Sambodhi 1983 Vol 12

Author(s): Dalsukh Malvania, H C Bhayani, Nagin J Shah
Publisher: L D Indology Ahmedabad
Catalog link: https://jainqq.org/explore/520762/1

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AMBODHI 106598 RTERLY) 12 APRIL 1-83 JANUARY 1984 APRIL 1983 JANUARY 194 5 Nos. 1-4 .4 Print St. UTE. GORS SUKH MALVANIA

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CONTENTS Drotisrstivada - An Analysis and Critical Appraisal Ram Murti Sharma The Advajta and I-Sense Ram Murti Sharnia The Advaitic Sat Ram Murti Sharma The Rejection of Sitz in Ramayana-Based Plays China-P.Shukla. . . . . . . The Indian Music in Ils sources in the Simavede Narayana M. Kansara Hymus on Ratri in the Atharvareda R. D Hegde A Unique Hariti Image from Gandhara Uslua Jain : ngare Vipralambliekhye : . . . of ou, S WC 30

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106598 1212158 DRSTISRSTIVADA-AN ANALYSIS AND CRITICAL APPRAISAL Ram Murti Sharma (A study of Advantic viewpoint regarding the dual worldly creation, at very well elaborated concept of post- Sankara period) significantly the VIEW'S to be taken to consideration are : (i) Thai Prah Sananci, post- Sarikara Advaitin, understands by Druzsivut, that creation is dependent to perception, (11) l'hist scholaus like SN Das Gupta & Hiriyanna find that Drstisrstida is not all old concept and that it has never been admitted nay Sankara (111) That it is much similar io the Vijnanavada Buddhism enunciated by Visubiundu and Darmakniti and that it is a solicist's view. L 'That there is a contradiction in Sankara's philosophy regarding the fact that it one place, in the Mandukyakarika bhasya, Sankara lihens the c entences of the waking state to that of dream state and nother place in his Brahmasutrabhasya le maintains that the experi. ence of the waking world can never be parallel to the experiences of the die State (v) That Distisistividais parallel to the Abhasavada of Suresvaracirya, il prominent pupil of Sakaracarya Now let us first ponder our attention on the meaning and philosophical significance of the concept Drstissstivada. To pech about the background of the concept, it can be said that "Brahman is the ultimate reality and the world is an illusion", is the main these and advocacy of the scholars of Advaita Vedanta. To prove further their thesis and to explain the status of world appearance, the tenets like Abhinavada, Avacchedavada, Pratibimbavada, Adhyasavada, Drafisalivadla and Srsticirstivaca have been taken in view by the Advai. lic scholars. The basic structure of Drs isrstivada is as old as the Upani. Samhodhi Vol XIT. 1

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Ram Murti Sharma sads and Sankaracarya as we will consider latci, The Drstisrstivada means that the existence of world objects dispends upon perception and as soon as we cease to perccive them, they dissolve into nothingness This is according to Prakasananda, the author of the Vedanasiddhanta muktavali! To elaborate further it can be said that creation is the result of subiective perception So, foi a Drstisrstivadin, there is no exis tence of wouldly things prior to this perception For example for the perceiver of 10se, there is no rose before its perception and after the perception ceases, the rose is no inore Thus the chief propounder of Drotisrstivada, Prakasananda to totally danies the independent existence of the world objects without peiception Therefore in his view. the cognition and the congruized objects are not different. He believes that the universe, animate or inanimate, which appears in consciousness, is nothing but cognition Thus it is the main thesis of Prakasananda that the exte rnal objects do not exist when they are not perceived. So in the absence of perception, there is no difference between the cognition and the cognized. In this state, the existence of worldly objects is mere mental. In support of this thesis, Prakasananda argues that perception as a proof is not competent to establish a difference between itself and its obiects. He observes that awaieness is not competent to grasp the quality (the difference between awareness and the objects) in objects its awareness. It can be further added in this regard that the difference between the awareness and its objects is a quality of awareness. Prakasananda says that if one thinks that the apprehended difference is complex (difference between awareness and its objects) and if the complex is taken, a quality existent in the object, then it will be assumed that it must decidedly depend upon itself being a constituent in the complex difference between awareness and its objects), which will bring out the fact that awareness becomes aware of itself by being aware of itself This will be the nature of awareness. But the Drstisrstivadin thinks that this will be the logical fallacy of self-dependence Again he says that if one argues that the complex quality (difference between awareness and its objects) is subject of direct perception in the object when the senses come into contact with the objects, in that case it will be understood that the complex quality existed in the object even before TAL RESEARA ASCH "" 1. V.S.M 26, Asther Wenis edition, Varanasi, 1975 V.S.M. 26, Tadevam drstim atratmakam jagat. Prakasananda, Commentary 2. Ibid (Pandit, 1889, pp. 247-249). ORIENTA 106598

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Drstisistivada-un Analysis and Critical Appraisal the awareness came into being Thus, if the perception of awareness is not competent to become proof loi establishing the differense between the awareness and its obj cts, there is no possibility of an inference to prove the difference. This position of inference may be like this "The object is different from its awareness, because the object has different qualities and characteristics". But this will not be proper, because an object can never have different qualities from its awareness. The Drsti srstivadin further argues that on the basis of Implication (Arthapatti), it is said that awareness involves the acceptance of something which is diffei ent from the awareness of wlich the awareness affirmed and this is because any knowledge is impossible without a corresponding oject. Retuing the above arguement, Pakasananda says that for the inferential knowledge of an object, it is not necessary that the external object must be existent or peiceived. In this way, the wholesome character of Drstisrstivada is that ically, the awareness is not different from its object and the world is mere awareness 1 Therefore perception is the cause of making a difference between the awareness and ils objects in his view llie awareness of yellow and the yellow are not different In this way, the existence of world reality depends upon perception. As a matter of fact, it is nothing more than the awareness This is why in Vedanta, the world has been described as the creation of Avidya and thus false. Now a question further arises that if Avidya is the creator of the world, then who is the creator of Avidya ? The answer is that Atman with its adjunct (Avidyopadhi) creates the posture of Avidya on account of prior impressions of Avidya and actually it is in this manner that Atman with the adjunct of Avidya is the creator of the world of name and form Some of the scholars hold that the mental creation of the jiva is not justified in anadi Avidya and it can only be admitted in the objective world 2 It can further be argued that Atman with the adjunct of Avidya, can imagine a perceptive thing but it can never imagine about the Akasa, Vayu, fire etc. and their order, which has been but automatically described by the scriptuie- ('Atmana akasa sambhuta akasad vayuh' Taitti. 2-1-1) No doubt, there can be no imagination of Akasa etc and their order and so far as the scriptural statement-"Almana akasa sambhutah" is concerned, it inaintains that Alman and Akasa etc are non-dual and one. It is the superimpostion (Adhyasa) which proves the duality of Atman and 1, V.S.M. p. 18. 2. Siddhantalesa sangi aha, Pariccheda-2, Acyuta, Kasi, 2017

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3 Drstisrstivada-an Analysis and Critical Appraisal the awareness came into being Thus, if the perception of awareness is not competent to become proof for establishing the differense between the awareness and its obj cts, there is no possibility of an inference to prove the difference. This position of inference may be like this "The object is different from its awareness, because the object has different qualities and characteristics" But this will not be proper, because an object can never have different qualities from its awareness. The Drsti srstivadin further argues that on the basis of Implication (Arthapatti), It is said that awareness involves the acceptance of something which is different from the awareness of which the awareness affirmed and this is because any knowledge is impossible without a corresponding o'ject. Retuing the above arguement, Prakasananda says that for the inferential knowledge of an object, it is not necessary that the external object must be existent or perceived In this way, the wholesome character of Drstisrstivada is that really, the awareness is not different from its object and the world is meie awareness! Therefore perception is the cause of making a difference between the awareness and its objects. In his view the awareness of yellow and the yellow are not different. In this way, the existence of world reality depends upon perception. As a matter of fact, it is nothing more than the awareness This is why in Vedanta, the world has been described as the creation of Avidya and thus false. Now a question further arises that if Avidya is the creator of the world, then who is the creator of Avidya ? The answer is that 'Atman with its adjunct (Avidyopadhi) creates the posture of Avidya on account of prior impressions of Avidya and actually it is in this manner that Atman with the adjunct of Avidya is the creator of the world of name and form Some of the cholars hold that the mental creation of the jiva is not justified in anadi Avidya and it can only be admitted in the objective world. It can further be argued that Atman with the adjunct of Avidya, can imagine a perceptive thing but it can never imagine about the Akasa, Vayu, fire etc. and their order, which has been but automatically described by the scripture ('Atmana akasa sambhuta akasad vayuh' Taitti 2-1-1) No doubt, there can be no imagination of Akasa etc and their order and so far as the scriptural statement-"Atmana akasa sambhutah" is concerned, it maintains that Atman and Akasa etc. are non-dual and one. It is the superimpostion (Adhyasa) which proves the duality of Atman and 1, V.S M p 18. 2 Siddhantalesa sangraha, Pariccheda-2, Acyuta, Kasi, 2017.

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Ram Murti Sharma Akasa etc, and it is the Apavada which negates the name and form and Justifies the non--duality in all Even in the scriptures, the ci eation and the dissolution have been mentioned from the viewpoint of Vivarta and not fiom the final view point. Thus Drstisrstivadin's view that the existence of objective world is just like a dream and there appears to be a difference between the cognition and the objects cognized in drean state, but in ruility, there is no object spart from its cognition and that the worldly objects of waking experience are not different from the cognition and they can be said as mere consciousness 1 is on the line of the philosophical thought of Sankai acarya, who exemplihed the exis tence of worldly objects with the existence of objects of the drean state 2 Appayadi sita, the author of Siddhantalesasangi aha, mentions anothe interpretation of Distisfstivada and says that the creation is mere imaginative and so the experience of the objects of waking state which an similar to the experiences of the objects of dream state are based on imagination and are never the subject of perception 3 There is another view of scholars who maintain that the world 1 nothing different from the self illumined knowledge. In this cgaid, the following verse has been quoted by Appayadiksita in his Siddhan ale sasangraha. "Jnanasvarupame ahur jagadetadvica ksana, Arthasvaiupam bhramyantah pasyantyanye kudrstayali" Now, let us examine the abov views : A-So fai the view of the Advaitin Prakasananda that creation i due to perception (Drsti) is concerned, it is not propei because th above view indicates that in the state of liberation, when there is no thing except Brahmanhood, there is no question of creation etc. There fore in that state, there would not be any scope for perception. But is not correct and possible This is because even in the state of libera tion the jivanmukta perceives the objective things as such, but he see them as false and for him they are not separate from Brabman. I this context, Sankaracarya's statement that a person, who has realize Brahinan does not see any duality in the waking state like the soun sleep (Susuptil, even if he sees duylity, proves that even in the state 1. V S. M. p 19 & 22. 2. Sankarabhasya Gaucapadakarika 2-4, Vani Vilasa-Press, Kasi. 1942. 3. Siddhantalesasangraha, Parieceda-2 4. S. L. Periccheda-2,

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Drstiststivada-an Analysis and Critical Appraisal liberation, perception can not be denied. Therefore, Pakasananda's view that creation is due to perception is not proper, because in the state of liberation, pei ception is always possible, but the dual creation has got no place at all Because in that state, it is all Bialunan and nothing else (Sarvam khalvidam Brahma) Chh. Up. 3 14 1) B-As regards the views that creation is mere imaginatiou and that creation is nothing different from the self illumined knowlcdge, the two views have no place foi phenomenal reality of the world, which is very much a fact. To me, it appeals that dual view (Dvaita desti) is the cause of manifold creation. It would amount that after the realization of Brahman the dual knowledge of world would be itself negated I From an advaitin it does not need any proof that in the state of Bra zmanjnana, there is no scope for the dual existence for worldly object That state is purely the state of Biahman This interpretation seems to be different from the previously mentioned interpietation of Prakasananda, in the sense that according to the former, the existence of worldly objects depends upon perception, while according to the present interpretation, the world is the creation of dual view of the ignorant As earlier also stated peiception can not be said as the cause of dual creation, as Prakasananda says. Needless to say thai whateve the interpretative approach may be, in spirit, the above viewpoints are not against the Advaitic view. Hence there seems to be no scope to think otherwise as Das Gupta and other scholars do. That Dustisplivada is not an old concept and that it has never been admitted by Sankara2. Scholars like Das Gupta & others who find Drstisrstivada in separate line from that of Sankara's, argue that the former does not admit the existence of the objective world, apart from its peiception and thus in his opinion, the wouldly things are real as far as perception is there, otherwise the world is nothing more than the ima gination and the dream, while Sankaracarya, the advaitin supporting the point of phenomenal reality, approves the existence of phenomenal world. They further argue and advocate that Sankara has,refuted the philosophy of subjectivist, the Vijnayavadin Bhuddhist and so how his line of philosophical thought can be similar to that of Drstisrstivadin Here 1. Inate dvaitam na vidyate, Gauctapada-Karka, 1-18. 2. Das Gupta, Indian Philosophy.

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Ram Murti Sarma It would be proper to say that in the eyes of Sankaia, who very much believes in the external character of the world, the would is mere illusion and not only thus, in his commentary of the Mandukyakarika (2.4), he says that the experiences of the waking state are similar to the experiences of the dieam state He has also mentioned in his Brahmasutrabhasya that after the realization of Brahman, there remains no scopo for the operation of other meaus of knowledge like perception Tlic fact is that as soon as the state of right knowledgc comes, thc fccling of dualty ends and therefore, in this state of non dualisu, there remains 10 reason. for the functioning of perception etc. Here one can dised question that how Sankara can vouchsafe his position to say that in the state of right knowledge, the knowledge of Brahman, the functioning of perception comes to an end No body can deny the fact that cveniji the state of jivanmukti, the existence of the external objects and the sense of contact with them is quite natural Then how Sankala says that in the state of right knowledge the functioning of perception etc comes to in end!. Here the follower of Sankara Vedanta will answc that no doubt the worldly objects remain as such in the state of ical knowledge, but this fact is to be kept in mind that in that state there is no feeling like 'this is mine' or 'this is yours' and it is in this spiul that the operation of function etc. comes to an end in the state of real knowledge Actually by Sankara, the experiences of empirical state are likend to the experiences of the dream state, which seem to be quite real prior to the waking The same way, the experiences of waking state seem to be quite real prior to the state of final knowledge. But after the right knowledge, the experiences of waking state find no place at all. C-Comme .ting on the above Advaitic thinking, scholars fear to find a controversy in the philosophy of Sankara, and say that at one place, in Mandukyakarikabhasya, Sankara likens the experiences of the waking state to that of dream state and at another place, in his bhasya of the aphorism "vaidharm'occa na s:apnadivat" maintains that the experiences of the waking world can never be parallel to the experiences of the dream state 2 Really speaking this is not the case of self contradiction. Sankara in his karika bhasya, when he describes the experiences of the waking state as similar to the experiences of drcam state, stresses on the point that in the waking state, the experiences of the dream state are proved completely false and thus the experiences of the dream state are negated by the experiences of the waking state alone 1. Jagrad diyanati bhavanain vaitathyamiti pratijna drysyat vaditi hetuh svapnit bhalavaditi drstantah, 11, S B. G. K. 2-4. 2. Na svapnadipratyayavajjagratpratyaya bhavitumarbanti B.S.S.B 2-2-29

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Dististsgivada an Anal, sis and Critical Appraisal and not by another thing Likewise in the state of real knowledge the experiences of waking state come to an end. So far as Sankara's bhasya on the aphorism "vaidlarmyacca na svapnadivat" is concerned, the Acarya justifies the fact that the experiences of the two states-the waking and the dream, can never be the subject of parallelism as the experiences of the dream state are mere imaginative and not at all phenomenally real. But this idea does not come in the way of admitting the fact that in the state of real knowledge, the knowledge of ultimate, the expe rinces of waking state, seem to be entirely unreal like the experiences of dreami state. And thus there is no justification in finding contradi ction in Sankara's philosophy. Thus it becomes clear that neither Drsfisrsivada is on different line from the philosophy of Sankara and nor it is self-contradictory. It can further be added that Sankara and his followers like Praka. sananda are not subjectivist idealists because they also believe in the objective reality of the world. But they are also not purely objectivists, because they support subjectivism in the state of the knowledge of Brahman in which the world is mere inental like the city of a mirror.1 In this way, it can be easily established that Sankaracarya and his followers like Prakasananda, the propounders of Drstisrstivada are both subjectivists as well as objectivists. Sankara's statement in the Upodghata of his Brahmasutra bhasya - Yusmadasmatprat) ayagogarya.or visayavisavinot tamal-prakasavad viruddhasvabhavayoritaxetarabhavanupapartih it yatos matprat yavagoeare visayini cidatmake yusmatpratyayagocarasya visayasya taddharmanam cadhyasah" ete. also support the above statement. Thus Dasgupta's doubt about the oldness of the doctrine is not proper, because being a Vedantic concept, it is as old as the Upanisads. It can not be doubted that the Upanisadic statement like 'Sarvam khalyidam Brahima' (Chha up 3-14-1) and 'Neha nanasti kencana' Br. up. 4-4-19) etc. contain in themselves a clear background of Dsstisysti. tlainking. It is a different matter, if it does or does not occur by name in pre-Prakasananda philosophical literature. The oldness of tlie doctrine can be judged by the fact that the basic idea of Drstisrstivada is available in the Sambandhavartika2 of Suresvara, where it has been mentioned that as prince, who has been earlier brought up in the family of a herds man forgets himself as a son of herds man after knowing his princeliness so a Brabmajnanin forgets about the external reality of the world after the knowledge of the Paramalman. Also Jivananda Vidya SAGAR, the 1. Joad, Introduction to Modern Philosophy pp. 7-8, Oxford, 1925. 2. Samband havartika-223.

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Ram Murti Sharma commentator of Muktavali, refers to Mandana'sl view which reflects the idea of Drstissstivada Not only this, in later period, Amalananda, who flourished in 1300 AD. also suppoits the Drsfisstivada view, when he says that the sculptures which support the creation are not from the viewpoint of final reality, but they are meant to justify non-duality between the individual soul and Brahman.2 D-Fui tlier more, it becomes clear that the Drstisrsuvada is not similar to that of Vijnanavada, enunciated by Vasubandhu and Dharmakirti, or it is not solipcism as scholars like Hiriyanna3 and Das Gupta argue 4 Those scholars who find the Buddhistic Vijnanavada parallel to the Vedantic doctrine of Drstissstivada, also make an effort to prove Sankaracarya as a crypto-Buddhist. But to those allegators a simple answer of the Advaitun is substratum (Adhisthana) which is Brahman and which is never admitted by the Vijnanavadin. Apart from this, the world in Sankara's philosophy is phenomenally real and not merely an idea (Vijnana) as the Vijnanavadin supports. Therefore neither Sankaracarya is a crypto-Buddhist nor the concept-Drstisistivada is related to Vijnanavada and hence we can say that Drsfisrstivada is purely a Vedantic concept. It can be further maintained that Sankaracarya or his followers like Prakasaninda are not purely subjectivists like Berkeley, 5 or solipcists, what meant person who believes that mental states are the only things which can be shown to exist in the universe. They are also not purely objectivists. E But the Drstisrstivada is different from the Abhasavada of Sure svara in the sense that according to the former, the existence of worldly obiects is dependent to perception while the Abhasavadin takes the worldly things as real, till the realization of Brahman. Further, the Drstis stivada tenet is not supporter of the Buddhistic subjectivism or the subiectivistic idealisin of Berkeley and Hume in West. It is purely a Vedantic thinking and as old as the Upanisadic Vedanta, in its basic nature. The scriptural statement-"Ekam sad vipra bahudha vedanti" also can not be delinked from the eaily history of Drstisrstivada, because it clearly states the final reality as one and one only. Somne posterior Vedantic scholars to Prakasananda like Madhusudana Saraswati, Appava Diksita and Nana-Diksita also have adopted the above line of thought in the treatment of this doctrine. 1. See, Jivananda's commentary on Vedantasiddhantamuktavali, p. 8. Calcutta 1935. 2. Sastradarpara, 14.4, Srirangam, 1913 7 Hiriyanna. Outlines of Indian Philosophy, p. 362, Allen & Unwin, London, 1932 4. S N. Das Gupta, History of Philosophy vol II, p 19, Cambridge, 1973. 5. See Frauser's selection from Bej keley, Oxford, 1899 6. Joad, ntIroduction to Modern Philosophy p 7 (Oxford, 1925).

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THE ADVAITA AND I-SENSE Ram Murti Sharma The Advaita as it means is the philosophy inainly based on the tenet of ultimate reality, which is self illumined pure being, consciousness and the supreme bliss All else experienced apart from Brahman, 18 analman and therefore urcal. Nevertheless at tie empirical level, the states like 'I see' are experienced, which indicate the state of l-sense. Before the state of 'l-sense' is adjudicated, it would be disirable to consider the following points : What is the state of 1-sense (31097179) and how it distinguishes from 'T (287) I-hood 373-171) and the ego (318317) In what sense, it is 'I-sense' Is it really a sense ? If not, why it is called as I-sense ? (ili) Where does the state of I-sense exist ? in Atman, or Anatman or the internal organ (37771970) ? (iv) What is the force behind the state of experience of 'I-sense' and how does it function ? Now let us opine it one by one : Firstly, the state of I-sense (EATHT) is based on the Atman lunited by Ajnana and it is in relation to various types of perception like I see' or 'I do not see' Thus where the Ajnana exists without any perception, it is 'T', but I', thc egoistic feeling is there which is based on last impressions, the Samskaras, but there is no sensing like I see or 'I do not see' and in this state of T it is merely 'T' The feeling of 'I' is called J-hood (Ahamta). The Ahamkara includes activity and therefore it is different from 'I' l-hood and also l-sense, because in these states, tlie activity is not there. The cason is that action involves another thing which is possible only with Aliamkala and not I-sense' which is the state of sensing or experiencing and not activity. It may be mentioned here that the Vedanta does not admit any activity in Atman. Further, the Ahamkaia, is a mode of Antahkarana. The state of 'I-sense', is the combination of 'I' and perception. Sambodhi Vol XII-2

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Ram Murti Sharma Secondly the problem is that if in the state of I-sense' does locally "I' acts as a sense like other outer senses. If it is so, is it (I) a sense in real sense. Nay, not so. IT' in the form of Antahkaian a, docs perceive itself and its modifications, vittis directly, but it is not a sense. The senses are to convey about the objects. Thus the Antahkarana is not a media like the outer senses and so it is not a sense and so to say it, as the eleventh sense, is not proper. If it were a sense, it could not have direct perception as said above. It may further be emphasized that the Antahkarana is no called, because it is the seat of the function of the sense as distinct fioin the outer organ. Thirdly, as far as the question of the substrate of '1-sense' is concerued, it is Antahkaiana, where the 'I-sense' exists It is because the I-sense' is dependent on the state of mind, the Vstti, which exists in Antahkarana, But as the Upadesasahasri says, this must be remembered that it is Atman, who is the illuminator and it is also by means of the same that the internal organ is able to perceive. 1 Thus the power to reflect the objects and to become conscious of them does not exist originally in the internal organ, but is acquird by it with its relation to Atman. Why the Jiva, which has its nature as intelligence is not able to reflect the objects, is natural to querry. But it is to be noted here that being li nited due to its adjunct of Avidya, it is not independently competent to reflect the objects, but through the internal organ. As the author of the Siddhantalesa says, the Jiva by its nature is not directly related to the objects, but through the Antah-Kaiana. Fourthly, it is the power of Ajnana which is the primary base of the state of "I-sense" But where does the Ajnana rest, is further to be known, because w.hile the pure cit is itself illuminated and real knowledge, it cannot be the substrate of the organs because both are opposit to each other. But the Avaitin solves the problem in his own way and says that there is no opposition in pure cit and Ajnana and thus tlie opposition can be observed only, while the cit becomes opposit to the Ajnana and distroys it only when it is reflected though the Vrtti. Originally, the Ajnana rests in the pure cit and there is no contradiction or opposition as said above. In this regard, Vacaspati's opinion is diften rent who says that the Anjnana does not rest on the pure cit, but on the Jiva. The author of 'Vivaranaprameya ieconciles the above view of Vacaspati and finds that Ajnana may be regarded as resting on the individiual soul, in this respect that the abstruction of the pure cit is 1. Upadesa Sahasri, XVIII, : 33-54, Taitt. Up. 11. 1.

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The Advaita and I-Sense with reference to Jiva "cinmatrasritam ajnanam jivapiakasapatitvat jivasritam ucyate" Vivai anaprameya samgraha (p 48). As a matter of fact, the feeling 'I-do not understand' or 'I do not know' seems to indicate that the Ajnana is with reference to the knowing self in association with its feeling as ego or I' But this is not correct, because such an appearance is caused on account of the close association of Ajnana with Antahkarana, which is essentially the as Vidyaranya in the Vivaianaprameyasamgraha ip 48) propounds. same The action of Ajnana is seen on the light of reality, Brahman, and it is because of the same that the objects remain unknown to us till the abstruction is not dissolved by the states of consciousness. The action of Anana is not only with regard to the limitless consciousness, but also with regard to the infinite bliss. The abstruction of the pure and infinite bliss is justified by the fact that though the worldly pleasures are experienced even when there is the influence of Ajnana but the supreme bliss, remains inexperienced, so long as the ajnana is there. The Ajnana has many states which constitute various individual experiences with reference to the diverse individual objects of experience. These states are called tulajnana o1 the Avasthajnana. Thus the state of consciousness or Vrtti removes a manifestation of the Ajnana as tulajnana and reveals itself as the knowledge of an object. The Jiva has the ego of experiencing the particular experience, but it is through the experience of the Antahkarana. It must be kept in view that the Jiva and Antahkarana are not two separate entities, but they are just the two states of consciousness, while it is in association with Ajnana when the pure cit shines forth in association with Antahkarana, it becomes Jiva. It is the Antahkarana, which experiences the objects and it is the Jiva who has the egoistic feeling of that experience. It may further be added that the Antahkarana being self-luminous self reflects itself, in the cit. Therefore, in Advaita, in the state of I-sense', the two elements of the self, the consciousness and the Antahkarana of I-sense', is the state of are in a fused position. Again the state union of the real and unreal: satyAnRte mithunIkRtya ahamidaM mamedamiti naisargiko'yaM lokavyavahAra (B.S.S. B.1.1.1.) Samkara, the great exponent of Advaita has explained the above state of "I-sense" through his exposition of the theory of Adhyasa. As the Antahkarana has the blending of the association of last and present

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Ram Murti Saima ins. th. oli, ?: --Imposition of ical uil unlund meal on real lakes place. Here again anises the problem of the substratum of the Adhyasa of Animui, o Atman As some scholars obsei ve, is it Antahkarana or Ind ? Intahkarana can not be the substratuin of Anatman because it is ci Analnan. Therefore, the Adlvartin, Sankara explains that Patyagitm.i, the interior self is the substratum on which the attributes of CH1 onguns and the Internal organ and other analman objects are superimposed 37.14677. Yanacaf * $189748964 d o 39.71747-417. / ...v7h 98102-4at9fa471.. 9N1AT4 walifandi calamuma: omfatto 2014 (B.S.S.B Intioduction) Therefore it becomes clear that the substialum of the Anatman objects is Amman and not the Antahkarana. It also proves that the subject of the Adhyasa of " 1-sense" is Jive and not the Antahkarana. ( safe gratara Fafraisi 2' 5987:) ! According to the Vedantic view, the knowledge of supoumposed is unieal and only the knowledge of the absolute is cal and permanent. Thus the "1-sense," bemg superunposed, is not the real knowledge, like the erroneous knowledge of silver supeimposed on conchshell is no! Teal wod it is anirvacaniya, being different from permanent Teal and permanent unreal (Alika) both Here it is noteworthy that the emple of counchslicll-silver is not proper to be the example of illusory icality. the Praubhasika sattal, as scholais generally take it. To my mund, the conchi shell silver cxample appeals to be the example of phenomenal Teality (71981ffi a ). If we go through the process of orioncous knowledge of conch-shell silver, we find that the percicver of the crioncouS experience this is the silver ( 307 takes the conch shell silver as the phenomenal silver of which ornaments like ring or eat -1 ing can be inade of. But when the per ciever procceds on to pick up that silvei, hc finds that the silver is not there, and he sees mere couch shell those and thus he says that this is conch shell and not silver," the Vyavahinika one. So, in this state of real knowledge of conch shell, the existence of the phenomenal silver is negated. In this analysis, tlicre remains no scope for illusory or pratibhasika satta at all. It is the phenomenal silver which is mistakenly perceived and so it is negated by him after the right knowledge of conch shell To support this view, Vimuktatman can be quoted, who says. ghyAvahArikasyaiva rajatasya nirAkRtatvAt / (Istasiddhi)

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The Advaita and I-Sense Therefore, there is no neressity of accepting the Vyavaharika satta as such In this way, the I-scnsc also is a phenomenal reality which is negaied as soon as the night knowledge is acquired. This point, we will take into account, while dealing with the state of "I-sense" in Mukti. It is to be suther taken into account that the state of "T-sense" is based on the concept of Vrtu, the mode or the modification of mind.) As a matter of fact, 11 is the characteristic of oui object of consciousness that it cannot reveal itself apait from being manifested as an object of cit through a mental state, the Vrtti. Therefore, although the Vedanta takes all objects as more impositional, yet their experience is possible thi ougli specific sense contact aud a particular mental state, the Vitti As the Vedanta-paribhisa propounds, the Vytti is the modification of mind, the Antahkarana is the pure consciousness which makes the basis and essence for the appearance of all the objects and also the consciousness wliicli manifests through the various mental states Thus the puie-consciousness is the basis to the whole phenomena and it also interprets the objects by ils cflection througli thc vrtti Thus it is to be understood that though the meanil oigan is said to shed ils lustie on the objects and to reflect them, it is actually the Atman that reflects in 11. Here the Vedantic view is similar to Samkhya which accepts that Buddhi and Manas die all themsilvers unintelligent and they derive the power of intelligence fiom their prekinuty to Pulusa. In Vedanta, the Atman has taken the place of Puusa In fact, Atman is tiie illuminator and by calls of it, thic Antahkarana becomes the perceiver of all the objects Thus it is through the inental state that the state of "I sense" is experienced. As caulicu stated, Atman is the ulti mate consciousness and all pervading. But the determinate knowledge presupposes the modification of the pure and ultimate consciousness into Pramats caitanya (a subject wlio knows). Pannana caittanya (the process of knowledge), vrtti (the modification of internal organ) and the Visaya caitanya (the consciousness dctermined by the object cognized) The Antahkarana undergoes changes, when it comes into contact of the objects. Thus the modification which reveals an object is called Vitti. As matter of fact, nothing is within the reach of it tattva, the light of reality, but it is on account of the view of Avidya, that an object is not perceived by it and it is the Vrtti which is able to remove the obscuring veil and it is through the process of Vitti that the objects are perceived as such But it is nerdless to say that the self-illumined cit is the base of the phenonusna is well as the interpicle by a reflection 1. 31=7:770789 gonfia afe: ! Vedanta-paribhasa I.

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Ram Murti Sharma through the mental states Thus Vidyaranya, in his Pancadas nightly Says 14 sthicidAbhAsau dvAvapi vyApto ghaTam / tatrAjJAna ghiyA nazyedAbhAsena ghaTa: sphuret // Pancadasi, VII. 91. come into (Both the intellect and the consciousness underlying it, contact with the jar. The Intellect destroys the ignorance and the underlying consciousness manifests the jar.) So, now it becomes clear that it is due to of Vrtti that a person experiences the state of Adhyasa and the process I-sense" It is again to be pointed out that the state of "I sense" 15 expertenced in the waking and the dream state and also the state of spuitual mode "a fen" but its experience in Susupti and Mukti is to be further observed The state of I-sense in the waking and dream state is quite clear, because of the existence of Vriti in these states In the waking state, the objects exist materially, while, in the dream state, their existence is no moie. Now it is to be seen, if the experience of I-sense" exists in Susupti or not. The post-susupti expression-anz. geare a fefeazafan" (I had a sound sleep, but I do not know any thing) seems to prove the experience of I-sensing, in the state of Susupti, because the post-sound sleep experience of happiness, can not be justi fied without admitting the state of I-sense' in Susupti. If the existence of 'I' is not admitted in Susupti, then who cau be said as the experiencer of the happiness (). This makes evident to believe the experience of "I-sense" in Susupti. But if it is not admitted, then the problem of the existence of 'I' in Susupti arises. It is very well understood that it is the Antahkarana, which expriences the pleasure and pain of the waking or the dream state and it is after the experience that the Antahkarana expresses, its I-sensing in various away, accordingly. But, while is Susupti, the Antahkarana is dissolved into Ajnana, which rests in Atman, there, in the absence of Antahkarana, how the I-sensing can be proved, in Susupti, without the modification of mind. As earlier stated, the process of Vrtti is necessary for the experience of "1--sense". The same way, while in Susupti, the Antahkaiana is dissolved, into Ajnana, there is no scope of Vrtti and thus the I-sensing is not possible at all and also the post Susupti experiences, like "I had a sound sleep" are disproved This antithesis cleats a problem for the Vedantin, who maintains the experience of "I-sense" The Vedantin, quitens the above querry by explaining that the expression I had a sound sleep' is

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The Advaita and I-Sense based on the 34319a of that state, the state of Susupti and it is due to the samskara that one expresses," I had a sound sleep". So far as the post-susupli negstive experience,--"I did not know any thing'' ( kiJcidavediSam ) is concerned, it is based on the ajJAnavRtti of the sound sleep (agra). Therefore, in Susupti, the experience of "I-sense" is not possible, because of the dissolution of the Antahkarana into Atman. Thus the experience of "I-sense" is possible, in the state of waking and dream, but not in Susupti With regard to the presence of Vitti in Susupti, the following statement of Sadananda deserves consideration : tadAnImetAvIzvaraprAjJI catanyAdItAbhirajJAnavRttibhirAnandamanubhavata: Vedantasara, 8 This statement of Sadananda seems to be contradicted with his own while differentiating between the Nirvikalpaka and Susupti, he further says : tatazcAsya suSuptezcAmedazakA na bhavati / ubhayatra vRttyabhAne samAne'pi tat sdbhaavaasdbhaavmaatrnnaanyobhdopptteH| 1 Here the text atisUkSmAbhirazAnavRttibhiH appears to be in contradiction with the prior statement which reads : ajJAnavRttibhiH AnandamanubhavataH | A fine commentator of the Vedantic thought, Jacob also noted this contradiction very carefully, when he said -- "The statement here in text and cominentary as the non-existence of the Vrtti in sound sleep, seems to be in opposition to that in (section) eight, where it is said that Isvara and Prajna experience pleasure during sound sleep." In my opivion, the above contradiction does not seem to be proper on the ground that the text -"atisUkSmAbhirajJAnatavRttibhiH '' indicates impression (saMskAras) and this we understand by the expression 3 Aif: and thus there is no contradiction between the above two statements The question further arises that if in sound sleep, the Vstti is not there, how the experience gange 3161ey comes after sound sleep. Because the absence of Vrtti in sound sleep also proves the absence of Antahkarana, the enjoyer of pleasure and pain, which merges into Atman. Here it can be mentioned that the pleasure felt after the Susupti in the expression "I had a sound sleep, is based on the impressions (984178) and again the pleasure is the outcome of the non-existence of pain in that state. How the state of "I-sense" is experienced in the state of spiritual Vrtti Aham Brahmasmi" further deserves our account. The problem is, how the nameless and formless Brahman can become the object of I' as it is expressed in the Mahavakya "Aham Brahmasmi." It is to be further stated that the state of "Alam Brahmasmi" which indicates 1. Vedantasara. 62

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16 Ram Murti Sharma the state of T'as B ahmaul is questionable, because in the state of Brahmanhood, there is no scope for dual sensing like "Aham Bialmasini." Now let us examine the state of * Abam Buahinasini" in the light of the above problematic discussion As regards the problem that how the absolute Braluman can become the object of 'I' is answeid by the Vedantin to say that the object of the Vitti "Aham Biahinasmi" is not pure Bi alman on the absolute, but Brahman with adjunct of Ajnana. As regards the experience of "I-sense" in the state of Alam Brahmasini", inst the Vitti illununed by the reflection of pure consciousness makes the supreme Brahman identical with the individual self, its object and destioys the ignorance pertaining to Brahman and this he comes the state of Brahmajnana. What becomes of the Vrtti"Aham Brahmasmi". the base of "I-sense" after the Brahmajnana, is obvious to query. To this, the Vedantin's answer is that as a cloth is but, when the threads containing it, are burnt, so all the effects of ignorance are distioyed, when their cause, the ignorance is distroyed. So after the state of mind, the Vrtti "Aham Biahmasmi" is ended and it remains Brahman only, in the end, just like as the image of a face in looking glass is resolved in to the face itself, when the looking glass is removed. Again it can be said that as the hight of a lamp cannot illumine the lustre of the sun, but is overpowered by it, so consciousness reflected in that state of mind, is unable to illumine the supreme Brahnian, which is self effulgent and identical with the individual self and is overpowered by it So, the above state of "Aham Brahmasmi" can be said as the state of experience of "I-sense" in Advaitic system. But in the final state, the state of libei ation, the state of experience of "Isense" is to be further examined. If there is scope for 1-sensing, in that state or not ? In fact the state of I-sense indicates duality and the experience of Anatman. But in the state of liberation, all duality comes to an end for the liberated and he becomes one with Brahman. In this state of non-cluality the dealing with material objects is entiicly stopped, cannot be said, But, it can be emphasized here that in the state of jivanmukti, the jivanmukta peicieves the woildly objects, but is not involved in them, he does live in the dual world; but for him, there is nothing meaningful, except the non-dual Branman and it becomes the state of Advaitanubhuti and not the state of 'l-sense' The scriptural statements like 'sa caksuracaksuriva' explain the same view point. Also Samkara in his Upadesasahasri : Susuptavajjagiati yo na pasyati dvayanca pasyanyapi cadvayatvatal tatha ca kurvannapi niski iyasca yah sa atmavinnanya ittha miscayah.

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THE ADVAITIC SAT Rain Mutii Sharma The Sat admitted by the Advaitins, is the prime base of the tenet of non-dual reality of Brahman. As is generally mentioned, to a certain extent, the word 'real' or 'existent' is not proper for the Advaitic sat, because it is not real like the reality of worldly objects or existent like them. By the Vedantins, Sat has been specially propounded, according to their frame work of Advaita philosophy. The Vedantins like Sarkara had laid a great stress to propound the concept of Sat, because prior to them, the Buddhists had tried to condemn the philosophy of being, enunciated by the Upanisadic Vedanta. Thus the main contribution of the Vedanta is, to propound the philosophy of Sat, with the aid of the doctrine of Maya, contrary to the Buddhists. Although the word 'sat' has been mentioned in the Vedas, the Brahmnas, 2 the Aranyakas3 & the Upanigads,4 the Gita, the Puranas, the Tantra & the earlier philosophical texts like the Yogavasistha, the conceptual propounding & the treatment of the tenet of Sat has been accomplished by Samkara alone. In the Rgveda, the word Sat has been used in the sense of basic reality & in the Satapatha & Taittiriya Brahmana, Brahinan the source of whole creation, is said as Sat. Sayanacarya, while commenting upon the Rgveda says that neither the Alika asat like here's horn nor the existent sat like the worldly objects, can be said as the source of creation. This comment of Sayana also indicates to believe the eternal and anirvacanfya Sat, as the cause of the whole creation. The Aitareyaranyaka also describes Brahman as the cause of the world & the Sat, Cit and Ananda, are the chief characteristics of the same. The Upanisads which are the foremost and basic texts of Philosophy, mention about sat at various places in a variant manner. In the Chandogyopanisad, sat has been described as the basic reality & as an eternal truth. The Brhadaranyaka uses the word sat for Brahman & also for eternal truth The Maitri-Upanisad mentions 1 RV. 1. 164. 46 2 Satapatha Brahmana, xi. 2. 3. 1. Taittiriya Brahmana, ii. 8. 9. 6. 3 Mangal Deva Shastri, Aitareyaranyakaparyalocanam, p. 15 4 Br. Upa. 11. 3. 1, 5 Sayanabhasya, Rgveda, x. 129. 1, Sambodhi XII-3

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18 Ram Murti Sharma sat as an adjective of Brahman and the Piasna uses the word foi existent sat in the Bhagavad-gita, the word sat has been used for both, the eternal truth & the existent reality The Gita, also uses the word sat for a noble action So far as the Puranas are concerned, they use the word for various senses like Paramatman, Sakti & the existent Sat. In the Saivagamas, the word has been used for Siva, the Supreme reality, while in the Saktagamas it has the sense of Sakti. The Yogavasisla, a most significant text of Indian philosophy describes the truth (az) as eternal.1 But the author of the Yogavasistha has found the Sunya of the Buddht & Brahman of the Vedantins parallel.2 Therefore the philosophy of the Yogavasistha, which has crypto-Buddhistic tendency, is contrary to the philosophy of sat or Brahmavada of the Advaitin. From the viewpoint of the Advaitic sat, the sat Tativa of the Upanisads, is very much relevant, because it has given a clear backgroand for the sat of the Advaitin. Among tlie prominent Advaitins, it was Samkaracarya, who elaborated the idea of the Upanisadic sat, in the form of a doctrine. But prior to Sarkara, Gaudapadacarya, being a prominent Vedantic Acarya, made an exposition of the Advaitic thought though in a Buddhi stic manner. As the Upanisadic philosophy enunciates, Gaudapada also propounded the concept that the creation is originated from sat through Maya Thus in his Karika (iii. 27) the word sat means the supreme reality or Brahman. It may also be pointed out, that in the above referred Karika, sat may also carry the meaning of existent sat. Samkara, in his commentary, has referred to both the senses. Nevertheless, keeping in view the context and doctrinal appropriateness the former sense of Brahman or causal reality is justifiable and proper. In this way, Gaudapada's view regarding the philosophy of sat, is quite similar to Samkara's understanding, but Gaydapada's thinking of the falsehood of the world (Finfoaria) does not completely fit in the net-work of Samkarite Advaita, because of the similies of Gandharvangara3 ,dream (svapna) or the son of a barren woman etc. given by Gaudapada, in his Karika to prove the falsehood of the world. This notion of the falsehood of the world, is not acceptable to Samkara as is clear by his 1 31419-a fag' aq hafa Yogavasistha v. 5. 9. 2 759 analfai 7=7' r alaci ata | Yogavisistha v. 87. 18. 3 Facare 991 75 geare agi fara gazteag for at Gaudapada Kartka, il. 31.

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The Advaitic Sat commentary on the Brahmasutra (paccina svapnAdivat 1 In which he clearly says that the experiences of the waking world can never be parallel to the experiences of the dream state. Here Samnkara's commentary makes it evident that the waking world is not uncal like the son of a baren woman or hare's horn etc. & that at the empirical level, it is very much real. Samkaracarya, the main propounder and an advocate of the concept of sat has admitted it as an absolute and ultimate reality 2 It is nondual as well as supreme. There is nothing apart from this sat, the reality. Because it is eternal, different from the reality of material & worldly objects For it is all in all, therefore, no object has its independent status. This sat is the substratun (Adhislhana) of all the worldly and sensuous super impositions, which are asat. As in the example of Sukti Rajata, the Sukti is the substratum & the Rajata is unreal, so in the case of sat Brahman & the world, Braliman is the only reality & the world is unieal. In this regard, one can object & say that in the example of Sukti Rajata, the silver does not exist at all in the Sukti, while the world and its objects very much exist. But it is not proper to argue, because in the state of Brahma-jnana, the non-dual reality the dualistic knowledge of the objective world is completely negated. This is why, the above state is called the state of Brahman, Mukti & the state of truth and knowledge In this context, it must be mentioned that the state of Paramarthajnana or non-dual reality does not mean annihilation of the material objects; it only means that they are 110t apart from the Adhisthana or Brahman. In this manner, Samkara's philosophy is the philosophy of non-duality in duality. Accordingly in his Upadesasahasri, he says: suSuptavajjAgrati yo na pazyati dvaya ca pazyannapi cAdvathasvataH / afa farisa 7: B laala sale fas: ! Upadesasahassi 10.13 Now it also becomes clear that the phenomenality of the world is admitted by the Vedantin. prior to the state of Bralimajnana only. While taking note of the concept of sat, it must be kept in view that Samkara has used the word sat for indeterminate Brahman & not the determinate Tsvara, because the indeterminate Brahman is the substratum 1. Brahmansutra, i1. 2 29 2. 46.907 wafaqat 254: qarf: 1 Brahmansutra Sankarabhasya ii 1 2

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20 Ram Murti Sharma of the unverse and not the determinate Brahman. As far as the Samkarite definition of sat is concerned, it has been defined to say: "yaviSayA buddhirna vyabhicarati tat sat 1 Iu his Taittiriyopanisadbhasya also Sanicalacarya has like-W150 defined the truth, while he explains fara 47. En afga a 97 57fiya fa 12 Thus the final truth or sat in Sankara's view is unquestionable ulti mate & supreme, It is non-dual Brahman and substratum. Sankaracarya, to justify his viewpoint regarding sat, further says that everything apart from sat or reality is unreal (Aasiaca stara B.S S.B., ii. 1. 13) Here, this is to be particulaily mentioned that while Biahman is said as the ultimate reality, to explain the unreality of the world, it must be kept in view that, even in the state of Brahmajnana, or Jivanmukti, the worldly objects reamin as they are, but the difference is that unlike the state of ajnana, in the above state, the Jnanin does not have the dual view & for him, there is the realisation of Brahman in every thing. The state of world has been explained by the Vedantins very cautiously & minutely, to say that it is neither sat nor asat, neitti er sat-asat nor different from sadasat. It is not sat, because it cxi. sts phenomenally, it is not sad-asat, for nothing can be both, sat and asat. It is also sadasat, because it is unreal fiom the view point of per manent reality and real from the view point of complete unreality (All katvat). It otherwise proves that it is very much sat froin the view point of empirieal reality. One may further question, that if it is taken as sat, then where remains the scope for the falsehood of the would. The answer would be that it is through the concept of anlatalea that the world is not taken as unreal fare's horn or as real as Brahman. Some of the Vdantinis like Madhusudana Saraswati, who are poster1or to Sankara, propounded the theory of falsehood of falsehood to mai. ntain the tenet of ultimate Advaitic sat.3 Madhusudana's argument is that if merely the falsehood of the world is justified, then it indirectly proves the real state of the world, which is proved as false by the Vedantins like Sankara and so it will prove the duality of Brahman and the would. I S. B. Gita, ii. 16. 2 S B. Taitti. Upa. ii. 1. 3 Advaitasiddhi, P. 407, 413. (Nirnayasagar)

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The Advailic Sat 21 Therefore Madhusudana, is his Advaita siddhi, says that the falsehood of falschood is very much necessary to negate the reality of the world. No doubt, one side of Madhusudana's argument seems to be improper on the ground that if the falsehood of falsehood is admitted, it will, on the other hand, justify the reality of the world & thus the tenet of Advaita can not be proved. In this manner, it seenis to be convincing and proper, if the falsehood of world according to Sankara, is admitted. Regarding the logic of falsehood of falsehood, it may further be emphasized that after the realisation of Brahman, the falsehood of world, is automatically proved for the jnanin and then there remains no scope for arguing the falsehood of falsehood. Therefore the logic put forth by Madhusudana Saraswati can not be said valid. So for, mainly two types of sat have been taken in view, 1. e. the Paramarthika and the Vyavaharika. In relative terms, the Vedanta has also referred to the third type of sat the Pratibhasika. The erroreous appearence of silver superimposed on the conch shell, is the example of Pratibhasika sat. It is called sat, because it appears as real, but as a matter of fact it is not real at all. It is noteworthy that even the Pratibhasika sat, illusory reality, can not be experienced without its substratum, which is conch shell in the example of conch-shell-silver. The substratum is sat and Brahman in the case of the experience of world. Thus the coucept of sat is the main thesis of the Vedantin. The sat Brahman has cit and Ananda, as its main characteristics. It is surprising that over-looking the above chai acteristics of Brahman S.N. Das Gupta, a noted scholar of Indian philosopliy, has found the Brahman parallel to the Sunya of Nagarjuna. He says "His Brahman is very much like the Sunya of Nagarjuna",1 As the Yogavasistha has also mentioned the Brahman of the Vedanta, which is sat etc. can not be described as Sunya or the Vijnana Sankara, the propounder and advocate of sat, Brahman has refuted the idea of unreality regarding Brahman, saying fauna mica hi paramArtha sadasyaM brahma mandabuddhInAmasadiva pratibhAti"2 In this way, the Paramartha sat of the Vedantian, is consciousness, supreme bliss, absolute, without the distinction of knower and known, beyond the approach of senses, eternal and one. Neither there is luality and nor the approach of the Sastras. It is only known by these vho intute it. 1 History of Indian Philosophy, vol. 1. P 493. 2 Prastavika, S. B Ch. Upa. viii. 1. 1.

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THE REJECTION OF SITA IN RAMAYANA BASED PLAYS (up to 17th Century) Chitra P Shukla Valmiki was a contemporary of Rama and he depicted the life of Rama as he interpreted. Though the form selected by Valmiki was a narrative epic, Rama's life proved very effective for a drama, because conflict, external or internal, is the essence of drama. The concept of Sanskrit drama demands that the plot should be well known and the hero should be noble. The conflict between love and duty in Rama's life was well known, and it gave a sweet and pathetic dignity to Rama. Ramacarita provided plots for the sentiments of Vira and Srngara to Sanskrit dramatists. We will examine Sita's tyaga. Sita is rejected thrice in the Ramayana : in Lanka, in Ayodhya and in the presence of all the people at the time of the Horse Sacrifice. Rama, though very anxious, rejects Sita, when she is seen for the first time after his victory over Lanka He experiences mixed feelings of joy, nervousness and anger. Rama is very harsh towards her and says : prApta cAritrasandehA mama pratimukhe sthit|| dIpo netrAturasyeva pratikUlAsi me dRDham / / 17 / / tad gaccha hyabhyanujJAtA yatheSTa janakAtmaje / eSA daza dizo bhadre kAryamasti na me tvayA // 18 // ke yuvAn hi kule jAtaH liya paramahoSitAm / tejasvI punarAdadyAtsuhallekhena cetasA // 19 // rAvaNAgbhriSTA dRSTA duTena cakSuSA / kathaM tvAM punarAdA kula vyapadizanmahatU / / 20 // nahi tvAM rAvaNI dRSTvA divyarUpA manoharAm / marSayeta cira sIte svagRhe parivatinIm // 24 // ( rAmAyaNa 6-103 p. 767-768) You, with your character open for criticism, have come to me. I lislike you just as a lamp is disliked by a person with eye disease. So, - - . The Valmiki-Ramayana Critical Edition (Vol. VI) Yuddhakanda, Oriental Institute, Baroda (India) 1971

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Chitra P Shukla now, O Daughter of Janaka, I allow you to go where ever you want. I have nothing to do with Here are all the ten directions Good lady! you. Who, born in an illustrious family, and with a bright career, will again accept a woman who has stayed in another man's house? and that too, with a friendly attitude? You, have fallen from Ravana's lap - you were the object of his wicked eyes. How can I accept you? Surely (my acceptance) will bring infamy to my great family. O Sita, when you have stayed in his own house, Ravana, surely will not spare you with heavenly, attractive beauty. Sita is shocked by these words and says: 24 1 kiM mAmasadRza vAkyamIdRzaM zrotradAruNam | kSa zrAvayase vIra prAkRtaH prAkRtAmiva // 5 // na tathA'smi mahAbAho yathA tvamavagacchasi / pratyayaM gaccha me yena cAritreNaiva te zape ||6|| pRthakstrIrNA pracAreNa jAti evaM parizaGkase / parityajemAM zaGkA tu yadi te'ha parIkSitA // 7 // yadyahaM gAtrasaMsparza gatAsmi vivaza prabho / kAmakA na me tatra devaM tatrAparAdhyati // 8 // madInantu yattanme hRdayaM svayi vartate / parAdhIneSu gAtreSu kiM kariSyAmyanIzvarI ||9|| saha saMvRddhabhAvAcca saMsargeNa va mAnada / yahaM te na vijJAtA hatA tenAsmi zAzvatam // 10 // ( rAmAyaNa 6.104 p. 769-770 ) O Brave one, why do you tell me these unbecoming words which, I cannot tolerate to here, like any ordinary man to an ordinary woman? I am not as you think of me. Be assured, I swear by my character. You doubt women by their behaviour - if you know me, give up this dou t. O Lord! if my limbs touched him when I was helpness, it was not due to my wish. The fault was with Fate, My heart, which was under my command, was fixed on you only. What could I do when some other person was the master of my body? If with and contact, you have not known me, I am all our life long company undone for ever. Her arguments are very pointed. If you did not love me, why did you send a message with Hanuman? I would have put an end to my life if I had known this reaction of yours. She again says: 1 The Valmiki Ramayana Critical Edition (Vol. VI) Yuddhakanda, Oriental Institute, Baroda (India) 1971

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The Rejection of Sita in Raymayana-based Plays tvayA tu narazArdUla krodhamevAnuvartatA / laghuneva manuSyeNa strItvameva puraskRtam / / 24 / / bhapadezena janamAnnotpattirvasudhAtalAt / mama vRtta ca vRtajJa baha tena puraskRtam // 25 // na pramANIkRtaH pANilyei bAlena pIDitaH / mama bhaktizca zIlaM ca sayaMte pRSThataH kRtam // 26 // (trar20 6.104 p.771) (O Brave one! overpowered by anger only, you, like an ordinary man, have treated me like an ordinary woman. You have not taken into account the family of Janaka or ny birth from Earth - you have not thought of my character You have discarded my hand which you had accepted in our childhood. You have overlooked my devotion, my pure character.] Sita then asks Laksmana tu kindle fire, undergoes the fire ordeal with Rama's consent, and comes out puie The Fire-God comes in carnate and implores Rama to accept Sita. Rama accepts Sita and says that though he was sure of Sita's punity the fire ordeal was arranged only for convincing the people After Rama's coronation, Rama hears the scandal and rejects Sita. Though he does not doubt Sita's character, he has to abandon $ita Sita does not a gue. She understands Rama and believes that Destiny is all powerful After the union with Lava and Kus'a, Rama says that if Sita declares her purity in the persence of people and if the people approve, he is ready to accept Sita. Sita presents herself ind the people approve but she descends into Earth. Valmiki was a realist and hence his Rama is a human being. But he fact that Rama doubled Sita's character does not befit the concepts f an ideal hero in Sanskrit drama. The dramatists have introduced any changes in their stories. Bhasa's two plays, Pratima and Abhiseka are based on Ramayana. hough introducing many dramatic changes, he follows Valmiki in the jection incident. He depicts only the rejection at Lanka. His Rama uses he words Raja nicaiavamarsajatakalmask and Iksvakukulasyankabhuta for ta. The acceptance of Sula will be an improper act. He bids Vibhisana The Valmiki - Ramayanu Critical Edition (Vol VI) Yoddhakanda Oriental Institute Baroda (India) 1971 nbodhi Vol. XII-4

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Chitra P. Shukla n: plead on behalf of Sita. When, however, Sita enters fire, he i restless and asks his brother to stop her. When Sita comes out pure, 1 ** that he had rejected her only for convincing the people. i Kalidasa has treated the incident of Sita's abandonment Raghamsi From the rough or rather human prototypes, Kalidasa ca shape noble and grand personalities. For him beauty is supreme, and lov the harmonized with beauty. Rama's harsh treatment did not bef his deep and sublime love for Sita. Rama's speech after victory ove Lanka is omitted and the whole incident is hushed up. Again, whe Stra was abandoned from Ayodhya, Rama expressed his firm faith in he chastity_His anguish is expressed in a pointed simile : ayoghanenAya ivAbhitapta -khoI vidadre (The heart of Sita's husband melted like hot iro struck by hammer). Sita is shocked by her abandonment. She is a bi sarcastic in the beginning but she, like her husband, is an idealist She will not commit suicide because she is bearing the progen of Raghu in her womb. She will not cease loving Rama, but will perforn penance so that she may not be separated from Rama in the next birth Valmiki, takes Sta with him and clearly says: I am angry with Rama. Kalidasa's silence over the fire ordeal and Sita's speech on he abandonment have provided Bhavabhuti with an immortal theme, for his drama, Uttararamacarita. In Mahaviracarita the fire ordeal is narra ted by Lanka and Alaka in a Viskambhaka. Like Kalidasa, Bhavabhut also discards anything that is incongruous with Rama's love. In Uttararamacarita_he firmly says: utpattiparipUtAyAH kimasyAH pAvanAntaraiH ! The conflict in Ramayana and Abhiseka was undergone more by Rama than by Sita. In Uttararamacarita the conflict is undergone more, by Sa who understands her abandonment but objects the way in which abe is abandoned. The conflict comes to an end when she witnesses the sufferings of Rama. Bhavabhuti cannot tolerate the endless separation of Rama and Sita and therefore unites them in the end. In Raghuvams'a Sat is brought before the people, people accept her purity but Sita disappears in earth. This point of difference is very obvious and shows that Kalla is a Clacissist while Bhavabhuti is a Romanticist. Clacissism consists in restrain of emotion and passion. A classicist thinks and communicates objectively rather than subjectively. Kalidasa introduces changes which have subtle artistic significance. But he does not and cannot reject history. To a romanticist like Bhavabhuti imagination is more important than rules and facts. To him Rama and Sita are the centres of aesthetic experince. He thinks of them subjectively. He adopts the technique of Chayasata and changes the end. Because he has changed

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The Rejection of Sita in Raymayana-based Plays the end, he has to manage Acts IV to VII where he plans for the happy end of the drama. In Dingnaga's Kundamala, Sita is abandoned by Rama but they are united again by the consent of the people. Sita loved Rama, but disliked' the way in which she was abandoned. Here also, the conflict is undergone more by Sita than by Rama Sita's anger melts when she unseen, witnesses Rama's sufferings. The Hanumannataka, is supposed to be wiitten by Hanuma, but later on was edited by Damodaramis'ra in 11th century. This drama consists of 14 Acts and most of it is in verse. It is full of bombast and exaggerations. It depicts Sita's rejection at Lanka. Rama is very firm in believing Sita's chastity but at the same time he is very clear that Sita will have to attest her purity for convincing the people. The second rejection at Ayodhya resulting in to abandonment is described rather hurriedly and the drama abruptly ends with it. The As'caryacutamani of S'aktibhadra depicts incidents in a different way. Rama and Sita are given a ring and a crest jewel' by the ascetics. By the touch of these two the demons could be recognized in their real forms. The drama derives its name from this orast jewel. Anasaya had granted a boon to Sita. Due to this boon, Sita looked adorned with sandal pasto and ornaments whenever Rama looked at her When Sita comes before Rama in Lanka, she does not look 4 Rrosita. bhartrka. This arouses doubts in Rama and Laksmana. Rama oalls heri 4 Punscali. Sugriva opines that she should be driven away, and Hapuman. advises to punish her. Sita proposes the fire ordeal and comes out true. Narada comes and informs about Anasuya's boon. Rama repents his ruthless, behaviour. S'aktibhadra perhaps disliked the way in which Sita was treated in Ramayana and therefore invented Anasuya's boon. But this invention is open to criticism; could not Anasuya realize that her: boon will cause trouble to Sita? Is it possible that Rama capnot know of a boon granted to his wife? Anyway, the conflict is undergone more by Rama in this drama. Sita is quite composed when she is ill treated. The Anarghalaghava of Murari depicts the incidents from Vis'vamitra's advent to Rama's coronation. The fire ordeal is described from Nepathya, When Sita came in Rama's presence. Rama was bonumbed with sorrow, anger and shame. He does not rebuke Sita. When he goes to Ayodhya: with Sita in Puspakavimpana he talks cheerfully with Sita. Murari's only aim is to depict the heroic sentiment; fire ordeal is mentioned oply in order to follow the outlines of Ramayana. In Balaramayana the fire ordeal is described in Nepathya. Lankarequests Alaka to witness this ordeal but Alaka, through Kubera's grace

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Chitra P. Shukla possesses divine sight and describes the ordeal. Alaka describes that Sit had worn a garland given by Anasuya and Arundhati prayed for Sita' sake. The Balaramayana covers the incidents from Sitasvayamvara t Rama's coronation and the fire oideal is described only as a historica Neithe event it is neither in the centie nor is it an important event Rania's nor Sita's reactions are depicted here. 28 was The Ullagharaghava of Somadeva describes the mcidents fro Balakanda to Yuddhakanda. The incident of fire ordeal is described i a conversation between Vrkamukha and Karpatika. Sita afrai of Rama's displeasure. She therefore, pioposed the fire ordeal hersel Rama signs the monkeys to bring wood for the ordeal. Laksmana pleac on behalf of Sita to burn ber if she is impure Vrkamukha and Karpatik are the spies of the demon Lavana. Rama asks Sita to forgive him. Bu Sita says that the fault belonged to destiny, and that she could stan the ordeal only because of Rama's love. Rama appreciates Sita's grea ness. Sita's rejection is described here because it is an important ever but it is not the centre of conflict. The Prasannaraghava of Jayadeva depicts the incidents from Rama stay in Visvamitra's hermitage to his return to Ayodhya. The dramatis has introduced many changes in the story. Sita was given a pair anklets by Arundhati, with a boon that this pair shall not separate Ram and Sita. But as one of the anklets fell down when Ravana carried he away, Sita was separated from Rama. In Act VI Rama is full of anxiet for Sita. A Vidyadhara named Ratnasekhara shows the incidents whic took place at Lanka to his friend Campakapida by a magic show, whic is witnessed by Rama and Laksmana also Rama is convinced of Sita chastity. The magic show saves Rama from harshness towards Sit Sita's fire ordeal is described in only one verse by the Vidyadhara. Di Sita herself propose the fire ordeal? Or was it suggested by Rama? Jaya deva is silent on this point. The 1 ejection ef Sita is a main incident bi the dramatist has given a new turn. Jayadeva has connected Rama wit the depiction of many Rasas like Vira, Srngara, Vipralambhasrngar Jayadeva's Rama does not reject Sita but the fire ordeal does tal place. Jayadeva may be called a romanticist so far as the mag show is concerned. The Adbhutadarpana of Mahadeva, depicts the incidents fro Angada's incident Rama's coronation. The drama is full of mistake identities due to the tricks of the demons. Due to Sugriva's attack miraculous gem fell down from Ravana's crown. Sampati took it ar gave it to Vibhisana, who in his turn gave it to Rama. The gem enabl

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The Rejection of Sita in Ramayana-based Plays Rama to see the incidents happening at Lanka. In a scenc at Lanka Mahodara, the friend of Ravind advises Ravana to cheat Sila and Rivana says that this is not possible because Sila is a very chaste woman. Rima heas it, and says that in spite of this Sita will have to give a proof of het chastity. When Rivana died, Maya and Sarpanakha arrange a conspiracy Mayat takes the form of Rama, and rejecis Sita. Ile thinks that Sita will enhet cnc fic or will diown herself in the oocan. The tire ordeal is sugbusted from Nepathya. The trick of Maya saves Rulrom being untir tu Sila. Rama is ignorant of Maya's trick and thinks thall Sile underwent the live oidcal only for convincing the people. The chiamatist has taken up a very thin outline from Ramayani. Ilis only aim is to depict striking incidents. The rejection of Siti is not il central incident here Rama delays his meeting after the lire orded but the damalist does not show any reason for the delay. The drama clocs 101 give rise to any profound sentiment The dramatist is imaginative and dillers far from the original story licnce he may be called a romanticisi. 'Thu Janahthurana of Runabhudia is also full of mistaken identities due to tricks. The fire ordeal of Sita is made known by the Miera Vixhimbluitka between Sampati und Sui panaklia. Sita was cager to meet Rarna but kina utened harsh words these words are not mentioned by Ramabhadru. This discussion shows that Pratima, Abhiseka, Mahaviracarita, Ascarycud.imani, Angharaghava, Hanuman, Balaramayana, Ullagharghavat, Prasaunarghava, Adbhutadarpana and Janakiparinaya depict Sila's rejection and lire ordeal at Lanka. The conflict, in all these dramas is undergone by Ruma In Ablusekil, Rama is rather harsh, but his anger mells when Silicilers fire and he asks to stop her. In Ascaryacudamani, Ansay.i's boou is inade responsible for the harshness of Rama. In Ullig haraghava Rama ilks Sita tu lorgive him Jayadeva las invented magic show and Mah.sceva, the miraculous gem. These techniques save Rama from being bansh. Some of the dramatists deal with this incident cither in Virkammbluka o Troni Nepathya or in one or two verses. The authors of these draumas stick to the outlines of Rimayana. To a certain extent dramatists like Suktibluadra and Mahadeva may be called romanticists so l'ar its their licks are concerned. These dranas, however, do not arouse any profound atosthetic experience. Bhavabhuti un Dirgniga, depict a conflict in Sita's mind The techniques of Sita, unscoil, witnessing Rama's mental agonics have proved very clfective. These two dramatists are very optimistic about true love and have rejected Valmihi's tragic end. Though differing from Ramayana, their dramas arouse a very sublime and profound aestlietic experience.

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Chitra P. Shukla Though romanticists, they are very logical and take every care to prepare us for the reunion. Ramayana has inspired poets and dramatists and has provided sources for many beautiful poems and dramas. Valmiki was a realist and depicted the sublime sorrow of an idealist. Modern age also tends to realism and tries to depict hunian life as it is. Rama, though a great person, was a human being Though he loved Sita, he rejected her in Lanka cither for convincing the people or because of possessiveness which is natural for a man-and again accepted her when her chastity was proved by fire ordeal. He abandoned her ou liearing the scandals, but is ready to accept her if approved by the people. Valmiki's Rama is a human being and Ramayana gives rise to a profound aesthetic experience, an experience of beauty by depicting a human being with all his gieatness and weakness. The approach towards beauty underwent a great change when the concepts of Sanskrit draina were theorized. Bharata, Dliananjaya, Rainacadra-Gunacandra held that Drama should give rise to an aesthetic experience but at the same time it should also pieach. This tendency demanded that the hero and heroine should be full of many virtues. This theory governed Sanskrit dramas. The heroes of Sanskrit dranas, consequently are ideal persons full of virtues and not human beings who are bundles of virtues and vices. This tendency reached its climax in the plays where Rama was the hero. The harshness of Rama in reiecting Sita deprives Rania of his perfection. In dramas depicting the rejection of Sita, some dramatists have invented other reasons for saving Rama from his harshness, others have hushed up the incident either in a Viskambha ka or in one or two verses. Most of the dramatists have not touched the incident of abandonment and those who have touched have reunited them. Rama's early life is capable o giving rise to the Heroic sentiment while his later life is capable of giving rise to sentiments of Pathos or Love in separation. Most of the dramatists have preferred the heroic sentiment and they depict the incidents of war. The Erotic sentiment becomes subordinate and the rejection of Sita becomes a minor incident in such dramas Uttararamacarita and Kunda mala depict profound and sublime love. The Ramayana was an epic with the sentiment of pathos as its principle sentiment, and it became a source of many dramas some with the lieroic, some with the love in separation and some with the wonder as its principle sentiment. And yet the source is inexhaustible -- poets of Modern Ipdian Languages still take inspiration from Ramayana for drainas, poems, epics and other forms of literature.

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THE INDIAN MUSIC IN ITS SOURCES IN THE SAMAVEDA Narayan M. Kansara The Vedic Rcs beautifully delineate the charms of the Nature, both in its macrocosmic as well as the microcosmic aspects. They form the basis of the Sama-gitis. The Devatadhyaya - brahmana regards Rc as the mother (mata), Saman as the father (pita) and the tune (svara) as the Creator (prajapati). Tune is the main rock-pillar of the Samagana, which is rightly called the Creator. The Sama-tune is founded on the Rc, which serves ns the basic verbal text. This text when modified with necessary lengthening of various vowels, and additions of some extra musical syllables for singing, becomes the Saman, hitherto designated metaphorically as the father. It is on this Saman text that the actual Samagana is based. The Sama-gana proper consists of the actual singing of these Sama-texts with various Alapas and Tanas in accordance with the patterns of musical notes, to wit the Ragas in modern parlance, of the times. And it is this tradition of the actual singing of the Sama texts, that should properly be known as the Sama-veda, the lore of musical prayers to various deities. The futile efforts of some of the modern orientalists to dig out rare references to music or its terminology, and their failure to find jusification for the traditional belief that the Sama veda is the source of Indian music, is due to their fundamental mistake of regarding the Sama-veda-samhita text as mere verbal the real Sama-veda, the Vedic musical lore. The samhita is a text, much like the collection of various classical pieces in the Kramikapustakamalikas of Pandit Bhatakhande ! The Sama-songs are sung with various tunes. If the tune is properly modulated and accomplished, the song becomes perfectly melodious, with the result that the gods addressed to in the basic Res are duly propitiated and become favourably disposed. It is, thus, a sure means to divine worship and its fulfilment. This applies equally in the micrososm too. The whole body along with the mind, the intellect and the soul enjoy the wonderful harmony of the melodious tunes sung rhythmically. In the macrososm, the phenomenon is but too evident. The birds sing in the early morning and get ready for the day's routine of finding food. The woman-folk in the villages sing as they work on their grinding stones

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Narayan M. Kansara for preparing flour from wheat, millet or maize for daily bread. The labourers sing the rythmic tunes 10 syncronise their effort and manual force during tiring tasks, and it serves to minimise the fatigue. The domestic workers -the Ramas- gather together in a corner of some house, and sing Bhajans in a chorus to the rhythm of the Dholaka, Manjiras or Kamsi-doublets. In all these types, the microcosmic gods, viz., the organs of actions, of knowledge, the mind, the intellect and the ego, along with the soul, experience a joy and consequent peace. It was, therefore, quite logical and consistent on the part of the ancient Rsis to believe that the metaphorically personified forces of Nature, that is the Vedic gods, too inust necessarily get rejoiced by their sama-songs set to music and meant to extol them. In the actual Sama-gana, it is seen that the words may change while the pattern of the music remains the same, and vice versa. At times the words and the meaning are forgotten altogether, and the attention is concentrated on the tunes only. This is adduced to in the Chandogya Upani. sad where Silaka Salavatya asks Caikitayana Dalbhya as to the way (gati) of the Saman, and the Rsi replies that it is the tune (svara). The Sabara bhasya on the Jaiminiya-sutra " Arthaikatvad vikalpah syad sksamayos tadarthatvat" (IX. ii. 29) says that in the Samaveda there are the ways of singing a Rc in a thousand ways. And the Sama-gana is essentially the internal vibration of the speech. To take an instance, three songs are based on the first Rc of the Sama-veda-samhita, viz., "Agna ayahi vitaya." The nature of these songs is elaboi ated in the Grema-geya-ganasamhita; and the details regarding the name, the Rsi and ctc., of cach of these songs are given in the Arseya-brahmana. The names are Parka, Barhisya and Parka, and their Rsis are Gautama, Kasyapa and Gautama, respectively. In the first song the word "Agna" is lengthened as "O'gnai", much as would happen in an Alapa. The Sama-gana proper takes into account the unit of the vowels as it helps to maintain the rhythm, while the metre takes the syllable as the unit, both are thus preserved in the song since the musical lengthening of the syllables of the text is not supposed to affect the metre. Perhaps the metre of the basic text may not be at times relevant so far as the singing proper is concerned. The Sama-singer is called a Chandoga' while the lore of the Sama-songs is called 'Chanda-arcika', and the literature about the Saman is called Chandogya'. It is interesting to note here that the devotional song of the Christian scriptures is called 'Psalm', pronounced as 'Sam'. And it would not be off the mark if we suggest that the basic

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The Indian Music in its sources in the Sam:teda harmony of the ancient Vedic music was founded on the two constant tunes called 'Sa', i. c., sadja, and 'Ma', 1 e., Madhyama, i espectively And it is specifically 110ted in the Biahmanas of the Samaveda that the first musical note of the Sama singer corresponds to the Madhyama note of the flute. Each Sama-song is usually divided into five or seven parts (bhakti), viz., Prastava, Udgitha, Pratihaia, Upadrava Nidhana. And the songs utilise the words like Him, Ohava, Oha, Hau, etc., for the purpose of Alapa and Tana procedures during the singing. As regards the relation of the musical notes with the Vedic accents, the Naradiya-siksa mentions that Sadja, Mahyama and Pancama have originated from Svarita accent; Rsabha and Dhaivata have originated from Anudatta., and Gandhara and Nisada have oniginated froin Udatia accent. The real significance of this statement cannot be grasped until we are in a position to analyse the musical compositions of the Samasongs proper recorded from Sama recitations Pandit Satavalekar had tried to equate the three accents with the notes Sa, Ri, and Ga, respectively, which per haps contradicts the Narada's statement, and may not stand the scrutiny of the analysis of the actual traditional recitation of the Sama-songs prevalent currently. But Pandit Satavalekar deserves to be credited for his bold attempt to give the notations of the five Samaganas, viz., Gayatra-sama, Mahavamadevya, Jyesthasama, Gautamiyaparka and Tarksya, with the help of Pandit Anant Manohar, the royal musician of the then Aundh State. Recently, Pandit Mahadev Shastri of Surat has attenipted to reduce the Saina-songs to notations with the help of lute. We would suggest that a comparision of the analysis of Christian Psalm recitations and of the Zoroastijan religious 1ecitations of Avestan Gathas too might yield fruitful results towards getting a glimpse of the ancient musical modes. But, there is another useful line of investigation too. Our folk songs, Bhajans, Kirtans, Padas, wherein the meaning enjoys prominence seems to be the first stage of musical evolution in them the words themselves have a euphony of their own. When groups of people gather in their temples, residences or street squares and sing or listen to them to the tune of Tambora, their body vibjates with the tunes. At the same time they also enjoy the philosophical moods expressed in the songs Thus in the Padas, Bhajans and Kirtans of poet saints like Mira, Narsimha, Surdas, Sambodhi XII-5

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Narayan M. Kansari Haridas, and others, we find devotional poetry set to the rhythunic tunes of music expressive of devotional fervour and philosophical mood. Here the meaning of the words of the song is never lost sight of, nor sacrificed for the sake of tonal artistry This is the way of singing more prevalent in rural areas, and popular amongst the masses. But when the words begin to serve as a mere hook to hang the melody on to it, and to exhibit tonal variety, richness of vocal training and artistic creativity, the further type of music, known as classical one, comes into being. The words and their meaning here recedes to the background progressivly to the extent of almost insignificance, and the tune prevails and predominates. Perhaps both these types of developments had evolved with regaids to Sama recitations, and the direct development from some variety of them might have evolved into our Dhrupada. A further evolution from it at the hands of maestros of middle and early modern ages is not unimaginable, Originally the Dhrupada variety must have been very near to, and the direct discendent of, the Sama-gana. The gradual evolution of music with the corresponding shift of emphasis from words and meaning to tunes presupposes a progressive evolution from emotional to intellectul approach to music. And it would not be too rash to hazard a guess that the thousand recensions in which the Sa maveda is traditionally believed to have been prevalent in the ancient times, were based on the thousand ways of the recitation of the Simi-songs. These recensions must have come into existence due to the difference in the style of the recitations, and to some extent in the variant readings of the basic Res as also the difference in ways of living and social and religious customs in different parts of India where the followers of the Sakhas lived It is further possible to guess that some of the recensions laid emphasis on the words, while the others tended to emphasize the tunes. And the roots of the basic division of the Indian classical music into North-Indian and South Indian possibly lie here rather than on the fundamental difference in the interpretation or understanding of Bharata's system of tabulisation (sarani-paddhati) of the Srtis and fixation of the Suddha and Vikrta Svaras on them, as has been proposed by Pandit Omkarnath in his Pranaya-bharati.

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HYMNS ON RATRI IN THE ATHARVAVEDA RD Hegde The Atharvavoda las a unique place among the four Vedas owing to its variety of contents and sincere atlenipts to understand the mystery of the universe As a literary composition, the Atharvaveda surpasses the Rgveda, emerging with a realistic and down-to-earth approach. In most of the hymns, the Atharvaveda deals with the riddles and problems associated with the contemporary society, and presents an amicable explanation for them. This quality of the Atharvaveda adds much to its literary meut and lielps to distinguish itself from the vast Rgvedic literatuie. Here is a cluster of four Atharvanic hymns (Av. XIX 47-50) betraying the Atharvanic poet's compromise with Ratri, the deity of darkness. Though for the first glance the hymnis look like a description of nature in night, it cannot be ruled out that the poet Gopatha tries best to negotiatc with Ratri submitting himself to her wishes. Ratri, being a regularly apprearing part of Nature, creates in Gopatha awes and apprehensions as also appreciation of her inoonlit beauty. These hymus are exclusively devoted to Ratri, enriched by her live description and by an account of her varied activities In the Rgveda also, there are several references to Ratri with her different dimensions, but they cannot vie with these lymns of the Atharvaveda for spirit and sagacity. The poet Gopatha in his hymns on Ratri, describes her different activities and phases of brightness which he has perceived. The view of Ratri with bright stars is described as an enchanting scene. The poet personifies her brilliant starry night and calls her a goddess. Stars are the innumerable eyes of Ratri with which she keeps her twinkling watch on the earth. The fancies that capture the attention of the poet are interesting and they help to evolve her different forms to the full. Ratri appears like a lovely woman, and sometimes like a young maiden deyoted to the services of her family. At her behest, the horses become incapable of seeing anything during night, in spite of their natural power to behold things clearly. All splendours are heaped on lier to make her a tempting beauty. She is very kind towards the poet and she has blessed him.

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R. D. Hegde th Hei forms ac tvo muy to descube. She may be beheld in the beauty of lion. it stag, a tiger and a leopard, she has infused horses with speed. therefore, she may be observed in the speed of the horses. She has gifted virility to men, hence, she is reflected in the roar of men. Here the poet seems to attribute every prominent feature of animals and haum. beng, to Ratri The poet wonders liow she can assume innumerable toins de AV. XIX 49 + puruiupam ksnuse ). During night, she geneLitos cold incessantly, lience she is the mother of cold (bimasya mata ). Her l'lterest 11 assuming many names may be testified by her different srithes and nomenclature. Her wonderful forms are inexplicable Gopatha compares Ratri to a king, because both the king and Ratri fully enjoy the prayers and praises offered to them. It is much more interesting to note that the poet finds in her the beautiful form of a cow (AV. XIX 49.6); Here Gopatlid imagines that the cow derives cliarming appearance from Ralli Where else can such a spotless perfect beauty be found ? (CP AV. XIX. 49.6; *vsvam gorupam yuva ih bibhaisi) The poet employs in the hymns several similes and metaphors which sive as evidence to the poet's fertile inagination. Praying to her, the Dout says that the malicious beings should go away at night from the poet like Samyaka seed blown and is not found " (Vide, "Kavi and Kavya by N. J. Shende, P. 155, also Cp. AV XIX. 50.4). The poet leaves us in embarrassment by stating that the stars are the oyes of Ratri; and they are ninety and ninc, eighty and eight, seventy and seven. His assumption of the number of her eyes docs not stop with these numbers He further imagines that mer eyes are sixty and six, fifty and five, fonty and four, thirty and thiee, wenty and two, and fasthy cleven (AV XIX 47.3-5) What the poet had in his mind regarding these myriad numbers and what exactly he wanted to express, cannot he guessed easily, even then, this much may be assumed that the poet takes faney to count stars like a child and finally becomes weary in his attempt, exclaiming that she has countless eyes. Thus the poot confesses his defcat frankly. This is only one dimension of Ratri. She has other forms also. Ratri, growing into deep dark, envelops the entire world and even beyond, she stretches her dark empire. Thick darkness descends on earth. She occupies the cotine space froni heaven to earth. She closes all her twinkling bright eyes. The poet expresses terror about her clandestine power with which she overpowers the world and isolates all the things from the poet's vision. Thus, when she spreads everywhere, all beings apd men cease to move and start taking rest. (See Av. XIX 47.2).

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Hymns on Ratri in the Athai vaveda 37 The prayer of the poet is replete with glowing uubutes to Ratu, and is capaciously ieminiscent of hei acts in the dark hours. Hei generosity is bound to still affection and devotion in the poet, because despite her terrible looks in the night, she has always needed to the poet's supplication. The prayer speaks of poet's a wc about Ratri and luis endeavours to win benevolent protection by lici. To establish his affinity with Ralli, the poet alludes 10 hu lincage and mentions that Ratri is the daughter of Dyaus, the heaven, and, Ratri and Usas ale sisteis. It is not JiNicult to tace lil the poet's submission to Ratri when he spells out his need for help and enlightenment. After an claborate description of Ratii in a romantic style, the poet divulges that he has arrived at an agreement with the invincible prowess of Rail. The first stanza of the fortyseventh hymn reveals how afraid the poet is of the encircling gloom. He thinks he may liy to discover and reach the other end of Ratri, but lic is terribly afraid of any such imagination. Theiefore, his only work has been to count her watchful cyes. He thinks Ritri possesses probably ninetynine cyes: hut as he becomes serious about his liypothetical conclusion, he suspects his own efliciency in handling such calculations Darkness withdraws from him his power of sight and lets fear become ile ul his mind that anything causing danger may happen to him on to his licid ol' cattle. Ratri's grace alone con protect liis cattle and safeguard his interest. When Ratri angrily shuts her innunciable cycs, robhers and burgler's might assail the poet and his house, and he might have to succumb to injuries and sizable losses of his property. Such incidents are not pleasant to him. The terrible jaws of the wolves the venomous serpents and so many other wild animals keep the poet worried during night. They deny him the comfort of sleeping. For all this, the poet linds solution in submitting to Ratri and reaching a humble compromise with her The worries co v hun down so greatly that he readily admits his ignorance about the form and might of Ralis; but he says that Bharad. vaja, poet of many of the hymns of the sixth Book of the Rgveda alone knows her accomplishments and prowess. That Bharadvaja knows hier well is the only lact known to the poct. (vide Av. XIX 48.6). The final request of the pool is that may Ratri hand him over to her sister Usas, thu Amora, sately to see his son, brothers and all his kith and kin. (Av. XIX 48,2'. Il viewed critically, hymns on Rali may be found to imitate Atharvan's liynin of the canth (Av X11. 1 hymn) in many aspects. But at the

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R. D. Hegde same time, a sharp contrast may be noticed despite plenty of similarities between the hymns on Ratri and the hymn on the Earth. In his song on the Earth, Athaivan speaks eloquently about his memoirs associated with Bhumi and strengthens with his eloquence the ground of his pleas to mother earth Atharvan has with him a history of brave deeds of his ancestors, but here in the Ratri hymns, Gopatha reveals no such clue of brave deeds of his forefathers and quite embarrassingly, he confesses his cowardice. The expressions of Gopatha ate in appealing words and rich in the variety of contents. He unfolds Rati's attributes one after one and admires her choice of names. Thus, the hymn on Ratri stands out as an expression of confession and introspection. 38

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A UNIQUE HARUTI IMAGE FROM GANDHARA Uslia Jain Harili, the Raracious one the Thief', thic destroyer as well the protectress of children is one of the important minor Buddhist female deity. Accoding to the Buddhist lore and as listing! ( AD 671), mentioned Haniti as an evil Yaksin in the previous birth, who used to devout the children of Rajagriha. She with a brood of 500 sons lived lavishly on the flesh of small children. Buddha in order 10 tame the 'mother of the demons' kidnapped one of her favourite baby Priyankara in his alms-bowl as recorded in the Samyutta-nikaya text. He refused to return the child, until and unless she promised faithfully lo change her mode of life. Realizing the sin she had so long been committing, the Ogresse becane protective goddess of children, a bestower of fertility, a guardian of prosperity as stated in n passage from Maha-Maya-Sutra. Hariti's account was mentioned in the Saddharma-pundarika-sutra 2 in Mahavamsa and in the Samyukta Vastu. According to Samyukta Vastu, chapter 31, Hariti was the daughter of Yaksa Sala of Rajagriha, who was married to Panchika, one of the twenty-eight general in the army of Vais'ravana. Panchika was the son of Panchala, the Yaksa king of Gandhara. Hariti was mythologically an inhabitant of Swat, a part of the Gandhara country. She enjoyed wide popularity in that region, as the cult of Hariti originated somewhere in the north-west frontier arca. Hiuen-tsang and I-sting mentioned in their travel accounts about her images under the porch or in the corners of the refectories of Buddhists monasterics. The common folk of the land of Udyana, a site near modern Peshawar worshipped her to seck descendants. Her popularity is evident not only from the number of sculptures depicting her and her spouse, but also from the temple discovered at Skarah Dheri in Peshawar lostify the fact. Moreover, the Mahabharatha3 mentioned of a Yaksini shrine ait Rajagriha as "World renowned". According to one of the tudition litriti was also the personification of the most drcadcd of all the infantile diseases, small pox and cholern. In the Hindu pantheon, she seems to be one of the folk Goddess known asM ari, Mata, Badi Mai, Sitala-devi, Olabibi etc.

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Usha Jain Vention of Hariti and Panchika in 1 Buddhist wolk Arya Var Mula-Kalpa (assigned by some to circa Ist c. A, D + enlisted Hart as a Maha Yaksini and Panchika as Mahayaksa Senapatis, the Mahi Vyulpatti also mehtions him by the same title. Haritu is ideologi. cath represented as the Goddess of fertility and plenty, Sutiounded by Children and at times instead of carrying the child, she contents hersell with only the symbol of fecundity, the Cornucopiae. The Goddess with the liom of plenty oppears on the coins of Kaniska the 31d and his trccensors. She is identified by inscription as Ardoxso or Ashis-Vanuli, the Avestan Goddess of wealth and fortuneb. The Senapati Parchiki combine's the military attributes with the benevolence of his master, Vals'ravana - the Kuveia * the god of wealth by holding the money bag and the lance. Panchika - Kuvera -- Vais'ravana is extremely close to the conception of the god Pharro, who was likewise regarded as a prolector of wealth and a giver of armed strength in Tran The Candiagarbha-- sutra, urittin in the second half of the 6th c. A.D (probably A.D. 583) refers to Kuvera and Hariti as tutelary deities of Persia7 Hariti is usually represented standing or scated with a child in her lap, who is suckling her breast and childishly playing with her necklace Several others surround lier, some playing and wrestling. Being considered as the spouse of Panchika she is made to accompany her husband in certain standing and seated varieties of the images. Very sarely she is shown without any child, but in that case she is citer carrying the horn of plenty and may be in the company of her liusband. There is a variety of sculptural representations of Haiti and her consort in Gandhara. To mention only a few, there is a figure of Hariti from Takht-i-Bahis. now in Peshawar Museum, standing on a vase under a canopy of leaves, she carries the youngest of her many children on her left hip. On her head is a chaplet of leaves from whicli a veil falls down her back. The figure of the goddess is full of mothoiliness. Another figure of Hariti, in the British Museum shows her seated, her favourite child clinging to lier breast. She has one of the many sons between her feet, three at each side, of whom two on the left are wrestlingrecalling the expression mentioned in the Rata-Kata-Sutra that tach of her children possessed the strength of a great wrestler. Hariti looks quite different in different pieces as for example, the no. 1625 in Chandigarh Museum shows her differently from No. 865 where she wears shoes and stands in emphatic contrapposto,

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A Unique Hariti Image from Gandhara There are several figures of Hauti, in which she is accompanied by her husband Panchika. One such sculptuie in Indian Museum, Calcutta, hailing from Jamalgarh 10 represents the couple standing under a tree in blossom, the male occupying a place to the riglit of the feniale. Hariti stretches out her right hand towards her husband, while in the left, she carries an object looking like a noose. A naked child is shown standing between them and another is seen in the upper background. In still another group Haritill holds by her right hand the handle of a pan-shaped vessel, evidently containing eatables. A naked child stands between the couple another is seated to the left of Parchika One of the finest and largest reliefs was excavated by Spooner in 190712, from Sahri-Bahlol, represents Hariti and Panchika scated side by side. The male holds the lance in his right hand and in his left, the moneybag, whereas Hariti instead of carrying the child holds the symbol of fertility, the Cornucopiae. At Takht-i-Bahi13, Hariti still holds the Nidhi-s'ringa whereas Panchika has put aside the lance, his symbol of being a Warrior, he now only carries the nioney bag. In a bas-relief found by Hackin at Paitava, Afghanistan, Hariti is figured holding a Cornucopiae in a niche at the left of the Buddha, while in the corresponding niche at the right is Vaji apani instead of Panchika14. Hariti in general 1s represented with two arms A rare example from Sahri-Bahlo]15 shows her with four arms This four feet high image is iconogiaphically very important as it holds trisula in one of the hands. The trident, a symbol of Siva, the Brahmanical pantheon has an obvious relevance to the destructive effects of smallpox. The other common attributes of Haiti are water-vessel, horn of plenty, children, pomegranate, fish, wine or skull cup. Now we come to a very unusual sculptural representation of Hariti, housed in Chandigarh Museum, the Accession number is 94. The pro vince is unknown of this 3rd c. A.D. image which las neither children around her nor does she hold the horn of plenty. She is not even Sambodhi Vol XII-6

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Usha lain enjoying the company of her consoit. She sits alone in bhadrasana on a elaborate armless throne, which has its high back decoiated with pearl roundels. At the sides of the thione are two jackals looking up at the goddess, who holds in her right hand a bowl or a cup. Representation of the vessel is significant as there are a number of reported instances of the habitual offering of different types of food to tutelary Yaksas and Nagas within Buddhist monasteries. Bali-bhog was placed before the icons of Hariti acd her hungry brood each day in the refectories of the monasteries. 16 As Buddha had promised 'the ogresse for the regular offering of food from pious Buddhists. Satapatha-Brahmana and the Law of Manu also mention bali-bhog Malabharata mentioned daily service of eatables in the Yaksini shrine at Rajagrina. Even today the monks of the Viharas of Annam make offerings of food to the Mother of Demon Sons'. Hiuen-tsangi7 in his records refers to a stupa which marked the place of Sisumara's (Hariti) conversion and informs that before it the common people made offerings to obtain childien. The bowl in hand thus indicates that she is ready to receive her share. She carries an indistinct object in the left hand. The deity is fully draped in a pleated cloak which covers hier entire body. She is decked up with the necklaces, ear-rings, anklets and bangles. The hair is tied in a loose bow on the top of the head in a sophisticated manner. Her physical structure is stunted and heavy. The rounded face, half-open, heavy lidded eyes and a hint of a smile make this nimbate female a pleasant countenance. The presence of Jackals and the deity without any of her common attributes make this grey schist sculpture of 31.7 cms by 22.7 cms an exceptional piece seen in the art of Gandhaia. What strikes us most, after examining this uncommon representation of Hariti is, were the jackals connected with the goddess of fertility ? This further poses a question, were jackals worshipped in India ? Bana's Kadambari. the 7th c. A.D. prose testifies that the women of ancient India, desirous of becoming mothers, worshipped the Jackals. It further states that queen Vilasavati, wife of king Tarapida of Ujjayini, in order to be blessed with a son used to place during the night, offerings of flesh to the She-Jackals and Jackals in the court-yards to propitiate the God Siva. This custom of propitiating the Jackal also appears to be current in the district of Faridpur in Eastern Bengal even today. Offerings are presented to Jackals on certain festival days during the month of Chaitra (March-April) by the residents of Faridpur,

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A Unique Thril Image from Gandhara 42 1 north Bihar, similar oilerings are presented to this beast. The Hindus of Bihal still perform a curious ceremonial worship in the course of which they present food offerings to the kites (Milvus Govinda) and Jackals (Canis aureus )- a l'act which raises the picsumption that these birds and mammals might once liave been their totem animals. The curious Bihari ceremonial worship of totcmistic origin, which is known as the Jiutiya is performed on the eighth day in the light fortnight of the Hindi month of Bluado (August-September ). On the Saptami day (the seventh day in the light fortnight of the same month ) the Bihari woman, who is celcbrating thuis worslin, pai takes of a mcal, and, at the first streak of dawn, puts some eatables as offerings to the Kites and Jackals. This performance confers the blessings of sons on those women who perform it and causes theil sons to live long. Another instance of the Jackal's being treated as a deity or totem has been recorded from North Bihar where the Maharaja of Hathwa (in the district of Saran) presents food-offerings to this mammal on the Ramanavami Day (or the month day in the light fortnight) of the month of Chaitia (March April). The above cited examples are cnough to sliow that the Jackals were worshipped in ancient India. The answer to the querry why was it worshipped, is that Siva was the Phallic God and was believed by women to possess the power of giving children to them. Therefore, the Jackals are belived to be the attendants of the God Siva. These animals wero, therefore, propitiated with offerings of flesh in order to please their patron dcity and he may in return bless them with children. To sum up, we can say this unique Gandharan sculpture in collection of Chandigarh Museum, which has no parallel departs from the traditional representation of Hariti. Il suggests that it hud coherent relations with Siya. Ilariti, Jackal and Siva were held in high esteem as they could grant thc worshippers with olr-springs. The cult, whether folk or Brauanical was fully assimilated within the frame-work of Buddhist orthodoxy, bringing to the foregiound the fambiguity' in the iconography of Gandharan art. Foot-Notes 1. M ajumdar N. G: A Guidu to the Suulptures in the Pudian Muscuni. Part 2. 1937. PP 98-100. Gandharan Art in Pakistan. 1957. PP 145-46. Ingholt :

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Usha Jain Saddharmapundianika P. 400, 2 3 4 Kern and Nanjio Malabhajatha. Bapat - PV : u Arya Manjusii Stein 3. 83 23 2500 years of Buddhism. 1956, P. 362. 5. 6. 7 Levi, S 8. Marshall. J 9 Fouclier. A 10 Majumdar N G 11. Majumdar N G 12. Getty A Fouclier. A Mula Kalpa 1, Parivaita P. 17; 20. "Zoroastrian Deities on Indo-Scythian Coins' Indian Antiquary Vol. 17, April 1888. P. 97. Notes Chinoises sur l'Inde, Bulletin de l'Ecole Francaise d'Extre'me-Orient. Vol. 5. 1905, P. 267, No. 33. The Buddhist Art of Gandhara 1960. P. 84 fig. 112 The Beginnings of Buddhist Alt. 1914. P. 283. Pl. 17.1. Op Cit P. 100, No 110, Pl 12. d Ibid. P. 101. No 113 The Gods of Northern Buddhism. 1928 P', 87. L'Alt Greco- Boddhique du Gandhara. Vol.2 Part I 1905-1922, fig 387 Op Cit P 87. Op. Cit. P 87, f. n. 3 Sculptures Greco- Bouddhique de Hackin PL. 4. Op Cit P 146-47; Pl. 341. Hariti, La Me're-de-Demons, Bulletin de l'c' Cole Francaise d'Extse 'me - Orient. (BEFEO) Vol. 17. 111, 1917. PP. 11-12 (based on the Samyukta Vastuu Chapter 31). Buddhist Records of the Western world. Vol I; 1906 PP. 110-111. 13. Getty. A 14. Getty. A Hackin 15. Ingholt. 16. Pari, N. 17. Beal S : Foucher: Notes Sur la Geographic Ancienne du Gandhara. Bulletin de l'Ecole Francaise d'Exte' me-Orient Vol 1 1901. P 341. Foucher L'. Art Greco- Bouddhique du Gandhara. Vol. 2 Part 1. P. 134.

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w . R R Tant with her chuldren p. 40 * Four-uricd Hariti p. 41 T . YE SE34 . - en . . 1 VE I rili and her husband p. 41 .

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2 SI K ? X2 Unique Hariti Image p. 42 320 Sanmukha Kartikeya p. 54

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SRNGARE VIPRALAMBHAKHYE R. S. Betai saMvedanAyaiva game caitanyamAhitm / Bhavabhuti1 Poetry is the outcome of the desire to see with the mind what the ye sces and with the eye what the mind imagines 55 Rabindranath.? Kalidasa commences his depiction of 'Ajavilapa' in the Raghuvamsa with this very impressive stanza vilalApa sa bAgadgadaM sahajAmapyapahAya dhIratAm | abhito'pi mArdava bhajate keva kathA zarIripu || ( raghu 840) "Setting aside his natural steadiness, he lamented deeply with uncontrolled tears (in the eyes). Even hard and stuffy) iron gets softened (and melts) when heated. What then to talk of the hearts of the humans?" Young Aja experiences all of a sudden the deep shock of being deprived of the nectar of love, and his heart melts into sorrow that gives to us a life-like picture of love in separation that leads to pathos. The deep suffering of pathos, that is not likely to find full expression, even in the best words in best order, of a poet of Kalidasa's stature, is hinted at by the very fine example of hard and stuffy substancelike iron melting down when heated. Human relations, based as they are mainly on emotional attachments, that stir up the very vitals of the heart, are the very basis of human life and hence of poetry. If there is no love in life, it is not life, much less human life. The heart of sage Kasyapa, a celibate by birth, meltes into deep sorrow that he struggles to control, when he has to send his foster-daughter S'akuntala to the house of her husband. His first ever exprience of love in separation, due to his Vatsalya in his case, surprises him and his heart in all sympathy concedes the very depth and intensity of the feelings of men and women of the world when they are separated from their kith and kin. Without uttering a word, by just one stroke of his pen, the poet speaks out volumes about human life in this famous stanza-

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R. S. Betai * yAsyatyadya zakuntaleni hRdaya saspRSTamuSkaNThayA kaNTha. stambhitabApavRtti kaluSazciAtAjaI darzanam / vaiklavya mama tAdIzamaho snehAdarapokasaH pADyante gRhiNaH kathaM nu tanayAvizladuHkha vaM. // (abhijJAnazAkuntalam 4.5) ro-day Sakuntala will leave". With this very thought my heart is deeply touched and shaken by anxiety, my throat goes sore by the flow of tears that I try to control, my vision is bluried by worries. If I, a forester were to suffer this sorrow through love, what must indeed be the suffering of worldly men and women at the very first separation from their daughters ?" This brings us to the fine expression that Anandavardhana gives to one basic reality of human life, for the first time in Sanskrit poetics. There is a unique excess of sweetness and delicacy as we may add, in the exprience of love in separation and pathos which dominate the human heart, so much so that Vipralmbha S'ongara and Karuna become the most dominant of all human einotions, and they are the most delicate, the sweetest and the nost appealing of all human emotions. The important statements of Anandvardhana in the matter are as follows: zaGgAra eva madhuraH paraH pralAdano rasaH / tanmaya kAvyamAzritya mAdhurya pratiSThati // 7 // tatprakAzanaparazabdArthatayA kAvyasya sa mAdhuryalakSaNo guNa: / zravyatva punarojaso'pi sAdhAraNamiti // 17 // zRGgAre vipralambhAravye karuNe ca prakarSavat / mAdhuryamAdratAM yAti yatastatrAdhikaM manaH // 8 // vipralambhazRGgArakaruNayostu mAdhuryameva prakavat / sahRdayahRdayAvarjanAtizayanimittavAditi // 8 // zRGgArasyAGgino yatnAdekarUpAnubandhanAt / sarveSyeva prabhedeSu nAnuprAsa: prakAzakaH // malino hi zRGgArasya ye uktA prabhedAsteSu sarve dhvekaprakArAnubandhitayA prabandhena pravRtto'nuprAso na vyajakaH / aGgina ityetenAgabhUtasya zRGgArasyaikarUpAnubandhAnuprAsanibandhane kAmacAramAha / / dhvanyAtmabhUte zRGgAre yamakAdinibandhanam / / zaktAvapi pramAditya vipralambhe vizeSataH / / 5 / / dhvanerAtmabhUtaH zRGgArastAnparyeNa vAcyavAcakAbhyAM prakAzyamAnastasminyakAdInAM yamakaprakArANAM nibandhana duSkarazabdabhaGgAleSAdInAM zaktAvapi pramAditvam / "vipralambhe vizeSata" ityanena vilAsa saukumAryAtizayaH ravyApyate //

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Srngare Vipralambhakliye Let us understand these statements of Anandvardhana in the translation of Di K. Krishnamoorthy. "The Erotic indecd, is the sweetest and most delighting of all sentiments. The quality of sweetness is grounded securely on poetry wluch is full of this sentiment", (2.7) The Erotic shines as sweeter and more delecatable than all other sentinients. 'Sweetness' is a quality which relates towards meaning of compositions (imbued with this sentiment) and not to mere soundharmony For, sound-harmony is found alike in forcefullness too (and is not a differentia of sweetness.) "In sentiments viz., love-in separation and the pathetic, sweetness will be uppermost It is so because the mind is moved very much in such instances". (2.8) The quality of sweetness alone is uppermost in the sentiments of love-in-separation and the Pathetic, as it causes great delectation in the minds of refined critics-- "In none of the varieties of the principal poetic sentiment does alliteration shine forth since it involves great effort at achieving similarity". (2. 14) In none of the varieties mentioned above, of the principal erotic sentiments does alliteration become a partaker of suggestion, because it will proceed with the exclusivc purpose of achieving similarity (in sound). The employment of the adjective principal' in the text serves to point out that when the erotic sentiment is only secondary in importance, the use of such alliterations is left to the option of the writer. "Even if a poet be an expert in the use of figures like ressonance, his employment of them in the erotic sentiment which is of the nature of suggestion, and particularly in that of love-in-aeparation, would amount to a lapse on his part" (2.15) "In instances where we find the erotic sentiment as of the nature of suggestion, i.e. as that which is principally suggested by both sound and sense, it would be a lapse indeed on the part of the poet if he were to employ various kinds of rassonace and difficult verbal puns involving the splitting of words in different ways, however skillful he might be in devising these. (Trans. by K. Krishanamoorthy.)

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48 R. S. Beta: Let us now understand the truth of this view about the extreme sweetness and delicacy of love in separation and pathos with the help of some concrete examples We have the famous story of Savitti in the Matsyapurana.3 Savitri knows the moment of the death of her young husband Satyavan, but Satyavan does not. Once, in a gay mood, the young couple is roaming through the forest As the two are 10aming through the woods, young Satyavan, romantically mad, happy husband in gay mood that he is, describes the claims and beauties of the groves, the flowers, animals and all. The description reveals the vision of a youthful lover, in company of his sweetheart. He describes the forest groves, the birds, and animals from the vision, the point of view or deep love and passion of a young lover that he is He sees only pairs, in moods of love-making in the forest. The charm of the Vanasthali are also similar to those of a youthful, charming, smail beauniful lady full of passion Even the lions and tigers are in pairs and in love. The forest has put on the charm and garb of a lovers, garden, The description, full of so many life-like pictures and several strokes of Dhvani now and again, is no doubt picturesque, becoming full with love and life But the poetry of this description of nature and all love that it offers, becomes more charming, more deeply poetic because of the image of sorrow of pathos, that envelopes the whole description. This is because Savitri knows that her husband is very near to death. With every picture that he paints as a swift, experienced, artful, painter, he is going nearer and nearer to death; one fine sweet minute is lost from his life-span with every word that he utters. The shadow of pathos that evelopes the description makes it all the inore chaiming and delicate and poetic for us. In her case, here, her silence, her a speaks out volumes of her mental affiction, tensions, strifes, agony and conflicts. The picture becomes more appealing and more lifelike for us due to the curtain of pathos that the poet has drawn on the armosphere. This adds a unique charm to the description and places the pictures of Satyavan and Savitri in full; tliey dance in full view before our eyes it seems. The reader therefore experiences the charms of the forest and its groves described; he also has a glimpse in the suffering, strifes and tensions of the heart of silent youthful Savitri and also the overshadowing vicinity of approching death of youthful Satyavan. Here, it seems that Samyoga Srngara, Vipralambha Srngara and Karuna have come together and they are sweet, sweeter and the sweetest as per the authority of the experience of the Sahsdayas. The poem is an example of one overshadowing the other and the total effect being that of Karuna ruling supreme even though the three Rasas are in identily

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Syngare Vipralambhakhye On more example will be from the 'Uttararamacarita'. For its third Act one scholar of old states - one who does not weep on view. ing the third act of this drama on the stage, "should be either a god or an animal"_"sa nu devo athava pasuh". Here, Sita is invisible and Rama experiences now the very presence of Sita and then her absence. For Rama now and again, there is an illusion of her very presence and her smooth, soft, warm and soothing touch followed by the feeling of her absence. It seems as if he smells her presence all round. When again, he just thinks as to what should have happened to her when Laxmana left her in the forest, he takes her for dead. The illusory joys and real sorrws of Rama change hands and we see that he is experiencing Samyoga Ssngara as also Karuna, all at a time, in the act. Surely this picture is unique in its own way, it is sweet and delicate both. Here again, the Sahfdaya experiences and deciphers the sweet, sweeter and the sweetest of Rama, with Rama. In the case of Sita the three sentiments are equally inter-related and intermerged. Several years of sorrow of separation have led to her Karuna because she saw no end to her separation; she knew that to Rama, she was dead. Now she deeply feels the grave injustice of being discarded and that too secretly, after all love and warmth that he was showering on her in the last days of pregnancy and hence a very delicate physical and mental condition. She is separated from her two sons by destiny, a state most unbearable for any woman, more so to Sita who is all lonely. She is expected to stay at her mother's place where Rama cannot reach even if he desires. That is the reason why the poet depicts her as-- "Karunasya moorti rathava saririni Virahavyatha". But as compared to Rama, Sita has atleast one consolation. All misunderstandings have been set at rest. Her mind is reconciled, she is convinced that Rama is hers and only hers as ever. But at the end, both Sita and Rama have to enter the dark realm of pathos, they do not know how long it will last or whether it will ever end. All this is the charm of the lofty poetry of the third act, it is Vipralambha and Karyna with all its sweetness and following that, delicacy in which Dhvani i 4t its unique heights. It speaks volumes for the suffering, tensions, excitement of lovers, whose attachments of the hearts and the consequent experie. nces can hardly be described in words. When, the lovers, be they attached by any relation, are separated from eachother, their suffering and strifes are again dificult to describe. Poetry has a world of its own in which this attachment and the resultant experience are objectivised, Sambodhi XII--7

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R. S. Betai universalised. When Sahrdaya readers feel a sort of identity with the depiction of human feelings, the feelings come to the status of Rasa. The subjective is objectiviscd, universalised. The third act of the drama has the capacity to yield to us the experience in all its intensity. One poet has philoshophically stated - "Sceptie and crown must tumble down. And with the dust be equal made." A similar thing has happed in the Mahabhaiata battle when, it has devoured lakhs of men, the brother cutting throat of brother and relation irrespective of whether he is elder and worth honour and worship or younger and deserving love and blessing. On this setting, we have the Striparva in which the most heart-breaking, the most pathatic is the scene laid in the setting of Gandhari asking Bluma, Yudhisthira and Vasudeva, questions that they cannot convincingly answer. She, with her 100 sons slaughtered and all her kith and kin gone, represents womanhood that suffers unbearable sorrow at the loss of husband, father, son and what not ? In this, her sorrow, all differences are gone. She weeps over the struggles, screams, and sorrows of all women including even Subhadra and Uttara. Death has wiped out all enmities. All enmity is lost in common sorrow; death has laid its icy land on both the defeated and the Victoi. The unbearable sorrow that follows, can break the lieart even of vajra. And here, the poet attains the highest leight of pathos that is most delicate and attains those unique height of Madhurya because all become one in common sorrow and suffering. The poet Vyasa takes scrupulous care to bring out in expression all that women and men suffer due to this stunning and stormy death that has overtaken all; it is destruction that will have its evil effects for centuries to come. What were these kings and princes ? They were incarnations of unparalleled strength, power, confidence, pride, and when they lie on the battle-ground scattered hither and thither, with their limbs broken and in complete disarray, they exhibit a picture of deep sorrow and pathos. And then follow women of all ages, women of noble families whom even gods cannot see, now being seen by ordinary men also (11.9.9). They were women whom even winds dared not touch.5 Now they come in one cloth, with ornaments thrown away and hairs in perfect disorder (11.9.10). They come to the battle-ground in search of their near ones and dear ones, in search of their bodies and limbs, to caress them and to scream and weep over them. They bewail and wecp, they run hither and thither; now they fall down (11.9., 14.15); they even try to console eachother (11.9.16). All living beings left behind, deeply feel the vacuum created

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Syngare Vipralambhakhye 51 for a wliolc Yuga (11.9.20). Gindlalt complains in a tone of utter distiess that Bhina should have spaid atlcast one of the hundred sons to act as a stick to support the parents Lottering due to extreme old age (11.14 21) All have become one in loss, suffering including Subhadici and Draupadi (11 15.16). From these scenes of utter destruction and soulow, even death incarnate would run away. Eagles and all cornivorous bids aic cating of the flesh from the hands, fect, mouths and cyes of the dead heroes. Then Gandhu asks Vasudeva to look at all this, (11.18 onwards.), and it culminates in her curse on Krishina. What could be more sorrowful than this ? For, daughters and daughtersin-law ale widowed (11.22.5); Kristina could liave stopped this terrible dance of death. But he did not, he disregarded it. Gandhari curses Krishana lo sce the uttci annihilation of his Yadavas and meet death alone, unwept and insung, in a lonely place in the jungle (11.25.39.42). 6 The curse of Gandhari represents the curse of all suffering women. They have come to this sad plight l'or no fault of their's ! Terror strikes, but in this extremely realistic and at the same time extremely poetic pictue, pathos reigns supreme. It is a picture of Karuna that once read would never be forgotten. Pathos is not only objcctivised but universalised in this Paiva. The ultimate effect is that of utter delicacy and sweetness because, we weep and would like to weep again and again with all women who are depicted with such picture-sequences that the limits of time are thrown olt; they are before our very eyes and we identify ourselves perfectly in sorrow with them. We too feel that we ac a part and parcel of the wliole scene. No othei Rasa can have greator appeal. Visvanatha is therefore right when he states "Even in Karma ctc., there lies an experience of unparallelled Ananda. Here the experience of the Sardayas, is the only proof." (Sahityadi apana 3.4) No other Rasa could be more soft and sweeter than the Karuna and Anandavardhana, with his wonderful insight into the utter depths of the human heart, lightly fixes up the order of experience of Madhurya when he states that San.yoga Stngara is sweet, Vipralambha is sweeter and Karuna the sweetest. This can very well be delineated as a truth of life, as the reality of liuman life and human cnotious. In most of the poetry of the world, the best mostly depicts Ive which is sweeter, moro touching in separation

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R. S. Betdi and the pathos that brings to life, to reality more realistic than it was, all the near ones and dear ones whose loss leaves an indelible mark on the human heart. Foot-Notes 1. Utararamacarita-3. 2. Reminiscerices, p. 240 3. Adhyayas 86 to 92, Calcutta Edition. 4. Adh. 87. $ For a similar idea vide in 'Hamlet', the words of Hamlet about his father. "So loving to my mother that he might beteem the winds of heaven, not to visit her face so roughly !" 6 Actually in the description of the end of Krsna, the very words of Vyasa aie weeping; the description, extremely pathetic that it is, has a unique poetic charm of its own. 7 In this connection, vide the words of Winternitz about the Striparva "Here follows the lament of Gandhari, which is one of the most beautiful parts of the whole epic, as a masterpiece of elegiac poetry, as well as for the clear descriptions of the battle-field. The whole scene becomes so much the niore impressive. owing to the fact that the poet does not himself tell the story, but let the aged mother of heroes recount what she sees with her own eyes." "History of Indian Literature Pt. one, p 370. Oriental Books Reprint Corporation, New Delhi-55,

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A NOTE ON SANMUKHA KARTTIKEYA Lalit Kumar The son of Siva and Parvati, the commander-in-chief of gods' army (Senani na maham) is known by various names. One of them is Sanmu"kha (six faced); which again refers to circumstantial birth of this god. The story of his birth is mentioned in detall in Vona-Parvan of the Mahabharatal and in the Kumarasambhara of Kalidasa. 2 First iconographic reference to Sanmukba is found in the Visnudharmottara Purana 3 where Kumara' is described as Sanmuklia Further, he is said to be adorned with three or five lock arrangement of hair (Sikha. ndaka), dressed in red garment, riding a noble peacock; his two right hands should hold a cock (Kukkuta) and a bell (ghanta); and a victory flag (Vaijayanti pataka) and a kind of spear or javelin should be placed in his left hand". Curiously enough this text also entails that the other three forms of this god known as Skanda, Kumara and Guha should be represented like Kumara but should never be shown six-faced or with peacock. In Samarangana Sutradhara, - Karttikeya is said to have one or six faces, (Sanmukha) and should always hold spear, the indispensible weapon of the god. He should have two, six or twelve arms, and accordingly different places are assigned for his worship. It is prescribed that twelve armed god is auspicious in town, six-armed in khetaka (hunting around or cantonements) and two-armed in a village. In case of twelve-armed image the Samarangana Sutradhara says that the god should hold spear, arrow, sword, hammer, in his five right hands whereas the sixth should be shown spreading. The left hands should hold bow, flag of victory, bell, shield and cock but the sixth is mentioned in Samvardhanamudra. In the Agni Purana also he is described to have one or six-faces and should hold spear and cock in his hands. The Rupamandana 6 also described variations of this god on the multiplicity of his arms and various places for his worship as mentioned in Samarangana Sutradhara. The iconography of Sanmuka is also described in South Indian iconographic texts such as Arsubhedagama Kumaratantra Sritattyanidhi etc.

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54 Lalit Kumar Earliest representation of Sanmukha can be reckoned with 2nd century coins of Yaudheyas. On the obverse of these coins the god is represented six-faced two armed and a long spear in his right hand. The Yaudheyas were great devotees of Kaittikeya as it is also evident from various epigraphs. In sculpture, Sanmukha appear for the first time on the relief carving of a lintel at Pawaya. The relief is datable to 4th century A.D. On this relief the god is shown standing, having three faces (since carved in relief, the other three could not be shown) and twelve arms spieading around He is perhaps accompained with his consort Sasthu though there is no mention to her in the Silpa texts mentioned above. In Gupta period, Karttikeya becomes fairly popular in northern India. But Sanmukha form is surely a rare phenomena to observe during this period. Pawaya relief is one example. Other representations of Sanmukha known to us belong to postGupta period. One of them hails from Bairat (Rajasthan). The sculpture is carved in bold relief, thus, shows three heads He is sitting on lotus, his mount peacock is shown below. The god is six-armed but many of them are damaged. Of the remaining hands some attributes are discernable such as shield, cock and spear. The head canopied with serpenthood, is an interesting feature. Of the Post-Gupta period, an example of Sanmukha can be added here. It is in the collection of Lalbhai Dalpatbhai Institute of Indology, Ahmedabad. Sculpture is carved in bold relief. Unfortunately, it has received severe damages, only bust has been recovered. The god is shown with three heads and six arms. (Fig. 1) All the arms are broken The bust represents a youthful body with placid faces characterized with juvenile beauty. He wears a small bejewelled crown. Three hair mesh (Sikhandaka) are arranged on the top of the head. Some hair locks also dangle on his shoulder on either side. He wears a necklace, Yajnopavita, kundala and armlets. The sculpture is carved in buff colour sandstone. The modelling of the body and physiognomy of the figure shows late Gupta characteristics and thus it is datable to c. 650 A.D. It appears to hail from Bundelakhand region of Central India. These limited notices of the Sanmukha show the rarity of this form of Karttikeya in northern India.

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A Note on Sanmukha Karttikeya 55 Foot-Notes 1. Rao, T. A. Gopinath, Elements of Hindu Iconography, Delhi 1968, pp. 417-420. 2. Ibid., p 421-422. 3. Banerji, J.N., The Development of Hindu Iconography, (Calcutta, 1956 p. 364. 4. Samarongana Sutradhara (Baroda, 1925), 77. 23-31, 5. Indian Images, p. 26 6. Srivastava, Balarama, Rupamandana (Varanasi, 1964), p. 80 7. Saran, M, K., Tribal Coins of India, (New Delhi, 1972), p. 118 8. Williams, Joanna, 'Art of Gupta India' 1982, p. 54, pl 52-53, 9. Agrawal, R. C., "Skanda-Karttikeya in Sculpture from Rajasthan Lalit Kali, No. 3-4, p 110 and 112.

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TRIPURA TANTRA (SRI VIDYA) : ITS PHILOSOPHY AND PATH OF SADHANA * Y. S Shastri It is a wellknown fact in the history of Indian thought that liber*ation or self realisation is the highest aim of life for all the systeins of Indian Philosophy, barring the Materialist (Carvaka). Different systems in the field of philosophical heritage have shown the various paths to achieve the same goal in accordance with difference in temparament. idiosyncrasy, as well as intellectual and spiritual advancement of the people. Tantra Sastra is one of the important branches of Indian thought which truely represents, quintessence of Upanisadic Philosophy. It is mainly practical scripture of Vedanta. It prescribes the means by which the highest aim of life is fulfilled in an easy way by all, without any discrimination of caste, creed and sex. 1 The word "Tantra' las various meanings. More than twentyfive meanings have been ascribed to this word.2 In reality this word is origin. ally derived from the root 'tan'-to extend or spread out and usually applied to Tantra system which pertains to the development of man's power, both material and spiritual. This Sastra is also known as Agama and Nigama It is said that an Agama is so called because it proceeds from the mouth of Siva and goes to Girija, being approved by Vasudeva and Nigama is so called because it emanates from the mouth of Girija to enter the ears of Siva, being approved by Vasudeva, 3 The word igama, which stands indifferently for the Veda and Tantra, shows its authoritative tradition. Tantra Sastra is considered as the fifth Veda+ and called sruti. Kullukabhatta, clearly states in his commentary on Manusmrti that Sruti is of two kinds-Vaidiki and Tantriki.5 There are mainly three kinds of Agamas namely Vaisnava, Saiva and Sakta. The Vaisnava Agamas mainly deal with idolatry, rules of temple architecture, worship of Tulasi plant (holy basil) and lay emphasis on the path of devotion, thus suited even to the lowest intellectual capacity. Visnu and his consoit Laksmi, are the main deities of these Agamas. More than 108 works with various commentaries, belonging to this sect slow its popularity in olden days. Phi # A paper presented to the XXXII International Congress for Asian and North African studies, at Hamburg, F. R. G. August 1986, Sambodhi X1148

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Y. S. Shastri losophical height of the Upanisadie idea of realising the unity of individual soul (Jivatman) and Universal soul (Paramatman) is hardly recognised in these scriptuies The Saiva Agamas are also idolatious and itualistic like the former. But Plulosophically they are more advanced than the former. There are 28 Saiva Agamas with various commentaires. These Agamas incorporated the teachings of the Upanisads viz., unity of Jivatman and Paramatman; and the details of process of Yaga and the development of Kundalini Sakti is found in these Agamas The gioup of Sakta Agamas really repiesents the finest Philosophy inherited by the Upaoisadic thought The Sakta Tantric study is mostly confined to the conventional details of external worship. Its hidden side of the esoteric culture is not truely presented to the learned world. This literaturc actually represents quintessence of mysticism which is based on the mystic doctrine of the unity of individual soul and Supreme Reality, (Brahman), proclaimed in the oldest Upanisads. 6 Saktu Tanira has touched the keynote of the Advaita philosophy by accepting this unity of Java and Para Brahman. This Tantra repeatedly states in clear terms that the highest form of Yoga (Union) is the attainment of unity of Jiva with supreme soul.? The entire Sakta literature is in the form of a dialogue between Lord Siva and Parvati (Uma). It is believed that the revealer of the Sakta Tantra is Siva himself on Devi herself. Now it is the first who teaches and second who listens. Now, again, the latter assumes the role of Guru and answers the questions of Siva, for, the two are one. 8 The unfortunate part of Sakta Tantra is that, it is the most misunderstood and misrepresented system in the history of philosophy and religion It is considered as an ocult science, creation of some sex dominated people, purely materialistic and an immoral philosophy. Such kind of misconception and ignorance, still prevails among the people. This is due to excesses committed by some of the misguided followers of Sakta Tantra, namely, Vamamargins It is their literal interpretation and practice of Pancamak aras viz wine (Madya), meat (Mamsa), Fish (Matsya), grain (Mudra) and copulation (Maithuna', brought illname to this system Really speaking these are technical terms of this secret system and cannot be taken literally. These words cauy their own deep meanings. These Pancamakaras esoterically symbolise different clements and principles. They generally mean the five great elements (Pancamahabhutas) taken collectively, viz, ctler, air, fire, water and earth. These words are also interpreted keeping the real spirit of Tantra as, wine is

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Tripura Tantra Sri Vidya) : Its Philosophy and Path of sadhana 59 the lunar ambiosia flowing from the Soma cakra which is in the cerebrum (Sahasrara) Meat is the suriender of the limited human to the unlimited Divine. Fish is the annihilation of 'I and Mine'. Grain is cessation from evils Union (Maithuna) is the union of the Kundalini-Sakti which is sleeping in the Maladhara, with Siva in Sahasrara in the top of the head 10 If Pancamakaras are taken in this true spirit of Tantru there is no scope for misconception of this great system. It is neither an inimoral nor a materialistic systein. In this system woman is never considered as an object of animal passion and pleasure, but she is adored as, Universal Mother or Parasahti It does not advocate Materialism. No doubt inaterialistic elements are found here and theic in certain Tautric works, but these should not be taken as final words of Tantra Sastra because it aims at both worldly enjoyment and spiritual freedom. 1 2 The main object of Sakta Tantra is to awaken the latent dynamism in all the planes of consciousness and divinise every element in man and wo. man, by adopting short-cut method. It is fully acceptable to Vaidikafold. 13 Bhaskararaja, a well-known authority on Sakta Tantra, clearly points out that even the Veda talks of Tantra Vidya in conventional terms and not explicitly 14 Sakti worship is the form of worshipping the supreme Brahman as a female entity It is the worship of supreme Reality in the form of Universal Mother. Following the Upanisadic path, 15 Saktas maintain that Sakti is the Universal Eneigy which has brought the Universe into existence, which Sustains and withdiaws the Universe. 16 Now, this Sakti worship is not a new development in the history of Indian culture This kind of motherworship was recognised in the prevedic period. This type of worship has been traced to the Indus Valley Civilization. It is still not definitely known whether or not the Indus valley civilization had pieceded or followed the Rgvedic Samhita period but it may be concluded that the Sakti cult seems to have prevailed in India at least in circa 300017 B.C. The number of hymns written on various goddesses and more than 40 names of goddesses, indicate a fully recognised form of Sakti worship.18 This Sakti is specifically referred to in the Rgveda with her eight different attributes-Kali, Tara etc.19 Devisukta, Srisukta, Usa-Suktas of the Vedas are clearly indicative of worship of mother goddess. Thus, it is a faulty notion to believe that the Sakta Tantra has come out of the Maha yana Buddhist Tantra. It existed in India much earlier than the Mahayana Buddhism made its appearance on the Indian soil. The concept of mother goddess is found in early

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60 Y. S. Shustri Upanisads 20 also. There are many later Upanisads which have developed the same idea of mother goddess, that centre round Sakti regarded as Bralunan and became the Philosophical basis of Sakta Tantra. There are thiee Subschools within the Sakta Tantia, Viz., Kaula, Mifra and Sumaya and they liave their own independent treatises Kuula group has 64 treatises with various commentaries. Misia group has eight Agamas.22 These two schools emphasize external worship and their methods are mostly used to acquire material power and prosperity. Really it is some of the followers of Kaula gioup who have brought bad pame to Tanira literature. These two groups are considered as non-Vaidika by traditional Tantric writers like Sankara, Laksmichara and others, sriwdyopasakas are warned not to follow these paths, 23 The Samaya group is most important among tlie Sakta Tantias on account of its pluilosophical height and its purified method of worship. This group of literature points the way to liberation along with material prosperity. This samaya method of Sakti woship is accepted as the supreme path of realisation of Advaita by Adi Sankar. Its path is purely internal, though, as a first step in the spiritual advancement, it prescribes external worship of diagrain and image. The main source of this Samaja method is five treatises known as Subhagamapancaka, whose authors are the great Sages, Vasistha, Sanaka, Sanandana, Sanatkumara and Suka. 24 In adition to these five treatises, there are innumerable texts, such as Vamakesvara, Tantraraja, Saundarja lahari etc., and many commentaries which propagate philosophy and practice of Srividya.2 5 The main aim of our present papei is to bring out the finest philosophy and path of Sadhana of this Samaya group of literature. The word Samaya is interpreted as either 'He (Supreme Brahman) is' or "She is' (Goddess) with me. It means that one has to think constanly that he is always one with the ultimate Reality. He has to identify himself with the Supreme Brahman Samaya is also commonly explained is offering worship to a cakra in the ether of the 26 heart. This internal vorship is considered as the supreme by all the great Yogins. It is a sigher kind of worship consisting of inward prayer, deep meditation and Solemn contemplation. In this Tantra, the "Sakti is a synonym of Brahman of the Vedantic hought. She may be called Brahman or Mahasakti or Universal Mother. The same Brahman of the Upanisads is termed as Tripura or Maha

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Tripura Tantra (Sri Vidja) tis Philosophy and Path or sadhanu 61 Tripura Sundari by these Tantric texts The word 'Tripw a' is pregnant with a significant meaning. The Universal Mother is known as 'Tripura' due to various reasons. In the Nityasodasikainaia it is stated that this supreme power is triple foi med viz , creater (Brahma), Sustainer (Visnu) and destroyer (Rudra). Again she is in the form of will power, power of knowledge and power of action and she creates thiec worlds, and is therefore called Tripura.27 She is the principle which exists prior to Trinity. 28 Again this word Tripura' is interpreted as, She who has thiec angles, as well as three circles and her bhupura is three lined, her Mantra is said to be three syllables thus, since, slie is everywhere triple, she is called Tripura 70 Again, philosophically more significant interpretations of this word Tripura are found in these texts. Tripura means three nadis : susumna, Pingala and Ida and Manas, Buldhu and Citta, as Devi dwells (as Jiva) in these, she is called Tripura 37 Gaudupadusatra says. "The difference is by the three tattvas "3! The meaning is tliat the one Brahnian is divided into three by the thiree tattus In the commen. tary of the above, the tattvas are explained variously as qualities, forms, states of consciousness, worlds, Pitha, buja, divisions of Mantra, etc., and pura means beyond these. The gist of all these interpretations is that, she is the supreme power behind and beyond all these things, The philosophy and aim of Tripura Tantra is the realisation of Advaita, 1 e., Unity of Siva and Sakti, Jivalman and paramatman Quite in agreement with the Advaita Vedantic stand point, this Tantra main. tains dual aspect of Universal power, namely Saguna and Nirgura. This Tantra describes the nature of Tripura in a similar manner as Upanisads describe the nature of Brahman She is described as Nirw.fesa (indeterminate) as well as Savisesa (determinate). These descriptions may seem to be contradictory but actually there is no contradiction. From two different standpoints Supreme Reality may be conditioned and unconditioned at the same time from the standpoint of liberated soul, it is unconditioned, from that of one in bondage who has not yet reached the state of sameness or unity (Samarasya), Brahman appears to be the cause of the Universe, endowed with omuiscience and with other attri. butes. Thus, this Tantra constitutes two systems, one esoteric, philosophical (Nirgunavidya) containing metaphysical truth for the few oncs, are in all times, who are able to understand it and another exoteric, theological (Saguna) who have less intellectual capacity and who want images not abstract truth; worship, not ineditation. But ultimately, it propagates non-dualistic philosophy of the Upanisads. At the transcendental level.

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62 Y. S. Shastri thus Sakit is the lughest knowledge (Sard), beyond tune and space and bi to very natute, cvistence, consciousness and bliss.92 Tripura is the Jughest Reality in which there is neither rise, 1101, fall. It is selfluminous 33 She is the lughest Bialman,3 and is the only Ontological Reality As She is the secd of all in the Universe. The Universo which resides inside of it emanates and shines foith outside of it 30 This Sakti in bevond 36 Tartas 37 Even Siva and Suhti emanate from this non dual priliciple. She is in thic foin of Brahman and known as Parubhattanho 38 She is the material cause of 36 Tattros Tipurd is Existence, Consciousness wud Bliss, and as such it is equivalent to the Brahman of the Upa nisadic thought She is beyond the thiee yunas and still she emanates them. She is the nature of Vidya and devoid of attributes 39 Shics formless. immutable, all pervading Bryliman 4 0 She is the nature of Itnun.+1 Brahman was alone in the beginning, states Upanisads. Similarly Trul upantsad states that nothing existed in the beginning but the goddess alone 4? Begining docs 110t liteially mean beginning of this Linisise. It is only knowledge point of view, It was alone in the begin ning It is shic who has created the world with all animate and unani. mate obiects She is the Supreme power that permeates the three worlds and the three bodies and enlightens them both internally and externally She is all forms and she fills all space and time. She is -vciily the self and also everything else that is not self. She is wave incarnate on the ocean of the bliss of conscious existence. She is everything. She is the self the universe, all gods and all that exists. She is the only truth and she can be known only though experiencing the oneness of the sell and Brahman. She is the only Reality which pervades the wholc Universe. 4 3 She is not related to anything for there is nothing else to Jelaic. She is Uniquc. She is beyond all relational basis of knowing and knowledec. She is pure consciousness. She is indeed the turiya, beyond the word and thought, inaccessible and of un-paralleed giandeur.4 : She is un-kilowable. infinite, un-graspable, un-boin and non-dual. She is unknowable because even mods do not know hier natuic She has no limit, and shc is tlrus known as infiute. She is ungiaspable, and she is thus known as imperceptable, no one knows hei origin thus known as un-boin. She alone resides everywhere, thus known as non-dual. She is consciousness all compact. She is indescribable. 4 5 She cannot be described because she is unlimited In describing hei we are making infinite as finite. Infinite cannot be limited. She is beyond speech, touch and tongue. Even gods cannot giasp hier nature. 46 She cannot be defined in terms of any cute. gories for there is nothing besides Hei. Nature of Tripura is similar to 'not this', 'not this', of the Upanisads. She is a dinarily in-expressible.

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Tripura Tantra (Sri Vidya) : lts Philosophy and Path of sadhana 63 So the best way of describing this un-predicable and incomprehensible Reality is via negative or through negatives by calling it, infinite, im nutable, indivisible and inexhaustible. 47 Positive expression is in a sense a limitation, for it implies the duality of the experience and the experienced, the denotive and denoted. The negative concept denies the possibility of such knowledge with regard to Supieme Brahman. It is beyond, quite beyond the grasp of hunian faculty or psychic appaiatus. This Reality (Tripun a) is devoid of the distinction of knowledge, known and knower 48 She is the highest Univeisal. When the highest Universal is known, all the particulars included in it are known. She is un-pointable, alipervading, pue consciousness. 4 9 She cannot be understood by scriptural study. 5 7 She is onc undivided bliss and self of all. She is supporting ground of all 51 Even though, inner controller of all, she is unaffected by all blemishes, 5 ? like the sun who is unaffected by any blemishes. She is unthuched by pain and pleasure.5 3 She is neither girl, nor maid, nor old, neither female nor male, nor neuter. 54 She is inconceivable, immeasurable power, the being of all which exists, devoid of all duality, the Supreme Brahman, attainable in illumination alone. Though without feet, she moves more quickly thah air, though without ears, hears even subtlest sound, though without eyes, perceives everything. Though without tongue, she tastes all taste. 55 The scriptwal statements like 'I am Brahman.' This Atman is Brahman' That thou art', etc., indicate that non-dual Tripura only.56 She is the innermost self of all.5 7 She is the undivided one consciousness, which continues in ali the three stateswaking, dreaming and dreamless state. This consciousness in man, is like cther covered by pot. Thoughi pot is destroyed, the ether inside of it is untouched by destruction. When darkness in the forin of ignorance is removed, it shines in its own purity and one realises nondual nature of it. 58 She is known as highest knowledge, knowing which everything else becomes know11.50 She is identified with one's own self oo Realisation of Tripura is nothing but the state of perfect identity of the self This is the state of nondual, blissful communion, unitive life, in which there is neither bondage, nor liberation In this state entire Universe, even creator, doer, action, cause, effect, and everything appears as one Universal self.60-A It is a state in which positives and negatives are one and the same. In it there is neither origination nor destruction. It is beyond all fancy of imagination. It is a really a state of Supreme Brahman. This is the state of Advaita-Unity of individual self and Brahman.o 1

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Y. S. Shastri Ilus Supreme Reality can be known either as Siva or Sakti because they are not two different entities, but one and the same, o ? Though one in e senec, yet for the sake of our convenience, we may call Siva as Static and Sakti as Kinetic energies. Siva is prakasa (Knowledge) and Sakti is l'mmarsa (activity, aspects of the sama Brahman. When we emphasize knowledge side, It is Siva and the same thing is Sakti when activity side is emphasized. Together they form a single Unity called Prahova Immorta Svarupa. 63. In the form of Siva it is inactive, indeflerent, non-relative, witness self. The same principle in the form of Sakti Is material cause of the Universe. But they are inseparable like heat from fire, whiteness from milk, sweetness from sugar, luminosity from light and weight from material bodies. 04 Vuyu is power of Sakti. Veiling herself with her own Maya, She becomes desirous of creation. Then there arise 36 Tattvasos including Swa and Sakti and creative, sustantive and destructive powers also arise, then arise the worlds and elements of which they are composed. Creative sustantive and destructive powers are not distinct entities. They are all one and tlie same as paits of her. Creation is a mode of divine existence and Divine energy sustains the Universe that binds the atoms with atoms. Again destruction is also an aspect of Divine energy that goes in hand in hand with the creative energy. Thus creative, preservative and destructive forces are but the three aspects of Divine energy that exists in Brahman, 06 This Tantra has accepted Sahti Parinamavada. Sakti itself, transforms into the form of Universe. World is expansion of this Universal Con sciousness. Thus this world is also real. 7 It is not Brahmayvarta like Advaita. This Sakti is not material like Sankhya philosophy but pure Consciousness It is not Praksti of the Sankhyas, which is unconscious and real. Even great Advaita stalwart Sankara treats Sakti of the Tantra as Supreme Brahman. It is very important to note that this Tantric literature lays stress on the dynamic nature of the creative power ie. Sakti here as Brhman itself. Though the conception of the goddess Tripura corresponds to that Impersonal Brahman of the Upanisads this Tantra literature, emphasizes the dynamic aspect of the godhead-the activity of manifestation of a Jerty in the form of Divine energy. The Saktas have transformed the Impersonal Absolute Brahman of the Upauisads into a personal divinity that is the onnipotent, omnipresent and omniscient Sakti or a Divine Mother the source, support and end of the entire empirical Universe 69

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Tripura Tanira (Sri Vidya) * Its Philosophy and Path of sadhana 65 According to this Tantr.z the supreme transcendental Reality (Braliman) which is really nameless and formless conceived through religious imagination becomes goddess in Saguna form The Nirguna Brahman of the Upamsads comes down step by step and assumes the foun of a goddess, and becomes an object of worship in the form of Universal Mother All the paraphernalia fo worship are then offered to her. This concept of the highest as Mother is a special feature of Sakta Tantra and it lias its own significance Mother, always murishes a more charitable attitude, forgives the faults of her childien and offers them an opportunity to reform their ways. This attitude of forgiveness and compassion, love and pity are more natural to Mother than to father, Thus, supreme Brahman in the personified form becomes afectionate Mother, worshipped in the name of Maha Tripurusundarl. She is also known by various other names, such as Srividya Sri Lalita Pancadasaksari, sodasi, Kamesvart and so forth. She is conceived as the most high, higher than Sarasvati, Laksmi, higher than Brahma, Visnu, Isvara and even Sadasiva. 7. Worship of Universal Mother in the Saguna forin with ceremonial pomp is only a suppoit for meditation on the highest, which is strictly beyond thought and mind. The Mother is really the highest Brahman in empiric dress. The significance of the description of the highest Braliman in Saguna forin is to indicate that she is near enough to us and yet far away, she is in the world and also beyond it and that she is both immanent and trauscendent. In this form she is described as resplendaut as the newly rising sun. She is also three eyed and holds in her four aims, noose, goad, arrow and bow. She can be worshipped either in female form or male form in the male form she is worshipped in the form of Lord Siskrsua.71 This Saguna aspect is only for those who are ordinary mortals, highly emotional and unable to meditate on the highest attributeless Brahman. The beautiful description of goddes Tripura in Saguing form and signi: (icance of its worship is found in many texts such as Saundaryalahari and Tripuramahimnastotra. This kind of description is mainly to rouse our enotion of devotion and strengthen it by furnishing suitable support for meditation. Tripura is described from head to foot in these texts. This is really intended to show that the Supreme Being is also Supremely beautiful and when it gets embodied in human form, for the benefit of dull witted mortals, the beauty that is its essene naturally shines through every tissue and filament.72 Sambodhi XII-I

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66 Y. S Shastri Tripura is the supreme deity All other gods and goddesses are subo. rdinate to her, and offei obeisance to her 73 Inspired by her, Brahma creates the world, Visnu sustains il and Rudi a destroys. The relative reality and objectivity of the world and its regularity and law abiding nature are due to her. She is absolute in the world context. She is the supreme from the cosmic end She is the moral governei and lord of the law of Karma.74 She is in the form of ocean of mercifulness.75 She is the bestower of all kinds of riches and happiness, Mothei of all77 and bestower of ultimate liberation. 78 The worshipper of Tripura, becomes the rival of Sun, Garuda, Manm atha, Fire and Brahini, Vint and Sankara 79 The devotee of Tripura acquires great learning becomes exceedingly prosperous and develops a charming personality 8e Devi confers all sorts of powers to her devotee. She fulfils all the desires. Her devotee becomes master of all arts, and obtains unparalleled name and fame. 8 1 She bestowes all worldy prosperity to her devotee. The devotee of Tripura, enjoys all the worldly riches and becomes one with her(Brahman) in the end. 8 2 PATH OF SADHANA This Tripura Tantra is mainly practical scripture if Vedanta Though this Tantra represents Upanisadic philosophy, its inain emphasis is the practical aspect of realisation of Brahman No doubt this Tantra has exaIted the supremacy of knowledge, but it emphasizes on that knowledge which is obtained from spiritual experience Mere knowledge derived from scriptures will not lead to the realisation of one's own self Mere scriptuaral speculation or erudite scholarship in Vedanta does not necessarily lead to real knowledge. Real knowledge consists in spiritual experience that can liberate the soul from eternal bondage Thus both theory and practice are of utmost importance for a devotee to reach the highest goal. For this reason, this Tantra literature prescribes a set of disciplines, to be followed by the aspirant on the path of realisation of Advaita. But it is very important to note that these disciplines described by Tantra do not propagate self torture and dry austerity. It is clearly mentioned in these texts that, worship of goddess brings all worldly prosperity and enjoyment and ultimately leads to liberation 8 3 Tantric Now, it is necessary to set forth the nature of the path of Sadhana at some greater length.

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Tripura Tantra Sri Vidya): Its Philosophy and Path of sadhana 67 These Tantric texts advocate two kinds of worship of Tripura: the internal or higher form of worship, consisting of deep meditation and solemn contemplation for the highly advanced and the external intended for the less evolved, ordinary mortals Saktas believe that the Universal energy ou Spiritual power in man lies dormant and is likened to a serpent that has coiled up Kundalini Sakti) This power has to be aroused from its place (which is at the beginning of the spinal cord) and led up step by step to the cerebi uin Here, in this state Sakti unites with Siva. This is the liberation. Thus, the primary purpose of the aspirant is to awaken Lliis sleeping Suake or Sakti. This is done in many ways, such as purely practising Yogic technicalities, reciting sacied letters (Jupu) and worshipping diagram and image. Details of Yogic disciplines are set forth by Sankara in Saundaryalahari.8 4 Yoga speaks of satcakras viz, Muladhara original abode), Manipura (full of rays), Svadliisthana (own place), Anahata (sound), visuddhi (the ether above) and Ajia (mind between the eyebrows), within the human body, 85 These are actually psychic centres in the body. These six psychic cen. tres represent the cosmic elements of earth, water, fire, air, ether and the mind respectively. 86 Last and high up in the cerebrum, there is the Sahasrara Kamala-thousand petalled lotus. An aspirant by deep meditation led it up to the cerebrum where this Sakti disengaged from all that is adventitious to it, emerges in its native splendour as pure consci. ousness. It is here in this state Sakti is transformed into absolute consciousness. It is a state of liberation. This method of applying Yogic technicalities is considered as higher form of internal worship or subtle meditation (Suksmadh yana). 8 7 Highest type of meditation (Paradhyana) is done by meditating on the Parisakti as one impartite, and impartible whole and visualising the Atman as steady, motionless flame in a wind. less place. 8 8 Japa (reciting sacred letters)is an aid to meditation. Mantra is identified with Devi. Pascadasaksari Mantra is considered as supreme Mantra, which is also called Gupta Gayatri 89 It is a formula for deep meditation. This mantra is so called because it contains fifteen germinal letters. These letters represent union of Siva and Sakti, Jiva and Braliman.00 This Mantra represents body of Tripurasundari. Tripura herself is called panchdast because she is witness of five kinds of stages of the universe and indestructible.i Bhaskararaya gives fifteen meanings of this mantra.92 Three hundred meanings of pancadasaksani is explained in Trisatibhasya by Sankara.93 The fifteen letters of this Mantra are divided into three groups (Kitus) viz. Vagbhava, Kamai aja and Sakti. Vagisvari is the Thanasakti which is in the Vagbhava division and confers salvation. Kamuroja

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68 Y S. Shastri is the Kamyasakti the ruler of desire and fulfils desire. The Sakti division is the will power-the supreme energy and is in the form of Siva.94 Again each group repiesents specific divine powers, such as File, Sun and the Moon. These three groups represent, the three states of waking, dreaming and dieamless sleep-yisw, Taijasa and piajna and willpower, power of knowledge and powct of action. In essence, thuis Manta is said to comprise all the fundamental truths of the Universe This is considered as a very powerful Ifantia and recitation of this is sure to vield results. It is said that the man who has been 101tiated to this Mantra has no more 1ebuth.95 This pancadasaksani is known as either Hadi oc Kadi, on the basis of beginning letter of the Mantra. It is said that Hadi is followed by Loparudra and Kadi path is followed by Hayagriva, Agastya, and Durvasa. For the very highly advanced and miliated. a. sixteenth letter is added, and it is called Sodasaksari. This sixteenth letter is kept very secret and not openly stated. The Paths of Yoga and Japa Sadhana are purely internal type of worship. The mind cannot remain steady on, what is formless (amurta). Therefore a form is accepted as aid to meditation Form is also of two kinds-gloss and subtle. The grossest form is pictorial that which is with hands. feet and so forth. Subtle foun is the diagram which is also called the body of Mantras. The well known Snyantra or Sicakra is adopted for the worslijp of Tripura or Lalita Details of Sricakra are given in Vamakesvra Tantra, Tantraraja,Saundaryalahari, Saubhagya Vardhani and Laksmidhara. 2 o The 'Sriyantra is composed of nine triangles and Cakras, one within the other until the central point oi Bindu is ieached. The names of the nine Cakras are Bhupura, sixton petals, eight petals, first set of foui - teen angles, second set of ten inner angles, third sel of ten angles within these, fourth set of eight angles within these, three angles within these and the point or Bindu. In each of the nine Cakras the Gooddess Tripurasundart is worshipped in its centre under one of her nine names united with the Padukamantra of seven letters. These nine Cakras are also called Trilok yamohana, Sarvasaparipuraka, Sarva Samk sobhana, sarvasaubhag) a day. aka, Sarvartha Sadhaka, Sarvaraksakara, Sarvarogahara, Sarvasiddhipradaand Sarranandamaya, on account of the main functions.97 These nine Cakras also represent creation (systi). maintenance (Sthiti) and absorption (Samhara).98 In the middle of this Sricakra there are nine triangles. The five triangles with their apexes pointing downwards are indicative of Sakti elements and four with their apexes pointing upwards are of Siva. But Laksmidhara, mentions that according to Kaulas four triangles ponting downwards are of Siva and the five triangles pointing upwards

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Tripura Tantra (S) Vidya). Jis Philosophy and Path of sadhani 69 are of the Sakti 99 The Bindu is in the innej most trungle. It is all blissful. It l'epiesents the unity of Siva and Sakii This cental point ou bindu is also known as yonibmdu. The word Yon here does not mean the generative organ of woman, it means source of the entire Universe, the cause and the womb of the Universe. There are two different processes to construct Sricoru. To constuct Slicakra from the Bindu utwards is the evolution mode ( Systek ruma) -- the method accepted by Sanyacarins and to work it out from the cuela to Bindu is involution method (Sumharakrama, adopted by the Kaulus 100 This is a diagrammatic presentation of Divinity and mantra is its sound expression. Both these, Sricakra and Manna embody the subtlc essence of Devi herself. * A deeper study of construction of Sri.akra ieveals that, it is also a diagrammatic representation of the human body which consists of nine cakras. According to this Tantra system, nine elements sustain the human body. They are: skin blood, flesh, muscle and bone and marrow, semen, vital air and soul. The first five originate from the Salti and are known as Siva Yuvatis. They are diagrammatically represented as five triangles with their apexes pointing downwards and remaining four elements are Sivasvarupa and called Srikant/as. They are represented by four triangles with their apexes pointing upwards. In addition to these nine elements which sustain the body, there are also fortyfour elements composing it and these are arranged as so many triangles on the sides of the nine triangles. 10. It means that the entire human body represents Sricakra, which is Devi herself The main object of the worship of Sricakra is the lealisation of the unity of knower, knowledge and the known, 102 the realisation of Sarratmabhavu. The devotee has to abolish the imposed difference between him and the deity. In this Tuntru this Advaita bhava is expressed in ritual, meditation and Japa. In the beginning of the ritual the worshipper has to think that I am He or she' and should theditate upon the unity of Jiva and Bralimun 103 An aspirant should meditate upon himself as one and the same with her. 104 Kularnava tells me that the body is the temple of God, Jiva is Sadaf Let him give up his jononance as the offering which is thrown way and worship with the thought and feeling 'I am Heoi She.'105 Even, Nasa, Japa, Homa, Tarpana used in this method of worship indicate the delivalta blava with the god dess. Nyasa means identifying one's own body with the deity's image.

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70 Y. S. Shastri J.ipa generates il sense of identity with the deity. Homa is destroying the sense of multifariousness of the Universe. It is dissolution of all the distinctions such as "Thou" and "I", "Is" and "Is 1101" Tarpana is the contentment ( 111) caused by the realisation of identity of all things with one's self 100 Yantras and manirus help to produce steadiness in the belief of one's unity on oneness witli the Atman 107 No doubt, thic method of worship advocated by thus Tantra in the priliminary stages involves the dualistic idea 1.e. worshipper and the worshipped But thus idea disappears in the end and spiritual experience gained through this worship ie merging of the individual soul into the supieme energy or Brahmun, supports the idea of oneness between ihe worshipper and the worshipped. After realisation of this unity, the aspirant will ever be in the enjoyment of the bliss of Brahman. He becomes Jivanmukta here and now, 108 Thereafter, he is not bound to perform either any Puja or Japa or dhyana Every word, thought, act and movement of his will be a spontaneous offering to the bigliest deity. 109 We liave seen that immorality is not the aim of the cult of Mother worship The ligest impersonal Brahman of the Upanisads is worshipped in its feminine form. This Tantra mentions in clear terms that only those who are well exercised in selfdiscipline are eligible to worship the highest Brahman in the form of Universal nother. Sankara rightly pointed out that the worship of Universal Mothei is impossible for those who have no control over the senses I To In Tantraraja Tantra we are told that worshipping this goddess, controlling the wild longings, one will fully know one's own true nature and conquer the proclivities with which one is born and thus become one with the true, pure manifest and bouudless becoming. 111 This Tantra emphasises the worslup of qualified Brahman in the form of Universal niother which leads in effect to the merging of the individual soul (Jivatman) of the aspirant into the nou differentiated Brahman. This Tantric path is an appioach to [mpersonal Brahman through saguna in essence. It points out the gate way to approach the highest reality which is attainable only through spiritual devotion, mental purity, self control and the knowledge of one's own real nature It aims at the gradual dissociation of the spirit from the shackles of matter and also from the limitations that are imposed on it by its association with the mind and the antahkarana. Mattei exists in the form of five gross elements (eartli, water, fire, aii and ether) which are formed out of the five Tanmatrus (finer essence). Each element has its own peculiar quality (1.e odour, taste, colour, touch and sound,

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Tripura Tantra (Sri Vidya) Its Philosophy and Path of sidhani respectively) and we liave special senseorgans (ie the nose, the tongue, the eyes, the skin and the ears) to perceive these qualities. Enjoyment of the worldly objects through these organs and mind, keeps the soul of the man in bondage The aspirant of liberation has to transcend tliese senses and objects. Then he has to rise above the limitations set by his own mind and the internal organ When CJUSciousness is completely freed Ciom all its adjuncts, it shumes in its own native splendouu 11? This is the realisation of oneness with Universal Consciousness This is the gist of the philosophy of Tripura Tantra and its path of Sadhana. Foot-Notes (1) Matrkabheda Tantra-Introduction, ed. Bhattacharya Chintamani. Metropolitan printing and publishing House, Calcutta, 1933, P, 4-5. (2) Ibid-Introduction, p-1 (3) Agatam Sambhuvaktrebhyo gatam ca Guijamukham. Matamca Vasudevena tasmadagama ucyate, Nirgato Girija Vaktrat gatasca girisasrutam, Matasca Vasudevasya Nigamah Parikathyate. Agamadvaitanirnya, quoted in Matrkabheda Tantra, p. 2-3. (4) Bhagavan Parasuiamopyaha-Pancamnayan paramarthasarai upan praninya iti-Setubandha, by Bhaskararaya, ed : Agashe Kasinath Sastri, pub Apte Hari Narayana, Anandashrama printing press, Pune, 1908. p. 24. Srutisca dvividha Vaidiki Tantrikica-Manusmrti-II-1, Commentarv.-ed: Pandya Pranajivan Harihar, Pub. Desai M.L., Guiar ati Printing Press, Bombay-1913. p 30. (6) (a) Ayamatma Brahma-Mand Up.-2, Bsh. Up.-II-V-19. (b) Aham Brahinasmi-Brh. Up.-I-IV-10 (c) Tattvamasi-Chan. Up.-VI-XVI-3. Jadvastotta asatopanigaded : Panashikai Vasudcvasharma. Pub : Sheth Panduranga Javaji, Nirnayasagara Press, 1925. (7 Aikyam Jivatmanojahuryogain Yogavisnradah'- Kularnava Tantra IX-31-ed : Sharma Bhadi ashula, Pub. Kalyana mandira, Prayag. V.S. 2016 p 57. (8) "Gurusisyapadeslutva svayam devahi Sadasivah. Prasnottaraparair vakyaih Tantiam Samavatarayat." Mahasvacchanda Tantra. quoted in Setubandha by Bhaskararaya-ed; Apte, H. N, Anand ashrama printing preas, Pune, 1908, P-21

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Y. S Shustri 9) (Madyam Masam tatha Matsyamudramathunameva ca. Etani pancatattvani tvayaproktani Sankara - Mahanii vana Tantia-1-59. ad Bhattacar ya Jivananda Vidyasagar, pub: Valmiki printing piess, Calcutta, 1884. p-13 (b) Madyam Mamsam ca matsyam ca Mudia maithunameva ca Mak TrapancamamDevi devatapilti Kaianam Kularnava Tantia. X-5, p - 63. (c) Kulainava Tantia, criticises those followers, who misuse these five Makaras - II, p-14-15. (10) Tantraiala Tantra-John woodroffe, preface by Shuddhananda Bha rati, pub. Ganesh & Co., Madras. 1954, p --XVI. (1) Paioksam Ko anujanite Kasya kim va Bhavisyati. Yadva pratyaksa phaladam tadevottama darsanam'-Kularnava Tantra, II-89, p 12. (12) 'Bhukti Mukui pradayakam, Kularnava, II, p-13. (13)(a) Setubandha-p-24. (b) Matrkabheda Tantra - Intioduction, p 10. f (14) Kaino Yonih kanaletyevam sankelikai). Sabdaih vyavaharati natu di akatani yam vidyam Vedapurusoapi.-Varivasyarahasya of Bhaskararaya, 18, ed S. Subrahmanya Sastri, pub: Advar Library Madas, 1941., p 8. (15) Yato Va imani Bhutani Jayante, Yenajatani Jivanti, Yat prayn tabhisam visanti, Taittiriyopanisat, Bhrguvalli, I. Isadidasop anisad, pub: Motilal Banarasididas, Delhi 1978, p-319. *16) (a)'Layasthutyudbliavesvari'-Lalita trisati, works of Saukaracarya, Vol-18, Vanivilas press, Srirangam, p--237. (b) 'Srstisthiti vinasanam Saktiblutc Sanatani-quoted by Kaivaly asrama in the coinmentary on Saundarya Laharz-Ed: Ananta Krisna Sastri' pub; Ganesh & Company, Madras, 1957. p-2 17) Encyclopaedia of Indian Culture-Vol -IV ed : Saletore R.N., Sterling publishers private Ltd., L-10 Green Park Extension, New Delhi 1984, p-1271 18) Sakti Cult In Ancient India-Pushpendra kumar, pub : Bhiarati publishing House, Varanasi, 1974. p-10. 19) Matrkabheda Tantra; r-9. 20) A(1) Kenopanisat-III-12, p-3. (2)To dhyanayoganugata apasyan devatmasaktim Svaginairnigu dhm-Svetasvataropanisad-1-3.

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Tripura Tantra (Sri Vidya): Its Philosophy and Path of sadhand 73 (20) B. (1) Tripuratapinyupanisad-p-461-70 (2) Tripuropanisad- p-472-73 (3) Bhavanopanisad- p-476-77 (4) Bahvicopanisad p-554-55 (21) Nityasodasikarnava. I-14-21, ed : Dviveda Vrajavallabha, Vara naseya Sanskrit Visvavidyalaya, Varanasi, 1968; p-43-44. (22) Saundaryalalari-31. Commentary by Laksmdhara, p-140. (23) 'Misrakam Kaulamargamca parityajyam hi Sankari' Saundaryala hari-31, with Laksmidhara, p-141. (24) Ibid p-140. (25) Vamakesvara Tantra with setubandha, Rjuvimarsini, Artharatna. vali, Tantraraja, Matrkabheda Tantra, Varivasyarahasya, Lalita Tricati with Sankai abhasya, Kamakala vilasa, Tripuramahimnas totia, Saundaryalahari with Saubhagya Vardhani, Laksmidhara and Arunamodina; Tripura Tapinyupanisat; Tripuropanisat. Bha vanopanisat, Bahvscopanisat ctc. (26) Dabarakasavakate cakram vibhavya tatra pujadikam samaya iti, Lalita sahasranama with Saubhagyabhaskara, verse-88, ed : Pansikar Vasudeva Laksman Shastri, Pub: Tukaram Javaji. Ni rnayasagara press, Bombay 1914 p-53. (27) Tripura Trividha devi Brahmavisn visarupini. Jhanasaktihkriya saktiricchaSaktyatmikapriye. Trailokyam samsrjatyesa tripura parikirtita-Nityasoclasikarnava-IV-11-12. p. 205-207. (28) Murtitrayasyapi puratanatvat tada mbikayastripureti nama-Lalita sahasranama with Saubhagyabhaskaia p-133. (29) Trikonam man dalam casya bhupuram ca trirekhakam. Mantro api tryaksarah pioktah tatha rupatrayam punah. Trividhakundali saktih tridevalam ca ssstaye. Sarvani trayam trayam yasmat tasmattu tripuramata. Ibid - verse I-Commentary, p-2 (30) Natitrayam tu tripura svisumna pingala ida. Mano budhistatha cittam puratiayamudahstam. Tatra tatra vasatyesa tasmattu tripuramata : Ibid-176-Commentary, p-133. (31) Ibid-p-133. (32) (a) Desakalakarabhedah samvido na hi yujyate-Tantrika vang mayame Saktadrsti-Kaviraj Gopinath. Pub: Bihar Rastrabhasa parisad Patna, 1963. p-4. (b) Saccidananda-Lalita Trisati with Sankarabhasya. Works of Sankara, Vol-XVIII, Vanivilas Press Srirangam p-258. (c)Saccidanandasvarupini Tripura iti nisciyate-Nityasodasikarnava Introduction, p-86. Sambodhi XII-10

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74 Y. S. Shastri (33) Nodeti nastamelyeka samvidesa svayan prabha-Pancadasi, quo ted in Nityasodasikarnava, Intioduction p-85. (34) Tripuraiva paiambrahmetyabhaidhiyatc .-Ibid-Introduction, p-85. (35) Eesa sa parama saktirekaiva-Ibid- IV-10, -205. (36) Samivideva bhagavati svantah sthitam jagad bahih prakasayatti Ibid, Introduction, p-85. (37) 36 Tattavas are: Siva, Sakti; Sadasiva, Isvara, Suddhavidyi, Maya, Kala, Kala, Vidya, Raga, Niyati, Purusa, Prakrti, Ahankara, Buddhi, Manas, five Jnanendriyas, five Karmendriyas five Tanmatras and five Mahabhutas.- Nityotsava by Umanandanacha-Jiird edition, ed : Shastri Mahadeva, Gaekwad's Oriental Institute, Baroda 1948, p-7. (38) Nityasodasikarnava 1-1, 2-9 (39) Nirguna-Lalitasahasranama 95, p-61. (40) Lalita Trisati with Sankalabhasya, p-218-19. (41) Sarvatmika-Trisati, p-217, (42)(a) 'Sadeva Saumya idamagra asid ekamevadvitiyam* (b)Devi hyekagra asit-Bahvscopanisat-1 - Isadyastottarasatoapanisad p. 554. (43) Ibid, p-554. (44) Saundaryalahari-98. ed : Shastri Subrahmanya and Ayyangar Srinivas T. R., Theosophical Publishing House Adyar, Madras 1977. (45) Lalita Trisati with Sankara blasya, pp-175, 180, 192. (46) Nityasodasikarnava-1-9, p-23. (47) Devyupanigad-p-471. (48) Jranajnatrjneyanamabhedabhavanam - Bliavanopanisad p-476. (49) Trisati-p-175, 218. (50) Ibid-p-180. (51) Sarvadhara-Ibid, p-218 (52) Suryo Yatha Sarvalokasya caksuh nalipyale caksusairbahyado saih. Ekastatla Sarvabhutantaratmana lipyate lokaduhkhena bahyah-quoted by Sarkara in Trisatibhasya, p-219. (53) Hanopadana nirmukta,-Trisati-p-234. (54) Sakti and sakta-John Woodroffe, Pub : Ganesh & Co. Madras, 1951., (55) Ibid-p-43 (56) Bahyrcopanisat p-555. (57) 'Sarveasmantahpurusah saatma.- Tripuratapinyupanisad,-1, P-469.

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Tripura Tantra (Sri Vidya): Its Philosophy and Path of sadhana 75 (58) Ibid 11. p-469. (59) Nityasodasikai nava with setubandha-IV-2, p-132, (60) (a) Sadanandapurnah svalmarva paradevata lalita.-Nityasodasikai - nava. (b) Paupunasvatmaikyasvarupa Bharanopanisat, p- 477. (c) Karta karayita kaima karanam karyamevaca. Sarvatmalaya bhati prasadat paramesvarat-Tantiika vangmaya me Saktadrstip-163-164. (61) Bhavabhava vinirmuktam nasotpatti vivajitam. Sarva sankalpanautam parabrahma taducyate-Ibid, p-172. (62) (a) Sakti Saklimatorbhedam vadantyapai amaithatah. Abhedayoginasta vacintakah-Saundaryalahan manupasyanti with Saubhagya vardhani, 1. Commentary, p--3. (b) 'Sivasaktiritihyekum Tattvamahurmanisinah,-Tantrika vangmayame Saktadrati p-76 (63) Sakti Cult in Ancient India- Puspendra Kumar, p---97-98. (64) Ibid-p-151 (65) Nityasodasikarnava -Introduction, p--85-90. (66) Sakti Cult In Ancient India-p-151--2. (67) (a) *Asyam Paripatayan tu na Kascut para isyate-Nityasodasikarnava-IV-5, p--195. (b) 'Aupaniga dam paksastu parasya cidiupasya brahmanah saktirmayakhya. Sacajadava. Saiva jagatah parinamyupadanam. Param brahma tu vivartopadanam. AL eva jagato api mayikatvat jadatvam mithyatvam ca. Tantrikanam paksastu paracinnistha ya cicchaktih aupanisadanumapi sammata saivauanta. Lupatvat mayetyucyate...... Tatparinama eva prapancah Ata eva cidrupah Cidvilasah prapanco ayam" iti Jnanavasisthat. Ata eva ca satyo api-Nityasodasikarnava with setubandha, p-135 (68) (a) Lalita Trisati with Sinkarabhasya-p-169, 178, etc., (b) Saundaryalahai1, 35, 98 (69) (a) Lalita Trisat, p-235. (b) Saundaryalahari-7, p-41. (c) Ibid-I, Laksmidhara, p---2. (70) (a) Saundaryalahari---22-29. p-36 42. (b) Trisati-p-198. (71) (a) Tantraraja Tantra-John Woodi offe-p-24

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Y. S. Shastri (b) Kadacidadyalalita pumrupa krunavigraha-Lalitatrisati sya-p, 225-26 (c) Tantraraja Tantra, XXXIV-p. 99 (d) Lalita sahasranamabhasya, Verse 16, p-9 172) Devi Worshup in Saundaiya Lahari-Iyer Venkatarama M.k. Prabuddha Bharata. Sept. 1959. page B-1. (73) (a) Saundaryalahari, 24-25 p, 37-38. (b) Trisati-p-211. (74) Karmadi saksint karayiti7 karinaphalaprada-Trisati-4, p-173. (75) Karunamsta sagara'- Trisali - 2, p-169. (76) Ibid-7 p-184-87. (77) 'Sarvamata - Ibid. p_218-9. (78) Sadgatidayini-Ibid. p-258-60 (79) (a) Nitya sodasikarnava-1-3 p-14 (b) Saundaryalahari-101 P-251 (80) Saundaryalahari-5 6,13,18,101. (81) Tripuramahimnastotra---51, 53, Kavyamala-pait XI ed: pandit Si adatta and Kasinath pandurang parab, Nirnayasagai press, Bom --1933, p-36-37 (82) Ibid 54-p-37. (83) 'Yatrasti bhogo na hi tatra mokso, yatrasti mokso nahitatra bog Sivapadambhoja yugarcakanam bhuktisca muktisca karasthiteva-Sa darya lahari with saubagya vardhani, p-22. (84) Saundaryalahari, 7-p-10 (85) Saundaryalahari with Laksmidhara-9, p-70 (86) Ibid-p-70 (87) Tantraraja-p-76. (88) Ibid-p-76. (89) (a) Tripuratapinyupanisad-p-461-463 (b) 'Tasya rupadvitayam tatraikam yat prapathyate aspastani Vede catur vapi paramatyantam gopaniyataram-Varivasyarahasya, Bhi kararaya, p-8. (90) Lalitatrisati-p-291. (91) (a) Lalita sahasranama--p-50-52. (b) 'Dasapancakabhedena prapancasya vilasinah, Saksini caksi yasmat tasmat pancadasaksari'-Saundaryalahari with Saubhagya va dhai ---P-49. (92) Varivasyarahasya-p-37-110 (93) Lalitatrisati-----166--290 (94) Nityasodasikurnaya, IV-11, 17--18. p-207, 216 (95) (a) Yasya tlo pascimam janma yadi va Sankarah

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Tripura Tantra (Sri Vidya): Its Philosophy and Path of sudhana 77 svayam. Tenaiva labhyate vidya srimatpancadasaksari -Lalitatrisati. P-293 (b) 'Yasya vijnanamatrena punarjanma na vidyate'. Matrhablicdatantra, VII-1, 2-38. (96) (a) Nityasodasikalnava. (Vamakesvara Taotia). 1-29-43, p--50-57 acd 1-59-75 p-83--88 (b) Tautraraja Tanti a-VIII -52-71 (c) Saundaryalahari with Saubhagya vardhani and Laksmidhard-10, (d) 'Bindu trikonavasukon adasarayugmamanvasrana gadalasamyuta sodasaram. Vfttatrayain ca dhalani sadanatrayam ca sricakrarajamiuditam paradevatayah' - quoted in setubandha by Bhaskararaya-p 27. (97) Nityasodasikarnava with Rjuvinarsint aud Arthanatnavali p-135-36 (98) Setubandha-p-40. (99) Kaulapataousarena adhomukha lll catvaritrikonani Sivatmakunl, Ur dhvamukhani panca trikonani Saktyatmakani'-Laksmidlara-p-72. (100) Samharakcamena Kaulamargah' ........... Spstikramastu samayam argah.-Laksmidhara p-82-83. (101) Saundaryalahai1, II ed : Subrahmanya Sastri and Srivas Ayyangar Adyar, Madias, 1977; P-64-71 (102) 'Jnata Svatma bhavejjnanamarghyam jneyam havih sthitam. Sricakra pujanam tesam ekikaranamicitam'-Tantraraja Tantra,-XXXV,p-102. (103) Guram natva vidhanena so ahamiti purodhasah, Aikyam samuhay. ayet dhiman javasya brahmanoapi ca-Gandharva Tantra, quoted in Sakti and Sakta, p-568. (104) 'Evam dhyatva tato devim so ahamatianam arcayet', Ibid, p-568. (105) 'Deho devalayah devi jivo devah sadasivah. Tyajedajnananirmalym so ahambhavena pujayet --Kularnva Tantra-IX-P-58. (106) (a) Nyasastu devatatvena svatmano dehakalpanam. (b) Japastu tanmayata rupabhavanam. (c) Kartavyamakartavyamaudaslayanityatnjavilapanam homah. (d) Esim anyonya sambhedabhavanam tarpanam-Tantraraja-XXXV p-104. (107) Ibid. p-104. (108) 'Bhavanaparo jivanmukto bhayati_Bhavanopanisat-p-477 (109) Saundaryalahari-27 (110) Saundaryalahar1-96. (111) Tantraraja Tantra-XXXVI-p-109-10. (112) (a) Brhadaranyakopanisad-11I-I-9 P-792-3. (b) Devi worship in saundaryalahari p-B, 5-6.

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PLEASURE AND PAIN - ACTION M. P. Lakhani Before the creation, God exists in an unconditioned state, without attributes, as God the Absolute, Nirguna Brahman. When He desires to create, He conditions Himelf and becomes Suguna Brahman-in the form of Trinity-Brahma, Vishnu, Shiva--personifying the attributes of Rajas, Satva, Tamas., representing Activity, Harmony and Stability, Inertia and Destruction. Creation starts with the coming into being the fourth, the feminine or passive or negative aspect, Mattei, Prakriti or Primordial Eneragy. What Brahma creates with the help of Prakriti becomes alive' when pervaded by the Spirit of Vishnu. When Christ descends into the womb of virgin Mary, life starts-the creation starts. Life consists in balancing the two principles-activity and inertia, the positive and the negative, the Spirit and Matter, the Purusha and the Prakriti. There is thus duality in life : good and bad, pleasure and pain, up and down, light and darkness and so forth. These two opposite principles are the two sides of the same entity, Life. Realisation of this is the ultimate goal of man; this is realising the Truth: this is reaching Godhood. By thc very nature of creation, therefore, the two opposing principles, positive and negative exist in equal quantities. If one principle were to increse or decrease, it would produce disharmony, unstability, destruction. living to find Man, as every other living being, is struggling, pleasure. If a man is willing to go somewhere to achieve what he has in his mind, every step he takes is a pleasure because it is taking him nearer to his fulfilment. But the exertion to take a step is pam; with every step he takes, hundreds of cells of his body die. When man feels hungry he eats. Every morsel he takes is a pleasure; it satisfies the pangs of hunger, it yields pleasure to his taste. But the labour involved in prepasing food, raising it to the mouth, chew it..... is labour, is pain and

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M. P. Lakhani during this labour hundred cells of his body perish. And so with any and everythin man does-pain and pleasure go together. And if pain and pleasure are equal why should one act for a thing. If pain and pleasure are equal, if there is no profit, it is foolish for man to act, to do anything. It is nothing but FOLLY to live. The only logical and sensible thing would be to get out of such an improfitable existence, to die. But the patent fact is that man does not want to die, he does not want to quit. Obviously he finds that pleasure is greater than pain, he finds it pleasanter and more profitable to live than to die. This means that in life, the proportion of pleasure is greater than that of pain. How is that brought about? God created inan and wanted him to go forth in the world of matter to experiment, to gather experience, to evolve and get at the Truth of Life. This he could do only by performing action so that existence and action are synonimous. To supply incentive for action. He made arrangement so that, for man, sum total of pleasure becomes greater than the sum total of pain. He or His Deputies, sacrifice themselves to lift some pain off humanity. There are a large number of 'Christs' who bear the cross who take upon themselves some of the pain of humanity, they accept suffering so that humanity may move forwards. Rishis, Munis, Yogis, having renounced the world and sitting in caves and forests in Samadhi are not being selfish. They have not run away from the world for selfish purposes, for personal progress. In Samadhi, they are helping the human race on higlier planes of existence. All the time they are 'endeavouring to pull up the human race. Masters though they have discarded their physical bodies, are working on higher planes to keep and guide humanity. This is a collosal task and there are a large number of spiritual Beings constantly lifting a part of human pain. That is how the ratio of pleasure becomes greater than pain and man finds it possible to act and live Amritain and poison conie up while churning the ocean. Poison would have destroyed all activity. So, Shiva took up the poison and kept it in His throat-that is how his throat and body became blue, and He came to be called 'Neela Kantha', and so helped the creation to act and progress.

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PREPARTING THE WOMEN FOR DECOLONIZATION: THE ROLE OF GUJARAT VARNACULAR SOCIETY (1848-1915) Miss Bhatt Usha G. The 19th Century witnessed the trausition of the Gujarat Society as a iesult of the general impact of the British rule in this region. The process of colonization was at the same time released by colonial rulers as a result of which a number of institutions emerged in Gujarat. Some of these institutions were founded with the co-operation and active support of the well-meaning and friendly British officials, although the general colonial environment prevailed and perpetuated. One of these institutions was the Gujarat Varnacular Society, founded in 1848 by the social elites like Bholanath Sarabhi, Bhogilal Pran vallabhdas, poet Dal. patram and Nagarsheth Premabhi Himabhi. The local elites got moral support from the British bureaucrats such as A.K. Forbes, T.B. Curtis and Major Full James. The Gujarat Varnacular Society generated multi faceted reformist activities and it became a neucleus for meaningful social work particularly in connection with the problems of women. The objective of this paper is to trace the growth of this institution and explain its role towards the upliftment of women. Before we review the work of the Gujarat Varnacular Society from 1848 to 1915 it would not be out of place to briefly sketch the condition of woman which prevailed in Gujarat in the first half of the 19th Century. In the early part of the 19th Century in Gujarat the concept of a woman's independent personality was not accepted. Really speaking social approach towards woman reflected the medieval-feudal attitude In male dominated society a woman was secondary to a man and she had very few social rights. The tradition of infanticide, child marriages etc. made female life miserable. There was sharp contrast in the social treatment given to male and famale children. Female education in the modern term was not in the existence. It was believed that if a girl was taught she would become a widow. Some families, no doubt, emphasised female education, but this was more of an informal training within the family rubric. She Sambodhi XII-11

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82 Miss Bhatt Usha G. was not supposed to go to the school. She was meant to be marrit to do domestic work and to deliver children. There were excepti like Diwalibai who wrote poems and few Nagar women knew Sansk or Persian, 2 Prior to the 19th Century in Gujarat child marriages were coming A girl was generally married between the age of three and 11 yea The marriages were supposed to be limited to the casts, subcasts or a loi community. Therefore tlie scope for the selection of a life partner limited. Besides the choice of a girl was not in the picture at a As a result of the child marriages unmatch-couples or odd coup (Kajoda lagna) were in the existence. An eight year girl could married to an old man of sixty! The 18th Century poet Krishnaram remarks that girls at the age 10, 11 or 12 years used to become mothers. 3 The death rate of 1 pregnant women was high. Even after the delivery women used to due to unhygenic conditions, lack of medicines etc. Polygamy was pr alent in the society. Widow-remarriage was not possible and the cond ons of widows were terrible. They had to live their lives under varie social restrains. This was the general picture of social status of won in Gujarat. II This picture began to change when a large number of social refoi ers appeared on the scene and they were the products of the Brit educational system. These reformars launched cruzed against the ca system and the evils like the child marriages and ban on the wic remarriages. For example in 1858 Karsandas Mulaji wiote that as ni and famale both are human beings they should have equal rights.+ F Narmada Shankar suggested 18 points to improve the position of wor and emphasised feinale education. 5 The Gujarat Varnaclar Society re cted this general environment and assumed the role of a change-ag It took up the work of woman's upliftment. In the initial stage Gujarat Varnacular Society was purely a product of the colonized atn phare. Like the Indian National Congress this regional organizat was founded by a Non-Indian named Alexander Kinlok Forbes 26th December 1848. All the managing committee members were Euro ans. Only in 1852 Bhogilal Pranvallabh, the principal of the Eng School was included in the committee. . The basic object of the society reveals the symptom of decolonizat The object was to enhance the progress of the regional Gujarati langu

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Preparing the women for Decolonization : The Role of Gujarat and literature, to spicad knowledge and to increase the rate of education.8 On the 5th January 1849 the society started the native library. In a scnsc thc socicly played very important role as an effective medium of social change On the 2nd May 1849 th society started a newspaper published on cvery Wednesday named Vaitman' by Bajibhai Amin. In the 'Vartman dated 2nd July 1851 a para in connection with the jail adininistration was published. On the very point the government was displeased. One of the managing committee members Mr. Harison expressed his acute protest against Vatman'. 10 On the 1st April 1854 'Buddhi-prahash' was published by the assist. ance of the Gujarat Varnacular Society, 11 This Journal, among other things, published articles on lamale education and adult marriage. It also published articles in favour of widow remarriage. In a very true sense., the Buddhi prakash generated an ideological movement for the betterment of the Gujarati Women. On account of its inoderate and popular style the journal was very popular and it had a large circulation both in the urban and rural areas such as Broach, Junagadh, Dhandhuka, Kheda, Mahudha, Nadiad, Jambusar, Kapadvanj, Dholaka, Sadara, Petlad Mah. cmdavad, Rajkot and Baroda. Mostly the government school teachers were in charge of these agencies 12 In 1855 the well-kuown Gujarati poet Dalpatram was invited to join the position of 'Kaveeshvar' of the society. He was pro-British and praised the British raj. 13 Dalpatram wrote a poem regarding the rule of the uneducated ruler and he warned the native rulers that if they would not impove upon themselves they would be loosers. 14 Besides Buddhi prakash tried to spread the thoughts pertaining to the various kinds of refoons, 15 In this work they tried to get support from the native rulers.. This was indeed a major landmark in the history of social icform movement in general and women's liberation in particular. This was particularly in viuw of the fact that the native rulers of Gujarat, like their Indian counter parts were ignorant and backward looking people. It goes to the credit of Gujarat Varnacular Society that it was able to persuade the Raos and the Rajas and the Maharajas to utilize their financial and the State resources for the welfare of women. They now began to set up schools for the education of young girls. This was an inportant anticulouial battle from within the society itself. Gandhiji was later to do the same thing in his endeavour to fight away the British

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84 Miss Bhatt Usha G. imperialism. Maharaja Sayajirao Gaikwad III, the ruler of Baro financially assisted the society. 17 The Society likewise had cont with the Maharaja of Kutch28, Nawab Sher Mohammad Khanji ofl anpur Stalel9 and Maharaja Vakhat Sinhji of Lunawada. 20 When society raised the fund for the building of the society Shri Diwan M akhan Sher Mohammad Khanji of Palanpur paid Rs 651. Mansingh R of Baraily, Pratapsinhji Gulabsinhji of Vasada, Motisinhji of Chota -U pur-they each paid Rs. 500 Manyar Khanji Joiavar Khanji of Wadasi paid Rs.300 Thus the native states were incorporated in the activit The society took the initiative and leadership to get the support of various segments of the society. These instances are sufficient to reveal the point that the soci contained the potentiality to mobilize the processes of decolonizati In a sense the working of the society shows typical Gujarati mmercial Culture. Apparently it was pro-colonization but slowly, gradu: and indirectly the society was working in the direction to piepare decolonized psychology of the people or to strengthen the nationa spirit. Though apparently the image was that of pro-colonization, inner currents were surely those of de-colonization-particularly 'decol ization of the older approach of men towards women. III The main thrust of the society while doing the multifarious activi was to bring about change in the social status of women. The study the files of Buddhi Prakash from 1854 to 1915 support this viewpoint.' society took up the slow and gradual process to mobilize public opin in favour of women's education and simultaneously it helped to incre the role of women's education. In the City of Ahmedabad in 1849 the Gujarat Vainacular Soci took the charge of a school. The following figures 21 of the school help to understand the condition of the girls education. -Year Total number Boys 48 47 85 1949 . at the end of the year 1849 1850 1851 120 100 92 110 1:

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Preparing the women for Decolonization: The Role of Gujarat 55 Number of Guls (in the guls school). 42 38 Year 1850 1853 1854 1855 84 132 The report (1852-53) of the society states that the guls school founded by Harko Shethani, widow of Hathisingh Kesari Singh a noted philanthrophist of Ahmedabad, was under the Society's management, According to the report, the working of the school was not sitisfactory, but the expecta tion was to improve the condition. Sheth Umabhai Hathisingh on behalf of Harkor Shethani awarded the prizes of Rs.250 to the students. 22 The pioneer work of the girls education was started under the School of Gujarat Varnacular Society. 23 Further, Shethani Harkoi bai donated the amount of Rs.6,000 for the girls school and besides she agreed to donate Rs.4,000 for the building of the school. 24 In December 1955 the Governor personally came to inspect the schoo! He conducted the examination of the guls. After the completion of the examination the girls played garbas and the prizes were distributed to them. 25 This was an important step towards the upliftment of women in general and the guls students in particular. This was also a noteworthy cultural 1esponse paving the way towards decolonization. According to the Society's report of 1854-55 Shethani Harkorbai continued to render the financial assistance for the school and she agreed to give Rs. 12,000. The foundation stone of the building of the girls school was laid on the 26th October 1858 27 As far as the gils education was concerned the society took keen interest not only in the city of Ahmedabad but also in the other urban and rural centres of Gujarat. In 1859 there were nine girls schools in Gujarat. Out of these three were in Ahmedabad, two in Surat, Bhavnagar, Rajkot, Limdi, Nadiad and Gondal each had one. Even in Mahudha, Nadiad and Kapadvanj the girls education was progressing." 8 In 1870 Miss Mary Carpenter who was intensely interested in the girls education visited Ahmedabad for the third time and the efforts were made to train women teachers. 29 In 1872 Rav Bahadui Bahechaidas Ambaidas Lashkari donated Rs. 10,000 for the purpose. 30 The Mahalakshmi female training college catered the need of female teachers At a time when female education was increasing, the need to create female teachers

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Miss Bratt Usha G Ildtudly caught the attention of the leaders of the society. The Mahalak sm famale training college was the result of this new social awakening On the 1st September 1892 Ravbahadur Ranchhodlal Khadia gir school was started with the donation by Ranchhodlal Chhotalal, t1 pioneer of the cotton textile industry in Gujarat In 1901 the Gujara Varnacular Society prepaicd a plan for women's education 31 an the plan was in tlic existence in 1915. The society by awarding the various prizes inspired the educate sections to participate in the essay competitions on the burning socia 15sues such as chuld marriages, casts-iegimentation, supeistitions an restrictions on widow-remarriages and foreigo travels. The women were encouraged to participate in the essay competition and the clocution competitons On one occasion the subjects for th essay competitions were (1) Result of child marriages and its iinpact o girls education (11) The customs and traditions in the caste of Kaday kanabi 32 The theme on the Kadava Kanabi' shows that the society tool special interest on the caste which was supposed to be ritually an socially the lower caste in the society. On 23rd and 24th December an elocution competition was organise in Maganbhai Karamchand girls school and the topics were (i) the need of the women's education and (ii) what type of women's education shoul be imparted Six women participated in the competition. Out of then Mrs. Gangabai Prashankar Yagnik and Mrs. Ambaji Jivaram were res pectedly the teachers from Manasa and Patlad, Mrs. Vijaya Premabha was a scholar in Ahmedabad fernale training college and Mrs. Gulal Kahandas was a teacher in the same college. Mrs. Reva Kashiram wa from Baroda and Mrs. Annpurnabai was the wife of Ganesh Gopal Pan dit (B A.). Thus the married women teaches were available and they were active in these type of activities.33 The elocution competitioi became the yearly programme and on 22nd and 23rd December 1897 thic competition was organised in Bholanath Sarabhai literary institute fo women. In the competition 10 women participated and most of then were the school teachers. This function was presided by Vidyagaur Nilkanth who passed the Intei-Mediate examination 34 It may be notec here that Vidyaben was the daughter-in-law of Mahipati ani Rupram the celabrated social icformer of Gujarat and the wife of Ramanbha Nilkanth, a famous social and political reformer and the author of the renouned noval Bhadram Bhadra.' Mrs. Bayabai Shripad Thakur passec

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Preparing the women for Decolonization The Role of Gujarat the same examination. Miss Sharada Gopilal Dhruv and Miss Dinabai Pestanji Jamas passed the Matriculation examination.35 The first female member of the society was enrolled in the year 1892. She was from Petlad named Rukshmanibai, her father Naranji Nandlal paid her subscription. The father and the daughter both were the members of the society. 36 In the year 1915 there were 45 female members of the society from the city of Ahmedabad and 123 female members were from the City of Bomday and the other places. 37 In short the various activities of Gujarat Vainacular Society helped the emergence and the growth of women's awakening. This undoubtedly show that the Gujarat Varnacular Society had mobilized the Gujarati women folk much before Mahatma Gandhi gave a dynamic orientation towards the problems of women. Notes 1. 2, 3. 4. 5. 6. 7 8. 9. 10. 11. 12 13 87 Neera Desai Social Change in Gujarat Vora and Co. Publishers Pvt. Ltd. Bombay, 1979, p. 68. Pravrutt i-Aitihasih Usha Bhatt Gujaratma Samajik Sudharanani Samiksha-Stri Utkarsh Vikasgrih' Vikasgrih, Ahmedabad, 1st January 1982, April 1982, October 1982. Neera Desa Social Change in Gujarat p 67 Karsandas Mulaji Nibandh Mala, Vol. 1, 1870 From the article written on 24th October 1858 Narmada Shankar L.Dave Narmgady Premanand Sahitya Sabha, Baroda (1865) pp 184-187 Usha Bhatt Gujarat Varnacular Society-Prarambhik tabbako" Vidya, Gujarat University A Humanities January 1981, Vol XXIV, No. 1, p 1 Hiralai T. Parekh Gujarat Varnacular Society no Itihas Part 1 Ahmedabad, 1932, p. 9 Hiralal T, Parekh Gujarat Ibid p 23 Ibid P 16 Buddhi Prakash Vol. 1, 7th March 1954. Ibid. Vol 2, July 1855, pp 97, 99. (a) Dalpatram Dahyabhai Dalpat kavy, Vol.1, Bombay 1879 pp. 55-73. (b) Buddhi Prakash Vol.6 No 1 January 1859 p.1 'Victoria Maharanina Chand'

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Miss Bhatt Usha G. 14. 15 19 20. 21 23. Buddhi Prakash Vol. 1, 7th March 1854. Ibid. Vol 2, No 2 November 1855 pp. 166-170 (3) Buddhi Prakash Vol 3 February 1856 pp 33-35 (b) Idid Vol 5, No 5 May 1858 pp. 34,75 Dalpatram Varnacuila Societyni Gaibi. Buddhi Prakash Vol 4 No. 5 May 1957 Hiralal T.Parekh Gujarat Varnaculur Societyno Itihas Part II pp. Idid p 80, lbid pp 82-83 Hualal T. Parekh Gujarat Varnacular Societyno Itihas Part II, Hiralal T. Parakh Gujarat Varnaculai Societ no Itihas Part 1, D. Buddhi Prekash Vol. 1. 7th March 1851, p 10 Thid. Vol. 1 No. 5 Ist August 1834 pp 17,78. Ibid Vol. 1 7th March 1854, p 10 Buddhi Prakash Vol. 3 March 1856 Ibid September 1856, p. 161. Buddlu Prakash Vol 5 No 1-2 January-February 1858. Ibid Vol. 6 No. 11 December 1859 219. (a) Ibid Vol 17 No. 3, March 1870, p. 54. (b) Mangubhai Ramdas Patel Rau Bahadur Bechardas Ambaidas La (1818-1889) A biographical study of the social and industrial leader of G Ph.D. thesis Gujarat University 1985, PP. 267-278 (Unpublished) Gu Varnacular Society ane Bechardasni Pravruttio 1848 to 1889 Buddbi Prakash Vol 42 No. 9, September 1895, p. 268 Ibid, Vol. 1. 7th March 1854, p. 13. lbid Vol. 42, January 1895, No 1, p 30. Ihid yol 44, January 1897, No. 1, pp. 24-25, Buddhi Prakash Ibid. Vol. 39, No. 12, December 1892, p. 288. Ibid, Vol. 63, No.11, November 1916 The Report of the Gu Varnacular Society, 1915, pp. 2-3. 31. 32. 33 36

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FIXING UP OF SOME VARIANTS FROM KLASS (Ref. Hemacandia's Kavyanusasana) T S. Nanili This happens to be the thud article of its type 1 The singular purpose of our effout is to point out that tising up the variants available in the woikso1 Kalidasa, editors so far, wcluding the most reputed ones such as prof S. K Belvelkar, have sadly overlooled perhaps the most important iesearch tool le. Works 0! Almk13 with any number of learned comentators quite often discussing this vi that reading calling one a 'sadhupatha' and the other an 'apapatha'. Noi only is Kalidasa quoted piofusely, but Bhavabhuti. Bhattanarayana, 187. khadatta and many others are looked in to furnish illustrations while en aning this or that point in alamkara works So, as in case of Kalidasa. we can attempt a thorough escarch in this direction 107 the case of other literary artists also. In this paper, we will consider only five verses from the Abhijnana Sakuntala of Kalidasa, and consult only Hemacandra's Kavyanusasana for the present. In fact all alamkara works, biginnig from Vamana's Karyal ainkara-sutra-vptti and the Dhivanyaloka to Mammata, Bhoja, and urto Visvanatha onwards, with any number of commentaries, both published or unpublished, could be utilised for the purpose. For the present we have chosen only Hemacandia to serve as an illustration. Ilenacandra could be an ideal and most obvious choice because are aware of his utility, as proved by prof. Gnoli in editing portion of the Abhinavabhaati on the famous rasasutra iu Bhrata's Natyasastia, and by Piof Di. V M. Kulkarni in ieconstructing the lost portion of the Abhuava-bharate on the bhavadlivaya or the seventh chapter of the Natyasastia of Bhaiata and also by us in editing the Abhinava-bharati on the sixth chapter of the Natyasastia with a neat introduction, translation and notes in Gujarati, published by tlic Gujarat University. ('82). 1. Tho first one is published in the very first number of the Journal of the Sanskil University, Jagannatha puri The second one was read in the Vith World Sanshalt Conference in Philadelphia., U.S.A.Oct 84 and is published in Sambodhi April '82 Jan '83, This paper was read at the A. IO C., Ahmedabad, Noy 85. Sambodhi XII-12

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T. S Nanchi We base for the purposes of this papei, utilised the following cditi195 for comparing some of the lans. They are - (1) Kilnus. of Hemavandia (H) Second revised edition by prot. RC Parkl & D. V. M Kulkaint-Published by Sii Mahavira lama Vidyalaya, Bombay, 64. (2) The Abbijnanasakuutala of Kalidasa, Text, as cdited by piol s. K Belsclkat (B) BORI Poona Sahitya Akademi, New Delhi, First Edition, 1965. (1) Kalidasi Abhijnanasakuntala with Raghava Bhatta's Commc. taly (I&R) cdited by K M Joglekai cdition Bombay, 1913. (1) Mahahavi Kaldasa-viracula Sakiintala piof Umasankar Joshi (T) (in Gujarti) Published by Gunai Grantha Ratna Karyalaya Vimedabad, edition, 1955. 15) Ilic Ablujnana Sahuntala of Kalidasa (G) edited with introdu C11011. cte by prof. A B Gajendragadkar, Fourth revised edition, The populai Book Store: Surat. 1956 161 Kalidasa's Abhijnanasakuntalam, with an original Sanskrit con mentary ctc. by Siadai anjan Ray (S. R ) Twelfth Edition, Calcutta, 1924. 17) Kalidasa-granthavali (Re) edited by prof. Rewaprasad Dwivedi, Varanasi, 1976. It may bc 1101cd at the outset that Hemacandra has drawn upon 11on Kalidasa at more than one hundied places in his Kavyanusa apa including the Alanikalacudamani and the Viveka. Out of those ome eight verses ac cited from the Abhijnanasakuntala one of them being only a half quotatation. Heic ina we have considered only five verses to hegin with. The cight aic verse No Page No in (H) 1. 377 530 2. 347A1, 7979 (31) FIE 8.!! (31) Pr? (zAkuntala 4-16) (fat. Pue) (x-ra 8-87) .?, 3930 145 ? Please sec Appendix-1. 3 39=3NZIA : farfa is also mentioned in H verse number as given by the editors

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Fixing up o/ soine Varunts hom Kalidasu 4. gAhantA mahiSA. 5. grIvAbhaGgAgigamam (vi) 445 (zAkuntala 1-7) (a) 114 (zAku0 1-7) 6. calApAGgA dRSTi 7. taba kusumazaravAM 220 (zAku. 1-20) (a) 279 (zAkuntala 3-3) (3) 87 (zAkuntala 1-13) 8. prasnigdhA : kvacidU0 It may noted that from the above, we have left out no. 1,7 & 8 as no variants are noticed in them. We will go to see that the rest are numbered differently by different editors. We also do not know which edition is referred to by mofessors Parikh & Kulharui while identifying these verses. lu the five illustrations considered here we are mentioning only tlie variants as read in this or that edition. We are not quoting the full verses as they are all quite well known 1. asmAn sAdhu --- H.- premapravRtti : bhogyAdhInamata : strAbandhumiyAMcyate / B.- (P. 7) lead as 4-18 __ sneha pravRtti, bhAgyAyata, vAcya vadhUbandhubhiH . H & R.-(P 142. read as 4-16) snehapravRtti . bhAgyAyattamata:0, vAcya vadhUbA dhumiH all these tendings are also supported by Raghava p. U.- (P. 166, K-19) sneprani0, bhAgyAyattamataH, bAcca vadhUvandhubhiH U. has consulted B. K. Thakore's edition (Printell 1922 D, R. Taraporewala & Sons, Bombay) also, which, unfortunately we have not been able to obtain. G- (p 65 4-17)-Prof Gajendragadkal has noted some varnants from some mss snehapravRtti0 . bhAgyAyattamataH bAcca vadhUyandhubhi : S.R.-- (P 433, 4-18) snehapravRtti0 bhAgyAyata, yAcya vadhUSandhubhiH . Re. (P. 490.4 -10) snehapravRtti0- Vithal note meutioning sA mAnyapratipatti etc bhArata vAcya vadhUbandhuni: with a foot-hote viz. daivAcInamataH... . tata ratrI bandhubhi. yAcyate. This is closer to H.

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TS. Nandh It may be noted that this verse is numbered as 4-18,4 16, 4 -19 & 4-17 by different editois. V Raghavan observes about B In issuing this Publication the authorities of the Academy and its Sanskrit Board are Ware o its incompleteness." The other attempts are also equally inc. waleto toi nobody has ever thought of consulting perhaps a very inne Portant research tool available in the works of Alamkma Sastra. 2. upamA H. utvadamaNo; vihitAnubandham B... (P. 69. Tead as 4/15) viratAnubandhama J.&R.- (P. 140-9, read as 4114) vihatAnubandham (also supporter by Raghava, P. 141) U.- P.162, 4117) viratAnubandham G. --- (P. 2.4, 8 / 15) vihatAnubandham. viratA* noted in the Ft. note. S.R.- (P. 428, 417 viratAnubandham . Re- (P. 489 : 4.15) viratAnubandham. also zithilAna, and viditaanu| mentioned in Ft. note The verse is numbered as 4.14 4. 15and 4 17 by differer ditors. Nobody has consulted H. Who has lihitAnubandham : We can alway look into Maninata with a host of his commentators and also Bho. & Othels. 4. gAhantA mahiSA :: H.- vinadha; varAhapatibhiH B.- (P. 31 216) vizrabdhaM barAhatatibhiH J.&R - (p. 65, 26) vizrabdhaM varAhapatimiH both of these varian are supported by Raghava (P66) U.- (P. 68. 26) vizrabdhaM.. varAhatatibhiH. G.- P. 37. 216) vizraya varAhatatibhiH, 0patibhiA 15 noted in t ft. note, SR - (P. 220. za6) vizrabdhaH varAhatatimiH Re.- (P150. 16) vinamdhaM0. also vinadha: noted in ft. not varAhapatibhiH At least all the editors are at one in numbering this verse as P! vitrAdhe' mentioned by Re. in the Ft. Note is supported by H. 5. grIvAbhAbhigama. I.- dattadRSTi: zaparardhAvalI De: 0. zramavitatamukha 0. B.- (P-7 117 ) dattadRSTiH0. zaSpaiH0. zramavitatamukha.

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Fuaing up of some l'ariants from Kalidasa J.& R-. (P.SE PG ) agzie: a. O also supported by SAFE . Raghava p (P... - Cazz, aij, naaao G. (P = '218) azaz: also pro noted in Ft Note: #: alagao S.R. - (P. co.219) 27 . ; slagao-no other vanants 10 noted in the Fi. note. The verse is identically inentioned al 10. fls by all. H's, Chef: is mostly accepted, of course without even dreaming of consulting H while his 9: and safego are accepted by some. 6 219151oH-nagkalo with I' for ias suggested in the Ft. 11010 as u variant, B. (P.84,3120 ) #9; ra as palo J.&R. (P. PX: P170) *), ia' ag val also supported by Raghava P34 U. (P.02. &178) #, ca ac malo G. (P.28: 8128) #7'; #) noted in the Ft, notes far as it SR (PPG P170) #), ia az kalo Re (P xau 3138) 427 pa' et gal, o also noted 2219151 76?: in Ft Note This verse Is differently numbered as 120, 21, 22 and 23 by different editors The above discussion should bring home oui point that while atteripting a critical edition of the works of Kalidasa, -and we know that the Sahitya Akademi editions are equally imperfect,- we have to take into account the evidences supplied by the works of Anandavardhana, Mammata, Hemacandra, Bhoja and host of other alamkara works with numerous learned commentaries on them. We know that Mammata's. K. P. is being credited with more than eighty conimentaries and such other authorities have got to be taken into consideration very seriously as they are perhaps the most important research tool available, Hemacandra in particular proving most useful.

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1 5 ma 7 ri 2 10 d 12 13 14 15 16 17 18 19 20 21 22 Appendix 1 akArAnukrameNa udAharaNAnAmanukramaNikA' akAlasandhyAmi aGgulibhariva atha sa lalita adhyavastuni ayaM janaH ayi jIvitanAtha astyuttarasyAM AlokamArga AvarjitA kiJcidiva itaH sa daityaH jutAM nayata ete vayamamI dAgaH pavamAli nigRhItasAdhvasa serday kaNThasya tasyA kuryA harasthApi kusumAyudhapati kRtavAnasi kumAra0 krodha prabho sahara kSaNa sthitAH pakSmasu candra gata padmaguNAna jayAzA yatra ( a ) 536, 349 (a) 165, 149 (vi) 586,450 (a) 55, 66 (vi) 348, 229 (a) 111, 116 (vi) 236, 985 (a) 132. 1933 (vi 376, 252 (a) 537, 359 (a) 53, 65 (a) 616, 689 (a) 689, 409 (vi) 440, 286 (a) 126, 130 (a) 933, 132 |vi| 509, 257 (ba) 337, 204 (vi 629, 461 (a) 269, 220 (a) 200, 177 (thi) 408, 277 (a) 379, 263 (vi) 388, 254 ( 1-4 ) (8-62) (2-64) (8-6) (4-80) (4 3 ) (1-1) (7-57) (3-5.) (2-55) (4-23) (6-63) (85) (6-84) (1-42) (3 - 10) (0, -- 2) (1-7) (3-72 ) ( 5- 24) (1-43) (2-49 1. Kavyanusasana with Alankarcudainani & Viveka of Acarya Hemacan dra, By Prof Rasiklal C Parikh, & Dr V. M. Kulkarni Edition -'64 Mahavir Jain Vidyalaya.

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23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 /? 42 43 44 45 46 1 r 3 Fixing up of some Variants from Kalidasa taba prasAdAtkusumAyudho'pi tAsAM tu pazyAtkanakaprabhANAM tIvrAbhiSaGgaprabhaveNa vRti te himAlaya mAmantrya tvagutarAGgavatImadhItinIma dasara darpaNe ca paribhogadarzinI divAkarAdrakSati iyaM gataM saprati nivedita niHzvasitena patyuH zirazcandrakalAma paryAta pustakaM pazya pazvimadigantalavinA puSpaM pradholIpati pratigrahItu praNayi babhUva bhasmaiva saMbhAvanotthAya madhu dvirephaH mandAkinI kana pakSa zailAtmajApi dakSiNApAGganiviSTamuSTi reat nitAda hRdaye aafa atithiM nAma atha pathi alibhiraJjana avantinAtha raghu0 (a) 390, 265 (a) 530, 347 (a) 736, 428 (a) 158, 147 (Si) 225, 184 (vi) 92, 27 (a) 651, 394 (a) 262, 217 (a) 608, 376 (a) 161, 148 (a) 737,428 (a) 145, 137 (a) 261, 297 (a) 229, 206 (a) 162, 148 (a) 125, 13 (a) 332, 239 ( a 240, 210 (vi) 135, 50,335 (5-79) 203. 385, 254 (a) 57, 66 (a) 345,242 (a) 101, 111 (32) 615,380 (a) 346, 242 (a) 100, 111 95 (a) 284, 225 (bi) 120, 32 (a) 228, 207 (vi) 356, 249 (3 - 10) (739) 14 73 ( 6-94) (5-16) ( 3-37) (8-11) (1-12 ) (5-46) (7-19) (3-39) ( 8-34 ) (1-44) ( 3-66 ) (732) (6-59) (3-36) (1-29 ) (5-72) (3-75) ( 3-70 ) (3-54) (4-9) ( 17- 1) ( 11-93) (9-41 ) (6-32)

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T.S. Nandi AlokamArga AsamudrakSitIzAno upapannaM nanu kazcit karAbhyAM 16 18 kAtarya kevalA kalAsagaura saMgha sUryaprabhavo garvarthamarthI jugopAtmAnamatrastA jyAbandhaniSpandaM tamabhyanandat na kRpAmRdaravekSya tItheM tadIye gajasetubandhAta tIrtho toyavyatikarabhave tenAvadhipramahAsagvena dazapUrvasthaM dazarazmizatopamadhuti nitambagu nirdhAtoH kujalInAna pANDayo'yamaMtArpita yaduvAca na tanmithyA gdhu za vAsi romamanmathazareNa rudatA kuta evaM vAMgaoNva zaizave'bhyastavidyAnAM sa chinnabandha saMcAriNI dIpazigveSa hareH kumArI'pi (a) 132, 133 (vi) 376, 256 (vi) 382,223 (vi) 365 259 (1-60) (a) 935,134, 684, (6-13) 478 (a) 356. 246 (17-47) (vi) 100, 28 (2-35) (a) 551, 3.4 (1-2) (vi) 370, 252 (5-24) (a) 350, 244 (1.21) (a) 398,266 (640) (ghi) 373, 252 (3-68) (a) 347, 242 (11 83) (a) 261,211 (16.13) (a) 157,144 (895) (vi) 350, 224 (vi. 354,233 (8-29) (a) 439, 296 (829) (a) 435,275 a) 435, 295 (a) 400, 266 (660) (a) 354,246 (17.42) (a) 616, 377 (3-61) (a) 198,168 (11-20) (vi) 343, 218 (885) (ghi) 60, 20 (1-9) (vi) 383, 254 (1-8) (vi) 164 140 (vi) 173, 146 (6-67) (vi) 430, 23 (3.55) vikrama 1 (4-2) (a) 214-204 ayamapi paTu

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Fixing np of some Variants from Kalidasa 97 is (4-2) m x (4-29) 3 ayameka pade tiSTherakopavazAtprabhAvapihitA svayi nibaddharateH mahadapi paraduHkha mRdupayanavibhinnoM mUryAcandramasau haMsa prayaccha (a) 86,85 (a) 167, 127 (a) 213, 203 (vi) 352,233 (a) 301, 230 (vi) 363, 250 (a) 144, 137 w o (4-10) (4-19) (4 17) v zAku0 (1-99) (4-14) asaMzayaM kSatra asmAnsAdhu utpazmaNo gohantAM mahiSA grIvAbhaGgAbhirAmam calApAnAM dRSTi taSa kusumarAratvaM prasnigdhAH kvacidigudI (a) 124,130 (a) 142,136 (vi) 171,145 (vi) 448, 288 (a) 114,198 (a) 2, 36 (a) 371, 220 (a) 87, 85 (1.20) (3-3) (1 13) megha0 tatrAgAraM tAmuttIrya braja tAsA tu pazcAtkanakaprabhANAM dI/kurvan pAdanyAsakyANitarazanAM visakisalaya veNIbhUtapratanusalilA zyAmAsvaGga (vi) 239, 185 (vi) 122,32 (a) 530,347 (vi) 71,26 (vi) 121, 23 (a) 220 206 (a) 159 147 (a) 421, 27tha (2 12) (1-17) (7-39) (9.61) (1.35) (1-11) (1.29) (244) Sambodhi XII-13

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ON THE TEXT OF A verse in the Bhitari Stone Pillar Inscription of Skandagupta Satyavrat Tlie controversy sparked off by Verse Seven of The Bhitari Stone Pillai Inscuption of the Gupta monarchi, Skandagupta, on restoration of possibly the correct text of its last quarter, has lately assumed interesting, though somewhat dogmatic overtones, with the jumping of some of the stalwarts into the fray. V. C. Pandey is disposed to follow with faithful tenacity J. F. Fleet, who, stiay efforts not withstanding, is credited with the first cohcrcit reading and translation of the line that run as follows : va. TFH* 293171 919909179ath : "Whom the bards raise to distinction with (their) songs and praises"i Prof. J. N. Agrawal too has been an equally a dent champion of Fleet's reading, though, on his own adinission, he had often felt sceptical of the precise import of the text. It is a measure of the intensity of his misgivings about the vecacity of the text, that while teaching us the inscription, way back in 1937, he had retained the reading, as made out by Fleet but had translated it almost in the manner, he lias done recently. It is a pointer to the fact that while he had hit upon the intended sense, loug back, he was unsure, to say the least, of the correct reading of the live. Since some momentous issues pertaining to the origin and character of Skandagupti are involved in the text of the line and interpretation thercof it mcrits an honest and unbiased evaluation. Dr. Pandey, while cspousing Hect's reading, sights many phantoms in the verse. Thus, it is to his ingenuity that we owe the breathtaking suggestion that Skandgupta had the 'Aryastatus' (aryata) bestowed upon him by petty bards, implying thereby that he, for svoth, was not an Arya. Skandagupta's non-Aryan. hood, Dr. Pandey further avers, emanated from the low origin of his mother, who, he would have us belive, was of Savaravarna' and as such not a Mahadevi. However, he stops short of denigrating her as a concubine, though that would have formed the most fitting finale to his tortured interpretation of the verse.4 While there is nothing in the Gupta history, as we know it, to uphold the supposed 'low origin of Skandagupta's mother or to prove that she was not the chief queen of Kumaragupta, it would he naive to believe that Skanda gupta was absol

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100 Satyavrat ved of his alleged humble moorings by lowly bards, who, in Dr. Pandey' view, were instrumental in elevating him to the honoured status. It i simply beyond reason and comprehension how a court panegy1is a small fry in all essentials, could have the arrogance to include in a official epigraph an expression, which was patently insulting to hi sovereign, who, in his own estimation, was a paragon of manifol virtues, prowess, modesty and liberality included. 5 The difficulty in the correct interpretation of the verse stems fror the corrupt readings which beset Fleet's text and which Dr. Pandey, i his wisdom, has chosen to turn a blind eye to 'Historical implication apart, the oddities in Fleet's reading of the line, cannot escape perceptive reader. In our opinion, the last word of the quarter, whic Fleet had read as aryatam, holds bey to the correct restoration of th text. As a result of his close scrutiny of the original stone and it estampages, over the years, Prof. Jagannath Agiawal is convinced tha there is no trace of an anusvara over 1t. The woid therefore is the nominative aryata, and not the accusative singular, as Fleet took it to be. Once aryata is, as it should be, accepted the correct reading, the verb prapayati and the noun vandakajano in Fleet's text lose their relevanc and cease to have locus stand in the verse. From the minute details h has laboriously furnished of the shape and matra of each syllable o the third word, there is little doubt that what Fleet had falteringly reas as vandakajano, is actually vrttakathane. Assured of these two crucia words, one cannot be insensible to the absurdity of prapayati, in the situation. Pra is obviously an error for hre, the verb thus being hrepayati and not prapayati, as Fleet had made it out. With these correction: carried out, the text of the line would read as follows. a: fafte ganua a quarzda, "Whom his innate nobility causes to blush in the course of recital of his exploaits by means of songs and praises." The obvious connotation is that despite a plethora of varied achievement! to his credit, Skandagupta was so modest that he would go ablush or hearing them sung by his court-baids. The aversion of a cultured and great person to hyperbolic eulogis, howsoever true they may be, is so well-known. This is as it should be. However, fired with a zeal to stick to his guns, Dr. Pandey has confronted the suggested text with the objection that vrttakathane is in poor company with gitaih stutibhisca and aryata hrepayati 18 bad Sanskrit. Morever, the causative hrepayati, he confides, is not found used in the sense 'causes to blush' in the extant Sanskrit literature. This is rather a reckless statement. One need not go far but turn to V. S. Apt's 'A Student's Sanskrit-English Dictionary',

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On the Text 101 which records and illustrates it as one of the meanings of the causal form of hisi. 8 Nor is there anything wrong with the construction, the new text admits of. We are constrained to feel that a part of ambiguity sticks to the line because both Prof. Agrawal and Di Pandey, in their wisdom, have chosen to read it in isolation of the earlier part of the verse If treated as a composite whole, the verse is bound to unfold the true import and provide sure clue to restoung the correct text of its last quarter, The preceding lines speak of Skandagupta's humility in spite of his multiple equipments. The last quarter is intended to strengthen his qualiteis of anutseka (modesty) and avismaya (absence of arrogance), set forth, in some detail, in the earlir part. The text of the line, as restored by Prof Agrawal and which adds up to be the sole cogent reading in the context, performs precisely the same function and is in perfect accord with the spirit of the verse, as a whole. It also serves to knock out the basis for Dr. Pandey's fanciful interpretation of the verse. Foot Note 1 Corpus Inscriptionum Indicarum (CI), III, 55-56 2 Vishveshyaranand Indological Journal (VIJ), XX, 185 3 VIJ, XVII, 194; XX, 186 4 VIJ, XVI, Pt I, p. 78 5 Bhitari Stone Pillar Inscription of Skandagupta (BSPI) C II, op. cit, V. 2-8 6 VIJ, XX, 185-186 7 Bharati-Bhapam (Dr. K. V. Sarma Felicitation Volume, Hoshiarpur, 1980), p. 437. 8 V S. Apte The Student's Sanskrit-English Dectionary, 1963, 644. 9 yo bAhubhyAmavani vijitya hi jiteSvAta Su kRravA dayAm / norisakto na ca vismitaH pratidinaM saMvardhamAnayutiH // BSPI, V 7 .

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MORALITY, AUTHORITY AND SOCIETY : THE PROBLEM OF DHARMAPRAMANYA* M. V. Baxi I The Problem : Texts and the Context The problem of dharmapramanya is the problem of the valid sources of the knowledge of dharma 1.e. morality, duty or the good. In Hindu Ethics, Stuti, Smriti and Sadacara are the valid sources of the knowledge of dharma. The first aspect of the problem of dharmapramanya is that of resolving the conflict among the various sources of the knowledge of dharma and the second aspect of the same problem relates to the question of resolving the conflict, not among the sources but among the prescribed dharmas theniselves In case of the conflict among the sources, the general solution lies in accepting a graded or ranked scheme of the sources such that one source (e.g Sruti) is treated as more authoritative than the other (e.g. Smritis) In this context, the concepts of lokavidvista, mahajana and kalivarjya are also introduced to absorb the pressures on textual authority arising from public opinion, society and history. In the case of conflict among dharmas themselves (i.e., in relation to the problem of determining the valid dharma during moral conflict), the general solution lies in accepting a graded 1 ranked scheme of the categories of duties such that, in cases of conflict, one set of duties has greater force compared to the other. For example, as against the Sadharana dharma (i.e. general morality), Varnadharma is to be followed even if it involves violence to the fellow human beings, but as against Yajna dharma, (sanctioning violence to the animals) Sadharana dharma is to be followed by redefining Yajna in a symbolic and metaphysical manner. Thus the general solution offered both for the conflicting sources and conflicting dharmas involves an acceptance of some graded scheme of categories along with criteria of choosing the selected category. From an analysis of both these aspects of dharmapiamanya briefly outlined in this paper, we find that the moral imperatives in the tradit * ICPR Seminar on Moral und Aesthetic Value-India and Western Approach.Department of Philosophy-M. S University, Baroda. September 22nd, 23rd and 24th 1986

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M. V. Baxi 104 1onal Hindu ethics are scriptural categorical imperatives or injunctions Scriptural prescriptivism thus is the main theme for legitimizing morality in Hindu ethics Any such prescriptivism (or textual morality or revealed morality) 1 bound to face in any society the changes in the rules, norms values. standards and patterns of human behaviour brought about by a number of factors. Such changes lead to new norms of interpretation of the texts. or new texts sanctioning a wide variety of new social practices. There thus a considerable scope for society asserting itself for a new morality against scriptural authority. Gradually such changes lead to the replacement of the greater part of scriptural or revealed morality by the sociologiocal morality as far as public affairs are concerned. The Indian history of the nineteenth and twentieth centuries illustrate this point. According to Grace Cairns (1983) Dharma as varnasrama dharma has undergone significant changes in modern times, but modernization, urbanization, industrialization and education have not interfered with the ongoing and continuing development of the great tradition of Sanskritic Hinduism, for which Dharma and Moksa are the highest values. This paper deals with the set of concepts which developed in response to the social pressures on the textually sanctioned morality. The concepts of lokavidvista, mahajana and Kalivarjya are concepts which helped to relax or modify the rigid paradigm of scriptural morality especially in relation to textual conflicts. Again certain well known concepts like the concept of Karma, Moksa, disinterested action etc., functioned as a means of resolving the conflict between dharmas. Social concepts in response to textual conflicts and metaphysical concepts in response to conflict of dharmas (duties) illustrate the legitimation devices underlying Indian ethical discourse. II Dharma Dharma, according to the Purva-Mimamsa is that good which is dete. rminable by the Vedic commands, 1 Vedic sacrifices and their good results constitute dharma. In this restricted sense, it has nothing to do with God or ordinary morality or with any kind of mystical fervour, 2 That which is enjoined by the Vedas is virtue. Anything prohibited by the Vedas is evil and sin. 3 The fundamental idea of the Gita according to Dasgupta (Vol.2, p, 502) is that man should always follow his casteduties, which are his own

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Morality, Authority and Society : The Problem of Dharmapramanya 105 proper duties i.e. sva-dhai ma The caste-duties are objectively fixed in a social order divinely sanctioned and cosinic forces also support those who stand for Dharma. The only thing that an individual can therefore do is to live upto his own vauna dharma irrespective of the consequences and without selfish motives or any attachment. General duties, nioral qualites and virtues constitute Sadharana Dharma which has been recognized by the Gita, Dharmasastras and Puauas Thus there are only two basic categories 1.e. Varnasrama-Dharma and Sadharana-Dharama Yajna-dhaima (in the Minamsa sense) is a part of Varna-dharma. III Sources of Dharma As Dharma can not be kuown by perception or inference, Sabda is the only means of knowledge about Dhaima according to Mimamsa. Vedas according to Jaimini are eterual, self existent and absolutely authoritative. According to Kumula, those parts of Smrtis which are concerned with Dharma and Moksa have Vedas as their source. 4 The customs, usages and piactices of sistas, (sadacara), also constitute legitimate sources of Dharma. Of course, according to Kumarila, Sistas are those that perform religious rites and duties expressly enjoined by the Vedas. 5 The works of heretical sects, those that are outside the pale of Vedas, do not consitute authoritative source for the knowledge of Dharma. All Dharmasastras (i.e. the Sastras of Manu, Yajnavalkya, Narada and others as well as all Dharmasutras (i.e., the sutras of Gautma, Baudhayana, Apastamba and others ) ale regarded as valid sources of dharma along with Epics and Puranas. It has also been claimed that all Dharmasutras are concerned with imparting instructions in the dharma of Varnas and Asramas, The role of Tarka is very limited. Reasoning which does not directly conflict with Vedas and Sastras is to be accepted. It is employed when there is a conflict among various texts. IV Conflict among the Sources of Dharma As Sruti, Smrti and Sadacara are the three basic sources of Sambodhi XII-14

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IVD M. V. Baxi Dharma, if there is a conflict among them, the general rule is that each preceding one of the three lias more force than each succeeding one." In the case of conflict between two Vedic texts, an option regarding the action to be performed is indicated. If two Vedic texts, not of equal force, are in conflict, no option is indicated but the conflict can be resolved by holding that one of them states a general rule and the other states the special rule. The same applies to Smrti passages. 8 However, in cases of conflict between Sruti and Smrti, Sruti is final. When two Smrti texts conflict, reasoning based on the practice of the sistas (the elders) is of greater force.9 It has been also suggested that as dharma changes according to four yugas, Manu is the final authority for the Kyta age, Gautama for the Treta age, Sankha-Likhita for the Dvapara age and Parasara for the Kali age. 10 According to Gobhila Smrti however, the opinion of the majority should prevail in the case of conflict between the Smrtis. 1 1 If there is a conflict between Dharma--Sastra and Arthasastra dharmasastra is the final authority. 1 2 In the case of conflict between Smrtis and Puranas, Smotis are to be preferred. 13 Thus there are rules and norms for resolving the conflict among texts which have been graded according to certain norms of precedence. This is not merely a textual exercise It has a significance for the theory of moral knowledge. Textual conflicts are to be resolved through norms which are themselves textual. Thus we have conflicting texts on the one hand and later texts for resolving those conflicts on the other. There are two types of contradictions in the texts-descriptive and prescriptive. If for example, one text claims tliat "X lived for 75 years" and another that 'X lived for 50 years' then only one of them can be true. This is because the discourse is about facts. But if according to one text, "X is prohibited" and according to another text "X is permitted", then here there is a contradiction between prescriptions and therefore one of the texts is to be treated as inapplicable or inoperative in a particular context. Such prescriptive contradictions are resolved by a number of devices but in all such cases, the absolute validity of revealed texts is compromised. Scriptural prescriptivism is to that extent diluted, Soci. ety overrides the authority of revealed morality in those contexts where public opinion goes against the scriptural codes,

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Morality, Authority and Society: The Problem of Dharmapramanya 107 It is in this sense that the concepts of Lokavidvista (hated by the people ), the concept of Mahajana and the concept of Kalivarjya become philosophically significant. They illustrate the complex interrelationship among morality, authority and society in the area of moral knowledge. Lokavidvista : When public opinion disapproves of that which has been sanctioned by Smrtis, then according to certain Smrtis themselves, that which is thus lokavidista should be dropped. 14 This is an important concession to society for overriding scriptural authority in certain cases. For example, killing of animals for Madhuparka and for the rites of the Pitrs and gods became lokavidvista and therefore it ceased to be operative. The discussion of lokavidvista in smrtis themselves reveal how some texts themselves sanction the undermining of some other texts. Such concepts were availed of for sanctioning social changes even in a static society. This does not mean that public opinion is always progressive, but the point is that justification of moral knowledge can never remain entirely textual. To recognize this fact is to see that values, norms and rules of conduct scripturally sanctioned are not immune from the impact of social forces. To stipulate that certain passages in the sacred texts are to be treated as inoperative is at the same time to give up revelation as the only source of dharma. This point has not been sufficiently emphasized in philosophical discussions of moral knowledge. To be pleased only by the fact that social changes are properly reflected in textual modifications is also to miss the point that scriptural authority is thereby diluted. If relative morality is recognized then the authority of the texts is compromised. The interesting point is that such compromise is also sanctioned by the later texts, and that proves that as far as the knowledge of morality is concerned, social practice can undermine some scriptural texts to a great extent. This does not mean that a group self-consciously decides about the moral validity of certain kinds of actions and deliberately undertakes a planned change of public morality. Mostly, certain kinds of practices liberated from the burden of texts become functionally autonomous and these changes are reflected into the new texts sanctioning new morality. Mahajana: Sometimes the conflict among all the sources is so intense that all attempts at legitimizing dharma through scriptures have to be given up. Vanaparva of Mahabharata beautifully expresses this as under:

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208 M. V. Baxi "Rationalization is unstable, Vedas are in conflict with each other, there is no single sage whose opinion is held to be authoritative (by all), the truth about dhaima is enveloped in cave (1.e. it can not be clearly discerned) and that therefore the patli is the one followed by the great mass of people" (Kane V. 11. 1271 ) Thus the path followed by the mass of people (ou by the great med constitutes dhaima. This implies that wlien all the other sources create confusion there docs exist a nonrevealed sociological pramanya for dharma. People can change the nornis and rules oi choose among the conflicting ones by themselves as a group and the group values thus emerging can be treated as Dharma irrespective of its textual justification This provision at any time can be availed of for new directions of social morality. Thus there is a provision for society to oveunde authority in relation to morality The idea that what is lakavidvista may be diopped and the idea that malajana may be followed because of the conflict among sources, illustrate how scriptual authority can be diluted by the changing society. Another interesting idea is that of Kalivarjya i e., the idea that ceitain actions though sanctioned as Dharma should be treated as inoperative ip Kaliyuga. Kalivarjya : The concept of Kalivarjya illustrates the necessity of taking into account the historial changes in the consciousness of people during various periods of time. We may set aside the question of the date of the onset of Kaliyuga or the calculations about its duration or the hypothesis that it would be a period of moral degeneration but we may still try to understand low changes in social consciousness lead to changes in the nature of the moral sanctions and prohibitions through the concept of Kalivarjya. Practices which are forbidden in Kali-yuga include, sea-voyage, carrying of a jar of water, marrying a girl of a lower class, offering of flesh in Sraddhas, human sacrifice, horse-sacrifice etc. Some of the new prohibitions of Kalivarjya appear to be rigid and irrelevant now but philosophically speaking, the concept of Kalivarjya itself contributes to the relaxation of the scriptural paradigm of dharmapramanya. The tension between the sciiptural and the social basis for the moral regulation of human affairs is still a live problem in our contemporary society. Modernization is bound to highlight the problem of the interaction between the texts and the society. How such a problem was solved the past is an important area of knowledge relevant to values. Any

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Morality, Authority and Society : The Problem of Dharmapramanja 109 theory of moial knowledge which bases itselt on sanctioned texts has to face the problem of the conflict of the sources. One could in the past never bypass all the texts and work out a criterion of the knowledge of values independent of all the texts. Extreme rextual morality however has never worked. Pressures of social change, weight of experience and observation, changes of moral sensibility and claims of public opinion have always threatened textual absolutism in the spliere of moral knowledge. There is always a tension between revealed moi ality and naturally evolving social morality. The texts are to be bypassed in the interest of social context V Tre Conflict betacen Varnasra va Dharma and Sadbarana Dharma Two categories of Hindu ethics are fundamental-Vainasrama Dharnia and Sadharana Dharma (i. e. general moral qualities virtues and values) Both types of Dharma derive their legitimacy, justification or pramanya from Sruti, Sinrti and Sadacara The socialization process analysed by psychologists involve the internalization of values and norms of behaviour. Thus it can be inferred legitimately that values and norms of varnasrana and sadharna dharma are internalized during the socialization process of a Hindu child in the traditional context. The internalized sanctious and prohibitions constitute the positive and negative aspects of the conscience of an individual. The Hindu conscience comprises two types of values i. e. values associated with caste-duties and values associated with duties and moral qualities as human being qua human being. When there two components of Hundu conscience come into conflict, there is a inoral crisis. It is not a conflict between good and evil, it is a conflict between two types of values. The concept of Dharina not only includes what is generally known as moral values but it also includes legal as well social rules along with detailed rules and procedures regarding lunan behaviour in social and non-social contexts. The Gita illustrates the conflict between Vatna-dharma and Sadhainadharma According to Dasgupta, Gita treats caste-duties as having a greater force in cases of such conflicts. 15 In the literature on moral counselling in the Epics, we find that individual historical agents experience crisis, guilt-feelings, anxiety and depression because they are objectively required to follow varna dla ma

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M V. Baxi 110 whereas their conscience sanctions general moi al duties as having greater moral value. A set of concepts like the concept of disuterested action, thc concept of Law of Karma, inmortality of soul etc. are offered to guide aul individual to nesolve the conflict in favour of svadharma. VI Conclusion The relationslup among morality authority and society is highly complex. Certain nornis and values govern human practices. Tliey aic then codified at a certain stage of history in the sacied texts. To that extent textual authority depends upon society for its moal contents. On the other hand, once texts are accepted as authoritative the morality of new social practices is deterruined to a large extent by the authoritative texts. In this sense social structures and their functions get their sanction from textual authority. But once again, social forces lead to changes in the nornis sanctining certain practices and they are then codified in the new texts. Textual justification thus become less and less -rigid ini this process of continuous interaction between the text and the context. Any philosophical discussion of values and morality concentrating only on the categories of the individual and his development of moral character fails to realize that historical changes in the authoritativeness of the sources of morality reveal a trend towards 2011-textual sociologically sanctioned morality or scheme of values, to which an individual. is exposed. Most of the recent discussions on Hindu ethics have taken into account only the moral ideas, values and duties and have hardly attended to the problem of the valid sources of the knowledge of the good and thic right. Once this epistemology of Hindu ethics is taken into account, a number of philosophically interesting points emerge. For example, it emerges that the relation between reason and revelation is not just a pioblem of theology: it is a live issue in ethics and sociology also.16 Similarly, we may make a new distinction between the non scriptural and scriptural prescriptivisor in ethics, which would lead to niore comprehensive discussion of the nature of moral language and inoral reasoning. Knowledge of values, like knowledge of facts is organized differently during different periods of society. Explanation of facts and justification of values are not isolated cognitive phenomena. They are worked out

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Morality, Authority and Society' : The Problem of Dharmapraminya 111 within a framework of assumptions about human nature, human action, the role, status and destiny of an individual and so on the distri bution of power (both political and legal) and the validation of authority regarding the regulation and control of human affairs contubute to the emergence, persistence and change in the endes of knowledge and conduct. The role of Sabda-pramana therefore is to be viewed in this perspective Of course highlighting Indian scriptural prescriptivism in this manner does not mean that there was no role of reasoning in Hindu ethics. Reasoning however, was einnloyed only to clarify, establish or refute certain positions operating within the sphere of revealed morality. We find that in the epics, there are beautiful moral discourses or moral counselling sessions where tarka is employed for the purposes of defending a particular course of action within the framework of scripturally sanctioned dharmas. The framework itself however is never given up. Reason operated within the framework of revealed morality, it could not, form its own resources, establish moral conclusions from nonscriptural premises. Given this contexr, nothing can be gained by finding out parallels between Bradley and the Gita or Kant and the Gita. Neither Kant nor Bradley ever offered scriptural prescriptivism as the basis for the justification of morality, though they had their own metaphysical arguments, Kant's categorical imperative is totally non-scriptural. Kant and Bradley were not talking about divinely sanctioned scheme of duties in a relation to a fixed social order reinforced by cosmic laws Given these fundamental differences, similarities between Kant's ethics or Bradley's ethics on the one hand and Hindu ethics on the other, do not amount to a significant understanding of either of the systems. We may therefore conclude our discussion by pointing out that the history of dharmasastras provides us with a very rich source both for the study of history of ethics as well for the study of epistemology of ethics i.e. the problem of dharmapramanya. In our search for the new moral, social and legal deals and for a new justification for them, an understanding of the social and intellectual history of dharmapramanya will prove to be very rewarding NOTES 1 Dasgupta, IV, p. 2 2 Dasgupta, TV, P 3 3 Dasgupta, II, p. 483 4 Kape, V, p. 1261 5 Kane, V,"p' 1264

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M. V. Bari 6 Kane, 1, p. I, p. 4 7 Kane, III p 863 8 Kane, III p. 864 O Kane, III p. 866 10 Kane, III p 869 11 Kane, V p. 1266 12 Kane, III, p. 868 13 Kane, III p. 873 14 Kane, III, 869, V p 1268 15 Dasgupta, IT, p. 526, 27 16 Blanshard, B Reason and Belief (1974) This is the most authentic and comprehensive discussion on the clash between reason and revelation in the context of the history of Christianity. Some of his techniques of analysis can be applied to Hindu ethics. References 1. Cairns Grace E "Dharina and Moksa : The highest values of the great tradition in modernizing India" : In, Main Currents in Indian Sociology, Vol V (Ed ) Giri Raj Gupta, Delhi; Vikas Publishing House; 1983. 2. Dasgupta S. History of Indian Philosophy, Vols II and IV. 3. Kane P. V. History of Dharmasastras Vols., 1, 3, 4 and 5.

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VISVANATHA'S KAVYAPRAKAS'ADARPANA (K. P. D.) & SAHITYADARPANA (S, D )* Jagriti Pandya Vasvanatha was wellknown by his work Sahityadarpana (S.D.) among Sanskrit Poetics. He also wrote a commentary called Kavyaprakasadarpana (K. P. D.) on the Kavyaprakasa (K. P.) of Mammata, after completing the S. D. He has mentioned S. D. several times in this comm, at places for detailed discussions. Not only that, but many a time we get close resemblance with S. D. in it, from the point of view of expressions in form of sentences and half-sentences and also in form of ideas. Here an attempt is made to compare the two works critically. This attempt is limited to some portion only. We have used the Ed. of K.P.D. published by Ganganatha Jha Kendriya Sanskrit Vidyapitha, Prayaga, '76. It may be noted that the said Ed. has the said comm. on 3 to 6 ullasas only and nowadays we have the complete Ed of K.P.D. published from Allahabad in 1979, edited by Dr. Goparaju Rama. But this r*w Ed. of K.P.D. has too many misprints, so we have followed it only for the first two ullasas. Visvanatha has quoted his S.D. by name--for 13 times in the comm. on the first six ullasas of K. P. We have tried to place similar or parallel portions side by side from both the KP.D. and the S.D., which may become self-evident of their close resemblance. We should also mention that the names of both the works are also very significant. S. D. is a work concerned with criticism of the literature as a whole with all its forms, while K. P. D. is only a comm, on the K. P. of Mammata. The word 'au' which is common to both the titles indicates the faithful representation of its matter. The comparision between K. P. D. and S. D. could be noted as below 1. K.P.D. ullasa-1, P. 1 on K.P. 1.1. faraean arfifcaa (972) altaafaxine ......etc. * The paper was read at the XXXIInd Session, A.I.O.C. at Ahmedabad, Oct. 85 Sambodhi XII--15

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114 Jagrill runuyu See also S. D.-1, P. 1 granthArambhe nirvighnena prArisitaparisamAptikAmo .....etc. 2. K.P.D. ullasa-1, P. 3 on K.P. 1.2 ......parikSaNIya kAvyasya phalairevAsya phalavatvamiti ......etc. Compare the intioductory remark to S. D. 1.2 asya granthasya kAvyAGgatayA kAvyaphalaireva phalavatvamiti ...... / 3. K.P.D. ullasa 1, P. 4 on K.P. 1.3 evaM ca pariNata buddhibhirapi kAvyaM pravartitavyam / See Vrtti on S.D. 1.2 ......pariNataSuddhibhiH satsu vedazAsoSu kimiti phAdhye yatnaH karaNIya ityapi na vaktavyam / 4. K.P.D. ullasa 1, P. 5 on K. P. 1.4 A ......kAvya nirviSaya' praviralaviSaya vA syAt / and the Vrtti on S.D. 1.2 evaM kAvyaM praviralaviSaya nirviSaya vA syAt / 5. K.P.D. ullasa-1, P.5 on K. P. 1.4 A ......sarvatra sAlakArayoH kvacit sphuTAlaGkArayorapi [kvacidasphuTAladhakArayorapi] zabdArthayoH kAvyasvamiti bhAvaH / and the Vrtti on S.D. 1.2 asyArthaH-sarvatra sAlaMkAro kvacittvasphuTAlaMkArAvapi zabdArtho kAvyamiti / 6. K.P.D. ullasa-2, P. 11 on K.P. 2.6 b AkAkSA pratItiparyavasAnavirahaH / sa ca zrotujijJAsArUpaH / and the vrtti on S.D. 2-1A is identical with the above. bhAkAkSA pratItiparyavasAnavirahaH / sa ca zrotarjijJAsArUpaH / ___K.P.D. ullasa-2, P. 11 on K.P. 2.6b yogyatA padArthAnAM parasparasaMbandhe vA bhAvaH / tadabhAvepi saMbandhe vahinA siJcatItyAdyapi vAkyaM syAt / and the Vrtti on S.D. 2.1 A yogyatA padArthAnAM parasparasaMbandhe bAdhAbhAvaH / padoccayasyaitadabhAve'pi vAkyatve 'vahinA sizcati' ityAyapi vAkyaM syAt / There seems to be a misprint in KP.D. in reading -vA bhAvaH for bASAbhAvaH / 8. K.P.D. ullasa 2, P. ll on K. P. 2.6 sannidhirva divicchedaH [sannidhibuddheravicchedaH] buddhivicchede'pi vAkyarave idAnImuccaritasya gozabdasya dinAntaroccaritena gacchatIti padena saGgatiH syAt / and the Vrtti on S.D. 2.1A AsattibaddhadhavicchedaH / buddhivicchede'pi vAkyatve idAnImuccAritaraya devadattazabdasya dinAntaroccAritena gachattIti padena saMgatiH syAt /

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Visvanatha's Kavyaprakasadarpana & Sahityadarpana 11 9. K.P.D. ullasa 2, P. 17 on K. P 2.9 AropitA svAbhAviketarA IzvarAnudabhAvitA vA, kriyA zaktiH / and the Vrtti on S.D 2.5 sA zabdasyArpitA svAbhAviketarA IzvarAnudabhAvitA vA zaktilakSaNA nAma / 10. K.P.D. ullasa 2, P. 18 on K.P. 2.9 iha kuzala zabde dakSarUpasyaiva mukhyArthatvAt mukhyArthavAdhAbhAvAcca lakSamAta kuzavAhika-- rUpasya vyutpattilabhyatve'pi mukhyArthatvAbhAvAt anyaddhi zabdAnAM vyutpattinimittamanyaca pravRttinimittam / vyutpattilabhyasya mukhyArthatve "gauH zeta" ityatrApi gamadhAto pratyayena vyutpAditasya gozabdasyApi lAkSaNikaprasaGga.... etc. and the Vrtti on S. D. 2.5 kuzagrAhirUpArthasya vyutpattilabhyatve'pi dakSarUpasyaiva mukhyArthatvAt / anyaddhi zamdAnA vyutpattinimittamanyacca pravRttinimittam / vyutpattilaH yasya mukhyArthatve 'mo. zete' ityatrApi lakSaNA syAt / 'game?.' .. ...iti gamadhAto?pratyayena TyutpAditasya gozabdasya zayanakAle prayogAt / 11. K.P.D. ullasa 3. P 48 on K.P 3.21 "bhinnakaNThadhvanirdhAraH kAkurityabhidhIyate ' ityuktaH prakAra: / tabhedAca tatsahakArimedAt svarUpabhedAccAnantAkArebhyo boddhavyA: / The Vrtti on S.D. 2.17A reads as : "bhinnakaNThadhvani/ra: kAkarityabhidhIyate" ityuktaprakAyAH kAkomA Akarebhyo jnyaatvyaaH| Above in K.P.D. we have AkArebhyaH which is not proper and is corrected in its new Edition. But we have 'tatra' for tassahakAribhedAt & svarUpabhedA: for svarUpamedAta which seems quite amusing, 12. K.PD. ullasa 4, P. 60 on K.P 4.24 lakSaNAmUlatvAdeva bAcyamabhidheyam / avivakSita bAdhitasvarUpaM yatra sa eko'vikSitavAnya nAma dhvaniH kAvyabhedaH / Now see the Vrtti on S.D. 4.2 tatrAvivakSitavAcyo nAma lakSaNAmUlo dhvaniH lakSaNAmUlavAdevAtra vAcyamavivakSitaM baadhitsvruupm| The reading of K.P.D is improved by removing the punctuation mark of a fullstop after 'abhidheyam' in its new Ed., with the half of S.D. The sentence would be like this, lakSaNAmUlatvAdeva vAcyaM abhidheyaM avivakSita bAdhitasvarUpaM yatra......etc. 13. K.P.D. ullasa 4, P. 60 on K. P. 4.24 sa cArthAntarasaMkramitavAcyAtyantatiraskRtavAcyazcati dvividha ityarthaH / ......anapayajyamAnatvam , arthAt svarUpamANArthAntareSu vizeSarUpe saMkramitam ityasyAcI pariNamitaH /

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116 Jagriti Pandya We have saMkramitavAbhyo'tyanta...in the new Ed. of K.P D., which seems proper but then vizeSarUpam for vizeSarUpe saMkramitaM is not correct. The fullstop is also useless. We have pariNamitam for pariNamita: in it Now read-the Vrtti on SD. 4.3 avivakSitavAcyA nAma vAnararthAntarasaMkramitavAcyA'tyantatiraskRtavAcyazcati dvividhaH / yatra svayaM anupayujyamAno mukhyo'rtha: svavizeSarUpe'rthAntare pariNamati tatra mukhyArthasya svavizeSarUpAthAntarasaMkrAmetatvAdAntarasaMkramitavAcyatvam / The second sentence-'yatra svaya'... etc.' in S. D. is clearel than'anupayujya. etc.' in K.P.D. 14. K.P.D. ullasa 4, P. 61 on K.P. 4.25 abhidhAmUlavAdevAtra vAcyaM vivakSitamabAdhitam , aparo vivakSitavAcyAdanyo vynggynisstthaa| vyaGagye niSThA tAtparya yasya / We have a fullstop after bAdhitam in the new Ed. of K.P.D., and then apara'...etc. for aparo. There is no fullstop after tAtparya yasya, which is not proper. Compare-the Vrtti on SD.4.2 vivakSitAnyaparavAcyastvabhidhAmalA / ata evAtra vAcyaM vivakSitam / anyapara' vyaGagyaniSTham / 15. K.P.D. ullasa. 4, P. 62 on K.P. 4.25 utpalazatapatravyatibhedavallAghavAditi zeSaH / Compare : the Vrtti on S.D. 4.5 atra vyagyapratIteH vibhovAdipratItikAraNa karavAtkramo'vazyamasti kiMtutpalapatrazatavyatibheda. vallAghavAna saMlakSyate / 16. K.P.D. ullasa 4, PP. 63-64 on K.P. 4.27-28 iha ca sAvikAnAmanubhAvarUpatayA na pRthaguktiH / See- the Vrtti on S. D. 3.1 sAsvikAzcAnubhAvarUpatvAnna pRthaguktAH / 17. K.P.D. ullasa 4, P. 65 on K.P. 4.28 pAramityAllaukikatvAt sAntarAyatayA tathA / anukAryasya ratyAdekhdabodho na raso bhavet // In the new Ed., we have na vasIbhavet for na raso bhavet , which is not proper. It could be a misprint. We have this quotation in S.D. 3.18 18. K.P.D. ullasa 4, P. 72 on K.P. 4.28 .......sAdhAraNyena pratItarabhivyakto dadhyAdinyAyena rUpAntarapariNataH /

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visvanaina s Kavyaprakasa darpana & Sahityadarpana Compare- the Vrtti on S.D. 3.1 vyakto dadhyAdinyAyena rUpAntarapariNato vyaktIkRta eva rasaH / 19. K.P.D. ullasa. 4, P. 72 on K. P. 4.28 pAnakarasanyAyena yathA pAnake khaNDamaricakarpUrAdInAM raso militAnAmupapadyAsvAyate tathA saMvalitavibhAvAdisukhacamara aaraatmkH| We have...pharAdInA rasA militAnAmupapAyAsyAdyate in the new Ed of K.P.D. See- the Vrtti on S D. 3.16 yathA khaNDamaricAdAnA saMmelanAdapUrva iva kazcidAsvAdaH prapAnakarase saMjAyate, vibhAvAdisaMmelanAdihApi tathetyarthaH / / 20. K.P.D. ullasa 4, P 72 on K. P. 4.28 atra sthAyI ratyAdika iti ca sthAyinAM vyabhicAritvaprakaTanArtham / taduktam "rasAvasthaH para bhAvaH sthAyitAM pratipadyata" iti / In the new Ed. we have vacanam for ca after iti. It reads as- vacanamasthAyinAM......etc., which is incorrect. Compare-the Vrtti on S. D. 3.1 ana ca ratyAdipadopAdAnAdeva sthAyitve prApte punaH sthAyipadopAdAna syAdInAmapi rasAntareSvasthAyitvapratipAdanArtham / ...... taduktam"rasAvasthaH para bhAva: sthAyitAM pratipadyate" iti / 21. K.P.D. ullasa-4. P.72 on K.P. 4.28 "savAsanAno sabhyAnA rasasyAsvAdana bhavet / nirvAsanAstu raGgAtaH kaasstthkudddhaamsnnibhaaH||" See - the Vrtti on S.D. 3.9 A ukta' ca dharmadattana......... "savAsanAnAM.. ...snnibhaaH||" iti / 22. K.P.D. ullasa 4, P. 72 on K.P. 4.28 ......zrIcaNDIdAsapAdairukta, paramArtha tasvakhaNDa evAya raso vedAntaprasibrahmatatvavakreditavya iti / Compare - the Vrtti on S.D. 2.28 "paramArthatastvakhaNDa evAya vedAntaprasiddha brahmatatvavaditavyaH" iti ca / 23. K.P.D. ullasa 4, P. 82, on K.P. 2. 29 ebhizva sAdhAraNyena pratItaH sAdhAraNyenAbhivyaktaH sahRdayaratibhAvaH zaGgArarasarUpatAM labhate / The reading of the new Ed of K.P.D.- ......abhivyaktaiH sahRdayairiti bhAvaH / zaGgArarasarUpatA labhyate-is very distinct from the original and is rather confusing.

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118 Jagrin runuyu Compare-the Vrtti on S.D. 3 186 ..... etairabhivyaktaH sahRdayaviSayo ratibhAvaH zRGgArarasarUpatA bhajate / 24 K.P.D ullasa 4, P 84 on K.P. 429 dvayoH praNayamAnaH syAt pramode'pi premNaH kuTilagAmisvArakovo yaH kAraNaM In the new Ed. of K. P.D. 'su' is added before 'mahatyapi' with the help of S.D., but af is also continued after g, which is incorrect mahatyapi / vinA // itei / See the similarity with SD 3.198B-199 A. dvayoH praNayamAnaH syAt pramode sumahatyapi / premNaH kuTilagAmivAtkopo yaH kAraNaM vinA // 25. K. P.D ullasa 4, P. 86on K.P. 429 agar a "bhAvI bhavanabhUta" iti / "triSA syAttatra kAryaja" iti kAryAnAtaH pravAsabhedaH / Here-'bhavanabhUta' is corrected as 'bhavanbhUta' in the new Ed Read S.D. 3.208 B bhAvI bhavabhUta affadhA syAt tatra kAryajaH || 26 KPD ullasa 4, P 92 on K.P. 4.30 srasUtravRtyA bhAvAnAmanyeSAmanugAmakaH / na tirodhIyate sthAyI tairasau puSyate param // iti / This quotation is not found in the new Ed. of K.P.D. It is the same with the Vrtti on S.D. 3.174 27. K.P D. ullasa 4, P.92 on K.P. 4.30. ratilakSaNam / yathA mama sAhityadarpaNe.. ratirmano'nukUle'rthe manasaH pravaNayitam iti / The reading of pravaNAyitam for pravaNayitam in the new Ed, is supported by S.D Read S.D 3.176 A ratirmano'nukUle'rthe manasaH pravaNAyitam / 28 K.P D. ullasa 4. P. 94 on K.P. 4.34 vizeSAdAbhimukhyena caranto vyabhicAriNaH / sthAyinyunmagnanirmagnAH kallolA iva vAriSau // This quotation is from Dasarupaka 47, which is also found in S. D. 3.140. 29. KP.D. ullasa 4, P. 94 on K. P. 4.34 tatra tatrajJAnApadIrNyAdibhizcintAglAnirdenyAdikRt svAvamAnanaM nirvedaH /

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Visvanatha's Kavyaprakasadarpana & Sahityadarpana Campare - S. D. 3 -142. tattvajJAnApadAdenivadaH svAvamAnanam / dainyacintAani:zvAsavavoczvAsitAdikRt // 30. K.P D. ullasa-4. P. 94 on K.P. 4.34 harSazokaprahAreNotkaNThAdijo'sthAnahasitagItapralapitAdikRccittasammoha unmAdaH / Compare : S. D 3.160 cittasa moha unmAda: kAmazokabhayAdibhiH / asthAnahAsaruditagItapralapanAdikRt / / 31. K.PD. ullasa-4, P 96 on K P. 435 A yadukta tatraivazamo nirIhAvasthAyAmAtmavizrAmaja' sukhamiti / we have Atmani vizrAmaja' for AtmavizrAmaja in the new Ed., which doesn't make any difference. It has the influence of S.D. 3.180 B. 32. K.P.D ullasa--4, P. 96 on K.P. 4.35A tadukta kRSNadvaipAyanenayAca kAmasukha loke yacca divyaM maharasukham / / tRSNAkSayasukhasyaite nAhataH SoDazI kalAm // iti / See-the Vrtti on SD. 3 250 ukta hi-yacca kAmasukha ...etc. 33. K.P.D. ullasa-4, P. 97 on K.P. 4.35 b tadukta' tatraiva sAhityadarpaNe"yathA maricakhaNDAderekImAve'pi pAnake / taka kasyacitkvApi tathA sambAriNo rasa // " iti / We have this reference in S.D. 3.261 B-262 A with slight difference. yathA maricakhaNDAderekIbhAve prapAnake / udrekaH kasyacitkvApi tathA saMcAriNo rso|| 34. K.P.D. ullasa-4, P. 97 on K.P. 4.35 b devatAviSayaraterapi sarvAkAreNAhatArarahitatve zAnte'ntarbhAvaH / We have svIkAreNa for sarvAkAreNa in the new Ed of K.P.D., which is obviously incorrect. See-the Vrtti on S.D. 3.250 ukta hi-- sakAramahakArarahitatva brajanti cet / atrAntavamarhanti dayAvIrAdayastathA // AdizabdAt dharmavIradAna bIradevatAviSayaratiprabhRtayaH /

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120 Jagriti Pandya 35. K.P.D.-ullasa-4, P. 112 on K.P. 4. 39B-41A virodhamUlena kAryakAraNapaurvAparyaviparyayarUpeNAtizayoktyalakAreNetyarthaH |......adhre| nirdaSTaH zanavo vyApAditAzceti tulyameva kAla yoge| yayAstau tulyayoginI tayorbhAvastulyayogitetivyutpatyA samuccayAlaGkAro vyajyata iti bhAvaH / The new Ed. of K.P.D. has given kAryakAraNayoH for kAryakAraNa & 'ca' is added after nirdaSTaH , tulyamevakAla is replaced by tulyamekakAla', and fullstop is placed after tulyayoginI. Compare : the Vrtti on SD. 4.9A which has little difference in idea atra svataHsa bhavinA virodhAlaGkAreNAgharo nirdaSTa: zatravo vyApAditAzceti samuccayA lahAro vyaGgayaH / 36. K.P.D. ullasa-4, P. 124 on K.P.-4.42b mantra bhagavadviyogaja duHkha tadanu dhyAna sukha ca janmasahasropabhogyasukRtaduSkRtaphalarAzitAdAtmyenAdhyavasitamiti azeSacayapadAbhyamatizayoktiya'jyate / Compare-the vrtti on S.D. 4 10 A anAzeSacayapadaprabhAvAdanekajanmasahasrabhAgyadu kRtasukRtaphalarAzitAdAtmyAdhyavasitatayA bhgvtirhduHkhcintaahlaadye| pratyAyanamityatizayoktidvayapratItirazeSacayapadadvayadyotyA / It may be noted that the K.P.D. Ed. by Goparaju Rama requires much to be corrected. It is hardly a critical edition in the real sense of the term, however the effoit in bringing out the first edition is to be admired. The two works of Visvanatha resemble closely and the influence of S. D. is quite obvious. We first deatt with this subject in a separate chapter in our thesis. This happens to be further study.

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REVIEWS Amstadhara-Ed. S. D. Joshi, Ajanta Publications, Delhi, 1984, pp II to XVII and 511. Price Rs. 300) The present volume, edited by no less a scholar than Dr S. D Joshi is "Professor R. N. Dandekar Felicitation Volume" to honour Dr. Dandekar on completion of seventy-five years and therefore, fitly entitled "Amstadhala". This easily reminds us of the Felicitation volume presented by his colleagues and pupils in 1969 when he completed sixty years of an illustrious life. The persent volume is, however, unique in the sense that it contains research papers by scholars of national and international fame "specially written for the happy occasion". It is also right and unique in its claim that it is purely academic and consists, of research work of high order. The volume consists of 58 very valuable research papers of which 27 are contributed by Western scholars from the world over. One important trait is the large variety of topics covered up by the contributors. We find papers on Veda (13), Grammar and linguistics (11), History (4), Darsanas (3), Mahabharata (3), Buddhism (3), Jainism (1), Dharmasastra (3), Litera. ture and Poetics (3), Education (1), Culture (5) and General (8) etc. In the papers on Grammar and linguistics, two or three are most remarkable. In the paper entitled "Syntax and word-meaning", the paper mainly centres on the famous two views of Prabhakara and Kumarilabhatta regarding word-meaning and its relation to the meaning of a sentence. The paper "About Some Archaic Peculiarities of the Rgvedic syntax," the author discusses the problems that arise when a westerner translates the Rgveda and the syntactical peculiarities of the Veda that he is faced with. The peculiarities are well derived. The Paper-"On the Semantic use of the word Sphota" takes up an analysis of the meaning and application of Sphota Different theories are very well analysed and almost all concepts as found in Sanskrit are clarified. The paper "Grammaticality and Meaningfulness" principally explains the Nyaya theory. The exposition is very scientific. Other remarkable papers are, "Uktarthanam Aprayogah," "Compositional Approach to the Vedic word-accent" and "Role of Boundaries in the Astadhyayr". In the paper on the Vedic literature, "Vedic Ksumpa and connected Data" claims that the word 'Ksumpa' remains "unexplained in the latest 'etymological dictionary of Sanskrit" and proceeds to give a critical and analytical explanation. "The krama -patha Unit" gives a lucid exposition of the Krama-patha unit and rightly ends with the statement Sambodhi XII-16

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"There is much to be said on this point. But what has been stated so far, I think, is enough to demonstrate the need of an edition of the Rsama-patha (like the samhita), true to our oral tradition." The paper "Ritual, mantras and the origin of language" analyses the concept of ritual in details and the term and nature of 'mantra' in brief and goes to "important siinilarities and dissimilacities beetween languages on the one hand and ritual and mantras on the other" The exposition is interesting and original. "The Ritualist's problem" tries to analyse the concept of ritual and the problems that arise for the ritualist particulariy with regard to animals to be sacrified The analysis is inter: esting In the rest of the papers, naturally a standard expected of a Felici. tation volume of this kind is maintained. There is a rich variety. The claim that the volume contains research papers 011 oriental topics covering in its wide range....." is fully met. Some other interesting, scholarly and original papers may be referred to. "Rasa-relish-A consideration of Pre-requi. sites" rightly states that "Rasa is a mental, intellectual enjoyment of an emotional experience brought by art", and proceeds to analyse five pre1. equisites on part of the experiencer. Any and every reader is not quali fied to enjoy Rasa of art. A certain mental, emotional equipment on his part is a must. He will only then be a real Sahsdaya. The pre-requi. sties are very well analysed and give us a clear idea about the Sahrdayatva of the experiencer. "Asoka's Inscriptions and Persian, Greek and Latin Epigraphy" discusses the mutual give and take and the reciprocal cultural influence between India and Greece" etc. The paper is original and enlivening though we might not agree with all the views propounded. "Dayathagavyavahararthasamksepah' of the 10th century gives a very interesting text critically edited. "The Legend of the Destruction of Tripura and its Vedic origin" tries to trace the legend particularly to certain Brahmanas. "Visvasraj Visvasrjah and the Problem of continuity in Indian Re. ligious history" claims to lay down an understaing of the universal features of Indian history" on the basis of the two terms. The papers "Devanampriyah", "The mouse in the ancestry" and "Hindu Culture in Thailand" are informative and help to widen our vision. It is very happy that even though the life and work of Dr. Dandekar, a scholar of international repute has been an open book to his pupils and friends, a brief account of his life and career and full details of his research work are given here. They enlighten those scholars and readers who were not fortunate enough to be nearer to him. The volume is a

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Review 123 very valuable addition to the vast literature on oriental studies. The editor deserves all compliments for his labours which are well-rewarded. The problems of research show that even now, there is an infinite scope of research in oriental studies. This speaks for the richness and variety, depth and subtlety of oriental learning R. S. Betai A Complex Study of India - G. M. Bongard Levin- Ajanta Publications-Delhi 1986. Price Rs. 175-00 This is a systematised collection of the different published research papers on Indian culture by the famous Russian author, who is known as a front-rapk Indologist. Eighteen Papers in all are divided into four parts as follows : (I) Problems of Ethnic Study (II) Problems of Political and Socio-economic structure (III) Problems of Cultural Development (IV) Study of Ancient Indian Texts The first part, in three small chapters, is a fit introduction to the study of political and Socio-economic structure in ancient India, cultural development in relation to world civilization and a broad-based but doop - study of Ancient Indian texts. Introducing the subject, chapter one discusses the problems of genesis of Indian culture, Dravidian and Munda cultures and their inter-relation with the help of linguistic, historical, literary, ethnogaphical and other available data, with the help of references in the old works. Yet, the nove. Ity of the study lies in the very great importance that the author gives to archaeological data. He comes to the right conclusions in which he shows how the Dravidian and Munda cultures as also the Harappan are earlier and have influenced the Vedic culture considerably in all its aspects including linguistic. He gives his opinion that the Rgveda, in its present form existed in 2000 B, C. Chapter two discusses and analyses Proto-Indian Culture studies-the new advances. The chapter mainly deals with all the different efforts at deciphering the script, language and content of the Harappan writing in

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available inscriptions and seals. It also discusses its probable relation with the old Dravidian culture. In conuinuation of this, chapter three deals with the probable reality of Hindustan in the third millenna B. C. and discusses the problems of ethnic history in the context mainly of archa. eology and linguistics. Here, the study reaches its top height of scholar. ship and research acumen. One interesting point discussed is that the Harappan civilization had a small section of Dravida-speaking population and it is laid down now, from the fourth millennium B. C. to the second. this section slowly migrated to come to south by stages. Following the hunts in the first two chapteis, here we have a precise discussion on the relation between Indo-Aryans on one side and the Dravidians and the Proto-Munda on the other. In the end, the author rightly concedes that a great deal is still obscure, that continued integral research is necessary and that answers to questions raised are only tentative hypotheses. With this introduction in the first part, in the second, the author continues his study, rightly with political and Socio-economic state of republics in Ancient India. He shows how, states and Governments were both monarchical and non-monarchical; how, in the governance of nonmonarchical republics, an element of democracy persisted and how the head or the Senapati was not necessarily by heritage in all States and Governments. For this, the terms Gana and Sangha in their different meanings; mainly political and social are analysed. The author shows how Ksatriyas dominated the scene even though Brahmanas and Vaisya s'were also members of Ganas and Sanghas. There was inequality in status and Sudras. comprising of workers of craft, and slaves were the lowest in the ladder. The varna-system that we popularly know as caturvarnya, is also discussed in this context. His opinion about the all-out domination of Ksatriyas can create second thought because of the race for politcal and social supremacy in which Brahmanas did not lag behind. The lot of Sudras is not discussed much. In chapter five the author narrates, discusses and analyses the state of Indian community in the latter half of the first millinneum B. C. This creates a sound basis for the clear perspective of Indian culture in its varied aspects because this millinneum has been the most eventful in Indian history. The author discusses the status of grama and its headman, different clans, groups etc., that were, in their own sphere, able to take their own decisions and were ruled by their own norms. A sort of

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Review 125 democratic element persisted and even heads of state respected duly these clans, groups etc 'The process developed fast in this age The author also discusses in this chapter the problem of slavery, its form in this age, types of slaves, the state of slaves and so on Rightly, it is stressed that the Ai thasasta forms an authority that regularises slavery, gives certain rights to slaves, night of freedom under certain conditions and the institution of slavery-are brought under the pale of law. The analysis is most scientific. With this, in the sixth chapter, the author lightly starts with the statement that a thorough acquaintance with great Indian works falsified the notion of the west that ancient Indian culture was undeveloped and that Indian society and state were primitive. The author bases this researchi mainly on Sanskrit works. Indians composed Sastras and Smotis as also the epoch-making Arthasastia. He rightly stresses that the latter helps us considerably in providing a basis for attempts at recreating the social and political fabric of ancient India The author again stresses that slavery was an important institution. Thc Indian social and political structure consists of Kula, Jati, Gana, Grama, Desa, Sangha and, we may add Rastru, each having its self-governing within its own spliere and one dependent upon and supporting the other. The whole analysis tries to evolve a clear picture of Indian society then and to prove that it had a firm basis in tradition, it developed with time and it reflected a mature and well-developed Indian culture. In the seventh chapter with which the second part ends, the author deals with state of Indian society and culture in the Mauryan period. This is important because the Mauryan epoch is crucial in understanding and grasping the development in ancient India iu political, social, caste, state and cultural matters. Here, the author states that instead of reliable and dated sources, we have religious and philosophical works as the sources. We have religious and philosophical works, the sourses of which should be used with caution. With this correct and clcai perspective, the author gives a brief but studied picture of the state of Indian politics, society, caste and culture during this very important period of foi mation of "united Indian state", a period "marked by an upsuige of culture, the development and spread of scripts and dialects".(P. 172) With the eighth chapter, the author comes to the estimation and understanding of Indian culture in the wider concept of cultural and other relations between India and the world around it. Certain 101sconceptions about Indian culture were erased slowly from the western mind

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126 Review from the 18, h century onwards. The chapter deals with contact of India with the Greeco-Roman World. Here, the references of Megasthenes and also those by Buddhis, tex's lo westerners, the coming of Alexander and the cultural exchange that followed and references in India and Western works, become our source-material. The mutual impact of India and Greece, and Rome is divided by the author into four periods. The impact of study by christians is also discussed. The discussion shows the interaction and poses a few pioblems besoie us. The next paper in chapter nine and relation of Greece Rome with Mauiyan India, though very well studied, need not detain us. We go to the next chapter in which the author discusses the problem of Canakya in the Greeco-Roman tradition. This is because of the Central importance of Canakya's or Kautilya's work Aithasastra Close contact was there between the Indian and Western worlds and that led to cultural exchange and affinity, and exhibition of mutual familiarity. Here, references to Candragupta and state of India in his days are analysed The treatment is historical also. Chapter eleven deals with archaeological research in Soviet Central Asia and ancient Indian Civilization, i. c., the relation of the two in the Kushana period. It is a study of facts and reality and the author takes due care of his evidences. The Kushana empire was formed due to connections between the two as archaeological excavations in Central Asia reveal. The data available is described and made use of. The Study of Indian cultuie would be incomplete without a study of Lokayatikas atheists who most vehemently attacked brahmanisin and traditional thinking and philosopliy, even though they were, in turn, severely criticised by traditionalists. Chapter 12 refers to the contribution of Aryabhata and the Lokayatikas and also refers to the severe onslaught on their works by followers of the Vedic tradition. Even in this small chapter of eleven pages the author show a fairly good grasp over the contribution of the two, though we feel that the study and analysis demanded a loogei chapter. With this, we come to part four of the book entitled Study of Ancient Iodian Texts". The six small chapters here, treat of a variety of texts-Prakrit and Sanskrit and also probe into the discovery of and study on Indian texts from central Asia and castern Turkestan. It is natural to state and concede that richness of a culture implies richness

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Review 127 of varied texts, scripts, works - literary and scientific The study on ancient Indian civilization and the problems that it poses would have been incomplete without this part, Actually here this book is a collection of different papers already published. The four parts in which these papers are divided is a scientific arrangement. The arrangement covers up almost all aspects of culture except sciences, philosophy, art and poetry, in which again. Indian culture is very rich. One might feel that there are some topics that should have been included. We leave it to the great Indologist to give more such studied and scholarly papers on subjects left out and these may fitly comprise of another volume, other than the second collection that is to be published. If he has raised problems and has rightly shown the way to fulture research, he could also give a volume in which he will enlist the achievements of Indian culture, its very rich heritage and attainment in most of the spheres of life. We therefore warmly welcome this study with future expectations from this renowned Indologist. R. S. Betai Social Life in Ancient India-Haran Chandra Chakaldar Cosmos Publica. tions, New Delhi-110002, Second Edition, 1984-Pages 212, Price Rs. 135/ The second edition of this famous book appears affter a span of 35 years. The work was praised as a complete and comprehensive study" of life in ancient India; it is scholarly and was considered to be a work of renown them, in 1929. Even to-day, after so many studies of Ancient Indian Culture in all its varied facets in countless works by eminent scholars, both of east and west, the second editon is welcome in its own way. It is a masterly analysis of social life in Ancient India as reflected in the Kamasutra of Vatsyayana. The famous work of Vatsyayana is basically a work on "the Science and art of love" and it is considered to be a standard work in Sanskrit on the subject. We may not expect much of a dipiction social life then. Yet, unlike our non-expectation, there is a lot of material in this work that can be utilized as reflecting social life. That explains and justifies the writing of this work and the author has utilized to the full all material that will help his interpretation directly and indirectly both. It is still a difficult task indeed. When he writes on different topics, he gives countless

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references from Sastra and other works that stand to comparison and contrast both, with the views propounded by the author regarding the contentions of Vatsyayana. The study is divided into these chapters: (1) Date of Kamasutra (ii) Geography of Vatsyayana (iii) Social Life in Aucient India (iv) Social life in Ancient India-II (v) Social Life in Ancient India-III Scholarly and studied though the first two chapters are, these need not detain us. He places Vatsyayana in the 3rd oentury A. C. and he has a thorough grasp of the geography of the hole country. The study, is mainly of deep interest in chapters 3, 4 and 5 in which he deals with the following topics of social life then. Chapter 3. (i) Castes and occupation Chapter 4: (ii) Marriage and Courtship Chapter 5: (iii) Life of the Nagaraka (iv) Position of Women (v) Arts and Crafts (vi) Conclusion Chapters 3 and 4 deal with very important topics, topics that constitute the very basis of social life. Chapter five deals with three topics. It is felt that "conclusion", which surveys the whole, should have been given in an independent chapter 6. Vatsyayana is a traditionalist in matters ethical, religious and moral of social life. He therefore rightly accepts the brahmin as the most res. pected, accepts the rules regarding choice of gills as given by Manu and the Sastras, concedes that the position of woman is lower than that of man, accepts child marriage of girls and difference in age between man and woman who marry and so on. Keeping himself within the limits laid down by the Sastras in this manner, he gives alternatives, establishes the position and behaviour of married young women, youths,

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who marry through the deep desire and love of heart, love of wives of nobility, love of mistresses and love of courtezans and elc. Detailed study of varied arts and crafts cultivated and developed is new in its own way. Thus, without offending tradition and the picture of social life depicted thereit, the author gives to us a picture of the other side of social life then. His approach of respecting tradition and with it giving his reflections on the basis of the Kamasutra, is correct and sound. Wc thus get a full all-sided representative and genuinely real picture of social life then. The most interesting is the study of the life of the Nagaraka. One more fact to be noted is that the whole depiction of social life as reflected in the Kamaustra is realistic, impartial and objective; it is all-sided and full. Conclusions are very well drawn. The author had undertaken a difficult, a challenging task, of giving the picture of social life of the third century A.C. on the basis of work that is "Science and Art of love." He has stood his test well and fully met the challenge. Unfortunately, the book docs not have a Bibliography and Index. These were necessary to enhance the value of the work. Detailed table of contents could also have been given to advantage. -- R. S. Betal "Rasa Theory and Allied Problems" Dr. G. K. Bhat, M.S, University, Baroda 1984, pp.69 price Rs. 29/-- Dr. G.K. Bhat delivered a series of lectures on "Rasa Theory and Allied Problems" under the Tagore Chair in Humanities, M.S. University, Baroda. The author clarifics that : "In the course of my treatment, I offered some explanations and interpretations of some intricate concepts in the Rasa theory and suggested a perspective". These lectures now appear in book-form. The book is in nine small chapters in which, the author analyses and oxplains clearly and with precision all important technical terms of Sanskrit poetics that are relevant to the Rasa Theory and its allied Sambodhi XII-17

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130 Review problems. Besides this, he explains fully the famous Rasa -sutra of Bharata and tliis is naturally followed by a discussion on Bharata's view of Rasa. Next in line follow the four famous views on Rasa-nispatti. The explanation, analysis, criticism and value of each view is laid down and naturally its culmination is in Abhinavagupta's theory of Rasa. In these four, each theory that follows attacks the one that precedes and Abhinavagupta analyses and criticises all the three preceding views as he lays down his own Theory. It is notable that with each view the theory of Rasa comes nearer to the truth of Rasasvada. The philosophical background at the root of each is explained in brief. It could also bc stressed that the four theories together form a unity in the ultimate sense because every theory that follows, proceeds from the former. In this whole analysis, Dr. Bhat is at his best particularly in "Analogy of anna-rasa", "Major defects of Sankuka's theory," BhattaNayaka's contribution to aesthetic theory" and the entire eighth chapter on "Abhinava's theory of Rasa". So many scholars have by now discussed and analysed the Rasa-theory and there is not much of a scope for originality hers. But with that again, Dr. Bhat's discussion, analysis and exposition is clear, precise, to the point, subtle and scholarly and makes very lively and interesting reading. Particularly the sections 1 to 10 in chapter eight beginning with "Psychology of Rasarelish" and ending in Summary of Rasa-concept are a fairly original contribution of the author. The author is again original in the last chapter of summing up which he captions "Some Problems". He treats of the Rasa-theory in a wider concept and gives to us some views of western criticism. Here, some details would have been explanatory and welcome. Dr. Bhat rightly stresses that "T. S. Eliot says that emotion cannot be expressed directly, but has to be conveyed through 'objective correlatives', so that when the external facts which must turn into sensory experience are given, the emotion is immediately evoked." Again the author's handling of the problems is too small, casual and just referential. It could have been a little longer and more elaborate. Dr. Bhat is right again when he states "The relevancy, appropriateness and skill in constructing the components of art-presentation have to be separataly judged by the principles of literary criticism. Unfortunately, Sanskrit poetics seems to be pre-occupied with theoretical speculations on the nature of poetry itself, and did not do much to develop an independent science of literary criticism." (P. 65)

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Review 131 But Dr. Bhat could have, following the path of Anandavardhana and Abhinavagupta, taken the study further as he has expected here. He could have hinted at the thinking and analysis with his wide and deep life-time study, his tapas, his thorough grasp, and his authority on literary criticism and aesthetics. He is competent enough to do this. We however, derive satisfaction from Dr. Bhat's words in the Preface' "I wish to write, some day a bigger and comprehensive book on this subject". We students of literary criticism and aesthetics will anxiously wait for the book and wish him a long and healthy life for the purpose. As it is, the book is authentic and very well laid in its structure. The further questions that the work poses are very well laid down together with the possible line of thinking that we can take on them. The work is thus thought-provoking. In the end, the reviewer may be permitted to add that the very valuable work could have been made available to students and scholars at a lesser price by the University. R. S. Betai kAvyAdaza sapAdaka-ho. anantarAya ja. rAvala, prakAzaka-zrI pArva prakAzana, amadAvAda. prathama AvRtti, pAnAM 199, kiMmata rU. 25-00 ucca zikSaNanA kSetramAM saMskRtanI avadazA che, tyAre saMskRtanA ane temAM paNa kAvyamImAMsAnA granthanuM saMpAdana karavuM e svayaM eka sAhasa che. AvA eka sAhasa tarIke che. anantarAya ja, rAvalanA sampAdita 'kAbAdaza"ne ApaNe AvakArIe, khAsa e saMdarbhamAM ke DIracita "kAvyAdarza ' gujarAtanI yunivarsiTIomAM mAtra ema. e. mAM ane te paNa alaMkArazAstranA vaikadvipaka abhyAsakramamAM kaiI kaI vakhata pAThazvapustaka tarIke hAya che. Ama vidyAthI-jagatamAM jenA vecANane laghutama avakAza che, evuM A sampAdana pragaTa karavA mATe A paNe saMpAdaka ane prakAzakane abhinandana ApIe. | gujarAtI bhASAnuvAda sAthe A kRti pahelI ja vakhata gujarAtImAM upalabdha thAya che. e rIte paNa A saMpAdana kharekhara AvakAra pAtra che. Do. rAvale pahelAM ApaNane bhAmahane "kAvyAlaMkAra" Ape che. ane " kAvyAdarza ' temanuM bIju pradAna che. bIjA pradhAna tarIke A kRtinAM prastAvanA, anuvAda ane TippaNamAM lekhaka vadhu cakkasa, vyavasthita, vistIrNa ane vaijJAnika banyA che. e rIte A kRtinI guNavattA AgalA sampAdana karatAM vizeSa che.

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132 Review tera pAnAnI TUMkI prastAvanAmAM saMpAdaka dArUDIne samaya, tenuM jIvana, tenI racanAo A traNa sAmAnya prazna caryA pachI "kAvyAdarza"nuM vastu tathA tenI TIkAone Traka paricaya A paNane Ape che. je prazane cusya che te lagabhaga sarvAgINa svarUpe ane vyavasthita carcAyA che. A prastAvanA thoDI vistArIne purogAmIo tathA anugAmIonA saMdarbhamAM A kRtinA kAvyasiddhAMtonI carcA-mImAMsA saMpAdake karI hatI te granthanuM mUlya cakakasa vadhata, sAmAnya vAcaka ane khAsa te vidyArthI e vizeSa lAbhAvita thAta; sAthe saMpAdakanA abhyAsa ane vidvattAnI kasoTI paNa thAta. kRtione anuvAda ekaMdare saraLa che, chatAM A anuvAda apekSA karatAM ochA prAsAdika che, ane temAM kayAMka kayAMka vizeSa e kasAI jarUrI hatI ema lAge che. prathama be paricachedane lekhake saMskRta zloka sAthe sIdhe anuvAda ApyA che. trIjo paricchedamAM khAsa zabdAlaMkAranI spaSTa samaja mATe 1thI 95 zlekanI TIkA paNa ApI che. A bIkAne AvakArIe te sAthe samaya kRtimAM paNa pIkA ApI hatI te vizeSa saraLatA thatAM te vadhu upayogI thAna A pachI 63 pAnAmAM traNeya parichedenuM TippaNuM ApyuM che te paNa vAcakane mArgadarzaka bane tevuM che. dipaNuM ghaNe aMze vidvattApUrNa ane ghaNuM spaSTatAdazI che, AvakAradAyaka che, A katimAM lekhake, khAsa karIne temanA anuvAdamAM tathA TippaNamAM sAro evo zrama lIdhe che te dekhAI Ave che. chatAM graMthanA pATha sAthe ati agatyanAM pAThAntare pAdaTImAM ApyAM hatA te te IcachanIya hatuM. bAkI saMskRta ane gujarAtInI pAne pAne dekhAtI chApabhUla kaThe tevI che. A kSatie e saMdarbhamAM gaMbhIra gaNAya ke tenAthI vidyArthIo ane abhyAsIe bhAre mUMjhavaNa anubhave te pUrepUruM saMbhavita che, saMpAdake je zuddhipatraka ApyuM che te paNa agatyanI bhUlanuM ja che. sampAdaka ane ApaNe sau A paNa AvA kAma mAM ghaNuM vadhu cokakasa banIe te khAsa jarUrI che. gujarAtImAM prathamavAra A kRti sAnuvAda ane saTippaNuM ApaNane upalabdha thAya che. ane tenAthI gujarAtI vivecanasAhitya vizeSa samRddha bane che, e rIte A katine ApaNe AvakArIe. rameza beTAI tulanAtmaka sAhitya De. dhIru parIkha : prakAzaka-gujarAta yunivarsiTI, amadAvAda-8, 1984, pInAM 95. kiMmata rU. 6-50. paNa eka viSayamAM UMDA utarI nizAta thavAnA abhyAsI prayatna kare tyAre e A paranI pakaDa ane adhikRtatA mAtra e viSayanA abhyAsathI na ja Ave. gujarAtI vivecana sAhitya para satata vikasatI jatI, badalAtI jatI pAzcAtya AcanAne UDe prabhAva jovA maLe che. pAzcAtyonA navA navA vAda para gujarAtI vivecake ghaNA lekhe paNa

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Review 133 lakhe che. pAzcAtya sAhitya ane vivecananA abhyAsane prabhAva gujarAtI sAhitya ane vivecana para jevA mo che, te ja rIte bhAratIya sAhityazAstranA vakrokti vani, rasa vagere siddhAntanI asara te pachI ja hoya ! A prakAranI ApalethI sAhitya ane vivecana samRddha thAya che. mA nI pAchaLa InTara DisiplInarI abhigama kAma kare che, jene pariNAme Aje uccatara kakSAe tula.maka sAhitya, tulanAtmaka vivecana ane tulanAtmaka saundarya. zA tarapha kavio, sahita{kAra, vivecake vaLyA che. Ane lIdhe tulanAtmaka sAhityanuM adayayana ema. e. kakSAe gujarAtI, hindI vagere viSayamAM karAvavAmAM Ave e svAvika paNa che. A svAbhAvikatAmAMthI gujarAtI bhASAmAM 'tulanAtmaka sAhitya'nA abhyAsanI eka suvidhA rUpe A pustaka gujarAtI vAchamayamAM umerAya che ane te paNa varSonA adhyayana adhyApananA anuvAvI lekhakanI kalame, e majhAne yoga che. pote A kRti taiyAra karI tenA dezanI spaSTatA lekhaka A zabdomAM Ape che ........ ....gujarAtImAM tulanAtmaka sAhitya vize kaI graMtha prApya nathI. pariNAme vidAya ene viSaya teyAra karavAmAM ghaNI muzkelIne sAmane karavo paDe che evo mAre anubhava che. AmAM ema vicAryuM ke je vidAthI ene A viSayane lagatI sAmagrI jarAtImAM upalabdha tha' te vizva samajavAmAM ane e sAmagrInI sulabhatAne kAraNe viSayamAM rasa levAmAM sahAya ane protsAhana maLI rahe." A sapaSTanAthI A kuninAM vyApa ane sImAo tathA uddeza ane upagitA nakkI thaI jAya che. tulanAtmaka sAhityanA abhyAsane dhyAnamAM rAkhI lekhaka A muddAo laIne AgaLa vadhe che -"tulanAvRtti vizvasAhitya, vyApaka sAhitya, tulanAtmaka sAhitya--arthe , are pacacA, tulanAtmaka sAhitya, anuvAda, viSayavastu, upasa hAra' dekhItI rIte ja abhyAsakramane dhyAnamAM rAkhIne, tenA muddAo AvarI levAnA khyAla sAthe A pustaka lakhAyuM che. pratyeka viSayanI chaNAvaTa vyavasthita vaijJAnika, mahuMkaze pramANabhUta che. vivanA abhyAsane prAyaH sarva AdhAra aMgrejI kRtione che. A uparAnta A viSaye ja mULa pazcimamAMthI Ave che, tethI lekhake sArA pramANamAM avatAra ApyAM che, lagabhaga badhAM ja sAnuvAda ApyAM che, je vidyAthI ene pakAraka bane tema che. A ja rIte vizvanA pAribhASika zabdone nizA paNa lekhaka sAnuvAda kare che ane A anuvAde moTe bhAge e kkasa jaNAya che. vaLI eka muddAmAyI svAbhAvika rIte ja bIjo muddo utkrAnta thato hoya te paddhatio lekhaka cAyA che. pariNAme lekhana eka dare vyavasthita ane zAstrIya thayuM che. lekhakane UMDA abhyAsa ane viSayanuM temanuM lAMbA samayanuM adhayApana A kRtimAM pratibibita thAma ja che, ane tethI ja temaNe ApelI saMdarbhamanya-sUcinI upayogitA bAbata be mata che nahI. judA judA viSayanI chaNAvaTamAM taratama joIe te A kRtimAM anuvAdanI chaNAvaTa

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134 Review vadhumAM vadhu zAstrIya che, vidvattApUrNa che. gujarAtI vADamayamAM anuvAda para ati jaja sAhitya maLI Ave che temAM A vibhAga tenI pitAnI rIte AvakAra pAtra bane te che. vidyArthIone dRSTi samakSa rAkha' lakhAeluM A pustaka viSayamAM rasa dharAvatA sAmAnya vAcakane paNa vAcavuM game tevuM jaNAya che. AnA parathI eka apekSA ApaNA manamAM baMdhAze ke A viSayane hajI vadhu vyApaka abhyAsa karIne lekhaka prastuta viSaya para pramANamAM vadhu vyApaka ane sarvagrAhI, vistRta, zAstrIya graMtha race ane gujarAtI vADamayane samRddha kare. A pustaka dvArA AvI katinI racanAnI pitAnI kSamatA lekhake siddha karI ja che. rameza beTAI OBITUARY Late Dr. Prataprai M. Modi It is with a deep sense and experience of sorrow and grief that I take note of the demise of Dr. P. M. Modi at Baroda less than a month back on 17th July 1986 at the age of 88. As a prominent professor of 50 years' standing, i. e., some 15 years even after her retired from active service as a Professor of Sanskrit, Dr. Modi will be remembered with veneration, warmth, love and regard, as a very able and untiring, teacher. He was ever anxious to impart his learning on pupils and it was his nature not to worry about time when he taught. He therefore naturally won the veneration of his pupils who looked upon him almost as a Rsi. Hundreds and thousands of students remember him as an Ajatasatru, as an ideal teacher besides being a profound scholar. Dr. Modi started as a college teacher and retired as college Principal ( Samaldas College, Bhavnagar. ) But he was first and last a Professor. He therefore continued to guide Ph. D. students and to teach at post-graduate classes at M. S. University, Baroda, for several years after retirement, So many Ph. D. students including iyself are a testimony to his abilities as a researcher and guide. For his Ph. D. students he was far more than just a guide and he put in so much of labour for his students, labour that no Ph. D. student can expect. His profound contribution in form of very valuable books and research papers is mainly in the realm of Vedanta of Sankara and the Bhagavadgita though he has worked with authority on Ramanuja and Vallabha also.

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Review His most important works are-- (i) Siddhantabindu, (11) Aksara-A forgotten Chapter in the History of Indian Philosophy (Ph. D. Thesis writteen in Kiel University, Germany), Critique of Brahmasutra -I and II. Bhagavadgita.-A fresh Approach, Ramanujacharya etc. besides so many works that await publication, including his translation into English of Anubhasya. Right from his school days, upto his days of retirement, Dr. Modi won so many medals, "awards and honours from college, U.G.C as also the State and Central Goverments. He was a life-time honoured scholar. His English translation of the Anu-bhasya that is in the press is expected to be his most significant contribution to Vedanta lore. Dr. Modi will be remembered for scores of years to some as a profound scholar, a front-rank researcher, an untiring able teacher, and an authoritative writer on Vedanta and Gita. Above all this, he will also be remembered as a thorugh gentleman, simple and straightforward, warni and loving, honest and sincere in his worldly relations, mainly with students. His motto of life was-'plain living and high thinking". Our salutations to this sayant who was a scholar of all-India fame, Great is our loss, his students mainly of M. A. and Ph D., who were his very heart. May the soul of this worthy son of Gujarat rest in eternal peace. R. S. Betai

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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) Ahmedabad. 1. Place of publication 2. Periodicity of its publication 3. Printer's Name Nationality Address 4. Publisher's Name Natiopality Address Quarterly. Pitamber J Mishra. Indian Tirhut Printers, 41, Meghnath Society, Ranip, Ahmedabad 5. Nagin J. Shah Indian Acting Director, L. D. Institute of Indology Ahmedabad-9. (1) Dalsukh Malvania (2) Nagin J Shah. Indian L. D. Institute of Indology, Ahmedabad-9. L. D. Institute of Indology, Ahmedabad-9. 5. Editors' Names Nationality Address 6. Names and addresses of Individuals who own the newspaper and partners or shareholders holding more than one-percent of the total capital. I, Nagin J. shah, hereby declare that the particulars given above are true to the best of my knowledge and belief Nagin J. Shah Signature of Publisher.

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PERCEPTION ACCORDING TO VYAKARANA SASTRA V. D. Hegde Language is a human activity. Through this activity one makes himself understood by another. Another tries to understand what is in the mind of the speaker. These two individuals, the producer and the recipient of the language should never be lost sight of. The speaker produces sounds and the licarer perceives them. The spoken and heard word is the primary form of language. A word has got two forins. One is the audible form, the other is the visual form. Writing is only a substitute for hearing. A written word is mummified until some one imparts life to it by transporting it mentally into the corresponding spoken wordt, We think in the form of sentences and also speak in the form of sentences. According to Vyakaiana Sastra a sentence is complete in itself. It possesses an individuality of its own. Punyaraja likens it to a delicious drink in which different ingredients merge their individual tastes to give rise to il peculiar Navour. Or, it rescinbles the liquid in a peahen's weg where different colours mingle to produce a variegated buc. 2 A sentence is a class by itself like the man-lion which, though resembling partly il man and partly a lion, is neither a man nor a lion but something definitely different from either of the two. Both the Padavin and the Vukyavidin (the grammarian) have examined the nature of a sentence. The Padavadin believes in the reality of terms and looks upon a sentence as a combination of several terms. According to his interpretation, il term is the ultimate entity and a sentence cannot be considered as an indivisible unit of thought and expression, 3 On the other hand, the Vakyavadin (the grammarian) emphasises the indivisibi. lity of a sentence and strongly refutes the Padayadin's claim.4. The splitting up of a sentence into a number of terms is only a means that helps the beginner in the study of a sentence.5 Definition of Sabda'; This question has been raised as well as taken up for discussion by Sambodhi XII-18

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138 V. D. Hegde Patanjali in the very beginning of his discourses on gi aminar. He differen. tiates a word from substance (Dravya), action (Kriya), quality (Guna' and class (Jati). According to him, that which lias a meaning is a word That which really constitutes the 'word' when one utters "gauh" (COW is the sound which simultaneously with the utterance gives the idea o an animal possessing dewlap, hump, hoofs and horns. Therefore a word is the same as sound Erolution of sound : Perception is an active interaction that takes place between life and the external physical world. The Vyakarana Sastra is defined as Sabda nusasana. Hence the purpose of this paper is to discuss the perception of words only. When the process of perception takes place between two individuals, in one is seen the evolution of sound and the other perceives the sound. The former is called 'Vakta' or the producer of the sound, The latter is called 'grhita' or the recipient of the sound. Sound is considered as a quality of space (Sabdagunakamakasam by almost all the systems of Indian philosophy. Accoi ding to the Buddhi. sts, sound is without any substratum and it results from the disruption of the great elements, and has both production and destruction.? Bhartshari has made mention of air (Vayu), atom (anu) and knowledge (Jnana), each of which has been treated as capable of developing into sound by different schools of Indian thoughts. According to the Chandogya Upanisad, the speech sound is a kind of internal air. The internal air called Vyana, which is an intermediary stage between Plana and Adana is the same as Vak. While uttering a sound we require an amount of air, both out flowing and in-flowing It is nothing but a stream of air made active by physical efforts, that develops into sound by virtue of its contact with the 'sound-producing apparatus.'10 According to Panintya Siksa, the physical air gets itself manifested in the shape of audible sound. The course is as follows : having intellectually determined the object to be communicated to others, the soul urges the mind to vocalise the thought rising within. The mind so stimulated acts upon the physical order which in its tuin brings about a movement in the region of internal air. The internal air thus moved gets upwards till it reaches the vocal apparatus. 11 Both Bhartphari and his commentator Punyaraja have mentioned the transformation of air into sound. According to Bhartshari, air which is influenced by the mind gets itself materialised into audible sound, 1 2 It is the Pranavayu which gives rise to all kinds of sounds, 13

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Perception According to Vyakarana Sastra 139 Perception of words not only belongs to the domain of physiology but also to that of Psychology. The grammarian admits that both fire and air which contribute to the evolution of sound act in accordance with a stimulus received from the mind. 14 From the epistemological point of view, the contact of the mind with the soul is an essential condition for all cognitions. The mind sends a stimulous to the whole mechanism of speech and sets it to work. The consciousness which has its seat within the body, exbibits its activity in course of communication of thought. 15 The mind is not merely an instrument. Innei speech is a direct eflcction of the mind. In other words the mind of the speaker reveals itself in the form of words. The psychologists opine that speech has its origin in the mind of the speaker Consequently language is regarded as a mental phenomenon.10 According to Patanjali, knowledge is translated into word. 17 The words uttered by the speaker are an embodiment of his thought. The internal knowledge, remaining within as a subtle element of speech, assumes the concrete form of words whenever necessity is felt in order to reveal its own identity.18 The thought that rises in the mind is developed and materialised by fire (tejas) and is next driven out by the force of outflowing current of air.19 The ideas of the speaker are revealed in the audible form of words that stand as their phonetic symbols capable of arousing those ideas in the listener.20 Likewise the subjective world of thought is connected with the corresponding objective world of mattei There are subtle elements of sound lying inside and outside all material bodies. They are incomprehensible for their extreme fineness. This type of sound, identified by sound with the all pervading space, is inanifested and comprehended only when it reaches the auditory organs. 21 Words, having been manifested by the combination of two forces called 'Prana' and 'buddhi' become capable of expressing the intended meaning, 2 2 According to Bhartphari, Pasyanti, Madhyama and Vaikhart are the three forms of Vak. But Nagesha admits the four forms of Vak including Para. Para and Pasyanti aie so subtle that they are beyond the comprehension of sense organs. Para resides in the Muladbara in the shape of motionless 'Bindu'. Madhyama is found in the naval region pushed by the internal air. What is uttered by the vocal organs is called Vaikhari Vaikhart is the only Vak which is capable of being heard by others. 23

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140 V. D. Hegde According to Patanjali, unity (Ekatva), indivisibility (Akhandatva) and eternity (Nityatva)are the salient features of Sphota. Sphota is Sabda, whereas sound is only a quality as it serves only to manifest Sphota. 24 The relation between the two is one of the indicator and indicated. It is further elucidated that Sabda has two aspects : Sound and Sphota, it is only the sound tliat is perceived by auditory oigans and scenis to be either long or short, while Sphofa remains completely unchanged. One thing becomes clear on going deep into the concept of Sphota that Sphota, though strictly one and indivisible, can be classified as interrnal and external. Sound manifests only the intcinal form of Sphota. The external form of Sphota, which is comprehended by the auditory organs, has no intimate relation with the meaning. 25 Bhartrhari las dwelt at length on the concept of Spliota. He clearly enunciates that Sabda is of two kinds.26 This can be explained as follows: Perception Speaker Upadana Sabda Nimitta Sabda Vaikhari Sabda [Akrama; Sphota] [Sakrama] Listener Upadana Sabda Nimitta Sabda Sabda which resides in the mind of the listener. [Vaikhari sabda; Sakrama] [Akrama; Sphota] Sphota is called Akrama, because there is no question of order (Kranza) such as priority and posteriority in relation to Sphota.27 It is sound that passes through successive stages in course of articulation and appears to be either long or short in proportion to the amount of exertion which the utterance of a word requires. Due to the varying modulations of voice, as caused by the vocal apparatus, Ka' Sound differs from 'Kha' sound. Bharthari has pondered over the dual aspects of Sabda. According to him Sabda can express itself as well as its meaning He has further corroborated this point by citing an epistemological evidence This may be explained as follows:

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Perception According to Vyak arana Sastra Sabda Grahakatva Grahyatva As a light possesses a double function as Graliaha and Griya, YU does a Sabda. A light is grahya because it is luminous by itselt..! light is described as grahaka as it lluninates others. Likewise i Sabat is first compieliended. Hence it is called yialya. It is only that sabda which has been comprehended becomes expressive of meaning. On acu un of this function, a sabda is called 'grahaka'28 The triple aspects of sabda are also 110 ticed by Bhartrhari. IL in be explained as follows : 29 Sabda Sakrama Akrama Sakrama Sakrama is perceived by the listener and is converted into Ahiama, Afterwards it is converted again into sakiama at the time of usage. The dual aspects of the language : i.e., production and reception of words are noteworthy. It can be shown as follows: PRODUCTION OF WORDS Speaker Buddhi or Intellect Pragbuddhi - Sabda - Listener Buddhi or Intellect PERCEPTION OF WORDS Listener Speaker Buddhi or Intellect - Sabda -- > Pragbuddhi Vyavasaya The speaker employs his mind in the words he intends to use. The mind of the speaker is called Pragbuddin. An action called 'Vyavasaya' takes place in the mind of the listener prior to the perception of the spoken and heard words. Both pragbuddhi and Vyavasaya are indispensable to the process of percept1011.30

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142 V. D. Hegde According to Patanjali sabda which is perceived by auditory organs, comprehended by intellect, manifested by sound, pertains to the sky. 31 It is evident that auditory organs, Buddhi (intellect) and prayoga (production of sound by vocal organs) are indispensable to the perception of words. WORD AND MEANING Thoughts nising in our mind find their audible expression in the form of sounds liat are produced by vocal organs All sounds are not called words. Only those sounds which signify objects are called sabdas or words. According to Patanjali, the expression of thought is the sole purpose of the usage of words.8 2 If there is no communication of ideas, no necessity is felt to cxercise the vocal apparatus, The relation of a word with its meaning is the most vital problem, which has been tackled by many systems of Indian thought. According to Bhartrhari sabda and artha are different aspects of one and the same. 33 The Upanisads state that the mind finds its expression in speech and speech has its seat in the mind, 34 The meaning of a word is wliat is exactly presented to us when a word is uttered and heard. 35 When a word is uttered three things are compreheded. It can be shown as follows: 36 PRAYOGABHIJVALITA SABDA (The used word or the word manifested by sound). The intention of the The external object The particular word Speaker or Sabdasvarupa Bharthari holds the view that there is a reciprocal causal connection between word and meaning.37 This can be shown as follows: WORD AND MEANING (Kaiya Karana bhava) Perception Listener Word [The heard word Karana or cause] Meaning [The meaning that resides in the mind of the Speaker. Karya or Effect]

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Preception According to Vyakarana Sastra 143 Speaker - Meaning Word [The uttered word. Karya or Effect] [The meaning that resides in the mind of the speaker-Karana or cause] The meaning that resides in the mind of the speaker finds its audible expression in the form of a word. A word is comprehended only through the instrumentality of meaning which resides in the mind of the listener. Both word and meaning remain inseparable in our (buddhi) prior to their outward manifestation. 38 According to Durga, the intellect that exists in the spatial region manifests itself in the two-fold shape of word and meaning. 39 On account of this inseparable relation, both word and meaning are interchangeable with each other 4deg According to those who maintain a causal connection between word and meaning, speech being undifferentiated from meanings, gets itself materialised in the shape of obiects like cows and others. Objects which are the external manifestations of consciousness assume the audible form.41 Tlie twofold creation of Naman and Rupa is mentioned in the Chandogyopanisad,42 The same point is elucidated by Kaundabhafta, a later grammarian.4 Naman and Rupa are correlated with each other from the time immemorial. So the study of mutual relationship between Sabda and artha, or Samjna and samjni, or Naman and Rupa has its own history The three luminous bodies i.e. fure, the resplendent consciousness within and sabda are held in high esteem, being equated with one another. The grammarians have equated sabda or eternal verbum with Brahman of the Upanisads. According to Bhart shari, sabda itself is Brahman. There is no distinction between Sabda brahman and parabrahman.45 Thus it is clear that word and consciousness are inextricable from each other. It is further elucidated that sabda has divided itself into Vacya and Vacaka.76 This view appears to have been influenced by a sruti.77 Both the plurality of linguistic forms and the objective phenomena which are correlated as Vacaka and Vacya, have only a provisional pragmatic validity. Thus the exigencies of religious mysticism appear to have inspired the philosopher-grammarian to enunciate the identity of both word and consciousness. According to Helaraja, meaning is converted into word. He has called that process sabdana'. He further elucidates that Para Vak is

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144 V. D. Hegde indivisible. Only at a later stage "Madhyama' Vak splits itself into ty parts namely Vacya and Vacaka. Then it is seen that Vacya gradually converting itself into Vacaka. This is based on Adhyase The process of the Madhayama stage is called "Paramarsana'.8 It ca be shown as follows: PERCEPTION Speaker 1. Para Vak (Pasyanti according to Bhartphari) 2. Madhyama Vak - Paramarsana Vacya-Vacaka 3. Vaikhari Vak - Sabdana (Vacya)- Vacaka Both Parainarsana and Sabdana decote two successive stages in ti process in which Vacya converts itself into Vacaka. Sabda and Sense-Organs Vyakarana Sastia differentiates Sabda from Sense-organs. Sabda described as Jnapaka. Sense-organs are considered as Karakas.. Sabd is both grahya and grahaka. Sense-organs are considered only as grahakt by nature. Sense-organs participate in the process of perception as the exist. But Sabda does not participate in the process of perception on by its existence in the space so When Sabda is comprehended by th: auditory organs, it becomes botl jnapaka and grahaka. According t Patanjali, Sense-organs by virtue of their association with the mind tak an active part in the process of perception, 51 Atisannikarsa (Excessive Proximity), ativiprakars'i (Excessive remote ness), murtyantaravyavadhana (Impediment by other objects), tamas? Vrtatva (State of being filled with darkness), indriyadourbalya (Infirmit of the sense-organs) and atipramada (Excessive insanity), are the si impediments in the process of perception. Even though the objects exis before the Sense-organs, they are not perceived owing to any of th aforesaid impediments. $ 2 REFERENCES 1. The Philosophy of Grammar by Otto Jespersen.. P.18. 2 Punyaraja under Vakyapadiya Karika 2-7-P. 71 Beslares Edition 1887, also see "The Philosophy of Word and Meaning" by Gaurinat Sastri. P. 71. 3. Punyaraja under Vakyapadiya. P.91.

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Perception According to Vyakarana Sastra 145 145 4. Punyalaja under Vakyapadiya. P.92. 5. Punyaiaja undei Vakyapadiya. P.91. 6. Patanjali's Maltabhashya-Paspashahnika also see "The Linguistci Speculations of the Hindus." by P.C.Chakravarthi. P.76. 7. Vatsyayana Bhasya under Ny:ya Sutra 2-2-12. 8. Vakyapadiya Karika 1-108. 9. Cliandogya 1-3. 10 Vakyupadiya-Kurikul 1-109 also se "The Lingusitic Speculations of the Hindus" by P. C. Chakravarthi. p.86 11. Pagintva Siksit. also see "The Lingusitic Speculations of the Hindus" p.86. 12. Vakyapadiya-Karikal-115. 13. -do 1-116. 14. do 1-115. 15. Punyaraja under Vakyapady a. p.1. 16. The l'sychology of Language by W. E. Pillsbury. p.91. 17. Kaiyata under Mahabhasya. 1-4-29. 18. Vakyapadiya-Karika 1-113. 19. -do- 1-114. 20. Vakyapidiya-Sambandhasamuddesha-Karika. 1. Poona edition. 1963. Also see "The Linguistic Speculations of the Hindus'. p.94. 21 Vakyapadiya Karika 1-117. also see "The Linguistic Speculations of the Hindus" p.95-96. 22. Punyai:ija under Vakyapadiya. Karika-1-118. 23. Vakyapadiya Karika 1-144. Vaiyakarana Siddhanta Manjusa ly Nagesha Bhatta. p.175. 178 and 178. 24. Mahabhatnya. Vol. I. p.181. 25. Kunjika on the Manjusha. 26. Vakyapudiya-Kalika 1-44. 1-48. do 1-45. 1-51, 52 -do 1-53. 31. Mahabhagya. Vol.n. 1-1-2, Also see "The Philosophy of Sanskrit Grammar" by P. C. Chakravarthi. p 97. 32. Mahabhagya. 3-1--7 33. Vakyanadiya Karika 2-31, 27. wl 28 -do 30, Samobdhi XII--19

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146 V. D. Hegde 34. Aitareyopanisad 35 Vakyapadiya-Karika 2-329. 36. Vakyapadiya Sambandhasamuddesl., Karika. I. 37 -do- -do- 3-32. 38. Helaraja under Vakyapadiya Sambandhasamuddesa 3-32. 39. Durga under Nirukta 1-2. 40 Helaraja under Vakyapadiya sambandha Samuddesa 3432 41. Punyaraja under Vakyapadiya. 42. Namarupe Vyakaravani 43. Vaiyakaranabhushanasura. P.528-530 Chowkhamba edition, 1969 44. Punyaraja's Commentary under Vakyapadiya Karika 1-12. 45. Vakyapadiya Karika 1-1 and 1-133. 46. Vakyapadiya Karika 1-118 and 1-119. 47. Punyaraja under Vakyapadiya Karika 1-119. 48. Helaraja under Vakyapadiya Sambandhasamuddesa Karika-2 49. -do -do -29. 50. Vakyapadiya-Karika 1-56 and 1-57 also see Kaiyata's Commentar v under Mahabhasya 1-1-68. 51, Mahabhagya 3-2-115. 52 Mahabhasya 4-1-3.

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"KAVI PUTRA" OF KALIDASA-1 A Critical Review Sudarshan Kumar Sharma In the Prologue to his play Malavikagnimitram Kalidasa has referred to his illustrious forerunners in the line "Prathitayasasam Bhasa-Kaviputra-Saumillakadinam prabandhanativarttamanaKaveh Kalidasasya kriyayam katham parisado kramya bahumanah"3 The Sahitya Akadami edition has the compound- BhasaSaumilla-Kaviputradinam" varying in the reversal of "KaviputraSaumillakadinam" as "SaumillaKaviputradinam." Dr. Reva Prasada Dwivedi and C. H. Tawneys follow this reading while P.S Sane and G.H. Godbole" follow MR. Kale's text. The two compounds dissolved-Bhasah sa eva kavih tasya putrah Saumillakah-tavevadau yesam tesam, Bhasakaviputra-Saumillakadinam" "Bhasah Kaviptrah Samillakas ca" BhasaKaviputra Saumillakah ta evadau yesam tesam. And Bhasah Saumillaka eva Kavis tasya putrah ta evadau yesam tesamBhasaSaumillaKaviputianam or Bhasa-Saumilla-Kaviputras ta evadau yesam tesam i.e. Bhasah Saumillah Kaviputras ca adau yesam tesam. i.e. Bhasa the poet and his son- the two head those and others. Or Bhasa, Kaviputra and Saumillaka the three head those and others Og Bhasa and Saumilla the poet and his son head those and others. Or Bhasa and Saumilla and Kaviputra the three head those and others Or Bhasa and Saumilla and the son of Kavi the three head those and others their prabandhas; the poet calls himself as 'Varttamana Kavih" the Poet of the present age, obviously the two Bhasa the poet and his son

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Saumillaka or the three Bhasa, Kaviputra and Saumillaka or Bhasa the son of Kavi and Saumillaka or Bhasa and Saumilla the poet having his son or Bhasa and Saumilla and Kaviputra or the son of Kavi, having ignored the compositions of these Kalidasa expresses a sense of humility unto them with the complex that his conposition in his present age may not acclaim the same popularity among the audience as those of theirs. Dr. Ramji Upadhyay: Dr. V. V. Mirashi and S. A. Sabnis 10 slyle the three Bhasa, Kaviputia, Saumillaka or Bhasa, Saumilla, Kaviputra as dramatists ( play wrights). Bhasa's tluiteen plays are too well known for the critics to gainsay their authenticity. Scholars like Dr. A. D. Pusalkar11 have already established their author as Bhasa beyond any dispute. Saumilla or Saumillaka is still a controversial figure though I have tried to ascribe to his authorship the anonymous work- Vinavasavadattam in my paper- "Sanjaya of Malatimadhava having an impact on the authorship and date of Vinava savadattam" read at the 32nd Session of the All India Oriental Conference Alimedabad (Nov 6-8 1985). Kaviputra- if construed to be a playwright must denote a playwright of fabulous renown oi clse Kalidasa could hardly dare to have extolled him in such a laudable tone as to feel a sense of inferiority complex in comparision to his talent, Somila has been bracketed with Ramila as the joint author of Sudraka-Katha1z the pature of which can hardly be preconceived as a play of tangible norm. It may have been a prose . version of the narrative of King Sudraka versified by Gundahya in his Brhat Katha (KathaSaritSagara 13 Lambaka XII, Taranga VIII, Vetala 4) like the MudraraksasanatakaKatha of Mahadeva 14 The playwright Kaviputra could be of no mean merits or else the prince among the poets Kalidasa could never have held him in higli esteem in line with Bhasa and Saumillaka. In my opinion "Sudraka" the great, the author of Mscohakatika, could have been in the mind of Kalidasa whose deep sense of suggestiveness in his works strikes the head lines in the domain of literary criticism. "Kaviputra" must have been a popualar title of Sudraka or else Kalidasa could never have felt that abject sense of humility unto him in alliance with Bhasa and Saumilla oi Saumillaka. Bhasa in his Pratijnayaugandharayana-II.1315 referring to Gopalaka and Palaka the two sons of Mahasena Pradyota along with Vasavadatta-their only sister; Barbaspatyan-arthasastram"16 in 'Pratiman ataka Act V". Gunadhya 1 7

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(Katha-Sarit-Sagara the verbatim version of Brliatkatha) referring to Canakya as well as Brhiaspati, 18 Nai valanadutta son of Udayana 1), Sudraka referring to Gopa laka, Palaku and Gopaladaraka Aryala; Gunadhya also referring to Avanti-vardhana son of Palaka 20; Sudi aku referring to Canakya (1-39-p-44 and VIII 35-p 288) and Kautilya referring to the restoration of the last Kingoin of Suyatra (Nala) and Udayana during their life time obviously referuing to the thenics of Pratijnayaugandharayana and Svapnavasavadattam, in Aithasasta IX-7 36 p-230 R.P. Kangle edition, University of Bombay 1960) amply dem ai cate tlie serial chonology of the three writers Bhasa, Gmadhya, and Sudraka considerably on formal giounds Bhasa dating prior to Kautilya and Gunadhya and Sudraka after him, Vinavasavadattam is considered to be the genuine work of Sannilla or Saumillaka 21 referring exclusively to Brbaspati22 may also be placed between Bhasa and Gunalliya before Canakya and aftei Brhaspati referred to so frequently by Canakya The introductory verses of Mrcchakatika carrying expressions -- "dvijamukhyatamah Kavirbabhuva2 3 piathitah Sudraka ityagadhasattvah," "rajanam viksya putram paramasamudayeuasvamedhenestva, labdhva cayuh Satabdam dasa-24 dinasalitam Sudrako' gnim pravistah" samaravyasani pramadasunyah25 kakudam vcdavidam tapodhans ca paravaranabahuyuddhalubdhah ksitipatih kila Sudrako babhuva Such as these compared with 'Bhasakaviputia Saumillakadinam" Or "BhasaSaumillakaviputradinam of Kalidasa make it convenient to presume that Kavi as Sudraka could liave a 'putra' whose name deserves an examination of the two readings..."BhasaKaviputraSaumillakad inam" and "Bhasa Saumilla Kaviputradinam"if the first is construed as reasonable the interpretation would be "Blasa and Kavi (i.e. Sudraka) and his Putra Saumilla ka and others " The other reading if deemed correct the interpretation would be - "Bhasa, Saumilla, Kavi and his putra and others i.e.

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Sudraka and his Putra and others". Putia may be taken to mean son and a propei noun both by Pun. The Jain version of the Canakyakatha given by Hanisena in Chapter 143 of the Bihatkatha-Kosa?o refers to King Nanda of Pataliputra having his qucen as Suvrata. His three famous ministers were Kavi, Subandhu and Sakata He refers to Canakya as the son of Kapila and Devila- the Brahmana couple. Canakya was a greater scholar of all branches of learning His wife was Yasomali. Kapila's sister Bandhumati was wedded to Kavi who entered into a pact with Canakya to overthrow the Nanda King. Tlie Brhat Katha of Gunadhya iepresented by BrhatKatha Manjari of Ksemendra 27 and Katha Saritsagara of Somadeva 2 8 lefers to the tale of one Patali daughter of Mahendra Vaima wedded to Putraka a Brahmana evolving the title of the town named Patliputra, BKM2deg11X, 263 264, 299, 322) KSS(X11.11.4-5 and 68)30 refer to King Sudraka as the sovereign lord of Sobhavati Nagar reigning supreme for more than a hundied years. "Asti Sobhavati nama nagari sampadam nidhh, Babhuva Sudrakas tasyam yasasvi prthivipatih. Alam devi mahibharttuh Sudrakasyagravallabha Sa ca devas tritiye'hui parnayur divam esyati Juvitena madiyena jivaty esa saputrakah. Devi ! viraya io virah provacetyatha Sudiakah" of Kremendra and Asti Sobhavati nama Satyakhya nagari bhuvi Tasyam ca Sudrakakhy'abhud bhupatih prajyavikramah. Mama murdhopaharena raja jivatu Sudrakah. Anyadvarsa satam devi ? kuryadrajyam Somadeva deserve to be quoted here. akantakam" of Bhasa has been referred to by Kremendra in VI 13-1731 along with Mahartha, Prabhava and Siddhartha as the three ministers of King Suryaprabha, son of Candraprabha of Sakalapuri in the Madra countries. Variantly named as Prabhasa, Siddhartha and Prahasta by Somadeva 3 2 in his own version as "Sakalam nama madresu babhuva nagaram pura; Candraprabhakhyas tatrasid rajangara prabhatmajah, Kutimatyabhidhanayam tasya devyamajayata,

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"Kavi Puttra" of Kalidasa 151 esa Suryaprabho nama raja jatah purarina, bhavi vidyadharadhisa-Cakravarti vinirmitah, Sa eva mantriputrams ca nijamstasmai samarpayat, Bhasa prabhasa Siddhartha prahastaprabhrtin bahun" A Survey of the contents collected above brings to the fore the following few facts for recognition Nanda reigning in Pataliputra had Kavi, Subandhu and Sakata his three ministers among whom Kavi was alligned by Canakya for the extirpation of Nanda. Patali daughter of Mahendra-varma wedded to Putraka or Putra a Brahmana gave Pataliputra its name. Sudraka the sovereign lord of Sobhavati reigned for more than hundred years. In the Madra Countries there was a King named Candraprabha son of Angaraprabha who produced a son named Suryaprabh in queen named Kirtimati. Suryaprabha had four ministers Bhasa, Mahartha, Prabhava and Siddhartha according to Ksemendra and Bhasa, Prabhasa, Siddhartha and Prahasta according to Somadeva. Gunadhya, ie one rich in virtues was the honorific title of Malyavan of Pratisthanupura in Daksina patha who was Puspadanta in original as the son of Somadutta, a resident brahmana of Kausambi whose variant three appellations were Katyayana, Srutadhara and Vararucih according to Kyemendra. 83 a Somadeva also construes Gunadhya as the title of Malyavan born in a town named Supratisthita. His two other names were Puspadanta and Vararucih. 37 Supratisthita was in Mahanagari Kausambi. Somadeva describes Pamini as one of the pupils of Varsa to whom the New System Grammar (Vyakaranam uavam) revealed itself through the grace of mooilcrested god Siva and who outclassed all his contemporaries, 33 Keemendra also construes Panini as the pupil of Varsa who obtained the system of New Grammar or New system of grammar by penance unto Sankara.36 These two Brhatkatha versions in Sanskrit (rendered by So radeva and Kremendra) describe Yogananda the reigning Nanda King who had Hiranyagupta as his son and Vararuci and sakafala as also Subandhu as his three ministers. Sakatala and Subandhu vied with each other for the supreme seat of a learned Brahmana in the court of Yogananda Yogananda preferred Subandhu. Sakatala brought Canakya in his own alliance

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152 Sudarshan Kumar Sharma with whose Ketya (Chaim) Nanda King died of burning fever and Canakya killed Hiranyagupta also and made Candragupta the scion of the former Nanda King as the Sovereign lord. 37 "tadvasad Yoganando' tha dahajvaianavapyasah, Saptame divase prapte pancatvam Samupugamat. latva hiranyaguptam ca Sakatalena tatsutam, purvanandasute caksmi Scandragupte nivesita" of Somadeva, along with "Canakyanamna te natha Sakatalagshe rahah, Kftyam vidhaya sapta halsaputro nihato nrpah, Yogananda yasahsese Purvananda Sutas tatah, Candragupto dhrto rajye38 Canakyena mahaujasa, of Kremendra deserve to be quoted here Somadeva's version describes Canakya as a peer to Bghaspati whom Sakalala made his successor and took to exile 39 A perusal of the contents made above illusrates Somadeva as the more faithful pupil of Gunadhya as confessed by Somadeva himself in 1.1.10 - 25 Yatha multam tatliaiva tat na manag apy atikrmah, grantha-vistara-samksepa-matram bhasa ca bhidyate. In view of this fallacy and a complete comparison of the versions of Pratijnayaugandharayana and Swapnavasavadattam given by Bhasa and those given by Gunadhya (i.e, Somadeva) convince one of this fact that Bhasa has depicted the true history of his times while Gunadhya las combinded fiction with facts. "Hamso hi ksiramadatte tanmisrah vaijayaty apah"having taken recourse to this maxim of Kalidasa we can easily take the account of Somadeva as near to factual represention when we go to make a comparative identity of Bhasa, Kaviputra and Saumillaka or Bhasa Saumilla and Kaviputra. Kavi, Subandhu and Spkata the three ministers of King named Nanda given by the Jain version of the "Canakya Katha" come near to the analogy of Vararuci, Subandhu, and Sakataja fo Gunadliya as the three ministers of Yogananda. In Jain version Kavi incites Canakya to extirpate the Nanda King. In Bthatkatha it is sakatala who does it. Of the trio Bhasa, Kaviputr and Saumillaka or Bhasa, Saumilla and Kaviputru, Bhasa the author of the Trivadrum plays eulogised by Kalidasa, Banu (HC) and Rajaskhara

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(Jalhana's Suktimuktavali) may be identified as the famous minister of Surya-prabha, son of Candraprabha and a grand son of Angara Prabha, the sovereigo lord of Sakalapuri in the Madra countries. Saumilla may be considered as his son (Bhasa eva Kavis tasya putrah Saumillakah) or he may be construed as the son of Kavi (Sudraka King of Sobhavari) in succession to Bhasa in the field of dramaturgy having composed Vinavasavadattam, or Kaviputra inay be construed as Sukracarya the author of Sukraniti the 4th son of Kavi, the first also being named Kavi (MbhKosa). The description of Sudraka given in BIhatkatha (BKM41) "asti Sobhavati naina nagari Sampadam nidhih. bhuvo bhusana-maleva bhuriratnavirajini." babhuva Sudrakas tasya yasasvi prthivipatih. bhargavadikatliah karsyam yad viracaritair yayuh." tasya Somaprabha nama lavanyamotasalins. babhuva vallabha cittakailavasalini along with Malaviyo mahasattavah karavalasakhodvijah. deva viravaro nama sevartham drastumicchati and aham devi mahibhartuh Sudrakasyagravallabha. Sa ca devaststiye'hni pargayur divan esyati, referring to Sudraka as the Kiag of Sobhavati having Somaprabha as his wife, a bramana lad hailing from Malava having come to him for service. (KSS)42 omitting the name o Somparabha and referring to Dharinavati a3 the spouse of Viravara, Satyavara as his son and Viravati as his daughter; both agreeing on the point of considering Viravara as a Brahmana lad from Malaya, Sudraka having been conferred the BOON of living and reigning for more than a century. According to Dr. A.D. Pusalkar4 3 "The Kathasaritsagara makes him iule over Sobhavatt i.e Karnataka or Kalinga."f But he is wiong in illustrating the point that "According to the fourth vetala Katha as given in the Brhatkathamanjar Sudraka is stated to be the King of Vardhamana" because BKM IX. 4.263 quoted above dispells this doubt. Meccha katika illustrates the entire story of an internal Revolution in the city of Ujjayini, Sudraka evincing a close acquaintance with the remote nook and corner of the city, we can hardly go beyond a surmise that he had a sentimental affilliation unto that town and therefore, had a domicile of that town. N.L. Dey 44 takes Sobhayati as the birth place of Buddha or Kanakamuni identified by P.C. Mookarji as Araura in the Nepalese Tarai a yojana to the east of Tilaura, Sobhavuti Sambodhi XII--20

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Sudarshan Kumar Sharma could also be a variant name of Ujjayini like Visala in the Meghaduta45 of Kalidasa. According to Dr. K C. Jain:46 "Malva was one of the most important provinces of India in ancient times, and its influence of Indian culture has been profound. Physically, culturally and politically, we from the passage way may call it the Heart of India'. It is North India to the Deccan. Malwa implies the plateau region which formed a political unit like Magadha, Kalinga and Saurastra. In the name of Avanti but Sixth Century B.C. it became famous under the from the fifth century onwards it was largely called 'MALVA". Hence Sudraka King of Sobhavati referred to by Gunadhya a Junior contemporary of Canakya (4th Century B. C.) and Candragupta having Viravara come to him from Malava can easily make it convenient for us to constiue him as a King of Kalinga or Karnataka as postulated by Dr. A.D. Pusalkar. But Viravara could also come from the contiguous Malva regions of Saurastra. 154 Sobhavati therefore construed as Ujjayin in Avanti subsequently construed as the Capital of Sudraka having close contact with this country completes his author ship of the Mrcchakatika in line with the authors Bhasa and Saumilla, of Pratijnayaugnadharayana, Svapnavasavadattam and Vinavasavadattam. But a study of Avimaraka makes it equally cognisable that Bhasa was fairly acquainted with the kingdom of Sauvira47 (Multan and Jaharwar) contiguous to Sindhu and the town named Vairantya -Rintambur or Rintipur on the Gomti a branch of the Chambal (Roruka was the Capital of Sauvira). Sauvira could be contiguous to 'Sakale' the town proper of the Madra country where "Surya Prabha" reigned as the sovereign lord of Bhasa, Prabhasa, Siddhartha and Prahasta. Bhasa and Sudraka (Kavi Putra or Kavi having a putra) along with Saumillaku could have been residents of Ujjayint originally but serving in their professional careers as ministers the kings in different contiguous areas such as Kalinga, Karnataka they could have a better reckoning of the incidents occuring beyond the pale of their existence such as Avanti Sauvira and Sakala, Hence Bhasa could have enjoyed the patronage of the Sakala King in the Madra country named Suryaprabha, son of Candraprabha and grand son of Angaraprabha who could have been the rajas who were a corporation of warriors originally hailing from the ancient Ksatriya tribes of vedic times la 325 BC Alexander brought them under sway.49 Kaviputra'

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"Kavi Puttra" of Kalidasa 153 the dramatist ou Kavi liaving putra as Saumillaka the dramatist, or Bhasa the poet having hus son as Saumillaka the dramatist or Bhasa and Kavi having his putra and Saumillaka, the dramatist convince one of the poiuts that Kavi Putra or Kavi having his putra could be sudraka alone in so far as "Dvija mukhyatanah Kavii babhuva prathitah Sudraka ity agadhasattval"50 along with "Rajanai viksya putiam paramasamudayenasvamedhena cestva; Labdliva cayuh Satabdam dasadinasahitam Sudi ako'gnim pravistah's 1 And Avantipuryam dvijasarthivalio yuva daridrah kila Carudattah: gunanurakt.i ganika ca tasya vasantasobheva Vasantasena. Tayor idam satsuratotsavarayam nuyapracaram vyavaharadusfatam; Khalasvabhavam bhavitavyatam tatha cakara saryam kila Sudrako upah. Samaravyasani pramadasunyak kakudam vcdavidam tapodhanas ca Paravarana bhuyuchu lubdhah ksitipatah kila Sudrako babhuva. afford us the cloar clues. Sudraka was the best among the best of the dvijas-knitriyas or Brahmanas (preferably Ksatriyas here). He was entitled 'hart' well known as Sudruka. Having seen his son as King hc entered fire 1. C he died and his framic was consigned to fire after an age of one hundred years and ten days. He was "Ksitipala' and it 'nppa' who created a plethora of characters who belonged to all walks of life such as ogues and rakes, dissolute profligates. Since Gumaelhya refers to Cunuh ya and so also does Sudraka, we can easily construc them as Irving flourished after Canakya (Candragupta Maurya) as contemporaries, Sudraka outliving Gunadhya. Gunadhya's allusion to Bhasa and Sudruku hoth and Sudraka's allusion to the characters of Udayana plays of Bhutnat such as Gopalaka, Palaka, Yaugandharayana convince one of the point that Bhasa was decidedly an elder contemporary of both Gunadhya and Sudraka the latter also refering to Aryaka son of Gopalaka und Gunadhya missing to refer to Aryaka and referring to Avanti-Varelhuna, son of Palaka; Banabhatta referring to "Candraketu Lord of the Cukoras being attached to his chamberlain, was along with his ministers deprived of life by an emissary of Sudraka57 also refers to an historical allusion whereby Sudraka got rid of Candraketu the overlord of Cakoras through his own secret emissary, along with his own ministei: fond as he was of a Chamberlain or of a doorkceper or il portress.

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156 Sudarshan Kumar Sharma According to Di. VS Agravala 5 5 'Cakora' was situated to the South-West of Ujjayini the Capital of the Lata country where reigned Castana. It was formerly included in the reign of Gautamiputra. Two generations before the reign of Gautamiputra Satakarni Cakora was the capital of Satakarni. He was probably known as Candraketu. It was he perhaps whom tle emissary of Sudraka got killed. According to Prof. K. D. Bajpai 56, Cakora is identical with the Caranadri or Sunara in the Mji zapur District of Uttara Pradesa. But the Vidyadharendra Candraketu contemporary of the Brahmadattas of Varanasi referred to in XVIIth Lambaka Taranga II(90-126)57 appears to be the most probable counterpart of the Cakoranatha killed by the emissary of Sudraka in company of his councillors addicted as he was too much unto his Chamberlain or portress, preferred to by Bana being the ruler of Cakoia i.e. Caranadri or Cunara in the Mirzapura district of Uttarapradesu. Hence Kaviputra being the Putra of Kayi i.c. Sudraka or Bhasa and Kavi 1.e. Sudraka having a son Saumillaka or Bliasa. Saumillaka and Kavi i.e. Sudraka having a Putra appeal to be the appropriate suggestive connotations of the line written by Kalidasa. Bhasa the poet having a son named Saumillaka brushes aside the name of Sadraka wlom Kalidasa could hardly omit through a covert allusion to be unravelled by the researchers of posterity. In the Colophon to the IVth Adhyaya of Sukraniti verse 42858 the writer has extolled the Niti of Kavi as unparalelled in the triod of worlds. "Kavyo nitik' according to him is the real niti. Others according to him are the dicta of 'Kuottih' for tae Vyavaharins or law givers amongst whom he has referred to many as his predecessors in verse 426. He calls himself as 'Bhargava'59 the author of 2200 Verses in nttisara. If Kalidasa meant 'Kaviputra Sukracarya the eighth son of Kavi, the first named also Kavi we can do well to place the author of this treatise in the early centuries before Christ or else how could he b: placed before Kalidasa even if taken down to the later centuries of the Christian era or how could Kalidasa dare to refer to him in his Malavikagnimitram. Usanak' is the third honorific title of Sukracarya referred to by the Sanskrit writers, In Paricatantra of Visnusarina (5th or oth Century AD) Usanah is believed to have composed a sastra for Ravana "durgas trikutah parikha samudro; raksamsi yodha dhanadas ca vittam; Sastram ca yasya Usanasa prantam sa Ravano daivavasad vipannah'60

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"kavi Puttra" of kalidasa This can back date the composition of Sukruniti as U Sanonitt to the epoch of the Ramayana as such In Ramayana of Valmiki II. 25-23,91 he is described as a Sage iesiding in the Dandakayana. Kausalya had prayed for his help in favour of Rand during latter's exile. In the same text VII 1602 Sulu has been illustrated as a minister of Kubera. Kubera being the elder brotliei of Ravana, Sukia referred to by Visnusaima as Usanah could well be the same as the Minister of Kubera who wrote the Sastia for Ravana He could have also been a minister of Ravana In Sukraniti 63 1.113 Ravana has been illustrated as a person along with India, Dandakya and Nahusa who met their doom on account of their addiction unto wives of others. But in I 141-145 Ravana i eferred to as raksasa Paulastya has also been illustrated in line with Dangakya, Janamejaya, Aula the Rajarsi, an asura named Vatapi, having lost his life duc to pride (manad). In I.146 Jamadagnya (Parasurama) and Ainbarisa have been treated of as suave person who enjoyed this earth foi long after buving vanquished the ansudvarga. In 1-152-1536 158, trayi (the triad of vedas) has been mentioned. But in 1.1556 7(Vedas calvaio) Vedas as four in number have bcen iefclied to, Athai va veda being a specialised treatise though synchronising with the Xth Mandala of Rgveda as the manual of utual has been segregated to one compositc whole. Cannonso 8 have been referred to along with Gun Power. This has misled many an eruditc scholar to put forward the view that Sukranitih or Usanonitih Bhargavanttih could not have been written before 8th Century A.D., when Gun powder and gun making came into actual vogue after a gap of long centuries. In IV.7.200-20369 the specific powders and their measures have been fully enunciated for the composition of the Gun powder to be used for explosion in small as well as the big cannons and the bigger ones carriageable on the Carts (Pravahyam Sakatadyaistu). Suvarcilarvana gandhaka-arka-snuhi-substances forming the compounds of Gun powder certainly refer to the ancient norm and not to the modern norm necessarily Hence the antiquity of the work cannot be gainsayed. Kautilya XIII 4.19-21 p.263 Part-1 RP Kangle with 11.18 (Ayudhagara (Sutias 5, 6) p. 68 KAS Part II R. P. Kangle pp 150-151 and p. 566 referring to Agnicurna and Sthita and Cala, antras equally comes to our rescue here 10 expounding this point (yolo lolamayo garbhagulikal kevalo'pi va; sisusya laghunalartham liy anyadhatubliavo' pi va) Lohasaramayam vapi nalastram tvanyadhatujam. nityasaminarjana-svacchamastrapatibhir avrlam). IV.7 204-205 refers to

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158 Sudarshan Kumar Sharma cannonballs made of iron or having tiny bullets stuffed within and bullets made of lead for the small Gun (Laghunalartha) or made of some other metal capable of exploding IV. 7. 206-210 efeis to Sulphur, nitre, haritala, lead powder, Hingula, Kanta rajus, Karpura. Jotur Nili(rasa), Sauluniryasa! - all these mixed up equally or Drone tionately combined to create the Gun powder. Their nomenclature formulas indicate an indigenous touch and not a borrowed one e alien intruders. The Greeks alleged to have been referied to by Sukra in Kavyani desabhasa-vakarokti-r yavanam matam'' Srutismrti vida dharma-dharmau stas tac ca yavanam 72 Srut yadibhinnadhai amo'sti pacca tad yavanam matan72 And Dharmayuddhe tu kutevai na yuddam kutasadrsam nasanam balavadripoh " na santi niya mah ami; Ramakrsneudradidevaili, kutamevasritam pura, Kutena nihato balirYavano namucis tatha'' 73 But observed minutely "Yavanan matam"" referred to above as one in which dhari and adharma divested of the dicta of Sruti and snaigti or onc which line of action or code of conduct at variance with the dicta srutismrti makes it evidently clear that Atharva vedic cult of Vraty. and dasamiyas immune from Upanayana being the progeny of ti intermixture of the three varnas- is meant here. To the last instani quoting Yavana having killed in line with Namuci refers to Kalayavai an asura born from the 'teja' of Gargacaiya." 4 "Yah Kalayavanah khyalo gargatejo' blu samvrta) bhavisyati vadhas tasya matta eva dvijottama." It hardly refers to the Greeks following the Macedonian-invasion--- Apart from this Prthak prthak kriyabhir hi kalabhedas tu jayatc; Yam yam kalam samaeritya tannanna Jolir ucyate75 refers to professional origin of Jatis' along with

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"Kavi Puttra" of Kalidasa 159 Casatyavadinam gudhacaram naiva ca sasti yah Sah nrpo 'mleccha' ityukta prajapranadhanapahah"76 defining the term "Mleccha'. Sucaka referred to in alliance with bhftaka by Kautilya 77 on the Revenue side has its variation in Sucaka and stobhaka the nu and the intelligence officer of Sukra78 ya kascid yadhain arhati"79 is an exception referred to by Sukra along with-"Tasmat saivaprayatnena vadhadandam tyajen nrpah"80. Sukra has enunciated the fourfold classification of Jati by Brahma through professional seglegation which through samkarya or asamkarya, pratiloma and anuloma mode of marital ties assumed a limitless norm an account of which it is not possible to give.81 He is critical of those who evaluate the congenital segi egation of the four castes. "Manyante jatibhedam ye manusyanam tn janmana, ta eva hi vijananti parthakyam namakarmabhih"82 Apart from this "A lugh born when come into contact with a low born becomes low born by birth. But a low born when come into contact with high born does not become high born even by birth.83 Concepts like these along with 32 lores and sixty four fine arts referred to in IV 3.2384 recounted in IV 3.26-298 fully and individually explained in IV 3.30-6486 with specific allusion to the names of Manu87 and Kanada 8 3 and Vasistha 8 9 in IV5 232-233 Svamahatvacca yo divyam na kuryaj jnanadarpatah Vasisthadyasritam nityam sah naro dharmataskarah" along with "Mimamsavedava kyanam saiva nyayah prakirtitah"90 "Cittavrttinirodhas tu pranasamyamanadibhih, tadyogasastram vijneyam yasmindhyanasamadhitah"91 Srutismotyavirodhena rajavsttadisasanam, Suyuktya'rtharjanam yatra hy arthasastram tad ucyate"92 Sasadibhedatah pumsam anukuladibhedatah, Padminyadiprabhedeba strinam sviyadibhedatah, tat kamasastram sattvadeh laksma yatrasti cobhayoh." 3 illustrating the Nyaya, Yoga and Arthasastram and Kamasastra without naming their authors Gautam, Patanjali, Byhaspati or Kautilya and Vatsyayang make itself evident that Sukra knew the names of Manu,

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160 Sudarshan Kumar Sharna Kanada and Vasistha and the names of Gautam, Patanjali, Bihaspati Kautilya and Vaisyayam were alien to him being neither his predecessor nor contempoiaries At least Sukra does not evince any acquaintance with Kautilya and bis Arthasastra ou Vatsyayana and his Kamasutra though he had full coguisance of the theory of Nyaya-Vatsesika through the psychic activity of Sankhya and Yoga and had the knowledge of the Science of Polity through the rajadharina sections of Mahabharata and had the fust hand knowledge of the Kamasastra, through lis study of Vedas, Vedangas. Kalpa Sutras. His expert knowledge of the Prosody in IV 3.45-46. that of Ganita-Jyotisa in IV 3.44.7 Samkhya and Vedanta in IV 48-49 Puranam Pancalaksanam in IV. 3 52-53 and that of Smrtis in Varnadidharmasmranam yatra vedavirodhakam, Kirttanam cartliastasranam smotih sa sa prakirttita. in 1V 3.53-54 (pp 228-29) All these make it amply manifest that Sukra belonged to the preka utilyan epoch. His allusion to Nanaka'94 a coin referred 10 by Sudraka in his Mrcchakatika (1.23 p 30 M.R. KALE) "esa nanaka mostka makastka" etc and Kayasthao 7 also referred to by Sudraka (pp 182 and 308 M. R. Kale) also confirms the same view that lie was a little carlier than Sudraka and Canakya who has been referred to by the latter.. Brhatkatha alluding to 'Agneyastra' in X.4.194 and "Dinara" in X.4.214,222.228 equally confirms it. To conclude this dissertation it becomes pertinent to remark that Kaviputra' or 'Kavi' having a Putra Kaviputra" in contemporaneity of Bhasa and Saumilla the three having a kinship through birth or in the form of pation and protege as such within the span of a Century referred lo by Kalidasa within the prologue of his play Malavikagnimitram could be Sudraka the famous author of Mrcchakatika and Sukracarya the famous author of Sukraniti meant as such punningly hy Kalidasa. Footnotes 1. Paper read at the All India Oriental Conference 33rd Session Calcutta held from Oct 24-26,1986. 2. Lecture Senior Scale in Sanskrit Govt Rajindra College Bathinda (Pb) 151001. 3. Kale. M.R, Revised by Dave. Prof. Jayanand, A.R. Sheth & Co; published by Mahendra A. Sheth, Princess Street, Bombay-2, 1960, p.4,

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"Kuvi Putra" of Kalidasa 16! 4. Iver K.A. Subramania, Rabindra Bhavan, New Delhi-110001. Isto 1978, Text p-2. 5. Kalidasa granthavali Kashi Hindu Visva-Vidyalaya-1976, D-259. 6 Booksellers Publishing Co Rombay-4, 1958, p-4 1. Indological Book Series, C. K 38/16 Buns Phatak, Varansi, 1964, Text p--3. 8. Sagarika tramasika XII 1-2. Kalidasa Visesanka-1973. p-144 9. Kalidasa- Date Life and Works, Bombay. Popular Prakashan, Sept, 1969, p. 52 and Kalidasa (Hindi edition) Hindi Grantha Ratnakara (private) Limited, Bombay, Second Revised Ed. Sept 1956, p. 141 10. Kalidasa His style and His times, NM. Tripathi Private Limited Bombay, 1966- pp. 37 and 321 11. BHASA - A STUDY - MESSERS MUNSHI RAM Manohar Lal Post Box 1165, Nai Sarak Delhi-6 CH-I pp. 1-2-3. 12 tau Sudraka-kathakarau ramyau Ramila Somilau; Kavyam yayor dvayoi asid ardhanarisvaropamam. Suktinuktavali p. 43 Rajasekhara Kavyamimamsa Ed by C. D. Dalal, and R. A. Sastry revised and enlarged by K.S. Rama Shastri Srauta Pandite-Oriental Institute Baroda Third Ed. 1934 Explanatory notes. 13. Verses 1-132 Text edited by Jagadisa Lala Sastri Ist Edition 1970 Messrs Moti Lal Banarsi Dass-Delhi-110007. 14. Raghavan Dr. V. 1946 published by the Srinivasa Press Tiruvadi for the Administrtive Committee of the Maharajo Sarfoji Saraswati Mahal Library Tanjore. 15. Arthadastragunagrali jyestho Gopalakah sutah; Gandharvadvest vyayamasali capy anupalakah" Devdhar C.R. hasanataka Cakram, Oriental Book Agency, 15 Shukrawar Poona 1962 p-80 16. Ibid. 296 17. Sastri Jagdisa Lala, Katlia Saritsagaia I 1118. p. 14 Moti Lal Banarsi Dass Delhi-110007 1970 18. Ibid 1-5 124. 19. Ibid IV 3.64 p. 92 IV 373 p. 93. 20. Mrccakalika, KALE MR., Booksellers Publishing Co. Mehendale Building, V.P. Road, Bombay 1962 p.152. 20 KSS Shastri J.L. XVI 1.2.13 p. 529, Sambodhi XII-21

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162 21. Already established by me in my paper Sanjaya of Malati-Madhava of Bhavabhuti having impact on the authorship and date of Vinava savadattam u paper read at 32nd AIOC Ahmedabad Nov 6-8 1985. 22. Vinavasavadattam IV p. 65 published by Kuppus vami Sastri Research Institute Myalapore Madras-4 1962 Ed. by K.V Sarma with a foreword by Dr V. RAGHVAN. Sudarshan Kumar Sharma 23-25 Kale M.R., Mrcchakatika I 4.5 p. 8, Booksellers Publishing Co. Bombay-4 1962. 26 Introduction to Mudraraksasa Nataka-Katha ed by Dr V. Raghavan. Published by the Srinivasa Press Tiruvadi Maharaja Sarfoji Saraswati Mahal Library Tanjore pp. 83-84 Cff-23 27. BKM-I 2.68. p. 12 Mehar Chand Lacchman Dass New Delhi 110002. 1982. 28. KSS. JL Shastri 1970 I 3.20-21 p. 6 Messrs Moti Lal Banarsi Dass Delhi-110007. 29. pp. 308, 311, 313 30. pp. 414, 416 31. BKM pp. 137, 138 Madresu Sakalapura Raja Candraprabho' bhavat. Suryaprabho' bhavat sunuh pratapakrantabhudharah. babhuvuh sacivas tasya samagragunadarpanah. Maharthas ca Prabhavas ca Bhasah Siddharthakas tatha. 32. KSS VIII 1. 17, 19, 20, 25, pp. 204-205 33. BKM I. 1.1 69-71 p-6 34. KSS. I. 1.64-65 1-3 35. Ibid I 4.18, 22, 25, p 8 36. BKM. I 2.71.72 pp 12-13 37. KSS. I 5.114 123 p. 14. 38. BKM I 2.216-217 p. 24 39. KSS I 5.124 p. 14 40. Kalidasa, Abhijnasakuntala VI 28 p 568, Kalidasa Granthavali by Dr. Reva Prasada Dwivedi, Kashi Hindi Visvavidyalaya 1976 41. JX 4 263, 264, 268, 270, 299 pp. 308, 9, 311 42. XII 11-4, 5, 8, 9, 68 verses pp. 414-416 asti Sobhavati nama satyakhya nagari bhuvi; yasyam ca Sudrakakhyo' bhud bhupatih prajyavikramah; tam kadacinmartipalam priyasuram upayayau; sevartham malavad eko namna Viravaro dvijah.

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"Kavi Putra of Ralidasa 163 yasya dharmavati nana bharya satyavaral sulah Kanya Viravara ceti tiayam glhapas icchdah. along withMama murdhopahalena raja jivatu Sudrakan; anyad varsasatain devi kuryad rajyam akamtakain. 43. Authorship and Date of Mrechakatika p. 34 JAHRS XI 1937 44. Geographical Dictionary of Ancient and Mediaeval India 45. Meghadula, Dr. Aggarwal V.S., Purva-bliagu Verse 30 p. 171 Ral Mahal Prakashan Delhi-6, 1971 Second Edition. Kalidasa Kosa, Dr. Suiesli Chandra Benerji p. 32, Chowkhanbal Publication 1968 first ed. 46. Malwa through the Ages, Ch Il p. 15 Moti Lal Banarsi Dass. Delhi-110007. 1972 47-48. Bhasa a Study by D: AD. Pusalkai pp. 339-40 and 346 49. HGUAI Dr. D.C SIRCAR p. 124 published by Society Asiatique of PARIS 1 Rue de Sethe PARIC VI France 1968 50. Micchakatika I. 3 p. 8 51-53, Ibid I. 4, 6, 7, 5 p. 8 54. E.B. Cowell and F.W. Thomas Harsacaritu of Bana English trauslation page 193 Messss Moti Lal Baparsi Dass Delhi-110007 1962 "Utsaraka rucim ca rahasi sasacsvameva duricakaru Cakorauathan Sudrakadutal Candraketum jivitat HC VI p. 695 pp. 5-6 Calcutta ed IVtb 1939 55. Harsacarita Eka Samskrtika Adhyayana, Bibar Rasirabbasa Parisad Patpa 1953 Cff 2 p. 133 56. Geographical Encyclopaedia of Ancient and Mediaeval India. India Academy, Varanasi Pt-I A.D. 1967 57. KSS 544-45 MBD Delhi 110007 1920 Ed JL SASTRI 58. na Kaveh sadrsi niti strinu lokesu vidyate; Kavyaiva nitir anya tu kunitir vyavaharin an Cauklamba Sk series ed. Varanasi 1968 p. 395 59. Manavad yair adeto yorthah tadartho bhargavena vai; dvavimgati satam slokah nitisare prakirttitah. ibid 60. Pancatantram, Laksmivenkatesvarasteam press, Kalyana-Bombay. 1931 V 11.91 p. 250 and Kale M.R, ML BD 1969 Delhi 110007 V. 11.89. p. 63 61. Srimadvalmiki Ramayanam Part-I Gita Press ed. Text and English trauslation 1969 p. 338

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164 Sudarshan Kumar Sharma 02. lbid Part III p. 1954. tatu durad pradadree dhanadlyakso gadadharai Suki aprausthapadasliyam ca Sankhapadmasamausteh. 63. Brahmasankara Mishra-Caukhamba Sanskrit series ed. 1968 64-65 IBID p. 23, 67 lbid p. 24 66-67. Ibid Pp. 24-25 68. Yamikaih raksito nityam nalikastrais cil samyuta. Ibid I 239 p. 36 and bshannalikam and loghunalikayuktivam i 7.22, 24 pp. 330, 331. Yadawabtrikam nasti nalikam tatra dhalayet... Ibid IV 7.192 p. 357. Nalikam dvividham jneyain bihatksudravibhedatah Tiryagurdhvacchidramiulam nalam pancavitastikam, Mulagrayorlaksyabhedi tilabinduyutam sada. Ibid IV 7.194 -195 p. 357 Yantraghatagnikpd gravacurnadhrkkaamulakan. Sukasthopangabudhiann ca inadhyangulabilantaran. Svante' guicarna samghat; salakasamyutam ddham. Laghupalikum apy etat pradliaryam pattisadibhih Yathayatha tu tvaksaram yatha sthulabilantaram; Yatha dirghan Orhadgolam durabhedi tatlistatha ipule kilabbrapaila ksya ,samasandhanabhaji yat. byhamualikasamjpani tat, kaptha budupavibirmitam. Pravabyam. Sakatadyaistu. suyuktam vijayapradain. Ibid. 18 10 7.196-199/200 pp. 357-358. 69. Ibid p 358. Suvarcilaven at pancapalani gapdlakat palam. aotardhuma vipakvarka Snuhyadyangaratah palam, Suddhat samgrabya suncurnya saminalya praputedtasaih. Snuhyarkinam rasonasya Sosayedatapena ca Pistva sarkaravaccaitadagnicurnam bhaved bhalu. Suyarcilavan Udbhagah sadva catvara eva va. nalasttarthaghicuroarthe gandhangarau tu purvavat. 70 Angarasyaiva gandlasya Suvai cilavanasya ca; silayah liaritalasya tatha Sisamalasya ca; hingulasya tatha kantarajasah karpurasya ca. Jatornilyasca saralaniryasasya tathaiva ca. Samanyu-nadhi-kairam---sairaghi-curnanyanekasah. Kalpayanti cu tadvidyaccandrika bhadimantica Ksipanti ca

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"Kau Putru of kalidosu 165 gnisamyogad lahsani gole Sunalagam naladyam Sodhayedadau. dadyattatragnicuinakam. nivesayettaddandeni nalamule yatla dgdbam tatah sugolakam dadyat tatuh katne gnidarnakam. Karnacuuagnidanepa golam Jaksye nipatayet. 71. Ibid IV 3.29 p. 225 72. Ibid IV 3,63 p. 231 73. Ibid IV 7.362--364 p. 384. 74. Mbli, Santi purva 339. 95-96 75. Sukraniti-IV 3.66 p. 231 76. Ibid I 338 p 49 IV. 5 293 p. 317. 77. KAS II 8.29 32. p. 46 RP Kangle Part I published by T.V. Chidam biam Registiar University of Bombay Foit Bombay Dec 1960 78. Sukraniti--IV567-70 p. 280 79 Ibid IV 1.92 p. 196 80, Ibid IV 1.93 p. 196 81. Ibid IV 3.11.-12 p. 223 82. Ibid IV 3.12-13 p. 223 83. Uttavno nice samsarge bhavon nicas tu jaamanah; nico blaven potlamas tu sansargad vapi janmana. Ibid IV 3-14 p. 223 84. Ibid p. 225 -85. Rgyajuhsama catbai va vedah ayut dbanub Kramat; gandharvas caiva tantrani upavedah prakirttitah. Siksa vyakaranam kalpo viruktam jyautisam tatba; Chaudah sadanganluani vedanul kurtita mibi; MimamsI-tarka-samkhyani vedayto yoga eva ca; itihasah puranam smptaya gistikam matam; arthasustram kamasastram tatha Spamalankstih Kavyani desabhagavasaroktir yavanam matai; desadid harina dvatrimgad eta vidyabhisamjnitah. ibid p. 225 86. Ibid pp. 226--231 :87. Ibid IV 3.12 p. 224 Sprachadaih Krsim prokta Manvadyaih brahmanadisu 88. Ibid IV 3.47.48 p. 228 bhivabhavapadarthanam pratyaksadi piamanatah. Saviveko yatra tarkah Kanadadi matam ca yat. 89. Ibid p. 306

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Sudarshan Kumar Sharing 90. Ibid IV 3,47 p. 228 91. Ibid 2V 3,50-51 p. 229 92. Ibid IV 3.55-56 p. 230 93. Ibid IV 3.56-37 p230 94. Tulasasava mananani ?bid / 295 p. 43 nanah asyapi va Kvacil 95, Ibid 11 431 p. 123 96, KSS p. 313.

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bhagavatI sUtra dalasukha mAlavaNiyA pAMcavA aMga viyAhapaNNatti vyAkhyAprajJapti hai (kintu vyavahArameM vaha 'bhagavatI'-jo vastutaH usakA vizeSaNa thA-ke nAma se hI vizeSa prasiddha hai-nAma hI sUcanA detA hai ki yaha bhAgama vizeSa rUpase bahumAna ko prApta huA hai / kAraNa yaha hai ki isameM bha. mahAvIra ke savAda hai jisameM unhoMne jaina dharma aura darzana ke viSaya meM vividha carcA apane aura anya mata ke ziSyoM ke sAtha kI hai / aura isa taraha jaina dharma aura darzana kI mAnyatAe~ anyadIya matoM ke saMdarbha meM spaSTa huI haiM / ma mahAvIra hI uttaradAtA hai kintu yaha mAna lene kI AvazyatA nahIM ki bhagavatI meM jo kucha kahA gayA hai vaha bha. mahAvIrane svayaM kahA thA / DA. zuboMga ke anusAra zataka 1 se 20 aura 25 vA itane maulika ho sakate haiM / Doctrine of the Jainas p. 88. bhagavatI ke samagra avalokana se yaha to spaSTa hotA hI hai ki usameM kaI aisI bAte' haiM jo yAdameM bha. mahAvIra ke nAma se jora dI gaI haiN| udAharaNa ke taura para zrutaviccheda kI carcA ko upasthita kiyA jA sakatA hai jisameM kahA gayA hai ki (zataka 20, u. 9) pUrvagata zruta eka hajAra varSa taka sthita rahegA aura aisI kaI bAte haiM jo AcAryoM ne bAdameM sthira kI aura unako prAmANya arpita karane ke lie bhagavatI meM zAmila kara dI gaI / udAharaNa ke taura para prazApanA meM jonyavasthita parcA huI unako bhagavatI meM bhI sthAna diyA gayA aura vistAra ke lie prazApanAko hI dekha lene kI sUcanA kI gii| prazApanAke pada-1,2,5,6,11,15,19,24,25,26 aura 27 kA nirdeza bhagavatI ke zatako meM upalabdha hai| aisI koI vicAraNA bhagavatI pUrvagranthoM meM dekhI nahIM mAtI / ataeva yahI mAnanA ucita hogA ki prazApanA kI ve nAte bhagavatI meM zAmila kI gaI, na ki prazApanA meM bhagavatI se / prArabhika 1-2. jo zataka hai unake jo viSaya hai ve kisI eka hI viSaya kI carcA se saMpara hokara eka zataka meM zAmila kiye gaye hoM aisI bAta nahIM hai / paraspara asaMbaddha svataMtra carcAe~ tattat zatakoM meM sagRhIta hai / Do. jIlyune tasat viSayoM ko eka sAtha kyoM rakhA gayA hai-isakA vivaraNa rocaka DhaMga se diyA hai-Viyahapannatti, Intro. kintu anya zatakoM meM kisI eka hI viSaya kI carcA saMbaddha rUpa se dekhI jAtI hai-yaha bAta aisI hai jo prAraMbhika zatakoM se anya zatakoM kI zailI aura racanA ko pRthaka karatI hai| viSaya vicAra kI dRSTi se dekhA jAya to viSaya kA kevala kisI eka prazna ko lekara nirUpaNa prAraMbhika zatakoM meM dekhA jAtA hai / arthAt jaba jaisA prazna uThA usakA uttara bha. mahAvIra ne diyA yaha prakriyA prAraMbhika zatakoM meM hai / jaba ki 20 ke bAdake zatakoM meM prAyaH eka hI viSaya kI carcA se saMbaddha vividha praznoM kA uttara zAmila hai| isase kahA jA sakatA hai ki mUlataH bhagavatI meM bha. mahAvIra ko vividha sthAnoM meM nAnA prakAra ke logoM ne no podhi. 12-1

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dalasukha mAlavaNiyA prazna pUche the unakA samAveza kiyA gayA thaa| kintu bAda meM usameM viSaya kI vyavasthita vicAraNA bhI jokhI gaI jisase ki vaha eka vyavasthita vicAra yA zAstra bana jAya aura Age bar3hatI huI vicAraNA kA bhI samAveza usameM ho jAya / isa dRSTi se dekhA jAya so vicAraNA ke prAcIna stara aura uttarakAlIna stara-ye dono eka hI granthameM upalabdha haiM / yahI sUcita karatA hai ki bhagavatI meM bAdameM bahuta kucha joghA gayA hai / yahA~ maiM yaha spaSTa kara denA cAhatA hU~ ki jaba maiM sakalanA kI bAta kahatA hU~ to balabhI lekhana se tAtparya nahIM haiM / valabhI lekhana se pUrva pATaliputra, mathurA aura valabhI meM honevAlI vAcanA meM kauna se grantha sakalita kiye gaye isakI prAmANika sUcI hamAre samakSa nahIM hai / vidyamAna bhagavatI kisa sakalanA kA pariNAma hai-yaha bhI nizcita rUpa se phAhanA kaThina hai, aisI sthiti meM jaina vicAraNA kA jo sa'kalanA kAla meM pariniSThita rUpa thA yaha usameM zAmila hokara prAmANika bana jAya aura Agama yA jina-pravacana hone kI pratiSThA ko prApta kara sake yaha prayojana bAda meM aneka aMza jor3ane kA rahA hogA / yaha kahA jA sakatA hai ki saMkalanA kAla takakA jo Agamika vicAra hai vaha bhagavatI meM pUrI taraha sthAna prApta kara cukA hai / ataeva AgamoM ke sa'kalanA kAla takakI vicAra pragati jAnane kA yaha anugama sAdhana hai / anupama isa lie hai ki isameM purAnI aura naI ye donoM vicAraNAe~ eka hI grantha meM mila jAtI haiM / vivekI vidvAna paribhASA kA parivartana kisa prakAra huA hai yaha sahaja hI jAna sakatA hai / yaha kahA jA saphatA hai ki tasvArthasUtragata jo vyavasthita vicAraNA hai usakA pUrvarUpa bhagavatImeM mila jAtA hai / kintu yaha bhI dhyAna dene kI bAta hai ki bhagaratI se tasvArthasUtrakI vicAraNA agrima kadama hai / bhagavatI ke samaya kA vicAra kareM to usameM kucha bAteM to aisI hai jo mahAvIra samakAlIna hI haiM aura anya aisI haiM jo sakalanA kAla taka use le jAtA hai arthAt vIra nirvANa ke eka sahasra varSa taka / kintu isakA artha yaha nahIM ki bhagavatI bha. mahAvIra ke nirvANa ke bAda eka sahasravarSa kI racanA hai | yaha to eka saMgraha grantha hai ataeva tattat viSayoM kI carcA ke stara ko dekhakara hI samaya carcA sagata ho sakatI hai / adhikAMza arthAt prAthamika 20 zataka taka kA aisA aza hai jo I0 pUrva do zataka ke pUrva ke haiM aisA kahA jA sakatA hai / kevala kucha vAkya jaise ki bhuta kA viccheda vI0 ni0 eka sahasravarSa ke bAda hogA--- aise haiM, jo bAdameM bhI prakSipta hue hai|

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eka nayI niyukti samaNI kusumaprazA vaidika sAhitya meM nirukta ati prAcIna vyAkhyA paddhati hai / jaina AgamoM bhI niyukti sabase prAcIna padyabaddha racanA hai / straya bhadrabAhu ne niyukti kI paribhASA karate hue kahA hai - "nijjutta te asthA ja baddhA tena hoI nijjuttI" arthAt sUtra ke sAtha artha kA nirNaya jisake dvArA hotA hai vaha niyukti hai / niyuktikAra kitane hue ? isa viSaya meM abhitaka itihAsajJa ekamata nahIM hue hai / pramukha rUpa se bhadrabAhu kA nAma vikhyAta hai / isake atirikta goviMda AcArya kA ullekha bhI milatA hai jinhoMne goviMdaniyukti kI racanA kI / niyukti kI saMkhyA ke bAre meM bhI abhI taka nizcita rUpa se kucha nahIM kahA jA sakatA / bhadrabAha ne Avazyaka niyukti meM 10 niyuktiyAM likhane kI pratijJA kI isake atirikta bhI piNDaniyukti paMcakalpaniyukti, nizIthaniyukti ArAdhanA aura samakta niyukti kA bhI svatatra astitva milatA hai / naMdIsUtra meM pratyeka aMgaAgama ke paricaya meM saMkhejjAo nijuttIo kA ullekha isa bAta kI ora saMketa karatA hai ki pratyeka Agama para saMkhyeya niyuktiyAM likhI gayIM / lekina kAla ke antarAla meM ve lupta ho gayIM athavA sUtra ke sAtha jo arthAgama likhA gayA use hI niyukti kI sazA se abhihita kiyA ho / pichale varSa niyukti kA kArya karate hue lAlabhAI dalapatabhAI vidyAmadira meM eka hasta prati milI jisameM dazavakAlika kI ati sakSipta niyukti hai| paMDita dalasukhabhAI-mAlavaNiyA ke kathanAnusAra yaha niyukti kisI anya AcArya dvArA racita honI cAhie / isameM kula 9 gAthAra haiM jinameM cAra gAthAe~ mUla dazavakAlika niyukti kI hai tathA pA~ca gAthAe svataMtra racita haiM / prArambhika cAra gAthAoM meM kartA, racanA kA uddezya tathA racanAkAla ko ullekha hai / antima pA~ca gAthAoM meM cUlikA kI racanA ke pIche kyA itihAsa rahA hai, isakA ullekha milatA hai / yadyapi yaha ghaTanA bhagastyasiMhacaNi jinadAsapUrNi tathA hAribhadrIya TIkA kisI meM bhI nahIM milatI lekina isa niyukti se isa ghaTanA kI prAmANikatA zAta hotI hai / gujarAta yunivarsiTI dvArA Ayojita all India orientle confrence meM padA gayA zodha ptr|

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samaNI kusumaprajJA prastuta niyukti bhadbAhu dvitIya ke bAda racI gayI kyoMki isakI cAra gAthAbhI ko isa niyukti meM akSarazaH liyA gayA hai| prAcInakAla ko yaha paddhati rahI hai ki kisI bAta ko surakSita rakhane ke lie use padyabaddha kara dete the / jisase maukhika paramparA aura kaThastha paramparA meM suvidhA rahatI thI isIlie prArambhika sAhitya prAyaH pabaddha milatA hai| prastuta niyukti ke anta meM ullekha hai ki " iti dazakAlikaniyuktiH smaaptaa| yaha prati sa. 1552 kArtika zuklA zukravAra kI likhI gayI tathA nAgendragaccha ke AcArya guNamesavijayajI ke lie likhI gayI aisA ullekha ukta prati se milatA hai| ina gAthAoM ko dazavakAlika kI saMkSipta niyukti mAnA jA sakatA hai / isa viSaya meM adhika khoja kI AvazyakatA hai kI niyuktiyA~ usa samaya taka kitanI likhI garyo ? prastuta niyukti ke kucha pATha azuddha hai lekina dUsarI prati upalabdha na hone se kahIM kahA~ pATha sazodhana kiyA gayA hai / prastuta niyukti gAthAe isa prakAra haiM 1. sejjabhava gaNadhara bimaparimAdasaNeNa paDibuddhaM | maNagapiyara dasakAliyassa nimtahaga vaMde1 / / 2. maNagaM pahuca sejjaMbhaveNa nimnahiyA dasamajhayaNA / veyAliyAe ThaviyA, tamhA dasaphAliyaM nAma // (2) 3. chahiM mAsehi mahIya, ajjhayaNamiNaM tu ajamaNageNaM / chammAsA pariyAo, bhaha kAlagao samAhie // (3) 4. ANaMda supAya, kAsI sejjabhavo tahiM theraa|| jasabhAssa ya puSchA, kaNA ya viyAraNA sadhe // (4) 5. tumhAriso- vi muNiyaro jaha mohapisAeNa kalijjati / tA sAhu tuma ciya pIra.pIrimA ka' samalIu(NA) (5) 6. vasabhanmayaNasamaya, sermabhavasUribirahayaM eyaM / bahuAu' ca nAu', bhaTThAe maNagasIsassa // (6) 7. eyAbho do cUlAo, ANiA makkhaNIyAe ajjIe / sIma barapAsAbho, bhaviyabaNaSiyohaNadalAe // (7) 1. dazani 14 2. dazani 15 3. dazani 371 4. dazani 372 , 5. tamhA (4) 6. 0 vegasama 0 (1)

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eka nayI niyukti 8. khullo'saNadIhammi ya ahaM kArAvibho ajjAe | rayaNIya kAlagabha, ajjA sa vegasamutpannA // ( 8 ) 9 kahameya" saMjAya, risihiMsA' pAviyA mae pAve | to devayA vinIyA, sIma gharasAmiNA pAse || (9) 1. sImaMdhareNa bhaNiyaM, abaje ! khullo mahAkappe / mA jUrisi anpANaM dhammammi nicalA hotu // cUlikA kI racanA kA itihAsa bahuta rocaka hai / sthUlabhadra eka prabhAvazAlI bhAcArya huye haiN| unakI yakSA Adi sati bahinoM ne bhI dIkSA lI thI / zrIyaka unakA choTA bhAI thaa| vaha zarIra se bahuta komala thA bhUkha ko sahana karane kI zakti nahIM thI ataH upavAsa nahIM kara sakatA thA / eka bAra papapa para yakSa ko preraNA se zrIka muni ne upavAsa kiyA / dina to sukhapUrvaka bIta gayA lekina rAtrI ko bhayaMkara vedanA kI anubhUti huI / bhaya kara vedanA se muni zrIka devaloka ho gye| bhAI ke svaga vAsa se yakSA ko bahuta AghAta lagA / muni kI mRtyu kA nimitta svayaM ko mAnakara duHkhI rahane lagI / sagha ne sAdhvI yakSA ko nirdoSa ghoSita kara diyA lekina unhoMne anna grahaNa karanA banda kara diyA / usa samaya zAsana devatA sAdhvI yakSA ko sImaMdhara svAmI ke pAsa le gaye / somaM ghara svAmI ne yakSA ko pratibodhita kiyA aura kahA tuma isake lie doSI nahIM ho| tumhArA bhAI mahAkalpa meM deva banA hai ataH tuma duHkhI na rahakara dharma meM dRDha bano ! usa samaya sIma ghara svAmI ne yakSA ko cAra cUlikAoM kI vAcanA dii| inameM do cUlikAe dazave. kAlika tathA do AcArAMga ke sAtha joDa dI gayI | prastuta niyukti kA kAla nirdhAraNa va karttA kA ullekha karanA kaThina hai / lekina atyanta sa MkSipta meM isake dvArA dazavekAlika kI racanA kA saMzipta zAma ho jAtA hai / RESEARCH URIENTAL TIRUPATI 66392 No.... Dale BAING A '8 INSTITU Agya 7. kahA maya (pra) 8. 0 hintA (pra) 9. pariziSTa para 1, 97-101 Avazyaka cUrNi bhAga-2 . 188

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jaina sthApatya ramaNalAla nAgarajI mahetA bhAratIya jJAna para paranI prAcInatA khAkhata zaMkA nathI, paraMtu AjanA A a sarpiNI yugamAM ApaNI jJAna sAdhanAnI prAcInatA tathA eka vAyatamAM bhinnatAnuM darzIna spaSTa heAvA chatAM tenI tarapha Aje kaMIka niSkALajI rAkhavAnuM valaNa tevAmAM Ave che, te valaNa dUra karIne svataMtra bhAratanA nAgarikAe jJAnAvaraNuMIya kramane nAza karIne ce.gya mArga jJAna sAdhanA karavA prayatna karavA vikasAvelAM lA. 6, vidyAmaM dira tathA bIjI sasthAomAM sadagata zeThazrI kastUrabhAI lAlabhAinI dIrghadRSTie ane vyavahAra kuzaLatAne sumeLa dekhAya che, x bhAratIya jIvana dRSTimAM ilokamAM sukhanI prApti ane paralokamAM mekSa meLavavAnI pravRttiyAnA nirNaya karavAnA prayAsamAM acakAmAtmaka jagatamAMthI anubhava, sAdhanA ane jJAna sukha tathA mekSa meLavavA mATe sAmAnyataH tyAganI bhAvanAtA anurAdha mate jovAmAM Ave che. tenA phralasvarUpe ApaNe tyAM sanyAsI, zramaNa, sAdhu tyAdi lokeA tarapha basrA sabhAva dekhAya che. tyAganI bhAvanA ane pravRtti sAthe satya, ahiM'sA ane brahmacaryanI trayI joDAine tenAM mahattvanAM aMgo aparigrahu ane asteya sAthenAM pa'cannAnuM avalaMbana mumukSo mATe yoganA yama niyamonI mAphaka jaina zAzanamAM AdaraNIya che. A tyAgamaya yAga mAnA anuyAyIo bhAratanA vibhinna pthAmAM dhaNA pramANamAM dekhAya che. cega ane tapanA prabhAvathI kevala jJAnanI prApti mahAvIra svAmI pahelAMnA trevIsa dIkarAne thaI ane te nirdezu pAmyA covIsamAM tIrtha"kara mahAvIra svAmIe A rA'nuM anusaraNa karyuM, temanA gaNSAe tathA mA paraparAne sAdhu tathA sAdhvIoe jIvanamAM meTe bhAge tathA zrAvako ane zrAvikAe jeTale khane teTale mA mAne manusaravAnA mAnA prayAsa karyAM ., tenI lAMbI yazasvI para parA che. yoga mAga ne anusaranAra bauddha, caitra Ardi paraMparAnuM adhyayana bhAratamAM ga mA nuM mahattva ane tenI sAthenA yamaniyamAdi taravAnA sAmAnya svIkAranI vizvAza DUmikA darzAve che. ane temAM rahIne lokakalyANanI sAthe potAnAM kalyANanA pramanA karanAra maneka muninAM cAritryathI te ujajanala hAvAnuM dekhAya che. [0 tA. 22-1-85nA rAja la, 6. vidyAma`diramAM zeThazrI kasturabhAi smRti vyAkhyAna LAmAM eTaluM vyAkhyAna]

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' ra. nA. mahetA ApaNA tIthaMkarAnI, ApanA zAstronI najare vizvanI sAgarApama ke gabhutI karavAmAM muzkelI utpanna kare tevI prAcInatA dekhAya che. temAM thai gayelA ceAvIsa tI karI atyAranA yuganA cAvIsa tItha karI ane bhAvaSyanA cAvIsa tItha karazano vikaselI mAnyatA tema ja anAdi ane anata vizvanA anaMta jIvone mAkSa mAge deravAnAM jaina zAsananAM dhyeyanI satyatA uccakoTInI hAvAno sArvatrika mata che. jaina zAsananAM dhyeyAne vicAra karatAM tenAM darzana karanAra tI kAnu` smaraNa thAya che, prathama tIthakara RSabhadeve e para parAnusAra leAkakalyANanAM ghaNAM kAryo karyA, temAM khetInu' jJAna, lipijJAna, ityAdi pravRttiyA gaNAya che. A pravRttie ApaNI saMskRtinA pAcAmA che, lipijJAnanI madadathI smRtine mAtra maukhika prakriyAthI jIvaMta kA khavAnA prayAsamAM vadhu baLa maLe che, tethI nirvANu pAmelA tIya karI gaNadhara ane aneka AcA nI tapazcaryAM, jJAna sAdhanA AdinI smRti ane saskArenu sarakSaNa ane saMvardhana thAya che tethI te apeAhita thatI nathI, ane cikAzamAM vRddhi thAya che. tIrthaMkaronI nirvANuM bhUminI tapAsa karatAM vIsa tItha karA sameta zikhara para nirvANu pAmelA jAya che. te uparAMta kailAsa ke aSTApada, pAvApurI, giranAra ane caMpApurI jevAM khIjAM nirvANunAM sthAna che te sthaLe tIya karAnI smRti mATe mahuvanAM che, nirdezu sthAnanI mAphaka paMcakalyANukamAM ojA' sthaLA paNa par`parAmAM mahuttvamAM che. tIya karInAM A puNya sthAna uparAMta jaita sadhanAM rahevAnAM sthAno, sAdhuonAM tapazcaryAnAM sthAna, upAzrayA AdimAM svAbhAvika rIte ApaNI pravRttio thatI rahe che, te pravRttio paikI zAzana mATe mahattvanA sthaLeAmAM upara jaNAvelAM sthaLe uparAMta pUjA sthA,, sAdhu tathA sAdhvIne rahevAnA upAzraya vagere gaNAvAya, AvAM sthAnaka para 'dhAyelI imAratAnI mAjanAM AkhyAnamAM keTalIka carcA karI che. (2) ApaNe khAMdhelI ra ImAratA, tenI uparanAM ziSapo, temAM vaparAtI vividha vastu jaina jJAAnanA vicAro darzAvAmAM madada kare che ke tenA varAdha kare che te mahattvanI prazna che. jo ApaNAM sthApatye, ApaNA vicArAnu` yogya pratiSmi pADatA hAya te te saphaLa gaNAya. anyathA te niSphaLa gaNAya. tethI bhApaNAM sthApatyonI mApaNA vicAro tathA AcAra nirdezananI saphaLatA niSphaLatAnI vicAraNA jarUrI che tene Arbha amadA vAdanI pravRttithI karIzuM', amadAvAdanA hAlanI mauta paripATI jotAM temAM 136 mukhya jinAlayA, cha a MtaryaMta jinAlaya, 106 dhara mardiza maLIne 308 caityanAM darzana thAya che. A na thI eka svAbhAvika prazna utpanna thAya che ke ApaNe jinAlaye dharamadirA SAdi mATe saunya zabdano upayoga zA mATe karIe chIe ? A zabde mAtra paraMparAgata che ke temAM kaI aitihuAsika tathya che tenI tapAsa karavAnI jarUra UbhI thAya

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1. 2. nA, mahetA A para parA adyApi cAlu haivatu derAsare, makriza Adi dharma sthAne bAMdhanAra lA ane temanAM sAhityanAM spRSyayanathI spaSTa thAya che. A paristhitimAM jaina zAsananA sauthI jUnA sthApatyanA avazeSo mathurAmAMthI maLayA che. te e prakAranA che. prathama prakAra ImArata che ane bIjo prakAra zilpa che. prathama prakAranI ImArata utkhananamAM maLI che, paNa kamabhAgye tenAM avalokananI AAjanI paddhatinA vikAsa pahelAM thayelAM A utkhananamAM dhaNA prazno anuttara rahe che. utkhananathI maLatA purAvA pramANe kendra parathI A mArA nIkaLIne te bahuAranAM vartuLane joDatA dekhAya che. A vartulAkAra, ATha AArAvALI ImArata pUrvAM sthAna DhuvA khAkhata ahIMthI maLelI anya sAmagrI parathI samajAya che Azare eka hajAra varSa pahelAMnAM mA pUjA sthAnanI racanA te caitya athavA stUpa hovAnu darzAve che. A stUpanI racanAnAM keTalAka aMgeAte zAsananI para parA sAthe sarakhAvatAM keTalIka vigate maLe che. AdinAtha RSabhadevanu nirvANu sthAna aSTApadma athavA kailAsa mAnavAmAM Ave che. aSTApada athavA AThe bhAgeAmAM vibhakta thatuM A vAstu rAva jevu' meru cha tu' che. te chaMda pRthvI para parvata jevA hovAnI kalpanA ziStra thamAM che. tethI mA stUpa dvArA kailAsa parvata ane aSTApada ane vicArAnu atre mUta svarUpa prakaTa thatuM lAge che, khAdI kADhavAmAM AvelA mA caityanI mAtra nIcenA bhAganI mAhitI maLe che tethI te Akhe kevA dekhAtA haze te mAtra kalpanAnA viSaya banI jAya, para'tu tema na thAya tevA purAvAo mathuramAMthI maLelA AyAga paTa Ape che. A AyAgapaTomAM leNu zobhikAnI putrI vAsunA AyAga paTe para devasUla, niga tha advaitAyAtana jevA zabda vaparAyA che, tethI haiyeA mATe devakuLa jevA zabdo vaparAtA hevAnu` sUcana maLe che. tenI sAthe AmeAhInInA yAga paDha paranA lekhamAM uttaradAsakra nAmanA zrAvaka dvArA prAsAda toraNanA dAnanA ullekha che. A terane ullekha madiranI sAme UbhAM karavAmAM AvatAM teAraNa ke pAchaLathI jANItA balANakanI racanA sUcave che. eTalu ja nahI. paNa A AyAgapaTI prAcIna stUpa kevA haze tenI keTalIka vigato Ape che. A vigatA parathI caityanI keTalIka 95nA karI zakAya che. prAcIna autyA khAMdhavA mATe tenA vistAra karatAM meATA eTalA athavA jagatI taiyAra karIne tenI para caDhavA mATe pagathIyAM khAdhatA. tenI para praveza mATe temaNe taiyAra karavAmAM AvatuM tathA ATalAnI cAre bAju jALI athavA vaiddikA taiyAra thatI, Ama vedikA ane tArayukta sthaLa para gALAkAra caityanI racanA karavAmAM AvatI, te mALavALA hAya ema sAva che. caityanI upara corasa DumikA ane chatrayaSTi hovAnA sa`bhava che. AvAM svarUpanAM AlekhanA jUnA caityanuM svarUpa rajU kare che. vedikAnA staMbhanA maLelA cyavazeSo parathI te paththaranI banAvavAmAM AvatI ane te suroAbhita karavAmAM AvatI hrAya ema jaNAya che. AvA khAdhelA caityanI sAthe je vRkSa nIce tIkarAne kevala jJAna prApta thayuM hatuM tevAM vRkSe nAM sthAnane tathA vRkSe te pavitra rAkhavAne mATe tenI AjubAju naitrikA athavA vADha

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jaina sthApya banAvavAmAM AvatI. AvAM vADanI aMdaranA vRkSane vRkSa ke cetiya rUkha kahevAnI A paNI paripATI che Ama caitya ane vRkSonI tapAsa karatAM samajAya che ke tenI sImAnI maryAdA vedikAthI nakkI karavAmAM AvatA. mathurAnA yoga paTa paranAM rekhAMkana parathI A sImA paNa A khA eTalA jevaDI hatI ane tenI para teraNa ane vedikA bALyAM hatAM ema lAge che. A bAMdhakAmanI pravRttio darzAve che ke mukhya bAMdhakAmanI AjubAja vADathI jamIna AMtarI levAmAM AvatI ane tenI aMdara bIja bAMdhakAma thatuM. keTalIkavAra A aAMtarI lIdhelI jamInanI aMdaranI ImArata bAMdhatAM pahelAM tyAM Akhe eTale athavA jatI taiyAra karavAmAM AvatI temAM sthApatyanuM vizvasamAI jatuM lAge che, mAM AvI jagatI para derAsare ke maMdira bAMdhavAnI paddhatinA A5NA sthApatya Ule che. tenuM ana zeThana karatAM temAM jagatI zabdano artha sacavAyela che. aparAjita pRchAmAM 115 mAM sUtramAM 5 mAM leka "prAsAro riyukta prAptI voTa meva ." jevo ulekha che. te ja dIpA udhUta karyo che. A kSeka pramANe e AkhuM devAlaya zivaliMga sAthe sarakhAvAya te tenI pIThikA, jalAdhArI ne jagatI kahevAya. A upanAmAM zivaliMganI nIcenA bhAga athavA pITha e jaganI che te su che ke marinA bAMdhakAma mATe tenI nIce eTale bAdhavAmAM Ave che te jagatI che. ApaNe tyAMnI jamIna tapAsatAM temAM keTalIka pacI, keTalIka phATa paDe tevI, keTalIka patharALa ema vividha prakAranI che, A jamIna para ImArata tayAra karavA mATenI vividha paddhatimAM jamInamAM pAye khedIne athavA tenI para tare tauyAra karIne ImArata bAMdhavAmAM Ave che. DuMgarALa pradezamAM jamIna majabuta paraMtu khADATekarAvALI heI, tene samatala karavA mATe TekarAnA keTalAka bhAga nI pAse bAMdhakAma thaIne eTale taiyAra thAya che ane tenI para ImArata taiyAra thAya che. athavA bIjI rIte khADATekarA samatala karavAmAM Ave che. Ama vividha prakAra nI paddhatithI imAratanuM bAMdhakAma thatuM hovAthI ane tenI sImA AlekhAtI hovAthI A racanA vaividhya darzAvatuM artha vaiviya jagatI zabda ApavAne saMbhava che. matharAnAM vItyanA avalokanathI tenA sthApatyamAM jagatInI racanA lAMbA samayathI svIkArAyelI lAge che, ane te paraMparA aneka sthaLe adyApi jovAmAM Ave che. jyAre caityanAM bAMdhakAmo jovAmAM Ave tyAre te ghaNuM meTAM ane khullAmAM hoya che, jena paraMparAnI mAphaka bauddha paraMparAmAM paNa AvA ramaityo athavA stUpe dekhAya che. jena paraMparAnA svapanA vadhu namanA meLavavAnI jarUra che te tarapha ane aMguli nirdeza pUrata che. kAraNake nagara bahAra AgamAM ghaNu cItyanAM varNana che.

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2. nA, mahetA pUjA sthAnamAM AvatA bhaktone vividha RtuomAM garamI, DI ke varasAdathI rakSaNa maLe tevA hetuthI saMbhavataH nAnA rIyAnI AjubAju makAna bAMdhIne temAM pUjA karavAne rivAja vikase hevAnuM anumAna thaI zake che. AvuM anumAna hameghavAna vaMzanA utkala nareza 'khAravelanI rAjadhAnI pAsenI jaina zAsanamAM agatyanAM kendra samAna khaMDagiri ane udayagirinI guphAo sAdhuone nivAsa sthAna mATenA apAsarA jevI che. tyAM pUjA mATe kevI vyavasthA haze tenI tapAsa karatAM tyAM eka bAMdhakAma maLyuM Ave che. jaina sAdhuonAM nivAsa sthAna pAse A derAsara hoya ema sAdhAra anumAna thaI zake. A derAsara erIssAmAM vaparAtA lAla paththaranuM bAMdheluM che. te saurASTranA belA'nI mAphaka bedI kADhavAmAM Ave che. zarUAtamAM te pitA hoya che, paNa vAtAvaraNanI asarathI te sakhta thaI jAya che. AvA patharanAM baMdhAyelAM saMbacorasa dhATanAM derAsaranI eka bAju ardhagoLAkAra che. A adhagoLAkAra bAjInI bhIta tarapha derAsaramAM stapa athavA satyane nIceno bhAga maLI Avyo hoI, zi95mAM maletAM rekhAMkananA purAvAne te puSTa kare che. ane tethI Aje derAsare mATe vaparAtA rautya paripATI" zabdano artha ghanatA ane paraMparAne nirdeza kare che, Ama jaina zAsananI cItya paripATIne prAraMbha, nirvANa darzaka pratIkathI thayele dekhAya che. paraMtu tenI sAthe nirvANa ke mekSane mArga darzAvanAra tIrthakara taraphane bhaktibhAva darzAvavAnI pravRttimAMthI tathA bIjI vividha asarathI tIrthaMkaranI pratimAnI pUjA upAsanA dvArA nirvANa tathA mokSanI preraNA meLavavAnA prayatna thAya che. jaina zAsanane nigraMtha zAsana tarIke oLakhavAnI ane tenA sAdhuonI sagavaDa mATenI yojanAo astitva dharAvatI hovAnuM lAMbA samayathI jaNItuM che. tenI sAthe mahAvIra svAmI pitAnA gharamAM tapasyA karatA hatA te vAtanuM smaraNa karAvatI jIvaMta svAmInI mUrti banAvavAnI paraMparA nAMdhAyelI che. hemacaMdrAcArye jIvaMta svAmIne pratimAnI vitabhaya pattananI kathA nedhI che. ameTAmAMthI maLelI hAla vaDodarA myujhiyamamAM saMgrahAyelI tathA jodhapura sa grahAlayamAM sacavAyelI jIvaMta svAmInI pratimAo vidyamAna che. tethI eka svAbhAvika ukaThA thAya kepUjA upAsanAnI pratimAo maityanI mAphaka khullAmAM rAkhavAmAM AvatI tene viziSTa makAnamAM rAkhIne tenI pUjA upAsanA thatI ? A praznane uttara bane rIte ApI zakAya evA pramANe che. dakSiNa bhAratamAM gomaTezvaranI pratiSThA khulAmAM thatI upAsanA sUcave che. taduparAMta khaDaka para katarelI bIjI pratimAo paNa A bAbata sUcana kare che, tethI pratimAnI pUjA khullAmAM thatI dekhAya che, tenI sAthe jainazA sananA asaMkhya rautemAM pUjatI asaMkhya pratimAo viziSTa makAne arthAta derAsaramAM pUjAtI hevAnAM pramANe che tethI jarUra pramANe khullAmAM ke derAsaramAM pUjA thatI ema praznonuM samAdhAna thAya che.

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jena sthApya 13 mAtra pUjAnAM A prazna che ema mAnavAne badale mahAvIra svAmInAM jIvana tarapha najara rAkhatA teo paNa temanA jIvana daramiyAna jude jude sthaLe vihAra karatA tyAre teo vRkSa nIce tathA bAMdhele mAM rahetA hovAnI vAte nesaMdhAyelI che, tethI bAghelA ratyenI paraMparA paNa lAMbA samayathI jANItI che. AvA vau parathI jena zAzanamAM paNa vItyA taiyAra karavAnI preraNA maLI havAne saMbhava che ema paTana athavA pATalIputramAMthI purAvo maLe che. bIhAramAM zizunAga vaMzanA rAja udAyI e bAdheluM maMdira tathA kaliMga jInanI kathA rAra AvatA ane mahAvIra svAmInA A pradezanAM vihArathI ahIM jaina zAsananI lAMbA paraMparA hevAnuM anumAna thAya che. I.sa 1933mAM paTanAnA lehanIpara vistAramAMthI eka digaMbara kAusagAya pratimAnA khaMDita bhAgo maLayA. tenuM adhyayana karIne kAzIprasAda jayasvAle te mauryayuganI hovAnuM anumAna karyuM. jo A anumAna sAcuM che te pATalIputramAM saMmati rAjAnA vakhananAM jaina zAsananI vAte tarapha A mUti saMketa kare che paraMtu A satinA kAlanirNaya bAbata niharaMjana re ane kAzIprasAda jayasvAlanA mata judA paDe che ane te banne vacce kAlakrama traNaso varSa lAMkhAte dekhAya che tethI tenI kaMIka carcA apekSita che. je sthaLethI A pratimA maLI te sthaLanuM utakhanana AjanI stara nasArI paddhati e thayuM na hatuM. temaja nistAra purAvastunI paddhatinA avelekane thayA na hatA tethI vivAda vadhu ugra banela che. upalabdha purAvA pramANe je sthalethI pratimA maLI te sthaLe 2.68 miTaranuM samacAre bAMdhakAma hatuM. A nAnuM bAMdhakAma derAsara hevAnuM anumAna thAya. A ImArata pAsethI eka vasAyelI TaMkakata mudrA maLI che. tenI madadathI kALa nirNaya karatAM te muddAnI banAvaTa tathA vaparAza mATe keTalAke vicAra karavo paDe, A mudrAe I.sa. pUrvethI vaparAtI hatI ane tene upayoga I.sa.nA prathama saikA sudhI hatA. tethI A ghasAyelI mudrA bAMdhakAmanA bhagnAvazeSenI uparathI, tenI aMdarathI ke caNataranA kolamAthI maLI e bAbata vivAdAspada che. je A mudrA bhagnAvazeSa parathI maLI hoya te derAsara ghaNuM jUnuM gaNAya che bhagnAvazeSamAMthI maLI hoya te te upagamAM hatI tyAra bAda derAsara tUTI gayuM ema anumAna thAya. jo mudrA bhagnAvazeSanI uparathI maLe te derAsara ane mUrti I.sa.nI prathama sadI karatAM janA vakhatamAM tUTI gayAM hovAnuM vidhAna thaI zake. ane bIjI paristhitimAM derAsarane vaparAza cAlu hatA te Isa nI prathama sadI sudhI cAlu rahyuM hovAnuM anumAna thAya. jayAre te trIjI sthitimAMthI maLI hoya te mudrAne vaparAza cAlu hatuM tyAre derAsara baMdhAyuM hovAne abhiprAya ApI zakAya.

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rA, nA, mahetA prathama be paristhitimAM derAsara nizcita rIte I.sanI prathama sadI karatAM prAcIna hevAnuM darzAvIne tene Azare be traNa sadI jeTale samaya ApI zakAya, jyAre trIjI sthitimAM mudrAnAM ghaDatara pachI thoDA vakhata pachI te banyuM hoya ema gaNAya ane tethI te paristhitimAM pahelI be sthiti karatAM thoDuM arvAcIna gavuM paDe A paristhitimAM pATalIputramAM prathama be paristhitimAM prastuta zilpa saMpratinuM samakAlIna gaNAya ane trIjI paristhitimAM anukAlIna gaNAya. je sa prati pachI paNa jaina zAzananuM basa paTaNAmAM ghaNuM hatuM ane tenAM kAryo cAlu hatAM ema gaNavAmAM Ave te A pratimAne zaMga ke kAvavA zanAM rAjya daramiyAna ghaDavAmAM AvI hatI e aliprAca vajadavALI gaNAya. paraMtu zuM A kAvavaMzana samayamAM jaina zAzana kadAya e baLavAna hoya ane sa prati tathA maurya yuga mAM vadhu baLavAna he ya evI mAnyatAne zuM ane kAranI dhArmika manovRtti Teke Ape ema che. te vAtamAM je taryA hoya te kAzIprasAda jayasvAlanA mata tarapha abhiprAya DhaLe te mATe kAraNe che. taduparAMta jaine mATe guphAo paNa ahIM janI che te davAnamAM rAkhavuM ITa che. paraMtu A vivAdamasta praznane saraLa keLa nathI. kalAnA abhyAsIomAM A prazna carcAyA karaze. tema chatAM A prAcIna zilpa ane tenA prApti sthAnanA upalabdha purA parathI sthApatyanI bAbatamAM eka sAdhAra abhiprAya para AvI zakIe chIe. jaina zAzanamAM nirvAisUcaka caitya pUjAnI sAthe A patha darzaka tIrthaMkaranAM derAsara bAdhavAnI paraMparAne vikAsa paNa ghaNA lAMbA samaya pUrve thaI cUkI hate. kAlamaLamAM nA pAmatA sthApatyAvaze ApaNane pramANamAM ochA maLe che tethI ApaNe sthApatyane ItihAsa tapAsIe tyAre derAsaradinI carcA karavA mATe ApaNane vividha namanAo maLe che, temAM be prakAra che. prathama prakAra khaDakamAM kaMDArelAM derAsara, apAsarA vagere che ane bIjA prakAramAM bAMdhakAmanI gaNanA thAya. jaina zAzanamAM caitya ane pUjA sthAnanI mAphaka sAdhu ane sAdhvIonAM rahevAnAM sthAnI jarUra paDe che. sAghuonAM rahevAnAM sthAnamAM tIrthakaranA jIvanamAMthI bedha letAM vale, caitya vagere sthaLe jatAM temAM meTAM vRkSa, kudaratI guphAo, kerelI guphAo ke Azraya sthAnI svAbhAvika gaNanA thAya. A prAranI racanA vaNI thAya che. paraMtu samayane abhAve tene ane ullekha mAtra karyo che. ApaNI paraMparA pramANe caMdragupta maurye bihAramAMthI dakSiNa bhAratamAM sthAnAMtara karyuM hatuM. ane tene pariNAme mukhyatve karNATakamAM tA thaine vikAsa kramazaH tha, mauya. kAlIna ane tenA karatAM prAcIna samayanAM tI zedhavAnA bAkI che.

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jena sthApya adyApi maLatAM derAsare jevAM sthAne bAdAmInI guphAmAM maLe che. gu. guhA, leNa, layana ItyAdi nAmathI jANItI katarelI guphAo be prakAranI che. temAMnA eka prakAramAM gakAnA aMdaranA bhAganuM tathA maherAnA bhAgatuM ketara kAma thAya che. A prakAranI guphAomAM sonamAM DAra, aMDagiri, udayagiri, bAvA mArA, tathA madurAine parvatanAM Azraya sthAne AdinA gAna tha, temAM bAdAmImAM sArI guphA che. bIjo prakAramAM AkhI bAMdhelI ImArata jevI bahArathI dekhAtI ane aMdarathI banA velI guphAo kotaravAnI zailI cheA jAtanuM kotarakAma dakSiNa bhAratamAM prathama dekhAya che. tyAra bAda tenA vikAsa thaye A prakAranuM janazAsananuM kAma IlerAmAM che. ahIM indra sabhA (. 32) ane jagannAtha samA (33) prathama paddhatinAM bAMdhakAme che jyAre choTA kailAsane nAme jANItuM derAsara bIjA prakAranuM kAma che. tenuM nAma prathama tIrtha kara Adi. nAthanA nirvANa sthAna aSTApada ke kailAsanuM smaraNa karAve che. AvAM AkhAM bAMdhelAM derAsare paNa dekhAtAM thAya che A svAbhAvika prakriyA che kAraNa ke jUnAM naTa thaI gayelAM gAma ane nagaramAM ApaNuM sthApatyane abhAve na hato. para tu gAmanI sAthe tenA paNa nAza thaI gayuM hatuM, tenA daSTAMta tarIke caMdrAvatI gaNAvAya. caMdrAvatIne nAvA thaI gaye che. tenAM khaMDamAM trIsa karatAM vadhAre maMdire che, te maMdiranAM bhagnAvazeSe jotAM temAM gAmamAM tathA gAmanA sImADA paranAM madirA tapAsatAM tyAM nava jeTalA derAsaro ane bIjA ziva, viSANu vagere devonAM madire hatA. temAM zava maMdiranuM pramANa sAruM che. te jotA tAlika samAjamAM vikaselI ane kaMIka aMze cAlu rahelI eka prazna paddhati samajAya ApaNuM vepArI vargamAM tame jaina cho ke mesara ? jevo prazna puchAya che tene prAdurbhAva kaI rIte thayuM haze tenA utara tarapha A avazeSa saMketa kare che. taduparAMta caMdrAvatInAM maMdiranuM bAMdhakAma joIne tenI madadathI mesarIke jena hatAM tene nirNaya thatuM na hatuM A sAdharmamAMthI bheda zilpanI madadathI thaI zake. temAM dipAlAdinI madada nA hatI, paraMtu mUlanAyakanI pratimAnA bhagnAvaze, zAsana devatA, saMpradAyamAM pracalita kathAnakanA zilpathI sthApatyanA bhedo dekhAtA hatA, A tAdAo ApaNI saMskRti ane saMskAranI dRDha mULa zrotane AbhArI che. ahIMnAM maMdiranA adhayayanathI ApaNI pravRttinA bIjA a ge pa sapaSTa thayAM kAraNa ke ghaNAM maMdiro tatkAlIna nagara nivezanA peLa-jevA vasavATanA bhagnAvazeSanI sAthe hatA. te jotA AjanI ApaNuM mahalA, piLa, vAsa, vADA jevI vasavATanI jagyAo mAM ApaNe pUjA sthAne dekhAya che te paraMparA ghaNI jana che. A pUjA sthAne te saMpradAyanA vasavATanI najIka he che tenI madadathI ApaNI nagara racanAnuM eka aMza paSTa thAya che. nagaramAM ITApurta kAryo mATe baMdhAtAM maMdiro paikI ghaNAM je te vasatInA upayoga mATe tenI pAse taiyAra thayAM hatAM, A paraMparA adyApi vividha pe cAlu che. vaLI ahI maMdiranAM bAMdhakAmanAM keTalAMka aMge spaSTa thatAM hatAM, keTalIka jagyAe

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2 ne, mahetA InA moTA gajA jovAmAM AvatA, tenI sAthe mULa khaDakanA bhAge kavacita dekhAtA kaI jagyAe ITonA DhaganI bahAranI bAjue judA judA thaze ? kotarelA patharo paNa jovAmAM AvatA A racanA AkhI maMdiranI jaganInuM darzana karAvatI hatI. AvI jagatIno paraMparAnI prAcInatAnI ApaNe carcA karI gayA chIe. jagatInI upara maMdira bAMdhavAmAM AvatuM. te maMdiranI pIThathI uparanA vedibaMdha sadhInA bhAge cite sacavAyelA hatA ane tenI uparanI ImArata naTa thaI gayelI hatI. A derAsaramAM kALakrame thayelA thaDA ghaNA pheraphAro dekhAtA hatA para tuM madiranuM mala kendra sthAne tenI pUjAnI mukhya mUrti ke mala nAyakanuM sthAna hatuM. A garbha gRha ke gabhara e madiranuM sauthI mahatvanuM aMga che ane te sapaSTa karavA mATe maMdiranA uparane sauthI paMce bhAga A oraDA para rAkhavAmAM Ave che. A sauthI UMcA bhAganuM zikhara vividha rIte bhAratanA vividha bhAgomAM baMdhAya che. ApaNI sthApatya zailIonA bhe, prabheda samajavA mATe A racanA mahatvanI che. tenAthI maMdiranA dekhAvamAM pheraphAra thavAthI e rU5-audharme vividha zailIo darzAve che ane tethI jaina sthApatyamAM kaMI rothInuM anusaraNa karavuM e prazna upasthita thAya che. A praznane uttara jItendra prAsAdAdhyAyamAM prAsAda maMDanamAM ApatAM prANAH mace mevo rANA tApaH | annamAM virAva malhAra ratinAstA | jevAM vaividhyanu' sUcana bhagavAnadAsa jaina saMpAdita prAsAda maMDananA pariziSTa naM 2 ne thA lekamAM che, AthI jene sthApatyamAM dezakALa pramANe vividha prakAranA prAsAde bAMdhavAnI paraMparAe hatI. tethI dareka maMdiranuM vigatavAra adhyayana thAya tyAre tenA aMge, upAMge. temAM thayelA pheraphAra, tenI kAlagaNane, zalI Adi bheda, prabhedonuM vizleSaNa thAya che tenI ane carcA karavI zakya nathI. paraMtu sthApatyanAM keTalAka aMgAnA ullekha mA trathI saMtoSa mAnave paDe che. maMdiranuM mukhya aMga TUlanAyakanuM' garbhagRha ke gabhArAo che tenI AgaLanA bhAgamAM praveza dvAranI bahAra ane ma pa pachInA bhAgamAM nAnI aMtarAla vikalpa hoya che. ane tenA AgalA bhAgamAM maMDapa bAMdhavAmAM Ave che. A racanAmAM mULa nAyakanAM gabha grahanI AjabAja pradakSinuM thaI zake evuM sAMdhAra ke sAvaMdhara nAmanuM bAMdhakAma ghaNe vikAsa darzAve che. A vikAsanI paraMparA ghaNI prAcIna che. tAraMgAnuM ApaNuM maMdira A zailI darzAve che. mUlanAyaka eka ja hoya tene badale vividha tIrtha ke cAmukhajI, vasatI AdinI ne mATe racane tha va tyAre temAM pheraphAra thaIne tevAM derAsaranAM rU5 bhedathI tenI kaMIka eALakhANa rAkaya bane che. sAmAnya rIte AkhuM sAMdhAra ke niradhAra derAsara jagatI para baMdhAyuM hoya tyAre je jagatI nAnI hoya te tenI AjubAju khulI jagyA choDIne tenI pharate eTale bAMdhI tenI eka bAju, moTe bhAge bahAranI bAjue nAnI nAnI dezIgA ane aMdaranI bAjue upAsakene karavA mATe bhamatInI racanA karI hoya che. tethI aAvuM samama bAMdhakAma bahArathI durga jevuM hovAne AbhAsa ApatuM paraMtu aMdara mIkho. devasthAnanAM vidhine AvarI letA svapatuM thAya che.

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jaina sthApatya 17. Abu paranAM vimalavasaI, luNasaI tema ja dakSiNa bhAratanAM basatI ke vasatI jevAM nAme dharAvatA derAsare A prakAranI racanA che. jayAre A racane pUrI hoya tyAre tenI bahAra bIjI racanA hotI nathI arthAta sAme dekhAtI TekarA jevI bAMdhakAmanI racanAnuM praveza dvAra hovAnuM sUcana kare che. ema tenAM pravezadvArane balANuka' kahevAmAM Ave che, A balAka bila ke vala e kinArA sUcaka zabda parathI samajAya che. tethI maMdiranI sImA paranA pravezane bayANaka evuM sucaka nAma ApyuM che, tenI para viziSTa carcA che. bhAyANIe karI che. Ama bAMdhelAM derAsaranAM vividha aMge mAM jagatI, balAka, devakulikAo, maMDapa ane garbhagRha sahita mUla maMdirane samAveza thAya che. jyAre jaina zAsanamAM mukhya tIrthasthAna zetruMjaya, giranAra Adi joIe tyAre AvAM vividha derAsarethI A tIrtha sthAne sabhara dekhAya che. te uparAMta AvAM tIrthasthAnamAM zrAvaka-zrAvikAonAM zi9 hastazALAo, apAsara AdinI pUratI vyavasthA karIne, AkhAM nagare jevI racanAne bhAva Ubhe. karavAmAM Ave che. A tIrthasthAnI cittAkarSaka racanAo uparAMta, ghara derAsara e vyaktigata upAsanAnuM mAhAsya darzAve che. dharmanI pravRtti mumukSuonI vaiyakitaka pravRtti che, tenA cittanI che. tethI vyaktigata upAsanA ane vRttimAM dharmanAM mUla tane heIne tenI sanAtana ArAdhanA thatI rahe e hetuthI digaviratI pachI paNa A pravRti akSuNa rahe te mATe thatI A racanA che. gharamAM paNa jApa, ISTadevanI EpAsa cAlu rAkhavAnI pravRttinA kula svarUpe upAsya pratimAonuM Arthika sagavaDa pramANe gharamAM sthApana karIne tenI upAsanA karavAnI pravRtti gharerAsaranA mULamAM che. gharaderAsaranuM nAnAmAM nAnuM aMga sAmAnya gekha che ane tenuM vikasita svarUpa manohara gekha athavA gharamAM viziSTa khaMDa hoya che vacita tenI paranuM vitAna suzobhita banAvavAmAM Ave che. taduparAMta pitAnA nivAsasthAnanA vaMDAmAM svataMtra devasthAna paNa taiyAra thAya che. paraMtu A vyaktigata bAMdhakAme samaSTi mATe thatAM bAMdhakAmonI sarakhAmaNImAM sImita hoya che. Ama jainazAsananI viziSTa sthApatya pravRtti gharaAMgaNathI zarU karIne ApaNAM nivAsasthAne pAsenA sAmuhika derAsare, gAma bahAranAM bAvana jinAlayothI mAMDIne ApaNuM mahatvanAM tIrthasthAne para baMdhAyelI vasatI, ke, derAsarasamUha sudhI vistaratI dekhAya che. bhaugolika daSTie ke zipa ane pratimAo jotAM te aphaghAnistAna ane yuropamAM bageriyA sudhI vikaselI hatI ema lAge che. sAMpratakALamAM dravyanAyathI thatI jJAna sAdhanAthI samagra vizvamAM te satya, ahiMsA, asteya, brahmacarya ane aparigraha jevA guNonuM mahAsya darzAve che. A pravRttinuM adhyayana ane adhyApana vizvamAM ahiMsA temaja vizvazAMtinA vicAre daDha karIne jIvonI unnati tathA sadUgatinuM mArgadarzaka bane tevI bhAvanA sAthe viramuM chuM. saMdhi che. 12-3

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kahAvalI-kad bhara sUrinA samaya viSe madhusUdana DhAMkI adyApi aprakAzita, prAkRta-bhASA nibaddha, kahAvalI nAmaka kathA-carita saMgraha tenI be saMpUrNa paNa anyathA paraspara pUraka pratenI TUMkI madhyAntara-pupikA anvaye bhadrezvara sUrinI kRti hevAnuM lAMbA samayathI jJAta che. kalpita jaina paurANika pAtro atirikta Arya vaja, kAlakAcArya, pAdaliptasUri, siddhasena divAkara, maLyavAdi kSamAzrama, jinabhadra gaNi kSamAzamaNa, yAkinIsanuM haribhadra sUri, ItyAdi nirmanya-jhavetAmbara jananI agrima vibhUtionAM etihAsika caritra-citraNa, ane sAthe ja vipula pramANamAM sAMskRtika, sAhityika, ane bhASA samabaddha sAmagrI dharAvatA A bahumUlya aMyanA kartAnI sAcI pIchAna ane kRtinA samaya viSe sAro e matabheda pravarte che. kahAvalInA Aje upalabdha kevaLa "prathama paricchedathI apekSita pritIya parionA prAnta bhAge prakhyAtanI pitAnA gaNu-gaccha ane surakramane prakaTa karatI pracarita haze, je kampamAna na rAI emanA samayAdi anuSage svAbhAvika ja judI judI, ane ethI keTalIkavAra paraspara virodhI aTakaLo thaI che. e viSayamAM joIe te De. umAkAnta zAhe kahAvalInI bhASAmAM Agamika caNi mAM dekhAya che tevAM lakSaNe, tema ja ekAda anya kAraNasara tene ThIka ThIka prANI, ane kemake temAM chelluM caritra yAkinIsanu haribhadra suri (saMbhavatA I. sa. 75) sabhya che eTale temanA pachI turatanA kALanI kRti mAnI che. ulaTa paNe (sva) 5. lAlacandra gAMdhIe te vikramanA bAramA zatakanA uttarArdhanI, eTale ke IsvIsananI bAramI zatAbadInA pUrvArdhanI hevAne mata prakaTa karyo che. te bIjI bAju paM* amRtalAla bhojakanA kathana anusAra temAM zIlAMka sUrinA upanamahApurisacariya (sa. 925/dha sa. 868)nA kathA-sandarbhe tema ja te kRti aMtargata jovA maLatA vidhAnanda-nATakane paNa samAve thaye heI tenI racanA navamA saikAthI paravato kALamAM, meTe bhAge visaM0 105 - 1150 (Isa 994-194) nA gALAmAM, thaI hovI ghaTe. A sivAya 50 aMbAlAla premacaMda zAhe sUcavyuM che ke vardhamAna sUrinA gaNaratnasahedadhi (saM 1187/I 5, 1141) mAM je bhadrezvara sUrinA dIpa vyAkaraNamAMthI utArI hAMkaye che te sUri mahAvalIkAra bhadrezvara surathI abhina hoI zake. (A vAta sAcI hoya te teTalAthI bhadrezvara sUrine samaya-vinizcaya thaI zakatuM nathI.) ane chelle pa0 dalasukha mAlavaNIyA kahAvalInA kartA rUpe bRhadagIya vAdIndra devasUriziSya bhadrezvara sari hervAnI saMbhAvanA prakaTa kare che, tadanusAra kahAvalInI racanA bAramA zatakanA keTalA traNeka kalAkAmAM mArA thaI hevI ghaTe.

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madhusUdana DhAMkI A apUrNa-labdha paNa upayogI evaM bRhakArya kathA-pranthanuM prA. harivalabha bhAyANuM tathA che. ramaNIka zAha sampAdana karI rahyA che. emanI vidvattApUrNa, vistRta ane vizada prastAvanAmAM thanAra kahAvalInAM aneka vidha pAsAMonI chaNAvaTamAM bhadrezvara sarinA kALa viSaye paNa savistara carcA thaze AthI huM te ahIM kevaLa mUlagata aitihAsika samasyAo viSe je vAte prAthamika dRSTie dhyAnamAM Ave che te, labhya banI zakyAM che te pramANenA AdhAre, rajU karIza, upalabdha pra-prazastio ane pupikAo tema ja abhilekha joI vaLatAM tyAM te mayakALamAM thayelA kinna bhinna ga7nA aneka bhadrezvara sUrionAM nAma najare paDe che AmAMthI kayA bhadrezvara sarie kahAvalI racI haze te zodhavuM Ama te kare che, paNuM prayatna karI jovAmAM khoTuM nathI. aMtima nirNaya bhaviSya para cheDa ghaTe. ' kahAvalInA AMtara-parIkSaNathI phalita thatA koI kaI muddAo keTaleka aMze prAthamika kALa-nirNayamAM sahAyaka bane che kharA. A carcAmAM bAramA zataka pachI thaI gayelA bhADezvara nAmadhArI sarione choDI dIdhA che; kemake koI ja vidvAna kahAvalIne bAramAM zataka pachInI racanA hevAnuM mAnatA nathI. svayaM kahAvalI-e meDanI racanA hAI zakavAne-enI aMdaranI vastu, bhASA, tema ja zailI AdhinAM lakSaNe anvaye apavAda kare che. ahI ethI bAramA zatakamAM, tema ja tethI vahelA thaI gayelA, "bhadrezvara' nAmaka surionI ja sUci ApI gaSaNane AraMbha karIzuM. '' IsvIsananA 11 mA 12 mA zataka daramiyAna prastuta abhidhAnadhArI ATheka rie thaI gayA sambandha noMdhe maLe che : yathA 10: * (1) bahugachIya vAdIndra devasUrinA ziSya (AIsa 1150-120); (2) maMDalimaDana mahAvIradevanA pratiSThA paka, candragathvIya devendra sUrinA ziSya (IsvI, 12 mA zatakane uttarArdha); (3) pIrSika dhamaSa sUrinA ziSya (bAIsa 110-1150); (4) rAjagachIya candraprabha sUrinA vinaya (AIsa1090-1130); (5) candragathvIya devendra sarithI sAtamI peDhIe thaI gayelA bhadrezvarAcArya (Ai* * sa1070-110 0), (6). ajJAta (candra ?) gIya paramAnDa sathiI cothI peDhIe thaI gayela pUrvAcArya " (AI.sa 1070-1100); (G) candragathvIya ratnAkara sarithI gusakramamAM sAtamA pUrvaja (Aisa105 - , , 1100); ane (8) ujajenana saM. 1332/isa 1276nA gusUti-lekhanA 8 AcAmAM prathama (AI.sa. 10 -1025 ?)

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kahAvalI- bhadrezvara sarinA samaya viSe AgaLa avagAhana karatAM pahelAM sAMprata carcAne upakAraka eka vAtanI noMdha levI Avazyaka che. bRhadgachIya Adara surinI AkhyAnakamaNikeza- vRtti (ra0 1189/ I. sa. 1133) mAM dIdhela siddhamena dikaranuM saMkSipta vRta nta kahevalokAranA samAntara kyAnakane vastu ane vigatanI daSTie ghaNuM ja maLatuM Ave che, ane temAM apAyela mahuvAdinI kathA te kahAvalImAM jovA maLatA prastuta kathAnakanI pariSkRta, saMmAjita paNa anyathA biMba-pratibiMba zI rajuAta mAtra che 2 AthI kahAvalInA kartA ne te uparanA kramAMka 1 vALA bRhadagacchIya bhadrezvara sari, ke na te kramAMka 2 mAM uhikhita candragacchIya bhadrezvara sUri he I zake, kemake te banne sUrivarane sama vRttikAra AzradattA sari pachIno che. A kAraNasara bAkInA cha bhadrakavera nAmadhArI sUriemAMthI kaI kahAvalIkAra hovAnI saMbhAvanA hoya te te tapAsavuM ghaTe. AmAMthI kramAMka 3 vALA (paumika) bhadrezvara sUri te Amradatta sUrinA samakAlika hoI temane paNa choDI devA paDaze. have joIe kramAMka "javALA rAjagamachIya bhadrezvara sari. temanA upadezathI sajaja daMDanAyake ujajayantatIrthane punaruddha 2 (saM. 11854 I. sa. 1129) karAve tevI pakSa ane sIdhI noMdho maLe che. rAjagacachanA prazastikAra prastuta bhara sUri ""tapasvI" hovAnuM temaja temanA sapadezathI vaTapadra (lodarA)mAM yAdaga 2 rathayAtrAmAM sAnta maMtrI tema ja (upara kathita) sajajana matrIe kADhelI tevA paNa ullekha kare che. 50 lAlacandra gAMdhI je ke A bhakavara sarite kakAva kSInA kartA mAne che, paNa prazastikAra e te temaNe AvI racanA karI hovAno koI ja nirdeza dI nathI. vizeSamAM A sUri paNa Abhradatta sUrinA samakAlika ja che. kahAvalI te aneka kAraNasara bAramA zatakathI vizeSa purAtana lAgatI hoI A rAjagarachIya bhadrezvara sUri paNa tenA kartA havAne saMbhava nathI. chellA kahyA te bane sUrivarathI DA dAyakA agAu thaI gayelA, ane ethI agiyAramA zatakanA A kharI caraNamAM mUkI zakAya tevA, be bhadrezvara sUri thayelA che. eka te jemanI paripATImAM devendra sUri upamitibhavaprapaMcAkathAsAroddhArakAra) (saM. 1298 I. sa. 1242) 4 thaI gayA te (ahIM kramAMka 5; bIjA te ajJAta (kadAca cadragathvIya) paramAna sUri (saM. 122 1/Isa. 1165)nA cothA pUrvaja bhadrezvara (ahIM kramAMka 6), paNa kahAvalI A bemAMthI ekeye racI hoya tevA sagaDa emanA sambandhamAM racAyela prazastio mAMthI jaDatA nathIvastutayA kahAvalI te temanA samayathI paNa prAcIna hevAnuM bhAse che. have joIe sAtamA bhadrezvara sUri viSe. teo AbhagahastAtra apanAma ratnAkarapaMcavizaMtikA (prasiddha ratnAkara-paccIsI) nA kartA candragIya ratnAkara sUri (upalabdha mitio saM. 1287/i, sa 1231 tathA saM. 1308/I.sa. 12para 15 thI sAtamAM vidyApUrva ja hoI temane sarAsarI samaya IsvIsananI 11mI zatAbdInA trIjA-thA

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22 madhusUdana DhAMkI ma caraNamAM saMbhavI zake. zuM A bhadrezvara suri kahAvalInA kartA haze ? e sa vize vicAratAM pahelAM AThamA bhadrezvara sUri viSe joI levuM upayukata che. AThamA bhadrezvara sUrinI bhALa ujajainanA zAntinAtha jinAlayamAM pUjAtI, saM 1332/I sa. 127ranI eka viziSTha gusUtinA lekhamAMthI prApta thAya che. pratima bharAvanAra paM. naracandra gaNi (caityavAsI ?) che, ane pratiSThApaka AcArya rUpe varSamA sUrinuM nAma maLe che. pratimA -phalakamAM vacce eka meTI AcArya-mati ardha paryakAsanama ka DArelI che, jyAre banne bAju parikaramAM cAra cAra AcAryona' nAnI nAnI mUrtio karI che. nIce Asana paddha paranA lekha anusAra A mUrtie nA saMbaMdhamAM bhadrezvara sUri jayasiMdha sUri, hemaha sUri, bhuvanacandra suri, devacandra sUri, jinezvara sUri, jina muri, jinacandra sari, ane zAtiprabha sUri ema nava nAme batAvyAM che, je sau kArApA evaM pratiSThA eka sUriothI pUrve thaI gayelA AcAryonAM samajavAnA che paNa lekhama koineya gaNa darzAvyA nathIsavAla e che ke A AyAya bhadra vara sUrithI AraMbhAtI ke ricita mana-paramparAmAM kamabaddha paTTadhara rUpe thayA che, vA eka garacha ke guranI pari pachInA "manIrtho che, ke pachI ahI' madhyayugamAM thaI gayelA judA judA gachana prasiddha prasiddha AcAryo vivakSita che ? jemake jinevara ane jinacandra kharatara ga7mAM devacandra pUrNatalIya ga7mAM, bhuvanacandra caitravAla ga7mAM, ne siMha sUri nAmaka AcArya te traNa cAra pRthapha pRthapha gacchamAM maLI Ave che. Ama A lekhamAMthI nipuna cata arthadhaTana saMdigdha heI, lekha prArambha maLatA bhavara sUrinA nAmanI upayogitA ghaTI jAya che. chatAM paramparA "kumabaddha" mAnIne cAlIe te prastuta bhazvara sUrine samaya isvIsananI 11 mI sadInA pUrvArdhamAM saheje Ave. A AThamA, ke vizeSa nizcayapUrvaka sAtamA, bhadrezvara suri para kahAvalInA kartutvane kaLaza DhALIe te pahelAM kahAvalInI AMtarika vastu tema ja tenI bhASA ane zilInI apekSAe zuM sthiti che te para vicArIne ja nirNaya kare ThIka thaze. paM. mAlavaNiyAjIe tAravyuM che tema kahAnIkAre pAlittasUri (prathama) kRta taraMgavaIkahA (IsvIsananI dvitIya zatAbdIne utarArdha), saMdhahAsa gaNi kArita vasudevahi7I (chaThTho saMke madhyabhAga), tIthavakAlika-prakIrNaka (IsvI chaThThI zatAbdI pUrvArdha), AvazyakadhUNI (AI.sa. 600650), mahAnizIyasUtra (isvI. 8 zataka), ityAdi pUrva kRtione upayoga karyo che58. tema paM, bhojake nirdeza karyA anusAra caupannamahApurIsacaciya (IsvI. 9mA zatakanuM trIju caraNa)nAM paNa temAM paricaya-parAmarza varatAya che. AthI eTaluM te cakkasa ke bhadrezvara sUri IsvIsana 875 pachI ja thayA che. A prazna para sUkSamatara vicAraNA hAtha dharatAM pahelAM umAkAnta zAha tathA paM'. lAlacandra gAMdhI vacce kahAvalInA racanAkALa sambandhamAM je matabheda thayele tenA muddAo joI laIe 50 gAMdhI rAjagacchIya bhalezvara sUri, je sAnU mastrI, sajajana daMDanAyaka

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23 kahevalI- bhadrezvara sUrinA samaya viSe (ane e kAraNasara caulukaya jayasiMhadeva siddharAja) nA samakAlina che, temane kahAvalIne kata mAne che. Ama teo tene vikramanA bAramA zatakanA utarArdhamAM (vI 12 mI zatAbdI pUrvArdhamAM) thayelA mAne che. 19. zAhe prastuta samaya hovA sabadhe saLeha prakaTa karI bhadrezvara sUri e kALaco sArI rIte vahelA thaI gayA hovA sambandhamAM sAdhAra carcA karI che. khAsa karIne jinabhadra gaNi kSamAzramaNa mATe "saMparya devayaM gao" [ argd' jevazaM mto ! e je cakkasa ullekha bhakavara sUrie karyo che te che. emanuM e saMdarbhamAM ThIka ja kahevuM che ke "vikramanI agiyAramI sadInA aMtamAM ke bAramI sadInA pUrvArdhamAM thayelA "kahAvalI kAra evo praga na ja kare eTale "kahIvalI 'kAra bAramI sadI pahelAM ja thaI gayA e nirvivAda che 21 uM. zAhanA anarodhathI kahAvalInA keTalAMka avataraNa tapAsI Da. bhegIlAla sAMDesarAe prastuta kRtinI prAkRta "vikramanA bAramA saikAthI ghaNI jUnI" hAvAno abhiprAya Apele 22. te pachI paM. gAMdhIe vALela uttAramAM Da, umAkAnta zAhanI carcAmAM upasthita thayela keTalAka gauNa muddAonuM te khaMDana che paNa upara Takela emanA be majabUta maddAo sAme teo kaI pratItijanaka vAMdhAo rajU karI zakayA nathI23. (Da. zAhe pitAnA pratyAvalokanamAM paM. gAMdhInA avalekane mAM rahelI A nabaLAIo viSe te pachI savinaya paNa daDha dhvanipUrvaka dhyAna doryuM hatuM 2) zAha tema ja ! sAMDesarAnAM avakane abhiprAne ema sahelAithI uvekhI nAkhI zakAya nahIM. ene dayAnapUrvaka tema ja pUrI sahAnubhUtithI nirIkSavA ghaTe temAM pahelAM te jinabhadragaNivALA muddA viSe vicAratAM tene khulAso e rIte thaI zake ke bhadrezvara sUrie kaI sAtamA zatakane pratyakSa yA parokSa tane AdhAra lIdhe haze. kemake teo haribhadra sUri ja nahIM, zIlAM devanI paNa pAchaLa thayA che teo pite te "saMpaI. devaloya' gao" evA zabdo dekhItI rIte ja vAparI zake nahIM. AthI tAtparya e ja nIkaLe ke temaNe pitAnI sAme rahela koI purANuM strotanI vAkaye yathAtathA prahaNa kare ! che. bIjI bAju joIe te kahAvalI kAranI pitAnI prAkRta, je aneka sthaLe jovA maLe che. te pramANamAM prAcIna te dekhAya ja che, paNa tene te prAcIna srotanAM dIrdhakAlIna ane tIvatara anazIlana-parizIlanane kAraNe, paraMparAgata bIbAmAM DhaLAyelI-ghaDAyelI, ane jUnavANI raMge taraboLAyelI prauDhInI prAkRta mAnI zakAya. hastaprata jotAM eTaluM te spaSTa lAge ja che ke bhadrezvara sUrinI abhivyaktimAM pariSkAra ane vaidathane, kAvyatva ane A jananI suzliSThatAne, prAyaH abhAva che. pUrNata69 gaSTIya guru-ziSya devacandra-hemacandra sUri ke bahadagacchanA nemicandra Amrata sUri, candragacchanA vardhamAna sUri, athavA kharataragacchIya jinavala sUri sarakhA madhyakAlIna kavitAmbara kartAonI ojasvI bhASA ane tejasvI zailI sAme kahAvalInAM prAkRta evaM zilyAdine tulavatA enI janavaTa ekadama AgaLa tarI Ave che eka bIjuM kAraNa e hoI zake ke temaNe jUnAM srotAne sthAne sthAne zAbdaza: upayoga karyo hoya, AthI huM zAha tathA DaM. sAMDesarAnA kahAvalInI bhASA sabaddha kathane amukaze tathyapUNa jarUra che. 5. gAMdhIe kahAvalI bAramA zatakanI racanA hovAnuM keIja pramANa ApyuM nathI. samaya sambandha emanI e kevaLa dhAraNu ja hatI ane te asiddha kare che.

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24 madhusUdana DhAMkI kahAvalInA samayAMkanamAM nIce rajU karIza te muddAo ekadama nirNAyaka nahI to che. ThIka ThIka sahAyaka ane upakAraka jaNya che. vizeSa dRDhatApUrvaka nizcaya te samagra kahAvalInA Akalana, parIkSaNa, ane vizleSaNa dvArA prApta thAya te yuktio dvArA ja thaI zake. (1) bhadrezvara sUrie "vAdI", "kSamAzramaNa', 'divAkara', ane "vAcaka' zabdane ekA, mAnyA che25 : AmAM "kSamAzrama' ane 'vAcaka te lAMbA samayathI prayogamAM paryAyavAcI che ja, paNa divAkara" te kevaLa biruda ja che, Raka nahIM; ane e paNa sanmatiprakaraNanA kartA prasiddha AcArya siddhasena (isvIsananuM pAMcamuM zataka)ne choDatAM bIjA ke I vAcaka vA kSamAzramaNa mATe kathAye ane kaSAye prayukta thayuM nathI; eTaluM ja nahI. siddhasena viSaye A birudane yAkinIsanuM haribhadra sUri pUve koIe ulekha vA prayoga karyo nathI. e ja rIte vAdI' sAthe vAcaka" ane "kSamAzramaNa" abhidhAne ekAIka nathI. vAcaka prAyaH AgAma, ane "vAdI' mukhyatayA tAkika-dArzanika, vidvAna hoya che. AthI bhadrezvara sarie vALela A chabaraDe temane bahu prAcIna AcArya hevA sambandhamAM moTo sanda Ubho kare che. () kAThAvalI-kathita pAdaliptasUri-kathAmAM traNe, paNa judA judA samaye thaI gayelA, ekanAmI sarizvaronAM caritra bheLavI dIdhA che. AmAM pAdalita sari mAnakheDa gayAnI je vAta kahAvalIkAre nedhI che te te trIjA pAdalita sUrine ja lAgu paDI zake kemake mAnakheDa (saMskRta mAnya kheTaka, kannaDa maLa kheDa) rASTrakUTa gevinda dvitIyanA samayamAM baMdhAvuM zarU thayeluM ane amoghavarSe prathame IsvIsana 815 bAda (elApura ke IlArAthI) tyAM gAdI khaseDalI; ane rASTrakUTa kaccha (tRtIya) ne mAnakheDamAM maLelI trIjA pAdalipta sUrine samaya IsvI 875-925 nA gALAmAM paDe che AthI spaSTa che ke bhadrezvara sari te samayathI ochA mAM ochA pacAsa pAse varSa bAda ja thayA hovA joIe. teo trIjA pAdalita sarinI tadana samI pavatI hota to te A goTALAthI amukAze mukta rahI zakyA hota. A jotAM te ema lAge che ke teo I. sa. 875-1025nA arasAmAM thaI gayA. che. emanA pitAnA lakhANanA jUnA raMgaDhaMga paNa A samayane puSTikara che. A vAta, svIkArIe to upara je sAtamAM (tathA aThamA) bhadrezvara viSe kahI gayA temanAthI kahAvalIkAra traNa nahI' toye ekAda be peDhI te jaTha hovAno saMbhava che. ema ja heya te chelA kahyA te banne bhadrezvara sUriothI paNa vadhAre jUnA, kAI anya. dezvara hovA aMge kaMIka sUcana yAMkathI paNa maLavuM jarUrI che. vastutayA A prAcInatama bhazvara thayA hovAnAM be pramANe che, jenA tarapha kahAvalI kAra viSe vicAranArA vidvAnonuM dhyAna nathI gayuM. jemake candrakulanA vardhamAna sUrinA prAkRta RSabhacaritramAM kartA pitAnI guvala bhaTrevara sUrithI Ara le che. temAM prastuta sUrivara pachI munIndra sari, pachI kAI sUri (jemane lagatAM pagha-caraNe khaMDita ), tyArabAda " + sUra'

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kahAvalI-ka bhadrezvara sUrinA samaya viSe ("nana' haze), te pachI kaI kavi-sUri (jemanuM nAma gayuM che, te Ave che prazastinA te pachIno bhAga naSTa thayuM che. saMbhava che ke temAM racanA saMvata tathA kartAnuM nAma (vadrumANu ?) dIdhAM che. jo tema te vardhamAna sUrithI (ekAda vadhu nAma uDI na gayuM heya te) prastuta bhadrezvara sUri ochAmAM ochuM pAMcamI peDhIe thAya : yathA : (1) bhadrezvarasUri (2) municandra sUri (4) (na)na sari (5) (vadhamAna sUri) prazastinI bhASA ane zailI agiyAramI sadInA AkharI caraNa bAdaLAM lAgatAM nathI, vastutayA enI rIti-paripATI kahAvalInI prAkRta ane zailInI paripATInAM ja lakSaNe dharAve che. e vAta dhyAnamAM letAM te A paraparAmAM AraMbhe AvatA bhadrezvarasUri ja kahAvalI kAra hovAne saMbhava che. vardhamAna sUrithI teo ochAmAM ochuM pAMcamI peDhIe thayA hoI temane sarAsarI samaya i. sa. 5-1000 nA arasAne ghaTI zake. prazastikAra vardhamAna sUrinA samayamAM emanI paraMparAnA munio "bhadrezvara machIya" gaNatA haze, kema ke bhadrezvarasUri-ziSya municandra sUri mATe emanA godaSinA vRddhi karanAra' (jodita kuriyA) evI vizeSatA sUcavI che. pazcima bhAratamAM racAyela aneka jUna vetAmbara pranya-prazastio tema ja abhilekhe joI vaLatAM temAM te bhadrezvarAcAryanA nAmathI zarU thayele kAI ga7 najare paDatA nathI paNa mathurA, ke jyAMnA suvikRta jaina stUpanA darzane pazcima bhAratanA zvetAmbara munivara madhyakALa sudhI te jatA AvatA ane pratimA-pratikAo paNa karAvatA, tyAMthI eka ati khaMDita, paNa sAthe sAla jALavatA, pratimA-lekhamAM saM. 204 zrI mezvarArAja che migi... eTale, paNa mahatvapUrNa ullekha prApta thAya che.20 A lekha parathI siddha thAya che ke i sa. 1948mAM bhadrezvarAcArya-ga vidyamAna hatA ane te prastuta miti pUrve A pAI cUle. A bhadrezvarAcArya ga7' upara carcita vardhamAna sUrinA pUrvaja bhadrezvarasUrinA nAmathI nIkaLe hevAne ghaNe samabhava che. samagra rIte jotAM jenA nAmathI gacha nIkaLyo che te ja bhadrezvarasUri kahAvalInA kartA hovAnuM saMbhavita jaNAya che. kahAvalonA Atara-parIkSaNathI nizcita banatI I.sa. 975nI pUrva sImA, abhilekhathI nirNita thatI bhadrezvarAcAyagajhanI I sa. 1048 nI uttarAvadhi, tema ja vardhamAna sUrinI prazastithI sucavAte bhadrezvara sUrine sarAsarI karavI. sana 100 nA arasAne samaya, ane e kALe anya koI bhadrezvarasUri abhidhAnaka AcAryonI saMbadhi vo. 12-4

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madhusUdana DhAMkI anapasthiti, e sa saMgane meLa jotAM te lAge che ke sandarbha gata bhadrezvara sarinI mati upina kAlAvadhi I sa. 875-1025 nA gALAmAM sImita thavI ghaTe ane ethI kaDhAvalIno aMdAje racanAkALa I. sa. 1000nA arasAne heya tevuM nibaMdha kalita thaI lekha samApanamAM eka nAkaDuM anumAna umeraza rUpe rajU karavuM ayukta nahIM jaNAya. kahAvalInA vinaSTa dvitIya paricchedamAM zuM viSaya haze te aMge vicAratAM lAge che ke temAM jene dattakathAgata puruSane caritro atirita haribhadasarinA samayamAM thaI gayelA (paNa temanAthI vadhuvayaska) kRSi, tyArabAda zIlasUri, ane siddhaSinAM vRtAta haze. kadAca bhaktAmara stotrakAra mAnatuMgasUri (ane vAyaTagacchIya jIvadevasUri ?) viSe paNa caritracitraNa heya. (prabhAvacaritamAM A vizeSa caritro maLe che) kahAvI. bahadukAya grantha heI, tema ja teno bhASA-zailI sAdhAraNa kerInAM evuM janavANuM heI, prabhAvakacarita jevA pratye banI gayA bAda tenuM mUlya ghaTI jatAM tenI paNathI bAjhI pratilipIo banI jaNAtI nathI ethI ja te Aje A graMthanI harata. prato prApya banI jasthAya che, pAdaTIpa: 1. mahAvalInI prathama paricchedanA be khaMDa dharAvatI saM. 1497/dha sa.1431nI prata mATe juo C.D.Dalal (& L.B.gandhi), A Descriptive Catalogue of Manuscripts in the Jaina Bhandars at Pattan, Gaekwad's Oriental Series No! LXXVI. Baroda 1997, p. 244. A mULa ane anya bane tema ja tenI nakalanI vigatavAra nodha mATe jo 5. dara sukha mAlavaNyAne abhyAsanIya lekha "On Bhadreswara's Kabavalt', Indologica Taurinensia, vol. XI, Torino 1983, pp. 77-95:2 'vizeSAvazyakabhASakAra zrI. jinabhadragaNi kSamAzra maNanA svahaste pratiSThita prAcIna jema pratimAo' zrI jaina satya prakAza 14.(15.1.para) pR.89-91. 1. juo emane anya lekha sandarbha: "Jaina Iconography : A Brief survey, bhAratIya purAtarA (purAtattvAcArca muni jinavijaya abhinandana grantha) jayapura 1971, pR. 203, , 4. "prAyo vikramIya dvAdazazatAbdayA uttarArdhe vidyamAno bhadrezvarasU reH prAkRtabhASAmayyAM bAvaLyAM ...'ItyAdI. juo sonAra nathaay gAyakavADa prAzya granthamAlA (maM0 116) vaTapadra 1952, prastAvane pR. 9. 5. prastuta pranthanuM saMpAdakIya 'prastAvana' prAkRta granya pariSada granthAMka 3, vArANasI 1961, 541. 6. gujarAtanA rAjakIya ane sAMskRtika itihAsa; prakhya 4, alaMkIkAla bhASA ane sAhitya', amadAvAda 1976, pR.298-299. 7, "On Bhadresvara suri's," pp. 79 81. 8. Ama te A bhadrezvara sUrinI khAsa koI racanA maLatI nathI, devasUrinI hayAtImAM te teo temanA sahAyaka rUpe dekhA de che devasUrinI IsvI sana 1170mAM thayela devagati bAda teo AcArya rUpe AgaLa AvelA,

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kahAvalI-tu bhadrezvara sUrinA samaya viSe 20 9. upalabdha prathama paricchedanuM granthamAna 23800 zlekapramANa che. khIne pariccheda sabhyamAna haze tyAre pUrA grantha te bahu ja meATA kadatA haze. 1. ahIM te| huM Avazyaka haze, carcAne upakAraka haze, teTalAM ja srota-sarjA yathAsthAne TAMkIza. 11. makSavAdi sambaddha kathAnaka -carita-praznadhAdimAMthI ekatra karela pATho mATe jue 50 lAMbacandra gAMdhI, prastAvanA' pR.11-21, tathA muni jammUvijaya, glaure nacam bhAvanagara 1966, (saMskRta) 'prastAvanA', pR. 11-14, 12. AkhyAnakaNikAzavRtti aMtargata dIdhela pAThenA mULasthAna mATe jue pu', amRtalAla bhAjaka, prAkRta grantha pariSada granyAMka 5, vArANasI 1962, pR 172173, tathA kaDDAvalInA pATha mATe janmavijayajI pu. 11-13. 13. juo Dalal, A Descriptive Catalogue., thro/zanAthattaritra of Devapralha suri, pp, 244-46 14. mohanalAla liga dezAI, jaina sAhityanA sakSipta itihAsa, mukha 1932, 'DikA 571, pR. 397. 11. Ed Muni Punyavijaya Catalogue of Palm leaf Manuscripts in the Santinatha Jain Bhandara, Cambay (pt-1), Gos No. 135 Baroda 1961, uttarAdhyayana suyoSA vRtti-prazasti p. 117-118. 16. candragaccha nannasUri vAdiri sarva deva / pradyumna bhadrezvara devabhadra (prathama) siMhasena yazadeva mAnadeva ratnaprabha devabhadra (dvitIya) ratnAkarasUri (prasti saM0 1308/i.sa. 1252)

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madhusUdana DhAMkI 17 agaracaMda nAhaTA, "nava AcAryonI eka sa yukata mUrti che, jene satya prakAza, varSa 19 kramAMka 218-19, aMka 2-3, 15.2, 1953, 5 31-34 tathA Title page (2) 16. Malvaniya, p. 81. 18. prAcIna vaTapadranA ullekho," suvAsa, saM. 1994, vaizA khaH (Isa. 1938, me mAsa). 20. umAkAnta premAnaMda zAha, vizeSa Avazyaka bhASyakAra zrI. jinapragaNi kSamAzramaNanA svaharate pratikti prAcIna jaina pratimAo zrI jaina satya prakAza varSa 17 aMka 4, kramAMka 196, 15.1 para, 5 89-91, 21, ejana pU. 91. 22. ejane pR. 90, ra3, zrI bhadrezvara sUrinI kahAvalI, zrI jaina satya prakAza varSa 17, aMka 5-1, kramAMka 197-18, 15.3, para, pR0110-11ra. 24. zrI bhadrezvarasUrinI kahAvalI viSe vadhu khulAsa', zrI jaina satya prakAza, varSa 10, aMka 8-9, kramAMka 199-200, 15 6.52 Title page (3) tathA anusaMdhAna, pR0168. 25. vAyaga samANasthA ya sAmaNNau vAI-khamAsamaNa-divAyarA, bhaNiya ca vAi khamAsamaNo divAyaro vaayge| ti egaThAu / puvvagayajassesa tassime NAme // 2. 50 mAlavaNIyAjIe kaMIka A saMbaMdhamAM kyAMka carcA karI hovAnuM smaraNa che. paNa strota have smaraNamAM AvatuM nathI, 20. Dalal, Gos No. LXXVI, pp. 169-170. 24. V. S. Agrawal, Mathura Museum Catalogue, pt. III, Varanasi. 1963, p. 25.

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zrI abhayadeva sUri viracita apabhraMza--bhASAma vIra-jinezvara-carita sapA 2. ma zAha navAMgI-vRttikAra tarIke prasiddha jainAcAya` abhayadevasUri (vi. sa. 1072-1135)nI apabhraMza bhASAmAM racAyela eka avAdha apraMsaddha racanA ahI prathama vAra ja sa'pAdita prakAzita thAya che. A, abhayadevasUrie apabhraMza bhASAmAM ja racela 'jayatihuaNu stotra' atyaMta prasiddha che, paraMtu prastuta vIjiNesaracariU' (vIrajinezvaracarita)nI noMdha atyAra sudhI jaina sAhityanA koI itihAsamAM pazu levAI nathI te AAjanaka che. bAreka varSa pUrve bhagavAna mahuAvIranA pacIsamA nirvANuM nI ujavaNI prasage lA, 4. vidyAmaMdiramAM yAjanAra prazana mATe lAvavAmAM Avela sAmagrImAM, kha'bhAtathI Avela tADapatrIya pratemAM meM A racanA joI ane tarata ja tenI nakala karI lIdhela. prati atyaMta azuddha hAi tenI bIjI koi harataprata maLe to pATha-nirdhAraNa sArI rIte thaI zake tema mAnI me' bIjI hastaprata mATe zeAdha jArI rAkhelI. parantu atyAra sudhI tenI khIccha hastaprata mArA jovA-jANavAmAM AvI nathI, AthI eka mAtra prApta pratanA mAdhAre prastuta soMpAdana karyuM che. A hastaprata khaMbhAtanA zrI zAMtinAtha jaina jJAnabhaMDAramAMnI tADapatrIya prata che. tenA kramAMka 127 che, temAM 33 thI 47 sudhInA ja putro che, jemAM patra 33 thI 39/1 sudhI dharmopadezamAlA ane putra 39/2 thI 47/2 sudhI prastuta kRti lakhAyela che. 34 x 4.5 se.mI. mApanAM patromAM pratipRSTha 5 paMkti ane pratipakti 75 akSarA che. pratinA lekhana-samaya noMdhAyela nathI, paraMtu te Azare vikramIya 15 mI sadInI jaNAya che. prati atyaMta azuddha che. prastuta saMpAdita AvRttimAM mULane azuddha pATha AMtarika purAvA, bhASA, chaMda AdinA AdhAre sudhArIne zuddha pATha mUkela che. azuddha mULa pATha TippaNamAM ApyA che. pratamAM jyAM pATha khuTatA jAya che tyAM corasa kausamAM [......] A rIte darzAvela che. koi sthaLe AtrA khUTatA sthaLAmAM sUcita pATha corasa kau samAM mUkayA che. jyAM pAThanI saghdhitA che tyAM kauMsamAM praznacinTu mUkela che. sAmAsika zabdo vacce nAnI rekhA saraLatA khAtara mUkI che. yAgya sthaLeAe virAmacihno mUkayA che ane padyonA a'kA vyavasthita karI yathAsthAna mUkayA che.

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- pachI kI mAM mAtrAvALA dohA cha hatI ane bIjI kaDI 1ramAtrAnA cAra caraNa dharAvatA mAlAraka ( chaktI evI rIte cheka sudhI vArApharatI e mAMkula 10 pavamAMka e racAyela che, bhagavAna mahAvIranA prasiddha jIvataprasaMgane kavie ahI' kramAnusAra kArbamAM vaNI lIlA che. yata no hetu vyava-makara to nahIM paraMtu kavitA caritravaNa ne ane guNAtulAto hoI mane jo katInI prAraMbhika racatA hoI uM yA prakAranuM kAvyatA AmAM najare paDatuM nathI paraMtu gujarAtamAM prApta thatI apasa khapha zAstrI racanAomAM A thI ene ume thAya che te ja mahatvanI vAta che,

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siri abhayadevasUri-virAu vIra-jiNesara-cariu // OM namo vardhamAnAya || vIra-jiNesara-vara-cariu aisaya-sayahiM mahaMtu / Ayannijjau kanna-suhu suyaNahu vannijjaMtu // 1 nAsiya-dosAsaMgaha agaNiya-guNa-gagaha / asura-suresara- vidaha baMdaha kaha (1) jiNaha / ummUlei amaMgalu maMgala kuNA lahu / suhu saMpaya pariposA jhosai duha-niSahu // 2 pANayakappa-paiTThiyau pupphottaru suvimANu / chedavi vara vicchaDa jiNu, jagi oinnu tinANu // 3 mAhaNakuDaggAmi pahANaha mAhaNaha / niya-kulakamehi nirayaha birayaha raya-bharaha / usahadatta sunAmaha mannaha puravaraha / dhaNa-kammahi kayasevaha veya-viyAraNaha // 4 . lIlA-sIla-saloNi thA jiya-surasudari-viMda / caMdaha ca dima jema nahi gehiNi devANaMda // 5 pupphottaru-taru-siharaha Aiu haMsavA / devANaMda suNaliNihi gami saroi naha / sarala-muNAla-subAhahi kaya-dala-loyaNihi / siya-AsADhaha chaTTihi uttara-phAguNihi // 6 iMsiya ghohasa-sumiNa-gaNu diNavAsI (?) tahiM tuThTha / abbhambhaMtari bhANu jiha bhAsura-mANu pasatthu // 7. patthaMtari caliyAsaNu sAmiu sura-gaNaha / / gambhAhANu viyANai ohiM jiNavaraha / lahu abbhuTThiSi tudau mauDi phusiya ghara / siri-kaya-karayala-saMpuDu vaMdA vajjaharu // 8. azuddha mUla pATha-2.1. nAbhiya 2.4, jjhomai 3.2. viccheda 4.1 pahAveha 5.2. nahiM 6.3. cala-lovaNihiM 7.1. tucchu 7.2 bhAsura bhANu 8.2. uhiM

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abhayadevasari-viradeu ura hari kiMkara-varu vAharivi viyarai ANI i du / nijau jiNavaru rAyahari nIya na hoti jiNidu // 9 khattiyakuDamgAmi pahANaha khattiyaha / siddhatthaha siddhatthaha siddha-narIsaraha / ANa-pasAhiya-rajjaha vajjaha ari-girihi / niyaya samiddha-buddhiM (1) ahariya-hari-sirihi / 10 tisilA sIla-visAla tahi laDaha samubhava (? samujala) rUpa deviMda idANi piva jAyA jIviyabhUa // 11 AsoyAsiya terasi uttara-phAguNihi / NIyau jiNu gabhaMtari khattiya-sAmiNihi / bahu suhu hariNagaversi pesiu suravAhi / jiva raSi-maMDalu aruNihi putva-mahAdisihi // 12 coisa-sumiNihi sUrayau tisilahi gabbhi vasaMtu / ahiNadijjai suravarahi jaNayahu~ paNau jaNaMtu // 13 to taM niva-kulu vaddhA baMdhura-siMdhurihi / kosahi koTThAgArahi saMdaNa-sAhaNahi / putta-kalattahi bhattehi sArahi kiMkarahi / pAusu velliu jiha jiha phala -phullihi pallavihi // 14 jiNa-ciMtAmaNi-saMgameNa kiM kiM jaM na lahati / pahu jiNanAhu aciMtu puNu ciMtAmaNi pabhaNaMti // 15 cettaha siya tihi serasihi uttara-phaguNihi dasa disi umjoItau jAyau khattiNihi / jiha udayAcala-kuharaha maDala diNayaraha / bhaSiyakamala-pariyohaNu sohaNu raya-tamaha // 16 sAsA disAkumAriyau Agaya jiNaha sagAsi / katha-jiNa-maMgalakoUbhau gAyahi niNa-guNa-rAsi // 17 battIsahi vi suriMdaha~ caliu varAlaNaDa / ohi paujahi jANahi jiNavara-manjaNaTha / to te maNimaya-kaMkaNa raNakSaNa-rava-muhara / jiNu saMthuNahi samAhiM bhAve (?) be vi kara // 18 9.1. ANi / ANaMdu // 9.2. jirNadu 10.4. durdiTha 11.2. piha, cUa 13.2. sukharehi 16.2. deisi joiite| 17.2. kouau 18.2 uhi

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vIra - jinesara- cariu je suravara paya-paMkayai~ kaha vina gharahi gharaiti / siru ghari ghariNiha harisavasa te jiNavaru vadati // 19 pahu Apa sisamaya - ghaMTau tADiyas / raNaraNa-sa salu vi tivaNu pUriyau / bhuSaNa vimANehiM rahaSasu surayaNu bohiyau / jANavi jiNavara - majjaNu meruhu~ calliyau || 20 sagga- sarerAvari devagaNa paramahaM viyaliya kSatti / bhava- Tiya jiNa - ravi punna-kara pasaraha pecchu jasa ti // 21 calliya NalliSi vallaha - vilaya bhuyaMtaraI / chaDivi itthiya acchara pINa-paoharai~ | NAra - tu buru-gIyai~ ghINa - umucchiu / ciDa - kaDakkhukkheva samunbhaDa paTTiyau // 22 dhara- saravari jiNa-paya-kamala-sevA- rasiya-maNAha~ / bhavaNa - vimANasu kusuma radda tuTTI sura- bhamarAha // 23 suSi kaMThAse ( ) mellivi goDiyau | jala - hiMDolA - phIlDa lIla ugAriyau (2) / aha bhaktibhara - nibhara calliya bhUri sura / jalahiM [...?...] siMha - ninAtha para ||24 jiNa - jogiya- punnakkharaha pecchu apuvviya satti / jaM surayaNa hallohaliGa Aija dharahi jhaDa ti ||25 ucchu- ciMgha-samuduri khikhiNi-ra-muhali | maNimaya - toraNa- maNahari raMjiya-gayaNaya li / joyaNa - lakkha- pamANi sumANi vimANi vari / Divi puraMdaru suMdaru pattau jigaha ghari // 26 jiNavari jAya dharaNiyalu jAyau sagga-samANu / hoi cciya caMduggarmANa gayaNu pamoyaha ThANu // 27 iMdu payAdiNa deSiNu vaMdara jiNa-jaNaNi / 'tumha namotthu jiNesara- pokkhara pAkkhariNi / 20.2 vihuva 20.3 bhuvaNu, 21.1 devamaNa 21.2 puttakara 21.2 vimA... tumhI... 26.2 maNihari ava 12-5 33 22.2 paThaharahiM

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abhayadevari-viraiDa tumha namotthu jinnelr-nnesr-putvdisi| tumha nameotthu jiNiMda-sucaMdima-suddha-nisi' / / 28 ki bIja jaM vajjaharu jiNavara-jaNaNi nnme| jo kira rehiNi dharaNi jiha jiNa-ciMtAmaNi deva // 29 'hau dhajjAhiu Aiu saggaha jiNavaraha / nhavaNa-nimitta sucittu na tumhe bhau karaha / ' sapiu appiu jaMpiu jiNa-paDidhiMba tahi / kaya osoyaNi iMdeM tisilahi rANiyahi // 30 kappadhi appA paMca hari jiNu kara-kamalihilei / jiNe-guNa-gAyaNa-hariya maNu puNu suragiri-siri Ne // 31 dharai jiNesaru ekiM ekiM chtt-tiu| tihi cAmarahi sucAlai cAlai pAsa thiu / ani dhau dharaMtau dhAva jiNa-purau / iya guru-gauravi rUvA hari bahua vikirai ||32 gayaNa-sarodhari jogaha-jali jiNa-kemaru sura-patta / jiNa-guNa-geya dureha-jhuNi surayaNu NaM bhayavatu / / 33 suragiri-lihari parAiyau dhAiu sura-nivaha / hari hari-viTThari saMThiu aNk-nivitthtth-phu| accuya-pamuha suresara kiM-karau~ ravahi / jiNavara-havagau~ NiuNau~ pauNau~ te karahi // 34 saha jiNa-bhattie kAumaNa anu lahI pahu-ANa | se kara kiMkara harisa-para kiM na karahiM tuhu~ ApaNa // 35 aha khorAi-samudaha rudaha maha-dahaha / mAgaha-pamuhaha titthaha sacchaha saravaraha / gaMgA-pamuha-mahAnai-nivahaha~ pANiya haiN| taha mahI besAI kamalA' ANiya // 36 sAyara-sariyaha~ levi jalu bhAri bhaMgura-gattu / surayaNa abbha-samUhu jiha kaMcaNagiri saMpattu / / 37 28.4 namotha 30.1 hau 30.3 paDivivu tahiM 30.4 usmoyaNi 32.2 cAleI / mekhi 67 vapuSaraMtau 32.4 vikarai 33.1 joNha 33.2 reha 35.1 laddhI paDu ANe | 36.2 pamuhahaM tituha sasthaha 36.3 mahAnai pamuhAnaI niSa.

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vIra-jinesara-cari kulaselaha kila kusumaha~ mAlau cAliyau / siddhattha ya samvosahi dezasahi dhajjiyau / maNa-ANaMdaNu caMdaNu niu gaMdaNavaNehi / mahiyalu sura AhiDivi Aiya surrAgarihi // 38 jiNa-cUDAmaNi dharivi siri jAyau tihuvaNi raau| sayala asura-suresarahi jaM seviu girirAu // 39 etyaMtari kira ciMtiu pAsava ehu jiNu / kiha majjaNu sura-sahasaha sahisI taNuya-taNu / ta maNu muNivi murNideM niya-balu darisiyaU / lahu--calaNaggiM capivi suragiri cAliya 3 // 40 jiNAvara-lacchi-niyaMtiyae vimdhyi rasa-bhariyAe / taruvara-siraruhu meru-sisa naM viniyaudharAe ||41 . teNa calaMtaI pelliya halliya sayala dhara jhallajhalliya mahalli va melliSi mayarahara / tahi khaDiya taDapapaDiya kaDa tiya giri-sihara / niru uThavelliya pelliya vellA naI-niyara // 42 aha niya-nAhaha jamma-mahi harisummAya-vasaiNa / visArasa-karaNihi tacchiyau~ NaM Nacciyau~ jageNa ||43 ullUriya velAvaNa bhUlilahi disigahi / bhaya-ubhaMtahi bhamiyau hi niru tArahi / bhamaDiu taha disicakku vi akku vi saMkiyau / asuragaNu sakuddhau muddhau sura-hiyau // 44 lIlA-vilasiu pau jiNaha na ya suvivi samatthu / suragiri daMDa ucchatta ghara pau jiNa karaNa samasrthe / / 45 puNu sakkeNa vikkhiu dhakau keNa kiu / ki suri keNA dappeM apapaU khayaha ni / ki keNA khala-khari kAlu khalIkayau / zya rosAruga-nayaNiM disau paloiyau // 46 - - 38.2 dosehiM 39.2 sayara 42.1 pelila halliya 43.2 tazciya

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36 abhayadevasUri- viraiu dasalaya - loyaNu teNa tara saMjAyaka surarAu | sessive iti hi peSchiAssAmi varAu ||47 tihuNu salu vi idi joiyau | pahu sAmatthu jidiha nannaha jANiyau / hA daDha - mUrti micchA je mai~ manniyata / sayala jiviMda hoMti samAu sattiya // 48 jiNa - sAmatthi viANiya Agaya bahu-guNa- bhatti / jiNa majjaNu savvAyareNa suravara karahiM jhaDati // 49 padama ki majja de sAmiyahi / avuha (?) maNimaya pamuhiM kalasehiM sahase hi / hariNa ghaNA ghusimmImahi / Hola - siddhaya tittha ya pANiyahi ||50 ahisiMcahi jiNa kappataru hellai jalu mellaMta / hattha icchiya vara - phalai~ naM suravara icchata // 51 tarhi vAyati cavihu ahiNayahi [...... ?] sura gAyaMti caubihu bhUsiu jiNa-guNihi / jaya jaya sa u jahi guMjai thui sayaI / harisurisiM mellahi sIhaninAya // 52 jiNa lAvanna - maha sevaI nayaNa-dalehi pici / tara maya-paravasa sura - visara NaJcahiM bhuya unbhevi // 53 magalu gau jiha gajjahi N haya desa suyahi N / bhUmi deta caDa rahu jiha ghaNaghaNaI' | bijjunjou kareti ya deti ya jala-parisu / ae aoris itira chiMdahi sAmarisu // 54 ahiNava - harisavasudara te sura kiM na kareMti / anna va jaNa niya- kanje para parisaya cciya hoMti // 55 47.2 pecchiAmi 48.1 uhiM 48.2 pa 48.4 jiNedaha... sattiuya 50.1-2 gaNu iMde avuha maNimaya pamuhehe kalaze he mahame he sAmiyahiM / 51.2 taM 52.1 ahipeyahaM / 52.3 juMjaha 53.1 pipavi / 53.2 naI... vahi

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vIra-jiNesara-carita 37 lUhahi agu jiNidaha suha-kAsAiyaSTi / gosIsa vilipahi kukuma-mIsiyA / to mallehi umAlahi parimala maNaharahi / tihuyaNa-bhUsaNu bhUsahi bhAsura-bhUsaNahi // 56 kaNayakati jiNapahu sahai bhUsaNa-bhUsiya-dehu / paDibiMbiya-tArA-niyaru Na suragiri kira pahu // 57 aTThottari sai cittaha zuNai jiNiTu hari / vAma jANu Au'civi aMjali dharivi siri / tumha Namo jiNa jANaya sabuddhAigara / tumha Namo sivagAmiya sAmiya titthayara // 58 hari-hara-baMbha-puraMdaraha mANa-ghihaMDaNu kAmu / jo tatha-khagi nijiNai so jiNu jayau sunAmu // 59 jaya tihuSaNa-sara-paMkaya-ghayaNa-ghara [? maNahara] / jaya tihuSaNa kappaduma vidumasama-ahara / jaya tivaNa-karuNAyara NAyara-phaliha-bhuya / jaya tivaNa-ciya-mohiya sohiya-pANi paya // 60 devaha aNamisa-loyaNai' iMva nayaNa shss| pa pecchaMtaha svanihi sahalIhUu avassa // 61 tivaNa-veri-viyAraNa kAraNa siva-suhaha / tivaNa-bhAva-viyAraNa dAraNa bhava-duhaha / tivaNa-lacchihi kulahara sehara tihuvaNaha / tumha Namo'tula-bIriya Iriya-kunaya-paha // 62 pavayaNa-maMDali jiNa-radhihi Naya-saya-kiraNA-sahamsi phuriyai titthiya-tArayaha kau pasarahiM maya-rassi // 63 tumha namo purisottima nittama loya-hiya / loya-paIva pasaMtaya bohiya-bhaSiya-jiya / aNuvama-punna-mahAbhara jasabhara-bhariya jaya / para-guNa dosa-vivajjiya raMjiya-tiyasa-naya // 64 56 1 kAsAiyaha -56.3 mahilahi...maNahare hi 57.2 paDiviviya 60.4 tihuyaNe viya0 61.1 lovaNaI... sahassu 64.1 leyahiyA 64.2 pesaMta pavehiya bhaviya / jiNa aNu0 64.3 mariya huya

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38 abhayadevasUri viraha nAsaha dosA saMgu niru jasu uda bhuvaNe vi / dosaMsu vi taha jiNa-ravihi ko sakke kavi // 65 vaMdevi jiNa hari hariseNa puNu / pada dhU samura-baMdhura-gaMdha-guNu / aTTha maMgala fafees rupaya- taMdulehi / aha vallaI phullajali muhala - mahuyaeNhi ||66 phulla surapahu - pelliyaha N pahu paya- pAsi paddhati / rAyasesasi - ramaNa (?) tAraya sevahi paMti // 67 du duhi -saha- samAulu Aulu paDiravihni / jaya-jaya-rapa-saMggiDa vaggara- surayaNahi / vara u viSphAravi phAraca jiNa - guNai / aha battIsa nidasiya saMsiya- nADya // 68 accuya-bahu jidda jiNu havA tiha sesA vikameNa / hA pUyahi saMyuhi cacciya rAmaMceNa // 69 ges malA hela puntu sumUlima (1) / NaM kiu tihuyaNa- khohaNa sohaNu jiNu tilau | suragiri-bhAli layAlA maNahara thaNaharahU~ | afe - ravi jayaNai~ piunahU~ sAyara abarahU~ // 70 sura-tAraya-maya sohara jiNavara baMdu | yaha pacchAliya- disivala jaNa-maNa-NAyaNAnaM // 71 puNu kara - saMpuDi laiyas nIyata niyaya hari / jaNaNihi baMdi apiu japiu pama hari | hohi mahIhara - jIviu jalahi-jalAu tuhu~ / jiNa bhaviyAhaM bhavannava - hatthAlaMbu lahu // 72 japada suraSada suragaNahu kuNai jo jiNaha abhatti / aga - maMjari jema tahi phuTTa sIsu taDa tti // 73 65.2 maMkei 62.3 vilAI 66.4 muhali mahuyarapahiM 672 samiSNaNa 68.2 surayaNehiM 68.3 vikAravi 70 2 bhohaNu jiNu 71.1 maTThiyau 73.2 akkama maMjari

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vIra-jiNesara-carita kuMDala khomajuyalu puNu Thavei jiNa siraI / rayaNAharaNa- sudhannaha hari jiNa-gharu bharai / aha naMdIsari jAivi bhAveM jiNagharahi / taha kiu bhaSaNa-vimANAdi gharamahu suravarahi // 74 niva-kula-bhuvaNa-saThieNa sura-bhava-meha-bhupaNa / niru ullAsiu bhuvaNa- vaNu jiNa-vara-amaya-jalepa // 75 aha kila timalaha jaggiu paggiu pesajaNu / yaddhAyei narIsara so vi hu hida-maNu / kaddhAvaNa karAvai dAvai jaNi abhau / jaNa-sakAra pariccha3 jacchA paMchiyau // 76 naccijA puri rAyahari gijmaI kipi aucyu / aphphAlijjada varu niru niru vilasijjA danchu / / 77 bArasama, diNi piyarihi kareSi mahaMtu mahatthu / vadyamANu iya ThASiyaka NAmu [...?.. ] jahatthu / taha paddhA saila kaMdala jiha kappa maha / jiNapahu paripugnihi punnehi tihuyaNaha // 78 sura-mara-purisihi " seviya sura-sahiya-bhogassa / Aiu kIlAsA suhau kumarasaNaU jiNassa // 79 ji kIlatA dhADi taruTTiu bhuyaga-suru / paSTri-ThiyA vacata u bhiu Dibha-suru / taha pucchiu saisakkhi akkhiu vAyaraNu / jodhyaNi guru adhitti ji kiU pariNayaNa // 80 seo jiNu aNehi divigahi" pUriya niyaga-painnu / adha jAyau Saya-gaNa-maNu jiNu kAmahi nidhinnu / / 8 / / loyatiya sura Avidhi, iya jiNu jaNahi* saha / jaya jaya naMdA aya jaya bhadA naravasaha / daya kari dhujhasu araha bhayavaM loya phu| aga-hiMGa titthu pavattam uddharu bhaghiya lahu / / 82 74.1 jiNu sire 74.2 bharei 74.4 caramahu 75.1 bhUvala saThieNa...mehacapaNa 76.3 jaNiyabhaDa 77.2 aphAlijaI 78.1 pArasamapa diNi.. karevi mahaMtu mahatta / 79.1 suranaranArisihiM 80.2 periTha...vabhiu Dimbha 81.1 divihi...niyaga e iMtu / 81.2 nimvita 82.1 sutiya sura...bharavasana / 82.3aghata 824 pavattassa

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abhayadevasUri-virahau jiNa-jalaharu vasudhArahi saMvaccharu jA vuTu / paDu-paDaya-rava-gajjiyau nivASiya-dharavaThu // 83 aha savve vi surAsura jiNa-puri oyariya / kalasahi sahasahi nhAvahi" jiNu bhattI bhariya / aha caMdappaha-sIyahi siMhAsaNi Thiyaha / chattai~ dhArai~ vAhahi cAmara-jugu jiNaha // 84 siviokhittI nara-surahi ghosayi jaya jaya sad / magala-tU-i~ tADiyai jAyau jaNa-samaI // 85 . vauviha-senna-samanniDa [vaMdiu ?] vaidiNihi / loyaNa-sahasa-paloiyau paNamiu sira-saehi / aMguli-sahamahi darisiu icchiu maNa-saehi / nAyasaMDi vaNi Agau saMgau baMdhahi // 86 idi kalayali vAriyai sAmAiu paDivannu / aha kayaloyaha muNivAhi maNapajau utpannu // 87 mAMgasirAsiya-dasamihiM uttara-phAguNihi / dikkha jAya jiNa-vIraha jaga-ciMtAmaNihi / aha viharai bhadhArau sArau tihuSaNaha / bhAviya samariu badhava baMdhayu jiya-gaNaca // 88 sUlapANi je bohiyau agaNiSi niya-taNu-dukkhu / caMDakkosiya-phaNavAhi taha dinnau sura-sovakhu / / 89 je saMgama-sura-ramaNihi mANu viNAsiyau / ji sira cakka-nivAyaNu surayaNu kaMpiyau / kannahi kIla pavesa ti govi na rUsiyA / salluddharaNi Na veja vi je kira siyau // 90 so jiNu jabhiyagAma sari ujuvAliya nA pAsi / heThai sAla-mahAtaruhu suha-jhANadiThala Asi ||91 83 2 niccAviya 8. 1 uyariya 84.4 cchettahacchettaI 85.1 siviukhitti 85.2 jaNa-samud86.2 sira saehiM 86.3 maNasupahiM / 88.3 aha viha viharahe 89.1 je 89.2 surasokkha 90.3 pavesa ni go0

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cIra-jirNasara -carita AyAvataha sataha nantha mahAmuNihi / siya vasAha dasamihi uttara- pharaguNihi / upapanna ra kila kevala damaNu jANu pr| bhUya- bhavaMtara viSNai pAsai risi-pacara // 92 tapANi Agaya sura' payara' duduhi apphAliMta / rayaNa-vimANa-mahA- yahi mahi- maMDala maMDaMta // 93 ana suravarahi turaMtadi raiu samosaraNu / sura samANa mA muNi jANaSi paku khaNu / saMjha-samai puNu dhalila 3 chattocchazya-nahu / kaMcaNa-kamalihi kaya kama-zui para sura-nighahu // 94 cAmara vAya viNIya samu bhAmaMDali bhaasNtu| dhammAna gayaNa yahi pura paTTi pavitu ||95 ghArama jAyaNa lava pattu pabhAi paha / pAyA-nayara anidi kiu osaraNu lahu / pAyAra-siya toraNa ghaya maMgala pavaru / maNisiMhAsaNa bhagira Usiya moyataru // 96 tehiM pudhamuha maMdiyaha sura paDiciMdha kare ti / anna niti jiNemaraha nAvi taha sohati // 97 sura-nara-tirigraha koDila bhAsada dhammu jiNu / aha nayaniti niya caccagi jiNa kaha jAya puNu / taM sou' maya-udhura duddhara-ghayaNa-paha / jiNa sayAmi ekkArasa Aiya diya-pasaha / / 98 iMcabhUtahi jeTTayaru iya Agau gadhi | nAsA savvannu tu tahi bAI mANu malevi // 99 bhuSaNacchezya-saccA pecchavi siri jiNaha / tahi maphuTau tuu nahI gira muhaha / 92.1 AyAvetaha 92 3 daMma bhANu 93.1 33phAliMta 93.2 maMDa'tu 94.2 mANavi 94.3 saMjaya chattoca. 95.2. pahiTa pahisaha / 96.2 utaraNu, 971 puvAmuha "27.2 nitinni jiNe 0......naha so. 100.1 bhuvaNAbhUraya 100.2 seku-daTha muThau naTThI giramuha /

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42 abhayadevasUri- virahau ae saMbhAsiu sAsi nAsi saMsyahU~ / safar frovar vayaNAmaeNNa saI // 100 iya savva vivAciyA saparivAra kameNa | fare patthu pati pavaM vIra - jiNeNa // 101 virahi gAmahi nagarahi [ purahi / ] paTTaNahi / ThAviSi nara- sura- tiriyA~ nAhi daMsaNahi / usavadatta diu mAhaNi devAda taha | rAyasya dikkheSiNu deviNu suha sivaha || 102 aha pattau pAdhApura hasthipAla - nivassa / vAsavAsu kare jiNu kila mAlahiM karaNassa || 103 * kattiya mAsa amAvasa sAihi khIdhA rau / sura-nara-koDa maNehi samaNihi pariyariu / pajjakA saNa-saMThita pacchima-nisiddi lahu / dhammaka patra siddhi vIra pahu ||104 jiNa diNanAharU atthamaNi lohArU / phuriyaDa titthaya- tArayahi bhaggu sumagga- payAru // 105 11 ki sAru suradivi [2] bahu !,,. naMdIsari sa - vimANihi kiDa jiNa-bhavaNa-mahu | tiduSaNa bhuvaNujjoyaNu vikira gayau / dIvajjo paryApta nirvAhi pavattiya // 106 tIsa bAsa basi gidhi anu bArasa umRtyu tIsa kevali vihariyaDa puNu jiNu sidhu kayatthu // 107 itha kallANaya kittA kivIrA jiNa / vara jiNesarasUrihi "sIsi suviyi / abhayadeva - siri sUriM jiNa guNale bhaaviyh| hoi paDhata suNata kAraNa sivasuhahaH || 108 // vIra-variya samattaM // +8 25 100.3 saoNmiu tAsiu 100 4 vayaNAmapuNa 102.2 ThAve vidaMsanihi 102. 3 vANadu 1042 paristhiita 104 2. pajjakAsuNa 1051. asthamaNe jagaha me| haMkarU 106.1 vizva Thatrahu~ 107.1 annu bArasaccha umatthu

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AgamagIya AcArya zrIjinaprabhasUri viracita aMtaraMga-vivAha - dhavala saMpA. 2. ma zAha IsavI sananI teramI zatAbdInA madhyabhAgamAM thaI gayelA AgamagacchIya AcArya jinaprabhasUrie zattarakAlIna apabhraMza bhASAmAM aneka laghu kAvyakRtio racI che, je pATaNanA jena bhaMDAmAM rahela tADapatrIya hastaprata mAM maLI Ave che. AmAMnI eka dhavala (La) prakAranI 26 kaDInI padya kRti ahIM saMpAdita karavAmAM AvI che. aMtaraMga-vivAha--dhavala" nAmanuM A kAvya eka rUpaka kAvya che, jemAM bhavya jIva rUpI varanA cAritrarUpI rAjAnI putrI sarvaviratirUpI kanyA sAthenA vivAhanuM varNana che. lagna prasaMge dhaLa gAvAne rivAja khUba prAcIna che. AvA kapriya kAvya prakAramAM kavie jaina dharma pratipAdita upadezane rUpakarUpe gUMthI lIdhe che, A kAvya gaya che, ane vasaMta rAmamAM e gavAya evI sUcanA kAvyamAM te nedhAyela che. kAvyanI bhASA che ke uttarakAlIna apabhraMza che, paNa temAM ta kAlIne belAtI gurjara bhASAnI asara joI zakAya che. khetaravasahI pATaka jaina jJAna bhaMDAra, pATaNanI tADapatrIya prata naM. 6 (jane na. 12) nA patra 20-221 para A kAvya lakhAyela maLe che. 36 x 5 se. mI. mApanI, 264 pa vALI A pratimA nAnI moTI 54 racanA saMgrahAI che. temAM ekalA A. jinaprabhasUrinI ja 30 kRtione samAveza thAya che, jevI ke-dhamadhamalaka, Atmabedhalaka, bhavyacarita, bhavya kuTuMbacarita, mirAsa, a'taragarAsa, mahilanAthacarita, khUyati, maharAjavijayokti, caityaparipAdi, jinajanmamaha, temanAmAbhiSeka, pArzvanAthajanmAbhiSeka, anAthisadhi, davAnuzAti saMdhi ItyAdi. AmAMnI be traNa A pUrve saMdhi AdimAM prasiddha thaI che, paraMtu moTA bhAganI kRtio haju aprasiddha che. tatkAlIna bhASA ane saMskRtinA adhyayana mATe ghaNI upayogI sAmagrI A kRtiomAMthI maLe tema che,

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AgamagacchIya zrI jinaprabhasUri ghiracita aMtaraMga vivAha-dhavala pamAya guNa-ThANu pATaNu tarhi, ahe bhaSiya-jiu nirupamu varu pa / 1 caudhiha-saMdhu jAna utta kIya, ahe vohaNa sahasa sIlaMga [pa] )2 subha-pariNAmu saMvegu sahi, ahe vara gaDha sohaI tethu e 13 uvasama seNi AvAgnu kIu, ahe dharma-dhyAna- dhAna u lAgu e / 4 jogaha sudhi siNANu huu, ade guNa--gaNa tUra-ninAdue / 5 caraNa-karaNa siNagAra kIDa, ahe upasamu aNuaru pAsi / 6 seya-lesA ghara-bahiNulIyA, ahe viveka-karibarArUDha 5 17 teja-padama-lesa bahu bamaradhAgi, ahe zukla dhyAna-chattu ApUri e / 8 paMca samiti tigi gupiti jAniNIyA, ahe maMgala cAma kAMti 59 saMtAsa tAraNi Adhu donu, ahe rAga desa-sapuDu phoDi 5 / 10 cArita-rAyaha dhUa va, aha saba-dhira i-vahaa vIvAha e 111 taba-siri aNuari dhIi sahI, aha khama-mutAli moha e |12 sata guru babhaNa zrutadharu, ahe dalaNa tArAmelu kIya le(pa) 13 sacca-caya hathAlevu dInu, ahe akiMcA vahaa karu mali pa 114 nava-tatta nadha-aga gheTTiAdiH raiya, ahe cauraMga-bhAvaNa caurI e 15 nImamu kaMkaNu bAdhu tahiM ahe oTha-karma agiyArI kIya le(pa) 16 dANu sIla taSu bhAvaNa vara, ahe varatiya magala ciyAri 5 / 17 lorA-desu varu mokha puru ahe pariNIya muNivari lAdhu e / 18 uparima-guNa-ThANa turaya caDiu, ahe maMghaha koDa pUrera 5119 battIsa joga saMgaha palahali, tahe dasaSiha dhiNaya paNA (pa) 6. iMdIya-damu sugaMdha-kUru, ahe dayA-dali maha ghIu he(e) 121 viviha AcAra vara-vajaNAI, ahe mahAvata paMca pakavAna 5122 saMpara olaNu soa nIruNi, ahe desaNa-ghayaNa taMbolu e 123 bara vanna bahu bhaga bArasaMga, ahe sUu ghaNa kApaDa parihi 5 124 iNi pari pariNae jo a jagi, ahe lahai se siddhipuri dhAsu [5] 125 maMgalika vIra jiNaprabha e, ahe maMgaliku caubiha-sagha 5 / 26, // aMtaraMga-vivAha dhavala // vasaMta-rAgeNa bhaNanIyaH / /

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jaina sAhitya meM varNita vijayArddha parvata kA abhijJAna* DA. lakSmIzaMkara nigama jaina sAhitya meM jambUdvIpa ke antargata bharata kSetra kA ullekha milatA hai / jambUdvIpa kA vistAra lagabhaga sabhI graMthoM meM eka lAkha yojana ullikhita hai| bharata kSetra isakA 190 bhAga mAnA gayA hai / isa prakAra bharata kSetra kA vistAra 52668 yojana svIkAra kiyA gayA hai / jahAM taka ina graMthoM meM vistAra kA ullekha hai, brAhmaNa purANoM ke sahazya yahA~ mI vivaraNa kAlpanika pratIta hote haiM kintu bhaugolika sthiti viSayaka aneka mahattvapUrNa tathyoM para isase prakAza par3atA hai / prastuta lekha meM jaina graMthoM meM varNita bharata kSetrAntargata vijayArddha nAmaka parvata ke abhijJAna para vicAra kiyA gayA hai| vijayArddha parvata kA ullekha karate hue kahA gayA hai ki yaha parvata bharata kSetra ke ThIka madhya meM sthita hai / tileAyapaNNattI meM isa parvata ke donoM pUrvA ko samudra kA sparza karane vAlA kahA gayA hai / isa parvata ke donoM bhAga pUrva aura pazcima samudra ke prApta hai | 3 isa parvata meM pRthvI se dasa yojana Upara calakara dakSiNI zreNI meM pacAsa aura uttarI zreNI meM sATha, kula eka sau dasa, vidyAdharoM kI nagariyA~ sthita haiM / bavanAla, valla, tUvara, tila, jau, gehU~ aura uDada Adi uttama dhAnyoM se yukta bhUmi dvArA ve nagara zobhA prApta karate haiM / vidyAdharoM ke Upara, abhiyogya devoM ke pura haiM tathA usase pA~ca yojana Upara dasa yojana vistAravAlA vaitADhya parvata kA uttama zikhara hai / 4 bharata kSetra ke jambUdvIpa ke dakSiNa meM svIkAra kiyA gayA hai tathA isakA tAdAtmya vartamAna bhAratavarSa se kiyA jAtA hai| bharata kSetra ke madhya kSetra meM koI bhI aisA parvata spaSTa dikhAI nahIM detA, jisakI sImAe~ pUrvI tathA pazcimI samudra ke sparza karatI hoN| vahA~ taka mAtra madhya bhAga meM sthita hone kA prazna hai, vartamAna bindhyAcala apanI parvata zreNiyoM sahita bhAratavarSa ke madhya bhAga meM sthita hai| paurANika evaM purAtAttvika vivaraNoM ke AdhAra para jaina graMthoM meM ullikhita vijayArddha parvata kA abhijJAna isa parvata se kiyA jA sakatA hai| brAhmaNa evaM bauddha sAhitya meM vindhya parvata se sambandhita vistRta vivaraNa upalabdha hai / brAhmaNa purANoM meM ise sapta kulaparvatoM meM se eka mAnA gayA hai| mahAvaMza tathA dIpavaMza meM kahA gayA hai ki azoka viJjhAvaTI (vindhyAvaTI) ke pAra karane ke pazcAt tAmralipti pahu~ce the / samantapAsAdikA" meM ise " agAmakaM bharaJja" arthAt grAmavihina araNya kahA gayA hai / isa prakAra brAhmaNa aura bauddha sAhitya meM bahulatA se varNita vindhyaparvata kA kucha apavAdoM kI chor3akara jaina sAhitya meM kama ullekha milatA hai / aisA pratIta hotA hai ki jaina sAhitya saMmodhi vo 12-7

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DA. lakSmIzakara nigama meM isI parvata ko vijayAddha ke nAma se sambodhita kiyA gayA hai / jaina sAhitya meM varNita isa parvata ke vivaraNa se isa dhAraNA kI puSTi hotI hai| jaisA ki pUrva me ullekha kiyA gayA hai, vijayAddha parvata pUrva aura pazcima samudra ko sparza karatA thaa| isa sambandha meM DA0 DI0 sI0 sarakAra kA mata hai ki vindhya nAma kA prayoga narmadA ke donoM pAvoM meM sthita giri akhalAoM ke lie, gujarAta se lekara gayA taka ke lie kiyA gayA hai / DA0 esa0 ema. alI kA kathana hai ki paurANika vindhyAcala ke antargata satapur3A, mahAdeva pahAr3iyoM, hajArIbAga kI parvata zrRMkhalAe~ tathA rAjamahala kI pahADiyA~ AtI thI / isa prakAra paurANika vindhyAcala nizcita rUpase apane donA sire se pUrva aura pazcima samudra ko sparza karatA pratIta hotA hai tathA isakI puSTi amilekhIya sAkSyoM se bhI hotI hai| bihAra ke gayA jile ke barAbara kI pahADiyoM se saMlama nAgArjunI pahAr3iyoM kA ullekha anantavarmana ke nAgArjunI pahADI guhA lekha10 meM vindhya ke bhAga ke rUpa meM kiyA gayA hai| isI prakAra gujarAta ke bhar3auca jile ke rAjapipalA nAmaka sthAna se prApta abhilekha meM, vahA~ ke madhyakAlIna zAsakoM ko vindhyAdhipati ke rUpa meM sambodhita kiyA gayA hai / 11 isa sambandha meM dRSTavya hai ki bhar3auca (prAcIna bharUkaccha) ke nikaTa narmadA samudra meM samAhita hotI hai| vAziTIputra pulumAvI ke nAsika guhAlekha 12 meM vindhyaparvata kA ullekha "viha" ke rUpa meM kiyA gayA hai / tilAyapaNNattI meM vijayAddha ke lie bhinna-bhinna pATha bheda milate hai / 13 isa prakAra " viha" nAma "vijayAddha" ke svani sAmya ke nikaTa pratIta hotA hai / vijayAI parvata se saMbaMdhita 110 vidyAdharo ke nagaroM kA ullekha sabhoM graMthoM meM milatA haiM / 14 vidyAdharI se saMbaMdhita hone ke kAraNa ina nagaroM ke kAlpanika hone kA bhanumAna sahaja hI lagAyA jA sakatA hai| inameM se kucha aise nAmoM ke ullekha hai, jo paurANika pratIta hote haiM, jabaki kucha nAma aise haiM jinakI punarAvRtti anya kaI sthAnoM ke saMdarbha meM kI gaI hai| isake bAvajUda bhI kucha bhaugolika tathyoM kA samAveza isameM milatA hai| isameM vidyAdhare kI eka nagarI mekhalAgrapurapakA vivaraNa ullekhanIya hai / isa saMbaMdha meM jJAta hI hai ki vidyAghare kA nivAsa parvata zreNiyoM para hotA hai, esI paristhiti meM mekhalAyapura kA samIkaraNa mekhala athavA mekala nAmaka (vindhya kI) parvata zreNI se kiyA jA sakatA hai| brAhmaNapurANoM meM vindhya pRSTha ke nivAsiyoM kA vivaraNa dete huye mekalavAsiyoM kA ullekha kiyA gayA hai| mekala nAma ke AdhAra para yahAM se udgamita narmadA nadI ko rAjazekhara ne mekalasutA aura amarakoza8 meM mekalakanyakA kahA gayA hai / kucha anya sthAnoM ke abhijJAna meM hameM sAkSyoM ke sAtha-sAtha kalpanA kA Azraya bhI denA par3atA hai, isake AdhAra para kucha tAdAtmya sthApita karane kA prayAsa kiyA gayA hai / kilakila nAmaka sthAna madhyapradeza ke pnn| jile meM pravAhita honevAlI nadI kilakilA ke taTa para rahA hogaa| citrakUTa kA tAdArabhya isI nagara ke nAma kI prasiddha giridhoNI se kiyA jA sakatA hai, jo uttarapradeza ke bAMdA jile aura madhya pradeza ke 111 bike madhya meM sthita hai| vanagamana ke avasara para rAma yahAM ruke the|25 I. kA varNana

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jaina sAhitya meM varNita vijayAddha parvata kA abhijJAna 47 saMskRta sAhitya meM atyadhika milatA hai / 22 jaina padmapurANa ke anusAra rAma aura lakSmaNa mAlavadeza meM citrakUTa pahADI ke pAda taka Aye the| yahAM vana itanA saghana thA ki manuSya ke nivAsa kA patA lagAnA muzkila thA / 23 udayaparvata24kA samIkaraNa udayagiri se kiyA jA sakatA hai / yaha vidizA jile meM sthita eka mahattvapUrNa purAtAtvika sthala hai|25 siMdhakakSa ke viSaya meM anumAna kiyA jA sakatA hai ki yaha mAlavA meM pravAhita honevAlI kAlIsindhu ke taTavartI kSetra kA koI sthaa| rahA hogA / kAlIsindhu nadI kA udgama paurANika pariyAtra parvata se mAnA gayA hai / 27 isakA ullekha dakSiNa sindhu38 tathA sindhu paNI24ke rUpa meM bhI huA hai / sUryapura3degkA samIkaraNa gujarAta meM sthita sUrata se kiyA gayA hai / yahA~ zaMkarA vArya ne apanA bhASya likhA thaa|31 garuDadhvaja32 ke rUpa meM saMbhavataH besananagara sthita garur3adhvaja (staMbha) kA ullekha kiyA gayA hai / jisameM heriyoDorasa kA prasiddha lekha33 utkIrNa hai / isa prakAra ina sthAnoM kA nyUnAdhika sambandha vindhya parvata zrRMkhalA tathA usase saMlagna kSetra se sthApita kiyA jA sakatA hai / vijayArddha ko ullekha gaMgA ke pravAha mArga ke sambandha meM bhI milatA hai| tilAyapaNNattI34 meM kahA gayA hai himavAnaparvata ke eka draha/padmadraha jisakI pUrva dizA se gaMgA nikalatI hai, tatpazcAt yaha nadI bhUmipradeza meM mur3atI huI vijayAddha athavA rajatagiri ko prApta karatI hai / isa sambandha meM hameM jJAta hai ki gaMgA, haridvAra se bulandazahara taka dakSiNAbhimukha tatpazcAt ilAhAbAda taka, jahA yamunA isameM milatI hai, dakSiNapUrvAbhimukha hai / ilAhAbAda se rAjamahala taka isakA pravAha pUrvAbhimukha hai / rAjamahala kI pahAr3iyoM kA ullekha karate hue, saMbhavataH vijayAI kA nAmollekha kiyA gayA hai| vijayAddha se saMbaMdhita vivaraNa cakravartI bharata ke vijaya ke saMdarbha meM bhI milatA hai| bharata sarvaprathama pUrva dizA meM gaMgAtaTa kA sahArA lekara samudra paryanta gaMgAdvAra taka pahuMcate haiN| vahA~ se magadha kI darI bAraha yojana batAI gaI hai| isake pazcAta dakSiNa kI ora jayantadvAra meM praveza karate hue siMdhu nadI ke manAhara dvAra meM pahuMcate haiM aura prabhAsadeva ko siddha dhArate haiN| vahAM se pUrvAbhimukha hekara vijayAddha parbhata kI vanavedikA taka nadI taTa se, pota ke madhyama kUTa parNata taka, tatpazcAt bana ke madhya se uttara kI aura gamana karate hue vijayAddha ke madhya taka pahu~cate haiN| yahAM isa zikhara para rahanevAlA gaitAtya deva upasthita hotA hai| yahA~ se cakravartI bharata sindhunadI ke vizAla vana meM praveza karate haiM aura pazcimI bhAga ke mleccha rAjAoM ko parAjita karate hue sindhu nadI ke taTavartI mArga kA anusaraNa karate hue himavAna parvata meM pahu~catA hai, vahAM se vRSabhagiri pahu~catA haiN| uttara kI ora jAte hue gaMgAkUTa kA pArakara gaMgAnadI ke taTavartI mAga kA anukaraNa kara dakSiNa meM vijayArddha parvata meM pahuMcatA hai| u4 isa prakAra cakravartI bharata kI vijaya yAtrA raghuvaMza meM varNita radhu ke digvijaya sadRzya dikhAI detI hai / bharata sarvaprathama gaMgA kA anukaraNa karate hue gaMgA sAgara pahu~cate haiN|

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DA0 lakSmIzaMkara nigama 48 tatpazcAt samudra ke gaijayanta dvAra pahuMcane kA ullekha hai / gaijayanta dvAra ko jambUdvIpa kA dakSiNI dvAra kahA gayA hai / 36 ataH pratIta hotA hai ki pUrvI bhArata kI vijaya karate hue, vaha dakSiNa samudra taka pahu~ce the / isake pazcAt pazcimI bhArata kI vijaya yAtrA karatA huA sindhudvAra (muhAne) taka pahu~cane kA ullekha hai| isa sambandha meM dRSTavya hai ki harivaMzapurANa37 meM vijayAddha ke nikaTa pacanada tIrtha kA ullekha hai / brAhmaNa purANoM ke anusAra yaha eka prasiddha tIrtha hai tathA sindhu jahA~ sAgara se milatI hai, vahAM sthita hai|38 yahAM prabhAsadeva kA ullekha milatA hai jisakA samIkaraNa kaThiyAvAr3a ke prasiddha prabhAsapATana athavA somanAtha pATana se kiyA jA sakatA hai / 38 tatpazcAt vanavedikA aura nadI kA sahArA lete hue vijayAddha parvata taka pahu~ca kA ullekha hai / sa bhavataH narmadA ke taTa se ve vijayA athavA vindhya ke madhyatroNI taka pahu~ce the, jahA~ naitAbya nAmaka zikhara sthita thA / punaH pazcima aura uttara meM parvatIya kSetroM para vijaya prApta karate hue gaMgA ke kinAre-kinAre punaH vijayA parvata para pahu~cane kA ullekha hai / yahA~ vindhya ke pUrvI bhAga kA ullekha kiyA gayA pratIta hotA hai| isa prakAra jaina sAhitya meM varNita vijayAddha vindhya parvata hI pratIta hotA hai / tiloya. paNatI meM varNita khAdyAnnoM kI sUcI se bhI isakI puSTi hotI hai / isameM viziSTa prakAra ke khAdyAnnoM kA ullekha kiyA gayA hai, jo mAlavA, bundelakhaNDa tathA narmadA ke taTavartI kSetra meM pramukha rUpa se utpanna hote haiM / jambahIvapaNNattI40 meM vijayAddha ke sthAna para tAtya kA ullekha kiyA gayA hai / isa sambandha meM dRSTavya rahe ki tilAyapaNattI evam anya granthoM meM gaitAdapa kA vijayAddha ke eka pramukha zikhara ke rUpa meM varNita kiyA gayA hai / parvata kA pramukha zikhara hone ke kAraNa hI saMbhavataH jambUdIvapaNNattI meM pUre parvata kA nAma naitAdadha ke rUpa meM ullikhita kiyA gayA haiM / bI0 sI0 lAhA45 zaitAdaya kA samIkaraNa vindhyaparvata se karate haiM, ataH vijayAddha kA tAdAtmya vindhyaparvata se kiyA jAnA samucita evam takasaMgata pratIta hotA hai| saMdarbha * digambara jaina triloka zodha saMsthAna, hastinApura ke tatvAvadhAna meM dillI meM Ayojita jambUdvIpa seminAra, 1982, meM prastuta zodha-patra / 1. ti.pa0 (tileAyapaNNasI, sampAdaka-pro0 e0 ena0 upAdhye evaM pro0 hIrAlAla jaina, zolApura, bhAga-1, (1956, dvitIya saMskaraNa), bhAga-2 (1951, prathama saMskaraNa), 4,105-06 2. ti0pa0, 107 3. hapu0(harivaMzapurANa, sampAdaka- pannAlAla jaina, kAzI, 1962) 5,20, 15,19% AdipurANa, 18, 149 4. ti0pa0, 4, 109, 4, 133, 4,140-144

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jaina sAhitya meM varNita vijayAddha parvata kA abhijJAna 5. mahAbhArata, bhISmaparva, 9, 19; mArkaNDeNa purANa, 57, 10 6. mahAvaMza, 11, 6, dIpavaza, 16, 2 7. samantapAsAdikA, 3, 655 8. sarakAra, DI0sI0 saraMkAra : sTaDIja ina di jyAgraphI Apha pazienTa eNDa miDivala iNDiyA, dillI, 1971, pR0 56, pA0di. 6 9. alI, esa0 ema0 : di jyAgraphI oNpha di purANAja, naI dillI, 1973, pR0 112 10. palITa, je0 esa0 : kArpasa inskripsanama iNDikerama, bhAga-3, pR0174 11. epigrAphikA iNDikA, khaNDa-34, pR0 140 12. uparivat , khaNDa-4, pR060 13. "vijayaddha" (ti0pa0, 4,107) "vijayaDDha" (ti050, 4,110) 14. ti0pa0, 4,112-125; ha0pu, 22,85-110; Apu0, 19,32-49, trilokasAra, 696-701; leokavibhAga, 1,21-31 15. harivaMzapurANa keA chADakara pAda TipaNI-14 meM ullikhita sabhI graMthoM meM isakA ullekha hai / 16. sarakAra, DI0sI0 : pUrvauddhRta, pR0 42--43 17. karparamaMjarI, anu. sTena kAnAva, pR0182 18. amarakAza, 1,10,33 19. harivaMzapurANa ko choDakara pAda TippaNa--14 meM ullikhita anya sabhI prayoM meM isakA ullekha hai| 20. upariSat 21. rAmAyaNa, ayodhyAkANDa, 54 22. lAhA, bI0sI0 : prAcIna bhArata kA aitihAsika bhUgola (hindI anuvAda, anuvAdaka-rAmakRSNa dvivedI) lakhanaU, 1972, pR0 125-26, 523,614 23 padmapurANa, 24. hApu0, meM varNita dakSiNI zroNI kA 44 vA nagara 25. lAhA, bI0sI0 pUrva uddhRta, pR0552-53,616 26. ha.pu0 meM varNita dakSiNI zreNI kA 27vAM nagara 27. sarakAra, DI0sI0 : pUrva utta, pR052-53; meghaduta, 1, 30 28. mahAbhArata, vanaparva, adhyAya-82 29. varAhapurANa, adhyAya-85 30. ha0pu. ke atirikta anya graMthoM meM isakA ullekha hai / 31. lAhA, bI0sI0 : pUrva uddhRta, pR0 499 32. ha.pu. ke atirikta anya sabhI grayoM meM isakA ullekha hai /

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10 lakSmIzaMkara nigama 33. jarnala Apha di dhAmbe brAnca Apha royala eziyATika sosAyaTI, bhAga 13, pR0 104 34. ti0pa0, 4, 196, 232, 36 35. ti0pa0, 4,130, 441396; kucha vivaraNoM ke antara ke sAtha anya graMthoM yathA hapu0, 11,1-55 A-pu0, 6-15 meM bhI isI prakAra kA varNana hai| 36. ti0pa0, 4, 42 37. haipu0, 26, 45 38. brahmANDapurANa, 3,13,57, vAyupurANa, 7,57 39. lAhA, bI0sI0 : pUrva ugheta, pR0 489 40. jambUddIvapaNattI, 1,12 41 lAhA, bI0sI0 : pUrva uddhata, pR0 617

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niyukti kI saMkhyA evaM prAcInatA samaNI kusumaprajJA vaidika vAGmaya meM nirUkta ati prAcIna vyAkhyA paddhati haiM / jaina AgamoM meM bhI niyukti sabase prAcIna padyabaddha racanA hai / Avazyaka niyukti meM niyukti zabda kA nirukta likhate hue bhadrabAhusvAmI kahate haiM-'nijuttA te atthA jaM baddhA teNa hoi nijjuttI" arthAt sUtra ke sAtha artha kA nirNaya jisake dvArA hotA hai vaha niyukti hai / zIlAMka ke anusAra nizcaya rUpa se samyag artha karanA tathA sUtra meM hI paraspara saMbaddha artha ko pragaTa karanA niyukti kA prayojana hai / haribhadra ke anusAra kriyA, kAraka, bheda aura paryAyavAcI zabdoM dvArA zabda kI vyAkhyA karanA yA artha prakaTa karanA nirukti/niyukti hai / niSkarSa kI bhASA meM kahA jA sakatA hai ki eka zabda ke aneka artha hote haiM / unameM kauna-sA artha usa prasaMga meM ghaTita hotA hai usakA jJAna niyukti nikSepa paddhati se karAtI hai / nikSepa niyukti meM nikSepa dvArA artha kathana hotA hai tathA usake bAda upoddhAta niyukti meM 26 prakAra se usa viSaya yA zabda kI mImAMsA hotI hai / sUtra sparzika niyukti sUtra ke zabdoM kI vyAkhyA prastuta karatI hai| niyuktiyoM kI saMkhyA ke bAre meM nizcita rUpa se kucha nahIM kahA jA sakatA / kyoMki naMdIstra meM jahA~ pratyeka bhAgama kA paricaya diyA hai vahA~ 12 aMgoM ke viSaya meM kahA gayA hai ki ina para saMkhyeya niyuktiyA~ likhI gayI / isa vAkya ko do saMdarmoM meM samajhA jA sakatA hai pratyeka aMga para bhaneka niyuktiyAM likhI gayauM / athavA eka hI niyukti kI gAthA saMkhyA nizcita nahIM thii| isa saMdarbha meM eka vicAraNIya prazna yaha hai ki itanI niyuktiyAM likhI gayIM phira Aja ve upalabdha kyoM nahIM hai ? __ isa prazna ke samAdhAna meM eka ciMtana yaha sAmane AtA hai ki svayaM sUtrakAra ne hI satra ke sAtha niyuktiyAM likhI hogI / haribhadra ne sUtra aura artha meM paraspara niyojana ko nikti kahA hai| isa dRSTi se saMkhejjAoM nirujuttIoM kA yaha artha adhika saMgata lagatA hai ki sUtrAgama para svayaM sUtrakAra ne jo arthAgama likhA ve hI usa samaya niyukti kahalAtI thoM / bhabhI vartamAna meM jo niyuktiyA~ upalabdha hai usa ke sAtha isakA koI sambandha nahIM hai| yaha vyAkhyAtmaka paddhati bAda kI racanA hai|

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samaNI kusumaprazA Avazyaka niyukti meM bhadrabAhu ne 10 niyuktiyAM likhane kI pratijJA kI hai / unakA krama isa prakAra hai 1. Avazyaka 2. dazavakAlika 3. uttarAdhyayana 4. AcArAMga 5. sUcakRtAMga 6. dazAzrataskaMdha 7. vRhatkalpa 8 vyavahAra 9. sUryaprajJapti 10. RSibhAsita // haribhadra ne "isibhAsiyANa ca" zabda kI vyAkhyA meM devendrastava Adi kI niyukti kA bhI ullekha kiyA hai / isake atirikta piNDa niyumti, odhaniyukti, paMcakalpaniyukti, nizItha niyukti, mArAdhanA niyukti tathA sasakta niyukta Adi kA bhI svatatra astitva milatA hai| vidvAnoM ke anusAra ye kramazaH dazavakAlika niyukti, Avazyaka niyukti, baharakalpa niyukti aura AcArAMga niyukti ko pUraka haiM / lekina eka vicAraNIya prazna hai ki bhoghaniyukti aura viNDaniyukti jaisI svataMtra racanA ko Avazyaka niyukti aura dazavakAlika niyukti kA pUraka kaise mAnA jAya ? isa bAre meM kucha binduo para vicAra kiyA jA sakatA hai1. dazavakAlika niyukti meM dravya eSaNA ke prasa'ga meM kahA gayA hai ki yahAM piNDa niyukti kahanI cAhie / isI prakAra AcArAMga niyukti meM aisA hI ullekha milatA hai| isase spaSTa hai ki bhadrabAhu ne piNDa niyukita kI racanA ina niyukitayoM se pUrva kara dI thii| 2. modhaniyukti aura piNDaniyukita ko kucha jaina sampradAya 45 AgamoM ke antargata mAnate haiM / ataH isa bAta se bhI spaSTa hotA hai ki bhadrabAhu ne anya niyukitayoM se pUrva isakI svataMtra racanA kI hogii| 1. nizItha niyukita meM piNDaniyukita kI saikar3oM gAthAeM haiM, isase bhI spaSTa hai ki bhAcArAMga niyukita se pUrva piNDaniyukita kA astitva thA / yaha eka prArambhika ciMtana hai, lekina abhI isa viSaya meM kAphI khoja evaM bicAra vimarza kI AvazyakatA hai| Isake atirikata kisI svataMtra viSaya para likhI gayo niyukita ko bhI mUlaniyukti se alaga karake usakA alaga nAma aura svataMtra astitva milatA haiM / jaise "Avazyaka niyukti" eka vizAla racanA hai / usakI SaT adhyayanoM kI niyuktiyoM kA bhI alaga alaga nAma se svataMtra astitva milatA hai / nIce kucha nAma tathA unakA samAveza kisa niyukti meM ho sakatA hai yaha ullekha kiyA gayA hai Avazyaka niyukti 1. sAmAjhyanijjuttI 2. logassujjoyaraniNjutI 3. jamekkiAra 4. pariTThAvaNiyA - -

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niyukti kI saMkhyA evaM prAcInatA paccakkhANa 6. asaljhAya , - 7. samosaraNa , - 8. kappanijjuttI ,, - vRhatkalpa dazAzrutaskaMdha pajjosavaNAkappa , - dazAzrutaska dhaniyukti 1. "kampanijjuttI" dazAzrutaskagha niyukti ke antargata paryuSaNAkalpa kI niyukti tathA baharakalpa kI niyukti ina donoM ke lie prasiddha haiN| Isake atirikta pratyeka Agama jina para niyuktiyA~ likhI gayI haiM unake alaga alaga adhyayanoM ke AdhAra para bhI niyukti ke alaga-alaga nAma milate hai jaise bhAcArAMga niyukti meM dhuyanijjuttoM aura mahApariNAnijjattI satthapariNAnijjattI Adi / vartamAna meM sUryaprApti, RSibhASita goviMda aura ArAdhanA niyukti anupalabdha hai / zvetAmbara paramparA meM mahAvIra-vANI Aja bhI agoM ke rUpa meM surakSita hai| digambara paramparA ke anusAra una Agama graMthoM kA lepa he| gayA / isalie niyukti ko vizAla bhatarAzi kevala zvetAmbara paramparA meM hI mAnya hai / niyukti kI racanA bahuta prAcIna hai| kyoki anuyoga dvAra aura naMdI jaise mUla grayoM meM bhI ina gAthAoM kA ullekha milatA hai|) kacha vidvAnoM kI mAnyatA ke anusAra bhadrabAhu prathama niyuktikAra the / muni zrI puNyabijayajI ne aneka pramANoM ke AdhAra para bhaprabAhu dvitIya ko niyuktikAra mAnA hai / Aja bhI yaha anusaMdhAna kA viSaya hai ki niyukti sAhitya kitanA prAcIna hai ? tathA isake prathama racanAkAra kauna hue ? yahA~ kucha bindu prastuta hai jinake AdhAra para niyukti kI prAcInatA jAnI jA sakatI hai 1. niryAkti AgamoM kI sarvaprathama prAkRta padyamaya vyAkhyA hai| niyuktiyoM para bhASya bhI likhe gae ataH donoM ke samaya meM paryApta maMtarAla honA cAhie kyoMki usa samaya Aja kI bhA~ti prakAzana tathA pracAra kI suvidhA nahIM thI / maukhika paramparA yA hastapratiyoM ke AdhAra para kimI bhI graMtha kA jJAna kiyA jAtA thA / ataH yadi bhadrabAhu dvitIya ko niyuktikAra mAne to usakA samaya chaThI zatAbdI siddha hotA hai jabaki bhASyakAra kA samaya kucha vidvAnoM ne cauthI-pAMcadhI zatAbdI siddha kiyA hai| isase siddha hotA hai ki niyukti kA samaya dusarI-tIsarI zatAbdI honA cAhie / itihAsa agaracadanI nAhaTA kA bhI yahI vicAra thaa| saMbodhi vI. 12-5

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samaNI kusumaprajJA 2 mUlAcAra meM Avazyaka niyukti ko aneka gAthAe pAyI jAtI hai mUlAcAra kI racanA dvitIya bhadrabAhu se pUrva kI hai| esA saMbhava nahIM lagatA ki mUlAcAra meM ye gAthAeM bAda meM joDa dI gayI ho lekina gautamasvAmI ke bAda bhadrabAhu ese AcArya hue haiM jinhe donoM paramparA samAna rUpa se sammAna detI hai / ataH bhadrabAhu prathama kI racanA kA baTTakera ne liyA ho yaha yuktisaMgata lagatA haiM / 3. baharakalpa aura nizIthabhASya meM aneka sthaloM para "purAtaNI gAhA" yA "ciraMtaNA gAhA" kA saMketa milatA hai / ye gAthAe~ bhadrabAhu prathama kI pratIta hotI haiM / nizItha meM eka sthAna para ullekha milatA hai ki "esA cirataNA gAhA, eyAe cira taNA gAhAe imA bhadrabAhasAmikatA gAhA"-isa uddharaNa se spaSTa hai ki bhadrabAha dvitIya se pUrva unake sAmane samasta niyuktiyA~ thiiN| purAtaNa vizeSaNa bhI prAcInatA kA dyotaka hai ataH yaha bhI bhadrabAha kA prathama saketa detA hai / aisA sa bhava lagatA hai ki nAma sAmya ke kAraNa donoM bhadrabAha meM yaha aMtara spaSTa nahIM ho skaa| 4. "naya vaka" ke kartA mallabAdI 5vI zatI ne bhI niyuktigAthA kA uddharaNa apane graMtha ma diyA hai / isase bhI niyukti kI prAcInatA parilakSita hotI hai / 5. uttarAdhyayana zAtyAcArya TIkA meM ullekha hai ki caturdazapUrvI niyuktikAra bhadrabAhu niyukti kI racanA kI gayI ho aisI AzakA nahIM karanI caahie| isase spaSTa he ki prathama bhadrabAhu ne atyanta saMkSepa meM niyuktiyA likhI lekina bAda meM unako vyavasthita rUpa bhadrabAhu dvitIya ne diyA / kyoki niyuktiyoM meM arvAcIna AcArya pAdalipta kAlakAcArya Aryavajra, siMhagiri, somadeva, phalgu rakSita Adi kA varNana bAda me jor3A gayA hai / jaise samavAo aura "ThANa' meM bhI aneka prasaMga bAda meM jor3e gae pratIta hote hai / / 6. malaghArI hemacandra ne ullekha kiyA hai ki sUtra rUpa meM gaNadharI ne Aga kI racanA kI tathA usake gaMbhIra artha keA vyakta karane hetu sAdhu saadhviye| ke hita ke lie caturdaza pUrvadhara bhadrabAhu ne sAmAyika Adi SaT adhyayanoM kI niyukti likhI / 10 isake atirikta caturdaza pUrvadhara bhadrabAhu ne kalpa aura vyavahAra sUtra kI racanA karake dezanoM ke sUtrasparzika niryakti likhI 111 kSemakIrtine bhI isI mata kI puSTi kI hai|12 zIlAMphane caturdaza pUrvadhara bhadrabAhu ko niyuktikAra mAnA hai jo AThavIM zatI ke haiM / 13 bhodhaniyukti droNAcArya TIkA meM bhI isakA ullekha prApta hai 114 caturdaza pUrvadhara bhadrabAhu niyuktikAra nahIM the isake samarthana meM sabase prabala pramANa dazAzrutaskaMdha niyukti kI prathama gAthA 'vaMdAmi bhadabAhu' kA diyA jAtA hai / yadi svayaM bhadrabAhu niyuktikAra hote to svayaM ko namaskAra kese karate!'

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niyukti kI saMkhyA eSa prAcInatA Isa prazna ke samAdhAna meM yadi Agama sAhitya ko dekhe te jJAta hotA hai ki magalAcaraNa kI paramparA bahuta bAda kI hai / yadi kahI hai to vaha bhI lipikartAo dvArA likhA gayA pratIta hotA hai| dUsarI bAta AcArya bhadrAhune Avazyaka niyukti meM paMcazAna ke mAdhyama se maMgalAcaraNa kara diyA anya niyuktiyoM ke maMgalAcaraNa kI gAthA dvitIya bhadrachAhu yA unake bAda ke AcAryo dvArA jor3I gayI pratIta hotI hai| isakI pramANa hai AcArAMga aura dazavakAlika ke magalAcaraNa kI gAthAe~ / AcArAMga niyukti ke magalAcaraNa kI prathama gAthA cUNi meM vyAkhyAta nahIM hai tathA TIkAkAra zIlAMka ne 'aNuyogadvAroM kA artha caturdaza pUrvadhara niyuktikAra kiyA hai / dazavakAlika ke magalAcaraNa kI gAthA bhI agastya. siMha aura jinadAsa dvArA vyAkhyAta nahIM hai / isake atirikta uttarAdhyana, nizItha Adi kI niyuktiyoM meM maMgalAcaraNa kI gAthAe milatI hI nahIM hai| isa saba pramANoM se saMbhava lagatA hai ki magalAcaraNa kI gAthAeM dvitIya bhadrabAhu kI haiN| aura sabhava he vadAmi bhaha bAhavAlI gAthA paMcakalpa bhASya se lekara prasaMgavaza dazAzruka'dha kI niyukti meM joDa dI gayI hai|| kyoMki cheda sUtroM kI anya tIna niyuktiyAM nizItha, vyavahAra aura vRhatkalpa to bhASya me mila gayI / yaha svataMtra niyukti thI isalie yaha gAthA lipikartAoM yA bAda ke AcAryoM dvArA isa niyukti meM joDa dI gayI hai| paMcakallabhASya" meM usa gAthA kI prAsaMgikatA bhI lagatI hai tathA vyAkhyA bhI milatI hai| isa viSaya meM aura bhI gahana cintana kI AvazyakatA hai ki vAstaSa meM niyuktiyA~ kitanI prAcIna haiM ? niSkarSa kI bhASA meM kahA jA sakatA hai ki bIra nirvANa kI dUsarI zatAbdI taka niyukti sAhitya kI racanA prArambha ho gayI thii| lekina vartamAna meM upalabdha niyuktiyoM kA vyavasthita rUpa bhadrabAha dvitIya dvArA kiyA gayA / isakA prabala pramANa hai dazavakAlika kI niyukti / dazavaikAlika ke prathama adhyayana kI niyukti meM TIkoM aura cUrNi kI niyumti meM lagabhaga 100 gAthAoM kA aMtara hai / ataH yaha aMtara bhI spaSTa karatA hai ki bAda meM niyuktiyoM kA saMvardhana kiyA gayA / pAda TippaNa : 1. Avani 88 2. sUTI pa2, ATI pR. 28 3. AvahATI pa 363 4. Avani 84

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samaNo kusumapraza 5. AvahATI pR. 41 6. bhAvassulagAristhA ettha damvesaNAe ahiNgaare| / tIra puNa atyanuttI, vattavyA piMDanijjuttI / / (dazani 240) 7. muni zrI hajArImala smRti graMtha pR. 718-19 8. jaina Agama sAhitya meM bhAratIya samAja pR. 35-37 9. uzAThI 139 10. vibhAmaheTI pR. 1 11. bRbhATI pR. 2 12. pRbhAvI pR. 166 13. niyuktikArasya bhadrabAhusvAmina-caturdazapUrvadharasya : ATI pR. 4 14. onidraTI pR. 3

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banArasa-kampanI zailI kI citrakalA tejanArAyaNa mizra agreja bhArata meM vyApAra karane ke uddezya se Aye the lekina bhArata kI tarakAlIna sthiti ne aMgrejI ko apanI vyApArika nIti meM parivartana karane ke liye prerita kiyA aura uma samaya deza kI sthiti unake anukla thI jimakA prA-pUrA phAyadA aMgrejoM ne utthaayaa| 1850 I0 ke vidroha kI asaphalatA ne aMgrajoM ko bhArata meM briTiza rAja kI sthApanA ke liye sugama sthiti paidA kara dI / aura deza gajanaitika va mAnasika rUpa se aMgrejoM kA dAsa ho gayA / aMgrejoM ke Agamana ke pUrva bhArata meM mugala kalA unnati ke carama bindu para thI aura yahI sthiti citrakalA kI bhI thii| mugala citrakalA bhAratIya va irAnI citrakalA ke tatvoM se milakara paidA huyI thI / yuropIya citrakalA kA halkA sA prabhAva hameM mugala citrakalA meM dekhane ko milatA haiM / mugala kalA bhI mugala sAmrAjya ke vikAsa aura avanIti kI pathagAminI rahI hai / yahI kAraNa thA ki mugala sAmrAjya kI avanati ke kAraNe kalAkAra mugala darabAra ko chor3akara prAntIya zAzakoM ke pAsa Azraya ke liye gaye aura eka nayI citrakalA ne janma liyA jo prAntIya citrakalA ke nAma se jAnI jAtI hai jisameM sthAnIya eva prAntIya vizeSatAoM ke sAtha-sAtha mugala citrakalA ke mUla tatva bhI samAhita the| aura prAntIya citra zalikoM ne citroM ke naye AyAma prastuta kiye / lekina yaha kalA dhArA bhI adhika dinoM taka nahIM cala sakI kyoMki prAntIya sattA bhI agrejoM ke prabhAva se achatI na raha sakI aura kalAkAra bhI isa viSama sthiti meM jIvikopArjana ke liye anyatra zaraNa liye pariNAma svarUpa kalA aura kalAkAra meM sRjanAtmaka pravRtti kA hrAsa hone lagA aura aba kalA ke nAma para sastI bAjAru kalAkRtiyoM ko sthAna milane lagA, jo sthAyI rUpa nahIM le sakI aura yahI isa kalA ke liye acchA thA kyoMki isameM maulikatA, viziSTatA aura kalA bArIkiyoM kA darzana kahIM se bhI nahIM hotA thA / __ yuropIya jalaraMgoM; mazIna dvArA nirmita kAgajoM aura yuropIya citrakalA ke mUla takanIkI tatvoM ko bhAratIya citrakalA ke tatvoM ke sAtha milAte huye tathA viSaya ke rupa meM bhAratIya jana-jIvana kI ghaTanAoM aura pazu-pakSiyoM va vyaktigata zabIhoM ke mAdhyama meM eka nayI citrakalA ne apanA svarupa nirdhArita kiyA jise 'kampanI zailI kI citrakalA" yA phiraMgI citrakalA ke nAma se saMbodhita kiyA gayA / kampanI zailI kI citrakalA jaba apane pUrNa vega meM thI usa samaya bhI deza ke anya

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tevanArAyaNa mizra 58 bhAgo meM paravartI mugala zailI kI citrakalA jIvita thI aura kucha kalAkAra dono zailiyo / kAma kara rahe the / athavA hama yo bho kaha sakate haiM ki phalA phAra donoM zailiyoM ke manorama va hudayamAhI talo ko eka dUsare meM AvazyakatA ke anurUpa grahaNa karane meM hicakicAte nahI ye / isI kAraNa se karAnI zailI kI citrakalA meM kendroM ke anusAra bhinnatA hote huye bhI prAntIya va sthAnIya zailiyo kA bhI darzana hotA haiM / achArahavoM se unnIsavI zatAbdo kA samaya isa daulI kA rahA / sana 1811 IsvI meM phenI pAka nAmaka eka videzI mahilA ne banArasa ke kAroM dvArA abhraka (mAikA para taiyAra kiye gaye kucheka citroM ko kharIdA, ina citroM ke andara kI kalAtmaka abhivyakti ko dekhakara vaha bahuta prabhAvita huyI, citroM meM golI samAyojanA, draSTama chAyA-prakAza paripekSya kI abhivyakti aura kalAkAroM dvArA citrakalA kI takanIkI vizeSatAoM ko dakSatA ke sAtha darzAtA unakI citrakalA meM pUrNatA ko calA rahe the isake pariNAmasvarupa ina videzI logoM ko apane pUrvAgraha ko chor3akara yaha kahane ko majabara honA par3A ki banArasa meM bane citra bhArata ke anya kendroM meM nirmita nirI adhika sundara haiN| zrImatI Acara ke kathanAnusAra agrejoM ke banArasa meM Ane se pahale yahA~ para hone citrakalA kA skUTa yA zailI pratisthApita nahIM thI aura na koI citrakalA kI svataMtra vidyA bAlI kalA hI pracalita thii| unake kahane kA tAtparya yaha hai ki aMgrejo ne hI banArasa meM citrakalA ke skUla kI sthApanA kI aura unhIM ke dvArA lAI huyI vidyA se banArasa meM citrakalA kI zuruvAna huyI 15 jabaki banArasa kI rAjanIti meM aMgrejo kI ghusapaiTha sana 1781 I. ke lagabhaga zuru huyo / rAyakRSNadAsa ne apane eka lekha meM yaha batalAyA hai ki banArasa meM koI na koI paramparAgata citrazailI avazya rahI jo rAjasthAnI citrazailI ke samakakSa thI / isI bAta ke eka anya vidvAna ne bhI duharAyA hai aura kahA ki san 1822 I. ke lagabhaga tulasIkRta sacitra rAmAyaNa kA nirmANa ATha vRhad khaNDoM meM rAjA udita nArAyaNariha ke smy| A thaa| yahI nahIM 1735 IsvI meM nirmita 'mIra rustama alI kI holI vAlA citra banArasa kI kalAdhArA evaM citrakalA ke paramparAgata skUla kA eka jIvanta udAharaNa hai| yadyapi eka citra ke AdhAra para dRDhatA pUrvaka yaha kahanA ki banArasa meM citrakalA kA skU thA sarvamAnya to nahIM ho sakatA, kintu yaha socane ko jarura prerita karatA hai ki banArasa citrakalA ko koI eka nizcita paramparA jarUra thI jise yahA~ ke kalAkAra apanAye huye the aThArahavIM sadI meM mizrita mugala rAjasthAnI zailI ke citraNa kI paramparA banArasa meM cala rahI thI aura yahA~ ke kumhAroM evaM nakkAzoM ke dvArA isI mizrita pravidhi vAlI bela bU evaM bhitti citra kI paramparA ko saphalatA pUrvaka nibhAyA jA rahA thA /

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banArasa-kampanI zailI kI citrakalA zrImanI Arcara ke anusAra hulAsalAla nAmaka vanArasa ke eka citrakAra ne 1800 ke lAbhaga paTanA meM jAkara kampanI zailI ke citrakalA kA kArya zuru kiyA / usake na banArasa ke rAjA ke daravAra meM kAkI ase taka darabArI citrakAra ke rUpa meM kAryarata the 10 usa samaya banArasa ke rAjA mahIpanArAyaNasiMha the / 11 unakA dehAvasAna 1795 I ke lagabhaga huA / saMbhavataH unakI mRtyu ke uparAnta hI hulAsalAla evaM unakA parivAra banArasa chor3akara paTanA gayA / hulAsalAla kampanI zailI ke citrakAra the / upayukta tathyoM se itanA to jJAta hotA hai ki banArasa ke tatkAlIna rAjA ke darabAra meM kalAkAra apanI citrakalA ke liye protsAhana evaM rAjyAzraya pAyA karate the kintu nizcita rUpa se yaha kahanA kaThina haiM ki ye citrakAra kisa zailI meM citrakArI karate the 112 banArasa meM kampanI zailI kI citrakalA aThArahavIM zatAbdI ke uttarAddha meM zurU huyI hogI, isaliye ki hulAsalAla nAmaka banArasa kA citrakAra, jo kampanI zailI kI citrakalA meM siddhahasta thA, 1800 Isvo ke lagabhaga paTanA gayA13 aura vahA~ bhI isI zailI kI citrakalA meM citra banAtA rahA / hulAsalAla ke pUrvaja banArasa rAjA ke darabArI citrakAroM meM se the | pI. sI mAnaka nAmaka eka agreja vidvAna ne likhA hai ki hulAsalAla kI citrazailI meM banArasa kI citrakalA kA prabhAva spaSTa dRSTigata hotA hai / 14 isa taraha yaha pramANita hotA hai ki aThArahavIM zadAbdI ke uttarArddha meM banArasa ke kalAkAra kampanI zailI vAle citra bhI banAyA karate the| yadyapi 1815 se 1830 I. ke madhya bane bahuta se citra mile to haiM lekina ye kina kalAkAroM dvArA banAye gaye haiM, yaha kahanA sarala nahIM hai| ho sakatA hai ki ye kamalApatilAla ke banAye huye citra ho / 15 mahArAja udita nArAyaNa siMha ke samaya banArasa meM (1795 se 1835)16 kamalApatilAla, dallulAla, phUlacanda Adi isa zailI ke acche citrakAra the aura ye sabhI citrakAra aThArahavIM sadI ke prArambha meM banArasa Aye the / 11 tulasIkRta sacitra rAmAyaNa kA nirmANa inhIM ke rAjakAla meM kyA thA / 18 mahArAja uditanArAyaNasiMha ke dattaka putra mahArAja IzvarInArAyaNasiMha (1835 se 1889) ke samaya meM kampanI zailI ke citroM kA pracura mAtrA meM nirmANa huA aura kalAkAroM ne apanI bahuta dinoM kI chipI huyI kalAbhivyakti ko citroM meM ula diyaa| svayaM mahArAja izvarInArAyaNasiMha ina citroM ke prati gaharI abhiruci pradarzita karate the| unake darabAra meM isa zailI ke acche citrakAroM kI kamI nahIM thii| kaI citrakAra to darabArI citrakAra ke rUpa meM pahacAne jAte the aura kucha citrakAroM ko mAhArAja ne dallulAla ke dvArA citrakalA kI ucita zikSA bhI dilavAyI thii|19 mahArAja ne apane rAjadarabAriyoM, naukaracAkara evaM iMTa mitroM Adi ke vyaktigata citra ina kalAkAroM dvArA nirmita karAyaH isake atirikta apanI nadezarI koThI meM ke phUloM kA akana unhoMne bahuta sundara DhaMga se karavAyA santa mahAtmAoM ke prati bhI Apa kAphI Adara evaM zraddhA kI bhAvanA rakhate the unake prati

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tejanArAyaNa mizra bhI sammAna vyakta karate huye unhone unake sAtha apane citra bhI banavAye; mahArAja nepAla abhivyakti vAle citra bhI ina kalAkAroM se banavAye, phala, pazu-pakSiyoM kA sundara akAnI ina citroM meM dekhane ko milatA hai 120 banArasa meM kampanI zailI kI citrakalA ke itihAsa kI dRSTi se mahArAja zrI nArAyaNasiMha kA samaya vaisA hI hai jaisA ki mugala samrATa jahA~gIra ke samaya magala holI kI citrakalA kA / isIliye vidvAnoM ne inheM "kampanI zailI ke jahA~gIra" ke nAma se saMbodhita kiyA hai| 21 mahArAja ke citrakalA prema ko pradarzita karane vAle ye citra kA ha mAsa kI sAMskRtika evaM sAmAjika abhivyakti ke aitihAsika dastAveja hai| mahArAja izvarInArAyaNasiMha kI mRtyu ke uparAnta bhI kampanI zailI kI citrakalA kI lo ko mahArAja prabhunArAyaNasiMha ne jalAye rkhaa| bAbU mAdhavaprasAdajI inake samaya meM isa zailI ke darabArI citrakAroM meM se the aura mAdhavaprasAdajI ke suyogya patra bAna raghunAthaprasAdajI mahArAja AdityanArAyaNasiMha ke pradhAna citrakAra the 122 rAnArAma nAmaka kampanI zailI ke eka aura citrakAra kA bhI ullekha milatA hai / 23 isake alAvA yamunA lAla aura unake putra lakSmInArAyaNa bhI banArasa meM usa zailI ke pramukha citrakAra the| 24 banArasI kalAkAroM dvArA banAye gaye kampanI zailI ke citra unake uccastarIya kauzala, citrakalA ke prati samarpaNa evaM vyakti ke jIvana ke itihAsa va saMskRti ke sajIva vaktA haiM / Ina citroM meM hama citrakalA kI vizeSatAoM ke sAtha hI sAtha pUrva pazcima kI bArIkiyoM ko bhI darzana karate hai| vyakti citroM (zabIha) ke akana meM, cAhe va peMsila se bane ho yA kAlI syAhI se, kalAkAra ne vyakti citraNa ke sabhI guNa usameM cupacApa nirI diye hai| isa kAraNa citroM meM yathArthatA kA bodha parilakSita hotA hai na ki mazInI anukRti kA / isa prakAra ke aMkana meM kalAkAra ne kAlpanikatA kA sahArA nahIM liyA barana rekhAoM meM gIta dekara unheM sajIva aura sundara banAyA / yahAM ke kalAkAra kampanI zailI ke anya kendroM ke citrakAroM kI apekSA citrAMkana meM zarIra ke pratyeka aMga meM samAna laya va gIta ko banAye haye haiN| kisI bhI aMga ke anupAta meM kamI nahIM dikhAyI detI. kahane kA tAtparya yaha hai ki rekhAoM ke utAra caDhAva meM unakI kalama (kU'cI yA peMsila) unake adhikAra evaM niyaMtraNa meM rahI hai, aisA citroM se bhAsita hotA hai| ina kalAkAroM ne vyakti hI nahIM pazu-pakSI aura phUla-pattI Adi ke aMkana meM bhI yahI kamAla dikhAyA hai| ye citroM kI anukRti taiyAra karane meM itane siddhahasta the ki asalI nakalI kA pharka bahuta sUkSma evaM anubhavI A~khe hI batA sakatI haiN| banArasa ke kalAkAra kI zAMta raMga sajjA, sAdI evaM svAbhAvika yojanA citrakArI kI AdhAra thii| yahI yahA~ ke kalAkAroM kI sabase bar3I vizeSatA thI aura inhI AdhAge ke madhya se samanvaya sthApita karate haye kalAkAroM ne apanA kArya kiyaa| ina kalAkAroM ke citra viSaya kA kSetra sImita yA

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banArasa-kampanI zailI kI citrakalA saMkacita nahIM thaa| unhone usa samaya ke samAja se apanI tulikA kA sAmajasya sthApita kaha liyA thA isIliye unhoMne tatkAlIna samAja kA sundara eva sacIva citraNa prastuta kiyA hai / isa zailI kI citrakalA ne mahArAja IzvarInArAyaNasiMha ke rAjyakAla meM kAphI pragati kI aura kalAkAroM ne bhI apanI kalA pratibhA kA sarvottama pradarzana kiyaa| sAtha hI yaha bhI satya mAnanA par3egA ki yaha kalA mahArAja IzvarInArAyaNasiMha ke samaya meM caramotkarSa ko prApta huyI aura unhIM ke sAtha khatma ho gayI / darabArI citrakAroM ke alAvA banArasa meM AjAda kalama vAle citrakAroM kI kamI nahIM thI Ina citrakAroM ko bhI mahArAja se kAphI protsAhana milA aura ina citrakAroM ne bhI apane rAjA aura mamAna ko apanI kalama me nirAza nahIM kiyA, apanI naisargika kalA kA khule dila se mukta hasta me pradarzana kiyA / citroM (kampano zailI) ke samUce saMgraha ko dekhane aura adhyayana karane ke pazcAt yaha prazna uThanA hai ki banArasa ke kalAkAra nAhI saundarya kI abhiyukti aura unake aMkana ko apane citroM meM sthAna kyoM nahIM diyA / pAda TippaNI (1) Ara sI. Ara sI. majumadAra dvArA sampAdita, dI mugala ampAyara, bambaI, 1974, pR. 515, tejanArAyaNamizra, 'kampanI zailI kA itihAsa evaM kendra' pR. 139, zyAma bihArI agravAla dvArA sampAdita, rupazilpa, ilAhAvAda, 1986 (2) rAyakRSNadAsa, bhArata kI citrakalA, ilAhAvAda, 1974, pR. 94 se 105 taka; zyAmabihArIagravAla dvAra sampAdita rupazilpa, pR. 141 rAyakRSNadAsa, bhArata kI citrakalA pR 110 milDarDa, prArcara padanApeMTiMga, laMdana, 1949 prophesa (vii), mulkarAja Ananda, palbama Apha inDiyana, penTigsa, dillI, 1973 pR. 160; Dablu. jI Arcara bAjAra peMTiMga Apha kalakattA, laMdana 1953, pR. 7; epha. ema. Arcara, inDiyana miniyecarsa ina dI inDiyA Aphisa lAibrerI, laMdana, 1981, pR. 130%, tejanArAyaNamizra, 'kampanI zailI kA itihAsa evaM kendra', pR. 143 aura 144 / milDarDa Arcara, kampanI chAisa ina da inDiyA Aphisa lAibrerI, laMdana, 1972, pR. 133, prasa. ke. zrIvAstava, 'mahArAja IzvarInArAyaNasiMha enDa banArasa penTigsa', naMdalAla bosa janma zatAbdI vyAkhyAnamAlA ke aMtargata diye gaye vyAkhyAna se, vArANasI, 1982, pR. 1, samagra adhyayana ke liye draSTavya tejanArAyaNa mizra dvArA likhita 'banArasa meM' kampanI zailI kI citrakalA' (aprakAzita) vArANasI / (.) milDarDa Arcara, kampAnI DrAiMgsa ina da iDiyA Aphisa lAibrerI, laMDana, 1973, pR. 133 / amovi . 12-8

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tejanArAyaNamizra (6) uttara pradeza mAsika, barSa 1, ki 9, pharavarI 1973, sItArAma caturvedI aura vizvanAtha mukharjI dvArA sampAdita yaha banArasa haiM vArANasI, pR 38 / (7) ena. sI. mehatA sTaDIja ina inDiyana peMTiMga, bambaI, 1926 pR. 127 / (8) bhArata kalA bhavana sagraha kI citra saMkhyA 1385, citra kA zIrSaka 'mIra rUstamaalI kI hAlI', citra kA mApa 40427 se.mI. / (9) rAyakRSNadAsa, 'kAzI meM citrakalA', sItArAma catudI aura vizvanAtha mukhajI dvArA sampAdita, yaha banArasa hai. pR 387 mAtI vanda, kAzI kA itihAsa, 1962, pR. 386 aura 387 / (10) milDaI Arcara, paTanA peMTiMga ladana, 1947 pR. 18, pI. mI. mAnaka 'dI paTanA skUla Apha heTiMga', jarnala Apha vikAra risarca sesiAyaTI, 5943, khaMDa 29, pR. 150 (11) ke. pI. mizrA, banArasa ina TrAMjizana 1738 ---1795, naI dillI, 1975, pR. 2, banArasIlAla pANDeya, mahArAja balavantasiMha aura kAzI kA atIta vArANasI, 1975 pR. 85 12) rAyakRSNadAma, 'kAzI meM citrakalA', pR. 383 banArasIlAla pANDeya, mahArAja balavantasiMha aura kAzI kA atIta, pR. 40 san 1750 IsvI meM rAmanagara ke kile kA nirmANa kArya mahArAja balavantasiMhane zuru karAyA, sAtha hI kile ke andara epha madira kA nirmANa karAkara usameM kAlI kI mUrti pratiSThApita kI aura madira kI dIvAroM para bhitti citraNa kA bhI sundara AMkana karavAyA / kAzI kI paramparA rahI hai ki dIvAre evaM praveza dvAroM para zAdI-byAha ke avasara para kumhAroM evaM nakkazoM ke dvArA maMgala kalaza, gaNeza, dvArapAla, machalI, hAthI-ghora Adi ke citra vividha raMgoM ke mAdhyama se taiyAra karavAye jAte the tathA madiroM--maThoM va banArasa ke saMbhrAnta logoM ke kakSa meM mI bhitti-citraNa kI paramparA rahI hai| isa prakAra ke udAharaNa yahA~ ke madiroM evaM maThoM meM Aja bhI dekhe jA sakate haiN| yaha to nirvivAda satya hai ki divAla (mitti) hI nitra banAne kA prathama mAdhyama thii| banArasa ke kalAkAroM dvArA nirmita bhitti-citra ke kucheka udAharaNa bhArata kalA bhavana kI 'banArasa dIrghA meM dekhe jA sakate haiN| banArasa meM isa prakAra ke citra rAjasthAnI citrakalA kI paramparA kI dena rahai hai| (13) milDaDa' mArcara, paTanA peTiMga pR 18 (14) pI. sI. mAnUpha, dI paTanA skUla oNpha peTiMga, jarnala Apha da bihAra risarca sosAyaTI 1943 khaMDa 29 pR 150 /

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banArasa kampanI zailI kI citrakalA (15) milDarDa Arcara, kampanI DrAisa ina da inDiyA Aphisa lAibrerI pR. 134 / (16) banAramI lAla pANDeya, mahArAja balavantasiMha aura kAzI kA atIta, pR, 85 / (17) milDaI Arcara, kampanI DrAigsa ina da inDiyA Aphisa lAiberI, pR. 136 / (18) ena mI, mehatA, sTaDoja ina inDiyana peMTiMga, pR. 127 / (19) esa, ke, zrIvAstava, 'mahArAja IzvarInArAyaNasiMha enDa banArasa peTiMgsa', pR. 2 (20) kAzI hindU vizvavidyAlaya meM sthita bhArata kalA bhavana meM ina citroM kA sundara evaM adbhuta saMgraha dekhane yogya hai| (21) rAyakRSNadAsa, bhArata kI citrakalA pR, 111, uttara pradeza mAsika, varSa 1, aka 1, aMka 9, pharavarI 1973, pR. 9; rAyamAnandakRSNa, 'mahArAja IzvarInArAyaNa siMha kA kalA vaibhava' vizvanAtha mukharjI dvArA sampAdita yaha banArasa hai, vArANasI 1978, pR, 156 aura 157, ema, ke, zrIvAstava mahArAja IzvarInArAyaNasiMha enDa banArasa peTiMga, pR, 5; TI ke. vizvAsa, kampanI peMTiMga ina bhAratakalA bhavana, nandalAla bosa janma zatAbdI AkhyAnamAlA ke aMtargata diye gaye vyAkhyAna se, vArANasI, 1982, 4, 5 / (22) banArasIlAla pANDeya mahArAja balavantasiMha aura kAzI kA atIta, pR. 152 / (23) uttara pradeza mAsika, varSa 1, aMka 2, lakhanaU, pharavarI 1973, pR. 10 / (24) inake banAye huye citra bhArata kalA bhavana ke saMgraha meM hai |

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arbudAcalakA jaina abhilikhita sAhitya raseza jamInadAra (1) 1.1 utkIrNa lekhoM kA mahatva itihAsa nirmANa ke lie tIna sAdhana mukhya hai / inameM maukhika paraMparA, likhita sAhitya aura pAri bhogika sAmagrI kA samAveza hotA hai / hameM yahA~ likhita sAhitya kA parAmarza karanA hai, Aja ke parisaMvAda ke viSaya ve sadarbha meM / likhita sAhitya ke nAnAvidha prakAra meM purAtatvIya dRSTi se eka hai utkIrNa lekha, jisa meM mudrAlekha, tAmrapatra lekha, zilAlekha mRdUbhANDalekha ityAdi samAviSTa hote haiM / bhAratIya itihAsa aura saMskRti meM saMzodhana karane ke lie abhilikhita sAhitya mahattva kA srota mAnA gayA hai / (2) 2.1 arbudAcala ke do graMtha abhilikhita sAhitya meM arbudAcala pradeza ke saMdarbha meM hama kevala utkIrNa lekhoM kA viniyoga kareMge ! khAsa taura para hama munirAja zrI jayantavijayajI se saMpAdita hue 'zrI abu daprAcIna-jaina-lekha-saMdeha' aura 'a' dAcalapradakSiNA jainalekhasaMdAha' (jo asala meM unake 'AbU' graMtha zreNI ke kramaza: bhAga 2 aura 5 ke rUpa meM prakAzita hue haiM) graMthoM meM prakAzita hue 1309 choTemoTe abhilekho kA avalokana kareMge / 2. 2 jayantavijayajI kA pradAna munirAja jayantavijayajI ne sabhI lekha uparyukta de| graMthoM meM gujarAtI anuvAda aura samAlocanA ke sAtha prasiddha kiye haiM / zrI arbuda - prAcIna jaina - lekha - saMdoha' meM kula milAkara 664 lekha samAviSTa haiM / ye sabhI lekha AbU parvata para sthita khAsa kara ke delavADA aura acalagaDha meM Aye hue jina maMdiroM meM pAye jAte haiM / isa taraha ina lekhoM kI bhaugolika sImA maryAdita hai / 'arbudAcalapradakSiNA jainalekhasaMdoha' nAmaka isa muni ke dUsare graMtha meM 645 lekha mUlapATha, gujarAtI anuvAda aura saMdarbhanodha ke sAtha chape hue haiN| isa graMtha meM samAviSTa sabhI lekha Ayu parvata kI laha meM sthita 71 gA~voM meM Aye hue jina-maMdiroM meM se prApta hue haiM / isa dRSTi se isa graMtha meM bhaugolika vistAra maryAdita nahIM haiN| isa kAraNa isa graMtha meM saMgrahIta lekhoM ke adhyayana se nAnA prakAra kI sAMskRtika mAhitI kI jAnakArI prApta hotI hai /

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raseza jamInadAra 31 lekha-saMdoha ko samayAvadhi samayAvadhi kI dRSTi se hama dekhe to prathama atha meM vikrama saMvata kI cArahavIM sadI meM lekara bIsavIM sadI taka ke chape hue haiM jina meM se 565 lekhoM meM tithi kA spati hai, gyAraha lekhoM meM tithi kA vAcana aspaSTa hai aura zeSa lekhoM meM tithi kA koI nideza pAyA jAtA nahI hai / saba se purAnA lekha vikrama saMvata 1112 kA hai aura atima lekha 1987 kA hai / dUsare pratha maiM vikrama saMvata kI gyArahavI sadI se bIsavIM sadI ke lekha haiM, jo ki eka lekha vi. sa. 744 (lekhAka 665, bhAga 5) kA hai / vi. sa. 1017 se lekara 1977 taka ke lela samAviSTa haiM / 32 abhilekhoM kA Antarika svarUpa ina donoM graMthoM meM saMgRhIta sabhI lekha zvetAMbara jaina maMdiro ke silasile meM haiN| ye sabhI lekha dhAtupratigA, ArasapratimA madira ke bArazAkha, staMbha, cokI, divAre, chata ityAdi para khude hae mile haiM / kaI lekha baDI zilAoM para prazasti rUpa khude gaye haiM / kaI lekha padya meM haiM aura chaMdobaddha haiN| jyAdatara lekha gadya meM haiM aura prakAra meM choTe haiM / bahuta kama lekha baDe haiN| sabhI lekha adhyayana ke liye upayukta nahIM hai | jo lekha satithi hai, ve rAjakIya itihAsa aura saMskRti ke nirUpaNa kI dRSTi se upayogI haiM / lekina sabhI lekhoM kI viSayavastu dhArmika hone ke kAraNa rAjakIya itihAsa ke liye paryApta sAmagrI prApta hotI nahIM hai, phira bhI sAMskRtika itihAsa ke Alekhana ke liye choTI moTI kaI sAmagrI hame ina lekhoM ke adhyayana se upalabdha hotI hai| isa dRSTi se garbudagiri aura usake AsapAsa ke vistAra kA eka hajAra sAla kA sAMskRtika citra hama pA sakate hai| 33 bhASA ke sadarbha meM bhASA kI dRSTi se bhI ina lekhoM kA adhyayana Avazyaka hai| ye sabhI lekha saMskRta meM, gujarAtI meM aura saMskRta mizrita gujarAtI me khude gaye haiN| lipi, chanda, bhASAvabhava, vyAkaraNa ityAdi ke bAre meM hameM isa se jAnakArI prApta hotI hai aura eka hajAra sAla meM isa kSetra meM vikAsa kI gati kaisI rahI, usakA patA hameM lagatA hai| 4.1 'zrI abuda-prAcIna-jaina-lekha-saMdoha kA paricaya prathama gratha meM saMgrahIta lekho kA sadI anusAra vibhAjana isa taraha kA hai: bArahavIM sadI ke 15, terahavIM sadI ke 122, caudahavIM sadI ke 155, pa'drahavIM sadI ke 96, solahavIM sadI ke 42, ahArahavIM sadI ke sirpha 24 aura unnisavI tathA bIsavIM sadI ke kramazaH 8 aura 7 lekha mile haiM / zeSa lekha binA tithinirdeza prApta hue haiN| hasa graMtha se hameM AcArya-sAdhuoM ke 373 aura sAdhvIo ke 9 noma prApta hote haiN| dharmaghoSasUri ke ziSya jJAnacaMdrasUri kA nAma 38 lekhoM meM ullikhita hai| 35 gacchoM ke nAma

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arbudAcalakA jaina abhilikhita sAhitya mirate haiN| ina meM se tapAgaccha kA nideza 75 lekha meM pAye jAte haiN| kula milAkara 30 30 jAti-ku-vaza kI jAnakArI lekhoM se prApta hotI hai, jina meM prAgvAda kA nirdeza 132 lekhoM meM hai / goga-zAkhA ke bAre meM 32 nirdeza pAye jAte haiM / gA~va-deza-parvatanadI kA ullekha 121 bAra milatA hai, jisa meM abuda kA nideza 90 lekhoM meM hai| 51 rAjAo ke bhI nirdeza hameM milate haiN| isa gratha meM jyAdAtara lekha (249) vimalaya sahI ke maMdira-saMkula se mile haiN| laNavasahI se 157 lekha prApta hue haiM / zeSa lekha hameM acalagar3ha, oriyA, kharataravasahI, suvidhinAtha madira se mile haiN| 42 arbudAcala pradakSiNA jaina lekha saMdoha'kA paricaya dasare natha meM samAviSTa abhilekhoM kA sadI anusAra vivaraNa isa prakAra hai : gyArahavIM sadI ke 7, bArahavIM sadI ke 40, terahavIM ke 101, caudahavIM ke 47, paMdrahavIM ke 104, solahavIM ke 17, satrahavI' ke 55, aThArahavIM ke 30, unnisapI ke 19 aura bIsavI sadI ke sirpha 9 lekha prApta hue haiN| zeSa abhilekha meM tithi kA koI nirdeza nahIM hai| prAptisthAna ke saMdarbha meM hama vivaraNa kareM to sabase jyAdA lekha hameM jIrAvalA sthAna meM se (63) mile haiN| 51 lekha rohiDA se, 47 ajArI se, 45 maDAra se, 39 ArAsaNa se aura 30 lekha hameM vAsA se prApta hue hai| bAraha gA~va aise haiM, jina meM se kevala eka eka abhilekha milA hai / sabase adhika lekha vikrama saMvata 1483 ke prApta hue haiM, jina kI saMkhyA 32 haiN| saMvata 1519 ke 10 aura savata 1521 ke 11 lekha haiN| ina lekhoM se hameM jainAcAryoM ke 361 nAma prApta hote hai / saba se adhika ullekha tapAgaccha AcArya jayacaMdrasari kA hai| kariba 22 lekhoM meM unake nAma prApta haiN| 50 se adhika gacchoM kA patA hameM Isa saMgraha se lagA hai, jina meM jyAdAtara nideza tapAgaccha (130 bAra) kA hai / jJAti-vaMza-kula ke kariba 24 nAma milate hai jina meM osavAla kA ullekha 62 lekhoM meM hai| gotra ke 36, rAjA ke 41 aura gAMvoM ke 118 nAma hameM isa saMgraha se milate haiN| 1.9 lekhoM kA sAMskRtika adhyayana aba hama ina donoM prayoM se prApta sAMskRtika itihAsa kI sAmagrI kA vivaraNa kreNge| donoM graMtho se upalabdha jaina-AcAryo-sAdhuoM ke nAma meM se jina ke nAma bAra bAra killikhita haiM, ve isa taraha hai : jJAnacadrari (38 cAra), jayacaMdramari (34), dharmaghoSasari (32), munisudarasUri (34), ratnazekharasUri (43), lakSmIsAgara sUri (65), vijayasenasUri (32) somasu darasUri (60) aura hIravijayasUri (25) /

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raseza jamInadAra gacchoM meM tarAgaccha kA nirdeza 200 se adhika lekhoM meM hai / kharataragaccha aura nANakIyagaccha kA ullekha 30 se adhika bAra hai aura anya gaccho meM kaccholIvAla, kAmahAya vRhad , nAgendra, pUrNimA, brahmANIya, maDAhai aura sa Dara ke ullekha mukhya hai / osavAla, prAgvAha zrImAla e tana jJAtiyo ke alAvA hameM kasArA, gurjara, cauhANa cAlukya, bhAvasAra ityAdi nAma milate hai / omavAla aura prAgvAra ke bhinna bhinna rUpa se likhe gaye nAma bhI milate haiN| rAjAoM ke jo nAma ina abhilekhoM se prApta hue haiM, ve isa prakAra hai : akabara, akSayarAja (akherAja), kuMbhakaraNa, jagamAla, DugarasiMha, luda (lu bhaka), somadAsa ityAdi / gAMcI ke nAma isa prakAra prApta hote hai . acalagaDha, ahamadAbAda, aNahilapATaka, abuda-Avu-arbudAcala, AgasaNA, iDara, kaccha, caMdrAvatI, jIrApallI-jIrAvalA, Dugarapura, delavADA, dhaNerI-dhanArI, naMdIgrAma, nAgora, pAlaNapura-prahalAdanapura, pattanagara, pIMDavADA, bhAlavadeza, ghabhiNavADa, vIravADA, vIsalanagara, zatrujaya, sAMgavADA, siroTI, stamana-staMbhatIrtha ityAdi ! 5.2 sthala-vyakti-nAma kA adhyayana AcAryoM, gamchoM, jAti-kula-vaMza, gAMva-nagara, gotra-zAkhA, rAjA ityAdi nAnA prakAra ke nAmoM kA adhyayana rasada to hai hI lekina isa prakAra ke adhyayana se hameM usa kAla meM vyaktinAma aura sthalavizeSa ke nAmoM se nAmakaraNa kI bhAta ko bhI patA calatA hai aura hameM samakAlIna saMskRti ke vividha pahaluoM kI jAnakArI prApta hotI hai, jisase rAjakAraNa, dharma, devI-devatA, bhASA, bhUgola ityAdi kA bhI sArA jJAna prApta hotA hai| ina donoM graMthoM kA plasa-nesa sTaDI ke dRSTi se abhyAsa karane kI bhArI AvazyaktA mahasUsa hotI hai / adhyayana kA yaha kSetra (onomastics) adhika pracAra meM lAne kI AvazyakatA hai| 5.3 jaina saMpradAya kA jJAna ina donoM graMthoM ke adhyayana se hameM vetAMbara jaina saMpradAya kA acchA jJAna hotA hai aura jainoM kI sAMskArika sapatti kI bhI jAnakArI hotI hai / gyAharavIM sadI se lekara jaina dharma kA prabhAva adAcala kSetra meM kramazaH kisa taraha baDhA, AcAryo aura munirAjoM ne bhAvako ke utsAha ke sAtha jina-maMdiroM kA kisa taraha nirmANa kiyA, jIrNoddhAra vA kArya kisa taraha badA, dharma-prabhAvakA vikAsa kaise huA - ina saba bAto kI bahumUlya sAmagrI prApta hotI hai aura ina kA adhyayana karanA bhI jarUrI hai| mUrtivijJAna aura sthApatyakalA kA adhyayana karane kI preraNA bhI isa abhyAsa se prApta hotI hai / jaina majIo, bhAMDAgAriko, sAMdhidhigrahako, dANiko ityAdi ne apane apane prApta adhikAra kI haisiyata se jaina samAja kA vikAsa kase kiyA aura kisa prakAra kA Arthika yoga pradAna kiyA aura apane prabhAva se kitane narezoM ko jainadharma ke prati AkarSita kiyA, inakI mAhitI bhI ina graMthoM ke adhyayana se prApta hotI hai / ina grayoM ke adhyayana se jo vizeSa zAna prApta hotA hai, inameM se kaI isa prakAra hai

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arbudAcala kA jaina alibhikhita sAhitya (6) 6.1 adhyayana se vizeSa jJAna prApti 1. sAdhu aura AcArya ke saMtAna ke rUpa meM kaI zrAvakoM kA nirdeza kiyA gayA hai / (dekhiye lekhAMka 10, 43 bhAga 2) / isase eka viziSTa prathA kA jJAna hameM hotA hai, jisa ke bAre meM saMzodhana apekSita hai / 2. gRhasthoM kA paricaya dete vakta unake kula aura vaMza kA nideza kaI jagaha para alaga nAma se kiyA gayA hai / udA. eka gRhastha ke kula kA nideza zrImAla se hai aura usI gRhastha ke vaMza kA ullekha prAgvATa se kiyA gayA hai / (lekhAMka 51, bhAga 2) isa ke bAre meM bhI saMzodhana apekSita hai| 3. kaI striyoM ke nAma puruSa ke nAma se diye gaye haiN| dekhiye- dhAMdhala-bAMdhala de (lekhAMka 58, bhAga 2), dharaNa-dharaNade, ratnA ranAde, bhImA-bhImAde, tejapAlatejapAlade, tejala-tejalade (lekhAMka 39, bhAga 5) / isa se hama kaha sakate hai ki vivAha ke bAda striyoM ke nAma pati ke nAma se diye jAte the| 4. nANA ke sadarbha meM bhI thAhA sA jJAna milatA hai / dugAnI, jayala, phaya (lekhAMka 244-245, bhAga 2) dramma (lekhAMka 34, bhAga 5, lekhAMka 240-242, bhAga 2) mahamUhI (lekhAMka 495, bhAga 2) / [mahamUhI cAMdI kA sikkA thA / kaI sUtradhAra-sutAra-mistrI jainadharma ke anuyAyI hone ke udAharaNa milate haiM / (lekhAka 34, bhAga 2) sa. 1206 meM vimala vasahI tIrtha meM bhamatI kI darI meM kaMthanAtha bhagavAna kI pratimA seDhA kI bhAryA sAha ke putroM ne pradatta kI thii| salATa, mistrI aura kArIgaroM ke nAma bhyAnAha hai / (leAMka 104-175, 179182, 186-87, 385-386, 390-91 ityAdi, bhAga 2) kariba gyAraha lekhoM meM inake nAma diye gaye hai| ekAdazI kI chaDI kA nideza milatA hai| (lekhAka 52. bhAga 5. s.168)| satrahavIM sadI se zurU huI yaha paraparA Aja bhI kaI gA~voM meM pracalita hai| . anAna karake bhI vyakti zreSTha bana sakatA hai / (lekhAMka 381) bhaag)| zAha jIvA ne 40 dina kA anazana karake sa', 1602 meM phAgaNa kRSNa 8mI ke dina mokSa prApta kiyA thA / delavADA meM vetAMbara maMdira to haiM lekina lekhAMka 462 (bhAga 2) ke anusAra saM. 1494 meM saMghavI goviMda ne jaina saca ko bulAkara digaMbara maMdira banavAyA thaa| yaha eka ghaTanA dhyAnAI hai jisa se hameM donoM saMpradAyoM ke anuyAyIyoM ke bica sadabhAva kaisA thA ina kI jAnakArI milatI hai| mAdhi vI 12-10

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raseza jamInadAra hastizAlA ke sUrya-caMdra kI 10 surahI > surabhI > gAya kA ullekha yAnA hai / vimala maMtrIzvara kI pAsa ke maMDapa meM tIna zilAe~ khar3I haiM, jinameM Upara ke bhAga para AkRtiyA~ haiM / inake nIce savaccha gAya kI AkRti hai / usake nIce lekha aMkita hai / isameM se do meM talavAra kA cihna khude gaye haiM / yaha cihna sirohI ke cauhANa rAjavaMza kA rAjacihna thI / (lekhaka 244 - 248, bhAga 2 ) / 11. uparyukta zilAoM ke pAsa eka zilA hai, jisa para mahAsatI kI mukha kI AkRti aMkita kI gaI hai / prastuta zilA ke upara ke bhAga meM sUrya-caMdra kI AkRti hai / ina ke nIce kaMgana pahane hue hasta kI AkRti hai / ina ke nIce eka mRgala kI bhAkRti hai jo prArthanA ki mudrA meM hai| aMta meM saM. 1483 kA eka lekha hai / sa MghavI asu ne isa zilA para mahAsatI kI bhujA khudAI thii| jinamaMdira meM isa taraha pAliyA kA honA asaMbhava hai, lekina munijI ke matAnusAra ye bhuSA kI AkRti koI vaNika strI kI hogii| Adozvara bhagavAna kI bhakti meM lIna koI saubhAgyavatI vaNika strI kA Isa tIrtha para Akasmika avasAna huA honA aisA saMbhava hai / isa dharmAramA ko smRti meM inhIM ke kuTuMbIjano ne yaha smAraka banavAyA hogA / (lekhAMka 249, bhAga 2 ) / 12. arbudAcala ke ye abhilekhoM meM isa pradeza ke zahara, nagara aura gA~va ke nirdeza to honA saMbhava hai, lekina isa pradeza ke alAvA anya pradezoM ke sthala -nirdeza prApta hotA hai / udA0 gholakA, pATaNa (lekhAMka 250, bhAga 2) kaccha (505, bhAga 2) pAlaNapura (lekhAMka 238, 352, 505 bhAga 2 ) bIsalanagara ( lekhAMka 126 - 128, bhAga 5) ityAdi / 13. rAjakIya itihAsa ko dRSTi se guNavasahI kA eka lekha (250, bhAga 2 ) adhyayanazIla hai / 74 zloka kA isa lekha meM aNahilapattana kI prazaMsA, tejapAla ke pUrvaja aura unake kuTuMba kA vistRta varNana vastupAla tejapAla ke dhArmika kAryoM kA vivaraNa, dhavala kapura ke solaMkI mAlA rAjAoM kA prazaMsA caMdrAvatI ke paramAra rAjAoM kA varNana jaisI aitihAsika sAmagrI milatI haiM isake alAvA pATaNa kI prAgvATa jJAti kA varNana, anupamAdevI ke pitRpakSa kI vaMza- mAhitI, jaina maMdira sthApatya kA varNana, dAna-dharmAdA sabaMdhita bAteM ityAdi jaisI sAMskRtika sAmagrI bhI hameM milatI haiN| sa. 1287 kA yaha saba se adhika dhyAnAha hai / 14. lekhAMka 251 ( bhAga 2 ) bhI itihAsa aura saMskRti kI dRSTi se abhyAsa yogya hai / sauM. 1287 kA yaha lekha caulukya rAjA bhImadeva 2 ke sauMdarbha meM hai / isa lekha 'meM sthaloM ke vizeSa ullekha hone kI vajaha se unakA adhyayana bhI mahatvapUrNa hai / 15. jina maMdiroM ke nirvAha ke lie jo dAna diye gaye haiM ina meM bAr3I (lekhaka 51, 312, bhAga 5) kheta (lekhAMka 55, bhAga 5), gA~va (lekhAMka 194, 251, 362, bhAga 5), jAgIra (lekhAMka 304, bhAga 5), bAva (lekhAMka 490, bhAga 5) ke nideza

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arbudAcala kA jaina abhilikhita sAhitya milate hai / isa se hameM patA calatA hai ki dharmadeva kA usa jamAne meM samAna para bhArI prabhAva thA / 16. rAjatvakAla kI mAhitI jo anyathA prApta nahIM hotI hai, vaha aise abhilekhoM se milatI hai / udA0 Abu ke paramAra rAjA kRSNarAja prathama kI jAnakArI sAhitya se prApta huI hai. lekina unake rAjatvakAla kA ullekha sirpha abhilekha se prApta hotA hai| (lekhAMka 486, bhAga 5) / isa lekha meM sa. 1024 meM Isa rAjA ke zAsana kAla meM mahAvIra bhagavAna kI pratimA banAyI jAne kA ullekha hai| isa se yaha saMbhava huA ki usa samaya kRSNarAja kA zAsana thaa| 17. dhArmika sthaloM meM jAte vakta yAtriyoM ko kara denA paDatA hai, lekina abu'dAcala ke kaI lekhoM se yaha patA calatA hai ki aisA kara lenA baMdha kiyA gayA thA / (lekhAMka 240-243, bhAga 2) / vizaladeva ke samaya ko sa. 1360 ke eka lekha meM (kramAMka 2, bhAga 2) aura rAjadhara rAvala ke samaya kA eka lekha meM (kamAka 426 bhAga 2) sa. 1497 kA hai, isa meM aura mahArANA kuMbhAjI ke sa. 1506 ke lekha (kramAka 240-243, bhAga) meM bhI yAtrA kara raha karane kI sUcanA dI gaI hai| isa se yaha pratIta hotA hai ki rAjA loga bhI kabhI kabhI prajAkalyANa kI nADako pahacAna lete the aura unakI suvidhAe~ lakSya meM lekara / rurI dhArAkIya ghoSaNA bhI kara lete the| 18. arbuda parvata para terahavIM sadI daramyAna jainoM kI basatI thii| unake pramANa bhI hameM ina abhilekhoM se prApta hote haiM sa . 1245 (lekhAMka 55, bhAga 2) sa. 1222 (lekhAMka 171, bhAga 2) aura sa. 1287 (lekhAMka 251, bhAga 2) ke lekho meM dI gaI hakIkatoM se yaha jAnakArI prApta hotI hai| isa meM luNavasahI kI vyavasthA ke lie jainoM ko neminAtha kI paMcatithi manAne kA spaSTa Adeza diyA gayA thaa| cAturmAsa ke liye yahAM jaina sAdhu rahate the ina kI jAnakArI hameM sa. 1583 aura 1785 ke lekhoM se hotI hai (lekhAMka 195, 197, bhAga 2) / 7.1 : upasaMhAra ina abhilekhoM se prApta mAhitI ko prastuta vivaraNa karane ke bAda kucha sujhAva rakhano ucita samajatA huuN| 1. aitihAsika bhUgola ki dRSTi se ye abhilekhoM kA adhyayana rasaprada aura mahattvapUrNa hogaa| sAtha hI jIniyaoNlAMjikala sTaDI bhI rasaprada rahegA / 2. sthalanAma aura vyaktinAma ke abhyAsa bhI itihAsa aura saskRti kI dRSTi se apekSita hai| gA~va aura savata ke sAtha hI ullekha kI vajaha se gAMvoM kA prAcIna itihAsa ke Alekhana karanA jarUrI hai|

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seza jamInadAra 4. ina abhilekhoM meM pratiSThApaka AcArya, unhoMkI gurU paraMparA, ina ke gaccha aura zAkhA mUrti biya vagairaha dAna denevAle zreSTho kI pIDhiyoM kA nirdeza ityAdi bAbata hama pAte hai| sAmAjika itihAsa aura dhArmika itihAsa ke adhyayana ke lie sabhI lekha bahata mahatvapUrNa hai aura unakA adhyayana apekSita hai / / upayukta vivaraNa se yaha pratIta hotA hai ki arbudAcala meM se prApta abhilekho se vikrama kI gyArahavIM sadI se lekara vikrama kI vIsavIM sadI paryaMta ke isa pradeza ke itihAsa aura saMskRti ke aAlekhana kI sAmagrI milatI hai| jyAdAtara to hameM jena dharma aura samAja ke bAre meM jAnakArI pracura mAtrA meM prApta hotI hai / phira bhI sthala. nAma aura vyaktinAma ke adhyayana ke lie bhI acchI sAmagrI hama pA sakate haiM / inake alAvA samAja ke nAnAvidha pahala para bhI hama prakAza DAla sakate haiM / usa jamAne ke Arthika sthiti kI bhI jAnakArI hameM milatI hai / purAvida, itihAsavida, samAjavijJAnI, bhASAvid kalAmarmajJa ityAdi vidvAnoM kI eka sucAru zema ye sabhI amilekho kA sa yukta adhyayana ko to kAphI sAmagrI ke sAtha hama eka acchA saMzodhana graMtha taiyAra kara sake, aisI AvazyaktA mahasUsa hotI hai /

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Krsnakridita of Raula Kanha Aa Old Gujarati Krishnite Poem of the 15th cent. edited for the first time from three Manusscripts H. C. Bhayani This is an important Old Gujarati poem not later than the 15th cent. A. D. and published here for the first time. The text is based on three MSS, the earliest of which is dated 1571 V.S (i. e. 1515 A, D.). The poem contains 108 stanzas, thc last nine of which are in Sanskrit, The Old Gujarati verses are in the Sardulavikridita metre and this fact is significant because Old Gujarati verse literature is mostly in Matsa-metres and Desis that were sung in popular melodies. The poem falls into three parts. The first part describes loye-sports of Krsna with Radlia and Candrayati. The second part relates to the Rasa-lila and Vastra-haiaya-lila. The third part is mainly an expression of the poet's fervent devotion The poein has considerable merit. It is also important for the pre-Vallabhaite period of the history of Vailnavism in Gujarat

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rAula-kAnha-viracita kRSNa-krIDita icchA rAmati zAma-mUrti ramatu dIThau kuNi kAminI kSobhi rUpi tihAra, moha mana thiuM, jhUrai divA-yAminI / ko e bAla nareMdra-Izvara-kalA saMpUrNa pAmiu joI lIlA yauvana mAhAlatI brajavadhU teNai sakAmA huI / / 1 / / vAlA yauvana-prema-UlaTa-chalaI lAvaNya lIlA tarai. mAMniu mohana-veMli geli-gahilI je kaoNmi pUrI phiraH / rIjhI aMgi anaMgi bhAna mana-siu~ behu stana haii kalaha 'kuNaI mAya ! upAi kRSNa milIha tu vedanA e TalA' // 2 // mohI mAnimi te sakhi-prati kahai 'zrIkRSNa dIThu paraI dekhiu e nara-ratna mi java lagaI jAMgUM kimhaha maM milA / rUDa rUpi, vinodi nAdi nipuNu, saubhAgya-bhogI' bhalu' vAMcho citti dhaNI 'milai mujha kihIM gopAla e ekatu / / pUru pUnima-caMdra, iMdra athavA ki kAma-zuM rUyA dIThu alavalatu narezvara sahI ! zrIkRSNa je lahuyaDa / jIviuM sArthaka tu, ju koDa puhucai, ju deva maM-siu ramaha mIThau te mani, je suhAi sarIkhu, prItaI ti vAlhau gamai // 4 // - - 1. 2. ka, rUpa. 3. ga. kihI. 4. ka mAlatI, ga. mahAsatI. ka. sukAmA 2. 1. ga. lIlAM tari 2. ga. mAna gihilI; tu kAma prI kiri. 3. ga.dhArI gi anaMgi athavA do. 4 ga, kuNi bhAva; milavA. 3. 1. ga. so kRSNa jAMNi kihI. 2. ga. mi barana e jAN viri ramU kichi.3 ga. saMbhogya bhogI. 4. ga. cita ghaDI. 4. 3. ga. tu hoI, to hui.

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kRSNa- krIDita serI saMkaDi, kRSNa Agali miliu, joI hasI giu vahI lAgUM mAya ! vinANa, mAna mani thiuM, lAjaI abolI rahI / bhAgI bhUkha, na nIMdra sahari sukha meM, kAma-jvaraI AkulI phITai vedana ju harvi mujha kimer dRSTaI milai e calI || 5 || jAMNUM e gata janma-nu u nahI zrIkRSNa mUM-siu' miliu dIThau tu na rahAi, mAi ! mujha-niM saMketi sAcu paliu | vidyA je laghu-lAghavI anubhava, te moha dIThaI thAha para kAyA- paravesa je Thaga ramai, te citta corI jAI || 6 || . 4 jINa dRSTi-melAI mana hari dhUtAraDaI dhUratiIM te meM melavi mAi ! mAdhava kimes, je zyAma chaha mRratihaM / gAu citti vasi, aharniza guNe mUM citta teha - siu rama rUDa rAma apAra prANapriya maM, vAlhau ti prItaI gamai ||7|| dekhI kRSNa apUrva prIti, mani thiuM, jANau' sagu e sadA vArya citta rahaha nahIM, lachamachai jAMga milaM ekadA | sAlaha sneha his kSaNi kSaNi navu, tuTalavalI naI rahI hA he kRSNa ! akathya vedana navI, strI hUM sakUM sUM sahI ? || 8 || 5. 1. ka zakaTi 2. ka. vimAna kha. vinANa tInaI mani; ga kha lAjI Na bolI; ga. lAji ti bolI, lAji na bolI. nirmANa mana zu ka. dehi sukha. 6. 1. kha. ga. je mUM milyu. 2. kha. mAi na mhi alatu narezvara kihI zrIkRSNa je lauhaDa. 3. kha. je moha, zu. tu. saMketi sAce kalyu. ga. dIThu ga je mUha 4. kha. ga. 7. 1. ka. yeNi, ga. jeNI. 2. ka. pUrataI 3 ka. ye citta mU siuramaha 4. kha. ga. te te valI mU N gami 1 F 8. 1. kha. ga, mani thaI. 2. ka. mahAru na laccha mana chaI, ga jANU 3, kha. ga. nAvU 4 ka nahI sahI, ga, sU karI.

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rAula-kAha-viracita dekha vallabha kRSNa ju puna valI, tu pAgi lAgI rahaM mAnai bola rahi havi mujha kimhai, tu lAja mehI kaha / leI pAga-misai ji haii sarasu saMtokha pA kimhai ___ bhAjU laMghana eka bAra bhavanU' hUM dAsi torI imhai / / 9 / / sAcu deva abhISTa Aja kuNa chai, IchA ji pUgDa kihI o A bApa gaNeza ! melI priya mUtUM deva sAcu sahI / mATA modaka khAMDa-dhRtta-sarasA sauMdari pUjI namU rAti ju havaI Aja kRSNa-sarasI saMbhoga-lIlA maM' // 10 // hIDai kAmini 'kRSNa' 'kRSNa' japatI, tu dIha nIThai nahIM ___ pUchai vAta-misaI sakhI, 'mujha kahu, ko kRSNa jANiu kihIM' / lAgu vedha, ghaNu vimosaNa karai udvegi, 'kethI thA? hui pAMkha ci Aja, kRSNa milivA tu begi UDI jAuM // 11 // moDI Alasa aMgi caMdravadanI oNgaNii UbhI rahI ___ AvyA maMdiri deva kRSNa sahasA deveMdra pUrA shii| tAMbUlI-dala vAma hasti, jimaNaI bIDI kapUraI bharI AvI UlaTi, kRSNi caMdravadanI UMDali leI dharI // 12 // DhAkira hoTha tisiI ji kRSNi sahasA, te vaMza vAvA-misiI rAdhA-daMti Dasiu ji nIlajapaNaI saMbhoga-lacchI-rasiI / 9. 1. ka. ju yadu valI, kha tu loba melhI kahUM, kha to valI lAgu 2. khaga bola na ju kahayu habaI kimhaha' tu pAgi ghalagI rahUM 3. ka. hayA ja sarasU. 4. ka. ga bhavanI. 10. 3. kha. ga. ghoTa. 12 4 ka. vAyu vaza tisaIba kRSNi tehanU tu citta lodhU harI. 13. 1. ka. sahi tA. 2 ka. rAtA.

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kRSNa-kroDita 'A siuM kutiga, kRSNa ! canaDi navI oDhI kihAM tUM vasiu ? lAdhu dhUrata kUTa-prIti vahatu,' caMdrAulII hasiu // 13 // svAmI ! kAli vinodi rAti ramatAM vITI ji lIdhI tumhe Apu, deva ! mayA karu, havi kimhaI bAliu' na dhIrUM amhe / rAhI hAthi ji olakhI havi amhe, te Aja vArahI huI motI-hAra-vicaI pravAla kihi-nAM caMdrAulI rUsaI // 14 // rAdhA uvAca 'UThau Aja apAra megha dhaDakai, Aviu havaI varasivA vAsyA cAtaka, mora prIu prIu kahaI, thiuM manna UdhrasivA / UbhI bAri adhUMbarai kaTi hathaI rAhI UmAhI smarai . svAmI ! kAMta ! anaMta ! rAma rUaDA ! saMbhAla kAM na karai 1 // 15 / / mUkI kAi nirAsa, Aja na miliu ? yAlhAM na ko bIsarai bIhUM hUM ghari ekalI, kima rahUM rAtiI ? kisiuM strI karai 1 / taMha-ni deva aneki premi palakI sAnaMda vAMchai ghaNI jANe tUM paNa, kRSNa ! eka mujha-naI sA~cai sadA tUM dhaNIM // 16 // chamaI chaila-misai save rasi ramai, te-si kisiI chAjIi ? {kai moha karI na vedana lahai, tu bolatAM lAjIi / 14 2. ga. dayA, ka. kihIM 3. kha. hava kinhaI. ga. havi te. 15 1. kha. UDu, dhaDapaI, hava. ga uDo, dhaDUku, havi ka. ga. varasavA. 2 ka. prIti zarasA te manna UdharzavA, kha. prIya prIya, ga cAtuka, kari, udhrasavA 3. kha adhUbaDaI kaDi, ga. rohI kUmArI, 16. 3 ga tu ridi, ka. bAMchA, ga vAMcha'. 4. kha. ga. tu paNa, ga. sAciM corrected as are 17. ka. kisiM jo lIi; chala corrected as daMbha, kha. lAjIi, ga chadi chalamyili savi 2.belIi, kha, gAjI 3.kha te vArasa na, ga. me ko.4 ka. ahaha. kha. kAi, ga. vIsArI te ahame.

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rAula-kAncha-viracita je ke chaI rasIyA na eka kSaNa te cAkhiuM na mUkai kimhar3a bholA sajjana ! sAvaceta giruA ! vIsAri kAM tUM imhaI // 17 // jANU jIvitanAtha-sAthi jamalI UDI milUM ju kimhaI lopI lAja bahU anagi, 'virahaI gADhI vigoI imhaI / jAi dIha ghaDI ghaDI ji giNatAM, tu rAti nIThaha nahIM vAlhA ! vAlhima alajayAM havi kimhai koDaI milIi kihIM // 18 // gADhau e ati-dAhilU kahi muMha vAlhA-vichAhu thAi bIjU eha akathya, prIti milatAM je ko vIsArI jAi' / UThI nizvasatI, viSAda mani thiu, serI nihAlI rahI 'jANau suMdara Avatu havi husiI, anyatra jAsaha vahI // 19 / / nAvai kAMi hajIya Aja lahuDu, tu hUM havaI vIsarI rUdhu anya priyA kuNiM guNavatI, vAhiu su hAthiM krii'| rAdhA ju ima zUratI virahaNI UMbarii AvI caDI sUkA ToDara pAna phUla-sI anAkulI vichUTI paDI // 20 // te saubhAgyavatI satI guNavatI, te devi sarajI bhalaI tUThau Izvara, ugra dAna tapa-nUM vAMchiuM phaliuM etalai / je-siuM kRSNa kRpAla lAlasapaNai ekAMti vAMchI ramaha, bIjI nAri apAri bhAra karivA saMsAri bhUlI bhamai / / 21 // 18 1 ka. jIvitamAthi, dattaI mil', 2. kha. bihu. ga ame 3. ka ghaDIya gaNatA 4. ka. ko kAI melai kihI; kha. havaM, ga. mili ju kihI. 19 1 kha. sahu. ga. ki maha. 2.ka. prItima jiko vAlhAM vIsArI; kha. eya. 3. ka. kha. nihAlaI. 20 1. kha. ajI na, ga. hajI na. 2. ka. hArti; kha. sa hAte, ga. hAtha. 3 kha. rAdhA jo, ga. mA Ima. 21. 2. ka. vAMchU. 3. kha, ga. ekAMta

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kRSNa-krIDita IchAM bAla-mRgA vane vicaratAM ke davya lAyA phirI rotAM bAlaka dhAvatAM haThi ghaNaI mA-siu vichohyAM harI / phoDI pAli bharyA sarovara-taNI hAthaI kudAlI leI jau maI eha na kI, kRpAla ! milIi, vAhu ma vAcA deI // 22 // svAmI ! kRSNa ! apAra je alajayAM, te kAi avekhIi ? AzAlubdha rahai manorathi bhA', te prANa-siu lekhIi / pAlaI prIti hI ji lAji maratAM kAmiI kadarthiU sahai kIjai sAra, kRpAla ! bAlapaNa-naI je nehi bAMdhA rahai // 23 // jJAnI svAmina ! cittavRtti saghalI tUM prIchi haiA-taNI tUM kAi nirAparAdha bhajatAM Uvekhi kizyA-bhaNI ? / IchAM taM vicarai ji, rAti mujha-naI tu jhUratAM nahI jAi cAdhu sneha haii ji bAlapaNa-nu, mUkiu na te mUMkAi // 24 // jAtAM mAragi kRSNi dIna vilakhI rAhI rahInai joI sAdhvI suMdari ekalI Talavalai ekAgra bhaktiI hoI / moTA-sAthi saneha, deha damivu, velAM kuNaI sAbharai dI? deva tisai ji bIja-jhabakaI tu harSa haii dharai // 25 // AyI UlaTi, UdhrasI smara-rasii, premAkulI nAtha-si harSiiM netra galyA dayA-prabhi tadA ThUchayAM hasI hAtha-siu~ / 'e zU kAmini ! kAMI kAjala galai ?' zrIkRSNa pUcha, tisiI 'svAmI ! kAi vIsAri pAvasa-samai, anyatra kAMi tUM vasai ? // 26 // 22. 1. ka. mRgI. 2. kha vichAyAM. 3. ga. bhAM, kUdAlI. 4. ka, eha karyA, kha, ga, e na karyA;ga melI. 23. 2. kha. ga. AzAladha. 3 ka nahIM ya. 4. ka. nAha bAMdhI kha. bAdhA ga. bAdhA. 24 2. kha. tumaikAi, 3 ka. jhuratoM, kha. ga.na. . 25. ka. doni. 4. ka. abuki. 23. 2. ka. dayAM ati karI rokyoM hasI, ga. dayA prabhu karI luhyAM, 3. ga Aja kAjala, pUchi. 4. ka. ga. kAM. -

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ula-kAnha-viracita svAmI ! kAMi asUra Aja tamha thiu ? mehAMdhakArI nizAM joI vATa akhaMDa-dhAra varasai, Udvega tu thyA kizA / rUdhyA mAraga nIri, cIra bhIyanAM, tu siu' vimAsau hajI ? Avu, jIvitanAtha ! Aja raDhi chai, rahIi, na jaii tyajI // 27 // thADa, kRSNa ! asUra, kAMjali galai, bhIju rahyA AMgaNai Avu, deva ! parahaNA amha ghare, gopI rakhe ko suNai / vilagI UMDa li vegi nIlajapaNai rAhI ji sAhI rahI tANI kAMbalI saUDi-thI salavalI caMdrAulI vAlahI // 28 // lAjI bi sakhi, kRSNi UMDali dharI sAI ji dIbUM hasI 'rAhI ! sAMbhali eka vAra, kima taI gADhI ThagI hUM kisI ? / kIdhau taI nara-vekha, vAMhi vilagI A kRSNa-sAthiI ramI pIyUM dUdha ji khAMDa ghRta sarasAM tUM mAhi baisI jimI // 29 // chADa ruli caMdrAuli, havi ghari zrIkRSNa teDa kimhai lAgU pAgi valI valI, kari kRpA chehaDau na mUMka imhai / joi rAti apAra megha varasai gaMbhIra gAjai bhariU vegiI caMcala bIjalI jhavajhavai, Avu nihuru karu // 30 // 27. 2. ka. ugi thAtu kizAM, kha. udega; kha. rughA. 3. ka. vibhAI haiM, ka. Aviu, kha. chaI haii na, ga. sAtha 2Dha chi hIeha ni. 28. 4. ka salasalI gadhA bhachaI bAlahI 29 1. ka. beha saSI ja; kha. lIdhU, ga. dIdhU sahI. 2. kha, eka vAta, ga. vAta eka. 3. kha lIdhe mi zrIkRSNa. 4 kha ma. kIdhU' svAgata dhari kRSNa sarasI. . 30. 1. ka. havi zari, kha. dhari havai, ga. dhiri havi. 2. ka. mUku , ga lAgI, amo. 3. kha, ga. jAi, kha. bhayu. 4. ka. vegaha, Aviu ti suharA karai, kha. ji jhabapha karU, ga. ya jhabaki, karU.

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kRSNa-krIDita rAdhA dhUrati citta-vRtti parakhI zrIraMga-raMgAkulI ekai hAthi murAri lADa-gahilI, bIjai ji caMdrAulI / AvyA maMdira deva bAMhi vilagA sAnaMda behU gamI pIdhA sAkara-dUdha prIti-sarasAM bihu-mAhi baisI jimI // 31 gholyAM caMdana gaMdharAja vahikA karpUra kastUriko kIdhA UgaTa aMgi, pIna kuca-siuM AliMgya vihu bAlikA / Apai pani susaMkaTeti sarale bIDI kapUriI bharI lIlAM lii ji taMvola kaMThi vilagI te muha AghAM karI // 32 cUMTI komala pAMkhaDI kusuma-nI tu puSpa-zayyA karI DhAMkI komala paTTakUla dhavalUM uchADa chehaDi dharI / puDhayA vacci murAri nAri jamalI pAsaI bihU lADikI lIlA lIla-vilAsi nIlajapaNaI toSI ramiu nATakI // 33 UThayA deva vinAdi rAsa ramivA saMtoSa nidrAM karI pIdhaM nIra kacolaDaI trihu milI tu pAMni kulI bhrii| pariu pani taMboli komala nave UbhA rahI AMgaNai dIThI nirmala rAti 'rAmati karUM utsAha-thiu caaNdrnni'||34 kAMne kuMDala ratnamai ji jhabukaI, dIpai kapola-sthalI hAthe kaMkaNa sAMkalAM, bhuji bihU keyUra hArAvalI / 31 ga. 32 precedes 31. 3.kha. bAhu. 4 ka. pIdhA, ghatta sarasA, bemAhi. 32. 2. ka. kIdhI uDali, AliMga chaha, kha, byo, ga. kIrdhA Ugadi, bahu. 3. ka kapUra, kha. sasAMkaDeti, ga. sAMkaDiti. 4. ka. laI ja, kha. ga koTa 21 2. ka. uchAda chehadi, sva DhAMkiu, chehaDe karI, ga. DholaM, uchAha chedi. 1.ka. beha, kha. vici, pAse bihu, ga. vici, vihu 34. 1. ka. ramavA, ga. AvyA deva, bAsa ramavA. 2. ka. kacolaDe. 3. kha. pUryu', ga. pUyAM, ubhI rahI. 4, ga. cAdraNa. 35.1. kha. jhaLakAI, ga. salahali. 2. ka. bhuja behU, kha. bihu, ga. bihu' bhUje.

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ula-kAnha-viracita pIlAM komala paTTakUla pahiyoM jAdavya-vIra rahI pAgaI raMgata vANahI, tilaka tu kastUrikA mahimahI ||35 tIraI nAri murAri sAthi ramivA AnaMda vRndAvane lIdhara vaMza vinodi vIri hasataI thiu moha gopI mane / rAdhA vekha racIya rAsa ramivA ulhAsa hUu haii kha caMdramukhI, 'vinodi ramivA svAmI ji sAthaI jaIha || 36 gopIe navaraMga cIra pahiyoM pAe ralaMtAM karI oDhA ghATa save amUlika navA zRMgAra veNI dharI / AvaI eki gajeMdra - matta - gamanI lAvaNya-lIlAM ramaI dekhI deva praNAma pAgi karatI lajjA- chalaI siuM namaI // 37 vAyu vaMza tisai ji kRSNi sahasA mAjhimma rAti kharI lauM tatkSaNa citta nAdi teha - nUM gopAli lIdhUM harI / jAyaM nAri tihAra te virahiNI, 'tu Aja jovA jAuM gaDhI rAta ji cAMdriNI priya ajI jAgai tu kethI thAuM // 38 nAva nIMdra, na saukhya, vallabha-kahaI ju vaMza vAjai ajI' seja vallabha bholavI misi kisihaM, UThI ji lajjA tyajI / 11 3. kha. jAris corrected as nAriha. 4. kha. ga. pAe, ka. lalakatu. 36. 1. ka ramavA, kha. tIre, ga. te re 2 ka ga.vIra. 3 ka ramavA, kha. hobho, ga. haiha hauDa. 4. ka. ramavA, ja, jaI. 37. 1. kha. ga. gopI je. 2. ka. aneka ja navA, kha sihu vegidda gharI, kha. zihu, vega. 3. ka. bhavaI eka, ramai, ga. AvyA. 4. ka. namaH, kha. devi, ramai, ga. rami. 38. 1. ka. tizija, rAtaI, kha. rAtiha, ga. vaMzi, mAjhaM ma, vallI. 2. kha. lodhU tatkSaNa, kha. lINU. 3. ka jAgI nAri ti virahiNI, kha tivAraha, ga. virahuNI 4. ka. na, hanI, ga hajI na jAgi. 39 2 ka. ga. hajI. 2. ka. bhogavI, kisaI, uThIya, kha. lajyA, ga. virI ballabha,

Page #256
12 kRSNa- koDita cAlI caMcala-locanA caturimA cAyeMgI vRMdAvanaI coriMDaM citta caturbhuja taba lagaI thiu moha vaMza dhvani // 39 'vega zrIpati sAmala hava milaM je peza vAi ramai' vAlI mAragi ekalI braja-vadhU rAti vidurI- samai / AvI prema-rasAkulI praNayinI saMtapta - kAma- jvarihaM kIdhu ghUghaTa, murakalaI muhiM hasI, teDI visaI zrI parihaM // 40 mIMcI netra hasI ji cuMbana mukhiI sAMI ji bIdhUM rahI svAmI janma- sahasra - saMcita havaI saMtApa phIDa sahI / pAmi kAnhaDa kAMma koTi-sarIkhu nArI ghaNI - siuM variu eaf deva dayAlu mAtra miliu gaI lAja bAMhi dhArau // 41 dIThI nAri apAri raMgi ramatI AvI kivAra save gAi gIta vinodi lAlasapaNaI AnaMdi valagI khave / dIsa daMta ki ratna dADima-kalI te pakva -biMbAdharI bhUI trasta mRgI-taNI pari joI gaurAMgi kSAmodarI ||42 khalaka kaMkaNa cUDi caMcalapaNaI, bAlI ji tAlI vAI pAe neura, vUgharI ghamaghamaI, te tAla-melaI gAi' / veNI-sATa kaTi pradezi dalakaI, lIlAM phira phUMmatAM nAca nAri murAri hAthi valagI, dIsaI rUDAM tAM // 43 nidrA tijI. 3 ka caMcala, vRMdAvane, ga. cAlI vegi vRMdAvana, 4. ka. caturbhuja, lagai dhvanaI, kha. dhvani, ga. tihAra lagi, vazi 40. 1. ka. vega, ga. zrIdhara. 2. ka. bicahuriM rAtiM, kha. vrajavahU, biburI, gaH nrIi. 3. ka. jvarai. 4. ka. makalaha mukhi, nihAM zrIdharaI. 41, 1. ka. hasI ya, mukhaI, sAbaya 3 ga zu ramu 4. ka. dayAla maliu, vAMhaI, kha. milyu. 2. ka. apAra, sAnaMda vAi save 3. ka. daMta yazA ja, kha. dADimakulI. 4. ka. bhue, kha. bhuI, ga. bhIta trasta, piri 43. 2. ka. nepura. meli, ga. neuri, meli. 3. ka. pradeza, lIlA bilai, kha. kUmatAM. 4. ka. bhelAM.

Page #257
13 rAula kAnha-viracita lIlA komala lola pANi calate khalakaI raNat kaMkaNAM moDaI aMga anaMga-Alasa-bharaiM tu khapi cAMpA ghaNAM / gopI chaMdi mukaMdi raMgi ramatI macakaI namaI kaMalI haiI hAra payodhare visimisiiM Dholiu rahai TalavalI / / 44 bhIDyA kaMcukivaMdha te kasamasaI vaTai bahI trATake / vAlaI aMga aneki moDi maTakA bAdiI gAI nATake / pInottaMga payodharA visimisiI vAdiI haii UsasaI mUkaI mAnani mAMDa mAMna mana tu kAmAkalI UdhasaI / / 45 truTaI ToDara-mAla hAra-sarasI gacI stane zaM naDai veNI khUpa kSarIya caMpaka DhalaI vegii viTI pddii| svAbhI-sanmukha dRSTi nizcala ThavaI hakhiI hasaI nAcatI ekaI citti ramaI caturbhuji milI dii DUbakI nA(mA?)catI // 46 vINA-vAdana hasti vaMza mukha-siu vAmAMgi caMdrAulI rAdhA dakSiNa pakSi sanmukha satIbhAmA ti kAmAkulI krIDAM kRSNi kRpAla lAlasapaNaiM gopI niropI vici I raMgiiM rAsa ramai save vidhi rahiu zrIraMga lIlA-ruciI // 47 kI-- maMDala nAri pAkhali phirI vAlI rasAlI goI nAcaI nAdi mukaMda vaMza madhuru succhaMdi vINA vAi / rIjhai citti ramai dii ji bhamarI vegiI phirai sAmalu rAdhA tAli milai ki caMdra-vadanI UchAMchalI sAMbhalu // 48 44. 1. ka. moDaDe gi; kha ga bharyA . 3. ka. kujalI, ga. vali phUalI. 4. ka. payodharA vazamazaI, DholiU rahiu / 45. 1. ka bhIDayA baMdha tihAM bharti kasakasai, ga chuTi. 2 ka vAdaI, kha. cAlaI, trATake; ga. trATake. 3 ka. vazamisiM, hai A siu' samai, ga vAdi ya haiyu sasi. 4. ka. {kyAM mAnani mAMDa mAMDa kha. mAna mAMDa mAnUna', Uprazi. 46.1. ka.zarasI, tu paDai. 2. ka. tu vegi chuTI, kha. khisIya, ga. khyizI ja. caturbhuja, daha 47. 2. ka. dakSaNa pakSa, vatIbhAmA. 3. ka. krIDA kRSNa vacaI 4. ka. vaci, lIlA rucAi, kha. sivha, ga, siviha vici ramyu, lIlA rami. 48. 1. ke pharI, ga. myalI. 2. kha. anaMta, ga. anata vazi. 3. ka dII ya vegaI ramaI; kA. rIjhai. 4, ka. tAla,

Page #258
kRSNa-krIDita lakSamIkAMta anaMta-mUrti bhagavAn lINiu ji gItAmRtiI vilagai UMDali tAla-melana-misiiM sAnaMda gopI-pratiI / lAdhu prema-rasAkulI mukha-rase nArI-sahasre ramai tuhai bAlaka brahmacAri saghalaI e bola sAcu imhaI / / 49 vAjaI vaMza mRdaMga aMga tavalI zrIraMga raMgiI ramai nAcaiM sola sahasra caMdra-vadanI rAhI ji chaMdiI namai / lINI vaMza-vinodi manmatha-rasiiM lubdhI ji gopI milI lAjI vaha vibhAti sAthi ramati dIThI ji sAsU milI // 50 cAMdhI pIta paTulaDI palavaTaI pheDI save bUMghaTA rAtI kAhnaDa nAhraDaI ji sarasI nAcI diI pharaMgaTA / khaTakaI khITalI kAMni jhAli jhabukaI hIrA kapole lasaiM ratne raMjita rAkhaDI jhavajhabaI tu murakalaI siu' hasaI // 51 mUkai eka na dhUMghaTau ji ramatI tu nAhnaDI lAjatI dIThI mAdhavi murkalaI ji hasatI macakiI rakhe bhAjatI / vAI mAdala sAna sanmukha karI te lAja-bhediiM hasI dhAI dhUrati ghaMghaTaI ji sahasA sAhI haiA siuM ghasI // 52 'svAmI ! dAsi tuhmAraDI hava kimhaI e tUra chaMdaI vAu nAca Aja apAra UlaTa dharI tu deva ! vegiI thAu / 49. 1. ka. ti gItAmRtaI kha. lIgu, ga lINo. 2. ka vilagaI kuMDala, kha. ga. uDali 3.ka raziM. 4 ka bola cAliu gamai, kha. tuhiM. 50. 1. sA. ga. tabalI. 2. ka. rAhI ya, gamaI. 3. ka. loNA vazavinoda, labdhIya, kha. ga. labdhI 4. kha bahuare. 51 1. khA ghUghaTI, ga. dhU Tu 2. ka. nAhaDI ya, nAcIya iha, la. pharaMgaTI, ga. pharaNaTo. 3. pha khoTala jhabUkaI, kha. sthalai. sa. ga jhabuki. 4. ka. mukalaha, kha. sabakaI, marginal correction : jhabajhabaI deleted, murakale, ga. raMgita, sabakA. 52. 1. ka dhUghaTu ya, kha eki nahAnaDI nAcatI. 3 ka vAi. kha. ga tAlamedi 4 ka. ghUghA ja karatI, ghasI.khA. haie, ga dharI. 53. 1. kha. havaM, ga havi 2. hA UlaTi car3I

Page #259
rAula-kAnha-viracita vAyu chadi mRdaMga Aja na kimhai ju ghUghaTaI nAcisiuM aii ju asuhAti nAcisi kisiuM, lajjA kisiu rAkhisiu' // 53 lAjai nAcisi dhUMghaTaI, hava na hU~ e tUra hAthi dharU pheDI ghUghaTa lAdhaviiM ji pharatI je je kahiu te kari / ju chai UlaTa citti raMgi ramivA tu nAci lajjo kisI pUryA prema-chaliI kaTAkSa visamAM tu mukalaI siuM hsii||54 vAi chadi mRdaMga kRSNa madhuru, e chaMda gopI gamai lAgu vedha ghaNU ja nAri-sarasu, avyakta rUpI ramai / lIlA AlavaNI karai ji, macakai dii mukalA nAcatI bAlI raMgi ramai anaMta-sarasUM, lacchI rahI lAjatI // 55 vAI vaMza apAra UlaTi caDatha e gAi cArai ghaNI sIMgU mahaari vAMsalI rasi ramai trailokya-nu e dhaNI / koTaI ToDara hAra mauktika-taNAM gaMthyAM ciNoThI-bhilyAM bholA loka ! jou anAdi bhagavAna pUThiI pIMDAre milyo||56 teDI nAri tihAri kRSNi 'yamunA jhIlu, ma jAu TalI' vAhI, vastra harI, vivastra sabalI kIdhI, tu pUThiI milii| 'hAmu nIrasa koraI kuNa karai ? pIMDAra maitrI joi jAsii chaila ji chetarI hava rakhe tu veMgi ADI hoI / / 57 3. ka. ghUghaTe nAcasiu' kha. vAyu nAcizU', ga. vAu nAcira. 4 kha. asuhAti rAkhiza ga. rAcazaM. 54. 1. kha. ga. jutnAcisi, hAthe, ga. havi kimi. 2. kha. bhaNatI 3. ka. ramavA, ga. ju e ulaTi. 4. khA. premi chilaI. ga. kaTAkSi. 55. 1 ka. vAI kRSNa mRdaMga chadi, ye. 2. kha. lAdhU, ghaNUsa bAla. ga. vAlA 3. ka. daha makalA, kha. ga. AlayatI macakA. 4, kha. ga. anaMga. 56. 1.ka. ulaTa caDaI. 2. ka. mahaIri vAzali, kha, bAMsali, ga. zIgI mahahari. 3. ka. mauktika hAra ToDara taNI. 4. ka. jUDa, ga, pIDArA myi li. 57. 1. ka kRSNa, kha. jhIlI cinAThau TalI; ga. jhIlIya nAThu 2 ka. kIcI ya, kha ga. nivastra. 3.kha joI, ga, jou. 4. ka. jAsaI chayala nA kha. huI, ga. havi.

Page #260
16 kRSNa-krIDita Ubhai tIri UjAyatI savi milI mAMDai dharAviu~ kahI dekhI nAri nivastra pochali save chA~TaI vinodai rahI / 'dAsI janma-ni janma kRSNa tama-cI, dii cIra, ko dekhisii lajjA deva ! ju tama hui, kari kRpA, bAlu bhaNI lekhasai / / 58 moDI bAMha paliI, vicAra kuNa e ? joe-na mAMTIpaNUM lajjA e tahma-naI haiyA ji sarasUM ju prANa kIjai ghaNU / jANe jAdavarAu pAi paDatI tUM pUMThi Avii milI rUDA rIjhavisii jisI pari gamai, tu kAMi jaIi TalI ! // 59 chAMTai nIri ja nAri nIlajapaNaiM svAmI save khelavai gopI pIna payodharA kaThina thyA te Thoga syA jhIlavai / bhIDai UMDali lAghavaI, stana lasai, hoThai haThaI siu~ dharai dekhI aMga vizekha lAla manasAM tu deva chAMdA karai // 60 lIvU citti guNe ghaNe rasi karI, e-ziuM milai UlaTI 'svAmI ! virahI rahIya na sakU ju sneha-vArtA ghaTI / kIdhI kAmi kadarthanA ti gahilI tu lAja TAlI hai| jANai vedana ko kizI na kihi-nI, tu kRSNa kethAM thaii // 61 svAmI ! kRSNa ! havi kihAM milisi tU ? strI ko na choDI jAi lii tUM kaMkaNa cIra, vIra ! paNa tu dRSTiI parahu kA thAi / ? 58. The folio containing the text of 58 cd to 61 a bc is missing in T. 2. kha. nIri saghalo, ga. nIra saMghalI 3. ka. tamacI daI, dekhasai. 4. kha. deva mahya huI Avai ghaNA paura e. 59. 1. kha. jAina. 2. ka. ja; kha. tahma rahiI ji bAla sarasU. 3. ka yAdadAya, Avai malI. 4. ka rIjhavazU kizI pari, jaii 60. 1. kha, rIjhavaI.3 kha stana milai. 4 ka. vaseSa. 61. 1. ka. ko laTI, kha citta guNe ghaNe, mila. 3. kha. tuM. 4. kha kisiI ma kahi nI. 62. 1. ka milizi; kha. kihAM havA milisi 2. ka. laI dRSTaI.

Page #261
gaDala-kAnha-viracita 17 nANaI lAza nisiu sadA alajaI kRSNa tUM-siuM ramai Agai je abalA na nirdayapaNaI strI teha na dUhavyU khamai // 62 zrI-zrIraMga kuraMga-zAva-nayanI kAmAkulI kAminI 'bholA ! bholima kAMI kutiga karu 1 diu cIra, thaI yAminI' thAkI, thartharatI, payodhara-kaTI-bhAriiM prasInI save dIdhA Agali hAtha, lAja bhani thaI, ekeki valagI khave // 63 kIdhI devi dayA tihAra, vilakhI gopI rahI-naI joI kIdhI UgaTi aMgi caMdani save, taMboli pUryA leI / pUriu vaMza murAri, sAthiM savi thaI gopI ji tAlI deI cAliu deva bhurAri mUrti bhagavAn te sarva-agre thaI / / 64 vAhI rAti vinodi rAmati-rasaI gopI ghare vIsarI dohA gAi gopAla ApaNi valyA gopI ji pUThai karI / vAi vaMza mRdaMga AgAle thiku nAcai rahI thAkaNe harakhI nAri jihvAri sAthi ramatI dIThI ji loke ghaNe // 65 mohyA loka vinodi rAmati-rasaI nAcI ji tAlI vAi rIjhyA saMta munIzvara stuti karai, pratyakSa devI gaai| kIjai varSa sahasra ju tapa kimhai, tu deva dRSTiiM thAi bholA loka ! jou, purANa nara e pratyakSa vINA vAi // 66 63.1 ka. zrIraMga iMya. 2. ka. tha kha mAlava 4. ka. ikeka, 64. 2. kha. kI UgaTa mihadhu, ga zavu 3. ga. bAI 4, kha. te savi Agali thaI. ga. agre sa likhamA dharI 65. 1. kha. sAhI stani yinodi, ghari AvI sari, ga. AvI dhari vIsarI. 2.ka. dAhu, valyA; kha calyA, ga. valyA 3 ga. vAra chada. 66.2. kha. devA, ga degA 3 ka. dRSTii, kha. dRSTi, ga. dRSTi, 4 ka. jei

Page #262
kRSNa-koDita mAtA dhanya jeNi jagat-prabhu jaNiu, brahmAdi jeha-ni namai gopIe gata janma ugra tapa siuM sAdhiuM, tu sAthiI ramai / kIjai kaSTa vRthA vaNe tapi karI, jau kAja muktiiM kimhai milIi mAMhi mukuMda sAthi ramatAM pratyakSa dIThau ahmai // 67 siu' ho deha damu kadarthana karI svAdAnna-pAna tyajI ? chAMDu vAsa girIMdra-parvata-guhAM, gokuli rahIDa hajI / IchAM deva jihAM anaMta bhagavAn gopI miliu je ramai kIjai nAda vinoda Agali thikA, je jeha teha-nai gmi||68 pIjai dUdha apAra sAkara-jim' zrIraMga-sAthiI milyAM IchA-bhojana sUkhaDI nita navI dii deva mAMhiM bhilyAM zU chai svargi vizekha saukhya adhika~, ju svarga-dAtA ihAM ? IchAM vAsa gamai, sukhAzrita bhalu tu svarga sAcaI tihAM // 69 chAMDa deha-kadarthanA RSi save, ju bola mAnu kahiu dekhu Adi anaMta deva bhagavAn gopI-viciI je rahiu / ANu drAkha tilAMdalI savi milI, tu bAla phosAvIi hui jAga aneki pUrNa sahasA, ju kAMga bUkAvIi / / 70 icchA-Izvara-nI Acatya mahimA AzvayaM ko chai maniI ? jANu e para brahma deva pragaTiu kaivalya vRMdAvaniiM / jIviuM sArthaka bAla-lolana-misiiM, jou, jazodA karai gopI dhanya nirIha jeha-sarasU' saMbhoga lIlA dharai // 71 67 1. ka. yeNI, kha. jINaI jagadaguru ga. jeNi prAdagura, teNi ghyAyo. 2. kha tapi, deva sAthiI, ga. tapanapyA. 3. ka. mukta iM. 4. kha. mADa mukada, imaha; ga mAMDa, dITho mi. 68. 1. ka deva damu. 2. ga choDu, guphali. 4. kha. je je u. 69. 1. ga apAri. 2 Missing in ga. ka. ichA, daI; kha. ichA, milyA. 3. kha. ahAM. ga Aho. 4. ka ich| yeha, kha. sAca u. ga. tAMhA. 7. 1. kha. mAnyu karu, ga zavu, mAni kaho 2. kha. ta'dhu, anaMtamUrti; ga peSu, anaMta bhagavAna 3. ka milAdalI 4. ka. yAga aneka, kha anaMta 71. 1 kha AzcaryakArI manii, ga. AzcaryakArI. 2 kha. tattva pragaTyu.3. ka. masaI bau e yazodA. kha lAlasa. 4. kha. sabhogya, ga sabhAgya lIlA rami.

Page #263
rAula-kAnha-viracita leI thAla pravAla mauktika bharI, mAtA jazodA hasI dIThau deva dayAlu durlabha havaI, tu pApa phejyAM ghasI / motI mUThi bharI saharSitapaNaI mAtA vadhAvai rahI leI caMdana bhAmaNAM prabhu karI gopI prazaMsA vahI / / 72 helA capaka jAi-veli tulasI-mAMjari gaMthI karI leI lAchi uchAMchalI lahilahI lIlAM ti mAlA dhrii| svAmI-kaThi niropavA-miri. kisaI sAMI ji dI, isI 'AzA-pUraka citta cuMbana-taNAM tUM eka AzA vasI' / / 73 mAtA dUdha kaDhI ji sAkara-saha Apai ti vATauM bharI bolI bhakti-vizepa dIna vacane vAchilya-premaI karI / 'dIi deva! dayAla! mukti-padavI, dAtA na ko tUM-samu ANaM putra! kacaMbarI, mujha kahu, A rucai te jimu' // 74 toSiu deva vizeSa bhakti-vacane vAchilya mAtA-taNe dIdha te pada alaci-siu~, lahi na ko je jAga kIdhe praNe / bhUlA kAMi bhamu save jaNa ? jAu saMsAra kahi-naI kisiDa ? . dhyAu bholapaNaI bhavAbdhi tarivA, gokuli je chai bsiu||75 mAra 502 1. ka leI hAthi pravAla 2. pha. durlabha valI. ka bharIya harSitapaNai. ga vadhAvI. 4. kha. kahI, ga karI. 73. 1. ka. mAMjarI, kha. mAMjara. 2 kha. UchAMchalI lahalaha I. 3. kha. kAmI kaThi niropavaI misI karI. 4. ka. tu. kha. vitta cubana taNI tu, ga ca bana karI. 74. 1. kha. ga. Ayu. 2. kha. kSeme karI, ga khemA. 3 kha. deye deva dayA ji, ga. haie deva dayA ya. 4. ka yamu; kha. putraka cUrimU kahua Aje je ruci, ga.traka trimU kiu Aja je raci. 75.1. ka. bAchalya, ga. pokhyo deva anyekya dIna bani bAchacalya vAcA taNi, 2. kha bhAgya kIdhe, ga, dIdhe. 3 ka bholA, juu, kahini. 4. Missing in a ka karavA.

Page #264
kRSNa-krIDita tUsai svalpa vizepi bhakti kariva te pApa kAzI dahA vAMchA siddhi mahattva saukhya padavIM bhra-bheda bhAviI kaha / lIlA Alasi bolatAM ji ramatA je bhakti bhAnai ghaNI jeNi devi dayA ajAmila-pratiI kIdhI sudaamaa-tnnii||76 jANauM bhakti, na mukti siu', stutI karI sevyA na pUjyA hari dekhI dIna anAtha-nAtha bhagavAn ! zrIkAMta ciMtA kari / bhUlu mUDhapaNaI kihAra bhanasA vAcA smarU vA nahIM tUM meM deva! nirAparAdha karije, gopAla ! pAle kihIM // 77 mAyA-moha-mahA-madAMdha mamatA-mAtA ji icchAM ramai tRSNA-jAla-vizAla-dravya-lipasA-pI ahaptA zamA / lubdhA eki madAlasA-praNayinI-saMpUrNa-premAmRtiI tuhai taI ji kRpAla ! sAra karivI, AzrayA tuuN-prtijny||78 kIdhA karma kaThora nIrasapaNai svArtha save AdarI vaMca droha saroSa doSa haTha-zRMtu loki niMdA karI / makI dAkhi na lAja sUga zucitA aNA maNAre rahyA chAMDayAM bAMdhavi lAki kRSNa japatAM e dopa taI saaNshyaa||79 svAmI! kRSNa! kihvAra eka gahilU boliu~ kSamA tUM kare jau maI janmi kuNii smariu na manasAM vAcAM tuhii uddhare / no vA kRSNa! kRpAla ! Aja havi tUM e janma sAtai taNI sevA zrIdhara! mAnaje, kari kRpA tUM deva ! bholaa-bhnnii||80 76.1.ka. karavaI. kha. je pApa pAzI.2 ga. karI. 4. Missing in ga. 77. 1. ka. jANiTha', zruti 2. ka zrIkAMti kha. kare. 3. ka smare 4. kha. tu maI, ga. tohi deva. 78. 1. kha. ki save. 2. ka. lola niMdA kha marma hava sU. 4. kha. doSa tai sU sahyA, ga vAMchayA. 8..1.kha. bAlU', ga.bAlyo 2 ka smariu ti, tuhi uddhare. ga jo mi tU janmi .3. ka. Aja kRpAla kRSNa hava. 4. kha. bhAlu

Page #265
rAula kAnha-viracita svAmI ! citti apAra kautuka ghaNUM je pUtanA pApiNI AvI kUDa karI vipa stana bharI vIhAmaNI DAkiNI / varI kaMsa- samAna, rAvaNa jisyA te uddharyA ju kinhaI hAsai kRSNa ! kivAra rAma japatAM sUM uddhare tUM imhaI ||81 pUjA nizcala citti eka na ghaDI, na stotra pATha -pratiI dhyAni caMcalatA, tapobala nahIM ekAdazI - naI pratiI / lobhiuM ardha- sugaMdha- puSpa-rasa-siuM naivedya lIjai hoI jANI deva ! vizeSa bhakti na kisI, ju lAbha ciMtA hoI // 82 AtmA oter kara apopita thikku sutu ji svapne laha dekhI kaSTa vibhAti vihvalapaNai ko annadAtA kahara | svAmI! sAhasa sattvavRtti na kisI, saMtoSa vArtA TalI bIjUM siu ? hava vIna, kari kRpA hUM pAgi lAgUM valI || 83 dUrvA-pUjana deva-bhakti capalI, tu mukti mAgUM kihIM deje sevaka dIna yAcaka bhaNI, tUM deva ! dAtA sahI / dekhI durbala duHkhIu kari kRpA svAmI ! na pUjA- tratiI dAtA deva ! to, dayAlu manasAM chau dIna bhakta-pratiI // 84 ju tUM deva! dayAla ! mukti- padavI Apa nahIM meM kinhaI sevA zrIpati ! kevalI ji caraNe deje, tu jAciu imhaI | yAJcA bhaMga karai na ko nara chataI, pAlai pratijJA kharI ciMtA ha to havi ji karivI, dInAzrayu sAMbharI // 85 21 81. 2. ka. ga vIhAmiNI. 4. kha. imaI uddharaD 82. 9. ka. ekecitta na ghaDI 2. ka. jyAne nizcalatA. 3. ka. artha, kha. puSpasarasU, ga. arthe, saraso 83. ka. kariu sapoSita thaku. 2. ka. dRSTi 3 svAhA zAstravicAra vRti, ga. citravRtti. 84. 1. ka pUjana. kha. deyeA 4 tahyo, cha. 85 1. kha. dayAna, ga. dayana. 2. kha. dIvyu, ga. jIvU uhmo 3 ka nara achacha. ga. pratijJA karI 4 kha deva havayaM, sAMbhalI. ga deva havi tahmo, sAMbhalI.

Page #266
kRSNA-krIDita svAmI! anya zaraNya ko prabhu nahI', bhAlu valI ji dayAM pUraha vAMchita citti, duHkRta dahai, pAlai ji je AzrayAM / eke kaSTa karI, mahA tapa dharI, ke deva jAge karI moTu hU~ ji samartha, kevala dayAM je bhakta lii uddharI // 86 dhanyA divya purI atIva mathurA zrIkRSNa jINaI rabhai jANe te jana puNyavaMta saghalA hatA ji tINaI samai / svAmI! ko na jiu tihAM ji, havuhaM AhIra pIMDAra vA pAmI tu hata Aja zukti-padavI, kA Iza chai vArivA ? / / 87 AgaI ju na basiu zagAla nagarI, bIjI ayodhyApurI no bAhiu haricaMda-vAsi, na kihIM mehaliu eNi chatarI / A A aparAdhIu kari kRpA, anyatra vIha rahiu rAkhe meM tala-pAsi, vAzi jamalu, pAle havai sAMsa hiu / / 88 mITha prAkRta kAMta komala guNe, zrIkAMta te-siuM varu jANI je mani sAdaru jana hui, tu pApa teha-nUM haru / helA jAga aneki tIrtha tapa-nUM ju sAra lIjai joI bholA zrIpati-zrInivAsa-caraNe ju bhakti bholI hoii||85 jANe svalpa vizeSa bhakti, mati nA, gaviI avajJA vaha si ho prAkRta pAmarI pari rahai, te puNya teha lhh| 86 4 ka mU ke tU'ya, dayA, gani sva. damA, li, ga laI. 871 ka devapurI, yeNI ga jeNi ramyA. 2. ka nA ni jana pravana saghalA jANe ya teNe samaI, ga, teNika haba, kha kAMta rAju, haba, ga. saga tAhAM uo. 4. ga. pApI tuhi tu. 88. 2. kha. ne| vAhU harizcadra, teNAi 4. kha. bAsi maI tamA, vali havana, ga. vAze samani. 89. kha. zrIkAlane saMbare. ga zrIyAna ni saMvaraH 2. kha je jana sAdarU mani, ha, ga, je jana sAra mani ho ra 4. ga. to bhakti .. 90. 1. kha. jANI; dakSa mahinA. ga dakSa mahimA 2. Missing in ga. kha zU ho,

Page #267
gAula-kAnha-viracita jANe dAni karI apAra teha-nI jihvA chati siuM kara bhAvAbhAva-vinAda-lAlasa-misaI zrIkRSNa je na smarai / / 90 tUmai deva dayAM ki dIna vacane, ko bhAna bholai paNai kehAM saMskRta gIta gadya-racanA, ju deva-hInA bhaNai / jANau je jama ApaNI ruci ramu, niMdA na kahi-nI karu vAMchA putra-kalatra-saukhya-sarasI, tu kRSNa haiI smaru // 91 jANI jJAnavatI na nirmala kalA, sarvArtha je sIjhavaha kAMtA komalaDI su-lIla na milI, je ke guNe rIjhavai / hA ! hA ! hA! hava jhUratAM ji bhamatA giu janma AlaI vahI hai ! hai ! hai ! hava jItUA! smari kimhai zrIkAMta haii sahI // 92 dIThA deva aneki aMtara haii, sAnaMda je-siu milyA pAlI prIti kisI na teha sarasI, tu raMga te-siu' TalyA / kAMtA saMzaya-rUpa kUkaTa-racanA, nuhai kuNaI ApaNI / bIju koi nathI zaraNya tahma tu nirvANi chaaNddyaa-bhnnii||93 hui ratna-samAna prANa-priya je, vAlhAM bulAvI jimai je-pAkhai na vahai ghare adha-ghaDI, te vIsarI-nai ramai / pari hUM, tehUM 3 Missing in ga 4 / zrIkRSNani, kha bhAvAbhAvi, lAlana, ga. jeha smari. 11. 1. ka bhAva bhAvi, ga. deva gIta dIna vacane. 2. Missing in ga... va. niMdA ma. 92. 2. Missing in ga ka. yeha guNe 4 ka. smari kiziM, kha. jItU A, ga. havi jatmA smari kihI zrIhari. 93 1 ka. aneka sAnaMda hii Adarai jai siu In a different hand UlaSTi written above AdaraI ga. tara rahyA. 2. ga. zrIraM tezU. 3 ka. saMzaya bhAga rUpa, kha kUpa racanA, ga. saMzaya kUTa paracanA 4. katama tu. 94 2.kha vIsAI nai Missing in ga. __

Page #268
24 kRSNa- krIDita jAMNI vedana ApaNI, savi milo khaulIya liDa doraDa svAmI! tUM jisagu, apAra visayu saMsAra char3a koraDa ||94 mehala maMdira mAlI dhana anaI chorU ti vAlI bahU airs eka as faar na kahi naI, te zUnya sUkI sahU chAMDI Asa, haii manoratha rahyA, jIvI ji jAMNiu nahIM cAla A bhAvi ekalau ji, valatu giu ko na jANai kihIM // 95 etI cADa kare nidAni garuA goviMda ! lakSmIdharA ! raja! anaMta! kRSNa ! suNije, zrIkAMta! pItAMbarA ! | lAgUM pAgi valI balI calavalI, svAmI ! mayA tUM kare Ave acyuta ! aMta-kAli jamalau, hUM rAkhiu sAMbhare // 96 kRpAla ! gopAla ! dayAla ! mAdhavA ! dInAzrayA-pAlaka rAma! rAghavA ! | murAri saMsAri apAra UbhagA vizrAma dii svAmina! pAgi lAgA // 97 bhava jalanidhi tarevA rAma nAmihaM japIjai para-dhana para niMdA dAna- zocA na kIjai / tRNa eka chala- bhAvi koi vaMcI na lIjaha vividha phala- prakAra rAma-pUjA karIjai // 98 3. ka. vyai. kha. jANe, khulI 4. ka. chi 95. 4. ka. kha. bhava. 96. 1. ka. girUA, kha. ga. e tU. 97. 4. ka. yaha svAmin pAyi chU lagA, khA. pAgi chU lagI. 98. 1. ka. nAmi, kha bhavanidhi tarivAnahaM japIha 2. This is third line in r. The second line reads : nitu mani karuNA zu satyadhammiI tapII. kha. zocA. 3. This is fourth line is khA.

Page #269
gAula-kAnha-viracita ajara amara nahIM ko ekalaI jIvi jAva' jama-gaNa haTi hAthiM kAMI alAbhaI na khAva' / svajana-jana-save-siuM prema-saMghAta cakara havi hari-tanu pUjA ema jAMNI ma mUMkau / / 99 udita acala-bhaktyA zyAmalAkAra-mUrtimaha-nizi smara nityaM citti ju saukhya-tRptiH / nava-rasa-kRta-raMgaidinaiveza-vINA vividha-vraja-vadhUbhirye smara-chadma-lINA // 100 madhurasa-karuNAbdhezcitanaM deva ! dehi saphalaya madhu-vAcaM kRSNa! me'dya prasIda / tava caraNa-yuge me dehi vAsaM murAre! rajakaNa-samatulyasyApi sevAnvitasya // 101 devakI naMdana! kRSNa ! goviMda! garuDadhvaja! / karuNA-kara! gopAla! pAlayasva pitAmaha! // 102 zrInAtha! kamalA-kAMta! vAmanAcyuta! mAdhava! / anAtha-nAtha! dIneza! trAhi mAM zaraNAgatam / / 103 99. 1. kha. ga. nahIM e 3. kha siMha sU. 4. ka. hari tanu anu pUjA kha. hava ima. 100.1. pa acala vinaya bhaktyA zAmale kAmamati ga. acala vini kAMti mati. 2. ka. rahanizi. sva. saukhya bAMchai. ga. vAMcho. 4. kha. je smarai cha3 ji lolA. ga. meM smara ziva lIlayA. 1.1.1.ka. dana' deva, na.canaMdAvi dehi. 2. ka. sakalamadhura vAca' deva. ga. sakalaladhU vAca'.3.kha. ga. caraNa puTale. 4. ka. tulyAsya di.kha. sevAzritasya. ga. rajakacaraNa sadazazyApi zevAzratasya. 102. Missing in ga. 2. ka. govyada guruDadhvaja. 4. ka. tArayasva. 1.1. 2. kha. ga. mAvAsyuta vAmana. 3. ka. deveza, dIneza noted marginally as a variant. 4. ga. yamana dhanAtU.

Page #270
kRSNa-krIDita vizvaka-nAtha! raghunAtha! anAtha! nAtha! sItAdhinAtha! kamalApani! pANa-nAtha! / AnaMda! naMda-kula-dIpaka! vizva-dhAma! kRtvA kRpAM paramapAvana! dehi saukhyam // 104 zrIkAMta ! he acyuta! vAsudeva! lakSmIza! he rAghava! rAmadeva! / gopIza! he Iza! hare! murAre! vizrAma dii svAmina kaiTabhAre! // 105 / / jaladhi-bhujaga-zAyin! draupadI-prANa-baMdho! jaraTha-dhanu-vimardina! pUrNa-sItAbhilApa! / vizada-yadu-kuleza! zrIpate! rukmiNIza! pRthumapi kuru citAM dharma-dhAma-pradIpa! // 106 prakaTita-rasa-vArtAH devakI-naMdanasya laghu-vaya-rasa-ramyAM pApa-hantrImatIva / vRjina-vraja-kRzAnoH kAmanA-kalpa-vallI paThati dina-nizIthaM tasya viSNuH prasannaH // 107 aSTottara-zata-zlokAn ye paThati samAhitAH / sarve-pApa-kSayaM teSAM gRhe lakSmIH pravardhate // 108 104. 2.ka.sevAdhinAtha. 105. 1. ka. he nAtha he vAsudeva. 2. rA. goviMda, rAma kezava, ga. govyaMda. 3. ga. he Ibhara he mugare. 4. ka. tAI svAmina, 10. 1 ka. kha. dUpadI. ka. prANasvAmina, kha. ga. prANabaMdho. 2. kha. asurajanaSimaIn ga dazabadanavimartana. 3. ka. vizadayatu yazaHgI. ga. nasudevasuto. 4. rana. soda, ga. vidhimi kurU, prazIda. 107. 1. ka pragaTita, kha. ga. prakaTasarasavArtA'. 2. ka. atilaghurasa, 3. ga. kAminI. 4. ka. paThati vividha bhaktyA. 108. 4. ka. pravartate, ga. prasIdatI.

Page #271
prastAvanA pratiparicaya prastuta zrIpArzvanAthamahAkAvya kA saMzodhana prAcIna hastalikhita do pratiyoM kI sahAyatA se kiyA gayA hai / ina do pratiyoM meM se bhI vizeSataH zuddha pATha 'a' pratikA hai / dUsarI 'va' prati kA pATha prAya: azuddha hai / ata: 'a' prati kA hI vizeSa rUpa se upayoga kiyA gayA hai| 'a' prati : lAlabhAI dalapatabhAI bhAratIya saMskRti vidyAmaMdira, ahamadAbAda meM surakSita yaha prati munizrI puNyavijayajI ke saMgraha kI hai| isakA kramAka 3769 hai / yaha prani kAgaja para likhI huI hai / isakI lipi nAgarI hai| isa prati kA parimANa 25. 7411 se0 mI0 hai / isa prati meM kula 42 patra haiM / pratyeka patra me 11 paniyA~ haiM / mAtra antima pRSTha meM kAvya pUrNa ho jAne ke kAraNa se 6 paktiyAM AI haiM / pratyeka pakti meM akSaroM kI saMkhyA samAna nahIM hai / paktiyoM me akSaroM kI saMkhyA 34 se 40 taka pAI jAtI hai / prati kI avasthA acchI hai / isa prati kA lekhanakAla 17 vauM zatI ko uttarArdha hai| kAvya ke anta meM puSpikA nahIM hai| prathama sarga ke anta meM " iti zrImatparAparaparameSThipadAravindamakarandasundararasAsvAdasamprINitabhavyabhavye 50 zrIpadmameruvineya paM0 zrIpadamasundaraviracite zrIpArzvanAthamahAkAvye prathamaH sargaH:" likhA hai| isI prakAra sampUrNa kAvya meM, pratyeka sarga ke anta meM likhA gayA hai / 'ba' pratiH bar3audA kI orienTala senTrala lAibrerI kI isa prati kA kramAMka 2213 hai| yaha prati bhI kAgaja para likhI huI hai / isakI lipi nAgarI hai| isakA parimANa 24.8x11 se0 mI0 hai / prati meM kula 34 patra haiN| pratyeka patra meM 15 paktiyAM haiM tathA atima patra meM 11 paktiyA haiM / pratyeka patra ke bIca meM SaTkoNa ke AkAra meM jagaha khAlI hai / paktiyoM meM akSaroM kI saMkhyA asamAna hai| 32 akSara se lekara 42 akSara taka kI saMkhyA pAI jAtI hai / prati kI avasthA acchI hai / parantu adhikatara pATha azuddha hai| prati kA lekhanakAla 17 vIM zatI kA uttarArdha hai| kAvya ke anta meM puSpikA nahIM hai / mAtra kAvya kI samApti kI sUcanA 'a' ke samAna hI dI gaI hai|

Page #272
kavi paricaya aura unakI kRtiyo kavi padmasundara pArzvanAtha mahAkAvya ke racayitA zrI padmasundara padmameru ke ziSya the, tathA Anandameru ke praziSya the / ve nAgapurIya tapAgaccha ke gaNi the I zrI padmasundara bAdazAha akabara ke darabAra ke pratiSThita sAhityakAroM meM se eka the / unakA ullekha akabara ke mitra ke rUpa me bhI kiyA gayA hai | ataH yaha spaSTa hai ki zrI padmasundara akabara ke samakAlIna the| vAdazAha akabara kA zAsanakAla sana 1556 (1556 A. D.) se lekara sana 1605 ( 1605 A. D. ) taka kA rahA hai / eka anya pramANa jo padmasundara ko akabara ke samaya kA hI ghoSita karatA hai, vaha yaha hai-sana 1582 meM jaba zrIhIra vijayasUri akabara ke darabAra meM Aye the taba taka padmasundara kA dehAnta ho cukA thA tathA unakI pustakoM kA bhaMDAra rAjakumAra salIma ke pAsa thA / usa bhaMDAra ko salIma ne hIravijayasUri ko bheMTa meM diyA jina pustakoM se hIravijayasUri ne AgarA meM eka pustakAlaya sthApita kiyA aura thAnasiMha nAmaka eka jaina zrAvaka ko usa pustakAlaya kA saMcAlaka banAyA thA + | 1. 2. 3. 'paTTAvalI samuccaya, bhAga 2, cAritra smAraka granthamAlA kra0 44 ahamadAbAda, 1950, pR0 224 / * hisTrI oNpha klAsikala saMskRta liTarecara,' ema0 kRSNAmAcArI, dillI, 1970, pR0 294 / , isakA ullekha zrIagaracanda nAhaTA ne ' anekAnta bhAga 4, pR0 470 meM apane lekha 'upAdhyAya padmasundara aura unake grantha' meM kiyA hai / 'akabarazAhI zRMgAradarpaNa, ' gaMgA orienTala sIrIja naM0 1, sampAdaka ke0 mAdhava kRSNa zarmA, prastAvanA, pro0 dazaradazarmA kA lekha, pR023, 'padmasundara, a friend of Akbar 'akabara da greTa' prathama avRtti, AzIrvAdIlAla zrIvAstava, dillI 1962, pR0 1 va 488 / 4. pro0 dazaratha zarmA ke padmasundara para likhe lekha se, jisakA uddharaNa ke0 mAghavakRSNa zarmA ne apanI pustaka akabarazAhI zrRMgAradarpaNa ke pR0 23 para kiyA hai / 'sUrIzvara aura samrATa' munirAja vidyAvijaya, gujarAtI saMskaraNa, bhAvanagara, saM0 1976, pR0 119-120

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jainagranthAvalI1 ke anusAra padamasundara ne rAyamallA-yudaya kI racanA saMvat 1695 (1559 A.D.) meM kI aura pavanAthacarita kI racanA savat 1625 (1569 A. D) meM kI parantu vinTaranija kA kahanA hai ki padamasundara ne pArvanAthacaritra kI racanA sana 1565 me kI thii| akabarazAhI zRMgAradarpaNa kI prati kA lekhanakAla san 1565 hai / ataH isa kRti kI racanA isa tithi ke pUrva kI honI cAhie / yadyapi pro0 dazarathazarmA" apane patra meM, vibhinna tarkoM ke sAtha isakA racanAkAla san 1560 kA nizcita karate haiN| unakA yaha bhI kahanA hai ki rAyamallA yudayakI racanA paramasundara ne I. 1559 meM kI hai ataeva usa samaya taka to ve jIvita the aisA mAnanA cAhie / samrATa akabara saMskRta sAhitya ke premI ke rUpa meM suprasi rahe haiM / unake manthAgAra meM saMskRta sAhitya kI kaI pustakeM paraziyana bhASA meM anudita thI / mugala bAdazAho ke samaya jaina AcAryo' ko Adarayukta prazraya prApta rahA hai| AnandarAya ( Anandameru ) jo padmasundara ke guru padmeru ke bhI guru the, unheM bAdazAha bAbara aura humAyU~ ke samaya meM Adara prApta thA / usI guru paramparA meM Age cala kara zrIpadmasundara ko akabara dvArA Adara noTa : yahA~ yaha darzanIya hai ki donoM putasko ke vivaraNa meM bheda hai / sUrIzvara aura samrATa meM likhA hai ki hIravijayasUri akabara se mile aura akabara ne apane putra zekhajI se maiMgavA kara, padmasundara dvArA pradatta pustakoM ko unhe bheTa meM do parantu pro. dazaratha zarmA ne apane lekha meM likhA hai ki padmasundara kI pustakoM kA saMgraha salIma ke pAsa thA aura salIma ne hIravijayasUri ko diyA thA / yahI yaha bhI draSTavya hai ki hIravijayasUri bAdazAha akabara ke darabAra meM savata1639 meM Ae the ata: padmasundara kA svargavAsa isase pUrva honA siddha hotA hai / 1. jainagranthAvalI, zrI jaina zvetAmbara kaoNnpharansa, bambaI, saM0 1965, pR0 77 / 2. hisTrarI opha inDiyana liTarecara, moripa vinTaranitja, bhAga 2, dillI, 1972, pR0 516 / 3. akavarazAhI zRGgAradarpaNa, pR0 23 / 4. pro0 dazarathazarmA kA lekha, ke. mAdhavakRSNazarmA dvArA uddhRta, akabarazAhI zugAradarpaNa pR. 23 / 5. "He had been alive in 1559 A. D., the date of his rAyamallAbhyudaya", pro0 dazarathazarmA ke lekha kA uddharaNa, sampAdaka ke. mAdhavakRSNa zarmA kI pustaka 'akabarazAhI zRGgAradarpaNa, ' pR0 23 / 6. "We might perhaPs add that he enjoyed during this period also the company of literati like Padmasundar and was more fond of literature than philosophy" ___akavarazAhI .zAradarpaNa, 24 / 7. ke0 ema0 panikara dvArA likhita prastAvanA, akabarakhAhA zagAradarpaNa, pR07 /

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prApta huA / isI prakAra padmasundara ke pazcAt hIravijayasari akabara ke darabAra meM Adara ke pAtra bne| ___ akabara ke samaya, unake rAjya meM rAjamantriI evaM darabAriyoM meM kaI vidvAn upasthita the| mukhyata: hama do ke nAmoM se to bhalI prakAra paricita haiM hI- pahale rAjA ToDaramala, revanyuminisTara, jinakA dharmazAstra para likhA grantha Aja bhI 'saMskRta lAibarI, cIkAnera meM maujUda hai / dUsare pRthvIrAja rAThaura jo Aja hindI kavi kI haisiyata se hI jAne jAte haiM usa samaya ke mAne hue saMskRta bhASA ke vidvAn bhI the / aphavara ke darabAra ke sAtha jaina vidvAnoM kA melajola eka aitihAsika satya hai / yugapradhAna zrIjinacandramUri, eka vikhyAta jaina sAdhu, san 1591 meM akabara dvAra daravAra meM bulavAye gaye the aura unakI sAhityika kRtiyoM para akabara ne unheM 'yugapradhAna' kA khitAba diyA thA / harSakIrtisUri kI dhAtutara giNI kI prazasti se jJAta hotA hai ki jodhapura nareza mAladeva dvArA bhI padmasundara sammAnita hue the| nAgapurIyatapAccha kI paTTAvila ke eka ullekha ke anusAra padamasundara ne akabara ke : kisI garvita brAhmaNa ko vAda-vivAda meM harA kara apanI vidvattA kA sikkA jamAyA thA aura samrATa kA mana jIta liyA thA tathA katipaya upahAra bhI prApta kiye the / unhe' upahAra meM mAma mile the, ese ullekha prApta hote haiM / ata: yaha dhAraNA nirdhArita hotI hai ki ve prathama paDita rahe, aura bAda meM unhoMne jainI dIkSA lI hogI / 1. akabarazAhI zagAradarpaNa, pR0 20 dekhie mAnyo bAbarabhUbhujo'tra jayarAT tadvata hamAU nRpo - tyartha prItamanA: sumAnyamakarodAnaMdarAyAbhidham / / tadvatsAhiziromaNerakabarakSamApAlacUDAmaNe manyiH paDitapadmasundara ihAbhUta paMDitanAtajit // 2 // 2. ke. ema0 panikara dvArA likhita prastAvanA-akabarazAhI Na, pR0 7 evaM 8 / 3. vahI / 4. sAhe: saMsadi padamasundaragaNirjitvA mahApaNDita kSImagrAmasukhAsanAdyakabarazrIsAhito labdhavAn / hindUkAdhipamAladevanRpatermAnyo vadAnyo'dhikaM zrImadyodhapure surepsitavacA: padmAhvaya: pAThakaH // -harSa kIrtisUri kI dhAtutara giNI, lA0 da0 vidyAmaMdira, ahamadAbAda, prati kramAMka 1882, patra 76 / akabarazAhI-zRMgAradarpaNa, pR0 22 / "He was successful in a literary contest at the court of Akbar and was honoured with gifts of villages etc." hisTrI oNpha klAsikala saMskRta liTarecara' ema0 kRSNamAcArI, dillI. pAvalI samuccaya, bhAga 2, gujarAtI saMskaraNa, pR0 224 /

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eca0 blaucamaina (H. Blochmann ) dvArA anuvAdita Aine akavarI (AiniAkbari) meM akabara ke 180 skolara ke nAma diye gaye haiM jinameM se 32 hindu the / ina skolara ko punaH unake kSetroM ke anusAra pAMca vibhAgoM meM vibhAjita kiyA gayA hai / isameM se prathama vibhAga meM jina ATha hindu paMDitoM ke nAma Ate haiM, ve ye haiM - madhusarsutI, madhusUdana, nArAyaNAzrama, dAmodarabhaTTa, rAmatIrtha, narasiMha, para mandira va adita 1 | yahA~ para ullikhita paramindara hI padmasundara haiN| jinheM lipikAra kI galI se paramindara rUpa meM likha diyA gayA hai 2 1 isake sAtha hI kavi padmasundara dvArA racita ' akavarazAhI zRMgAradarpaNa' nAmaka grantha jisakA nAma hI akabara ke nAma para rakhA gayA hai, pratIta hotA hai mAno padmasundara ne isa grantha kI racanA akabara kI prazasti meM, unake lie hI kI ho / 3 ina samasta saMdarbhoM ke anusAra yaha spaSTa ho jAtA hai ki padmasundara akabara ke darabAra ke vidvAnoM meM se eka the / padmasundara saM0 2612 (1556 a0 DI0) se saM0 1661 (1 1631 - 1575 a0 DI0 ) taka akabara kI sabhA meM vidyamAna rahe haiM / unakA nivAsasthAna saMbhavata: AgarA hI rahA hogA / arvAcIna saMskRta jaina kaviyoM meM padmasundara kA sthAna mahattva kA hai / ve bahutamukhI pratibhA ke dhanI rahe haiM / unhoMne vibhinna viSayoM ko lekara kAvya va zAstrayanthoM kI racanA kI hai / ata: unakI vidvattA vidita hotI hai / durbhAgya se padmasundara kI sabhI racanAe~ abhI taka prakAzita nahIM ho pAI haiM / mAtra cAra choTI racanAe~ hI prakAzita 1. 'Aine akabarI', eca0 blaucamaina dvArA anuvAdita, dillI, dvitIya AvRtti 1965, pR0 537 547 taka / 2. ' akabarazAhI zRGgAradarpaNa,' prastAvanA, pR0 24 aura 25 3. vahI / bambaI, saM0 1965, pR0 77 / 4. jaina granthAvalI, zrI jaina zvetAmbara kAnpharansa, 5. padmasundara kA nivAsasthAna AgarA mAnane kA prathama kAraNa to akabara kA dillI, AgarA va phatahapurasIkarI meM rahanA hI hai| dUsarA, zrI agaracandanAhaTA ne bhI apane lekha meM eka jagaha likhA hai ki ' saM0 1625 meM jaba tapAgacchIya buddhisAgarajI se kharatara sAdhukIrtijI kI samrATa kI sabhA meM pauSadha kI carcA huI thI, usa samaya padmasundarajI Agare meM hI the, 'aitihAsika jainakAvyasaMgraha, ' zrIagaracanda bhavaralAla nAhA, pra0 AvRtti, kalakattA, saM0 1994, jaItapadaveli, pR0 140-141 /

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kavi padmasundara kI kRtiyA~ prakAzita kRtiyA~ : (1) akabarazAhI zaMgAradargaNa (2) kuzalopadeza (3) SaDmANasundara (1) jJAnacandrodayanATaka aprakAzita kRtiyAM : (1) paramatavyavacchedasyAdvAdasundaradvAtriMzikA (2) rAjapraznIyanATyapadabhajikA (3) SaDbhASAgarbhitanemistava (4) varamaGgalikAstotra (5) bhAratIstotra (6) pArzvanAthacaritamahAkAvya (7) sArasvatarUpamAlA (8) hAyanasundara (9) sundaraprakazazabdArNaNa (10) yadusundara mahAkAvya (11) rAyamallAbhyudaya mahAkAvya (12) jambUcaritra (13) prajJApanAsUtra kI avcuuri| 1. aprakAzita kRtiyoM meM khimAraSicaupa, zrIdattacopAI, catuHzaraNaprakIrNakabAlA. vabodha tathA bhagavatIsUtra stavaka ina cAroM hI kRtiyoM ke kavi padmasundara haiM para ve apane padmasundara se bhinna lagate haiN| 'khimariSicauma' kSamAsAgarasUri ke ziSya padamasundara kI kRti pratIta hotI hai| ina kSamAsAgara kA ullekha prajJApanAsUtra ke lipikAra kI prazasti meM AyA hai / ( dekhie Age) / isakI prati lA0 da0 vidyAmaMdira meM hai / isakA kramAMka 1222 hai / isakA parimANa 24.7410.9 seM. mI. hai| isake patroM kI saMkhyA 6 hai| isa prati kA lekhanakAla 17 vIM zatI kA hai / isakI bhASA gujarAtI hai / 'zrIdattacopAI mANikyasundara ke ziSya padamasundara kI kRti pratIta hotI hai, jinheM kavi apanI isa kRti meM praNAma arpita karate haiM / yaha kRti do sthAnoM para do bhinna nAmoM se prApya hai / lA0 da. vidyAmaMdira meM upasthita isa prati kA kamAMka 8830 hai / isakA parimANa 25.45411 se0 mI0 hai / patroM kI saMkhyA 16 hai| isa prati kA racanA saMvat 1624 hai / isake atirikta devazApADA ke jaina bhaDAra, ahamadAbAda kI sUcI meM yaha kRti zrIdattarAsa' ke nAma

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padmasundara kI kRtiyA~ : kavi padamasundara kI kula 21 kRtiyoM kA ullekha hameM prApta hotA hai| inameM se cAra kRtiyA~ prakAzita ho cukI haiM tathA anya kRtiyA~ abhI taka aprakAzita hI haiM / unakI chapI huI kRtiyoM meM se 'akabarazAhI zagAradaNi ' rAgAra rasa para likhA huA anya hai / yaha gaMgA orienTala sIrIja naM0 1 se san 1943 meM, anupa saMskRta lAibarI bIkAnera se prakAzita huA hai / unakI kuzalopadeza' nAmaka kRti 10 zrInagAnabhAI zAha dvArA san 1974 meM, lA0 da0 vidyAmaMdira, ahamadAbAda se prakAzita saMbodhi" nAmaka trimAsika patrikA meM bhAga 3, naM0 2-3 meM prakAzita kI gaI hai| 'pramANasundara' nAmaka pamANavidyA para likhA huA prakaraNa lA0 da0 vidyAmaMdira, ahamadAbAda se prakAzita 'jaina dArzanika prakaraNa saMgraha' (Jaina Philosophical Tracts) nAmaka grantha meM DA0 zrInagInabhAI zAha dvArA pR0 127-160 para sampAdita kiyA gayA hai| 'jJAnacandrodayanATaka' kA saMpAdana bhI Do. nagInabhAI ne kiyA hai / yaha kRti lA. da. vidyAmaMdira se prakAzita huI hai ! aprakAzita kRtiyoM meM jambaajjhayaNa ( prAkRta ) kI puSpikA meM kartA kA nAma upAdhyAya zrIpadamasundaragaNi likhA milatA hai para unakI guruparamparA kA ullekha prApta nahIM hotA ata: zaMkA uThatI hai ki 'jambUajjhayaNa' ke lekhaka padmameru ke zibhya padmasundara hI hai athavA anya koI dUsare padmasundara / se ullikhita hai| isa prati ke patra 21 haiM / kramAMka 5122 hai tathA lekhana kAla 18 vIM zatI kA hai| isa kRti kI bhASA gujarAtI hai| 'catu:zaraNaprakIrNaka-bAlAvabodha' bhI devazApADA ke jaina bhaMDAra, ahamadAbAda kI sUcI meM hai| isakA kramAka 940 hai| prati ke patra 17 haiM / prati meM prathama cAra patra nahIM hai / isa prati kA lekhana saMvat 1603 hai tathA prati para padamasundaragaNi ke hastAkSara prApta hAta hai / ina padamasundara ke guru kA nAma ullikhita nahIM hone se nizcitarUpase una ke viSaya meM nahIM kahA jA sakatA / cauthI kRti 'bhagavatIsUtra stabaka' ke kartA padmamundara apane Apa ko rAjamundaramaNi ke ziSya batalAte haiN| ___bhagavatIsUtrastabaka' (lAda0 vidyAmaMdira, ahamadAbAda kA kramAMka 4849) nAmaka kRti kI puSpikA meM kahA gayA hai :___ "zrIrAjasundaragaNicaraNakamalabhramaratulyena upAdhyAya zrIpadmasundaragaNinA svajJAnAvaraNIyakarmakSayArtha paMcamAGgasya zrIbhagavatIsUtrasya nAmadheyasya stavaphavivaraNaM kRta m||

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'sArasvata rUpamAlA' jisameM anta ke zloka meM mAtra "zrIpadamasundara:" hI likhA hai- yaha nahIM kahA jA sakatA ki yaha padamasundara kauna haiM ? lekina padmameru ke ziSya padamasundara ne sundaraprakAzazabdArNava' sArasvata vyAkaraNa kI paripATI kA anusaraNa karate hue hI likhA hai / ataH yaha ' sArasvata rUpama (lA' unakI hI kRti ho, yaha vizeSa saMbhAvita hai| isI prakAra hAyanasundara' ega sundaraprakAza' ina donoM kRtiyoM kI antima paMktiyoM ko dekhane se yaha mAlUma hotA hai ki donoM ke kartA eka hI haiN| kavi sundaraprakAza' meM 65 meM zloka kI aMtima paMkti meM likhate haiM:- "jIyAdAravicandratArakamayaM vizveSu zabdArNavaH" / ThIka isI prakAra kI padAvali hAyanasundara ke antima ( 13 meM ) zloka meM bhI AI hai :___ ........ ................... jIyAt / AcandratArakamasau zrIhAyanasundarI granthaH " // isake atirikta anUpa sAMskRta lAibrerI, bIkAnera meM padmasundara kI do kRtiyA~ 'paramatavyavacchedasyAdvAdasundaradvAtriMzikA,' kramAMka 9746 kI tathA rAjapraznIyanATyapadabhajikA' kramAMka 9936 kI prApta hotI hai| zrI agaracanda nAhaTA 'anekAnta' bhAga 4, pR0 470 para padmasundara kI jina anullikhita kRtiyoM kA ullekha karate haiM, ve haiM : SaDbhASAgabhitanemistava, ' 'varamaMgalikAstotra' tathA 'bhAratIstotra' / inameM se mAtra bhAratIstotra kA ullekha devavimalagaNi viracita hIrasaubhAgya mahAkAvya kI svopajJavRtti ( kAvyamAlA prakAzana -67, bambaI, san 1900, sarga 14, zloka 302, pU0 747 ) meM kiyA gayA hai -yathA padamasundarakavikRtabhAratIstave-- 'vAra vAra' tAratarasvaranirjitaga'gAtAra'gA' iti / " jina aprakAzita kRtiyoM kI pratiyA hama dekha sake haiM, unakA vivaraNa hama yahA~ prastuta karate haiM / kRtiyoM kI puSpiko meM kavi ke nAma ke Age 50, zrI, kavi, muni va gaNi Adi vizeSaNa prApta hote haiM / ina aprakAzita kRtiyoM kI sUci isa prakAra hai : (1) sundaraprakAzazabdArNava (2) rAyamallAbhyudaya mahAkAvya (3) sArasvatarUpamAlA (4) prazApanAsUtra kI avacUri (5) yadusundara mahAkAvya (6) hAyanasundara (7) jambUajjhayaNa sundaraprakAzazabdArNaya yaha zrIkAntivijayajI mahArAja zAstra saMgraha, jaina jJAnamandira, chANI bhaMDAra, na0 448 kA prati hai / isa prati kA parimANa 27.5412.5 se. mI. hai / isa prata kA lekhanasaMvata

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kiyA 1962 hai| isa prata ke kula patroM kI saMkhyA 76 hai| pratyeka patra meM haiM tathA pratyeka paMkti meM 50 akSara haiN| yaha grantha pAMca taragoM meM vibhakta hai| prathama taraMga meM 269 zloka haiM, dvitIya taraMga meM 956 iloka haiM, tRtIya taraMga meM 496 zloka haiM, caturtha tara"ga meM 303 ika. pa'cama tara ga meM 740 zloka haiN| isa prakAra kula zloka kI saMkhyA samasta andha meM 2783 hai / granthAna 3178 hai / yaha eka koza grantha hai / yaha vyAkaraNasAdhanikA sahita zabdoM kA keshhai| anaH isakA viSaya vyAkaraNa bhI hai aura koza bhI / yahA~ padamasundara sArasvana sA kA anumAna karate haiM / ve khuda isa graMtha ko zabdazAstra kahate haiM / Adi- zrIvAgdevatAyai namaH / zrIgurave namaH / yaccAntabahirAtmazaktivilasaccidrapamudrAGkitaM syAdittha na tadityapohaviSayajJAnaprakazoditam / zabdabhrAntitamaHprakANDakadanabadhnendukoTipramaM vande nivRtimArgadarzanaparaM sArasvataM tanmahaH // 1 // anta- yathAmati mayA proktaM kiJcicchabdAnuzAsanam / na zabdajaladheH pAraM gatAvindrAbRhaspatI // 63 // nAnAsUtrapadaprapaJcanakharAcchabdogradaMSTrAikurAmadbhaGgataraGgabhISmavadanAt kRttaddhitotkesarAt / zrImatsundarakAvyapaJcavadanAnnai pAtalAGgalino ye'pabhraMzamRgAH palAyanaparA yAsyanti kasyAzraye // 64 / / nAnAthau ghataraGganirgamAnapAtAvarttavegodvatAs. nekapratyayanakacakravividhAdezorukolAhalaH / vAgdevIgirisUtasUtra nivahasrotasvinIvaddhito jIyAdAravicandratArakamaya' vizveSu zabdArNavaH / / 65 // mAvajJAsIH kuzalakRtiredayugInA'dasIyA sUtrANyAdyazrutaparicitAnyeva sArasvatAni / tasmAdUrIkuru bahumata' sAdara zabdazAstra zabdabrahmaNyapi nipuNadhAryatparabrahmayAyAH // 66 / / AnandodayapavatikataraNerAnandamero roH ziSyaH paNDitamaulimaNDanamaNiH shriipdmmerumukH| tacchiSyottamapadmasundarakaviH zrIsundarAdiprakA zAntaM zAstramarIsthata(1) sahRdayaH saMzodhanIya mudA // 6 // sambo , 2

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padArtha cintAmaNicArusundaraH pakAzazabdArNa banAmabhistvayam / jagajjigISurjayanAt satAM mukhe tara garago virarAma pacamaH / / 68|| iti zrImannAgapurIyatapAgacchanabhomaNipaNDitottamazrIpadmameruguruziSya paM0 zrIpadmasundaraviracite sundaraprakAze paMcamamastaraGga. puurnnH| tatsamAptau ca pUrNaH zrIsundaraprakAzo granthaH / namaH zrIvAgdevatAgurucaraNAravindamyAm / granthAgram / / 3179 / / ekatrizacchatA ni aSTasaptatyadhikAni granthamAnam / zubhaM bhavatu / kalyANamastu / rAyamallIbhyudaya mahAkAvya lA. da. vidyAmadira. ahamadAbAda meM sthita munizrI puNyavijayajI mahArAja se prApta presakApiyoM meM se eka ArNa kApI padmasudarakata rAyamallAbhyudaya' mahAkAvya ko prApta hotI hai| isa kApI meM do sarga likhe hue haiM / prathama sarga pUrNa hai tathA Adi-anta yukta hai| isa sarga meM 110 zloka haiM / prathama sarga kA nAma "yugAntarakulakarotpattivarNana" hai / dvitIya sarga pUrNa hai. imameM 115 zloka milate haiM / yaha kApI kisa prati ke Upara se kI gaI hai isa viSaya para koI bhI mAhitI prApta nahIM hotI hai / kula sarga kitane haiM yaha bhI patA nahIM cltaa| isa kAvya meM jainoM ke 24 tIrthakaroM ke jIvana-carita kA vaNana kiyA gayA hai / Adi- sa zrImAnnAbhimUrvilasadavikalabrahmavidyAvibhUti-- prazleSAnandasAndradravamadhurasudhAsindhumagnAnubhUti : / yasyAntavairivArendhanadahana zikhAdhUmabhUmabhramAmA bhAante mUrdhni nIlacchavijaTilajaTAH pAtu vaH zrIjinendraH / / 1 / / prathama sarga kA anta : iti zrI paramAtmaparamapuruSacaturvizatitIrthaMkaraguNAnuvAdacarite paM0 zrIpamameruvineya 50 zrIpadmasundaraviracite sAdhunAnyAtma jasAdhuzrIrAyamallasamabhyathite rAyamallAbhyudayanAgni mahAkAvye yugAntarakulakarotpattivarNana nAma prathamaH sargaH / / 1 / / zrInAbhinandanajino vRjinadramAlI, vyAlIDhabudhnapariNAhabhidA kuThAraH / yo vizvavizvajanabandhuranatabodhaH, zrIrAyamallabhavikasya zivaM tanotu / / 1 / / / / AzIrvAdaH / / cha /

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sArasvata rUpamAlA lA0 da0 vidyAmadira ahamadAbAda meM upasthita zrI puNyavijayajI mahArAja saMgraha kI sa prati kA na0 403 hai / isa prati kA parimANa 24 x 10.2 seM. mI. hai / isake kula patroM kI saMkhyA 5 hai / pratyeka patra meM 15 paktiyA~ haiM tathA pratyeka pakti meM prAyaH 43 se 45 taka ke akSara pAye jAte haiM / isa prati kA lekhana saMvat 1740 hai / isameM do sarga hai / prathama sarga meM 100 zloka haiM tathA dvitIya sarga meM 53 zloka haiM / kula zlokoM kI saMkhyA 153 hai| isa kRti kI bhASA saskata hai tathA isakA viSaya vyAkaraNa hai| Adi / // namA bhAratyai // natvA sArvapadadvandu dhyAtvA sArasvata maha. / sArasvatakriyATyUhaM vakSye zaikSasmRtipradam // 1 // anta- sArasvatakriyArUpamAlA zrIpadmasuMdaraiH / saMhabdhA'laikarotveSAM sudhiyA(yAM) kaNThaka'dalIm / / 53 / / ini sArasvatarUpamAlA sampUrNA // saMvat 1740 varSe mArgaziramudi 1 zukre'lekhi / / prajJApanAstraavacUri yaha prati lA. da. vidhAmadira, ahamadAbAda meM upalabdha hai| isakA kramAMka 7400 hai| isa prati kA parimANa 24.7410.8 se.mI. hai / isa prati ke kula patra 283 haiM / pratyeka patra meM 13 paMktiyA hai tathA pratyeka paMkti meM 33 se 35 taka akSara pAye jAte haiN| prati kI dsh| acchI hai / ___ yaha hastaprati sa. 1668 maiM aagr| nagara meM bAdazAha jahA~gIra ke rAjyakAla meM likhI gaI hai| prajJApanapatra zrIzyAmAcAryakRta Agama patha hai| isa patha para TIkA malayagiri ne liyA hai tathA umaTIkA ke AdhAra se abacUri likhane vAle kavi padmasudara haiN| graMtha kI mUla bhApA prAkRta hai tathA avacUri kI bhASA saMskRta hai / isa patha meM 36 pada hai / avacUri kA athAna 5555 hai / apari kI Adi-saMbaMdhI dvadhA upAyopeyabhAvalakSaNo guruparvakramalakSaNazca / tatrAdyastarkAnusAriNaH prati / tathA vacanarUpApanna' prakaraNamupAyastatparijJAna copeyaM / guruparvakramalakSaNaH kevala zraddhAnusAriNaH prati / taM cAgre svayameva sUtrakRdabhidhAsyati / idaM ca prajJApanopAja zrIsama bAyAMgasUtrasaMbaMdhi tataH zrayobhUtamato mA bhudatra vinna iti tadupazAMtaye maMgalamAhaanta prazasti ---(pratalekhaka kI) * saMvat 1668 varSe ASADhamAse zuklapakSe dazamItithA AdityavAsare cinAnakSatre raghiyoge zrIAgarAmahAnagare pAtisAhI zrIjahA~gIravijayarAjye zrImatzrI vijayajagacchAdhirAja zrIpUjyazrIvijayara/jarSizrIpUjyazrIdharmadAsarSizrIpUjyazrIkSamAsAgarasUrizrIpUjyazrIpadmasAgarasasvirANAM ziSyapaNDitakezarAjena zrIpUjyazrIguNasAgarariNAmupa

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dezAt likhA pitoyaM prajJApanAgranthaH / likhitazca kAyastha bhagavAnadAsena / zubhaM bhavatu lekhakapAThakayoH / / adhacUri kI prazasti - zrImalayagirikRtAyAH prajJApanAvRttito'vacUririyaM / zrIpadmasundareNa vyaraci yathArthA susakSipya // 1 / / samAptA zrIzyAmAcAryakRtaprajJApanopAGgA'vacUririti / / granyAna' 5555 / / likhitaM kAyastha mAthuramevariyA dayAladAsAtmajabhagavAna dAsa (dAsena) // yadusundaramahAkAvya isa prati kA kramAMka zrI puNyavijayI mahArAja saMgraha, lA0 da0 vidyAmandira, mahamadAvAda meM upasthita 2858 hai| prati kA lekhana samaya 18vIM zatI kA uttarAdha hai| isa prati kA parimANa 27411.1 se. mI0 hai / prati ke kula pana 53 haiM / pratyeka patra meM paMktiyAM kI sakhyA 13 se 15 taka hai tathA pratyeka pakti meM 40 se 44 taka ke akSara haiN| pRSTha 33 kI do bAra AvRtti huI hai| prati kI dazA ThIka hai| isakA viSaya mahAkAvya hai / jainA ke bAisaveM tIrthakara neminAtha ke jIvana caritra para yaha mahAkAvya likhA gayA hai / prathama sarga meM 49 zloka, 2 : 85, 3 : 2015 4: 96, 5: 64, 6 : 73, 7 : 88, 8 : 71, 9: 76, 10 : 71, 11 : 78, 12: 89, isa prakAra kula zloka saMkhyA 1061 hai| prati kI dazA acchI hai / Adi - zrI jinAya namaH / / vinidracandrAtapacArubhUrbhuvaHsvarIzamAIntyamanAdyanazvara / svacumbisaMvighRNipuJjamajjarIparItacidrUpamupAsmahe mahaH // 1 // anta Anandodayaparvatai kataraNerAna dameroNuro: ziSyaH paNDitamIlimaNDanamaNiH zrIpadmamerurguruH / tacchiSyottamapadmasaMdarakaviH saMdRbdhavAMstanmahA kAvyaM zrIyadusuMdara sahRdayAna'dAya kaMdAyatAm / / 89 / / iti zrImattapAgacchanabhonabhomaNipaNDitottamazrIpadmameruvineya 50zrIpadmasuMdaraviracite yasuMdaranAmni mahAkAvye sandhyopazlokamaMgalazaMsano nAma dvAdazaH sargaH / / 12 // samAppa cedaM yadusundaranAma mahAkAvyam / /

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hAyanasundara isa prati kA kramAMka lA0 da0 vidyAmaMdira ahamadAbAda kA 1080 hai / isa prati kA parimANa 25.2411 se. mI. hai / isake kula patroM kI saMkhyA 6 hai / pratyeka patra meM 13 pa ktiyA~ haiM tth| pratyeka pakti meM 36 se 39 taka akSara pAye jAte haiM / yaha prati kinAroM para se phaTI huI hai| isa prati kA anumAnita lekhana savat 19 vIM zatI hai| yaha jyotiSa zAstra se sambadhita graMtha hai| isake prakaraNoM ke nAma va zlokoM kI saMkhyA nimna prakAra se hai| prathama prakaraNa kA nAma sUryadazAprakaraNam hai tathA zlokoM kI saMkhyA 25 hai / dvitIya prakaraNa kA nAma candravarNaprakaraNam hai tathA zloko kI saMkhya 25 hai / tRtIya prakaraNa kA nAma bhaumavarSozaphalaprakaraNam hai tathA zlokoM kI saMkhyA 16 hai / caturtha prakaraNa kA nAma budhavakraizaphalaprakaraNam hai, zlokoM kI saMkhyA 21 hai| paMcama prakaraNa kA nAma guruvarNezaphalaprakaraNam hai, zlokoM kI saMkhyA 19 hai / SaSTha prakaraNa kA nAma zukrava;zaphalaprakaraNam hai evaM zlokoM kI saMkhyA 17 hai / saptama prakaraNa kA nAma zaniva:zaphalaprakaraNam hai evaM zlokoM kI saMkhyA 17 hai / tathA aSTama prakaraNa kA nAma grahasvarUpaprakaraNam (?) hai evaM loko kI sakhyA 13 hai / isa prakAra sampUrNa natha ke zlokoM kI sakhyA 153 hai / Adi zubhagrahayuraiH saumyairvaNe svAmidazAyutaiH / rogodvegApA nAzaH sutadArAdisampadaH // 1 // anta evaM grahasvarUpa vicArya vAcyaM manISibhistadvat / sarva zubhAzubhaM vA vijJeyaM gurumukhAt samyaka / / 12 / / zrIpadmasudaramuniproktaM sUryakramAcchato jIyAt / AcaMdratArakamasau zrIhAyana suMdaro graMthaH / / 13 / / iti zrIhAyanasuMdaragrathaH samAptaH / / jambUcaritra yA jambUajjhayaNa (prAkRta) yaha padmasundaragaNikRta prAkRta kAvya hai| isakI racanA gadya-padya mizrita hai| isa phAvya meM jamyUsvAmI (jainoM ke antima kevalI) ke jIvana carita kA varNana pAyA jAtA hai| mUla gAthAe~ prAkRta meM haiM tathA stabaka gujarAtI bhASA meM likhA huA hai| isa kAvya kI prastuta prati lA0 da0 vidyAmaMdira ahamadAbAda kA hai| isa prati kA kramAMka 5116 hai| isa prati kA lekhana saMvat 1868 kA hai| prati ke lekhaka kA nAma janacandra hai| yaha prata kAnanapura (kAnapura) me ziSya cira0 sarUpacaMda ke paThana-pAThana hetu likhI gaI hai / yaha prata stabakayukta hai| isa kAvya meM kula 21 uddeza haiN| isa kAvya kI prAcInatama prati jo hamane dekhI vaha saMvat 1850, zAka sa0 1715 kI pAI

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jAtI hai| prati kA parimANa 25'44114 se0 mI0 hai / isa prata ke kula patra 107 pratyeka patra meM pA~ca paMktiyA~ haiM tathA pratyeka paMkti meM prAyaH 34 se 35 taka ke akSara pAye jAte haiM / prati kI dazA acchI hai| Adi- zrIRSabhadevAya namonamaH / zrImadgoDipAzrzvaparamezvarAya namonamaH / terNa kALeNaM tena samayeNaM rAyagihe nAma nayare hotthA vaNNao || anta dasavayaNaMbUccheyaM jAissasI / seNIyA / esa jaMbUkScamabhavadidva N / te Buy I saMkheva (ve)ja bhaNIyadhvA / aNayAraggaye / vizthArapaura bhavissasI / esa jambUcarIya je succA saddahasi se ArAhagA bhANiyavyA jambUajjhaSaNAe egavisamo uddekho| evaM jambUhmaNa samata

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padmanandipraNItaH AtmabodhaH (AlocanA) sampAdako yajJezvara zAtrI rameza beTAI

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AtmabodhaH yadyAnandanidhiM bhavantamamalaM tattvaM mano gAhate tvannAmasmRtilakSaNo yadi mahAmantro'styanantaptabhaH / yAnaM ca tritayAramake yadi bhaveta mAga bhavadarzite ko loke'tra satAmabhISTaviSaye vighno jineza prabho / / 1 / / niHsanatyamarAgitAtha samatA karmakSayo bodhana vizvavyApi samaM dRzA tadatulAnandena vIryaNa ca iI haradeva tavaidha saMvRtiparityAgAya jAta kamaH zuddhastena sadA bhavaccaraNayo: sevA satA sammatA / / 2 / / yadyatasya dRDhA mama sthitirabhUta tvatsevayA nizcitaM trailokyeza balIyaso'pi hi kutaH saMbhA(sA)razatrobhayam / prAptasyAmRtavarSaharSa janaka sacchatradhArAgRham paMsaH kiM kurute zucI kharataro madhyAhnakAlAtapaH / / 3 / / yaH kazcinnipuNo jagattrayagatAnarthAnazeSAM zciraM sArAsAravivecakamanasA mImAMsate nistuSama / tasya tvaM parameka eva bhagavan sAro hyasAraM padaM sarva (tat ?) bhavadAzritasya mahatI tenAbhavannitiH / / 4 / / jJAnaM darzanamapyazeSa viSayaM saukhyaM tadAtyantika vIrya va prabhutA ca nirmalatarA(2)rUpaM svakIya tava / samyagyogahazA jinezvara cirAttenopalabdhe tvayi jJAnaM kiM na vilokitaM na kimatha prAptaM na kiM yogibhiH / / 5 / / svAmekaM trijagatpatiM paramaha manye jinasvAmina tvAmekaM praNamAmi cetasi dadhe seve stuve sarvadA / svAmekaM zaraNaM gato'smi bahunA proktena kiMcidbhavet itthaM tadbhavatu prayojanamato nAnyena me kenacit / / 6 / / pApaM kAritavAn yadana kRtavAnanyaiH kRtaH sAdhviti bhrAntyAhaM pratipannavAzca manasA vAcA ca kAyena ca / kAle samprati yacca bhAvini navasthAnodagataM yatpanaH tanmithyAkhilamastu me jinapate sva nindataste puraH / / 7 / / lokAlokamanantaparyayayutaM kAlatrayIgocara svaM jAnAsi jinendra pazyatitarAM zazvatsamaM sarvataH / svAmin verisa marmajanmajanitaM doSa na kiMcitkuto hetoste purataH sa vAcya iti me zuddhayarthamAlocitum / / 8 / /

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. Azritya vyavahAramArgamathavA mUlottarAkhyAn guNAn sAdhorayato mama smRtipathA prasthApi yaddUSaNam / zuddhyartha tadapi prabho tava puraH sajo'habhAlocitum niHzalya hRdayaM vidheyamajaH bhavyairyataH sarvathA // 9 // sarvo'nyatra muhurmuhurjinapate lokairasaMkhyairmita: vyaktAvyaktavikalpajAlakalitaH prANI bhavet saMsUtau / tattAvadbhiraya madai(maiM)va nicito dorvikalpAnugaiH prAyazcittamiyat kutaH zrutagataM zuddhirbhavatsanniveH(dhau) | // 10 // bhAvAntaHkaraNendriyANi vidhivatsaMhRtya bAyAzrayAn ekIkRtya punastvayA saha zucijJAnakasanmUrtinA / niHsaGgazrutasArasaGgatamatiH zAnto rahaH prAptavAn yastvAM deva samIkRte sa labhate dhanyo bhavatsannidhim // 11 // tvAmAsAdya purAkRtena mahatA puNyena pUjyaM prabhu brahmAdyairapi yatpadaM na sulabha tallabhyate nizcitam / ahannAtha paraM karomi kimaha ceto bhavatsannidhau adyApi triyamANamapyatitarAmetadabahirdhAvati / / 12 / / saMsAro bahuduHkhadaH sukhapadaM nirvANametaskRte tyaktvArthAditapovanaM vayamitAstatrojjhitaH saMzayaH / etasmAdapi duSkaravratavidhervA( )dyApi siddhiryato vAtAlItaralIkRtaM dalamiva bhrAmyatyado mAnasam // 13 // jhampAH kurvaditastata: parilasadvAhatyArthalAbhAdannityaM vyAkulatAM para gatavataH kArya vinApyAtmanaH / grAma bAsayadai ndriya bhavakRto dUra' suhRtkarmaNaH kSemaM tAvadihAsti kutra yamino yAvanmano jIvati // 14 // nUnaM mRtyumupaiti yAtamamalaM tvAM zuddhabodhAtmaka tvattastena bahirbhavatyavirataM ceto vikalpAkulam / svAmin kiM kriyate'tra mohavazato mRtyorna bhoH kasya tan sarvAnarthapara parAkRdahito mohaH sa me vAryatAm // 15 // sambo . 3

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sarveSAmapi karmaNAmatitarAM moho balIyAnasau dhatta caJcalatA bibheti ca mRtestasya prabhAvAnmanaH / no cejjIvati ko mriyeta ka iha dravyatvata: sarvadA / nAnAtvaM ca gato jinendra bhavatA dRSTa' para paryayaiH / / 16 / / vAtavyAptasamudravArilaharIsaMghAtavatsarvadA sarvatra kSaNabhaMgura jagadidaM saJcintya ceto mama / sampratyetadazeSajanmajanakavyApArapArasthita sthAtu vAJchati nirvikAraparamAnande tvayi brahmaNi / / 17 / / enaH syAda zubhopayogata itaH prApnoti du:kha jano dharmaH syAcca zubhopayogata ita: saukhyaM kimapyAzrayet / dvandva dvandvamidaM bhavAzrayatayA zuddhopayogAtpunaH nityAnandapadaM tadatra ca bhavAnahannaha tatra ca / / 18 / / yannAntana bahiH sthitaM na ca dizi sthUlaM na sUkSma pumAn naiva strI na napuMsaka na gurutAM prAptaM na yallAghavam / karmasparzazarIragandhagaNanAvyAhAravarNojjhitaH svaccha jJAnahagekamUrti tadaha jyotiH para nAparam / / 19 / / etenaiva cidunnati kSayakRtA kArya vinA vairiNA zazvatkarma khalena tiThati kRtaM nAthAvayorantaram / eSo'ha saca te puraH parigato duSTo'tra nisAryatAm sadrakSetaranigraho nayavato dharmaH prabhArIdRzaH // 20 / / AdhivyAdhijarAmRtiprabhRtayaH sambandhino varmaNaH tadibhannasya mamAtmano bhagavata kiM kartumIzA jaDAH / nAnAkAravikArakAriNa ime sAkSAnna bhomaNDale tiSThanto'pi na kurvate jalamucastatra svarUpAntaram // 21 // saMsArAtapadahyamAnavapuSA duHkhaM mayA sthIyate nityaM nAtha yathA sthalasthitimatA matsetsye)na tAmyan manaH / kAruNyAmRtasaGgazItalatare tvatpAdapaGkera he yAvaddeva samarpayAmi hRdayaM tAvatpara saukhyavAn // 22 / / sAkSagrAmamidaM mano bhavati yadbAhyArtha sambandhamAka tatkarma pratijambhate pRthagaha tasmAtsadA sarvathA / caitanyAttava tattatheti yadi vA tatrApi tatkAraNaM zadvAtman mama nizcayAtpunariha tvayyeva deva sthitiH ||23||

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ki lokena kimAzrayeNa kimuta dravyeNa kAyena kiM kiM vAgbhiH kumutendriyaiH kimasubhiH kiM tarvikalpairapi / sarve pudgalaparyayA bata pare tvatta pramatto bhavan nAtmannebhirabhizrayasyatitarAmAlena ki bandhanam / / 24 / / dharmAdharmanabhAMsi kAla iti me pravAhita kurvate catvAro'pi sahAyatAmupagatAstiSThanti gatyAdiSu / ekaH pudgala eva sannidhigato no karma karmAkRti: bairIbandhakadeSa samprati mayA bhedAsinA khaNDitaH / / 25 / / rAgadveSakRta rya thA pariNamedrUpAntaraiH pudgalo nAphAzAdicatuSTaya virahitaM mUrtyA 'tathA' prANinAma / tAbhyAM karma navaM bhavedavirataM tasmAdiyaM saMsRti: tasyAM duHkhaparampareti viduSA tyAjyo prayAtnena tI // 26|| kiM bAhyeSu pareSu vastuSu mana. kRtvA vikalpAnbahUn rAgadveSamayAnmudhaiva kuruSe dukhAya karmAzubham / AnandAmRtasAgare yadi vasasyAsAdya zuddhAtmani sphItaM tatsukhamekatAmupagataM tvaM yAsi re nizcitam / / 27|| ityAdhAya hRdi sthira jina bhavatpAdaprasAdAtsati adhyAtmakatulAmayaM jana itaH zuddhyarthamArohati / enaM katu mamI ca doSiNamitA: karmArayo durdharAH tiSThanti prasama tadatra bhagavan madhyastha sAkSI bhavAn / / 28 / / dvaita' samRtireva nizcayavazAdadai tamevAmRta saMkSepAdubhayatra kalpitamidaM paryantakASThAgatam / nirgatyAdya padAcchanaiH zabalitAdanyatsamAlambate yatso saMza iti sphuTa vyavahRte brahmAdinAmeti ca // 29 // cAritraM yadabhANi kevalazA deva tvayA muktaye pusA takhalu mAdRzena viSame kAle kalau durdharam / bhaktiryA samabhRdiha tvayi dRDhA puNyaiH puropArjitaH saMsArANa vatAraNe jina tataH sevAstu poto mama // 30 / /

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indratvaM ca nigodatAM ca bahudhA madhye tathA yonayaH saMsAre bhramatA ciraM yadakhilAH prAptA mayAnantazaH / tannApUrNamihAsti kiJcidapi me hitvA vimuktipradA samyadUgarzanabodhavRttapadavIM tAM deva pUrNA' kuru ||3nn| zrIvIreNa mama prasannamanasA kiJcittaduccaiH padaprAptyartha paramopadezavacana citta samAropitam / yenAstAmidamekabhUtalakRta rAjya kSaNaM dhvaMsi yat trailokyasya ca tanna me priyamiha zrImajI | ji ] nendraprabho // 32 // ta sUreH paGkajanandinaH kRtimimAmAlocanAmahattA agne yaH paThati trisandhyamamalazraddhAnatAGgo naraH / yogIndrazcirakAlarUDhatapasA yatnena yanmRgyate tatprApnoti paraM padaM sa matimAnAndasadma dhruvam / / 33 / /

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padumanaknikRta "Atmabodha (anuvAda-vivaraNa ane prastAvanA) sampAdaka-anuvAdaka: rameza beTAI prastAvanA AcArya paddamanadIe "Atmabodha nAme eka prabhAvazALI dezanika racanA tetrIsa larikAomAM ApI che ane te ApaNane temanI anya kRtio sAthe maLI Ave che. lAlabhAI dalapatabhAI prAca bhAratIya vidyAmandira, amadAvAdanA graMthAlayamAM 'puNyavijyajI hastaprata saMgraha mAM "ekavasaMtatikAdi AcArya paddhabrikRtisaMgraha: mAM padmanandInI racanAo eka hastaprata rUpe maLe che. A racanAo paikI eka Atmadha' e che. A hastaprata kramAMka 4jarapa/17 che. saMskRta bhASAmAM ane devanAgarI lipimAM lakhAyelI A prata sArI sthitimAM ane suvAca che. "Atmabedha" nI tetrIsa kArikAo traNa patra-24 thI 26-mAM maLe che. 2554115 se.mI. kadanAM patromAM pratyeka lITImAM 47tha49 akSare che. "Atmabedha" nI tetrIsa kArikAo kula pa0 lITIomAM che. anya lakSaNe A pramANe che : dezI kAgaLa, kALI zAhI; lekhana spaSTa ane suvAcya, dareka kSekanI pAchaLa mATe jagyA khAlI choDI che; azuddhio ghaNI ochI". A hastapratamAM "Atmabodha' e zIrSaka uparAnta pulpikA A pramANe che. kRti ririymih paNDitottamazrI padmanandinaH / / A eka hastapratane AdhAre ame Atmabodha' nuM saMpAdana karyuM che. ane te ahIM sonavAda rajU karyuM che. zaMkAspada pAThanA sabhavita vikalpa ame kasamAM sAthe ja ApyA che. ela. DI. InsTITayUTamAM upalabdha A hastapratane AdhAre "Atmadha nuM saMpAdana ame karyuM te pachI padmanandInuM paMcaviMzati e nAmanuM De. upAdhe tathA De. jaina

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2 2 paddamanandrikRti sampAdana-saTIka ane sAnuvAda-amane jovA maLyuM. AmAM "Atmabodha kramAMka navamAM AlecanA' e nAme pragaTa thayuM che. temAM paNa A ja 33 kArikAo che, jene saLaga bleka kramAMka 515 thI 547 che. kRtine ane pupikA nathI. A kRtinI vAcanAo sAthe amArA sapAdananA vAcanAo sarakhAvatAM keTalAka vAcanA bheda maLI AvyA. paraMtu be sthaLe sivAya A vAcanA bhedathI kArikAonA arthaghaTanamAM khAsa kaI pheraphAra thatuM nathI. De. upAthenA sampAdananA vAcanAbhe paikI jarUrI, je te sthaLoe artha sAthe ame ApyA che. padmanandI keNa? saMskRta sAhityanI mAphaka jaina saMskRta ane prAkRta sAhityamAM paNa eka ja nAmanA ekathI vadhAre lekhake hoya e eka sAmAnya hakIkata che. rAjazekhara gaNu kAlidAsane ullekha kare che, paraMtu kAlidAsa ghaNo thaI gayA che 1 AvuM ja hatu paNa che. padmanandI nAmadhArI dhaNAM saMta, sAdhuo ane lekhake thaI gayA che. 2 judAM judAM sAdhanonI madadathI ame AvA agiyAra padmanandInI neMdha karI che, je nIce pramANe che : (1) parmanandI e kukucchanuM bIjuM nAma che. (epigrAphikA karNaTikA, 'va-2, pA. 64, 66 va. ane "Izyane enTIkavarI-23, pA. 126) (2) nandIsa che ane sArasvata gachanA parmanandI. teno samaya zaka sa vata 1307, che. (zravaNabelagoDA zilAlekha jaina zilAlekha saMgrahaM bhAga 3, pA. 417-420. saM. hirAlAla jena- prAmANikayacandra digambara jaina granthamAlA) (3) kANuggaNa ane ti|i gacchanA padmanandI. te siddhAnti cakrezvara pakSanandI tarIke jANItA hatA. temane samya zaka saMvata 997 upara mujaba, bhAga 2 pA. 268-ra70.) (4) hanasAganA bAhubali mAladhArI devanA ziSya parmanandI. samaya zaka saMvata 125 eTale ke I.sa. 1303-(upara mujaba, bhAga 1, pA. 387.) (5) prabhAcandranA ziSya ane zubhacandra, salakIti tathA devendrakIrtAinA guru padmanajI bhaTTAraka. samaya vi. saM. 1385 eTale ke I.sa. 132 ('bhadAraka sampradAya" pA.92 sa. vI. pI. joharapurakara, pra. jaina saMskRti saMrakSaNa sa dha, zolApura, 1958) (6) senagaNanA parmanandI, samaya navamuM zataka. (upara mujaba, pA. 3.) (7) hemacandranA ziSya parmanandI, je kASThAsaMdha ane mathurAgacchanA che. samaya vi. saM. 1576 eTale ke I. sa. 1528. upara mujaba, pA 247.) 1. zRGgAre lalitodgAre kAlidAsatrayI kimu / 2. A padamanandIonI vizeSa mAhitI mArA mitra ane sAthI De. vAya. esa. zAstrIe temanA aMgrejI anuvAda sAthenI prastAvanA mATe ekaThI karI che. temane AbhAra. .

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Atmabodha (8) sahastrakIrtinA ziSya pamanandI, je bhaTTArakaganA che. (samaya vi. saM. 1600 eTale ke Isa. 1542. upara mujaba, pA. 208) (9) devendrakAtinA ziSya pakSanandI, je balAtkAragaNu kAraja zAkhAnA che. (samaya vi. saM. 1850 eTale ke Isa 1792. upara mujaba, pA. 78) - (10) balAtkAragaNuM nAgaura zAkhAnA padamananI, je cakItinA ziSya che. samaya vi. saM. 1773, eTale ke I. sa. 1715 (upara mujaba, pA. 125) (11) balAtkAragaNunI IDara zAkhAnA padmanI, je rAmakItinA ziSya che. (samaya vi. saM. 1683 eTale ke I.sa. 1625-upara mujaba, pA. 158) A parmanandIo pachI sauthI vadhu khyAtanAma prabhAcandranA ziSya bhaTTArika paddamananI che, je saMpradAyanI dilhInI gAdInA I. sa. 1327thI 93 nA samaya sudhI adhipati hatA. janma brAhmaNa paNa jaina banelA A parmanandIne nAme "ekatvasaMtati, yatyAcAra, vagere ladhu kRtio jANItI che, je bhASA, zailI tathA vicAranI daSTie bhAvanApaddhati ane jirApalI pArzvanAtha rotra' sAthe ghaNuM sAmya dharAve che. tethI A tamAmanA ane ApaNA "Atmabodha racayitA A dumanandI hoya ema keTalAka vidvAne mAne che. upAe paNa temanA grU thanI prastAvanAmAM svataMtra rIte A ja matanuM pratipAdana kare che. 3 ane bIjA ATha padmanandIne nirdeza kare che. A mata zaMkAspada che. keTalAkane bhate ApaNAM padmanandI I. sa.nI bAramI zatAbdinA che. zIrSaka Atmabadha" nA bhaktimaya dazananI AcanA karatAM pahelAM hastapratomAM upalabdha zIrSakenI samaja ApaNe meLavIe e yogya thaze. ane je hastapratane AdhAre sampAdana karyuM che, temAM A kRtinuM zIrSaka Atmabedha" evuM ApyuM che. A zIrSakane artha AtmaviSacaka: badhaH - AtmAne lagato bedha" e thAya che. sAthe nedhapAtra e che ke A badha sAdhakanA hadayamAMthI svayameva ubhA hoya e rIte kRtimAM ApaNane maLe che. zAbAdhyayana, satsaMga, sa yama, vairAgya, sAdhana vagerenA baLe sAdhaka mokSamArge gati kare che, gati karatAM tenA hadayamAM vairAgya pAchaLa bhaktibhAva jAge che. ane e bhaktibhAva tene paramAtmAnuM zaraNa levA prere che. A rIte bhaktibhAge sAdhakanI gatinA mahatvane bedha ApaNane thAya che. jinabhakti ane jinaparAyaNatA e A kRtine kendrIya sUra che. upAdhyanA sampAdanamAM AkRtinuM zIrSaka "AlocanA' e pramANe che. ahIM "AlocanA" eTale pitAnA doSanI kabUlAta ane pitAnI gaI; prabhu samakSa hAjara thaI tenA Azraya mATe prAthana" e che. A kAvyamAM AtmamaMthane, Atmacintana ane Atmanivedana 3 "padyumananDipaMcaviMzati - Introduction, pA. 12 4pamananDipaMcaviMzati :" Introductlon, pA. 13

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24 palmanadhikRta e traNeya ekI sAthe maLI Ave che. ane temAM e bAbatane svIkAra che ke jIvanamAM prabhue dorI ApelA, khAMDAnI dhAra jevA bhAge gati karavI e ati kaThaNa lAge, te jina pravezI eTa ke pramu prape ? bhakti e ja mokSaprApti sudhInA sAdhakane utkane sAco mArga che. darzanamImAMsA tetrIsa kenA A atyaMta lAghavayukta chatAM kilaSTa nahIM evA kAvyanA darzanane sAra Do. upAe A rIte Ape che - " 'Recounting, reporting or confessing ones acts', glorifying the great qualities of Jina, the author offers a sort of prayer, recounting, repeating or confessing his shortcomings and fault in thoughts, words and acts, direct as well as indirect, and seeks shelter of the Jina with a view that they might be mithya, null and void in effect. It is a selfanalysis and self-introspection in the presence of Jina, who knows everything; and the purpose is to divest oneself of similar faults further and attain internal purification The mind is often perplexed and deluded, and endless defaults are there in life; and it is well- nigh impossible to expiate them. It is not possible, at present, to experienee selfrealization. Samsara is dvaita and moksa is advaita; one has to reach from one to another. The rigorous path of conduct preached by Jina is difficult in these days, so devotion or bhakti towards Jina alone is ones rescue or shelther. Recitation of this alocana leads one to the abode of bliss". 4 vartamAna kALamAM sAdhanAnA ati kaThora mAge gati karavI muzkela che, tethI jinanI bhakti karavI ane tene Azraya zodha-e mAtra A oNtrakAvyane upadeza che ema kahevuM e aneka dRSTie ciya che. vaLI, Ama svIkArIe, te AmAM jene upadeza che, te jinanI bhaktinuM mahatva jhAMkhuM paDe che, ghaTI jAya che. jinanI bhakita, jinane Azraya levAne ane AtmAne mokSane mAMgela, kalyANane mAge vALavAne upadeza anya jainAcAryoe paNa pitAnAM kAvyamAM Ave. (bhakatAmara stotra' A kAvya paikI khyAta che.) AthI upAdhyee atyanta saMkSepamAM A kAvyane upadeza rajU karyo che, te mane tema svIkAravAne badale kenA kAmamAM A kAvyanA vicArone sAra ApaNe grahaNa karIe 5 "padmanandipaviMzatiH prastAvanA, pA. pa-6.

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Atmabedha 25 ane te pachI tenI mImAMsA karIe. tetrIsa prAthanA samAM lekene A bhaktikAvyamAM mukhya upadeza svayameva bhaktanAM pratIti, anubhUti ane zraddhAnA pratIka rUpe ApoApa jANe tenA hRdayamAMthI udbhavyA cheprabhuparAyaNa ane bhaktinamra sAdhaka eka bAju jina prabhunI mahattA ane bIjI bAju pitAnI alpatAnI tulanAtmaka vicAraNA kare che, tyAre tene baMne vaccenA ati virodhane khyAla Ave che. sAthe e vizvAsa paNa tenA hRdayamAM rge che ke pite savatha prabhune Azrita banI raheze te tene ukAne cakkasa mAga avazya maLI raheze. A vizvAsa sAthe te potAnA hRdayamAMthI svayaMskurita bhAve-vicAro prArthanAnA namra bhAva sAthe rajU kare che. zarUAta jinezanI stutinA ma gala zvekathI karavAmAM AvI che. kavi temAM kahe che ke jinendra bhagavAna eTale ke AtmAmAM mAnavanuM citta avagAhana karI zake, paramAtmAnA nAma ane mRtithI azvita mahAmansa maLI jAya, mAnavanI gati dineze batAvelA ratnatrayAtmaka mAge thAya, te A jagatamAM sajajanene temane priya viSayanI siddhimAM koI vida na saMbhave. mokSanI prAti e jIvananuM antima lakSya che, ane tenuM prathama pagaluM che saMsArano parityAga, A mATe jineza bhagavAne niyata karI Apele kama A che-nisaMgatva, arAgitA, samatA, karmakSaya, Atmabodhana ane vizvavyApI jJAna. mATe ja sajajane jinezanI, AtmAnI sevA vAMche che (2). bhagavAnanI sevA karatAM mAnava A kAmamAM pitAne vikAsa kare, te tene saMsAramAM kaI bhIti na rahe (3). jagatanA sArAsAranA lAMbA samayanA cintanathI vidvAnone anubhava thAya che ke asAra saMsAramAM sArarUpa satya te ja che. A anubhava sAce ja AnaMdadAyI che. (). jJAna, viSayonuM darzana, vIratA, prabhutA vagere bhagavAnanAM ja che. AthI gadaSTi vaDe sAdhanA karyA bAda bhagavAnane pAmate yegI sarvajJa ja bane (5). traNeya lekanA nAtha evA nisvAmIne caraNe javAthI mAnava muktine caraNe jAya che, mAnavajIvanamAM A prayAjana ja prazasya che (6). mAnava brAtine prerAye jagatamAM pApa kare, karAve. anumodana Ape; paranta ane te potAnI bhUla samajI pitAne nindanA sAdhaka pApamukta thAya (7) paramAtmA jinendra ravajJa che, sAdhakanAM pApa jANe-nihALe che (8) Ama thAya tyAre sAdhaka pitAnI tamAma sAMsArika bhUlano ekarAra karI zuddhine athe prabhunA caraNe jAya ane niHzalya bane (9) prabhunA nikaTavartIpaNamAM ja tenI zuddhi, tenuM prAyazcita saMbhave che (10). aAkaraNa, I drio vagerene paramAtmAmAM ekarUpa karavAM; matine anAsakti ane nAma sAthe sa ga kare. AnAthI zAMti ane ekAna anubhavAya (11). pUve karelAM paNa vege prabhumAni saMbhave, nirvANa prApta thAya; saMsAra nirvANathI lupta thAya (13). paratuM caMcaLatA, vyAkuLatA, sa sAranuM AkarSaNa hoya, tyAM sudhI yamaniyamanA pAlanathI samakuzaLa na saMbha (14). saMsArane meha hoya tyAM sudhI sukha, sthiratA, mAkSa na saMbhave. mAnavane meha prabhukRpAthI dUra thAya. Ama, Atmonnati prabhune AdhIna che, (15-16) jarUrI che. jagatanI kSaNa bhaMgaratAnI pratIti thAya, e pratIti thatAM mana janmacakrathI pAra jaya, sivikAra, paramAnanda svarUpa prabhune vAMche (17). prabhunA AzrayethI ja mAnava dvandAtIta thAya, ane Ama thAya te ja suo.-4

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paddamanaknikRta AnadanI prApti sa bhave (18). A kakSAe pahoMcele mAnava pite parama ti hovAne anubhava kare (19). apAra aMtara hovA chatAM mAnava prabhu samakSa jAya che ane prabhu tene nirAza nathI ja karatA (20). jaDa jagata, tenA saMbaMdhe, deha ane tenAM lakSaNo AtmAne kAMI karI zakatAM nathI (21). satata saMtRtatA ane jAgratanAthI ja unnati saMbhave. Atmaprati savasamarpaNanA bhAvamAM ja sAcuM sukha che (22), mAnavacetanA prabhu thAya, te te jinezvaranI ja kupA gaNAya mAnave AtmA sAme jineza e paramAtmA che (23). baMdhanAtmaka evA jagatanA sa baMdha tejI prabhuparAyaNa thavAmAM ja sAcu sukha che (24) . sa sAranAM sarva AkaNo anartA che. A bandhana vivekarUpI khagathI ja tUTe che (25). sa sAramAM rAga pAdi ane kamathI prerI du:khaparamparA che e samajIne pUrA prayatnapUrvaka vidvAne tene tyAga kare (26). zuddha AtmAne sAdhaka pAme ane AnandanA amRtarUpa sAgaramAM nimana thAya, te mokSa sAthe ekatA ane sAcuM sukha tene maLe (27). prabhucaraNanI kRpA vAchatA mAnavane prabhu ja saMsArarUpI zatruthI bacAve. AthI mAnave satata prabhuparAyaNa banavuM jarUrI che (28). daita eTale saMsAra, ata e ja amRta. AthI mAnava advaitanI siddhine athe jinanuM, prabhunuM alakhana le (29). puSyane yoge prabhumAM bhakti daDha thAya, to sa sArasAgara tarI zakAya (30). mAnava prabhune prArtho ane vAMche ke samyapha darzanathI siddha padavI (31), prabhukRpA ane kevalya prApta thayA pachI trilekanuM rAjya paNa rasa janmAvatu nathI (32), Ama, ati agatyanI e vAta che ke jIvanamAM prabhubatA, khAMDAnI dhAra jevo. tIkSaNa mAga anusarave kaDaNa lAge tyAre jinezvara pratyenI bhakti e ja sAce urSane bhAga che. A bhakti AtmAne navuM baLa, navI zraddhA, navo vizvAsa Ape che. tetrIsa konA A bhaktikAvyamAM je vicAre, bhAvanAo ane dazanane kavi vAcA - Ape che tene sAra zuddha tAttvika daSTavA ApaNe karIe. mAnavane mATe, te sAdhaka banavAne nirNaya kare, bane, te pachI paNa saMsAra atyanta tApakara, bandhanAtmaka, mohamAM nimagna karanAra hoya che. mokSanI prApti e sAdhakanA ane tenI pAchaLa sarva mAnavanA jIvananuM antima lakSya che, sau mAnava " AtmakAma " che. A AmakAmanA, eTale ke AtmadarzananI siddhine mATe prathama pagaluM che te sArane sarvAgINa parityAga. A parityAgane mATe jineza bhagavAne sAdhakanI upharvamAgI gatine je kamika mAga derI Ape che. tenAM pagalAM A che-ni:saMgad, arAgitA, samatA, kamakSaya, Atmabedha, mekSa. A niyana mAge sAdhaka gati karI zake ke te tene parama ulkA te nibhIka rIte sAdhI zake. paraMtu sAdhakane dhIraja na hoya to ? A ati kaThaNa mAge gati karavAnI tenAmAM pUrI hiMmata na hoya te ? tenAmAM AtmavizvAsa na jAgyo hoya te ? javAba spaSTa che ke mokSane eTale ke AtmasthAna ane AtmAnA samyapha dazanane jIvananA aMtima lakSya tarIke svIkArI, tenI sAdhanA mATe te jinezvara prabhu prati namra bane, prabhune zaraNAthI thAya, prabhubhaktimAM rata thAya, prabhune mAge gati karavA kaTibaddha thAya, bhakti, sarvasamarpaNabhAva,

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Atmamedha ra7 zaraNAgatithI tenAmAM prabhue gherI ApelA mArge gati karavAnI hiMmata keLavAya, te utkaSamAgI ane. athavA, kevaLa prabhuparAyaNatA, namratA, bhakti, samapaNune bhAva paNa sAdhakanA AtmAne zuddha karI, saMsArabandhanathI mukta karI, unA mAgerI jaI zake. Ama, tattvadarzanalabdha sAdhanA ane bhaktimAgIya sAdhanAnA kavi ahIM subhaga samanvaya sAdhI Ape che. Ama thayu che tyAre ApaNane saheje premalakSaNA bhaktinA parama upAsaka narasiMha mahetAnA zabdo yAda Ave-- t premanA tatamAM saMta le. " ' chatAM narasiMha ane A kAvyanA racayitA padmanandInI dRSTimAM pAyAno bheda rahelA che. narasiMha premalakSaNA bhaktine bhakti tarIke meAkSa karatAM paNa UMcA darate Ape che. te kahe che harinA jana je mukti na mAge, mAge janamAjanama avatAra re ! nita sevA, nita kIna, evA nirakhavA na dakumAra re ! ' CC prabhuparAyaNatA, sarva samarpaNa bhAva ane bhakti sAthe padmanandI mukti vAMche che, AtmAtthAna jha Mkhe che. te sAthe te jANe potAnA AtmAne saMbodhIne jAgrata thavAnu paNa kahe che. padmanandIne mATe bhakti Ama sAdhyuM nahIM, parantu sAdhana ja che. AtmA utsA, AtmAnA mAkSa e enu lakSya che, je tenA AtmAne eTalo ucca kakSAe laI jAya ke te jineza prabhunI ja kRpAthI jinezanI sAthe advaita sAdhe, arthAt sAdhanA ane siddhimAM tene mArge rahe, eTaluM ja nahIM parantu tene atyanta nikaTavartI bane. anekAtmavAda ane AtmAnA mokSanA vilakSaNa jainananA abhigama A rIte padma nandI jALavI rAkhe che. sAdhakanA AtmA karatAM jinezvaranA AtmA atyanta uccatara che e aMmAM te paramAtmA che. meAkSa eTale svAtmanuM, kaThora sAdhanA ane sa MpUrNa anAsakti tathA naimya"ne mArge samyak daMna. ane advaita eTale sAdhaka AtmAnuM jinezvara prabhu sAthe atyanta nikaTavatI'paNuM. gAma, 'Atmabodha' e AtmAne lagatA khAdha che, tyAre jineza prabhune sadhana, savasama`NunA bhAva che, sAthe sAdhaka potAnA AtmAne paNa sodhana kare che ane tene jAgrata karavA prayatnazIla che. ahIM kavi rA. vi. pAThakanAM A vacano ApaNane saheje yAda Ave---- 8 hajIye na jAge mArA AtamarAma ! AtamarAma ! " ane 33 " jAgojI ! jAgojI ! mArA AtamarAma ! A sAthe jinezaprabhu pratyenI sAdhakanI ArajUe saheje ApaNA hRdayane sparzI jAya che, A sAthe A kRtine tAttvika edha paNa ApaNane prasannakara bane che,

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padumanazvikRta sAdhaka AtmA ane jineza prabhu vacce je ati virodha che, ati attara che, te bane AtmAe pite ja svaprayane dUra karavAnAM che. prabhunI kRpAnI yAcanA sAthe teNe A rIte prabhunI kRpAne pAtra paNuM banavAnuM che. sAdhaka jineza prabhunI kRpA saha, hRdayamAM ApoApa jAganA upadeza sAthe ukaLa sAdhIne, niyata kramamAM ucca ane uccatara sAdhanAnAM zikhare sara karI zake. A kAvyamAM jineza prabhu pratye prArthanA che prArthayitA eka jaina kavi che. yAtra jana dazAnI vicAradhArA verAyelI paDI che. chatAM A kAvya mAtra sAmpradAyika nathI ja, mAnava-AtmA paramakRpALu paramAtmA samakSa savasamaparNanA bhAve rajU thAya ane tenI kapAthI AtmahatyAna sAdhatAM mokSamArgamAM pragati kare. A vyApaka artha sahelAIthI tAravI zakAya tema che. AthI A kAvyamAM jena dazananA pAribhASika zabdo ghaNuM ochA projAyA che te paNa svAbhAvika lAge che bhaktine bodha te sonI mAphaka padamanandI paNa Ape che, chatAM A prabhuparAyaNanA, vinamratA, bhakita, AtmotthAnanI utkaTa tamA , saMsArane tarI javAnI tAlAvelI, mokSanI adamya jhakhanA-A badhuM koI paNa sAdhakane lAgu paDI zake tevuM che. A kAvyanA bhaktibhAgIya upadeza ane dazananI sAMpradAyAtInuM mAnavIya vyApakatAnuM A eka suMdara pramANa che. Atmabodha padmanandInuM ane zaMkarAcAryanuM : parmanandInA "Atmabodha abhyAsa karatAM ApaNane saheje za karAcAyane racelA "AtmadharmanuM smaraNa thAya. zaMkarAcAryanA verAnA prakaraNamAM " Atma dha" tenA lAdhava, sUkSmatA, tArkikatA, abhivyaktinI sacoTatA ane dArzanika kavitA mATe nA gItuM che. A sAthe tenA cintananI susmitA ApaNuM khAsa dhyAna kheMce che. tenA vizALa bhASyagraMthamAM zaMkara je vistRta ane jhINavaTabhayu* darzana AtmAne lagatuM Ape che, tene je rIte tenA pAyAnA darzana sAthe susaMgata rIte sAMkaLI te che, te ja AtmaviSayaka cintana ane dazana pUrI susa gatatA sAthe ApaNane tenA laghu prakaraNa tha "Atmabodha mAM anubhavavA maLe che. AtmA viSenuM tenuM samagra cintana sUtrAtmaka zailImAM ane chatAM sudha rIte A kRtimAM pragaTa thAya che. ane A subodhatAnI cAvIrUpa je cArutvasabhara ane kAvyaya aupa teNe ghaNu badhA zlokamAM ApyAM che, te eka ane prabhAva UbhuM kare che. Ane lIdhe zaMkarAcAryane " Atmabedha" bhAratIya darzanazAstranA paNuM pratinidhi granthamAM sthAna pAme che. A sAthe e paNa noMdhapAtra che ke padyarUpe, kavitvamaya vANImAM zaMkare pitAnuM zuddha AtmaviSayaka dazane ja ahIM ApyuM che. temAMthI sAdhakanA AtmAnI jhaMkhanA tenA talasaTi, tenI sAdhanA, tenI kSamAge gati vagerenI tArkika samaja ane pratIti ApaNe tAravI zakIe. parantu zaMkaranI A kRtinuM e mukhya dhyeya ke kacitavya nathI. tenuM dhyeya AtmAnI dArzanika mImAMsA e ja che. ane te paNa teNe evI rIte ApI che ke teno abhyAsa karyA pachI sAdhaka za karanA AtmaviSayaka vyApaka cintana ane tenA vyApaka kevalAdvaitavAdI darzanamAM gati karI zake. AthI ja cinmayAnaMda kahe che ke " Scientific detachment, honest observation, logical conclusions and heroic decisions alone can help an individual to

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Atmadha come away from his own life's fallacies. Atma-bodha supplies all these requisites and Shankara has made this scientific treatise a chiselled beauty with a distinct cadence and rhythm of its own." AnI sAme padamanandInuM " Atmabodha' e savizeSa bhAvasabhara bhAvuka kAvya che. temAM pradhAna sura che sAdhakane AtmAnAM jhaMkhanA, talasAMTa, sAdhanA, mekSamAge gati vagere bAba. tAmAM tenI prabhuparAyaNAne. A kAvyamAM AtmAnI prazasti che tenA gauravamAM avagAhana che. AtmaviSayaka jenI cintana paNa che, sAthe A kRtimAM mukhya sUra che bhaktine. bhaktiparAyaNa nA, Arajana, zaraNAgatatAne, Ane kAraNe, pradhAnapaNe bhaktikAvya evI A kati dAzanika kAvya to che ja, paraMtu temAM bhAvabharatA ane bhAvavibhoratA vizeSa che. sama ane tAtvika Amadazana echuM. A kAvya eka bhaktikAvya tarIke racyAyuM che ane eka suMdara prArthane kAvya che. eka ja zIpaka sahitanI A baMne kRtio Ama Atmacintana to Ape ja che. nAM zaMkarAcAryanuM zuddha dazanakAvya ane padmanandInuM pradhAnataH bhaktikAvya e eka bInathI judAM paNa paDe che ane bane tapitAnI rIte garavAM che, mahAna che. 'Atma-bodha' Swami Chinmayananda. Publ. Chinmaya Mission, Bombay, Intro. ?

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padamanazvikRta anuvAda ane vivaraNa AnandanA nidhi ane amala tattva evA ApamAM mAru citta avagAhana karI zake ApanA nAma ane zrutithI anvita ananta prakAza evo mahAmatra hoya; Ape batAvelA ratnatrayAtmaka evA mAge mArI gati thAya-te he jineza ! he prabhu ! A jagatamAM sajajanene temane ati priya vinI ( siddhimAM ) kayuM vina sa bhave ? (1) [ mahAmatroDacanajJAma. - ananta prakAza e mahA manna. navarAma mA cAna - ratnatrayAtmaka mArge gati. ratnatraya eTale samyapha darzana, samyapha jJAna ane samyaka cAritrya jue : saranazAnacAritrALa mokSamArga : 1 tatvArtha. sUtra 11. bhAvArtha mAnave prabhuparAyaNa banI temaNe batAvelA mArge gati kare, te tenA mokSamArga nivina pragati thAya. ] niraMkArava [ = anAsakti ], arAgitA, samatA. karmakSaya ane (Atma) bedhana( A sarvanI siddhi mATe) atula AnaMda tathA vIrya sAthe vizvavyApI evu jJAna-he deva ! A prakArane zuddha kama saMsAranA parityAga mATe tame ja niyata karI Ape che. (kharekhara ! ) tamArAM caraNonI sevA ( e ja ) sajanene sa mata che. (2) ( niHsaMga = anAsakita, aparigrahatva. atulAna da -- anantasukha. dazA - jJAna, kevaladarzana. bhAvArtha : saMsAranA parityAga tathA prabhuparAyaNatA ane kSamAge gatine athe pramue derI Apele mAga zreSTha che. mATe ja sajane jinezanI, AtmAnI sevA vAMke che.] ApanI sevA karavAne lIdhe A ( kamamAM ) mArI sthiti daDha thaI che, te pachI he trilekanAtha ! saMsArarUpI zatru ( ati ) baLavAna hoya te paNa tene bhaya kaI rIte lAge ? amRtanI varSAthI hA jagADanAra sudara chatravALA dhArAgRhane pAmIne zuddha thayelA manuSyane baporanA samayane ati kaThora tApa paNa zuM karI zake ? (3) [ A saraLa mAM trIjA ane cothA caraNamAM eka ati sundara, kAvyamaya aupamya ApyuM che. bhAvArtha : bhagavAnanI sevA sAthe A kAmamAM mAnava vikAsa kare, AmethIne mATe prayAsa kare te tene sa sAramAM keI bhIti ke avarodha rahetAM nathI. ]. I paNa vidvAna jana, sArAsAranA vivecanamAM ekacitta manathI traNeya lekanA [= jagatanA ] tamAma arthonI lAMbA samaya payata saMpUrNa mImAMsA kare, te he bhagavAna ! evA vidvAnane anubhava thAya che ke asAra ( sa sAramAM) Apa eka ja sArarUpa [ = satya ] cho. ApanA AzritanI bAbatamAM ja A garavI nivRtti saMbhave che. (4) [ niraMtuSa -- saMpUrNa. nivRtti - sukha, Ananda bhAvArtha : asAra saMsAramAM jineza prabhu e ja sArarUpa, satyarUpa che. AthI garavI nivRtti prabhunA Azritane pakSe ja saMbhave che. cethA caraNamAM sarva marAbita evI vAcanA upAdhyamAM che e mujaba ApanA Azrita evA mArI bAvabamAM" e pramANe anuvAda thaze. ]

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Amadha 31 jJAna, tamAma viSenuM darzana [ athavA zraddhA ], Atmattika sukha, vIratA, prabhutA ane ati nirmaLa rU5 -. ( A badhuM kharekhara ) ApanuM pitAnuM ja che ! tethI he jinezvara ! samyaka evI gadaSTi vaDe ( sAdhanA karyA bAda ) lAMbA samaye Apa prAta thAva, te gIoe kayuM jJAna prApta! na karyu hoya ? temaNe zuM na joyuM hoya ? ane vaLI temaNe zuM prApta na karyuM hoya ? (5) [ apaviSaya - tamAma viSayonuM. samyagogadazA - samyaganeNa. jJAta kiM na vilekti - bhAva e che ke mAtra ApanuM jJAna prApta karanAre badhu ja jJAna prApta kayu', badhAnuM vilokana karI lIdhuM, badhuM prApta karI lIdhuM. "tadAtyantika'ne sthAne " tathAsyantika' vAcanAthI arthamAM kaI bheda paDatuM nathI, ]. jinasvAmI evA Apane traNeya lekanA eka (mAtra) parama nAtha huM mAnuM chuM. Apane ekane ja namana karuM chuM, hRdayamAM dhAraNa karuM chuM; sadAya huM ApanI sevA ane stuti karuM chuM. ekamAtra ApanA zaraNe huM Avyo chuM. (ApanI mahattA ) pharI pharI varNavavAthI je kaMI paNa thatu hoya te A (mukti e ja ) mAruM prayojana bane; anya koI ja (projana ) mAre nathI. (6) [ bhAvArtha : traNeya lekanA nAtha ane vaMgha evA jinasvAmIne caraNe janAra vAstavamAM muktine AdhAra le che. jinasvAmIne caraNe javAthI, jinasvAmInI mahattAnA varNanathI mukti saMbhave che, e bhAva che. 1. ahIMyAM ( saMsAramAM mAnava ) pApa karAve, kare ke tenuM anumodana kare (e saMbhave che, ) - brAntine kAraNe ( Ama bane che. ). huM mana, vANI ane zarIrathI ApanAM (caraNomAM ) AvuM chuM. vaLI ApanI samakSa huM AtmanindA karuM ( ane e rIte mAra pApane ekarAra kare che tyAre have samaye samaye je kaMI ( pA5 ) meM karyuM hoya, bhaviSyamAM (huM ) karuM; navasthAne uddabhaveluM te badhuM ja he jinapati | mithyA thAva ! (7). [ "mana, vacana ane kAyAthI ahI A ( sa sAramAM mAnava ) pApa karAve, kare ...." ema artha paNa laI zakAya. navasthAnedugatuM - pApanAM nave sthAne che.- mana:kRta, mana:kArita, mananamedita; vacanakA, vacanakArita, vacanAnu dita; kAyakRta, kAcakArita ane zreyAnuM dita bhAvArtha : bhrAntithI prerAyele mAnava jagatamAM pApa kare, karAve, tenuM anumodana kare. paraMtuM ane te mAnava AtmanindA karI prabhune caraNe jAya ane pApamukta thAya che he jinendra ! traNa kALanI ( gatithI ) gocara evA anaH paryAyathI yukta lekaAlokane tame jANe cho; badhI bAjuethI sarva samaye samAna tene Apa barAbara nihALo cho. he svAmI ! mArA eka ja janmamAM janmelA doSone Apa jANe cho, te chatAM zuddhi ane AlecanAne mATe zA kAraNasara che. kemeya ApanI samakSa vAcya banatA nathI ! (8)

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padumanandikRta [gavare - vAcanA bhede gocara ', artha eka ja, anano paryAya - mULa padArtha eTale dravya, je nAzavanta nathI, tenI judI judI avasthAo, pariNAme, vikAre te paryAya. bhAvAtha: paramAtmA jinendra sarvata che, mArAM pApa jANe che, nihALe che. paramAtmA samakSa mAnave to kSamAbhAjana ja che. ] vyavahAramArganA Azrayane AdhAre (paca mahAvratAdi) mULabhUta gaNuyelA ane peTA gayelA sAdhunA guNone dhAraNa karavA chatAM mArI smRtine mAge* je dUSaNe mArAmAM sthApita thayAM che; he prabhu ! zuddhine athe temanI paNa AlecanAnI [ ane kabUlAtanI] taiyArI sAthe huM ApanI samakSa upasthita thayo chuM.). kAraNa ke bhavya ane cetanAvanta mahAnubhAvoe ( mArA jevAnA ) hRdayane sarva rIte nizalya banAvavuM ghaTe. (9) [mULabhUta guNe - mULa cha nA guNe, tenA lakSaNe, je tenI sAthe sahabhAvI gaNAya Ama, mULabhUta guNe konA sahabhAvI che. dravya che--jIva, pudgala, dharma, adhama, AkAza ane kALa. bhAvArtha mAnava pitAnI sI sAMsArika bhUla kabUlI zuddhine athe jina prabhu samakSa upasthita thAya, te te niHzalya banI zake. ] he jinapati! ahIM A saMsAramAM sahu koI pharI pharI asaMkhya lekathI [ = janmathI ] baMdhAyelA che [ mitaH 3. vyakta--avyaktanA vikalpanI jALamAM gUcavAyela prANI (e mAnava saMsAramAM janma le che. vikapanA ( gUMcavADAthI) janmelA mArA ja e dethI mAre saMsAra raghA karyo che, tenuM prAyazcitta ahIM kyAMthI sAMbhaLyuM-jAyuM hoya ? ApanA nikaTanIpaNumAM ja tenI zuddhi zakya che. (10) [ sadaiva"ne sthAne "sadaiva vAcanAne lIdhe "sadAya (mArA ja)"e anuvAda thaze. sannidhI ne sthAne "sa nidhim ' e vAcanA rUcikara lAgatI nathI. bhAvArtha : saMsAra, janmajaMjALa, vikalponI paramparA vagere thakI name che. prabhunA nikaTavatIpaNAmAM ja tenI zuddhi, tenuM prAyazcitta saMbhave che. ] antaHkaraNa ane indriya tathA tenA bhAvone vidhipUrvaka [ = vyavasthita rIte athavA niyamAnusAra ] bAhyAzrayamAMthI rUdhIne, ane zuddha jJAnanI ekamAtra mUni evA ApanI sAthe temane eka rUpa karIne, anAsakti ane (AgamanA) jJAnanA sAra sAthe matine sAMga karIne, (huM) zAnta thayele mAnava ApanI samakSa ekanta prApta karuM chuM. he deva ! samatA pAmele je mAnavuM ApanI nikaTavatita pAme, te kharekhara dhanya gaNAya. (11). [cothA caraNamAM "samItte ' che, tene sthAne samIte ane samIkate e be noMdhapAtra vAcanAvikalpa che, jene AdhAre "je ApanuM cintana kare, ApanA vaDe jovAmAM) Ave ane ApanI nikaTavartita pAme, te kharekhara dhanya gaNAya" e artha thaze. bhAvArtha :matine anAsakti ane jJAna sAthe saMga karavo. Ama karavAthI zAnti ane ekAnta anubhavI zakAya. Ama, prabhunuM sAMnidhya bhAre zAtAdAyI che.'

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Ama modha pUjya prabhu evA Apane, pahelAM karelAM bhAre punA vege pAmIne, brahmA vagerene mATe paNa sulabha nahIM e pada nizcita rUpe prApta thAya che. huM ahatanAtha Ajeye ApanI upasthiti ( hovA chatAM) ati sthiratAne pAmeluM A mAruM citta bahAra [bAhya viSayamAM] doDe che ! huM zuM karuM ? (12) [ pahelA karelA - pUrva janmamAM karelAM. brahmA vagerene sulabha nahIM evuM pada eTale mekSarUpI pada, citta sthira banyA. pachI paNa bAhya viSamAM doDI zake. e rIte citta na doDe te bAbatamAM bhakate satata jAgrata rahevuM jarUrI che. ] sarasAra bhAre duHkhadAyI che, tene (lupta karavA) mATe nirvANa (e ja ) sukhanuM pada che. ene mATe adi (nI lAlasA) tyajIne ame tapovana tarapha gati karI, tyAM (sava) saMzaya , tajI dIdhA. Ama, (atyaMta) duSkara evA vratano vidhi karavA chatAM hajIye siddhi na varI, kAraNa, pavanarUpI bhramare cacaLa banAvelA ( kamaLa) daLanI mAphaka mana Amatema bhame che. (13) [ vAtAgrItarIti - pavanarUpI bhramare caMcaLa banAvela,pavananI paramparAe athavA vAyasamUha ca caLa banAvela. prathama atha dekhItI rIte vadhu sAre che. bhAvArtha : pUrve karelAM pune bhege prabhuprAti saMbhave, ane mokSapadanI prApita thAya. chatAM, A siddhi citta caMcaLa" hoya tyAM sudhI na ja saMbhaLe. ] (mana) Ama tema jhAvA mAratuM hoya, bAhya evA arthanA lAbhothI harSa pAmatuM haiya vinA Ajane paNa sadAya jJAnamaya AtmAne vyAkuLa karatuM hoya, indriyagrAmamAM satata vAsa karatu hoya, saMsAranA kAraNarUpa kamanuM parama mitra hoya-(Ama heya ane) mana jIvaMta ( tathA pravRtta ) hoya tyAM sudhI yamaniyama pALanArane paNa A saMsAramAM kSemakuzaLa kayAMthI hoya ? (14) [ pAma-inneine samUha carama - yamaniyama pALanAra, saMyamI, bhAvArtha mAnava manamAM caMcaLatA hoya, AtmAmAM vyAkuLatA hoya, saMsAranuM AkarSaNa hoya tyAM sudhI yamaniyamanA pAlanathI paNa sAcuM kSemakuzaLa saMbhavatuM nathI. upAe trIjA caraNamAM meM vAsaribrica ema vAMce che. te vadhu sArI vAcanA: jaNAya che. ] - zuddha bodha e ja jene AtmA che, tevA nibaLa evA ApanI samakSa rajU thanAra paNa kharekhara mRtyu pAme che. AthI satata viMkane lIdhe AkuLa evuM (mAruM A) citta ApanAthI bahAra bhame che. he svAmI ! A sthitimAM zuM karavuM ? mehavaza evA kone mRtyune bhaya nahIM hoya ? AthI kharekhara te, sarva anartho karanAra, pArakanuM ahita karanAra evA mArA mehame Apa TALe. (15) [ sanAraxqRrf - A vAcanAthI artha jarA judo paDaze, "sarva anarthonI paraspara UbhI karanAra " e pramANe mohathI anartho thAya che. citta bahAra bhame che, mATe meha para vijaya meLavI anivArya che.] sa .-5 .

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paddamanandrita A deha to (kharekhara ) tamAme ya karmo karatAM vizeSa, atizaya baLavAna che. tenA prabhAvane gemana caMcaLatA dhAraNa kare che ane maraNathI Dare che. Ama na hoya te dravyavAna e A jagatamAM koNa jIve che, keNa mare che ? paraMtu nAnAtva paryAne lIdhe saMbhave che; he. jinendra ! te Ape joyuM che [ jANyuM che ]. (16) | nAnA - saMsArajIvananI vividhatA. vaya. nAnAvuM 2 vAto - mahI bIjI vAcanA nAnA nand: e pramANe che. artha' thaze "jagatanuM nAnAva." pramAvAzmana - prabhAvane yoge mana paryAya - sa sAranI vividhatAnI avasthAo.] pavanathI vyApta samudranA jaLanAM mojA nA saMdhAta samuM A jagata sadAye sarvatra kSaNabhaMgura ja che. Ama vicArIne have mAre A citta apAra janmathI janmatA vyApAranI pAra gayuM che (ane) nirvikAra paramAnanda svarUpa evA ApanAmAM sthiratA jhaMkhe che. (17) [vyApAranI pAra gayuM che - karma ane tenA be dhanathI para thayuM che. janmathI janmatA vyApAra - janmamaraNarUpa saMsAranA karaNarUpa vyApAra. bhAvArtha: jagata, sa sAra kSaNabhaMgura che tenI pratIti thAya, tyAre ja mane janmacakanI pAra jaI zake, ane nirvikAra prabhune vAMche. ] ahIM A jagatamAM (saMsAranA) azubhanA upayoganA yoge pApa saMbhave, (ane) tenA thakI manuSya duHkha pAme. vaLI zubha upaganA yoge ahIM dhama thAya, (ane mAnava) kazuMka sukha pAme. kharekhara, A badhuM kanvarUpa ja che. tamAre Azraya levAne lIdhe ane vaLI zubha upaganA vege tyAM nitya evA AnandanA padanI prAptinI saMbhAvanA rahe. Apa ahaMta che, ane huM tyAM ja chuM. (18) [ dvanda-paraspara viruddha evA guNenA kanDa, kalezakArI Thanko. bhAvArtha: prabhune Azraya le te ja mAnave azubhathI mukta thAya, sukhaduHkhathI atIta thAya; te ja AnandanI prApti saMbhave.] te aMdara ke bahAra, ke dizAomAM kyAMya raheluM nathI; te sthUla ke sUma, puruSa ke strI ke napu saka nathI; te gurutA ke lAdhavane pAmyuM nathI. karma (karanAra) ane sparza (kSama ) zarIranA (lakSaNa rUpa ) gaMdha (vagerenI) gaNanAnA vyavahAra varNothI mukta, svaccha, jJAnadaSTi rUpa eka (mAtra) muti" evo huM parama jyoti chuM, apara nahIM. (19) " kama".....varNojhita H "- anya artha Ama thaze - "je karma, sparza, zarIra, gabdha, gaNanA, zabda ane varSothI mukta che. apara nahIM - AnAthI anya mAruM koI svarUpa nathI. bhAvArtha : mAnava azubhamukta thAya, Tha%AtIta thAya, e kakSAe pahoMcatAM ja pite parama jyoti hovAne anubhava karI zake. trIjI paMktimAM vadhAhArane sthAne kathApAra e bIjI vAcanA upAdhye Ape che. atha thaze - vyApArathI apara ke anya nahIM.] duSTa evA meM vinAzazIla verI evuM kama satata karyA karyuM che, ane Apa kaI paNa prakAranA kAya vinA ( garavI ) unnatine pAmyA che. ATalA parathI ja he nAtha ! ApaNA

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Atmabodha 35 be vaccenuM aMtara dekhAI Ave che. chatAM Avo huM, evA ApanI samakSa upasthita thayo chuM; mane duSTane kADhI mUke ! he prabhu! nyAyIjanene A dhama che ke teo ayogya janane sajA kare. [ = temane nigraha kare.] (20). [ A suMdara zlokane dhvani e che ke prabhu AvA mAnavane nigraha kare, paNa tene kADhI na ja mUke. jidunnati kSayakatA A sthAne vihunatizayatA evI vAcanA laI e te sa darbhamAM baMdhabesatI thaze nahIM. bhAvArtha : mAnava ane prabhunI vacce apAra aMtara che. chatAM mAnava prabhu samakSa namratAnA bhAve rajU thAya che ane prabhu tene nirAza nathI ja karatA.] Adhi, vyAdhi, ghaDapaNa, maraNa vagere (mAnava zarIranA saMbaMdhI che tenAthI (sarvathA) bhinna evA mArA pavitra AtmAne jaDa leke zuM karI zake? ( bhagavAna!) judA judA AkAra ane vikAro janmAvanArAM A (vAdaLI) sAme ja namaMDaLamAM UbhAM che, te varSAnA vAdaLanA svarUpane badalI zakatAM nathI. (21) [ AtmAne jaDa jagata ane tenA saMbaMdhe tathA deha ane tenAM lakSaNe kaMI karI zaktAM nathI - A bhAva ahIM parmanandI eka su dara dRSTAnta dvArA samajAve che. juo mIrAMbAI-" UDI gaye haMsa piMjara paDI te rahyuM. " Adhi, vyAdhi vagere zarIranA saMbaMdhI lakSaNothI AtmA sarvathA bhinna che te darzAvavA sudara daSTAnta ApyuM che.] saMsAranA tApathI baLatA zarIre huM bhAre duHkhapUrvaka TakI rahyo chuM jamIna para rahI (taraphaDatA) mAchalA mAphaka he nAtha ! mAruM mana nitya saMtapta che. he deva! kAruNyarUpa amRtanA saMpakathI atyanta zItaLa evA tamArA caraNakamaLe huM hakyanuM samaparNa karuM chuM, tyAM te huM bhAre sukhiyo thaI jAuM chuM ! (22) F prabhuparAyaNatA ane AtmA prati sarvasamarpaNanA bhAvamAM ja sAcuM sukha che. sukhiye thaI jAuM chuM -- bhAre sukha anubhavuM chuM. bhAvAthaH mAnava satata saMtapta rahe, jAgrata rahe, te ja tenI unnati saMbhave. prabhuparAyaNatA ane AtmA prati svasamarpaNanA bhAvamAM ja sAcuM sukha che. A (mAre) mana (nayane vagere IndriyonA) samUha vaDe bAhya artho sAthenA saMbaMdha bhogave tyAre karma te vadhe ja ! Ane lIdhe te sadAye sarva rIte huM tenAthI judo paDI jAuM chuM. athavA je ApanA pautanyanA( AvirbhAva)thI te (ApanAmAM maya) thAya, te tyAM paNa, he zuddhAtmA! kAraNe te ( Apa ja che). vaLI nizcita rIte he deva! mArI sthiti ApanAmAM ja che. (23) [ bhAvArtha : mAnava AtmA paramAtmAmAM maya jAya to te paramAtmAnI, jinezvaranI kRpA ja gaNAya.] he AtmA ! tane leka, Azraya, kavya, deha, vANI ke pachI Indriya tathA prANuthI zuM ? [arthAta , temanI sAthe nisbata zI?] (jagatanA sau jIvo) pudgalaparaka hoya che tyAre tuM pramatta thaIne temanA dvArA zA mATe budhanane pAme che? (24)

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padumanandrita [ pagalaparaka - pudagalanA paryAya. ajIva kAyapudgala dravya pahAthanI avasthAo, je satata badalAyA karatI hoya che. bAhyapadArthamAM AmAM phasAtAM mehane pAme che, je baMdhananuM kAraNa che. bhAvArtha : jagata sAthenA sa ba dha bandhanAtmaka che, te sthitimAM pramatta thavuM e STa nathI. prabhuparAyaNatAmAM ja sAcu sukha che.] - dharma, adharma, AkAza ane kALa e cAreya (dravya ) mAruM ahita karatAM nathI. paraMtu A cAreya ( sasAranI) gati vageremAM madadakartA bane che. kevaLa pudagalarUpI zatru eka ja nikaTavatA hoya te karma ane karmAkRti rahe (AthI) ba dhanakartA A verIne meM have bhedarUpI (= vivekarUpa) khagathI khaMDita karyo che. (25). fmavA mAsinA uiztA = vivekarUpI khagathI khaMDita karyo che. bhAvArtha sa sAranAM tamAma AkarSaNe baMdhanakartA che. A be dhana vivekarUpI kharzathI khaMDita karavuM jarUrI che.] rAgadveSathI udbhavelAM rUpAntarethI jema pudgala dravya pariName, tema e amRtika AkAza vagere cAra prANIone mATe udbhavatAM nathI e be [ =rAga ane draSithI ]thI satata navuM ne navuM karma thayA kare; tenAthI A saMsAra cAlyA kare che. AmAM [ = A saMsAramAM] dukhonI paramparA che e samaja sAthe prayatnapUrvaka e bene vidvAnoe tyAga karavo ghaTe. (26) [ trIjA caraNamAM nava ne sthAne e upAbee svIkArelI vAcanA gya nathI. mAnavane saMsAra che, temAM duHkhenI para parA che. A baMnene tyAga, bannethI paratA Avazyaka che bhAvAtha: rAga-dveSathI satata navuM kema thayA kare, saMsAra cAlyA kare, saMsAramAM A rIte duonI paramparA che ja, e samajIne prayatnapUrvaka vidvAne tene tyAga kare. ] . bAhya, para vastuomAM mana parovIne rApamaya aneka saMkalpa-vikalpa karavAthI zo lAbha 2 (he mAnava!) tuM azubha karmo te dukha mATe ja, nakAmAM ja karI rahyo che. zuddha AtmAne prApta karIne AnandanAHamRtarUpasAgaramAM tuM vase [ = nimagna rahe], te ektAne pAmelA te pavitra [ = rIta ] sukhane tuM nizcita rIte pAmaze. (27) [ bhAvArtha : zuddha AtmAne prApta karIne AnandanA amRtampa sAgaramAM mAnava nimagna thAya, te tene mokSa sAthe ekava.- pAmelu sukha prApta thAya.) he jina ! A pramANe hRdayamAM sthira ekamAtra adhyAtmanI tulanAmAM madhya mAnavazuddhine athe, ApanA caraNanI kRpAthI (AbhA prati) ahI (saMsAramAM) gati kare. A dudhare karmarUpI zatrae tene doSayukta banAvavA mATe kaTibaddha thayA che. he bhagavAna ! A sthitimAM ahIM Apa madhyastha sAkSIrUpe daDha sthira che. (28) [bhAvArtha : mAnava satata prabhunA caraNenI kRpA vAMche, to tene doSayukta banAvavAne tatpara saMsArarUpI. zatruthI paNa prabhu bacAve.] deta e ja saMsAra, ane nizcayanA baLe advaita e ja amRta. saMkSepamAM banne rIte kapeluM A (satya) atima cheDAne pAmyuM che. Aje (ahIM saMsAranI bahAra gati karIne

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Amabodha 37. dhIme dhIme (cha) sabaLa DagalAM mAMDatAM je anya ( = brahma, AtmAnuM, jinanu) lambana le te spaSTa rIte ja (satyanI) saMsAne pAme che ane vyavahAramAMthI brahmAditAne pAme che. (29) [kallA sujJa ne sthAne vasoDahaM e vAcanA letAM te spaSTa rIte ja saMsArahita hoya che e artha thaze. bhAvArtha : vaita e ja saMsAra ane aMta e ja amRta, A be AtyaMtika sa. temanI vacce mAnave prabhunuM, AmAnuM, jinanuM Alaane levuM ghaTe. ! he deva ! kaivalya darzanathI Ape muktine arthe je cAritrya nirUpa che, te mArA jenA manuSyane viSama evA kalikAlamAM siddha karavuM muzkela che [ dura ]. A sa sAramAM pUrva (janmamAM ) kamAyelA puNothI je A mArI bhakti ApavAmAM daDha thaI che, he jinadava te ja te saMsArasAgara tarI javAmAM mAre mATe nauko bane. (30) [ kalikAla - paMcAla - jaina daSTie utsarpiNI ane cha avasarpiNInuM kALacakra - temAM pAMca kALa, je atyAre vidyamAna che. A ja vaiSNane kalikAla. bhAvArtha: purayane Lei prabhumAM bhakita daDha thAya, te te sArasAgara tarI jaI zakAya.] (dhanya) Itva, hInatA ane madhyatA evI che aneka nione huM saMsAramAM lAMbA kALathI bhamatAM, anaMta zI pAse chuM te kazu paNa A saMsAramAM apUrva nathI, tene tyajIne ( huM Apane vAMchuM chuM.) he deva ! saMpUrNa mukitanuM pradAna karatI evI samyak darzananA baMdhathI siddha padavI (nI mArI AkAMkSA) pUrNa karaze (31) [ bhAvAthaH indra, hInatA, madhyamatA e saMsAramAM apUrva nathI. mAnava prabhunuM zaraNa vAMche ane prAthe ke samyaka darzananA bedhathI siddha padavIne te pAme.] zrI vIra (evA jina bhagavAne) prasanna mana sAthe e avarNanIya ucca padavI prApta thAya te mATe upadezanAM parama vacana mArA cittamAM AropyAM che. A ekamAtra pRthvInA paTa para kareluM, kSaNamAM dhvaMsa pAme tevu trilekanuM rAjya bhale paDayuM rahe (AstAma). he prabhu! he jinendra ! te mane saMsAramAM priya nathI. (32) [ bhAvArtha : prabhukRpA ane kaivalya prApta thayA pachI bilakanA rAjyamAM paNa sAdhakane kaI rasa raheto nathI. ] surizrI padmanandInI A AlecanAne pAtra kRtine je buddhimAna mAnava, vimaLa zraddhAthI namelAM aMgo sAthe divasamAM traNa vakhata khAsa vAMce, te lAMbA kALane kaThora kALa ane bhAre prayatna gIo zodhI zake, te parama padane [tarata ja ] pAme che. (33) iti kRtiriyamiha paNDitottamazrI padmanandina : / / / A pramANe A kRti paMDitamAM zreSTha pamandinI racelI che,

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Atmabodha (Alocana) of Padmanandi (With introduction and translation) Editor-Translator-Y. S Shastri Introduction In the line of Jaina wilters, one and the same name is borne by many authors belonging to different periods of time there have been many Jamna Saints and winters bearing the name Padmanandi and we have been able to list about eighteen Padmanandis from different sources. Padmanandi is another name of Kunda Kundacarya. The author of the Prukytavrtti on Panca-sangraha is Padmanandi who is later than Akalanka.2 Padinanandi3 also called Siddhanti Cakresvara, who flourished in Saka 997, is mentioned in Jain inscriptions The author of the Jambudvipapannatti ( a prakrt-Text ) who flourished in circa end of the tenth or beginning of the 11th centuiy A.D. 18 Padmanandi,4 The author of Dhamma rasayana was Padmanandi.3 There is another Padmanandi who belongs to Senagana and flourished in circa 9th century AD. Again, Aviddhakarana Padmanandi-Siddhantika is referred to in an inscri. ption of A.D. 1163.7 A disciple of Naykirti was Padmanandi, whose name is mentioned in some inscriptions dated A.D. 1181, 1195 and 1206.8 Padmanandi was pupil of Ramanandi,9 whose name is mentioned in an inscription, of the middle of the 12th century A.D. Padmanandi Pandita10 was one of the pupils of Adhyatma Subhacandra who flourished in the end of the 13th and beginning of the 14th century A.D. Padmanandi Bhattarakadeva, 11 a disciple of Hanasoge Bahubali Maladhar(1) Epigraphica Carnatika-Vol. II, P-64, 66 and Indian Antiquary-XXIII. p. 126. (2) Panca Sangraha-Introduction, Pub : Bharatiya Jnana Pith, Banares, 1960. (3) Jaina Silalekha Sangraha-Part II Pub : Manikacandra Digambara Jaina Gran thamala, Bombay, P, 269-70. (4) Jamhudvipapannatti-ed: H L. Jaina and A N. Upadhye, Sholapur, 1959, See Introduction. pp 13 F. (5) Siddhanta Saradi Sangraha-Manikacandra Digambara Jaina Granthamala. Bombay. 1922, p 192 F. (6) Bhararaka Sampiadaya-ed : ed: V P. Johrapurkar pub: ed. G. H. Doshi, Jaipa Sanskilti Samraksaka Sangha Sholopur 1958, P-3. (7) Epigraphica Carnatika-I, SB, No. 64 (8) Ibid, II, Nos, 327, 333, and 335. (9) Jainism in South India--P.B. Desai, Sholapur, 1957, 280 F. -(10) Epigraphica Carnatika--Introduction, P. 86, & SB No. 65. (11) Jaina silalekha Sangiaha--Part-III, Manikacandra D. Jaina Granthamala p-387.

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46 Armabodha ideva, flourished in saka 1225 Padmanandi, flouushed in end of the 13th and beginning of the 14th century AD and lie was a pupil of Traividyadeva of Kunda Kuudanvaya, 12 Padmanandi Bhattaraka succeeded Prabliacandra on the pontifical seat at Delhi, since V S. 1385 to 1450 (-13281393). He was the author of Bhavana Paddhali and Jirapalli ParsvanathaStotra 13 This Padmanandi was very popular and he consecrated an image of Adinathia in the year, Samvat 1450 14 He was so famous that some of the scholars presumed that, he was the author of twentyfive small treatiscs known as Padinanandi Pancaviniasati.15 There are some more Pad. manandis16 who flourished in 16th, 17th and 18th centuries A.D. But the author of Padmanandi Panca-vimsati ( in which our present work Atm abodha o Alocana is also included) seems to be quite different from all these above mentioned Padmanandis, because he is a disciple of Viranandi, the author of Acarasara with Svopajnavrtti in Kannada language17. This Padmanandi clearly mentions his guru's name as Viranandi in his works viz. Dhainopadesamrtam, Danopadesanam and Atmabodha or Alocana.18 So, he is quite different from other Padmanandis in general, and from the Bhattaraka Padmanandi ( 14th cenury) in particular. It is very difficult to fix the exact date of this Padmanandi, still we can say that, he flourished in the first or second quarter of the 12th century A. D. on the basis of the following observations: Out of 25 small treatises of Padmanandi Ekatvasaptati is very famous and, it is often quoted by Jaina writers. We find verses quoted from Ekatvasaptati, in the works of (12) Epigraphica Carnatka -SB No. -269. (13) Bhattarakasampradaya - P-92. (14) Ibid- P.92 (15) Kartikeyanupreksa - Introduction, - A. N Upadhye (16) (a) Padmanandi (V.S.- 1576) a disciple of Hemacandra- Bhaltaraka Sampra daya - P. 247 (b) Padmanandi (Samvat - 1600), disciple of Sakalakirti' Ibid-P208. (c) Padmanadi (Samvat - 1683), -pupil of Ramakirti - Ibid - P. 158, (d) Padmanandi (Samvat - 1773), disciple of Candra kirti - Ibid - P. 125 (c) Padmanandi (V.S 1850), disciple of Devendrakirti - Ibid - P. 78. (17) Pravacanasara-Introduction -ed . A.N. Upadhye, P-104. (18) (a) 'Sa Srigururdisalu me munivirapandi'- Dharmopadesamrtam-Verse - 197. Padmanandi Pancavimsati,ed. AN. Upadhye and H.L. Jaina, Jivaraja Jaina Grantha mala No-10, Sholapur, 1962' P - 77. (b) 'Ratnatrayabharanaviramunindrpadapadmadvaya Sanjanitaprabhavah' Danopadesanam- Ibid - Verse - 54, p - 90. (c) Srivirena mama prasanna manasa kircittaduccaih padapraptyartham para mopadesa Vacanam citte Samaropitam-Atmabodha or Alocana Versc-32 See our Sanskrit Text,

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Introduction 12th century writers such as Jayasena19 and Padmaprabha. 20 Jayase flourished in the beginning of the 12th century and commented up Pancastikaya and Padmaprabha Maladhaiideva flourished in the midd of the 12th century A.D. and commented on Niyamasaia. Prabhacandra in his commentary on the Ratnakarandaka Sravakacara quotes tv verses from Padmanandi's work He fluished chica end of the 12th beginning of the 13th century We also find verses quoted from Padm nandi's work in the Asadhata's Svopajnavrtti22 on Dharmanirta, wh lived in the 13th century AD. Again, Padmanandi seems to be influe ced by the writers such as Somdevasuri23 and Amitagati,24 who flourishe in the 10th and beginning of the 11th century, A.D. respectively. Padn anandi bodily lifted certain lines from the Somadeva's Yasastilaka. Sc it is certain that our Padmanandi, the writer of twentyfive small treat ses, must have flourished in the first and 2nd quarter of the 12th centur A.D. The Kannada commentary on Ekatvasaptati, cleary mentions that Padmanandi is a contemporary of Nimbadeva who flourished in 1136 A.D.25 The Kannada commentary on Ekatvasaptati mentions the wor 'labdhatmavrtti' on the basis of which some scholars presume that, the author himself has written the Kannada commentary.26 But this possibi lity is ruled out because, the commentator Padmanandi is not a pupil of Viranandi, but disciple of Subhacandra -Raddhantadeva and his Vidyaguru is Kanakanandi Pandita.27 Though Padmanandi was a great scholar of Sanskrit, Prakrit and Kannada, still it is very difficult to specify the place of activity of our author. He might have lived in the Kannada speaking area. This Atmahodha (or Alocana )-a hymn of 33 verses in fluent sanskrit composed in sardula metre is included along with other treatises of Padmanandi in a manuscript known as Padmanandi Pancavimsati. This (19) Jayasena quotes 14th verse of Ekatvasaptati Pancastikaya with Jayasena's commentary, gatha, 162. (20) Padmaprabha and commentary on the Niyamasara A.N. Upadhye, pub : Journal of the University of Bombay X 11, 1942. (21) Ratnakarandakasravakacara Introduction -pub Manikacandra D.J. Granthamala, 24, Bombay, 1925. (22) Jaina Sahitya aur Itihasa N. premi, Bombay, 1956 p 342 F. (23) Yasastilaka and Indian Culture K K. Handiqui, Sholapur, 1949. (24) Jaina Sahitya aur Itihasa, IInd ed: N. premi Bombay, 1956 p. 275, FF (25) Padmanandi pancavimsati - Introduction, p. 17. (26) Padmanand pancavimsati - Introduction p - 17 - 18. (27) Svasti Sri Subhacandraraddhantadevagrusisyena, Kanakanandi pandita Vagrasmi -vikasita hrtkumudananda-...-concluding portion of the Kannada commentary on Ekatvasaptati Introduction, p 17.

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42 Atmabodha sinall work is critically edited witli an introduction and accurately tra. nslated into English for the first time on the basis of the MS. found in Punyavijayaji's collection at L.D.Institute of Indology, Ahmedabad under the heading of Ekatvasaptatikadi - Acarya - Padmanandi Krtisangi alia, 28 No. 4425/12/ This complete Ms. of 33 verses consists of 3 folios (24 B to 26 A), containing 58 lines and 47 to 49 letters to a lie. The size of each page is 25 5 x 11.5 cm. It is hand-written in black ink on the hand made paper ( = country paper ) Handwriting is very clear and fair, space is left for full-stop (danda) after completion of every verse. The Ms seems to be very old (circa 400 years ), solid in appearance and condition of the MS is very good. This work is written along with other works of Padmavandi, so, it begins after, the work Siddhastuti in the MS. and it ends with Krtinamiha panditottama Sri Padmanandinah. Few mistakes are found here and there. Possible corections are shown in the bracket with questionmark.29 To speak about this work, it is termed as Atmabodha-self awarness or Alocana-self-confession. It seems that the name Alocana is more popular than Atmabodha. The author himself, in the concluding verse. calls it Alocana.30 An unknown Sanskrit commentator's commentary on this work, ends with ityalocana samapta 31 This work is also termed as Atmabodlia on the basis of the inner current of thought. This name is more bifitting to this work. There are two currents of thought running thioughout the hymn One is in the form of self-confession of onc's own faults and another as in the form of describing the nature of Atmall and self-realization. Most of the verses are devoted to the latter. The author's statement that recitation of this work leads one to the abode of bliss in the concluding verse, itself, justifies the title Atmabodha. Though small in size, it is a very important hymn from the Jaina religious point of view. It seenis to be a sponte neous expression of a mystic mind in its attempt to realise the Supreme Reality i.e., Atnian on the religious plane. This hymn is full of rhythm, (28) Published Catologue, (29) It is very important to mention here that when we have completed the criti cal edition and English translation of this sinal treatise, the printed book Padmanandi Pancavimsati, with Sauskuit commentary ed by AN. Upadhye and H. L. Jaina came to our hand. We have made good use of it in introduction, but we have maintained our own critical readings, and different readings accepted by thosc cditors are mentioued in the notes, wherever necessary. (30) Sureh Pankajanandinah Kuninamalocanam;-33 (31) Padmanandi-Pancavimsati-Alocanz-P-168

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Introduction vigour and insight, that ispire one for self-realization. This work is in the form of a prayer. Prayer is nothing but n emesstun of maer devo. tion. It is a firm belief of the authoi that devotional thoughts and priyers directed towards Jinesa bring the highest happiness (Liberation) here and now. The entire hymn can be summarised in the following manner. 'The way shown by the Jina leads one to the state of self-realisation. Self-awarnese is nothing but a state of complete desirelessness and the realisation of sameness of all (Samata ). Jina is a perfact Soul and treasure of bliss. Meditating on lum, with an unflinching faith, constantly remembering his name and following the path of three jewels, which consist of Right faith, Right knowledge and Right conduct, one attains the highest object of life ( i.e., liberation ). Firm faith in Jina will save one from the fear of birth, old age and death. Jma is like a good parasel of shower-baih, for the worldly people who are tormented by the strong heat of inundaue life. Everything in the world i, momentary and worthless, Jia-a perfect soul-is the only Reality, and knowledge, faith, bliss and vigour belong to this Reality. If Jina-the ultimata Reality-is realised, then everything else, automatically becomes known and nothing remains to be attaued. Thus, Jina should only be prayed, remembered and saluted. Whatever blemishes occur, through negligence and doubt in the practice of religious duties and whatever sins occur thereby will become null and void after confessing ones own faults in the presence of Jina. Jinesa is omniscient, knows everything. Still, for purification of one's own mind, one has to cofess ones own faults in the presence of omniscient Lord. The main purpose of self-confession is to divest ones self from similar faults further and attain internal purification. Man's mind is very perplexed, deluded and tlius, man commits endless faults. And it is well-nigh impossible to expiate them. It is only possible by withdrawing the mind from external objects and uniting oneself with the Universal Atman by deep meditation and solemn contemplation. It is the only method to attain to the state of Jina. Mind is very fickle and nature of it is such that even after renouncing all worldly objects and taking shelter in forest. it runs towards the worldly objects. Control over the mind is possible only through concentrating it on the Supreme Self. This mundane life is full of iuiseries and Nirvana is the only happ. iness. In this transitory world the only solace is the Jina's feet-the highest indeterminate Brahman. The state of Jina is a state of Nirvana, eternal bliss. Nirvana is nothing but the realisation of one's own Atman. It is the

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Atmabadha realisation of pure knowlcdge which is indescribable in terms of human language. In this state, Atman is neither gross, neither mate nor female nor nentei, neither heavy nor light. It is a formless state of pure absolute Consciousness. It is a body that is affected by birth, old age, disease, agony and death. Atman is pure spirit and untouched by all these. Thus attach ment to everything including the body has to be given up It is on account of enjoyment of worldly objects through scuses and the mind, that Karmio particles enter the soul and the individual self to the wheel of mundane life. Realising the unreality of the sense-objects enjoyment and the separateness of the Atmam from the material body, one can attain real peace. Attachment and aveision are the root causes of Karmabandha. They are very powerful enemies on the path of spiritual progress. Thus, attachment and avers1011, have to be avoided. Duality thy name is sams ara (- mundane life ) Liberation-the state of immortality is the nondual state, free from all kinds of dualities One has to reach from dua. lity to non-duality, from lower to higher The real is above all duality and is beyond speech and intellect. It can be realised only in the innermost self of all. The rigerous path of conduct preached by Jina is very difficult to follow in these days of Kali. The contenporary environments are not favourable for practice of code of conduct. So, unflinching devotion to wards Jina alone will work as a boat to cross over the ocean of mun. dane life. It is Jina's feet which will make one's free froin the cycle of births and deaths and bestow liberation. Even recitation of this hymn which is written in praise of Jina will lead one to the permanent abode of bliss Our author Padmanandi seems to be power fully influenced by the Vedantic thought. Many statements made in this work remind us of some Upanisadic passages. While descubing the nature of Atman and the state of liberation, le speaks, just almost in the Upanisadic tone Upanisad states that on knowing Bi aliman or Atman, cverything else becomes known and everything is attained 32 Padmanandi speaks in just similar way (v. 5). Atman is the only Reality, everything is unreal (ansta,) say one Upanisad 33. Padmanandi also tells us in a similar (32) (a) Mundaka Upanisad 1-11--3. (b) Ibid-III-II-9. (33) (a) Chandogya Upanisad-III-XIV-1. (6) Ekamevadvitiyin Brahma.

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Introduction way that, Atman is the only Reality and everything else is worthless (V.-4). Again, the Upanisads conceived Brahman as beyond thought, speech and bliss.34 Padmanandi borrows the word Brahman of the Upan. isads and uses it in the sense of the highest Reality which is indeterminate and bliss (17). We are told in the Upanisad that, Atman is neither male, nor female, nor neuter.35 It is self-luminous consciousness. There is neither duality nor plurality of the self, but every personal self and impersonal Brahman are one and the same 36 Padmanandi, also describes it in similar manner (17, 18, 29). He also seems to be influenced by the Bhakti school of Ramanuja Vedanta, Centemporary environment is not favourable to practise this code of conduct. Thus, Padmanandi lays more stress an devotion, almost of the theistic pattern, It seems that the Upanisadic spirit is imbued by our author, even though details are set in the religious and metaphysical framework of Jainism, We can also judge from this work that the author is more inward than out-ward in his religious approach. Though small in size, this work is undoubtedly A very good contribution to religo-philosophical literature of the Jainas, (34) Katha Upanisad-II-VI-12. (35) Svetasvatara Upanisad-V-10 (36) (a) Katha Upanisad-II-IV-11. (b) Mandukya Upanisad-II (c) Bshadaranyaka-II-V-19-11. Sambodhi Yol, XII ELROH INS PRIENTAL AESEAS TIRUPATI ENJOY TUT Sate... E L18 UINO 'A '89 8 1140

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ATMABODHA (ALOCANA) OF PADMANANDI English Translation By Y. S. Shastri 1. O Lord Jinesa ! if (ones) mind meditates on you-the tieasure of bliss and pure Reality; if there is a great Mantra-(Sacred letters) (with oneself) in the form of rememberance of your name, which is infinitely radiant; if (dnes) journey is on the path of three Jewels, (then) what impediment can be there in regard to attaining) the desired object (j. o, liberation) of noble people ?! 2. O Lord ! non-acquisition, non-attachment, equanimity, annihilation of Karma? and all-pervading perfact knowledge with full of bliss and vigour, is the pure path (preached) by you to renounce the mundane world. Thus, adoration of your feet is always consented to by the poble people, 3. O Lord of three worlds ! if I have reached surely this steady (state of mind) on account of your worship, then indeed, where is fear from even the most powerful enemy in form of mundane life? What even tormenting mid-day heat of summer cando to a person who 1. This verse indicates the importance of three things in the life of an aspirant of liberation, i. e, meditation on pure blissful Atman, recitation of name of the Lord, and the path of three Jewels which consists of Right faith, Right knowledge and Right conduct. The word "Tritayatmaka' reminds us of Umasvati's statement in Tattvarthasutra viz. 'Samyagdarsana-Inana- Caritrani moksamargah'- T. S. 1-1, 2. Kotspa Karmaksayomoksah' - T. S. X-3,

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Atmabodha has reached the good parasol of shower bath3 which is the cause of immense satisfaction on account of showering nectar-like water? 4. O Lordl if some wise man reflects singlemindedly with discrimination on worthiness and worthlessness of all objects of three worlds for long, for him, you are the only Reality (Lit. = Worth) and everything else is worthless. Thus, all that great happiness is attained by me who has taken refuge in you. 5. O Lord Jinesa I knowledge and faith of all objects, that infinite happiness, vigour, sovereigpity (i. e. God of all Gods) and faultless beauty are yours (Only). When (One) attains to you after a long period of time by right yogic vision, then what kaowledge is not koowa, what is left to be seen and what is not attained ? 6. I take you to be the only highest Lord of the three worlds, great conquerer and (iny) Lord. I always salute, remember (or hold in my heart), selve and pray you only. I take refuge only in you. What is the use of speaking more about all these) ? Let it be like that. I have therefore, no purpose with any other porson (than you).' 3. Here, A. N. Upadhye and H. L. Jain's (U & J) edition reads as 'Sady antra' instead of Sacchatra,' which seems to be very good reading. Through these words the author indirectly expresses the importance of lokavistarabhavani i. e. one of the important reflections (aqu. preksa)-See also T, S. IX - 7. 5. U & J. edition reads here 'me' in place of 'Tad' put into the bracket by us. 6. This verse reminds us of the Upani sadic statement, 'yena vijaatene sarvan vijfiatam bhavati'. 7. In this verse, the author surrenders himself to the Lord. This reminds us of Davavidha bhakti viz sravanam-kirtanam vispoh smaranam padasevanam. Arcanam vandanam dasyam sakhyamatmaniyedanam.

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Padmunandiketa 7. Jipapati! on account of delusion, whatever sin, I made others to commit, whatever I have myself done and consented to others sinful activities as good, by body, mind and speech, and again the sin which arises from these nine sources (mind, speech and body) at present, and which will be done in future, that everything of mine be proved pull and void (in effect) on account of reproaching one's own self in your presence. 8. O Jinendra! Constantly (at all the times), simultaneously and from all sides you know and see the universe and beyond the Universe, which are having infinite modifications and which exist in all the three times (in past, present and future). O Lord ! you know the faults of this birth of mine. Then why this fault of mine cannot be expressed in your presence for purification and confossion' ? 9. O Lord ! endowed with fundamnental and Subsidiary virtues of a monko (Whatover fault is committed) on the basis of empirical stand point or doubt raised by mind (in your words) that all, also to, purify, I am ready to confess in your presence, because, pious, wise people have to make (others) heart free from cause of tormentation, in every respect. 8. In this verso, the author brings out the doctrine of omniscience, which is widely debated, in Jaina Philosophical literature. Lord, Jina is omniscient. There is nothing in the universe, which he does not know and doos not soe. It is said that... 'Ekobhavah sarvatha yena doth surve bhavah sarvatha tena drstah.'-quoted in Syadvadaman. jarl, -I, P-5 9. Non-violance, truthfulness, ton-thoft, celibacy, and don-acquisitioni are called Mulagunas i. e. fundamental virtues. to protect, nourish and purify these fundamental virtues, certain other minot virtues Aro accepted. These are known as Uttaraguna, that is, subsidiary virtues. 1. S. -V.

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Almabodha 49 10. O Jinapat! every Jiva in this cycle of births and deaths (travels) in innumerable worlds associated with the net of clear and unclear thought. Therefore this jiva is always10 piled up by endless defaults follow.d by this net of thoughts. For So many laults (innumerable faults) where is scriptural (Agamic) cxpiation ? Expiation (of them) is (possible) only in your presence. 11. O Lord! he who, withdrawing internal and external senses from out worldly objects in a proper way and uniting (them) with you-the personified pure true knowledge; being detached (from worldly objects), understanding, the gist of scriptures, being tranquil and approaching solitude (if) such a one meditatesll on you, that fortunate one attains your vicinity. 12. O Arihanta! attaining you (i, e, thy feet) the adorable Lord, by the great meritorious deeds done in the past, the state that is rare even to the creator etc, is surely atainable. But, what can I do? My mind even to-day if forcibly concentrated (held) at your feet very much runs towards wordly objects 12 13, l'his muadane life is full of miseries (and) liberation is the only state of happiness. To attain this state of liberation, renouncing all worldly things, we retired to the forest. There we have discarded ail our doubts. But even by (following) this difficult path of vows, liberation is not attained, even to-day. The reason is that our mind is perplexed like a petal made tremulous by line of wind (or series of wind). 10. Here U and J edition reads "Sadaiva' in place of 'Madaiva', which is more correct reading, o 11. The word "Samiksate' is used in U and I cdition in place Samikste': Which is again a more satisfactory reading. 12. in 12-15, the author curierates the fickleness of the wind. These verses reinind us of nature of mind described in the Bhagavadgita.

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50 Padmanandikyta 14. (The nature of mind is such that), it wonders here and there, shines all around by obtaining external objects (for enjoyment); Constantly makes knowledgeable Soul restless without any reason and infuses the group of sense-organs (by karma) and is the powerful friend of harma which is the cause of mundane life. Where is happiness in this world even for restrained people when (such kind of) their mind functions ? 15. O Lord ! this mind (after) atlaning you-the essence of pure knowledge, indeed, meets with death (i. e. mind becomes functionless). (But), being agitated by dilemma, it wounders continuously towards the outworldly object, withdrawing (concentration) from you (your feet). O Lord, wlial is to be done (iu this matter ?) who is not afraid of death on account of infatuation in this world ? Thus, please impede my infatuation which is the cause of all kinds of @sries of evils. 16. Amongst all the karmas, this deluding karma is very powerful. On account of its influence, the mind becomes perplexed and afraid of death. Otherwise, on the point of view of substance, who lives and dies in this world ? Manifoldness of the world is sceu (preached) by you on account of its modifications only 13 17. Thinking that, this universe is always momentary from all sides like a series of waves of ocean accompanied by the wind, my mind, at present being free from (or going beyond) all these activities, which are cause of mundane life, desires to dwell in you-the changeless highest blissful Brahmau. 11 13. In this verse, the author brings out the philosophical truth of Jajnism. According to Jainism, there are six substances vit. Jiva, Ajiva-principle of motion, principle of rest, space, matter and Time. All of them are real from the point of view of substance. It is the only point of view of modifications there is change in substance. Thus, substance is delinci is that which consists of production, destruction and permanence. (T S-V). Hence the point of view of Substance, nu one takes births and no one dies, 4. This line reminds us of the Upayis gic statement-anandam Brahina.'

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24 Atmabodha 18. Demerit is on account of inauspicious activities. From this demerit man becomes subject of suffering. Religious merit is due to auspicious activi ies From this (religious merit) one attains some sort of happiness. This pair of duality is on account of taking shelter in mundane life. Again, attainment of the highest eternal blissful state is on account of pure auspicious activities. O Arhan, (the difference between you and me is that), you are in the state of eternal bliss and I am here in this mundane life (which is full of pain and pleasure). 51 19. I am nothing else but that highest self-luminous Consciousness (Lit - light) which dwells neither inside nor outside; nor in any direction; (which is) neither gross nor subtle; neither male, nor female, nor neuter; neither heavy nor light; free from Karma, touch, body, smell counting, word and colour and embodiment of pure knowledge and darsana.15 20. O Lord! the gulf between us is created by this enemy in the form of mischievous karma, which, without any reason destroys the advancement of Spirit.18 This, I am and that karma both are here in the presence of you. Amongst us (between us), (please) throw out that malignant (karma), because, it is the duty of a king to protect virtuous and punish the wicked ones. 21. The mental agony, disease, old age and death, etc., are related to the body. (Thus) what (harm) these inanimate things can do to my supreme Soul, which is quite different from these things ?17 (They cannot do anything just as) these clouds taking various forms and shapes in the sky, cannot change the essential nature of the sky. 15 This verse is very similar to the Upanisadic statement that 'Atman is neither male, nor female nor neuter.'-Svetasvatara Upanisad -V-10 16 The word 'cidunnatiksayakrta' is used in U and J edition, instead of 'cidunnatim'. The reading 'cidunnatim' is more appropriate here. 17. In these lines, the author indirectly attacks the materialists (who claim that Atman is not different from the body) by saying that Atman is quite different from the material body.

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Padmanandikrta 22, O Lord' I am always in the state of) sorrow, on account of having body which is burning by heat of mundane life like a fish (which is) on the ground. But, I air happy, as long as I dedicate my heart to the lotushike feet of your's which are very cool on account of association cil pectar like compassion. 23. O Lord' pure soul! this mind, with the group of sense-organs be comes connected with out-worldly objects. From that, karma arises. (But), I an'allways different from that (karma), indeed, or that karma (which is material) is different from your consciousness. Here also in may case also) consciousness (which is quite different from material karma) is the main cause (in feeling different from that Karma). (Thus) ultimately my existence is in you only (or I am in thysell) (i. c. there is no difference between nature of your consciousness and niy consciousness, ultimately). 24. O Atman ! what is the use of these, universe, abode, matter, body, speech, senses, vital force and those imagined objects for you? All of them are modifications of matter (only). (They are) different from you. Alas, why are you being negligeat, vainly taking shelter in bondage, by these imagined objects ? 25. Principle of motion, principle of rest; space and Time, do not do any harm to me, (Instead of that) all the four assist me in motion, etc. 18 This is the only enemy in the form of matter which is trans. formed into the basic and subtypes of karmas, coming to me become a cause of bondage. So, I have destroyed these with the help of the sword in form of discrimination. 26. Just as matter is modified by changes caused by attachment and aversion, in a similar manner, four formless (substances) space, princ. 18. Dharma, the medium of motion is the auxiliary cause of the move. ments Adharma, the medium of rest serves as the auxiliary cause of rest. Akusa, the space assists to exist and Time (kala) has characteristic of making possible transfromation perduration, activity, prior and posterior-prasamarati-215 and 218,

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Atmahodha les of motion and rest, and timele do not get modified or chaoged. rom these attachment and a version there, constantly, arise, 30 new arma. On account of this karma (bandba), there is this mundne life. In this mundane life, there follows series of sorrow Thus), both these are to be avoided by the wise with great xertional, mind ! why are you vainly performing inauspicious actions (which ire cause of sorrow) imagining attachment and aversion towards outworldly objects ? If you dwell in pure soul, which is ocean like aectar of bliss, then surely you will attain that abuadont happiness of oneness. O Jina ! keeping " these (ideas) firmly, in my mind, by the grace of your feet this man ascends the one side of the transcendental scale for purification. On the other side of the scale), these irresistable enemies in the form of karmas forcibly standing to make me faulty. O Lord ! thus in this matter of giving judgment you are the impartial witness. Ultimate point of view, the duality is muodane life and the state of non-duality is liberation. 23 In both the cases, it is said briefly in its highest sense (or limit). The soul, slowly walking out from a variegated first state (1. e. from the state of duality), reaches (lit-holds) another state (i, e, non-dual state). It is certain that (ultimate point of view) it, (soul) becomes nameless and on the empirical point of * Prasamarati prakarana-207 The word 'ghana' is used by U and J edition instead of 'navam.' This verse reninds us of Umasvati's statements on attachment and aversion in Prasamaratiprakarana in which he states that attachment (=greediness and infatuation) and aversion ( = anger and ego) are the root cause of mundane life-prasamarati-30-32. . U and J edition reads "ityasthaya' instead of 'ityadbaya'. 1. The idea which expressed in this verse is very similar to that of Gaudapa-da in the mandukyakarika, where he states that this world is Maya, and duality. There is no duality at the ultimate point of view and realising this there remains no duality i. e. mayamatramidam dvaitam advaitam paramarthatah, jnate "dvaitam pavidyate-mandakya karika-Agama P. 17. 18. 4. 'Nirgatyadipadat' is used in U and I edition instead of nirgatya dyapadat'.

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54 Padmana view, it is called in terms such as Brahman etc. (i. e. paramatman, parabrahman, etc). 30 O Lord! the code of conduct preached by you-the perfect omniscient, for (attaining) to liberation, is, indeed, very difficult to follow by the man like me, in this unfavourable period of Kali age. O Jina! the unflinching devotion towards you, which is on account of merits earned in the previous births, be the boat for me to cross the ocean of mundane life 25 31. O Lord while wondering in the cycle of births and deaths, since long, I have obtained Indrahood (i. e. birth in the form of god of gods) Nigodata (i.e. birth in Nigodaform) and in between obtained all sorts of seats of briths, in innumerable times. Thus, in the world, there is nothing new for me except the path of Right-faith, Right knowledge and Right conduct-which (path) is the bestower of liberation. (Please) make that path of mine perfet. 32. O Lord, to attain that highest state, 27 Viranandi (My guru) with ple asant heart has imparted the highest teaching in my mind. As a consoquencef of that (religious teaching) let, this one momentary kingdam of earth, be far away from me; even the kingdom of three worlds is not dearer to me here. 33. The wise, who reads this Alocana, the work of Padmanandi in the presence of Lord Arihanta, thrice a day, bowing down with pure devotion, indeed, attains that highest state (which is) the abode of bliss, which is searched with great exertion by the yogins with the help of deep-rooted penance. Here ends this work of Panditottama Padmanandi. 25. In this verse, the author points out the practical difficulty in following religious injunctions. He states in clear terms that, contemporary environment is not favourable to practising rigorous code of conduct. So, devotion towards Jina is the only solace. It reminds us of very popular statement that 'Kalau bhaktirvisisyate'. 26. Nigodata-one common body inhabited by infinite jivas. 27. The word 'tatkincidue cail' is used in U and J edition, instead of 'kincittaducchaih". 28. The author means to state that he is not at all interested even in the kingdom of three worlds what then to talk of the earthly kingdom.

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Brahman ele (le prime d by you-thie perline , very dificult fisien iod of Kairage. Osman ich is 011 dcloint the boutin m: 100 INTEWS Perception According to Vyakarane Sastra 1. D. Hegde "Kavi-Putra' of Kalidasa - A Critical Review Sudarshan Kumar Sharma 40 " g protein *fore sle of births w do sa birth in the small and in hefwccrobiala ies. Thus, in the of Righe-laith, Rigt. s te bestuner i litera fet. 27 STAS ; Viranandi (My , we teaching in my rundt et, this one muminic y ven the king on Icon 1e work of P.1972 : a day, boxing d t state (which is to take exertion by the OK Resou tottama Pulminandi e practical dulics clear terios til ctising rigurous ceux ly solace. It renih lirvisis yate' ed by inline live in U and Jeliin ONS not at all intes n to talk of the grh SR

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OUR LATEST PUBLICATIONS Secondary Tales of the Twe Great Enics hy Rajendra l. 50 Nanavati (1982, p. 12 + 795 Lahsiana's Sobiratnakosa EU hy Vrs Vilanjang S. Shal: 91 (1982) p 1671 Sarcaryu's Danadiprakarana El. by PL Amrutlal M Bhojak 9. * Nagin I. Shah (1983) p. 12 + 64 * Ramacandra's Nallikarakarandanataka Ed. Mun Shri 30, Punyuvijayji, Eng. Intio. by V. M. Kulkarn (1983) pp 6+35.166 - Sulavartika. A Study hy Dr. K.K. Dixit (1983) rp 8 + 120 27, Yardhananasuri's Manoram kalo. (Prakrit) Ed. by P. Rupen. 66, dinkumar Pesariya pp 16+ 339. 32 (1947 Harlobass) Yoga Works and Psychosinthesis by Shantilal K. 16 Desaz po A $1983); Nafari Michalina Aprakssit Pada (Gujarati) Ed. hy Ratilal 10/ PRVEGIO2 1983) han bahan Litwa Sara (A Sanskrit Abridgenient of parasti strastit Laval-Kaha) Ed. by H. C. S **** (1984). e n y ayamanjart (Frtaya Anhika) With Gujarati 21/ s on de transistated by Nagin 1. Slah (1984) MEEST dacka Gujartit' pp. 30482+ 80: sentui pp'4 ** +52 + 80. molimo antes BA306280- (1987). 50: hon valrin 1982-1983) 26,5 * XO