Sambodhi 1994 Vol 19

Author(s): Jitendra B Shah, N M Kansara
Publisher: L D Indology Ahmedabad
Catalog link: https://jainqq.org/explore/520769/1

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SAMBODHI VOL. XIX 1994-1995 GUORILLO : EDITORS : DR. J. B. SHAH DR. N. M. KANSARA L. D. INSTITUTE OF INDOLOGY AHMEDABAD

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Published by : J. B. Shah L. D. Institute of Indology Ahmedabad - 380 009 (India) December, 1995 Printed by : Sharadaben Chimanbhai Educational Research Centre, 'Darshan' Opp. Ranakpur Society, Shahibag, Ahmedabad-380 004 (India) Price Rs. 80-00

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1. ORI CONTENTS ORIGIN AND DEVELOPMENT OF THEATRE IN ANCIENT INDIA - Radha Vallabh Tripathi 2. RECONSIDERATION OF SRI SANKUKA'S VIEWS ON RASA-NISPATTI - Tapasvi Nandi 3. VISVANATHA'S KAVYAPRAKASADARPANA (VII - X) & SAHITYADARPANA - Jagruti S. Pandya 4. ON MIA. LAGG - USED AS A 'VECTOR' VERB - H.C. Bhayani 5. A PUZZLE FOR THE SCHOLARS OF BUDDHIST HISTORY - Nagin J. Shah 6. SOME COMMON ELEMENTS IN BRAHMANISM AND BUDDHISM - R.N. Mehta 50 7. THE JAIN CONCEPT OF SRAMANA IN THE AUPAPATIKA SUTRA - Ch. Lalitha 8. KARMA AND FREEWILL : A COMPARATIVE STUDY OF HINDUISM, BUDDHISM AND JAINISM - Arvind Sharma 9. RECENT RESEARCH IN THE HISTORY OF GUJARAT - H. G. Shastri 10. MANAGEMENT OF TEMPLES AT NADOL DURING THE CAUHAN PERIOD - R.V. Somani 11. CONTINUITY OF TRADITION IN MEDIEVAL SCULPTURE AND PAINTING IN WESTERN INDIA - Shridhar Andhare 12. mantrArthaghaTana meM yAska evaM veGkayadibhASyakAroM kA vaicitrya - bhAratI satyapAla bhagata 13. saMskRta sAhitya meM nUtana prayoga - jayaprakAza nArAyaNa dvivedI 14. bharatapura kSetriya bhitticitra sthala evaM citraNa viSaya - tanUjA siMha 108 15. Gd-4-34FL'Hi Bislls291-11 Place AG -azins 412 4. HS 16. 32alls usluis Buchaul - 464964S 11% 123 17. ulgga fliPSq 022-i aratoj dl447 (ca. zi. 9263) - 4.4HUS MX, s. 121484 4. SHIRT 18. anuvAdapunaruktayoH prAmANyAprAmANyam - lalitA cakravartI 129 19. Hraf 4 - 77407 7. AYRI 134 20. REVIEWS N. M. Kansara 155 21. OBITUARY 100 112 126 176

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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) Ahmedabad Yearly 1. Place of publication 2. Periodicity of its publication 3. Printer's Name Nationality Address Publisher's Name Nationality Address Indian 4. 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 Name and addresses of Individuals who own the newspaper and partners or shareholders holding more than one-percent of the total Shares. Nil I, Jitendra B. Shah, hereby declare that the particulars given above are true to the best of my knowledge and belief. * Jitendra B. Shah Honorary Director (Signature of Publisher)

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ORIGIN AND DEVELOPMENT OF THEATRE IN ANCIENT INDIA' Radha Vallabh Tripathi The problem of origin of Indian theatre (Natya) has been viewed from various angles. Various theories and interpretations have also been advanced to explain the process of the inception of Natya, each bringing out some factor or the other contributing to the process of evolution of Indian theatre, but none encompassing the phenomenon in its totality. As discussed in the earlier lectures, (Sambodhi, Vol. 18, Dec.94), Indian tradition. views Natya as Yajia and treats it at par with the Veda, the knowledge or Brahman. This tradition regards Natya as eternal, as it is the fifth Veda created by Brahma. Mankind discovers or re-discovers it in every age. The process of externalisation of Natya runs through various stages. We can therefore discuss. these stages on empirical level from historical point of view. THE FIRST STAGE Natya is basically a creative imitation. Therefore, it has been termed as anukriti or anukarana in our tradition. Imitation is natural tendency and instructive in human beings. The seeds of this creative imitation or anukarana germinate through Kama the universal instinct for multiplication and creation inherent in human beings. This country abounds in natural beauty and variety of flora and fauna. The colourful dawns, the chirpings and cooings of various birds and the resounding notes of running brooks and swelling rivers might have inspired the man moving around on this earth to re-create all this beauty through anukarana. This led. to the early beginnings of our theatre. We are not in possession of a solid evidence of this kind of primitive theatrical activity, but the archaeological findings do confirm it. The Rock-paintings at Bhembetaka in Madhya Pradesh, designed more than a 10,000 years back, depict persons wearing masks and also show some dancing figures. Musical instruments are also recorded. Near the caves, there are stones which sound * Lecture delivered under the annual Lecture Series of the L.D. Institute of Indology, Ahmedabad. 1989.

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RADHA VALLABH TRIPATHI SAMBODHI like drums at the beatings by hands or by sticks. This indicates the earliest stage of Natya in evolution where a clear demarcation between the performer and the spectator does not exist and theatre as a group activity forms an indivisible part of community life. THE SECOND STAGE The instinct for communication is natural to man as his instinct for imitation. The purpose of an anuk'ti, something resulting out of this creative imitation, is completed only when it is communicated by the performer or the artist to his fellowmen. Anukrti tends to re-create something which has happened, and anukirtana involves its re-telling. For re-telling, we have to store the happenings in our memory. This leads to the preservation of the vast mass of legends tlirough oral tradition. In the second stage of the evolution of Natya, the early theatrical activities, which came to be started in the pre-historic past, joined hands with rituals. This has happened in the history of theatre in other countries also. The urge to imitate and create something out of imitation is ritualised and theatre begins to spring from the ritual. In India, the institution of Yajno provided the ground for the growth of theatre. Yajna was linked with the Veda, and it involved four aspects - (1) patliya or recitation of hymns, (ii) sama or singing of hymns, (iii) performance of rituals, and (iv) apurva or the experience of bliss resulting out of the performance of Yajia. The four Vedic Samhitas were associated with each of these four aspects, respectively. Natya too has four basic requirements and to accomplish them, it had to turn to the four Vedas. Describing the legend of the birth of Natya, Bharata says that Brahma created Natya by drawing four basic elements from the four Vedas. jagrAha pAThyamRgvedAt sAmabhyo gItimeva ca / rcfTTY THT dUrgfall (NS. I. 17) Explaining the interlink between the four Samhitas and the four characteristics of Natyas (i.e., pathya, giti, abhinaya and rasa) on a scientific basis, Abhinava says that the recitation of Vedic hymns is marked by the use of three Svaras

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3 Vol. XIX, 1994-1995 ORIGIN AND DEVELOPMENT... (Udatta, Anudatta and Svarita) and so is the recitation in the performance of a play. (Bharata however adds a fourth type of svara - kampita - in luis treatment of vacika). Sama is a synonymn for song, as Jaimini rightly understands. The Yajurveda treats various pliysical gestures including circular movements - pradaksina and the movements of hand and feet with rhythmic patterns and chanting of mantras. This led to the concept of physical gesticulation in Natya.? During Vedic age, Yajna had become a potential and viable medium for the growth of various arts. It functioned as a meaningful platform for all sort of creative activities. According to Yajurveda, (XXX.6) sutas, sailusas and other artists were invited in the Yajna for giving music and dance-recitals and performing various other activities related to crafts or technical skills. The KSS (21.3.11) refers to performance of nytta, gita and playing of various instruments in pit?medha sacrifice. It also describes the circular movements with rliythm and tune by the amatyas (ministers) in the same sacrifice. In Vajapeya Yajna, the wives of the yajmana played several Vinas, named as the godhavina and the kandavina, while the other instruments went on in accompaniment. (KSS, XX. 3.71,79). Professional musicians were also invited to give their recitals during the performance of the Yajna. They were called the vinaganagins. Singing of gathas went on along with the vina-recital (KSS,XX.3.2; 8.7). In the Asvamedha Yajna also invitations were extended to the maestros of vina for giving their recitals and they came with their pupils to present their programme. They were given an honorarium of one hundred gold coins each. (KSS XX.3.7-8). The sukla Yajurveda mentions a jester, a lute player and a hand clapper as accessories to dance-recital in Yajna-performance. The assembly which gathered on the occasion of the Yajna was entertained by a variety of items. In the Vajapeya sacrifice a chariot - race was organised, in which the Yajamana was deliberately made to win, giving a theatrical touch to the show! (KSS. 14.3.19-42) The institution of Yajna, apart from its ritualistic aspect, gathered the form of a festival open to all. In some of the yajnas, the presence of the sudras was a pre-requisite. Apastamba (1/19/9) prescribed sudra's presence in Darsapuranamasa. According to Satapatha Brahmana, sudras and rathakaras were necessarily invited in the Pitriedha Yajna also.

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RADHA VALLABH TRIPATHI SAMBODHI The persons sitting around the alter (yajavedi) were called the sadasyas, sadas meaning a corner or a part of the alter. Kalidasa has used the word sadasya for the sages engaged in the performance of yajna'. The same word later came to denote the members of the audience witnessing a dramatic performance. 4 These facts lead us to investigate upon the correlation between Yajna and Indian theatre. Loius Reou remarks - "The Vedic sacrifice is presented as a kind of drama, with its actors, its dialogues and its portions set music, its interludes and its climaxes. On the contrary, there are scholars who are of the opinion that attributing the origin of our theatre to Vedic Yajna is a part of the 'defence structure...., which was needed perhaps to counter the attacks of Philistines and Puritans', and the tendency to associate everything with religion in our country. In an attenipt to demolish the theory of interlink between the ritual and theatre, Jagirdar argues 'Religious performances were rarely communal in the sense of social gathering, they were the monopoly of Brahmin artist and of a priest-class later; and others were practically barred from active participation!" His conclusion is: 'It seems likely that Sanskrit drama has least to do with religion and rites, that it is the work of people treated as anti-Vedic3. Such views are not only baseless, they tend to negate the historical process of the evolution of theatre. Drama and theatre were invariably associated with rituals and religion in the process of their evolution in other countries too. In Greece, both comedy and tragedy took their rise from religious ceremonial. From a common chant, the ceremonial soon developed into a primitive duologue between the leader and the chorus. The song became elaborated, it developed narrative elements and soon reached a stage of the deity. In our country, the institution of Yajna not only gave our theatre a new lease of life, but also provided it with basic equipments, techniques as well as some of the fundamental concepts which can be analysed as follows: (i) The Concept of Silpa: The idea of silpa as projected through rituals or Yajna has been extensively dealt with in Brahmanas. Kausataki Br. says ... the atmosphere is without base of support, verily thus day by day they continue finding support in silpas. They are triplets, the filpa is threefold dancing, music and singing (XXIX.5).

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Vol. XIX. 1994-1995 ORIGIN AND DEVELOPMENT... In fact this Brahmana has given the concept of Natya itself in defining silpa. It says: trivRda vai zilpaM-nRttaM, gItaM vAditamiti teSveva tadaharahaH pratitiSThanto yanti / (Ibid.) In Yajna, silpa is associated with chanting of mantras. (Ibid.XXX.3) The concept of silpa is almost as old as the Veda itself. The first reference to silpa occurs in Vajasaneyi sanhita (IV.9) where silpa connotes an image. The Aitareya Br. defines silpa as a means for self-purification (atama-samskrti) while the Gopath gives it a wider perspective on the aesthetic plane by defining silpa as an ukrti. Rgveda had already provided a view of silpa in relation to skill and beauty by calling the goddess of dawn (the Usas) as 'susilpa' (Rg.X.70.6). Satapatha defines silpa as 'pratirupa' (1.5.5). 2. Emergence of Suta : Through the institution of Yajna, there emerged a class of artistes who were called 'sutas'. In the list of various technicians and craftsmen invited before the performance of the Yajna, suta and sailusa have been counted as the first and the foremost (Yajur.XXX.6). Suta was called for giving a dance-recital (nrtta) and sailisa for songs (gita). In fact sutas fulfilled various subsidiary functions for the performance of rituals. They constructed the platform or alter (yajnavedi) and the yajnamandapa. As they held a cord for measurement of architectural sites, they began to be called to sutradharas and these sutradharas play a conspicuous role for re-surrection of our theatric traditions. The debut of stitas or sutradharas in the field of art and culture is evident from references to them in post-Vedic literature which we will discuss later. 3. Sailalins : The ritual teachers : According to Satapatha Br. (13.5.3.3) silalin is a priest engaged in teaching the vidhi of rituals. Apastamba calls him sailalaka brahmana. KSS also refers to him. Panini informs that silalin had composed a Natasutra - a handbook or manual for actors or dancers. It seems in the process of theatre evolving through ritual, some ritual teachers busied themselves in guiding the natas (the sutas) or preparing codes of conduct for them as these sutas were required to contribute

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RADHA VALLABH TRIPATHI SAMBODHI to the ritual. This inust have provided an impetus to the theatrical activities associated with the Yajna ceremony. 4. Emergence of theatrical gestures from ritualistic practices : Being associated or identified with Yajna, the language of theatre also began to evolve through ritualistic practices, leading to the formation of postures, group patterns, body-movements and thus preparing ground for angika abhinaya for performance of Natya. The movements of hands and feet in Yajna had to be made in a rhythm. Even the pradaksina - the circular movements - around the alter (vedi) had a theatrical effect, as musical instruments and chanting of mantras accompanied them. The characteristic of Natya - i.e., anukarana is imbued in ritualistic behaviour. In one of the rituals for example, the priest walks three steps to imitate three strides of Trivikrama Visiu (Vajsaneyi San. 3.25). Similarly, the circular movements are made by the priest with assumption of a theatrical space and dramatic mode. "Let me not hurt thee with my feet, O Visnu" says the priest in one of the mantras and he walks as if avoiding Visnu lest his feet should touch him. In Asvamedha, three queens walked with rhythm maintaining time while recitation went on. (Ibid.XXII.8). In Sautramani, the reciter touches each limb of his body with the chanting of mantra (Vajasaeyi Sam.XX.5-8). The ritualistic behaviour thus led to the concept of non-verbal communication in our theatre. 5. The Dialogues : Besides providing our theatre a language for non-verbal communication, the ritualistic practices also evolved the language for verbal communication in theatre. This happened through the introduction of dialogues in various Yajna ceremonies. Refering to Marut Sukta (Rg. 1.165), Max Muller suggested in 1869 that this hyun was enacted by two parties. The dialogue hymns since then have been a matter of specticulation. KSS and Karyayana S.S. further furnish a very clear evidence of the dialogues being employed in a dramatised form during the rituals. KSS gives the full text of the dialogue between the adhvaryu (the

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Vol. XIX, 1994-1995 ORIGIN AND DEVELOPMENT... priest) and the soma-vikrayin (vendor of soma). With its form like a farce, this dialogue appears to be a precursor to Prahasana type of plays in Sanskrit. It was enacted on the occasion of the performance of Agnistoma Yajna. The dialogue went on between two persons assuming the roles of the salesman and the consumer. The Adhvaryu has the Soma - plant already in his possession, but overlooking this fact he hands it over to the persons who is performing the role of a soma-vikrayin. A sort of comic interchange of words ensues between the two. The Adhvaryu starts bargaining, or to put it in a better way enacts the bargaining of Soma. He repeats his sentence five times, followed by the repartee of the Soma-vikrayin or the priest who is enacting the role of the Somavikrayin. KSS leterally reproduces this dialogue in the following way: Adhvaryu: Hey, will you sell this Soma ? Vendor : Yes, sir, it is for sell. Adh. : I will purchase it. Vend. : Alright sir, take it. Adh. : I will take it for the sixteenth part of a cow. Vend. : Sir, king Soma deserves more than that, Adh. : The cow is also very much valuable. It gives lis milk, curd, butter and ghrta etc. The vendor and the adhvaryu repeat their least dialogues four times each. But each time the priest raises his share each beginning from a safa (hoof) to pada (foot), then to half of the cow and finally the whole of a cow. Each time, the Soma-vikrayin insists on saying that 'the King Soma deserves more than that'. Ultimately the bargain is settled, and the ad hvaryu also purchases Nyagrodha plant from the vendor. Offering him some gold for the payment. The vendor then approaches the alter to offer his salutations to the gods and just as he rises to return, the party of the priests pounces upon him unawares, snatches away the gold in his possession and the poor fellow is beaten with a staff." The enactment of this dialogue might have been a good entertainment for the assembly gathered on the occasion of the Yajna. The depiction of the covetuousness and greed of the vendor and the scene of his thrashing might have aroused popular feelings, considering the daily need of Soina in life of Vedic Aryans and their difficulty in its acquisition.

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RADHA VALLABH TRIPATHL SAMBODHI The dialogue between the brahmacarin (the celibate) and pumscali (a harlot) is no less dramatic. It was performed on the occasion of mahavata yaga as a fertility rite. 8 In this context a close examination of the dialogue hymns of Rg. becomes necessary. The following dialogues particularly display the characteristics of drama - Pururavas-Urvasi(X.95),Sarama-Pani (X.108), Agastya-Lopamudra (1.179), Yama-Yami (X.10), Vrsakapi (X.86) Nemi-Indra (VIII.10) and Visvamitra - Nadi (III.33). Each of these dialogues is connected with some popular legend or the other. Also, the most dramatic sequence or episode out of this legend has been chosen for rendering in the dialogue form. The rendering of the dialogues is replete with emotions and sentiments and is effectively charged with dramatic quality. Adya Rangacharya conjectures that these dialogues were basically meant for theatric activity and were subsequently adopted for ritualistic purposes. Macdonnel believes that 'the earliest forms of dramatic literature in India are represented by those hymns of Rgveda, which contain dialogues, such as those of Sarama and Pani, Yama and Yami, Pururavas and Urvasi; the latter, indeed being the foundation of a regular play composed much more than a thousand years later by the greatest of India! 10 THE THIRD STAGE In the Vedic period theatre was ritualistic and the ritual was theatrical. Then comes a stage when theatre begins to stand on its own, seeking occasions other than the Yajna. A background for independent dramatic performs thus begins to be prepared. Bharata, who perhaps belongs to a family of Vedic sages or purohitas, and was adept in theatrical arts, organised the show of Samudramanthana - a samavakara type of play, pertaining to the theme of the churning of the ocean by the gods and the demons. This play was performed to mark the festivity on the occasion of Indra's victory over demons. Later on Bharata repeated the show before Siva, alongwith the premiere of one more play - Tripuradala Dima. This is perhaps the earliest record of the performance f full-fledged plays as given in NS Chap. II. Sanskrit drama might have retained e ritualistic qualities which it imbibed with the association of the Yajna, but Tally it came out of the circle of Vedic ritual to function in a wider perspective. ajna however, continued to provide a medium for performing arts. The Rajasuya carvan of the MB speaks about the actors and dancers entertaining the

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Vol. XIX, 1994-1995 ORIGIN AND DEVELOPMENT... Brahmanas on the occasion of th Yajna. But with the transformation of a primitive society to a feudal system, theatre came out of the narrowing circle of the Yajnamandapa in search for new horizons, gathering fresh momentum and facets leading to its development. These can be summed up as under : 1 The Samajas : With the re-organisation of society a number of institutions sprang up. The institution of temples and worship of the deity therein was an added feature of our religious practices and social life. The samajas were initially connected with the temples. Samajas meant an assembly of people. In the tradition of our theatre, the word samajika, denoting a member of the audience or an ideal spectator comes from this 'samaja'! Samaja provided nourishment to various cultural activities. They were held in honour of some diety. One such Samaja, the Pasupati Samaja has been described in the MB. Samajas were marked by dance, music and dramatic performances. In due course, the word samaja came to denote all theatrical activities and began also to be used as a synonyin for theatre. 'Sabha' was identical with samaja, and copious reference to sablas occur in the Epics. Bharata was being amused by his friends by relating stories, performing dances or humorous plays in the sabha." In one of his articles published in 'Indian Antiquary', Dr. Bhandarkar has tried to prove that the word samaja meant theatre. 2. Other occasions : Subsequent to Vedic period, occasions of dramatic performances multiplied. Besides the Yajna ceremony, music and dances were presented on the occasions of the svayanvara marriage, coronation ceremony etc. Festivals held in the honour of a deity also presented occasions for theatric performances. The tradition of performing a play on Indramahah (Indra festival) was started by the great savant Bharata himself and it continued for centuries. Sriharsa's Nagananda was produced on the occasion of Indramahah, while several Sanskrit plays were presented on the occasion of the Spring festival.

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RADHA VALLABH TRIPATHI SAMBODHI 3. The Epics : Dramatic Themes : European scholars like Dr. Keith have indicated that the Epics i.e., that Ram. and MB. might have played an important role in shaping the dramatic activities or in building up a theatre in ancient India. Hillebrandt and Konow had already hinted upon the secular origin of Sanskrit drama. Accordingly, a popular mime existed at the earliest stage, which, together with the Epics, lies at the bottom of Sanskrit drama. Dr. M. N. Ghosh also upholds the theory of origin of Sanskrit drama from the Epics. We can only say that at a certain stage of the evolution of our theatre, Epics had contributed to its growth and resuscitation. The Epics were presented by the bards, professional singers or kathakas, and they had a natural tendency to make their recital dramatic and attractive. Bhoja and hinted upon the dramatic quality of the Epic recital : tathAhi - kaMsaM ghAtayatItyukte kaMsavadhamAcaSTeti pratIyate / (Quoted by V. Raghavan in Bhoha's Srngaraprakasa p. 620) When the bard narrated the episode of killing of Kamsa, people say - he (the narrator) is killing Kansa. According to Ghosh, it was to add to the charm of this dramatic quality that the reciter began to acquire the belp of an actor or a few actors, so that he could present the narrative more vividly. There were no organised dialogues or coordinated scenes in the beginning. This form of draina still survives in some forms of folk-theatre, like Pandavani of Basrar in Madhya Pradesh. The reciter supplied the connecting link between the different of the characters represented by his colleagues at the time of their entrance and exit. These colleagues of the suta or professional reciter were called the kusilavas. Jagirdar proposes that 'at the stage of dramatic representation, when suta turned into a sutradhara, kusilavas turned into pariparsvikas, who played music. 4. Emergence of Sutradhara : The sutas had attained a conspicuous position in the society by now, owing to their debut in various arts, crafts or technical sciences. In Vedic period, they contributed to the performance of rituals by constructing the alter and also by presenting dances, music or orchestra on the occasion. They also prepared arms and chariots and built houses. Over above this, the greatest contribution

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Vol. XIX, 1994-1995 ORIGIN AND DEVELOPMENT... which the sutas made was through the preservation of popular literature comprising legends and inyths or 'itihasa', as they were termed in our tradition. This popular literature, consisting of the akhyanas and upakliyan as was constantly growing and was being multiplied at the time when the sanhitas or hymns of Veda were being composed. Atharvaveda las included Itilasa, Purana, Gatha and Narasansi alongside of the three Vedas in the mass of literature that was delivered to the mankind by the Supreme Being. 12 The Sutas arduously pursued the great task of preserving, collecting and expanding the purana literature, and for this they were treated like sages or munis. The suta invited for the consecration of the alter on the occasion of the nagayajna of Jan mejaya is described as a sthapati (architect), vastuvidyavisarada (adept in the art of house - building), pauranika (one who recites the purana). The epithets of suta and sutradhara have been used simultaneously for this very person and he is said to be very wise. sthapatirbuddhisampanno vAstuvidyAvizAradaH / ityabra bIt sUtradhAraH sUtaH paurANikastathA / / (MB. I. 51.15) Ascribing so many epithets to one single person indicates how much honourable sutas had become by their active and constructive role in various fields, the MB also informs that the stitas had founded a city called campa for their residence. The MB. confirms that the sutas were called stradharas also (probably because they held the measuring cord in their hands when they came to construct the yajnavedi). The NS refers to Sutradhara holding the measuring cord (sutra) in the context of building the natyamandapa (theatre-house) : puNyanakSatrayoge tu zuklaM satraM pravartayeta / (NS II. 31 ab) Visakhadatta also refers to Sutradhara Daruvarman who was engaged for constructing gates etc. (Mudraraksasa, Act II). Sutas were a class engaged in various professions. They presented the puranas. Suta muni is said to have presented all the eighteen Puranas as well as the MB also before the eighty eight thousand sages in Naimisaranya. When an enraged Balrama killed a sitamuni, he was asked to perform the same prayascitta which a person guilty of brahmalatya is required to do.

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12 RADHA VALLABH TRIPATHI 5. Emergence of Granthika : SAMBODHI The sita was called pauranika for presenting recitation of puranas. When this recitation was practiced by reading out of some grantha or manuscript, the same suta or pauranika began to be called granthika. The granthika figures thrice in the MB along with suta, nata, malla and jhalla. The competence and acumen of granthika can be understood from references to him by Patanjali, Bana and Bhoja. Granthika not only recited but also presented the legends. or a pauranic episode with music and abhinaya. Bhoja saya that an upaklyana becomes an akhyana when presented by the granthika, who not only recites from a prabandha, but also sings and performs the abhinaya. The emergence of granthika during the period of composition of the Epics heralded a new era of our theatre, as he was in possession of script for dramatic presentation, which could help him or his companions who were perhaps called the kusilavas, in rendering the theme through abhiyana. 6. Construction of Theatres : Construction of theatre- houses or open arenas for the performance was another note-worthy feature of this age when the Epics were under composition. The MB refers to four big theatre- houses (preksagaras) and one sangitasala (a small intimate theatre) within the royal harem. A big preksagara was got erected by the king Dhrtarastra for demonstration of armaments by the Kaurava and Pandava princes, but this was also used for presentation of artistic skills by natas and nartakas". In this preksagara, the ranga or the platform for demonstration was in the centre, and it was surrounded by the tiers of seats. The performance presented on this ranga was called prayoga. The other references to the construction of theatre or praksagara are found in the description of the svayamvaras of Damayanti and Draupadi in the MB. The central platform is called ranga or maharanga" and is compared to the cave of a mountain. 18 The open arena where the people gathered was called the samajavata. It was surrounded by various buildings. The performances by natas, nartakas, sitas or maghadhas went on for a number of days before the event of the svayanivara.

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Vol. XIX, 1994-1995 ORIGIN AND DEVELOPMENT... Besides these, the MB, describes another preksagara in the capital of king Virata. This preksagara was meant for the exhibition of martial arts, particularly duals or combats between warriors, but natas and nartakas also gave their performances there. 19 7. Interaction with martial arts : During this period, when natas, nartakas, and the other artistes belonging to suta-class were generally patronised by the royalty along with the mallas, it was natural for the theatre to interact with martial arts. The MB refers to the presence of natas and nartakas with mallas and jhallas in the royal court, and also describes the performances by the former on the same platform where the warriors would exhibit their martial arts. It was perhaps due to the interaction between the art of theatre and the martial arts that even the actual wars assumed theatrical dimensions. Various instruments were played and even music and dances preceded, or were presented even during the course of, a war.20 The fusion of military science with perforining arts led Valmiki to use a term like yuddhagandharval. Both Valmiki and Vyasa use images and metaphors related to dance, music and orchestra on their descriptions of duals and wars.22 The theatre-artistes assimilated the motifs or postures practiced in wars, duals or combats. This gave the Natya a new perspective. They had to stand in competition with the mallas, the professional fighters. As a result, the actor had to assume the functions of an acrobat. Subsequently, the word nata began to be used for an acrobat also. The Dasakumaracarita of Dandi describes the acrobatics begin exhibited by one of the kumaras in the disguise of a nata, who also performed the karanas anagaharas : vRzcicakamakaralaDdhanAdIni matsyodavartanAdIni ca karaNAni nRttagItanAnAruditAdihastacakramaNamUrdhvapAdAlAtapAdapITha... punarAdAyAsannavartinAM kSurikAH tAbhirupAhitavarmA citraduSkarANi karaNAni zyenapAtAkrozapAtAdIni darzayana - (Dasaku. Uttarapithika) The concept of vrtti, which is related to vayapara or action in theatre, was in fact derived from this interaction with marital arts. In NS (chap. XX.1-18) .

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RADHA VALLABH TRIPATHI SAMBODHI describes the origin of vrittis through the fight between Visnu and the two demons Madhu and Kaicabha. Sattvati vrtti was actually employed by the sattvata warriors in duals or combats.23 The forceful and vigorous postures or movements made in fights formed the basis for sattvati and arbhati vrttis. Abhinava actually connects arabhati with the practice of warriors." 8. Contribution of other arts : 14 Various arts, crafts, and techniques are assimilated in the practice of theatre. The interdependence of other arts enriches and resuscitates it. In the Epic period, various arts were being promoted under royal patronage. The development of architecture by sutas (sutradharas or sthapakas) led to the construction of theatre - buildings, while the improvements in textiles, paintings and wood craft also added new dimensions in the practice of theatre. Painted curtains came into use during the period of MB., as is evident from various references to them in the Great Epic, e.g.: pralApayuktA mahatI kathA tyastA paTe yathA / - dadRzai balamAyAntaM paTaM citragataM yathA // (MB.S'alya. I.40) (bif., Asramavasika. 40.20) The puppet shows must have been in vogue during the period when the MB. was being composed. The puppets were made to move by cords, which was called sutra, cf. sUtraprotA dArumayIva yoSA / (MB., Udyoga. 32.12) yathA dArumayI yoSA naravIra samAhitA / IrayatyaGgabhaGgagAni tathA rAjannimAH prajAH / (Ibid., Sabha, 31.22) Contact with various professional craftsmen must have contributed to the growth of our theatre in Epic period. We get a very graphic picture of this fruitful interaction from a reference in Rama (ii.80.1-3):

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Vol. XIX, 1994-1995 ORIGIN AND DEVELOPMENT... atha bhUmipradezajJAH sUtrakarmavizAradAH / svakarmAbhiratAH zUrAH khanakA yantrakAstathA // karmAntikAH sthapatayaH puruSA yantrakovidAH / tathA vardhakayazceva mArgiNo vRkSatakSakAH / kUpakArAH sudhAkArAH vaMzakarmakarastathA ... 15 9. Evolution of Aesthetic Concepts and Terms: The acceleration of the process of evolution of our theatre in the Epic age as described above led to the formation of some fundamental aesthetic concepts and terms. In both the Epics - Rama. And MB we come across a number of terms related to theatre or other performing arts like music, dance, painting etc. These concepts and terms were subsequently standardised in NS. We have already refered to the terms like ranga, maharanga, samaja or samajavata which have been used to denote the performing space and the audience in the MB. The word 'preksa' has been used to denote one show of a dramatic piece or a dance-recital. A big gamut of terminology related to Gandharvaveda, i.e., -nyaya, pramana, layasthana, samya, tala, sausthava etc. finds place in the MB, which has been adopted in the NS. Even some of the terms used for the forms of drama in NS, have been anticipated in the two great Epics. The word nataka has been used in the Rama. for the narrative pieces being told by friends and bards to entertain Bharata. The MB also mentions nataka along with katha and akhyayika. The term rangavatarana has been used for the entry on the stage or performing area. The term rangastri also occurs denoting the participation of women in the art of theatre. The contact with the royal court and patronage under feudal system also led to coinage of several technical terms. Culika was a part of the royal place, from where the vaitalika used to present or recite his eulogies for the king. In NS, culika became one of the Arthopaksepakas where a character communicates some information from behind the scene. In some of the dramas, the recitation by one or two vaitalikas serves the purpose of culika retaining its original character. The MB also refers to Nandi being recited in the royal place of Yudhisthira.20 THE FOURTH STAGE: EXPANSIONS OF NATYA A proper ground had been prepared for the development of dramatic forms

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RADHA VALLABH TRIPATHI SAMBODHI and their presentation on the stage. Time was ripe now for the full-fledged draina to come up. In the fourth stage, therefore, which begins right after the Epic Period - roughly around 600 B.C., we begin to find references to plays being actually performed. We also come across mentions of compilation of maxims or codes for the actors. Panini informs that a Natasutra by Sailalin was known to him.27 Patanjali refers to the presentation of Kamsavadha and Balibandha by Granthikas and Saublianikas28, wliile Harivamsa describes performances of two plays based on the Ramayana theine.29 The performance was given by the warriors disguised as actors forming a repertoire. This repertoire reached the city of the demon king Vajranabha. Pradyumna, Srikesna's son, played the role of hero, Samba played the role of Vidusaka, Gada became the pari parsvika and the other yadavas were actors (natas). This group also performed another played named Kauverarambhabhisara, and the citizens of the Vajranabhapura were so enamoured by their performances that the fame of the artistes reached the demon-king Vajranablia, and the latter invited the troupe to give performance in his court. Harivansa also refers to the festival of Pindaraka where the celestial damsels (apsaras) came to perform the deeds of Krsna tlirougli music an dance, indicating the beginning of the form of Krsnalila. It is quite evident from the above account that professional groups had already started functioning during this time and they travelled far and wide to give performances. This is further attested by references to theatric activities in Kautilya's Arthasastra and the Kamasutra of Vatsyayana. AS levies the tax or fees to be realised by the king from the group of actors coming from outside to give performance in his city30. A woman going to witness the performance of a play alone was punished or fined, but was exempted from such punishment or fine if she went to witness a show given by ladies only, which lias been terined as Stripre ksaa.3 This shows that troupes comprising female artists only also functioned during Kautilya's days. K. also refers to Nata, Nartaka, Kusilava, Gayaka, Vadaka and a liost of other professional sort of artists. 32 He instructs the kings to organise samaja or samajotsava, and recommends entertainment by the Kusilavas. In Blurtyabharaniyam, the chapter on salaries of state employees, K. fixes 250 panas as honorarium for the kusilava, but makes it double for the turyakara (the maker of musical instruments). There is also provision of 1000 panas for the narrator of Puranas ---the pauranika and the magadha p.a. This indicates that recruitment of the artistes by the government was a regular

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Vol. XIX, 1994-1995 ORIGIN AND DEVELOPMENT... practice. Even the gramadhyaksa is allowed to employ carana, kuhak (the magician), kartantika (the professional singer showing painted curtains with abhinaya) and kusilava, but they could also be assigned duties of espionage or spying. 17 The onslaught of the two Great Epics had provided impetus to theatric activities which now came in full swing. The Lalitavistara informs that the princes were trained in painting, playing the vina, dances, music, pantomime, and also enacting the plays. The Avadanasataka tells of the gosthis where dances and orchestra were arranged". King Bimbisara was known to have permitted a stage performance in which the Sutradhara himself played the role of Buddha. It is also stated in Buddhist texts that Buddha had witnessed several dramas in his previous births. As the story goes in the Buddist legends, the troupe having performed before king Bimisara was later on invited to Rajagrha, where the charming actress Kuvalaya seduced some of the monks by her histrionic talents. To rectify the harm inflicted on the religious order, Buddha transformed her into a hideous woman, and subsequently made her to emerge as a saintly figure. The Vinayapitaka informs about the theatre- house at Kitagiri. A number of jataka tales, which were weaved even before Buddha rose, allude to dramatic performance, the role of the nata performing the vidusaka in a samaja38, construction of theatre-houses and theatre-groups. The Rajaprasaniya Agama, a Jaina text, describes at length the dance items presented before Mahavira by Devakumaras and Devakumaris. Several dancecombinations have been mentioned in the description of the performance. This troupe also presented the life of Mahavira in the form of dance-drama", The rich panorama of Indian theatre, thus, unfolding itself in all its spendour, the ground was prepared for classification and standardisation of our rich theatric traditions. This led to the compilation of a monumental work like the NS, the most voluminous text on drama and theatre prepared in B.C. era. The above account of ancient Indian theatre also brings out its three facets. There was a sophisticated and aristocratic theatre patronised by the royal court or by rich citizens. Amongst the dramatists, Bhasa is perhaps the earliest to furnish evidence with regards to the dramatic troupe maintained by the king. But theatre also flourished in the temples. Besides theatre was also being practiced by groups moving around the country from one place to the other.

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10 REFERENCES : 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. KADHA VALLABH TRIPATHI NS CHAP. XVII. part I., p.391. ata svAbhinayAntarbhUtatve'pi pRthgupaattim| tasya vaisvayaMpradhAnasya stotrazabdadvAreNa yAgopakArakAritvAt / pAThyamapi svayaMpetam / aikasvarye kAkvamAvAbhyAM ca svasvAdau ( cekasvabhAvAcca svarAdau ) gatirUpApatteriti hi vakSyAmaH / .. pAThyagatasvaraprasaGgAt tadanantaraM sAmayo gItaM jagrAhetyuktam / uparaJjakatvena hi pazcAt tasyAbhidhAnaM nyAyyamiti kecit / gItaM prANAH prayogasya iti kSyAmANatvAt / tadAyattatvAd rasacarvaNAyAH samucitasyAtraivAbhidhAnamityasmadupAdhyAyAH / cakAreNetat talpakakSyatAmAha ekkAreNa gItamAtraM tato gRhItaM gItiSu sAmAkhyA (jaimini 2-1-36) iti nyAyAt / tadAdhAradhavApadayojanRgvedAdeveti darzayati / ... AdhvaryavakarmapradhAne tu yajurvedeGgakarmaNA pradakSiNigamanAdikrama eva prathamam / (Abh. part I, p.15) kvanu khalu saMsthite karmaNi sadasyairanujJAta ? zramaklAntamAtmAnaM vinodayAmi ? (Abhijnanasakuntala, Act III) Pramod Kale : Theatric Universe, p. 4. R.V. Jagirdar : Drama in Sanskrit Literature, pp. 35-36 British Drama, p. 15. taM vikrayiNe prayacchati / paJ cakRtvaH saumaM paNate / sa Aha- somavikrayin, krayyaste somo rAjA 3 iti / krayya ityAha somavikrayI / taM vai ta RNAnIti / krINIhItyAha somavikrayI / kalayA te krINAnIti / bhayo vAtaH somo rAjArhatIti somavikrayI bhayaH evAtaH somo rAjAIti mahAMstyeva gormahimetyadhvaryuH gaurva pratidhak tasyai zataM tasyai zatastasyai dadhi, tasyai masta tasvA AmikSA tasyai vAjinamiti / I 1 4 SAMBODHI J bhaya evetyataH prabhRti caturAvartayati / ekainenAnte paNate zaphena padArthena gayA te kINAnItyantaH praznAnte prshnaante| parveNa AgnIdhnIya brahmacArI udtisstthet| bahirvedi puMzcalI dakSiNAbhimukhI sA prayAt dhik tvAM jAlima puMzcalI grAmasya mArjana paruSasya paruSasya ziznapaNejani iti brahmacArI , (KSS. 7.7.22-7.8.12) dukharitinavakorNin iti / evam AtRtIyaM vyatyAsam / (Latyayana SS. 4.3.9.12) The Indian Theatre, p. 9 History of Sanskrit Literature, Macdonnel, p. 346. nATakAnyapare prAhurhAsyAni vividhAni ca / (Rama. 11) AV, X, 10.20; XV. 6.4 ye tAvadete zaumanikA nAmaite pratyakSaM kaMsaM ghAtayanti pratyakSaM ca baliM bandhayanti iti / citreSu katham ? citraiSvapi udgUrNA nipatitatAzca prahArA dRzyante / kaMsakarSaNyazca / graMthikeSu kathama ? - yatra zabdagaDumAtraM lakSyate / te api teSAmutpattiprabhRtyAvinAzAd RddhI vyAcakSANA santo buddhiviSayaM

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14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24. 25. 26. 27. 28. 29. prakAzayanti / atazca sato vyAmizrA hi dRzyante / kecit kaMsabhaktA bhavanti, ke cid vAsudevabhaktAM / varNAnyatvaM khalu puSyanti / kecid rakhtamukhA bhavanti kecit kAlamukhAH / (Mahabhasya, 3.1.26) Harsacarita, II Ucchvasa. lasAvitrISoDazarAjaupacAravat prabandhAntaH / anyaprabodhanArthaM yadupAkhyAti tadAkhyAnam / AkhyAnasattAM tallamate yathaminayan paThan gAyan / granthika ekaH kathayati gauvindavadavahite sadasi / (Q. in Bhoja's Srigaraprakasa) MB. Virata p. 12.37 MB., Aranyaka p., 54.11, 18 Ibid., 54.5 Ibid, Virata p. 12.4 Karna p. 2.3 dhanujyatantrimadharaM hikkAtAlasamanvitam / mandastanitasaGgaGgItaM tad yadgAndharvamAbabhau / athAha pANinApANi mAdhUnan sandaSToSTho nRtyati vAdayanniva / (MB, Salya. p. 6.4) See also Rama. Sundara. (X.36) mentioning arghara, Bala. IV. 8 mentioning laya, Ayodhya. 91.27 and Kis 28.35 also mentioning laya, Bala. IV. 29 mentioning Margi. (Ibid. Karna p. 65.13) V. Raghavan: The Vrttis; JOR, VI- 1932, VII- 1933. iyarti ityarAH bhaTA sautsAhA: analasAH taiSAmiyaM AramaTI kAyavRttiH kezAH kiJcicadatyarthakriyAjAtamakurvanto dehazaubhopayoginaH tadvat saundaryopayogI vyApAraH kaizikI vRttiriti tAvanmukhyaH kramaH / (Abh. part I, p.20) Mudraraksasa, Act III. 20, 21. tatau rAjakule nAndI saMjajJe bhUyasI puna: / pArAzaryazilAlibhyAM bhikSunaTasUtrayoH / See FN 13 above. Harivamsa. ( Rama. 6.42.23) (MB, Sati. p. 83.65) (Asradhayayi 4.3.110)

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SAMBODHI 30. teSAM tUryamAgantukaM paJcacapaNaM prakSAvetanaM dadyAt / (Arthasastra, Adhyaksapracara - 39) Ibid III. 3 22 etena naTanartaka-gAyaka-vAgjIvaka-ku zIlava-plavaka-zaumka-cAraNAnAM strIvyavahAriNAM striyau gaNAjIvAzca vyaakhyaataaH| (Ibid. Adlyaksa, - 38) 33. akSakrIDAyAM kAvyakaraNe granthe citre rupakarmaNi agnikarmaNi vINAyAM vAdye nRtye gIte paThite AkhyAne hAsye lAsye nATye viDambite... sarvatra bodhisattva eva viziSyate sma / (Lalitavistra, p. 108) sambahulAzca goSThikA madyamadAkSipta-vINAmRdaGgapaNavaividyairvAdhirvAdyamAnRtyanto gAyantaH (Avadanasataka, p.75) 35. Sanskrit Drama : Keith, p. 43. Ibid. For details, see 'Traditions of Indian Theatre', Varadpande, 18-19. 38. naTAnAM bhAsamAnAM yo'sau naTo raGga majjhe samajjamajjhe sajjUlikena janaM hAseti rameti-- (Gamani Sariyuttam, Samyuttam Nikaya IV. p. 306) See, FN 37 as above. . 40. Rajaprasniya Agana, XLI - XLVI, pp. 285 - 89.

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RECONSIDERATION OF SRI SANKUKA'S VIEWS ON RASA-NISPATTI Tapasvi Nandi Sri Sankuka is one of those acaryas whose views on rasa-realization have been quoted by Abhinavagupta while commenting on the rasasutra of Bharata (Natyasastra, ch.VI. rasadhayah). Here we will attempt a reconsideration of Sri Sankuka's views. Sri Sankuka disagrees with Lollata and is not inclined to take rasa as an intensified mental state (upacitah bhavah), but for him rasa is an imitated mental state, which is later inferred by the connoisseur (samajika) in the artist (nata) who is taken to be the character such as Rama and the like. The The actor or artist, holds Sankuka, successfully imitates the original character and his experience. This imitation by the artist is artificial and unreal, but it does not seem to be so to the spectators, who forget the difference between the artist and the character, on account of artful presentation by the former (vastu-saundaryabalat), and inferentially experience the mental state of the character. This experience involves two steps on the part of the samajika. First of all he takes the artist to be a character, say Rama, Dusyanta, etc. This cognition on the part of the Samajika, Sri Sankuka explains, is a unique form of cognition which is neither real (samyak), nor unreal (mithya), and also neither of the form of doubt (samsaya) nor of comparision (sadrsya). Sri Sankuka explains this unique cognition which is peculiar to the field of art only, on the analogy of 'citra-turaga' or painted horse. After this, the artist who is cognised as this or that character by the spectator, artfully imitates the character. The presentation is so charming that the spectator artfully infers the feelings of the character. This anukrta - anumita - bhava is rasa for Sri Sankuka. Thus, Sri Sankuka seems to be the first known critic who divorces art experience from the normal work-a-day world experience, and co-related it with the connoisseur. However, Abhinava's master Tauta finds fault with Sankuka's theory of anukiti-anumiti. The main thrust of Tauta's argument seems to be that the effect of imitation is bound to be ridiculous, causing laughter and mockery and that it cannot have any connection with aesthetic experience. Inference also cannot be said to cause pleasure : laukikanumane tu ka rasata ?, - observes Abhinavagupta later on.

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UOLLUDII However, it should be carefully noted that in ordinary parlance we have to resort to inference to realize someone else's feelings. We can directly experience it. So, Sankuka seems to hold that in art, it could be an artful inference with the help of the artful imitation on the part of the artist. Thus both these 'imitation and 'inference' peculiar to the field of art need not be taken in their strict philosophical connotation. Sri Sankuka and later Mahima seem to underline this peculiar special nature of imitation and inference taking shape in the context of art alone, both performing and literary; Mahima, a great protegonist of Kavyanumiti' - poetic inference - clearly declares that this poetic inference is not to be taken as identical with normal logical inference - tarkanuniti and that it is foolish to expect the perfection of the latter in the former. What is important and undeniable is the fact that even in our normal walk of life we do infer someone else's feelings, and everytime the inference may not be strictly logical in its form. What is important is the process and it is inference here, i.e. in the context of artexperience. Thus imitation and inference are meant to be taken in their poetic context, in their so called loose sense. They may not and need not, stand the scrutiny of a hard-core logician. We may also observe that the position of 'abhivyakti' - suggestion is also similar, for it cannot be saved from the charges levelled against it by Bhatta Nayaka who goes to observe that a manifested thing - abhivyakta - has to be purva-siddha i.e. has to have a prior existence and rasaexperience cannot claim previous independent existence. Those who take rasa as abhivyakta do not accept it as purva-siddha like pot (ghata) in a dark room, which is manifested by light later. If we accept abhivyakti of rasa, then all difficulties enumerated by Bhatta Nayaka will follow. But then Abhinavagupta seems to hold that this 'abhivyakti' - manifestation of rasa is not to be absolutely equated with the abhivyakti / manifestation of the darsanikas / philosophers, for 'rasa' or aesthetic experience is not purva-siddha, i.e. it does not have a prior independent existence. It is only 'tatkalika' i.e. that which takes place only till the complex of determinants (vibhavas), consequents (anubhavas) and accessories (vyabhicarins) lasts. Rasa-experience is pari passu with vibhavadi - complex, i.e. it lasts only till this complex lasts - vibhavadijivitavadhih. The point is that if Abhinavagupta's abhivyakti which is not absolutely identical with abhivyakti of the darsanikas, can be acceptable in the field of art, and literature, what is wrong in accepting Sri - Sankuka's special anukiti - anumiti i.e.

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VUI. AIA, 1974-17 ILUVANDILIULI VA.. imitation - inference in artistic context? The point is - why not accept anumiti as imagined by sankuka and which hardly differs from vyanjana of the dlvanivadins ? Actually there is greater substance in what sankuka says and his unique anukyti - anumiti is not virtually different from abhivyakti' of the dhvanivadins. And perhaps, between the two the postulations, kavyanumiti involves a lesser amount of gaurava-dosa as compared to the vyanjana of the dhvanivadins. The point is that if you ask, "why inference ?", then our retort is, "why vyanjana?".

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VISVANATHA'S KAVYAPRAKASADARPANA (VII - X) & SAHITYADARPANA Jagruti S. Pandya Visvanatha the author of Sahityadarpana (S.D.) is a wellknown poetist. He also wrote a commentary called Kavyaprakasadarpana (K.P.D.) on the Kavayprakasa (K.P.) of Mammata, after completing the S.D. He has mentioned S.D. several times in this comm. for detailed discussion. Not only that, but many a time we get close resemblance with S.D. in it, from of sentences and half-sentences and also in form of ideas. Here an attempt is made to compare the two works critically. This attempt is limited to some portion only as already mentioned in the title. We have used the Ed. of K.P.D. published from Allahabad in 1979, edited by Dr. Goparaju Rama. But this new Ed. of K.P.D. has too many misprints. Visvanatha has quoted his S.D. by name at ten places in the comm. on the last four ullasas of the K.P. We have placed similar or parallel portions against one another to suggest their close resemblance. We should also mention that the names of both the works are also very significant. S.D. is a work concerned with criticism of literature as a whole with all its forms, while K.P.D. is only a comm. on the K.P. of Mammata. The word ' gut' which is common to both the titles indicates the faithful representation of its matter. The comparision between K.P.D. and S.D. could be noted as below: 1 K.P.D. ullasa VII - p.99 on K.P. VII.53-54 : ....yata va tu (yaduktaM) pAdAnte laghorapi gurutA uktA tatsarvatra dvitIyacaturtha pAdaviSayaM genairface gafa chiara da (Fachfra T 9)..... . Compare the vstti on S.D.VII.5-8, pp.402-3 : yatpAdAnte laghorapi gurubhAva uktastatsarvatra dvitIya caturthapAdaviSayam / prathamatRtIyapAdaviSayaM tu vsnttilkaaderev|

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Vol. XIX, 1994-1995 VISVANA THA'S... The correction (yaduktaM) in the K.P.D. seems improper. yatpAdAnte... of the S.D. offers a better reading. (vikasitasahakAro yatra) in the K.P.D. is also amusing. The remark in S.D. is clear. K.P.D. Ullasa - VII.p.100 on K.P. VII.53-54: ....bhArgavanindApravRttasya parazunindA ghaTata ityuktaM tadayuktama / parazunindAmukhena bhAkubabhArgavanindAyA adhikavaidagdhI bahA (tena sahRdayA eva) pramANam / Compare the vrtti on S.D.VII 5-8 p.406 : atra bhArgavanindAyAM prayuktasya mAtRkaNThacchedanasya parazunA saha saMbandho na yukta iti prAcyAH / parazunindAmukhena bhArgavanindAdhikyameva vaidagdhyaM dyotayatItyAdhunikAH / bhArgavanindApravRttasya & bhArgavanindAyAM prayuktasya differ only in words. S.D. has a clear expression. K.P.D. Ullasa VII. p. 101 on K. P. VII 53-54: iha ke'pyAhuH padazabdena vAcakameva prAyo nigadyate, na ca tatrAvacakatA nirvivAdAsvAtantryeNArthabodhavirahAditi yathA 'dvayaM gatamanatyAdau tvamityanantaraM cakArArthapadopAdAnAdakamataH tathAtrApIti .... / See the Vrtti on S.D. VII 5-8,p.411 : iha ke'pyAhuH padazabdena vAcakameva prAyo nigadyate, na ca nabo vocakatA nirvivAdAtsvAtantryeNArthabodhanavirahAt iti yathA, dvayaM gataityAdau tvamityanantaraM cakArAnupAdAnAdakramatA tthaatraapiiti...| Both the texts have close resemblance. K.P.D. text could be corrected with the help of S.D. tatrAvavAcakatA should read as najo vAcakatA & akramata: should read as akramatA, as in S.D. 4. K.P.D. ullasa VII.p.102 on K.P. VII - 55-57 : nanu vAcyasyAnabhidhAne kamaparAdhana (kathamavaniyate) ityAdAvaparabhAva, iha tvevakArasyeti ko'nyorbhedH| atrAha niyamasyAvacanameva pRthagbhUtaM niyamaparivRtteviSaya iti / tanu (nanu) tathA satyapi dvayoH

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26 5. JAGRUTI S. PANDYA SAMBODHI zabdAnudoSatayA (zabdArtha doSatayA) gamakAbhAvAta tatkA gatiriti cet / evaM ca zabdaparivRttisahatvAbhyAmeva pUrvodAhRto'pi zabdArthayordoSavibhAgaH evaM paryavasyati / yo doSaH zabdaparivRttisahaH sa zabdadoSa ev...| yA'rthapratItyanantaraM bodhyaH so'rthadoSa iti / evazcAniyamaparivRttAdAvapyadhikapadatvAderbhedo bodhdavyaH / amataparArddhatvetu rAmamamathazareNetyAdau niyamena vAkyavyAptitvAbhiprAyavAkyadoSatA agnInityAdau tu na niyamena vyApitvam / See the Vrtti on S.D. VII 9-12 p. 419 : nanu vAcyasyAnabhidhAne 'vyatikramalavaM' - ItyAdAvaperabhAvaH, iha caivakArasyeti ko'nayorbhedaH / atrAha - niyamasya vacanameva pRthagbhUtaM niyamaparivRtterviSayaH iti / tannaH / tathA satyapi dvayo zabdArthadoSatAyAM niyAmakAbhAvAt / ..... / evaM ca zabdaparivRttisahatvAsahatvAbhyAM pUrvairAdRto'pi zabdArthadoSavibhAga evaM paryavasyati yo doSaH zabdaparivRtiyasahaH sa zabdadoSa eva / yazca padArthAnvayapratItipUrvabodhyaH so'pi zabdadoSaH / yazvArthapratItyanantaraM bodhyaH so'rthAzraya iti / evaM cAniyamaparivRttitvAderapyadhikapadatvAderbhedo bodhdavyaH / amataparArthatve tu 'rAmamanmathazareNaM-' ityAdau niyamena vAkyavyApitvAbhiprAyAdvAkyadoSatA / azlIlatvAdau tu na niyamena vAkyavyApitvam / - aparabhAvaH &niyamasyAvacana. in K.P.D. are incorrect. They should read as aperabhAvaH & niyamasya vacana. respectively as in S.D. The corrections (nanu) & ( zabdArthadoSatayA ) in K. P. D. are also improper. They should be corrected as tatra & zabdArthadoSatAyAM respectively as in S.D. zabdaparivRtitisahatvA sahatvAbhyAM in S.D. is more preferable than zabdaparivRttisahatvAbhyAM in K.P.D. zabdaparivRttisaha in K.P.D. is also not proper. S.D. reads padArthAnvayapratIti. which seems better than padArtha pratIti in K.P.D. amataparAdhdaMtve tu should read as amataparArthatve tuM as in S.D. agnInityAdau in K.P.D. could be corrected as azlIlatvAdau with the help of S.D. K.P.D. ullasa VII p. 108 on K.P. VII - 60-62 : avikaththnaH kSamAvAnatigambhIro mahAsatvaH / svecchAnigUDhamAno dhIrodAtto dRDhastaH kathitaH // 0

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VISVANATHA'S... Vol. XIX, 1994-1995 Read S.D. III.32, p.97 : avikatthanaH kSamAvAnatigambhIro mahAsattaH / stheyAnnigaDhamAno dhIrodAtto draDhavrataH kathitaH / / avikaththanaH & mahAsatvaH in K.P.D. may be misprints. svecchAnigUDhamAno in K.P.D. should read as stheyAnigUDhamAno &dRDhastaH in K.P.D. should be corrected as an as in S.D. 6. __K.P.D. ullasa VII.p.108 on K.P.VII 60-62 : avikathyano nArthazlAghAkAraH / mahAsatvaH harSazokAdyanabhibhUtasvabhAvaH / nigaDhamAno'vinayamalamarda dRDhavrato'GkItAnirvAhakaH / Compare the Vrtti on S.D. III.32,p.97 : avikathanA nAtmazlAghAkaraH / mahAsatvo hrssshokaadynbhibhuutsvbhaavH| nigUDhamAno vinycchnngrvH| dRddhvrto'kRtaanirvaahkH| K.P.D. clearly referes to the S.D.III : 32 & the Vrtti also closely resembles with that in S.D. But the K.P.D. text carries many misprints which should be corrected. They are underlined by us. K.P.D. Ullasa - VII. p.108 on K.P.VII.60-62 : mAyAparaH pracaNDazcapalo'haMkArabhUyiSTaH AtmazlAghAnirato dhIyo (dhIroddhataH) kathitaH / Read S.D. III.33,p.98 mAyAparaH pracaNDazcapalo'haMkArabhUyiSTaH / AtmazlAghAnirato dhIrai (roddhataH kathitaH / / S.D. reads darpa before bhayiSThaH . dhIyo in K.P.D. should be dhIraiH as in S.D. 8. K.P.D. Ullasa - VII.p..109 on K.P.VII-60-62 :

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SAMBODHI JAGRUTI S. PANDYA nizcintomRdhdavali (mRduranizaM) kalAparo dhIralalitaH syAt / sAmAnyaguNairbhUyAn dvijAdiko dhIrazAntaH syAta / / Read S.D. III. 34, p.94 : nizcintomRdhdavali (mRduranizaM) kalAparo dhIralalitaH syAt / sAmAnyaguNairbhUyAn dvijAdiko dhIrazAntaH syAt // K.P.D. Ullasa-VII. p.109 on K.P.VII 60-62 : ...upaniSadrahasyaM te samanantaroktA rasadoSAH kvacidyatra vibhAvAnubhAvamukhena vacane vaishdyprtiitirnaasti| yatra vibhAvAnubhAvakRtapuSTirAhityamevArthaguNam / Compare the Vrtti on S.D. VII- 29 p.442 : yatrAnubhAvavibhAvamukhena pratipAdane vizadapratIti sti, yatra ca vibhAvAnubhAvakRtapuSTirAhityamevAnuguNaM tatra vyabhicAriNaH svazabdenoktau na dossH| S.D. has a better exppression than K.P.D. 10. K.P.D. Ullasa VII.p.109 on K.P.VII 60-62 : antaH autsukyatvarArUpAnubhAvamukhena...jhaTiti pratItiH / durApAbhayAdinApi (1) sambhavAt / kriyo (hiyo)-'nubhAvasya ca vyAvartanasya kopAdinApi saMbhavaH / sAdhvasasAhasayostu stutibhAvAdiparipoSasya prakRtirasapratikUlaprAyatvamityeSAM (gatama) / Compare the Vrtti on S.D. VII.29, p.442 : atrautsukyasya tvarArUpAnubhAvamukhena pratipAdane saMgame na jhaTiti pratItiH / tvarAyA bhayAdinApi saMbhavAt / hiyo'nubhAvasya ca vyavArtamAnasya kopAdinApi saMbhavAta / sAdhvasahAsayostu vibhAvAdiparipozasya prakRtarasapratikUlaprAyatvAdityeSAM svazabdAbhidhAnameva nyATyam / K.P.D. text has so many misprints in it which could be corrected with the help of S.D. as underlined by us. 11. K.P.D. Ullasa - VII.p.110 on K.P. VII.63:

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Vol. XIX, 1994-1995 VISVANA THA'S... 29 atra viruddhaprasaMgAnAM vitarkameti zaMkAdhatInA sAMgaivautsukA smRtidainyacintAbhistiraskAraH paryante cintA pradhAnamAsvAprakarSam / AdhiH bhAvayati ...... / Compare the Vrtti on S.D.VII. 30 p. 442. atra prazamADagAnAM vitarkamatizaDakAdhRtInAmabhilASAgautsukyasmRtidainyacintAbhistiraskAraH paryante cintApradhAnamAsvAdaparakarSamAvirbhAvayati / S.D. suggests better reading in 'prazamAGgAnAM' vitarkaneti..... sAMgevautsukA in K.P.D. should read as vitarkamatizaDakAdhatInAmabhilASAgautsukya. as in S.D. Adhi: bhAvayati in K.P.D. is also amusing, while AvirbhAvayati in S.D. seems convencing. Thus the fullstop after god in K.P.D. is useless and a new paragraph at his junture has no meaning. 12. K.P.D. Ullasa VII. p. 110 on K.P. VII. 64 : iha hi rasAnAM virodhitA, avirodhitA ca tridhA vyavasthA - kayozcidAnantaryeNa kayozcidAzrayaikyena kayozciaurantaryeNeti / See the Vrtti on S.D. VIII. 30, p.477 : iha khalu rasAnAM virodhitAyA avirodhitAyAzva tridhA vyavasthA / kayo zvidAlambanaikyena, kayozcidAzrayai kyena kayozvinanairantaryeNeti / virodhitA & avirodhitA in K.P.D. should read as Alambanaikyena following S.D. 13. K.P.D. Ullasa - VII. P.110 on K.P. VII.64 : tatra vIrazaGagArayorAlambanai kyena virodhaH, tathA hAsyaraudra bIbhatsAH saMbhogazca, vIrakaruNaraudrAdibhivipralaMbhasya Anasvanaikyena (Azrayaikyena) vIrazRGagArayoH / nairantaryavibhAvaikyAbhyAM zAntazagArayoH tridhApyavirodho vIrasyAdbhutaraudrAbhyAM, zRGgArasyAdbhutena, bhayAnakasya bIbhatse neti vyavasthite ekAzrayaviruddhayobhinnAzrayatvenaiva nairantaryavirodhinozva sAntarAntavitatvena nibandhena virodha ityarthaM / Compare the Vrtti on S.D. VII.30P.447:

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JAGRUTI S. PANDYA SAMBODHI tatra vIrazRGagArayo rAlamvanai kyena virodhaH tathA hAsyarau dra bIbhatsaH saMbhogasya / viirkrunnraudraadibhiviprlmbhsy| (Alamvanai kye) Azrayai kyena ca vIrabhayAnakayo : / nairantaryavibhAvaikyAbhAyAM zAntazagArayoH / vidhApyavirodho vIrasyAdbhutaraudrAbhyAm / shRnggaarsyaadbhten| bhayAnakasya bIbhatsaneti / tenAtra vIrazRGgArayobhinnAlambanatvAnna virodhaH / The readings hAsyaraudrabIbhasAH & saMbhogazca in K.P.D. should be corrected as hAsyaraudrabIbhatsai & saMbhogasya respectively with the help of S.D. Anasvanaikyena ..... zRGgArayoH in K.D.P. is incorrect. S.D. presents correct reading as follows : Alambanaikyena Azrayaikyena ca vIrabhayAnakayoH / ekAzraya. ....... etc. in K.P.D. is not proper. nibandhena virodha is obviously incorrect. It should be corrected as nibandhe na fant et: It may be a misprint. The text in S.D. is very clear. 14. K.P.D. Ullasa-VII. p. 110 on K.P. VII 64 : kAle jAnavhayaH kavika rabhadantakSaNi ... Sismarasma rasmA bharapulasaM bahuH pazya na guNThanarajacarasenAkalakalaM jarAjuragranthi draDhayati rajjunAM parivRDhaH / See the Vratti on S.D. VII 30-31, p.446 : kapole jAnakyAH karikalabhadantadyutimuSi / smarasmerasphAroDumarapulakaM vakrakamalam / muhuH pazyaddhazRNvanajanicarasenAkalakalaM / jaTAjUcagraMnthi draDhayati raghUNAM parivRDhaH / / The text in K.P.D. is not clear. It is read as a stanza - kapole .... etc. in S. D. 15. K.P.D. Ullasa VII p. 111 on K.P.VII .65 : atrAlambanavidena (vibhAvena) tatraiva rasArthatayA smaryamANAnAM tadaGgAnAM zokoddIpakatayA karuNAnukUlatayA tadaGgateti bhAvaH / See the vrtti on S. D. VII. 30-31, p. 443 :

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Vol. XIX, 1994-1995 VISVANA THA'S... atrAlambanavicchede raterarasAtmatayA smaryamANAnAM tadaGgAnAM zokoddIpakatayA karuNAnukUlatA / The correction - (vibhAvena) as in K.D.P. is not required, but it should be corrected with the help of S.D. or it can read : atrAlambanavi(cche) dena........ etc. 16. K.P.D. Ullasa - VIII.p.111 on K.P. VII.65: ....prAkapratipAditarupasya samUhAlaMbanAtmakapUrNaghaTAnaMdasvarUpasya rasAntareNa tathAbhUtena na virodho nApyaGgAGgibhAvaH, ekavAkyanivezaprAdurbhAvayogapadyavirahAt parasparopamardakatvAnupapatteH / dvayorapi pUrNatvena...taMdra (?) vizrAmag2ahityAbhAvAditi bhAvaH / Comparethe Vrtti on S.D. VII.30-31, pp.445-46 : nanu samUhAlambanAtmakapUrNaghanAnandarupasya rasasya tAddazenetararasena kathaM virodhaH saMbhAvanIyaH / ekavAkye nivezaprAdurbhAvailgapadyaviraheNa parasparopamardakatvAnupapatteH / nApyaGgAGgibhAvaH dvayorapi pUrNatayA svAtantreNa vizrAnte / . ghaTAnaMda.... in K.P.D. should read as ghanAnada.... as in S.D. nApyAGgibhAvaH in K.P.D. should be properly placed before dvayorapi as in S.D., and then we should read - dvayorapi pUrNatayA svAtantrye Na vizrAnte -as in S.D. 17. K.P.D. Ullasa VII. p.112 on K.P. VII.65: ....caNDidAsapaMDitAnAM mate tu khaNDarasanAmnA yadAhuH - aMgaM saMsayatyaGga syAt (?) sAMtave / nAsvAdyate samagraM yattaH khaNDarasaH smRta // iti / See the Vrtti on S.D. VII.30-31, p.446: asmatpitAmahAnujakavipaNDitamukhyazrIcaNDidAsapAdAnAM tu khaNDarasanAmnA / yadAhu : - 'aga bAdhyo'tha saMsargI yadya'gI syAdrasAntare / nAsvAdyate samagraM tattataH khaNDarasaH smRtaH / / ' iti / The quotation is found in both the texts but S.D. has a clearer expression than that in K.D.P., which contains mistakes as indicated by us. 18. K.P.D. Ullasa - VIII-p.113 on K.P. VIII.66:

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32 19. 20. JAGRUTI S. PANDYA yathA khalu zauryAdayaH puruSotkarSahetavo guNA ucyante tathA mAdhuryAdayo'pi susamarpakapadasandarbhasya kAvyavyapa- dezaupayikotkarSAnuguNA bhAja ityarthaH / SAMBODHI See the Vitti on S.D. VIII-1, p.449: yathA khalvaGgitvamAptasyAtmana utkarSa hetutvAcchIryAdayo guNazabdavAyA, tathA kAvye'GgitvamAptasya rasasya dharu varupavizeSA mAdhuryAdayo'pi svasamarpakapadasaMdarbhasya kAvyapadezasyaupayikAnuguNyabhAja ityarthaH / There is a similar idea in both the texts but the text in K.P.D. is less clear, with certain mistakes as underlined by us. K.P.D. Ullasa VIII. p. 116 on K.P. VIII. 68 : cittadravI bhAvamayohlAdo mAdhuryatva (mucyate) ta iti / See S.D. VIII 2 A, p.450: cittadravIbhAvamayo halAdo mAdhuryamucyate / The S.D. is mentioned clearly by name in the K.P.D. K.P.D. Ullasa VIII p. 116 on K.P. VIII. 68 : galitatvaJca svabhAvikAlAviSTatvArthakakAThinya (?) sanyukrodhAdikRtadIptatvavismayahAsAtyapahita vizeSaparityAgena ratyAkArAnandodbodhena sahRdayacittasthAdaprAyatvam / Compare the Vrtti on S.D, VIII. 2, pp.451-52: dravIbhAvazca svAbhAvikAnAviSTatvAtmakakAThinyamanyukrodhAdikRtadIptatvavismayahAsAdyupahitavikSepaparityAgena ratyAdyAkArAnuviddhAnandodbodhena sahRdayacittaprAyatvaMm / The text in K.P.D. has resemblance to that of S.D. but the former should be corrected with the help of the latter. svabhAvikA... kAThinya in K. P. D. should be corrected as svAbhAvikA kAThinya..... as in S.D.

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Vol. XIX, 1994-1995 21. 22. VISVANATHA'S .... sanyu for manyu in K.P.D. text may be a misprint. 23. hAsAtyapahita... in K.P.D. is also wrong. It should be hAsAdhupahita vas in S.D. K.P.D. Ullasa VIII. p. 116 on K.P. VIII. 68 vikSeSaparityAgena is a better reading in S.D. than vizeSaparityAgena in K.P.D. cittasthAda prAyatvam in K. P. D. may be a misprint. It should bead as cittasyAI prAyatvam / ojazcittasya vistArarUpaM dIptatvamucyate / See S. D. VIII. 4.13, p. 454 33 *** See the Vrtti on S.D. VIII 9-10, p.457: ojasi bhaktyA ojaH padavAcye zabda (artha) - dharmavizeSe / ojazcittasya vistArarUpaM dIptatvamucyate / S.D. is mentioned clearly by name in K.P.D. K.P.D. Ullasa VIII. p. 117 on K. P. VIII. 72 : zleSAdInAM caturNAM prAcInotaguNAnAmasmadukte... jasi bhaktayA jaH (?) padavAcye padArthavizeSe'ntarbhAva iti saMbandhaH / The text in K.P.D. is corrupt and it should be corrected with the help of S.D. K.P.D. Ullasa VIII p.117 on K. P. VIII. 72 : ArohaH utkarSaH avarohaH apakarSaH teSAM kramo vairasyAnAvahI vinyAsaH, vikaTatvaM padAnAM nRtyaprAyatvaM / J See the Vrtti on S.D. VIII.9-10, p.458: Aroha utkarSaH, avaroho'pakarSaH tayoH kramo vairasyatAnAvahI vinyAsaH .... vikaTatvaM padAnAM nRtyatprAyatvam /

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34 24. 25. 26. JAGRUTI S. PANDYA SAMBODHI Both the texts have close resemblance with each-other in words and in ideas also. Minor corrections can be made in the K.P.D. text with the help of S.D. K.P.D. Ullasa VIII p.117 on K.P.VIII - 72 : artha bandhakaTyAtmakatvAdoja eva samAdhiryathA / See the Vrtti on S.D.VIII 9-10, p.458: ayaM bandhavaikaTyatmakatvAdoja eva samAdhirArohAvaro hakramaH / artha in K.P.D. is an obvisious misprint. It should be ayaM as in S.D. The fullstop should be placed after in K.P.D. text. K.P.D. Ullasa VIII. p. 117 on K.P. VIII. 72 : caJcadabhujetyAdi / atra pAdatrayakrameNa bandhasya gADhatA caturthapAde tu yadyapi apakarma (apakramaH) tathApi tIvraprayatroccAryatayA ojasvitA / , See the Vrtti on S.D. VIII 9-10, p.458: yathA 'caJcadbhuja-' ityAdi / atra pAdatraye krameNa bandhasya gADhatA / caturthapAde tvapakarSaH / tasyApi ca tIvraprayatnoccAryatayA ojasvitA / mAdatrayakrameNa in K.P.D. is improper. It should be pAdatraye krameNa as in S.D. The editor has corrected apakrama: for apakarmaH in K.P.D. but apakarSa in S.D. is a better reading than that of K.P.D. tIvraprayatro in K.P.D. is a misprint. It should be tIvraprayatno as in S.D. K.P.D. Ullasa Vill p.117 on K.P. VIII. 72 svacaraNaviniviSTairnRMpurairnartakInAM jhaTiti raNitamAsIttatracitraM kalaM ca atra (ca) tanmatAnusAreNa rasAnusaMdhAnamantareNaiva zabdaprIDimAtre maujaH //

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Vol. XIX, 1994-1995 VISVANATHA's... See the Vrtti on S.D. VIII 9-10, p.459: 'sucaraNaviniviSTairnUpurairnartakInAM jhaNiti raNitamAsIttatra citraM kalaM ca / atra ca tanmatAnusAreNa rasAnusaMdhAnamantareNaiva shbdprauddhoktimaatrennaujH| Both the texts have similarity but K.P.D. has svacaraNa... while S.D. has sucaraNa... and K.P.D. has jhaTiti while S.D. has jhaNiti. zabdaprauDhimAtremaujaH in K.P.D. should The rest is identical, excepting that read as zabdhaprauDhoktimAtreNaujaH as in S.D. 27. __K.P.D. Ullasa VIII p. 119 on K.P. VIII. 72 : kramaH kriyAsantatiH, kauTilyaM vidagdhaceSTitaM, anulbaNatvamaprasidhdavarNanAvirahaH, uppttiruppaadkyuktinyaasH| eSAM yogaH saMmelanaM sa evaM rupaM yasyAH ghaTanAyAH tadrU po vicitrArthatvamAtraM ananyasAdhAraNarasopakAritvAtizayavirahAnuguNa iti bhAvaH / See the Vrtti on S.D. VIII 16, p.463 : tatra kramaH kriyAsaMtatiH, vidagdhaceSTitaM kauTilyam, aprasidhdavarNa nAviraho'nubaNatvam, upapAdakayuktivinyAsa upapatti, eSAM yogaH saMmelanaM sa eva rUpaM yasyA dhayanAyAstadrUpaH zleSo vaicitryamAtram / ananyasAdhAraNarasopakAritvAtizayavirahAditi bhAvaH / Both the texts are almost identical but the word wat after 29: is missing in K.P.D. and the K.P.D. text has virahAnuguNa for virahAt of S.D. evaM for eva in K.P.D. is an obivous misprint. 28. ___K.P.D. Ullasa VIII p.119 on K.P. VIII 72 : atra darzanAdayaH kiyA upapatyasamarthanarUpaM kauTilyaM lokasaMvyavahArarupamanulbaNatvam / ekAsanasaMsthite pazcAdupetya nayane nimIlya ISadvakritakaM dhara iti copapAdakAni / eSAM yogaH / anena ca vAkyopayattigrahaNavyagratayA rasAsvAdanaM vyavahitaprAya ityasyAnuguNatA / See the Vrtti on S.D. VIII.16, pp.463-64 : atra darzanAdayaH kriyAH, ubhayasamarthanarUpaM kauTilyam, lokasaMvyavahArarupamanulbaNatvama,

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JAGRUTI S. PANDYA SAMBODHI 'ekAsanasaMsthite' 'pazcAdupetya' 'nayane pidhAya' 'ISadvakritakaMdhara' iti copapAdakAni, eSAM yogH| anena ca vAcyopapattigrahaNavyagratayA rasAsvAdo vyavahitaprAya ityasyAguNatA / kiyA in K.P.D. seems to be a misprint. It should be kriyAH as in S.D. upapatyasamarthanarUpaM in K.P.D. should be corrected as ubhayasamarthanarUpaM with the help of S.D. vAkyo. in K.P.D. should read vAcyo. as in S.D. ityasyAnuguNatA in K.P.D. is also not proper. It should be ityasyAguNatA as in S.D. Besides this, both the texts resemble closely. 29. K.P.D. Ullasa VIII. p.120, on K.P.VIII.72 : ayonirathA yathA "sadyA muNDitamattahUNacchakapraspadhdinArAkam / "evaM bhUtasyArthasyakavinAnvayamevodabhAvitatvAdayonitvam / anyacchayAyoniryathA " nijanayanapratibimbairambuni bahuzaH prabhAvitA (pratAritA ityapi pAThaH) kApi nIlotpalo'pi vizati ka ramapayitu ku mnamanArI (kusumalAvI) / See the Vrtti on S.D. VIII.16, p.464 : tatrAyonirartho yathA - 'sadyo muNDitamattahUNacibukapraspadhi nAraGagakam // ' anyacchAyAyo niryathA - 'nijanayanapratibimbairambani bahuzaH pratAritA kApi / nIlotpale'pi vimuzati karamarpayituM kusumalAvI // ' cubuka in K.P.D.should read as cibuka and nIlotpalo'pi in K.P.D. should read as nIlotpale'pi in S.D. 30. K.P.D. Ullasa IX p.123 on K.P. IX 79 : uccAryatvAmudekatrasthAne vAnuvadAdike / sAdrazyaM vyaJjanasyaitat zrutyanuprAsa ucyate // iti / / (uccAryatvAdyadekatra sthAne tAluradAdike / sAddazyaM vyajjanasyaiva zrUtyanuprAsa ucyate // ) See S.D. X 5, p.476.

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Vol. XIX, 1994-1995 31. 32. VISVANATHA'S... uccAryatvAdyadaikatra sthAne tAluradAdike / sAddazyaM vyaJjanasyaiva zrutyanuprAsa ucyate // devaka in K.P.D. may be a misprint. The S.D. is mentioned in the K. P. D. text, clearly by name. S.D. X 10, p. 484 reads as : K. P. D. Ullasa IX p. 132 on K. P. IX. 84 : ....tathAvidhodAharaNe zabdarekavidhaireva bhASAsvavidyAsvapi (?) vAkyaM yatra bhavetso'yaM bhASAsama itISyatIti bhitro'laGakAraH uktaH / S.D. 37 zabdarekavidhaireva bhASAsu vividhAsvapi / vAkyaM yatra bhavetso'yaM bhASAsama itISyate // It is a quotaion from S.D. bhASAsvavidyAsvapi in K.P.D. should be corrected as bhASAsu vividhAs as in K.P.D. Ullasa IX. p. 132 on K.P. P.IX.84: asya ca (atra ca ) svarantatiGantatvena pratyayAntarasAdhya camatkAravizeSAdhAnAt pratyayazleSegaganA (gnnnaa)| Read the Vetti on S.D. X.12, p. 487 : asya ca bhedasya pratyayazleSeNApi gatArthatve pratyayAntarAsAdhyasubantatiGantagatatve na vicchittivizeSA zravaNAtpRthagukti / The text in K.P.D. is not clear. The correction ( atra ca ) for asya ca in K. P. D. has no meaning. svaranta in K.P.D. is obviously incorrect. It should be subanta as in S.D. pratyayAntarasAdhya. in K. P. D. should read as pratyayAntarAsAdhya as in S.D.

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SAMBODHI JAGRUTI S. PANDYA K.P.D. Ullasa IX p. 133 on K.P. IX.85 : 33. atra zleSasAmyanirvAhakatA na tu sAmyarasa tannirvAhakatedhupamAyA evAGgitvena vyapadezo bhavituM yuktH| pradhAnena vyapadezA bhavantItyuktanayAt / Compare the Vrtti on S.D. X-12, p.496 : atra zveSasyaiva sAmyanirvAhakatA, na tuM sAmyasya zleSanirvAhakatA / zleSabandhataH prathama, sAmyasyAsaMbhavAt / ityupamAyA evAGgitvena vyapadezo jyAyAn 'pradhAnena hi vyapadezA bhavanti' iti nyAyAt / The S.D. has a clearer expression, tedhupamAyA in K.P.D. is a misprint and it should read as 0 tetyupamAyA . 34. K.P.D. Ullasa - IX p. 134 on K.P. IX - 85 : na ca tatra tulyayogitA tasyAM dvayorarthayorvAcyatvaniyamAbhAvAditi vijJeyam mama sAhityadarpaNAt / See the Vstti on S.D. X.12, p. 494 : na cAtra tulyayogitA, tasyAzca dvayorapyarthayorvAcyatvaniyamAbhAvAt / S.D. is mentioned here clearly by name. 35. K.P.D. Ullasa IX - p.138 on K.P. IX-86 : bhujaMgakuNDalIvyakta zazIzubhrAMzuzItagaH / jagantyapi sadApAya devyAccheto (?) hara: shirH|| ityatra bhujaMgakuNDalItyatra prathamasyaiva parivRttisahatvaM hara: ziraH iti dvitIyasya, zazizuMbhrAMzvityatra dvayorapi atisAdanatyAga ityatra dvayorapiti zuddhadvayaparivRttisahatvAsahatvAbhyAmasyo bhyaalNkaartvmuktm| See the Vrtti on S.D. X.2, p.473 : bhujaGagakuNDalI vyaktazazizubhrAzuzItaguH / jagantyapi sadApAyAdavyAccetoharaH zivaH / / atra....' bhujaGagakuNDalI ' iti zabdayoH prathamasyaiva parivRttisahatvam / 'hara: zivaH' dvitIyasyaiva /

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Vol. XIX, 1994-1995 VISVANA THA'S... 'zazizubhrAMzu' iti dvayorapi / 'bhAti sadAnatyAgaH' iti na dvayorapi / iti zabdaparivRttisahatvAsahatvAbhyAmasyobhayAlaMkAratvam / The K.P.D. has clearly mentioned S.D. by name but K.P.D. text is full of mistakes as underlined by us. They should each be corrected with the help of S.D., quoted as above. 36. K.P.D. Ullasa x. p. 142 on K.P. X.89 : iha hi samuditaM padaM vAcakatvaM (vAcakaM) imanamanAdya (iti matamanUdya) prakRtipratyayau sukhAnubodhakAditi (sukhAnubodhakAviti) matasyaivAGgIkAreNa vyavahAraH prAcyAtyaM (pratyAyyaH) anyathA vatkalpabivAdeH prasaGagaH syAt na ca vAdyAdaya (kyacAdayaH) ivAdyarthe 'nuziSyante / kyacAdayastvAMcArArthe tathAhi, ete nAcAramAtrArthAH kintu sadrazAcArArthAH / This may be compared with the Vrtti on S.D. X.19, pp.511-12 : vAcakatve vA 'samuditaM padaM vAcakam' 'prakRtipratyayau svasvArthabodhakau' iti ca matadvaye'pi vtyaadikyngaadyo:| sAmyame veti / yacca ke cidAhuH -'vatyAdaya ivAdyarthe 'nuziSyante, kyaDAdayastvAcArAdyarthe ' iti / tadapi na / na khalu kyaDAdaya AcAramAtrArthAH, api tu sAdrazyAcArArthA iti / 37. K.P.D. Ullasax.p. 144 on K.P. X. 92 : atra ca nizcayagarbhe saMzaye mArtaNDaprabhAvanizcayaH, rAjanizcaye dvitIyasaMzayotthAnAsambhavAt / Compare the Vrtti on S.D. X.35-36, p.531 : atra madhye mArtaNDAdyabhAvanizcayo rAjanizcaye dvitIyasaMzayotthAnAsaMbhavAt / K.P.D. has mArtaNDaprabhAvanizcayaH while S.D. has mArtaNDAdyabhAvanizcayaH, which is better. 38. K.P.D. Ullasa X., p.150, on K.P. X .108 sa eka ityAdau tanuharaNe'pi balAharaNAni nimittaM nirUpyamANamapi (balaharaNaM tanuharaNe nimittam) tvarvijJAna (?) mityacintyam / See the Vrtti on S.D.X.67, p.590 :

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40 SAMBODHI JAGRUTI S. PANDYA atra tanuharaNenApi balAharaNe nimittamacintyam / S.D.has a shorter and much clear expression. 39. K.P.D. Ullasax.p.155 on K.P. X.117: anumAnaM tu vicchityA jJAna sAdhyasAdhanediti sAdhanasya prathamanirdezaH / See S.D. X.63 A, p.585 : anumAnaM tu vicchittyA jJAnaM sAdhyasya sAdhanAt / S.D. is clearly mentioned by name. The K.P.D. text presents curruptions which should be corrected in the light of the S.D. text as above. 40. K.P.D. Ullasax.p.160 on K.P.X.134: .....milite utkRSTaguNe nikRSTaguNasya virodhAlaDakAraH / iha bhUtayoralpaguNatayA bhedaagrhH| See the Vrtti on S.D. X. 89, p. 611. ....milite utkRSTaguNe nikRSTaguNasya tirodhAnam / iha bhUtayastulyaguNatayA bhedaagrhH| The text in K.P.D. is improper. The word ' FORT ETT SATT:' has no meaning. It should be corrected as FART ETT with the help of S.D. bhUtayoralpaguNatayA in K.P.D. is also incorrect. It should be tUbhayostulyaguNatayA as in S.D. 41. K.P.D. Ullasax p.165 on K.P. X. 141 : atra kSaNayoH sAmyAt chaMdakAnuprAsaH (chekAnuprAsaH) / nirIkSetetyadrakSakAramAdAha (?) vRtyanuprAsaH / Compare the Vrtti on S.D. X. 98, p.631 : atra kaTAkSeNApISatkSaNamapItyatra cchekAnuprAsasya nirIkSetetyatra kSakAramAdAya vRttyanuprAsasya caikaashrye'nuprveshH| The text in K.P.D. is not clear. It should be corrected with the help of S.D.

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Vol. XIX, 1994-1995 VISVANATHA'S... 41 S.D. is clearly mentioned by name in K.P.D. at seven places, where we get quotations from S.D., while at three places we have quotations from S.D. without any clear mentioning. 1. K.P.D. Ullasa IX 2. TUKANG GAWNT 5. 6. 7. 8. Over and above this, S.D. is mentioned in name at three places, from which one is cited in our discussion. The other two places, which are left out by us are as under : 9. 10. 11. - p. 133 on K.P. IX. 85 K.P.D. Ullasa IX - p. 134 on K.P. IX. 85 It may also be noted that at times the K.P.D. quotes particular illustrations fully, which are also read in the S.D. They are as under : .... ....K.P.D. VIII p.117 :... K.P.D. VIII p.117 ....K.P.D. VIII p.117 ....K.P.D. VIII p.118 erface...K.P.D. VIII p.119 daSTavaikAsanasaMsthite K.P.D. VIII p. 119 af... K.P.D. X. P.148 S.D. X p.550. kaTAkSeNApI K.P.D. X. p. 165 S.D. X. p.631. .... K.P.D. X. p.144 S.D. X. p. 564. kA visamA K.P.D. X p.157 S.D. X p.604. .... K.P.D. X p. 165 S.D. X. p. 632. S.D. VIII pp. 457-58. S.D. VI p. 311. S.D. III p.136. S.D. III p.110. S.D. X pp.615-16. S.D. IIIp.115 & VIII p.463. Thus in this second article, which follows our first one read at the 32nd session, A.I.O.C., at Ahmedabad, we have tried to point out the parallasisms between the K.P.D. and the S.D. We can not help suggesting that the Allahabad edition of the K.P.D. has left out much to be desired and a Critical Edition of the K.P.D. has to be attempted afresh. Our comparision of both the texts has shown that it can be helpful in editing the K.P.D. and fill up the gaps which the learned editor has left out. Published in "Sambodhi", Vol.12 April'83 and Jan.'84 a research. journal of L.D. Institute of Indology, Ahmedabad.

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JAGRUTI S. PANDYA SAMBODHI Reference Works : Kavyaprakasadarpana (K.P.D.) of Visvanatha Edited by Dr. Goparaju Rama Published by Manju Prakashan, Allahabad, 1979, First Edition. Sahityadarpana (S.D.) of Visvanatha Edited by Durgaprasad Dwivedi Published by Meharchand Lachhamandas, New Delhi, 1982. Kavyaprakasa (K.P.) of Mammata Edited & Published by Bhandarkar Oriental Research Institute, Poona, 1983, Eighth Edition.

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ON MIA. LAGG - USED AS A 'VECTOR' VERB H.C. Bhayani As compared to the description and discussion of lag - and other verbs used as the second verb (variously called 'operator', 'explicator', 'vector'l) in NIA compound verbs, we have meagre information about their early history. I have noted below some occurrences of Pk. lagg-, from some early texts in Prakrit, Apabhramsa and Sanskrit?. Lagg. lag- used as the second verb with the imperfective personal forms of the first verb. (1) Bahave bhada-bhoiya lagga benti ya. (Vasudevahimdi-Madhyama-khanda, p.138, 1-13 Date : C. 8th Cent. A.C.) 'And many, soldiers and headmen began to speak'. . (2) Nasami laggi (Pauinacariya, 69, 18, 4: 9th Cent. A.C.) (3) 'I began to flee'. (3) Arahai laggai (Paumacariya, 71,12,7) (Rivana) has began to wroship'. (4) Avai laggau (Paumacariya, 73,8,9)'has started to come'. (4a) Samappai laggau (Ritthanemi Cariya, 17, 3, 10, 9th Cent. A.C.) 'has begun to be finished. (5) Olaemi laggo (Kathakosa -prakarana p. 122, 11. 13 -14, 1052 11 started serving'. Amhana usuram vattai, tumani puna klajjasi lagga devena (Mulasuddhi - tika) p. 80. 1090 A.C.)

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H.C. BHAYANI SAMBODHI 'We are getting late, but you are being devoured by the desire of worshipping) the god'. (7) Kiyadbhirapi vasarairahamagacchami lagnah (Srngaramanjari-katha, p.30, 10th Cent. A.C.) 'Within just a few days I will be coming and reaching here'. (8) Vastudvayam nasyati lagnani (Srngaramanjari-katha, p.64) 'Both the things began to disappear'. (9) Nityati lagna (Songaramanjari-katha, p.69) 'She began to dance'. (10) Agacchati lagnah (Kathakosa, 6.8; 11th Cent. A.C.)' 'He started coming'. (11) Agacchami lagnah (Kathakosa, 55, 17) 'I started coming'. (12) Marayasi lagnah (Kathakosa, 16, 20) 'you began to strike!.. (13) Marayami lagnah (Kathakosa, 39, 3; 53, 9) 'I began to strike'. (14) Maryase lagnah (Kathakosa, 81, 7) 'You began to be struck'. (15) Mucyate lagnah (Kathakosa, 19, 14) 'began to be released'. (16) Nigrhvate Nigrhyate lagnah (Kathakosa, 87, 13) "He began to be restrained'. Yati lagnah (Katliakosa, 113, 1) 'It began to go'.

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Vol. XIX, 1994-1995 ON MIA. LAGG... (18) Svapimi lagnah (Pancakhyanaka, 122, 18. 1199 A.C.) 'I began to sleep'. (19) Yojayati lagnah (Pancakhyanaka, 268, 10) 'He began to join'. (20) Anavisti sampadyate lagnah (Pancakhyanaka) 'Drought began to take place'. Lagg-/ lag- used as the second verb with the infinitive of purpose of the first verb. (1) Padahu laggu (Paumacariya, 74, 14,5) 'Began to fall. Paricinitahu laggu (Paumacariya, 88, 6, 2) 'Began to reflect'. Bollanahu laggu (Paum acariya, 89, 12, 9) 'Began to speak. Dhahavanahi laggu (Paumacariya, 69, 19, 8) Began to cry for help'. (5) Olaggahu lagga (Kahakosa, 3, 18, 8, 1070 A.C.) '(They) began serving'. Numerous instances from the Mixed Sanskrit of the Jain Prabandhas (14th-15th Cent. A.C.) Lag- used with kr-, gam-, da-, nas'- path-, pa-, bhaks-, vand-, vikri-, vyay-, rajnah sirasi lagitum lagnah' began to stick to the king's head' is interesting in that therein lag- is used in the primary and secondary sense side by side. Several points are to be noted about the above-cited instances. Both the constructions are attested up to the 12th Century. Not only that, both of them appear in one and the same text (e.g. in the Apabhramsa epic poem

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46 5 H.C. BHAYANI SAMBODHI Paumacariya). Later on only the second construction survives, and it continues in NIA. languages". The Sanskrit instances are Prakritisms (or collaquialisms). The first construction in which the second verb is used with the imperfect personal forms of the first verb is particularly significant in that it provides us with an early example of two similar controuction-types in NIA. The Hindi future forms in ga, (karuga, karega, karege etc.) derive from a combination of imperfect personal forms and ga Sk. gatah, Pk. gao 'gone'. The semantic change however has not been satisfactorily explained so far. Secondly the Gujarati Finite Present, formed with an auxiliary, stands apart in that the main verb and the auxiliary both have the personal endings, as against many other NIA. languages which use the imperfective (Present) participle of the main verb in this construction. The following three similar instances of a construction are to be noted for Apabhramsa from Svayambhu's Pamacariya (9th Cent. A.C.): iha mikkan karai asi pavanu (78, 8,9) 'Here the wind god was sweeping refuse". jai jami asi paricatta bhaya (18, 6, 1) 'If I was going without any fear'. acchin jo jharamtu eiru (61, 3, 9) 'who was since long feeling dejected'. REFERENCE WORKS A. N. Upadhye On the postposition lagna in some Jain texts' JOIB, 24, 1-2, 1974. the data is also given in his edition of Prahtacandras Kathakosa, Introduction, pp. 22-23. Bhoja. Srigaramanjari-katha- Edited by Kalpalata Munshi, Bombay -1959. H.C. Bhayani. Gujarati Bhasa-na Itihas-ni Ketlik Samasyao, Ahmedabad 1976. H.C. Bhayani. Gujarata Bhasa-nu Aitihasik Vyakaran., Ahmedabad - 1988. Devacandrasuri. Mulasuddhi-tika - Edited by Amrutlal Bhojak, Ahmedabad - 1961. Jinesvara-suri. Kathakosaprakarana. Edited by Jinavijay Muni. Bombay - 1949.

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Vol. XIX, 1994-1995 ON MIA. LAGG .... Colin P. Masica. 'the Indo-Aryan Languages. Cambridge, 1991. Purnabhadra, Panicakliyanaka. Prabhacandra-suri. Kathakosa, Edited by A.N. Upadhye. Svayambhu. Paumacariya. Edited by H.C. Bhayani, Part - 1, 2, 3, Bombay 1953 - 1955. R.N. Vale. Verbal composition in Indo-Aryan. Poona 1948. Ritthanemicariya, Edited by R.S. Tomar, Part 1, Ahmedabad - 1993. Sricandra Kahakosu. H.L. Jain, 1969, Ahmedabad. NOTES: Masica 1991, 326. G.H. Shekker has noted some earlier uses of ja- as a vector in 'The jana-passive in the NIA Languages', Indo-Iranian Journal, 12, 1-23. Bhayani 1976, pp. 62-70 lias discussed it. The present article is a revised version of the note in Bhayani, 1988, 418-420. I am thankful to Prof. Michael Shapiro for his comments on the draft of this paper which I had referred to him. The Kathakosa illustrations are from Upadliye, 1974. For the inceptive use of lag-/gal- in NIA see Vale, 1948, Table 10 on p.222, and the relevant section under different NIA. languages.

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A PUZZLE FOR THE SCHOLARS OF BUDDHIST HISTORY Nagin J. Shah Kalidasa, the great Sanskrit poet, is fond of referring to important historical events and personalities, provincial peculiarities and geographical cliaracteristics, etc. We know that he in his Meghaduta refers to Dignaga (c.355 - 440 A. D.), a great Buddhist logician, by employing double entendre, as also to his work 'Hastavala (prakarna)' by using the word 'hastaval-epa'.! Similarly, I llave come across a verse in Kalidasa's Raghuvamsa (XIII. 7) which possibly alluded to some event in the Buddhist history. The verse in point is as follows: pakSacchidA gotrabhidA''ttagandhAH zaraNyamenaM zatazo mahIdhrAH / nRpA ivopalpavinaH parebhyaH dharmottaraM madhyamamAzrayante / / The second meaning is yielded by the verse if we notice the use of slesa. It is as follows: HETET: = HEITT: = HET ECHT: Malisasakas are the followers of the Malisasaka school (nikaya). The Malisasakas (malidhirah) were humbled' in their pride (attagandhah) on account of Paksacclieda and gotrabheda?. So they were harassed (upapalavinah) by others (parebhyah). Hence they by hundreds (satasah) took refuge under the shelter of (saranyam asrayante) netural impartial (madhyamam) Dharmottara. There is no doubt that 'Dharmottara' is a Buddhist proper noun. Now the above interpretation of the verse gives rise to following questions : When did the event refered to take place? What is actually meant by paksa and gotra in this context? What were the conditions that led to paksaccheda and gotrabheda anong Mahisasakas? Who were others' that harassed them? What

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49 Vol. XIX, 1994-1995 A PUZZLE FOR... type of harassment was it? Who is Dharmottara? Why did Malisasakas take refuge under him? Why was he regarded netural or impartial? Was 'Madhyama' the title conferred upon Dharmottara? Had this Dharmottara any connection with the Dharmottariya school (nikayam)? Vadi-Deva Suri, a Svetambara Jaina monk, wrote his Pramananayatattvalokalankara in 12th century A.D. His voluminous commentary on it, called Syadvadaratnakara", is a highly scholarly exposition of the text, referring to so many Hindu, Buddhist and Jaina works and authors. Commenting on 'Svaparavyavasayi jnanam pramanam iti 1|2|l'he refers to Dharmottara and Vrddha-Dharmaottara. On this basis Muni Jinavijayji floatted a theory that 'Vrddha-Dharmottara' and 'Dharmottara' refer to two persons of the same name, one senior and another junior. Pt. Mahendra Kumar after close examintion of the quotations cited in the commentary arrived at the conclusion that 'Vrddha-Dharmottara' and 'Dharmottara' refer to one and the same person, that wellknown commentator of Dharmakirti. So there is no question of ouridentity flying Dharmottara reffered to in the Raghuvamsa verse with Vrddha Dharmottara mentioned in the Syadvadaratnara. Nowhere do we find any clue that may enable us to solve the puzzle we are confronted with in the Raghuvansa verse. 4. Syodvadaratnakara, ed. by Motilal Lald haji, and published by ArhatamataPrabhakara, Poona, 1926. 5 Hindi Introduction to Nyayakumudacandra, Ed. Pt. Mahendra Kumar, Vol. I, Manikchandra Digambara Jaina Granthamala, No. 38, 1938, pp. 94-96.

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SOME COMMON ELEMENTS IN BRAHMANISM AND BUDDHISM R.N. Mehta OM atItArtha tripAdaM ca paJcabalasamanvitam / Aun. Atitartham tripadam ca panca-bala-samanvitan paJcakarmasamArAdhyamitihAsamupAmahe / / Panca-karma-samaradliyam itihasam upasmale sthiradravyasamutpannAM dharAstaralanivAsinIM / Sthira-dravya-samutpannam dharastaranivasinin vande purAvastuvidyAM narakAryaprabodhinIm / / Vande pura-vastu-vidyam narakaryaprabodhinim. Introduction It was an occasion of Mantrajagarana, when the followers of the four Vedic Samhitas were reciting the Mantras. The musical inelody of the Samaveda, that is the main Veda of the Upveda of music, was enchanting. After returning from the Mantrajagarana, I had the rare opportunity to listen to the recitation of the Buddhist Sramanas from Thailand. They were my wards in the M.S. University of Baroda. The nearness of these experiences in time indicated a close affinity in these two melodies, that from the Samaveda and that practised by the Buddhists. At another Mantrajagarana, in Vadodara, I proposed that the Vedic Pandits should listen to the Buddhists. They agreed. So, I requested my hostel Sramanas to come to Mantrajagarana, then both the groups listened to each other, tliey were surprised at their common heritage in recitation. This experience led the speaker to look into the phenomenon more closely. Being a field worker, while exploring the archaeological mounds at Nagara, the older Cambay, a sand-stone image of Buddhanatha that was worshipped by the local people on Dipawali was examined. It was an iniage of one of the Dhyani Buddha Vrirocana, and his worship was being carried on with utmost reverence, by those who were claiming that they are not Buddhists.

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Vol. XIX, 1994-1995 SOME COMMON ELEMENTS... On another occasion, I was excavating a Sarira Stupa at Devnimori in Gujarat. A Jain Sangha was moving from Kadavanja to Kesariyajt, under Munishri Punyavijayaji. Being an enlightened Sramana he spent some time at the excavation site. 51 It was a big Sangha. Many members of the Samgha were highly pleased to see the vihara of the Samgharama and began identifying it as one of their Upasraya. These experiences indicate that contrary to the prevalent idea that Buddhism opposed the Vedic religion, there are more common elements that form the core of the belief systems of the Vaidik, Buddhist and Jain system. If this experience of the common elements seen in different groups be true, and there is no doubt about it, there must exist many common elements between the Vaidika or Brahmanic and Buddhist systems. In this paper an effort is made to trace some of them in broad outlines only. Life of Lord Buddha and Brahmanism Chronologically and historically it is a well-known fact, that, Siddhartha, the son of Suddhodana was born in a society with a long tradition reaching on the language front to the Vedic literature. It is also known that in this tradition chapters of explanations were known as Brahmanas, that were extended to Aranyakas and Upanisads. This tradition was, according to the Chinese source, known to Buddha, who was a Sakya prince. This clan claims Iksvaku lineage and considers that it migrated to Kapilavastu. Besides these aspects, two teachers of Lord Buddha are noted as Rudraka Ramaputra and Alar Kalam from whom he learnt the Yoga. He had practised penanance with the group of Bhiksus, and had left them. Even after attainment of Buddhahood, Lord Buddha was in two minds about preaching. It is noted in Dhammachakka Pabbatitana Sutta that it was Brama, who indicated that he should start preaching the four noble truths, eight-fold path, etc. So, Lord Buddha decided to embark on the career of unfolding the

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R.N. MEHTA SAMBODHI Magga' to listeners. While deciding about the individuals to whom he should proclaim his revelation, he thought of his teachers and his fellow practitioners in penance. His teachers were not living, so he went to the Mrgadava, where he met his friends and gave the first discourse on the Magga, and the cycle of Dhamma began its movement. His first disciples were his own colleagues. During liis career he came across a cross-section of contemporaries of many beliefs, some of them joined him and others continued to chart their own ways. If this social phenomenon be taken into consideration one can easily infer that lord Buddha lived in a society with various shades of belief-systems, from which he started developing his order of the Buddhist Sramanas. It is, therefore, natural that the society shared many common ideas and behaviour patterns, that would indicate the unity and diversity of the system. Mahaparinibbana and adoption of earlier practice Significantly when Lord Buddha was passing away, his disciples were confused over the last-rites. Upon asking the Lord, he indicated that the last -rites and disposal of his inortal remains should follow the practice of the Cakravartins. This indication of the continuity of the system of cremation and post-cremation burial is the foundation at least of the two types of the stupas, the Sarira and the Kula. Tlie Paribogika follows a different system of veneration of the materials used by him,more in the line of the Paduka of Rama, that Bharata brought to Nandigrama. The Uddesa was a wish-fulfilling one, that is more a type of devotional structure. This basic method of the disposal of mortal remains is one of the traditions of post-cremation burial noted in the Satapatla Brahmana and discovered at several sites in different parts of India. It is known as stupa, a word of long standing. It has various forms in different languages similarly the caitya a word common to Buddliist and Jain structures also give a the same picture. There is a pertinent point to ponder over is its meaning. Usually, it is interpreted as a heap, a type of Chiti from the root Ci(= to collect). However symbolically, it could be derived from cit which means consciousness and with its association with supraconscious Lord Buddha, it could easily give the meaning of a monument that would arouse the consciousness of the follower to the life and teaching of the Venerated Enlightened.

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SOME COMMON ELEMENTS.... Vol. XIX, 1994-1995 Stupa and Sivalingas Structurally, a stupa in its four-fold form consists of a Medhi, Anda, Harmika and Chatravali. Its developed form with square Mehdi and semi spherical Anda has an interesting parallel in the siva lingas also. Some of these have a square lower part and sperical upper part similar to that of the Stupa. The identity is so close that instances are noted where a stupa is also venerated as Sivalinga as Bhimesvara, Dhingesvara, Buddhamatha, etc. It may be incidentally pointed out that the term linga does not mean only the membrance virile, but is more used in the sense of an indicator. In this sense, it is used in several places, under these circumstances, to understand sivalinga only as a sexual symbol suggests rather a lop-sided view of this symbolism of the universe, the benevolent and ascetic form of Siva who is an unfathomable pillar. With proper analysis of the symbolism of Sivalinga on one side and that of the stupa on the other it becomes clear that both of them seem to coincide on many points. One of the interesting facts of this feature is the presentation of the figure of the Buddha in front of the stupa, and that of the form of Lakulisa in front portion of the Sivalinga. In both cases the background symbol and the image in the front show many common elements of the symbols with necessary differences. When one examines the tranquil images of the Buddha in Dhyana Mudra, with those of the Jain Tirthamkaras, Yoga Visnu, Siva as an Yogi etc., the conimon tradition of the Yoga School of self-improvement becomes clear, and brings the Nivitti-marga in sharp focus. . Even the disposition of the hair as Daksinavarta on the head is a common feature in the sculptural art. A superfical look at the images of Buddha, Tirthamkara and Lakulisa figure leads to confused identification that gets cleared by the examination of all iconographic characteristics of the complete figures. If only the broken images, and specially the heads are available, it becomes almost impossible to separate them.

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R.N. MEHTA SAMBODHI Buddhist Deities and their Non-Buddhist Worship These aspects of common elements of the sculptures of the Buddhist art, continue in the developed iconography of India. It is significantly known that some of the Buddhist deities are worshipped by other sects. As an example two deities froin Taranga Hill in North-Gujarat are noted here. One of them is a white marble image worshipped as Dharini Devi. It has the inscription of the Dharini text on it. This name of the text seems to have been retained and her iconographic identification was forgotten, so it was in the recent study first identified as Tara, and then it was corrected as Sukla Kurukulla. Even though, this correction is supported to a great extent by the available Sadhana, it requires further investigation to discover the correct Sadhana for this deity. Moreover, the deity Kurukulla, an emnation of Amitabha, is invoked in the orthodox brahmanical text of Lalitasahasranama as Kurukulla. The other deity is in worship as Padmavati in the Ajitnath temple at Taranga. This deity is an emanation of Amogha Siddhi, the Dhiyani Buddha. Her iconograpliic characteristics further assist one in identifying the image as that of Dhanada Tara. Syncretic Thought These identifications of the images raise a fundamental issues about them. It could be argued from purely iconographical angle that these are wrong identifications. This iconographically strong argument, however, becomes fairly weak when it is examined from the literature of these sects. It is a cominon tendency of identification of the creation of one sect by the other as belonging to one of their own deity. It is already noted that Kurukulla is an accepted deity of the Saktas. Similarly Padmavati is identified with several goddesses, including Tara in all her forms by the Jains. The Buddhists were not far behind as they also had identified Padmavati as a form of Tara. She is possibly Padma of Brahmans. This literary activity contradicts the iconographic identification and gives free scope to the acceptance of one figure as that belonging to some identification of that other sect. This aspect leads to a lot of amalgamation.

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Vol. XIX, 1994-1995 SOME COMMON ELEMENTS... 55 If one tries to examine the basis of the activity of such identifications for amalgamation, one has to consider the phenomenon of logic and verbal communication. Logic and Role of Drastanta Logic in its narrowest sense is a mental effort to arrive at the truth of a statement on the basis of reasoning from experience. This thought becomes clear when the method of argument is considered that the examination is ultimately based on Drstanta, which is a common experience of the inquirer and the world, as noted by Vatsyayana, the commentator of Nyaya Sutras of Gautama. While discussing the fifth aspect of Nyaya, the Drstanta is defined in the Sutra 25 of Ist Chapter that it is laukika pariksakanam yasminn arthe buddhi-samyam sa drstantah. Commenting on it Vatsyayana explains Laukikas Lokasamanyam atitah laukikah naisargikami vainayikam buddhyatisayam praptah /tadviparitah pariksakah, tarkena pramanaih artham pariksitum arhantiti Yatha' yam artham lakika buddyante tatha pariksaka api so artho drstantah It is the common element of the experience of the world, that is the fountain. source of the knowledge both of a common man, who considers it as natural and does not examine it. Those who examine it, not only accept it, but try to explain it as a result of an act of an actor. The explanations, therefore, are the results of either the experience of an individual and his analysis or he accepts the verbal testimony of others. This is an important aspect of the relative value of the experience of an individual and its analysis by himself and a belief system based on the experience of the Brahmanas and the Sramanas that is reflected in their verbal testimony. World Experience and Buddha and Veda In this respect an examination of the view of Lord Buddha is highly significant. A perusal of the Tipitakas, specially the Sutta where his teachings are directed. towards clear understanding reveals his position in the statement "Nannista samanassa, Brahmanassa vasutva Vadami; Api ca bhikhave, yadeva me samam.

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R.N. MEHTA SAMBODHI gnata samam didtham, samam viditani tamevaham vadami (Sakkar Suttam). This statement of Lord Buddha has high epistemological significance that the proper observation and knowledge are more important in comparison to the statements of the Sramanas and Bralmanas. This base of observation and correct knowledge is a common thought for scientific knowledge. This is a constant strain in the belief system of the Vaidikas who trace the origin of their suktas in the Vision of the Rsis. They were revealed. The Suktas that are verbally transmitted, and forin the basis of the Brahmanic tradition, that is a commentary of this tradition. The continuity of this idea could be found in the Btahadaranaka, 5th Adhyaya. 14tli Bralamana where this point is discussed. Tadvai tat satye pratisthitani caksur vai satyam caksur hi vai satyam tasmad yad idanim dvau vivadmanav eyatam ahamdarsam alam asrausamiti ya evam bruyad alamdarsam iti tasma eva sraddaliyam tad vai tat satyam bale pritisthitam. Tliis statement indicates the Brahmanic position. Brahmanic Tradition Thie preservation of the Vedic tradition by the specialists of different Saklas of Veda, its commentaries in the literature of the Brahmanas Aranyakas and Upanisads, as well as its continuous examination gives the Indian ethos of the Brahinin and sramana tradition, that has been studied, compared and accepted in many parts of the world. Phenomenon of Language The Vaidika tradition in last analysis is that of the verbal record of the vision of the Rsis. Significantly, this aspect leads to an understanding of the phenomenon of language or Vak, to use the term of the Rgveda. In the understanding of Vak, the statement in Rg.1. 164.45 is explicit about the fourfold nature of the language. It states that the three aspects of Vak are hidden and only one part becomes known. Many words for one object Due to this condition, the one that exists is expressed by different words. Thus, though the language might differ, the ultimate reality is one. This one is monistic

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Vol. XIX, 1994-1995 SOME COMMON ELEMENTS... and not monotheistic in the early Vedic tradition. This aspect of monism is developed both by the seers of the Upanisads, and the Buddhists. If the criticism of Sankara the great Advaita philosopher be examined as Pracchanna Baudha it would indicate the close relationship of thought, but the terminology differs. This feature is fairly well documented by Bhartrhari in his Vakyapadiya, where he expressly states that the permanent sabda, tries to explain the meaning of the phenominal world. 57 Thus, the verbal communication about the phenomenal world is noted in its dual form, that of the spoken or written words on one side and the supreme reality behind the phenomenal world. It is interesting fact that this notion of the phenomenal world springing up from an undesirable sub-stratum is a significant feature of the Brahmanic and Buddhist thought. The View of Knowledge Epistemologically, its significance is a facetted view of complete knowledge. So it considers the knowledge of the universe, Pratibhasika, Vyavaharika and Parmarthika in its entirety. This thought that is multifacetted gives a different verbal picture of this mysterious world with its changing patterns in cyclic, Yang-Ying or linear dimensions to the observer who is a part of the universe or Brahmanda. Problems of Communication The undescribable entity of existance when communicated to the others gets a variety of names, as Eka, Advaita, Tathata, Sunya etc. A long drawn series of debates has undergone to prove the validity of the 'Word' used by a particular group. This situation of the linguistic communication is also a constant phenomenon, in which the changing pattern of the relationship of the spoken or recorded word and the meaning conveyed by it results in many debates. The main reason of this debate is the limited capacity of the words to convey, the specific meaning of its shade that is in the mind of the individual who expresses it but the listeners' or the readers' understanding is often not congruent with the idea expressed, but even contradictory ideas are generated from these words. This is an universe of verbal discourse in which Vada, Jalpa and Vitanda play their own role.

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RN MEHTA SAMBODILI Dialogue or Vada When one considers the basic function of verbal communication as a proper expression and proper response for acquisition of knowledge and understanding after examining relevant proofs, the picture gets a little clear. Dialogue is possible when there is an agreement on the sources of proof. With the strong emphasis on one's experience as noted by Buddha, Pratyaksa and Anumana become the valid sources of proofs. But this aspect though true, fails to be very effective in absence of verbal communication, that is essential for exchange of ideas, continuity of tradition etc. Continuity and Change It is this aspect of the understanding of continuity of tradition in verbal form and bringing it in line with the experience of phenomenal world and its causative reasoning that creates split and leads to quarrels, about the authenticity of the verbal tradition. Lord Buddha's reliance on experience, and rejection of verbal authority is the point of some diversion of the Brahmanic and Buddhist traditions. Apart from this diversion, these Indian traditions, including that of the Jains have many common elements. Brahmana Interestingly the term Brahman deserves our attention. The word, which began its carrier as Brahma, the expanding sphere of universe and knowledge of ultimate reality and its expression later on came to signify the group that made efforts to understand the Brahma Vidya. As speech was the modus operandi of this group, in the anthropomorphical inodel of the society such group was known to have developed from the mouth as noted in the Narayana Sukra of Rgveda. X 90. When one reads the Catukka Nipata, Brahmana Dhammayaga Sutta the words "Ahamasmi bhikkhave brahmano" and "Tassa me tumhe putta orasa mukhoto jata dhammasa" by Lord Buddha as well as the term Mahana used for Tirthankara Mahavira, it becomes clear that this term Brahmana was used to explain the social group engaged in the inquiry of knowledge and preserving

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Vol. XIX, 1994-1995 SOME COMMON ELEMENTS... the traditional role of knowledge. When misinterpretations for selfisli ends of the tradition were doled out in the society, the knowledgeable persons with radical understanding opposed this activity and verbal dual of Brahmin verses Buddhist was generated. However, when one examines the activities of the "Aham asmi brahmana" Buddha, his supporters were many learned Brahmins who were the seekers after truth and followers of the Pravsttimarga or Path of Action. Along with these activists in the society, passivists also exist. They contemplete about the universe, life, activities, pleasure pain and other aspects and lead a contented life often in individual seclusion or in their group or Samgha. This section of the society is the sramana. The word is used in the sense of the one who makes an effort. When it is directed towards Nivrttimarga or renuneiation the one making the effort is called sramana, and with the constriction of the meaning it signifies an ascetic and later on a Buddhist Monk. Brahmana - Sramana Under the earlier connotation the words Brahniana - Sramana are jointly used not only in the Tipitakas, but also in the edicts of Asoka. They therefore, signify the activists and pacifists in a given society and their antithetical sense gives a partial rather incomplete version. These groups live in the same society and share many aspects of its cultural and intellectual parameters, as is known from drama and other literary compositions. On practical plane, the life cycle of a Brahmin Sannyasi, Jain Sadhu or a Buddhist Sramana las many common features. Their vratas of Satya, Ahinsa, Asteya, Aparigraha and Bralimacarya, Sauchi, Svadhyaya Santosa, Tapas and Isvara-pranidhana are emphasised in the Yogamarga. Jain Anuvratas and Mahavratas and Buddhist vratas also emphasise most of them. The society also emphasises them as Samanya dharma. Besides it, the Asadha Purnima, Bhadrapada Panami, Vaisakhi Purnima are also common days of celebrations of different aspects of Brahmanic and Buddhist societies. It is Vaisakhi Purnima, that has given the present names Prachat-Thali and Thailand in 1949 A.D. and replaced Siam.

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60 R.N. MEHTA SAMBODHI Common Thoughts in Art As an example the acceptance of five elements of the world by the Samkhya thinkers and the idea for five Buddhist deities, development of an architectural group of five stupas or five temples, one main and four subsidiary ones are interesting features that unite the Brahmanic and Buddhist thought, and basic art-forms. If one examines the reverance paid to Lord Buddha as one of the incarnation of Visnu and examines the images of this school, it seems that the art forms also reflect this reverence and mutual cooperation and cordination in society with sometimes verbal dissentions. Prathet Thai Buddhism and Brahmanism When these cooperative aspects are considered in the Indian society and compared to that of the society of Prathet Thai, the emergent picture is significantly highly congruent and suggestive. . The Vaisnavas consider Buddha as one of the incarnation of Visnu, the protector of the world order. On pliysical plane the work of protection is carried out by the ruler from the state capital. When one considers the cultural parameters in Prathet Thai, the capitals like Dvaravati (Cir. 6th-Cir. 11/12th Cent.) Ayutthaya (Cir. 14th-1716) and Bangkok (18th cent. t present) with its full name "Krungthep, Rajadhani, Buriroma, Udom, Rajanivet, Malasthana, Amarna, Pimarna, Avartana, Sarit, Sakkatuthiya, Visnukarma Prasit" is highly instructive. Toponyms Dvaravati, is the well-known town developed by Lord Krsna when he moved from Mathura to Western India. This was the capital of Yadavas. It is archaeologically debated about the exact location of this important city. However, with the advancing evidence of the chaleolithic studies, sites around the present day Dvaravati or Dwarka suggests that the occupation of this region is fairly early in the period around 200 B.C. Significantly one of the capital of Prathet Thai in a period of about 6th to cir. 12th, is named as Dvaravati that reminds one of its Vaisnava association, that has affinity with the Brahmanic tradition. Its ruler Ram Khamennaga who one of the most popular ruler of Prather Thai carries the name of another ruler from iksvaku dyanasty, in which

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Vol. XIX, 1994-1995 SOME COMMON ELEMENTS... according to a tradition the Buddha was born. It is a significant point that Rama's story in this country, the Rama Kian, is essentially a story of Brahmanic order with some reflection in the Dasaratha Jataka of the Buddhist literature. The Dvaravati of Krsma and Yadavas gave place to Sukho Thai; the city of Ram Khamanga and Ayutthaya or Ayodhya had to wait for a few centuries for its turn to become a capital. Ayutthaya the Ayodhya, that is, an invincible town, as noted in the Ramayana gave the name of the second capital of Prathet-Thai. Though it bore the name of an invincible city, it suffered reverses at the hand of the Burmese in the 18th century and the Thais changed their capital to the present day Bangkok. As already indicated the capital is Krungthep = city of Gods; Rajadhani = capital; Buriroma = Beautiful city; Udoma Rajanivet = fine settlement of a ruler; Amorna Pimarna = House of God; Satita = Well established; Sakkaouttiya = Residence, and Visnukarma Prasit = Constructed by Visnukumar. These epithets of Bangkok testifies to an understanding of the basic identity of Brahmanic and Buddhist traditions. The Thai picture is much nearer the truth of our social and religious practices. This picture could be enlarged by more examples but the time at our disposal would restrict such an exercise. These names, however, suggest the series of ascending order of the cities form a town at the entrance or Dvaravati to Sukhotai i.e., rise of liappiness to that of the invincible capital or Rama under the Fya-Uttong dynesty and finally to the certain of Visvakarma who is identified as brahma or Visnu. If the identification the highest Brahmanic deity of stability Visnu be taken as valid Bargkah represent establishment of Bralimanic deity of stability under Akri dynasty. According to the theory of Avatara, Lord Buddha was very aptly considered to be the incarnation of Visnu. With Gnana, Anukampa and Karunya Prabhava of Lord Buddha as noted in the inscription of a schist stone casket discovered from the Sarira stupa at Devnimori, he could not be associated with either Brahma, the creator or Siva the destroyer of the universe. The basic understanding of the Nirodha of Dukha, its cause the Avidhya and the Marga with its Pragna, sila and Samadhi of the Lord Buddha was for protection and happiness in the constant flux of creation.

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R.N. MEHTA SAMBODHI Visnu, the protector of the universe of the Brahmanic tradition could be the only form of the forinless that could be Lord Buddha's Avatara for Bahujanasukhaya and Bahujana-hitaya as expressed in Bahujanahita Suttam. The Visnu-sahasranama of Anusasana Parva of Mahabharata (135.40) considers Visnu as Siddhartha Siddhasankalpa, Siddhidah, Siddhasadhanah and connects the Siddhayogis and Baudha Siddhas in a common bond, (Vedaprakasha Juneja "Natha Sampradaya Aura Sahitya", p.136-138) that runs though the historical period and keeps the common elements of cultural syinbosis. Conclusion This significant correlation of Brahmanisin and Buddhism is noticed in Prathet Thai, in which the consecration ceremony of the ruler is performed by Rajagru, a Vaidik, brahmin, for a ruler following the Simhala Vong tradition of Buddhist order. This is probably a picture of the intertwining of Brahmanisin and Buddhism into variagated cultural ethos of Prathet-Thai as well as other areas where the ideas and practices of both trends are persisting in a five symbiotic relationship; that is often expressed as basic unity with diverse linguistic expression. One of the finest expression of this thought is from the drama Malanataka ascribed to Hanumana's authorship. It notes Yam saivah samupasate siva iti brahmeti vedantinah Baudhah buddha iti pramana-patavah karteti naiyayikali Arhannity api jainasasanarata karmeti mimansakah Soyam no vidadhatu vancchitaphalam trailokyanatho harih il In this general continuity of ideas of accord in different periods of discord due to Kama, Lobha, Moha, Ahankara etc. are also existing, but not approved for universal place and happiness for which we are craving and making effort. Thank you one and all for patient hearing and wish Sarve bhavantu sukhinah sarve santu niramayah Sarve bhadrani pasyantu ma kascid dulkhamapunyat Aum sanstih santih santih.............

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THE JAIN CONCEPT OF SRAMANA IN THE AUPAPATIKA SUTRA Ch. Lalitha The Place of Aupapatika Sutra in the Jain Canonical Literature The Jain canonical texts have been broadly classified into two viz., (a) Angapravista and (b) Anga-bahya or Anga-bahira. Some time between the 5th and 6th century A.D. in council of Valabhi under Devardhi the Agama or siddanta texts were compiled. They are classified into (1) Angas, (2) Upangas, (3) Mulasutras (4) Chedasutras, (5) Culika sutras, (6) Prakirnakas. Of these, there are twelve Upangas, viz., (1) Aupapatika (2) Rajaprasniya, (3) Jivabhigama or jivajivabhigama, (4) Prajnapana (5) Suryaprajnapti, (6) Jambudvipaprajnapti, (7) Candraprajnapti (8) Nirayavalika or kalpika, (9) Kalpavatamsika, (10) Puspika, (11) Puspaculika, (12) Vrsnidasa. Among the twelve Upangas the Uvavaiya occupies the first place. It is also well known as Ovavaila and Aupapatika. This Agama gives description of a city, forest, strip, etc., and that is the reason why it is placed first among the Upangas.2 This Sutra illustrates how a jiva is reborn in next life according to change discretion, reflection and asceticism with manifold illustrations in a very lumpid manner. One of the special feature of this Sutra is that it gives graphic descriptions of a city, trees, gardens, store slab, king, queen, men and Gods, virtues of Bhagavan Mahavira, description of his body, his thirty four supernatural powers atisayas, virtues of the monks, their asceticism, description of three hundred and fifty four types of austerities, kevali-transformation of siddhas, their bliss etc. This paper aims to study the various attributes and duties of a true and well behaved man. A True Sramana And His Virtuous Behaviour A true monk is one who performs good actions. He is free from anger, pride, attachment and eminence. He controls his sense organs, sleep and calamities and is free from inquistiveness. A well controlled monk possess sundry characteristics of high order. He attains great virtue by practising great vows. A good Sramana is well disciplined in the practice of controls (Samitis etc.;), in one's movements,

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CH. LALITHA SAMBODHI words (expressions), begging, inaintainance of one's begging bowls and depositing one's excreta. He also practices control of the mind, speech and body (guptis). A well controlled man is firmly rooted in celibacy. He is free from the possession of objects and is also free from grief and suffering. He frees oneself from conditions which generate karma bondage. A well behaved monk reinains pure in conduct like pure gold and is spotless like a conch. A virtuous monk performs external and internal penances i.e., He abstains froin intake of food viz., refrains for certain period of time (itvarika) such as give up four meals, six meals, eight meals, ten meals, twelve meals, fourteen meals, sixteen meals, or fasts for a month, for two, three, four, five, six months and refrains for a whole life (yavatkathika) such as remains motionless like a tree till death (padapopagamana) and after such suspension he is not excluded from physical movement or movement of limbs (bhakta-pratyakhyana). A good monk is one who performs internal penances which are of six kinds viz., atonement i.e. discusses with spiritual preceptors, performs fasting, selfconfession (pratikramana) and causes hardship to one's body (kayotsarga) and thereby performs prescribed penances of the order. A learned monk restricts use of things viz., related to cloth, begging bowl and anything which is pleasant, trustworthy and flawless. He is one who reduces the intake of food, lives on alins, gives up crave for taste i.e., he gives up food possessing clarified butter (ghee), oil, milk, curd or jaggery, feeds on non-spiced food or fried grains soaked in water. He takes food devoid of good taste and feeds on food prepared on old cheap grains, A well controlled monk bears all physical calamities. He remains fixed (unmoved) on the seat. He exposes oneself to heat and cold, never spits and does not care for the body in all respects. He perforis month long fasts and sits in virasana posture. He controls his sense organs, passions and activities, and thereby leads a lonely life. A true monk possesses humility of knowledge, faith, conduct, mind, words, body and thereby behaves hunbly with others. He is well acquainted with perceptual, scriptural, extra sensory, telepathic and absolute knowledge. He possesses undistorted fulfilement faith (susrusana-vinaya) and hunnility free from fault

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Vol. XIX, 1994-1995 THE JAIN CONCEPT OF... 65 (anatya-satana-vinaya). A well behaved monk is one who pays respect when elder or superior person arrives, offers cloth, chair for elders, pays homage and obedience to them and pays them with due respect in full attention." A monk of correct beliaviour sits in poise for fortyeight minutes (samayika), replaces to righteousness after a lapse (chedopasthapanika) attains perfection of physical actions (paritara-visuddhi) possess very minute passions (suksmasamparaya), and moulds one's character as per code (yathakhyata). He does not commit sin in thought, word and deed. He renders service to the acarya, upadhyaya, senior or fellowmonk, kula, gana and sangha. He is wellacquainted with the Agamas and sutras and gives speeches over spiritual themes. He practises meditation and thereby attains endurance, greedlessness, lacks hyocracy and pride. He lacks attachment to the body, gana, objects, food and drink. He possesses renunciations of passions, world and karma. A true monk enriches one's soul with self control and penance which leads to perfection. RESUME : It is evident from the above study of the delineation of the concept of monk in the Aupapatika Sutra that the chief object of the text is to inculcate in a novice monk the duties of sramana and to mentally prepare him before hand and by practising righteousness in thought, speech and action he can overcome all hurdles in samsara and attain perfection. REFERENCES : Narendra Bhattacharya 'Jain Philosophy : Historical Outline' Munsiram Manohanlal Pub. Pvt. Ltd., Introduction p.18. Padmanabh S. Jaini, 'The Jain Path of Purification', Motilal Banarsidass, Delhi, 1979, pp.56-57. Ganesh Lalwani (Ed), Uvavaiya Suttam, Prakrit Bharati Academy, Jaipur, 1988, p.55. Ibid. pp.55-59. Ibid. p.63. Ibid. p.82. Ibid. pp.84-85.

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KARMA AND FREEWILL : A COMPARATIVE STUDY OF HINDUISM, BUDDHISM AND JAINISM Arvind Sharma The doctrine of Karma is one of the points of agreement among the three main religions of ancient India - Hinduism, Buddhism and Jainism,' even though the concept operates in somewhat different ways in the three religions. 2 A superficial understanding of the doctrine of Karma leads to its identification with fatalism on the basis of the following logic: if past actions determine present actions and present actions future actions, then past actions determine future actions and man's free-will is eliminated in the process. Each of the three religions assert, however, that even though the consequences of one's Karma are inescapable, free-will does exist. Yet each of these three religions makes their argument in a slightly different form. It is the purpose of this paper to identify the manner in which these modalities differ. II There are two main ways in which Hinduisin accommodates free-will in the framework of Karma. One the them is outlined by R. N. Dandekar thus : But, do not the individual's past deeds now become, in a sense, extraneous forces so far as his present is concerned? The past, even though it is his past, is already determined, and it determines his present, thereby leaving him no freedom to shape it as he would like. He cannot say that he will see that his actions are such that they will lead to a better life next time for the simple reason that his actions in this life are not really his, they are predetermined. Such an objection is met by the Hindu thinkers by postulating a two-fold consummation of all actions. First, every action produces its direct results which determine our present body and the

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Vol. XIX, 1994-1995 KARMA AND FREEWILL.. . conditions directly relating to and consequent upon our birth. Concerning these we have no clioice; we must accept then as they are ordained. But our past deeds also produce indirect result in the from of innate tendencies which prompt us to act one way or another. It is necessary to emphasize that these innate tendencies prompt but do not compel us to act in a particular manner, thus affording ample scope for initiative and self-determination on the part of the individual. Therefore, although the individual's birth and initial environment are predetermined, he has before hiin the gratifying prospect of being able to master his innate tendencies which are the mainsprings of all his actions." The other way in which room is created for free-will within the doctrine of Karma is through the distinction between the three types of Karmas. As T.M.P. Mahadevan explains : Hindu thinkers distinguish three kinds of karma: sancita, prarabdha and agami. Sancita is all the accumulated karma of the past. Part of it is seen in the character of the individual, his tendencies and aptitudes, inclinations and desires, etc. Prarabdha is that portion of tlie past karma which is responsible for the present body. Agami is the coming karma which includes also the karma that is being gathered at present. An apt analogy in usually given to bring home to our minds the element of freedom that karma involves. Imagine a bow-man, with a quiver of arrows, taking aim at a target. He has already sent a shaft; and another arrow he is about to shoot. The bundle of arrows in the quiver on his back is the sancita; the arrow he lias shot is prarabdha; and the one which he is about to send forth from his bow is agami. Of these, he has perfect control over the sancita and agami; it is only the prarabdla that cannot but take effect. Man has the freedom to reform his character and alter his ways. Only the past which lias begun to take effect he has to suffer.5 III One way in which Buddhism counteracts the deterministic tendencies of the

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68 ARVIND SHARMA SAMBODHI doctrine of Karma is through the doctrine of momentariness as practically applied. Thus, Maha Thera U. Thittila writes: Kamma, the order of cause and effect in action, is not determinism, nor is it an excuse for fatalism. The past influences the present, but does not dominate it. The past is the background against which life goes on from moment to moment; the past and the present influence the future. Only the present moment exists, and the responsibility for using the present moment for good or for ill lies with each individual. But perhaps of greater significance is the following view of the working of the law of Karina : Kama, as has been stated above, is not fate; it is not irrevocable destiny; it is not blind determinisin. Nor is one bound to reap in just proportion to all that one has sown. The actions of men are not absolutely irrevocable; in fact, only a few of them are. For example, when one fires a bullet from a rifle, one cannot call it back or turn it aside from its mark. But if, instead of a bullet through the air, it is an ivory ball on a billiard table that one sets moving with a cue, another ball can be sent after it to change its course, or, if one is quick enough, one might even get around to the other side of the table and send against it a ball which would meet it straight in the line of its course and bring it to a stop on the spot. With one's later action with the cue one modifies, or even in favorable circumstances entirely neutralized, one's previous action. Kamma operates in the broad stream of life in much the same way. There, too, of a later day may modify the effects of one's action - kaima - of a former day. If this were not so, there would be no possibility of man's ever getting free from all kamma; life would be a perpetually self-containing energy which could never come to an end, Man has, therefore, a certain amount of free will and there is every possibility to mold his life or to modify his actions.?

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Vol. XIX, 1994-1995 KARMA AND FREEWILL... IV In the case of Jainisin, the power to exercise free-will is seen as forever latent in man. As Surendranath Dasgupta points out : It may not be out of place to mention here that though the karmas of man are constantly determining him in various ways yet there is in him infinite capacity or power for right action (anantavirya), so that karma can never subdue this freedom and infinite capacity, though this may be suppressed from time to time by the influence of Karma. It is thus that by an exercise of this power man can overcome all karma and become finally liberated. If man had not this anantavirya in him he might have been eternally under the sway of the accumulated karma which secured his bondage (bandha). But since man is the reposiory of this indomitable power the karmas can only throw obstacles and produce sufferings, but can never prevent him from attaining his highest good.8 It is well-known that Mahavira broke with Makkahali Gosala because the latter preached Fatalism. As has been pointed out : "Gosala is of importance to those of lis who are trying to understand Jainism for two reasons: the sin and shame of his life emphasized the need for stringent rules for the order; and the doctrine of absolute fatalism was shown to result in no11-moral conduct. Jainism avoids this determinism, as we shall see later, by teaching that, though karma decides all, we ourselves can affect our past karma by our present life". It is clear, then, all the three main religions of ancient India which accept the doctrine of Karma reject Fatalism and provide for free-will. To a certain extent they do it through doctrines somewhat unique to them - as Hinduism through the doctrine of vasana, Buddhism through ksanikavada and Jainism through the doctrine of anantavirya. But it appears that in at least two ways all the three basic religions use more or less the same methods to make room for free-will.

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(1) ARVIND SHARMA SAMBODHI All the three religions have a classification of karma : into prarabdha, sancita and kriyamana in Hinduism; to into ditthadhammavedaniyam, upapaccavedaniyar, aparapariyayavedaniyan and ahosi-kammam in Buddhism;" and into satta, bandha and udaya in Jainism.12 Thus by making several grades of karma, scope is created for the influence of present karma on past karma to a certain extent and thus the deterministic edge of the doctrine of karma is blunted. In all the three traditions, the complexity of the working of karma is recognized and this complexity in a sense checks its mechanical inexorability. Thus, Bhagavadgita IV.17 states that the working of karma is hard to penetrate;" the Milindapanha clearly states that "No one without a Buddha's insight can fix the extent of the action of Karma"?4 and in Jainism "only the Kevali knows to which class" - Nikacita karma or Sithila karma which can evade the former - "a mortal's karma can be assigned". 15 One may conclude by pointing out a remarkable circumstance, namely, that in all the three traditions, at least the best minds have interpreted the doctrine of karma as indicating that man can achieve whatever he wants by the dint of his own effort, his own karma. Thus, in relation to Hinduism it has been pointed out : The principle of Karma reckons with the material or the context in which each individual is born. While it regards the past as determined, it allows that the future is only conditioned. The spiritual element in man allows him freedom within the limits of his nature. Man is not a mere mechanism of instincts. The spirit in him can triumph over the automatic forces that try to enslave him. The Bhagavadgita asks us to raise the self by the self. We can use the material with which we are endowed to promote our ideals. The cards in the game of life are given to us. We do not select them. They are traced to our past Karma, but we can call as we please, lead what suit we will, and as we play, we gain or lose. And there is freedom. What the individual will be cannot be predicted beforehand,

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KARMA AND FREEWILL... though there is no caprice. We can predict an individual's acts so far as they are governed by habit, that is, to the extent his actions are mechanical and not affected by choice. But choice is not caprice. Free will in the sense of an undetermined, unrelated, uncaused factor in human action is not admitted, but such a will defies all analysis. It has nothing to do with the general stream of cause and effect. It operates in an irregular and chaotic way. If human actions are determined by such a will, there is no meaning in punishment or training of character. The theory of karma allows man the freedom to use the material in the light of his knowledge. Man controls the uniformities in nature, his own mind and society. There is thus scope for genuine rational freedom, while indeterminism and chance lead to a false fatalism. 16 Vol. XIX, 1994-1995 Similarly in Buddhism too the conclusion can be drawn from the doctrine of karma that: the harvest of our doings is certain, but the course of karma, in its details, is for most men very uncertain, because of its extreme complexity. This complexity is so great, that "the fruit of deeds," for this very reason, is one of the "four inscrutable things about which one ought not to brood, because who broods about them will fall a prey to delusion or to mental disturbance." Such brooding, moreover, upon the probable condition of our future would also be highly superfluous. It is enough to know that we ourselves make this future, according to fixed norms. This knowledge we now possess: we may become everything in the world, because we are nothing pertaining to this world. I may become a king or a beggar, a nobleman or a vagabond; I may become a man, a ghost, a beast, a devil, and I can become a god. In itself, any one of these is just as near to me, because as essentially alien, as any other. It all depends upon my will, upon the innermost striving that I nourish and develop within myself, which will lead to its corresponding grasping." 71 And in the case of Jainism it can be said that:

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ARVIND SHARMA SAMBODHI According to Mahavira, the painful condition of the self is brought about by one's own action, and not by any other cause. Pleasure and pain are brought about by one's own action. Individually a man is born, individually he dies, individually he falls, and individually lie rises. His passions, consciousness, intellect, perceptions, and impressions belong to the individual exclusively. All living beings owe their present form of existence to their own karma.18 Thus all the three ancient religions of India are united in proclaiming man to be the architect of his own destiny - be it spiritual or secular. REFERENCES : 1. Surendranath Dasgupta, A History of Indian Philosophy Vol. I (Cambridge University Press, 1957), pp. 71-74; Sarvepalli Radhakrishnan and Cliarles A. Moore, A Source Book of Indian Philosophy (Princeton University Press, 1965), p.xxix. Haridas Bhattacharyya, e., The Cultural Heritage of India, Vol. I (Calcutta : The Ramakrishna Mission Institute of Culture 1958), pp. 537-546. See J.N. Farquhar, The Crown of Hinduism (New Delhi: Oriental Books Reprint Corporation, 1971)), Chapter III; Huston Smith, The Religions of Man (New York: Harper & Row, 1958), p.77; S. Radhakrishnan and P.T. Raju, The Concept of Man (Lincoln, Nebraska: Johnson Publishing Co., 1972), p.234, etc. Kenneth W. Morgan, ed., The Religion of the Hindus (New York: The Ronald Press Company, 1953), pp. 129-130. T.M.P. Mahadevan, Outlines of Hinduism (Bombay: Clietana Ltd., 1960), pp. 60 61. Kenneth W. Morgan, ed., The Path of the Buddha (New York: The Ronald Press Company, 1956), p.85. Ibid., pp. 90-91. Also see M. Keller-Grimm and Max Hoppe, eds., The Doctrine of the Buddha The Religion of Reason and Meditation by George Grimm (Delhi: Motilal Banasidass, 1973), pp.196-199. Surendranatli Dasgupta, op. cit., p. 207. Mrs. Sinclair Stevenson, The Heart of Jainism (New Delhi: Munshiram Manoharlal, 1970), p.60. 10. T.M.P. Mahadevan, ed., op. cit., pp. 60-61. 11. Haridas Bhattacharyya, ed., op. cit., p.540. Aslo see Kenneth W. Morgan, ed., The

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Vol. XIX, 1994-1995 KARMA AND FREEWILL... Path of the Buddha, p.88. Mrs. Sinclair Stevenson, op. cit., pp. 184-185. 13. T.M.P. Mahadevan, op. cit., pp.59-60. T.W. Rhys Davids, The Questions of King Milinda, Part I (Delhi: Motilal Banarsidass, 1969), p.193; also see M. Keller-Grimin and Max Hope, eds., op. cit., p.200. 25. Mrs. Sinclair Stevenson, op. cit., p. 185. S. Radhakrishnan, The Hindu View of Life (London: Unwin Books, 1965), p.54. M. Keller-Grimm and Max Hoppe, eds., op. cit., p.200. Haridas Bhattacharyya, ed., op. cit., pp. 545-546.

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RECENT RESEARCH IN THE HISTORY OF GUJARAT H. G. Shastri During the British period a number of works were written on the history of Gujarat on the basis of various sources of information. More and more material comes to light as time proceeds. Special impetus is given to research in the history of Gujarat during post-independence times, especially after the emergence of the Gujarat State in 1960. Here it is intended to make a succinct survey of the recent research activities in the field of the history of Gujarat, along with notable publications embodying their results therein. Recent explorations in Gujarat have revealed prehistoric culture through paleolithic remains of all the three phases in all the major parts of the State, and even neoliths are discovered in South Gujarat. Dr. H.D. Sankalia has given an adequate account of the prehistoric and proto-historic cultures of Gujarat in his 'Pre-history and Proto-history of India and Pakistan' (1962, 1974). Among proto-historic sites Lothal, in Ahmedabad District, has distinguished itself as one of the prominent Harappan sites situated in the post-partition territory of India. A detailed account of the cultural remains unearthed at Lothal is given by Shri (now Dr.) S.R. Rao in his 'Lothal and Indus Civilization' (1973). Rangpur, in Surendranagar District, has revealed archaeological evidence for the gradual decadence of the Harappan civilization along with the simultaneous emergence of different post-Harappan culture. Archaeological excavations at Rojdi, in Rajkot District, and at Prabhas, in Junagadh District, have revealed some other outstanding Harappan sites in Saurashtra. In Kutch Desalpur, Surkotda, Dholavira and other sites belonged to the Harappan civilization. The recent excavations at Dholavira among them have unearthed parts of a large metropolis with compartmentalized planning and double fortifications. In Gujarat the Harappan Culture is also known to have extended over South Gujarat. Epical and Puranic traditions have preserved some account of the $aryatas, the Bhrgus and the Yadavas in Gujarat. Kum. Sumana P. Jadeja (now Dr. Smit. Sumana S. Shah) made a critical study of the traditions about the Yadavas and their genealogies in her thesis for the Doctorate (1965). As regards the problem of the location of original Dvarka recent archaeological excavations and marine archaeological explorations seem to favour the location of original Dvarka in the vicinity of present Dvarka in Okhamandal.

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Vol. XIX, 1994-1995 RECENT RESEARCH IN... 75 According to the Puranic traditions this religion was known as Anartta during proto-historic times. In the Early Ancient Period the denotation of the name got confined to North Gujarat, while the entire region got known as Lata. During the Caulukya Period the name Lata got restricted to South Gujarat, while the entire region received the name Gurjarades'a or Gujarat. The documented History of Gujarat commences with the Mauryan Period (Circa 322-185 B.C.) As regards the Sudarsana reservoir at Girinagara (present Junagadh), Dr. R.N. Mehta traced the remnants of its dam near Dharagadh gate. The Ksatrapa Period covers a long period in the ancient history of Gujarat. Shri (now Dr.) Rasesh Jamindar made a critical study of the history and culture of this period for his Doctorate (1967) and presented the results of his research in 'Ksatrapa-Kalanum Gujarata' (1975). The Junagadli Rock Inscription (150 A.D.) of King Mahaksa trapa Rudradaman I is one of the earliest Sanskrit records composed in an ornate prose style. The Ksatrapa King, though of the Scythian race, adopted Indian language, religion and culture. The recent discovery of the early inscriptions of King Castana, dated years 6 and 11, necessiates the re-consideration of the problem of the origin of the Saka Era and enchances the plausibility of ascribing it to King Castana rather than King Kaniska I of the Kushan tribe. It pushes the upper limit of the Ksatrapa Period four to five decades before 78 A.D. Broacli was an eminent centre of trade and commerce. Gujarat had close commercial and cultural contact with Rome. Archaeological explorations and excavations have brought to light remains of rock-cut and structural monuments, mostly Buddhist, and strata of human habitation characterised by Red Polished Ware. As regards the end of the Kshatrapa rule in Gujarat, Dr. P.L. Gupta has well established that the Western Kshatrapas were succeeded by Sarva Bhattaraka in Gujarat, which subsequently passed linder the sway of the Gupta Sovereigns during the reign of Kumaragupta I, rather than Chandragupta II. An exhaustive study of the Maitraka Kingdom of Valabhi was made by two scholars for their doctorate. Dr. Miss. K.J. Virji published the results of her research as a part of Ancient History of Saurashthra, while Dr. H.G. Shastri amplified his subject by incorporating contemporary kingdoms in south Gujarat and his publication 'Maitrakakalina Gujarata' (1955) covered entire Gujarat during the Maitraka Period. In the latter the author has discussed the different views about the origin of the Maitrakas and established that the Maitrakas, who were devotees of Mahesvara were descndant of Mitra,

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H. G. SHASTRI SAMBODHI a pontif of the Pasupata sect. He has also fixed the exact chronological system of the Valabhi Era as well as the definite date of the fall of Valabli. The power of the Chavada dynasty at Anhilwad Patan is now found to be very limited in space and time. It is now realised that the traditional dates of the birth and coronation of Vanaraja Chavada are to be placed about 100 years later if the contemporary kings of Kanauj are to be identified on the basis of comparative chronology. (Dr.) Smt. Malati K. Bhatt has made a critical study of the post-Maitraka history of entire Gujarat and got hier doctorate on it. The Chinchani Plates of Rashtrakutas, discovered in 1955, have revealed tliat tlie advent of the Parsis to Sanjan must now be dated 716 A.D. rather than 936 A.D. Jadi Rana wlio welcomed thein is, therefore, to be identified with the contemporary Yadava king rather than King Vajjada of the silahara dynasty. The history of the Chavada, Solanki and Vaghela dynasties was treated critically by Shri D.K. Shastri in liis 'Gujarat-no Madlyakalina Rajputa Itihasa', the revised and enlarged edition of which was published in 1953. Here the author has given a plausible explanation for the south-ward extension of the naine Gurjaradesa to the region known as Gujarat subsequently. Dr. A.K. Majmudar depicted the history of the Chaulukyas of Gujarat critically (1955). The author has dwelt upon the fall of the Vaghela dynasty in detail and established that the Khalji ariny invaded Gujarat once in 1299 A.D. and again in 1304 A.D. He has also discussed the historicity of the traditional accounts pertaining to Minister Madhava and Princess Devaladeva. The history of Gujarat during the Solanki (or Caulukya) Period was also presented by Dr. N.A. Acharya in 1973. He had also made an exhaustive study of the Vagliela sub-period for his doctorate in 1965. As pointed out by him tlie Vaghela dynasty was simply another lineage of Caulukya or Solanki dynasty. The extension of the Caulukya kingdom marks the end of the Ancient Period in the history of Gujarat. during the Minister Madliscussed the li In 1960 the M.S. University of Baroda published 'Chronology of Gujarat, enumerating all important historical and cultural events clironologically from earliest times to 942 A.D. The subsequent volume covering the Caulukya Period is unfortunately left unpublished. An up-to-date account of the political and cultural history of Gujarat from earliest times upto the end the Caululaya Period was prepared by this author (H.G. Shastri) in an outline and published by Gujarat University in 1964. This author delivered three lectures on the 'Sources of Ancient History of Gujarat', in South Gujarat University in 1977. They were published by Gujarat Itilas Parishad in 1978.

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Vol. XIX, 1994-1995 RECENT RESEARCH IN... 77 The stone-inscriptions discovered by Shri A.V. Pandya have brought to light some more kingdoms in south Gujarat. The inscriptions are compiled in 'New Dynasties of Medieval Gujarat', published in 1969. The more intensive studies of the epigraphic and literary sources have shed more light on some other aspects of the ancient history of Gujarat. Dr. H.D. Sankalia made 'Studies in the Historical and Cultural Geography and Ethnography of Gujarat' (1949), mainly on the basis of the ancient inscriptions of Gujarat. Dr. P.C. Parikh studied the gradual evolution of the script in Gujarat from Bralimi to Nagari and published his work in 1974. It reveals that the script evolved froin the southern form of Brahmi upto the end of the Maitraka Period, but gradually yiled place to the northern form of Bralimi during the post-Maitraka Period. The Gujarati script is derived from the later stage of the Northern form. Prof. V.S. Dixit made an analytic study of the administrative organization in Gujarat from the Maitraka Period to the Caulukya Period. Prof. B.J. Sandesara studied 'Contribution to Sanskrit Literature of Vastupala and his Literary Circle', which was published in 1957. Prof. Nilanjana S.Shah made a critical study (1970) of 'Bhattikavya' composed in Valabhi, while Miss Vibhuti R. Gharenkhan (now Mrs. V.V. Bhatt) worked on Poet Somesvara Life and works : A Study' (1973). Prof. S.M. Pandya made a critical study of the Sanskrit dramas and poems composed in Gujarat on the basis of the Malabharata (1982). " Miss Bharati K. Thaker (now Mrs. B.K. Shelat) made an investigation into the chronological systems reflected in the epigraphic and literary records of Gujarat from early times upto 1300 A.D. The work was published in 1987. Prof. J.P. Amin made a critical study of the spread of saivism in Gujarat upto 1300 A.D. (1964). 'A Historical and Cultural Study of the Inscriptions of Gujarat to the End of the Caulukya Period' by this author was published in 1989. Miss Varsha Jani worked on the inscriptions of Gujarat during the Caulukya Period and published her work in 1991.

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78 H. G. SHASTRI SAMBODHI Mrs. Renu Lal made a critical study of the ancient coins of Gujarat (1992). The extension of the power of the Delhi Sultanate over Gujarat in 1304 A.D. marked the transition of history and culture from the Ancient Period to the Medieval Period. Gujarat remained under the sway of the Delhi Sultanate upto 1407 A.D., after which the independent Sultanate of Gujarat was established. The history of the Sultanate Period was treated exhaustively by Shri R.B. Jote in his 'Gujarat-no Sanskritika Itihas: Islam Yuga' publislied in four parts during 1945-58. The author has availed himself of the Arabic and Persian annals and also described the outstanding monuments of Islamic architecture. Prof. S.C. Mishra dwelt upon the rise of Muslim power in Gujarat (1963). Dr. I.V. Trivedi worked on the data supplied by the Sanskrit inscriptions of Gujarat during the Sultanate and Muglial Periods. (1971). The regime of the Gujarat Sultanate continued upto 1572-73 A.D., when Emperor Akbar established his sway over Gujarat. Prof. K.F. Sompura inade a historical and critical survey of the architectural forn of the structural temples built in Gujarat upto 1600 A.D. (1963). Gujarat University published his work in 1969. Mrs. Haripriya Rangarajan made a historical and cultural study of the spread of Vaisnavism in Gujarat upto the 16th century A.D., with special reference to the iconic forms of Visnu and his incarnations. Her work got published in 1990. Miss Devika Pandya inade a critical study of the coins of the Gujarat Sultanate and got her doctorate in 1993. Prof. R.T. Savalia delineated the iconography of Hindu goddesses in Gujarat up to 1600 A.D. His work was published in 1991. Miss Krislina Pancholi worked upon the solar icons in Gujarat up to 1700 A.D. for her doctorate received in 1993. Dr. C.R. Naik put forth an intensive study of the Gujarat Sultanate in 1981. The archaeological excavations conducted at Champaner revealed a vivid picture of the town planning of the new city along with its gradual development and decline. The report embodying its results, prepared by Dr. R.N. Mehta, got published in 1979. A collection of the historical inscriptions of Gujarat during the Sultanate Period was prepared by this author and published by Forbes Gujarati Sabha, Bombay in 1979. It consists of 111 inscriptions in all. An exhaustive study of the Mughal Period (1573-1575 A.D.) in Gujarat was contributed by Prof. M.S. Commissariat in his History of Gujarat, Vol.II.(1957). Dr. N.A. Acharya supplemented the cultural history of the period in his Mughalkalina Gujarat (1974). A compilation of the historical inscriptions of Gujarat during the Mughal

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Vol. XIX, 1994-1995 RECENT RESEARCH IN... Period was prepared by this author and published by Forbes Gujarati Sabha, Bombay in 1981. It contains 173 inscriptions of the Mughal Period. Prof. Thomas Parmar made an architectoral survey of the Hindu and Jaina temples built in Gujarat during the Mughal Period (1990). The history of the Maratha Period (1757-1817 A.D.) prepared by Prof. M.S. Commissariat as his History of Gujarat, Vol.III is published by Gujarat Vidya Sabha in 1980. The British Period (1818-1947 A.D.) characterised by the dominant impact of the Western culture, the rise and growth of nationalism, the leadership of Gandhiji and the wide-spread impact of his ideology on the life and culture of the people belongs to modern Gujarat. An outline survey of modern Gujarat was made by Shri H.T. Parekh in his 'Arvachina Gujaratnum Rekha-darsana' published in three parts during 1935-37, which is now edited by his son Dr.M.H. Parekh and re-printed in one volume by the Gujarat Vidya Sabha. An outline survey of the political and administrative movements in Gujarat from 1915 to 1960 was made in the Souvenir of the 66th session of Indian National Congress held at Bhavanagar in 1961, i.e., just after the emergence of the Gujarat State in 1960. A number of monographs are published on the different local Satyagrahas that took place in Gujarat during the Gandhian Period. Some research scholars also choose to study the various aspects of the contribution of Gujarat to the National Struggles for Independence. Much impetus is given various academic activities after the attainment of Independence, especially after the emergence of the Gujarat State in 1960.

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MANAGEMENT OF TEMPLES AT NADOL DURING THE CAUHAN PERIOD R.V. Somani Nadol, now in district Pali of Rajasthan State remained the capital of the local Chauhan-rulers. Several Jain and Hindu temples were built there. It is believed that Maharaja Laxman, who was the progenitor of the family came from Sapadalaksa and rescued the people of Nadol from the tyranny and free booting raids of Med tribes. He was, therefore, requested by the local residents to settle there permanently. Col. Tod saw two epigraphs dated VE. 1024 and 1039 of his reign at Nadol.One more inscription now incised in the Nil-Kanth-temple of Nadol is dated VE 1125 of the reign of Maharaja Laxman. The scholars believe that it was a mistake of engraver, who had wrongly inscribed the date as VE 1125 instead of VE 1025.' Thus Laxman remained in power between VE 1024 to 1039. He constructed the Laxman Svami temple at Nadol and fortified the town by building boundary walls around it having several gates. Laxmana Svami Temple As already stated, it was built by Maharaja Laxmana. Its references are available in the Sadari and Nadol inscriptions dated VE 1147 of Maharaja Jottal Deva. The same text of the inscription has been engraved at both these places. It mentions that whenever the festival of Rath Yatra was organised in any temple, the courtezans attached with other temples must also attend the same by putting on their ornaments and best garments. They were required to perform dancing, play instrumental music, recite sings and so forth." It seems that Laxmana Svami temple remained simple in design and has not been referred much in the later records except the unpublished inscriptions of VE 1162, 1192 and 1251.5 Other Temples The Tripurusadeva temple, existed some where outside the town. It was having several small shrines as mentioned below :

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Vol. XIX, 1994-1995 MANAGEMENT OF TEMPLES... 81 (i) Maharani Chandata devi, the queen of Maharaja Asvadeva or Asaraja built a Candalesvara temple in the area of Tripurusadeva. The Maharaja granted a village Picchavali for its maintenance. This village was later transferred to Mehari Sobhika a dancing girl and therefore another village Salayi was alloted. (ii) Maharani Sankaradevi, the queen of Maharaja Alhan built a small shrine of Gauri in the Chandaleshvar temple. It seems that she built this temple when Alhana was Maharaja Kumara.? (iii) Chaulian Kuntapal's daughter Laxmanadevi built a temple of Lakhanesvara, which was situated inside the Tripurushdeva temple. (iv) Chauhan Raipal's queen Padmatadevi and lier two sons Sahanpala and Sahajpala built three temples nained Padmalesvara, Sahanpalesvara and Sahajapalesvara. (v) Chauhan Sahanpal made some donations to the Tripurusa deva temple in VE 1192 and desired to continue the Rath-yatra celebrations of the temples Padmalesvara, Sahajpalesvara and Sahanpalesvara. It seems that Rath-yatra festival was regarded an important celebrations, which was to be performed with great pomp and slow.! (vi) Chauhan Alhan confirmed the charities made to the temple of Tripurusa deva by certain residents named Katu kika, Madanpal and Mohan sinha of village Nanana." (vii) Chauhan Allian granted a village Nanana to the Tripurusa deva teinple in VE 1219. It seems that during the course of the reign of some other rulers from VE 1206 to 1218 over Nadol this village was confiscated. It was, therefore, restored back to the temple.1? (viii) He also granted three Halas measure of land situated in village Sewadi to God Tripurusadeva temple. In a further grant he also donated a village Chamodi to the Tripurushdeva village Bhitalavada to Candalesvara and four Drammas per month to the Gauri temple. 12

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(ix) R.V. SOMANI SAMBODHI Chalukya Kumarpal of Gujarat who also lield Godawar (Nadol area) under him, presented one Dramma daily from the Mandapika of Nadol to Lakhanesvara temple. He also granted some land to the Mataji temple of Bali.in VE 1216 The Sunda Inscription of VE 1319 mentioned that Chauhan Alhan constructed a siva temple at Nadol. No details of it is now known. It was also situated in the above complex. (xi) The above epigraph also states that Alhau's son Kelhan built a golden Kalasa to the Somanath temple of Nadol. It is a separate temple still situated there. Staff Posted in the Temples Besides the above temples, some more shrines also existed at Nadol, as is clear from the inscription of VE 1198, wherein the following staff attached to various temples appeared as the witnesses to the order given by the state. These have Bhattaraka, Avoti, Varika and some others. It seems that the Bhattaraka was the chief priest. D.C. Sircar, has wrongly identified him with the ruler. l. It seems that the inscription of VE 1198 escaped from his notice. The Avoti and Varika were subordinate officers. The word "Dvaravati" is not clear. It seems to be a small temple situated near the main gate. The following three Dvaravatis are referred. (i) Avoti named Salahari posted at Dvaravati of Prthvipalesvara teinple. (ii) Avoti named Jogadlaru posted at Dvaravati of Asapalesvariya temple. (iii) Avoti named Srivaccha posted at Dvaravati of Tripurusadeva temple. The Bhopa is a Rajasthani term used for the priest of the small Devara (temple). We find its references in many other inscriptions. The inscription of VE 1198 of Nadol refers one Bhopa of Psthvipalesvara temple. The details of the Bhattarakas are as under :- 18 (1) Katuka and Sajan, the representatives of the Bhattaraka Kailasa of the temple built by Chalukya Jaisinha of Gujarat at Nadol.

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Vol. XIX, 1994-1995 MANAGEMENT OF TEMPLES... (2) Bhattaraka Varuna Sinha of Anahilesvar temple (3) Bhattaraka Isvarasinha of Rajendra-Rajesvariya temple. (4) Bhattaraka Jnansiu of Anupamesvariya temple. (5) Bhattaraka Isanu of Prtlivipalesvariya temple. Bhattaraka Muktideva of Jaijalesvariya temple. (7) Bhattaraka Vinayaka santi siva of Tripurushiya temple. (8) Bhattaraka Muladeva of Asalesvariya temple. (9) Bhattaraka Tatpurush of Padmalesvariya temple. (10) Bhattaraka Muladeva to Tripalesvariya temple. (11) Bhattaraka Brahma Rasi of Asapalesvariya temple. The word Bhattaraka also appears in the inscription of Nanana dated VE 1171, wherein the village Salayi was alloted to the Math of Tripurushdeva instead of Picchavali village. Its share was desired to be made between God Chandalesvara and Tripurushdeva by the Bhattaraka of the temple.!' In Bali a lady Bhattarika also worked in the temple of Mother goddess. It is mentioned in an inscription of VE 1116 of Kumarapal Chalukya of Gujarat.20 Tlie word Varika is also used in the Nanana grants. Rath Yatras were perfor Peing organised Ples lield this du temples Several Chauhan inscriptions mention that the Rath-yatras were perforined both in Hindu and Jain temples. The Hindu temples lield this festival on different days in a year. At present it is being organised on Bhadrava-Sudi 11 in Rajasthan State. The Hindu temples were much decorated at this occasion. The Mula Nayaka icon or small icon from the temple was taken in a large procession for getting it bathed in some tank or well. As already stated the dancing girls with their staff also accompanied the function. In the inscriptions of VE 1147, the word "Pramada-kula27 only appears the meaning of which remained uncertain. The scholars differed about its meaning. However, by the discovery of the Nanana grants this point is obviously cleared.22 The dancers and other staff

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R.V. SOMANI SAMBODHI accompanied the Rath-yatras of the Hindu temples only and they did not join the Rath-yatras of the Jains. For arranging Rath-yatras properly some officers looked the matter. The Nadlai Inscription of VE 1200 mentions that Rajadeva came to attend the Rath-yatra celebrations.23 Other Taxes We have many details about the taxes levied from inmates of temples. The Nadol inscription of VE 1200 refers that Maharaja Rajpal Chauhan and Ranak Bhuvanpal attached with him issued an order exempting all the dancing girls to make any payment of tax to the state Government.21 The Laxman Svaini temple was exempted to make any payment of "Vardhapana". The Vardhapana is an old Rajasthani term. It is used in the inscriptions of VE 1162 and 1192 of the temples.25 Dancing Girls And Other Staff The most important fact about the Chauhan Hindu temples is posting of dancing girls and other associate staff in them. They are described as Vilasini, Ganika and Meharis. As already stated, they joined the religious functions to be held in the temples and other activities like Rath-yatras. Several donations were given to them. Their names are Vilasini Bijala, (the daughter of Padmavati) Meharis Bigada, Sitadoi, Premali, Ratani, Sriyadevi Ganika Gocchani's daughter whose name is not illegible and others. Maharaja, Aswaraj went to the house of Mehari Sobhika, who was properly entertained there. The Maharaja granted a village picchavali on Posh Sudi 10, VE 1171. It was stipulated that so long this village would be enjoyed by the said Mehari she would be deprived of taking 5 Dronas of wheat. It seems that the village was formerly in the Jagir of the temple of Tripurusadeva who was given another village by the state.26 REFERENCES : 1. The Puratan Prabandh-Sangraha (SJGM), p. 102. Annals and Antiquities of Rajasthan (OUP) II pp. 817-18 Dashrath Sharma--Early Chauhan Dynasties (1975) p. 138. E. 1. Vol. XI. pp. 26-28. 4.

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Vol. XIX, 1994-1995 MANAGEMENT OF TEMPLES... 85 5. o nooo 11. 13. 15. All these inscriptions are unpublished. The author has edited them in Varada Vol. 35 No.I at pp. 12 and 13. E.I. XXXIII p. 240-42. Ibid., XXXIX pp. 17 to 26. It is referred in the Nanana grant of VE 1212 Sravana Sudi 5 (July 24, 1156 A.D.), which is reported by G.H. Ojha in Ajmer Museum Reports (E.I. Vol. XXXIII p. 239 fn.) Ibid., p. 243 (Section VIII (a). 10. Ibid., p. 243 Ibid., XXXIX p. 20 12. Ibid., p. 19-20.. Bali inscription of VE 1216 mentions the land grants given by Kumarpal Chalukya (D.R. Bhandarkar's list of the Inscriptions of Northern India No.3072. The Author has seen the text on the spot. In contains zrI aNu pamezvara devasya bhujya mAna bAla hI grAme bhaTTArikA zrI vajjasvavadevyAH pUjArthe A dharmasthAnabhUmi ilAta loke svabhUti dharmeNa prdttaa| E. I. Vol. IX. p. 72. Ibid. E. I. Vol. XXXIII pp. 239-244 17. Ibid. Vol. XI pp. 38 to 40 Ibid. 19. Ibid., Vol. XXXIII p. 242. D. R. Bhandarkar - List of the Inscriptions of Northern India No. 307. The Author has seen the text on spot, some part of which is quoted at No.13 above. Ibid., Vol. XI p. 26 to 28. 22. . Ibid., Vol. XXXIII p. 239-43. 23. Ibid., IX p. 159/ P.R.A.S.W.C. 1908-9. 45. saMvata 1500 bhAdavata vadika saMpatta devAnAM satkaM pramadAkulAnAM daNDanaM dhomuktaH (Varada Vol.35 No. I p.13) (1) saMvata 1162 vaizAkha sudi 3 zrI lakSmaNasvAmi devasyavahAvatake muktamiti (2) saMvata 1192 jeTha sudi 11 kuchanAe adhaI zrI lakSmaNasvAmI devasya aya pramRti eja bAla bhokatA (jena zrI (pra.) 'bhA (sa) satkaM bahapita yugamuktaM / (Varada Vol. 35 No. I p. 12) 25. The Inscriptions of VE 1162 and 1192 have exempted the levy of the taxes as Vardhapan (Ibid pp.12 and 13). 26. E.I. Vol. XXIII pp. 238 to 246. 18. 21.

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CONTINUITY OF TRADITION IN MEDIEVAL SCULPTURE AND PAINTING IN WESTERN INDIA Shridhar Andhare If sculpture is the index of art of a particular region at a given time, one realises that all art forms whether plastic or graphic, appear to be one and follow a continuity of style which appears to be traditionally landed down to the craftsmen through 'Master to pupil tradition i.e. Tafgre . This congruity of style later developes into schools, gliaranas, guilds etc. of which there are numerous examples. Although this fact appears to be a universal phenomenon all over in Indian Art from the beginning till end, some striking revelations of such a continuity can be seen through the sculptural art of Eastern India during the Pala and Sena period on the one hand and their contemporary Buddhist palm-leaf MSS. and the painted wooden book covers on the other. The Buddhist MSS. of Astasahastrika Prajnaparimita' and other similar ones are merely of inconographic significance and exhibit their indebtedness to contemporary sculpture in stone and metal of that period. Simultaneously, the medieval Western Indian and Rajasthani art in general and Jain art in particular compares well with Jain illustrated MSS. and their painted wooden book-covers of the same period. Not only that but the narrative sculptural reliefs of the Delwara temple at Mt. Abu, and certain sculptural reliefs of the Osian temple near Jodhpur, have a distinct ancestery to the Jain art of the medieval period which is reflected in some of the excellant painted book-covers of that period.2 The linear quality of any work of art, or especially of paintings, is the basis of its creation. This is amply emphasised since ancient times through textual references on silpa and painting. A glaring example of this linear convention has recently been brought to light by Chakravarti and Somani? who have discovered two large size engravings of the figures of donors on the front pillars of the garbhagyha of the Samiddhesvara temple at Chittor. They bear Nagari inscriptions above the figures giving the date of A.D. 1227 and names of Sutradharas. In addition to tliese there are a number of Sati and hero stones lying on the right side of the road while ascending the fort which have

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Vol. XIX, 1994-1995 CONTINUITY OF TRADITION... 87 similar etchings in linear character though of a much later date. It is therefore apparent that etching work following the current line an expression was in vague among the Sutradhara and gajdhars in Western India. It is at this stage that we are faced with problem of interdisciplinary functions of the Sutradharas, Gajdhars and painters. M.K. Dhavlikars" paper on this subject supports the view that the Sutradharas were painters, to which. Stella Kramrisch has added an editorial note which is very significant and clarifies the terms and their functions. "The Manusarhita (VI,47-48), or the "Law of Manu", a compendium of c. the first two centuries A.D. preceding any of the known Sipasastra texts, clarifies and classifies the relations of the architect to the Surveyor-designer, sculptor and the painter as Sthapati (inaster architect) Sutragrahin (Surveyor-designer), Taksaka (sculptor) and carpenter (who cuts and carves) and Vardhaki (Who makes grow) i.e. creates by adding to the structure as modeller in clay and plater) and painter. The term Sutradhara is not mentioned here. It was apparently used as a synonym of Sutragrahin. The Sutragrahin was the disciple or son of the Sthapati. In his faculty as "designer", the Sutragrahin would be subsequently or in other branches of tradition, identified with the Sutradhara (of P.K. Acharya. Indian Architecture acc. to Manasara, Bombay 1927 p. 137). The term Sutradhara in its technical connotation denoting the stage manager, has, it seems, been given this meaning from the leading importance of the manager of a puppet play who holds the threads-(sutra) of the puppets. The term Sutradhara ("who holds the threads") is close in meaning to Sutragrahin ("who seizes or holds the threads"). The term Sutradhara thus came to substitute for Sutragrahin, as leading amongst the executive architect artists and would further more have been applied to any leading practitioner in his branch, be he architect, sculptor, (carver or modeller) and particularly, painter whose delineation was essential to the pictorial composition". It is in this context that we now discuss a new document which the author discovered during the course of his research. While interviewing a number of painters at Udaipur, and some genealogies of Gajdhars or Sutradharas; it was revealed that they were Jangid brahmins and belonged to the Laddani community of carpenters. Among them were architects, engineers, mistries etc and also Chataras (painters) who were capable of handling painting and decoration jobs at times.

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SHRIDHAR ANDHARE SAMBODHI Among the various names of Gajdhars was one Leeladharji Gajdhar, now about 62, a retired draughtsman from State P.W.Department. He narrated that his forefathers have worked on the designing, construction and carving of the Ram Pol', the last gateway while ascending the Chittor fort. By the left side of the gateway there are three inscriptional slabs giving details of the family. He showed a small size MS. with line drawings and text (perhaps a handbook or a working manual of the Sutradhara family in this connection. This being mainly of architectural interest a few pages were photographed. But the MS. unfortunately did not have any beginning or the end. However on careful study of one of the folios of the MS. it was revealed that it had the line drawings of five standing Devis holding their attributes in their hands. The five Sanskrit verses above the drawings turned out to be the iconograpliic descriptions of the Pancadevis i.e. the Panca lila's as given in the Aparajitaprachha8 the text which is by and large accepted to be of the Maru-Gurjara (Western Indian)' text of the 13th Century A.D. from Western India. The verses written on the sketch book appear in a corrupt Rajasthani and mixed Sanskrit language in Devnagari script as under: paMcalIlA pravakSyAmi zAstra bhede surbhedatA / kayAlIla lIlAMgI / lalitAca lIlAvatI // 1 // taptakAMcana varNAbhA / bAlasUrya samaprabhA / sUvaktrA sunetrA ca svarUpA rUpadAyanI // 2 // akSamAlA tathA kuMDI / adhse hastepu kArayeta / dvauhastau vIdazau sarvA / udhva hastau nigadAyate / / 3 / / mRNAla yugma lIlA syAM padma pustakaiH / lIlAMgI pAza padmAbhyAM / lalitA ca vajrAMkuzaiH // 4 // pArzakuza lIlAvatI / lIlayA paMthakIrtitA / asyAnaMtara vakze / navadurgAzu bhAvae // 5 // iti paMca lIlAMga Avaghasvarupa / paMcalIlA rA jANA (vA) vAhanaM haMsa vargAbhaM re| The correct reading as per Aparajitaprachha is given below.10 lIlayA pazca vakSyAmi zAtrabhedaiH prabheditAH / lIlayA lIlA lIlAGgI lalitA ca lIlAvatI // 20 // proktAstayA'nukrAmataH svAna syA (?) caturbhujAH / taptakAMcanavarNAbhA bAlasUryasamaprabhAH // 21 / / suvaktrAzca sunetrAzca svarUpA rupa dAyikAH / raktoSThAH kambugrIvAzca karNapUrAyate kSaNAH // 22 // akSasUtra kamaNDalU adho haste pu kAmadAH /

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Vol. XIX, 1994-1995 CONTINUITY OF TRADITION... sarvAsAmIdazau hasto kathyate cordhvahastakau // 23 / / mRNAlayugma laliyA lIlApadyaM ca pustakam / lIlAMGgI pAzapa(:) ca lalitA vajramaNDakuzam // 24 // pAzAMDakuzau lIlAvatI laliyAH paJca ceritAH iti paMcalaliyAH athA'tA'naMtara vakSye durgAnAM navakaM kathA // 25 // Other folios from the same MS. had drawings of temples and their plans, proportions of animal figures and iconographic details of other deities. Thus, it is likely that the Sutradhara and Gajdhars followed this book as their working manual which could go back to atleast the 13th Cent. A.D. Although its exact usage is observed in the 15th Century gate ways of Chittor fort during the reign of Rana Kumbha (A.D. 1433-68). 11 The geneology also brings other points to the fore that there were also artists (Chitaras) among the family of Sutradharas as the names of some painters like Bhimaji (Sutar), Jiwanramji, Rupaji, Nathuji (Sutar) and others marked with a circle in the geneology, appear on the back of several large miniatures of the Mewar School. The majority of which is in the collection of City Palace Museum and Janani Mahal at Udaipur. At the same time three copies of the grants were obtained from the same family which denote the gifts of villages to certain painters from Leeladharji's family during the reign of Maharana Bhim Singhji of Mewar (A.D. 1778 - 1828). Thus, it can be surmised that the tradition of Sutradharas and Gajdharas has been active in Western India atleast from the 15th Century in Mewar and especially at Chittor. Another point which comes to light is that they must be following the technique prescribed by the Aparajitaprchha which has been specified as of ca. 13th Century from Western India. The third important point to note is that there were Clitaras (painters) among the Gajdhar families who were executing painting jobs as well as jobs of interior decoration of Palaces, Havelies, temples etc. In short the institution of Sutradharas did not have water tight compartmentalization of their skills but it was always an interdisciplinary activity of all members of the family or guild.

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90 References: 2. 1. Moti Chandra, Studies in Early Indian Painting, Asia Publishing House, Delhi, 1974. Also see the MS. of Pancharaksha Mandala of the Ashutosh Museum, Calcutta, JISOA, Vol. XV.1947, pp.89 ff. 3. 4. 5. 6. 7. 8. 9. 10. 9. SHRIDHAR ANDHARE 11. SAMBODHI Also see Muni Punyavijay and U.P. Shah, Some painted wooden Book-covers from Western India, Western Indian Art, JISOA, Vol. 1 (new series) 1965-66 pp. 34-42, Col. pl. 67. S.N. Chakravarti and R. V. Somani, mevADa zailIkA prAcInatama (I.sa. 1286 kA) aMkana, fr (Hindi) Vol.1 year 25, Udaipur, p.64. M.K. Dhavlikar, Sri Yugadhara. Master Artist of Ajanta. Artibus Asiae Vol. XXXI.4, ASCONA Switzerland 1969. pp. 301-8. Ibid p. 308. Shridhar Andhare, Chronology of Mewar Painting, 1987 IV p. 159. Kala Prakashan, New Delhi, 1987. Ram Vallabh Somani Maharana Kumbha, Hindi Sahitya Mandir, Jodhpur 1968 p.273 Kirtistambha Prasasthi Sloka 36 (Hindi). B. Bhattacharya Aparajitaprchha. Gaekwad Oriental Series No. CXV. Baroda 1950. Sloka (222) p.572. M.A. Dhaky. Renaissance and the Late Maru Gurjara Temple Architecture Western Indian Art. U.I.S.O.A. Spl. Ko. Vol. I 1965-66 p.4. ob-cit. Here the word of a pears instead of her which may be noted. godhAsanA bhaveda gaurI laliyA haMsavAhanA / siMhA bhaved durgA kartavyAH sarvakAmadA ( 1 ) // 37 // Shridhar Andhare ob-cit. See Mewar Artists and their Periods pl. XIV. p. 168 and Andrew Topsfield. Paintings from Rajasthan in the National Gallery of Victoria. Melbourne, 1980 See Index of Artists p.169. M.A. Dhaky ob-cit. discusses various monuments which may have been executed by the members or ancestors of the same family of Sutradharas.

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mantrArthaghaTana meM yAska evaM veGkaTAdibhASyakAroM kA vaicitrya / bhAratI satyapAla bhagata prAcIna bhAratIya sabhyatA evaM saMskRti kA Adi srota veda hai| parantu maharSi aravinda ne veda ko "paramezvara ke rahasya ko prakAzita karanevAlA paramodAtta kAvya" kahA hai| aise veda kI vicAradhArA ko, usake arthagaurava ko samajhane ke lie hameM usake TIkAkAroM kA Azraya lenA pddegaa| yAska. skandasvAmI. veGakaTamAdhava. sAyaNa ityAdi bhASyakAroM ne vedArtha spaSTIkaraNa kA eka uttama namUnA hameM diyA hai| jisakI sahAya se hama veda ke mantra ko samajha sakate hai| yAska ne apane nirUkata meM veda ke anya TIkAkAroM kA ullekha kiyA hai| isase hame yaha mAlUma hotA hai ki nairuktapakSa, yAjJikapakSa, aitihAsikapakSa ityAdi vicAradhArA ko pragaTa karanevAle aura bhI vidvAna the| hamArA kamabhAgya hai ki ve saba Aja upalabdha nahIM hai| yAska veda ke artha kA spaSTIkaraNa kauna nahIM kara sakatA hai isI sandarbha meM kahate hai ki jo AdamI na to RSi hai ki na to tapasvI hai, vaha mantro ke artho kA sAkSAtkAra nahIM kara sktaa| ata: unhoMne kahA hai ki mantra ke artha kI vicAraNA paraMparAgata artha kA zravaNa kara ke tarka se nirUpita kI gaI hai| arthAt mantroM kI vyAkhyA pRthaka pRthak karane kA chor3akara prakaraNAnusAra hI karanA caahie| vedArthaghaTana kI prakriyA meM yAska atyaMta sAvadhAna hai| sAyaNa bhI apane vedabhASya meM mahatvapUrNa pratyeka zabda kI vyutpatti, siddhi aura svarAdi kA varNana karate haiN| aura pANinIyasUtroM, prAtizAkhya aura nirUkta kA prayoga karate hai| sAyaNa kvacit yAska ke arthaghaTana ko zabdaza: svIkAra karate hai| skandasvAmI tathA veGkaTamAdhava jaise prAcIna bhASyakAra bhI zAstrokta arthaghaTana kA yathAvakAza svIkAra karate hai| mantrAghaTana meM yaha dhyAnAspada hai ki vividha bhASyakAroM ne eka hI mantra kA alaga alaga DhaMga se arthaghaTana kiyA hai| udAharaNarUpa se eka hI vedamantra ke vividha arthadhaTanoM kA abhyAsa yahAM prastuta kiyA hai| Rgveda ke caturthamaNDala meM prApta hotA yaha mantra dekhie - catvAri zRGgA trayo asya pAdA ... dve zIrSe sapta hastAso asy| tridhA baddho vRSabho roravIti maho devo maha~ A viveza // Rgveda (4/58/3) isa (vRSabha) ke cAra sIMga hai, tIna pAda hai, do mastaka hai aura sAta hasta hai| tIna sthAna para bAMdhA gayA vaha vRSabha AvAja karatA hai, vaha mahAn (vRSabha) deva martyaprANIoM meM praviSTa huA hai| aba vividha bhASyakAroM dvArA pradarzita arthavaividhya kI samIkSA kregeN| isa vedamantra meM vRSabha ke sandarbha meM hI bAta hai| jaise ki vRSabha ke cAra zIMga hai, tIna pAda hai, do mastaka hai, sAta hAtha yukta, tIna bAju huA vRSabha AvAja karatA hai| lekina yahA~ saMzaya pedA hotA hai ki vRSabha ke tIna paira kaise ho sakate hai, aura sAta

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92 bhAratI satyapAla bhagata SAMBODHI hAtha kaise ho sakate hai ? isalie yahA~ koI laukika vRSabha kI bAta aprastuta hai itanA spaSTa hai| phira ArSa dRSTA RSine yahAM kisakI bAta ki hai? yaha gaveSaNIya hai| yahA~ sarva prathama yAska kA arthaghaTana dekhate haiN| yAska vRSabha ko upamAna aura yajJa ko upameya ke rUpa meM dekhate haiN| arthAt isa mantra kA yajJaparaka arthaghaTana deteM hai| vRSabha ke cAra zIrSa arthAt cAra ved| tIna savana arthAt somarasa nikAlane ke tIna samaya (=prAtaH, madhyAhna aura saMdhyA) yahAM abhipreta hai| vRSabha ke do zIMga se yahA~ do havana prastuta hai - prAyaNIya aura udanIya / sAta hAtha se sAta chando meM nirUpita vedamantra yahAM abhipreta hai| vRSabha tIna bAju se bandhA huA hai isakA matalaba hai ki yajJa mantra, kalpa aura brAhmaNa meM baddha hai| vRSabha ke AvAja ko yAska ne Rk, yajus, sAma se baddha stutimAna kahA hai| "mahAdeva" zabda ko vRSabha ke vizeSaNa ke rUpa meM svIkAra kiyA jAya to yajJa ke pakSa meM "zabda' hI mahAdeva hai aisA svIkAra karanA cAhie / yahI mahAdevarUpI yajJa yajana karAne ke lie manuSya jAti meM pracalita huaa| isa taraha yAska prastuta mantra kA yajJaparaka arthaghaTana dete hai| aura "mahAdevayajJa" ke sandarbha meM uparyukta mantra kA svIkAra karate haiN|" aba veGkaTamAdhava prastuta mantra kA arthaghaTana kisa rIti se batAte hai yaha dekhie| yAska kI taraha veGkaTamAdhava bhI yajJaparaka artha svIkAra karate hai| cAra zIMgavAlA vRSabha arthAt cAra veda, tIna pAda arthAt tIna svn| do mastaka arthAt brahmaudana aura prvry| sAta hAtha arthAt sAta chanda meM nirUpita vedmntr| veGkaTamAdhava tridhA baddha vRSabha kA arthaghaTana yAska kI taraha "mantra brAhmaNa aura kalpa se baddha yajJa" aisA dete hai| vaSabha AvAz2a karatA hai - isako yajJaparaka artha meM kaise samajhAyeMge? to veGkaTamAdhava Rgveda, yajurveda, sAmaveda se ucarita yajJa kI stuti-aisA arthaghaTana dete hai| aura yaha stavana ghoSa se "pahAdevayajJa" manuSyoM meM pracalita huaa| sAyaNAcArya ne isa mantra ke bhASya meM kahA hai ki pAMca prakAra se isa mantra kI vyAkhyA ho sakatI hai| kyoMki yaha mantra jisa sukta meM AyA hai usa sukta ke agni, sUrya ityAdi pAMca devatAe~ hai| parantu nirukta meM jo prakriyA batAI hai usake AdhAra para isa mantra ko (1) yajJAtmaka agni, aura (2) sUrya ke pakSa meM samajAyA jAtA hai| ___ jaise ki - yajJAtmaka agni ke cAra zIMga hote hai jo cAra veda ke rUpa meM avasthita hai| isa yajJAtmaka agni ke tIna pAda hai arthAt yajJakriyA ke tIna savana ko yahAM tIna pAda kahe gaye hai| ina tIna savana ko pravRtti sAdhana mAna kara rUpakAtmaka dRSTi se tIna pAda kahe hai| isa yajJAtmaka agni ke jo do zIrSa hai vaha eka brahmaudana aura dUsarA pravarya hai| yahAM "sAta hAtha" yajJakriyA meM prayukta honevAle mantroM ke pramukha sAta chanda hai| yajJAnuSThAna meM hAtha hI mukhya sAdhana hote hai| aura chanda bhI isI taraha devatA ko prasanna karane ke lie mukhya sAdhana mAnakara "saptahasta" ke rUpa meM svIkAre gaye hai| yaha yajJAtmaka agni tIna prakAra se bAMdhA gayA hai| usakA artha hotA hai ki yajJa ko mantra, brAhmaNa evaM kalpa se bAMdhA gayA hai| isa mantra meM vRSabha kA artha hotA hai hala kI vRSTi karanevAlA tathA "roravIti" kriyApada kA artha hai bahuta AvAz2a karatA hai| jaise ki Rka, yajusa, sAma evaM ukthoM se yAgastuti ke prasaMga meM hotA ityAdi ke dvArA kiye jAnevAlA dhvni| aura aisA "mahAna deva" arthAt yajJAtmaka agni martya sRSTi meM praviSTa huA hai| yahA~ martya arthAt yajamAnoM ke dvArA

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Vol. XIX, 1994-1995. maMntrArthaghaTana meM.... yajJa niSpanna kiyA jAtA hai| sAyaNa ne yahAM yAska kA nAmollekhapUrvaka uddharaNa diyA hai ki catvArizRGgeti veda vA eta uktA: |(nirukt 13/7) sAyaNa ne sUryapakSa meM bhI isa mantra kA vyAkhyAna kiyA hai| jaise ki - isa Aditya ke cAra zRMga hai| jo cAra dizA ke rUpa meM hameM dekhanA hai| yahA~ zaMga zabda kA vyutpattijanya artha "AzrayaNa denevAlA" hai| ata: cAra dizAoM ko sUrya ke cAra zIMga mAne gaye hai| isa Aditya ke tIna pAda kauna hai? to sAyaNa batAteM haiM ki vaha tIna veda hai| pAda kA kAma gamana karanA hai| to sUrya bhI "divasa ke pUrvAdha meM Rgveda ke dvArA dhuloka meM gati karatA hai" - aisA kahakara tai.brA. maiM kahA hai ki - "tIna vedo ke dvArA sUrya (sabhI sthAnoM ko) azUnya karatA hai (arthAt saba ko bhara detA hai|)" (tai. brA. 3.12.9.1) arthAt isa brAhmaNavacana se sAyaNa yaha siddha karate hai ki tIna vedo ke dvArA sUrya sarvatra gati karatA hai| aba isa sUrya ke do zIrSa kauna hai? to sAyaNa batAte hai ki divasa evaM rAtri sUrya ke do zIrSa hai| aura sUrya kI sAta kiraNa vaha sAta razmiyAM hai| athavA SaDRtu aura eka sAdhAraNa Rtu milakara sUrya ke sAta hAtha banate hai| yaha sUryarUpI vRSabha kSiti, antarIkSa evaM dhuloka jaise tIna sthAnoM meM baddha hai| athavA grISma, varSA aura hemanta - ina tIna pramukha RtuoM se sUrya baddha hai| isa sUrya ko bhI "vaSabha" kahA jAtA hai aura vaha AvAz2a bhI karatA hai aisA hama kaha sakate hai kyoMki sUrya bhI vRSTikriyA meM nimitta hai| aisA sUrya rUpI mahAna deva bhI eka niyantA ke rUpa meM martya sRSTi meM praviSTa huA hai| jaise ki Rgveda meM anyatra kahA hai ki - sUrya AtmA jgtststhussshc| (Rgveda saMhitA 1.115.1) sAyaNa ne prAraMbha meM hi kahA thA ki isa mantra kA paJcavidha vyAkhyAna saMbhavita hai; to isa mantra ko apa(jala) ityAdi ke pakSa meM bhI vyAkhyAta kara sakate hai| lekina sAyaNa ne kevala aGgalInirdeza kara kara isa vyAkhyAna ko Age nahIM bar3hAyAM hai| __parantu sAyaNa ne isa mantra kA vaiyAkaraNoM ke dvArA jo vyAkhyAna kiyA gayA hai isakA saMkSepa meM nirdeza jarUra kiyA hai| jaise ki - catvArizRGgA ina pado se vyAkaraNa ke nAma, AkhyAta, upasarga evaM nipAta ina cAra pado kA grahaNa ho sakatA hai| sAyaNa anta meM kahate hai ki anya zAstravAle loga dUsarI taraha se bhI isa mantra kA vyAkhyAna kara sakate hai| ata: ina saba arthaghaTanoM ko hama yahAM dekha sakate haiN| uparyukta vibhinna arthacchAyAoM ko dekhane se itanA spaSTa hotA hai ki isa mantra ko- 1. yajJa yA yajJAtmaka agni, 2. sUrya evaM 3. zabdarUpI vRSabha ke pariprekSya meM dekhA gayA hai| mahAbhASyAkAra pataMjali prastuta mantra kA artha isa taraha karate hai| hama saba jAnate hai ki pataMjali vaiyAkaraNa . hai| ata: unhoneM jo arthaghaTana batAyA hai vaha yajJaparaka to hogA hI nhiiN| prastuta RcA kA zAbdika arthaghaTana dete hue vaha vyAkaraNa kI mahattA ko prasthApita karate hai| aura yAska tathA veGkaTamAdhava ke arthaghaTana se sarvathA bhinna arthaghaTana ko prastuta karate hai| pataMjali "mahAdeva" arthAt "zabda" kA prAdhAnya batAte hai| vRSabha ke

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94 bhAratI satyapAla bhagata SAMBODHI cAra zIMga kA artha hai - bhASA ke cAra pada, arthAt nAma, AkhyAt, upasarga aura nipaat| "tripAda" zabda ko pataMjali kAlaparaka svIkAra karake yahAM tripAda se bhUtakAla, bhaviSyakAla, aura vartamAnakAla kA artha batAte hai| vRSabha ke do zIMga hai| arthAt bhASA do prakAra kI hai| eka hai nityabhASA arthAt ved| kyoMki veda kI bhASA nitya mAnI gaI hai| aura dUsarI hai kAryabhASA arthAt laukika - jo vAgvyavahAra kI bhASA hai| "saptahastAsaH" pada ko pataMjali ne sAta vibhaktiparaka artha lekara samajhAyA hai| vRSabha "tridhA baddha hai" isa sandarbha meM pataMjali batAte hai ki zabdoccAraNa tIna DhaMga se hotA hai : hRdaya, kaNTha aura mukh| zabda tIna sthAnoM me baddha hai| aura zabda se vyavahAra calatA hai| kyoMki vaha artha kI vRSTi karatA hai| arthAt vANI se artha kI vRSTi dvArA lokavyavahAra calatA hai| pataMjali kA yaha zabdaparaka arthaghaTana anya bhASyakAroM ke yajJaparaka arthaghaTana se atyaMta bhinna hote hue bhI tArkika hai aura svIkArya hai usameM koI saMdeha nhiiN| pUrvamImAMsA-sUtra ke bhASyakAra zabarasvAmI ne bhI Rgveda ke isa mantra kA arthaghaTana diyA hai| abhidhaane'rthvaadH| 1/2/37. sUtrAntagata bhASya meM vaha batAte hai ki gauNI kalpanA ke pramANa ke AdhAra para catvAri zRGga zabda asad ke abhidhAna meM gauNa zabda hai| kyoMki uccAraNa se yaha dRDha pramANa nahIM hai| zabarasvAmI vRSabha ke cAra zIMga ko cAra hotA ke artha meM svIkAra karate hai| yahAM zabarasvAmI, yAska, veMkaTamAdhava aura sAyaNa jaise yajJaparaka arthaghaTana batAnevAle bhASyakAroM se alaga arthaghaTana dete hai| yajJa kI cAra dizA meM cAra veda ke cAra brAhmaNa hote hai| 1. Rgveda kA jJAtA hotA pUrva dizA meM, 2. sAmaveda kA gAna karanevAlA udgAtA pazcima dizA meM, 3. yajJadevI ke nAma lenA ityAdi yajJa ke vividha kArya karanevAlA yajurveda kA jJAtA adhvaryu dakSiNa dizA meM, 4. bAkI ke brAhmaNoM aura kAyoM kA adhyakSa atharvaveda kA jJAtA brahmA nAmaka Rtvija uttara dizA meM baiThatA hai| hama aisA mAna sakate hai ki yAska ne cAra zIMga kA artha "cAra veda" kiyA hai| vahIM athavA yAska ke uttarakAla meM, aura zabarasvAmI ke samayAvadhi meM yajJakriyAkANDa suvikasita ho gayA hogaa| jisake kAraNa zabarasvAmI "catvAri zRGgA kA artha, yAska kI apekSA se adhika vizada karate hai| do zIrSa arthAt patnI aura yjmaan| saptahasta zabda se yahAM sapta chanda abhipreta hai| tridhA baddha zabda ko zabarasvAmI ne tIna veda se bandhA huA kaha kara Rgveda, yajurveda, aura sAmaveda kA samAveza kiyA hai| artha kI kAmanA kI vRSTi karane se jisako "vRSabha" kahA gayA hai, vaha zabda karanevAlA hai aisA (=yajJa) manuSyaloka meM pracalita huaa| yajJa kI samRddhi ke lie jo sAdhana (homa dravyAdi) hai use cetanaprANI ke zarIra ke avayavo ke sAtha tulanA karake zabarasvAmI ne rUpaka dvArA isa vRSabha ke varNana ko spaSTa kiyA hai| jisa taraha "nadI" kI stuti karane ke lie rUpakAtmaka dRSTi se use kahA jAtA hai ki - cakravAkapakSIrUpI stanavAlI, haMsapakSIrUpI dantAvalIvAlI, kAzApuSparUpI vastravAlI aura zevAlarUpI kezavAlI nadI (baha rahI) hai| ___aba prazna hogA ki acetana yajJa ko hama sacetana vRSabha kA rUpaka lekara kaise spaSTa kara sakate hai? to isa bAta ko vizada karane ke lie zabarasvAmI kahate hai ki yajJa kI samRddhi ke lie arthAt yajJa kA mahimA prasthApita karane ke lie usa (yajJa) ke sAdhano (darbhaghAsa ityAdi) meM bhI sacetanatatva ko upapanna kiyA jAtA

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Vol. XIX, 1994-1995. maMntrArthaghaTana meM.... 95 hai| jaise ki (yajJakriyA) meM upayogI aisI vanaspati ko kATakara le Ane ke lie use prathama AmantraNa = sambodhana kiyA jAtA hai| jaise ki - "he aussdhi| tuma use bcaao|" "he grAvan tuma suno|" ityAdi zabarasvAmI ke TIkAkAra kumArila bhaTTa prastuta vicAravimarza kA ora ciMtana karate hai| rUpaka dvArA yajJa kI stuti yahAM abhipreta hai| aisA zabara ke cAra zIMga arthAt cAra yAma arthAt cAra prahara aisA artha kumArila ne diyA hai| tInapAda se tIna Rtu - zizira, gISma, varSA vahA~ abhipreta hai| do mastaka zabda ko kumArila do ayana (arthAt uttarAyaNa aura dakSiNAyana) ke artha meM svIkAra karate hai| yajJa ko azva ke rUpa meM mAnakara usake sAta hAtha arthAt sAta kiraNa kA svIkAra kumArila karate hai| tridhA baddha zabda ko tIna savana ke artha meM batAte hai| vRSabha ke AvAz2a se yahA~ vANI kI vRSTi arthAt vAgvyavahAra abhipreta hai| aura sarva loka meM prasiddha aisA mahAdeva arthAta mahAnadeva martyaloka meM praviSTa haa| aura utsAha dekara upakAraka karake sarva puruSoM ke hRdaya meM praviSTha huaa| rAjazekhara ne kAvyamImAMsA meM kAvyapuruSa kI utpatti kI carcAvicAraNA ki hai| unhoneM isa vedamantra ko vahA~ uddhRta kiyA hai| kAvyapuruSa kA varNana hai - zabda aura artha tere zarIra hai| saMskRta bhASA mukha hai| prAkRta bhASAeM terI bhujAe~ hai| apabhraMza bhASA jaMghA hai| pizAcabhASA caraNa hai aura mizrabhASAe~ vakSaHsthala hai| tU sama, prasanna, madhura, udAra, aura ojasvI hai (kAvya ke guNa) terI vANI utkRSTha hai| isa terI AtmA hai| chanda tere roma hai| praznottara, pahelI, samasyA Adi tere vAgvinoda hai| aura anuprAsa, upamA Adi tujhe alaMkRta karate hai| bhAvI artho ko batAnevAlI zruti (veda) bhI terI stuti karatI hai| isa varNana ke samarthana meM rAjazekhara ne yaha catvArizRGgA...... vedamantra udvata kiyA hai|52 upasaMhAra : ___ isa taraha eka hI mantra (Rgveda saMhitA 4/58/3) kA hamArI hI bhAratIya paraMparA ke bhASyakAroM ne vibhinna dRSTikoNa se anekavidha arthaghaTana prastuta kiyA hai| isa meM jo dhyAnAspada niSkarSa hai vaha isa prakAra hai: (ka) vedamantro ke arthaghaTana eka se adhika dRSTikoNoM se ho sakatA hai| jaise ki jo mantra (catvArizRGgA..) yAska ne yajJaparaka rUpaka se samajhAyA hai, vahI mantra pataJjali ne vyAkaraNa zAstra ke "zabda" paraka rUpaka se vizada kiyA hai| aura rAjazekhara jaise sAhityazAstrI ne usameM kAvyapuruSa kA varNana dekhA hai| (kha) isa mantra kA, yAska ne koI nairuktAparaMparA se susaMgata ho aisA arthaghaTana nahIM diyA hai| parantu yAjJika arthaghaTana hI diyA hai| jo Age cala kara anya veGkaTamAdhavAdi bhASyakAroM evaM pUrvamImAMsA ke pravartaka AcAryo ke lie mArgadarzaka banA hai| (ga) sAyaNAcArya kA arthaghaTana sUkta ke pradhAna devatA kauna hai - yaha dekhakara prastuta kiyA gayA hai| unhone yAjJika arthaghaTana ke sAtha sAtha zAbdika (vaiyAkaraNoM ke) dvArA kiye gaye arthaghaTanoM kA sArAMza bhI diyA hai| -

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bhAratI satyapAla bhagata SAMBODHI lekina sAyaNa ke bhASya meM jo eka tIsarA Adityaparaka arthaghaTana hai vaha atIva dhyAnAspada hai| kyoMki vaha nirvivAdarUpa se nairukta paraMparA kA hI arthaghaTana hai| arthAt jo arthaghaTana yAska kI kalama se nIkalanA cAhie, vaha sAyaNa ke dvArA prastuta kiyA gayA hai| (yadyapi sAyaNa ne use nerukta arthaghaTana nahIM kahA hai|) ___ dUsarA sAyaNane jo isa "catvAri zRGgA".... kA Adityaparaka arthaghaTana dete hue, apane samarthana meM eka brAhmaNavacana bhI udadhRta (tai0 brA03-12-9-1) kiyA hai, vaha "veda ko brAhmaNavacana ke AdhAra para samajhane" kA prayAsa hai| (gha) yAska se zurU karake veGkaTAdi bhASyakAra aura pUrvamImAMsA meM jo isa mantra kA yAjJika arthaghaTana nirUpita hotA gayA hai, usameM tatkAlina yajJa kA kriyAkANDa jaise jaise vikasita hotA gayA hogA vaise vaise usa usa arthaghaTana meM choTe choTe parivartana hote rahe hai|astu|| pATIpa: 1. tatko vRtrH| megha iti nairuktaaH| tvASTro'sura ityaitihAsikA:....|nirukta 2/16. 2. na hoSu pratyakSamasti anuSeratapaso vaa| nirukta. 3. ayaM mantrArthacintAbhyUho'pi zrutito'pi trkt:| nirukta 13/12. 4. na tu pRthaktvena mantrA nirvaktavyA: prakaraNaza eva nirvaktavyA: / nirukta. 5. catvAri zRMgeti vedA vA etA uktaaH| trayo'sya pAdA iti savanAni triinni| ve zIrSe praaynniiyodniiye| sapta hastAsa: sapta chndaaNsi| tridhA baddhastredhA baddho mntrbraahmnnklpaiH| vRSabho rorviiti| roravaNamasya savanakrameNa Rgbhiryajubhi: sAmabhiryadenamRmbhi: zaMsanti yajurbhiryajanti sAmabhi: stuvanti / maho deva ityeSa hi mahAndevo yadyajJo mal aavivesheti| eSa hi manuSyAnAvizati yjnaay| tasyottambhUsbhUyase nirvcnaayN| nirukta 13/7. 6. tasya gaurasya catvAri zrRGgANi bhavanti, traya: ca pAdAH, dve ca zIrSe, sapta hastAsa: asy| sa cAyam tridhA baddhaH vRSabhaH zabdaM kroti| so'yaM mahAn deva: manuSyAn A viveza iti| atrArthavaNikam "catvAri zRGgA iti vedA evaita uktaaH| trayo asya pAdA iti savanAnyeva dve zIrSe iti brahmaudanapravaryA ev| sapta hastAso asyeti chndaaNsyev| tridhA baddha iti mantra: kalpo braahmnnm| vRSabho roravItyeSa evai vRSabha eva tadroravIti yadyajJe zastrANi zaMsanti Rbhiryajurbhi: saambhibrhmbhiriti| maho devo mAM A vivezetyeSa eva vai mahAn devo yadyajJo mAnAviveza iti" (tulya0 13,7) // 3 // 4/58/3 veGkaTamAdhava. 7. sAyaNa ne nirukta kA jo uddharaNa diyA hai vaha nirukta ke 13 vA~ adhyAya kA hai, jo prasiddha mAnA gayA hai| 8. yadyapi sUktasyAgnisUryAdipaJcedevatAkatvAt paJcadhAyaM mantro vyAkhyeyastathApi niruktAyuktanItyA yajJAtmakAgne: sUryasya ca prakAzakatvena tatparatayA vyaakhyaayte| asya yajJAtmakasyAgne: catvArizrRGgA catvAro vedA: zRGgasthAnIyA: / yadyapyApastambena "yajJaM vyAkhyAsyAma: sa tribhiveMdevidhIyate (paribhA0 1.3) ityuktaM tathApyAtharvaNasya catvAri shrRjetyuktm| trayo asya pAdA: savanAni trINyasya pAdAH / pravRtti sAdhanatvAt pAdA ityucynte| ve zIrSe brahmaudanaM prvrgaashc| issttisomprdhaanyenedmuktm| sapta hastAsa: sapta chndaaNsi| hastA: anuSThAnasya mukhyasAdhanam / chandAsyapi devatAprINanasya mukhyasAdhanamIti hstvyvhaarH| tridhA baddhaH mantrabrAhmaNakalpai: triprakAraM baddhaH / bandhanamasya tnisspaadytvm| vRSabha: phalAnAM varSitA roravIti / bhRzaM shbdaayte| RgyajuHsAmokthaiH zastrayAgastutirUpairhotrAdyutpAditairdhvanibhirasau rauti| evaM maho devaH mAn A vivsh|

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Vol. XIX, 1994-1995. maMtrArthaghaTana meM.... matyairyajamAnairnippAdyatvAt praveza upacaryate / yatra yAska:- " catvArizRGgeti vedA vA eta uktA: " nirU0 13 / 7 ityAdinA niravocat / tadatrAnusaMdheyam // atha sUryapakSe vyAkhyAyate asyAdityasya catvAri zrRGgANi catasro dizaH / etAH zrayaNArthatvAt zRGgANItyupacaryate / trayo asya pAdAH / trayo vedAH pAdasthAnIyA bhavanti gamanasAdhanatvAt / tathA hi- "RgbhiH pUrvAhNe divi deva Iyate" ityupakrampa "vedairazUnyastribhireti sUryaH " tai0 brA0 3.12.9.1 iti hi vedatrayeNa gatirAmnAtA / dve shiisseN| ahazca rAtrizceti dve zirasI sapta hastAso asya / saptarazmayaH SaDvilakSaNA Rtava ekaH sAdhAraNaH iti vA sapta hastA bhavanti / tridhA baddhastriSu sthAneSu kSityAdiSu agnyAdyAtmakavena saMbaddhaH / grISmavarSAhemantAkhyaistribhitraidhA baddho vA / vRSabho varSitA ravIti / zabdaM karoti vRSTyAdidvArA / sa maho mahAn devo martyAnAviveza tanniyantRtayA / "sUrya AtmA jagatastasthuSazca saM01.115.1 iti hi zrutam / evaM tvabAdipakSe'pi yojyam / zAbdikAstu zabdabrahmaparatayA catvAri zRGgeti catvAri padajAtAni nAmAkhyAte copasarganipAtazca ityAdinA vyaacksste| apare tvaparathA / tatsarvamatra draSTavyam / / sAyaNabhASya R0 saM0 4/58/3 ( pR0 714 - 715 ). 9. catvAri / " catvAri zRGgA trayo asya pAdA dve zIrSe sapta hastAso asya / tridhA baddho vRSabho rokhIti maho devo martyAM A viveza / " iti / catvAri zRGgANi padajAtAni nAmAkhyAtopasarganipAtazca / trayo asya pAdAH trayaH kAlA bhUtabhaviSyavartamAnAH / dve zIrSe dvau zabdAtmAnau nityaH kAryazca / sapta vibhaktaH / tridhA baddha; triSu sthAneSu baddha urasi kaNThe zirasIti / vRSabho varSaNAt / roravIti zabdaM karoti / kuta etat / rautiH shbdkrmaa| maho devo martyAM Avivezeti mahAn devaH zabdaH / martyA maraNadharmANo manuSyAstAnAviveza mahatA devena naH sAmyaM yathA syAdityadhyeyaM vyAkaraNam // vyAkaraNa mahAbhASyam (navAhinakam) pR.12. 10. abhidhAne'rthavAdaH pU. mI. 2/1/37. catvAri zRNA ityasadAbhidhAne gauNaH zabdaH / gauNI kalpanA pramANavatvAt / uccAraNAdadRDhamapramANam / catasro hotrA : zRGgANIvA'sya / trayo'sya pAdA iti savanAbhiprAyam / dve zIrSe iti patnI yajamAnau / sapta hastAsa iti cchandAMsyabhipretya / tridhA baddha iti tribhirvedaibaddhaH / vRSabhaH kAmAnvarSatIti roravIti / tadyathA cakravAkastanI haMsadantAvalI kAzavastrA zaivAlakezI nadyAH stutiH / yajJasamRddhaye sAdhanAnAM cetanasAdRzyamupapAdayitukAma AmantraNazabdena lakSayati oSadhi trAyasvainamiti, zRNota grAvANa iti / zabarasvAmI pR0 64. 11. catvAri zRti rUpakadvAreNa yAgastutiH karmakAla utsAhaM karoti / hautre tvayaM viSuvati heturAjye viniyuktaH / tasya cAssneyatvAdahanAzcA''ditya daivatatvasaMstavAdityarUpeNAgnistutirUpavarNyate / tatra catvAri zRGgeti divasayAmAnAM grahaNam / yo asya pAdA iti zItoSNavarSAkAlAH / dve zIrSe ityayanAbhiprAyam / sapta hastA ityadhvarastutiH / tridhA baddha iti savanAbhiprAyeNa / vRSabha iti vRSTihetutvena stutiH / roravIti stanayitnunA / sarvalokaprasiddhermahAndevo martyAnAvivezetyusAhakAraNopakAreNa sarvapuruSahRdayAnupravezAt / evamanena mArgeNAsti tAvaddharmasAdhanasmRtiH // kumArila bhaTTa pR0 64-65. 12. zabdArthau te zarIraM, saMskRtaM mukhaM, prAkRtaM bAhUH, jaghanamapabhraMza: paizAcaM pAdau, urau mizram / samaH prasanno madhura udAra ojasvI cAsi / ukticaNaM ca te baco, rasa AtmA, romANi chandAMsi paznottarapravahnikAdikaM ca vAlekaliH anuprAsopamAdayazya tvAmalaMkurvanti / bhavipyato'rthasyAbhidhAtrI zrutirapi bhavantamalistauti / kAvyamImAMsA - tRtIyAdhyAya. 1. nirukta vI. ke. rAjavADe saMdarbha graMthasUci 97 - bhAMDArakara orijenTala risarca insTITyUTa, pUnA 1940.

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bhAratI satyapAla bhagata SAMBODHI 2. RgvedabhASya - bhA.3 saMpA. : vizvabandhu vizvezvarAnanda-vaidika zodha - saMsthAnam, hoziArapUram vi.saM.2020, 1963, vi.bhA.graMthamAlA,21 3. RgvedasaMhitA - bhA.2 zrImatsAyaNAcAryaviracitabhApyasametA, tilaka, mahArASTra vidyApITha - zAkhAbhUta - vaidika - saMzodhana maNDalena prakAzitA, pUnA zake 1858/1936. vyAkaraNa mhaabhaapym| saM0 cArudeva zAstrI. motIlAla banArasIdAsa, dillI, vi.saM. 2025 (1968). zrImajjaiminipraNIte mImAMsAdarzane prathamAdhyAya dvitIyapAdamArabdhasya dvitIyAdhyAyagataprathamapAdAnto vibhaagH|| mImAMsAkaNThIrava saM050 gaNezazAstrI jozI AnandAzrama saMskRta granthamAlA kramAMka - 97. pUnA 1981 6. kAvya mImAMsA - paM. kedAranAtha zarmA bihAra rASTrabhASA pariSada, paTanA, 1954.

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veda mantra yAska veGkaTamAdhava sAyaNa pataJjali kamA zavarasvAmI sAyaNa Adityaparaka yajJAtmaka catvAri zRGga cAra veda cAra veda cAra veda cAra dizA cAra yAma (pahara) nAma, AkhyAta, cAra hotA upasarga, nipAta trayo'sya pAdA| tIna savana / tIna savana tIna savana tIna savana Rgveda, ya sAmaveda bhUtakAla, bhaviSyakAla, vartamAnakAla tIna Rtu zizira, gISma, varSA mantrArthaghaTana meM... ve zIrSa brahmaudana, pravardI |divasa, rAtri prAyaNIya, udanIya brahmaudana, pravardI nityabhASA (veda) patnI, yajamAna uttarAyaNa, kAryabhArSA dakSiNAyana (laukika) sapta hasta sAta chanda sAta chanda sAta chanda sAta kiraNa | tridhA baddha mantra, brAhmaNa, kalpa mantra, brAhmaNa, mantra, brAhmaNa, kalpa kalpa (1) sAta kiraNa |sAta vibhakti sAta chanda (2) SaDRtu tathA| eka vilakSaNa |1) kSiti, hRdaya, kaNTha, mukha Rgveda, antarikSa, dhuloka, yajurveda, 2) gISma, hemanta, sAmaveda varSA Rgveda, yajurveda, sAmaveda Vol. XIX, 1994-1995. mahAdeva yajJa yajJa yajJa Aditya zabdarUpI deva zabdarUpI deva zabdarUpI deva

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saMskRta sAhitya meM nUtana prayoga jayaprakAza nArAyaNa dvivedI saMsAra kA pratyeka vAGmaya deza, kAla, samAja va paristhiti ke sApekSa hotA hai| ata: usameM parivartana svAbhAvika hai| vibhinna sthitiyoM meM bhASA tathA sAhitya kAla va samAja kI AvazyakatAnusAra anya bhASAoM va unakI sAhityika racanAoM se prabhAvita hokara paraspara zabda, varNyaviSaya va kAvyazilpa kA AdAna-pradAna karate haiN| jisa bhASA meM yaha udAratA nahIM hotI, use kucha samaya taka hI jana-samarthana prApta hotA hai, bAda meM vaha lokAtIta ho jAtI hai| vastuta: kisI bhI bhASA ko sAhityika yA vyAvahArika AdAna-pradAna ke kAraNa apane bhItara anya bhASA ke prayogoM ko nayerUpa meM svIkAra karanA tathA svayaM ke aneka pUrva prayogoM ko vismRta bhI karanA par3atA hai| kabhI-kabhI eka hI bhASA ko sAmayika paristhitiyoM va jarUratoM ko maddenajara rakhate hue apane hI bhUgola meM apane svarUpa ko anekavidha va anekarUpAtmaka banAnA par3atA hai| aisI udAradRSTisampanna bhASA tathA usakA sAhitya, donoM apane nUtana prayogoM ke kAraNa samAja ke lie upayogI, grAhya va nitAnta jIvanta bane rahate haiN| udAharaNa ke lie sampUrNa mAnavajAti ke dharma, karma, saMskRti evaM sabhyatA kA mUlAdhArabhUta vAGmaya veda vaidikabhASA meM upanibaddha hai jo mantroM ke samAmnAya ke rUpa meM cirakAla se samajhA jAtA rahA; kintu stuti, saMgIta, yajJa va Ayurveda, dhanurveda, arthazAstra tathA zilpa Adi kI sAmAjika AvazyakatAoM ke prAdhAnya ko dekhate hue na kevala use Rk, yajuS, sAma evaM atharva ke rUpa meM caturvidha vibhakta honA par3A pratyuta nayI sAmAjika tathA dArzanika (bauddhika) AvazyakatAoM ke kAraNa use vizAla brAhmaNa, AraNyaka va upaniSad ke svarUpa bhI dhAraNa karane pdd'e| Age calakara isI vicAra zRkhalA meM dharmasUtra, kalpasUtra, zrautasUtra, gRhyasUtra, smRtiyA~ aura purANa sabhI apane-apane samaya meM naye-naye prayogoM ke rUpa meM hI prAdurbhUta hue| yahA~ taka ki vyAkaraNa, zikSA, jyotiSa, chanda, nirukta aura kalpa ko veda ke pramukha aMgo ke rUpa meM svIkArA gayA bAda meM to garbhAdhAna se lekara antyeSTi taka mAnava-jIvana kA koI aisA aMga nahIM bacA, jisa para isa sAhitya ke manISiyoM ne lekhanI na calAyI ho| Agama, tantra, yoga, azvazAstra, gajazAstra, citra, vAstu, kAvya, naukA, vimAna aura khagola Adi vividha zAstroM meM jahAM taka sambhava huA, samAja kI pratyeka AvazyakatA kI pUrti ke lie isa sAhitya ne apane bhItara nUtanAtinUtana anekavidha viSayoM ko svIkAra kiyaa| dhyAtavya hai ki kahA~ to udAttAnudAttasvarita Adi ke prAtizAkhyagata anuzAsanoM se anuzAsita vedamaMtra, yajJIya vidhividhAnoM se paripUrita brAhmaNa-grantha, akhaNDa dArzanika jJAna se sampanna upaniSad aura kahA~ paravartI vizAla sAhitya / yadi veda meM nUtana prayogoM se sambaddha udAratA na rahI hotI, to prAgaitihAsika kAla se lekara Aja taka avicchinna rUpa meM yaha akSuNNa na raha paataa| vastutastu mantrayuga ke samakSa paravartI sampUrNa vaidika vAGmaya kA vistAra nUtana prayoga hI Age saMskRta-sAhitya meM bauddha kavi azvaghoSa, maharSi vAlmIki, vedavyAsa, bhAsa, kAlidAsa, kalhaNa, bilhaNa, mammaTa se lekara paNDitarAja jagannAtha Adi meM se koI bhI divya, adivya aura divyAdivya kisI bhI

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Vol. XIX, 1994-1995 saMskRta sAhitya meM... 101 pratimAvarga kA kyoM na ho; sabhI kI kRtiyoM meM anubhUti aura abhivyakti ke stara para (jise Adhunika zabdAvalI meM saMvedanA aura zilpa bhI kaha sakate haiM) nirantara nUtana prayoga dRSTigocara hote rahe haiN| yadi aisA na hotA, to vAlmIki va bhusuNDirAmAyaNa kI dRSTi meM rAma tathA mahAbhArata evaM zAkuntalam ke duSyanta eka hI jaise hote| unake caritragata svarUpa meM antara na hotaa| Aja kA mahAbhArata navInatA kI asvIkRti kI sthiti meM mAtra 'jaya' ke rUpa meM rahatA, 'bhArata' aura phira 'mahAbhArata' na ho pAyA hotaa| yahA~ taka ki purANoM ke bAda upapurANa, kAvya, kAvyazAstra, nATaka va nATyazAstra kI vibhinna paramparAe~ evaM prasthAna tathA zabdaprayogoM ko niyamoM kI maryAdA meM anuzAsita rakhate vAle eka vyAkaraNa grantha ko cunautI denevAle aneka siddhAnta granthoM va unake sampradAyoM kA janma na huA hotaa| nUtana prayogoM ke prati saMskRta kA audarya hI vaha pramukha kAraNa hai, jisake phalasvarUpa isa deza meM cArvAka, bauddha, jaina aura tAntrika sabhI ko bhAratIya sanAtanadharmAvalambiyoM ke sAmane cunautI denekI bharapUra suvidhA rahI hai| lokonmukhI cetanA ke kAraNa hI nUtana prayoga hote rahe aura saMskRta akSuNNa banI rhii| 'svasya priyamAtmana:' rAjA prakRtiraJjanAt, sahasraguNamutsraSTumAdatte hi rasaM ravi:, aura yathA rAjA tathA prajA Adi uktiyA~ hI saMskRta kI lokadharmitA ke lie pramANa haiN| kathAsaritsAgara tathA paMcataMtra kahAniyA~ bhI zAstrIya siddhAntoM ko sarala, sahaja zailI meM janasamAnya taka bodha karAne ke lie tatkAlIna paristhitiyoM meM eka nayA prayoga hI hai| saMskRta sAhitya ko apanI umra kI sudIrgha vicAra-yAtrA meM dIrghakAlIna paratantratA, vaidezika atyAcAra, dhArmika anAcAra, agaNita grantharatnoM ke videzagamana, lekhana/prakAzana kI asImita asuvidhA, kaNTakAkIrNa paristhitiyA~ tathA asaMkhya mAnavajAti ke utthAna-patana ke itihAsa dekhane kA suavasara khUba milA hai| isakI isa mAtrA meM vividha paramparAvAdI, pragatizIla bhautikavAdI, karmakANDI, bahudevavAdI, ekezvaravAdI, anIzvaravAdI aaye| kabhI-kabhI isane parAyoM ko apanA aura nija ko parAGamukha hote hue bhI khUba dekhA, kintu apane svabhAva ko isane kabhI nahI chodd'aa| vaha svabhAva hai - viSAdapyamRtaM grAhya bAlAdapi subhaassitm| sAtha hI kabhI koI pUrvAgraha bhI nahIM rkhaa| isIlie to kavikulaguru kI ukti Apta bana sakI - purANamityeva na sAdhu sarvaM....' yahA~ para eka ora jahA~ bhATTa mImAMsA mata stutya hai, vahIM nUtanatA ke AgrahI aura guru kumArila ke mata kA khaNDana karanevAle prabhAkara bhI AdaraNIya rahe haiN| eka hI vRkSa kI eka zIkhA para yadi paNDitarAja jagannAtha 'AsaphavilAsa' ke praNetA , to dUsarI DAla para dArAzikoha, abdurrahImakhAnakhAnA tathA aneka muslima saMskRtajJa bhagavatI devavANI kI sevA meM nirantara tatpara dRSTigocara hote haiM, kyoMki isakI ramaNIyatA to navInatA meM hI samihita mAnI gayI hai| saMskRta sadA apanI maulikatA kI avicchinna vegavatI sAhityadhArA meM apane samakAlIna viSayoM ko AtmasAt karatI huI, pAli, prAkRta aura apabhraMza prabhRti aneka par3AvoM para rukarukakara dRSTipAta karatI huI, vividha mArgastha vighnabhUta zilAkhaNDoM ko tor3atI Avazyaka hone para unase kinArA kasatI yaha parama anubhavazIlA girA unnIsavIM - bIsavIM zatI ke suvistRta maidAna meM praveza karatI hai; jahA~ use aneka bhaginIbhUtA yuvAvasthApanna videzI va dezI bhASAoM, vibhASAoM, boliyoM evaM upaboliyoM aura unameM huI praudraM kRtiyoM ke darzana hote hai| ina do zatAbdiyoM meM kAvya, upanyAsa, nATaka, kathA va ekAMkI vidyA meM kula milAkara lagabhaga 700

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102 ja. nA. dvivedI SAMBODHI se adhika racanAe~ huI haiN| inakA saMvibhAga, saMkhyAtmaka A~kar3A, inake mUla utsa Adi kA adhyayana to itihAsa va anusandhAna kA viSaya hai; kintu una kRtiyoM ke vaiziSTaya kI dRSTi se unheM pUrvasvAtantrya evaM svAtantryottara do bhAgoM meM vibhakta kiyA jA sakatA hai| videziyoM dvArA hAnsonmukhIkRta saMskRta racanA paramparA prayoga kA abhyudaya yadi 1858 I. ke antargata jayapura meM janme viddaddharINa paM0 ambikAdatta vyAsa se mAnA jAya, to atyukti nahIM hogii| inhoMne 'zivarAjavijaya' nAmaka aitihAsika upanyAsa ke dvArA nUtana upanyAsa racanAvidhAna kI paramparA meM abhUtapUrva prayogAtmaka yogadAna kiyaa| sAtha hI gadyakAvyoM kI samIkSA ke lie vaha nUtana AdhAra bhI diyA, jise 'gadyakAvyamImAMsA' kahate haiN| kathA, saMvAda, caritra citraNa, dezakAla, racanAzailI aura uddezya, Adhunika upanyAsavidhA ke jo cha: tattva haiN| ye sabhI 'zivarAjavijaya' meM pUrNata: prApta hote haiN| unake tathA tatsamakAlIna sabhI racanAoM ke granthoM meM kahIM hinduoM para honevAle atyAcAroM kA varNana hai, to kahIM svatantratA se jUjhane vAle rASTrabhakta mahApuruSoM kI stutiyA~ haiM, kahIM jAti, dharma aura gaurava sambandhI sandezoM ko janajana taka pahu~cAne kA upakrama hai, to kahIM videzI zAsakoM kI prazaMsA meM hue lekhana kI bhI kamI nahIM parilakSita hotii| isI zRGkhalA meM Age calakara vidvAn upanyAsakAroM ne lagabhaga 90 se adhika upanyAsoM kI racanA kI tathA 45 se adhika anya bhASAoM se saMskRta meM anuvAda kiyaa| ina sabhI ko paurANika, aitihAsika, sAmAjika, premapradhAna va anUdita kula 5 bhAgoM meM bA~TA jA sakatA hai| ina upanyAsoM meM mahAmahopAdhyAya zaMkaralAla nAgara dvArA praNIta 'mahezvaraprANapriyA', bhagavatIbhAgyodaya:, anasUyAbhyudyam, candraprabhAcaritam, bhaTTamathurAnAtha zAstrI kRta 'AdarzaramaNI', ramAnAtha zAstrIya kRta 'du:khinIbAlA', balabhadra zarmA racita 'viyoginI bAlA', kuppUsvAmI viracita sulocanA' vararuci, aura candragupta, kA pramukha sthAna hai| isI prakAra cintAmaNImAdhava golekA 'madanalatikA', narasiMhAcArya puNekara kA 'saudAminI', rAjagopAla cakravartI kRta 'kumudinI' aura vilAsakumArI tathA jaggUbakulabhUSaNa kA 'jayantikA' upanyAsa bhI premapUrNavarNanoM se pUrita haiN| Adhunika saMskRta sAhitya meM zarU se adhika aiseM zataka kAvya haiM, jina meM rASTriyatA ko mukhya AdhAra banAyA gayA hai| yadyapi saMskRta ke kula zataka kAvyoM kI saMkhyA lagabhaga 90 hai, jisameM kucha pAtheya zataka Adi bhI haiN| Adhunika saMskRta sAhitya ke sandarbha meM yadi hama kahanA cAheM, to prasiddha saMskRta kavi zrI bhAskarAcArya tripAThI ke zabdoM meM kaha sakate haiM ki inakI indriyoM ke prazAnta yajJa kA svarUpa avyAvRta hai| nATakoM ko to sunate-dekhate samaya dhanI, garIba, nAgara, vanavAsI apanA bhedabhAva bhUlakara sAdhAraNIkaraNa kI paridhi meM Abaddha ho jAte haiN| mAnasika bhojana prApta karate haiM aura upadezaraMjana ke sAtha sAmAjika samAnatA kA pATha par3hate haiN| samagra dharmo, jAtiyoM evaM bhinna bhinna vRttiyoM ke nara-nArI samAna rasavarSaNa se ApyAyita hote hai| dIna tathA nirAza logoM meM utsAha, AkrozapIr3ita janatA meM zAnti tathA durvinIta vighaTanakAriyoM meM anuzAsana kA saMcAra hotA hai| prazAnta yajJa meM saralavyaJjanAmayI bhASA kI zabdagaMgA sarvahita evaM sarvAdaya kA saGkalpa lie pravAhita hotI hai| sabhI apanI apanI tapana aura ulajhana lekara pahuMce, to saba ko samAna zItalatA aura Azvasti milatI hai|

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Vol. XIX, 1994-1995 saMskRta sAhitya meM... 103 1936 meM jaba chAyAvAda apanI antima sA~se gina rahA thA, usa samaya kerala ke saMskRta kavi I0pI0 piSAraTIne cAra aMko ke ekabhAratam' nAmaka nATaka kI racanA kI, jisameM AtmAbhivyaJjanA, prakRti kA mAnavIkaraNa, vizvabandhutva, mAnavatA, nUtana chanda-vidhAna, pratIka lakSaNa aura vyaJjanAprayoga Adi sArI chAyAvAdI vizeSatAe~ vidyamAna haiN| saMskRta ke mUrdhAbhiSikta manISiyoM meM jahA~ chAyAvAda kI gati pahacAnI, vahIM rASTrIyatA kA sva bhI bulanda kiyaa| 1877-1917 khI0 meM zrIdharapAThaka nAmaka kavi ne manovinoda, bAlabhUgola, ekAntavAsIyogI, gokhaleprazAsti:, kAzmIrasuSamA, zrIgokhaleguNASTakam, bhaktivibhA aura ArAdhyazokAJjali: kI racanA kii| svadezapaJjaka nAmnI kavitA meM bhArata kA varNana karate hue pAThakajI likhate haiM svarUpabodhabodhitaM manISiyUthamoditaM / prabodhapuJjavarSaNaM prglbhpunnydrshnm| svavANivezavAsasaM 'svarAja'vAsanAvRtam svadezibhAvabhAvitaM bhaje svadezabhAratam // Age calakara bhArata kA bhUgola sunizcita kara eka rekhAcitra bhI khIMcate haiN| yathA - himAdrimUrdhazekharaM payodhikUlamekhalaM mahAnubhAvacetasaM mhaaprtaapmedhsm| dinezatejamaNDitaM vivekavedapANDitam azeSadezamaNDanaM namAmi dvepkhnnddnm|| bhagavatI amaravAg vallarI ke siJcana karanevAloM va gaganagAmI banAne ke lie avalamba denevAle kAvyapratibhAmaNDita sukRtI ArAdhakoM ne 1952 ke Andolana, 1947 ke dezavibhAjana, deza kI svataMtratA, bhArata-pAka yuddha, zimalA samajhautA, cInI AkramaNa, bAda meM cIna se dautyasambandha, pokaraNa kA paramANu visphoTa, sikkima kA bhArata meM vilaya, AryabhaTTa nAmaka upagraha kA nirmANa, beMko kA rASTrIyakaraNa, rusa- bhArata maitrI, paMjAba rAjya nirmANa aura nadI-jala-vivAda kA prazamana Adi viSayoM para gambhIra racanAe~ kiiN| aise vidvAnoM kI kRtiyoM meM pro0 satyavratazAstrI kRta 'indirAgAndhicaritam' eka avismaraNIya mahAkAvya hai isI krama meM DaoN0 zrIdhara - bhAskara - varNakara kRta svAtantryavIra zatakam, vAtsalya rasAyanam tathA vidvaddhurINa padmazAstrI kI racanAoM ko naz2ara aMdAz2a nahIM kiyA jA sktaa| kavivara padmazAstrI ne atyaMta sAmayika viSayoM ko AdhAra banAkara Adhunika saMskRta jagat ke pravAha ko teja banAyA hai| sinemAzatakam svarAjyam, baMgalAdezavijaya nA padyapaJcatantram, madIyA soviyatayAtrA aura leninAmRtam ke praNetA zAstrIjIne racanAoM kI dizA ko nUtana AyAma pradAna kiyA hai| nUtana kintu sAmAnya sarvekSaNa ke AdhAra para kahA jA sakatA hai ki bIsavIM zatAbdI meM racita svataMtryottara mahAkAvyoM kI saMkhyA lagabhaga 150, nATakoM kI saMkhyA lagabhaga 80, kathA:sAhitya 20, hAsya-vyaGgya racanAe~ 25, citrakAvya 20, dUtakAvya 55aura arvAcIna saMskRta pUrvokta viSayoM ke atirikta sarvadharmasamabhAva, kuTumbakalyANa,

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101 ja, nA. dvivedI SAMBODHI samAjakalyANa ke sAtha sAtha ramaz2Anaida, masjide adasA, nArIgIta, mAnavarAjya, prahasana, bAlasAhitya, hippInatya, Disko nRtya aura breka-apa Adi kA bhI savistAra samAveza kiyA gayA hai| kisI-kisI ne aNubama kI vibhISikA, netA, kArlamArksa, raktadAna, daheja, berojagArI, khAlistAna samasyA, garIbo kI sthiti, khaTamala, sAbuna, pyAja, rAzana, ugravAda, audyogikatA, zikSA ke doSa, mantrI, roTI, bhraSTAcAra durAcAra mithyAvAda, vizvAsaghAta, dalavighaTana, pravaJcana, cATukAritA, netA ke lakSaNa, cAya aura kAphI jaise Adhunika viSayoM ko bhI apanI kRti kA viSaya banAyA hai| yathA - DaoN. zivasAgara tripAThI kI 'bhaja netAram' kavitA kA zIrSaka yahA~ draSTavya cittaM bhraSTaM vittaM naSTaM daivaM jAtaM yadi vA kssttm| tyaktvA sarvaM kharvamakharvaM zrama nirvaacnrnnjetaarm|| bhaja netaarN0|| pRSThe citraM rASTrapiturvai sveSTo deva: kaacmdhstaat| kRSNe karmaNi punarAsaktaM yathAtathA vaibhavacetAram / bhj0|| mahApuruSoM ke vyaktitva se sambaddha bahuta racanAe~ huI hai| javAharajyoti aura indirAgAndhicaritam kI hI bhA~ti rAjIva gAMdhI aura lAlabahAdura zAstrI para bhI saMskRta-kavIyoM ne lekhanI calAyI hai| bIsavIM tathA unnIsavIM zatI ke aneka kAvyoM meM dAdAbhAI naurojI, motIlAla naheru, mahAmanA madanamohana mAlavIya, phirojazAha mehatA, surendranAtha banarjI evaM mahAdeva govinda rAnaDe jaise mahApuruSoM ko viSaya banAyA gayA hai| saMskRta sAhitya meM eka tarapha jahA~ varNya viSayoM kI dRSTi se naye-naye viSayoM ko svIkArA gayA, vahIM kalA pakSa (aprastuta vidhAna) meM bhI aneka parivartana hue| vividha achAndasa racanAe~ huIM, yAtrAvRttAnta dainandinI riportAja evaM patra-patrikAoM ke rUpa meM saMskRta prayukta hone lgii| nibandha ke antargata nirvacanAtmaka, samIkSAtmaka, vyaSTipradhAna, (jise lalita nibandha bhI kahate haiM) evaM anya aneka prakAra kA vidhAoM kA janma huA, jinake pracAra-prasAra meM sArasvatI suSamA, ajastrA, sarvagandhA, vrajagandhA, sAgarikA, svaramaGgalA, dUrvA, gANDIvam, candAmAmA, pratibhA, arvAcInasaMskRtam, saMvit, vizvasaMskRtam, paramArthasudhA, gairvANI, utkalodayaH, bhAratodaya: tathA saMskRtapracArakam Adi patra-patrikAoM ne khUba sahayoga kiyaa| atyanta naye geya chanda likhe gaye, jaise yahA~ I0pI0 piSAraTI dvamA racita eka kavitA prastuta hai janagaNaramaNI bhAratadharaNI jayati nirntrmnggljnnii| tava mandraM jayavAdyavizeSaM prathayati jlnidhirsdrshghossm|| janagaNaramaNI........ kusumairaviralaparimalamilitaistarutatirarcati navamadhukalitaiH / dvIpadvIpamaryAdasamAnaM ysyaasumhitdhrmvitaanm||" jngnnrmnnii.........| sAhitya kI prAya: hara vidhA meM AkAzavANI, tAra, dUradarzana, kAnpherensa, TeparikArDa, gahiNI kI dakSatA Adi ke varNana ke samaya nUtana muhAvaroM, nayI saMskRta zabdAvalI, nayI saktiyoM aura naye subhASitoM kA prayoga

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Vol. XIX, 1994-1995 saMskRta sAhitya meM... karanevAle vidvAnoM meM pro0 abhirAja rAjendra mizra, rAdhAvallabha tripAThI, mullapUDijayasItArAma, bAbUrAma avasthI, baccUlAla avasthI, baTukanAthazmastrI khriste, vIrabhadra mizra, ramAkAnta zukla, pI0 ke0 nArAyaNapillai, balabhadraprasAda zAstrI, zrInivAsaratha, rAmakaraNa zarmA aura omaprakAza ThAkura va ogeTiparIkSita zarmA ke nAma pramukha haiN| viSNukAnta zukla ke prinsipalakathA evaM pUrNakumbhaH nAmaka lalitanibaMdha saMgrahako to bhUlA hI nahIM jA sakatA / naye racanAkAroM saMsAra meM premanArAyaNa dvivedI, 6 upanyAsoM ke praNetA kezavacandradAza aura rItigrantha ke racayitA ramAzaMkara tivArI sadA avismaraNIya bane rahegeM / 105 pahale kI racanAoM meM nArI racanA ke antargata varNya viSaya ke rUpa meM adhika, kintu racanAkAra ke rUpa meM alpasaMkhyaka rahI hai, kintu naye pariveza va nayI sAmAjika cetanA ne idhara saMskRta-granthoM ke racanAkAra ke rUpa meM nAriyoM ko khUba ubhAr3A hai| aisI viduSiyoM meM paNDitA kSamArAva, vanamAlAbhavAlakara, puSpA dIkSita, nalinI zuklA, navalatA vimalA musalagAMvakara, umA dezapANDe, urmilA zarmA, kRSNA bandhopAdhyAya, premalatAzarmA, bhaktisudhA mukhopAdhyAya, kamalA cunekara aura mRdulA cunekara kA nAma AdarapUrvaka liyA jAne lagA hai| jahA~ kAvyAdike nAyaka aura nAyikA AbhijAtya sampanna huA karate the, vahA~ aba naye sAhityika pariprekSya meM yaha sthAna madhyama va madhyamatara varga ke logoM ko diyA jAne lagA hai| vijJAna, udyoga, yAntrikI tathA anya bhASAoM ke prabhAva se prayoga dhArA meM Aye naye zabdoM kA upayoga nUtana rIti se karanA par3a rahA hai| jaise lAlaTena, pIkadAna, niSThayUtAdAnabhAjana', cakAcauMdha, cillIbhUta", muajjama, mAyAjihA ", ramaz2Ana, rAmayAna, haka, svatva, moTara, mArteliyAnam, alTimeTam, antimottaram' aura bajaTa, arthasaGkalpa: ' ityAdi / nayI samasyAoM evaM unake samAdhAna ke sandarbha meM vidvAnoM ne apane tana-mana se bharapUra yogadAna kiyA hai| Aja ke prophesara, iMjIniyara, DaoNkaTara tathA samAja ko apanA varNya banAne meM kaviyoM, nibaMdhakAro va upanyAsakAroM ne kahIM saMkoca nahIM kiyA hai| AcArya rAmakarana zarmA kI sandhyA, 'abhirAja' rAjendra mizra ke chalitadhamarNam, indrajAtam, nigRhaghaTTam aura vaidheyavikrayam tathA zivadatta zarmA caturvedI kA carcAmahAkAvya ina dRSTiyoM se pratinidhi grantharatna kahe jA sakate haiN| subhASitoM aura muhAvaroM ke prAcurya se aisA bharApUrA sAhitya sambhavataH anya kisI bhASA meM prApta honA kaThina hai| muhAvaroM kI jhA~kI darzanIya hai avihitavarSaNaiva vilInA kAdambinI', prajApatisaro'pyekaM haMsaM vihAya na vaibhave", pratyavAyabahulo'nurAgapanthAH" tathA kva nu bhavati bhavitavyasya dvAram ityAdi2, / isI prakAra pramadvarA ke atirikta dUsarI nATikAoM va catuSpathIyam Adi anya kRtiyoM se bhI agaNita udAharaNa diye jA sakate haiN| Adhunika sandarbhoM meM racanAzailIgata navya prayogoM kI dRSTi se eka ora jahA~ zAradAgIti, saMskRtagIti, va cAyagIti jaise chandoM kA prAdurbhAva 'prANAhuti:' AdigranthoM ke antagarta 'jAgrata jAgratavIrA re' prabhRti kavitAoM ke mAdhyama se huA hai, vahIM achandomayI vAkkI sRSTi bhI huI hai| DaoN0 zivasAgara jI kI hI 'saMmbhUti: ' nAma racanA se ' mAnavo'yam' zIrSaka kA kAvyAMza uddhRta hai -

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106 SAMBODHI ja, nA, dvivedI mAnavo'yam manujavaMzo'yam adyajAta: pUrNato bhuvi dainyapAkhaNDaputtalo'yam / + antarikSayuddhe cAsaktaH aNuparamANu saGgare grasta: // 13 ityaadi| isI prakAra kakSA, pustakAlaya Adi ke bAre meM bhI binA chanda kI kavitAe~ likhI gayI haiM- / jisa prakAra kajjalI, nakaTA, ka~haravA, gajalikA, kavvAlI, hajaja, madIda, koza, dohA, savaiyA tathA hAikU evaM anyagItoM ke tarja ke AdhAra para pracura saMskRta-vAGmaya kI racanA huI haiM, usI prakAra hindI, urdU, phArasI aura rAjasthAnI kI agaNita kavitAoM kA saMskRta meM anuvAda bhI huA hai| aisI maulika kRtiyoM ke kRtI praNetA paM0 vAsudeva dvivedI, rAjendra mizra aura maharAjadIna pANDeya tathA hAsyapUrNa evaM vyaGgapradhAna cuTukaloM ke dhanI prazasyamitra ke nAma bhUla jAnA eka sAhityika anyAya hogaa| prastuta haiM udAharaNa maharAjadInapANDeya ke "maunadedhaH' kAvyasaMgraha se - gajala : cintayA roTikAyA evaM manasi padavIkRtA, adharamadhu na smRtau vismRtamatinayanayoraJjanam / upAlabhate ko hi kaM tasmina prayAte svargamiha, jIvite satyeva sarvaM kimapi yadupAlambhanam / hindamuslimakhustasikhavasatAvaneke zvApadA:, atra manujA eva na tvaM geSase kaM sajjanam / kavvAlI : kIdRzI kAlike, devatA tvam ? durbalaM chAgazAvaM tvamicchasi lokavidveSakaM nopagacchasi hiMsakaM jIvajAtaM tu rakSasi kIdRzI kAlike, devatA tvam / qajz2alI: AyAto vanAmalI nAyi! varSati rasati dhanAlI kAlI // aayaato.|| meghamedure nabhasyutpatituM mAmutkayatitamAm AyAto vanamAlI nAyi!

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Vol. XIX, 1994-1995 saMskRta sAhitya meM... 107 isa prakAra saMkSepa meM kahA jA sakatA hai ki susaMskRta paramparA ke nyAsa ko apane antargabha meM bakhUbiyA dhAraNa kiye hue yaha amaravAgvallarI nirbAdha gati se apane ko vistAra detI jA rahI hai, jisameM nUtanAtinUtana prayogoM ke prati pukhara svIkRti bimbapratibimba bhAvena nirantara parilakSita hotI hai| aura saca kahA jAya to isakA yahI audArya isake ujjavala bhaviSya kA mUla kAraNa hai| pAdaTippaNI: (1).mAlavikAgnimitram 1/2. (9) DaoN. rAjendra mizra praNIta pramadvarA pR0 16. (2) Adhunika saMskRta sAhitya pR0 12 (10) DaoN. rAjendra mizra praNIta pramadvarA pR0 16. (3) zrIdhara pAThaka praNIta "bhAratagIta" kAvyaracanA ke (11) DaoN. rAjendra mizra praNIta pramadvarA pR0 16. "svadezapaJcaka" nAmnI kavitA se samuddhRta. (12) DaoN. rAjendra mizra praNIta pramadvarA pR0 11. (4) zrIdhara pAThaka praNIta "bhAratagIta" kAvyaracanA ke (13) 'sambhUti:' se Ainika saMskRta sAhitya pR0 156. "svadezapaJcaka" nAmnI kavitA se samuddhRta. (14) DaoN. maharAjadIna pANDeya kRta 'maunavedha:' kAvyasaMgraha ke - Adhunika saMskRta sAhitya pR0117 "jIvanaM tvetat' zIrSaka saM pR0 32. (5) Adhunika saMskRta sAhitya pR0 87-88 (15) 'maunavedyaH' ke "kIddazI kAlike devatA tvam" zIrSaka (6) DaoN. zivasAgara tripAThI praNIta 'sambhUti' kAvyasaMgraha ke se pR0 33. "bhajanetAram' zIrSaka se ughRta. (16) 'maunavedha:' pR06 (7) I0pI0 bharata piSAraTI racita 'eka bhAratam' kAvyasaMgraha kAvyazIrSaka- "AyAto vanamAlI nAyi!". se- A0saM0sA0pR0 95. (8) zivarAjavijaya ka) pR0 61, 208. kha) pR0 87. ga) pR0 111. gha) pR0 314. Ga) pR0 208. ca) bhAratIya saMvidhAna ke saMskaata anuvAda se (cha, ja, jha) Adhunika saMskRta sAhitya pR074.

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bharatapura kSetriya bhitticitra sthala evaM citraNa viSaya tanUjA siMha sAMskRtika pariveza meM bharatapura kSetra prAcInakAla se kalA aura saMskRti kA eka mahatvapUrNa kendra rahA hai jise braja kSetra kI saMskRti ne mahatvapUrNa sthAna diyaa| yahA~ kI kalA pUrvI rAjasthAna va braja kI kalA ke rUpa meM vikasita huii| ata: isa kSetra para brajabhUmi kA sAmAjika prabhAva lokajIvana kI kalAoM meM dekhA jA sakatA hai kyoMki yaha mathurA ke nikaTa hai aura satavAsa, vaira, kAmAM, DIga Adi bRja kSetra ke hI abhinna bhAga rahe haiN| ata: yahA~ ke mandiroM va mahaloM meM kiye gaye citrAvazeSa isakI sAMskRtika pRSThabhUmi meM vizeSa mahattva rakhate haiN| isa kSetra meM prAcIna zilpAvazeSoM ke sAtha hI bandabareThA meM 'da' nAmaka sthAna para gerUmaya rekhAMkita mAnavIya AkRtiyoM ke zailacitra prApta huye haiN| isake atirikta noha grAma se miTTI ke pAtroM meM kAle raMga kI rekhAoM ke alaMkaraNa prApta hue, parantu isake pazcAt citrakalA ke AdhAra kI zRMkhalA TUTI huyI hai| phira bhI isa kSetra meM upalabdha citraNa sambandhita kArya se jJAta hotA hai ki bharatapura kSetra meM bhitticitraNa paramparA rahI hai| ata: yaha kahanA atizayokti na hogA ki citrakalA kSetra meM racanAtmaka pravRtti mAnava prANiyoM meM zurU se hI rahI hai| bhAratIya citrakalA ke kramika itihAsa ke siMhAvalokana se spaSTa hotA hai ki yaha kalAbhivyakti pratyeka yuga kI AtmA ko saMjoye nirantara vikasita hotI rhii| prAgautihAsika guhAcitra isa bAta ke sAkSI haiN| bhAratIya citravidyAcAryoM ne bhitti citrakalA kI uccatA ko prApta kiyA jisake vizvavidita udAharaNa ajantA, bAdya, bAdAmI tathA sittanavAsala Adi kI guphAoM bhitticitra haiN| bhitticitraNa kI paramparA lagabhaga madhyakAlIna samaya se hI rAjasthAnI citrakAroM ne na kevala apanAyA varan ise vartamAna zatAbdi ke madhyakAla taka vidhivata jArI rkhaa| pariNAma svarUpa rAjasthAna ke bharatapura kSetrIya kiloM, rAja prAsAdoM, haveliyoM, chatariyoM Adi meM kiye gaye bhitticitra isake pramANa haiN| udAharaNa svarUpa kAmavana se samvat 1250 meM banavAye gaye viNNumaMdira ke abhilekha meM "tayaitatkAritaM citraM citrakarmojvalaM mahat" zabdAvalI se usa samaya meM citraNa kArya kI puSTi huyI hai| parantu vartamAna meM ukta saMketAnusAra mandira kI dIvAroM para eka bhI citraphalaka prApta nahIM huA hai| isI prakAra se satavAsa nAmaka grAma ke sUrya- mandira meM bhI citraNa kArya huA thA jo ki paraziyana prabhAvayukta belabUToM se alaMkRta thaa| parantu vartamAna meM yahA~ para mandira meM saphedI karavA dene se citraNa kArya Dhaka gayA hai| isake atirikta vimalakuNDa kAmAM meM kAmasena kI chatarI meM kRSNa rAdhA se sambandhita citraNa kArya kI jAnakArI vahAM ke vRddha pujAriyoM se milatI hai| parantu yahA~ para bhI saphedI karavA dene se sirkha phUla-pattioM ke citraNa AdhAra aspaSTa dikhAI dete hai| ata: yaha spaSTa hai ki ina paratoM ko sApha kiyA jAya to ye prAcIna sAMskRtika nidhi ke rUpa meM puna: samAja ke samakSa pradarzita kiye jA skeNge|

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Vol. XIX, 1994-1995. bharatapura kSetriya... 109 ni:sandeha bharatapura kSetrIya bhitticitraNa kA bhAratIya citrakalA itihAsa meM apanA mahatvapUrNa yogadAna rahA hai| ina bhitticitroM meM sAMskRtika paramparA, dhArmika vizvAsa tathA rAjanaitika avasthAoM kA sAmAjika paripekSa meM vyaurevAra rUpa se citraNa huA hai| ata: yaha kahanA ucita hogA ki bhitticitroM meM bhAratIya saMskRti ko jIvita rakhane, dharma kI maryAdAoM ko Ayu dene va parampaparAoM kI katipaya vizeSatAoM ko samAhita rakhane kI sAmarthya hai| isake aneka udAharaNa sabhIpastha karaulara, alavara, dhaulapura Adi sthAnoM meM bhI dekhe jA sakate haiM jinakA isa kSetra ke janamAnasa se kalAtmaka AdAna pradAna hotA rahA hai aura yaha paramparA yahA~ zAtAbdiyoM se akSuNNa rahI hai| kAraNa yaha hai ki yahA~ ke sAMskRtika dharAtala meM bRja kA dhArmika tathA anya rAjanaitika janajIvana se prabhAvita hokara jo abhivyakti hotI rahI hai vaha cAheM yahA~ kI paramparA ko jyoM kA tyoM nirvAhita nahIM karatI rahI ho phira bhI kalA ke prati yahA~ kA janamAnasa udAsIna rahA ho yaha bhI pratIta nahIM ho rahA hai| prApta pramANoM ke AdhAra para vibhinna rAjaprAsAdoM, darge, haveliyoM, mandiroM evaM mahatvapUrNa smArakoM meM aise aneka udAharaNa milate haiM jinase bharatapura kSetra kI sAMskRtika dharohara virAsata meM tathA bhitti citrakalA apanA vizeSa dhyAna rakhatI hai| isa kSetra meM prApta bhitticitroM ke vidhAna evaM zailIgata vizeSatAoM kI apekSA citra kI viSayavastu itanI mahatvapUrNa nahIM hai| kintu viSaya vastu ke AdhAra para hI sAmAjika, sAMskRtika evaM dhArmika pahaluoM para vistAra se prakAza DAlA gayA hai| isa kSetra meM citraNa viSayavastu kI vyApakatA ko dekhakara yaha AbhAsa hotA hai ki yahA~ ke citrakAroM ne bhitticitroM ko apanI kucha maulika kaThinAiyoM evaM sImAoM ke hote hue hara acche dhArmika, rAjadarabAra Adi se sambandhita viSaya sthApita karane kA prayAsa kiyA hai| bhitticitraNa viSaya pramukha rUpa se cAra bhAgoM meM vibhAjita kiye jA sakate haiN| 1 - dhArmika viSaya 2- rAjadarabAra se sambandhita 3 - lokajIvana viSayaka citra 4 - Alekhana Adi ke viSayavastu kramaza: vibhinna sthaloM se sambandhita citroM kA vivecanAtmaka adhyayana isa prakAra se nimnacitroM se mUlyAMkita kara sakate haiN| vaira ke kile meM sapheda mahala ke eka kakSa meM utkIrNa paurANika viSaya ke bhitticitra dekhe jA sakate haiN| ukta citra lagabhaga 1726 I0 ke bane pramANita hote haiM cUMki isa kile kI sthApanA ke sAtha hI kile kI pratiSThA evaM samAroha se pUrva ke hI citraNa isameM milate haiN| vartamAna meM isa mahala meM saphedI karavAne ke kAraNa citra spaSTa nahIM dekhe jA sakate haiN| vaira ke citroM meM lokakalA kA prabhAva dikhAI detA hai| bar3e-bar3e phUla va pattiyoM se ghire isa citraNa meM kucha viSaya spaSTa hai| jaise citra ke madhya nIce sUrya ke sAta ghor3oM va ratha kA aMkana ho rahA hai| ratha ke Upara baiThe sUrya bhagavAna ke hAthoM meM Ayudha aspaSTa hai parantu mukhya AkRti ke rUpa meM pIche unake teja kA pratIka prabhAmaNDala citrita kiyA gayA hai| prastuta citra eka saphala saMyojana hai jisameM prAcIna kalArUpoM meM hAthI kA svarUpa dikhAyA hai to dUsarI tarapha do hAthiyoM va unake madhya eka AkRti citrita kara citra meM santulana sthApita kiyA hai ina bar3e AkAroM ko pAsa meM citrita mAnava rekhAkRti ke aMkana se santulita kara citra meM gatipUrNa halacala dikhAI hai| ukta paurANika svarUpa ke sAtha hI citra ke

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10 tanUjA siMha SAMBODHI UparI bhAga meM dAyIM aura palaMga para leTI mahilA tathA eka mahilA ko usa para paMkhA jhalate hue lokajIvana kI bhI abhivyakti kI hai| citra meM rekhAkArya va sapATa raMgoM kA prayoga tatkAlIna citrakAra kI dakSatA kA dyotaka hai jisameM lAla, harA va nIlA raMga ke sAtha hI sapheda raMga kA prayoga bar3I kuzalatA ke sAtha saMyojita dekhA jA sakatA hai| isake atirikta dvitIya citra meM tIna mukhya viSayavastu spaSTa hote haiN| prathama citra meM sabase Upara kisI vyakti vizeSa ko ghor3e para savAra va ghor3e ke Age eka mahilA ko hAtha meM hukkA liye va ghor3e para savAra vyakti ko hukkA pIte citrita kiyA hai| dvitIya citra ke madhya haMsArUDha devI va unake pIche eka sevikA va haMsa ke Age do paNDitoM ko citrita kiyA hai| haMsa kI caMcu meM motI kI mAlA va paNDita ke hAthoM meM pAtra dikhAyA hai| tRtIya citra phalaka ke sabase nIce zravaNakumAra kA citraNa hai| zravaNakumAra ke mAtA-pitA ke citraNa meM pitA kA masanada lagAye citraNa hai| ukta sabhI citraNakArya se spaSTa hotA hai ki vaira ke bhitticitroM meM tatkAlIna loka kalA kA bhI prabhAva thaa| bharatapura kile ke bhitticitroM meM rAmAyaNa se saMbaMdhita dRzya darzAkara bharatapura ke ajeyadurga (san 1733 I0) ke pravezadvAra meM bhI tatkAlIna lokajIvana kI abhivyakti kI hai| citroM meM rekhAoM ko vizeSa mahattva diyA hai tathA raMga gerUye va sthAnIya lokakalA anurUpa hai| ina citroM meM anupAta se adhika kathAnaka ko mahattva diyA hai jaise hanumAna rAma aura lakSmaNa ke sammukha daNDavat caraNa chU rahe haiM to dUsarI aura narasiMhAvatAra ko eka kone meM aMkita kiyA hai tathA dUsarI ora kRSNa ko unameM koI anupAtika saMyojana na hote hue bhI chata ke alaMkaraNa kI kinAroM para kramabaddha dhArmika dRzyAMkana kiyA hai isase yaha spaSTa hotA hai ki bharatapura ke jATa zAsaka rAmAyaNa se tathA hanumAna ke bhakta the jo unake dhvaja meM bhI pratIkarUpa meM vidyamAna rahe haiN| bharatapura kile ke javAhara burja kI chata evaM divAroM meM Ar3I khar3I rekhAoM se citraNa kiyA hai| inameM vibhinna caukhaToM kI kalAkRtiyoM ko isa prakAra vargIkRta piyA jA sakatA hai| rAjasabhApaTa, lakSmaNa kI svayaMvara paTa, rAjakanyA paTa, narakAsura yuddha, koTarA, kRSNa vasudeva, vANayuddha, kAzIvAda, rAjakanyA prArthanA evaM caupar3a khelane kA dRzya Adi viSayavastu laghucitra paddhati meM citrita kiye gaye haiN| isame yaha bhI spaSTa hotA hai ki bharatapura ke tatkAlIna citrakAra zAstrIya evaM paurANika viSayavastu ko citraNa ke liye vibhinna rAjaprAsAdoM meM AzrayadAtAoM ke bhAvAnurUpa citrita karane kI yogyatA rakhate the| aise citraNa kArya bharatapura kSetra ke anya bhavanoM va rAjaprasAdoM evaM durga se sambandhita daravAjoM meM, sArvajanika sthaloM para nirmita hote rahe tathA bharatapura durga meM nirmita hamAma ke citraNa viSayoM meM sirpha phUla pattiyoM ke alaMkaraNa kA mAdhyama cunA hai| hamAma ko alaga-alaga bhAgoM meM vibhAjita karake madhya bhAga meM phavvAre lagAye gaye haiM tathA citrakAra ne sabhI bhAgoM meM alaga-alaga citraNa jaise ki kinAre lAla, hare raMga kI paTTikA dekara tathA bIca meM gahare raMga kI pRSThabhUmi meM halke raMga ke phUlapattiyoM kA citraNakara anya bhAga meM dvAra ke madhya sampUrNa phUla pattiyoM kI bela ko dikhAyA gayA hai| bharatapura kA DIga mahala jisa prakAra se apanI vAstukalA ke liye vikhyAta hai, usI prakAra isa mahala kA nanda bhavana jisameM ki cAroM konoM para bar3e-bar3e citrita stambha apanI vizeSatAyukta haiN| yahAM ke bhitticitroM meM vyakticitraNa adhika haiM tathA citra ke Upara usakA zIrSaka bhI diyA gayA hai adhikatara citroM ke viSaya

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Vol. XIX, 1994-1995. bharatapura kSetriya... 111 mahAbhArata va rAmAyaNa ke pAtroM ke atirikta sthAnIya rAjadarabAra, yuddha para AdhArita haiN| anya sabhI citra viSayoM meM mandira kA dRzya citra svayaM meM alaga sthAna rakhatA hai jisameM citrakAra ne devI kA mandira va mandira ke pIche per3a-paudhe Adi citrita kara ramaNIka zAnta vAtAvaraNa kI bhAvAbhivyakti kI hai| eka ora se mandira meM praveza hetu mahilAoM ko paMktibaddha hAthoM meM pUjA sAmagrI liye citraNa hai tathA caturbhujI devI ko caukI para virAjamAna trizUla va talavAra liye citraNa hai / sampUrNa citra meM devI ke pAsa nArI AkRti ke samIpa puruSAkRti ko citritakara mukhya vyakti ko dikhAyA hai| isake sAtha hI pAradarzitA tathA rekhAoM ke dvArA citra saMyojana pradhAna hai| prakRti citraNa meM ghane per3a paudhe va rekhAoM se citra meM dUrI kA samAveza kiyA hai| bharatapura ke jATa zAsakoM kI chatarIyA~, govardhana ke kusuma sarovara sthAna se apanI vAstukalA kI bhavyatA va citratA va citraNa kArya ke liye prasiddha hai / kusuka sarovara meM rAjA sUrajamala, baldeva siMha, balavanta siMha kI chatariyAM hai jisameM rAjA sUrajamala kI chatarI ke AsapAsa unakI rAniyA~ kI chatariyA~ haiM / ye sabhI chatariyA~ citraNa kArya yukta haiM jinameM rAsa dRzya, zikAra dRzya, yuddha dRzya, kRSNa ke viSaya, rAjadarabAra se sambadhita viSayoM ko liyA gayA hai parantu eka citra viSaya " kAryarata citrakAra" anya vizaSoM se alaga sthAna rakhatA hai jo ki baladeva siMha kI chatarI ke gumbaja meM citrita hai| gumbaja meM alaga-alaga phalaka meM alaga-alaga citraNa viSaya hai| isa phalaka meM do viSayoM kA citraNa hai| prathama phalaka bAMyI ora mahala ke nIcevAle bhAga meM nAyikA ko kursI para virAjamAna tathA pIche khar3I sevikA ko hAtha meM caeNvara liye huye aMkita kiyA hai| nAyikA ke sAmane cAra citrakAra jamIna para baiThe nAyikA kA citra banAne kI alaga-alaga mudrAoM meM haiM isake atirikta isa gavAkSa ke Upara vAle gavAkSa meM kRSNa aura rAdhA ko baiThe banAyA hai| isI phalaka ke dAyI ora eka gopI ko vastradhAraNa va anya do ko zRMgAra karatI huyI citrita kiyA hai| citra ke eka aura kRSNa va do gopiyoM ko Apasa meM vArtAlApa meM mana bhI dekhA jA sakatA hai| nAyikA va gopiyoM kI u~cI colI, oDhanI, la~hagA tathA AbhUSaNa rAjasthAnI vezabhUSA ke anurUpa caTaka raMgoM meM hai| citra meM harA va katthaI raMga kA prayoga kama hai to pIle bhUre kI adhikatA se citra ke raMga saMyojana meM AkarSaNa utpanna kiyA hai| isa prakAra bharatapura kSetrIya ukta sthAnoM ke bhitticitroM kI paramparA ke mUla preraka tatvoM meM dhArmika bhAvanAyeM, lokatatva tatkAlIna samAja kI paramparAyeM, kalAkAro kI svAnubhUti tathA kalAkAroM kI abhirUciyoM kA digdarzana hai jo ki vartamAna kalA jagata meM apanI vizeSa pahicAna banAye huye hai / pAdaTippaNI : 1. DA0 satyaprakAza - e brIpha noTa Arijana eNDa DavalapamenTa oNpha myUralsa ina rAjasthAna, kalAvRta, 1979 pR0saM0 71 se 74. 2. Amera saMgrahAlaya meM pradarzita. 3. ArkiyolojIkala sarve oNpha iNDiyA riporTa oNpha e TUra ina IsTarna rAjapUtAnA dvArA - 0saM0 59 evaM prabhudayAla mittalavRja kI kalAoM kA itihAsa, mathurA, 1968 pR0saM0 270. 4. DA0 rAdhAkRSNan vaziSTha - " mevADa kI citrAMkana paramparA" jayapura 1984, pR0saM0 44. karlAila bhAga 20

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'trivendrama-rUpakomAM saMjJAkaraNano viziSTa viniyoga vasantakumAra ma. bhaTTa bhUmikA: e to sarvasammata che ke 'trivendrama nATakacakramAM (athavA kaho ke - 'bhAsanATakacakra'mAM) bahu UMcA prakAranI abhinayakSamatA (takhtAlayakI) rahelI jovA maLe che; ane temAMya vaLI enA saMvAdo to nATyano aparaparyAya hoya evA coTadAra che. "nATyazAstra'mAM kahyuM che ke - vAri catnatu kartavya nAcavaiSa tanu: mRtA I (nAvaza0 14-2) arthAt nATyakavie "vANIne viSe (vizeSa) yatna karavo joIe, kema ke te nATyamAtranI dehayaSTi che." Ane vizada karatAM AcArya abhinavagupta kahe che ke -- 'vANI e to sakala prayoganI bhitti che. A saMdarbhamAM joIe to koIpaNa nATyakAre potAnAM pAtronAM nAmone paNa bahu vicArapUrvaka nakakI karavA joIe. kema ke pAtronuM saMjJAkaraNa e paNa saMvAdono eka agatyano bhAga banI zake ema hoya vaLI A sandarbhamAM saMjJAkaraNanI pravRtti pAchaLa lokamAM ane sAhityamAM kevAM paribaLo hoya che te paNa vicArIzuM to te aprAsaMgika nahIM gaNAya: "niraphata' nAmanA vedAMgamAM yAke zabdaprayoganI mImAMsA karatAM jaNAvyuM che ke -- zabdo TUMkA ane saraLa hovAne kAraNe temanAthI (koIpaNa vyakita ke vastunuM) nAma pADavAmAM (saMjJAkaraNa karavAmAM Ave che. AvA saMjJAkaraNa pachI (ja) lokamAM te te vyakita ke vastunI sAthe vyavahAra karavAmAM Ave che. have AgaLa vadhIne e paNa vicArIe ke amuka ja prakAranA nAmane - saMjJAne - pADavAmAM | pasaMda karavAmAM kevAM kevA preraka paribaLo hoI zake che. to A sandarbhamAM zAstrakAroe mukhyatve be paribaLone jAhera karyA che. jema ke, 1. nAma AkhyAta ja hoya che. arthAt je te vyakitae ke vastue amuka prakAranI kriyA karI hoya | karatI hoya tethI te kriyAne AdhAre e vyakita ke vastunuM nAma' pADavAmAM Ave che. dA.ta. 35ranIti adhvanimuM zuti 16: I "je mArgane vyApI vaLe che te 'azva' (nAme oLakhAya)."* athavA 2. vyakitaonAM ane vastuonAM nAmo yAdacchika (arbitrary) paNa hoya che. eTale ke vyakita ane vastuonAM amuka ja "nAma' pADavA mATe kazo vizeSa hetu hoto nathI, e to manuSyanA manano svecchAcAra mAtra ja hoya che. dA.ta. koI vyakti potAnA putranuM nAma hinda pADe, ke 'pinka pADe to temAM pitAnI IcchA sivAya bIjuM kazuM kAraNa hotu nathI. paraMtu prAcIna sAhitya jagatamAM DokiyuM karIe chIe tyAre AvAM yAdacchika nAmone badale guNavAcaka nAmo pADavAnI pravRtti vizeSa dhyAna upara caDhe che. dA.ta. "yudhiSThira' (je yuddhamAM sthira rahe te), 'duryodhana' (jenI sAthe laDavuM muzkela che te). evI ja rIte deza vizeSanA nivAsI tarIkenuM ke gotranAmanuM prAcarya paNa jovA maLe che. dA.ta. kausalyA (kosala dezanI putrI), 'pAMcAlI' (pAMcAla dezanI putrI), 'gAMgeya

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Vol. XIX, 93-94. 'trivendrama rUpakomAM... 113 (gaMgAno putra), 'gArme' (garga kuLamAM janmelo) vagere. AvA prakAranuM saMjJAkaraNa saMskRta sAhityamAM cheka rAmAyaNa - mahAbhAratathI zarU karIne uttaravartI kAvya nATakAdimAM paNa vyApakapaNe jovA maLe che. kavio jyAre potAnI kRtinA nAyaka-nAyikAdi pAtronAM judAM judAM nAmo pADe che tyAre je te guNavAcaka nAmo rAkhavA upara pasaMdagI utAre to dA.ta. ('priyavaMdA" ke "anasUyA') te caritra citraNakalAnA eka bhAga tarIke viniyojAyela hoya che ema suvidita che. ATalI pUrvabhUmikAnA pariprekSyamAM zrI TI.gaNapati zAstrIe anantazayana granthamAlA'mAM trivendramathI bhAsanA nAme prasiddha karelAM rUpakonAM pAtronuM saMjJAkaraNa, ane teno viziSTa rItano viniyoga kevI vizeSatA dharAve che te tapAsavuM rasaprada banI raheze. saMskRta kavio nATyakRtinA AraMbhe mUkelA nAndIzloka ke maMgalaslokamAM ghaNe bhAge kAvyAthanuM sUcana gUMthatA hoya che; ane je te prastuta nATyakRtimAM AvanArAM pAtronAM nAma (saMjJAo) jemAM gUMthAI gayA hoya evA mudrAlaMkArano prayoga paNa karatA hoya che. jema ke, 'svapnavAsavadattam'mAM udayanavendusavarNAvAsavadattAbalau balasya tvaam| padmAvatIrNapUrNI vasantakamrau bhujau pAtAm / / A maMgalazlokamAM 1. nAyaka udayana, 2. nAyikA vAsavadattA, 3. rANI padmAvatI ane 4. vidUSaka vasantakanAM nAmo gUMthI levAmAM AvyAM che. ahIM, Ama to balarAmanI be bhujAonAM vizeSaNa tarIke 3-navendra-savA ane mAnavattA-venI jevAM zabdo vaparAyA che. tathApi be zabdo vacce sandhi thatAM vAraMvattA vagere nAmo paNa prekSakonAM manamAM uddabhUta thaI jAya che. vaLI, A trivendra-rUpakonA maMgalokamAM je je saMjJAo vaparAI hoya che te temanA rUDhArthane to prathama kSaNe jAhera karI ja de che, paNa bIjI kSaNe temano yaugikArtha dhyAnamAM AvatAM temAMthI kayAreka vyaMjanAo paNa sphare che. jemake, 'dUtavAkya'nA maMgalaslokamAM pAda: pAyAdupendrasya sarvalokotsava: sa vaH / vyAviddho namuciryena tanutAmranakhena khe|| "AchA tAmravaNa nakhovALA jeNe (je pAde) AkAzamAM rahelA namuci (nAmanA rAkSasa)ne vIMdhI kADhyo hato, te badhA (traNeya) lokanA utsava samAna, upendra (viSNu)no pAda tamAruM (prekSakonuM) rakSaNa kare" ema kahyuM che. prastuta rUpakamAM je kathA Ave che te A pramANe che: duryodhane - kauravoe - rAjya ane rAjyalakSmI upara ko jamAvyo che. temAMthI te thoDIkeya jamIna ke lakSmI (dAyAda rUpe) pAMDavone bhAgamAM ApavA taiyAra nathI. Ama duryodhana te "namuci' na mukhyati ti ! (je bIjAnuM rAjya paDAvI laIne, tene choDato

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114 va. ma. bhaTTa SAMBODHI nathI te). yugapuruSa kRSNa AvA namuci duryodhana pAsethI, sAthI, samajAvaTathI pAMDavone dAvAda (pitAnI sampattino bhAga) apAvavA mAMge che. tethI te dUta banIne duryodhananI sabhAmAM Ave che ane sandhikAryano niSphaLa prayatna kare che. sau sAmAjikomAM, eTale ke ApaNA saumAM paNa kayAMka chupAIne namuci duryodhana beThelo che. eTale ke pArakAnuM laIne pAchuM nahIM ApavAnI vRtti prakaTa ke aprakaTa rUpe rahelI che. kavi (bhAsa) A maMgala zloka dvArA sUcave che ke, prastuta rUpaka joyA pachI ApaNe te namUcivRttino tyAga karIe, athavA zrIkRSNa ApaNI te vRttino nAza kare. anyathA, jema duryodhane potAnI namucivRttino tyAga na karyo ane pariNAme sarvanAza notaryo, tema ApaNe paNa sarvanAzane pAmIzuM. kavie 'namuci' zabdano prayoga karIne A vAta vyaMjita karI che. savaeNda (5-30-7)nI aMdara Indra namuci rAkSasane haNI kAtyAno ullekha che. AthI A maMgalazlokamAM 'namuci' zabdanA sAhacaryamAM viSNune mATe "upendra' zabdano prayoga karyo che. 'dUta ghaTotkacamAM zrIkRSNa ghaTotkacane dUta banAvIne mokalyAnI kathA Ave che. ahIM ghaTotkace zrIkRSNane mATe je 'janArdana' zabdano prayoga karyo che. te paNa sAbhiprAya che. jemake zrayatAM narvanarjI fzana: sarveza: | 'are rAjAo ! janArdanano A chello sandazo sAMbhaLI lo.' 'dharmanuM samyapha AcaraNa karI lo, svajanonI sAcavaNI karI jANo. manamAM jenI paNa AkAMkSA hoya te badhuM ahIM mANI lo, tamArA janmanuM rahasya upadezanAro hoya evo pAMDava (arjuna)nuM rUpa dharanAro yamarAja AvatIkAle sUryakiraNonI sAthe ja tamAre mATe AvI pahoMcaze.' (zloka-para), ahIM, draupadInuM vastrAharaNa karyA pachI, eka zastravihIna bALakano vadha karavArUpI bIjA pAtakathI kauravono vinAza nizcita che ema prakaTa karavA mATe ja nanAnuM ati - vinAzayati | 'mANasone je mArI nAkhe che' evA vyutpatyarthavALA 'janArdana' zabdane prayojyo che. (janArdana zrIkRSNane A rUpakanA maMgalazlokamAM, sRSTino laya karanAra - jagat nATakanAra sUtradhAra rUpe varNavyA che? - e paNa ahIM smaraNIya che.) dUtavAkaya'mAM AraMbhe bAdarAyaNe jaNAvyuM che ke dUta tarIke puruSottama nArAyaNa' padhAryA che; ane tyAra pachI rUpakanA anta bhagavAnanAM Ayudho praveze che, tyAre paNa ghara nu hatu mAvAna nArAyaUT: | ke prazAntaroNo mAvAna nArAyaUT: evA zabdo vAraMvAra vaparAyA che. ahIM zrIkRSNane mATe vaparAyelo 'nArAyaNa' zabda paNa sAbhiprAya che. jaLamAM je sunAra - nArAyaNa - che te zeSazAyI zaMkha, cakra, gadA ane padmadhArI viSNunuM smaraNa karAve che. tathA narono samUha te nAra. ane nAra pratye jemanuM ayana - gamana - che te 'nArAyaNa' evo artha paNa laIe to jemaNe dUtakarma dvArA mAnavasamudAyane vinAzamAMthI bacAvavAno yatna karIne potAnA nAmArthane caritArtha karyuM che evo artha paNa dhvanita thAya che. [2] vyAkaraNazAstramAM evo niyama che ke - zabloka izabliodheDavAmAM te |' zAbdabodha (= zabdamAMthI thatA rUDhijanya arthabodha)mAM zabdane potAnA rUpano (ane temAM vaparAyelI dhvanizreNImAMthI uddabhUta thatA

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Vol. XIX, 93-94. 'trivendrama rUpako'mAM.... yaugikAryano) paNa bodha thAya che. pAtrone mATe vaparAyelAM nAmo vyaktivizeSanA vAcaka hovA uparAMta, amuka nAmo evAM hoya che ke jemano potAno zabdArtha - yogikArya - paNa te vyakata karatAM hoya che. jethI tevAM nAmo nATakanA saMvAdomAM vizeSa karIne dhyAnapAtra banatAM hoya che. jemake, 'abhiSeka' nATakanA trIjA aMkamAM hanumAnajI laMkAmAM pravezyAnI kathA AvelI che. tyAM eka rakSaka zaMkukarNa vijayA nAmanI pratihArI joDe laMkezvarane kahevaDAve che ke - yasyAM na priyamaNDanApi mahiSI devasya mandodarI snehAllumpati pallavAnna ca punavIrjanti yasyAM bhayAt / vIjanto malayAnilA api karairaspRSTabAladrumAH seyaM zakrariporazokavanikA bhagneti vijJApyatAm / / (3.1) | 'a-zokavATikA' (jemAM kayAreya koI rIte zoka (pAnakhara) pravezato nathI, te eka vAnare ujajaDa karI che - tyAre te vATikAnA nAmArthanI sAthe virodhI evuM mA vizeSaNa mUkAtAM eka camatkRti sarjAya che ! evI ja rIte paMcarAtra'(nA bIjA aMka)mAM virATanI gAyone kauravo upADI jAya che - e samAcAra ApavA Avelo bhaTa jayasena naya, nayata mahAranI: kaheto praveza kare che ke - anne mahAranazannenA vadhUtaM me kSatriyatnam | SLetAM ravistara: I" "mahArAja' zabda vAparavAthI aTako mAruM kSatriyatna apamAnita thayuM che. mATe sIdho raNavistAra ja kaho.' Ama virATane potAne mATe vaparAyeluM mahAjana pada ayathArtha lAge che. kema ke pote je sAce mahI-rana hoya to emanI gAyonuM grahaNa thAya ja kevI rIte? AthI te jayasenane 'mahArAja' pada na vAparavA kahe che. 'pratijJAyaugandarAyaNa'mAM pradyota mahAsena ghaNA badhA rAjAone jItI le che. paNa vatsadezano rAjA udayana hajI tenAthI pakaDAyo nathI eTale udvigna che. pachI jyAre te sAMbhaLe che ke yaugandarAyaNa jIvato hovA chatAMya udayana jIvato AvI rahyo che tyAre te bolI uThe che ke - vaM praH: I ha7 mo: | nA vimunna8i vizvAsthata akSauhiNI ... samaFT: I adyAzmi mahAsenA 19 "zuM kharekhara (zAlaMkAyana udayanane laIne) AvI pahoMcyo che? hAza... have AjathI bakhtaro dUra karIne akSauhiNI senA sukhethI bhale ArAma kare.... TUMkamAM ja kahuM to - Aje huM 'mahA-sena' sAce ja banyo chuM." ahIM jo udayana pakaDAya to ja pote pradyota "moTI che tenA jenI" - evo 'mahAsena' kahevaDAvAne lAyaka che ema prakaTa kare che. [3] 'UrubaMga'nI sthApanAmAM sUtradhAra kahe che ke yuddha vRkSovararAyodhano: pravRttei, vo narendranidhanaiJe praviNaT: IIQaa vRkodara ane suyodhananI vacce (gadA) yuddha zarU thatAM, rAjAonA eka mAtra mRtyugRha (samA raNa)mAM yoddhAo pravezyA che."1ahIM kavie A rUpakanA kendravartI be nAyaka - pratinAyakone 'suyodhana'

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116 1. ma. bhaTTa SAMBODHI ane "vRkodara' evI saMjJAothI oLakhAvyA che. duryodhanane ahIM 'suyodhana' nAmathI oLakhAvavA pAchaLa kavino Azaya spaSTa che ke e gadAyuddhanA nItiniyamonuM pAlana karIne laDhyo che ane sAmI chAtIe laDhatAM maryo che ema darzAvIne e pAtranuM udArIkaraNa karavuM che. AvuM udAttIkRta pAtra rUpakamAM rajU thAya e pUrve ja sUtradhAra 'suyodhana' zabda vAparIne sAmAjikone e pAtrano paricaya ApI dIdho che. have e 'suyodhana' evA duryodhananI joDe laDhanAra sAmo pratinAyaka je bhIma che, tene sutradhAre 'vRkodara' evI saMjJAthI oLakhAvyo che e paNa sUcaka che. ahIM 'vRkodara' zabdamAM brahavrIhi samAsa che : "vRkanA udara jevuM udara che jenuM" (arthAt je khAudharo che te) have je khUba khAnAro hoya te svAbhAvika rIte ja jaDamatino hoya, nItiniyamonuM pAlana karanAro na hoya ema vyaMjita thAya che. ane Avo paricaya ApyA pachI, jyAre kharekharuM gadAyuddha pravarte tyAre paNa e bhImane mATe vaparAyelI e saMjJA caritArtha thatI prekSakone jovA paNa maLe che. gadAyuddhanA niyamo neve mUkIne e vRkodara kharekhara suyodhananA Urune bhAMgI kADhe che. AvuM eka apakRtya karanAra bIjA paNa vadhu moTA apakRtyane karI zakaze enI suyodhanane khabara che. putra durjaya jyAre bhAIone anusaravA mAMgatA pitA (duryodhana)ne kahe che ke - mane paNa tamArI sAthe laI jAva, tyAre pitA suyodhana ene kahe che ke - cha putra ! parva vRvodrAM vRddhi "ja beTA | A vAta (tArA) vRkodara (kAkA)ne jaIne kahe."' arthAtu - 'e tArI bahu khAudharo kAko tane bALakane paNa ekAda gadA prahAra karI Apo ke jethI tuM paNa mArI sAthe svarge AvI zakIza" ema suyodhana vyaMjita kare che. ahIM suyodhana evA duryodhane bhImane kayAreya "bhIma' (arthAta bhayaMkara) kahyo nathI, ke tene te rUpe joyo nathI. duryodhananI AMkhamAM to te haMmezA khAudharo - vRkodara - ja che. Ama kavie viziSTa evI saMjJAno prayoga karIne je te pAtranuM caritracitraNanuM kAma bIjAMkuranyAye pallavita karyuM che. cArudatta' rUpakamAM paNa che je pAtronuM je je zabdathI saMjJAkaraNa karavAmAM AvyuM che, te badhAya zabdonA kozagata artho te te pAtronA caritracitraNa daramyAna yathArtha thatAM jovA maLe che. jema ke, prathama aMkamAM viTa ane zikAra vasantasenAne baLAtkAre pakaDavA doDAdoDI karI rahyA che. ahIM zakArA vasantasenAne uddezIne kahe che ke, - vinA vinA jJAte vi7T patravaM vAM, gharakRti va, madhuraM va, zarivAM va, sarva varasantamArasaM vara | vaDa: tvAM pitrAcate 14 "AjIjI kara, AjIjI kara (mArI) hugalI ! pallavane AjIjI kara ke parabhRtikAne AjIjI kara, are ! zAsikAne bolAva ke samagra vasantamAsane bolAva. koNa, (kahe) koNa tane bacAvaze ?" ahIM zakAre vasanta Rtu ane tenA aMgabhUta puSpa, pallava, sArikA ane koyala vagere jenI senAmAM che, tene 'vasantasenA' kahevAya - evA samAsArthane prakaTapaNe zakAranI ukitamAM gUMthI lIdho che e spaSTa che. Ama to sAmAnya rIte zikAranA saMvAdo tapAsIe to temAM 'AkAMkSA, yogyatA ane sannidhi" evA vAkyartha bodhanA trividha hetuomAMthI yogyatA'no vAraMvAra bhaMga thato hoya che; ane pariNAme temAMthI hAsyaniSpanna thatuM jovA maLe che. dA.ta. ahaM tvAM pRhItva zahaste DU:zAsana: sItAnivahirAri ii': "huM, tane vALane coTalethI pakaDIne, jema duHzAsana sItAne apaharI gayo hato tema, harI jAuM chuM." AmAM 'du:zAsana sItAnuM apaharI gayo' - te vAkayamAM mazinA sinDruti | nI jema "yogyatA'no bhaMga thayo che. paraMtu te jyAre samagra vasanta mAsane bolAva' ema kahe che tyAre vasantasenAnI ni:sahAyane vadhu tIkSNatAthI upasAvavA mATe te saMjJAnA samAsArthanI yogyatAne

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117 Vol. XIX, 93-94. 'trivendrama rUpako'mAM... pUrepUrI jALavIne, tene ukitamAM rUpAMtarita kare che, temAM e jarIke ya yogyatAno bhaMga karato nathI. - vasantasenAne badale cArudattanI dAsI radanikA ajANatAM viTa ane AkAranA hAthe pakaDAya che. potAnI bhUla samajAtAM teo ene choDI de che. tyAM viTa jatAM jatAM kahe che ke A akasmAte thayelI bhUla cArudattane nA kahezo ane vidUSaka paNa e vAtanI sUcanA radanikAne Ape che. tyAre bole che ke: Arya! kArya ! ni nava65 16 "Arya ! huM kharekhara 'radanikA' chuM." arthAta radana kahetAM dAMtavALI chuM. mAre jIbha nathI ema ja samaje. tethI A durbhAgI ghaTanA cAradattane jaNAvI daIza evI ciMtA rAkhazo ja nahIM. ahIM dAsI radanikAe pote potAnA nAmano artha dhyAna upara levA kahIne, potAnA caritrane -- vyavahAra jagatamAM potAnA amuka ja prakAranA pravartanane uddaghATita karyuM che. evI ja rIte, trIjA aMkanI aMdara cora sajajalaka cAdaranA gharanI aMdara khAtara pADIne, aMdara pravezavAnI taiyArI kare che tyAre te bole che ke - dhik sajjalaka: khalvaham / mArjAra: plavane vRko'pasaraNe zyeno gRhAlokane / nidrA suptamanuSyavIryatulane saMsarpaNe pannagaH / mAyA varNazarIrabhedakaraNe vAg dezabhASAntare dIpo rAtriSu saGkaTe ca timiraM vAyu: sthale naurjale // 17 arthAt - dhikAra che ke huM khare ja sajaja-laka' chuM (eTale ke badhA ja bhaya, saMkaTone mATe taiyAra che. (jemake,) "(huM) kUdako mAravAmAM bilADo, chaTakI javAmAM vara, gharane nihALavAmAM bAjapakSI, UMghatA mANasanI tAkAta mApavAmAM nidrA, sarakavAmAM sApa, raMga ane zarIra (AkRti)ne badalavAmAM jAdu, deza mujabanI bhASA badalavAmAM vANI, rAtriomAM dIvo, saMkaTamAM andhakAra, jamIna upara vAyu ane pANImAM naukA (ja che)." ahIM sajajalake "pote cora tarIke kevI rIte susajaja che?' enuM varNana karIne potAnA nAmArthamAMthI potAnA caritrane samajavAnuM jANe bhASya racI ApyuM che! [4] madhyama-vyAyoga'mAM brAhmaNa kezavadAsanuM kuTuMba hiDimbAputra ghaTotkacanA hAthamAM sapaDAya che. kezavadAsano madhyamaputra hiDimbAno AhAra banavA taiyAra thAya che. A madhyama putranuM koI nAma vizeSa ApyuM nathI. kema ke potAnA Atmajanane maravA mATe mokalavAno che tyAre enuM nAma svAbhAvika rIte ja koI nA kahe. paNa A janmakrame madhyama evA putrane bolAvavA mATe jyAre ghaTotkaca 'madhyama', "madhyama' kahIne bUmo pADe che tyAre kuntIputra bhIma upasthita thAya che. bhIma pote kevI rIte madhyamache enI jAherAta karatAM kahe che ke - madhyamo'haM kSitau bhadra bhrAtRNAmapi madhyamaH / / 28 ba / / madhyama: paJcabhUtAnAM pArthivAnAM ca madhyamaH / / 29 a / /

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118 1. ma. bhaTTa SAMBODHI he bhadra! huM pRthvI upara 'madhyama' che, bhAIomAM paNa 'madhyama' chuM." ane vaLI, "pAMca mahAbhUtomAM paNa 'madhyama' chuM ane pArthivomAM paNa 'mayama' chuM." ahIM bhIme potAne 'madhyama' saMjJAthI bolAvAya enuM aucitya spaSTa karatAM uparanAM vAkayo uccAryA che. jemAM pote kuntInA traNa santAno (yudhiSThira, bhIma ane arjuna)mAMthI 'madhyama' che. ema bhrAtRIgi madhyaH: thI kIdhuM che e to svayaMspaSTa che. paNa pAMca mahAbhUtomAM paNa te 'madhyama" kevI rIte che? e samajavuM paDe ema che. sAmAnya rIte pAMca mahAbhUtonI gaNatarImAM prathivI-apa-teja-vAyu ane AkAza - evo krama sAMbhaLavA maLe che. A kramamAM to 'tejane madhyamAvasthAmAM mUkela che. paraMtu traNa lokanI daSTie vibhAjana karIne vicArIe to pRthvI ane apa te pRthivIlokanA be mahAbhUta; teja ane AkAza te ghulokanA be mahAbhUta ane vaccenA antarikSalokanA mahAbhUta tarIke vAyune gaNAvIe to vAyuputra tarIke bhImane paNa 'madhyama' tarIke apAyelo pAtraparicaya yathArtha Thare che. purANa prasiddha kRSNakathA upara AdhArita 'bAlacarita' rUpakamAM 'nArada' ane 'dAmodara' evI be saMjJAo paNa te te pAtronI asmitAne spaSTa karavAmAM upayogI che. AraMbhe ja nArada potAnI oLakha ApatAM jaNAve che ke - dhrAnokAviThTha praNo nAra: priya: ideg ahIM 'nArada' zabdanI vyutpattijanya artha ja evo thAya che ke - nAraM= narasamUduM ghati = avaravaeti venadena ti nArA 'je kalahathI mAnavasamudAyamAM bhaMgANa paDAve che tene "nArada' kahevAya che." Ama, have nAradanuM vyakitatva ja A rUpakamAM kevI rIte preraka paribaLa banI rahe che e jovA sau sAmAjiko utsuka thaI jAya che. AvI ja rIte kRSNanA janma pachI tarata ja emaNe je lIlAo karavAnI zarU karI che teno ahevAla ApatAM ApatAM eka vRddhagopAlaka kahe che ke - roSe bharAyelI yazodAe ekavAra dAma (doraDuM) laIne vAsudevane pakaDIne, temane keDathI bAMdhI dIdhA, ane doraDAnA bAkInA cheDAne khAMDaNiyA sAthe bAMdhyuM. kRSNa to e khAMDaNiyAne paNa ghasaDIne, vRkSa banIne UbhelA yamala tathA arjuna evA be dAnavone paNa haNI kADhyA. tyArathI mAMDIne kRSNanuM nAma 'dAmodara' paDyuM: tato gopa nanairu - mahIvanaparIkramodamRti marjhAmoranAma bhavatu ti ' ahIM koI ghaTanA pachI kRSNanuM nAma 'dAmodara' (jenA udara arthAt keDa upara dAma = doraDuM baMdhAyeluM che te) paDyuM che enA tarapha aMgulinirdeza paNa che; ane kRSNanuM caritra paNa evI vyaMjanAthI citrita karI ApyuM che ke viSNue kRSNarUpe avatarIne dAnavono saMhAra karavA mATe kamara kasI che, teo bahuparikara arthAt 'dAmodara' banyA che ! 'avimAraka' nATakamAM nAyake 'avi' arthAt eka gheTAne mAryuM hatuM, tethI tene 'avi-mAraphanA nAme oLakhAvavAmAM Avyo che. paraMtu rAjakuMvarI kuraMgI sAthe A atyaja banelA avimArakano praNayasaMbaMdha vikase che tyAre temanuM milana atiduSkara hatuM. cothA aMkamAM vidyAdharanI kRpAthI avimArakane eka aMgulIyaka prApta thAya che; jene jamaNe hAthe paheravAthI te pracchanna thaI zake che ane DAbe hAthe paheravAthI te pragaTa thaI zake che. A joIne vidUSaka kahe che ke - prathamaM zudvoDavimara:, nI mahAvinA: saMvRtta: |

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Vol. XIX, 93-94. 'trivendrama rUpako'mAM... 119 vaM mAyAvitta kSati hUM vanyapUre chinnaro na gharavija** "pahelAM to tame zuddha avi- mAraka (ja) hatA, paNa have tame mAyAvi-mAraka (athavA mAyA-avimAraka) banyA cho. to AvI saMtAvAnI vidyA jANanAra tame chUpA svarUpe kanyApuramAM kema pravezatAM nathI ?' ahIM vidUSake spaSTapaNe avimAraka evI saMjJAne 'mAyAvi-mAraka' rUpe pheravIne nAyakane mAyAvI- jAdugara banIne mAraka bananAro; kAma sAdhanAro kahyo che te sUcaka che. ahIM kavie pote kAryavegane AgaLa vadhAravA je atimAnuSI aMgulIyakano Azraya lIdho che tenA tarapha paNa sIdho nirdeza karI dIdho che ane e rIte priyatamAne maLavA mATenI nAyakanI pravRttimAM abhUtatattva saMmizrita thAya che te uddaghATita karyuM che. Ama amuka prakAranA saMjJAkaraNano yogya kSaNe sIdho ja saMvAdamAM upayoga karIne, A 'trivendrama rUpako'no nATyakAra caritracitraNanuM kArya pAra pADato rahe che e savizeSa noMdhapAtra che. [ 6 ] 'pratijJAyaugandhaparANa' rUpakamAM vidUSakanuM nAma "vasantaka' che. A saMjJAkaraNano paNa eka sUcaka kSaNe viniyoga karavAmAM Avyo che te joIzuM. trIjA aMkanA pUrvArdhamAM unmattakanuM dazya AvI gayA pachI yaugandarAyaNa, vidUSaka ane ramavAnuM khaMDera evA agnizaraNamAM maMtraNA mATe bhegA maLe che. tyAM vidUSaka pAsethI sa ANe che ke udayana to kArAgAramAM mahAsenanI putrI vAsavadattAnA premamAM paDyA che (ane teo ekalA nahIM, paNa vAsavadattAne paNa sAthe laIne ja bhAgI chUTavAnI IcchA dharAve che.) eka kSaNa mATe to yaugandarAyaNane lAge che ke have rAjane koI rIte choDAvI zakAze nahIM; ane A ja unmattakanA parivezamAM vRddhAvasthA pasAra karavI paDaze ! A samaye vidUSaka bole che ke - are ! ApaNe udayana pratyeno ApaNo bhakitabhAva dekhADI cUkayA chIe; (emane choDAvavA) banato badho prayatna paNa karI chUTyA chIe. to have to e ja ucita che ke Amane (udayanane) ahIM (bandhanAvasthAmAM) ja choDIne, ApaNe pAchA (kauzAmbI nagarImAM) jatA rahIe."vidUSaka to Ame ya nirudyamI hoya che, balake ArAmapriya vyakti hoya che. te rAjAne kArAgAramAM Ama prema karato joIe, tene choDAvavAne viSe ekadama nirutsAhI banI jAya che. A kSaNe nATyakAre gandarAyaNanA mukhe je ukita mUkI che te cirasmaraNIya che. :vanti bhavana nanA vasantava mAM naivaF "are! Apa kharekhara to vasantaka cho ! o vasantaka ! ne, nA evuM thAya nahIM." arthAtu Apa 'vasantaka' cho eTalA mATe ja tamArAthI ema nirutsAhI thavAya nahIM. mitra ane svAmI evA udayana premamAM paDyA hoya ane priyatamAne laIne ja temane bhAgI chUTavAnI goThavaNa joItI hoya to ApaNI e pharaja che ke ApaNe ene mATe paNa paNa pharIthI kAryarata thavuM joIe. Ama kavie vidUSakane 'tuM nAme vasantaka chuM' evuM yagandarAyaNa dvArA yAda karAvIne enAmAM navA kAryano utsAha saMkoya che. AvI rIte 'trivendrama-rUpako'mAM je te pAtranA saMjJAkaraNano.viziSTa saMjogomAM upayoga karIne, je te pAtranA vyakitatvane khIlavavAno paNa prayatna thayo che. saMskRta kAvyonAM benamUna anuvAda karanAra sahRdayadhurINa zrI kezavalAla harSadarAya dhruvasAhebe 'pradhAnanI

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SAMBODHI [vasa.] 120 1. ma. bhaTTa pratijJA'mAM vasataka ane yaugandarAyaNanI uparyukata ukitaono anuvAda nIce mujaba karyo che : (vana velI) tyAre emane mUkiye paDatA ne pakaDiye rasato thayuM, aMtarano bhakitabhAva ApaNe batAvI cUkayA; puruSaprayatna paNa karI chUTyA. () yoga.] vasaMtaka ! tame to baTakabolA enA e ja vasaMtaka rahyA. bhAI, e kaho cho tame te thatuM haze ke ? ahIM (na.) evI pAdaTImamAM teo umere che ke - "A ane e pachInI vasaMtakanI vakrokti yaugandarAyaNanA utsAhanuM poSaNa kare che. svAmI pratyenI rati e utsAhanuM aMga che. paraMtu zrI ke.ha. dhruva kahe che ema vidUSakanI vakrokitathI je mandI yaugantarAyaNanA utsAhanuM poSaNa thatuM hoya to A nATakanA karmaTha nAyakanuM pAtra enI garImAethI ghaNuM nIce utarI jAya che, jhAMkhu paDI jAya che. vAstavamAM to A ja yaugandarAyaNe prathama aMkanA aMta bhAge pote uccAryuM hatuM ke, kASThAdRgnirjAyate mathyamAnAd, bhUmistoyaM khanyamAnA dadAti / sotsAhAnAM nAstyasAdhyaM narANAM mArgArabdhAH sarvayatnA: phalanti / / 'UtsAhayukata manuSyone kazuMya asAdhya nathI A mahAnuM AsthAthI je yaugandarAyaNe prathamAMkamAM 'rAjAne pote na choDAvI lAve, to pote yaugandarAyaNa nathI.' (1.16) evI pratijJA lIdhI hatI ene e rIte e pAtrano eka prabaLa utsAhI vyakti tarIke prekSakonA mana upara je prabhAva pADyo hato - te badhuM dhULamAM maLI jAya; je zrI ke.ha. dhruvasAheba kahe che tema vidUSakanI vakrokitathI yaugandarAyaNa pharIthI utsAhayukata thavAno hoya to. - AnA badale ApaNe joyuM tema - ALasu vidUSakone, ke jene rAjA ne choDIne cAlyA javAnuM eka tabakake mana thaI Ave che tyAre, yAda karAve che ke, "alyA ! tu to vasantaka chuM,' tArA utsAhane vaLI pAnakhara kevI ? to emAM ja banne pAtronA caritracitraNane potapotAnI rItano cirasthAyI raMga caDhI jAya che. upasaMhAra : 'trivendramu-rUpako'nAM nATyakAra dvArA je te pAtronA saMjJAkaraNano saMvAdamAM koI viziSTa kSaNe jyAre viniyoga thAya che tyAre ke - 1, je te pAtranuM guNa saMkIrtana prakaTa kare che, (jema ke, vRkodara, madhyama, radanikA ke sajajalaka); athavA 2. amuka prakAranA nAmakaraNanA ItihAsanI jijJAsA saMtoSe che, (jema ke dAmodara); athavA 3. kAryavega AgaLa vadhAravAmAM amuka pAtranuM pravartana kevI rIte thaze te prakaTa karavAmAM Ave che, (jema ke, mAyAvimAraka); athavA 4. amuka pAtranuM sattva jagADIne, tene

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Vol. XIX, 93-94. 121 'trivendrama rUpako'mAM... utsAhapUrvaka kAryAnvita karI Ape che, (jema ke vasantaka). Ama pAtronAM nAmone saMvAdomAM AvI rIte ke gUMthI laIne caritrapAtronAM nAmone saMvAdomAM AvI rIte gUMthI laIne caritracitraNane enI parAkASThAe pahoMcADavAmAM Ave che. dhvanyAlokakAre (3.16mAM) je kahyuM che ke - ''subanta, tiGanta ke vacanAdinA saMbaMdhothI, tathA vibhinna kArakazakitaothI, ane kRdanta, tandrita ane samAso vaDe paNa kayAMka alakSyakramavALo (rasAdi dhvani) dyotita thAya che. tenA udAharaNa rUpe 'trivendrama-rUpako'nA uparyukata saMjJAkaraNane AgaLa dharI zakAya ema che. vaLI, caritracitraNane mATe saMjJAkaraNano Avo upayoga te 'trivendrama-rUpako'nI atyAra sudhI anullikhita rahelI eka AgavI vizeSatA che. vaLI, A vizeSatAne A rUpakonAM samAna kartRtvanA muddAnuM samarthana karatI eka vadhu dalIla rUpe 'bhAsa-samasyA'mA umerI zakAya evI che !! * pAdaTIpa : 1. No dialogue no drama. 3 nATyasyaiSeti / eSA hi tanurnATyasya sakalaprayogabhittibhUtatvena AtodyagItAbhinayAnugrAhakatvAt svayamabhinayarUpatvAcca // nATyazAstram (aminavamAratIsametam), (Vol. II, p. 220) Gaekwad's Oriental Series, No. Lxviii, M.S. University, Baroda, 1934. aLIyastvAna zabdena saMjJAvAM, vyavadAI no / - nim, adhyAya-1, (prathama: vAva:). tatra nAmAnyAkhyAtajAnIti zAkaTAyano nairuktasamayazca / na sarvANIti gAryo, vaiyAkaraNAnAM caike // niruktam, a0- 1. catuSTayo zabdAnAM pravRtti: jAtizabdAH guNazabdAH kriyAzabdA:, yadRcchAzabdAzcaturthA: / (RlRk mA. sU. 2 ityasya sUtracopI vyAraLamannAmAvyam / pR. 72). AvA mudrAlaMkArano prayoga anya 'trivendrama rUpako'mAM paNa jovA maLe che: jema ke, pratijJAyaugandharAyaNa, paMcarAtra ane pratimA. juo : mAsanATavam - Plays Ascribed to Bhasa. Ed. by C.R. Devadhwr, Pub. Orientat Book Agency, Poona, 1957. ('0 67, 272e, 241) 7. nArAyaNastribhuvanaikaparAyaNo vaH 3. 4. 5. 6. C. zrI zevaDe gurujI kAryagaurava nidhi TrasTa, amadAvAda ane saMskRta vibhAga, gujarAta yunivarsiTInA saMyukata upakrame Ayojita 'bhAsa parisaMvAda' (tA. 29,30 navembara, 1994)mAM rajU karelo lekha. 9. pAyAdupAyazatayuktikaraH surANAm / lokatrayAviratanATakatantravastu prastAvanapratisamApanasUtradhAraH // ...v hatu saMjJAvAnInivAjJite anAnasahAye ghanazrcaye... dhArtarASTra: parivArya nivAtita: mAro'mimanyu: || - tUtapaTovam / (ejana, devadharanI AvRtti, pR. 459) zabdAdarthAkAravRttau jAyamAnAyAM svAkArasyApi samarpaNamiti zabdasyApi viSayatA / ata eva zabde grAhyatvagrAhakatvarUpazaktidvayasvIkAraH / tatra tAtparyavazAd bahudhA zabdaprakArako bodha: / ...sarvaM jJAnaM zabdAnuviddham / taduktam - na so'sti pratyayoloke yaH zabdAnugamAdRte / anuviddhamiva jJAnaM sarvaM zabdena bhAsate || (vAkyapadIyam 1-324) - vaiyAkaraNasiddhAntalaghumaJjUSA, Adarza saMskRta granthamAlA prathamaM puppam, prathamaM saMskaraNam, saM0 sabhA gAmamAM (ratnapramAvyAhyAsahitA), lakSmInArAyana presa, kAzI, vi0r0 2186 (pR0 328). ejana, devadharanI AvRtti, pR. 393.

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122 1. ma. bhaTTa SAMBODI-II 10. ejana, devadharanI AvRtti, pR. 78. 11. ejana, devadharanI AvRtti, pR. 40. ejana, devadharanI AvRtti, pR. 502. A ukitamAMnA 'vRkodara' zabdano anuvAda 'bhIma' zabdathI kadApi nA karavo joIe, nahIM to zabdazaktimahimAthI spharita uparyukta vyaMjanAne hAni thaze. paraMtu kavizrI umAzaMkara jozI jevAnA hAthe paNa A bhUla thayelI jovA maLe che. jema ke, "duryodhanane anyAyapUrvaka sAthaLa upara ghA karIne bhIme mAya che ne enI pAchaLa eno dIkaro doDI Ave che. bApA, bApA, mane sAthe laI o, ema valavalato. duryodhana e prasaMge ITS putra, purva vRkSo | - ja dIkarA, bhImane ema kahe.' - e uttara keTalo marmavedhaka che." ('zrI ane saurabha'mAM prakAzita "saMskRta nATakanI siddhi'vALo lekha; zrI umAzaMkara jozI, vorA enDa kaMpanI pablizarsa prA.li. amadAvAda, prathamavRtti, 1963, pR. 57) 14. ejana, devadharanI AvRtti, pR. 200. 15. ejana, devadharanI AvRtti, pR. 200. 16. ejana, devadharanI AvRtti, pR. 209. 17. ejana, devadharanI AvRtti, pR. 229. ejana, devadharanI AvRtti, pR. 429, 430. 19. tatra dravyafr gfthavyonovAthvIvIza. TIFEnasi navaiva | - tarkasaMgraha tathA sAMkhyakArikA' (22)nI upara sAMkhyatattvakaumudI'mAM 'AkAza-vAyu-teja-Apa ane pRthivI' evo krama jovA maLe che. ejana, devadharanI AvRtti, pR. 511. ejana, devadharanI AvRtti, pR, pa37. 22. ejana, devadharanI AvRtti, pR 160. anenaiva veve na T (mAsanITama, devadharanI AvRtti, pR. 92), 24. mora ! ti: naida: | nirvag: puruSaT: | dhUnsivaine 18Ama: | (masanIdeva, devadharanI AvRtti, 28, ejana, devadharanI AvRtti, pR. 92 pradhAnanI pratijJA; anu kezavalAla ha. dhruva, amadAvAda, yuniana prinTIMga presa kaMpanI limiTeDa, amadAvAda, sana 1922 (pR105) 27. ejana, devadharanI AvRtti, pR. 72 suptiDvacanasambandhaistathA kArakazaktibhiH / kRttaddhitasamAsaizca dyotyo'lakSyakrama: kvacit / / - dhvanyAno: 3/6 29, si. 21.31. yauast aual BHASA - A STUDY (Pub. Munshiram Manoharlal, Delhi, Second edition. 1968 nA pRSTAMka 5 thI 20)mAM samAna kartutvane siddha karanArI je vIsa dalIlo ApI che temAM prastuta lekhanA muddAne umerI zakAya.

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keTalAka prakIrNaka abhilekho lakSmaNabhAI bhojaka prastuta lekho kula daza sva. AgamaprabhAkara pUjya munirAja zrI puNyavijayajInI noMdhomAMthI prApta thayA che. emaNe mULa lekho kyAM joyA haze tenI noMdha karI nathI. AthI ahIM keTalAkanA ja mULa sthAna viSe aTakaLa thaI zakI che. prastuta lekha rAjasthAnamAM naDralano hoya tema lAge che. koI dAnabhAga saMbaMdhI hovAnuM jaNAya che. lekha saM. 1268 (I.sa. 1212)no che. saMvat 1268 varSe mahA vadi 5 somadine zrInaDule mahArASTre (?) rAja zrIsaMgrAmasiMhadeva kalyANavijayarAjye sevvA0 kamalasi (?) hR . . . . su (?) ta bhao (?) pratAana tAmya (?) mAdheya ... (2-3) A lekho maMtrIzvara vastupAlanA mitra kavimaMtrI yazovaranA che. banne lekha samAna che ane mULa rAjasthAnanA mAdaDI grAmanA caityamAM pratiSThita kAyotsarga jinayugalanI AsanapaTTI para kaMDArAyelA haze. lekho saM. 1288 (I.sa. 1242)nA che, je kALe AbU para delavADAmAM maMtrI tejapAlanI prasiddha luNavasahInI sthApanA thayelI. lekhamAM maMtrInA pitA udayasiMha tathA mAtA udayazrInAM nAma che. pratiSThA (emanA kulagura) saMDaragacchanA zAMtisUrie karAvela che. maMtrI yazovaranA lekho A pUrve AbunI vimalavasahI tathA lUNavasahImAM maLI AvyA che. (1) saMvat 1288 varSe jyeSTha sudi 13 budhe zrISaMDerakagacche zrI(2) yazobhadrasUrisaMtAne duHsAdha zrIudayasiMhaputreNa maM(3)tri zrIyazovIreNa svamAtR: zrIudayazrIya: zreyase mAda(4) DIgrAmacaitye jinayugalaM kAritaM pratiSThitaM ca zAMtisUribhiH / / | (4) prastuta lekha kayAMno che te ajJAta che. (1) saM0 1297 jyeSThi vadi 8 ravau (2) zrImAlajJAtIya Tha0 vAlhAkena bhAryA Tha0 (3) vIlhaNadevI suta surapAla zreyArthaM deva (4) zrIpArzvanAthabiMba kAritaM pratiSThitaM shriiysho(6) phevarimi: ||

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124 SAMBODHI lakSmaNabhAI bhojaka (5) A lekha paNa kayAMthI lIdho che tenI noMdha nathI paNa lekhamAM vAdidevasUrinI paraMparAmAM thayelA madana(caMdra)sUrinA ziSya, moTe bhAge to (ni)devasUrinuM pratiSThApakarUpe nAma che'. ane Ama te bRhadagaccha saMbaMdhI hoI mahatvano che. (1) saM 1349 phAguNa zu 8 ravau prAgvATa (2) sA0 dharaNidhara suta sA0 narapAla bhAryA (3) nAyaka(kI)devi putra sA0 pethaDena mAtR-pitR (4) zreyorthaM zrIzAMtinAthabiMbaM kA vAdi zrI (5) devasUrisaMtAne zrImadanasUriziSyaiH zrI (6) tuvi(? muni) devasUribhiH / / prastuta lekhanuM paNa sthaLa ajJAta che. lekha zrIneminAthanI pratimA saMbaMdhamAM che. kArApaka pallIpagacchanI AmnAyavALA dharmavaMzIya zrAvaka parivAra che. pratiSThApaka AcArya udyotasena sUrinA ziSya mahezvarasUri che. palivAlagacchanI paTTAvalimAM eka mahezvarasUri nAma to Ave che, paNa tyAM temano svargavAsa saM. 1150mAM batAvyo hoI tema ja gurunuM nAma bIjuM ja hoI te A AcArya hovAno saMbhava nathI. (1) saMva0 1352 varSe jyeSTha zudi 5 budhe zrIpallIyagacche dharkaTavaMze sA0 sAdA suta vAgaDa bhrAtR vAdA bhrAtR soDhA suta rAyaNa bhrAtR kesava bhrAtR araju - (2) na bhImaDa sIhaDa sAMgaNa sA0 vAdAkena mAtR cApala zreyase zrIneminAthabiMba kaaritN| zrIudyotanasUripaTTe pratiSThita zrImAhe(3) sU(zva)rasUribhiH zrAvake: zubhaM bhavatu / / (7) A lekha dayAvaDa (vartamAna dAvaDa) gAmanI mAMDavIno karamukita saMbaMdhano lekha che. te samaye tyAM mahAmaMDalezvara rANaka vayajaladevanuM zAsana hatuM. (1) saM01352 azvina vadi 11 some a(2) yeha zrIdayAvaDe mahAmaMDalezvara rANa0 vaya(3) jaladevena haMtakAraheto: atra vAstavya medapATI(4) ya brAhma0 paMDi0 AsAdityasya talAvarta muktamaMDapi(5) kAyAM dharmaprAptaye dattaM josAri se0|- tti(6) - AcaMdrArkaM yAvat zreya prAptaye //

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Vol. XIX, 1994-1995 keTalAka prakIrNaka abhilekho (<) saM 1440 (isa1438)no A lekha sararasvatI pratimAnI AsanapaTTI para kaMDArAyelo che, paNa kayAMthI levAyo che tenI noMdha prApta nathI. lekha maDA(yarI?) haDIyalagaccha saMbaMdhI hovAnuM jaNAya che. pratiSThApaka AcArya che siddhasUri. (1) saMvat 1440 varSe poSa sudi 12 bu0 zrImaDAyarI (zrImaDAhaDIya?) - gacche upakeza jJA0 5 zrIbhaDa (2) sI bhA0 mIyAlade suta segA jayasiMhadeva - (3) rAja sahitena zrIzAradAmUrttiH kAritA: pra0 siddhasUribhiH ||zrIH || 125 (e) A lekha "bhArukacchakazAlA'' eTale bharucanA granthabhaMDAra saMbadra citkoza(?) karavA tathA gaMjuka(pustakanA dAbaDA) karAvavA saMbaMdhano saM1478 (Isa1422)no paM zAMtisuMdara gaNivarano che. A korela lekha haze ke pustaka pAnAnI noMdha haze te vAta spaSTa nathI. A pachI nIce mujabanuM lakhANa che. // saMvat 1478 varSe [vaizAlikaziromaNi pUjya paM0 zAMtisuMdaragaNivaraiH ] sarvaM citkozakAryaM guMjukazyanAdiyakAri bhArukacchakazAlAyAM // zrIsaMghasya zubhaM bhavatu zrIcitkozena || cha || paM0 zAMtisuMdaragaNibhizcittakozagaMjukasamAracanAdikRtyaM vidadhe // zrI // saM0 1489 varSe jye0 va0 patra 354 balabAnAM // parya pRthulasaMcaya: || zrI || (10) A lekhanuM sthAna paNa jJAta nathI. pratiSThAyaka AcArya tapAgacchAdhipati somasuMdara hoI lekhanuM mahatva che su0 saM0 1487 jyeSTha zu 9 prA0 jJA0 mahaM godhA bhA0 mAMkU suta dharmasiMha bhAryA varaju jhAMjhaNamAIyAdi yutenAtmazreyase zrI zAMtinAthabiMbaM kA0 prao zrIsomasuMdarasUristapAgacchAdhirAjaiH || zubhaM bhavatu // shrii||

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caulukya bhImadeva bIjAnuM tarabhanuM tAmrapatra (vi. saM. 1263) 5lakSmaNabhAI bhojaka DaoN. nArAyaNa ma. kaMsArA AjathI pacIseka varSo pahelAM vIsanagara pAsenA kamANA gAmethI maLeluM vi. saM. 1261nI makarasaMkrAntinuM eka tAmrapatra vaDodarAnI orienTala InsTiTyUTanA jarnala (vaoNlyuma 19, naM. 1-2, 1969)mAM ame prasiddha karyuM hatuM. te A ja caulukaya bhImadeva bIjAnuM hatuM ane te Aje ahIM jene prastuta karIe chIe te tAmrapatranA eka varSa ane agiyA mahinA pachInuM hatuM. A tAmrapatrano pATha ela.DI. insTiTyUTanA jarnala "saMbodhi'nA 1993nA vaoNlyuma 18 pR. 123-124mAM prasiddha thayuM che. A lekha e ja rAjAno che paNa mahesANA jillAnA visanagara tAlukAmAM Avela vAlama gAmanI najIka gaNezapurAnI paDakhenA tarabha gAmamAMthI maLelo che. A tAmrapatra te gAmanA zrI bAbubhAI paTela taraphathI lAlabhAI dalapatabhAI bhAratIya saMskRti vidyAmaMdirane bheTa maLyuM che, ane saMsthAnA raji. . 71145 ane mU. naM. 1411mAM noMdhavAmAM AveluM che. A tAmrapatra tAMbAnAM be chUTAM pahelAM patarAMnuM baneluM che. emane joDatI kaDI maLatI nathI, paNa te mATenAM chidro prathama patarAMnA nIcenA bhAge ane bIjI patarAnA mathALAnA bhAge pADelAM che. baMne patarAMnI eka ja sapATI para akSaro kotarelA che, bIjI pAchaLanI bAju korI che. baMne patarAMnuM bheguM vajana 4 kilo 970 grAma che, ane baMne eka ja mApanAM 33.3 se.mI. laMbAI x 29.3 se.mI. pahoLAI ane 0.4 se.mI. jADAIvALAM che. patarAMnI cAre bAjunI kinAra upasAvelI hovAthI akSarone ghasAro paDyo nathI. pahelA patarAmAM upara 2.7 se.mI. ane nIce 3.4 se.mI. hAMsiyo che, jyAre bIjA patarAmAM upara 2.4 se.mI. ane nIce 2.7 se.mI. hAMsiyo che. prathama patarAmAM 18 paMkitao ane bIjA patarAmAM 19 paMkitao che. dareka paMkitamAM Azare 41 akSaro che, akSaranI jaDAI 0.4 se.mI. ane laMbAI 0.9 se.mI. che. dAnapatranI bhASA saMskRta che, lipi jaina devanAgarI che. rephavALA akSaromAM vyaMjana bevaDAvelA lakhyA che. sarvasthaLe paDimAvA che ane anunAsikano upayoga karyo nathI. halanta ane avagrahanI nizAnIo prayojI che. daMDa paNa darzAvyA che. dAnanI tithi vikrama saMvata 1293nA mAgasara vadi 9, ravivAra (tA. 24-11-1206) che; e divase caulukaya bhImadeva bIjae tarabhamAMnI A bhUminuM dAna dhanasaMkrAntinA pavitra sthAnanA anuSaMge kareluM jAhera karatAM A tAmrapatra upara eno dastAvejI lekha kotarAvI Apyo che. dAnapatra aNahilapura pATaNamAMthI prasArita karyuM che. A dAnamAM Apela bhUmi te vAlimya (AjanA vAlama) grAmanI ra hala pramANa bhUmi ane kuralI (AjanA karalI) grAmanI 2 hala pramANa bhUmi che. dAnamAM Apela bhUminA khUTa nIce mujaba che:

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127 Vol. XX, 1994-1995 caulukaya bhImadeva... vAlima grAmanI bhUminA khUMTa : pUrvamAM AjapAla ane mohaNanAM khaLAM tathA gAmamAM javAnI saMyaDI (sAMkaDo mArga) ane AsarAnuM khaLuM; dakSiNamAM sAdAnuM khaLuM ane bhAMDu gAma tarapha javAno rAjamArga; pazcimamAM taLAvano kAMTho, vaDalo, tathA zrI ariSTaneminI vATikA (maMdiranuM udyAna) ane viThaDa tathA gAMgiranAM khetaro; ane uttaramAM khetarono saMyaDo tathA kocAnuM khaLuM. kurulI grAmanI bhUminA khUMTa : pUrvamAM kuTuMbI gogAu ane vAsudevanAM khetara, dakSiNamAM trivaha (AjanA tarabha) gAmanI hada pazcimamAM rAjamArga; uttaramAM risiyAtalAmikA (talAvaDI) tathA bhAgelI kuI, dINipa (AjanA deNapa) gAmano rAjamArga tathA gAmanAM gharataLa ane khaLAM. lekhamAM ullekhAyela rAjapuruSa : (1) dAnapatrano lekhaka moDhAnvaya mahAkSapaTalika Thakakura kumarano putra vasarina che. (bhImadeva bIjAnuM saMvata 1263nA zrAvaNa sudi ne ravivAranuM je tAmrapatra "gujarAtanA aitihAsika lekha, bhAga-2mAM mudrita thayeluM che. temAM moDhAnvaya"ne badale "kAyasthAnvaya" pATha che.) mahAsAMdhivigrahika Thakakura zrIsUrano ullekha "dUtaka" tarIke thayo che. lekhanA aMte bhAvi rAjAone A dAna cAlu rAkhavA AjJA karavAmAM AvI che ane dAnane ziromAnya karanAra vaMzajone AzIrvAda ApatA tathA enuM ullaMghana karanArane zrApa ApatA bhagavAna vyAsanA cAra zloka lakhyA che. sauthI nIce jamaNI tarapha zrI bhImadevanA hastAkSara che. dAnano cahItA : A tAmrapatra dvArA jene dAna ApavAmAM AvyuM te vyakita bAhyanAgarajJAtino kavalANA gautama sagotra brAhmaNa jyoti navAsuta bhUmiga nAmano hato. bhImadevanA pUrvajono nirdeza : A tAmrapatramAM bhImadeva bIjAno ullekha Ave tenI pUrve lekhanA AraMbhathI nava caulukaya rAjAonI vaMzAvaLIno ullekha karavAmAM Avyo che. A rAjAono krama A pramANe che. (1) mULarAja pahelo; (2) cAmuMDarAja; (3) durlabharAja; (4) bhImadeva pahelo; (5) karNa; (6) jayasiMha (siddharAja); (7) kumArapAla; (8) ajayapAla; (9) mULarAja bIjo. vizeSa : Aja sudhImAM bhImadeva bIjAnAM kula daseka tAmrapatro prasiddha thayelAM che. temAM A ekano vadhAro thAya che. A tAmrapatramAM nirdezAyelAM gAmo nIce pramANe che :

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lakSmAgabhAI bhojaka ane nA. ma. kaMsArA SAMBODHI vAlimya = vAlama, kuralI = karalI, bhAMDuya bhAMDu, trivaha = tarabha, dINipa = deNapa. A badhAMjagAmo uttara gujarAtanA mahesANA jillAnA visanagara tAlukAnA mukhya nagara visanagaranI najIkamAM Azare dasa paMdara kilomITaranA aMtare AvelAM che. vAlimya (vAlama) gAmanI dAnamAM ApelI bhUminI pazcima sImAnA khUMTane lagatA nirdezamAM ariSTaneminI vATikAno ullekha che. vAlama grAma eka prAcIna jainatIrtha gaNAya che ane Aje paNa tyAM tIrthakara zrI ariSTaneminAthanuM maMdira che. dAnamAM ApelI jamInanAM mApa nirdezavA mATe "hala", "pAyala", ane "vizopaka" e pado prayojayAM che, jevAM ke vAlama gAmamAM sIdhA rAutanI bhUmi pAyelAM '/, AsiyA rANunI bhUmi pAyelA 2/3,kumara mohaNanI bhUmi pAyaluM 1, vAlasUra sADhAnI bhUmi pAyalAM 2, Ama kula maLIne kula bhUmi pAyalAM (2' + ' + 1 + 2 = 8) ATha ema gaNatarI batAvI che. vaLI A 8 pAyalo bhUmi mATe haLa 2no nirdeza che. e ja rIte karalI gAmamAM mokharAvALI bhUmi vizApaka 11/2, somezvarAvavAnI bhUmi vizopaka 1/3, pratApamalavalAnI bhUmi vizopaka 1', ane jagadevavalAnI bhUmi vizopaka 1/2 Ama kula bhUmi vizopaka (1'/ + 1/3 + 1'/ + 1 = 6) cha thAya che. te mATe haLa 2 no ullekha che. pachI pAyalAM 8 ane vizApaka 6 maLIne haLa 4 pramANa bhUmi thaI evI gaNatarI ullekhI che. A bhUmimApo e jamAnAmAMnA pracalita ekamo hatAM. Aje corasa mITara tathA ekaranA mApa pramANe temanuM tulanAtmaka ekama pramANa keTaluM thAya te vidvAnonA abhyAsa mATe khojano viSaya che.

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anuvAdapunaruktayoH prAmANyAprAmANyam lalitA cakravartI anuvAdasya maahaatmymnsviikaarym| yata: anuvAdena bhASANAM pArasparikayogasUtrarakSA samAvarti, sabhyatAyAH vikAze bhASA-sAhitya-saMskRtigatavinimaya: aavshykH| vinimayasthale anuvAdasya gurutvapUrNa bhUmikA vrtte| bhASAntakaruNarUpAnuvAda: "vasudhaiva kuTumbakam' iti upaniSadIyakalpanA saakaaraaNjnyti| sAMskRtikaseturUpAnuvAdasya mahattvasattve'pi asya prAmANyaviSaye dArzanikasampradAyeSu vaimatyAni pridRshynte| yata: zAstreSu punarukti: doSavazAt varjanIyA, anuvAdasthale'pi punaruktiH punarvacanaM vA bhavati ata: punaruktivad anuvAda: apramANamiti anuvAdAprAmANyadInAM siddhaantH| anuvAdapunaruktayoH prAmANyAprAmANyaviSaye, AlocanAyA: prAk ubhayayoH svruupkthnmaavshykm|| 'anu' pUrvaka 'vaddhAto: ghaJpratyaya-niSpanna: anuvAdazabdasyArtha: 'pshcaatkthnm| vaidikakAlAdArabhya vartamAnakAlaM yAvat anuvAdazabdasya vyutpattigatArthaviSaye aikmtymsti| 'anveko vadati yad dadati' (Rgveda - 2.13.3) ityekA vaidikA zrutiH vrtt| bRhadAraNyakopaniSadi (5-2-3) jaiminIyanyAyamAlAyAM ca anukathanarUpamanuvAdasvarUpaM vyAkhyAtam / anUvAdapunaruktayoH vyutpattigate'rthe sAmyamasti, yata: 'anu pazcAt vAda: kathanarUpamanuvacanaM hi anuvAda: punaruktaJca punrvcnm| ubhayatra hi artha: zabdAzca abhysynte| tathApi teSAM prAmANyAprAmANya-viSaye dArzanikasampradAyeSu matAntarANi dRshynte| mImAMsakAnAM naye anuvaadmaatrmprmaannmev| maharSi jaimini: autpattikastu---- (mImAMsAsUtra1-1-5) iti sUtrAntargatasya 'arthe'nupalabdha' iti padena smRtya- nuvAdayoraprAmANyameva sUcayati / yataH teSAM matAnusAreNa agRhItagrAhitvameva prmaanntvm| anuvAdasthale pUrvapratItArthasya zabdasya ca puna: kathanAt teSAM gRhItagrAhitvAccana pramANatvaM na vA ythaarthtvm| kintu darzanAntareSu vizeSata: naiyAyikAnAM naye anuvAdamAtraM na tu heyaM na vA upekssnniiym| pUrvollikhitaviSayasya puna: kathanasattve'pi tAtparyavizeSavazAt anuvAda: prmaannmev| kintu doSavazAt nyAyadarzane punarukti: vrjniiyaa| iyaM punarukti: vaiyAkaraNai: sviikriyte| kathaM naiyAyikA: punaruktiM dUSayanti ? anuvAdasya ca prAmANyaM samarthayanti, kathaM vA vaiyAkaraNaiH dvivarcanaM (punaruktiH) samAdriyate iti asmina lekhe ahaM vicaaryaami| atrAdau anuvAdasya svarUpaprAmANyaviSaye naiyAyikAnAM ya: abhiprAya: sa: aalocyte| vidhivihitasyAnuvacanamanuvAdaH (nyAyasUtra, 2-9-44) arthAt vidheranuvacana vihitasya vA'nuvacanamanuvAdaH / atra 'anuvacanamiti' padena tasya lakSaNamapi nirdishyte| tatra vidheranuvacanaM zabdAnuvAdaH vihitavyAnuvacanamarthAnuvAdaH', yathA vede 'triH pathamAmanvAha trirutamAm' (zAbara bhASyam 9-7-9-33) iti atra ekAdazasAmidhenInAM prathamottamayostrirvacanarUpo yo'bhyAsa: sa shbdaanuvaadH| azvamedhena yajeta (za.brA. 11-2-5-5) iti vihitAzvamedhayajJasya punarvacanaM tarati mRtyuM tarati pApmAnaM yo'zvamedhena yajeta (za.brA.11-2-5-5) arthaanuvaadH|

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130 lalitA cakravartI SAMBODHI sUtrakAragautamasya abhiprAyamanusRtya vRttikAra: AcArya vizvanAtha: anuvAdasya nikRSTalakSaNaM darzayati - prAptasya anuH pazcAt kathanaM saprayojanamanuvAdaH" iti| arthAt saprayojanatve sati anuvacanam anuvaadH| nanu 'saprayojanam' iti padena kIddazaM prayojanam abhihitaM tadutareNAha - adhikArArtham iti / arthAt vidhivihitaJca adhikRtya stutinindArUpaM prayojanArthaM vidhe: vihitasya ca anuvacanaM syaat| tatra pUrvoktazabdAnuvAdasthale sAmidhenInAM paJcadazatvavidhAnaM hi pryojnm| tarati mRtyu.... iti arthAnuvAdasthale azvamedhena.... ityAdinA vidhivAkyena azvamedhayajJe vihite'pi yasya yajJasya phalaM kIddazaM, kiM prayojanArthaJca vidhIyate tadbodhanArtham azvamedhayajJasya stutiM prakAzya asya punarvacanaM vidhiiyte| atra anena purnavacanena vizeSArthasya prakaTitatvAt asya upekSaNam asmbhvm| punazca 'udite hotavyam' (zA.bhA.2.4.2.23) iti anena vidhivAkyena agnihotrahomasya kAlatrayaM vidhIyate, asya arthavAdavAkyaM zyAvo vA'syAhutimabhyavaharati ya udite juhoti iti atra vidhivihatasya uditakAlasya yat punarvacanaM bhavati tat nindaajnyaapnaarthmev| yata: ya: sUryodayAdanantaram AhutiM dadAti zyAva iti devatayA: sArameya: tasya AhutiM bhungkte| atra zaGkA udeti - vaidikamantreNa udayakAle Ahuti: vidhIyate puna: kimartham arthavAdavAkye evaM vidhAcaraNasya nindA dRzyate? samAdhAnaM yat - IdazI nindA adhikAri vizeSeSu pryujyte| yata udayakAle home vihite'pi ya udayakAle homaM saGkalpya tasmin kAle Ahuti pradAnaM karoti sa eva kRtakRtyo bhvti| kintu yo'nuditakAle homasya saGkalpaM ktvA uditakAle AhutiM dadAti tAdazasya adhikArivizeSasya Ahutireva anurUpAbhAvena bhakSitA bhvti| IdazaM nindAjApanarUpaM prayojanavizeSajJApanaM hi asya purnavacanasya abhiprAyaM phalata: tnnaanrthkmev|| vihitasyAnuvacanasya prayojanAntaraM bhASyakAreNa kathitam - vihitamadhikRtya vidhizeSo'bhidhIyate / yathA vidhivAkyamagnihotraM juhoti asya anuvAdaH dadhmA juhoti, arthAt asmin vidhivAkye prAptasya 'juhoti' iti padasya dvirbhidhaanm| dadhirUpaguNavizeSavidhAnAya IdRzo'nuvAdo bhvti| 'agnihotrahomaM kuru" ityataM vidhivAkyazravaNamAtraiNaiva zrotRhRdaye jijJAsA jAyate - kena vastunA homaM vidhAsyAmi ? taduttareNa dadhanA' iti padena yajJakaraNatvaM vidhiiyte| kevalamAtraM 'dadhnA' iti vidheyapadena samyagartha:parisphuTo bhavati ityeva nAbhihite 'juhoti' padasya anuvAdena dadhirUpavidheyasya uddezya prkaashyte| arthAt vihitahomamadhikRtya IdRzo vidhizeSo'bhihito bhvti| vihitakarmaNa AnantaryavidhAnamapi anuvAdasya prayojanam / darzapaurNamAsayogaH yathA vidhIyate tathaiva somyaago'pi| eSAM pUrvAparatvaviSaye saMzayo jaayte| taduktaM dazapaurNamAsAbhyAmiSTvA somena yjet| arthAt dazapaurNamAsAdanantaraM somayAga: krtvyH| atra yAgAnAm AnantaryavidhAnaM hi anuvAdasya pryojnm| ata: sa prayojanatvAt anuvAdaH prAmANika ev| vaidikavAkyavad laukikavAkyeSvapi anuvAdasya punarvacanasya vA prAmANyaM prilbhyte| yathA - odanaM pacediti asya laukikavAkya arthavAdavAkyaM Ayurkha!balaM sukhaM pratimAnaJcAnne pratiSThitam / annapAkasya kartavyatayA prayojanakathanArtham annasya anuvAda AvazyakaH / vidhe: vihitasya vA anuvAdavyatirekeNa arthavAdavAkyaM na sambhavati iti sutarAM saprayojanAnuvAdasya prAmANyam ansviikaarym| athavA yathA zIghraM gamyatAm iti kathanAdanantaraM 'zIghraM zIghraM gamyatAm' ityevaM kathyate tadA dvitIyavAkye zIghrazabdasya punarvacanaM gamanakarmaNa AtizayyavidhAnArthaM saprayojanaM pramANaM vaa|

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Vol. XIX, 1994-1995. anuvAdapunaruktayo... nanu anuvAdapunaruktayoH nAsti kazcit vizeSaH / anuvAdavat punaruktamapi dvividham zabdapunaruktama arthapunaruktaJceti" / uktaJca Adau ubhayatra vyutpattigatArthaikyaM vartate / tatrapunaruktamasAdhuH, kintu anuvAdaH sAdhureva - kathamevada saMbhavam ? bhASyakAro'pi Aha- punaruktaJca pramattavAkyamiti / yat pramattavAkyaM tanna pramANam anAptatvAt / - kiJca sUtrakAra ubhayatra pratItArthazabdasyAbhyAsatvAt punaruktAnuvAdayo: na kaJcit vizeSamAdhate / ubhayatraiva pUrvapratItArthaM zabdA abhyasyante3 3 / yathA- 'gaccha gaccha' iti vAkyAntargatasya dvitIyAt 'gaccha' iti zabdAt yadarthaH pratipadyeta tat Adyenaiva pratIyeta / 1 131 naiyAyikAnAm uparyuktamataM parasparaviruddhavat prakRtapakSe naiyAyikai: anuvAdapunaruktayoH bhinnatvameva sviikriyte| zabdAryayoH punarvacanaM punaruktamanyatrAnuvAdAt ( nyAyasUtra 512 / 74 ) iti sUtrasthitena 'anyatra' zabdanaiva tat pratIyate ityevaM sUtrakArasyAbhiprAyaH nAnyaH / arthavAn abhyAsa anuvAdaH arthavattvarUpaM prayojanatattvameva anuvAdasya prAmANyam / niSprayojanaM punarabhidhAnaM punaruktam api ca vyAkhyArUpaM sa prayojanapurnavacanameva anuvAdaH 4 / ghaToghaTa : iti arthapunaruktasthale dvitIyo ghaTazabdena ghaTa: kalasaH iti arthapunaruktasthale vA kalasaH iti zabdena kasyacit vizeSArthabodhasyAbhAvAt niSprayojanam aprAmANyaJca / kintu 'pacatu pacatu' ityAnuvAdasthale Adyena 'pacatu' iti zabdena mamaiva pAkakarttavyam - evaMvidhavodhaH jAyate, kiMvA pAkakriyAyA avicchedakatvasya zIghratvasya vA bodho bhvti| punazca 'zIghraM gamyatAm' iti kathanAdanantaraM zIghrataraM gamyatAm ityabhihite pUnarvacanaM bhavatIti nAsti saMzaya:, kintu dvitIyavAkye prayuktena 'tarap' pratyayena gamanakarmaNaH atizayyarUpavizeSArthasya bodho jAyate" / ataH tat sArthakam / etAdRzavizeSabodho prathamoccAritena zIghraM gamyatAm iti vAkyena naiva saMbhavatti, tasmAt punaH 'tarap' pratyayena dvirukti: kriyate / IdRzI dviruktireva anuvAdaH / etatu sArthakatvAt pramANamiti / triprathamAmanvAha .... iti vaidikavAkyasthale prathamottamayostrirabhidhAnasave'pi paJcadazatvavidhAnarUpaM prayojanavazAd / tanna niSprayojanaM punaruktam, apitu saprayojanamanuvAdaH pramANaM vA / keSAJcit mate parapratipAdanArthaM vAkyaM prayujyate / punaruktyA zrotA vAkyArthasya samyagjJAnaM labhate, anena, prakRtaviSayasya na kazcit bAdhaH hAniH vA jaayte| ataH parapratipAdakeSu vAkyeSu punaruktaM sArthakameva / kintu naitat smiiciinm| yataH yo'rthaH pratipAdyate tasya punaH pratipAdanena punaruktasya vaiyarthyameva sAdhyate / parantu etAdRzavaiyarthyavazAt punaruktaM nigrahasthAnameva / vAcaspatimizramahodayasya matAnusAreNa vAdI punaruktiprayojane tat prayojanajijJAsAyAmeva AkulacittaH prativAdI prathamoccAritavAkyAt apAtataH pratItArthameva apratItavat avabuddhya nizcitajJAnalAbhe asamartho bhavati / tadA vAdI punazca tasyAvabodhArthaM pravRtaH bhavati / tasya punaruktaM nAyaM pratipAdakaM bhavati, apitu viruddhaprayojanavatvarUpaM vaiyarthyameva sampAdayati, arthAt punaruktaM nigrahasthAnameva" / vaiyAkaraNAstu nityavIpsayo: ( pANinisUtra 2 - 1 - 4 ) iti sUtreNa nityArthe vIpsAyAJca padasya dvirvacanaM kurvanti / atra 'nitya' iti padasya mukhyArthaH kUTasthaH iti / tathA ca asya gauNArtha: AbhIkSNyamiti / yaccApi gauNamukhyayormukhye kAryasampratyayaH iti paribhASAbalAt mukhyasya arthasya grahaNaM kartavyaM, tathApi, atra 'nitya' iti zabdasya mukhyArthe laukikaprayogAbhAvAt AbhINyarUpaH gauNArtha: grahaNIyaH 7 / AbhIkSNyaM tu paunaHpunyam / abhIkSNyagrahaNe tiGanteSu avyayasaMjJakakRdanteSu ca paunaHpunyArthaM dvivacanaM vidhIyate / yathA tiGante 'pacati pacati' iti pAkakarttuH anavarataM pAko hi atra boddhavyaH / avyayasaMjJakakRdante yathA - bhojaM bhojaM vrajati iti / vIpsA hi vyAptumicchA / vyAptiratra

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132 lalitA cakravartI SAMBODHI samagratvaM kAtya'm vaa| subantapadAnAM dvivacanavidhAnArthaM sUtre 'vIpsA' ityasya grhnnm| yathA vRkSaM vRkSaM sinycti| arthAt vATikAsthitavRkSakA anaavbudhynte| vRkSaM vRkSamityAdau na bahuvacanaprasaGgaH / api tu pratyekavRkSaniSTham ekatvameta atra bhAsata iti, atra tu secanakartA secanakriyayA vATikAsthitAn sarvAn vyAptumicchatIti vIpsArthaH / anurUpabhAvena grAmo grAmo ramaNIya: ityatrApi boddhvym| pari paritrigattebhya: iti vAkye 'pari' iti zabdasya punarvacanaM vinA varjanarUpasya arthasya bodhenaiva sNbhvti| adhyadhikuDyam ityatrApi 'adhi' iti zabdasya dvirabhidhAnena sAmIpyarUpasya arthasya bodho jaayet| evaM prakAreNa arthavizeSaprakAzArthaM vyAkaraNazAstre dvirvacanaM sviikriyte| sandarbhasUcI :1). anupalabdhArthatvAcca nAnuvAdalakSaNamaprAmANyamastIti 'arthe'nupabdhe' ityanenoktam ; zAstradIpikA ; banArasa 1916, pR0 127; tathAca sarvasyAnupalabdhArthe prAmANyaM smRtiranyathA / zloka vArtikam (tAtparyaTIkAsahitam) madrapurI vizvavidyAlaya:, 1940 pR0 185 2) kAraNadoSabAdhakararahitam gRhItagrAhi jJAnaM pramANamiti pramANalakSaNaM sUcitam / zAstradIpikA ; banArasa ; 1916, pR0 122 pramitasya pramANe hi nApekSA jAyate punaH / tAdrUpyeNa paricchanne, pramANaM niSphalaM param / / zlo0 vA0 (tAtparyaTIkA sahitam) madrapurI vizvavidyAlayaH, 1940, pR0 318-319 anuvAdo hi arthaparicchede vyavahAre vA na pUrvajJAnAt kiMcidvizeSamApatte, ata: phalavizeSAbhAvAt, phalArthaJca pramANAnAM svIkArAt smRtyAdivadanuvAdo'pi bahipkArya eva iti| tadaprAmANyamanRtavyAdhAtapunarUktadoSebhya: / tadeva / / -1-57 draSTavya:- prAptasya anu pazyAt kathanaM saprayojanam anuvAda iti sAmAnyalakSaNam ; nyAyadarzane vizvanAthavRttiH, navadillayAm ; 1985 pR0 562 kimarthaM punarvihitamanukathyate ? adhikArArtham ; vihitamadhikRtya stutirbodhyate nindA vA,.......! ; nyAyabhApyam tadeva; pR0561 8) ........ vidhizeSo vA'bhidhIyate / ; tadeva / 9) vihitAntarArtho'pi cAnuvAdo bhavati / tadeva ; pR0 562 draSTavya: - odanaM paceditividhivAkyam / arthavAdavAkyam Ayurva! balaM surataM pratibhAnaM cAnne pratiSThitam ; tadeva; pR0 562 .... samAnArthakasamAnAnupUrvoktazabdaprayoga: zabdapunaruktam / samAnArthakabhinnAnupurvoktazabdasya nippayojanaM punarabhidhAnamarthapunaruktam / AdyaM yathA - 'ghaTo ghaTo' iti, dvitIyaM yathA 'ghaTa: kalaza' iti / ; tadeva ; tadeva ; pR0 1188 12) punaruktaM c|

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133 Vol. XIX, 1994-1995. anuvAdapunaruktayo... 13) nAnuvAdapunaruktayovizeSa: zabdAbhyAsopapatteH ; nyaaysuutrm-11-1-66| tatra vyAsabhApye-ubhayatra hipratItArtha: zabdo'bhyasyate caritArthasya zabdasyAbhyAsAdubhayamasAdivati / ; nyAyabhASyam ; pR0 563 14) niSprayojanaM punarabhidhAnaM hi punarUktam / anuvAdastu vyAkhyArUpa : saprayojaka iti bhAva: ; nyAyabhApye vizvanAthavRttiH ; tadeva ; pR0 1988 15) ..... zIghraM zIghraM gamyatAmityabhyAsAt kriyAtizayapratIte: sakRdruccAritAdvAnavagate: kriyAtizayasya prayojanavAn abhyaas:| .... / avagataM tAvacchIghraM zIghraM gamyatAmitrAbhyAsAtizayapratIteranuvAdasya vizeSa: ; tadeva : pR0 563-64 16) tathAhi punaruktaprayoge tatprayojanAnusaraNasamAkulacitta: prathamAbhidhAnAdApAtataH pratItamarthamapratItamiva manyamAno na nizcetumarhati iti / tatazca prativAdanAya pravRto na pratipAdayiteti viruddhaprayojanavatvavaiyarthyaM syAdipyupapannaM nigrahasthAnamiti / ; tadeva pR0 1188 17) dravyaSTaH - kAzikAvRtau padamaJjarIyevyAkhyA - nityavIpsayo iti sUtrasyopari ; bhAga-6 vArANasI

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THE TARKA-BHASA-VARTTIKA OF SUBHAVIJAYA Kesava Misra (about 1275 A.D.) was the author of a Nyaya treatise called the Tarkabhasa i.e. "Technicality of Logic'. The Vaisesika philosophy rendered considerable help to the development of Nyaya (Logic) and many of the sutras of the Nyaya philosophy presuppose those of the Vaisesika. In fact the Vaibesika and Nyaya philosophies of the ancient and medieval periods supplemented each other in respect of their subjects and styles. Hence the two philosophies were called samana-tantra or allied systems. At last the Vaisesika and Nyaya philosophies actually coalesced. As instances of Nyaya absorbing the Vaisesika categories, we may cite the cases of Tarkaraksa by Varadaraja and Tarkabhasa of Kesava Misra. The latter author brings the six categories of the Vaisesika under "artha", which is one of the twelve objects included in the second Nyaya category "Prameya".! There are numerous commentaries on the Tarkablasa, such as those by Narayana Bhatta, Gundu Bliatra, Bhinni Bliatta and Murari Blatta, as by Gopinatha, Bhaskara Bhatta, Bala Candra, Nagesa Blatra, Cinna Bhatta, Ganesa Diksita, Kaundinya Diksita, Govardhana Misra and others.2 M.M. Dr. Satis Chandra Vidyabh usana lias not known about one more commentary on this Tarkabhasa, and due to this it has remained unnoticed and unpublished till now. This commentary is the present Tarkabhasavarttika (TBV) by Subhavijaya Gani, (17th Cent. A. D.) who introduces himself as a very junior disciple of Hiravijayasuri, the contemporary of the Mughal Emperor Akbar. Subliavijaya has autliored at least four works over and above the TBV, viz., Syadvadabhasa (sutra), Syadvadabhasa(sutra)-vitti and the Prasnottaramala, alias Senaprasnasarasangraha. The present edition of the TBV is based on the following two Mss. of the L. D. Institute of Indology, Ahmedabad, viz., No. 20796 and 30486. The text printed in bold types shows the original passages of Kesava Misra's Tarkabhasa, while the rest of the text comprises the work TBV of subhavijaya.N.M.K. 1. Vidyabhusasa, s. C. - 'A History of Indian Logic', Calcutta, 1921, p. 373. 2. Op. cit., p.478. We have published the Critical Text of Subhavijaya's Syadvadabhasa in the Sambodhi' Vol.XVIII, 1992-93 (pp. 103-122, in which, too, the text printed in bold types indicates the sutra part, the rest being the vrtti part. We intend to discuss the problems of this work in the future.

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zubhavijayagaNikRtaM // tarkabhASAvArtikam // saMpA. nArAyaNa ma. kaMsArA OM namaH siddham / zrIgurubhyo namaH / [ // upodghAtaH // ] zrIpArzvanAthapAdAbjamabhinonUya bhakti taH / tanyate tarkabhASAyA vArtikaM bAlabuddhaye // 1 // tatra bAlAnAM sukhena zAstrapravezArthamAdau kAnicillakSaNAni lakSaNadoparahitAnyucyante / lakSaNe hi tAnyeva padAnyupAdeyAni yAnyavyAptyavyAptyasambhavadopanivArakANi bhaveyurityukteH, pUrvaM tAnyeva darzayiSyAmaH // alakSye lakSaNagamanamativyAptiH / lakSyaikadeze lakSaNasyAvartanamavyAptiH / lakSye kvApi lakSaNasyAvartanamasambhavaH / udAharaNAni yathA dvikhurAvattvam gotvamityatra gorlakSaNaM syAd dvikharAvattvam / taccAlakSye mahiSyAdo yAtItyativyAptiH / zAbaleyatvaM gotvamityatra gorlakSaNaM zAbaleyatvam / tacca lakSyaikadeze zvetagavAdau na yAtItyavyAptiH / ekakhurAvattvaM gotvamityatra gorlakSaNamekakhurAvattvam / tacca lakSye gavi kvApi na yAtItyasambhava iti / / hetau tAnyeva padAnyupAdeyAni yAni vyabhicAradoSanivArakANi bhaveyuH / sa vyabhicAro dvedhA / anvayavyabhicAro vyatirekavyabhicArazva / tatra sati sadbhAvo'nvayo, yathA sati daNDe ghaTotpattiH, asatyasadbhAvo vyatireko yathA daNDAbhAve ghaTAbhAvaH / tAbhyAM hetusattve sAdhyAsattvam / vyabhicAro yathA / kAdambaryAdau maGgalahetau sati sAdhyarUpAyAH samApte rasattvenAnvayavyabhicAra iti / samAptirmaGgalajanyA samAptitvAdityatra pramattanAstikAdyanuSThitakarmasamAptau samAptitve hetau sati maGgalajanyatvaM sAdhyaM mRgyate, paraM maGgajanyatvameva sAdhyamastIti vyatirekavyabhicAra iti / tadvatitve sati taditarAvatitvamasAdhAraNadharmatvamityatra vartate ityevaMzIlo vI, vatino bhAvo vatitvam / tasmin gavi vatittvaM tadvatitvam / tasmin tadvartitve sati punastacchabdena gauH, tasmAditare ghaTAdayaH, teSvavartitvaM taditarAvartitvaM, yathA gavi sAsnAdimattvamiti / tajjanyatve sati tajjanyajanako'vAntaravyApAra ityatra tacchabdena daNDastena janye bhUmistajjanyastasya bhAvaH, tajjanyatvam tasmistajjanyatve sati punastacchabdena daNDastena janyo ghaTastasya janako bhUmiH, sa evAvAntaravyApAra iti / tadvati tatprakArakaM jJAnaM yathArthajJAnamityatra tacchabdena ghaTatvaM, tad vidyate yasyAsau tadvAn ghaTaH tasmin tadvati ghaTatvavati ghaTe punastacchabdena ghaTatvaM, tadeva prakAro yasmin jJAne tat tatprakArakaM jJAnamiti tadadhikaraNAdhirakaraNatvam // samAnAdhikaraNamityatra tacchabdena ghaTatvaM tasyAdhikaraNaM ghaTaH / ya evAdhikaraNaM yasya dravyatvasya tat tathA / etAvatA ghaTatvadra vyatvayoH samAnAdhikaraNyamityarthaH / tadadhikaraNAnadhikaraNaratvaM

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136 nArAyaNa ma. kaMsArA SAMBODHI vyadhikaraNatvamityatra tacchabdena ghaTatvaM tasyAdhikaraNaM ghaTaH / sa evAnadhikaraNaM yasya ghaTatvasya tat tathA / etAvatA ghaTatvapaTatvayorvaiyadhikaraNamityarthaH / / savyAvartakivizeSaNaM yathA sadvidyamAnaM vyAvartakaM ca yad bhavati tadvizeSaNam / vIrapuruSo nIlotpalamityatra vIratvaM kAtarebhyo, nIlatvaM zvetAdibhyo vyAvRttiM janayati, na hi vIratvanIlatvAbhAva iti / asadvyAvartakamupalakSaNamityatrAsadavidyamAnaM vyAvartakaM ca yad bhavati tadupalakSaNaM yathA rAjapuruSo daNDipuruSa ityatra rAjJi daNDe vA'satyavidyAmAne'pyanyapuruSebhyo rAjA daNDazca vyAvRtti janayatIti, anyUnAnatirikta vRttidho 'vacchedaka ityatra na nyUnA, anyUnA na atiriktA anatiriktA, anyUnAzcAnatiriktAzcAnyUnA'natiriktA gavAdipadArthAsteSu vartate ityevaMzIlo'nyUnAnatiriktavRtiH sa cAsau dharmazcAnyUnAnatiriktadharmo'vacchedako yathA gavi gotvaM ghaTe ghaTatvamiti / kAnicidupayogilakSaNAnyuktAni / / atha pUrvAcAryo trividhaM maGgalaM proktamasti, mAnasikaM kAyikaM vAcikaM ceti, tacceha zAstrAdau copalabhyate ityAzaMkya praznayati / yathA nanu granthArambhe'bhimatagranthasamAptyarthaM maGgalAcaraNaM kartavyamiti ziSTokteH, ayamapi ke zavamizraH ziSTo bhavati, ataH svasya ziSTatvasaMrakSaNArthaM pramANaprayojanavanmaGgalaM kartavyaM, tadiha na dRzyate / pramANaprayojanavaditi pramANaprayojanasahitam / ko'rthaM ? maGgalakaraNe zrutiH pramANaM samAptiH phalaM cetyarthaH / atha ca zrotuH pravRttyarthaM viSayaprapayojane darzanIye / yaduktam - jJAtArthaM jJAtasambandhaM zrotuM zrotA pravartate / zAstrAdau tena kartavyaH sambandhaH saprayojanaH // 1 / / iti nyAyAt tayoH pravRttyaGgatvaM lakSyate / iha ca tadabhAvAnnAdyapadyAvatAra ityAzaGkyAdyapadyAvatArikAmAracayati, prAripsitasya granthasya nirvighnaparisamAptyartham / alaukikAvagItaziSTAcArAnumitavedabodhitakartavyatAkaM maGgalAcaraNaM kRtaM hRdyeva / zrotuH pravRttyaGgabhUte viSayaprayojane nidizati / / bAlo'pi yo nyAyanaye pravezamalpena vAJchatyalasaH zrutena / saMkSiptayuktyanvitatarkabhASA prakAzyate tasya kRte mayaiSA // 1 // bAlaiti / tarkabhASAviSayo bAlavyutpatti prayojanamityarthaM / nanu bho nirvighnasamAptyarthaM maGgalaM kartavyamiti vadatA samApteH phalatvamuktamiti ca na sambhavati, anvayavyatirekAbhyAM vybhicaaraat| kRte'pi maGgale kAdambaryAdau samAptyabhAvAd, akR te 'pi maGgale pramattanAstikAnuSThitakarmasamAptibhAvAditi cenna / tatrApi janmAntarrAyamaGgalasya vidyamAnatvAt / nanu janmAntarIyamaGgalasya kAraNatAvedakaM ki pratyakSa vA'numAnaM vA''gamo vA ? nAdyaH pakSazcaturacetasAM cetasi camatkArAviSkaraNatAM dhatte, tasya prApyakAritvaniyamena janmAntarIyamaGgalAvedakatvAbhAvAt / prApyakArIti prApya karotIti tatpuruSe Nitpratyaye ca prApyakArivastu prApya prakAzayatItyarthaM / atha samAptimaGgalajanyA samAptika tvAt kriyamANe maGgale janyamAnasamAptivadityanumAnaM tatra nAstikAnuSThitakarmaNyinumAnamiti dvitIyapakSaH so'pyanupapannaH, uktavyabhicArAt / na tRtIyaH,

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Vol. XIX, 1994-1995 tarkabhASAvArtikam 137 anyonyaashryaaptteH| kathamiti ceda, ucyate / zratyA kAryakAraNabhAvagrahe tatra janmAntarIyamaGgalakalpanaM, janmAntarIyamaGgalakalpanena ca kAryakAraNabhAvagraha iti / tasmAnna samAptermaGgalaphalatvamiti / na tAvat zrutirjanmAntarIyamaGgalAvedikA, kintu tarka eva / ko'sau taka ? iyaM samAptirmaGgalasamavahitakAraNAjanyA syAt tadA'janyaiva syAt / dRzyate ca janyA / tasmAt maGgalasamavahitakAraNajanyA syAditi viparyayaparyavasAnAntatarkeNAbhAvamukhenotthAnaM bhAvamukhena paryavasAnamiti viparyayeNa paryavasAnavyavasthApanaM viparyayaparyavasAnaM tadante yasya sa tathA sa cAsau tarkazca sa tathA tenetyarthaH / janmAntarIyamaGgalAvedanAt tatra zrutyA kAryakAraNabhAvo gRhyate iti nAnyonyAzrayatvaM, saiva maGgale pramANamiti // nanu sA zrutiH pratyakSA vA'numeyA vA ? nAdya anupalambhAt, na dvitIyo liGgAbhAvAditi cenna, AcArAnu me yatvAt / tathA cAnumAnaM - maGgalaM vedabodhitakartavyatAkam, alaukikA'vagItaziSTAcAraviSayatvAda darzAdyAcAravaditi / tathA cAcAraviSayatvAdityetAvatyukte bauddhAcAre caityavandanAdau vyabhicAra: syAt / kathamiti cet tvaM zaNa / bauddhacaityavandanaM bauddhAcAraviSayo'sti na tu vedabodhitakartavyatAkam / ato heturasti sAdhyaM nAstIti vyabhicAraH / tadvAraNAya ziSTeti yadupAdIyate / nanu bhoH ziSTatvaM nAma kim ? vedatvopAdhinA svarasikavedapramANAbhyupagantRtvaM ziSTatvamityasya ko'rthaH ? vedatvapuraskAreNa svecchayA vedapramANyAGgIkartRtvamityarthaM / asya padakRtyAni / gantRtvaM ziSTatvamityukte gatimat pazvAdAvativyAptiH / katham ? tatra gantRtvamasti paraM ziSTatvAbhAvaH, tannirAsAyopeti tAvatyukte gavA saha gacchati vatsAdAvativyAptiH / tannirAsAya yAtIti abhyupagantRtvaM ziSTatvamityukte mlecchAdAvativyAptiH / katham ? tatrAGgIkartRtvamasti paraM ziSTatvaM nAstIti / tannirAsAya prAmANyeti tAvatyukte nAstikAdAvativyAptiH / katham ? nAstikaH pratyakSapramANamaGgIkaroti paraM ziSTo na bhavatIti / tannirAsAya vedeti tAvatyukte tADitabauddhe'tivyAptiH / katham ? tADito bauddho vedAH pramANamiti vakti paraM ziSTo na bhavatIti tannirAsAya svArasiketi tAvatyukte bhrAntabauddhe'tivyAptiH / katham ? bhrAnto boddhaH svecchayA vedapramANyamaGgIkaroti paraM ziSTo na bhavati / tannirAsAya vedatvopAdhineti vizeSaNam / tathA ca ziSTAcAraviSayatvAdityukte vizvAmitrAdInAM trizakvAdyayAjyamAne vyabhicAraH / katham ? trizaGkanAmA bhillastena kAritaM yAjanamayAjyayAjanaM viziSTaziSTakRtatvAt ziSTAcAraviSayo, na tu vedabodhitakartavyatAkam / ato heturasti sAdhanaM nAstIti vyabhicAraH / tadvAraNAyAvigIte ti pdm| avigItatvaM nAma dharmazAstrAviruddhatvamanindyatvamityarthaH / zAstrAviruddhatvamityukte vAtsyAyanazAstrakArye 'tivyAptiH / katham ? bhogabhogAsanAdikaM zAstrAviruddhaM paraM dharmazAstraviruddhamiti tannirAsAya dharmeti tAvatyukte ziSTabhojane vyabhicAraH / katham ? ziSTabhojanamanindyaM na tu vedabodhitakartavyatAkam / ato heturasti sAdhyaM nAstIti vyabhicAraH / tadvAraNAyAlaukiketi pdmupaadiiyte| alaukikatvaM nAma kim ? zabdatadupajIvipramANAtiriktapramANabodhiteSTasAdhanatAkatvaM laukikatvam / asyArthaM zabdo vedaH, tadupajIvIti taduddezenodbhAvitAni vaidikAnyanumAnapramANAni, tebhyo'tiriktAni lokika pratyakSAnumAnopamAnAgamapramANAni, tairbAdhitA jJApitA iSTasAdhanatA yasya tat tathA / iSTaM kSudhopazamanAdikaM, tasya sAdhanaM bhojanAdikaM, tasya bhAva iSTasAdhanatetyarthaH / asya pdktyaani| sAdhanatA laukitvamityukte'niSTasAdhane'hikaNTakAdAvativyAptiH /

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138 nArAyaNa ma. kaMsArA SAMBODHI katham ? tatra laukikAnAM pravRtterabhAvAt / tannirAsAyeSTeti tAvatyukte darzAdyAcAre'tivyAptiH / darzAdyAcAra iSTasAdhanaM paramalaukikamiti tannirAsAyAtiriktapramANabodhiteti tAvatyukte Izvare'tivyAptiH / katham ? alaukika pramANabodhiteSTasAdhanAka tvaM laukika tvam, Izvarastvalaukika iti| tannirAsAya zabdatadupajIvipramANe ti tAvatyukte lauki kalakSaNasampannaM tadabhAvo'laukika - tvamaihikagocarapramANAviSayatvam / bhojanaM pratyakSasiddhimiti na tatra vyabhicAraH / viSayapadaM tvasiddhivAraNArthamiti na vyartham / katham ? jJAnecchAprayatnAnAM saviSayatvAkramabhAvitvAccetyukteH / prayatnasyodyamasya sandhyAvandanAdiziSTAcAro viSayo bhavatIti viSayapadamasiddhatAvAraNArthamityarthaH / ziSTasyAcArastasya viSayaH / alaukikazcAsAvavigItazcAsau ziSTAcAraviSayazceti samAsAditi hetvarthaH / tathA ca vedena bodhitA kartavyatA yasya maMgalasya taccheSAd vibhASeti kavivedabodhitavyatAkamiti samAsena nirvighnasamAptikAmo maGgalamAcaredityAcArAnumitavedabodhitakartavyatA bodhyeti iti sAdhyArthaH / iti maGgale pramANamasUci / / atha tatphalamAha / na tu maNikAramate maGgalasya vighnadhvaMsaM prati kAraNatvaM, vighnadhvaMsasya samApti prati kAraNatvamiti / ziromaNimate maGgalasyavighnadhvaMsasya prati kAraNatvaM, vighnadhvaMsasyAdRSTaM prati kAraNatvam, adRSTasya samApti prati kAraNatvamiti / mAdhavasarasvatImate maGgalasya vighnadhvaMsaM prati kAraNatvaM, vighnadhvaMsaH kAryaM na vA / atrA'nvayavyatirekAbhyAM vyabhicAro yAvat / maGgalaM tAvada vighnadhvaMsAGgIkArAt, janmAntarIyamaGgalakalpanAnveti / samAptistu pratibandhakaduritadhvaMsasahakRtalokAvagatasvakAraNAdeva, yathA kArIrayogenAvagrahadhvaMse vRSTiH, anukUlavAtAdi- svakAraNAd bhavati, tadvat / kvacit samAptyabhAvo vighnabhUyastvAd anantarotpannavighnAntarAd veti // keSAMcinmate vighnadhvaMsaM prati maGgalasya kAraNatvaM, na samAptiH prati / tena nezvarAnuSThitAdau vyabhicAraH / katham ? izvarakRtagraMthe maGgalAbhAve'pi samApterjanitatvAt / na ca nirvighnasamAptikAmo maGgalamAcarediti zrutau samAptereva kamipadasambandhAt kAmyatvamiti pratyakSAbAdha iti vAcyaM, savizeSeNa vidhiniSedho sati vizeSye bAdhake vizeSaNamupasaGkAmata iti nyAyAd vighnapradhvaMsasyaiva maGgalakAryatvaM 'vighnA me kArye mA bhUyAsuH' iti kAmayaiva kriyamANatvAt maGgalasyetyAdimatAnyavalokya granthasamAptirmaGgalaphalatvaM darzayati // nanu nAgahItavizeSaNA buddhivizeSye udetIti nyAyena vighnAbhAvasyaiva tanmaGgalaphalatvamiti cenna / samApterbhAvarUpatayA lAghavena ca / yaduktaM "prakriyAlAghavaM yatra taM pakSaM rocayAmahe / prakriyAgauravaM yatra taM pakSaM na sahAmahe // " iti kamipadasambandhAdeva maGgalatve'dhigate vighnAbhAvasyaiva pratibandhakAbhAvatvena kAraNatvaklRpte'vAntaravyApAratvena cAnyathAsiddheH, nAgRhItavizeSaNA vizeSye buddhiriti nyAyasya samAptiphalatve'pi tulyatvAt / tasmAt samAptemaGgalaphalatvamiti / / atha maGgalalakSaNamAha - pratyUhAnyatve sati prAripsitapratibandhakanivRttyasAdhAraNakAraNatvaM

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Vol. XIX, 1994-1995 tarkabhASAvAtikam 139 mnggltvmiti| nanu maGgalaM kaH padArtho, dravyaM vA, guNo vA karma vA ? atra brUmaH / kvacid dravyaM, kvacid guNaH, kvacit karma ca / tadyathA - vinAyakadadhidUrvAdivyamaGgalam / vAcikamAnasika namaskAro tu guNamaGgalaM vAcika sya zabdarUpatvAt mAnasikasya dhyAnarUpatvAd guNatvam / vinAyakAdinamanAdi karmamaGgalamiti / na tu namaskAramaGgalayoH kazcid bhedo'stIti cenna, maGgalaikadezatvAnnamaskArasyeti / kiJca dravyamaGgalasya samavAyikAraNAdikaM prasiddhameva / guNamaGgalaM dvividhaM vAcikaM mAnasikaM ca / tatra vAcikasya samavAyikAraNaM gaganam, asamavAyikAraNaM gaganamanaHsaMyogo, nimittakAraNaM tAlvoSTapuTasaMyogAdi / mAnasikasya samavAyikAraNamAtmA, asamavAyikAraNamAtmamanaHsaMyogo, nimittakAraNaM kAlAdi / kAyikasya samavAyikAraNaM zarIram, asamavAyikAraNaM zarIraragaganasaMyogo, nimittakAraNaM kAlAdi // nanu samAptiH kaH padArthoM, dravyaM vA gaNo vA karma vA ? atra bramaH / samAptiH kAryasiddhiH kAryasamAptiriti yAvat / kAryaM ca tridhA dravyarUpaM guNarUpaM karmarUpaM ca / tatra dravyANAM ghaTapaTAdInAM siddhirdravyakAryasamAptiH / gaNAnAM jJAnecchAprayatnazabdAdInAM siddhiguNakAryasamAptiH / karmaNAM namanagamanAdInAM siddhiH karmakAryasamAptiH / zAstrasamAptistu zabdasaMdarbhasamAptiriti guNapadArthaM / samAptistu svAzrayAd bhinnA nAstIti svAzrayasya yAni samavAyikAraNA'samavAyikAraNanimittakAraNAni tAnyeva samApterapIti kRtvA, zAstrasamApteH samavAyikAraNaM gaganam, asamavAyikAraNaM gaganamanaHsaMyogAdi, nimittakAraNaM namaskArAdi, 'sAdhakatamaM kAraNam' iti vacanAt / etaSAM trayANAM kAraNAnAM madhye ki karaNam ? namaskAra: karaNaM, tasyaiva sAdhakatamatvAdityarthaM / iti maGgalavAdaH / / athaiSA'kSarasaMyojanA yathA eSA buddhisthA tarkabhASA mayA prakAzyate prakaTIkriyata iti saNTaGkaH / nanu kriyata ityeva kathaM noce ? svakapolakalpitAzayA'nyeSAM pravRttyabhAvo mA bhUdityataH / kiJca prakaTanaM pradIpavat sato vastunaH, karaNaM tvasata eveti / epeti kA ityapekSAyAmAha - tarkabhASeti / nanvatra tarkazabdasya vAcyavRttyaGgIkAre pratibandhanavasthAcakrakavyAghAtAtmAzrayANAM paJcAnAM tANAM pratipAdanamitareSAmapratipAdanaM ca syAditi cenna, tarkazabdasyo palakSaNatvena tarkopalakSitAH SoDazapadArthAH, teSAM bhASaNaM bhASAsvarUpakathanaM lakSaNataH prakAzyata ityarthaH // na hi prayojanamantareNa mando'pi pravartate iti kimatra prayojanamityAzaMkyAha - kate pryojnaay| kRte iti padaM kvibantatvena caturthyantamavyayaM ceti kasya tasya tasya kasya tasye tyapekSAyAM yattadonityAbhisambandhAd yacchabdamAha bAlo'pIti / atrApizabdena virodhAbhAsAlaGkArapratibhAsanaM taccaitallakSaNAd durApAstam / tadyathA - adhItavyAkaraNo'nadhItanyAyazAstrapravezavAJchako bAla ityatra vAJchako bAla ityukte stanandhayAdAvativyAptinirAsAya prave zeti tAvatyukte, nagarAdipravezAthipathikAdAvativyAptinirAsAya zAstreti tAvatyukte, adhItanyAyazAstrAntarapravezavAJchakapuruSe'tivyAptiH, tannirAsAyA'dhItanyAyazAstreti tAvatyukte, anadhItavyAkaraNe'tivyAptiH, tannirAsAyAdhItavyAkAraNeti tAvatyukte lakSaNaM sampannam / sa iha bAlo gRhyate na tu stanandhayaH / / etallakSaNo yo bAlaH san vAJchati / vAJchate: sakarmakatvAt kiM vAJchati ? pravezam / kva? ityAha - nyAyanaye / pakSadharmatvAdisamastarUpopetaliGgabodhakavAkyaM nyAyaH / vAkyaM nyAya

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140 nArAyaNa ma. kaMsArA SAMBODHI ityukte muukvaakye'tivyaaptiH| tannirAsAya bodhaketi tAvatyukte 'ghaTamAnaya' ityaadivaakye'tivyaaptiH| tannirAsAya linggeti| liGgabodhakavAkyaM nyAya ityukte 'taptAyogolako vahnimAn dhUmAd' ityAdi liGgabodhakavAkye'tivyAptiH / ataH pakSadharmatvope teti padamupAdIyate tadAtivyAptirvasitA / yatastaptAyogolake pakSadharmatvaM dhUmavattvaM nAsti tAvatyukte 'parvato'yaM vahnimAn dhUmAt, yathA'yogolake' ityAdAvativyAptiH / tannirAsAya sapakSe sattvamityupAdIyate tAvatyukte 'parvato'yaM dhUmavAn vaH, yathA sapakSo mahAnasaM, vipakSastaptAyo golaka ityAdAvativyAptiH / katham ? tatra vahniheM turvartate / vyAvRttima'gyate'to vipakSavyAvRttiriti padaM tAvatyukte tathAyogolako dhUmavAn vahnineryathA mahAnasam' ityAdAvativyAptiH / tannirAsAya 'abAdhitaviSayatvam' iti taptAyogolake dhUmavattvaM viSayatvaM sAdhyaM pratyakSeNa bAdhitaM tAvatyukte 'anityaH zabdo nityadharmarahitatvAd' ityAdAvativyAptiH / katham ? yathA 'nityadharmarahitatvAd' iti hetunA'nityatvaM sAdhitaM tathA 'anityadharmarahitatvAd' iti hetunA nityatvamapi saadhyte| ato'stprtipksstvm| tathA ca pakSadharmatvasapakSasattvavipakSAvyAvRttyabAdhitaviSayatvA'sapratipakSatvalakSaNapaJcarUpopetaliGgabodhakavAkyaM, nyAyasUtrapradhAno nayo nyAyanayaH / yadvA nIyate prApyate vivakSito'neneti nyAyo yuktisvarUpaH, tatpradhAno nayaH zAstraM nyAyanayastasminnityarthaH / / nanvanye'pi cintAmaNyAdayo graMthAH santIti, tatra ki pravezaM na vAJchatItyAzaGkayAha - alpena shruten| zravaNenAdhyayanenetyarthaM / alpAdhyayanaM kutaH ? alasaH / AlasyavAnityarthaM / tatra tvasya ciranAtivitatagahanagambhIraprakaraNAnarhasyAtrApi vistaratvAt kathaM pravezo bhAvItyatyata Aha - saMkSiptayuktIti / he anvita he subuddhe saMkSiptayukti yathA syAt tatheti / tathA cAsya kriyAvizeSaNatvena 'kriyAnvayi pradhAnam' iti nyAyAt prAdhAnyameva / nanu saMkSiptayuktyanvitA cAsau tarka bhASA ceti vigrahe ko doSa iti ced, ucyate / yuktInAM tarka bhASAvizeSaNatvena sAkSAkriyAnvayitvAbhAvAd apradhAnyaM syAn, nyAyazAstre ca yuktInAM prAdhAnyameva mRgyate / tathA cAvimRSTavidheyAMzadoSaH / saMkSiptA cAsau yuktyanvitatarka bhASA cetivigrahe tu pUrvAparavirodho'pi syAt / katham ? catvAryeva pramANAni yuktilezoktipUrvakaM kezavo bAlabodhAya yathAzAstramavarNayan ityatra saMkSepo yuktAnAM proce // atra ca tarkabhASAyA iti pUrvAparavirodhaH / tathA ca saMkSiptA yuktayo yasyAM sA saMkSiptayuktiH / anvitAkAkSAdidoSarahitA evaMvidhA vA'sau tarkabhApA ceti vigrahe'nyapadaprAdhAnyAt pUrvadopastadavastha eva / tasmAt pUrvavyAravyAnameva zreyaH / kasyacin mate saMkSipya yuktyanvitatarkabhASeti pAThaH kartavyaH / tathA ca na ko'pi doSAvakAzo, yataH saMkSipyetyavyayena yuktyanviteti tarkabhASAvizeSaNena ca zabdasaMkSepasya yuktibAhulyasya ca darzanAdatra prakoM 'pi darzita ityavadhAryam / iti prathamavRttavyAkhyAnam // 1 // atha SoDazapadArthoddezamAha / ['pramANAdiSoDazapadArthAnAM tattvajJAnAnmokSaprAptirbhavati' iti] prmaanneti| pramANAni ca prameyaM ca saMzayAzca prayojane ca dRSTAntau ca siddhAntAzcAvayavAzca tarkazca nirNayazca vAdazca jalpazca vitaNDA ca hetvAbhAsAzca phalAni ca jAtayazca nigrahasthAnAni ca teSAm / atra sUtre sarveSAM padArthAnAM prAdhAnyasya vivakSitvAd dvandvasamAsaH, tatpurupaparigrahe pradhAnyAnupapatteH, dvigvavyayIbhAvayoretAdRzapAThAbhAvAt, bahuvrIhikarmadhArayayovirodhAcca / pramANeSu bahuvacanamanyonyanirapekSatvena pramAhetutvasya vivakSitatvAt / prameyeSu pratyekaM prameyatve'pi samudAyaparyavasAyinyeva prameyatvaM

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Vol. XIX. 1994-1995 tarkabhASAvArtikam 141 vivakSitamitye kavacanam / arthanirdezamAdAya saMzaye 'pi bahuvacanaM teSAM nirapekSatayA nyAyapravRttyupayogitvAt / prayojane vizeSalakSaNAnusAreNa dvivacanam / dRSTAnte'pi vizeSalakSaNAnusaMdhAnena dvivacanaM, tayorudAharaNe parasparanairapekSyAd, anvayavyatirekiNastasyaitayorekatra prayoge'nucitatvAt, tasyaikatra prayojanAbhAvAd anyathA'dhikanigrahApatteH / siddhAnte'pi svaprayojane nairapekSyameveti bahuvacanam / avayavAnAM saMbhUyaikArthapratipAdakatve'vAntarArthabhedasUcanAya bahuvacanam / tarka nirNayayorekaikaprayojanatvAt ekavacanam / vAdajalpavitaNDAnAM tathaiva / hetvAbhAsAdiSu svavyApAre parasparanairapekSyAd bahuvacanam / ata eva 'nirdeze yathAvacanaM vigrahaH' iti bhASyam / tasyArtho yadeva nirdeze vacanabhedopAdAnaprayojanaM tadevAtrApIti draSTavyamityAdi trisUtrItattvabodhAdau suprasiddham / / tattvajJAnAditi / tattvaM jJAyate ' te ne ti tattvajJAnaM zAstraM, tasmAdityarthaM / tathA ca zAstratattvajJAnAbhyAM vyApArivyApArabhAvApannAbhyAM samAnAdhikaraNaduHkhasamAnakAlInabhinnaduHkhadhvaMsalakSaNo mokSaH / dhvaMso mokSa ityukte ghaTadhvaMse 'tivyAptiH / tannirAsAya du:kheti / tathApyasmadAdyadhikaraNakaduHkhadhvaMse'tivyAptiH / katham ? asmadAdInAmapyatItakAlInaduHkhadhvaMsasya vidyamAnAt / tannirAsAya duHkhasamAnakAlInabhinneti / atra bhinneti padaM du:khadhvaMsavizeSaNatayopAttam / katham ? duHkhena saha samAnakAlIno yo duHkhadhvaMsaH tasmAd bhinno vyatirikto yo du:khadhvaMsa ityarthaH / asmadAdiSu pratyutpannaduHkhasamAnakAlInAtItaduHkhadhvaMsasyaiva vidyamAnatvAt tato na bhinnatvaM duHkhasyeti nAtivyAptiH tAvatyukte vyadhikaraNaduHkhamAdAyAsambhavaH / katham ? asmadAduHkhasamAnakAlInasyaiva muktAnAM duHkhadhvaMsasya vidyamAnatvamityasambhavaH / tannirAsAya duHkhavizeSaNatvena samAnAdhikaraNeti padam / asyArthaH - lakSyo lakSaNayogyo yo muktAtmagato duHkhadhvaMsastena samAnAdhikaraNaM yad duHkhaM, tena samAnakAlIno yo duHkhadhvaMsaH saMsArAvasthAyAM sa muktAtmagata eva, tasmAdabhinno yo duHkhadhvaMsaH sa tu muktAnAmeveti / tathA caitat sampannaM - lakSyaduHkhadhvaMsAdhikaraNakaduHkhasamAnAdhikaraNaduHkhasamakAlInaduHkha-dhvaMsabhinnaduHkhadhvaMsalakSaNo mokSaH sAdhyata ityatra tAtparyam / tattvalakSaNaNAha - svAzrayapratiyogikAnyonyAbhAvAsamAnAdhikaraNadharmavattvaM tattvam / asya pdkRtyaani| dharmastattvamityucyamAne saMyuktasamavAyena jale vidyamAno gandhaH samavAyena tattvaM syAt pUrvakAlAvacchedena ghaTe vidyamAnaM zyAmaM rUpaM raktakAlAvacchedena tattvaM syAt / tadubhayavAraNArtha yatsambandhapuraskAreNa yadavacchedena yo yasya dharmastatsambandhapuraskAreNa tadavacchedena sa tasya tattvamiti bodhanArthaM dharmatattvaM tattvaM tAvatyukte ghaTavartiprameyatvavat tasyApi ghaTatattvatAprasaGgaH / ata uktam - asamAnAdhikaraNeti / tAvatyukte jalena sahAsamAnAdhikaraNaM yat pRthivItattvaM tat tadvattvasyApi ghaTatattvatA bhavet / ato'bhAveti / tathApi ghaTapratiyogikAtyantAbhAvamAdAyAsambhavaH svasmin svAvRtteriti nyAyAt ghaTavartighaTapratiyogikAtyantAbhAvena saha ghaTatvasyAsamAnAdhikaraNyAbhAvAt / ato'nyonyeti / tathApi ghaTavartipaTapratiyogikA'nyonyAbhAvamAdAyAsambhavastena svAzrayeti / asyArtha:-svaM ghaTattvaM, tasyAzrayo ghaTaH, tatpratiyogiko'nyonyAbhAvaH, tena samAnAdhikaraNo dharmo ghaTatvaM, tadvattvaM tattvamityatra padakRtya vistaro granthAntarAdavaseyaH / /

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nArAyaNa ma. kaMsArA SAMBODHI atha pravartakajJAnalakSaNamAha / kRtisAdhyatvagocarabalavadaniSTAnanubandhISTasAdhanagocarajJAnaM pravartakam / asya padakRtyAni / jJAnaM pravartakamityukte ghaTArthino'tra prameyatvamiti jJAne'tivyAptiH / katham ? pravartakatvAbhAvAt / tannirAsAya sAdhaneti padaM tatra padArthatvaprakArakajalajJAne'tivyAptiH / tannirAsAya bhAvavAcakatApratyayopAdAnam / tathA ca jalatvena tAvatyukte tRSitajalArthina: tRDupazAmakatvena jalajJAnaM pravartakaM, na padArthatvena jalajJAnaM pravartakam / ato'tivyAptirnirastA tAvatyukte sukhArthino duHkhasAdhanAhikaNTakajJAne'tivyAptiH / tannirAsAya iSTeti padam / tAvatyukte madhulipteyaM khaDgadhAreti jJAne'tivyAptiH / katham ? madhvAsvAdajanyasukhArthinaH pravartakaM bhavet, na caitajjJAnaM pravartakaM, jihvAcchedanajanyAniSTaduHkhasAdhanatAjJAnaviSayatvAt / tannirAsAyAniSTAnanubandhIti padamiSTasAdhanatAvizeSaNatayopAttam / tathA cAniSTena sahAnanubandhi asambandhi yadiSTasAdhanaM tattAjJAnamidaM jJAnam, daNDAdibhirghaTAdeH sAdhanamityullekhenetyarthaM / tAvatyukte'smin girizikhare sukhAsvAdAdiguNopetaM pUrNa saro'stIti jJAne'vyAptiH 1 katham ? jalArthinastajjJAnaM pravartakaM bhaved, aniSTazramAnanubandhISTadhanatAjJAnatvAt / tannirAsAya balavadityaniSTavizeSaNatayopAttam / zramAnanubandhi balavadaniSTaM na bhavatIti nAvyAptiH tAvatyukte sukhasAdhanaM sAgaramaNiriti jJAne'tivyAptiH / katham ? tatra pravartakatvAbhAvAt / tannirAsAya kRtisAdhyagocareti padaM jJAnavizeSaNatayopAttam / asyArthaH / kRtvA prayatnena yat kRtisAdhyatvam / tadeva gocaro viSayo yasya jJAnasya tat kRtisAdhyagocaram / balavattvaM tadiSTAnanubandhi ca tadiSTasAdhanatAgocarajJAnaM ca kRtisAdhyatvagocaraM ca balavadaniSTAnanubandhi tacca tadbalavadaniSTAnanubandhISTasAdhanatAgocarajJAnaM cetyarthaM / evamapi svakRtyasAdhya parakRtisAdhyagocaratAdRzajJAnasyApi pravartakatvApattiH / ataH svapadamadhyAhAryam / evamapi balavadaniSTAnanubandhi yadaniSTaM pareSAM nAtmanaH svAtmamaraNAdiH tasya sAdhanaM viSalakSaNAdi, svakRtisAdhyaM ca tattAgocarajJAnasyApi pravartakatvApattiH / ato'trApi svapadamadhyAhAryam / tathA ca svakRtisAdhyatvagocarabalavadaniSTAnanubandhi sveSTasAdhanagocarajJAnaM pravartakamiti sampannamiti / tathA ca tacca jAnantIti tattvajJAH / teSAM niHzreyasaprAptiriti / yadvA tattvajJAnAnmithyAjJAnApAyaH, tadapAyAd doSApAyaH, tadapAyAt pravRttyapAyaH, tadapAyAjjanmApAyAd ekavizaMtiprabhedaduH khocchedalakSaNo mokSaH syAdityarthaM // nanu nitarAM zreyo niHzreyasamiti vyutpattyA niHzreyasaM sukhaM tasyAdhigamo jJAnaM prAptirvA tttvjnyaanaadnuppnneti| ata Aha / asyArtha iti / tattvaM jJAyate'neneti vyutpattyA tattvajJAnaM zAstram / iSTasAdhanatAdilAbhAt pravRttirupapAditA, anyathA tattvajJAnapadasya yathAzrutArthaparatve zAstre iSTasAdhanatA'pratipAdanAt tatra pravezAyaitatprakaraNAnArambhaH syAditi na cottaragranthavirodhaH, tasyAnyathA'vatAryatvAditi / trividheti zAstrasyAcetanatve tadviSayiNI puruSasya pravRttistrividhetyarthaM / yadvA pravRttipadamutpattiparaM zAstrAntarasya vibhAgena sahitA caturdhA pravRttiriti // nanu uddezo vibhAgo lakSaNaM parIkSA ceti pravRtticAturvidhye vaktavye traividhyakathanamayuktamiti cenmaivam, vibhAgasya vizeSanAmamAtrasaGkIrtanenoddeze evAntarbhAvAt / atrastraividhyakathanameva yuktamiti / uddezastviti / asAdhAraNanAmamAtreNa vastusaGkIrtanamuddezaH / uddezazAstramityarthaM / kIrtanamuddeza ityukte ghanAghanadhvanyAdAvatiprasaktiH / tadarthaM samiti padam / tadA tAlvoSThapuTasaMyogajanyaM kIrtanaM zabdakaraNaM saGkIrtanam / tAvatyukte kAkIyarave'tiprasaktiH / tadarthaM nAmeti / tatra nAmasaGkIrtanaM nAsti tAvatyukte

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Vol. XIX. 1994-1995 tarkabhASAvArtikam 143 pramAkaraNaM pramANamityAdilakSaNavAkye 'tiprasaktiH / katham ? lakSyalakSaNavAkyaM lakSaNazAstraM bhavati / nanu tadudezazAstram, ato mAtreti kevalaM nAmamAtram / tAvatyukte DitthaDavitthAdizabde'tiprasaktiH / tadvAraNAya vastupadam / tAvatyukte abhidheyetiprasaktiH / kathamiti cet, abhidheye nAmamAtreNa vastusaGkIrtanamasti paraM sarvatra vartanAt sAdhAraNam / tarhi prameyamapi tathaiva bhaviSyatIti cenna tasya dvAdaze ve va vartanAt I tadvAraraNAya asAdhAraNeti / asAdhAraNa nAmamAtramitye vAstu, saGkIrtanapadamadhikamityanuccArite'tiprasaktiH / tadvAraNAya tasyopAdAnaM sphuTArthatvAd vA / tathA coddezalakSaNaM sampannam / / lakSaNAtmakaM zAstra lakSayati / lakSaNaM tviti / lakSaNamityatra lakSaNAtmakaM zAstraM lakSyam, anyathA'sambhavaH syAt / nahi piNDasthameva sAstrAdikaM gavAdeH zAstralakSaNaM bhavitumarhatIti / atha vacanaM lakSaNaM zAstramityukte gaurityAdidharmivacane'tiprasaktiH / taddvAraNAya dharmeti tAvatyukte gorlakSaNaM dvikhurAvattvamiti vAkye'tiprasaktiH / katham ? dvikhurAvattvaM sAdhAraNaM, mahiSyAdau vartanAt / tadvAraNAya asAdhAraNeti / tathA ca asAdhAraNadharmavacanaM lakSaNazAstramiti sampannam // asAdhAraNatvaM nAma tanmAtravartitvam / tanmAtravartitvaM ca tadvartitve sati taditarAvartitvamiti / kecittu yadeva tattvaM tadeva lakSaNaM tattvaM ca nAkAzamapIti, asAdhAraNadharmatvameva lakSaNalakSaNamityAhuH / na cAtrAnavasthA doSAya, prAmANikatvAt / katham ? ghaTe ghaTatvaM ghaTatve ghaTatAtvaM ghaTatAtve ghaTatAtvatvamityanayA dizA'navasthiti: / na cAtrAtmA zreyo'pi doSAya, prAmANikatvAd, bhinnavyaktikatvAcca / [ ghaTo'yaM paTo'yamitivad bhinnavyaktikatvam / ] katham ? lakSaNasya lakSaNApekSatvena svasya svApekSaNamAtmAzraya ityukterAtmAzraya iti yathAlakSitasyeti // atroddezalakSaNaparIkSAphalAnAM parIkSA yadi lakSyate tadA zAstrastho vicAraH parIkSetyeva lakSaNam / yadi lakSaNaparIkSaiva lakSyate tadA yathAlakSitasyetyAdi parIkSAlakSaNam / tAvatA lakSaNaviSayo vicAro lakSaNaparIkSeti tadarthaM / evamuddezaviSayako vicAraH uddezaparIkSA / phalaviSayako vicAraH phalaparIkSA / parIkSAviSayako vicAraH parIkSAparIkSetyAdyavagantavyam / na ca parIkSAparIkSAyAmanavasthA yathAvipratipatti parIkSAkaraNAt / yathAvipratipattIti vipratipattimanatikramya karotIti yathAvipratipatti, teneti / asminneva sUtre uddezasyoktatvena lakSaNaparIkSe eva kartavya ityarthaH // [ // pramANAni // ] tatreti / itarapadArthAnAM pramANAdhInasiddhikatvena pramANasya garIyastvAt pramANamevAdau lakSayati pramAkaraNamiti / pramIyate paricchidyate yA sA pramA / kriyate aneneti karaNamiti karaNavyutpattirAzrayaNIyA / nanu bhAvavyutpattiH pramAyAH karaNaM pramAkaraNamityatra karaNaM pramANamityukte cchidAkaraNe kuThAre 'tiprasaktiH / tannirAsAya meti mAkaraNamityukte bhramajJAnakaraNe doSaduSTendriye'tivyAptiH / tannirAsAya prameti / pramA nAma yathArthAnubhavaH / yathArtha ityayathArthAnAM saMzayaviparyayatarka jJAnAnAM nirAsaH / tadvati tatprakArakaM jJAnaM yathArthajJAnam / smRtivyatiriktaM jJAnamanubhavaH / atha praH pramANamityukte, asambhavaM nahi pratvaM kasmiMzcidapi pramANe'stIti / tannirAsAya / pramA pramANamityukte cakSurAdAvavyAptiH, anumityAdau cAtivyAptiH / tannirAsAya karaNamiti

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144 nArAyaNa ma. kaMsArA SAMBODHI padamupAdIyate / prakaraNaM pramANamityukte paramANAvativyAptiH / kathamiti cet, vyaNukaM prati paramANuH prakaraNaM prakRSTaM karaNamityarthaM / tannirAsAya meti / tathA ca na kazcid doSa iti, pramAkaraNamityatra bhAvapradhAnatvAnnirdezasya, pramAkaraNatvamiti jJeyam / / lakSaNasya hi lakSyaniSThatvaniyamAt tadAha / pramANamiti / nanvatra karaNatvaM nAma kim ? avilambena kAryotpAdakatvaM vA vyApAravattvaM vA ? nAdyaH, sannikarSe 'tivyAptiH / katham ? Adhunika naiyAyikAnAM cakSuSaH karaNatve sannikarSasyAvAntaravyApAratve na vyavahitakAraNatvAt, cakSurAdAvavyAptezca / katham ? tasya sannikarSavyavahitakAraNatvenAvilambena kAryotpAdakatvAbhAvAt / na cet kAraNakalApasahitasya cakSuSo'vilambena kAryotpAdakatvAnnAvyAptiriti vAcyam / evaM hi ghaTAderapi tathAtvAdativyAptiH / na dvitIyo, ghaTe'tivyApteH / na ca tatra vyApArAbhAvAt nAtivyAptiriti vAcyam, cakSuApArIbhUtasya ghaTacakSusaMyogasyaiva tad vyApAratvAt / ata eva bhinnalakSaNaM yathA - tanmAtraniSThakAryatAnirUpitakAraNatA'vacchedaka dharmazAlitvaM karaNatvamiti / asyArthaH - tanmAtre cAkSuSajJAnamAtre niSThAyAH kAryatA, tayA nirUpitA kAraNatA, tasyA avacchedakadharmatvaM cakSuSTvaM tena zAlitvaM karaNamiti suvacam / / tathA ca pramANAbhinnalakSaNaM yathA - yathArtha jJAnakAraNatve sati, vyApAravatve sati, anubhavatvavyApyajAtyavacchinnakAryatAnirUpitakAraNatAzrayatvaM pramANatvamiti lakSaNaM sampannam / vyApAravattvabhAgagrahaNaM cakSuHsannikarSAdAvativyAptivAraNAyAzrayatvAntabhAgagrahaNam / zarIrAdAvativyAptivAraNAya kAryatAvacchedikA jAtizcAkSuSatvAdiH / tadyathA - cakSurAdiSaDindriyAnumAnopamAnazabdakAyatAnAM krameNa cAkSuSatvarAsanatvaghrANIyatvaspArzanatvazrotratvamAnasatvAnumititvopamititvazAbdatvajAtibhiravacchedAdavacchedikA jAtiH / etAvatA cakSurAdinavapramANAnAM karaNabhUtAnAM kAryarUpAzcAkSutvAdinavajAtayo bhavantItyarthaH // zabdAdisAkSAtkArajanane zrotrasya zrotramana:saMyogo vyApAraH / zabdAtyantAbhAvajJAnajanane ca sa eva vyApAraH / zabdasya zrotrazaSkulIsaMyogazca vyApAraH savikalpaM nirvikalpakamapi dvAramiti golakAdyadhiSThAne nAtivyAptiH, tasyendriyAdhiSThAnatve kAraNatvAt / na cAlokAdAvativyAptiH, tAdRzakAryatApratiyogikAraNatvAbhAvAt tamoviSayakacAkSuSajJAne tadvyabhicArAt / asyArtha - anubhavatvasya yA sAkSAdvyApyajAtistadvad ekajAtIyaM tajjanyasakalajJAnamAtraM tadRttikAryatA / tayA nirUpitA kAraNatA / tasyA Azrayatve sati tdythaarthkaarnntvm| tAdRzaM yathAjJAnakAraNatvamityarthaH / / / padakRtyAni - tadyathArthakAraNatvaM pramANatvamityukte AtmAdAvativyAptiH / tannirAsAya jJAnetyArabhya satyantaM padaM deyam / tathA ca janyAtmavizeSaguNaniSThakAryatAnirUpitakAraNatAzrayatvAdativyAptirdhvastA tAvatyukte ghaTe'tivyAptiH / tadvAraNAya sakaleti tAvatyukte tvasambhavaH syAt / tadvAraNAyekajAtIyeti / tathApi jJAnatve jAtyA ekajAtIyasakalajanyajJAnamAtravRttikAryatAnirUpitakAraNatAzrayatvaM cakSurAdau nAsti, atrAnumityAdAvakAraNatvAt / ata Aha - anubhavatvasAkSAdvyApyajAtimaditi / sAkSAditi anubhavatvasya vyaapym| anubhavatvavyApyamAdAya asambhavatvavAraNAya tena ca bhedagarbhavyApyatAlAbhAnna doSaH // nanu sAkSAvyApyajAtayaH kati ? tathAhi - anubhavatvasya vyApyajAtayo nava bhavanti, yathA cAkSuSatvarAsanatvaghrANIyatvaspArzanatvazrAvaNatvamAnasatvAnumititvopapamititvazAbdatvalakSaNAH [iti / ]

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Vol. XIX, 1994-1995 tarkabhASAvArtikam 145 anubhavatvasya sAkSAdavyApyajAtayazcatastro bhavanti, yathA pratyakSatvAnumititvopamititvazAbdatvalakSaNA iti // nanu sAkSAdvyApyatvaM nAma kim ? tadvyApyajAtyavyApakatve sati tadavyApyatvaM sAkSAdvyApyatvamiti / tacchabdenAnu bhavatvam / tasya vyApyaM jAtiranumititvAditi / tasya vyApyaM pratyakSatvam / punastacchabdenAnubhavatvaM tasya vyApyaM pratyakSatvam / etAvatA pratyakSatvamanubhavasya sAkSAdvyApyatvamiti jAti: / evaM dravyatvasya guNavattvaM sAkSAdavyApyamiti nirAkaraNArthamiti vyApyasya vacanaM pUrvaM vyApakasya tataH param, alpavRtti vyApyaM, bahuvRtti vyApakamiti vacanAt / yatra yatra pratyakSatvaM tatra tatra anubhavatvaM na tu yatra yatrAnubhavatvaM tatra tatra pratyakSatvam, anumitau vyabhicArAt / katham ? tatrAnubhavatvaM vartate, cAkSuSatvaM nAstIti / evaM yatra yatrAnumAnatvaM tatra tatrAnubhavatvaM na tu yatra yatrAnubhavatvaM tatra tatrAnumititvaM pratyakSe vyabhicArAd ityAdi / yatra yatra cAkSuSatvaM tatra tatra anubhavatvaM, na tu yatra yatrAnubhavatvaM tatra tatra cAkSuSatvaM ghrANIyAnumityAdau vyabhicArAt tatrAnubhavatvamasti pratyakSatvaM nAstIti / evaM yatra yatra rAsanatvaM tatra tatrAnubhavatvaM na tu yatra yatrAnubhavatvaM tatra tatra rAsanatvaM cAkSuSe vyabhicArAt ityAdi // anubhavatvasya pratyakSAtvAdiH sAkSAdvyApyajAtiH / cAkSuSatvAdiH pratyakSatvasya vyApyajAtiH / katham ? yatra yatra pratyakSatvaM tatra tatrAnubhavatvaM na tu cAkSuSatvaM yatra yatra cAkSuSatvaM tatra tatra pratyakSatvamanubhavatvaM cetyAdi svayamUhyam / tAvatyukte sadoSe cakSurAdAvativyAptiH / tadvAraNAya tadyathArtheti padam / tAvatyukte cakSuH sannikarSe'tivyAptiH / tadvAraNAya karaNeti / tadarthazca vyApAravatkAraNatvaM sannikarSe sadoSendriye ca pUrvavizeSaNenaivAtivyAptibhaGgAt caramavizeSaNavaiyarthyaprasaGgAditi // nanu pramANamiti kaH zabdArthaM ? pramitiH pramANamiti vA pramIyate yat tat pramANamiti vA pramIyate'sminnAtmanIti pramANamiti vA praNIyate'neneti pramANamiti vetyAdi vikalpAH sambhavanti / tatazca prathamapakSe pramaiva lakSyatvAkrAntatvena pramANam / dvitIyapakSe pramAkarma ghaTAdi pramANaM syAt / tRtIyapakSe'dhikaraNavyutpattirapi nirastA, pramAturapi pramANatvaprasaGgAt / tena pramAtA pramANaM na bhavatItyarthaH / caturthapakSe pramAkaraNaM pramANaka raNamityanvayadoSaH syAt / katham iti cet, zruNu / pramAkaraNapramANakaraNayozcetarAnvayasambandhaH vizeSaNavizeSyabhAvo vA vAcyavAcaka bhAvo vA vyApyavyApakabhAvo vetyAdidUSaNAnyapi sambhavantIti cenna pramAkaraNaM pramANapadavAcyamityarthasya kriyamANatvAt pramANapadamiha na yaugikamityavadheyam / na cezvare'tivyAptiriti vAcyaM tasyAlakSyatvAditi // nanu lakSaNena kiM kriyate ? itarabhedaH sAdhyate, yathA pramANamitarebhyo bhidyate pramAkaraNatvAt / yatraivaM tatraivaM yathA pramANAbhAsAdiH / pramAkaraNamitarebhyo bhidyate, pramAkaraNatvAt / tadapItarebhyo bhidyate tatkaraNatvAd ityatrAnavasthApi na doSAya, prAmANikatvAd iti yathArtheti / anubhavaH pramA ityukte'yathArthAnubhave'tivyAptiH / tannirAsAya yathArtheti tAvatyukte smRtAvativyAptiH / tannirAsAyAnubhaveti atizayitamiti // nanu atizayitatvaM nAma kim ? vyApAravatvaM vA utkRSTatvaM vA asAdhAraNatvaM kriyAyogarahitatvaM vA anyadvA / nAdyaH vikalpaH sundaraH ghaTAdAvativyApteH, tasyApi vyApAravattvAt / ata eva na dvitIyo'pi, utkRSTatve vizeSAbhAvAt / nApi turyaH kriyAyogyavyavacchedena phalasambandhitvena

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146 nArAyaNa ma. kaMsArA SAMBODHI ghaTAdAvativyApteH / nApi paJcamaH pakSazcaJcuraH, tadapratipAdanAt / iti tRtIyaH pakSo nyAyya eva, atizayavatkAraNamiti / ata Aha - [yasya kAryAt pUrvabhAvo niyato'nanyathAsiddhazca tatkAraNam / yathA tantuvemAdikaM paTasya kAraNam / ] yasyeti / karotIti kAraNaM kartaryanaTi vRddhau ca siddham / yasya kAryAt pUrvabhAvastatkAraNamityukte daivAdAgatarAsabhAdAvativyAptiH / tannirAsAya niyateti tAvatyukte tanturUpAdAvativyAptiH / tannirAsAyanyathAsiddheti / / tatrAnyathAsiddhiritradhA / tathAhi yaM puraskRtya yasya pUrvabhAvo'vagamyate sa tenAnyathAsiddho, yathA'yaM tantuM puraskRtya yasya tanturUpasya pUrva bhAvo'gamyate tat tanturUpam / tena tantunA kRtvA'nyathAsiddham / tanturUpAdiguNastantvAdinA'nyathAsiddhaH / na cendriyArthasinnikaSa puraskRtyeti yasya pUrvavartitAvagamyate ityatiprasaktiriti vAcyaM, vinigamanAviharAtiriktasthale ityavizeSaNasya bodhyatvAd, vizeSyasya nirdhArakapramANAbhAvavinigamanAd iti prAganyathAsiddhiH 1 anyatra kluptapUrvavartina eva kAryasambhave tatsahabhUtatvamanyathAsiddhatvaM, yathA kluptapUrvavartito gandhaprAgabhAvAd gandhasambhave rUpaprAgabhAvasya tatsahabhUtattvAd gandhe'nyathAsiddhatvaM dvitIyApi guNAnyathAsiddhiH 2 / ekaM prati pUrvavartitve gRhIte evAparaM prati pUrvavartitA gRhyate, sa tenAnyathAsiddho, yathA zabdaM pratyAkAzasya pUrvavatitve gRhIte evAparaM ghaTaM prati pUrvavartitA gRhyate ityAkAzo ghaTe'nyathAsiddhaH, zabdazarIrAdau tu nAkAzamanyathAsiddham / tatrApyAkAzasyApyavazyakalpyamAnatve nAnyathAsiddhatvAdeva ghaTotpatau vIraNAdiranyathAsiddhamiti dravyAnyathAsiddhiH 3 / trayamAdAyaiva yasya pUrvavartitA gRhyate tadanyathAsiddhaM, yathA daNDatvamAdAyaiva daNDapUrvavartitAgrahe daNDena daNDatvasyAnyathAsiddhatvam / daNDatvAdidharmo daNDenAnyathAsiddhaH / nanu yaM puraskRtyeti prathamAyAzcaturthyAzca ko bheda ucyate ? puraskRtatvaM prAthamyenAvaklRptaM, yathA tantoH rUpaM tanturUpam / atra tantu prAthamyam / daNDatvavAn daNDaH / atra daNDatvamavacchedakadharmaH / tato dharmAnyathAsiddhiH / 4 janakaM prati pUrvavartitve gRhIte eva yatrAnyaM prati pUrvavartitAgrahastadanyathAsiddhaM, yathA kulAlapitRtvena kAraNatAyAM vAcyAyAM ghaTajanakaM kulAlaM prati pUrvavartitve gRhIte eva janyaghaTaM prati pUrvavartitvagrahAt kulAlajanakaM puMstvasyaiva kulAlapitRtvAt kulAlapitA'nyathAsiddhaH / nanu ekaM pratIti tRtIyAyAH paJcamyAzca ko bhedaH ? ucyate / tatra dravyamanyathAsiddham, atra puMstvamiti bhedH| puMstvaM puruSAkAratvaM vIryamiti yAvat / ataH kulAlapitA kulAlaputraM prati puMstvenAnyathAsiddho, janyaghaTaM pratyanyathAsiddhaH 5 // etadanyathAsiddhidvayaM balabhadraputragovardhanakRtagovardhanyAM proktamastIti, etadanyathAsiddhipaJcakarAhitye sati niyatapUrvavartitvameva kAraNamiti granthAntare'nyathAsiddhisaptakamapyuktamiti vistarabhayAnneha likhitamiti bodhyam / nanu sAmAnyalakSaNamidaM, tatazca niyatapUrvasattvaM vA sattvameva vastutvameva vA karaNatvamAstAM kinnu vizeSaNeneti ced, anyathAsiddhabhAgasya pArimANDalyAdAvativyAptivArakatvAt / na ca yogipratyakSa prati tasya kAraNatA, yogipratyakSasya yogajadharmajanyatvAvacchedena viSayAjanyatvAt / SoDhAsannikarSAnyatamasannikarSajanyajJAnatvAvacchedenaiva viSayajanyatvAd vizepalakSaNamevedamiti pArimANDalyaM prmaannuprimaannm| paramANutvaM dharmo, na jAtiH, antyakArye merusarpapayostulyatvAdityarthaM / tantatarIvemAdikamiti niSpannavastraveSTanadaNDasturI, vAto daNDo vemA iti / /

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147 Vol. XIX, 1994-1995 tarkabhASAvArtikam prasaGgataH kAryamipi lakSayati - yasya kAryAdityAdi / ukta kAraNalakSaNe AtmAzraya ityata Aha - [ananyathAsiddhaniyatapazcAdbhAvitvaM kAryatvam / ] ananyathAsiddheti / pazcAdabhAvitvaM kAryatvamityukte daivAdApannamazakAdAvativyAptiH / tannirAsAya niyateti tAvatyukte ghttruupaadaavtivyaaptiH| tannirAsAyAnyathAsiddheti / niyataM ca tatpazcAdbhAvi vA'nanyathAsiddhaM ca tanniyatapazcAdbhAvi ceti vigrhH| murAribhaTTayAM tu anyathAsiddhAt kAraNAnniyatapazcAdbhAvIti vigrahaH, anyathA ghaTavizeSa prati rAsabhasya kAraNatvAditi kriyate yat taditi dik / bauddhAdhuktakAraNalakSaNaM dUSayitumanuvadati - [yattu kazcidAha kAryAnukRtAnvayavyatireki kAraNamiti, tadayuktam, nityavibhUnAM vyomAdInAM kAlato dezatazca vyatirekAsambhavenAkAraNatvaprasaGgAt / ] yattviti / kAryeNAnakatau yAvanvayavyatirekau tau vartete yasya tat kAryAnukRtAnvayavyatireki / yadanvaye yadanvayo yadvyatireke yadvyatirekastatkAraNamityarthaM / kAryAnukRtAnvayi kAraNamityukte AkAze'tiprasaGgaH / katham ? AkAzanvaye ghaTAnvayo'styeva paraM zarIrazabdau muktvA ghaTAdikaM prati na kAraNamiti tannirAsAya vyatirekIti / atha kAryAnukRtavyatireki kAraNamityukte ghaTaprAgabhAve'tiprasaGgaH / katham ? yadavyatireke yavyatireko, ghaTaprAgabhAvadhvaMse gandhaprAgabhAvadhvaMsaH, kAraNam / ghaTaprAgabhAvavyatireke gandhaprAgabhAvavyatirekaH / tannirAsAyAnvayIti / / nanu nityavibhUnAM vyomAdInAM kAlato dezatazca vyatirekAsaMbhAvanA, akAraNatvavaprasaGgAt, tadayuktamityuktam, tanna ghaTate, vyatirekasambhavAt / tathAhi bherIsaMyuktAkAze satyeva zabdotpattirnAnyatra / yasmin deze yasmin kAle bherIsaMyuktAkAzastatra zabdotpattistadA'nyatra vyatireka ityarthaH / ke citta kAlAdInAmidAnIM jAta ityAdi pratItyA'kAraNatvaM sidhyati, evaM pramANAntareNAtmA'dRSTAdInAmapi kAraNatvaM sidhyati / AkAzasyApi zarIrakAraNatvaM zrutyA siddham / zabdatvaM tasya sAkSAtkArAdau tnmaanaantrsiddhm| ghaTAdau tu tatkAraNatve ca mAnameva avazyakalpyamAnapUrvavartina eva kAryasambhava tatsahabhUtatvalakSaNamanyathAsiddhaM cetyAhuH / iyattAvacchinnaparimANayogitvaM mUrtatvaM, sakalamUrtadravyasaMyogitvaM vibhutvamityarthaH / / kAraNalakSaNaM vibhajate - [ tacca kAraNaM trividhaM, samavAyyasamavAyinimittabhedAt / tatra yatsamavetaM kAryamutpadyate tat samavAyikAraNam / yathA tantavaH paTasya samavAyikAraNam / yatastantuSveva paTaH samaveto jAyate, na turyAdiSu / ] tacceti / cakAro nyUnAdhikavyAvRttyarthaM / tatreti / teSu kAraNeSu madhye pradhAnatayA samavAyikAraNaM lakSyate ityarthaH / yatsamavetaM kAryamutpadyate tatsamavAyikAraNamityatra yatsamavetaM kAryaM tatsamavAyikAraNaM, yadvA yatsamavetamutpadyate tatsamavAyikAraNamiti vikalpadvayam / tatra pathamavikalpe paTarUpAdAvatipra saktiH, tasya samavetakAryAtmaka tvAd, AkAzAdAvavyAptizca tasya nityatvena samavetakAryatvAbhAvAt / dvitIyavikalpe'pyetAveva doSau staH / atha tannirAsAya yasmin kAryamiti tatpuruSavidhAne ckraadaavtivyaaptiH| katham ? saMyogasambandhena ghaTalakSaNakAryasya jAyamAnatvAt / tannirAsAya samavetamiti padam / na hi cakrAdau ghaTaH samaveta utpadyate, ghaTazcakrayoryutasiddhatvAt, pRthak siddhatvAt / atra lakSaNe yatpadasyAnvayasamarpakatvena sAmAnyalakSaNamevaitada, ataH svasamavetakAryajanakaM samavAyikAraNamiti jJeyam / atra

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148 nArAyaNa ma. kaMsArA SAMBODHI svapadamanyasamavetaghaTAdijanaka kapAlasaMyogAdAvativyAptivAraNAya / katham ? kapAlAde yAvat svasamavetajanakatvaM nAsti, nApi svasamavetaM, yatkiJcit pRthivItvAdijanakatvaM tasya nityatvAt / kintu svasamavetakAryajanakatvameveti darzayituM kAryapadaM, na tu lakSaNapraviSTamiti dik // saMyogasya sugamasvasvarUpatvAt tamupekSya samavAyaM lakSayati - [tatrAyutasiddhayoH sambandhaH samavAyaH / anyayostu saMyoga eva / ] tatrAyuteti / ayutasiddhasya samavAya ityukte saMyoge'tivyAptiH / tannirAsAya dvivcnaantm| pakSI svAvayave nabho vihAya tiSThati, nabhazca tadanutpattidazAyAM tatparihAreNa tiSThatIti na pakSigaganasaMyoge'tivyAptiH / sukhaM dharma vihAya gamyagamanAdisthale, dharmazca sukhaM vihAya sukhAnutpattidazAyAM tiSThatIti yutasiddhatvAnAtivyAptiH sukhadharmasambandhe / evaM duHkhaM tapasyAsthale pApa vihAya tiSThatItyAdi bodhym|| 'kiJca samavAyasambandhenAvasthAnaM vivakSitaM, tacca svarUpasambandhenaiva bhavatItyanyonyAzrayaH, parasparApekSaNamanyonyAzraya iti vacanAt / ayutasiddhatvaM samavAyalakSaNaM, samavAyo'pyayutasiddha ityAtmAzrayo 'pi, svasya svApe kSaNamAtmAzraya iti vacanAt / na caitad dUSaNaM, jagadAdhAritAniyAmakasaMyogasambandhAtiriktasambandhena vRtistAvayutasiddhAviti vivakSitatvAt / [vinazyattA tuM vinAzakAraNasAmagrIsAnnidhyam / ] vinazyattA tviti / vinAzakAraNasAmagrIsAMnidhyamityatra kAraNasAmagnoranyataragrahaNena vinazyattAyA lakSaNadvayaM bodhyam / sAMnidhyaM vinayazyatte tyukte sthityavasthAyAM rAsabhasAMnidhye'tiprasaktiH / tannirAsAya sAmagrIti tAvatyukte sakalakAraNayogapadyam / sAmagrIti vacanAd utpattyavasthAyAM sAmagrIsAMnidhye'tiprasaktiH / tannirAsAya vinAzeti / na hi utpatisAmagyA vinAza iti naativyaaptiH| atha dvitIyalakSaNe sAMnidhye pUrvavat kAraNasAMnidhyamityukte utpattyavasthAyAM ghaTe'tiprasaktiH / tannirAsAya vinAza iti vinAzakAraNasAMnidhyaM vinazyattetyarthaM / yuga mizraNAmizraNayorityukte mizritasiddhayorapRthaksiddhayorayutasiddhayorityarthaM / samavAyo dravyaguNakarma sAmAnyavizeSeSu, yathA avayavAyavino guNaguNinoH kriyAkriyAvatorjAtivyaktyovizeSanityadravyayoH / nanu samavAyaH kena sambandhena tiSThati ? ucyate, avinazyadavasthAyAM svarUpasambandheneti / saMyogo'pi tadavasthAyAM samavAyasambandhena tiSThatIti dvAvapi sambandhau dviSThau nityAnityau ceti, savyaM ca savyetaraM ceti vigrahaH / kintu dravyaM nirguNameveti / nanu yathAdyakSaNe kAlAdInAM saMyogo'stIti saMyogasya guNatvAt kathaM nirguNatvamiti cet, na tadAnI, tasya mUrtatvAbhAvAditi, kAraNabhedo'sti / nanvatra kAraNazabdaH sAmagrIvacano'nekakAraNajanyasyApi paTasyaikatvadarzanAt kAraNabhedaniyataH kAryabhedo na bhavati, kintu sAmagrIbhedaniyato'yaM bhAvo dRzyamAnaH kAryabhedasAmagrIbhedavyApti smaran bhedaM gamayati / yathAgnivyApto dhUmo'gnimiti / [nanvevaM sati prathame kSaNe ghaTo'cAkSuSaH syAd, arUpidravyatvAd vAyuvat / ] atpiiti| arUpitvAdityukte rUpAdAvatiprasaktiH / tannirAsAya dravyeti / adravyatvAdityukte paTAdAvatiprasaktiH / tannirAsAyarUpidravyatvAditi / tadeva hi dravyaM cAkSuSaM yanmahattve satyudbhUtarUpavaditi / atra rUpavad

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149 Vol. XIX, 1994-1995 tarkabhASAvArtikam / dravyamityukte taptavAristhatejasyativyAptiH / tannirAsAyodbhUteti / tAvatyukte udbhUtarUpavati pArthivaparamANvAdAvativyAptiH / tadbhaGgArtha mahattve satIti / atha mahattve sati udbhUtaguNavatItyukte vaayaavtiprsktiH| tadbhaGgArthaM rUpavaditi / mahatparimANAdhikaraNaM dravyaM cAkSuSamityukte gaganAdAvatiprasaGgaH / tadbhaGgArthaM vizeSyapadaM, lakSye ca dravyapadaM ghaTAdigatacAkSuSarUpAdipadanirAkaraNArtham // samavAyikaraNaM dravyamiti asya padakatyAni / kAraNaM dravyamityukte paTAsamavAyikAraNe sNyoge'tiprsktiH| tannirAsAya samavAyIti / samavAyItyucyamAne guNatvasamavAyuguNe'tiprasaktiH / tannirAsAya kAraNamiti / samavAyi ca tatkAraNamiti tatparuSe ca tatraivAtiprasaktiH / tannirAsA svasamavetakAryajanaka dravyamiti lakSaNArtha kartavyaH / tatrApi janakatvaM dravyatvamityukte paTagatarUpajanakatvenAsamavAyikAraNe tanturUpe'tivyAptiH / tannirAsAya svapadam / svasmin janakaM svajanakaM dravyamityukte viSayatvena svaviSayakajJAnaghaTarUpe'tivyAptiH / tannirAsAya samaveteti / kAryapadaM ca svarUpajJApanatatparamiti vyartham / [yogyatayA guNAzrayatvAcca / yogyatA ca guNAnAmatyantAbhAvAbhAvaH / ] yogyatayeti / yogyatA dvidhA, svarUpayogyatA, phalo pahitayogyatA ca / yathA AraNyadaNDe svarUpAsAdhAraNA, kulAlagRhadaNDe phalopahitA phalayukteti / guNAzrayatvAcceti / guNAzrayo dravyamiti lakSaNam / asya padakRtyAni / Azrayo dravyamityukte rUpatvajAtyAzraye'tivyAptiH / tannirAsAya guNeti / tathApi prathame kSaNe'dravyatvAptiH / tannirAsArthaM gaNAtyantAbhAvAnAzrayatvamiti lakSaNaM savacanama / na guNAtyantAbhAvAnAzrayatvamityukte sAmayikAtyantA- bhAve'tiprasaktiH / tannirAsAya sAmayikAtyantAbhAvabhinnatve sati guNAtyantAbhAvAnAzrayatvaM dravyatvamiti lakSaNaM kartavyamiti / [yatsamavAyikAraNapratyAsannamavadhutasAmarthyaM tadasamavAyikAraNam / ] yatsamavAyIti / avadhRtasAmarthyamityukte samavAyikAraNe'tiprasaktiH / tadvAraNAya samavAyikAraNapratyAsannamiti tAvatyukte tantutvAdAvatiprasaktiH / tadvAraNAyAvadhRtasAmarthyamiti / samavAyikAraNe samavAyasambandhena vartitvaM samavAyikAraNapratyAsannatvaM, na tu samIpavartitvam / pratyAsattirvedhA, kAryaikArthapratyAsattiH kAraNaikArthapratyAsattizca / kAryeNa sahaikasminnarthe pratyAsattiH kAryaikArthapratyAsattiH yathA svazabdena tanturUpaM, tasya kArya paTarUpaM, tasya kAraNaM paTaH, tena paTena sahaikasminarthe tantoH pratyAsattistanturUpasyeti kAraNaikArthapratyAsattiriti / [nimitakAraNaM taducyate, yanna samavAyikAraNaM, nApyasamavAyikAraNam, atha ca kAraNaM, tnnimittkaarnnm| yathA vemAdikaM paTasya nimittakAraNam / ] yanneti / yadyapi daNDAdiH svaguNAdisamavAyikAraNaM, tathApi yatprati yanna samavAyikaraNaM nApyasamavAyikAraNam, atha ca kAraNaM tat tatprati nimittamityarthaM / akAraNalakSaNe lakSyatAvacchedakaM pArimANDalyanabhaH parimANAdibhinnatvam / ko'rtha ? pArimANDalyanabhaH parimANAdi vihAyAnyat sarva kAraNaM samavAyikAraNalakSaNe dravyatvAdilakSyatAvacchedakam / samavAyikAraNaM lakSyam dravyatvAdi asamavAyikAraNalakSaNe dravyatvarahitatve sati kiJcitkArya prati nimittatvarahitatve ca sati tatprati kaarnntvm| ko'rthaH ? dravyatvaM kiJcitkAryanimittatvAbhAve sati ghaTarUpakArya prati yatkAraNaM mRtpiNDarUpaM tadasamavAyikAraNaM lakSyam /

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nArAyaNa ma. kaMsArA 150 SAMBODHI nimittakAraNalakSaNe kiJcitkArya prati samavAyikAraNatvAsamavAyikAraNatvarAhitye sati parimANDalyAdibhinnatvam / ko'rthaH ? nimittakAraNaM lakSyaM parimANDalyAdyanyatvamiti / evamanyadapi subuddhibhiruuhym|| samavAyikAraNaM dravyameva, asamavAyikAraNaM guNakriyeM, nimittakAraNaM dravyaguNakarmAdi / bhAvakArya sya trINi kAraNAni / abhAvasya nimittakAraNameka meveti / bhAvatvaM nAma tattvArthAnullikhitadhIviSayatvamityarthaM / [satyapi pramAtari prameye ca, pramAnutpatteH, indriyasaMyogAdau sati avilambena pramotpatteH, ata indriyasaMyogAdireva kAraNam / ] satyapIti / indriyasaMyogasyAdirindrayasaMyogAdiriti vyutpattyA indriyamevokteriticaturaGgasya vyApAraviziSTasyAtizayaM bodhayitum indriyasaMyogAdirityuktaM, na tvindriyamiti / / nyAyazAstrAnusAreNa pramANasya lakSaNamuktvA mImAMsakamatAdyanusAreNa pramANalakSaNaM duupyitumnuvdti| [ yattu 'anadhigatArthaganta pramANam' itilakSaNaM, tanna, ekasminneva ghaTe ghaTo'yaM ghaTo'yamiti dhArAvAhikajJAnAnAM gRhItagrAhiNAmaprAmANyaprasaGgAt / ] yatviti / anadhigatArthagantR ajJAnaviSayaka yathArtha jJAna karaNapramANamityarthaH / nanu ghaTasyaika tve'pi vizeSaNIbhUtAnAM kAlakalAdirUpANAmanyAnyatvena tadvizeSaNaviziSTAni jJAnAnyadhigatArthAni bhaviSyantIti zaGkAmapAkaroti / [na cAnyAnyakSaNaviziSTa-viSayIkaraNAdanadhigatArthagantRtA, pratyakSeNa sUkSmakAlabhedAnAkalanAt / ] na ceti / tatra hetuH / suukssmeti| sUkSmakAlabhedagrahAbhyupagame doSamAha / [kAlabhedagrahe hi kriyAdisaMyogAntAnAM caturNA yaugapadyAbhimAno na syAt / kriyA kriyAto vibhAgo, vibhAgAta pUrvasaMyoganAzaH, tata uttarasaMyogotpattiriti / ] nyAyena kriyAdisaMyogAntAnAM caturNA, 'patrazataM mayA'tisUcyA yugapad bhinnam' iti yaugapadyAbhimAnaH sarvaloke prasiddho na syAditi / / [nanu pramAyAH kAraNAni bahuni santi pramAtRprameyAdIni / tAnyapi kiM karaNAni uta neti ?] prameyAdInIti devadattaghaTAdIni / AdizabdAt pradezodyotAdInIti | [ ucyate / satyapi pramAtari prameye ca, pramAnupatterindriyasaMyogAdau sati avilambena pramotpatteH, ata indriyasaMyogAdireva karaNam / ] saMyogAdireveti / indriyaM ca indriyasaMyogazca tAvAdau yasya sa tathoktaH / aadishbdaanniviklpkjnyaanaadigrhH| pulliMganirvAhAyArthazabdo'dhyAhartavya iti / / [ / pratyakSam / ] atha pratyakSapramANaM lakSayati / sAkSAtkAripramAkaraNaM pratyakSam iti / pramAkaraNaM pratyakSapramANamityukte 'numitikaraNe'numAne'tiprasaktiH / tannirAsAya sAkSAtkArIti / zeSaM prAgvat / [sAkSAtkAriNI ca pramA saivocyate yA indriyajA / ] sAkSAtkAriNIti / nanu indriyajanyatvamanuktamityupamityAdAvapyasti, jJAnamAtrasya manojanyatvAditi cenna, anubhavAnuvRtto jJAnakaraNajanyajJAnavyAvRtto dharmavizeSaH sAkSAttvamiti / nanu sAkSAttvaM pratyakSajanyatvamupAdhirAtmAzrayApatteH, pratyakSajJAne janyasAkSAttve pratyakSapramANajJAnamityanyonyAzrayapAtAcca / yadindriyajanyajJAnatvaM tadindriyalakSaNaM sAkSAttvaM jAtighaTitam / tatra lakSaNe sAkSAtkAripadaM na deyameveti / ata eva cendriyajeti mUlaM

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151 Vol. XIX, 1994-1995 tarkabhASAvAttikam saGgacchate / anubhavatvajAtighaTitaM vA lakSaNamiti na vyarthateti / / [kadA punarindriyaM karaNam ? yadA nirvikalpakasyA pramA phalam / tathA hi, AtmA manasA saMyujyate, mana indriyeNa, indriyamarthena, indriyANAM vastuprApyaprakAzakAritvaniyamAt / ] tathAhIti / jJAnotpatau cakSusaMyoga eva / Atmeti / supuptyavasthAyAM manasaH sarvANIndirayANi parihRtya svapnanADIvartamAnatvena pralInamanaskasyAtmano jJAtRtvAbhogavadAtmanaH saMyogena bhavitavyam / satyapyAtmanaHsaMyoge svapnAvasthAyAmuparatendriyagrAmasya bAhyaviSayajJAnAbhAvAd indriyANAM ca manasazca sambandhena bhavitavyam / satyapye tasmin sarvasmin bAhyArthasya cendri yasya sambandhAbhAve pratItyanudayAccatuNA~ sambandhena bhavitavyameva / nanu cakSurunmIlanasamantaramane kayojanasthamArtaNDamaNDalamupalabhyate tathA rAjamandire bheAM tADyamAnAyAM svamandirarasthapuMsaH zabda pratipattirjAyate, tathA paNyavIthyAM paryaTato vATikAsthitapuSpagandhopalabdhiH, tatkathamindriyArthasambandha ityAzajhyAha / vipratipannAnIndriyANi prApta prakAzakAni, bAhye ndri yatvAt, tvagindri yavat / dRSTo hi lAghavAtizayena vegAtizayodayadudayAcalacUlAvambinyevArke bhuvane AlokaH prasarIsarIti / tadvannayanomIlanAnantaraM tadrazmayo'rkamaNDalaM prApyaiva prakAzayati / tathA vIcItaraGganyAyena karNapathaM prAptasyaiva zabdasyopalabdhiH, gandhAdhAratvamAsthitAnAM puSpAvayavAnAM ghrANasya ca sambandhe satyeva gandho palambha syAditi na kiJcidanupapattiriti yojanA / sambandhAviSayakajJAnatvaM nirvikalpakamityarthaH / nirvikalpakatvaM na jAtiH / dharmAze nirvikalpakatvarUpe dharmAze savikalpakatvarUpe narasiMhAkArajJAne'vyApyavRttitvaprasaGgAt / yadA ca nirvikalpakasavikalpAtmakaM jJAnamiti na pakSaH tadA nirvikalpakatvaM sAkSAdvyApyajAtiH / sApi lakSaNaM yojanAtmakamiti sambandhaviSayakajJAnatvamAtraM lakSaNaM, narasiMhAkArajJAnAbhAvapakSe jAtyAdiyojanAbhAvAt, narasiMhatvaM ca vaktuM na zakyate iti / savikalpakajJAne pratyakSatvaM jJAnatvaM ca vartate / pratyakSatvaM vihAya jJAnatvam anumitijJAne, jJAnatvaM vihAya pratyakSatvaM locane tadubhayamapi sarvakalpakajJAne iti jAtisaGkaraH / paraM guNagatajAtisAGkaryaM na doSAyeti mate savikalpakatvaM jAtirapIti dravyasAGkarya doSAyeti ghaTe bhUtatvaM mUrtatvaM ca, bhUtatvaM vihAya mUrtatvaM manasi sthitaM, mUrtatvaM vihAya bhUtatvaM nabhasi sthitaM, tadubhayamapi ghaTe pRthivyAdicatuSTaye ca, iti bhUtatvamUrtatvayorna jAtitvamiti / jaatisngkrlkssnnmaah| anyonyaparihAreNa bhinna vyakti nive zino: / ubhayai ka samAvezo jAtisaGkara ucyate / / 1 / / jAtisaGkarasya jAtibAdhakAntargatatvena jAtibAdhakamAha / vyakte rabhedastulyatvaM saMkaro'thAnavasthitiH / rUpahAnirasambandho jAtibAdhaka saMgrahaH / / 2 / / iti kiraNAvalIlIlAvatIkAroktam / vyakterabheda AkAzAdau, tulyatvaM hastatvakaratvAdau saMkaro bhUtatvamUrtatvAdau / udAharaNaM prAguktaM zeyam / parasparAtyantA bhAvasamAnAdhikaraNayordharma yo:

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nArAyaNa ma. kaMsArA SAMBODHI samAnAdhikaraNyalakSaNaM sAMkaryaM bhUtatvamUrtatvayorbhavati / etadubhayamupAdhirUpaM sAmAnyamanavasthiti: / jAtau jAtyaGgIkAre rUpahAnirvizeSAdau asambandhaH samavAyAdau samavAye samavAyAnaGgIkArAt / evaMvidhajAtibAdhakAbhAve yatsAmAnyaM sA jAtiH / bAdhake tvaupAdhikaM sAmAnyamityarthaH // 152 [kadA punarjJAnaM kAraNam ? yadA, uktasavikalpakAnantaraM hAnopAdAnopekSAbuddhayo jAyante tadA nirvikalpakaM jJAnaM karaNam / savikalpakaM jJAnamavAntaravyApAraH, hAnAdibuddhayaH phalam / ] hAnAdIti / jihAsAjanaka buddhitvaM hAnatvam / upAditsAjanaka buddhitvaM copAdAnatvam / etadubhayabhinnabuddhitvaM copekSAbuddhitvam / nanu tritayaM jAtiH, sarpa suvarNa loSTaka samUhAlambane avyApyavRttitvApatteriti bhAvaH // evakAra: [ indriyArthayostu yaH sannikarSaH sAkSAtkAripramAhetuH sa SaDvidha eva / ] SaDvidha evetyatra laukika pratyAsattyantaravyavacchedaka : I tataH pratyAsattyantaramAtravyavacchedako jJAnAdipratyAsattitrayasattvAdibhAvaH, jJAnasAmAnyayogajadharmalakSaNAbhiH pratyAsattibhirnavadhAsaMnikarSo jJeya iti / jJAnAdipratyAsattyudAharaNAni yathA - pramANena pUrvaM cAndane saurabhe gRhIte uttarakAle cakSuSA cAndanasaurabhagrahe jJAnalakSaNA pratyAsattiH / pRthivItvavatI pRthivIti jJAne pRthivItvAvacchinnaparamANvAdijJAnaM sAmAnyato jAtamiti sAmAnyapratyAsattiH 2 / yoginAM sakalagocaratve pratyakSe yogajalakSaNA pratyAsattiH 3 / vizeSaNavizeSyabhAvasambandhe vizeSaNatA dvividhA / ekA sAkSAdvizeSaNatA, anyA paramparAvizeSaNatA ca / sAkSAdvizeSaNatayA zabdadhvaMsAdigrahaNaM, paramparAvizeSaNatAsaMyuktavizeSaNatayA ghaTAbhAvAdigrahaH / tadbhedA bahavaH santi / tadyathA - saMyuktavizeSaNatA 1, saMyuktasamavetavizeSaNatA 2, saMyuktasamavetasamavetavizeSaNatA 3, vizeSaNatA 4, samavetavizeSaNatA 5, samavetasamavetavizeSaNatA 6, saMyuktavizeSaNavizeSaNatA 7, saMyuktasamavetavizeSaNavizeSaNatA 8, saMyuktasamavetasamavetavizeSaNavizeSaNatA 9, vizeSaNavizeSaNatA 10, samavetavizeSaNavizeSaNatA 11, samavetasamavetavizeSaNatA 12, cetyevamAdikA anantAH / udAharaNAni yathA - ghaTAbhAvagrahe prathamA vizeSaNatA / ghaTasvarUpe rasatvAbhAvagrahe dvitIyA / rUpatve rasatvAbhAvagrahe tRtIyA / zabdAbhAvagrahe caturthI / gakAre yatvAbhAvagrahe paMcamI / gatve yatvAbhAvagrahe SaSThI / bhUtalavRttighaTAbhAve paTAbhAvagrahe saptamI / bhUtalarUpavRttighaTAbhAve paTAbhAvagrahe'STamI / bhUtalarUpatvavRttaghaTAbhAve paTAbhAvagrahe navamI / zabdAbhAve paTAbhAvagrahe dazamI / zabdaniSThaghaTAbhAve paTAbhAvagrahe ekAdazI / zabdatvaniSThaghaTAbhAve paTatvAbhAvagrahAdiSu dvAdazI / yathAyathaM kAraNatvena vizeSaNatA draSTavyeti saMkSepaH // anye tu bhUtalAdiniSThatayA bhAvagrahe paramparAvizeSaNatA, indriyaniSThatayA bhAvagrahe sAkSAdvizeSaNatetyAhuH / vastutastu grAhyaniSThasaMnikarSasya kAraNatve dopAbhAvaH / tatkAraNaM na catuSTayasaMnikarSaH / doSastu dUrAsannatvAdiH / dUraparimANAdigrahe ityatrAdizabdo 'tiricyate / iha bhUtale ghaTa ityatra vastutastu vizeSaNatAsvarUpasambandha: / tadeva cakSurAdisambandhaH yad bhUtalAdi / tena sahAbhAvasya yo vizeSaNavizeSyabhAvaH sambandhaH sa evendriyasaMnikarSaH, sambaddhavizeSaNatAkhyaH svarUpasambandhavizeSa iti yAvat //

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Vol. XIX, 1994-1995 tarkabhASAvArtikam 153 nanu SaDvidhasambandhenAbhAvaH kathaM saMgRhyate ? ityata Aha- 'iha bhUtale ghaTAbhAvaH' ityatra saMyogasambandhasambaddhe AdhAre abhAvagrahaH 1 / tathA 'iha ghaTarUpe rasatvAbhAvaH' ityatra saMyuktasamavAyasambandhasambaddhe AdhAre abhAvagrahaH 2 / tathA 'iha rUpatve rUpatvAbhAvaH' ityatra saMyuktasamavetasamavAyasambandhasambaddha AdhAre abhAvagrahaH 3 / tathA 'iha zabde rUpatvAbhAvaH ityatra samavAyasambandhasambaddha AdhAre rUpatvAbhAvagrahaH 4 / tathA 'iha zabdatve rUpatvAbhAvaH' ityatra samavetasamavAyasambandhasambaddhe AdhAre rUpatvAbhAvagrahaH 5 ityevaM paJcavidhasambandhasambaddhe AdhAre vizeSaNavizeSyabhAvena kRtvA abhAvaH pratyakSeNa gRhyate / evaM samavAyo'pi vizeSaNavizeSya bhAvasambandhe naiva gRhyate / paramayaM vizeSaH / prathamadvitIyaturIyasambandhasambaddhe evAdhAre gRhyate, na tu tRtIyapaJcamasambandhasambaddhe, sAmAnye kasyApi samavAyasya sambhavAd iti / udAharaNAni yathA - 'iha tantuSu paTasamavAyaH' ityatra saMyogasambandhasambaddhe AdhAre samavAyagrahaH 1 / tathA 'iha rUpe rUpatvasamavAyaH' ityatra saMyuktasamavAyasambandhasambaddhe AdhAre samavAyagrahaH 2 tathA 'iha rUpatve saMyuktasamavetasamavAyasambandhasambaddhe amukasya samavAya' iti vaktuM na pAryate, sAmAnye kasyApi samavAyAsambhavAt 3 / tathA iha zabde zabdatvasamavAya ityatra samavAyasambandhasambaddhe AdhAre samavAyagrahaH 4 / paJcakasambandhasambaddhaM tu zabdatvaM tatra tu na kasyApi samavAya iti trisambandhasambaddha evAdhAre samavAyagrahaH 5 / uktaM ca - ghaTatattAnIlanIlatvazabdazabdatvajAtayaH / abhAvasamavAyo ca grAhyAH sambandhaSaTkataH // 1 // nanu cakSurAdiH svagataM guNaM na gRhNAti, tathA zrotramapi svagataviSayaM na gRhNIyAditi cenna, zrotraM svaviSayaM gRhaNAtyeva / tatra samavAyAt ghrANaM svaniSThaM gandhaM, cakSu svarUpaM ca gRhNAti / tathA svabhAvatvAt teSAM svabhAve tArkikA bhagnA iti nyAyaH 5 / saphalo jAta ityarthaH / sAkSAtkAriNI pramA savikalpakanirvikalpakabhedAda dvidhoktA tadaramaNIyamiti bauddhaH pratyavatiSThate / [nana nirvikalpakaM paramArthataH svalakSaNaviSayaM bhavata pratyakSam / savikalpakaM ta zabdaliGgavadanugatAkArAvagAhitvAt sAmAnyaviSayaM kathaM pratyakSajam akSajasyaiva pratyakSatvAt / / nnvityaadi| nirvikalpakaM pratyakSaM bhavatviti, atra pratyakSazabdena sAkSAtkAriNI pramitirvivakSyate / tatra pratigatamakSa pratyakSamiti vyutpatterupapatezca, sAkSAtkAripramAyA janyatvenAkSaM prati gatatvAt tatsambandhAdiratra pratyakSazabdo yogamanapekSya gopaGkajAdizabdavad rUDhyA vartata iti| nirvikalpakasya pratyakSatve yuktimAha - paramArtheti / svaM svIyaM rUpaM zuddha vastuvyAvartakaM yasya tat tathoktam / zabdaliGgayoryathA na pratyakSapramANatvaM tadvad 'ayaM ghaTaH' ityAdijJAnakAraNamapi na pratyakSapramANam / zabdaliGgajajJAnaM na pratyakSapramANaM tadvad 'ghaTo'yam' ityAdijJAnamapi savikalpakamityarthaM / [arthasya ca paramArthataH sata eva tajjanakatvAt / svalakSaNaM tu paramArthataH, sat, na tu sAmAnyaM, tasya pramANanirastavidhibhAvasya anyavyAvRttyAtmanastucchtvAt / ] artheti / vyaktijanyasyaivetyarthaH / pramANeti / sAmAnya vyaktiSu vartamAnaM kArye kRtsne zaMsati, ekadeze vA / nAdyaH, vyaktyantare tasya pratipattyanupapatteH / nApItara: niraMzasyaikadezAsaMbhavAt / anena vRttikalpanena pramANavad dRDhena nirastaH,

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154 nArAyaNa ma. kaMsArA SAMBODHI paraM tato vidhibhAvo'stitvaM yasya tattathoktaM tasya tucchatvAt zazaviSANavadatyantAsattvAdityarthaH / [maivam / sAmAnyasyApi vastu bhUtatvAt / ] vastu bhUtatvAditi / anugatasAmAnyAnaGgIkAre saGketAvinAbhAvayordugrahatvena zabdAnumAnayorucchedaH syAt / ekAkArapratyayasya ca nirAlambanApattiH / nanvayohayarUpAjAtirevaikAkarapratyayAlambanamiti cenna / atha vyAptau 'ghaTo'yam' ityukte ghaTapratipattiraghaTapratipattizca ghaTapratipattau ca ghaTapratipattirityanyonyAzrayadoSaH / tasmAd vastubhUtaM sAmAnyamAstheyamiti / / (apUrNam)

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REVIEWS Narayan M. Kansara JAINISM AND PRAKRIT IN ANCIENT AND MEDIEVAL INDIA (Essays for Prof. Jagdish Chandra Jain : Felicitation Volume) edited by N.N. Bhattacharyya. Publ. Manohar, Delhi, 1994, pp. X + 462. Rs.500/-. The volume consists of two sections/parts, the first one being devoted to nine articles, viz., a biographical sketch of Prof. J.C. Jain, list of books and articles by Prof. J.C. Jain, a profile of Prof. Jain by Vilas Sangave, reminiscences of Prof. Jain's time as a research scholar in Germany by Werner F. Menski, about his fulfilling and fruitful years by Chakresh Jain, excerpts from a letter of Mukla Raj Anand, Pranamanjali by S.D. Laddu, trubutes by Margaret Walter, Maria Helena De Bastos Freire, Lia Diskin and Mamalsliri Jain and a letter by Jainendra Navlakha. Part/section two contains thirty-four articles by such renowned scholars, both Western and Indian, like K.R. Norman, W.B. Bollee, Dieter Schlingoff, Phillis Granoff, Werner F. Menski, Satya Ranjan Banerjee, B.N.Mukherjee, Madliav Deshpande, Hama Nagarajiah, S.P. Patil, V.M. Kulkarni, M.D. Vasanthraj, Padmanabh Jaini, H.C. Bhayani, S.C. Banerji, G.V. Saroja, K.D. Bajpai, Smita Salgal, Bhaskar Chatterjee, P.K. Agrawala, Pranabnanda Jasli, Y.B. Singh, V.K. Thakur and Kalpana Jha, Prem Sunan Jain, Suniti Kumar Pathak, Vilas Sangave, B.N. Khandavadi, Rangan Kanti Jana, R.N. Nandi, S.D. Laddu, Ananda Chandra Sahoo, M.A. Dlaky, Surendra Gopal and Bansidhar Bhatt. The topics discussed in these articles pertain to various aspects of Indological research, such as epigrapliy, linguistics, philology, Jaina Puranas, philosophy, literature, e.g. the Asokan inscriptions and Prakrit dialect geography, cerebral in Prakrit, Middle Indo-Aryan vocabulary, Jains and other "heretics" in Buddhist art, Prakrit inscriptions from South-East Asia, a persceptive of language attitude of Brahmanism versus Buddhism, influence of Prakrit on Kannada language, studies of Jinasena's Purva-Purana and Haribhadrasuri's Vinsati-Vimsatika, Mahabharata motifs in the Jaina Pandava-Purana, some ancient Indian versions of Oedipus, folk life in Prakrit and Apabhransa

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NARAYAN M. KANSARA SAMBODHI literature, Jainism as expounded in the Nilakeci, archaeological sources bearing on early Jainism, spread of Jainism in North India between circa 200 B.C. and circa 300 A.D., relics of Jain community in Eastern India, medieval Jain reactions to other majority groups, some Prakrit words and their Sanskrit equivalents, spiritual hierachy in Jainism, the nature and purpose of the Jain Puranas, towns and trades in the Samaraiccakaha, equivalent views about the ultimate reality in Buddhism and Jainism, relavance of the Jaina Siddhanta Texts in natural sciences, the Jain declaration on nature, Vinaya in Jainism, the Hindu and Jain approach to law and religion, Jain heritage in ancient Bengal, Tantra and Jainism, research methodology by ancient Indians, Jain images in the Khandagiri caves, implications of the "nagnya-parisaha" in the Tattvarthadhigama-sutra, the Jaina community and Akbar, and on the epithet nataka for the Samayasara of Kundakunda. 156 As has been noted by the editor in his note, Prof. J.C. Jain has been legend in the of Prakrit and Jainological studies. Preparation of a felicitation volume in his honour on a single theme was a difficult task indeed, but is was made possible by the contributors who considered its publication to be a pleasent duty and sent their learned articles with the remarkable promptitude. Some of the savants, despite their illness and other constraints also sent their articles. Among them Prof. K.D. Bajpali, a father-figure in the field of Indological studies and a friend of Prof. Jain has since passed away. His death is a great loss to the scholarly world, but present volume contains his last article. Prof. Norman has drawn our attention to the two Major Rock Edicts written in an eastern dialect, with 1 or r in all places and the nominative singular ending e. This new evidence reinforces Dr. Norman's suggestion that the dialect variations in the Asokan inscriptions must be examined very carefully, and can be disregarded if they conflict with other evidence, and then it would be open to us to conclude that the dialect upon which Pali was based had its home much nearer Magadha; and that when the Magadhisms and Sanskritisms in Pali have been disregarded, there, in fact, very little difference between the language of Theravadin canon and the language of Hathigumpha inscription.

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Vol. XIX, 1994-1995 Prof. S.R. Banerjee examines the long linguistic history of the cerebral ! right from the Rgveda, through perhaps in Pali and Prakrit; Hemacandra has cognized it in Paisaci (lo lah) and Prof. Banerjee would like to postulate a sura like 'do lal'. REVIEWS 157 In his Notes on Middle Indo-Aryan Vovabulary (IV), Prof. Bollee has discussed the following Ardhamagadhi, Prakrit, Apbhramsa and Pali words: anatthakitti, ainna-samlekkla, kala-kankhi(n), chinnale chindai sellin, Jamali, pautta, venu-palasiya, samgilla, ella. -olla etc., saccavi, and -sampavanka. Dieter Schlingloff has shown that in Buddhist art not only the Ajivikas, but also the six heretical' teachers, viz., Purana Kasyapa, Maskarin Gosaliputra, Sanjayin Vairattiputra, Ajita Kesakambala Kakuda Katyayana and Nirgrantha Jnatiputra, are represented, actually in the depictions of the Mahapratiharya, the 'Great Miracle' at Sravasti. According to the statement of Buddhist literatute, the Buddha was requested by king Prasenajit to demonstrate his superior meditative power in order to blame the Tirthyas. Buddha displayed the pouring out of water and fire from his body and afterwards the multiplication of his body by emanating innumerable Buddha figures (buddhapindi), which filled the space up to heaven. A representation of this miracle in Gandhara shows the Buddha in the centre; king Prasenajit and his followers are arranged on his left, the Tirthyas on the right side. The Yaksa Pancaka rushes against the heretics, in naked, and that show all signs of distress on seeing the miracle. Prof. B.N. Mukharjee thinks that the recently noticed and diciphered inscriptions from West Bengal written in Kharoshti and in many cases in at mixed script, consisting of Kharoshti and Brahmi letters, indicate that trading. communities hailing from the northwestern part of Indian subcontinent migrated to the territory now in lower Western Bengal and became very active as traders from about the first quarter of the 1st century A.D. to about the beginning of the 5th century A.D. Their main settlement were in the region of Chandrakrtigarh, then within the limits of Vanga. Dr. Madhav Deshpande compares and contrasts Brahmanism and buddhism from the point of view of language attitudes and has reviwed some of the major dimensions of these linguistic, socio-linguistic and philosophical

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158 NARAYAN M. KANSARA SAMBODHI disgreements between them. Since the fall of the Mauryan empire things gradually chaged, and Magadhi, which was once the most prestigious language, later appears as a low class language in Sanskrit dramas. The rise in prestige of Malarastri may indeed be connected with the rise of the Satvahana power. In later centuries, the overall political prestige of Sanskrit rose continuously in such a way that it eclipsed the prestige of Prakrit which it liad in the Mauryan days. The changing attitudes towards languages in religious traditions are closely connected with the changing patterns of patronage forin the political powers, as well as the changing patterns of the doininatoon of social groups within the religious community. Mampa Nagarajaiah traces the influence of Prakrit on Kannada language and literature and shows that the history of both would be complete and meaningful only with reference to Prakrit, and that Kannada has influenced Prakrit. S.P. Patil has presented a comparative study of Purva Purana of Jinasena and Cavundaraya Purana and finds that the later varies from the former in that it creates new situation, gives human touch to chaaracters and strikes a balance between ascetic and householder's life; in many cases it moves away from the former and shows the influence of other great works like Adipurana of Pampa and Vaddaradhane; its interest is in common people and it seeks to convince them. V.M. Kulkarni examines the Vimsati-Vimsatika of Haribhadrasuri, particularly from the language viewpoiint and remarks that it is Jain Maharastri employed by all Svetambara writers in their Prakrit works and does not much differ froin classical Maharastri. As to the style and structure of the work, it obviously intends to supply a compendium of the principal teachings of Jainism in Twenty Sets of Twenties; these sets are quite independent of one another and each deals with one topic only and is a complete unit by itself. These sets may by looked upon as closely connected with each other as each preceding set anticipating one topic in 20 gathas only proves a handicap to him. Some of the gathas are too eliptical, since the author combines brevity with accuracy but not lucility. M.D. Vasanttharaj finds a historical value in the story (No.6) of Vijaya in

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Vol. XIX, 1994-1995 REVIEWS 159 the Brhtkathakosa of Harisenacarya, which aims at illustrating how a person of doubtful nature meets with calamity in life and, on the other hand, a person who is free from doubt gets prosperity in life and finally achieves emancipation Moksa. Of the two sons, Jaya and Vijaya, of king Ganganaditya of Simhala, the former died because he was gripped with doubt and so being subjected to miseries he wandered in the samsara. Vijaya, as he was free from doubt, libed there being looked after by the king with care and respect. He conquered his enemies, ruled over the island for long time, abondoned all attachment, took to Jaina penance, and at last attained emancipation. Harisenacarya is not the original author; he has just rendered into Sanskrit that which was there in a Prakrit commentry on Bhagavati Aradhana, also known as Mularadhana. A good number of these stories are based on some event of history. In the history of Ceylon we find the name of king Vijaya as the one who established a kingdom there. It is also possible that Vijaya's forefathers ruled over Ceylon. Vijaya's father must have had friendship with either Pradyota Mahasena or his son Palaka. And Vijaya had occasions to listen to the sermons of great luminaries like Buddha and Mahavira during his stay at Ujjayini and was greatly influenced by their preachings. This piece of information constitutes an important landinark in the history of Jainism in South India. Padmanabh S. Jaini duscusses the Mahabharata motifs in the Jaina PandavaPurana of Bhattaraka Vadicandra (A.D.1600), in particular the episodes of the story of Matsya gandha, of Bhisma's lifelong vow of celebacy, of the two sons born to Satyavati, of Gandhari's hundred sons, and the sexual aberration involved in the cases of Satyavati, Kun ti, Madri and Draupadi. The alleged genealogy wlich Vadicandra found in his version of Siva-Purana is examined here, with a view to derive some help in sacertaining the chronological order of the Puranas. H.C. Bhayani lias traced some ancient Indian versions of Oedipus, on the story of which Sophocle's famous Greek tragedy Oedipus Rex is based. To get possession of the mother and kill the father - these two urges are subsumed under the Oedipus complex; is a basic doctrine of psychoanalysis and folklorists have found its symbolic hidden expression in numerous folktales of the world. The short study of this motif with regard to the early Indian narrative tradition in offered here as a modest tribute to Dr. J.C.

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160 NARAYAN M. KANSARA SAMBODHI Jain's long life of scholarly interest and contribution. The stories compared here are: (1) the Jain hagiographical tradition relating to the life of Jambukumara in the Vasudevahindi. Particularly the story of a monkey who was attached to the pleasure of senses; (2) the version in the Jambucarita of Heinacandra's Sthaviravalicarita (12th Cent. A.D.; (3) the version in the Jambusamicariu of Vira (1020 A.D.) in Apabhransa; (4) the version in the Jambusamicaritas of Brahmajinadasa (1646 A.D.) and Rajamalla (1570 A.D.); (5) in the biography of king Srenika as narrated in Hemacandr's Trisastisalakapurusa-carita; (6) in the Jaraka no.58 (Tayodhamma-jataka) in which a Pali version of the same tale is found; and (7) in the story of Nandisena given by Somatilaka (alias Vidyatilaka) in his Sanskrit commentary Silatarmgini (1337 A.D.) on Jayakirti's silopadesamala, based on the Trisasti version. Surs Chandra Banerji has presented the detailed account of economic life, popular beliefs and practices, food and drink, dress and decoration, crime and punishment and vices, popular cults, creeds and worship, sports, pastimes and amusements, manners, morals, ethical ideas and miscellaneous elements of folklife in his article in glimpses of folklife in Prakrit and Apbhramsa literatures. G.V. Saroja has briefly expounded the Jainism in the 10th century A.D. Tamil work Nilakcii, written mainly to refute another Buddhist Tamil work Kuntalakci in order to propagate Jainism in Tamil Nadu. K.D. Bajpai has laid bare the archaeological sources bearing on early Jainism. The inscriptional and literary evidence proves the existence of Jaina stupas and of Tirthankara images before the Christian era. The Hathigumpha inscription of Kharavela and a large number of inscriptions from Mathura and other sites have thrown light on this. The Jaina literature on iconography and architecture is voluminous and is ectremely valuable for the study of artistic development in different parts of the country. Artists working on gold, precious and semi-precious stones are also mentioned in several early inscription as manikaras and hiranyakaras. The Sarvatobhadra Tirthankara statues from Mathura, Kausambi and several other sites represent on a single stone slab the four main Jaina deities, viz., Adinatha, Neminatha, Parsvanatha and Mahavira. The human figures, popular stories and a plethora of nature

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Vol. XIX, 1994-1995 REVIEWS 161 carved on the railing pillars of Mathura represent a degree of excellence unsurpassed in the entire range of Indian plastic art. Besides the Tirthankara images a large number of statues of Sasana-devas, Nagars, Navagrahas, Ksetrapalas, Gandhrvas, Kinnaras, etc., are still preserved. To the number of early goddesses (Sarasvati, Ambica, Padmavati and Cakresvari), numerous other devis were added. Smita Sahgal endeavours in her long article to fill the gap of the Indian history by chalking out the course of the spread of Jinisin in North India between circa 200 B.C. and circa A.D. 300, since this aspect has been largely ignored by ancient Indian historians, although the sect enjoyed a continuous existence at least from the time of Parsvanatha (c.800 B.C.) to the modern day. This period roughly the post-Maurayn period, was one of intense fluidity in the social, economic and political field: It witnessed India's link with international trade. Foreigners such as the Bactrian Greeks or Yavanas, the Saka-Pahlavas and Kusanas invaded north India and made apart of their empire. Archaeological and numismatic finds from varuous sites in north and north-west India, such as Taksasila, Ahicchatra, Kausambi, Mathura etc. attest to a flourishing state of trade, industry and money economy. On the social front, this period witnessed the emergence of Vaisyas, specially the emrcantile community, as a group of considerable importance. All these developments had an important impact n religion also. Here in this article it is shown that not only Jinism existed in the period under review, it actually flourished. The absence of a strong link with people in authority (king) was something insisted upon in the Jaina literature. Tlieir approach was of cultivating direct contact with the masses. This explains the absece of figures of Jina Tirthiankara from the royal coins or their mention in the royal epitaplis. On the other hand there is a prepondrance in source related to popular culture. By the term north India, the author refers to the region which includes middle and western Ganga plain and Yamuna plain, along with northwest India. Bhaskar Chatterjee surveys the relics of the Jaina community in Eastern India. The tradition recorded in the Jaina Puranas suggests that the place where twenty out of lapses' twenty-four Tirthankaras relaised ultimate truth was located at Parashnatha in Giridih district of Bihar. On the basis of the Acaranga, Bhagavati and Kalpa Sutra records, as also the Paliarpur Copper

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162 NARAYAN M. KANSARA SAMBODHI Plate Inscription (GE. 159), it appears that by the seventh century A.D. the Nirgranthas formed a dominant religious sect in Bihar, Bengal and Orissa. From the eighth century onward, the population of the Nirgranthas appear to have gradually suffered diminution under circumstances not exactly known; perhaps it was due to the lack of patronage from the side of the ruling class. The discovery of a number of Jaina icons in the some parts of Bengal seems to suggest that the Jainas were not totally wiped out of existence. The Bshad-dharma Purana, most probably composed in Bengal (appro. 13th cent. A.d.) accomodates within the social order the cast of mixed origin, of which the one among the madhyama sankaras include one name as Savaka, Saraka or Savara, referring to the Jaina householders; they were settled in Bengal and Bihar over a long period of time. H. Risley's survey in Bihar and Bengal in 1882 and 1888 shows that the Saraks were settled in the districts of Patna, Gaya, Shahbad, Muzaffarpur, Monghyr, Santal Parganas, Hazaribagh, Lohardanga, Manbhum, Bankura and Burdwan. Local legends ascribe to the Saraka the ruined Jain temples and defaced images of the Tirthankaras. Thus the Jainas who lost their ground in Bihar and Bengal between the eighth and the twelfth century A.D. had shifted to the north and the west of India. Pliylis Granoff has delved into the medieval Jain reactions to other religious groups as a result of the former being in the minority. Medieval Jain accounts of the lives of the patriachs of the various sectarian lineages depict their monks as ever alive and vigilent, working tirelessly through the channels of power, which were not Jain, in order to maintain for the community the right to continue practicing their religion and preserve their distinctive and cultural identity. There exist a series of stories in some medieval texts that centre around these anxieties. The stories are about instances in which a Jain may be placed in a situation wliere it is temporarily necessary to capitulate to outside pressure and act in an Unjain way. These cases are all covered by a term called Chindika temporary. It seems to have been a medieval notion. The stories translated by Granoff are from the text of the commentary of Devacandra Suri to the Mulasuddhiprakarana, dated 10891090 A.D. The vast inajority of medieval texts do not include these stories, nor do they seem to be aware of the concept of chindikas. The chindikas are a generous concept, for they allow that a person may experience a lapse in behaviour while maintaining that proper attitude, and they allow

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Vol. XIX, 1994-1995 REVIEWS 163 that such lapses do not constitute sins in any way. The chindikas are forgiven, and in the stories those who commit them nonetheless obtain their desired goal. The stories about chindikas indicate that there are six types of external pressure to which a Jain may be subject and which might give rise to a chindika, a temporary lapse in religious practice: a Jain might be pressured by a king; by his or her pears; be subjected to physical pressure; be made to worship a non-Jain deity by force or be pressured by a god or goddess to worship that god or goddess; might find himself lost in the jungle alive; and might feel the need to worship outside the Jain faith to please his or her parents. It is interesting to note that with one exception, the non-Jain Hindu ascetic, these stories describe deities and patterns of worship that figure widely in inedieval Jain story literature. Throughout by all of their opponents. But the Jains took great pains to establish and maintain an identity by themselves that was distinct both from Hindu society and from the Buddhists themselves. However, as to the stories of the chindikas in which Jains become involved with Buddhists, there is no doubt that the Jains not only feel the need to join with the Buddhists because of their external circumstances but they are also somehow or other positively included to do so. Buddhists countered these Jain stories with their own stories in which they justified the Buddhist monastic practices and criticized the strict regimen of the Jain ascetic, e.g. the story Vitasokavadana in the Divyavadana. The stories of the chindikas show medieval Jains coping in various ways with the fact that they lived in a predominatly non-Jain world; Jain responses to that world were manifold. The dominant tone of all of the chindika stories is one tolerence and acceptance of human behaviour, and, it is that same generosity that abvove all characterizes the Jain response to religious plurality in mediev] India. Respect for learning, respect for other traditions, respect for the individual who inay be tempted any may lapse, are together all seen as the best way in which to maintain and preserve Jain collective indentity and integrity. Pranabananda Jash studies the spiritual hierarchy in Jainism. The religious system preached by Paravanatha and Mahavira, the twenty-third and the twenty-fourth Tirth ankaras, lays adequate emphasis on practising extreme asceticism. In order to attain spiritual realisation, the Jaina ascetics followed and practised different types of austerities during their ascetic lives, and in terins of spitutual evolution attained various stages, viz., Sadhu, Upadhyaya,

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164 NARAYAN M. KANSARA SAMBODHI Acarya, Tirthankara or Arhanta and Siddha, besides the primary stage of the Muni. These five stages are more developed than the last one, which in its own way is more advanced and developed than that of the Sravaka, or the householder of the Jaina faith. Jainism lays much emphasis on Tri-ratna, i.e. right knowledge (samyag-jnana), right faith (samyag-darsana), and right conduct (samyak, caritra) and to that on renunciation. Thus the pragmatism of Jainisin consists in prescribing separate rules of conduct for a layman and an ascetic. The acquistion of Siddhahood is synonymous with attaining Nirvana. Y.B. Singh studies the nature and purpose of the historical traditions in Jain Puranas, and concludes that the subject matter of the Jain Puranas was history, tough because of their religious nature they try to eulogise Jainisin by describing even Lord Rama as a devout Jaina. They also fail to get rid of the supernatural elements. But their effort was to tell the past without any doubt. However, the Jain authors always tried to narrate only those events of the past which were fit to provide models to the masses. Thus, the concept of a history which can bring good to all the people lias a deep rooted tradition in India. Vijaykumar Thakur and Kalpana Jha studied the text and context of the Samaraiccakaha with reference to towns and trade, and they have focused their survey upon an interesting aspect of early medieval India, laying bare the dynamics of feudal formation during the post-A.D. 600 period in central and western parts of India. Prem Suman Jain discovers the equivalent views about the ultimate reality in Jainism and Buddhism, and concludes that the conception of God in Jaina and Hindu religions is integrated with the conception of soul (atman), salvation (moksa) and supreme soul (paramatman). The object of attaining the status of supreme being is determined after knowing the real nature of three conceptions. In both the religions the supreme reality is in the form of an ideal for the fulfilment of moral values. Through devotion a worldly being uses the concept of supreme element for his spiritual development so that one day a similar status, that of God, may be attained by it. The moral ideals, which are followed in this path of purifying the soul are also useful for the preservation of humanity and the welfare of the living beings. When

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165 Vol. XIX, 1994-1995 REVIEWS the Hindu religion reaches a stage of spiritualism-rooted religion froin devotion-rooted doctrines it comes near Jainism. The concept of the supreme element and the paths of attaining this status bring the two religion closer to each other. But in the observance of ethical values and devotion etc. both these religions have their separate identities. Suniti Kumar Pathak searches the relevance of the Jaina Siddhanta Texts in natural sciences. He finds that the Jainas probably used the correct term for 'scientific knowledge' by using 'pannatti' in Ardhamagadhi (Sanskrit prajnapti) in place of Vijnana, which bears several connotations in various contexts. Among the Jaina texts besides the Agamas, the Pannatti texts are enumerated as the secondary limbs (Uvanga), which laid emphasis on preservation of the scientific experaimentation prevalent among the Jains in ancient India. The Surapannatti, the Candapannatti and the Jambuddivapannatti deal with the scientific topics on astronomy especially the movements of the planets including the Sun the Moon and division of time according to the ancient Indian system of calculation. The Jivajivabhigama, and the Pannavana mention some results of the scientific experimentation of bio-science, geography, and ethnographic outline with their respective social traits. The analysis of cosmography, as the Jaina acaryas endeavoured, is not far off from modern scientific analysis. The world is dynamic, not static; it is ever changing and progressing in either forward or backward direction. The acaryas, therefore, divided the Time (kala) into two cycles (gati), viz., utsarpini and avasarpini. He concludes with two quotations, comparing the Jaina outlook with the modern scientific results; one from K.B, Jindal's The Prefaces, Cosmology. Old and New (p.231) and from D.S. Kothari's Tata Lecture on Science and Self Knowledge delivered in Banglore (March 20, 1979). He observes that in excessive rush toward materialistic attainment, science have overlooked human values in understanding the self-nature of a person; human values have been distorted and animalism has almost swallowed humanism. Vilas Sangave has brought out the great historical inportance and far-reaching social significance of the Jain Declaration on Nature, presented to His Royal Highness The Duke of Edinburgh (i.e. Prince Philip) in the Buckingham Palace, London, on the 23rd October, 1990, by the Jain Delegation of International Jain Community; he has discussed it from the viewpoints of conservation and religion, religious literature, Jain teachings, Jain cosmology,

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SAMBODHI 166 NARAYAN M. KANSARA Jain code of conduct and Jain responsibility. B.K. Khandavadi projects the specific place of the valuabe human virtue, called vinaya, in the scheme of conduct for ascetics as well as laity, as discussed by the ancient Jain thinkers like Aparajitasuri (c.800 A.D.), Pt. Asadhara (1234 A.D.) as also Uttaradhyayana-sutra, Mulacara, Mularadhana, Tattvarthasutra, Yogasastra, Dharmaratna-prakarna, etc. Werner F. Menski discussed briefly the relationship of law and religion from the Hindu and Jain points of view. Rangan K. Jana provides glimpses of Jain heritage in ancient Bengal (up to c. 11th Cent. A.D.). Most of the ancient Jain relics situated in Bengal are in the Manbhum and Singhblum regions. Most of the Jain images as well as shrines are discovered from south western parts of West Bengal, which comprises Purulia district, Bankura district Midnapore district, and from the distric of 24 Parganas' Sunderban region. The nine Jain sculptures mentioned with their respective iconographic features are : Ambica, Padmaprabha, santinatha, Jina, Head Torso (Jina), santinatha Three Miniature caturmukha shurine. R.N. Nandi shows that Jain sects, particularly the Digambras who were considered hardcore puritans, were engrossed in tantric practices as any other sect of the early middle ages, from 3rd to 12th century A.D. The incipient elements of esoterism as found in the Sthanangasutra, the Uttaradliyayanasutra, the Samaraiccakala, the Upamitibhavaprapancakala and the Nayadhammakaha, could easily fructify into gross tantric cults as indeed one can see from the Jvalini Kalpa and the Bhairava Padmavati Kalpa both of which were authored by Digambara monks of Karnataka. The cult of Jvalamalini was tantric form of worship, and devotes one chapter, called vasyatantradhikara, to the rites and syllabic formulas relating to hypnotism, vasikarana. The Bhairava Padmavati Kalpa also deals with the liypnotism of woinen and the three worlds. Another magic rite santi, which implies the cure of ills and expulsion of evil spirits, has its parallels in the Jaina texts. Vavaharasutta refers to a spell by which an occultist could command the disease to leave the patient. The Jvalina Kalpa prescribes a hierbal preparation to cure a person of sterlity. Some other magical practices which figure in

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Vol. XIX, 1994-1995 REVIEWS 167 the early Jaina literature were to make a person sleep, to make oneself invisible, etc. Both these Kalpas mention the use of magical substances for abustances for abuduction of women, successful coition, securing fertility to women and preventing conception. They are also to be used for creating enmity between persons, causing death to enemies, etc. The use of magic circles (mandala) for attaining occult powers was a feature of the tantric cults. The magic circle could be used as a vantage ground form where spirits could be summoned and also as a barrier from whcih they had no escape. The Jaina literary texts represent the magic circle as an occult symbol. The magic circle and its relted rites led to the development of the tantric systems, like mystic diagrams, syllabic incantations, gestures of fingures and so forth. In both the cases the diety is a Jaina Yaksini, guardian angel of the Tirthankaras, and in both the cases the rites are similar. The few essentials of tantric cult include prayers and formulas (mantras), syllables of mystic significance peculiar to each deity (bijas), mystic digrams drawn on papers, leaves, precious stones, metals (yantra), special ritual position of fingers (mudras), and placing the deity on the different parts of the body by touching them with finger tips and palm mostly of the right hand (nyasas). These are the means by whicih the devotee (sadhaka) invokes and identifies himself with his chosen deity (istadevata). The Jaina tantric cults possess all these features. This shows that the rantric ideas and practices of the Jainas were most mundane and utilitarian in nature than spiritual or transcendental. There is not much indication of a salvation theory based on plexus concepts. Nor is there any attempt to develop a yogic practice to channelize biomptor and bie-electric forces along the six plexuses in the ascending order to attain sublime bliss. Evidently, the recourse to the supernatural was intended to gain uncanny powers and fulfil worldly desires. For a large majority of people, these seem too characterize a helpless mind afflicted by growing social and economic disentitlement in changing material conditions of life. S.D. Laddu has devoted himself to a search for a research methodology with ancient Indians, and he has found that besides the Upanisadic sages, the ancient Indian scholars belonging to different schools of thought and genre of literature were haunted with knowing the truth and with discovering the highways and byways towards that goal. He has elaborated this topic under the heads of value of Truth (Knowledge), nature and object of

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168 NARAYAN M. KANSARA SAMBODHI knowledg,e need of training in research methodohy, and basic qualities and approaches in research, the last one being further elaborated under the subtopics like intellectual curiosity, hard and patient work, concentration and self-control, open and receptive mind, objective reasoning, neatness of presentation, and awareness of limitation or humility. This is enough to indicate the firmly founded scientific attitudes and approaches of the ancient and mediaeval Indians in their quest after truth. Ananda Chandra Sahoo has studied the Jaina images in the Khandagiri caves and found that the sculptures depicted the Tirthankara images in a fairly systematic way, though in some places they have given precedence to Parsvanatha. M.A. Dhaky has discussed the implications of "Nagnya-parisaha" in the Tattvarthadhigamasutra. The specific inculsion of nagnya among the parisahas, according to Bronkhorst, is a pivotal point in determining the creed-affiliation of the Sutra, viz., Yapaniya and not svetambara nor Digambar. Dhaky has pointed out that on the basis of the textual evidence that nagnya as parisaha is not the same as nagnya as a part of the samacari, monastic discipline. Searching for the agamic authority which lay under the conceptual principle of parisaha determination, Dhaky has noticed the Uttaradhyayana-sutra (2.14) which enumerates 22 parisahas in which acelakya (=nagnya) finds the fifth place. Further, about two hundred years hence, in the time of the illustrious pontiff Arya Raksita, the Maranasamadhi-prakirnaka also mentions the 22 parisahas and for the acelakya-parisaha quotes the example of the father of Arya Raksita. The anecdote has been alluded to in the Avasyaka-curni (A.D. 600-650) on whose basis Haribhadrasuri, in his Avasyaka-vitti (C.A.D. 750) elucidates the episode in full (AV.pt. 1, B'bay Reprint, 1982, pp. 203-204). Some more details are provided by the Parisista-parva (c.1160-1166 A.D.) of Hemacandra and the Prabhavaka-carita (c.1277 A.D.) of Prabhacandracarya, both of which had used earlier sources. In the agamic traditon, thus, acelakya, i.e. Nagnya-parisaha implied the shame as well as indignation on the removal of the katipattaka; just the opposite of what the proponents of the Yapnaniya affiliation for the Sutrakara suggest and seek. A nude monk may sometimes suffer from other privations, such as beting, stone-receiving, ridicule, and the like, from the rowdies or paratirthikas, fundamentalist followers of other religions. But that is no nagnya-parisaha, but only occasional inconveniences

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169 Vol. XIX, 1994-1995 REVIEWS or sufferings of the upasaraga-class to an avowed nude friar. Surendra Gopal tries to delineate the impact of Akabar's policies on the jain Community. In Gujarat and Rajasthan, the Jains were basically traders though in Rajasthan some of them also occupied important official positions. Their close connections with the ruling chiefs in Rajasthan and Gujarat facilitated the quick and smooth integration of the Jains in the Mughal administrative system after these chiefs decided to cooperate with tlie Mughals in the time of Akbar. Akbar's policy helped to create favourable conditions for this, due to the combination of a number of factors, such as, tlie establishment of a uniform system of government, a single fiscal and customs policy and basically one type of currency, his Rajput policy of converting the Rajput chiefs into the allies and vassals, consequent opening of the opportunity for the Jains to migrate to the different parts of the Mughal empire. It is against this background that we must view the visit of Jain saints to the court of Akbar. It was a reflection of growing interest of their lay followers in the continuously widening area of economic activities, made possible by the emergence of new po kitical entity. The growing involment of their coreligionists in the Mughal polity and economy must have been an important motivative factor for them in seeking and maintaining good relations with the Muglial emperor. Thus from Padmasundara who appears to have been the first Jain monk to meet Akbar we have a continuous flow of distinguished sints to the court of Akbar and his successor Jhangir. Of course, the most famous Jain visitor to Akbar was Hiravijaya Suri who met him in Samvat 1639, and won from hin the title of Tagad Guru' or 'the preceptor of the world'. To the students of history, some of the Jain literary works dealing with the life and times of Akbar becomes important. Some of the biographical writings on Jain saints tough higlily eulogistic, throw light on the life-style of Jains, the status of women, the use of wealth, etc., and the religious schisms that affected the Jain society. To undertstand the age of Akbar, we have to read the writings of contemporary Jains. Bansidhar Bhatt critically examines the epithet 'natka' for the Samayasara of Kundakunda. The work as it is available now, is not a homogenous work. The present text of the Samayasara is artificially divided subjectwise into some nine sections including one "introductory" section at the beginning and one "concluding" section at the end. It is a work of inystic teachings.

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170 NARAYAN M. KANSARA SAMBODHI In the Samayasara and Amotacandra's commentary on it, we do not come across the epithet nataka. This strange appellation for tthe work is not found in the other Jaina texts until the sixteenth century either. Among all the available texts or commentaries on the Samayasara literature, we have only two texts, viz., the Jnanacandrodaya-nataka of Padmasundara and the Samayasaranataka of Pt. Banarasidasa in which the epithet nataka is in evidence with the title of their compositions. The Samayasara-nataka contains 732 rhymes in Hindi for 278 kalasa-verses. Pt. Banarasidasa las coined an epithet nataka and used it for the Samayasara of Kundakunda (+/-20 times), but only once for the Atmakhyati-cum- kalasa in the Samayasanataka. Amrtacandra is fond of poetic embellisliments, and throughout in his kalasa-verses, he has remarkably interwoven inany rhetorical terins of dramatic importance, such as dhirodatta, sthayibhavas and rasas, bhumika, etc. The peculiar use of nataka in the kalasa-verses as an epithet belongs to the meta-language of the samayasara-literature which developed in the medieval period. It stands for "mundane character", "samsaric appearance", and the like, and implies whatever is mundane is transistery, not real. This special meaning of the term nataka can be traced from the Samkhya concept of prakti (inatter) as a nartaki (dancer) and purusa (spirit) as a inere preksaka (spectatator), from whichi Amrtacandra derived his line of thinking. He revived the mystic philosophy as found in Kundakunda's Samayasara and reformed it in a modified way after keeping the Samkhya views in mind. The epitliet nataka in its secondary sense of "mystic philosophy" as such seems to have come into use in or around the 16tli/17th century, and almost all Digambara mystics of the northern regions of India, speaking vernacular languages/dialects, favourable accepted the practice of using the term generally for only the authentic text of mystic philosopliy, viz., the Samayasara of Kundakunda. N.M.K. MAHANISIHA STUDIES AND EDITION IN GERMANY : A REPORT by Candrabhal Tripathi (Ahmedabad-Berlin), February, 1993, pp. 73. The present Prakrit Text Society Edition of the Malanisiha-ajjhayana has been prepared by Pandit Shri Rupendrakumar Pagaria. The material lie could utilize for the purpose was manifold, comprising the 'press-copy of he Late Muni Shri Punyavijayaji, some manuscripts not available to Schubring and others, as well as two publications by Acarya Anandasagra and by Acarya

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Vol. XIX, 1994-1995 REVIEWS 171 Vijayendrasuri respectively, which have the value of a manuscript each. Shri Pagaria not only fills up the gaps left by Schubring in his edition (e.g.VIII 17-18) but also offers some better readings. He retains luckily the numbering of Chapters, Sections and Verses of the German edition, thus making it easy to locate in this edition the passages mentioned in the Report. This Report was prepared by Dr. Chandrabhal Tripathi (Berlin), at the instance of Pandit Shri Dalsukhbhai Malavania (Padmabhusana), about the studies and the edition of the Malianisiha by Professors Walther Schubring, FrankRichard Hamm and Jozef Deleu, so that it could be attached to the edition of the Mahanisila which was being published by the Prakrit Text Society, Ahmedabad. The valuable contributions of Walther Schubring and F.R. Hamm being in German, the scholars not conversant with the language could till now not benefit from them. The work of Albrecht Weber is available in English. So alos the contribution of Jozef Deleu is also in English. Important parts of both have been included in the present Report. Since the German contributions are distributed over a long span of time (1918-63) and penned by two scliolars, and in three volumes, a direct and complete translation of them would have been of little use. And since they contain some repetitions, and some of the views expressed by Schubring in 1918 were not maintained by him in 1963, it was decided that the contributions of Weber and others should be arranged a new and edited in English grab. Thus $ 3-8 are based on their writings. The contents of the Malianisiha I-IV as described by them are given in $ 3. The analysis of its language and metres follows in $ 4-5, the parallels detected by Schubring and others are discussed in $ 6. These lead in $ 7 to the results achieved by them about the date and authorship of the MNA. $ 8 contains conclusions drawn by Schubring and deleu. In $ 9 some important passages which are often discussed have been collected. In $ 10 some reviews of the Studien zum Mahanisiha are printed. Dr. Tripathi has given in $ 1 full details about the publications concerned and in $ 2 about the manuscripts utilized. The Report concludes with his Epilogue. He has been hielped by Professors Colette Caillat, Nalini Balbir, Klaus Bruhn, R. Grunnendall and others, and some of them have introduced him to the subtle teclinicalities of computor. In his Epiologue Dr. Tripathi lias presented liis mainresults briefly as follows:

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172 NARAYAN M. KANSARA SAMBODHI (1) The MNA is not canonical but apocryphal and thus not identical with its namesake mentioned in the Nandisutra. (2) It is later than the Niryuktis, Bhasyas and "Vrddha-vivarana" quoted or referred to in it. (3) It is surely earlier than the Gacchacara and most probably earlier than the Upasesamala of dharmadasa-gani (ca. 900 A.D.) (4) There are a few remarks in it which may be even as late as 13th Cent. A.D. (5) Its language and metrics present many unusual and some incorrect features which are surely due to the "work" of one still unknown person. (6) Neither Jinabhadra-gani nor Acarya Haribhadra can be regarded as the editor of "original Mss. in deplorable condition". (7) Its position in the sacred literature of the (Sverambara) Jainas has been since its composition not uncontested. Dr. Tripathi has done a valuable service to the Prakrit Text Society edition of the Mahanisiha by adding this Report to it, which is bound to enhance the scholarly value of it. This Report, wherein the main parts of his studies are incorporated is dedicated respectfully by Dr. Tripathi, to Prof. Dr. Jozef Deleu on the occasion of his birthday. Jaina scholarship and Indic scholarship generally should be grateful to Hamm, Deleu, Schubring for a vast amount of scholarly studies they have undertaken on the Mahanisiba, and to Dr. Tripathi for having made them available, in this Report in English grab, to them although they were a vast amount of material scattered over three volumes N.M.K. DASAVEYALIYA PADA INDEX AND REVERSE PADA INDEX by Moriichi Yamazaki, Yumi Ousaka and Masahiro Miyao. Philologica Asiatica Monograph Series 1, Publ. The Chuo Academic Research Institute, Tolyo, 1994, pp. iii + 92. ISIBHASIYAIM PADA INDEX AND REVERSE PADA INDEX by Moriichi Yamazaki and Umi Ousaka. Publ. The Chuo Academic Research Institute, Tokyo, 1994. Philologica Asiatica Monograph Series 2. pp. iii + 88. Dr. Yamazaki and his co-authors had noticed that to date, in the oldest Buddhist texts there were only two indexes of pada of the Suttanipata and the Dhammapada, along with their reverse indeses of the above two works and of the Theragatha padas. In early Jain canonical texts a Jain Agama Series indeed contains an index of the first padas only. Dr. W.B. Bollee lias

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Vol. XIX, 1994-1995 REVIEWS 173 noticed that Uttarajjhaya (Uttarajjhayanaim?) published in the Jaina Svetambara Terapanthi Mahasabha Agama Granthamala contains a real pada index, although Yamayaki has not been able to procure the edition in Japan, and hence they could not avail of it. He would be happy to know that many of the Jaina Agama texts published in the Jaina Agama texts Granthamala Series of Sri Mahavira Jaina Vidyalaya, Bombay (Pin 400 036 : India) do give the Suttanukkamo (Index of the Sutras), or Gahanukkamo (Index of the timt pada of the Gathas), as in the case of the Acarangasutra, the Sutrakstangasutra, the Nandisutta, the Anuogaddaraim, the Dasaveyaliyasuttam, the Uttarajjhayanaim and the Avassayasuttam. The same is true about the Mulacara of Acarya Vattaker published by the Bharatiya Jnanapitha, New Delhi. By using a computer they could make considerable advances in the compilation of indexes of the canonical texts. So far, complicated large computers such as the mainframe with both a high computing ability and a large memory size were required for such a study. This not only necessiated cubersome operations but it was also difficult for linguists to analyse texts by using a computer with complex operations. Personal computers are relatively easy to use for linguists. But, their computing ability has been considerably inferior to that of big computers; this shortcoming has made them insufficient for the analysis of text data. As a rusult of down-sizing effects, their abilities have recently risen to a much higher level to become compettitive with those of big computers. Such advances in the development of personal computers take the compilation of the idex within the scope of realization. By using the Macintosh TM personal computer Dr. Yamazaki and his co-editors started to compile the pada indexes and reverse pada indexes of the canonical texts. His group has already put the five Jain canonical texts on the Macintosh TM personal computer, e.g. the Ayaranga, Suyagada, Uttarajjhayana (he, however spells it 'Uttarajjhaya'), Dasaveyaliya and Isibhasiyaim. They are at present making analysis of the metres and alos compiling the indexes and reverse indexes of words. It would be interesting to them if they compare their indices with the ones which are already published - indicles of words, of grammatical forms etc., - in the above mentioned Jaina Agama Series of the Mahavire Jaina Vidyalaya, Bombay. The volume on the Dasaveyaliya contains a pada index and reverse pada

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174 NARAYAN M. KANSARA SAMBODHI index for the Dasaveyaliya, base on Leumann's critical edition. This will provide an instrument for the systematic study of the ascetic poetry as well as the Dasaveyalia itself. The voluine of Isibhasiyaim contains a pada indea and reverse pada index for the Isibhasiyaim based on Scubring's critical edition. It will provide an instrument for the systematic stydy of the asiatic poetry as well as of the Isibhasiayim itself. One would also be interested to know whether serious research scholars in the West and Far East put any value on the critical editions of the Jaina Agama published in the above-mentioned series, and whether they are helpful to them in making vital authentic data available. It is expected that the editors of this series like Muni Punyavijaya, Pt.Amotalal Bhojaka, Pt. Dalasukh Malavania, Muni Jambivijaya, and like Pt. (Dr.) Pannalal Jain had the advantage of the availability of more data in the form of original manuscripts stored in numerous Jnana Bhandars in Gujarat, Rajasthan, and elsewhere in India. The use of the data in tliese editions would go a long way in authenticating the results of their researches for a long time in future. One point, which scores on a similar work by Dr. Bollee, is that Dr. Yamazaki and his colleagues have preferred to give the text-references in the reverese pada index, too, in contrast to that of Dr. Bollee, as in his similar work on Pinda - and Ola - Nijjuttis. It is happy to note that they eventually plan to publish the pada indexes and reverese pada indexes of the remaining four texts of the six mentioned above. N.M.K. A STUDY OF JAYANTABHATTA'S NYAYAMANJARI: A MATURE SANSKRIT WORK ON INDIAN LOGIC - Part I by Nagin J. Shah. Sanskrit - Sanskriti Granthamala 1, 23, Valkesliwar Society, Bhundarpara, Ambawadi, Ahmedabad - 380 015, 1992, pp. 125, Rs. 90/- Do., pp.10+224, Rs.225/-. Jayanta Bliatta, a Kashmiri pundit of the 9th century A.D., was an astute Indian logician and an able philosopher. His Nyayamanjari occupies a unique place among the Sanskrit works on Indian philosophy, and bears ample testimony to Jayanta'ss philosophical acumen and intellectual powers, and forcefully establishes Nyaya theories after critically examining the rival ones, mainly the Buddhist and Mimamsaka. It is an introductory window to many intra-Indian-philosophical controversies which deserve attentin for students

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REVIEWS 175 Vol. XIX, 1994-1995 of Indian philosophy. Part I is a study of the first chapter of the Nyayamanjari. Here Jayanta offers comment on the single Nyayasutra aphorism which is to the effect that perception, inference, analogy, and verbal testimony are four pramanas. And he accomplishes his task in the following four ways: (1) formulating his own definition of pramana and criticizing the rival definitions advanced by the Buddhists, Miinamsakas and the Samkliyas; (2) criticizing the Buddhist position that there are only two pramanas, viz., perception and inference; (3) criticizing the Mimamsaka position that arthapatti is an additional pramana; and (4) criticizing the Kumarilite Mimamsaka position that abhava is an additional pramana. Part II is a study of its second and third ahnikas (chapters). It deals with perception, inference, analogy, verbal testimony, validity of cognition - intrinsic or extrinsic, theories of error (khyativada), existence of God, nature of Word. In Jayanta's times a triangular contest among the Nyaya, Buddhist and Mimamsa schools of logic dominated the Indian philosophical scene, and of this contest one can form a very precse idea froin Jayanta's treatment of various problems. His presentation creates a clear picture of the problems of Indian logic and philosophy and their solution offered by the said schools. His discussions are penetrating, presentation of the discussion conducted by Jayanta. His presentation of the prima facie views is impartial and faithful, nd his assessment of each and every theory is penetrating. At the same time it attempts to demonstrate its strong and weak points all right, but it also attempts to bring out the contribution that the three scliools have made to Indian logic. Dr. Shah has added two appendices. The first explains Dharmakirti's theory of knowledge and the second clearly demonstrates as to how the concept of God as the creator of the World and as Nityamukta is a latter contribution in the Nyaya-Vaisesi ka school by Prasastapada in the second half of the 6th century A.D. This study thuis covers two important chpaters of the Nyayamanjari and it will be of considerable value to the students and scholars of Indian logic. N.M.K.

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OBITUARY Mr. Karl J. Khandalavala, Bar at Law, Bombay, left us in the last week of December 95. He was a patient of artharitis and had problem with his knees. It was reported that he had a fall in the bathroom and therefore was admitted to hospital. His end came as a result of heart attack. His wife Mehaubai had passed away last year. Both of them died issueless. He had his early education in Elphinston College, Bombay and then he obtained Bar-at-Law from London. Soon le rose to the positions of Chief Presidency Magistrate, a Senior Supreme Court Advocate with some distinguished criminal cases to his credit such as the Nanavati Murder Case, the Shah Commission, and Vikroli Murder Case against Datta Samant. He was a man of varied interests, and started his career as a Navigator in the Royal Indian Air Force during the world War II. A few years later he became a lawyer, and rose to the highest position in his profession. As a young man his interests in Indian Painting and arts were nurtured by the then patron and private collector of Bombay, called B. N. Treasugwala and others. He started writing art reviews in the Times of India. He was not only a keen student of antiquarian subjects but possessed good knowledge of the contemporary painting. It is here that he came in contact with the works of Amrita Sher Gil and they became great friends. His monograph on Sher Gil was his first publication. His knowledge and personality gradually gained a prestigious position in the art field on the one hand and in the legal profession on the other. In 1953 lie becaine the Trustee of the Prince of Wales Museum, Bombay and thereafter remained a Chairman of the Board of Trustees until quite recently. He was also the Chairman of the Exhibit Purchase Committees of the National Museum New Delhi, The Chandigarh Museum, Simla Museum and also the Prince of Wales Museum. His scholarly pursuits bore fruits when he came in contact with Dr. Moti Chandra, the then Director of the Prince of Wales Museum an equally important doyen of Indian Art. He was a strict contemporary of a galaxy of renowned scholars like Anand Coomaraswami, Rai Krishna Das, V. S. Agrawala, C.Sivaramamurthi, Dr. Moti Chandra, P. M. Joshi and others.

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Vol.XIX, 1994-1995 OBITUARY 177 His name will be remembered for all times to come in the field of Indian miniature Painting in general and Pahari Paintings (paintings of the Hill Stations) in particular. His main pioneering and fundamental work 'Pahari Miniatures Painting' brought out by Taraporewalla, Bombay, in 1958 in a monumental work which is second to none in the world. Later the two scholars brought out another unique volume called 'New Documents of Indian Painting (a re appraisal) 1969 which brought the Pre-Akbari Sultanate material to light for the first time. His other publications include some joint catalogues with Dr. Moti Chandra like, The Khajanchi Catalogue, 1960 Sir Cowasjee Jehangir Catalogue, Bombay, The Aranyaka Parvan of the Asiatic Society Bombay and numerous research articles in Indian journals. He was the Hon.Editor of Lalit Kala Journal (antiquarian) one of World's best research journal and on the Editorial Board of Marg, the Prince of Wales Museum Bulletin and many others. He was the recipient of some prestigious awards such as Fellow of the Lalit Kala Acadeiny, Gold Medal of the Asiatic Society, Father Heras Medal etc. In spite of such great achievements, Mr. Khandalavala remained a simple, loving and upwright person. He treated a young graduate and an accomplished scholar equally. He was modest, ineticulous in thinking, logical in his hypothesis and eager to accept or modify his theories. His main contribution in the field of origin of Rajasthani Painting through his first article, Leaves from Rajasthan, Marg, 1952 holds good even to-day. He continued the work of research which A. Coomaraswamy started long ago and brought it to the present day. His works on Rajasthani Painting (Catalogues of the N. M. India) are ready to be printed which, we are sure, will bridge the gaps in chronology. I am lucky, as his first research student from Bombay University, to get this opportunity to write these humble words. A magnificent publication entitled 'Indian Painting' essays in honour of Karl Khandalavala, brought out by Vakil & Sons under the able editorship of B. N. Goswamy and Usha Bhatia is a fittest tribute to his able scholarship. Sridhar Andhare

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JOHRI MAL PARIKH The great Jain Scholar who dedicated his entire life for the development of Jain and Prakrit literature expired suddenly on 5th February 1996. A Gold Medalist Chartered Accountant by profession, he renounced his profession and worldly life to dedicate himself to the cause of Jain education. He established a modest institute at Ravati (Jodhpur) named Seva Mandir and continued his crusade for restoring to the Jain studies its due place in the academic world. Very laboriously he established a library at Jodhpur and persuaded the local Jain community to start country's first ever graduate course in Jain studies at the Jodhpur University. He was attached to almost all the Jain organisations and was perhaps the only person who was respected and loved by all the four sects of the Jains. He appealed to the entire Jain community to come forward and contribute for preserving their rich intellectual and spiritual heritage. This resulted into a monumental project undertaken by the Bhandarkar Oriental Institute under which an Encyclopedic Dictionary of Prakrit is being compiled and edited under the general editorship of a great scholar Prof. Ghatge. The first fascicule of the project has already appeared. Another outstanding contribution of Johari Mal Ji was the publication of catalogues of manuscripts contained in the Jain Bhandaras of Jaisalmer and Jodhpur. He will be long remembered for his role in inspiring the Jain community and mobilising support from the Central Government to establish a Prakrit Academy at New Delhi. Apart from his exemplary dedication to Jain education he was a great Sadhak himself who lived an extremely simple and austere life. All through his renounced life he wore only two unstitched clothes. A living legend of self-control, he took food only once in two days and used to eat a maximum of five food items contained in a sinall bowl and that too only while standing. While Mahatina Gandhi used to save envelopes for writing purposes, Johri Mal Ji would use each and every piece of paper thoroughly for writing. He used to speak only during a day time and observed mauna from dusk to dawn. Such an inspiring saint, educationist and scholar will be always remembered not only by the Jain community but by the entire society. J. B. Shah for 10894