasva. t'kanthabharana, Ka vyanusasana, Naisadhiya and Arya -saptasatz, and the Prakrit text Gatha-saptasati See his paper 'Krishna, Gopas, Gopis and Radha : P. K Gode Commemoration Volume. S. P. Tewari has drawn our attention to two early inscriptional references to Radha : one in the Paramara king Munija's copper--plate inscriptions dated 974, 980 and 986 A.D., and another in a fragmentary inscription from Mandor (Rajasthan), datable in the early 9th cent. A. D. See his paper 'Early Inscriptional References to Radha, Krishna in Art Bulletin of Museums and Archaeology in U. P. Nos. 21-24. 1978-79, published in 1980, pp. 83-84). R. C. Agrawala has referred to (1) Two terracotta plaques from the Rangamahal temple in Rajasthan, depicting the Govardhanadharana and Danalila scenes. and to (2) two Mandor pillars depicting Govardhanadharana and several other Bala-lila scenes. See his paper "Krsna Lila Scenes in Early Rajasthani Sculptures', Krishna in Art, pp. 27-31. In the same volume Doris Srinivasan has sketched the development of Krsna-Lila scenes in early art with relevant bibliographic references. See her paper 'Early Krasa Icons: the case of Mathura', pp. 1-16. Sridharadasa's Saduk tik arnamta (12 5 A. D.) has sixty verses relating to Balakrsna. Many of these verses quite probably derive from earlier sources, For Personal & Private Use Only

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The Childhood Exploits of Ktsna - 23 of Arista, the Bull-demon (1 3), and to the robbing of Parijata from Indra's paradise 3 (I 4). The Mingalacarana in Vakpatiraja's Gaudavaha 731-735 A.D.), while praising various incarnations of Visnu refers to Krsna's garland of wild flowers (v 20), his yellow garment and dark skin (v. 27), his lotus-face kissed by Yas da (v. 21) and his chaste bearing the nail-marks of Radba4 (v. 22) Koubala's Lilavaikaha (c. 800 A.D.), beside; referring en bloc to Krsna's exploits like breaking the pair of the Arjuna trees, killing Arista, Kesip and Kemia and lifting the Govardhana (v. 6), describes separately Arista -vadha etc. as follows : (1) Krsna's powerful dark arm, like Yama's noose, encircled Arista's throat (v. 4). (2) Krsna's one ar n clutched Risin's neck, and the elbow of the other arm blocked the de non's mouth (v. 7). (3) As the infant Krs21 tried to cross the threshold but could not, his leg hanged in the air and the scene was being witressed by Balabhadra with suppresse 1 laughter (v. 3). There is no doubt that ou perdus poetic and dramatic works dealing wholly or partly with Krsna's life continued to be written in Prakrit in the subsequent centuries, though most of them are now lost to us. The Jain tradition is largely dependent upon the Vedis-Brahminic tradition 3. The textual citations are given in an Appendix at the end of this paper. Sarvasena's Hariviju ya (4th Cent. A D.), now lost, was the earliest know Prakrit Mahakavja based on the episode of Parija!a-harana. See Kulkarni, V. M, The Harivijaya of Sarvasena', Annals of the BORI, Diamond Jubilee Volume, 1971-73, p. p. 691-710, nov als) published ia his Studies in Sanskrit Sahitya-sastra, 1983, pp, 162-191. 4, Vakpatiraja is know to have written another Prakrit Mabakavaya called Mahumaha-vijaya ( Madhumatha-vijaya). but we have no information about its subject-matter or contents. Mahumaha or Mahumnahana was a favourite Prakrit name of Krsni or Visnu in the post-Gupta period. For Personal & Private Use Only

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H. C. Bhayani for the Krana-carita and for the Mahabharata, of which the former formed a part. But it treats Krsna as a royal hero of extraordinary prowess, and not as a supreme divine being that had assumed the human form.5 One of the sources of the Apabhramsa poet Svayambhu was Jinasena's Harivamsa purana (784 A. D.) in Sanskrit. Cantos 4 to 8 of Svayambhu's Ritthanemicariya in Apabhramsa (the work is unpublished so far) deal with Krsna's early life from his birth to the founding of Dvaravati). In the fifth canto are narrated various childhood exploits of Krsna (killing etc. of Putana, Sakata, Yamalarjuna, Kesin etc) The first four sections (Kadavaka) of the sixth canto give a highly poetic description of Kaliya-mardan3. Svaya nbhu is assignable to the last quarter of the ninth century. 5 124 Ratan Parimoo has shown that description and representation of Krana as leading the subdued Kaliya by a nose-cord that pierced the latter's nose was a North Indian tradition, as against the South Indian tradition preserved in Jain literature. But some four hundred years. earlier Jinasena's Harivamla-purana relets to Kalindyamh naga-nathanam (I91), and about a hundred years thereafter Svayambhu's Harivamfapurana gives the same version of Kaliyadamana: Harivamlapurana VI 3 9 refers to Krsna piercing Kaliya's nose with a cord and thea whirling him. by holding that cord. Puspindanta's Mahapurana (completed in 972 A.D.) is an Apabhramsa epic dealing with the lives of 63 Great Men of the Jain tradition. Its 85th and 89th cantos narrate Krsna's early life. Following the Jain tradition (as represented by Jinasena's Harlvaniapurana), Puspandanta has poetically described various well-known exploits of Krsna as also his pranks and his sports with the Gopis. As Alsdorf has pointed out," 5. For a survey of the Jain tradition oa Krsna's life as a whole, and for variations within that tradition see Alsdorf L. Harivamlapurana, 1938, pp. 52 ff Bhayani H C., 'Apabhramsa Sahitya mem Krsna-kavya', in Bharatiya Bhacao meth Kirnakavya', ed. B. Mishra, 1979, Part 1, pp. 139-151. 6. Ratan Parimoo, Kaliya Damana ceiling from Gujarat Temples' Kalakshetra 1981, pp. 6-7. 7. Alsdorf, op. cit., p. 57. The whole canto 85 of the Mahapurana, containing 25 Kadivakas, is devoted to describing the childhood exploits of Krsna. In this Puspandanta is considerably influenced by Svayambhu. For Personal & Private Use Only

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The Childhood Exploits of Kysna 125 Puspadanta too refers to Krsna's piercing Kaliya's nose with natthiya-bhuyangu, 89 20 3). a cord Among the numerous Prakrit and Apabbra mia poets cited by Svayambhu (about most of whom we cine to know only from him), there were thrie poets whose works bad partiy or wholly Krsnacarita as their theme. The citations from the poet Govinda (c. 800 A D.) indicate that he must have writen a long poem in A pabbramsa about Krsna's early life. Out of the six versey cited from Govinda ope pertains to the Kaliya dan ana episode, a :d two to the amorous sports of Krsna and the Gopis. Svyambhucchandas 8 (=SC; IV 10(1) refers to Kamsa's crder to Nanda to bring for him loluse, from the fatal pool of the Yaauda that was the abode of the Serpent Kaliya. IV :0(2) refers to Krsna's deep love for RaJhaabove all the other Gopis. IV 11(!) describes a love-lorn Gopi. As Govinda's verse given at SC. IV 10(2) is also cited anonymously by Hemacandra in the Apabhramsa section of his Siddhahema grammar (VIII 4 422/5), we may make a surmise that another Apabhraisa citation also ia th: sane work (VIII 4 420/2), describing how Krsna was made to dance by Radha in her courtyard, derives from the same poem of Govinda. Both the Prakrit citations in SC., which are relevant to our present purpose, are fron the poet Suddhasvabhava (Pk. Suddha sahava). One of these is highly interesting for the light it can throw on the trend of Krsnabhakti thit 13 typified by the poen; of Lilasuka Bilvamangala and Jayadeva. SC. I 75(1) describes in the Simhavikranta variety of the Dandaka metre Krsna and Gopis playing the game of Blindman's Buff. In the autumn nigh', in th: ga ne played with th: Gopis, Raina covered with her beautiful, delicate had the eyes of Krs, who std with the hollow of his jyised bands filled with dust, and led him to the place of rendezvous : as she removed her haids fron his eyes, Krsna sa v before him the extremely beautiful girl, who kise bira, enrice hip and passionately engaged him in love-sports, This at once reminds us of the opening verse of the Gitagovinda. Toe theme of Kssna's clandestine luv: sports with Radha was, it seems, 8. Edited by H.D. Velaokar, 1962. 9. Puspadanta perhaps kaew Govinda's poem. Mahapurana, 86 1 8-11 seem to echo SC. IV 10(1). For Personal & Private Use Only

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H C. Bahyani favourite with the poes since at least eighth century, if not earlier -i.e. some three hurdred years prior to Jayadeva. It is significant to remember here that the metres of the Gitagovinda are not Sanskrit Varnavettas. They are pecularil Apabhramsa m:ties. 126 The second Prakrit citation, relevant for our purpose is an illustration of the metre Jaya from the same poet Suddbasvabhava (Sc. I 12/1). It refers to Radha who, seeing approaching Krsna reflected in the bright necklace on her breasts, naively thought it was Baladeva's reflection and felt shy, and how thereupon Krsna gave her a hearty embrace, 10 It should be noted that the above three poets cited in the Svayam bhacchandas flourished just about fifty years or s after the Bhagavata Purana, and quite possibly they hailed from the Western region. Most of the rich Krsna poetry, however, produced during the last few centuries of the first millennium has disappeared Besides the Svayambhucchandas, we have some Prakrit anthologies in which a few stray verses on the themes of Krsna carita are preserved. One of the verses (I 89) of Hala's Saptasataka or Gahakosa 11 (2nd to 5th Cent) refers to Krsna's blowing away with his mouth the dust particle fallen in Radha's eye, the action making the other Gopts envious. Another Verse (112) describes the Gopts listening with suppressed laughter Yasoda's naive remark that Krsna was still a mere boy. Vajjalaggal (c. 10th Cent.) contains a whole section on Krsna. Of the sixteen verses in that section, eight verses are related to Krsna's love for Gopis, or a particular Gopt's attachment to and craving for Krsna. Four w verses have Krsna's love for Radha as its theme. The remaining four verses deal with Krsna's partiality for a Gopi called Visakha. This last group is indicative of fresh develop nent in the theme of Krsna's love-sports. From later literature we are familiar with the names of other Gopts (like Visakha, Lilita, Candravali etc.), besides Radha. In Jinesvara suri's Gaharayana-kosa1a there are nine verses, given. under the section called Krana krida (Krsna's sports). Although the anthology is dated 1195 A.D, many verses are demonstrably taken from earlier 10. Vajjalagga 595 is comparable to this verse. 11. Edited by A. Weber, 1960 (reprint); by M. V. Patwardhan, 1980. 12. Edited by M. V. Patwardhan, 1969. 12, Edited by A M. Bhojak and N. J. Shah, 1974. For Personal & Private Use Only

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The Childhood Evploits of Kesnu 127 antalogies or ind:pendeat works. Of the nine Krsna ver ses, three relate to Visnu. Two about Visakba are taken from the Vajjalagga. Two describe Krsna's love for Radha, and one for the Gopis. The remaining one is about Kaliya-mardana. There are numerous citations in Prakrit and Sanskrit in Bhoja's Sarasvatikanthabharana and Stngaraprakasa (11th cent.), which have vari. ous episodes from Krsna - balaca uita as their theme. Many of them can be reasonably regarded as derived from earlier literature. But they deserve a separate treatment. 14 The sixteenth chapter of the fourth Vimsati (.v. seventysixih chapter according to continuous numbering) of Manasollasa (or Abhilasitarthacintamani), the encyclopaedic work written in 1113 A.D. by Somesvara, the Western Calukya king of Kalyani, is devoted to the description of the pastime of music. Therein Somesvara has illustrated various metres and musical Prabandbas with his own verse-compositions. Most of these illustrations are in praise of Krsna or various incarnations of Visnu. Verses 327, 330, 340, 370, 384, 451, 457, 452, 468, 482, 501 (and verses 6, 20, 28 in the Ms. D) wholly or partly refer to various exploits of Krsna. Of these, verse 330 (illustration of Sukasacika), verse 6 in Ms.D (illustration of Muktavali) and verse 20 in D. (illustration of Ovi), are specially noteworthy as they describe loves of Krsna and Gopis in pust-Apibhramsa regional dialects. So also verse 340 describing the ten incarnazions of Visnu (after Jayadeva) is in a mixture of a post-Apabhramba dialect and Old Kannada, Somesvara must have modelled his compositions after the lyrical tradition known to him, which suggests existence of verbacalar poems on Krsna-carita in the eleventh century A.D. 14. While defining various literary genres, Bhoja describes Akhya saka as the Upakhyaoa composition capable of being recited, sung and enacted by a single narrator before an audienc:. As an illustration he na n23 Govindakhyanaka which quite obviously had the Kssna -carita as its theme. In view of the continuation of this type of Akhyana in Old Gujarati, it is quite likely that there were Akhyana works in Apabh ramsa also. 15. Edited by G K. Sarigondekar (Vol. II, 1951). Most of these illus trations are textually corrupt and I have tried to reconstruct acd interprete them in my paper <Page #137
123 H. C. Bhayani Lastly we have to draw attention to a dramatic work dealing with tho loves of Krsna and Rala. A09; the Uparupika types of dramatic works, Rasaka, Nat, arasaka and Rasakanka are described by the works on dramaturgy. No specimens, however, of these types are preserved. Only in the case of Rasakanka we get a pissage, quoted by Bavja in his Srigaraprakasa (Ilth century) and pther by Abhinavagups in his Abhinava-bharati (12th century), from a work called Radha-vipralambha by Bhejilla16. Fron Bboja's citation re know that that dramatic work must have at least four characters, viz, Krsna, Radha, the Pratinayika called Palitaka and Vidusaka. Abhinavagupta observes that the work freely uses the Apabhraisa dialect. This is a very valuable evidenc: of a tradition of dramatic works composed on the thenis derived from the early life of Krsna.17 Appendix (Text of the verses reterred to) (1). poNattaNa-duggejma jassa bhuA-ata-NiThThara-pariggahi / riThassa visama-vali kaMTha dukkheNa jIvi volINa // (setubaMdha 1-3) (2) oAhia-mahiveDho jeNa parUDha-guNa-mUla-laddha-tthAmo / ummUlaMteNa dumaM pAroho ba khuDio mahedassa jaso / / (setubaMdha, 1-4) (3) so ai jAmahallAamANa muhalAli-valaa-pariAlaM / lacchi-Nidhesateura-vaI va jo vahai vaNamAlaM // (gauDavaha, 20) (4) bAlattaNammi hariNo jaaI jasoAe cumbiaM vaaNaM / paDisiddhaNAhi-magguddha-NiggoM puNDarI va // (gauDavaha, 21) 16. See v. Raghavan, Bhoja's Srigaraprakasa, 1963, pp. 889-891. Accord. ing to the Syngaraprakasa, the Gosthi type of Uparupaka deals with the childhood exploits of Krsna (p. 456), The Nandimali describes Haricarita (p. 467). There is also a teference to a Sanskrit Mahaka. vya called Krsnacarita (p. 474). These are indications of the Krsna literature lost to us. 17. The Balacarita, attributed to Bhasa, is of course quite well-known, But there is the uosclved problem of its authenticity. For Personal & Private Use Only

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The Childhood Exploits of Krsna 129 (5) Naha-rehA kAraNAo karuNaM haraMtu vo sarasA / vacchatthalammi kotthuha kiraNAaMtIo kaNharasa / / (gauDavaha, 22) (6) taM Namaha pI vasaNaM jo vahA sahAva sAmalacchA / diasa-NisA-laa-Niggama-vihAna sabala piva zarIraM / (gauDavaha, 27) (7) tasseya puNo paNamaha NihuyaM haliNA hasijjamANassa / apahRtta-dehalI-laMghaNaddha-vaha-saMThiyaM calaNaM / / ... (lIlAvaI, 3) (8) so jayau jassa patto kaMDe riThAsurassa ghaNa-kasaNo / upAya-pavaDaDhiya-kAla-vAsa-karaNI bhuya-phaliho / . (lIlAdhaI, 4) (9) hariNo jamalajjuNa-riTTha-kesi-kaMsAsuriMda-selANa / bhaMjaNa-valaNa-viyAraNa-kaDdaNa-dharaNe bhue Namaha // . (lIlAvaI, 6) (10) kakasa bhuya-koppara-pUriyANaNo kaDhiNa-kara kayAveso / kesi-kisora-kayasthaNe-kaujjamo jayai mahumahaNo // (lIlAvaI, 7) (11) gatyeppiNu mahumahaNeNa kAliu Nahayale bhAmiyau / mIsAvaNu kaMsaho NAI kAla-daMDu uggAmiyau / / (riTThaNemi-cariya, 6-3-9) (12) ehu visamau suThu Aesu pANaMtiu mANusaho viTThI-visu sappu kAliau / kaMsu vi mArei dhuu kahiM gammau kAI kiujau // (svayambhUcchandasa, 4-10.1) (13) savva-goviu jai-vi joei hari suTaThu-vi AareNa dei didaThI jahiM kahiM vi rAhI / ko sakkai saMvarevi DaDDha NaaNa he palohA // .(svayambhUcchandara, 4-10.2) (14) deha pAlI thaNahaM panbhAre toDeppiNu galiNi-dalu hari-vioa-saMtAve tattI / phala aNNahe pAviyau karau daia jaM kiMpi ruccai // - (svayambhUcchandama, 4-11.1) Sambodhi XI-16 For Personal & Private Use Only

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130 H. C. Bhayani (15) hari nacAviu paMgaNai __ embahiM rAha-poharaha vimhai pADiu lou / jaM bhAvaha taM hoTha // (siddhahema, 8-5-420.2) (16) ubha sarama-NisAe maMto samaM vAla govIhiM rAhAi kaNho kare pujima dhuli-puja / lalia-uhaa-hatyeNa pacchAiUNacchi-battAI NIo samaM jAva saMkea-kelI-paesa // vihalia kara roho paloei jA tA puro puNNimA-caMda-boMdI NavedIvaracchI kisaMgI vihasibha savilAsa puNo nISa so gADhamAliMgio sAbhara cuMbio NinbharaM rAbhio a|| (svayambhUcchandasa, 1-75.1) (17) medhaimeM duramambaraM vanabhuvaH zyAmAstamAladrumair naktaM mIrayaM tvameva tadimaM rAdhe gRha prApaya / itthaM nandanidezatazvalitayoH pratyagrakuJjadrama rAdhAmAdhavayojayanti yamunAtIre rahaHkelayaH // (gItagovinda, 1) (18) rAmae tAra-bAre thaNe paDivividha kaNhaM bAlAi daTTuM balo-tti pljjiy| gATha ridaThAriNA vi ppiA ima muddhimA gAda kejaNa kI uNo uvagUhiA // (svayambhUcchandrasa,1-12.1) (19) muha-mArueNa taM kaNha gora rAhiAe bhvnneto| eANa ballavINaM aNNANa vi goraaM harasi // (gAhAkosa, 1-89) (20) kasalaM rAhe muhimo si kaMsa kaMso kahi kahiM raahaa| iya bAliyAi bhaNie vilakkha-hasira hari namaha // (vajAlagga, 590) (21) kaNho jayaha juvANo rAhA ummatta-jonvaNA jayaha / jauNA bahula-taraMgA te diyahA tettiya uceva // (vAlakA 592) (22) kesi-biyANa-mahipApasaNa-laMchaNagdhaviyaM / na muei kaNha juNNa pi kaMghuyaM ajja-vi visAhA // (vajAlagga 595) (23) rAhAi kvol-tlucchlt-johaa-nnivaay-dhvlNgo| raha-rAsa-vAvagae pavalo AliMgiyo kaNho // (valAlamga, 596) For Personal & Private Use Only

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The Childhood Exploits of Krsna 131 (24) saccaM ceya bhuyaMgI visAhiyA kaNha taNhahA hoi / saMte viviNaya-taNae jIe ghummAvimo taM si // (bajjAlagga, 598) (25) kesava purANa-puriso saccaM ciya taM si 5 jaNo bhaNai / jeNaM visAhiyAe bhamasi sayA hastha laggAe // (bannAlagga, 599) (26) kisio si kosa kesava kiMna ko dhanna-saMgaho mUTa / katto maNa-parioso visAhiyaM bhujamANassa / / (vajjAlapaNa. 600) (27) uya uda-bhuvaNa-mAro vi kesv| sihi-bhareNa rAhAe / kuvalaya-dalaM va tulio haluijjai ko na pimmeNa // (gAhArayaNakosa, 54) (23) so saggo sA lacchI tAI vatthAI te alakArA / rAhA-paloya-hINA hariNo hiyae khudukkhuDaha // (gAhArayaNakosa, 60) (29) The few lines of Lati dialect identifiable in the corrupt text of the illustration of Sukasarika are restored by me as follows (they form a dialogue between the Gopi and her mother) : ha' na jANamAe torI tAsA (?) chAMDu chAMhu / maI nAivaTha' goviMda-sahu khelaNaha / to AmhaNi kAhAM mhaNasi vAuliyA nArAyaNu jagaha kerA gosAMvI // (mAnasollAsa, 4-16-330) (30) The lads pertaining to the Krena incarnation of Visnu are restored by me as follows : naMda-goule jAyau kanhu jo govI-jaNe paDihe nayaNe joviyo / mahaNAghara Avi-nA mhaNi hakkAriyA / / phanAla bhaDArA saTha amhANA ciMtiyA deu // (mAnasollAsa, 4-16-140) For Personal & Private Use Only

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13) H. C. Bhayani (31) The partially and tentatively restored text of the illustration of Muktavali is as follows : anvo DoMgara-kaDaNie vAjiyA nAdu summada dIsaha kAlA hariNu vedhe ghUmavi (1) sIMga-nAdu / .........chauMde bahu-pari vAjai, govaddhaNa-giri-kaMdaru gAjai // devaI-naMdaNa kanhaDau...... rUpeM saloNA sAMvaliyA, gouli bAliyAM paDihe nayaNA / rannihi kara vAuliyAM // (mAnasollAsa, Vol. III p. 42, v. 6) (32) The restored text of the illustration of Ovi is as follows : goule golini mhaNiya, valu valu to majha paDihe / kanhaU sAMvalU, ovie // (mAnasollAsa, Vol. III, p. 43, v. 20). P. S. Friedhelm Hardy's Viraha-Bhakti (1983) became available to me whon I was correcting the final proofs of the paper. Some of the Prakrit sources and a few of the Apabhraisa sources noted here are also noticed and discussed by Hardy. But there are several other important sources pointed out here, which are absent in Hardy's discussion. Some of the implications of the Prakrit and Apabhramsa passages Hardy point out seem to me de batalbe. For Kssna poetry in Apabbramsa sce my earlier paper Apabhramsa sahitya mem Krsna-kavya'. referred to in fn. 5. K. K. Shastri had drawn our attention to several of the above given references in his Gujarati book Narasimha Maheto (1971) pp. 36-41 For Personal & Private Use Only

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SOCIAL THOUGHT OF YAJNAVALKYA-(1) R. S. Betai & Jaya R Betai "The spectacles through which he peers at the social process, the categories in which he arranges his manifold and complex data, and the language in which he announces his results are all products of a parti. cular society at a partic alar time and place. He himself is a product of his society and confirms consciously or unconsciously. to its folkways and mores, its institutions and laws, its customs and ideologies, its canons of evidence." Manu and Yajnavalkya--The Differing Vision The contribution of the two Smrti works of Manu and Yajnavalkya is uniqas in systematising and placing in a scientiae manner, the Indian social thought. The two Smrt's therefore have all claims to be adjudged. as representative Smrtis of Indian social thought. The social structure of the Hindu society even in the modern days, and the views on life of Indians-both these are deeply influenced by these two Smrtis. Most of the topics and problems that modera sociology inherited from the west are discussed and analysed by these two Smrtis, of course with the vision of their own age. Approach and method of study of course differ. Not only an individual bat a group or family of learned, conscious, alert experts with a subtle vision observe subtly. The evolving thought and conduct and way of life of the whole society ponder over this. As a result, sotme enlightened observers collect the views of all these visioners, systematise them and place them into a proper scientific order in form of prescriptions and prohibitions. This is the style and writing of the two Smrtis. Again, ose more thing is noticeable. As we proceed from the first to the second and the third Smptikara, one fact stands glaringly clear. Every social philosopher minutely observes and continues to study the changing realities of social life, their values and conditions. As a result, each writer contributes something of his own to the developing social thought. As we therefore come from Manu to Yajnavalkya's thought, it is bound to be of interest to us 1. "Social Order" Robert Bierstedt. p. 22 - Robert Bierstedt1 For Personal & Private Use Only

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134 R. S. Betai & J. R. Betai The first thing to be noted is that we find the following differencer of outlook betweeManu and Yajoavalkya, and it is indicative of the changing leanings and thought of social life in this country. . (1) Even according to the ideas of the scientific and methodical treat ment as in the minds of the Dharmasastrakaras, wherever Manu is not scientific, Yajoavalkya becomes so. The latter divides the topics into three broad divisions-Adhyayas and further subdivides them into chapters -Prakarang. He thus takes 13 chapters and gives 368 verses in Acara; 25 chapters and 306 verses in Vyavabara aod 5 chapters and 334 verses in Prayascitia. Thus, accordiog to him, all the three topics are more or less of - equal importance. Some scholars, however, believe that Yajpavalkya's interest is first in vyavahAra, then in prAyazcitta and then in AcAra. The belief seems to depend upon the fact that in his "Mitaksara,' Vijanesvara gives the greatest importance to "Vyavabara. Since Yajoavalkya divided all the topics of social thinking into 3 parts, the later effect that evolved was that the meaning of Dharmatastra is more of thinking on'Vyavabara, or law rather than social thinking. The result of this is that our primary and dominant givers of social thought and social rules remained to be only Maou and Yajnavalkya. (2) The contradictory statements and repetitions that are found in Manu at several places are not found in Yajoavalkya.2 (3) It seems that the Manusmoti editted by Bhrgu has passed through atleast two editings. The Manus of the Adhyayas 2 to 6 and 1 plus 7 to 12 seem to be different. The former Manu, belonging as he does to the period of transition, is partially idealist and a little liberal in outlook. The later Manu is, 'realistic, respects customs; he is more practical and more scientific 3 As compared to tbis the editing of the whole Yajnavalkyasmoti seems to be one man's work. Yajoavalkya has his own clear, firm and precise social outlook. He therefore differs from Mapu wherever he must, even though on the whole, he follows him. (4) Ya ja valky a discusses the whole of Vyavabara more minutely and in greater detail. As compared to Manu, he gives lesser or greater 2. 3. For details vide 'Interpretation of Manusmrti', R. S. Betai, p. xxxvii. Vide as in 2, p. xxxix. For Personal & Private Use Only

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Social thought of Yajnavalkya-(1) and different importance to certain topics and titles of state and court law. Even in 'prayas citta, he discusses 'Yatidharma', 'Dana' and 'As'uca' in greater detail. He covers up certain problems of law not discussed by Manu and also discusses topics like 'Graha' santi', 'Dravyas'uddhi' etc. This is a proof of the fact that social thought continues to change, though slowly. 135 (5) One more proof of the changing social vision and social thought is the fact that Yajnavalkya discusses in brief, and without Manu's emphasis on morality, some of the topics given greater importance in Manu. To illustrate-the thinking on 'Snatakadharma', 'Sraddha', 'bhaksyabhaksya' etc. come under this category. 6) The reading of the Manusmrti leaves this find impression on our mind on the whole that Manu is a stiff moralist and highly religious and righteous. This is not the case with Yajnavalkya, who is principally a social philosopher, a sociologist. He tries to lay down before us the natural and realistic Acara of a healthy society. Social Change As the social approch and the visioa of laying down of social philosophy have changed, we naturally come to the question of social change. Let us discuss the problem from the viewpoint of those days and see, where, how and why Yajnavalkya's vision of the Acara of social life has changed. Then we will come to his thinking on marriage, family, Varna, Adrama, Vyavahara, Prayascitta etc. Kingsly Davis states "What seems important today, what seems a vital change, may be nothing more than a temporary oscillation having nothing to do with essential trends. This is what historians mean when they say that time alone can place events of the day in their true perspective."4 It would be proper to keep in mind this statement of Davis when we examine social change in a period of some 300 years from Manu to Yajnavalkya. Our first impression will be that there is no very remarkable change during the period in the broad social structure, its 4. "Human Society", Kingsly Davis, p. 624 For Personal & Private Use Only

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136 R. S Betai & J. R. Betai units, institutions and the social thought in India. We cannot yet state that there is no social change or the consequent impact thereof. Davis defines social change in these words: "By social change is meant only such alterat ons as occur in social organizations-that is-the structure and functions of society. Social change thus forms only a part of what is essentially a broader category called 'cultural change'. The latter embraces all changes occuring in any branch of culture, including art, science, technology, philosophy, etc; as well as changes in the forms and rules of social organization."'5 Yajnavalkya's approach to cociety and his method of presentation have changed. This is also the result of some such social change. The changes visible in Indian social life doly acknowledged by Yajoavalk, a, are these, (1) In laying down the prescriptions and prohibitions of the Acara of man's life, Manu strictly keeps the individual in the centre; we would feel that he has thought only of the duties of the individual to the society. This centre seems to be shifting with Yajanvalkya. The emphasis on the duties of the individual as found in Manu, has considerably lessened in Yajnavalkya. The latter is more systematic as a social thinker and philosopher, and even though he talks of the duties of the iodividual, the concept of the relation between individual and society has changed In the eyes of Yajnavalkya, individual and society both are there; their relation is of mutual dependence, co-operation and it is fixed. He expects the individual to do his duties in the most natural way, keeping in view his own inclinations and ambitions as also the social structure in which he lives and acts. Here we do not feel that the society is the watch and ward of the behaviour of the individual. Yajnavalkya tries to make te relation more natural, more realistic and less idealistic. (2) Manu's society is strictly a moral and religious society. Here Yajnavalkya accepts and adopts the general rules of morality and righteousness, but the prescriptions and prohibitions are laid down now not just from these two points of view. The concept of ethics and morality has widencd; there is a positive move now towards rational ethics and the talk of Dharma lessens. The Acara adopts greater rationality and reality. That is the 5. "Human Society", Kingsly Davis, p. 622 For Personal & Private Use Only

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Social thought of Yajnavalkya-(1) 137 reason why Manu gives a detailed discussion and analysis of self. control, restrictions and the tough life of a widow, the hard lii and lower status of woman, firm restrictions on Sudras, the hard and ideal life of a king and so on. All this becomes just routine discussion in Yajaavalkya (3) It is our general impression that even though Manu has adjusted the Sudra in the social structure, he has a dislike towards Sudras as a whole. On the other side, the brahmin is glorified by him mainly as a brahmia. We might even feel that he has written the work simply to glorify brahmanism. Like Maou, Yajnavalkya also lays dowo certain special rights of brahmins and restrictions on the Sudras. But to him the brahmin as a brahmin is not to be glorified like. Manu and the Sudra is not to be disliked. Now, the dislike has got restricted only to the Cannalas or Ati-Sudras. This is inspite of the fact that Yajnavalkya accepts the beliefs, customs and faiths of social life, the idea of caste by birth has become deep-rooted in his time and social stratification has taken posi. tive shape. On the other side, respect, mainly for the learned brahmins is getting more firm in society. (4) Like Manu, Yajnavalkya conventionally describes the Jatis and their occupations, duties of the householder, the penances etc.. Eight forms of marriage and twelve types of sons are also similar. All this shows that custom and convention have now a firm hold over the society. Yajnavalkya's is no more the period of transi. tion as is that of Manu. So many values of society are fixed and there is a positive leaning towards the dictum "custom is more powerful than Sastras." Yajanvalkya is more realistic and less idealistic. To him, all that the broad society accepts is law. The proof of this is found, say, in the clear-cut distinction between ancestral and self-acquired property, the right of the wife to the property of the husband, woman's greater right on her own wealth known as stridhana and so on. As a sociologist and a social philosopher, YajoavaIkya accords sanction to rules, beliefs and duties after catching the basic secret of the entire social structure.. (5) We have seen that Madu discusses Acara, Vyavabara and Praya. Scitta all in one and as included in his wide concept of Dharma, Sambodhi XI-18 For Personal & Private Use Only

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138 R. S. Betai & J. R. Betai Yajanavalkya carefully and scientifically makes a distinction amongst the thre. -Acara, Vyavatara and Prayascitta. This proves that he accepts their owa individual influence as social forces, and als) that their spheres are specific and independent. Thus, Yajanavalkya's thinking is more rational. As a result he has become more subtle in the topic of Prayuscitta, more legal and just in bis Vyavabara. Preciousness of man and his life now dominate. (6) Lika Maou he does not give theory of Origin of Creation and life or give the doctrine of Karma. He goes straight to man's conduct in society. Even though he accepts the broad principles of ethics and religion of man, he keeps the problems and realities of social life before his eyes. Thus, to an extent he has ceased to be centred in the individual and has to some extent become centred in the society. This explains the slow and steady social change in the social institutions. Again, (7) Like Many, he does not distinguish between Sna aka and house holder. On the other side, he gives duties of Yati in greater details. (8) He is firmly opposed to marriage of brahains and the twice-born with Sudras. To him, Sudras are positively of a low status. Still he does not discuss or philosophise on their status. He accepts the contomporary reality of their status without Manu's dislike of Sudras. (9) Maou is specific on the lower status of women in his society. Yajagavalkya has not been able to improve much in this. Still, he shows no dislike towards woman and gives more rights to her in different spheres. (10) Even though he becomes more detailed in pedances, more subtle as we noted atove, he is cot still firm, conventional and emphatic like Maou in the matter. (11) In matters of state and court law, social ethics and religion dominate on the mind of Manu. Here Yajanavalkya becomes 6. Vide Manu's statements Calanqala , fayl syafafa fufa: / etc. For Personal & Private Use Only

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Social thought of Yajnavalk ya-(1) 139 fully scientific, talks only in legal language and establishes legal preciseness. The Adhyaya on Vyavahara is the most systematic and scientific ia his work. (12) Thus, even if we were to say that Yajnavalkya is not a sucio logist in the modern sense of the term, his whole outlook is that of a sociologist and it would be rational and just to call this work sociology in the Indian sense of the term. If we therefore state that Manu's work on social thought is dominantly religioethical and that Yajnavalkya's work on Indian society is purely realistic, we will be perfectly logical in our statement. This is the difference of approach between the two. If after this discussion on the direction of social change, we study the different social Institutions and following that the social structure from the viewpoint of Yajoavalkya, we will get a fairly thorough grasp of the social thought of Yajoavalkya. Varna and Jati In the sphere of social thought and social change, Manu's is the period of transition from the comparative liberalism of the Vedic period to the conservatism and piritanism of the later days. Manu's work bears these important facts in the matter of Varna and Jati -- (1) Maou accepts Varna by action and Varna by birth both, with a positive leaning towards the latter, (2) He is very much anxious to see that the Varna system remains intact as pure and he adjusts the Jatis in the limits of Vama. (3) He discusses in detail the expanding Jatis, their occuptions, their status, and shows how Jatis expand. His treatment proves that atleast in his time the relation between Jati and occuption has remained unchanged, very much firm. (4) In his social stratification Manu's sentiments and ideas are firm and clear. We thus get in Manu a clear picture of the Varna system. We are also convinced about the highest social status of the brahmin, the higher For Personal & Private Use Only

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140 R. S. Betai & J. R. Betai status of the Ksatriya and Manu's apsiety to see that the high status and purity of these two classes is preserved. Yajaavalkya commences his treatment of Varnas and Jatis with this verse savarNebhyaH savarNAsu jAyante hi sajAtayaH / anindyeSu vivAheSu gar: Falaagar: 11 (8.80 ..By males of the same Varna, sons of the same Jali are born on women of the same Varna, in case of faultless forms of marriage. Such sons enhance progeny (through generations.)" In this very first verse two things become clear (i) When man and woman belong to the same Varna, they have a child that is their Savarna. (ii) This is blameless marriage and blameless offspring that is rightous, cultured, virtuous. Yajpavalkya then proceeds immediatly to the Jati of the offspring of Apulom a marriage. This shows that the word 'Savarna' in verse 1.90 is to be interpreted as 'Sajati,' and not as 'the four varnas' only. The Savarna offspring therefore would mean the offspring born of marriage in the same caste or Jati. The Jatis result from Savarna, Anuloma and Pratiloma marriages. Yajana valkya thus gives & very wide reapirg of the word Savarna' and this would prove that the place of Varna-system is now taken over by Jati-system in the days of Yajdavalkya. This also establishes that to him, Anuloma acd Pratiloma marriages are lower in status than Savarna or Sajaliya marriages. The meaning of Anuloma' and 'Pratiloma' has also slightly changed. Yet, one clarification is necessary in the context. The offspring of Savarna and Apuloma marriages within the limits of the twice-born Varnas has the same sccial status. In 1.57, Yajoavalkya slates text. The Offspring Changed. Yet, one Clariting of tisro varNAnupUryeNa dve tathaikA yathAkramam / brAhmaNakSatriyavizAM bhAryA svA zUdrajanmanaH // For Personal & Private Use Only

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Social thought of Yajnavalkya-(1) 141 "In the normal course) and in due order brahmins, ksatriyas and Vaisyas can have three, two and one wives. The Sudia can marry oce only of his own Varna." Herc, Aouloma marriages are approved as equal by Yajnavalkya within the limits of the twice born Varnas and not the Pratiloma marri. ages. At first sight we might feel that to bim Pratiloma marriages even within these limits are full of blemish, but as we will see later, actually this is not so. He is specific again about the first four forms of marriage being free from blemish, (1.38 to 60), not so the last 4 (1.61). Thus, the form of marriage together with Jati is very important in fixing up the social status of the offspring. With these and a few other refer. coces, we can conclude that according to Yajnavalkya, the social status of Varna and Jati is governed by these principles : (1) Offspring of the Savarna Vivaha of the first three Varnas in the first four forms of marriage, the best. (2) Offspring of the Anuloma and Samans Jatiya marriages within. these limits as above, comes next. (3) Offspring of the Pratiloma marriages within the dvija limits, comes next. (4) Offspring of Savarna and Sajati marriages in Sudras comes next. (5) Offspring of Sudra, with men of Dvija Varnas and Jatis, i. e. Anuloma marriages. (6) Offspring of Sudra, with woman of dvija Varnas and Jatis, i. e. Pratiloma marriages. lo 1.56 Yajpavalkya is very specific in his stateinant that marriage of a dvija with a Sudra woman is not to his liking, i. e., in his opinion it is illegal. He has yet adjusted the offspring of these marriages within the Varna and caste system, and he fixes up the social status of the offspring. This shows that slowly but steadily the concept of Savarnatva is disappeariog from the scciety and its place is taken over by ideas of Dvijati, Ekajati and the Jatis born of these. The high and low status of Jatis is thus getting fixed. In this complex system the Varna or Jati, joining in marriage, the form of marriage, the special rights of Samslaras are at work. With greater and greater mixture of Jati in marriage, nem For Personal & Private Use Only

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142 R. S. Betai & J. R. Betai Jatis are born and with that their social status als) gets fixed on the principles laid down. In his "Varnajativiveka' Yajoavalkya does not show the great care of Manu to fix up their occupations. This shows that even though the relation of Jati and its occupation persists in the days of Yajnavalkya, the element is growing dim. On the other side, Jati and Varna by Guna and Karma is almost lost. Again, Yajoavalkya, like Manu, does not state that "Sudras shall not collect wealth even though able to do so." (Manu 11.129) This shows that even though rich, the Sudras cannot hope to go higher in social status by caste. Again, Yajoavalkya clarifies how these Jatis constantly expand. This indicates the future expansion of Jatis. Yajoavalkya has resolved the realistic state of Varna and Jati as it existed in his days. He does not proceed with a preconceived notion that besides the accepted status of diferent Jatis, one is lower or one higber. Partially he accepts the different special priviledges of brabmins laid down by Manu. But he has no serious favourable attitude towards brahmins. He does not lay down severe restrictions on Sudras and Candalas as Mana does, and Manu's very fierce dislike towards the latter in not found in Yajaavalkya. The only word of importance that he has used for him is Sarva-dharma-babiskata' (1.93). The idea of high and low, as it may be prevalent in any society in the world was found in the Indian society. Yajnavalkya lays it down but does not give very serious importance to it. He adopts the stratification that he found in his society and accords sanction to it. The stratification in the Jatis in India then was due mainly to these factors - form of marriage, Anuloma and Pratiloma marriages and partially due to occupation and economic condition. Stratification in Indian Society. Stratification is scientifically defined by western scholars but stratification as such has existed in all societies in the world as in the Indian society. Let us seek some clarification about social stratification before we understand what it was in the days of Yajnavalkya. Rightly it is stated by Davis that "Men have always dreamed of a world in which distiuctions of rank did not occur. Yet this dream has to face reality. Any society must distribute its individuals in the positions of its social structure and induce them to perform the duties of these positions."7 7. 'Human Society,' Kingsly Davis, p. 366 For Personal & Private Use Only

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Social thought of Yajnavalk ya-(1) 143 It is therefore natural that as per human nature and human temperament, we are bound to see some type of inequality or another in society and that is bound to lead to a sense of high and low. This is very natural to any human society in the world. The dream of a classless society in wbich exploitation is totally absent, and Gandhiji's dreams of Sarvodaya have remained only dreams. Every individual in the society has the mental tendency to feel that he is higher or low:r than somebody else; this is a stark reality, it is quite in the fitness of things that we discuss the question of stratification in the Indian society of these days, Rightly it is stated that "If the rights and perquisites of different positions in a society must be unequal, then the society must b: stratified, because that is precisely what stratification means. Social inequality is thus an unconsciously enolved device by which societies insure that the most important positions conscientiously are filled by the most qualified persons.'s Westerners clarify the idea of stratification in these words :: * The difference between stratified positions and unstratified ones seems to hinge on a difference with respect to the family, viz., positions based on sex, age and kinship-do not form part of the system of stratification. On the other hand, those positions that are socially prohibited from being combined in the same legal family viz , different caste or class positions-constitute what we call stratification." Stratification in Indian society is caused by different sex, age, religions, race, and more so due to difference of Varnas and Jatis-class and caste. This has led to a sense of high and low and to social stratification. The following words of Davis are useful in understanding stratification in lodian society "The low estate of the sweeper castes in India, as compared with the priestly castes, cannot be explained by saying that the sons of swee pers become sweepers and the sons of brahmins become brahmins. There is a tendency for sweepers to have a low status and for priests * to have a high status in every society. Thus the functional necessity 8. 'Human Society,' Kingsly Davis, p. 367 9. Ibid p. 364 For Personal & Private Use Only

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144 R. S. Betai & J. R. Betai behind stratification seems to be operative at all times, despite the concurrent operative at all times, operation of other fucctions."10 As we study stratification from the vewpoint of Yajnavalkya, it will become clear that the peculiar traits of class and caste and Indian social structure can very well be understood by th's. It is clear that stratification is an important trait of Vaina and Jati system, it is superimposed on the members of the two and it becomes a trait of the society. MacIver and Page state "A social class, then, is any portion of a community marked off from the rest by social status. A system or structure of social classes involves, first, a hierarchy of status groups, second, the recogaition of the superior-inferior stratification, and finally of the structure,"11 and "It is the sense of status, sustained by economic, political or ecclesi astical power, and by the distinctive modes of life and cultural expressions corresponding to them, that draws class apart from class, and stratifies a whole society."1 2 We have seen that occupation is associated as a factor in determining the high and low of the social stratification in Yajnavalkya. But he is not very much insistent on it. This shows that occupation has not remained a decisive factor in social stratification of bis days. This is natural in view of the fact that Jati by birth has already occupied the place of Jati by Guna and Karma. To him, the brahmin is the best, purest and highest of all. Here, he idealises the life and work of the brahmin far more than Manu. The duties laid down in his case with his rights are far more tough. A general principal comes to be accepted now that "higher the status of a caste, greater the responsibilities." This further meant "simple life and lofty thoughts" in the case of brahmins whom he did not expect to be rich. Further division of castes and sub-castes also follow on the samo lines. Davis states "No society has become so completely secularised as to liquidate entirely the belief in transcendental ends and supernatural entitics. Even in a secularized society some system must exist for the integra. tion of ultimate values, for their ritualistic expression, and for the 10. 'Human Society' Kingsly Davis, p. 370 11. "Society,' MacIver and Page, p. 348-349 12. Ibid p. 349 For Personal & Private Use Only

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Social thought of Yajnavalkya-(1) 145 emotional adjustments required by disappointmeut, death and disaster,"13 and "As between one socisty and another society, it seems that the priest. receives the highest rank in medieval type of social order. Here there is enough economic production to afford a surplus, which can be used to support a numerous and highly organized priesthood; and yet the populace is unlettered and therefore credulous to a high degree.."14 Dharmanistha or its absence, sense of duty and responsibility or otherwise, would also play their part and Yajoavalkya, following Manu, accepts the descending status-crder in the learned brahmins-the Srotriyasas Acarya, Upadhyaya, Rtvija, etc. This is of course a different type of order from castes in the class, but later it merged in castes. But, with all this, first the learned brahmins and then the brahmins in general are of the highest social status. But then, sub-castes in brahmins, in dvija limits. by Anuloma unions become the deciding facter followed by the Pratiloma unions in the same limits. The same truth would apply to Ksatriyas, Vaisyas and particularly the Sudras. In Yajnavalkya, one decisive factor in social status and stratification is de minance in power and in government. There has been a rivalry, right from the days of the Vedas, between brahmins and Ksatriyas for secial dominance. In this, mostly brahmins have won. But the two castes and classes ever stood united in keeping the Vaisyas and Sudras on a lower status As compared to Manu, the status of Ksatriyas, mainly as Rajanya has gone far higher in Yajnavalkya. In the Ksatriyas, mainly royalty and royal families are on a high status. That is the reason why he with Manu accepts the special priviledges of the royal caste in particular and Ksatriyas in general. The ministers of kings are mostly learned brahmins. Again, through dharma that he up holds, the Purohita' is almost a minister. Judges in courts are also mostly brahmins. It has happened that even though the Ksatriya is the ruler, the defacto status of brahmins was higher in the society. We have proof of incidents in which kings would go to deep forests to seek advice and guidance of brahmin Rsis; on the other side we have examples of brahmins like Kautilya who installed Candragupta on the kingly throne and then. retired to forest life and lived in a hut. It can be stated that in the days of Yajnavalkya, the status of the Ksatriya was better than in the days of Manu, Even at the risk of repetition, it should be stated that economic status high or low, has not become a determinant of social status in the 13. 'Human Soclety', Kingsly Davis, p. 373 14. Ibid p. 372. Samobodhi XI-19 For Personal & Private Use Only

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146 R. S. Betai & J. R. Betai work of Yajaavalkya. The brahmins placed as the highest in society were poor. On the other side, Vaisyas and even some Sudras grew rich, but their status was not higher. Manu saw the possible link between economic status and social status. He therefore laid down that "The Sudras, even though capable, should not hoard wealth" (Manusmrti 11.129). No such statement is made by YajnavalkyaSteady rise from one Varna to another. Manu saw to the possible uplift of man from one Varna to another, as also downfall (10.61-65). Yajnavlkya accepts this when he states jAtyutkarSo yuge jJeyaH saptame paJcame'pi vA / vyatyaye karmaNAM sAmyaM Ta = I TA 11 (8.38) In this uplift of an individual from one Jati to another, marriage, occupation, and Karma are the determinant factors. The idea at the root is that an individual can come to a higher Jati together with the Samskaras inherited at birth. Thus, if a man resorts to Karma and occupation of a higher caste, for 5 to 7 generations, at the end, he belongs to that of the higher caste. The reverse is also true, i. e., if a man of the higher caste takes to the Karma and ocupation of a lower Jati, slowly his Samskaras go down, at the 5th or the 7th generation man belongs to the lower caste. Occupation and Karma have their own impact on man's Samskaras that go higher or lower with each generation and convert the individual or the whole Jati to the higher or lower status. These are the facts of social status and the consequent stratification. But one important fact here is that lower castes have accepted as a matter of course their lower status, and they too accepted the higher status of some castes. This has also led to the unconcious exploitation of certain castes growing poorer and poorer day by day. Still, the hold of theory of rebirth, insistence on limiting ones self to ones own duties, hope of a better birth in next life have worked in this. The class conflict and revolution leading to a classless society were never visible in the Indian society. We cannot therefore state that there was constant suppression of the lower castes by the higher in the days of Yajnavalkya or even later. The Smrtikaras cannot therefore be held responsible for the untouchable castes that became backward day by day .. Select Bibliography 1. Manusmrti with Kulluka's commentry, Nirnayasagara Press, Bombay 2. Yajoavalky asmrti-with commentary fHatar of Vijanesvara, Nirnaya sagara Press, Bombay 3. Interpretations of Manusmrti-R. S. Betai, Gujarat University, Ahmedabad-9 4. Society, MacIver and Page, For Personal & Private Use Only

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IS VASTU DHVANI AN EXPENDABLE FORM OF POETIC EXCELLENCE ? S. Meera The eternal connection between the word and its literal meaning facilitates the every day transactions and gives rise to language. This primary meaning at times fails to give the intended sense when a meta. phor, or a secondary function is introduced. Apart from these two functions there exists the poetic language where a mere skill in expression and the right placing of words render even the most banal subject matter appreciable poetry. The deft use of syntax, juxtaposition of proper syllables, apt manner of expression and superior ideas alone can transform ordinary language into poetry. As Kuntaka says a description of poetic matter alone cannot be considered poetry. TEIFT 7 TECT faze goza $164.99 Tata I p. 7. Even in good poetry a suggestive mode is considered superior to direct expression. While one can accept a tender emotion or a beautiful figure of speech being dexterously suggested, can one envisage mere poetic matter being suggested in a superior way ? Is there any justification at all in considering Vastu dhvani as a kind of poetic excellence ? If one were to accept unlimited functioning of denotation even in poetry, is a gas 59571117 of abhidha then there would be no dhvani least of all vastu dhvani in poetry. Many instances of vastudhvani may resemble prahelika, calu, vacya vakrata, viparita laksana, kaku, upacara, aropa, gauna vytti, slamkaras like samasokti, aprastutaprasamsa, and anyapadesa and according to Mahimabhatta mere anumana which functions in kavya. In Valroktijivita, Kuntaka cites types of vakrata like vacaka vakrata, rudhi vaicitrya vakrata, upacara vakrata and ukti vaicitr ya which closely resemble instances of vastu dhvani. Ukti vaicitrya by dint of proper expression presents even a well known idea charmingly. gefa atal574natanollekhamanabhinavatvenollikhitaM tadapi yatra yasminnalaM kAmapi kASThAM nIyate lokottraatishykottidhioyo| kathama-uktivaicicyamAtreNa bhaNitivaidagdhyenaivetyarthaH / yathA anyallaTabhatvamanyaiva ca kApi vartanacchAyA / zyAmA sAmAnyaprajApate rekhaiva ca na bhavati / Gatha Saptasati 969 For Personal & Private Use Only

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148 S. Meera He gives the vers: - to fa ga etc. as the eg, of vacak a vakrata and marvels at the apt use of the word kapalinah. Rudhi vaicitrya consists of attributing an unconventional non-li eral meaning to an ordi. nary word. VS II. 9. For this Kuntaka cites the egs. of aci 719 JT: etc where the second kamalani has a different meaning, fala etc. where Rama does not have a literal meaning, aa: 9&FIFT ga: etc. where Raghu denotes the valour of the king with the implication of aropa, AjJA zakraziromaNi etc. where Ravana denotes his fame, rAmo'sau bhuvaneSu vikramaguNaiH etc. where Rama denotes his prowess and fame and garraf etc. where Raghu denotes unequalled fame. There are also instances of upacara vakrata in Gaganam ca matta megham etc. and Snigdha syamala kanti lipta viyatah etc. where there is uropa with acetane cetana vastu vyttanta Other instances have no vakrata as there is aropa with no poetic merit as in Gaur bahlakah. In Vakrokti due to upacara manojnata he discusses the device of upacara in alamkaras like utpreksa. Kuntaka does realise that poetic matter on its own can cause delight since it forms the basis of refined poetic expression "nanu vastumAtrasyApyalaMkArazUnyatayA kathaM tadvidAhalAdakAritvamiti cettanna, yasmAdalaMkAreNAprastutaprazaMsAlakSaNenAnyApadezatayA sphuTitameva kavicetasi prathamaM ca pratibhApratibhAsamAnamaghaTita. pASANazakalakalpamaNiprakhyameva vastu vidagdhakaviviracitavakravAkyopArUDha zANollIDhamaNiHaigla Telif #16769itafa " I. p. 8 Mammuta in the IX ullasa of Kavya prakasa gives as eg. for Kaku vakrokti ia Gurujana-paratantrataya etc. where Nesyati when uttered by nayika mans would not go and when uttered by sakhi means 'no, he will go.' la the III ulla sa he gives several illustrations of Kaku where the speaker's import is suggested by change of tone. Mammata gives an eg. of vacya vyangya where mere vacyartha is suggested in 'mAra gharovaaraNaM ajja ofeet' etc. where the girl's desire to go out and meet the nayaka is suggested. By a simple device of viparita laksana and kaku the meaning just opposite to the one suggested is not in the verse upakRtaM bahu tatra kimucyate etc. which b:longs to the atyanta tiraskyta vacya type of vastudhvani. The prime objector of vastu dhvani of course is Mahima Bhatta to whom Kavyanumana is the only possible poetic function. He goes to the extent of saying that rasa dhvani is due to mere upacara and derives even laksana by Anumana. He has only two functions Abhidha aod Kavyanu. mana. Even laksana is only an extension of abhidha in his system. He reduces the verses Suvarna puspam prthvim etc.. Patyuh sirah candrakalam anena etc. Evamvadini devarsau eto., Prayacchatocchaih kusumani manini etc. Sikhi piccha karnapura etc., Vanijaka hasti dantah etc, Vraja mame. For Personal & Private Use Only

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Is Vastu Dhvani an Expendable form of Poetic Excellence ? 149 vaikasya bhavantu etc., Bhrama dharmika etc, Kasya va na rosi bhavati etc. and the typ. of dhani cille 1 arthantara sankramnita vacya to mere a la na ll. a Tre Tian R: ATA Hitam 3724176915444. gantavyaH, tasya parapravRttinivRttinibandhanatvAt tayozca sampratyasAmpratyayAtmanoranyathA katu ma. zakyavataH / na hi yuktimanavagacchan kazcidvipazcidra canamAtrAt sAmpratyayabhAgU bhavati / " I. p. 26-27 S) according to himn literally everything in the world is reducable to Ioference. He calls the Viparita surata samuye etc. as a mere prahelika eventhough the sense of Visnu's righ: oje being the Sun is not easily got. p. 92 gegnhaT #13277! I' He explains De a pasiya etc as a mere catu with pratisedhanupapatti. Due to bhangi bhaniti this is negated by praise. In the verse Atta, ettha nimajjati ato. kaku and facial expression alone suggest anything and the expression ma slisa with its pratisedha cannot be resolved as there is no basi; to do so in the literal meaniog cf the verse. So it has no dhvani. Mahimabhatta is against the very concept of vastudvari especially while considering rasa to be the soul of kavya. na ca rasAtmanaH kAvyasya vastumAtrAdibhivizeSaH zakyaM AjAtu, teSAM vibhAvAdirUpatayA rasAbhivyaktihetutvopAnAt na ca vyAja kAnAM vaicitrye vyaGgayasya vizeSo'bhyupagantu yuktaH zAvaleyAdInAmiva gotvasya / 'prahelikAdo ca nIraro syAt / tatrApyuktakrameNa vastumAtrAderapi 61579ae ale 57777e7fat#1277 $1577774175yTasafgezaaizar I. p. 104. Vastudhvani has to be included under rasa as being vibhava. Mere variety also, cannot become excellence in poetry. Catu and Prahelika ate not good types of poetry. Herce these can only merit the term of 'poetry'. not excellent poetry.' Mahimabha!!! calls Gauna as Yatnopapa'itam, and be considers arthantara sankramita vacja aad atyantu tiraskrta vacya as having gunavrtti with aropa and padarthopacara and ultimately being resolved by Anumana Tae vurse Suvarna puspam prthvim etc. has upacara urtti. Sikharini kva nu nama has saidaropa and is only a catu Snigdha Syamala etc. enploys only dharmi when usiog Rama in a special mode. Tada javanti gunah etc. has utkarsa aropa in second kamalani while Evameva janastasya etc. has apakarsa aropa in second candra. There is padarthopacara in Ravi samkranta laksinikah etc. in andha, and Gaganam ca matta megham etc ha pada rthopacara in matta and nirahankara. Ucchinu patita kusumam etc. is a mere vakcchala which can be resolved by anumana. The 2 is padarthopacara in Saptaita samidhah sriyah and Vakyopacarata in Ya nisa sarvabhutanam elc. Suvarna puspam prthvim For Personal & Private Use Only

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150 S Meera etc. and Visamaya iva kesamapi etc. das to prakarana or context. Hence Mahina bhatt o cks at dhvagivadin saying that dhvani is merely Jaksana resolvable by anumana. antyo'numeyo bhavatyAM tu tasya vyaGgayatvamucyate / bhakteH prayojanAMzo yazcamatkAritvalakSaNaH // . 1. 41. p. 113 Since he derives laksana itself by arumaoa be refuses to accept even skhaladgati in gauni vitti. He goes to the extent of adroitly transforming Anandavardhana's own karikas and mocking at the doctrines of their author himself. bhaktyA vimati caikatvaM rUpabhedAdayaM dhvaniH / na ca nAvyAptyativyAptyorabhAvAllakSyate tayA // I.58 rUDhA ye viSaye'nyatra zabdAH svaviSayAdapi / lAvaNyAdyAH prayuktAste na bhavanti padaM dhvaneH ? I. 61 bhavantyevetyarthaH / aod vAcakatvAzrayeNaiva guNavRttirasaGgatA / gamakatvaikamUlasya dhvaneH syAda viSayo na kim // __I. 63 . While miny may not agree with this wholesale dismissal of dhvani by the function of a numana the charge that dhvani is nothing but laksana has to be met. For this, it is pertinent to examine what exactly is laksana. Laksana or secondary import arises when there is a break in the flow of primary meaning mukhyartha badha and skhaladgati the flow of sentence meaning moves shakely. Then due to the akanksa of the sentence this break is cemented by joining the mukhyartha with the rudhyar tha-nimitta. This is tadyoga. The word used in the secondary sepse which gives rise to laksana is fulilling the function of new significance which is the prayojana. There are also nirudha egs. or faded metaphors where the original sense of the words is long forgotten and it is used mechanically to denote one part of its meaning. Such words are : Kusala, Pravina, Anukula, Pratikala For Personal & Private Use Only

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Is Vasta Divani an Expendable form of Poetic Excellence? Lavanya, Anuloma, Pratiloma and Sabrahmacari Prayojanavati laksana is divisible inio saropa mukhacandra and sadhyavasina-Sure'smin saudha sikhare candra rajt virajate-ladies peep from terraces. It is also divisible into Jahallaksana where the meaning is rejected entirely and Ajahallaksana where it is partly retained. There is Upadana laksana in cases like Yaghah pravela ya and Kuntah pravisanti and also Viparita laksana and Vyatireka. laksana. In Kakebhyo dadhi raksyatam a dog or cat is also included. Laksana is of 3 types according to the verse abhiveyena sAmIpyAtsArUpyAtsamavAyataH / vaiparItyAskriyAyogAt lakSaNA pazJcacA matA // Even Abhinavagupta a staunch advocate of dhvani, boggled by the possibilities of laksana says, 'evamanayA lakSaNA pacaviSayA vizvameva vyAptam' I. p. 283 151 1. The eg. for laksana due to abhidheya is dvirepha 2. that due to samipya and sarupys is Gangayam ghosah. 3. di to samavaya Yasthih pravefaya 4. due to vaiparitya when one addresses an enemy sardonically with praise 5. due to Kriyayoga in Pranan ayam harati deniting anna and Ayurghrtam. While laksana is present always with primary denotation, gauna is due to the association of certain qualities in the subject with. aropa. Agairmanavaka to indicate the sharp intellect etc. For instances like Mancah krofanti, Mancah hasanti, Pato dagdhah and Girir dahyate. Aksepa itself will give the required sense, Upacara is fourfold-due to 1. tadarthya, 2. svasvami bhava, 3. avayavavayava bhava and 4. tatkarmya. In all these cases of secondary function, there is a break in the flow of literal sense and the primary sense is rejected to give the new meaning. Moreover, it is always vacyartha which is suggested which has no special. poetic charm. In all the verses quoted by Mahimabhatta as egs of laksana and anumana there is no mukhyartha badha. Hence they come only under vastudhvani which can be due to abhidha as well as laksana. Moreover, the Ramyata in the verses more than justifies the title of dhvani for the prakara. As Abhinavagupta says, atiramaNIyamiti bhAktAdvayatirekamAha / na hi siMho vadaH gaGgAyAM ghoSaH ityatra ramyatA kAcit 1 p. 57. In all cases Mahimabhatta confuses the device with the genre. Upacara, gauna, and laksana are mere devices which enhance the beauty of vastudhvani. So also a catu or a prahelika in vastudhvani is superior to a catu or prahelika or direct For Personal & Private Use Only

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152 S. Meera expression and simplicity. Here is a verse with virodhi laksana and upama in the form of vastudhvani, cited by Jagannatha sarva iva zAntamUrtiH zvevAyaM mAnaparipUrNaH / zrIva iva sAvadhAno markaTa iva niSkriyo nitarAma // II. p. 317 In laksana it is the vacyartha which is established once again but in Vastu dhvani it in Pratiyamanartha or poetic import. While this may not be apparent in types like Vidhi rupe pratisedha rupa etc. in Anubhayanisthu type of vastudhvani this aspect stands out, as in "Vraja, mamaive. kasya bhavantu nisivasa roditavyani'. Here the lover's infidelity is suggested rather than his leaving or not leaving. In a sentence like, 'Angulyagra' Kari-vara-satam' etc. there can be no sensible meaning as it is pratyaksa viruddha even if the be anvuya pratiti. It can have no straight sense unless used in an ironic, comic exaggeration. Whereas in all instances of vastu dhvani anvaya is intact and there is a smooth, plausible flow of literal meaning. Apart from laksana mula dhvani there is also Abhidha mula vastu dhvani belonging to all the varieties of classification. Kaku too aids in vastu dhvani but does not exhaust its possibilities. Ananda vardhana himself clearly establishes the distinction between Samasokli, Aprastuta prasamsa, Anyapadesa, Aksepa, and such alankaras, and vastudhvani. Here too, in the figures of speech the rejection of primary meaning is essential whereas in vastu dhvani it contributes to the suggested meaning and does not disappear. While vastu dhvani is superior it is uttama type and if it is not prominent it is of Gunibhuta vyangya type. The verse Evam vadini devarsau' is considered to be Bbava dhvani according to Jagannatha but even though lajja is suggested since there is no full development of tasa it cannot come under rasa dhvani. So accordiog to Abhinavagupta, Mammata, and Visvanatha it comes under vastudhvani with samlaksya krama. Mammata in fullasa of Kavyaprakasa establishe: vyanjana vitti in laksana mula dhvani by refuting the possibility of laksana vstti. yasya pratItimAdhAtu lakSaNA samupAsyate / phale zabdai kagamye'tra vyaJjanAmnAparA kriyA // nAbhidhA samayAbhAvAt, hetvAbhAsAnna lakSaNA / / lakSyaM na mukhyaM nApyatra vAdho yogaH phalena no / na prayojanametasmin na ca zabdaH skhaladgatiH // For Personal & Private Use Only

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Is Vastu Dhvani an Expendable form of Poeic Excellence ? 153 evamapyanavasthAsyAt yA mUlakSayakAriNI / prayojanena sahitaM lakSaNIyaM na yujyate / / jJAnasya viSayo hyanyaH phalamanyadudAhRtam / viziSTe lakSaNA naivaM vizeSAH syustu lakSite // II. 14-18 That mere anumana cannot explain vastudhvani is also clear from a series of suggestions possible from the various angles of several characters ar in verses like Kasya va na roso bhavati etc. There is also an extented story context from a mere spark of suggestion as in verses like 'Ksana praghunika devara' etc. "Sikhi piccha karnapura etc. and 'Uccinasu padia kusumam' etc., The use of words like samidhah, Rama, Kamalani, and candra in a special mode is also dhvani alone since there is no mukhyartha badha. In Mathnami kaurava satam samare na kopal' etc. it is kaku with dhvani which effectuates vastudhvani. There is no Viparita laksana here. The spontaneous yet dexterous expression in vastudhvani with its various quances is therefore an indispensable type of poetic excellence which has its own siinplo charm fulfilling the criterion of Kuntaka 'ayatnavihitasvalpamanohArivibhUSaNaH / ' Works consulted 1. Vakroktijivitam - Kuntaka. Dharwar 1977. 2. Vyaktiviveka - Mahima bhatta. Varanasi 1964. 3. Rasagapgadhara - Jagannatha. BHU. Benares 1961. 4. Kavyaprakasa - Mammata. BORI, Poona 1965. 5. Dhvanyaloka - Anandavardhan | Ed. Tripathi 6. Locana - Abhinavagupta Delhi 1973 Sambodhi XI-20 For Personal & Private Use Only

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FIXING UP OF SOME VARIANTS FROM KALIDASA Tapasvi Nandi The object of this small paper is to draw attention of all learned scholars towards a very important missing link in the field of text-critiof the works of Kalidasa. In our humble opinion the efforts in the direction of Kalidasa-textCriticism seem to be incomplete and even the so called critical editions of Kalidasa's works such as those by the Sahitya Akademi, New Delbi are sadly wantiog in certain respects. The point is that a careful editor of a given work should utilize and weigh all the available research tools, and every ms. should be handled as something sacred. This has not happened in the task of editing the works of Kalidasa. We know that in their works, alamkarikas diaw upon freely from Kalidaca to illustrate this point or that. From Varana, down to Visvanatha onwards they seek inspiration from Kalidara. There alamkara works had ary number of brilliant commentaries and the Vagdevatavatara Mammata is said to have claimed a commentary from every house-glhe-glhe. We have seen that these commentators are in the habit of discussing a particular variant with a terse remark such as "ayam sadhupafhah, ayam apapathah', etc. The works of Kalidasa have also been commented upon by many beyond Mallinatha. We have in our mss. library at the L. D. Institute of Indology, quite a number of interesting commen. taries on Raghuvamsa, Meghaduta, and Kumara-sambhava, 1 by Jaina and non-Jaioa writers of high calibre. All these are worked out only with any number of variants, but even the numbering of verses, their sequence and total, also vary. And all these evidences cannot be dismissed lightly. They have to be taken note of and weighed properly, no matter what date they belong to, for surely each one represents a tradition much older, of its owo. These traditions were preserved probably in very old mss. that are lost to us now. And works on alamkara proper, dating back from 8th Cen. A. D., cannot by dismissed lightly. Thus Vanana, Anandavardhana, Bhoja, Mammata and Hemacandra to me, are greater authorities then any of the present day editors, no matter their high reputation and position We know how acarya Hemacandra's Kavyaousasana with its priceless For Personal & Private Use Only

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Fixing up of Some Variants from Kalidasa 155 Viveka, has been a source of great inspiration in critically editing portions of the Abhinava-bharati for scholars such as Gnoli and Kulkarni. So, the importanee of these alamkara-works is beyond dispute in this stupendous task or editiag the works of Kalidasa. Any intelligent and siocere editor, of course, will have to weigh all evidences critically. We may note that Hemacandra (H. C) bas quoted 46 verses from Kumarasambhava (Kumara.), 31 from Raghuvassa (Raghu.), and eight each from the Abbijnana-Sakuntalam (Abh. Sa.), Vikramorvasiyam (Vikrama), and Meghaduta (Megha). He has not quoted either from the Malavikagoimitra (Mal.) or Ritusambara (Ritu.). Perhaps nobody has quoted from the work mentioned last. Bhoja has as many as 95 illustra. tions only from the Abh. Sa., and we bave yet to count the total number of verses quoted by Bhoja from other works of Kalidasa. Mammata has 11 from Kumara., 6 from Raghu., 9 from Vikrama. 2 from Abh. Sa., and 1 from Megha., making a total of 29 verses. To illustrate, we propose to concentrate on just five verses from Abh. Sa. only. They are : (1) $ffacagusiaato (2) haj afero (3) 91AFIHH (4) GIAIR Efeo and (5) BERIT alg fafarao The method will be first to note available variants in the printed editions of the works of Vamapa, Ananda, Bhoja, Mammata and Hemacandra, along with their commentators, if any, and then also to note the variants as found in some important editions of the Abh. Sa We have given a full list of all these editions of these works in Appendix A.The verses cited 23 illustrations occur in the works of authors mentioned against them, such as, (1) #fagayugaato (2) naraj afeTTO is read by Vamana & Bhoja; is read by Vawana, Bhoja, Mammata & Hemacandra. is read by Mammata and Hemacandra. is read by Anandvardhana, Bhoja & Hemacandra, (3) (4) 21HETHAO 1915 ago For Personal & Private Use Only

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156 and (5) asmAn sAdhu vicintya0 while considering Mammals, we will try to look in for a special remark, if any, by any of his commentators. We will also consider the variants presented in the selected editions of the Abh. Sa. Our observations are noted as below; wherein we will mention, not the whole verses, but only the portion containing possible variants: (1) kA svidavaguNThanavatI * Vamana, under 3.2.6 reads as Tapasvi Nandi is read by Bhoja and Hemacandra, Bhoja reads it twice, i e. once each on p.326 and p. 748. At both the places, we have T feat B. (p. 80; verse V. 14) kAsvid... nA tiparisphuralAvaNyA | madhye... kisalayamiva pANDupatrANAm // : But on p. 784, the second half of the verse reads as fa bhAti pANDuputrANAm / It is surprising that in one and the same edition at two places two variants are seen and not taken note of by the editor. Different editions of the Abhi. Sa. show the following variants: - nAtiparisphuTazarIralAvaNyA kAsvit 0 0 zarIralAvaNyA... * kisalayamiva pANDu0 etc. J. & R. (p. 163; verse V. 13) - fea * zarIralAvaNyA 0 kisakhyAmeva pANDu...etc. These variants are also supported by Raghava Bhatta (p. 163) . (p. 198; verse verse V. 13) #1 fa 0 zarIralAvaNyA kisalayamiva pANDu .... G. (p. 109; verse V. 13) - 1 fea * zarIralAvaNyA * kisalayamiva pANDu... For Personal & Private Use Only

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Fixing up of some Variants from Kalidasa 157 Re. (p. 500; V. 13) - 1 ffaa * zarIralAvaNyA o #34T qrug... - $742JOJHO o f 319091... o 14 gtog... SR. (p. 480; V. 12) The verse is read differently as V. 12, 13, 14 by different editors. The variant viz. 78290870' is seen only in SR., while asgfa Hifa q109971019 is read at one place in Bhoja, and only Vamana omits 'yfir' and has alfaglegzacaout (Visvesvara's edn.) The NS. edition of Vamana's work does not read this illustration but has a ft.note on p. 38 viz. kha pustake, 'keyamavaguNThanavatI' ityAdi zAkuntalapaJcamAGkasthaM padyaM koSTakAntalikhitamasti This favours the reading to as seen in SR only. (2) nigFai Rfaqto..etc. Vamana reads this verse under 1.2.11, p. 22 in Visvesvara's edp., and p. 4, N. S. edn. It is interesting to rote that these two editions present different variants. Visvesvara's edn. has faasid sai atragafa..etc. and fasoa gai...etc. The N. S. edn. has - faas: tai apigqlafu:...etc. and familia shai..etc. Bhoja (p. 341) has faace: fazai alieaffiti, and fax ghai... and on p. 64, Bhoja reads : faasu: .... o afafa: but fatifa hato etc. once again two different variants in Bhoja have gone un-noticed by the editor. K. P. Some. (p 148) has, faxot...atigfart: with 'Pasporet' suggested a variant in ft. note; and vizrAmaM labhatAM...etc. with vizrAnti labhatAM suggested in the ft. note. For Personal & Private Use Only

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158 Tapasvi Nandi The editor Prof. R. C. Pacikh has also given in the ft. note other variants such as 'abhyasyatAm' for 'romanthamabhyasyatu' and varAhatatibhiH for patibhiH. Somesvara has no special observation here. K. P. Allahabad edn. with Bala etc. (p, 263) bas-farah:... arielafi: and faifa Halo...ete. The Bala. (p. 264) observes-faza:... &qfafa: e c. then supporting the above variants. It also supports 'a fa Hair The Sa. Bo. seerns to support 'apae):' (p. 24) K. P. Ma (p. 153) has ance:... atterfafit:' and fam wai... etc. Manikyacandra bas no special observation. KP. Pra & U (p. 322) has famaet:... alig fara: and 'fazat):' is given in the ft note. We have also fa (fa) foi feitai akifaf: etc. in the ft. note. May be fa is a mis-print. Pradipa has no spocial comments while Udyota who has fauftafagfoita Hofst 469 | seems to favour the variant 'faqata:' K.P. Vio (p. 226) bas- fa set: ai prefafa....and familia hai... etc. Sridhara has nothing special to offer. K. P. Sa. Cu. & Sam Pra. (p. 86) has, faazet: ...alipofafa: and bas a ft. note, viz faasa' fogal gfa q 918: 1 Again, it has faxrli shato etc. Sa. Cu. (p. 86) seems support faabet: fazara ete. while the Sam. Pra, does not refer to any variant. K P. Sudhao (p.407) has visraH varAhapatibhiH and vizrAmaM labhatAM....etc The Sudhasagara has no special reference to any variant. KP. Sa, Di. (p. 81) has, fapt:...aggfafa; and 'fanpa guato... etc. The Saradipika supports vizrabdhAH varAhapatibhiH and also 'vizrAntiM labhatAM' etc. K P. Jba. (P. 373) has faze):...atrafafu:... and fata Hai etc. Jhalkikar observes (p. 373) 'faag ff.qat azieqfar :' la que elc. and then ' f out 1775 malt:...' etc, he observes ' asat: cayfa 918: 1 K. P. Vis. (p. 324) has fast:...azgafafut... and farfa ghai..etc. K P. Re. (p. 79) has fase:...atarat: and faufa hai...etc. For Personal & Private Use Only

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Fixing up of some Variants from Kalidasa 159 This various editions of the K. P. along with their commentators have variants such as a poet, faese; lakaza:, and fastan TAE and then varAhapatibhiH Cr tatibhiH and also varAhavitatiH (as in Vamana. Hindi en.) and fatia hai or fasli sai as the case may be. Kavyanusasana of Hemacandra (H.C.) (p. 288) reads this as verse no. 448 in the viveka. It supports faali:... and azieqfafa; and fafa labhatAM etc. We will now eonsider the Abh. Sa. editions. B. (p. 31) has-frau f aig aria fafa: and vizrAmaM labhatAm etc. J & R (p. 65) has foui ftatu aztefaf37: . and vizrAmaM labhatAm etc. Raghava supports varAhapatibhiH and vizrabdhaM and also vizrAmaM labhatAm U. (P. 68) bas- faxoj...affa: and fat Hal ... G. (P. 37) has-faxoa ffmaig arigafafa; with ografi: noted in the ft. note and also vizrAmaM labhatAm etc. SR. (p. 2deg0) has, faroei faig agafafa: and vizrAma labhatAm etc. Re. (p. 450) bis- faa ...qfafa: and famiA.. etc. ... He takes note of 'face' below. It may be noted that all these editions give the same number i. e. 11. 6 to this verse. Hema - candra has visrabdhaH and patibhiH. and vizrAntiM labhatAm Normally his readings are more acceptable. (3) starH TIfHI * etc. This is read by Mammata and Hemacandra. K. P. Some. (p. 53) has ... GAERE: and calat: and pazyodagraplutatvAt T.e editor Prof. Parikh has also noted the variants viz. TENERE:; prit: and carallo For Personal & Private Use Only

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160 Tapasvi Nandi Somesvara has no special observation in this respect. ... K P. Allahabad edn. (p 89) has badghadRSTi:' and .plutatvAt The Bala supports 'dattadRSTiH ' K. P. Ma. (p. 57) has 'dattadRSTiH , dabhaiH and .plutatvAt Manik yacandra offers no special remark. K P. Pra. and U. (p. 117) shows dattadRSTiH and .plutatvAt Udyota observes - anu pazcAtpatati gacchati syandane rathe grIvavikrIbhAvenAbhirAmaM yathA syAttathA muhuH vAraMvAra va dRSTi: dattadRSTiH / perhaps 'baddhadRSTiH ' is also recognised. K. P. Vi. (p. 84) has - baddhadRSTiH and .plutatvAt Sridhara has no special observations for any variant. K. P. Sa. Cu. and Sam. Pra. (p. 134) has - baddhadRSTiH and0plutatvAt / No Special remark is passed by the commentators. ... K. P. Sudha. (p. 148) has - baddhadRSTiH and .plutatvAt Sudhasagara observes : vicchedAt baddhadRSTiH dattadRSTiH etc. K. P. Sa. Di. (p. 14.) has - baghadRSTi and plutatvAt Gunaratna (p. 147) prefers 'dattadRSTiH' perhaps following the Bala. K. P. Jha. (p. 109) has - badghadRSTiH dabhaiH For Personal & Private Use Only

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Fixing up of some Variants from Kalidasa 161 and .plutatvAt Jhalkikar observes : muhuH vAraMvAra baddaSTaH dattadRSTiH etc. obviously under the influence of Ujyota. Jhalkikar also s:ems to clearly support 'darbha: K. P. Vis. (p. 132) has - 'baddhadRSTiH ' and .plutatvAt K. P. Re. (p. 79) has - badghadRSTiH and .plutatvAt Kavyanusasana of H. C. (p. 118) has - dattadRSTi: zaSH and .plutatvAt Abh. Sa. B. (p. 7) has - dattadRSTiH zanaiH and .plutatvAt J. & R. (p. 16) has - badghadRSTiH dabhaiH plutatvAt U. (p. 10) has - dattadRSTiH * plutatvAt .G. (p. 5) has - baddhadRSTiH darbha: and 0 plutatvAt 'dattadRSTiH ' is noted in the ft. note. SR. (p. 180) has - dattadRSTiH and plutatvAt ___Re. (p. 430) has - baddhadRSTiH and plutatvAt Sambodhi XI-21 For Personal & Private Use Only

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162 Tapasvi Nandi Dr. Rewaprasad takes note of 'dattadRSTiH ' in the foot note. All these editions agree in reading this verse as I. 7, (4) calApAGagAM dRSTi * etc. This is ready b. Anandavardbana, Bhoja and Hemacandra. Dhy. I. 10, (p. 62. edn K. Krishnamoorthy) - has ...karNAntikacara: and vayaM tatvAnveSAnmadhukarahatAstvaM khalu kRtI / Bhoja (p. 793) has, karNAntikacaraH and vayaM...khalu kRtI / HC. (p. 3) has karNAntikagataH ...tvaM ca sukRtI and - Again, in the ft. note 'tu' is suggested in place of 'ca' as a variant. The viveka (p. 37) reads : kathamiva na sukRtI bhavAn Abbi. Sa. B. (p. 15, Verse I. 20) has fa#77: and vayaM...tvaM khalu kRtI / J. & R (p. 34, Verse I. 20) has karNAntikacara: and tvaM khalu kRtI / Raghava supports the above; i. e. 0caraH, and tvaM khala katI. U. (p. 32, Verse I. 22) has karNAntikaraH and ...tvaM khalu kRtI / G. (p. 16; Verse I. 23) has karNAntikacaraH and tvaM khalu kRtI / SR. (p. 128, verse I. 20) has karNAntikacaraH and tvaM khalu katI / Re. (p. 437, verse I. 20) reads - karNAntikacaraH ___and tvaM khalu kRtI He mentions calApAgaM dRSTiM in the ft. note. This verse is read as I. 22 by U, and I. 23 by G. While others read it as I. 20. Only HC. offers other variants. (5) asmAn sAdhu0 is reads in Bhoja and HC. Bhoja (p. 590) offers the following variants viz premapravRtti and reads bhAgyAyattamataH paraM na khaLu tadvAcyaM vabandhubhiH For Personal & Private Use Only

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Fixing up of some Variants from Kalidasa 163 HC. (p. 136) has - ggfa and bhAgyAdhInamataH paraM na khalu tatstrIbandhubhiryAcyate / The Abh. Sa editions read as below : B. (p. 71, verse IV. 18) has - agafa and, 791791974a: qi nag aasi ag af: J & R (p. 142, verse IV. 16) has aegaf and bhAgyAyatta...vabandhumiH same as in B. U. (p. 166, verse IV 19) has agafa and #191970... ryf: G. (P. 95, Verse IV. 17) bas - Fargate and 197178...age: 1 SR. (p. 43), Verse IV. :8) has Faqata and H179178 ..agarefni | Re. (p. 490, Verse IV. 17) reads agafa and 174197...qehrer: 1 But Dr. Rewaprasad his a ft. note on 1910. He observes 'sA mAnyaprati0 ityapi cchedaH / tatazca zakuntalAbahumAnasUcanamapyatra / And for 11 etc. he has a ft. note where he reads Carataga: para na khalu tatstrIbandhumiryAcyate / This verse has been read as IV-16, 17, 18 and 19 by different editors. HC's agafa does not find favour with any, nor his aparata nor stazafiajzza | which is mentioned in a ft. note by Dr. Rewaprasad, who also offers aarga' in the fi, note. An intensive examination of only five verses from Abb. Sa. shows how different editors bave selected their variants without any rhyme or rhythm and one and the same verse is shown in a different order by them. We have also seen how writers on ala mkara and their commentators have cited these verses from Kalidasa and how they differ in giving different variants. Our sole purpose is to bring home only one point viz. that the task of text-editing in case of the works of Kalidaja is stupendous and attains staggering proportions when we consult the alamkara works, which repre. sent much older traditions. All these have to be taken into account be For Personal & Private Use Only

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164 Tapasvi Nandi fore fixing up any variant and not a single ms. should be taken as use. less, The task is truly a 'Mababharata' task. Preparing text-critical editions of the works of Kalidasa requires as much inspiration, insight application and perspiration as in case of the Mahabharata or the Rama. yana. Perhaps, the L. D. Institute of Indology, with co-operation from scholars all over the world is in a mood to take up this challange. FOOT NOTES (1) Total number of mss. on different works are as below t 22 on Meghaduta. 35 on Raghuvamsa. & 40 on Kumarasambhava. APPNEDIX : A (2) The following editions of different works have been utilized by us. The abreviations are mentioned along with, (1) Kavya amkara-sutra-vitti-Vamana, N. S. Edo., Bombay, 1889 and Hindi Edo.. Visvesvara Atmaram & Sons Delhi, 1954; (2) Dhyanyaloka of Adandavardhana (Dhv.) Edo. K. Krisbpamoorthy Karpatak Upi., Dharwar, *74 & also, with an edn. Vidyabhavan, Sanskrit grantha mala, no. 97, Choukhamba Vidyabhavan, Varanasi-1955; (3) Srigaraprakasa of Maharaja Bhoja Vol. I-IV (Sr. Pra.) Edn. Josyer, Mysore (Edns. '55, 63, 69 & ). (4) Kavyaprakasa (K. P.) with samketa of Rucaka (middle of the 12th cen. A. D.), the Balacittanuranjadi (Bala.) of Narabari Saraswatili. rtha (8241 2A. D.), Prabba of Vidyadatba Tatsat (1864 A.D.). Pradipa of Govind Thakkura (Pr.) (15th Cen A. D.), and Udycta of Nagesa Bhalta (Nagojce Bhatta) (first half of the 18th Ced. A. D.), Edited by prof. S. S. Sukthankar, Bombey. 1911. For Personal & Private Use Only

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Fixing up of some Variants from Kalidasa 165 (5) Kavyaprakasa with Manikyacandra's Sanketa (K. P. Ma) (1159-60 A. D) Edn. poona, 1921; (6) Kavyaprakasa with Somesvara's Sankela (K P. Some.) (1150-1160 A. D.) Edn. Jodhpur, 59, (7) Kavyaprakasa (Allahabad Edo.)-wi:h the bala. of Narahari, the Sarabodhini (Sa. Bo.) of Sri Vatsalanchana Bhattacarya (14th-16th Cen. A. D.), and Darpana by Visvadatha (14th Cen. A. D.): Edn. Allahabad, Gangapath Jha Kendriya Sanskrit Vidyapeeth, 76. (8) Kavyaprakasa with Viveka of Sindhara (1405 A. D.) (K. P. Vi:) Edo. Calcutta, 1961. (9) Kavyaprakasa with Sahityaculamani (sa Cu.) of Bhatta Gopala (15th Cen. A. D.), and Cakravartin (beginning of the 14th Cen. A. D.), Trivendrum, 1930. (10) Kavyaprakasa with Pradipa and Udyota (K, P. Pra, & u.) Edn. Poona, 1911, (11) Kavyaprakasa with Sudhasagara of Bhimasena Diksita (K. P, Sudba) (1723 A. D.), Varanasi, Edn. 1927. (12) Kavyaprakasa with Balabodhini by Vamancarya Jhalkikar (K. P. Jha), B. O. R. I. Poona, 1921. (13) Kavyaprakasa with Gunaratna's Saradipika, (K. P. Sa. Di,), edn. Gujarat University, Ahmedabad, Vol. I. 76 & Vol. II, 1984 edited by the author of this paper. (14) Kavyaprakasa - edo. Prof. Rewaprasad Dwivedi, (K. P. Rea.) B.H.U. '81 (15) Kavyaprakasa, Hindi Edo. Vishveshvara Pandit (K. P. Vis.) Varanasi, 1960. (16) Kavyaousasana of Hemacandra (HC.) Second revised edo. by Prof. R. C. Parikh and Dr. V. M. Kulkarni; Pub. Sri Mahavir Jain Vidyalaya, Bombay, 1974. For Personal & Private Use Only

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Tapasvi Nandi (17) Abhijai asakuntala (Abh Sa) of Kalidasa, Text. edited by Prof. S. K. Belvelkar (B.) B.O.R.I, Poona, Sahitya Akademi, New Delhi, First Edn. 1965. 165 (18) Kalidasa's Abhi. Sa. with Raghava Bhatta's Comm. Edited by K.M. Joglekar (J & R). edn. Bombay 1913. (19) Mahakavi Kalidasa Viracita Sakuntala, Prof. Umashanker Joshi (U.). Edn. Gurjar Granth Ratna Karyalaya, Ahmedabad, Edn. 1935. (20) The Abh. Sa. of Kalidasa with Intro. etc by Prof. A. B. Gajendra. gadkar (G.) eda Surat, 1950 (21) Kalidasa's Abh. Sa with original Sanskrit Comm. etc. by Saradaranjan Ray, (S.R) 12.h Edn.. Calcutta, 1924. (22) Kalidasa Granthavali, edited by Prof. Rewaprasad Dwivedi (Re.) -B.H.U. Varanasi, 1976. For Personal & Private Use Only

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THE CONTRIBUTION OF JAIN AUTHORS TO SANSKRIT CHANDAHSASTRA G. S. Shah Poets writing in verse express their emotions and thoughts in different metres. The Chandahsastra (prosody or metrics) describe the metres (chandas) used by the poets. It defines and illustrates different Vedic and Laukika metres. A sastra of Vedic metres is called a Vedanga. According to the 'Paniniya Siksa, Chandah - a Vedanga - is called the feet of the Vedas. 1 A sastra of 'Laukika' metres can be called a 'Kavjanga'. Chandah, like 'Alamkara', is an external element of poetry. A number of authors has contributed to the development of Chandahsastra. Even though metres are discussed in the 'Repratisakhya', 'Nidanasufra', 'Sarvanukramani', 'Upanidanasutra' etc., Pingalacarya is considered to be a pioneer of this sastra. Pingala in his work named 'Chandahsastra' or 'Chandahsutra', has mentioned Kraustuki, Yaska, Tandin, Saitava, Kasyapa, Rata and Mandavya. But their works have not come down to us. So we know very little about these writers. In the history of Chandahsastra, Jayadeva, Svayambhu, Jayakirti, Ratnamanjusakara, Hemacandracarya and Kavidarpanakara are the Jain authors who have contributed substantially to the development of this sastra. In this article I intend to throw some light on their contribution. JAYADEVA-Taking Pingala as a model, Jayadeva has written Jaya. deva-chandas' in eight chapters. We do not know the exact date of Jayadeva. H. D. Velankar puts him before 900 A.D. or even considerably earlier. 3 According to P. K. Gode he lived before 910 A.D.4 Utpala Bhatta (nearly 10th Century A. D.), a commentator of 'Bphatsambita' of Varahamihira, has quoted definitions of 'Suvadana' and 'Mandakraota' metres (7/22 and 7/17) from Jayadevacbandas'. Bhatta Halayudha (10th Centry A. D.), a commentator of Pingala's 'Chandah. sastral and Sulbana (11th Century A. D.), a commentator of Kedara's *Vyttaratoakara' have mentioned Jayadeva as Sveta pata'.5 Abhinavagupta mentions Jayadeva in the 'Abhinavablarati', a well known commentary For Personal & Private Use Only

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168 G. S. Shah on Bharata's Natyasastra'.. He is mentioned by Svayambhu (at tue Svayambhu-chandas' 1/144), Namisadhu (at the commentary of Rudrata's "Kavjalankara' 1/20), Jayakirti (at 'Chandont sasana 8/19), Hemacandra. carya (at 'Chandonusasana 2/297) and Narayana (at the commentary of *Vsttaratpakara' 2/36). This shows that Jayadeva was considered an authority on chaqdahsastra. In the first verse of the first chapter Jayadeva has used a word Vardhamana' which is slista and refers to Vardbamana Mabavira. Jayadeva has first explained 'Sanjnas' and then defined the Vedic metres briefly. Thereafter he has treated Matra chaodas like Arya, Vaitaliya, Matrasamaka etc., Visama, Ardhasama and Samavsttas, Dandakas and Prastaras. Like Pingala, Jayadeva bas defined Vedic metres in su'ras, but unlike the former, he has defined 'Laukika' meires by a line or a verse of that particular metre. This method of defining a metre by a line of that metre is accepted in "Vpitaratpakara' and several other works. He has not given illustration of any metre separately. Following Pingala, he has used ya, ma, ta, ra, ja, bha, na, sa, and la, ga as definiag units. He has used symbolic words like yuga, rasa, vasu etc. to convey various numbers in both the sections of Vedic and Lavkika metres. Pingala has used this device for Laukika metres only. Jayadeva has defined eight such metres which are not found in Pingala. For ten metres his names are different from those of Pingala. We can see that Jayadeva-Chandas' of Jayadeva is an independent, exhaustive and systematic work of Sanskrit prosody. SVAYAMBHU :-Svaya nbhu has written "Svayambbucchandas' which is an important manual of Prakrit and Apabhramsi metres. According to H. C. Bhayani, Svayambhu flourished in the latter half of the sixth ceat. A.D..7 There are fourteen chapters in the 'Svayambhucebandas'. Eventhough the metres are defined in Prakrit languace, Svayambhu is considered here as he has als) dealt with varna vsltas. Moreover he is a predecessor of revered Hemacandracarya and as pojoted out by Jinavijayaji Muni, Hemacandra's arrangement, classification and illustrations of metres one much to Svayambhu.8 Dr. H. C. Bhajani also recognises the indebtedness of Hemacandra to Svayambhu in these wordsMany of Hemacandra's For Personal & Private Use Only

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The Contribution of Jain Authors to Sanskrit Chandahtastra illustrations of the Sanskrit metres given in his 'Chandon usasana' appear to be closely modelled on those of Svayambhu." Rajasthan Puratan Granthamala (Bock No. 37) has published H. D. Velankar's critical edition. of 'Svayambhuchanda' with Sanskrit chaya of Prakrit definitions and illustrations. In the seventh chapter, which is named 'Uktadi-vidhih' of samavrttas belonging to the 26 Jatis beginning with Ukta' and ending with Utkrti' are defined. 169 The eighth chapter treat 'Ardhasama metres'. Meties, from 'Vegavati' to 'Khanja' are defined in 14 verses. In the nineth chapter, which is named as 'Prakrtasara", Visama metres from udgata to Amrtadhara are defined. Here also there are 1 Verses. Each metre is illustrated by one or more stanzas. Svayambhu does not employ the varna ganas in the definitions of the five Amsas as he instead of a single line addition or removal of these metres, but always uses the five Matra ganas, calls them. He defines the metre in full stanza, or sutra. He indicates in his definitions how by a letter or a gana from one metre, another is produced. Svayambl u does not mention a yati in the middle of a line of the Varna Vrttas He sides with those prosodists who do not recognise yati in Varnavrttas. He quotes his illustrations from a large number of authers who appear to have been genuine Prakrit poets making use of Varaa Vrttas, including the Dandukas. Among the 50 metres and Dandakas which are found in seventh chapfer at least 16 metres are such as are peculiar to Svayambhu, but later on mentioned only by Hemachandra, thus showing that they were known only to the Jain tradition, His treatment of Dandakas, differ from that of Pingala. Among his Ardhasama Vrttas a new metre Safpadavali (which is an inverted 'Yava matt') is defined by Hemacandra alone lateron. The ninth chapter is named as Prakrta-saram' instead of 'Visama". The name 'Prakrta-Saram' occurs in the concluding stanza of that chapter. It means the essential metres of Prakrit language, as against the metres of the Apabhramsa language which are dealt with in the following Samobodhi XI-22 For Personal & Private Use Only

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170 G. S. Shah chapters of the work. The word "Prakliasara' refers to, it seems, all the three chapters dealing with Varnavsttas. Prof. H. D. Velankar rightly points out, 'It is Characteristic of Svayainbhu that he does not take any notice of the fact that the varna vrttas are properly the Sanskrit metres derived from their Vedic ancestort..... He does not use even the terms Vaini Vrtta nnd Matra vrita and this is quite in keeping with his explaying only the Mata ganas in his definitions of even these metres which are generally known as the "Vaina vitlas'10. 'Chandas-Sekhara' of Rajasekhara (Uth Century A. D.) is highly influenced by Svayam bhu. Rajasekhera describes himself as Arbata and a Kavi in the last stanza of the chapter. Chandas-Sekbara, a work written in Sanskrit, according to Prof. H. D. Velanker, is 'as it were a very close Sanskrit rendering of Svaya nbhu's corresponding Prakrit Stanzas'11. The name of Svayambhu is mentioned in the colophons of every chapter of "Svayambhucchanda'. Svayambhu, a Kaviraja, has also written *Paumacariu' and 'Ritthanemicariu,' which are of great literary merit. Jayakirti : He was a Digambara Jain Sadhu, belonging to Kappadaspeaking area of Southern India. The name of his work is same as that of Hemacandracarya, i, e. 'Chandonusasanam'. According to Prof. H. D. Velankar his date was nearly 1000 A. D.12 He belongs to a period bet. ween Kedara Bhatta and Hemacandracarya. It is difficult to come to a conclusion that Jayakiti was a predecessor of Hemacandracarya, as there is no solid proof. Vedic metres are not defined in the 'Chandonusasana' of Jayakirti. He has not given illustrations of the metres. His work is devided into eight adhikaras He has explained the Sanjnas of 'asta ganas', laghuguru, Yati etc. Then there are definitions of ama, ardhasama and visama vrtta, Arya Jati, Marasamaka, Vaitaliya, Dvipadi etc. There are definitions of some Jatis, which were popular in the Prakrit of Karnataka, He bas explained at the end the 'pratyayas', like 'prastara', 'Nasta' ete, Jayakiti has mentioned in his work, Bharata. Pingala, Saitava, Man davya, Japasraya, Sripadapujya, and Jayadeva. He has defined some new metres. He has used Anustubha, Arya and Skandhaka metres for explaining general aspects pertaining to Chindah. The definition of a For Personal & Private Use Only

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The Contribution of Jain Authors to Sanskrit Chandahsastra metre is given in a quarter of that particular metre. Occasionally he has used the sutras also. Ratnamanjusakara: We don't know about the author of 'Ratnamanjusa. Old Bhasya also is available on this book, the author of which also is unknown. A commentator, in a benedictory stanza, has praised Mahayira and some chandas of the work are found in Jaina tradition only, hence the author of the commentary is definitely a Jaina. It is presumed that the sutrakara also was a Jaina. Of course there is no indication, regarding religion, in the sufratext. 171 Acharya Baladeva Upadhyaya puts the author of Ratnamanjusa before Hemacandra, in the 11th century A. D.13 But this work seems to be of earlier period. Ratnamanjusa, like Chandahsastra of Pingala, is divided into eight adhyayas. This 'astadhyay is writien in aphorisms(sutras), The author has not defined Vedie metres. He has given definitions cf 84 Varna vritas. Out of those 84 Varnavrttas, 21 metres are not familiar to Pingala or Kedara Bhatta. There are 230 Sutras in Ratnamanjusa. The unknown commentator of Ratnamanjusa has himself composed illustrations. The names of the metres are woven in forty illustrations by the device known as 'Mudralamkara'. 25 illustrations have a subject of 'Samudrika Sastra'. Here also 'Mudralamkara' is used. In RatnamaAjusa 2/4 and 6/27 there are illustrations of 'Abhijnana Sakuntalam' 1/33 and 'Pratijnay augandharayana 2/3, respectively. There is one noteworthy feature of Ratnamanjus. Pingala has used light 'trikas' (Asta ganas) like Ya, ma, ta, ra, etc., while defining Varnavritas. Ratnamanjusakara has accepted ganas but he has changed the signs. We see a dual system of signs in this work. The signs are of two types (1) the signs indicated by consonants and (2) the signs indicated by vowels. e. g. 'ma' gana of Pingala is 'Ka' or 'a' gana of Ratnamanjusk kara. In the same way 'na' gana of Pingala, which has all short letters, is 'ha' or 1. gana of Ratnamanjusa. The author of Ratnamanjusa has used a unit of four matras, like that of Pingala, for explaining Matravrttas. For Personal & Private Use Only

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i72 G. S. Shah Hemacandracarya : The historic detail regarding life and date of famous Jaipacarya Kalikalasarvajna' Sii Hemacandracarya is fortunately preserved. He was born in 1088 A. D. at Dhandhuka of Aheedabad District He was a disciple of Devacandracarya of Purnatalliya gaccha. He was a Svetambara Jaina. He was a contemporary of two kings, Siddharaja Ja; asimba and Kumarapala, of hoarta, having a capital at Anahilavada Patan. Hemacandiacarya was a prolific writer. 14 He has written 'Chandonu. sasana', a book of Sanskrit, Prakrit and Apabhramsa metres. In this took he has defined maoy new metres. He has devised a new method for pointing out yati-a poetic pause. He has scientifically explared Prakrit ard Apabhramsa metres. Hence, Chardonusasana is a treatise of metres, wbich must be studied ninutely and carefully. It is like an encyclopedia, particularly for the knowledge of Prakrit and Apabhi amsa' metres. He himself has written a commentary called "Chandascudamani" on "Chandonusasana'. Chandonusasana is written in Sutras and it has eight Adhyayas. Prakrit and Apabhramsi metres are also defined in Sanskrit Sutras, but in Vitti, he has given the illustrations in Prakrit and Apabbramsa. In the first verse Hemacandra has referred to 'Arhati Vani'. The first Adhyaya has 17 sutras (aphorisms), regarding 'Sanjoas'. Second Adhyaya is lengthy and it contains 401 sutras, which define almost that number of Sama vrttas. In the third Adhyaa. Ardhasama, Visama, Vaitaliya, Matrasamaka etc. are defined in 73 sutras. Prakrit metres like Arya, Galitaka, Khanjaka, Sirsaka are defined in 91 Sutras in the fourth Adhyaya. Apabhramsa metres are defined in the fifth, sixth and seventh Adhyayas having 42, 32 and 73 Sutras respectively. Six 'Pratyayas' like Prastara, Nasta etc. are deseribed in 17 Sutras of the eighth Adhyaya. Hemacandracarya has not dealt with Vedic metres. Apabhramsa poetry and its metre were considered as rural and unpolished before his arrival. Hemacandra gave prestige to them. Prof. H.D. Velankar rightly observes with a discerning eye and appreciative miad Hemacandra easily recogaised the great merit of this Poeiry and gave it a sanction For Personal & Private Use Only

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The Contribution of Jain Authors to Sanskrit Chandahsastra 173 of his authority by quoting from it in his Sabdanusasapa' and 'Desiramamala'. He wept a step further. He himself composed illustrations for the very large mumber of Acabhramsa metres, which he has defined in his 'Chandonvsasana' Naturally the effect if this treatment was quick and marvellous". 15 We can visualise two peculiarities of Hemacandra's 'ChandonusasaDam'. (1) To suggest the number of ganas, Hem acapdia adds vowels according to their order, in the consonants denoting ganas. Tbus 'Ma'=one 'ma' gana; Mastwo 'ma' ganas; 'Mi'=three 'ma' ganas, Mi=four 'ma' ganas and so on Sometimes he uses dual form of the gana to suggest two ganas. (2) Hemacandra does not use code-words like 'Samudia', 'Rasa' etc. for denoting yati (poetic pause), like Pingala and others. For this purpose be uses consonants. The order of that particular consonant shows the position of the Yati e. g. in Pankaja Vaktra' metre, Yati is shown by gba za'. Now 'gba' is a fourth consonant ard 'za' is nioth one. So in that matre Yati is after fourth and ninth syllables. This code system is quite new and is seen in Hemacandra's Chandopusasana only. By the help of this system he was able to write more precisely than Pingala, Dr. Suryakant botes the brevity of style achieved by him, "Hem acandra's style is laconic. He compresses the sense in the briefest space possible". 1.6 Hemacandra's newly invented code system followers. is not accepted by his Kavidarpanakara : Rajasthan Oriental Research Institute, Jodhpur, has published in 1962 "Kavidar pana' with a Sanskrit commentary, edited by Prof. H. D. Velankar. This is an anonymous work written by a Jaina author. Kavidarpana is a work on metres written in Prakrit langrage. It starts with words 'Panamia Asihantam gurum Vocchami.' Kavidar pana' is referred For Personal & Private Use Only

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174 to by Jinaprabha's commentary on the Ajitasanti-stava of Nandisena (1309 A. D.). The author of Kavidarpana knows Hemacandra's 'Chandonusasana. So the work is composed sometime in the 13th Century AD, G. S. Shah The commentator of Kavidarpana largely quotes from the Chandahkandali, which is evidently a work in Prakrit prosody written in Prakrit languge and employing the same terminology as is used in 'Kavidarpana'. The Commentator quotes one unknown Sanskrit prosodist Sura on p. 1 and p. 8 under Kavidarpana 2-4; He mentions that the technical terms used for the Matra Ganas in Kavidarpana are borrowed from Sura. (Sura paribhasa i am pujya prayukta Sarva iti artbajjneya). 'Kavidarpana' is divided in six 'Uddesas'. First two chapters are for introduction and for metres based on Matras, then three chapters are for metres based on Varna, last refers to Pratyayas. The author classifies the metres under three heads in accordance with the unit of varna, matra or both. The author of 'Kavidarpena' composes his illustrations like Hemacandra as a general rule and introduces the name of the metre in the illustration itself by means of the usual device of 'Mudra'. His main aim was to compose a practical guide in respect of metres, particularly those in the Prakrit and Apabhramsa languages. Thus we can see that the contribution of Jaina authors to Sanskrit Chandahsastra is remarkable and varied. They have tried to establish their individual existence by defining new metres, by evolving new methods of signs, for brevity and preciseness, by incorporating in their works Prakrit and Apabhramsa metres along with Sanskrit metres, and sometimes by giving illustrations of the metres. FOOT-NOTES 1. "Chandah Padau tu Vedasya..." etc. Panintya Siksa 42, 43. ed. Dr. Shukla, J. M., Vidya', August, 76 & Jan. 77. Gujarat University, Ahmedabad-380 009. 2. Pingalacarya, Chandahsastra (Kavyamala-91) (1938) 3/29, 3/30, 3/36, 5/18, 7/10, 7/35. 3. Velankar, H. D., Jayadaman-General Introduction p. 33 Haritosamala No. 1 (1949), Wilson College, Bombay. For Personal & Private Use Only

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The Contribution of Jain Authors to Sanskrit Chandahtastra Gode, P. K., 'Studies in Indian Literary History' Vol. Iarticle- Jayadeva, a writer on Prosody,' p. 139. Singhi Jina Shastra Sikshapith, Bharatiya Vidya Bhavan, Bombay, (1953). 5. Halayudha's Commentary on Pingalacarya's ChandahSastra 1/10 and 5/8 and Tika-Catuslayope ah Vrttarateakarah, Dr. Sharma, Deshpande, Padhya, p 147 Sanskrit Parishad, Usmaniya Vishvavidyalaya, Hyderabad (1969). 6. Abhinavabharati on Bharata's Naty asastra (GOS), p. 244. 7. For Svayambhu's personal account and literary works, See Paumacariu, I, Introduction, part-III. Singhi Jain Series No. 36 (1960), 8. Mahakavi Swayambhu Krta 'Svayambhucbanda', Rajasthan Puratan Granthamala No. 37 (196) Preface, p. 1. 9. Bhayani, H. C., Paumacariu of Kaviraja Svayambhudeva Introduction p. 37-41 10. Mahakavi Svayambhu Krta 'Svayambhu-Chanda' ed. Prof. Velankar H. D., Rajasthan Puratan Granthamala No. 37 (1962) Intro. p. 10. 11. Ibid, p. 20 12. Velankar H. D., 'Jayada man', General Introductionp. 37. Haritosamala No. 1 (1947). Wilson College, Bombay. 13. Acharya Baladeva Upadhyaya-'Sanskrit Sastron Ka Itihasa' p. 299; Sharada Mandir. Varanasi (1969). 14. He has written eight books, namely (i) Sabdanusasana (ii) Kavyaousasana (iv) Dvasraya Kavya, (vi Tri-sasti-Salaka-Puruca-carit (iii) Chandonusasana (v) Denamamala (vii) Abhidhanacintamani (viii) Yogadastra 15. Velankara H. D., Jay adaman-General Introduction. p. 45. Haritosamala No. 1 (1949) Wilson College, Bombay. 16. Dr. Suryakanta-Ksemendra Studies' P. 87, Oriental Book Agency, Poona-2 (1954). For Personal & Private Use Only 175

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A UNIQUE BODHISATTVA HEAD FROM MATHURA Lalit Kumar With the evolution of Buddha Image and the subsequent development of Mahayanist philosoph', images with various iconographic peculiarities were made at Mathura including that of the Bodhisattvas. Avalokitesvara had been the most ancient among the Bodhisattvas. 1 The development of his concept could be pushed back as early as the third century B. C.; since he was referred to in the Mahavastu-Avadana, a work of Mahasanghikas of the period of Asoka2. Io a slightly late work viz the Suvarna-Prabhasa-Sutra, one finds the reference of Avalcki. tosvara; the said work has been tentatively dated to the first century A. D.2 Amitabha. the spiritual father of Avalokitesvara has also been the earliest known Dhyani Buddha4. A fragmentary sculpture of Amitabha from Govindanagar (Mathura) also corroborate this fact. It is dated in the 20th reignal year of Huviska = 106 A. D5. His presence on the crest of Bodhisattva head is a definite cogpigence for the identification of the images of Avalokitesvara6. Vogel writes in the catalogues of Mathura Museum"...I do not know of any representation of Avalokitesvara, not to speak of other less popalar Bodhisattvas."7 After the publication of this catalogue, late prof. V. S. Agrawala published pine Bodhisattva ima. ges8 and thereby he discarded the views of the said author. But Prof. Agrawala could include among these nice only one sculpture of early Avalokitesvara. This piece of sculpture has been dated ca. 3rd century A.D9. In this example, the Dhyoi Buddha Amitabha is shown seated in pad. masana and his both hands are in dhyana mudra. This has been koown, perhaps, as the solitary example of earliest image of Avalokitesvara from Mathura. It is interesting to note that the Bharat Kala Bhavan has in its collection another example of early Avalokitesvara head (Acc. No. 21851)10. It is carved in mottled red sand stone. The physiognomy of this bead reminds the Mathura idiom and stylistically it may be placed to the first-second century A.D. The face is roundish in shape with round, For Personal & Private Use Only

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A Unique Bodhisattva head from Mathura widely opened bulging eyes The urna is marked on the forehead. He is wearing a diadem along with a band of twisted rope on the head. The crown of the head is most interesting. It is slightly eroded but still the details on it could be pleaned clearly. On its centre, an effigy of Dhyan Buddha Amitabha seated in padmasana is seen meditating (fig. 1). He is flanked by two garland bearers in three-quarter profile facing the Dhyar Buddha. They are again followed by two iffigies of Amitabha on the either side. Thus, there are three figures of Amitabha and two garland bearers on the crown Each figure has its own back-stella that is rounded at the top and has taken the form of a throne. There is a fan like projection emerging from the centre on the top of the head. The head of Bodhisattva in this issue, can be identified conclusively as representing Avalokitesvara because of the presence of Amitabha figure on the crown. 177 The other distinguishing feature of this head includes the presence of two more figures of Amitabha on the either side and two garland. bearers. The garland-bearers, perhaps, suggests the lccale as Sukhavati heaven, Because, Amitabha is said to reside there in deep meditation and he is regarded as the presiding deity of the present Kalpa, viz, the Bhadrakalpa.11 Further, it may be noted that Mahavastu-Avadana has characterised Avalokitesvara as the "Bhagavana" and his duty has been mentioned as to look around" (Avalokita) for the welfare and happiness of the people. 12 He has also been considered as the gaurdian of the faith 13 This, perhaps, explain the reason why three effigies of Dhyant Buddha Amitabha have been relieved on three different direction. However, there should had been four facing the cardinal points but the fourth could not be conceived because the sculpture in question has been carved in relief. He may also be considered as the presiding deity of the universe. From the fore-going account it may be concluded that the concept of Avalokitesvara was in a fluid state before the adevent of the Christian era and no shape could be given to it. But since the beginning of our era it appears that the iconography of Avalokitesvara was given a plastic shape which subsequently crystalized.14 The present head of Avalokitesvara may, thus, be reckoned as the earliest example known till date. Sambodhi XI-23 For Personal & Private Use Only

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178 Lalit Kumar It has been observed that a number of images of Maitreya in the early Kusana period have been reported from Mathura; though, Avalokitesvara has been regarded as the earliest known Bodhisattva. The sculptures of Maitreya are also quite common and had been the most popular Bodhi-attva in Gandhara. 15 There are also examples of Avalokitesvara from Gandbara but these are ascribed to a late period16 when the iconography was fairly evolved. The answer to this problem possibly lies in the socio-religious condition of the period and in the early Mahayanist philosophy. When Miss Getty says, "He (Avalokitesvara) soon became the most popular of the Northern Buddhist gods, being looked upon a representative of the Buddhist faith untill Maitreya should appear on earth as Manusi Buddha". Further she' adds, "Another reason for his popularity is that he is believed to have created the fourth world, which is the actual universe and he is therefore our creator".17 Her observations hold good for Gupta period and thereafter when many images of Avalokitesvara were given shape, 18 Had he been popular why his images are scarce and lesser in quantity than images of Maitreya in the Pre-Gupta phase of Indian iconogrphy. This fact certainly poses a vexing problem to the students of Buddhist iconography. REFERENCES Agrawala, V. S., Studies in Indian Art (Varanasi, 1965), P. 140. 2. Bhattacharya, B., The Indian Buddhist Iconography, (Calcutta, 1958), p. 143. 3. Saraswati, S. K., Tantrayan Art-An Album, (Calcutta, 1975). P. XXVI: Getty, Alice. The Gods of the Northern Buddhism, (First Indian Edition), (New Delhi 1978), p. 57. 4. Bhattacharya, B., op. cit., p. 49. The name of Dhyant Buddha Amitabha has been found mentioned for the fist time in Sukhavati-Vyaha or Amitayus-sutra a work which was translated in Chinese during 147-170 A. D. (Agrawala, V. S. op-cit. p. 140). 5. Sharma R. C.; "New Baddhist Sculpture from Mathra" Lalit Kala. No. 19, pp. 25-26, pl. XLII, fig. 18. 6. Bhattacharya, B., op cit., p. 124; Getty, Alice. op. cit. p. 56 7. Vogel. J. Ph. The Catalogue of Archaeological Museum at Mathura, (Allahabad. 1910), p. 38. For Personal & Private Use Only

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A Unique Bodhisatta head from Mathura 179 8. Agrawala, V. S., op. cit. pp. 141-144. 9. Ibid., p. 143. 10. Donated by Shri Anand Moban Bajpai, Mathura The author is thankful to Shri O. P. Tandon, O. S. D., Bharat Kala Bhavan for his permission to publish this sculpture. 11. Bhattacharya, B., op. cit. p. 49. 12. Ibid., p. 143. 13. Ibid. 14. Bhattacharya opins "... ...his image can be traced from the Gupta period ogward" (Ibid). 15. Grunwedel, Albert, Buddhist Art in India, (Reprint, Varanasi, 1974), p. 191. 16. Bodhisattva images identified as Avalokitesvara have been ascribed to ca. 3rd 4th century A. D. (ingholt, H. Gandharan Art in Pakistan, New York, 1957, nos. 313-317). 17. Getty, Alice. op. cit., p. 58 18. Fabian and Hian Tsang mention the worship of Manjusri, Avalokisesvara and Maitreya. It-siog also mentions their worship besides other cult images. These work indicate the popularity and worship of Avalokitesvara and others. But in the early work of Asvaghosa (ca. Ist Century A. D.) and that of Nagarjuna (ca. 2nd century A.D.), we do not find any mention about the concept of five Dhyaoi Buddha and that of the Bodbisattva either. (Agrawala. V. S op cit., p. 140). For Personal & Private Use Only

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TATPURVAKAM' IN "TATPURVAKAM TRIVIDHAM ANUMANAM"' (NS.1.1.5) IN BHASARVAJNA'S VIEW Laxmesh V. Joshi Having treated of perception in the first pariccheda of the Njayasara, Bbagarvajna takes up inference for discussion in the second pariccheda. Before he explaing in the Nyayabbusana (his own commentary on the Nyayasara) the definition of inference given by him in the Nyayasara, 2 Bbasarvajna discusses at length the Nyaya:utra (1.1.5) which defires infer. ence. It would be very interesting to observe how the Bhusanakara, a revolutionary Naiyayika of the tenth certury (A. D.), agrees or disagrees with the traditional interpretations and how he himself interprets the relevant Nyayasutra particularly the term 'tat-purvakam'. At the outset of the second pariccheda, Bhasai vajna 'star's discussing inference by quting the Nyayasudra3 which defines inference : loference is knowledge which is preceded by perception, and is of three kinds, viz. a priori, a posteriori and 'coinmonly seen.4 Commercing the discussion on this sutra, Bhasat vajna quotes an interpretation of the relevant Nyayasutra as offered by so ne predecessors. 5 According to this interpretation, only the compound word 'lat-purvakam' is meant for definition of inference, and the rest of the sutra is for its classification. As the author of the Nyavabhusana did not specifically mention the name of the exponent of this interpretation, we attempt to trace the predecessors implied by the word 'eke' in the Nyayabhusina. First of all, this interpretation seems to have been implied in the Njayabhasya of Vatsyayana, according to whicb, the word 'tat' in the compound 'rat-purvakam' refers to the two perceptions; the first of the relation between probans and probandum, and the second one of the probans itself. Besides, the fir:t perception also signifies the remembrance of the relation between probans and probandum. Thus by means of remembrance of the said relation and through perception of the probans the upperceived thing is inferred. For example, on seeing the smoke, we remember the relation that we had perceived, and this leads us to the inference of fire.7 Here we find that Vats, ayana has described the whole process of inference, whilo explaining the word 'tat purvakam' in the sutra. Again, while defending the use of the word "trividham'8 in the sutra, Vatsyayana says that though the word 'trividham' seems to be redundant, For Personal & Private Use Only

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Tatparvakam Trividham Anumanam (NS. 1.1.5) 181 as there is a clear mention of the three kinds of inference, Purvavat etc., the further curtailment in the sutra was not considered desirable by the sutrakara,..etc. This discussion in the Nyavabbasya also clearly sugge sts that according to Varsyayana, the rest of the sutra (-the term 'tatpurvakam' being excluded-) is meant for the classification of inference. Consequently the term 'tat-purvakam' is intended for the definition of in. ference. This being the case, the word 'eke' in the Nyayabhusana may be taken as referring to Vatsyayana among others. Uddyotakara also, following Vatsyayana, delineates the whole process. of inference, while expounding the term 'tat-purvakem'. Moreover, he says that the term 'tat-purvakam' in the sutra serves to distinguish anuman from the things of similar and dissimilar class. 10 As we know, it is the special characteristic of any definition that it distinguishes an object to be defined from others. 11 Again, at the end of the discussion on the term 'tat-purvakam' Uddyotakara concludes that thus it is well ascertained that anumana is that knowledge which is preceded by 'tat' (i.e. the perception of the linga, etc ).12 Hence Uddyotakara also seems to hold that the term 'tat-purvakam' in the sutra is meant for the definition of inference. This has been very clearly expressed by Dr. E. A. Solomon in her 'Indian Dialectics': The Naasutra 1.1.5 defines Inference (anumana) as that which is preceded by perception', and gives a threefold classification of it-purvavat, Sesavat and Samanyato-drsta."13 This interpretation of the term 'tat-purvakam' as given by Vatsyayana and Uddyotakira, must have been in the mind of Bbasarvajna, when he refers to the interpretation as offered by 'eke'. Besides, it is very interesting to observe that Jayanta Bhatta in his Nyayamanjart refers to this very interpretation (-which is quoted by Bhasarvajna-) as offered by his preceptor.14 Jayanta Bhatta, while considering the relevant Nyayasutra, asserts that the word 'aumana' of the sutra denotes the object to be defined; the portion 'tat-purvakam' constitutes the definition. Tat is a pronoun. It signifies perception which follows from the context. Further Jayanta says that the compound tat-purvakim' conveys that which. existence to perception is anumana.15 Then in order to support his view, For Personal & Private Use Only

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182 Laxmesh V. Joshi he says that our guru holds that only the compound tat-purvakam' constitutes the definition of inference.16 Thus we come to the conclusion that those to whom Bhasarvajna refers by the word 'eke' are most probably Jayaota Bhatta17 and his preceptor in particular and Vatsyayaoa and Uddyotakara in general, Is may be noted here that after the mention of the interpretation, we find in the printed text of the Nyayabhusina the reading : tad-apav;a. khyanam, viz the interpretation given by 'eke' (some) is not a proper explanation; whereas the phot)stat of the Nyayabhusana reads : 121mati-vyakhyanam which means : the explanation according to the view of those (-eke-sore predecessors) now follows. We prefer here the photcstat reading to that of the printed text of the Nyayabhusana.18 Since what bereafter follows in the Nyayabhusana seems to be the detailed presentation of the interpretation of the term "lat-purvakam' given by sone. It is found in the Nyayabbasya, the Nyayavarttika and especially in the Nya yamanjari. Moreover, th's presentation is to be understood as a primafacie view in the Nyayabhusana, which is later refuted and rejected by Bbasarvajna. 19 N), aziast thi's prima-facle view in th: N, ayabhusani, one may contend that if only perception is taken to be referred to by the word 'tat' in the compound 'tat-purvakam'; then there would arise the faults of over-extension and under-extension of the definition of inference. This definition (tat-purvakam anumanam) would be over-extensive, because it would be applicable to mental impression (samskara) and doubt etc also, inasmuch as they are also preceded by perception. On the other hand, this definition would fall short of its aim, as it would not encompass the inferences, the lingas of which are known through the means of interence or agama (viz. inferences pieceded by another inference or agama20) In answer to this, the exponent of the prima-facie view says in the Nyayabh sana that in order to avoid the fault of under-extension of the definition, the word 'tat' in 'tat-purvakam' is taken to stand for any one of the four means of valid cognition, perception etc. which are enumerated in the preceding Nyayasutra (1.1.3)21. Then the definition would cover all inferences, the lingas of which are known through any means of valid cognition 22 For Personal & Private Use Only

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Tatpurvakam Trividham Anumanam (NS. 1.1.5) 183 Similarly, for averting the fall of over-extension of the definition, says the exponent of the prima facie view in the Nyayabhusana, we resort to a particular kind of dissolution 23 of the compourd 'tat-purvakam. This special type of dissolution (te ca tani ca put vam yasya tat-tai-purvakam) is permitted by the Panini- sudra 24 (1.2 54) which rules that when there are two or more words of the same form and ail in the satce case terminations, standing together, one is retained and the rest are cropped 25 So, in brief, 'te' and tani' stand for 'tat'. Hence we can derive the meaning of 'te' (those two) or of 'toi' (those three or more) from the word 'tai' in 'tat-purvakam'. As a resuli, the definition 'tat-purvakam apumanam' will yield the meaning : Anumana is that koowledge which is preceded by two perce ptions (or cognitions produced by any means of valid knowledge; te=those two-the first of the relation of invariable concomitance between probans and probandum; and the second of the probans. It may be noted here that in the above explanation of the definition, the word 'apumaoa' is taken in the sense of anumiti (i.e. inferential cog. nition, and not in the sense of the instrument of inferential cognition). But in fact what was expected to be defined hore was the instrument of inferential cognition; and not the inferential cogoition itself. In answer to this, it has been elucidated in the Nyayabhusana that when the definition of the result (or phala) is well ascertained, the instrument of the result geis automatically defined. 26 That is to say, the two perceptions (one of the relation of invariable concomitance and the other of the probans) which give rise to the inferential cognition; constitute the instrument of inserential cogoition. Moreover, in the presentation of the prima-facie view in the Nyaya. bhusana, the alternative explanation of the definition-tat-purvakam anumanam' is given in such a way that this definition could be appli cable to the means of inferential cognition. In this interpretation, the word 'Yatah' has to be inserted into the definition (tat-purvakam anumanam yatah). Then the meaning of the definition would be : The operative cause, which is different from action (karma-karaka) as well as from agent (Kartr-Karaka), and from which arises the inferential cognition preceded by that (at=perception of probans, etc.) is called anumana.27 It may be noted here that the same alternative interpretation which is chiefly hinged on the addition of the word 'yatah' to the definition, For Personal & Private Use Only

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184 Laxmesh V. Joshi is traced in the Nyayamanjari also. This inspires us to presume that while representing this interpretation in the Nyayabhusana, Bhasarvajna had in his mind the parallel discussion of the Nyayamanjari of Jayanta Bhatta.28 As shown before, the word 'tat' in tat-purvakam signifies tani i. e. pramana-phalani or valid cigoitions in addition to 'te' (those two perce. ptions). In this case the compound 'tat-purvakam' means inferential cognition, which is preceded by the cognition of a linga etc., resulted from any one out of the four means, perception etc. Hence the word 'tat' depotes the cognition of a linga, or so to say, the pramana-phala. But if we take the word 'rat' as referring only to the means of valid cognition (viz Pra manaoi, and not Pramana-phalani), then one more word 'purvaka' should be added to the compound, which would then turn to be : 'tatpurvaka-purvakam'. And in this case the additional word 'purvaka' should be taken as having been dropped from the compound29. This same device is not only found in the Nyayamanjari but also it is more lucidly explained as a prima-facie view 30 According to it, if the word 'tat' is takan to mean only Karana (means of valid cogoition), then the complete definition would come to be-"Tat-purvakam anumanam", the inferential cognition is that which is preceded by perceptual cogaition ci.e. tat-purvakam) which is in turn preceded by 'tat' or Karana or senseorgan etc. This parallel discussion in the Nyayamanjari and in the Nyayabhusana clearly points out that the interpretation of the term 'tat-purvakam', wbich has been dilated as a prima-facie view in the Nyayabhusana by Bhasarvajna, belongs primarily to Jayanta Bhatta.31 Bhasarvajna thus fully describes as a prima-facie view, the interpre. tation of the term 'tat-purvakam' (NS. 1.1.5), offered by some predecessors (eke). Then he starts scrutinising this view. The Bbusanakara says that we fail to understand the interpretation that the portion of the N. ayasutra. viz. 'tat-purvakam' is sufficient to constitute the definition of inference 32 I teading to the different conclusion, Bhasarvajna raises the objections against this interpretacion, which are already discussed above. He says that the definition in this case would be over-extensive. It may encompase, doubt, mental impressions (samskara) also; in as much as they are also preceded by perception. Now, in order to exclude doubt etc. from the definition, it may be argued that the epithet (a-vyabhicaradi-visista-jnanam)"the cognition For Personal & Private Use Only

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Tatpurvakam Trividham Anumanam (NS. 1.15) 185 distinguished by the absence of discrepanc; etc." should be taken as understood in tat-purvakam' (viz. tat purvakam avyabhicaradivisistajnadam). Here the qualification the absence of discrepancy' excludes doubt, and the word 'Inana n' (knowledge) keeps away samskara' (men. tal impression) from the definition of inference, since samskara and jnana are altogether two different qualities.33 Against this, Bhasarvajna says that despite the appendage of the epithet mentioned above, the definition will cover even those cognitions that are generated by perception and verbal testimony, in as much as they are also cognitions preceded by perception (or nirvikalpaka perception) and free from discrepancy.34 Now , in order to ward off this difficulty, if some other qualifying words are to be taken as understood in the definition, than the mention of 'tat-purvakin' itself comes to be meaningless. If such unwarranted words are allowed to be added arbitrarily, thea any definition whatsoever could be formed and explained by the help of understood words. The opponent may contend that we have already proved the absence of all possible discrepancies regarding the definition (tat-purvakar), by taking recourse to the peculiar type of dissolution of the compound tat-purvakam'.35 And it is quite obvious that doubt or a cognition arising from perception or verbal testimony, is never accepted as produced by the knowledge of a linga, accompanied by the remenbrance of the relation of invariable concomitance between probans and probandum. This definition atpurvakam' is therefore applicable only to the inferential cognition In answer to this, Bhasarvajna says that the contention of the oppo. pent is not tenable. First of all, that the word "tat' in 'tatpurvakam' signifies the perception of the linga etc. cannot be imagined merely by wish, for the linga etc. has been nowhere stated before in the preceding Nyayasutras (I.1.1. to 1.1 4). Therefore, the word 'tat' in 'tat purvakam' connot arbitrarily be taken to mean the perception of the linge etc. Moreover, if bereft of any reference to the context, any irrelevant thing is permitted to be considered in a particular discussion, then who prevents us from considering directly the cognition of probandum (e. g. fire etc.) as qualified as we wish? If this kind of addition of qualifying Sambodhi XI-24 For Personal & Private Use Only

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186 Laxmesh V. Joshi words to the definition is al nitted, then, in the present case, even the miation of the word 'purvaka' (i. e. 'preceded by') in 'tat-purvakam' becomes redundant. Consequently the word 'tat' (that) alone, along with the necessary under-stood words would suffice to constitute the definition of infereac: (viz. tad apmacam)36 ! It is very interesting to observe here the fact that Bhajarvjna, though being a staunch Naiyayika, 37 completely rejects the interpretation of 'tatpurvakam' given by his predecssors, Vatsyayana and Uddyotakara in general and Jayanta Bhatta in particular. Then, Bhasarvajna himself offers the interpretation of 'tat purvakam' in the Nyayabhusana.38 According to him, the mention of 'at-purvakam' in th: Nyayasutra is meant only to corroborate the definition of infere. nce adopted by the Naiyayikas, and to repudiate the definitions of inference accepted by the Samkhya and others. He then proceeds to elaborate to prove how the above-said purpose of the mention of 'tatpurvakam', is fulfilled.39 In connection with this, one may raise a question : If even the term tat-purvakam' (-leave aside the remaining portion of the Nyayasutra-) is not admitted as the definition of inferecee, then which the Njayasutra that defines inference 240 In reply to this Bhasarvajna says that the word aaumana' itself, mentioned in the relevant Nya asutra, along with its derivative meaning is sufficient to constitute the definition of infererece. In order to support his view, the Bhusanakara cites an example of the Nyayasutra (1.1.3),41 in which the term pramanani (instruments of cognition) is used, but nowhere in the text of the Nyayasutra, the category 'pramana' is defined. In the Nyayabhasya, the category 'pramana' is defined and explained : "That the prapanas are means of cognising things is indicated by the literal signification of the coustituep: factors of the name 'pramana' consisting as it does of the root ma' with the preposition 'pra' and the instrumental verbal affix lyut, its literal sginification comes to be 'pramiyate agena', that by the instrumentality of which things are rightly cogaiscd', and the names of the particular framanas also are similarly explained" (anumapa-numiyate anena etc.).42 3 Keeping in view such explanations, given by Vatsyayana and others, Bhasarvajna says that the word 'pramana' itself along wish its derivative For Personal & Private Use Only

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Tatpurvakam Trividham Anumanam (NS, 1.1.5) 187 meaning is sufficient to formulate the definition of pramana, and this is endorsed by the commentators also 4 3 Similarly the definition of anumana can be derived from the word 'anumana' itself, along with its derivative meaning. That, by the instrumentality of which athing is rightly inferred, is called 'anumana' 44 Bhusarvajna thus presents quite a unique interpretation of tatpurvakan'. This revolutionary Naiyayika, therefore, deserves the admi. ration of the modera western scholar Karl H. Potter, who writes : "the doctrin:s in this work (Nayabhasana) are apparently highly extraordinary and original" (p. 6); fone innovator who was not so accomodating, however, would seem to have beep Bhasarvajna, author of Nyayabhusana.45 (p. 113). "In any case, later Nyaya authors tend to see two main branches of their system, with Uddyotakara as a source of one, Bbasai vajna of the other" (p. 399) FOOT-NOTES 1. atha tatpUrvakaM trividham anumAnam pUrvavat zeSavat sAmAnyatodRSTa ca // 1.1.5, vAtsyA. yanabhASyasaMvalitam gautamIyaM nyAyadarzanam, pR. 21, saM. dvArikAdAsa zAstrI, pra. bauddhabhAratI granthamAlA (11), vArANasI, dvitIya saMskaraNa, 1976 / 2. samyag avinAbhAvena parokSAnubhavasAdhanam anumAnam |-nyaaysaar, nyAyabhUSaNa, le. bhA sarvajJa, saM. svAmI yogIndrAnanda, pra. SaDdarzana prakAzana pratiSThAnam vArANasI, SaDdarzanagranthamAlA, prathama saMskaraNa, 1968 / 3. The first word 'atha' in the N;ayasutra (1.1.5) is not found in the sutra quoted by Bhasarvajna in the Nyayabhusana. -Nyayabhasana (Ny B), Ibid p. 189; --Nyavabhasana-Sarasangraha-Varttik, photostat, p. 43 (a), No. 34766. L. D. Iastitute of Indology, Ahmedabad; the original manu. ___script No. 10717, Henacandracarya Jaina Jinanamandira, Patana. 4. The Nayasutras of Gotama, tr. by Satis Chandra Vidyabhasana, Allahabad, 1913 (The Sacred Books of the Hindus). 5. atra tatpUrvakam anumAnam iti etAvad eva lakSaNArtham pariziSTaM tu vibhAgArtham iti ____eke |--Ny B,Ibid, p. 189. For Personal & Private Use Only

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188 Laxmesh V. Joshi 6. "Inference follows on perception' i.e. perception of the relation between sadhya and heta, to ge her with perception of the hetu and memory of the previously perceived relation, join to produce inference'-Nyayabhasya, quoted by Karl H. Poiter, Ercyclopaedia of lodian Philosophies, p. 242, Part 1, First ed. Delhi, 1977. 7. tatvapUrvakam iti anena liGgaliGginoH sambandhadarzanam liGgadarzanam ca abhisambadhyate / liGgaliGginoH saMbaddhayoH darzanena liGgasmRtiH abhisaMbadhyate / smRtyA liGgadarzanena ca apratyakSaH arthaH anumIyate |--nyaa. bhA. gautamAya nyAyadarzana, tadeva pR. 21 / 8. vibhAgavacanAdeva trividhamiti siddhe trividhavacanaM mahato mahAviSayasya nyAyasya laSIyasA satraNa upadezAt paraM vAkyalAghavaM manyamAnasya anyasmin vAkyalAghave anAdaraH / -- nyA. mA. go. nyA. da. tadeva, pR. 22 / 9. te dve pratyakSe pUrve yasya pratyakSasya tadidaM tatpUrvakma iti / katare dve pratyakSe ? liGgaliGgi sambandhadarzanam Adya pratyakSam, liGgadarzana ca dvitIyam / bubhutsAvataH dvitIyAt liGgadarzanAt ... saMskArAbhivyaktyantarakAla' smRtiH, smRtyanantaraM ca punaH liGgadarzanam ayaM dhUma iti / tad idam antima pratyakSaM pUrvAbhyAM pratyakSAbhyAm smRtyA ca anugRhyamANaM liGgaparAmarzarUpam anumAnaM bhavati |--nyaayvaattik, le. udyotakara, nyAyacaturgranthikA, saM. anantalAla Thakkura, darabhaMgA 1967, prathama vibhAga, pR. 292 / 10. tatpUrva kam iti anena samAnAsamAna jAtIyebhyaH anumAnaM vyavacchidyate |--nyaa. vA., nyA. ca. pra. tadeva pR. 292 / samAnajAtIyAni pramANatayA pratyakSAdIni asamAnajAtIyAni ca anumAnAbhAsAdIni / -nyAyavArtikatAtparyaTIkA, le. vAcaspati, nyA. ca. pra. pR. 303 / . 11. -tattvavyavacchedako dharmo lakSaNam |--nyaa. bhA. gau. nyA. sU. saM. dvArikAdAsa zAstrI, .. tadeva pR. 15 / 12. tasmAd vyavasthitam etat tatpUrvakam anumAnam iti |--nyaa. vA., nyA. ca. pra. saM. anaMtalAla Thakkura, tadeva pR. 293 / A. Solomon, Gujarat 13. Indian Dialectics, vol. I, p. 376, Dr. Easther Vidyasabha, Ahmedabad, first ed. 1976. 14. tatpUrva kapadam eva kevalam anumAnalakSaNakSamam iti guravaH varNa yAMcakruH |--nyaaymNjrii, le. jayanta bhaTTa, saM. anu nagIna. jI. zAha, dvitIya Ahika, pR. 141, pra. lAlabhAI dalapatabhAI bhAratIya saMskRti vidyAmaMdira, ahamadAbAda, prathama saMskaraNa, 1978 / For Personal & Private Use Only

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Tatpurvakam Trividham Anumanam (NS. 1.1.5 ) 15. anumAnam iti lakSyanirdezaH, tatpUrvakamiti lakSaNam / taditi sarvanAmnA prakrAntaM pratyakSamavamRzyate / tat pUrva kAraNaM yasya tat tatpUrvakam / nyA. maM. dvitIya Ahnika, tadeva pR. 137 / 1 16. nyA. maM.dvi. A. tadeva pR. 141 / 17. Considering chrc nologically I have ascertained in my thesis that Jayanta Bhatta ( 910 A. D. ) is senior to Bhasarvajna (950 A. D.), and both of them belonged to Kashmir. 189 A Critical Study of the Praty aksa Pariccheda of the Nyayabbusana of Bhasarvajna, chapter 1. Ph. D. Thesis, Dr. L. V. Joshi. pp. 10,15 (Typed copy ). 1978 A. D. 18. atra tatpUrvakam anumAnam iti etAvad eva lakSaNArtham, pariziSTiM tu vibhAgArtham iti eke tadapavyAkhyAnam |-- NyB, Ibid. p. 189 atra tatpUrvakam anumAnam iti etAvad eva lakSaNArtham, pariziSTa tu vibhAgArtham iti eke / tammativyAkhyAnaM / NyB, Photostat, Ibid, p. 43 (a ). 19. atra tatpUrvakam iti etAvad evaM anumAnalakSaNam iti na budhyAmahe... nanu ca te iti vigrahAzrayaNAdeva sarva vyabhicAranivRttiH siddhA |...n, aprakrAntatvAt / na hi prAk kvacid avinAbhAvadarza'naliGgadarzane prakrAnte yena tayoreva 'te' iti anena parAmarza: / - nyA. bhU. saM. yogIndrAnaMda, tadeva pR, 191 / 20. tad iti anena yadi pratyakSameva parAmRzyate, tadA ativyAptianyAptidoSau bhavataH - pratyakSapUrva ke saMskAre saMzayAdijJAne ca ativyAptiH anumAnAdipUrvakAnumAne ca anyAptiH iti / -- nyA. bhU. saM. yogIndrAnauMda, tadeva, pR. 189 / 21. pratyakSAnumAnopamAnazabdAH pramANAni / dAsa zAstrI, tadeva pR. 15 / tulanA -- tat (pratyakSam ) pUrvaM kAraNaM yasya tat tatpUrvakam / etAvati ucyamAne nirNayopamAnAdau tatpUrva ke prasaMga: na vyAvartate / ( nyA. maM. dvi. A. pR. 137 )... nanu evaM nirasyatAm ativyAptiH, ayAptiH tu kathaM nirasiSyate ? AgamAdipUrvakANAm anumAnAnAm asaGgrahAt / -- nyA. maM dvi. A. saM. nagIna jI. zAha, tadeva pR. 139 / nyA. sU 1-1-3, gau. nyA. da. saM. dvArikA 22 tena ativyAptiparihArArtha vibhAgasUtraprakrAntAni sarva pramANAni parAmRzyante / -- nyA. bhU. saM. svAmI yogIndrAnaMda, tadeva pR. 189 / tulanA - tAni iti punaH tAvad avabodhAya For Personal & Private Use Only

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190 Laxmesh V. Joshi vigrahaH kartavyaH / tAni pratyakSAdIni pUrva yasya (tat) iti / - - nyA. maM. saM. anu. nagIna jI. zAha, tadeva pR. 139 / 23. vigrahavizeSAzrayaNAd ativyAptiparihAraH api siddhaH / te ca tAni ca iti vigrahaH / sarUpANAm (svarUpANAm - iti dUSitaH pAThaH, phoTosTeTa nyA. bhU. pU. 43) ekazeSAt tAni iti bhavati / tAni pUrva yasya tad idaM tatpUrvakam / tatra te ityanena avinAbhAvasambandhadarzana liGgadarzanaM ca abhisaMbadhyate / tAni iti sarvapramANaphalAni / - nyA. bhU. pU. 189. tulanA -- tadvyAvRttaye dvivacanAntena vigrahaH pradarzayitavyaH / te dve pratyakSe pUrva yasya iti / yad ekam avinAbhAvagrAhi pratyakSa vyAkhyAtaM yat ca dvitIyaM liGgadarzanam, te dve pratyakSe anumAnasya eva kAraNaM na upamAnAdeH / --nyA maM. saM. anu nagIna jI. zAha, tadeva, pR. 137 / / 24. sarUpANAm ekazeSaH ekavibhaktau NinisUtra 1-2-64; artha :- sarUpANAm zabdAnAm ekavibhaktau parataH ekazeSaH bhavati, arthAd ekaH ziSyate itare nivartante // udA. vRkSa vRkSaca vRkSau / vRkSazva vRkSazva vRkSazva vRkSAH / -- aSTAdhyAyI bhASya prathamAvRtti (1-3 adhyAya, le. brahmadatta jijJAsu, pra. rAmalAla kapUra TresTa, bahAlagaDha ( sonIpata - harayANA) dvitIya saMskaraNa, 1979 / 25. The Siddhanta Kaumudi, Chap. VIII, p. 96, edited and tr. by Srisa Chandra Vasu, Vol.I, Motilal Banarsidass, Delhi, Reprint 1962. 26. anumitiH anumAnam / phalalakSaNe hi siddhe tatsAdhanalakSaNaM siddhayati eva / nyA. bhU. tadeva pR 189 / tulanA -- phale vA anumAnazabdaM varNa yiSyAmaH anumitiH anumAnam iti / nyA. ma. (dvi.A.) saM. anu nagIna jI. zAha, tadeva pR. 140 / 27. athavA tatpUrvaka yataH karmakartR vilakSaNAd bhavati, tad anumAnam iti |--nyA. bhU. pR. 189 ('karma kartR ' - vailakSaNyAd' iti mudrito bhUSaNIyo'papAThaH, draSTavyam phoTosTeTa pR-43) / phoTosTeTa- prAntavattinyAM TippaNyAm uTTati yad -- anumitijJAnaM yataH iti adhyAhAreNa draSTavyam, karaNAd ityartha: / phoTosTeTa, nyA. bhU. tadeva pR. 43 / tulanA - yataH zabdaM vA adhyAhariSyAmaH -- pratyakSaphalapUrvaka parokSArtha pratipattirUpaM phalaM yato bhavati tadanumAnamiti / nyA. maM. dvi. A. tadeva pR. 140 / 28 tat zabdena api yadA pratyakSAdipramANAni eva parAmRzyante, tadA ekasya pUrvakazabdasya luptanidezaH draSTavyaH ( - luptanirdeSa iti mudrito bhUSaNIyo'papAThaH, draSTa0 nyA. bhU. phoTosTeTa, tadeva pR. 43) / -- nyA. bhU. tadeva pR. 190 For Personal & Private Use Only

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Tatpurvakam Trividham Anumanam (NS 115) 191 tulanA--atra ca'Tyanti-tad iti karaNAvamazaH vA syAt phalAvamarzaH vA / karaNAyamaze indriyAdikaraNapUrvaka jJAna tatphala tatpUrvaka ca anumAnam iti pUrvazabdasya dviH pAThaH syAt / sa ca azrataH kalpanIyaH |......ucyte......krnnaavmrsh tAvad indriyAdikaraNapUrvaka tphala liGgadarzana yat, tadeva parokSArtha pratipattau karaNam anumAnam iti na dviH pUrvakazabdasya pAThaH upayujyate |-nyaa. maM. dvi. A. anu nagIna jI. zAha, tadeva pR. 139-40 / 29. nyA. bhU. tadeva pR. 190 / 30. nyA. maM. dvi. A. tadeva, pR0 139 / 31. It may be noted here that in the printed text of the Nyayabhus na as well as in the Photostat we come across a lacuna : tatpUrvakapUrva jA...tyAdi vyAkhyeyam |-nyaa. bhU. pR. 190 tatpUrvakapUrvakaM jA...tyAdi vyAkhyeya |-nyaa. bhU. phoTosTeTa pR. 43 (a) May we ignore the lacuna acd read ? tatpUrvakapUrvaka jAtyAdi vyAkhyeyam / trividhagrahaNaM niyamArtham dezakAlajAtyavasthAdi bhedAd bhanantam api anumAna trividhameva iti |-nyaa. bhU. pR. 19 / or might it be -tatpUrvakapUrvaka jAtApityAdi ? Or could it be -tatpUrva kapUrvakam ityAdi vyAkhyeyam / ? 32. atra tatpUrvakam iti etAvad eva anumAnalakSaNam iti na budhyAmahe |-nyaa. bhU. pR.191 / 33. atha tatpUrvakam avyabhicArAdiviziSTajJAnam iti adhyAhiyate |--nyaa. bhU. pR. 191 / 34. tathApi pratyakSAgamajJAnAbhyAM vybhicaarH|--nyaa. bhU. 191 / ... ' pratyakSAgamajJAnamapi pratyakSapUrvakam ityarthaH |-praantvrtinii TippaNI, phoTosTeTa nyA. bhU. 35. tena ativyAptiparihArArtha vibhAgasUtraprakrAntAni sarva pramANAni parAmRzyante / vigrahavizeSA. zrayaNAd ativyAptiparihAraH api siddhaH |-nyaa. bhU. pR. 189 / 36. na hi prAka kavacid avinAbhAvadarzanaliGgadarza ne prakrAnte yena tayoH eva 'te' iti anena parAmarza: syAt / tatazca pUrva kagrahaNam anarthaka syAt tad iti etAvatA eva adhyA hArasahitena anumAnalakSaNasiddheH |-nyaa. bhU. 191 / 37. nyAyazAstra ca vyAkhyAtu vayaM pravRttAH tena asmAka vaizeSikatantreNa virodho na doSAya / nyA. bhU. pR. 163 / 38. tatpUrva kagrahaNaM ca svakIyAnumAnabhUSaNArtha parakIyAnumAnadUSaNArtha ca uktam / nyA. bhU. 192 / For Personal & Private Use Only

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192 Laxmesh V. Joshi 39. This being a lengthy discussion, we intend to consider it in a separete article. 40. yadi tatpUrva kagrahaNam api na lakSaNArtham kim idAnIM tAhi anumAnalakSaNArtham sUtram ? nyA. bhU. pR. 194 / 41. pratyakSAnumAnopamAnazabdAH pramANAni --nyA. sU 1-1-3 42. upalabbisAdhanAni pramANAni iti samAkhyAnirvacanasAmarthyAd boddhavyam / pramIyate anena iti karaNArthAbhidhAna: hi pramANazabdaH / tadavizeSasamAkhyAyA api tathaiva vyAkhyAnam / --nyA. bhA. go. nyA. da. saM. dvArikAdAsa zAstrI tadeva pR. 16 / - Gautama's Nyayasutras (With Vatsyayana Bhasya) tr. by Gangaoatha Jha, Poona Oriental Book Agency, 1939 A.D., P.17. 43. sarvaca pramANaM svaviSaya prati bhAvasAdhanam , pramiti: pramANamiti / viSayAntara prati karaNasAdhanam, pramIyate anena iti pramANam --nyAyavArtikam, nyA. ca gra. tadeva pR. 184 / sAmAnya lakSaNaM tu pramANapadAd eva samAkhyAnirvacanasAmarthyasahitAd avagamyate / pramIyate yena tat pramANamiti karaNArthAbhidhAyinaH pramANazabdAt pramAkaraNaM pramANam iti avagamyate / -nyA. maM. prathama Ahnika, saM. anu. nagIna jI. zAha, lAlabhAI patabhAI bhAratIya saMskRti vidyA maMdira, ahamadAbAda, prathama saMskaraNa 1975, pR. 61 / 44, * pramIyate anena iti pramAsAdhanam pramANam iti ukta bhavati / tathA anumIyate anena iti--anumitiH kriyate yena tad anumAnam iti labhyate |-nyaa. bhU. pR. 194 / 45. Encyclopaedia of Indian Philosophies, Part 1, ed. by Karl H. Potter. Motilal Banarasidass, Delhi, 1977 (First edition). For Personal & Private Use Only

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REAPPRAISAL OF DOCTRINE OF DEGREES OF REALITY IN JAINISM, BUDDHISM AND VEDANTA Y. S. Shastri The doctrine of degrees or orders of Reality is one of the most important problems in the history of world thought. The distinction between the transcendental and empirical, Noumenal and Phenomenal truths is so vital that it has always been maintained in some form or other by all the great philosophical thinkers of the world. We find, in the east, these two distinctions in the early Upanisads, Jainism, Buddhism and also in Advaita Vedanta; so in the west in the writings of Socrates, Plato, Aristotle, Spinoza, Kant, Hegel and F. H. Bradley. 1 The Upanisadic two paths-freyas and preyas (Good and pleasurable), Para and Apara-Vidya (higher and lower knowledge), Amurta and Murta Brahman (Brahman-formless and having form), Jainas, Paramartha and Vyavahara or Niscayana ya and Vyavaharanaya; Paramartha and Sanvrti of the Madhyamikas, Parinispanna and Paratantra of the Vijnanavadins, Paramarthika and Vyavaharika of Advaita Vedantins etc. stand for these two, transcendental and empirical orders of Reality. Upanisadic View : Upanisads are termed as Himalayas of Indian Philosophy. Just as different rivers, which having their origin in the Himalayas, flow in different directions, Similarly all the schools of Indian thought have their roots in and are influenced by Upanisadic Philosophy. The seeds of almost all tho systems of Indian philosophy are to be found in the early Upanisads. The distinction between, empirical and transcendental orders of Reality, adopted by later thinkers of Jainism, Buddhism and Advaita Vedanta, is to be found in the early Upanisads. Katha Upanisad teaches us that there are two paths opened to a person, freyas and preyas (good and pleasurable), Wise men choose the path of Good which leads to the supreme self. The path of pleasure is related Somebodhi XI-25 For Personal & Private Use Only

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194 Y. S. Shastri to worldly life and enjoyment. Fools choose the path of pleasure and remain tied to the wheel of Samsara (mundane life), subject to the repeated births and deaths. They go rouod and round like the blind led by the blind. This path leads one to the misery of Samsara. The path of Good (sre yas) is the real path, which leads to self-realization, immortality, permanent happiness, which is the goal of life. 2 Mundaka Upanisad makes distinction between the two kinds of knowledge, bigher and lower (Para and Apara). Lower knowledge consists of the study of the scriptures and the secular sciences, it is related to worldiy matters and the higher is the koowledge of the indestructible Brahman i.e. Supreme self. The higher knowledge is that by which the immortal Brahman is koowo.3 1o Bihadaranyaka, it is said that, Brahman is of two kinds, having form (murta) and the formless (amurta), the actual and the beyond.4 This, having form or saguna Brahman is ultimately discarded in favour of formless Brahman, which is adjudged as real of the real.5 Again we are told in the Katha Upanisad that Reality is eternal among the reals. These statements are clearly an indication of plurality of truths understood by the Upanisadic sages. It is clearly mentioned here that except Brahman or Atman everything else is empirical, transitory and not real. Isavasya Upanisad tells us that the face of truth is covered by a golden disc. (Hira. nmayena patrena Satyasyapihitam mukham-1savasya-15). Here the word 'apihita' is used in the sense of cover (Sanvrti). The real truth is coveed by the phenomenal truth. It also envokes the Sun god to reveal the truth.? The phenomena, this apparent world is empirical, not real ultimately, and paramartha Satya is only Brahman or Atman which is to be realized. These two types of distinctions of the Upanisads are the basis for tho transcendental and empirical distinctions of later thinkers of Jainism, Buddhism and Advaita Vedanta. Jaipa Conception : The history of distinction between Vyavaharanaya (partial view point) and Niscayanaya (complete view point) in the Jaina philosophical literature is found in one of the earliest Jaidaga nas, viz. Bhagvati Sutra 8 It states that Vyavahara gives only partial knowledge of a thing or reality. It is liko grasping only black colour in a black bee, while Niscayanaya is grasping all the five colours in it. In other words Vyavahara is that point of view For Personal & Private Use Only

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Degrees of Reality in Jainism, Buddhism and Vedanta 195 which gives only partial account of a thing, while Niscaya gives a complete account of a thing or reality. Jinabhadragani in the Vesesavasyakabhasya repeats the same idea.. la the Uttaradhyayanasutra, we find a slightly different conception of vyavahara and Niscayanaya10 Here it is said that from the empirical standpoint external characteristics, disciplines and symbols are means of liberarion; but from the transcendental point of view, right belief, right knowledge and right conduct are the real means of liberation. 11 Kundakunda-the great ethico-religious thinker (circa 1-5 century AD.) gives completely different interpretation of Vyavaharanaya and Niscayanaya. He appears to be well aquainted with the Upanisadic thoughts. He was the first Jaina thinker who applies practial point of view (vyavahara) to problems of empirical life and transcendental point of view (paramartha) to supreme self which transcends the limitations of the empirical life. He found that it is necessary to adopt this intellectual method or approach towards the comprehension of reality. Throughout his writings, he applies these transcendental and empirical distioctions calling them paramartha and vyavahara, Svasamaya and Parasamaya, Niscayanaya or Suddhana ya and vyavaharanaya. 1 2 Kundakunda's wellknown work Samayasara, begins with this distinction between pureself and impureself. Pure self is termed as Svasamaya one's own real self, which in its intrinsic purity rests on Right conduct, Right belief and Right knowledge and transcends the empirical limitations. It is paramartha-the highest fruth. The self which is conditioned by Karmic materials is other than the real self, impure, empirical ego designated as parasamaya. It belongs to vyavahara, 13 Vyavahara is that state in which one is not able to distinguish between real self and not-self. Engrossed in worldly pleasure, nan does not see the real truth which is beyond the empirical level. Io the absence of true knowledge of pure self, one identifies oneself with the characteristics of the external world of objects and gross body. From the practical standpoint, no doubt, the soul (jiva) and body are found together in an embodied individual, but from the absolute standpoint they are not one, they are separate. Pure soul caunot be identified with the gross body.14 This vyavahara is concerned with the problems of empirical life only. It tells us about the bound soul with all its characteristics. From the empirical point of view the soul is the agent of action and it undergoes such experiences as those of pain and pleasure. Transcendental point of view is related with supreme self which transcends the empirical conditions. It is a state in which an intelligent person distinguishes self from not self and sees self as pure entity, free from all types of conditions. Perceiv. ing the Atman as not bound, not touched, not other than itself, steady, without any difference and not combined is the pure transcendental point For Personal & Private Use Only

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195 Y. S. Shastri of view. 15 The practical standpoint does not reveal the pure self; it is transcendental view point, which reveals the truth.16 The so-called characteristics of soul, such as colour, taste, smell etc. and spiritual development are predicated of the soul from the purely on empirical view point but absolute point of view, none of these can be predicated of the soul, because it is above these predicates. 17 From the empirical standpoint the self is regarded as an agent and enjoyer, but from the absolute point of view the self is neither an agent nor an enjoyer, 18 Ficm the vyavahara point of view, the self appears to be beurd. 19 Again from the absolute standpoint, individul self is identical with ultimate reality or Supreme Soul, Karmic adjuncts cover the self-shining Atman. When all the Karmic materials are destroyed through Right faith, Right conduct and Right knowledge, the self shines in its pristine purity and glory. In the supreme self, there is no colour, no smell, no taste, no toucb, no visible form, no body, neither desire, nor aversion, no Karmic matter, no ego conscic usness. There is neither activity nor bondage 20 Paramartha (transcendeutal-state) is the state of complete freedom from attachment, aversion and all types of Karmic materials. It is the state of knowledge consciousness (Jnana cetana.) In this state the soul remains absorbed in its pure intrinsic, blissful conse cious state. Right belief, Right conduct, Right knowledge are said to be characteristics of soul, from the empirical stand-point, but at transcendental level, there is neither faith nor knowledge, nor conduct in pure soul. 21 lo tbis state of transcendence there is no good and bad. It is beyond the duality of good and bad.22 The pure self transcends all relative view points Z3 The self is neither one, nor many, neither bound por defiled. 24 It is a state of intuitive experience of Atman. which is beyond speech and thought. At this level all duality vanishes. Amitaca. ndra rightly points out that, when this Paramartha or Supreme self is realized through intuition, all duality vanishes. In this state nayas (=view points) do not arise, the means of knowledge (=pramanas) are set at rest, the niksepacakra pades into nothingness 25 Oply those who have risen above all the relative view points can reach and enjoy tl is immortal state. Amsta candra makes it very clear by saying that, "those who've realized the truth, arising above all the relative view points of the intellect, who have obtained mental peace by transcending the categories of thought, they alone really drink nectar, enjoy immortality, always see the eternal consciousness ever dwelling in the essential nature of self." 26 Kundakunda like Upanisadic sages, clearly states that there are two courses of action open to a person, the superior and the inferior (i.e. paramartha and vyava. hara). The wise will always choose the superior. 27 Those who maintain . that what is obtained from the empirical point of view is true, they never For Personal & Private Use Only

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Degrees of Reality in Jainism, Buddhism and Vedanta 197 realize the supreme self. Realization of the supreme self is possible only by adopting the Niscaya point of view, which is the only path to reach the absolute Reality 18 Vyavahara is empirically true but ultimately false. It is only the paramartha that is ultimately true. 29 Kundakunda being a great mystic saint realized that, worldly happiness is not the ultimate er d of life. Realization of pure soul, which is beyond thought and speech, pure, blissful, consciousness, is the highest ain of life. But worldly experience and happiness cannot be dismissed altogether as unreal. To show the difference between empirical experience and mystic experience, he has accepted these two types of distinctions-lower and higher. In this respect, he seems to be inspired by the Upanisagic thoughts. After Kundakuoda, his followers always uphold this distinction between empirical and transcendental viewpoints. They have applied these two points of view to tackle different problems. Pujyapada in his Samadhitantra Says that guru is required for giving spiritual instruction, only one vyavahara level, but on the transcendental level, the self alone is its own guru, as it is responsible for its transmigration as well as liberation. 30 Buddhist's View : Hinayanism : We find this type of distinction between empirical and transcendental truth in early Buddhism. Kathavastu mentions that Buddha has used two kinds of speech, conventional (Sammuti) and real (paramartha), empirical and transcendental.31 Expressions like Sttta (beicg), pudgala (person), Deva (God) etc, are conventional (Sammuti) and those like anicea (impemanence) duhkha(misery), anatta (Soullessness), Khandha (aggregate), the Aryasattas (duhkha, duhkha samudaya, duhkha nirodha and marga), pratitya samut pada (dependen origination) and all dharmas (elements of existence) are real and hence belong to the category of paramartha satya. Mabayana Buddhism Mabayanists accept this distinction but their interpretation of conventional (Sanvrti) and real (paramartha, truth differs entirely from that of Hinavanists. Mahayanists criticise the Hinayanists for their failure to understand the real teachings of Buddha and mantain that real truth called by them is a matter of conventional and not real truth. Almost all the great Mabayapist thinkers such as Asvaghosa, Nagarjuna, For Personal & Private Use Only

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198 Y. S. Sasiri Asanga and Vasubaodhu, have adopted these two standpoints in their writings. Absolute suchness and conditional suchpess of Asvagbosa (1.A.D) stands for these two distinctions. Nagarjupa (2nd A. D.) makes clear cut distinction between empirical and transcendental truth, by saying that the teachings of Buddha are based on two kinds of truth, viz. empirical (Samvsti) and Absolute ( paramartha).32 He points out that, those who do not koow the deeper meanings of these two stand points cannot know the real meaning of Buddha's teachings. 33 Samvsti is empirical truth, it is a sort of screen which covers up the real; it is, therefore, called Samviti (i. e. cover or envelope). All worldly things belong to this category. The existence which is relative, conditioned by the subject-object duality, is called empirical existence. In the ultimate analysis, it is not truth at all. The real is really beyond this empirical truth, paramarthu satya is real and it is just Sinya -indescribable, beyond the categories of thought, calm and blissful, oon-dual and it can only be directly realized 34 Naga rjuna emphasises the transcendental reality. For him except Absolute reality which is non-dual advayamtattvam), non conceptual, everything else is empirical, unreal. He categorises the whole phenomenal existence as samvstisatya and does not analyse the empirical experiences in detail. But his followers Candrakirti (circa 6 A. D.) and Saotideva (7th A D.), further distinguished the phenomecal reality into two kinds viz. tathyaSamviti that which is empirically true and that which is empirically false-mithya Samviti .35 Asanga (Circa-4th A. D.), the great exponent of Vijnanavada Bud. dhism, has also accepted two kinds of truth-empirical (Samviti) and Absolute (paramartha).36 Samvsti is the same as illusion (mayopama). It conceals the real-truth. This Samvsti Satya conceals the truth and projects nonexistent un-real objects.37 Things of this world have no more existence than magical figures created by a magician. The entire phenomenal world comes under the Samurtisat ya. Ultimately it has no existence of its own. The paramartha is beyond this empirical existence. It is un-originating and un-deca. ying. 38 The transcendental truth is uncaused, un-conditoped, non-dual, free from subject object duality and non conceptual consciousness 39 Asanga, being a grea speculative thinkert tried to give constructive thecry of pheno. mena advocating three kinds of truth unlike Nagarjuna's doctrine of two truths. The Phenomenal truth (Samvrti) further divided into imagined and dependcat (parikalpita and paratantra) and paramartha is also called parinispanna. Asanga's constructive analysis of all empirical experiences led him to aecept three kinds of truth. According to him, even at the phenomenal level, there are two kinds of experiences, one is utteriy unreal For Personal & Private Use Only

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Degrees of Reality in Jainism, Budhim and Vedanta 199 or illusory (parikalpita) and another is dependent, real for all practical purposes. The word parikalpita itself indicates that it is merely imagined truth and has no intrinsic existence of its own. It is illusory or utterly unreal even at the phenomenal level.40 It is purely mental creation and thus absolutely unreal.41 Paratantra is dependent on causality. It is a false thaught creation about the subject object duality. It is imagination of non existent phenomenal world on pure consciousness. It applies to the phenomenal world of subject-object duality.42 Parinispanna is well established truth (paritah nispannah). It is paramartha satya which is equated with the absolute. It is non-dual, beyond speech and indescribable by verbalizing mind.43 The highest state which transcends opposites in which existence and son-existence, the positives and negatives are one and the same, is called parinis pannaa 44 This is the only existent (sat) rality and except for this nothing exists in realty.45 parikalpita and paratantra are relatad to worldly things, while parinispanna is related to the highest truth Nirvana, where all Klesas and imaginations cease to exist 46 Lankavatara stura, one of the authoritiative works on Vijnatavada, also refers to these three kinds of truth by stating that parikalpita is purely imaginary like the hare's horn or a sky flower or dream etc. and paratantra is relative, depends on causes and conditions and comes uoder the realm of phenomenal aod parinispanna is the paramartha satja (highe. st trutb), absolutely real, which transcends subject-object duality and is purely based on spiritual experience.47 Vagubandhu, known as the second Buddha' or 'Pratibuddha', 48 also follows Asanga's line of thought. Parikalpita is purely imagination of the intellect, thus it does not exist in reality.49 Paratantra is dependent, relative, it arises out of causes and conditions. Whatever is caused and conditioned is not ultimately real. 50 Parinispanna is the only truth, it exists independantly by itself. It is beyond the subject-object duality, non-conceptual consciousness, 51 It is pure, undefiled Existence, it is beyond finite thought; it is the Good, it is the Eteroal, Blissful, it is Liberation, it is the Buddha's body of pure-Existence. It transcends the categories of thou. ght as well as the pluraity of the phenomenal world.52 Advaitic View : Sankara, the chief exponent of Advaita philosophy has introduced this distinction between transcendental (Paramarthika) and empirical (vyavaharika) orders of reality a with certain purposes, For Personal & Private Use Only

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200 Y. S. Shastri First of all he has accepted these so called gradations of reality to reconcile the contradictory statements of the Upanisads. In the Upanisads, we come across divergent views almost side by side. In certain passages the ultimate reality is described as beyond thought and words, acosmic, atiri. butless, indeterminate, one without a second, and so on. But there are also passages which describe ultimate reality as cosmic, all-comprehensive, creator, sustainer and destroyer of the world, full of all good qualities and so on. It was Sankara who took up this difficult task of bringing these contradictory statements into iotelligible and coherent relation with the help of these so called degrees of Reality. His second important purpose in accepting the orders of reality is to show that this conception of distinction between transceodental and empirical level of reality is as old as Upanisadic thought and not new contribution of Jaipas or Bauddhas. At the time when Sankara rose on the Indian philosophical horizon, great Jaina and Buddhist philosophers were dominating the intellectual fields of society through their writings. Sankara was undoubtedly, wellaquainted with important Jaina aod Buddhist works. He saw that, people are under the impression that this distinction between transcendental and empirical level of existence is original contribution of Jainas and Buddhists. His main aim was to re-establish the lost glory of Upanisadic thought. Sankara, throughout his writings applied this distinction of real and empirical existence and quotes Upadisadic passages in several places to prove that, this idea is already accepted by the Upanisadic sages. The terms used by the Upanisadic seers to show the difference between empi. rical and transcendental level, may be different from Jainas and Bauddhas but idealogically, they convey tbe same meaning. Sankara found nothing wrong 10 accepting the popular terminology, current among the Jaina and Bauddha literature of his time to convince the intellectuals of society. Thirdly, his adoptation of orders of reality is based on a most realistic approach. Sankara found that even at enpirical level, there are two kiods of experiences, one merely appears to exist and the other is real for all practical purposes. It is a well-known fact that what appears perfectly real at lower level becomes upreal when we come to look at is from a higher level, the illusory objects of dream experences are sublated at empirical level and inturn this empirical experience is contradicted by still higher experience of transcendental reality or Brahman. Thus the whole conception is based on the different kinds of human experience, rising from a lower to a higher level. Sankara's systematic analysis of human experience led him to accept these so called orders of reality, transcendental, empirical and illusory, known as Sattatraya. Sankara gives hair splitting arguments and explanations about these three orders of For Personal & Private Use Only

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Degrees of Reality in Jainism, Buddhism and Vedanta reality and shows, with his intellectual sharpness and logical vigour, how we proceed and progress from lower to higher level of existence. The term Pratibhasika literally means existing only in appearance, that which appears to exist for a brief moment to a single individual. A person sees a snake (in darkness) where there is a rope, silver where there is a shell, water where there is only mirage, a thief where there is trunk of tree. In dream, sometimes, he sees a dream-lion, tiger and so on. These perceptions are peculiar to the single individual and last only for a few minutes. But they are real experiences and hence cannot be dismissed as onreal. According to Sinkara, whatever is perceived must be admitted to be so for real. An unreal thing is never perceived by any one. No one has ever seen the hare's horn or the sky-lotus. These are all mere words with no objects corresponding to them in the real world. If something is perceived by one individual even for a brief moment, it must be granted to be so for real.53 Water in a dream can quench thirst in a dream and a person bitten by a snake in a dream may feel himself dead in the dream.54 Sometimes the person who imagines that he as placed his foot on a snake, takes fright, perspires, trembles all over the body. In the same way, objects that are seen in dreams are real as long as they last. The snake that is perceived in a repe lasts for a brief moment and then vanishes after keen observation. Similarly, the dream lion is created when the dream starts and it dissolves when the dream breaks up. These, sanke on a rope, silver in a shell, dream lion etc, are real creations, but they are sublated when a higher experience takes place. Here in all these cases a lower order of reality is superimposed on a higher order. It comes into existence with the perception and goes out of existence with the cessation of the perception. Though, these objects are perceived by an individual for a brief moment, they are perfectly real until higher experience takes place. These objects that are perceived by an individual for a few minutes, belong to the lowest order of reality, known as pratibhasikastta. This pratibhasika experience is not completely real as it suffers contradiction. The unreality of the effects of this imaginary standpoint can be realized only when the empi rical standpoint is attained. The snake seen in a place of rope disappears. when we come to know that there is only a piece of rope lying in that place. The rope which remains after keen observation, certainly, belongs. to a higher order. It can be perceived by anybody and any number of times. It is the same to the same individual and same to the different individuals at the same time. So also the shell, mirage and trunk of Sambodhi XI-26 201 For Personal & Private Use Only

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202 Y. S. Shastri tree etc. This type of experience undoubtedly belongs to higher level than pratibhasika experience and it is called Vyavaharika (empirical) reality, This world which is the ground of all our activities and experiences, the individual ego, Isvara, belong to this order of reality. This world is relative, phenomenal and finile. But it is not illusory like Pratibhasika. This phenomenal world and worldly objects exist because we all experience them. All experiences, thus, of worldly things belong to the level of empirical reality. Tais empirical world is real for all practical purposes. No one can deny it. If this world and individual souls are unreal, then it would be against the practical notions of our ordinary life and expe. rience. Sankara recogoizes the relative, empirical and pragmatic reality of the world. The empirical world cannot be called completely nonexistent because, then the practical utility of all worldly experiences would collapse. According to Sankara, the entire complex of phenomenal exis... tence is still true to a person who has not reached true knowledge and realized his self. On account of ignorance (avidya), we believe that this world and individual souls are completely real. As long as one is in the grip of this ignorance, the reality of the world and self is vouchsafed for him. For ordirary. ignorant people, this empirical order is the highest reality, because they do not rise to a higher level of experience. Yet, actually it is not the highest reality, because it becomes sublated after realization of Brahman or supreme self. Though the world is not real in the ultimate analysis, it is not absolutely unreal like the hare's horn. The unreality of the world is realized only when the absolute is realised. Till then, it is true for all practical purposes for man. It is entirely erroneous to suppose that Sankara treats the world as illusory or unreal. He does not dis piss the experiences of the world and worldly objects as absolutely unreal. The world characterised by diversity and change is not wholly unreal. He only shows that this world becomes ontologically less real when Brahman is realized. He rightly points out that the world of the waking state cannot be reduced to the level of dream objects, though it resembles dreams in certain respects, "An object will not lose it's real nature and aquire that of another, merely because it resembles that other in certain respects."55 This manifold world is taken to be real as long as the essential unity of the Jiva with Brahman is not realiz-d.56 As long as this unity with Brahman, the supporting ground of all phenomena is not realised, the world with all its difference is perfectly real. 57 When Sankara says that world is 'mithya 58 it does not mean that the world is utterly unreal. This word is used by him to emphasize the ultimate unreality of the phenomenal world. It's existence in got denied but assigned to a lower ontological level. So, long w For Personal & Private Use Only

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Degrees of Reality in Jainism Buddhism and Vedanta 203 are in this world, we cannot take it to be uoreal. It is a practical reality. When Sankara character ises the world as 'mithya', all that he means is that, it is not ultimately real, though it appears to be real for all practical purposes. This world is not absolutely real as it is sublated in a stiil higher experience. Wheo Brahman consciousness arises the reality of the empirical world suffers contradiction. Though, empirical experiences cannot be reduced to the level of dream objects, still this world can be compared to a long dream, because it is contradicted by a still higher experience of Brahman.59 Brahman-consciousness which servis to contradict the world of our waking state does not suffer contradiction, because it is pure consciousness at any level or at any tinie.60 It is the same in all waking, dreaming and deepsleep. Realization of Brahman is called paramartha-the highest state, the highest aim. This level is mystical experience of oneness. or unity of Jiva with Brahman. This is the only reality and as compared to it, the other two are merely appearances under certain conditions. The pratibhasika and vyavaharika are relativa, henee not real, ultimately, while paramarthika (the transcendental reality) is beyond all kinds of relative viewpoints. At the paramarthika level ordinary experience is transformed into intuition. Our entire worldly activity is on account of Avidya-ignorance. Right knowledge removes ignorance and it connot be sublated. The falsity of the dream-object is realised when the dreams break up and we are awake. And even then when these dream objects are sublated, the consciousness that the dreamer bad experienced these objects in the dream is not sub. lated even in the waking state. Consciousness therefore is eternal and real.61 According to Sankara, the whole plurality of appearance is dus to avidya (ignorance).62 From the paramarthika point of view, there is only one Absolute, Brahman, one without a second, 63 It is unchanging and immutable, absolutely permanent, completely independent of all contingencies, ever the same and most stable. It is neither contradicted nor contradictable. It is Existence, Consciousness and Bliss, 64 It is level of self-luminous universal self of all. 65 At the paramarthika level there is no difference between individual souls and Brahman.66 This pluralistic vision of selves is empirical standpoint while unity of all selves is para. marthika. Just as the sun or the moon appears many on acconnt of the reflection in different vossels of water 67 or just as the same space appears different spaces, similarly the same self appears as so many phenomenal selves on account of adjuncts. 68 He rightly states that, "as light, ether, Sun and so on appear differen'iated as it were, through their objects, such as fingers, vessels, water and so on, which constitute the limiting For Personal & Private Use Only

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204 Y. S. Shastri adjuncts while in reality they preserve their essential non-differentiateness, so the distinction of different selves is due to limiting adjuncts only, while the unity of all selves is natural end original", 69 There is only one pure consciousness or highest reality, eternal, unchanging, which is the luminous body of pure-consciousness, which, on account of ignorance or Maya, manifests itself as many, and except this there is no other reality, no other pure-consciousness.70 On account of avidya, we superimpose the world on Brahman, which is supporting ground of the phenomenal world. On account of ignorance," we mistake rope for snake, shell for silver, we see one object in place of another. We attribute to an object certain qualities which do not belong to it. We superimpose the world on Brahman in the same manner as it a lower level, we superimpose the snake on rope, shell on silver etc. similarly we superimpose the body, the sense organs and the mind on the self. We also attribute agency and employership to the self which do not really belong to it.71 We think that this Jiva assec ated with ego is the highest reality. Actually speaking, this cgo is not the true self. True self is that which is free from all these adjuncts, ultimately it is one with Brahman 72 From the Paramarthika transcendenta! point of view, even the view that jiva becomes one with Brahman at the state of realization is only a verbal statement, for he is always Brahman.73 Just as pure transparent crystal is wrongly imagined to be red on account of a... red flower placed near it, just as colourless sky is wrongly imagined to be sullied with dirt by the ignorant or just as a rope is wrongly taken. to be a snake in darkness, similarly, the non-dual Atman or is worngly imagined to be jiva or empirical self by ignorant people. 74. On account of powerful avidya, the self appears to be manifold. But infact, Sankara, writes, "the self is not to be known" as manifold, qualitied by the universe of effects. You are rather to dissolve by the true know. ledge, the universe of effects, which is the mere product of nescience and to know that one self which is the general abode, as uniform. 75 Common error like seeing snake in place of a rope, silver in a place of shell, etc., can be set right by proper observation and examination. But to remove metaphysical error like superimposition of world on Brahman, one has to go through rigorous spiritual descipline.76 After going through very hard descipline one can aquire the higher knowledge of Brahman which consigns the world to a lower order. The superimposition of world on Brahman which is beyond specio--temporal, causeless, non--perceptible, is like superimposition of colour, shape, dirtiness on the sky, which has For Personal & Private Use Only

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Degrees of Reality in Jainism, Buddhism and Vedanta 205 neither shape nor colour. It is not always necessary that superimposition should take place on objects in time and space. 77 At paramarthika level, Sankara denies any activity to Atman, since activity by its nature is noo-eternal The Self can not be abode of any action, since action cannot exist without modifying that in which it abides. Acti. vity and enjoymeot are dependeat on dualistic vision, wbich is not the highest truth 78 Paramartha is the state which is free from all empirical activities. 79 Paramartha is pure consciousness, self-luminous which transcends subject -object duality. At this level of experience, ordinary knowledge is transformed into intuition. At this level, there is no differentiaton of kaower, knowledge and known. At empirical level, there is distinction bet. ween knower, koowledge and the known, 80 while the real transcendental state is free from all these distinctions. 81 This state is nothing but ineffeble experience, beyond thought, speech and differentiation. It is pure consciou. sness bereft of all content. 8 2 The dualism of subject and object disappe. ars and there is only the mysticalunion, with Brahman. This state transcends all the categories of intellect It is essentially indescribable for all descriptions and all categories fail to grasp it fully. 83 It is direct perception (Saksat. kara), which is manifested when the avidya is destroyed and the individual realises oneness of Atman. It is also called state of perfect knowledge, 8 4 and perfect intuition. 8 5 This is the state of ultir ate reality which seers experience in the sta'e of Nirvikalpa samadhi. It is oothing but a state of Turiyavastha-fourth state, which transcends three states of waking, dreaming and drearless sleep. 86 It is non-dual pure-self. This bighest state (para. marthika) is state of liberation. Sankara writes, "that entity, in the absol. ute seose real, highest of all, eternal, all pervading like the ether, exempt from all changes, all sufficing, undivided, whose nature is to be its own light, in which neither good nor evil has any place, por effect, nor past, nor present, nor future-this corporeal entity is called liberation. 8 7 It is very clear that, Sankara's conception of orders of reality is based on the difference in the grades of our experience. It is a well-koown fact that what appears to be real at lower level, becomes unreal when we come across higher kind of experience. The unreality of the effects of the illus. ory stand-point is realised when we attain empirical standpoint. Similarly, the upreality of the empirical standpoint can be realised oply atta. ining absolute standpoint. He wanted to show that, the real import of the Upanisads is the knowledge of the highest non-dual Brahman. The world is mere name and form.88 The reference to difference in the Upanisads is For Personal & Private Use Only

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206 Y. S. Shastri just concession to our empirical modes of thinking. The recognition of the three kinds of realities, however, should not be regarded as contradic tory or incompatible with the non-dualistic doctrine of Advaita system. Really speaking these three kinds of realities are not degrees of reality, independent of one another. There is no place for two or more permanent realities in the non-dualistic system. These distinctions are also adopted to teach common man. Ultimately, pratibhasika and vyavaharika realties. discarded in favour of paramarthika-the non-dual absolute. It is important to note that Sankara differs from Vijnanavada Buddhists who have also accepted three kinds of orders of realities For Vijna. navadins, especially, for Asanga, there are two aspects of Reality; one is ab solutely real (Parinispanna) and the other is defiled aspect of the same reality (i.c. paratantra). This absolute is affected by illusion. Pure consciousness appears as the manifold world of phenomena. It cannot remain indifferent to its appearances. It is involved in phenomena. The paramar. tha which is the pure aspeet of the real is defiled and appears in the form of subject-object duality and as the manifold world of phenomena This defiled. aspect is empirical (paratantra). When it is purified it becomes paramar tha. In the Advaita of Sankara, there are no pure or impure aspects of reality. Absolute is never defiled, it is always pure. The absolute conscio usness is un-defiled and unaffected by all types of illusion. It remains in different (Kajastha) to all kinds of appearances superimposed on it. It is the basis of illusion but itself is not affected by it. Vyavahara is not defiled aspect of the reality. It is ontologically less real than the ultimate reality. purification of vyavahara is not attaining paramartha Transcending, going beyond vyavahara we will realize this state of pure conscious ness. We have already seen that the same current of thought flows in all these systems. The description of nature of paramartha satya is common to all-from Uanisadic philosophy to Advaita Vedanta. The para- vidya er bigher transcendental knowledge is equated with the pure self luminous, ind. escribable Atman or Brahman, in the Upanisads. It is beyond the grasp of words and intellect.90 Atman is devoid of sound, touch, form and it is undecaying, devoid of taste colour etc.91 Mundaka Upanisad clearly states that transcendental knowledge is that by which the immortal Brahman is known. Transcendental knowledge is that by which one attains immortality. The same idea is developed by Kundakundacarya, Nagarjuna, Asang, Vasubandhu and Advaita Vedantins. Kundakunda's paramartha For Personal & Private Use Only

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Degrees of Reality in Jainism, Buddhism and Vedinta 27 view point is related to the supreme self which tsanscends limitatons of empirical life. His description of paramartha or transcer dental stand-point is the same as para vidya of th: Upanisads, He, like the Upanisadic sages, equates paramartha with the supreme Atman ia which there is no colour, no smell, no taste, no touch, no visible form, no body, neither desire per aversion, por karmic matter, no ego-consciousness. In the pure soul there is ceither activity nor bopdage.94 Nagarjuna describes param-ortha satya as that which can only be directly realised, that which is quiescent, inexpressible; that which is non-discursive, and non-dual.95 For Asanga.; param rtha satja is a state of liberation in which all suffering and imagiration" cease to exist and it is peaceful. It is non-dual, indescribable and non- determinate. pure consciousness.96 Vasubandhu describes, pramartha-Sutya as pure, un defiled existence, beyond finise thoughts, good, eternal. blissful and liberation itself.97 For Sankara, Absolute Brahman is paramartha satya, which is one without a second. This is a state of liberation, where there is no difference between individual self and Brahman. It is attributeless, beyond the categories of intellect, non-contradictable, stable, immutable, eternal, pure, ever free and of the nature of Existenee, Consciousness aod Bliss 98 Secondly, in the Upanisad, this world is treated as real so long as one is in the grip of ignorance and has not realised the ultimate Reality. When it declares that Brahman is the truth of truths,99 eternal among the eterpals, consciousness of the conscious beings, 100 it means that Atman or Brahman belongs to an order of reality higher than that of the world which is also real in so far as it is presented to our senses. In other words, Atman and the world belong to two different orders of reality. Atman to the higher and the world to the lower. The import of the Upanisadic statements is that, this world of diversity and change is not ultimately real, though real for practical purposes. Actually speaking, there is only one reality, Brabman, there is no plurality, whatsover and one who sees diversity and change as real, goes from death to death.108 Kundakuoda also holds that empirical level is real for those who are not able to reach this highest transcendental state. Once this highest mystical state is attained, this vyavaha'ra is discarded automatically. Similarly, for Nargarjuna, Asanga, Vasubandhu and Sankara, this world is real for all practical purpose. Thirdly. Upanisads teach us that, the higher level can be reached only through the lower order. We cannot reach bigher level without touching the lower ladder. We have to reach par vidya through apara. 10 Ananda through mitter 104 It means without realization of unreality of empirical standpoint, no-transcendental level is attainable. The same idea is deve loped by Kundakunda, Madhyamikas, Vijnanavadins and Advaita vedao. tins. Though all these philosophers have emphasized the realization of For Personal & Private Use Only

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208 Y. S. Shastri ultimate reality, they have not ignored the importance of phenomenal truth, equally they have emphasized the realizing the unreality of this phenomenal aspect. This empirical truth is not real in the ultimate analysis, but plays a very important role in our everyday experiences. The experiences of worldly objects are upreal, ultimately, but they need to be realized as such. In waking stats only we realize that dreams are unreal or illusory. In the same manner to realize the transcendental truth (paramartha) there is no other way except realizing unreality of phenomenal truth, phenomenal truth is also called truth, because it is taken as truth by common people There is only one truth that is paramartha. This distinction between pheaomegal and transcendental is made by the intellect itself. Truth is beyond intellect. So, ultimately this distinction is also not real. But as long as we are in ignorance, this disticction is real, we cannot question the empirical level or truth. The ordinary man, engrossed in worldly matters, does not understand the height of transcendental truth. Thus, it is necessary to adopt vyavaharika point in communicating transcendental truth to ordinary people. Kundakunda rightly pointed out that just as a non-Aryan cannot be made to understand anything except through the medium of his non-Aryan language, Similarly knowledge of the Absolute cannot be communicated to the mundane people except through vyavahara, 106 The same idea is beautifully illustrated by Amrta candra by saying that, 'small children who have not yet learnt to walk require helping hands of parents or elders. But when they have grown up and learnt to walk no longer need helping hand of others. Similarly, a person who remains on the empirical level, needs, empirical standpoint, but when he has arisen higher to the transcendental level, he sees every. thing as manifestation of consciousness and realizes nothing except pureconsciousness, 106 Even Nagarjuna and Asanga declare that without empirical truth, paramartha cannot be taught. 107 Sankara admits that the lower knowledge or empirical truth leads us eventually to the higher wisdom. He says that this scriptural account of creation admitted by Avid ya .. has, for its highest aim, the teachings that Brahman is the true self This must not be forgotten.'108 Realization of unreality of ei pirical world leads us to realization of highest truth. Vyavahara is true until awakening occurs. 106 One has to transcend this vyavahara level. Again these religo- philosophical thinkers, like Upanisadic seers, have emphasized the importance of intuitive experience of ultimate reality which needs rigorous self-discipline. It is clear that all these great thinkers have accepted these two types of distinctions. But they differ widely in certein respects. Kundakundi's distinction is applicable to only supreme self and empirical self. He believes in pluralty of souls which are reals. Acco. For Personal & Private Use Only

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Degrees of Reality in Jainism, Buddhism and Vedanta 209 rding to him,materiai and non-material objects of the world have their own independent existence. World is not dismissed as unreal entity. Six substances are regarded as perman'nt entities. Mabasanists believe that there is no difference between phenomenal and noumenal, 116 the universe viewed as a whole is the Absolute, viewed as a process it is the pheno. menol world. 111 According to Sankara the world is not real ultimately, (but real for all practical purposes), it has no independent existence of its own. For realized soul the world does not exist. Sankara is an advocate of non-dualism. For him self is non-dual and ultimately there is no difference between Jiva and Brahman. It is important to note that some scholars have pointed out that Sankara has copied the conception of Vyavaharika and paramarthika orders of reality from Buddhism. Some others think that Sankara took suggestion from the earlier-Jain thinkers, especially from Kundak unda. But our observation clearly proves that, this conception of transcendental and empirical, lower and higher, is common to Upanisadic thought, Jainism, Buddhism and Advaita Vedanta. At the present state of our knowledge, instead of saying that Sankara has copied it either from Buddhism or Jainism, it would be more appropriate to say that this idea is common to Vedantic and non-Vedantic schools of thougbt. ABBREVIATIONS (Used in the Notes Bph. Up. = Bphadaranyaka Upanisat Cha. Up. = Chandogya Upadisat Is, Up. - Isavasyopanisat Kath. Up- Kathopanisat MK. - Madhyamikakarika M. S. A - Mahayanasutralankara S. B. - Sankarabhasya (Brahmasutra). S.S. - Samayasara Tait. Up.- Taittiriya Upanisat T. M. S, - Trimsika FOOT-NOTES 1. Socrates's the World and form, Plato's the sense and the idea, Aristotle's the matter and the Mover, the modes and substance Sambodhi XI-27 For Personal & Private Use Only

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210 Y S. Shastri 5 6. of Spinoza, the Phenomenal and Noumenal of Kant, the illusion and the Absolute of Hegel; Appearance and Reality of Bradley's, stand far these two distinctions.-C.itical survey of Indian Philo. sopby, Page. 59 Kath. Up, II, 1-2 Mundaka-I-IV-5. Dvevava Brahmano rupemurtancaivamurtancaBsh. Up. III-11-1. Bph Up. III-II-6 Nityonityanam-kath-up. V-13. Isavasya-15. Bhagavatisutra -18-6-630. Logavvavaharaparo, Vavaharo bhanai kala obhamaro. Paramatthaparo bhani nicchaio pancavahnotti - Visesavasyakabhasya-gatba-3589. Uttaradhyayana sutra-Adhyayana-33. But these Agamas are not accepted by the Digambara community. Samayasara-2, 7, 8, 27. Pravacapasara-II-2. and also Niyam ara-18, 49, 55, 76, 158. Juvah carita-darsana-Jra nasthitah tamhi Svasamayam janihi. Pudgala Karmopadesasthitam ca tam japihi parasamayam-s. s.-2. 10. 11. 13. 14. Vyavaharanayo bhasate jivodehasca bhavati khalu ekah Ni tu niscayasya jivodehasca kadapyekarthah-S. S. 27. Yah Pasyati atmanam, abaddhasprstam ananyakam ni yatam. Avise, samasamyuktam tam Suddhanayam Vijanihi-S S, 14 15. 16. Vyavaharo abhutartho bhutartho desitastu fuddhana yah. s. s. 11. 17. Vyavaharena-tvete jivasya bhavanti varnadyah. Gunasthananta bhava natu kecinniscayanayasya-s. s. 56 and 60. 18 Vyavaharasya tvatma pudgalakarma karoti anekavidham. Taccaiva Punarvedayate pudgalakarmanekavidham.--S.. 84 Jive Karma baddham, sprstm ceti vyavaharana yena bharitam. Suddhanayasya tu jive abaddhasprstam bhavati Karma-s s. 141. 20. S, S. 50-54. For Personal & Private Use Only

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Degrees of Reality in Jainism, Buddhism and Vedanta 211 21. Vyavakarenopudisyate jnadinascaritram darsanam jnanam. Napi jnanam nacaritraro pa dasacam jnayakah suddhah-S. S. 70 22 Paramarthatah subbasubhopayogayoh prthaktva vyavastha nava. tisthate-pravacanasia-1-72. Com. and Na Khalu paramarthatah punyapapadvaitamavatisthate. Ibid 1-77, Com. See also S. S. 143-146. 23. S. S. 142-144. 24. Ibid-15. 25. Udayati na nayasrirastameti pranranam kvacida pica na vidmo yati piksepacakram. Kimaparamabhidadbmo dhambi sarvab kase. smin, anubhavamupaate bhati na dvaita meva-s.S. 13 com. 26. Vikalpajalacyutasan'a cittah taeva saksat amatam pibanti; ya evamuktva nayapaksapatam svarupaguplanivasanti riyam, -S.S. 142-Com. 27. muktva niscayartbam vyavahare na vidva sah. pravartante S. S. 156. 28. S. S. 414. 29. Vyavaharo abhutartho bhutartho desitastu Sud thanayah-Ibid-11. 30. Samadhirajiantra 75 31. Kathavastu-P.33-38 32. Dve Satye Samupasritya buddhanam dharmadesana Lokasamvsti sat yam ca satyam ca paramarthtah-Madhyamika Karika XXIV-8. 33. Ye anayornavijanerti Viblazam Saiyayordvaych. Te tattvam na vijavanti ga r bhiram buddhasasare. M. K. XXIV-9. Aparapratyayam saotam prapancairaprapancitam. Nirvikalpama. nadartham etat (attvasyalaks nam. M. K. XVIII-9. Madhyamikarikavitti of candrakirti; See also Bodhicaryava'ara of Saotideva. Laksanam Samvitisatyalak sanam paramartha satya laksan mca-Mah. ayanasutralankara-X1-3-Com. Tattvam Samchodya balanam atattvam khyati sarvatah --M. S. A, XIX 53. 38. Mabayanasutralanakara-VI-1. 39. Tattvamyat Satatam dvayenarahitam, bhrantesca sannissra yah. sakjam naiva ca sarvuthubhilapitum yaccaprapancatmakam - MSA, XI-13. Asatkal panimittam hi Parikalpitatalaksunam-M S. A XI-39. 40. For Personal & Private Use Only

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Y s. Shastri 41. Parikalpita svabhavah atyantamasattvut-M. S. A. XI-13 Com. 42. Grahyagrahaka Laksanah-M. S. A. XI-40. 43. Anabhilapyam aprapancatmakam ca parinispanna svabhavah, M.S A XI--13 Com 44. Abhavabhavatayaca bhavabhava samanata. Afanta santkaalpaca parinispanna laksanam-M. S. A. XI-4). 45. Na Khalu jagati tasmad Vidyate kinci danyai..Sat Samantad Vihaya-MS A. XI-14. Vikalpopasamarthah santarthah parinispanna Laksanam -M. S. A. XVIII 81, Com. 47. Lankavatarasutra-Suzuki P. 56, 67, 222, 229. 48. Buddhist Logic-Stcherbatsky, Vol. I, p. 32. 49. Yeni yena vikalpeda yad yad vastu vikalpy ate parikalpita evasau svabhavo nasa vidyate.-Trimsika-20 50. Paratantrasvabhavastu vikalpah pratyayodbhavah--T. M. S. 21. 51. ibid 2152. Sa eva anasravodhatub acintyah kusalo dhruvah. Sukbo vimukti kay Osau dharmakhyoyam mahamuneh-T. M. S. 30. 53. Sankara Bhas; a-II II-28. 54, S. B 11-1-14 55. Na ca yo yasya svato dharmo na Sambhavati so anyasya sadharmy. at tasya sambhavisyati; na agnini usnah anubhuyamanodakasadharm yat Sitobha visyati-S. B. II-II-29. 56. Prakcatmaikatvavagateh avyahatah sarvah satyanTta Vyavaharo lauk. iko vaidikascetyavocama. S. B. II-I-14. Tavad Satyam Jagadbhati fuktika rajatam yatha. Yavannajnayate bra. hma sarvadhisthanamadvayam - Atmabodba-7 Advaita Vedanta p. 166-167. M. V. Ayer. 58. 59. Anubhutopy ayam loko Vyavaharak sanopi San. A sadrupo yatha svapnah uttaraksanabadhatah-Aparoksanubhuti-verse 56. Nahi vijnatuh vi jnate viparilopo vidyate-S. B. 60. 61. Yadyapi svapnadarsanavasthasya sarpadamsanodakasnanadikaryam anstam; tathapi tadavagatih satyameva phalam, pratibuddhasyap yabadhyamanatvat-S. B II-I-14. 62 Ekatvamevaikam paramarthikam...mithyajnanavijrmbhitam ca nanatvam-S. B. II-I-14. For Personal & Private Use Only

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Degrees of Reality in Jainism, Buddhism and Vedanta 213 63. Eko hi pratyagatma bhavati. Nadvou Pratyagatmanau Sambhavatah S. B. I-01. 20. 64. Sat cit-anandam Brahma. Atma Sarvas ya atma. 66. Atma Ca Brahma S.B. I-I-I, 67. Ajnanan mansopadheh kartytvadini catmani. Kalpyantembugate candre calanadi Yathambhasah. Atmabodha-22. 68. Yatha prakasa Kasa SavitTprabhitayah anguli-karakodaka prabhitisu karmasu upadhibhutesu savisesa iva avabhasante, na ca svabhavikima visesatmatam jahati evamupadhinimitta evayamatmabhedah svatastu ekatmyameva.-S.B. III II-25. 69. S. B. 111-11-25. 70. Eka eva paramesvarah kutasthanityo vijnanadhaturavidyaya mayaya mayavivad anekadha vibhavyate nanyo vijnanadhaturastiti S. B. I-II-19 71. Amabodha-22 72. Atma Ca Brahma. S. B. I-1--1 73. S. B. on Bph. Up, VI-4-6 74, S, B. I-11-6 75. Na Karyaprapanca visisto vicitra atma vijneyah, Kim tarhi, avidyakstam karyaprapancam vidyaya pravilapayantah tam evaikam ayatanabhutam atmanam janatha ekarasamiti-S. B. 1-111-5 76. S. B. 1-1-4 77. Na cayamasti niyamah purovasthita eva visaye visayantaramadhyavasi tavyamiti-S B. I. I. introduction 78. S. B. Brh Up. IV-1-15, S. B. 11-111-40 79. Paramarthavasthayam Sarvavyavaharabhavam vadanti vedantah sarve S. B. II-1-14 80. Avidya-kalpitam vedya veditu vedanabhedam S. B. I. I. 4. 81. Nahitatra pramanaprameyabhedah sakyate kalpa yutum S. B. On Gau dapadakarika-IV-67. 82. Prakstivikstibhinno suddhabodhassvabhavah Sada sadidamasesam bhasayan nirvisesah-Vivekacuda nani-137 83. Naiva vaca na manasanu caksusa nanyairapi indriyaih praptum sak yate S. B. on katc-VI-12 84. Samyagjnanadssam ekatvam-S. B. I. II. 8 85. Paramatmuivayam Samyagdarsanavisayabhutah S. B. I. II. 13 For Personal & Private Use Only

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214 Y. S. Shastri 86 Avastha trayatitamadvaitamekam Param brahma nityam tadaivahamasmi Svarupanusandhanasaiaka-5 and see also Upadesasaha Sri-40 87. Idan tu paramarthikam kutasthanityam vyomavad sarvav japi sarva ikri Jarahitam nityatrptam niravayavam, svayam jyotissvabhavam yatra dharmadharmau saha karyena kalatiayam canopavartete tad etat asari ratvam moksakhyam --S. B. 1-1-4. 88. Vacarambhanam namadheyam mittiketyevasatyam --Ch. Up. VI. 1.4. 89. Na catrobhavapi bheda bhedau srutistulyavad vyapadisati Abhedamevu hi pratipadyatvenan nirdisati -S. B. III. II. 29. 90. Katha-VI-12. 91. Katha-111-15. amstamasnute 92. Atha para ya tadak sarumadhigam yate-Mund. Up. 1-5. Vimukto amrto Bhavati-Mund. Up. III-9; Vidyaya Isa. Up. 16 and Kath. Up V1-8. 94. S. S. 142-144. 95. Madhyamik akarika.-XVIII-9. 96. M. S. A. XI-13. 97. T. M. S-30. 98. S. B. I-1-4. 99. Satyasya Satyam.-Bsh. Up. III-11-6. 100. Cetanascetananam-Kath. Up. II-V-13. 101. Advaita vedanta. P-13. 102. Mrtyoh Sa Mrtyum Gacchati ya idam naneva pasyai. Kath. Up. 103. Mund. Up, 1-5. 104. Annamayam, pranama yain, manoma yam, vijnanamayam, Anandama. yan-Taitt. Up.-II-V-2-6, 8-9. Tatha vya 905. Yatha na sakyo anaryo anaryabhasam vina tu-grahayitum vaharena vina paramarthopade sanam asakyam -S S.-8. 106. Vya: aharanayah syad yadyapi prak padavyamiha nihitapadanam hanta hastavalambah tadapi para sartham cit camatkaramatram, paravirah imantah pasyatain nai kincit-S. S.-13-Cum. For Personal & Private Use Only

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Degrees of Reality in Jainism, Buildhism and Vedanta 215 107. Vyavaharamanascitya paramartho na desyate-M. K. XXIV-10. 108. Deussen-System of Vedanta-p-106. arvo laukiko 109. Tasmat Prag brahmatmata pratibodhadupapanoah vaidikasca vyavaharah-S. B. II-I-14, 110. Na Samsarasya pirvanadastik ncit visesanam. Na n rva asya sanara. dasti kincidvisesanam.-M. K. XXV-19. 111. Ya ajavam ja vibhava upadayapratitya va. so prailtya anupada a nirvanam upadesyate.-M. K XXII-9. REFERENCE BOOKS 1. Advaita Vedanta - M. K. Venkatarama Iyer, Ist. edition, pub. Asia publishing House, 1967 2. Awakening of Paith-T, Richard, ed. A. H. Walton, London, 1951 3. Awakening of Faith - D. T. Suzuki, Chicago. 1900 4. Brahmasutrasankarabbasya - Mahadev Shastri Bakre, Nirnaya Sagara Press, Bombay. 1909 5. Central philosopby of Buddhism-T. R. V, Murti. George Allen and Unwin, 1950 6. Critical Survey of Indian philosophy C. D. Sharma; pub. Motilal Banarasidass, 1976, 7. Isadi astottara satopanisad - ed. pt. Vasudeva Sharma panasikar, Nirnayasagar press, 1917 8. Katha Vastu-ed. Bhikhu J. Kashyap; Pub. Palipublication Board, 1961. 9. Lan Kavatarasutra-D.T. Suzuki, London, 1959. 10. Madhyamikakarika-Ed. P. L. Vaidya, Mithila Institute, Darbhanga, 1960. 11, Mabayana Buddhism-N. Datta, Motilal Banarasi Dass, 1977. 12. Mahayapasutralankara-S. Bagchi, Mithila Institute, Darbhanga, 1970. 13. Pravacanasara-Ed. A. N. Upadhya Pub. Paramasruta Prabhavak Mandal, Bombay, 1939. 14. Samaysara-C. Cakravarti, Bharatiya Joanapeeth, Kasi, 1960. For Personal & Private Use Only

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215 Y. S. Shastri 15. Systems of Vedanta : Deussen Paul. Pub : The Open Court Publisbing Co, Chicago, U. S. A. 1919. 16. Vijnaptimatratasiddhi-Svami Mahesvarananda, Pub. Gitadbarma Karyalaya, Varanasi, 1962. 17. Works of Sankara-Vols-I-XVIIT; Pub; Vani Vilas Press, Srirangam. For Personal & Private Use Only

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OBSERVATIONS ON SOME VARIANTS IN HARSACARITA Satya Vrat Like most ancient texts of worth, the Harsacarita of Bana has paid a navy price for its popularity in the tinkering it bas uodergone at the bands of its wide readership and an equally vast band of copyists. The well-eqipped scholars were keenly eager to foist their views in respect of i he arrangement of the text and in suggesting substitutes to Bana's ori. ginals or what was handed down to them as such. The scribes, on the other hand, smuggly incorporated these alternatives in the text, occasiopaly coining their own and relegating them to marginal notes, which, in course of time, melted into the text and elbowed out the original or other wise superior readings. This twin tendency, with the passage of time, bas resulted in giving rige to a formidable array of variants in the text of Harsacarita (Hc), with the scribes admitting what they thought best, according to their lights. While, with personal predilections frequently protruding in the discussion, it may not always be possible to strike Bana's original readings, a thread bare evaluation of the crop of variants is bound to be rewarding. This is what is meant to be attempted here. : The description of Sarasvati in chapter one, who, on the threshold of youth, had io suffer an outrageous imprecation for her impulsive behaviour to the irascible sage, Durvasas, is jotended to bring in releif, her physical charms. Her legs therein have been postulated as two finely chiselled columtis of the portal of a town, which, in different Mss, bas been assigned to Dharma and Cupid, alternatively. P. V. Kane has adopted the reading madananagaratoraNadvAravibhramaM bibhrANA jaMghAdvitIyam (P. 3)1, but he seems to prefer the variant gaat , which precisely is what is presenetd in the Bombay edition of Hc. (P. 8).2 The reading warraculo, opines Kane, would make Sarasvati the support of Dharna and thus merits preferences3 Sarasvati is surely the bastion and herself an embodiment of rightiousness. 1. Harsacarita, edited with text and notes, Delhi, 1973 Harsacarita, edited with the commentary Sanketa, by K.P. Parab. Nirnaya Sagar Press, Bombay, 1946, 3. Notes, Part I. P. 20-21. Sambodhi XI-28 For Personal & Private Use Only

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218 Satya Vrat However, Bana has saught to make the present description a replica of her youthful beauties. It is the well-proportioned delicacy and smoothness of Sarasvati's legs that he seems to highlight in the epithet. These phy. sical virtues would surely be heightened by a comparison of her legs with the pillars of the gate to the Cupid's domain. That well-proportioned legs and thighs serve to inflame passion, is a trite fact. And, as apprehended by Kane, no inelegance is involved in Haaracuo, particularly when it is remembered that the goddess of learning falls victim to Dadhica, soon afterwards. The effect of the epithet is indoubtedly enhanced if Sarasvati's legs are taken to excite love. The variant naar to, thus seems to be more suited to the situation. The eastern quarter with tender rays of the moon peeping out the refrom, has been compared, in the description of moon-rise, in the same chapter, with a sandy islet of the river Yamuna. The first rays of the moon had pierced through the incipient darkness which resulted in a sort of intermingling of darkness with the moon-shine. The phenomenon has been imaginatively compared to a saudy spot that had just sprung on the bank of the river but retained a modicum of blackish water, a characte. ristic of Yamuna. The phrase 391571aatentarife-elecalc#gfarzaa. found in Cestani Mss. to express the situation, is tarnished by tautology, censured by poeticians as a blemish. With pulina itsolf denoting "a sandy spot' 913#1 before gisargata is obviously redundaat. What is intended to be conveyed by a jumble of vocables can be effectively denoted by fearaia itself. A poet of Bana's eminence can hardly be expected to relish such oddities. It would therefore be better to discard it in favour of bAlapulinAyamAne, adopted in the Bombay edition (P. 15) bAlapulina means 'a sandy spot just raised out of water'. Such an islet, with its white sand and remnanents of dark water, would serve as a fitting conciet to be exploited for driving home the natural phenomenon, at the evening twilight. While cheering up Sarasvati in h:r predicament following Durvasa's curse, Savitri, her friend, advises her, among other things, to resign her. self to Lord Siva who was sure to relieve the misery of her sojourn on the earth. One of the many attributes applied to the lord is giari 5 a: Naz (2. 17). 59:512827 is a quaint compound, unworthy of a master of prose. Not only is it an unusual combination, at infringes upon simple rules of grammar as well. It may be strained to mean 'future is constant happiness'. Fron Bana's style it would be legitimate to infer that For Personal & Private Use Only

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Observations on some Variants in Harsacarita 219 he wrote az qal Far , repeating gari used in the preceding adjective nafaarfan that results in a yamaka, so dear to Bana. With art restored, the relevant part of the sentence would read : Halifagiai gali Fan .......5719 , meaning for your welfare, resort to Lord Sankara, who is the author of all lores and supports all on the earth." In a casual reference to day-break, the redness of the morning sun is fancied to have been caused by the blood, dripping from the mouths of its horses, that are believed, in mythology, to be seven in number. The expression used in the Bombay edition- khaNakhaNAyamAnaskhalakhalInakSatanijatuMragamakhafarda qasta geroago (p. 13)--runs counter to what is intended to be conveyed here. How a loose (DST) bit can cause deep injury leading to profuse bleeding, is beyond comprehension ? Obviously, the reading a o is out of joint here, admitted and perpetuated in the text without proper understanding of the purpose it seeks to serve. It is interesti find some of the MSS. read O o o in place of . Feat. And it has actually been adopted by Kane in his edition of the text (p. 7). The graphic depiction of the Ganges in the first chapter, is characterised by a series of clauses, with frequent allusices to mythological asrects of the sacred river. The epithet 'tApasavitIrNataralatilodakapulakitapulinAmU' underscores ite association with the ascetics who, doam inteit down to this day. The hrage, as it stands, is shorn of pricision, if not comprehension. In is present form it would mean :its sandy banks bristled with tarala sesame and water, offered by the hermits. It is difficult to understand the signi ficance of tarala in the context. While water is doubtless liquid, to apply it to sesa me is absurd. It has been wisely rejected in favour of fact which IR certainly more in tune with fait. But faalut itself is confronted with the variant fa hlot, in the Bombay edition Though both the alternatives suit the context, fa stof, we think, has an edge over fastof. The dank would bristle with water and Sesame more, if they are scattered (tral on its vast expanse and not merely offereb (afatot) at a few separa places. In view of its sanctity and elevating efficacy the Ganges is conceived subsequently in the description as being instrumental in Saving one from the agonies of the hell. While the reading arta UE, adop. ted in the Bombay edition (p. 19), implies exactly the same, poetically it sounds somewhat bald. Bana's fancy could not be expected to have sto with the protesque cantaina. P. V. Kane, iberefore, rightly prefer For Personal & Private Use Only

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220 Satya Vrat Garafaa ( CITET (p. 8), encountered in a set of codices. The pearllike perspicuity of the stream of the Ganges would justify comparison with a long and white object To Bnaas. 'fertile in agitation it was 'n ivory-bar (arba) meant to secure the gate of hell.' The graphic account of the youthful Dadbica in cbapter one, which is meant to highlight his figure in its entirety with all physical vertues and mental equipment, is noted for the exiberance of epithets. One of the longish clauses describes him as bringing down to the earth, the spring together with the celestial garden, with his mouth emetting the per fume peculiar to certain trees and herbs, and resounding with the bum of bues. Tae reading 398184-24 in sigilat ... SATIC ancha qara TL 9-14, shared by the Binay edition (p22) with some Mss, is takes 5 sono d i cio is end of the original, supposedly preserved in the variant 2497. As is well-khon, the use of words like vAnta, udagIrNa and niSThayata in their prinary sense, has been frowned upon by poeticians as being against good tasto (9177) The copvists thinking that a was so used here, changed it to 31131917. It seems to be an unwa rranted presumption. The scribes could not have been so naive as not to fathom the intended sense. However, even if 99 is used here in its giurative sense, the reading 3770114 siggests a sease which is decidely supeior to that of cruder vamantam The succint portrayl of the cssanger,w who delivers Kisna's message to Bana, is marked by realism. The phrase 985eqzeazzafianzafy (p. 52) represents an aspect of his dress. The reading, retained in the Bombay edition, means that the messanger has round his throat a portion of a ragged garment, and the rest was allowed to hang on his back. Looking to the vast array of drusses detailed by Bana in the Hc, it may be taken to have been the practice to wrap a piece of cloth round the neck, with a part thereof rolling on the back, much in the fashion of the present day muffler. But it is difficult to understand why it should be worn in the oppressive heat of Jyestha when the messanger is said to have undertaken the arduous journey. If worn at all, it must have been extremely inconveoient. However, it would be unkind to presume that the messanger bad inflicted on himself such ao unwarranted torture. Surely, there is something wrong with the text itself. ogitarfsagt , the reading preserved in quite a few Mss. not only obviates the aforesaid oddity, it has undoubted merit to commend itself, supported by practice as it is. For Personal & Private Use Only

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Observations on some Variants in Harsacarita with fansafe, the clause yields the sense that seems to have been originally meant here. The messanger had a loose knot made of strip of ragged cloth, rolling on his back. It was loose by long travel. As observed by P. V. Kane, the knot probably contained some coins. It actually was the practice with humble servants and messangers to carry coins in a knot on the back, in the Kuruksetra region, till recently. t Though smitten by serious misgivings, Bana sets out to meet the emperor, having full faith in his tutelary deity, Lord Sankara. Some of the epithets used for Siva are open to question. bhagavAn bhavAnIpatibhuvanapatirgatasya me , 8<< rafa (p. 56) appears to be a motley of ill-conceived words, unworthy of a poet of the calibre of Bana. The expression q, though alliterative, does not bring out the competence of the lord to bail his devotees out of difficulties. The epithet a rather highlights his love and solicitude for his spouse alone. And why should. it be presumed that the lord would shower his blessings on Bana only after he had reached Harsa's camp. His grace is unbounded, free from barriers of time and clime. Tae reading should therefore be dropped in favour of what is met in other Mss- bhagavAnpurArAtibhuvanagururgatasya me sAmpratamAafifa, He who had destroyed the three legendary cities and was master. of the univese, was surely competent to protect his devotees and bestow happiness on them. Bana was convinced that the lord would smoothen everything, when he comes, face to face with the emperor. 221 'apraNamadbhirgiribhiravidUyamAnaM zauryogmaNA (p. 71), that forms past of the stirring description of Harsa intended to project his multifacet personality, unfolds one of its aspects. He was so imbued with valour and bauteur that he could not endure that even mountains should remain stiff before him. Heat causes distress. Harsa would also undergo affliction because of the heat of his prowess if anybody, howsower high and powerful he might have been, didnot pay obeisance to him. He expected submission of all. This is as it should be. The reading affae gani, dUyamAnaM, found in some Mss., makes nonsense of the idea, so elegantly expressed by the earlier phrase. means, besides mountain, a king (faufa qaqfa). It is the latter connotation that goes against its validity. If the kings. did not submit to the emperor, it would be a serious reflection on his prowess and military skill. A court-poet is not expected to imply such an aspersion to his sovereiga even obliquely. Bana, of all poets, could not have used a phrase with so dangerous implications. 4. Harsacarita (Hc.), Notes, Part-1 p. 107. For Personal & Private Use Only

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222 Satya Vrat A sentence that Bana uses to describe an aspect of Sudrsti's mien, who was one the many persons who had come to meet him, on his return to his native village Pritikutu, ruos as follows: 378 y radiation : (p. 85). It raises som: difficulty, tarnished as it is by a wee of inaccu. racy. Frequent betel-chewing impacts dark--redness to the lips. If Sudrsti had taken betel very often, his lips should have been tinged with a thick layer (avirala) of red colour. The redness could not have been slight (virala). Therefore either 3185 should be replaced by or to should be emended to 37 , P. V. Kane prefers the first course and additionally substitutes vimala for virala. While sakadupayuktatAmbUlAvinalAdha.kAntiH yields aper. fectly coherent sense, it does not appear to have bein Bana's ontginal expression. la view of the wide practice of chewing betel in Bihar, persistently prevalent to this day, it would be better to read 37845947alattia alitafa: Sudrsti's lips were deep ied due to his habit of che. wing betel frequently. Bana had an cuaion to allude to the naughty and dull students who performed the religious observances reluctantly and erratically. Thev probably had no regards for such rituals. galadgranthadaNDakodgAriNi sandhyAM hagrafa ofazagi? (p. 93) The naughty young ascetics were called by their teachers for evening prayers. Because of the lack of interest in the ceremony they skipped over certain parts of the prescribed texts or what their teachers pronounced for them to repeat (netra: 420E: 2791 141 garna). The old and wearied preceptors did not seem to notice their lapses or they simply ignored the pranks of their mi chevious pupils (Baag aarana). Now such indisciplined, rather rebellious, students could not be expected to listen to the evening prayer attentively (FETT Tha). Haarala, we feel, should be replaced by aszfa. It would mean that they treated the prayers with contempt. This is what they had actually been doing. The Siikantba janapada is credited to have sanctified the universe by its numerous merits accruing from vedic sacrifices, which even now occupy a pro ninent place in the cultural life of the region. The clause, as read in the Bombas edition --3719ta#17417T9 Hana 705afazaa: P.95). needs proper analysis. The gunas are poetically believed to be white in colour. The swans have white wings and her ce they (gunas) aru faucied to be swarms of swans. Th: exccution of varius sacrifices re ults into a plethora of virtues. So far so good. Wh le gunas are thus in accord with the For Personal & Private Use Only

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Observations on some Variants in Harsacarita sacrifices and swans, it is difficult to harmonize them with darkness. They emanate from the sacrifices and not from their smoke. This incompatibility with the adjectival phrase makes the reading : suspect. The alternative reading aro: (fire) seems to represent the original. The sacri. ficial fires bura under their smoke, that more often than not, does not assume the form of a column to put out the fire itself. The swans move in darkness resembling the smoke. Because of its pure effulgence the fire can be legitimately concieved as a swarm of swaas. Thus at: is in conformity with both anavaratakatughUmAndhakAramataiH and hasayUpaiH and as such has a better claim to recognition. With it, the clause would mean that the fires, blazing on the altars, under smoke, sanctified the universe as the swans whiten it even while the fly in darkness. The apparent virodha serves to heighten the poetic charm. The sentence, faganai 999191 3fq araa: qzi za gefitsfa fe fa quifa 1 faat :......(P. 106), forms part of the phraseology with which Acarya Bhairava greets Puspabhuti for his multiple qualities of head and heart. The aforesaid text as the Bomba, edition reads it, seems to be a jumble of words, caused by the intermingling of two separate clauses and omission of certain crucial parts thereof. It is almost void of meaning. To translate it as 'good people like chaste words, cause fame. even in a steadfast heart,' is like begging the interpretation. Evidently. the sentence suffers from erratic arrangement of the text, compounded by loss of a verb. P. V. Kane has rightly detected the lacuna and in reading vidvasaMmatA zrayamANA api mukhayanti sAdhavaH zabdA zva, sudhIre'pi hi manasi safe gar (P. 48) he seems to have hit the mark. Now, the yazAMsi kurvanti sentence admits of an interpretati:n that seems to have been originally. intended: Like words approved by learned grammarians, noble persons. esteemed by the elite, are a source of happiness to the people 5 And What Bhairava their fame dents into even an extremely firm heart'. means to say is that though I had not met you Puspabhuti) before, your very name inspired confidence in me and your fame had deeply impressed my heart.' A hole (vivara) cannot be easily made on a hard object. That Paspabhuti's fame opened a chasm in the heart of the Acarya bespeaks of the intensity of its impact.. The virodhabhasa enhances the poetic beauty further. 223 sauhArdasya bhAgyarUpaparamANusRSTiriva prajApateH (P. mother of Harga, is sought to be described. 5. Compare eka zabdaH samyagjJAtaH supayuktaH svarge loke ca kAmadhugbhavati / 122 ) is how Yasomati the This reading of the Bombay For Personal & Private Use Only

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224 Satya Vrat edition is marred by vagueness, born of corrupt phraseology. At best is would mean : 'She was the creation, as it were, of the atoms of the for. tunes of freindship'. What precisely is the import of this rendering may be best left to one's guess. age r o is probably a scribal error for saubhAgyaparamANusRSTiriva prajApateH, swelled out of ignorance of the exact con. notation of the expression. It has rightly been preferred by so competent an editor as P. V. Kane. The latter variant means : She was Brahma's creation of the atoms of beauty.' In order to understand the precise significance of the expression one would do well to remember that according to Vaisesika philosophy the world was produced from atoms (paramanus). By creating Yasomali, Brabma created a reserve of atoms of beauty. Whenever he wanted to create a lovely form, he could conveniently draw upon this store house. Thus Yasmat1 had relieved Brahma of the strenuous labour he otherwise had to undertake in creating each beautiful form afresh. of the two Malava-princes, who were commissoned by Prabhakaravardhana to wait upon his sons, Kunaragupta's humility has been underlined with a beautiful utpreksa. From his extreme modesty it appeared as if the bows had transferred to him iheir namrata in its entirety. fa&791 TitHaare ifdarna agal 91577677 (p. 139) is how the text runs in the Bombay edition. The obvious connotation is that the bows, afraid of being violently broken is their rings (in their crests) had presented, as a sort of tribute, their namrata to him. In so dissolving the compound, the adverb has to be connected with #1 ( ai fagar na pa: : 10 faiz). It is unusual, rather contrary to the norm, to apply separate words to a part of a compound. In view of this grammatical difficulty, the variant reading fac219.COHTO is much better. Even if it is presumed to be a conscious improvement, it does not detract from its merit. It expresses the intended serse with precision and lucidity and is one with the other reading in implying the prince's skill in archery. Were the bows to refuse submission to him, they would meet viclent end at his hands. The morning following the death of Prabhakaravardhana is pathe. tically described in the fifth chapter. It is a measure of the grief that had overtaken the people and conditioned their thinking that even the stars are fancied to be bits of the Ring's bones. In order to facilitate proper understanding of the situation the relevent part of the text is reproduced here. GOTH afraiff99feat faIRIA For Personal & Private Use Only

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Observations on some Variants in Harsacarita 225 altare (P. 171): when the stars, grey like the pick of a sparrow, that looked like the bits of the king's bones, were being ferried by the morning. The import of the expression seems to be that as the burnt up bones of the dead are collected ou the third or fourth day in the morning and are carried to holy rivers like the Ganges and are thrown in them, the stars dim in the morning twilight were ferried by the morning to the other side of the sky which looked like a vast lake. The reading s lag of some Mss. has rightly been preferred by Cowell and Thomas to #. Bones are first gathered and then placed in a jar to be carried for ceremonial immersion in lakes or rivers. This is the natural sequence of the ceremony. But if we take the reading in the text, we have first a reference to the carrying of the bones and then to the jars. It inveris the natural order and makes the bonafides of the reading # A1118 extremely doubtful. The phrase sudUraprasAritena saMkalpayanniva sarvaduHkhAni dIrpaNa dordaNDena gRhItvA kaNThe (P. 177), meant to express the poignancy of Rajyavardhana's anguish at the death of his father, hardly yields any sease. The prince could not have resolved upon sorrows with his arms even as he clasped his younger brother to b>>soin. This illogical interpretation is evidently the result of a hopeless reading. The variant artida, preserved in some codices, can be the only sensible reading in the context. Rajyavardhana, overwhelmed with grief as he was stretched out his arms to embrace Harsa. The poet fancies that in doing so he was grasping all the soi rows in the world. The narration of his father's illness and death, that would natu. rally follow his meeting with Harsa, was sure to exacerbate his grief. Simhanada's diatribe against Lakso i preceding his urging Harsa into action against the ruler of Gauda, is distinguished by a crisp dictum : feral falar 37-9a1az: 19EUR f ui: (P. 190). This is a strange way to run down the goddess of wealth. To say that the faults of Laksmi such as blindness are faults pertaining to the lotus, hardly cuts ice. Laksmi is not kaown to share with the lotus any such fault (andhata). We expect a better phraseology to yield a neat sense. This is what is found in feel fe a9-aa129: Figar far, the variant reading met with in a set of codices. The faults of Lakso i like 719FeaT, P:rtain to the lotuses. Laksmi dwells in lotus, therefore the faults of the lotuses stick to her and consequently she deceives other people. Fai impregnated with Jes Sambodhi XI-29 For Personal & Private Use Only

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226 Satya Vrat an apt paramnasia, is the most serious defect that afflicts her and the lotuses. The lotuscs close at night (191218 399a), Laksmi intoxicates people to the extent that tiey become blind to their errors (alag 3179a1 ) Again #1401 fall purports to be a double entendre. It means "the evil effects of jaundice'. A man suffering from jaundice (#1431) regards everything yellow and may not detect his error, or he may become 115777. Thus Faraz: conveys a beautiful idea and in accepting it as the original reading we go as far as season allows. Perhaps unable to understand its exact significance, the ill-equipped scribes broke the phrase into two, thereby impairing its beauty beyond redemption. of the many instances that Skandagupta, the officer ir charge of the royal elephants, cites to illustrate his thesis that overcredulousness on the part of the ruler spells disaster and as such caution should be his watchword, one pertaing to the king of Kasi suffers from an odd reading. HgAfaany facta: a l AET SIIG 3919 (P. 200) clearly shows that Suprabba used the cunning strategem in disposing of Kasiraja, with fried rice smeared with poison. Ayafaa in the compound can at best be stretched to mean that lajas were void of honey. They surely were, but this is patently absurd in the situation. One does not expect the poison to co-exist with honey. Aynfaa is certainly out of joint here. Ayarga preferred by Kane (P. 5I) is the most appropriate reading that can be substituted for the discredited madhumocita. madhumoditaM provides the convincing reason that brought about the end of the king of Kasi. He perished for his addiction to wine. JAFNT (P. 204) cccurs in a series of insista (1.ts that were cou. nded to herald the march of Harsa's army. Kunja has no place here since it is not the bower but some sort of war-instrument that we expect to accord with the spirit of the description The reading should therefore be rejected in favour of 15 as met with in some Mss and adopted by Kane (P. 34). Gunja means a 'trumpet'. According to the commentary it was a kind of conch that had its back covered/coated with lac 6 The well-known lexicon, Medini, on the other hand, takes it to mean "drum.'7 Unlike the Bombay edition, P. V. Kane Opts for farer afea in a long clause in the sa ne description : fracassanfon featurloSTahanyamAnameNThakriyamANAsannasAkSiNi makes the complate text The idea evidently 6 gujAsaMjJaH zaMkhabhedo yatpRSThe jatuparikalitaM bhavati / 7 7551 kraani azt a picaal 1 Medini. Also compare att 997 1951 yi'g: ligar | Bhatti kavya XIV-2. For Personal & Private Use Only

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Observations on some Variants in Harsacarita 227 is that the elephant-keepers were stoned by the people, offended by the pranks of their pranks in shaking their bumble cottages. This was enough provacation for the poor people to retaliate against the reckless behaviour of their elephants and the failure of the mabouts to control them. Though he adopts afco in the text, P. V. Kane seems to favour of a more. It is difficult to ascertain the merit area has in the context. If the cottages were altogether smashed by the elephants, there were few chances of their owners surviving the onslaught. qafoqaxafiyaafc$19.91457e1ae19a1afegira014: (P. 206) is one of the clauses that qualify the visesya Taf: (kings) who flocked to the royalpalace to join the expedition. The compound can be dissolved as follows: paryANapakSakayoH parikSepArtha paTTikA tayA bandhaH tena nizcalaM paTTopadhAnaM tena sthiram avadhAnaM yeSAM taiH 'Whose attantion was fixed because the silk-cushion (on which they sat) was motionless being secured by a girth that confined both ends of the saddle. It defies comprehension as to how stable cushions contributed to the concentration of the feudatory chiefs. It would be idle to argue that a comfortabic seat enables one to switch ones mental faculties to a particular object, simply because conceneration or lack of it, is not in. tended to be highlighted h:re. We must rather read sthAna: for avadhAnaiH. The variant fra): vields a fac happeir sense and suits the description better. With F912: the clause would denote that the seats of the chiefs were firm because the silk-cushions they occupied, were motionless. A secured seat was essential to enable the soldeir to proceed cofidently in the vast concourse that formed the army. uccitranetrasukumArasvasthAnasthagitajaMghAkANDezca (P. 206) is another qualifying phrase. No exception can pussibly be taken to the text of the line. The sbanks of the chiefs were covered at the proper place with fine garments that had figures prominently fashioned on them. The practice of weaving attractive designs on the clothes conti nues to this day. However, the alternative reading of 2017 Fifa. conveys a better sense and is more poetic. The garments were so fine they were not noticed on the body and yet they covered the shanks. 691016A71 galaea16te: P. 207) is as good as it can be. With the reading +2): it means that the kings bad fine waist-bands8 twisted round their flanks. Waist-band was an essential piece of dress of a soldier, that has yielded place to the modern belt. But that is an item which hardly merits serious attention, Waist-band is not something peculiar to a soldier on march. It is probably with this view that some Mss. read TES: in its place. Excellent weapons were fastened on the sides 8. T ag Tatt! | #faf974: Commentary. For Personal & Private Use Only

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228 Satya Vrat of the kings The idea seems to be that with the flanks of the chiefs slightly sinking (3egca) due to vigorous exercise, the pieces of arms were almost bidden in their bodies. garaa sza: (P. 214) used in the sentence intended to usher in Hamsavega, the envoy of Bhaskaravarma, is meaningless. It would indicate that the envoy took to his heels while he was being conducted to Harsa. Far from it, as a suggests The simple fact is that 37997: is a doctored form of the original 3971:. It seems to have emanated from the erroneous qotion that the syllable a is elided after o wheras the latter is actually the result of euphonic combination of o and u of qafaa and Ja respectively. HagaTartaz gairaala:...457 reveals that Ham savega rushed to the king to tender him homage. The expression 1291451afat: gatazkagafa: (P. 227) that occursin the graphic description of the Vindhya forest, seeks to indicate the mise. rable plight of the poor farmers. While a gafa: highlights their famished condition and may be retained as a moderately reasonable reading, it does not accord well with the qualifying phrase 1391489127. P. V. Kane reads 3973fa: (P. 68) and takes it to be a mistake for 379cacla:. The latter is indeed the reading of the Bombay edition. However, as indicated by the way he dissolves the compound, he prefers gaalaa : to 31aSara'. This is a vary seasible suggestion. The farmers in the Vindhya region were so utterly indigent that they could not afford the luxury of the oxen and had to eke out their living with spades, that served the purpose of the plough. JEqunga yoqataufigseaze (P. 227) closely following the above clause needs careful evaluation. It alludes to the preoccupation of the farmers, in the Vindhya forest, with their chorts. From the present reading it seems they were busy in dividing small pieces of rice-fields and threshiag grounds, in high-pitched language. (4578aifa walio tica Ti que afera | 32: 19 gent aa 357HH traa aa). This is scarcely convincing. Not only HIT: is redundant here, the supposed action of the farmers also appears to be an exercise in futility. Their rice-fields 9. Notes, Part II, 210 For Personal & Private Use Only

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Observations on some Variants in Har acarita 229 must have been well-demarcated and threshing grounds do not pose pro. blem even now. In view of it, the reading 487alazifa7903344 is preferable. The meaning thea would be 'where many pieces of waste-land (Khilaksetra) were being broken by farmers accompanied with talk on higher ground or with loud talk. The events that followed the assassination of Grahavarma are briefly set forth to Harsa towards the close of the eighth chapter, in these words: bandhanAtprabhati vistarataH svasuH kAnyakubjAd gauDasambhramaM guptanAmnA kulaputroNa niSkAsanaM nirgatA7 TITTAUTU 1 ... qfiaa: (P) 250). If the various incidents are taken to be described in historical sequer ce here, then the reading TEATR is utterly indefensible. It would show that a king of Gauda caused tumult in Kanyakubja 5:fore Rajyavardhana was put to death. This is not supported by known facts of the Vardhana history. We know, it was a non-descript ruler of Malava who killed Grahvarma and captured his capital Kangauja. Rajyavardhana took swift revenge on Malavaraja, but was himself killed by the king of Gauda. It appears to be this Sambhrama (tumult) th3t Bana refers to here. The reading na 1 however, does not yield this sequence. It should therefore be emended to m3 19h. Then the meaning would be that Harsa heard how his sister was helped out of prison by a nobleman, Gupta by name, at the time of confusion caused by the Galda king. This tumult was thus the one in which the ruler of Gauda vilely killed Rajyavardhana, who. as Sankara the Commentator of Hc, averts, had condescended to attend a dinner in the enemy's camp10. In these circumstances, Rajyasi must naturally have heard the death of her elder brother (Rajyavardhapa) after she had escaped from the prisou. This interpretation possible only from the reading 2413, shows distortion of historical events and there. fore merits preference 10. cf. aa f& guia faza1912 pagta #21981aar gafHat 13498a: Fate Ataat 73119 ga ya 579fa: 1 Commentary on Chapter VI.V.1. Also folafzicala ifahaa haaraa 9: 1 Madhuban Copperplate of Harsa. 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. From IV (See Rule 8 ) 1. Place of Publication Ahmedabad. 2. Periodicity of its publiaction Quarterly. 3. Printer's Name Pitanber J. Mishra Nationaltiy Indian Address Tirhut Printers 41; Meghnath Society, Rapip. Ahmedabad, 5 4. Publisher's Name T. S. Nandi Nationality Indian. Address Director L. D Institute of Indology. Ahmedabad-9. 5. Editors' Names (1) Dalsukh Malvania (2) H. C. Bhayani (3) T. S. Nandi Nationality Indian. Address L. D. Institute of Iodology, Ahmedabad-9. 6. Names and Address of L. D. Institute of Indology, Individuals who own the Ahmedabad-9. newspaper and partners or shareholders holding more than one-percent of the total capital. I, T. S. Nandi, hereby declare that the particulars given above are true to the best of my knowledge and belief. T. S. Nandi Signature of Publisher. For Personal & Private Use Only

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Review MAYA DIVINE AND HUMAN--Tuen Goudriaan (Published by Motilal Banarasidass, Delhi, First Edition : 1978; Price Rs 100, pages xiv+516). This book is a study of magic and its religious foundations in Sans. krit texts with particular attention to a fragment on Visnu's Maya edited, as No. 450 in the collection of Balinese hymns and fragments 'Stuti and stava' edited and translated by T. Goudriaan and C. Hooykass, (Ams. terdam, 1971). This fragment of 21 Slokas interspersed with prose mentras called Mahamaya' describes the supranormal effects of meditation on Visnu's Maya, herein understood as the god's ability to change bis appearance at will. As the author says, "The division of the book into six chapters has evolved in a natural way from the grouping of the material. The third chapter serves as a nucleus : it contains a new edition and translation of the Mahamaya text accompanied by a philological commentary. The first two chapters contain data which were originally meant to be introductory; but their size has cutgrown that qualification. The chapters 4, 5 and 6 deal with subjects which clarify the tackground of the Mabanaja fragment but which were far too large to be included in the commentasy in Ch. 3. "(p. x). Ch. I discusses some instances of Maya as supernatural paper Hidded by the Vedic and Brahmapial gods for various ends. Stare-changing and unethical, seemingly irresponsible behaviour have been particularly brought out and stressed. The effects of Maya have been expressed in terms of magic. The auther feels that this aspect of Maya has been comparatively neglected in monographs on the subject which tend to emphasise the philosophical side. Ch. 2 deals with sadhana-the appropriation of supranormal power by means of intense meditation. In its Indian form presupposed in the Mabamaya fragment, it is the self-identification by a human performerTantric expert or magician-with a particular deity, the performer being assisted in the course of his pursuit by potent utterances, the mantras or bijas "considered to be identical with the deity' and the bearers of the desired powers.' For Personal & Private Use Only

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232 Review Ch. 3 mentions, besides the discussion of the Mahamaya fragment, some instances of meditation on Visnu and the Maya. A special section has been included on the role of the Aghoramantra. The Balinese Mahamaya fragment discussed in Ch. 3 seems to lay stress on the colours as magical operators. So T. Goudriaan elaborates in Ch. 4 on the role of colours in meditations and stresses the importance of colour symbolism in traditional lore. Different colours are related to the deities, grades of society, directions, elements and so on. Different colours of the soul in different states are found mentioned in the Maha. bharata and in the lesya theory of the Jainas. Ch. 5 Under Indra's Net' contains some remarks on the nature of the magic described in Vedic and Sanskrit texts with some emphasis on the magician as impersonating divine faculties' and on the aims he strives after. The auther felt that such a chapter was badly needed in the absence of a good general history. of Sanskritized magic. The Balinese Mabamaya fragment contains some terms which denote standard acts of magic-Vastkarana (sui jugation), stambhana (immobilization), uccalana (eradication), p:ayascitta (pacification), etc. Six Acts (sat karmani) as a group are fequently refund to in Jantric texts and different types of combinatier: cf six from an org the acts (Vasikarana etc) are mentioned in different texts. Ch. 6 deals at length with 'The six Acts'. As the author says in the preface (p. xi) the chapter "his grown to dispropertionate size on account of the abundance of the material which has, however, rot at all been. exhausted". It has been shown that the aims for which the magical powers were considered applicable were most often similar to those sought at present by humanity by means of highly improved technical resources. Moreover, the aims of the Tantric performers were generally based on, and motivated by, the prevailing economic and social conditions. The author has at places briefly discussed comparable phenomena in other cultures In particular, he has, wherever possible, referred to and dealt with passages from Balinese hymns in 'stuti and stava' with the aim of promoting research inte the background of Balinese Sanskrit literature. The notes to the different chapters are given after ch. 6. In Appendix I we find the original Sanskrit passages that have been translated or paraphrased in the body of the book Appendix 2 gives a selection of For Personal & Private Use Only

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Review references to text-places quoted or disessed. Appendix 3 is a list of references to the Balinese collection of hymns 'Stuti and stava' in the body of this book. Then we find the Bibliography which is an extensive one and incorporates the abbreviations used; and finally there is the Index which every good book shouli necessarily have. 233 Maya Divine and Human is a valuable work neatly planned and full of information regarding magical practices from the original Sanskrit sources including the Vedic ones, and also from the works of modern authors on the.subject. The author's main aim was to elucidate the 1 Slokas of the Mahama, a fragment and it is creditable that a structure of 516 pages has been built up, or rather has evolved round this small nucleus. The main idea is to show that the supranormal powers of human practi tioners has been ultimately derived from and shaped after the form of divine examples revealed in mythology. Though much has been written about magic and its difference from religion, not much has been written on the magical acts as they are found prescribed and recorded in ancient Indian literature. This work is, therefore, all the more useful on this account, especially because alongside this it introduces us to Balinese Sanskrit literature in the context of the Maha may fragment. Nevertheless, on reading the book one gathers the impression that every uncommon act of a god or a warrior has been interpreted in terms of magic, especially so in relation to the Vedic mantras and the gods worshipped therein, though a cifferent and a more rational meaning would have been more justifiable. Granted that there is a very fine line dividing religion and magic and that there is much overlapping, yet faith and beseeching the grace of the deity worshipped are predominently present in religious practices, whereas the sense of compulsion and mystery are predominant in magical performances and this should not be overlooked. Krsna is described as a great magician even when the cowherdesses feel attracted to him (see p. 25). If this be regarded as a display of the magical power of akarsana, it would certainly appear jarring to the Indian mind, especially when the lovable personality of Krsna is attampted to be stressed and the emphasis is on the doctrine of complete loving surrender to God. And Krsna of the Bhagavata Purana and Krsna of the Mahabharata cannot be spoken of in the same breath. The difference of spirit and emphasis so apparent in the Vedic, the epic, the Puranic texts and the Tanrtic texts should have been constantly borne in mind, though they Sambodhi XI-30 For Personal & Private Use Only

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234 Review might belong to the same Brahmanical tradition. The word 'Vasikrtya' has been always explained as referring to the magical Valikarana, though it could just be subjugation, overpowering (physical or psychological) or impressing in the ordinary sense of the term. Just a small suggestion-The word 'dehab' (p. 23) need not be interpreted as 'soul'. It could be interpreted as 'person, individual.' One may have some differences regarding the spirit in which certain Sanskrit texts are interpreted, yet there is no denying the fact that 'Maya Divine and Human' is a very valuable contribution to Sanskrit learning and is sure to prove useful to all students of Oriental learning. -E. A. Solomon "CLASSICAL SAMKHYA"-An Interpretation of its History and Meaning, by Gerald James Larson. Publ. Motilal Banarasidass, Delhi, Second Edition, 1972. Price Rs. 60/ The Samkhya outlook of life has exerted an important influence in the development of Indian religious thought, and though one of the oldest tradition, it has proved to be one of the most influential one in the history of Indian philosophy, so much so that many of its terms, and notions have been, and continue to be, employed in other systems, like Yoga and Vedanta. On the general cultural level, the influence of the Samkhya was profound and important over many centuries in such areas as law, medicine, ancient science and ritual and Tantric literature. Since 1854 when E. Roer delivered his 'Lecture on the Samkhya Personality', in Calcutta, much has been written in regard to the history and interpretation of the Samkhya, and scholars like Garbe, Dahlmann, Oldenberg, Keith, Edgerton, Johnston and others have expressed widely varying opinions interpretating the thought in a number of quite differing and sometimes contradictory ways. Gerald Larson's admirable work traces the history of the Sarhkhya in the Indian intellectual tradition, as also in that of historical criticism, and thus serves to bring the survey of the Samkhya studies uptodate, while it also attempts to offer an interpretation of the history and meaning of classical Samkbya, taking a fresh look at the texts relating to the Samkhya and assessing anew both the historical development of the system, and its significance in the history of religious thought. For Personal & Private Use Only

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Review 235 The work originated as the author's doctoral dissertation submitted to Columbia University, New York, in 1967, and it was published in a subsequent revised version from Varanasi in 1969, as the first edition, with the title 'Classical Samkhya'. The second revised edition is now issued after an interval of ten years. The author has not changed the for. mat of the book appreciably in this second edition, but has simply added some additional material and corrected obvious errors. The changes and additions are : (1) corrections of errors and revision of style, especially in chapters II and III; (2) correc ions of mistakes in his translation of the Samkhyakarika as pointed out to him by the reviewers and colleagues; (3) addition of two more interpretations of the meaning of the Samkhya by Debiprasad Chattopadhyaya and K. C. Bhattacharya; (4) elimination of the comparision between Sartre and Samkhya in the Epilogue and its replacement by a critical analysis of Sankara's Critique of Samkhya; (5) elimination of Appendix B of the first edition and inclusion of the transliterated Sanskrit text of the Samkhyakarika with English translation; (6) alteration of Appendix Cas 'A Modern Tradition of Samkhya-yoga'; and (7) addition of a new Appendix D entitled 'Additional Material for the Study of the History and Meaning of Classical Samkhya since the First Edition.' And further, the author has given a chart of the Twenty-five Principles (Tattvas) of Samkhya, and a Glossary of Samkhya Terminology for the benefit of biginners in the study of the Samkhya. The main focus in the study is on the Classical Samkhya", mea. ning thereby the formation of Samkhya as found in Isvaraklsna's Samkhyatarika. Larson has tacitly accepted Hermann Jacobi's opinion that the Samkhya has no ancient philosophical Sutras and that the extant Samk. hya-pravacaoa-sutra is a late work, perhaps as late as the fourteenth or fifteenth century A. D. Keeping in view the fact that for centuries the Samkhya-karika was the definitive text of the Samkhya tradition, he has accepted it, in his study, as the normative definition for 'Classical Samkhya'. In simply ignoring the last three karikas of the text, he is in the august company of the author of the Gardapada-bhasya on the text. The author's sense of purpose aod keen historical perspective are evi. dent everywhere in this work, which itself has turned out to be a classical contribution to a clear understanding of the labyrinth of modern interpre. tations of the Samkhya thought, its development since the Vedic times, and its formulation as the 'classical Samkhya' of Isvarakrsna. Larson was quite aware that Classical Samkhya cannot be interpreted adequately without giving some consideration to problems pertaining to the energence of Samkhya in the Vedic tradition and the history of the interpretation of For Personal & Private Use Only

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236 Review this development. But before proceeding to these historical issues, he tho. ught it proper to offer a brief perspective of the content of classical Sam. khya as found in the Samkhya-karika. To this end he analysed, in Part I of Chapter 1, the opening three verses, in which the basic postulates of the classical Samkhya are presented, viz , (i) human existence means int. ense suffering; (ii) the Samkhya system offers a way of salvation from suffering; (iii) the way of salvation is by means of a kind of discrimioative knowledge; and (IV) the content of saving knowledge is the dicrimination of the difference between avyakta-vyakta (praksti) and Jna purusa). Following these introductory verses, Larson has raced how Isvaraklsna takes up the problem of the means of knowledge, the theory of causation, the nature of the three "strands" or basic constituents of the premordial nature, the description of purusa and its association with Prakrti, the emergence and functioning of basic principles, the threefold Nature of Reality-linga, bbava, bhautika-, discrimination and release, and trasmission of tradition. In Part II of Chapter 1, the primary focus is on two basic consider ations : (i) the scholar's view of the origin and development of the Sam. khya; and (ii) the scholar's view of the neaning and significance of the Samkbya. In the first, attention is given only to the most significant interpretations of scholars of the twentieth century, viz., Garbe, Dablmann, Oltra. mare, Oldenberg, Keith, Edgerton, Dasgupta, J. hoston, Frau wallner, Van Buitenen, Hauer, Mircea Eliade, Debiprasad Chattopadhyaya and K. C. Bottacharya. Larson has carefully documented original excerpts from these scholars and has analysed their views faithfully and critically. H:s judg. ments on them are revealing in the retrospect. Thus, he observes : Richard Garbe's rejection of all attempts to find an early Samkhya" or a "preclassical Samkhya" is quite arbitrary and unwarranted, the same can be said of his view that the Samkhya is nonbrahmanical. Garbe understands the problem of discrimination and con-discrimination purely in traditional philosophical categories. As a result, in Garbe's view Sam\bya becomes another rationalism in the history of thought. The danger here is that one runs the risk of superimposing one's own tradition on the lodian material. Garbe overlooks the religious dimension of the Samkhya and emphasizes it as an atheism, a rationalism and a materialism. On the other hand, Joseph Dahlmann's attempt to find the seeds of Samkhya in ancient Bra hmanical literature is sound and is in the direction of the most fruitful research regarding the origin of Samkhya. But Dahlmann's claim of a uniform system in the confusing variety of views in the philosophical pass. ages of Mahabharata does an injustice to the Sanskrit texts. Paul Oltram For Personal & Private Use Only

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Review 237 are's work is historically uncritical, since he documents his intrepretations of the Samkhya almost exclusively from the late commentaries of Aniruddha and Vijnanabhiksu. But his endeavour to rethink the nature of the Sam. khya dualis is an extremely productive stip. Another helpful insight in Oltramare's discussion is that the atheism of the Samkhya does not apply to individual gads. A more careful and less biased view of the origin and significance of the Samkhya is presented by Hermann Oldenberg. But the main proble o in Oldenbrg's analysis is that he has somewhat oversimpli. fied the pr blem of the development of the Samkhya. In the history if scholarship concerning the Samkhya, A. B. Keith's contribution continues to hove influence even in recent studies. The two key notions of Samkhya, according to Keith, are : (1) the dropping away or denial of the absolute, with the consequent emphasis on the individual soul; and (2) the theory of the principles or evolutes" emerging out of prakrti. Keith suggests some interesting parallels between the notion of the Self in Yajnavalkya and in the Samkhya, points to the ancient Hiranyagarbha motif in the RV. X. 121, as possible contexts from which the Samkhya notion of the nature and evolutes" could have taken rise, traces the origin of the gunatheory back to Chandogy a VI. 4 and to the later Svetasvatara IV, stresses that there are many differeet kiods of speculations in the epic, and that there is a dominant theistic tinge throughout along with many Vedantic ideas, and on the basis of these epic passages differentiates Yoga from Samkhya. But to Keith the Samkhya system is but a bundle of contradictions, since the notion of a plurality of purusag is absurd and shows the derivative nature of the system; and even lack of discrimination or a a doctrine of illusion cannot fiec the Samkhya from its ultimate absurdity, Thus Keith views the Samkhya as an illogical, absurd outgrowth of earlier speculations in the Vedas and Upanisads. The major problem in Keith's analysis is that his view of the ceaning of the Samkhya is oversimplified, and he is not sensitive to the religious issues in the system. But a truely voique and refreshing interpretation of the origin of the Samkhya is to be found in the work of Fraoklin Edgerton, whose analysis is belpful in clearing away many of the cobwebs left from earlier scholarship. His analysis is rooted ia the Sanskrit texts, and serves as a needed corrective to the earlier theorizing without evidence. Surendranath Dasgupta's exposition of the contents of the Samkbya system is provocative and ingenious, and suffers from lack of historical perspective. E. H. Johnston's study of the Samkhya, though limited to an analysis of pre-classical Samkhya terms and text is never i heless basic for comprehending the history of Samkhya For Personal & Private Use Only

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238 Review speculations, and his conclusions reveal the complexity of the problems in the field. His careful examination of key terms offers fresh insights on a number of issues of interpretation. Joboston also asserts that Buddbism arose before the formulation of early Samkhya and furthermore says that Samkhya was probably formulated during the first period of Buddhistic dogmatism. Joboston's research represents probably the most important contribution to the study of the Samkhya yet made. But the drawback of his analysis is that his conclusions do not always follow from his earlier arguments and he assumes too much with respect to the Samkhya karika. The fact, however, is that the Karika leaves many questions and issues unanswered. It is not clear what Isvarakrsna meant by prakrti, the gunas, buddhi, etc. It is not clear whether or not Isvarakrsna understands buddhi cosmologically or psychologically or both. Erich Frauwa. llner offers nothing new. But bis discussion offers at least two helpful insights: (i) the syste in presented in the text-group Mbh, 12. 194-249 (=247-287) offers an important tradition of early Samkbya speculation; (ii) he is right in warding against the use of later Samkhya texts for interpreting the classical doctrines. But Frauwallner's evaluation of the contribution of the so-called pancasikba is a major defect in his analysis of the history of Samkhya, since the texts do not support the notion that any one man was responsible for introducing all such docirines of the theory of evolution, that of praksti and the three gunas, the 'introduction of Ahamkara, the firm establishment of a normative number of twentyfive principles, etc. J.AB Van Buitenen's careful and detailed study of the Samkhya challenges the corclusions of both Johnston and Frauwallner on three basic themes, viz., (i) two uses of the term bbava, one meaning "moral" or "psychical" and another one meaning guna", (ii) the origin of the Samkhyan ahamkara in the old Upanisad c speculations conce rning the 'self-formulation of an original, unformulated and unformed being" (e. g. in BAUp. 1,4,1; 4,5; 4,7); and (iii) the origin of the gunatheory in "sattva". Van Buitenen's main contribution has been to prove convincingly that the development of the Samkhya was incredibly complex. But be overemphasizes the cosmic side of the early Samkhya speculation. He spends little time discussing how the notion of "self-delusion" or "self-projection" developed out of these older cosmic speculations. According to Hauer, Samkhya is a later development growing out of Yoga. Originally, Jnanayoga or Samkhya emerged from within the tradition as a type of yoga which emphasized "intuitive-philosophical examination of yogic states of consciousness. Eventually, however, Samkl ya became atheistic (Mbh.12 289) and rigourously dualistic. Hauer's hypothesis regarding the origins of Yoga in the ancient > ratya groups is interesting For Personal & Private Use Only

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Review 239 but open to question, since many of these same motifs appear in the Brabmanical sources as well, though some of these speculations and practices came from outside the Brahmanical framework. The complexity and intrica:y is due to ihe mutual influences of various traditions on one another. The major contribution of Mircea Eliade is his attempt to develop a vocabulary which adequately describes the experience of the followers of Yoga, but he too often reduces Samkhya to Yoga, all the while missing the truely unique contribution of Samkhya, and making it, rather, into a mere imitation of Yoga. Debiprasad Chattopadhyaya rightly claims that original Samkhya is an ideological elaboration of the Tantra and traces Tantric motifs and practices to popular folk traditions. Recent anthropological research lends support to Chattopadhyaya's perspective. But his treatment of Samkhya, as a Marxist interpreter, is the clearest example in his work of methodological reductionism. K.C. Bhattacharya interpretes Samkhya not really as an historical task but, rather, a cops. tructive philosophical problem. Consequently his work contributes little to the problem of the historical interpretation of classical Samkhya. His "constructive effort" is an intriguing blend of Advaita metaphysics and Kantian critical philosophy, which hopelessly confuses the issues and finally transforms tbe Sam hya into something other than what it was or is. Io Chapter II, dealing with a detailed interpretation of the bistorical development of classical Samkhya, Larson arranges the concerned texts into four basic periods : (i) ancient speculations in Vedic hymns and the oldest prose Upanisads; (ii) proto-Samkhya speculations in the Carakesambita, the Buddhacarita, the Bbagavadgita and moksadharma parts of the Mababbarata; (ii) classical Samkhya speculation of the Samkhyakarita, the Yogasutra and related commentaries; and (iv) renaissance or later Samkhya. Here the beginnings of Samkhya-like speculation are traced on the ancient texts followed by an analysis of the development of terminology and systematization in the proto-Samkhya, classical and later periods. Emphasis is placed on the derivative, compusite nature of Samkhya. Influences are traced from the oldest Upadisadic potions of atman and brahman; from ancient creation myths; from analysis of breaths and speculations concerning the states of waking, dreaming and dreamless sleep, from ancient and later Yogic theories and techniques, acd even from doctrines of Jainism and Buddhism. Here it becomes obvious that Samkhya is not a monolithic system from ancient times, but rather a slowly growing organism which has assimilated a variety of traditions pyer a period of centuries; and which reached maturity in the third or For Personal & Private Use Only

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240 Review the classical period with the work of Isvarakrsna and stood as a unified system, apart from Yoga and other systems of thought. It has developed a technical terminology and offers a unique theory and method of salvation. This classical system represents a synthesis of many ancient traditions in which previously diverse and frequently contradictory doctrines are given a systematic and coherent form. From this system an extremely subtle and sophisticated system of thought emerged. Chapter III offers a somewhat new interprpretation of the classicl Samkbya which may establish a fresh perspective concerning the nature and meaning of this ancient system, and in its turn reveal that Samkhya is dealing in a significant manner with some of the most difficult problems of religion and thought. Classical Samkh a takes its point of departure from the fact of suffering in human existence and seeks to provide a means of release from it. Classical Samkhya is, therefore, above all a religious system It is important to note that all of the doctrines of Samkhya serve one end salvation. Moreover, adds Larson, it is important to observe that classical Samkhya begins its analysis from within the context of concrete human experience. It consistently refuses to reduce consciousness to the world or the world to consciousness. It maintains, rather, a fundamental dualism detween individual consciousness, on the one hand, and a real world, on the other. Of the means of knowledge; viz. ; perception, inference and reliable authority recognized by classical Samkhya, it is important to realise that each one of these function separately and on different levels of experience. The reliance of cassical Sarkhya on the Vedas is unclear. Realable authority, therefore, is probably used primarily with reference to the tradition of Samkhya teachers. The old eightfold prakrti is no longer considered as a unit; and the manifest world is derived from an original or premordial nature, in which the doctrine of the eightfold prakrti understood in evolutionary terms is carried to its logical conclusion. The three gunas, which constistute the characteristics of mula-prakri pervade the entire manifest world from buddhi down to the gross elemeuts. These gunas somehow subsit in mula prakrti, although the Karika never says specifically whether they are. qualities of prakrti or actully consitute the nature of prakrti. Larson, like most of the intellectuals, would be helpless, since none can ever tell it due to their as yet urmanifest nature in the prakrti But he is on the right track when he feels that it will be possible to offer au interpretation of the gunas only when one has examined the function and role of purusa in the system. But, according to the Karika, the gunas include two For Personal & Private Use Only

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Review fact levels of meaning; (i) as psychic or moral conditions, and (ii) as ors involved in the unmanifest and manifest world. The doctrines of mulaprakrti; the gunas and satkaryavada are inextricably involved with one another; they include everything except the purusa. The mulaprakrti can only be known by means of its effects, i.e. buddhi, etc, but the effects could never be cognized without the presence of purusa. Simil. rly, causation understood in terms of Satkaryavada can only take place when purusa is present. In classical Samkhya purusa is individual but personal, since the personal ego or self-consciousness is included in the notions of buddhi, aharhkara and manas. It is only by the "light" of purusa that one sees the world, and it is only the fact of the world which renders purusa aware of itself. The fact of consciousness and the fact of the world are two irreducible realities in constant interplay with one another. With the doctrine of the plurality of purusa the classical Samkhya has taken a major step away from the older doctrines of a cos mic self. Little attention is given in the Karika, says Larson, as to the two basic principles-i.e. the prakrti and purusa-come together; but he is sharp enough to realise that the task is not to explain how they first came together, it is rather to describe the nature of human existence and suffering in view of the fact that prakrti and purusa are together, and then to offer a solution. They are only in proximity to one another, never in actual contact. The purusa is in the world but not of the world; by its very nature it could not be bound. And purusa is not a direct cause of the appearance of the manifest world; his simple presence functions as a kind of catalyst in releasing the causal process of transformation in the mulaprakri, and its transformations appear as if they were conscious. In other words, the mulapi akrti and its transformations appear as what they are not, and purusa appears as what it is not; a kind of double negation occurs here. Larson's sharply critical insight is evident when he notes that the inquiry into the emergence of principles which make up the world, has the purpose of isolating that in the world which is not part of the world, the purusa. And this insight of Larson is surprisingly shown by Vijnanabhiksu too! But that does not detract from Larson's excellent performance. The world is comprehended in terms of how the purusa witnesses it. The classical Samkhya is, in this sense, a description of what consciousness sees. With respect to the transmigrating entity, i.e. the linga or linga-sartra, another kind of causation. occurs, which according to the classical Samkhya, explains why the linga transmigrates from life to life. This causation is brought about by the force or power of the bhavas, which reside in the buddhi. It is important Sambodhi XI-31 241 For Personal & Private Use Only

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242 Review to note that the continuation of life, suffering and ordinary existence is attributed in classical Samkh a to these fundamental strivings of man in his innermost nature. They are the foundations or basis for all of his actions and, with respect to the future, what a man becomes in the scale of Life is determined by what he has done. Bravo ! Larson has here grasped the hidden undercurrent of the law of karma inherent in the Samkhya, even the classical one (00. Salvation-knowledge is a special kind of "Knowledge" which brings one to the realization of the purusa itself apart from its appering as what it is not. Larson almost hits the nail on its head when, in his attempt to explain the nature of this salvation-knowledge, he observes that it is consciousness emptied of all contents and distinction, one who possesses this knowledge" dwells in abstract, puro islation, a kind of transluscont empiiness, a condition in which consciousness is no longer conscious of something One wonders as if Larson is here discussing Yoga rather than Samkhya ! Yet, he is right, since he has attempted to show that the classical Samkhya is a system of religious thought which seeks to understand the world and man's place in the world from the perspective of this fact of consciousness. Io the Epilogue devoted to an evaluation of Sarkara's critique of classcal Samkhya, Larson has discovered, by means of his keenly critical insight and minute analysis of the arguments put forth by the celebrated Vedantic Acharya, that the latter is framing his critique of Samkhya generally within the tradition, evidently wanting to force Samkbya into position of main realisin but the Samkhya, interpretation of pradhana as guna parinama, satkarya, tattva-vikara, and antahkarana vitti precludes such a critique. A chart of the twenty-five principles ( tattvas ) of classical Samkhya, a glossary of Samkhya terminology, a chronological chart help a better understanding of the book, The Sanskrit transliterated text with uptodate Eng. lish translation make this work a complete self-sufficient reference unit. Larson has primarily used the text as found in Colebrooke-Wilson edition of the Karika and the Bhasya of Gaudapada and he has confessed that it is not a critical one. With respect to problems of interpretation he has followed the commentaries of Gaul apada, Vacaspatimisra and Paramartha's Chinese verison. His translation is quite lucid and readable on its own. In App. endix C he has given information about a modern tradition of Samkhya yoga as found in a monestry in Madhupur ( Bihar ) founded by Swami Hariharananda Aranya. In Appendix D he has provided a glimpse of additional materials, among which P. Chakravarti's editop of Yuktidipika ans Esther A. Solomon's three recent books, viz, Samkhya-Saptati-vstsi (vl) Samkhya-vrtti (v2), and The Commentaries of the Samkbya Karika For Personal & Private Use Only

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Review 243 A Study, Srinivasan Ayya Srinivasan's elaborate critical edition or Vacaspati. misra's Samkbyalattvakaumudi, Anne-Marie Esaoul's French translation of the Samkhyakarika together with the Bbasya of Gaudapada, Anima Sen Gupta's Classical Samkhya-A Critical Study, and Karl H. Potter's Encyclopaedia of Indian Philosophies, Volume I, entitled "Bibliography of lodian Philosophies" are noticed in detail and evaluated with reference to the objective of the work. In this same appendix Larson has surveyed the material treating the relationship between Puranic Samkhya and classical Samkhya. He concludes on the basis of this material that in the Puranic texts the proto-Samkhya speculation functions more as a heuristic cluster of symbols, utilized for purposes of cosmogony, mythology and religious devotion, and he warns that it is an intriguing chapter in the history of religions and that it must be used with great caution in interpreting classical philosophical Samkbya. His bibliography is also uptodate and highly indispensable for future researchers in the field. Here we have at long last got a clear-headed, critical analysis of the classical Samkhya, both with a highly rewarding insight into its historical development and meaningful interpretation based upon a masterly grasp of the text proper. Larson has thus presented to us a classical specimen of a methodical study of the highly popular and celebrated work of Isva. rekrsna, and provides a reliable tool for a similar study of the development of renaissance or later Samkhya. -N. M. Kansara SAMA VEDA : With original text io Devanagari, English translation with occasional explanation, an Introduction and appendixes by S V. Ganapati; pages XXXIV and 491, Delhi, 1982; Price Rs. 75. The Sama-veda has attracted relatively less attention from serious students of Vedas in India and outside because of its secondary Dature in the context of the Rgveda, its accents and mode of recitation and its ganas. This is rather distressing because we have missed the investigation of a number of important problems related with the Veda. The work under review presents the complete text of the Sacaveda including the Purvarcika, the mahadamnyarcika and the Uttararcika with 640, 10, and 1225 verses respectively, in all 1875 verses. For Personal & Private Use Only

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244 Review Shri Ganapati (G.) has given an English rendering with occasional notes, under each verse. In the Introduction G. has discussed topics like the original of the Vedas, special features and content of the Samaveda, the home of the Veda, Evolution according to the Sanaveda, the Age of the Veda, Man and his internal activities, some special expressions, misconceptions about Samaveda and Yajurveda and origination from Rgveda, an earlier race of man, the Brain, and Translation of the Veda. At the end of the book there are nine appendixes which include, "the Samaveda and tradition, References to Arctic Phenomena, Mantras on Evolution, Samaveda mantras repeated twice, mantras from the Samaveda and the Yajurveda included in the Rgveda, number of Rishis who have contributed to the Rgveda, hymos common to the Samaveda, the Yajurveda and the Rgveda, different translations, Samaveda mantras in the Rgveda, and Samans arranged according to each Deva separately. We shall offer our remarks for the text, the introduction, the translation and the appendixes. The order of the verses in the Samaveda is known in two different ways, firstly as Kanda, Adhyaya, Khanda and mantra and secondly as kanda, prapathaka, ardha, dasati and a antra. It is not clear what G. has in mind when he mentions Kanda, book, chapter, D and Mantra, He has not mentioned Sanskrit equivalents for his division which seems to be the second one. He mentions Indra Kand' for Aindra Kandi. So far as the text of the verses is concerned, he has not cared to note the accents. This is uapardonable, for, no Vedic text, at least of the four Vedas should be allowed to be printed, writrea or recital without accents. The translation of the Samaveda presented here is a novel one in the sense that Shri G. dismisses earlier translations, as " largely influenced by Sayana; they do not convey much sense most often, are abstruse, distorted in sense and often times absurd also. They do not present a consistent system of thought on which the Veda should have been based. The Veda repeatedly affirms that the Devas are engaged in Yagna, establishing the creatures and the worlds". He wants the Samaveda to present a consistent picture (p. XXXIII). He further states on the sare page the relation of For Personal & Private Use Only

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Review 245 Devas, the Yagoa which he calls life-activity, the wisdom of the ancients and so on. We do not object to the uncondecied loud thinking about an ideal translation of the Samaveda. Perhaps he has followed some earlier studies on Vedas rigarding evolution, Glaciation, Arctic Circle phenomena, World of ideas, cell-life, seos: organs and so on. We bave been at a loss to find here an attempt to build up a consistent theory of the subject matter and teaching if any, of the Sana-Veda. A tradition does not live in vacuum. It has its earlier roots and later offshoots, from which we can determine its nature. For Shri G there is no radition because he dismisses the view that almost all the verses in the Samavada are taken from the Rgveda. For him the contrary is trus. As regards the later development of the Samaveda ideas, for him the Upanisads are useless. He enters into sophistry about them and rejects them. With all this, G's claim for a correct translation is worth examining. It is needless to point out that even from the tions of Yaska there were alternative interpretations of the Veda. However the Nirukta presents their case in a proper and logically built up manner. Even Agandatirtha in his comments on Rgveda (1.1 to 40 ) emphasises that God Visnu is praised throughout the Veds and that there can be different interpretations of the Vedic verses like ritualistic, theistic on the level of the personal God Narayana and metaphysical. The metaphysical translation presented here is based on G's understanding of some special expressions-. So far misunderstood and responsible for wrong interpretations-and words expressing them." On pages XXXIX and XXX he has listed a few such words like Head, Body, Braio, Brain cells, Nerves, Spinal cord, Skull, Prana' and 'Yagra'. We would have appreciated his point of view bad he given Sanskrit equivelent like Agni (Fire), Piana or Pranah (Breath or life-force). Apah (water), Prajna (knowledge), Bhuta mata (elements of body) and so on, which we can vouchsafe for, from the older Upanisads. In the absence of any such thing the list proves nothing. Even with all this the translation of G may be accepted there were no errors in the rendering of words and verbal forms in the context of number, person and tense as well as root-meanings The following are a few examples taken from the very beginning of the Samaveda. For Personal & Private Use Only

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246 Review 2 3 1 2 3 1 2 (1) (a) Agna a yahi vitaye is translated as ! Agni moves and arouges the desires ......." 3 1 2 (b) ni hota satsi barhisi is translated as " He presides down below in existence". 3 2 3 1 2 3 (2) In agnim dutam vinimahe, we have "Agni chooses great messengers" Oldenberg has, " We choose Agni as our messenger". 1 2 3 1 2 3 1 2 (3) For Jarabodha tad vividdhi vise vise, (15), there is " Old age bestows understanding of it in various ways to man ..........' Oldenberg has, "O Jarabodha, accomplish this task for every hour". 2 3 2 3 1 2 (4) For Asvam na tva varavantam ....... (17) there is, " Prana (asvam)! you make obvisances to Agni" , Oldenberg has " With reverance I shall worship thee who art long-tailed." These illustrations speak for themselves. In the Introduction G. has discussed or rather mentioned the Age of the Samaveda in the context of the Rgveda, the origin of the Samaveda, the home of the Veda, the Devas aod Asuras, their cultures, the Arctic Home, the Glaciation and the Yuga-years, the Evolution and other matters related to it. As regards the relative chronology of the two Vedas, G's contention is that, alongwith the Yajurveda, the Samaveda was earlier than the Rgveda and that the verses of the Sagrave da were responsible for the formation of the Rgveda. In the present state of our knowledge regardig these two Vedas, one carnot decide anything especially when out of 1875 verses of the Samaveda except 105 all are common with those of the Rgveda. Instead of offering a purely personal view regarding the composition, culture and the age of the Sa paveda G could bave with advantage discussed the references to Sama, Sanani, Samegada, Samavipra, bihatsama, samnah, Kavih and so on found in a number of Rgveda verses like 2.43.1-2. 5.44.14; 10.107.6; 3.54.14; 8.78.1, 2023.17. Again it is possible that the Ganas of the Samaveda might have been earlier than the composition of the Rgvedic hymus. Another aspect of this problem worth considering is the variant readings found in the verses of the Samaveda, variants of letters, words, word order, placement of a foot, accent and so on. The mention of such variants in the Samaveda Brahmanas and Srauta For Personal & Private Use Only

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Review 247 sutras, the Somayaga, all those ritualistic and metaphysical riddles and equations and fables in the Tand a Brahmana and the development of philosophical ideas in the Chaodogya Upanisad are some other problems which could help Sari G's ideas. In the absence of serious iovestigations on the above problems any view regarding the age of the Samaveda will not be acceptable. The statistics in the Appendixes have some value, although they are repetitive. In the absence of original Sanskrit words, these may not prove very helpful to a serious reader. There is no Bibliography--purhaps G thinks it redundent - no verse. index or verse foot index, no list of abbreviations and printing conections. He has cared little for diacritical marke. Shri G should be congratulated for the English rendering of the Samaveda, based on personal views. The publisher deserves our best wishes, for, he has advantured for this publication, with nice paper, fine printing and relatively less price. - J. M. Shukla MAMMATA'S KAVYAPRAKASA (VII-X) with Saradipika of Gunaratnagani, Vol II, edited by Dr. T. S. Nandi; Gujarat University Ahmedabad 380 009, 1984; pp XIV + XXVIII + 580; price Rs. 16 = 00 This is the second volume of Gunaratna's commentry Saradipika on Kavyaprakasa, Ullajas seven to ten. The critical text of Saradipika as presented in this volume, is based, like the earlier volume on two manuscripts, one from BORI, Poona and the other from the Oriental Institute Baroda. Dr. Nandi has also used a manuscript from the Oriental Institute, Jodhpur which he calls J, the other two being called P and B. This time Dr. Nandi was fortunate in utilising J, which is relatively a better manus. cript, the other two being incorrect at places. In the Preface Dr. Nandi (N) has referred to his earlier volume of the Saradipika and had he got the help of the Balacittaouranjani and the Sarabodhini, other two commentaries on the Kavya prakasa. He expresses bis confidence and conviction that the Allahabad editors of these commen. For Personal & Private Use Only

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248 Review taries will benefit so far as the readings of their commentaries are concerned. He repeatedly states the importance of the Saradipika as a research tool and the help the Allahabad editors will get in the reprint of their work. With the help of the manuscript J. which is a very clear manuscript he has furnished an appendix (No 3), in this work, in which nearly fifty passages marked as 'not clear' in Vol I at different places are corrected to satisfaction. The three manuscripts utilised by Shri N. are complimentary to one another, so that lacunae in one are improved upon by the other two. In the Introduction, some of the things stated in, the preface are referred to again. Gunaratna's commentary is simple, explanatory and clear. At very few places it enters into scholarly discussions. It almost avoids discussion in the context of Mimams and Vjakarana. It is heavily indebted to the earlier commentaries that is why it is called Saradipika, a lamp illuminting the essence of the earlier works. There are no religious or sectarian digressions and no undue interest in explaining verses depicting love in union. According to Shri N, the commentary has a touch of originality and it has its utility as a research tool. There are nine appendixes, which are based on Dr. N's notes at the end of each Ullasa. In A, N refers to, by giving the contexts of the foot note numbers, the places where Gunarataa is indebted to Balacitta nur anjadi. Io B, there are references to other commentaries (tikantara) or other explanations (vyakhyaatara). C gives references to the Sarabodhio. D gives words missing in J, B or P. E records Gunaratna's better readings. F states some genuine mistakes located in the Saradipika. G gives references to literary and other works and also to some alamkarikas.. H points out passages improved upon with the help of J. I refers to Gunaratna's elaboration, or remarks. Photo-stat copies of seven pages of the manuscripts P and Jare given. The work of editing an older text is difficult. It requires patience, care and a thorough knowledge of the relevant subject treated by the text. This is particularly so when the manuscripts, being incorrect, are not of much help. Dr. Nandi with his detailed knowledge of Alamkarasastra and his experience of editing works of this sastra, has proved his competence in this work. As it is, the Kavyaprakasa is an elaboration of almost all the discussion in Poetics, before Mammata, Gunaratna's commentary is bound to be a lengthy work, when the author explains each word of Kavs aprakasa. Dr. Nandi has completed very ably, a difficult task. For Personal & Private Use Only

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Review 249 N's notes at the end of each Ullasa, leave nothing unexplained so far as the correct readings, Gunaratna's indebtedness to his predecessors and a relative evaluation of his work are corcerned. From the text-critical point of view the notes are very valuable. As Dr. N's work is bound to be popular, I suggest the following iu the subsequent edition. Appendix G should be divided into (wo viz G1 and G2, so that the first will list those authors and works which are merely referred to by Gunaratna. G2 will group those authors and works, actual references from which are referred to by Gunaratna. This will help also in determining the readings of those references. As Shri N has made a very detailed study of Gunaratna and the two colamentaries to which Saradipika is indebted, he should offer a critical evalution of Gunaratna's work as an independent work, and in the context of his sources. This will greatly enhance Dr. N's critical work which has required great patience. . I congratulate Dr. Naodi for the critical edition of Gunaratna's Saradipika. It is an important addition in the commentary literature on the Kavyaprakasa. - J. M. Shukla EKARTHAKOSA: edited by Samani Kusumaprajna, Jain Visvabharati, Ladoun, Rajasthan; 1984, Price Rs. 50-00 NIRUKTAKOSA : edited by Sadhvi Siddhaprajna and Sadhvi Nirvanasti Jain Visvabharati Ladnun, Rajasthan: 1984; Price Rs. 40 - 00 With the blessings of Acarya Tulasi and under the very able supervision and care of his pupil Yuvacarya Mabaprajna, a very important research activity is going on in Ladnu, Rajasthan. Its earliest fruit has been the publication of the Jain Agamasutra viz. Agamasuttani in three volumes. The work offers a critical and dependable edition of all the Agamasutras. They have planned a number of works in this direction. They published an Agama sabdakosa, a concordance of all the important words in the Agam asutras, with references but without the text of the references. Sambodhi XI-32 For Personal & Private Use Only

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250 Review Perhaps their further planning in the same direction regarding similar indexes, stopped them from giving the text of the actual references, which a discerning reader could easily find from the three volumes of Agamaguttani. The next two companion volumes of indexes are the Ekarthakosa and the Niruktakosa. In the Ekarthakosa about two thousand words are selected from about one hundred works which include Angababya works like the Aupapatika, the Rajaprasniya, the Jivabhigama, the Nandi and so on and the commentaries and other miscelleneous works. For each word the Sanskrit equivalent is given and then follows the references of the synonyms of these words, with the correct mention of the place from where the reference has been taken. Care has been taken to select such words as have synonyms. There are three appendixes. The first appendix indexes all the words taken note of in the work, including their synonyms so that their number has gone up to eight thousand. The word printed in black is the head word of the group of synonyms. The second appendix although repetitive arranges synonyms with their other words and gives their meanings also This gives us a ready reference of words with their synonyms and their shades of meanings. This appendix is an important tool for further rescarch. The third Appendix notes the roots of the verbal forms included in this work. For this the major help bas been the Dhatuparayana of Hemacandra. In the Preface and the Introduction by Dr. Tatiya and Samani Kusumaprajna, there are preliminary remarks about the Ekartha words, their importance and how they have been selected. As the work is bound to be useful, it is suggested that in the next editions the material found in the work may be re-arranged chronologically in the order of Argasutras and so as to that linguistic research and philosophical research may find a ready reference in it. Samani Kusumaprajna and her band of enthusiastic workers should be congratulated for this work. The second work the Niruktakosa is almost on the lines of the first work. It contains etymolrgies both in Prakrit and Sanskrit of one thousand seven hundred and fifty four words. They are listed in the alphabetical order along with their Sanskrit equivalents. The Hindi rendering of the For Personal & Private Use Only

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Review 251 etymological explanations is also given. The Sanskrit and Prakrit etyrologies are based sometimes on Sanskrit etymological works and the vast Jain literature including the Curnis and other commentaries. Some etymologies seem to be purely personal and many times imaginery, most of them being root-based. In the preface and the introduction some preliminary remarks are made about the nature of elymological explanations. The work is sure to impell research in various directions. First of all the etymologies presented here, have nothing to do with Brahmanical atmosphere. It seems to be strictly local and therefore worth doing research into. common as The origipal sources of these etymologies have little in they are based on a vast literature. The editors have stated that the first Appendix has grouped such words as are formed from the primary suffixe anat. This refers to the etymological word atifayanam, which is formed from the suffix anat, the other word, its Sanskrit equivalent is atisaya. Its Prakrit counterpart is aisaya, which is listed. So the basis of this appendix are those Sanskrit words which are found from the anat-suffix and for which Prakrit counterparts are available in the Jain literature. The etymologies in the second Appendix in which are collected names of the tirthankaras are purely personal, being mainly based on maternal contexts. The material collected in this work is valuable in the sense that we have here, for a research worker, a vast source of social, religious, giammatical and philosophical contexts, which will be helpful in unfolding the minds of the Jain scholars of the old times, their original contribution, their knowledge of popular tradition and their reliance, if any, on the Brahmanical and the Buddhist sources. The editors and their baad of enthusiastic workers deserve our praise. -J. M. Shukla KARAKAPRAKARANAM, as forming part of the Vaiyakaranasiddhanta Kaumudi, with Gujarati translation, notes and explanations by Vasant. Kumar Manubhai Bhatt. Sarasvati Pustakabhandara, Ahmedabad; Price Rs. 45-00 For Personal & Private Use Only

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252 Review Among the recasts of the Astadhyayi of Panini, the Siddhaptakaumudi of Bhattoji Dixita 'is very popular with the students of Sanskrit grammar. Kalantra Vyakarana fathered on Sarvavarn an (3rd century A. D.) paved the way for these recasts, for, it is divided into four chapters viz. Sandhi prakarana, rama prakarana, akhyata prakarana, and ktit prakarana. Panini had divided his work into Adhyayas, padas and Suiras. This was done for a particular arrangement of the rules in the Astadhayi and their application. The recasts retained the system of order and application but their major innovation was the arrangement of the grammar-material according to subject matter. Of the recasts viz. The Rupamala (1300 to 1350 A.D.) (the Rupavatara (1100 to 1150 AD.) the Prasriyakaumudi (1400 to 1450 A.D.) the Siddhantakaumudi and the Prakriya arvasva (1560-1666 A.D.) the Siddbanta kaumudi bas teen the most famous. . Although the Siddhaptakaumudi is indebted to the Prakriyakaumudi and the Prakriya sarvasva is superior in merit so far as clear explanations and apt illustrations are concerned, Bhatroji's work proved extremely popular because of the centre of learning viz, Benares, where it began to be studied, because of a generation of brilliant pupils of Bhattoji and because a number of commentaries and studies have been written on it. The section on Karaka as found in the Siddhaota Kaumudi has one hundred and fifteen sutras. Panipi bas arranged the sutras, which according to him strictly refer to Karaka, into two adhyayas viz. frat adbyaya, fourth pada, sutras 23 to 65 and second adhyaya, third pada, sutras 1 to 73, wherein tuiias 3, 48, 49, 60, 62 and 63 have an indirect bearing on the Karaka. This arrangement is the arrangement of a grammarian. Dixita's arrangement, which may be called a textbook-writers arrangement includes 115 sutras jo all. Beginning with the nominative and ending with the locative, he takes up each case and explains every thing which has a context with them. The siddbaata Kaumudi has been translated into English, Hindi and Marathi. The Karaka section along with the smjna and the paribhasa sections are translated by many scholars. However, I am glad to say thet Prof. Vasantkumar Bhatt's (VB) translation with notes and advanced explanations is the best among the in VB's merits in the work are obvious. In a long introduction he has explained everyhing, related directly or indirectly, to Karaka. For Personal & Private Use Only

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Review 253 He explains the word Karaka, from all angles, quoting Patanjali, Bhartphari, Kasilakara, Helaraja Kaiyata and Nagesa. After this he, following the order of Bhattoji, thoroughly explaics pratipadikartha. The abhibita Karaka and quo:es Vartikakara's view, Karwakaraka, kiods of karma as found and explained is Vakyapadi, a, The upapadavibhaktis, Karaka and akaraka,, karan3, ampradada quoting Bhartphari, popular sampradada and grammatical sampradana, apadara and its senses, the sesa meaning, the genitive, the meaning of sesa in the mahabhasya, adbikarana and its divisions, Karaka vibhakti and upapada vibhakti, abhihita, anabhihita, sentence in Panini, vakyasamskarapaksa, the discussion regarding Karaka in the Candravyakarana, and vivaksa. Ar the end of the long Ingroduction he has listed in the adhyaya-pada order the sutras which Shri VB. thit:ks as forming part of the Karaka section of the Siddhapta Kaumudi. He then translates clearly and rather in detail the sutras of Panini and Bhattoji's vriti on them. These explanations are related to the discussion in the Introduction. At times Shri VB. cannot resist the temptation of bathing in the shower of mcdern linguistic terminology and uses the terms sen antic categories, syntactic categories, deep structure, sui face structure and phonolegical representation. Shri VB. is heavily indebted to Dr. S. D. Joshi's discussions in his four volumes on Karaka rules found in the Mahabhasya. At times he quotes state nents from the writings of Kiparsky, Stall and Deshpande. The work of VB. is one of the very good works which treat their subject matter in great detail and with a confident understanding of the subject on hand. The work is bound to be popular and therefore I suggest the following improvements in the future edition. (1) So far as the translation is concerned, it is over-explanatory. A very clear rendering of the Sutra, which may be explanatory wherever required, should be separated from the rendering of the vstri. In VB's work these are mixed up so that at any places we have repetitions of words and thoughts. Again the advanced explanations should also be clearly separated from the notes. Sometimes we do not get a separate rendering of the sutra but we have only an explanation of the vitti. For Personal & Private Use Only

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254 Review (2) Shri VB.'s eathusiasm for explaining everything is appreciable but he should see that there are no repetitions. The mention of samantic and syntactic categories is an illustration on the point. (3) Shri VB has listed, as referred to above, the sutras relating to Karaka. Their mention follows neither Panici nor Bhaitoji. He should have omitted or given a separate appendix about the sutras, 67 to 76, of the fourth pada of the third adhyaya. Of the fourth pada of the first adhyaya sutra 55 is not taken note of by Dixita. Similarly sutras 88, 89, 92, 97 and 98 which form part of Karaka section are not listed by VB. Similar is the case with the eleven sutras beginning with Karmapravaca niyah (1.4 83). They are included by Dixita but not listed by VB. Similarly of the third pada of the second adhyaya sutras 3, 48, 49, 60, 62 and 63 are listed by Sbri VB. but they do not form part of the Karaka section in the Siddbanta Kaumudi. The whole list as given by VB. should be rearranged by keeping in view Dixita's order. (4) A small discussion on Bhattoji's arrangement of the Karaka rules would enbance the value of the book, (5) Shri VB's work does not need any ornament in the form of the mention of the modern linguistic terminology, which changes and improves itself everymonth. I heartily congratulate Shri Vasantbhai Bhatt for giving us a work which is lucid, exhaustive and which leaves nothing unexplained so far as the Karaka is concerned. - J. M. Shukla Spiritual Vision and Symbolic Forms in Ancient India-Vol 1 of the series "Foundations of lodian Culture" G.C. Pande, Books and Books, C4A/ 20A, Janakpuri New Delhi 58. Pages 363, price Rs-300 per set. This is the first volume of the series "Foundations of Indian Culture" by Prof G.C. Pande, a reputed authority on Buddhism, Indian culture and history as also a versatile genius known for several valuable works in English and Hindi. The present volume deals with the evolution of ideas and ideals of Indian culture as reflected mainly in ancient Iodian works and tries to establish that India a culture is, "in its essence, a development of founda. tional ideas constituting a creative matrix. Behind its charging bistorical forms lies a deep and persistent source of creativity which is spiritual in For Personal & Private Use Only

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Review 255 character." In a wider concept, we may state that the work is ambitious in that it deals with the evolution of the Aryan mind and intends to discuss spiritual vision and symbolic forms-two of the basic forces that have concretely shaped the Aryan mind and Indian culture. In this the Rgveda, Vedic literature, the Upanisads and philosophies, Sramanism etc. come under discussion and acute analysis for an exposition of Sadhana and Paravidra in nine chapters of part one and four of part two. The second part is rightly entitled "Symbolism and Expression." All this detailed discussion, analysis and exposition is followed by a Bibliography, Index as also corrigenda addenda. The whole work thus follows scientific lines and is thoroughly methodical and establishes on firm basis the claim of the author in his preface that "The history as well as the interior dialectic of tradition is sought to be brought out by noticing the interaction of theory, practice and experience as also the ever-dissatisfied seeking for expressiog imponderable feelings symbolically." Thus, the author reveals a thorough grasp over his subject and on the whole, he strictly follows the ancient scriptural writings. "Namalam likhyate kincit " is his motto, though we might, at places, dispute his interpretation and the conclusions that he derives. Chapter one, being introductory, explains the approach of the author and examines the roots and historicity of the spiritual praxis and the Indian conception of cultural tradition. To him, rightly, the evolution of Indian culture is a sadhana in the quest of the Self, its higher progress in order to evolve a persistent point of view that is " not merely the ascetic and the mystic, the whole time religieux of a sadhaka" (P.2). The sadhaka undertakes his sadhana by adopting an attitude of detachment and dedication, though we may here add that if we seek to grasp reality, Aryans in ancient India have also drunk deep at the fountain of life and have mostly cultivated a spirit of detachmeat, of resignation in the end. The Arya of old India has sought to identify himself with and to evolve his Self through, philosophical trends and isms, ultimately to accept a positive optimism, unstinted faith in humanity, faith in the basic goodness and inherent powers of man. This has brought Indian culture to evolve two principal values or concepts-(i) This life plus that life is life, (ii) sadhana and purusartha is the very core of Indian life. The introductory chapter could have been a little bigger to include these ideas on sound basis and authentic records. The next two chapters, "Vedic Interpretation" and" Vedic tradition and its upitive vision " deal with the contribution of the whole of Vedic For Personal & Private Use Only

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256 Review literature towards the evolution of spiritual praxis and the Indian conception of cultural tradition as the author has conceived of it. Here, particularly scholarly is the analysis of Rta in the Rgveda and the Vedic myth related to creation. The concept of Vedic sacrifice and funerary hymns are excellent in analysis. The concept of Brahman as analyst d here is just rou. tine and it should be stressed that intuition in the Upanisads is not bereft of the logical, though it is not merely and exclusively logical. Logic and intuitional experience go hand in hand, they are also an identity, and prove the meaningfulness of the word "Darsana." Chapter four discusses and analyses Buddhism as Sramanic negation and it is a positive contribution to Indian culture and values. Being a scholar of rank and an authority on Buddhism, he is at his best here in the work. It is true that ...... "Sramaniso gave a new digoity and status to man, its asceticism, instead of rejecting humanity, exalts it. (P-69). It is also true that "the idea that the world is evil and must be given up sooner or later if one is to search for lasting spiritual welfare, institutionalized in Samnyasa or mendicancy, is the lasting contribution of sramanism to Indian culture. " (d-61). - However, the following two views of the author are disputable and require revaloation- (a) renunciation in the Brahmana works being a consequence of Sramanic impact achieved in early post-vedic or sutra period, (b) The doctrine of transmigration being the most characteristic feature of tradition of Indian thought as derived from Sramanism. We would again feel that taking Samktya to be sramanic and different from the Vedic tradition is too much again. These three views can be easily disputed if we just take the meaning of the word "Vedanta' as applied to the Upadisads to be "culmination of the vedic thought and philosophy taught by the Upanisads." The next three chapters are entitled --'classical cross-currents-Vedanta,' 'monotheistic trends' and 'synthesis in the Smotis, Puranas and Tantras.' Here, in these very scholarly expositions, the analysis of Sankara's philosophy, the monotheism of the Gita and Saivism are a land-mark in the author's contribution, thyugh, at places, we might have second thoughts on his views. The next two chapters on " Adhyatmavid;a as Philosophy " and For Personal & Private Use Only

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Review 257 "Synthesis of Yoga in the Gita" show the critical and analytical acumen of the author at a lofty height. Here, the first part ends, unfortunately without a concluding chapter in which the author could have given his analysis of this sadhana and paravidya as also some critical thinking, rethinking and analysis of which the author is definitely capable with his deep study, exquisite grasp of his method and a mental capacity of clear-cut thinking and analysis. Again, one glaring missing link is the absence of a chapter on Jainism, the contribution of which can in no way be under estimated. Part two is broadly entitled " Symbolism and Expression " that evoIve through and influence at the same time, " Language and myth," "Forms of Rational Knowledge," " Literature " and " Art, " The author quite rightly commences his chapter ten on "Language and Myth" with these wordss--"The meanings of words can hardly be thought of as things in the real world. They are rather constructs of experience and what the words refer to are selectively demarcated fragments of experience and beh. aviour" (p. 179). This chapter aims at scientifically explaining the symbols that evolve from language, how they influence and enrich language, how different sastras view language and its impact on and the shape that they give to culture and so on. Here, the author rightly stresses that If language in its ordinary use is a necessary part of vyavahara, rightly under. stood, it can be a ladder for mystical self-realization. Language is both prapanca and mantra, " (p. 182). The other sections in this chapter "Aspects of Linguistic History, " "Sanskrit and Indian Culture," "Myth as Symbol, " deal with their richness as also their positive contribution to Indian culture. In all these, the topics discussed and Indian culture are rightly to be shown as mutually dependent and shaping each other. Myths are very well illustrated and are, in most of the cases, corretly interpreted. The next chapter on" Forms of Ratiopal Knowledge "with an appendix on " Heterodox Philosopbies and Scientific Development" and the next two chapters on " Literature " and "Art" treat of the topics on the same lines and are valuable in their own way. The following statement in the chapter on 'Art' applies well to all the topics dealt with in part two. "If symbolism is understood as expressiveness dependent on obscure associations which do not need to be perceived for being effective, and if meaning is understood as a subjective condition, these two terms Samobodhi XI-33 For Personal & Private Use Only

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258 Review ( vyanjaka ) and meaning ( vyangya ) would then pervade all the arts," (p. 328 ). This shows that the thinking of the author is quite on the right lines in part two as in part one. But again, here also, a concluding chapter was essential and it could have been a genuine contribution of the author. We may here refer to one or two minor points. Sanskrit technical terms written in English are very often not italicited and are without diacritical marks. Here, uniformity should have and could have been maintained. Similar is the lack of uniformity with the writing of Sanskrit quotations. It is happy that a list of corrigendum is given. But it may be stated : that some misprints have been simply fantastic, To illustrate, 'ransmigrtion' (p. 63), 'tortuous' (p. 65), injuries' for jo jures' (p. 66), 'quiet' for *quite' (P, 67), 'vairocana' for 'virocana' (P. 71), *Nighantas' for 'Nirgranthats (p. 76), :Ayaramga' for 'Acaranga' (P. 77) etc, etc. English redd. ering of some of the words requires reconsideration. To illustrate, 'for the sake of society' (loka-sangraha) essential Aloneness, (kaivalya) (p. 65), illuminative operation' ( prakasavarana Ksaya ) (P. 97), the experience of self-realization (inana laksanabbakti) (p. 147) Desireless will (niskama karman ) (172), enquiry into principles ( tattvajijnasa ) (225), of the whole or critical and analytical works on its various aspects, we have so many cultural studies of several works and writers. The first volume of the present series by Prof. G. C. Pande is a valuable contribution and addition to the already vast and rich store of authentic, scholarly and valuable works on Indian culture, it is welcome as a Scholastic apaly. sis of a problem of importance, it is fairly original. -R. S. Betai "DIMENSIONS OF ANCIENT INDIAN SOCIAL HISTORY :- G.C. Pande. vol. 2 in the series" Foundations of Indian Culture." pages 287 Books and Books, New Delhi 1984, Price Rs. 300/- per set. This is the second volume in the series Foundations of Indian Culture." In the first volume entitled "Spiritual Vision and Symbolic Forms in Ancient India," the author very ably established the philosphical religious and ethical basis that has kept Indian culture alive to-day, after it faced unprecendented onslaughts of opponents and consequently severe For Personal & Private Use Only

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Review 259 trials and tribulations of ages and these would have and could have wiped out completely the Indian culture from the face of the earth. Our culture and civilization lived through heaviest odds and this became possible because of this sound and firms basis. The same basis has shaped and coloured the Hindu social organisation, its Institutions, thought and philosophy that may be accepted as the most important aspect of Indian culture. The present volume discusses and analyses the social history as it has evolved through the ages. The author rightly observes in his 'Preface' that "This second part of the work concentrates on the analysis of the social world ......... In dealing with the social tradition, its historicity is sought in the present work to be placed by the side of that perennial identity which constitutes its constant inspiration ...... the notions of desakala, samyagajiva and svadharma may be said to have constituted the basic matrix of social action presupposed by the life of contemplation and symbolic expression in Indian culture." The purpose, approach and importance of the study, the line of thinking and argumeet are explained here in brief. The work starts with an Introduction which is rather too brief, i.e, in just 6 pages. The purpose of the work, its title and hypothesis are not elaborated or well explained or clearly laid down here, though the author stresses the conception of social bistory in these words of Trevelyan " The appeal of such history is basically imaginative and lies in the desire to feel the reality of life in the past, to be familiar with the chronicle of wasted time for the sake of ladies dead and lovely knights" * (P.I) but he more or less rejects this view and claims to go far deeper in the question of grasping the human nature; in the forces that determine the social process and constitute its relationship to human nature as a whole. For that he goes to the " Ideational Foundations of society and their historicity" that brings him to the analysis of social consciousness in the Indian tradition. Man's true identity is spiritual and transcendental and can be realized only inwardly in terms of his relationship to God or the Absolute", (p.2), though for practical purposes man acquires : an identity in psycho physical and social terms." Here, we may add that, as the facts stand in the Indian social tradition, bearing aside a few exceptions, (i) normally, all men must pass through all the stages of life. This is natural to most men and women physically, psychologically, emotionally and spiritually. Consequently, (ii) Iodians have drunk deep at For Personal & Private Use Only

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260 Review the fountain of life and have loved to enjoy all the joys that life offers, and, (iii) they take this course, as the most natural one, so that transcending from this life to the other, to the higher one shall be a most natural course and at perfect ease and peace of mind. The analysis of self-consciousness that the author gives here might not sound all pervasive to all men. When the social concepts are to be explained, the author gives only a brief and basic explanation of terms such as jana, janapada, gotra atd so on. However, the author hits the nail at the right spot when he states: "The traditional sense of social identity thus, although associated primarily with varnaframadharma (diacrtical marks and italics mine), was secondarily associated with supposed kinship groups like the gotra and with territorial regions or jana-padas. (p-6) Naturally enough, chapters 1 and 2 discuss the 'Geographical Identity' and Growth of population.' These are no doubt initially important and are here well analysed. However, foreign invasions and their impact and the rot that set in, as also its reasons could have been discussed in greater detail. In the next four chapters follow the economic pattern, the occupations and means of livelihood, the rural and urban life, etc. They form the basis of the social patterns and in the discussion of all these the auth:r reveals his modern and scientific outlook. The distribution of the topics here is well-planned and systematic though the discussion is just routine and we are not likely to get much new material. However, the study here is scientific and the conclusions that the author arrives at here are clear and realistic though not unknown. Naturally with this, the author comes to "Standards of Living" in chapter 7. Basing his study on correct and sound lines, the author succeeds in showing marked variations in the life, character, concepts, outlook etc. between the very rich and the very poor in which Indian social life evolved and in which it was broadly divided. The distinctions are well stressed, the conclusions are well drawn. The author also stresses and rightly too that Indian social life lacked revolutionary fervour and spirit and suffered rare upheavals, even in the face of countless challenges that it faced as we would add. It is also true that "Economic life ran on customary lines and wealth was not overvalued. Peasants and labourers, craftsmen and traders worked hard but were aware of the philosophy of resignation." (p.124). The peculiar traits of Indian culture and Indian society with its social For Personal & Private Use Only

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Review Institutions and their influence on eachother due to the economic standard of living, are analysed well. Chapters 8 to 10 are entitled "The Development of Socio-ethical Ideas", "Socio-Historical orders-vedic" and "Sccio-Historical order-post vedic." The three chapters are, in a way, the very core of the work and they fully justify the title. This part, in 123 pages analyses the main theme fairly well and the treatment is scientific and evolves on sound basis, though the discussion is just traditional. The author is fairly objective, he is precise, clear and to the point. To the credit of the author we may state that he places on sound scientific lines and firm basis, almost all that we know. One good feature of the treatment here is the recurrence now and then of explanations of some of the technical terms of Indian social philosphy in almost an aphoristic style. To quote one or two and, 261 "The sramas represented the stages not only of man's biological life but their integration into social and moral patterns which would constitute a gradual approach to the condition of spirtual self-sufficiency," (P-133). "The varnas constituted a purely social and ritual hierarchy totally unconnected with wealth and occupation. The varna system was no longer a system of even functional let alone economic class. (p.215). Political order cannot be separated from the social order and therefore it is an important part of man's culture. The last chapter is therefore entitled Political order and Ideas." The five clans-janas of the vedic period, the samiti and the sabha etc. are well analysed here. The author comes to the divergent post-vedic political tendencies and isms and he mainly analyses monarchy and the republics. (Actually different types of Rajyas are referred to as early as in the Jaimintya Brahmana.) The inte rnal and external conflicts that follow and the various empires are referred to. This is followed by an evolution of character of the state. The author sums up the discussion with an analysis of the basic philosophy of Indian polity. The discussion and analysis had the scope to be a little more tech nical; it should have stressed the contribution of Manu, Kautilya ete. in greater details. Here again, as in the first volume a summing up chapter would have been welcome. The author could have, in depth, evolved the dimensions For Personal & Private Use Only

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262 Review of Ancient Indian Social History and Philosophy. The results of the whole study could have been brought here together in proper order and system. It would have been an acid test for the grasp and intellect of the author, he could have contributed something more original. But unfortunately the chapter is conspicuous by its absence. On the whole, however, the book is welcome as a scientific analysis of the problem though the author has not much to contribute by way of new ideas and ideals. Besides scientitic analysis, the sound methodology is a glaring achievement of this second volume. The author succeeds in placing on firm basis our conceptions and ideas on Indian polity, its basic ideology and its positive contribution to lodian social concepts, social Institutions, social organization as also social bistory aod Indian culture as a whole. The selected Bibliography reveals the vast and varied reading and study of the author and the well-planned Index is useful to the reader. However, lack of uniformity in italicising the technical terms and in placing diacritical marks, persist as in the first volume. There is agaio, no unifor mity even in giving translatios of all Sanskrit and Prakrit quotatios. Tran. slation of some Sanskrit words requires revaluation. However, these are just a few small points to be noted. On the whole, the work is very well written and scholarly and it fully justifies the title that is given to the book. It is welcome to students, scholars and interested general readers. - Ramesh S. Betai GLIMPSES OF THE HISTORY OF MANBHUM-Subhas Chandra Mukhopad byaya-Calcutta 1983. Pages 40. Price Rs. 12 Maobhum was once a district of Chhotapagpur. The author stresses its cultural importance in these words "Almost every village dotted over the rugged land of Manbhum is a mini-museum of aptiquities but no systematic study of the inumerable antiquities has been made for their evaluation in the light of traditional Indian Art and architecture." This has inspired the author first to write the present enlightening monograph. It has a modest and limited purpose of acquainting us with For Personal & Private Use Only

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Review 263 the area in historical and cultural perspective and bringing us closer to its vast antiquities. He hopes to give more detailed and systematic studies of these antiquities after this and also to inspire similar studies by others. The study in the present monograph has four chapters (i) Historical Geography (il ) Aryanisation of the Land (iii) Religion of the Country (iv) Political History of Manbhum. It has also three valuable appendices of which "List of Inscriptions found in the Ancient remains of Manbhum" and "List of 69 places where antiquities are found," are really interesting and enlightening. It also gives plates of photographs of some few inscriptions and a map of the Manbhum district. The appendices, plates and the map are also informative and therefore useful. The work shows that the author has a thorough grasp of his subject and he has already undertaken extensive field-work. Though limited in its purpose the study is scientific, thoroughly methodical and systematic and gives to us full information about Manbhum in a historical and cultural perspective. It is therefore both informative and instructive. Larger studies by the author and other researchers inspired by the present monograph should be welcome. -Ramesh S. Betai .' Jaina Sangraba(Sahityaratnakosa), Ed. V. M. Kulkarni, PP. XXXIII+ 236, RS. 30-00, Sahitya Academy, New Delhi, 1980 It is the eighth volume of the Sahitya-ratpakosa series (comprehensive anthology of Sanskrit literature) published by the Sahitya Academy. It contains selections from classical literature ( Prakrit and Sanskrit excluding Apabhramsa Texts ) of the Jainas, compiled and edited by renowned Sanskrit and Prakrit Scholar Dr. V. M. Kulkarpi. He has made use of 38 texts in prose and verse (Ardhamagadb1-10, Sauraseni 9, Maharastri-7, and Sanskrit.12 ) ranging from pre-christian centuries to the 16th century A. D. There are in all 57 chapters, viz., 22 in Ardhamagadbi, 11 in Sauras. eni, 10 in Maharastri and 14 in Sanskrit. The work is divided into three parts - (l) Rules of conduct, (IT) Logic and metaphysics and (III) legends, stories and parables devoting 48, 56 and 122 ( total 236 ) pages respectively. In this volume extracts are compiled from Canonical, pro.canonical For Personal & Private Use Only

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264 Review and commentary literature, compositions on logic, metaphysics, epics, legends and biographies, works on rituals, conduct and eulogy (hymns) aba religious romances. It covers vast and varied literature of the two main sects of the Jainas. Some important chapters part-wise are as follows;. (1) Benedictory Formulae, praise of 24 Tirthankars, Spiritual progress, Devotion to Discipline, Nature of Bondage and Passions, Equa. nimity, Determinate Awareness, Non violence, Meditations, Stages of spiritual evolntion, Duties of a House-holder and Nature of Piety. (2) Path to liberation, Five kinds of knowledge, Nine principles of Jainism; Five magnitudes, Non-absolutism, Jain logic, Syadvada viewpoint and the theory of non-creation by God. (3) Pillow of Righteousness, Biography of Mahavira, parables of eggs and Rohini, Ceremonial Bath of Tirthankara, Kapila's discourse, Renouncement by Nami, Legends of Harikesa and Mrgaputra, True Sacrifice, Abduction of Sita, story of Valkalacill, Apologue of honey-drops, Combat between Bharata and Bahubali, Poetic descriptions of sunset, night-fall, Riabhadeva's play as a child and Kailasa mountain, Destruction of Dwaraka, stories of Kara. kandu and Muladeva and origin of sacrifice. The author has added an introduction of 33 pages, which is a brief survey of Prakrit and Sanskrit (excluding Apabhramsa) literature, composed by both the main Jain sects, which, here under 15 heads, covers almost all the genres of Indian Literature, the religious romance being a new genre. The author eniphasises the point that the Jain literature gives a picture of the real life of the Indian society in all its different phases and thereby going beyond the kings and priests. He points out how rich the Jaina literature is which has not left any aspect of Indian literature untouched. One who wants to know about the contents of the Jain literature must go through this volume. It is for the first time that such a meticul. ous selection has been brought out. We expect from the Academy English For Personal & Private Use Only

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Review 265 and Hin fi translations of the volume which is very useful to the students of Jainism and selections from it can be prescribed for the university students of Prakrit and Jainulogy. The author has further given a brief account of the doctrines of Jainism, thereby enhancing the academic value of this compilation. The Bibliography is also given in the beginning of the text. Some printing mistakes could have been avoided specially in the Prakrit portion. No errata has been appended. Some of the mistakes can be pointed out as follows: (i) Sanskrit :--37927497918ff, fear hafafaf710-82, fagastua-114, apart-195 etc. (ii) Prakrit :- ez (azy'), 7553 (i910), paa (atsat)-5, garfi (Tarfi)-6, JA (21771)-22, 3 (3=a?)-23, farfanat (faafungi)-27, va (rig')28 417 41334)-43, 9=991 (agavi), TAUO (CHUO)-51, ATAT 4 (arat 7)-53, 973 (aaa), zafag (764)-118, ale (Creu)-131, 3feuit (2xetru), 311=ggfa (311703fa)-136, afa (faz,) 3184 (37734)-139, gratt (graal)-163, 91 46ar (914691)-179 etc. -K. R. Chandra Prakrit Bhasaom Ka Tulapatmaka Vyakarana (evam udmem prakSanskrit Tattva ) by Dr K. R. Chandra, Pub. by (DR.) R. M. Shah; Secretary, Prakrit Vidya Mandala, (L. D. Institute of Indology ) Ahmed. abad-380 009, PP. 1-X + 136; price : Rs. 3. 00 The present book (in Hindi),'A Comparative Grammar of Prakrit Langu.ges,' is designed to meet the needs of the elementary as well as advanced students of Prakrit. It is divided into nine chapters. Prefaced with the description of the Alphabet (consisting of vowels, consonants, semivowels, sibilants, anusvara and anu-nasika) the First Chapter deals with the phono. logy of Mabarastri, the Prakrit par excellence ( PP. 25-44). Chapter II describes the distinguishing features of the rest of the Prakrit languages : Sauraseni; Magadhi, Ardha-Magadbi; Pali, Paisaci, Culika Paiasci, and Apabbramsa (PP. 25-44 ). Chapters III to VIII ( both inclusive ) treat of morphology-inflexion and word-formation of pouns, pronouns, verbs, tepses und moods, words ending with krit affixes, compounds, etc. (pp. 45-121). Sambodhi XI-34 For Personal & Private Use Only

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Review The concluding Ninth Chapter mainly attempts to throw light on the interrelation of Prakrit and Vedic Sanskrit (PP. 134). 266 The portion printed in big type is intended for the elementary stude nts. The matter printed in small type is especially meant for the advanced students who may look for some explanation of the facts given from the modern pint of view of linguistics. Dr. Chandia has adopted a comparative (and historical) method in presenting the subject-matter. His long experience of teaching Prakrit, Pali and Apabhramsa to the university stu dets has enabled him to present the rather tough subject of grammar in a simple and lucid style. By writing this very good grammar he has laid under obligation the students of Prakrit, Pali and Apabhramsa languages. And he deserves our warm congratulations. Incidentally, it may be noted that the book is disfigured by a very large number of misprints. The long list of corrections, added in the beginning, somewhat saves the situation. In a book dealing with a scientific subject we expect utmost precision. Let us, however, hope that maximum care is bestowed and accuracy attained when the second edition would be brought out. -V. M. Kulkarni STUDIES IN SANSKRIT SAHITYA SASTRA by Dr. V. M. Kulkarni, B. L. Institute of Indology. Patan. First Edition, 1983. pp. 200, price Rs. 60. The present volume, the first publication of the Institute, is a colle. ction of 16 Papers plus a paper in the appendix, on research problems of Sanskrit poetics, with the exception of "Kalpalataviveka on Bhamaha's Kavyalamkara" which appears here for the first time. All others are already. published in different Journals of repute: the earliest being a paper that appeared in 1954. The selection covers up a variety of problems of Sanskrit poetics and mostly these are problems that will strike to the minds. of very few scholars. This speaks for the deep, original vision as also height of scholarship and depth of research faculty of the author that is reflected in these papers. One interesting feature of the papers is their brevity, the longest being the famous- "Abhinavabharatt-text Restored," in 24 pages. This shows that the author writes in as few meaningful words as possible, he is also always and invariably to the point and ever on firm basis. He is thoroughly deep as most of the papers show. Sanskrit writers on Plagiarism" deals in brief with and gives a rather quick survey of the thinking of writers on plagiarism, the table of For Personal & Private Use Only

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Review 267 32 varieties of Artha on p. 9 proves how deep the thinking of Sanskrit writers on the probem is. The author's critical remarks compare the thinking of Sanskrit writers with the west and this enhances the value of the problem and its study. The next paper, on "Sanskrit Rhetoricians on Poetic Conventions" is on the sane lines. The third paper on "Kaku" deals with a valuable problem that will be of interest to some few enlightened scholars. Abhinavabharati- Text Restored" is one rare welcome attempt to bring the text concerned out of its corruptions and to preciseness. The next paper "Kalpalataviveka on Abhinavabharati" is a bold but wellgrounded attempt of the scholar to trace some missing links in the anonymous work. Similar is the next paper, the third, on restoration of the lost text of Abhinavabharati oa chapter VII of Bharata. Thus, three pape18 on the improvement and restoration of Abhinavabharati is a contribution indeed. In the paper on "Conception of Sandbis," the author tries to answer the question of the precise meaning of term 'sandhi', its funetion and the types in dramaturgy. According to him, the Sandhis rest on five Avasthas and the progressive development of the Bija. Other views are rejected outright. "Bhamaba on Grammar in relation to Poetry" is quite enlightening sioce it is both critical and analytical. However, the views of Anandava, dbana and Abhinavagupta could have been referred to with advantage. A small but welcome paper is "Kavyakalpalata on Bhaaha's Kavyalamkara" and it deals with the problem of the correct and precise meaning of the karkas V-5 to 10 in Bhamaha. "Rativilapa, Devisa mbhogavarnana and Alamkarikas" deals with traditional and some modern criticism of the two events as depicted in the 'Kumarasambhava' in its 4th and 8th cantos. His disagreement with traditional views on the 'Rativilapa' is courageous and convincing. His defence of the pleasure sports of Siva and Parvati as a pure piece of poetic art of Kalidasa as pure poet not directly concerned with the views inspired by the so-called ethical and moral considerations, is convincing though it is doubtful indeed whether the 8th Canto can be regarded as "a crowning and glorious achievement of Kalidasa's poetic ait. " TE view requires revaluation. "The Harivijaya of Sarvasena" is a welcome attempt to trace some verses of the work that are lost and it has immedes For Personal & Private Use Only

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268 Review research potential. "The Jaina view of Aesthetic Experience" could better not have found place in the present work. "Sanskrit Rhetoricians on Poetic Truth" added as an appendix could very well have been one of the valu able papers in the work. It is not clear as to why it is given as an appendix. The index of authors and works is interesting. This quick review of the method, content and critical remarks of the author on some of the papers shows that (1) The research faculty of the author is deep, sound, precise and subtle. (ii) "Namulm likhyate kincit" is the author's firm vow. (iii) The author is a man of few bat sound words. (iv) The rationality and scholarship of the author undeniably speak for themselves now and again, particalarly in his critical remarks. He is so very clear that the readers are not confused anywhere. (V) The author is an expert in tracing research problems that strike to the minds of few. The present work is thus a welcome addition to the books of lofty research and scholarship in the field of Sanskrit poetics in particuar and Sanskrit studies in general. For Personal & Private Use Only -R. S. Betai

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avalAkana 269 bhAratIya sAhityazAstranI vicArapara parAA--bIjI sa zASita AvRtti, lekhaka-DA.--tapasvI nAndI, prakAzaka-yunivarsiTI graMthanirmANa me, amadAvAda. prakAzana -1984, pAnAM-607, kiMmata rU. 30-00, vyApa paNa gujarAtamAM saMskRta sAhityazAstranA lAyanAgraMthanI bIjI AvRtti thAya te kharekhara eka sukhada ghaTanA gaNAya. dasa-agiyAra varSanA gALAmAM bIjI AvRtti thaI tyAre graMthanA saMzAdhana-parimArjana-vistaraNa-punarIkSaNanI taka lekhake jhaDapI ane bIjI AvRtti saMzA dhita ane sudhArelI ApI e vizeSa AnaMdanI vAta. jJAnanA kSetramAM ItizrI teA hAya ja nahI. dasa-agiyAra varSanA gALAmAM vidvAna lekhakanI medhA vizeSa khIlI ja hoya; temAM ciMtananI vizeSa jhINavaTa ane sUkSmatA pravezyAM hAya, temanA abhyAsanA vadhyA ja haiAya. A badhAne lAbha A bIjI AvRttine maLyA che tethI A graMtha kadamAM ghaNA vadhu meATo anee vizeSa AvakArapAtra banyA che, te to kaI paNa sujJa vAcakra ni:saMkoca kahI zakaze. lekhaka te "vi 6...''mAM eTale sudhI jaNAve che ke A AvRttimAM temanA prayatna rAghavana vagere Adhunika pUrvayAryAMnA matAnuM parimAna karavAno rahyo che, sAthe teo umere che ke-pahelI AvRtti pachInAM agiyAra varSamAM je adhyayana-adhyApana, ciMtana cAvyu, adhikArI vidvAnA ane vidyArthIe sAthe je parAmaza karyAM, ene niceDa ahIM rajU karyAM che. A AvRttimAM pade-pade, vAkaye-vAkaye, kare kare rajUAtanu' nAvInya samIkSakArI dRSTithI achatu nahi rahe.'' 24 prakaraNA-ullAsa ane phalazrutinA A granthamAM lekhake bhAratIya sAhityazAstranA prAya: sarvAM nAnAmeATA muddAne AvarI lIdhA che ane darekanI mImAMsA prAcIna AcAyani mAnya kAvyagata mahattva anusAra karI che. AmAM kAvyalakSaNa ane kAvyavibhAvana thI zarU karI kavizikSAnA muddAmAM granthanI pariNati karI che. svAbhAvika rIte ja temAM zabdazaktivicAra, dhvanivicAra ane rasavicArane tenA kAvyamImAMsAgata mahattvane kAraNe cha, traNa ane traNa prakaraNA apAyAM che, ane temAM vistAra anukrame 136, 150 ane 114 pAnAMnA thayA che, je svAbhAvika che. temAM paNa pratyekamAM Ananane kendramAM rAkhI, tenA pUrvAcAryAM, AnaMdavana ane tenA anugAmInu ciMtana evuM vyavasthita vibhAjana lekhake karyuM" che, je sa` rIte yogya che. lekhakanA ci tananI zAstrIyatA ane cokasAInuM A eka pramANa che. vaLI gra MthamAM viSayA ane rajUAtanI AMtara-vyavasthAmAM paNa lekhake pUrI cAkasAi rAkhI che tenI pratIti paNa thAya che. A uparAMta dareka viSaya paranA ciMtananI utkrAMti spaSTa tAravI zakAya te mATe lekhake sau Adhunikane pUrA abhyAsa karyAM jaNAya che. te chatAM AdhunikonAM maMtavye pramANu tarIke khAsa TAMkayAM nathI; mULa graMthAnA ja AdhAra lIdhe che. lekhaka bhAratIya sAhityazAstranI AlAcanA-mImAMsA mULa AcAryAMnAM ciMtana ane dRSTibiMdune AdhAre ja kare che. AthI A graMthanA ciMtanano pramANabhUtatA bAbata zaMkA rahetI nathI. zAstrIyatA sAthe pramANabhUtatA e A graMthane mATA guNu che. For Personal & Private Use Only

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rahe che avalokana A kRtinuM eka vadhu jamApAsuM e che ke lekhake mULa prAcIna kRtione ja AdhAra lIdhe che tyAre temanA ciMtananI mImAMsA A AcAryonA samayAnukramamAM ja karI che, ane pariNAme eka-eka vicAranI kamika utkrAMti spaSTAkAra karavAnI taka lekhakane sAMpaDI che. A AlocanA-mImAMsA vizada che, spaSTa che, viSayone moTe bhAge sarvagrAhI Alekha Ape che. viSayanA nirUpaNamAM darekanuM kAvyagata mahattva jaLavAya te uparAMta temAM koI vigate A pavAnI bAkI na rahI jAya tene paNa temaNe khyAla rAkhyo che. ahIM lekhaka sarve rIte saphaLa thayA che. hA, ema jarUra lAge che ke dareka muddAnI vizleSaNane aMte lekhake pitAnI samIkSA pUratA pramANamAM ApI hatI te A graMthanI guNavattA vizeSa vadhI jAta. vaLI ema paNa lAge che ke aMtima belAsamAM kavizikA nI carcA theDI vadhu vigate thavI jarUrI hatI. bhAratIya sAhityavicAranI samRddhi je zabdazaktivicAra, dhvanivicAra ane rasa- . vicAramAM rahelI che, te vizvanA sAhityavicArane paNa nizcita pradAnarUpa banavAnI kSamatA dharAve che. sAthe A traNa paranA ciMtana nI mImAMsA bhalabhalA medhAvI vidvAnanI kasoTI kare tevI che. ahIM e noMdhapAtra che ke A traNa muddAnI mImAMsA e A graMthanI moTAmAM moTI siddhi che. rasamImAMsAnAM traNa prakaraNamAM to lekhakanI medhA soLe kaLAe khIlI " che. A rasaciMtananI sUkSmatA, maulikatA tathA tenuM sarve ahIM pUrAM abhivyakta thAya che. A sAthe eTaluM lAge che ke nATayarasa ane kAvyarasane paraspara saMbaMdha ane bheda vize vigate carcAvAM jarUrI hatAM. bhAratIya sAhityavicAranAM prANaprada tonI carcA uparAMta tenA AnuSaMgika muddAo lekhaka mImAMsAnI eraNa para caDAve che. AmAM khAsa karIne guNavicAra, rIti-mArgavicAra, alaMkAravicAra ane vaktivicAranA ullAsamAM lekhakanAM abhyAsa, cekasa i, spaSTatA sarvagrAhitA ane vaijJAnikatA ApaNane prasannakara bane che. covIsa ullAsane aMte lekhaka ApaNane A samagra abhyAsanI kUlazruti phakta cAra pAnAMmAM eTale ke atyaMta saMkSepamAM Ape che. kharekhara svAbhAvika apekSA e rahe ke A phalazruti samIkSAtmaka bane ane temAM bhAratIya sAhityavicAranI tArivakatA tathA samRddhi, tenI utkrAMti tathA vizvanI AlocanA tathA vizvanA sauMdaryazAstrane tenuM pradAna lekhaka raja kare. bhAratIya ciMtanamAM kAvyamImAMsAnA viSayanI AgavI sUjha, UMDuM ciMtana, vaividhya, talasparzI avagAhana vagerenI samRddhinI samIkSA lekhaka Ape. sAthe e paNa apekSita hatuM ke phalazruti A graMthanA samagra ciMtana ane bhAratIya sAhityazAstranA taratanI samIkSA Ape. athAga parizrama sAthe taiyAra karavAmAM AvelA A mUlyavAna graMthanI lekhanapaddhati bAbata be-cAra nAnAM sUcane ApavAM jarUrI jaNAya che For Personal & Private Use Only

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avalokana 271 prathama ane dvitIya uralAsamAM vizeSa ane pachI paNa pharI pharI AvatI naM "AgaLa joI zuM ke..." "AgaLa nepyuM..." te bane teTalI ochI hovI jarUrI hatI; ahIM tenuM punarAvartana TaLIzuM', vagere paNa. A prakArano eka ja zabda eka ja vAkyamAM punarukata thatuM hoya tevA prayoga nivAravA "laMjanA svIkAranI paristhiti svIkArIe" "Ama have ApaNe have pachInA .."(pA. 120), nivicAra vicArazuM." (pA.283); "phakata sahRdayane mATe hadayasaMvedya mAne che" (pA.289), vagere. vaLI gujarAtI bhASAmAM A prakAranA prayogane sthAne saheja saraLa ane vadhu svAbhAvika prayoga thAya e IcchavA jevuM che "AkArita thatI jAya che" (pA 16), "uccArita thAya che' (128), vagere. chApabhUla thavAne lIdhe ane anya kAraNosara thayelA A prayoga kaSTa nathI kti-vivekakAra (pA. 37), "vRddhA vyavahAra' (131-132), "prastuta unmeSamAMpachInA prakaraNamAM', (ullAsa joIe) (124), lAkSaNika artha ane lAkSaNikartha' (eka ja prayoga ISTa) (131), "dIkSita' (147 ane AgaLa) (dIkSita pUratuM che), zabdabrahmanAvi pariNAmarUpa che (306) vagere. vaLI ATalA vizALa ane zAstrIya graMthamAM saMketAkSasUci, saMdarbhagraMthasUci ane zuddhipatraka hevAM jarUrI hatAM - A pustaka eTaluM vitavAna ane sarvagrAhI vizleSaNa karanAruM che ke bhAratIya sAhityazAstranI vyApaka mImAMsA karatAM hindI ane aMgrejI bhASAmAM racAyelAM thoDAM mUlyavAna pustake paikInuM eka banavAnI temAM kSamatA che. AthI A kRtine adhikRta anuvAda nidAna hindI ane aMgrejI bhASAmAM thAya te tene sAro evo lAbha samagra bhAratanA ane jagatanA bhAratIya kAvyamImAMsAnA abhyAsIone maLI zake ane lekhakane parizrama vizeSa sArthaka thAya, UgI nIkaLe. -rameza beTAI saMskRta sAhityamAM karuNarasa-lekhaka ane prakAzaka-prA. razmikAnta 5. mahetA. pAnAM 61156. kiMmata-3. 20-00 "duHkhapradhAna sukha a95 thakI bharelI" evI jIvananI ghaTamALamAM zRMgAra jeTaluM ja lagabhaga karuNanuM pravartana hoya che. AthI svAbhAvika rIte ja karuNanuM sAhityamAM pravartana khUba khUba jovA maLe che ane vivecako aneka rIte tenI mImAMsA karatA ja rahe che. saMskRta kAvyamImAMsAnA AcAryoe paNa karuNanI samasyA khUba carcA che, ane For Personal & Private Use Only

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272 avalokana saMskRta sAhityamAM paNa karaNanuM pravartana ochuM nathI. pachI bhale "A vAghane karuNa gAna vizeSa bhAve" evI svabhAvagata anubhUti dharAvanArA kavio saMskRtamAM ochA hoya. bhavabhUtine karuNanA kavi tarIke biradAvavAmAM AvyuM che ane te "eka rasa: karuNa eva.." evuM vidhAna kare che tyAre tenuM A vidhAna saMdarbha vize pUratuM ja sAcuM che ke te kAvyamImAMsAne eka mUlyavAna siddhAnta rajU kare che, e prazna paNa Adhunika vidvAnoe sArI peThe ca che. A badhuM jotAM karuNarasa saMskRta sAhityamAM keTalA kheDA che, tene viSe bhAratIya AcaryonA khyAla zA che, tene vyavasthita saMkalana karI tenI chaNAvaTa gujarAtImAM thAya to tenAthI gurjara jJAnagirA samRddha banavAne pUro avakAza hate. prastuta graMthanA lekhake A dizAno prayAsa karyo che, je AvakAradAyaka che. saMskRta sAhityamAM karuNa kayAM kayAM ane kevA svarupe khIlyo che, ane karuNa rasanA svarupa viSe saMskRta AcAryonuM ciMtana zuM che te ahIM lekhaka tAravI Ape che. saMskRta sAhityamAM karuNanuM , nirUpaNa judAM judAM kAvyasvarUpomAM racAyelI kRtionI dariTa rAkhIne lekhaka traNa prakaraNamAM Ape che. chelle upasaMhAranuM prakaraNa ApyuM che. Ama, abhyAsa bAhya kalevaranI daSTie jotAM sArI peThe vyavasthita che ane UMcI apekSA UbhI kare che. uparAMta lekhake je vizALa saMdarbhagraMthasUci ApI che ane e graMthane je bahoLo upayoga karyo che. tenA parathI paNa lekhake A kRti pAchaLa sAre evo zrama lIdho che te dekhAya che. paraMtu koI cakakasa pUrva kapana ke karuNarasa viSene sUkSma, suvyavasthita abhigama ke khyAla laIne lekhaka cAlyA nathI. lekhaka pAse karuNarasa ane tenA kAvyagata sthAna tathA tenI sUkSma, tAtvika, mane vaijJAnika, bhAvAtmaka asaro viSe kaI spaSTa ciMtana heya evuM dekhAtuM nathI, te kahe che. A sthitinI pratIti pratyeka kAvyasvarUpanI kRtionA karuNa rasanA nirUpaNa pAchaLa AvatI atiTUMkI, uparachalI ane spaSTa vicAraNA-alecanA vinAnA upasaMhArenI carcA parathI thaze (pAnAM 27, 43, 2, 111, 143 vagere). AthI ja pAna 27 para lekhaka karuNarasanI saMskRtamAM thayelI carcAne ekaThI karI daIne tenA viSene saMskRta mImAMsAne paNa spaSTa khyAla upasAvI zakyA nathI. pAna 43 paranI karuNa rasanA kAvyagata sthAna viSenI AlecanA paNa nabaLI ane chelle cakkasa AkAra dhAraNa na karanArI banI che. AvuM ja kharekhara te ekadama agatyanuM gaNAya evA "upasaMhAranA TUMkA, ati TUMkA prakaraNamAM paNa banyuM che. temAM paNa A khA graMthanA nirbaLa sAra jevuM, ati jhaDapI, kAcuM, uparachaluM nirUpaNa mAtra maLe che. Ama thayuM che tyAre eka prazna thAya ke AmAM lekhakanuM pitAnuM pradAna zuM ? saMbhavataH kaMI ja nahIM. vaLI karuNa, karuNarasa ane karuNAntikA vaccenI bhedarekhA viSe paNa lekhakanA pitAnA khyAle spaSTa nathI evuM khAsa che tyAre lAge che jyAre, dA. ta., nIti ane vairAgyazataka vagerenAM keTalAMka padyo lekhakane karuNa rasanA sparzavALAM lAge che (pA. 136thI 138, 145). khAsa karIne gadyakAvyanA lekhake pasaMda karelA ghaNAbadhA phakarAmAM karaNanuM sthaLa, vAgyabhUmi paranuM varNana che, je ghaNI vakhata vaninA abhAve rasamAM pariNamatuM nathI, A bAbata paNa lekhaka pAse spaSTa khyAle dekhAtA nathI. RtusaMhAranA traNa leke For Personal & Private Use Only

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avalokana 273 (pA. 135) karuNa mATe lekhake pasaMda karyA che te paNa punaHciMtana mAgI le che. lekhaka vipralaMbha zRMgAra ane karuNa vaccenA sUkSma bheda bAbata paNa AcAryonAM keTalAMka maMtavyo mAtra ApIne saMtoSa mAne che tyAre paNa lekhakane pUchavAnuM mana thAya tema che ke A bAbata tame zuM mAne che ? karuNarasa ane karuNatika-tragedy-vacce saMbaMdha che, e bAbatanI ThIka ThIka vicAraNu lekhake vidvAnemAMthI ApI che. saMskRta nATaya sAhityamAM karuNAntikA bahu kheDAI nathI tenAM kAraNo lekhake . bhadanI kRtimAMthI ApyAM che. paraMtu A badhuM karyA pachI A muddAnuM mUlyAMkana lekhake jarAsarakhuM paNa karyuM nathI, kadAca karavAnI hiMmata karI nathI. Ama, mAtra prasaMge bhegA karI ApavA ane tenA rasa para vidvAnanAM maMtavya eThAM karI ApavAM, eTalA mAtrathI karuNarasanI mImAMsA thatI nathI, eTaluM lekhaka samajyA che ke nahIM te zaMkAspada che. lekhake saMskRta avataraNe pAdaTIpa mAM puSkaLa ApyAM che ane tenA anuvAda ApyA che. keTalAMka sthaLe anuvAda santoSakAraka thayA che te ghaNuM sthaLoe anuvAda kAcA, adhakacarA, aspaSTa ane ghaNI vakhata khoTA paNa thayA che. (dA. ta. pAnAM-16, 26, 27, 49, 50, 51, 59, 61, 89 vagere). A ja rIte vAkayaracanAnA dethI paNa A kRti sarvathA para nathI. vadhumAM vadhu khaTake che mudraNadoSa. pAne pAne apAra mudraNadoSa rahI javA pAmyA che te asahya ja gaNAya. vaLI bhUlanA pramANamAM nAnAsarakhA chatAM cAra pAnAnA zuddhipatrakamAM zuddha zabda ApyA che temAM paNa keTalAka mudraNadoSe rahI gayA che ! "prastAvanAnA prathama pAnAnI chellI kaMDikAmAM lekhaka mudraNadoSe mATe kSamA prArthI che e kSamAprArthanAnA vAkayamAM paNa traNa cAra mudraNadoSa che ane kavarapeja paNa 'karUNarasa chapAya che te ekadama ane prathama najare ja khaTake tevuM che. vaLI Ane pariNAme "baddhacarita' ne badale "buddha charita' thaI gayuM hoya (pA. 44), "kelAzanAya tripAThI' e lAzanAtha tripAThI' banI gayA hoya tyAre te kahevuM ja zuM ? AvI ja neMdhapAtra kSati che A vana kharekhara Aga nIkaLI' (nabaLe anuvAda) ne badale "A vacana kharekhara AgaLa nIkaLI." AvI kSatione ane "samaya cakra" "samaya cakrama' banI jAya che tene kRtimAM pAra nathI. anuvAdanI bhASA uparAMta samagrapaNe paNa pustakanI bhASAmAM lekhaka ekabAjI pIve che? (pA. 51) "sItAne gharamAMthI kADhI hatI' (pA. 53) evA gAmaThI lAgatA prayogo kare che, te bIjI bAju teo "anapatyavedanA "pArvatIyadaya" (pA. 51), lekhana For Personal & Private Use Only

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274 avakana puruSArtha, "rasa viSayacakra' jevA gujarAtImAM kRtrima lAgatA saMskRtamaya ane koIkavAra zaMkAspada prayoga kare che, te batAve che ke lekhakanI bhASA paNa eka kakSA jALavatI nathI. A badhI ja kSatio kALajIpUrvaka sudhArIne, lAMbAM lAMbAM avataraNo ochAM karIne, ane pitAnuM cokakasa pradAna kahI zakAya tevuM samIkSAtmaka ciMtana ghaNuM vadhu ApIne, pachI ja lekhake A kRti pragaTa karavAno vicAra karavo joIto hato. jo ke bIjI bAju e paNa hakIkata che ke A badhI daSTie kRtinI sudhAraNAne artha samagra kRtinuM punaH lekhana e ja thAya. -rameza beTAI zeTha ANaMdajI kalyANajInI peDhIne ItihAsa bhAga-1 le. ratilAla dIpAMda desAI, zrI. zeTha ANaMdajI kalyANajI, amadAvAda-1983, mUlya . 50-00 aneka jaina tIrthone vahIvaTa jenA hAthamAM che te zeTha ANaMdajI kalyANajInI peDhIne itihAsa ahIM prastuta che. aneka vidvAnoe A kArya karyuM, paNa tethI zeTha zrI kastarabhAine te pasaMda na AvyuM ane aMte suyogya vidvAn zrI ratilAla desAIne A kArya peDhIe saMpyuM tene huM sAkSI chuM. ahIM e jaNAvavuM jarUrI che ke A peDhIe potAnuM daphatara je rIte sAcavyuM che tevuM kaI peDhIe sAcavyuM haze ke nahIM te zaMkAspada che. A mATe sarvaprathama peDhIne dhanyavAda ApavA jarUrI che. e daphatara hatuM te Avo prAmANika ItihAsa lakhI zakAya che. ane karavuM joIe ke e daphataranA pAne pAne uthalAvI eka dhULadhoyAnI adAthI ane ItihAsanI sArI daSTithI je rIte A mahattvanuM kAryo zrI ratibhAI karI rahyA che tevI cIvaTavALA vyakti AvA kAma mATe durlabha che. zrI ratibhAIe A pUrve guru gautama, bhadrazvaratIrthane itihAsa, mahAvIra jaina vidyAlayane itihAsa jevA graMtha lakhI ItihAsa lakhavAnI hathoTI meLavIne A kAryamAM paDayA che ane kahevuM joIe ke teoe peDhInA itihAsamAM je kaMI mahatvanuM jANavA jevuM hatuM te daphataramAMthI ekatra karI ahIM suvA rUpe rajU karyuM che. A mAtra peDhIno ItihAsa nathI paNa aDhIso varSanA janasamAjanA itihAsa mATe paNa AmAMthI ghaNuM maLI rahe tema che. -dalasukha mAlavaNiyA For Personal & Private Use Only

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avasAna-noMdha saMniSTha abhyAsI maMjukAkAnI cira vidAya ogaNIso coryAsInA navembaranI agiyAramI tArIkhe . maMjulAla raNachoDalAla majamudAranuM, navadAyakAnAM pUrNa jIvana bAda avasAna thayuM. | majamudAra gujarAtI bhASA ane sAhityanA prAdhyApaka hatA. madhyakAlIna gujarAtI sAhityanuM temanuM saMzodhana ane vaDedarA sthita premAnaMda sAhitya sabhA" zrI maMjalAlanAM kAyamI smAraka banI raheze. teo bhASAnA adhyApaka hovA uparAMta bhAratIya ItihAsa ane saMskRtinA paNa sArA abhyAsI ane saMzodhaka hatA. khAsa karIne hastapratacitrone emane abhyAsa prasaMzanIya hate. zilpa-sthApatya ane abhilekha tathA bhAratIya dharmonA kSetre emane abhyAsa sArI gati karI zaka hatA. A badhAnAM phaLasvarUpe kacarala hisTarI opha gujarAta' nAmane suMdara graMtha emaNe ApaNane Ape. gujarAtanA samagra sAMskRtika jIvanane itihAsanI pRSThabhUmi sAthe emaNe AlekhyuM che. je abhyAsI mATe preraNAdAyI che. gujarAta sarakAranA mAhitI khAtAe paNa te parathI eka aMgrejI pustikA pravAsIo mATe ane sAmAnyajana mATe prasiddha karI che. DI. majamudAra vaDanagarA nAgara gRhastha hatA ane emanuM kuTuMba traNacAra peDhIthI naDiyAda tAlukAnA mahudhA gAme rahetuM hatuM. jo ke A sadI daramyAna emanA kuTuMba vaDodarA sthaLAMtara karela. AthI rDo. maMjukAkAnuM vidyAkIya ghaDatara ahIM thayuM hatuM. teo samAjazAstra viSaya sAthe pAraMgata hatA ane kAyadAnA snAtaka paNa hatA, chatAM vakIlAta karavAne badale teo vidyAkSetre pravezIne grAmya vidyAmaMdiramAM bhASAMtara-madadanIza tarIke joDAyA. ahIM temaNe bhASAMtarakAmanI sAthe A saMsthAmAM saMgRhIta samRddha hastapratone, khAsa karIne sacitra hastapratone, abhyAsa zarU karyo ane citrazailIonuM adhyayana ApameLe vadhAratA gayA. pariNAme ghaNuM moTI uMmare emaNe A viSayamAM vizeSa saMzodhana karI vidyAvAcaspatinI padavI saMprApta karI. Ama gujarAtI bhASA-sAhitya ane bhAratIya saMskRtinA kSetro emanI vidyAprIti pharatI rahI, jene pariNAme temaNe cAraso jeTalA zodhalekha pasiddha karyA. teo vidyAkIya pariSadamAM ulaTathI hAjarI ApatA ane zodhanibaMdhe rajU karatA. emanAM lakhANamAM hamezAM navIna sAmagrI hAI emanAM lakhANane saMdarbha anugAmInAM lakhANamAM thato rahe. For Personal & Private Use Only

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276 avasAnanedha bahu moTI uMmare teo adhyApaka banyA ane nivRttikALa sudhI gujarAtI bhASAsAhityanuM adhyayana-adhyApana-saMzodhana karatA rahyA. teo vidyArthIonA vahAlasoyA maMjukAkA banI gayA hatA evI emanI zikSaka-pratibhA hatI. aitihAsika saMzodhananA phaLasvarUpe emaNe gujarAtanI kALagaNanAne AvarI letA graMthanuM Ayojana karyuM ane keneja opha gujarAtIne prathama bhAga prasiddha karyo. durbhAgye agamya kAraNosara pachInA bhAgo prasiddha thayA nahIM, koI vidyAsaMsthAe A kAryane pUrNa karI maMjukAkAnI smRtine ciraMjIva rAkhavI joIe. nivRtti pachI paNa emanI saMzodhanakAryanI pravRtti cAlu rahelI. paraMtu akALe putranA avasAnathI ane pachI patnInI vidAyathI chellAM varSomAM maMjukAkA zArIrika ane mAnasika rIte bhAMgI paDyA hatA. AvA AjIvana vidyApuruSane prabhu cira zAMti Ape evI prArthanA. - raseza jamInadAra For Personal & Private Use Only

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jaina sAhitya meM varNita jana-kalyANakArI saMsthAe~ * premasumana jaina jaina sAhitya meM Atmahita aura lokahita ina donoM ke sambandha meM paryApta vivecana hai / AtmavikAsa kI prakriyA meM vyakti aneka guNoM kI sAdhanA karatA hai / dhyAna, vrata, jJAna Adi ke dvArA vaha AtmA ke puruSArtha ko jagAtA hai / kintu usake ina AtmahitakArI guNoM kA pUrNa vikAsa loka meM hI hotA hai / vyakti ke sarvAgINa vyaktitva kA vikAsa kramazaH hotA hai, chalAMga lagAkara nahIM / isalie vaha samAja meM rahate hue pahale naitika guNoM ko sAdhanA karatA hai, phira Atmika guNoM kI / lokahita kA sampAdana karate hue Atmahita kI aura gamana jIvana kI sahI prakriyA hai / isa bAta ko dhyAna meM rakhate hue jainAcAryoM ne apane sAhitya meM samAja nirmANa ke aneka tatvoM kA samAveza kiyA hai / nivRttimUlaka pravRttimArga ko jaina sAhitya meM pramukhatA dI gayI hai / ' pRSThabhUmi : samAja kI saMracanA meM vyakti eka mahattvapUrNa ghaTaka hai / vyakti jaba taka akelA vicaraNa : karatA hai taba taka vaha AtmaniSTha rahatA hai / yugala ho jAne para vaha rAgatatva se yukta hotA hai / do yugala hoM to usameM anukaraNAtmaka aura spardhA se yukta jIvana paddhati vikasita hotI 1 / tIsarA yugala hote hI samAja kA svarUpa banane lagatA hai| usI ke anusAra AvazyakatAe~, surakSA aura sadbhAva kI pravRttiyA vikasita ho jAtI haiM / samAja ke vikAsa kI isa avasthA kA jaina sAhitya meM eka mithaka dvArA citraNa kiyA gayA hai / bhogabhUmi kI yugala vyavasthA ko samAja vyavasthA kA prArambhika svarUpa kahA jA sakatA hai / 2 prematatva samAja kA AdhAra stambha hai, jisakA vistRta vivecana jaina sAhitya meM haiM / lokahita sampAdana ke lie samAja meM arthatattva bhI Avazyaka hai / smAja kA bhavana Arthika nIMva para nirmita hotA hai / isake lie jainAcAryoM ne SaD-vAdhAna kiyA hai / isake mUla meM vyaktigata upalibdha ko sAmUhika banAne kI bhAvanA rahI hai / jaina paramparA meM pracalita kulakara-vyavasthA samAja kI sthApanA kI vyavasthA hai / AdipurANa meM jinasena ne spaSTa kahA hai ki manuSyoM ko kula kI taraha vyavasthita kara unakI jIvanavRtti kA pariSkAra karane ke kAraNa ye kulakara vahalAte the prajAnAM jIvanopAyamananAnmanavo matAH / AryANAM kulasaMstyAyakRteH kulakarA ime // 4 ina kulakaroM ne niSedhAtmaka, niyantraNAmaka evaM kalyANAtmaka kAryoM ke lie sammAna ko For Personal & Private Use Only

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premasumana jaina preraNA dI thI / caudaha kulakaroM ne samAja ko caudaha kAryoM kI zikSA dI thii| yaha ghaTanA isa bAta ko sUcita karatI hai kI samAja vibhinna guNI vyaktiyoM ke sAmUhika prayatna se calatA hai aura samAja meM nirbhayatA, Arthika svatantratA, maitrIbhAva tathA kalyANakArI prayatnoM kI nitAnta AvazyakatA hai| kulakaroM evaM manvantaroM kI paurANika vicAradhArA ne bhAratIya samAja ke vikAsa ko gatizIla kiyA hai / jaina paramparA meM tIrthakaroM ke samavasaraNa kI vyavasthA kA varNana hai| isakA paurANika evaM dhArmika prabhAva kucha bhI rahA ho, kintu isakA samAja para bhI prabhAva par3A / tIrthakara jina guNoM kI prApti vyaktigata prayatnoM ke dvArA karate haiM, unakA lAbha ve sanavasaraNa meM sAre samAja ko dete haiM / isase vyaktigata upalabdhi kA samAjIkaraNa kA siddhAnta pratiphalita hotA hai| dhArmika netA apanI svAnubhUti se samAja ko naitika banAne kA prayatna karatA hai / zikSaka yA jJAnI puruSa apane jJAna se samAja ko zikSita banAtA hai / vaibhavazAlI zreSThivarga vyaktigata puruSArtha se prApta samRddhi ko vibhinna lokahitakArI kAryoM meM vyaya kara sAmAjika-jIvana ko unnata . banAtA hai / isI taraha balazAlI aura kSamAzIla varga samAja ko surakSA pradAna karatA hai / prAcIna bhAratIya samAja ke isa lokahitakArI svarUpa kA citraNa vibhinna yugoM ke jaina sAhitya meM upalabdha hai / samAjazAstriyoM ke dvArA usakA sAmAjika mUlyAMkana yadi kiyA jAya to samAja nirmANa ke kaI tatva prApta ho sakate haiM / jaina sAhitya meM prAcIna paramparI ke prabhAva se aneka sAmAjika saMsthAoM ke vivaraNa prApta hai| samAja kI kucha AdhArabhUta saMsthAeM hai / vivAha, parivAra, jAti, varNa, zreNI Adi vibhinna saMsthAoM ke sambandha meM jaina sAhitya se acchA prakAza par3atA hai / DA. jagadIza candra jaina, DA. nemicandra zAstrI Adi vidvAnoM ne isa viSaya meM gahana adhyayana prastuta kyei haiN| jaina sAhitya ke kucha svatantra granthoM kA bhI samAjazAstrIya mUlyAMkana vidvAnoM ne kiyA hai| isa sAhitya meM AdhArabhUta sAmAjika saMsthAoM ke atirikta samAja kI kucha dhArmika saMsthAoM kA bhI vivecana prastuta kiyA gayA hai | caturbigha saMgha-vyavasthA eka sAmAjika saMsthA hai jisakA svatantra adhyayana honA cAhiye / isI taraha devakula, maMdira, caitya, maTha, pAThazAlA Adi bhI sAmAjika dRSTi se mahatvapUrNa kendra rahe haiM / inake sAtha samAja kA ghaniSTha sambandha thA / bhAratIya samAja ke vikAsa ke adhyayana ke lie jaina sAhitya kI isa viSayaka sAmagrI kI samIkSA karanA lAbhadAyaka hogA / samAja kI AdhArabhUta, dhArmika evaM zaikSika saMsthAoM ke atirikta samAja meM kucha aisI vyavasthAeM bhI pracalita thIM, jinhoMne lokahita kI dizA meM mahatvapUrNa kArya kiyA hai / binA kisI bhedabhAba ke samAja kI ye saMsthAeM jana-sAmAnya ko lAbha pahuMcAtI rahI haiM / ina vyavasthAoM ko jana-kalyANakArI saMsthAeM kahA jA sakatA hai / jaina sAhitya meM inake paryApta ullekha haiM, kintu unakI tarapha vidvAnoM kA dhyAna kama gayA hai| Aja janajAti-kalyANa kendra, dharmazAlAeM, sahakArI saMsthAeM, vRddha-saMrakSaNa kendra, svAsthyakendra, pyAU, janatA-bhojanAlaya Adi kaI lokahitakArI saMsthAeM samAja meM kAryarata hai / prAcIna bhAratIya samAja meM For Personal & Private Use Only

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jaina sAhitya meM varNita jana-kalyANakArI saMsthAe~ bhI lokahita ke ye kArya hote the, jinakA vivaraNa jainAcAryoM ne apane granthoM meM diyA hai| pUrvamadhyayuga ke jaina sAhitya meM nimnAMkita jana-kalyANakArI saMsthAoM kA vivaraNa prApta hai 1-prapA (pabA, pyAU) 2-satrAgAra (niH zulka bhojanazAlA) 3-maMDapa (AzrayasthAna, dharmazAlA) 4-ArogyazAlA (auSadhidAna) 5-sArtha (yAtAyAta-suvidhA, AjIvikA-dAna) 6-granthabhaNDAra (jJAnadAna, jAnasurakSA) prapA : jaina AgamoM ke TIkA sAhitya meM kahA gayA hai ki sthalamArga se yAtrA karanevAle yAtrI apanI thakAna miTAne ke lie kaI sthAnoM meM Thaharate the / unameM eka sthAna prapA bhI thii| anuyogadvAracUNi meM prapA kA artha vizrAma-sthala kiyA gayA hai / 11 bRhatkalpabhASya meM AgamanagRha, grAmasabhA, prapA aura mandira kA ullekha hai. jo pathikoM ke vizrAma-sthala the / 12 prapA meM pathikoM ke lie pAnI aura nAste kI vyavasthA hotI thI / thakAna miTAne ke lie chAyAdAra vRkSa athavA jhopar3I AdI bhI upalabdha hotI thii| cANabhaTTa ke harSacarita ke varNana se jJAta hotA hai ki prapA vAstava meM eka acchI pyAU thii| kisI bAvar3I athavA kue ke pAsa per3oM ke jhuramuTa meM ise sthApita kiyA jAtA thA, jo pramukha mArga para vizrAma sthala bana jAtA thA / 13 bANabhaTTa ne kahA hai ki ina prapA meM pAnI rakhane kI vizeSa vyavasthA hotI thii| pAnI ke sAtha lAla zakkara bhI yAtriyoM ko dI jAtI thI / 14 ___ uddyotanasari ne kuvalayamAlA meM prapA, maMDapa, satrAgAra Adi kalyANakArI saMsthAoM ko dAna dene kI paramparA kA varNana kiyA hai / 15 grISmaRtu meM prapAoM meM adhika bhIr3a rahatI thii| varSa prArambha hote hI unameM adhika suvidhAeM juTA dI jAtI thI / 16 ye prapAeM sAmAjika aura sArvajanika sthAna hone ke kAraNa sUcanA-kendra kA bhI kAma detI thii| rAjAjJA kI ghoSaNA yahA~ karAyI jAtI thI / 17 samAja meM janatA ko pAnI upalabdha karAnA samRddha loga apanA kartavya samajhate the / kRpa, tAlAba, vApI aura prapA ko dAna dekara saMcAlita karanA kaI logoM kA parama dharma thA / 18 uttarAdhyayanaTIkA se jJAta hotA hai ki prapA meM paribrAjakoM ke lie paryApta annapAna diyA jAne lagA thaa| 18 dhanapAla ne apanI tilakama jarI20 eva somadeva ne apane yazastilakacampU21 meM prapA kI vyavasthA hone kA ullekha kiyA hai| lambI yAtrA ke bIca meM prapA athavA bAvar3I kI vyavasthA Adhunika yuga taka hotI rahI hai / udayapura se cittaur3a jAne ke paidala rAste meM sAta prasiddha bAvaDiyA~ sthApita thIM / satrAgAra: satrAgAra bhI prasiddha sar3akoM ke kinAre tathA pramukha sthAnoM para sthApita hote the / zreSThI For Personal & Private Use Only

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premasumana jaina aura dAnI logoM ke dAna se inakA saMcAlana hotA thA / satrAgAroM meM pathikoM ko niHzulka bhojana diyA jAtA thA / bhojanadAna kI paramparA bhAratIya samAja meM atiprAcIna hai / 22 bauddha evaM jaina sAdhu bhojana ke lie samAja para hI Azrita haiM / unako AhAra-dAna denA zrAvaka kA dainika niyama thA / 23 ataH isa prakAra kI pravRtti samAja ke anya vyaktiyoM ke lie prArambha ho gayI thii| isake lie gharelu rasoI ke atirikta kaI sAmAjika bhojanazAlAe~ prArambha ho gaI thIM, jo rAhagIroM, sAdhuoM evaM nirAzritoM ke lie jIvanAdhAra thIM / prAkRta sAhitya meM niHzulka bhojanazAlA ke lie kaI zabdoM kA prayoga haA hai| jJAtAdharmakathA tathA nizIthasUtra meM aisI eka mahAnasazAlA kA ullekha hai, jisameM aneka prakAra kA bhojana sAdhu santoM, anAthoM, bhikhAriyoM aura pathikoM ko bAMTA jAtA thA / 24 Isa mahAnasazAlA ke sAtha puSkariNI, vanakhaNDa, citrasabhA, cikitsAzAlA evaM alaMkAra-sabhA bhI thI, jo jana-sAmAnya ke upayoga ke lie thIM / 25 bahatkalpabhASya meM aisI bhojana-vyavasthA ko saMkhaDi aura bhojya kahA hai, jo eka dina athavA kaI dina taka calane vAlI hotI thIM / 26 pAli meM ise saMkhati kahA gahA gayA hai / 27 isa saMkhaDi meM bhojana pAne vAloM kI bahuta mIr3a lagI rahatI thI / Age calakara saMkhaDi eka vizeSa prakAra kA doSa-yukta utsava ho gayA thA / isake sambandha meM DA0 jagadIza candra ne vizeSa prakAza DAlA hai / 28 budhasvAmi ke vRhatkathAzlokasaMgraha kI sAnudAsa kI kathA se jJAta hotA hai ki pANDya deza ke madurA nagara ke bAhara eka satrAgAra thA / 28 vahA~ para yAtriyoM kI saba prakAra se sevA kI jAtI thI, jisase unakI thakAna dara ho jAya / isa satra ko satrapati hotA thA, jo vyApAriyoM kI samasyAoM ko yathAsaMbhava dUra karane kA prayatna karatA thA anya satrAgAroM se bhI satrapati sambandha rakhatA thA / isa sandarbha se jJAta hotA hai ki jaina sAhitya meM varNita satrAgAra madhyayuga kI sarAya jaise the / 30 kuvalayamAlA ke sandarbha se spaSTa hai ki satrAgAra meM pathikoM ko niHzulka bhojana diyA jAtA thaa| inakA saMcAlana samRddha vyApArI loga karate the / 32 kintu prabandhaciMtAmaNi se jJAta hotA hai ki satrAgAra prajApAlaka rAjAoM dvArA banavAye jAte the / 33 maMDapa: bhAratIya samAja kI loka-kalyANakArI saMsthAoM meM maMDapa kA vizeSa mahatva thA / prapA se pAnI kI vyavasthA ho jAtI thI aura satrAgAra se niHzulka bhojana kI, kintu pathika ke lie rAtri vyatIta karane athavA vizrAma karane ke lie bhI prAcIna samAja ne kucha vyavasthAeM kI thIM / dAmodara gupta ne apane kuTanImatam34 meM eka rAhagIra ke Thaharane kI samasyA kA jo citraNa kiyA hai, vaha usakI durgati kA paricAyaka hai / rAhagIra ko rAtri meM abhaya, surakSA aura vizrAma mila sake isake lie samAja ne aise vizrAma-sthaloM kI vyavasthA kI thii| prAcIna samAja meM rAhagIroM ke lie jo vizrAma-sthala hote the unheM Rgveda meM prapatha kahA gayA hai / 35 atharvaveda meM Avasatha zabda kA prayoga huA hai / DA0 motIcandra ne For Personal & Private Use Only

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jaina sAhitya meM varNita jana-kalyANakArI saMsthAe~ ina vizrImAlayoM kA ullekha kiyA hai / 37 jAtaka sAhitya meM inake sambandha meM paryApta jAnakarI milatI hai / vahAM aisI dharmazAlAoM ko sabhA kahA gayA hai| rAjyoM ke sImAnta para ye sabhAe banI huI hotI thIM / 38 nagara kA phATaka banda ho jAne para bhI yAtrI ina sabhAoM meM rAtri vyatIta kara sakatA thA / 38 eka jAtaka se jJAta hotA hai ki isa prakAra kI sabhA ko banavAne meM na kevala puruSoM, apitu striyoM kA bhI sahayoga rahatA thA / sabhA meM yAtriyoM ke sone-baiThane ke lie caukI aura pAnI kI vyavasthA hotI thI / chAyA ke lie per3a aura surakSA ke lie phATakadAra cAhAradIvAra hotI thI / 40 jaina sAhitya meM ina sabhAoM ko grAmasabhA tathA AgamanagRha kahA gayA hai, jinameM sabhI taraha ke yAtrI Thaharate the / 41 sAdhviyoM ko ina AgamanagRhoM meM Thaharane kA niSedha thaa| mandira bhI yAtriyoM ke Thaharane kA pramukha sthAna thA / 42 kuvalayamAlA meM prapA ke sAtha maMDapa ko dAna dene kA ullekha hai| saMbhavataH isa samaya taka prapA, maMDapa aura satrAgAra ye tInoM hI eka sAtha banane lage the, jisase yAtriyoM ko sabhI suvidhAeM sAtha meM mila jAye / bauddha sAhitya meM prayukta sabhA zabda aura prAkRta sAhitya kA maMDapa zabda donoM milakara sabhA-maMDapa ke rUpa meM pracalita ho gayA hai, jo Atithya ke kAma AtA hai / uddyotanasUri ne anAthamaMDapa kA varNana kiyA hai, jisameM rogI, vikalAMga, paradezI, vyApArI, tIrthayAtrI, patravAhaka Adi loga yAtrA ke daurAna Thaharate43 the / anAtha baccoM kA bhI vahAM ThikAnA thaa| aise kalyaNakArI maMDapoM kA nAma zivamaMDapa (kalyANakArI maMDapa) bhI par3a gayA thA / bharukaccha nagara ke caurAhe para eka zivamaMDapa thA, jisameM akelI rAhagIra striyAM bhI Thahara sakatI thIM / 44 jaina sAhitya meM aisI dharmazAlAoM ke lie vasati zabda kA bhI prayoga huA hai / 45 Arogya-zAlA : samrATa azoka ne apane zilAlekhoM meM cikitsAlayoM kI vyavasthA kA ullekha kiyA hai|46 jJAtAdharmakathA meM zreSThiyoM dvArA cikitsAzAlA khulavAne kA ullekha hai / 47 kuvalayamAlA meM kahA gayA hai ki nagara ke seTha ArogyazAlAeM calAte the / auSadhidAna kI jaina sAhitya meM vizeSa pratiSThA thI / 48 prAkRta sAhitya meM auSadhi vijJAna kA vistRta vivecana hai|50 sArtha : prAcIna bhAratIya samAja meM sArtha eka mahatvapUrNa saMsthA thI / yAtAyAta ke prArambha se lekara madhyayuga taka sArtha ne bhAratIya samAja ko bahuta prabhAvita kiyA hai / 51 vyApArI samAjane sArtha jaisI mahatvapUrNa vyavasthA ke dvArA samAja ke aneka utsAhI yuvakoM ko dezAntara kI yAtrA kagayI hai| unheM AjIvikA pradAna kI hai / una meM puruSArtha jagAyA hai / sArtha yAtrA karane vAle sAdhu-santoM tIrthayAtriyoM, vidyArthiyoM evaM anya sAmAnya vyaktiyoM ke lie eka bahuta var3A sahArA thA / sArtha eka taraha se yAtAyAta ke lie pUre samAja kA patha-pradarzaka rahA hai| abhaya, surakSA, AjIvikA, puMjI, mArgadarzana Adi ke lie sArtha eka nirApada sahArA thaa| For Personal & Private Use Only

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premasumana jaina zAtAdharmakathA, vipAkasUna, samarAicca kahA, tilakamaMjarI, rayaNacUDarAyacariyaM ArAmasohAkahA, bhavisayattakA 2 Adi jaina sAhitya ke granthoM meM sArtha ke svarUpa, uddezya evaM kAryoM ke sambandha meM vistRta jAnakArI prApta hai| isa hitakArI sAmAjika saMsthA kA sarvAgINa mUlyAMkana abhI kiyA jAnA zeSa hai / isake adhyayana se bhAratIya samAja ke svarUpa para nayA prakAza par3ha sakatA hai| grantha-bhaNDAra : samAja meM janahita ke vikAsa ke lie kaI saMsthAoM ne kAma kiyA hai| zikSA ke kSetra meM pAThazAlA, gurukula, janAvare Adi mahatvapUrNa kendra the / kintu granthabhaNDAra jaisI sAmAjika saMsthA jJAna kI surakSA ke sAtha-sAtha sAmAjika utthAna kI kaI pravRttiyoM meM agraNI rahI hai| itihAsa kI dRSTi se grantha bhaNDAroM meM samAja ko kaI jAtiyoM, parivAroM, rItirivAjoM evaM rAjAoM ko jIvana-paddhati kA itihAsa chipA huA hai| sAhityaka dRSTi se ye grantha bhaNDAra kaI pravRttiyoM ke janaka rahe haiN| lipi evaM lipikAra kA itihAsa grantha bhaNDAroM ke adhyayana ke binA adhUrA hai / kitane hI logoM ko ina bhaNDAroM ke mAdhyama se zikSA prApta huI hai| 12 AjIvikA milI hai| ataH jaina sa hizya meM jina grantha bhaNDAroM kA vivaraNa prApta hai tathA jo Aja bhI samAja meM vidyamAna haiM, una sabakA samAja zAstrIya dRSTi se mUlyAMkana kiyA jAnA Avazyaka hai / isa prakAra jaina sAhitya meM varNita ina jana kalyANakArI saMsthAoM ke adhyayana se spaSTa hai ki jainacAryoM ne apanI dArzanika paramparA se svIkRta dAna kI mahimA kA kaI arthoM meM vistAra kiyA hai| AhAradAna kI vyApakatA ke antargata samAja meM prathAoM aura santrAgAroM kI sthApanA ke dvArA janasAmAnya kI bhUkha-pyAsa ke nivAraNa kA prayatna kiyA gayA hai| manuSya kI yAyAvara pravRtti ko gatizIla rakhA gayA hai| sabhA maNDapa, Agamana gRha Adi kI vyavasthA dvArA rAhagIroM ko surakSA pradAna kI gayI hai / yaha abhayadAna kA vistAra hai / ArogyazAlAe~ khulavAkara manuSya ke tana-mana ko svastha rakhA gayA hai, jisase vaha puruSArtha kI sAdhanA kara ske| sArtha kI vyavasthA use Arthika svatantratA aura AvAgamana kI nizcitatA pradAna karatI hai / granthabhaNDAroM kA pravartana rASTra kI dharohara kI surakSA ke prati eka sajagatA hai / sAtha hI jana-jIvana ke lie sAkSaratA abhiyAna bhI / zAstradAna kI bhAvanA kA isase bar3hakara aura kyA upayoga hogA ? jaina sAhitya meM varNita ina paropakArI saMsthAoM kA sUkSma adhyayana eka aura hameM madhyayugIna samAja kI samRddhi aura lokacetanA se paricita karAtA hai to dUsarI ora vartamAna yuga ke lie samAja kI samRddhi aura dhArmika bhAvanA ke vAsta vika Upayoga se lie pathapradarzana bhI karAtA hai / - -: sandarbha : * zramaNavidyA saMkAya, saMskRta vizvavidyAlaya, vArANasI dvArA pharavarI 183 meM Ayojita 27. bhA. yu. jI. sI. seminAra meM paThita nibandha 1. saMghavI, paM0 sukhalAla jaina dharma kA prANa, pR0 56-59 , 2. jaina, DA0 hIrAlAla, bhAratIya saMskRti meM jaina dharma kA yogadAna For Personal & Private Use Only .

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jaina sAhitya meM varNita jana-kalyANakArI saMsthAe~ ; 3. zAstrI, devendramuni, jaina AcAra, siddhAnta aura svarUpa, udayapura 4. AdipurANa (jinasena), 3-211 5. vahI, 3-233-37 bhAgavatapurANa, 2,7,39 phatehasiMha; bhAratIya samAjazAstra-mUlAdhAra, pR0 136 8. zAstrI, nemicandra; AdipurANa meM pratipAdita bhArata pR0140 9. jaina, jagadIzacandra; jaina Agama sAhitya meM bhAratIya samAja pR0 221-233 10. saMgave, vilAsa; e sosala sarve Apha jaina kamyuniTI, bambaI / jaina, jagadIzacandra, prAkRta sAhitya kA itihAsa, pR. 260 12. bRhatkalpabhASya, gA0 2486 13. harSacaritam (bANabhaha) pR0 227-230 14. agravAla, vI0 esa0; harSacarita-eka sAMskRtika adhyayana, pR0 184-85 15. sahajati jatthapaDippavA-maDava-sattAyArehiM dANavaItaNAI'-kavalayamAlA 31.14 16. vahI, 147.25 17. vahI, 203-10 18. vahI, 205-3 19. uttarAdhyayanaTIkA (zAntisUri), 13 pR0 188 20. tilakama jarI (ghanapAla), pR0 117 21. prapAnivezaH saraH pradezaiH - yaza0 pR0 200. 22. jaina dharma meM dAna - eka samIkSAtmaka adhyayana (upAdhyAya puSkara muni) pR0 291-325 23. vasunaMdizrAvakAcAra, bhUmikA 14. ega mahaM mahANasasAlaM kArAveha-- bahUNaM samaNa-mAhaNa-atihi-kivaNa-vaNImagANa paribhAemANA viharati - jJAtAdharma kathA, 13 pR0 344 25. . bhArilla, zobhAcandra; jJAtAdharma kathA, Agama prakAzana samiti vyAvara, pR0 342-46 26. bRhatkalpabhASya, 1, 3141-42 27. majjhimanikAya, 2. 16, pR0 131 28. jaina Agama sAhitya meM bhAratIya samAja, pR0 364-66 29. bRhatkathAzlokasaMgraha (budhasvAmi), a0 18, zloka 355-56 abU jaIdahasana, aisiyanta ekAunTsa Apha iNDiyA eNDa cAinA, laMdana pR0 87 (jhinakU yAdava, samarAiccakahA-eka sAMskRtika adhyayana, pR0166 para uddhata) 31. kuvalayamAlA, 58. 4 For Personal & Private Use Only

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premamumana jaina 32. jaina, prema sumana; kuvalayamAlAkahA kA sAMskRtika adhyayana, vaizAlI pR. 125 33. prabandhacintAmaNi, pR0 106 34. (ka) kuTTanImatam, 218-230 (kha) sArthavAha (motIcandra), pR0 214 35. Rgveda 1,166,6 36. atharvaveda, 14,2,6 37. esa0sI0 sarakAra; sama AspekTsa Apha da aliyara sozala lAipha Apha iNDiyA pR0 14 (sArthavAha, pR0 41 meM uddhRta) 38. jAtaka 2, 148 39. ghammapada aTThakathA, 2, 31 40. jAtaka 1, 201 41. bahatkalpabhASya, 2486 42. jJAtAdharmakathA, 15 a. 43. kuvalayamAlA, 55-11-13 44. vahI, 99-23 45. jaina, gokulacandra; yazastilaka kA sAMskRtika adhyayana, pR0 264 46. azoka ke zilAlekha (rAjabali pANDeya), dvitIya zilAlekha 47. jJAtAdharmakathA, a0 13, pR0 344 48. kuvalayamAlA, pR0 65.9 49. osaha dijaI roya-viNAsaNu / kahavi Na picchaI bAhipayAsuNa // jaina, rAjArAma, raidhusAhitya kA AlocanAtmaka parizIlana pR0 489 50. jaina Agama sAhitya meM bhAratIya samAja, pR0 307-318. motIcandra, sArthavAha 52. bhavisayattakahA (dhanapAla), tRtIya saMdhi 52. salIvAla, ke0sI0; gaina granthabhaNDArAja ina rAjasthAna, pR0 184-217 For Personal & Private Use Only

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alakApurI Ara kAlidAsIyA saGgItavaiduSI suSamA kulazreSTha 'jAyante kati jajJire kati janiSyante katIha kSitI sraSTAro nitarAmidaM tu kavibhirnirmatsara : kathyatAm / ApUrvAparadakSiNottaraharitsAhityasiMhAsana - svairArohaparAkramaM bhajatu kaH zrIkAlidAsAtpara: // saMskRta sAhitya ke apratima kavi kAlidAsa kI kRtiyA~ meM unakA vividha-zAstra-viSayaka pANDitya parilakSita hotA hai / vyAkaraNa, darzana, Ayurveda, vanaspatizAstra tathA saMgIta Adi lalita kalAoM meM kavi parama niSNAta the / 'gItaM vAdya tathA nRtyaM trayaM saGgItamucyate / ' saMgIta ke antargata gAyana, vAdana tathA nRtya tInoM ko parigaNita kiyA jAtA hai| vaise ye tInoM saMgIta kI svatantra tIna vidhAyeM haiN| ina tInoM ke anekavidha ullekha kAlidAsa kI sabhI katiyoM meM upalabdha hote haiN| kAlidAsa sAhitya kA anuzIlana karate samaya pAThaka itanA rasavibhora ho jAtA hai ki unake sAhitya meM kisa zAstra athavA vidyA ke kitane ullekha haiM, isakI aura usakA dhyAna sahaja hI nahIM jAtA kintu jaba kevala saMgItazAstra kI dRSTi se kAlidAsa-sAhitya kA adhyayana kiyA jAya to jJAta hotA hai ki saMgIta kalA ke jitane adhika ullekha kAlidAsa-kRtiyoM meM haiM, utane kisI bhI anya saMskRti-kavi ke sAhitya meM nahIM / ye saba sAMgItika ullekha kevala yU hI kAvya meM prayukta nahIM haiM apitu kavi ne unakA bar3A aucityapUrNa tathA sarasa prayoga kiyA hai / saMgIta-sambandhI una ullekhoM ne kAlidAsa ke sAhitya ko eka apUrva ramaNIyatA evaM madhuratA pradAna kI hai / ve saba ullekha kavi ke saMgItaviSayaka parama vaiduSya ke sUcaka haiM / saMgIta ke alpa-jJAna se yukta kavi vaise prayoga kabhI kara hI nahIM sktaa| saMgIta kI tonoM vidhAoM ke zAstrIya evaM kriyAtmaka ubhayapakSoM se kavi bhalI bhAMti paricita the| ____ kAlidAsa-praNIta kumAra sambhava evaM meghadUta meM himAlaya kA sundara varNana upalabdha hotA hai / himAlaya kA hI eka bhAga kailAsa hai aura isI kailAsa kI ghATI meM yakSa kI alakApurI basI huI hai| isa alakApurI kA atiramaNIya evaM cittAkarSaka citra kAlidAsa ne prastuta kiyA hai| prastuta zodhapatra meM meghadUta ke alakAvarNanaparaka kevala tIna padyoM meM kavi ke saMgIta. prayoga kI dakSatA ko darzAne kA prayAsa kiyA gayA hai / prathama padya prastuta haiM 'vidyatvantaM lalitavanitAH sendracApaM sacitrAH saGgItAya prahatamurajAH snigdhagambhIraghoSam / antastoyaM maNimayabhuvastuGgamabhraMlihAyA: prAsAdAstvAM tulayitumala yatra taistairvizeSaiH // ' uttaramegha 1. For Personal & Private Use Only

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suSamA kulazreSTha arthAt jisa alakA meM lalita lananAoM vAle, raMga viraMge citro se yukta, saMgIta ke lie thApa diye gaye hue mRdaMgoM vAle, pattharoM se bane pharza vAle aura gaganacumbI zikharoM vAle prAsAda, koMdhatI bijaliyoMvAle, sataraMge indradhanuSa se yukta, snigdha aura gambhIra gar3agar3AhaTa vAle, bhItara bhare hue jala vAle aura atyanta U~ce uThe hue (he megha !) tumhAre sAtha. una una vizeSatAoM ke kAraNa samatA karane meM samartha haiN| isa padya meM 'saGagItAya prahatamurajA :' tathA 'snigdhagambhIraghoSam' saMgIta viSayaka pada hai| megha kI gar3agar3AhaTa snigdha tathA gambhIra hai / alakA ke prAsAda samRddha logoM ke prAsAda haiM jahA~ anya aneka vizeSatAe~ to haiM hIM / eka bahuta mahattva-pUrNa vizeSatA yaha hai ki vahA~ mRdaMga satata vAdyamAna hai / una para thApa dI jA rahI hai- saMgIta- prastuti ke lie / gAyana, vAdana aura nRtya, ina tInoM kI gaNanA saMgIta meM hai jaisA saMgItaratnAkara meM kahA gayA hai'nayaMta vAdya tathA gItaM trayaM saGgItamucyate / ' caturthI vibhakti yahA~ saMgItakarta ke artha meM 'kriyArthopapadasya ca karmaNisthAninaH' (a0 2-3-14) ke anusAra saMgata hai / muraja kA artha hai mada'ga / amara koSa meM ullekha hai -- mRdaGgA : murajAH / zabdArNava ke anusAra 'murajA tu madane syAda DhakkAmurajayorapi ' mRdaMga ko veSTita hone ke kAraNa 'muraja' (maraM veSTana jAtamasya-rAmAzramI) kahA jAtA hai / 'prahata' kA artha haiM -- 'Thana kAye gaye' yA 'hAtha se bajAye gaye' yA thApa lagAye gaye 'prahatA murajA yeSu te prahatamurajA' (bahuvrIhi samAsa / kAlidAsa ke isa padya meM sarvatra eka pada vAle vizeSaNa hI ubhaya pakSa meM diye gaye haiM --megha ke vizeSaNa hai--vidyutvantaM, sendracApa, snigdhagambhAra ghoSam , antastoyam aura tugam tathA dUsarI aura pAsAda ke vizeSaNa haiM -- lalitavanitAH, sacitrAH, maNimayabhuvaH, abhraMlihAyA aura saMgItAya prahatamurajAH / prakRta vizeSaNa ko chor3akara sabhI ekapadAtmaka hI haiN| isa sthAna para do padoM ke prayoga se prakramabhaMga doSa A gayA hai / vastutaH jaisA prayoga Arambha kiyA jAye, use anta taka nibhAnA cAhiye anyathA prastAvaucitya bigar3a jAtA hai| bhagnaprakrama kA lakSaNa hai -- 'bhagnaH prakramaH prastAvaucityaM yatra tat' (kAvyapradIpa) / nAgeza ne prastAvaucitya ke sambandha meM likhA hai -- yena rUpeNopakramastenopasaMhAraH / ataH prastuta zloka meM bhI ekapadAtmaka upakrama kA anta taka pAlana karanA cAhie kintu kAlidAsa ne yahA~ saMgItAya aura pratamurajA: yaha do pada likhakara usako bhagna kara diyA : bhagnaprakrama doSa A gyaa| isa doSa kA nivAraNa kara diyA hai dakSiNAvartanAtha ne saMgItArthaprahatamuravAH pATha dekr| isa prakAra dakSiNAvartanAtha ke pATha ko ramaNIyatA kI dRSTi se adhika acchA pATha mAnA ja sakatA hai / 'saGagItAya prahatamurajAH' isa tathya kA dyotaka hai ki mRdaMga ke atirikta anya saMgIta yathA gAnAdi bhI vahA~ cala rahA hai / subodhA ke anusAra saMgItAya kA artha gAnArtha hai / vallabhadeva ne apanI pacikA TIkA meM bahuta acchA likhA hai -- 'te'pi guNanikArtha prahatamurajAH vAditamRdaGagAH' arthAt saMgIta ke sAtha mRdaMgoM kA vAdana vahA~ lagAtAra ho rahA hai| isa prakAra pravartamAna saMgIta tathA vAdyamAna mRdaMga se prAsAdoM meM eka zrutimadhura evam atIva For Personal & Private Use Only

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alakApurI aura kAlidAsIyA saMgItavaiduSI manorama vAtAvaraNa kI sRSTi hotI hai| alakA ke tatkAlIna prAsAdoM meM hI aisI saMgItadhArA pravahamAna ho, anyatra nahIM, aisA nahIM hai| Aja bhI thor3A bhI saMgIta se prema rakhane vAle logoM ke gRhoM meM reDiyo, TrAMjisTara, TeparikArDara, rikArDa pleyara Adi dvArA madhura saMgIta kA rasAsvAda prApta kiyA jAtA hai / kisI bhI prakAra ke zaikSika tathA sAMskRtika kAryakrama jahA~ jahA~ sampanna honevAle hote haiM, vahA~ bhI kAryakrama prArambha hone se pUrva tathA eka kAryakrama se dUsare kAryakrama ke madhya jo samaya hotA hai, usameM isa prakAra kA vAdyasaMgIta prAyaH sunane meM AtA hai jo atyadhika karNapriya lagatA hai tathA zrotAoM ke AgAmI kAryakramoM ke prati autsukya ko bar3hAne meM sahAyatA karatA hai| mRdaMga kA svara atigambhIra tathA zrutimadhura hotA hai / megha kI gar3agar3AhaTa bhI mRdaMga kI hI bhA~ti gambhIra evaM snigdha hotI hai tabhI kavi ne donoM meM sAmya kA ullekha kiyA hai| mRdaMga-dhvani tathA megha-garjana ke sAmya kA varNana sAhitya meM anekazaH upalabdha hai / mRdaga kA zAstrIya varNana, dvitIya padya kI vyAkhyA ke anantara prastuta kiyA jaaegaa| dvitIya padya haiM -- 'yasyAM yakSAH sitamaNimayAnyetya harmyasthalAni jyoticchaayaakusumrcnaanyuttmstriishaayaa:| Asevate madhu ratiphalaM kalpavRkSaprasUta tvadgambhIradhvaniSu zanakaiH puSkareSvAhateSu / / ' uttaramegha- 5. arthAt jisa alakA meM utkRSTa kATi kI striyoM se yukta yakSa saMgamaramara ke bane hue aura sitAroM kI parachAI jaisI phUloM kI kArIgarI vAle prAsAdoM ke pharzo para pahu~ca kara tumhArI taraha gambhIra dhvani vAlI pakhAvajoM ke ThanakAyI jAne para kalpavRkSa se utpanna hone vAlI ratiphala nAmaka madirA kA sevana karate haiM / yakSA:--amarasiMha ke anusAra yakSa eka devayoni hai / isa zabda kI vyutpatti se bhI yaha bAta prakaTa hotI hai| yakSa pUjAyAm (curAdi) dhAtu se ghaJ pratyakSa karake yakSa zabda niSpanna hotA hai / yakSoM ko devarUpa meM bauddha, jaina aura brAhmaNa tInoM mAnate the / zugakAla se lekara guptakAla taka yakSa sArI bhAratIya kalAoM para chAye hue the / kAlidAsa kI kalpanA usI se prerita huI hogii| sAhitya meM yakSoM ko saMgItAdi lalita kalAoM meM ruci rakhane vAloM ke rUpa meM citrita kiyA jAtA hai / uttamastrIsahAyAH --- lalitAGganAsahacarA. - mallinAtha varapurandhrisahitAH - paJcikA uttamA cAsau strI cauttmstrii| sA sahAyaH yeSAnte / uttamA kA eka vizeSa artha hai| amarakoSa ke anusAra - - yaha varavarjinI - kA paryAya hai -- 'uttamA varavarNinI / ' rUdra ke anusAra -- For Personal & Private Use Only

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12 suSamA kulazreSTha 'zIte sukhoSNasarvAGgI grISme yA sukhazItalA / bhartRbhaktA ca yA nArI sA bhaved varavarNinI // aura phira 'tamu kAGkSAyAm' dhAtu se 'uttamA' niSpanna bhI to hotA hai / uttamastrIsahAyAH ke sambandha meM mahimasiMhagaNi kA kathana hai 'atra uttamapadasyAyamabhiprAyaH uttamA uttamakulaprasUtA pariNItA yA strI saiva sahAyA saMbhogAvasthAyAM dvitIyA eSAM te tathA / ' -- / yakSa loga apanI saMgItanipuNA uttama striyoM ke sAnnidhya meM madhupAna kara rahe haiM, sAtha meM puSkaravAdana kA bhI Ananda le rahe haiM / pAnagoSThI tathA saMgItagoSThI ke pracura ullekha sAhitya meM upalabdha haiM yahA~ mukhyataH pAnagoSThI varNita hai kintu madhupAna ke samaya vahA~ vAya saMgIta bhI cala rahA hai, Ananda vRddhi ke lie / yahA~ kevala puSkaravAdana kA ullekha hai kintu kalpanA kI jA sakatI hai ki vahA~ gAna aura nRtya bhI cala rahA hogA aura usa gAna ho rahA hogA aura phira pAnagoSThI bhI cala rahI hogI / / aisA hI mata bharatamallika ne prastuta kiyA hai-- aura nRtya ke anurUpa puSkaroM kA vAdana yaha artha ' zanakaiH' se dhvanita hotA hai 'yasyAmalakAyAM yakSA uttamastrIsahAyA prazastavanitAdvitIyAH santaH harmyasthalAni saudhAdisthAnAni etya prApya tava gambhIradhvanivi dhvaniryeSAM teSu puSkareSu mRdaGgapareSu zanakairmanda gAnanRtyAnukUlaM yathA syAttathA AhateSu tADiteSu satsu madhu mayam Asevante pibanti / + + + zanairityanena saGgItAnugatam idamiti sUcitam / zanakaiH kSaNaM madhu pIyate kSaNaM mRdaGgA vAdyante ityarthaH / yakSagaNa madhupAna tathA saMgIta donoM kA rasAsvAda eka sAtha kara rahe haiM jo unake mandIbhUta kAma ko uttejita karane meM sahAyaka -- 'madhupAnaM mRdaGgAnAM vAdanaM candrarazmayaH / prAsAdazikhara ramyaM punaruttejayet smaram ||' iti iti rantiH / Aja Adhunika pariveza meM bhI prasiddha restaurants meM jahA~ pAna-goSThiyA~ calatI haiM, vahA~ saMgIta bhI satata mandra dhvani meM calatA rahatA hai vizeSataH vAdya saMgIta / zanakai: ke sambandha meM sAroddhAriNI meM ullekha hai GgavAt pAnagoSThayAM kaThoravAditraM nopayujyate iti bhAvaH / ' - 'kathaM zanakaiH manda mandam / zRMgArA prastuta padya isa bAta kA bhI sUcaka hai ki alakA ke yakSa dampati sadA sukhI haiM anyathA pAnagoSThI tathA saMgItagoSThI kA Ayojana sambhava nahIM / For Personal & Private Use Only

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alakApurI aura kAlidAsIyA saMgItavaiduSI una puSkaroM kI dhvani kI tulanA kavi ne megha kI gambhIra dhvani se kI hai| megha-dhvani tathA puSkara-dhvani ke sAmya ke ullekha sAhitya meM aneka bAra prApta hote haiN| aba puSkakhAdya kA zAstrIya vivecana yahA~ prasaMga prApta hai / puSkara, mRdaga aura muraja-mRdaMga AdikAla meM 'puSkara' vAdya kA nAma thA / puSkara vAdya meM camar3e se mar3he hue tIna mukha the / do mukha bAyIM aura dAyoM ora rahate the, tIsarA mukha Upara rahatA thaa| usakA piNDa mRta yA miTTI se banAyA jAtA thaa| isI kAraNa isakA nAma mRdaMga pdd'aa| kucha samaya ke bAda bAyoM aura dAhinI ora do hI mukha vAle vAdya kI saSTi haI / phira usakA piNDa lakar3I se banAyA gayA ina puSkara Adi vAdyoM kI utpatti ke viSaya meM nATyazAstra meM eka vRttAnta hai| svAti aura nArada saMgItavAdyoM ke Adi granthakartA haiM / inameM svAti eka bAra anadhyAya ke dina eka parovara para pAnI lAne ke lie gaye / AkAza meghoM se ghirA huA thA, vegapUrvaka varSA hone lgii| taba vAyu vega se sarerAvara meM jala kI bar3I bar3I bUMdoM ke par3ate samaya padma kI bar3hI, choTI aura majholI paMkhuDiyoM para varSA-binduoM ke AghAta se vibhinna dhvaniyA~ utpanna huI / unakI ayakta madhuratA ko sunakara Azcaryacakita svAti ne una dhvaniyoM ko mana meM dhAraNA kara liyA aura Azrama paha~cane para vizvakarmA se kahA ki isI taraha ke zabda utpanna karane ke lie eka vAdya bananA cAhie / phalataH pahale pahala tIna mukha se yakta 'mRta' se puSkara kI sASTa huI / bAda meM usakA piNDa lakDI yA lohe se banAyA gyaa| taba hamAre mRdaMga, paTaha, jhallarI, dadura Adi camar3e se mar3he hue vAdyoM kI saSTi huI / __ mRdaMga kA piNDa bIjavRkSa (tAmila meM baiDge) yA panasa kI lakar3I se banAyA jAtA hai| usakI laMbAI 21 aMgula (15 ica) hai / lakar3I kA dala Adhe aMgula kA hai| dAhinA mukha 14 aMgula aura bAMyA mukha 13 aMgula hai, madhya meM 15 aMgula hai| donoM ora ke mukha camar3e se mar3e jAte the / kinAre para camar3A ghanatA se yukta rahatA thA / usa camar3e ke ghere meM 24 chidra rahate the / chidroM kA pArasparika antara eka aMgula rahatA thA / una chidroM meM se veNI kI taraha camar3e kI rassI se donoM aura khIca kara dRr3hatA se bA~dhA jAtA thA / rassI ke baMdhana ko DhIlA karane yA tAnane se mRdaMga ke svara ko U~cA yA nIcA kara sakate the / sudhAkalaza ne bhagavAn zakara ko mRdaMga yA muraja kA AviSkAraka batAyA hai| prAcIna granthoM meM mRda'ga, paNava tathA dadura ko puSkara vAdya kahA gayA hai| aitihAsika dRSTi se mRdaga, maraja Adi kA ullekha vaidika vAGmaya meM prApta nahIM hotA / rAmAyaNa, mahAbhArata meM maga aura maraja kA ullekha prApta hotA hai kintu bAda meM muraja tathA madala mRdaMga ke paryAya rUpa meM prayukta hone lage / yahI mata zAGgadeva (sa0ra0 pR0 459) tathA abhinavagaptAcArya (nA.zA0 34, pR0 405) kA hai / nAma parivartana ke sAtha-sAtha mRdaMga kA vaha rUpa jo For Personal & Private Use Only

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14 suSamA kulazreSTha prAcIna kAla se bhArata ke samaya taka pracAra meM rahA. kaba lupta ho gayA, isakA patA lagAnA kaThina ho gayA hai| jisa vAdya ko Aja hama uttarabhAratIya mRdaMga athavA pakhAvaja ke nAma se jAnate haiM, dakSiNa bhAratIya jise apanA mRdagam kahate haiM, vaha bharatakAlIna mRdaMga kA kevala eka bhAga hai ! mRdaMga meM yaha parivartana lagabhaga sAtavIM zatAbdI se ho hone lagA thA jo zAGga deva ke samaya taka pUrI taraha badala gayA / mevoM ke gambhIra garjana tathA mRdaMga dhvani meM bahuta sAmya hotA hai, tabhI to oSadhiprastha nagara ke gRhoM para ghire hue meghoM ke garjana se mizrita mRdagadhvani tAla aura laya se pahacAnI jAtI thI / tAla aura laya hI meghagarjanA tathA mRda'gadhvani ke bhedaka tatva the-- 'zikharAsaktameghAnAM vyajyante yatra vezmanAm / anugarjitasandigdhAH karaNemurajasvanAH // kumArasaMbhava 6 / 40 meghadUta meM aneka sthaloM para muraja kA ullekha huA hai / yathA -- 'nihAdaste muraja iva cetkandareSu dhvaniH syAt / ' pUrvamegha 60 'saGgItAya prahatamurajAH snigdhagambhIraghoSam / ' uttaramegha 1. 'tvadgambhIradhvaniSu zanakaiH puSkareSvAhateSu / ' --uttaramegha 2 mRdaMga kI mAyarI mArjanA se mAlavikAgnimitra meM logoM ko jJAta ho jAtA hai ki mAlavikA kA natya prArambha hone vAlA hai / (1121) raghuvaMza meM rAjA agnivarNa nartakiyoM ke natya karate samaya svayaM mRdaMga bajAkara tAla dete the (19 / 14) -- 'sa svaya prahatapuSkaraH kRtI lolamAlyavalayo haranmanaH / . nartakIrabhinayAtilAdhinI : pArzvavartiSu guruSvalajjayat // ' 16 / 14 antima padya prastuta hai -- 'akSayyAntarbhavananidhaya: pratyahaM raktakaNThe ___ rudgAyadbhirdhanapatiyazaH kinnarairyatra sArddham / vaibhrAjAkhya vibudhavanitAvAramukhyA sahAyA baddhAlApA bahirupavana' kAmino nirvizanti // ' uttaramegha 10 arthAt jisa alakA meM ghara ke andara kabhI bhI samApta na ho sakane vAlI nidhiyoM ko rakhane vAle, apsarA rUpI vAra-ramaNiyoM ko sAthina banAne vAle aura taraha taraha kI bAteM karane vAle kAmIjana kabera kI kIrti kA uccasvara se gAna karane vAle, madhura kaNTha vAle kinnaroM ke sAtha 'vaibhrAja' nAmaka bAhyodyAna kA sukha prApta karate haiN| For Personal & Private Use Only

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alakApurI aura kAlidAsIyA saGgItavaiduSI 15 prAcIna kAla se lekara Aja taka kAmijanoM ke aneka zaukoM meM saMgIta eka mahattvapUrNa zauka rahA hai / aise avasaroM para vAra- striyoM ke sAnnidhya kA ullekha bhI prAyaH prApta hotA hai | kinnara tathA gandharva, ye do jAtiyA~ apane saMgIta- vizeSataH gAyana - ke lie vizeSa prasiddha rahI hai / ve vINA Adi bajAkara kaNTha saMgIta prastuta karate the / vyAkhyeya zloka meM bhI ullekha hai ki alakA ke prAsAdoM meM kinnara jo rakta kaNTha haiM, dhanapati kubera ke yaza kA udgAna kara rahe haiM / gAyaka ke lie raktakaNTha honA bahuta Avazyaka hai / vaise to abhyA kara koI bhI gA sakatA hai kintu yadi kahIM bhagavatkRpA se rakta arthAt madhura kaNThadhvani prApta ho, to gAna kA Ananda dviguNita ho jAtA hai aise hI haiM, alakA ke kinnara | kinnara kubera ke yaza kA udgAna kara rahe haiM arthAt ve ucca svara se gAndhAra grAma meM kubera ke yaza kA gAna kara rahe haiM / mallinAtha ne udgAna ke zAstrIya pakSa para prakAza DAlA hai 'udgAyadbhiruccairgAyanazIlaiH / devagAnasya gAndhAragrAmatvAt tArataraM gAyadbhirityarthaH / ' saMgIta meM tIna grAma mAne gae haiM jinameM SaDjra aura madhyama grAma mAnavoM ke lie tathA gAndhAra grAma devayoni ke lie nirNIta haiM - 'SaDjamadhyamanAmAnau grAmau gAyanti mAnavAH / na tu gAndhAranAmAnaM sa labhyo devayonibhiH // kinnara devayoni haiM, isIlie ve gAndhAra grAma meM gA rahe haiM ! kAlidAsa ne jaba jaba kisI devayoni ke gAyana kA ullekha kiyA hai, taba taba ud upasargapUrva gai dhAtu kA prayoga kiyA hai yathA akSayyAntarbhavananighayaH pratyahaM raktakaNThai - rudgAyadbhirghanapatiyazaH kinnarairyatra sArddham / uttaramegha0 10. + + utsaGge vA malinavasane saumya nikSipya vINAM madgAtrAkaM viracitapada N geyamudgAtukAmA / uttaramegha 29 + + + + yaH pUrayan kIcakarandhra bhaggAn darImukhotthena samIraNena / udgAstAmecchati kinnarANAM tAnapradAyitvamivopagantum // kumArasaMbhava 18 svAmI caraNatIrtha mahArAja ne apanI kAtyAyanI TIkA meM 'baddhAlApAH ' ke eka bilkula navIna artha kI ora saMketa kiyA hai jo saMgIta kI dRSTi se mahatvapUrNa hai / ve likhate haiM- For Personal & Private Use Only

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16 suSamA kulazreSTha baddhAlApAH baddhAH saMpravezitAH sAdhitAH rAgANAm AlApAH yaiste arthAt una zaMgArarasika yakSoM ne saMgIta ke rAgoM ke AlApoM ko sAdha liyA hai| kinnara jo gAna kara rahe haiM, usake zabda kuberayazogAnaparaka haiM tathA vaha gAna saMgIta ke kisI rAga meM Abaddha haiM aura usa rAga ke svaroM ko vibhinna AlApoM ke abhyAsa dvArA yakSoM ne bho sAtha liyA hai arthAt kinnaroM ke gAna ke bIca bIca meM yakSagaNa bhI AlApa prastuta kara rahe hai -- aisA artha bhI nikAlA jA sakatA hai / isa prakAra eka taraha se samUhagAna vahA~ cala rahA hai| prastuta zloka bharatamallika, sanAtana rAmanAtha, haragovinda, kalyANamalla tathA vilasana meM prApta nahIM hotA / Izvaracandra vidyAsAgara bhI ise saMdigdha padya mAnate haiM / sAroddhAriNI, mahimasiMhagaNi, sumativijaya, meghalatA, zizuhitaiSiNI tathA kucha anya hastalikhita pratiyoM meM 'baddhAlApA:' ke sthAna para 'bApAnaM' pATha milatA hai jisakI vyAkhyA sAroddhAriNI ke anusAra racitapAnagoSThika' hai| mahimasiMhagaNi likhate haiM --'baddhaM racita ApAnaM bAhyapAnagoSThI-yatra tat' / sumitivijaya ke anusAra isakA artha hai -- 'baddhaM racitaM ApAnaM pAnagoSThI yatra tat / ' vallabhadeva ke anusAra yahA~ pATha hai 'madhvApAna' jisakA artha hai-- 'madhuno madyasyApAna pAnagoSThikA-yasmin tat / ' 'vibudhavanitAvAramukhyAsahAyAH' ke sambandha meM sAroddhAriNI meM ullekha hai--'kalAkuzalAiganAvezyAsahitA vA / isa prakAra 'baddhAlApAH' ke sthAna para 'baddhApAna' tathA 'madhvApAna' pATha adhika ucita pratIta hote haiM kyoMki kAmijana jahA~ catura kalAkuzala vAravanitAoM ke sAtha baiThakara sundara kaNThadhvani vAle kinnaroM ke kubera yazogAnaparaka madhura saMgIta kA rasAsvAda kara rahe haiM, vahIM yadi madhupAnagoSThI kA Ayojana bhI cala rahA ho to koI Azcarya nahIM / saMgItagoSThI tathA pAnagoSThI kA eka sAtha varNana kavi ne anyatra bhI kiyA hI hai / vibudhavanitAvAramukhyAsahAyA tathA 'baddhApAnam' athavA 'madhvApAnam' pada isa tathya ke bhI nidarzaka haiM ki kAmijana abhI to kinnaroM ke madhura gAna ko vAravanitAoM ke sAtha suna rahe haiM, kinnaroM ke gAna ke pazcAt vAravanitAye jo kalAkuzala haiM, ve bhI saMgIta yA natyAdi apanI kalA prastuta kareMgI jisakA Ananda kAmijana kinnaroM ke sAtha prApta karege aura bIca bIca meM madhupAna kA prasaMga to calatA hI rahegA / isa prakAra prastuta padya meM saMgIta goSThI, pAna goSThI, unake samucita sthAna arthAt 'vaibhrAja' nAmaka bAhyodyAna, kalAkAra, zrotA evaM darzakoM kA suSTha nirdeza hai| alakAvavarNanaparaka ye tInoM hI padya isa tathya ke spaSTa paricAyaka haiM ki alakA eka atisamaddha nagarI hai jahA~ saMgIta ko viziSTa sthAna prApta hai tathA jahA~ ke nivAsiyoM kI saMgIta meM vizeSa abhiruci hai| saba milAkara ina tInoM padyoM ke sAMgItika pakSa ke vivecana se yaha siddha ho jAtA hai ki kAlidAsa saMgIta kI sUkSmAtisUkSma bArIkiyoM se bhalIbhAMti paricita the / yaha to kevala tIna padyoM kA vivecana huA / kevala meghadUta meM hI lagabhaga 37 padya aise haiM jinameM gAyana, vAdana athavA natya kA ullekha upalabdha hotA hai| For Personal & Private Use Only

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jaina mandiroM meM kAma - zilpa mArutinandana prasAda tivArI kAma - kalA sambandhI mUrtiyAM madhyayugIna mandiroM para pramukhatA ke sAtha aMkita haiM / ye mUrtiyAM 9 vIM se 14 vIM zatI I. ke madhya kI haiM / madhyayuga meM maMdira kevala devamUrtiyoM yA dharma ke anya pakSoM se hI sambandhita nahIM rahe, varan unameM samakAlIna saMskRti ke vividha pakSa bhI mUrta rUpa meM abhivyakta hue haiM / ina para dhArmika mUrtiyoM ke atirikta nRtya, saMgIta, AkheTa yuddha, zikSA, kAma-kalA, vyApAra tathA dainika kriyA kalApoM ke vividha aMkana haiM / mandiroM para kAma - kalA samvandhI mUrtiyoM ke aMkana kI kaI vyAkhyAe~ prastuta kI gii| haiM / 2 para isa prakAra ke zilpAMkana ko mAnava kI sahaja pravRtti aura AvazyakatA kI mUrta abhivyakti mAnanA hI upayukta hogA / jIvana meM kAma kI laukika aura dhArmika bhanivAryatA svIkAra karane ke pazcAt mandiroM para unake lekhana meM logoM ko jhijhaka nahIM mahasUsa huI hogI / 4 zAlabhaMjikA, mithuna tathA apsarA - mUrtiyoM kA aMkana kAphI pahale se kalA meM pracalita thA, jisake mAdhyama se nArI saundarya tathA usake AkarSaNa ko zilpa meM abhivyakta kiyA gayA / tAMtrika prabhAva ke kAraNa madhyayuga meM mandiroM para kAmakriyA kI pracura mUrtiyAM bniiN| khajurAho ( chatarapura madhyapradeza ), 5 bhuvanezvara ( purI, ur3IsA ) evaM koNArka ( purI, ur3IsA )7 jaise vizvaprasiddha sthaloM ke sAtha hI moDherA ( mahesANA, gujarAta ) ke sUrya mandira (1026-27 I.), ku bhAriyA ( banAsakAMThA, gujarAta ) ke kubhezvara mandira ( 11 vIM zatI I.), elorA ( auraMgAbAda, mahArASTra ) ke kailAza mandira ( la. 8 vIM - 9 vIM zatI I.) tathA anya aneka sthaloM para isa prakAra ke prabhUta aMkana haiM / - brAhmaNa mandiroM para isa prakAra ke zilpAMkana kI pramukhatA sarvathA jJAta hai / para jaina mandiroM para isa prakAra kI mUrtiyoM kI carcA abhI taka nahIM huI hai / 10 vIM se 12 vIM zatI I. ke madhya ke kucha jaina mandiroM para bhI kAma kalA sambandhI mUrtiyAM haiM, jo abhI taka aprakAzita haiM / jaina dharma meM zramaNa - zramaNiyoM ke sAtha hI gRhasthoM kA bhI mahattva rahA hai / jaina yadyapi vyApAra, vyavasAya, yuddha evaM anya kriyA-kalApoM meM samAja ke anya vargoM ke sahabhAgI the, kintu kAmAcAra ke prati unakA bhAva brAhmaNa evaM bauddhoM kI apekSA saMyata rahA hai| brAhmaNa, bauddha aura jaina dharmoM meM sAtavIM zatI I. ke bAda tAMtrika prabhAva par3A / brAhmaNa aura bauddha dharmo kI tulanA meM jaina dharma para tAMtrika prabhAva kama aura mukhyataH maMtravAda ke rUpa meM par3A / jaina dharma tAMtrika pUjAvidhi, mAMsa, madirA aura striyoM se sarvathA 4 For Personal & Private Use Only

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18. mArUtinandana prasAda tivArI mukta hI rahA / yahI kAraNa hai ki jaina dharma meM devatAoM ko yugalazaH yA apanI zaktiyoM ke sAtha AliMgana mudrA meM nahIM nirUpita kiyA gayA, jabaki brAhmaNa dharma meM brahmA, viSNu, ziva Adi ko anekazaH zaktiyoM ke sAtha AliMgana mudrA meM dikhAyA gayA hai| jaina AcAryoM ne tAMtrika vidyA ke ghinaune AcaraNa ko pUrNata: asvIkAra kara diyA aura tatra ke kevala yoga evaM sAdhanA ko hI svIkAra kiyA / Agama granthoM meM bhUtoM, DAkiniyoM evaM pizAcoM ke paryApta ullekha hai| samarAiccakahA (8 vIM zatI I.), tilakamaMjarI evaM bahatkathAkoSa meM maMtravAda, vidyAdharoM, vidyAoM evaM kApAlikoM kI vaitAla-sAdhanA kI carcA hai| inakI upAsanA se sAdhakoM ko divya zakti aura manovAMchita phala prApta hote the / 8 tAMtrika prabhAva meM kaI jaina grantha bhI likhe gaye, jinameM jvAlinI mAtA, nirvANakalikA (la. 900 I.), pratiSThAsAroddhAra (la. 13 vIM zatI I.), AcAradinakara (1411 I.), bhairavapadamAvatIkalpa eva adabhuta-padamAvatI mukhya hai| jaina paramparA kI 16 mahAvidyAe~ bhI tAMtrika deriyA hI hai| kucha jaina granthoM meM yakSa-pUjA ke sandarbha meM bhI tAMtrika prabhAva kA saMketa milatA hai| kuvalayamAlA (udyotanasUri kRta,. . la. 8 vIM zatI I ) meM siddhoM ke matra-tatra, evaM yakSiNiyoM aura yoginiyoM para niyaMtraNa se sambandhita ullekha hai| kahArayaNakosa meM kaliMga ke kAlasena kA ullekha AyA hai, jisakA liMgalakSa nAma ke yakSa para niyaMtraNa thA / kAlasena triloka paizAcika vidyA kA bhI niyaMtraka thA / 10 jaina dharma meM tAMtrika prabhAva kabhI prakhara nahIM huA, phalataH brAhmaNa mandiroM ke samAna jaina mandiroM para kAma-kalA se sambandhita aMkana kI pracuratA nahIM dikhAI detI / jainoM ne dharma ke sandarbha meM udAratA kI nIti apanAI aura jaina dharma kI prAsaMgikatA yA lokapriyatA banAye rakhane ke lie AvazyakatAnusAra usameM kucha zithilana bhI svIkAra kiye / tAMtrika prabhAva ke phalasvarUpa jaina devakula meM huI vRddhi ke samaya janoM ne brAhmaNa dharma aura kabhI-kabhI bauddha dharma, ke devI-devatAoM ko udAratA ke sAtha apane dharma meM sammilita kiyA / 24 jinoM ke yakSa aura yakSiyoM meM adhikAMza anya dharmoM se grahaNa kiye gaye haiN| inameM brahmA, viSNu, ziva, gaNeza, aSTadikpAla, navagraha, vaiSNavI, kumAra, vajrazaMkhalA mukhya hai| apanI isa udAratA yA dharmasahiSNutA dvArA gainoM ne saMbhavataH itara dharmAvalambiyoM ko jaina dharma ke prati AkRSTa karane kI ceSTA bhI kI thii| sambhavata: isI bhAva ke kAraNa jainoM ko kAma-sambandhI aMkanoM kI prAsaMgikatA kA bhI ahasAsa huA hogA / phalataH jena dharma meM isa prasaMga meM kucha zithilana kA bhAva AyA hogA jo jaina grantha harivaMzapurANa (783 I.) ke eka sandarma se kucha adhika spaSTa hotA hai / harivaMzapurANa (jinasenakata ) meM eka sthala para ullekha hai ki seTha kAmadatta ne prajA ke kautuka ke lie eka jina mandira meM kAmadeva aura rati kI mUrtiyAM bhI banavAI / kAmadeva aura rati ko dekhane ke kutUhala se jagata ke loga jina mandira meM Ate the, aura isa prakAra kautukavaza Aye hae logoM ko jina dharma kI prApti hotI thii| yaha jina mandira kAmadeva mandira ke nAma se hI prasiddha thA / 11 For Personal & Private Use Only

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__ jaina mandiroM meM kAma-zilpa kAma-kalA se sambandhita mUrtiyoM ke udAharaNa khajurAho ( pArzvanAtha mandira, digambara 950-70 I. ), devagaDha (mandira 18-digambara la. 11 vIM zatI I ), kubhAriyA ( neminAtha mandira-zvetAmbara, 12 vIM zatI I.), tAraM gA ( ajitanAtha mandira-zvetAmbara, 12 vIM zatI I.), eva' nADUlAI ( zAMtinAtha mandira - zvetAMbara, 11 vI zatI I.) ke jaina mandiroM para haiN| khajurAho ke pArzvanAtha mandira ke zikhara para uttara aura dakSiNa kI ora samAna vivaraNoM vAlI de| mUrtiyAM haiM (citra 1) / donoM udAharaNoM meM pragAr3ha AliMgana meM baddha do nirvastra yugaloM ko cumbana kI mudrA meM dikhAyA gayA hai / strI kA uThA hue eka paira puruSa ke kamara ke pAsa hai, jabaki puruSa kA eka paira strI ke jAnu para hai| donoM ke pairoM kI sadA saMbhavata: ina yugaloM ke saMbhogarata hone ke bhAva ko bhI vyakta karatI hai| dAr3hI ke yakta puruSa ke keza pIche kI ora saMvAre haiM aura vaha kaMgana, bAjUbaMda, karNakuNDala Adi se sajjita hai| strI mekhalA bhI pahane hai / strI-puruSa donoM ke gale meM dupaTTe jaisA eka vastra bhI hai / pArzvanAtha mandira ke dakSiNI zikhara para vivastra-jaghanA apsarA kI bhI eka mUrti hai / ina udAharaNoM ke alAvA pArzvanAtha mandira para kAma samvandhI anya koI mUrti nahIM hai / AdinAtha aura ghaNTAI jaina mandiroM evaM khajurAho ke anya jaina mUrti avazeSoM meM kAmakalA sambandhI aMkana nahIM hai| aisI sthiti meM pArzvanAtha mandira kI kAma sambandhI mUrtiyAM khajurAho ke brAhmaNa mandira para isa prakAra ke zilpAMkana kI vizeSa lokapriyatA kA pratiphala pratIta hotI hai| brAhmaNa mandiroM kI kAma mUrtiyoM meM samAja ke vibhinna vargoM ke sAtha hI kabhI-kabhI jaina sAdhuoM ko bhI isa prakAra ke varjita kRtyoM meM lipta dikhAyA gayA hai / brAhmaNa mandaroM para aisI kaI kAma-sambandhI mUrtiyAM haiM jinameM muNDita mastaka aura laMba karNa tathA mayUra picchikA aura mukhapahiyA se yukta nirvastra jaina sAdhuoM ko cuMbana, pragAr3ha AliMgana, sa bhoga aura mukhamaithuna kI vibhinna mudrAoM meM AkArita kiyA gayA hai / (citra 2) / lakSmIkAMta tripAThI ne Inhe jaina kSapaNaka sAdhaoM kI mUrtiyAM batAyA hai, jo ucita hai / 12 lakSmaNa mandira (10 vIM zatI I.) kI uttarI bhitti kI aisI hI eka mUrti meM mayUrapIcchiko se yukta muNDita mastaka jaina sAdhu kI nirvastra AkRti ke vakSaHsthala para zrIvatsa cinha bhI banA hai / jaina sAdhu ke sAmane beThI strI AkRti apane mukha meM sAdhu kA liMga liye hue haiN| yaha mukhamaithuna kA zilpAMkana haiM / smaraNIya hai ki pArzvanAtha mandira kI kAma mUrtiyoM meM puruSa AkRti dADhI se yukta haiN| devagar3ha ( lalitapura, uttara pradeza ) ke jaina mUrti samuha meM kAmakalA sambandhI mUrtiyAM atyalpa hai| kevala mandira 18 ke praveza-dvAra para hI isa prakAra kI tIna mUrtiyAM hai| samAna vivaraNoM vAlI do mUrtiyoM meM muNDita mastaka, lamba karNa, nirvastra jaina sAdhuoM ko leTe dikhAyA gayA hai / jaina sAdhuoM ke samIpa kamaNDalu aura mayarapIcchikA bhI rakhe hai| sAdhuoM ke caraNoM ke pAsa strI AkRtiyAM baiThI hai jo eka hAtha se yA to unakA caraNa dabA rahI hai yA phira unake tAluoM meM kucha lagA rahI haiM / tIsarI mUrti praveza-dvAra ke For Personal & Private Use Only

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20 mArutinandana prasAda tivArI nicale bhAga meM hai / yahAM nirvastra aura mur3e hue mastaka tathA lambe kAnoM vAle jaina sAdhu ko eka strI ke sAtha AliMgana-mudrA meM dikhAyA gayA hai / jaina sAdhu ke dAhine hAtha meM mayUrapIcchikA hai aura usakA bAyAM hAtha AliMgana-mudrA meM vAma pAva kI strI Akati ke kandhoM se hotA huA usake stana kA sparza kara rahA hai / strI ke bAyeM hAtha meM padma hai aura dAhinA hAtha AliMgana-mudrA meM hai / kAmakalA sambandhI sarvAdhika prakhara mUrtiyA~ nADalAI (pAlI, rAjasthAna) ke zAMtinAtha mandira para haiM / ma dira ke adhiSThAna para kAma sambandhI lagabhaga 50 yugala mUrtiyA~ ukerI haiM / ina rati yugaloM meM sAmAnya AkRtiyoM ke atirikta jaina sAdhuoM kI bhI AkRtiyA~ haiN| ye yugala cumbana, pragAr3ha AliMgana, tathA saMbhoga kI vibhinna mudrAoM meM haiN| jana sAdhaoM kI AkRtiyA~ mudde hue sira tathA lambe kAnoM vAlI haiM / kucha dRzyoM meM jaina sAdhuoM ke isa kRtya para anya AkRtiyoM ko Azcarya vyakta karate hue bhI dikhAyA gayA hai / . . kubhAriyA meM 11 vI se 13 vIM zatI I. ke madhya ke pA~ca zvetAMbara jaina mandira haiM jo zAMtinAtha, mahAvIra, pArzvanAtha, neminAtha aura saMbhavanAtha ko samarpita haiM / isa sthala para kAma sambandhI aMkana kA kevala eka udAharaNa milA hai / yaha mUrti neminAtha mandira (12 vI zatI I.) ke 5 pUrvI narathara meM hai (citra 3) / dRzya meM do puruSoM dvArA eka strI ke sAtha kAma prakaraNa kA aMkana haiM / strI ko Age kI ora jhuke hue aura donoM hAthoM ke sahAre apanA nitaMba bhAga Upara uThAye dikhAyA gayA hai| samIpa kI puruSa AkRti strI kI yoni kA cumbana le rahI hai, jabaki strI usa puruSa kA liMga mukha meM liye hai| strI ke sira ke pAsa eka dUsarI puruSa AkRta khar3I hai jo usake stanoM kA sparza kara rahI hai| sabhI AkRtiyA~ nirvastra haiM / kubhAriyA ke jaina maMdira kI yaha mUrti saMbhavataH samIpa ke kubhezvara (ziva) mandira (la0 11 vI zatI I0) se prabhAvita hai, jisa para kAma sambandhI mUrtiyoM kA pracuratA aura prakharatA ke sAtha zilpAMkana huA hai / tAragA (mahesANA, gujarAta) ke ajitanAtha mandira para kAma sambandhI 6 mUrtiyAM haiM / sabhI mUrtiyA~ narathara (uttara aura pazcima) meM haiM / inameM strI-puruSa donoM hI pUrI taraha nagna haiM / do udAharaNoM meM sira ke bala ulayA khar3I strI ke sAtha eka puruSa saMbhoga kara rahA hai / eka udAharaNa meM puruSa-strI kA kapola pakar3e hue hai jabaki stro ko puruSa kA liMga pakar3e dikhAyA gayA hai / eka udAharaNa meM eka strI AkRti Asana para leTI hai aura usake donoM paira paruSa ke kandhoM para rakhe hai / puruSa strI ke sAtha saMbhoga kI sthiti meM hai / samIpa hI eka sthAnaka AkRti ko zaramAte hue bhI dikhAyA gayA hai / bAyIM ora sevikAoM kI nakhA jhalate hue kucha martiyA~ bhI banI haiM / eka anya udAharaNa meM zayikA para leTI eka strI AkRti ke donoM ora do puruSa AkRtiyA~ rati kriyA kI mudrA meM AkArita haiM / yaha eka strI ke sAtha do puruSoM ke sahavAsa kA zilpAMkana hai / chaThI marti meM puruSa ko strI kA hAtha pakar3akara apane liMga ke pAsa le jAte hue dikhAyA gayA hai / samIpa kI do nArI AkRtiyA~ zarma se mu~ha Dhake haiN| For Personal & Private Use Only

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jaina mandiroM meM kAma-zilpa 21 pAda-TippaNI : (1) dRSTavya, desAI, devAMganA, erATika skalpacara oNva iNDiyA-e soziyo ___ kalcarala sTaDI, dillI, 1975 / (2) vahI, prakAza vidyA, khajurAho-e sTaDI ina di kalcarala kaNDizansa va candela sosAiTI, bambaI, 1967, pR0 153-77 (3) kAma-kalA se sambandhita aMkanoM meM kAma-kriyA kA jo uddAma rUpa moDherA, khajurAho, koNArka evaM bhuvanezvara ke mandiroM para abhivyakta huA hai, vaha nizcita hI asvAbhAvika hai / inameM strI-puruSa yugaloM ke sAmAnya rati-aMkanoM ke sAtha hI tIna, cAra yA adhika AkRtiyoM ke samuha meM bhI kAma-kriyA sambandhI aMkana haiM / eka strI ke sAtha do yA usase adhika puruSa aura puruSa ke sAtha 'do yA adhika striyA~ kI ratikriyA unakA viSaya rahA hai| inameM anekazaH mAnava-pazu (zvAna, azva, gardabha, mRga) kAma-krIr3A ko bhI darazAyA gayA hai / ye dRzya spaSTata: samAja meM vyApta kAma ke uddAma yA svacchanda svarUpa ko abhivyakta karate haiM, cAhe usakA kAraNa kucha bhI rahA ho / ye matiyA~ kAma kI svAbhAvika abhivyakti se prArambha hokara usa asvAbhAvika sthiti taka jAtI haiM jaba manuSya aura pazu kA antara pUrI taraha samApta ho jAtA hai aura manuSya pazuvata AcaraNa karane lagatA hai / mAnava-pazu samAgama ke aMkana usI sthiti ke sUcaka haiN| ina rati-aMkano meM rAja-parivAra evaM sAmAnya vyaktiyoM ke atirikta dADhI evaM jaTA se yukta brAhmaNa aura mayUrapIcchikA se yukta mude hue masta kavAle jaina sAdhu bhI dikhAye gaye haiN| saMbhava hai isa prakAra ke uddAma kAma-zilpa ke mandiroM para aMkana ke mAdhyama se dharmAcAryoM ne unheM pUrI taraha prakaTa kara logoM ko unase virata rakhane kA manovaijJAnika prayAsa kiyA ho| yaha manovaijJAnika tathya hai ki yadi manuSya kI dabI huI icchAoM ko pUrI taraha prakaTa hone kA avasara mila jAtA hai to kucha samaya pazcAt svayaM usI meM sahI-galata ke vicAra kA viveka utpanna ho jAtA hai / dharmAcAryoM ne bhI saMbhavataH samAja meM vyApta kAma kI uddAma sthiti ko niyaM trita karane ke lie yahI manovaijJAnika tarIkA mandiroM para unakI pUrNa evaM svacchaMda abhivyakti dvArA apanAyA thaa| yahI kAraNa hai ki isa prakAra ke asvAbhAvika kAma-zilpoM meM kucha AkRtiyoM ko ina kRtyoM para Azcarya yA zarma vyakta karate hue bhI dikhAyA gayA hai / bRhatsaMhitA 74. 20 lakSmaNa, kadariyA mahAdeva, jagadaMbA, vizvanAtha eva pArzvanAtha mandira10 vI - 11 vI zatI I0 / For Personal & Private Use Only

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23 mArutinandana prasAda tivArI rAjArAnI, brahmezvara eva liMgarAja mandira-11 vI zatI I0 / sUrya mandira - 13 vI zatI I0 / zarmA, brajanArAyaNa, sozala lAIpha ina nArdana iNDiyA, dillI, 1966, pR0 212-13 / zAha, yU0pI0, 'yakSa varazipa ina ali jaina liTrecara', jarnala oriyaNTala insTiTyuTa (bar3audA), khaM0 3, aM0 1, sitmbara 1953, pR. 54-71 / mizra, ramAnAtha, yakSa kalTa aiNDa AikAnogrAphI, dillI, pR0 52-53 / kAmadatto jinAgArapuro lokapravezane / mRgadhvajasya pratimA sa nyadhAnmahiSasya ca / / atraiva kAmadevasya ratezca pratimAM vyadhAt / jinAgAre samastAyAH prajAyAH kautukAya saH / / kAmadevaratiprekSA kautukena jagajjanAH / jinAyatanamAgatya prekSya tatpratimAdvayam // savidhAnakarmAkarNya tad bhAdrakamRgadhvajam / bahavaH pratipadyante jinadharma mahardivam / / prasiddhaM ca gRha jaina kAmadevagRhAkhyayA / kautukAgatalokasya jAtaM jinamatAptaye / / harivaMzapurANa 29. 1-5 (sa. pannAlAla jaina, jJAnapITha mUrtidevI jaina graMthamAlA, saMskRta graMthAMka 27, vArANasI, 1962, pR0 378) dRSTavya, tripAThI, ela0 ke0, 'di erATika skalpacarsa oNva khajurAho, aiNDa deyara prAbebila eksaplAnezana', bhAratI, aM0 3, pR0 82-104 / moDherA ke sUrya mandira kI kAma mUrtiyoM meM bhI kucha udAharaNoM meM mudde hue sira vAle nirvastra aura mayUrapIcchikA se yukta jaina sAdhuoM ko kAma. kriyA meM saMlagna dikhAyA gayA hai| (12) (13) For Personal & Private Use Only

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kharataragacchIya AcArya zrI jinaharSasari-viracita laghu zrIpAla-rAsa saMpAdikA-sAdhvI zrI surekhAzrI prata-varNana aura saMpAdana-paddhati prastata zrIpAla rAsa kA saMpAdana lAlabhAI dalapatabhAI bhAratIya saMskRti vidyA maMdira kI hastapratoM se kiyA gayA hai| isa saMpAdana kArya meM tIna hastapratoM kA upayoga kiyA hai| ___prata 'A' - prastuta rAsa 'A' prata se uddhRta kiyA hai kAraNa ki yaha racanA-savat ke atyanta samIpastha hai / savat 1742 meM isa kRti kA nirmANa huA tathA saMvat 1751 meM yaha prata Alekhita kI gii| isa prata meM 11 pRSTha hai jisameM pRSTha saM. 6 kA abhAva hai| ta 'B' se kI gaI hai| lA. da. bhA. sa. vi. maMdira ke hastaprata vibhAga ke rajisTara na. 2831 tathA sUcI na0 5241 kI yaha prata hai / isa prata kA mApa 26411. 3 se. mI., hai pratyeka pRSTha meM 13 paktiyA~ hai kiMtu aMtima pRSTha 11 kI dUsarI ora sirpha stiyA~ hI hai| azaddhiyoM ke nivAraNa ke lie haratAla kA prayoga sthAna sthAna para kiyA gayA hai| pratyeka pRSTha ke donoM ora 2.5 se. mI. kA hAMsiyA hai| poche kI tarapha dAhinI ora pRSThAMka likhe haiN| isa prata kA lekhana suMdara hai / kintu kucha kucha azuddhiyoM ke rahate hae bhI apekSA se isakI sthiti uttama hai| prata 'B' -- lA. da. bhA. sa. vi. madira ke hastaprata vibhAga ke raji.na.6679 tathA sUcI na0 3357 se isa prayoga kiyA hai / isa prata meM 12 pRSTha hai / isa prata kA lekhana saMvat ajJAta hai| 23410.5 se. mI. kI isa prata ke pratyeka pRSTha meM 15 paktiyA~ hai tathA donoM ora 2 se.mI. kA hasiyA hai / hApiye meM dAhinI ora pRSThAMka likhe haiN| isa prata meM anusvAra kA prayoga bahulatA se anupayukta bhI kiyA gayA hai| kahIM kahIM para pAnI gira jAne se dhabbe par3a gaye hai / isa prata meM a+ha ko 'ai' kI gaI hai tathA a+3 ko 'o' kara diyA gayA hai| isa prata meM hAMsiye meM DhAloM kI anya dezI bhI ullikhita hai| prata C-raji na. 3734 tathA sUcI na. 3663 kI yaha prata bhI uparyukta vibhAga kI hI hai| 12 pRSThoM kI isa prata kA mApa 25.5411.5 se.mI. hai| isakA prathama praSTha surakSA kI apekSA se korA rakhA gayA hai| 2.8 se. mI. kA hAMsiyA prata ke donoM ora hai| aMtima pRSTha meM pA~ca hI paMktiyA~ hai| pratyeka pRSTha meM 15 paktiyA~ hai / isa' prata kA lekhana vyavasthita va zabdamaya hai / B prata ke saharA isameM bhI 'a sthAna para ike 'ai prayukta huA hai| For Personal & Private Use Only

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sAdhvI zrI surekhAbhI ina tInoM hI pratoM ke aMta meM navapada athayA siddhacakra kA mAhAtmya va viSaya nirdeza diyA gayA hai| 24 saMpAdana paddhati- 1. 'ba' kA 'kha' kiyA gayA hai kintu jahA~ kasama prayoga hai vahAM 'ba' hI rakhA hai| va tatsama tathA va kA, va tathA ca kA prayoga yathAsthAna abhipretAnusAra sudhAra diyA gayA hai| 2. eka daMDa ko alpavirAma tathA do daMDa ko zlokAnusAra arvAcIna paddhati ke samAna kiyA haiM / 3. DhAla kI saMkhyA kahIM kahIM raha gaI hai vaha pUrNa kara dI gaI hai / prata A meM dAloM kI saMkhyA 20 hai / jabaki 17 vI saMkhyA kA prayoga do bAra kara diyA gayA hai / kula DhAla saMkhyA 21 hai / 4. 5. zloka saMkhyA 177 se 189 ke sthAna para 1-2 saMkhyA dI gaI thI / vahA~ kramAnusAra sudhAra kiyA gayA hai| kavi jinaha prastuta kRti zrIpAlarAsa ke kartA 'jinaharSa' kharataragaccha ke vidvAna jyotipuMja jaina zramaNa the / dAdA gurudeva zrI jinakuzala sUri ke ve ziSya the / unakI kaI eka kRtiyA~ 'jasarAja ' athavA jasA nAma se bhI prApta hotI hai / ho sakatA hai yaha unakI pUrvAvasthA kA nAma ho / inakA janma samaya va mRtyu samaya nizcita rUpa se prApta nahIM hotA, kintu I. sa. 1648 se I0 sa0 1707 taka inakI racanAyeM prApta hotI hai / ata: unakA jIvana 17 vIM zatI kA utarAI tathA 18 vIM zatI kA pUrvArdha to nizcita rUpa se kahA jA sakatA hai| unakI dIkSA samaya bhI nizcita rUpa se nahIM kahA jA sakatA / para Mtu I. sa. 1639-1642 ke samaya kAla meM inhoMne 'jinarAjasUri' ke pAsa meM saMyama aMgIkAra kiyA aisA jJAta hotA hai / inhoMne kisa bhUmi ko janma lekara alaMkRta kiyA, yaha bhI ajJAta hai| I. sa. 1679 taka unhoMne rAjasthAna meM hI vicaraNa kiyA hai ataH anumAna se kahA jA sakatA hai ki ve rAjasthAna ke ho| usake pazcAt ve aMtima samaya meM pATaNa me rahe the aisA mAluma hotA hai| 'jinaharSa' jaina saMpradAya ke pratibhAzAlI, udAramanA vidvAna sAdhu the / zatAdhika kRtiyoM ke vistAra ke vipula sarjana meM unhoMne gujarAtI hI nahIM apitu rajasthAnI hiMdI kRtiyA~ likhI jinameM anekAneka rAsa bIsI, chattIsI, sajjhAya, stavana Adi racanAe~ samAhita hotI haiM / kathAsAhitya meM unakI racanAe~ jainetara sAhitya meM zAmala kA smaraNa karA detI haiN| unakI racanAoM meM kathAkathana, varNana, saMvAda, zailI, chaMda - alaMkArAdi vizeSa rUpa se prApta hote hai / " For Personal & Private Use Only .

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laghu zrIpAlarAsa 33 unakI racanAoM meM tAlabada laya evaM dAloM kA vaividhya unakI saMgIta priyatA kI ora dhyAna AkarSita karatA haiM / bhaktibhAva, guNotkIrtana tathA sAhitya sarjana meM unakA kartava bejoDa hai / jinazAsana meM evaM bhAratIya saMskRti ke itihAsa meM unakA sAhitya anUThA sthAna rakhatA hai| pUrvaparamparA evaM prastuta kRti zrIpAla evaM madanasuMdarI (mainAsuMdarI) kI kathA navapadArAdhanA (siddhacakra) meM vizeSa mahattva rakhatI haiM / isakA mAhAtmya isI bAta ko sUcita karatA haiM ki isa viSaya se sambandhita adyAvadhi anekAneka racanAe~ huI hai / unameM prAkRta saMskRta meM padya evaM gadya donoM meM to nirmANa huA hI hai isake atirikta gujarAtI, rAjasthAnI bhASA meM rAsa caupAI bhI race gaye / inameM se sarva prAcIna prAkRta bhASA meM prApya haiM / saMbhava haiM usase pUrva bhI isakI racanA huI ho aura kAla ke duSprabhAva se vaha vicchinna ho gaI ho / kAlakramAnusAra kucha racanAoM kA yahA~ ullekha kiyA jA rahA hai 1. vi. saM. 1428 meM pU A.zrIratnazekharasUrIzvarajI ma. racita 'sirisirivAla __ kahA 2 vi. saM. 1428 ke pazcAt ratnazekharIya kRti para hemacandra muni kI prAkRta se saMskRta meM TIkA 3 vi. saM. 1514 meM 5 zrI satyarAja gaNivara racita padyamaya zrIpAlacaritra 1 vi. saM. 1557 meM A. zrIlabdhisAgarasUrI kRta zrIpAlacaritra zlokabaddha 5 vi. saM. 1662 meM ratnalAbha-ziSya kSamAraMga kRta zrIpAlarAsare 6 vi. saM. 1722 meM mahimodaya-ziSya matihasa kRta zrIpAlarAsa 7 vi. saM. 1725 meM manasoma kRta zrIpAlacaritra bAlAvabodha 8 vi. saM. 1726 meM nyAyasAgara kRta zrIpAlarAsa 9 vi. saM. 1735 meM rAmacandra ziSya padmaraMga kRta zrIpAla caupAI 1. vi. saM. 1738 meM mahopAdhyAya vinayavijaya gaNivara evaM mahopAdhyAya yazovijayajI gaNivara racita zrIpAlarAsa 11 vi. saM. 1740 meM jinaharSasUri kRta zrIpAla rAsa (pRhad) 12 vi. saM 1742 meM jinahasUri kRta zrIpAla rAsa (laghu) prastuta kRti 1 siri sirivAla kahA-sAra, prAkkathana-pR. 15 ahamadAbAda : rasikalAla rAmacaMda zAha, rAmapuravAlA, 2. maNidhArI jinacandrasUri saptama zatAbdI smArikA antargata kharataragaccha sAhitya sUcI. For Personal & Private Use Only

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sAdhvI zrI surekhAzrI isa kRti ke pazcAt bhI anekAneka racanAe~ saMskRta gujarAtI meM huI hai aura hotI jA rahI hai / jinaharSa sUri meM zrIpAlarAsa do prakAra ke race haiM- eka bahada, dUsarA laghu / bahad zrIpAla rAsa meM 49 DhAle haiM tathA zloka pramANa 861 hai / jabaki isa laghu rAsa meM 21 DhAla tathA 272+12%284 kala zloka hai| kavi ne zrIpAla nRpa ke evaM navapada viSaya ke mahAtmya ko dhyAna meM rakhakara do rAsa kI racanA kI ho aisA dIkhatA hai / alpa samaya meM samayAbhAva ke kAraNa janasamUha lAbhAnvita ho sake ata: laghu rAsa racA hogA / DhAla na. 16 tathA pRSTha saMkhyA 1 meM sakhiyoM dvArA praznottara kI gaNanA atirikta kI gaI hai / 272 gAthA meM unakA samAveza nahIM kiyA gayA / 6 gAthAe~ isameM vizeSa haiN| aMtima do gAthAoM meM graMthakAra ne apanI prazasti dI haiN| 'kharataragaccha meM jina candrasUri ke zAsana kAla meM 1742 vi. saM. meM caitra vadi terasa ke dina pATaga meM vAcaka zAMtiharSa ke ke ziSya jinaharSa ne isa rAsa kI racanA kI gaI hai|' lekhaka ne bhI likhA hai ki saMvat 1751 varSa meM bhahAraka zrI vijayAnaMda sari ke ziSya paM. zrI caMdravijaya gaNi, taziSya lAlavijaya, taziSya mu. vRddhavijaya ne nyAyavijaya gaNi ke vAcanArtha isako likhA / kathAsAra 'zrIpAla rAsa' yaha eka paurANika kathA para AdhArita padyamA gujarAtI-hiMdI mizra bhASA meM racati rAsa hai| isa rAsa kA nAyaka aura kathAnaka donoM hI paurANika paraMparA ke sAtha sambandhita hai / siddhacakra arthAt navapadArAdhanA kI mahimA-darzana ke liye isa rAsa kI racanA kI gaI hai| isa zrIpAla rAsa meM kula 284 gAthAyeM haiN| jisameM rAjA prajApAla, unakI donoM rAniyA~, donoM putriyA~ tathA zrIpAla kupAra va dhavala seTha kA vRttAnta diyA gayA hai / rAjA prajApAla dvArA donoM putriyoM kI parIkSA, surasudarI para prasanna hokara aridamana kumAra se vivAha, tathA madanasudarI para aprasanna hone se apamAna karake kuSTarogI uMbara (zrIpAla) ke sAtha vivAha, navapadArAdhanA se zrIpAla kI roga mukti, zrIpAla ke sAhasika kArya, prajApAla ko parAkrama dikhAkara dharmasthita karanA Adi Adi vRttoM se yaha kathArAsa otaprota hai / isa rAsa kI kathA kA sAra apekSita hone se diyA jA rahA hai mAlabadeza meM ujjayinI nAmaka sudara nagarI thii| yathA nAma tathA guNa yukta prajApAla nAmaka rAjA vahAM rAjya karatA thA / usake do rAniyA~-saubhAgyasudarI aura rUpasudarI thii| bhaivamata kI zradvAlu saubhAgyasudarI ke surasudarI evaM jaina mata meM anurakta rUpasudarI ke madanasudarI nAmaka putrI thI / surasudarI zaivamata meM evaM madanasudarI jainamata ke sAtha, donoM vividha kalAoM meM pravINa huI / kramazaH donoM yauvana vaya meM praviSTa huI / For Personal & Private Use Only

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ladhu zrIpAlarAsa eka samaya rAjA prajApAla ne donoM putriyoM ko bulAkara bAddha parIkSA hetu zloka kA eka caraNa diyA / usa caraNa ke sAtha tIna caraNa aura milAkara samasyApUrti karanI thii| donoM ne apanI apanI mAnyatA va svabhAvAnusAra pAdapUrti kI / surasuMdarI ne apane sukhoM kA zreya rAjA ko dekara khuzAmata ko, to madanasuMdarI ne to svakRta karmo ko hI unnati va patana, duHkha aura sukha ke liye mAnya kiyA / isase rAjA prajApAla madanasudarI para kupita hubhA / rAjAne use samajhAne ke liye anekAneka prayatna bhI kiye / para madanasudarI apane siddhAnta para dRr3ha rahI / rAjA ne apanI kRpA ko sarvopari mAnanevAlI surasuMdarI kA vivAha manapasaMda rAjakumAra aridamana ke sAtha kara diyA aura madanasudarI ko dhamakI dI ki yadi vaha pitA rAjA kI zakti ko svIkAra nahIM karegI to usakA phala use acchA nahIM milegA / para madanasundarI ko to apane karmo para pUrNa vizvAsa thA / usI samaya sAta sau kor3iyoM ke samahane apane nAyaka-jisakA nAma ubara thAke sAtha ujjainI nagarI meM praveza kiyA aura apane nAyaka ke lie eka kAyA kI mAMga kii| mainA para TreSita rAjA ne ubara ko hI mainAsudarI ko dene kA vicAra kiyA / taba ubara ne kahA ki 'rAjan ! Apa isa suMdara rAjakumArI kI jiMdagI ke sAtha khilavAr3a na kreN| vaha madanasudarI ko svIkArane meM AnAkAnI kara rahA thA ki isI samaya eka AjJAMkita putrI ke samAna mayaNA ne use pati rUpa meM aMgIkAra kiyA / mayaNA aura ubara nAma se vikhyAta zrIpAla bhaktipUrvaka jinendra deva RSabha deva ke maMdira meM gye| jahA~ stuti karate samaya daivI prabhAva se zrIphala va mAlA bhagavAn kI pratimA se apane sammukha Ate dRSTigata hue / zrIpAla ne zrIphala aura mayaNA ne mAlA grahaNa kI / pazcAtU donoM guruvaMdana karane gaye / munirAja ne nava AMbila saha navapadArAdhanA karane kA upadeza diyA / tathAprakAra kI ArAdhanA se ubara vyAdhimukta huA aura svarNa kI kAMtimaya usakI deha ho gii| mayaNA va zrIpAla sukhapUrvaka dharmArAdhanA meM tatpara hae / eka samaya jinamaMdira se bAhara nikalate samaya zrIpAla ne eka mahilA ko Ate dekhaa| samIpa Ane para apanI mAtA ko pahacAna kara caraNa-sparza kiyA / mayaNA ne bhI use sambandhI samajha pati ke anugamana rUpa caraNavandana kiyA / zrIpAla ke pUchane para kamalaprabhA ne kahA-'beTA ! tere liye auSadhopacAra ke liye vaidya kI khoja karatI huI kauzAmbI nagarI meM gaI / vahA~ gurumukha se terI rogamukti evaM mayaNA ke sAtha parigrahaNa kA vRtAMta jAna sIdhI yahA~ AI / ' mA~ ke sAtha donoM sukha se samaya vyatIta karane lge| isI bIca mayaNAsudarI kI mA~ rUpasudarI jo rAjA se kupita hokara bhrAtRgRha calI gaI thI eka bAra jinamaMdira AI / vaha mayaNA ko anya puruSa ke sAtha samajha kara vilApa karane lagI / mayaNA ne kuSTarogamukti kI sarva hakIkata kA saMtoSapUrvaka nivedana kiyA / rUpasudarI ne kamalaprabhA se jaba paricaya pUchA to sudara aura zUravIra rAjaputra jAmAtA milane kI atIva For Personal & Private Use Only

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36 sAdhvI zrI surekhAzrI khuzI huI / rUpasudarI ne sarvavRtAnta apane bhAI se kahA taba mAmA apanI bhANajI va javAI ko svagRha le gayA / isI bIca eka dina rAjA prajApAla jaba vahA~ se gujara rahA thA taba sahasA hI dRSTi Upara kI ora gaI jahA~ mayaNA va zrIpAla baiThe the| apanI putrI ko anya puruSa ke sAtha baiThA dekha mana meM bahuta hI viSAda karane lagA / idhara puNyapAla sAle ne jaba apane bahanoI kI dazA dekhI to jAkara zaMkA kA samAdhAna kiyA / rAjA ko apanI baratA kA bhAna huA aura mayaNA se apane kukRtya kI kSamA cAhI / taba mayaNA ne pitAzrI se kahA ki yaha saba to isa vakRta karmoM kA hI doSa hai / rAjA prajApAla apanI putrI aura jAmAtA ko sasammAna satkArapUrvaka rAjabhavana meM le gayA / eka dina jaba zrIpAla azva para savAra hokara havAkhorI hetu bAhara gayA taba kisI se zrIpAla ne apanA paricaya dete hue sunA ki rAjA kA javAMI jA rahA hai / taba zrIpAla ne vicAra kiyA uttama purUSa svaguNoM se pahacAnA jAtA hai, jo pitA ke nAma se pahacAnA jAya vaha madhyama hotA hai, mAmA ke kAraNa prasiddha ho vaha adhama kiMtu zvasura ke nAma se jAnA jAya vaha to adhamAdhama hotA hai / ina hRdayabhedI zabdoM se sambodhi tahone para zrIpAla ne zvasura gRha kA parityAga karane kA vicAra kiyA tathA paradeza jAkara dhana prApti kara zauryabala se pitA kA rAja prApta karane kA nirNaya kiyA / isa prakAra mAtA va mayaNA kI anumati lekara vaha vahAM se ravAnA ho gayA / grAmAnugrAma vicaraNa karatA huA zrIpAla eka parvata ke samIpa pahu~cI / dekhA ki vahA~ jaMgala meM eka puruSa vidyA kI sAdhanA kara rahA hai, use eka uttara sAdhaka kI jarUrata thii| zrIpAla ne uttarasAdhaka banakara vidyA siddha karAI / isase prasanna hokara sAdhaka ne zrIpAla ko do vidyA dI / pahilI vidyA ke prabhAva se manuSya pAnI meM nahIM iMba sake tathA dUsarI zastranivAriNI thii| ina donoM vidyAoM ko lekara zrIpAla ne Age kadama baDhAye / vaha bharUca nagara meM phNcaa| vahA~ dhavala nAma kA eka bahata bar3A vyApArI pA~casau jahAja lekara videzagamana hetu taiyArI kara rahA thA ki daivI prakopa se usake jahAja samudra meM hI stambhita ho gaye the| brAhmaNoM ne battIsa lakSaNayukta puruSa kI bali dene ko kahA / dhavala seTha ne rAjA se balidAna hetu puruSa kI mAMga kI / rAjA ne kahA ki paradezI vyakti kI bali de denA / zrIpAla ko paradezI samajha dhavala seTha ke subhaTa pakar3ane Aye / para siMhagarjanA kara zrIpAla ne sabako bhagA diyA / rAja-senya kA Azraya bhI niSphala gayA, zastra-nivAriNI vidyA ke kAraNa / zrIpAla kI zUravIratA va tejasvitA se abhibhUta ho dhavala ne stambhita hue jahAjoM kI carcA kI / taba zrIpAla ne jahAja-mukti kA abhiprAya jAna eka lakSa dInAra se svIkAra kiyA / navapada kA smaraNa kara zrIpAla ne jahAjoM ko gatimAna kiyA / dhavala ne zrIpAla se sAtha calane ko nivedana kiyA / taba zrIpAla ne kahA ki jitanI dasa sahasra subhaTa ko dhana rAzi dI jAtI hai utanI use akele ko dI jAya taba vaha cala sakatA hai| kintu dhavala kA mana itanI bar3I rAzi kA tyAga karane ko majUra na huaa| idhara zrIpAla For Personal & Private Use Only

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ladhu zrI pAlarAsa 37 bhI deza videza meM paribhramaNa ke pralobhana ko roka na sakA / dhavala eka sonAmohara kirAye se le calane ko taiyAra huA / ___babbara koTa nAmaka baMdaragAha ratnadIpa jAte hue AyA / jahAjo ne vAna paDAva ddaal| rAjya karmacArI kara lene ko Ae taba dhavala ne kara dene se inkAra kara diyaa| taba sainikoM ne dhavala ko pakar3a kara eka vRkSa ke sAtha bAMdha diyaa| idhara dhavala ke sabhI subhaTa nau do gyAraha ho gaye / taba dhavala ne avasara dekha zrIpAla ko badhanamukta karane kI yAcanA kii| zrIpAla ne kahA 'ina jahAjoM meM se arddha mere havAle karo to maiM chur3A sakatA hU~ / ' 'maratA kyA nahIM karatA' ko caritArtha karate hue dhavala ne majUrI dI / zrIpAla ne saMgrAma kara bAbarapati mahAkAla rAjA ko pakar3a kara bA~dha diyA, dhavala ko mukta kiyA / dhavala ne bAbara. pati ko mArane ke lie zrIpAla se kahA / zrIpAla ne kSatriyatA kA paricaya dete kahA ki 'baMdhana meM baMdhe ko mAranA kSatriya kA kArya nahIM hai|' isase bAbarapatine bahuta AkarSita hokara zrIpAla ko sasammAna nagara praveza karAke apanI putrI mayaNasenA se pANigrahaNa kraayaa| rAjA ne navanATaka Adi apAra daheja dekara vidA kiyA / jahAja samudra ko cIrate hue ratnadvIpa jA pahu~ce / ____ vahA~ eka paradezI ko dekha koI acaraja dekhA ho to puuch| / paradezI ne kahA ki ratnasaMcayA nagarI meM kanakaketu rAjA ke kanakamAlA rAnI se madanamajUSA putrI hai| RSabha jiNaMda ke madira meM pUjA sevA karake bAhara nikalI ki dvAra bada ho gaye / rAjA va nagaravAsI sabhI cintita hue / devavANI huI ki jo madanamaMjUSA kA bharatAra hogA vahI eka mAsa bAda isakA dvArodghATana karegA / zrIpAla ne vahA~ jAkara navapada kA smaraNa kara dvAra khole / jaya jaya kAra kI dhvani se AkAza bhI guMjAyamAna huA / sabhI gurumahArAja ke pAsa dharmadezanA sunane gaye / dharmopadeza meM gurumahArAja ne navapada kA adhikAra zrIpAla ke dRSTAnta ke pAtha kahA / rAjA ne pUchA 'kauna zrIpAla ?' zrIpAla ko apane sanmukha baiThA jAna rAjA ne apanI putrI mayaNamaMjUSA ko lagnagranthI meM bA~dha diyA / idhara dhavala bhI usI nagarI meM AyA aura karacorI karane ke kAraNa rAjasubhaToM ne pakar3a liyA / zrIpAla ne dekhA aura pitRtulya dhavala ko chur3avA liyA / jahAja gatimAna hue aura dhavala seTha zrIpAla ko do kanyAoM ke sAtha dekha jala bhuna rAkha hae / rAjaputriyoM kI ora AkarSita ho dhavala virahAkula hone lgaa| mitroM se upAya pUchA taba eka mitra ne kapaTa bharI prIti kara rAtri meM samudra meM DAla dene kI salAha dii| Azcaryajanaka vastu dikhAne ke bahAne dhavala ne zrIpAla ko samudra meM DAla diyA / vidyAsAdhaka kI vidyA ke prabhAva se magaramaccha kI pITha para zrIpAla jA bhaiThA / idhara koMkaNAdhipati ko naimittika ne kahA thA ki jo puruSa sAkha zuklA dazamI ko magaramaccha para savAra hokara AvegA aura capA ke vRkSa ke nIce so jAvegA vahI tumhArI putrI kA vararAja hogA / zrIpAla ko usa avasthA meM dekha rAjA ne putrI kA vivAha zrIpAla For Personal & Private Use Only

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38 sAdhvI zrI surekhA zrI se kara diyaa| idhara dhavala zrIpAla ko samudra meM girAkara 'dagAbAja danA name' kI bhA~ti kapaTI jora jora se rone cillAne lgaa| donoM rAjaputriyoM ko vajrapAta huA / dhavala unake pAsa sAntvanA dene ke lie gayA aura kahane lagA-'tuma cintA na karo, maiM tumhArA rakSaNa karU~gA / tuma mujhe apanA sarvesarvA svIkAra kara lo / ' donoM ne dhavala ke pApI mana ko bhAMpa liyA ki isa duSTa ne hamAre kAraNa hI patideva ko kaSTa meM DAlA hai / pativratA ke zIla ke rakSaNa hetu cakrezvarI devI prakaTa huI aura dhavala kI avagati kI / dhavala ne donoM rAjaputriyA~ kI zaraNa grahI taba devI ne use chor3A / donoM ke kaNThoM meM puSpamAlA Aropita kara kahA 'kudRSTi se tumhAre pAsa AvegA vaha dRSTivihIna ho jAvegA evaM isa mahIne ke aMta meM tuma donoM pati-darzana kara logI / ' isa prakAra zrIpAla ko samudra meM dhakkA mArakara dhavala ne donoM patniyoM ke zIla lUTane kA prayatna karane para bhI saphala na ho sakA / dhavala seTha ke jahAja bhI koMkaNa deza ke kinAre pahu~ce aura dhavala bheMTanI lekara rAjA ke pAsa gayA / vahA~ zrIpAla ko dekhakara Azcaryacakita ho gayA / use jIvita dekha anya koI yukti se mArane kA vaha vicAra karane lgaa| DUba jAti ke samUha ko pralobhana de zrIpAla ko nimna jAti kA siddha karane kA prayatna kiyA para aMta meM pApa kA ghar3A phUTa gayA / rAjA dvArA prANadaMDa diyA jAne para zrIpAla ne apane AzrayadAtA kahakara chur3avAyA, para dhavala kA hRdaya, usake vicAra va AcAra meM kaluSitatA thI / eka rAtri meM saptakhaMDa ke mahala meM jaba zrIpAla sukhapUrvaka so rahA thA taba dhavalane eka pAlatU goha lAkara mahala meM DAlI aura rassI ke sahAre hAtha meM kaTArI lekara caDhane lgaa| kintu yakAyaka rassI bIca meM hI TUTa jAne se usake peTa meM kaTAra ghusa gayI aura usake jIvana kA karuNa aMta huA / eka sArthavAha ke kahane se zrIpAla kuMDalanagara kI rAjasutA ko vINA vAdana meM vAmana ke rUpa meM parAsta kara varI / isa vINAvAdana meM navapadArAdhanA se tuSTa vimalezvara deva dvArA pradatta hAra sahAyaka huA / pazcAt kanakapura meM zrIpAla ne vijayasena rAjA kI putrI trailokyasudarI ko kubaI kA rUpa banAkara svayaMvara meM varA / jisase anya rAjAgaga krodhita hue / unako parAkrama dikhAkara parAsta kiyA / devakIpATana ke rAjA dharApAla kI kanyA zrRMgArasudarI evaM usakI pAMcoM sakhiyoM ko doDApUrti kara jIta meM varamAlA Aropita karI / kollA kapureza puraMdara kI sutA jayasudarI kA parigrahaga rAdhAvedha sAvakara kiyA / tila mudarI kA sarva viSa haraNa kara vivAha kiyA / isa prakAra paradeza meM ATha sannAriyoM ko prApta kara khUba dhana kamAkara eka bar3e sainyabala ke sAtha zrIgala ujjayanI pahu~cA / mAtA va mapaNA ko nagara bAhara sainya par3Ava meM zrIpAla le AyA / mayagA ne pUchA ki tere pitA ko kaise bulAyA jAya ? kaMdhe para kulhADA aura mu~ha meM tinakA lekara prajApAla ko balAyA, dUta ko bhejakara / taba mayaNA ne pitAzrI se nivedana kiyA ki For Personal & Private Use Only

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laghu zrINalarAsa 'pitAjI yahI merA pati jo Apane koTI rUpa meM mujhe pradAna kiyA thA / ' prajApAla rAjA ke Azcarya kA pArAvAra na thA / isI avasara para nava nATaka vRnda ko nATaka karane kA AhavAna kiyA / para mukhya gaNikA usa dina nATaka ke lie taiyAra na ho rahI thI, para rAjAzA ke kAraNa lAcAra hokara use maMca para AnA par3A / gaNikAne dohe ke mAdhyama meM apanA svarUpa pragaTa kiyA taba sabhI ko vidita huA ki yaha prajApAla rAjA kI kanyA, saubhAgyasudarI kI putrI surasudarI hI hai| vivAha ke pazcAt apane deza meM jAte samaya rAste meM DAkuoM ne DAkA DAlA phalasvarUpa usakA pati use chor3a kara calA gayA / use DAkuoM ne pakar3akara beca diyA eka vezyA ko aura vahA~ bAbarapati ne apane navanATakoM meM use zAmila kiyA / rAjA prabApAla ko ApakamAI aura bApakamAI kI kasauTI ho gaI / zrIpAla apane rAjya ko punaH prApta karane ke ke lie sasainya ravAnA huaa| kAkA avitasena se rAjya vApasa lauTane kI mAMga kI para antataH saMgrAma kara rAjya prApta kiyaa| ajitasena ne vairAgyabAsita hokara dIkSA le lii| mayaNAsundarI ko zrIpAla ne paharANI bnaayaa| ghavala aSThI ke putra nirmala ko zreSThIpada para sthApita kiyA / siddhacakra kI pUjA prabhAvanA apane rAjya meM amAri kI ghoSaNA ke sAtha meM kraayii| isa prakAra rAjya saMcAlana karate hue apane kuTumba ke sAtha zrIpAla dharmadhyAnapUrvaka samaya pasAra karane lage / ajitasena nRpa ko jJAnaprApta hone para zrIpAla ne pUrvabhava kA vRtAnta pUchA / pUrvakRta karmAnusAra hI phalaprApti jAna zrIpAla ko AtmajAgRpti huI evaM dharma pravRtti meM adhika pravRtta hubho / For Personal & Private Use Only

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A. jinaharSasari-viracita -laghu zrIpAla rAsa 1: DhAla siMdhanI cauvIse2 praNamu jinarAya, jAsa pasAyaI navanidhi thAya / suyadevI dhari 4ridaya majhAri, kahisunavapada nau adhikAra // 1 maMtra jaMtra chaha avara aneka, paNi navakArasamaTha nahI eka / siddhacakra navapada supasAyaI, sukha pAmyA zrIpAla nararAyahara AMbila tapa navapada saMyoga , galita 10 sarIra thayau nIroga / tAsa caritra kahuM hita AMNI,11muNajyo nara nArI mujha 12vANI // 3 // dakSaNa bharataha mAlava desa, UjeNI surapurI nivesa / prajApAla 13iNi 14nAme naresara,15doi16 paTarANI rUpai17apachara / sohagasundari naI18 rUpasundari, jovana rUpa kalA guNa sundari prathama mithyAta dharamasurAtI19, bIjI jaina dharama20-tuM mAtI // 5 // sauki taNau nahI21 koi viSAda, 22paNi nija mata nau karai23 vivaad| be rANI24 nai putrI doya,25 jANe lakhamI sarasati doya // 6 // sohagasundarI nI je kanyA surasuMdarI nAmaI26 te dhanyA / mayaNasundarI rUpasundara 27 jehanI, sobhA jeNI28vadhArI gharinI // 7 // varasa sAtanI te thaI bAla, bhaNivA 29ghAlI nRpa 30le sAla 31sAstra bhaNi32 pahilI mithyAta, bIjI33 jaina zAstra suvikhyAta ||8 bhaNI guNI sArada avatAra, causaThi nArI kalA bhaMDAra / bApa taNIi34 mujarai35 te AvI, kholai36 behasANI37 bolAvI // 9 // buddhi parIkSA karivA rAyaI,38 dIdha samasyA eka samAyaI39 / bAI punyai40 lahoyaha41 eha,42surasundari jinaharakha kheh||10|| 1caupAi nI B2 cauvIse C3. basAye navaniSa B 4. dhurI B5 yaMtra B6B7 piNi B 8 pAmyAM B90 joga B 10 zarI 0B 11. suNi0 B12 vauNi B 13 INi B 14 nAme B 15 naresa A 16 doI B 17 rupai B 18 neI B 19 rAtI B 20. dharma 21. koI B 22 piNi B 23. karai B 24. rANI naI B 25. hoI B 26. nAmeM B 27. 0 dari B 28. jeNiM B 29. mUkI B 30. lezA0 B31 zAstra B 32. bhaNyA B33. prata B se uddhata 34. taNe B35. jara B 36. *saha B 37. beI *B 38. rIyaI A 39. yaha B 40. yaI A 41 * yaha B 42 aiha B For Personal & Private Use Only

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laghu zrIpAla sa dUhA na jovana DAhApaNu, roga rahita nija deha | mana ballabha melAvaDau', nRpa Adika harakhyA + sahU, pUri samasyA nRpa kahara, vinaya viveka prasannatA, sivapada nau melAvaDau 10, puNyaI 2 lahIya 3 eha // 11 // sAMbhali vacana 5 rasAla | tu7 paNi mayaNA bAla ||12|| sIlasunirmala deha / puNyai 11 lahIya eha 12 || 13 || 2. DhAla : jI re sAmi samosaryA e desI 13 | vacana 14 suNI 15 kumarI taNAM 10, harakhyA mAya 17 tAyo re / buddhi-viveka - vinayavatI, dIThI AvaI 18 dAyo re // 14 // jI re jI re baIyaha bhAmaNai 19, rAjA ima 20 bolaI21 re / vayaNa rayaNa sArikhA 22 kahuM, tumhe 23 sarasati tolai 24 re // 15 // jI // kahau re 25, sutA sura- sundarI 26, vara 27 tumanai suhAya re / bApa - karamI 28 thAi re // 16 // jI // aridamaNa kumAro re / e bharatAro 31 re // 17 // jI // te paraNAUM tujha bhaNI, tuma supasAyai tAtajI, ghaNu re ghaNu kahIyai 29 kisu, pAmu rAya khusI thai 32 tehasu, melyau vIvAho re / mayaNA naI 3 3 rAjA kahaI 34, je vara tAharai 30 hu tujha naI 3 8 sukhaNI 39 karUM, tu chaI guNa nI peTI re // 19 // jI // tuma naI 35 kuNa nAhI re // 18 // jI // managamaMI 37, huM paraNAU~ beTI re / mayaNA 4 kahaI suNi 4 tAjI, syuM paDIyA chau42 bharmaI re / 0 sukha dukha 43 prANI bhogavaMi44, sahu nija nija karmai 45 re // 20 // jI // 1 vaDao B 2 puNyai B 3 vyahaM B 4 vyA B 5 vacana B 6 kahai B punyai B 12 lahI aiha 7 tupiNi B 8 prasanna A9 nao B 10 0 vaDao B 11 B13B prata meM dAla kI desI anya likhI hai-- jaNiNI mane AzA ghaNI desI ehanI / 14 vacana B 15 kumarI B 16 tattA B 17 mAya ne tAyo B 18 AveM B 19 mAma B 20 ima B 21 bole B 22 sarikhAM kahayAM B 23 tamhe B 24 tole B 25 reM B 26 suMdari B 27 tumha nahIM suhAya B 28 karmI thAya B 34 kahai B 30 pAmuLe B 31 bhatAro B 32 thaI B 36 tAha B 37 *maha B 38 nai B 42 chaMDa bharmaI B 43 prAMNI B 44 39 sukhi0 B 40 mayaNaM gavai B 45 karmas B 33 naiM 41 For Personal & Private Use Only B 29 0yaha B 35 naI kuMNa B A 41 sugaDa B

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42 1 mAharA karma mAhiM likhyau te lahi bApa karma 3 beTI nahIM, Ara pharmI rAya vacana suNi kopIyaTha, huM sukhIyA dukhIya karU, zaMka bhaNI rAjA karU, mujha supAsAyaI sahu sukhI, A. jinasUriviracita tAta suNau mayaNA 12 kahaI, garva 14 uttama guNa galaI, mUrakhya" syu' bere / kuNa chai mujha tolai 10 re || 22 ||jii|| rAjA karU raMko re / tu prAya re / 2 thAya* re ||21|| jI // + // mayaNa - aNa viSa sArikhA, kahai 17 jinaharSa rAjA taNau, kInai 13 re / etau garva na 15 jaga jasa lahIjaI re // 24 // jI // 11 mAni nisaMko re // 23 // jI // zravaNe nahI suhAyo re / 18 hIye krodha bharAyo re // 25 // jI // dUhI 20 iNi 20 mata sArU nRpa kaha 21, niracana bhikSArI niguNa 2, 22 dukha likhIya tujha bhAga / te vara na tu lAga ||26|| jI || 3 chaThI rAtaI jeha ! valavI 24 mapaNA ima kahade, siri likhIyaU 25 chaha mAharaha, AvI milisye 26 teha ||27|| jI|| 3 DhAla : mahiMdI raMga lAgau pa desI / ars 27 kumari vacaNaDe re lAla prajApAla vikarAla nRpa krodhai 28 maryaDa | nR rAya revADI saMcastha re lAla sainya sahita stakAla ||28|| nR Agali29 dIThau bhavata re lAla, koDhI naDa parivAra nR sAta saya su parivarathau re lAla, UMbara 30 rANa majhAri ||29|| || 1 mAhe B 2 prAya: B 3 karamoM B 4 ghAyat B 5 7 bolaI B 8 dukhIyA B 9 kuna che B 10 I B 11 B 13 jaI B 14 garna B 15 laghutA pAMmIja re B jinaharapa B 18 hIyau B 19 bharAva B 20 iNi mati B 23 naI tu B 24 maiMNAma kareM B 25 che mAhare B 26 28 out B 29 * B 30 zeNa For Personal & Private Use Only vacana suNI B mAMni B 6 mUrkha B 12 maiMNA kaI 16 rikhAM B 17 kareM 21 kaheM B 22 guNa B lisyai B 27 ku~marIne B .

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laghu zrIpAlarAsa 1dIyai AvI ubhaU rahyau re lA0, koDhI kerau vRnda / / eka cAkara UMbara taNau re lA0, kahai2 tu nisuNi nariMda // 30|||| rANA naI rANI nahI re lA0, rANI viNi syau rAja nR| te mATai5 nija kanyakA re lA0, paraNAvau mahArAja // 31 // / // mayaNA nRpanai sAMbharI re lA0, e vara tehanai joga |nR| jovatAM AvI milyau re lA0, tAsa karama-saMjoga // 32 // 7 // mujha kanyA paraNAvisu re lA0, 10 AvIjyo darabAra n| ima11 kahi nRpa ghari12 AvIu re lA0,pahabau kariya13 vicAra ||33 / nR|| UMbara Avyau14 nRpa kanhaI15 re lA0, dIsatau 16vIbhaccha |nR| e vara tujha vakhatai17 milyau re lA0, paraNau mayaNA vaccha / / 34 // 7 // Apa:18 ta u mujha sArikhI re lA0, Api mAlabanA 19rAMNa nR| nahIta yAcisi avaranai2 re lA0, thAa-21 tujha kalyANa 22 // 35 // 4 / / maI2 3 dIdhI rAjA kahaI re lA0, UMbara vacana ma Deli nR| UThI UMbara kara grAu re lA0, mayaNA 24mohana-veli // 36 // 7 // mayaNA 25paNa melhiu nahI re lA0, paraNyau koDhI nAha / / satva sIla supasAyathI re lA0, thAsyai2. vara gaja gAha / / 37 // 7 // UMbara khara Aropinai27 re lA0, mayaNA nai28 tiNi vAra |n| kahai29 jina haraSa leI calyau re lA0, loka karaI30 hAhAkAra // 38 // 4 / / dUhA eka kahai31 dhiga dhigarAyanai33 ratana lagADI khoDi / jiNi 3 4 joDI mUrakha thai35 mayaNA UMbara joDI36 // 39 // eka kahaI37 nRpa dUhavyau kumarI thaI ayANa / keI pAThaka jina mata bhaNI chiMdai39nija nija vANi40 ||4|| 1 hoya Avi Ubha3 B 2 kahaiM B 3 rANA naI rAMNI B 4 rANI viNa B 5 mAre B6 naI B7 hane yoga B 8 .vaMtAM B9 karma saMyoga B 10 Ave. B11 Ima B 12 ghari AvIyau B 13 karIya B 14 Avau A 15 haI'. B 16 bIma0 B 17 va 8 18 ApaI B 19 rAMNa B 20 naI B 21 thAyau B 22 kalyANa B 23 maha B 24 * hani B 25 piNi mUkyau B 26 0syai B 27 naI B 28 naI B29 kahaiM B 30 kara B 31 kahaiM B 32 dhiga B 33 ne B 34 jiNi B 35thaI B36 joDI B37 kahaiM B 38 aryANa B39 niMdaI B40 vAMNi B For Personal & Private Use Only

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A. jinaharSasUri-viracita 4 DhAla addhiiyaanii| surasuMdarI vIvAha, thApyau adhika uchAhahiH / hIyaDai dharI e, vAlhI dIkarI e // 41 // Arima kArima' kIgha, paraNAvI jasa lIdha / dIghau data ghaNau e, pAra nahIM te taNau 5 // 42 // varita aridamaNa kumAra, surasuMdari ghari nori / sarikhaDa joDilau e, sarijyau vihi bhalau e // 43 // 10 loka karai mili vAta, jovau punya vikhyAta / punyaI vara milaU e, manavaMchita phalya e||44|| eka kahaI11 dhanyarAya, putrI kIdha pasAya / . vaMchita vara dIyau e, kAma joI kIyau e // 45 // eka kahai12 buddhivaMta13, e 14kumarI guNavaMta / rIjhavi nRpa bhaNI e, lahi15 sapati ghaNI e // 46 // saiva 16dharamathI 17 paNi, 18pAmI sukha nI zreNI19 / dekhai20 jevau e, loka kahai21 tehavaU e // 47 / / . mAta pitA pAya lAgi, sIkha sahanI maagi| priu-su 27 hitaparai e, cAlI sAsaraI e // 48 // hivai23 UMbara adhikAra, kahai24tu sAMbhali nAri / tu sura-kAmiNI e, rUpa 25 sohAmaNI e // 49 // te bhaNI mujha Adeza. hIyaDaI76dharIya visesa / . mana milaI27 jehasu e, vilasau tehasu e // 50 // 1 DhAla na0 nahIM A 2 hita B 3 degya B 4-5 riNa B 6 ghaNo B 7 vara B 8 kumA* B9 rijau nahi 10 gAthA 44 kA abhAva B 11 kahai B 12 kahai B 13 vudhi. B 14 kuMma. B 15 lahI B 16 dharma B 17 eNi B 18 pAMmI B 19 aNi B20 khaI B21 kahaI B 22 0dharaI B23 havai B 24 kahaiM B 25 sahA. B26 hIya dharIyaI B 27 mile B For Personal & Private Use Only

Page #322
ladhu zrIpAlarAsa AsU bhari nija naINa, mayaNA bhAravai2 vANa / ehavu syu' kahau e, mana jANI rahaU e // 51 // kalavatI je thAya:, na karaI4 eha anyAya / sIla tajaI nahI e, guNavaMtI sahI e // 52 // dIghau kaha je karatAra, mAharaI jinaharakhasu e, tujhane je bharatAra / nirakhasu e // 53 // ima kahi mayaNAsudarI10, pAlaI sIla11 ratanna / prItama . nI sevA karaI12, sahu kahai dhana dhanna // 54 // praha vihasI pUrava-disai 13, bolyA paMkhI bAta / rAti gaI ravi ugIyaU, pragaTa thayau parabhAta // 55 // 5. DhAla-tapa sarikhau jaga kona / e dezI 14 mayaNA kara joDI kahai15, suNi prItama mujha vAta / morA sAjana / jaIyaha16 jinavara bheTivA, karIyai17 niramala gAta ||56||mo / be jaNa AvyA18 deharai, bhedayA riSabha jiNada / mo / stavatI19 jinavara koTithI20. uchalI bhAla amada ||57||mo / jinakara phala piNi uchalyau, 21mayaNA bhAkhaDa heva |mo| phala prItama tumhe saMgrahau, mAla grahI svayameva ||5||mo / prIya22 tumha roga sahu23 gayA, tUThA24 zrI jinacanda |mo| bAhiri AbyA25 daMpatI, vAMdyA muni municaMda ||59||mo| kara joDI kahai26 sudarI, bhAkhau koI upAya 127 roga Talaha28 prIu dehathI, jina zAsana dIpAya // 6 // 1 AMsU B2 bhAkha vaINa B3 thAI B 4 karai B 5 yAI BF tale B7 satavaMtI B 8 mAharai te 9 kahaiM B 10 mayaNI B 11 zIla ratna B 12 karai / saha kaha B 13 dise B 14 ni vrIta A 14 DhAla-naNadala rI B 15 kahaiM B 16-17 yaha B 18 .tyAM deharai B 19 vatAM B 20 koTa B 21 maiNA bhAkha B 22 priu B23 saha B24 tujha B 25 AdhyAM B 26 kahaiM B 27 morA RSijI 28 Tala prItama taNa: B For Personal & Private Use Only

Page #323
A. jinaharSasUri-viracita siddhacakra ArAdhIyai1, guNIyaI zrI navakAra / morI bahinI / . AMbila AsU caitrIyaI, karIyai nava nava sAra |61|mo. nava tau ulI ima kIjIyaI, UjamaNu tapa-aMta mo. bahinI tana-roga sahu Talai, lahIyai bhoga anata ||mo0||62|| gurU vayaNe tapa Adarayau4, ArAdhyu siddhacakra / mo0 / nhavaNa-jalaI saha chAMTIyA, roga gayA Tali vakra ||mo||63|| eka dina nIsarayA caitya thI, dIThI kumarai mAya / mo0 pAe lAgau premasu, hIyaDaI harakha na mAya ||mo||64|| . . sAsU ne pAra paDI, mayaNAM7 dharIya avicala joDI thAijyo, dIdhI ema jagosa / mo.|| AsIsa // mo. // 65 // kihAM thI tumhe re IhAM AvIyA, kima jANyau IhAM mujha / mo. kahaI1 jinaharakha AvI10 ihAM, te kaha sAMbhali tujha11 ||66||mo.) dUhA tujha tIrai thI hu~ calI, kosa bIyai pahutta / . pUchaNa roga paDI gaNau, dIThau sAdhu viratta // 67 . kahIyaha nIrogI hasyaI11, mujha suta bhagavan bhAkhi / tujha suta nIrogI thayau, navapada kerI sAkhi // 68 // mAlavapati-kanyA varI, mayaNasudarI nAma / sudhi pAmI milavA bhaNo, huM AvI iNi ThAma // 69 // 6. DhAla : nadI jamunA12kei tIra uDai13 do paMkhIyA pahanI 1 sabhI kar3iyoM meM 'I' para anusvAra B 2 olI B3 tanu roga saha rale B4 Adara B5 caitya thI nIsarathA B 6 hIya, B 7 mayaNA B 8 mujjha B 9 kahaiM jinaharakha hAM AvI B 10 tujjha B 11 husyai B 12 yamunA ke B 13 uhai do B For Personal & Private Use Only

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laghu zrIpArAsa ujenIpura mAhi bhinhe sukhasu rahara, 1 hivat 2 mayaNA nI mAya mAya rIsAya isu 3 kahaI / kAMta kIyau anyAya sutA sutA nAkhI kRpA, mAsa ki nayaNe jala cUbaI 5 mAtau pAvasa rIsAvI nitra rUpasuMdarI thaI AvI binavara geha neha UlaTa ghaNa u, dIThaU kumara suraMga anaMga suhAmaNa 7 // 71 // bhrAta ghare AvI rahI, pINa kiM 'mayaNA dukha dahI / avara bhajyau iNi koI sahI koDhI tajyaDa, biga biga ehana AcAra kiri' niramala kula lagyau / 10 maMyaNAM nisuNI mAya vayaNa ehavu kahaha 11, tujjha jamAI eha nirakhi jima sukha hadda 12 // 72 // roga gayau jinadharma pakI Tali vegalaDa, mata jANau koI anya hIyaI mata jalaphalau ehavar3a 13 pAsaha Avi kumara nI mAyakI 14, kahai 15 dhanya mayaNAM 16 nAri ghari pati dhanya 1|00|| mRtyu thayau adhagAla 21 pitA ajitasena nRpa22 bhrAta ki jeNI kukhar3I // 73 // caMpA 20 siMharatha rAya rANI kamalaprabhA, suta jApaka zrIpAla bolAyaDa 1 nIrogI dIpAyaTha kula 17 paNi dhanya pitA dhanya mAya ki rUpasuMdari kaI 19 kumara taNI mAtA bhaNo, kima thayau eha nIroga kathA kahau bhApaNI // 74 // kIyaTha, ehanau 18 jIyaDa / sahu sabhA / zrIpAlanau, ghAtaka bAlanau // 75 // bAlanau 1 sukhe raheM B 2 hine megA B 3 IsuM kahe B 4 kUbhaI B 5 cUbhaI B 6 maiMgA B7 *maNo B 8 eha biga 8 9 ki B 10 maiNa sAMbhali B 11 hai B 12 baDe B 13 ehave pAsa B 4 mAvaDI B 15 kahai B 16 mAya gharI jiNi kUkhaDI B 7 eNi B 18 bAyaDa A 19 kahe B 20 siMgha A 21 gAli B 22 nAva A For Personal & Private Use Only 47

Page #325
48 A. jinaharSasUri-viracita rAjA hevA vaMca prapaMca ghaNA karai2, maMtrI jANI vAta ki ghAta thakI DaraI / bAlaka lei rAti calI vana4 ekalI, jatha TalI jima jhaMpaI kaMpaI hiraNalI // 76 // gaI ima dukhai mai6 rAti prabhAta thayau valI, koDhIya-Tolau tAma milyau citta jhalaphalI / te kahaI7 mata bIhaI manamAM bahinaDI, dharmataNI tuM bahina amhe tuja baDI // 77 // vara vesara baisaNi ki cAdara uDhaNaI, roga saMyogaI10 ubara aMga thayau suta taNaI11 / kosaMbI12 gaI audya 13pUchavI huM sukhaI, khabari lahI jinaharakha tihAM munivara mukhaI14 // 78 // kamalA rUpasuMdari taNau, TAlyau sakala saMdeha / punyapAla naI jaI kAu, teDI AvyA geha // 79 // rahivA maMdira15 ApIyA Apyau mAla apAra' 6 / kumari sukha bhApAlasyu'17, vilasaI paMca prakAra / / 8 / / 7. DhAla paMkhIDAnI / 18 eka divasa mayaNA zrIpAlasure, keli karatI dIThI rAya re / 19jANaM mayaNAM para bIjau karaghau re, koDhI nAvyau ehanaI dAya re||81||e|| vAta kahI pugyapAlai sahu jai re, rAjA Avyau 20cali AvAsa re| kIdha juhAra21 kumara susarA bhaNI re, kumarI caraNe namI ulAsa re / / 8 / / / / rAyaI gaja Upara AropinaI re, ANyA nija maMdira tatakAla re| tihAM rahatAM pura loka isu kahaI re, rAya jamAI 22 zrIpAla re ||83||e| kumara suNI mana AmaNa dUmaNau re, mAya pucchya 323 kAraNa keNi re| susarA keDaI mujhanaI ulakhaI re, ihA rahivu nahi jUgatu24 teNi re ||84||e| 1 rAjya B2 karai B 3 ghAtaka thI Darai B 4 0yana A 5 pai kaMpa B 6 meM B 7 kahai B 8 bIhai B 9 uDhaNe B 10 saMjo0 B 11 taNai B 12 kozaM* B 13 pUchevA huM sukha B 14 sukha A 15 maMdiri B 16 appAra A 17 su vilase B 18 prata B meM hosiye meM dUsarI dezI likhI gaI hai para spaSTa nahIM hotI hai| 19 jANyu B 20 cali AvyA B21 jahAra kaimare B22 e B 23 puchayu A 24 jagatu nahIM A For Personal & Private Use Only

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laghu zrIpAlarAsa jaI paradesa riddhi le kabhI re, lemu huM bApITha rAja re / vATa viSama chaI suta paradesanI re, tu bAlaka krima srisyii| kAja re || 85 || e | rANIjAyA mA nAnhA nahIM re, gayaghaTa bhAjai nAnhara sIha re / + ekalaDau paNi 5 sIhasu bhiDai re, nANara manamA kehanau bIha re || 86 // | e | cAsyau ghari dhaura re / mana dilagIra re ||87||| jaNaNI jI mAyAnai Agali jAtA eka mUMkI karI re, khaDaga leI nara nirakhIu re, vanamA bahaTha kumara kahaI baiTha sAdhaka vigi vidyA spaha kAraNa re, vidyAdhara dhuM suNi guNavaMta re / sAjhA nahIM re, sAdhaka joU chu satavaMta re ||88|e sAdhi vidyA hu sAdhaka tAharau re, jalataraNa eka sastra nivAriNI re, 9 vidyA vidyAdharanI sIdha re / doi cAlpaka tihAMthI kumara 10 utAmalaU re, kahaI cinaharakhasu 12 tihAM rahai re, dhavala baDI vidyAdhara dIgha re || 89 // e| Agyau 11 bharuacha majhAri re / adhikAra re ||10|| dRhA 15 pravahaNa pUrakSA pacisa, dhavala seTha siradAra | subhara sahasa dasa rAkhIyA, cAkara caukIdAra ||11|| 1 bala bAkula deI karI, pota haMkAryA" jAma | cala nahI te ThAmathI, ciMtAtura thayau tAma / / 92 / / 8. DhAla yatinI, soraTha rAga 18 vi dhavala seTha jaI dhAma, pUchI sIkotarI tAma / maMtrI lakSaNa nara Alai, bala tau tujha vAhaNa cAlaI // 93 // rAya pAsa' jaI sira nAmI, eka nara dIjhai 20 mujha svAmI / bala dei pota calAu, tumha surasAyai sukha pAuM // 94 // nRpa kaha paradesI koI, ekalaDau je nara hoI / 2 mujha hukmai te tu leje, sIkotari nai 22 bali deje ||15|| 1 sarisa B 2 jAvAmAM nanhA nahIM re A 3 mubhiss re B 6 mAnai' B 7 eke nare B Dare B 11 gayacha B 12 haraSa haraSa B B 16 bAla A 17 0 kIrayA B 18 havai B paradezI B 22 bala B. 49 B4 ephaDau A 5 piNi sahasA 8 sarva B 9 zastranivAriNI B 10 utA13 suniyo B 14 pAMca se B 15 tithivAra 19 lakSana A 20 mujha dIjaI B 21 kahU~ For Personal & Private Use Only .

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A. jinaharSasUri-viracita dhavalai nija suDDa paThAyA, zrIpAla dekhI nA dhAyA / suNi re mAnava paradesI, tujha dhavala seTha bala desI // 96 // mUche vala ghAli payaMpada, kAM re mUrakha ima jaMpai / sIpAnI bala kima dIjaI, bala dhavala taNI jaI ko jai // 97 / / vITyau suhaDe zrIpAla, kahai dhavala thaI vikarAla / syu jovau mArau mArau, jUdha mAMDya u sabala karArau // 98 / / zrIpAla kahau kima bhAgaha, jasu aMgaha zastra na lAgai / suhaDAnau kIdha kuvesa, luNIyA nAsI sirakesa / / 99 // citta dhavala taNau camakANa u, nara vidyAdhara saparANau / iNi-suna cai koI prANa, pAe. lAgau taji mANa // 10 // vAhaNa mujha cAlai darIyaI, bala dhArI te vidhI kriiyii| bhAkhar3a tava kumara subhAkha, dInAra dIyai mujha lAkha // 1 // vAhaNa cAlai te tatakAla, seTha mAnyu vayaNa rasAla / pravahaNa caDhi seThi kumAra, japIyau navapada tiNi vAra / / 2 / / cAlyA vAhaNa jima paMkhI, gauDI tihAM nAma asaMkhI(?) / dIdhA miNi lAkha dInAra, jinaharakha thayau jasa sAra // 3 // dahA dhavala kahai karau cAkarI, syu lesyau kahau teha / mujhanai dejyo tetalau, subhaTa sahu lyai jeha // 4 // dhavala sIsa dhUNI kahai, khapa nahI tumathI kAi / bhADa u deI baiTha310 kumara, ratanadIpa]] bhaNI jAI // 5 // babbara kula12 AvIyA tihAM, tihAM nAMgalyA jihAja / dANa ahevA kAraNaI, Avyau babbara rAja // 6 // dANa seTha13 ApaI nahI, mAMDI314 tiNi saMgrAma / dhavala-subhaTa nAsI gayA, grAu seThanai tAma | // 7 // 1 paradezI B 2 bala B3 karAro B4 nAzI B 5 cAla tata. B6 vacana B gaNi B 8 jayakAra B 9 .cI B 10 B meM tRtAya caraNa nahIM hai| 11 0dIva B 12 kale B 13 seTha B 14 mAMDya: B For Personal & Private Use Only

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laghu zrIpAlarAsa aradha vAhaNanaU mAla dyai, ima bolIyau kumAra / 1to choDAu tujha bhaNI, taha tti kIyau tiNi vAra // 8 // 9. DhAla : nAyaka moha nacAvIyau ehanI kumara khaDaga leI cAlIyau, kara grahI bANa kavANo re / 4vali re pAchau coraTA, jau tu chaha saparANo re||9||ku0 syu jIsau taI vANIyaU, joI kSatrInA hAtho re / tAharau bala hivaI jANIsyai', kari mujhasu bhArAtho re ||10||ku. bAbarapati pAchau 7valyau, sAMbhali bola abIho re / bApUkAruu' kima rahaha, je sAdUla u sIho re ||11||ku. varasaI tIra cihaM dise, jima varasaI jaladhAro re / nAli havAI viciM vahaiM, mAri paDai taravAro re ||12||ku. bAbara nRpa10 suhaDA siraI, phoravi Atama prANo re / kumara khaDagadhArAM taNAM, ghAva paDai ghamasANo re / / 13 / / ku0 satra sayala dala niradalya u, eka laDai zrIpAlo re / haNIyA kei nAsI gayA, bAMdhyau nRpa mahakAlo re ||14||ku. jhAlI ANya u sAthamaha, dhavala choDAvyau jANo re / haNivA bAbara-rAyanaha, dhAya311 seTha ayANo re // 15|| bAMdhyA-naI je mArIyA, kSatrInau nahI kAmo re / kSatrI bolAvI haNaI, tehanI vAghaI mAmo re ||16||ku0 seTha subhaTa nAThA hutA, gakhyA kumara sujANo re / 12baMdhanathI choDAvIyau, bAbara kerau rANo re||17||ku. aragha pAMcasaI potanau, mAla lIyau zrIpAlo re / punyaI jayalakhamI thaI, kahaI jinaharakha 13rasAlo re ||18||ku0 1 tau B2 karIyaDa B3 kabAMNo B4 vala B5 choraTA B6 bhArayo B 7 balyo B8.kAraghauB9. lihivAI privi vahaha A 10 pati B 11 dhIgau A 12bandhaNa thI nRpa choDIyaDa B 13 visAlo B For Personal & Private Use Only

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52 A. jinaharSa sUri - viracita dUhA bAbarapati kahaI, kumaranaI, nagara padhAraU rAja ' / mujhana sevaka lekhanI, rAtra 2 vadhArau lAja // 19 // kumara subhaTa parivarya 34, gayau tAsa AvAsa / mayaNa senA nija kanyakA, paraNAvI suvilAsa ||20|| 10. ' DhAla : jaMbUdIpa majhAri pahanI paraNI rAjakumArI re, apachara sArikhI 7, sukha vilasai tihAM bahuparai e / ApyA mAla apAra re, nATaka nava vRMda, bharIyAnai sahu ko bharaI e // 21 // kumari calAvIrAya re, baisI pravahaNaI, seTha saMghAta saMcasthA e / vAhaNa jaladhi majhAri, calatA nisI - dinai 10, ratanadIpa jaI 11 utarathA e // 22 // paradesI 12 nara eka re, Avyau kumaranai pAsai, tAma bolAvIyau e / vihAMthI Ayau vIra re, koI apUrava, nayaNe acarija AvIyau e // 23 // ratanasaMcayA nAma re, nagarI te kahai, vidyAdhara jItA arI e / kanakaketu rAjA re, kanakamAlA rANI, mayaNamaMjuSA dIkarI e // 24 // devali 13 riSabha jinaMda, pUjyA 14 nRpa kanyA, eka divasa kIdhI bahu e 15 | rAjAdika sahuloka 16 re, nirakhI17 gaMbhArAthI, bAhiri nIsarIyA sahu18 e // 25 // jhaTaka jaDAnA bAra 19 re, kumarI mana citara, koika dUSaNa mujha sahI e / putrI suNi kahai rAva re, ihAM mujha dUSaNa, tAharau dUSaNa ko nahIM e // 26 // tujha vara ciMtA kIdha re, jina Agali rahI, 20 bAra bhIDANA tetra tIe / sAvadya nitA eha re, thaI AzAtanA, suvANI thaI dIpatI e // 27 // dUhA dosa na koi kumAriyaha, neravara dosa na koi / jini21 kAraNa jiNahara jaDaghau, taM nisuNaU sahu koi // 1 // jasu nara diThahi hoisa, jiNahara mukta duvAra / soi ja mayaNamaMjU sayaha 22, hoisai bharatAra ||2|| siririsahesara-ulagaNi, huM cakkesari devi / mAsabhiMtara tasu naraha, ANisu NizvaI bhevi // 3 // 11. DhAla pAchalInI 23 24 harikhyA sahu nara nAri, ciMtA sahu gai Aja, divasa chaI chehalau e / leI nija parivAra re kumara gayau tihAM, rUpa- guNai sobhai bhalau e ||28|| devala sanamukha dITha re jinagRha vAraNA, vAra na lAgI ughaDyA e / sAcI thaI suravANi re, loka kahaI 25 sahU, be sarikhA e vihi23 ghaDayA e // 29 // 1- 2 rAji B 3 subhaTa ghaTe B 4 * vaDyau B 5 DhAla - bAlur3AnI B 6 * mAri re B 7 sArIkhi B 8 bahUI B 9 vAhaNe B 10 0 disI B 11 Uta* B 12 paradezI B 16 sahU B 17 nirakhi B 18 sahU B jiNa B 22 maMjUsiyaha B 23 mAtra B meM 24 irakhyA 13 devaLa B 14 pUjana B 15 bahU B 19 vIra A 20 vAra A 21 sahU B 25 isa B 26 bahiB For Personal & Private Use Only

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laghu zrIpAlerAsa Avya munivara tAma re, deva juhArivA1, dIdhi dharamanI desaNA e| navapadanau adhikAra re, ehathI sukha milaI, jima' zrIpAla lahayA ghaNA e // 30 // rAya kahai munirAya re, kuNa te zrIpAla e, baITha u tumha Agalai e / kahai jinaharakha caritra, munivara saha kahyA, Adara7 kari nRpa sAMbhalai e // 31 // dUhA mayaNamajUSA dikarI, nRpa paraNAvI tAma / eka dina AvyA deharai, jinavaMdananai kAma / / 32 // dhavala seTha piNi tiNi purI, Avyau vAhaNa leya / dANa corI paDIyau, turata mArI bAMdhyau teha // 33 // // DhAla : iMgara bhalaI dIThau maiM seja taNau pahanI // rAyajI eka seTha corI paDyau, tAsa karIyaI kisa u DaMDa re / nRpa kahi jAo re sUlI dIyau, bhAMgI mujha AMNa akhaDa ||34||raa. kumara kahai ehavu navi ghaTaI, kahieM jina Agalai rAya re / teDInaI lei Avau re ihAM, vAMgIya u ANIyau11 rAya, pAya re // 35 / / rA. kamara dekhI re seTha ulakhyau, choDAvyA12 badhaNa tatakAla re / yaha re upagAra hama seThane. sukha vilase zrIpAla re // 36 // rA. cAlivA kIyau re mana kumarajI, rAya dIdhau ghaNau mAla re pravahaNa besI re tihAthI cAlyA, mayaNA che pAsi khusyAla re // 37 // rA. dhakla pApI re dekhI sudarI, mana dharI kamati tiNi vAra re / Akulau thayau virahAkulau, teDIyA mitra nija cyAri re // 38 // rA. vAta kahI re nija mIta13 bhaNI, triNha uTho gayA mitra re / eka bahasI re rahyau pApIyau, sIkhave kusIkha vicitra re // 39 // rA. kari iNisu re kUDI prItaDI, vAru upajAvi visavAsa re / avasara14 dekhi re nisi nAMkhije, saphala thAsya tujha Asa re // 40 // rA. dhavala mAMDI re mIThI prItar3I, kapaTa kapaTI dharI citta re / bhadraka kumara jANi 15 nahI, nikaTa rahe binhe nitta re // 41 / / rA. 1 jahAriyA B2 dIdhi dharma B3 jina A4 me A5 beThau B6 tumhe B 7 Adari B 8 dIkarI B9 prata A meM pRSTha 6 nahIM hai ata: prata B kA upayoga kiyA gayA hai| 10 hAMsiye meM dUsarI dezI 'lAkha garama lAkhasarI' kI likhI gaI hai| 11 vANIyau rAya. C 12 choDAyA C 13 mata C 14 0sari B 15 jANai C .. ... For Personal & Private Use Only

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A jinaharSasUri-viracita eka dina kahai re nisi bhara sameM, bhAI acarija eka dekhi re / jalanAM taryA re jAyaI jale narA, jovaI tihAM kumara vizeSa re // 42 // rA. deI re dhakau mAMhe nAMkhIyau, dharyau navAda taNau dhyAna re / magara taNe re vAMsiM1 jaI paDayau, jaTikA prabhAva pradhAna re // 43 // rA. kukaNa taTe kusale jaI, cAMpalA tali rahyau sAI re / kahe jinaharakha sahu sAMbhala u, AgalaI hivi kisu hoI re // 44 // rA. dUhA vasupAla nRpa kaMkaNa-dhaNI, subhaTa mokalyA tAma / teDI lyAvau te puruSa, sUtau cAMpA-ThAMma+ // 45 // teDI lyAvyA kumarane, nRpa deI sanama na / nija pAse baisArIyau, vayaNa kahe rAjAna / / 46 // pUchayau eka nimittIyaU, mujha kanyA vara dAkhi / tiNe kAu' dina pAchilaGa, sudi dazamI baizAkha // 47 // sAyara taTa 'cAMpA talaI, sUtau je nara hoI / madanama jarI vara husyai, vayaNa milyo te joi // 48 // paraNAvI nRpa kanyakA, thaIyAyatanau(1) kAma / lIghau hiva pApI dhavala, bUba pADI kahi? Ama // 49 // jovau re hivaNA paDayau, sAyaramAM zrIpAla / vajarapAta sarikhau vayaNa, nAri suNyau tatakAla // 50 // 12. DhAla : chAMnau nai chipInaI re vAlhA mhArA kihAM rahyau re pahanI* priuDA amhArI re have sI gati hasaI re / amhe 10 niradhArI nAnhI nAri re / ekalaDI kahau naI re vAlhA kiNi pari rehare, karisye amhAraDI kuNa sAra re||51||pri. hoyaDau phAraI re ratnatalAva jyure, dukha-jala ulayau apAra re / nAhalIyA AvInaI re baMdhana kA dIyahare, vAlhA mhArA AtamanA AdhAra re ||52||pri deva doSIDe sukha sAMsyau nahI re, 11 lIdhau naI udAlI suguNa u nAha re / rAMkAMnA ghare re ratana chAje nahI re, viraha lagAyau hoyaDaI dAha re // 53 / pri. 1vAMsa C2 taTa C3 cAMpA tala C6 caMpA C 5 viNa C6 caMpA C 7 kahaiM C 8 hivaDA C 9 vajra0 C 10 ame C 11 lIdhA nai C * dhana dhana mAlibhadra munivara re-e desI hosiye meM likhI gaI hai| For Personal & Private Use Only

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laghu zrIpAlarAsa nAhalIyA nihejau re thaI amha pariharI re, jIvevA na dIse koI ghATa re / pIharIyau rahyau re kaMtA vegala u re, sAsarIyAnI jANu nahI vATa re ||54||pri. abalAne AMkhe1 re pAvasa ulharayau re. varase AMsUDAM jaladhAra re / rahai re jaladhAra ta u kiNa IkiM samaI re, piNi AMsUDAna rahe ligAra re // 55 // pri. kaMta-vihUNI re jagamAM kAminI re, kAMi sirajI kiratAra re / paga paga AvaI re mAthaI mehaNau re, lAgu tehanau sahu saMsAra re // 56 // pri. mananAM manoratha manamohe rahyA re, AsaDI tau thaIya nirAsa re / divasa tau jAsye re kaMtA jI dohilau re, rayaNI tau hoIsye cha mAsa re ||57||pri. AvInaI milau naI re gorIrA vAlahA re, vIchaDIyAMnaU viraha nivAri re / tumha' viNi dIThAM re jala sacatau nahI re, hivaI kima rucisyaI AhAra re||58||pri. thoDa pANI re macchI jima Talavalai re, daha disiM jovai rovaha bAla re|| kahaI jinaharakha mahA dukha nehalau re, jhUrI Ima abalA iNi dAla re ||59||pri. dhavala pAsiM AvI kahaI, ma karau nAri vilApa / vayaNa mAnijyo mAharau, miTisi dukha saMtApa // 60 // pri. jIva taNI pari rAkhisu', sukha desyu nisi-dIsa / koDi gunhe viracisa' nahI, jau karisyaI jagadIsa // 61 / / pri. bolaMta u? jANyau turata, e pApInA kAma / amha kAraNi nAravyau jaladhi, prItama sukhanau ThAma // 62 / / pri. __13 DhAla : caupaInI iNi avasara thayau ghora aMdhakAra, varasevA lAgau jaladhAra / jhabakaI bIja dhaDUkaI gAja, traTakai kaTakai karai AvAja // 63 // pavana udhANa caDayA asamAna, vAhaNa Dolai jima tarupAna / UpaDIyA sAyara kallola, jANe jaga thAsyai jalabola // 64 // khAMDA hatthA DamarU DAka, pragaTayA bhairava letA chAka / mAri mAri karatA hAkatA, 10doSI 11jaNa sAmhau tAkatA // 65 // . 1 AMkheM C 2 jaladhara rAto kiNa ika samaiM re C 3 tuma vaNi B 4 rucatau B 5 machI B6 meTisi B7 dekheM B8 cisi B9 bolato B 10 dosA A 11 jANa B For Personal & Private Use Only

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56 A. jinaharSasUriviracita AvI devI cakkesarI, hAye cakra bhamAdaI kharI / re re bIra mahaDa pAtakI, enaI sajA ca dhavala mitra vIreM jhAlIyau, kUAthaMbhara ghAlIyo / UMcA 1 paganaI nIco sIsa, ima TAMgyaU devI dhari rIsa ||37|| kAMpya dhavala Avyau tihAM ghAI, rAkhau mayaNA mAya / saraNa tumhAraI huM AvIyau, tumha' caraNe mai citta lAvIyau ||68|| devI kaha re pApI dUTha 3, Ayau mayaNA-saraNai UThi / 4 mUkyau hivaI tujhanai jIvatau, paNi tuM haNivA sarikhau hataU ||69 // kara joDI mayaNA kahara mAya, sAra karI sevakanI Ai / visamI variyAM karijyo sAra amhanaI cha sAharau AdhAra // 70 // " dhAtakI // 66 / / dUhA vacchA vallaha tumha7 taNaU, giruI riddhi sameu / mAsabhitara nicchaINa, milisyai ghare ma kheU // 1 // ema bhaNeviNu cakkahari, parimalaguNahi visAla / mayaNaha kaMThaI pakkhivaI, surataru- kusumaha 10 mAla ||2|| tumhaha duda na dekhisyaha, mAlaha taNai pramANa | ema bhaNeviNu cakkahari, devi gaI niya ThANa || 2 || // 14 dAla pAlI vAhaNa jaI kUphaNa uttarathA, sAkSI vastu kriyANe bharathA / dhavala anopama leI bheTaNau, bheTyau nRpa lAu Adara ghaNau // 71 // uThatA divarAva pAna, thaI yAyata pAsaI rAjAna (1) / olakhIya bhavalAI tatkAla e taka sahI kumara zrIpAla // 72 // hIDA mAhe UThI sAla koI 1 upAya karuM tatakAla / jima tima kari TAlu e sAla, tara thaIya jinaharakha nihAla ||73 || 12 dUhA seTha pAsi Anya tihAM, bUMba taNau parivAra | Adara deI ima kaha kAma karau nirapAra || 74|| 1 uMcA A 2 tuma B 3 rUTha A4 kA B 5 varIyAM B 7 tuma B 8 divasa ne chahau A 9 ghara B 10 kusamaha B 11 mAya B 13 gAyana sugaU vicAra B For Personal & Private Use Only 6 tAharau chaiB rAjAnA A 12 .

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laghu zrIpAlarAsa 57 1jANau tima budhi kelavI, rAya jamAI jeha / teha marAvau lAkha dyau, tithi hAkAra bhaNeha |75 // 15. DhAla : jhubakhaDAnI DUMba sahU rAjA pAsaI jaI, gAyA gIta rasAla / sanehI sAMbhalau / rAga suNI rAjA rIjhayau, kahaI bIDA dyau zrIpAla ||76||s| pAna bIDA devA gayau, DUbaDA milIyA sahu dhAya |s| baha divase vAlhau milyau, rAjA mana visamaya thAya ||77||s0| pUchaI' nRpa zrIpAla naI, dAkhavI tAharau nija vaMsa4 s0| caturaMga senA saja' karo, kahisyai mujha hAtha pasaMsa |s0||78|| vAhaNa mAM benAri chai, athavA te pUcha u teDi s0| te kahisyaI kula mAhara u, nija mananI bhrAMti niveDi ||79||s| teDAvI te kAmiNI', pUchI 10sagalI hI vAta |s| madanamaMjUSA sahu kahyA, zrIpAla taNA avadAta ||80||s0| jhAlI bAMdhyA iMbaDA, te bhAkhaI amha11 nahI dosa |s| kAma karAvyu amha kanhaI, iNi seTha deI dhana sosa ||81||s| rAya dhavalanaI mAratA, mUkAvyau kumara dayAla |s| 12 garuA rosa dharaI nahI, karuNA sAyara zrIpAla ||82||s0| mayaNA mayaNa triyA triNhe, pAmI13 vilasaI nisidIsa |s| kumara taNA sukha dekhinai, niti dhavala dharai14 rIsa // 83 / / sAtamI bhUmi kumara sUta u, nisibhara15 nAMkhI tiNi goha / kare pAlI leI karI, manamAM pApI dhari droha ||84||s0| chuTau trUTau rAMDhaDau, paDIyau pAlI gaI nija peTa / prANa tajI gayau jamapurI, kIghAM karma TalaI nahI neTa ||85||16s0| eka dina ramivA nIsarayA, milIyau eka sArathavAha |s| pUchayAu kihAMthI AvIyA, koI acarija dIThaU sAha17 ||86||s| 1 jANe tima vuddhi kevalI A 2 dhuM B_3 visama B 4 vaMsase A 5 raMgI B 6 sajau B 7 gA. 78 se 1-13 saMkhyA ke sthAna para 78 se 87 saMkhyA likha dI hai| maiM B9 ginI B 10 tehanI saha B 11 amhe B 12 giruA B 13 vilsa B14 dharaha mana rIsa B 15 .bhari B 16 neTi A 17 sAra A For Personal & Private Use Only

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A jinaharSasUri-viracita kuDala nayara IhAM thakI, saya1 joyananau paramANa |s| makaraketu rAjA tihAM, rANI kamalatilA guNa-khANi ||87||s0| tAsa sutA guNasudarI, paNa kIdhu chaI tiNi eha / vINA-nAdai rIjhavaI, jinaharakha kahUM vara teha // 8 // duhA rAjakumara tihAM bahu milyAM, sIkhai vIgArAga / / sIpau manamA cItavaI, e joevA bhAga // 89 // ghari AvI navapada japaI, navapada bhagata pratakSa / zrI vimalesarasu thayau, dIghau hAra alakSa // 9 moha lagAvai sahubhaNI, mUkai vaMchita gAma / hAra deI zrIpAla naha, deva gayau kahi Ama // // 9 // 16. DhAla : suvicArI re prANI, 'dharama karai te dhanya pahanI / kuMDalapura gayau pAdharau jI, kaMThaI pahirI hAra / rUpa kIyau nija vAmaNa jI, jihAM bhaNaI rAjakumAra // 92 // suvicArI re sAjana suNijyo vacana rasAla / navapada nA samaraNa thakI jI, sukha pAmyA zrIpAla aaN0| kumarI pAsaI sahu gayA jI, vAmaNa piNi gayau sAtha 18 nAdakalAyaI rIjhavA' jI, leI vINA10 hAthi ||93||su0.) loka nihAla vAmaNa jI, 11 rAjakanyA zrIpAla / mohI rUpa dekhI karI jI, kaMTha12ThavI varamAla ||94||su0|ruup pragaTa kumara kIya u jI, paraNAvyau tihAM rAya / / sukha vilasai saMsAranA jI, ika dina ramitrA jAya ||95||su0|| paMthI eka milyau tihAM jI, pUchaghau acarija koI / kuMDa gapurathI AvIya jI, kaNayApuramA hoI ||96||su0| vijayasena rAjA tihAM jI, kanakamAlA tasu nAri / 13 zrIlokyasudari kuarI jI, rUpa kalA guNa dhAra ||97||su0|| 1 sau B2 varu B 3 lAga B4 lesvara B 5 deI B 6 prata B meM desI 'jhAMjhariyAM munivara nI' eka aura hai 7 nija mana thira kari joi ehanI B8 sAthi B9 rojhavI B 10 vINA nija B 11 rAya B 12 kaMThe B 13 aulo0 B For Personal & Private Use Only

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laghu zrIpAlarAsa saMvarAmaMDapa mAMDIyau jI, milIyA bahulA bhUpa / 'puhuta u acarija' joivA jI, khUdhAna u kIyau rUpa ||98||su0 pUThau uMcau jehana u jI, ura sAMkaDau pradeza / nAsA jehanI trIpaDI jI, mAthai kapilA kesa ||99||su0 DIlai dUbau kUcaDau jI re, moTau mAthau jAsa / +laMvanalIgAnaugalI (?) jI, rUpa vaNAyau khAsa ||20||su0 baIThA chai jihAM rAjavI jI, jANe deva kumAra / khUdhau paNi AvI karI jI, Ubhau rAU tiNi vAra ||1||su0 kahau khaMdhA kima AvIyA jI, rAjAviyA mAhi Aja / jiNi kAraNaI baIThA tumhe jI, UbhaU chu tiNiM kAja ||2||su0 haMsIyA sagalA rAjavI jI, bhalI re kahI tai bAta / kumarI AvI teTalai jI, varamAlA lei hAtha ||3||mu0 sIpAnau rUpa mUlagau jI, dekhaI kumarI jAma / varamAlA kaMThaI ThavI jI, dhamadhamIyA nRpa tAma ||4||su0 kAi marai re kUbaDA jI, nAkhi parI varamAla / kahA jinaharakha ma khIjisya jI, bhAgya vinA bhUpAla ||5||su. / ima kahi UkhyA mArivA, budha kIyau saMgrAma / bhUpa sahu10 nAsI gayA, rahI nahI kAI mAma // 6 // vijaya parAkrama dekhi naI, kahaI pragaTa kari rUpa / . ___ rUpa pragaTa kIyau ApaNa u, paraNAvyau tihAM bhUpa // 7 // 17. DhAla : re jAyA tujha viNi ghaDI cha mAsa e desii| sukha vilasaMtA anyadA jI, paradesI nara tAma / kara joDI Agali rahI jI, kumara bhaNI kahaI Ama |8|| kamara jI sAMbhali mAharI re vAta / 11devakIpATaNanau dhaNI jI, 12dharApAla suvikhyAta ||9||ku0|| 1 maMDaNa B 2 pahu B 3 acaraja B 4 gAvanau B 5 piNi B 6 vIyAM B 7 tetale B 8 laI B 9 UThyA tatakhiNi mArivA B 10 sahU B 11 devakA* B 12 gharI. A For Personal & Private Use Only

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A. jinaharSasUri-viracita guNamAlA rAMNI sutA jI, zRMgArasudarata re nAma / pAMca sakhI chai tehanai jI, jANe sukhavizrAma ||10||ku0 paMDitA 1 avara vicakSaNA jI 2, praguNA 3 nipuNA 4 tema / dakSA 5e pAMce sakhI jI, vadhatau jehana u prema ||11||ku. 2samasya jeha amha purisyai jI, varivau te vararAja / tAsa samasyA mana taNI jI, koi na pUraI rAja ||12||ku0 vayaNa tehanA sAMbhalI jI, hAra-prabhAvaI re jAya / rUpa nirakhi kumarI varI jI, kahau samasyA cita lAya+ ||13||ku0 kumarI prAha-ravi pahilI UgaMta / kumara AhajIvaMtAM jaga jasa nahI, jasa viNi kAi jIvaMta / je jasa leI AthamyA, te ravi pahilI UgaMta // 1 // paMDitA' vacana-manavaMchiyaphala hoi / kumAraarihaMta kerA navapada maya, niya mana gharaI10 ji koI / nizcaya11 te nara nArIyAM, maNa-vaMchiya-phala hoI / / 2 / / atha vicakSaNA paThati-avara ma jhakhahU aal| kumAra arihaMta deva susAha guru, dhammu ti dayA visAla / maMtra 12uttama navakAra para, avara ma jhakhahu Ala // 3 / / praguNA paThati-karahu saphala appANa / kumAraArAhau dhuri deva guru, dyaU saMpatai13 dAna / tava saMjama uvayAraDau, karahu saphala appANa // 4 // nipuNA paThati-mitau likhyau nilADi / kumArare mana appau khaMca karI, ciMtA jAla ma pADi / phala titau hI 14pamAyai, 15jitau likhyau 16nilADi / / 5 / / dakSA paThati-tasu tihuaNajaNa dAsa / 1 * suMdarI B 2 samasyA je amha pUrisyai B 3 rAji B 4 * lAi B 5 revi A 6 taMga B7 setI A8 paMDito B9 .paddamaya B 10 gharaya B 11 nizci B 12 tama A 13 saMpada dANa B 14 pAmIyA B 15 jetau B 160lADa B For Personal & Private Use Only

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ladhu zrIpAlarAsa kamAraasti bhavaMtara saMciyau, putra samaggala jAsa / tasu bala tasu mai tasu siriya, tasu tihUaNa1 jaNa dAsa // 6 // saha samasyA pUravI jI, harikhI mana ghaTa nAri / e vara manamAnyau milyau jI, phalIyau aMba akAla // 14 // ku. kumarI naha e vara rucyau jI, mananI pUgI re Asa / paMca sakhI kumarI milI jI, paraNAvI nRpa tAsa ||15||ku0 sukha bhogavatA tiNi samaI jI, bhATa deI AsIsa / kollAkapura kaha I pura bhala u jI, rAya puraMdara Isa ||16||ku0 rANI vijayAde' sutA jI, jayasudari guNa-gAha / kIdha pratijJA ehavI jI, vedha sAdhai te nAha ||17||ku. kumara suNI tiNi pura gayau jI, sAdhyau rAdhAvedha / jayasuMdari kumarI varI jI, Arati dukkha niSedha ||18||ku. kamara teDAvyau mAulaI jI, teDI sagali re nAri / susarA sAlA teDIyA jI, melyau kaTaka apAra ||19||ku0 sthAnapurI jaI utarayau jI, milIyau mAmau re AI / kahai jinaharakha saucchavaha jI, pada dIghau mAhArAya ||2||ku. dUhA cAlyau UjeNI bhaNI, mahArAya zrIpAla / .5 milivA mayaNA mAya nai, virahA bujhAvaNa jhAla ||21||ku0 vici sopAraI pATaNaI lasakara dIyau melhANa / mRpakanyA visahara DasI cetarahita thayA prANa ||22||ku. 18 : DhAla kapUra huvaI ati Ujalau re e desI dekhADau mahIsenanI re, kumarI je guNageha / sIpau upagArI kahai re, 'jIvADIsi hu~ teha re // 23 // rAjana ma karau ciMtA ligAra, viSa UtarisyaI jIvisyai re / mAne jyau niradhAra re ||24||g. 1 tihaya0 B 2 vijayAnI B 3 duravya A 4 bhAmau B 5 milavA B 6 viraha B 7 vADi B For Personal & Private Use Only

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A. jinaharSasUri-viracita kATha 1sarIkhI karI re, jIvADI zrIpAla / navapadanA samaraNa thakI re, baiThI thaI tatakAla ||25||raa| mahIsena nRpa' kuarI re, paraNAvI dhari prema / tilakasudarI guNasudarI re, punya thakI sukha khema ||26||raa|' kaTaka subhaTa leI karI re, UtarIyau ujeNi / rAjA gaDha-rAhau karI re, rahoyau avasara eNi re ||27||raa0 rAti paDI adharati uthai re, mAya milaNa zrIpAla / nAri sahu lei karI re, *pahRtau ghara tatakAla ||28||raa0 vinaya karI sIpau kahI re, bAra ughADau mAya / UmAhau kari AvIyau re, sevaka pAya lagAya re // 29 // 10 sAda suNyau mayaNA satI re, ulakhIyau bharatAra / bAI tamha suta AvIyau re, jhaTaki ughADau7 bAra re ||30||raa. bAra ughADyA mAyaDI re, pAe paDyau' nariMda / nArI sAsU pAya paDI re, sahu naI thayA ANaMda re ||31||raa0) mAya vahU leI sahU re, Avyau kaTaka majhAra10 / data bhaNI teDI karI re, kaI zrIpAla vicAra re ||32||raa0 prajApAla nRpa naI kaha are, kaMgha kahADau leya11 / / AvI mili amha pati bhaNI re. jau vAMchai nija zreya re ||33||raa. jaha kaha thau nRpa cAkaraha re, citta vicArai rAya / mesu prANa na pahucIyai re, tehanau kahyau karAya re ||34||raa. kaMdha kahADau leI karI re, mAlava pati Aveha / caMpA nRpa12 AvIu re, milIyau ghaNaI saneha re ||35||rA. bApa suNau mayaNA kahaI re, Ubara vara mujha eha / kaMdha kaThAra nakhAvIyau re, jinaharakha ulakhijyo teha ||36||raa| 1 sarikhI B 2 nija B 3 thaI B 4 pahu0 B 5 dhari B 6 tuhama B 7 ughADau mAya bAra re B 8 pAye B9 vaDA B 10 0 jhari B 11 leI B 12 nAtha B For Personal & Private Use Only

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laghu zropAlarAsa dRhA rAjA vismaya pAmIyau, milIyau sahu parivAra / nRpa zrIpAla teDAvIyau, nATaka1 vRda tivAra ||37 / / nATaka Avyau nAcivA, pahirI suMdara ghATa / eka nAri sAjai nahIM. te viNi na paDaI nATa / / 38 // teha bhaNI hAkI karI, uThADI mana bhaMga / nAcatI dUhau kahayau, manamAM thaI viraMga // 39 // kihAM mAlava kihAM saMkhapura, kihAM babbara kihAM naha / surasuMdari naccAvIyaI, daiva malyA maraha // 1 // 19. DhAla : sAdhujI bhalai padhArayA Aja 5 desI surasuMdarI sahu ulakhI jI, pUcha rotI mAta / mAMDInai sahuyaha kahI jI, nija *vItaganI vAta re // 40 // mAtajI karma karai te hoi, kIghau kehanau navi huvaha jI / mANa ma karijyo koI re ||4||maa. paraNI cAlI sAsaraI jI, vicimaI UThI dhADi / sAtha sahu nAsI gayo jI; kata gayau mujha chAMDi re ||42||maa0| kolI mujhanaI leI gayo jI, vecI jaI nepAla / tihAM viNajAraha saMgrahI jI, vecI tiNi tatakAla re ||4||maa0| babbara vezyA saMgrahI jI, kalA sIkhAvI teNa / mahakAlaI mujhanaI lIdhI jI, nATaka kalA vaseNa re // 44 // mayaNasenA paraNAvinaI jI, nATakamAM mujha dIgha / IhAM nATaka karatAM thakAMjI, AvI lAja prasIdha ||45||maa0| dhana mayaNA mujha bahinaDI jI, pAlyau niramala sIla / sIla prabhAvaha iNi lahyA jI, dhaNa kaNa kaMcaNa lIla ||46||maa0 nRpa zrIpAla10 teDAvIyau jI, tihAM aridamaNa kamAra11 / / ApI te surasudarI jI, ApI riddhi apAra re ||47||maa0| 1 nATika A 2 deve B 3 pUrai B 4 vAgatanI cAta A 5 saha B 6 viNijArai 87 teNi A8 maiMNA B9 zIla B 10 pAlai teDIyau B 11 kumAri B For Personal & Private Use Only

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64 A. jinaharSasUri-viracita matisAgara muhaMtau kIyau jI, koDhI nara saya sAta / roga gamI ThAkura kIyA jI, moTAnI sI vAta re ||48||maa. nava rANI paTarAganI jI, pAMca sakhI saMjoga / cavadai nArI bhogavai jI, deva taNAM sukha bhoga ||49||maa0 deI nagArau cAlIyo jI, caMpA Upari rAya / ajitasena nAsI gayau jI, khami na sakyau bhaDavAya ||50||maa0 potAnai bhujabala lIyau jI, bApa taNau jiNi rAja / kahai jinaharakha vakhata vaDau jo, vakhatai sIdhAM kAja ||51||maa0 dUhA ajitasena cAritra lIyaU, pAtaka-roha vicAri / tapa saMjama' ArAdhato, karai abaMdha bihAra // 52 // caMpA naparI AvIya, vAMdyA nRpa zrIpAla / gharama-desaNA sAMbhali, bhAkhar3a ima bhUpAla // 53 // 20 DhAla : gItA chadanI' pUrava 5 bhava muni bhAkhau mujha taNa u, kiNi karamai sukha dukha pAmyau ghnnu| nagara hiraNyapura zrIkaMta naravaru, zrImatI rANI rUpaI sudaru / rUpa sudara jANi apachara, rAya AheDau karaI / rANI kahaI pri jIva haNaMtA, jIva durgati saMcarai / . vyasanI na mAnai kAu kehanau, sAta saya cAkara grahI / / eka divasa AkheTaka gayau nRpa, sAdhu dIThau vana mAhi // 54 // kArAga bhau re dekhI ima kahaI, e kuNa koDhI re vanamAhe rahA / koDhI kahi kahi saha hAMsI karaI, karama10 cIkaNAM bAMdhyA iNi paraI / iNi paraha valI ika divasa jAyai, ekalau naranAtha e| sAdhu dekhI nadIkaMThaI, nAkhIyau grahi bAtha e| dekhI dukhIyau nadI mAhe, kADhIya u karuNA karI / ghari AvI11 rANI Agalai, nija 12krita kamAI ucarI // 55 // 1 droha B2 saMyama B3 dharma B 4 hAMsiye meM anya DhAla bhI likhI hai: (1) suNI suNI jaMbU sohama ehanI, (2) desI tuTakata serIsA nI B5 pUrva B6 kahai Dokara B 7 daragati sAMcara B 8 se B 9 bITha3 B 10 karma A 11 vAdya A 12 Avi B 13 kRta B For Personal & Private Use Only

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laghu zrIpAlarAsa rANI kahai nRpa kAsi na pIDIyai, tau muni dukha deI kima krIDIyai / 1 muni haulAvI hAni lahIyai, rogI thaIyA re hAsya na kIjIyai / jo sAdhu nadI pADIyaI vadha-baMdhanA. tADaNAdika thakI 2khAyai / roga sagalA saMdhinI sAdhu nada, dukha dIyAM dukhIyau thAi te 4nizcai shii| ima suNI AvI kAika samatA, sIkha rANInI grahI // 56 // eka dina gaukhai bahaThau narapatI, mala sobhita nayaNe dIThaU jatI / eAvatau re vAraTha DUMbaDau, nagara viTAlyau re ehanai / mata aDau tu mata aDau, purathI parau kADhau, rAyanai rANI kahai / dhikkAra tujha nai paDau rAjana, sAdhu nai nidai grahai / saMgivI ti bhrachIya nRpa, pAya paDIyau muni taNai / 'tuma taNI. bhagavana karI hIlA, zrImatI iNi pari bhaNai // 57 // tArau tArau bhagavana kari mayA, karuNAsAgara bhAkhaDa kari dayA / siddhacakra suvidhA ArAhIyai, pAtaka TAlI sivapada pAIyaI / pAIyai sivapada rAya rANI, suguru vayaNe AdarayaU / ATha rANI taNI sahIyara. tAsa anumodana karayau / ujamyutapa karIya puru, vaTha sAta sayAM sahu / dharma kArya narendra kerAM, bhAva anumodyA bahu // 58 // svAmi vayaNa saya sAta milI karI, siMharAya nai gAma mayA arI / lUTI lagaDI godhana leI valyA, 1siMharAya lasakara AvI milyA / AvI milyA saMgrAma karatAM, sAta saya siMghai haNyA / sahu marI kSatrI kulaI jAyA, sAdhu naI je avagaNyA / koDhI kahyAMthI thayA koDhI, siddhacakra ArAdhanA / tu thayau e zrIpAla rAjA, punyanI e sAdhanA // 59 // zrImatI rANI mayaNA e thaI, jalapIDA munivara nai je deI / tiNi pAtaka thI tu sAyara. paDaya u, Iba kahyA thI tu thayau iMbaDo / tu thayo koDhI koDhIyau muni nai kahyau, zrImatI vayaNa prathama pUjyau / .. 1 kIjIyai jau sAdhu niMdA B 2 vIhe kaNa dyAyai B 3 sagalI B 4 nizca te B 5 tumha B 6 hIlI A 7 veTha B 8 bahU B 9 siMgha A For Personal & Private Use Only

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A. jinaharSasUri-viracita siddhacakra mana Umahyau iNi, bhavai mayaNA taNe vayaNa1 valI / ArAdhyau namI jina harakha saMpada, milI tethI ApadA sahu upasamI // 60 // ATha sahI zrImati taNI, tujha rANI thaI eha / tujha anumodana sAta saya, yayA nIrogI deha // 61 // siMha aMta vrata AdarI, aNasaNa karI mareha / ajitasena+ hu anukrami thae thaya u, tAharau rAjya grahaha / / 6 / / karama jisA karIyaI tisAM, bhogavIyai niravAMNa / zAnI vayaNa suNI karI, nRpa bhAkhai ima vANi // 63 / / 21. DhAla : morI bahinI kAI acarija pAta phnii| mujha sagatI nahI cAritranI, cAritra duskara dharma / muni kahA bhAvaka vrata grahau, sugama siMghala hui kama // 14 // zrAvaka vrata gharaha muni pAsai, zrIpAla ANI bhAkha visAla / kApaDa karama nI jAla / zrA / saMsAra bhA bhava keTalA hu karisi hivai munirAja / bhava ATha nara suranA kari, navamaha sahU siva rAja // 65 // jinadharma ArAdhaha sadA, niti sAcavai pacakhANa / jina bhagati jagatai sAcavai, pAlai jinavara ANa // 66 // bhaa| sAmAyika poSadha karaha, dIyai dAna UlaTa ANi / siddhacakra ArASaI vidhai, suNai suguru mukhi vANI // 37 // zrA / nRpa mAya rANI dharama pAlI, suddha samakita dhaari| suragatai pahutA sahu10, pAmyA1 sura sukha sAra // 68 // shraa| nara eka bhava sura eka bhava, ima ATha bhava nai aMta / sivapurI avicala pAmisyaI, 12lahisyai sukha anaMta // 69 // zrA / zrIpAla caritra nihAlinaha, siddhacakra navapada dhAri / dhyAIyaha tau sukha pAIyaI, 13jagamAM jasa vistAra // 7 // zrA / 1 vayaNe B 2 tehathI B 3 0mate B 4 huthae A 5 bahinI kahi B 6 zapalaka B ketalA B 8 jugate B9 dharma B 10 sahu jaNA B 11 jaNA A 12 jihAM ke B 13 jagameM B For Personal & Private Use Only

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laghu zrIpAlarAsa 67 zrIgaccha kharatara pati pragaTa, jinacandrasUrI sUrIsa / gaNi zAMtiharakha vAcaka taNau, kahai jinaharakha musIsa // 71 // shraa| satarai bayAlIsai samaI, vadi caitra terasi jANa / 2e rAsa pATaNamAM racyau, suNatAM sadA kalyANa // 72 // iti zrIpAla nRpa rAsa / 1 suri sIsa A 2 esa A 3 A prati meM isa prakAra lipikAra-prazasti hai-saMvat 1051 varSe bhahAraka zrI vijayANaMdasari ziSya / paM. zrI caMdravijaya gaNI ziSya lAlavijaya tama ziSya mu. vRddhavijaya likhItaM / maNi zrI nyAnavijaya vAcanArtha // zrIrastu kalyANamastu / / For Personal & Private Use Only

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kavi rAmacandra ane kavi sAgaracandra madhusUdana DhAMkI selaMkI yuganA saMskRta vAmayakAromAM nigraMthadazana-vetAmbara AsnAyanA rAmacaMdra nAmaka be, tema ja sAgaracaMdra nAmanA paNa be kavi-munivare thaI gayA che. alaga, paNa eka nAmadhArI A kartAonI kRtio ane kALa viSe sAMpratakAlIna lekhanemAM AthI saMkrama varatAya che. prastuta kartAonI nirNita thayela pIchAna tema ja samaya-nizcaya viSe AthI punaravakana thavuM jarUrI bane che. kavi rAmacaMdra rAmacaMdra abhidhAna dharAvatA eka te che siddharAja-kumArapAlakAzIna, suprasiddha pUrNatalagacchIya hemacandrAcAryanA ziSya. emanI stutio, prabandha, nATake Adi aneka ucca keTInI racanAonA sandarbho maLe che, ane temAMnI keTalIka te A je upalabdha paNa che 1 mudrita katiomAM jaina stotra sandaha (prathama bhAga) aMtargata prakaTa thayelI 10 kAtrizikAo, eka caturvizatikA, ane 17 SaDazikAo prastuta paMDita rAmacandranI che tevo saMpAdaka (sva.) munirAja caturavijayajIne abhiprAya che; je ke caturavijayajInI vizeSa nedha anusAra (sva.) munirAja zrI kalyANavijayanA mate tenA kartA bIja ja rAmacanadrabahadagAchIya vAdIndra devasarinA praziya-che. 5 paMDita aMba, hAla premacaMda zAha paNa brizikAo hadagachIya rAmacandra sUrinI mAne che ke jyAre tripuTI mahArAja A sambandhamAM caturavijayajI jevo mata dharAve che. AthI A be nizrAmAMthI ke sAce tene have nirNaya thavo ghaTe. caturavijayajI pote pahecela niSkarSanA samarthanamAM (17 mAMthI 16) DazikAomAM maLatA samAna ane sucaka prAnta-padya prati dhyAna dore che : prastuta padya A pramANe che : svAminnanantaphalakalpataro'bhirAma candrAvadAtacaritAJcitavizvacakra ! / zakrastutAghri sarasIraha ! duHsyasAthai deva ! prasIda karuNAM kuru dehi dRSTam // A pAnA aMtima caraNamAM kartAnuM "rAmacandra abhidhAna hovA uparAnta temAM - dAda-tripuTI mahArAjanA mate (zleSathI ?) divya dRSTi -prApta karavAnI ArjavabharI yAcanA vyakta thayelI che, je temanA prakSAcakSu hevAnA taka tarapha kheMcI jAya che. For Personal & Private Use Only

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kavi rAmacandra ane kavi sAgaracandra rAjagarachIya prabhAcadrAcAryanA prabhAvaka carita (saM. 1334/I.sa. 1278) tathA nAgendragacchIya metuMgAcAryanA prabandha cintAmaNi (saM. 1361/Isa. 1305) mAM AcArya hemacandranA ziSya rAmacandranuM eka locana gayAnI anuzruti neMdhAyelI che, je lakSamAM letAM saMdarbha sUcita stutionA kartA te ja rAmacandra levA ghaTe tevuM caturavijayajInuM kathana che. 10 bIjI bAju kalyANavijayajIe pitAnI dhAraNA pAchaLa zuM yuktio prastuta karelI tene nirdeza caturavijayajI mahArAje dIdho nathI, ke kyA lekhamAM svagaya munizrIe potAne e abhiprAya prakaTa karela, te viSe paNa temaNe jaNAvyuM na hada te sambandhamAM tAtkAlika te kaMI kahI zakAya tema nathI. paNa huM mAnuM chuM ke bahadugacchane vidhicaitya rUpe samarpita solaMkI samrATa kumArapALa kArita jAbAlipura (jAra)nA kAMcanagirigaDha paranA jina pArzvanAthanAM kumAravihAranA (saM. 164 | isa. 1208 nA) lekhamAM vaja-daMDanI pratiSThA karanAra muni rAmacandranA ullekha parathI12, tema ja sandarbhagata kAciMzikAo mAMhenI keTalIkanA AMtara-parIkSaNa parathI teo AvA niSkarSa tarapha pahoMcyA heya. muni rAmacandranI sandarbha sUcita stuti-kAvya kRtio tapAsI jotAM mAre jhukAva kalyANavijayajIe karela nirNaya tema ja . aMbAlAla premacaMda zAhanA mata tarapha DhaLe che : kAraNe A pramANe che. (1) 10 kAtrizikAomAMthI 6 jina pArzvanAthane uddezIne racAyelI che ane te saumAM spaSTarUpe jAbAlipuranA kAMcanagiri-sthita pAnAtha likhita vA vivakSita che : eTaluM ja nahIM ekamAM te prastuta jinane prAsAda tyAM kumArapALe baMdhAvyAne paNa ullekha che : A sambandhanA spaSTa sandarbhe nIce mujaba che. uttaptajAtyatapanIyavinidrabhadrapIThapratiSThitavinIlatanuH sabhAyAm / cAmIkarAdrizikharasthitanIlaratnasApatnakaM dadhadayaM jayatAjjinendraH // 8 // pAzva prabhoH parilasatpuratastamAMsi tadarmacakramacirAnmukulIkarotu / prAcyAcalendrazikharasya purassaraM yad bimbaM viDambayati vArijabAndhavasya // 13 // devaH sadA sitatanuH sumanojanAnAM paurandaradviradavat pramadaM pradattAm / svarNAcale kalayati sma kalAM yadIyAlAnasya mandiramadaH sahiraNyakumbham // 21 // kalyANabhUdharavibhUSaNa ! tIrthalakSmImallImayai kamukuTe zazizubhradhAmni / kRSNAbhrakapriyasakhIM dyutimudvahan vastIrthaGkaraH sakalamaGgalakelaye'stu // 31 // -- upamAbhiH jinastutidvAtriMzikA For Personal & Private Use Only

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70 madhusUdana DhAMkI pAdau tavA''sAdya guro ! kSamAbhRtAM vizva mano me na tRNAya manyate / uttuGgadhAtrIdharazRGga saGgataH sarva hi kharva manutetarAM na ka: 1 // 8 // lokottaraH ko'pyasi devadeva ! tat kaste mahimnaH kalane pragalbhatAm / ko vA davIyaHsthamahAmahIdharotsedhaM paricchettamatucchasAhasaH // 20 // --dRSTAntagarbhastutidvAtrizikA svarNakSoNIdharavaraziraHzekhara ! zrIjineza ! vyakta seyaM paramahimatA kAcidujjRmbhate vaH / puMsAM pAdAsthitisamucitA yattaDAgApagAmbha:sambhArANAM paramahimatA syAdanudvegahetuH // 21 // -- prasAdadvAtriMzikA ekAtapatrAmiva zAsanasya lakSmI dadhAnaH phaNabhRtphaNAbhiH / ArUDha 'jAbAli'purAdrihastI zriye'stu vaH pArzvajinAdhirAjaH // 1 // mahIbhato'muSya mahAprabhAvaH prAsAdayastilakIbhavaMste netrAtige merugirau vyanakti yuktaM suvarNAcalarAjalakSmIm // 3 // yulokalakSmIpraNayaM paratra kalyANamatrApi ca dAtukAmaH / zake prabho'bhraMlihacArucalaM cAmIkarakSmAdharamadhyarohaH // 6 // jinAdhinAtha ! pratimA yathA te kalyANajanmAkaratAM dadhAti / cAmIkarAdripratimastathaiSa manye'sti jAbAlipurAcalo'pi // 11 // zrIazvasenakSitibhRtkumAra ! suvarNadhAtrIdharamauliratna ! / / amodhavAcastava pArthivatvaM sampratyananyapratimaM cakAsti // 13 // _ -- bhaktyatizayadvAtriMzikA suvarNazailaH kila nAyamatra te jinendra ! netad bhavanaM ca nirmalam / asau kumArakSitibhRtyazoGkuraH zubhaikakandAdbhu'du,dagAdapi tvataH // 12 // -- apahanutidvArSizikA yena kAJcanagirI vinirmame zAsanonnativadhUkaragrahaH yuktametadathavA kumAratAM bibhratAM khalu bhujaGgasaGginAm / / 4 / / yaH svayaM dadhadanazcarAtmatAmiSTasiddhighaTanAmiSuH satAm / adhyuvAsa kanakAdricUlikAM zailabAsaratayo hi yoginaH // 18 // yaM prabhuM samadhigamya dhArayatyuccakaiH kanakabhUdharaH ziraH / - kakSitau sakalakAdhri pradaM prApya ratnamathavA na dRpyati ? // 24 // For Personal & Private Use Only

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kavi rAmacandra ane kavi sAgaracandra 71 71 yaH suvarNagirivisphuratyadastatprakAzayati vRttamAtmanaH / kasya goprakaTitaprabhAvataH zlokasiddhirudayaM na yati vA 1 // 27 // bhAratI yadupadezapezalAmarthasiddhimanudhAvati dhruvam / kAJcanAcalakalAmupeyuSAM siddhayo hi vRSalIsamAH satAm // 28 // -- arthatAnyAsAgaziwAM A sau paghomAM kAMcanagirino nirdeza ekavidhatA TALavA ane chandameLa sAcavavA vividha paryAye dvArA karyo che. AvI viziSTa ane sUcaka stutionI racanA to jene jAbAlipura-pArzvanAtha para khAsa mamatA ane bhaktibhAva rahyAM hoya tevuM ja kaI karI zake. A kAraNasara tenA racayitA aNahilapattana-sthita pUrNatalagachanA paMDita rAmacandra hoya tenA karatAM jAbAlipura sAthe saMkaLAyela bRhadgIya muni rAmacandra hoya tevI saMbhAvanA vizeSa sayukta ane svAbhAvika jaNAya che. Akhare kumArapALe prastuta jinAlaya vAdi devasUrinA ga7ne samarpita kareluM te vAta paNa smaraNamAM rAkhavI ghaTe (mAndara mULe saM. 1211/ I. sa. 1165 mAM baneluM. tene saM. 124ra mAM punaruddhAra thayele saM. 12 56/ I.sa. 1200mAM raNadinI pratiSThA thayela ane saM. 1268 / I. sa. 1212 mAM sandarbhagata rAmacandrAcArya dvArA suvarNa kalazArepaNa-pratiSThA thayela.13). (2) kavinA adhatvanA viSayamAM DazikAo atirikta "upamAbhiH zrAviMzikA - ke je kAcanagiri-pAzrvanAtha sambaddha che, 14 temAM prAntapadyamAM "janmA" kavie (AMtaradaSTithI) nirakhela jinanA rUpane karuNu antAkuTa ane hRdayasparzI zabdomAM ullekha che : yathA : jamAnAmRtara va mA nAthado duHsthena svarviTapina iva prApi te pAdasevA / tanme prItyai bhava surabhivat paJcamodarAmagatyA tanvAnasya zrutimadhumucaM kokilasyeva vAcam // 32 // -- upamAbhiH jinastutidvAtriMzikA A mahatvapUrNa sva-sambaddha ullekha parathI te spaSTa thAya che ke jabAlipura sAthe saMkaLAyela bRhadagacchIya rAmacandra muni "adha hatA, zrIpattinanA pUrNatalagachIya rAmacandra abdha vA ardhAdha thayAnuM te lAgatuM nathI ! mane te lAge che ke prabhAvaka caritakAre tema ja prabaMdhacintA maNikAre nAmasAmathI bRhadgachIya pUrNadeva-ziSya rAmacandrane vizeSa prasiddha hemacandra-ziSya rAmacandra mAnI laI, emaNe lekacana gumAvyAnuM kahI, ane e rIte emane adhuM andhatva api, prastuta abdhatvane khulAso karavA eka datta kathA ghaDI kADhI che, yA te AvI bhrAntiyukta lokakti emanA samayamAM jaina vidU samAjamAM pracAramAM heya mane For Personal & Private Use Only

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72 madhusUdana DhAMkI tenI temaNe mAtra neMdha lIdhI heya.15 jAbAlipuravALA rAmacandranI stutio, rasa, bhAva, prakSAda ane AjanI daSTie aNahilapatta nA suvikhyAta paMDita rAmacandranA kumAravihArazataka sarakhI kRtiothI jarAye utare tema nathI. Ama saMskRta bhASA para samAna prabhava tema ja samakakSa kavita-sAmarthya dharAvanAra, ane samayanI dRSTie bahu dUra nahIM evA, be rAmacandra kavivarenuM pRthaka prabhAcandrAcArya tathA metuMgAcAryanA dhyAnamAM na AvyuM hoya te te samajI zakAya tevuM che. 16 jAloranA kumAravihAranA saM. 12 68 nA, temaja suMdhA pahADI (sugandhAdrI)nA saM. 1318 | I. sa. 12 62 nA abhilekhanA AdhAre,17 jayamaMgalasUrinA apabhraMzamAM racAyela mahAvIra janmAbhiSeka kiMvA mahA pIrakAzanA prApadya anusAra,18 evaM muni somacandranI vRtta-ratnAkaravRtti (saM. 1329 / I. sa. 1273)18 anvaye, temaja jayamaMgalAcAryanA eka anya ziSya amacandranA praziSya jJAnakalazana sadehasamuccayanA AdhAre bRhadgIya muni rAmacandranI paraMparA A pramANe nizcita bane che : vAdIndra devasUri (dIkSA paryAyaH Isa. 1096-1170) pUrNadevasUri (upalabdha mitiH jAhera abhilekha : saM. 1242 / i. sa. 1186) rAmacandrAcArya (upalabdha miti : jAlera abhilekha : saM. 1268 | I.sa. 1212) jayamaMgalAcArya (upalabdha miti : sugandhAdri (suMdhA pahADI) abhilekha : saM. 1318 | I. sa. 1262) amaracandra somacandra (upalabdhamiti : vRttaratnAkaravRtti saM. 1329 | i. saM. 1273). dharma dhoSa dharmatilaka jJAnakalaza sahu samuccaya (I. sa. 14 mI zatAbdI madhyAnha) uparyukta rAmacandrAcAryanI paraMparAmAM AvatAM temanA ziSya jayamaMgalAcArya paNa jabarA kavi hatA. emaNe saMskRtamAM kavizikSA nAmaka kAva"zAstrane gadyamaya laghugrantha, bhadrikAvya para vRtti, jAbAlipuranA cAhamAna rAjA cAciMgadevanI upara kathita suMdhA TekarI paranI prazasti, ane apabhraMzamAM mahAvIra-janmAbhiSeka nAmaka 18 kaDInuM kAvya racyuM che. 21 A jayamaMgalAcAryanA samaya viSe paNa bhrama pravarte che. emane badhA ja pramANenI viruddha jaI jayasiMhadeva siddharAjanA samakAlika mAnI levAmAM AvyA che. 22 merUtuMgAcAryanA prabandhAciMtAmaNimAM sahastraliMga-tAka sabadhumAM emane na mathI udaMkita eka prazaMsAtmaka padya parathI23 ema dhArI levAmAM AvyuM hoya tema jaNAya che : paNa prabandhakAre game te kALa ane game te kartAnI kRtinA padyo uThAvI, prasaMganusAra game tenA mukhamAM, ke prApta pari For Personal & Private Use Only

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kavi rAmacandra ane kavi sAgaracandra sthiti anukULa game te sandarbhamAM goThavI detA hovAnA paNa dAkhalAo maLatA haiI (keTalAka te prabandhacintAmaNimAM ja che !) metuMgAcArye je pariprekSyamAM prastuta padya goThavyuM che te pramANabhUta che tema chAtI ThokIne koI kahI zake tema nathI ! siddharAjanA kALamAM koI bIjA ja jayamaMgalAcArya thayo hoya te temane anya upalabdha kaI strotamAM izAre sarakhe paNa maLatuM nathI. A vAta lakSamAM letAM jayamaMgalAcArya siddharAjakAlIna hovAnuM kahI zakAya tema nathI. siddhasarevara sambandhanI kArikAnA racayitA kadAca teo na paNa hoya kadAca hemacandra-ziSya rAmacandra paNa hoI zake, kemake pATaNathI teo khUba paricita hatA. 24 athavA te jayamaMgalAcAryanI racelI heya te te jayamaMgalAcArya bRhaddagacchIya hevA joIe ane teoe te potAnA ja kALamAM, eTale ke teramI zatAbdInA trIjA caraNamAM racI hevAnuM mAnavuM joIe. saMprAti pramANa jotAM te eka ja jayamaMgalAcAryanA astitva viSe vinizvaya thaI zake che. upara carcita jayamaMgalAcAryanA ziSya somacandra vRtta ratnAkara para vRtti racI che, jeno ullekha AgaLa thaI gayA che; ane temanAthI cothI peDhIe thayela jJAnakalaze sadehasamuccaya granthanI racanA karI che. Ama rAmacandrAcArya, temanA ziSya jayamaMgalAcArya, praziSya semacandra ane ethIye AgaLa jJAnakalaza ema sau saMskRta bhASA ane sarasvatInA parama upAsake rUpe, eka udAtta, vyutpanna ane vidvad muni-paramparAnA sada rUpe rajU thAya che. kavi sAgaracandra (ajJAtagarachIya) geviMdasUri-ziSya vardhamAnasUrinA gaNaratnamahodadhi (saM. 119/ I. sa. 1141) mAM kavi sAgaracandranAM thoDAMka paDyo avatArelA che, 25 jemAMnA be eka jayasiMhadeva siddharAjanI prazaMsArUpe che. A sAgaracandra AthI siddharAjanA samAlIna kare che. siddharAjanA mAlavavijaya (A. I. sa. 1137) pazcAta suratamAM ja ene biradAvatI je kAvyoktio racAI haze temAM A sAgaracandranI paNa racanA haze tema jaNAya che. AthI teo IsvIsananA bAramA zatakanA dvitIya caraNamAM sakriya hovAnuM sunizcitapaNe mAnI zakAya. emanI guruparaMparA viSe prastuta gaNarana mahedadhi ke anya padAvaliomAMthI kazuM jANI zakAtuM nathI. bIjI bAju rAjagachIya kavivara mANicandrasUri pitAnA guru pe "sAgareda (sAgaracandra)nuM nAma Ape che. AthI keTalAka vidvAne siddharAja samayanA sAgarayandra ane rAjagIya sAgaracandrane eka ja vyakti mAne che. AvI saMbhAvanA te mANijyacandrasUrinA samayanI sAnukULa ane sunizcita pUrva tema ja uttara sImA para avalaMbita rahe. paNa mANicandranA munijIvanane samayapaTa kevaDe, ho! mANikathacandra ane vastupAlanuM samakAla- sUcavatA be prabo judA judA madhyakAlIna prabandha samuccaya grantha parathI paratanaprabaMdhasaMgrahamAM (sva) munizrI jinavijayajIe For Personal & Private Use Only

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74 madhusUdana DhAMkI saMkalita karelA che. 27 temAM eka prabandha, je "B" saMgrahamAMthI lIdhe che, tenI pratA 16mI zatAbdInI che. 28 jyAre "G" saMgraha mULa caudamI zatAbdInA uttarArdhamAM saMkalita thayela. 28 jo ke bhAgIlAla sAMDesarA A prabandhane (nAgendragIya udayaprabhAvinaya) jinabhadranI saM. 1290 | I. sa. 1234mAM racAyela nAnA kathAnakaprabandhAvaline bhAMga mAne che, paNa hastaprata sambaddha je to munijIe naidhyA che te jotAM te tevuM kahI zakAya tevI sthiti nathI. jinabhadravALA prAkRta prabomAMthI keTalAMka "P" samuccayamAM (alabatta saMskRta bhASAmAM rUpAntarita thaIne) samAviSTa thayA haze, jemake tyAM pratamAM ja eka sthaLe jinabhadranI pupikA saMkalita che; ane A "P' pratamAM te mANikathasUri-vastupAla sambaddha koI ja prasaMga nedhA nathI. chatAM upara kahela anya prabaLe, je IsvIsananA 14 mA zataka jeTalA te purANuM jaNAya che, temAM varNavela mANijyacandra-vastupAla prasaMge zraddheya jaNAya che, ane ethI mANijyacandrasUri tathA mahAmAtya vastupAla samakAlika hevAnI vAtamAM saMdeha nathI. mANikaSacandrasUrinI pArzvanAthacaritranI racanAmiti saM. 1276 / i.sa. 122nI I uparanI vAtane samarthana maLI rahe che . paNa jo tema ja heya te temanA guru sAgaracandra siddharAjanA samakAlIna nahIM paNa ajayapALa-bhImadeva (dvitIya) nA samakAlIna dAvAne saMbhava mAnI zakAya. bIjI bAju joIe te mANikaSacaMdranI eka anya zvaprasiddha kRti-mammaTanA kAvyaprakAza paranI saMketa nAmanI emanI TIkA-aMtargata dIdhela racanAnuM varSa saMdigdha che. gaNitazabda kiMvA "zabdAMkamAM prastuta miti "rasa-vakatra-ravi" e rIte vyakta thayelI che. tyAM ravi (12) ane rasa (6) viSe te kaI saMzaya-sthiti nathI; paNa "vakatrathI kyo aMka grahaNa kare te vAta vivAdAspada banI che. A samasyAnA ulamAM bhegIlAla sAMDesarA, tema ja (va.) rasikalAla parIkha vacce abhiprAyabheda che. Da sAMDesarA "vakatra'thI cAra (brahmAnAM "cAra' mukha) ke che (skanda-kumAranA "cha" moDhAM) ema bemAMthI game te eka aMka levAnuM pasaMda kare che. 32 (ziva "paMcavatra". hAI vakatrathI pAMcane mAMkaDe paNa nidiSTa bane kharo.) jyAre (sva0) parIkhane 'vakatra'thI ene aMka sUcita hovAnuM abhipreta che. 33 bannee pitAnA arthaghaTananA samarthanamAM dalIle raja karI che.34 "vakatra"ne ekAMka mAnavAthI niSpanna thatA saM. 1216 | I. sa. 1160 varSathI phAyado e che ke mANijyacandrane guru sAgaracandra e mitithI eka peDhI pUrvanA hAI siddharAjanA samakAlIna banI zake che, ane ethI gaNaranAmahodadhimAM uddhArela emanI uktio kALanA cegaThAmAM barAbara goThavAI jAya che, paNa temAM Apatti e che ke .sa. 1160mAM prauDa saMskRta granthanI racanA karanAra mANijyacandranI umara maMtrIzvara vastupAlanA samayamAM, I.sa 1220-1239nA gALAmAM, kevaDI hoya? mANika thayadra 1160 mAM trIsa AsapAsanA hoya te 1230 mAM teo pUrA se varSanA hoya ! mANijyacandrane (jema Da. parIkhe mAnyuM For Personal & Private Use Only

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7pa kavi rAmacandra ane kavi sAgaracandra rAjaga7-padyAvali pradyumna suri (digambara vijetA) tapaMcAnana abhayadeva sari (vA mahAIvanA katAM) vAdi dhanezvarari (paramAra muMja ane bhojanA samakAlika) ajitasiMhari vardhamAnasUri zIlabhadrasUri devacaMdrasUri vAdIndra dharmasUri zrIyadrasUri (cAhamAna arAjavigraharAjanA samakAlika A,I,sa,1120-1180) pahAdeva jinadata jinezvarasUri bharatezvarasUri candraprabhasUri vairasvAmi bhadrezvarasUri nemicandra ajitasihari haribhadrAcArya S sAgaracandra devabhadra candaprabhasUri mAhikayacaMdra siddhasena (pArzvanAtha caritra (tattvajJAna-vikAsinI. saM.1334/I.sa 1220) saM. 1278 Isa, 1222) prabhAcaMdrAcArya (prabhAvaka-carita saM.1334/I.sa.1278) For Personal & Private Use Only

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76 madhusUdana DhAMkI che tema) ati dIrdhAyuSI mAnIe te paNa Apatti to e che ke mANikacandrathI cethI peDhIe thayelA vidyApUrvaja bharatezvara sUrinA sAdhama vAdIndra dharmasUri cAhamAnarAja arNorAjavigraharAjanA samakAlIna che ane e kAraNasara teo siddharA ja-kumAra pALanA paNuM samakAlIna che ! AthI rDa parIkhanI vAta mAnIe te mANijyacandranA guru sAgaracandra ane emanI cothI peDhIe thayelA pUrva ja bharatezvara sUri ema banene munivare siddharAjane samakAlika thAya ! (jao ahIM rAjagachanuM vaMzavRkSa). A vAta saMbhavita nathI, ane rDo. sAMDesarAe je varSo sUcavyuM che te ja yathArthatAnI samIpa jaNAya che. "vakatra' sUcita aMkamitine yathArtha rIte ghaTAvatAM vahelAmAM vahelI saM. 1246 I.sa. 1190, ane moDAmAM meDI saM. 1266 / Isa. 1210 hoya tema jaNAya che. mANijyacandranuM vastupAla mantrI sAthenuM samakAlika jatAM kAvyazikSAne saM. 126 / i. sa. 1210 mAM mUkavI vadhAre ThIka lAge che. A kAraNasara mANikaSacandranA guru sAgarayandra te gaNaratnamahedadhi (I. sa. 114). kathita sAgayendra na hoI zake. te pachI A pahelA, siddharAja kAlIna, sAgaracandra kezu? ene uttara IsvIsananA 14mA zatakamAM lakhAyela caturazItiprabandha antargata "kamArapAladeva-prabandha" (pratilipi IsvIsana 15mA zatakane pUrvArdha) mAMthI maLe che. 35 temAM kahyuM che ke pUrNatalaga chIya kalikAla sarvotta) hemacandrAcAryane eka sAgaracandra nAmaka rUpavAna vidyAvAna ziSya hatA. rAjAe (kumArapALe, vArasahIna thayA hovAthI) AcArya pAse rAjAthe emane soMpI devAnI mAgaNI karI. AcAryo A mAgaNIne sarvathA anucita kahI teno asvIkAra karyo. sAgaracandra kriyAmutaka catuvikRta-namaskAra (stavana)nI racanA relI jene sadhyA-pratikramaNa samaye pATha karyo; je sAMbhaLI rAjAe (kumArapALe) uddagAra kADhayA "ahe kavitA ! aho rUpa !"37 A prasaMga alabatta kalpita hoI zake che; paNa ethI eTaluM te spaSTa thAya che ke hemacandrAcAryane sAgaracandra nAmaka kavi-ziSya hatA. pUrNatalanI paripATImAM agiyAramAM jAtakanA uttarArdhathI te candrAnta nAme khAsa karIne rakhAtA. jemake hemacandrAcAryanA gunuM nAma devacandra, ane jyeSTha gurubadhunuM nAma azokacandra hatuM. hemacandrAcAyanAM pitAnA zikhyAmAM rAmacandra, bAlacandra, yazazcandra ane udayarAndra nAme jANItAM che.38 A silasilAmAM temanA ekAda anya yeSTha ziSyanuM nAma sAgaracaMdra hoya te temAM Azcarya ke saMdehane avakAza nathI. A vajanadAra saMbhavitatA lakSamAM rAkhatAM, ane samayaphalaka tarapha najara karatAM, hemacaMdra-ziSya sAgaracaMdranI uktio guNaratnamahodadhi (I. sa. 1141)mAM noMdhAI zake; paNa rAjagachIya mANikaSacaMdratA guru sAgaracaMdra te emanA samayaH 40-50 varSa bAda thayA jaNAya che,39 ane ethI teo nAmerI, paNa judA ja ga7nA, alaga ja mani che. A baMne eka nAmadhArI paNa lagabhaga aDadhI sadInA aMtare thayelA sAgaracaMdro vacce sAMprata vidvajanenA lekhanethI upasthita thayela brAnti AthI dUra thAya che. For Personal & Private Use Only

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kavi rAmacandra ane kavi sAgaracandra pAdaTIpa jemake kumAravihArazataka (kAvya), dhULakAnI udayanavihAra-prazasti (abhilekha), mallikA makaraMdaprakaraNa ItyAdi. vistRta noMdha mATe juo caturavijayajI pR. 46-47; tathA mehanalAla dalIcaMda dezAI, jaina sAhityane saMkSipta itihAsa, muMbaI 1931, pR. 323-325; tathA aMbAlAla premacaMda zAha, "bhASA ane sAhitya", gujarAtanA rAjakIya ane sAMskRtika itihAsa graMtha 4, selaMkIkAla, saMzAdhana graMthamAlA-graMthAMka 69, amadAvAda 1976, pR. 289. jaina prAcIna sAhitya dvAra graMthAvali, prathama pu5, amadAvAda 1932. ejana, pR. 130-189. ejana, prastAvanA, pR. 49. ejana, pR. 48. jainatIrtha sarvasaMgraha-bhAga pahele [khaMDa bIjo], zeTha ANaMdajI kalyANajI, amadAvAda 1953, pR. 189. paM. zAha prastuta kAtrizikAne mATe 7 ne AMkaDo Ape che. jaina paraMparAne ItihAsa [bhAga bIje], zrI cAritrasmAraka graMthamALA . 54, amadAvAda 1960, pR. 6 19-21. saM. jinavijaya muni, siMdhI jaina graMthamAlA, graMthAMka 13, amadAvAda-kalakattA 1940, tathA grathAMka 1, zAMtiniketana 1933. ejana, pR. 64. jayasiMha siddharAje mahAkavi zrIpAla racita "sahastraliMga taTAka prazasti"nA saMzodhana mATe bolAvela paMDita pariSadamAM paM. rAmacaMdra prastuta racanAmAM de batAvelA. caritakAra tathA prabaMdhakAranA kahevA pramANe A kAraNasara rAjAnI mIThI najara rAmacaMdra para paDavAthI, upAzraye AvyA bAda, sUrinA jamaNuM leAcanamAM pIDA upaDI ane aMte tenI dIpti naSTa thaI. 8. 10. caturavijayajI, pR. 48. 11. (sva) muni kalyANavijayanA judA judA sAmayikomAM vikharAyelA lekhe ekatra karI chapAvavA jarUrI che. ahIM vArANasImAM mArI pAse temanuM lakheluM keTaluMka sAhitya upasthita che, keTaluMka nathI. 12. saM. jinavijaya, prAcIna jaina lekha saMgraha (bhAga bIje), pravartaka kAMtivijayajI jaina ItihAsa graMthamALA puSpa chayuM, zrI jaina AtmAnaMda sabhA-bhAvanagara, 1921, pR. 211, lekhAMka 35ra. 13. jinavijaya, prAcIna, pR. 211. For Personal & Private Use Only

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madhusUdana DhAMkI 14. sAMprata lekhamAM pAchaLa mULa padya uddadhRta thayuM che. 15. prabandhakAro paMDita rAmacandranuM jamaNuM lekacana gayAnI ja vAta kare che, aMdha thayA tevuM kahetA nathI. kavitAomAM to rASTapaNe aMdhatva ulikhita heI, temAM daSTidAnanI abhyarthanA vyakta thaI heI, te vAta kaMI judI ja, ane ethI judA ja rAmacandra anuSaMge che tema mAnavuM ghaTe. 16. paMDita rAmacandranI aNahilapattananA kumAravihAra anulakSe racAyela kumAravihAra-zataka tathA dhoLakAnI udayanavihAraprazastinI zailIne muni rAmacandranI kAtrizikAo, DazikAo sAthe sarakhAvatAM thoDuMka zailIgata ne gheTuMka samayagata vaibhinya karatAya che. 17. F. Keilhorn, "The Cahmanas of Naddula", cl. Sundha Hill inscription of Cacigadeva; (Vikrama - ] Samvat 1319' Epigraphia Indica, Vol. X-1907-08, p. 79. 18. H. R. Karadia. Descriptive Catalogue of the Government Collections of Manuscripts Library, Vol. XVII, Pt. IV, Bhandarkar Oriental Research Institute, Poona 1948, pp. 216-217; 911 Catalogue of Sans krit and Prakrit Manuscripts : Muniraja Sri Punyavijayaji's Collec. tion, Part II, L. D. Series No. 5, Ed. Ambalal P. Shah, Ahmedabad 1965, p. 362. kApaDiAe jayamaMgalasUrine sthAne "maMgalasUri) vAMcyuM che, paNa kartAe soLamI kaDImAM "jaya maMgalasUri budhaI ema spaSTa nepyuM che. 96. Catalogue of Sanskrit and Prakrit Manuscripts Ac. Vijayadevasuri's and Ac. Ksantisuri's Collections, Part IV, L. D. Series No. 20 Ed. Pt. Ambalal P. Shah, Ahmedabad 1968, p 95. Ro. Catalogue of Sanskrit and Prakrit Manuscripts : Muniraj Sri Pun yavijayajis Collections, Part I, L. D. Series No 2, Ed. Pt. Ambalal P. Shah, Ahmedabad 1962, p. 182. 21. vigata mATe juo pAdaTIpa 18. 22. juo mo. 6. dezAI, jaina sAhityane, pR. 253, tathA durgAzaMkara kevaLarAma zAstrI gujarAtane madhyakAlIna rAjaputa ItihAsa, saMzodhana graMthamALA, graMthAMka 41 mo, saMskaraNa raja, amadAvAda 1953, pR 307. zAstrIjIne,dhe che: "...vAbhaTa - kavie vAlsaTAlaMkAra tathA jayamaMgalAcAryo kavizikSA nAmanA grantha siddharAjanA * rAjyakALamAM racyA che." (jayamaMgalAcAryanA sandarbhamAM Ama kahevA mATe emane AdhAra emaNe TAMkela "pITarsanane rIporTa 1882-83, pR 80, bhUmikA pR 1 heya tema jaNAya che) A sivAya juo hariprasAda ga. zAstrI, "solaMkI rAjyanI jAherajalAlI, gujarAtane rAjakIya, prakaraNa 4, pR. 56. For Personal & Private Use Only

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kavi rAmacaMdra ane kavi sAgaracaMdra 23. atha kadAcidrAjJA prathilAcAryA jayamaGgalasUrayaH puravarNanaM pRSTA UcuHetasyAsya purasya pauravanitAcAturyatAnirjitA, ___ manye hanta sarasvatI jaDatayA nIra vahantI sthitA / kIrtistambhamiSoccadaNDarucirAmutsRjya bAhorbalAt tantrIkAM gurusidbhabhUpatisarastumbAM nijAM kacchapIm // ( jinavijayajI, pR. 63) 24. siddharAja sambandhI temanA koI kAvyamAM vA anya koI kRtimAM hoya. 25 me, da. dezAI jaina sAhityane, pR. 255 dezAI sUcave che ke "muniratnasUrinA amamacaritranI prathamAdaza prata lakhanAra sAgaracandra te ja A hoya." (ejana, pAdaTIpa 288.) A vAta saMbhavita nathI. amacaritrane racanAkALa saM. 1352/ Isa. 1296 che. jyAre sAgaracandranI uktio te tenAthI paMcAvana varSo pUrve racAI gayelA gaNarana mahodadhimAM maLe che. vadhumAM vadhu temane rAjagarachIya mAziSa. candranA guru mAnI zakAya, paNa te zakyatA mane te lAgatI nathI. A koI trIjA ja sAgaracandra jaNAya che. 26. aMbAlAla premacaMda zAha, "bhASA ane sAhitya", gujarAtane rAjakIya, pra.12, pR. 297. 27. saM. jinavijaya muni, siMdhI jaina graMthamAlA, graMthAM 2, kalakattA 1936, pR. 76-77. 28. ejana. juo tyAM "prAstAvika vaktavya, pR. 10-11 29. ejana, pR. 18-19 39. Literary Circle of Mahamatya Vastupala, Shri Bahadur Singh Singhi Memories [Volume No, 3), Bombay 1953, pp. 72, 81, and 144-145. 31. mo. 6. dezAI jaina sAhityano0, pR. 292 pravacanasAroddhAra vRtti saM 1295 | I.sa. 1239 mAM mANijyasUrinA vacanathI lakhavAmAM AvI tevI noMdha maLe che. miti jotAM A mANijyasUri prastuta mANikaSacaMdrasUri ja jaNAya che. (juo - New Catalogue of Sanskrit and Prakrit Manuscripts Jesalmer Collection, L. D. Series 36, Col. Muni Shri Punyavijayji, Ahmedabad 1972, p. 11. 32. Literaryo, pp. 79-81. 33. Kavyaprakasa of Mamata, Part second, "Introduction", Rajasthan Puratana Granthamala, No. 47, Jodhpur 1959, pp. 12-13. For Personal & Private Use Only

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madhusUdana DhAMkI 34. ejana, 35. saM0 AcArya jinavijaya muni, siMdhI jaina graMthamAlA, kaMthAMka 41, muMbaI 1956, "naravaprabaMdhapR. 112-117 36. ejana, tyAM kumArapALanA putra nRpasiMhanA maraNanI vAta kahI che je anyatra kyAMya nedhAyelI nathI. 37. ejana. 38. dravyAlaMkAra-TIkA (saM. 1202/I. sa. 1146) ane vivRtti sahitanA nATa darpaNamAM paMrAmacaMdranA sahalekhaka rUpe je guNacaMdra Ave che te rAmacaMdranA gubaMdhu che ke temanI potAnA ziSya te vAta cokkasa nathI saM. 1241/Isa. 1185 mAM pUrNa thayela semaprabhAcAryanA jinadharmapratibodhano prathama zravaNamAM A guNacaMdra gaNi upasthita hatA. 39. A uparathI te nizaMka nizcaya thAya che ke mANikayacaMdra viracita saMtane samaya I. sa. 1160 he asaMbhavita che. I. sa. 1279 mAM paNa mANijyasUrinA vimAnatA hovA viSe agAu ahIM noMdhAI gayuM che. For Personal & Private Use Only

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amadAvAda no vikAsa 2. nA. mahetA vyAkhyAna-1 prAstAvika atItArtha tripAdaca paJcabala samAkulam / paJcakarma samArAdhyamitihAsamupAsmahe // ApaNAM nagara-rAjadhAnIo, zAkhAnagara ItyAdi-ApaNuM sAmAjika ane bauddhika jIvananAM mahatvanAM sthAne che. temaNe ApaNA dezanI aneka pravRttiomAM ghaNuM pradAna karyuM che. A vividha pravRttionI aneka nizAnIo ApaNAM nagaro e sAcavI che paraMtu tenAM adhyayana para ApaNuM dayAne pramANamAM ochuM kheMcAyuM che. ApaNuM A durlakSa kaMIka aMze ApaNI pazcimAbhimukha zikSaNa paddhati ne AbhArI che, ema tenA ItihAsAdinA abhyAsakramo darzAve che. A paristhitimAM dhIme dhIme pheraphAra thavA mAMDe che, tethI, judA judA nagaromAM cAlatI nAnI moTI pravRttio tarapha adhyayana mATe najara doDAvavA nI zarukhyAta thaI che. A paristhitine lIdhe ApaNI paraMparA lakSI adhyayane thatAM hatA te tarapha ApaNI dRSTi javA mAMDI che. ane tene, Aje jene ItihAsa kahevAmAM Ave che te daSTibiMduthI tenI tapAsa karavAnA prayatna thAya che. A prayatnanI zarUAta amadAvAda mATe I.sa. 1850thI thayAnuM vidhAna sva. maganalAla vakhatacaMda zeThanA amadAvAdanA nibaMdha thI thaI zake. te pahelAM phArasImAM mirajhA muhammadaalikhAne tema ja sikaMdara bIna maMjha, vAjA nijhAmudina, pharIstA tathA abUlaphajhala jevA lekhakoe amadAvAdanAM keTalAMka varNana karyA hatAM. paradezathI amadAvAda AvanAra judA judA musApharoe tene mATe lakhANe lakhyAM hatAM, te lakhANene AdhAre amadAvAda mATe 187mAM gejheTiyara eka bee presIDansI nA cethA volyumamAM mAhitI ApavAmAM AvI che. A mAhitIonuM tema ja padamapurANomAMthI maLatI sAmagrInuM ane bIjI pravRttienuM sAlana karIne sva. ratnamaNirAva bhImarAva joTe e gujarAtanuM pATanagara amadAvAda graMtha 1929mAM lakhe tyArabAda amadAvAdanI vividha pravRttio para nAnAM moTAM lakhANo thatAM rahyAM che. 0 lA. da. bhAratIya saMskRti vidyA maMdira ne Azraye 4/9/84 tathA 5/9/84 nA roja ApelAM be yunivarsiTI vyAkhyAne. For Personal & Private Use Only

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2. nA mahetA A prayatnamAM gujarAtI bhASAnA sArA graMthe tapAsIe te I. sa. 1850thI I.sa. 1929 arthAt 79 varSa sudhI amadAvAda mATe maganalAla vakhatacaMdane prayatna mArgadarzaka rahyo. tyArabAda 1929thI Ajadina sudhI Azare 55 varSa ratnamaNirAve kareluM kAma dizA sUcaka che. A samayane lAMbA gALe ApaNuM adhyayana dakiTa para sAre prakAza pheke che. ItihAsanuM adhyayana Akhare atItane kaI eka daSTibiMduthI jovAnI ane batAvavAnI pravRtti che. daSTibiMdu palaTAtAM itihAsanuM dAna palaTAya che ane tethI ghaNAM prachana rUpa daSTimaryAdAmAM Ave che ane navAM arthaghaTane zakya bane che A prakArane anabhava vaDodarA, surata, khaMbhAta nagara, caMdrAvatI, AgrA, vArANasI jevAM nagaronAM adhyayana tathA avalokanathI thayo che. je A nagaromAM Ave anubhava thAya te amadAvAda mATe paNa AvA anubhavanI zakyatA ne InkAra karavo muzkela bane. | i tihAsa athavA atItamAM thayelI mAnava pravRttinuM AjanuM adhyayana mAtra zabdA. * zrita rahyuM nathI, paraMtu zabdane te pratyakSAdi pramANathI tapAsIne temAM bAdhaka pramANe na dekhAya che te paraMparAgata mAnyatAne svIkAre che. ane tema na bane te te prAcIna artha. ghaTane pherave che ane tene pramANAzrita banAve che. A pravRttine lIdhe atItamAM thayelI - mAnava pravRtti sArI rIte samajAya che. vaLI mAtra prAcIna upalabdha lakhANone Anapuva. anasAra gAThavAne arthaghaTana thAya che eTalI maryAdita vyAkhyA svIkAravAne badale te goThavaNathI zakaya arthaghaTana karavA mATe Aje prayatna thAya che, ema svIkAravuM paDe. A arthadhaTane upalabdha pramANonI madadathI thayelAM zeSavata anumAne che. te bIjAM pramANa prApta thavAne lIdhe vadhu majabuta thAya ke badalAya e bAbata bhaviSyanI kArya paddhati ane dakiTabiMda para AdhAra rAkhe che. amadAvAda sAthe A vakatAne paricaya Azare cAlIsa varSa jeTaluM che A lAMbA samaya daramiyAna amadAvAdamAM vasavATa, paryaTana ane tenAthI thatAM pratyakSa darzanano lAbha maLa hovAthI tathA nagaranAM adhyayana tarapha adhyayana-niSTha dariTa hovAthI amadAvAdanA bhUtakALanuM saMzodhana karavAnuM kutuhala svAbhAvika rIte rahetuM. tethI amadAvAdanuM bhUpRSTha. pAribhagika sAmagrI tathA ahIMnI likhita sAmagrI paikI maLI teTalInuM adhyayana karIne amadAvAdamAM manuSyo jyArathI rahetA hatA tenI tapAsa karanAra sAthe saMparka rAkhavAthI A zaherano ItihAsa jANavAnI taka maLI. temAM 1975mAM amadAvAdamAM kelIka mIlamAM rAjaDInAM TAMkAM pAse khanana karyuM tyAre vadhu tapAsa karavA mATenuM protsAhana maLayuM. tenAM phala svarUpe amadAvAdane ghaniSTha abhyAsa hAtha dharavAnA prayatnane prAraMbhathI je keTalIka hakIkate prApta thaI che te tathA tenI parathI thatAM arthaghaTane bAbata viyAra vinimaya karavAno A prayatna che. (2) amadAvAdanuM sthAna bisane AdhAre sva maganalAla vakhatacaMde 23-1" uttara akSAMsa ane 72deg-kara' pUrva rekhAMza ApyuM che, bee gejheTiyare tenA akSAMsa barAbara For Personal & Private Use Only

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amadAvAdane vikAsa 8 ke rAkhyA che paraMtu tenA pUrva rekhAMza 7ra0-37" jaNAvyA che. A pheraphArane lIdhe bhaugalika daSTie vicAra karatAM pUrva rekhAMza 72deg-34 bhadra pAsethI nIkaLatuM hovAnuM sarvenA nakasa para dekhAya che. vaLI akSAMsa ane rekhAMkAnI najare amadAvAda jovAmAM Ave to ekaja akSAMsa ane tenI miniTa sudhInAM mApa ApavAmAM Ave che te eka ja jagyA para kendrita thAya tethI te jagyA dhaNInA nI banI jAya A dRSTie vicAra karatAM AjanA amadAvAdane Azare nArolathI garaja sudhInA vistAra 22deg-58'thI zarU karIne 23-07 sudhI ane vejalapurathI nIkala oDhava sudhI vistAra 72deg-30" thI kara deg-' sudhImAM Ave che ema svIkAravuM paDe tenI AgaLa amadAvAda vikase eTale A akSAMsa rekhAMzamAM sudhAro karavAnI sthiti utpanna thAya. A vicAraNA mAtra eka biMdu ne bale samagra nagaranA vistAra ne AvarI levA prayatna kare che. A vistAramAM AvelAM amadAvAdanAM bhUpRSThane vicAra karatAM sAmAnya varNana gujarAtanAM medAnamAM te AvyuM hovAnuM darzAve che, tethI ahIM paththaranA DuMgarenA paDo nathI e bAbata spaSTa thAya che. paraMtu tenI sAthe medAna eTale samatalabhUmi e eka AbhAsa Ubho thAya che. pRthvIpara, jamInanA bhAge ne samudra tarapha : I javAne satata prayatna varasAda, ane vahetuM pANI karatAM hoya che. A prayatnanI A karene lIdhe parvata ane medAne dhovAya che. A dhovANanI prakriyAnuM avale kA karatAM spaSTa thAya che ke mukhya nadInA pravAho - UMDA athavA AjubAjunAM sthaLAnI sarakhAmaNImAM nIcI sapATI e hoya che. AjabAjanI bhUmi parathI AvatA jala pravAhe mukhya nadInI sapATI tarapha pANI ane tenI sAthe kAdava, kacaro kheMcI lAvIne potAnuM pAtra UMDu karatAM cAle che A rIte mukhya nadInI AjIbAja vyavasthita raute kAtare taiyAra thatAM jAya che. - jyAre kAMThA vibhAganAM gAmomAM vasavATa thAya tyAre ke tare ane TekarAno bhUmine upayoga thAya che. ane tethI kudaratI bhUpRSTha i jAya che. tenI para mAnava vasAhatonI edhANIo vikase che, ane bhUpRSThano racanA rAjAvatI kathAone paNa vikAsa thAya che. tethI kAMThA vibhAganI pANI pravAhathI badalAyelI bhUpRSThanI hakIkata samajAya che. vaLI vasavATanI bIjI prakriyA rUpe tyAMnAM sthaLonI oLakha mahattvanI bane che. nagaranAM judAM judAM sthaLonI oLakha mATe vaparAtuM sthaLa-nAmonuM adhyayana ghaNI bhUpRSThanI hakIkata darzAve che. amadAvAdanAM bhUpRSThanI raMparA A darie karatAM zaheranI aMdara premadaravAjA pAse rAMdhanatalAvaDI, lAlabAvAne rIbe, paththarane DhALa, garanALAnI paLa, nALA bahAra, temaja jemAM pumAM kAjIne Tekaro, hA bIbIne Tekara, DhAlanI pALa, bAvAmiyAMne Teka, khAnanaLa je mAM svatI--kAme TekarA, talAva, TIbA, garanALAM, DhALa nALAM jevI mULa bhUpRSThanI paristhiti darzAve che. A paristhiti parathI anumAna karI For Personal & Private Use Only

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2. nA. mahetA zakAya ke sAbaramatI nadInA sAdarA, indroDA, vADaja taraphana vistAro mAM dekhAtI bhUpRSThanI racanA jevI paristhiti amadAvAda zaheramAM hovI joIe. sAdarA, IndroDA, tema ja sAbaramatI nadInA pravAhanI baMne bAju jotAM A nadInAM ketaro rUTa dekhAya che. A prakriyA mahI, narmadA, tApI tema ja nAnA pramANamAM khArI, vAtraka, mahora, varasI vagere ApaNI nadIo, tema ja vizvanI koIpaNa nadInA dhovANa vibhAgamAM dekhAya che. A katarana adhyayana karatAM dekhAya che ke te jamIna tarapha nAnA moTA aMtara sudhI Ara avaLAM aMdara jatAM hoya che. jamInanA picA bhAge vahetAM pANIthI dhovAIne ketara banatAM jAya che. A ketaronI AjubAju nAnA moTA TekarA dekhAya che. AvAM ketonAM nAma pADavAnI prakriyA jANItI che, tema ja mAsAmAM vahetAM pANInA pravAhanAM nAmo ApavAnI prakriyA paNa ghaNI jagyAe jovAmAM Ave che. amadAvAdanuM bhUpRSTha paNa A prakriyAthI alipta hoya nahI. tethI ahIM eka vivAda sarjAve che tenI carcA karatAM pahelAM amadAvAdanAM bhUpRSThanAM bIjA lakSaNanI vigate joie amadAvAdamAM dANa lImaDA pAse, kAMkariyA taLAva pAse jamInanI sapATI karatAM UMcA TekarA dekhAya che. tevA TekarA zreyasa hAIskUla pAse, jodhapura, thalateja pAse tathA pramANamAM nAnA TekarA gujarAta yunivarsiTInA vistAramAM dekhAya che. A uparAMta vaTavA pAse paNa AvA TekarA jovAmAM Ave che. A TekarAo tapAsatAM tene pramANamAM Ubhe DhALa agnikhUNA tarapha ane dhIme DhALa naiRtya tarapha dekhAya che. tenI Toca aNIALI nathI paraMtu sapATa che ane rApara mANase e jhAjhuM khodakAma ke pheraphAra na karyo hoya te te kaMIka adhacaMdrAkAra dekhAya che. A TekarAonAM lakSaNe te dhovANathI thayelA heya ema darzAvatAM nathI paraMtu tenI viziSTa racanAthI te barakhAna jevA athavA raNanI aMdara taiyAra thatA rabA jevA dekhAya che. A bhUsvara5 thI samajAya che ke A TekarAo UDatI reta rokAIne tenAthI taiyAra thayA che. AvA TekarAonI tapAsa karatAM samajAya che ke khaMbhAtanA akhAta pAsenA mItalI kanevAlanA vista rothI zarU karIne dhIme dhIme uttara tarapha tenuM vadhatuM pramANa dekhAya che. ApaNA pradezamAM AvA retanA TIMbAe uttara gujarAtamAM kaDI pAse, tema ja DAMgaravA, lAMdhaNaja, vAtraka ityAdi ghaNu sthaLe e dekhAya che ane tAraMgA jevAM sthaLAe UDelI rata dhAra' banAve che. mAravADamAM jAlera, sara vibhAgamAM, A ' Ne tyAM DIsA tarapha adyApi ghaNI dhULa UDIne TekarA taiyAra thatA dekhAya che. khA TekarAo paikI vaTavA pAsenA TekarA paranI retamAM jUnA prANIonA avazeSa heya te tenI tapAsa karavAnuM kArya mArA mitra che. sukumAra meDhe karyuM che. For Personal & Private Use Only

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amadAvAdane vikAsa temanA jaNAvyA mujaba A TekarAmAMthI phemInApherA nAmanAM nAnAM jIvaDanA avazeSo maLe che. phoremInIpherA e samudramAM thatI jIvAta che. te ghaNI nAnI hAIne tene dehAvaze UDatI retI sAthe dUra sudhI phelAya che. A avazeSothI bhUstara zAstramAM pavanathI uDelI retanA TekarAnA svarUpamAM koI phera paDato nathI. paraMtu A retamAM samudranI vAta hovAthI gujarAtamAM A TekarA taiyAra thayA tyAre samudra ane bhUminI paristhiti kerI hatI te bAbata vividha vivAde pedA kare che, A vivAda sAthe atre khAsa saMbaMdha nathI kAraNa ke A TekarAo AjathI bAra hajAra varSa pahelAMnI AbohavAmAM taiyAra thayA hatA A retanI pravRttithI thayelA TekAoe amadAvAdamAM bhUpRSTha para be asara karI che. te paikI prathama asara medAnamAM bhUpRSTha asamAnatA che. ane tenI bIjI asara sthAnika kudaratI taLAvanI che. A TekarAonI banne bAjue, tema ja TekarAnA samuha vacce taiyAra thatI nIcI jamIna ne lIdhe va satA varasAdanuM pANI rokAIne tenAM boDAM taiyAra thAya che. A be DAMmAM varasAda pachI tenA sthAnika paristhiti pramANe temAM keTalAka mahinAo sudhI pANI rahe che. amadAvAdamAM gulabAInA TekarA pUrvamAM athavA vadhu e kakasa gaNatarI pramANe agnikhUNe AvuM beDuM hatuM tenuM parimala udyAnamAM rUpAMtara thayuM che. memanagara vistAramAM tathA thalateja pAse AvAM beDAnA thaDA avaze je maLe che. tevI paristhiti anyatra paNa che. A ma amadAvAdanA medAnamAM bhUpRSThanI A svAbhAvika paristhitie keTalIka kapanAo vikasAvI che. te paikI eka kapanA amadAvAdamAM 16mI DIsembara 1847mAM AvIne 25 jAnevArI 1848 sudhI rahelA eca che. bragsa nodhI che. The city of Ahmedabad to attempt a description a' la cobbett is built in the from of letter D with a blow in the belly from whence the curve does not so regularly and bodly terminate in the lower limb as in the upper. The perpendicular portion of the letter faces the west and extends along the bank of Sabarmati which originally ran through the square area about the karanj and between the Bhadr and three gates, but the course of the stream was diverted by Mahmud Shahi, the first surramed Bigda when the city walls were constructed under his mandate in 891 A.H. corresponding with 1485 of the Christian Era." (The Cities of Gujarashtra, 208) teNe kareluM A varNana maganalAla vakhatacaMde vAMcyuM hatuM ane tethI temanA amadAvAdanA ItihAsanA prakaraNa 5 mAM jaNAvyuM che ke "amadAvAda zahera vasyuM tehanI agAu sAbaramatIne pravAha hAle che tevo na hato. paNa kAMpanI lagIra ANuM taraphathI For Personal & Private Use Only

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2. nA. mahetA dakSiNamAM mANeka ka sudhI te nadI AvIne pazcimamAM kAgadIeLa (athavA mazANI) cakalAmAM thaIne dakSiNa tarapha DhAlagara eLamAM cAlI jatI hatI thoDe zeka AgaLa cAlyA pachI pazcimamAM rAyakhaMDa daravAjAnI tarapha vaLatI hatI" (amadAvAdano itihAsa punarmudraNa pR. 8) temanAM A abhiprAyane daDha karavA mATe temaNe nIcenA mahatvanA muddAo tarapha dhyAna deyu hatuM. 1. A tarapha nadI jevI reta tathA mathaDIyA che. 2. lekamAM hevI cAlatI vAta che ke kAgadI eLamAM nadI vahetI hatI ne hAla mAMDavInI paLa che tyAM maDadAM maLatAM hatAM. 3. ehamada zAhe amadAvAda vasAvavAnuM dhAryuM tyAre nadIne pravAha pheravavAne mATe bAdazAha vADI (zAhIbAga) AgaLa majabuta thaDe zeka keTa bAMdhe che. 4. mANekanAtha bAvAnI jhuMpaDI sAbaramatInI teDe hatI te jhuMpaDI kAgadI oLa lagabhaga che, 5. kAgadI oLa AgaLa paththarane DhALa nadImAM javAne bAMdheluM hatuM. gae varasa dahADe (vi. saM. 1807=I. saM. 1850) be mAthaDAM UMDuM khodI tyAMthI DhALanA paththara sarakAre kahA DI lIdhA te vAta najare dIThelI che. sva. manalAlanAM A vidhAne brisanAM lakhANe sAthe sarakhAvatAM temAM keTalI vAte paSTa thAya che. temAM sauthI mahatvanI vAta maganalAla vakhatacaMda nadI hovAnAM kAraNe Ape che te pratyakSa avale kI che. amadAvAdamAM 180panI rela vakhate traNa daravAjA, kAraMja vistAramAM deDha be mathe DAM pANu hatAM ane AvAM jUnA vaheNanI vAta kadAca bragsa sAMbhaLI haze. amadAvAda nadIne kAMThe vaseluM veda thI ahI AvatI rela dvArA phelAtAM 5NIne anubhava badhA lokone hoya e svAbhAvika paristhiti brIgsa ane maganalAlanAM lakhANomAM dekhAya che. paraMtu maganalAla vakhatacaMde vasthita dalIla ApIne vahetA pANInA pravAha mATenA purAvA ApyA che. temaNe ApelA prathama ane pAMcamA muddAmAM bhauge tika sthitinuM nirUpaNa che. jayAre bIjo trIjo ane muddA AtahAsika prakriyA che A bhaugolika paristhitinI tapAsa sva. ratnamaNirAva bhImarAve .e temanI gujarAtanuM pATanagara amadAvAdanAM pR. 33thI 41 para karI che temaNe zrI maganalAna vakhatayadanI pAMcamI dalIlane javAba ApavAno prayatna karyo che ke mana sa la vakhatacaMde joyelo paththara dvArA bIjAM bAMdhakAma ke garanALAne hoI zake. Ama chatA paNa e jagyAe koI pravAha te hovo joIe ane tenI retI mAMDavInI piLa AgaLathI nIkaLatI hovI joIe. ghaNI vakhata AvelI relathI 5zu zaheramAM nadInI retI jAmI jAya ema saMbhave. paraMtu badhI bAjuthI jotAM mANeka nadIne pravAha For Personal & Private Use Only

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amadAvAdane vikAsa 87 tyAM thaIne vaheto hoya ema jaNAya che. mANeka nadI sAraMgapura daravAjA bahAra hAla batAvavAmAM Ave che. sAbaramatImAM dhabrAM joDAIne e vaheLo caMdrabhAgAnA vaheLAnI peThe pahelAM vahe che. ane A DivA tathA ma Neka cekamAM thaIne rAkhaMDa AgaLa sAbaramatInA meTA pravAhane maLatuM hoya" (pR. 40-41) Ama ratnama iNarAvanAM manamAM AzaMkA che ke moTI sAbaramatI nadIne prava ha badalAya nathI. paraMtu brIsanA jaNAvyA pramANe ane maganalAla vakhatacaMdanAM vidhAna pramANenI mULa sAbaramatI nadI ne badale mANeka nadIne pravAha badalAyAnuM vidhAna teo kare che ane A carcA sameTI letAM teo jaNAve che ke "A jotAM nadInA pravAha bAbata virodhavALI vAte jaNAya che ane cAlatI AvelI daMtakathAne AdhAre judI judI vAte upana thayelI lAge che, eTale A AkhI vAtanI carcA upara vadhAre prakAzanI jarUra che" (pR. 41) ratnamaNirAvanAM tamAma lakhANanA sAra rUpe nIcenA muddAo ubhA thAya che. 1. sAbaramatIne hAlane pravAha badalA hevA bAbata temanuM valaNa zaMkAzIla che. 2. temane mate nadIne pravAha badalA hatA, te nadI, mANeka nadI hatI. 3. brIgsanA matane bebe gejheTiyare udhRta karyo che. ane te mata ratnamaNirAva zaMkA sAthe darzAve che. 3. samagra carcA pachI teo vadhAre prakAzanI jarUra juve che. A judA judA lekhake e karelI bhUpRSTha ane aitihAsika prakriyAnI vAtanI paristhiti che. tenI vicAraNuM sthAnika bhUpRSThanI tapAsathI thaI zake che. amadAvAdamAM je sthaLe nadI vahetI hovAnI dalIle che te sthaLe tapAsatAM keTalIka vigate spaSTa thAya che. amadAvAdanA jamAlapura, rAyakhaDa, khAnapura, mirajhApura vistAromAM jamIna khADA TekarAvALI che. A tamAma jamInanA DhALa sAbaramatInA mukhya pravAha tarapha che. A bAbate tapAsa karatAM dariyApura, kAlupura vistAramAMthI rAjamahetAnI poLa, TaMkazALa, jevA vistAra mAMthI varasAdanuM pANI kAgadI eLa, ane jumA masjidanA vistAra tarapha vahIne tyAMthI sAbaramatI tarapha jAya che. A pANIne pravAha bhadranI pUrvanA vistArone bhadrathI chuTA pADe che ane karnAnDIjha pula taraphanA UMcA TekarA paranA vistAre nuM pANI te laI Avata dekhAya che. A pANInA pravAhanuM mULa kAlupura, dariyApura vistArathI AgaLa dekhAtuM nathI kAraNa ke tenI uttara tarapha pravAhanI dIzA badalAya che. A bhaugolika paristhitine lIdhe je naisagika prakriyA dekhAya che te sAbaramatImAM sarvatra dekhAtI mukhya nadIne maLatAM nALAMnI che. tethI bhaugolika daSTie A moTuM nALuM kAlupura-dariyApura vistAramAM thaIne sAbaramatI nadI tarapha vahetuM hovAnuM spaSTa thAya che. For Personal & Private Use Only

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2. nA. mahetA AvanALAMo rela vakhate potAnuM raudra svarUpa darzAve che ema nadIkAMThAnA ujajaDa tathA zaherI vistAranA bhAgo darzAve che. vaDodarAmAM resamAM dAMDiyA bajAra, macchIpITha jevA nIcANanA vistAro, suratamAM pANInI bhIta jevA vista re ke bharUcamAM 7 cANavALA bhAgamAM AvI paristhiti dekhAya che, kAraMjamAM ane amadAvAdanA nIcANavALA bhAgomAM AvA pANI bharAya e svAbhAvika paristhiti che. varasAda vadhAre hoya ane uparavAsamAMthI ghaNuM pAchuM AvyuM che ya tyAre tenI asara heThaLa nALa e chalakAtAM hoI te sAruM jevuM nukazAna karatAM hoya che, eTaluM ja nahIM paNa tenAM chetaramAM pANInuM pravAhanAM nizAne heya che. te bhekhaDe para paNa hoya che tevI paristhiti mANeka, kAgada eLa vagere vistAromAM che tethI nadInA pravAhUne badalavAnI aitihAsika kapanAmAM vizeSa tathya nathI. amadAvAda AgaLa mULa sAbaramatI nadIne pravAha aitihAsika kALamAM badalAyuM nathI ane tethI tenI naisargika sthitimAM elIsabrIja pAse bhekhaDe Azare 12 mITara, neharU pula pAse 5 mITara, gAMdhI pula pAse 11 mITara, subhASa pula pAse 10 mITara che. Ama nadInI bhekhaDe pAse nadInA DhoLAvo ane kAMThAnA TekarA tapAsatAM mULa mukhya pravAhane maLatAM nALAM ane kAMsanAM darzana thAya che teNe amadAvAdanA vikAsamAM bhUmikA purI pADI che. ATalI carcA parathI amadAvAdanA vikAsamAM bhUpRSTa mATenI hakIkate sapaSTa thaIne tene baLe vikaselI atItanI nadInI ane tenA pravAhanI kalpanAnI satyAsatyatA samajAya che. ApaNe tyAM mukhya nadI ane moTA nALAM ne nAma ApavAno rivAja jovAmAM Ave che. amadAvAdamAM "caMdrabhAgA AvuM nAma che. tyAM te pravAha rANIpa pAse nIkaLIne vADaja pAse sAbaramatIne maLe che. tevI rIte amadAvAda 5 senAM meTAM naLane mANekanadI nAma ApyuM hovAnI bAbata zaMkA rAkhavAnuM kAraNa nathI. mAtra A eka ja nAma nahatuM. khArU nALuM bIjAM nAmo paNa kAtaronAM hatAM ema sthaLa-nAme darzAve che, pravAhonAM nAma ApavAnI prakriyAne ghaNAM namunA e sthaLa-mahApe, stha-purANomAM sacavAyelAM jovAmAM Ave che, te bAbata aMguli nirdeza aro pUrato che. tethI amadA nAdamAM vikaselI atihAsika ka5tAomAM nALAMne nadInuM nAma ApavAnI paraMparA samajAya che, tathA rela vakhate kAraMjamAM AvatA pravAha paNa spaSTa thAya che, ane mehamuda begaDAe ke ahamada zAhe koI nadIne pravAha badalyo hoya ema mAnavAne ke I kAraNa nathI ema paNa samajAya che. padamapurANumAM amadAvAdane vistAramAM sthaLe' sAbhramatI mAhAmyamAM vargavyAM che tenuM adhyayana paNa nadIne pravAha badalAye heya ema darzAvatuM nathI tethI amadAvAdanI sthApanA ane vikAsanI kathA vadhAre sapaSTa thAya che. amadAvAdanI sthApanA sulatAna ahamada zAha mujhaphapharIe karI e sAmAnya hakIkata che. paraMtu tenAM sthApanA cekasa varSa viSe upalabdha purAvAo parathI ghaNe vivAda cAle For Personal & Private Use Only

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amadAvAdane vikAsa che tethI koI spaSTatA thatI nathI, tethI amadAvAda vasAvanAra sulatAna ahamadazAhe zA mATe amadAvAda vasAvyuM tenI carcA apekSita che. amadAvAdanI sthApanA mATenAM kAraNe mAM lokonI mAnyatA pramANe- (1) AzA bhIlanI putrI tejAnA prema mATe ahIM zahera vasAvyuM. (2) zikAra karavA nIkaLelA bAdazAhanA kutarA para sasalAe humale karIne vIratA darzAvA. (3) sulatAna ahamadazAha ne AzAvalanA havA pANI sArAM lAgyAM tethI teNe ahIM zahera vasAvyuM -che. A kAraNenI sAthe bIjA keTalAMka kAraNenI tapAsa karavI paDe ema che. tackAlIna ItihAsa jotAM ahamada zAhanA pitA tAtArakhAne dilhIthI pitAnA pitA mujhaphaphara pAse AvIne dilahI caDhAI laI javA temane samajAvelA, ane temaNe tenI A mAgaNIne svIkAra karyo na hato. AthI tAtArakhAne dirahI virUddha baMDa pokAravA mATe AzAvalane megya sthAna gayuM hatuM ane mujhaphapharI rAjyanI zarUAta karI hatI. rAjya sthApanA bAda dakSiNa gujarAta tarapha gayele tAtAra khAna tyAMthI pAchA pharatAM narmadA nadIne kinAre maraNuM zaraNuM thayuM hatuM. ane tyArabAda tenA pitA mujhaphaphare gujarAtanAM svataMtra rAjyane dera hAthamAM lIdho hato mujhapharazAhanA jIvanane aMta ahamadazAha jhera daIne A, ane pitAnuM svataMtra rAjya zarU karyuM. rAjyanI zarUAtamAM tenA kAkA phirojhakhAne vaDodarAmAM tene virodha karyo paNa ahamadazAhe te buddhipUrvaka samA. A paristhiti jotAM tAtArakhAnane svataMtra rAjya sthApavAmAM AzAvale madada karI hatI e banAvanuM mahattva vadhe che. aNahIlavADa pATaNamAM mujhapharane jhera ApavAmAM AuM. te sthaLe svAbhAvika rIte mujhakakaranA pakSakAronA TheSane ahamadazAhane sAmano karavo paDe tevI sthiti sarjAya A prasaMge ahamadazAhanI najara kayAM nagara para jAya e bAbata kalpanA karavI paDe. A rIte vicAra karatAM svAbhAvika rIte ahamadazAhanA pitAne je gAmanA lekee madada karI te AzAvela tarapha te dakiTa kare, ane tethI teNe AzAvala tarapha najara doDAvI heya A daSTie tatkAlIna tathA prAphikAlIna sulatAnanI pravRtti para najara nAkhavI jarUrI che. ahamadazAha ane tenA pUrvaje hariyANA pradezanA TAMka rAjaputa hatA. temaNe dilhInA sulatAnanI pravRtti joI hovA bAbata zaMkA nathI. dilhInA sulatAnanI nagaranAM bAMdhakAmanI For Personal & Private Use Only

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90 2. nA. mahetA pravRtti A dRSTie tapAsatAM samajAya che ke dilhI jItyA bAda kilA-e-rAya pitheArAmAM hAlanAM mehurAvI vistAramAM AtUi kALanuM nagara hatu. A vaMzane ata khalajIe ANyo. khalajI vazanA alAuddIna khalajIe sarI vasAvyuM. tathA leiAkhaDI jevAM rAjanirdeze| taiyAra thayA ane te pachInA sulatAnee tudhalakAbAda vasAvyAnI para parA hatI. temAM rAjavaMza badalAya tyAre athavA AnaMda mATe navA vasavATo khAMdhavAnI parapanA mujhaphphara, tAtArakhAna ane tenA vaMzajo ahamada, mehamudaegaDe, khalIlakhAna vagerene khyAla hovA khAte zaMkA rAkhavAne kAraNa nathI. A paristhitine lIdhe aNuhIlavADha pATaNanA nAza pachI anAvADA pAse navu pATaNa dilhInA sattAdhIzoe vasAvyuM hatuM. A pATaNamAM thayelI khunare ane vidhathI bacavA mATe, peAtAnA pitAne sahAyarUpa thanAra AzAvala tarapha ahemadazAhu AkarSAya e svAbhAvika ghaTanA gaNAya, AzAvalanAM A svAbhAvika Aka Nune lekakathAmAM AzA bhIlanI kanyA teja'nAM lagnamAM pariNamavatA saMbhava kADhI nakhAya eve thA. AzAvalamAM pATaNathI sthaLAMtara karIne AvelA ahumazAhanI pravRttine kAlakramanI paravA karyA sivAya, lekakathAmAM AzAbhIlanI putrI teja' sAthenAM lagna tarIke darzAvI che. AsTeDiyAnI rANI azanI athavA sIpArInA rAjAmAM vaMcAtA rANI azana=vidyuta=teja ane tejA jevAM samIkaraNathI A lAkakathA taiyAra thai DhAvAnuM spaSTa thAya che. A prazna para ku. RtA senae kaika vadhu kAya karIne AkhI krathA vigate samajAvI che. paraMtu A hakIkato parathI AzAvalamAM AvanAra ahamadazAhe petAnu vasAvaTanuM sthAna kayAM rAkhyuM haze te prazna upasthita thAya. sAmAnyata: tatkAlIna nagarenAM A bAMdhakAmamAMthI A bAbata tapAsa karavI iSTa che. navu' pATaNu anAvADA pAse che. dilhImAM kilA-e-rAya pitherathI sIrI bahu dUra nathI. sIrI ane tudhalakAbAda athavA purANA kIlA, AdinAM aMtara paNa ghaNAM nathI. tevI paristhiti amadAvAda khAbata paNa dekhAya che. amadAvAda AzAvalanI najIka baMdhAyu, amadAvAdanAM havApANI sArAM lAgavAnI kathAmAM paNa Akhare paristhiti samajAvavAnI vAta che. tevI ja vAta rAjakIya kAraNesara cAMpAnerane vikAsa thayA DhAvA chatAM ApavAmAM Ave che. tatkAlIna paristhitimAMthI dekhAtI rAjakIya kunehathI caMpAneranI mAka tenI pahelAMnuM gujarAtanuM pATanagara amadAvAda thayuM' e paristhiti sUcaka che. Aja pramANe amadAvAdanI sthApanA zikAra karavA nIkaLelA khAdazAhe vIbhUmi joIne tyAM zahera vasAvyAnI vAta paNa carcA mAge che. A bAbatanI tapAsa karatAM rAjanagarA mATe A vAta ghaNI jagyAe jovAmAM Ave che. tetAM dRSTAMte sthAvIzvara, pATaNa, jAmanagara ane vaDedarAmAMthI maLe che. ane tethI te mAtra pAraparika kathA hovAnu jaNAya che. ahamadazAhane tatkAlIna rAjakIya tathA sAmAjika paristhitimAM AzAvala vadhu anukULa lagyuM. tethI tyAM teNe potAnI AbAdI mATe ahamada AbAda vasAvyu. A prakAranI pravRtti maitrakee valabhImAM rAjadhAnI khaseDI te paristhitimAM paNa jovAmAM Ave che. ahamadazAhe jyAre petAnA rahevAne mahela tathA tenI Aju bAjunA vistAra nakkI karyA tyAre sAbaramatInA kinArA pAsenI UMcI bhekhaDa para tenI pasaMdagI UtarI ane teNe For Personal & Private Use Only

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amadAvAdanA vikAsa 91 tyAM amadAvAdanA sUtra sadhAna mATe cAra ahamadae dorI padmaDI e vAta tapAsatAM, tenI maryAdA dhyAnamAM rAkhavAmAM Ave to teNe vasAveluM amadAvAda vistAramAM haze te spaSTa thAya che. arthAt amadAvAdanI pUrvamAM teNe nALAM pAse jumA masjida tarapha nALAM pAse hatI tema bIjI tarapha jUnA AzAvaLanI najIka sulatAna ahamada zAhanAM amadAvAdanI AzAvala pAsenI mULa A amadavAdanI pragatinI hakIkatAnI carcA bIjA vyAkhyAnamAM manuSyanI AMkhAnI jovAnI bhadra ane traNa daravAjAnA A ahumada bAda bAMdhI. A masjida eka hAvAnuM samajAya che. tethI racanAnA khyAla Ave che. karIzuM. vyAkhyAna-2 prastAvikaH gai kAle ApaNe amadAvAdanI nadI kAMThAno khADA TekarAvALI bhUmi paikI nadI kAMThe AjJAvalanI pAse sauthI UMcA TekarA para potAnA rAjamahela ahamadazAhe baMdhAvyA e khAbatanI carcA karI ane teNe traNa daravAjathI bhadranA vistArane AvarI lIdhA hoya ekha lAge che. A vistAramAM teNe potAnA mahela, allAhanI ba MdagI mATe masjida vagere ImArata bhadramAM bAMdhI ane pu` taranA traNa daravAjA sudhIno bhAga bIjI pravRttie mATe khullA rAkhyA. Ama karavAnuM mukhya kAraNa ahIMnI sthAnika paristhiti tathA AyeAjanA vicAra| hAvAnuM lAge che. tatkAlIna A prakAranuM pazcimamAM moTI nadI ane pUmAM nALAMnA khADA TekarA vALA bhAga pAse jUnA zaheranI pAsenu raheThANu anyatra vaDodarA, bharUca, surata jevAM kAMThAnAM gAmemAM jovAmAM Ave che. te paristhitimAM ahamadazAhane nave rAjamahelanA vibhAga taiyAra thaye|. A vibhAgamAM sAkharamatI nadInAM pANI spaSTa rIte dekhAya evAM sthaLe mukhya mahelanuM AyAjana hatuM. ahumazAhanI masjidanI vyavasthA jotAM mULa rAjamahela tenI uttara dizAe haze, paraMtu tenu nAmenizAna Aje rahyuM nathI. amadAvAdanA vikAsa : ahumadAvAda mahaMmadazAhanA vasavATathI AzAvalanI rUkha badale che. ane sAme dhIme aAjJAvala nAmane lopa thaine amadAvAda sthaLa-nAmanI mahattA vadhatI jAya che. amadAvAda have rAjanagaranA svAMga dhAraNa kare che ane tenI sthiti pramANe tenA vikAsa thAya che. amadAvAdanA rAjanagara tarIke thayelA vikAsa paMdaramI soLamI sadImAM ghaNuM mahattva dhAraNa kare che. amadAvAda gujarAtanA sulatAneAe rAjadhAnInAM zahera tarIke svIkAryuM tyAra bAda mAzare 1484 sudhI arthAt cha sAta dAyakAo sudhI te gujarAtanuM pAyatakhta athavA pATanagara rahyuM. A samagra samaya para najara karatAM tenA vikrAsanA prathama tabakko 2ndranagaranI pravRttine kendramAM rAkhIne thayA lAge che. For Personal & Private Use Only

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2. nA. mahetA ahamadazAhanA rAjyakALa daramiyAna (1411-1441) ane tenA vArase mahamada pahele (1441 -1451), sulatAna kutubuddIna (1451-1458', sulatAne dAuda khAM (14pa) ane sulatAna mahamUda begaDAnA I. sa1484 sudhInA samaya daramiyAna amadAvAdamAM rAjanagara tarIke vikAsanAM cinha dekhAya che. A nizAnIonI tapAsa karatAM samajAya che ke ahamadazAhe bAMdhelI jumA masjidanI bhaugolika sthiti tenA mahela athavA amadAvAdanA killAnI bahAra Ama janatA mATenA vistAramAM hatI. A paristhiti amadAvAdanA lagabhaga samaDa la na AgrAmAM dekhAya che. AgrAne ledI vaMzamAM thayele kilo ane tenI kalAM majida jema eka bIjAthI dUra che tema amadAvAdanI paristhiti che. Ama rAja mahelanI bahAranA bhAgamAM jamAmajida rAkhavAnI paraMparA zAhajahAnAbAda, dilahI tema ja tughalakAbAdamAM paNa dekhAya che. amadAvAdamAM jAmA masjidanI pUrvamAM zAhI kabrastAna hatuM tyAM ahamadazAhanI daragAha che tathA temAM sulatAna mahemada pahelAtI tathA sulatAna kutubuddInanI daragAha hAIne traNa peDhI sudhI ochAmAM ochuM A kabrastAna cAluM hatuM. tenI sAme rANIne hajIrA, tathA kaMI oLamAM AvelI khAnajahAMnanI daragAha paNa A sthaLe kabrastAna vadhAre vakhata upagamAM hoya enuM sUcana kare che. A paristhitimAM amadAvAdanuM zAhI kabrastAne A sthaLe hoya te amadAvAdane vikAsa A vakhate mANekacokanI pUrvamAM thayo hovAnuM saMbhava nathI. paraMtu te vakhate pUrva dizAmAM bhaMDerI pura astitva dharAvatuM hoya ema lAge che tathA A sthaLanA agnikhUNe AzAvala paNa astitva dharAvatuM lAge che : ahamadazAhathI kutubuddIna sudhInA sulatAnanA samayamAM hAlanA DhIMkavA ke TUMkavA vistAramAM DhaMka" vALA kAyA kUvAnI saMkhyA sArA pramANamAM hovAnI zakyatA A sthaLa-nAma darzAve che. tethI A sthaLa para khAsa vasatI havAne saMbhava nathI. paraMtu Aje nAnI vADIomAM DhaMkathI siMcAI karIne vAgharIo ghUMDAMghaNAM zAkabhAjI pakare che tevI pravRtti calAvanAra chUTA chavAyA vAgharIvAsa hovAnI zakyatA darzAkaA paristhiti gAmane aMta sUcave che. temaja ahIMnA TekarA jevA vistAranuM sUcana kare che. AvI amadAvAdanI paristhiti sUcavatuM bIjuM nAma ratanapoLamAM hAthIkhAnA che. A yugamAM hAthIo laDAImAM vaparAyAnA ghaNuM ullekha che. rAjanagaramAM hAthI rAkhavAnA sthaLane hAthIkhAnA kahe che. ane te moTebhAge gAma bahAra hoya che. A sUcaka paristhitie jotAM ahamadazAhanA samayathI vikasavA mAMDeluM amadAvAda mANekaka, ratanapoLa, vistAra sudhI zAhI rAjanagara vistAra darzAve che. tenI ane sAbaramatInI vaccenA vistAramAM vasatIne tathA bAMdhakAmane keTaleka vikAsa thaye hevAne saMbhava che. A saMbhavane prabaLa kare te vistAra DhAlagaravADa tathA salA pasa roDa jevAM nAme che. A nAme rAjadhAnImAM saunya mATe jarUrI DhAla banAvanAra tathA hathiyAra vecanAra For Personal & Private Use Only

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amadAvAdane vikAsa leke sAthe saMkaLAyelAM che. rAjyasatta nA mukhya sthaLa para rAjyanAM pitAnA sainya mATe A prakAranI vyavasthA rAkhavAnI jarUra hamezAM hoya che. rAjyanAM mukhya sthaLa para jema rAjyano vahIvaTI ane sainya viSayaka pravRttione upayoga vadhu pramANamAM tho tema rAjane darabAra mATe udyoga ane temAM e madhyakALanI paristhitimAM jhaverIe, vastrodyoga, kAgaLa banAvanAra, tema ja dhAtunI vastuo banAvanAra, mATInI nAnI moTI vastuo banAvanAra vagere kArIgaronI jarUra rahetI. A udyoga piSanAra lokenI paNa amadAvAdamAM mAMga vadhI ane temanI vasatI dhIme dhIme thavA mAMDI. - A tamAma vasatIne mATe vasavATanI jagyA mAmajidanI AjubAju hatI temAM tene vasavATa thate dekhAya che te paikI jhaverIlokonI vasatI vadhI tyArabAda e meTA vistArane jhaverIvADa nAma ApyuM che. temAM bIjA dha dhAdArI rUpAgaDha, lehAgaDha paMcAla vagere rahe che. ane ahIMnI vividha khatrIvADa, kuMbhAravADa ItyAdinA vasava . A udyoga vALA lokonAM raheThANa che. teo sthAnika vasatIne mAla pUro pADavA uparAMta zAhI darabAramAM bheTa sogAda mATe sArI vastuo banAvatA tathA paradeza sAthe vepAra paNa karatA. A zaheranAM audyogika kendrane majabuta rAkhanAra vargane vikAsa jumA masjidanI pUrvamAM mahurata paLa taraphathI thatuM hovAno saMbhava tenAM nAma parathI jANe ke rAjanivezamAM rahetI prajanI vasatI sUyavatu hoya ema darzAve che. tethI tenI zrImanalAla vakhatacaMda ApelI mAnyatA yathAtha lAge che. paraMtu mahurata poLane cauTAne lekA pezAba karavA lAgyA tethI tenuM nAma mutara pALa TharyuM che (pR. 9) evA maganalAlanAM vidhAnaparathI, zrIranamaNirAvanI noMdha temanA 5 346 para che. ke "kadAca pAchaLathI vaselI A poLanuM nAma A kAraNathI AvuM paDI gayuM hoya ane koI akkala vALAe sudhArI tenuM nAma mahurataLa TharAvyuM huMya ema bane" jevI kalpanA karI che. maganalAlanuM i sa. 1850mAM thayeluM vidhAna ane tenI parathI thatuM arthaghaTana kharUM che ke ratnamaNirAvanuM e bAbatane nirNaya vadha purAvA sivAya zakaya nathI. paraMtu kabrastAna, ane bajaranI pAse lekene prathama vasavATa thayAnuM sUcana A nAma kare che, te maganalAlanAM arthaghaTanamAM ghaNuM baLa che. tathA temaNe bIjuM sUcana karyuM che, te bannemAM paheluM kayuM ? e vivAda para jUnA sthAnika dastAvejo maLe te vadhu prakAza paDe. A sthaLethI vikasatAM amadAvAde mULa vAgharIonI vADIonI jamIne dhIme dhIme samA po lIdho ane DhIkavA vistAra mAM bAbAdI vadhI. A prakriyA saMbhavataH katubudInanA samaya sudhImAM thaI hoya. A sulatAnanA samaya daramiyAna amadAvAdanA rAjanivezanI AjabAjI tenA amIrane vasavATa zarU thayo hovAnI saMbhAvanA rAjadhAnImAM moTe bhAge jovAmAM AvatI For Personal & Private Use Only

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2. nA. mahetA prakriyAthI samajAya che. paraMtu mehamuda begaDAnA rAjya pahelAMnA amIre papaikI koInA nAme sacavAyAM nathI. tethI temanA vasavATa amadAvAdamAM kayAM thayA hatA te bAbate pramANamAM ochI mAhitI maLe che. paraMtu anumAnathI A bAbata vicAra karatAM sAbaramatInA bhadrathI dakSiNanA bhAgamAM temaNe jamAlapura vistAramAM vasavAnuM pasaMda karyuM hovAnuM lAge che, kAraNake mehamuda begaDAnAM vakhatanA khAnajahAnanuM sthAna jamAlapuranI dakSiNa cheDe che. - A yuga pahelAM AzAvalanI pAse bhaMDerapurAmAM musalamAna sate rahetA hovAnA purAvAo che. temanA AvAsa paNa amadAvAdanI AjubAju hatA. tene chuTo chavAya vistAra sarakheja tathA vaTavA sudhI dekhAya che. sarakhejamAM ahamadagaMja kharTanA nivAsa pAse ahamadasaranI racanA ahamadazAhe karI hatI. paraMtu rAjanagara amadAvAda pAse sarovaranI khoTa hatI. gujarAtanI rAjadhAnI aNahIlavADa pATaNa pAse sahastraliMganuM taLAva sulatAnanA samayamAM jIrNoddhAra pAmyuM hovAnAM eMdhANa che. te pramANe bIjI rAjadhAnI LakAnuM suMdara taLAva vAdhelA samaya daramiyAna ghATethI. sumita thayuM hatuM. tenI sarakhAmaNImAM amadAvAda pAse sArAM taLAvanI beTa hatI te pUravA mATe kutubuddIne prayatna karyo. - A prayatna mATe tene taLAvanA AkArane namune dhoLakAnAM ene ghATanA malAvataLAve pUro pADa hoya ema lAge che. kAraNa ke pATaNanuM paMcaNa sahastraliMga ke viramagAmanuM munasara judA ghATanAM che. joLakAnAM malAva taLAvanI sAthe hIje-kutuba athavA kAMkariyAnuM rU5 sAdhamya ane dhoLakAnAM malAva taLAvanuM purogAmIva jatAM A anumAnane baLa maLe che. kutubuddIne kAMkariyA taLAva bAMdhavA mATe sAruM sthaLa pasaMda karyuM. - kAMkariyA taLAvanI AjubAju retanA TIMbA hatA tethI tyAM mULa nAnuM beDuM hevAne saMbhava che. A sthaLe retanA TIbAnI nIce kAMkarA jAmelA hoya che, tenuM paNa astitva haze. tethI A kAMkarAvALA vistAramAM bAMdhelAM taLAvanuM nAma hauje-kutuba mAtra graMthamAM sacavAyuM, paNa tenuM kAMkariyA nAma vadhAre pracAramAM rahyuM. A taLAvanI vacce nagInAvADI savAra thaI che. A racanA paNa gujarAtanAM taLAvomAM anyatra jovAmAM Ave che. ahIlavADa pATaNamAM sahastraliMga taLAva para taLAvanI vacce pula para thaIne maMdira javAne mArga che, AvI racanA malAva taLAva para che. te ane taLAvonI racanAnAM A aMga parathI kAMkariyAnI nagInAvADI ke nagInA bAganI kapane udbhavI hovAne pUrata saMbhava che. A taLAva tauyAra karanAra kutabuddInanA vakhatamAM saMbhavataH bhadra tema ja tenI pUrvanA viratAra vadhyA hatA ane tethI sulatAne ArAma mATe paNa A racanA karI hoya , For Personal & Private Use Only

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amadAvAdane vikAsa nagInAvADImAM praveza dakSiNa dizAthI che. tethI tenI dakSiNe bIjI ImArate hevAne saMbhava che, kAraNake amadAvAda zaheramAMthI sIdhA nagInAvADI javuM hoya to tene mATe setu uttara tarapha he joIe. AvI paristhiti nathI. tethI nagInAbAgane upayoga karanAranI avarajavara dakSiNa taraphathI thAya e svAbhAvika paristhiti che. A paristhitinI vicAraNAne kutubuddIne baMdhAvelA gaTamaMDaLanA mahelanA ulekhe darzAve che. teNe bAMdhelA khAma dhrolanA mahelanuM A nAma che. A mahela kAMkariya nI dakSiNe hevAnI paristhiti hoya te ja nagIna DInA avaraja paranAM mArge spaSTa thAya ema che. kha ma ghoLa e sthaLa vizeSa TekarA, DhaLA ane khADA jevA vistAranuM sUcana kare che. tevA vistAra caMDALA ane kAMkariyA vacce che e sUcaka hakIkata nagInA vADInAM bAMdhakAmane puSTa kare che. paraMtu jema AjanA amadAvAdamAM bhadranA mahene patto nathI tevI dazA A mahelanI che. katabadInanAM A kAryone lIdhe vikasatAM amadAvAdanAM keTalAMka lakSaNe spaSTa thAya che ane tenAthI mehamuda begaDAnA vakhatamAM thayelA amadAvAdanA vikAsanAM lakSaNe paNa samajAya che. (3) kutubuddInanA vakhatamAM teNe hauje-kutuba ane khAmadhroLanI ArAmagAha taiyAra karAvI AvI pravRtti sulatAnAM AhukhAnA, zikAragAha, kuka vagerenI racanAmAM anyatra paNa jovA maLe che tenI pachI mehamada begaDAnA vakhatamAM ahIM vasatA amIronA parAM ghaNAM dekhAya che. mehamuda begaDAnI 14pa8thI zarU thayelI pravRtimAM tene sAtha ApanAra aneka amIre paikI vimulamuka maleka sAraMga, hAjI kAlu, dariyAkhAna, jalAluddIna muhAphijhakhAna, ane maleka sAbAnanA vasavATa sUcaka sAraMgapura, dariyApura, kAlupura nAme sacavAyAM che, muhAphijha khAnanI majida ghIkAMTAmAM che. A amIronA nAma sAcavatAM sthAnene mukAbale maleka sAbAnanuM sthAna vadhu pUrvamAM che. A vikasatAM amadAvAdanuM dazya jhaverIvADa ane kAlupura vaccene tIna lIMbaDI vistAra darzAve che ahIM lImaDAnAM vRkSone lIdhe jAte vistAra amadAvAdanI aMtargata thaI cUkelA jhaverIvADane nAme Aje jANItA vibhAgane kAlupurathI judA pADe che, ane hAjI kAlunA vasavATanuM sthAna sUcave che. teNe vasAvelA parAMnI pAse dariyA khAnane dariyApura vistAra che. tenI dakSiNe iDariyA vistAra IDara javAnA mArganuM ja smaraNa karAve che ane IDaranAM mahattva tarapha aMgulinirdeza kare che. amadAvAdanA vikAsamAM IDarane sAre phALo tenI paththaranI khANone lIdhe che. hiMmatanagara pAsenI A khANemAMthI joIne paththara meLavavA mATe amadAvAdanA sulatAne IDara tarapha vAraMvAra lakare kayAM che, ema tatkAlIna ItihAsa jotAM samajAya che. A For Personal & Private Use Only

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2. nA. mahetA lazkarI hIlayAlamAM bIjA kAraNe uparAMta kharatA paththara 1 pANInuM paNa AkarSaNa hovAne saMbhava che e paththara je rasatethI avatA tenuM nAma A vistAra jALave che. dihIM nI asara nIce te vistAra Aje dilahI daravAjA ne nAme oLakhAya che. amadAvAdamAM sulatAna mahamuda begaDAnA amIrene vasavATa pUrva taraphanA dariyApurathI sAraMgapura sudhInA vista ramAM che te sthaLee amadava dano vikAsa thayele dekhAya che. tatkAlIna yuganA saMtenA AvAsa dvArA vikaselAM sarasapura, Adi parAMone lIdhe amadA vAdanuM daya sulatAnanA AvAsanI AjubAju vikaselAM bajAro, amIro ne tenAM parAMnuM che. mehamuda begaDAnA samayamAM janAgaDhanA rA'ne musalamAna banAvIne amadAvAdamAM AsthAnI noMdha che. tene vasavATa jamAlapuranA dakSiNa cheDe khAnajahAMnI masjidanI AjubAju hevAne saMbhava che, kAraNa ke AvAM nAmo A lokonI kArakIdI sUcaka tema ja jema sulatAnanI namAjha paDhavA mATenI pitAnI majida hatI tevI tenA amIronI majida hatI. e bAbata sUcave che. sulatAna mahamuda begaDAne samaya gujarAtanA sulatAne mATe mahattavane che, paNa amadAvAda mATe kaMIka aMze tenuM mAhAma cAMpAnera ke junAgaDha karatAM ochuM che. kAraNa ke teNe cAMpAnera samRddha karavA pAchaLa I.sa. 1484 pachI Azare sattAvIsa varSa ghaNuM dhyAna ApeluM hoI svAbhAvika rIte te gAmane vikAsa thayo ane amadAvAdane vikAsa kaMIka dhA. tevI rIte tenA vArasa khalIla khAna athavA mujhaphaphara bIjAe cAMpAnera tathA vaDedarA para vadhu dhyAna ApyuM ane tenI pachI bahAdurazAhanI rAjyanA aMta bAda gujarAtanA sulatAneno paristhiti kathaLI. AvA saMjogomAM mehamuda begaDAnA rAjaya amalanA pAchalA bhAgathI keTalAMka varSe amadAvAdane bhaugolika vikAsa aTaka che. A samaya daramiyAna bhadrane killo paNa avyavasthita thayo lAge che. tenI divAla para sIdI saIdanI majida UbhI thaI. A vakhate amadAvAdamAM ghaNI dhAMdhala dhamAla thatI e paristhitimAM amadAvAda zaheranA vividha bhAgomAM keTalAMka bAMdhakAma thayA che, paraMtu AgaLane tene vikAsa aTako hevAnAM eMdhANa amadAvAdanI ajaba junA kabrastAne Ape che. tenI dIlhI daravAjA bahAra, sAraMgapura daravAjA tema ja jamAlapura daravAjA bahAranI sthiti ghaNI sUyaka rIte amadAvAdane vadhu vikAsa bhaugolika pradeza para darzAvatI nathI. tethI bAburIvaMzanA pAdazAha akabarane gujarAtanA mahemAMhe jhaghaDatA amIra e gujarAta AvavAnuM AmaMtraNa mokalyuM tyAre amadAvAda upara darzAvyuM tema khAnajahAnanI marijadanA vistAramAM tathA sAraMgapura, kAlupura, dariyApura jevA navA vistAro tathA tenI pAsenAM bhaMDerI parA jevAM sthaLa, ane janA A zAvala, jhaverIvADa vistAra tathA vikasI cukelA DhIMkavA vistArane lIdhe vividha pa2AM vALuM nagara hatuM. akabaranA samayamAM amadAvAdanI A paristhitinI abula phajhale noMdha lIdhI che ane amadAvAdanI AjubAju ghaNuM parAM hevAnuM noMdhyuM che. teNe 36 . parAMnI saMkhyA For Personal & Private Use Only

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amadAvAdane vikAsa 97 ApI che te kaMIka atizayokti bharelI lAge che. gujarAtanA sulatAnanAM mukhya kendranI AjubAju tenA amIre tathA dhaMdhAdArI leke, vepArIo, ane jude jude vakhate AvelA saMtenAM parAMo vALuM amadAvAda 157ramAM vinAyuddha pAdazAha akabarane zaraNe gujarAtanA amIronI AMtarika phATaphUTa ane sulatAnanI temanI paranI asarakAraka sattAnA abhAvathI AvyuM. A vakhate akabarane sAre sahakAra thayuM. paraMtu tenA pAchA pharyA bAda mIrajhA muhammada husena ane InDIyAra ulamuke gujarAtamAM bAdazAhanI sattAne paDakArI tethI dekhate haiDe akabara nava divasamAM amadAvAda Avyo ane sAbaramatI UtarIne teNe yuddha karIne pitAnI sattA sthira karavAno prayatna karyo. A vakhate akabare 2000 mAnavamastakone minAro banAvaDAvIne potAnI tAkAtanuM pradarzana karyuM. Ama amadAvAdamAM teNe je A yuddha karyuM tenAM varNanemAM amadAvAdane bahAra koTa heya ema darzAvatAM varNane nathI. tathA amadAvAdanA e kaTanAM purAvastunAM adhyayanane pariNAme paNa amadAvAdane keTa akabaranA samaya pahelAM baMdhAye hoya ema lAgatuM nathI. akabare amadAvAda 1573mAM pharIthI jItyuM tyArabAda paNa gujarAtane svataMtra karavA mATe mujhaphaphara trIje prayatnazIla hatuM. te prayAsane akabaranA ItihAsanIzoe hINI najare nirakhyA che. mujhaphaphara trIjAe 1583mAM amadAvAda kabaje karyuM, paNa 1584mAM tene karIthI harAvavAmAM Avyo ane amadAvAda svataMtra sulatAnanAM pAyatatane badale bAburIvaMzanA pAdazAha akabaranA subAnuM mukhya mathaka banyuM. (3) bAbarIvaMzanA pAdazAhanA 1584thI 1707 sudhInA varSonAM rAjyazAsanamAM amadAvAdamAM pramANamAM zAMti rahI. amadAvAdamAM A zAsananI sAme jahAMgIranAM rAjyazAsana vakhate 16 05mAM gujarAtanA sulatAna mujhaphapharanA putra bahAdure baLavo karyo hato. paraMtu te niSphaLa gaye. - jahAMgIre jaNAvyuM che ke bhadramAM jUnAM bAdazAhI makAne arthAta gujarAta sulatAnanAM eka varSa pahelA (arthAta tenA 16 17mAM thayelAM Agamana pahelAM eTale Azare 1567 pahelAM) paDI gayAM hatAM, te badhAM tenA Agamana pahelAM teDI pADavAmAM AvyAM ane tene badale bIjA makAne taiyAra thayAM. Ama bhadra vistAramAM gujarAta sulatAnanA samayanI bhArate naSTa thaI gaI hatI. bAbarIvaMzanI sthApanA thaI ane tenI sAthe gujarAtanA sulatAne sAthe saMdhaSa thayo hata tenI yAdagIrI mATe mIrajhA abduha rahIma khAnakhAnAne keTalAMka smAraka taiyAra karyA hatAM. temAM pharohabAganI racanA sarakheja pAse mahatvanI hatI. paraMtu tenA karatAM vadhAre For Personal & Private Use Only

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1. nA. mahetA mahattvanI racanA amadAvAdanA killAnI hatI. tenI racanAthI A zaheranI sImA spaSTa rIte aMkAya che. A vakhate baMdhAyelA kilAne vicAra karatAM ane jUnAM parAMone lakSamAM letAM mirajhApura, khAnapura jevA lattAomAM AchI pAtaLI ke nahivata vasatI haze. tethI kilAnAM AjanamAM the vadhAre moTA vistAramAM A yugamAM saMbhavita vasatInA vadhArAne lakSamAM lIdhe haze. vaLI jema AgrAmAM nadIne kinAre zAhajAdAonAM nivAse hatA tema sAbaramatI nadInA kAMThA para paNa bAMdhakAma karAvyAM hovAnuM samajAya che. bAburIvaMzanA pAdazAhanuM mukhya kendra AgrA hatuM, tenI AjubAju jevo vikAsa thAya tevo ane teTalo vikAsa amadAvAdamAM na thAya e svAbhAvika hatuM. paraMtu temanA rAjapamAM bAvakanI dariTae AgrAnI barAbarI kare evA A pradezamAM temaNe vikAsamAM keTaluM ke dhyAna ApyuM che. akabaranA rAjyakALa daramiyAna tenuM nAma rahe eTalA mATe khADiyA akabarapura jevAM nAma badalAyA hovAnuM anumAna thaI zake che. tema jahAMgIranA samayamAM nurajahAMnA nAma parathI parU hovAnI mAnyatA che. zAhajahAMnA vakhatamAM zAhI bAga athavA pAdazAhavADIne vikAsa joI zakAya che. e sthaLe pAdazAha zAhajahAMnA vakhatamAM baMdhAyelI ImAratane lIdhe amadAvAda pAsene sAbaramatInI uttara taraphane kinAro keTaloka badalAyA hovAnuM vidhAna thaI zake. tema auraMgajhebanA vakhatamAM khAnapuramAM vasatI vadhI hevAnuM paNa anumAna thAya. taduparAMta AjubAju paNa keTalAMka parAMne vikAsa thayo. temAM janAM zekhapura khAnapura pAse navaraMgapurAnI gaNanA thAya. A uparAMta A vaMzanAM rAjya samaya daramiyAna bhadramAM janA rAjyamahetAne nAza thayo ane tene sthAne Aje dekhAtI Ajhama khAnanI sarAinI ImArata tathA bhadrane daravAjo ane saMbhavataH kAraMja paNa taiyAra thaze. A vakhate moTe bhAge Aje ahamadazAhanI bhadranI masjidanI dakSiNe je bhIta dekhAya che te taiyAra thaI. A bhIMta para thaIne mANekaburaja para cAlatA raheTa vaDe pANI lAvavAmAM AvatuM ane te pANI AjhamakhAnanI sarAImAM tathA kAraMjanA kuvArA mATe vaparAtuM hovAno saMbhava che. taduparAMta A vistAramAM baMdhAyelA hamAmane paNa te puravaThe maLato. zAhapura vistAramAM AvelA hamAmo kadAca bahArathI AvanAra musApharo mATe baMdhAya. heya e saMbhava che. A uttaranA vistAramAM dariyApura pAsenA IDariyA daravAjA pAsenA vibhAganuM nAma badalAIne dilhI daravAjA nAma thAya che temAM palaTAyelI rAjasattA tathA tenI rAjadhAnInuM-zAhajahAMe vasAvelA dihI-nAma A vistAranA mArga sAthe joDAyuM. For Personal & Private Use Only

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amadAvAdane vikAsa Ama bAbarI vaMzanA amala daramiyAna amadAvAdanI AjubAju temanA maraNanI sUcaka ImArate baMdhAI ane amadAvAdamAM bhadranI uttara tarapha pramANamAM vadhAre vikAsa thayela dekhAya che. auraMgajhebanA maraNa pachI bAburI vaMzanI pAdazAhatanI paristhiti kathaLI, tenA nabaLA pAdazAho ane mAMhomAMhe laDatA amIronI sAme marAThAonuM baLa vadhatuM cAlyuM. tenI asara auraMgajhebanAM marAbAda Azare aDhAra varSamAM thavA mAMDI ane temanI sattA 15thI daDha thaI. sAmAnyataH amadAvAdamAM marAThI zAsana daramiyAna temaNe paisA UgharAvavA mATe lIdhelA upAtha, temanA cADiyAo vagere bAbate ghaNI jANItI che. paraMtu temanA samaya daramiyAna amadAvAdamAM ghaNAM maMdire baMdhAyAM tathA temAM raghunAtha mahIpata jevA sarasubAe gAmamAM sudhArAvadhArA karAvyA ane kene ghaNuM sukha hatuM tathA vepAra paNa ghaNe sAre cAthI hato" (pR.46) evI maganalAla vakhatacaMdanI noMdha ane "amadAvAdanI ghaNI paLa aDhAramI sadInA uttarArdhamAM thaI" (pR. 341) jevI ratnamaNirAvanI noMdha parathI marAThA amala daramiyAna ahIM zaheramAM pheraphAra thayA tema dekhAya che paraMtu amadAvAdane vistAra vadhe nathI. samagra gujarAtamAM bAburI pAdazAhanA vakhatamAM rAjakIya zAMti hatI paraMtu zAhajahAMnA amala daramiyAna ane tyArabAda paDelA dukALanI vasatI para ghaNuM mAThI asara paDI ne vasatI tUTI hatI. A vakhatamAM ghaNAM gAme ujajaDa thaI gayAM hatAM. A paririthatimAM paNa bhaugolika vistAra ghaTe e svAbhAvika prakriyA che. Ama sattaramI sadInA aMta bhAga ane aDhAramI sadInA keTalAka samayanI kudaratI paristhiti sAthe rAjakIya azAMtine lIdhe amadAvAdane vikAsa aTaka hatA. temAM ogaNIsamI sadImAM pheraphAra thavA mAMDayo. ogaNIsamI sadImAM I.sa.1818mAM amadAvAdamAM, I.sa.1618mAM arthAta base varSa pahelAM jahAMgIre je paradezI vepArIone vepAranI chUTa ApI hatI temaNe rAjyasattA jamAvI. temaNe zarUAtamAM janA mahele ane bhadramAM rahIne rAjyanI vyavasthA zaru karI. jema ahamadazAhe A vistAramAM pitAnI namAjha mATenI majida bAMdhI hatI tema aMgrejoe pitAnuM carcA bAMdhyuM ane amadAvAda para pitAnI asara dhIme dhIme vadhAravA mAMDI. rAjyamAM zAMti sthapAI hatI paraMtu uttara tarapha sIMdha, paMjAbamAM aMgrejonI sattA jAmI na hatI. te ja pramANe sIdhe, hekara vagere paNa baLavAna hatA tethI aMgrejoe For Personal & Private Use Only

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100 2. nA, mahetA potAnu rAjya AgaLanAM rAjya karatAM sArUM' che ema batAvavAne prayatna karyAM. te prayatnanA phala svarUpe leka pAse verA udharAvI kheraDele killA samarAjye. petAnI bhASA a'grejImAM keLavaNI ApavAnI 1832mAM nakkI karelI nIti pramANe amadAvAdanI phArasI madrasA, saMskRta pAThazALA, marAThI zALA ane bIjI paraMparAgata zALAne badale, bhAratIya keLaNI kSetramAM temanI paddhatinI zALAe zarU karI. tethI zarUAtamAM bhadranA vistAramAM ane tyArabAda mAdalapura tarapha gujarAta kolejane vikAsa thayA ane bIjI vidyAsa MsthAe paNa sAbaramatInA pazcima kinArA tarapha vadhu pramANamAM vikasI. aMgrejoe jUnAM meTAM nagarA bahAra potAnI chAvaNI nAMkhI che te paraMparAmAM amadAvAdanA izAna khUNuAmAM temanI chAvaNI-kempa nA vistAra vikasAvyA. paraMtu temanA vakhatamAM amadAvAdanA pUrvanA vistAra pazu sArI rIte vikAsa pAmyA. agrejoe vAhana-vyavahAra jhaDapI banAvavAnAM iMglenDamAM lIdhelAM pagalAMnI asara rUpe bhAratamAM paNa relve nAkhIne vAhana-vyavahAra jhaDapI banAvye. tene mATe relvenI pravR ttie tenAM gAme, sTezane, DabA, enjine rAkhavAnI jagyAe mATe temanA kempathI najIkanA amadAvAda bahAranA vistAra pasaMda karyAM, A pasaMdagInAM pariNAme relvepurA, zahera koTaDA bahAranA vistAra vikasyuM. temAM khArA, lekane rahevAnI dhama zALA, vAhanavyavahAranI sagavaDane lIdhe jhaDapathI mAla banAvatAM kArakhAnAMo ane temAM kAma karanAra kArIgarAne rahevAnI cAlA vageree-jUnAM gamA ane parAMnA khetaro khullI jagyAo vagere AvarI laIne amadAvAdanA vistAra vadhAryAM. A vakhate baMdhAvAnI zarU thayelI cAlatuM sAruM adhyayana ku. nA paTele karyu che. amadAvAdamAM paradezI hunnarakhAnanI caDhAi, dezI udyogo para phaTakArUpa hatI. tene pratikAra, rAjakIya rIte audyogika niNaeNyA thatA temAMthI karavA mATe, raNucheADalAla choTAlAla jevA pratibhAsaMpanna netAo ane tenI netAgIrIe cIdhelA mArge amadAvAdanA kuzaLa udyogapatie karyAM. tene pariNAme amadAvAdanA udyogamAM kApaDa pedA karatAM kArakhAnAM ane tenA AnuSaMgika dhadhAne vikAsa ane vistAra spaSTa thAya che. (6) amadAvAde aMgrejone 1618mAM vepAranI chUTa ApavAmAM bhAga bhajavyeA. khasA va bAda agrejoe 1818mAM ahI' rAjakIya sattA jamAvI. A sattAne amadAvAde paDakAra paNa ApyA che. paDakAranI gAthA bhAratamAM potAnuM vyaktittva rAkhe che. rASTrapitA gAMdhIjI, saradAra paTela jevA aneka rASTrapremI kAryakartAone amadAvAdamAMthI aneka prakAranu' pIThabaLa maLyu' che ane te prayatneAnA bhAratIya vyApane pariNAme tema ja anya paristhitiene baLe ema vividha saMjogothI bhArate rAjakIya svAtaMtrya meLavyu. ane tethI agrejonAM Azare 129 varSanA amalamAMthI amadAvAda chUTayuM. For Personal & Private Use Only

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amadAvAdane vikAsa 1 71 bhAratanA anya bhAgonI mAphaka amadAvAda paNa vikAsanmukha banyuM. A vikAsane bhaugelika vyApa sAbaramatInA pazcima kinArA para mukhyatve raheThANanAM bAMdhakAmamAM tathA vidyAkIya saMsthAonA vikAsamAM jovAmAM Ave che. jayAre pUrva tarapha vepAra udyoganA vikAsathI amadAvAdane vistAra vadhatuM jAya che, tenI sAthe vadhatI vasatInA AvAsa, mArgo, ane vividha upayoganI saMsthAonA vikAsathI amadAvAda vistAra vadhe che. amadAvAdamAM 1923 pachI vikaselI makAne bAMdhanAra sahakArI sosAyaTIonAM kAryanuM sAruM adhyayana ku. binItA zukale karyuM che. A vikAsamAM meTAM makAne, udyogonI sAthe zaheramAM vadhatI jhuMpaDapaTTIo paNa AjanuM AgavuM dazya khaDuM kare che. ane tenI sAthe jema ahamadazAhanA amadAvAda jUnA AzAvalane temaja bIjAM parAone samAvI laIne vistAra vadhAryo tema Adhunika amadAvAda paNa 16pa jeTalAM gAmane pitAnA vikAsamAM samAvI levAnA prayAsa kare che. For Personal & Private Use Only

Page #379
narasiMha mahetAnAM be apragaTa pada saMpA. uSAbena desAI gujarAtI bhASAnA Adyakavi narasiMha mahetA temanA bhAvavAhI pada mATe jANItA che. Aja sudhImAM temanA padanA judA judA keTalAMka saMgraha pragaTa thayA che. jemAM nedhapAtra che: 1. Da. zivalAla jesalapurA saMpAdita "narasiMha mahetAnI kAvyakRtio, 2. Da. ratilAla dave saMpAdita narasiMha mahetAnA aprakAzita pada' (saMdhi varSa-9. 1980-81). A be saMgrahamAM narasiMhanA atyAra sudhInA samasta pade prasiddha thaI gayA che. chatAM hajI aneka pade vividha jJAnabhaMDAronI hastapratamAM sacavAI rahyA hovAno saMbhava che. ahI AvA apragaTa be pada je mane lA. da. bhAratIya saMskRti vidyAmaMdiranA eka guTakAmAMthI maLI AvyA che te vidyAne samakSa raju karuM chuM. je pratamAMthI A baMne pade maLyAM che tenuM vivaraNa A pramANe che-zrI jainasaMdha-kheDA graMthasaMgraha, pratikramAMka 32185. A pratamAM prathama 1 thI 6 patra nathI. 7 thI 18 patro che. pratanuM mA5 21.54 12.5 se.mI. che. patro bAMdhelAM-guTakArUpe-che. patra naM. 5ra upara prathama pada . prathama padane viSaya viraha che. patra naM. 53 upara dvitIya 5da che je bhakti viSayaka pada che. A pratamAM haridAsa, surata ane narasiMhanA padano saMgraha che. haridAsa racita "narasiMha. mahetAnA putrane vahevAra' nAmaka kRti A pratamAM ApelI che. A prata saMvata 1782 AvaNa vadI 11, kaDAdanA kheDAvAla brAhmaNa dave jagezararAme lakhI che. 5da-1 [rAga zamerI] mAre pIujI pIra na jAne re, mAre vAlecha pIDa na jAne re, huM pIulsa neha dharuM, vAle navI navI nAra vakhAne re......pIujI pAMca mAsanI hu paranAvI, tAre na jAnuM meM kAMI re, bhara re jona mAMhAM nahI maLe te, mArI heza rahI mana mAMhe re.....pIucha huM chuM nArI nAtha tamArI, jema rAkhe tema raIe re, para-karazane pAlava grahIne, pratIvratA kema kahAve re.....pIjI 1. puruSane (2) For Personal & Private Use Only

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narasiMha mahetAnA be apragaTa pado sunI reje kema sukhI thaIe nA dhola talAI re, dura thakI dukha pAmuM mAhAMrA vAlA, kAM muko ane vAhI re......pIjI pI(jI) pIu karatA pIujI padhArA, suMdara mukha para vArI re, narazIA zomI bhale malIe, lAja rAkhI amArI re...... pIucha pada-2 [rAga zAkha] bAlaka gADuA re parabata mela pAchI dharanI, kemala kara tAhAro karamAze, e zI mAMhI kIdhI khAMta, , caTI re AgalIe casako lAkho bAhe nathI balavaMta. bAlaka reze na sArava kahe raMta gopI tema Apana kAje dudha-dahIne dIe ne rahe, kIje, kAje, khIje...bAlaka(2) gAla kahe zAmalI suna re mAtA, para upagArI mana, narabhAe zAmIe gokula rAkhu. vIsse thaA munIjana.....bAlaka For Personal & Private Use Only

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Page #382
mahAkavi kAlidAsa - viracitaM meghadUtam lakSmI nivAsakRta - ziSyahitaiSiNITIkA sametam pUrvameghaH zrI bhagavatyai namaH | atra zrIkAlidAsaH varSAkAlamA ( zritya vipralambharasa (saM) varNa' [ya]niha (da) mAha | kazcitkAntAvirahaguruNA svAdhikArAtpramattaH zApenAstaMgAMmatamahimA varSabhogyeNa bhartuH / yakSazcake janakatanayAsnAnapuNyodakeSu snigdhacchAyAtaruSu vasatiM rAmagiryAzrameSu || 1 || kazcit anirdiSTanAmA yakSo guhyakaH rAmagiryAzrameSu vasatiM nivAsaM cakre'karot / rAmagira (ri 1)NDakAraNyastasyAzrama (mA) rAmagiryAzramAsteSu / virahiNau { hiraNa) kaH 1 / kalitAntaHkaraNatayA ekatra!vasthAna N na syAt / atazcAzrameSu bahuvacanam / kIdRzo yakSaH 1 bhartuH dhana' (na)dasya 2 zApena astaGgamitamahimA gata mAhAtmya[ : ] ato nijapurImapahAya + tatra sthitavAn / punaH kIdRza: ? svAdhikArapramattaH svAdhikArAnnijanyApArAt pramattaH svAdhikArapramattaH / nijajjAyAnyasati (ni) svAt / kIdRzena zApena ? kAntA virahaguruNA / kAntAyA' virahaguruNA / kAntAyA virahaH kAntAvirahaH / kAntAviraheNa guru (ga) rIyAn tena / athavA - kAntAviraha evaM (gha) gururAcAryaH kAntAvirahagurustena virahaguruNA / punaH kIdRzena 1 varSa yAvad bhujyate varSabhogyastena / athavA varSa bhArata kSetra tatra bhujyate varSabhogyastena / kiMviziSTeSu AzrameSu ? janakatanayAsnAnapuNyodakeSu - janakatanayAsnAnena zItA (ta) majjanena puNyANi (ni) pavitrANi udakAni yeSu teSu / rAmasannidhAvapi zI (sI) - tAgrahaNa N tacchIlaprathanAya 7 / punaH kiMviziSTeSu AzrameSu 1 snigdhA arukSA sthA (cchA) yA taravo yeSu teSu / pUrvo(rvA)paradigbhAge bhAjatyavi 10 savitta (ta) ri yeSAM chAyA na parivartate chAyAtaravaH / sarvatra 11 mandAkrAntA vRttaM pravAsavipralambho rasaH // 1 // Note 1: [The readings in the text of the Meghaduta given here, follow the Mss B. &C. Ms. A gives only pratIkas. At times the commentary gives a different reading when compared with the verse quoted. We have noted this. Note 2: () indicate correction; {} indicates omission and [] indicates addition, For Personal & Private Use Only

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mahAkavi-kAlidAsa-viracitaM tasminnadrau katicidabalAviprayuktaH sa kAmI nItvA mAsAnkanakavalayabhraMzariktaprakoSThaH / ASADhasya prathamadivase meghamAzliSTasAnu vaprakrIDApariNatagajaprekSaNIyaM dadarza // 2 / / 12 sa yakSo me dadarza , jImUtamadrAkSIt / kiM kRtvA ? tasmin'nna)drau rAmagirI parvate katicit aSTau mAmAn nItvA'tikApa / kIdRzo yakSaH ? abalAviprayuktaH, strIvivarjitaH / punaH kIdRzaH ? kAmI, vyasanAbhibhUtacittaH / punarapi kIdRzaH ? kanakavalaya(ya)13bhrazariktaprakoSTaH / kanakavalayabhraMzena patanena14 riktau prakoSThau kalAcikApradezau15 yasya saH / kIdRza megham 1 AzliSTasAnum / AzliSTAnyAliGginAni sAnUni zikharANi, yena saH, tam / punaH kIdRzaM megham ? vapra. krIDApariNatagajaprekSaNIyaM, vAkoDAyAM taTAghAta kelo pariNatastiyaMga datta(nta)prahAro yo'sau| gajastadvatpre kSaNIya tam / kadA'patra(zya)16 ASADhasya prathamadivase / makAro'lAkSaNikaH / aH kRSNastasya divaso'divasastasmin adivase17 / ASADhazukle18 ekAdazyAM megha dadaza / kAlidAsasyApi ayamabhiprAyo jJAyate / yataH "zyA(zA)pAnto me bhujagazayanAdusthite zAgraGga)pANau," tatra zApAnto varSAntazca bhAvI / koha megha 1 pratha vistIrNam / eke paNDitA prathamadivase, Adya pratipaddina vyAkurvate tadiha viruddham / kathaM ? tatra girI aSTau mAsAn ativAhya meghaM dRSTavAn / zeSAzcatvAro mAmA vartante / pratipadgrahaNAzcatvAro mAsAH, paJcaviMzatidinairadhikatarAM(rA)19 sampadyante / apare prathamadina pUrNimAdinamaGgIkRtya vyAkurvate , tadapi na saMghaTate / catvAro mAsA: paJcadinairUnA:20 syuH / ata ekAdazIdina cetasi camatkAra karotIti zeya tajJaiH(jjaiH)21 // 2 // tasya sthitvA kathamapi22 puraH ketakAdhAnahetorantarvASpazciramanucaro rAjarAjasya dadhyau / meghAloke bhavati sukhino'pyanyathAvRtticetaH kaNThAgleSapraNayini jane kiM punardUrasaMsthe // 3 // rAjarAjasya dhana (na)dasya23 / anucaraH ciracirakAla dadhyo cintayAmAsa / kiM kRtvA ? tasva meghasya purata:24 agrataH kathamapi mahatA25 kaSTena sthitvA / kiM viziSTasya tasya ? ketakAdhAnaheto:26 ketakasyAdhIna, tasya hetu: kAraNa, tasya / kIdRzo anucaraH 1 antarbASpaH antamadhye bApo, netrAmbu, rodana', yasya sa / yukto[s] yamartha: / meghAloke jaladadarzane sukhino'pi vallabhAsahitasyApi cetazcitta anyathAvRttibhavati , viparyastaM27 jAyate / kaNThAzleSapraNayini jane darasaMsthe kiM punarvAcya ? kaNThAleSe kaNThAliGgane praNayo yasya saH tasmin // 3 // pratyAsanne nabhasi 28dayitAjIvitAlambanAthI jImUtena svakuzalamayIM hArayiSyan pravRttim / sa pratyatraiH kurajakusumaiH kalpitArghAya tasmai / prItaH prItipramukhavacanaM svAgata vyAjahAra / / 3 / / For Personal & Private Use Only

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meghadUtam sa yakSaH prItipramukhavacanaM yathA bhavatyevam / tasmai gha svAgata kuzalapraznam, vyAjahAra jajalpa / prItyA pramukhavacanaM yatra tat kriyAvizeSaNam / ekatvaM napuMsakatvaM syAt / kva sati ? nabhasi zrAvaNamAse pratyAsanne nikaTavartini sati / sa guhyakaH / kiM kurvan ? jImUtena meghena, svakuzalamayIM svakuzalena pravRttA svakuzalamayI, tAM vArtA hArayiSyan prApayiSyan / kIdRzaH saH ? dayitAjIvitAlambanArthI dayitA jIvanasya 29 Alambana arthayatIti dayitAjIvitAlambanArthI / punaH kIdRza: ? prIteH zrAvaNAsannatvAt / kIdRzAya tasmai ? kuTajakusumaiH girimallikA puSpaiH kalpitArghAya 30 dattArghAya pUjAya ( ye ) / kIdRzaistaiH 1 pratyA (sya ) graiH 31 nUtanaiH devatA'tithi{:}pUjAyogyaiH ||4|| sAmprata prArthanA{ya) dvAreNAha 32 | dhUmajyoti salilamarutAM saMnipAtaH 33 kva meghaH saMdezArthAH kva paTukaraNaiH prANibhiH prApaNIyAH / ityautsukyAdaparigaNayanguhayakastaM yayAce kAmArtA hi prakRtikRpaNAzcetanAcetaneSu ||25|| areer megha yAce prArthayAmAsa / guhyakaH kiM kurvan ? autsukyAtUS (da) 34. parigaNayan vicArayan iti / kiM meghaH kva saMdezArthAH ? saMdezAnAmarthA: saMdezArthAH / kIdRzo megha: 1 dhUmayo(jyo) tisalilamarutAM sannipAtaH samUhaH / dhUmaca jyotizca salila ca marucca dhUmayo (jyo)ti salilamarutasteSAm / kIdRza: (zA : ) 36 saMdezArthAH 1 paTukaraNe. sakalendriyaiH prANibhirmanujaiH prApaNIyAH na(ne) tayA na durbuddhibhinetuM zakyAH / kathametad ( da ) vicAritavAnnityAha / hi yasmAt kAraNAt, kAmArtAH kandarpaparavazAH puruSAH, cetanAcetaneSu vastuSu caitanyapadArtheSu 37, prakRtikRpaNa (NA:) 38 svabhAvadInA bhavanti / nahi te viSaya [ aviSaya ] 39 jJAtu N samarthA iti // 5 // nAmaGgIkRtyAha / jAtaM vaMze bhuvanavidite 10 puSkarAvartakAnAM jAnAmi tvAM prakRtipuruSaM kAmarUpaM maghonaH / tenArthitvaM tvayi vidhivazAddUra bandhurgato'haM yAJca moghA varamadhiguNe nAdhame labdhakAmA ||6|| he payoda ! ahaM tvAM bhakta (nta ) m + 1, puSkarAvartakAnAM meghAnAM vaMze anvaye, jAtamutpamna jAnAmi / ahaM jAnAmi avaimi / kIdRze vaMze ! bhuvanavidite, trailokyavikhyAte / kIdRzaM tvAM ? maghonaH zakrasya prakRtipuruSa, pradhAna (nA) mAtyam 42 / punaH kIdRzaM tvAM 9 kAmarUpa svecchayA vihalaM 43 rUpam / tena kAraNena ahaM tvayi bhavati viSaye arthitvaM yAJcAbhAvaM gataH prAptaH, yukta] [s] - yamarthaH / adhiguNe jAtyAdyutkRSTe pura (ru) Se44 yAcA prArthanA moghA niSphalA'pi varaM zreSTham 45, adhame nIce puruSe46 labdhakAmA prApteSTA'pi na varaM na zreSTham 47 | kodRzo'ha ? vidhivazAt dUravasataH dUrabandhuH dUrasthitabhAryaH // 6 // For Personal & Private Use Only

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mahAkavi kAlidAsa - viracitaM saMtaptAnAM tvamasi 48 zaraNaM tatpayoda priyAyAH saMdeza meM hara dhanapati krodhavizleSitasya / gantavyA te vasatiralakA nAma yakSezvarANAM bAhyodyAnasthitaharazirazcandrikA dhauta harmyA ||7|| yo ! saMtaptAnAM vaM bhavAn jalAne { rAraNa} zaraNa 'si [ trANamasi ]49 / tasmAt kAraNAt, me marihAsya sandesa (za )50 vArtA, priyAyAH sakAza hara gRhANa prApaya svA (vA) 51 / kIdRzasya me ? [ dhanapatikrodhavizleSitasya ] 52 - dhanapatikrodha (dhe)[na] vizleSito [vi]yojito, ghanapatikrodhavizleSitasya / kutra ? ma ( kha ) yA gantavyamityAha / he medha ! te tvayA yakSezvarANAM yacANAM IzvarAH yakSezvarAsteSAM yakSezvarANAm | alakA nAma nagarI 53 vasatiM (tiH) sthAnaM gatA te iti / kRtyAnAM karttari [va] SaSTI (SThI) vA / kIdRzI alakA ? bAhyodyAnasthitaM (ta) hrazirazcandrikAautaha bAhyadyAne sthitA (taH) rahito yo'sau ha mahezvarastasya zirasi yA candrikA candrakAntiH tathA ghautAni dhavalitAni hamrmyANi [ dhaninAM] 54 gRhANi yasyAM sA // 7 // [ atra gantuM prarocanAmutyAdayannAha ] 55 tvAmArUDhaM pavanapadavImudgRhItAla kAntA: 56 prekSiSyante pathikavanitAH pratyayAdAzvasantyaH / kaH sannaddhe virahavidhurAM tvayyupekSeta jAyAM na syAdanyo'pyahamiva jano yaH parAdhInavRttiH ||8|| po ! pathikavanitAH pAnthastriyaH tvAM bhavantaM, prekSiSyanti (nte) 57 avalokayiSyanti / kAH karthapathikavanitAH pathikavanitA kiM kurvantyaH ? pratyayAnnizcalA (yA) o(dA) 58 vasantyaH AzvAsanAM kurvantyaH / jalado [s] samudito'ya nUnaM nama) smAkaM patibhiH idAnoM sAmprata 59 Agantavyam / kIDarA (zyaH) 60 pathikAGganA ? udgRhItA lakAntA udgRhItA{5}lakAnAM kezAnAM tAH (antaH) prAtaH yAmitA ayamiti (ta) kezavAt virahigIti kathanam / kIdRzaM ? tvAM pavanAdatrIma (maM) tarikSamA DhaM caTitam / dde metra ! tvayi bhavati, sannaddhe nikaTavattini sati, kosnyo para ( : ) 62 virahavivarAM, virahiNI strI vidhurA pIDitA virahavidhurA tI, jAyAM bhAryA, U.pekSeta. virahatvA (ye) tdeg3 | apitu na ko[s]pi / yo'nyo jano(S) hamiva parAdhInavRttirna syAt / parAdhInA parAyattA vRttiryasya saH // 8 // idAnI' zubhazakunabalaM da [da]nnAha 04 | mandaM mandaM nudati pavanazcAnukUlo '" yathA tvAM vAmazcAyaM nadati madhuraM cAtakastoyagRdhnaH * / [ * te sagarva:' iti pATha: TIkAyAM dRzyate / ] For Personal & Private Use Only

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meghadUtam garbhAdhAnakSaNaparicayAnnUnamAbaddhamAlAH seviSyante nayanasabhagaM khe bhavantaM balAkAH // 9 / / he payoda ! yathA yena prakAreNa pavano vAyumandaM [mandaM]00 zanaiH zanaiH, yathA bhavatyeva nudati vAti prerayati / kIdRzo vAyuH ? te tava anukUla(la:) pRSThAnugAmI ca punarvAmabhAgastho [5]ya cAtakaH sAraGgaH, te tava, madhU/dhu)raM susvaraM, nadati zabdAyate / kIdRzaH cAtakA? sagarvaH pAnIyalAbhAt / balAkA bisakaNThikA, khe AkAze, bhavantaM tvAm , nUnaM nizcita seviSyante / kasmAta ! garbhAdhAnakSaNa paricayAt / garbhAdhAne kSaNaM, kSaNamAtrastoka] 6 7ya paricayo. garbhAdhAnakSaNaparicayastasmAt / meghAgame vAsA(tAsAM)0 garbhAdhAnapravRttiriti / ki viziSTAstAH AbaddhamAlA.-AbaddhA racitA mAlA yAbhistAH / kIdRza bhavantaM ? nayanasubhaga, nayanayonetrayoH subhago nayanasubhagastA(stam // 9 // tAM cAvazyaM 69divasagaNanAtatparAmekapatnImadhyApannAmavihatagatidrazyasi bhrAtRjAyAm / AzAbandhaH kusumasadRzaM prAyazo hyaGganAnAM sadyaHpAti praNayihRdayaM viprayoge ruNaddhi // 10 / etasmAdeva zakunasadbhAvAt / ca samuccaye, avazya nizcitam / adhyApannAM jIvantI, tAm / bhrAtR vAyAM mama bhAryA dRzyasi, avalokapidhyasi / kIdRzAM(zI)7degtAM ? divasagaNanAtatparAM, etAvanti dinAni vyati(to)tAni71, etAvantya[va]ziSyante / punaH kIdRzI ? ekapatnI satIm / kIdRzasvI avihatagati:-pavanaprakopAdibhiraskhalitagamanaH / yukto(s)yamarthaH / hi yasmAtkAraNAt / prAyazo bAhulyena viprayoge, aGganAnAM virahiNIstrINAM, hRdaya AsA(zA)bandho 72 ruNaddhi rakSati yAM vinA'rthaprAptisambhAvanA bAdhyate / anena iti bandhaH Azeva bndhH| kIdRza' hRdayam ? kusumasadRzaM puSpatulyam / punaH kodRzam ? sadyaHpAta (ti)praNayi sadyastatkAla', pAta(te)73 patane. prAyaH sneho yasya tat // 10 // kartuM yacca prabhavati mahImucchilIndhrAtapatrAM74 tacchatvA te zravaNasubhagaM garjitaM mAnasotkAH / A kailAsAdvisakisalayacchedapAtheyavanta: sampatsyante nabhasi bhavatA rAjahaMsAH sahAyAH // 11 // . he payoda ! nabhasi gama(ga)ne [AkAze]75 AkailAsAtkailAsAdi~ yAvat / rAjahaMsA marAlA, bhavatastava sahAyAH sampatsyante, bhaviSyanti / ke kartAra rAjahaMsA:76 ? kiM kRtvA ? tatte tava zravaNasubhagaM zrotramanoharaM, gajitaM zrutvA[ss]karNya ca punaryadgajita [kartu]77 mahIM vasudhA, ucchIli For Personal & Private Use Only

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mahAkavi kAlidAsa-viracitaM (lI)ghA(ndhrA)tapatrAM, udbhUtacchI li(lI)dhA(ndhrAM){pa} [sa] kusumAM katu [vidhAtu]prabhavati 78, karoti79 zaknoti / meghastanitena tAnyudgacchanti / kIdRzAH rAjahaMsAH ? mAnasokAH mAnasaM sara: pratyutkaNThitAH / varSAkAle te 0 tatra prayAnti / punaH kIdRzAH rAjahaMsAH? bisakisalayache(cche da. pAtheyavantaH / bisa kisalayAnA chedAH / pAtheyavantaH bisakisalayAnAM chedAH khaNDAsta eva.. pAyeyavantaH / saMbala(?) yeSAM te* // 11 // adhunA gamanAyodyatasya meghasya ziSyA(kSA)mAha 81 / ApRcchasva priyasakhamamuM 2 tuGgamAliGagya zaila vandyaiH puMsAM raghupatipadairaGkitaM mekhalAsu / kAle kAle bhavati bhavato yasya saMyogametya snehavyaktizciravirahaja muJcato bASpamuSNam // 12 // he megha ! amu zailaM rAmagiri, AliMgya samAzliSya''pRcchasva / muktalApaya 3 kIdRzaM 1 amuM zailaM priyasakhaM priyA(ya,zcAsaus 4 sakhA , ca priyasakhA stN(tm)| punaH kIdRzaM ? tuGgamuccastaram / punarapi kIdRzam ? raghupatipadaiH zrIrAmapAdaiH mekhalAsu nitambabhAgeSu aGkitaM mudritam / kIdRzaiH raghupatipadaiH ? pusA puruSANAM vandyaiH vndniiyaiH| sakhIdharmamAha / he mitra ! kAle kAle prAvi(vR)da85. samaye samaye yasya gireH saMyoga melApakaM pa(e)tya prApya bhavatastatra 86 snehava(vya)ktirbhavati: 7 sampadyate / bhavataH kiM kurvataH ? netrajalaM muJcata(taH)88, saMtyajane (san 9 tyajat) / kIdRzaM bASpam ? {ciravirahaja} ciravirahajaM ciravirahAn jAtazcirabirahajastam / zailA nIravarSaNena snigdhA jAyante iti tAtparyam / ADitArahisya(AG inupRcchayorityAtmane0 padaM(1) pRccho(cchastra)riva Atmanepadam / {mUlAn } ApRcchasveti AtmanepadaM siddham // 12 // mArga tAvacchaNu1 kathayatastvatprayANAnurUpa sandeza me tadanu jalada zroSyasi zrotrapeyam / khinnaH khinnaH zikhariSu padaM nyasya gantAsi yatra kSANaH kSINaH parilaghu payaH srotasA copayujya* // 13 // .. he jalada ! me [ma]ma92 kathayataH sataH pUrva tAvanmArga zRNu, AkarNaya / atra tAvacchabdaH kramavAn(ca)93 ko jJeya[:] / tadanu pazcAnme sandesaM(zaM)4 zroSyasyAkarNayiSyasi / kIdRzaM mArgamityAnukUla(lya)mAha 5 / yatra mArge zikhareSu parvateSu khinnaH khinnaH san , tvaM padaM naraNaM, nyasya saMsthApya,[gantAsi]96 gamiSyasi / [kiM kRtvA ? ca punaH / kSINaH kSINo varSaNavazAt kRzataraH san / srotasAM nadInAM payo jala upabhujya lAtvA (?) gamiSyasi / ]97 kIdRza payaH ? parilaghu pari sAmastyena laghu yattatparilaghu, nirma(ma)lavAt laghutara(ra) na 99 / kIdRza mArga (7)10deg1 tatprayANAnurUpA(pa)161 bhavadgamanayogyam / kIdRza sandesa (zaM)10 2 ? zrotrapa(pe)yaM 103, zravaNAkarNanayogyam // 13 // * Could it be-bisakisalayAnAM chedAH khaNDAH ta eva (pAtheyaM) saMbalaM yeSAM te pAtheyavantaH / [* upabhujya iti TIkAyAM dRzyate / ] For Personal & Private Use Only

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meghadUtam adreH zRGga harati104 pavanaH kiMsvidityunmukhIbhiISTotsAhazcakitacakitaM mugdhasiddhAGganAbhiH / sthAnAdasmAtsarasaniculAdutpatodaGmukhaH khaM diGnAgAnAM pathi pariharan sthUlahastAvalepAn ||16|| unnatA he jImUta ! asmAt sthAnAt unmukha 105 uttarAbhimu[khaH ] khamanti (nta) rikSam 106 (utpata) 107 urdhvaM gaccha / kIdRzAntaH (t) sthAnAt 1 sarasaniculAt- sarasA niculA : vetasavRkSAH yatra tatsarasaniculaM, tasmAt / kIdRzastvaM 1 mugdhasiddhAGganAbhiH iti hetorunmukhIbhiH UrdhvakRtavadanAbhiH iti / kiM sviditi vitake (ke) / pavano vAyuH kimadre: parvatasya zrRGga zikhara harati / tvaM kiM kurvan ? pathi mArge (rge ) diggajAnAM 108 dikkari rI)NAM sthUlahastAvalepAn pIna gai (pu)STahahtasaMsparzAn 109 pariharan varjayan // 14 // ratnacchAyAvyatikara va 1 10 prekSyametatpurastAt valmIkAyAt prabhavati dhanuHkhaNDamAkhaNDalasya / yena zyAmaM vapuratitarAM kAntimApatsyate te sphuritarucinA gopaveSasya viSNoH ||15|| tvayyAyatta' kRSiphalamiti 119 bhrUvilAsAnabhijJaiH prItisnigdhairjana padavadhUlocanaiH pIyamAnaH / sadyaH sIrotkaSaNasurabhi kSetramAruhya mAlaM kiJcitpazcAd vraja laghugatirbhUya evottareNa ||16|| hai megha ! pazya purastAdagrataH, AkhaNDalasya zakrasya taddhanuHkhaNDa prabhavati samutpadyate / kasmAt ? valmIkAgrAt / pipIlikAgRham / mRtsaJcayavizeSo valmIkastasyAgraH; tasmAt sarpa (rpa) * gRhAt 111 valmIkAgrAt zakradhanuSo varSAkAle sambhava iti vRddhA: 112 | kIdRzaH (za) dhanuHkhaNDam ? ratnacchAyAvyatikara iva prekSyam, darzanIyam / 113 paJcavararatna dIptivitAnamityarthaH / he payoda ! yena dhanuHkhaNDena, te tava, zyAma kRSNavarNa, vapuH zarIra, atitarAmityarthaM kAnti zobhAM Apatsyate lapsyate / {te} kasyai(sye)va ? viSNoriva / yathA viSNoH nArAyaNasya vapu (puH ) 114 bahe mayUrapicche kAnti ( ti ) 115 puSNAti / kiM viziSTena 116 barheNa ? sphuritarucinA dedipyamAnakAntinA 1117 etAvatA barhadhAriNaH zrIkRSNasya tulya prApsyatItyarthaH / kasyeva ? yathA gopAlarUpadhAriNa zrIviSNoSNoH) nArAyaNasya zyAmavarNa zarIra vapuH, baheNa mayUrapicchena kAntimApa / gopAlAH kila kelirasAt mayUrapicchadhAriNo bhavanti / 118 kIdRzasya viSNoH 1 gopavezasya vallabharUpasya // 15 // 7 , he mitra ! kiJcinmanAgapi mAla Aruhya [kSetropari sthitvA ] 120 pazcAdanantara N bhUya eva punarari, uttareNottarasyAM dizi, braja gaccha / Page #389
mahAkavi kAlidAsa - viracitaM lakSagastva' ? janapadatradhUlocanairiti hetoH pIyamAnam (naH) | 122 atyantAvalokana pAnamucyate iti / ida N kRSiphala' svayyAyattaM bhavadAyattam / kiM lakSaNaistaiH bhravikArAnabhijJe: 123 | punaH kiM lakSaNaiH ? prItisnigdhaiH124 prItyA snigdhAni prItisnigdhAni taiH / kiM lakSaNaM mAlam ? sadyaH zIrotka rpaNasurabhi kSetra - sadyastatkAlaM zIrotkarSaNa (Ne ) na125 [halakarpaNena ] 126 surabhINi kSetrANi yatra tat // 16 // 8 127 tvAmAsAraprazamitavanopaplavaM 1 sAdhu mUrdhnA vakSyatyadhvazramaparigataM sAnumAnAmrakUTaH / na kSudro'pi prathamasukRtApekSayA saMzrayAya prApte mitre bhavati vimukhaH kiM punaryastathoccaiH ||17|| he jImUta ! AmrakUTAkhyasAnumAm parvataH sAdhu yathA syAt (tathA) 128 [ vakSyati iti vahaterhasya katvaM kRte syaH sasya Satve ca kRte pa saMyoge kSa ( : ) / ] 129 va bhavantaM mUrdhnA mastakena vakSyati dhArayiSyanti (ti) / kiM lakSaNaM tvAM ? adhyazramaparigataM mArga (rga ) zramopetaM 130, [mArga zravyAptam ] 131 | kiM lakSaNaM tvAM 1 a (o) sAraprasa (za) mitavanopaplavam 1 3 2 - AsrAreNa [dhArA 133 sampAtena]vega[ba] ] 1 34 varSaNena prasa ( za ) mita (taM) upazama (maM) nIto vanopaplavo vanadAho prathamasukRtApekSayA saMzrayAyAzrayAya prathamaM pUrva sukRtasyopakArasya yApekSA, pratyupakA (ka) ro ( pa ) mIti / kva sati ? punarvAcyam // 17 // tam / yukto [S]yamarthaH / kSudro'pi ghurapi [saMzrayadAnArthaM ]135 trimukha ( khaH) parAGmukho na bhavati / tayA / pUrvamanena mamopakRta mahadidAnImaha melya (tasya ) 136 [mi prApte sati] 137 uccaistara AmnakUTastasya 138 kiM channopAntaH pariNataphaladyotibhiH 139 kAnanAmraistvayyArUDhe zikharamacalaH snigdhaveNIsavarNe / nUnaM yAsyatyamaramithuna prekSaNIyAmavasthAM madhye iyamaH stana iva bhuvaH zeSavistArapANDuH ||18|| he jalada ! acala ! AmrakUTo, nUna N nizcitaM, amaramithuna prekSaNIyAmavasthAM yAsyati gamiSyati / amaramithunAnAM devayugalAnAm / prekSaNI [yAM] 140 draSTuM yogya (gyAM) tA (tAm ) / kva sati ? snigdha va zikharaM zuGgamArUDhe sati / snigdhA'kSA yA veNI tatsavarNastasmin / kIdRzo'calaH ? kAnanAmraiH kAnana sahakAraH channorAnta (ntaH) cchAditaparyantaH / kIdRzaiH kAnanAmraiH ? pariNata phaladyotibhiH / pariNatAni paripakvAni 142 yAni phalAni tairudyotante pariNataH (ta) 143 phaladyotinaH, staiH (taiH) / utprekSate - bhuvaH pRthivyAH madhye madhyapradeze zyAmastanaH [ iva]144 | kIdRzaH stanaH ? zeSavistArapANDuH gauravarNazeSaH // 18 // sthitvA tasmin vanacaravadhUbhuktakuje muhU toyotsargAd drutatara gatistatparaM vartma tIrNaH / tai reaf vindhyapAde vizIrNA bhakticchedairiva viracitAM bhUtimage gajasya ||19|| For Personal & Private Use Only

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meghadUtam he vayasya ! he mitra ! tatparaM vatma(ma)tIrNa:146 san revAM narmadAM drakSa(kSya)si [viloka. yiSyasi]147 / tasmAdAmrakUTAt paraM tatparaM yama (tata]148 tIrNo'tikrAntaH / kiM kRtvA? tasmin AmrakUTe mahata 149kSaNamAtra sthitvA / kIdRze tasmina vanacaravadhabhuktakamje vanecarakAntAsevitagahane150 | vanecara zabde saptamI luk bahulakAt / kIdRzaM za)stva? toyotsagrA(rgA,t151 jalavarSaNAt / ita} drutataragatiH, zoghragamanaH, kIdRzI revAM narmadA1 5 2 ? upalaviSame zilAkUTa sthapuTe vidhyapAde vindhyAcalAghobhAge vizIrNA prasRtAm / utprekSyate / gajasyAGge bhUtimiva zonAmiva / kIdRzI bhUti:15 3 bhakticchedabhaktivicchitibhirviracitAM kRtAma // 19 // tasyAstiktairvanagajamadervAsitaM vAntavRSTijambUkuJjapratihatarayaM toyamAdAya gaccheH / antaHsAra ghana tulayitu nAnilaH zazyati tvAM riktaH so bhavati hi laghuH pUrNatA gauravAya // 20 // [atha tyaktatoyasya pratikriyAmupadizannAha / / revAyAH nadyAH toyaM nIramAdAya gRhItvA tvamagre groto 155 gccheryaayaaH| kiM lakSaNaM toyaM? tiktaiH kaTukaiH banagajamadairvAmitaM surabhikRtam / punaH kiM lakSaNaM [toya]156 ? jamvukuJjapratihatarayam / [jambuku] jeSu157 jambuvRkSavanagahUvareSu158 pratihataH, skhalito rayo vego yasya tat / kiM lakSaNastvaM ? vAti(nta)vRSTiH kRtavarSaNaH / anyo'pi kRtavamanaH kaTukakaSAyaM vastu gRhnnaati| jalagrahaNeSu159 guNamAha / he ghana! anta.sAraM jalaparipUrNa tvAM anilo vAyustulaye(yitu kalayituM160 na zakSyati, na samartho bhaviSyati / hi yasmAtkAraNAt sarvo'pi jana: riktaH zUnyo laghurbhavati pUrNatA dhanADhyatA gauravAya bhavati / tena tava jalagurutvena nA'nilAt paribhavaprApti: / / 20 // nIpaM dRSTvA haritakapizaM kesarairardharuDherAvibhUtaprathamamukulAH kandalIzcAnukaccham / jagdhvAraNyeSvadhikasurabhi gandhamAghrAya coyAH sAraGgAste jalalavamucaH sUcayiSyanti mArgam // 22 // 161 [mArgasaukaryopadezena] pralobhayannAha / sAraM zreSTam / sarvajanapriyaM priyavacanaM lapantIti sArajhAzcAtakAste bhavato mArga sUcayiSyanti kathayiSyanti} svajAtiSu parasparaM kathayiSyanti / nUnaM anena mArgeNAsmatsuhRjjImUto gataH paraM bhAgyahInairasmAbhiH nAvalokita iti / cihnAnyudi(di)zyante / cAtakaireva jaladAnnIrakaNAH pAtavyA {ni na} [nAnyata]162 iti teSAM jImUta eva zaraNam / kiM kRtvA sUcayiSyanti ? cihnAnyAha / ardhasTaiH ardhaniSpanna: kesarakulaharita kapizaM For Personal & Private Use Only

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10 mahAkavi kAlidAsa-viracitaM nIlapiGga nopaM kadamba kusutaM dRSTvA samAlokya tadvinA sAraGgAzcAtakAstava mArga sUcayiSyanti / ca punaH sAraM salilaM gacchanti , sAraGgA gajAste mArga sUcayati(nti) / kiM kRtvA jJAsyante ? lakSaNAnyAha / kacchaM163 kacchamanulakSyIkRtyAnukacchamanunIra prathamamukulA utpannAdyakorakA: kandalI164 vanaspativizeSAt dRSTvA te tavA65 mArga sUcayiSyanti ayamartho na sundarataraH / yataste gajAH pIvara kAyA kardamAkulAyAM si(zi)lAyAM, gantumapi na pArayantyato jImUtAvatArasamayA(ya) steSAM166 na sukhadaH / ca punaH sAra satvara [zIghra ]167 gacchantIti sAraGgA hariNAste panthAnaM mArga' sUcayiSyanti / kiM kRtvA? dagdhAraNyeSu grISmAdAvapluSTa kAnaneSu / uAH pRthiyA: / adhikasurabhi gandhamAghrAya sudhitvA168 adhikazcAsau surabhi adhikasurabhistam / jalakaNapatanAttatra saurabhyAvirbhAvaH / ayamartho'pi vipazcitAM cetasi na camatkaroti / yato hariNAnAM meghena saha maitrIbhAvo na / atazcAtakA eva sarvAn bhAvAn viditvA te mArgasUcayiSyanti / kIdRzasya te ? jalalavamucaH jalalavAn muJcatIti jalalavamukta sya // 21 // ambhobindugrahaNarabhasAn cAtakAnvIkSyamANAH zreNIbhUtAH parigaNanayA nirdizantA balAkAH / tvAmAsAdya stanitasamaye mAnayiSyanti siddhAH sotkaNThAni priyasahacarIsambhramAliGgitAni // 22 // 169 siddhA ggncr]170devvishessaaH| priyasahacarI sambhramAliGgaya (GgitAni / sotkaNThAIyuktAyani [utkaNThAyuktAni]171 mAnayiSyanti aGgIkariSyanti / kiM kRtvA ? stanitasamaye garjAravasamaye172 tvAM bhavantaM, AsAdya prApya / siddhAH kiM kurvANaH 1 ambhobindugrahaNarabhasAn cAtakAn viikssymaannaaH| ambhobindunAM grahaNe rabhasA [vyagrA]173 uttAlA ambhobindugrahaNarabhasAstAn / siddhAH [punaH kathaMbhUtA.174] , kiM kurvantaH ? bAkA bisakaNTikA nirdizanto darzayantaH / kayA ? parigaNanayA / parisAmastyena gaNanA, tayA, eka-dvi-tri-saMkhyayA / kIdRzA balAkA ? zreNIbhUtAH [175azreNayaH zreNayo jAtAH iti zreNIbhUtAH] paGaktibaddhAH // 22 // utpazyAmi drutamapi sakhe matpriyArtha yiyAsoH kAlakSepaM kakubhasurabhau parvate parvate te / zuklArAGgaH sajalanayanaiH svAgatIkRtya kekAH pratyudyAtaH kathamapi bhavAngantumAzu vyavasyet // 23 he sakhe ! matpriyArthamasmaddayitArtha, drutamapi zIghramapi176 jigamiSostava parvate parvate kAlakSepaM vilamba utpazyAmi avalokayAmi / kIdRze parvate parvate? kakubhasurabhau arjunavRkSasugandhi[ni]1771 bhavAn tvam / kathamapi kenApyupAyena / AzuH zIghra, gantu vyavase(sye)t upAyaM kuryAt / kIdRzo bhavAn ? 178zuklApAgairmayUraiH pratyudyAtaH pratyudgataH / kiM kRtvA? kekA mayUravANI / 179svAgatIkRtya vacanaiH kuzalapraznaM kRtvA / kIdRzaistaiH ? sajalanayanai netrodakayuktaiH // 23 // For Personal & Private Use Only

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meghadUtam pANDucchAyopavanavRtayaH ketakaiH sUcibhinnaiH nIMDArambhagRhabalibhujAmAkulagrAmacaityA: / tvayyAsanne pariNataphalazyAmajambUvanAntAH sampatsyante katipayAdinasthAyihaMsA dazArNAH // 24 // 180 he jImUta ! dazArNA dazANadezAH, katipayadinasthAyihaMsAH saMpatsyante / katipayadinAni sthAyino haMsA yeSu te / jaladarzane mAnase(saM) gamanAt / kva sati? tvayi181 bhavati, Asanne nikaTavartini sati {sati} / kIdRzAH dazArNAH ? zu(sU )cibhinnarvikasvaraiH ketakaiH ketakakusumaiH, pANDucchAyopavanavRtayaH pANDucchAyA gaurakAntiH upavanavRttirudyAna kaNTho yeSAM te / sitatvA[t]182 ketakAnAm / punaH kIdRzA dazArNAH? gRhabalibhujAM caTakAnAM kAkAnAM183 vA nIDArambhairAlayodyA(gha)maiH184 AkUlagrAmacaityAH; AkUlAni vyAptAni grAmacaityAni, grAmapAdapA vRkSAH, yeSu te / punarapi kIdRzAH? pariNataphalazyAmajambUvanAntAH pariNataphalaiH paripakvaphlaiH , zyAmajambUvanAntA: yeSu te // 24 // teSAM dikSu prathitavidizAlakSaNAM rAjadhAnI gatvA sadyaH phalamavikalaM kAmukatvasya labdhA / tIropAntastanitasubhagaM pAsyasi svAdu yasmAtsamabhaGga mukhamiva payo vetravatyAzcalomi / / 25 / / 185 he jalada !186 teSAM dazArNAnAM vidizAlakSaNAM vidise(ze)ti lakSaNaM nAma yasyAH sA, tA rAjadhAnI gavA kAmukatvasya kAmI(mi)187janasyA'vikalaM saMpUrNa phalaM sadyastatkAlaM labdhA lapsyasi(se) / kuta inyAha ? yadyasmAtkAraNAt{kAraNAt} ce(ve)travatyA188 nadyAstadevaMvidhaM payaH pAsyasi / kIdRzaM payaH? tIropAta(nta)189stanitasubhagaM, tIropAnte stanitena vihagakUjitena, subhagaM ramya , yattat / punaH kIdRzaM ? svAdu miSTam / tatpayaH kimiva ? sukhamiva yathA kazcitkAmI kasyAzcitkAminyAH ratikUjitena ramyaM sabhrabhaGga kaTakA(TAkSA?)nvitaM 190 mukhaM pItvA kAmukajanAnAM sampUrNaphalaM prApnoti, tathA bhavAnna(na)pItyartha.191 // 25 // nIcairAkhyaM girimadhiSasestatra vizrAmahetostvatsaMparkAtpulakitamiva prauDhapuSpaiH kadambaiH / yaH paNyastrIratiparimalodgAribhirnAgarANAmuddAmAni prathayati zilAvezmabhiyau vanAni // 26 / / 192 he payoda ! tatra vidizAyAM nIrAkhyaM girimacalaM vizrAmahetonivAsArthamadhivaserAzrayaH / kIdRzaM nIrAkhyaM giri(ri) prauDha puSpaiH vikasitakusumaiH kadampaiH nIpauH tvadIyasaMparkaH mitrasya melApakastvasa(saM)193parkastasmAt tvatsamparkAt / utprekSyate, pulakitamiva194 [romAJcitamiva] / For Personal & Private Use Only

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mahAkavi kAlidAsa - viracitaM vikasitasya nIpasya romazatA[ni ] 195 sampadyante / yo giriH nAgarANAM nAgarikalokAnAM uddAmAni prauDhAni yauvanAni prathayati prakhyApayati / kaiH zilAvezmi ( zma) bhi : 196 / kIdRzaiH ? paNyastrIratiparimalodgAribhiH / paNyastrI [rati ] parimalaM 197 vezyA suratAM (tA) modaM 198 udgiriti (ranti) 199 yAni tAni taiH // 26 // 12 vizrAntaH sanvaja naganadInIrajAtAni siJcannudyAnAnAM navajalakaNaiyUthikAjAlakAni / gaNDasvedApanayanarujAklAntakarNotpalAnAM chAyAdAnAtkSaNaparicitaH puSpalAvImukhAnAm ||27|| 200 'vananadItIrajAtAni' iti TIkAyAM dRzyate / he sakhe ! tatra girau vizrAntassannagrato vraja yAhi 201 lam kurvan ? udyAnAnAmugvanAnAM yUthikA jAlakAni yUthikA korakAn / sincan ukSan / kIdRzAni tAni ? vananadItIrajAnAti (tAni) 202 kAnanasarittosannAni / kIdRzastvaM ? chAyAdAnAt puSpalAvImukhAnAM kSaNaparicitaH / puSpANi lunantIti puSpalAnyastAsAM mukhAni / teSAM kiMlakSaNAnAM mukhAnAM203? klAntAni lAnAni karNotpalAni yeSAM tAni teSAm / kayA ? gaNDasvedApanayana rujA gaNDayorya (ryaH ) 204 svedo dharmastasyApanayA (ya, nenopuMsasena yA rug tathA ||27|| vakraH panthA yadapi bhavataH prasthitasyottarAzAM saudhotsaGgapraNayavimukho mA sma bhUrujjayinyAH / vidyuddAmasphuritaca kitaistatra paurAGganAnAM lolA pAryadi na ramase locanairvaJcito'si ||28|| 205 , vayasya ! he megha ! he mitra ! 206 yadyapi bhavatastava uttarAyAM kauberoM prasthitasya, vakraH kuTilaH, panthAH mArgo bhavati tathA'pi ujjayinyAM nagaryA (ya 207 saudhotsaGga-praNayavimukho208 mA sma bhUravazyaM tAM gaccheryAyA: 209 | yadi cet tatra ujjayinyAM paurAGganAnAM nAgarikaramaNInAM locanairna ramase210 na krIDasi, tadA vaJcito [S]si / avalokanAbhAvAt / kIdRzaiH locanaiH? vidyuddAmA(ma)sphuritaca kitaiH, vidyuddAmnaH sphuritena cakitAni [trastAni ] 211 netrANi taiH / punaH kIdRzaiH ? lola (lA) pAGgai: lolAzcancalA apAGgA netraprAnto (ntAH ) yeSAM tAni taiH // 28 // , cikSobhastanitavihagazreNikAJcIguNAyAH saMsarpantyAH skhalitasubhagaM darzitAvartanAbheH / nirvindhyAyAH pathi bhava rasAbhyantaraH saMnipatya zrINAmAdyaM praNayavacanaM vibhramo hi priyeSu ||29|| 213 prayoda ! 214 naivaM (nivi ) ndhyAyAH nadyAH pathi pravAhe, sati ( nni) 215 patyAzliSya rasAbhyantaro bhava, pAnIyagarbhaH syAt (syAH) / tvaM pAnIyaM piberityarthaH / rasAbhyantaraH zrRGgArarasavAsite (to) 216 For Personal & Private Use Only

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meghadUtam bhavati / vizleSoktiH / tAM kAmayeriti tAtparyam / kiM lakSaNAyAH tasyAH 1 vicikSobhena 217[ka]llola kampanena stanitA zabdAyamAnA yA vihaGgazreNiH vihaGgamapaktiH / saiva kAJcIguNo mekhalAguNo yasyAH sA, tasyAH / tasyAH kiM kurvatyAH ? pAkhA(SA)NAdo(dau) skhalitena subhagaM yathA syAdevaM saMsarpantyAH, gacchantyAH / punaH kiM lakSaNAyAH 1 darzitAvartanAbheH, darzitA Avarta eva nAbhiryayA sA tasyAH / kathamAhavAnAbhAve'nurAgitA yogyetyAha / hi sphuTaM nizcitama / strINAM priyeSu dayiteSu, vibhramo vilAsaH, Adya prathama, praNayavacanaM snehavAkyam / 218 atha nArIsAdharmya. mAha / anyA'pi kAminI zabdAvamAnarasa(za)nA219 savilAsA gacchantI hAvabhAvAnvitA patyAbhi darzayati220 // 29 // 221veNIbhUtapratanusalilAM tAmatItasya sindhuH pANDucchAyAtaTaruhatarubhraMzibhirjIrNapaNe: / saubhAgyaM te subhaga virahAvasthayA vyaJjayantI kArya yena tyajati vidhinA sa tvayaivopapAdyaH // 30 // he subhaga ! yena vidhinA, yenopAyena, sA sindhurnado kArya kRzatAM tyajati, sa vidhistvayaiva utpAdyo ra canIyaH / tatra tvaM varSeriti / sindhuH kiM kurvatI virahAvasthAyAH(sthayA:)222 ? te tava, saubhAgya vyaJjayantI prakaTayantI / kIrazasya ? tAM nadImatItasya / kIdRzI sA ? veNIbhUtapratanu salilA, tvadviraheNa veNIbhUtaM223 pratanusvAtsalilaM yasyAH sA / punaH kIdRzI] 1 sindhuH taTamahatarubhyo bhrasI(zI ni bhraSTAni taTamahatarubhra si(zi)bhiH, tai: jINapaNe : jarjaraksilayaiH pANDucchAyA / patyuviyoge'nyApi nArI nijadayitasa bhAgyaM hadi dharantI kRzA pANDurA vA224 bhavati // 30 // 225prApyAvantInudayanakathAkovidagrAmavRddhApUrvoddiSTAmanusara purIM zrIvizAlAM vizAlAm / svalpIbhUte sucaritaphale svargiNAM gAM gatAnAM zeSaiH puNyaitamiva divaH kAntimatkhaNDamekam // 31 // tataH pazcAt pUrvodi di)STo TAM)226 prAkathitAM vizAlAmujjayinI purIM anusara gaccha / kiM kRtvA ? avantIn dezAn prApya / kIdRzAn ? udayana kathAsu kovidA vicakSaNAH zrImadvRddhA (grAmavRddhA)227 yeSu te tAn / kIdRzI vizAlAM ? zriyA ruddhyA'pi vizAlA analpA, zrIvizAlA, tAm / utprekSyate / diva(va:)228 svagasya kAnti sahita ekamadvitIyaM khaNDamiva 1229 svarga(ga)kadezasya / tatra kathamAgata ityAha / kva sati gAM gatAnAM svargiNAM devAnAm / sucaritaphale upabhukvA230 svalpIbhUte alpIbhUte sati kIdRzaM khaNDa 1 utprekSyate-teSAM devatAnAM zeSai: saccaritaH puNyaiha tamiva bhuvamAnItamiva / / 31 / / For Personal & Private Use Only

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mahAkavi kAlidAsa-viracitaM 231dI/kurvanpaTu madakala kUjitaM sArasAnAM pratyUSeSu sphuritakamalAmodamaitrIkaSAyaH / yatra strINAM harati surataglAnimaGgAnukUlaH ziprAvAta: priyatama iva prArthanAcATukAraH // 32 yatrocayinyAM ziprAvAta: ziprAnadIpavanaH strINAM surataglAni harati, nirgamayati / kIdRzaH ? aGgAnukUla:,232 zItalasurabhitvAt / ziprAvAta:, kiM kurvan ? sArasAnAM lakSmaNAnAM , paTu spaSTaM , madakalaM madena kalam / manoharaM madakala kUjita zabda 233 dI(kurvan 2 34 prasArayan / [kIdRzaH]23 5 ziprAvAta: ? pratyuSeSu prabhAteSu, sphuTitakamalAmodamaitrIkaSAyaH / sphuTitAni vika. sitAni yAni kamalAni teSAmAmodaH parimalastena saha yA maitrI tayA kaSAyaH / kaSAyarasayukto bhAvita ityarthaH / utprekSyate / prArthanA cATukAraH / priyatama iva, bhartA iva / yathA prArthanAyAM cATukAra: priyakRtye pri(pre)yAn kAminyA aGgaglAni harati // 32 // 13 deghArAMstArAMstaralaguTikAnkoTizaH zaGkhazuktIH zaSpazyAmAnmarakatamaNInunmayukhaprarohAn / dRSTravA yasyAM vipaNiracitAnvidrumANAM ca bhaGgAsaMlakSyante salilanidhayastoyamAtrAvazeSAH // 33 // - yasyAM nagaryA , tArAn manoharAn hArAn vipaNiracitAn hasthApitAn 237 dRSTvA salilanidhayaH samudrAH toyamAtrA(tra)vizeSA:23 8 saMlakSyante, janaiH jnyaaynte| kIdRzAn hArAn ? taralaguli(Ti)kAn / 2 3 9 taralA saralA / taralo madhyamaNiyeSu te tAn / na kevala hArAn vilokya koTizaH koTisaMkhyA{2}kAH zaGkhazaktIdRSTvA saMkhyAzca (zaGkhAzca)24 deg zuktayazca zaGkhazuktIstA yasyAM puryA, zaSpazyAmalAnmarakata maNIn dRSTvA, toyamA jalanidhayaH saMlakSyante / zipya (zapa) bAlatRNa, tadvacchAyAmAharitAstAn / kIdRzAn marakatamaNIn ? unmayUSa(kha prarohAn / unmayaSa(khAH) Urdhva mukhAH prarohA aGakurA yeSu te, tAn / ca punaryasyAM puryA vidrumANAM pravAlAnAM bhaGgAn, vicchedAn khaNDAn dRSTyA jalA{a}vazeSAH samudrAH saMlakSyante / jJAsyante241 / / 33 // 242pradyotasya priyaduhitaraM vatsarAjo'tra jahe haimaM tAladrumavanamabhUdatra tasyaiva rAjJaH / atrodabhrAntaH kila nalagiriH stambhamutpATya darpAdityAganturamayati jano yatra bandhUnabhijJaH // 34 // he jalada ! yatrojjayinyA abhijJaH kathAsu vidagdho janaH AgantUn [prAghUrNa kAn] 243 bandhana svajanAna iti ramayati / itIti ki ? atrAsmin pradeze vatsarAjaH zatAnI(ni)kanRpaputraH pradyotasya rAjJaH priyaduhitara vAsavadattAttAM) putra (trI) 244 ja| jahAra / atrA(tra)245 sthAne For Personal & Private Use Only

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meghadUtam tasyaiva prayotasya rAjJaH hi(hI)maM tAladrumavanaM abhRt babhUva / haimaM tAladrumasya vanaM24 0 haimatAladrumavanam / atra sthAne kileti satye nalagiri ma ga naH / datstimbhamutpAdyo(dayo)ddhAnte(nto)247 babhrAma // 34 / / jAloGgINarupacitavapuH kezasaMskAradhUpai-* bandhuprItyA bhavanazikhibhirdattanRtyopahAraH / haryeSvasyAH kusumasurabhiSvadhvakhinnAntarAtmA muktA sveda lalitavanitApAdarAgAGkiteSu // 35 // 248 * dhUpaiH, iti TIkAyAM dRzyate / bhartuH kaNThacchaviriti gaNaiH sAdaraM vIkSyamANaH puNyaM yAyAstribhuvanagurordhAma caNDIzvarasya / dhUtoNana kuvalayarajogandhibhirgandhavatyAstoyakrIDAniratayuvatisnAnatiktairmarudbhiH // 36 // 249 [anena yugmena] he bandho ! tribho(bhuvanagurostrijagatpUjyasya caNDIzvarasya mahezvarasya dhAma gRham / vaM yAyAH gaccha (cche:)| kiM kRtvA 1 asyAH puryAH hamyeSu khedaM mArgabhramaM, muktvA parityajya / kIhazastvaM ? jAlodgINai: gavAkSarandhranimra (ga)taiH25 0 kezasaMskAradhUpaiH vanitAkacopasaMskAradhUpaiH upacitaM vapuH, sthUlazarIraH dhUmatulyatvAt meghAnAm / punaH kIdRzastvaM ? bandhuprItyA mitrasnehena bhavanazikhi. bhihamayUraiH dattanRtyopahAraH / dattaH kRtaH nRtyamevopahAraH pUjA yasya saH / punarapi kIdRzastvaM ? adhvakhinnAntarAtmA, adhvanA mAgeNa khinnaH zrAnto[5]-tarAtmA yasya sH| punaH [kIdRzasvaM] ? 251 gaNaiH nandI nandA(candrA)dibhiH2 5 2 iti sAdaraM vIkSyamANaH dRzyamAnA(NaH) / iti kiM bhatu': svAmina: kaNThacchavi, nIlagrIvatvAt / kIdRzeSu haryeSu? kusumasurabhiSu / puna: [kIdRzeSu]2 5 3 hamyeSu ? lalitavanitApAdarAgAGkiteSu / lalitA savilAsA yA vanitAstAsAM pAdarAgeNa caraNA'lakta kenA. GkiteSu / cihnAnteSu (cihiteSu)254 / kIdRza dhAma ! puNya pavitra zambhoH sevitatvAt / puna: [kIdRzaM]255{ya} dhAma 1 gandhavatyAH nadyAH prasadbhiH(dvaiH) 2 5 6 pavanaiH dhUtodyAnaM kampitopavanam / kIdRzaiH maruddhiH, kuvalayarajogandhibhiH, kubalayarajasAM gandha utpalareNumaurabha vidyate yeSAM te taiH / panaH kIdRzaistauH ? toyakrIDAniratayuvatisnAnatiktaiH256 toyaH(ya)krIDAyAM niratA[ss] satkA(ktA) yAH yuvatayastAsAM snAnena tiktaH kaTukaiH // 35-36 // 25 8 apyanyasmiJjaladhara mahAkAlamAsAca kAle sthAtavyaM te nayanaviSayaM yAvadabhyeti bhAnuH / . kurvansandhyAbalipaTahatAM zUlinaH zlAghanIyAmAmandrANAM phalamavikalaM lapsyase garjitAnAm // 37 // he jalada !259 anya]smin 60{na} api kAle mahAkAla bhavaM, taM rudra', AsAtha For Personal & Private Use Only

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mahAkavi kAlidAsa-viracitaM prApya {te} svayA tAvat prasthAtavyam / 61 yAvadbhAnuH sUryo nayanaviSayaM netragocaramabhye(tye). tyAgacchati / tvaM kiM [kuvan ?26 2 zUlino mahezvarasya sandhyAbalipaTahatAM kurvan , sandhyAbalyadha(tha) 63 paTahatAm pUryatvaM {sanyAdhyAbali} sandhyAbalipaTahAM tAm / kIdRzIM tAM ? zlAghanIyAM, tadA tvaM AmandrANAM sarvamadhurANAM gavitAnAM avikalaM sampUrNa phalaM lapsyate(se) / 2 64 kRtyAnAM kartari SaSThI vA // 37 // 26 pAdanyAsaH kvaNitarasanAstatra lIlAvadhUtairattacchAyAkhacitavalibhizcAmaraiH klAntahastAH / vezyAstvatto nakhapadasukhAnprApya varSAgrabindunAmozyante tvayi madhukarazreNidIrghAnkaTAkSAn // 38 // he meva ! vezyA mahAkAlasvAmino nartayaH tvato(to) bhavataH sakAzAt nakhapadasukhAnnakhArasuva karAn madhurazreNidIrghAn bhramarapaktivatpralambAn kaTAkSAn, tvayi bhavati viSaye, Amo. zyante / kiM kRtvA ? varSAgrabindUn varSasya varSaNasyA{5}prabindavo varSAgrabindavastAn , prApya / ki lakSaNAH vezyA[:] 1 pAdanyAsakvaNitarasanAH / naraNacaMkramaNena zabdAyamAnamekhalAH / punaH kiM lakSaNAH vezyAH 1 cAmarai : klAntahastAH, khedyamAnakarAH, saukumAryatvAttAsAm / kIdRzaizcAmaraiH ? liilaavdhuutaiH| salIlaM cAlitaH / {pu} [punaH kIdRzaiH] 266 ? ratnacchAyAkhacitabala(li)bhiH ratnacchAyayA khacitAH prakaTIkRtA valaya udaralekhA yaiH staniH (1)268 (tAni zaiH) // 38 // 16 "pazcAduccairbhujataruvanaM maNDalenAbhilInaH sAndhyaM teja: vikasitajapApuSparaktaM dadhAnaH / nRtyArambhe hara pazupaterAdra nAgAjinecchA zAntogastimitanayanaM dRSTabhaktibhavAnyA // 39 / / he jImUta ! pazcAdanantaram / nRtyAramme nAgha(Tya)-samaye pazupate(te): mahezvarasya AInAgAjinecchAM Ardra gajacarmAbhilASa 27 0 hara pUraya / kI dRzastvaM ? uccaurunnata, bhujataruvanaM le Tu(ma - zaNDa maNDalena maNDalAkAra(re)NAbhilInaH / tIryaga saMzritaH / tvaM kiM kurvANa(Na:),? 271 vikasita japApuSparakta nUtanamadhyAhnaH, vRkSaH272 kusumavallohita sAndhyatejovibhrama dadhAnaH / 273 punaH [kIdRzastva] 274? bhavAnyA pArvatyAH zAntodvegastimitanayanaM yathA syAt / dRSTabhavitaravale. kitavaristhati:(avalokitasthitiH) gajAjinacchAdanAt / vidyununmeghA(SA) dyabhAvAt 275 / zAntodvegAni nivRttakhedAni ata eva stimitAni nizcalAni nayanAni yatra darzane tat // 39 // gacchantInAM ramaNavasatiM yoSitAM tatra naktaM ruddhAloke narapatipathe sUcibhedyestamobhiH / saudAminyA kanakanikaSasnigdhayA darzayovIM toyotsargastanitamukharo mA sma bhUviklavAstAH // 40 // For Personal & Private Use Only

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meghadUtam tatra puryA yoSitAM abhisArikANAM nArINAm / masta rAtrau saudAminyA vidyutA kRtvA urvI vasudhAm / darzaya prakAzaya / yoSitAM kiM kurvatInAM ? ramaNavasatiM bhartA(){2}gRha gAntInAM [vajantInAm] 277, kva sati ? sUcibhedyaiH saandrstmobhirmdhkaaraiH| rAjamAge"(ge)278 narapatipathe(thi)rudyA(DA)loke sati / pracchAditaprakAze sati / pathi270 ki lakSA(kSa)(Na)yA280 saudAbhinyA kanakaniSaka(kaSa)vata281 [nikaSapadavat [kaSapaDakavat.. snigdhA'kakSA tayA evaM kRtvA toyotsargastanitamukharastvaM mA sma bhuuH| toyotsartha stanitena garnitena mukharaH sa rAdA mA bhUH, yatastA {5} 28 3 viklavA kAtarAH vartante // 40 // 28 *tAM kasyAMcidbhavanavalabhau suptapArAvatAyAM nItvA rAtri ciravilasanAtkhinnaviyutkalatraH / dRSTe sUye punarapi bhavAnyAhayedavazeSa mandAyante na khalu suhRdAmabhyupetArthakRtyAH // 41 // he megha ! sUrya dRSTe sati punarapi bhavAn adhvazeSa avaziSTamArga vAhayet ullaSayet / kiM kRtvA ? ta rAtri kasyA(syA)cita 285 bhvnvlbhau| kiM lakSaNAyAM valabhau? suptapArAvatAyo. suptA pArAktAH kapotAH yasyAM sA tasyAm / nAgarikaisto(ste) hi kaNTharutazravaNAya gare dhAryante(nte) / 86 ki lakSaNastvaM ? ciravilasanAt cirakAlodyotanAt / khinna 28" zrAntam / viyudeva kalaba dArA yasya saH, yukto[s]yamarthaH / khalu nizcitam / suhRdAM mitrANAm / abhyupai. tArthakRtyAH aGgIkRtakAryANi na mandAyate sAlasA na bhavanti // 41 // 28 8tasminkAle nayamasalilaM yoSitAM khaNDitAnA zAnti neyaM praNayibhirato vartma bhAnostyajAzu / prAleyAna kamalavadanAtso'pi hatu nalinyAH pratyAvRttasvayi kararudhi syAdanalpAbhyasUyaH // 42 // he jalada ! asmAddhetoH, Azu zI, bhAnoH sUryasya varma tyaja parihara / sUryasyAcchAdako mA bhUH / ya[ta:]28 9 tasmin kAle prabhAtasamaye, praNayibhirdayitaiH samAgatya khaNDitAnAM90 nArINAM nayanasalila cakSurazraH, zAntimupazamaM neya prApaNIyam / yadi tvaM paTanibho bhaviSyasi tadA te nizAzaGkayA nAgamiSyanti / ato raveH vartma tyaja / seA[s]pi sUryo[s]pi khaNDitAyA kamalinIpriyAyAH kamalavadanAt kamalamukhAt prAleyAMzu(yAzra)291 avazyAyarodana' hatu' sa(za)ma. yitu,292 pratyAvRtto vyAghaTitaH 2 03 (vyAghaTitaH ?) tvayi bhavati analpA {stabhyayA294?} ('bhyasUmA syAt bhavet] analpA pracUrA abhyasta(sU)yA(yA) yasyA {grI} (ysy)|95 koze svami ! krrudhikirnnrodhke| anyasyApi priyAM prArthayamAnasya yo hastamavaSTambhanIyAt tasya san(ba)296 manyurbhavati / For Personal & Private Use Only

Page #399
mahAkavi kAlidAsa-viracitaM nidrAkaSAyamukulIkRtatAmranetro nArInakhabaNavizeSavicitra tri)tAGgaH / - yasyAH kR(ku)to[s]pi gRhameti patiH prabhAte ___ sA khaNDe(NDi)[te]ti kathitA kavibhi[:] purANi(NaiH)297 // 42 // 29 gambhIrAyAH payasi saritazcetasIva prasanne chAyAtmApi prakRtisubhago lapsyate te pravezam / tasmAdasyAH kumudavizadAnyarhasi tvaM na dhairyAnmoghIkartu caTulazapharodvatta maprekSitAni // 43 // he sakhe ! gambhIrAyAH sarito nadyAH nirmale payasi jale, te tava cchAyAtmApi prativiMbarUpaH pravesa(zaM)299 lpsyte| kIdRzascchAyAtmApi? prakRtisubhagaH: prakRtyA svabhAvena sundaraH prakRtisubhaga:300 / kIdRzasya te ? lambamAnasya jalabharamantharatvAt / tatraiva tiSThataH tasmAtkAraNAt asyAM gambhIrAyAM caTulazapharodvartanaprekSitAni / dhairyAt301 moSIkartuM niSphalaM vidhAtu nAhasi302 na yogyo bhavasi / mA'nyato gama ityarthaH / caTulazapharodvartanamevotprakSitAni / caTalaH / kIdRzAni ca prekSitAni ? kumudavizadAni, kairavazatAni (zubhrANi)303 payasi kasminniva ? cai(ce)tasIba304 yathA'nyo[]pi yaH kila prakRtisubhago bhavati, tasya cchAyAmapi paTTikAdyAlekhyagatamapi rUpaM kasyAzcidgAMmIryaguNazAlinyAH kAminyAzcitte pravizati / parokSe'pi tadanurAgiNI bhavatItyarthaH / mo[s]pi tathAvidhavilokitaiH svakIya bhAvamAvirbhAtrayati / so[s]pi vibhramAn viphala{la}pi(yi)tu nAti / tadevaM tvamapi tadAzleSa{mukha} vimukho mA sma bhUriti sambandhaH // 43 // 30 tasyA: kiJcitkaradhRtamiva prAptavAnIrazAkha hRtvA nIlaM salilavasanaM muktarodhonitambam / prasthAna te kathamapi sakhe lambamAnasya bhAvi jJAtAsvAdo vipulajaghanAM ko vihAtu samartha // 44 // he sakhe ! te tava, prasthAnaM gamanaM, kathamapi kRccheNa bhAvi bhaviSyati / kiM kRtvA ? tasyAH gambhIrAyAH nIla(laM){vadhAya} [zyAmaM]306 salilavasanaM, salilameva vasanaM vastraM salilavasanaM hatvA pIna[tva]vazAdapAsya307 [kIdRzasya te 1 lambamAnasya jalabharamaMtharatvAt tatraiva tiSThataH] kIdRzaM sa.malolaM) vasanaM 1 prAptA vAnIrazAkhA308 vetasavRkSANAM zAkhA yena tat / utprekSyate / karatamiva hastA{vila}vi(va)lambitamiva309 | punaH kiM lakSaNaM ? muktarodhonitamba, muktaM rodha eva nitambo yena, tava / yukto[s]yamarthaH / kaH sAtAsvAdo'nubhUtasya(rasaH)310, vipulajaghanAM pRthunitambA, nArI(roM) vihAtu tyaktu, samartho'pi tu na kospi / yathA aMzukaM harataH kAminoM na ko'pi karAbhyAM vastraM tadvatte // 45 // For Personal & Private Use Only

Page #400
meghadUtam tvanniSpandocchvasitavasudhAgandhasamparkaramyaH srotorandhradhvanitasubhaga dantibhiH pIyamAnaH / nIcairvAsyatyupajigamiSode vapUrva giri te zIto vAyuH pariNamayitA kAnanodumbarANAm // 45 // 311 . he jalada ! te bhavataH, zItaH zItalo vAyu:312 pavano nIcarvAsyati, mantharaM gamiSyati / kIhazasya te ? devapUrva giri, devagirinAmAJcalaM upajigamiSoH, yiyAsoH / kIdRzo vAyuH ? pavanaH / tvanniSpandocchvasitavasudhAgandhasamparkaramyaH, tava nispa(pa)ndena jalavarSaNena, ucchvasitA vikasitA yA vasudhA pRthvI tasyA gandhasamparkeNa ramyaH, pradhAnaH / punaH kIdRzaH ? dantibhiH gaje zro(sro)torandhradhvanitasubhagaM yathA bhavatyevaM, pIyamAnodyamAna: ? zro(sro)torandhra331 karavivaraM tasya dhvanitaM sItkAraH, tena subhagaM pradhAna sasUtkRtaM yatra tat / punarapi kodRzaH kAnanotumbarANAM phalAnAM pariNamayitA pAcayitA // 45 / / tatra skanda niyatavasatiM puSpamedhIkRtAtmA puSpAsAraiH snapayatu bhavAnvyomagaGgAjalAH / rakSAtona vazazibhRtA vAsavAnAM camUnAmatyAdityaM hutavahamukhe sambhRtaM taddhi tejaH // 46 // skandaM kArtikeyakumAram / puSpAsAraiH kusumavarSaNaiH bhavAn snapayitum / kIdRzaM skandaM ! tatra devagirI niyatavasati, nizcalanivAsam / kIdRzo bhavAn ? puSpamocIkRtAtmA puSpairmoSIkRtaH saphalIkRta AtmA yena saH / kIdRzaiH puSpa(pA)sArai:314? vyomagaGgAjalAH vyomagaGgAjalena ArdrA vyomagaGgAjalArdrAstaiH / hi yasmAt kAraNAt vAsavInAM camUnAM indrasenAM rakSAhetostrANAya / nava. zaza(zi)bhatA3 15 mahezvareNa hutavahamukheGa(5)gnau tarojo vIrya sunu(saMbha)taM316 nyastam / kIDarza tejaH 1 atyAdityaM, atikrAntaH Adityo yena tat // 46 / / jyotile khAvalayi galitaM yasya barha bhavAnI putrapremNA kuvalayadalaprApi kaNeM karoti / dhautApAGga harazazirucA pAvakesta mayUra pazcAdadrigrahaNagurubhijitairnartayethAH // 47 // ........... __ . he jalada ! pazcAdanantaram / pAvaka(keH) kArtikeyasya taM mayara garjitaiH zabditairnartavethAH / kI0 / adrigrahaNagurubhiH parvataprAptipIvaraiH / taM kaM, yasya galitaM patitaM barha, picchaM bhavAnI pArvatI putrapremNA]31deg putrasnehena karNe karoti / kIdRze karNe ? kuvalayapadaprApti(pi)32 0 utplsthaanaashai| (jyotilekhAvalayi321 jyAtirlokhAvalayaM tejorAzimaNDalaM vidyate yasya tat / punaH kIdRzaM baha ( hiNaM] harazazirucAM mahezvaramastakacandracandrikayA cautApAGgaprakSAlitanayanAntam ||4|" kATAvaha..mAyAmAtalatAvAsa For Personal & Private Use Only

Page #401
mahAkavi-kAlidAsa-viracitaM 322ArAdhyainaM zaravaNabhavaM devamullavitAvA siddhadvandvarjalakaNabhayAdvINibhirmuktamArgaH / vyAlambethAH surabhitanayAlambhajAM mAnayiSyasrotomUrtyA bhuvi pariNatAM rantidevasya kIrtim // 48 // - abata sallaMdhitAdhvA'tikrAntamArgaH san [tvaM]3 2 3 vilambethAH vilaMbaM kuryAH / kiM kRtvA ? enaM zaravaNabhu(bha)vaM 324 devaM skandaM ArAdhya pUjayitvA / zaravaNAt bhavatIti zaravaNabhUstaM soDhumaH kSamaIkSama}yA gaNayA tadvIrya zaravaNe kSiptam / prANi(praNi)ranta:325 zaregviti Natvam / punaH kIusastvaM ? siddhadvandvaiH siddhayugaleH jalakaNabhayAt muktamArgaH, tyaktapanyAH / sidga(ddha)dvandvaiH kI vibhiH vINAkaraiH / tvAM kiM karvan ? rantidevasya rAjJaH kIrti carmatva(jva)tyAkhyA - nadI mAnasiSyan pUjayiSyan / kIdRzI kIti ? surabhitanayAlambhajAM, surabhitanayAyAH gAvastAsAmAlambha[naM] 327 vinAzanaM tasmAjjAtA tAm / punaH kiM lakSaNAM ? bhuvi pRthivyAM 28ca (tasro zrotomUrtyA pravAharUpeNa pariNatA, rUpa(pA)ntaragatAm329 // 48 // 33degtvayyAdAtujalamavanate zAGgiNo varNacaure tasyAH sindhoH pRthumapi tanuM dUrabhAvAtpravAham / prekSiSyante gaganagatayo daramAvaNe dRSTIrekaM muktAgaNamiva bhuvaH sthUlamadhyendranIlam // 49 // he banyo ! gaganamatayo devAH tasyAH sindhornadyAH pRthumapi sthUlamapi, pravAhe(hai) 331 tanu sUkSmaM prezciSyante'valokayiSyante / kasmAt ? dUrAbhAvAt dUrAnmahadapi vastu tanu dRzyate / kiM kRskhA ? dRSTI333 netrANi dUramatyarthyamAvartya prasArya nikSipya / kva sati tvapi bhavati jalamAdAtuM prAdhimavanate sasi / kIdRzi svayi, zAGgiNo varNacaure kRSNatvAt 333 / muktAdAmA(ma)- madhye['ntarAle]334 indranIlaH yasya tat // 49 // 33tAmuttArya vraja paricitadhUlatAvibhramA pazmotkSepAduparivilasatkRSNazAraprabhANAm / kundakSepAnugamadhukarazrImukhAmAtmabimba pAtrIkurvandazapuravadhUnetrakautUhalAnAm // 10 // .... he mena ! tato aMgre braja yAhi 36 / kiM kRtvA 1 tAM carmatva(Nva)tI(tI) nadImuttIrya / svaM vikurvan / AtmabimbamAtmAnurUpam / dazapuravadhUnetraku(ko tu(tU)halAnAM337 pa(pA)trIkurvan ; dazaman / basapuranagarasya vadhvo de(da)zapuravadhUstAsAM netrANi, teSAM kutuhalA:(lA)ti(ni) teSAm / pumaH kiM lakSaNAnA 1 80 [dazapuravadhUnetra] kautUhalAnAM paricitasthU(bhra)33 latavibhramAnAma paricitA nAgarikasyAt / abhyastA bhUlatA azAkho vinamA yasteSAm / punaH kiM lakSaNAnAM ? For Personal & Private Use Only

Page #402
meghadUtam 21 pakSamokSe(kSe,pAt338A pakSmAyotkSepastvadAlokanavazAdUrdhvavilokanaM, pakSmAkSe339 (motkSe)pastasmAt , uparivilasitakRSNasA(zA)raprabhANAM, upari vilasantI sphAratI kRSNasA(zA)rA(ra)kAyino(kAntayo ?,341 342punarapi kiM lakSaNAnAM kundakusumasya yaH kSepa utkSepaNaM tasyA anugA anuyAyino] ye bhramarAsteSAM zriyaM zobhAM puSNanto343 ye teSAm / kundAnAM sitatvAt bhramarANAM [kRSNatvAt]344 {kundakuza(su ?)masya yaH kSepaH, utkSepaNatvAt }345 / yadyapye. tAmi kutUhalavizeSaNAni tathApi ta(ca)346 stR(5)473balAn netrANAmeva te 3 4 guNA boddhavyAH // 50 // 34 9 brahmAvarta janapadamatha cchAyayA gAhamAnaH kSetra kSatrapradhanapizunaM kauravaM tadbhajethAH / rAjanyAnAM sitazarazatairyatra gANDIvadhandhA dhArApAtaistvamiva kamalAnyabhyavarSanmukhAni // 21 / / 'mAjhyadamatha' iti TIkAyAM dRzyate / he bhrAtaH tatkauravaM350 kSetra bhajethAH gcche:| kIdRzaM kSetra 1 kSatrapradhA(dha)napizunam / kSatrANAM kSatriyANAM pradhanaM sagrAma sUcayati yattat / svaM he bhrAtaH! tvaM kiM kurvANaH ? brahmAvartAkhyaM janapadaM dezamathacchAyayA, nija(ja)351 pratibimbena maahmaanaa(n:)| yatra kSeze gANDIvadhanvA arjunaH zitazarazataiH [tIkSNabANazataiH]352 rAjanyAnAM nRpANa(NAM) su'mu)35 3 khAni vadanAni abhyavarSan(t ) utkRSo(STo)354gANDIvadhanvA, ka iva ? tvamiva yathA tvaM dhArApAti(auH) kamalAni[vA']355 bhyavarSasi [mizcasi]356 tathA [s]rjunena anyeSAM rAjJAM mukhakamalAni pAtitAnIti bhAvaH // 51 // hitvA hAlAmabhimatarasAM revatIlocanAkA bandhuprItyA samaravimukho lAGgalI yAH siSeve / kRtvA tAsAmabhigamamapAM saumya sArasvatInAmanta: zuddhastvamapi bhavitA varNamAtreNa kRSNaH // 52 // 357 he saumya ! svamapi [antara]358 madhye zuddho nirmalo bhavitA bhaviSyasi / varSa(rNa;359 mAgeNa kRSNaH zyAmo bhvitaa| kiM kRtvA ! tAsAM sArasvatInAM sarasvatisambandhinAM apAM pAnIyA. nom / abhigama sevanaM, kRtvA / tAsAM kAsAmityAha lAganI(lI) bali(la)360bhadro yA ApaH ziSeve bheje / kiM kRtvA ? abhimatarasAM361 vAnchitasvAdAm / hAlAM madirAM muktvA hitvA / kohI hAlAM? revtiilocnaangkaam| revatIlocanayoraGkaH cihna yasyAM sA tAm / kIdRzo la(lA)alI! bandhuprItyA kauravapANDavasnehena samaravimukhaH saGagrAmaparAGamukhaH / ubhayapakSo(kSe'362)pi mana bAndhavAH, kuna vrajAmIti vinArya gRhaM tyaktvA sarasvatItaTe tasthau // 52 // For Personal & Private Use Only

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22 mahAkavi-kAlidAsa-viracita 363tasmAdgaccheranukanakhalaM zailarAjA'vatIrNA jahroH kanyAM sagaratanayasvargasopAnapaGktim / gaurIvaktrabhRkuTiracanAM yA vihasyeva phenaiH zambhoH kezagrahaNamakarodigdulagnomihastA // 53 / / tasmAtsarasvatIpradezAt jo rAjJaH kanyAM jAhnavI putrI gccheryaayaaH| kozI kanyAM ? anukanaka}khalaM364 lakSI(kSyI)kRtyA'nukanakhalam / zailarAjAvatIrNA, zailarAjAdiha (ddhi)mavato'vatIrNA, zailarAjAvatIrNA', tAm / punaH kIdRzIM ? sagaratanayaH yasvargasopAnapa[Ga]kti, sagaratanayAnAM SaSThisahasrasaMkhyAkaputrANAM [svargagamanAya sopAnapaGktiriva sopAnapaDiktaH / tAM yAM gaGgAm / ayaM bhAvaH / sapatnyAmIyAkUlAyAM satyAM mayA saha saMbhogaH kriyate so'tyantamadharo harSAya bhavatIti phenarUpeNa hAsyena vihasya gauyoH prayAsa nirvivezaH ? / tasya saMbhogasya sUcakaM kezagrahaNa. suratAkSI candraH tasminnUrmIhastasparzo'bhUdityAzayaH / indulagnomihastA / indau candra lagnA UrmayaH eva hastA yasyAH sA / indulagnomihastA satI sapatnIva] {santI pAtrIva}366 zaMbhomahezvarasya kezagrahaM 367 kacAkarSaNamakaroccakAra / utprekSyate phenaiH DiMDIre : gaurIvaktra kuTiracanAM vihasyeva gaurIvako pArvatImukhe yA bhukUTiracanA, tAm // 53 / / 368tasyAH pAtu suragaja iva vyomapUvArdhalambI tvaM cedacchasphaTikavizadaM tarkayestiryagambhaH / saMsarpantyA sapadi bhavataH srotasi cchAyayAsau syAdasthAnopagatayamunAsaGgamevAbhirAmA // 14 // he megha ! cet yadi tvatasthA gaGgAyA ambho jala pAtu tarkaye vaamchyeH| kIdRzaHmamma? acchasphaTikavizadaM369 nirmalam / sphaTikasvaccham / kiMbhUta ambhaH ? tiryaga vahamAnam / va ka iva ? vyomni370 pUrvArdhalambI suragaja iva / yathA suragajaH pUrvArdhalambI san zobhate / pUrvArdhanottarabhAgenA'valambayan yaH sa: pUrvArdhalambI / tatra pravAhe prasaratyA bhavacchAyayA kAntyA sapadi zIghra sA gaGgAsthAnopa{vagatayamunAsaMgamena abhirAmA manonyA(jJA)371 syAdbhavet ? asthAne'prastAve upagatA militA yA yamunA yasyAH saGgamo melApakastena // 54 // 372AsInAnAM surabhitazila nAbhigandhai gANAM tasyA eva prabhavamacalaM prApya gauraM tuSAraiH / vakSyasyadhvazramavinayane tasya zrRGge niSaNNaH zobhA zubhratrinayanavRSotkhAtapaGkopameyAm // 25 / / he jalada ! tasya himAcalasya zraGage niSanna(gNaH) upaviSTaH san / tvaM zubhratrinayanavRSokhAtapaGakopameyAM zobhA vakSa(kSya)si373 dhArayikR(Sya)si 3 74 / zubho (pro)375 dhavalaH varNaH / trinayanasya rudrasya yo[s]sau vRSo vRSabhastena utpAtaH utpArito yaH paraH kardamastena sahopameyA, For Personal & Private Use Only

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23 zubhratrinayanavRSotkhAtapaGkopameyA tAm / kiM kRtvA ? tasyA eva gaGgAyA prabhavaM utpattisthAnaM 376 acala himavantaM prApyA''sAdya / kIdRzamacala ? AzI(sI)nAnAmupaviSTAnA kasturI(ri) kAmRgANAM3 77 nAbhigandhairnAbhiparimalaiH surabhitazIla surabhitA sugandhIkRtA zilA yasya sa tam / punaH kimbhU. tamacalaM ? tuSArahimagaura(ra) dhavalam / kIdRze zrRGage'dhvazrama378-vinayane mArgakhedasphe(spho)Take // 55 // 379taM cedrAyau sarati saralaskandhasaMghaTTajanmA bAdhetolkAkSapitacamarIbAlabhAro davAgniH / arhasyenaM zamayitumalaM vAridhArAsahasra rApannAtiprazamitaphalAH sampado jhuttamAnAm // 56 // [TIkAyAM pragamanaphaloH iti pAThaH] cet yadi taM himavanta(taH) davAgniH dAvAnala: bAdheta3 80 [daheta]tadA''tyartha, enaM381 giri(riM) vAridhArAsahasraH zamayitu nirvApayitu arhasi yogyo bhavasi / kva sati ? vAyau pavane sati vAte sati / kIdRzo dAvAgniH saralaskandhasaMghahajanmA saralaska dhAdeva dAravo vRkSAsteSAM saMghahanAta: jinna]3 8 2 yasya sH| punaH kimbhUto dAvAgni: ? ulkAkSapitacamarIbAlabhAra ulkAbhiralAtajvAlAbhiH]3 8 3 'kSapito dagdhacamarINAM bAlabhAro yena saH / yukto'yamarthaH / hi yasmAt kAraNAta uttamAnAM pa(ga)384riSThAnAM sampada: samRddhayaH ApannAtiprasa(za)manaphalAH ApannAtiprazamanameva phalaM yeSAM te // 56 // 385ye tvAM muktadhvanimasahanAH svAGgabhaGgAya tasmindapotsekAdupari zarabhA la ghayiSyantyaladhyam / tAnkurvIthAstumulakarakAvRSTihAsAvakIrNAnke vA na syuH paribhavapadaM niSphalArambhayatnAH / / 57 / / ['ye saMrabhotpatanarabhasA' iti TIkAyo dazyate ] TApadA dapo(po)tsa(sa)kAdahakA he jalada / tasmiA parvate ye sarabhAH aSTApadA dapo(potsa(tse)kAdahakArAta vAM zaTAyamAnaM asahamAnAH saMtaH lavayiSyanti / kasmai ? svAGgabhaGgAya tAn sarabhAn [layeyuH / ]386 [tu]ma(mulakArakAvRSTihAsAvakIrNAn , tumulA prabalA yA kArakAvRSTiH saiva hAso hAsyaM, tenAvakIrNA avalehitA (avahelitA)387stA[na]nukurvIthAH kuryAH / kiMbhUta tvAM ? alaGadhya', yukto[s]yamarthaH / ke niSphalArambhayatnAH paribhavapadaM kaSTasthAna' na syuH / [api tu syuH] 1389 niSphalo nirarthakaH ArambhaH yatno yeSAM te // 57 / / tatra vyaktaM dRSadi caraNanyAsamadhendumauleH zazvatsidvarupacitabaliM bhaktinamraH parIyAH / yasminvRSTe karaNavigamAdUramuqhtapApAH saMkalpante sthiragaNapadaprAptaye zraddadhAnAH / / 58 / / 389 [ 'upahitabaliM' iti, Urdhvamuddhata iti ca TIkAyAM dRzyate / ] For Personal & Private Use Only

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mahAkavi-kAlidAsa-viracitaM he jalada ! tatra himavati girau dRSadi zilAyAM ardvandumauleH indorarddhamardhenduH, sa mauli: zeSa(kha)ra yasya saH / ardvandumaulistasya mahezvarasya vyakta prakaTa caraNanyAsaM padamudrAm / bhaktyA namraH [bhaktinamra]390 ssan va bhavAn parIyAH, pradakSiNIkuryAH / kiMbhUtapAdanyAsa sidadhaiH devavizeSaiH zasva(zva)nnirantara upahaH hitaMbalima391 / upahitA DhokitA, baliA pUjA, yasya saH, tam / yasmin pAdanyAse dRSTe sati zraddadhAnA bhAvanAtatparAH / asya devasya sthiragaNapadaprAptaye saMkalpante / sampadyante / sthirA nizcalA gaNapadaprApti stasyai-392 sthirgnnpdpraaptye| kasmAt 1 karaNavigamAt Urdhva dehapAtAdanantaram / karaNAnIndriyANi vidyante yatra taskaraNaM vapustasya vigamo nAzastasmAt / kimbhUtAste ? dUramudbha()tapApAH uddhRta(taM)393 nirgamita pApaM yaistaiH // 58 // zabdAyante madhuramanilaiH kIcakAH pUryamANAH saMraktAbhistripuravijayo gIyate kiMnarIbhiH / nihadiste muraja iva cetkandareSu dhvaniH syAsaMgItArtho nanu pazupatestatra bhAvI samastaH // 9 // tatra girau kIcakAH sacchidravaMzAH anilaiH vAyubhiH pUryamANAH bhU(5)yamANAH saMtaH madhuraM sasvaraM zabdAyante 394 dhvananti / tatra girau saMraktAbhirbhAvanAbhAvitAbhiH kinnarIbhidevagAyananArIbhiH tripUravijayastripuradAhAkhyarasakAvyaM gIyate / he bandho / tatra cedyadi kandareSu pradezeSu te bhavato ni(vi)drAdI(vI) gambhIradhvanirgarivaH [bhavet]395 muraja itra syA(ta) va(ta)deva tadA nanu nizcitaM pazupati (teH)396 rudrasya tatra samastaH saMpUrNaH saMgItArtho (bhAvI [bhaviSyati / 397 prAleyAdrarupataTamatikramya tAMstAvizeSAmhasadvAraM bhRgupatiyazovarma yatkrauJcarandhram / tenodIcI dizamanusarestiryagAyAmazobhi zyAmaH pAdo baliniyamanAbhyudyatasyeva viSNoH // 60 // tatra himAcale yatkrocarandhra nAma vivaraM vartate / tena vivareNa udIcImuttarAM dizaM kASTA anusara, yAyAH / kiM kRtvA, prAleyAdraH himAcalasya upataTaM taTasamIpam399 | tAMstAMzcaraNa. nyAsAdIn pradhAnAn vizeSAn / atikramya ldhitvaa(lvyitvaa)400| kiMbhUtaM krauMcarandhra ? bhagupatiyazovarma, bhRgupatiH parazurAma :}stavIyasva yazasokotaH yazasA kIrte :) vama prasaraNa * mArgaH / kIdRg sva ? tiryagAyAmazobhI, tigyo[5]sAvAdhAmo,481 vistAmtena zobhI zobhamAnaH / ata utprekSa(kSya)te, viSNonArAyaNasthaM zyAmaH kRSNA pAdaM iva / kohazasya viSNoH ? baliniyamanA'bhyudyu(ya)tasya, baliniyamane, balibandhame'bhyutru:-(dhAsta(ta)sya // 6 // For Personal & Private Use Only

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meghadUtam 402gatvA cordhva dazamukhabhujocchvAsitaprasthasaMdheH kailAsasya tridazavanitAdarpaNasyAtithiH syAH / zadiyoM vitatya sthitaH khaM rAzIbhUtaH pratidizamiva tryambakasyATTahAsaH // 61 // anantara kailAsasya nagarasyAtithiH prAghUrNakaH syAstamacalaM gacche:, gaccheriti bhAvaH / ki kRtvA ? Urdhva gatvA / kimbhUtasya kailAsasya ? dazamukhabhujocchvAsitasya, dazamukhasya rAvaNasya403 bhujAbhirucchvAsita[sya] utpATitasya / punaH kimbhUtasya ? tridazavanitAdarpaNasya tridazavanitAnAM darpaNa Adarzastasya / sphaTikatvena mukhAvalokanAt / yaH kailAsa: kumudavizadaiH zrRGgocchAyaH zikharonnataiH, kha Akoza, vitatya vyAppa, sthito rahitaH / utprekSyate / pratiderA pratikASTham / pujIbhUta(taH) ekavIsa: 404 yambakasya mahezvarasyAhAsa iva hAsyamiva // 6 // 40 5 utpazyAmi tvayi taTagate snigdhabhinnAJjanAbhe sadyaH kRttadviradadazanacchedagaurasya tasya / zobhAmadreH stimitanayanaprekSaNIyAM bhavitrImaMsanyaste sati halabhato mecake vAsasIva // 62 // he jImUta ! tasyAdre: kailAsasya, bhavitrI cAgre 406bha(bhA)vinI zobhA kAnti, utpasyA(zyA)mi, utprekSe'ha', kva sati ? 'tvayi bhavati taTagate zrRGgasthe sati / kIdRze tvayi 1 snigdhabhinnAmjanAme snigdhamarukSa, bhinna varjitaM, yadajanaM kajjalaM, tadvadbhA dIptiryasya sa tasmin / kIrazasya tasyAcalasya, sadyaHkRttadviradadazanacchedagaurasya / sadyastatkAlaM kRtta: khaNDIkRto407, dviradadazanastasya yo(ya) chedaH khaNDastadvatau(dagI)rastasya / kodRzoM zobhAM? stimitanayanaprekSaNIyAM stimi. tAni nizcalAni yAni nayanAni netrANi laiH prekSaNIyA, tAm / utprekssyte| halabhato bali(la)bhadrasya - aMza(sa)nyaste skandhe, sthApitameva(ca) ke kRSNa SNe) vAsasI vastro iva / meghasya kRSNatvAtU tasya ca sitatvAt // 62 / / 408hitvA tasminbhujagavalayaM zaMbhunA dattahastA kroDAzaile yadi ca vicaretpAdacAreNa gaurI / bhaGgIbhaktyA viracitavapuH stambhitAntarjalaughaH sopAnatvaM kuru maNitaTArohaNAyAgrayAyI // 13 // tasmin krIDAzaile kailAse, gaurI pArvatI, yadi cet, pAdacAreNa caraNAbhyAM, vicaret tvaM kSAmyate(1)(caMkrameta) 1409 asyAH pa(pAvatyAstvaM caraNeSu sopAnatvaM kuru kuryAH / kIdRzI gaurI ? For Personal & Private Use Only

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mahAkavi kAlidAsa - viracitaM bhunA IzvareNa dattahastA / kiM kRtvA ? bhujagavalayaM sa eva [ka] kaNaM (sarpa kaMkaNaM ) 410 hiravA muktvA bhayaMkaratvAdatra sarpa kaTakatyAgaH | 411 kimartha ? maNibaddha zilArohaNArtham / he jalada ! tva' saM (a)grayAyI san / kIdRzastvaM ? bhaGgIbhaktyA tAGgavicchityA kallolAkAreNa viracitavapuH / punaH kIdRzaH 1 tva N stambhitAntarjajoyaH (laughaH) stambhitA (to) ntarmadhye jalaughaH yena saH // 63 // 26 412 tatrAvazyaM valayakulizodhanodgIrNatoyaM neSyanti tvAM surayuvatayo yantradhArAgRhatvam / tAbhyo mokSastava yadi sakhe gharmalabdhasya na syAPatrioolA: zravaNaparubairgajitairbhAyiyestAH // 64 // he sakhe ! yatra kailAse avazyaM nizcitam sugyuvatayo'marAGganA, tvaM (svAM) bhavantam, yantradhArAgRhatva jaladhAra ( rA ) gRha bhAvam, neSyanti prApayiSyanti / he sakhe, yadi ceta (t), tAbhyamokSaH tyAgo nasyAnta (tU na ) 413 bhavet tadA tvaM zravaNaparuSaiH karNakaTukaiH, garjitaiH , stava, , zabditaiH stAM (tAn ) bhAva (ya) ye[thAH ] {stAbhayeH } trAsayeH | 414 yathA tvAM tAsu ceyuH (tA: * , muyuH) | 415 kimbhUtAstA ? krIDAlolA kautUhalacaJcalAH / kIdRzasya tava ? dharmasya sabhi (ti) 416 labdho gharma labdhastasya / kIdRzaM tvAM 1 kulizavalayo [d] dhanodgIrNatoyam / kuliza. vayodhanenodgIrNaM [vAnta' ] prasArita toya jala N yena saH tam ||64|| 417 hemA bhojaprasavi salilaM mAnasasyAdadAnaH kurvankAmaM kSaNamukhapaTaprItimairAvatasya / dhunvankalpadruma kisalayAnyaMzukAnIva vAtainanAceSTerjalada lalitairnirvizestaM nagezam / / 65 / / he lada ! va varNitasvarUpa taM nageza 418 kailAsa, nirvizeH upabhuJjIthAH / sva. kiM kurvANaH 1 mAnasasya sarasa: hemAmbhojaprasavisalila' AdadA [no ]419 gRhana (duNa) n hisra: (hemnaH) 420 svarNasyAM bhojAvi (ni) prasUte janayati yatra ( yattat ) 421 mAnasasambandhi salilamudakam / sva. kiM kurvan ? kAmamabhilaSitaM, lakSaNa kSaNamAtra airAvaNasya suragajasya, mukhapaTaprItiM muhavaDa( khapaTa) 422 - sAdRzyaM kurvan, gajAri (hi) 423 mukhapaTena [ prIyante] [424 kiMbhUta 425 parvata 1 chAyAbhittisphaTikavizada sphaTikamaNinirmalaM / prIyante harSitavadanA bhavatA bhavanti / punaH kiM kurvan ? nAnAcai (ce)STairanekavidhaiH lalitaiH manoharai rvAtaiH pavanaiH, kalpadrumakizalayAni suratarupallavAn, aMzukAnIva vAsAMsIva, dhunvan kampayan / kavisamaye vAtastrividho vArthato 426 (varNyate ) [ zIto ] maMda: surabhizca // 65 // 427 tasyotsaGge praNayina iva srastagaGgAdukUlAM ma tvaM dRSTvA na punaralakAM jJAsyase kAmacArin / For Personal & Private Use Only

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meghadUtam yA vaH kAle vahati salilodgAramuccairvimAnA muktAjAlagrathitamalakaM kAminIvAbhravRndam ||66 || he kAmA (ma) 428cArin ! lajjA ( svecchA) rUpa (pa ) 429 ! he megha 430 ! tasya kailAsasyoverUzaM (19saGge) ki (a) lakAM asmatpurI dRSTvA / punaH punarapi jJAsyaset} / kimbhUtAmalakAM ? srastagaGgAdukUlAM, 431 trasta tadgaGgAdukUla (patat gaGgaiva dukUlaM ) 432 aMbara yasyA sA tAm / gaGgA tatra vahati / 4 3 3 yA alakApurI, vo yuSnAka, kAle varSAsamaye, {kai : 434 } uccairunnatai vimAnaiH 435 prAsAdaiH kRtvA, abhravRndaM vATalaM, vahati dhArayati 1 436 kIdRzamatravRnda ? salilodgAra - salilaM [jalaM]437 udgarati ni yena (vat) 438 tat / yA alakA ka(kA) cit kAminI439 iva yathA 440 [ kAminI praNayinodaya (ya) tasyotsaGge ] muktadukUlA satI / muktAjAlagrathita muktAphalasamUhAlaGkRta bhA(a)laMka 441 kaca' bibhrati / salilasya muktAjAlena sahopamAna, alpA (kha) 1442 lalATaH sahopamAnam ||66 || pUrvameghaH saMpUrNaH || 27 For Personal & Private Use Only

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uttarameghaH 443zaSpazyAmA dinakarahayasyandino yatra vAhAH zailodagrAstamiva kAraNo vyaSTimantaH prabhedAt / yodhAgraNyapratidizamukhaM saMyuge tasthivAMsaH pratyAdRSTAbharaNarucayazcandrahAsaH vraNAke // 67 / / he jalada ! yatrA'lakAyAM evaM vidhA vAhAsu(sturaGgA444 vAte(nte) / kIdRzAM(zA.)445 ? 44zaSya(pa)zyAmAH / zaSyu(pa) bAlatRNaM tadvat zyAmA haritA / zaSyu(pa)zyAmA / punaH kIdRzA ? dinakarahayasyu(spa)ddhinaH, dinakarahayaiH sUryAzvaiH spardhA kurvanti, dinakarahayaspardhinaH / yatrAlakAyAM kariNo gajA vartante / kIdRzA: ? zalodagrAH zailacatu(vada)447dagrAH unnatA: 448 prvtpraayaa| punaH kIdRzAH ? prabhedAnmadajalakSaraNAt tvamiva bhAvAni pRSTamantam (svamiva / vRSTimantaH / )449 yatra pUrvI yodhAgriNyaH]450 subhaTAgresarAH vidyante / kiMvidhAH ? saMyuge saGagrAme, tasthivAMso nizcalAH / punaH kimbhUtAH 1 candrahAse(sa)vraNa(NAM)kai:451 pratyAdRSTaH pratItyazomamAnA(?)452 AbharA(ra)NAnAM ru sra)k kAntiyeSAM te // 6 // 453vidhatvantaM lalitavanitAH sendracApaM sacitrAH saMgItAya prahatamurajAH snigdhagambhIraghoSam / antastoyaM maNimayabhuvastuGgamabhra lihAgrAH prAsAdAstvAM tulayitumalaM yatra taistaivizeSaiH // 6 // he jalada ! yatrAlakAyAM prAsAdAH saudhAni testairvakSyamANairvizeSaiH, tvAM bhavanta', tulayimumanukartu 45 4malaM smrthaaH| kimbhUta svAM ? vidyutvantaM 4 5 5 vidyusvidyate yasyA'sau vidyutvAn, tam / kimbhUtAH prAsAdAH lalitavanitAH svilaasrmnniismnvitaaH|punH kIdRza tvAM? sendracApa susa(sasu rAyudham / 4 5 6 kIdRzAste ? sacitrAH nAnAcitrayutAH / / 57 punaH kimbhUtAste! pra(va)hatamasa(mura)jAH,258 vAdyamAnamRdaGgAH / kasau ? saGgItAya nRtyAya / kigbhUtaM tvAM,1 snigdhagambhIra ghoSa, madhuradhvanitam / punaH kiM [bhU]ta45 0 tvAM? antastoya, madhyasthitajalam / kimbhUtAste? madhyasthita jalam / kimbhUtAste ? maNimayabhuvaH, maNibhizcandrakAntAdyarbaddhA bhUryeSAM te / kimbhUta svAM? tuGgamucci(-cai)staram / kiMmbhUtAste? abhra lihAyAH AkAzaspR[za]cchi[kha]rA46deg ityetattulya savA(va)m // 68 / / 461 haste lIlAkamalamalake bAlakundAnuviddha nItA lodhraprasavarajasA pApabutAmAnane zrIH / For Personal & Private Use Only

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meghadUtam cUDApAze navakurabakaM cAru karNe zirISa sImante ca tvadupagamajaM yatra nIpaM vadhUnAm // 69 / / ('AnanazrIH' iti TIkAyoM dRzyate / ) he megha ! [yatra]46 2 pUryA vadhUnA yuvatInAM, haste kare, lIlAkamala 46 3 krIDAnalina, vidyate / yatra vadhUnAM alaka bAlakundAnuviddha ca464 vartate / bAlakundaiH kunda sukusumairanuviddha mizritam / yatra vadhanAmAnanazrIH mukhazobhA, re(lo)dhraprasvara jasA ro(lo) puSparAgeNa , pANDutAM gauratAM, nItA lambhitA / yatra vadhUnAM caDApa(pA)ze mukuTe navakuru(ra)baka'465 abhinavakusuma {tatra} vartate / yatra vadhUnAM kaNe cAru ramyaM zirISa zirISakusuma vidyate ca / punaryatra vadhUnAM samIpe(sImante)466 tvadupagama(ma)[ja]467 tvadupagamAjjAtaM tvadupagamajaM prAvRSeNyaM nIpapuSpaM vidyte| tatprAvRSi sampadyate etena rAmANAM nAgarikatvamurarIkRta, sArabhUtaM kanakAla kArani {gra rAsane468 // 69 / / 469 AnandotthaM nayanasalilaM yatra nAnyanimittairnAnyastApaH kusumazarajAdiSTasaMyogasAdhyAt / nApyanyatra praNayakalahAdviprayogopapattivirozAnA na khalu ca vayA yauvanAdanyadasti / / 70 // he sakhe ! yatra mamAlakAyAM narANAM AnandAdutthAna yasya tadAnandotthaM nayana salila' netrarodanaM viyate / anyairapi nimitI: zokAdibhiH nayanasalila' na yatra / kusumasa(za)rajAt kusumasa- (za)rAjjAtaH kusumasa(za)rajaH tasmAt iSTasaMyogasAdhyaH / iSTasaMyogenAbhISTajanamelApakena sAdhyaH tApo vartate / anyastApo na yatra / praNayakalahAta snehakandalAdanyatra viprayogopapattiH viyoga prAti(pti)na yatra / ca punaH, khalu nizcitam , vittezAnAM puruSANAM yauvanAdanyadapara kyo nAsti // 70 // 470yasyA yakSAH sitamaNimayAnyetya haryasthalAni jyotizchAyAkusumaracitAbhyuttamastrIsahAyAH / Asevante madhu ratiphalaM kalpavRkSaprasta tvadgambhIradhvaniSu zanakaiH puSkareSvAhateSu // 7 // ( * 'kusumaracanA' iti TokAyAM dRzyate / ) yasyAmala (la)kAyAM yakSA puNyajanezvarA uttamastrIsahAyaH(yA:) pradhAnastrIsahitAH, santaH puSkareSu vAdya (di)teSu, zanakairmanda [mandaM], AhateSu vAdyamAneSu satsu, ratiphala kAmasukhadAyakakalpavRkSapasUtaM suradrumasamutpanna, madhvAsa sevante pibanti / kiM kRtvA ? haya sthA(stha)lAni sevitatvAnyetyAgatya / kimbhUtAni hANi ? za(si)tamaNimayAni zi(sitamaNini(bhiH) sphATikarasnaiH pravRstAni nirmitAni, sh(sitmnnimyaani| punaH kiM lakSaNAni ? jyoticchAyAnakSatrazreNibimbAnyeva(va) For Personal & Private Use Only

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mahAkavi-kAlidAsa-viracita kusumara canA puSpapraphAro yeSu tAni, jyotizchAyAkusumaracanAni / kimbhUteSu [puSkareSI tvadgambhIradhvaniSu tvaGgambhAro ra)dhvaniyeSu teSu // 71 // 471 gatyutkampAdalakapatitairyatra mandArapuSpaiH patracchedaiH kanakakamalaH karNavinasibhizca / muktAlagnestanaparimalacchinnasUtrazca hArainaizo mArgaH saviturudaye sUcyate kAminInAm // 72 / / yatra nagaryA kAminInAmati(bhimArikANAM+7 2 zo rAtri, {satko}mArgaH panthAH, saviturudaye sUryasyodaye sUcyate, jJAyate / kaiH 1 mandArapuSpaiH kalpavRkSava(kSa) kusumaiH473 / kimbhUnestaiH ? alakapatiauH kezabhraSTaiH / kasmAt ? gatyukampAt / gatirgamanam / tatra utprAbalyena kampazcalana, tasyAnna kevala mandArapuSpaiH, ca punaH patrachedyai,47+kRtavijJAnaiH karNa vizrAMsi(bhraMsi)bhi:475 zrotracyutaiH / kanakakamalaiH svarNotpalaiH, yatra naizo mArgaH sUcyate / na kevala kanakakamalaiH sUcyate / ca , punaH, hAriH. (rai : 476 sUcyate / tiM lakSaNaiH ? hAri(re)muktA lagnasuta(stana)parimala(lauH) chinnasUgaiH muktAsu lagnastanaparimala: kucasurabhitva [yeSAM te] chinna sUtra yeSAM te taiH // 72 // 477nIvIbandhocchvasitazithilaM yatra yakSAGganAnAM kSaumaM rAgAdanibhRtakareSvAkSipatsu priyeSu / aci stuGgAnabhimukhamapi prApya ratnapradIpAnhImUDhAnAM bhavati viphalapreraNA cUrNamuSTiH // 73 / / yatra nagaryA yagA(kSA)GganAnAM yakSaramaNInAM carNamuSTi (STiH) 478 pradIpavidyApanabuddhyA praritaH prakSipto viphalo niSphala bhavati / nirarthaka saJjAyate pradyotakA'prazamAt kadAcidaza(trA) sau479 gato bhAva(bhave)dityAha480 / kiM lakSaNAnAM +81 ramaNInAm ? {cUrNamuSTi:}482 mUDhAnAM hiyA mUDhA 483 lajjA (ja)yA mUDhA vyAkulita(tAH) tAsAM brIDA vihvalatvAt tAsAm / keSu satsu priyeSu dayiteSu, rAgAt snehAt, kSaumaM vAsA (sa:)485 AkSipatsu apahasyu(su)486 satsu / kIdRzeSu priyeSva{5}nibhRtakareSu kAmecchayA cAla(la pANiSu487 | kimbhUtaM kSaumaM ? nIbIbandhocchA(cchava)sitazithilam / novIbandhasya ucche (va)sanena488 vikAsena zithilamadRDham / kiM kRtvA ? acizRGgAn 489 ratnapadIyAn Abhamukha sammukhamapi prApyAsAdya ratnAnAM arciSo[5] vinazvaratvAt / kathaM ? carNamuSTi prakSepaH kSepastu 490 [vahnidIpabhrAntyA] vihvalatvAt tAsAm // 73 / / yatronmattabhramaramukharAH pAdapA nityapuSpA haMsazreNIracitarazanA nityapamA nalinyaH / For Personal & Private Use Only

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meghadUtam astraNThA bhavanazikhino nityabhAsvatkalApA nityajyotsnA: pratihatatamovRttiramyAH pradoSAH // 74 | ( 'yasyAM' iti TIkAyAM dRzyate / ) yasyAmakAyA pAdaSA vRkSAH, nityapuSpA santi / kimbhUtA pAdapA: 1 mattabhramaramukharA : 461 [ mattabhramarairmukharA bAcA ] 492 yasyAM nalinya: kamalinyo:, nityapadmA santi / kimbhUtA nalibhyaH 1 haMsazreNiracitarasa (za) nA: 433 | haMsAnA zreNayo haMsazreNayaH / haMsazreNIbhiH racitA rasanA mekhalA yAsanto(sAM tA: ) 494 haMsa zreNI racitarasa (za) nAH / haMsazreNyeva racitA rasa (za)nA mekhalA yasyAM tAH / { yasyAM} / bhavanazikhino gra(ga) hamathura : rA:)495 ke kotkaNThA vidyante / kekai (ka) yA 496 mayUravANyA utkaNThA yeSAM te / kimbhUtA bhavanazikhinaH nRtya bhAsvatka lApAH / 497 nRtyena bhAsvanto dIpyamAnAH kalApA yeSAM te / yasyAH pradoSAH sandhyAsamayAH nityajyotsnA: pratihatatamovRttiramyAH santi / nityajyotsnAbhiH prahi (ti) [ha] tA: 408 sphoTitA yA tamovRttistayA ramyA sundarAH // 74 // 499 akSINAntarbhavananidhayaH pratyahaM raktakaNThai rudrAbhirdhanapatiyazaH kinnarairyatra sArddham / dearer vibudhavanitAvAramukhyA sahAyAH bApAnaM bahirupavana kAmino nirvizanti ||75 || yatra'lakAyAM kAminaH kAmukha (ka) puruSA : 500 kinnaraiH sArddhaM devagAyanaiH samaM ca (vai)bhrAjAkhyaM 501 brahnirupavanaM bAhyodyAnaM, nirvizanti upabhuJjate / kimbhUtA kAminaH ? vibudhavanitAvAramukhyAsahAyAH / vibudhabanitA [su]502 vAramukhyAstA eva sahAyAH yeSati / athavA vibudhavanitA eva vAramukhyA gaNikAtulyAH krIDAprastAvAttA eva sahAyA yeSAM te / punaH kimbhUtAste ? akSINAntarbhavananiSayaH / akSINA. 503 akSINA (NA ) 'truTitAH / antabhuvanAni, nighayo yeSAM te / kathaMbhUte kinnaraiH ? raktakaNThaiH madhurasvaraiH / 504 kathaMbhUta (taM) upavanaM 1 baddhApAnaM racitapAnagoSTakam / kiM kurvadbhiH kinnaraiH ? pratyahaM pratidinaM dhanapatiyazaH udgAyadbhiH / / 75 / / netrA nItAH satatagatinA yadvimAnAgrabhUmIrAlekhyAnAM salilakaNikA doSamutpAdya sathaH / zaGkAspRSTA iva jalamucastvAdRzA yatra jAlaidhUmodvArAnukRtinipuNA jarjarA niSpatanti // 76 // 31 yatra pUryA khAdRzAH bhavAdRzA:, 505 jalamuco meghAH, jarjarA santi / sadyaH zIghra, jAlairgavAkSaiH bhi (ni) patanti nirgacchanti / kimbhUtA jalamucaH ? dhUmodgArA'nukRtinipuNAH / dhumodgArA506 (ra) yASnukRtiH sAdRzyaM tena nipuNAH / utprekSa (kSya) te / zaGkAspRSTA iva / zaGkitA For Personal & Private Use Only

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mahAkavi-kAlidAsa-viracitaM iva / yathA sAzaka: sAparAdho vyAjena palAyate / kiM kRtvA ? AlekhyAnAM citrANAm salila. kaNi kAdoSaM jalArdrabhAvamutpAdya kRtvA / kimbhUtA jalamuca. ? satatagatinA vAyunA yadivama(mA)nAgrabhUmIrmItAH prApitAH / yasyA alakAyAH vimAnAni, teSAM SA)magrabhUmayo, yadvimAnAprabhUmaya. stAH / kimbhUtena vAyunA ? netrA nayatIti 507 tena netrA / / 76 // yatra strINAM priyatamabhujAliGnocchvAsitAnAmaGgaglAni suratajanitA tantujAlAvalambAH / tvatsaMrodhApagamavizade preritAzcandrapAdaiAlumpanti sphuTajalalavasyandinazcandrakAntAH // 77|| yatrAsmat pUryA candrakAntA: maNayaH, 508 strINAM vanitAnAM suratajana (ni)tAM sambhogotpannAM, aGgaglAni zarIrakhedaM lumpanti 509 dUrIkurvanti / kimbhUtAzvandrakAntAzcandrapAdaiH zva(ca)ndrakiraNaiH preritAH / punaH kIdRzAste ? ata eva sphuTajalalavasyadinaH sphuTAnna[va]jalalavAM, sya(sya)danti kSaranti / syu0 punaH kiidRshai| candrakAntaiH {5} tvatsarodhApagamavizadaiH / tvadIyaH yo[s]so sarodho ru(ro,dhana tasyA'pagamo vinAzastena vizadAH stai (taiH)| punaH kIdRzAH ca'dra. kAntAH 1 tantujAlAvalambA 510 / 511tatru(ntu)[jA]va(la) [A]laMbate tantujAlAvalambAH / kIdRzAnA strINAMm ? priyatamabhujAliGginotsava(cchavA)sitAnAM priya, mabhujAliGganenocchvAsitAstAsAm // 77 // mandAkinyAH salilaziziraiH sevyamAnA marudbhimandArANAmanutaTaruhAM chAyayA vAritoSNAH / anveSTavyaiH kanakasikatAmuSTinikSepagUDhaiH saMkrIDante maNibhiramarairthitA yatra kanyAH / / 7 / / yatrAlakAyAM kanyA guhyakasutA, maNibhiH pradhAnaratnaiH. saMkrIDante / ki0[dRzyaH] kanyAH ? marudbhiH vAyubhiH, sevyamAnAH / kimbhUtaH marudbhiH 1 mandAkinyAH gaGgAyAH salilaziziraiH, jalazItalaH / puna: [kimbhUtAH]512 kanyA: ? mandArANAM, kalpavRkSANAM chAyayA vAritoSNAH / sphoTitagrISmatApAH / kimbhUtAnAM ? mandArANAM ? anutaTaruhAm / anutaTa ruhanti prAdurbhavantyanutaTasahasteSAm / punarapi kimbhUtAH kanyAH ? amaraideM vaiH, prArthitA yAci(ci)tA: / kiM lakSaNai:}rmaNa Ni)bhi:513 ? acchi(nve)STa514-vyairga veSaNIyaH / punaH kiM lakSaNe maNibhiH 1 kanakasikatAmuSTinikSepagur3heH / kanakasikatAmuSTau yAM ratnAnAM nikSepo nyAsastena guDhAstaiH // 78 // 515vAsazcitraM madhu nayanayovibhramAdezadakSa puSpobhedaM saha kisalayabhUSaNAnAM vikalpAn / For Personal & Private Use Only

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meghadUtam lAkSArAgaM caraNakamalanyAsayogyaM ca yasyAmekaH sUte sakalamabalAmaNDanaM kalpavRkSaH // 79 // yasyAM alakAyAM ekaH kalpavRkSaH eka eva surataruH sakala sampUrNama{5}lAmaNDana nArIzagArazobhAM sUta (te)516 prasUte / citra nAnAvidha vAso vastra sUte / yasyAmekaH kalpavRkSaH madhu madya(dya) sta(sU )te / 517 yasyAmekaH kalpavRkSa:518 kisalaya se(sa)ha navapallavaiH sArddha / puSpho(po)bhedaM kusumacitratAM prasUte / kimbhUto(taM)519 [puSpho(po)bheda 520 nayanayozcakSuSa vibhramAdezadakSam / yasyAmeka: kalpataruH bhUSaNAnAM vikalpAn sUte ca / punaryasyAM eka eva taruH caraNakamalanyAsa (sa)yogyaM lAkSArAgaM sUte / caraNakamalanyAse yogya:521 taH(sa) matvA devaM dhanapatisakha yatra sAkSAdvasanta prAyazcApa vahati na bhayAnmanmathaH SaTpadajyam / sabhrUbhaGgaprahitanayanaH kAmilakSyeSvamoghe-- stasyArambhazcaturavanitAvibhramaireva siddhaH // 80 // yatrAlakAyAM manmathaH kAmaH prAyo bAhulyena cApaM dhanurbhayAnna vahati na dv(dh)tte523| kiM kRtvA ? yatra dhanapatiH(ti) sakha'5 24 deva mahezvaraM / sAkSAtpratyakSa(kSa)5 2 5 vasanta / matvA jJAtvA / kiM lakSaNaM cApam ? SaTpadajyam / SaTpadAH bhramarA evayoH} [jyA]5 26 pratyacA yatra tat / tatra cApasya cA[ss]rambhaH caturavanitAvibhamaireva vicakSaNastrIvilAsareva siddhA(ddho)527 niSpannaH / ki lakSaNe { :}zcatura[vanitA]vibhramaiH 1 subhUbhaGge(ga)538 yathA syAdeva kAmilakSyeSu pratihatanayanam / kiM lakSaNaiH pratihatanayanaiH ? amoghaH saphalaiH etena ramaNIjanavaidagdhA(gdhya)muktam // 8 // 529 tatrAgAraM dhanapatigRhAduttareNAsmadIyaM dUrAllakSyaM surapatidhanuzvAruNA toraNena / yavyApyante kRtakatanayaH kAntayA vadhi to me hastaprApyastabakavinato bAlamandAravRkSaH // 81 // he sakhe ! tatra varNa(Ni)ta530 svarUpAyAmasmadalakAyAM dhanaM(na)da531-gRhya(hA)duttareNa532 rAjarAjezvara-gRhya hA)533duttarasamIpe asmadIyamAgAraM gRhaM pravartate / kathaM mayA masyati(te)534 [6]tya(tyu)kte535 abhijJAnamAha / kiM lakSaNasA(mA)gAraM586 ? toraNena durAllakSyaM dUrAdeva jJeyam / kiM-lakSaNena toraNena ? surapatidhanuzvAruNA IndracApasundareNa / yasya gRhaso(syo)pAnte537 vezmanaH samIpe matkAntayA538 varcito[jalase kAdinA]539 vardhApito mandAra[bAla:]540 [vartate / kiM lakSaNo bAlamandAravRkSaH]541 ? kRtakatanayaH putrIkRtaH kRtrimaputrakaH / punaH kiM lakSaNaH ! hastaprApyastabakani(na)mita:542 / hastaprApyeNa bAlatvAt karagrAhyaH stabakeNa543 vinato namnI(mrI)544bhRtaH / sAmprataM savizeSA'bhijJa paraM545 darzayannAha // 8 // For Personal & Private Use Only

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34 mahAkavi kAlidAsa-viracitaM 546vApI cAsminmarakatazilAbaddhasopAnamArgA hemezchannA vikacakamalaiH snigdhavaidUryanAlaiH / yasyAstoye kRtavasatayo mAnasaM sannikRSTa nAdhyAsyanti vyapagatazucastvAmapi prekSya haMsAH // 82 // 547asmin udyAne na kevalA(lo) mandAraH [api ca] vApI vartate / kathaMbhUtA bApI ! marakatazilAbaddhasopAnamArga(ga) / mama gRhe caivaMvidhA vApI padma(dmA)ni vartate(nte) / kiM viziSTA vApI ! hemaiH svarNamayaiH vikacakamaleschi(cha)nnA chAditA / vApyAM hi(hai)makamalairbhavitavyam / kIdRzaiste[snigdhavaidUrya nAle:]546 snigdhavaidUryamaNireva nAlo daNDo yeSAM tAni taiH / haMsA dhArtarASTrAH / tvamapi bhavantamapi prekSya dRSTvA / sannikRSTaM samIpasthamapi / mAnasaM mAnasaro nAbhyA. syanti na smariSyante(nti) / kIdRzA haMsA ? vApyAstoye jale kRtavasataya: vihitanivAsAH / panaH kIdRzA haMsAH ? {avyapagata zucaH vyaH(vya)pagata(tA) zuka(k) yeSAM te / tatraivopadravAbhAvAnna duHkhA(khi)[tAH] / atra hemazabdo rajatAdau // 82 // 549tasyAstIre racitazikharaH pezalairindranIlaiH krIDAzailaH kanakakadalIveSTanaprekSaNIyaH / madagehinyAH priya iti sakhe cetasA kAtareNa prekSyopAntasphuritataDitaM tvAM tameva smarAmi // 83 // tasyA:vyApA(vApyA)stIre550 krIDAzilosti / kIdRzai (za:)551 krIDAzailA:(la:)5522 (pa)zalai: ramyaiH indranIlairindranIlaratna[:] racitazikharaiH(raH)553 viracita zrR[za)GgaH / punaH kIdRzaH 1 kanakakadalIveSTanaprekSaNIyaH / kanakamayInAM svarNakadalIlatAnA(na) ca veSTanena prekSaNIyo ramyaH / he sakhe / iti hetoH kAte(ta)reNa virahavazAdadhIreNa mananA(sA)554 cetasA tvatsAdRzyAttamevAdri(di) krIDAzailaM smarAmi cintayAmi iti / kiM madga(dge)hinyAH sa me(mama)555 priyAyAH (priya) iti / kiM kRtvA ? tvAM bhavantaM vIkSya / kIdRzaM tvAM ? pratyo(prekSyo)556 pAntasphA(sphu)ritataDitaM pretyo(kSyo)yA. (pAnte skA(sphu)ritA lasaMtI taDi(ta) yasya sa tam / zeSatvAvivakSAyAM svAmityadhIrAthe (garthe ti SaSTyA bhAvaH // 83 // raktAzokacalakisalayaH kesarapracAtra kAnta: pratyAsanno kuraSakavRtermAdhavAmaNDapasya / / ekaH sakhyAstava saha mayA vAmapAdAbhilASI kAkSatyanyo vadanamadirA dohadacchamanAsyAH // 84 // 559 he sakhe ! atra krIDAze(zai)le raktAzoka keza(sa)ravRkSau559 vidya(ye)te / kIdRzau tau ? karavakavRtezca punarmAdhavImaNDapasya pratyAsannau nikaTavartinau / tayormadhye ekazcAdyo 560raktAzoko mayA saha tava zaSyA(sakhyA)561 matpriyAyAH vAmapAdAbhilASI vartate / vAmapAda (ma)bhilaSati,562 For Personal & Private Use Only

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meghadUtam vAmapAdAbhilASo / tasya vikAza(saH) pAdaprahArAnugraNe he)ga syAt / ahamapi sAparAdhaH san tadIyacaraNaprasAdaM vAcchAmi / anyo(s)pi bakulo'syAH makAntAyAH vadanamadirAM563dohadanchamanA dohadavAJcchayA kokSati vAcchati / ramaNIvadanAsavasevanena 564 tasya vikAzA(sA)t565 / kIdRzo raktAzokaH? calakisalayazcaJcalapallava: / kIdRzaH keza(sa)ra 1 kAnto mnohrH||84|| 566tanmadhye ca sphaTikaphalakA kAJcanI vAsayaSTi. mUle baddhA maNibhiranatiprauDhavaMzaprakAzaiH / tAlaiH siJjAvalayasubhagairnatitaH kAntayA me yAmadhyAste divasavigame nIlakaNThaH suhRdaH // 85 // he mitra ! tanmadhye tayorazokakeza(sa)rayomadhye krIDAbahiNaH kAJcanI vAsayaSTiH sphaTikaphalakA sphusphaTikasya phali(la)kaH pIThaM yasyAH sA / punaH kIdRzI ? mUle'dhaHpradeza(ze)567 maNibhirbaddhA khacitAH(tA) / kIdRzaiH maNibhiH? anatiprauDhavaMzaprakAzaiH / anatiprauTA nAtipakvA ye vaMzA veNavastadvatprakAza: kAntiryeSA marakatamaNInA te, taiH| marakatamaNavyo(yo)'pi568vaMzavarNA syuH| he sakhe ! yAM yaSTi vo yuSmAkaM suhRnmitram / nA(nI)lakaNTho569 mayuro divasavigame sUryAstasamaye adhyAste sevate / kIdRzo nIlakaNThaH ? mama {ma} kAntayA tAlaiH karavAdanaiH nartito nRtyaM kAritaH / kIdRzai{}stAlai: ? simbadvalayasubhagaiH siyA(jA)570 {naka} kaTakamanoharaiH // 85 // 571 ebhiH sAdho manasi nihitailakSaNairlakSayethA dvAropAnte likhitavapuSau zaGkhapadmau ca dRSTvA / kSAmacchAyaM bhavanamadhunA madviyogena nUnaM / sUryApAye na khalu kamalaM puSyati svAmabhikhyAm // 86 // he sAdho ! re(e)bhi:572 pUrvoktairla kSaNacihna( )manasi nihitaizcittasthApita: madbhavana. (na)573 mamAgAraM lakSayethA: jAnIthAstvam / kiM kRtvA 1 ca punaropAnte likhitavapukho(Sau)574 zaGkhapadmau nidhI dRSTvA vilokya lakSe(kSa)[ye]thA: / kIdRzaM :} bhavana ? adhunA nUnaM nizcita madviyogena mama viraheNa kSAmacchAyamalpazobham / amumevArthA (tha)575 dRSTAntena dRDhayati / kaviH khalu nizcayena kamala sUryavikAzi(si) padma sUryA )pAye dinakarAstasamaye sva(svA).576 mAtmIya(yAM)577 sali(abhi)khyAM578 zobhA na puSyati na puSNAti // 86 // 579gatvA sadyaH kalabhatanutAM zIghrasampAtahetoH krIDAzaile prathamakathite ramyasAnau niSaNNaH / . ahasyantabhavanapatitAM katu malpAlpabhAsaM khayotAlovilasitanibhAM viyudunmeSadRSTim // 87 / / For Personal & Private Use Only

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mahAkavi-kAlidAsa-viracitaM __ he toH(sAdho)580 ! tatra madbhavane vidyudunmeSadRSTi ka' vidhAtum / arhasi yogyo bhavasi / vidyudevonmeSadRSTi:}stAm / yathA tAM priyAM pazyati(si)581 [iti] bhAvama(vaH)582 | kIdRzastvaM prathama(ma)kathito(teH) pUrvokte nirUpite ramyasAnau / pradhAna(na)583zaGage krIDAzaile [ni]Si(Sa)nna(NaH,584 upaviSTa: san / kiM kRtvA ? sadyastatkAla zIghra sampAtahetoH kSipra gamanArtha kalabhatanutAM gajazizupezalatvaM gatvA'' sAdya / guruzarIre vilambo jAyate / kIdRza vi0 dRSTi antarbhavanapatitAM antarbhavane patitAM vezmAntarapraspR(stu)tAmU585 / punaH kIdRzaiH (zI)586 dRSTiM ? alpAlpabhAsaM, alpAlpAstokatarA bhAH kAntiryasyAH sA tAm / punarapi kIdRzI dRSTiH ! khadyotAlI vilasitanibhAM khadyotAnAM jyotiriMgiNAM yA[s]lI zreNI tasyA yAMsilabita587 (yadvilasitaM), sphuraNaM tannibhA, tatulyAm tAm // 87 / / 588tanvI zyAmA zikharidazanA pakvabimbAdharoSThI madhye kSAmA cakitahariNIprekSaNA nimnanAbhiH / zroNIbhArAdalasagamanA stokanamrA stanAmyAM yA tatra syAyuvativiSaye sRSTirAdyaiva dhAtuH // 88 // ['AdyA iva' iti TokAyAM dRzyate / ] he za(sa)khe ! tatraivavidhe gRhe IdRgvidhA yA strI bhavettAmaGganAM mama dvitIyamaparaM jIvitaM jIvitavyaM jAnIthAH / mama kAntAM tAM nu yethA:>589 / kIdRzI sA ? tanvI kRzazarIrA / punaH [kIdRzI]590 sA ? zyAmA591 SoDazavArSikI / pu0[kIdRzI] sA ? si(zi)kharadaza(nAM)nA592 zikharaM pakvadADimabIjAkAraM mANikyaM tadvat dazanA dantA593 yasyAH sA / tIkSNadanta(tA)594 vA / {ka} [punaH] kIdRzI sA 1 pkvbimbaadhrosstthii| pakvaM yadvimbophalaM golhaphalaM tadvad(dA)raktau adharoSThI yA(yasyAH ) sA595 1 punaH sA madhye madhyavibhAge kSAmA kRzodarA(rI)596) punarapi0 sA cakitahariNIprekSaNA nakitA bhayatrastA yA hariNI tadvat prekSaNe yasyAH sA / pu0 [kIdRzI] sA ? nimnA(mna)595. nAbhiH nimnAM(mnA)598 gammIrA nAbhiryasyAH sA / punaH [ko0] sA ? alasagamanA, kasmAt ? shronniibhaaraa[t]| nitambA(mba)599 gauravAt / alasaM manthara gamanaM yasyAH sA / punaH [kI0] sA 1 stanAbhyAM kurcA(cA)bhyAm / stokanamnAM(mrA) stoko(ka) manAka namrA / kiM bahunA'para' varNyate / tasyAM(tasmin) yuvatIviSaye nArImadhye vidhAtuH brahmaNaH AdyA prathamA zri(sa)STiriva600 Adau hi anudvegA[t] ramyanirmANaM bhavati // 88 // tAM jAnIthAH parimitakathAM jIvitaM me dvitIya durIbhUte mayi sahacare cakravAkImivaikAm / gADhotkaNThA guruSu divaseSveSu gacchatsu bAlA jAtAM manye tuhinamathitAM padimanI vAnyarUpAm // 89 / / For Personal & Private Use Only

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meghadUtam kIdRzI tAm ? para (ri)mitakathAm / para(ri)mitA svalpakathA yasyAH sA pi(pe)zalabhASiNI601 / punaH kIdRzI, tAM ? gADhotkaNThAM [gADhA]602 mayi bhartariviSayo(ye)603 utkaNThA ysyaaH| utprekSa(kSya)te / mayi sahacare patyo dUrIbhUte604 sati, ekA605 kevala cakravAkImiva / aha(ha)606 tAM bAlAM ramaNI, anyarUpAm / jAta saMpannAM manye jAne / keSu satsu guruSu dussaheSu dineSu606 gacchatsu satsu / utprekss(kssyte| tuhinamathitAM ziziradagdho padimanImiva, kamalinImiva / atra vA zabda ivArtho jJeyaH // 89 // nUmaM tasyAH prabalaruditocchunanetraM priyAyA niHzvAsAnAmaziziratayA bhinnavarNAdharoSTam / hastanyastaM mukhamasakalavyakti lambAlakatvAdindaurdainyaM tvadanusaraNakliSTakAntebibhati' / / 9 / / nijakAntAyAH virahAvasthAM prakaTayannAha / nUnaM nizva(zca,yena tasyA matpriyAyAH / mukha vadanam / indo cAndramasaH / dainyadA(dI)natvam6081[vicchAyatAM]609bibharti dhariSya(dhAraya)ti610 / 611vata(ta)mAnasamIpe bhaviSyati kAle vartamAnA / kathaMbhUtasyendoH ? tvdnusrnnklissttkaante:| tavAnuzaraNam / tvadanuzaraNena kliSTA vicchAya[va] niitaatsyaaH(sy)| kIdRzaM mukhaM 1 prabalaruditocchunanetra, prabalaruditenA'vicchinnarudanenocchUnanetre yasya tat / punaH kI. nizvAsa (sA)nAmaziziratayA ucchavAsa(sA)nAmuSNaH( cchvA [sa] paramparayA, bhinnavarNA'dharoSTha [m]bhinnavarNoM, virahocchvAsamau(?)vadanAdgatakAntI(ntiH) adharoSTaM TaH] yasya tat / kasmAllaMbAlakasya bhAvI lambAlakatvaM tasmAt / pralambakezavAt virahiNI kezAnna samAcara(raca)yati // 10 // Aloke te nipatati purA sA balivyAkulA vA matsAdRzyaM virahatanu vA bhAvagamya likhantI / pRcchantI vA madhagvacanAM sArikA paJjarasthA kazcidbha: smarasi rasike tvaM hi tasya priyeti // 9 // he jagajjIvana ! sA makAntA, te tava, Aloke darzanepathe(thi,614 purA nipatati, nipati. Syati / yAvatpurA nipAtayoH 'luda(laT) / sUtrama615 / etAdRzAn vyApArAn vidadhantI(tI)616 tAM avalokayiSyasi iti bhAvaH / kI0 sA ? baliyAkula(lA,617 balyAM lau) devapUjana-618 vyAkulA tatparA baliyAkulA / kiM kurvatI ? vA athavA bhAvagamyaM nijacittastha matsAdRzyaM mamAnukAra, citraphalakAdau619 likhatI satI te Alo ke nipatiSyati / te Aloke nipatiSyati / } kIdRzaM matsAdRzyaM ? virahatanu / viraheNa viyoge tanu durbala yattat, vA athavA madhuravacanAM ziSTabhAviNI(NI) pajarasthAM svarNapabjaravAsinIsArikA miti pRcchantIti / Aloke yAsyate iti / kiM kaciditi620 paraprazna / he rasike ! {bhAva621 ka(bha)tu: smarasi matpati dhyAyasi / hi yasmAtkAraNAt tasya patyuH priyA'bhISTA // 91 // For Personal & Private Use Only

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mahAkavi-kAlidAsa-viracitaM uttane vA malinavasane saumya nikSipya vINAM madgotrAGka viracitapadaM geyamudgAtukAmA / tantrImAdrA nayanasalilai sArayitvA kathaMci dbhUyo bhUyaH svayamapi kRtAM mUrchano vismarantA / / 92 / / he saumya / malinavasane rajodhUsarAmvarAMke uccha(tsa)Dage vINAM nikSipya sthApya, geyaM gIta udagAtukAmA satI. mama priyA tavAleoke patiSyanti(ti)623 / kIdRzaM geya ? magotrA624. mama gotranAma aGka cihna yasya tat / punaH kIdRzaM geya? viracitapadaM, viracitAni padAni zabdA yasya tat / sA kiM kurvatI ? svayamapi kRtA(tAM) 25 mUchanAM sA(sva)rANAM bhUyo bhUyo vAraMvAra manaso'svasthA(sthasvAca vismaranti(ntI) vismArayantI / kiM kRtvA ? nayanasalilaitrajalaiH ArdrA kliAnnAM tantroM vINAM kathaMcitmahatA kaSTena sArayitvA yojayitvA 626 // 12 // zeSAnmAsAnvirahadivasasthApitasyAvadhervA vinyasyantI bhuvi gaNanayA dehalImuktapuSpaiH / sayogaM vA hRdayanihitArambhamAsvAdayantI prAyeNete ramaNaviraheSvaGganAnAM vinodAH / / 93 // he saumya ! vA athavA sA priyA ciravirahAvadheH zeSAn }vi(va) ziSTAnmAsAn dehalImuktapuSpargaNanayA saMkhyayA bhuvi vina(nya)syantI sthApayantI / virahadivasasthApitasya Aloke nipatiSyati / dehalyAM devapUjArtha mU(mu)ktaiH sthApitaiH puSpairyA gaNanA tayA / kodRzasyAvadheH virahadivasasthApitasya / virahadivasa(saH) viyogadinamArabhya sthApito(taH), vya(tasya / vA'thavA hRdayanihitArambhaM manoratharacitaM saMyoga madIyasamAgamanam / AsvAdayantyanubhavantI / tavAloke yAsyati / kathametAdRzAn vyApArAn vidharo setyukte Aha-prAyeNa bAhulyena / sA} ramaNaviraheSu dayitaviyogeSu / aGganAnAM viraha(hi)NI strINAm / ete varNitasvarUpA vimo(no)dA vyApArA bhavanti // 13 // savyApArAmahani na tathA pIDayedviprayogaH zake rAtrau gurutarazucaM nirvinodAM sakhIM te / matsaMdezaiH sukhayitumalaM pazya sAdhvI nizIthe tAmunnidrAmavanizayanAM saudhavAtAyanasthaH // 94 // ( 'pIDayenmadviyogaH' iti TIkAyAM dRzyate ) he bandho ! ahameva zaGake za(saM)bhAvayeta} / bhavataH sakhI matpatnI maviyogo mama virahaH ahani dine [sa]jyApArA,6 27 citrAdivyApArayutAM tathA na pIDayet yathA rAtrau nirvimo(no)dAM tAM madviyogo duHkhayet / ata eva rAtrI gurutarazukaM(caM) gurutarA zuk zoko For Personal & Private Use Only

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meghadUtam yasyAH sA tAm / ata eva avanizanayAsanna vAtAyanasthaH / virahavazAt '(a)vanau pRthivyAM yat zayanaM tasyAH / [Asanna vAtAyane gavAkSe tiSThatIti / avanizayanAsannavAtAya[nasthastvaM ta makhoM viyogAdunnidrAM jAgarukAm / nizIthe ardharAtrau matsandezairalamatyartha sukhayitupAzyaH(pazyeH) / kIdRzIM sAdhvIMsatIm // 94|| AdhikSAmA virahazayane saMniSaNNakapAvA' prAcImUle tanurivakalAmAtrazeSAM himAMzoH / nItA rAtriH kSaNa iva mayA sArdhamicchAratairyA tAmevASNavirahajanitairazrubhiryApayantIm // 9 // yA rAtriH mayA sAddha icchAratairabhili(la)SitasurabhaiH(taiH) kSaNamiva matkAntayA nItA [ativAhitA]628 tAmeva rAtri uSNavirahajanitairviyogotpAdakairaM(ra)jhubhirnetrAmbubhiH yApayantI nigami(ma). yantI vartate / kIdRzI sA 1 AdhikSAmA Aghi su(tu) mAnasI pIDA tayA kSAmA / punaH kIdRzI virahazayane saMniSiNi(SaNNa ka)pA saMniSinna (NaM) nikSiptame[ka]pAva' yayA sA / utprekSa(kSya)te keva prAcImUle pUrvIyabhAge (pUrva digbhAge)63 0 himAMzozcandrasya kalAmAge(tra) se(ze)Seva // 15 // niHzvAsenAdharakisalayaklezinA vikSipantA zuddhasnAnAtparuSamalakaM nUnamAgaNDalambi / matsaMyogaH sukhamupanayetsvapnajo'pIti nidrA. mAkAGkSantI nayanasalilotpIDaruddhAvakAzAm // 16 // ( 'lamba' iti TIkAyAM dRzyate / ) sA kiM kurvantI iti hetoH nidrApratI(ti)lA[bha]mAkAGkSantI iti / kim ? svapnajo[s]pi631 svapnaprApto[s]pi masaMyogo melApakaH tasyAH sukhamupanayeta(t) sauravyamutpAdayet / kIdRzaM sukha nayanasalilotpIDarudvAvakAza(zA)m / nayanasalilotpIDanena netrA[mba]pUraNa 632 ruddho'vakAzo yasya / tatpunaH sA kiM kurvatI / nUna nizcitam / zuddhasnAnApAnIyamAtrA'bhiSekAt paruSaM kaThora ala[ka] kuntala nizvAsenA (na)633 vikSipantI apasArayantI / kI alaka ? AgaNDalambam / AgaNDalayolambata ityAgaNDalambi kapolazrastam / kIrazena nizvAsena ? adharakiza(sa)layaklezinA adharakisalayAnAM klezaM karotIti adharakisalayaklezinA / / 96 // Aye baddhA virahadivase yA zikhA dAma hitvA zApasyAnte vigalitazucA tAM mayodveSTanIyA / sparzakliSTAmayamitanakhenAsakRtsArayantI gaNDAbhogAtkaThinaviSamAmekaveNI kareNa // 97 / / For Personal & Private Use Only

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mahAkavi kAlidAsa-viracita punaH kiM kurvatI ? kareNa hastena tAmekaveNI asakRd vAraMvArana }sArayantI / {'to' 'kA'} yAM(yA) veNI Adau prathamavihadivase baddhA racitA / kiM kRtvA ? {ziravA}634 dAma hitvA cUDAzekharamapAsya sA(yA) veNI sA(zA)pasyAnte 6 35 vigalitazucA gatazokena mayA(yo)dvaSTanIyA [mocanIyA]636 / kIdRzI 1 spaze (zakliSTAM kaThorAM tAm / punaH kIdRzIM ? kaThinaviSamAm / kasmAt ? gaNDAbhogAt / kaThinA cAso viSamA ca kaThinaviSamA / kIdRzena kareNa ? ayamitanakhena asaMskArayutena // 97 // pAdAnindoramRtazizirAJjAlamArgapraviSTA. pUrvaprItyA gatamabhimukhaM saMnivRttaM tathaiva / cakSuH khedAtsalilagurubhiH pakSmabhicchAdayantI sAne'jhIva sthalakamalinI na prabuddhAM na suptAm // 98 // punaH sA kiM kurvantI ? khedAt cakSurnetra pazmabhilemibhiH cchAdayantI / kIdRzaiH pakSmabhiH? salilagurubhiH sanmukha gata visRtm| tateo madviraheNodvegakAritvAttathaiva sannivRttaM yadvadevarabhasAbhU(daga)taM tadvadeva pratyAvRkSa(tta)mityarthaH / kIdRzAn amRtazi[zi]rAn 637 ? pIyUSazItalAn / punaH kIdRzAn ? jAlamArga (ga)praviSTAn 638 / sA keva sthalakamalinIva / yathA sthalakamalinI sA'bhre'bhayukte ahni dine [na prabuddhA]63 9 na vikasitA bhavati, na suptA na saMkucitA bhavati // 98 // . sA saMnyastAbharaNamabalI pelavaM dhArayantI zayyotsage nihitamasakRduHkhaduHkhena gAtram / tvAmadhyana navajalamayaM meciyiSyatyavazyaM prAyaH sarvo bhavati karuNAvRttirAntirAtmA // 99 // he jImUta ! sA abalA avasya(zya)64 0 nizcitaM, tvAmapi navajalamayaM azra (saM)641 mocayiSyati ita} tyAjayiSyatIti bhAvaH / sA kiM kurvantI ? sa(za)yyotsaGge nihitaM sthApitaM gAtra zarIra asakRdvAraMvAra duHkha duHkhena 643 dhArayantI / kIdRzaM zarIraM ? pelavaM sukumAra kRza vA / ata eva sanyastAbharaNaM muktamaNDala (nam)644 / yukto[s]yamarthaH / prAyo bAhatyena sava:) ko[s]vi ArdrAntarAtmA Adacitta (taH) 45 karuNAvRtti(ttiH)64 kRpAzIlo 647 bhavati / / 99 // jAne sakhyAstava mayi manaH sambhRtasnehamasmAditthaMbhUtAM prathamavirahe tAmahaM sarkayAmi / vAcAlaM mAM na khalu subhagamanyabhAvaH karoti pratyakSa te nikhilamacirAbhrAtaruktaM mayA syAta // 10 // he bhrAtrAtaH), ahameva jAne tava saravyo bhavato bhrAtRjAyAyAH manazcitta mayi viSaye [sambhRtasneham]648 / sambhRta: snehaH matprItiH vartate [yasmin / ] ato asvAtkAraNAditthaMbhUtAM I (i)DagvidhAM varNitasvarUpAM dazamAvasthAM prAptAM prathamavirahe'haM taka yAmi vicArayAmi / khalu For Personal & Private Use Only

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meghadUtam 41 nizcitam / subhagamabhISTa AtmAna' manyate, subhagaMmanyastadbhAvaH subhagamanyabhAvaH / mA vAcAla yatkiJcitpalArita na karoti na vidhatte / yasmAtkAraNAt he bhrAtaH mayA tavAgre yadukta Atmana: svarUpa tadacirAt stokakAlAt azeSaM sampUrNa te pratyakSya()649 bhAvi dinaiH dvaiH gaistA drakSyasIti // 10 // ruddhApAGgaprasaramalakaraJjanasnehazUnyaM pratyAdezAdapi ca madhuno vismRtabhUvilAsam / tvayyAsanne nayanamuparispandi zake mRgAkSyA mInakSobhAccalakuvalayazrItulAmeSyatIti / / 101 // he bhrAtaH / aha Iti zaGake 650 / tvayi bhavatyAsane(nne) nikaTavartina(ni) 651 sati mRgAkSyA mRganetrAyAH netramupari monakSye(kSo,bhAta652 spandi[tatvAt calakuvalaya(653 yAni teSAM yA zrIstasyAstha stu)lA sAdRzyatA / yato nArINAM 654vAmAzisphuraNamAsannamAnanda sUcayati / kIdRza nayanAnAlambaH pralambamA nairalaH kezai: ruddhApAGgaprasaram / ruddha'pAGgaprasaraH kaTAkSakSepo yasya tat / 655 punaH kIdRza nayanam 1 ajanasnehazunyam , zokAdajanasnehena zunya rahita yattat / punarapi kI daza nayanaM ? vismRtabhrUvilAsa, vismRto bhrUvilAso yasya tat / kasmAnmadhuto(no) madyasya pratyAdezAtparityAgAt // 101 / / ghAmazcAsyA : kararuhapadaimucyamAno madIyaimuktAjAla ciraparicitaM tyAjito devagatyA / sambhogAnte mama samucito hastasaMvAhanAnAM yAsyatyUruH sarasakadalIstambhagaurazcalatvam / / 102 / / ... he megha ! ca punaH / tvayyAsanne sati tasyAH bhatkAntAyA: vAmaH UruzcaJcalatvaM yAsyati sphuriSyati / kIdRzaM (za:)655-A Uru: ? 656madIya kararuhapadaiH mama nakhakSataiH mucyamAno varSa(jya)mAna:657 / punaH viza(zaH) Uru: ? daivagatyAH (tyA) devavase (ze)na 658ciraparicitapadaM659 muktA[jAlaM]660 tyAjita(taM)661 upakSepi]tam / zaityotpAdano'yaM662 tatra tasya karaNam / 'punarapi kIdRzaH ? sarasakadalIsthaM staM bhavadagauraH zrAmaNAnAM samucito yogyH| punaH kIdRzaH sarasakadalIsthaM(staM)bhavadgaura: 663 sarasI kadalIstambhavatgauro664 [gauravarNaH / / 102 // 665 tasminkAle jalada yadi sA labdhanidrAsukhA syAdanvAsyainAM stanitavimukho yAmamAtra sahasva / mA bhUdasyA : praNayini mayi svapnalabdhe kathaMcitsadya: kaNThacyutabhujalatAgranthi gADhApagUDham / / 103 // he jalada ! tasmin kAle prabhAtasamaye, yadi cetsA labdhanidrAmu(su)khA666 syAdbhavet, tadA tatrAsIna upaviSTastvaM stanitavimukhastyaktagarjita: sana, yAmamAtra667sahasva658 balAnmA tAM jAgarayaH>669 / kimarthamityAha / asyAH gATopagUDhaM dRDhAliGgana karnu saMthastatkSaNa(Na) {2}670 kaNThacyutabhujalatAgranthi mA bhUt / sadyastatkAlaM kaNThAd galAt cyuto bhraSTo bhujalatAgranthiryatra gADhopagar3e tat / AzleSavicchedo mA bhavatvityarthaH / kva sati 1 mayi praNayini bhartari kathaMciddavAt svapne sati svapnAsAdite671 sati672 // 103 / / For Personal & Private Use Only

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mahAkavi-kAlidAsa-viracitaM tAmutthApya svajalakaNikAzItalenAnilena pratyAzvastAM samamabhinavairjAlakairmAlatInAm / vidyudagarbhaH stimitanayanAM tvatsanAthe gavAkSe vaktu dhIraH stanitavacanarmAninI prakramethA: // 10 // tato'nantaram / he dhIra ! stanitavacanaiH gambhIragajitavAkyaiH tAM mAninI(nI') vaktu. prakramethAH prArambhethAH / kiM kRtvA ? tAM bhAryA svajalaraNikAzItalena, anili(le)notthApya673 jAgarukA vidhAya, svajalasya nijanIrasya yAH kaNikAstAbhiH zItalastena / kIdRzIM tAM? mAlatInAM mallikAnAM, abhinavaiH nUtana lakai tubala(mukulai:)674 pratyAsvasthA(zvastAM)675 vinidrAm / mAlatyapi prabhAte vikasani(ti) / punaH kI 0 tAM ? tvatsanAthe yuSmadA (da) dhiSThite676 gavAkSe677 vidyudgarbhastiminanayanAM vidyudgarbhataDidvati vAtAyane didRkSayA kSiptaM yazcakSurataeva ti(sti)mite678 nizcale nayane yasyAH sA tAm / / 104 / / tatrA(ba) gatvA[s]ha kiM 679 kathayiSyAmItyAhabhatu mitra priyamavidhave viddhi mAmambuvAha tatsandezairmanasi nihitairAgataM tvatsamIpam / yo vRndAni varayati pathi zrAmyatAM proSitAnAM mandrasnigdhairdhvanibhirabalAveNimokSotsukAni // 105 // 680 he avidhave ! pativati ! bhatu: nijadA yetasya priyamabhISTa mitra'681 suhRdaM mAM jImUta viddhi jAnIhi / kIdRza mAM ? manasi nihitaiH cetasi sthApita: tatsandezaiH svati(svasti)682- : vAcakai:683 tvaM tva[t] samIpa (pa) Agatam / yAM ambuvAhe pathi mA (ge) bhrAmyatAM mAreM(ge) 684 vizrAma kurvatAM proSitAnAM pathikAnAM vRndAni samUhAn, mandasnigdhairdhvanibhiH kRtvA grahAya svarayi yati 685 / sotsukAni vidadhAtItyarthaH / kIdRzAni vRndAni ? abalAveNimokSotsukAni / abalAveNimokSe virahaNI(hiNI)[veNo] mocane utsukAni tvaritAni // 105 // 686ityAkhyAte pavanatanayaM maithilIvonmukhI sA . tvAmutkaNThocchvasitahadayA vIkSya saMbhAvya caivam / . zroSyatyasmAt paramavahitA saumya sImantinInAM kAntodantaH suhRdupanata : saMgamAt kiMcidUnaH // 106 / he saumya ! sA makAtA(ntA) unmukhI cordhvamukhI satI tvAM bhavantaM, vIkSya dRSTvA / ca punareva sambhASya makAntasyodanto[s]yaM iti vicArya, asmAtparamavahitA sAvadhAnA satI tvaduktaM 687zroSya (ya)tyAkarNayaSya (yiSyati / kva sati ? tvayeti pUrvokte AkhyAte kathite sati / kIdRzI sA? utkaNThocchavasitahadayA / utkaNThocchvasitaM hRdayaM yasyAH sA / yukto[s]yamarthaH / he saumya ! suhRdupanato mitreNAnItaH, kAntodantaH / pra(pa)tpreiSitaH / kiM vadantI(nti), kAminInAM yuvatInAM saGgamAt melApakAt kiJcitsvalpam / Uno hono bhavati / sA keva maitha(thilIva, zI(sI teva / yathA maitha(thi)lI pavanatanayaM hanUmantaM vIkSya utkaNThoMcchvasitahRdayA satI taM saMbhASya zrIrAmodantamAkarNitavatI / / 106 // tAmAyuSmanmama ca vacanAtmanazcopakartu brUyAdevaM tava sahacaro rAmagiryAzramasthaH / For Personal & Private Use Only

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meghadUtam avyApannaH kuzalamabale pRcchati tvAM viyuktAM pUrvAbhASyaM sulabhavipadA prANinAmetadeva // 107 / / he AyuSman ! mama vacanAt mAmakInavAkyAt AtmanaH svasya upakurvatAM priyAM evamagre vIkSyamANAM brayAt ucyate / he abale ! tava bhavatyAH sahacaro bhartA avyApanno jIvyamAnaH / rAmagI(gi)zrimasthaH san viyuktAM tvAM bhavantIm / kuzalaM mAGgalyaM pRcchati / yukto[s]yamarthaH / sulabhavipadAM prANinAM jovAnAm / etadeva pUrvAbhASyaM prathamAbhASaNIyam / sulabhA vipadyeSAM te teSAm // 107 // aGgenAGga pratanu tanunA gADhataptena taptaM sAneNAzrudravamaviratotkaNThamutkaNThitena / dIrghocchavAsaM samadhikatarocchvAsinA dUravartI saMkalpaistairvizati vidhinA vairiNA ruddhamArgaH // 108 / / he avidhave ! tava preyAn dUravartI san ste taiH) 689 vikalpaiH utkaNThAvazAdaGgena nijazarIreNa tavAGga vizati / bhavatIdeha praviza(vezi)tumicchati / tvayA samaM(ma)maikyaM vaanycchtiityrthH| kIdRzaH saH 1 vidhinA daivena ruddhamArga : (gaH) / virahasya varSabhogyatvAt / pRthaka vizeSaNairapi sAdRzyaguNamAha / kIdRzya bhavatyA aGga ? 690[tanu kRzam / kIdRzenAGgena ? tanunA kRzatareNa / punaH kI0 ? taptena viyogAsaMtaptena / punaH kIdRza ? taptam / puna0 sAzre(se)Na691 azrayuktena / kI0 azradrava azra (sro dravatItyazradravam / kI. avitaro(rato)-692 kaNTaM aviratA utkaNThA yasya tat / kI0 utkaNThitena / kI0 dIrghocchavAsam / kI0 samadhika-. tarocchavAsinA samadhikataraM ucchavasati yattatsamadhikatarocchvAsi tena // 108 // zabdAkhyeyaM yadapi kila te ya : sakhInAM purastAtkaNe lolaH kathayitumabhUdAnanasparzalobhAt / so'tikrAntaH zravaNaviSayaM locanAbhyAmadRzyastvAmutkaNThAviracitapadaM manmukhenedamAha / / 109 // bhavatyAH bhartA manmukhenedamArga(ha) vakSa kSya)mANaM Aha bhaNati / tatkiM yadapi zabdAkhyeyaM prakaravAcyaM, kileti satye / te tava sakhInAM purastAt karNe kathayitu vaktu yo lolaH / sAkAMkhyo(kSo)'bhUdvabhUva / zabdairAkhyAyate udgIyate tat / yasmAt 1 te bhavatyA Ananasya693 lobhAt Ananasparzasya 694 lobho, vadanasya lobhastasmAt / sa tava bhartA zravaNaviSayamatikrAntaH / tato [na]695 locanai dRshyte| kathaMbhUto yakSaH ? locanAbhyAM adRzyaH / kIdRzaM idaM vakSya mANam ? utkaNThAviracitapadam / utkaNThayA viracitAni padAni zabdA yatra tat // 1.9 // zyAmAsvaGga cakitahariNIprekSite dRSTipAta vaktracchAyAM zazini zikhinAM bahabhAreSa kezAna / . utpazyAmi pratanuSu nadIvIciSu bhruvilAsA nahantaikastha kvacidapi na te tanvi sAdRzyamasti // 110 / / he tanvi ! hanta kaSTe / te tava sAdRzyaM kvacidapi kutrApi ekasthaM ekavastuni 696 , viSaye nAsti na dRzyate, yadvilokyAtmAnaM dhArayAmi / he tanvI(nvi) ! te 697 tava kezAna For Personal & Private Use Only

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mahAkavi kAlidAsa-viracitaM zikhI(khi)nAM mayUrANAM barha bhAreSu pucchasamUheSu vilokayAmi / he. tanvi ! tava bhrUvilAsAn pratanuSu sUkSmeSu nadIvIciSu sariskalloleSu utpazyAmi / kvacidapi tribhuvane[s]pi nAsti / yataste ..vAGga zarIraM zyAmAsu priyaGagulatAsu sazasukumAratvamutpazyAmi vilakyate / tava dRSTi. pAtAn netravyApArAn cakitahariNIvadvilokanenotpazyAmi / punaH bakatracchAyAM mukha[paM] kajazobhA zazini candramasi utpazyAmi // 110 // dhArAsiktasthalasurabhiNastvanmukhasyAsya bAle dRrIbhUtaM pratanumapi mAM paJcabANaH kSiNoti / dharmAnte'sminvigaNaya katha vAsarANi vrajeyudiksasaktapraviralaghanavyastasUryAtapAni / / 111 / he bAle ! paJcabANaH kAma:698 pratanumapi viyogavazAt kRzaM api mAM kSiNoti mAM . pIDayati / kIdRzaM mAm ? asya tvanmukhasya [dUrIbhUtam / ko0 svanmukhasya ?]699 dhArAsistasthalasurabhiNaH / dhArAbhirjaladhArAbhiH siktaM yatsthalaM tadvatsurabhi, sugandhaM, tasya / he bAle ! tvameva vigaNaya vicAraya / asmin dharmA(A)nte varSAkAle vAsarANi dinAni / kaH kathaM kenopAyena vrajeyugaccheyuH / kI* vAsarANi ? dikSu saMsaktaH saMlagnaH pravirala [s]saMyAto meghastena vyastaH khaNDIkRta sUryAtapo yeSu tAni / diksasaktapravira lasUryAtapAni // 111 // tvAmAlikhya praNayakupitAM dhAturAgaiH zilAyAmAtmAnaM te caraNapatitaM yAvadicchAmi kartum / astAvanmuhurupacitai TirAlupyate me karastasminnapi na sahate saGgamaM nau kRtAntaH / / 112 / / he medha ! madvAkyA[t]700 tvamiti bayAH / he dayite ! yAvatta tava caraNapatitaM AtmAnaM {asva} katu vidhAtu icchAmi vAcchAmi tAvanme dRSTimamanetra upaciNaiH sthUlaira (ra)zrubhimuhura vAra Alupyate aacchaadyte| kiM kRtvA ? praNayakupitAM sneha kalaha ruSTAM tvAM bhavati. (to) zilAyAM dhAturAgaigai rikAdibhirAlikhya sthApya / asau kRtAnto duSTavidhirvA sta(ta)701smin citramAge'pi nau AvayoH saGgamaM melApaka na sahate, na kSamati(te. 702 / / 112 / / mAmAkAzapraNihitabhuja nirdayAleSahetolabdhAyAste kathamapi mayA svapnasaMdarzaneSu / pazyantInAM na khalu bahuzo na sthalI devatAnAM muktAsthUlAstarukisalayeSvazrulezAH patanti / / 113 / / he guNavati ! khalu nizcitam / bahuzo'nekavAram / 70 sthalI devatAnAM704 tarukisalayeSu muktAsthUlA azrulezA azrakaNA n(na) na patantyapi tu patantyeva / kiM kurvantInAm ? pazyantInAM avalokayantInAm / kIdRzaM mAM ? taba nirdayAleSahetogAMDhAliGganAya{} / AkAze zUnye praNihitabhuja prasAritabhujam / kIdRzAyAste svapnasaMdarzaneSu kathamapi mahatA kanTena labdhAyAH prAptAyAH / / 113 // For Personal & Private Use Only

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meghadUtam bhittvA sadyaH kisalayapuTAndevadArudrumANAM ye tatkSIrasRtisurabhayo dakSiNena pravRttAH / AliGgayante guNavati mayA te tuSArAdrivAtAH pUrva spRSTaM yadi kila bhavedaGgamebhistaveti // 114 // he guNavati ! te prasiddhAstuSArAdrivAtA himAcalapavanA iti hetormayA AliGgayante Ayate iti kiM yadi cet / kileti satye / ebhiH vAtaiH sahavAsAt pUrvaM prathamaM tavAGga svadIyaM zarIra N spRzaM STaM, 705 sparzita bhavet / te ke ye vAtA dakSiNena pravRttAH / asyAM mAmakInAya dizi vAtuM prasu (stu)tAH / kiM kRtvA ? sadyastatkAla' devadArudrumANAM cIDavRkSANAm / kiza( sa ) layapuTAn bhitvA vikAza ( sa ) yitvA / kIdRzA bAtA ? tat kSIra a ( ) tisurabhayaH / tat kSIra (stra ) tyA surabhayaH sugandhAstatkSI {1} [rasrutisurabhayaH ] // 114 // saMkSipta kSaNa iva kathaM dIrghayAmA triyAmA sarvAvasthAsvaharapi kathaM mandamandAtapaM syAt / itthaM cetazcaTulanayane durlabhaprArthana me gADhoSmAbhiH kRtamazaraNaM tvadviyogavyathAbhiH // 115 // calanetra ! 706 he cancalanayane ! dIrghayAmA dIrgha praharA triyAmA nizA kSaNamiva nimeSa va kathaM []nopAyena 707 saMkSipyante gaccheyuH / anyacca sarvavasthAsu sarvAdazAsu grISmamadhyAhnAdiSvapi kAleSu aharapi de (di) so'pi mandamandAtapaM atikomalaM katha syAdbhavet / he 708 caJcanayate, itthaM pUrvoktaprakAreNa me mama cetazcittaM tvadviyogavyathAbhiH tvadviyogavedanAbhiH durlabhaprArtha kRtam / durlabhAH duSprApyAH prArthanA yasya tat / kiM lakSaNAbhiH ? svadviyogavyathAbhiH gADhoSmAbhiH 709 [ tIvra saMtApAbhiH ] / kiM lakSaNa N cetaH 1 azaraNa 710 zaraNavarjitam / svakIyAM dazAmuktvA'dhunA kartavyatAM prAha // 115 // ityAtmAnaM bahu vigaNayannAtmanaivAvalambe tatkalyANi tvamapi sutarAM mA gamaH kAtaratvam / kasyAtyantaM sukhamupanataM duHkhamekAntato vA nIcchatyupari ca dazA cakranemikrameNa | | 116 // he kalyANi ! iti pUrvoktaprakAreNa AtmAna svaM bahuvigaNayan atyarthaM vicArayan / AtmAnaivAtmAnaM avalambe, dhIratvena dhArayAmi / tat tasmAtkAraNAt he kalyANi ! tvamapi sutarAmatyartha kAtaratvaM adhIra mA gama. mA yAsIH / yukto [s] yamartha: / kasya jIvasya atyantamatyartham 711 sa ( sukhaM saukhyam / upanataM ghaTitaM vA athavA kasya manuSyasya 712 ekAntata: sarvaprakAreNa duHkha kaSTa upanata jAtam | 713zubhAzubhA dazA cakranemikrameNa rathAGgadhArAvat kadAcinnIcairgacchati kadAcidupari gacchati / rathAGgadhArApi bhramantI krameNA{}dha upari yAti ||116 / / zApAnto me bhujagazayanAdutthite zArGgapANau zeSAnmAsAngamaya caturo locane mIlayitvA / pazcAdAvAM virahaguNitaM taM tamAtmAbhilAva nirvekSyAvaH pariNatazaracandrikAsu kSapAsu // 117 // For Personal & Private Use Only

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mahAkavi kAlidAsa-viracita ___ he jImUta ! punama dvacanAttAmiti brUyA : / he priye ! me mama zApAnto bhavitA bhaviSyati / varSasya paripUrNatvAt / 714ASADhazumlai kAdazIdinamArabhya mAsAnAM catuSTaya gamaya / yathA kathAcidativAhaya / tataH pazcAtsayogAdanantara AvAbhyAM virahaguNita virahAvasthAyAM guNanikAyo(ya)715 saMkalita ta, ta vacanAtIta', AtmAbhilASa Atmano vAcchita, kSikSa)pAsu rAtriSu nibezyAva. / nirvAheSu upabhokSyAvahe / kiM lakSAkSyA su716 kSi(kSa)pAsu ? pariNatazaraccandrikAsu / pariNatA paripakvA zararucandrikA zaratkAlacandrajo jyotsnA yAsu tAstAsu // 117 // adhunA guhyakaH svakIyaM prakaramapi(bhi)717 jJAnamAhabhUyazcAha tvamapi zayane kaNThalagnA purA me nidrAM gatvA kimapi rudatI sasvanaM viprabuddhA / sAntosa kathitamasakRtpRcchatazca tvayA me dRSTaH svapne kitava ramayankAmapi tvaM mayeti // 21 // he pativrate ! asau 718 tava bhartA etaduktA(vatvA) bhUyaH punarapi tvAmityAha / he priye ! ahaM zayane ja(ta)lpe tvAmAliGgatya suptaH / tatastvaM me mama kaNThalagnA purA pUrva nidrA gatvA pazcAt kimapi svalpamAtra sasvaraM sazabdaM rudantI satI viprabuddhA vinidrA jAtA / tato asakRddhAraMvAra gedana (na)hetu(tu) me pRcchata tvayA sAntahasiM gUr3ha hasitvA ceti ukta iti / kim ? he kitava, dhUrta, svapne kAmapi vanitA(tAM) 719 nArI (roM) ramayat(n) bhujjanmayA tvaM dRSTaH / tata IvizAdahaM rudanaM kurve // 118 // etasmAnmAM kuzalinamabhijJAnadAnAdviditvA mA kolInAdasitanayane mayyavizvAsinI bhUH / snehAnAhuH kimapi virahe dhvaMsinaste tvabhogAdiSTe vastunyupacitarasAH premarAzIbhavanti // 119 // he asitanayane! nIlotpala nege, mayi bhartari viSaye kolInAt lokapravAdAt avizvAsinI niSpratyayA mA bhUH / kiM kRtvA / etasmAt pUrvoktAt abhijJAnadAnAt mAM kuzalina samAdhiyuktaM viditvA jJAtvA / tadeva kolonamAha / janAH kimapi kuto'pi kAraNena, virahe viyoge snehAta(na) dhvaMsinastvanubhava (vaM)taH Aha kathayanti sma / yataH snehaH pravAsAzrayAnnasya(zyati / ayuktametat / hI(hi) yasmAtkAraNAt te snehAH abhogAdanupabhogAn iSTe vastuni vAJcchite'the upacitarasAsantaH pramarAzIbhavanti prItimatA(yA) 720 sajAyante / / 11 / / kazcit saumya vyavasitamidaM bandhukRtyaM tvayA me pratyAdezAnna khalu bhavatA dhIratAM kalpayAmi / niHzabdo'pi pradizasi jala yAcitazcAtakebhyaH pratyuktaM hi praNayiSu satAmIpsitArthakriyaiva / / 120 / / he saumyAbhISTadarzana ! kazcidISTavaraprazne me mama idaM etata bandhukRtyA(tyaM) tvayA vyavasthAsi(pi)721 tasA(mA)nItam asminnarthe bhavatA 722 bhavitavyam / khalu nizcitam / bhavatastava dhIratAM dhIratvaM pratyAkhyAtu vaktu na tka(kalpayAmi na zaknomi, svaM yAcitaH san niHzabdo'pi cAtakebhyo bappIha kebhyo jalaM praditsa(Sya)si yacchasi / yukto[s]yamarthaH / For Personal & Private Use Only

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meghadUtam yadi yasmAtkAraNAt satAM gariSyanAM praNayeSu snehaleSu ipsitArthakriyaiva pratyuktaM prativacanam | ipsitA vAJchitA yA'rthakriyA saiva / mahAnto hi kartavyeNaiva kArya jJApayanti na tu vacasA // 120 // AzvAsyaiva prathamavirodayazokAM sakhIM te zailAdAzu trinayanavRSotkhAtakUTAnnivRttaH / sAbhijJAnaprahitakuzalaistadvacobhirmamApi prAtaH kundaprasava zithilaM jIvita dhArayethAH || 121 ||723 he jalada metAM priyAM te tava sakhIM evaM amunA prakAreNa tadvacobhirAzvAsya tasyAH vacaH tadvacaH taiH tadvacobhiH tatsandezena mamApi jIvitaM dhArayethAH / kathaMbhUtaH sva 1 zailAdAzu zIghra nivRttaH san / kathaMbhUtAM te tava tAM sakhIM ? prathamavirahA durga ( gra) zokAm / kathaMbhUtAt zailAt ? trinayanavRSotkhA - tAMta) kUt / kSoditazikharAt / kathaMbhUtaiH tadvacobhiH 1 sAbhijJAnaprahitakuzalaiH, prasthApitakuzalaiH / kathaMbhUtaM jIvitam ? prAtaH prabhAtakAle kundaprasavazithilam / kundavRkSyaH (kSasya ) puSpavat zithilam // 121 // etatkRtvA priymnucitpraarthnaavrtmne| me sardA vA vidhura iti vA mayyanukrozabuddhyA / iSTAndezAnjalada vicara prAvRSA saMbhRtazrI rmA bhUdeva kSaNamapi ca te vidyutA viprayogaH // 122|| he jalada ! sauhArdAdvA mitratvAt vA athavA aya vidhuro virahapIDita iti hetormayi viSaye amu (nu)ko (kro) 724 zabuddhya | ( dhyA) 725 upakAradhiyA me mama etatpUrvokta sandezaprApaNaM priyaM kRtvA vidhAya iSTAnnasimavAn ( iSTAn dezAn ) viSayAn dezAn vicara gaccha / sva 1 prAvRSA varSAkAlena sambhRtaH (ta) zrI. prAvRda (du) pArjitazarIronnati : 726 | he jalada ! punastava bhavato me mama vidyuttaDitapriyayA sneha (?) kSaNamapi viprayogaH viyogo mA bhUyAt / kIdRzasya me ? anucita prArthanA vartma (rti) naH / anucitA'yogyA yA prArthanA yAcA tayA / vAkyaiH mamApi kundaprasavazithila kundakuza (su)mA (ma ) [ zithilam ] 727 prasthApitakuzalaiH dRSTa 728 jIvitaM dhArayethAH / kiM kRtvA ? mama enAM 729 sakhIM bhAryAmAzvAsya dhArayitvA / kIdRzIM enAM ? prathamavirahodayazokAM prathamavirahe udagra utkaTaH zaukA (kaH) yasyA sA tAm / kIdRzastvam ? AtmatvelAt ( asmAcchailAt ) 730 A (a) 731 muSmAnu (nna) gAt nivRtto vyAghuritaH / kIdRzAt zailAt ? trinayanavRSotkhAtakUyAt / trinayanavRSeNa 732 utkhAtaM kUTaM yasya sa tasmAt / kIdRzaistadvacobhiH sAbhijJAnaprahita: (ta) kuzalaiH / sAbhijJAnena prahitAni mahyaM preSitAni kuzalAni yeSu tAni teSu // 122 // 47 " sandeza' jaladharavaro divyavAcA''cacakSe prANAstasyA janahitarato rakSitu yakSavadhvAH / yakSeNaiva prakaTitapatho mUlato'nukrameNa gatvA dRSTvA dhanapatipurI tAM ca vAtAyanasthAm // 123 // For Personal & Private Use Only

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48 mahAkavi-kAlidAsa-viracitaM he jalaghara ! varo meghaH dhanapatipurI gatvA ca punaH stAMta)733 yatma(kSa patnI vAtAyanasthAM gavAkSaniviSTAM dRSTvA'valokya / taM yakSakathita sandeza divyavAcA devavANyA kRtvA tAM pratyAcakSe'bhANIt734 / kimartha, tasyAH yakSavadhyA prANAn rakSita(tum) {zatram } / kIdRzo jalaghara: ? janahitarataH janahite rataH, punaH kIdRzaH ? yakSeNaiSa anukrameNa paripATyA mUlataH / AditaH prakaTitaH(ta) patha:735 darzitamAgraH (ga:: // 123 // zrutvA vArtA jaladakathitAM tAM dhanezo'pi sadyaH zApasyAnta sadayahRdayaH saMvidhAyAstakopaH / saMyojyetau vigalitazucau daMpatI hRSTacittau bhogAniSTAnaviratasukha bhojayAmAsa zazvat / / 124 / / dhaneza:[s]pi dhanaM(na) do[s]pi736 jaladakathitAM tAM vArtA sandezalakSaNAM zrutvA vyA(cA)karNya737 tau dampatI strIpuruSau aviratasukhamavicchinnasaukhyam / yathA bhavatyevaM, zasvazva)nnirantaram738 / iSTAn manasya bhilaSitAn bhogAn bho cayAmAsa, bhojayi(ya)ti739 sma / kiM kRtvA ? sadayamAdra hRdayaM yasya saH / sadayahRdayaH san / sazaH zIghram / zyA- / (zA)pasyAnta saMvidhAya zApasarApakrAnta 740 kRtvA / punaH kiM kRtvA ? astakopo nirgatakrodhaH san / etau saMyojya meli(loyitvA741 / kozau tau ? vigalitazucau vigalitA zuk zoko yyostau| . punaH kIdRzau tau ? haSTacittau niHzokatvAdAnanditamanasau // 124 // tasmAdrenigaditamatha' zIghrametyAlakAyAM yakSAgAraM vigalitanibha dRSTacinarviditvA / yatsadiSTa praNayamadhuraM guhyakena prayatnAttadgehinyA sakalamavadatkAmarUpI paye daH // 12 / / tena guhyakena pragayena snehena, madhura manohara praNayagadhura yatsaMdiSTaM kathitam / tatsakala sampUrNam / payodo medhaH / tatgehinyAH purato, prayatnAt yatnena avadat babhASe / kiM kRtvA ? zIghra satvara', alaka(kA)742yAmetyAgatya / punaH kiM kRtvA ? dRSTacihUnaiH kathitalakSaNaiH / yakSAgAra guhyaka gRha vidiyA jJAtvA / kIdRzaM yakSAgAra' ? vigalitazuca'743 gatazokam / kIdRzaH payodaH 1 tasmAt rAmagiregneH tena yakSena nigaditapathaH nigadito darzitaH panthAH mAryo(!) yasya sa nigaditapathaH / punaH kozaH payodaH ? kAmarUpI kAmamabhilaSitaM rUpa yasya sa kAmarUpI // 125 // vedacandrazarabhUpramite'nde, kArti ti)ke dhvlkaamvaasre| zrImahimanagare sunAgare paJjikA viracitocitA minA // 1 // sAhayyA vidadherAjakamalasya mahyavAsau (bhayAAsa)) lilikhe prathamA {ni}vRttiryena harSaprakarSataH / / 2 / iti zrI bRhadgacchIya zrIratnaprabhasUriziya vAcaka zrI lakSmInivAsa viracitA meghadUta kAvyasya ziSyahinaiSiNI nAmnI TIkA sampUrNeti / iti zrI meghadUtamahAkAvyavRttiH sampUrNA jAtA . paM.hitakuzalo'likhI(kha)t zrI jIrNadUgre(rge, // For Personal & Private Use Only

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padmasundarasUriviracita gavAkRtIn sutAn gAvo janayantyakhilAH param / puGgavaM kApi dhaureyaM zRGgollikhitabhUtalam // 89 // jananI janayet putramekameva hi vIrasUH / zUraM paraHzatA nAryaH zatasaMkhyAn sutAnapi // 90 // uktaM ca zUrAH AhaveSu ca ye svAmyarthatyaktajIvitAH / bhRtyabhaktAH kRtajJAzca te narAH svargagAminaH // 91 // yatra yatra hataH zUraH zatrubhiH pariveSTitaH / akSayAMllabhate lokAn yadi klaibyaM na gacchati // 92 // api ca satyadharmavyapetena na saMdadhyAt kadAcana / , saMsandhito'pyasAdhutvAdacirAdeti vikriyAm // 93 // praNAmAdupahArAdvA yo vizvasiti zatruSu / supta iva vRkSAgre patitaH pratibudhyate // 94 // AtmodayaH parajyAnidvarya nItiritIyatI / tadUrIkRtya kRtibhirvAcaspatyaM pratAyate 118411 (89) sabhI gAyeM apanI AkRti ke samAna hI putroM ko utpanna karatI haiM, lekina koI viralA gAya ha sIMgoM se pRthvI ko ucATane vAle agragaNya zreSTha valIvarda ko utpanna karatI hai / (90) vIra ko paidA karane vAlI mAtA eka hI zUravIra putra ko paidA karatI hai lekina saikar3oM nAriyA~ (sAdhAraNa nAriyA~) saikar3oM (sAmAnya) putroM ko bhI paidA karatI haiM / (91) kahA mI hai - yuddha meM jo vIra apane svAmI ke lie prANa tyAga dete haiM ve hI bhaktasevaka kRtajJa haiM aura ve hI svargagAmI hote haiM / (92) jahA~ jahA~ yuddhasthala meM zatruoM se ghirA huA jo zUra - aura mArA jAtA hai, vaha yadi adhIra (kAyara) na ho to akSayaloka meM jAtA hai / (93) aura bhI - satya aura dharma se rahita rAjA ( athavA puruSa ) ke sAtha kabhI bhI saMdhi nahIM karanI cAhie / acchI taraha se saMdhi kiyA huA bhI vaha duSTatA ke kAraNa punaH vikAra (kroza-dveSa) ko prApta hotA hai / (94) jo rAjA praNAma ke kAraNa yA upahAra ke kAraNa zatruoM meM vizvAsa kara baiThatA hai vaha vRkSa ke agrabhAga para soye hue kI bhA~ti giratA huA hI najara AtA hai / ( 95 ) svayaM kI unnati (va) zatruoM kI hAni - ye do hI nIti aura itanI hI nIti hai / inakA svIkAra kara ke hI kRtakRtya hue rAjAloga apanI nItikuzalatA phailAte haiM / For Personal & Private Use Only

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zrIpArzvanAthcaritamahAkAvya anyadA bhUSaNaM puMsaH kSamA lajjeva yoSitaH / pa.krimaH paribhave vaijAtyaM surateSviva // 16 // yAvajjIvitakAlo'sti yAvad bhAgyAnukUlatA / tAvat pratApamutsAhaM na tyajantyudayArthinaH // 97 // buddhiM zakti tathopAyaM jayaM ca guNasaMyutam / tathA prakRtibhedAMzca vijJAya jJAnavAn nRpaH // 98 // durmadAnAM vipakSANAM vadhAyodyogamAcaret / alaso hi nirudyogo naro bAdhyeta zatrubhiH // 99 // svAbhAvikI vainayikI dvidhA buddhirnRNAM bhavet / AdyA bhAgyodayodbhUtA gurovinayajA'parA // 10 // mantrotsAhaprabhutvotthAH zaktayastistra IritAH / mantrAktanu pANAM sA mantriNA mantrayed rahaH // 101 // mantraH sa syAdaSaTkarNastRtIya deragocaraH / sa ca buddhimatA kAryaH strI dhurta zizubhirna ca / 102 // , utmAharA ktaryatra syAt saMgra'mA pragalbhata / UjasvalatvaM zaurya ca nirbhayatvaM para bhave / 103 // (96) anya samaya para kSamA puruSa kA bhUSaNa hai jaise anya mamaya para lajjA yuvatIjana kA bhUSaNa hai, (kintu) yuddha meM to puruSa kA bhUSaNa parAkrama hai jaise suratakrIr3A meM yuvatIjana kA bhUSaNa dhRSTatA he / (27) jaba taka yaha jInakAla hai aura jaba taka bhAgya kI anukUlatA hai taba taka unnati kI icchA rakhane vAle rAjAlaMga apane pratApa va utsAha ko nahIM chor3ate haiN| (98-99) yathAsaMbhava buddhi, zakti, upAra, guga, jaya tathA prakRtibheda ko samajhakara jJAnavAn rAjA durabhimAnI zatruoM ke vadha ke lie inheM vyavahAra meM lAye / AlasI evaM nirudyamo vyakti zatraoM dvArA pIr3ita ho jAtA hai / (100) manuSyoM kI vRddhi do prakAra kI hotI hai-svabhAvakI evaM vainayikI pahalI bha gyonya se utpanna hotI hai aura dUsarI guru ke vinaya se utpanna hotI hai / (101) rAjanIti meM prabhutva utsAha va mantra se janya tAnazaktiyA~ kahI gaI haiN| rAjAoM kI nantrazakti ekAnta meM mantrigaga ke sAtha mantraNA kI jAya, yahI hai / (102) tRtIya Adi vyakti ko agocara aura cha: kAnoM kA jisameM prayoga na huA ho vaisI nandhagA budramAna ka (kintu) stro, dhUta va bAla 6 ke sAtha (vaisI mantraNA) na kareM / (103) saMgrAma Adi meM jahA~ pragalbhatA, cala pattA, zaurya aura parAbhava hone para bhI nirbhayatA rahatI hai, vaha utsAhazakti hai / For Personal & Private Use Only

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padmasundarasUriviracita prabhutvazaktiryatra syAdAdhikyaM daNDa-kozayoH / daNDyAnAM daNDataH kozavRddhiItizca jAyate // 104 // sa rAjA yasya kozaH syAd vinA kozaM na rAjatA / narasya na naro bhRtyaH kintu kozasya bhUpateH // 105 / / sAma-dAne bheda-daNDAvityupAya catuSTayI / tatra sAma priyairvAkyaiH sAntvanaM kAryakRnmatam // 106 // gajAzvapuraratnAdidAnaiH zatrovibhajya ca / dAyAdamantrisubhaTAn dviSaM hanyAdupAyavit // 107 // uktaM calabdhasya hi na yudhyante dAnabhinnAnuja vinaH / labdho'nujI ikaireva dAnabhinnairvibhajyate // 18 // bhedaH syodupajApo yad bandhUnAM zatrusaGginAm / vibhinnAnAM vazIkA At kriyate zatrunigrahaH // 109 // yad uktamdAyAdAdaparo mantro na hyastya karSaNe dviSAm / tara utya payed yatnAd dAyAdaM tasya vidviSaH // 110 // (104) jahA~ daNDa (zikSA) aura koSa kA Adhikya ho vaha prabhutvazakti hai / zikSApAtra ko zikSA dene se koza kI vRddhi hotI hai aura nIti kA AviSkAra hotA hai| . (105) jisakA koSa sampanna hai vahI rAjA haiM, binA koSa ke koI gajatva nhiiN| manuSya manuSya, kA sevaka nahIM apitu manuSya bhUpati ke koSa kA sevaka hotA hai / (106) rAjanIti meM sAma dAna, daNDa, bheda-ye upAyacatuSTaya hI pramukha haiM / priya vAkyoM se sAntvanA denA hI, ko kArya sAdhaka hotA hai, sAma mAnA gayA hai / (107) hAtho, ghoDe, nagara (gA~va), ratna Adi dAna dekara zatru ke dAyAda ko ( yuvAja, rAjavaMzI yA rAjya ke vArasa ko), mantriyoM ko evaM subhaToM ko phoDakara zatruoM kA nAza kareM / (108) kahA bhI hai -- dAna dvArA phoDe hue sevaka jisa (rAjA) ke pAsa se lAbha prApta karate haiM usake sAtha lar3ate nahIM haiM apitu) ve phor3e hue sevaka usa (rAjA) ko vizeSataH bhajate hai| (109) zatru ke sahAyaka bandhuoM ko viplava ke lie guptarIti se protsA heta karanAyaha meda hai / zatru se jo nArAja ho una sabako apane vaza meM kara lene se zatru ko bAyA jAtA hai| (110) kyoM ki kahA gayA hai - zatruoM ko AkRSTa karane meM bAbAda (yuSagaja, rAjavaMzI yA rAjya ke vArasa) se anya koI mantra nahIM hai / ataH usa pana ke dAyAda ko prayatnapUrvaka uThAnA (apanI ora milAnA) cAhie / For Personal & Private Use Only

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zrIpArzvanAthacaritamahAkAvya sandhAya yuvarAjena yadi vA mukhyamantriNA / antaHprakopanaM kAryamabhiyoktuH sthirAtmanaH // 111 // annamoSai ripordezAvaskandaploSasUdanaiH / svasainyasyAvamardaina daNDaH syAdarinigrahe // 112 // taduktamnAzayet karSayecchatrUn durgAkaNTa kamardanaiH / paradezapradeze ca kuryAdATavikAn purAn // 113 // dUSayeccAsya satataM yavasAnnodakendhanam / bhindyAccaiva taDAgAni prAkArAn parikhAM tathA // 114 // syAdindriyANAmartheSu yadi dharmA'virodhinI / pravRttirantaraGgArinigrahastaM jayaM viduH // 115 / / yaduktamkAmaH krodhastathA moho harSo mAno madastathA / SaDvargamutsRjedenamasmiMstyakte jayI naraH // 116 // sandhizca vigraho yAnamAsanaM dvaidhamAzrayaH / / SaDguNA bhUbhujAmeta japatrIpraNayAvahAH // 117 // ghore pravRtte samare nRpayohatasenyayoH / maitrIbhAvastu sandhiH syAt sAvadhizca gatAvadhiH / 118 // (111) yuvarAna yA mukhyamantrI ke sAtha sandhi karake sthirabuddhavAle zatru ke andara prakopa paidA karanA cAhie / (112) apane sainya dvArA zatru ke anna kI corI tathA zana ke pradeza meM hallA (zora), Aga aura nAza karavA kara (zatru ko) kucalanA-yaha zatra ko dabAne ke lie daNDanAti hai| (113) kahA bhI haiM --jahA~ taka eka bhI zatru rahe. yahA~ taka durgoM kA nAza karake zatruoM kA vinAza karanA cAhie, patana karanA cAhie, aura duzmana ke pradeza meM, jaGgalA maM nagaroM ko (chAvaniyoM kA) racanA karanI cAhie / (114) zatra ke ghAsa, anAja ke bhaNDAra, jala va indhana ko sadaiva dUSita kareM, tathA tAlAba, parakATe tathA nagara ko khAiyoM ko bho tAr3aphoDa de / (115) yadi indriyoM .. kI apane viSayoM meM dharmAvirodhI pravRtti hotI hai taba antaraGga zatraoM kA jo nigraha hotA hai use vidvAn loga jaya kahate haiM / (116) kahA bhI hai :kAma, krodha, moha, harSa, abhimAna va mada isa SaT varga (ye chaH antaHzatru hai) ko choDa de / inake choDane para puruSa (yahA~-rAjA) vijayI hotA hai / (117) vijayalakSmI ke prati prema bar3hAne vAle rAjAoM ke ye chaH guNa hai-sandhi, vigraha, yAna (prasthAna), Asana, vaidhIbhAva aura bhAbhaya (118) bhayaMkara yuddha ke zurU ho jAne para marI huI senA vAle donoM rAjAoM kA maitrIbhAva sandhi hai| yaha sandhi avadhivAlI yA avadhirahita hotI hai| - For Personal & Private Use Only

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padmasundarasUriviracita anyonya vijigISubhiH vigrahaH kriyate bhaTaiH / parasparopaghAtena gajAzvarathapattibhiH // 119 // sa vigraho bhavenneturyAnaM syAghadaron prati / svasainyenaiva tathAnaM prAhurnItivizAradAH // 120 // svavRddhau zatruhAnau vA tuSNIMbhAvastadAsanam / ananyazaraNasyAreH saMzrayaM tvAzrayaM viduH // 121 // sandhivigrahayovRttidvaidhIbhAvaH prati dviSam / svAmyamAtyasuhRtkozarASTradurgabalAnyapi // 122 // saptaprakRtayazcaitA rAjyAGgAni pracakSate / rAjyasthiteriti proktA bhUbhujAM vRddhihetavaH // 123 // teSu pradhAnA zaktiH syAdupAyabalavattarA / labhyate'mbho hi khananAnmathanAdanalo bhuvi // 124 // nirudyogamanutsAhamaprajJamavimarzinam / bhanupAyavidaM bhIru tyajanti puruSaM zriyaH // 125 / / nirudyogaM narapati matvA sAntasenikAH / mahAmAtrAzca putrAzca te'pi taM jahati kSaNAt // 126 // (119-120) eka dUsare ko jItane kI icchA rakhanevAle dA vara jA hAthI, azva, ratha paidala senAoM vAle vArapuruSoM dvArA pArasparika hanana se vigraha karate haiM / rAjA kA yaha biyaannnn| apanI senA ke sAtha hI duzmanoM ke prati jo prasthAna kiyA jAtA hai usako nItivizAradoM ne pAna guga kahA hai / (121) apanI unnati va zatruhAni meM cupa rahanA hI Asana nAmaka rAjanIti kA caturtha guga hai| ananyazaraNa vAle arthAta jisakA anya koI rakSaka nahIM hai aise zatru ko AsarA denA ho Azraya kahalAtA hai / (122-123) zatra ke prati sandhi-vigraha kI vRtti (eka Ara sandhi aura duus| ora lar3AI ko taiyAriyA~) dhImA hai| rAjA, mAtra, mitra, koza, rASTra, durga va senA ye sAta prakRtiyA~ gajya ke aga kAlAtI hai / ye prakRtiyA hA rAjya ko sthiratA ke lie haiM ina kAraNa unha rAjAoM ke unnati ke hetu kahA gayA hai / (124) unameM (arthAt buddhi, zakti, upAya, guNa, jaya aura prakRti meM ) zakti pradhAna hai| vaha upAyoM sa balavatI hotI hai| jagat meM khodana se jala tathA manthana karane se agni prApta kI jAtI hai / (125) udyagahIna, utsAhara heta, avicArazIla va upAya ko nahIM jAnane bAle Darapoka puruSa ko rAjyazrI chor3a detI hai| - (126) yoddhA sainike bhI nirudyogI samajhakara chor3a dete haiM, tathA mahAmAtra aura putra bhI aise rAnA ko tatkSaNa chor3a dete haiN| For Personal & Private Use Only

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zrIpArzvanAthacaritamahAkAvya ityevaM dhIsakhasyAsya zrutvA kAlocitaM vacaH / UrIkRtya tadAkhyAtaM yuddhe sajjo'bhavannRpaH // 127 // dUto'haM preSitaH svAminAhAtuM tvAM yathocitI / syAt tathA kriyatAM zIdhrakRtye khalvavilambya yat // 128 // iti dUtoditaM zrutvA'zvasenaH saha sainikaiH / prasthAnaM kartumArebhe tAvat pArzva idaM jagau // 129 // sute sati mayi svAminna prasthAnaM tvocitm| raverbAlAtapenApi tamaH kiM na vihanyate ? // 130 / ityuktavA saMnanAhoccaiH zrIpArzvaH sabalaH svayam / sainikai ribhiryuktazcakre prasthAnamaGgalam // 131 / / tAvacca kAlayamanaH sAdheNAbhyaSeNayat / prasenajiccAbhyamitraM sahasainyastadA'calat // 132 // dvAveva dhvajinIM svAM svAM vibhajyotimadoddharau / raNabhUmimadhiSThAya tasthaturvigrahArthinau // 133 / / raNatUryamahAdhvAnaH senayorubhayorabhUt / subhaTAnAM yuyutsUnAM vadheyan mRdhasAhasam // 134 // (127) isa prakAra buddhi hI jisakA mitra hai aise usa vRddhasaciva ke samayocita pacanoM ko sunakara rAjA (prasenajit) usakI bAta svIkAra kara yuddha ke lie sajjita hue| (128) he svAmin ! maiM dUta rUpa meM Apa ko bulAne ke lie AyA huuN| Apa ucita zIghratA kariye jisase karya meM vilamba na ho / (129-130) dUta kI vAta sunakara mahAgamA azvasena sainikoM ke sAtha jyoMhi prasthAna karane lage taba hI pArzva kumAra ne yaha kahA hai svAmina !, mujha patra ke hote hue ApakA yadadhasthala meM prasthAna karanA ucita nahIM hai| sUrya ke bAla Atapa (prAtaHkAla ke, udaya hote sUrya ) dvArA kyA andhakAra naSTa nahIM kiyA jAtA ? (131) isa prakAra ucca svara se kahakara usa balavAna pArzvakumAra ne asaMkhya . sainikoM ke sAtha yuddha ke lie maMgala prasthAna kiyA / (132) udhara kAlayamana ne bhI samasta samudAya ke sAtha prasthAna kiyA tathA mahArAja' prasena jit bha senA sahita zatru ke prati ravAnA hue| (133) donoM madoddhata rAjAoM ne apanI apanI senAoM ko vibhakta kara... raNabhUmi meM pahu~cakara yuddha kI icchA se apanI sthita jamA dI / (134) donoM senAmoM meM yuyutsu subhaToM ke yuddha-sAhasa ko bar3hAtI raNameriyoM kI mahAna dhvani huI / For Personal & Private Use Only

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padmasundarasUriviracita gajAnAM bRMhitaistatra hayaSAravairbhRzam / raNAta dhAravaiH zabdADambaro vyAnaze'mbaram // 135 // niryayuH kRtasaMrambhAH sumaTA ye raNodbhaTAH / dhanvinaH kRtahuGkArAH senayorubhayorapi // 136 // abha bAnAyujAH pArasIka- kAmboja - bAlhikAH / hayAH pracelu capalA raNAbdheriva vocayaH // 137 // trilaGghayiSavaH svIyairgatairiva namo'GgaNam / apAvRttAdibhirheSAghoSA vAhA virejire // 138 // cakreNaikena cakrI cedvayaM cakradvayIbhRtaH / 'vadanta iti cItkArai rathA jetumivAbhyayuH // 139 // vipakSemamadAmodamAghrAya pratighoddhurAH / sindhurA niryayuryoddhuM jaGgamA iva bhUdharAH // 140 // dhAnuSkA raNanATyasyopakrame sUtradhAravat / ninadattUryaniH svAnaM raNaraGgamabIvizan // 141 // raNaraGgamanuprApya dhanvibhiH zitasAyakAH / bhuH prathama nirmuktAH kusumaprakarA iva / / 142 // (135) vahA~ hAthiyoM kI ciMghAr3a aura azvoM kI atIva hinahinAhaTa se tathA yuddha ke 1. Atodya Adi bAjoM kI dhvani ke ADambara se ambara vyApta ho gayA / ( 136) yuddha meM kuzala, AvezavAle, dhanurdhArI, huMkAra karate ve vIra donoM senAoM se nikala par3e / (137) vahA~ yuddha rUpI samudra kI uttAla taraMgoM kI bhA~ti vAnAyuja, pArasIka, kAmboja va bAlhIka caJcala ghor3e calane lage / ( 138 ) apanI cAla se mAnoM AkazamaNDala ko bhI lA~ghane kI icchA vAle ve heSArava karate ghor3e apanI ulaTa pulaTa (ulaTI-sIdhI ) cAla se suzobhita ho rahe the / (139) tuma eka cakra se cakrI ho to hama do cakroM ko dhAraNa karane vAle haiM-isa prakAra jora se citkAra karate hue ratha ( duzmana ko ) jItane ke lie Age bar3hane lage / (140) zatru ke hAthiyoM ke mada kI gaMdha ko sUMghakara pratispardhI hAthI yuddha karane ke lie gatimAna parvata kI bhA~ti nikala par3e / ( 141) raNasthalarUpa nATya ke Arambha meM sUtradhAra kI bhA~ti isa rAjA ke dhanurdhArI yoddhA turahI Adi kI dhvani vAle raNAGgaNarUpa raMgamaMDapa meM praviSTa ho gaye / (142) raMgarUpa raMgabhavana meM praveza karake dhanurdhAriyoM dvArA sarvaprathama chor3e hue tIkSNa bANa (2 gabhavana meM sUtrAdhAra ke dvArA ) sabase pahale barasAye gaye (zveta) puSpoM kI bhA~ti zobhita ho rahe haiM / E For Personal & Private Use Only

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zrIpArzvanAthacaritamahAkAvya laghukRtyakarA bANAH praguNA dUradarzinaH / kSiproDonAH khagAH petuH khagAstIkSNAnanA iva // 143 // kazcit pareritAn bANAn ardhacandranibhaiH zaraiH / ciccheda sammukhAyAtaoNllaghuhasto dhanurdharaH // 144 / / panvibhiH kRtasandhAnAH zarAsanamadhiSThitAH / / yAnaM prAptAzca madhyasthA dvaidhIbhAvarata: zarAH // 145 // vigrahe niratAH zatrusaMzrayA dUradarzinaH / pAiguNyamiva nItAste svakriyAsiddhimApnuvan |yugmm // 146 // keSAThicad dRDhamuSTInAM bANAH pAraGgamA iva / lakSyante lakSyamudbhidya gajAzvarathasainikam // 147 // nArAcadhArAsampAtabhinnA api mahArathAH / tathApyabhyari dhAvantazciraM yuyudhire bhRzam // 148 // karNalAnA guNayutAH sapatnAH zIghragAminaH / dUtA iva zarA rejuH kRtArthAH parahRdgatAH // 149 // (143-144) zIghra kArya karane vAle, dUra taka dekhane vAle, Rju gati vAle, jhar3apa se ur3ane vAle, AkAza meM gamana karane vAle aura dhAradAra mukha vAle bANa zIghra kAryakArI, dUradarzI, Rju gati vAle, jhar3apa se ur3ane vAle, AkAzagAnI aura tIkSA coMca vAle pakSiyoM kI taraha girate the| (145.-146) dhanurdhAriyoM ke dvArA jinhoMne (DorI-jyA ke sAtha) sandhi kI hai, jinhoMne apane Asana (dhanuSa) para sthAna jamAyA hai; jinhoMne yAna (gamana) prApta kiyA hai, jinhoMne (raNa ke) madhya meM rahakara dvaidhIbhAva prApta kiyA hai ; jinnoMne vigraha meM (zarIra) meM praveza kiyA hai aura jinhoMne zatruoM kA Azraya liyA hai aise dUradarzI boNa mAnoM SaDguNavAle bana kara apanI kAryasiddhi ko pUrNa kara rahe ye / yugmam / (147) dRr3ha muThThI vAle kinhIM bahAduroM ke bANa, gaja, azva, ratha, sainika Adi lakSya. ko bedha kara mAno pAragAmI hoM aise dikhAI dete the / (148) bANoM kI mUsalAdhAra varSA se chinnabhinna mahArathI, duzmanoM ke sammukha daur3ate hue, khUba jora se bahuta samaya taka yuddha karane lage / (149) karNalagna (kAnoM taka khIMce hue), guNayukta (jyA se sambaddha), sapatna (eka sAtha girane vAle), zIghragAmI, kRtArtha aura parahRdayagata (duzmana ke hRdaya meM lage hue), bANa karNalagna (kAna meM bAta kahate hue) guNayukta, sapatna, zIghragAmI, kRtArtha aura parahadgata dUtoM jaise zobhita the| For Personal & Private Use Only

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panasambarasUrizikSita kSoNIzasya prasenasya ca paradalanAbhyupatasyApi cApA niryAto bANavAraH samarabharamahAmbhodhimanthAcalasya / no madhye dRzyate vA dizi vidizi na ca kvApi kintu vraNAhakaH zatraNAmeva hRtsu sphuTamaciramasau pApati ravedhI // 15 // asya jhoNozasya khaDgaH samantAda ___ dvaidhIbhAvaM vihiSAmanvayusmasa / matvA samikataH svArthasidi hivevAnyaM SaDguNavaM sutIkSNaH // 151 // . mithaH pravRtaM tumulanubhayoH senayoratha / zarAzari mahAbhIma zastrAzastri gadAgadi // 152 // dRSTyAzu kAlayamanabhaTaiH svaM nirmitaM balam / prasenajit svayaM yoddhamArebhe pratiSAruNaH // 153 / / tasya jvalanto nizitAH zaroSAH sphUrtibhISaNAH / mUrSasu dviSatAM peturSajrapAtAyilA dhruvam // 154 // sphuradbhinizitaiH prAsaiH sAyakairvegavasaraiH / ulkAbAlerikhAkIrNA dizaH prajvalitAntarAH // 155 / asya fstriMzakAlindIveNImApya parAsavaH / mimajjya vidviSaH prAptAH svargastrIsuratotsavam / / 156 / / (150) samarAGgaNarUpa mahAsAgara kA manthana karane meM parvatarUpa aura zatruoM ko naSTa karane ke lie udyata pRthvIpati mahArAjA prasenajit ke dhanuSa se nikale hue bANa na madhya meM aura na dizA-vidizA meM dRSTigata hote the kintu zatruoM ke hRdayoM meM unake (bANoM ke) ghAva spaSTa rUpa se prakaTa hote the / (151) isa rAjA prasenajit kA khaDga svayaM apanI svArthasiddhi ko hI samajhakara SaDguNatva kA mAnoM parityAga karake zatruoM meM virodha utpanna karata thA / (152) donoM senAoM kA pArasparika bhayaMkara bANoM kA bANoM se, zastroM kA zastroM se, gadAoM kA gadAoM se yuddha zurU hone lagA / (153) kAlayamana ke yoddhAoM ke dvArA svayaM kI vijita senA ko dekha kara mahArAjA prasenajit svayaM yuddha ke lie taiyAra ho gye| (154) usa rAjA prasenajit ke jvalAyamAna, tIkSNa, sphUrti se bhayaMkara bANa zatruoM ke mastakoM para vajrapAta ke samAna girane lge| (155) camakate tIkSNa aura vegazIla pheMke gaye bANoM se dizAe~ aisI camaka uThIM mAnoM ulkA kI jvAlA bhoM se vyApta hoM / (156) isa rAjA ke khaDgarUpa kolindI veNI (yamunAnadI kA pravAha) ko prApta kara mRtyu ko prApta hue zatru svarga kI striyoM ke sAtha suratakrIDA kA utsava prApta karane lge| 10 For Personal & Private Use Only

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74 zrIpArzvanAthacaritamahAkAvya cakrarasya dviSaccakra kSayamApAditaM kSaNAt / mArtaNDakiraNaistIkSNairhimAnIpaTalaM yathA // 157 // yamanaH svabalavyUhapratyUhaM vIkSya sAdhA / jajvAla jvAlajaTilaH pralayAgniA vojchikhaH // 158 // dhAvati sma hayArUDhaH sAdibhirnija sainikaiH / yamano yamavat kruddhaH parAnAkaM vyagAhata // 159 // . dhanuAghoSasaMsakta jaya ghoSabhoSaNAH / yamanasya bhaTAH sarvAsiAreNAbhyaSaNayan // 16 // tataH prahasaniHsvAnagammIradhAna bhISaNaH / caladAzvIyakallolaH pravRtto'yaM raNANavaH // 161 // raNe'sidhAgasaGghaniSThyAgnikaNAnale / anekazarasaGghAtasampAtolkAtidAruNe // 162 // abhizastramaya dha vanarva-to garvadurvahAH / prAk kazAghAtatastIkSNA na saha-te parAbhavam ||yugmm ||163 // caladazvakhurakSuNNareNudhArAndhakArite / nAsIt svaparavijJAnamatra ghore raNAGgaNe // 164 // (157) isa rAjA ke cakroM dvArA zatrurAjA kA cakra kSaNa meM hI isa prakAra naSTa kara diyA gayA jisa prakAra sUrya ko pracaNDa kiraNoM se barpha kA samudAya naSTa ho jAye / (158) yamanagajA apanI senA ke vyUha meM upasthita vina ko dekhakara krodhita hokara jvAlAoM se vyApta aura UrdhvagAmI zikhAoM vAlI pralayakAla kI agni ke samAna mAnoM jalane lgaa| (159) apane azvArohI yoddhAoM ke sAtha svayaM azvArohI hokara yamarAja kI bhA~ti kraddha rAjA yamana daur3A aura zatru kI senA meM praveza kara gyaa| (160) dhanuSa kI jyA kI TaDkAra se mizrita vijaya kI ghoSaNA se bhISaNa yamana ke yoddhA saba prakAra ke bala se AkramaNa kara baiThe / (161) tadanantara pArasparika mArakATa kI gaMbhIra dhvani se bhISaNa caJcala azvakallolana (taraMgoM) bAlA vaha raNarUpI sAgara zurU huaa| (162..163) talavAra kI dhAra kI ragaDa se utpanna agnikaNavAle aura aneka bArgoM ke girane se atIva bhayaMkara lagane vAle usa raNAgaNa meM, cAbuka kI coTa se teja calane vAle garvIle ghoDe zatrukRta apamAna ko sahana nahIM kara pAte the| (164) daur3ate ghoDe ke khuroM se cUrNita rajadhArA se andhakArayukta usa bhayaMkara saMgrAma meM apane parAye kA jJAna nahIM hotA thA / For Personal & Private Use Only

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padmasundarasUriviracita vasAsRgmAMsapake'smin raNAndhau mandaraMhasaH / rathakaTyA mahApa tA iva ceruzca va nAH // 165 / chinnaikapAdo'pi hayaH svAminaM svaM samudvahan / jAtAmarSo''bhazastrAM sa pradhAvan yuyudhe ciram // 166 // atho yamanasainyena prasena cArka bambavat / prAvRtaH paraveSeNa reje rAjaziromaNiH // 167 / / gajAnIkaigajA yuddha dantAdanti vidhitsavaH / taDitvantaH payovAhAH prAvRSeNyA ivA''babhuH // 168 / / raNasarasi zarAmbhaHpUrite svAmidatta draviNamasRNatailAbhyakta zIrSAH suyodhAH / pratibhaTasubhaTodyalkhagaghAtAcchakalkaiH kRtasavanavidhAnAH zuddhimIyuH kRtArthAH // 169 // hAstikaM hAstikenaiva rathakaTyA rathavajaiH / sAdibhiH sAdisaMdoho yuyudhe suciraM mithaH / / 170 // kaukSeyakakSatacchinnA vIrANAM muNDamaNDalI / kamArceva sA reje prasenasya jayazriyaH // 171 // (165) carbI, rakta, mAMsa se kIcar3a bane isa raNasAgara meM mandavegavAle ratha ke samUha cacala dhvajAoM vAlI nAvoM kI taraha ghUma rahe the / (166) eka paira se kaTA hA bhI ghoDA apane svAmI ko le jAtA huA krodhita ho kara zastra ke sAmane daur3atA haA laDane lagatA thA / (167) yamana ke sainya se ghirA huA rAjaziromaNi prasenajit pariveSa se ghire hae rAjaziromaNi sUryabimba ke samAna zobhita thA / (168) hAthiyoM kI senA ke sAtha dantA. danti yuddha karate hAthI varSAkAlIna vidyut yukta bAdaloM kI taraha mAnoM camaka rahe the / (169) mANarUpa jala se parapUrNa usa raNatar3Aga meM apane svAmI ke dvArA pradatta dravyarUpa cikkaNa tela se mAliza kiye mastaka vAle yoddhA, pArasparika vIroM kI khaDgadhAtarUpa zubhra cUrNa se yazAnta snAna kI vidhi se zuddha ho gaye aura kRtArtha bane / (170) hAthI vAle sainika hAthIvAloM ke sAtha, rathavAna rathavAloM ke sAtha tathA azvArohI azvArohiyoM ke sAtha paraspara bahuta kAla taka yuddha karate rahe / (171) talavAroM ke prahAra se chinna vIrayoddhAoM kI muNDamaNDalI mahArAjA prasena kI vijayalakSmI kI kamalapUjA kI bhA~ti zobhita hotI thii| For Personal & Private Use Only

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zrIpAnAvaparitamahAkAvya matha hAstikasaGghanIlasthUladhanAdhanaH / zarAsAramatodbhUtarudhirAmbha: lutakSamaH // 172 // kRtabAhIka-kAmbojAzvoyamAyUratANDavaH / sphunnistriMzacapalo nisvAnasvAnagarjitaH // 173 // kaThoradrughaNAghAtAzaninirghoSabhISaNaH / calatpANDupatAkAlIbalAkAvyAptapuSkaraH // 174 // dhanurindradhanuHzobhI sainyayorubhayostadA / visphArasamarArammaH pupoSa prAvRSaH zriyam // kalApakam // 175 / / . . nizitairvizikhaibhinnavapuSaH parito bhaTAH / sedhAnukAratAM bhejuH zastraghAtAstacetanAH // 176 // tatastu kAlayamanaH kruddhaH kAla ivAparaH / bilaya senAmaruNat prasenajitameva saH // 177 / / yuyudhe sammukhImaya so'pi tena ruSA'ruNaH / tataH pAvakumArastu nijasenikasamvRtaH // 178 / / AgAjayajayArAvAkIrNanisvAnanisvanaH / mahAkalakalastatra prAvatata mahAraNe // 179 // (172-175) hAthioM ke muNDa ke kAraNa kAle kAle bAdaloM vAlA. bANoM ke ghAva meM se nikalate rudhira ke kAraNa jalavarSaNakSama, bAlIka kAmboja azvoM ke kAraNa mayUratANDava vAlA, camakatI talavAroM ke kAraNa bijalIyukta, AvAja aura kolAhala ke kAraNa bAdaloM kI garjanA vAlA, kaThora ghaNa (gadAoM) ke AghAta ke kAraNa vajra kI AvAja se bhayaMkara. caJcala zveta patAkAoM ke kAraNa baguliyoM se vyApta tAlAboM vAlA, dhanuSa ke kAraNa indradhanu kI zobhA. vAlA. donoM sainyoM ke yuddha kA vistRta Arambha varSA kAla kI zobhA ko puSTa karatA thaa| (16) cAroM ora se teja bANoM se kSata zarIra vAle yoddhA zastroM kI coTa se gatacetanA hote hue lAla tarabuja' ke samAna ho gaye / (177) tadanantara dvitIya yamarAja kI bhA~ti krodhita vaha kAlayamana senA ko ulAMgha kara prasenajit ko hI rokane lagA / (178-179) sAmane hokara vaha bhI krodhitamukha ho lar3ane lagA / taba apane sainikoM ke sAtha jaya-jaya kI bar3I pukAra karatA pAzvekumAra A phuNcaa| vahA~ raNabhUmi meM mahAkolAhala maca gayA / 1 sedha nAmaka eka tarabUja hotA hai jisakA raMga lAla hotA hai / For Personal & Private Use Only

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paprasundarasUriviracita yamanasya maTAstAvat kAndizIkA hataujasaH / babhUvustapanodhote khadyota dyotanaM kutaH ! // 18 // zrImatpArzvapratApogratapanoyotavidrutAH / yamanAyAstamAMsIva pAyAMcakrire drutam // 181 / / prasenajinnRpArka ye saMnIyA'sthurbhaTAmbudAH / / vyalIyanta kSaNAt pArzvaprasAdapavaneritAH // 182 / / prasenajicca bhagavatpratApasphUrtimadbhutAm / avatIrya gajAnmatvA natvA pAzvapatAmbujam // 183 // pAthamadhaM ca sampAgha maNipIThe nivezya tam / mAtIbhirgabhIrAbhiH sa stotumupacakrame // 184 // yannAmAdabhutadivyamantramahimaprAgbhAranirbhAsato vighnavyUhamahAndhakArapaTalI nazyatyavazyaM nRNAm / zrImatpArzvajinezvaraH svayamasau jAgarti vizvezvara stasmin sannihite kva vairiDama : kvetijopAlavaH / / 185 / / vannAmasmRtimAtrato'pi bhagavan ! dUraM vajanyApado bAdhante na ca durgadurgetibhavA bAdhA: kvacijjanminAm / saMsAravyasanAtirAzu vilayaM yAtIti nAtyadbhutaM sauparNeyapuraH sarIsRpagaNaH kiM vA samutsarpati ? // 186 // (180) yamana ke naSTatejavAle sainika kauna sI dizA meM bhAganA hai yaha bhI nahIM soca sake (aura titara-bitara ho gaye) / sUrya ke udaya hone para juganU kA prakAza kaise saMbhava hai 1 / (181) zobhAsampanna pArzvakumAra ke parAkramarUpa ugra sUrya ke prakAza se ghabarAye hae yamana ke sainika andhakAra kI bhA~ti zIghra hI bhAga gaye / (182) jo bAdalarUpI yoddhA prasenajit rAjArUpa sUrya ko AcchAdita kara rahe the ve kSaNa bhara meM pArzvakumAra ke anugraharUpa vAyu se titara-bitara hokara naSTa ho gaye / (183-184) bhagavAna pArzva ke pratApa ke parAkrama ko adbhuta mAnakara prasenajit hAthI se utarA, pAveM ke caraNakamala ko namaskAra kiyA. caraNoM kI pUjA ke liye adhyaM saMpAdana kiyA, maNimaya Asana para unako biThAyA aura gaMbhIra vANI se stuti karane lagA / (185) jisake adbhuta, divya mantramahimA ke prabhAva se sAre vighnasamUha kA andhakAra nizcita rUpa se naSTa ho jAtA hai aise zrImatpArvajinezvara svayaM vizvezvara yahA~ vidyamAna haiM / unake samIpa rahane para duSTa zatru kA AkramaNa kahA~ se ho sakatA hai ? (186) he bhagavan !, Apake nAma lene mAtra se hI vipattiyAM dUra bhAga jAtI / kaThora bAdhAe~ bhI janmadhAriyoM ko pIdita nahIM kara sakatIM / sAMsArika kaSTa bIca hI vilaya ko prApta ho jAte haiN| isameM koI Azcarya nahIM / kyA garuDa ke sammukha sasamudAya A sakatA hai / For Personal & Private Use Only

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zrIpArzvanAthacaritamahAkAvya AlAnaM vigaNayya gaNDavigaladdAnAmbupUro gajaH prodAmazcalakarNatA lata laH pAMzUtkaraM vyAkin / bhajantaM dukamAgato'pi savidhaM nAkAmati tvatpadA saktaM bhaktamasau kadApi bhagavanna''ghAtukopi sphuTam / / 187/ kaTikoTivipATanalampaTa - prakharatAvilasannakharo hariH taba padasmRtimAtraparaM naraM .. na samupaiti ruSa 'pyaruNekSaNaH // 188 // kRtaphaNAmaNido taruciH phaNI raralameSa mahovaNamugiran / prakupitastava pAdayugAzritaM kimapi bhISayate na bhayaGkaraH // 189 // pralayavahiriva jvalito'rciSA samadhikema mRddhisamedhitaH / taba padasmRtizItajalAplutaM na ca parAbhavati jvalanaH kvacit // 19 // drughaNadhanvazarAsiparAhata __ dvigdaMpattibhaTAzvacamUtkare samaramUrdhani te vijaya zraya bhuvi lasanta iha tvadupAsakAH // 191 // (187) gaNDasthala se jharate hue dAnavAri ke pUra galA, caJcalakarNatAla se capala, dhUli ke kagoM ko bikheratA huA, apane bandhana ko bhI gor3akara usa per3a ko tohatA huA mastIvAlA hAthI Akara bhI Apake upara AkramaNa nahIM karatA kintu Apake paira ko chatA hai| vaha ghAtaka hote hue bhI kabhI ApakA bhakta rahA hogA yaha nizcita / / (188) krodha se raktanetra, karor3oM hAthioM ke gaNDasthala ke vidAraNa meM dakSa, seja nAkhanoM vAlA siMha Apake smaraNa meM lage hue mAnava ke pAsa nahIM AtA / (189) apane phaNoM meM lagI huI maNi se dIpta kAnti vAlA, bhayaMkara jaharIlA krodhita sarpa bhI Apake caraNa. yugala meM Azrita vyakti ko DarAne meM samartha nahIM hai / (190) pralayakAlIna vahni kI taraha apanI jvAlAoM se jalatI huI, adhika indhana se atyanta bar3hI huI agni bhI Apake caraNa ke smaraNa rUpa zItala jala se AplAvita vyakti kA pagabhava kahIM para bhI nahIM kara sakatI / (191) he bhagavan!, dudhaga, dhanuSa, bANa, khaDga Adi se zatru ke mAre hue hothA, padAtisenA, yoddhA va azvAdi senA vAle isa samarAGgaNa meM ApakI vijayazrI ko dekhakara Apake upAsaka pRthvI para alaMkRta haiM / For Personal & Private Use Only

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padmasundarasUriviracita pracalattaGgataraGgazikhA praga pravaNA jaladhAvapi sArthapAH / vighaTitAkhilavighnabhayAH prayA nsyatha gRhaM bhavataH sma NAd vibho ! // 192 // vraNa-jalodara-zUla-bhagandara kSavathu bhasmaka-tiruja ditaH / tava padasmaraNA' dabhAgjano bhavati sa itameva nirAmayaH / 193 / / vividhabandhanabaddha no: niADakoTinighRSTapatayaH / bhavati bandhanamokSaNa dakSa ! te smaragatazcyutAnabandhabandhanaH // 194 // ___ mAyadvA NasiMhabhogidaha nAmbhodhipracaNDAhavA taGkodAmamahAbhayAni bhavinAM vannAmamantrasmRteH / tvayyevAtisamAta 'kamanamAM zAmyansyatha pratyuta prAduHSantyatha bhUribhAgya pubhagAH sadbhogabhAjaH zriyaH // 195 // itizrImat ArAparaparameSThipadAra ve damaka disundarasAsvAdamprIti bhavyabhavye paM. zrIpad - meruvineya paM0 zrIpadmasundaraviracate zrIpArzvanAthamahAkAvye zrIpAzrvavarNanaM nAma caturthaH sargaH / .. (192) he prabho !, samudra meM bhI caJcala, unnata, taraMgoM kI zikhAoM ke agrabhAga meM rahe naukAvAle sArthavAha (yApArI) sampUrNa vighnabhayoM ko naSTa karake smaraNa mAtra se hI sakuzala apane ghara lauTa jAte haiM / (193) ghAva, jalodara, zUla, bhagandara, khA~so, dhamana Adi rogoM se pIr3ita vyakti Apake caraNakamala kI smaraNarUpa auSadhi ke sevana se zIra hI rogarahita arthAt svastha ho jAtA hai| (194) he bandhana ko chur3Ane meM kazala bhagavAna ! aneka prakAra ke bandhanoM meM ba~dhA huA, jisake danoM pairoM meM ber3iyA~ par3hI hoM, aisA vyakti Apake smaraNa mAtra se sampUrNa bandhana se rahita ho jAtA hai / (195) madajhara hAthI, siMha, sarpa agni, samudra, pracaNDa yuddha ke bhayaMkara AtaMka ye sAMsArika logoM ke utkaTa mahAbhaya Apake mAma mAtra ke smagNa se zAnta ho jAte haiN| jo Apa meM ho apanA mana lagAte una ho vyaktiyoM ko bahuta bhAgya se sundara aura acche bhogavAlI lakSmI prakaTa hotI hai| iti zrImAn paramaparameSTha ke caraNakamala ke makaranda ke sundara rasa ke svAda se - bhavya-noM ko prasanna karane vAlA, paM0 zrI padamameru ke ziSya paM0 . zrI padmasundara kavi dvAga racita zrIpAzrvanAthamahAkAvya meM 'zrI pArzvavarNana' nAmaka caturtha sarga samApta huA | . For Personal & Private Use Only

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paJcamaH sargaH atho nRpaH pArzvakumAramAdarAninAya gehe vimayena nItivit / vyadhAt sapaya vividhAmananyadhI mahatsu cAtithyamidaM hi gauravam // 1 // sthitaH sa saudhe vasudhAdhipArSi sudhAsAgurudhUpavAsite / sukhena kAlaM gamayAmbabhUva tatkRtArhaNA gauravama kipUjitaH ||2|| prasenarAjJastamayA nayaspRzo' pyagaNya lAvaNyasudhA taraGgiNI / suvarNaca peya sumaprabhAvatI babhUva nAmnA vapuSA prabhAvatI // 3 // supalAvaNya vabhAvibhUtibhiH pravarddhamAnA ki saindavI kalA / dine dine ladhamahodayA bamau janAdavadhAyinI kanI // 4 // dhruvaM vidhAtrA bhuvi nirmitA sura striyAM samuccitya surUpasampadam / tadanyathA cedanayA surAGganA - tulA na kAcid dadRze jagatyapi // 5 // (1) anantara notivettA rAjA prasenajit pArzvakumAra ko vinayapUrvaka ghara le Aye aura ananyacitta hokara unakA pUjA- sarakAra kiyA | bar3e AdamiyoM kA Atithya ho gokha hai / (2) je pAdarvakumAra mahArAjA ke dvArA arpita, cUne me zveta, aguru dhUpa se sutrAsita bhavana meM rahane lage tathA pUjA satkAra se bhaktipUrvaka satkRta hokara sukha se samaya bitAne lage / (3) noni mahArAjA prasenajit kI lAvaNyarUpa sudhA kI agaNita taraGgoM se yukta, campA ke purUSa aura suvarNa kI kAntibAlI, nAma se aura zarIra se prabhAvatI nAmaka kanyA thI / (4) vaha rUpa. lAvaNya kI kAnti kI samRddhi se cAndrI kalA kI bhA~ti bar3hatI huI pratidina mahodaya ko prApta karane vAlI aura saMsAra ke logoM ko AhlAdita karane vAlI kanyA zobhita ho rahI thI / (5) nizcita rUpa se, vidhAtA ne pRthvI para usa kanyA ko devAGganAoM kI rUpasampadA ko cayana karake banAyA / yaha (kathana) anyathA ho to isake ( prabhAvatI ke sAtha devAGganA kI tulanA saMsAra meM dRSTigata nahIM hotI / For Personal & Private Use Only

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padmasundarasUriviracita supakvabimbapratibimbitAdharA ___ kRzAGgayaSTiH pRthupIvarastanI / manobhavena trijagajjigISuNA dhruvaM patAkeva nidarzitA kanI // 6 // svareNa nirbhasitamattakokilA * babhau sukaNThI kalakaNThanisvanA / dhravaM tadAlApasuzikSitA jaguH / kRzAzvino gItijarItijakRtim // 7 // tadIyalAlityavihAravibhrama dravAhAvasmitakelisauSThavam / vimRzya tattANDavazAstramuccakai icakAra nUnaM katamo'pi satkaSiH // 8 // padAravinde nakhakesaraghutI * sthalAravinda triyamUhaturbhazam / visArimRdgulisa chade'ruNe dhruvaM tadIye jitapallavazriNI // 9 // vijitya tat kokanada zriyA svayA- . ... 'ruNau tadIyo caraNau nu nigyatuH / vihAralIlAlalitena mantharAM gati nijeneva marAlayoSitAm // 10 // ) pake hue bimbaphala ke pratibimbita adhara ghAlI, kRzagAtrA, moTe va vizAla stanavAlI, triloka ko jItane kI icchA vAle kAmadeva ke dvArA mAnoM vaha kanyA (apane ratha kI) patAkA kI bhA~ti batalAI gii| (7) (apanI) AvAja se matavAlI koyala ko bhI mAta karane vAlI vaha kalakaNThI sukaNTho zobhita thii| nizcaya hI usake AlApa se zikSita kuzAzvi (naTa loga) gItijanya rIti kI jhaGkAra ko dhvanita karate the| (8) usa kanyA ke lAlitya, gati, ceSTA, bhAvapUrNa hAva, smita aura krIDA ke sauSThava ko socakara kisI satkavi ne uttama tANDavazAstra kI mAno racanA kI ho| (9) nakharUpI kesara kI kAntivAle, lambI mRdu agulirUpa paGkaDiyoM vAle aura pallava kI zobhA ko parAjita karane vAle usake aruNimAyukta donoM caraNakamala sthalakamala kI zobhA ko dhAraNa karate the| (10) usake donoM lAla caraNa apanI kAnti se raktakamala ko jIta kara apanI bhramaNalIlA kI sundaratA se haMsoM kI patniyoM kI mandhara cAla ko bhI jIta lete the| For Personal & Private Use Only

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S zrIpArzvanAthacaritamahAkAvya kramo yadIyau kila maJjusiJjitaiH svanUpurAtthairiva jetumudyatau / sugandhalubdhAlikulasvanAkulaM . pravAlazoNaM sthalapaGkajadayam // 11 // sadaiva yAnAsanasaGgatau gatau nigUDhagulphAviti sandhisaMhato / sphuTaM tadahIkRtapArNisaGgraho ___ savigrahau tAmarasaijigISutAm // 12 // tadIyajaGgha dvayarda ptinirjitA vanaM gatA sA kadalI tapasyati / cirAya vAtAtapazItakarSaNai-. radhaH zirA nAmaskhaNDitavratA // 13 // ananyasAdhAraNadIptisundarau / paraspareNopamitau rarAjatuH / dhruvaM tadUrU vijitendravAraNa pracaNDazuNDAyatadaNDavibhramau // 14 // kaTistadIyA kila durgabhUmikA sumekhalAzAlAriSkRtA kRtA / manobhavena prabhuNA khasaMzrayA jagajjanopaplavakAriNA dhruvam // 15 // (11) usa kanyA ke padakrama apane nUpura se uThI huI sundara dhvani se, sugandha se kRSTa bhramarakula kI AvAja se pUrita aura mUMge ke samAna lAla do sthalakamala ko jItane ke lie udyata the / (12) yAna (calanA) aura Asana (baiTanA) se yukta, nahIM dikhAI dete hoM aise ghuTanoM vAle, samucita sandhibandhavAle, puSTa er3o vAle, sundara AkRti kAle usake donoM paira yAna aura Asana rUpI upAyoM vAle, agocara gulpha vAle, sandhi se aikya vAle, pANi dvArA surakSAsampanna aura yuddha karate kamaloM ko jItane kI icchA karate the| (13) usakI donoM jA~ghoM kI kAnti se nirjita vaha kadalIvRkSa jaMgala meM cirakAla se vAyu, dhUpa, zIta Adi kaSTa se akhaNDitavrata hokara mAnoM nIce sira kiye hue tapa kara rahA hai| (14) atyanta asAdhAraNa dIpti se sundara, pa para eka dUsare kI upamA vAlI usakI donoM jA~ghoM ne nizcitarUpa se airAvata hAthI kI daNDa ke samAna lambI pracaNDa zAkhA kI vibhra gati ko parAsta kiyA thA / (15) sundara kandore ke hIroM se alaMkRta tathA yoni ke AzrayasthAnarUpa usakI kamara khAI aura koTa se pariSkRta tathA AkAza ko dhAraNa karane vAlI (gaganacumbo), jagat ke logoM ko satAne vAle kAmadeva prabhu dvArA banAI gaI (mAno) durgabhUmi hai| For Personal & Private Use Only

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padmasundarasUriviracita tanuH kRzAjhyAH smaracApasaJjinI madhuvatava tamayI sma bhAvyate / vinIlaromAliriyaM nu mekhalA maNerivAJciH kimu vA vijambhate // 16 // tadIyamadhyaM natanAbhisundaraM babhAra bhUSAM savalitrayaM parAm / praklaptasopAnamidaM vinirmame svamajjanAyeva sutIrthamAtmabhUH // 17 // stanAvivAsyAH pariNAhimaNDalI * suvarNakumbhau ratiyauvanazriyo / sucucukAcchAdanaSadmamudrito virejaturnimtalapIvarAvimau // 18 // visAritAradyutihArahAriNau stanau nu tasyAH suSamAmavApatuH / surApagAtIrayugAzritasya to __rathAGgayugmasya tu kukumArcitau // 19 // babhAra zobhAmadhikandharaM zritA visArihArAvalirujvalA chaviH / sumeruzRGgAgrapatatsurApagA pravAhapUrasya manoharabhravaH // 20 // (16) atyanta zyAma romAvalI vAlI usakI dehayaSTi kAmadeva ke dhanuSa kI bhramaroM vAlI DorI (jyA) jaisI dikhAI detI thii| athavA to vaha mekhalA ke maNi kI jyoti kI taraha zobhita thii| (17) jhukI huI nAbhi se sundara, tIna lakIroM se yukta usakA madhya bhAga paramazobhA ko dhAraNa karatA thA / mAnoM kAmadeva ne apane snAna karane ke liye sIDhiyoM se yukta sundaratIrtha kA nirmANa kiyA ho| (18) vistRta maNDalAkAra (golAkAra), suvarNaghaTa ke samAna, rati aura yauvana kI zobhA vAle usake donoM stana sundara cucukarUpa AcchAdana vAle banda kamala ke samAna gola aura sthUla zobhita the| (19) vistRta ujjvala kAntivAle hAra se manohara, kuMkuma se arcita usake ve donoM stana devanado gaGgA ke donoM taTa para sthita cakavA-cakavo ke jor3e ke saundarya ko prApta the| (20) manohara bhrUkuTI vAlI usa kanyA kI vistRta hArapaGkti jo bar3I hI ujjvala thI tathA grIvA kA Azraya le rahI thI vaha sumeru parvata kI coTI ke agrabhAga se giratI huI devanadI gajhA ke ajastra pravAha srota kI sundara zobhA ko dhAraNa karatI thii| For Personal & Private Use Only

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zrIpArzvanAthacaritamahAkAvya jagattrayazrIvijayasya sUcikA babhau trirekhA kila kaNThakandalI / iyaM mRgAkSyA guNinA pariSkRtA - suvRttahAreNa guNAnukAriNA // 21 // sukomalAGgayA mRdubAhuvallarI dvayaM babhau lohitapANipallavam / nakhAMzupuSpastabakaM prabhAsvarADa ___GgadA''lavAladyutivArisaGgatam // 22 // tadaMsadezau daranimnatAM gatau surAdrikUTAtaTapArzvayoH zriyam / balAdivA''jahUturAttasaGgarau nimazriyA bharsitahaMsapakSatI // 23 // mukhaM sumukhyAH smitakaumudIsitaM jahAsa rAkAtuhinAMzumaNDalam / kaTAkSapAtavyatiSaGgacAturI dhurINamayantajaDAtmakaM nu tat // 24 // ,vihAya candraM jaDamaGkapaGkila saroruhaM paGkakalaGkadUSitam / ubAsa lakSmIrakalaGkamuccakai riti pratakryeva tadIyamAnanam // 25 // (11) tIna rekhA vAlI isa mRgAkSI kanyA kI kaNTha kandalI lokatraya ke vijaya kI sacaka aisI guNa (DorI) kA anukaraNa karanevAle aura guNayukta (DorI meM piroye hue) golAkAra hAra se atizaya zobhAyamAna thii| (22) usa atyanta komala aGgavAlI kanyA kI camakIle aGgadarUpa AlavAla ke dyutirUpa vAri se yukta, nakhAMzurUpa puSpagugchavAlI, kuMkumavarNa pAle kararUpa (rakta) pallava vAlI do komala bAhurUpa latAe~ zobhAyamAna thiiN| (23) yuddha kA jinhoMne Azraya liyA hai aise usa kanyA ke kucha muke hae kandhe mekaparvata ke zikhara ke taTarahita do pAzcoM kI (cAluoM kI) zobhA ko haThAt haraNa karate ye aura apane saundarya se haMsa ke do paGkhoM ko tiraskRta karate the / (24) cAruvadanI kA hasatA huo vaha mukha smitarUpI kaumudI se dhavala, kaTAkSoM ke dvArA (eka dila ko dUsare dila se) jor3ane kI zreSTha cAturIvAlA aura mugdha kara dene vAlA, kaumudI smita se dhavala, phalaka (=kaTa) ke sAtha pAsAoM ke pAta ko mela karAne kI zreSTha cAturIvAlA aura zItala svabhAvavAlA candra to nahIM ? (25) zItala aura kalaGka se dUSita candra ko chor3akara tathA kAdava ke doSa se dUSita kamala ko chor3akara lakSmI "usakA mukha atyanta niSkala hai" aisA samajhakara mAnoM usameM nivAsa karatI thii| For Personal & Private Use Only

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paznasundarasUriviracita radacchado'syAH smitadIptibhAsuro yadi pragalaH pratibaddha hIrakaH / tadopamIyeta vijitya nirvataH supakvabimba kila bimbatAM gatam // 26 // aho sukaNThyAH kalakaNThanisvano jigAya nUnaM parivAdinIkvaNam / kapolayugmaM kacabimbacumbitaM zazAGkabimbaM nu kalaGkasaGkaram // 27 // prayasya nAsAgramabhi sthitaM mukhaM tadIyaniHzvAsamanalpasaubham / sphuTaM samAghAtumivordhvakandharaM mRgekSaNAyAH zukatuNDasacchavi // 28 // saroruhe svaJjanasajane yadA sahAjane tannayane tadA tulAm / nitAnta karNAntagatAgatAJcite parasparaspardhitayeva babhratuH // 29 // zrutI kila syandanayugmametayovinirmitaM yauvanakAmayoH kRte / dhruvaM tadIye vapuSi prasapatovihAra cArAya vidhAtAruNA // 30 // (26) manda muskAna ke prakAza se prakAzita usakA adharoSTha hIre se jaDe hue mUMge kI taraha zobhita thA aura upamAnarUpa supakva bimbaphala ko jIta kara AyA ho aisA lagatA thA / (27) aho !, usa sukaNThavAlo kI madhura kaNThadhvani nizcitarUpa se bINA ke zabda ko jItane vAlI thii| bAloM ko laToM (julphoM) se cumbita usake donoM gAla phalayukta candravimba ke samAna lagate the / (28) prayAsa karake mukha ke sAmane rahA huA, usakA atyanta sugandhavAlA nizvAsa sUghane ke lie utkaNThita ho aisA, mRgAkSI kI nAsikA kA agrabhAga tote kI coMca kI zobhA ko dhAraNa karatA thA / (29) kAna ke atyanta anta taka Ate-jAte usake ajanayukta do nayana (kamalapuSpavartula ke) vyAsa ke atyanta anta taka AvAgamana karate do khajanapakSiyoM se yukta do kamaloM ke sAtha spardhA karate hue zobhita the| (30) usake zarIra meM phaila rahe yauvana aura kAma ina do ke vihAra karane ke lie hI. sacamuca vidhAtArUpa zilpI ne do kAna ke rUpa meM do ratha banAye hoM aisA mAlUma hotA hai| For Personal & Private Use Only

Page #451
86 zrI pArzvanAthacaritamahAkAvyaM zrutizrite'syA maNihemakuNDale prabhAsamAne mukhamaNDalazriyA / rathAGgarUpe iva mAnmathAnaso vilesa turlAsyamupAgate dhruvam // 31 // smarAbhiSekAya lalATapaTTikA vinirmitA vizvasRjeva gabdikA / sphuTaM tadIyA ziticUrNa kuntala - prakIrNakavyaJjitarAjalakSaNA // 32 // aat tadIye kila mukhyakArmukaM smarasya puSpAstramihaupacArikam / mukhAmbuje'syA bhramarabhramAyitaM ghanAJjanAbhairbhramarAlakairalam // 33 // : iyaM sukezyaH kacapAzamaJjarI vidhuMtudasya pratimAmupeyuSI / mukhendubimbaprasanaika lipsayA tamoJjanasnigdhavibhA vibhAvyate // 34 // samaprasargAdbhutarUpasampadAM didRkSayaikatra vidhivyadhAdiva / jagattrayIyauvata maulimAlikA mazeSa saundarya pariSkRtAM nu tAm ||35|| (31) kAnoM para Azrita, mukhamaNDala ke teja se prakAzamAna, usake svarNamaNimaya do mRdugati ko prApta hokara sacamuca zobhita the / sphuTarUpa se pragaTa rAjalakSaNoM vAlA usakA vizvakartA ne mAnoM gabdikA kA nirmANa kiyA kuNDala 'kAmadeva ke do cakra kI bhA~ti (32) zvetacUrNa se aura bikhare hue kuntaloM se 'vizAla lalATa kAmadeva ke abhiSeka ke lie ho, aisA dikhAI detA thA / (33) usakI donoM bhauMheM kAmadeva kA mukhya dhanuSa thIM / puSpAstra to kevala aupacArika rUpa meM thA / usake mukhakamala meM bhauMhoM kI gAr3ha aJjana ke alaMkA bhramara ke bhrama ko paidA karatI thI / ( 34 ) isa zobhanakezoM vAlI kanyA kI kezapAzamaMjarI rAhu kI AkRti ko dhAraNa karatI huI mukharUpacandrabimba ko grasita karane kI ekamAtra icchA se kAle aMjana kI snigdha kAnti ke samAna lagatI thI / (35) vidhAtA ne sampUrNa sRSTi kI adbhuta rUpasampatti ko eka hI jagaha dekhane kI icchA se use trilokI ke yuvatisamudAya meM zreSTha aura sampUrNa saundaryazAlinI banAyA / For Personal & Private Use Only

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padmasundarasUriviracita athAnyadA yauvanarAmaNIyakaM vapurdadhAnAM daddaze prabhAvatIm / pitA tadudvAhakRte kRtAdaro vibhoH sa pArzvasya puro vyajijJapat // 36 // bhavAdRzAM yadyapi mandarAgiNI bhavAGgabhogeSu matiH pravartate / tathApi dharmo gRhamedhinAmayaM vidhIyate dA parigrahasthitiH // 37 // bhavAn svayaMbhUbhagavAstavodbhave nimittamAtra janako yato'bhavat / ude yatazcaNDakarasya hi svatastadudbhave heturivodayAcalaH // 38 // bhavadvidhairAcarite hi satpathe mahAjano'yatra tathA pravartatAm / kramo hi ke mahatAM pradarzito. 'nuvartate prAkRtaloka eSa tam // 39 / / prasIda vizvezvara ! madvidhe jane vacastvamaGgIkuru me nayocitam / prabhAvatI meva bhavAn madaGgajAM nijaM kalatraM vidadhAvanugrahAt / / 40 // (36) eka dina usake pitA ne prabhAvatI ko yuvAvasthA se sundara zarIra dhAraNa karatI huI dekhA / ataH usake vivAha ke lie pitA ne AdarapUrvaka prabhupArzvakumAra ke sammukha nivedana kiyA / (37) he prabho!, yadyapi sAMsArika bhogoM meM ApakI buddhi mandarAga vAlI hai to bhI gRhasthoM kA yaha dharma hai ki vivAhasaMskAra kI sthiti kA vidhAna kiyA jAye / (38) he bhagavan !, Apa svayaMbhU haiM / Apake janma ke samaya Apake pitA kevala nimitta patra the jaise usya pAne vAle pracaNDasUrya ke (udaya ke prati) udayAcala parvata, kevala nimittamAtra hai / (39) Apa jaisoM ke dvArA sanmArga kA AcaraNa karane para bar3e loga bhI vaisA hI kareM, kyoMki yaha krama rahA hai ki mahAn logoM ke dvArA pradarzita marya kA anya loga anuvartana karate hI haiM / (40) he vizvezvara !, mujha jaise vyakti para prasanna, hoiye / mere nyAyocita vacana ko svIkAra kara Apa merI putrI prabhAvatI ko kRpA karake apanI patnIrUpa meM grahaNa kIjie / For Personal & Private Use Only

Page #453
zrIpArzvanAthacaritamahAkAvya bhavAMzcidAnandamayo bhave'pi san na lipyate pAtakapaGkasaGkaraiH / svadhAtubhedAt kanakaM hi nirgataM punarna tasmin savidhe'nuSajyate // 41 // bhavAn virakto'pi bhavaprasaGgato mamoparodhena karaprahA'dhunA / vidhIyatAM sAdhujanAnuSaGgatA kRtArthayatyanyajanaM hi kevalam // 42 // udIrya vijJaptimimAM mahIpatiH svato vyaraMsIdatha sasmitaM jinaH / tatheti tadvAkyamudAraceSTitaH pratIcchati sma svaniyogayogavit // 43 // itthaM nizamya bhagavadvacanaM mahIyaH prItaH parAM mudamasau manasA''dadhAnaH / lagnaM karagrahamahAya vimRzya zuddhaM kanyAM nijAM sa vitatAra varAya tasmai // 44 // saukhyaM tayA sa bubhuje bhagavAnasaktaH so'nyedhuriddhamadhisaudhamadhiSThitazca / sAntaHpuraH pugmudIkSya gavAkSAjAlaiH puSpopahArasahitAn manujAnapazyat // 45 // (41) he prabho !, Apa saMsAra meM rahate hue bhI cidAnanda svarUpa haiM tathA sAMsArika pApapaGka ke samparka se lipta nahIM hote haiN| (jaise) apane sAtha milI huI anya dhAtuoM se alaga huA svarNa dubArA samIpa meM rahI una dhAtuoM meM mila nahIM jAtA / (42) sAMsArika prasaMga se virakta hote hue bhI mere Agraha se aba Apa pANigrahaNa saMskAra kara leM kyoMki sajjanoM kA sAmIpya nizcitarUpa se anya vyaktiyoM ko kRtArtha kara detA hai| (43) rAjA prasenajit apanI yaha vijJapti nivedana kara cupa ho gaye / isake pazcAt apane lagna kI niyati ko dekhane vAle aura udAraceSTA vAle unhoMne unake (rAjA ke) vAkya ko (prastAva ko) 'acchA' aisA kahakara svIkAra kara liyA / (44) isa prakAra jinaprabhu ke mahanIya vacana sunakara vaha rAjA prasena khuza huA aura mana meM atIva prasanna huA / pANigrahaNa ke utsava ke lie zuddha lagna (muhUrta) kA zIghra hI nizcaya karake usane apanI kanyA usa uttama vara ko arpita kara dii| (45) usa pArzvakumAraprabhu ne Asakti rahita hokara usa kanyA ke sAtha sukha bhogA / eka dina prakAzita bhavana para sthita usane gola kI jAlI se antaHpura sahita nagara ke upara najara DAlI to dekhA ki manuSyaloga puSpopahArayukta the| For Personal & Private Use Only

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pannasundarasUriviracita nirgacchato bahirimAnatha vismito'sau papraccha kaJcidapi sasmitamAha sa sma / paJcAgnisAdhanaparaM kamaLaM tapasvi ___ vayaM vrajatyahaha ! paurajano'dha nantum // 46 // itthaM nizamya bhagavAn savayobhirucai goSThI svismitsubhaassitlbdhvrnnaiH| kurvan vaneSu vicAra vihAracArI zyAmAyamAnatarurAjiSu rAjamAnaH // 47 // krIDan vaneSvatha tadAzramameSa vIkSA . cakre tapasvinivaDaH kuzadArahastaiH / AkIrNamekamatha tApasavargamukhyaM paJcAgnisAdhanaparaM ca nirIkSya tasthau // 18 // yAvaJca kautukavazAd bhagavAnanatvA tasthAvanAdaraparaH puratastamIzaH / dRSTvA tamapraNatameSa cukopa bAda nAtadvidAM tapasi cApi bhavet titikSA // 19 // citte vyacintayadatho sa tAsvivaryaH pUjyo'hamatra yadi vA tapasA'smi vRddhaH / pAvastu mAmavagaNayya puraH sthito yat tatprAjyarAjyapadavImadavibhramatvam // 50 // (46) bAhara nikalate hue ina logoM ko dekhakara vismayAnvita hokara usane (pA ) kisI se pUchA taba usane ha~sakara kahA-are Aja sAre nagaranivAsI paJcAgni sAdhanA meM tatpara kamaTha tapasvizreSTha ko praNAma karane ke lie jA rahe haiN| ____(47) aisA sunakara apanI umaravAle, Azcaryacakita madhura vANIvAreM aura kIrtipAta mitroM ke sAtha jorazora se carcA karate karate zyAma dikhAI detI vRkSapaMktiyoM meM yobhAyamAna bhagavAn vanoM meM paidala nikala paDe / (48) vanoM meM khelate khelate unhoMne kuza aura kASTha hAtha meM lie hue tapasviyoM se bharapUra usa Azrama ko dekhA aura tApasoM ke eka mukhiyA, ko paMcAgni sAdhanA meM tallIna dekhakara ve khar3e raha gye| (49) yakAyaka bhagavAn. pAvaM - vaza binA praNAma kiye anAdara ke sAtha usake sAmane khar3e ho gaye / use binA namaskAra .iye hue dekhakara mahAmuni kamaTha ko bahuta krodha aayaa| ajJAniyoM kI tapasyA meM sahanazIlatA nahIM hotI hai / (50) apane mana meM usa tapasvizreSTha ne socA ki maiM yahA~ isa mAnava meM pUjanIya hU~ tathA maiM tapovRddha hU~ / pArzva merI avagaNanA karake mere sAmane par3A bhAra yaha to rAjyapadavI ke abhimAna se janya usakA aviveka hai| For Personal & Private Use Only

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zrIpArzvanAthacaritamahAkAvya vidhyAtamagnimatha vIkSya tapasvivayoM dAruNyupakSipati yAvadasau kuThAram / tAvat kRpArdramanasA prabhuNA niSiddho 'pyabhyudhataH sa laghu tad vidadAra dAru // 1 // tasmAda bhujaGagabhuz2agIyugalaM kuThAra chedena vihvalataraM niragAd viSaNNam / tasmai namaskRtimadAt karuNAIcetAH paugastadAzu kamaThAd vimukhatvamApuH // 52 // tatrAzvasenanRpasUnuranUnasampat proce ka eSa bhavatAmiha dharmamArgaH / yadarmasAdhanavidhAvapi nirdayatvaM prAvNA samudrataraNaM khalu tat samagram // 53 // kiM tat tapo yadiha bhUtakRpAvihInaM kAruNyameva tapasaH kila mUlamAhuH / taddhInameva saMkalaM khalu dharmakRtyaM syAd durbhagAbharaNatulyamanalpakRcchram // 54 // , zratveti tadvacanamAha munirna vesi paJcAgnisAdhanamihAsti tapo'tikRcchram / taccaikapAdadharaNena tathordhvabAhu sthityA svayaMcyutadalAdhanilAzanena // 55 // (11) usa tapasvizreSTha ne jyoMhI bujha gayI agni ko dekhakara kuThAra (kulhAr3I) ko lakar3I para phekA, tyoMhI kRpAlu prabhu ne manA kiyA, phira bhI usane tatpara hokara zIghra hI ki ko cIra diyA / (52) kuThAracheda se usa kASTha khaNDa meM se duHkhI sarpa-sarpiNI bokA nikAlA / karuNAcitta vAle prabhu ne use namaskAra mahAmantra diyA aura una sabhI gabhavAsiyoM ne kamaThamuni se muMha phera liyaa| (53) vahA~ azvasena mahAgajA ke mahAna sampativAle putra pArzva ne kaho ApakA yaha kaisA dharmapArga hai ki dharmAcaraNa kArya meM bhI yatAko myavahAra karate ho ? yaha samagra (dharmavidhi) patthara para baiThakara samudra pAra karane ke samAna hai| (54), prANiyoM para dayA rahita yaha tapa kyA tapa hai ? kamNA hI tapasyA kA mUla haiM aisA loga kahate haiM / karuNAhIna sampUrNa dharmakArya durbhagA (vidhavA) strI ke dvArA AbhUSaNa dhAraNa karane ke samAna atIva nirarthaka hai| (55-57) usakA vacana sunakara ani bola-tuma atIva kRSdakAraka paJcAgni sAdhana tapasyA ko kyA nahIM jAnate ho| For Personal & Private Use Only

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padmasundara sUriviracita mAsopavAsakaraNAdibhireva ghoraM yuSmadRzAM na ca kumAra ! tadasti gamyam / zrutvA punaH sa tamuvAca vidAMvareNyaH kAryA mayA na nitarAmavamAnanA te // 56 // mImAMsyate khalu yathAtathameva tattvaM bhAvyaM budhaistu nayavartmavicAra dakSaiH / naivAntareNa jinadarzana manyato'pi pazyAmi dharmanikaSasya tatropapattim // 57 // mithyAtvamavratakaSAya-catuSkayoge - vArivahUnyanilabhUruha jaGgameSu / yogairmanovacanakAyakRtaistridhApi yat tApasA api carIkati teSu hiMsAm // 58 // tat sarva kRtyamiha vandhyamuzanti tajjJA vijJAnazUnyahRdayasya tapasyato'pi / yuSmAdRzasya jalamanthanato ghRccho ryA tuSAvahananAdapi taNDuleccho: // 59 // ajJAnakaSTamiha te pratibhAsate me nAmutrakaM kimapi mokSakRte phalaM syAt / paGkAvilasya kimu paGkajalena zuddhi ryA kadApi surayaiva surAvilasya ||60||__________ isa tapa meM eka paira para khar3e hokara bhujA Upara kI ora uThAkara rahanA hotA hai aura apane Apa gire hue pattoM Adi ke tathA vAyu ke bhakSaNa se yA mahInoM taka upavAsa karane Adi ke dvArA yaha tapa ghora hai, tumhAre jaisoM bAta sunakara vaha vidvAn pArzvakumAra usa kamaThamuni se nahIM karanA caahie| tuma svayaM samaya pAkara vAstavikatA se vicAraNA karane meM catura buddhimAna loga vicAraNIya tattva kI haiN| binA jinadarzana dharma kI kasauTI kA honA mujhe asaMbhava mithyAtva, atrata aura cAra kaSAyoM se yukta tIna prakAra kI pravRtti se tApasa loga pRthvIkAya, apkAya, tejaskAya, vAyukAya, vanaspatikAya aura basa jIvI ke prati hiMsA karate hI rahate haiM / (59) tapasyA karane para bhI jo vijJAnazUnya hRdayavAlA hai, para jala ke manthana se dho pAne kI icchA rakhatA hai aura jo bhusse ke kUTane se bAla pAne kI icchA rakhatA hai aise tumhAre jaise AdamI kA vaha saba kRtya yahA~ niSphala hai aisA vidvAna kahate haiN| (60) tumhArA kArya ajJAna ke kAraNa (kevalaM) kaMSTarUpa hai aisA mujhe anal hai / paraloka meM bhI isakA koI phala mokSa ke lie nahIM hai| kIcar3a meM sane hue kI 'kyA kIcar3a ke jala se zuddhi hotI hai ? athavA kyA surA se lipsa kI surA se ladiSa hotI hai ! Apake siddhAnta meM bhI kahA hai: && ke lie yaha tapa agamya hai| yaha kahane lagA- mujhe tumhArA apamAna For Personal & Private Use Only vicAra karoge yampUrNa yathArtharUpa se mImAMsA karate pratIta hotA hai / (58) kAyika- vAcika - mAnasika

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zrIpArzvanAthacaritamahAkAvye sthA zaktaM bhavanmate"yathA pakena paGkAmbhaH surayA vA surAkRtam / bhUtahatyAM tathaivaitAM na yajJairmA?mahati // 1 // kohaka saridvinA toyaM kIdRgindaM vinA nizA / kIdRg varSI vinA meghaH kIdRg dharmo dayAM vinA // 62 // kRpAnadImahAtIre sarve dhrmaastRnnaakuraaH| tasyAM zoSamupetAyAM kiyannandanti te punaH // 63 // sarve bedA na tat kuryuH sarve yajJAzca bhArata ! / sarve tIrthAbhiSekAzca yat kuryAt prANinAM dayA // 6 // ekataH kAJcanaM meruM bahuranA vasundharAm / / ekasya jIvitaM dadhAd na ca tulyaM yudhiSThira ! // 65 // sarve tIrthAbhiSekAzca sarve yajJAzca bhArata! / bhUtAbhayapradAnasya kalAM nArhanti SoDazIm" // 66 // syAdi bhavanmatoktabhagavadcanaprAmANyAt / pArthena tatra vijita: sa nijopapatyA tUSNIka eva munirAsa kRtAvahelaH / bhUyo'vadata sukupitA'tha tapasvirADA kArI svayaMkRtaphalaM drutameva labdhvA // 67 // ( base kIcar3a se yukta pAnI ko kIcar3a se zuddha karanA asaMbhava hai, jaise surA se lipta vyakiko murA se zuddha karanA asaMbhava hai, usI prakAra isa prANohiMsA ko yajJa se zuddha karanA asaMbhava hai| (2) saritA ke binA pAnI kaisA, candramA ke binA rAtri kaisI, varSA ke binA meSasA , usI prakAra dayA ke binA dharma kaisA ? (63) dayArUpI nadI ke mahAtaTa para dharmarUpI pAsa ke aMkura hote haiN| unake sUkha jAne para phira ve kaise vikasita hoMge ? (64) prANiyoM ke prati kI jAne vAlI dayA jo kArya karatI hai vaha kArya samasta veda (bhI) nahIM kara sakate, samasta yaza (bhI) nahIM kara sakate, tathA samasta tIrthasthAnoM meM kie gaye snAna (bhI) nahIM kara sakate haiN| (65) he. yudhiSThira / eka ora suvarNa kA meruparvata aura bahuratnA pRthvI kA dAna kiyA cAya aura dUsarI aura eka prANI ko jIvanadAna diyA jAye, taba bhI pahalA dAna dUsare ke barAbara nahIM hogaa| (66) he bhArata ! sabhI tIrthoM meM kiye gaye snAna aura sabhI ko prANiyoM ke abhayadAna kI solahavIM kalA ke bhI tulya nahIM haiN| isa prakAra Apake masa meM bI hai, vaha yathArtha hai, kAraNa ki bhagavadvacana usameM pramANa hai / (67) pArzva ne yahA~ apanI yukti ke dvArA use jIta liyA / vaha muni avahelanA (apamAna ) sahita cupa ho gayA / punaH vaha tapasvirAja zIghra hI apane kArya kA phala prApta karake krodhita hokara bArabAra bolaa| For Personal & Private Use Only

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93 padmasundarasUriviracita itthaM krudhA jvalitamAnasa eSa pApaH prArabaddhavairakaluSaH kamaThasvarUpaH / mRtvA kudRgabhavanavAsiSu meghamAlI tyAsIt surAdhama ito'yavamAnanAtaH // 68 // tannAgadampatiyugaM jinalabdhabedhaM mRtvA babhUva dharaNaH sa ca nAgarAjaH / nAgI tadapramahiSIti mahAnubhAva saMsargajaM phalamudeti na cAlpabhUti // 19 // pAvaH svasainyasahito nijagahamAgAt so'thAnyadA vanavihAravinodahetoH / / tatropakAzi madhumAsi ca nandanastha saudhe sa nemicaritaM likhitaM vilokya // 70 // dhanyo vyacintayadaho ! bhagavAnariSTa nemiH kumAra iha yo jagRhe sudIkSAm / tanniSkramAmyahamapIti vimRzya dAnaM sAmvatsaraM sa vitatAra viraktacetAH // 71 // . matvA tattvaM nityamAtmasvarUpaM bhogAnaGgadbhagavad bhagurAMzca / dIkSAkAlaM vIkSya zuddhAvadhisva jJAnenetthaM bhAvayAmAsa bhAvam // 72 // - (68) isa prakAra krodha se jale hue mana vAle usa pApI pUrvabaddha vaira se kaluSita kamaTha kI AtmA yahA~ se bho duHkhI hokara marakara mithyAdRSTi bhavanavAsI devoM meM meghamAlI nAmaka adhamadeva huii| (69) jinadeva se jJAna prApta karake vaha nAgadampatiyugala marakara nAgarAja dharaNendra banA aura sarpiNo usakI paTarAnI banI kyoMki baDe AdamiyoM ke saMsarga kA phala alpa aizvarya vAlA nahIM hotA hai| (70) pArzvakumAra apanI senA sahita apane ghara A gye| dUsare dina vanavihAra ke manoraMjana hetu kAzI ke samIpa caitramAsa meM nandanavana ke bhavana meM Aye hue usane, vahA~ likhe hue nemicarita ko dekhA / (71) use dekha kara usane sonA-dhanya hai ve ariSTa nemikumAra jinhoMne sundara dIkSA grahaNa kii| maiM bhI dIkSA la aisA vicAra kara unhoMne viraktacitta hokara sAmvatsarika dAna kiyA / (72-73) nityaAramA svarUpa tatva ko samajha kara, sAMsArika bhoga ko kSaNabhaMgura jAnakara, apane zuddha avadhijJAna se For Personal & Private Use Only

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zrIpArzvanAthacaritamahAkAvya kvAhaM pUrva vAraNAtmA'tha sampra tyAsaM sAkSAd vizvavizvakapUjyaH / zreyAnasmAnmokSamArgAbhiyogaH saMsAritvaM kevalaM bandhahetuH // 73 // bhrAmyatyeSa bhrAntimUDho durAtmA / gatyAdInAM mArgaNAnAM vivataiH / jJAnI tasmAnnApi saMsArapake lipyetAsau karmabhAvAda viraktaH // 74 // strIbhogAdau bheSaje tatparaH syA deSa prANI tIvakAmajvarAtaH / nAyaM bhogaH kintu rogopacAro nIrogaH kiM bheSajaM kvApi kuryAt // 75 // nirdvandvatvaM saukhyamevAhurAptAH sadvandvAnAM rAgiNAM tatkutasyam / tRSNAmohAyAsakRccAnyanighnaM saukhyaM kiM syAdApadAM bhAjanaM yat ! // 76 // . saukhyaM strINAmaGgasaGgAyadi syAt ___ tAdRg bADhaM tat tirazcAmapIha / yad vA nimbodabhUtakITo'timiSTa manyetAsau rAgavAMstadrasaM vA / 77 // dIkSAkAla jAnakara ve isa prakAra se bhAva karane lage kahA~ maiM pahale hAthIrUpa thA, (aura) isa samaya sampUrNa vizva kA pUjya huuN| isalie mokSamArga kA anusaraNa hI kalyANakara hai tathA sAMsArikatA hI bandhana kA hetu hai / (74) bhrAnti se mUr3ha yaha durAtmA gati Adi mArpaNA sthAnoM ke vivoM se saMsaraNa kara rahI hai| ataH jJAnI puruSa karmabhAva se visvata hokAra saMsAra sabhI kIcar3a meM lipta nahIM hote haiM / (75) yaha prANo tIvra-kAmajvara se pIr3ita hokara strI bhImAdi auSadhi meM tatpara rahatA hai| yaha bhoga nahIM hai, kintu rogoM kA upacAra hai| sthA svastha vyakti kabhI bhI auSadhi kA prayoga karatA hai ? (76) tRSNA, moha aura Amasa kA janaka, anya ke adhIna aura ApattiyoM kA sthAna jo hai use kyA sukha mAhA bhA sakatA hai? (77) striyoM ke aMgasamparka se hI yadi sukha kA anubhava ho to vaha ko bhI hotA hai| athavA nIma ke vRkSa meM paidA huA kIr3A usake rasa kAsagI hone ke kAraNa (rasa ko) ati mIThA hI mAna letA hai| For Personal & Private Use Only

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pAsundarasUsivirakti sarve bhogAstAvadApAtaramyAH paryante te svAntasantApamUlam / taddhAnAya jJAninAM dAgU yatante bhogAn rogAneva matvA''satattvAH // 7 // manyetAsau saukhyamAyAsamAtra bhogodbhUtaM zvA dazamnasthi yavat / ajJAnAtmA'saMvidAnaH svanimnaM __ brahmAdvaitaM saMvidAnandasAndram // 79 // sparzAddhastI bhakSyalaulyAjjhaSAtmA ____ gandhAd bhRGago dRSTilaulyAt pataGagaH / gItAsagAjjIvanAzaM kuraGgo nazyatyetAn dhik tato bhogasaGagAn // 8 // karmodbhUtaM yat sukhaM yacca duHkhaM sarva duHkhaM tadvidurduHkhahetoH / yadvA bhojyaM svAdapi syAd viSAktaM paryante tat prANavighnAya sarvam // 8 // tasmAd brahmA tamavyaktaliGga ___ jJAnAna tajyotirudyotamAnam / nityAnandaM cidaguNojjambhamANaM __ svAtmAgamaM zarmadhAma prapadye // 82 // (8) jinhoMne tattva samajha liyA hai aura jo jJAnI haiM ve bhogoM ko roga hI mAnakara unheM naSTa karane ke lie zIghra prayatna karate haiM / (79) jaise haDDI ko kATatA huA kuttA tajanya parizrama ko sukha samajhatA hai, vaise jo AdamI bhogajanya kevala parizrama ko hI sukha samajhatA hai vaha ajJAnI hai aura vaha svatantra tathA jJAnAnaMdamaya brahmAdvaita ko nahIM jAnatA / (80) sparza se hAthI, bhakSya kI lolupatA se machalI, gandha se bhaurA, dRSTi ko lAlasA se pataGgA, gIta sunane se hiraNa-ye sabhI naSTa ho jAte haiN| ataH bhogAsakti ko dhikkAra hai| (81) karmoM se utpanna cAhe sukha ho yA duHkha ho, vaha saba duHkha hI hai, kyoMki vaha saba du:khorapAdaka hai / athavA svAdu vastu jo bhakSaNayogya parantu viSAkta hai, anta meM vaha prANa. cata ke lie hI hotI hai| (bhojana svAdiSTa hone para bhI agara viSamizrita ho taba vaha anta meM prANaghAta karegA hii)| (82) ataH avyaktaliGga, jJAna kI ananta jyoti se prakAzamAna, nisyAnanda, AtmaguNoM ke pUrNa prAkaTya vAle, kalyoNa ke dhAma mIra brahmAdretarUpa apanI AtmA ke sukha ko hI maiM prApta kruuN| For Personal & Private Use Only

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zrI pArzvanAtha caritamahAkAvya itthaM sAkSAjJAnavairAgyaniSThaH sarvAsaGgAt vyaktaraGgo jinendraH / tAvad devaireSa sArasvatAdyaiH svargAyAtaiH saMstutaH stotravRndaiH // 83 // pUrvaM muktvA puSpavRSTi surAsteM sadgandhADhyAM pArijAtadrumotthAM / varddhazveza ! tvaM jayetyadigIrbhiH pArzva stotuM te samArebhire'tha // 84 // dhAtAraM tvAmAmananti prabuddhA jetA tvAM sarvakarmadviSAM vA / prAgnetara dharmatIrthasya deva ! jJAtA vA vizvavizvArtha vRtteH // 85 // uddhartA tvaM mohapaGkajjanAnAM nirmagnAnAM dharmaH stAvalambaiH / bandhuH sAkSAtra niSkAraNastva sAkSAnmokSamArga vitrakSuH ||86 // sAkSAd buddhastvaM svayaM buddharUpaH svAmin ! vedyaM veditA'si tvameva / dhyeyo dhyAtA dhyAnamAdyaH svayambhUbadhyo'smAbhistanniyogo nimittam // 87 // ( 83 ) isa prakAra sAkSAt jJAna aura vairAgya meM niSThA vAle, sabhI prakAra kI Asakti ko chor3ane se rAgamukta jinendra kI svarga se Aye sArasvatAdi devatAoM ne sundara stotroM se * stuti kI / ( 84 ) sabase pahale una devoM ne sugandhita pArijAta vRkSoM kI puSpavRSTi ko / 'he bhagavan ! ApakI jaya ho, ApakI unnati ho,' ityAdi vacanoM se pArzva kI stuti karanA * prArambha kiyA / (85) he deva ! jJAnI loga Apako vizva kA pAlaka samajhate haiM, Apako hI sabhI karmarUpI zatruoM kA vijetA mAnate haiM, Apako hI dharma tIrtha kA prathama netA jAnate haiM aura Apako hI vizva ke sabhI padArthoM kA jJAtA jAnate haiM / (86) Apa hI dharmarUpI hAtha kI sahAyatA dekara moharUpI kIcar3a meM DUbe hue logoM ko isa kIcar3a se bAhara nikAlate haiM / yahA~ Apa (logoM ke) niSkAraNa mukhyarUpa se bAndhava haiM / Apane hI mukhyarUpa se trividha (arthAt samyak jJAna- darzana - cAratrika rUpa ) mokSa mArga kA upadeza diyA hai / (87) svayaM buddharUpa haiM / hai sva min !, jJeya bho Apa haiM aura jJAnA bhI A hI / Apa hI dhyeya haiM, dhyatA haiM aura dhyAna bhI Apa hI haiM / Adya svayaMbhU bhI Apa hI haiM / Apa hamAre to kevala nimitta se, niyati se hI haiM / For Personal & Private Use Only

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paprasundarasUriviracita tasmAd vizvasyopakArAya dhAtaH ! proTi pattAM dharmatIrthapravRttau / tvAmAsevya prIyatAM bhavyalokaH parnanyaM vA cAtakaH prAvRSeNyam // 88 // stutvaivaM te svaryayurdevadevaM tAvaJcAnye nAkinaH zakramukhyAH / nAnAveSAH khAdavAtItaraMste tasthuH kAzI sarvataH sannirudhya // 89 // sarve sambhUyA'bhiSidhya prabhu te bhUSAveSairbhaSayAMcakra caiH / divyairmAlyairbhUSaNaireSa gandhaiH reje'mbhodaH zakracApAMzubhirvA // 9 // dadhyAna dundubhiravo jayazabdamizraH - prottuGgamaGgalamRdaGganinAdasAndraH / nRtyaM vyadhuH salayamapsaraso jaguzca zubhra yazo jinapateH suragAyanAste // 91 // mApRzya bandhujanameSa samAraroha vaiGgiko'tha vizadAM zibikAM vizAlAm / pArzvaH kRtApTamatapAH sa ca pauSakRSNa kAdazyahanyavanipaistrizatIpramANaiH // 12 // (88) he pAtA !, Apa saMsAra ke upakAra ke lie dharmatIrtha kI pravRtti meM praudatA ko dhAraNa kreN| bhApakI sevA karake yaha bhavyaloka prasanna ho, jaise cAtaka (papIhA) varSA ke bAdako dekhakara prasanna hotA hai| (89) isa prakAra ve devoM ke deva jinakI stuti karake svarga ko cale gae / (usake pazcAt) turanta ho indra bhAdi anya devatA loga nAnA veza dhAraNa kie hue AkAza se utare aura saba tarapha se kAzIpurI ko dekhakara khaDe ho gaye / (90) sabhI ne ekatrita hokara prabhu kA abhiSeka karake digyamAlAoM, AbhUSaNoM aura sugandhita myoM se prabhu ko sajAyA / vaha prabhu indradhanuSa kI kAnti se zobhita bAdala kI taraha virAjamAna the| (91) mRdaGga kI maMgala aura U~cI dhvani se gaMbhIra aura ayaghoSa se mizrita dundubhI kI AvAja hone lagI / layapUrvaka apsarAoM ne nRtya karanA prAraMbha kiyA / dimyagAyaka jinapati pAvakumAra ke svaccha yaza kA guNagAna karane lage / (92-93) usake pazcAt aSTamatapavAle virakta pArzva bandhujanoM kI anujJA lekara zubhra evaM vizAla zivikA meM cddh'e| pauSa mAha ke kRSNa pakSa kI ekAdazI ke dina pUrvAhna meM udyAnagata Azramapada meM, For Personal & Private Use Only

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98. zrIpArzvanAthacaritamahAkAvya pUrvANDa Azramapade vipine tvazoka ___mUle sa pAzvebhagavAn vratamAdadAnaH / kezAnaluJcadabhinamya sa sarvasiddhAn saMtyajya saGgamakhilaM trividhaM vidheti // 93 // sAvadyAdakhilAd viramya jagRhe sAmAyika saMyama tabhedAn vratagupti cArusamitisphArAn virAgaH prabhuH / pratyaicchanmaghavA suratnapaTalIpAtreNa tanmur3ajAn sAnandaM tridazAstu dugdhajaladhAvAdAya tAMzcikSipuH / / 9 / / taM jAtarUpadharamIzamudapradIpti nAnAsurAsuragaNArcitasundarAGgam / dRSTvA sahasanayanaH kila nApa tRptiM . __netraiH sahasragaNitairapi sapramodaH // 95 // taM jinendramatha vAsavAdaya ___ stuSTuvuH pramadatuSTamAnasAH / bhAratIbhirabhitaH sanAtanaM sUktiyuktivizadArthavRttibhiH // 16 // tvaM vibhustribhuvanaikabhUSaNa stvaM jagajjanasamUhapAvanaH / svAmanantaguNamIza ! yat stuma staddhi bhaktimukharatvameva naH // 97 // azoka vRkSa ke nIce, tInasau rAjAoM ke sAtha unhoMne vrata grahaNa kiyA / tInaprakAra ke nakhila saMga ko tridhA tyAgakara sarvasiddhoM ko namaskAra karake unhoMne keza kA laMcana kiyaa| (94) sabhI doSoM se virakta hokara virAgI prabhu ne sAmAyikarUpasaMyama aura usake vrata, gupti, samiti aise aneka medoM ko grahaNa kiyA / indra ne una kezoM ko sundara ratnapAtra meM sthApita kiyA tathA AnandapUrvaka devatAoM ne use kSIrasAgara meM visarjita kara diyA / (95) svarNa ke rUpa ko 'dhAraNa karane vAle, atyanta tejasvI, aneka deva tathA asuroM ke dvArA binake zobhana aMgoM kA pUjana kiyA gayA hai aise usa pArzva ko dekhakara, prasanna indra ko apane hajAra netroM se bhI tRpti nahIM huI / (96) usa sanAtana jinendra bhagavAn kI indrAdi devatAoM ne prasannamana hokara zobhana uktioM, yuktioM aura vizada arthavAlI rItioM se pUrNa vANI dvArA stuti ko / (97) he prabho!, Apa vyApaka haiM, trilokI ke anupama bhUSaNa haiM, sAMsArika logoM ko pavitra karane vAle haiM / anantaguNavAle ApakI he prabhu ! hama vo stuti karate haiM vaha to mAtra Apake prati bhakti ke kAraNa hamArI vAcAlatA hI hai| For Personal & Private Use Only

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99 pasundarasUriviracita yannirastajagaduprasaMjvaraM vizvavizvajanatekapAvanam / gAgavArisavanaM punAtu vA / svaMdvatagrahaNamadha naH prabho ! // 98 // rAjyasampadamimAM calAcalA mAkalayya bhagavAn bhavAniti / AjavaMjavajakRShAnaye pratyapadhata vizuddhasaMyamam // 99 / / sneharAganigaDa vibhidya yat / tvaM madAndhagajavad vanaM gataH / sAvarodhajanakAdibandhutA . nAvarodhanakarI tavAbhavat // 10 // jIvitaM kila zatahadAcalaM svapnabhoga iva bhogasaGgamaH / sampado jalataraGgabhagurA ityavetya zivamArgamAsadaH // 1.1 // yadihAya nRpatAramAmimA rajyate sma bhagavAstapaHzriyA / / kAkSase yadiha "muktivallabhAM vItarAgapadavI kutastvayi ! // 102 // ' (98) he prabho !, ApakA yaha vratagrahaNa Aja hameM gaMgAjala ke snAna ke samAna pavitra kare / yaha vratagrahaNa saMsAra ke sabhI uttApa ko dUra karane vAlA tathA sampUrNa vizva ko pavitra karane vAlA hai| (99) rAjya kI yaha sampatti calAcala hai aisA socakara Apane zIghra hI kaSTa kI hAni ke lie vizuddha saMyama ko svIkAra kiyA hai / (100) madAndha hAthI kI taraha Apa sneha aura rAga kI jaMjIra ko tor3akara vana meM gae / pitA Adi kI avarodhakArI sagAI (saMbaMdha) Apake liye avarodhaka na huI / (101) Apane jIvana ko bijalI ke samAna caMcala, sAMsArika bhogoM svapnabhoga ke samAna (mithyA), sampatti ko jalataraMgoM ke samAna kSaNabhaMgura samajhakarI Apa ne mokSa ko apanAyA hai / (102) isa rAjyalakSmI ko borakara Apane jo tapa:zrI se anugaga kiyA tathA yahA~ muktipriyA kI jo icchA kI, to phira bhApameM vItarAgatA kaise mAnI jAye ? For Personal & Private Use Only

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100 zrIpArzvanAthacaritamahAkAvya svaM paraM ca sakalaM vividhya tad vastu vAstavamanantadharmakam / svAtmavastuni yadAsajastarAM tat tavA'sti samadarzitA kutaH ! // 13 // zarma yacca paranighnamatyaja stat svanighnamabhikAkSase bhRzam / svAM vihAya sakalAM nRpazriyaM tAvakI viratiradbhutA vibho / // 104 // . .. bhejire kila purA surAsurA stvaM tathaiva bhuvaneza sAmpratam / kAmameva cakame vratazriyaM tat tapobhyupagamastavA'dbhutaH // 105 // mAdRzaiH sucaritaM bhavAdRzAM vizvavizvapa ! na cAsti gocaram / tat svameva vacasAmagocara ___ stvAM zaraNyazaraNaM zriyA vayam // 1.6 / / __ (1.3) sva aura para sakala vastu vAstava meM ananta dharmoM vAlI hotI hai aisA viveka se nizcaya karane ke bAda bhI apanI AtmArUpa vastu meM Apa jo vizeSataH mAsakta ho gaye haiM, to phira ApakI samadarzitA kahA~ ? (104) apanI sampUrNa rAjyalakSmI ko chor3akara parAdhIna sukha ko Apane chor3a diyA aura svAdhIna sukha kI Apa utkaTa icchA karate ho / he prabho !, ApakI yaha virakti bar3I hI adbhuta hai / (105) he bhuvaneza !, devatAoM aura asuroM ne jo pahale ApakI sevA kI thI, usI prakAra aba bhI sevA karate haiM, aura bhApa bratazrI kI atyanta icchA karate haiN| isalie Apake tapa kA svIkAra adbhuta hai| (106) he sampUrNa vizva kA pAlana karane vAle prabho !, mujha jaimoM ke dvArA Apa jaisoM kA sundara carita nahIM jAnA jA sakatA / Apa vANI se agocara haiM / zaraNAgata kI rakSA karane vAle Apake hama zaraNa meM Aye haiN| For Personal & Private Use Only

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pAsundarasUriviracita stutvaivaM tridazAdhipAstrijagatAmIzaM vratazrImataM jagmuH svAlayameva bandhujanatA prApAtha zokArditA / niHsaGgo bhagavAn vaneSu viharannAste manaHpayeva - zrIsaMzleSasasammadaH sa yaminA dhuryaH paraM nirvRtaH // 10 // iti zrImatparAparaparameSThipadAravindamakarandasundararasAsvAdasamprINitabhavyabhavye paM0 zrImeruvineyapaM0 zrIpadmasundaraviracite zrIpArzva nAthamahAkAvye zrIpArvaniSkramaNaM nAma paJcamaH sargaH // 107) isa prakAra devatAloga vratabhI ko dhAraNa karane vAle jagatsvAmI kI stuti karake apane sthAna ko cale gye| bandhujana zoka se pIr3ita hokara apane ghara gaye / bhagavAn jinadeva vanoM meM niHsaGga vihAra karate hue manaHparyavajJAnazrI ke AzleSa se khaza hue / saMyamIjanoM meM agragaNya aise ve (pAva) parama zAnti meM sthiti rahe / iti zrImAnaparamaparameSThI ke caraNakamala ke makaranda ke sundara rasa ke svAda se bhavyajanoM ko - prasanna karane vAle, paM0 zrIpadmameru ke ziSya paM0 zrI padmasundara kavi dvArA racita zrIpArzvanAthamahAkAvya meM "zrIpArzvaniSkramaNa" nAmaka pA~cavA~ sarga samApta huA / For Personal & Private Use Only

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athASTamatapaHprAnte zrIpAzvoM bhagavAn svayam / viSvANAnveSaNe. buddhiM cakre kAyasthitIcchukaH // 1 // yatimArgapradarzitvaM svatanusthitikAritA / sukhena muktiyAnaM : syAdityarthaH munibhojanam // 2 // na kRzIkurute / kArya: muni!pacinoti vA / kintu : saMyamavRSyarthaH prayateta nanu sthitau // 3 // karmaNAM nirjarAyopavAsAderupakramaH / - tanusthityarthamAhAro yatInA sUtrasUcitaH // 4 // rasAsaktimatanyAno - yAtrAyai saMyamasya tu / / gRhaNannirdoSamAhAraM muniH syAnnirjarAlayaH // 5 // iti nizcitya bhagavAn pArzvaH saMyamavarddhane / kRtoyogazcacAlAyaM puraM pakaTaM prati // 6 // yugamAtrasphuradRSTirIryAmArga vizodhayan / sa pratasthe'khilA pRthvIM pAdanyAsaiH pavitrayan // 7 // , krameNa viharan madhyenagaraM sa samAsadat / sadA sotkaNThito lokaH zrIpAzrvasya vikSayA // 8 // 1 isake pazcAt aSTamatapa ke anta meM kAyasthiti ke icchuka bhagavAn pArzva ne svayaM bhojana DhUMdane kA vicAra kiyA / (2) 'vivekapUrNa bhojana lenA jisakA eka aMga hai aise yatimArga ko dikhalAne ke lie, apane zarIra ko TikAye rakhane ke lie aura sukhapUrvaka ( arthAt binA durdhyAna ) muktimArga meM gati ho sake isalie muni ko bhojana lenA hotA hai| (3):muni na to zarIra ko kRza kare na hI puSTa kare, kintu saMyama ko bar3hAne ke lie hI apane zarIra ko TikAye rakhane kA prayatna kare / (4) karmoM kI nirjarA ke lie upavAsa bhAdi kA prAraMbha hotA hai| zarIra kI sthiti ke lie muniyoM ke AhAra kA satroM meM sUcana kiyA gayA hai / (5) rasa meM lolupatA nahIM karane vAlA, kevala saMyamayAtrA ke nirvAha ke lie doSarahita bhojana karane vAlA muni kamanirjarA kA sthAna hai / (6) aisA nizcaya karake bhagavAn pArzva ne apane saMyama ko vRddhi meM prayatna karate hue kUpakaTa nAmaka nagara ke prati prasthAna kiyA / (7) cAra hAtha mAtra taka phailatI dRSTi se ( bahuta sUkSmatA ke sAtha) calane ke rAste ko (kITa pataMga Adi kI hiMsA na ho isalie ) barAbara dekhakara unhoMne sampUrNa pRthvI ko apane caraNanyAsa se pavitra karate hue prasthAna kiyA / (8-9) krama se vicarate hue nagara ke madhya ve pahuMce taba vahA~ ke loga utkaNThita hokara zrIpArzva ko dekhane For Personal & Private Use Only

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padmasundarasUriviracita : 103, ito'mutazca dhAvanto lokAH . kalakalAkulAH / samujjhitAnyakartavyAH praNemustaM :- kRtAdarAH // 9 // sa eSa bhagavAn pArzvaH sAkSAjjaGgamabhUdharaH / yadRSTyA phalite netra yacchutyA saphale zrutI // 10 // . yazcintito'pi cittena janminAM karmasaMkSayam / kurute smaraNAnnAmno yasya pUto bhavejjanaH // 11 / / . so'yaM ghanAJjanazyAmassyaktasmaH sanAtanaH / / niSkAmo vicaratyeSa diSTyA dRzyaH sa eva na: // 12 // evamupijalA lokAH . pArzvadarzanalAlasAH / ahaMpavikayA / jagmurvidadhAnA mithaHkathAm // 13 / stanaM dhayantaM kA'pi strI tyaktvA'dhAvat stanaMdhayam / prasAdhitaikapAdAgAt . kAcid galadalatakA // 14 // khalu bhukteti kA'pyAha pazyantI bhagavanmukham / kA'pi majjanasAmagrImavamatya gatAntikam // 15 // ke'pi pUjA vitanvantaH . paurAH kautukinaH pare / gatAnugatikAzcAnye , pArzva draSTumupAgaman // 16 // kI icchA se, idhara-udhara daur3ate hue, zoragula macAte hue, apane anya kAryoM ko chor3ate hue, bhAdarapUrvaka usa pArzva , ko praNAma karane lge| (10) 'vaha bhagavAn pArva sAkSAt calate-phirate parvata haiM (arthAt jaGgama hone para bhI acala haiM), isake kAraNa: hI unheM dekhane se donoM netra saphala ho gaye tathA unheM sunane se donoM kAna bhI tRpta ho gaye / (11) mana se unakA cintana, karane para ve janmadhAriyoM ke karma kA kSaya kara dete haiM, unake nAmasmaraNa mAtra se manuSya pavitrAtmA ho. jAtA hai / (12) gAda kAcala ke samAna kAle, Asakti. se rahita, sanAtana, niSkAma aise ve (pAva) vicaraNa kara rahe haiN| hamArA saubhAgya hai ki unakA hI darzana hameM sulabha huaa|' (13) isa prakAra - socate har3abar3AhaTa ke sAtha pArzva ke darzanoM ke icchuka vyakti 'maiM pahalA hU~, maiM pahalA hU~, aise vacana bolate hue aura Apasa meM carcA karate hue gaye / (14) koI mahilA apane stanapAna karate hae bacce ko hI chor3akara daur3I / koI eka hI paira meM mahavara lagAye hue daur3ane lagI aura koI galate hue alate vAlI strI daur3a rahI thI / (15) kiso strI ne bhagavAn ke mukha ko dekhakara 'tRpta ho gaI' aisA kahA / koI mahilA snAna sAmagrI ko bhI paTakakara (pArzva ke ) pAsa pahu~cI / (16) koI nAgarika pUjA karate hue, kucha dUsare kautuhalavaza aura atya dUsare dekhAdekho pArzva ko dekhane phuNce| For Personal & Private Use Only

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104 zrI pArzvanAthacaritamahAkAvyaM mahezvaraH / mattebhalIcyA pArzvamApatantaM dhanyAhRya upAgatya tatkramau praNanAma saH // 17 // triH parItya prabhu natvA paJcAGgapraNatikramaiH / santuSTo'sau pramodAtirekAt pulakitAGgakaH // 18 // sa zraddhAdiguNopeto mahApuNyasamanvitaH / nirdoSa prAsukAhAraM dadau bhagavate mudA // 19 // tadgehe ratnavRSTistu papAta gaganA gaNAt / mahAdAnaphalazreNI sadyaH divo'patat prasUnAnAM vRSTiH sadgandhabandhurA / mahApuNya latAyAH kiM pratyaprA sumanastatiH // 21 // nedurnAdApUritadigmukhAH / avAvA puSparajasAM mandaM zIto maruda vavaiau // 22 // aho! pAtram aho! dAnam aho! dAtesi svAGgaNe / pramodamedurasvAntairdevairujjagire giraH ||23|| kRtArthamamanyata / prAdurabhUdiva // 20 // AmandramAnakA dhanya manyastadA dhanyaH svaM svapadanyAsaira punAnmadgRhANam // 24 // yat pArzvaH banaM jagAma bhagavAn vidhAya svatanusthitim / dhanyo'pi tamanuvrajya kiyaddUraM nyavIvRtat // 25 // (17) masta hAthI kI lIlA se Ate hue pArzva ko dekhakara dhanya nAmaka mahezvara ne samIpa jAkara pArzva ke caraNoM meM praNAma kiyA / (18) tIna parikramA karake, paJcAGgapraNati se prabhu ko namaskAra karake vaha dhanya prasannatA ke bhAra se anIva pulakita gAtra vAlA hokara santuSTa huA (19) zraddhAdi guNoM se yukta, mahApuNyoM vAle usa rAjA ne zuddha, nirdoSa AhAra bhagavAn ko prasannatA se diyA / ( 20 ) usake ghara meM AkAzamaNDala se ratnoM kI varSA huI mAnoM mahAdAna ke phaloM kI santati tatkALa prakaTa huI ho / (21) puSpoM kI sugandhita vRSTi svarga se hone lagI / mahApuNyalatA kI kyA vaha tAjI puSpavarSA thI ? (22) dizAoM ke prAntabhAga ko mukharita karane vAlI dundubhiyA~ bajane lagoM, puSpa ke parAgoM ko bahAne vAlA zItala manda pavana bahane lagA / ( 23 ) 'ahA ! yogyapAtra, ahA ! dAna, ahA ! dAtA, ' isa prakAra se AkAzaprAMgaNa meM pramodanirbhara mana vAle devatA jora se vANI kahane lage / (24) dhanya ne apane ko kRtArtha va dhanya-dhanya samajhA ki pArzva ne apane caraNakamaloM se mere ghara ke A~gana ko pavitra kiyA / (25) apanI zarIrasthiti karake ( bhojana kArya karake) pArzva bhagavAn vana ko cale gaye / vaha dhanya bhI thor3I dUra taka unakA anusaraNa karake lauTa AyA / For Personal & Private Use Only

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padmasundarasariviracita vidhAya pAraNAM bheje tapovanamatho jinaH / tapoyogaM samAdhAya kAyamutsRjya tasthivAn // 26 // pralambitabhujadvandvaH prasannavadanAmbujaH / didhyAsurvizadadhyAnaM sa tasthAvacalAcalaH // 27 // ajJAnadhvAntavidhvaMsakalpA tadehamandire / sanmArgodyotikA sadyo didyate bodhadIpikA // 28 // vijJAya heyopAdeyaM guNadoSAntaraM jinaH / vihAya sakalAn doSAnAsajat guNeSvalam // 29 // sarvasAvadyaviratiM cakra satyavrate dRDhaH / asteyanirato brahmacaryavAnniSparigrahaH // 30 // vikAlAzanavarjI sa bhAvayan vratabhAvanAH / vrate vrate ca pratyekaM paJca paJca prapaJcitAH // 31 // manoguptIryeSaNAdAnanikSepavidhAnayuk / dRSTAnnapAnAdyAdAnamahiMsAvatabhAvanAH // 32 // lobhahAsyabhayakrodhapratyAkhyAnena bhASaNam / niravadyavAcA jalpo dvitIyavratabhAvanAH // 33 // (26) jina bhagavAn pAraNA karake tapovana meM pahu~ce / ( usake pazcAt ) tapoyoga karake kAyotsarga se sthita ho gye| (27) donoM bhujAe~ lambI kiye hue, prasanna mukhakamala vAle vizada dhyAna karane kI icchAvAle ve acalagiri kI taraha sthira rahe / (28) unake deharUpI mandira meM ajJAnAndhakAra ko naSTa karane vAlI, sanmArga kI prakAzikA jJAnadIpikA zIghra hI camakane lgii| (29) parityAjya va prAptavya vastu ke guNadoSa kA vibheda jAnakara sampUrNa doSoM kA parityAga kara jinadeva guNoM meM hI Asakta hue / (30) satyavrata meM dRr3ha, acaurya meM rata, brahmacaryasampanna aura parigraharahita ve saba doSoM se virata hue / (31) ve zAma kA bhojana nahIM karate the (arthAt dina meM eka bAra hI AhAra lete the)| (zAstra meM) vistAra se jinakA nirUpaNa kiyA hai una pratyeka vrata ko pAMca-pAMca bhAvanAoM kA ve ciMtana karate the / (32) manogupti, IryAsamiti, eSaNAsamiti, AdAnanikSepaNasamiti aura Alokita bhojanapAnAdi kA grahaNa ye (pA~ca) ahiMsAbata kI bhAvanAe~ haiN| (33) lobhapratyAkhyAna se bhASaNa, hAsyapratyAkhyAna se bhASaNa, bhayapratyAkhyAna me bhASaNa, krodhapratyAkhyAna se bhASaNa tathA nirdoSa vANI se bhASaNa ye (pA~ca) dvitIya brata (satya) kI bhAvanAe~ haiN| For Personal & Private Use Only

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106 zrI pArzvanAthacaritamahAkAvya ucitapramitAbhIkSNyasadharmAvagrahagrahaH / anujJAtAnnapAnAzI tRtIyavratabhAvanAH // 34 // // 35 // strINAmAlokasaMsargAn kathAprAprata saMsmRtIH / varjayed vRSyamAhAraM caturthavratabhAvanAH bAhyAntargatasaGgeSu cidacinmizravastuSu 1 indriyArtheSvanAsaktiH paJcamavratabhAvanAH || 36 // dhairyavattvaM kSamAvattvaM dhyAnasyAnanyavRttitA I parISahajayazcaitA vrateSUttarabhAvanA : // 37 // aSTamAtRpadADhyAni sahitAnyuttarairguNaiH / niHzalyAni vratAnyevaM bhAvayan zubhabhAvanaH ||38|| jJAnadarzanacAritratapovIryAtmakaM ca yat 1 paJcadhA caraNaM sAkSAd bhagavAnAcarattarAm // 39 // dharma dazatayaM sAnuprekSaM samitiguptibhiH / yuktaM parISahajayaiH samyak cAritramAcarat // 40 // - (34) ucita sthAnagrahaNa, pramitasthAnagrahaNa, bAra bAra (anujJA lekara) sthAnagrahaNa, sAdharmika ke pAsa se sthAna kA grahaNa aura anujJAta anna-pAna kA AhAra, ye ( pA~ca) tRtIyavrata (acaurya) kI bhAvanAe~ haiM / (35) strIdarzana kA varjana, strIsaMsarga kA tyAga, strIkathA kA varjana, pUrvAnubhUta rativilAsa ke smaraNa kA tyAga aura kAmavardhaka AhAra kA varjana ye ( pA~ca) caturthatrata (brahmacarya) kI bhAvanAe~ haiM / ( 36 ) bAhyendriya aura antarindriya kA AkarSaNa karane vAle, indriyagrAhya sacisa (sajIva) acitta (nirjIva) aura sacittAcitta viSayoM meM (rUpa, rasa, gandha, sparza aura zabda maiM ) anAsakti ye (pAMca) paMcama vrata (aparigraha ) kI bhAvanAe~ haiM / ( 37 ) dhairyavattA, kSamAzIlatA, dhyAna kI ananyavRttitA, aura pariSaha kI vijaya ye (cAra) vratoM kI uttara bhAvanAe~ haiM / (38) aSTapravacanamAtA se (tIna gupti aura pAMca samitiyoM se ) ADhya, uttara guNoM se yukta aura zalyoM se (daMbha, bhogalAlasA, asatyAsakti se) rahita ( pAMca mUla ) vratoM kI (ahiMsA Adi kI ) bhAvanA zubhabhAvanA vAle ve karate the / ( 39 ) jJAnAtmaka, darzanAtmaka, cAritrAtmaka, tapasyAtmaka, aura vIryAtmaka jo pAMca prakAra ke AcAra haiM; unakA sAkSAt AcaraNa bhagavAn karate the / (40) (anityAnuciMtana, azaraNAnuciMtana, saMsArAnuciMtana, ekatvAnuciMtana, anyatvAnuciMtana, azucyanuciMtana, AsavAnuciMtana, saMtrarAnuciMtana, nirjarAnuciMtana, lokAnuciMtana, bodhidurlabhatvAnuciMtana aura dharmasvAkhyAtatvAnuciMtana, ye bAraha ) anuprekSA se, (pAMca) samiti se aura (tIna) gupti se yukta dazaprakAra ke dharma kA (kSamA, mArdava, Arjava, zauca, satya, saMyama, tapa, tyAga, AkiMcanya aura brahmacarya - kA) ve AcaraNa karate the, tathA parISahajaya se yukta samyak cAritra kA ve AcaraNa karate the / For Personal & Private Use Only

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padmasundarasUriviracita 107 evaM tapasyatastasya vibhrato'sAraGgatAm / kiyAn kAlo vyatIyAyA'nyadA'sau tApasAzramam / / 41 // AgAd divAkarazcAstamagAnyagrodhazAkhinaH / budhne tatropakUpaM sa rAtrau pratimayA sthitaH // 42 // sa dadhyau brahma cidrapamanantajyotirAtmasAt / tamaHpAre sthitaM dhAma nityamAnandasundaram // 43 / / yadApya bhidyate granthizchidyante'khilasaMzayAH / kSaye'pyakSayamadvaita taddhAma zaraNaM zritaH // 44 // - itaH sa kamaThAtmA tu meghamAlyasurAdhamaH / dRSTavA svAvadhinA vairaM sasmAra smayapUritaH // 45 // kRtAH krodhoddhareNaitya vetAlA vRzcikA dvipAH / zArdUlAstaiH zubhadhyAnAnnAcAlIdacalAcalaH // 46 // tato vicakre gagane ghanAghanavikurvaNAm / enaM nimajjayAmIti nizcityAsau . surAdhamaH // 47 // prAdurAsannabhobhAge vajranirghoSabhISaNAH / dhArAdharAstaDitvantaH kAlarAtraiH sahodarAH // 48 // (4-1-42) isa prakAra tapa karate hue, anAsakti ko dhAraNa karate hue unakA kucha samaya vyatIta huA / eka dina ve tApasAzrama meM aaye| usa samaya sUryAsta huA thA / vahA~ bar3a ke mUla meM kue ke pAsa rAtri meM ve pratimAdhyAna meM sthita ho gye| (43-44) cidrUpa, anantajyotirUpa, andhakAra se pare sthita, nityAnanda se sundara aura bhAtmasvarUpa brahma kA unhoMne dhyAna kiyA, jisa brahma kI prApti hote hI (rAga, dveSa Adi kI) saba granthiyA~ TUTa jAtI haiM aura saba saMzaya chinna ho jAte haiN| kSaya meM bhI jo akSaya hai aise advaita dhAma kI unhoMne zaraNa lii| (45) idhara vaha kamaThAtmA, meghazAlI nAmaka duSTa rAkSasa, garva se bharA huA apane avadhijJAna se pUrva vaira ko smaraNa karane lgaa| (46) (usane) krodhAveza meM Akara vetAla, biccha, hAthI, siMha, Adi banAye lekina parvata jase acala ve (jinabhagavAn pAva) unake dvArA (bicchU Adi dvAga) zubha dhyAna se calita nahIM hue| (47) tadanantara isa pArzva ko Dubo dUMgA - aisA nizcaya karake usa adhama asura ne AkAza meM kRtrima ghane megha ko utpanna . kiyA / (48) AkAza meM vajra ke nirghoSa kI taraha bhayaMkara bijalI yukta megha kAlarAtri ke sage bhAI kI taraha prakaTa hue| For Personal & Private Use Only

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zrIpArzvanAthacaritamahAkAvya kAdambinI tadA zyAmAJjanabhUdharasannibhA / vyAnaze vidyudatyugrajvAlAprajvalitAmbarA // 49 / / nAlakSyata tadA rAtrina divA na divAkaraH / babhUva dhArAsampAtaiH vRSTirmuzalamAMsalaiH / / 5 / / garjitaiH sphurjathudhvAnaiH brahmANDaM sphoTayanniva / bhApayaMstaDidullAsaiverSati sma ghanAghanaH // 51 / / AsaptarAtrAdAsAraijhaJjhAmArutabhISaNaiH / jalAplutA mahI kRnsnA byabhAdekArNavA tadA // 52 // AnAsAgrAt payaHpUraH zrIpArzvasyA''gamad yadA / dharaNendro'vadherjJAtvA tadA''gAt kampitAsanaH // 53 / / prabhoH zirasi nAgedraH svaphaNAmaNDapaM vyadhAt / tanmahiSyagratastauryatrikaM vidadhatI vabhau // 54 // varSantamavadhetviA nAgendro meghamAlinam / kruddhaH sAkSepamityUce bhUyAdajananistava // 55 // AH pApa ! svAmino vAridhArA hArAyatetarAm / tavaiva dustaraM vAri bhavavArinidherabhUt // 56 // (49) zyAma aJjana parvata ke sadRza meghamAlA bijalI kI ugra jvAlAoM se AkAza ko jalAtI huI phaila gaI / (50) usa samaya na rAtri kA patA lagatA thA, na dina kA aura na sUrya kA / mUsala jaisI puSTa dhArAoM se varSA hone lagI / (51) bAdaloM kI gar3agar3AhaTa kI AvAjoM kI garjanAoM se mAno brahmANDa ko phor3atA huA aura bijalI kI camaka se usako prajvalita karatA huA ghanaghora megha varasa rahA thA / (52) sAta rAta lagAtAra mUsalAdhAra varSA hone se tathA bhISaNa jhaMjhAvAta se bhayaMkara banI sampUrNa pRthvI jala se pUrNa eka samudra kI taraha ho gii| (53) jaba jala kA pUra (pravAha) pArzva kI nAsikA ke agrabhAga taka A gayA taba kampita AsanavAlA dharaNendra avadhijJAna dvArA jAnakara (vahA~) aayaa| (54) nAgendra (dharaNendra) ne prabhu pArzva ke mastaka para apanI phaNAoM kA maNDapa banA diyA / usa dharaNendra kI patnI prabhu ke Age vAdya gAna aura nRtya karatI huI zobhita huii| (55) avadhijJAna se meghamAlI ko vRSTi karatA dekhakara nAgendra ne Rddha hokara bhAkSepapUrvaka kahA-'lAnata ho tuma para / (56) are pApI ! svAmI ke lie yaha jaladhArA hAra bana gaI (gale taka pahu~ca gaI) aura tumhAre lie (yahI jaladhArA) saMsArasAgara kA dustara jala bana gayI hai| For Personal & Private Use Only

Page #474
- padmasundarasUriviracita zrutveti bhItabhIto'sau zaraNyazaraNaM zritaH / natvA zrIpArzvamAha sma kSamasva mama vipriyam // 57 / / prabhoH zirasyahizchatraM zivApuryA' dadhau aham / ahicchatreti loke sA tadArabhya nigadyate // 58 // surA nijAzrayaM jagmuH bhagavAnapramattatAm / prAptastryazItyA divasairatikrAntairmahAmanAH // 59 / / bhagavAnapramattastu prApyAnantaguNAM tadA / vizuddhimuddharAM bibhrat kSapakazreNimAsadat // 60 // Adya zuklAMzamadhyAsya bibhrANo dhyAnazuddhitAm / mohasya prakRtIH sarvAH kSapayAmAsa sa kramAt // 61 / / karaNatrayamAsAdya zuddhayo'sya 'pRthagvidhAH / yathApravRttikaraNe zuddhayaH syuH pratikSaNam // 62 / / puraH puro varddhamAnAH sarvA AcaramakSaNam / apUrvakaraNe tAstu syurapUrvA pratikSaNam // 63 // karaNe tvanivRttAhave zuddhayaH syuH samA mithaH / niSpannayogI yAH prApya svAnandAnna nivartate // 64 // . (57) yaha sunakara bhayabhIta huA meghamAlI zaraNya kI zaraNa meM AyA / zrIpAzva ko praNAma kara kahane lagA -'merA yaha duSkRta kSamA kriye| (58) svAmI ke sira para zivApurI meM maiM ne ahichatra (phnn|) dhAraNa kiyA ataH vaha nagarI usa dina se ahichatrA ke nAma se kahI jAne lagI / (59) deva apane sthAna ko gaye aura udAra manavAle bhagavAn tairAsI (83) dina bIta jAne para apramattatA ko prApta hue / (60) apramatta bhagavAn pArzva anantaga NazAlinI utkRSTa vizuddhi ko dhAraNa karate hue kSapakazreNi ko prApta hue / (61-6263) prathama zukladhyAna kA Azraya karake dhyAnazuddhi kodhAraNa karate hue pArzva ne moha kI sabhI prakRtiyoM ko karaNatraya (yathApravRttikaraNa, apUrva karaNa aura anivRttikaraNa) ke dvArA kramazaH naSTa kara diyaa| karaNatraya se sampanna unakI zuddhiyA~ bhinna bhinna prakAra kI thii| yathApravRttikaraNa meM pratikSaNa zuddhiyA~ hotI rahatI haiM aura Age Age antima kSaNa taka ve saba bar3atI rahatI haiN| apUrNakaraNa meM ve zuddhiyA pratikSaNa apUrva hotI haiM / (64) anivRttikaraNa nAma ke karaNa meM zudhiyA~ Apasa meM samAna mAtrA meM hotI hai, jinako prApta kara niSpannayogI nijAnanda se cyuta nahIM hote / For Personal & Private Use Only

Page #475
11 strate ritamahAkAvya vizuddhibhirvardhamAnaH kramAt kSINakaSAyatAm / prApyA'dhunAdrajo'zeSaM snAtakatvaM prapannavAn // 65 // samastajJAnadRvIryAdivighnAn ghAtisaMjJakAn / zuklAMzena dvitIyena ciccheda samaye'ntime // 66 // ghanaghAtivighAtena vizvadRzvA jaganprabhuH / zrI pArzvaH kevalaM lebhe jagadudyotakAraNam / / 67 / dIkSAne tvazokAdhaH pUrvAhNe rAdhayA yute / caitra kRSNa caturthyahi pArzvo'bhUt kevalI tadA / / 68 / / anantajJAnadRvIryacAritrANyatha darzanam / dAnalAbhau ca bhogopabhogAvAnantyamAgatAH // 69 // navakevalalabdhIstu bheje sa bhagavAMstadA / asurastUpazAnto'bhUt tataH samyaktvamAdade // 70 // atha jinapatirudyatkevalajJAnabhAsvad dyutibhirakhila vizvaM dyotayAmAsa viSvak / asurasuranarendrAH prANama bhaktinamrAH tamatha viyati cAsId dundubhermandranAdaH // 71 // (65) isa prakAra ukta vizuddhiyoM se bar3hate hue kramazaH kSINa kaSAyatA ko prApta kara niHzeSa (monIya) karnaraja ko jhAr3a kara ve snAtaka ko prApta hue / (66) samasta jJAnadarzanavIrya Adi ke pratibandhaka ghAti nAmaka vighnoM ko unhoMne dvitIya zukladhyAna ( dhyAna prakAra) se antima samaya meM khaNDita kara diyA / (67) vizvadraSTA zrIpArzva ne gAr3a ghAtikamai ke trighAta se saMsAra ko prakAzita karane vAle kevalajJAna ko prApta kara liyA / (68) taba dIkSA meM azokavRkSa ke nIce, pUrvAnha meM, anurAdhA nakSatrayukta caitra kRSNA caturthI ke dina pArzva prabhu kevalajJAnI ho gaye / (69) anantajJAna, anantadarzana, anantavIrya va anantacAritra ( prakaTa hue) / lAbha, bhoga, upabhoga sabhI ananta ho gaye / ( 70 ) yaha hote hI nUtana kevljnyaanruu| labdhi una prabhu ko prApta huI, asura upazAnta huA aura (pariNAmasvarU) samyakUtva ko prApta huA / ( 71 ) isake pazcAt jinadeva prabhu ne udita ho rahI kevalajJAna kI dedIpyamAna dIpti se sabhrUNa vizva ko cAroM ora se prakAzita kara diyA / asura, deva tathA mAnavoM ne bhaktiyukta hokara unhe praNAma kiyA aura AkAza meM mandragambhIra dundubhinAda hone lagA / For Personal & Private Use Only

Page #476
padmasundarasUriviracita tadanugaganabhAgAdAzu santAnakAdi drumasurabhisumAnAM vRSTiruccaiH papAta / kRtajayaninadAste'vAtaran devasaGghA ahamahamikayA taM bhaktibhArAt praNemuH // 72 // vyaramayadatha tApaM svanaMdIvAhagAhA datizizirataro'sau mAtarizvA visArI / vikacakamalakhaNDa kampayaMllInabhRGgaM pathi suramithunAnAmeSyatAM mandamAvAt // 73 // vyarajayadatha kRtsnaM bhUmibhAgaM samantAt surakRtajalavRSTiryA patantI nabhastaH / , avRjinajinadharmA''sthAnavinyAsahetuM navajalalavasekadhvastavizvaikatApA // 4 // vividhamaNigaNaiste baddhabhUmau suraughA rajatakanakaratnastrIn suzAlAn vizAlAn / vidadhuratha caturbhirgApuraiH zobhamAnAn upavanatarurAjIvApikAmbhojaramyAn // 75 / / teSAM madhyagataM hemamANikyaracitaM jvalat / siMhAsanaM tadAsInaH zrIpAdavoM bhagavAn babhau // 76 / / (72) usake pazcAt AkAza se saMtAnaka Adi vRkSoM ke sugandhita puSNoM kI bahuta sI varSA huI / jayajayakAra karate hue devasamudAya utarane lage / 'maiM pahalA, mai pahalA' kahakara bhaktinamra hokara ve pArzvaprabhu ko namaskAra karane lage / (73) gaMgAnadI meM snAna karane se atIva zItala, cAroM aura phailane vAle vAyu ne santApa ko dUra kara diyaa| lIna bhramaroM vAle vikasita kamaloM ko kampita karatA huA vAyu mArga meM jAnevAle suramithunoM ke lie dhIre dhIre bahane lagA / (74) niSpApa jinadharma ThIka se apanA Asana jamA sake isalie navIna jalabinduoM ke siMcana se vizva ke tApa ko naSTa karane meM advitIya, devoM ke dvArA kI gaI, AkAza se giratI jalavRSTi ne cAroM orase samasta pRthvI ko dhUlirahita kara diyA / (75) una devatAoM ne usa baddhabhUmi para vividha maNioM se tathA rajata svarNa aura ratnoM se vizAla koTa banAye jo cAra gopura dvAroM se zobhita the tathA upavana, vanarAjI, bAbar3I tathA kamaloM se sundara lagate the| (76) unake madhya meM svarNa tathA maNi racita dedIpyamAna siMhAsana thA, usa para baiThe hue zrIpArzvabhagavAn zobhita the| For Personal & Private Use Only

Page #477
112 zrIpArzvanAthacaritamahAkAvya zakrAdyAH paricerustaM bhagavantaM mahejyayA / kausumaiH paTalaivyoma proga~vAnAstatAlibhiH // 77 // viSvaka samastamAsthAnaM vRSTiH saumanasI tatA / visRSTA suravA hai myabhRGgakulAkulA // 78 // yasya purastAccaladalahastai nRtyamakArSIdiva kimazokaH / bhRGganinAdaiH kRtakalagIta: pRthutarazAkhAbhujavalanaiH svaiH // 79 / / trailokyasya zriyamiva jitvA'zeSAM trailokyezatvamatha jinasyA''cakhye / svacchaM chatraM tritayamadastadyukta zrImAn pArzvastribhuvanacUDAratnam // 80 // cAmarAlirindupAdagaurA dakSayakSazastahastadhUtA / pArzvadevapArzvayoH patantI svanaMdIva nirjharaivireje // 81 // (77) jinameM bhramara vyApta haiM aise puSpa ke samUhoM se AkAza ko AcchAdita karate hue indrAdi deva bhagavAn kI mahatI pUjA se sevA karate the| (78) sampUrNa baiThaka ke cAroM ora puSpoM kI vRSTi phaila gaI / devasamudAyoM ke dvArA chor3I gaI vaha puSpavaSTi caJcala bhramaroM ke samudAya ko Akula karane vAlI thii| (79) lambI zAkhAoM rUpa apanI bhujAoM kI vividha bhaGgIoM ko dhAraNa kara, bhramaroM ke guMjana rUpa madhura gIta gAte hue azokavRkSa ne Ane caMcala patroM rUpa hastoM se unake (pArzva ke) sammukha mAno nRtya kiyA / (80) udita zubhra dyutivAlA chatratraya mAnoM sUcita karatA hai ki jinezvara ne tInoM lokoM kA Adhipatya prApta kiyA hai aura aise zrIsampanna pArzva tribhuvana kI cUDAmaNi bana gaye haiM / (81) candra kiraNoM ke samAna gaura cAmaroM kI paMkti jo dakSa yakSoM ke prazasta hAthoM se pArzvaprabhu ke donoM ora hilAI jA rahI thI, vaha pArzva deva ke donoM ora jharanoM se yukta giratI huI gaMgAnadI ke samAna zobhita ho rahI thii| For Personal & Private Use Only

Page #478
padmasundaramariviracita 113 divi dundubhayaH surapANavikai nihatAH sutarAM ghana koNagaNaiH / nyagadanniva te dhvanibhirbhavikAn ___ yaunamimaM svahitAya janAH // 82 // yatra vibhunijapAdapadAni nyasyati sa sma surAsurasaGghA : / hemamayAmburuhANi nitAntaM tatra navAni rucA racayanti / / 83 // devaM prAcImukhaM taM samasRtimahIsaMsthitaM sabhyalokAH prAdakSiNyena tasthurmunisuralalanAryAstrikaM ca krameNa / jyotirvanyezadevIbhavanajaramaNIbhAvanavyantaraughA / - jyotipkAH svarganAthAH samanujavanitA dvAdaza syuH samanyAH / / 84 // jinapativadanAbjAnnirjagAmA'tha divya dhvaniracalaguhAntaH prazrutidhvAnamandraH / prasRmaratara eko'nekatAM prApa so'pi sphuTamiva tarubhedAt pAtrabhedAt jalaughaH / / 85 / / (82) svarga meM devatA rUpa pANavikoM dvArA ghanakoNoM se bajAI huI dundubhiyA~ atIva dhvani kara rahI thIM / apanI dhvani se bhavyajanoM ko mAnoM yaha kaha rahI thIM ki he logoM ! apane kalyANa ke lie ina pArzvanAtha kI zaraNa le lo / (83) jahA~ prabhu pArzvanAtha apane caraNakamala rakhate the vahA~ sura aura asura samudAya kAnti se naye naye suvarNamaya kamaloM ko banA diyA karate the / (84) pUrva dizA kI ora mukha kiye hue samavasaraNa bhUmi meM sthita prabhu kI krama se muni, devAMganAye aura Arya loga pradakSiNA karake khar3e rahe / jyotiSkadevayA~, vyantaradeviyAM, bhavanapati devoM kI deviyAM, bhabanapati deva, vyantaradeva, jyotiSkadeba aura mAnuSI striyoM ke sAtha bAraha prakAra ke vaimAnikadeva sabhA meM upasthita hue / (85) parvatIya guphA ke antaHsthala se nikalI huI dhvani ke samAna dhIragaMbhIra divya dhvani jinadeva ke mukhakamala se nikalI / vaha phailI huI eka dhvani a.katA ta huI jisa prakAra jala kA samUha spaSTa rIti se tarubheda evaM pAtrabheda se anekatA (yA vizeSatA) kA prApta hotA hai / For Personal & Private Use Only

Page #479
zrIpArzvanAthacaritamahAkAvya bho bhavyAH zruyatAmeSa tattvanirNayavistaraH / yo bhavAbdhipatajjantujAtahastAvalambanam / / 86 / / jIvAjIvau dvidhA tattvaM jIvo dvedhA vinizcitaH / mukto bhavastho vijJeyo bhavasthastu dvidhA bhavet // 87 / / bhavyazcAbhavya ityevaM jIvazcaitanyalakSaNaH / anAdinidhano jJAtA draSTA tanumitirguNI / / 88 / / kartA bhoktA vizuddho'yaM lokAlokaprakAzakaH / muktaH syAdUrdhvagamanasvabhAvo'yaM sanAtanaH / / 89 / / pUrvaprayogato'saGgatvAd vA bandhavibhedanAt / gatezca pariNAmAt syAdUrdhvagAmitvamAtmanaH / / 90 // upasaMhAravistArapariNAmaH pradIpavat / tasyeme mArgaNopAyA mRgyAH saMsAriNassadA // 91 / / gatirindriyakAyau ca yogA vedAH kaSAyakAH / jJAnasaMyamaharalezyA bhavyasamyaktvasaMjJinaH / / 92 / / AhArakazcaiSu mRgyo mArgaNAsthAnakeSvasI / sa nAmasthApanAdravyabhAvato nyasyate budhaiH / / 93 / / (86) he bhavyajIvoM !, yaha tattvanirNaya kA vistAra suno, jo bhavasAgara meM par3e hue jantuoM (prANioM) ke lie hAtha meM AyA Alambana hai / (87-89) tattva do haiM-jIva evaM ajIva / jIva do prakAra kA nizcita hai- mukta va bhavastha (saMsArI) / saMsArI jIva punaH do prakAra kA hai-bhavya aura abhavya / jIva kA lakSaNa caitanya hai / jIva anAdinidhana, jJAtA, draSTA, zarIraparimANa, guNI, kartA, va bhoktA hai| jo jIva vizuddha hai (vItarAga hai) vaha loka aura aloka donoM ko jAnatA hai| jIva kA sanAtana svabhAva Urdhvagamana karane kA hai / (ataH mukta hote hI jIva Urdhvagamana karatA hai) / (90) usakI Urdhvagati meM pUrvaprayoga, asaGgatA, bandhaccheda aura gatipariNAma kAraNa haiM / (91-93) jIva pradIpa kI taraha saMkoca-vikAsazIla hai| saMsArI jIba kA vicAra gati, indriya, kAya, yoga, veda, kaSAya, jJAna, saMyama, darzana, lezyA, bhavyatva, samyaktva, saMzitva, AhArakatva Adi dRSTiyoM se (mArgaNAsthAnoM se) kiyA jAnA cAhie / jIva kA vicAra nAma, sthApanA, dravya aura bhAva ina cAra nikSepoM se bhI vidvAnoM dvArA kiyA jAtA hai| For Personal & Private Use Only

Page #480
padmasundarasUriviracita jIvAdInAM padArthAnAM pramANAbhyAM nayairapi / bhavedadhigamo yadvA nirdezAdAdhipatyataH // 94 // syAt sAdhanAdadhiSThAnAt sthiteratha vidhAnataH / satasaMkhyAkSetrasaMsparzakAlabhAvAntarairapi // 95 / / bhAgenAlpabahutvena teSAmadhigamo bhavet / jIvasya tUpazamikaH kSAyiko mizranAmakaH / / 96 / / svabhAva udayotthazca bhAvaH syAt pAriNAmikaH / ityAdibhirguNairjIvo lakSyate tasya tu dvidhA / / 97 / / upayogo bhaved jJAnadarzanadrayabhedataH / jJAnamaSTatayaM ca syAd darzanaM tu catuSTayam / / 98 / / bhedagrahatvAt sAkAraM jJAnaM sAmAnyamAvataH / pratibhAsAdanAkAraM darzanaM tad vidurbudhAH // 99 / / kSetrajJaH puruSaH so'yaM pumAnAtmA sanAtanaH / jIvaH prANI svayaMbhUzca brahma siddho niraJjanaH / / 10 / / dravyArthikanayAnnityaH paryAyArthanayAdayam / anityaH syAdubhAbhyAM tu nityAnityAtmakaM jagat / / 101 / / (94-96aba ) jIva Adi tatvoM kA jJAna pramANa aura naya se hotA hai / ina jIva Adi tattvoM kA vicAra nirdeza, Adhipatya, sAdhana, adhiSThAna, sthiti aura vidhAna ina dRSTioM se bhI hotA hai / ina jIvAdi tattvoM kA jJAna aura vicAra sat, saMkhyA, kSetra; sparzana, kAla, bhAva, antara aura alpabahutva ina dRSTiyoM se bhI hotA hai / (96kaDa-98) jIva ke (pA~ca) bhAva haiM - aupazamika, kSAyika, mizra, audayika aura pAriNAmika / ina saba guNoM se jIva jAnA jAtA hai / jIva kA upayoga do prakAra kA hai-jJAnopayoga aura darzanopayoga / jJAna ke ATha prakAra haiM tathA darzana ke cAra prakAra haiN| (99) vizeSa ko grahaNa karane ke kAraNa jJAna ko sAkAra kahA gayA hai aura sAmAnyamAtra ko grahaNa karane ke kAraNa darzana ko vidvAnoM ne anAkAra samajhA hai / (100) vaha kSetrajJa hai, puruSa hai, pumAn hai, sanAtana AtmA hai, jIva hai, prANI hai, svayaMbhU hai, brahma hai aura nirajana siddha hai| (101) dravyArthika naya se jIva nitya hai; paryAyArthika naya se jIva anitya hai, aura donoM naya se jIva aura jagat nityAnitya hai / . For Personal & Private Use Only

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116 . zrIpArzvanAthacaritamahAkAvya zrIpArzvanAthacaritamAha dravyataH zAzvato jIvaH paryAyAstasya bhaGagurAH / SaDdravyAtmakaparyAyairasyotpattivipattayaH / / 102 / / abhUtvA bhAva utpAdo bhUtvA cAbhavanaM vyayaH / tAdavasthyaM punadhau vyamevaM jIvAdayastridhA / / 103 / / eva svarUpamAtmanaM durdazo jJAtumakSamAH / vivadante svapakSeSu baddhakakSAH parasparam / / 104 / / eke prAhuranityo'yaM nAstyAtmetyapare viduH / akartatyapare prAhurabhoktA nirguNaH pare / / 105 / / AtmAstyeva paraM mokSo nAstItyanye hi manvate / asti mokSaH paraM tasyopAyo nAstIti kecana // 106 / / itthaM hi durnayAn kakSIkRtya bhrAntAH kudRSTayaH / hitvA tAn zuddha haka tattvamanekAntAtmakaM zrayet / / 10 / / bhavo mokSazcetyavasthAdvaitamasyAtmano bhavet / bhavastu caturaGge syAt saMsAre parivartanam / / 108 // (102) dravyadRSTi se jIva zAzvata hai| jIva ke paryAya vinAzI haiM / chaH dravyoM kI paryAyoM ke dvArA jIva meM utpatti aura nAza hotA hai| (103) jo pahale na ho usakA honA-yahI utpAda hai| hone ke pazcAt na honA-yaha nAza haiM / aura vaise kA vaisA rahanA-yahI ghovya hai / jIvAdi sabhI dravya utpAda, vyaya aura dhrauvya tInoM se yukta hai| (104-107) AtmA kA isa prakAra kA svarUpa mithyA dRSTi rakhane vAle loga jAna nahIM pAte / isIlie ve apane hI pakSa ko pakar3a kara Apasa meM vivAda karate haiM / mithyAdRSTi vAloM kA eka varga (bauddha) AtmA ko anitya mAnatA hai, dUsarA (cArvAka) AtmA ke astitva kA inkAra karatA hai, tIsarA (sAMkhya-vedAnta) AtmA ko akartA, abhoktA aura nirguNa mAnatA hai, cauthA AtmA ko mAnate hue bhI mokSa nahIM mAnatA hai, pAMcavAM mokSa mAnate hue bhI mokSa kA upAya nahIM hai-aisA mAnatA hai / isI prakAra durnayoM kA Azraya karake ye mithyAdRSTi loga bhrAnti meM par3e hue haiM / ina durnayoM ko chor3akara jo sabhyaSTi haiM unako anekAntAtmaka zuddha tattva kA svIkAra karanA cAhie / (108). bhava aura mokSa-ye do AtmA kI avasthAe~ haiN| bhava kA artha hai cAra gati (deva, manuSya, tiryaJca aura nAraka) vAle saMsAra meM gati-Agati (AnA-jAnA, parivartana, janma-maraNa) / For Personal & Private Use Only

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padmasundarasUriviracita bandhahetorabhAvAt syAnnirjarAkaraNAdapi / yaH kRtsnakarmanirmokSo mokSo'nantasukhAtmakaH // 109 // tasyopAyastridhA samyagjJAnadRgvRttalakSaNaH / jIvAjIvau puNyapApAzravasaMvaranirjarAH // 110 // bandhamokSau navaite syuH padArthAH satyatAmitA / bhavyo'bhavyastathA muktastridhA jIvanirUpaNA // 111 // ajIvaH paJcadhA dharmAdharmakAlakhapudgalAH / gatyupagrahakRddho matsyAnAM salilaM yathA // 112 / / adharmaH sthityavaSTambhaH tarucchAyA nRNAmiva / avagAhapradaM vyomA'mRta yad vyApi niSkriyam / / 113 / / vartanAlakSaNaH kAlaH sA tu svaparasaMzrayaiH / paryAyaivajIrNatvakaraNaM vartanA matA // 114 // sa mukhyA vyavahArAtmA dvadhA kAlaH prakIrtitaH / mukhyo'saMkhyaiH pradezaiH svaizcito maNigaNeriva // 115 / / (109) bandha ke hetuoM kA abhAva hone ke kAraNa karmo se atyanta mukti hotI hai / nirjarA se bhI karma se atyanta sukti hotI hai| yahI mokSa hai / mokSa ananta mAvAsaka hai| (110- 111) mokSa kA upAya sabhyakjJAna, samyakdarzana, aura samyaka tInoM milakara haiN| jIva, ajIva, puNya, pApa, Asrava, saMvara, nirjarA, jaya mokSa-ye nau tattva haiN| jIva ke tIna bheda haiM-bhavya, abhavya va mukta / (112-113) ajIva pA~ca prakAra kA hai-dharma, adharma, kAla, AkAza va padagala / dharma gati kA sahAyaka kAraNa hai / udAharaNataH jase jala matsya kI gati meM sahAyaka hotA hai vaise dharma (jIva aura pudgala kI) gati meM sahAyaka hotA hai / adharma sthiti kA sahAyaka kAraNa hai| musAphira kI sthiti meM jisa prakAra taru kI chAyA sahAyaka hotI hai usI prakAra (jIva aura pudgala kI sthiti meM) adharma sahAyaka hai| AkAza dravyoM ko rahane kI jagaha detA hai / vaha amUrta hai, vyApaka hai, niSkriya hai / (114) kAla kA lakSaNa vartanA hai / svAzrita paryAyoM ke dvArA yA parAzrita paryAyoM ke dvArA navasvajIrNatva karanA hI vartanA mAnI gaI hai| (115) kAla do prakAra kA kahA gayA hai-vyavahArakAla va mukhyakAle / jo mukhyakAla hai vaha apane asakhyapradezoM kA maNiyoM ke Dhera ke samAna Dhera hai / For Personal & Private Use Only

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118 zrI pArzvanAthacaritamahAkAvya pradezapracayA'bhAvAdasya naivAstikAyatA / / / 116 // samayAvalikAdyAtmA vyavahArAtmakaH sa ca anye paJcAstikAyAH syurdharmAdharmo nabhastathA / kAla ete tvamUrtAH syurmUrtadravyaM tu pudgalaH / / 117 // varNagandharasasparza lakSaNA: pudgalA matA: / amUrtAH skandhadezapradezabhedAt tridhA matAH // 118 // mUrtadravyaM caturdhA syAt skandhadezapradezataH / paramANustvapradezaH skandhAdermUlakAraNam ||119 // aNukAdimahA skandharUpaH skandhaH pRthagvidhaH / gharmachAyA tamajyotsnA meghavarNAdibhedabhAk // 120 // kAryAnumeyAstvaNavo dvisparzAH parimaNDalAH / varNo gandho rasazcaikasteSu nityA bhavanti te // 121 // anityAH paryayaireva sUkSmasUkSmo bhavedvyaNuH / sUkSmAstu kArmaNaskandhAH sUkSmasthUlAH punarmatAH // 122 // zabdagandharasasparzAH sthUlasUkSmAH punarmatAH / chAyAjyotsnA''tapAdyAzca sthUladravyaM jalAdi ca // 123 // (116) kAladravya meM pradezapracaya kA abhAva hai / isIlie kAla astikAya nahIM hai / vyavahArAtmakakAla samaya, AvalikA Adi rUpa hai / ( 117 ) ( kAla ke sivAya ) anya pA~ca dravya paJcAstikAya kahe jAte haiM / dharma, adharma, AkAza aura kAla ye amUrta dravya | pudgala mUrtadravya hai / ( 118 - 119 ) pudgala ke lakSaNa haiM-varNa, gandha, rasa aura sparza / amUrta dravyoM ke tIna bheda hote haiM -skandha, deza va pradeza | mUrta dravya ke cAra bheda haiM- skandha, deza, pradeza aura apradeza (paramANu) paramANu, skandha Adi kA mUlakAraNa hai / (120) dvayaNuka se lekara mahAskandha taka anekoM prakAra ke skandha hote haiM-- jaise dharma, chAyA, tamas, jyotsnA, megha, varNa Adi / ( 1921 - 122aba) aNue~ apane kArya se anumeya hai / paramANu meM do sparza, parimaNDala, eka varNa, eka gandha aura eka rasaH sadA hote haiM / paryAya ke dvArA paramANu anitya hote haiM / ( 122kaDa - 124 aba ) paramANu sUkSma-sakSma hotA haiM / kArmaNa skandha sUkSma hote haiM / zabda, gandha, rasa aura sparza sUkSmasthUla hote haiM / chAyA, jyotsnA, Atapa Adi sthUlasUkSma hote haiM / jala Adi sthUladravya hote haiM / pRthavI Adi sthUla- sthUla hote haiN| ye saba skandha ke bheda haiM / For Personal & Private Use Only www.jalnelibrary.org

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padmasundarasUriviracita sthUlasthUlaM. pRthivyAdi skandhabhedA ime smRtAH / zubhAyurnAmagotrANi sadveya puNyamucyate / / 124 // dvicatvAriMzatA bhedaiH vistareNa niveditam / puNyAdanyat punaH pApaM tad dvayazItividhaM smRtam // 125 / / kAyavAGmanasAM yogaiH kaSAyairindriyA'vrataiH / paJcaviMzatimAtrAbhiH kriyAbhiH syAdihAzravaH // 126 // zubhAzravastu puNyasya pApasya tvazubhAzravaH / AzravANAM tu sarveSAM nirodhaH saMvaro mataH // 127 // sa dvidhA dravyabhAvAbhyAM bhavahetukriyojjhanam / sa bhAvasaMvaraH karma pudgalAdAnavicchidA / / 128 // syAd dravyasaMvaraH so'pi dharmaiH samitiguptibhiH / anuprekSAsacAritraparISahajayairyutaH // 139 / / tapasA nirjarA dvedhA tapaH smad bAhyamAntaram / bAhyaM tapaH SaDvidhaM syAt tathaivA''bhyantara matam / / 130 // savipAkA'vipAkA sA syAdupAyAt svato'pi vA / mithyAtvaM sakaSAyAzca yogA aviratistathA // 131 / / pramAdazcetyamI bandhahetavaH syurihAGginAm / prakRtizca sthitiranubhAgaH pradeza ityamI / / 132 // (124kaDa-125) zubhAyu, zubhanAma, zubhagotra, sAtAveTanIya-ye cAra prakAra ke karma puNya kahalAte hai| inake saba milakara bayAlIsa (42) bheda kahe gaye haiM / puNya se viruddha pApa haiM / pApa ke barAsI (82) bheda haiM / (126) mana, vacana aura kAyA kI pravRtti se, (cAra) kaSAyoM se, (pAMca) indriyoM se, (pA~ca) avratoM se aura 1ccIsa kriyAoM se Asrava hotA hai / (127) zubha Asana puNya kA kAraNa hai, azubha Asava pApa kA / saba prakAra ke AsravoM kA nirodha saMvara kahA jAtA hai / (128-129) saMvara ke do prakAra haiM-dravyasaMvara aura bhAvasa vara / saMsAra ke hetu rUpa kriyA kA tyAga bhAvasaMvara hai / karma pudagala ke Ane ko roka denA yaha dravyasaMvara hai / saMvara ke upAya dharma, samiti, gupti, anuprekSA, cAritrya aura parISahajaya hai / (130) tapa se nirjarA hotI hai| tapa do prakAra kA hai-bAhya aura Antarika / bAhya tapa ke chaH bheda haiN| vaise. hI Antara tapa ke bhI chaH bheda haiM / (131-132) nirjarA do prakAra kI hotI haivipAkasahita aura vipAkarahita / nirjarA upAya se bhI hotI hai, svataH bhI hotI hai / mithyAtva, kaSAya, yoga, avirati aura pramAda saMsArI ke bandha ke hetu haiM / bandha ke 'ye cAra bheda haiM-prakRtivandha, sthitibandha, anubhAgabandha aura pradezabandha / For Personal & Private Use Only

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... zrIpArzvanAthacaritamahAkAvya bandhamedA moharAgadveSaspandAdisambhavAH / aNUnAM snigdharUkSatvAt pariNAmAt yathAtmanaH // 133 / niHzeSakarma nirmo kSo mokSaH sa prAgudIritaH / AlokAntAdUrvagAH syuH siddhA mokSapadasthitAH / / 134 / / te paJcadazadhA sAdhyAH nRgatitrasabhavyajaiH / paJcendriyayathAkhyAtakSAyikatvabhavairguNaiH // 135 / / anAhArakasaMjJitvakevalajJAnaharabhavaiH / mArgaNAsthAnakairetairna zeSaiste yathAyatham / / 136 // satpadAdyanuyogaistu sAdhyA navabhiranvaham / na teSAM punarAvRttiH saMsRtau kvApi saMsRtiH // 137 // nAtmazUnyA bhavet tAvat siddhAH saMsAriNAM punaH / bhAge'nante vartamAnAste'nantAH zAzvatA api / / 138 // baddhAnAmapi muktatve syAddhAnina kSayaH kvacit / . AnantyaM heturevAtra dharmANAmiva vastunaH / / 139 / / ityamISAM padArthAnAM zraddhAnaM prItipUrvakam / tatsamyagdarzanaM jJAtaM teSAM bhedaprakAzakam / / 14 / / (133) ye saba prakAra ke bandha moha, rAga, dveSa, spandana Adi se utpanna hote haiM / jaise eka aNu kA dUsare aNu se bandha snigdhatA aura rukSatA se hotA hai usI prakAra AtmA kA karmo se bandha (moha-roga-dveSAdi rUpa) pariNAma ke kAraNa hotA hai / (134) niHzeSa karmo kA kSaya mokSa hai| usakA nirUpaNa pahale kiyA gayA hai / (mukta hote hI jIva) loka ke agrabhAga taka Urdhvagamana karatA hai / jinhoMne mokSapada prApta kiyA hai ve siddha haiM / (135-136) siddhoM ke pandraha (15) prakAra mAne gaye hai| ina saba prakAroM meM nRgati, sa, bhavyatva, paJcendriyatva, yathAkhyAta cAritrya, kSAyikatva,anAhArAkatva, sajJitva, kevalajJAna, kevaladarzana-ina mArgaNAsthanoM se hI, anya mArgaNAsthAnoM se nahIM, yathoyogya vicAra kiyA jAtA hai| (137-139) satpadAdi nava anuyogoM se bhI ye pandraha prakAra ke siddhoM kI pratidina vicAraNA kI jAtI hai / siddha saMsAra meM punaH nahIM Ate / saMsAra kabhI AtmAoM se rahita nahIM hotA kyoMki siddhoM kI saMkhyA ananta hote hue bhI saMsArI jIvoM kI jitanI saMkhyA hai usake ananta bhAga kI hI sadaiva rahegI / isalie saMsArI jIva mukta hote rahate haiM phira bhI saMsArI jIvoM kA kSaya (saMsAra meM se) nahIM hotA, kevala unakI kamI hI hotI hai / (140) ina saba padArthoM meM prItipUrvaka zraddhA samyak darzana mAnA gayA hai| samyak darzana hI ina saba padArtho kA bheda grahaNa karAtA hai / For Personal & Private Use Only

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padmasundarasrariviracita sarvabhAveSvanekAnto dharmANAM yugapadyadA / svasvadravyakSetrakAlabhAvairdravyaguNAdibhiH // 141 // sarvaM syAdasti syAnnAstItyasti nAsti dvayaM samam / Faraaraana syAdastyavaktavyameva tat // 142 // nAstyavaktavyameva syAt krameNa ca bubhutsayA / syAdasti nAstyavaktavyamAdezAt saptadhA bhavet // 143 // pariNAmaH krameNaiSAmakrameNa tathA bhavet / guNaparyAyavad dravyaM guNAstu sahabhAvinaH / / 144 / / paryAyAH kramajAH satvaM prauvyotpAdavyayAtmakam / anantadharmavyAkhyAyAM sApekSA nayasaMhatiH // 145 // nayaH saditi vijJAnAt sadevaikAntadurnayaH / tathA syAt satpramANaM syAt sarvaM syAdvAdavAdinAm // 146 // saptabhaGgIprasAdena zatabhaGgyapi jAyate / iti mImAMsayA tattvaM jAnato jJAnadarzane // 147 // vyavahArAtmake syAtAM te punarnizcayAtmake / svasaMvedyacidAnandamayasvAtmAvalokanAt // 148 / / / (141) sabhI vastu anekAntAtmaka haiM / eka hI samaya svadravya, svakSetra, svakAla aura sva-bhAva se vastu sat hai aura paradravya, parakSetra, parakAla aura parabhAva se vastu asat hai / isa prakAra sabhI dravya, guNa Adi ko lekara vicAra kiyA jA sakatA hai / (142143) amuka dRSTi se vastu hai, amuka dRSTi se vastu nahIM hai / donoM dRSTiyoM se, krama se, vastu haiM aura nahIM bhI hai / donoM hI dRSTiyoM se eka sAtha vastu kA varNana karanA muzkila hai arthAt vastu avaktavya hai / vastu hai aura avaktavya hai / vastu nahIM hai aura avaktavya vastu hai, nahIM hai aura avaktavya hai / isa taraha vastu kA varNana saptabhaGgIrUpa sAta vAkyoM se hotA hai / (144) (dravyoM kA) pariNAma krama se aura akrama se hotA hai / dravya guNaparyAyAtmaka hai / guNa sahabhAvI hote haiM / (145) paryAya krama se hote haiM / vastu kA jo sattva hai vaha utpAda, vyaya aura dhIvya se vyApta hai / vastu meM ananta dharma hote haiM / ataH vastu kA varNana apekSAbheda (nayoM) se hotA hai / (146 ) " hai " - aisA jJAna naya hai / " hai hI" - aisA jJAna durnaya hai / aura "amuka apekSA se hai"- aisA jJAna pramANa hai / yaha saba syAdavAdavAdiyoM ko mAnya hai / (147 - 148) saptabhaGgI ke AdhAra para zatabhaGgI bhI ho sakatI hai / jJAna aura darzana jaba isa prakAra kI mImAMsA ke dvArA tattva ko jAnate haiM taba ve vyavahArAtmaka kahalAta haiM / jaba ve svasaMvedya cidAnandamaya apanI AtmA ko dekhate haiM taba ve jJAna aura darzana nizcayAtmaka kahalAte haiM / 16 121 For Personal & Private Use Only

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__ zrIpArzvanAthacaritamahAkAvya sarvasAvadhayogAnAmujjhanaM caraNaM viduH / satyeva darzane jJAnaM cAritraM syAt phalapradam / / 149 / / darzanajJAnavikalaM cAritra viphalaM viduH / / triSu dvayekavinAbhAvAt SoDhA syurdurnayAH pare // 150 / / darzanAditrayaM mokSahetuH samudita hi tat / mahAvrato'nagAraH syAt sAgAro'NuvratI gRhI // 151 / / Apto yathArthavAdI syAdAptAbhAsAstataH pare / AptoktirAgamA jJeyaH pramANanayasAdhanaH // 152 / / viparyastastadAbhAsa iti tattvasya nirNayaH / ya enAM tattvanirNItiM matvA yAthAtmyamAtmasAt / / 153 / / zraddhatte sa tu bhavyAtmA paraM brahmAdhigacchati / puruSaM puruSArtha ca mArga tatphalamAha saH // 154 / / lokanADauM samastAM ca vyAcakhye trijagadguruH / bhavad bhUtaM bhaviSyacca dravyaparyAyagocaram / / 155 / / (149) saba prakAra kI doSayukta pravRtti ke tyAga ko cAritra kahate haiN| samyak darzana ho tabhI jJAna aura cAritra phalaprada hote haiM / (150) darzana aura jJAna se rahita cAritra viphala hai- aisA bidvAna loga samajhate haiM / ina tInoM meM se eka yA do se rahita chaH vikalpa hote hai, jo durnaya haiM / (151) darzana Adi ye tIna milakara mokSa kA eka hI upAya banatA hai / mahAvratadhArI anagAra hai / aNuvratadhArI zrAvaka hai| (152) jo yathArthavAdI hai vaha Apta hai, bAkI saba Apta na hote hue bhI Apta kI bhrAnti karane vAle haiM / Aptava vana hI Agama hai, aisA samajhanA cAhie / pramANa aura naya Agama ke sAdhana hai, upAya hai| (153-154) isa lakSaNa se rahita jo vacana hai vaha AgamAbhAsa hai / Agama meM tattva kA jo nirNaya kiyA gayA hai usako sacamuca tattvanirNaya mAna kara bo yathAyogya mAvapUrvaka zraddhA rakhatA hai vaha bhavyAtmA hai| vaha (mukta hotA hai arthAt) paramabrahma ko prApta karatA hai / phira unhoMne (arthAt pArzvanAthane) puruSa, puruSArtha, mArga aura mArgaphala kahA / (155) uparati, tInoM jagat ke guru pAna ne samasta lokamAcI kI vyAkhyA kii| bhUta, bhaviSya, vartamAna (saba) dravya ke (sabhI) kA) viSaya thA / m - satra mAyake sabhI pAMya lahAna For Personal & Private Use Only

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padmasundarasUriviracita AgatiM gatimutpatticyavane janminAM jagau / zalAkApuruSAn sarvAn karmaNAM vargavargaNAH // 156 // sparddhakAdivyavasthAM ca kRtaM yat pratisevitam / AviH karma rahaH karma bhukti muktimupAdizata // 157 // zrutveti bhagavadvyAkhyAM ghanastanitajitvarIm / bhavyA niSpItapIyUSA iva pramudamAyayuH / / 158 // jagRhuH ke'pi samyaktvaM kecit paJcamahAbratAn / gRhidharma pare samyagdarzanajJAnapUrvakam // 159 / / zrImatpArzvaghanAghanAdvilasitaM mandraM dhvanegarjitaM te sAmAjikacAtakAH zrutigataM sampAdya sotkaNThitAH / pItvA dharmarasAmRtaM mRtijarAzUnyaM padaM lebhire . bhUyAnmaGgalasaGgamAya bhavinAM saivA''hatI bhAratI // 160 // iti zrImatparAparaparameSThipadAravindamakarandasundararasAsvAdasamprINitabhavyabhavye paM0padmameruvineyapaM0 zrIpadmasundaraviracite zrIpArzvanAthamahAkAbye zrIpAzrvasamavasRtidharmadezanopazlokanaM nAma. SaSThaH sargaH / (156-157) saMsArI jIvoM kI Agati, gati, utpatti, cyavana kI bAta bhI unhoMne khii| unhoMne sabhI zalAkA puruSoM kA caritra varNita kiyA, karmo kI vargaNAoM kA nirUpaNa kiyA, karmoM kI spardhaka Adi ke dvArA vyavasthA kii| unhoMne pratisevanA, prakaTa yA udita .karma, aprakaTa yA anudita karma, karmaphalabhoga aura karma se mukti - ina saba bAtoM kA upadeza diyA / (158) prabhu pArzva kA ghanagarjanA se adhika gaMbhIra upadeza suna kara bhavya jIva atyanta Anandita hue mAnoM unhoMne sudhA kA AkaMTha pAna kiyA ho / (159) kucha jIvoM ne sabhyaktva dhAraNa kiyA, kucha ne pAMca mahAvratoM ko svIkAra kiyA, anya ne samyaga zAna-darzanArvaka zrAvaka dharma ko apanAyA / (160) zrIpArzvanAtharUpI ghane bAdaloM se anita gambhIra dhvani kI garjanA ko suna kara ve zrotArUpI cAtaka (dharmarasAmRta pIne ke lie) utkaNThita ho gaye / phira dharmarasAmRta kA pAna karake ve jarAmaraNarahita pada ko prApta hae / arhatadeva kI vANI bhavya jIvoM ke maMgala kI prApti ke lie ho! iti zrImAn paramaparameSThi ke caraNakamala ke makaranda ke sundara rasa ke svAda se bhavyajanoM ko prasanna karane vAlA, paM0 zrI padamameru ke ziSya pa. zrIpadamasundara kavi dvArA racita zrIpArzvanAtha mahAkAvya meM 'zrIpArzvasamavasRti aura dharmadezanA kA vivecana' nAmaka SaSTha sarga samApta huA / For Personal & Private Use Only

Page #489
saptamaH sargaH athodayAdrimUrdhasthamiva mArtaNDamaNDalam / maNiratnaparAddhartha vAsInaM hariviSTare // 1 // calaccAmarasaMvIjyamAnadehaM jinezvaram / azokatarubudhnasthaM chatratritayabhAsuram // 2 // prAvRSeNyamivAmbhAdaM gambhIradhvanigarjitam / girAM virAme sutrAmA natvA taM bhaktinirjharaH // 3 // pramodavikasannetrasahasraH prAJjaliH prabhoH / samArebhe stutiM kartumekatAnaH prasannadhIH // 4 // ||klaapkm|| tvaM svayambhUH paraMjyotiH prabhaviSNurayonijaH / mahezvarastvamIzAno viSNurjiSNurajo'rajAH // 5 // bhavAniva jagallokamazokaM kurute taruH / azoko'pi nijacchAyAsaMzritaM tvadupAstitaH // 6 // udamtahastaiste daryakSaruddhatacAmarAH / dhunanti smeva bhavyAnAM rajAMsi pracitAnyapi / / 7 // tava cchatratrayaM bhAti muktAjAlavilamvitam / lIlAsthalamivA''pANDu jagallakSmyAH samucchitam // 8 // (1-4) aba udayAcalaparvata kI coTI para sthita sUryamaNDala kI bhAMti amUkhyamaNikhacita ardha siMhAsana para virAjamAna, calatI cAmaroM se jisa para paMkhA kiyA jA rahA haise zarIravAle, azokavRkSa ke nIce baiThe hue, tIna chatroM se suzobhita aura gambhIradhvani se garjanA karate varSAkAlIna bAdala ke samAna jinadeva ko, apanI vANI ke vizrAnta hone para namaskAra karake bhakti ke nirjharavAle, prasannatA se vikasita sahasranetravAle, prasannabaddhivAle aura ekAgracitta indra ne hAtha jor3akara prabhu kI stuti karanI prArambha kii| (5) he prabho / Apa svayaMbhU haiM, parama jyotirUpa haiM, samartha aura ayonija haiM / Apa hI mahezvara haiM, viSNu haiM, aja haiM evaM araja haiM / (6) ApakI upAsanA ke kAraNa azokavRkSa bhI ApakI taraha apanI chAyA kA Azraya lene vAle jagat ke logoM ko zokamukta karatA hai / (7) unnata hAtha vAle dakSa yakSoM ke dvArA hilAye hue cAmara bhavya logoM kI saMcita raja ko dUra karate haiM / (8) he prabho !, muktAjAla se laTakatA huA ApakA chAtraya atIva zobhA detA hai| mAno yaha chatratraya jagatlakSmI kA samunnata zveta krIDAsthala hai / For Personal & Private Use Only

Page #490
padmasundarasUriviracita 125 surAstvayi vitanvanti nabhastaH sumano'JjalIn / svargazriyeva nirmuktAn pramodAzrukaNAniva // 9 / / apratnaratnaracitaM tava siMhAsana vibhoH / tvadAsyAyai samAnItaM meroH zRGgamivAmaraiH // 10 // jagattrayapavitratvavidhAnAyeva yasyati / tava varmaprabhAbhArAkAntaM zAlatrayaM vibho ! // 11 // tava yo dundubhidhvAnaDambaro vyAnaze'mbaram / zabdabrahmAtra vizrAntamitIva jagatAM jagau // 12 // tava vAkiraNaugho'yamanantajJAnabhAsvataH / prasarpana vyadhunod dhvAntaM jagajjanamanogatam // 13 // ahAryaprAtihAryANi nAnyasAdhAraNAni te / svayaM prakAzayantyeva jagatsAmrAjyavaibhavam // 14 // satyAmindriyasAmaayAM tvayi jJAnamatIndriyam / jAgartyacintanIyA hi pramUNAM khalu zaktayaH / / 15 / / tava kalpa masyeva bhaktiH zaktigarIyasI / dabhrA'pi pamphulItyeva phalasampadamadbhutam // 16 // (9) devatA loga Apa para AkAza se puSpoM kI varSA karate haiM, mAnoM svarga kI lakSmI ke AnandAtha kA bUda gira rahA hA / (10) ha pramAApa bUMdeM gira rahI ho / (10) he prabho !, ApakA yaha navInaratna jaTitasiMhAsana aisA lagatA hai mAno Apake hI baiThane ke lie devatAloga sumeruparvata ke zikhara ko lAye ho / (11) he prabho !, Apake zarIra kI kAnti ke mAra se vyApta zAlatraya (tIna kile) mAnoM tInoM lokoM ko pavitra karane kA prayatna karate haiM / (12) dundubhi kI dhvani jaisI ApakI AvAja AkAza meM prasRta hai, vaha mAnoM 'zabdabrahma yahAM vizrAnta hai' aisA tIna jagat ko kahatI hai / (13) ananta jJAna se dIpta aisI ApakI vANIrUpI kiraNoM kA samudAya saMsAra ke logoM ke phailate hue mAnasa andhakAra ko dUra karatA hai / (14) ApakA yaha ananyasAdhAraNa ahArya pratihAye svayaM jagat sAmrAjya ke vaibhava ko prakAzita karatA hai / (15) indriyasAmagrI ke hone para bhI ApakA jJAna atIndriya hai| samartha vyaktiyoM kI acintanIya zaktiyA~ jAgRta hotI haiM / (16) ApakI bhakti, kalpavRkSa kI bhAMti atyanta zaktivAlI hai, alpa hone para bhI aTabhuta phalasampAtta ko vikasita karatI hai| For Personal & Private Use Only

Page #491
126 . zrIpArzvanAthacaritamahAkAvya mavadvAgamRtAsvAdAdeva ! devAmarA vayam / sudhAndhasAmapi sudhA mudhA'dya pratibhAti naH // 17 // devAdhidevastvaM sraSTA parameSThI puruH paraH / zambhuH svayaMbhUrbhagavAMstvaM pumAnAdipUruSaH // 18 // . tvaM viztomukho vizvarAD virAD vizvadRg vibhuH / / vizvavyApI vizvayoniH viyonivizvabhukU prabhuH // 19 / / tvamanAdiranantazca paramAtmA parAparaH / hiraNyagarbho'dhijyotistvaminastvamayonijaH // 20 // tvamakSaro'jaro'kSayyo'nakSaro'nakSa IzvaraH / tvamacyuto haro bhavyavandhustvaM bhavyabhAskaraH // 21 // tvaM zaMbhuH zaMbhavaH zambadaH zaraNyazca zaGkaraH / tvaM purANakavirvAgmI tvaM syAdvAdavadAvadaH // 22 / / yogIzvarI yogavidAM varastvaM dharmatIrthakRt / tvaM dharmAdikaro dharmanAyako dharmasArathiH / / 23 / / dharmadhvajA dharmapatiH kArAtinivahaNaH / tvamarhannarihA sArvaH sarvajJaH sarvadazyasi // 24 // (17) he prabho !, ApakI amRtavANI ke rasAsvAdana se hama amara bane haiM / amRta jinako bhojana hai aise hamako Aja amRta vyartha mAlUma par3atA hai / (18) Apa devAdhideva haiM, sraSTA haiM, parameSThI haiM, puru haiM, paraH haiM, zaMbhu haiM, svayaMbhU haiM, bhagavAn haiM, pumAn haiM evaM AdipuruSa haiM / (19) Apa viztomukha haiM, vizvarAT haiM, virAT haiM, vizvadRka haiM, vibhu haiM, vizvavyApI haiM, vizvayoni haiM, viyoni haiM, vizvabhuk hai evaM prabhu haiN| (20) Apa anAdi haiM, ananta haiM, paramAtmA haiM, parAtpara haiM, hiraNyagarbha haiM, adhijyoti haiM, ina hai, evaM ayonija haiN| (21) Apa akSara haiM, ajara haiM, akSayya haiM, anakSara haiM, anakSa haiM, Izvara haiM, acyuta haiM, hara haiM, bhavyabandhu haiM, evaM bhavyabhAskara haiM / (22) Apa zaMbhu haiM, zaMbhava haiM, zambada haiM, zaraNya haiM, zaMkara haiM, purANakavi haiM, vAgmI haiM, evaM syodvAdavadAvada haiM / (23) Apa yogIzvara hai, yogavidAMvara haiM, dharmatIrthakRt haiM, dharmAdikara haiM, dharmanAyaka haiM, evaM dharmasArathi haiM / (24) Apa dharmadhvaja haiM, dharmapati haiM, karmArAtinibarhaNa haiM, aham haiM, arihA haiM, sArva haiM, sarvajJa haiM, evaM sarvadarzI haiM / For Personal & Private Use Only

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127 padmasundarasUriviracita tvaM buddhastvaM svayaMbuddhastvaM siddhaH puruSottamaH / sUkSmA niraJjaneo'vyaktA mahanIyo mahAnapi // 25 // aNIyAMzca garIyAMzca sthavIyAnuttamo jinaH / anuttaro'nazvarastvaM sthAsnubhUSNurbhavAntakaH // 26 / / brahma brahmavidAM dhyeyaH zAntastvaM tArakaH zivaH / AptaH pAragato'pArazcidrUpo'nantadarzanaH // 27 // nirmadastvaM hi nirmAyo nirmAtA nirmamaH svarAT / nirdvandvo vItadambhastvaM niSkalo nirmalo jayI / / 28 // vItarAgo'nantavIryo'nantajJAnavilocanaH / niSkalako nirvikAro nirAbAdheo nirAmayaH / / 2 / / tvameva paramajyotizcidAnandamayaH svayam / nAmnAmaSTottarazataM nItvA svasmRtigocaram // 30 // saMstaumi tvAM jagatstutyaM zrImatpArzvajinezvaram / vAmeyaM mahimA'meyamazvasenanRpAnajam // 31 // namaste'nantasaukhyAyA'nantajJAnAtmane namaH / namo'nantadRze'nantabIyAMya bhavate namaH // 32 / / -- (25) Apa buddha haiM, svayaMbuddha haiM, puruSottama haiM, sUkSma haiM, niraMjana haiM, avyakta haiM, mahanIya haiM evaM mahAn haiM / (26) Apa aNIyAn haiM, garIyAn haiM, sthavIyAn haiM, uttama haiM, jina haiM, anuttara haiM, anazvara haiM, sthAsnu haiM, bhUSNu haiM evaM bhavAntaka haiM / (27) Apa brahma haiM, brahmavidAMdhyeya haiM, zAnta haiM, tAraka haiM, ziva haiM, Apta haiM, pAragata haiM, apAra haiM, cidrUpa haiM evaM anantadarzana haiM / (28) Apa nirmada haiM, nirmAya haiM, nirmoha haiM, nirmama haiM, svarAT haiM, niIndva haiM, vItadambha haiM, niSphala haiM, nirmala haiM, jayI haiN| (29) Apa vItarAga haiM, anantavIrya haiM, anantajJAnavilocana haiM, niSkalaGka haiM, nirvikAra haiM, nirAbAdha haiM evaM nirAmaya haiM / (30--31) Apa svayaM paramajyoti haiM evaM cidAnandamaya haiM / Apake eka sau ATha nAmoM kA smaraNa karake maiM jagata ke stutiyogya tathA ameyamahimAvAle vAmA-azvasena ke putra Apa zrImatpArzvajinezvara kI stuti kara rahA huuN| (32) anantasukhayukta, anantajJAnasvarUpa, anantadarzanasvarUpa tathA anantavIrya Apako namaskAra hai / For Personal & Private Use Only

Page #493
128 zrIpArzvanAthacaritamahAkAvya jaya tvaM trijagadvandho ! jaya tvaM trijagaddhita ! / jaya tvaM trijagattrAtarjaya tvaM trijagatpate ! // 33 // tvaddhyAnAt pUtacitto'haM tvannuteH pUtavAgaham / tvannaterasmi pUtAGgo dhanyastvadarzanAdaham ! / 34 // tvatpAdanakharaprazikiraNAmbunimajjanaH / mUrdhA'bhiSikta iva me bhAti namrasya pAvanaiH // 35 / / tava stotrArjitAt puNyAdityevA''zAsmahe phalam / mUyAnnaH karmarajasAM tvayi bhaktiravAvarI // 36 // . idaM te pAvanaM stotramazrAntaM yaH smaret sudhIH / labhate sa sadAnandamaGgalazrIparamparAm // 37 / / zatakraturiti stutvA zrIpAzrva vizvapAvanam / atha tIrthavihArasyA'karot prastAvanAmiti // 38 // bhagavan ! pApasantApataStAnAmaGginAM tava / byAkhyAsudhArasasyandaiH prINanAvasaro'dhunA / / 39 / / niHzreyasAya bhavyAnAmujjihIrgharbhavAmbudheH / karotu bhagavAnadya dharmatIrthapravartanam // 40 // (33) tInoM jagata ke bandhu ApakI jaya ho, tInoM jagat ke hitakArI ApakA jaya ho| tInoM jagata ke rakSaka ApakI jaya ho, trijagatpati ApakI jaya ho| (34) ApakA dhyAna karane se maiM pavitrahRdaya ho gayA hai| ApakI stuti karane se maiM pavitra vANI vAlA ho gayA huuN| Apako namaskAra karane se meM pavitrAtmA hU~ tathA Apake darzana se meM dhanya ho gayA hU~ / (35) Apake caraNoM ke nakhoM ke UrdhvagAmI kiraNarUpa jala ke pavitrasnAna se mastaka para abhiSikta kI bhAMti jhuke hae zIzavAlA maiM mahasUsa karatA hU~ / (36) Apake stotra (stuti) se arjita puNya se hama yahI phala cAhate haiM ki kama dhUli ko haTAne vAlI (hamArI) bhakti Apa meM ho / (37) yaha ApakA pavitra stotra lagAtAra jo buddhimAna smaraNa karatA hai vaha sadAnandadAyI maGgalakAraka lakSmIparamparA ko prApta karatA hai| (38) indradeva isa prakAra vizva ko pavitra karane vAle zrIpArzva kI stuti karake tIrthavihAra ke lie prastAvanA karane lage / (39) he prabho !, pApa-santApa se duHkhI zarIradhAriyoM ko vyAkhyAnarUpI amRtarasAsvAdana se saMtRpta karanA - yaha aba ApakA avasara hai| (40) bhavya prANiyoM ke saMsArasAgara se uddhAra ke icchuka Apa bhagavAna unake kalyANa (mokSa) ke lie Aja dharmatIrtha kI pravata nA kareM / For Personal & Private Use Only

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padmasundarasrariviracita iti prabuddho'pi jino vijJapto'tha biDaujasA / vijahAra mahIpIThe dharmamArga pravarttayan // 41 // parArddhayamA tihAryadvibhUSitaH surakoTibhiH / sevyamAnaH sa bhagavAn vijahAra vasundharAm // 42 // aSTau gaNadharAstasyAbhava~llabdhivibhUSitAH / sarvapUrvadharAzcAsan sArddhatrizatasammitAH // 43 // avadhijJAninastasya caturdazazatapramAH / sahasraM kevalAlokA ekAdazazatapramAH ||44 // vaikriyarddhiyutAstasya sArddhasaptazatapramAH / samana:paryayAstasya tathA'nuttaragAminaH || 45 || dvAdazaiva zatAnyAsan SaTzatI vAdinAmapi / munayastvAryadattAdyAH sahasrANi tu SoDaza || 46 / / ArthikAH puSpacUlAyA aSTatriMzat sahasramAH / lakSamekaM catuHSaSTisahasrANyAstikA vibhoH // 47 // lakSatrayaM ca saptaviMzatisahasrasaMyutam / zrAvastasya saddharmaM dizataH sarvato'bhavan // 48 // evaM nijagaNairyukto bhagavAn pratyabUbudhat / bhavyapadmAkarAn dharme kevalajJAnabhAskaraH // 49 // ( 41 ) prabuddha hone para bhI indra ke dvArA isa prakAra stuti kie hue jinadeva ne mahApITha para dharmamArga kA pravartana karate hue vihAra kiyA / (42) parArddha pratihArya samRddhi se bhUSita vaha bhagavAna jinadeva pRthvI para vihAra karane lage / ( 43 - 48 ) sarvatra dharma ko phailAne vAle una bhagavAna ke ATha gaNadhara the jo labdhiyAM se vibhUSita the, tIna sau pacAsa saba pUrvo ke jAnakAra pUrvadhara the caudaha sau avadhijJAnI the; eka hajAra kevalajJAnI the, gyAraha so vaiyilabdhivAle the, sAtaso pacAsa manaHparyAyajJAnI the, bAraha sau anuttaragAmI the, chaH so vAdI the, solahahajAra Aryadatta Adi muni the; ar3atIsahajAra puSpacUlA Adi AryikAyeM thIM, eka lAkha causaTha hajAra Astika zrAvaka the aura tIna lAkha sattAisahajAra zrAvikAyeM thIM / (49) isa prakAra apane gaNoM se yukta kevalajJAna ke kAraNa bhAskararUpa bhagavAna ne dharma meM bhavyajanoMrUpI kamaloM ko prabuddha kiyA / 17 129 For Personal & Private Use Only www.jalnelibrary.org

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130 zrI pArzvanAthacarita mahAkAvya evaM vyazItidivasairUnAn saptativatsarAn / vihRtya bhagavAn pArzvaH prAnte sammetamAsadat ||10|| AyurvarSazataM pUrNa samApayya mahAmanAH / saMlikhya mAsabhaktena pralambitabhujadvayaH // 51 // svayaM yoganirodhArthaM samudghA tadA'karot / pUrva daNDaM kapATaM ca manthAnaM lokapUraNam // 52 // caturbhiH samayairvizvamApUrya vyAnaze vibhuH / saJjahArAntaraM manthaM kapATa daNDamutkramAt // 53 // pradeza | nupasahRtyA'ghAtisthityaMza saMhatIH / asaGkhyeyA nirAkRtyAnubhAgasya ca karmaNAm ||54 // bhAgAnanantAn so'pyantarmuhUrtAdyogarundhanam / kurbANo vAGmanoyogau sUkSmIkRtyAzrayAt tanoH || 55 // tatazca kAyayogaM ca sUkSmIkRtyAvinazvaram / dadhyau sUkSmakriyAdhyAnaM ruddhayogo gatAsavaH || 56 // ayogI sa samucchinnakriyaM dhyAnamanazvaram / paJcahnasvAkSarairdhyAyan zailezIkaraNaM gataH || 57 // . (50) isa prakAra sattara (70) varSo meM tarAsI (83) dina kama vihAra karake bhagavAna pArzva antakAla meM sammetazikhara parvata para gaye / (51--57) udAramanavAle, pralambita mahAbhujAvAle pArzvaprabhu ne so varSa kI pUrNa Ayu samApta kara mAsabhakta kI saMlekhanA karake svayaM pravRtti ko rokane ke lie samudghAta kiyA / sarvaprathama daNDa kI taraha Urdhva aura adhodizAoM meM, phira kapATa kI taraha cAroM dizAoM meM, phira manthA kI taraha antarAloM meM AtmapradezoM ko phailAkara loka ko unhoMne bhara diyA / isa taraha cAra kSaNoM meM vizva ko AtmapradezoM se bharakara prabhu vyApaka ho gaye / bAda meM ulTe krama se manthA, kapATa aura daNDa kI taraha unhoMne AtmapradazoM kA saMkoca kiyA / AtmapradezoM kA saMkoca kara aghAtI karmoM ke asaMkhyeya bhAga sthiti - bandha ko unhoMne naSTa kara diyA tathA una karmoM ke anubhAgabandha ke ananta bhAgoM ko bhI naSTa kara diyA / tadanantara anta muhUrta meM zarIra kI sUkSmakriyA kA Azraya kara unhoMne vANI aura mana kI pravRtti kA nirodha kiyA / bAda meM zarIra kI kriyA ko sUkSma kara pravRttinirodhavAlA aura Asravarahita vaha avinazvara sUkSmakriyA dhyAnane lagA kara / usake pazcAt praSTattirahita vaha pA~ca hrasva akSara ke uccAraNa meM jitanAkAla lagatA hai utane kAla taka avinazvara samucchinnakriyA dhyAna karake zailezIkaraNa ko prApta huA / For Personal & Private Use Only

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padmasundarasUriviracita trayodazAsya karmAzAH prakSINAzcarame kSaNe / dvAsaptatirupAntye'tha nirlepo niSkalaH zivaH / / 58 / / zrAvaNe dhavalASTamyAM trayastriMzat tapodhanaiH / pUrvAhaNe tu vizAkhA yAM zrIpAzvo nirvavautarAm / / 56 / / sambhUyAtha savAsavAH suragaNAH zrIpArzvadehaM zuci jvAlAjAlaparipkRte hutabhuji prakSipya gandhoddharaiH / gozIrSe masamedhite parilasatakAzmIrajaizcandanairabhyAkSatapuSpamAlyanivahaiste bhasmasAccakrire / / 60 // kSIrode ca nicikSipurjinapaterbhUti pavitrAGgajAM bAlAdityasapatnaratnavilasatkATIrakoTIdharaiH / natvA tAM nijamUrddhabhiH suragaNAH sendrAH samastAstato / jagmuH svAlayameva te kRtamahAnirvANapUjoddhavAH // 61 / / zakrastUparimAM ca dakSiNahanuM jagrAha cezAnapA vAmAM tAM camaro'griyAM drutamadhaHsthAM vAmajAtAM baliH / aGgopAGgagatAsthivRndamapare zeSAH surAH sAdaraM kRtvA stUpavidhAnamatra sakalA nandIzvarAdau yayuH // 62 / / .. (58) unake (pArzva ke) teraha karma ke aMza carama (antima) kSaNa meM naSTa ho gaye aura upAntya kSaNa meM bahattara (72) karma ke aMza bhI naSTa hue / tadanantara ve nirlepa, niSkala va ziva ho gae / (59) zrAvaNamAsa meM zuklA TamI ke dina tetIsa tapodhana muniyoM ke sAtha vizAkhAnakSatra meM, pUrvAnha meM zrIpArzva ne nirvANapada prApta kiyA / (60) indrasahita sabhI devatAoM ne ekatrita hokara zrIpArzva ke pavitra deha ko kAntimAna sugandhita kesara evaM candana se tathA akSata, puSpa aura mAlAoM se sajA kara, jvAlAoM se pariSkRta aura gozIrNacandana ke indhana se prajjvalita agni meM rakha kara bhasmIbhUta kara diyA / (61) unhoMne jinapati zrIpArzva ke pavitra aMga se utpanna bhasma ko kSIra samudra meM visarjita kiyA / prAtaHkAlIna sarya ke samAna vilasita maNiyoM se jaTita makaTa kI koTi ko dhAraNa karane vAle apane apane mastakoM se namaskAra kara (jhukakara) indrasahita ve sabhI devatA vahA~ se apane sthAna ko mahAnirvANapUjA kA utsava kara cale gaye / (62) indra ne Upara kI ThuDDI ko grahaNa kiyA aura dAhinI ThuDUDI ko IzAnendra ne aura bAyI ThuDDI ko camarendra ne tathA bali ne aghosthita vAma hanu ke agrabhAga ko liyA / anya devatAoMne aMga va upAMgoM ke asthisamUha ko grahaNa kiyA / stUpavidhAna karake saba nandIzvara Adi sthAnoM ko prasthAna kara gaye / For Personal & Private Use Only

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jarUra zrIpAzvanAthacaritamahAkAvya yadgarbhodbhava-saMyamagraha mahAkaivalya-nirvANatA kalyANeSu surAsurAH surapativrAtaH samaM sAdarAH / sphUrjadratnakirITakoTimaNibhirnIrAjayanto jaga ccakSusphItamahAmaha sa tanutAt pAzrvaH satAM maGgalam / / 63 // pUrva yo marubhUtirAsa sa gajo devazca vidyAdhara stasmAdacyutanirjaro narapatiH zrIvajranAbhirbabhau / pazcAnmadhyamamadhyame tridivA hemaprabhazcakrayabhUd ___ gIrvANaH sa ca pArzvanAthajinA bhUyAt satAM bhUtaye / / 64 // yaH zatrau kamaThe prasAdavizadA dRSTi kRpAmantharA ___vyAtene bhagavAn zatAmRtarasAmbhAdhizca tasmai dadau / samyaktvazriyameSa zekharatayA khyAtastitikSAvatAM gAmbhIryaikapayAnidhiH sa tanutAnnaH pArzvanAthaH zivam / / 65 / / AnandadodayaparvataikataraNerAnandamerorguroH ziSyaH paNDitamaulimaNDanamaNiH zrIpadmamerurguruH / tacchiSyottamapadmasundarakaviH zrIpArzvanAthAhvayaM / ___ kAvyaM navyamidaM cakAra sarasAlakArasaMdarbhitam / / 66 / / (63) jina bhagavAna pArzva kI garbha se utpatti, saMyamagrahaNa, kevalajJAna aura nirvANa kalyANakoM ,meM indra ke sAtha sura aura asura sabhI Adara ke sAtha dedIpyamAna ratnakuToM kI koTi ke maNiyoM se jagaccakSurUpa (jisa bhagavAna kI ) AratI karate haiM vaha pArzvaprabhu sajjanoM ke vistRta mahotsava bAle maMgala ko kareM / (64) pahale jo (prathama bhava meM ) marumUti the, vahI (dvatIya bhava meM ) hAthI vane, (tRtIya bhava meM) deva hue, (caturtha bhava meM) vidyAdhara deva hue, usake pazcAt (paMcama bhava meM) acyutadeva hue, aura (SaSTa bhava meM) narapati zrIvajranAbhi rAjA (rUpa se) zobhita the / tatpazcAt (saptama bhava meM) madhyamamadhyama nAmaka svarga meM indra hue, (aSTama bhava meM ) hemaprabha cakrI hae, pazcAt deva hae / aise pArzvanAtha jinadeva sajjanoM ke aizvarya ke lie hoM ( arthAt unakA kalyANa kareM ) / (65) jisa prabhu ne duSTa zatru kamaTha meM prasannatA se nimala aura kRpAyukta dRSTi rakkhI, jisa zatAmRta-ra pasAgara prabhu ne use samyaktva pradAna kiyA aura jo sahanazIlatA vAloM meM zreSTha haiM aura jo gambhIratA ke uttamasAgara haiM aise pArzvanAtha prabhu hamArA kalyANa kareM / (66) Anandodayaparvata ke ekamAtra sUrya Anandameru gurujI ke ziSya, paNDitoM ke mukuTa ke maNirUpa zrIpadmameru the / unake uttama ziSya padmasundarakavi ne pArzvanAtha nAmaka yaha nUtana kAvya rasa tathA alaMkAroM se yukta racA hai| For Personal & Private Use Only

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padmasundarasuriviracita 133 iti zrImatparAparaparameSThipadAravindamakarandasundararasAsvAdasamprINitabhavyabhavye paM0 zrIpadmameruvineya paM0 padamasundaraviracite zrIpArzvanAthamahAkavye zrIpArzvanirvANamaGgala nAma saptamaH sargaH // iti zrImAn paramaparameSThI ke caraNakamalarUpI makaranda ke sundara rasa ke svAda se bhavyajanoM ko prasanna karane vAle, pa0 zrIpadamameru ke ziSya paM0 zrIpadmasundarakavi dvArA racita zrIpArzvanAthamahAkAvya meM "zrIpAzrganirvANamaMgala" nAmaka sAtavA~ (antima) sarga samApta huA / For Personal & Private Use Only

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pariziSTa pArzvanAthacarita meM prayukta alaMkAra atizayokti 2. 7 / 3. 7, 12, 48, 146 / 4. 2, 3, 4, 30, 32, 65, 66, 67, 135 / 5.26 / ananvaya 5. 14 anuprAsa 4. 39, 62 / 5. 2, 7, 25, 29, 33, 47, 72, 85, 87, 6. 46, 67, 81 / 7. 19-29 / anumAna 3. 8, 156 arthAntaranyAsa 1.19, 26,46, 48, 50 | 2.12, 35, 68, 77 / 3. 152, 204 / 4. 86, 90, 130, 180, 186 / 5. 1, 37, 39, 42, 49, 62, 63, 69, 73, 75, 76, 80 / 7. 15 Aropa 1. 16 utprekSA 1. 1, 3, 5, 19, 26 / 2. 3, 4, 16 / 3, 3, 4, 11, 15, 40, 41, 153, 155, 171, 188, 201 / 4. 2, 18, 26, 51, 56, 57, 59-61, 63, 64, 138, 139, 146, 147, 151,155, 168, 171 / 5. 5, 6, 14, 17, 25, 28, 29, 31, 35 / 6. 20, 51, 79, 80, 82 / 7. 8 upamA. 1. 6, 15, 16, 18, 34. 69 / 2. 1, 2, 5, 7, 14, 17, 22, 50 / 3. 1, 2, 5, 17, 18, 42, 62-65, 69, 103, 104, 121, 147, 149, 151, 154, 157-160, 173, 187, 189, 190, 193-197, 205, 206 / 4. 17, 19, 22, 25, 42-46, 48-50, 52-55, 58, 62, 65, 68, 94, 96, 137, 140, 142, 143, 149, 159, 160, 565, 172, 173, 174, 176, 177, 181, 182, 185, 186 / 5. 6, 7, 10, 11, 18, 19, 32,61, 79,101 / 6. 81, 85, 112, 113, 115, 139,158 / 7. 6-12, 16, 35, kAraNamAlA 4. 9 / bhrAntimAn 3. 161 / 4.3 dRSTAnta 5. 38, 41, 79, 81, 88, mAlopamA 1. 17 / 4. 9 / 7. 1 yamaka 1. 25, 38 / 4. 40 / 5. 12, 15, 106 / 6.50, 71, 75, 78, 101, 156, 160 rUpaka 2. 10, 51 / 4. 160, 172, 185 / 5. 9, 22, 24, 86 / 6. 21, 28, 79, 86 / 7. 66. vibhAvanA 2. 10 viSama 1. 50, 56 vyatireka 1.70 / 3. 200 / 5. 13, 24 saMdeha 5. 16 / 6. 21 / svabhAvokti 1. 27, 28 / For Personal & Private Use Only

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pariziSTa-2 pArzvanAthacarita meM prayukta chanda anuSTubha 1. 14-28, 41-49, 51-67 / 2. 1-70, 72-77 / 3. 1-228 / 4. 1-149, 152.184 / 5.61-66 / 6.1-70, 76-78,86-132 / 7. 1-56 / AryA 1. 11, 68-83 indravajrA 1. 12 kumaladantI 6. 79 jaladharamAlo 6.80 toTaka 6. 82 dodhaka 6.83 dratavilambita 1. 40 / 4. 188-194 mayUrasAriNI 6. 81 mAlinI 2. 71 / 6. 71-75, 85 rathoddhatA 1. 30--36 / 5. 96-106 basantatilakA 1. 3-5, 7, 29, 37-39 / 5. 44-60, 67--71, 91--93, 95 vaMzastha 5. 1-43 zArdUlavikrIDita 1. 2, 6, 50, 84 / 3. 229 / 4. 185-187, 195 / 5. 94, 107 / 7. 60--66 zAlinI 1. 8-10, 13 / 4. 151 / 5. 72-90 . gdha rA 1. 1 / 4. 150 / 6. 84 For Personal & Private Use Only

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pariziSTa-3 pAThAntara (1) praNayantyamI ba sarga 2, zloka 55, pasti Da. (2) caritA ba 2. 57 Da. (3) toyadhArA ba 3. 77 ka. (4) mandiram ba 3. 114 ba, (5) zAtekumbha a 3. 129 ba. (6) sevadhiH ba . 3. 195 Da. (7)sthitiriti ba 4. 123 ka. (8) khyAti ba 4. 127 ka. (9) prahataH niHsvAna ba 4. 161 a (10) ratiyauvanazriyoH a 5. 18 ba. (11) mA sma ba 6. 83 ba. (12) svApekSA a 6. 145 ka. (13) saMbhavaH a 7. 22 a. (14) sthavIyAnuttamottamaH ba 7. 26 ba. noTa-chaThe sarga kA 148 vA zloka (vyavahArAtmake syAtAM... ...Adi ) badaudA vAlI prati meM nahIM hai, mAtra ahamadAbAda vAlI prati meM hI pAyA jAtA hai| For Personal & Private Use Only

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OUR LATEST PUBLICATIONS 80. The Ramayana In Pahari Miniature Paintings by Jutta Jaina: Neubauer pp. 2+58 + plates 28 (1981) 108/81. Padmasundara's Inanacandrodayanataka Ed. Nagin J. Shah pp. 8/ 4+58 (1981) 82. A Study of Civakacintamani by R. Vijailakshmy pp. 8 + 54 234 (1981) 83. Appointment with Kalidasa by Prof. G. K. Bhat pp. 10+ 140 (1981) 24184. Studies in Indian Philosophy (Pt. Sukhlalji Memorial Volume) 60/ pp. 22 + 323 (1981) Ed. by Pt. D. D. Malvania & Dr. N. J. Shah 85. Facetes of Jaina Religiousness in Comprative Light by Dr. L. M. 18/ Joshi pp. 4+ 78 (1981) 86. A Study of Tattvarthasutra with Bhasya by Suzuko Ohira 48/ (1982) pp. 1,182 87. Hindi Gujarati Dhatukosa by Raghuveer Chaudhari 45/ (1982) p. 12+ 230 88. Secondary Tales of the Two Great Epies by Rajendra I. 507 Nanavati (1982) p. 12 + 795 89. Laksmana's Suktiratnakosa Ed. by Mrs. Nilanjana S. Shah 9/ (1982) p. 16 + 71 90. Suracarya's Danadiprakarana Ed by Pi. Amrutlal M. Bhojak 9/ & Nagin J. Shah (1983) p. 12 + 64 91. Ramacandra's Ma!likamakarananataka, Ed. Muni Shri 30/ Punyavijayji, Eng. Intro. by V. M. Kulkarni (1983) pp 6 + 35+ 166 92. Slokavartika: A Study by Dr. K. K. Dixit (1983) pp. 8 + 120 27/93. Vardhamanasuri's Manoramakatha (Prakrit) Ed. by Pt. Rupen- 66/ drakumar Pagariya pp. 16 + 339 + 32 (1983) 94. Haribhadra's Yoga and Psychosinthesis by Shantilal K. 164 Desai pp. 94 (1983) 95. Narasimha Mehatana Aprakasit Pada (Gujarati) Ed. by Ratilal 10/ V. Dave 16+ 102 (1983) 96. Jinaratna's Lilavati-Sara (A Sanskrit Abridgement of 81/ Jinesvara Suri's Prakrit Lilaval Kaha) Ed. by H. C. Bhayani 8 +58 +443 (1984) 97. Jayanta Bhatta's Nyayamanjari (Trtiya Anhika) With Gujarati 21/ Translation. Ed. and translated by Nagin J. Shah (1984) pp. 9 + 180. 98. Bhartphari's Vakyapadiya (with Gujarati translation and notes) 53/50 Ed. by Dr. J. M. Shukla 46 + 720 (1984) * SAMBODHI-(The journal of the L. D. institute of Indology Bach Vols. 1-10 (Per volume) 40/-Current Vol. 11 (1982-1983) 25/VIDUSAKA (Gujarati) by G. K. Bhat (1981) 30/Sole DistributorHaspects of Jaina Art and Architecture : Editors Dr. U. P. Shah 1501and Prof. M. A. Dhakey (1976) Jain Educalion Intemational Mahavira and his For Personaj & Private Use Only cachiigs Ed. www jainelibrary.org