Sambodhi 1993 Vol 18

Author(s): J B Shah, N M Kansara
Publisher: L D Indology Ahmedabad
Catalog link: https://jainqq.org/explore/520768/1

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SAMBODHI VOL. XVIII 1992-93 : EDITORS DR. J. B. SHAH DR. N. M. KANSARA fasi L. D. INSTITUTE OF INDOLOGY AHMEDABAD

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SAMBODHI VOL. XVIII 1992-93 : EDITORS : DR. J. B. SHAH DR. N. M. KANSARA RED sore te lamadAbAda L. D. INSTITUTE OF INDOLOGY AHMEDABAD

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Published by : J. B. Shah & N. M. Kansara L. D. Institute of Indology Ahmedabad - 380 009 (India) December, 1994 Printed by : MAC GRAPHIC S/1, Dirajlal Shroff Chamber, Opp. Navchetan High School, Paldi, Ahmedabad 380 006. Phone : (079) 6576122 Price : Rs. 700 AS - 100

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Members of the Expert Committee for 'Sambodhi' Name Profession Pandit Padmabhushan Dalsukhbhai Malvania Ex-Director of L.D. Institute of Indology Dr. Harivallabh Bhayani Ex-Professor of Linguistics Gujarat University Fellow School of Oriental and African Studies, London. Dr. Venkatachalam Vice-Chancellor of Sampurnanand Sanskrit University, Jagatgang, Varanasi - 221002 Dr. Madhusudan Dhaky *Director (Research) American Institute of Indian Studies, Varanasi. Dr. Naginbhai Shah Ex-Director, L. D. Institute of Indology. Dr. K. R. Chandra Professor and Head of Prakrit Department School of Languages, Gujarat University. Dr. Hariprasad Shastri Ex-Director B. J. Institute of Learning and Research, Ahmedabad. Dr. Jitendrabhai B. Shah Director, Shardaben Chimanbhai Educational Research Institute, Ahmedabad.

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Informal Talks and Discussion held by L. D. Institute under 'Sangosthi' An Inter-discipline forum. Sr. Topic Speaker No. 1. Zak Derida's Theory of Deconstruction Dr. Madhusudan Baxi Principal, L. A. Shah Law Arts College, Ahmedabad. 2.: 'Space Applications' Dr. Pramod Kale Director, S.A.C., ISRO, Ahmedabad. 3. Rise and Fall of Philosopher Zak Derida's Deconstruction Theory Dr. Harivallabh Bhayani Fellow School of Oriental & African Studies, London. Asceticism in Indian Religions Traditions & its Relevance to Indian Society. Dr. Dhaval Mehta Director, B.K. Instt. of Business Management, Gujarat University, Ahmedabad. 5. Non-Violence & Environment Acharya Sushilkumar Siddhachalam, New Jersey, USA Francoise Mallison, Leading Linguist. Vaishnava, Jaina, Tantric and Islamic Hymonologies in Gujarati, Modes of Transmission and Convergence of Themes. 7. Bauddh Tripitakas Language andSects. Dr. Chandrabhal Tripathi Dept. of Indian Studies Freie University, Berlin. 8. Problems of Public Administration Dr. Kulinchandra Yagnic Vice Chancellor North Gujarat University, Patan.

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CONTENTS 1. Bhartrhari's Perspectivism (3): On the Structure of the third Kanda of the Vakyapadiya - Jan E. M. Houben 2. Natyasastra and Indian Theatre - Radhavallabh Tripathi 3. Later Paramaras of Abu - Ram Vallabh Somani 4. The Apabhramsa Passages of the Dharmaratnakarandaka - H. C. Bhayani 5. Akho : The poet of protest in the seventeenth century Gujarat - R. L. Raval 6. The concept of change, as treated in Buddhism - Bhavana Trivedi 7. The Jaina View of Darkness - Himanshu Shekhar Acharya 8. The Date of the Devendrastava : An Art-Historical Approach - Lalit Kumar 9. Indian Concepts of Time and Archaeology - R. N. Mehta 10. bhAratIya darzana meM abhAva kI samasyA - hemalatA zrIvAstava 11. lADolanI ArasanI jinapratimAonA dasa abhilekha - lakSmaNabhAI bhojaka 12. kizoralAla mazarUvALAno karmavicAra - madhusUdana bakSI 13. sla classe AGHEO SLOL:25 R214 - SECUS 26 14. sizcaya (all.si.) -12 HHHLQ$14EUR - Helt Quauatl - 2412. El. zulalau 15. zubhavijayagaNikRtA pramANanayatattvaprakAzikA syAdvAdabhASA - nArAyaNa ma. kaMsArA 16.2054 Clila alleged 24ts chua (2. zi. 9253) - 4449LBUS Blog's Reviews - N. M. Kansara Prof. K. D. Bajpai Commemoration Volume 2, edited by Dr. A. L. Shrivastav. Samskra Sataka-Parampara Aura Acarya vidyasagara-ke Sataka (Hindi) by Shrimati Dr. Ashalata Mallaiya. The Clever Adulteress and Other Stories: A Treasury of Jain Literature by Phylis Granoff. Materials for an Edition and Study of the Pinda- and Oha-Nijjuttis of the Svetambara Jain Tradition by Willem B. Bollee. The Astrological Works of Dasabala by David Pingree. Sinjiniyam ( A Sanskrit drama) by A. S. Subbukrishna Srowthy. Bhoja and Haravijaya of Sarvasena by Dr. V. M. Kulkarni The Dharma-ratna-karandaka of Vardhamanasuri by Municndravijaya A Treasury of Jain Tales by Prof. V. M. Kulkarni 132 133 134 135 136

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140 140 141 Brief Notices Upadhyaya Yasovijaya Svadhyaya Grantha (Guj.), by Pradyumnavijay Gani, Jayant Kothari and Kantibhai B. Shah Mahavira-carita Mimamsa : Parvardha (Guj.) by Dalsukh Malavania Ahicchatra Through the Ages, edited by K. D. Bajpai Acknowledgements Obituary Distinguished Visitors of the Institute Our Contributors Style-sheet for Sambodhi - Transliteration Conventions L. D. Series Publictions 142 143 147 148

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BHARTRHARI'S PERSPECTIVISM (3): ON THE STRUCTURE OF THE THIRD KANDA OF THE VAKYAPADI YA* Jan E. M. Houben 1. Introduction In 1884 the first fascicle of an edition of the Vakyapadiya, which had by that time already attracted the attention of scholars like Kielhorn and Buhler, was published in Benares. But as recently as in 1977, Scharfe had to write that "The study of Bhartihari's thought is still in its infancy; critical editions and usable translations come forth only slowly" (Scharfe, 1977:174). The same year 1977, however, saw the publication of W. Rau's critical edition of the Vakyapadiya-karikas, later on supplemented by a wordindex (Rau, 1988)'; and Iyer's translation of the second Kanda (Iyer, 1977), followed by the edition of the second Kanda (Iyer, 1983), which contained for the first time all available fragments of the ancient Vrtti on the second Kanda. The editions of Rau and Iyer, the results of many years of work, constituted an important step forward in the study of the Vakyapadiya. But they can still not be considered as `final (nor were they presented as such by the editors). Even on the basis of these more acceptable editions of Rau and Iyer, however, it is not at all easy to get a complete picture of Bharthari's philosophy. Iyer, attempting to give a comprehensive and systematic account of Bhartrhari's thought in his book on the Vakyapadiya in the light of the ancient commentaries," had to admit that there are gaps in our information relating to the details of the process of manifestation of the cosmos from the Brahman-Sabdatativa and of its merging into it. One gets the impression that Bharthari believed that it was a cyclic process, but the cycle is nowhere described on detail. The fact is that he never forgets that he is a grammarian and as one approaches the end of the Vakyapadiya, matters grammatical occupy his attention more and more and the metaphysical and cosmogonic background is forgotten. (Iyer, 1969:404) * If it is so difficult to reconstruct a complete system on the basis of the Vakyapadiya, one may wonder what role such system should have played in Bharthari's thought. As * The present article is mainly a summary of some important sections (rearranged and with some new paragraphs and references) of my thesis (mainly part 2 of Houben, 1992) which was the result of the project "The Indian thcory of language of Bharthari" at the University of Utrecht, 1988-1992. I am very grateful to Professor A. Aklujkar, Professor H. Bodewitz and Professor J. Bronkhorst for their help, advice and criticism during the whole project. Onc year of study at the University of Vancouver was made possible by the Government of Canada through a gratefully accepted Government of Canada Award (1988-1989). Thanks are also due to the Netherlands Organization for Scientific Research (NWO) for financial support to participate in a few seminars and conferences, which gave the author much appreciated opportunities to exchange ideas with scholars working in relevant fields. Finally, I am grateful to the International Institute for Asian Studies (Leiden) and the Netherlands Organization for Scientific Research (NWO) for enabling me to do follow-up research on some points in my thesis and to write this article. The present article is planned as the third in a series of articles dealing with Bharthari's 'perspectivism' (cf. note 3).

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SAMBODHI regards the specific philosophical topic mentioned by Iyer, namely whether Bhartihari believed that there is a cyclic manifestation of the cosmos or not, I think it can be shown that Bhartrhari was aware of both the cyclical worldview and the view of a non-cyclical, permanent world, without being committed to either one to the exclusion of the other.? Instead of trying to infer a complete system on the basis of what is stated and perhaps presupposed in the VP, one could also try to concentrate on features which do figure prominently in the VP, whether or not this will lead us to a complete 'closed' philosophical system. A feature which has been recognized, in one form or the other, by several scholars, but the importance of which is yet to be determined, is what may be called Bharthari's 'perspectivism'. Bharthari's approach to problems of language, meaning, reality and their relation may be characterized as largely 'perspectivistic', in the sense that (linguistic or extra-linguistic) reality is described as different from different points of view. Generally speaking, no single viewpoint is explained to the exclusion of others. Different viewpoints are discussed in their mutual opposition and complementariness. Sometimes the viewpoints are simply enumerated. Sometimes Bhartrhari adds a statement of what would be acceptable from two opposed points of view. Sometimes he has a certain preference for one view or the other. And sometimes he seems to develop 'his own' view by integrating the opposed views of other thinkers. But even if he prefers one view or develops a new synthesis, others are not totally discarded. One may say that his preferences are always pronounced against the background of a relativizing attitude and a keen awareness of alternative frameworks of reference. With this relativizing attitude or 'perspectivism' not everything is said that there is to say about Bharthari's philosophy. Yet, if we are to understand more precisely what 'Bharthari's own' view was, we also have to come to terms with his perspectivism' and try to assess its extent and implications. I will not endeavour to explain in a few words or pages the essence of the philosophy of Bhartrhari, as some others have attempted to do before me, but instead try to acquire an insight into the structure of the exposition. In the present article we will be mainly concerned with the third Kanda.? The order and sequence of the topics discussed will be studied, and special attention will be paid to a few crucial karikas in which Bhartrhari explicitly announces the scope and aim of important sections. 2. The first karikas and the scope of the third Kanda After it has become gradually clear in the second Kanda that the sentence and the sentence-meaning are to be considered the main linguistic units, the third Kanda (with its 1300 karikas larger than the first and second Kanda together) is devoted to words, their meanings, and their reality. It can be said, more precisely, that the third Kanda deals ith the thing-meant and its reality or ontological status, the word or linguistic elements used to express it, and the relation between these two. In a few places the reader is reminded of the primacy of the sentence, but otherwise words are simply accepted as

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Vol. XVIII, '92-'93 individually meaningful. It is not so much the primacy of the sentence, but rather another theoretical result of the discussions in the second Kanda which carries over to the third Kanda: this is the relativization of the status of individual words and word meanings. Just as, in the second Kanda, the status of individual words and word meanings is relativized by emphasizing that they form part of sentences, similarly, their status is relativized in the third Kanda, here, however, not on account of their being part of sentences, but on account of various other grammatical, semantic and philosophical considerations. From the very first two karikas of the third Kanda, Bhartrhari's awareness of alternative frameworks of reference and his intention to enumerate and contrast different views is evident. 3.1 The word is distinguished by some as lowfold, (by some it is distinguished) as fourfold or (it is distinguished) as fivefold, after it has been abstracted from scntences, just as stem and suffixes (are abstracted from words.) 3.2 When word-meanings are abstracted, two permanent word-meanings of all words have been described: it is either the universal or the substance. These karikas, in accordance with the trend of the discussions in the second Kanda, present the sentence as the primary unit. But once words and their meanings are accepted, Bharthari does not attempt to connect the theories discussed with the idea that the sentence is primary. Are nevertheless certain theories more acceptable to Bharthari than others ? And if yes, what are the criteria to make one theory preferable to another ? Partly because no ancient commentary on the karikas is available for this Kanda, it is often very difficult to find out what Bhartrhari's attitude towards a particular view is. Because on one single topic many different views are discussed, and because there are usually no direct statements by Bhartrhari about whether or to what extent a certain view is acceptable or not, the sequence aand way in which the different views are discussed acquire a crucial importance if one wants to evaluate Bhartrhari's attitude with regard to a certain view. In any serious study of the third Kanda or a part of it, sufficient attention should, therefore be paid to the structure of the discussion and to the place a certain statement occupies in the whole Kanda. 3. Division of the third Kanda into Samuddesas For an insight into the structure of this extensive Kanda, one may resort first of all to the traditional division into 14 chapters or samuddesa-s or "comprehensive exposes'. This division can be largely justified on the basis of the topics discussed in different sections of the Kanda. Still, the division found in modern editions may not be in all respects original. Helaraja, who wrote the oldest presently available commentary on the third Kanda, refers to one of the karikas belonging to what forms the fourth chapter (called Bhuyo-dravya-samuddesa) in all available VP editions and mss (including mss with Helaraja's commentary), as a karika of the Guna-samuddesa, which forms the fifth

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SAMBODHI chapter in these editions and mss (VP IIIa:106.8-11, and Iyer, 1963, Introduction:xii-xiii). Since the fourth chapter (Bhuyo-dravya-samuddesa) in the mss consists of just three karikas, only two are left, and the thesis that they were even considered an independent chapter seems hardly viable. The character of these two karikas, moreover, shows that they were intended to introduce all succeeding discussions in the third Kanda. They do not deal specifically with dravya, the supposed subject of the Bhuyo-dravya-samuddesa. From Helaraja's introduction to these two karikas it is clear that he did not consider them a part of the preceding chapter dealing with relation (sambandha)". The conclusion can only be that Helaraja considered these three karikas, which form an independent chapter in the mss, to be part of the next chapter. For the moment it seems most expedient to start with Helaraja's division as the more authoritative one, Helaraja having access to an older stage of the tradition than that represented by the manuscripts available at present. Even apart from the view which Helaraja apparently had in this respect, one may entertain serious doubts about the raison d'etre of a Samuddesa ('comprehensive expose') consisting of three karikas out of which only one deals specifically with the alleged subject, defining it in a pragmatic way. Here, the third Kanda is, therefore, considered to consist of thirteen chapters. The references to the karikas are to VP = Rau's edition, which, like other modern editions, follows the division found in the manuscripts. But Rau's chapter four and five of the third Kanda are in the present article considered to be one single Samuddesa, which will be called the Guna-samuddesasHel, to indicate that it is the Guna-samuddesa as accepted by Helaraja. 4. Some preliminary considerations with regard to the structure of the third Kanda Of these thirteen chapters of the third Kanda, the last one (Vrtti-samuddesas, no. 14 in VP) is of collossal dimensions. It alone is about as big as the remaining twelve chapters together, and on its own much bigger than the entire first and second Kandas taken together. While this last chapter discusses compound formations and derivatives (vrtti), the other twelve chapters of the third Kanda discuss meanings belonging to simple, uncompounded individual words. The last chapter is largely self-contained, having its own inner structure and logic. It uses some of the results arrived at in the discussions in the preceding chapters and in the previous Kanda, but, reversedly, has little immediate bearing on the discussions in these. Therefore, we can eliminate it without much harm from our analysis of the structure of the first and more basic part (chapter 1-12 = 1-13 in VP) of the third Kanda. What can we say about the way the subject matter is divided over these chapters ? At first sight, they seem to break up into two groups. The first two chapters (the Jati-and Dravya-samuddesa) show how it is possible to hold that each word denotes a universal (jati, 'universal property or generic feature') or individual substance (dravya, "substance' or 'individual', used in opposition to the jati). The Jati-samuddesa shows that the universal as the word meaning is possible, even in some problematic cases. And the

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Vol. XVIII, '92-'93 Dravya-samuddesas shows that it is possible to hold that each word ultimately denotes the ultimate individual substance. These two chapters may be considered to belong to one group. In the other group too, each chapter discusses how a certain word meaning is expressed in language, but the word meanings discussed are more specific; generally speaking, it is not attempted to show that all words denote from a certain point of view a certain word meaning. Thus, in the chapters of this second group, it is investigated how language expresses more specific meanings such as 'direction' (dis), 'means' (sadhana, or karaka, 'contributive factor in an action'), 'action' (kriya), 'time' (kala), 'person' (purusa), 'number' (samkhya), 'aspect' (upagraha) and 'gender (linga). Between the first group in which something is said about the word meanings of all words, and the other group in which more specific notions expressed in language are discussed, there are some chapaters which we cannot immediately attribute to the one or the other group. First, there is the Sambandha-samuddesas, the chapter on relation. Inasmuch as it discusses not the meaning of a word but the relation between word and meaning, it occupies a unique position quite different from all other chapters. However, also the problem of relation as the specific meaning of a word is discussed in this chapter, and in that respect it would belong to the second group. On the other hand, the concluding passage in which all words are said to express one meaning (esp. 3.3.87) would link it with the first group. Next, the fourth chapter, the Guna-samuddesasHel consisting of the Bhuyo-dravyasamuddesa 'further chapter on substance and the Guna-samuddesa 'chapter on quality' of the manuscripts, is again fully occupied with word meanings. But are these general word meanings, like the universal and the substance in the Jati-and Dravya-samuddesas? Or rather more specific meanings like direction, means, action, etc. ? At this point our 'preliminary considerations' cannot bring us much further, and it seems expedient to embark on a closer study of the different sections of the third Kanda. 5. The universal property (jati), the individual substance (dravya), and the permanent word meaning The first two chapters, the Jati-and Dravya-samuddesas, are concerned with the question: what is the nature of the meaning of a word, is it a universal property (jati) or an individual substance (dravya)? Because Sanskrit philosophers of the different schools of thought have not agreed on a sharp distinction between meaning and referent,to this amounts to the question whether a word refers to a universal (jati) or rather to an individual substance (dravya), and the whole problem becomes inextricably bound up with the problem of the reality or the ontological status of things referred to in language. The theoretical opposition between these two notions is apparenly at the basis of the dichotomy between the first two chapters. As we will see, the opposition plays an important role also in other Samuddesas. It is, therefore, worthwhile to study the nature of this opposition more deeply. Beforehand, it should be noted that dravya is the opposite of jati 'universal' in

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SAMBODHI various senses. It may refer to the individual substance in which the universal inheres (3.1.29); it may also refer to a particular instance, without necessarily being a substance (3.1.13; 3.4.3); or it may be the ultimate substance which is not particularized but underlies everything (Dravya-samuddesa 2-18). Some steps in the discussions can only be understood if we are aware of the broad semantic field covered by this and some other words (e.g. artha, 'meaning', 'referent', 'thing-meant', 'purpose'). They do not have corresponding, equally broad terms in modern (academic) English, but Sanskrit authors used them in their broad sense even in more scholarly discussions like those reflected in the Vakyapadiya. To make the problem of the universal and individual substance more lively to a modern reader it may be explained in simple words as follows. On the view that the universal is the meaning of a word it may be argued as follows. If the word 'cow' referred only to one specific individual cow, one would need another word to refer to another specific cow. Indeed, for each individual thing one would need a separate word, in each case one would need a new relation between word and thing-meant, and communication between people would be impossible. But if the word refers to the universal or the universal property common to all individual cows, it is possible to refer in different situations to different things as 'cow'; it is possible to recognize new things as cows and to refer to them as cows and communication becomes possible. Therefore, it should be accepted that a word refers first of all to a universal. On the view that the substance is the meaning of a word, however, one may argue as follows. If someone tells you, 'bring me the cow' he certainly does not want you to bring the universal inhering in all cows. If at all the universal plays any role in communication it is precisely to differentiate the specific substance. Therefore, one should accept that words refer first of all to the individual substance rather than to the universal." So far, the problem has been described as a linguistic-empirical problem. In the MBhdiscussion of the universal-substance problem, there is an important complication, and since Bhartrhari is so intimately familiar with the MBh and refers to it continuously, we have to take this complication into account. In the MBh, it is concluded that sabda, artha and the relation between the two, should be permanent. Applied to the views that the universal and the substance respectively are the meaning of a word, this means the two views have to show how respectively the universal and the substance are permanent." In the concluding paragraph of the MBh-discussion, the author takes some distance from the problem and says that whatever is accepted as permanent should be taken to be the word meaning The whole discussion in the MBh takes place in the context of individual words and their meanings.13 In the second Kanda of his VP, however, Bhartrhari arrived at a preference of the sentence as the basic unit. The immediate implication of this preference for the sentence is, as we have seen, the relativization of the status of words and word

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Vol. XVIII, '92-'93 meanings. If Bhartrhari wants to remain faithful to the MBh, he has to explain how word meaning, either as a universal or as an individual substance is permanent. Accordingly,he spoke of "two permanent word-meanings of all words, the universal or the substance" in the introductory karikas of the third Kanda. But if he wants to remain faithful to his preference for the sentence evinced in the second Kanda, he cannot accept a permanent, independent status of separate word meanings. Or at least, taking into account his encyclopedic approach, we would expect him to pay sufficient attention to views in which a permanent, independent status of separate word meanings is not accepted, even if he discusses at times views (such as the Mimamsa-view) which do accept such status for them. 6. The Jati-samuddesa What do we find in the Jati-samuddesas ? A few crucial passages may be highlighted here. After the introductory karikas, the topic discussed first is the problem of substitutes in a prescribed (ritual) act.14 On the view that the sentence is indivisible, there were some difficulties, which were explained in the second Kanda (2.64-71). The difficulties were solved in a general way by pointing out that if the sentence is accepted as indivisible, one may still resort to the postulation of words as its part (2.88ff). On the view that individual words have their own meaning and that it is the universal, the problem is still there: taking an object different from the one prescribed would mean a deviation from the prescript. The solution presented in the Jati-samuddesa (3.1.3-5) is that the universal implies, either on its own accord or on account of the context, not just an object in which it inheres, but an object which also has a certain capacity and which may be replaced by another object having a different universal but the same capacity.15 In this solution the universal which is the word meaning remains the same universal, but some flexibility has been introduced in its relation with the individual instance. Next, karika six gives a model of the relation between word and thing-meant on the view that the word meaning is the universal.16 3.1.6 First the own universal is expressed by all words; next that own universal) is superimposed'? on the meaning universals.18 The following karikas (7-10) show that this way it can be maintained that the universal is the word meaning even in a case like the word 'universal' itself. This would be a problematic case for someone strictly adhering to the Vaisesika system, according to which a universal of a universal is impossible. If the universal of the word, i.e. the signifier, is merely superimposed, this principle need not be abandoned. In 11 a different viewpoint is adopted, and the Vaisesika principle is no longer adhered to. Whereas according to 6 the word expresses only its own universal directly (abhidhiyate) and the connection with the meaning universal is through superimposition, the word itself expresses (abhidhana) this meaning universal directly according to 1119:

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SAMBODHI 11. Also if words (directly) express meaning universals: all words (even the word 'universal') express a universal, since word meanings are defined by their function in language). In other words, from the point of view of how a word meaning functions in verbal usage, one may hold that all words directly denote a universal: not only in an unproblematic case like 'cow' etc., but also in the case of 'universal', simply because language treats 'universals' and cows' in the same way as things which may be referred to through a universal feature. Word meanings, being thus defined by the way they function in verbal usage, do not have an absolute, independent status. The next karika may be understood along the same lines. Not only if a universal is to be expressed does a word express a universal, but even if a particular is to be expressed20 : 12. On the assumption that the meaning of individual words is the universal, the universal or even the particular is referred to by words as a universal; therefore, the (words) express the universal This is next contrasted with a view which is diametrically opposite.21 13. On the other hand, on the assumption that the substance is the meaning of individual words, each meaning is expressed as somcthing having the properties of a substance. Therefore it is accepted that each meaning is a substance on the basis of its properties of substance. In the following karikas, Bhartrhari returns to different ways to accept the universal as the meaning of the word. From this it should not be inferred that the view expressed in 13 would be unacceptable to Bhartrhari.22 The Jati-samuddesa is devoted to the view that the universal is the meaning of words, and the view that substance or the particular is the meaning of words will be explained at other places in the VP23 : One of the views discussed seems to turn the universal into something mental. The universal is not so much a propery of the object but rather of the cognition.24 19. Some consider the univesal to be the congnition (pra-khya) which has the form of recurrence; [and] they consider that the cognition) which has the form of exclusion (i.e. of 'going apart') is the substance. Towards the end of the Jatisamuddesas, in karika 101, Bhartrhari discusses a views which is to some extent similar. According to Helaraja, karika 19 explains the view on word meaning according to the Buddhist school of Vijnanavada (VP IIIa:32.10), and 101 the view on the universal of the Buddhists (saugatanam.. jati-darsanam, VP IIIa:99.2). As in 19, the universal is in 101 something in the mind. From 25 onwards, the relation between the universal and the individual instance is discussed. It is pointed out that anything that arises has its universal, and that this universal instigates the causes for its own manifestation in the individual instance (3.1.25). The universals, by virtue of permanent and impermanent causes, manifest themselves time and again in the effects (3.1.26). And the universal is also the sadhana'means' in the case of an object to be produced; it instigates the action, in ord to bring about its own substratum (3.1.27).

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Vol. XVIII, 92-93 The latter point refers to a problem which will be sloved much later (3.7.7) in an alternative way. The problem is ilustrated in an example like 'he makes the pot': here, the pot is grammatically the object of the action expressed by 'makes'. In other words, the pot plays the role of one of the six karakas or contributive factors in an action, namely karman or grammatical object, and it is as such a sadhana 'means' in the accomplishment of an action. But how is it possible that the not-yet-existing object is the 'means' in the accomplishment of the action ? The problem may be solved on the assumption that the meaning of the word is the universal, which itself is permanent. On this assumption it may be maintained that it is this universal 'pot', or 'pot-ness', that plays the role of grammatical object and is thus the 'means' in the accomplishment of the action. That this universal is getting a new substratum in the form of the new individual pot poses next no problems anymore. Below, in VP 3.7.7, Bhartrhari will explain the solution of the problem on the view that the word meaning is the individual instance and not the universal. Here, in the Jati-samuddesas, the whole discussion is based on only one of two acceptable presuppositions. That Bharthari gives here a positive presentation of a certain solution to a grammatical-semantic problem is, therefore, no sufficient reason to consider it his definitive and finally preferred view on the issue. Of particular interest is next the passage according to which the universal is simply existence, divided into cows, etc.25 33. Existence,divided into cows etc. through differentiation according to the things related to it, is called the universal. On this (cxistence) all words are based. It is this existence (or Existence, with capital, because of its all-embracing character) that is the meaning of the stem and of the root, and it is expressed by affixes like tva and ta (34). Moreover, if action or an entity are expressed, it is in fact existence that is expressed as having sequence or as being without sequence. And it is nothing but existence that assumes the six stages of being (35-39). What is here the status of the individual word meanings ? Inasmuch as all words express ultimate Existence, it can be maintained that their meaning is permanent. But since individual word meanings are divisions of existence, it is not clear how permanent their independent status is. In 42 and 43 Bhartrhari mentions two different views on the permanence of the individual universals. According to some, each universal has always one substratum or the other; and there is never a time (e.g. the end of the world-period), when there is nothing whatsoever (42).26 On the other hand, those believing in an 'end of the world-period' hold that at such a time when all divisions are absorbed in their source, the universals which have their own specific substrata acquire dravyasattva, which probably means that they become one with the ultimate substance (43).27 And in the context, this ultimate substance would be the same as the existence in 33. It seems that the individual universals are more permanent in 42 than in 43. In practice, however, from a human point of view, there will be little difference between the permanence which

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10 SAMBODHI lasts for one world-period and the absolute permanence not limited by world periods. It is of interest to note that the universals are here not described as entities in any way dependent upon language or human thought (as in other passages in the VP, and in the Jati-samuddesa e.g. in karikas 11-12,19), but they are independent realities, even though they are ultimately just divisions of one all-embracing existence. Both existence and its divisions precede its being expressed in language (cf. also 46). One may ask: what is the status of the sambandhins, 'things related to existence)' in karika 33 ? In 40 four different views are enumerated28. 40. The substratum, or the own elements, or entities which are different (from it), or the own capacities are the causes of secing division in existence.29 At least two view, the first and the third, accept some kind of division between existence and the things related.30 The view which indentifies the things related' as capacities of existence could be taken to imply that the thing related' have no independent status, in contradistinction to the view according to which they are explicitly said to be "entities which are different' (bhava vyatirekinah). In the karikas after 46, several potentially problematic cases are explained according to the view that the universal is the word meaning. The problems relate mainly to number as expressed in verbal and nominal ending (49ff), and to compounds (47-48, 87, 90-91). From 54 the context of the discussion is Vedic injunctions. In a digression (72-80), Bhartrhari returns to the problem of substitutes in Vedic injunctions. He discusses the relation between quality, substance and (prescribed) action, both from the point of view that word meaning is the substance and that it is the universal. In 3.1.3-5 Bhartrhari has provided for the possibility of a substitute if the word meaning is a universal, making use of the notion of sakti 'capacity'. According to 76, there is a problem if the substance and the quality of a prescribed object would be equally eligible for substitution. Preferably, only the quality should be substituted and not the substance. Karika 77-79 explain next that there is a solution if the object refers to a universal or to a capacity. The solution is worked out from the point of view of the universal as the word meaning. But this should not be mistaken as an indication that Bhartrhari prefers the 'universal view' to the 'substance view' as Helaraja seems to suggest in his comments on these karikas. Since Bharthari will argue that the individual substance can be seen as a capacity (3.6.1, 3.7.1-2), the reference to 'capacity'in karika 77 implies that on this view too the desired solution can be reached. In karika 80 Bharthari mentions that some would accept a substitution of the substance as equal with a substitution of a quality. This option is apparently not preferred by Bharthari, but included for completeness' sake. The wording of this karika and the mentioning of the capacity in 77 do not support Helaraja's explanations according to which this nonpreferred view is exclusively connected with the substance view'. In any case, this passage (72-80) introduces some refinements after the possibility of substitutes was provided for in 3.1.3-5.

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11 Vol. XVIII, '92-'93 From 92 onwards, Bhartrhari returns to the question: what is a universal? According to some a universal is similarity, according to other it is a capacity (3.1.92). Some thinkers (identified as Vaisesikas by Helaraja) emphasize that a universal is to be postulated as a separate entity (3.1.93-94). According to some, if one cognition arises with regard to several individuals, one cognizes the essence of the individuals, as it were (3.1.96). The main problem according to Helaraja is whether or not the universal is separate entity (VP IIIa:93.22; 94.1; 96.2; 99.1). The Buddhist view explained in 101 has been mentioned above. The Jati-samuddesas concludes with a passage in which the domain of the universal is restricted. First, in 104, a view is mentioned according to which there are universals in cognitions as in external objects, and the karika attributes this view to the Samsargaview; Helaraja does not give more details about this Samsarga-view, but elsewhere, the Samsargavadins have been indentified as Vaisesikas (Helaraja on 3.7.9, VP IIIa:239.34; cf. discussion below). In the Vaisesika-system, a cognition31 is considered a quality (guna) of the self (atman) and universals reside in substance, qualities and actions. The view in 104 is, therefore, in accordance with the Vaisesika system. The next karika (105) mentiones a view which does not accept universals in cognitions; and the following karikas (106-110) explain how it is impossible that a cognition could ever be the thing know in another cognition. A cognition cognizes itself but is not cognized in another cognition, just as a light illuminates itself but is not illuminated by another light. In the context, this is an elaboration of what was said in 105, that universals reside in 'things to be known' (jneya) but not in a cognition or knowing (jnana) itself. The combination of the comparison of a cognition with light and the refusal to accept a cognition being cognized in another cognition would be in accord with Vijnanavada tenets32 with which Bharthari must have had some acquaintance.33 Whatever Bharthari's evaluation of this view (he seems quite positive about it, 'in spite' of its closeness to Buddhist ideas), they leave much room for word meanings which are not well-defined individual basic units. What we have seen so far may be summarized as follws: On the basis of the tendency to prefer the sentence as the primary unit one would expect some attention for views which relativize the status of the individual word meaning. In the Jati-samuddesas, much positive attention is still paid to views according to which word meanings in the form of universals are well-established and individually permanent. But in most of these views, the individual status of universals is, on closer study, not so absolute, for instance because they are dependent on the function of language (3.1.11); or because they are simply unreal because in fact there are only differences (3.1.19, 101); or because they are only divisions of one all-embracing Existence (3.1.33-39), while the seeing of divisions may be caused in different ways. (3.1.40). In the 'Existence-approach', it can be maintained that words have a permanent meaning, inasmuch as all words express Existence; and yet the status of individual words and their specific meanings need not be

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12 SAMBODHI absolute, because the particular universals are just divisions of this all-embracing Existence. In the final part (92-110), mentalist and other views which would not imply word meanings as well-defined individual basic units receive considerable attention. The "comprehensive explosition" on jati 'the universal' contains, therefore, also several starting-points for a 'critique of the universal. All in all, Bhartthari has shown how it is possible that the meaning of a word can be a universal, and can be permanent in an absolute or relative sense, without definitely committing himself to word meanings as well-defined individual basic units. 7. The incomplete "comprehensive expose' in the dravya-samuddesa An approach comparable to the 'Existence-approach' in the Jati-samuddesa (3.1.33ff), may be recognized in the Dravya-samuddesa. Again, all wo same things, and, again, the status of individual words and their specific meanings is not presented as absolute. In the Dravya-samuddesa, however, this one things, expressed by all words, is not a universal but it is the substance. And it is not called existence (satta) but referred to by another derivative from the root as 'to be': satya 'true' or 'real' (3.2.2, 11,15). In the first atman (self), vastu (thing), svabhava (own nature), sarira (body), tattva (reality), are said to be synonyms of dravya, 'substance'. If we compare the rest of the Dravya-samuddesa (2 till end) with the Jati-samuddesa, there is an important structural difference. In the Jati-samuddesa the idea that all words express the universal inasmuch as they express existence in one of its divisions, is one of the views explained. According to Helaraja, the idea represents an Advaita-Vedanta approach (VP IIIa: 41.6 and cf. VP IIIa: 96.22). Other views are explained according to which universals are just 'similarities' preceived in things which are in fact utterly distinct; or they are separate, independent entities. In addition, several technical problems are discussed which arise on the assumption that the universal is the word meaning in all cases. In the Dravya-samuddesa, however, other views' as well as the technical discussions are conspicuous by their absence. The entire Dravya-samuddesa -- with its 18 karikas much smaller than the Jati-samuddesa -- elaborates one and the same idea that all words express a single entity (Entity) in what may be called an Advaita-Vedantalike way34 As for this Advaita-Vedanta-like idea, it is parallel to the idea expressed in the 'existence'-passage in the Jati-samuddesa (3.1.33-43) inasmuch as in both cases all words express one and the same entity. In both cases, it can be maintained that the meaning expressed by words is permanent, a requirement inherited from the accepted grammatical tradition (cf. discussion above). In both cases, the status of the individual word meaning themselves is not necessarily absolutely fixed, a requirement resulting from the preference for the sentence as the primary unit in language. In the Jati-samuddesa 3.1.3343, this non-fixed character of the individual word meanings -- i.e. of the specific universals - is not emphasized. Two different views are recorded which make the specific universals either absolutely permanent or permanent only within a world period.

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Vol. XVIII, '92-'93 13 In the dravya-samuddesa, however, it is recognized that the fact that all words express the ultimate Substance, would imply that all words have all meanings (sarvarthyam). In fact, however, it is not the case that all words have all meanings, on account of a delimitation through particular forms'34 3.2.5 On account of a delimitation through (particular) forms the connection with all meanings is restricted; just as the capacity of eyes etc. is restricted by tubes etc. In other words, just as the visual field is restricted if one looks through a tube, like that the unbounded semantic field of a word (ultimately denoting the ultimate substance) is restricted through particular 'forms'. Whatever is meant by these 'forms', it is they that determine that a word meaning has a specific character, different from others. On the other hand, it is the fact that the meaning of a word is ultimately the ultimate Substance, which makes the meaning of the word permanent. In the Dravya-samuddesa much attention is paid to the latter aspect. It is not explained what these 'forms' are and how exactly they restrict the meaning. They are said to be untrue in 3.2.2, and the forms of an object are compared with limiting features of the true (reality)36: 3.2.2 The truc thing-in-itself is ascertained through its untrue forms. Through the untrue limiting features, only the true (reality) is expressed by words. In 3.2.6 it is emphasized that, ultimately, these forms too are identical with reality (or Substance). A subtle difference with the 'Existence'-passage in the Jati-samuddesa is that in the Jati-samuddesa the division of Existence clearly precedes its being expressed in language. But here, in the Dravya-samuddesa, while the limiting features are in fact not different from the Substance (3.2.6), they enter the scene only when the Substance is being expressed. Since the Dravya-samuddesa otherwise does not say anything about these limiting features or forms, Bhartrhari, while demonstrating how all words ultimately express a permanent meaning on the view that the word meaning is the substance, has not committed himself to an absolutely fixed character of individual word meanings.37 8. The Sambandha-samuddesa as a continuation of the Dravya-samuddesa We now come to the Sambandha-samuddesa, the chapter on 'relation'. Helaraja introduces the first karika of the Sambandha-samuddesa as follows: "With the (preceding) two expositions, (Bhartrhari) has established the Universal and the Substance as the meaning of a word, distinguishing different points of view; now, a relation must be the cause of (the fact) that a meaning is expressed by a word, otherwise anything would be conveyed by anything; therefore, he says in order to explain the relation (the following)" (VP IIIa:122.1-2). From this, one could infer that the notion of relation as it is discussed in the Sambandha-samuddesa is equally relevant to the Jati- and Dravyasamuddesa. However, in the exposition of the Sambandha-samuddesa indications are found which point in a different direction. One of the first problems discussed in the Sambandha-samuddesa is: how can 'relation' be expressed in words ? In the theories advanced to account for the problem

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14 SAMBODHI (3.3.1-19), there is no indication that a word expressing relation' would first of all express the universal residing in relation. A peculiar theory is explained in some detail (3.3.13-16), according to which (almost) all words have in one way or the other a relation with the thing-meant, a relation analysable in terms of the two types of relation accepted in the Vaisesika system: samyoga 'connection and samavaya `inherence'. There is no place in this theory for a universal which would necessarily intervene between the expressive word and the thing-meant. Does this mean that the Sambandha-samuddesa is, in a sense, a contnuation of the Dravya-samuddesa ? In the Dravya-samuddesa, 'other views' than the Advaita-like view which forms the main subject were conspicuous by their absence. The view in the Sambandha-samuddesa using Vaisesika-notions would make up, to some extent, for this 'incompleteness of the Dravya-samuddesa. And there are other passages which seem to be closer to the Dravyasamuddesa than to the Jatisamuddesa. In Sambandha-samuddesa 39-52 a theory is explained which accounts for the relation between the exterior object and the word by assuming that in language the exterior object has only 'Secondary' or 'Metaphorical existence (anya sattaupacariki, 39). The problem of the relation between an exterior object and the expressive word is urgent only on the view that the word meaning is the individual substance. If word meaning is a universal, the problem poses itself quite differently: on that view, one has to account for the relation between word and universal and for the relation between universal and individual object. And this was done in various ways (from different points of view) in the Jati-samuddesa. It is true that the theory of 'Secondary Existence' may be translated in terms of the view that the word meaning is the universal. For instance, it could be said that the secondary existence of an object is in fact its universal, viewed either as a mental concept or as an independent entity. But the fact remains that from the point of view of the Jati-samuddesa the whole theory of 'Secondary Existence' is superfluous, because the problem was solved in the Jati-samuddesa in its own terms. Again, in the Sambandha-samuddesa passage starting with 3.3.52 the problem is the relation between the particular exterior object and the word, whereas the problem in terms of the Jati-samuddesa would be: what is the relation between the particular exterior object and the universal ? and next, what is the relation between word and universal, and does the universal have independent external existence or is it rather something figuring in the mind ? In 3.3.73, even the universal (samanya) is expressed by words as a particular. The karika is a mirror-image of karika 12 in the Jati-samuddesa, according to which all words refer to a universal, even in the case of a particular. This karika shows most clearly the intimate connection between the Sambandha-samuddesa and the dravyaview, and its contrast with the Jati-samuddesa. Towards the end of the Sambandha-samuddesa, we cannot discover strong reasons to assume that the ideas are more closely related to either the Dravya-samuddesa or the Jati-samuddesa. The last two karikas, for instance, seem to be equally applicable to both.

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Vol. XVIII, '92-'93 The only difference is that in 3.3.87, as in the Dravya-samuddesa, the multifariousness ne Thing-meant, is closely connected with the expression in words of this one Thing-meant. In Jati-samuddesa 3.1.33-43, the division of Existence clearly preceded its being expressed in language. We therefore have to arrive at the remarkable conclusion that the Sambandhasamuddesa is on the whole much more intimately connected with the 'individual substance' view than with the 'universal' view. It may be considered to be a direct continuation of the discussion of the 'substance' view started in the Dravya-samuddesa. 9. The Guna-samuddesa "el In Helaraja's division, the next chapter is the Guna-samuddesa Hel. It absorbs the three karikas called 'Bhuyo-dravya-samuddesa' in the manuscripts, the first two of which are as follows. 38 1-2. Some meanings of words, which are in the science (of grammar) abstracted and separated from the meaning of a sentence, arising from that (sentence meaning) whichis an aggregate and has the character of consciousness, just like the meanings of stem and suffix (arise from and are abstracted and separated from the word), (some of these meanings of words) which are the basis of the correctness of words, will be explained concisely acording to tradition, their nature being inferred from grammer. The character of these karikas is quite general. They seem to reintroduce the subject matter of the third Kanda namely the discusion of individual word meanings. The difference with the first general introduction, karikas 1-2 in the Jati-samuddesa, is that there it was emphasized that the word meanings are permanent, and that they may be considered as either a universal or a substance. The feasability (as well as the limits of this permanence was demonstrated in various ways in the remainder of the Jatisamuddesa and in the Dravya-samuddesa. But the introduction here seems to clear the way for a more specific discussion of word meanings. And this is what we actually find in the chapters which have been categorized above as the second group of chapters: chapters dealing with more specific word meanings such as 'direction' (dis), 'action' (kriya), 'time' (kala), 'person' (purusa), etc. It is next, the third, karika which deals with dravya 'substance' as the meaning of a word. 39. 3. The thing in reference to which (yatra) a pronoun indicating an object is used, that thing (so'rthah), intended as something which can be differentiated, is called 'substance'. According to Helaraja, comenting on the first karika of the Dravya-samuddesa, it is this karika that represents the view of Vyadi, according to whom all words denote dravya 'substance' (VP IIIa:106.8-10). Substance, according to Helaraja, is of two kinds: that belonging to the level of ultimate truth (paramarthika) and that belonging to the level of (linguistic) practice (samvyavaharika). The substance of the ultimate level is discussed in the Dravya-samuddesa, and for the substance of the level of linguistic practice Helaraja cites -- as a karika from the GunasamuddesaHcl -- the karika translated here.40

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16 SAMBODHI Now, it is not only this karika that has close connections with the notion of dravya 'substance'; also in the remaining part of GunasamuddesaHel (VP 3.5 or the Gunasamuddesa of the mss), the notion of dravya 'substance' plays a basic role. In karika VP 3.5.1-2 (which would be karikas 4 and 5 of Guna-samuddesaHel), guna 'quality' is defined only in relation to dravya "substance'41 : 1. Whatever is in combination and differentiates and is understood with (that) function, is said to be a guna 'quality in the science (of grammar) on account of its dependence. 2. The differentiating guna 'quality' that belongs to the inexpressible dravya 'substance' (and) that is assumed in order to express it, of that (differentiating quality) degree is designated. The word dravya is also used in karikas 7-9; and in 3,4 and 5 it is referred to as pradhana 'the main thing' (3,4) and vastu 'object' or 'thing-as-it-is' (5) What exactly is meant by this guna, defined in dependence on dravya 'substance'?42 From the definition in the two karikas translated above, one things is very clear : Bhartrhari's guna is here not the same as the Vaisesikas' guna 'quality'. For, in Bhartrhari's definition anything that differentiates and is dependent on a substance is called guna. In the Vaisesika-system, however, many other entities may be related to a substance and specify it, not only gunas 'qualities' in the strict sense (colour,etc.),but also karmas 'actions' and samanyas 'universals'.43 Nor is it clear that the concepts of dravya 'substance and guna 'quality should be understood in the light of the Samkhya view, namely that the dravya is just a collection or coming togather of gunas.44 Here in VP 3.5.1, guna, as something contrasting with and related to dravya 'substance', seems even to comprise what has been called 'universal' elsewhere. This is not explicitly stated in the Guna-samuddesa. But there are some reasons to believe that this was nevertheless Bhartrhari's intention. First of all, according to 3.5.1 anything that differentiates is to be considered a guna 'quality'. From this one may infer that a universal is a guna 'quality' inasmuch as it differentiates. In the Vaisesika-system, this differentiating function of at least some universals seems to have been accepted since an early time.45 In the Jati-samuddesa itself, not much attention is paid to the differentiating function of a universal, but rather to its function of inclusion, and its permanence. One place which is of interest is 3.13b, according to which the universal secondarily indicates a capacity (jatih saktyupalaksanam). The fact that here a capacity is only secondarily indicated is in accordance with the main thesis in this chapter : that primarily the universal is expressed by a word. But then, this universal does indicate or define (laks) also something else. In the MBhD it is said with so many words that 'universals etc.' differentiate substance: "But universals etc. differentiate the substance in order to convey its existence; they are the limiting features of the word."46 There is also a MBhD-passage (MBHD 66:26.23ff) which attributes to the one who accepts universlas as primary, the dictum: "There is no understanding with regard to a thing to be differentiated if the

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Vol. XVIII, '92-'93 17 differentiator (itself) is not grasped." The differentiator to be grasped first is here the universal. In spite of the absence of explicit statements, it seems therefore quite natural to assume that jatis are according to Bhartrhari bhedakas 'differentiators' of the particular substance, the thing to be differentiated (bhedya). As such, they are included in his definition of guna quality'.47. Helaraja too includes the jati 'universal' in what is defined as guna 'quality' in 3.5.1, and supports this inclusion with references to the MBh48 : "thus even the universal, because it is dependent inasmuch as it inheres in the substance, is said to be a guna 'quality." The exposition in the entire Guna-samuddesalle (VP 3.4 and 5) starts, therefore, from the assumption that words express (in fact, ultimately) the individual substance, particularised by differentiators (which may include universals). This can only lead us to the conclusion that this Samuddesa further continues the exposition of 'substance' as the meaning of the word, the exposition which started with the Dravya-samuddesa, and which continued in the intervening Sambandha-samuddesa. We have to conclude, moreover, that the Guna-samuddesafic (VP 3.4 and 3.5) deals again with word meanings in a very general way, more like the preceding chapters, and unlike the following chapters which deal with more specific word meanings. In contrast with the preceding chapters, however, the Guna-samuddesallel works with a fundamental dichotomy in the field of meaning, that between dravya and guna, without trying to reduce the one to the other. It eleborates the idea that in fact the undividual substance (dravya) is expressed, not, as in the Dravya-samuddesa, from the point of view of the permanence of the ultimate Substance, but from the more pragmatic point of view of how dravya is expressed in language. It is in that context that the differentiators (including universals) or gunas 'qualities' of the substance appear on the scene and have to receive more serious attention. 10. The chapters following Guna-samuddesallel The eight chapters following the Guna-samuddesallel, as pointed out earlier, discuss more specific meanings and how they are expressed in language. While Helaraja introduces the first four of these chapters, the Dik-, Sadhana-, Kriya- and Kalasamuddesa with reference to the first karika of the Dik-samuddesa,49 the next four chapters, Purusa-, Samkhya-, Upagraha- and Linga-samuddesa, are presented by him as a kind of addenda. Of considerable importance is here the first karika of the Dik-samuddesa (the chapter on dis direction'), which enumerates the main notions of this and the following three chapters as follows: 3.6.1 "Direction', 'means', 'action', 'lime' (as words) denoting things, are by no means fixed, if word meanings (or things denoted by words) have the form of capacities. On the basis of only this karika one could infer a few things about these chapters,

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18 SAMBODHI even without studying them in detail. First, there are here some elements denoting things' (vastv-abhidhayin). What are these elements ? If Helaraja's commentary is followed, they are the words 'direction', 'means', 'action', 'time' themselves. And what is meant with "things' (vastu) denoted by them ? In the first karika of the Dravyasamuddesa, vastu was mentioned as one of the synonyms of dravya 'substance'. Could this mean that the starting point is again the view that words denote the substance, as was the case in the preceding chapters from the Dravya-samuddesa onwards ? Our karika 3.6.1, however, mentions an additional condition in the phrase saktirupe padarthanam 'if word meanings have the form of capacities'. What does this mean if the words have been said to denote objects? Do these words finally express the substance or capacities ? It is moreover possible to interpret padartha differently. It is not only 'meaning of the word', but because of the absence of a sharp and clear distinction between meaning and referent it is in some contexts rather thing denoted by an individual word' or simply 'thing'. Finally, these words are said to be always un-fixed' or 'by no means fixed'. As observed above, the most immediate implication of the second Kanda for the third Kanda was that the status of words and word meanings (and smaller units) is strongly relativized. In the preceding chapters of the third Kanda we have seen that when Bhartrhari defended that the meaning of words is (ultimately) permanent, he did not commit himself too much to accepting individual word meanings as absolutely fixed in themselves. On the basis of just this karika 3.6.1 one can therefore conclude that the discussion in the following chapters starts (again) from the assumption that individual words denote individual things, which are not absolutely fixed, but have the character of capacities; the four main notions themselves are not absolutely fixed either. 10.1. The Dik-samuddesa In the Dik-samuddesa, it is indeed emphasized that direction' as expressed in language is a 'capacity and as such not absolutely fixed in itself. Apart from the first karika introducing the subject matter of this and the following three chapters, it is nowhere emphasized that the meaning of the word is the individual substance rather than the universal. On the other hand, nothing indicates that first of all the universal would be expressed by the words. In a straightforward interpretation of the chapter it is much simpler to assume that the starting point is throughout the view that word meaning is dravya at least in its meaning of 'individual instance', without a necessarily intervening universal; it is argued in the Dik-samuddesa, that in the case of dis direction', this individual instance is actually a capacity. There is also a karika (3.6.1752) which, while not in conflict with the view of dis direction as a capacity, clearly echoes the Vaisesikas who categorize it as a dravya 'substance.' 10.2. The Sadhana-samuddesa In the first karika of the next chapter, the Sadhana-samuddesa, sadhana or 'means' is explicitly defined as a capacity (samarthya) (3.7.1). The following karikas give

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Vol. XVIII, '92-'93 different views on this means' as a capacity and its relation (if any) to the substance in which it inheres. A karika which is of particular interest is 3.7.7. Here it is pointed out that a meantalist approach according to which the thing referred to by words is a mental substance (as explained in preceding karikas), allows for a solution to a problem which arises on the assumption that word meaning is the particular instance. The same problem was solved in a different way in the Jati-samuddes'a (3.1.27), on the assumption that word meaning is the universal. The problem is: how is it possible that in a sentence like 'he makes the pot', the role of grammatical object is played by something which does not yet exist, namely the pot which is precisely the thing to be produced ? Here the solution is possible on the basis of 'mental states': it is the mental state in which the pot is conceived which forms the grammatical object of the action, not the not-yet-existing external pot. This mental state is still an individual instance, though not an external object. The solution presented here, and the fact that it is explicitly said to be based on the assumption that the individual instance is the word meaning,53 are just indications of the fact that the entire 'mentalist approach' (3.7.3-7) presupposes the view that the word meaning is the individual instance, 54 and that it solves problems (relation word - external thing) which would not arise, or which would arise in entirely different terms, if the word meaning was thought to be the universal. We have been that in the Jati-samuddesa much attention was devoted to the problem of substitutes which are a factor (sadhana) in a prescribed action. In the Sadhanasamuddesa this problem receives very little attention, probably because it is already solved by the discussions in the Jati-samuddesa. There, the solution was possible by introducing the notion of sakti "capacity' (3.1.3-5). In the Sadhana-samuddesa, factor (sadhana) is from the beginning defined as a sakti 'capacity'. In this samuddesa it is mentioned only en passant that the object in an action may be substituted: in the 3.7.26 it is said, in order to distinguish the grammatical notions karana 'instrument' and hetu 'cause', that the former can be substituted but not the latter. Helaraja mentions that some explain karana here as referring to any sadhana or means in an action. Skipping a lot of interesting and relevant material, we may now turn to the final section of the Sadhana-samuddesa (3.7.165-167)SS: 165. On the basis of the fact that an indeclinablc is taught in the sense of the ending, it should be inferred that thc mcaning of the ending is different from the substance, and that it is expressed by the indeclinable. But substance, if il exists in a certain way, than it exists for ever in the same way. This nature of the substance which belongs to it, is not given up even if it is connected with action. 56 167. Therefore, the substance which is instrument, does not again become the object. Otherwise, cach individual substance could become different. Karika 165 returns to a point made earlier (3.7.13-15, 38, 43), namely that the 166.

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20 SAMBODHI grammatical means expressed by 'nominal endings etc.' is represented in language as different from the substance (expressed by the nominal stem) to which it belongs. From 166 and 167 it may be understood that the point of departure was all the time that the meaning of the word was first of all the individual substance rather than the universal; the grammatical means, defined as a capacity, and expressed by 'nominal endings etc.', is represented as different from it. The grammatical means is an 'individual instance', S7 but because it is also argued that it is certainly not dravya in the sense of physical substratum, it is easy to see why the word vyakti 'individual instance' was used in 3.7.7. 10.3. The Kriya-samuddesa The next chapter in the group of four is the Kriya-samuddesa, devoted to "action'.58 At first action is described as it is expressed in laanguages : 1. To the extent that something which may be either finished or unfinished is expressed as something to be accomplished because it has assumed the form of sequence, it is understood as kriya 'action'. After this, the nature of 'action' is approached mainly in what may be called a 'logicalatomistic' waay, correlated to the view that the individual instance is the primary meaning of the word.60 In karika 21 there is a switch, explicitly indicated both in the karika61 and by Helaraja,62 to the view that the word meaning is the universal. The view that action is a universal will predominate in the remainder of the chapter. In karikas 34-39, action is described according to different views about the ultimate reality. Some of these, presenting the basis of action as something all-prevading (34) or as an underlying reality (35), have no obvious connections with the view of the word meaning as a universal. But its description in terms of Existence (36) reminds rather of the Jati-samuddesa (3.1.33ff). At the end, action is again described in terms of Existence.64 63ab. And that onc meaning called 'Existence' is in one way or the other expressed by specific (verbs).64; Just as one and the same person (arthatma, object- or meaning-element, here: person) is referred to as tcacher and maternal uncle on the basis of differences between the (persons) related to him, so is the case with 'cooking' and 'being? On the analogy with the preceding two Samuddesas, we might have expected a clear description of action in terms of 'capacities', but such a description is not found in the Kriya-samuddesa. 'Capacity' does play a role in karikas 34 and 36, where it belongs to the All-pervading or to Existence, and makes it appear in different forms. In 14 the capacity of a following element in an action was superimposed upon an earlier one. But action itself is not defined as a capacity in this Samuddesa. Only in the preceding Sadhana-samuddesa it was pointed out that action may serve as a means (3.7.16-17; also 3.7.34 in Phullaraja's interpretation), which, in turn, was defined as a capacity (3.7.1). Can it then be maintained that for kriya sas universal, 'the word kriya is by no means fixed', as stated in 3.6.1? The answer should here probably be parallel to the answer to

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Vol. XVIII, '92-93 21 the question whether the word as expressive of the universal is well-established or not according to the Jati-samuddesa. Inasmuch as the words express the ultimate universal, i.e. Existence, their meaning is absolute and they are as such well-established. But inasmuch as individual word meanings are only divisions of this Existence, their specific meaning is not absolute in itself. The same is true for verbs expressing action. Inasmuch as they all ultimately express the one verb-meaning 'Existence', they are wellestablished. But inasmuch as individual verbs express this Existence only in a certain way, their meaning is not so absolute and they are not so well-established. It would thus be only the verbs as and bhu 'to be', which would express this Existence in its full form. In any case, the Kriya-samuddesa starts with views corresponding to the 'individual instance' view and in that sense the introductory karika 3.6.1 applied also to this Samuddesa. 10.4. The Kala-samuddesa Next, in the Kala-samuddesa, it is again the individual instance' view which first receives all attention. Karika 1 defines kala, in accordance with the Vaisesika-thinkers, as 'one permanent all-pervading substance'. This and numerous other views on time are subsequently explained (cf. the survey given by Peri in the introduction to his translation: Peri, 1972:13-17). Having discussed a great number of these views, Bhartrhari observes6S: 58. Whcther (time) is a capacity present in the understanding, or rather really existing outside, verbal usage is not possible without having recourse to an entity 'time'. Here, the view that time is something mental is opposed to the view that it is something external. Whatever be the case, in verbal usage one has to make use of the notion of time. Elsewhere in the Kala-samuddesa, the notion of sakti 'capacity' plays again an important role; aspects of time are referred to as 'capacities' (3.9.24 with kalasakti as Tatpurusa 3.9.49, 50, 51). There is also a general reference to time as a capacity : saktyatmadevatapaksair bhinnam kalasya darsanam, "The understanding of time is different with the views (that it is) a capacity, the self, a deity (respectively)." Thus, a very important view in the Kala-samuddesa, which considers time a capacity, 67 and therefore something not absolutely well-defined in itself, is again in accordance with VP 3.6.1. 11. The Purusa, Samkhya-, Upagraha- and Linga-samuddesa It has been pointed out above that while the first four chapters of the group of eight are introduced by Helaraja with reference to the first karika of the Dik-samuddesa, the next four chapters, Purusa, Samkhya-, Upagraha- and Linga-samuddesa, are presented by him as a kind of addenda.? The first three of these chapters refer to notions which become manifest together whthe verb-meanig (bhava, 'Being') expressed by the verb. These are, (apart from kala 'time', to which one of the previous chapters was devoted) purusa 'person', samkhya 'number', and upagraha 'aspect. While some of the notions discussed so far are not only expressed by verbs but also by nouns (Helaraja mentions

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22 SAMBODHI sadhana and samkhya, VP IIIb:130.2), the last among the four additional chapters discusses a notion which is expressed only by nouns, namely linga 'gender'. In each chapter, the nature of the notion under discussion is explained. It is also explained how the notion under discussion is expressed in language (especially 3.10.12; 3.11.4-11; 3.12.1-4; 3.13.3). And finally, it is pointed out that the correlation between "how things really are' and how they are expressed in language is often problematic (3.10.2ab; 3.11.2; 3.12.5cd; 3.13.7-10, 28cd-29). The problems concern the relation between 'actual' or 'external reality and the way things are expressed in language. It is pointed out that there is no direct or necessary correlation between the way things are expressed in language and the way they really are. This lack of a direct and necessary correlation may imply that the speaker has some freedom in representing a thing as he wants (on account of vivaksa 'the speaker's intention': 3.12.5, 3.13.19, 3.13.24), or that verbal usage makes people express things in a certain way even though it does not correspond to reality (3.11.5, 3.13.29). While the (specific) 'thing-meant' of the notions under discussion may in some cases be a universal (e.g. in at least one of the views regarding linga 'gender'), there is no indication that a universal necessarily intervenes. The specific problems arising for the understanding of number (samkhya) as expressed in verbal and nominal en ugs, were already discussed in the Jati-samuddesa (49ff) on the acceptance of the 'universal' view. The Samkhya-samuddesa can therefore focus on the problems which arise if the substance is first of all expressed, and on more general semantic and grammaticaltechnical problems involved in the linguistic expression of 'number'. 12. Some observations We may conclude this discussion of the third Kanda with a few observations: (1) If the main theoretical division in the second Kanda is the division between the acceptance of either the sentence or the word as primary, the main theoretical division within the third Kanda is no doubt that between the 'universal' and the 'substance' view. The opposition between these two is pointed out at the beginning of the first or Jati-samuddesa, and plays a role, sometimes more manifest, sometimes more at the background, also in the other chapters. (2) In the third Kanda, as in the previous ones, there is a tendency to pay positive attention to quite divergent views, and usually there is no absolute commitment to one view to the exclusion of others. The approach to the different problems may be characterized as encyclopedic and perspectivistic. Against the background of this perspectivistic approach, there are still theoretical preferences, which are usually in accordance with the requirement, inherited from the second Kanda, that individual word meanings, if at all accepted, have no well-defined, independent status. With regard to the opposition universal-individual substance, the picture which emerges at the end is the following. While it is possible to consider all word meanings

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23 Vol. XVIII, '92-'93 to be either universals or individual substances, the word meaning of the verb -- action - is preferrably conceptualized as a universal, and the word meaning of nouns -- factors in the action - as individual things. These individual things are capacities rather than substances. Other notions such as person and number specify the individual factor and/ or the action. But even action may be conceived of as an individual, and even factors in the action may be conceived of as universals. The opposition which determines so much in the structure of the third Kanda is therefore not absolute, but dependent on the perspective one takes.69 (3) Because of Bharthari's perspectivistic approach to theoretical problems, it is of the utmost importance to be aware of the place a certain discussion occupies within the entire Kanda, in order to be able to judge the relative value attributed by Bhartrhari to that discussion. Some insight into the structure of this huge Kanda is indispensable. Because several contrasts and oppositions are playing a role, one may understand the structure in several ways. Without denying the possibility of seeing other meaningful structures, I will here propose the following. The first division of the text which forces itself on the reader is that between the ossal last chapter and the rest. The last chapter discusses problems relating to compounds and derivatives, the others problems mainly relating to simple words (and smaller units). The contents of the Bhuyo-dravya-samuddesa and the Guna-samuddesa are intimately related. With Helaraja they may be taken as a single chapter, Gunasamuddesa Hel. Next, the remaining 12 chapters (all except the last or Vrtti-samuddesa) may be divided as follows. The Jati-samuddesa forms one 'group' in which problems are approached first of all from the 'universal' view, as opposed to the remaining 11 in which the problems are, at least initially, approached from the 'individual substance' view. The Dravya-samuddesa alone does not suffice to 'counterbalance' the discussions in the Jatisamuddesa: the Jati-samuddesa discusses many aspects of the universal as word meaning from quite divergent points of view, whereas the Dravya-samuddesa highlights only one aspect of 'substance as word meaning from quite divergent points of view, whereas the Dravya-samuddesa highlights only one aspect of 'substance as word meaning from a single point of view. Because the Sambandha-samuddesa, Gunasamuddesahel, etc. continue and supplement the discussion started in the Dravyasamuddesa, the justification for the separate existence of the Bhuyo-dravya-samuddesa ("further chapter on dravya'), which was already weak, becomes even more deficient. Another major dividing line can be perceived as follows: the first three Samuddesas focus on things which are valid for all word meanings: they are all universals, or the substance; and each has a relation with a word. Next, the first karikas of the Gunasamuddesa Hel reintroduce the subject matter of the third Kanda for more specific word meanings (which were partly already discussed from the point of view of the universal as main word meaning). After the fundamental dichotomy between dravya and guna is introduced in the Guna-samuddesa Hel, the eight following chapters deal with more specific

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SAMBODHI grammatical-semantic notions. They subdivide further into the first and the last four chapters. The first four, dealing with four notions of major importance, are separately introduced by a verse at the beginning of the first of these (3.6.1). The verse suggests that these notions are not absolute and well-defined. The Samuddesas explain them usually as capacities, but in the latter half of the Kriya-samuddesa action is a universal. The last four chapters deal with four additional grammatical notions and the questions: how are they expressed in language, and how do they correspond to reality ? REFERENCES AND ABREVIATIONS Aklujkar, A. N. A. (1990): "Brief Analysis and Summary of Trikandi or Vakyapadiya, with Vnti on books 1 and 2, by A. Aklujkar (with occasional adumbrations by K. H. Potter) in: Coward and Kunjunni Raja, Encyclopedia of Indian Philosophy, 5: the Grammarians, Delhi, 1990: 122-172. Bandini, Giovanni (1980): Die Ero..rterung der Wirkasmkeit. Bhartqaris Kriya-samuddesa und Helarajas Prakasa. Wiesbaden: Franz Steiner Verlag. (Beitra..ge zur Su..dasienfaorschung. Sudasien-Institut Univesita..t Heidelberg, Band 61.) Bergdahl, Roland R. (1988): The Sadhanasamuddesa (Karikas 1-44) of Bhartrhari's Vakyapadiya with the commentary of Helaraja. Dissertation University of Pennsylvania, 1987. Ann Arbor: UMI. 8804883. Bhate, Saroja and Yashodhara Khar (1992). Word Index to he vakyapadiya of Bhartsari together with the complete text of the Vakyapadiya. Delhi,Eastem Book Linkers. (Based on the text as given in Rau, 1977; Rau's text is reproduced without the critical apparatus.) Bronkhorst, J. (1985): "Nagarjuna and the Naiyayikas," Journal of Indian Philisophy 13: 107 132. Frauwallner, E. (1968): Materialien zur a..ltessten Erkenntnisslehre der Karmamimamsa. Wien: Hermann Bo..hlaus Nachf. (O..sterreichische Akademie der Wissenschaften. Philosophischhistorische Klasse. Sitzungsberichte, 259. Band, 2. Abhandlung; Vero..ffentlichungen der Komission fu..r Sprachen und Kulturen Su..d- und Ostasiens, Heft 6.) Houben, J. E. M. (1992): The Sambandhasamuddesa and Bhartrhari's Philosophy of Language. Thesis Utrecht University. Iyer, K. A. Subramania (ed.) (1963). Vakyapadiya of Bharthari with the commentary of Helaraja. Kanda III, Part 1. Poona: Deccan College Postagraduate and Research Institute. (Deccan College Monograph Series 21.) lyer, K. A. Subramania (1969). Bharthari, a study of the Vakyapadiya in the light of the ancient commentaries. Poona: Deccan College Postgraduate and Research Institute. (Deccan College Building Centenary and Silver Jubilee Series 68.) Iyer, K. A. Subramania (ed.) (1973). Vakyapadiya of Bhartahari. Kanda II. English translation with exegetical notes. Delhi, etc: Motilal Banarsidass.

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Vol. XVIII, '92-'93 25 Iyer, K. A. Subramania (ed.) (1983). The Vakyapadiya of Bharathari. Containing the Tika of Punyaraja and the Ancient Vrtti. With a Foreword by Ashok Aklujkar. Kanda II. Delhi, etc.: Motilal Banarasidass. Joshi, S. D., And J. A. F. Roodbergen (1986). Patanjali's Vyakarana Mahabhasya, Paspasahnika. Introduction, Text, Translation and Notes. Poona edition, Bhandarkar Oriental Research Institute, 1985-1991) NS= Nyaya Sutra. Edited (togather with Paksilasvami Vatsyayana's Nyayabhasya) by Digambara Sharma, Poona 1985 (Reprint, Anandasrama Sanskrit Series 91); Text and Translation (into German); Walter Ruben, 1928. Translation of the Sutra, Vatsyayana's Bha sya and Uddyotakara's Vartika by G. Jha, first published 1912-1919 in Indian Thought, Reprint: Delhi: Motilal Banarsidass, 1984. Peri Sarveswara Sharma (1972): The Kalasamuddesa of Bhartrhari's Vakyapadiya. Delhi: Motilal Banarasidass. PDhS = Padarthadharmasamgraha of Prasastapada. Reference is made to the paragraphs in J. S. Jelly's edition (see under Jetly, J. S., 1971). Rau, Wilhelm (ed.) (1977). Bhartrhari's Vakyapadiya. Die mulakarikas nach den Handschriften herausgegeben und mit einem padaIndex versehen. Wiesbaden. (Abhandlungen fu..r die Kunde des Morgenlandes XLII, 4.) Rau, Wilhelm (1988). Bhartrhari's Vakyapadiya. Vollsta..ndiger Wortindex zu den mulakarikas. Stuttgart. (Akademie der Wissenschaft und der Literatur, Abhandlungen der Geistes- und Sozialwissenschaftlichen Klasse, Jahrgang 1988, no. 11.) Scharfe, H. (1977). Grammatical Literature. Wiesbaden: Otto Harassowitz. (A History of Indian Literature, vol. 5, fasc. 2.) Sharma, Virendra (1975): "Is the eternal verbum of Bhart hari a dynamic principle ?" VIJ 13:337-350. Vis = Vijnaptimatratasiddhi (Vimsatika and Trimsika). Edition by Sylvain Levi, Paris: Champion, 1925 (+ corrections in Materiaux pour l'etude du systeme vijnaptimatra, Pais: Champion, 1932) (references to page and line of this edition, or to the umber of the karika); edition and translation by K. N. Chatterjee,Benares; Kishor Vidya Niketan, 1980. VP = Vakyapadiya (kakrikas), edition Rau, 1977. (Numbers refer to Kanda. [Samuddesa.) karika.) VP Illa = Vakyapadiya, third Kanda (Jati-Sadhanasamuddesa), with Helaraja's commentary, edition Iyer, 1963. (Numbers refer to Page.line.) VP IIIb = Vakyapadiya, third Kanda, pt. 2 (kriya--Vrtti samuddesa), with Helaraja's commentary, edition Iyer, 1973. (Number refer to Page.line.) VV = Vigrahavyavartani. Edition and Translation: The dialectical method of Nagarjuna Vigrahavyavartani, Second Edition (Revised and Enlarged), Translated from the original Sanskrit with Introduction and Notes by K. Bhattacharya; text critically edited by E. H. Johnston and Amold Kunst.

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26 SAMBODHI FOOT NOTES : 1. Bhate and Khar published an index to the VP in 1992. The index is based on the text as given in Rau's edition. Rau's text has been reproduced without the critical apparatus, and without indicating that some text portions are not found in manuscripts of an entire branch in the stemma (Rau gives these portions in a smaller type, because they may not have belonged to the archetype). A few misprints and mistakes in Rau 1977 and 1988 are tacitly corrected in Bhate and Khar, 1992, e.g. VP 2.127d, last word vacyatam-> vacyatam in Bhate and Khar, 1992, p. 14 of text; Index, Rau 1988 praciti-> pracita in Bhate and Khar, 1992:120. 2. See my discussion of VP 1.172 and 173, in "Bhartmhari's Perspectivism (1): The Vrtti and Bhartmari's Perspectivism in the first Kanda of Vakyapadiya" (forthcoming); and the discussion of VP 3.1.42 and 43 below. 3. Two other articles in preparation are devoted to Bharthari's perspectivism in the first and second Kanda. Article no. 4 in this series (a preliminary version of which was presented as a paper at the World Sanskrit conference in Melbourne, January 1994) discusses Bharthari's familiarity with technical and doctrinal aspects of Jaina thinkers, in order further to illustrate the scope of his perspectivism and his encyclopedic approach. In one or more subsequent articles, I hope to deal with possible philosophical similarities and contrasts between Bharthari's perspectivism and Jainism and Vedanta, which developed a perspectivisim which is clearly subservient to the deeper aim of proving the superiority of the own view. The numbers of the articles indicate the order in which they should be read at the end, but say nothing about the order of finalization or publication. 4. The second Kanda discusses a whole gamut of views on the sentence and the word, their meanings, their mutual relations (word and sentence, word and sentence-meaning, wordmeaning and sentence-meaning, etc.) and the relative, linguistic and philosophical importance of the different units. The two extreme positions between which all views have a cetain place are the position according to which the sentence and its meaning are entirely indivisible, and the position according to which it is merely a combination of individual words and word meanings. Statements representing the radical'indivisible sentence' position are often qualified in preceding or following statements. Even if word meanings are said to be inexistent, they are assigned a role as the means towards the understanding of the full, meaning (2.43-414); or they can be analyzed aftrwards from the sentence meaning (2.443,445); or the sentence meaning, a flash of intuition, is brought about by the word meaning (2.143). In another group of theories, the reality of individual word meanings is not utterly denied, but they are said to be neither existent nor non-existent (2.428), or not independent (2.423-424), or not fixed (2.445-446). From all these points of view, as from the point of view that word meanings are well-defined individual basic units, it is necessary to discuss the word and its meaning. 5. 3.1.1. dvidha kaiscit padam bhinnam caturdha pancadhapi va / appoddhrtyaiva vakyebhyah prakrtipratyadivat // 3.1.2. padarthanam apoddhare jatir va dravyam eva va / padarthau sarvasabdanam nityav evopavaraitau || 6. tad evam sabdarthayoh sambandham uktva... "Having explained thus the relation between

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Vol. XVIII, '92-'93 word and meaning..." (VP IIIa:182.1). 7. There are other Samuddesas which are very short (the Purusasamuddesa consists of only 9 karikas, the Dik-samuddesa of 28), but they always contains apart from the definition much more materials which is directly relevant to the subject. 8. The problem crated by references in the VP-Vrtti and Punyaraja's commentary to other Samuddesas than those found in the available manuscripts has been discussed by Iyer (1969:7-8). It is not certain that these should have formed chapters of the VP. 9. The linguistic relation relevant in the preceding chapters is mainly the relation between individual word and thing-meant or the relation between a lower-level unit and its meaning. In the Vrtti-samuddesa, the situation is much more complex. The relation between the compound as a whole and the thing-meant is here only one of the relations that play a role. In addition, the parts of the compound may be thought to have meanings on their own, and thus theoretically it may be asked what the relation is between the parts and the compound, between the parts themselves, between the parts and the meaning of the compound, between the meanings of the parts and the meanings of the compound. This creates a situation parallel to that in the discussion of the sentence and its parts in the second Kanda. 10. Even if some have clearly distinguished meaning and referent conceptually, Sanskrit philosophers have not agreed on an unequivocal terminology to express the distinction; see Houben, 1992, p. 46ff. 11. In these explanations the emphasis was on the speaker. From the point of view of the listener, the two views may be explained as follows. If an unspecified thing is to be expressed through one of its features, it is first of all this feature that is to be grasped. And this feature should occur in other instances too, otherwise it cannot be recognized as a feature; so it should be a universal feature. Therefore the universal should be grasped first. On the other hand, if a universal feature is made use of, it is only to point to a specific substance to which it is somehow related. So one first understands that ther is some substance, next that it is characterised by this or that universal feature. (One may compare the explanations in the MBHD 66:26.23ff.) 12. One may compare here the translation and discussion of the relevant pasage (MBh 1:7.8ff) by Joshi and Roodbergen in Joshi and Roodbergen, 1986:100ff. 13. It is asked: "with what padartha in mind is the following constituent analysis made: siddhe sabde arthe sambandhe ca 'when the word, the meaning and (their) relation are siddha'?" Joshi and Roodbergen (1986:100) translate padartha here as meaning (of the word siddha)', but it is better to follow the explanation in the MBHD: the question concerns the meaning conveyed by a word in general: is it a universal or a substance ? (MBHD 1:22ff). 14. Because the Mimamsakas defended that the word meaning is univrsal (Jaimini Sutra 1.3.33 35), one may expect Bhartqari to pay attention, especially in this Jati-samudesa, to the Mimamsakas' argumentation and the context of their argumentation (namely, Vedic ritual). But this is not the place to elaborate on the complex relation between Bhartsari and the Mimamsakas (one may compare, f.i. Bronkhorst in Studien zur Indologie und Iranistik no. 15 (1989): 101-117). 15. The continuity in the three karikas 3.1.2-5 discussing the problem is that the notion of sakti

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28 SAMBODHI plays a crucial role in each. According to Helaraja (VP IIIa: 13.11-12) three diferent solutions of the problem are given in these karikas. 16. 3.1.6 svajatih (SI: sva jatih) prathamam sabdaih sarvair evabhidhiyate | tato'rthajatirupesu tadadhyaropakalpana || 17. I interpret adhyaropakalpana as 'the making or creating of a superimposition -> the fact that A is superimposed on B'. Helaraja understands kalpana 'the idea or postulation as an indication that the superimposition or indentity are merely imagined. But kalpana may simply mean 'making, performing' just as kalpate in 8 means 'to perform'. The karika describes a process in the mind, but there need not be any suggestion of contrast between reality and what happens in the mind. 18. As a Tatpurusa artha-jati- would mean 'the universal inhering in the meaning or the thing meant'. But if the meaning is itself a universal, e.g. in the case of the word 'universal' one would prefer to interpret it as a karmadharaya, 'the universal which is the meaning', because the universal of the universal is impossible according to Vaisesika (see below). 19. 3.1.11. arthajatyabhidhane 'pi sarve jatyabhidhayinah / vyaparalaksana yasmat padarthah samavasthitah // 20. 3.1.12. jatau padarthe jatir va viseso vapi jativat / sabdair apeks yate yasmad atas te jativacinah // 21. 3.1.13. dravyadharma padarthe tu dravye sarvo 'rtha ucyate / dravyadharmasrayad dravyam atah sarvo 'rtha is yate | 22 Thus according to Akalujkar's summary in the Encyclopedia of Indian Philosophies, vol 5 (1990:154, my emphasis): "So, even according to the view (not accepted by the author) that words designate substances (that is, particulars) they do so by virtue of having the properties of substances". It does not seem proper to speak of the non-acceptance of the view (emphasized phrase) by Bhartshari, but it was, of course, neither the exclusively accepted view. 23 Cf. the Dravyasamuddesa, 3.3.73 and 3.4.1. 24 3.1.19. anupravrttirupa ya prakhya tam akrtim viduh/ ke cid vyavrttirupam tu dravyatvena pracaksate // 25 3.1.33. sambandhibhedat sattaiva bhidyamana gavadisu / jatir ity ucyate tasyam sarve sabda vyavasthitah // 26 The view reminds of the Mimamsakas. Helaraja cites the dictum na kadacid anidrsam jagat 'there was never a world which was not similar to this one' (which precludes the gradually coming into being of different elements at the begining of a world-period) (VP IIIa:49.1). The same dictum is later on (VP IIIa:51.21.52.1) explicitly attributed to the followers of Jaimini (Mimamsakas). 27 Helaraja refers here, among others, to Advaitins. 28 3.1.40. asrayah svatmamatra va bhava va vyatirekinah / svasaktayo va sattaya bhedadarsanahetavah //

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Vol. XVIII, '92-'93 29 29 Sattayah objective genitive connected with bheda in the cpd. Cf. Speyer, 1886:85, {115 and 177f,{231. 30 Helaraja, adopting what he considers the ultimate view, explains all views as if the division were not real. 31 According to PDHS 211: buddhi, upalabdhi, jnana and pratyaya are synonyms. NS 1.1.15 mention buddhi, upalabdhi and jnana as synonyms. 32 Cf. VV p. 117 n 1 "Sankara criticizes there the Buddhist idealist (Vijnanavadin), who hols that cognition is self-luminous, a lamp..." and Vimsatika ViS 10 + (6:21-22): itaratha hi vijnapter api vijnaptyantaram artham syad iti vijnaptimatratvam na sidhyetarthavatitvad vijnaptinam. A cognition of a cognition' is impossible also according to other thinkers. For instance, in the Vrttikara-portion in 'Sabara's Bhasya, a cognition of direct perception is said to have a thing as it object, but not another cognition (arthavisaya hi pratyaksabuddhir na buddhyantaravisaya, ed. Frauwallner, 1968:28.19). The 'functional approach to cognitions may be recognized in karikas 23-24 of the Sambandhasamuddesa. Cf. discussion uner these karikas, in Houben, 1992. 33 According to Helaraja, the view in 105 belongs also to the Samsarga-view. We do not know whether or not the Samsarga-view is for Helaraja entirely synonymous with Vaisesika-view, but it may be pointed out that the view explained in the karikas starting with 105 can hardly have been accepted by the Vaisesikas as we know them. In their system, all categories and categorizable objects are by definition knowable (this was clearly pronounced for the first time (as far as we know) by Prasastapada in the well-known dictum sannam api padarthanam astitvabhidheyatvajneyatvani, there is no reason to think that it would not suit pre-Prasastapada Vaisesika) and a cognition is known as a quality of the self. Also in the closely related Nyaya-system (as in the Buddhist school of Sarvastivada), a cognition can be cognized in another cognition, it can be both cognizer and cognized. Bronkhorst has pointed out that Nyaya shared with Sarvastivada the views that mental states can be observed (1985a:108; 127n 3a), that the three times (past, present, future) exist, and that more than one mental state cannot occur at the time in one person (1985a:127). As cognitions cannot be simultaneous (NS 1.1.16), the cognizing cognition and the cognized cognition should belong to different times. 34 The Dravyasamuddesa contains some of the main passages adduced as support for the thesis that Bhart hari's persuasion would be exclusively Advaita Vedantic (Sharma, 1975). Yet, it should be admitted that some passages in the Dravyasamuddesa are easily reinterpreted in a (Buddhist) vijnanavada sense. 35 3.2.5 akarais ca vyavacchedat sarvarthyam avarudhyate yathaiva caksuradinam samarthyam nalikadibhih // 36 3.2.2 satyam vastu tadakarair asatyair avadharyate/ asatyopadhibhih sabdaih satyam evabhidhiyate // 37 In the MBHD it is explained that 'universals etc. are the qualifiers of the substance and the limiting features of the word: MBHD, 1:15.25-26: jatyadayas tu bhedaka dravyasya sattvam vaktum upadhibhutas te sabdasyeti. Since we have seen that in the previous chapter the status of specific universals was not absolute on several views, they also leave the status of the

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30 SAMBODHI specific word meaning indeterminate, if they are considered to be the limiting factors of the individual substance. 38 3.4.1-2 samsargaupat sanbhutah samvidrupad apoddhrtah / sastre vibhakta vakyarthat prakrtipratyayadivat // nimittabhutah sadhutve sastrad anumitatmakah / ke cit padartha vaks yante sanksepena yathagamam // 39 3.4.3 vastupalaksanam yatra sarvanama prayujyate dravyam ity ucyate so'rtho bhedyatvena vivaksitah 11 40 One could read this karika in such a way, that it does not say anything more than that a thing meant (artha) may be represented as the 'substance'; for it should be intended as something to be differentiated. But Vyadi's view was referred to by Helaraja as the view that all words simply denote the substance. The reference in the karika to the speaker's intention serves, according to Helaraja, to take into account that linguistic meaning (sabdartha) is being dealt with, and not the external object or thing-as-it-is (vastv-artha). Thus, even a universal may be represented in language as an individual substance to be specified, irrespective of the fact that it is in fact not an individual substance (VP IIIa:187.17-188.3). Cf. MBHD 1:15.25-28. 41 3.5.1 samsargi bhedakam yad yat savyaparam pratiyate / gunatvam paratantratvat tasya sastra udahrtam // 3.5.2 dravyasyavyapadesasya ya upadiyate gunah/ bhedako vyapadesaya tatprakarso 'bhidhiyate // 42 On substance and quality in Sanskrit grammatical theory see also Matilal, 1990a:378-389. 43 The Vaisesika side of the problem of qualities and universals was discussed in a few articles by W. Halbfass. Halbfass, 1976, 1979, 1980a. 199, most of which were reprinted in a slightly revised form in: Wilhelm Halbfass, On being and What There Is, Classical Vaisesika and the History of Indian Ontology. Albany: State University of New York Press, 1992 )viii + 303 pp) 44 Cf. Wezler, 1986. 45 Cf. the term samanya-visesa 'specific universal' in the sutras, and the apara-samanya in the PDhS. 46 MBhD, 1:15.25-26: jatyadayas tu bhedaka dravyasya sattvam vaktum / upadhibhutas te sabdasyeti/Cf, translation MBHD 1:65. 47 The word is in this context perhaps better translated as "anything dependent on a substance' or 'secondary thing' (as opposed to pradhana, 'the primary or main thing'). 48 Iti jater api paratantryat dravye samavayad gunatvam uktam (VP IIIa:193.6). 49 This is clear from the wording in the introductory lines to each chapter (with uddista'referred to', and a reference to the place of the notion under discussion in the enumeration in 3.6.1). The reference seems to have been overlooked by Bandini (1980) and Peri Sarvesvara (1972); Bergdahl and Iyer show awareness of it in the Sadhana- and Kala-samuddesa respectively (Bergdahl, 1988:67; Iyer, 1974:36).

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Vol. XVIII, 92-93 50 3.6.1 dik sadhanam kriya kala iti vastvabhidhayinah / saktiripe padarthanam atyantam anavasthitah || 51 VP IIIa: 209.4-11. On the basis of the Sanskrit only, one could understand that the elements 'denoting things' are words or other elements (like nominal endings) expressing 'direction', 'means', 'action', 'time'. For the following chapters will show how 'direction' is expressed by words like purva and apara (3.6.9) and in certain circumstances through the fifth and sixth nominal ending (3.6.21); the 'means' is expressed through nominal endings and sometimes secondary nominal affixes (3.7.13, 43); 'action' is conveyed by the verbal root (3.8.52); and 'time' through verbal endings and affixes (e.g. 3.9.94-98). If 3.6.1 is interpreted in this way. the expression dik sadhanam kriya kala iti does not cite the respective four words, but refers to the things expressed by these elements. 31 52 3.6.17 sarvatra tasya karyasya darsanad vibhur is yate/ vibhutvam etad evahur anyah kayavatam vidhih || Because its effect is seen everywhere, [direction] is accepted as omnipresent. That is called its omnipresence; the situation of corporeal things is different. 53 The formulation 3.7.7, vyaktau padarthe... sadhanatvam tatha siddham, shows that it was all the way presupposed that the induvidual instance was the word meaning (otherwise, if the author switched only here to this view after first presupposing the other view, one would expect an expression with tu). 54 The same applies to the famous passage in the Sambandhasamuddesa (3.3.39-51) where Secondary Existence is introduced to solve certain semantic problems. 55 3.7.165 vibhaktyarthe 'vyayibhavavacanad avasiyatam/ anyo dravyad vibhaktyarthah so 'vyayenabhidhiyate || 166 dravyam tu yad yathabhutam tad atyantam tatha bhavet / kriyayoge (SI: kriyabhede) 'pi tasyasau dravyatma napahiyate || 167 tasmad yat karanam dravyam tat karma na punar bhavet/ sarvasya vanyathabhavas tasya dravyatmano bhavet || 56 kriyayoge lyer, howevr, reads: kriyabhede. 57 Although, from a Vaisesika point of view, the gramatical means may be specific universals in some but not all cases: 3.7.10cd, 11. 58 In addition to Iyer's sometimes parapharasing translation of the karikas, one may refer to the translation (into German) of the karikas and Helaraja's commentary by Bandini, 1980 (Kriya -samuddesa). 59 3.8.1 yavat siddham asiddham va sadhyatvenabhidhiyate / asritakramaripatvat tat kriyeti pratyate || 60 Helaraja, VP IIIb: 18.13-15; 19.1-3; Bandini, 1980:48. 61 21a: jatim anye kriyam ahur. 62 VP IIb: 18.15:... idanim jativadimatenaha, "...now he says according to the view that the universal (is denoted by the word)."

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SAMBODHI 3.8.21 jatim anye kriyam ahur anekavyaktivartinim / asadhya vyaktirupena sa sadhyevopalabhyate // 63 3.8.63ab ekas ca so'rthah sattakhyah katham cit kais cid ucyate / 3.8.64 acaryo matulas ceti yathaiko vyapadisyate/ sambandhibhedad arthatma sa vidhih paktibhavayoh // 64 The second line refers to a problem - not relevant in our discussion - in connection with nominal forms referring to actions such as pakti 'cooking', bhava "being', and the grammatical gender thcy have as nouns. 65 3.9.58 jnananugatasaktim va bahyam va satyatah sthitam / kalatamanam anasritya vyavahartum na sakyate // 66 In the first or Brahma-kanda, third karika, time was described as the time-capacity' (kalasakti as Karmadharaya, 1.3b). There, it belonged to brahman sabdatattva, but in the Kalasamuddesa, as in the entire third Kanda, the word brahman is conspicuous by its absence. (Also in the second Kanda, brahman is absent, except for 2.237 where it figures in an illustration for a theoretical point.) Places in the Kala-samuddesa which could answer the question 'time, a capacity of what ?' are 3.9.58 (it is a capacity present in the understanding), and 3.9.59 (it belongs to each bhava "entity': note the v.1 in some mss with bhavasya in singular). 67 An explicit relativization of this opposition-one may read it already in the first karikas of the third Kanda- is found in the Vrtti-samuddesa, which we had excluded from our discussion: 3.14. 355. aprthaksabdavacyasya jatir asriyate yada / dravyasya sati samsparse tada jatipadarthata // 356. dravyasya sati samsparse dravyam asriyate yada / vacyam tenaiva sabdena tada dravyapadarthata // 357. aprthaksabdavacyapi bhedamatre pravartate / yada sambandhavaj jatih sapi dravyapadarthata // 358. atyantabhinnayor eva jatidravyabhidhayinoh / avacyasyopakaritva asrite tubhayarthata // 355. If one has recourse to the universal, even though the substance, not expressed by a separate word, is touched upon, then the word meaning is the universal. 356. If the individual substance is touched upon, and if one has recourse to the substance as what is expressed by that very word, then the word meaning is the substance. 357. If the universal, though not expressed by a separate word, functions merely to distinguish (the substance), just as relation in a compound functions merely to distinguish the thing related], then too the word meaning is the substance. 358. But the two which express the universal and the substance (respectively), and which are entirely distinct, have both meanings if it is accepted that (the universal and the individual substance respectively) assist the (other) which was not expressed.

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NATYASASTRA AND INDIAN THEATRE* Radhavallabh Tripathi LIST OF ABBRIVATIONS - N$: Natyasastra of Bharata, Edn. published from Oriental Institute, Baroda in four Volumes. - Abh. : Abhinavabharati commentary on NS by Abhinavagupta, published in the Edn. of N$ as above. Abhinava : Abhinavagupta, Mal. / Malavika. : Malavikagnimitram of Kalidasa. Vikram. / Vik. : Vikramorvasiyam of Kalidasa - K. : Kalidasa. Br.: Brahmana - KSS : Katyayana Srauta Sutra MB. : Mahabharata The word Natya, literally meaning the practice of a dancer or an actor has been defined in laxicons as the combination of dance, singing and playing of musical instruments'. Tauryatrika and Lasya are mentioned as its synonymns.2 In the tradition of NS, the concept of Natya embraces all the functions of theatre. Natya has been viewed here in the light of our philosophical traditions within an ethical and cultural framework. The values and social functions of art have also been kept in view in the concept of Natya in our tradition. Technically, Natya lies in the practice of the artistes. Therefore, the word prayoga rightly comes to be equated with it. The externalised form of Natya, to be visualised by an audience, is prayoga'. Sometimes it is also termed as abhinaya4. Kalidasa rightly suggests that prayoga is sine qua one of Natyasastra'. This is the practical outlook with regards to the concept of Natya and accordingly the definitions of Natya, to quote Bharata's Natyasastra can be simplified in the following terms : DISC Fantal steps as Chifaa: 1 HSE fulla arcefirrefuted II (NS. 1.119) Prayoga and abhinaya are therefore invariably linked to Natya, but they definitely do not cover the hole gamut of Natya To understand Natya in its totality, we will have to turn to its creative process starting from subtle psychological levels and leading to the manifestation of Natya in an audio-visual form. Natya is created on three levels. First, a poetic or dramatic piece is created by an author, which is subsequently taken up for production on the stage by the performing artists. Visualisation of this stage production by an audience forms the final stage of Natya. * Lecturers Delivered under the Annual Lecture series of L. D. Institute of Indology, Ahmedabad - 1989.

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34 SAMBODHI Thus, a poet or a dramatist is the first creator of Natya. He adopts word as his medium. According to NS, the contents presented by the poet or the dramatist through this medium of word comprise lokavrtta (behaviour of the people) or bhava (that which has already happened or that which is going to happen in our world). The word 'avastha' is also used sometimes to denote the contents of Natya". The poet creates Natya by re-telling that which has already happened. The NS terms it as bhavanukirtana', while the tradition of epics defines it as 'anuvyaharana's. The stage-performance tends to re-design this literary of dramatic piece. It has to be trans-created through the language and idiom of theatre by the actors. In the creative process of an actor performing on the stage, his own body becomes his medium. Through his speech physical gesticulations, concentration within his own psyche and by proper utilisation of the stage-properties, he creates a threatric Universe. This process has been termed as 'anukarana' (re-doing) in NS. The performance of the actor is re-captured through aesthetic sensibility and imagination by an ideal spectator. This is the culmination of the creative process of Natya, where the creativity of a dramatist and the efforts of the actor enable the audience to identify themselves with the world belonging to a different plane of time and space. According to NS, this is anudarsana or anubhavana (re-seeing or feeling again). Abhinavagupta substitutes it by the term 'anuvyavasayat which is imbued with philosophical meaning. Thus from the poet's point of view, Natya is basically anukirtana. It is anukarana for the actor; and anudarsana or anubhavana for the audience. The process of creating the Natya undergoes through a trio comprising the poet's vision, the actor's disposition and the sensibility of the spectator. But this creative process does not go in a linear order, and none of the three elements responsible for the creation of Natya works in isolation to the others. Nor can it be singled out from the others. The trinity of anukirtana, anukarana and anudarsana forms one single cause for the manifestation of Natya. We can define the Natya-hetu (cause of Natya) on the lines of Mammata in the following way : anukIrtanAnukaraNAnudarzanAni tasya nATyasya udbhave nirmANe samullAse ca heturna hetavaH / In case anyone of these members of the trio appears to be missing, its effects materialise through the assimilation of its characteristics by the other two. This intricate process of creation of Natya running on three levels in a cyclic order involves multi-dimensional structure of time and space. Bharata rightly says that the word of Natya incorporates all the three worlds'l. The three worlds involve not only multi-dimensional space, but various dimensions of time also. If Natya is re-doing or retelling of that which has happened, it is also corelated with that which is happening or going to happen. The past and the present are, thus, treated together in Natya and this treatment also tends to extend beyond the spheres of the past and the present, expanding its frontiers towards future. It reveals the shape of things to come : you will Hica 2014 I (NS I. 14)

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35 Vol. XVIII, '92-'93 Rooted in his own time, the poet interpretes the historical or mythological time, which is further represented by the actor on the stage and is re-visualised by the spectator. The treatment of time and space does not involve this multiplicity and variety of layers in any other art-form. The above view of Natya presents its concept in the context of its creative process. There is one more way to understand what Natya is, i.e. by analysing its structure. Bharata says that there are five elements constituting Natya'?, while Kohala, his able student, further expands the idea of the fundamental elements of Natya by suggesting the natyasamgraha (the digest of theatre) which comprises the following eleven elements, and the treatment of these eleven elements forms the subject matter of the whole of the NS: Rasa (Chap. VI) Bhava (Chap. VII) Abhinaya (Chap. VIII-XXVI) Dharmi (Chap. XIII) Vrtti (Chap. IXX) Pravrtti (Chapp. XIII) Siddhi (Chap. XXVII) Svara (Chap. XXVIII) Atodya (Chap. Chap. IXXX-XXXI) Gana (Chap. XXXII) Ranga (Chap. II-III) These elevan elements have been listed above in the same order as in a single karika of NS (VI.10)", indicating a continiuum, the sequential order therein working both from the right and the reverse sides completing the circuitous process of the manifestation of Natya. We have discussed the three levels of the creative process for materialisation of Natya where the poet stands at the first end. He creates a play out of Rasa. The overpowering nature of Rasa oozing the heart of the poet leads him to the expression of bhavas!", projecting the dharmi the vrtti and the pravrtti of a particular play. The actor however, stands on the platform of the theatre. He is supported by the music, orchestra or songs and then he starts his abhinaya in accordance with the vrttis, the pravrttis and the dharmi respectively, ultimately reaching the expression of Rasa via bhavas. The spectator also first sees the ranga the stage or the theatre - with its paraphernalia, and then is attuned to the musical notes or the orchestra, then grasps the vattis and pravrttis of the play in performance and then ultimately realises Rasa. Thus, in the natyasamgraha, the journey of Natya starts from Rasa and ends in Rasa, the sequence of the employment of its various elements varying according to the requirements of the

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36 SAMBODHI poet, the actor or the spectator. The followers of Udbhata had objected to the order of the presentation of the eleven elements in the Karika of NS, arguing that ranga (theatre) should be counted as no.1, then gana and so on. Lollata refuted them and he tried to justify the order as given by Bharata or Kohala, on the following grounds : (i) Rasa and bhavas are inherent within the actor in an instinctive form; (ii) they form the internal landscape and are the desideratum; (iii) in the natyasamgraha, the order of employment of the eleven elements is not meant to be mentioned successively's. We can, however, better appreciate the order in which the eleven fundamental elements of Natya have been mentioned if we take Abhinavagupta's view-point into account. The process of Natya goes on at various levels. The author or the dramatist and the actor stand on the creative side, and the spectator stands at the receiving end. The author creates a poem out of Rasa, which leads to bhava , which determines the mode of abhinaya forming the vrttis and the pravrttis. Thus, the successive order of employment from the dramatist's point of view may be shown as under : Rasa-->bhava->abhinaya->dharmi->vrtti->pravrtti, etc. : From the dramatist's point of view, ranga or theatre may come in the last, but an actor starts his activity on it. Therefore, from the actor's point of view, the creation of Natya will run through the successive employment of the fundamental elements in the following way: Ranga-> gana ->atodya -> svara -> siddhi --> pravrtti -> vitti-> dharmi -> abhinaya -> bhava -> Rasa. In this way, we can say that, the creative activity of Natya embraces both the right and reverse orders of the employment of these eleven elements. Natya, however, lies in the integration or sythesis of these fundamental elements. Abhinava, therefore, has rightly emphasised over its collective nature by calling it 'samudayarupa'. The proper combination, interaction and corelation of these eleven fundamental elements becomes Natya. Natya, thus, lies in the linkage of these elements through a continuous cyclic process with interdependence. These elements constitute both body and soul of Natya. Itivrtta (the plot) or lokavrtta forms its body and Rasa is its soul. Rasa, bhava , abhinaya, dharmi vrtti and pravrtti these six elements constitute the interior of Natya. We can define their relationship with Natya as that which forms an indivisible bond (samavaya-vrtti) while the remaining five -- siddhi, svara, atodya, gana and ranga - are comparatively external; they can be said to be related to Natya by samyoga-vrtti. In the creative activity for Natya all these interior or internal elements are interlinked. Ranga appears to the most external elements. It also appears to be the most earthly of the constituents of the natyasamgraha, while the other elements more or less tend to be somewhat etherial. However, ranga is essentially linked with the whole process of Natya culminating in Rasa. So far as its shape is concerned, the theatre according to NS is of three types - caturasra (square), vikrsta (rectangular) and tryasra (triangular). These three types are again combined with three types of size - jyestha (largest), madhya

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Vol. XVIII, '92-'93 37 (medium) and avara (small). Thus there are nine types of theatre. Measured either by hasta or danda these nine types multiply into eighteen, the largest having the capacity to accomodate a few thousand spectators, and the smallest for the selected few17. This vast range of the types of theatre is to be utilised selectively in co-relation with the other components of natyasamgraha and also in accordance with the type of the play to be performed. From the point of view of the tempo and mode of performance, the major types of drama (dasarupakas) are divided into two categories aviddha (forceful) and sukumara (graceful).18 Dima, samavakara, vyayoga, Ihamrga - these four fall in the first categotry and the rest of the six in the second. The aviddha type, dominated by the arabhati vrttis with the conspicuousness of the sattvati requires vigorous movements and larger space. The four divisions of sattvati, namely utthapaka, parivartaka, samlapaka and sanghatya comprise the motifs of fight, the spectacle; while the divisions of arabhati require big sets, use of properties, scenes of war and retreat. For the performance of aviddha type of plays, therefore, the largest (jyestha) theatre will be suitable, while for the sukumara type, where kaisiki vrtti predominates, the medium type will be the best. For the smaller plays like Bhana and prahasana, however, the smallest (kanistha) theatre will be just sufficient, as Bharati Vrtti which comprises more speech and less action rules in such plays. NS thus offers a big range of theatres for the choice of the performer. The architecture and the shape and size of the playthouse are closely linked with the vrttis and, therefore, they not only affect the accoustics the music, orchestra and the dialogue-delivery, but also have their own impact on the delineation of pravrttis and subsequently on abhinaya, bhavas and Rasa. - Gana, the second category in the natyasam graha, counting from the reverse side, is likewise closely linked with the other categories. It prepares a ground for the performance of a play. Bharata, therefore, suggests that gana should precede all other items before the start of a play, because it forms the sayya (basis) for the dramatic performance :: prathamaM tu kAryaH / zayyAM hi nATyasya vadanti gItim // It is in the fitness of things, therefore, that many of the items of purvaranga (preliminary rituals for a dramatic performance) are related to music and orchestra. Pratyahara, the very first amongst the 19 items of purvaranga, consists of the entrance of the members of the orchestra on the stage, and avatarana, coming just after it, indicates the songstresses taking their proper place. Arambha is the begining of songs, while the next items asravana, vaktrapani and parighattana are all related to musical instruments (atodays). Atodya (instruments) and svara (notes) are the next items in the natyasamgraha. They are directly related to Rasa. The employment of gana and atodya with svara paves the way for the siddhi (success) of the play being performed. The siddhi is of two types daivi (divine) and manusi (human). These two types of siddhi are related to the modus operandi in a performance leading to the creation of theatric time and space. If the consciousness of the spectators is completely switched over to this different plane of time -

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38 SAMBODHI and space and they are so much absorbed therein that they become forgetful of all empirical realities for the time-being, then the performance of the play is heading towards daivi siddhi. On the contrary, when the consciousness of the historical present also runs side by side with the realisation of a mythological or the theatric time, it is manusi siddhi1. Manusi siddhi, therefore, carries with it an element of alienation. We have talked of the three creators of Natya - i. e., the dramatist, the actor and the spectator. They are sometimes involved in their own creations and sometimes they stand apart. The idea of siddhi is corelated to the pravrttis, the vrttis and the dharmi. The type of siddhi desired to be achieved in a performance will decide its mode of production - its pravrtti, vrtti and dharmi and vice versa. Pravrtti means the study of man. To be able to inculcate and practice the pravrtti in a play or its performance, a playwright and an actor must observe the habits, temperaments and the day-to-day life of the people. This study of the people encompasses whole of the world and even the entire Universe. But, from the practical point of view of presentation of pravrttis within the frame-work of the theatric Universe, the pravrtti is divided into four categories only - Avanti, Daksinatya, Pancali and Ardhamagadhi covering hypothetically all the areas of this vast peninsula. This fourfold demarcation of the pravrtti is justified by the authors of the NS on the basis of the corelation between the pravrttis and the vrttis. It is through the vrttis that the Natya established its own identity. Bharata even terms the vrttis as the progenitresses of Natya : sarveSAbheva kAvyAnAM mAtRkA vRttayaH smRtAH / Abhyo viniHsRtaM hyetad dazarUpaM prayogataH // (NS XVIII.4) And since there can be only four vrttis in the performance of Natya, the number of pravrttis corressponding to each one of the vrttis has been restricted to four. In fact, if the pravrtti is the information regarding the tendencies and the behaviour of the people, vrtti lies in presenting these tendencies and behaviour-patterns in theatric idiom. Abhinava defines vrtti as the line of action (itikartavyata) leading natya to its purusartha20. The line of action to accomplish any purusartha goes through the four channels of speech (vak), mind (manas), body (deha) in graceful action and body in forceful action. In the performance of Natya, Bharati vrtti is generated out of speech, Satvati out of mind and out of graceful gesticulations is born Kaisiki, while forceful movements produce Arabhati vrttis21. Bharati vrttis provides dialogues in the performance, Satvati substentiates them with sentiments or emotions, while Kaisiki imbues Natya with beauty and grace; Kaisiki provides it with an impetus to move on with vigour, variety and force. Vrttis, thus, occupy a key-position for the creation of Natya and Bharata rightly emphasises over their importance by calling them the mothers of Natya. Natya reaches the potential point vibrating with creative possibilities through vrttis where various tendencies begin to materialise in theatrical forms. Dharmi the next

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39 Vol. XVIII, '92-'93 component of the natyasamgraha, is the modus operandi through which these various tendencies become apparent. Dharmi has been defined as the itikartavyata of Natya by Abhinava and Sarngadeva22 Viewing the concept of dharmi in a wide perspective, Abhinava covers the vast spectrum of the creative process applicable to any art, combining two aspects - lokanusaritva (that which follows this earthly world) and vicitrayogitva (that which is hightened or deviated23. The first stands for a faithful account of the real practices prevailing in our world, whereas the second invests them with beauty and grace and brings out their inner core. These two aspects which are common to all art-activity, have been termed in the NS as lokadharmi and natyadharmi. Of these, the first manifests where the play projects natural behaviour of characters, depicting various professions and activities of the people as observed in this world. Performance in lokadharmi style goes without additional playful flourish of limbs, various conventional gaits or postures. But when the performance has addtional decor in speech or other deliberations by the actor, and requires conventional enunciations, it is said to be dominated by natyadharmi. Dharmi is the fundamental principle in art-creation and its two aspects - lokadharmi and natyadharmi are complimentary to each other. In the history of Sanskrit Poetics, the concepts of svabhavokti and vakrokti have sprung from these two aspects of dharmi, respectively24. Although lokadharmi is supposed to be the realistic practice and natyadharmi the idealistic practice, the tradition of Bharatiya Natyasastra always upholds loka or lokavrtta as the most essential source of all art activity25. Like rest of the components of the natyasamgraha, these two aspects of dharmi are naturally dependent on each other even though apparently they look as poles apart, Lokadharmi constitutes the basic or raw material, while natyadharmi brings out innovations providing all theatric activity a perspective. The distinction as well as the inter-relation between these two dharmis have been summed up by Bharata as follows : 1979 et a falta Hruha Fe (NS, XXI. 193) Lokadharmi is the very nature of things to be represented in natya, It is the natyadharmi which transforms them as vibhavas. To the theorists of NS, therefore, any theatrical activity is impossible without laukika dharma of lokadharmi26, but the fact that natyadharmi is the very life of a dramatic performance has also been very well emphasised by them?? Dharmi, as visualised through the yrttis and the pravrtti indicates the way for adopting the type of abhinaya which subsequently leads to the bhava and Rasa. This cration of bhava and Rasa by abhinaya is in fact the natya. As abhinaya comprises all the activities of a theatre-artist in performance, natya can also be defined as the act of a nata : 7294aari Piiffa prefaci 4A4 | (BP., II.46, line 15th). Abhinaya incorporates all the equipments of the actor, and it has four channels, i.e. - the body, the speech, the mind and the qualities or the external objects. Accordingly,

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40 SAMBODHI abhinaya is of four types -- angika (pertaining to the limbs of the body), vacika (pertaining to the speech), satrvika (through sattva or concentration of mind) and aharya (pertaining to external objects). These four types of abhinaya are interrelated to the dharmi, vrtti, and pravrtti and are also interrelated to each-other. If the performance is pre-dominated by naryadharmi methods, sattvika abhinaya will be conspiouously adopted, but if it is being done in lokadharmi style, the emphasis will be shifted to aharya type of abhinaya. Thus, the abhinaya is regulated by dharmi and it leads to the expression and realisation of the bhavas. The bhava comprises the complete environment created by the performer and his acumen on the stage. The bhava , coming from the root bhu (sattayam) indicates the amalgum of moods, emotions or sentiments which generate from the combination and practice of the four abhinayas proceeding in accordance with the dharmi, the vrtti and the pravrtti. The bhava generated in this way culminated in Rasa. Bharata has, therefore, accepted the double etymological meaning of Bhava - i.e., that which come into existance is bhava, and that which leads to relish or aesthetic rapture is also bhava.. The expression of bhavas on the stage leads to the experience of Rasa, which is the summum bonum of the natya-performance. Abhinava points out that the concept of Rasa has been borrowed from the Upanisadic philosophy, where Rasa or Ananda is the very quintessence of human life and signifies the Ultimate for which each one of us lives and strives28. All the components of the natyasamgraha in the chain lead to Rasa and in this way Natya proceeds from the outer world to the inner one. But nothing goes on in the natya without Rasa, as Bharata says : 7 fc Thiga afferet: wadai Rasa, therefore, regulates all the components of the natyasamgraha and in 2012 Hae fufurargaxtarct 11 (iii) at cruit: 7 to the outer world. Rasa is called Vibhavadisamuhalambanatmaka and Vibhavadijivitavadhi, i.e. always depending on the combination of various bhavas and fading away with disappearance. Because of the multiplicity of bhavas within the texture of Rasa experience, Vamana and Sankuka define Rasa as a state replete with opposite or diverse forces - samplava or sambhedaa9. There is nothing beyond and without Rasa in Natya and Rasa is realised at various levels in its creative process. It functions within the author and the dramatist as a creative force its overpowering effect leading him to create a thing of beauty which is joy forever'. Bhattatauta had presented an analysis of the creative process of the poet and he said : 4106 quit 7 ada ala-ta 4244 (Q. by Abhinavagupta). The actor, as discussed above has to concentrate within his psyche or sattva in order to be able to project the cause, the stimulants and the ensuants of different emotions on the stage. This concentration leads him to samadhi replete with the joy of creation. Finally, this Rasa is realised by the connoisseure or the ideal spectator (sahrdaya preksaka). The impact of Rasa, therefore, is conspicuous on all the three fronts of the

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41 Vol. XVIII, 92-93 natya-process. Considering this all-pervading nature of Rasa in theatrical activity, Abhinava goes to the extant of saying that Rasa is Natya as Natya is Rasa?. From the point of view of the spectator, this Rasa is the state of consciousness in blissful enjoyment. Therefore, Abhinava, when he treats Natya and Rasa as equals, defines Natya as a cittavrtti a state of conciousness or an experience. To sun up, the concept of Narya can be presented from various angles. viz. : 1. From the angle of the practical approach -- according to which, some theme, comprising the behaviour or nature of the people in this world becomes Natya when presented on the stage with four-fold abhinaya by the artiste. 2. From the point of view of its creation - Natya is a combination of the triple process comprising - (1) anukirtana (re-telling through words), (ii) anukarana : representing through abhinaya, (iii) anubhavana also termed as anudarsana and anuvyavasaya (re-visualising). . 3. From the point of view of its structure, Rasa is Natya as an amalgam of eleven fundamental elements Rasa, Bhava, abhinaya etc. We have discussed these three points of view. Besides, there can be one more approach to understand the concept of Natya, i.e., from the view-point of the purpose and functions of Natya. Natya has been viewed as a yajna from this view-point. Natyasastra is supposed be the sarvavarnika pancama Veda - the Fifth Veda open to all without any discrimination of cast, colour or creed. The practice of Natya is identical with the practice of Veda. Natya, therefore, is yajna, not merely in metaphorical terms, it is yajna, ipso facto. REFERENCES : . 1. TRATA TR44 i sammanfaal 219 3:(Panini, 4.3.129). a 4* Tart araftar 7441 (Amarakosa 1.8.10). 2. #4 fari re 744 i (Sabdaratnakara, 1890), also Halayudha, 93. are 4124 ORI (Medini. 26.34). seti: ufaf heinung 1 (Abhinavabharati). wort the areasferit #(Katayavema on MA). 5. redigeri tr TurfA4 I (MA. Act. II) (i) tadante'nukRtiddhA yathA daityaiH surA jitA. / / nAnAbhAvopasampannaM nAnAvasthAntarAtmakam / / (iii) lokavRttAnukaraNaM nATyametanmayA kRtam / / saptadIpAnukaraNaM nATyametad bhaviSyati // ; (iv) yenukaraNaM tinnATyametanmayA kRtam / / A RT RETRO magaidi (NS. 1.57,112,117, 118, 107). (vi) pietatic44 DR I. (11)

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121 42 7. trailokyasyAsya sarvasya nATyaM bhAvAnukIrtam / NSI. 1. 107. 8. so'nuvyAharaNAd bhUyaH zokaH zlokatvamAgataH 9. (1) dhamryamadhye yazasyaM ca sopadezyaM sasagraham / bhaviSyatazca lokasya sarvakarmAnudarzakam // 5 tasmin samavakAre tu prayakte devadAnavAH / hRSTAH samabhavan sarve karmabhAvAnudarzanAt // uto bhUtagaNAH pRSTA karmabhAvAnudarzanAt / mahAdevazca suprItaH pitAmahamathAbravIt // 10. Abhinavabharati, Vol. I, P. 36 11. trailokyasyAsya sarvasya nATyaM bhAvAnukIrtanam / 12. abhinayatrayaM gItAtodyaM ceti paJcAGgaM nATyam / (ii) (iii) 13. rasA bhAvA abhinayA dharmoM vRttipravRttayaH / Ramayana, 1.2.39. NSI. 14; 4.4; 4.11. INSL 107. Abh. I, p. 264. siddhiH svarAstathAtodyaM gAnaM rahUgazca saH // NS VI. 10. 14. yAvat pUrNo na caitena tAvannaiva vamatyamUm / ( Bhattatauta quoted in Locana). paripUrNakumbhoccalanavat in Locana vedAdhyAtmapadArtheSu prAyo nATyaM pratiSThitam / vedAdhyAtmopapanaM zabdazchandassamanvitam / 15. rasabhAvAnAmapi vAsanAvazena naTasambhavAdanubandhibalAcca layAdyanusaraNAdantarbhUtasyApi prayojanavazena punaruddezadarzanAt kramasya cAvivakSitatvAt / (Abh. I. p. 264). 16. itivRttaM ta nATyasya zarIraM parikIrtitam SAMBODHI NSIXX.1. 17. Abhinava is of the view that all these 18 types of Theatre have been in use at sometime or other, some of them might have become out of use during his times : etacca sarvasambhavamAtreNocyate, nAnuvAdakatayA / na tviyanto bhedA upayoginaH / evaM cASTAdaza bhedAstAvacchAstre dRSTAH / te cAdyatve yadyapyanupayoginaH, tathApi sampradAyAvicchedArthaM nirdiSTAH / keSAMcit kadAcidupayogo bhaviSyatIti yaduktam aprayukte diirghstrvt| (Abh. I. p. 49) 18. NS XXVI. 24-31. 19. Ibid. XXVII. 9-17. 20. vyApAraH pumarthasAdhako vRtti (Abh Vol. II. p. 452). 21. dharmAdipuruSArthacatuSTaye sAdhye vAgaGgasattvaceSTAsAmAnyam / tacca saGkSiptenAvAntarabhedena caturSA / yad yat kila karmArabhyate tatra vAgagamana kApavyApArastAvadasti / tatra kasyacitlAlityavaicitryakramasyAnupravezaH yat uttamaprakRtInAM sauSThamaya eva sarvo vyApAraH / tadeva tad vRtticatuSTayam bhAratI vAgvRtti manovyApArarUpA sAttvikI sAttvatI saditi prakhyArUpaM svednm| tad yatrAsti tat sattvaM manaH / tasyeyamiti / - Abhinava 24. kAvye ca lokanATyadharmisthAnIyena svabhAvoktivakroktiprakAradvayena alaukikaprasannamadharaujasvi zabdasAmarthya samarpyamANavibhAvAdiyogAdiyameva rasavArtA / (Locana on Dhvanyaloka II.4). 25. lokasya caritaM nATyamityavocaH (NS XXXVI. 11). lokazAstranusAreNa tasmAnnATyaM pravartate / (Ibid. V. 160). soko vedastathAdhyAtmaM pramANaM trividhaM smRtam / 22. itikartavyatA tasya dvividhA parikIrtitA / lokadharmI nATyadharmI cetyete ca dvividhe punaH // ( Sangitaratnakara, II, p. 9). itikartavyatAprakAraniyamaH / (Kallinatha) 23. kAvyanATyayorhi lokAnusAritvaM vidhitrayogitvaM vA dharma Abh. Vol. II, p. 214 ) )

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43 Vol. XVIII, '92-93 lokasiddhaM bhavetsiddhaM nATyaM lokAtmakaM tathA / na ca zakyaM hi lokasya sthAvarasya carasya ca / zAstreNa nirNayaM kartuM bhAvaceSTAvidhiM prati // tasmAllokapramANaM hi vijJeyaM naattyyoktmiH|| (Ibid. XXV. 120-123). 26. laukikadharmavyatirekeNa nATye na kazcid dharmo'sti / tathApi sa yatra lokagataprakriyAkramo raJjanA- dhikyaprAdhAnyamatirohayituM kavinaTavyApAre vaicitryaM svIkurvan nATayadharmItyucyate / (Abh. Chap. XXXIII). 27. yasmAt kavigatA nATyagatA vAgAlakAraceSTA nATyadharmIrUpA sarvaprANavatI / (Ibid., on NSXXII. 84). 28. nATayadharmI pravRttaM hi sadA nATyaM prayojayet / asadvA idamagra AsIt tato vai sadajAyata / tadAtmAnaM svayamakaruta / tasmAt tat skRtmucyte| yad vai sakRtaM rasau vai saH / rasaM hyevAyaM labdhvAnandIbhavati / (Taittiriya Upanisat, II.7); Anando brahmeti vyajAnAt / AnandAddhyeva khalvimAni bhUtAni jAyante, AnandaM prayanti abhisaMvizanti / (Ibid. III. 3.6) 29. pratibhAti na sandeho na stvaM na viparyayaH / dhIrasAvayamityasti nAsAvevAyamityapi / viruddhabuddhisammedAdavivecitasamplavaH / (Q. in Abh. Vol.I, p.273) karuNaprekSaNIyeSu samplavaH sukhaduHkhayoH / yathaivAnubhavataH siddhastathevauja prasAdayoH // (Vamana : Kavyalarkarasutra., 3.1.8-9) 30. nATyAt samudAyarUpAd rasAH / yadi vA nATyameva rasAH / rasasamudAyo hi nATyam / nATye eva ca rasAH / kAvye'pi nATayAyamAna eva rasaH / kAvyArthaviSaye hi pratyakSakalpasaMvedanodaye rasodaya ityupaadhyaayH| (Abh. Vol. I, p.290) 31. tenAnuvyavasAyavat vizeSaviSayIkArya nATyam / prayokatrA dRzyamAnena yo'nuvyavasAyo janyate sukhaduHkhAkAratattaccittavRttirUpa ruSitanijasaMvidAnandaprakAzamayaH, ata eva vicitro rasanAsvAdanacamatkAra-carvaNanirvezabhogAdyaparaparyAyaH tatra tadavabhAsate vastattannATyam / tacca jJAnAkAramAtramAropitaM svarUpaM sAmAnyAtmakaM tatkAlanirmitarUpaM cAnyadvA vastukiJcidastu / (Abh. Vol. I, p. 37)

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LATER PARAMARAS OF ABU Ram Vallabh Somani Paramara Dharavarsa ruled for a long time on Arbuda-Mandala. According to the Siva Temple inscription of Abu dated VE 1265, his brother Prahladan was nominated as Yuvaraj. But it seems that he was predeceased to Dharavarsa. Somasimha, the son of Dharavarsa succeeded him, in VE 1277. The last known date of Dharavarsa is VE 1276, as is apparent from two inscriptions found at Makavel (Sirohi) and Arasana.' The earliest known dates of Somsinha are as under: (i) The inscription incised on a padestal of an icon in the temple of village Danta, dated VE. 1277, mentions the name of Somasinha as a ruler.? (ii) The colophon of the Ms. Kulaka Prakarana (Patan Bhandar), dated VE 1279, refers Somasinha as a ruler of Chandravati." It proves that Somasinha succeeded in VE. 1277 and Prahladan did not rule at all. The most important event of Somasinha's reign is the consecration of the Lunig-Vasati temple of Abu in VE 1287. His son Kanhadadeva worked as Yuvaraj as is apparent from the Nana (Distt. Pali) inscription of VE 1290. The last known dates of Somasinha are VE. 1293, as known from the inscriptions of Lunig Vasati and Devaksetra. 4-A. Chandravati-inscriptions of VE. 1293 Recently a few memorial inscriptions of VE 1293 Jeth Sudi 12 have been known recording the deaths of the following persons - (1) For the sake of Mahamandalesvar Luni gadea Mahadeva's son Kanhadadeva gave away his life. He was different from Kanhadadeva, the ruler of Chandravati. (2) For the cause of Ranak Lunigadeva, Achala gave away his life in a battle." (3) When Chandravati was ruled by Maharawal Kanhadadeva, Arisinha's son Tihuna Pala died in a battle.? It is not known who was this Lunigadeva. He was either Baghela Lunigadeva or some local chief and descendant of Rana Sinha. Nothing can be said with certainty. But on the basis of these epigraphs it is certain that some battle took place wherein Lunigadeva and Kanhadadeva fought with each other. It seems that after the death of Somasinha in VE 1293, Lunigadeva might have rebelled and a civil war broke out. Kanhadadeva the ruler of Abu also died after four or three years and Pratapasimha then a boy succeeded him. Invasion of Jaitra Sinha of Mewar According to epigraphic sources of Mewar Maharawal Jaitrasinha invaded Chandravati and fought against Ranak Tribhuvan at Kotada. The Cirawa inscription of VE 1330 mentions that Talaraksa, Bala, the son of Mahendra, gave away his life while

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Vol. XVIII, 92-'93 45 fighting against the army of the ruler of Gujarat at Kotada (near Chandravati). Ranak Tribhuvan ruled between VE 1299 to VE 1302. Therefore, it seems that this battle took place about VE 1300. As a result of this battle Paramara Pratapasinha was deprived of the power and some Alhanasinha became the ruler of the place before VE 1300. Alhanasimha An inscription dated VE 1300, mentioning the name of Alhanasimha as the ruler of Chandravati, has been found from Kalinjara (District Sirohi). Although the name of the family is not quoted but he seems to be a Paramara ruler. One more inscription dated VE 1301 is also noticed from Kayandra recording the grant of some land to the temple. He ruled for some years. Mularaja Recently a copper plate, dated VE 1316, has been reported from Chandravati mentioning the name of Maharajakula Mularaja as the ruler of the place. The antecedants of Mularaja given in the plate are (1) Mahamandalesvara Ranaka Vada (ii) His son Mahamandalesvar Ranaka Padmadeva and his son Maharajkula Mularaja". It seems that he is neither related to Alhanasinha nor to Pratapasinha. In the present state of knowledge, we cannot link him with any other Paramar family. But Mularaja also remained a subordinate vassal of the rulers of Gujarat. He fought in a battle field, alongwith arms of Visaldeva of Gujarat. There is an inscription, dated VE 1320, in the Vaidyanatha temple Badali ((Idar) having the name of Arjundeva as a ruler. Badali was ruled by the Paramars of Abu for a long time. But Arjundeva seems to be Calukya (Baghela) ruler of Gujarat. His one more inscription dated VE 1320 is also noticed from Ajari. At the time when Candravati invaded by a Muslim army in VE 1340-42 the ruler was Jaitra Karna.12 He was defeated and Pratapasinha recaptured it. Extension of the Power of the Chauhans * The Sonagara Cauhans of Jalore attempted to extend their sway in Abu area. From Baralut near Sirohi (13 Kms in north west) two inscriptions dated VE 1283, of the reign of Sonagara Udai Sinha and dated VE 1330 of Cacigadwa have been noticed.13 Similarly there is an inscription of VE 1319 at Sunda-hills of the Cauhana ruler14. Some more inscriptions of these rulers have been noticed near Sirohi i.e. from Sonapur (V.E. 1333), Uthaman (VE 1356) Baghasin (VE 1359) and a few other places. All these facts prove that Cauhans were rapidly increasing their power in Abu area. Muslim Invasion On the basis of the Abu inscription of VE 1342 of Maharawal Samarasinha of Mewar and the Patanarayana temple inscription of VE 1344, a fierce Muslim invasion took place in Abu area which was ably resisted with the assistance of the ruler of Mewar.16 According to the Persian Chronicles, no sultan of Delhi invaded Abu between VE 1340-1342. It was perhaps an invasion of some Mangol generals, who proceeded up

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SAMBODHI to Abu unchecked. It gave a deathblow to the Paramar rulers of Abu. The Patanarayan inscription also refers to the victory of Pratapasinha over Jaitra Karna the rulers of Chandravati. Visaladeva There are 4 inscriptions of Vishaladeva ranging from VE 1344 to 1352 : (1) The Patanarayan inscription of VE 1344.17 (2) The Dantani Jain temple inscription of18 VE 1345. (3) The Delawara Jain temple inscription of VE 1350. (4) An unpublished inscription from Majar VE 1352. The Patanarayana inscription contains of the name of Pratapasinha as the ruler of Candravati while Visaladeva is referred as an vanquisher of the Turuskas. It proves that at the time, when the invasion took place Pratapasinha was the ruler of the place. He was later removed by Visaladeva. We do not have much information about him. Like other rulers of Abu, he remained a subordinate ruler of the Baghelas of Gujarat. All his inscriptions refer the name of the ruler of Gujarat as his overlord. He also took part in a battle of Malava fought by Sarangadeva. Pratapasinha and his son, were given a small Jagir near Dantani, as is apparent from a Jaina temple inscription of VE 1345. This inscription is very clear. In the beginning it refers to the name of Visaladeva as the ruler of Candravati. His overlord was Sarangadeva. During the tenure of these rulers Dantani was held by Paraman Pratapasinha and his son Arjuna. He donated two fields for the Rathayatra of Parsvanatha. The Abu inscription of VE 1350, of the time of Visaladeva, contains the details of various donations made by various Jaina families for the Jain temples of Abu. It also has the name of Sarangadeva as an over lord. Vikramasinha Visal was succeeded by Vikramasinha. What relations existed between them are not known. The Uthamesvar Siva temple inscription of VE 1361 mentions the father's name of Vikramasinha as Rama. The inscription is fragmentary and no other details and royal titles have been given. Although, we cannot say definitely that Vikramasinha of this inscription is the same person referred to in the Baraman inscription but on the basis of donations given by him, we may link him with Vikramasinha the ruler of Chandravati. The Sun temple of Baraman has an inscription mentioning VE 1356 Caitra sudi 3 some brahmane mahasthane maharajakula Sri Vikramasinha kalyanavijayrajyeo. No other details of the Paramaras of Abu are known. The Kacchuli-Rasa was composed by Pragna Tilaka Suri in VE 1363. It contains more details upto VE 1377 when repair works of the Jain temples of Abu were undertaken. This Rasa mentions that the place was ruled by the Paramars. Therefore, we may say that up to VE 1363, when the above work was composed it was definitely under the Paramaras. Sultan Alauddin

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Vol. XVIII, '92-'93 Khilji invaded in VE 1368 and the place was recaptared by Chauhan Rao Lumbha in VE 1371-72. After this no Paramara ruler could regain Abu. Foot Note 1. Arbudacala - Pradaksina Jaina-Lekha-Sandoha (Abu No.5) Inscription No.21 pp.6/PRASWC 1961-17 p.61. 2. E.I. Vol. XXXVI pp. 210-11. 3. Sri-Prasasti-Samgraha Edited by A.M.Saha Vol.I No.132, pp.83. 4. Arbuda-Pracina-Jaina Lekha-Sandoha (Abu No.1) Ins. 250 and 251. 4.a. The Devaksetra-Inscription of VE 1293 mentions Sumasimha as a ruler ca 1983 ao sto at ECC f areivel; It is also noticed by mr. sukhantakar in PRASWC 1916-17, p. 69. 5 to 7. These three inscriptions were recently noticed near the bridge of Chandravati. The Author has edited them in Varada in a paper 'Abu-ke-Antima Paramar Raja'. 7A Ranasimha remained the ruler, of Abu VE 1221 to 1228. After the death of Kumarapala Calukya he was removed from the power (Author's paper on Ranasimha Paramara published in the 'Sodhapatrika.' 8. The Cirawa inssription of VE 1330 verses 19 to 20 (published in Vir-Vinod Vol. I pp. 389-92. A. K. Majamudar - The Calukyas of Gujarat, p. 173. 9. Muni Jinvijayji - Pracina-Jaina-Lekha-Samgraha, Vol. II No. 426 pp. 260-61. 10. Annual Report on the Rajputana-Museum, Ajmer 1908, p. 8 11. The Copper plate was recently discovered by Mr. Brij Mohan Sinha Parmar of Archaeology and Museum Deptt., Jaipur, who has published a note "The Coins and Copper plates from Chandravati, p. 3) 12. I. A. Vol. XLV p. 77. 13. I.A. Vol. XXXVI pp. 33-36 14. Nahar-Jaina-Lekha-Samgraha Vol. I No. 943 and 944/E.I. Vol. IX pp. 70-83. 15. Author's paper "Uthaman-Paladi-Aur-Baghsina ke-Silalekha published in the Sodha Patrika, Vol. XXIII No. 2 pp. 65 to 70. 16. I.A. Vol. XVI p. 347/The Bhavanagar Inscriptions p. 84 PRASWC 1905-6, p. 62 17. V.N. Reu-I.A. Vol. XLV p. 77 18. saMvata 1345 vaizAkha su. 4 zukre svastizrIcaMdrAvatyAM mahArAjAdhirAja zrIvIsaladeva vijayarAjye / zrI Hridafaruri cartura HRT411...alfheda.. Inscription of Dantani 19. Arbudacala-Pracina-Jaina-Lekha-Sandoha, Ins No. 2 dated VE 1350. 20. PRASWC 1916-17, p. 72/Edited by R. C. Agrawal in Varada Vol. VII No. 4 pp. 1

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THE APABHRAMSA PASSAGES OF THE DHARMARATNAKARANDAKA H. C. Bhayani There are eleven Apabhramsa passages in Vardhamanasuri's Dharmaratnakarandaka (=DRK)'. Mostly their text is not well-preserved and has not received proper editorial care. It is defective in various aspects, and so requires to be emended.? Below I give the printed text, the restored text and its Sanskrit chaya. 1. p. 180 verses 53-56. tAva phurai veraggu citti kulalajjavi tAvahiM tAva / akajjahataNiyasaMka guruyANA vi bhao tAva / / tAviMdiyaha vasAI jasahasiri hAi tAvahi ramaNIhiM maNamohaNIhiM purisa vasIhoi na jAvahi // so sukayakammu so NiuNamai, sivahamaggi so saMghaDio / parohaNaosahisarisiyahaM, ja bAliyahaM na piDi paDio // Actually this is a single stanza made up of two units (4 lines + 2 lines). The metre is a Dvibhangi of Vastuvadanaka and Karpura, commonly also called Satpi or Sardhacchanda. The Restored Text : tAva phurai veraggu citti kula-lajja-vi tAvahiM / tAva akajjaha taNiya saika guruyaNa-bhau tAvahiM // tAviMdiyaI vasAI jasaha siri (2) hoi vi tAvahiM ramaNihiM maNa-mohaNihiM purisu vasihoi na jAvahiM // so sukaya-kammu so niuNa-mai, sivaha maggi so saMghaDiu / para-mohaNa-osahi-sarisiyahiM, jo bAliyahiM na piDi paDiu // Sanskrit Chaya : tAvat sphurati vairAgyam citte kulalajjA api tAvat tAvata akAryasya zaGakA garujana-bhayama tAvata / tAvat indriyANi vazAni yazasaH zrIH(?) bhavati api tAvat ramaNInAm manomohinInAm puruSaH vazIbhavati na yAvat // saH sukRtakarmA saH nipuNamatiH zivasya mArge saH saMghaTitaH para-mohana-auSadhi-sadRzInAm yaH bAlikAnAm na gocare patitaH // 2. p. 204, verse 1. dhammaM jiNapaNiyaM ghaNu, je saMbala kara leMti / te paraloyapayANaDe, pahiya na dutthiya hoti //

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Vol. XVIII, 92-93 The metre is Doha. The Restored Text : dhammau jiNa-paNiyau ghaNau, je saMbalu kari leMti / te para-loya-payANaDai, pahiya na dutthiya hoti // Sanskrit Chaya : dharmam jina-praNItam bahuM ye sambalam kare (kRtvA) gRhNanti // te para-loka-prayANake pathitAH duHsthitAH na bhavanti // 3. p. 237, verse 79. chuha miTTI tisa sIyalI, mauI nidda na bhaMti / jA ruccai sA rUyaDI, cheyae u bhaNaMti // The Restored Text: . chuha miTThI tisa sIyalI, mauI nidda na bhaMti / jA ruccai sA rUyaDI, cheyA eu bhaNaMti // Sanskrit Chaya : kSudhA miSTA tRSA zItalA, mRdvI nidrA na bhrAntiH / yA rucyate sA sundarA, chekAH etad bhaNanti // 4. p. 283-284, verses 73-75. jasu nimittu hayahIyaDA., paI jalanihi tario / taM kalattu evaMviha dunnayasayabhario // eu apuvbu jaM pekkhe, vilajjavi navi karei / harisullasiyamuhullaDa, mahu aggai dharei // varavellio mAtiyavai, dusavvai jAha palaMti / jo ekkasi veDheMti taru, jo maraNehi muMcaMti // Actually v. no. 73 and 75 from one stanza. Its metre is a Dvibhangi of Rasavalaya. (the first four lines) and Doha (the last two lines)'. This is the first known instance of this kind of Dvibhangi. The Restored Text : jasu nimittu haya-hiyaDA paI jalaNihi tariu taM kalattu evaMviha-dunnaya-saya-bhariu / eu apuvbu jaM pekkhevi lajja-vi navi karai harisullasiya-muhullaDa mahu aggai dharai // vari velliu mA tiyamaiDa, saccaI jAhaM palaMti (9) / jo ekkasi veti taru, so maraNehiM muMcaMti //

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SAMBODHI Sanskrit Chaya : yasya nimittam hata-hRdaya tvayA jalanidhiH tIrNaH tat kalatram evaMvidha-durNaya-zAta-bhRtam / etad apUrvam yad prekSya lajjA api naiva karoti / harSollasita-mukham mama agre dhArayati // varam vai vallayaH na nAryaH satyAni yAsAm pAlyante (9) / yam ekavAram veSTayanti tarum tam maraNena muJcanti // 5. p. 355, verses 195-197. kulakalaMkaNu sacca-paDivakkha gurulajjAsoyakaru dhammavigghu atthapaNAsaNu, jaM dANabhogehiM rahio // gAliyaghAyaghummaMtaloyaNu taNu saMtavaNi kugai paDitahi piya jUiyamarajjU / jUI atthu ju viDhaviyai tiM athihiM navi kajjU // Actually this is a single stanza. The metre is of the Dvibhangi type called Radda. It is made up of two units : 5 caranas of Matra plus four caranas of Doha. The Restored Text : kula-kalaMkaNu sacca-paDivakkhu guru-lajjA-soya-karu, dhamma-vigghu attha-pyaNAsaNu / jaM (2) dANa-bhogehiM rahiu, gAliya-ghAya (2 gatta) ghummaMta-loyaNu // taNu-saMtAvaNi kugai-pahi, tahiM piya jui ma rajju / jUI atthu ju viDhaviyai, tiM athihiM navi kajju // Sanskrit Chaya : kula-kalaGkanam satya-pratipakSaH guru-lajjA-zokakaram, dharma-vighnam artha-praNAzanam / yad (?) dAna-bhogAbhyAm rahitam, galita-gAtra-ghUrNAyamAna-locanam // tanu-saMtApane kugai-pathe, tasmin priya dyUte mA rajyasva / dyUte arthaH yaH aya'te, tena athaina naiva kAryam // 6. p. 359, v. 284. bhamarA suratarumaMjarihiM, parimalu levi hayAsa / hiyaDu phuTTivi kaha nahi, aha DhaMDholiDaM palAsa // The metre is Doha. The Restored Text : bhamarA surataru-maMjarihi, parimalu levi hayAsa / hiyaDauM phuTTivi kaha na muu, DhuMDhullaMtu palAsa //

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Vol. XVIII, '92-93 Sanskrit Chaya : bhramara sura-taru-maJjarINAm parimalam gRhItvA hatAza / hRdayam sphuTitvA katham na mRtaH bhramamANaH palAze // 7. p. 369, verse 98. ujjayu kajjAraMbhiyaunahi kiM karai dhannau pagu vi na dei asaDDhalu saMbhavai / sUraha satta turaMma gayaNi bhamaMtAha vinmaha koDigaMiMdaha eu viyaditAha // . The metre is Rasavalaya. .. The Restored Text : ujjamu kajjArami apunnaha kiM karai dhannau pau-vi na deha asaDDhalu saMbhavai / sUraha satta-turayahiM (Na) gayaNi bhamaMtAhiM labbhai koDi gaiMdahiM pau vi Na ditAhi // Sanskrit Chaya : udyamaH kAryArambhena apuNyasya kiM karoti dhanyaH padam api na dadAti asAdhAraNam saMbhavati / sUryasya sapta-turagaiH na gagane bhramadbhiH labhyate koTiH gajendraiH padam api na dadadbhiH // 8. p. 383, verse 1. kallai boraI vikkiNai, ajja na jANai khakkha / paDuyai aDavihiM kari, mu gharu na sahauM eha aNakkha // The same verse occurs in the Manorama-kaha (p. 40, v. 213). There we have 370 and sugharu The metre is Doha. The Restored Text : kallai boraI vikkiNai, ajju na jANai khakkha // paDivau aDavihiM karisu gharu, na sahauM eha aNakkha // Sanskrit Chaya kalyeH badarANi vikriNAti, adya na jAnAti khakkhA / / punarapi aTavyAm kariSyAmi gRham, na sahe etad manoduHkham // 9. p. 385, verses 1-3 This passage occurs also in the Manorama-kaha (p. 41, no. 218). The metre is Vadanaka. At both places the text is partly defective. The text is to be restored as follows:

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SAMBODHI sisari suyaMdhu tellu lAijjai, kuMkumi aMgarAgu niru kijjai / rui AhAri samaggala vaDDhai, niDu - vi bhoaNu sosu na kaDDhai / acchA caMdaNa acchA kappaDa, pAya pasArivi suvvai cappaDa / gimhu-vi viviha-vaNehiM samAulu, vara-hiMdolaya-rAsa-ramAulu // pAusa puttaya paziNahiM labbhai, meisi savva ji niya-jali gabhai / ThAu ThAu rellayahi ramAulu pamuiya-pAmara-kaya-kolAhalu // Sanskrit Chaya : zizire sugandhi tailam azte, kuDkumena aGgarAgaH niyamena kriyate / ruciH AhAre atyadhiMkA vardhate, snigdham api bhojanam zoSam na karSati / zlaNam candanam zlakSaNam vastram, pAdau prasArya supyate Urdhvamukham / grISmaH api vividha-vanaiH samAkulaH, vara-hindolaka-rAsa-ramaNIyaH / prAvRS putraka puNyaiH labhyate, medinI sarvA api nija-jalaiH garmyate / sthAnam sthAnam laghu-jalapravAheH ramaNIyam, pramudita-karSaka-jana-kRta kolAhalam // 10. 386, verses 1-3. This passage occurs also in the Manorama-kaha (p. 41). The metre is Vadanaka. At both the places the text is partly defective. It is to be restored as under : sIyala-vAihiM vajjai daMta, saMkaDiyahiM pAviyahiM nisaMta / sIyAlai sII(?) dajjai-camma, chohe na caDai ju kijjai kamma / khaNi khaNi pijjai unhauM pANiu, nai-daha-kUva-talAyahaM ANiu / tAviM lUi dahai ju dehu, tasu unhAlaha nAuM ma lehu / heTThai kAdau uppari pANiu, pai pai AvahiM kuhiyau ghANiu / pAusu parahau kiTTau bAraha, jo aNuharai kuhiya-cammAraha // Sanskrit Chaya : zItala-vAtena vAdyate dantAH, saMkIrNe prApyate nizAntaH / / zItakAle zItena dahyate carma, antam na prApnoti yad kriyate karma / kSaNe kSaNe pIyate uSNam pAnIyama, nadI-hada-kUpa-taTAkebhyaH AnItam / tApena uSNavAtena dahati dehaM yaH, tasya uSNakAlasya nAma ma gRNItha / adhastAt kardamaH upari pAnIyam, pade pade AyAnti kuthitAH ghrANayaH / prAvRD dUram nazyatu dvArAt, yaH anuharati kuthita-carmakAram // 11. p. 396, verse 46 tAvijjaM taha pattharaha, caha nivvaTTai lohu / taha jIvaha tavatAviya, kiTTai kammavirohu // The metre is Doha :

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53 Vol. XVIII, '92-93 The Restored Text : tAvijjaMtaha pattharaha, jaha nivvaTTai lohu / taha jIvaha tava-tAviyaha, phiTTai kamma-nirohu // Sanskrit Chaya : tApyamAnAt prastarAt, yathA nirvaya'te loham / tathA jIvasya tapastApitasya, nazyati karma-nirodhaH // Foot Notes : 1. Under the Chandonuasana IV. 87, Hemacandra has noted that when a metre like vastuvadanaka, rAsAvalaya, vastuka, mAtrA etc. are combined with the metres like kukuma, karpUra, dohA, dvipadI etc., the two stanges forming a one unit, the combinations are called Dvibhangi. 2. In the story of the potter Anaksa, the name of the merchant's daughter (p. 383), who becomes a queen should be Khakkha. Kharaka is a mistake. REFERENCES 1. Dharmaratnakarandaka of Vardhamanasuri, edited by Municandravijaya Gani, Ahmedabad, 1994. 2. For a description of the metres used in the Apabhramsa passages of Vardhamanasuri's other two works, viz., the Manorama-kaha and the Jugaijinimdacariya, See H. C. Bhayani, Indological studies, 1993, pp. 267-274. '

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AKHO : THE POET OF PROTEST IN THE SEVENTEENTH CENTURY GUJARAT R. L. Raval This paper is an attempt to explore the socio-cultural climate of Gujarat in the seventeenth century, particularly through the poems of Akho, a noted 'Unani Bhagat' of Gujarat. An attempt is also made to understand the spirit of pre-modern Gujarati Society, which under the cultural impact of the colonial rule seems to have not been fully appreciated. Gujarat enjoyed peace and prosperity as an important province of the Moghul empire from 1572-73 onwards. European travellers who visited Gujarat in the seventeenth century had given the accounts of its growing trade, commerce and industry. Gujarat with its prosperous capital at Ahmedabad and thriving ports like Cambay and Surat, had thus become a prized possession of the Moghul empire?! Gujarati Society by this time had developed a social defence-mechanism in the form of caste-system. Social barriers were stiffened due to the emergence of many castes and sub-castes, which required new local habitations and names by migration. This social process was not the result of decay but of a purposive corporate effort to preserve the group indentities. This sort of defence-mechanism had also given certain strength to the social structure to resist exogenous cultural forces which it throught to be of subversive nature. At the same time, from within, this very social structure provided a scope to those individuals who wanted to challenge the socio-religious anomalies which had crept in over a period of time. During the seventeenth century, the Bhakti movement in Gujarat seemed to have lost its vigour, except in some parts of Saurashtra, as a new impulse. Peace and prosperity had made Vaishnavism a soft sect. Perhaps under the influence of Moghul life-style its pleasure-loving high-priests and their followers, under the guise of various ceremonies, made the Vallabh sect a privilege of the select. Scholars and asceties who debated over the systems of metaphysics had lost touch with the social reality. The society, on the whole, did not bother much about the religious anomalies and philosophical controversies; nevertheloss, such religious sects and scholarship had gained a sort of legitimacy and influence in the society. This has been deplored in a small Sanskrit play written in 1637 by Damodara Samyasi4 who lived on the bank of Narmada. In this play he presents a picture of rivalaries among the various religious sects including the Sanatanis, the Vaisnavas, the Jainas and the Buddhists. The author, wl trying to justify Sankara's philosophy of Vendanta, ridicules, among others, the Vallabha sect founded by Vallabhacarya (1472-1530). the castigates, what the calls, the volupteous life-style of the Vaisnava Gurus and their female followers. Damodara Samnyasi seems to be jealous of their riches and strongly feels that the Brahmins are deprived of their

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Vol. XVIII, '92-'93 legitimate share by these Gurus. At the same time, he also deplores the greedy mentality of the Brahmins who criticize the Vedic religion by flattering, what be calls, the Ksudras, to get even a petty alms. Thus, a scholar like Damodar Samnyasi does not seem to be above such sectarian approach. However, it was Akho who openly protested against those so called guardians of social morality, religion and scholarship, through his poems written in Gujarati language. Akho (c. 1591-1656) was a gold-smith by caste. He came to Ahmedabad from a near by village called Jetalpur. Several incidents in his life are said to have made his sensitive mind disillusioned about arificial social relationship. He lost his wife early, and also his sister whom he loved with deep affection. In one incident, ignoring the 'traditional dishonesty' of the gold-smith Akho added his own gold while preparing an ornament for a lady whom he cherished as his sister. The lady could not imagine that Akho, by the very nature of his profession would remain honest and would not mix any other metal in gold. Being, thus, distrustful she got her ornament tested, and to her utter surprise found that it contained gold worth more than its original weight. When Akho learnt about her suspicion he was shocked. He was convinced that there was no place for an honest man in the society, which gave recognition to only rogues. Yet in another incident, he as the head of the royal mint at Ahmedabad, became a victim of the mischief done by some of his caste fellows who charged him for alloying silver with baser metals in minting coins. He was imprisoned on a charge of committing defalcation. However, he was found innocent and set free. Fed up with such deceitful ways of the world he decided to find out the true significance of life." First he sought refuge in prayer, and performed many rituals, but found no peace. So as a devout follower of the Vallabha sect he went to Gokul in the hope of getting spiritual solace from the Goswami, the head of the Vallabh sect. Being a rich person Akho was accorded warm hospitability by the Goswami. But his spirit revolted against the feasts and festivities of the sect. So he left for other religious places including Mathura and Prayag. Finally he came to Kashi. In Kashi he sat at the feet of many scholars and ascetics; but found them below his expectation. Finally, by chance, he happened to listen the discourse of Samnyasi, Brahmananda. In Brahmananda, Akho discovered his genuine guru. The Swami also found in Akho his true disciple, his not being a dvija. After spending three years under him Akho, now as a pauper, on his way back to Ahmedabad, once again visited Gokul. Gokulnatha, the head-priest, though recognized Akho in his rags, not only refused to receive him but instructed his doorkeeper to drive him out. In Ahmedabad as well as in other places of Gujarat, Akho came in contact with the ascetics of different sects whom he found indulging in worldly ways. Thus, disgusted with the hyprocrisy of the leaders and followers of various sects Akho decided to spend the rest of his life in exposing them, and at the same time, showing people the right way to discover for themselves the true significance of life through his poems. The collection this poetic compositions in Gujarati include Pancikarana, Guru-sisya

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56 SAMBODHI Samvada, Akhegita, Anubhavabindu, Cittra-vicara-sanvada, Kaivalyagita, Satpadi, known as chappas (i.e. satpadis six lined stanzas) etc., and also in Hindi, Brahmalila, Santapriya etc.? Most of his works are treaties on Vedanta philosophy. However, his seven hundered and forty-six chappas are best known for his meriless exposure of the worldly-wise, the sadhus, the ascetics and the scholars in their true colours. Akho, thus, through these chappas the epigrammatic stanzas, has expressed the dominant note of his age in biting verses. This particular part of his work has permeated the masses, and many of these chappas, even today have become common literery heritage and passed into ordinary house hold language of the people of Gujarat. Some of his chappas deal with the fake gurus. In one of such chappa Akho criticizes his first Vaisnava guru, Gokulanatha. He says, "I made Gokulanatha my guru; it was like puttiing reins on an old bullock (Who eats your food but does not respond to the goad). He would take away your wealth but not the uneasiness of your mind. What goad can such a guru do ?" In another chappa he remarks, "with great zest he has proclaimed himself a guru. But how can a man with a stone round his neek float ? He does not know Hari at all, he is merely posing as aa taacher"0. Akho does not believe in the spiritul benefit of pilgrimage. But at the same time he extols the virtues of genuine saint, "at whose feet are million places of pilgrimage."11 Akho hates external forms of religion and comments: "He has spent fifty three years of his life in making religious marks on his body; his rosaries have been worn out, his feet are tired with wandering from one sacred place to another. Yet he has not reached God."12 Akho while developing some of his themes uses very homely illustrations. Thus, most of his illustrations are from the daily life of a common man who would instantly grasp the meaning of his poem. For example, he compares a person who pays no heed to what is taught to him or what he has heard, with a leaky leather bag going down a deep well." He has no sympathy for those who go to temple and mechanically listen to sacred reading. Such persons would become deaf but would not get real knowledge.14 He also ridiculed those whose"gods are as numerousas the stones they worship." Akho has no special respect for Sanskrit, the language of the learned. He exhorted people to use Prakrit or regional language.16 He thus used Gujarati or Hindi to express his thoughts. His objective was to teach the masses and make them aware of the follies practised all around. That is why he said," why do you stick to (this or that) language, 0, idiot ? He who succeeds on the battle field (irrespective of the weapons that he uses) is a hero."17 He excels in sarcasm when he criticizes so called scholars. He says, "A shallow man of learning is like a quarrelsome woman whose vanily is pampered by giving birth to a son; he is like a vicious bull who has fattened himself by grazing in the rains; a mad dog attacked with rabies. No doubt, every one is afraid of such a person, says Akho because he is like a monkey drinking wine."'18 He has a dig at the poets also who are away from the substance of life and only indulge in verbiage. He remarks, "poets only make an empty noise to make themselves heard, like the thunder of the sky, when

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57 Vol. XVIII, 92-93 the constellation, Rohini, is in the ascendent. They only want to be worshipped; they join couplet to couplet, full of empty words.":19 Akho protests against his being called a poet. He styles himself a knower, Jnani. He says, "Do not consider a Jnani a poet. How will you be able to describe the rays of the sun?"20 Like Narasimha Maheta, Akho hates social discrimination. He has no regard for the Society which makes the Brahmins and Vaisyas the masters of the untouchables. He comments : "To Narayana none is high and none is low. The world is made up of five elements but a fool takes pride in his caste. In order to maintain their caste some are called the head, some the arms, some the waist and some the feet. But really the Brahmanas, the Kshatriyas, the Vaisyas and the Sudras all make up the body of Hari. Who, then is Sudra ?"21 Akho criticizes the general idea of the people who helieve in touch-me-notism. Pollution, he says, is daughter to the low-caste man and is wedded to the foolish husbands the brahmins and the vaisnavas - who enjoy it through out their life. Says Akho, it can be got rid of by only knowing Hari, otherwise it will take hold of body and mind.22 Akho is vehement in his criticism of the vaisnava followers who in their outward appearance keep themselves clean and move like a dandy. By taking rich food they look like a bull, but he warns that the Maya in subtle form has made its home in their fat bodies, and ultimately would consume them.23 Akho is also aitical of superstitious belief about the planetary influence on human life. According to him, these very planets - sun, moon, Rahu, Ketu, Sani, etc., are themselves helpless. They are dependent on Hari who lives in our heart. 24 After all, Akho was the product of his times. The social and religious anomalies which he pointed out with his pithy epigrams and terse phrases were unequalled by any other poet of Gujarat. However, it may be noted that some of his predecessors like Narasimha Maheta and Mandan had also touched upon some of the aspects of his themes. And Akho did take a few of the phrases used in his poems from them, parlicularly for Mandan.25 Neverthelers, it is certain that Akho had an originality of his own. He could see in a flash the unheadly attitude of some people towards life. Being a goldsmith by caste his mind was unfettered by any. hereditary predilections for the tradition of the Brahmins or the moral weaknesses of a calculating business culture. It also may be noted that Akho was product of an urban social environment. At existential level he reacted sharply against that material prosperity and artificial urban mannerism which had corrupted the mind and blunted the sensitivity of the sociely. He, therefore, only wrote about what was true to his own experience. That is why, there is not a tinge of artificiality in his language. In the 19th century a few intellectual elites like Narmada were attracted towards Akho for his role as a reformer, as Akho had carried his tirade against the Vallabha seet. However, Narmada found in Akho a 'dry' poet who had no likings for nice things in life, though he appeciated Akho's deep knowledge of Vedanta.26 Narmada's comments on Akho were made before the former became completely a changed person. In the

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SAMBODHI twentieth century K. M. Munshi shared Narmada's views. However, Munshi is less sympathetic. He dubs Akho as a poet who preached the gospel of other worldliness, simply because he was steaped in the tradition of Vedanta, which, according to Munshi, considered the world as an illusion.27 In fact, Akho's Vedanta was not a system of particular philosophy or thought. He opposed all systems of thought which conditioned the mind. He even did not want to be conditioned by the very structure of the language in which he expressed his views. In one of his chappas he comments, "Language is simply a network of the fifty two letters of the alphabet, and the real substance lies in the fifty-third thing; where language ends, substance begins.28 Thus, as a true econoclast he does not want to entertain any image or thought which may condition his direct perception of concreate reality. This would be as good as an intelletual death for one who carries certain image of man of his miliew. Obviously intelletuals like K. M. Munshi would not like to venture into this realism. It is interesting to compare Akho's approach with a French philosopher, Michel Foucault. While commenting on the limitations of the concept of 'modern man' as an individual he wrote : "From within language experienced and traversed as language, in the play of its possibilities extended to their furthest point, what emerges is that man has come to an end', and that, by reaching the summit of all possible speech, he arrives not at the very heart of himself but at the brink of that which limits him; in that region where death prowls, where throught is extinguished, where the premise of the origin interminably recedes."29 Thus for Akho Vedanta was not an intellecual occuption. Even when he used certain Vedantic terms, which were also used by others, he asserted that he did not imitate any body.30 He wanted to see and feel life afresh. Akho stared at life squarely in its concretion and discovered the wrong pursuits being made by his society. This brought a radical change in his priorities. K. M. Munshi and many other scholars who view pre-modern society as a society of make-believe, living in superstition and lacking individual freedom and equality, should for a moment suspend their image of a modern man as an individual, and try to understand sympathetically the structure of social relationship which also allows a rebel like Akho to express his views. With his altered priorities Akho sought the freedom which his society could not give. On the contrary, his urban society tried to enslave him through its competitive worldly ways. Akho refused to be obliged. He lived in that very society, but he lived like a bird on its flight, whose shadow though fell on the net (of te society), was not caught in it. 31. We do not have any information about how Akho's chappas were received by his society. He does not seem to have been ostracized by the society despite his scathing remarks against the religious priests. On the contrary he seems to have touched the right cord of the society (which otherwise continued its traditional forms of religious and social relatioship). If it were not so his chappas would not have enjoyed such immense popularity among the masses till today, as the social anomalies which Akho tried to expose were neither new to his society nor are they irrelevant to us.

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59 Vol. XVIII, 92-93 In short, if religion was the focal point of social life in the pre-modern society as it is to some extent, even to day, what was its true nature ? How was it to be realized ? Akho pointed out in his own way what he considered to be the true nature of religionwhich he called self-realization. His emphasis was on self-awakening, without which dream and the world would not disappear. (Jagya vina jaye nahi. ek sapana ne samsara). Therefore, he was not running away from the life as such, but was exposing various avanues of escapement in the name of worldly wisdom and religious ceremonies. Though an average man in the society knew this in his heart, poets like Akho articulated their innermost feeling. This has not been fully appreciated by those scholars whose epistemological approach is quite different to understand the spirit of pre-modern society. It may not be wrong to say that the pre-modern society had developed a cultural feedback system which kept the society nourishing, when apparently, the stream o life-force seemed to be on the verge of being dried out. Poets like Akho as a symbol of this cultual life-force kept the stream flowing. FOOT NOTES : 1. K. M. Munshi, Gujarat and its Literature, 2nd ed., Bharatiya Vidya Bhavan, Bombay, 1954, pp. 224, 225., Rasiklal Parikh, Hariprasad Shastri (ed.) Gujaratano Rajakiya Ane Samskrtika Itihasa (Gujarati), Vol: VI., B. J. Institute of learning & Research, Ahmedabad, 1979, pp. 265-267; Refer for details, Makrand Mchta, Indian Merchants and Enterpreneurs in Historical Perspective, Academic Foundation, Delhi 1991. 2. K. M. Munshi., Op.cit., p.225. 3. Ibid., p. 229. 4. Refer for details, Damodar Samnyasi, Pakhandadharma-khandana-Nataka (Sanskrit), Samvat 1693, translated edition in Gujarati, Ahmedabad, 1931, 5. Umashankar Joshi, Akho : Eka Adhyayan (Gujarati) Revised Edition, Ahmedabad, 1973, pp. 17, 18, 19; K. M. Munshi, Op.cit., P. 230 6. K. M. Munshi, Op. Cit. pp-230, 231; Govardhanram Madhavram Tripathi, The Classical Poets of Gujarat, 3rd edition, N. M. Tripathi pvt. ltd. Bombay, 1958, P. 26. 7. Narmadashankar Devshankar Mehta (ed.), Akho-Krata Kavyo, Part I (Gujjarati), Gujart Vernacular Society, Ahmedabad, 1931, p. 18. 8. Goverdhanram Tripathi, op. cit., p. 26; Jhaveri Krishnalal Mohanlal, Milestones in Gujarati literature, 2nd edition, The Gujarati printing press, Bombay 1938, pp. 81-83. 9. Umashankar Joshi, op.cit. p. 24, 10. Umashankar Joshi (ed.) Akhana Chappa (Gujarati), Ahmedabad, 1953, p.3. 11. Ibid., p. 16. 12. Umashanker Joshi, Akho: Eka Adhyayana, p. 107. 13. Umashankar Joshi, Akhana shappa, p. 116

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60 SAMBODHI 14. Ibid., p. 115. 15. Ibid., 16. Ibid., p. 47 17. Ibid. 18. K. M. Munshi, op. cit., p. 232 19. Ibid. 20. Umashankar Joshi, Akhana Chappa p. 5 21. Ibid., pp. 2, 3., K. M. Munshi, op. cit., p. 233 22. Umashankar Joshi, Akho: Eka Adhayana p. 108. 25. Ibid., pp. 96-112. 26. Narmadashankar lalshankar, Junam. Narma Gadya, 2nd revised edition (Gujarati), Bombay pp. 17, 18, 19, 457, 458 27. K. M. Munshi, op. cit., pp 229, 230, 236. 28. Umashankar Joshi, Akhana Chappa p. 47 29. Michel Foucault, The Order of Things (English tran.) Tavistock publications London 1970, p. 383. 30. Umashankar Joshi and Ramanlal Joshi (ed.) Akhe Gita (Gujarati) Gujarat University, Ahmedabad, 1978, p. 29. 31. Umashankar Joshi, Akho: Eka Adhyayana, p. 354.

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THE CONCEPT OF CHANGE, AS TREATED IN BUDDHISM Bhavana Trivedi Section II Vaibhasika merely stated the doctrines. Later on the Sautrantika school critically reflected upon the doctrines presented and surveyed the implications underlying them. Besides this, the Sautrantika school did not establish any separate philosophical theory of its own. So far as the Sautrantika school basically accepts the thesis of Vaibhasika, instead of considering them as two separate metaphysical schools, one can "consider them not as two school but as two phases of the same metaphysical pattern."'! Thus Sautrantika accepts the Vaibhasika's distination of samanylaksana and svalaksana. The former school differs from the latter school in so far as it maintains more consistently with its doctrine of momentariness, that svalaksana can not be directly perceived, but only indirectly presented. -IIThe Buddha prached 'Sarvam anityam'- indicating thereby the impermanence of the phenomena of the world, which he thought, were constantly subject to origination, growth, decay and desruction and therefore not worth clinging to.2. The Buddhist schools that came into existence long after the death of their Master, interpreted the original message of the Buddha by giving it a strictly speculative, theoretical, logical form of the philosophical doctrines, which bare all the merits and demerits of a purely speculative theory. From the original message of the Buddha if one shifts one's attention to its various interpretations by the different Buddhist schools, one cannot remain without feeling, that it carries one from the original insight (prajna) of the master to the subsequent elaborations (drstis) of the disciples. -IIIOriginally Buddha's analysis of the world was that it is constituted by a complex of impermanent states (anityam) governed by the causal laws and that nirvanam results, when they are transcendedo. This message of the Master was later on given the doctrinal form by his disciples of Hinayana school, which is known as the principle of momentariness. It should be noted here, that though primarily held by the Vaibhasikas, the principle was given a wellknit doctrinal form by the Sautrantika school. The principle asserts, that whatever is, is momentary. Accordingly, the doctrine maintains, that to be, means to be causally efficient and to be causally efficient means to be subject to change, which, in turn, implies, to be momentary; since the permanent if changes, it ceases to be permanent.

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62 SAMBODHI In other words, according to this doctrine, existence is not different from the causal efficiency (arthakriyakaritva). The implication is, that there is no separate thing which undergoes change or, of which, change is characterised or predicated. Before bringing forth the truth of this thesis, the falsity of the view, that change is attributed to, or affirmed of the thing -- or it is the permanent substance that undergoes change - has been demonstrated. Before we proceed further, it is necessary to clarify that according to the Sautrantika school, if an entity is not momentary, it is bound to be eternal, because it is in the nature of a thing either to be subject to destruction or not. If it is not in its nature to be destroyed, it can never be destroyed by any number of attempts of the accessories. But if it is in the very nature of the thing to be destroyed, no amount of the attempts of the accessories, can stop it from destruction. The implication is, that the germs of destruction are inherent in all the existing entities. A causally efficient seed, therefore, does not need any accessories for its being replaced by the sprout-series. Similarly, it does not require any external agent other than itself for the destruction. By implication, therefore, the germs of destruction being inherent in each and every entity, an entity cannot last for more than -- or beyond -- an instant. If an entity does not annihilate itself, nothing else can ever destroy it, and if it does not end itself in the instant following its appearance, there is no reason why it should disappear at all at any time. This implies, that if an entity is not momentary it has to be enternal. Sautrantika, therefore, by demonstrating the impossibility of a permanent or eternal entity being causally efficient, makes the way for the acceptance of the remaining alternative as valid. Now the thesis under examination is, that no continuant or sthayibhava is capable of producing the effects. Take for instance a continuant (sthayibhava). If it is to produce the effect, it must produce it either simultaneously (yugapat) or successively (kramena), there being no third alternative besides these two. If it produces its effects successively, it must either possess the capacity (samarthya) to produce the effects, or it must be devoid of that capacity. If it possesses the capacity, why should it not produce the effects all at once as the capacity (samarthya) being present, there is not bar to its producing its effects all at once. If it does not possess the capacity (samarthya), then it will not produce any effect at any time whatever, which would amount to saying, that the continuant does ot exist. It can not be said, that it produces its effects with the help of the axiliary conditions (sahakari). A thing that possesses the capacity of casual efficiency, does not require the help of the auxiliary conditions. If the thing does not possess the capacity, the auxiliary conditions cannot help in producing any effect. The auxiliary help is, therefore, useless. Now regarding the proximity of the auxiliary conditons, the causal efficiency of the

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Vol. XVIII, '92-93 63 thing must be either due to the thing itself, or due to the proximate auxiliary conditions. If it is due to the thing itself, then the auxiliary conditions have nothing to do. If it is due to the thing as changed on account of the proximity of auxiliary conditions, then the thing has ceased to be a continuant and has become a different thing. Further, are these auxiliary conditions themselves capable (samartha) or incapable (asamartha) ? If capable, why should they not produce the effect by themselves along ? Why should they behave as subsidiaries to the continuant ? And if they are incapable, they are useless as assisting help. Now let us see what the auxiliary condition really does. Does it render any obligation (upakara) to the continuant in producing the effect ? If yes, the further question would be, whether the aid given is different or nondifferent from the auxiliary condition ? If non-different, it is the auxiliary condition in another name and in so far as it is the auxiliary condition and does not make any difference to the continuant in producing the effect, it is useless. If however, this aid is different from the auxiliary, the aid becomes real and the auxiliary becomes useless. Again, this upakara or aid must be either different or non-different from the effect produced It can't be different, for it is not so experienced; and even if it were so, it would have been an additional cause of the effect besides the primary cause. Furthermore, it will be really an effective condition since the presence of the continuant without it does not produce the effect, whereas its presence as an aid to the continuant, produces the effect. In other words, there is no relation of agreement in presence as well as in absence between the aid rendered and the effect produced. There is only the agreement in absence between the continuant and the effect but no agreement in presence; because inspite of the presence of the continuant, there is no effect, where the aid rendered is absent. This shows that the aid rendered is the real cause and not the continuant. It might be argued that the continuant has the real cause, possesses the capacity to produce the effect; whereas the so called auxiliaries make their appearance through their respective causes and have nothing to do with the production of the effect. Even this does not bear strict examination. If the continuant possesses the capacity, why should it fail to produce the effect even in absence of the auxiliaries, since the later have nothing to do with the effect and the continuant is the real cause. A cause which possesses the capacity to produce the effect, is never seen to be unable to produce the effect or to be deprived of its capacity for no reason whatever. One may argue therefore, that it is the nature of the effect to be produced by a capable cause alongwith the other conditions. Therefore, despite the continuant begins really the

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SAMBODHI capable cause, it does not produce the effect independantly but produces it with the help of the auxiliary conditions. Even this does not help the situation, since the continuant in that case would be dependent on the nature of the effect and has, therefore, no independent capacity to produce the effect. Again, one may argue, that the continuant, through capable of producing the effect, is yet of such nature that it does not produce the effects all at once, but does so after the lapse of a few moments. But in that case, no continuant would produce any effect at any time. If the continuant's nature is such that it can not produce an effect immediately, inspite of having the capacity, it must always detain the production of the effect till a few moments have elapsed. In case of the repetition of the same story over again at the time of production, the result will be, that it will never produce any effect at any time. One may say, that a continuant does not require help of the auxiliary conditions to produce the effect but it has the capacity to produce the effect independently. It must then be admitted that it is only the special kind of a continuant that can do so. For instance, the case of a sprout producing seed. The seeds are in the granary as well as in the fields. But the difference between the two is, that while granary seeds do not produce sprout, only those in the field do so. Therefore, if the seed possesses the capacity to produce, it can do so not as seed as such, but only as a special variety of seed, namely as seed in the field. This special character, namely, the casual efficiency, can only belong to the immediately antecedent seed, to which the sprout follows in the next moment or ksana. If it (the casual efficiency) belonged to the earlier moments, i.e. the moments earlier than the immediately antecedent moment, then the sprout would come forth from the seed even in the earlier antecedent moments, but it actually does not. Therefore, the special character answering to the capacity to produce the sprout, belongs only to the seeds at the immediately antecedent moment before the coming into being of the sprout. In other words, the seeds of the earlier moments are not the same as the seed of the immediately antecedent moment which later on really produces the sprout. Therefore, it is not the seed as a continuant, but only the seed as a momentary immediate antecedent of the sprout, that produces the effect. Causal efficiency, therefore can belong only to the momentary and not to a continuant. Just as a continuant can not produce its effects successively, so also it can not produce them all at once, because no continuant is actually observed to behave in this way. Further supposing if a continuant produces all its effects at once, it will have nothing left in that case to produce at any other time, for what has been produced cannot be produced again. This means, that after having produced all its effects, the contiuant will loose its causal efficiency and, therefore, will cease to exist, existence being the same as causal efficiency.

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65 Vol. XVIII, '92-'93 Nor can it be said, that after having produced all its effects at once, the continuant produces some other effect at a subsequent moment. This contradicts the simulaneous production of all the effects and amounts to the first alternative, namely the successive production of the effect. Thus, in as much as a continuant cannot exercise causal effeciency either successively or simultaneously and as there is no alternative (trtiyarasi abhavat), it follows that causal efficiency - which is the mark of existence - being excluded from a continuant (sthayibhava) must be (belong to the) ksanika or the momentary only. Regarding the knowledge of such momentary reals, the Sautrantika maintains that the entities being momentary by nature, they cannot be held to be subject to perception, because by the time of their being perceived, they cease to be and are replaced by their succeeding moments. What is actually apprehended, is therefore the impression or image of the former existent on the latter. That is, is an indirectly inferred representation and not the presentative perception. Sautrantika and Vaibhasika alike accept the theory of nairatmya and sanghata. Like Vaibhasika School, Sautrantika also considers substance as more a label or a name, used for identifying an aggregate of momentary states for practical purposes. Accordingly, what is called 'our perception of a thing' refers in fact to the contact of the various senses to the corresponding sense data, which when referred to as a whole, is named or labelled as an 'object' or a 'thing'. In fact, therefore, the so called object or thing is merely a designation used for referring to the so called sense data, each representing a unit of sensation, rising into being and dying the next moment.' According to the principle of momentariness, everything being momentary, neither the cause nor the effect can abide. One is called the effect because its momentary existence has been succeeded by the destruction of its momentary antecedent, called cause. There being no permanent entity undergoing change, the phenomena of change or cauasality is explained by this school as one change being determined by another in chain, instead of the permanent entity undergoing change and this determination is known as "that happening, this happened." In the following dialogue of King Milinda and Nagasena, the conversation turns upon the problem of the identity or non-identity of the being in his several existences : The saint Nagasena says: It is not the same being and yet they are not separate beings which relieve one another in the series of existences. "Give an illustration", says King Milinda. "If a man were to light a light, O great king, would it not burn on through the night ?"."Yes sir, it would burn through the night."-"How then, O great king, is the flame in the first watch of the night identical with the flame in the midnight watch?"-"No, Sir,"-"But how then, O great king, was the light in the first watch of the night another, in the midnight watch another, and in the last watch of the night another ?"-"No Sir, it has burned all night long feeding on the same fuel." -"So also, O great king, the chain of element of being.... completes itself; the one comes, the other goes. Without beginning, without end, the circle completes itself: therefore it is neither the same being nor another

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66 SAMBODHI being, which presents itself last to the consciousnss." The doctrine meant the causal law as applied to the dharmah, which stood for its ethical significance in the Vaibhasika School. By accepting the reality of only momentary,unrelated point instants (svalaksana) and consequently dismissing the universal as imaginary thought construction, the Sautrantika school denies the existence of any relation like inherence (samavaya) wherein the attributes are said to co-exist in the substance. As there are no separate substance there is no need for them to admit any relation of the inherence. According to the Principle of Momentariness, there is no continuity between one dharma and another dharma. The causal relation, therefore, cannot be had between them in its usual (ordinary) sense of the term. The cause, then, is considered to be only an occasion, depending on which the effect is held to happen (asmin sati idam bhavati). The dharma moments are thus considered to be subject to this law of dependent origination." Accordingly pratityasamutpada is held to stand for the law of their rigorous temporal sequence. For Sautrantika, therefore, change implies" revolution, not evolution"!2. Accordingly, in the statement, 'AB' changes into 'AC'- the conditions bringing about change, alter from B to C without at all affecting A. 'A' is therefore held to be merely a conventional adjuct to B & C. As being redundant, it can therefore be dispensed with as superflous. The result is, that 'B becomes C. Here we have the case of change which is not only perpetual but total as well. In case of the seed becoming sprout, we must identify seed with continuous activity, even before its becoming the sprout. The causal efficiency being the sole test of reality, the inactive seed can never be held to produce the sprout at any time and consequently it can not be considered as unreal because unproductive. If 'A' of this statement is held to stand for ego (atta) the early Buddhism (as we have already seen), stops at its theoretical dismisal by considering at to be a conventional adjunct. The Madhyamika Buddhism with its mature interpretation, tries to work out theoratically and pin-point the underlying significance behind the seemingly theoretical dismissal of 'A', by using the significant words like 'sunya' and 'alaya' referring to the actual achievement of a state when the mind is totally silenced. It is only in the Buddha's treading of the Path, that the underlying deep significance hidden behind this theoritical dismissal of A, gets totally revealed, wherein it is held to stand for the actual process leading to the complete dissolution of the ego (atta) by constantly striving and treading the path of spiritual discipline. - IV. The exhaustive analysis of being into the momentary point-instants makes it impossible for the realists to explan the causation all the more. Because just as it is

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62 Vol. XVIII, 92-93 contradictory to refer to change in case of the permanent entity (a permanent, by definition cannot change), so also, in case of the momentary states or events too, a different type of contradiction arises while referring to the experience of change in its context. The experience of change implies the experience of the process, which in turn, implies continuity. But the experience of continuity is contradictory to the accepted reality of the momentary, unrelated point-instants. The concept of momentary event, by definition implies, that once when one momentary event is replaced by another, it has ceased to exist. Moreover, it cannot be said that the first momentary event has suffered a change, as it can only be said so on condition of somehow becoming the next momentary event. But the two, in fact, are ex hypothesi different. For two entites to be related, they must exist. But on the hypothesis of the momentary events, the event A has ceased to exist by the time it is replaced by the event B. Therefore, there can be no relation between A and B. It is, therefore, improper to say that the event A occurs after (or before) the event B. The speculation about the doctrine of impermanence thus leads Sautrantika to form a theory that all the states are momentary point-instants. This theory caused troubles regarding the explanation of perception and causation. A logical corollary of the principle of momentarines is the non-acceptance of the reality of past and future. If real is that which is causally efficient, neither past nor future can be considered to be real. The past moment being 'past', it has ceased to be causally efficient. Similarly, the future moment, since it has not yet come into being, it can not be held to be causally efficient yet. The rejection of past and future moments consequently would result into the rejection of the self transending, dynamic, causally efficient present. To be dynamic or causally efficient, means to be related. Therefore, the rejection of the former, implies the rejection of the latter; with the result that the system should be held to be accepting the reality of the static unrelated, point instants which are neither causally efficient, nor subject to change. Such a point-instant is a pure concept resulting from bare intellectual abstraction. Moreover, the term 'santana' is purposely used by Buddha specifically showing, that the reality that he refers to, is not destroyed issueless, but it is perpetually productive (it is santanavada, not annihilationism).14 The Sautrantika is correct in so far as it maintains that the entities being momentary, their existence can only be maintained through indirect, representation. But in its attempt to be consistent with the doctrine of momentariness, the Sautrantika creates a critical situation for its accepted stand of representation. The presentative knowledge being the pre-condition of the representative knowledge, to accept the latter and rejection of the former, becomes fatal even for the survival of the latter. Besides, further trouble arises when the Sautrantika accepts two contradictory theses : (1) On the one hand, it accepts the representative theory; and (2) on the other hand, it

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68 SAMBODHI rejects the reality of past and future, in consistency with its principles of momentariness. By the acceptance of the former theory, the Sautrantika accepts the reality of succedding and preceeding moments, whereas, by its acceptance of the latter thesis, the Sautrantika rejects the reality of past and future. It has been argued that the doctrine of momentariness is opposed to the fact of life; because in fact, we are aware of the permanent states of our self-identity through change. In support of the argument, it has been affirmed that many perceptual experiences seem to refute the doctrine of momentariness. For instace, if I am watching an object over a period of time and my mental state is unchanged, it is absurd to postulate a succession of different momentary states. To this charge, the Buddhistic reply would be that such experiences and the fact that I describe a succession of states as though it is a single event, are misleading for two reasons : (a) because we induce a false sense of unity in ourselves and in other things through the operation of our constructive tendencies; (b) we very well know in some cases that something described as a single event is a sequence of momentary states. A flame, for instance, of a burning candle constitutes the rapid replacement of one flamestate by another, though it appears as a single process or event. It is objected, that the principle of momenteriness fails to explain perception. If the ject and its cognition both are momentary, how can the perception become possible ? Moreover, preception being a process, the entire process of the subject contacting the object through the sense organs cannot take place in one moment's time.15 Besides, one moment cannot be held to know the other moment, because by the time it reaches the latter, both are dead. Supposing that the cognition-moment leaves its impression and efficiency on the succeeding moment, the moment to be cognised is no longer there. If another moment has emerged instead, the knowledge is not of the first moment. When one moment cannot be known, it becomes difficult to imagine as to how can the other moments become known. The object of perception being momentary in nature, it cannot enter into the causal relation with knowledge. Causality presupposes the determinate, temporal sequence which is not possible to take place in case of the entity which is without duration or, in other words, momentary. There are two aspects in the experience of change; the aspect of succession as well as continuity. While accepting the reality of perpetualy changing, independent states and denying the continuity implicitly inhering in change by rejection of the self-substance (pudgala), is equivalent to the position which considers change to be real, but does not accept the element of felt continuity implicit in it which is implied by the very experience of change. To accept only the reality of pure difference and yet to regard it at the same time to be a self-sufficient whole or unit by itself, is to commit the fallacy of conceiving the part as the whole. By ignoring one of the two aspects forming the complex of change and thereafter claiming that there is no problem at all is to overlook the very issue under

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Vol. XVIII, '92-'93 consideration. To make this Sautrantika position logically more sound, it should have taken one of the following positions : either it should have taken into account the reality of both the relative aspects, or it should have rejected them both as incompetent to be considered as ultimately real. Therefore, it is its half-hearted acceptance of logic. Neither does it consider these aspects to be relative not does it consider them to be disqulified to be ultimately real. It, therefore, commits the two fold mistakes : (1) Its partial acceptance of the reality of one of the two relative terms. (2) Its mistake in regarding that which is relative to be the absolute and consequently ultimately real. As a result, they fail to give any solution satisfactarily to the problem of change, inspite of its strong logic. Before we conclude, it needs to be mentioned, that inspite of its multiple drawbacks, the principle of momentariness has its practical worth in so far as it helps breaking down the preconceptions about the permanance of substance. As such preconceptions only tie a man to the world. Yet it seems only a pointer to the non-dual experience or rather it is an indirect way of hinting at it. Notes: 1. 'The Yogacara Idealism' by A.K.Chatterjee. Chapt. I.(Benaras Hindu University Publication,1962). 2. Anguttara Nikaya, I.pp. 140-141: "linimahi, bhikkhave, sarkhatassa sarkhatalakkhanani/katamani tini? Uppado pannayati,vayp pannayati, thitassa annathattam pannayati". 3. Sarvam anityam 4. Nirvanamsantam 5. "Ksanabhanga Siddhi Vyatirekatmika' by Ratnakirti verse 77.6 : 'yat sat tat ksanikam'. 6. Sa paramarthiko bhavo ya evarthakriyaksamah- Pramanavartika, 1.168. 7. N.M. pp. 447-448. 8. The Pitaka literature represents the doctrine of non-substances (anatta) in the following words: "Samudayo samudayo ti kho bhikkhave vipassissa bodhisattassa pubbe ananussutosu dhammesu cakkhum udapadi...." - S. N. Part II, Book XII (Nidana-samyuttam) 15, Page 7. (P. T. S. London, 1988, Edi. by L. Fear). 9. Says M.N.I., P. 13 "atha va pamassa evam ditthi hoti - 'yo me ayam atta vado vedeyyo tatra tatra kalyanapapakanamkammanam vipakkmpatisam vedeti /So kho pana me ayamatta nicco dhuvo sassato aviparinamadhammo sassatisamam tatheve thassati' iti" Also refer to Mah. S. of D.N., pp. 62-68 in the Book 'Dialogues of the Buddha: R. Davids. Vol. III, Part II. (P.T.S. 1959). 10. Refer to Avayavinirakarana - in "Six Buddhist Nyaya Tracts": (Calcutta, 1010). 11. Na hi ete jatyadayo dharma dravyatah samvidyante yatha abhivyajyante .... bhagavan,.... sanskarapravahasya samskrtatvam pratityasamutpannatam dyotayitukama idamaha "trinimani, samskrtasya samsknitalaksanani", na tu ksanasya nahi ksanasyotpadadayah prajnayantel.... tatra pravahasyadirutpado nivrttirvyayah Sa eva pravahonuvarttamanah sthitih | Tasya purvaparavisesah

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SAMBODHI sthityanyathatvam..aha catra "jatiradih pravahasya vyayaschhedah sthitistu sah | Sthityanyathatvam tasyaiva purvaparavisistata" tasmat pravaha eva sthitih...pratiksanamcapi samskratasyaitani laksanani yujyante vinapi dravyantantarakalpanaya. na vai samskrtaasya sthitirevocyate laksananamapi tu sthityanyathatvam sanasatastvira sutre samskitasycdam laksanam iu dyotitam bhagavata "samkrtam nama yadabhutva bhavati bhutva sa punar na bhavati yascasya sthitisamjisakah prabandhah so' nyatha canyatha ca bhavati iti 1 kim atra dravyanrajalyadibhih kathamidanim sa eva dharmo laksyastasyaiva laksanam yoksyate -A. K. B., li, 46 ab. 12. 'Outlines of Indian Philosophy' by M. Hiriyanna, p.211. 13. It would be interesting to observe a remarkable contrast of the Advaitic view regarding the explanation of the same statement, namely 'AB changes into AC'. Sarkaracarya maintaining, that in the statement - 'AB changes into AC', 'A' refer to the element of felt continuity, of the experience of change. This felt continuity being a fact of experience, it cannot bc ingnored but instcad, it necds to be explained. Accordingly Sankara concludes, unlike the Sautrantikas, that thc felt continuity is an experience of permanaence in time. Now time, bcing of the nature of flux, to talk of the experience of 'permanence in time', is to utter a contradictory statement. yct, the secling of a continuity cannot be ignored. This experienced or selt persistence in time he names Parinami-nitya and distinguishes it from the permanence which is timeless - kutastha-nitya, which he regards to be the ultimately rcal. The former (persistence in time), is regarded by him to be the cmpirical reality, which he believes to be the appearance (vivarta) of that which is transcendentally real. In the statement AB changes into AC', 'A' though directly refers to the empirically rcal object which seems to be identical in the midst of change, points to the substratum which is timeless permanence in the final analysis and which transcends the threefold temporal divisions of past, present and future. 14. Annihilationism maintains that entity is destroyed issucless. 15. Vartamanalambanagrahane ca ksanabhangabadhah-M.V.S.T. Sthiramati, part I, pagc 21 (Edited by V. Bhattacharya and G. Tucci).

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THE JAINA VIEW DARKNESS Himanshu Shekhar Acharya The Jainas accept darkness (tamas) as one of the qualities of Pudgala!. A Pudgala is one of the five non-soul substances (ajivadravyas) enumerated in the system. It is found in two forms i.e. atoms (anu) and aggregates (skandha). Aggregate which is equivellant to the whole of the vaisesikas is a product of the conglomeration of atmos4. Atoms arise only through disintegration of aggregates. Umasvati in his commentary on his own work tited Tattvarthadhigama-sutra notes that the four such as darkness, shade, heat and lusture out of the ten qualities of pudgala are caused by the transformation of pudgala. Probably this is the reason for those being known as modes (vikara or payraya) in the system. Besides, while clarifying the necessity of formulating two independent sutras for the enumeration of the qualities of pudgala, he says that the qualities like colour etc. (enumerated in the sutra 5.23) are transformed from both atom and aggregate while darkness etc. (enumerated in the sutra 5.24) are transformed from aggregate only. Vijaylavanya Suri quotes Syadvadins saying that pudgalas are transformed into light and darkness. During transformation from light to darkness the luminousity of pudgalas of light are removed with their substance remaining constant.10 The arguments of the scholars like Hemachandra Suri, Vijaylavanya Suri, Bhavasena etc. go in favour of the positivity of darkness. 11 The author of BS points out that the destruction of light transforms into darkness.12 Pujyapada, Nemichandra etc. hold darkness to be the factor obstracting our visual perception besides being a mode of pudgala.13 To conclude, tamas according to Jainas is a quality being a mode of pudgala and it can be considered as a substance since a mode (paryaya) is not different from a substance.14 It is worth mentioning here that tamas and chaya are considered as two different entities in the form of two independent modes of pudgala's while these are accepted as indentical by Naiyayikas. In the texts of Nyaya chaya is used as a synonym for tamas or alokabhava. According to Jainas chaya is the form of an object reflected on another substance. It is divided into two types such as one in the form of an envelope of light and another is in the form of image (pratibimba).17 Tamas is considered as opposed to light by both Jainas18 and Naiyayikas. It may also be observed that the second variety of chaya i. e. envelope of light, resembles by its nature the tamas of Vaisesikas and Samkhyas.19 ABBREVIATIONS AND BIBLIOGRAPHY BDS : Brhaddravyasamgraha of Nemichandra, ed by Monoharalal Shastri, Srimad Rajachand Ashram, agas, 1966.

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SAMBODHI BS : Bhagavatisutra with Abhayadevasuri's com. ed. by N. V. Vaidya, Vijaydeva suri Samgha Series : Bombay. : Pancastikayasarah of Kundakundacharya ed. by A. Chakravarti Nayanar, Bharatiya Jnanapitha Publication, Varanasi, First edition, 1975. : Samkhyakarika of Iswarakrishna with commentary Sarabodhini of Sivanarayana Shastri with Samkhyatattvakaumudi of Vacaspati Mishra, Nirnayasagar, Bombay, 1940. , : Syadvadarahasya of Hemachandrasuri, ed by, Yasovijayjnaniswara, Bharatiya Pracya Tattva Prakashan Samiti, Pindwada, 1974. S : Sarvartthasiddhi of Pujyapada ed. by C. S. Mallinathan, Jaipur, 1951. STSVS : Syadvadatika of Vijaylavanyasuri a com. on Sastravartta-samccayah of Haribhadrasuri, ed. by Pannyasasri Susilavijayagani, Sri Vijaylavanya Suriswar Jnanamandir, Botad, Saurastra 1953. TAS : Tattvarthadhigamasutra of Umasvati with his own commentary, ed. by Khubchandji S. Shastri, Bombay 1932. US : Uttaradhyayana Sutra, ed. with a commentary by Jarl Charpentier, Ajoy Book Service, New Delhi, 1980. : Vakyapadiya of Bhartahari, ed tr. by K. Raghavanpillai, Motilal Banarasi Das, Delhi, 1971. VS : Vaisesika Sutras of Kanada with Upaskara & Extracts from Vivrti ed. & Tr. by N. L. Sihnna, S. N. Publication, Delhi, 1986. VTP : Visvatattvaprakasa of Bhavasena, ed. by V. P. Johrapurkar, Jaina Samskrti Samraksaka Mandal Samgha, Solapur, 1964. Foot Notes: 1. Sabdabandha-sauksmya-sthaulyasamsthanabheda-tamas-chayatapodyotas ca, TAS, 5:24; BS 5:9:224 and US, 28:12. 2. Ajivakah dharmadharmakasapudgalah, TAS, 5:1. Here the word Pudgala consists of two terms i.e. pud and gala, pud means 'to integreate' and gala denotes 'to disintegrate'. Pudgalas according to Jainas are subject to intergration and disintegration which result in the creation of bodies. Explaining this Umasvati says - 'Bhedsanghatebhyo utpadyante' vide TAS, 5.26. 3. Anavah skandhas ca. Ibid 5:25. 4. Khando paramanusamghado. PS 2:79. 5. Bhedad anuh. Umasvati, op, cit. 5.27. Tamas chayatapo'dyotas ca. vide Umasvati's Bhasya on his TAS, p.272; for other six

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13 Vol. XVIII, '92-'93 qualities of Pudgala, vide TAS, 5.24. 7. Ete pudgalavikarah, SS, p.64; ............Pudgaladavvassa pajjaya BDS, gatha. 16. 8. Umasvati, op. cit, p.27. 9. Interestingly, the gramarians too consider darkness to be caused by transformation of atoms, Bhartt hari states. Anavah sarvasaktitvat bhedasamsargavrttayah chaya-tapatamah-sabdabha vena parimaninah. VP. 1. 110. 10. Diparupena parinatanam bhasvarapudgalanam tamorupena parinamad bhasvara-parina matyagepi dravyatvaparityagat tamaso dravyarupatayaiva syadvadibhir abhyupagamad ity asayah. STSVS, p. 121 1. 24-26. 11. Vide SR, P. 14: Vijaylavanyasuri, Op.cit., VTP p. 22, 1.9-10. . 12. Dipadivinasasyapi tamisradirupataya parinamat. BS, 1.3.32. 13. Tamo drstipratibandhakaranam Pprakasavirodhi, ete pudgalavikarah. Pujyapada, Op. cit.; cf. Nemichandra, Op. cit. Bhasya thereon. P.47. 14. cf. Kundkundacarya, Op. cit. 1:12. 15. Umasvati, Op. cit, 5:24. 16. Ibid, Bhasya (Hindi Tr.), there on p.272. 17. Ibid; cf. sa ca dvividhavarnadivikaraparinata pratibimbamatratmika ceti. Pujyapada, Op. cit, P. 64; also Bhasya on BDS, p.47. 18. Pujyapada, op. cit., p.64. 19. Vide VS, 5: 2: 20, also. ..............guruvaranakam eva tamah, SK, ka. 13.

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THE DATE OF THE DEVENDRASTAVA : AN ART-HISTORICAL APPROACH Lalit Kumar The Devendrastava (Devindatthao) is one of the Prakirnaka works of the Jaina Canonical literature. Subhash Kothari has recently published a Hindi translation of Devendrastava alongwith a scholarly introduction, contributed by Sagarmal Jain'. The language of the existing edition of the work is Maharastri Prakrita. However, it is acknowledged by these two writers that there are some manuscripts in which Ardhamagadhi variants of the texts are also available2. The Devedrastava is a work of Rsipalita whose name occurs in the Sthaviravali of the Kalpasutra. In this work Rsipalita's name occurs at the twelfth place after Mahavira. Prof. Jain in his succinct discussion has shown that Rsipalita lived in the first century B.C. Without going into other detailed arguments put forward by these writers with regard to the dating of the Devendrastava, I would like to extend some more internal arthistorical evidences in favour of their early dating of the text. The Devendrastava describes in gatha 82-93 the locale of the Jyotiska gods4, number of their Vimanas, their sizes, carrier of the Vimana etc. The gatha no. 93 has a specific bearing on the present context. It reads. purao vahaMti sIhA, dAhiNao kuMjarA mahAkAyA / paccatthimeNa vasahA, turagA puNa uttare pAse // i.e. (the Vimana is) born by a lion in the east, a giant elephant in the south, a bull in the west and a horse in the north. This is exactly the same order in which the four animals are seen on the abacus of the famous quadripartite lion capital of Sarnath, erected by Asoka, (B.C. 272-231). So far these animals and the quadripartite lion have been interpreted in their Buddhistic perspective only. A dharmacakra, originally surmounted on the lion capital is almost lost. It was for the erection of this dharmacakra that the quadripartite lion capital was primarily conceived. The dharmacakra was intended by Asoka to keep the Buddhist Samgha intact from the impending danger from schism which had already surfaced in the Buddhist Samgha. This is amply clear from the inscription engraved on the pillar which had once surmounted the lion capital. In this way, dharmacakra symbolised, not only the time, the eternal truth, but also the solemn desire of the ruler to maintain the Buddhist Samgha intact for time immemorial. To herald this majestic will, Asoka chose Sarnath, as the most appropriate place where Buddha had set the wheel of law into motion. The dharmacakra was not a sectarian symbol in India. The dharmacakra is often seen in the art of Bharhut, Sanci, Bodhagaya and Amravati, and also in the Jain art of Mathura and Causa bronzes. The dharmacakra is referred to as Brahmanda Cakra, Bhava Cakra,

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Vol. XVIII, '92-'93 75 Kala Cakra, Dharma Cakra, and Sudarshan Cakra in Indian literature. It is a Vrtta Cakra, a symbol of Visnu and above all it is a wheel of time in the Rgveda. The quadruple lion capital seems to be carrier or the vehicle of the dharmacakra. According to the description found in the Devendrastava it should be identified as the Jyotiska Vimana. The four animals and the intervening wheels on the abacus represent the chariot of the Jyotiska god or the god of light. The most luminous god of light is the Sun, represented here by the four addorssed lions who look around in all the four directions. The lion is a west-Asiatic art motif which had been assimilated in Indian Art and Culture at a very early period. Thus, the quadripartite lion with the abacus represents aniconic representation of the Sun god. This conception of Sun god does not conform to the later iconography of the god in which his chariot is driven by four or seven horses. In this way the Devendrastava provides the earliest literary reference to the interpretation of the abacus of the quadripartite lion capital of Sarnath. It may be pointed out that Sarnath lion capital is the only archaeological example of its kind in the realm of Indian art where the conception of a Vimana of a Jyotiska god has been given a concrete shape. In the present example it is the Vimana of the Sun god. The Devendrastava also refers to some other kinds of Vimanas or palaces. There are described as circular, triangular, square (catuskona) or rectangular in shape. It further adds that circular, triangular and rectangular palaces have one, three and four entrances respectively. It perhaps refers to the earliest cave architecture of India which developed during the Mauryan period in Bihar. The Lomas Rsi cave, the Sudama Cave, Viskarma Cave, Karna Cauper Cave etc. of the Barabar Hills, in Rajgir, represent the kind of architecture the text. However, it does not strictly follow the description. It has to be born in mind that the text is not an architectural treatise in detail. It is sufficient for the author of the Devendrastava to refer to the architecture by their shapes. Most of the Barabar hill caves have an outer rectangular chamber and an inner circular room with a separate opening from the inside only. The main entrance is the side of the rectangular chamber. The doorway has a characteristic converging door jambs and forms a trapezoidal opening. About twenty kilometers away from Rajgir, is another cave called Sitamarhi cave. It also bears the Mauryan polish. It has a rectangular plan with characteristic trapezoidal entrance, but it has a semi-eliptical elevation which give it a triangular look.10 Thus, a special reference to the Jyotiska Vimana born by the four animals, as seen on the abacus of the lion capital of Sarnath and a reference to the earliest cave architecture of India, makes the Devendrastava a fairly early text, the antiquity of which can be traced back to the Mauryan period, save for the date of Rsipalita, the author of the text. Rsipalita's name occurs only in the Sthaviravali of the Kalpasutra. Once the whole chronology of the Sthaviravali of the Kalpasutra is fixed it would be easy to provide a precise date to the Devendrastava and its author Rsipalita. Till then, the date

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76 SAMBODHI of Rsipalita as fixed by Sagarmal Jain seems most logical. Undoubtedly, it should be attributed to a period not later than the first century, B.C. Footnotes : 1. Devindatthao (Devendrastava), Subhash Kothari (trans.), Agam Ahimsa Samata evam Prakrit Samsthana, Udaipur, 1988 (in Hindi). 2. Ibid, p. xxii. Inspite of its being an early text, the Ardhamagadhi variants have given place to the Maharastri Prakrit by the editors. Editors invariably face a dilemma, when the date of a work is not certain. This makes the editor's task more challengeing in the reconstruction of the original text. 3. Ibid., p. xxi 4. The classification of gods is found in all the ancient religions of India. In Jainism gods are classified as Bhavanpati, Vyantara, Jyotiska and Vaimanika. On a comparative study of Indian religions one finds parallels in the classification of various gods. However, in Jain religion the Jyotiska gods have been put in a separate class. This class of gods include sun, moon, planet, constellation and stray star. These are dealt in detail because of highly complex cosmological concept which Jainas had evolved in course of time. The Suryaprajnapti is one of the earliest treatise on the Jaina cosmology which is attributed to the 3rd century B. C. But it is silent about the Vimanas of the Jyotiska gods. 5. S. P. Gupta, The Roots of Indian Art, Delhi, 1980, pp. 124-25. 6. A detailed study on the Symbolism of the Samath Lion Capital will be published soon by the present writer. 7. Devindatthao, gatha 209. 8. Ibid., gatha, 216. 9. Gupta, RI A, pp. 189-192, fig. 2 - 5. 10. Ibid., p. 197 - 198 fig. 8.

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INDIAN CONCEPTS OF TIME AND ARCHAEOLOGY R. N. Mehta Sthira-dravya-samutpannam dharastara-nivasinim ! Vande pura-vastu-vidyam nara-karya-prabodhinim || Introduction Human beings, along with other living beings experience the changing patterns of day, night, seasons etc. The reflections of these experiences give three basic notions of time. One of them is a continuous change of day and night. The other is the continuous repetition of day and night as well as seasons in cyclic order. The third is the experience of short and long days and nights. These aspects are the basis of three concepts of Time. The aspects of time are linear, cyclic and relative. With the advancement of the agricultural production, the need to calculate the change of seasons and year led to the counting of days of the months for understanding the annual cycle. Further development led to the counting of the year for different transactions. These developments introduced the element of numbers to understand the changing patterns of Time as well as the duration. Cultural Parameters With these fundamental aspects of the phenomenal world different cultures tried to develop the concepts of time, according to their view points. These led to differences of the understanding of Time as linear, cyclic, relative etc. In the cultural activities these differences become prominent feature of discussions about the nature of Time as linear, cyclic or relative. These discussions for calculations as reflected in the calenders of different cultures are taken into consideration and efforts are made to understand them in a linear pattern in the cultual ethos of the evolutionary model that is popular at present. This model based only on the time-scale often fails to accommodate the differences observed at different places in our spatio-temporal world. It raises an important problem of understanding this phenomenon and the its understanding in other cultural atmosphere. Aims When only a linear evolutionary pattern of time-scale is not able to explain the spatiotemporal phenomenon, it is interesting to know the other view points of this aspect of the world, and compare them with the one used generally in Archaeology. With this aim in view, Indian concepts of time and Archaeology are discussed. Archaeology Archaeology tries to search the material relics of by gone Human activities in their spatio-temporal context with a view to understand the question of Human genesis and travel to the Present on this Planet Earth. This search has two aspects. One of them is the search of the remains ofthe Human

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78 SAMBODHI activity on the Earth. The other is its presentation in the time sequence. The notion that this search draws a better picture of past human activities than the one that is available in the verbal record of different cultures, forms the basis of this activity in Archaeology. The first aspect of the search of places with archaeological remains for understanding the activities of Man in Nature is the foundation store of Archaeology. When this aspect is further analysed, it points to two different activities. One of them is the search of the sites that preserve the relics and the other is the understanding of the process of the formation of the site. It is noted that the material remains form the mound. This aspect of the formation of the mounds is noted by Vyasa in the Mahabharata XII.225.1.2. It is noted that "All the Movable and Stable life elements get destroyed and become the part of the Earth. When these destroyed forms of life have become the part of the Earth it looks barren like the back of a tortoise." This observation of the features of destroyed elements is the reversal of the process of creation as indicated in XII.224.74. Archaeology tries to understand the process of creation through the mounds indicative of the process of the living that is turned into the element of Earth, by a of the order of the formation of the mounds by excavations and study the materials discovered in this process. Archaeology from this angle becomes a study of the creation, through the remains of the process of destruction. These process take place in Time and therefore the notions of time or Kala become important. It is observed on any archaeological site that the process of beginning, continuity and destruction are observed. However, on the site with a long life, these processes are repeated and, therefore, the processes of regeneration and destruction are also observed. With the basic notion of time as an irreversible aspect of natutre, the observations of the cycles of origin continuity and destruction are treated as different links in a continuous chain. With our advanced methods of calculating the time-factor at different places, it is known that, the cycles of origin, stability and destruction as well as the repetition by regeneration etc., are well-known. This cyclic phenomenon is again correlated on a linear pattern that suggests that at different places on the habitable globe the cyclic pattern of origin, stability and destruction is a well-known phenomenon. This cyclic pattern is known to belong to different time-spans and therefore, the relativity of the existance of different sites is also a well-known phenomenon. Thus, Archaeological activities that are the reversal of the processess of destruction, by both destruction by excavations of the site and preservation of the remains as well as their study on the time-scale are similar at a refined level, to the Human experience of the linear, cyclic and relative patterns of time.

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Vol. XVIII, '92-'93 Indian Views : It is therefore interesting to review briefly, the Indian concepts of Time. In India Time is known as Kala. The earliest evidence about the concepts of Kala are noted in the Atharvaveda, XIX.53.54. Analysis of the Sukta indicates that here Kala is the Almighty force or deity of the universe. It is the cause of the phenomenal world and suggests its linear, cyclic and relative concepts. This Vedic trend continues in the succeeding literature. The Mahabharata has many references from which these concepts could be easily inferred. In the Mahabharata XII.220.35, Kala is defined as that which is used in counting all creation. This idea is expressed in Bhagavad Gita 10.30. The all destroying capacity of Kala is noted in 11.32. Interestingly, the same idea of destruction and defeat at appropriate time is expressed by Rsi Krsna in the Rgveda X.42.9. This is the only reference of. The repeated cycle of creation, stability and destruction is given a relative pattern also Mahabharata XII.224. This idea of Kalpa is noted by Matsya, 289, Visnu I.3. The grammarians have considered the Kala in great details. They consider Kala in the phenomenal world as a powerful entity. Specially Bharthari in his Vakyapadiya considers Kala and its powers of stopping and encouraging the activities in the phenomenal world as the primary cause of order of things. It also has the power of aging. Its definition include the linear and cyclic and relative elements. The calculations of Kalpa and Yugas are also based on the principle that "One year of Men is a day of Gods and such 360 days are one divine year. This is further expanded in the case of Brahma. These calculations indicate that they are highly enlarged version of Human experience. They use the years and the decimal system of reconing time. These ideas of Time are the works of Astronomers, which indicate that four Yugas cover 4,320,000 years of Men and 12,000 years of Gods. These are again developed in Manvantaras and Kalpa that is computed as 4,320,000,000 x 1000 by Brahmagupta. Those computed by Aryabhata are 4,354,560,000 years x 1008 for a Kalpa. They indicate the astronomors' different views of the cyclic phenomenon with its relative lengths. However, there are other notions of Time in the Vedic Philosophies. The Vaisesikas consider time as one of the Dravya with its Guna and Karma. Its indicators are also noted as earlier, contemporary, later, speedy and slow. The other notion places time under a powerful deity like Isvara, Siva, Visnu, Svetasvatara Upanisad asks a question about the ultimate cause of the phenomenal world and after considering several options, including Kala, opines in favour of Isa. This tendency increases in the Puranas and Philosophy. In the Puranas, time is placed under the Supreme deities like Siva, Visnu and others, Philosophy places Time under the indescribable Brahman. Under this idea also Time-less becomes manifest in the world as time. Both these ideas reject Time as the Supreme deity, but its linear, cyclic and relative pattern is accepted.

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80 SAMBODHI A quotation from Vayaviya Sarhita VIII. I. 6. 67 indicates that "The lord is described as one who produces time and is the Lord of all the reumas and the liberator of all bondage. The grammarians have considered the Kala in great details. They consider Kala in the phenomenal world as a powerful entity. Specially Bhartrhari in his Vakyapadiya considers Kala and its powers of stopping and encouraging the activeties in the phenomenal world as the primary cause of order of things. It also has the power of ageing. Its derinition include the linear and cyclic and relative elements. Time in this tradition is considered only as a mental construction, as noted by Bhartrhari in another context. III. 9. 6. These aspects give different view points in Indian thought. One of them as already noted is its independent existence. The second is that it is one of the powers of the Supreme reality. The third view point notes the time as only a mental concept. This view connects time in the understanding of the phenomeval world, that itself is considered unreal. The Buddhist consider time as only a continuous becoming only and is in the constant flux. In this constantly moving linear momentariness the idea of rebirth exists. it a cyclic view. Their Vajrayana school however, has developed a Mandala known as Kalacakra. It is described by Abhayadeva Gupta in Nispannayogavali (G. O. series CIX). In this concept time is given the Supreme position as an emnation of the Sunya. The whole Mandala has the central deity, the kalacakra with the Sakti visvamata. This iconograpoic form reminds one of the notion of Kala with his Sakti, as represented by Bhartrhari I: 1-3 as well as Saundarya Lahari of Sankaracarya. All these notions represent Kala as well as the supreme deity Siva as powerful with their respective Saktis only. The Buddhist notion of Kalacakra as emnating from Sunya with the Bijamantra Hrimis their common belief of the phenomenal world. It is conceived for understanding the beginning, existance and dissolution of the universe. The whole Mandala has the outer ring of Kayamandala with the phenomenal world of the twelve months, tithis, with their respective deities, Nagas and the cemetary, planets etc. This outer Mandala encloses within it the Manomandala in which desires in the form of deities, Bodhisattvas with their saktis and several other deities reside. Within this circle, four Dhyani Buddhas with their Saktis reside. Besides them the Dharinis, Puja, Naivedya, deities, Nitya, Kama, Vadya, Gita and others reside. Within this circle of Dhyane Buddhas the deities of light such as Krsnadipta, Raktadipta, Pitadipta and Svetadipta, Dhuma, Marici, Pratipa, Khadyota surround the main deity Kalacakra in embrace with its Prajna Visvamata. The deity has under his feet several deities.

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Vol. XVIII, 92-93 81 Kalacakra is conceived as a deity with four faces, three necks, six shoulders, twelve hands. This Mandala gives the idea of the phenomenal world of the Mahabhutas, and the Bodhisattvas always ready to assist the human worshippers of the phenomenal world of the origin, stabiity and destruction. This deification of Kalacakra and its artistic representation is indicative of the global phenomenon of the life that depends on Kala that himself emnates from the Sunya. in Buddhist circles suggest their notions of the constantly changing patterns of the universe with its repetitive or cyclic pattern, that is experienced by those in Avidya. The Buddhists aim at rising above these aspects of avidya and try to achieve sunya, tathata etc. The idea of Time of Kala as animportant element in existing phenomenal world is also known to the Jains. In their cosmoligical thought, they are divided in their opinions about Kala. One opinion considers it as a mental concept, the other accepts it as an inportant element. According to the later oponion, Kala is an Ajivasti-kaya. It is Anandi and Ananta that is it has an existance and is beginningless and endless. This Kala gets subdivided by the moving astronomical objects like the Sun, Moon, Planets, Naksatras, Stars, etc. The consideration of the division of Time is a Human chacteristic. Due to this charactersitic it could be counted and it becomes Sankhyeya. It has the nature of non-countability that is known as Asankhyeya. This time-cycle moves in Utsarpini and Avasarpini, with six divisions of each. In it the Jivastikaya moves. The Jivas are classified into Human, Tiryanca, Daivi and Narki For their life duration time is considered in relative lengths in the number of years as well as by simpiles of Palyopama or Sagaropama etc. When these notions are classified the aspects of linear, cyclic and relative nature of Kala become clear. Thus most of the school of Indian thinkers seem to indicate the following basic notions of time : 1. In final analysis Kala does not exist. 2. Kala is a characteristic of the Phenomenal world. 3. It is linear, cyclic and relative. 4. It is irreversible due to its linear charater. 5. Those systems that believe in non-existance of Time, include it as manifestation of the unmanifest. 6. Those who identify the unmanifest as a deity either consider Kala as one of its characterisation or consider it as a deity of lower order.

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82 SAMBODHI From these consideration, when iconographic systems evolved, they led to many iconographic presentations of Kala as Mahakala, Kalari, Kalacakra, Mahakali etc. Usually, they have emphasised their destructive aspects, as the other aspects of creation and stability are either considered less important for Kala or are attributed to other deities. On the basis of these notions of time, the Indians have looked upon the past, the present and the future as the function of time, as a cycle of activities or Karma. The Idea of linear activity of karma is well known. When any action is completed it comes to an end. The new Karma has to begin its linear action oncemore. The duration of the Karma and its Krama or sequence is different and remains adrsta. This is a term with many shades of meaning. Karma is essential for ultimate realisation or Moksa. Some schools emphasise that need of knowledge or Jnana and Bhakti. But all of them would agree on Karma without attachment and for lokasangraha or good of the living. The World-View of most of these schools is the release from the bonds of the phenomenal world. This is achieved by the soul by his own effort. For this, the soul moves from different species of living organisms and becomes a Human being. His efforts ultimately lead to the Moksa. Thus, in such a world view, the short span of Human life is only a stage in the progress of the soul. For this progress proper action and ideas are necessary. These aspect of life and its purpose have shaped the Indian notions of time, History, Archaeology and other subjects, along with the activities in life. On a wider outlook of life, with its polycyclic nature of the phenomenal world, the ideas of History are shaped as understanding of the four-fold Purusartha as, if one has a progressive view of life as notied in Atharvaveda XV.6.11. Here the emphasis is more on action rather than linear chronology. It is, therefore, natural that action has more relevance in Indian thought than linear chronology. In Indian thought the chronology of an individual is cyclic. Each cycle begins with birth and terminates with death. So in these repetitive cycles linear chronology is not very appealing. However, for practical purpose of life, the business activities, administration, agricultural prupose and annual vratas, religious observations etc., minute calculations of time are found. Even in the acts of music and dancing the time-factor is carefully considered. The sciences in Indian also take careful conginsance of the time-factor. These aspects of phenomenal existence indicate that in India for practical, religious activities, the time was noted as an important factor. The correlation of Lunar and Solar year was established to regulate the understanding of the seasons for agricultural activities. The Indian Pancanga not only takes care of the year, but the names of the months in final analysis are based on the changes observed in nature. Thus, necessary chronology was well-known to the Indians. Again, the chronological frame work for administration has led to the development of different eras that effectively served their function, in different parts of the country. When ever required, two or three eras were noted in the inscriptions and other functional records.

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Vol. XVIII, '92-'93 83 These aspects have proved their worth when an effort was made to arrange the Indian Eras in conformity with the Christian Era known to the English. This exercise confirmed the idea that Indians had a good sense of chronology for all practical purposes. Intrestingly, when the notion of History was constricted only to the memory of the Past as written documents, Archaeology in those cultures had to wage a struggle to free history from this narrow notion. In this struggle Archaeology relied on the material relics and chronology, and slowly and steadily succeeded in its task. The languages memory however has to find out the middle course by inventing artificial boundary between history and prehistory. This boundary is different for different countries and places. This aspect of Archaeology suggests that linear chronology is only a metal concept of a culture believing in only a linear systems of existence. This system had to struggle hard on the conceptual frame of reference of serialisation of Actions or Krama that is too well known in India. With its long view of unity of life, these notions of Evolution, often do not appeal to a thoughtful Indian. Even the experience of existence of the use of Stone-tools from Indian view is not very conducive to the system of classification of Stone, Bronze-copper and Iron ages with their marginal over-laps as a universal chronological system. Even though this universal linear pattern might not be very appealing, the respect for the past and the Tradition is not-wanting. Actually Indians have a strong feeling for Rta and correct tradition for peace and prosperity. With proper maintenance of this tradition, the life could be well-maintained. Its reversal and disorder would lead to chaos and misery ; so the search of truth is an essential aspect of Indian system. In this search for good order and progress the value of the study of the materials is well-recognised, specially by the Vaisesikas and the Jains. They emphasise the understanding of the Dravya, Guna Karma, Dig or Ksetra, Kala and Bhava or special view point. From these aspects archaeology has tremendous attraction, as a search for truth about what happened in the Past. The maintenance of good tradition and avoiding the evil one is a constant feature in India. With this emphasis for truth, its search of the Kurma Prsta Earth, with the remains of Pralaya and reversal of the order of Pralaya to know about the existance and origin of Human action on the habitable parts of the globe, better understanding of Karma of the past generations is essential. This base gives high regard to Archaeology. These aspects of Archaeology are in last analysis, efforts to revive the memory of the Past. This is a noble task for according the to Bhagawad Gisa II.63, Humanity gets destroyed by the loss of memory This memory and the power of Almighty Kala is relation to Human activities is described by one of the great philosopher of India as : Sa ramya nagari mahan sa nrpatih samantcakram ca yat, Parsve tasya vidaghasatparisadas tas candrabimbananah ! Utsiktah sa tu rajaputranivahas te bandinas tah kathah Sarvamyasya vasad agat smrtipadam kalaya tasmai namah ||

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84 SAMBODHI References : 1. Atharvaveda, XIX. 53-54. 2. Rgveda, X.42.9 3. The references to Mahabharata are from Critical Edition, Poona, used by Satavalekar. 4. Matsya Purana, 289. 5. Visnu Purana, Press, Gorakhpur Edition. 6. Harishankar Prasad (Ed.). Time in Indian Philosophy, p. 359 ff. for discussions of Kalpa. 7. Vaisesika Sutra, I.S: 11.6.8. 8. Svetasvatara Upanisad, 2. 9. Bhartihari's Vakyapadiya. 10. Abhaydeva, Nisapanna Yogavali (G.O. series, CIX) 11. Sarkaracarya, Saundaryalahari. 12. Pandit Dalsukh Malvania (Ed.) Sthananga and Samavayanga; also Pandit Sukhlalji )Ed), Umasvati's Tattvarthasutra.

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bhAratIya darzana meM abhAva kI samasyA hemalatA zrIvAstava bhATTa mImAMsakoM kI abhAva ke bAre meM yaha dhAraNA hai ki yaha eka vAstavika sattA hai aura isako hama anupalabdhi ke dvArA jAnate haiM / bhATTa mImAMsaka aura advaita vedAntI anupalabdhi ko jJAna kA eka nizcita srota mAnate haiM / parantu anya sabhI sampradAyoM ne isakA virodha kiyA hai / jayanta bhaTTa ke anusAra yadyapi abhAva eka sattA hai, parantu jJAna kA eka nizcita sAdhana anulabdhi nahIM haiM / aba hama sabhI sampradAyoM kA varNana karake yaha nirNaya lete hai ki abhAva ko kisa AdhAra para svIkAra yA asvIkAra karate hai ? kumArila abhAva ke vastuniSTha dRSTikoNa ko mAnyatA pradAna karate hai / abhAvAtmaka tathya cAra bhAgoM meM vargIkRta kiye jA sakate haiM / prathama, prAgabhAva ke antargata hama dUdha meM dahI ke abhAva vAle udAharaNa ko, dUsare pradhvaMsAbhAva ke antargata mRtyu ke bAda vyakti ke abhAva vAle udAharaNa ko, tIsare anyonyAbhAva ke antargata gAya ghoDA nahIM hai aura ghoDA gAya nahIM hai isa udAharaNa ko, tathA cauthe atyantAbhAva ke antargata AkAza-puSpa kA udAharaNa le sakate hai / abhAva AkAza-puSpa kI taraha asat nahIM hai / ___niSedhAtmaka nirNaya se hI niSedhAtmaka tathya kA janma hotA hai / prazna uThatA hai ki isakA jJAna hameM kisa mAdhyama se hotA hai ? aisA anupalabdhi pramANa ke dvArA saMbhava hai / abhAvAtmaka nirNayoM ko pratyakSa aura anumAna ke mAdhyama se nahIM jAnA jA sakatA hai kyoMki ye bhAvAtmaka sAdhana hai / pratyakSa meM indriyapradattoM kA eka nizcita viSaya meM saMbaMdha hai / do astitvavAn vastuoM ke bIca hI saMbaMdha saMbhava hai / zuddha abhAva saMbhava hI nahIM hai / niSedha yA abhAva sirpha zuddha manas ke dvArA saMbhava hai pratyakSa yA smRti ke AdhAra para nahIM / ___ prabhAkara kA abhAva saMbaMdhI siddhAnta kumArila ke viruddha hai / ve na to abhAva ko eka alaga padArtha mAnate hai aura na anupalabdhi ko alaga pramANa / abhAvAtmaka nirNaya vaidha hai kyoMki ye bhAvAtmaka tathya se apratyakSa rUpa se saMbaMdhita hai / bhAvAtmaka astitva kA pratyakSa svayaM ke dvArA do prakAra se saMbhava hai / yahA~ para yaha AkSepa kiyA jAtA hai ki hama do cIjeM maidAna aura ghaTa ko prApta karate hai / aura bAda meM hama sirpha maidAna dekhate hai / aba, yahA~ para ina donoM meM bheda kA kyA kAraNa hai ? agara hama paravartI anubhava ko svIkAra karate hai to prabhAkara ko abhAva kI sattA ko svIkAra karanA cAhie lekina yahA~ dhvaMsAbhAva mAnane kI koI AvazyakatA nahIM hai / ataeva yaha jJAna ki 'maidAna meM koI ghara nahIM haiM, mAtra yaha jJAna hai ki ghara kA kahI aura astitva hai isa lie isa jJAna ko kisI aura pramANa kI AvazyakatA nahIM hai kyoMki jJAna svaprakAza hai / __ abhAva ke bAre meM bauddhoM kA mata kucha hada taka prabhAkara se milatA julatA hai / abhAva ko svataMtra rUpa se nahIM jAnA jA sakatA / abhAva vizeSa samaya, sthAna aura vizeSa viSaya se saMbaMdhita hone ke kAraNa hI anubhava kiyA jA sakatA hai / ataH abhAva ke jJAna ke lie kisI svataMtra pramANa kI AvazyakatA nahIM hai / abhAva yA niSedha kA vAstavika astitva nahIM hai / isI prakAra niSedha niHsvabhAva hai kyoMki hameM abhAva kA koI vizeSa svarUpa nahIM dikhAyI par3atA hai, jo ise dUsarI sattAoM se alaga kara 1. zloka vArtika, abhAva 2. gRhItvA vastusadbhAvaM smRtyA va pratiyoginam / mAnasaM nAstitAjJAnaM jAyate'jJAnapekSayA // zlokatArtika, abhAva-27 /

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86 SAMBODHI sake / ise bhASika anuprayoga meM dUsare prakAra se varNita kiyA gayA hai / naiyAyikoM kA abhAva saMbaMdhI mata bhATTa dArzinikoM se milatA julatA hai / parantu naiyAyikoM kA kucha bAtoM meM, vizeSakara abhAva ke jJAna ke pramANa (srota) ko lekara, bhATTa mImAMsakoM se matabheda hai / bhATTa mImAMsakoM ke anusAra kevala bhAvAtmaka tathya hI pratyakSa dvArA jAne jAte hai na ki abhAvAtmaka yA anupasthita tathya / bhATTa mImAMsaka ke isa siddhAnta se naiyAyika sahamata nahIM hai / usake anusAra yaha jJAna ki bhUtala para ghaTa nahIM hai isa jJAna se ki 'pyAle meM dahI haiM milatA julatA hai / taba yaha kaise kahA jA sakatA hai ki bhUtala kA jJAna pratyakSa indriyoM dvArA aura ghaTAbhAva kA jJAna dUsare srotoM (anulabdhi) dvArA saMbhava hai ? ina donoM kA jJAna hameM tabhI hotA hai jaba hamArI A~kheM kArya karatI hai / aisA pratIta hotA hai ki abhAva AkAra aura raMga se vaMcita hai, aura cU~ki AkAra aura raMgayukta vastueM hI pratyakSa kA viSaya hai, ataH ye A~khoM dvArA prApta nahIM kI jA sakatI hai / kintu uparyukta kathana upayukta nahIM hai / udAharaNArtha, aNuoM ke AkArayukta aura raMgayukta hone para bhI ve pratyakSa kA viSaya nahIM hai / abhAva bhAvAtmaka bindupatha kI eka yogyatA hai / ghaTAbhAva isake bindu arthAt bhUtala se vizeSaNa rUpa se sambaddha hai / A~khoM kA saMbaMdha ghaTAbhAva se bhUtala ke sAtha saMyojana ke mAdhyama se hI saMbhava kumArila AkSepa karate hai ki kisI bhI vastu ko hama kevala pramANa ke mAdhyama se hI jAna sakate haiM / tAtparya yaha hai ki sabhI bhAvAtmaka tathya bhAvAtmaka pramANoM, jaise pratyakSa ityAdi, dvArA aura sabhI abhAvAtmaka tathya niSedhAtmaka sAdhanoM, jaise anupalabdhi, dvArA hI jAne jAte haiM / / kumArila ke isa mata se naiyAyika sahamata nahIM hai / usake anusAra hama abhAvAtmaka tathyoM ko bhI kabhI pratyakSa kabhI anumAna aura kabhI zabda dvArA jAnate haiM / udAharaNArtha, varSA kA na hone kA anumAna hama sUkhe maidAna ko dekhakara hI kara sakate haiM / isI prakAra yaha tathya ki azoka ne kaliMga ke narasaMhAra ke bAda koI yuddha nahIM kiyA aitihAsika tathya hai aura isako kevala itihAsa ke mAdhyama se hI jAnA jA sakatA hai / yadyapi vaizeSikoM ke mata kA khaNDana kumArila ke anuyAyiyoM ne nahIM kiyA hai phira bhI zrIdhara kA pArthasArathi ke abhAva saMbaMdhI dRSTikoNa para paryApta prabhAva dikhAyI par3atA hai / niSedha vAstavika sat hai lekina ise kisI nizcita sAdhana dvArA nahIM jAnA jA sakatA / yaha anumAna dvArA bhI jAnA jA sakatA hai / agara ise anupalabdhi dvArA jAnanA saMbhava hai to yaha bhI kahA jA sakatA hai ki yaha kevala anupalabdhi hI nahIM hai jo hameM niSedha kA jJAna prApta karAtI hai balki yogyAnupalabdhi hai / zrIdhara ke anusAra jaba hameM ghaTa kI upalabdhi hotI hai to jo hameM pahale ghaTAbhAva kA jJAna prApta huA thA, vaha khaMDita ho jAtA hai / udAharaNArtha, kamare meM ghaTAbhAva hai paraMtu usa samaya hama isakA anubhava nahIM karate jaba kucha samaya pazcAt sevaka ghaTa ko kamare meM lAtA hai taba hameM yaha pratIta hotA hai ki kucha samaya pUrva kamare meM ghaTAbhAva thA / kintu bhATTa dArzanikoM ke anusAra pUrvajJAna pazcAtjJAna ho jAne para khaMDita nahIM hotA hai / / zrIdhara ke anusAra aise udAharaNoM meM nyAyika prakriyA sammilita hai / jaba eka vastu smaraNIya hai aura usakA smaraNa nahIM ho pAtA to usakoM vahA~ para anupasthita honA cAhie / 3. nyAyamaMjarI, pRSTha 54-55 4. nyAyakandalI, pRSTha 225-28

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87 Vol. XVIII, '92-93 anupalabdhi kA svarUpa kumArila ke anusAra abhAva ke saMdarbha meM anya pAMca pramANa upayukta nahIM hai / ataH abhAva ke jJAna ke lie anupalabdhi ko pramANa mAnanA Avazyaka hai / dharmarAjadhvarIndra ke anusAra jJAna rUpI karaNa se utpanna na hone vAle abhAvAnubhava ke asAdhAraNa kAraNa ko anupalabdhi pramANa kahA jAtA hai / anumAna vyAptijanya jJAna hai paraMtu anupalabdhi nahIM hai / isalie yaha kahA jA sakatA hai ki jJAnayogya padArtha kI anupalabdhi hI usa padArtha ke abhAva ko siddha kara sakatI hai na ki jJAna ke ayogya padArtha kI anupalabdhi / ... kumArila bhaTTa ke anusAra pramANa aura usase jJeya vastu ke svabhAva meM samAnatA honI caahie| bhAvAtmaka vastuoM kA jJAna bhAvAtmaka pramANoM se aura abhAvAtmaka vastuoM kA jJAna abhAvAtmaka pramANoM dvArA hotA hai / kumArila sat aura asat do prakAra kI vastueM mAnate hai / jayanta bhaTTa uparyukta mata para AkSepa karate hai / unake anusAra abhAva se kahIM-kahIM bhAva padArthoM / pramANa sAmagrI meM abhAva kA bhI samAveza rahatA hai / ataeva pramANa aura prameya meM sattAparaka ekarUpatA kA siddhAnta svIkAra nahIM kiyA jAtA / abhAva ke vAstavika svarUpa ke viSaya meM bhAratIya dArzanikoM ke matoM kA kaI prakAra se vibhAjana kiyA gayA hai / bhATTa mImAMsaka aura advaita vaidAntiyoM ke anusAra abhAva eka padArtha hai aura jisakA jJAna anupalabdhi pramANa se hotA hai / prabhAkara mImAMsaka aura sAMkhya sattA aura asattA ye hI vastu ke do rUpa mAnate haiM / unake anusAra abhAva koI padArtha nahIM hai kintu usakA jJAna pratyakSa dvArA saMbhava hai / naiyAyikoM ke anusAra abhAva eka padArtha hai jisakA jJAna pratyakSa dvArA tathA vaizeSikoM ke anusAra anumAna dvArA saMbhava hai / bauddhoM ke anusAra yaha kalpanA mAtra hai phira bhI inakA jJAna anumAna dvArA saMbhava ___anupalabdhi kI prAmANikatA naiyAyika anupalabdhi kA astitva nahIM svIkAra karate kyoMki unake anusAra isakA artabhAva pratyakSa meM ho jAtA hai / yahA~ para yaha AkSepa hai ki cakSu se abhAva kA grahaNa nahIM kiyA jA sakatA kyoMki indriyA~ svasambaddha artha kA hI grahaNa karatI hai aura abhAva ke sAtha cakSu kA koI saMbaMdha nahIM hai / naiyAyikoM ne upayukta AkSepa ke samAdhAna ke lie vizeSaNa-vizeSyabhAva nAmaka eka naye saMbaMdha kI kalpanA kI hai aura isI saMbaMdha ke abhAva ko pratyakSagamya mAnA hai / udAharaNartha, bhUtala ghaTAbhAva se viziSTa hai / isa kathana meM ghaTAbhAva vizeSaNa tathA bhUtala vizeSya hai tathA 'ghaTAbhAva bhUtala se viziSTa haiM, isameM bhUtala vizeSaNa tathA ghaTAbhAva vizeSya hai / pariNAmasvarUpa isa niyama ke hote hue bhI ki 'indriyoM svasambaddha artha kA grahaNa karatI hai, indriyoM se abhAva kA grahaNa kiyA jA sakatA hai / vedAntI dArzanikoM ko uparyukta saMbaMdha amAnya hai / unake anusAra saMbaMdha ke lie tIna bAtoM kA honA Avazyaka hai / do vyakti jina para vastu Azrita hai, Azrita vastu una donoM vastuoM se bhinna hai tathA usakI svataMtra sattA hai / ye tInoM bAteM vizeSaNa-vizeSyabhAva saMbaMdha para nahIM ghaTita hotI hai / isalie yaha saMbaMdha nahIM hai / 5. jJAnakaraNAjanyAbhAvAnubhavAsAdhAraNakAraNam anupalabdhirUpaM pramANam anumAnAdijanyAtIndriyAbhAvAnubhavavahetAvanumAnAdAvati vyAptivAraNAyAjanyateti / vedAntaparibhASA, lakhanaU 2021 pRSTha saMkhyA 214-15 / 6. abhAvazca kvacilliMgamihyate bhAvasavidaH / tasmAdyuktamabhAvasya nAbhAvenaiva vedanam / nyAyamaMjarI, 1.51.

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88 SAMBODHI isake uttara meM naiyAyikoM kA kahanA hai ki vizeSaNa-vizeSyabhAva, meM saMbaMdha na hone para bhI usameM saMbaMdhatva kA abhinirUpaNIyatva rUpa sAdharmya hai / ataeva ise upacAravaza saMbaMdha kahA jA sakatA hai / naiyAyikoM ke anusAra usI abhAva kA grahaNa hotA hai jisameM vizeSaNatA rahatI hai| bauddhoM ke anusAra to vizeSaNa vizeSyabhASa ko saMbaMdha mAnA hI nahIM jA sakatA, kyoMki unake anusAra yaha kalpanAmAtra hai / abhAva kA usa vastu ke sAtha koI sahaastitva yA samanvaya nahIM ho sakatA jisakA abhAva batAyA gayA hai / udAharaNArtha, koI ghaTa kisI samaya kisI sthAna para hai. to usa samaya usa sthAna para usake astitva kA niSedha saMbhava nahIM / isI prakAra yadi vaha ghaTa nahIM hai to usa samaya usa sthAna para usa ghaTa ke astitva ko siddha nahIM kiyA jA sktaa| ___ jayanta bhaTTa bauddhoM ke uparyukta mata kI samIkSA karate hue kahate hai ki kisI eka ghaTa ke naSTa ho jAne para yaha nahIM kahA jA sakatA ki sabhI ghaToM kA nAza ho gayA hai / abhAva bhI apane astitva yA vinAza ke lie kAraNa kA anuvartana karatA hai / ataeva jayanta bhaTTa ke anusAra vikAra meM abhAva kI vastusattA hai aura vizeSaNa vizeSyabhAva ke mAdhyama se usakA pratyakSa hotA hai / prazastapAda ke anusAra anupalabdhi kA artabhAva anumAna meM ho jAtA hai jaise utpanna kArya ko dekhakara kAraNa sAmagrI kA anumAna hotA hai, isI prakAra ghaTAdi kArya ke prAgabhAva se usakI kAraNa sAmagrI ke abhAva kI bhI anumAna se siddhi ho jAtI hai| 7. abhAvo'pyanumAnameva / yathotpanna kArya kAraNasadbhAve liMgam, evamanutpanna kArya kAraNAsadbhAve liMgam / prazastapAdabhASya : anu. pra.

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lADolanI ArasanI jinapratimAonA dasa abhilekha lakSamaNabhAI bhojaka zrI lAlabhAI dalapatabhAI bhAratIya saMskRti vidyAmaMdiranA saMgrahamAM lADolathI lAvavAmAM Avela ArasanI abhilekhayukta 10 jina pratimAonA lekha ahIM prakaTa karavAmAM AvI rahyA che. lekho saMvata (1) 313 (i.sa. (1) 257) thI saM. 1337 (i.sa. 1281) paryantanI mitI dharAve che. abhilekho lATApallI-hAlanA lADola-nA kAvyasahikA caitya aMdara (moTe bhAge bhamatI Adi) mAM pratiSThita thaI haze tevI jinamUrtionA saMbaMdhamAM che. ATha lekhonA pratiSThiApaka AcArya caitravAla-gacchanA zAlibhadrasUrinA ziSya dharmacandra che, jayAre be pratimAo nANakIya gacchanA dhanezvarasUridvArA pratiSThita thayelI che. lekho saMbaddha mukhya hakIkato nIce tAlikAmAM dazavI pachI tenA mULa pATho sAlavArI anusAra prastuta karyA che. traNa lekhomAM lADolanuM prAcIna nAma lArApallI hatuM teno mahattvapUrNa ullekha maLe che; taduparAnta tyAM kAvvasahikA nAmanuM jinAlaya hatuM tevI prathama ja vAra bhALa cAra lekho dvArA maLe che. caitravAla, caitra (vA citravAlaka) gaccha saMbaMdhi sAhityika ullekho to che, paNa ahIM tenA saMbaMdhamAM abhilekhIya pramANa maLyAM hoI te vAta mahattvanI banI rahe che. pratimAnA kArApako moTe bhAge ukezavaMzanA (eTale ke osavALa jJAtinA) che, mAtra saM. 1326 (lekhAMka 5) nA kArApaka pallikAla jJAtinA che. saM. 1325 (lekhAMka 4)nA kArApakarUpe zreSThi kAhUnA putra jasaDanAM pUnamAlAdi putro che ane te lekhamAM svakIya devagurukhattakano ullekha jotAM saMbhava che ke je zreSThi kAhUe A jinAlaya baMdhAvyuM hoya ane jemanA nAmathI maMdira kAvvasahikA caitya kahevAtuM haze teno ja A parivAra jaNAya che. to pachI maMdira saM. 1313 (i.sa. 1257) thI lagabhaga traNeka dazakA pahelAM to baMdhAI cUkayuM hovuM ghaTe. A lekhothI gujarAtamAM vAghelAkAlIna abhilekhonI sUci vRddhigata thAya che. lekhAMka saMvata gAmanuM nAma jinAlayanuM nAma pratimA nAma pratiSThApaka AcArya 1 (1)313 lATApallI kAvvasahikAcaitya ajitasvAmi dharmacandrasUri 2 1320 lATApallI kAvvasahikAcaitya bimbakhattaka caitragacchIya zAlibhadrasUri sahita ziSya zrIdharmacaMdrasUri 1320 lATApallI kAvvasahikAcaitya neminAtha caitragaccha zAlibhadrasUriziSya khattaka sahita . zrIdharmacaMdrasUri 1325 - svakIya deva gukhatta ke zAMtinAtha 5 1326 1326 - zAMtinAtha caitravAlagacche zAlibhadrasUri ziSya dharmacaMdrasUri 1330 - caitragathvIya suvratasvAmi nANAkIyagara che kACvasahikA, dhanezvarasUri 1330 - caMdraprabhasvAmi " 8 1331 - ajitasvAmi zAlibhadrasUri ziSya dhamacaMdrasUri 1331 AdinAtha biMba caitragaccha zrIdharmacaMdrasUri 1337 biMba 10 * dareka lekhanA AraMbhe kauMsamAM Apela saMdarbha lA.da. saMgrahAlayamAMnA mUrtikramAMka dazAve che. - saMpAdaka

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SAMBODHI (mU.kra. 194 : pabAsaNa : sapheda Arasa : 20 x 57 se.mI.) saMvat 1313 varSe phAlgu. sudi 4 lATApallI zrI kAnhUvasahikAyAM caitye ukesavAlajJAtIya pUniputrikA rAjU Atmazreyo) zrIajitasvAmibiMbaM kAritaM zrIdharmacaMdrasUribhiH // ____(mU.ka.175 : pabAsaNa : sapheda Arasa : 20 x 57 se.mI.) saMvat 1320 varSe mAha zudi 10 dazamyAM gurau lATApalyAM zrIkAnhUvasahikAcaitye zrIukesavAlajJAtIya zre. jAjA zre. jAlU suta zre. vAhaDena mAtRpitRzreyo) zrIkhattakasahitaM kAritaM prati. zrIcaitragacchIya pUjya zrIzAlibhadrasUriziSyaiH zrIdharmacaMdrasUribhiH // (mU.kra. 176 : pabAsaNa : sapheda Arasa : 21 x 58 se.mI.) saMvat 1320 varSe mAha sudi 10 dazamyAM gurau lATApalyA zrIkAnhUvasahikAcaitye zrIUkesavAlajJAtIya zre. jAjA zre. jAlU tatsuta zreSThi bAhaDena bhAryA nAladevi zreyorthaM zrIneminAthabiMbaM khattaka sahitaM kAritaM pratiSThitaM zrIcaitragacche prabhu zrIzAlibhadrasUriziSyaiH zrIdharmacaMdrasUribhi : // cha / __(mU.kra. 179 : pabAsaNa : sapheda Arasa 21 x 58 se.mI.) saMvat 1325 varSe phAguNa sudi 4 budhe zre. kAnhU suta zre. jasahaDa suta pUnamAla zre. jayanAdevakumAra zre. ratanena pitA jasahaDa mAtR deI zreyo) svakIyadevagurukhattake zAMtinAthabiMbaM kAritaM pratiSThitaM zrIcaitragacche zrIzAlibhadrasUriziSyaiH zrIdharmacaMdrasUribhiH // zrI // (mU.kra. 218 : kAusaggamAM ubhA zAMtinAtha : sapheda Arasa : 137 x 49 se.mI.) saMvat 1326 varSe caitra vadi 12 zukre pallIvAlajJAtIya zre. dhaNapAla bhAryA zre. mAdhava tatsutayA karpUrayA AtmazreyothaM zrIzAMtinAthabiMbaM kAritaM pratiSThitaM zrIcaitravAlagacche zrIzAlibhadrasUriziSyaiH zrIdharmacaMdrasUmibhiH // maMgalaM mahAzrIH // (6) (mU.kra. 198 pabAsaNa-parikara : sapheda Arasa : pabAsaNa 31.5 x 35 se.mI. parikara 51 x 90 se.mI.) saM. 1330 varSe caitra vadi 7 zanau caitragacchIya kAnhUvasahikAyAM zrInANakIyagacche Thakkuragotre ukezajJAtIya zre. yazodeva su. jAjA bhAryA jAlU suta vAhaDena bRhadbhAtR AMbaDa tadbhAryA hAsala zreyo) zrIsuvratasvAmibiMbiM kAritaM pratiSThitaM zrImaddhanezvarasUribhiH // (mU.kra. 199 : pabAsaNa : sapheda Arasa : 30 x 89 se.mI.) saM. 1330 varSe caitra vadi 7 zanau zrInANakIyagacche Thakkuragotre upakezajJAtIya zre. yazodeva suta zre. jAjA bhAryA zre. jAlU suta zre. vAhaDena Atmazreyo) zrIcaMdraprabhasvAmibiMbaM kAritaM pratiSThitaM zrIdhanezvarasUribhiH //

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vat you. www Vol. XVIII, '92-93 (8) (mU.kra.200 : pabAsaNa : sapheda Arasa : 21.5 x 58 se.mI.) saMvat 1331 varSe vaizAkha zu.4 some zrIcaitragacche zrIzAlibhadrasUriziSya paM. ajitacaMdreNa Atmazreyase zrIajitasvAmibiMba kAritaM prati. zrIzAlibhadrasUriziSyaiH zrIdharmacaMdrasUribhiH // zrI : // (mU.kra.201 : pabAsaNa : sapheda Arasa : 10 x 30 se.mI.) saMvat 1331 vai.su. 7 gurau zre. vayajala pAla zre. zrIAdinAthabiMbaM kAritaM zrIcaitragacche pra. zrIdharmacaMdrasUribhiH // (10) (mU.kra.202 : pabAsaNa : sapheda Arasa : 20 x 58 se.mI.) saMvat 1337 varSe mAgha vadi 7 bu(dhe) uvaesavAlajJAtIya zre. ratana suta mANika vayajalAbhyAM mAtR jAsU zreyase zrIAdinAthabiMbaM kAritaM pra. zrIcaitragacche zrIzAlibhadrasUriziSyaiH zrIdharmacaMdrasUribhiH / /

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kizoralAla mazarUvALAno karmavicAra madhusUdana badhI karmavicAra mazarUvALAnA mate advaita, viziSTAdvaita sezvara, nirIzvara, vaidika, jaina, bauddha game te vAda hoya paNa kuMbhAranA jevo sRSTino ghaDanAra izvara hiMdu paraMparAmAM mAnya thayo nathI. izvara uparAMta A paraMparAmAM kamI nAmanI zaktino paNa svIkAra karavAmAM Avyo che. khAsa to sezvara matomAM "izvara ane karmanuM koIkane koIka prakAranuM kirAjakatva svIkAravAmAM AvyuM che. A abhigamane lIdhe Izvara svecchAcArI savadhikArI" raheto nathI ane karma paNa saMpUrNapaNe svAdhIna rahetuM nathI. Izvarane karmaphaLapradAtA tarIke ke kevaLa sAkSI ke akata tarIke paNa svIkAravAmAM Avyo che. mazarUvALA e paNa spaSTa kare che ke Izvarane zaraNe gayelA bhaktone mATe IzvaranuM savadhikAritva mAnya thAya che paNa je lokoe AvI ananya zaraNAgati na svIkArI hoya temane mATe to Izvara karmaphaLapradAtA tarIke ja svIkArAya che, ane tethI karmanuM Adhipatya ja rahe che. karmavAda pramANe saMsAranAM sukhaduHkha mATe Izvara nahIM, paNa karma ja javAbadAra che. ApaNe vartamAna sthiti mATe ApaNAM kama ja javAbadAra che ane ApaNI vartamAna sthitimAMthI bahAra nIkaLavA mATe ke te sthitimAM pheraphAra karIne pragati lAvavA mATe paNa karma ja javAbadAra che; e karmo A janmanAM hoya ke pUrvajanmanAM hoya, pUrvajonAM hoya ke pachI samagra samAjanAM hoya. jo ke IzvaranI zaraNAgati svIkAranArane mATe ApaNI vartamAna paristhitimAM jhaDapI parivartana lAvavAnuM IzvaranI zaraNAgatine lIdhe thAya che, bAkI karmanA niyamanuM pravartana to sahue svIkAravuM ja rahyuM. (saMsAra ane dharma, 8586). karmakSaya ane pravRtti vize spaSTatA karatAM mazarUvALA lakhe che ke jyAM sudhI deha che tyAM sudhI karma karavAnuM sAva choDI devuM zakya nathI paNa jANe ajANye thatI koI paNa kriyA vividha prakAra prakAranAM sthULa sUkSma pariNAmo samakAlika rIte ke anukAlika rIte nIpajAve che. AvAM karoDo kamanI asarothI darekanuM cAritra vyaktitva ghaDAya che. jeTaluM A ghaDatara uttarottara vadhu zuddha thatuM jAya tema tema kamano kSaya mAnavo ane jo uttarottara azuddha thatuM jAya, to karmano saMcaya mAnavo. (saMsAra ane dharma, 181-84, samULI krAMti, 208-11). kamavicAramAM keTalIka kSatio mazarUvALAe dazavI che, jemAMnI keTalIka nIce pramANe che: (1) je te vastune vyaktinAM ja pUrvakamanAM pariNAma tarIke ghaTAvavAmAM Ave che, eTaluM ja nahIM paNa ghaNI badhI paristhitine te paristhitimAM mUkAyelI vyaktinAM potAnAM pUrvajanmanAM karmonAM pariNAmo tarIke ghaTAvavAmAM Ave che. dA.ta. bALamaraNa, aspRzyatA, dukALa, bALavidhavAnI avasthA, roga vagere mATe - "jenAM jevAM kama" tevuM kahIne - chUTI javAmAM Ave che. prArabdha bhogavyA vagara cAle ja nahiM ema mAnIne jJAnIonI parigraha ane bhogavRttino paNa bacAva karavAmAM Ave che. (2) ApaNAM potAnAM ke anyanAM pUrvaka ke samAjanAM pUrvakane tenAM sAmAnya arthamAM levAne badale haMmezAM ekadama pUrvajanmanAM kama tarIke samajavAmAM Ave che. dA.ta. be divasa pahelAM khAvAmAM aviveka thaI jAya to vyaktinI pAcana kriyAmAM je muzkelIo thAya tene vyaktinA tAjetaranA pUrvakarmanAM pariNAma tarIke levAmAM Ave che, paNa koI kAyamI roga vyaktine thayo hoya to tene pUrvajanmanAM karmonuM phaLa gaNavAmAM Ave che. koI vastunuM kAraNa khabara na paDe to tarata ja loko tene pUrvajanmanAM karmo sAthe joDI de che. kharekhara to, pUrvakarmano artha mazarUvALA pramANe to eTalo ja koI paNa vartamAna sthiti manasvI IzvaranA toranuM pariNAma nathI paNa "AjanI sthiti bhUtakALanA AcaraNanuM pariNAma che". kizoralAlanI draSTie "badhA anubhavone pUrvajanmanA karma sAthe jhaTa laIne joDI devAnI AvazyakatA nathI." (jIvanazodhana, 222).jIvananAM ApaNA anubhavo ke paristhitinAM moTA bhAganAM kAraNo, mazarUvALA pramANe, ApaNAM A janmanAM ja karmo ane saMkalpomAM joI zakAya che. "gujarAta tattvajJAna pariSada, bhadrezvara (kaccha), 16-17-18 phebruArI 1992 mAM rajU kareluM pepara.

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93 Vol. XVII, 92-193' (3) ApaNAM sivAya bIjAnAM pUrvaka ApaNe Aje je pariNAma sahana karIe chIe tene mATe javAbadAra hoI zake (4) A uparAMta ApaNAM niyaMtraNamAM na hoya tevAM prAkRtika baLone lIdhe paNa ApaNe keTalIka pariNAmarUpa paristhiti bhogavavI paDe che. jema ke rela, vIjaLI, bhUkaMpa vagere. pUrvakarmavAda vyaktine ja javAbadAra TharAve te ThIka nathI, kAraNa ke, dRSTAMta tarIke laIe to, mAbApanA durAgrahathI bALalagna thayA pachI koI chokarI bALavidhavA thAya to te chokarInAM nahIM paNa tenAM mAbApanAM pUrvaka javAbadAra che. bIjuM vRSTAMta "huM AgagADImAM besuM e mAru karma kharuM paNa Aga gADIne akasmAta thavAmAM gArDa, DrAIvara, Tezana mAstara vagerenAM karmano ja vadhAre baLavAna hAtha gaNAya." (jIvana zodhana, 223) mazarUvALA mujaba svakanAM ja phaLo ApaNe bhogavavAnAM rahe che tevo "ekAMtika niyama" pravartato nathI." mazarUvALAnA karmavicAranI samIkSA manuSyanA sukhadukha ke tenI vartamAna paristhiti mATe javAbadAra paribaLonuM vizleSaNa karavAnI mazarUvALAnI paddhati upayogI jaNAya che kAraNa ke tevAM vizleSaNamAM teo koI eka ja ghaTakane savaze javAbadAra gaNatA nathI. vyakti atyAre je paristhitima mUkAyelI che te paristhiti tema ja tenA saMdarbhamAM te sukhaduHkha bhogave che te anubhavo mATe vyaktinAM potAnAM karmo, anya vyaktionAM pUrvaka, sAmAjika paristhiti paraMparA, mALakhuM ke rUDhi, keTalIka kudaratI Apattio vagerenuM pradAna che te nirvivAda che. mazarUvALA moTA bhAganAM kAraNomAM koI vyaktinAM potAnA ke anya vyaktinA A janmanAM saMkalpo ane kAryone ja javAbadAra gaNe che. tethI teo mAne che ke koI paristhitinAM kAraNa tarIke tarata ja pUrvajanmane joDI devAnI jarUra nathI. svakarma, parakarma, ubhaya ke Adhidaivika kAraNo paNa pravartI zake che. jagatamAM pApa vadhI javAthI ativRSTi ke duSkALanI sthiti Ave che tevI mAnyatA paNa mazarUvALAne vAhiyAta lAge che, je yogya ja che. moTe bhAge mazarUvALA pUrvakama" zabda prayoje che, "pUrvajanmanAM" karmo tevA zabdo nahi." koI chokarI bALavidhavA thAya to tenuM kAraNa tenA mAbApanA A janmanAM karmo ja che. teno artha e thayo ke satIprathA, bALalagno, dahejaprathA vagere aMgenA manovalaNomAM sAmAjika Arthika paribaLone lIdhe parivartana thAya ke kAyadAkAnUna badalAya to bALavidhavAo, satIo ke dahejano bhoga bananAra strIonI saMkhyA zUnya thaI zake. Ama sAmAjika taMtro badalAya, ke sAmAjika-rAjakIya vyavasthAomAM krAMtikArI pheraphAra thAya to vyaktine taMtrane lIdhe je yAtanAo khoTI rIte sahana karI paDe che te dUra thAya che. Ama jagatanAM keTalAMka aniSTo koI eka vyaktine adhIna na hoya tevAM sA rAjakIya-Arthika taMtro ane manuSyonAM niyaMtraNamAM na hoya tevI kudaratI Apattione lIdhe sarajAtAM hoya che. "dukALa paDe che te dukALiyAonAM svasaMkalpathI ja ema bhAgye ja kahI zakAya. e brahmAMDanA saMkalpanuM eTale ke brahmAMDanI zaktionuM pariNAma che." (jIvanazodhana, 224) A vAkyano brahmAMDa vizeno chello bhAga gaMbhIratAthI na laI zakAya paNa mazaruvALA A vAkyanAM pahelA bhAgamAM je kahe che te sarva svIkArya che. Ama dareka ThekANe vyaktinAM A janmanAM pUrvakane AgaLa karavAM e paNa ayogya che ane pUrvakamAMye pUrvajanmanAM karmo AgaLa karavAM e bhUla che ema mazarUvALA mAne che, je yogya ja che. mazarUvALAe moTAbhAganAM ApaNA vartamAna anubhavone mATe pUrvajanmanAM karmanI dhAraNA upayogamAM lIdhI nathI. e ja vAtane AgaLa laI jaIne ApaNI koI paNa atyAranI paristhiti mATe pUrvajanmanAM karmo javAbadAra nathI ema koI kahe to te vAta vajUdavALI jaNAya che. prazna e che ke jo bALavidhavAnI yAtanA sAmAjika kurivAjone lIdhe samajAvI zakAtI hoya, dukALa pIDitonI yAtanA kudaratI Aphata ke mAnavasarjita bedarakArInI sthiti sAthe joDI zakAtI hoya, pote karelA gunA mATe jelavAsa bhogavI rahelI vyaktinI sthiti jotAM potAnAM karmathI samajAvI zakAtI hoya ane koI bIjI vyaktinA pUrvakane lIdhe ApaNe bhogavavuM paDatuM hoya to pachI evuM koI cokkasa dRSTAMta ApavuM paDe ke jayAM svakarma, parakama kudaratI ane sAmAjika paristhiti koI javAbadAra na hoya ane pUrvajanmanuM amuka karma A janmanI A vyaktinI A paristhiti mATe javAbadAra che tevuM spaSTa rIte darzAvI zakAya. AvuM koI nakakara draSTAMta ApI zakAya tema nathI. je draSTAMto ApavAmAM Ave temAM svakarma, parakarma, sAmAjika paristhiti ke kudaratI paristhitine kAraNarUpa darzAvI zakAtI

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94 SAMBODHI hoya che. eTale kamane svIkAranArAe A badhI paristhiti paNa pUrvajanmanAM karmane adhIna che. tevuM kahevuM paDe ane teo tema kahe to manuSyanAM A jIvananAM tamAma karmo pUrvajanmanAM kamane adhIna che tema svIkAravuM paDe, je koI rIte sthApI zakAya nahiM. A saMjogomAM karmavAdIe adrazya tattvo dhAravAM paDe che. mazarUvALA pote mAne che ke adrazya zakti svayaMsiddha sattA tarIke svIkArya che ane karma, punarjanma vagerenI mAnyatAne teo saMbhavanIya gaNe che. paramAtmA paranI niSThAmazarUvALAnI draSTie svataHsiddha che, jayAre punarjanma ane mokSavAda vagere mAtra saMbhavanIya che. "maraNottara sthiti vize je kaMI khulAso karavAmAM Avyo che, te mAtra saMbhavanIya tarka che e yAda rAkhavuM joIe. jo purnajanma che ja ema kahenAra sAme ema kahevA mATe koI pramANa nathI evo AkSepa mUkavAmAM Ave, to punarjanma nathI ja ema kahenAra sAme paNa e ja AkSepa mUkI zakAya" (jIvanazodhana, 121). mazarUvALA nA sUcana mujaba zreyArthIoe A vAdavivAdamAM paDavAnI jarUra nathI. kizoralAla ema paNa kahe che ke "je pharIthI janma levA mATenAM saMkalpo nimaNi kare tene mATe to punarjanma ane mokSa e banne satya thaI zake che" (jIvanazodhana, 125). eTale ke jo koI punarjanmamAM mAnatuM hoya ane temAM irAdApUrvakano saMkalpa bhaLe to punarjanma satya bane che ane je temAM na mAnato hoya paNa purnajanmano kAyado satya hoya to te tene lAgu paDe ja temAM teno saMkalpa bhaLelo na hoya. A badhI rajuAtothI spaSTa thAya che ke paramezvara ke aMtima tattvanI svayaMsiddhatA ne mazarUvALA karma, punarjanma, mokSa vigere vibhAnavAothI bhinna evo sattAlakSI ane jJAnalakSI darajjo Ape che kAraNa ke punarjanmanI virUddha pratIti karAvanArAM pramANo nathI paNa tene sAbita karanArA paNa pramANo nathI eNe ja te saMbhavanIya aTakaLo ja che. TUMkamAM paramatattva pramANAtIta hovA chatAM nizcayakSama decidable che. jayAre karma, purnajanma vagere anizcayakSama undecidable che tevuM mazarUvALAne abhipreta che. jo ke mazarUvALA ema mAne che ke punarjanmano vAda zreyArthIne zreya mATe puruSArtha karavAmAM jabaruM prerakabaLa pUruM pADe che. punarjanmavAda mokSavAda khoTA hoya to paNa zreyArthIne zreya mATe prayatnazIla rahevAnAM pUratAM kAraNo che tevuM paNa mazarUvALA mAne che. have A saMdarbhamAM keTalIka bAbatono vicAra karIe:(1) mazarUvALAnA pUrvakarmanA vizleSaNa mujaba moTA bhAganA anubhavo ke paristhitino khulAso thaI zake che te jotAM pUrvajanmanA karmanI dhAraNA koI rajU kare to paNa tenuM kSetra khUba ja maryAdita thAya che. (2) mazarUvALa lakhe che ke badhe tarata ja pUrvajanmanA kamane mAnI levuM yogya nathI teno artha evo ke kayAMka pUrvajanma no karmo no saMbaMdha darzAvI zakAya che paNa cokkasa kayAM pariNAmo pUrvajanmane lIdhe che te aMge temaNe koI spaSTatA karI nathI. (3) adrazya bAbatonI lokottara dhAraNAono je atyAranA samAjavijJAno, itihAsa, prAkRtika vijJAno vagerenAM kSetre svIkAra thato nathI ane vyaktinI paristhiti mATenAM paribaLone karmavAda ke punarjanmavAda vagara te te kSetronA saMzodhakoe oLakhI batAvyA che. kAnUnI kSetre paNa javAbadArI-nidharaNa mATe vyaktinAM pUrvaka jovAya che, tenAM pUrvajanmanAM karmo nahiM. ghaNI badhI bAbatonA khulAso thaI na zakatA hoya to paNa mazarUvALA jene saMbhavita dhAraNAo gaNe che teno ja AdhAra levo paDe tevuM prasthApita thaI zake tema nathI. mazarUvALA pote paNa A bAbatamAM AgrahI jANatA nathI te yogya ja che. (4) mazarUvALAnI karma vagere bAbatonI rajUAta pratyenI sAvacetI ghaNI noMdhapAtra jaNAya che. dA.ta. teo lakhe che : "dekhItAM pariNAmo athavA anubhavonAM agocara kAraNo vize athavA pratyakSa karmonAM agocara phaLa vize sayuktika jaNAtI kalpanA te vAda che. vAdane siddhAMta mAnavAnI bhUla na karavI joIe siddhAMta e anubhavathI ke prayogathI zodhAyelo acaLa niyama che" (jIvanazodhana, 388). A draSTie mazarUvALAe 'karmavAda' zabda prayojyo che, karmasiddhAMta nahi. mazarUvALAnAM mukhya pratipAdana mujaba svasaMkalpajanata, parasaMkalpajanita ane ubhayajanita pariNAmono vicAra

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95 Vol. XVIII, '92-93 karIe ke prAkRtika sthitino vicAra karIe to ghaNAM badhA anubhavono ane paristhitiono khulAso maLe che. e saMjogomAM jayAM tyAM pUrvajanmanA kama samajavAnI jarUra rahetI nathI. paraMtu kyAM kyAM pUrvajanma dhAravo paDe te bAbata mazarUvALA spaSTa karI zakayA nathI. athavA temane te Avazyaka jaNAyuM nathI. karmavAda ke kamavicAramAM kayAM karmo naitika che, kayA anaitika che, kayAM kama taTastha che, konuM kevuM keTaluM ane kyAre pariNAma Ave che. e pariNAmo keTalA pramANamAM sakhadAyaka ke dakhadAyaka che ane karmo temaja tenAM pariNAmo vacce zA mATe A prakArano saMbaMdha che vagere prakAranA ghaNA prazno uddabhave che. A badhI bAbatono vigatavAra AMtarasaMbaMdha sthApyA. vagara kamavicAra aparyApta rahe che. mazarUvALAe karmavAdamAM AmAMthI keTalIka bAbato vize vicAra karyo che te rasaprada che ane nakkara vigato laIne karmavAda tenA upara keTalo prakAza pADe che te rIte vicAravAthI vadhu spaSTa thaI zake che. mazarUvALA kabUle che keTalIka bAbatonA kAraNo aprakaTa rahe che. ApaNI buddhi AvAM aprakaTa kAraNone zodhe che.

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kavi lIMbophatA RSabhadeva sAga : eka paricaya (anumAne 16 mo zata) kanubhAI va. zeTha prAstAvika prAcIna madhyakAlIna gujarAtI sAhityanI eka viziSTatA e che ke te bahudhA padyAtmaka che. gadya nagaNya che. emAM upalabdha prAraMbhanuM sAhitya eTale jenonuM ja sAhitya. uparyukta padyAtmaka sAhityanI svarUpanA prakAronI apekSAe anveSaNA karavAmAM Ave to emAM rAsa, copAI, prabaMdha vagere dIrgha kAvyaprakAro sAthe sAthe phAgu, bAramAsI, vivAhalo, saMdhi, dhavala, velI jevAM laghu kAvya prakAro vikaselA jovA maLe che. laghu kAvyaprakAromAM phAgu prakAranA kAvyo paratve jaina kavionuM pradAna pramANa ane kavitvanI apekSAe noMdhapAtra che. atre aghayAvat aprasiddha kavi lIMbokata 'RSabhadeva phAga' kAvya saparicaya rajU karela che. pratavarNana ane saMpAdana paddhati prastuta kRtinuM saMpAdana lA.da. bhAratIya saMskRti vidyAmaMdira, amadAvAdanA puNyavijayajI hastaprata graMthabhaMDAra kramAMka pa1panI eka mAtra prata parathI karela che. pratamAM kule eka patra che. patranuM mApa 24.54105 se.mI. che. banane bAju 2 se.mI. no hAMsiyo che. patramAM ekaMdare 15 paMktio ane 42-43 akSaro che. kula 27 kaDIo che pAtaLA kAgaLanI roDadAra nAgarIlipimAM lakhAyelI che. rAga, DhAla vagere tathA zloka kramAMka lAla karelA che. pratano lekhana saMvata prApta thato nathI paNa lekhana paddhati anusAra anumAne te sattaramA zatakano hoya ema lAge che. AraMbhaH rAga kedAro. prathama zloka saMskRtamAM ataH iti zrI RSabhadeva phAga stavana. prastuta kRtinuM saMpAdana eka mAtra prata parathI karyuM che. sarvatra mULa pATha kAyama rAkhyo che. keTalIka jagyAe pATha paDI gayelo che. teneu kauMsa dvArA darzAvyo che. kAvyano kata kavi lIMbo enI racanA saMvata prApta thatI nathI paNa te anumAne soLamA zatakano aMta bhAgamAM enI racanA thaI haze. sevaka lIMbau [bo]laIe, tujha tolaI kuNa svAmi, dehi vimala mati jagapati, huM lINau toraI nAmi. 27 A kavi lIMbA viSe koI anya mAhitI prApta thatI nathI. paNa eNe A kAvya sivAya pArzvanAtha nAnA saMgarasa caMdrAulA' (kaDI 49), devapUjA gIta" (kaDI 15), covIsa jina namaskAra' (kaDI 25) ane "vIsa viharamAna jina gIta' (kaDI 20) jevI racanA karI hovAno ullekha maLe che. RSabhadeva phAgaH eka kAvya tarIke RSabhadeva phAga e ra7 kaDInuM phAgu kAvya che vaNyaviSaya jaina paraMparAmAM prasiddha prathama tIrthaMkara RSabhadevanA caritra - prasaMgane A lekhavAnA che. kAvyanA prAraMbhamAM kavie saMskRtamAM zAradAnuM smaraNa karIne, "nAbhinaMdana aSabhadeva ne namana karIne emanA vaMza 1. prAcIna-madhyakAlIna paraMparAmAM AvA lagabhaga 117 kAvya prakAro hovAnuM zrI agaracaMda nAhaTAe noMdhyuM che. juo, prAcIna kAvyonI rUpa paraMparA, bIkAnera 1962, pR. 2-18.

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Vol. XVIII, "92-93 sthApanA vagere aMge 'phAgabaMdhamAM kahevAno upakrama karyo che? zrIzAradAM hRdi dhyAtvA, natvA zrInAbhinaMdanaM, vaoNAM, tevA sthApanA.. RSabhadeva yauvanavaya pAmyA te samaye Idra mahotsava karyo pachI emane te siMhAsana para bIrAjamAna kare che, te prasaMga kavi saMkSiptamAM Alekhe che. rAja samaya jANI karI, karaI mahotsava Ida, bahu AbharaNaI zobhatAM, siMhAsaNi jiNacaMda 5 bihu pAsaI cAmara DhalaI, meghADaMbara chatra, rAja karaI ralI AmaNuM, RSabhadeva supavitra. 6 vasaMtaRtuno AraMbha thatA prakRtimAM je parivartana thAya che. enuM kavie ucita suMdara prAsa ane anuprAsanI sahAya vaDe karela varNana rUcira banI rahe che. eka avasari hiva hoI, Rtu madhu mAdhava joI, mAdhavI mahamahaIe, madhukara gahagaI. caMpaka bahula maMdAra, mahoMya savi sahakAra, malayAcala taNIe, surabhi pavana ghaNaue. 8 lavaMga tAla tamAla, karaNI veli gulAla, vana ralIAmaNu e, ehave sohAmaNuM e. vasaMtanA prabhAve krIDA karatA yugalo ane devo, sumadhura svare gAna karatI kokilA, vartulamAM pharatA yugalo, jaLamAM keli karatA yugalo, kusuma-seja bIchAvatI mRganayanI gajagAminI nArIo, aMga para zaNagAra karatI nAcatI apsarAo vagere nA prAsAnuprAsanI racanAnI sahAyathI kavie surekha citro upasAvyAM che. eka khaMDoneli khelaI, geli karaI jala-keli, eka vilepana bAvana, caMdana mRgameda mila. 11 puSpa taNA ghara ke karaI, ke karaI kusumanI seja. mRga-nayaNI gajagAminI, ANaI adhikaI heja. 12 apachara nAcaI ragi, aMgi karI siNagAra, mAdala bhUgala bharIa, tAla napherIa eka 13 RSabhadevane kevalajJAna thayuM te prasaMge airAvata hAthI para ArohaNa karI AkAzamAMthI utarI Avela Idra tathA kanakaratha para ke azva para ke rAjahaMsa para ke garuDa ke vRSabha para besI AvelA anya covIsa devonuM varNana kavie saMkSiptamAM surekha AlekhyuM che tathA emaNe karela samosaraNa'nI racanAnuM varNana lakSapAtra che. sahasa varisa hatuM niramala, kevalanANa niNaMda, amara AkAtihiM UtaraI, UtaraI apachara vRda, 19 Idra airAvaNa vAraNa, ArohaI manaragi, eka kanakaratha baIThalA, caDhialA eka turaMgi, 20 rAjahaMsa sura ke caDhayA, ke caDhiyA gaguDi vimAna, kaI vRSabha-vara vANi, ke paMcAnaNi jANi. 21 juo. jaina gUrjara kavio, le.mo.da. desAI 1

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SAMBODHI INi pari cauvIha deva, AvyA karavA seva, samosaraNa karyuM che. puNya potaI bharyuM e. RSabhadevanA kevalajJAna prApti prasaMge emanI mAtA marudevI tyAM hAthI para caDhIne upasthita thAya che. te prasaMge kavie kaMDArela zabda citra ane te prasaMga noMdhapAtra che. hastI caDhi marudevi, tihAM AvaI tatakhevi. AnaMdaI bharIe, pAmaI zivapurI e. 23 kAvyane aMte kavi potAnA nAmano ullekha karI vimalamati jagapati'nuM smaraNa kare che. sevaka lIMbau [bo]laIe, tujha tolaI kuNa svAmi, deha vimalamati jagapati, huM lINa toraI nAmi. 27 kavi lIMbokata RSabhadeva kAga. (AdinAtha phAga) (anumAne soLamA saikAno aMta). rAga kedAro zrIzAradAM hRdi dhyAtvA, natvA zrInAbhinaMdanaM, phAgabaMdhena vakSehaM, tavaMzasthApanA... DhAla phAganI sohama surapati pabhaNati, paNamiya prabhunA pAya, lyau e rUaDI sukhaDI, selaDI lII jinarAya. 1 tAma, paraMdara suMdara, thApaI ISAMga vaMza, jaya "merudevI- naMdana, tribhUvana karaI prasaMsa. 2 anukrami pAmyuM yauvana, mohana mUrati svAmI, tuM amarelara AvIuM, bhAvi jinaguNAmi.' 3 IdANI paNi AvaIe, bhAvaI e gIta rasAla, kariu vIvAha manohara, jinavara rUpa vizAla. 4 atha dUhA rAja samaya jANI karI, karaI mahotsava Indra, bahu AbharaNa zobhatA, siMhAsaNi jiNacaMda. 5 bihuM pAsaI cAmara DhalaI, meghADaMbara chatra, rAja karaI ralIAmaNuM, RSabhadeva supavitta. 6 DhAla aDhIuM eka avasari hita hoI, Rtu madhu mAdhava joI, mAdhavI mahamahaI e, madhukara gahagahaI. 7. caMpaka bahula maMdAra, mahoya savi sahakAra, malayAcala taNI e, surabhi pavana ghaNaue. 8 lavaMga tAla tamAla, karaNI veli gulAla, vana ralIAmaNuM e, ehavuM sohAmaNuM e.

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Vol. XVIII, '92-'93 DhAla phAganI loka lAkha tihAM krIDati, krIDita deva yugAdi, kaMTha sakomala kokila, bolaI sarlRI sAdi. eka khaMDokheli khelai, geliM karai jala-keli, eka vilepana bAvana, caMdana mRgameda mela. puchyu taNA ghara ke karaI, ke karaI kusumanI seja, mRga-nayanI gajagAminI, ANaI adhikaI heja. 12 apacha2 nAcai raMgiM, agi karI siNagAra, mAdala bhUMgala bherIa, tAla napherIa eka. DhAla aDhIu iNi pari vasaMta-mAsa, loka ramai ulhAsi, te dekhI havai e, svAmI cIMtavaie. ehavuM sukha udAra, anethi chai kiMI sAra, jJAni nihAlatA e, pUrava-bhava pekhatA. je sarvAratha siddhi, vilasI bahulI riddhi, te savi saMbharai, vairAga mana dha2i. atha dUhA jIva avidyA AvaryA, na lahaI tattva vicAra, rAga dveSAdika bharyA, bhamai bahu saMsAra. tau lokAMtika sura bhaNai, tIratha karI prabhu deva, paMca mahAvrata Adarai, dAna deI jinadeva. 10 11 13 14 15 16 17 18 sahasa varisa havuM niramala, kevalanANa jiNaMda, amara AkAsihiM UtaraI, UtaraI apachara vRMda. 19 iMdra airAvaNa vAraNa, ArohaI manaraMgi, eka kanakaratha baiThalA, caDhialA eka turaMga. 20 rAjahaMsa sura ke caDhayA, ke caDhayA gaDi vimAni, keI vRSabha-vara vAha, ke paMcAnanaNa jANi. DhAla aDhiu iNi pari cauvIha deva, AvyA ka2vA seva, samosaraNa karyuM e, puNya potai bharyuM e. hastI caDhi marudevi, tihAM AvaI tatakhevi, AnaMdauM bharIe, pAmai zivapurIe. thApiuM tIratha-sAra varatpau jaya jayakAra, zrI bharahesaru e, vaMdaI jagagurue. pUrI para(kha)da bAra, joI jagadAdAra, svAmi vayaNa suNaie, li li guNa thazai, 25 21 22 23 24 99

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100 SAMBODHI hAla phAganI gAma nagara pUri Agari, virahaI Adi jirNoda, bhavia kamala paDibohae, mohaI amara-nariMda. 26 sevasa lIMbala (bo)laIe, tujha tolAI kuNa svAmi, deha vimalamati jagapati, huM lIsI toraI nAmi. 27 iti zrI RSabhadeva phAga stavana. 43 kaThina zabdArtha (prathama eka caraNa ane bIjo aMka paMkti krama sUcave che. saM = saMskRta, prA = prAkRta, de = dezya) apacha2 1/13 apsarA amarasara 33 devono rAja-dra airAvaNa 1/20 airAvata-Indrano hAthI kanakaratha 3/20 sonAno ratha kevalanANa 2/19 kevaLajJAna, sarvajJAna khaMDAkhali 1/11 kIDA mATenI nAnI vAva. guNagrAmi guNa samudra (ta padane aMte vaparAya che.) paMcanANi. 431 pAMcamukhavALo siMha paDibohae 3/27 pratibodha. pekhatA . 4/15 jetA bhUMgaLA 3/13. da. mUgala) eka vAjiMtra mAdala 3/13 (saM. maIla) eka vAdya 1/5 rUaDI 4/1 rUDuM uttama lokAMtika 1/18 paraloka, svarga vAraNa 20/1 sohama te (brahma ke Izvara) huM chuM hiva 17 4/12 hata, umaLako. rAja hAthI 1/1

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che !' ta hAMsalapura (sA.kAM.)no sAtamAkApa - navIna upalabdhi Ara.TI. sAvaliyA sAmAnya rIte mAtRkAonI mUrtio, svataMtrapaNe samUhamAM maLatI hoya che. ane e samUhamAM saptamAtRkA athavA aSTa mAtRkAono gaNeza ane vIrabhadra sAtheno samUha maLato hoya che. uparAMta samAtRkAonA eka ja paththaramAMthI kotarelA paTTa paNa vipUla pramANamAM maLI Ave che. A zilApaTTomAM eka noMdhapAtra bAbata e che ke emAM mAtRkAonuM Alekhana Ayudho ane temanA vAhanone bAda karatAM lagabhaga eka sarakhuM jaNAya che. vaLI moTAbhAganA mAtRkApaTTamAM bALaka sahitanI mAtRkAo joI zakAya che. mAtRkApa mATe koI alaga zAstrIya mUtividhAna maLatuM nathI. paraMtu pratyeka mAtRkA mATe zAstromAM je mUtividhAna ApavAmAM AvyuM che te ja ahIM svAbhAvika apanAvAyAnuM jaNAya che.' atre prastuta mAtRkApaTTa hAMsalapura (sA.kAM.) gAmamAMthI maLI Avyo che. je agAu gujarAtamAMthI prApta mAtRkApaTTamAM umero to kare ja che, paraMtu tenI keTalIka khAsa vizeSatAone lIdhe judo tarI Ave che. ahIM retiyA paththaramAM saLaMga haroLamAM sAta mAtRkAonI suMdara pratimAo kaMDArelI che. bALaka sahitanI dareka mAtRkA dvibhaMgamAM UbhelI che. pratyeka cartubhuja mAtRkAonA vastrAbhUSaNo samAna che. pratyeka mAtukAonA mastake vividha mukuTa, kAnamAM kuMDala, kaMThamAM ekAvali, jenI eka sera be stana vaccethI cheka nAbhi sudhI laTakatI dazavI che. bAhubalo, kaTaka valaya, baMne bAjuo parathI nIce sudhI laTakatI vanamAlA, kaTi para cAra serI

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102 SAMBODHI kamarabaMdha ane custa adhovastrane rekhAo dvArA vyakta karela che. be paga vacce DhIMcaNa sudhI laTakatI vastranI pATalI ane pagamAM kallAM che. pratyeka mAtRkAnA DAbA paga pAse potAnuM vAhana draSTigocara thAya che. saLaMga haroLamAM Ubhela mAtRkAomAM mAhezvarI, brAhI, vaiSNavI, vArAhI, aindrI, kIberI ane cAmuMDAnI pratimAo joI zakAya che. (1) mAhezvarInA mastake jaTA mukuTa che. cAra hAthamAM varada, trizUla, nAga ane bALaka dhAraNa karela che. DAbA paga pAse vAhananI ghasAyelI Akati najare paDe che. (2) bAlInA mastake trikuTa mUkaTa ane cartubhujamAM anukrame varada, pustaka, padma ane bALaka joI zakAya che. DAbA paga pAse vAhana haMsa che. (3) vaiSNavInA mastake alaMkRta karaMDamukuTa, cAra hAthamAM varada, gadA, cakra ane bALaka dhAraNa karela nihALAya che. DAbA paga pAse vAhana garuDanamaskAra mudrAmAM beThela che. (4) vArAhInA varAha mukhano AgaLano bhAga khaMDita che. mastake trikUTa mukuTa che. cAra hAthamAM parikramAkrame jatA bALaka, padma, khavAMga ane ghaMTA ke mastaka jaNAya che. paga pAse vAhana mahiSa beThela che. (5) aindrI cAra hAthamAM varadu, zakti, aMkuza ane bALakane dhAraNa karela che. hAthInuM vAhana joI zakAya che. (6) kauberInA mastake trikUTa mukuTa che. cArahAtha paikI jamaNo nIcalo hAtha varadamudrAmAM ane DAbA nIcalA hAthathI bALakane teDela che. upalA baMne hAthamAM dravyanI thelI dhAraNa karela che. mAtRkAnA paga pAchaLa haraNanI AkRti najare paDe che. (7) cAmuMDA nA mastake jaTAbhAra che. hADapiMjara jevI kAyA, jamaNo paga DhIMcaNathI vALI paganI AMgaLIo para Tekavela che. devInA cAra hAtha paikI upalA baMne hAthamAM trizula ane khaTvAMga che. jyAre nIcalA DAbA hAthamAM kapAla ane jamaNA hAthamAM kapAlamAMnuM mAMsa dhAraNa karela che. paga pAchaLa mAnava zaba paDeluM che. A noMdhapAtra mAtRkApaTTane lagatAM uparyukta abhyAsane AdhAre A mAtRkAonI keTalIka vizeSatAo nIce mujaba tAravI zakAya. (1) A zilApaTTamAM gaNeza ane vIrabhadranI pratimAo mUkelI nathI. ahIM prathama sthAne mAhezvarI che. moTAbhAganA paTTomAM bAhyI prathama hoya che. (2) ahIM prathama vakhata ja saptamAtRkAmAM kIberIne mAtRkA tarIke joI zakAya che. zAstromAM mAtRkA tarIke kauberInuM varNana kayAMya maLatuM nathI. agAu gujarAtamAMthI prApta anya mAtRkA paTTamAM kauberInI mAtRkA tarIkenI pratimA haju sudhI jovAmAM AvI nathI. kauberInI svataMtra ke kuberanI patnI tarIke yugala pratimAo paNa jvalle ja maLe che. (3) vArAhI pratimAnuM Alekhana ahIM viziSTa rIte joI zakAya che. anya mAtRkA pratimAomAM bALaka DAbA nIcalA hAthamAM dhAraNa karela che. jayAre vArAhIe bhaNA nIcalA hAthathI bALaka teDala che. vaLI Ayudha tarIke DAbA. upalA hAthamAM khaTavAMga dhAraNa karela che. je noMdhapAtra che. uttara gujarAtanA mahaDI-koTyarkamAMthI maLela vArAhI pratimAnA jamaNA hAthamAM kharuvAMga joI zakAya che. anya koI vArAhI pratimAnA hAthamAM Ayudha tarIke khavAMga jovA maLatuM nathI. Ayudha tarIke khavAMga A pratimAnI khAsa vizeSatA gaNI zakAya. (4) dareka mAtRkAe dhAraNa karela bALakane mAtAnA stana sAthe ramata karatuM athavA stanapAna karavA utsuka batAvyuM che. pratyeka mAtRkAnI bALaka taraphanI premALa draSTi zilApaTTane vizeSa dhyAnAkarSaka banAve che. Ama samagra rIte A zilApaTTanI mAtRkAonA upaselA netro, goLamukha, unnata stana, DhaLatuM udara, sapramANa deha ane alaMkaraNanI racanA ane kalA zailInI draSTie A mAtRkA pada I.sa. 11 mI sadI jeTalo prAcIna jaNAya che. pAda TIpa 1. vadhu vigato mATe juo Ara.TI. sAvaliyA, "gujarAtamAMnI mAtRkAonuM mUtividhAna, 1993, amadAvAda, 2. ejana, pR. para, citra - paTTa4

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zubhavijayagaNikRtA pramANanayatattvaprakAzikA syAdvAdabhASA saMpA. nArAyaNa ma. kaMsArA atha zrIzubhavijayakRtA syAdvAdabhASA prArabhyate / // OM // zrIhIravijayasUrIzvaragurubhyo namaH // (atha prathama : paricchedaH / ) zrImadvIrajinezaM praNamya vijJAnavizadavAgIzam / zrIhIravijayasUriprasAdamAsAdya punaratulam // 1 // zizurapi vAJchati laghudhIralasaH syAdvAdazAstramadhyetum / tasya kRte'lpArthayutA kriyate syAdvAdabhASeyam // 2 // yugmam // jIvAjIvapuNyapApAnavasaMvaranirjarAbandhamokSalakSaNapadArthAnAM samyak jJAnakriyAbhyAM niHzreyasAdhigamaH // 1 // asya vyAkhyA / jIvAjIvAdinavapadArthAnAM samyagajJAnaM kevalajJAnam / samyak kriyA ca yathAkhyAtacAritraM, tAbhyAM mokSAvAptirbhavatIti // na ca jIvAjIvAdInAM samyagjJAnaM tAvadbhavati yAvadeSAmuddezalakSaNaparIkSA na vidhIyate iti / tatra saMjJAmAtreNa padArthapratipAdanamuddezaH / sa cAtraiva sUtre vihitaH / lakSaNaM tvalakSyavyAvRttasvarUpakathanam, yathA ghaTasya pRthbudhnodarAdyAkAravattvam / yathAlakSitasya lakSaNaM ghaTate na vetivimarza parIkSA / tenaite lakSaNaparIkSe jIvAjIvAdInAM samyagjJAnArthaM vidhAtavye // 1 // tatra ca mAnAdhInA meyasiddhiritinyAyAdanuddiSTasyApi pramANasya pUrvaM lakSaNamucyate / svaparavyavasAyi jJAnaM pramANam // 2 // atra pramANaM lakSyaM, svaparavyavasAyijJAnatvaM ca lkssnnm| yattu svApUrvArthavyavasAyi jJAnaM pramANamiti pramANalakSaNam', tanna ghaTAkoTimATIkate, pUrvAkAraparityAgenotarAkArapariNAmavattvakAryatvamiti pratyabhijJAnasyAprAmANyaprasaGgAt / pratyabhijJAnaM ca ekasminneva ghaTe ghaTo'yaM ghtto'ymitidhaaraavaahikjnyaanm| nanvatra pUrvaparyAyahAnyuttaraparyAyotpattimatkAryamiti kAryalakSaNAt phalarUpajJAnasyApi kAryatvaM, tathA ca kAryasya kAraNajanyatvaniyamAt, yathA cchidAyAM dAtrajanyatvam, ataH kAraNaM vaktavyam / satyam / saMskArasaMprayogAbhyAM janyaM jJAnaM, yathA saMnikarSaH so'yaM ghaTa iti / svaraparavyavasAyijJAnaM karaNameva, yathA tu cchidAyAM dAtram / kiM punaH karaNam ? sAdhakatamaM karaNam / atizayitaM ca sAdhakaM sAdhakatamaM prkRssttkrnnmityrthH| nanu sAdhakaM kAraNaheturiti paryAyAH, tadevaM na jJAyate kiM tatkAraNamiti ? ucyate - kAryAnukRtAnvayavyatireki kAraNam / taccAtmendriyAdyeva yathA mRtpiNDacakrAdikaM ghaTasya / tacca kAraNaM trividhaM pariNAminivarttakanimittabhedAt / tatra pariNAmikAraNamAtmA / yathA mRtpiNDo ghaTasya, yato mRtpiNDAyeva ghaTAditayA pariNamatIti ghaTe mRtpiNDaH paTe tantava ityAdi pariNAmikAraNam / nanu mRtpiNDasaMbandha iva cakrAdisambandho'pi ghaTasya ghaTate tatkathaM ghaTe mRtpiNDaH paTe tantavo, na cakraturyAdayaH pariNAmikAraNam ? satyam / dvividhaH sambandhaH saMyogo'viSvagbhAvazca / 1 vicAraH / 2 nizcAyakam /

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104 SAMBODHI tatra sAdhyasAdhanayoguNaguNinoravayavAvayavinossaMbandho'viSvagbhAvastAdAtmyaM svarUpapasaMbandha iti yAvat / svarUpaM saMbandhatvaM ya saMbandhAntaramantareNApi viziSTapratItijananayogyatvamiti / na cAtra samavAyasabandhaH, tasya bhAvadvayadharmatvAdayutasiddhayozca saMbandhassamavAyaH, ayutasiddhatvaM ca tAvevAyutasiddhau dvau vijJAtavyau yayoyoravinazyadekamaparAzritamevAvatiSThate // " iti / tasmAnmRtpiNDaghaTayoraviSvagbhAva eva saMbandhaH / mRtpiNDacakrayo - viSvagbhAvastatsvarUpAbhAvAt / na hi mRtpiNDazcakratayA pariNamati nApi cakraM mRtpiNDatayA / atastayoH saMyoga eva saMbandhaH / nirvartakaM kAraNamAtmaiva yathA kumbhakAraH ghaTasya / nimittakAraNaM cakSurghaTAdaya upagrAhakAH, yathA daNDAdayo ghaTasya / taduktaM - "nirvartako nimittaM pariNAmI ca tridheSyate hetuH / kumbhasya kumbhakAro dhartA mRcceti samasaMkhyaH // " iti / nimittakAraNaM ca dvedhA, nimittakAraNamapekSAkAraNaM ca / yatra daNDAdiSu prAyogikI vainasikI ca kriyA bhavati tAni daNDAdIni nimittakAraNAni / yatra ca dharmAstikAyAdidravyeSu vaisasikyeva tAni nimittakAraNAnyapi vizeSakAraNatAjJApanArthamapekSAkAraNAnyucyante // 2 // hitAhitaprAptiparIhArasamartha hi pramANamato jJAAnamevedam // 3 // tadvyavasAyasvabhAvaM, samAropaviruddhatvAt // 4 // atasmiMstadadhyavasAyaH samAropaH // 5 // saca saMzayaviparyayAnadhyavasAyabhedAt tridhA // 6 // tatra sAdhakabAdhakapramANAbhAvAdanavasthitatAnekakoTisaMsparzi jJAnaM saMzayaH // 7 // yathAyaM sthANurvA puruSo veti // 8 // viparItaikakoTiniSTaMkanaM viparyayaH // 9 // yathA zuktikAyAmidaM rajatamiti // 10 // kimityAlocanamAtramanadhyavasAyaH // 11 // yathA gacchatastRNasparzajJAnamiti // 12 // svonmukhatayA pratibhAsanaM svasya vyavasAyaH, arthasyeva tadunmukhatayA ghaTamahamAtmanA jAnAmIti karmavat kartRkaraNakriyApratIteH // 13 // yathArthAbhimukhyena prakAzanamarthavyavasAyo jJAnasya, tathA svAbhimukhyena prakAzanaM svavyasAyo'pi tasyeti // 13 // ___ ko vA tatpratibhAsitamarthamadhyakSamicchan tadeva tathA necchetpradIpavat // 14 // yattu yogairuktaM samutpannaM hi jJAnamekAtmasamavetAnantarasamayasamatpadiSNamAnasapratyakSeNaiva lakSyate na panaH sveneti, tadasata, parAparajJAnotpAdaparaMparAyAmevAtmano vyApArAdaviSayAntaraM saJcArAditi // 14 // tatprAmANyaM svataHparatazca / jJAnasya prameyAvyabhicAritvaM prAmANyam // 15 // taditarattvaprAmANyamiti // 16 // tadubhayamutpattau parata eva, jJaptau tu svataH paratazceti // 17 // jJAnasya hi prAmANyamaprAmANyaM ca dvitayamapi jJAnakAraNagataguNadoSarUpaM paramapekSyotpadyate / nizcIyate tvabhyAsadazAyAM svataH, anabhyAsadazAyAM tu parata iti / tatra jJAnasyAbhyAsadazAyAM prameyAvyabhicAri taditaraccAstIti prAmANyAprAmANyanizcayaH saMvAdakabAdhaka-jJAnamanapekSya prAdurbhavan svato bhavatItyabhidhIyate / anabhyAsadazAyAM tu tadapekSya jAyamAno'sau parata iti vastugatiH /

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Vol. XVIII, '92-93 105 ___ atra mImAMsakA vadanti / svata eva sarvathA pramANAnAM prAmANyam / tathAhi prAmANyotpattau praguNA guNAH pratyakSemAnumAnena vA mIyeran / yadi pratyakSeNa tatkimindriyeNa vA'tIndriyeNa vA ? nendriyeNA'tIndriyendriyAdhikaraNatvena, teSAM tada grahaNAyogyatvAta / nApyatIndriyeNa tasya cAruvicArAbhAvAta / anamAnena te niyante iti ceta, kutastatra niyamanirNayaH syAt ? na pratyakSAda, agaNeSa tatpravatteH parAstatvAta / nApyanamAnAta, tata eva nizcitAvitaretarAzrayasya, tadantarAtpunaranavasthAyAH prasakteH / tato na guNAssanti keciditi svarUpAvasthebhya eva kAraNebhyo jAyamAnaM prAmANyaM kathamutpattau parataH syAditi // nizcayastu. tasya parataH, kAraNaguNajJAnAdbAdhakAbhAva-jJAnAtsaMvAdijJAnAdvA syAt / tatra prAcyaM prakAraM prAgeva prakSiptavanto, guNagrahaNasamarthapramANaparAkaraNAt / dvitIye tu tAtkAlikasya kAlAntarabhAvino vA bAdhakasyAbhAvajJAnaM prAmANyanizcAyakaM syAt / paurastyaM tAvat kUTahATakaniSTaMkane spaSTamastyeva / dvitIyaM tu na carmacakSuSAM sambhavati / saMvAdijJAnaM tu sahakArirUpaM sat, tannizcayaM viracayeda, grAhakaM vA bhavet / nAdyabhedo, bhinnakAlatvena tasya sahakAritvAsaMbhavAt / dvitIyapakSe tu, tasyaiva grAhakaM sat tAdviSayasya viSayAntarasya vA ? nAdyaH, pravartakajJAnasya dUranaSTatvena grAhyatvAyogAt / dvitIye tvekasantAnaM bhinnasantAnaM vA prAmANyaM syAt / pakSadvaye'pi taimirikAvalokyamAnacandramaNDaladvayadarzidarzanena vyabhicAraH, taddhi caitrasya punaH punamaitrasya cotpadyata eva / tRtIye punararthakriyAjJAnamanyadvA tadvA bhavet / nAgrimaM, pravartakasya prAmANyAnizcaye pravRttyabhAvenArthakriyAyA evAbhAvAt / anyadapi vijJAnamekasantAnaM bhinnasantAnaM vA ? dvayamapi caitadekajAtIyaM bhinnajAtIyaM vA ? catuSTayamapi caitad vyabhicAraduHsaMcaram / tathAhi-ekasantAnaM bhinnasantAnaM caikajAtIyamapi taraGgiNItoyajJAnaM bhinnajAtIyaM ca staMbhakuMbhAdijJAnaM kUpapAnIyajJAnasya na saMvAdakamiti na jJaptAvapi prAmANyaM parataH / aprAmANyaM tUtpattau doSApekSatvAd jJaptau tu bAdhakApekSatvAtparata eveti // atra brUma : yattAvad guNAH pratyakSeNAnumAnena vA mIyerannityAyuktaM tadakhilaM doSeSvapi vaktaM pAryate / atha pratyakSeNaiva cakSarAdisthAna doSAna nizcikyire lokAH kiM nairmalyAdIna na ? atha timirAdidoSAbhAvamAtrameva nairmalyAdi na tu guNarUpamiti, kathaM pratyakSeNa guNanizciyaH syAt ? evaM tarhi nairmalyAdiguNAbhAvamAtrameva timirAdi, na tu doSarUpamiti viparyayakalpanA kiM na syAditi // ___ yaccAvAci nizyayastu tasya parata ityAdi, tatra saMvAdijJAnAditi brUmaH / kAraNaguNajJAnabAdhakAbhAvajJAnayorapi ca saMvAdajJAnarUpatvaM pratipadyAmahe // ___ atha bAdhakAdevAprAmANyanirNayo na punarjJAnanirNAyakAd, evaM tarhi saMvAdakAdeva prAmANyasyApi nirNayo'stvati tadapi kathaM svato nirNItaM syAt ? nirvizeSaNaM cedarthaprAkaTyamarthApattyutthApakaM tapramANe'pi prAmANyanirNAyakArthApattyutthApanApattiH arthaprAkaTyamAtrasya tatrApi sadbhAvAditi dhyeyam // 17 // (iti prathamaH paricchedaH // ) (atha dvitIyaH paricchedaH // ) tad dvividhaM, pratyakSaM ca parokSaM ca // 1 // spaSTaM pratyakSam // 2 // prabalatarajJAnAvaraNavIryAntarAyayoH kSayopazamAt kSayAdvA spaSTatAviziSTaM vaiziSTyAspadIbhUtaM yattatpratyakSam // 2 // spaSTatvaM cAnumAnAdyAdhikyena vizeSaprakAzanam // 3 // tad dvividhaM, sAMvyavahArikaM pAramArthikaM ca // 4 // bAhyendriyAdisAmagrIsApekSatvAdapAramArthikamasmadAdipratyakSam / paramArthe bhavaM pAramArthikaM mukhyamAtmasannidhimAtrApekSamavadhyAdipratyakSamiti // 4 // tatrAdyamindriyanimittamanindriyanimittaM ca // 5 // indrayANi cakSurAdIni / tatra cakSurvayA'ni praapykaariinniiti| nanu indriyajJAne mano'pi vyApipartIti kathaM na tena vyapadezaH ? ucyate-indriyasyAsAdhAraNakAraNatvAnmanaH

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106 SAMBODHI punaranindriyajJAne'pi vyApriyata iti sAdhAraNaM tat / asAdhAraNyena ca vyapadezo dRzyate, yathA payaHpavanAtapAdijanyatve'pyaGkarasya bIjenaiva vyapadezaH, zAlyaGkuraH kodavAGkuro'miti / anindriyaM manonimittimiti // 5 // etadvitayamavagrahehAvAyadhAraNAbhedAdekaikazascaturvikalpam // 6 // tatra viSayaviSayiyogyadezAvasthAnAnantarasamudbhUtasattAmAtragocaradarzanAjjAtamAdyamavAntarasAmAnyAkAraviziSTa vastugrahaNamavagrahaH // 7 // avagRhItArthavizeSAkAGkSaNamIhA // 8 // IhitavizeSanirNayo'vAyaH // 9 // sa eva dRDhatamAvasthApanno dhAraNeti // 10 // kathaMcidabhede'pi pariNAmavizeSAdeSAM vyapadezabhedaH // 11 // kramopyamISAmayameva, tathaiva saMvedanAdevaMkramAvirbhUtanijakarmakSayopazamajanyatvAcca // 12 // anyathA prameyAnavagatiprasaGgaH // 13 // na khalvadRSTamavagRhyate, na cA'navagRhItaM sandihyate, na cAsaMdigdhamIhyate, na cAnIhitamaveyate, na cAnavetaM dhAryate // 14 // kvacitkramasyAnupalakSaNameSAmAzUtpAdAda, utpalapatrazatavyatibhedavaditi // 15 // pAramArthikaM punarutpattAvAtmamAtrApekSam // 16 // tadvikalaM sakalaM ca // 17 // asaMpUrNapadArthaparicchedakatvAdvikalaM tadviparItaM tu sakalam // 17 // tatra vikalamavadhimanaHparyAyajJAAnaspatayA dvadhA // 18 // avadhijJAnAvaraNavilayavizeSasamudbhavaM bhavaguNapratyayaM pidravyagocaramavadhijJAnam // 19 // saMyamavizuddhinibandhanAdviziSTAvaraNavicchedAjjAtaM manodravyaparyAyAlambanaM manaHparyAyajJAnam // 20 // sakalaM tu sAmagrIvizeSataH samudbhutasamastAvaraNakSayApekSaM nikhiladravyaparyAyasAkSAtkArasvarUpaM kevalajJAnamiti // 21 // tadvAnahan, nirdoSatvAt // 22 // nirdoSo'sau, pramANAvirodhivAkyatvAt // 23 // tadiSTasya pramANenAbAdhyamAnavatvAttadvAcaH, tenAvirodhasiddhiriti // 24 // ( iti dvitIyaH paricchedaH / / (atha tRtIyaH paricchedaH / ) aspaSTaM parokSam // 1 // prAk sUcitaspaSTatvAbhAvabhrAjiSNu yatpramANaM tatparokSam // 1 // tacca smaraNapratyabhijJAnatarvAnumAnAgamabhedAt paJcaprakAram // 2 // tatra saMskAraprabodhasaMbhUtamanubhUtArthaviSayaM tadityAkAraM jJAnaM smaraNam // 3 // tattIrthakarabiMbamiti yatheti // 4 // 1. darzanaM nAma sthApanAdihInaM nirvikalpakamityarthaH /

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107 Vol. XVIII, '92-93 anubhavasmRtihetukaM tiryagva'tAsAmAnyAdigocaraM saGkalanAtmakaM jJAAnaM pratyabhijJAAnam // 5 // yathA tajjAtIya evAyaM gopiNDo, gosadazo gavayaH, sa evAyaM jinadatta ityAdi // 6 // upalaMbhAnupalaMbhasaMbhavaM trikAlIkalitasAdhyasAdhanasaMbandhAdyAlaMbanamidamasmin satyeva bhavatItyAkAraM jJAnamUhAparanAmA tarkaH // 7 // yathA yAvAn kazciddhamaH sa sarvo vahnau satyeva bhavatIti tasminnasati asau na bhavatyeveti // 8 // anumAnaM dviprakAraM svArtha parArthaM ca // 9 // tatra hetugrahaNasaMbandhasmaraNakAraNakaM sAdhyavijJAAnaM svArtham // 10 // nizcitAnyathAnupapattyekalakSaNo hetuH // 11 // iSTamabAdhitamasiddhaM sAdhyam // 12 // tadviziSTaH prasiddho dharmI pakSaH // 13 // dharmiNaH prasiddhiH kvacidvikalpataH, kutracitpramANataH, kvApi vikalpapramANAbhyAm // 14 // vikalpo'dhyavasAyamAtram / vikalpasiddha dharmiNi sattA, itare sAdhye / asti sarvajJo, nAsti kharaviSANam / pramANobhayasiddhe tu sAdhyadharmaviziSTatA, agnimAnayaM dezaH, pariNAmI zabdo yathA // 14 // pakSahetuvacanAtmakaM parArthamanumAnamupacArAt // 15 // pakSahetuvacanAtmakatvaM ca parArthAnumAnasya vyutpannamatipratipAdyApekSayA'troktam / ativyutpannamatipratipAdyApekSayA tu dhUmo'tra dRzyate ityAdi hetuvacanamAtrAtmakamapi tad bhavati / bAhulyena tatprayogAbhAvAttu naitatsAkSAtsUtre sUtritam / upalakSitaM tu draSTavyam, mandamatipratipAdyApekSayA tu dRSTAntAdivacanAtmakamapi tad bhavatIti // 15 // sAdhyasya pratiniyatadharmisaMbandhitAprasiddhaye hetorupasaMhAravatpakSaprayogo'pyavazyamAzrayitavyaH // 16 // yathA yatra dhUmastatra dhUmadhvajaH // 16 // vyutpanna prati hetuprayogastathopapattyA'nyathAnupapattyaiva vA // 17 // tathaiva, sAdhyasaMbhavaprakAreNaivopapattistathopapattiH, anyathA sAdhyAbhAvaprakAreNAnupapattirevAnyathAnupattiH // 18 // tAbhyAmiti / yathAgnimAnayaM pradezaH, tathA dhUmavattvopapattedhUmavattvAnyathAnupapattervA // 19 // anayoranyataraprayogeNaiva sAdhyapratipattau dvitIyaprayogasyaikatrAnupayogaH // 20 // antarvyAptyA hetoH sAdhyapratyAyane zaktau, azaktau ca bahirvyApteH, udbhAvanaM vyartham // 21 // mandamatIMstu vyutpAdayituM dRSTAntopanayanigamanAnyapi prayojyAni // 22 // pratibandhapratipatterAspadaM dRSTAntaH // 23 // sa dvadhA'nvayavyatirekabhedAt // 24 // sAdhanasattAyAM yathAvazyaM sAdhyasattA pradarzyate so'nvayadRSTAntaH // 25 // 1. AdizabdAt sarvadezakAlavartivAcyavAcakasambandho'tra gRhIto draSTavyaH / 2. saMskRtajJo vyutpannaH /

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108 SAMBODHI yathA yatra dhUmastatra vahniryathA mahAnasa iti // 26 // sAdhyAbhAve sAdhanasyAbhAvo yatra kathyate sa vyatirekadRSTAntaH // 27 // yathA vahnayabhAve na bhavatyeva dhUmo yathA jalAzaya iti|| 28 // hetorupasaMhAra upanayaH // 29 // yathA dhUmazcAtra pradeza iti // 30 // pratijJAAyAstUpasaMhAro nigamanam // 31 // yathA tasmAdagniratreti // 32 // ete pakSAdayaH paJcApyavayavAH prakIrtyante // 33 // sa heturdvidhA upalabdhyanupalabdhibhedAt // 34 // upalabdhirvidhipratiSedhayoH, anupalabdhizca // 35 // tatra vidhiH sadaMzaH // 36 // pratiSedho'sadaMzaH // 37 // sa caturkI 1 prAgabhAvaH, 2 pradhvaMsAbhAvaH, 3 itaretarAbhAvaH, 4 atyantAbhAvazca // 38 // tatra yannivRttAveva kAryasya samutpattiH so'sya prAgabhAvaH // 39 // yathA mRtpiNDanivRttAveva samutpadyamAnasya ghaTasya mRtpiNDa iti // 40 // yadutpattau kAryasyAvazyaM vipattiH so'sya pradhvaMsAbhAvaH // 41 // yathA kapAlakadambakotpattau niyamato vipadyamAnasya ghaTasya kapAlamAlA iti // 42 // svaspAntarAt svaspavyAvRttiritaretarAbhAvaH // 43 // yathA paTasvabhAvAd ghaTasvabhAvavyAvRttiriti // 44 // kAlatrayApekSiNI tAdAtmyapariNAmanivRttiratyantAbhAvaH // 45 // yathA cetanAcetanayoriti // 46 // kSIre dadhyAdi yatrAsti prAgabhAvaH sa ucyate / nAstitA payaso dani pradhvaMsAbhAvalakSaNam // 1 // gavaye'zvAdyabhAvastu so'nyonyAbhAva ucyate / ziraso'vayavA nimnA vRddhikAThinyavajitAH / zazazRGgAdirUpeNa so'tyantAbhAva ucyate // 2 // " iti // 46 // upalabdherapi vaividhyamaviruddhopalabdhiviruddhopalabdhizca // 47 // tatrAviruddhopalabdhirvidhisiddhau SoDhA // 48 // sAdhyenAviruddhavyApya kAryakAraNapUrvacarottaracarasahacarabhedAt // 49 // tato vyApyAviruddhopalabdhiH 1, kAryAviruddhopalabdhiH 2, kAraNAviruddhopalabdhiH 3, pUrvacarAviruddhopalabdhiH 4, uttaracarAviruddhopalabdhiH 5, sahacarAviruddhopalabdhiH 6 ceti // 50 // 1. nizcitaM jJAnaM nigamanam 2. sAdhayenAviruddhAnAM vyApyAdInAM mupalabdhaya ityarthaH /

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Vol. XVIII, '92-93 109 ___yathA pariNAmI zabdaH, kRtakatvAd / yaH kRtakaH sa pariNAmI dRSTo, yathA ghaTaH / kRtakazcAyaM tsmaatprinnaamii| yastu na pariNAmI sa na kRtako dRSTo, yathA vandhyAstanandhayaH / kRtakazcAyaM, tasmAtpariNAmI / 1 / astyatra parvate vahniH , dhUmasamupalambhAt / 2 / asatyatra chAyA, chatrAt / 3 / udeSyati zakaTaM, kRttikodayAt / 4 / udagAd bharaNiH, prAkkRttikodayAt / 5 / astyatra sahakAraphale spaM, rasAt / 6 // iti // 51 // viruddhavyApyAdyupalabdhiH pratiSedhe SoDhA // 52 // tatra viruddhavyApyopalabdhiryathA nAstyatra zItasparza, USNAt // 53 // viruddhakAryopalabdhiryathA nAstyasya krodhAyupazAntiH, vadanavikArAt // 54 // dvitIyodAharaNaM yathA nAstyatra zItasparzaH, dhUmAt / 2 / // 54 // viruddhakAraNopalabdhiryathA nAtra zarIriNi sukhamasti, hRdayazalyAt / 3 / // 55 // viruddhapUrvacaropalabdhiryathA nodeSyati muhUrtAnte zakaTaM, revatyudayAt / 4 // 56 // viruddhottaracaropalabdhiryathA nodagAd bharaNiH, muhUrtAtpUrva puSyodayAt / 5 // 57 // viruddhasahacaropalabdhiryathA nAstyasya mithyAjJAAnaM, samyagdarzanAditi / 6 // 58 // anupalabdherapi dvaispyamaviruddhAnupalabdhiviruddhAnupalabdhizca // 59 // tatrAviruddhAnupalabdhiH pratiSedhasiddhau saptadhA // 60 // svabhAvavyApakakAryakAraNapUrvottarasahacarAnupalabdhibhedAt // 61 // tataH svabhAvAnupalabdhiH 1, vyApakAnupalabdhiH 2, kAryAnupalabdhiH 3, kAraNAnupalabdhiH 4, pUrvacarAnupalabdhiH 5, uttaracarAnupalabdhiH 6, sahacarAnupalabdhiH 7, ceti // 62 // udAhUtiryathA - nAstyatra bhUtale ghaTaH, upalabdhilakSaNaprAptatve sati anupalabdheH 1, nAstyatra ziMzapA, vRkSAnupalabdheH 2, nAstyatrApratibaddhasAmarthyAgniH, dhUmAnupalabdheH 3, nAstyatra dhUmaH, anagneH 4, nodeSyati muhUrtAnte zakaTaM, kRttikodayAnupalabdheH 5, nodagAd bharaNiH, muhUrtAtprAk kRttikodayAnupalabdheH 6, nAstyasya samyagjJAAnaM, samyagdarzanAnupalabdheH 7, iti // 63 // viruddhAnupalabdhirvidhau paJcadhA // 64 // viruddhAkAryakAraNasvabhAvavyApakasahacarAnupalabdhibhedAt // 65 // tatazca viruddhakAryAnupalabdhiH / 1 / , viruddhakAraNAnupalabdhiH / 2 / , viruddhasvabhAvAnupalabdhiH / 3 / , viruddhavyApakAnupalabdhiH / 4 / , viruddhasahacarAnupalabdhiH / 5 / ceti // 66 // udAhatiryathA - asmin prANini vyAdhivizeSo'sti, nirAmayaceSTAnupalabdheH 1 / astyatra zarIriNi duHkham iSTasaMyogAbhAvAt 2 / anekAntAtmakaM vastu, ekAntasvaspAnupalabdheH 3 / astyatra chAyA, auSNyAnupalabdheH 4 / astyatra mithyAjJAnaM, samyagdarzanAnupalabdheH 5 iti // 67 // paraMparayA saMbhavat sAdhanamatraivAntarbhAvanIyama / abhadatra cakre zivakaH, sthAsAta, kAryakAryamaviruddhakAryopalabdhau yathA 1 / nAstyatra mRgakrIDanaM mRgArizabdAt, kAraNaviruddhakAryopalbadhau yathA 2 / iti // 67 // (iti tRtIyaH paricchedaH / ) 1. zItasparzaviruddho'gnistadvyApyamauSNyam

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110 SAMBODHI (atha caturthaH paricchedaH / ) AptavacanAjjAtamarthajJAAnamAgamaH // 1 // upacArAdAptavacanaM ca // 2 // yathA astyatra nidhiH 1 / santi mervAdayaH 2 // 3 // abhidheyaM vastu yathAvasthitaM yo jAnIte yathAjJAnaM cAbhidhatte sa AptaH // 4 // sa ca dvadhA laukiko lokottarazca // 5 // tatra laukiko janakAdirlokottarastu tIrthakarAdiH // 6 // sahajasAmarthyasaGketAbhyAmarthabodhanibandhanaM zabdaH // 7 // akArAdiH paudgaliko varNa iti // 8 // (iti caturthaH paricchedaH) (atha paJcamaH paricchedaH / ) tasya viSayaH sAmAnyavizeSAdyanekAtmakaM vastu // 11 // anuvRttavyAvRttapratyayagocaratvAt pUrvottarAkAraparihArAvAptisthitilakSaNapariNAmenArthakriyopapattezca // 2 // tasya pramANasya visIyante nibadhyante viSayiNo'sminniti viSayo gocaraH paricchedyamiti yAvat / sAmAnyavizeSau vakSyamANalakSaNAvAdiryasya sadasadAdyanekAntasya tattadAtmakaM tatsvarUpaM vastviti // 2 // sAmAnyaM dvadhA tiryagUlatAdibhedAt // 3 // sadRzapariNAmastiryak khaNDamudgAdigotvavat // 3 // tatra prativyakti tulyA pariNatistiryaksAmAnyaM zabalazAbaleyAdipiNDeSu gotvaM yatheti // 4 // parAparavivarttavyApidravyamUrkhatA, mRdiva sthAsAdiSu // 5 // pUrvAparapariNAmasAdhAraNadravyamUrdhvatAsAmAnyaM, kaTakakaGkaNAdyanugAmikAJcanavaditi // 6 // vizeSazca dvedhA paryAyavyatirekaNa bhedAt // 7 // ekasmin dravye kramabhAvinaH paryAyAH, Atmani harSaviSAdAdivaditi // 8 // visadRzapariNAmo vyatireko, gomahiSAdivaditi // 9 // (iti paJcamaH paricchedaH / ) (atha SaSThaH paricchedaH / ) ajJAnanivRttisnopAdonopekSAzca phalam // 1 // yatpramANena sAdhyate tadasya phalam // 2 // tad dvividhamAnantaryeNa pAramparyeNa ca // 3 // tatrAnantaryeNa sarvapramANAnAmajJAnanivRttiH // 4 // pAramparyeNa hAnopAdAnopekSAbuddhayazca phalam // 5 // tat pramANAd bhinnamabhinnaM ca, pramANaphalatvAnyathAnupapatteH // 6 // tasyaikapramAtRtAdAtmyena pramANAdabhedavyavasthiteH // 7 // pramANatayA pariNatasyaivAtmanaH phalatayA pariNatipratIteH // 8 //

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111 Vol. XVIII, '92-93 yaH pramimIte sa eva nivRttAjJAno jahAtyAdadAtyupekSate ceti pratIteH // 9 // sAdhyasAdhanabhAvena pramANaphalayoH pratIyamAnatvAt // 10 // kartA hi sAdhakaH svatantratvAt, kriyA tu sAdhyA kartunirvatyatvAditi // 11 // pramANasvarUpAderanyattadAbhAsam // 12 // ajJAnAtmakAnAtmaprakAzakasvamAtrAvabhAsakanirvikalpasamAropAH pramANasya svaspAbhAsAH // 13 // yathA saMnikarSAdyasvasaMviditaparAnavabhAsakajJAnadarzanaviparyacasaMzayAnadhyavasAyAH // 14 // pramANabhAsAH yathA dvicandrAdijJAnaM vibhaGgazca pratyakSAbhAsam // 15 // atasmiMstaditi jJAAnaM smaraNAbhAsam // 16 // yajJAdatte sa devadatto yathA // 17 // sadRze tadevedaM tasmiMzca tatsadRzamityAdijJAnaM pratyabhijJAnAbhAsaM yamalajJAAnavat // 18 // tulye padArthe sa evAyamityekasmiMzca tena tulyamityAdijJAnaM pratyabhijJAnAbhAsam / yugalajAtajJAnavaditi // 18 // asaMbanthe tadjJAAnaM tarkAbhAsam / yAvAMstatputra sa zyAma iti // 19 // asatyAmapi vyAptau tadAbhAsastAbhAsaH // 19 // vyAptiravinAbhAvo, yathA sa zyAmo maitratanayatvAdityatra yAvAnmaitratanayaH sa zyAma iti // 20 // anumAnAbhAsamidaM - pakSAbhAsAdisamutthaM jJAnamanumAnAbhAsam // 21 // aniSTAdiH pakSAbhAsaH // 22 // aniSTo mImAMsakasyAnityaH zabdaH / siddhaH zrAvaNaH zabdaH / bAdhitaH pratyakSAnumAnAgamalokasvavacanaiH, anuSNo'gnirityAdivat // 22 // asiddhaviruddhAnaikAntikA hetvAbhAsAH // 23 // pramANenAsiddhAnyathAnupapattirasiddhaH, pariNAmI zabdazcAkSuSatvAt // 23 // tatra yasya pramANenAsiddhA'nyathAnupapattiH so'siddhaH // 24 // sa dvividha ubhayAsiddho'nyatarAsiddhazca // 25 // tatra ubhayasya vAdiprativAdisamudAyasyAsiddhaH ubhayAsiddho, yathA pariNAmI zabdaH cAkSuSatvAditi // 26 // anyatarasya vAdinaH prativAdino vA'siddho'nyatarAsiddho, yathA acetanAstaravo vijJAnendriyAyurnirodhalakSaNamaraNarahitatvAditi // 27 // viparItAnyathAnupapativiruddhaH, anityaH puruSa pratyabhijJAnAdimattvAt // 28 // sAdhyaviparyayeNaiva yasyAnyathAnupapattiravasIyate sa viruddhaH / yadA kenacitsAdhyaviparyayeNAvinAbhUto hetuH sAdhyAvinAbhAvabhrAntyA prayujyate tadAsau viruddhau hetvAbhAsaH // 28 // yathA nitya eva puruSo'nitya eva vA pratyabhijJAAnAdimattvAditi // 29 // vipakSe'pyaviruddhavRttiranaikAntikaH (yathA) anityaH zabdaH prameyatvAt // 30 // yasyAnyathAnupapattiH sandihyate so'naikAntikaH // 30 // sa ca dvedhA, nirNItavipakSavRttikaH sandigdhavipakSavRttikazca // 31 //

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SAMBODHI 112 nirNItA vipakSe vRttiryasya sa nirNItavipakSavRttiko, yathA nityaH zabdaH prameyatvAditi // 32 // sandigdhA vipakSe vRttiryasya sa sandigdhavipakSavRttiko, yathA vivAdapadApannaH puruSa sarvajJo na bhavati vaktRtvAditi // 33 // anvaye dRSTAntAbhAsA asiddhasAdhyasAdhanobhayAH, apauruSeyaH zabdaH mUrtatvAdindriyasukhaparamANughaTavat // 34 // viparItAnvayazca yadapauruSeyaM tadamUrta vidyudAdinAtiprasaGgAt // 35 // vyatireke'siddhatadvyatirekAH, paramANvindriyasukhAkAzavat // 36 // viparItavyatirekazca yannAmUrta tannApauruSeyamiti // 37 // sAdhamryeNa dRSTAntAbhAso navadhA // 4 // tatra sAdhyadharmavikalaH 1, sAdhanadharmavikalaH 2, ubhayadharmavikalaH 3, sandigdhasAdhyadharmA 4, sandigdhasAdhanadharmA 5, sandigdhobhayadharmA 6, ananvayaH 7, apradarzitAnvayaH 8, viparItAnvayaH 9, ca // 39 // tatra sAdhyadharmavikalo yathA'pauruSeyaH zabdo'mUrtatvAt duHkhavaditi 1 // 40 // tasyAmevapratijJAyAM tasminneva ca hetau paramANuviditi sAdhanadharmavikalaH 2 // 41 // mUrtatvAtparamANoH kalazavadityubhayadharmavikalaH iti // 42 // tasyAmeva pratijJAyAM tasminneva ca hetau kalazadRSTAntasya pauruSeyatvAnmUrtatvAcca sAdhyasAdhanobhayadharmavikalatA 3 // 43 // tathA rAgAdimAnayaM vaktRtvAd devadattavaditi sandigdhasAdhyadharmA // 4 // 44 // maraNadharmAyaM rAgAdimattvAnmaitravaditi sandigdhasAdhanadharmA 5 // 45 // nAyaM sarvadarzI rAgAdimattvAnmunivizeSavaditi sandigdhobhayadharmA 6 // 46 // rAgAdimAn vivakSitaH puruSo vaktRtvAdityananvayaH 7 // 47 // anityaH zabdaH kRtakatvAd ghaTavadityapradarzitAnvayaH 8 // 48 // anityaH zabdaH kRtakatvAd, yadanityaM tatkRtakaM ghaTavaditi viparItAnvayaH 9 / iti // 49 // vaidhayeNApi dRSTAntAbhAso navadhA // 50 // asiddhasAdhyavyatirekaH 1, asiddhasAdhanavyatirekaH 2, asiddhobhayavyatirekaH 3, sandigdhasAdhyavyatirekaH 4, sandigdhasAdhanavyatirekaH 5, sandigdhobhayavyatirekaH 6, avyatirekaH 7, apradarzitavyatirekaH 8, viparItavyatirekaH 9, ca // 51 // eSu bhrAntamanumAnaM pramANatvAd, yatpunardhAntaM na bhavati na tatpramANaM, yathA svapnamityasiddhasAdhyavyatirekaH svapnajJAnAd bhAntatvasyAnivRtteH / 1 // 52 // nirvikalpakaM pratyakSaM pramANatvAda, - yattu savikalpakaM na tatpramANaM, yathA laiGgikamityasiddhasAdhanavyatireko laigikAtpramANatvasyAnivRtteH 2 // 53 // ___nityAnityaH zabdaH sattvAda, yastu na nityAnityaH sa na san, tadyathA stambha ityasiddhobhayavyatirekaH stambhAnnityAnityatvasya sattvasya cAvyAvRtteH 3 // 54 // asarvajJo'nApto vA kapilo'kSaNikaikAntavAditvAd, yaH sarvajJa Apto vA sa kSaNikaikAntavAdI, yathA sugata iti sandigdhasAdhyavyatirekaH 4 // 55 //

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113 . Vol. XVIII, '92-93 ___ anAdeyavacanaH kazcidvivakSitaH puruSo, rAgAdimattvAda, yaH punarAdeyavacanaH sa vItarAgaH, tadyathA zauddhodaniriti sandigdhasAdhanavyatirekaH 5 // 56 // na vItarAgaH kapilaH, karuNAspadeSvapi paramakRpayAnarpitanijapizitazakalatvAt, yastu vItarAgaH sa karuNAspadeSu paramakRpayA samarpitanijapizitazakalaH, tadyathA tapanabandhuriti sandigdhobhayavyatirekaH 6 // 57 // na vItarAgaH kazcidvivakSitaH puruSo, vaktRtvAd, yaH punarvItarAgo na sa vaktA, yathopalakhaNDa ityavyatirekaH 7 // 58 // anityaH zabdaH kRtakatvAdAkAzavadityapradarzitavyatirekaH 8 // 59 // anityaH zabdaH kRtakatvAd, yadakRtakaM tannityaM dRSTaM yathA''kAzamiti viparItavyatirekaH 9 // 60 // iti / upanayAbhAso yathA pariNAmI zabdaH, kRtakatvAd, yaH kRtakaH sa pariNAmI, yathA kumbha ityatra pariNAmI ca zabda iti kRtakazca kumbha iti ceti // 61 // iha sAdhyadharma sAdhyarmiNi sAdhanadharma vA dRSTAntadharmiNi upasaMharata upanayAbhAsaH // 61 // nigamanAbhAso yathA tasminneva prayoge tasmAt kRtakaH zabda iti tasmAtpariNAmI kumbha iti ceti // 62 // atrApi sAdhanadharma sAdhyadharmiNi vA dRSTAntadharmiNi upasaMharato nigamanAbhAsaH // anAptavacanaprabhavaM jJAnamAgamAbhAsaH // 63 // yathA-mekalakanyakAyAH kule tAlahintAlayormUle sulabhAH piNDakharjUrAH santi, tvaritaM gacchata gacchata zAvakAH // 64 // pratyakSamevaikaM pramANamityAdisaMkhyAnaM saMkhyAbhAsaH // 65 // sAmAnyameva vizeSa eva tavayaM vA svatantramityAdistasya viSayAbhAsaH // 66 // abhinnameva bhinnameva vA pramANAt phalaM tasya tadAbhAsamiti // 67 // (iti SaSThaH paricchedaH // ) (atha saptamaH paricchedaH / ) pramANapratipannAthaikadezaparAmarzo nayaH // 1 // svAbhipretAdazAditarAMzApalApI punarnayAbhAsaH // 2 // sa vyAsasamAsAbhyAM dviprakAraH // 3 // vyAsato'nekavikalpaH // 4 // samAsatastu dvibhedo, dravyArthikaH paryAyArthikazca // 5 // tatrAdyo naigamasaGgrahavyavahAra bhedAt tredhA // 6 // tatra anyonyaguNapradhAnabhUtabhedAbhedaprarUpaNo naigamaH // 6 // dharmayodharmiNodharmadharmiNozca pradhAnopasarjanabhAvena yad vivakSaNaM sa naikagamo naigamaH // 7 // paryAyayordravyordavyaparyAyayozca mukhyAmukhyarUpatayA yadvivakSaNaM sa evaMrUpaH / naike gamA bodhamArgA yasyAsau naigamo nAma nayaH pravacanaprasiddhanilayanaprasthadRSTAntadvayagamyaH // 7 // udAhatiryathA - saccaitanyamAtmanIti dharmayoH // 8 //

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114 SAMBODHI vastuparyAyavad dravyamiti dharmiNoH // 9 // kSaNamekaM sukhI viSayAsaktajIva iti tu dharmadharmiNoH, iti // 10 // dharmadvayAdInAmekAntikapArthakyAbhisandhi gamAbhAsaH // 11 // yathAtmani sattvacaitanye parasparamatyantaM pRthagbhUte ityAdi 1 // 12 // sAmAnyamAtragrAhI parAmarzaH saGgrahaH // 13 // sAmAnyamAtramazeSavizeSarahitaM sattvadravyatvAdikaM gRhNAtItyevaMzIlaH samekIbhAvena piNDIbhUtatayA vizeSarAziM gRhNAtIti saGgrahaH // 13 // ayamubhayavikalpaH, paro'parazca // 14 // tatrAzeSavizeSeSvaudAsInyaM bhajamAnaH zuddhadravyaM sanmAtramabhimanyamAnaH parasaGgrahaH // 15 // yathA vizvamekaM sadvizeSAditi // 16 // sattAdvaitaM svIkurvANaH sakalavizeSAnnirAcakSANastadAbhAsaH // 17 // yathA sattaiva tattvaM tataH pRthagbhUtAnAM vizeSANAmadarzanAditi // 18 // dravyatvAdInyavAntarasAmAnyAni manvAnastadbhedeSu gajanimIlikAmavalaMbamAnaH punaraparasaGgrahaH // 19 // yathA dharmAdharmAkAzakAlapudgalajIvadravyANAmaikyaM dravyatvAbhedAdityAdi // 20 // dravyatvAdikaM pratijAnAnastadvizeSAnninuvAnastadAbhAsaH // 21 // yathA dravyatvameva tattvaM tato'rthAntarabhUtAnAM dravyANAmanupalabdheriti 2 sadvizeSaprakAzako vyavahAraH // 22 // sajhAheNa gocarIkRtAnAmarthAnAM vidhipUrvakaM vibhAgena sthApanaM yenAbhisandhinA kriyate sa vyavahAraH // 23 // yathA yatsattat dravyaM paryAyo vetyAdi // 24 // yaH punarapAramArthikaM dravyaparyAyapravibhAgamabhipreti sa vyavahArAbhAsaH // 25 // yathA cArvAkadarzanamiti / 3 // 26 // paryAyArthikazcaturdhA / RjusUtraH zabdaH samabhisDha evambhUtazca // 27 // tatra zuddhaparyAyagrAhI RjusUtraH RjurvartamAnakSaNasthAyi paryAyamA prAdhAnyataH sUtrayannabhiprAya RjusUtraH // 28 // yathA sukhakSaNaH sampratyastItyAdi // 29 // sarvathA dravyApalApI tadAbhAsaH // 30 // yathA tAthAgatamatamiti 4 // 31 // kAlAdibhedena dhvanerarthabhedaM pratipadyamAnaH zabdaH // 32 // kAlAdibhedena kAlakArakaliGgasaGkhyApuruSopasarjanabhedeneti // 32 // yathA babhUva bhavati bhaviSyati sumerurityAdi // 33 // tabhedena tasya tameva samarthayamAnastadAbhAsaH // 34 // yathA babhUva bhavati bhaviSyati sumerurityAdayo bhinnakAlAH zabdA bhinnamevArthamabhidadhati bhinnakAlazabdatvAt tAdRk siddhAnyazabdavadityAdi 5 // 35 // paryAyadhvanibhedAdarthanAnAtvanispakaH samabhisDhaH // 36 // paryAyazabdeSu niruktibhedena bhinnamartha

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Vol. XVIII, '92-93 115 samabhirohana samabhirUDhaH / zabdanayo hi paryAyabhede'pyarthAbhedamabhipreti / samabhirUDhastu paryAyabhede bhinnAnAnabhimanyate, abhedaM tvarthagataM paryAyazabdAnAmupekSate // 36 // yathA indanAdindraH, zakanAtzakraH, pUrdAraNAtpurandara ityAdiSu // 37 // paryAyadhvanInAmabhidheyanAnAtvameva kakSIkurvANastadAbhAsaH // 38 // yathA indraH zakraH purandara ityAdayaH zabdA bhinnAbhidheyA eva bhinnazabdatvAt karikuraGgazabdavadityAdi 6 // 39 // kriyAzrayeNa bhedapraspaNamevambhUtaH // 40 // zabdAnAM svapravRttinimittabhUtakriyAviziSTamarthaM vAcyatvenAbhyupagacchannevaMbhUtaH // 40 // yathendranamanubhavannindraH zakanakriyApariNataH zakraH pUraNapravRttaH purandara ityucyate // 41 // kriyAnAviSTaM vastu zabdavAcyatayA pratikSipan tadAbhAsaH // 42 // yathA viziSTaceSTAzUnyaM ghaTAkhyaM vastu na ghaTazabdavAcyaM, ghaTazabdapravRttinimittabhUtakriyAzUnyatvAt, paTavadityAdi 7 // 43 // . atra saMgrahazlokAH - "anyadeva hi sAmAnyamabhinnajJAnakAraNam / vizeSo'pyanya eveti manyate naigamo nayaH // 1 // sadpatAnatikrAntasvasvabhAvamidaM jagat / sattArUpatayA sarva saMgRhNan saGgraho mataH // 2 // vyavahArastu tAmeva prativastu vyavasthitAm / / tathaiva dRzyamAnatvAd vyApArayati dehinaH // 3 // tatrarjusUtranItiH syAd buddhiparyAyasaMzritA / nazvarasyaiva bhAvasya bhAvasthitiviyogataH // 4 // virodhiliGgasaMkhyAdibhedAdbhinnasvabhAvatAm / tasyaiva manyamAno'yaM zabdaH pratyavatiSThate // 5 // tathAvidhasya tasyApi vastunaH kSaNavartinaH / brUte samabhirUDhastu saMjJAbhedena bhinnatAm // 6 // ekasyApi dhvanervAcyaM sadA tannopapadyate / kriyAbhedena bhinnatvAdevaMbhUto'bhimanyate // 7 // eteSu prathame catvAro'rthanirUpaNapravaNatvAdarthanayAH // 44 // zeSAstu trayaH zabdavAcyArthagocaratayA zabdanayAH // 45 // parvaH parvo nayaH pracaragocaraH. paraH parasta parimitaviSayaH // 46 // tatra sanmAtragocarasaGgrahAnnaigamo bhAvAbhAvabhUmikatvAd bahuviSayaH // 47 // sadvizeSaprakAzakAd vyavahArAt, saGgrahaH samastasatsamUhopadarzakatvAd bahuviSayaH // 48 // vartamAnaviSayAdRjusUtrAd vyavahArastrikAlaviSayAvalambitvAd bahuviSayaH // 49 //

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116 SAMBODHI kAlAdibhedena bhinnArthopadarzinaH zabdAdRjusUtrastadviparItavedakatvAnmahArthaH // 50 // pratiparyAyazabdamarthabhedamabhIpsataH samabhisDhAta zabdastadviparyayAnayAyitvAtprabhataviSayaH // 51 // pratikriyaM vibhinnamarthaM pratijAnanAdevaMbhUtAtsamabhisDhastadanyathA'rthasthApakatvAnmahAgocaraH // 52 // nayavAkyamapi svaviSaye pravarttamAnaM vidhiniSedhAbhyAM saptabhaGgImanuvrajati // 53 // pramANavadasya phalaM vyavasthApanIyamiti // 54 // (iti saptamaH paricchedaH // ) (athASTamaH paricchedaH / ) athotpAdavyayadhauvyayuktAH padArthAH // 1 // te cAdIpamAvyoma samasvabhAvAH // 2 // tatra caitanyalakSaNaH pariNAmI jJAAnAdidharmabhinnAbhinnaH kartA sAkSAdbhoktA svadehapariNANaH pratizarIraM bhinnaH paudgalikAdRSTavA~zca jIvaH // 3 // caitanyaM sAkAranirAkAropayogAtmakaM lakSaNaM svarUpaM yasyAsau caitanyalakSaNaH 1 / pariNamanaM suranArakAdiSvaparAparAyeSu gamanaM pratisamayaparAparaparyAyeSu gamanaM vA pariNAmaH, sa nityamasyAstIti pariNAmI 2 / ye jJAnadarzanacAritrasukhaduHkhavIryabhavyAbhavyatvadravyatvaprameyatvaprANadhAritvakrodhAdipariNatatatvasaMsAritvasiddhatvaparavastuvyAvRttatvAdayaH svaparaparyAyA jIvasya bhavanti, te jJAnAdayo dharmA ucyante / tebhyo jIvo na bhinno nApyabhinnaH, kiM tu jAtyantaratayA bhinnAbhinnaH / yadi hi jJAnAdidharmebhyo jIvo bhinnaH syAttadAhaM jAnAmi ahaM pazyAmi ahaM jJAtA'haMdraSTA'haM sukhito'haM bhavyazcetyAdyabhedapratibhAso na syAda, asti ca sarvaprANinAM so'bhedapratibhAsaH / tathA yadyabhinnaH syAttadAyaM dharmI ete dharmA iti bhedabuddhirna syAda. asti ca sA / athavA abhinnatAyAM jJAnAdisarvadharmANAmaikyaM syAdekajIvAbhinnatvAta / tataH ca mama jJAnaM mama darzanaM cAstItyAdijJAnAdimithobhedabuddhirna syAd, asti ca sA / tathA jJAnAdidharmebhyo bhinnAbhinna evAbhyupagantavyaH 3 / karotyadRSTAdikamiti kartA 4 / sAkSAdanupacaritavRttyA bhuGkte sukhAdikamiti sAkSAdbhoktA 5 / svopAttavapurvyApakaH svadehaparimANaH 6 / pratikSetraM pRthak pratizarIraM bhinnaH 7 / pudgalaghaTitakarmaparatantraH paudgalikA'dRSTavAn // jIvaH prANabhAk, prANAzca dravyabhAvabhedAd dvivibhedAH, tatra dravyaprANAH paJcendriyatrividhabalocchvAsaniHzvAsAyUrUpAH / bhAvaprANAstu jJAnadarzanopayogarUpAH / ebhiH prANairajIvad jIvati jIviSyati ceti jIvaH / AtmA pratyakSAdigamyaH guNapratyakSatvAt / prayogazca - AtmA pratyakSaH smRtijijJAsAcikIrSAjigamiSAsaMzayavijJAnavizeSANAM tadguNAnAM svasaMvedanapratyakSatvAt / iha yasya guNAH pratyakSAH sa pratyakSo dRSTo yathA ghaTa iti / pratyakSaguNazca jIvaH tasmAtpratyakSaH / anumAnagamyo'pi, yathA jIvaccharIraM prayatnavatAdhiSThitamicchAnuvidhAyikriyAzrayatvAt 1 / zrotrAdInyupalabdhisAdhanAni kartRprayojyAni, karaNatvAt, kuThArAdIva 2 / dehasyAsti vidhAtA, AdimatpratiniyatAkAratvAt, ghaTavat / yatpunarakartRkaM tadAdimatpratiniyatAkAramapi na bhavati, yathA'bhravikAraH / yazca dehasya kartA sa jIvaH 3 / tathA indriyANAmastyadhiSThAtA, karaNatvAt, yathA daNDacakrAdInAM kulAlaH 4 / vidyamAnabhoktakaM zarIraM, bhogyatvAt, bhojanavat / yazca bhoktA sa jIvaH 5 / tathA rUpAdijJAnaM kvacidAzritaM, guNatvAt, rUpAdivat 6 / tathA jJAnasukhAdikamupAdAnakAraNapUrvakaM, kAryatvAt, ghaTAdivat 7 / tathA pratipakSavAnayamajIvazabdaH, vyutpattimat, zuddhapadapratiSedhAt / yatra vyutpattimataH zuddhapadasya pratiSedho dRzyate sa pratipakSavAn, yathA'ghaTo ghaTapratipakSavAn / atra hi aghaTaprayoge zuddhasya vyutpattimatazca padasya niSedho'to'vazyaM ghaTalakSaNena pratipakSeNa bhAvyam / yastu na pratipakSavAn na tatra vyutpattimataH zuddhapadasya pratiSedho, yathA akharaviSANazabdaH aDittha iti vA // 8 // tathA svazarIre svasaMvedanapratyakSamAtmAnaM sAdhayitvA parazarIre'pi sAmAnyatodRSTAnumAnena sAdhyate yathA

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117 Vol. XVIII, '92-93 parazarIre'pyastyAtmA iSTAniSTayoH pravRttinivRttidarzanAt yathA svazarIre / dRzyate ca parazarIre iSTAniSTayoH pravRttinivRttI, tasmAttatsAtmakaM, AtmAbhAve tayorabhAvAt, yathA ghaTe // 9 // nAsti jIva iti yo'yaM jIvaniSedhadhvaniH sa jIvAstitvenAntarIyaka eva, niSedhazabdatvAt, yathA nAstyatra ghaTa iti zabdo'nyatra ghaTAstitvAvinAbhAvyeva / prayogazcAtra, iha yasya niSedhaH kriyate tat kvacidastyeva, yathA ghaTAdikaM, niSidhyate ca bhavatA, tasmAdastyevAsau / yacca sarvathA nAsti tasya niSedho'pi na dRzyate, yathA paJcabhUtAtiriktaSaSThabhUtasyeti // 10 // sa ca dvividho muktaH sAMsArikazca / tatra muktaH sakalakarmamalakSayabhAg ekaprakAraH / sAMsArikazcaturvidhaH suranArakamanuSyatiryagbhedAt / tatra surA bhavanapativyantarajyotiSkavaimAnikabhedAccaturvidhAH / nArakA ratnaprabhApRthivyAdyadhikaraNabhedena saptadhA / manuSyA dviprakArA garbhajasammUrchajabhedAt / tiryaco'pyekadvitricatuHpaJcendriyabhedAtpaJcavidhAH // tatraikendriyAH pRthivyaptejovAyuvanaspatibhedAtpaJcaprakArAH / nanu bhavatu jIvalakSaNopetatvAd dvIndriyAdInAM jIvatvaM, pRthivyAdInAM tu jIvatvaM kathaM zraddheyam ? vyaktatalliGgasyAnupalabdheriti cet ? satyam / yadyapi teSu vyaktaM jIvaliGgaM nopalabhyate tathApyavyaktaM tatsamupalabhyata eva / yathA hatpUravyatimizramadirApAnAdibhirmUrchitAnAM vyaktaliGgAbhAve'pi sajIvatvamavyaktaliGgaLavahiyate, evaM pRthivyAdInAmapi sajIvatvaM vyavaharaNIyam / nanu mUrchiteSUcchvAsAdikamavyaktaM cetanAliGgamasti, na punaH pRthivyAdiSu tathAvidhaM kiJciccetanAliGgamasti / naitadevam / pRthivIkAye tAvat svasvAkArAvasthitAnAM lavaNavidumopalAdInAM samAnajAtIyAGkurotpattimattvam, arzImAMsAGkarasyeva cetanAcihnam, astyeva / avyaktacetanAnAM hi saMbhAvitaikacetanAliGgAnAM vanaspatInAmiva cetanA'bhyupagantavyA / vanaspatezca caitanyaM viziSTatuphalapradatvena spaSTameva, sAdhiSyate ca / tato'vyaktopayogAdilakSaNasadbhAvAtsacittA pRthivIti sthitam / prayogazca - vidumazilAdirUpA pRthivI sAtmikA chede samAnadhAtUtthAnAt, arzoGkuravat / nanu ca vidumapASANAdipRthivyAH kaThinapudgalAtmikAyAH kathaM sacetanatvamiti cennaivam / ucyate-yathA'sthi sarIrAnugataM sacetanaM kaThinaM ca dRSTamevaM jIvAnugataM pRthivIzarIramapIti / athavA pRthivyaptejovAyuvanaspatayo jIvazarIrANi chedyabhedyokSipyabhogyadheyarasanIyaspRzyadravyatvAt sAsnAviSANAdisaGghAtavat / na hi pRthivyAdInAM chedyatvAdi dRSTamapahnotuM zakyam / na ca pRthivyAdInAM jIvazarIratvamaniSTaM sAdhyate, sarvapudgaladravyasya dravyazarIratvAbhyupagamAt / jIvasahitatvA'sahitatvaM ca vizeSaH / azastropahataM pRthivyAdikaM kadAcitsacetanaM, saGghAtatvAt, pANipAdasaGghAtavat / tadevaM, kadAcitkiJcidacetanamapi, zastropahatatvAt, pANyAdivadeva / na cAtyantaM tadacittameveti // 1 // atha nApkAyo jIvastallakSaNAyogAtprazravaNAdivaditi cennaivaM, hetorasiddhatvAt / tathA hi - hastinaH zarIraM kalalAvasthAyAmadhunotpannasya dravaM sacetanaM ca dRSTamevamapkAyikasyApi / yathA vA'NDake rasamAtrasamaM jAtAvayavamanabhivyaktacaJcvAdipravibhAgaM cetanAvad daSTam / eSauvopamA'bjIvAnAmapi / prayogazcAyaM - sacetanA ApaH zastrAnupahatatve sati dravatvAt hastizarIropAdAnabhUtakalalavat / hetorvizeSaNopAdAnAtprazravaNAdivyudAsaH 1 / toyamanapahatadravatvAda aNDakamadhyasthitakalalavaditi 2 / idaM vA prAgvajjIvaccharIratve siddhe sati pramANam / sacetanA himAdayaH kvacidapakAyatvAditarodakavaditi 3 / tathA kvacana cetanAvantyApaH khAtabhUmisvAbhAvikasambhavAt darduravat 4 / athavA sacetanA antarikSodbhavA Apo'bhrAdivikAre svata eva sambhUyapAtAt matsyavaditi / tathA zItakAle bhRzaM zIte patati nadyAdiSvalpe'lpo bahI bahurbahutare ca bahutaro ya USmA saMvedyate sa jIvahetuka evA'lpabahubahutaramilitamanuSyazarIreSvalpabahubahutaroSmavat / zItakAle

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118 SAMBODHI jaleSUSNasparza uSNasparzavastuprabhava uSNasparzatvAt, manuSyazarIroSNasparzavat / na ca jaleSvayamuSNaH sparzaH sahajaH, apsu sparzaH zIta eveti vaizeSikAdivacanAt / tathA zItakAle zIte sphIte nipatati prAtastaTAkAdeH pazcimasyAM dizi sthitvA yadA taTAkAdikaM vilokyate tadA tajjalAnnirgato bASpasaMbhAro dRzyate so'pi jIvahetuka ev| prayogastvitthaM - zItakAle jaleSu bASpa uSNasparzavastuprabhavo bASpatvAt / zItakAle zItalajalasiktamanuSyazArIrabASpavat / prayogadvaye'pi yadevoSNasparzasya bASpasya ca nimittamuSNasparza vastu tadeva taijasazarIropetamAtmAkhyaM vastu pratipattavyam / jaleSva'nyasyoSNasparzabASpayonimittasya vastuno'bhAvAt / na ca zItakAle utkuruDikA'vakaratalagatoSNasparzena tanmadhyanirgatabASpena ca prakRtahetorvyabhicAraH zaGkyaH / tayorapyavakaramadhyotpannamRtajIvazarIranimittatvAbhyupagamAt / nanu mRtajIvAnAM zarIrANi kathamuSNasparzabASpayornimittIbhavantIti cet ? ucyate / yathA'gnidagdhapASANakhaNDikAsu jalaprekSepe vidhyAtAdapyagneruSNasparzabASpau bhavetAM tathA zItasaMyoge satyapyatrApIti / evamanyatrApi bASpoSNasparzayornimittaM sacittamacittaM vA yathAsambhavaM vaktavyam / itthameva zItakAle parvatanitambasya nikaTe vakSAdInAmadhastAcca ya USmA saMvedyate so'pi manuSyavapurUSmAvajjIvahetarevAvagantavyaH / evaM grISmakAle bAhyatApena taijasazarIrarUpAgnermandIbhavanAt jalAdiSu yaH zItalasparzaH so'pi mAnuSazarIrazItalasparzavajjIvahetuko'bhyupagamanIyaH / tata evaMvidhalakSaNabhAktvAjjIvA bhavantyapkAyAH 2 // ___ yathA rAtrau khadyotakasya dehapariNAmo jIvaprayoganirvRtazaktirAvizcakAsti, evamaGgArAdInAmapi prativiziSTaprakAzAdizaktiranumIyate jIvaprayogavizeSAvirbhAviteti / yathA jvaroSmA jIvaprayogaM nAtivarttate, eSaivopamA''gneyajantUnAm / na ca mRtA jvariNaH kvacidupalabhyante / evamanvayavyatirekAbhyAmagneH sacittatA jnyeyaa| prayogazcAtra AtmasaMyogAvirbhUto'GgArAdInAM prakAzapariNAmaH zarIrasthatvAt, khadyotadehapariNAmavat 1 / tathA AtmasaMyogapUrvako'GgArAdInAmUSmA zarIrasthatvAt, jvaroSmavat / na cAdityAdibhiranekAntaH, sarveSAmuSNasparzasyAtmasaMyogapUrvakatvAt 2 / tathA sacetanaM tejo yathAyogyAhAropAdAnena vRddhyAdivikAropalambhAt puruSavapurvat 3 / evamAdilakSaNairAgnaneyajantavo'seyAH / 3 / / yathA devasya svazaktiprabhAvAnmanuSyANAM vAjajanavidyAmantrairantardhAne zarIraM cakSaSA'nupalabhyamAnamapi vidyamAnaM cetanAvaccadhyavasIyate / evaM vAyAvapi cakSAhayaM rUpaM na bhavati. sakSamapariNAmAta. paramANoriva vahanidagdhapASANakhaNDikAgatA'cittAgneriva vA / prayogazcAyaM - cetanAvAn vAyuraparapreritatiryaganiyamitadiggatimattvAt, gavAzvAdivat 1 / tiryageva gamananiyamAt aniyamitavizeSaNopAdAnAcca paramANunA na vyabhicArastasya niyamitagatimattvAt jIvapudgalayoranuzreNi gatiH' iti vacanAt / evaM vAyurazastropahatazcetanAvAnagavagantavyaH 4 // bakulAzokacampakAdyanekavidhavanaspatInAmetAni zarIrANi na jIvavyApAramantareNa manuSyazarIrasamAnadharmabhAji bhavanti / tathAhi - yathA puruSazarIraM bAlakumArayuvavRddhatApariNAmavizeSatvAt cetanAvadadhiSThitaM praspaSTacetanAkamupalabhyate, tathedaM vanaspatizarIramanavarataM bAlakumArayuvAvasthAvizeSaiH pratiniyaM varddhate, tathedamapi vanaspatizarIramaGkurakizalayazAkhAprazAkhAdivizeSaiH pratiniyataM varddhata iti / tathA yathA manuSyazarIraM jJAnenAnugataM evaM vanaspatizarIramapi, yataH zamIprapunnATasiddherasakAsundakavacchUlAgastyAmalakIkaDIprabhRtInAM svApavibodhatastadbhAvaH / tathA'dhonikhAtadraviNarAzeH svaprarohaNAveSTanaM, tathA vaTapippalanimbAdInAM prAvRTjaladharaninAdaziziravAyusaMsparzAdaGkurodbhedaH, tathA mattakAminIsanUpurasukumAracaraNatADanAdazokataroH pallavakusumodbhedaH, tathA yuvatyAliGganAt panasasya, tathA surabhimadirAgaNDUkasekAdbakulasya, tathA surabhinirmalajalasekAccampakasya, tathA kaTAkSavIkSaNAttilakasya, tathA paJcamasvarodgArAt zirISasya virahakasya ca puSpavikiraNaM, tathA padmAdInAM prAtarvikasanaM, ghoSAtakyAdipuSpANAM ca sandhyAyAM, kumudAdInAM tu candrodaye,

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Vol. XVIII, '92-93 119 tathAsannameghavRSTau zamyA avakSaraNaM, tathA vallInAM vRttyAdyAzrayopasarpaNaM, tathA lajjAlUprabhRtInAM hastAdisaMsparzAt patrasaGkocAdikA parisphuTA kriyopalobhyate / athavA sarvavanaspaterviziSTartuSveva phalapradAnam / na caitadanantarAbhihitaM tarusaMbandhi kriyAjAlaM jJAnamantareNa ghaTate, tasmAt siddhaM cetanAktvaM vanaspateriti / tathA yathA manuSyazarIraM hastAdicchinnaM zuSyati tathA taruzarIramapi pallavaphalakusumAdicchinnaM vizoSamupagacchad dRSTaM, na cAcetanAnAmayaM dharma iti / tathA yathA manuSya zarIraM stanakSIravyaJjanaudanAdyAhArAbhyavahArAdAhArakaM, evaM vanaspatizarIramapi bhajalAdyAhArAbhyavahArAdAhArakaM na caitadAhArakatvamacetanAnAM daSTama, atastadarbha dRSTam, atstdbhaavaatscetntvmiti| tathA yathA manuSya zarIraM niyatAyuSkaM tathA vanaspatizarIramapi / tathA yathA manuSyazarIramiSTAniSTAhArAdiprAptyA vRddhihAnyAtmakaM, tathA vanaspatizarIramapi / tathA yathA manuSyazarIsya tattadrogasaMparkAdomapANDutvodaravRddhizophakRzatvAGgulinAsikAnimnIbhavanavigalanAdi, tathA vanaspatizarIrasyApi tathA rogodbhavAtpuSpaphalapatratvagAdyanyathAbhavanapatanAdi / tathA yathA manuSyazarIrasyauSadhaprayogAd vRddhihAnikSatabhugnasaMrohaNAni, tathA vanaspatizarIrasyApi / tathA yathA manuSyazarIrasya rasAyanasnehAdhupayogAdviziSTakAntirasabalopacayAdi, tathA vanaspatizarIrasyApi viziSTeSTanabhojalAdisekAdviziSTarasavIryasnigdhatvAdi / tathA yathA strIzarIrasya tathAvidhadauhRdapUraNAt putrAdiprasavanaM, tathA vanaspatizarIrasyApi tatpUraNAt puSpaphalAdiprasavanamityAdi / tathA ca prayogo - vanaspatayaH sacetanAH bAlakumAravRddhAvasthA - (1) pratiniyatavRddhi - (2) svApaprabodhasparzAdihetukollAsasaGkocAzrayopasarpaNAdiviziSTAnekakriyA - (3) chinnAvayavamlAni - (4) pratiniyatapradezAhAragrahaNa (5) vRkSAyuH (6) abhihitAyuSke- SviSTAniSTAhArAdinimittakavRddhihAni - (7) AyurvedoditatanUroga (8) viziSTauSadhaprayogasaMpAditavRddhihAnikSatabhugnasaMrohaNa - (9) pratiniyataviziSTazarIrarasavIryasnigdhatvarUkSatva (10) viziSTadohada - (11) AdimattvAnyathAnupapatterviziSTastrIzarIravat / __ athavaite hetavaH pratyekaM pakSeNa saha prayoktavyAH / ayaM vA saMgRhItoktArthaprayogaH-sacetanA vanaspatayo janmajarAmaraNarogAdInAM samuditAnAM sadbhAvAt / atra samuditAnAM janmAdInAM grahaNAt jAtaM taddadhItyAdivyapadezadarzanAd dadhyAdibhiracetanairna vyabhicAraH zaGkyaH / tadevaM pRthivyAdInAM sacetanatvaM siddham AptavacanAtsarvaSAM sAtmakatvasiddhiriti / dvIndriyAH zaGkhazuktikAdayaH, trIndriyAH pipIlikAdayaH, caturidandriyA makSikAbhramarapataGgAdayaH, paJcendriyA gomahiSyAdayo garbhavyutkrAntAH saMmUrchajAzceti // 3 // etadviparIto'jIvaH // 4 // sa ca dharmAdharmAkAzakAlapudgalabhedAtpaJcavidhaH // 5 // tatra dharmo lokavyApI nityo'vasthito'pidravyamastikAyo'saGkhyapradezo gatyupagrahakArI ca / 1 // 6 // adharmo lokavyApI nityo'vasthito'rUpidravyamastikAyo'saGkhyapradezaH sthityupagrahakArI ca / 2 // 7 // AkAzamapi lokAlokavyApakamanantapradezaM nityamavyasthitamarUpidravyamastikAyo'vagAhopakArakaM ca vaktavyam / 3 // 8 // kAlo'rddhatRtIyadvIpAntarvartI paramasUkSmo nirvibhAgaH ekaH samayaH // 9 // sa cAstikAyo na bhaNyate, ekasamayaspasya tasya niSpradezatvAt // 10 // Aha ca - 'tasmAnmAnuSalokavyApI kAlo'sti samaya eka iha / ekatvAcca sa kAyo na bhavati, kAyo hi samudAyaH // " sa ca sUryAdigrahanakSatrodayAstAdikriyAbhivyaGgyaH ekIyamatena dravyamabhidhIyate / sa caikaH samayo dravyaparyAyobhayAtmaiva dravyArtharUpeNa pratiparyAyamatpAdavyayadharmApi svarUpAnanyabhatakramAkramabhAvyanAdyaparyavasAnAnantasaGkhyapariNAmo'ta eva ca sa svaparyAyapravAhavyApI dravyAtmanA nityo'bhidhIyate, atItAnAgatavartamAnAvasthAsvapi

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120 SAMBODHI kAlaH kAla ityavizeSazruteH / yathA hokaH paramANaH paryAyairanityo'pi dravyatvena sadA sanneva na kadAcidasattvaM bhajate tathaikaH samayo'pIti / tathA davvapariyaTTarUvo jo so kAlo havei vvhaaro| pariNAmAilakkho vaTTaNalakkho a paramaTThoM jiivpudglprikto navapurANAdistena lakSyaH dravyaparyAyarUpo vyavahArakAlaH / svopAdAnarUpeNa svayameva pariNamamAnAnAM bhAvAnAM kumbhakAracakrAdhastanazilAvat zItakAlAdhyApane'gnivat padArthapariNamane yatsahakAritvaM sA vartanA saiva lakSaNaM yasya sa kAlANudravyarUpo nizcayakAlaH / tato'nyaH kAlANudravyarUpanizcayakAlo nAsti / atrottarottaramutpannadhvaMsitvAtsamayaH paryAyaH, paryAyo dravyaM vinA na bhavati / uktaM ca - "dravyaM paryAyaviyutaM paryAyA dravyavarjitAH / kva kadA kenacitkiMvA dRSTA mAnena kena vA / tataH samayarUpaparyAyopAdAnabhUtena kAlANurUpanizcayakAladravyeNa bhAvyameva, yathA indhanAgnisahakArikAraNotpannaudanaparyAyasya taNDulopAdAnakAraNavat kumbhakAracakracIvarAdibahiraGganamittotpannasya mRnmayaghaTaparyAyasya mRtpiNDopAdAnaM, narakAdiparyAyasya jIvopAdAnam / tadapi kasmAt ? upAdAnakAraNasadRzaM kArya bhvtiitivcnaat| ayamanantasamayAdikAlaparyAyANAM kAladravyamupAdAnaM na bhavati, kiMtu samayotpattau mandagatipariNatapudgalaparamANuH, nimeSotpattau nayanapuTavighaTanaM, ghaTikAkAlotpattau ghaTikAsAmagrIbhUtajalabhRtabhAjana-puruSahastAdivyApAraH, divasAdau dinakarabimbamupAdAnAdikaraNam / upAdAnatvaM ca pUrvAkAraparityAgAjahavRttyuttarAkAropAdanatvam, naivaM upAdAnakAraNasadRzaM kAryamiti vacanAtkAlANudravyameveti / 4 / // 10 // pudgalAH sparzarasagandhavarNavantaH // 11 // atra sparzagrahaNamAdau sparza sati rsaadisdbhaavjnyaapnaarthm| tato'bAdIni caturguNAni sparzitvAt pRthivIvat, tathA manaH sparzAdimada, asarvagatadravyatvAt, pArthivANuvad itiprayogau siddhau // 11 // tatra sparzA mUdukaThinagurulaghuzItoSNasnigdhaskSAH // 12 // atra ca snigdharUkSazItoSNAzcatvAra evANuSu saMbhavanti / skandheSvaSTAvapi yathAsaMbhavaM vaktavyAH // 12 // rasAH tiktakaTukaSAyAmlamadhurAH // 13 // lavaNo madhurAntargata ityeke, saMsargaja ityapare // 13 // ganthau surabhyasurabhI // 14 // kRSNAdayo varNAH // 15 // tadvantaH pudgalA iti / na kevalaM pudgalAnAM sparzAdayo dharmAH zabdAdayazceti darzyante / zabdabandhasaukSmyasthaulyasaMsthAnabhedatamazchAyAtapodyotavantaH pudgalAH / atra pudgalapariNAmAviSkArI matupa pratyayo nityayogArtha vihitaH / tatra zabdo dhvaniH 1 / bandhaH parasparAzleSalakSaNaH prayogavisrasAdijanitaH, audarikAdizarIrajatukASThAdizleSavat, paramANusaMyogavadveti 2 / saukSmyaM sUkSmatA 3 / sthaulyaM sthUlatA 4 / saMsthAnamAkRtiH 5 / bhedaH khaNDazo bhavanam 6 / tamazchAyAdayaH pratItAH sarva evaite sparzAdayaH zabdAdayazca pudgaleSveva bhavantIti / pudgalA vedhA paramANavaH skanthAzca // 16 // tatra paramANorlakSaNamidaM - kAraNameva tadantyaM sUkSmo nityazca bhavati paramANuH / ekarasasavarNagantho dvisparzaH kAryaliGgazca 1 // 17 // ete dharmAdharmAkAzakAlapudgalA jIvaiH saha SaD dravyANi // 18 // eSvAdyAni catvAryekadravyANi, jIvAH pudgalAzcAnekadravyANi, pudgalarahitAni tAni paJcAmUrttAni, pudgalAstu mUrtI evati / 2 / satkarmapudgalAH puNyaM santaH, tIrthakaratvasvargAdiphalanivartakatvAt // 19 // prazastakarmaNAM pudgalA jIvasambaddhAH karmavargaNAH paNyamityarthaH 3 // 19 //

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121 Vol. XVIII, '92-93 ___ tadviparItaM tu pApam // 20 // turbhinnakrame / tasmAtpuNyAdviparItam / narakAdiphalanivartakatvAdaprazastA jIvasaMbaddhAH karmapudgalAH pApamityarthaH 4 // 20 // bandhasya mithyAtvA'viratikaSAyayogalakSaNahetava AmravaH // 21 // asaddevagurudharmeSu saddevAdibuddhirmithyAtvam / hiMsAdyanivRttiraviratiH / pramAdo madyaviSayAdiH / kaSAyaH krodhAdayaH / yogA manovAkkAyavyApArAH / bandhasya jJAnAvaraNIyAdikarmabandhasya hetavaH kAraNAni, Asravati karma yebhyaH sa aamrvH| tato mithyAtvAdiviSayA manovAkkAyavyApArA evAzubhakarmabandhahetutvAdAsrava ityarthaH 5 // 21 // ___tannirodhaH saMvaraH // 22 // teSAM mithyAtvAviratikaSAyayogAnAmAsavANAM samyagdarzanaviratipramAdaparihArakSamAdiguptitrayadharmAnuprekSAdirbhinirodho nivAraNaM sthaganaM saMvaraH / paryAyakathanena vyAkhyA / AtmanaH karmopAdAnahetubhUtapariNAmAbhAvaH saMvara ityabhiprAyaH / sa ca dezasarvabhedAd dvedhA / tatra bAdarasUkSmayoganirodhakAle sarvasaMvaraH, zeSakAle samyaktvapratipatterArabhya dezasaMvaraH 6 // 22 // jIvasya karmaNA anyonyAnugamAtmA saMbandho bandhaH // 23 // tatra bandhanaM bandhaH, parasparAzleSo jIvapradezapudgalAnAM, kSIranIravat / athavA badhyate yenAtmA pAratantryamApAdyate jJAnAvaraNAdinA sa bandhaH pudgalapariNAmaH 7 // 23 // baddhasya karmaNaH zATo nirjarA // 24 // baddhasya jIvena sambaddhasya karmaNo jJAnAvaraNAdeH, zATaH zATanaM dvAdazavidhena tapasA vicaTanaM, sA nirjarA / sA ca dvividhA sakAmAkAmabhedAt / tatrAdyA cAritriNAM duSkaratapazcaraNakAyotsargakaraNadvAviMzatiparISahaparISahaNaparANAM locAdikAyaklezakAriNAmaSTAdazazIlAGgarathadhAriNAM bAhyAbhyantarasarvaparigrahaparihAriNAM niSpratikarmazarIriNAM bhavati / dvitIyA tvanyazarIriNAM tIvratIvratarazArIramAnasAnekadussahaduHkhazatasahasrasahanato bhavati // 8 // dehAderAtyantiko viyogo mokSaH // 25 // dehAdeH . zarIrapaJcakendriyAyurAdibAhyaprANapuNyApuNyavarNagandharasasparzapunarjanmagrahaNavedatrayakaSAyAdisaGgAjJAnAsiddhatvAderAtyantiko virahaH punarmokSa iSyate / yo hi zazvad bhavati na punaH kadAcinna bhavati sa AtyantikaH / / ____ atra paraH prAha-nanu bhavatu dehasyAtyantiko viyogastasya sAditvAt, paraM rAgAdibhiH sahAtyantiko viyogo'saMbhavI. pramANabAdhanAta / pramANa cedaM. yadanAdimata na tadvinAzamAvizati, yathAkAzama, anAdimantazca iti / ucyate - yadyapi rAgAdayo doSA jantoranAdimantastathApi kasyacidyathAvasthitastrIzarIrAdivastutattvAvagamena teSAM rAgAdInAM pratipakSabhAvanAtaH pratikSaNamapacayo dRzyate / tataH saMbhAvyate viziSTakAlAdisAmagrIsadbhAve bhAvanAprakarSato nirmUlamapi kSayaH, nirmuulkssyaanbhyupgme'pcysyaapysiddheH| yathA hi zItasparzasaMpAdyA romaharSAdayaH zItapratipakSasya vahnarmandatAyAM mandA upalabdhA, utkarSe ca niranvayavinAzinaH, evamanyatrApi mandatAsadbhAve niranvayavinAzo'vazyameSTavyaH / ___ atha yathA jJAnAvaraNIyakarmodaye jJAnasya mandatA bhavati tatprakarSe ca jJAnasya na niranvayo vinAzaH, evaM pratipakSabhAvanotkarSe'pi na rAgAdInAmatyantamucchedo bhaviSyatIti / tadayuktam / dvividhaM hi bAdhyaM sahabhUsvabhAvaM sahakArisaMpAdyasvabhAvaM ca / tatra yatsahabhUsvabhAvaM tanna bAdhakotkarSe kadAcidapi niranvayaM vinAzamAvizati / jJAnaM cAtmanaH sahabhasvabhAvam / AtmA ca pariNAminityaH / tato'tyantaprakarSavatyapi jJAnAvaraNIyakarmodaye jJAnasya na niranvayo vinAzaH / rAgAdayastu lobhAdikarmavipAkodayasaMpAditasattAkAH, tataH karmaNo nirmUlamapagame te'pi nirmUlamapagacchanti / prayogazcAtra - ye sahakArisaMpAdyA yadupadhAnAdapakarSiNaH te tadatyantavRddhau niranvayavinAzadharmANaH, yathA romaharSAdayo vahnivRddhau / bhAvanopadhAnAdapakarSiNazca sahakArikarmasaMpAdyA rAgAdayaH / 9 / / (ityaSTama : pariccheda // )

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122 SAMBODHI (atha navama : pariccheda : / ) iti pramANanayatattvaM vyavasthApya vastunirNayArtha vAdamAha - viruddhayodharmayorekadharmavyavacchedena svIkRtatadanyadharmavyavasthApanArtha sAdhanadUSaNavacanaM vAdaH // 1 // viruddhayorekatra, pramANenAnupapadyamAnopalambharyorddharmayormadhyAditi // 1 // tatprArambhakazcAtra jigISustatttavanirNinISuzca // 2 // tatra jigISuH prasahya prathamaM ca vAdamArabhate prathamameva ca tattvanirNinISuriti dvAvapi prArambhako bhavataH // 2 // tatra svIkRtadharmavyavasthApanArtha sAdhanadUSaNAbhyAM paraM parAjetumicchurjigISuH // 3 // svIkRto dharmaH zabdAdeH kathaMcinnityatvAdiryastasya vyavasthApanArthaM yatsAmarthyAtsyaiva sAdhanaM, parasya ca dUSaNaM tAbhyAM kRtvA paraM parAjetumicchurjigISurityarthaH // 3 // tathaiva tattvaM pratiSThApayiSustattvanirNinISuH // 4 // tathaiva svIkRtadharmavyavasthAnArthaM sAdhanadUSaNAbhyAM zabdAdeH kathaMcinnityatvAdirUpaM tattvaM pratiSThApayitumicchustattvanirNinISurityarthaH // 4 // ayaM ca dvedhA svAtmini paratra ca // 5 // ayamiti tatvanirNinISuH / kazcitkhalupahatacetovRttiH svAtmani tattvaM nirNetumicchatyaparastu parAnugrahikatayA paratra tatheti dvedhA'sau tattvanirNinISuH / sarvo'pi ca dhAtvarthaH karotyarthena vyApta iti svAtmani paratra ca tattvanirNayaM cikIrSurityarthaH / tadidamiha rahasyam / paropakAraikaparAyaNasya kasyacidvAdivRndArakasya paratra tattvanirNinISorAnuSaGgikaM phalaM jayo, mukhyaM tu parattvAvabodhanam / jigISostu viparyaya iti // 5 // prArambhakapratyArambhakAveva mallapratimallanyAyena vAdiprativAdinau // 6 // pramANataH svapakSasthApanapratipakSapratikSepAvanayoH karma // 7 // vAdiprativAdisiddhAntatattvanadISNatvadhAraNAbAhuzrutyapratibhAkSAntimAdhyasthyairubhayAbhimatAH sabhyAH // 8 // vAdiprativAdinoryathAyogaM vAdasthAnakakathAvizeSAGgIkAreNAgravAdottaravAdanirdezaH / sAdhakabAdhakoktigaNadoSAvadhAraNaM yathAvasaraM tattvaprakAzena kathAviramaNaM yathAsaMbhavaM sabhAyAM kathAphalakathanaM caiSAM karmANi // 9 // ubhayostattatvanirNinISutve yAvattattvanirNayaM yAvatsphUrti ca vAcyamityekaH // 10 // svAtmani tattvanirNinISuH parazca paratra dvau vA parasparamityevaM dvAvapi yadA tattvanirNinISu bhavataH, tadA yAvatA tattvasya nirNayo bhavati tAvattAbhyAM sphUrtI satyAM vaktavyam // 10 // anirNaye vA yAvatsphurati tAvadvaktavyam // 11 // evaM ca sthitametat - svaM svaM darzanamAzritya, samyak sAdhanadUSaNaiH / jigISornirNinISorvA vAda ekaH kathA bhavet // 1 // bhaGgaH kathAtrayasyAtra nigrahasthAnanirNayaH / zrImadraratnAkaragranthAddhIdhanairavadhAryatAm // 2 // " zrIhIravijayasUrIzvaracaraNAmbhojacaJcarIkeNa / zubhavijayAbhidhazizunA dRbdhA syAdvAdabhASeyam // 3 // // iti navamaH paricchedaH // iti zrIhIravijayasUrIzvaraziSyapaNDitazubhavijayagaNinA zrIvijayadevasUrIzvaranirdezAt pramANanayatattvaprakAzikA'paranAmnI syAdvAdabhASA viracitA // // iti zrIzubhavijayakRtA syAdvAdabhASA samAptA //

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caulukya bhImadeva bIjAnuM aprasiddha tAmrapatra (vi.saM. 1263) lakSmaNabhAI bhojaka caulukya rAjA bhImadeva bIjAe ApelA bhUmidAnanAM be tAmrapatro prApta thayAM che. emAnuM eka tAmrapatra aNahilapura pATaNamAMthI vikrama saMvata 1263mAM prasArita karavAmAM Avela che. A tAmrapatramAM uttara-gujarAtamAM vAlama, deNapa, bhAMDu tarala vagere gAmono tathA vAlamamAM zrI ariSTanemi deva vATikAno ullekha paNa maLyo che. A tAmrapatranI praziSTa vAcanA nI (pa.1) rda / svasti rAjAvalI pUrvavatsamastarAjAvalIvirAjitaparamabhaTTArakamahArAjAdhirAja paramezvazrIcAmuNDarAjadevapAdAnudhyAtaparamabhaTTAraka- (paM.3) mahArAjAdhirAjaparamezvarazrIdurlabharAjadevapAdAnudhyAtaparamabhaTTArakamahArAjAdhirAjaparamezvarazrIbhI (paM.4) madevapAdAnudhyAtaparamabhaTTArakamahArAjadhirAjaparamezvaratrailokyamalla zrIkarNadevapAdAnudhyAtapara- (paM.5) mabhaTTArakamahArAjAdhirAjaparamezvarAvaMtInAthatribhuvanagaMDabarbarakajiSNusiddhacakravartizrIjayasiMhade- (paM.6) vapAdAnudhyAtaparamabhaTTArakamahArAjAdhirAjaparamezvaraumApativaralabdhaprasAdaprauDhapratApasvabhujavikra- (paM.7) maraNAMgaNavinirjitazAkaMbharIbhUpAla zrIkumArapAladevapAdAnudhyAtaparamabhaTTArakamahArAjAdhirAjapa- (paM.8) ramezvaraparamamAhezvaraprabalabAhudaMDadarparUpakaMdarpakalikAlaniSkalaMkAvatAritarAmarAjyakaradIkRta- (paM.9) sapAdalakSakSmApAlazrIajayapAladevapAdAnudhyAtaparamabhaTTArakamahArAjAdhirAjaparamezvarAhavaparAbhU- (paM.10) tadurjayagarjayagajanakAdhirAjazrImUlarAjadevapAdAnudhyAtaparamabhaTTArakamahArAjAdhirAjaparamezvarA- (paM. 11) bhinavasiddharAjazrImadbhImadevaH svabhujyamAnaviSayapathakAMtaHpAtinaH samastarAjapuruSAn brAhmaNo(paM.12) ttarA~stanniyuktAdhikAriNo janapadAMzca bodhayatyastu vaH saMviditaM yathA / zrImadvikramAdityotpAditasaMvatsa- (paM.13) razateSu dvAdazasu triSaSTiuttareSu laukikamArgamAse kRSNapakSanavamyAM ravivAre'trAMkatopi // saMva- (paM.14) t 1263 mArga vadi 9 ravAvasyAM saMvatsaramAsapakSavArapUvikAyAM tithAvadyeha zrImadaNahilapATake'- (paM.15) thaiva dhanasaMkrAMtiparvaNi snAtvA carA(cara)guruM bhagavaMtaM bhavAnIpatimabhyarcya saMsArAsAratAM viciMtya nalinI- (paM.16) dalagatajalalavataralataraM prANitavyamAkalayyaihikamAmuSmikaM ca phalamaMgIkRtya pitrorAtmanazca pu(paM.17) Nyayazo'bhivRddhaye vAlImyagrAme grAmapazcimadigbhAge kuTuM0 sIdhAurAutabhUmi pAyala / 2 // AsiyArA- (paM.18) NubhUmi pAyalAM 2 // kumaramohaNabhUmi pAyalAM 1 vAlasUrasADhAbhUmi pAyalAM / 2 evaM bhUmi pAyalAM 8 (paM.1) kRte bhUmihala 2 tathA kurulIgrAme paDheM mokharAvalAyAM bhUmi vi 1|| paTTa somezvaravalAyAM valAkuyA- (paM.2) kSetre bhUmi vi 1 // pratApamallavalAyAM bhUmi vi 1 // jagadevavalAyAM evaM bhUmi vi zA evaM bhUmi vi 6 jAta bhU- (paM.3) mi hala 2 ubhayagrAmaddhaye pAyala 8 vizA cha SaT vizopakairaSTapAyalakaizva jAtabhUmihalaM 4 ha- (paM.4) lacatuSTayabhUmi gRhatalakakhalakasamanvitA ca svasImAparyaMtA savRkSamAlAkulA sahiraNyabhAgabho- (paM.5) gA kASThatRNodakopetA sAdAyasametA bAhya nAgarajJA. kavalANAgautamasagotrAya brAhma. jyoti. na(paM.6) vAsUtasUmigAya zAsanenodakapUrvamasmAbhiH pradattA vAlimyagrAmahaladvayabhUmirAghATA yathA / pUrvasyAM A (paM.7) japAlamohaNayoH khalakAni / grAmaseraDikA AsarAkhalakaM ca / dakSiNasyAM

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124 SAMBODHI sAdAkhalakaM bhAMDuyagrAmarA- (paM.8) jamArga // pazcimAyAM taDAgavaDilA / tathA zrIariSTanemidevavATikA brA. viThaDagAMgilayoH kSetre ca / uttara- (paM. 9) syAM kSetrANAM serikA tathA kocAkhalakaM ca / kurulIgrAme daladvayabhUmerAghATA / pUrvataH kuTuM. gogAuvAsu- (paM.10) devakSetraM / dakSiNataH trivahagrAmasImA / pazcimato rAjamArgaH / uttarato risiyAtaDAgikA tathA patitakUpikA dI- (paM.11) NipagrAmarAjamArgazca / tathA grAmayoH satka gRhatalakayoH khalakayozca svamaryAdApramANaM / evamamIbhirAghATairu- (paM.12) palakSitAM bhUmimatAbhavagamya tadbhUmikheTakairyathAdIyamAnabhAgabhogakarahiraNyAdisarva savaMdAjJAzravaNavidheyai (paM.13) bhUtvA'muSmai brAhmaNAya samupanetavyaM / sAmAnyametatpuNyaphalaM matvA'smadvaMzajairanyairapi bhAvibhotkRbhirasmatprada - (paM. 14) tta brahmadAyo'yamanumaMtavyaH pAlanIyazca // uktaM ca bhagavatA vyAsena / SaSThiM varSasahasrANi svarge tiSThati bhUmidaH (paM. 15) AcchettA cAnumantA ca tAnyeva narake vaset / 1 svadattA paradattAM vA yo hareta vasuMdharAM sa viSTAyAM kRmibhUtvA pitR- (paM. 16) bhiH saha majjati / 2 / bahubhirvvasudhA bhuktA rAjabhiH sagarAdibhiH yasya yasya yadA bhUmi tasya tasya tadA phalaM / 3 da(paM. 17) ttvA bhUmiM bhAvinaH pArthiveMdrAn bhUyo bhUyo yAcate rAmabhadraH sAmAnyo'yaM dAnadharmo nRpANAM sve sve kA- (paM. 18) le pAlanIyo bhavadbhiH / likhitamidaM zAsanaM moDhAnvayaprasUtamahAkSapaTalika Tha. zrIkumarasuta Tha. vo- (paM. 19) sariNA / dUtako'tra mahAsandhivigrAhika Tha. zrI suraiti // zrI bhImadevasya //

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REVIEWS N. M. Kansara Prof. K. D. Bajpai Commemoration Volume 2, edited by Dr. A. L. Shrivastav. Panchala Shodh Samsthana Kanpur, 1993. Rs. 501 This is the sixth issue of 'Panchala', a bi-lingual journal journal of the Panchala Shodh Samsthana, Kanpur, published in commemoration of the Late Professor Krishnadatt Bajpai, in the passing away of whom the indological world has suffered an irreparable loss in the field of archaeological and epigraphical studies and research. Born in Raipur in the Raibarely District in the Uttar Pradesh, Dr. Bajpai had established a high standard by his knowledge in the field of archaeology, history and epigraphy. He had developed his deep interest in this field from the Kashi Hindu Vishvavidya, where he came to study under veteran scholars like Dr. S. Radhakrishnan, Prof. A. S. Altekar, Dr. Ramashankar Tripathi, Dr. Ramchandra Shukla and Pandit Baldev Upadhyay. He learned the secrets and technic of archaelogical excavations by working at Taxila excavations under the guidance of Sir Mortimer Wheelr. For fifteen years he proved his mettle in the Luknow and Mathura Museums and at the instance of Pandit Dwarika Prasad Mishra and Acharya Nandadulare Bajpai, he joined the Sagar University, where he stayed to the last, though during his last years he was invited by the Shantiniketan. It is said that if there had not been Dr. K. D. Bajpai, there would not have developed a scholar like Dr. Vakankar. Similarly, if Prof. Bajpai had not taken initiative in discovering the Karumaru caves, his contemporary Dr. Vakankar would not have revealed the mysteries of the prehistorical sites and Bhimabetika and hundreds of other caves in the same district of the Narmada region. In fact these two scholars were complementary to each other and were the forerunners of the prehistorical studies with the Indian insight. Besides historical and archaeological research which was his main field, he often composed Sanskrit stanzas on the spur of the moment. He guided more than sixty scholors in their doctoral researches. The volume is divided into three parts, viz., articles of reminiscences, research papers and miscellenea. Scholoars like Prof. Govindchandra Pandey, Dr. A. L. Shrivastav, Prof. Balram Shrivastav, Prof. Chandrabhushan Trivedi, Dr. Raghavendra Bajpai, and others have contributed eleven articles in which they have touched upon various aspects of the personality of Prof. K. D. Bajpai. In the research section, twenty-six scholors, like Dr. A. L. Shrivastav, Dr. K. K. Tripathi, Dr. K. P. Sinha, Dr. Surendrasinh Chauhan, Dr. S. K. Jaiswal, Dr. U. N. Upadhyaya, Prof. A. M. Shastri, and others have contributed learned articles on archaeological and allied topics pertaining to the Kanauj Art, Behta, Buxar and Dandiyakheda, Ruhelkhand, Pancala history, Suka-krida sculptures, humanistic impressions on the Pancala coins, chronology of Harsa Samvat, Varahamihira, epigraphs of Bundelkhand, history of Ekacakra, Siva, Nagapura Siva

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126 SAMBODHI temple, Visnu temples at Chhapara District, Manuscript and archives in the Vidarbha region and Agni in Ancient Indian Numismatic Art. The third part gives a report on the work being carried on in the Panchala Shodh Samsthana, some opinions about the K. D. Bajpai Commemoration Volumel, and reviews of some of the publications that are the doctoral dissertations assessed by Prof. K. D. Bajpai. N. M. K. Samskrta Sataka-Parampara Aura Acarya vidyasagara-ke Sataka in Hindi by Shrimati Dr. Ashalata Mallaiya. Jayashri Oil Mill, Durga (M.P.), 1989, pp.28 + 472. Rs. 120/This is the doctoral dissertation of Smt. Ashalata Malaiya, accepted by the Sagar University, Sagar (M.P.) for Ph.D degree, in 1984. She worked under the guidance of the late Prof. Dinesh Diskshit, Dr. Radhavallabh Tripathi and Dr. K. R. Halve. In her introductory 'Amukha', the author has rooted her concept of poetry in the Sabdabrahman and sprouted the seed of Sabda-tattva into two tiny leaves of Nada and bda. From Nada the Further development is Sangita, while that from Sabda is Kavya And, since Brahman is Sat, Cit and Ananda, the element of joy and entertainment has been invariably percolated in both music and literature. This Sabda is the Great Bull (Rsabha) referred to in the Rgveda and the Goddess of Speech is known to be Cidrupa for this very reason. Nada manifests through the notes of a lute, while Sabda manifests through the Veda. And, being the effect of Sabda, Veda or the Knowledge par excellence is the first manifestation of literature. Self-expression is the motive force behind all manifestations. Poetry is but one of the basic form of this manifestation, in which both the word and the meaning combine to express the sentiment; this transforms the Vakya into Kavya. Just as Man is the best among all the created things, Kavya is the best among the things created by Man. Delineation of Sentiments is the very life-force of lyric poetry (gitikavya). Sanskrit lyric poetry is very rich so far as variety of subjects delineated is concerned, and the type of Sanskrit lyrics known as Sataka is but a form of lyric poetry. 'Acarya Samantabhadra, a profound Pandita and revolutionary philosopher of the Digambara Jaina tradition is said to be the first Jaina author the Sataka form of Sanskrit poems; he is placed in the 2nd century A. D. The present work has taken up 51 Satakas for discussion. From the narrative view-point they are divide into four types, viz., Stuti, Vairagya, Niti, and Smgara, Dr. Malaiya has given an account of 21 such Satakas in the second chapter of her thesis, the first one being devoted to general topics like the nature of Giti-Kavya, the tradition of Muktaka-kavya, essentials of the Sanskrit Giti-kavya, and its peculiarities, and the place of the Sanskrit Satakas in Giti-kavya. The third chapter gives an account of five Vairagya Satakas, viz., Samadhi-Sataka of Acarya Pujyapada, two Vairagya-satakas of Bharthari and Padmananda, respectively, Santi-sataka of Silhana Misra and Samyaktvasara-sataka of Acarya Jnanasagara; and the it also gives an account of twelve Niti-satakas, viz., two Niti-satakas of Bhartrhari and K. Bhujabali Shastri, the Bhallata-Sataka of Bhallata, the Canakya-sataka of anonymous author two

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127 Vol. XVIII, '92-'93 Anyapadesa-Satakas of Nilakantha Diksita and Madhusudana, respectively, Upadesasataka of Gumana Kavi, Anyokti-sataka of Bhatta Viresvara, Drstantakalika-sataka of Kusumadeva, Sabharanjana-Sataka of Nilakantha Diksita, Brahmacarya-sataka of Medhavrata and Gurukula-sataka of Medhavratacarya. In the fourth chapter, the author of the thesis has given an a account of nine Smgara Satakas, viz., the Amaru-sataka of Amaruka, the three Smgara-satakas of Bhartrhari, Narahari and Janardana Bhatta, the Sundari-sataka of Utpreksavallabha, Bhava-Sataka of Nagaraja, Kavyabhusana-sataka of Krsnavallabha, Aslesa-Sataka of Narayana Pandita and the Adhara-sataka of Nilakantha Diksita. The fifth chapter is devoted to the life, date and works of Acarya Vidyasagara, while the sixth chapter gives the contents of the five Sanskrit Satakas of Vidyasagara, viz., Sramana-Sataka, Bhavana-sataka, Niranjana-Sataka, Parisahajaya-sataka and Sunitisataka. The seventh and the eighth chapters are devoted to the poetic appreciation and Alankara and Metres utilised in these five Satakas of Vidyasagara. And, the ninth chapter presents by way of an epilogue the discussion about the peculiarities, philosophy of life, and importance of the Sanskrit Sataka tradition, both in general and also in paticular about Vidyasagara's Satakas. In his 'Bhumika', Acarya Vimal Prakash Jain of the Sanskrit-Pali-Prakrit Department, R.D.V.V. Jabalpur, has presented an appreciation and comparative estimate of the Hindi lyrics of Acarya Vidyasagara, and shown how he has inherited the spiritual and poetic tradition of ancient India. The bibliography gives a list of about 111 reference works and five articles, and the book concludes with list of so far extant works of Acaraya Vidyasagara. The dissertation thus provides interesting and valuable material on Sanskrit Satakas in general and those of Vidyasagara in particular. N. M. K. The Clever Adulteress and Other Stories : A Treasury of Jain Literature, edited by Phylis Granoff. Mosaic Press, Oakville, Ontaria, Canada, 1990, pp. 290/-. The history of the Jain religion is traceable back through a series of twenty-four Jainas or 'Conquerors", otherwise called the Tirthamkaras or "Ford-maker" sanctified founders of the Jainism, the last of whom was Mahavira; he was a contemporary of the Buddha. The teachings of these Jinas, particularly of Mahavira has been cononised. From the beginnings Jains told stories to illustrate their religious teachings. Stories fill their existing canon, and many of the commentaries to canonical texts are veritable treasure houses of stories. Indeed in later medieval times some of these stories form the canon and the commentaries were gathered together with other popular tales into a large and often diverse collections that were aptly called "treasure houses of stories." While most of the stories presented here are from the Svetambara Jain tradition, the

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128 SAMBODHI Digambara Jains also told and collected stories in Sanskrit and other Indian languages. It is in all of these Jain writings that much of the medieval India story literature as a whole has been preserved, and without them we would know much less than we do of the popular culture of the medieval India. The present book is but a collection of translations of some of these Jain stories that were originally written either in Sanskrit or in one of the older vernacular languages, known by the collective name of Prakrits, related to Sanskrit. Most of the translations in this volume are of the stories in the Svetambara Jain tradition. The material in the Jain canon, its commentaries, and the story collections that grew from this older tradition is often didactic. But, in addition to avowedly didactic stories, Jains also recounted the lives and deeds of people who were important to their tradition. They also collected and told stories about their holy places. The boundary line between Jain "biographies" in particular and the didactic story is admittedly fluid; on the one hand, biographies may incorporate didactic stories, they may, on the other hand be used as didactic stories. At the same time biographies could be preserved in didactic story collections and yet lack a clear didactic purpose. Jain biography collections also from time to time include stories about famous poets and kings who were not specifically connected with the Jain tradition. Collection of the deeds of monks and nuns, pious laymen and women, appear regularly from the 12th century onwards. Biographies of the Jinas, the founding teachers of Jainism, have a longer history, but they continued to be a popular subject in medieval times. The book is divided into two parts; the first part being a selection of didactic stories of manners and morals, while the second part consists of stories of peoples and places from the biography collections and a pilgrimage text. Part I comprises three chapters. Chapter 1 contains a parable, entitled "The Peacock's Egg", from the Nayadhammakahao, translated by Willem Bollee. Chapter 2 contains stories from the Avasyaka ries translated by Nalini Balbir. She has presented these stories by dividing them in three sections, viz., (A) How can Samayika be gained, (B) Definitions and illustrations of repentance, and (C) A collection of 32 catchwords defining Jaina Yoga. Section A contains 11 stories, and sections B and C contain 8 and 32 stories, respectively. Chapter 3 comprises stories from the later didactic story collections, presented again into three sections. Section A contains the story of the Faithful Wife Rohini from the Akhyanakamanikosa translated by Prem Suman Jain. Section B contains stories on "Giving" from the Mulasuddhiprakarana, translated by Phyllis Granoff. Section C contains the story of Yasodhara about Karmic retribution from the Brhatkathakosa, translated by Friedhelm Hardy. Part II comprises five chapters. Chapter 1 presents the stories of monks, poets, faithful wives and other, like Bhadrabahu and Varaha, Aryanandila, Jivadeva, Aryakhapatacarya, the poet Harsa, Madanakirti, and two biographies of Mallavadin; all these stories being translated by Phyllis Granoff. Chapter 2 comprises two stories of Ambika and Kapardin in which mortals become gods, from

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Vol. XVIII, '92-'93 129 a medieval pilgrimage text, both translated by Phyllis Granoff. Chapter 3 gives the story of the minister Canakya from the Parisistaparvan of Hemacandra, translated by Rosalind Lefeber. Chapter 4 narrates the story of kings and sages, from the Adipurana, tanslated by Ralph Strhl. And, Chapter 5 presents selections from a midieval pilgrimage text about the Jain secred cosmos, translated by John Cort. The logic behind the above arrangement of Parts Sections and chapters therein is that Dr. Bollee's translation of a parable from one of the eleven angas takes us back to the very starting point of the Jain story literature. This is followed by a long section from the story tradition that is preserved in the commentaries to the Avasyakasutra. The prominence given to the Avasyaka stories here is an accurate reflection of their importance within the Jain tradition. The Avasyaka commentaries are the life-blood of the didactic story tradition in Svatambara Jainism; they preserve an enormous number of stories and were one major source for the many later collection of stories. By translating a block of stories Dr. Balbir has given the English reader the unique opportunity to see the range of stories functioned in their original setting. The section on didactic stories continues with examples from later didactic story collections, some of which are rooted in the Avasyaka tradition. Dr. P. S. Jain, who has translated the story of the faithful wife Rohini, has chosen to retain much of the verse from the original, which gives the reader the chance to see just how varied in style Jain stories can be. Dr. Phyllis Emily Granoff has translated several stories on a single theme,making gifts to monk and nuns. The section on dedactic stories concludes with a story that illustrates karmic retribution; it comes from the Digambara tradition and is translated by Dr. Firedhelm Hardy. Part II offers selections of another significant throughout the history of Jainism. In chapter 1 of Part II of this book Dr. Granoff has translated biographies from a number of major Jain biography collections. For chaptger 2 Dr. Granoff has given two accounts of lay devotees who became demi-gods. These accounts come from a text on Jain holy places. In chapter 3 Dr. Lefeber has translated the humourous account of the minister Canakya, whom Jain, Hindu and Buddhist sources alike celebrate as the power behind the throne of India's first great empire. Chapter 4 contains the translation by Dr. Strohl of the story of Bharata and Bahubali narrated in three chapters of the Digambara Adipurana describing the conflict between these two brothers and between secular and religious authority. Chapter 5 is a selection of translations from the same pilgrimage text that records the deeds of the lay devotees become gods, in chapter 2. Here Dr. Cort has selected several accounts of medieval holy places. Some of these are miracle stories or stories of the origins of the holy site; others are more descriptive in nature and still others belong more properly to the class of literature we would call hymns. By providing samples of all these types, Dr. Cort has given the English reader the chance to see the kind of religious world his stories inhabit. The title of the book, viz., "The Clever Adulteress and Other Stories" seems to have been chosen with an eye on the sale of the book which would arouse the curiosity of the interested readers, interested more in fun that the story provides than its antiquity and

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130 SAMBODHI sources. The editor has given a clue to the source of inspiration for this title; it is a tale of a clever woman who outwits both her husband and the divine being who tests her chastity. Though the definite story has not been pointed out it most probably seems to be No. 17, on pp. 56-57, in which Priyangu, the wife of the minister Dharmghosa seems to have been referred to by the editor who has indicated "a tale of a clever woman who outwits both her husband and the diving being who tests her chastity." Jaina story literature as a whole is characterized by a plurality of styles and a freedom of invention that surely contributed to its lasting appeal. Some stories read like simple folk-tales, others read more like the bare framework for a sermon while still others seem more like courtly romances. In the original each of the stories that are translated in this collection has an unmistakable and unique stamp. Although they all appear here in English, these stories in the original are not even in the same language. A single story may even be in more than one language, for it is not unusual for the stories to switch from one language to another, using Sanskrit and Prakrit side by side. Some of the stories that appear here were written entirely in prose, while others were in verse or in mixed prose and verse. The stories have been translated by several scholars, and no attempt has been made to achieve an uniform translation style. This was a deliberate dicision of the editor; the originals themselves exhibit great diversity and it was hoped that at least an impression of that richness might be conveyed by the strikingly different translations that each scholar has made. The freedom of the translators included the choice of adding footnotes or incorporating necessary background information into the text. The originals themselves exhibit the same wide range of tone, from scholarly and erudite to popular and easily accessible. Several translators kept to the propular vein; others have added notes that will be of great interest to specialists as well as general readers. These translations offer only a brief glimpse into what is an enormous body of literature, and the availability of these stories in English will help stimulate interest in this warm and lively literature. As such Dr. Granoff deserves our greetings for editing this treasury, so well. And this should surely inspire veteran scholars in India to take up a similar project on a bigger scale, incorporating many more tales and covering a wider field. N.M.K. Materials for an Edition and Study of the Pinda- and Oha-Niijuttis of the Svetambara Jain Tradition by Willem B. Bollee. Beitrage zur Sudasienforschung, Sudasien-Institut, Universitat Heidelberg, Franz Steiner Verlag, Stuttgart, 1991, pp. xv + 160. According to tradition, the Pinda-nijjutti and the Oha-nijjutti were canonized at the Council of Valabhi in the 5th century of our era, They are, yet, not considered to belong to the old Siddhanta by Western Jainology, because, as Leumann pointed out, the former text originally followed the Ayaramga-Nijutti 315, where there is a gap now, whereas the lattwe, in an earlier version, had its place betwee Avassaya-Nijjutti VI and VII. They are, therefore considered to have been composed later than Bhadrabahu's Nijjuttis, which

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131 Vol. XVIII, '92-93 refer to the canonical texts of diverse content, whereas the Mulasuttas under discussion deal with specific subjects. These Nijjuttis are quoted by Haribhadrasuri, or are drawn upon sometimes pada-wise as in Brhatkalpabhasya. Scholars working on these texts find it very difficult to trace the passages of these works when they are quoted by such later writers. And the indentification of the exact place and the critical reading of the passage is the basic requirement for such studies. In the absence of carefully compiled Indices, such scholars are extremely hampered in the progress of their studies. Scholars like Professor K. R. Norman have expressed their requirement of a complete pada index, because many partial parallels exist which cannot be traced by an index of first padas only. They have further required a reverse index of the padas, since frequently parallels to a portion of a pada can be found, not necessarily including the first word. Thus what we essentially need are the pada index and also the reverse pada index of each individual text. Thus, e.g. in the pada index a text is : "Ega-duga-tiga-caukkaga ON 316.a" the same text in the reverse pada index would be : "Ega-duga-tiga-caukkaga- ON 316 a"; but their order in the Sanskrit alphabetical index will be under "e" in the case of the former, while under "a" in the case of latter, thus fecilitating the researcher easy location and indentification. This volume is intended as aid for further studies of the Pinda-Nijjutti and the OhaNijjuti as begun by further studies of the Pinda-Pind'esana (Mainz, 1974). It lists for the first time the quarter stanzas (pada) of the two Nijjuttis dealing with the Jain ascetics' daily alms-round (gocari) as dealt with in the OhaN, and the transgressions they may incur during these, (as in Pindan) in order to facilitate a comparision of these two texts with each other and with other Nijjuttis of a similar content like those belonging to the Avassaya, Ayaramga and Dasaveyaliya and also to fecilitate the indentification of quotations. Dr. Bollee decided to set about these Mulasuttas because of the start made by Professor Mette and because of their thematic unity, though it would have been far better to first deal either with the AvassayaN or the Ayarangan. As to the former, Professor Balbir has been working on it with a edition and a glossary. Work on Dasa done by E.Leumann and W. Schubring. The Ayaramgan, however, has not yet found an editor in the West, but preparations are in course there. Dr.Bollee has frankly admitted that, as the slips were written at irregular intervals from the early 80's onward, small orthographical discrepancies have remained, but Prakrta scholars are accustoimed anyway to looking up under ikka what they do not find under ekka or ega; -garal -yara; attha; attha; -nn- / -nn- etc. Uniformity was not aimed at. For practical reasons, the listing was done mechanically, i.e. even padas sometimes begain with a monosyallable like ca, tu, pi, or hi, which is, in fact, against the rule of the metre. Notwithstanding these shortcomings, the material presented here will surely prove useful. And, Dr. Bollee has already published such indices on other canonical works, too. The only peculiarity which rather draws our attention is that he has refrained from, or rather omitted the text- reference in his Reverse Pada Index, and for that one has to refer to his Pada Index. N. M. K.

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132 SAMBODHI The Astrological Works of Das abala by David Pingree. Aligarh Oriental Series No.9. Viveka Publications, Aligarh, 1988, pp. 60, Rs. 50/-, $ 101 This is the second volume of a series of medieval Sanskrit astronomical texts, the first being the Rajamrganka of Bhojaraja edited by Dr. Pingree and published in the Aligarh Oriental Series at No. 7, in 1987. The two extant works of Dasabala (11th Cent. A. D. ) edited in this book are entitled Cintamani, a set of tithi, naksatra and yoga tables (saranika), and Karana-kamalamartanda, a karana. Dasabala was the son of Virocana and a yonger brother of Ratnasambhava, as well as Valabha, taken by Kosambi to mean a resient of Valabhi in Saurastra. It seems to Pingree, on the basis of a reference to 'Valabhanvaya' in the Karana-kamala-martanda (10.19) and Tilakwada Copper Plate of 1046, that this name does not indicate Dasabalas residence, though it may be connected with the place of his family's origin. The colophones of the Cintamani call Dasabala a Bodhisttva. He was a contemporary of Bhojadeva. The epoch of the Cintamani (1.15-17 and 5.2-3) is mean Mesa-sankranti of Saka 977, i.e. March 25, 1055 A. D., when Bhoja was ruling the earth. The epoch of the Karanakamala-martanda is the beginning of Caitra of Saka 980 (1.4 and 9-10), i.e. February 25, 1858 A.D. This edition of Cintamani published here is based on the manuscripts of the work preserved in the L. D. Institute of Indology, Ahmedabad, and on another one in Oxford, as also the previous edition of Kosambi, which provides the frequently corrupt readings. The order and, in part, the working of text in the Vrtti of Mahaeva. The text of this first work is entitled 'Atha Dasabala-viracita Cintamanih Saranika'. It consists of five Paricchedas, called Tithiprakarnam, Naksatraprakaranam, Yogaprakaranam, Praki-rnaprakaranam and Samvatsaranayanam, respectively. The first pariccheda consists of 62 verses, the second of 20 verses, the third of 21 verses, the fourth of 36 verses and the fifth of 4 verses; the whole work thus comprising 143 verses in all. Along with this work the Dasabala-vrtti of Mahadeva has also been given separately after the text of the Cintamani. Mahadeva, the son of Luniga, completed his Vrtti on Dasabala's Cintamani on Monday in the month of Falguna of Saka 1180, i.e. sometime between January 27 to February 17, 1219 A. D. Mahadeva's father Luniga was the grandson of Bandhuka of the Janyalaya- vamsa, a companion of the Calukya king Karna, who reigned from ca. 1066 till ca. 1093. Furthermore, our commentator's uncles were Amararaja the commentator of Brahmagupta's Khandakhadyaka, and Arjuna (ayaji), a companion of the Calukya king Bhima II, who regined from ca. 1178 till ca. 1241. The Dasabala-vrtti quotes from Brahmagupta's Brahmasphuta-siddhanta and Khandakha dyaka, Bhojaraja's Aditya-pratapa-siddhanta and Varahamihira's Brhatsamhita. The second work is entitled 'Atha Dasabala-viracito Karana-kamala-martandah.' It

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Vol. XVIII, '92-'93 133 is divided into ten adhikaras, viz., Madhyama-grahanayana, consisting of 20 verses, the second Sphuta-grahanayana of 56 verses, the third Triprasna of 33 verses, the fourth Candragrahana of 30 verses, the fifth Suryagrahana of 15 verses, the sixth Udayasta of 12 verses, the seventh Smgonnati of 20 verses, the eighth Varsanta-samyanayana of 23 verses, the ninth Grahayuti of 49 verses, and the tenth Sphutadhimasaka-samvatsaranayana of 20 verses; the whole work, thus consisting of 278 verses in all. As was already recognized by S. B. Dikshit in his Bharatiya Jyotihsastra, Dasabala has borrowed phrases from Bhoja's Rajamrganka. Pingree has based this edition of the KKM on the only extent manuscript preserved in the Bhandarkar Oriental Research Institute, Poona. Although the author has not mentioned to which of his predecessors he has been indebted, it is evident, to S. B. Dikshit, that the Madhyamesa-samkramana-kala and the Tithi-suddhi tally with the Bija-samskrita-brahma-siddhanta-mana as detailed in Bhoja's Rajamrganka. Similarly, the Mandoccas, Naksatra-dhruva and Pata of Dasabala also tally with Bhoja's same work. This doubly proves that the work is comparable to Bhoja's Bija-samskrita-brahma-siddhanta. The speciality of Dasabala's work is that the Bija-samskara has not been spelt out separately, but the Gatis are calculated after including it therein. Further, in contrast to the works of his predecessors, such as the Panca-siddhantika, the Kandakhadyaka and the Raja-mrganka wherein the Madhyama-graha-sadhana is calculated on the basis of Ahargana, the procedure is rather lengthy and complicated, while that in Dasabala's work is far easy and can be calculated in short time with the help of the Varsa-gana or the tables. Not only that, to save labour Dasabala has given ready tables. Dasabala rightly deserves our compliments for this so far as his KKM is concerned. And, Dr. Pingree too deserves our compliments for bringings out a fairly correct critical editions of both the works of Dasabala along with the commentary on the first one. N. M. K. Sinjiniyam ( A Sanskrit drama) by A. S. Subbukrishna Srowthy. A. S. Pavali Srinivasan, Madras, 1990. pp. XXX + 96, Rs. 301-. This modern Sanskrit drama, entitled 'Sinjiniyam' (i. e. the story of the Anklet) is based upon the Tamil epic poem 'Slappadhikaram' composed by the great poet-saint Elango Adigal (2nd Cent. A. D.). The original Tamil work comprises three parts, viz., Pugar Kandam, Mathurai Kandam and Vanchi Kandam, each part being named after the capitals of Chola, Pandya and Chera kingdoms, respectively. The main story comes to a close with the second part and the third part is only a narrative one. The author of the Sinjiniyam has adopted only the main story portion for dramatisation, and has introduced some monor deviations from the original story for the sake of suitability for the stage.

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134 SAMBODHI The drama consists of ten Ankas, and may possibly be regarded as a sort of a prakaran type of Sanskrit rupaka or drsya-kavya. The drama, being presented in the traditional style, begins with a Nandi, a prayer in praise of Truth- a flame of Supreme Being - that governs the Moon, the Sun and the Rain. It is followed by the exposition in the convertional form of a Prastavana. The theme of the play is also indicated in the Nandi sloka. Although the author has devised Viskambha etc., he has not strictly followed all the conditions laid down by Bharata. The use of Prakrta has been avoided for obvious reasons. So it can be called a modern purely Sanskrit drama, following as closely as possible the traditional or conventional; aspects of the Classical Sanskrit Drama. It ends with the Bharata-vakya in the traditional style. The title of the drama is based on the central theme of the anklet of the heroine around which the entire story is woven. The anklet of the heroine Kannaki becomes intrumental in the destruction of the capital city of the Pandya king, consequent to the curse of the heroine whose really innocent husband Govala was hastily executed on the unproved charge of the theft of his queen's anklet which in reality belonged to Kannaki. In his Sanskrit Prastavika, Dr. C. R. Swaminathan of Madras has rightly pointed out to the extreme devotion of Kannaki for her husband Govala, who fell in love with Madhavi a dancer in the city, and betrayed her. Further, although the author is a Vedic Pundit profound in his scholarship, he has in a way falisified the poetic claim of Kalidasa that one who has become totally immune to emotions due to Vedic Studies cannot create such a beautiful drama! Although the number of verses in the whole drama does not exceed sixty in all the acts, his poetic genius is evident in many of them and the poet has exhibited his skill in Sanskritising many idioms of his Tamil original N.M.K. Bhoja and Haravijaya of Sarvasena by Dr. V. M. Kulkarni, with Introduction, Definitive Text, Translation and Notes. Saraswari Pustak Bhandar, Ahmedabad (in Saraswati Oriental Series No.5), 1991, pp. vii + 100, Rs. 901-. In his Harivijaya ( the Victory of Hari, i.e. Krsna), an epoch making classical Maharastri Prakrta epic, the poet Sarvasena restructures the famous Parijata episode depicted in the Bhagavatapurana (10.59) around the rivalry betwen the two consorts of Krsna and his atempt to appease the hurt party, viz., Satyabhama against Rukmini. The erotic thus gains an upper hand over the heroic rasa. The importance of Sarvasena lies in the fact that the great Sanskrit rhetoricians like Anandavardhana of the Dhvani fame and Kuntaka of the Vakrokti fame have placed him on par with Kalidasa, and quote from the Harivijaya, as from the Raghuvamsa, the Kumarasambhava, etc., to support his viewpoint that preoccupation with emotion (bhava) and the generation (nispatti) of aesthetic experience (rasa) is the essential method of literature. Kuntaka chooses Sarvasena, along with Kalidasa, as representative of the sukumara marga, the old Vaidarbhi style.

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135 Vol. XVIII, '92-93 This epic was thus famous for a long time in past, but it has now been irretrievably lost, except some of its passages as preserved by Bhoja the Great of Dhara in his Smgaraprakasa and the Sarasvatikanthabharana. And in the present monograph Dr. Kulakarni has taken great pains to present a careful and critical study of this lost epic from its fragments preserved by Bhoja, and one passage preserved by Anandavardhana, too. In all the Text presented here in part I contains 25 Prakrta verses, along with their Sanskrit chaya, and English translation of all the verses; part II contains 95 Prakrta verses, with Sanskrit chaya and English translation. In the footnotes, Dr. Kulakarni has given the sources of these verses with their exact context in Bhoja's work and in that of Anandavardhana in the case of the one verses, the first, in part I. More details are presented in Notes (pp. 23-34 of Part I and the Notes (pp. 81-94) of Part II. In the Appendix, the problem of the sources of Sarvasena's Harivijaya are indentified in the Harivamsa, the Visnupurana and the Bhagavata, giving the account of the narratives in each of them; however, since the account of the incident of Parijataharana occurs in Vijayadhavaja's Padaratnavali on the Bgp and not in the in body of that Purana as in the case of the Visnupurana, Dr. Kulakarni has concluded that we may be justified in regarding the Visnupurana as the source of the Harivijaya. In part I the editor has reproduced the verses which could be definitely ascribed to Harivijaya on the strength of external or internal evidence, and in part II he has presented those verses which he felt are probably drawn from the Harivijaya. As for the works of Bhoja, viz., the Srngaraprakasa and the Sarasvatikanthabharana he has used the Mysore edition of the former and the N. S. edn, 1934, of the later. Due care has been taken in restoring the corrupt passages through his own expreience evolving definite principles of emendation, spelt out (pp. vi-vii) in his Preface. It is not clear, if the idea of suggesting the probable location of the passages in their narrative order in the story has cured to the editor, since he does not seem to have touched the point nor has he suggested the order of the passages from narrative point of view, thus trying to restore the epic though in a fragmentary shape, as a sort of an antique piece. N. M. K. The Dharma-ratna-karandaka of Vardhamanasuri by Municandravijaya 'Basket of the Jewels of Dharma' along with its Sanskrit auto-commentary was composed by Vardhamanasuri in Vikrama Samvat 1172 (approx. 1229 A. D.). Vardhama nasuri was a disciple of Abhayadevasuri, the famous author of commentaries on nine Anga texts, of Jainism. According to the Svetambara tradition he was the 39th Acarya as counted from Mahavira, the twenty-forth Tirthamkara. Vardhamanasuri composed two more works, in Prakrit, viz., the Manoramakaha in 140 V. Sam. (1197 A. D.) and the Jugaijinacariya in 1207 V. Sam. (1207 A. D.), also. Both these latter works have been edited by Pt. Rupendrakumar Pagaria and published by the L. D. Institute of Indology, Ahmedabad, in 1983 and 1987, in the L. D. Series as Nos. 93 and 104, respectively.

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136 SAMBODHI Vardhamanasuri is also said to have composed an astrological work entitled Sakuna-ratna vali. Municandravijaya has consulted for this edition the following manuscripts : (1) The plam-leaf ms. of Sri Atmananda Jaina Jnanabhandara, Vadodara; (2) a paper ms. of Sri Hemacandrasuri Jnanamandar, Patan dated V. Sam. 1880; (3) a paper ms. of Sri Jainananda Pustakalaya, Surat, dt. V. Sam. 1970; (4) a paper ms. of the same place dt. 1954 V. Sam. ; a paper ms. of Patan, of 20th Cent. V. Sam. He has bases his critical text on the Surat ms., and for variants compared it with the mss. listed above at numbers one one, three and four, while the last two mss. have been used only sparingly. The work comprises twenty Adhikaras, entitled (1) Dharmadharma-svarupa, (2) Jinapuja, (3) Gurubhakti, (4) Paropakara, (5) Santosa, (6) Samsara, (7) Soka, (8) Kasaya, (9) Loka-viruddha, (10) Dana, (11) Sla, (12) Tapa, (13) Bhavana, (14) Sistasanga, (15) Vinaya, (16) Visaya, (17) Viveka, (18) Mrdu-bhasita, (19) Daya, and (20) Sangha-Puja. The text proper of the DRK comprises 376 Anustubh verses, which are taken to be gathas by the editor, in Sanskrit, including the Mangala at the commencement and conclusion at the end. The extent of the whole work including the auto-commentary is calculated, on the basis of the hand-written mss., to be 9300 Anustubh verses, traditionally. In this DRK, Vardhamanasuri has just referred to in pasing the story meant to be illustrated, and the elaborate story is narrated in his Sanskrit auto-commentary, e.g. the story of Malayasundari (pp. 15-17), of three sons of a businessman (pp. 18-23), of Ratnacandra (pp. 40-43), of Ratnasundara (pp. 54-63), and so on. At times he also quotes long Prakrit passages from the Jaina scriptural texts like the Prajnapana-sutra(p.8), from Haribhadrasuri's Pancasaka (pp. 29-36), Jinacandrasuri's Samvega-rangasala (pp. 42-44), from Pradyumnasuri's Vicarasara-prakarana (pp. 136-137), and etc. The auto-commentary, which thus contains numerous stories, parables and folklore, is a veritable mine for the study of mediaeval narrative literature of the thirteenth century A.D. The editor has presented ample proofs to the effect that he is conversant with the modern norms of editing mediaeval Sanskrit and Prakrit texts, and as a result he has presented us with this edition which is but the first critical edition, in contrast to the one previously published in the form of an old-styled pothi. N. M. K. A TREASURY OF JAIN TALES, edited by Prof. V. M. Kulkarni, Publ. Shardaben Chimanbhai Educational Research Centre, Ahmedabad, 1994, pp. xxxix + 368 + N 41. Rs. 2001 Inspite of the fact that Prakrit narrative literature is the richest among world literatures, it is poorly known to the people at large, both in the East and more in the West. What is available in English is very meagre. In view of this situation, and possibly taking a clue from a similar project taken up in the West, the Prakrit Text Society

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Vol. XVIII, '92-'93 137 undertook to get prepared a treasury of select Jain Tales. For financial assistance they approached Shri Shrenikbhai Sheth, Chairman of Shri Jain Swtamber Murtipujak Boarding Trust, Ahmedabad with a proposal of preparing and brining out in English translation a few collections of representative illustrative stories from the Jain literature in Prakrit language. On getting a very enthusiastic response from Shi Shrenikbhai, Dr. H C. Bhayani, the President, and Pandit Dalsukbhai Malvania, the Secretary, of the Prakrit Text Society, Ahmedabad, approached Prof. V. M. Kulkarni, whose boundless love for Prakrit literature was surely expected to allow him not to hesitate in accepting their request to work as the editor of the project. Prof. Kulkarni prepared a detailed plan for the work. His determination and heroic perserverence have succeeded at long last in completing the present volume of the Treasury of Jain Tales which, no doubt can be looked upon as another gem in the crown of his scholarly achievements. The credit for the few illustrations that highlight the key situations in some stories goes to Shri Shrenikbhai's perceptive suggestions. Dr. J. C. Jain, Dr. P. M. Upadhye, Prof. R. P. Nipanikar, Prof. S. T. Nimkar, Dr. (Mrs.) Nirmala Chheda and Dr. G. S. Bedagkar cooperated with the editor.in translating the Prakrit tales, presented here. Dr. Bedagkar edited the English translation of all the tales. The book contains an exhaustive Introduction (pp.i-xixxx), 124 stories, Notes on all the stories, select bibliography (as Appendix), and a list of six contributors who translated the Prakrit tales into English. The stories have been classified into four sections, viz., (A) Legends of Famous Persons (stories 1-16); (B) Biographical Sketchies (stories 17-20); (C) Tales of Wit and Wisdom (stories 22-87); and (D) The Twelfth Voyage of Makandi Brothers and Other Tales (stories 88-124). As is evident from the number of stories in this volume, sections C contains about 53% of the stories, and section D contains about 30% of the stories, while the rest of the sections A and B contain only 17% of them. The Treasury is thus very interesting, entertaining, and at the same time highly instructive and informative. In his Introduction, Dr. Kulkarni has discussed the following topics : Katha and its varieties as given in Prakrit works and in Sanskrit works on Poetics. And, he has given a brief survey of Jain Narrative Literature comprising the canonical works, commentaries on canonical works known by the names Bhasya, Mahabharata and Harivamsa, Caritas, Puranas and Mahapuranas of sixty-three Salakapurusas, counterparts of Bihatkatha, quasi-historical Prabandhas, Dharmakathas, Campus, Ornate Poems and Kathakosas. Dr. Kulkarni has drawn our attention to the narrative literature of the Svetambaras which is a veritable storehouse of folktales, fairy-tales, beast-fables, parables, illustrative examples, apologues, allegories, legends, novels, funny stories and anecdotes. A large number of such stories and parables and legends occur in the Jain Canon itself; and the number of tales occuring in the commentaries on the canon is legion. The Jain writers have created new stories and legends of their own, no doubt. But generally speaking they

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138 SAMBODHI relate the old stories as have been handed down to them by literary and popular tradition. The only significant addition they make is the sermon of the Kevalin (accomplished monk, possessor of the perfect knowledge, the completely enlightened) at the end of the story explaining the cause or causes for the misfortunes suffered or prosperity enjoyed by the characters in the story. The Jain monks were very shrewd and practical-minded. They made full use of the inborn love for stories on the part of Jain laity for the propagation of their Dharma. In the various types of works, excepting some of the semi-historical works (prabandhas), certain traits arrest our attention as they are hardly noticed in other branches of Indian literature. These traits are : (i) Pages after pages are devoted to the past and future births; (ii) the inexorable law of karman plays a very conspicuous role; sermons with dogmatic details are introduced; and (iv) parables and illustrative tales are added here and there. The spirit of asceticism is writ large throughout the texts, and almost as a rule every hero retires from the world to attain better status in the next life. In whatever situation the stories describe, they are all genuinely human, even when a certain story goes on to condemm in outright terms the common human weakness to submit to the pleasures of the senses or be willing to be carried away by worldly happenings and the feelings they arouse or when it highlights passions that hold the mind and soul of man in their tight grip, or when it openly recommends a path of selfabnegation. These stories present saintly characters caught up in moments of temptation as well as men and women of weaker mettle that would like to give up pleasures and live a life of simplicity and purity, but really cannot. They also tell us how very difficult it is to give up pleasures, and how impossible it is to give up desire for them. The story of Brahmadatta, an unfortunate prince who failed to achieve what his friend succeeded in achieving, has been chosen for treatment of a theme that is daringly modern; it is chosen from the same branch of knowledge, viz., Heredity, from which the French novelist Emil Zola chose his themes. Many of the stories selected here are based on the typical Indian metaphysical belief of which karma is the sine qua non, and inevitably confines human life in a deterministic framework, and every such story spreads over an enormous time span easily covering a couple of life times, and relying on Rebirth. To moden readers rebirth may look like a prologue to the bigger them of evolution. It need not be, therefore, concluded that the Indian story looks down upon the ephemeral happenings and passing moments. There are at least four stories here that describe how a man suddenly develops the wisdom of the Buddha through a casual event like the sight of a faded garland or of an old bull that was once a very symbol of virility and youth. A passing moment transforms itself into a moment of discovery, of enlightenment, and a common man into a New Buddha. . The story of the Makandi brothers' voyage should find a worthy place in the voyage literature of the world, by the side of Haklyut's Voyages and many other Spanish and Italian accounts. The terriable Indian witch, called Ratnadvipadevata, who charms the

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Vol. XVIII, '92-'93 139 sailors by her beauty and youth but destroys them by her demands, has her counterpart in Homer's Circe. The story also works up a fabulous atmosphere which clearly sends ripples of the Arabian Nights in our minds. This collection of stories should prove how very inadequate it is to describe Prakrit writing as merely didactic and religious, It may mainly be so, but not entirely. It presents quite a variety of situations that should remind readers of Boccaccio or Balzac; for instance, the story called 'Water from the Roof. The story of Muladeva and the courtezan Devadatta is equally secular and sympathetically human. The story of Rohini- that offers comments on the basic human types should not be read only as a defence of the varna system in Indian society. The criminals that appear in some of the stories bring in a landscape that is rich in psychologically meaningful symbols such as underground dwellings, dilapidated temples, deep wells and beautiful but wicked women. Other stories describe retails traders that are not very scrupulous with simple minded villagers, cheats, unfaithful husbunds and equally dishonest women: the whole lot of humanity has crowded up in this panorama of life and the Indian story literature has tried to capture for us the kaleidoscopic and elusive beauty that we call human nature. Two other women, besides Rohini- stand out prominently in this display of the complex pattern of human contradiction. One of them is the poor young woman whom a king marries. She becomes an object of satire of the other queens in the palace in spite of the dignity with which she conducts herself. But she is never-lost to what she considers the basic reality of her life; everday she spends some time in the privacy of her room and puts on once again the same old rags in which the king has picked her up, stands in front of the mirror and reminds herself of the transitoriness of the surrounding pomp and glory and of the reality of the poverty in which she was born. The other remarkable lady is the famous Princess Malli who has the distinction of becoming the only Tirthankar. She too has a firm hold on reality which teaches her that the golden sheen of the outside of the body very much depends on the unhampered, unrepressed and uninhibited functioning of the internals. Her suitors were misguided as much as most of us. Actually she is a fully integrated personality for which, as Carl Jung would approvingly suggest, gold is the right symbol. No wonder Malli leaves behind her status of gold, with no element of corrupt matierials. Almost all stories presented in English transation in this book, carry a brief descriptive note at the beginning. This note tries to bring out the bearing that the story has on life as we experience it. Originally, the context of the story was different. A reference to the Note on the sources will easily show it. It is a characteristic of good literature that it operates on various levels and conveys much wider meaning than was initially intended. It is earnestly hoped by the President and the Secretary of the Prakrit Text Society, Ahmedabad, that scholar and lover of Indian Classical literatures will appreciate and find instructive the stories presented here. N.M.K.

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BRIEF NOTICES N. M. Kansara Upadhyaya Yasovijaya Svadhyaya Grantha (Guj.), edited by Pradyumnavijay Gani, Jayant Kothari and Kantibhai B. Shah. Shri Mahavir Jain Vidyalay, Bombay, 1993, pp. 18 + 344, Rs. 150/-. In memory of the completion in V. Sam. 2043) of the 300th year of the demise (kaladharma) of Upadhyaya Yasovijaya ( in V. Sam. 1743) who wrote more than 110 works and consequently earned the epithet of 'Laghu Haribhadracarya' in the Jaina tradition, this book of the collection of research articles by scholars of Gujarat on different aspects of the works of Yasovijaya has been issued. It gives exhaustive account of various aspects of the scholarly personality of Yasovijaya Upadhyaya. The book opens with two photohraphs, one of them presenting his Carana-paduka in the Samadhimandira in Dabhoi, near Vadodara (Gujarat), and another one a facimile of his handwriting. The first four articles cover the biography and scholarly personality of the celebrity, while next thirty-seven give a detailed study, or treat some particular aspect of his particular work. The last one, 42nd comprises a bibliography listing 173 books presenting some or other of Yasovijays's works, 9 books about Yasovijaya and 10 articles about Yasovijaya published previously, all in Gujarati. N. M. K. Mahavira-carita Mimamsa : Purvardha (Guj.) by Dalsukh Malavania. Ramesh Malavania, 8 Opera Society, Ahmedabad-380 007 India, 1992, pp. 136, Rs.36/ This book has its roots going back to more than twenty years, when, Pt. Malavania wrote down its essence in the form of a book published by the Saurashtra University, Rajkot, in 1972, with the title 'Prabhu Sri Mahavirsvami-no Jivana Sandesa'. The author then went on revising the contents and decided to present the material from the point of view of modern researchers, in the sequence of the later developments in the narration of the events of the life of Mahavira, the last Jaina Tirthamkara. The work is divided into several chapters like the following: Tirthankara-carita-ni Matrkao-num Mula, i.e., the Sources of the biographies of the Tirthamkaras (pp. 1-11); Bhagavana Mahavira-na Pracina Varnako, i.e. Ancient Narratives about Mahavira (pp. 12-23); Purvabhavo, i.e., Past Births; Bh. Mahavirana Kalyanako, i.e., Auspicious Occasions of Mahavirs (pp. 53-54), Bh. Mahaviranum Kula, i.e. the geneology of Mahavira; Garbhavatarana, i.e., descent in the embryo, and the consequent indicatory dreams seen by the mother of Mahavira; and so on upto his meeting with Gosalaka. The author has drawn upon all the Agamic sources and discussed in an orderly fashion each of the minute event as it developed at each successsive stage of narration from time to time with the composition of Curnis, Niryuktis, Tikas, Bhasyas, 1 later texts, This book is in Gujarati, but it would be more widely useful to reearchers, if it is translated into English and Hindi, thus made available to wider national and international readership. N. M. K.

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141 Vol. XVIII, '92-'93 Ahicchatra Through the Ages, edited by K. D. Bajpai. Foreword by A. K. Chatterjee. Panchal Research Institute, Kanpur, pp. 175 + 19 photo plates, Rs. 95/-. From the Vedic times, through the Mahabharata and later Puranic times, the region known by the name Pancalas is well-known. The Vedic king Sudasa of the Dasarajnawar fame, the Pandavas in the Mahabharata, the Puranic Kingdoms of Magadha, Kosala and Vatsa are all connected with the Pancala region in one way or other. Paricakra, Kampilya (or Kampila) and Ahiccatra are the important cities in Pancala that have been mentioned in the Vedic and Puranic texts. Ahiccatra has been indentified with a ruined city of the same name near Modern Ramnagar in the Bareily district. The city was still considerable in extent when visited by the Chinese pilgrim Hiuen-Tsang in the 17th century. The present volume is devoted to the researches about this ancient city. It contains eighteen research articles in all by veteran scholars like B. N. Pandey, N. P. Joshi, S P. Shukla, Jayanti Bhattacharya, Bhagavatilal, A.L. Shrivastava, Bhamvarlal Nahta, and others, some of them (2-7) in English and the rest (8-18) in Hindi. The first article is in fact the medieval Prakrit text, entitled 'Ahicchatta-kappa' (Skt. Ahicchatra-nagari-kalpa) of Jinaprabhasuri. The plates at the end of the book, give a Map of Western Uttar Pradesh and therein the location of the city of Ahicchatra, copper coins of various royal dynasties, earthern image of Matrdevi, of Bodhisatva Maitreya, of the heads of Siva and Parvati, of the bust of Visnu, and so on. As a consolidated collection of researches on the topics connected with the ancient city of Ahicchatra, this is most welcome publication of the Pancala Research Institute, Kanpur. The only point that strikes a careful reader is that the editor has scrupulously refrained from giving the year of publication of this volume, perhaps in a bid to make it of eternal timeless value ! N. M. K.

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ACKNOWLEDGEMENTS Studies in South Indian Jainism, Part II, by B. Sheshagiri Rao. Sri Satguru Publications, Delhi, (2nd Edn.), 1982. of Roda, (A Rare poem of c. twelfth century in early indo Aryan) Edited by H. C. Bhayani. Parshva Prakashan, Ahmedabad, 1994, pp.xi + 32, Rs. 50/-. etihAsika saMdarbhameM zAkataMtra le. munIzacandra jozI. prakA. nezanala pabliziMga hAusa, nayI dilhI. pR. 13 + 69 pU.sa.40/paMcAla - pro. kRSNadatta vAjapeyI smRti vizeSAMka 2, sampA. DaoN. e.ela.zrIvAstava, prakA. paMcAla/zodha/ saMsthAna, kAnapura 1993..pR-166 pU. 50 kAvyAloka-hariprasAdakRta, sampA. DaoN. ramA guptA, prakA. pablikezana skIma. jayapura, 1983. pR 15+466. pU. ru. 350/mUka mArI : eka dArzanika mahAkRti, leya DaoN. bhAgacandra jaina 'bhAskara' banayArIlAla baMzIdhara jejAnI ceriTebala TrasTa, nAgapura, 1992. pR 190, ru. 25/-.

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Obituary Prof. Jagdish Chandra Jain, now the Late Dr. J.C. Jain, has been well known as an authority in Prakrit language and Literature, though basically he was a creative artist and a philosopher who loved, and lived for, the welfare of mankind as a whole. Though born in a remote village called Baseda of the Muzaffarnagar district in the Western Uttar Pradesh, lost his father the tender age of two and half years, studied in a very small school in the village, his life took a turn when, at his age of nine, he was admitted in the asrama at Hastinapur, where he learned his first lessons of rigorous displine of life and some aspects of Jaina doctrine. At the age of 14, in 1923, he came to Varanasi and got admitted to Syadvada Jain Mahavidyalaya and studied Sanskrit, Ayurveda, English and went to Delhi where his passed his Mariculation of the University of Punjab. Although he joined the science course, he changed over to arts course and obtained B. A. degree of the Banaras Hindu University in 1930, and joined the M. A. course with philosophy as his subject of study. But when Mahatma Gandhi launched his Satyagraha movement very shortly in that very year, Jagdish Chandra left his studies, joined the movement and went to his village to work among the people. Before one year prior to this he was married in 1929. So, as the movement eventually subsided, he got a scholarship to work as a research scholar in the Visvabharati University at Santiniketan, in West Bengal. The free life of this place brought a radical change in the life of both Jagdish Chandra and his wife. As the tenure of his scholarship ended, he got a job of a Manager of the Sthanakavasi Jain Conference in Bombay, and besides his offical work, he looked after their Gujarati weekly Taina Prakasa'. In 1936, he edited the Syadvadamanjari of Mallisena with introduction, Hindi translation and several appendices, and also published a critical edition of the Jambusvamicarita from a Sanskrit manuscript. These publications established him as a scholar and enabled him to join the Ramnarain Ruia College of Bombay as a professor of Sanskrit, where he also taught Ardhamagadhi and Hindi, and guided Ph. D. students though he had not obtained his own doctorate degree by that time. In 1942 he joined the freedom movement, went to jail, became a leftist due to his contact there with Bhupendra Chakravarty, and after the end of world war II as the political atmosphere changed and he was released, he went back to teaching in the same college. He was awarded the Ph. D. degree for his Life in Ancient India as Depicted in Jain Canons, by the Bombay University, in 1945. As he had given advance information to the Bombay Government about a conspiracy to kill the Mahatma Gandhi, he had to appear in the Gandhi murder Trial at Red Fort in Delhi as the chief prosecution witness on behalf on the Government of India. Inspite of his repeated requests to the Government, the later was not serious about it, and the Mahatma was shot dead after ten days. Dr. Jain exposed the callousness of the government in this regard in his book I could not save Bapu. After 1950, during the heydays of Sino-Indian relationship, he was invited to join the Peking University as Professor of Hindi. After six years, when he returned to India, he was appointed as a Professor of Prakrit and Jainology in the Vaisali Institute, Muzafferpur,

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144 SAMBODHI but after serving a few years there he returned to his own Ruia College at Bombay and worked there till he retired in 1968. It was during these years at Bombay that he wrote his Jaina Agama-sahitya mem Bharatiya Samaja (1965), Jaina Sahitya ka Brhe Itihasa (1966). In 1970 he delivered a series of lectures in the L. D. Institute of Indology, Ahmedabad, which appeared in the form a book entitled Prakrta Jaina Katha Sahitya (1971). The same year he was invited by the University of Kiel (West Germany) where he worked as research scholar for four years (1970-74), on the Vasudevahindi, and came in contact with distinguished scholars like Ludwig Alsdorf, D. Schlingloff K. Bruhn and others, and delivered lectures in South Asian Institute at Heidelberg, in Orientalistic Seminar at the University of Freiburg, in the Institute of Oriental Languages at the Stockholm University, Sweden, and in the School of Oriental and African Studies the University of London. In 1980 he went to Brazil to deliver lectures on Indian philosophy at Sao Paulo. From there he went to U. S.A. and delivered lectures in the University of California, Berkeley, University of Wisconsin, Madison, University of Michigan, Ann Arbor, and also in New York and Toronto, the University of British Columbia, Vancouver, Canada, El Salvador University and in Buenes Aires, Argentina. In 1981 he published his 'Prakrit Narrative Literature'. His another great work of 700 pages, 'History and Development of Prakrit Literature' is in press. Even in 1991, his two works viz., the 'Jain way of Life' and 'Studies in Early Jainism' have been published. He was awarded the Prakrit Jnanabharati award from Bangalore in 1990 and the Ahimsa International Deputymal Jain Memorial Award from Delhi in 1991. His published books number 39 and articles 30 in English, besides numerous articles in outstanding Hindi magazines and journals. N. M. K. Courtesy : 'Editor's Note' by N. M. Bhattacharya in Jainism and Prakrit in Ancient and Medieval India', New Delhi, 1994. zraddhAMjali DaoN. jagadIzacandra jaina se mujhe sarva prathama paricaya taba huA jaba maiM zAntiniketana paDhane gayA thaa| vahA~ ve banArasa yunivarsiTIse ema.e. karake vizeSa adhyayana ke lie Aye the / usI arase meM unakI niyukti bambaI meM jaina prakAza ke hindI vibhAga ke saMpAdaka ke pada para huI / maiM bhI apanA abhyAsa pUrNa karake bambaI meM "jaina prakAza kI oNphisameM niyukta huA, aura vahA~ phirase merA jagadIzacandrajI se milana huA / bAda meM to ve bambaI kI khAlasA kaoNlejameM hindI ke prAdhyApaka ke nAte niyukta hue / tataH pazcAt ve jarmanIkI kola yunivarsiTI meM prAdhyApaka ke nAte niyukta hue / unhoMne jaina sAhityameM, vizeSataH kathA sAhitya meM khAsa taura para adhyayana kiyA aura aneka prAcIna kathAgraMtha saMpAdita aura prakAzita kiye / unhoMne jaina prAkRta kathA-sAhitya ke viSaya meM bhI aneka graMtha likhe hai, aura ve hindI evaM aMgrejImeM prasiddha hue hai / unakI mRtyu se jaina sAhitya ke kSetra meM jo kSati huI hai usakI pUrti honA saMbhavita nahIM hai / unake AdarArtha kalakattA yunivarsiTI ke prAdhyApaka DaoN. ena. ena. bhaTTAcAryane 'jainIjham eNDa prAkRta ina eMzyaNTa eNDa miDievalaM iNDiyA nAmakA abhinandata graMtha saMpAdita kiyA hai, jo isa veSa dilhI se unake svargavAsa ke kucha mahInoM pUrva prakAzita huA hai / - dalasukha mAlavaNiyA

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Vol. XVIII, '92-'93 145 RESOLUTION The following resolution was passed at the condolence meeting held on 5th August 1994, at the L. D. Institute of Indology to mourn the sad demise of Dr. Jagdishchandra Jain, an eminent Scholar of Jainology and Prakrit studies. "We express our deep sense of sorrow at the passing away of Dr. Jagdishchandra Jain, who during his academic carrer extending over several decades made numerous valuable contributions to the study of Jainology and Prakrit literature. In his sad demise we have lost a devoted senior scholar of Indology. We convey our condolence and sympathy to his bereaved family." L. D. Institute of Indology, Ahmedabad. Prakrit Text Society, Ahmedabad Shri Sharadaben Educational Research Institute, Ahmedabad. Prakrit Vidya Vikas Fund, Ahmedabad. Prakrit Vidya Mandal, Ahmedabad. Professor S. T. Nimkar Shridhar Tukaram Nimkar was born on the third January 1936. He passed his B. A. examination of the University of Bombay from Wilson College, Bombay securing first s in Sanskrit and Fellowship of the same college in 1956. he was a double M. A. of the University of Bombay. He had offered Sanskrit and Ardhamagadhi as his subjects in 1958 and History and Politics in 1976. He obtained the Diploma in Linguisties of the University of Bombay in 1969. He started his career as Lecturer in Sanskrit. He worked for some years at Wilson College of Bombay and Khalsa College, Bombay, before in joined Mithibai College Andheri (Bombay) in 1964 where he taught Sanskrit and History for several years. He was a Visiting Lecturer of the Department of Sanskrit Pali and Prakrit of the University of Bombay, since 1971 and taught Sanskrit and Prakrit to the M. A. Students. He had command of Sanskrit and Ardhamaagadhi, Marathi and English languages. He Knew fairly well Hindi and Gujarati as well. He used to participate actively in Symposia, Seminars and Sessions of All India Oriental Conference and read reserch papers. He also wrote and published a number of book reviews through periodicals. He was fond of composing poems and songs in Sanskrit for various occasions. He has translated with notes in English Kouhala's Litavai (A Romntic Kavya In Maharastri Prakrit extending over 1300 gathas). It is published by Prakrit Vidya Mandal, Ahmedabad. He has on the invitation of the Editor, Dr. V. M. Kulkarni, contributed a number of tales from the commentaries on Jain Agama texts by rendering them in English for A

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146 SAMBODHI Treasury of Jain Tales, recently published by Shardaben Chimanbhai Educational, Reserch Centre, Ahmedabad-380004 Professor Nimkar was a sincere, conscientious teacher. The interests of his students were always uppermost in his mind. he was very popular among his students. He was their friend and guide. Over and above their studies he used to guide them in their preparation for debates, dramatics, social gatherings and other similar activities. Professor Nimkar was sociable, amiable and loveable. On 21st October 1994 he breathed his last. In his death the students have lost an affectionate guide and his colleagues a lovable persoanality. May he attain sadgati ! - V. M. Kulkarni

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Vol. XVIII, '92-'93 147 Distinguished Visitors of the Institute : 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. Dr. Pottern, USA Miss Suzuko Ohira, Japan Kyoshu Tsuchihashi, Japan Prof. Donaldson Mr. Kukan Kakeshi, Japan Dr. Barret of British Museum Prof. Osami Kondo from Japan Prof. Frederick, USA Dr. V. N. Jha, Director, Central Institute of Sanskrit, Poona Dr. Mandana Mishra, Vice Chancellor, Sanskrit Vishvavidyalaya, Delhi. Dr. R. C. Dvivedi, Dean, Faculty of Arts & Head, Sanskrit Deptt. Rajasthan University, Jaipur. Dr. A. N. Jani, Former Director, Oriental Institute, Baroda. Dr. Anantanarayana, Prof. of Linguistics, Osmania University. 12. 13.

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148 SAMBODHI Our Contributors 8. Raval, R. L. 1. Acharya, Himanshu Shekhar Research Scholar, Department of Sanskrit, Pondicherry University, Pondicherry - 605 014. 9. Savalia, Dr. Ramajibhai T. B. J. Institute of Learning & Research, H. K. College Compound, Ashram Road, Ahmedabad - 380 006. 2. Bakshi, Dr. Madhusudan Nehru Nagar, Ambawadi, Ahmedabad-380 015. 11. Shrivastav, Dr. Hemalata, A/289, Govindpur Colony, Allahabad - 211 004. 3. Bhayani, Dr. Harivallabh C. 25/2, Bima Nagar, Near Octroy Naka, Sattelite Road, Ahmedabad - 380 015. 12. Singh, Shri Lalit Kumar, L. D. Musium, L. D. Institute of Indology, Navrangpura, Ahmedabad - 380 009. 4. Bhojak, Pt. Lakshmanbhai 11-A, Karuna Society, Near Bhavsar Hostel, Nava Vadaj, Ahmedabad - 380 013. 13. Somani, Rama Vallabh, S/3-A, Satyatar, Khatipura Road, Jhotavada, Jaipur 5. Hauben, Dr. Jan E. M. Postbus 85281 NL-3508 AG Uttrecht Netherlands. 14. Tripathi, Dr. Radha Vallabha Professor and Head, Dept. of Sanskrit, Harisinh Gaur University Sagar 6. Kansara, Dr. Narayan M. 17/176, Vidyanagar Society, Near Himmatlal Park, Polytechnic Ahmedabad - 380 015. 15. Trivedi, Dr. Bhavaa P. School of Philosophy & Psychology, Gujarat University, Ahmedabad - 380 009. 7. Mehta, Dr. Ramanlal N. 8, Shreyas Society, Race Course (West) Vadodara - 390 007.

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Statement about ownership and other particulars about Sambodhi, the Yearly Research Journal of the L. D. Institute of Indology, Ahmedabad. to be published in the first issue every year after the last day of March. FORM IV (See Rule 8) 1. Place of publication Ahmedabad Yearly 2. Periodicity of its publication 3. Printer's Name Nationality Address Indian 4. Publishers Name Nationality Address Jitendra B. Shah Indian Honorary Director, L. D. Institute of Indology, Ahmedabad - 380 009. 1. Dr. Jitendra B. Shah 2. Dr. Narayan M. Kansara Indian L. D. Institute of Indology, Ahmedabad - 380 009. 5. Editors' Names Nationality Address 6. Name and addresses of Individuals who own the newspaper and partners or shareholders holding more than one-percent of the total Shares. I, Jitendra B. Shah, hereby declare that the particulars given above are true to the best my knowldege and belief. Jitendra B. Shah Honorary Director (Signature of Publisher)

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Style-sheet to be followed for the papers in Engish for the journal SAMBODHI TRANSLITERATION CONVENTIONS Textual quotations (Sanskrit, Ardhamagadhi and other Prakrtas including the Apabhramsa etc.) and inscriptions (or quotations therefrom) as well as words borrowed or used from languages other than English in the articles or papers are also to be rendered in Roman script and with the diacritical marks pertinent to the language concerned. (Here we suggest those for the Sanskrta (classical), the Prakrta, the Apabhramsa and the Dravidic languages. For other languages, namely Arabic, Persian and the modern European languages, the current international conventions of transliteration may be followed.) Diacritical Marks Vowels A / I / U e, o e (long) 377 0 (N. B. e and o are for syllables in Dravidic languages.) * l and not si; (long #s, which rarely figures, may be rendered r) Nasals anuisvara and not m (.) m anunasikas (or na as the case may be) and not cha cha and not chha Hard aspirate Visara (:) h Consonants Palatals 7 ca Linguals z ta Sibilants 7 sa Unclassified a la pha da 7 dha robo sa

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Compound characters 97 ksa and not ksha 5 jna and not dina lp and not ! DE !ha and not dha General Examples ksama and not kshama jnana and not djnana krsna and krishna sucaru chatra and not sucharu chhatra, etc. etc. galha and not gadha Dravidic (conjuncts and specific) characters ! ! " ! Examples Ilan-Gautaman Cola (and not Chola) Munnumuvamangalam Maran Nattarruppokku Tirukkuralam, etc, etc. Misccellaneous Where the second vowel in juxtaposition is clearly pronounced : e.g. janai and not janai Seuna and not Seuna Also for English words showing similar or parallel situations: e.g. preeminence and not preeminence or pre-eminence. cooperation and not cooperation or co-operation. For the Simhalese, excepting where the words are in Samskrta, the conventions of rendering Simhalese in Roman are to be followed: e.g. dagaba and not dagaba veve or veve and not vev Quotations from old Indian sources involving long passages, complete verses etc., should be shown in Nagari script. (The Western writers may render these in Roman script which will be rerendered in Nagari by the editors.) Sanskrit quotations rendered in Roman are to be transliterated with sandhi-viccheda (disjoining), following the conventions of the Epigraphia Indica, but signs of laghu-guru of a meter (when the citation is in verse) are not to be shown. Place Names To be diacriticised, excepting modern: Examples: Mathura, Kausambi, Valabhi, Kanci, Uraiyur, Tilivalli, etc., but Allahabad (not Allahabad), Calcutta (not Calcatta), Madras and not Madrasa, and the like. References to published works Pertaining to articles, books, etc., appearing in the main body of the text, or foot-notes or annotations, or otherwise

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Book: Author's name (begining with his initials, title, edition (if any) used, place with year of publication without a period between, page or pages from where the citation is taken or to which a reference is made but without qualifying it with p. or pp.: Example: K. A. Nilakanta Sastri, The Colas, sec. ed., Madras 1968, 102-154. Article in a compilation : (Felicitation or a Commemoration volume, collection of papers of an individual scholar, etc.) Author's name (with initials first), rubric of the article (shown in inverted commas) in Roman, the title of the compilation (in Italics), place and year of publication and page numbers(s), Example: D. P. Mulganokar, "Early Jaina Settlers in Maharashtra", Shantinath Jain Vidyalaya Golden Jubilee volume, Varansi 1975, 194-205. Article in a Journal : Same convention as in the preceding case. Example: R. P. Misra, "Some newly found sculptures from Bhumara," Journal of the Asian Art Society, XIV, Delhi 1968, 102-154. Books or articles, when quoted again, the initials of the author must be dropped, the title of the work or article must be abbreviated, the place and year of publication (in case of a compilation) or volume or the issue or the particular number of the journal (in case of an article) must also be dropped, though age number(s) is/are to be cited : Examples Book: Nilakantha Sastri, The Colas, 197. Article in a felicitation or a commemoration volume Mulgaonkar, "Early Jain Settlers.", Shantinath., 221-223 Article in Journal Misra, "Some Early.", JASI, 169-170. (Older conventions for suggesting back reerences by such Latinic abbreviations as op. cit, op. loc, etc. are not to be used. However, ibidium (abbreviated ibid., is to be used when the succeeding foot-note is intended to repeat the preceding data.) References to the publications of Ancient texts (Samskrta, Prakrta etc.) The editor's name, the title of the text, the book-series in which the work has appeared, the place and year of publication, page number(s), sutra or padya or gatha number etc.

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Example Ed. Muni Jambuvijaya, the Ayaranga-suttam, Jaiiiiiiin-Agama-Series No. 2 (1), Shri Mahavira Jain Vidyalaya, Bombay 1976, I. 5.3/35, (Sk.I) (Here 'T' represents "Book I', '5' stands for the chapter (adhyaya), '3' for the (uddesa) and '6' is the sutra number. References to Illustratiions in the text Fig. (number such and such), for a drawing referred to in the text. Plate (number such and such)for a photographic illustration or estampage of fascimile of an inscription. Captions for illustrations For text figures : Place. Building (its name), or sculpture, or estampaage of an inscription, followed by its particulars such as date and authorship, founder, etc. For half-tone (or colour) illustraations: Place, name of the building, identity of the sculpture, regionl style, period or absolute (if known) or approximate date (as surmised from the content or context of an inscription or by style-evaluation or both.) Example Sciulpture Bhubaaneshwar. Ekamuka linga, Kalinga style, A.D. 1054. Building Bhubaneshwar. Muktesvra temple, south aspect, Kalinaga style, c.mid 10th cent. A. D.

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*1. *2. LALBHAI DALPATBHAI BHARATIYA SANSKRITI VIDYA MANDIR L. D. Series S.No. Name of Publication Price Sivaditya's Saptapadarthi, with a Commentary by Jinavardhana Suri. Editor : Dr. J. S. Jetly (Publication year 1963) 41Catalogue of Sanskrit and Prakrit Manuscripts : Muniraja Shri Punyavijayai's Collection Pt. I Compiler : Muniraja Shri Punyavijayaji, Editor : Pt. Ambalal P. Shah, (1963) *3. Vinayacandra's Kavyasiksa. Dr. H. G. Shashtri (1964) 10/Haribhadrasuri's Yogasataka, with auto-commentary, along with his Brahmasiddhantasamuccaya. Editor : Muniraja Shri Punyavijayaji. (1965) 5/*5. Catalogue of Sanskrit and Prakrit Manuscripts, Muniraja Shri Punyavijayaji's Collection, pt. II. Complier : Muniraja Shri Punyavijayaji. Editor : Pt. P. A. Shah. (1965) 40/Ratnaprabhasuri's Ratnakaravatarika, part I. Editor : Pt. Dalsukh Malvania. (1965) 130/Jayadeva's Gitagovinda, with king Mananka's Commentary, Editor : Dr. V. M. Kulkarni. (1965) Kavi Lavanyasamaya's Nemirangaratnakarachanda. Editor : Dr. S. Jesalpura. (1965) 9. The Natyadarpana of Ramacandra and Gunacandra : A Critical study : By Dr. K. H. Trivedi. (1966) Acarya Jinabhadra's Visesavasyakabhasya, with Auto commentary, pt. I, Editor : Pt. Dalsukh Malvania. (1966) 120/*11. Akalanka's Criticism of Dharmakirti's Philosophy : A study by Dr. Nagin J. Shah. (1966) 30/*12. Jinamanikyagani's Ratnakaravatarikadyasalokasatarthi, Editor : Pt. Bechardas J. Doshi. (1967) *13. Acarya Malayagiri's Sabdanusasana. Editor : Pt. Bechardas J. Doshi (1967) 30/*14. Acarya Jinabhadra's Visesa vasyakabhasya, with Autocommentary. Pt. II. Editor Pt. Dalsukh Malvania. (1968) 20/*15. Catalogue of Sanskrit and Prakrit Manuscripts : Muniraja Shri Punyaviayaji's Collection. Pt. III. Complier : Muniraja Shri Punyavijayaji. Editor : Pt. A. P. Shah (1968) 30/ 4. VO)

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211 121 *24. *16. Ratnaprabhasuri's Ratnakaravatarika, pt. II. Editor : Pt. Dalsukh Malvania. (1968) *17. Kalpalataviveka (by an anonymous writer). Editor : Dr. Murari Lal Nagar and Pt. Harishankar Shastry. (1968) *18. Ac. Hemacandras Nighantusesa, with a commentary of Srivallabhagani. Editor : Muniraja Shri Punyavijayaji. (1968) *19. The Yogabindu of Acarya Haribhadrasuri with an English Translation, Notes and Introduction by Dr. K. K. Dixit. (1968) 10/*20. Catalogue of Sankrit and Prakrit Manuscripts : Shri Ac. Devasuri's Collection and Ac. Ksantisuri's Collection : Part IV. Compiler : Shri Muniraja Punyavijayaji, Editor : Pt. A. P. Shah. (1968) 40/*21. Acayra Jinabhadra's Visesavasyakabhasya, with Commentary, pt. III. Editor : Pt. Dalsukh Malvania and Pt. Bechardas Doshi (1968) *22. The Sastravartasamuccaya of Acarya Haribhadrasuri with Hindi Translation, Notes and Introduction by Dr. K. K. Dixit. (1969) 20/*23. Pallipala Dhanapala's Tilakmanjari sara, Editor : Prof. N. M. Kansara. (1969) Ratnaprabhasuri's Ratnakaravtarika Pt. III. Editor : Pt. Dalsukh Malvania. (1969) *25. Ac. Haribhadra's Neminahacariu Pt. I : Editors : M. C. Modi and Dr. H. C. Bhayani. (1970) 26. A Critiscal Study of Mahapurana of Puspadanta, (a Critical Study of the Desya and Rare words from Puspadanta's Mahapurana and His other Apabhramsa works). By Dr. Smt. Ratna Shriyan. (1970) 62 27. Haribhadra's Yogadrstisamuccaya with English translation, Notes, Introduction by Dr. K. K. Dixit. (1970) 28. Dictionary of Prakrit Proper Names, part I by Dr. M. L. Mehta and Dr. K. R. Chandra, (1970) Pramanavartikabhasya Karikardhapadasuci. Compiled by Pt. Rupendrakumar. (1970) 12730. Prakrit Jaina Katha Sahitya by Dr. J. C. Jaina (1971) 31. Jaina Ontology, Dr. K. K. Dixit (1971) 62/32. The Philosophy of Sri Svaminarayana by Dr. J. A. Yajnik. (1972) 3. Ac. Haribhadra's Neminathacariu Pt. II : Editors: Shri M. C. Modi and Dr. H. C. Bhayani. 621 40/ 25/ -

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*34. *35. . 37. *38. 39. *41. 42. 10/ 43. 62/ Up. Harsavardhana's Adhyatmabindu : Editors : Muni Shri Mitranandavijayaji and Dr. Nagin J. Shah. (1972) Cakradhara's Nyayamanjarigranthibhanga : Editor Dr. Nagin J. Shah (1972) Catlogue of Mss. Jasalmer collection : Compiler : Muniraja Shri Punyavijayaji. (1972) Dictonary of Prakrit Proper Names Pt. II. by Dr. M. L. Mehta and Dr. K. R. Chandra. (1972) Karma and Rebirth by Dr. T. G. Kalghatagi. (1972) Jinabhadrasuri's Madanarekha akhyayika : Editor Pt. Bechardasji Doshi. (1973); Introduction Dr. N. M. Kansara Pracina Gurjara Kavya Sarcaya, edited by Dr. H. C. Bhayani. and Agarchand Nahata, pp. 16+155. (1975) Jaina Philosophical Tracts : Editor Dr. Nagin J. Shah. (1974) Sanatukumaracariya : Editors Prof. H. C. Bhayani and Prof. M. C. Modi (1974) The Jaina Concept of Ommiscience by Dr. Ram Jee Singh (1974) Pt. Sukhalalji's Commentary on the Tattvarthasutra, Translated into English by Dr. K. K. Dixit. Isibhasiyaim Ed. by Dr. Walther Schubring (1974) Haimanamamalasiloncha, by Mahopadhyaya Vinayasagara. (1974) A Modern Understanding of Advaita Vedanta by Dr. Kalidas Bhattacharya pp. 4+68, (1975) Nyayamanjari (Ahnika I) with Gujarati translation, edited and translated by Dr. Nagin J. Shah, pp. 4+144. Atonements in the Ancient Ritual of the Jaina Monks by Dr. Colette Caillat, pp. 8+210. (1975) The Upabmhana and the Rgveda Interpretation by Prof. I. G. Mainkar. pp. 460, 4+60 (1975) More Documents of Jaina Painting and Gujarati Paintings of sixteenth and later centuries, by Dr. U. P. Shah. Jinesvarasuri's Gaharayanakosa. Edited by Pt. A. M. Bhojak and Dr. Nagin J. Shah. Jayavantasuri's sidattarasa (Old Gujarati Kayya) Edited by Dr. Nipuna Dalal. 62125/ 45. 46. 47. 53. III

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54. Indrahamsa's Bhuvanabhanukevalicariya, Ed. by Muni Shri Ramanikvijayaji, pp. 14+150 (1967) 20/Sallekhana Is not Suicide by Justice T. K. Tukol, pp. 8+112 (1976) 20/Sasadhara's Nyayasiddhantadipa Edited by Dr. B. K. Matilal, pp. 28+232 (1976) Fundamentals of Ancient Indian Music and Dance by S. C. Benerjee, pp. 16+120 (1977) Indian Philosophy by Dr. Pt. Sukhalalji Sanghavi, pp. 8+118 (1977) Trans. by Dr. K. K. Dixit. Vasudevahimdi An Authentic Jaina Version of the Brhatkatha by Dr. J. C. Jain pp. 10+740 (1977) 1877Bauddha Dharma-Darsanani Payani Vibhavana (Gujarati translation of Vidhusekhara Battacharya's 'Basic Conception of Buddhism' Trans. by Dr. Nagin J. Shah, pp. 8+72 (1977) 10/Sadharana's Vilasavaikaha (Apabhramsa Kavya), Edited by Dr. R. M. Shah, pp. 66+195+36 (1977) 50/Amrtacandra's Laghutattvasphota (Sanskrit Jaina Philosophical Kavya) Edited with English traslation and Introduction by Dr. P. S. Jaini, pp. 40+258 (1978) Ratnasuri-sisya's Ratnacudarasa Ed. Dr. H. C. Bhayani, pp. 20-55 (1978) Early Jainism by Dr. K. K. Dixit, pp. 8+99 (1978) Jayavantasuri's Smgaramanjari Ed. by Dr. Kanubhai V. Sheth, pp. 64+232 (1978) 37/Sramana Tradition-It's History and Contribution to Indian Culture by Dr. G. C. Pandey, pp. 10+75 (1978) Nyaymanjari (Ahnika II) with Gujarati translation, Edited and translated by Dr. Nagin J. Shah, pp. 10+189 (1978) Va. Kamalasekhara's Pradyumnakumara Copai Ed. by Dr. M. B. Shah, pp. 89+93 (1978) 11/Treasures of Jaina Bhandaras Ed. Dr. U. P. Shah pp. 160+Colour Plates 16+Black & white Plates 82 (1978) 312/Proceedings of the Seminar on Prakrit Studies (1978) Ed. by Dr. K. R. Chandra, pp. 13+184 (1978) 50/Catalogue of Gujarati Manusripts : Muniraja Shri Punyavijayaji's Collection by Muniraja Punyavijayaji, Ed. by Dr. Vidhatri Vora, pp. 12+855 (1978) 150/ 321 70. 71. . IV

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72. 77. 81. Samidhikavya-Samuccaya (Collection of 20 Apabhrama Samdhikavyas) Ed. by R. M. Shah, pp. 14+136 (1980) The Inscription of Imperial Paramaras Ed. by Dr. A. C. Mittal, pp. 40+377 (1979) Wall Paintings of Rajasthan by Y. K. Shukla. (1910) pp. 31+Colour Plates, 4 Line Drawings and 48 Black and White Plates. Sankhitta TaramgaviKaha (Taramgalola) Edited with Gujarati Translation by Dr. H. C. Bhayani, pp. 4+308 (1979) Jaina Darsan ka Adikal (Hindi) by Pt. Dalsukh Malvania, pp. 4+33 (1980) Silopadesamala'-Balavabodha by Merusundara Gani, Ed. by Dr. H. C. Bhayani, Dr. R. M. Shah and Gitabahen. pp. 33+192 1980) Some Aspects of Indian Culture by Dr. A. S. Gopani pp. 26+99 (1981) The Central Philosophy of Jainism (Anekantavada), by Bimala Krishna Matilal, pp. 2+72 (1981) The Ramayana In Pahari Miniature Paintings by Jutta Jaina - Neubauer pp. 2+58+plates 28 (1981) Padmasundara's Jnanacandrodayanataka Ed. Nagin J. Shah. pp. 4+58 (1981) 10/A study of Civakacintaamani by R. Vijayalakshmi pp. 8+234 (1981) 671Appointment with Kalidasa by Prof. G. K. Bhat. pp. 10+140 (1981) 30/Studies in Indian Philosophy (Pt. Sukhlalji Memorial Volume) pp. 22+323 (1981) Ed. by Pt. D. D.Malvania & Dr. N. J. Shah. 75/Facets of Jaina Religiousness in Comparative Light by Dr. L. M. Joshi, pp. 4+78 (1981) A Study of Tattvarthasutra with Bhasya by Suzuko Ohira (1982) pp. 1+182 Hindi - Gujarati Dhatukosa by Raghuveer Chaudhari (1982) p. 12+230 Secondary Tales of the Two Great Epics by Rajendra I. Nanavati (1982) p. 12+795 Laksmana's Suktniratnakosa Ed. by Mrs. Nilanjana S. Shah (1982) p. 16+71 Suracarya's Danadiprakarana Ed. by Pt. Amrutlal M. Bhojak & Nagin J. Shaah (1983) p. 12+64 82. 83. 84. 85. 89.

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37/ 92. 94. 97. 671 . 150/ Ramacandra's Mallikamakarandanataka, Ed. Muni Shri Punyavijayji, Eng. Intro. by V. M. Kulkarni (1983) pp. 6+35+166 Sokavartika : A Study by Dr. K. K. Dixit (1983) pp. 8+120. Vardhamanasuri's Manoramakaha (Prakrit) Ed. by Pt. Rupendrakumar Pagariya pp. 16+339+32 (1983) Haribhadra's Yoga Works and Psychosynthesis by Shantilal K. Desai pp. 94 (1983) Narasimha Mehatana Aprakasita Pada (Gujarati) Ed. By Ratilal V. Dave 16+102 (1983) Jinaratna's Lilavati-Sara (A Sanskrit Abridgement of Jinesvara Suri's Prakrit Lilavai--Kaha) Ed. by Dr. H. C. Bhayani & Dr. N. M. Kansara 8+8+443 (1984) Jayanta Bhatta's Nyayamanjari (Trtiya Ahnika) with Gujarati Translation. Ed. & Translated by Nagin J. Shah (1984) pp. 9+180. Bhartrharir's Vakyapadiya (with Gujarati translation and notes) Ed. Dr. J. M. Shukla 46+720 (1984) Dharmasenaganni Mahattara's Vasudevahimdi-- Madhyama Khand pt. I. Ed. by Dr. H. C. Bhayani & Dr. R. M. Shah. Padmasundarasuri's Parsvanathacarita Mahakavya pp. 12+103+136 (1986) Ed. by Dr. K. Shama Munshi Sri Santinatha caritra Citrapattika (Gujarti) pp. 30+82+Plates 25 BW + 8 Colour (1986) by Muni Shri Shilachandravijayji Santinatha Caritra Citrapattika (English) pp. 4+8+52+Plates 25 BW+8 Colour (1987) by Muni Shri Shailachandravijayji. Jnanapradmodagani's Jnanapramodika A commentary on Vagbhatalankara pp. 8+20+144 (1987) Ed. by Dr. R. S. Betai Vardhamanasuri's Jugaijinimdacariya pp. 8+30+280 (1987) Ed. by Pt. Rupendra Kumar Pagariya Padmasundara Gani's Yadusundara-Mahakavya pp. 12+184 Ed. by D. P. Raval Muni Suvrtasvami Caritra Critically Edited by Pt. Rupendrakumar Pagariya First Edition, April, 1989 Pub. By-Yajneshwar S. Shastri. Prasamaratiprakarana of Umasvati-Critically edited with English Trans. by Dr. Y. S. Shastri First Edition, (1989) Pub. By - Y. S. Shastri 100/ 100/ 45/ 75/ 105. 47/ 106. 877 107. 1127

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108. Nyayamanjari (Ahnika 4-5)-with Trans. by Dr. N. J. Shah First Edition, May (1989) Pub. By. Y. S. Shastri 150/109. Traverses on Less Trodden Path of Indian Philosophy & Religion. by Yajneshwar S. Shastri First Edition, March (1991) Pub by Dr. R. S. Betai 150/110. Tilakamanjari-Critically Edited by Dr. N. M. Kansara First Edition, June (1991) 275/111. Jain Biology - Dr. J. C. Sikdar 2001112. Nyayabindu - with Guj. Trans. by Nitinbhai R. Desai First Edition, June (1991) 1191113. The Nyayasara of Bhasarvaijna. A Critical & Analytical Study by Dr. Ganeshilal Suthar First Edition-Oct. (1991) 187/114. Siddhantalesasangraha-Traslated by Dr. Esther A. Solomon. First Edition May (1990) 1191115. Nyayamanjari (Ahnika 6, 7, 8 & 9) with Trans., by Dr. N. J. Shah, First Edition (July '92) 200/* Out of print In the Press 1. Kavyakalpalata-Parimala-Makarandatika Dr. R. S. Betai 2. Suvarna-raupya Siddhi Sharstra - Dr. J. C. Sikdar 3. Jaina Sammata jnanacarca - H. U. Pandya 4. Anantajina Caritam 5. Paumapahasami Cariyam. * Sambodhi - The Journal of the L. D. Institute of Indology). Back Vols. 1-16 (Per volume) Current 50/Sambodhi Vol. 17 (1989-90) Prajnacaksu Pt. Sri Sukhalalji Bharatiyavidya Granthamala 75/ VII

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