Sambodhi 1996 Vol 20

Author(s): Jitendra B Shah, N M Kansara
Publisher: L D Indology Ahmedabad
Catalog link: https://jainqq.org/explore/520770/1

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ORIENTAL RESEARCH INSTITUTE LIBRARY ACCESSION No. CALL NO. SRI VENKATESWARA UNIVERSITY TIRUPATI

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SAMBORHI OL. XX T Dann. TI: 198) EDITORS J. B. SHAH N. M. KANSARA L. D. INSTITUTE OF INDOLOGY AHMEDABAD

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SAMBODHI VOL. XX 1996 Editors: J. B. Shah N. M. Kansara Published by : J. B. Shah L. D. Institute of Indology Ahmedabad 380 009 (India) Price: Rs. 7000 1 Computer type setting: Sharadaben Chimanbhai Educational Research Centre, 'Darshan' Opp. Ranakpur Society, Shahibag, Ahmedabad-380 004 (India) Printer : Chandrika Printery Ahmedabad.

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CONTENTS 1. Natyasastra, Sanskrit Drama And Its Theatre R. V. Tripathi 2. Some Notes On The Transmission On The Ayarangasutta Colette Caillat 3. Middle Indic tuvatta Herman Tieken 4. Pustimargi Poetry in Gujarati : The Lord of Braj Travelled to Gujarat Twice Mallison 5. Self-Luminosity of Consciousness in Advaita Vedanta As Explained in the Nyayamakaranda Rabindra Kumar Pandya 6. 'Niravasita' M. Srimannarayana Murti 7. Candralekhavijaya Prakarana : A Discovery of an Island of Dramatic Excellence Vijay Pandya 8. Heretical Conception of Universe And Jain Critique as Depicted in the Sutrakstanga Commentary of Silanka Ch. Lalitha 9. Kalinjar Fort : The Time Winner Ancientmost Fort of India Dinesh Chandra 10. Variants From Venisamhara and The Kavyaprakasa of Mammata Jagriti Pandya 11. Alamkara - Dappana H. C. Bhayani 12. manovijJAna kI bhASA meM jagat kI vicitratA kA kAraNa hai karma / ratnalAla jaina 13. sammatAkAra : eka aprasiddha vaiyAkaraNa nIlAMjanA su. zAha 109 14. vaDanagarano sammatiya saMghArAma 2. nA. mahetA, munIndra che. joSI, ratilAla sa. bhAvasAra 123 15. amadAvAdanI keTalIka umAmahezvaranuM yugala,pratimAo DaoN. rAmabhAI ThA. sAvaliyA, zrI munIndra joSI 128 16. katizaya dhAtumaya jina-pratimAnA abhilekha madhusUdana DhAMkI, lakSmaNa bhojaka 132 17. jaina purANo para eka daSTipAta DaoN. kAntilAla Ara. dave 134 18. bhImadeva bIjAnA vi. saM. 1263nA tAmrapatramAM maLatA keTalAka zabdo para noMdha harivallabha bhAyANI 145 19. rAjasArakRta puMDarIka-kuMDarIka saMdhi kalpanA kanubhAI zeTha 147 20. sukhavinayavRta tapAvAvAstiva saMpA. nArAyaNa . #sArA 167 21. Reviews N. M. Kansara 191 ' rATha

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NATYASASTRA, SANSKRIT DRAMA AND ITS THEATRE R. V. Tripathi In the classical tradition of Sanskrit drama, there is hardly any author who is unacquainted with the Natyasastra of Bharata. It is presumed that Bhasa, being anterior, does not exhibit the influence of the tradition of Ns, and the structure of the so-called Bhasa-plays, as well as several motifs utilised therein violate Bharata's maxims. Bhasa presents scenes of death and combats on the stage; he is supposed to have composed two tragedies - Urubhangam and Karnabharam. Besides, the so-called Bhasa-plays present several difficulties when we try to assess or evaluate them on the basis of the principles of Sanskrit dramaturgy as spelt out by Bharata in his magnum opus. What type of play is Pratijnayaugandharayana (which at least is one of the two or three genuine Bhasa-plays) ? Is it a Prakarana, a Nataka or an shamrga ? It does follow the characteristics of an Thamrga to a certain extent, but then the author himself designates it a Prakarana! There are difficulties in defining the phalaprapti (the resolution) of this play and the protagonist of this play in terms of Ns. The following features of the so-called Bhasa-plays particularly go contrary to the dicta of Bharata's NS : 1. Introduction by the sutradhara; 2. Death scenes in Abhiseka and Pratima; 3. The absence of a regular Bharta-vakya in Madhyamavyayoga and Dutaghatotkaca; 4. Use of rare grammatical phrases like 'cekridita' etc. as found in Avimaraka 3.18 which has strictly been prohibited by Bharata; and 5. Bhasa has described the colour of Varuna as blue in Abhiseka, whereas the gods are described as having bright or white complexion in NS. Even Svapnavasavadattam of Bhasa, unanimously upheld as one of the greatest classical Sanskrit plays and supposed to be a Nataka in our tradition and cited as a Nataka by a number of rhetoricians, does not conform to the definitions of a Nataka in toto. Udayana here is more of a dhiralalita type of hero (instead of a Dhurodatta type as required) and instead of one, there are two heroines; and curiously enough, the hero goes on loving the senior heroine (jyestha

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R. V. TRIPATHI SAMBODHI nayika) only with the innermost feelings of his heart. Four of Bhasa's plays - Madhyamavyayoga (a vyayoga), Pancaratra (a Samavakara), Karnabhara and Urubhanga (both Uts?stikankas) can be classified under the Das'arupaka (ten major types of draina); but they do not fully or categorically agree with Bharata's definitions of Vyayoga, Samavakara and Utsrstikanka, respectively. It is also to be noted that these forms liave become very rare in the later tradition of Sanskrit drama. And yet, Bhasa's acquiantance with the Natyasastra cannot altogether be ruled out. He puts a curious sentence in the mouth of Vidusaka in his Avimaraka. Boasting of his scholarship, the buffoon claims to have studied a Natyas'astra, called Ramayana. Bhasa was thus aware of a discipline like Natyasastra, which might not liave been the Ns of Bharata in the strict sense. Most probably, Bhasa, if he really canne before the author or the authors of Ns, was aware of some sastric tradition of Natya which fell out of vogue after the inception of Bharata's Ns. Bharata seems to recognise a parallel tradition by providing options to liis injunctions, prohibitions or codes. Even the strict ruling against representing sleep, whether alone or with a companion has been provided with an amendment : yadvA zayItArthavazAdekAkI sahito'pi vA / (NS XXII. 296) (or else, the actor may represent sleep alone, or with a companion on the stage if this serves some specific purpose). This is exactly what Bhasa has done in Act V of his Svapnavasavadattam - in the dream-scene which is unique in Sanskrit drama charged with the creative imagination of a master dramatist and bringing out the most subtle and tender emotions and intrigues of human nature. Udayana and Vasavadatta, yearning to see each other, are brought together incidentally and are made to share the same bed most innocently. Either Bharata has supplemented his rule with the above amendment to justify what Bhasa has done in Svapna, and to indicate his appreciation of a unique dramatic sequence designed by the dramatist; or, the author of Ns has simply recorded and accommodated an alternate tradition, which Bhasa has followed. Bhasa had a fully developed system of theatre before himself both in theory and practice. During his times, the King maintained a repertoire for presenting Nataka' on any occasion at a very short notice. In Pratima, the troupe

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Vol. XX, 1996 NATYASASTRA, SANSKRIT DRAMA... maintained by the King Dasaratha is ordered to present a 'Nataka' the same evening suitable to the occasion of the coronation ceremony of Rama. This troupe has a lady in charge of costumes and properties, and she is called nepathyapalini'. Apart from the controversy about the period and authorship of the 'Bhasa - plays, it cannot be denied that some sort of corelation exists between them and the NS'. The last verse of NS XXVII. echoes some of the dialogues and phrases of Bharatavakyas in Bhasa-plays : kiM cAnyat sampapUrNA bhavatu vasumatI naSTadurbhikSarogA / zAntirgobrAhmaNAnAM bhavatu narapatiH pAtu pRthvIM samagrAm // The specimen of Nandi-verses as given in the NS (V. 104-109) are also worthy of consideration in the context of Bhasa's Bharata-vakyas. In a sharp contrast with Bhasa's, Kalidasa's position with respect to the NS is altogether different. Bhasa perhaps did not know of Bharatamuni, the mythical author of the Ns, and inight not have been familiar with the concepts and the systems of this NS, but Kalidasa evinces great regard for Bharata as the exponent par excellence of the art of theatre. In his Vikramn. Urvasi is called back to heaven as Indra wants to witness a performance for which Bharata had trained the apsaras : muninA bharatena yaH prayogo bhavatISvaSTarasAzrayo niyuktaH / lalitAbhinayaM tamadya bhartA marutAM draSTumanAH salokapAlaH // (Vik. II. 17) The prayoga given by Bharata has been described as astarasasraya (based on the eight rasas) by Kalidasa here. It is also said to be lalitabhinaya (with graceful enactment). Evidently Kalidasa is aware of the myth of the apsaras being associated with theatrical performances organised by the great savant, Bharata, as described in the I chap. of Ns. Indra's active interest in Bharata's debut on theatre is very much emphasised in Ns' also. Thus, Kalidas seems to have picked up the context of Bharata's performance in heaven (as referred in Vik.) from the I and the last (XXXVII) chapters of Ns. Secondly, he is aware of the existence of eight rasas only in the context of dramatic performances. He might have been fainiliar, therefore, with the recension of Ns which deals with the eight rasas only and the portion accepting Santa as the ninth rasa interpolated perhaps at a later stage which found a great supporter and exponent in Abhinavagupta, did

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R. V. TRIPATHI SAMBODHI not come to Kalidasa's knowledge. May be that he was aware of a discussion and controversy between the supporters and opponents of santa and he rather appears to be repudiating the theory of santa as a rasa in Vik. itself where he suggests that beauty cannot be created through detachment from worldly objects: vedAbhyAsajaDaH kathaM nu viSayavyAvRttakautUhalo / nirmAtuM prabhavenmanoharamidaM rUpaM purANo muniH // Abhinavagupta has taken up this view as purvapaksa in establishing his theory of Santarasa or Santa as the maharasa. Kalidas is very well aware of the whole ganiut of technical terms and various concepts and systems propounded in the Ns. In Kumara. S'iva and Parvati witness a performance by the apsaras, which is said to be having sandhis and vittis, rasas and ragas as well as graceful angaharas also : tau sandhiSu vyaJjitavRttibhedaM rasAntareSu pratibaddharAgam / apazyatAmapsarasA muhUrtaM prayogamAdyaM lalitAGgahAram // (Kumara. VII. 91) Kalidas has not only picked up terms and phrases from the Ns, but has also captured the very spirit of Ns in the praise of Natya : devAnAmidamAmananti munayaH kAntaM kratuM cAkSuSaM rudreNedamumAkRtavyatikare svAGge vibhaktaM dvidhA / traiguNyodbhavamatra lokacaritaM nAnArasaM dRzyate nATyaM bhinnarucerjanasya bahudhApyekaM samArAdhanam // (Malavika. I. 4) Natya as a caksusa yajna, its bifurcation into two forms of taandava and lasya, representation of lokacarita (deeds of the people) in it, and its capability of pleasing people of different tastes - all these ideas as expressed by Kalidas through Natyacarya Ganadasa here remind us of the treatment of Natya in the I Chap. of the Ns, which Kalidas appears to have thoroughly studied. This apart, even the themetic contents of Vik. and their treatment seem to have been inspired by Ns, which speaks of descent of Natya from heaven with Urvasi's downfall to join the harem of Pururavas. Afterwards, because of the disappearance of Urvasi the theatric activities of the royal harem came to a stand-still. Therefore, Nahusa, the grandson of Pururavas rightly requested Bharata to arrange for a revival of Natya in his territory on earth :

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Vol. XX, 1996 NATYASASTRA, SANSKRIT DRAMA... pitAmahagRhe'smAbhiretadantaHpuraM jane / pitAmahakriyAyuktamurvazyA sampravartitam // tasyAH praNAzazokena unmAdoparate nRpe / vipanne'ntaHpurajane punarnAzamupAgatam // prakAzametadicchAmo bhUyastat samprayojitam // (NS, XXXVII. 9-11) Kalidas is supposed to have conceived the theme of Vik. by the Rgvedic hymn on the dialogue of Pururavas and Urvasi and the section of the Brahmana explaining the legend in detail. But we find Kalidasa introducing a completely new element - that of a curse - into the Vedic legend; and interestingly, this curse comes from Bharatamuni himself. In his Ns, Bharatamuni himself raises a question - how can the union between a mortal and a celestial nymph (apsaras) can be made possible in a dramatic piece? The apsaras are above human passions, and being divine, are immune to love. Ns suggests that playful love between an apsara and a human being can be represented in various ways - by showing her invisible and trying to tempt the hero by appearing for a moment and again disappearing or by sending some cloth, ornament, garland or a love-letter. An apsara by all these sportive activities (upacaras) can lead the mortal hero to the state of madness (unmada)? This is exactly what Urvasi does in Kalidasa's play. This portion of Ns. therefore, was either interpolated on the basis of Vik. of Kalidas or if it is really anterior to the great poet, he has definitely made a very creative use of the references in Ns describing the love between a mortal and an apsarah. The upacara-vidhi for a hero is performed by three types of heroines - belonging to three different categories (prakrtis) i.e. bahya (external), abhyantara (internal) and bahyabhyantara (external-cumn-internal). A heroine coming from an aristrocratic family is abhyantara prakiti, a courtesan is that of the bahya type. Bharat rules out any intercourse of the Dhirodatta hero with the balya type in a Nataka bringing out the scene of the royal harem. But the contact with a celestial nymph is permitted. This is exactly what Kalidas las done in Vik. and S'ak. Abhinava has rightly picked up the example of the former to illustrate Bharata's maxim here. Evidently there is a corelation between the creative process of Vik. and the treatment of love in Ns as referred above. The chap. XXII of NS also, therefore, dealing with the theme of triple prakrti of the heroines might have been in the knowledge of the great poet dramatist. Malavika. also reveals some of the (external... :: bahya mily is whz

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R. V. TRIPATHI SAMBODHI dramatic tenets contained in the Ns. Here Kalidas has depicted the abhyantara type of upacara. The tussle between the king and queen Iravati and Agnimitra's desperate attempts to please her - all such scenes in Mal. are in accordance with the dicta of NS : zobhase sAdhu dRSTo'si gaccha tvaM kiM vilambase / mA mAM spAkSI: priyAM yAhi tava yA te hRdi sthitA // gacchetyuktvA parAvRtya vinivRttAntareNa tu / kenacid vacanArthena praharSaM yojayet punaH // rabhasagrahaNAccApi haste vastre'tha mUrdhani / kArya prasAdanaM nAryA: hayaparAdhaM samIkSya tu // gaccheti roSavAkyena gatvA pratinivRttya ca / kenacidvacanArthena vAcyaM yAsyasi neti ca // tAvat khedayitavyastu yAvat pAdagato bhavet // (NS XXII. 280-294) The royal harem is represented in Bhasa's plays too. But the idea of extramarital love - love in camouflage - has not crept in there. It is only with Kalidasthat the hero of Sanskrit drama (Nataka and Natika) starts hunting for the company of a beloved outside the circle of the royal harem. This tendency of the hero is defined as pracchannakamita (love in disguise) in Ns with reference to the dramas dealing with royal harem and the theme of love. The theory of pracchannakamita as treated in Ns is fully applicable to all the three plays of Kalidas. bahumAnena devInAM vallabhAnAM bhayena ca / pracchannakAmitaM rAjJA kArya parijanaM prati // yadyapyasti narendrANAM kAmatantramanekadhA / pracchanakAmitaM yattu tadvai ratikaraM bhavet // yadvAmAbhinivezitvaM yatazca vinivAryate / durlabhatvaM ca yannAryAH sA kAmasya parA ratiH // (NS - 205-207) (Owing to the respect for the senior queens and fear for the desirable queens, the king tries for secret love-affairs towards the other ladies of the harem. There are numerous ways for the love-sports of the kings, but the secret love-affairs please them the most. The inclination towards the other woman which is proliibited becomes exciting, because that which is unattainable is very

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Vol. XX, 1996 NATYASASTRA, SANSKRIT DRAMA... attractive.) Kalidas has realised this very concept, i.e. the liero treading on the prohibited track in search for something unique and unattainable. He has, however, brought his heroes in two of his (later ?) plays, out of the narrow circle of the royal harem. But then, this also falls in line with the dicta of the Ns. Apart from this application of various concepts of the Ns Kalidas has, in fact assimilated and practised the most essential fundamentals of Bharata's aesthetic and dramatic principles. Sativa (concentration of the actor within his own psyche to enter the texture of the character to be represented) is the basic of Bharata's philosophy of abhinaya. Kalidas was aware of it. Ganadasa reminds Malavika in the II act of Mal. before her performance of chalita natya : vatse, muktasAdhvasA sattvasthA bhava / While sadlivasa (nervousness before the entry on the stage) is a disqualification for a performing artist, being free from it is a quality called pragalbhata : prayoganissAdhvasatA prAgalbhyaM samudAhRtam / (NS - XXII. 31) Kalidas was aware of both the concepts of sattva and sadhvasa. He has very beautifully summed up the principles of theatrical representation in his description of Malavika's chalita. Retaining the technical terms, he lias expressed the essence of Bharata's theory of abhinaya : aGgairantarnihitavacanaiH sUcitaH samyagarthaH pAdanyAso layamanugatastanmayatvaM raseSu // zAkhAyonirmUdurabhinayastadvikalpAnuvRtto bhAvo bhAvaM nudati viSayAd rAgabandhaH sa eva // (Mal. II. 8) In the XXII chap. of the Ns, Sarira abhinaya (physical gesticulation) is said to be of six types : vakya, suca, ankura, saklia, natyayita and nivittyankura. In VIII chap. Bharata defines three subjects of angika abhinaya : sakla, nytta and ankura. Kalidas has grasped the meaning of these concepts and terms and has presented them in the above verse. Sausthava (beauty of physical posture resulting out of balance of each and every part of the body) - is a desideratum for physical gesticulation (angika abhinaya) according to the Ns. Parivrajika in Mal, rightly lays emphasis on the sausthava of the danseuses :

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R. V. TRIPATHI SAMBODHI sarvAGgasauSThavAbhivyaktaye viralanepathyayoH pAtrayoH pravezo'stu / Bharata stands for maintaining a subtle balance between the two types of dharmi (modus operandi) of prayoga or performance - lokadharmi and natyadharmi. Kalidas has also maintained a balance between these two dharmis in his dramatic writings. The directions - natyena, sucayitva, rupayitva, nirupya etc. indicate highly suggestive and stylised mode of performance in his plays, while in a number of situations the actor is directed to perforin realistically. For descending from the heaven, the mountain, or the terrace of a palace; ascending on or descending from the chariot; worship, decorating the body, plucking the flowers, showing love-scenes or siinilar sequences the stylised postures are suggested. The exit of Sanumatia celestial nymph, in act VI of Sak. is shown by udbhrantaka karana, which according to Raghavabhatca is used for showing the flight upwards in the sky. Kapota-hasta is indicated for salutation to Kamadeva in the worship by the two celis in act VI of the same play which is in accordance with Ns. Sakuntala's torture by the bee is to be delineated through bluramara hasta (NS' IX. 98) and bhramara angahara, although K. has not specified them, but the postures or movements of Sakuntala as described by Dusyanta suggest the use of such an angahara and hasta in this situation. In fact, Kalidas has even amended and added something more to Bharata's definition of Bhramara hasta by describing Sakuntala as shaking both the hands vigorously (karau vyadhunvatyah), as As'okamalla in his Nrtyadhyaya has suggested that hands should be shaken vigorously if the bee is also to be shown hovering above the artiste in the performance of Bhramara hasta. This seems to be a Kalidasa-effect on later tradition of the theory of abhinaya. Sanskrit drama enters a new phase with Bhavabhuti, who did not associate himself with the royal court theatre. Instead, he wrote for the temple theatre, which has been described in the Visnudharmottarapurana and his plays were produced on the occasion of the yatra festival of a temple Kala-priyanatha. Even though Bhavabhuti had studied Bharata's Ns in depth and details, his dramatic pieces require a different type of theatre and a different mode of presentation. The view of theatre has influenced the structure and design of his plays. The dramatist has in his mind, the large number of spectators, instead of the selected few for which the dramatists attached to the royal court theatre wrote. Very big crowds assembled, on the occasion of Yatra festivals to see the perforinances of dramas or dances which went on for a number of days during the period of the festival. Bhavabhuti himself has given a graphic pictures of the

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Vol. XX, 1996 NATYASASTRA, SANSKRIT DRAMA... masses which have come to see the performance of his play : sannipatitazca bhagavataH kAlapriyanAthasya yAtrAprasaGgena nAnAdigantavAstavyo mahAjanasamAjaH / (Malatimadhava; prologue) It is also to be noted here that the protagonist of this play meets his beloved in the gathering of a yatra-festival of some Kamadeva-temple. Several other incidents take place here within the precincts of a siva-temple. We thus find the atmosphere of the yatra-festival pervading the texture of the plot of this play. Bhavabhuti does not adhere to the norms and precepts laid down in the NS very strictly. This is because of his attachment with a different school of our theatrical tradition. He belongs to the temple-theatre. We can understand the verbosity and loud-thinking of the characters; the vigorous movements and requirement of a larger stage-space in the plays of Bhavabhuti in the light of the theatre he was writing for. Through the temple-theatre, we find the Sanskrit drama reaching the masses, and as a result there is increasing interaction with folk-motifs and folk-theatre. The sastric tradition had already started standardising the minor forms of drama, termed as the 'uparupakas ! These minor forms of drama were in fact, varieties of folk-theatre. . The tradition of the minor forms of drama was continuing from pre-Bharata period. Bharata, in his Ns concentrated on the major forms and left the task of evaluation, classification and standardization of the minor forms of drama to his worthy student Kohala : zeSamuttaratantreNa kohalastu kariSyati / (Ns. XXXVII. 18) The work of Kohala, which Bharata had termed as the 'Uttaratantra' - sequel to his own Ns, and which is referred to sometimes as the 'Kohaliya-Natyasastra' by later rhetoricians, is no more extant. But Kohala was definitely held as an authority on the so-called uparupakas". Abhinava. and Hema. quote his definitions of a dozen of such uparupakas, calling them nrtyaprabandhas. Even in the present texture of the Ns, a sizable portion appears to have been contributed by Kohala and his colleauguess. Kohala became the exponent of a tradition of our theatre which, with all its vigour and potentiality ran parallel to Bharata's tradition, and side by side with Bharata. Kohala exercised great

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R. V. TRIPATHI SAMBODHI influence on the later theorists and dramatists. No wonder that Rajasekhara in his Balaramayana presents Kohala as the Sutradhara of the play within the play - named as Sitasvayamvara to be performed in the court of Ravana, even though it was Bharata who had sponsored this play and had also provided its script, as the Sutradhara Kohala himself informs. In Kalidasa, we find Bharata as the sole authority. Here Kohala has also found a place side by side with Bharata. This leads us to understand the process of interaction between classical theatre and folk theatre, and the Sanskrit playwright going for the new forins of drama, i.e., the uparupakas, which are standardised and classified forms of folk-theatre. Rajasekhara introduced a number of new features in Sanskrit drama, which were inspired perhaps from a parallel tradition of Natyasastra or from folktheatre. He added druvas in his dramas. Employment of puppets, or use of motifs related to puppet theatre is another speciality of Rajasekhara. The central concept of Viddhasalabhanijika is based on the puppet motif. Salabhanjika is a puppet. In Balaramayana, the puppet of Sita is brought on the stage for entertaining Ravana. Rajasekhara has introduced carcari in his Karpuramanjari, giving a lively account of its performance. Carcari has been mentioned and defined amongst the minor forms of drama or the uparupakas. The carcari as described by Rajasekhara combines a number of group dances - (i) sprinkling of coloured water with lasya type of dance by blowing the pipes, (ii) the dandarasa by thirty-two danseuses in various combinations, (iii) cemetary dance with demon-like masks; (iv) pulinda-dance with feathers of peacocks; and (v) challi or calli dance in accompaniment of hudukka and mardala. Several experimentations or designs of various situations in Rajasekhara's dramatic pieces violate Bharata's norms. Vidusaka in his Karpuramanjari wears a mask (pratisirsaka), whereas only the minister, Kancuki and purohita should wear masks according to Bharata. After Blasa and Bhavabhuti, Rajasekhara also presents a dream-scene on the stage (Viddha. Act III). In Balaramayana a scuffle between Ravana and Parasurama is presented. Rajasekhara even goes to the extent of showing his heroine taking her bath (Karpura.), or presenting marriage rituals (Ibid) or svayamvara - scene (Balaramayana and Pracandapandava ) on the stage. The above examples of Bhasa, Kalidasa, Blavabhuti and Rajasekhara prove that Bliarata has been by and large the mentor and a torch-bearer for the Sanskrit

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Vol. xx, 1996 NATYASASTRA, SANSKRIT DRAMA... 11 dramatists, but he has not come in the way of their creativity and introduction of new features or attempting innovations. We can also understand the three channels through which our theatre grew after the period of the Epics till the medieval age. They are - the Royal Court Theatre, the Temple Theatre and the Open-air Theatre. REFERENCES : 1. tavagItaprasAdhite raGge vayamapi prakaraNamArabhAmahe / (Pratijnayaugandharayana, Prologue) 2. ye bhAvA mAnuSANAM syuryadaGgaM yacca ceSTitam / sarvaM tadeva kartavyaM divyairmAnuSasaGgame / / zApabhraMzAt tu divyAnAM tathA cApatyalipsayA / kAryo mAnuSasaMyogaH zRGgArarasasaMzrayaH // puSpabhUSaNajaiH zabdairadRzyApi pralobhayet / punaH sandarzanaM dattvA kSaNAdantarhitA bhavet // vastrAbharaNamAlyAdyairlekhasampreSaNairapi / IdRzairupacAraistu samunmAdyastu nAyakaH // unmAdanAt samudbhUtaH kAmo ratikaro bhavet // (NS, XXII. 324-31) 3. etacca vikramorvazyAM sphuTameva dRzyatAm iti zivam / (Abh. on above); N XXII. 149-55) 4. uktavyAkhyAne tu kohalAdilakSitatoTakasaTTakarAsakAdisaGgrahaH / (Abh. part II, p. 407); tena kohalapraNItalakSmANaH sATakAdayo na lakSyante / (Natyadarpana, p. 23) kohalAdibhirevaM tu vatsazANDilyadhUrtitaiH / / martyadharmakriyAyuktaiH kaJcitkAlamavasthitaiH // etacchAstraM praNItaM hi narANAM buddhivardhanam / (NS XXXVII. 24, 25)

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SOME NOTES ON THE TRANSMISSION OF THE AVARANGASUTTA Colette Caillat (Text of the lecture delivered in the L.D. Institute of Indology on 2nd March 1996) Some years ago, after the publication of Ayaranga-suttam in the J(aina) A(gama) Series) (2.1, Bombay 1977), Prof. D.D. Malvania drew iny attention to the inany critical notes and pathantaras which are quoted by the learned editor, Muni Sri Jambuvijaya-ji. As is well known, Prof. Malvania himself had been interested in this sacred book, and has published some pages connected with this text (in sramana 6.4 [1958], p.3-6; also see Jainagama Svadhyaya, Ahmedabad 1991, p.43ff.). Until now, I did not have the possibility to go into a detailed investigation, but I hope to be able to do it soon. In any case I am glad that, on the occasion of my visit to Ahmedabad, Prof. Malvania, spared some hours to read various passages with me, in his kind and hospitable home! I shall here try to give a summary of my personal observations and provisional conclusions. In the Foreward to his edition, Muni Jambuvijaya emphasises the importance of Ayar(anga), a treatise which "contains the essence of the preachings of Lord Mahavira". Nevertheless, curiously enough, the transmission of this sacred sutra appears to have suffered from many disruptions - a situation which had not escaped the attention of the European scholars H. Jacobi and W. Schubring, and which again is detailed by Muni Jambuvijaya. To make a long story short : as it is now, the Ayar is composed of 2 suyakkhandhas (sruta-skandhas). But, as a matter of fact, it is the first of these which is the real Acara, also known as Brahmacarya or Navabrahmacarya, because at first it had contained nine adhyayanas. As it happened, one of them, the Mahaparinna (-parijna) was.completely lost in the days of Silankacarya, and perhaps even before : the Cunni already states that it is not studied, na padhijjai. As for the second srutaskandha, it is in the nature of "appendice's" and forms the Acaragas, theoretically composed of five culas. But already the Nijjutti states that the fifth is the Nistha-sutta, which "will be commented upon later", pancama cula Nisthamn, tassa ya uvarim bhanissami. In fact, this is because it had become an independent treatise which had been included in the Cheya-suttas (i.e. the section of the Canon concerned with discipline), though many of its aphorisms are, so to say, the exact counterparts of the Ayar, as can be seen from the numerous references and parallels given in the JAS edition.

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Vol. XX, 1996 SOME NOTES ON THE... This being the historical situation, it can be concluded that the Jain acaryas have been, and are, accomplishing a considerable philological and critical work, a task for which the path has thus been traced since many centuries, and which has to be continued, though with the respect due to all sacred books. This is how I came to be highly interested in the considerable data adduced by Muni Jambuvijaya concerning the "traditions of readings" accepted by the authors of the Cunni on the one hand, and of the Vitti on the other hand. Curiously, though the text of the first srutaskandha is often very difficult to follow, is in the words of Jacobi) "like a sermon made up of quotations...., fragments of verses and whole verses which are liberally interspersed in the prose text", the two versions differ only slightly. On the contrary, as Muni Jambuvijaya shows, "in the second srutaskandha the versions differ widely... especially from the tenth chapter onwards2" Muni Jambuvijaya adds: "The tradition of readings followed by the author of the Curni is much older and better than the one followed by the author of the Vitti. The version which we now find in different mss. is mostly in consonance with the tradition of readings followed by the author of the Vrtti.." Consequently, whatever their personal preferences, the editors cannot but follow the tradition reflected in Silankacarya's Tika. This is what has been done, rightly, by Muni Jambuvijaya himself It seems to me that the differences are of the following sort : 1) some grammatical variants, which are not extremely numerous and do not alter the meaning of the teachings : they need not be considered at this stage; 2) differences in the length of various developments; 3) differences in the order of some of the developments. The two last points will be considered here, following Muni Jambuvijaya's critical notes, which, as far as the Curni's tradition is concerned, are based not only on the difficult, sometimes obscure and allusive text of the AyarC itself, but on the authoritative Avasyaka Curni. Differences in the length of various developments will be considered first. Examples can be taken from the third cula, named Bhavana, a title which, in fact, refers to the second part of this lecture; as for the first part, it concerns the life of Lord Mahavira, that serves as an introduction to his fundamental teaching, viz. the 5 mahavratas, with their 5 times 5 bhavanas or reinforcing "clauses" (thus, altogether 25 bhavanas). Towards the end of the first part, the

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14 COLETTE CAILLAT SAMBODHI text summarizes the ascetic life which Lord Mahavira had led during twelve years with these words: evam va viharamanassa je kei uvasagga samuppajjanti divva va manussa va tericchtya va, te savve uvasagge samuppanne samane anaile avvahie addina-manase tiviha-mana-vayana-kaya-gutte sammanh khamai tilikkhai ahiyasei, "Living thus he with equanimity bore, endured, sustained, and suffered all calamities arising from divine powers, men and animals, with undisturbed and unafflicted mind, careful of body, speech and mind". Such is the very sober description in the Ayar manuscripts and in the Tika. But, at this point the AyarC adds, as a conclusion chinna-sote tti, "the influx (from the indriyas) was interrupted"; and, to illustrate this point, it introduces two stanzas, in fact 21 catch-words of varnakas comparing Lord Mahavira with a "full jar, a conch, life, the sky", etc. (kamse samkhe jive gagane...). As it happens this enlarged text is specifically referred to in the 9th chapter of Thananga, which explicitly states jaha bhavanae, thus "as in the Bhavana", i.e. the standard Ayar third cula. Naturally Muni Jambuvijaya also refers to the well-known Kalpasutra chapters 117-121, where the same comparisons are adduced and developed, elaborately, in ornate style. Such being the situation, the question could be raised in such cases, is one version better than the other? Or were there not, at a certain stage, two possible versions, one simplicior (followed in the T and the current mss.), the other ornatior which, in turn, could have given rise to still longer developments ? In the same way the wording of certain bhavanas (e.g. of the 1st bhavana of the 1st mahavrata) appears to have been enlarged by an accumulation of synonyms and similar additions. For instance, whereas the mula text uses 6 verbs to state that "one should not be attached to pleasant sounds".... (saddehim na sajjejja...), the C makes use, more emphatically, of 14 synonyms or synonymous expressions. Here again, it would seem that some *basic statement could have been formulated in shorter or longer sentences. As for differences in the order of some developments, many examples could also be adduced from the Bhavanas. As a matter of fact, it is remarkable that, whereas the order of the 5 mahavratas is fixed ne varietur, whether in the Tika or the Curni (as well as, e.g. in the 4th chapter of the Dasaveyaliya-sutta, etc.), on the contrary the order of Bhavanas in the Ayaranga on the one hand, in the Avasyaka or Acaranga-Curgis on the other, is seen to be submitted to various interversions. The reason for these differences can sometimes be surmised, but sometimes are not at all clear; nevertheless it appears that each tradition, the Tika and mss. tradition and, on the other hand, the Curni tradition are firmly

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Vol. XX, 1996 SOME NOTES ON THE... established : the order followed in the AcarangaC is exactly the same as in the Avasyaka Curni. Other such examples could be adduced. For instance, Muni Jambuvijaya points to tlie interversion of 2 ajjhayanas in the 2nd cula. In the sutra, the 4th chapter advises the monk to beware of pleasant sounds (saddas), while the 5th chapter is directed against pleasant forms and colours (ruvas). In the C, the order is the reverse. Naturally it can, and it is, maintained that one should be guarded against all senses alikes. Nevertheless, elsewhere in the Ayar itself the fivefold "joys and pleasures" are enuinerated as consisting, successively, of sadda-pharisarasa-ruva-gandha". Similarly, the Bhavanas relating to the 5th mahavrata invite, first not to be attached to saddas, secondly not to be attached to ruvas. Taking both the above passages into consideration, it would seem that there is some reason to give preference, in the 2nd cula, to the order of chapters retained in the Vstti and the Ayaranga manuscripts. To sum up : the superb critical edition of the Ayaranga-sutta procured by Muni Sri Jambiivijayaji invites, and makes possible a further study of the entangled tradition of this fundamental sacred text. What is more, it already provides some insight into the transmission of the difficult scriptures which form the Jain Siddhanta. NOTE : More details are given in a forthcoming paper to be published in the Proceedings of the International Conference organized in Paris from 25th to 27th January 1996 as a commemoration of the birth centenary of the French Indologist Louis Renou. REFERENCES : 1. In the last week of February 1996. - I wish to express my affectionate gratitude to Prof. Malvania and all his family for their generosity and the friendly hospitality which they have extended to me since almost thirty years; and for all that which I could learn thanks to their solicitude. 2. It will be remembered that the culas are composed of 16 cliapters. 3. See a full discussion on this and connected topics in JAS 1, Nandisuttam and Anuogaddaraim, Editors Muni Punyavijaya, Pt. Dalsukli Malvania, Pt. Amritlal Mohanlal Bhojak, Bombay 1968, Introduction, Editor's note, p. 77ff., especially 96ff. 4. JAS ed. SS 771; PTS ed. p. 130.26. Translation by Jacobi, in SBE 22. 5. Cf. the Prasamarati-prakarana text quoted in the JAS ed., p. 140 n. 1. 6. JAS ed. SS 742; PTS ed. p. 193 SS 14.

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MIDDLE INDIC tuvatta Herman Tieken Introduction The present study is not the first attempt to deal with the Middle Indic verb tuvatta-. Before me, Alsdorf has drawn attention to the occurrence of the word in the Asoka inscriptions! Alsdorf, while rejecting the indigenous derivation from tvagvartayati as a comic folk etymology, refrains from suggesting one himself. Next, it was pointed out by Bollee that the word is not restricted to the Asoka inscriptions and the AMg. canon of the Svetambara Jains, but is also found in the Pali canon?. Bollee began his study of tuvatta- by noting that, while the meaning of this word is well established, its derivation still remains a problem?. However, as far as I see it, the situation is exactly the reverse. The real problem of tuvattaconcerns its meaning, which shows a considerable latitude in the respective sources : besides "to lie down" in Pali and AMg. texts, for the Asoka inscriptions we have to assume a ineaning something like "to be active". Starting precisely from this latter ineaning in the Asoka inscriptions the derivation of the word would present itself almost automatically. In what follows, I will reveal a development of the meaning of tuvatta-, from the "etymological" meaning in the Asoka inscriptions, through a colloquial usage in the Pali sources, to a case of semantic bleaching of this latter ineaning in the AMg. sources. As such, the results of this study bear on the question of the relative dating of the Buddhist Pali canon, on the one hand, and the Jaina AMg. canon, on the other.. Tuvatta- in the Asoka inscriptions The word occurs but once, namely in the so-called separate edicts froin Dhauli (Dh.) and Jaugada (J.) In Dh. the relevant passage reads, following Alsdorfs reconstruction : e kilarte siya (ti) tena ugaca samcalitaviye tuvatitaviye etaviye va Wer etwa schlaff ist, der muss sich aufraffend (abs. udgatya) sich in Bewegung setzen, sich ruhren (?) und sich fortbewegen. Alsdorf rightly assumes that tuvatitaviye, occurring side by side (va)4 with ugaca

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Vol. xx, 1996 MIDDLE INDIC tuvatta 17 samcalitaviye and etaviye, should denote a kind of active movement here. However, with his rather non-committal translation "sich ruhren" he evidently tried to accommodate at the same time the AMg. meaning "to lie down", or at least the gloss found for the word in the commentaries on the Jaina canonical texts : tvagvartayati "sich in Liegen umdrehen." Implicitly Alsdorf seems to leave open the possibility that tuvatitaviye in the Asoka passage denotes something like "to be active [with the affairs of the people) from the bed)". If so, this would require very specific meanings for samcalitayiye (or ugaca samcalitaviye) and etaviye as well, which however, would have to be construed on the basis of this particular passage only. For, as far as I know, (ugaca) samcalitaviye tuvatitaviye etaviye represents ad ad hoc enumeration. This also means that we do not know if the absolutive ugaca is to be construed with sarcalitaviye only, or with the following verbs as well, in which latter case the question whether tuvatta- means in particular "to be active in a lying position" could be ruled out more definitely So much is clear from this passage that tuvatta- denotes a kind of bodily activity. As such, it need not necessarily refer to some specific activity here, but could well denote an activity undertaken for its own sake, for instance, to prevent one froin giving in to one's exhaustion and falling asleep. Starting from such a meaning tuvatta- may be derived from Skt ati-vrt- "to inove excessively", showing the loss of the initial a- of ati- and labialization of the vowel representing -?" due to the preceding va. As such tuvatta- shows an alternative development to the one seen in AMg. tiutta-, "to escape from, pass beyond", which goes back to ati-vrt- as well. In tiutta- the v- of vrt- has labialized the vowel which follows, and has subsequently been lost (at least in writing)." The meaning of ati-vit- required here, "to move excessively" - which may in any case be abstracted from meanings of the constituents of the compound : ati "excessive, beyond the limit" and vrt- "to roll, to move" - has apparently not been attested for the verb. It has, however, been attested for the noun ativitti (Astanga-HIdaya I 12, 407.) Tuvatta- in AMg. texts As already indicared, in the Jaina canonical texts tuvatta-/tuyatta - seems to mean simply "to lie down". This meaning is established by the frequent occurrence of the word in the enumeration cittha-, nisiya-, tuyatta-, "standing,

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18 HERMAN TIEKEN SAMBODHI sitting, and lying down." One example is Ayara (JAS) I 8, 2/204 : se bhikkhu parakkamejja va citthejja va nisiejja va tuyattejja va susanausi va "Ein Monch ubt Andacht, steht, sitzt oder liegt vielleicht auf einem Friedhof ...";8 Suyagada (JAS) II 2/707 : auttam gacchamanassa auttam citthamanassa auttam nisiyamanassa auttam tuyattamanassa...," who carefully walks, stands, sits down, lies down...".! Viyahapannatti (JAS) II 13, 4, 25 (p. 630, line 18) : thananisiyana-tuyattana-manassa" intent upon standing, sitting and lying down". Occasionally the word is found on its own, as in Ayara (JAS) I 8, 8, 23/236, in a passage describing the method to be followed in the fasting-to-death : anaharo tuvattejja puttho tattha hiyasae nativelan uvacare manussehim vi putthavam, He should lie without food; when affected [by discomfort] in that {position] he should bear it. He should not go beyond the boundary (which he has set himself], even when he has been affected by things human". As these and other passages show, the word not only functions in the Jaina canon as an apparently regular word for lying down, but has also completely lost its supposed primary, etyinological meaning of denoting a bodily activity, as present in the Asoka inscriptions. If anything, it seems to express the very opposite idea, namely that of lying at ease, as can be seen in Ayara (JAS) II 2, 13/725: se se paro ankarisi va paliyankamsi va tuyattavetta payari amajjejja va pamajjejja va "(One should neither be pleased nor prohibit it, if one is made to lie down in someone's lap or on a couch one's feet are being wiped or rubbed." It is difficult to reconcile this meaning in the Jaina canon with the one in the Asoka passage. The problem may however be solved by incorporating the instances in Pali in the discussion. Tuvatta- in Pali texts In Pali texts the occurrence of the word tuvatta - is restricted to altogether three passages (Vinaya[Oldenberg] I, pp. 9-10, II p. 124, and IV, pp. 288-289)," all of which deal with monks and nun's who fail to abide by the rule of celibacy. To begin with the last mentioned passage, Vinaya IV, pp. 288-289: Tena samayena buddho bhagava Savatthiyani viharati Jetavane Anathapindikassa arame. tena kho pana samayena bhikkhuniyo dve ekamance tuvattenti. manussa viharacorikar ahindanta passitva... vipacenti : katham hi name bhikkuniyo dve

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MIDDLE INDIC tuvatta ekamance tuvattessanti seyyathapi gihikamabhoginiyoti. assosunh kho bhikkhuniyo tesam manussanam... vipacentanam. ya ta bhikkhuniyo appiccha... vipacenti : kathari hi nama bhikkhuniyo dve ekamance, tuvattessantiti [pa]. saccari kira bhikkhave bhikkhuniyo...tuvattentiti. saccam bhagava. vigarahi buddho bhagava : katham hi nama bhikkhave bhikkhuniyo...tuvattessanti. n'etam bhikkkave appasannanam... uddisantu. Vol. XX, 1996 19 ya pana bhikkhuniyo dve ekamance tuvatteyyum pacittiyan ti. ya pana'ti yayadisa [pa]. bhikkhuniyo'ti upasampannayo vuccanti, dve ekamance tuvatteyyun ti, ekaya nipannaya apara nipajjati, apatti pacittiyassa. ubho va nipajjanti, apatti pacittiyassa. utthahitva punappunari nipajjanti, apatti pacittiyassa.anapatti ekaya nipannaya apara nisidati, ubho va nisidanti, ummattikanam, adikammikanam ti. "... at Savatthi in the Jeta Grove in Anathapindika's monastery. Now at that time two nuns shared one couch. People, engaged in touring the dwelling-place, having seen (them)... spread it about, saying: "How can two nuns share one couch, like women householders who enjoy the pleasures of the senses ?" Nuns heard these people who... spread it about. Those who were modest nuns... spread it about, saying: How can two nuns share one couch ?"... "Is it true, as is said, monks, that two nuns shared one couch ?" "It is true, lord." The enlightened one, the lord, rebuked them, saying: "How, monks, can two nuns share one couch? It is not, monks, for pleasing those who are not (yet) pleased... this rule of training: Whatever two nuns should share one couch, there is an offence of expiation." Whatever means... nun is to be understood in this case. Nuns mean they are called ordained. Two should not share one couch means if one is lying down and the other lies down, there is an offence of expiation. Or if both are lying down, there is an offence of expiation. If having got up, they lie down again, there is an offence of expiation. There is no offence if one is lying down and the other sits down, or if both are sitting down; if they are mad, if they are the first wrong-doers." Vinaya I, pp. 9-10 reads: Tena kho pana samayena Assajipunabbasuka nama Kitagirismin avasika honti alajjino papabhikkhu. te evarupar anacaram acaranti ... te

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HERMAN TIEKEN SAMBODHI kulitthihi kuladhitahi kulakumarihi kulasunhahi kuladasihi saddhim ekabhajane pi bhunjanti ekathalake pi pivanti ekasane pi nisidanti ekamance pi tuvattenti ekattharanapi tuvattenti ekapavuranapi tuvattenti ekattharanapavuranapi tuvattenti... "Now at that time unscrupulous, depraved inonks who were followers of Assaji and Punabbasu were in residence at Kitagiri. They indulged in the following kinds of bad habits : ... These ate from one dish together with wives of reputable families, with daughters of reputable families, with girls of reputable families, with daughters-in-law of reputable families, with women slaves of reputable families; and they drank from the same beaker; they sat down on the same seat; they shared one couch, they shared one mat; they shared one coverlet; they shared one mat and coverlet13." Finally, Vinaya V, p. 124 : Tena kho pana samayena chabbaggiya bhikkhu ekabhajane pi bhunjanti ekathalake pi pivanti ekamance pi tuvattenti ekattharanapi tuvattenti ekapavuranapi tuvattenti ekattharanapavuranapi tuvattenti. manussa ujjhayanti...kamabhogino'ti. bhagavato etam attham arocesuni. na bhikkhave ekabhajane bhunjitabbam ... na ekamance tuvattitabbam...yo tuvatteyya, apatti dukkatassa'ti. "Now at that tiine the group of six monks ate from one dish and drank from one beaker and shared one couch and shared one cloth and shared one covering and shared one covering-cloth. People .... spread it about, saying: 'Like householders who enjoy pleasures of the senses.' They told this matter to the Lord. He said : 'Monks, you should not eat from one dish.... nor share one couch.... Whoever should share (one), there is an offence of wrong doing?! A translation of tuvatta- with "to lie down" is indicated by the gloss, or paraphrase, nipajjati in Vinaya IV, p.288, quoted above, as well as by the locatives mance, tharane and pavuranes. Note in this connection also the contrast between ekasane nisidanti and ekamance tuvattenti in Vinaya IV quoted above. It seems that Horner in her translation "to share" all too closely follows the PTSD (p.306a), which has suggested a derivation from * dvandvayati. Taken as such the Vinaya would stipulate that the mere fact that monks and nuns lie down with somebody else on one bed, on one matras and under one cover suffices to form a serious transgression, that is, if "one" is indeed to be taken emphatically here. That the monks and nuns might have been doing something in the bed (note gihikama - bhoginiyo in Vinaya IV quoted above)

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Vol. XX, 1996 MIDDLE INDIC tuvatta would not have been relevant, or, at least, would have been left unspecified. On the other hand, we have evidently to do with that same verb tuvatta- here, which in the Asoka inscriptions denotes a bodily activity. How does this latter meaning fit in the Pali instances ? In this connection I wish to draw attention to Vinaya IV, in which tuvatta- figures in a quotation which is supposed to repeat or echo accusations made by outsiders with regard to the laxity of the monks and the nuns. On the basis of this passage it may be argued that tuvatta"to show excessive activity" has actually found its way into the canon as a colloquial expression for having sex 16. The gloss nipajja- may be taken as the result of an attempt on the part of the Vinaya authors to bowdlerize this obscene colloquial expression or else, what may be even more likely, would show that these authors were no longer aware of the derivation and meaning of the word. The latter possibility suggests that tuvatta- was no longer in use at the time of the composition of the Vinaya. All this would mark the verb tuvattaas a precious linguistic fossil from the spoken language probably even going back to the time of the Buddha's preaching itself. Concluding remarks In the case of the Vinaya we may accordingly distinguish between tuvatta- as an intrusion from the older spoken language meaning "to show excessive activity in bed, to have sex", and the interpretation given to the word by the presumably later authors of the text, namely "to lie down". As such the Vinaya appears to provide the missing link between the Asoka inscription, in which tuvatta- means " to show (excessive) activity" and the Jaina canon, in which it means "to lie down". The use of the verb tuvatta- in the Jaina canon now appears to agree in particular with that of the authors of the Vinaya. In this connection the question arises from what source or sources the authors of the Jaina canon may have derived their tuvatta- "to lie down". In this connection it should be noted that it is highly unlikely that they had actually borrowed the word from the spoken language. For, it is difficult to see how in a living language a common word, after it has come to be used in a highly pregnant sense in a specific idiomatic expression, could ever be used again flatly without any of its earlier connotations lingering on, whether of its original or of its idiomatic lise. Instead, the meaning "to lie downl" looks rather like the result of the learned process of editorial interpretation of earlier fixed "texts" (oral or written), whichi

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HERMAN TIEKEN SAMBODHI process is known to result in the reduction to mere synonyms of words which originally had widely divergent connotations, if not completely different meanings. This would already suffice to mark the Jaina canon, including those parts of it which are generally regarded as old and authentic (Ayara), as a relatively recent, artificial, patchwork. But there may be more. For, the evidence of this process of semantic bleaching is found in the Vinaya, in which we can trace the invention of tuvatta- as a synonym of nipajja-. We cannot therefore exclude the possibility that the authors of the Jaina canon have borrowed the word tuvatta- directly from the Pali canon itself. This would add a precious piece of evidence to the ones collected by, for instance, O. von Hinuber, suggesting that the Jaina AMg. canon is later than the Buddhist Pali canon"? NOTES : 1. L. Alsdorf, Asokas Separatedikte von Dhauli und Jaugada. Wiesbaden 1962, esp. pp. 17ff. 2. W. B. Bollee, "Notes on Middle Indo-Aryan Vocabulary II", JOIB XXXIII, 1983, pp. 108-122, esp. pp. 112-114. 3. Following Bollee, Von Hinuber takes tuvatta- as a rare instance of a desi-word in Pali (Das altere Mittelindisch im Uberblick. Wien 1986, SS 72). 4. Note, however, that Alsdorf translates va "or" with "and". Va is absent in J., in which the line reads instead sarcalitu uthaya saricalitavya tuvatitaviya pi etaviye pi nitiyari. 5. Note that J. reads saricalitu uthaya sarcalitavye tuvatitaviya pi etaviye pi nitiyani "having stood up in order to move, he should move...". 6. For the derivation of tiutta-, see W.B. Bollee, Studien zum Suyagada. Die Jainas und die anderen Weltanschauungen vor der Zeitwende. Tetxtteile, Nijjutti, Ubersetzung und Anmerkungen. Schriftenreihe des Sudasien - Instituts der Universitat Heidelberg 24, Wiesbaden 1977, p. 187 s.v., and K.R. Norman, "Suyagada Studies", WZKSXXV, 1981, p. 201, with reference to K.R. Norman, "Labialisation of vowels in Middle Indo-Aryan", Sul II, 1976, pp. 41-58 (=Collected Papers Vol. I, Oxford 1990, pp. 246-261). See also K.R. Norinan, "Middle Indo-Aryan Studies XVI. The Palatalization and Labialization of Vowels in Middle Indo-Aryan", JOIB XXXII, 1983, pp. 275-279, esp. p. 278. 7. See An Encyclopaedic Dictionary of Sanskrit on Historical Principles. Vol. Two, Part I. Poona 1979, p. 1131.

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Vol. XX, 1996 MIDDLE INDIC tuvatta 8. Translation W. Schubring, Worte Malaviras. Kritische Ubersetzungen aus dem Kanon der Jaina. Gottingen 1927, p. 106. 9. Translation H. Jacobi, Jaina Sutras. Part II. SBE 45. Oxford 1985 (repr. New Delhi 1973), p. 364. 10. Translation J. Bronkhorst, The Two Traditions of Meditation in Ancient India. Delhi 1993, pp. 32-33. In his translation Bronkhorst follows the traditional interpretation as transmitted in the various commentaries. It will be clear, however, that the interpretation of putthavam as sprstavan, for which the context requires a passive meaning here, is invented ad hoc. Earlier I have suggested that putthavani rather represents prsthakam "back" (WZKS 32, 1987, pp. 200-201. The suggestion inade that puttho in the first line might conformingly represent an archaic locative of prsthi "back" is less compelling.) Nativelam uvacare...putthavam may be translated as : "He should treat his back not too long". The meaning "to treat medically" for uvacara- is otherwise well attested. Admittedly, manusschim creates a serious problem. In this connection I should like to add that it is quite well possible that the passage as a wliole has actually been pieced together from fragments of texts the meanings of which were no longer properly understood. Manussehin may be an addition introduced at the stage of the composition of this hemistich from such an existing fragment. In this such passages as Jambuddivapannatti (Ladnun) 3, 82 (p. 428) : saddapharisarasaruvagandhe parcavile manussae kamabhoge bhurijamane viharai may have stood muster (cp. also ibidem 3, 187, 218, 221, and 4, 177). 11. Below I leave out the subsequent repetitions of the same passages. 12. Translation 1.B. Horner, The Book of the Discipline (Vinaya- Pitaka), Vol. III (Suttavibhaniga). London, 1942 p. 304. 13. Translation 1.B.Horner, The Book of the Discipline (Vinaya-Pitaka) Volume V (Cullavagga). London, 1952, p. 14. 14. Translation by I.B. Horner (as in previous note), p.171. 15. For the sandhi in tharanapi and pavuranapi, see 0. von Kinuber, Das altere Mittelindisch im Uberblick, Wien 1986, SS 265. 16. Compare e.g. English to Tumble in the hay", Dutch "wippen", etc. 17. See o. von Hinuber, Der Beginn der Schrift und Fruhe Schriftlichkeit in Indien. Mainz 1989, esp. pp. 22, 35, and 50.

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PUSTIMARGI POETRY IN GUJARATI : THE LORD OF BRAJ TRAVELLED TO GUJARAT TWICE Mallison According to the slokas of the Bhagavata purana (X,50), Lord Krishna travelled from Mathura to Dwarka, fleeing the wrath of Jarasandha. He lived there with his eight queens and 16000 Gopis, and even died along with his fellow Yadavas. Shrouded in the mystery of the myth all these events may have a historical reality as seem to prove the archeological findings from under the sea along the coast of Okhamandal, on the most western part of Saurashtra. But, whatever the historical facts, Krishna certainly is still alive in Gujarat, somewhere between poetry and music, mysticism and aesthetics, more or less consciously revered in the heart of thousands of Gujaratis. Pustimarga and Gujarat The specific form of devotion to Krishna practised by the Pustimargi Sampradaya, one of the Vaisnava Bhakti reformist movements in Braj, founded by Vallabhacarya in the sixteenth century, met with an extraordinarily successful response in Gujarat. Vallabhacarya (1478-1530), a brahmin hailing from Telengana, had "rediscovered" the localization of Krishna's mythological exploits in the Braj country' and Krishna himself revealed to him in a dream the existence of his svarupa idol on mount Govardhan. Vallabha established the cult of Govardhananathaji or Srinathaji through a refined and costly seva assumed by his Braj disciples. The service of the god consists in treating him as if he were a living child, the son of a king and of a shepherd at the same time. He is decorated, fed, and entertained (rigara, bhoga, raga) with extraordinary luxury. Vallabha and his successors composed a corpus of holy texts both in Sanskrit and in Braja-bhasa, the divine language of the young Krishna, through which they built up the structure of the new Sampradaya. Vallabha first visited Gujarat around the year 1500 and during his last visit in 1528, he installed the svarupa idol of Jagadisa Ranachiodaraya in the first Pustimargi haveli in Gujarat at Beyt-Dwarka. His second son and successor Vitthalanatha (1515-1564) made several successful visits and achieved numerous conversions, the details of which are told in some of the hagiographic tales or Braj Varta of the 252 devotees. The Vallabhan mission had a conspicuous suc

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Vol. XX, 1996 PUSTIMARGI POETRY IN GUJARATI... 25 cess among well defined social groups : the merchant castes and the wealthy farmers (Bhatia, Lubana, Bania, Maravadi, Kanabi-Patela). They were attracted by the way of life as taught by Vallabhacarya, namely that of the householders who remain embedded in sarisara while devoting their lives, and belongings, entirely to Krishna, yet still enjoying them. As Richard J. Colien says : "Vallabh and his son Vitthalnath appear to have cultivated the Vaisnava tendencies in Gujarat. There seems to have been a deliberate attempt, in the structuring of the sect's praxis, to cater to the world view of the Vaisya or the merchant interests3." Moreover these castes occupy a high rank in Gujarat and their "Vallabhization" with the prestige of its vegetarianism and stricter purity rules, offered to the Kanabi-Patela, for instance, a certain form of bralimanization. The proselytizing zeal decreased during the seventeenth century but the number of the havelis increased (founded at Surat, Dakor, Junagadh, Madhavpur, Porbandar, Cambay, Janinagar, Kapadvanj...) and it soon appears that the nonsectarian Gujarati Vaisuava behaves like a Vallabhan as far as his religious attitudes, his favourite forms of divine service or the tenets of his devotion are concerned, regardless of whether he belongs to the Pustimarga or has been initiated by a Maharaja. Does this encounter between Krishna and Gujarat rely exclusively on the Pustimargi preaching ? As a matter of fact the violent disappearance of the divine liero as suggested by the myth of Dwarka's being swallowed up by the sea never entailed the disappearance of liis cult as proven by the Gujarati poetry anterior to the sixteenth century. It rather seems that Vallabha and Vitthalanatha, independently of the fact that they had met with a social structure in favour of their conceptions, to a large extent took their inspiration froin the tendencies of krishnite devotion as found in Gujarat before setting on to absorb all the aspects of Vishnuism there. The shape Krishnaism takes in Gujarat from the sixteenth century and its evolution towards the so-called Premalaksanabhakti results from a fusion between the established religious culture and an imported sectarian form, which became remarkably harmonized so as to become a regional cultural pattern transcending the sectarian and religious domain. It is, therefore, not astonishing that a Pustimargi religious poetry should exist in Gujarati. It has remained little known, not having the sacred halo of Sanskrit and Braj, not having attained - with the exception of Dayarama -- the status of classical literature, and being used only when its utilitarian function requires it.

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26 MALLISON SAMBODHI Pustimargi Poetry in Gujarati If we accept the non-original works translated into Gujarati from the Braja-bhasa (like the Varta, stories of Saints, and other texts of spiritual uplift, as the Sanskrit subtilities of Vallabhan theology were not akin to the public of the Gujarati converts), the body of texts originally written in Gujarati belongs to three groups: the dholas, the Vallabhakhyana of Gopaladasa, and the works of Dayarama. The dholas An old folkloric form, belonging to the pada-bhajana genre, the dholas are for the Vallabhan faithful a devotional mode of singing as opposed to the kirtanas. The kirtanas are learned lyrics, now called haveli - samgita (a neologism coined to denote Pustimargiya-kirtana), necessary for the liturgic service (seva) of the temple images and performed by professional musicians (kirtanakara). The ordinary followers cannot participate in their performance. By contrast the dholas are accessible to all; a simple language and popular tunes render them accessible to all levels of culture. The dholas are the means of expression of the religious life of Vallabhan devotees and may serve for the translation of a Sanskrit stuti into Gujarati in order to make it singable for a villager, or for a long didactic text listing the names of the saints or the tenets of the faith or for hymn in praise of the beauty of Srinathaji. The dholas form the nucleus of Vallabhan literature in Gujarati. The beauty of these texts lies mainly in the fervour and sincerity with which they are sung, the aesthetic quality of the actual performance being more important than the forn and the content of the text. The Vallabhan dholas thus retain the characteristics of oral literature, even if nowadays printed texts are available. Usually not quoted in the histories of Gujarati literature, the authors of the Vallabhan dholas are Haridasa (who lived at the end of the seventeenth century, born at Broach and disciple of Gokulanatha, Vallabhacarya's grandson), Madhavadasa of Cambay, Vallabha, Vitthaladasa, Purusottamadasa, Gopaladasa, Sobhabetiji and Yasodabetiji (belonging to the family of the Maharaja of the sixth gaddi at Surat in the nineteenth century). The corpus of dholas seems to be frozen after the nineteenth century. The dholas may be either in praise of the beauty and of the qualities of the Yamuna river, of Sri Nathaji and of other svarupa idols; or in celebration of Janmastami (the birthday of Krishna); or in praise of Vallabhacarya -

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Vol. XX, 1996 PUSTIMARGI POETRY IN GUJARATI... 27 Mahaprabhu, and of his descendents Vitthalanatha - Gosaini, Gokulanatha (the fourth son of Vitthala and the last great acarya), and of the seven main seats (gaddi); they may describe the lila of Krishna in the Braj country (rasalila), of his pastoral life at the Gokula; or they may be in praise of the virtues of the viraha iinposed on the Gopis separated froin Krishna, in praise of lumility and of good conduct in general, or in praise of the perfect Vaisnava. Some very long dholas list the 84 and 252 Vaisnnava saints, resuning in one line the story of the saints; some are in praise of the consecrated poets of the sect, the eight seals (astachapa). The dholas are sung mainly by women, though men are not formally excluded, at home and especially during domestic worship when they are alone. They may also be sung by groups of worshippers who gather at the haveli between the divinity's darshana period when the sanctuary is curtained off. And they are sung and taught through the satsarga, regular gatherings of the Vallabhan faithful. The inembers of these pious associations - a custom quite alive nowadays - meet at regular intervals during the week under the direction of a guru. An important part of each meeting is the repetition of the dholas towards the end. The guru chooses the texts and the singer who will start and lead the performance. The practice of the satsamga which has survived into modern times seems to ensure the perennity of the oral transinission of the dholas, a vivid tradition underthreatened for the time being by modernity. The Vallabhakhyana or Navakhyana by Gopaladasa (before 1577) This text presents another aspect of the Vallabhan literature in Gujarati. The author Gopaladasa according to legend met in his childhood Vitthala in the house of his father-in-law Bhaila Kothari, near Ahmedabad, in the village of Asarva. There Vitthalanatha is said to have given to him his berel leaf to chew, in order to purify him and to provide him with a vision of the rasalila which later Gopaladasa described in his as yet unpublished Bhakti-piyusa; Gopaladasa became the bhakta of Vitthalanatha and is said to have composed the Vallabhakhyana in praise of the family of Vallabha. This is what is told in the twenty-eighth varta of the 252 saints. Later legends add that he was mute and that thanks to Vitthala's betel leaf, le recovered speech. They also add that he was a reincarnation of the famous Vaisnava poet Narasi Mehta (fifteenth century), whose Vishnuism had not yet attained ultimate perfection according to the Vallabhans. Teliwala (in his introduction to the edition of the Vidvanmandanam) established the date of the meeting with Vitthala as being 1543, and states that

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Vol. XX, 1996 PUSTIMARGI POETRY IN GUJARATI... 29 his childhood at Chandod on the bank of the Narmada. In his early adulthood he was converted to the religious life of the Vallabhan obedience. Although his artistic temper made it difficult for him to adjust to the sectarian authority of the time, he was a sincere Vaisnava as his fervent krishnite poetry shows. This poetry, dlzolas, pada and garabi, all superb lyrics, may be claimed in their own right to be Pustimargi but the personal gift of Dayarama renovating so subtly the eternal theme of the love between Krishna and the Gopis, confers to him a place apart not only in Gujarati literature, but in the classical devotional poetry of the Subcontinent'. Yet some pada or dhiola are more cherished by the Vallabhan faithful such as: -Vaisnava nathi thayo tum re, sida ne gumanamam ghume, -Harijana nathi thayo tum re. -Sri Nathaji vadanakamala joyun jene ekavara, -Sri Nathajinun vadanakamala joyum. -Jo koi prema amsa avatare, premarasa tena uramam thare. And there is another trend in the works of Dayarama, much less known but quite voluminous : long didactic poems exposing the quintessence of the philosophic and theological doctrine of Vallabha. Best known among these is the Rasika Vallabha, where in 108 pada, forining a dialogue between a guru and his disciples, Dayarama refutes the theory of Mayavad and advocates Suddhadvaita. It is actually a catechism in verse. Bhaktiposana exposes in 400 lines the development and growth of the Bliakti according to Vallabha. The other poems are Pusti-patha-rahasya, Guru-sisya sarvad, Sri Hari-bhakti-candrika, Bhagavad- gita-mahatmya. This attempt to deal with the theoretical aspect of the Vallabhan movement reminds of the Vallabhakhyana of Gopaladasa. Yet these versified treaties do not receive the same appreciation among the Pustimargi followers. But they attracted the attention of Govardhanram Tripathi who, at the turn of this century, devoted to them his most important essay of literary criticism: Kavi Dayaramano aksara deha". It appears from the three facets of Vallabhan literature in Gujarati that the dholas are appreciated by the Vallabhan coinmunity in Gujarat, that the Navakhyana reached the Vallabhan community as a whole whereas Dayarama is relevant to the entirety of the Gujarati public. This universalization of a current

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28 MALLISON SAMBODHI the Vallabhakhyana was composed before 15777. The nine chapters of the Vallabhakhyana are of unequal length, totalling in between 11 and 29 verses. They are written in an unusual style, concise, in the sutra manner and strongly sanskritized. The first akhyana deals with the philosophical and the theological nature of Purusottama. The second tells the life of Vallabha upto the birth of Vitthala. In the third we find the birth of Vitthala. in the fourth the good qualities of Vitthala; the fifth akhyana describes the firm . implantation of the bhakti marga. The sixth exposes the lila of Vitthala, the seventh the teaching of the seva. The eighth contains the praise of Vitthala and the ninth the praise of the family of Vitthala. Each akhyana is sung according to a given raga; each one may be sung separately during a private seva or together during a bhajana of the satsarga. There are several manuscripts of this text, the oldest of which is supposed to be kept at the Balakrsna Mandira of Bombay. There are several sectarian editions and one is even included in the anthology of the BIhat Kavyadohana of I.S. Desai. The Vallabhakliyana earned itself a great renown not only among the Gujarati faithful but among all Vallabhans. This might be due to a reinarkable characteristic of the text : the extreme devotion shown to the person of Vitthala and the acknowledgement of him as an avatara of Krishna. In fact Gopaladasa would have been the first to establish the divinity of the "Maharajas", the leaders of the Pustinarga, descendants of Vallabha. It is not surprising that the poem was thus commented upon in Hindi and Braj, and even in Sanskrit, an extraordinary development for a Gujarati text ! It was commented in Sanskrit by Sri * Vrajarayaji Maharaja of Ahmedabad in 300 pages in 1880, later on by Dixitji Maharaja of Bombay and before 1880 by Jivanesaji Maharaja of Boinbay equally. Although generally not known outside the cominunity, the Vallabhakliyana is, even now, quite popular among Vallabhans who love to sing, or listen to it (even on audio-cassettes). The capacity of the poem to focus in Gujarati the totality of the Vallabhan literary preoccupations : from the devotional lyrics to the learned theological treatises, may explain its success, in spite of its difficult style. Conversely Dayarama who also catered to both these literary ranges is more famous with his countrymen at large than with his fellow Vallabhans. Dayarana (1777-1852) Dayarama, the last of the medieval poets of Gujarat, was an orphan and spent

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30 MALLISON SAMBODHI known as premalaksanabhakti cultivated (if not imported) by the Vallabhans in Gujarat was already present, for instance, in the poetry of Raje Bhagata (circa 1720) who was a Molesalam muslim and not a Pustimargi, apparently2. A literary taste shared by Vallabhans became pan-Gujarati. But not only the realin of letters is concerned. Culinary refinements, delicate ornamental display used in the Pustimargi seva becanie the daily fare of the Gujarati way of life. The aesthetic model was so compulsory that, for instance, when Divana Ranachodaji Amaraji (1768-1851), minister of the Babi dynasty of Junagadh, wanted to install tlie Saiva cult of a new lingam, Budhesvara, he chose the same complicate and abundant seva of the Pustimargi tradition to feed, clothe, put to sleep and entertain the miniature lingam ! Certainly with the Vallabhans, Krishna has travelled a second time to Gujarat and made his home there for ever. NOTES: 1. See Charlotte VAUDEVILLE, "Braj, Lost and Found", Indo-Iranian Journal, 18 (1976), p. 195-213. 2. Ed. N. SHARMA, Dosau bavana Vaisnava ki varta, Mathura: Sri Govardhana granthamala karyalaya, VS 2022 (1965). On the history of the diffusion of Vallabhism in Gujarat during the sixteenth century, see the introduction of M.T. TELIWALA to his edition of the Vidvanmandanani (Bombay, 1926, p. (1)-(25), again published in K.M. JHAVERI's edition of the Imperial Farmans (A.D. 1577 to A.D. 1805) Granted to the Ancestors of His Holiness the Tikayat Maharaj (Bombay, 1928), at the end, without pagination. 3. "Sectarian Vaisnavism : the Vallabhan Sampradaya" in GAEFFKE Peter and David A. UTZ, ed, Identity and Division in Cults and Sects in South Asia, Philadelphia : The University of Pennsylvania, 1984, p.76. 4. See Francoise MALLISON, "Development of Early Krishnaism in Gujarat : Visnu - Ranchod - Krsna", in Monika THIEL-HORSTMANN ed., Bhakti in Current Research, 1979-1982, Berlin : Dietrich Reimer, 1983, p. 245-255, and "Early Krsna Bhakti in Gujarat: The Evidence of Old Gujarati Texts Recently Brought to Light" in A. W. ENTWISTLE and - MALLISON, ed., Studies in South Asian Devotional Literature, Research Papers 1988-1991, New Delhi : Manohar, and Paris : Ecole Francaise d "Extreme-Orient, 1994, p. 50-64. 5. The best known collection is by Lallubhai Chaganlal DESAI : Vividha dhola tatha padasarigrala in two volumes published in 1916 at Ahmedabad, and regularly

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PUSTIMARGI POETRY IN GUJARATI... reprinted since then. On the dholas see H.C. BHAYANI, "Dhavalas in the Prakrit, Apabhraisa and post Apabhramsa traditions" in Bulletin d'Etudes Indiennes, 6 (1988), p. 93-103; F.MALLISON, "Les chants dhola au Gujarat et leur usage pour la devotion vallabhite", in Bulletin de 1' Ecole Francaise d' Extreme-Orient, 75 (1986), p. 79-103, and "From Folklore to Devotion: Dhol Songs in Gujarat", in R.K. BARZ and M.THIEL-HORSTMANN, ed., Khoj 2 Living Texts from India, (1989), Wiesbaden: Otto Harrassowitz, p.87-101. 6. Ed. N. SHARMA, op.cit.note 2, p. (3). 7. Ed. M.T. TELIWALA op. cit. note 2, p. 76. 8. Ed. I.S. DESAI, Brhat kavyadohana, VIII, Bombay Gujarati Printing Press, 1913, p. 458-470. Vol. XX, 1996 31 9. In contrast with other medieval poetry and certainly due to the late period, the abundant works of Dayarama (1777 - 1852), as well as the story of his life, are well recorded and published, even by the descendants of his disciples; see for instance Dayaramakrta kavyasangraha edited in two parts by the pioneer of modern Gujarati, Narmadasankar (1833-1886) at Bombay Gujarati Printing Press, 1887, or the collection Dayarama rasadhara (9 vols.) and Gadyadhara (3 vols.) by K.K. SHASTRI and I.CH. JOSHI, Ahmedabad Gujarati Sahitya Sabha, 1971-1983. Gujarat Vernacu 10. Ed.J.G. SHAH, Kavi Dayarama racita Rasikavallabha, Ahmedabad lar Society, 1933. 11. Govardhan M. TRIPATHI, Kavi Dayaramano aksaradeha, Bombay N.M. Tripathi, 1908. 12. Ed. C.V. RAVAL, Pracina kavya sudha, pt. 5: Kavi Raje-bhai krta kavita samgraha, s.1., 1931. See R.V. PATHAK, "Raje ane Dayarama", in Nabhovihara (1961), p. 106 117.

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SELF-LUMINOSITY OF CONSCIOUSNESS IN ADVAITA VEDANTA AS EXPLAINED IN THE NYAYAMAKARANDA Rabindra Kumar Pandya We shall be concerned in the present paper with the theory of self-luminosity of consciousness or cognition (vijnana) as it has been propounded by the Advaita Vedanta system of Indian philosophical thought. We shall discuss the views of the prominent Advaitists like the great Sankaracarya and his ardent followers in passing but mainly the view of Anandabodha Bhattarakacarya and his criticism of the Nyaya and Prabhakara views in comprehensive and critical way. To begin with, Anandabodha is one of the brightest luminaries in the sky of Advaita Vedanta thought. His contribution to Indian philosophy in general and Advaita Vedanta in particular is not in any way inferior to that of his predecessors Suresvaracarya, Padmapadacarya, Vimuktatman, Prakasatman and others. Anandabodh's magnum opus, the Nyayamakaranda, is a landmark in the development of Advaita philosophy. This work of the twelfth century A.D. is a remarkable treatise in the way of philosophic presentation. It states the logical framework of the system in an analytic, systematic fashion malshalling the chief lines of argument pro and con'. Anandabodha is a follower of Sankara. Coming as he did some four centuries after Sankara, he found his inheritance a full-fledged system with elaborate logical weapons of offence and defence. Definitions, arguments and terminology were already standardised. He collected the most important of them into a systematic form in the Nyayamakaranda for purposes of propagation of Advaitic philosophy. As he says? at the end of his work, he has collected the material of his subject from the existing sources of his time. As is well-known, the general procedure followed by the Indian writers in the discussion of any problem of metaphysics or logic or epistemology is to put the view of the opponent first. The view of the opponent, which is ultimately to be repudiated, is discussed at the outset quite thoroughly to show its tentative plausibility from various view points. The detailed representation of the opposed thesis is followed by a critical examination which, by way of providing the counter-arguments, brings out the fallacies contained in the opponents' contention and thereby leads to its final rejection. The discussion concludes with

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Vol. XX, 1996 SELF-LUMINOSITY OF... an exposition of the independent arguments in favour of one's own position. The view of the opponent is known by the term purvapaksa and one's own view by the term uttarapaksa or siddhantapaksa. In the present discussion, the purvapaksas are represented by the Naiyayikas belonging to the Nyaya school of Aksapada Gautama and Prabhakara's of Purva Mimanisa system. Then Anandabodha puts forth the Siddhantapaksa i.e. Advaita view and tries his best to defend it. We all know very well that knowledge (jnana) is the basis of all practical activities. The function of knowledge is to illuminate the objects of our world other than itself. As according to Advaita metaphysics an unreal material world is superimposed on the one Reality, the principle of pure consciousness, the Brahman, a material object is nothing but a false projection of that one consciousness. In conformity with this basic doctrine a material object of knowledge, is called Visayacaitanya or prameyacaitanya (consciousness falsely limited by the superimposed object). Buddhi or antalkarana is looked upon as antalikaranavacchinnacaitanya (consciousness falsely limited by superimposed antahkarana). In this respect it is called the knower (pramats), the empirical self or Jiva?. In another hypothesis the Jiva is consciousness reflected in buddhi. Jiva is otherwise called Pramaticaitanya. Antahkaranavitti, i.e. consciousness is falsely limited by the superimposed antahkaranavrtti. Hence it is called pramnanacaitanya, for this vitti is accepted as the instrument of knowledge which is nothing but the manifestation of the hitherto non-inanifest object. Thus, the situation sertles down to this form :- the knower (pramata), the instrument of knowledge (pramana) and the objects of knowledge (prameya). All are basically the same consciousness which is conceptually differentiated into and distributed in three different forms, namely, pramata, pramana and prameya in accordance with the different limiting conditions (upadhi). According to Advaita Vedanta epistemology, tlie fundamental feature of knowledge is that it does not depend on human notions". It depends on the thing itself. In spite of this uniformity in the nature of knowledge, they distinguish the universal knowledge from the particular knowledge. Sankara calls it the distinction between nirvisesavijnana and visesavijnana. The particular knowledge (visesavijnana) presents the reality as limited by name and form. It is the knowledge of the Absolute Reality as infected by division and discrepancy. It gives us the knowledge of the changing objects, not having their being in and through the Absolute, but enjoying an independent existence. It provides the

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34 RABINDRA KUMAR PANDYA SAMBODHI false cognition of things. The knowledge of reality in its Absolute and infinite aspect is the universal knowledge (nirvisesavijnana). It is the absolutely perfect knowledge. The Advaitins describe it as self-luininous experience and, like the Upanisadic view, identify it with Brahman or Atman. Sankara expounds that effulgence of Brahman is original which illumines all objects but is itself illuinined by no other light. The reason for self-luminosity as given by Sankara is that Braliman can never become an object of knowledge. As regards selfluminosity, he is of the view that had Atman not been there, the activities of the mind and senses would have been impossible. The light of Atman pervades the whole body, senses and mind. Sankara in his commentary on Brahmasutra" of Badarayana states that all those which make other objects known are in turn known by means of the light of Braliman which is not known by any other means, for Braliman is self-luminous by virtue of which the sun, etc. shine. He further establishes the self-luminosity of Atman in his commentary on Brhadaranyaka Upanisad offering argumentss. He says that Atman is the cause of the functioning of all senses. If Atman were not there, the activity of the mind and senses would be impossible. It is the cause of all activities. The light of Atman being the inner-most in the heart, pervades the whole system of the body and senses right froin the mind (buddhi), and colours it with its light as an emerald dropped in a pot of milk turns all the milk green. The light of Atman is superior to all other lights in that it shines all other things, shining by itself. This does not, however, mean that Atman is self-luminous in the sense that lamp which also shines by itself while shining all other things, is self-luminous, for though a lamp shines by itself still it is an object of illumination just like any other thing illumined by it. Sankara further explains that the self-shining nature of Atman is clearly observed in dream (svapnavastha). In that state, stripped of its connection with the gross world, it creates the dream-body and dream objects out of the matra, the collection of mental impressions formed by the experiences of the waking state. The cognition of this matra (matropadana) is the object of Atman's selfluminosity. When Advaitists hold that all the objects of the world are manifested by consciousness, whereas consciousness alone is self-manifesting, they have the Naiyayikas as their main opponents. The Naiyayikas mean by jnana or cognition a transitory mental occurent, necessarily directed towards an object other than that which is expressed by statements such as 'that is a pot. The pot is said to be the object of the

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Vol. XX, 1996 SELF-LUMINOSITY OF... 35 knowledge, for the cognition of the pot is necessary and sufficient for all our dealings with the pot. The cognition manifests the object and the object only, but neither the cogniser, nor the cognition itself. The Nyaya position is that for use of the pot, the awareness of the pot is sufficient and the awareness of the self and the awareness of the cognition are redundant. Had the cognition and the self been the objects, then the cognition would have led to their uses too, which is not the case. Hence, it should be said that a cognition, itself unknown, reveals the object. Nyaya asserts that the primary awareness or the vyavasaya' of the form that is a pot is revealed by the secondary introspective awareness of the form 'I know the por' or 'I have knowledge of the pot. The latter is called anu-vyavasaya. The object of this second knowledge is the primary cognition, the self which is the substratuin of this cognition, and also the external object in and through the primary cognition. The structures of the primary cognition and the corresponding reflective cognition are more or less the same. Both of thein manifest their objects, remaining themselves unknown. It is to be noted that according to the Naiyayikas, the primary cognitions are not necessarily followed by the secondary cognitions. If the conditions of anu-vyavasaya are present and the impediments are absent, then only anuvasaya takes place. The Advaitists liave meant by jnana soinething very different. It is a transcendental self-contained principle, which has no reference to any object. The temporal, finite mental states, which arise and perish, which have been called jnana in Nyaya are called vitti-jnana in Advaita philosophy. These are supposed to be modifications of antahkarana. In this empirical level, the Advaitists have accepted the intentional character of particular cognitions, and they have also accepted other constituent factors, such as the object of knowledge and the knower, etc. But they have given a very different analysis of vitti-jnana, as far as its awareness is concerned. In fact we can talk of Advaita epistemology only in terms of vrtti-jnana, as the svarupa-jnana, is equated with the metaphysical principle in the system viz., Brahman. Let us see how Anandabodha deals with the problem. Anandabodha explains the Advaita doctrine of self-luminosity (svayamprakasata) of Atman or Brahman on the basis of Upanisads and earlier Vedanta texts. According to him, the Selfluminosity of Atman follows from the fact that unlike any other empirical inert object, for instance, a jar (ghata), Atman does not require any other light or object for its manifestation but it manifests everything else existing in the

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36 RABINDRA KUMAR PANDYA SAMBODHI emperical world. Apart from Atman, no object of the world is self-illuininating, but all objects depend entirely on the Atman for their manifestation. The self-illuminating nature of the Atman is proved by the fact that men, after knowing the real nature of the object whether favourable or unfavourable, endeavour to achieve only favourable ones and withdraw themselves from unfavourable objects. The real nature of the objects whether good or bad is not known by the sentient Atinan. This worldly capability of determining the nature of the objects as good or bad undoubtedly proves that Atman is self-luminous. Anandabodha employs the following syllogism to prove the self-luminosity of the Atman in his Nyayamakaranda : Vijnanam avacchedakatmaprakasadlinam avacchinnaprakasatvat yad uktasadliana) sa uaktasadhanah Yatha dandaprakasadlino dandprakasah In his Pramanamala, Anandabodh discusses this point mutatis mutandis, but in this text the above syllogism has been modified as follows: Idam avacchedakaprakasadlinam Avacchinnaprakasatvad dandiprakasavat. In this connection Anandabodha refutes the purvapaksa view which upholds that Atman can become the object of mental perception (manasapratyaksavisaya). The Atman cannot be self-luminous since it depends on mind for its manifestation. Anandabodha refutes this view by saying that Atman cannot be manifested by the mental perception since Atman cannot be the object of its own cognitive operation or psychosis (vitti) as one object cannot be both karta (subject) and karma (object). For example, a sword cannot cut itself or a finger-tip cannot touch itself at one and the same time. Since Atman is the subject of all cognitions it cannot be an object of cognitions. Hence the purvapaksa view is not valid, says Anandabodha. Anandabodha further refutes the view of salikanatha who in his Prakaranapancika advocates Atman as the subject of the cognition (vijnana). Salikanatha argues that Atman, not perceived through the direct mental perception (manasapratyakasa), cannot be said to be self-luminous. For the Atman is manifested in all the object-cognitions (sarvartha-samvitsu) which

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Vol. XX, 1996 SELF-LUMINOSITY OF... depend on the sense organs (indriyadlina). It cannot be said that because Atman is the recipient of the ultimate result of the action (kriya). It (Atman) is the object of the action since that would go against the functioning capability of Atman (na khalu asya kriyaphalabhajah api karmabhavah yatha anatmani vittih virudliyate). For those who know the concept of karma (object) well, they advocate the object (karta) to be one connected with the fruit of the action inherent in something else, i.e. in the karta (Para-samaveta kriyaplialsalikarmeti karmavidali). This being the case, Atinan is not the object like a person who strives to reach a town tatha sati na atmanah karmabhavah gant;vat; e.g. when Caitra, goes to a town through the action of going inherent in him i.e. Catira, he becomes the enjoyer of the ultimate result i.e. reaching the town; yet Catira is not the object (karma) nor is Atman's functioning (atmanah vyapara) contradictory in any manner. It is only the town that is the object (karma), being connected with the fruit, produced by action of going inherent in Caitra. Salikanatha further argues that Atman cannot be perceived mentally since perception or cognition implies some object for it and as Atman cannot be the object (karma), it follows that Atman cannot be perceived. The cognition of a blue object manifests Atman which is its locus as 'not this' (nedam) and the blue object as 'this idam). We will discuss here the Prabhakara Mimamsaka view of Atman so that Salikanatha's arguments will be very clear. The Prabhakara school of Purva-Mimamsa views Atman like that of the NyayaVaisesika concept of Atman. According to Prabhakara, the Atman is not knowable and he uses the 'katrkarmavirodha' theory or the contradiction of the subject and the object. The Prabhakara theory is as follows : It is a matter of common experience that in every cognition three factors are revealed, viz. the cognizer (pramata), the object' (prameya) and the cognition itself (pramiti). In the cognition 'I know the jar there is a triple consciousness (triputi-sainvit). Here 'T' refers to the cognizing soul, 'jar' to the object of cognition and know' to the fact of cognition. All these three factors are apprehended together, but while the object is apprehended as having a form, the other two are apprehended without a form. The object is always apprehended as the accusative (karma) the soul is apprehended as the noininative (karta), and the cognition or awareness as cognition (kriya). The proof for the existence of these three is nothing but direct experience. The self, the object and the cognition are directly revealed in every object-cognition, and the first two always stand in

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38 RABINDRA KUMAR PANDYA SAMBODHI need of a revealer, the third is self-revealed. The self and the object are always dependent on cognition for their manifestation. They are not self-luminous, because we see that during sleep they exist, yet they are not manifested in consciousness. It cannot be said that they are no-existent when they do not appear in consciousness, because on waking they are recognised as the same as they were before. They do not manifest themselves though they do exist during sleep. This is because they are not self-luminous. Cognition, on the contrary, is self-luminous. There is no time when cognition can exist without manifesting itself. For the manifestation of the self and the object cognition is required, but for its own inanifestation there is 110 need of a second cognition. Cognition is its own manifester, and, though it manifests the self and the object both, yet, unlike the object, the self is never inade its accusative. Just as in the act of going the accusative character belongs to 'village' only and not to the 'goer though the result of 'going, viz. conjunction and disjunction (samyoga-vibhaga), is related to both, so in the act of cognizing the accusative character belongs to the 'jar' only and not to the cognizer, though the result of the cognitive act, viz. manifestation is related to both. This is because the accusative character consists in assuming the result of an action inhering in a different thing (parasamavetakriyaphalabhagita). In 'going' the action inheres in the body, and, similarly, in 'cognizing it inheres in the soul, the results being assumed by the village' and 'the jar', respectively, which are different from the agents. Thus cognition which is formless, revealing itself by its very nature, reveals the soul and the object also. From cognition its cause, viz., the soul-mind contact is inferred and cognition itself is directly apprehended as cognition. It is not apprehended as its own object as the Buddhist idealist holds. Cognition is selfluminous and illuminates its subject and object just as the light of a lamp being self-luininous illuminates the lamp as well as objects. Just as a second light is not needed to manifest a light, so a second cognition is not required to manifest a cognition. The proof of the existence of all entities depends on their being manifested by cognition, but if cognition itself is not manifested, how can there be the proof? Anandabodha briefly refutes the above mentioned view of salikanatha. He argues that if the Atman would have been different from its cognition and at the same time would not have been the object (karma) thereof, it would not depend on cognition (vijnana or samvid) for its manifestation. That which is manifested by cognition is necessarily its object. As the Atman cannot be the object of its cognition (vijnana), it logically follows that it cannot be manifested

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Vol. XX, 1996 SELF-LUMINOSITY OF... 39 by cognition because being manifested by cognition is being pervaded (vyapya) by 'being an object of cognition just as simsapaness' (simsapatva) is pervaded by treeness (vrksatva). When 'treeness' is denied (vyavartamana) in a particular object, it is obvious that 'simsapaness' is also absent there. Similarly, if the Atman is not the object of cognition it cannot be manifested by cognition. Anandabodha finally employs the following syllogism : Sanivedita na sanividadhinaprakasah Saruvitkarmanam antarena paroksatvat samvedanavad itilo. (The cogniser does not depend on cognition for his manifestation because he is not the object of cognition but is self-luminous like cognition itself). Thus, Anandabodha refutes Salikanatha's view and proves the Vedantic doctrine of self-luminosity of the Atman, as propounded in the earlier texts of the Advaita Vedanta. Anandabodha in his Prainanamala and Nyayamakaranda explains the nature of Brahman or Atman as consciousness (vijnana). With the help of a number of scriptural statements (srutivakya) and valid reasonings he establishes the Advaita doctrine that Brahman as of the nature of Pure Consciousness (visudhavijnana) which constitutes the essential nature of Brahman. As Brahman is devoid of attributes (nirguna), consciousness cannot be its attribute. Consciousness, according to Advaita Vedanta, being itself Brahman is not identical with the empirical knowledge expressed by the terms like jnana, buddhi etc., and consciousness (vijnana or samvid) is trans-empirical and transcendental. According to Anandabodha pure consciousness (visudhavijnana) is self-luminous (svayamprakasa). Which does not require any other object for its luminosity. Since all the empirical objects are manifested by this supreme light, no object can illumine supreme consciousness, Braluman, which is therefore self-luininous and self-proved. Anandabodha differs from the view put forth by the Nyayaschool which does not approve the theory of self-luminosity of the consciousness (vijnana). According to the Nyaya school the Self (Atman) is essentially a pure substance (dravya). The knowledge (jnana or buddhi) being one of the adventitious qualities of the Atman resides in the Atman. Hence samvid or vijnana is not self-luminous (svayani-prakasa). Anandabodha asks the question whether vijnana (consciousness) cognises objects

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40 RABINDRA KUMAR PANDYA SAMBODHI when in itself it is luminous or otherwise 27. If the consciousness manifests objects being itself unmanifest then there would arise doubt whether a pot is cognised or not, i.e. when a person cognises a pot after that pot-cognition, he does not doubt whether he has seen the pot or not as he is sure of the potcognition. Hence it is proved that consciousness at the time of manifesting an object manifests itself since there does not arise any doubt in the mind of the cogniser concerning the cognition. Without admitting the self-luminosity of the cognition the determination of the cognition of any object would not be possible. Anandabodha therefore employs the following syllogism : Vijnanam artha-prakasana samaye prakasate tadutpatyan antaram sandehayogyatvad arthavat". (Consciousness manifests itself at the time of manifestation of object because after the cognition of an object, doubt does not arise about that cognition like the object.) If it be said that consciousness (vijnana) manifests an object being itself manifest by another consciousness, then, it does not stand to reason. For it will lead to infinite regress (anavastha)", because, for the manifestation of the first cognition a second will be necessary, and for the second, a third and so on. Thus, the process would not come to a logical end. Moreover, numerous cognitions of the worldly objects cannot occur at one and the same time. The worldly objects like a jar (ghata) and others are insentient by nature and consequently they are not self-luminous. Nor are they manifest by one another. If it be argued that consciousness though insentient, manifests an object, like the eyes, which though insentient manifest a visible object, Anandabodha rejects this view saying that the alternatives involved in it are not admissible. Manifesting is producing manifestation. The manifestation produced by consciousness is either nondifferent from the object of the cognition or manifestation is different from the object of cognition. The manifestation (prakasa) is not the nature of object since an insentient object and manifestation (prakasa) cannot be identical with each other, like a liquid and a solid, and the momentary manifestation cannot be identical with an object which is subtle in nature. Nor can it be said that (prakasa) manifestation is something other than the object, and is an attribute of the object (arthadharma) generated by the cognition (vijnana); for if it would have been the case, there would not have been manifestation of the past and future objects, though actually such a manifestation is always seen.

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Vol. XX, 1996 SELF-LUMINOSITY OF... Again, if manifestation (prakasa) were to be internal (antaram) it is nothing but the cognition (vijnana). If it is said to be non-sentient, (jada), then it would manifest neither the object nor its own nature. The entire world, therefore, would be blind (jaga-andhyam prasajyeta). Therefore, it must be admitted that cognition is self-luuninous and also manifests the objects. Just as light dispelling darkness helps the eye sight in its operation and illumines itself and the object without requiring any other light, in the same way the Atman manifests itself and the objects without the need of any intervening object!3. Now, Anandabodha criticises the Yogacara view of vijnana. The Yogacara, one of the four schools of the Buddhist philosophy otherwise known as Vijnanavadi for advocating vijnana (consciousness) as the supreme Reality, argues that the vijnana is not eternal (nitya) but momentary (ksanika). To prove the validity of the momentariness (ksanikatva) of the vijnana, this school points out that cognition of blue (nila) is different from the cognition of yellow (pita). The individual cognitions like the cognition of blue etc. arise and perish and so no cognition can be said to be eternal, maintains the Yogacara school. Anandabodha refutes this view by saying that the momentariness (ksanikatva) of cognition cannot be proved by any means of knowledge. The argument, viz. "when, 'blue' is cognised yellow is not cognised" is not capable of proving the momentariness of the cognition. In all individual cognitions (samvedana-vyakti) like the cognition of blue (nila) etc., tliere underlies one basic cognition which is identical with all these subsequent cognitions. Hence, the eternality of the cognition or consciousness is absolutely valid and logical. Secondly, the contention of the Yogacara school, viz., the individual cognitions like the cognition of blue are momentary, is not tenable according to Anandabodha because there would not be the cognition of difference (bheda) among the cognitions without a conscious self or vijnana, the perceiver of their differences. The cognition of different cognitions presupposes the Atman which is of the nature of vijnana. Since no other object or entity except Atman or vijnana can determine the difference, the consciousness (vijnana) is proved to be eternal (nitya). Thus, Anandabodha makes an important endeavour to elucidate the Advaita theory of self-luminosity (svayam-prakasatva) of consciousness. He forcefully establishes the Advaita view of consciousness by the help of strong arguments and the statements of scripture and refutes his opponent views of the Naiyayikas

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RABINDRA KUMAR PANDYA SAMBODHI and the Prabhakara Mimamsakas. This is his contribution to existing stock of philosophical thought of India. REFERENCES : 1. Rao, M.A.V. A Note on Nyayama karanda, Quarterly Journal of the Mythic Society, vol. p.256. 2. Nyaya makaranda with Pramanamala and Nyayadipavali of Anandabodha, ed. Balaram Udasina Mandalika, Chowkhamba Sanskrit Series, Banaras, 1907, p. 359. (NM) (PM) 3. sri Dharmarajadhvarindra, Vedantaparibhasa with notes and 'Prakasa' Hindi Commentary, The Vidyabhavan Sanskrit Granthamala 100, The chowkhamba Vidyabhavan, Varanasi-1, 1963, p. 35. 4. Brahmasutra-Sarkarabhasya 1.3.22. 5. Sankarabhasya on Bihadaranyaka Upanisad 4.3.7. 6. Ibid. 4.3.9. 7. NM p. 130. 8. PM. p. 13. 9. NM. p. 131. 10. Ibid. p. 135. 11. Ibid. p. 138. 12. Ibid. p. 139. 13. Ibid. p. 145. 14. Ibid. p. 144-145.

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'NIRAVASITA' (Pavini, 2. 4. 10) M. Srimannarayana Murti The celebrated grammarian Panini (7th cent. B.C.)' reads in his Astadhyayi a rule: Sudranam aniravasitanam (Pan 2. 4. 10) enjoining the case-affix in singular number to the samahara-dvandva compound in which the members denote sudras who are unexpelled (from the communication of higher classes). In other words, the rule signifies that the unexpelled sudras, when expressed together in a compound, are treated as one aggregate with a singular case-affix. The dvandva compound is formed when the referents of the members of the compound are connected or associated with one common action or one common quality. On the basis of the semantic function it is classified into two types called itaretarayoga and samahara". The itaretara-yoga-dvandva compound implies unity in diversity; the unity is with reference to the action or quality inhering in the two referents while the diversity is with reference to individuals. For example ramalaksmanau gacchatah implies that Rama and Laksmana are two different individuals doing one common action of going. The samahara-dvandva is formed when the individual distinctions are submerged under a cominon action or a common quality. Thus the compound implies predominance of aggregation (samahara) over co-ordination (itaretara-yoga)s. The singular caseaffix is added to the samahara-dvandva to signify the non-distinction of individuals. The dvandva compounds taksayaskaram 'group of carpenters and blacksmiths' and rajaka-tantuvayam 'group of washermen and weavers' are the examples of Pan. 2.4.10. There is only one counter-example candalamstapah 'candalas and mitapas' quoted in all the grammatical works of the Paninian school. This rule of Panini attests a fact that by about seventh century B.C. there were several classes of sudras, who were divided into two groups, namely aniravasitas 'unexpelled' and niravasitas 'expelled'. But the rule does not speak of the criteria for unexpulsion and expulsion. An attempt is made here to arrive at the sense of niravasita on the basis of the religious literature. Patanjali arrives at the sense of an iravasita vis-a-vis niravasita linguistically on the basis of the usage of the dvandva compounds. He observes :

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44 M. SRIMANNARAYANA MURTI SAMBODHI It is said (a singular number for the dvandva compound) of words expressing (sudras who are) unexpelled; from what (they are) unexpelled ? They are unexpelled from the Aryavarta. Then what is Aryavarta ? It is (that region which is lying) to the East of Adarsa, to the West of Kalakavana, to the South of Himalayas and to the North of Pariyatra. But if so, the compound kiskindliagandikam, sakayavanam or sauryakrauncam cannot be derived. Then they are unexpelled from the habitation of the Aryans. What, then, is the habitation of the Aryans ? It is a village (grama), a station of herdsmen (ghosa), a town (nagara), or an occupation of gypsies (sanvaha). Even then there are those like Candalas and mirtapas who are members of the great habitation and living (in those habitations); in such cases (the itaretarayoga-dvandva compounds like) candalam?tapa!i cannot be accomplished. If so, they are unexpelled from the sacrificial rite. Then (the samalara-dvandva compounds) taksayaskaram and rajakatantuvayam cannot be accomplished. If so, then, they are those who are unexpelled from the plate. Unexpelled are those, the plate in which they eat becomes pure by a purificatory rite. The expelled are those, the plate in which they eat does not become pure even by a purificatory rite The paraphrase of Patanjali manifests his religious predilections and also his great insight regarding the expulsions that could have taken place on political, social and religious considerations. For example, according to the AitareyaBralimana (7,18), the sage Visvamitra was condemned by a curse with fifty of his sons to live on the borders of the Aryan settlements and these people settled in the south of Vindhyas and came to be known as the Andhras, Pundras, Sabaras, Pulindas and Mutibas; all these descendants of Visvamitra were treated on a par with the non-Aryan tribes called Dasyus'. The very sons of Visvamitra were degraded to the status of dasyus and were treated on a par with sudras, being deprived of their profession as priests and of education in the Vedic lore, while their own kinsmen, like Madhucchandas, became even the composers of several hymns in the Rgveda. But they were allowed to join their kinsmen in common eating, as is evidenced by such compounds like kiskindhagandikam; Kiskindha and Gandika are the regions lying outside the Aryavarta. Similarly the compounds Sakayavanam and sauryakrauncam confirm that the Aryans were maintaining social and political contacts with the foreign nationals like the Sakas and the Greeks. But when they developed their religion culminating in the form of sacrificial science, they looked down upon them and hence they were treated on a par with sudras; at the same time they maintained good social contacts in the form of common eating

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Vol. XX, 1996 NIRAVASITA The samahara-dvanda compounds taksayaskaram and rajakatantuvayam on the one hand and the itaretarayoga-dvanda compound candala-mrtapah on the other, ainply exemplify the following facts in the cultural history of ancient India during the time of Patanjali : 1. The word niravasita 'expelled' vis-a-vis aniravasita "unexpelled' should be taken from the religious point of view. 2. Even though the sudras do not have right to perform sacrifice the unexpelled sudras are allowed to go into the midst of the sacrificers and associate themselves in whatsoever manner with the sacrificers by doing different helps in the performance of the sacrifice. On this count all these sudras, in spite of their differences in professions, are treated alike and considered as one group fit to take ineal in the plates used by the sacrificing classes. 3. The niravasitas are untouchables because the plates touched and used by them become polluted and unfit for reuse by the cominunities qualified to perform sacrifices. This criterion of untouchability is also upheld by the authors of the Dharmasastra; for example Manu calls these niravasita as apapatras or anaratras10. We shall now endeavour to determine approximately the period when the niravasita came to be identified as apapatra or untouchable and the conditions that led to introduce the social evil in the Aryan society, through the phenomenological approach. It has been widely accepted that the phenomenological approach can be used to describe the religious phenomena from rituals to belief in order to understand such entities on their own terms. Even though the phenomenological approach is likely to provide strong emotional reactions, we may attempt as it is aimed at with a genuine desire to gain complete understanding of the religious beliefs and practices with accuracy of scholarship and with complete sympathy". Now wlien we turn to Panini and Patanjali, their grammatical works are preeminently to protect and promote the Vedic religion and customs (acara)2. So the origin of untouchability also has to be searched in the structure of the science of sacrifice and the caste system. The Vajasaneyi-Sarhita and the Taittiriya-Brahmana are the earliest records giving the caste structure of the Aryan society.

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M. SRIMANNARAYANA MURTI SAMBODHI III The Vajasaneyi-Sanhita (VS), 30.3-24 and the Taittiriya-Brahmana (TB), 3.4 give a large list of men and women belonging to different castes and different professions to be butchered. This* translation of the word 'medhya' is controversiol. Editrs in a sacrifice called Purusamedha 'human sacrifice'. There are not less than 184 persons according to VS and 178 persons according to TB involved in the ritual. These persons may be classified into different groups based on caste"3, sex, professions, religious beliefs's, physical fitness and appearance 16, social and sexual relations". Men and women who are deficient socially, religiously, professionally, morally and physically find place in the list enumerated. VS. 30. 22 prescribes that certain persons who are physically uneven are to be chosen from among people other than brahmanas and sudras (asudra abralimanas te prajapatyah). These evidences show that all the people of different castes, including nasada (VS. 30.8), palkasa (30.17) and candala (30.21) are treated alike and they were allowed to be touched. The Satapatha-Bralimana (SB) says that the four castes, brahmana, rajanya, vaisya and sudra, do not vomit Soinale. This passage means that at one time the sudras were also allowed to perforin sacrifices. At least that several concessions to the sudras were allowed during the Bralmana period is known from the admission of the rathakara and nisada to the sacrifice. The rathakara is a sudra born to a mahisya and a karani. He has a right to the rite called adhana 'setting up the sacred fires''. Similarly nisadasthapati 'a nisada chieftain' is adinitted to the Gavedhuka sacrifice. As there is no regular upanayana for the nisada, the sacrifices are to be performed with ordinary fires20 and cooking the sacrificial offerings, the purodasas on the earth, and the sacrificing avadanas (cuttings) of heart, tongue, etc., in water. The nisada chieftain has to learn the necessary Vedic verses by heart, without having passed through a regular course of Vedic study21. Thus the Bralunana literature evidences the existence of diversified and complicated institution of marriage and the non-existence of untouchability. However the institution of religion in the form of sacrifice was viewed as sacred and supreme. IV During the periods of the Kalpasutras and the Upanisads, the caste system became rigid and the sacrificial procedure got a definite fixed order. Apastamba specifies that the sacrifice is restricted only for the three castes, namely brah* This translation of the word medhya' is controversial. -Editors.

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Vol. XX, 1996 manas, ksatriyas and vaisyas. Even among brahmanas some are disqualified to function as officiating priests as well as to perform sacrifices for want of required religious purity. Some of the noteworthy disqualifications, in this context, are: 1) making a sea voyage, 2) going beyond the frontiers of the country, 3) being born on the border lands, 4) not studying Veda together with its ancillary texts, 5) cultivating lands by ploughing, 6) trading in wool, 7) being a son of an appointed daughter (putriyaputra), 8) being a son begotten on a woman by a sagotra relation of her husband or another (paraksetra), 9) being one who was in the womb of a woman at the time of her marriage (sahodha), 10) being one who is a damsel's child, i.e. born of an unmarried daughter (kanina), 11) being one who is posthumous child (anujavara), and 12) being one who has two pravaras. NIRAVASITA 47 V The above observations allow us to search for the causes of untouchability in the institution of marriage and sacrifice. From the religious point of view untouchability is avowedly a religious pollution which would cause an interruption to the sacrifice. Besides the pollutions of the sacrificer, the pollutions of the sacrificer's wife are to be warded off for the successful completion of the sacrifice. In case of occurrence of pollution there are several expiatory rites by performing which the sacrifice can be continued. For the sacrificer, there is no pollution that can make him unfit from the time of undertaking vow (diksa) upto the final bath (avabhrta). The wife and husband are treated as one unit and thus the wife is indispensable for the sacrifice". The sacrificer cannot even perform the preliminary rite of 'setting up of the sacred fires (agnyadheya) without his wife. In spite of it, she is considered unfit to execute certain duties permanently and certain others during certain periods. In case of violation the ritual gets interrupted, and it can be resumed only after performing certain special expiatory rites. The sacrificer's wife is considered to be polluted on two important occasions, namely the periods of menstruation and confinement. During these two periods she is considered temporarily polluted, because of which she is debarred from the participation in the sacrifice of her husband. As a result the sacrifice gets interruption, warranting for an expiatory rite to overcome the defilement. The Brhadaranyaka Upanisad, 6.4.13 ( SB. 14.9.4.12) ordains that a woman during her monthly periods shall not drink from a metal vessel, wear a fresh dress, even a vrsala or a vrsali (i.e. a sudra man or woman) shall not touch her for a period of three days 28. This passage

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48 M. SRIMANNARAYANA MURTI SAMBODHI clearly testifies that the vessels used by her during her menstrual period become polluted and unfit to be used by others. Similarly, she should not be touched by any one of the four castes. The period of temporary pollution is considered to be so inauspicious that even her touch pollutes not only the sacrificer but also the sudras. In other words, her temporary pollution makes her inferior even to the sudras. There are several prescriptions ordained for the sacrificer when his wife goes into periods during various stages of the sacrificial ritual. Let us note some of the prescriptions from the Srautasutras in connection with the periods of the wife: 1. Baudhayana prescribes: "In the sacrificial rite of setting up of the sacred fire, if the wife is found in menses before the distribution of daksina, the sacrificer has to abandon the ritual and he should set up the sacred fires at another time again starting from the beginning all the rites in connection with it". This shows clearly that the pollution of the wife causes total interruption of the ritual. "If, however, the wife is found in menses after the distribution of daksina, the sacrificer should exclude her from the remaining rites and carry them out". 2. Katyayana observes: "If the sacrificer's wife is in menses after the Somasacrifice, duly preceded by the setting up of the sacred fires, has been commenced, all the things relating to initiation, which she has assumed, should be purified and kept apart. She should stay on sandy ground. At dawn and in the evening she should stand up on that ground. On the fourth day, she should bathe herself with cow's urine and then (again) assume the things relating to initiation" 3. Baudhayana prescribes: "If the sacrificer's wife enters the period of menstruation, during the Agnihotra-offering, he should keep her away and finish up the offering" 4. Vaikhanasa observes: "If the sacrificer's wife touches the sacred fires while she is in her menses, the sacred fires perish. So he must renew the sacred fires. If he touches one of the sacred fires, one should churn out that fire only and deposit it into the relevant fire-place. He should offer a sacrifice to pavamana Agni, to pavaka Agni and to suci Agni Similarly the period of confinement caused by child-birth or miscarriage for a woman is considered as a pollution called sutaka. During this period she becomes again untouchable temporarily. Only after bath, the food cooked by her becomes fit for consumption by family members and for offering to gods. For

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NIRAVASITA 49 Vol. XX, 1996 any reason, if an ahitagni consumes food cooked by a woman in confinement, he becomes polluted. He has to perform an expiatory rite", VI The temporary untouchability associated with a bralunana woman during the periods of menses and confinement may turn to a permanent untouchability if she is debarred permanently from the religious rites. This was what actually happened. When a brahmana woman is wedded to a ksatriya or a vaisya, by the inverse order of marriage system, her children are treated on a par with sudras with the right to take part a common meal34. The children called suta (when born to a ksatriya) and vaidehika (when born to a vaisya) are treated as unexpelled fudras (antravasitas) and they lose the right to sacrifice. The brahmana woman and her spouse fare ill when the latter is a sudra. She is treated as permanently polluted and debarred from even those rights of sudras. The progeny called candalas or candalas are treated as still lower than a normal sudra". The earliest reference of candala as an untouchable occurs in the Chandogya-Upanisad, 5.10.7; he is compared to a dog and a hog. The candalas are treated as expelled (niravasita) from the habitation and common meal. Thus the religious untouchability led to social untouchability. That the woman's temporary and permanent religious pollutions were responsible for the untouchability of the candalas can also be proved contextually. 1) The Maitrayaniya-Samhita reads, "verily, the sacrifice is right and truth, woman is something wrong and personifies evil (niryti) with woman. SB. 14.1.1.13 reads, "the woman, the sudras, the dog, and the black bird (the crow) are something wrong"". Srautasutras include the menstruating woman and candala along with the dog and the black bird as causing defilement to the sacrifice. For example, Baudhayana maintains that the kindling woods (aranis) become polluted as a result of the contact with an impure object, a dog, a crow, a sinner, a donkey, or a woman in menses. Katyayana ordains that if the sacred fires comes into contact with fire belonging to candalas, etc. one should offer a sacrifice to suci Agni41. Manu also mentions in the same verse quarter that the candala, a woman in menses, an out-caste person and a woman in sutaka as causing pollution by touch42. The woman's position is generally satisfactory, on the other hand, when she is married to a person of the same class and she has also ample opportunities in the choice of her husband. The prevalence of love marriages, premarital sexual

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M. SRIMANNARAYANA MURTI SAMBODHI contacts and adultery were sufficiently evidenced both in the Brahmanas and Upanisads". If a woman, say even if the wife of an ahitagni, falters in her sexual morality, she is permitted to join her husband by confession and take part in the sacrifice. For example according to SB. 2.5.2.20, in one of the seasonal sacrifices the wife of the sacrificer is questioned about her sexual loyalty to her husband. The Pratiprasthats goes to the hut of the sacrificer's wife to lead lier to the altar. Before leading her to the altar he asks her "With whom do you sleep?" A woman cominits a sin against Varuna if she, while belonging to one, sleeps with another. But when one confesses a sin, it becomes indeed sinaller; for it becoines truth. If she does not confess truth, it brings disaster to her and to her relations Satyakama Jabala in the Chandogya-Upan isad is another example. He was admitted by the preceptor Haridrumata Gautama into his school and initiated into the Vedic lore on the confession of his mother Jabala that she was not very sure of his father as she was having a free sexual life because of serving many bralimanas during her young age". The Taittiriya-Aranyaka (TA) accounts that during its period of composition, the father of the daughter, who had free sex and begot a child before marriage, came to be considered as polluted and he is ordained to perform an expiatory rite to ward off the evil that has befallen on his family. Similarly the Brhadaranyaka Upanisad cautions a debauchee of the evil that may befall on him by subduing the lady of a sacrificer. The paramour of a sacrificer's wife can also be punished by a ritual"? Thus it can be concluded that by the end of the Upanisadic period the children born by interclass and widow marriages were looked down and deprived of some or several of their fundamental rights. The rights of property were not equal and uniform even among all the legitimate children born of wives of different classes VII The reasons behind the inferior treatinent meted to women who are involved in viloma"9 marriages could very well be guessed from the law books like the Manusmiti. Manu expresses his anguish that 'by adultery (committed by persons) of (different) classes, by marriages with women who ought not to be married, and by the neglect of the duties and occupations (prescribed) to each, are produced (sons who owe their origin) to a confusion of the classes 50. The Vedic Aryans tried to arrest the intercaste marriages with the belief that the son of an committed by persons) and by the neglect of manages with women who

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Vol. XX, 1996 NIRAVASITA Aryan by an Aryan woman is worthy of all sacramentssi. Another motivating force of all those who believe in the authority of the Veda is their resolve to uphold by all means the religion of sacrifice. So all the authors of the Srautasutras are unanimous in maintaining that the sacrificer and the officiating priest should be endowed with eminent parentage, family, learning and character 2. Even though the women were originally allowed to recite the Vedas and participate in the sacrifices and perform certain rites in lieu of their husbands, they were discriminated in the rights to engage in academic pursuits, to own property and to follow independently the religious practices. The brahmin woman was the first lady to be abondoned by a bralimin who is a vouched custodian of the religion of sacrifice. The belief of the superiority of the clan, anxiety to perpetuate the clan clean and desire to establish a strong Aryan hold must be strong reasons to forsake a female member of the family53. So when a woman was forsaken by a brahmin for the community, her husband should also be forsaken by a sudra family, in order to honour the social mandate and to maintain liarmony in the division of labour. The banished family gets complete residential segregation, exclusion from public institutions, educational discrimination and loss of profession51. VIII Not only the brahmin woman, but also a brahmin is excommunicated when he is involved in adultery and incest with the teacher's wife, teacher's daughter, sister, sister-in-law (i.e. elder brother's wife to younger brother, and younger brother's wife to elder brother), maternal uncle's wife, mother's sister, father's sister, daughter, daughter-in-law, sister's daughter and friend's wifes. Manu says that the wife of the elder brother is for his younger brother the teacher's wife (gurupatni) and the wife of the younger brother to an elder brother is like a daughter-in-law. Therefore, if an elder brother approaches the wife of his younger brother, or if an younger brother approaches the wife of his elder brother, both of them are treated alike as fallen out of the Aryan community (patita)56. If an elder brother approaches his brother's wife, he becomes adulterer (jara)57 and guilty of incest by defiling the bed of a daughter-in-law (snusaga) 58, and is expelled as an out-caste. Yajnavalkya says that to crave for the wives of a son and his own daughter is a sin equal to that of violating a precepter's bed and he should be killed after having his generative organ cut offs Even though Manu mentions widow remarriage and levirate (niyoga) in

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M. SRIMANNARAYANA MURTI SAMBODHI conformity with the contemporary practice 6, he opposed and denounced them emphatically. He maintains : "In the sacred texts which refer to marriage, the appointment of widow is no where mentioned, nor is the remarriage of widows prescribed in the rules concerning marriage. This practice which is reprehended by the learned of the twice born castes, as fit for cattle is said (to have occurred) even among men while Vena ruled"61. He denies to the son (paunarbhava) begotten on a remarried woman (punarblu) the right to inherit the property of the father as a legal heir62. IX From the discussion in the foregoing pages the following conclusions may be drawn : 1. The exact sense in which the word aniravasita used by Panini in the rule 2.4.10 : Sudranam aniravasitanam cannot be decided. 2. Patanjali's paraphrase of the rule 2.4.10 gives the criterion for aniravasita is touchability vis-a-vis niravasita untouchability. 3. The idea of expulsion is known during the Bralimana period, but not the concept of untouchability. 4. The concept of untouchability has nothing to do with the social order of the Aryans. It has its origin in the ritualistic religion of sacrifice. 5. Untouchability is a pollution by which a person becomes unfit to touch any thing of the sacrifical ritual and also to be touched by others. Any violation results in some expiatory rite, without which the participation in the sacrifice cannot be allowed. 6. The spirit of this untouchability is taken from the temporary pollution of a man during her periods of menstruation and confinement. 7. The first person who is discarded permanently as an untouchable religiously is the woman. Through her, her spouse and children also become untouchables. 8. The lady who was made untouchable was a brahmana woman who married a sudra. Her child is called candala or candala. 9. When the instituion of marriage became very rigid, both the direct (anuloma) and inverse (viloma) order of intercaste marriages came to be viewed as detrimental to the institution of religion as well as to the Aryan unity. To dissuade such intercaste marriages, the social order was made very rigid by

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Vol. XX, 1996 NIRAVASITA 53 restricting the freedom to the progeny of such marriages through curtailing their rights of education, religion and profession. 10. The inverse order of marriages were very much depricated. Worst possible treatment was meted to a brahamnana woman by the society. This was a measure taken by the builders of the Aryan society to keep it clean and strong. NOTES: 1. R. G. Bhandarkar, Early History of the Dekkan, Calcutta, Susil Gupta (India) Pvt. Ltd. 1957 (rpt.), p.18. 2. Aniravasitasudravacinan sabdanam dvandva ekavad bhavati, Kasika, 2.4.10. 3. M. Srimannarayana Murti, Sanskrit Compounds - A Philosophical Study, Varanasi, Chowkhamba Sanskrit Series Office, 1974, pp. 61-62; 308-327. 4. Itaretarayogas tu bhinnasarghabhidhayinam/ pratyekari ca sauho 'sau samuhisu samapyate // Vakyapadiya, III. Vrtti. 29. 5. Sanghapradhanye tu samahara ity arthad uktam, Helaraja on ibid. 6. Aniravasitanam ity ucyate kuto 'niravasitanam. Aryavartad anirava sitanani. kah punar Aryavartah. prag Adarsat pratyak kalakavanad daksinena himavantam uttarena pariyatram. yady evam kiskindhagandikam sakayavanam sauryakrauncam iti na sidhyati. evan tarhy Aryanivasad aniravasitanam. kah punar Aryanivasah. gramo ghoso nagarani samvala iti. evam api ya ete mahantah sanistyayah tesv abhyantaras candala mrtapas ca vasanti tatra candala mrtapa iti na sidhyati. evam tarhi yajnat karmano niravasitanam. evam api taksayaskaram rajakatan tuvayam iti na sidhyati. evam tarhi patrad aniravasitanam. yair bhukte patram samskarena sudhyati te niravasitah. yair bhukte patram sanskarenapi na sudhyati te niravasita), Mahabhasya, 2.4.10. In this context it may be noted that the dvandva compounds mentioned by Patanjali cannot be located in any of the Samhitas and Brahamanas. The Indo-European Philologists opine that the very formation of the dvandva compound is of indigenous development. So these examples should have been taken from the contemporary literature or spoken language. 7. Tasya ha visvanitrasyaikasatam putra asuh, pancasad eva jyayanso madhucchandasah pancasat kaniyamsah, tad ye jyayariso na te kusalam menire tan anuvyajaharantan vah praja bhaksisteci ta ete indhrah pundrah sabarah pulinda mutibaity udantya bahavo vaisvamitra dasyunam bhuyisthal. Aitareya-Bralmana, 7.18.

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54 M. SRIMANNARAYANA MURTI 8. Manu also corroborates this view of Patanjali. "But in consequence of the ommission of the sacred rites, and of their not consulting Brahmanas, the following tribes of ksatriyas have gradually sunk in this world to the condition of sudras : the Paundrakas, the Codas, the Dravidas, the Kambojas, the Yavanas, the Sakas, the Paradas, the Pahlavas, the Cinas, the Kiratas and the Dardaras", tr. G. Buehler, The Laws of Manu, sacred Books of the East (SBE), 25, 1886: Sanakais tu kriyalopad imah ksatriyajatayah / Vrsalatvan gata loke brahmanatikramena ca // Pundras codadravidahy kamboja yavanah sakah / Paradah pahlavas cinah kirata daradas tatha // Manu. 10.43-44. 9. Cf. Demyatravivahesu yajnaprakaranesu ca / Utsavesu ca sarvesu sprstasprstir na vidyate // Atri. 249. SAMBODHI 10. Candalasvapacanam tu bahir gramat pratisrayah / Avapatra ca kartavya dhanam esam svagardabham // Manu. 10.51. 11. Alaka Hejib and Kantherine K. Young, 'Sati, Widowhood and Yoga' in Arvind sharma, et al., Sati Historical and Phenomenological Essays, Delhi, Motilal Banarsidass, 1988, pp. 78f.; p. 107, fn. 332; p. 108, fn. 333. See also: H. Spiegelberg, The Phenomenological Movement: A Historical Introduction, The Hague, Martinus Nijhoff, 1965, vol.2, pp. 657 ff.; Harold Coward, "Limitations in the 'Scientific and Phenomenological Study of Scripture", Adyar Library Bulletin, vol. 52, 1988, pp. 1-29. 12. Patanjali and Bhartrhari are very clear in their stand that the Grammar is primarily a principal means to preserve the Vedas and the Vedic culture; cf. Raksolagamalaghvasandehh prayojanam. Mahabhagya, Palpahnika, p.1 (Kielhom edn.); see also: Asanna brahmanas tasya tapasam uttamann tapah/ prathamani chandasam angam ahur vyakaranam budhah // Vakyapadiya, 1,11. Patanjali values the way of life followed by the orthodox people in the Aryavarta as par excellence; cf. Evam tarhi nivasata acaratas ca. Sa cacara Aryavarta eva. etasminn Aryanivase ye brahmanah kumbhidhanya alolupa agrliyamanakaranah kimcid antarena kasydsid vidyayah paragas tatrabhavantah Sistah. Mahabhagya, 6.3.109. 13. Besides the brahmanas, ksatriyas, vaisyas and sudras (VS. 30.5) many of those castes called 'mixed (sankara-varnas) resulting from the direct (anuloma) and inverse (viloma) order of marriages are mentioned; e.g. magadha (VS. 30.5), suta,

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Vol. XX, 1996 NIRAVASITA 55 rathakara (VS.30.6), paunjistha, nisada (30.8), ksatta (VS. 30.13), dltivara, dasa, margara, 'kaivarta, kirata (30.16) pulkasa (30.17), candala (30.21), etc. 14. Different professions pursued by the mixed castes are also given in detail; e.g. taskara (VS. 30.6), taksan, manikara, isukara, dhanuskara, jyakara, rajjusarja, mrgayu, svanin (30.7), bhisak, naksatradarsa, prasnin, abhiprasnin, prasnavivaka (30,10), hastipa, asvapa, gopala, avipalaka, ajapalaka, kinasa, surakara, gThapa, vittadha (30.11), dvarahara, agnyedha, abhisekta, parivesanakarta (30,12), upasekta, asvasada, parivesta (30.13), ayastapa (30.14), ajinasandha, carmanna (30.15), hiranyakara (30.17), carakacarya (30.18), vinavada, tunavadhma, sarkhadhma, vanapa, davapa (30.18), etc. As P.V. Kane remarks ....it is extremely doubtful whether they had become petrified castes at the period of these works", History of Dharmasastra, vol. 5, pt. 2. p. 1633. 15. E.g. virahana (VS. 30.5) and vratya (30.8). 16. E.g. kliba (VS. 30.5), kubja, vaniana, srama, andha, badhira (30.10), sidhmala (30.17), muka (30.19), puthasarpin (30.21), khalati, haryaksa, kirmira, kilasa, suklavarna, krsna-pingaksa (30.21), pivana, atidirgha, atihrasva, atisthula, atikrsna, atisukla, atikrsa, atikulva, atiloniasa (30.21), etc. 17. E.g. rebha (VS. 30.6), kari, strisakha, kumariputra (30.6), durmada, unmatta, apratipada, kitava, adyutakTt (30.8), jara, upapati (30.9), snehahrdaya, pisuna, priyavadin (30.13), parivitta (30.9), parivividana edidhisuhpati, upada (30.9). Women of different professions and characters are also mentioned; e.g. pumscalu, asu, yanasu (30.14), avatoka, paryayini, avijata, atitvari, atiskadvari, vivarjara, palikni (30.15), sabalya (30.20), bidalakari, kantakikari (30.8) pesaskari, smarakari (30.9), vasahpalpuli, rajayitri (30.13). 18. While sanctioning expiatory rite for vomiting Soma in sacrifice, SB. 5.5.4.9 reads: Catvaro vai varnal brahmano, rajanyo, vaisyah, sudra). Na haitesam ekascana bhavati - yah somani vamati. Sah yadaitesam ekascit syat - syaddhaiva prayascittih. The Taittiriya--Samlita, 2.3.2.7 ordains the procedure : Yah somavami syat tasma etant somendram syanakam carum nirvapet. 19. Rathakarasyadhane, Katyayana-srauta-sutra (KAS), 1.1.9; see also Baudhayana Srauta-sutra (BsS), 2.2.15 and Apastamba-Srauta-sutra, 5.3.18. See also Rathakaradhikarana (6.1.2.44-50) in the Mimamsadarsana for the relevant Vedic passages and detailed discussion regarding the eligibility of the rathakara for the sacrifice. 20. Api va laukike 'gnau syad adhanasyasarvasesatvat, Jaimini's Minamsasutra, 6.8.3.21;

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M. SRIMANNARAYANA MURTI SAMBODHI nisadasthapatir gavedhuke 'dhikrtah, KsS. 1.1.12. 21. F. Max Muller, Apastamba's Yajnaparibhasa-sutras (Eng. tr.), in: SBE.30, pt.2 (1973, Ist edn. 1892), p.317; laukike, bhumau pasupurodasasrapanam, apsv avadanahomah, KSS. 1.1.14-16. 22. ibid. p.315. 23. Srautakosa, English section, Poona, Vaidika Samsodhana Mandala, pt. 1 (1958), p. 8f.; pt. 2 (1962), p.967, pp. 976-977. 24. The institution of marriage began taking definite shapes and several conventions came to be observed already by the time of the Atharvaveda. For example the sons and daughters are to be married in the order of their age. If a man or a woman marries before the marriage of his elder brother or her elder sister it was considered to be inauspicious. The Atharvaveda, 2.30 gives several charms to avert evil caused by breaking the order. Further the person who accepts to serve as an officiating priest in such disorderly marriages is condemned and sometimes he is expelled from functioning as officiating priest elsewhere. The father of such children are also considered inferior. 25. Cf. Ardho ha va esa atmano yaj jaya tasmad yavaj jayan na vindate naiva tavat prajnayate 'sarvo hi tovad bhavati. Atha yadaiva jayam vindate 'tha prajayate tarhi hi sarvo bhavati, SB. 5.2.1.10. See also: niviste mrta patni nasta vagnihotram juhoti ... apatni-kasyadhanam ... kurvanti .... sraddha patni...., Aitareya-Brahmana, 7.10. M. Srimannarayana Murti, 'Position and status of Women in the age of the Liturgical Samhitas, Brahmanas and Upanisads' in : L. K. Tripathi (Ed.), Position and Status of Women in Ancient India Varanasi, Department of Ancient Indian History, Culture and Archaeology, Banaras Hindu University, 1988, vol. 1, p.26. 26. For example, if the sacrificer's wife is beyond the boundary of the village during the sunrise and sunset in the Agnihotra offerings Baudhayana prescribes renewal of the sacred fires : Atha yadi patni bahih sunam punaradhanam, BsS. 29.12; srautakosa (Eng. sec.), p. 196. 27. For example if the sacred fires are spread out by the sacrificer's wife, Baudhayana [27.11) prescribes : "If it was done consciously, one should consign the sacred fires into the kindling woods. He should move away from that spot, churn out the fire, and then spread out the fires. He should (first) offer purnahuti and then offer, to tantunant Agni, a cake on eight potslerds. If it was done unconsciously, he should spread out the fires with the vyahrtis, offer purnaluti, and then offer to tantumant

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Vol. XX, 1996 NIRAVASITA 57 Agni a cake on eight potsherds", Srautakosa (Eng.sec.), p.152. 28. Atha yasya jayam artavarit vindet tryahan kaunse na pibed ahatavasa nenam vrtalo na vrsaly upalanyat, BU. 6.4.13. Every thing that is touched by a woman during her periods becomes polluted and unfit to be offered to gods. So Baudhayana prescribes that the oblation becomes polluted if it is touched by a woman in menses (Atha havirdosan vyakhyasyamah. Yatlitat ... rajasvalya va sprstam ... BAS. 27.9). 29. Srautakosa (Eng. sec.), p. 84 = BsS. 29.12 : Atha yadi patnim stviyann vindeta prag daksinaya etad eva (adita arabhyanyasmin kala adadhyat) ata urdhivam aparodhah. 30. ibid. p. 84 = KsS. 25.11.14: (Jyotistomadau diksitasya) patni rajasvala diksarupani sankvadini nidhaya sika sita a raktaviramanat. tisthet sandhivelayoh. 31. ibid. p. 182 = BsS. 29.12. 32. ibid. p. 197 = Vaikhanasa-Srauta-sutra, 20.4. 33. Tad ahur ya ahitagnir yadi suta kannam prasniyat ka tatra prayascittir iti so gnaye tantumate - stakapalam purodasari nirvapet tasya yajyanuvakye tantum tanvan rajaso bhanuman vi hy aksan ala nahyatanota sonya ity alutim vahavaniye juhuyad agnaye tantumate svaheti sa tatra prayascittih, AB. 7.9. TB. 1.3.7 prescribes purification for the husband also in the case of sutaka. 34. Apastamba allows sudras to be cooks in brahmana households provided they were supervised by a member of the three higlier classes and observed certain hygienic rules about paring nails, cutting of hair aryadhisthita va sudrah sanskartarah syuh, Apds. 2.2.3.4). He prohibits the consumption of food brought by an impure sudra. (aprayatena tu sudrenopalirtam abhojyam, ApDS. 1.5.16.23). Gautama permits the bralmanas to eat food from a sudra who has his own cowherd, or tilled his field, or was a hereditory friend of the family, or his own barber or his dasa (Gautama 17.1 and 6). Other law givers narrowed down the possibilities of common meal when time passed favourable to the rigidity of castes. The Sankhasmrti (13.4) condemns the brahmana who is fattened on the food given by sudra as panktidusaka. See also : History of Dharmasastra, vol. 2, pt. 1, pp. 161f. 35. Anantarasu jatanam vidhir esa sanatah / dvyekantarasu jatararit dharmyam vidyad imarii vidhim // Manu. 10.7. The underlying principle is that while the son a kshatriya or vaisya looses the

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58 M. SRIMANNARAYANA MURTI SAMBODHI religious right to sacrifice, the son a sudra looses the right to help the sacrificer and common meal. Manu is very stringent in condemning the candala to a state lower than a sudra (Manu, 10.51). Yaska records that Aupamanyava held the view that the nisada is a fifth caste, (catvaro varnah nisadah pancamah ity aupamanyavah, Nirukta, 3.8). But it did not gain currency. Manu also did not recognise a fifth caste (exclusively embracing untouchables); he says: Brahmanal ksatriyo vaisyas trayo varna dvijatayah / Caturtha ekajatis tu sudro nasti tu pancamah // Manu. 10.4. Amarasimha also does not recognise a fifth caste; he includes all the castes sprung by intercaste marriages in the class of sudras; see: Namalinganusasana, 2.10. In the anuloma marriages the child is degraded than that of the father and thus the progeny is called apasada 'degraded' (below the father) (Manu. 10.10). The progeny born in the viloma marriages are called apadhvamisaja low born' and are treated as equal in respect of duty to mere sudras (Manu. 10.41). The progeny born in inverse order are called suta, magadha, ayogava, ksatta and candala (Manu. 10.26). Medhatithi remarks that the candala alone among the progenies born in inverse intercaste marriages was made an untouchable (candala ekah pratilomo 'sprsyah, Medhatithi on Manu. 10.13). If any one happens to touch him a bath is prescribed as a necessary expiatory rite. The contact with others does not warrant any purificatory bath (History of Dharmasastra, vol. 2, pt. 1, 172). The persons of these six castes bring forth very much despicable and abject races even more foul than their begetters by marriage with women of their own castes reciprocally (10.29). For example an ayogava woman begets a sairandhra, a maitreyaka and a margava by a dasyu 'out-caste of any pure class', a vaidehika, and a nisada respectively (Manu. 10. 32-34). Progeny of these castes wear the clothes of the deceased and eat reprehensible food (Manu. 10.35). A candala begets a sopaka by a pukkasi woman and an antyavasayin by a nisadastri (Manu. 10.39). 36.Ya iha kapuyacarand abhyado ha yatte kapuyam yonim apadyeran svayonini va sukarayonim va candalayonim va, Ch. Up. 5.10.7. 37. Rtam vai satyam yajno nrtam stri, MS. 1.10.11. 38. Nirrtir hi stri, MS. 1.10.16. 39. Esa vai dharmo ya esa tapati saisa srih satyam jyotir anrtam stri sudrah sva krsnah sakunis tani na prekseta, SB. 14.1.1.31. 40. Srautakosa (Eng. sec.), p. 189 = BSS. 27.8 Astabhir nimittair vinasyaty

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Vol. XX, 1996 NIRAVASITA amedhyasvacandalasudravayasapatitarasabharajasvalabhis ca sarsparsane ranyor vinasah. 41. ibid. p. 193 = KSS. 25.4.35. 42. Divakirtim udakyam ca patitan sutikam tatha / savam tatsprstinam caiva sprstva snanena sudhyati // Manu. 5.85. 43. For example TA. 1.27.8 reads : Yat kumari mandrayate, yad yosid yat pativrata. Aristam yat kinca kriyate, agnis tad anuvedhati. 44. See : M. Srimannarayana Murti, 'Women in Liturgical Samhitas...', in: L. K. Tripathi, op. cit., p.17. 45. Sa hainam uvaca naham etad veda tata yadgotras tvam asi, bahv aham caranti paricarini yauvane tvam alabhe saham etan na veda yad gotras tvam asi, jabala tu namaham asmi satyakamo nama tvam asi sa satyakama eva jabalo bruvitha iti, Ch. Up. 4.4.2. That the men with whom she spent her youth were brahmanas is confirmed by the passage : tam hovaca naitad abrahmano vivaktum arhati, ibid. 4.4.5. 46. The adultery and other sexual offences committed by unmarried ladies, or married women are considered to be inauspicious for the sacrificer. The pollution arising out of the sexual offences cannot be warded off by mere danas donations'. Agni has to be specially invoked to get rid of the pollution. The child born to an unmarried lady came to be considered in TA as unfit for religious ceremonies and denied admission into the sacrificial place; Nr mrnantu nr patvaryah, akrsta ye ca krstajah. Kumarisu kaninisu, jarinisu ca ye hita), TA. 1.27.6; L.K. Tripathi, op.cit., p.21. 47. L. K. Tripathi, op.cit., p.21; .... Sa va esa nirindriyo visukrto 'smallokat praiti yam evarvid brahmanah sapati tasmad evam vic chrotriyasya darena nopahasam icched uta hy evanvit paro bhavati, BU. 6.4.12 (=SB. 14.9.4.11). 48. For example, Manu. 9. 86-87 declares : "Among all (twice-bom mnen), the wife of equal caste alone, not a wife of a different caste by any means, shall personally attend her husband and assist him in his daily sacred rites. But he who foolishly causes that (duty) to be performed by another, while his wife of equal caste is alive, is declared by the ancients (to be) as (despicable) as a candala (sprung from the) brahmana caste. Manu. 9.159-160 also declares that the legitimate son of the body, the son begotten on a wife, the son adopted, the son made, the son secretly born and the son cast-off are the six heirs and kinsmen, while the son of an

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M. SRIMANNARAYANA MURTI SAMBODHI unmarried damsel, the son received with wife, the son bought, the son begotten on a remarried woman, the son self-given, and the son of a sudra female are the six who are not heirs, but kinsmen. 49. The principle of varnasramadharnia is based on the adherence of the direct order (anuloma) not only in the institution of marriage but also in all walks of life. It is only then the social balance among the four castes and professional harmony could possibly be achieved. For example if a ksatriya aspires for the profession of teaching, it is a case of inverse order (viloma) because this profession is earmarked by convention for a braliniana. Therefore, when a brahmana by name Gargya approaches the king Ajatasutra with a request to the former to teach the brahmopa sana, the latter declines to claim himself a teacher lest he should tresspass the anulona order; he accepts to impart the knowledge of brahmopa sana without himself assuming the position of a teacher : sa hovacajatasatruh pratilonan caitad yad brahmanah ksatriyam upeyad bralnia me vaksyatiti vyeva tva jnapayisyamiti ..... Br. Up. 2.1.15. 50. Vyabhicarena varnanam avedyavedanena ca/ Svakarnianam ca tyagena jayate varmasankarah // Manu. 10.24. "The mixture of castes (varnasanikara) has gone so far even in the early ages that in the Vanaparva (180.31-32) Yudhisthira is made to say that 'It is difficult to ascertain the caste of a person on account of the confusing mixture of vainas; all men raise progeny from all sorts of women; therefore, those who are wise regard character as the principal and desirable matter", P. V. Kane, History of Dharmasastra, vol. 5, pt. 2, p. 1634-5. 51. Cf. Subijam caiva suksetram jatam sampadyate yatha / Tatharyaj jata aryayam sarvam samskaram arlati // Manu. 10.69. 52. Cf. Vijfayate brahmana rtvijo yonigotrasrutavrttasampanna avigumanga atikininah, BSS. 2.4; see also: Latyayana-Srauta-sutra, 1.1.1-8. 53. This is a well-accepted law of the Aryans as reflected in the Mahabharata, 1.107.33 : Tyajed ekani kulasyarthe gramasyarthe kulani tyajet / gramam janapadasyarhe atmarhe prthivim tyajet // See also Mahabharata, 2.55.10; 5.37.16; 5.126.48. 54. For example Manu says : "The dwellings of candalas, svapakas, etc. shall be outside the village and they shall be made apapatras and their wealth shall be dogs and

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Vol. XX, 1996 NIRAVASITA 61 donkeys. Their dress (shall be) the garments of the dead, (they shall eat) their food from broken dishes, black iron (shall be) their ornaments, and they must always wander from place to place. A man who fulfils a religious duty, shall not seek intercourse with them; their transactions (shall be) among themselves, and their marriages with their equals. Their food shall be given to them by others (than Aryan giver) in a broken dish; at night they shall not walk about in village and in towns. By day they may go about for the purpose of their work, distinguished by marks at king's command and they shall carry out the corpses of persons who have no relatives; that is settled rule. By the king's order they shall always execute criminals, in accordance with the law, and they shall take for themselves the clothes, the beds and the ornaments of such criminals", Buhler (tr.), The Laws of Manu, 10.51-56. 55. Matulapitrsvasabhaginibhagineyisnusamatulanisakhivadhur ity agamyah, BSs. 2.2.11. 56. Bhratur jyesthasya bharya ya gurupatny anujasya sa / Yaviyasas tu ya bharya snusa jyesthasya sa smrta // Jyestho yaviyaso bharyam yaviyan vagrajastriyam / Patitau bhavato gatva niyuktav apy anapadi // Manu.9.57-58. 57. Aniyuktasutas caiva putriny aptas ca devarat/ Ubhau tau narhato bhagam jarajatakakamajau // Manu. 9. 143. 58. Niyuktau yau vidhiri hitva varteyatam tu kamatah / Tav ubhau patitau syatani snusagagurutalpagau // Manu. 9.63. 59. Sakhibharyakumarisu svayonisy antyajasu ca/ Sagotrasu sutastrisu gurutalpasaman smrtam // Pituh svasaram matus ca matulani snusam api / Matuh sapatnim blaginim acaryatanayam tatha // Acaryaptni svasutam gacchanis ca gurutalpagah / lingar chitva vadhas tasya sakamayah striyas tatha // YS. 3.231-233. 60. Manu. 9.59; 152. 61. Naudvahikesu mantresu niyogah kurtyate kvacit / Na vivahavidhav uktar vidhavavedanam punah // Ayari dvijair hi vidvadbhih pasudharmo vigarhitah / Manusyanam api prokte vene rajyam prasasati // Manu. 9.65-66. 62. Kaninas ca sahodhas ca kritah paunarbhavas tatha / Svayamdattas ca sudras ca sad adayadabandhavah // Manu. 9.160.

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CANDRALEKHAVIJAYA PRAKARANA : A DISCOVERY OF AN ISLAND OF DRAMATIC EXCELLENCE Vijay Pandya (Candralekhavijaya Prakarana has been edited and published by Sri Pradyumnasuriji from a single inanuscript procured from the collection of Munisri Punyavijayji. The play is referred to in the manuscript-collection of Dr. Buhler and in the History of Classical Sanskrit literature by M. Krishnamachariar. But it sees the ray of daylight for the first time due to the untiring efforts put in by Sri Pradyumnasuriji. The copies of the play can be had from Dr. Harivallabh Bhayani, 25/2, Bimanagar, Satellite Road, Ahmedabad-380015, Gujarat, INDIA). Hemacandracarya, a multi-splendoured personality of the medieval Gujarat and India gave rise to the multifarious literary activities of the 12th Century Gujarat, with the help of his band of devoted illustrious disciples. Among them was Devacandragani, who is the author of this play Candralekha, a Prakarana type of drama. Sri Pradyumnasuriji, by diligently editing this play with perceptive introduction for the first time lias brought to light a remarkable play of the medieval Gujarat and laid us, the lovers of Sanskrit language and literature, under eternal obligation. It has taken Sri Pradyumnasuriji almost a decade to edit the play from a manuscript procured from the collection of Munisri Punyavijayji. It was a difficult task and the editor has most admirably accomplished it. The plot is complex and full of supernatural elements reflecting the times during which the play was written. The storyline may be briefly indicated here actwise : Vijaya (strangely from the legend of the third act he is called Vijayendra, giving rise to an impression that there are two different persons, but that is not the case) who is a hero of the play had acquired religious merit, the fruit of which he could not enjoy in the previous birth due to shorter span of life and hence this birth. His beloved Candralekha, of semidivine origin had committed an error while performing a dance before Vikramasena, the king of Vidyadharas, and she was divested of her miraculous power and turned into a female swan in a Kamarasa lake by her enemy Ahitatna. In this birth Vijaya is to meet his beloved-turned into a female swan. There are various other persons like

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Vol. XX, 1996 CANDRALEKHAVIJAYA PRAKARANA... 63 Ajnasiddha, Jnanabodha, Matimasrna and divine assistance of the goddess Ajitabala and her mantra to facilitate this task. Vijaya happens to see the female swan and the feelings of previous birth are awakened. But again Ahitatma, a demoness, tries to stall the meeting but she is thwarted and defeated by Vijaya and his beloved has been restored to her original human form. The lovers are united. (Here ends the first act) Vijaya has a second wife of this birth; a mortal, Deviprabha, who is at her parents place. Vijaya is longing for her also and one night, he goes there at her parents' place, enjoys her company secretly and returns. She, Deviprabha, becomes pregnant and her parents afraid of the stigma abandon her in the forest. Deviprabha is going to give birth to a son who is destined to be a Cakravartin; this was the forecast of a soothsayer. Deviprabha while undergoing much hardship in the forest, gives birth to a son who is kidnapped again by that demoness ahitatina. But Mativibhirama, another assistant, has already rescued. the son from the clutches of the demoness. (Here ends the second act) The son born of Vijaya and Deviprabha is to assist his father in acquiring the Mahavidya by perforining a sacrifice. Here Vijaya and Candralekha enjoy themselves in each other's company in the lovely forests. In the forest, Vijaya goes to the succour of a maid who has been attacked by a tiger. Candralekha sends Tattvaprapanca to his help. Meanwhile, Candralekha has been kidnapped by a resident of nether worlds. Vijaya jumps into the dark well, where the enemy is hidden and with the assistance of a serpent Kanakacuda, Candralekha is rescued. (Here ends the third act) The son born of Deviprabha is now the king of Ujjayini. Vijaya is to perform Carupaka, a tantric rite with the help of his son. He chants the mantra of Ajitabala goddess. Mantra is of a citrabandha type, in the shape of a garland, and Vijaya receives the real garland and the divine grains of rice from the propitiated goddess Ajitbala. Deviprabha meets her husband. (Here ends the fourth act) For Carupaka sacrifice, everything is ready. The divine rice is obtained. Divine milk remains to be procured, and under the guidance of sesa serpent, Vijaya

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VIJAY PANDYA SAMBODHI has to perform the sacrifice. There are five altars prepared for the Mahayajna. Sixty-four yoginis have come to play Rasa. Ratnapunja the prince (son of Vijaya and Deviprabha) is there with the sword in his hand. Again, the demon brother of Ahitatma tries to disrupt the sacrifice but is foiled by the king of serpents. Meanwhile, Candralekha too arrives on the scene. Both co-wives of Vijaya cordially meet. Again the demon sister of Ahitatma tries to create an obstacle but the Tattvaprapanchana removes it with his power of penance. Ultimately Carupaka is prepared and Vijaya obtains Mahasiddhi. Ajnasiddha blesses the prince to be the cakravartin in the city of Mayapuri on the mythical Vaitadhya. The fifth act, and the play ends with the fond hope by the playwright that it would continue to be read for a long time to come. Literary Estimate of the Play As can be seen from the storyline that, the plot is quite complex, full of turns and has a story of two births of the hero and one of the two heroines. It is full of supernatural elements. deus ex machina is quite often resorted to in the play to achieve a denoument. The playwright is steeped in the long tradition of the Classical Sanskrit literature and has advantageously employed the various motifs in the play. Consequently the echoes of the art of his illustrious predecessors are audible in the play. Among his predecessors, apart from Kalidasa, who himself is a tradition. Bhavabhuti seems to have influenced Devacandragani most. To the dramatic genius of Devacandragani, Bhavabhuti seems to be a kindred soul. In fact, a short note may be added on the influence Bhavabhuti has exercised upon our dramatist. In the delineation of supernatural elements, Bhavabhuti's impression, particularly of the play Malatimadhava, (MM) can be discerned. As in the MM., here also, tantric rites are depicted. In the friendship between Vijaya and Tattvaprapancana, a shade of friendship between Madhava and Makaranda can be observed. Ahitatma is portrayed on the lines of Kapalakundala in the MM. In the third act, a maid servant goes out to a nearly garden to pluck the flowers and is attacked by a tiger as in the MM, wherein also, a tiger happens to attack. Vijaya goes to the rescue of the inaidservant but, in the meanwhile, Tattvaprapancana is also sent to the succour of Vijaya by the heroine Candralekha. So, then Candralekha is abducted as Malati was also kidnapped in an almost similar situation, by Kapalakundala.

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Vol. XX, 1996 CANDRALEKHAVIJAYA PRAKARANA... 65 Apart from such shaping influences of the play, the playwright has a creativity of a no mean order. He has a commendable command on Sanskrit language and lie has put his cominand of the language to creative use, too. Devacandragani has imbibed the spirit of the Sanslrit language and literature to the full and hence his play is interspersed with many poetic stanzas and descriptions. He employs long paragraphs in Sanskrit and Prakrit as well, thereby displaying his virtuosity of both the languages. The writer's creative employment of the language should be quite astonishing looking to that decadent age from the literary point of view. In the rangasucana Tattvaprapancana is described thus nitalyfar vla&470 Fafant actezi freefa I i.e.'sitting there only, hiding his face in between the two knees, he gesticulates restlessness'. Such an instruction never appeared before in the classical Sanskrit play. In the second act the dramatist has employed some denominative forms like Hry na wagrua, patefua, yard and so on. Such usage would remind one of the golden age of the Sanskrit literature in which writers like Bana flourished. The verse 1-38 pRthulakucA sadvaMzA candanatilakAvalIkalitA / navapatravallilalitA kasya na hRdayaM haratyeSA // has a striking paranomasia (Slesa alankara) figure of speech as the learned editors has explained in the footnote. Similarly, in 3-20 : nAyaM lalATe kAntAyA vakra: kastUrikAzazI / sImantakulyAniyallAvaNyarasabhAjanam // This is not a crescent moon done with the musk on the forehead of the beloved; it is a receptable of the beauty oozing out of the small canal of the parting of the hair. In verses 1-18, 19 we get the good examples of arthantaranyasa alamkaras. In 3-16 we have an illustration of utpreksa figure of speech. In the classical Sanskrit plays, occasionally a character speaks the language other than formally allowed to it. Similarly here also, Siddhavrata speaks in Sanskrit leaving aside the Prakrit which she was speaking until now. The play is interesting from the linguistic point of view also. In the play, we can observe the sprouting of the Gujarati language, a process already set in from the days of Hemacandracarya. For example in the expression Teferichtet at ucit 7 sfarta: on p. 85 has a tinge of Gujarati expression i.e. ek myan-mam be talwar na rahe (Two swords cannot be accommodated in one sheath).

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VIJAY PANDYA SAMBODHI The play is peculiar in some respects differing from the tradition of the classical Sanskrit drama. There is a long recurring pedantic explanation of the mantra on pp. 12 and 13. Then again at the end of the play on pp. 93, 94, 98, 99 the long-winding explanation occurs in the very body of the text. This is very strange, and when this explanation is being spun out, dramatic action naturally would come to a stand-still. The learned editor Pradyumnasuri has offered some explanation of the phenomenon in his introduction to the play citing the parallel instances from the stage of Kerala. Then, in this play (rangasucana), a dramatic instruction has tended not only to be long but got mixed up with the speech of a character as has happened on the p. 60. The text runs thus : vijayendra :- priye nizIthasamayaH pravRtto vartate'taH saudhatalamalakiyatAmiti vadan priyAM haste vidhRtya tattvaprapaJcena samaM saparivAraH parikrAmati, kSaNAntaH sopAnamalaM kurvANaH saudhamadhirohati / In this piece, narration which in fact has no place in the drama genre as such, gets mixed up with the dramatic instruction and with the speech of a character. This peculiarity in a heightened manner, is observed in the Hanumannatakam also, age of which is difficult to determine. Was there a new dramatic form from the point of view of staging getting evolved in those days and age ? Nevertheless the play is most remarkable and would be a valuable contribution of Gujarat to the Classical Sanskrit literature which was, anyhow, getting depleted in quality and quantity as well in that age. If a literary history of this period of Gujarat is written and that has remained as acute concern of Dr. Harivallabh Bhayani, an indologist of international repute hailing from Gujarat, and who has also been connected with the editing and publishing of this play in some capacity, this play along with the other play Vilasvati or Manamudrablianjana in the process of editing, would be most singular contribution of our author Devacandragani. Pradyumnasuriji has earned our gratitude by meticulously editing and publishing the play in the midst of his other numerous religious, social and literary activities. In fact, he has proved himself to be a Columnbus in discovering this play which is an island of dramatic excellence.

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pa HERETICAL CONCEPTION OF UNIVERSE AND JAIN CRITIQUE AS DEPICTED IN THE SUTRAKRTANGA COMMENTARY OF SILANKA Ch. Lalitha The Sutrakitanga is a very ancient Jain Agamic text placed second among the Angas. In the Sutrakitanga the themes of the inhabited universe (loka), empty space (aloka), lokaloka, soul (jiva), non-soul (ajiva), one's own doctrines (svasamaya) and the tenets of others (parasamaya) are discussed. Heretical theories of universe : According to the Brahmanical conception the creation and governance of the world is by the gods whereas others assume that the world is governed by Brahman. According to the Sutrakrtanga Commentary of Silanka certain ignorant teachers of other religions contend that the world has been created or governed by gods whereas some others hold that it is created by Brahman. These are some of the prevalent views of the thinkers of other religions according to whom it is beyond the capacity of human beings to produce the entire phenomena. Hence the gods or one of the mightiest gods might have produced the universe. Here the 'Devautte' can be explained in three ways namely. Firstly, Devautte is explained as 'Devairuptah' a god planting his seed in some 'women' might have produced human beings and other creations. Secondly, the world 'Devagupta' is explained as 'Devair guptah' the world of diverse phenomena is protected by a god and whenever the dharma degenerates and adharma prevails a god by incarnating himself protects it from his primal just as it as stated in the Bhagvadgita. Thirdly, the term is translated as 'Devaputra' according to which the whole universe is the progeny of a god who has produced it. Some thinkers argued that this world is produced by Prajapati Brahma who is the designer of the vast brahmanda or universe. This idea can be seen in the Upanisads wherein it is stated that Hiranyagarbha preceded the creation and the Svayambhu having desired the creation created the elements like water etc? According to the 'great psi' whose name is neither mentioned in the text nor preserved by Silanka that the creation of the Universe is by Svayambhu. Explaining this verse the commentator points out that some Tirthikas hold that Lord Vishnu who is the Svayambhu is the creator of the world according to the sages of their tradition. The creation is a playful thing of Visnu or Lila. In order to facilitate for continuous creation by the help of Yama or Mara this world along with its beings

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CH. LALITHA SAMBODHI is non-eternal. Hence all sentient beings are subjected to illusion and they perish". According to the adherents of the theistic school the world was created by isvara whereas according to others (viz; theistic and atheistic followers of Samkhya philosophy) the world with living beings and lifeless things with its diversity of pleasure and pain was produced from Pahana (= Pradhana). Of the above two views viz, that the world is produced by devas or the Selfborn Brahman who is also known as Hiranyagarbha, some thinkers like the Sankhya philosophers speculated slightly transforming the first view by setting that Isvara who is Purusa cannot be the author of the universe since he is unqualified witness who is devoid of any attributes and is indifferent. Hence Prakiti may be considered as its creator. The theists, viz, the Vedantins the Naiyayikas and the Vaisesikas produce different evidences from the Vedic authority in support of their various views. Of these, according to Vedantins, Isvara is tlie upadanakarana of the world. The non-dual Brahman having desired transformed limself into Isvara and created the world by becoming 'Many According to Naiyayikas the idea of Isvara as the creator is derived through the valid means of inference. Just as the existence of a potter is testified by the existence of the pot so is the case with the world. All the effects such as the five elements, life, moon and the sun, the sea and the sky, the sense organs, etc., should have been created by an intelligent creator. This creator is conceived as an extraordinary, omniscient Purusa wlio las created the Universe with the help of the elements. The five elements are not self-conscious and are just like instruments. The role of Isvara is like that of a mason according to Naiyayikas. According to them Isvara is eternal, incomparable and omnipotent. According to the naturalists, the world is produced from chaos. The innate character of every sentient being is due to the principle of Niyati. According to the Niyativadins just as the multicoloured wings of a peacock is its special quality so is the case with all objects and living beings According to the sasvatavadins (Eternalists) the world is limitless, eternal, does not perish and exists since eternity. In Silanka's opinion here 'eternity' indicates that it has no destruction and the order of things is immutably fixed naturallly. For instance a male is always to be born as a male and so also is the female. According to Vyasa the world is limited but is ever-lasting and consists of seven islands?. According to the Sutrakrtanga Commentary the verse refers to two ageold theories viz., that the world is unlimited and eternal without never being extinct whereas Vyasa and others Pauranikas contend that the world is eternal but is limited. According to the former theory, the whole universe, which

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Vol. XX, 1996 HERETICAL CONCEPTION OF... 69 consists of beings of one sense-organs to five sense-organs and their existence, is eternal. There is no limit or duration to their existence. It is not produced from time to time and exists in the past, present as well as future. It is not produced out of atoms and hence it is eternal. It is unlimited in the sense its vastness cannot be estimated. According to Vyasa the author of Puranas who propounded the later theory the world is limited in the sense that its geographical vastness is limited to seven islands and three spheres. It is eternal in the sense that it is ever existent in time. According to some Brahamanas and Sramanas the universe is created or produced from the 'primordial egg' and that He (Brahman) created the phenomena. Explaining this verse the commentator points out that according to some ignorant Brahmanas and Sramanas the universe was produced by the 'primordial egg' as stated in the Brahmandapurana. According to them from the explosion of the primevl egg all the diverse phenomena both sentient and insentient have come into existence10. II. Jain criticism: The Jain commentator Silanka refutes the Brahmanical conception of the creation and governance of the world by the gods. The Jains criticize the heretics who contend that they possess the knowledge of the truth and are unaware that the creatures in the world do not know anything". Explaining the verse the commentator points out that according to Jain critic, all these thinkers referred above variously conceived the origin of the universe but in fact they do not know the truth of the object because the world is eternal and does never perish. The Jains while refuting the above theories hold that the proposition "world is created by god" is not valid because in order to create the world the god himself should exist prior to it. In the absence of the former the latter cannot take place. There is no valid means to postulate such god. If it is argued that it is self-made why cannot the universe be conceived as self-made devoid of him? If he is assumed as eternal owing to the lack of change, he cannot act as a creator or producer of the phenomena. If he is regarded as non-eternal, even then he cannot be considered as the cause of the universe because he will have to be extinct at one point of the time or the other. If the creator is to be regarded abstract or intangible just as his nature being as the sky he cannot be the authority of the universe. If he is regarded as corporeal or tangible, he, being ordinary as a human being, cannot be the sole creator of the universe without the associations of some other force besides him 12.

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70 CH. LALITHA SAMBODHI The theistic proposition viz., the world is created by Iswara is refuted by the Jains by the following arguments. The 'pot and potter' relation cannot be extended to tlle world and its creator. Even by seeing a pot it cannot be said that such and such a potter had made it. Thus by seeing the world it can be only said that it is produced by a specific cause. Secondly, someone or the other would have seen the potter while making the pot. Unlike the above, there is no one who can claim to have seen the creator of the world who is admitted as imperceptible or invisible. A potter is seen by perception but the Isvara who is said to have created the world cannot be cognised by means of perception. It is also wrong to say (according to the Naiyayikas) that the creator who has created the impermanent phenomena such as earth, mountain, etc., is an intelligent one. There is no such rule that a thing should be made by intelligent cause. For instance, the clouds in the sky are made devoid of the intelligent creator. Similar is the case with the lightening, the sprout of the grass, etc., and also the cold and lieat in different seasons. Thus, the emergence as well as the destruction of the diverse phenomena do not need any creator behind them. Further, the design of diverse phenomena in the world cannot be attributed to an intelligent creator. For instance, an ant-hill which is shaped by ants cannot be attributed to a potter. Similarly, the specific designs of diverse phenomena need not be always due to Isvara who is a specific creator. If everything is to be produced by Isvara how can a Naiyayika claim that the pot is produced by a potter? If it is to be argued that the all pervading Isvara is only instrumental in creating the pot and other phenomena, how can be this be accepted when, by the valid means of perception, it is proved that the pot is totally designed by the potter ? In support of this statement, there is 110t a single instance to say someone has seen while Isvara was making a pot. Further, wlien a person's wound is seen to be healed by a medicinal ointment how can it be argued that all sustainence is due to isvara ? If the analogy of the potter is to be applied to the creator we should accept that Isvara also is embodied. But contrary to this, Isvara is said to be intangible all-pervading and immutable. Wlien Isvara is invisible how can it be stated whether he is embodied or disembodied ? If lie is said to be embodied the question arises whether his body is permanent or imperinanent. It can be also argued that all embodied things are impermanent and so is the case with the body of isvara. If it is admitted tliat the body of Isvara is impermanent the next question is by whom it is produced ? If it is argued that isvara himself has made liis body, prior to its production Isvara should have existed in which case the argument leads to ad infinitum. If it is argued that Isvara is the judge of the fruits of meritorious and demeritorious

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Vol. xx, 1996 HERETICAL CONCEPTION OF... actions of beings, then a question arises that when Isvara created the world whether the jivas were endowed with karma or not? In the case of the former the next question will be who is the author of their karmas ? If it is argued that karma were the acts of different jivas, it will not be compatible with the argument that Isvara is responsible for actions in this world. How can it be accepted that Isvara is merciful or compassionate and some jivas suffer and some are happy; some travel in the right path and some on the wrong path. How can we account this to the Isvara who is said to be omniscient and compassionate. Why does he not stop the unrighteous ? All this shows that Naiyayikas are wrong and Isvara appears to be biased, devoid of justice and intelligence, and is unmerciful. Refuting the doctrine of Sankhyas that the whole creation is produced from the principle of Pradhana or Prakiti it can be argued that how the intangible Prakrti can produce diverse phenomena such as the seed, mountain etc., which are tangible. The principle of Pradhana is said to be tangible the question arises how it is created ? If it is created by A or B and so on it leads to ad infinitum again. In such case, why the world should not be regarded as eternal. It is argued by the followers of Sankhya that Prakyti is the combination of sattva, rajas and tamas in equal proportions. To state that the various tattvas like Mahat can be derived from the principle of Pradhana cannot be accepted. Instead of arguing that the universe is produced froin the principle of Pradhana why can it not be said that the cause of diverse phenomena in their innate nature of the principle of Niyati. The argument that the world is created by Self-born one is also unsound because the definition of 'Svayambhu or Self-born is ambiguous and if the Self-born is defined as eternal, how can the non-dual produce the world of duality? When it cannot be accepted that the Self-born cannot be the creator of the universe, how can it be said that Lord Yama or the principle of Maya which are the by-products of the Self-born can create the universe ? Another speculation that the world has emerged from Hiranyagarbha also appears as meaningless because in the absence of the five elements in the beginning how can the primordial egg was produced and how can the origins of different elements can be explained ? Another contention of the Tirthikas and the Bralumanas that the four castes of Brahmana, Ksatriya etc., have emerged from different organs of Brahma is also absurd because it is inexperiencial and illogical. The creation of the world by Vism also does not stand up to the logical analysis. For instance when Visnu was lying on the primordial water the question arises who has created the element water ? If the element of water is said to be in existence since eternity why the other elements did not appear

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72 CH. LALITHA SAMBODHI since eternity ? The theory of emergence of brahma and other gods is also quite ambiguous. The motivation of creation is also not clear. The origin of the doctrine of karma is also not explained. Various kinds of suffering, injustice, inequality, etc., cannot be explained if it is accepted that the world is created by the omniscient Isvara 13. According to Mahavira's disciple Ardraka all philosophers praise their own doctrines and make them known. While preaching their doctrines Brahmanas and sramanas criticise one another". III Thus the above study reveals the fact that the Jains face the perplexity of the creation of the universe. According to them the universe is neither created nor destroyed. It is beginning-less and endless. It is only the condition of the initiation, continuation and disintegration which are responsible for the formulation of the universe and separation at regular intervals. Hence the Jains presented a doctrine of the cycle of time of evolution (utsarpini) and involution (avasarpini). There is no necessity of the creator for the creation of universe, nor is it essential to have a destroyer for the disintegration of the universe. The cycle of formation and disintegration of the universe is because of the uniformity of the creeds of nature. The cycle of human birth and rebirth is because of the accumulation of karmic matter owing to the action of the soul. When karma is destroyed, the souls experience the eternal liappiness in the region of the free and the liberated (siddhasila). REFERENCES : 1. Hermann Jacobi, (tr.), Jaina Sutras, (JS), Part II, p. 244. 2. Panditratnasri Hemachandraji, (Tr & Comme.), Sri Sutrakrtanga Sutra (Prathama Srutaskandh), (Sukr, Prs) pp. 204-207. 3. JS Part II, p.244. 4. Sukr (Prs), pp. 214 216. 5. JS Part II, p.244. 6. Sukr (Prs), pp. 208-213. 7. JS Part II, p.247. 8. Sukr (Prs), pp. 264-265. 9. JS Part II, pp. 244-245. 10. Sukp (Prs), pp. 216-218. 11. JS Part II, p. 245. 12. Sukp (Prs), pp. 218-220. 13. Ibid., pp. 220-228. 14. JS Part II, pp. 411-412.

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KALINJAR FORT : THE TIME WINNER ANCIENTMOST FORT OF INDIA* Dinesh Chandra Citadels and forts symbolised not only seats of power or authority but stood as rock against invasions and attacks. Kalinjar is one of the most ancient and strategically located forts of India which was the site of several battles associating with it the names of Mohammed Ghazni, Prithviraj Chauhan, Qutbud-din Aibak, Hunayun, Sher Shah Suri, Akbar and Chhatrasal! The fort is located on a mountain known as Kalinjar, in the east of Banda district of U.P. en route to Wagod, Satana and Jabalpur. Kalinjar stands on an isolated Vindliyan top at an elevation of 1200 ft. from sea level. The summit of the fort is oblong in slape and nearly a mile in length and half a mile in breadth. It is fortified by a rampart four miles in circuit and constructed of large blocks of stone. A sloping path provides access to the fort. The flight of steps pass through seven gateways. Tlie fort had two entrances : Alam Darwaza and Panna Darwaza. The Alam Darwaza is a battlemented building added during times of Aurangzeb. It was guarded by other gates like Ganesh, Chandi, Budhbhadra, Hanuman etc. The fort accommodates in itself architecture created by Chandela Kings, rock cut tanks and caves. Some of the buildings bear carvings and inscriptions yielding a renowned tantrik centre in times of Maliabharata? The fort was decorated with beautiful carvings and images of gods plundered and destroyed by the invaders and plunderers. The places which accommodated royal houses and houses of prosperous people bespeak of high quality of architectural magnificence and luxuries of ancients. The two and three storied palatial buildings were decorated with balconies with carvings and designs depicting the perfection of artists and artisans of ancient times. Sweet laughter of beautiful ladies watching processions or presentations still echo in silence of these balconies and niches of the palatial building of Kalinjar fort. The tanks and ponds added to the beauty of the fort and point out the taste of the ancient for 'Jalvihar'. The aesthetic sense found an outlet in images of gods and goddesses and underground cave streams emanating from everfilled water tanks. The fountains sprinkled and mixed water with dry air making it cold breeze during summer. Kalinjar was a 'Giri Durga' built on Kalinjar hill of lofty height and a 'Deva Durga' which was built on mountains region having gods' images * Eminent art historian/indologist, literateure, Alimedabad.

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74 DINESH CHANDRA SAMBODHI niched on walls. The ramparts of the fort with parapets and shooting gaps are as high as 12ft. and 6 ft. in width. Such a magnificent and strong fort was very rare in contemporary India. Vedas refer to Kalinjar as 'Tapasthali, a place of penance. Mahabharata makes a mention of its beautiful lake and Padma Purana' glorifies it for its holiness. In olden days, Kalinjar was also known as Ratnakuta, Mahagiri and Pingalao. Kalinjar or Kalamjara literally means the one who causes time to grow old. It has really done so and stood long as test of time. According to Ferista", "Kalinjar was founded by Kedar Raja in 7th century. The first prominent person connected with Kalinjar was Chandra Verma who was associated with it since 978 A.D. Raja of Kalinjar with Jaipal, King of Lahore, attacked Ghazni in 978 and suffered defeat'. Again in 1008 A.D. King of Kalinjar sided with Anandpal in battle of Peshawar in order to check the invasion of Ghazni. In year 1022-23 A.D. Kalinjar fort was besieged by Mohammed of Ghazni. Farista writes about the fort : "This is a fort unparalleled in whole history of Hindustan for its strength. Nanda, its chief, presented 300 elephants and begged for peace. As animals were sent out of fort without riders, Sultan ordered Turks to seize and mount them. The enemy perceiving this, was much surprised and Nanda sent a copy of Hindi verse in praise of Sultan who was much pleased with compliments and later conferred the grant of 15 forts on him "?". Historian Hasan Nizami writes, "The accused Parmar, the Raja of Kalinjar, fled into the fort after desperate resistance in the battlefield and afterwards surrendered himself. The Government of Kalinjar was entrusted to Hazur-uddin Hasan Arnal and the fort became a part of Mohammedan kingdom of Delhi 12". There is an inscription of 1131 A.D. speaking about the victory of Chandellas13. In 1182, the Chandela king after being defeated by Prithviraj Chauhan of Delhi, shifted their capital from Mahoba (Hamirpur district in U.P.) to Kalinjar. Chandelas made a great contribution in building and decorating the fort". They were also responsible for construction of temples at Khajuraho between A.D.,950 and 1050 before Muslim invasions. Khajuraho once comprised of 85 temples of which only 20 still exist. Skanda Puranaspeaks of struggle between Hindu powers of North India and their enemies, the Turks. After the dismemberment of the Prathilara empire, the moon once again began to shine on the sacred hill of Kalinjara on the head of Nilakantha. The successor of Chandra, born of Atri, hence called Chandratreya came into prominence under the leadership of

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Vol. XX, 1996 KALINJAR FORT... Harshadeva Chandela. Yashovariana is praised as brave (Sura) who combined in liimself the virtues of Karna, Yudhishthira and Arjuna 16. Dhanga, son and successor of, Yashovarmana, became one of the most powerful rulers of Madhya Desa who caused destruction of enemies and who by prowess of arms equalled even the powerful Hamvira or Haminira (i.e. Amira) represents a musliin prince identified as Subuktagin? The fort of Kalinjar was always obsessed with invasions and attacks. In 1202, Qutb-ud-din Aibak, the viceroy of Mohammad Ghori took Kalinjar and converted its temples into inosques & Humayun, Sher Shah Suri, Akbar and even Chhatrasal all have exerted their powers in winning or conquering the strongest and magnificent fort of Kalinjar". It witnessed successive invasions and attacks and had long history to speak about its struggle which it survived with its strong ramparts facing thousands of cannon shells and explosives to deface it. In its bosom lies the glory of the past and it welcomes all tliose who wish to see it in gleaming light of its memorable history. Kalinjar not only offers a vivid vision of its memorable history, architecture, art, painting or sculpture but also throws ample light on its life it was enjoying in the grandeur of its royal kingdom it sheltered in its beauty and charin it beckoned and the chivalry and prowess it displayed. The life hereafter with ineaningful philosopliy to live, grow and sublime still speaks from its mute broken images and belold a vivid picture of the fort in our inner eye. It imbued in itself the strong ancient citadels of Dholavira, Mohenjadaro and other Indus sites accommodating in it granderous royal structures, planning and civic conveniences of life20. It also displayed the rock like solid China Wall for invaders and attackers who envied the grandeur and magnificence of the fort of Kalinjara, focusing the claiins of ancient Indian architecture and planning. REFERENCES : 1. Imperial Gazetteer of India, (IGO) Vol. XIV, Oxford, 1908, p. 311. 2. ibid. 3. Valmiki Ramayana, Uttara-kanda, 59; Mahabharata, Vanaparva, 59; Harivamsa, 21; and Kalinjara-mahatmya of the Padinapurana mentions : Ardhayojana-vistirnan tat ksetram mama mandiram / Kalinjareti vikhyatai inuktidai siva-sannidhau // Gangaya daksine bhage kalinjara iti snitah / Sarvatirtha-phalam tava pundancaiva hyanantakam // Kalanjara-sainam ksetram nasti brahmanda-golake //

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DINESH CHANDRA SAMBODHI 4. Imperial Gazetteer of India, Vol. XIV, Oxford, 1908, p. 311, notes that Mahabharata (Vana P.87) mentions it as a famous city and states that whoever bathes in the Lake of gods is as meritorious as he who bestows in charity one thousand cows. It also mentions that the Tirtha called Hiranya-vindu is also situated at this place. 5. Padmapurana, Svarga, Ch. 19, vs. 130. 6. IGO, ibid. 7. ibid. 8. Dey, Nandalal - Geographical Dictionary of Ancient and Medieval India, Oriental Book Printers Corporation, Delhi, 1971. 9. IGO, ibid. 10. ibid. 11. Perista Accounts Ref.; Martin Brice - Forts and Fortreses, New York, 1990; Begde, P. V. - Forts and Palaces of India, New Delhi, 1982. 12. Nizami, Hasan - Ref. ibid. 13. Jor. of Asiatic Society of Bengal, XVII (1848), p. 313. 14. IGO, ibid. 15. Vamana-purana, Ch. 84; Dey, Nandalal, op. cit., pp. 84-85. 16. ibid. 17. Epigraphica Indica, Vo. I, p. 218. 18. IGO, ibid. 19. ibid., p. 312.

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VARIANTS FROM VENISAMHARA AND THE KAVYAPRAKAS'A OF MAMMATA* Jagriti Pandya The problem of text-criticism is an all important one so far as the Sanskrit Classical works, especially literary ones, are concerned. Dr. Rewaprasad has attempted it with the works of Kalidasa. A similar attempt is awaiting with other literary works such as those of Bhavabhuti, Bhattanarayana, Vis'akliadatta, Bana etc. A fresh angle is presented in this paper. By way of illustrations hundreds of verses from the works of great masters have been quoted in the works of poetics and various commentaries on works such as the Kavyaprakasa of Mainmata. Very often they enter into the exercise of fixing up this or that variant, suggesting that - ayamapapAThaH, ayaM sAdhu pAThaH etc. In this small paper it is attempted to pick up some verses from the Venisamhara (=Veni.) of Bhattanarayana as presented in the various editions of the Kavyaprakas'a (=K. P.) It is not claimed hereby to arrive at a fixed final reading, but our interest is in raising problems of text-criticism to be solved by great editors. In preparing this paper the following editions of the Veni have been consulted. 1. Nirnayasagar (=N. S.) edition 2. Chaukhamba (=Chau.) edition 3. Poona edition 4. Madras editon 5. Gajendragadkar (=Gaj.) edition 6. Deshpande (=Des.) edition We have also taken into account some important editions of the K. P. with different commentaries on the saine. They are : 1. Kavyaprakas'a - With Balabodhini (Jha. Edn.) 2. Kavyaprakas'a - With & ETC (H. & 3. edn.) 3. Kavyaprakas'a - With TATT (7911. edn.) * Accepted for reading at A.I.O.C., Haridwar.

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JAGRITI PANDYA SAMBODHI 4. Kavyaprakas'a - Rewaprasada (=R. P.) edn. 5. Kavyaprakas'a - Prayaga edn. 6. Kavyaprakasa - With sAradIpikA (sA. dI. end.) 7. Kavyaprakasa - With sAhityacUDAmaNi & saMpradAya-prakAzinI (sA. cU. & saM. pra. edn.) 8. Kavyaprakas'a - With falach falach edn.) 9. Kavyaprakas'a - With famifichi (Farsil. edn.) 10. Kavyaprakasa - With saMketa (mANikyacandra)-saMketa (mA.) edn. 11. Kavyaprakasa - With saMketa (somezvara)-saMketa (so.) edn. Our effort proceeds as below: (1) nirvANavairadahanAH prazamAdarINAM nandantu pANDutanayAH saha mAdhavena / raktaprasAdhitabhuvaH kSatavigrahAzca svasthA bhavantu kururAjasutAH sabhRtyAH // -1.7 In this verse, no variant is seen in either any edition of the Veni or in the different commentaries on the K. P. But Jhalakikar las noted that Jagaddhar, the commentator of Veni refers to 'nirvANavairidahanAH', a reading which is not proper according to Jalakikar'. (2) tathAbhUtAM dRSTvA nRpasadasi pAJcAlatanayAM vane vyAdhaiH sArdhaM suciramuSitaM valkaladharaiH / virATasyAvAse sthitamanucitArambhanibhRtaM guruH khedaM khinne mayi bhajati nAdyApi kuruSu / / -1.11 This verse also does not suggest any variant in the different commentaries on the K. P., while the N. S. Edn. (p. 13) and Des. edn. (p. 9) of the Veni have 'bhajati' with 'vahati' noted in the ft. note. Other editions of the Veni do not suggest any variant. (3) yattadUjitamatyugraM kSAtraM tejo'sya bhUpateH / dIvyatAkSaistadAnena nUnaM tadapi hAritam // 1.13 This verse also has no variant in either the different editions of the Veni or those of the K. P. (4) madhnAmi kauravazataM samare na kopA duHzAsanasya rudhiraM na pibAmyurastaH / saMcUrNayAmi gadayA na suyodhanorU saMdhi karotu bhavatAM nRpatiH paNena // -1.15

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Vol. xx, 1996 VARIANTS FROM VENISAMHARA AND... In this verse, no variant is seen in either any edition of the Veni or in the different commentaries on the K. P., excepting saMketa (so.) edn. p.II (p. 91) which has saMdhi for saMdhi mentioned in the ft. note (p. I p. 8). (5) manthAyastArNavAmbhaH pluta kuharacalanmandaradhvAnadhIraH koNAghAteSu garjatpralayaghanaghaTAnyonyasaMghaTTacaNDaH / kRSNAkrodhAgradUtaH kurukulanidhanotpAtanirghAtavAta: kenAsmatsihanAdapratirasitasakho dundubhistADito'yam // 1.22 This verse has many variants such as - manthAyastArNavAmbha:All editions of the Veni have this reading, while the N. S. Edn. of the Veni (p. 26) has manthAyastArNavArNaH in the ft. note. The different commentaries on the K. P. have also manthAyastArNavArNaH pluta.All editions of the Veni have pluta. while N. S. Edn. has pluta. with pluti. in the ft. note. The different commentaries on the K. P. have equally preferred both of them. Jha. Edn. (p. 487-88), R. P. Edn. (p. 499), prayAga Edn. (p. 330), sA. dI. edn. p. II (p. 225), viveka edn. (p. 286), vistA. edn. p.II (p. 138 have pluta, while pra. & u. edn. (p. 402), sudhA edn. (p. 498), sA. cU. & saM. pra. edn (p. 195), saMketa (mA.) edn. (p. 237) & saMketa (so.) edn. p. II (p. 211) have pluti for pluta. Jha. edn. (p. 488) has also noted the other reading -pluti in the commentary - plutIti pAThe mantho manthanaM...ityartho bodhyaH / pratukuha. is also noted as a variant by saMketa (so.) edn. (p. 211) in the ft. note (p. 17). calan N. S. edn. of the Veni (p. 26) has calan with valan in the ft. note. chau edn. (p. 34-35), Gaj, edn. (p. 19) & Des. edn. (p. 21) have preferred calan, while Poona edn. (p. 10), & Madras edn. (p. 23) (p. 6 B) have accepted valan. Most of the commentaries on the K. P. have calan, but R. P. edn. (p. 499), sA. cU. & saM. pra. edn. (p. 195), viveka edn. (p. 286) & saMketa (so.) edn. p. II (p. 211) have valan for calan. The last one, i.e. saMketa (so.) reads calan in the ft. note (p. I, p. 17), while. pra. & u. edn. (p. 402) & saMketa (mA.) edn. (p. 195) have mentioned galan, raNan & valan for calan in the ft. note.

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80 JAGRITI PANDYA SAMBODHI kurukula This variant is accepted by all editions of the Veni. The N. S. edn. (p. 26) has also noted for in the ft. note. The different commentaries on the R. P. have groeit only. 0sakho All editions of the Veni have this reacling but N. S. edn. (p. 26) has also noted samo in the ft. note. The different commentaries on the K. P. have sakho, except viveka edn. (p. 286) which has samo for 0sakho tADitaH N. S. Edn. of the Veni (p. 26) has tADita: with tADyate in the ft. note. Chau. edn. (p. 34-35) has gifsa: while Poona edn. (p. 10) & Madras edn. (p. 23) have tADyate Gaj. edn. (p. 19) & Des. edn. (p. 21) have tADyate with tADitaH in the ft. note. The different commentaries on the K. P. have tADita: only. ayam All editions of the Veni lave 3744 while the different commentaries on the K. P. have mostly preferred asau for ayam Jha. edn. (p. 487-88) has asau K. P. edn. (p. 499), prayAga edn. (p. 330), sA. dI. edn.p. II (p. 225) & vistA. edn. p. II (p. 138) follow Jha. edn. pra. & u. edn. (p. 402) & saMketa (mA.) edn. (p. 237) have asau with ayam in the ft. note, while sudhA edn. (p. 498), sA. cU. & saM. pra. edn. (p. 195) & viveka edn. (p. 286) have ayam, saMketa (so.) edn. p. II (p. 211) has ayam with asau in the ft. note. (p. I, p. 17) (7) AtmArAmA vihitaratayo nirvikalpe samAdhau jJAnotsekAdvighaTitatamognanthayaH sattvaniSThAH / yaM vIkSante kamapi tamasAM jyotiSAM vA parastA taM mohAndhaH kathamahamamuM vetti devaM purANam // -1.23 There are many variants in this verse. They are as under vihitaratayaH This variant is accepted by all editions of the Veni & those of the K. P. but matayaH, is also mentioned with dhRtayaH in the ft. note by N. S. edn. (p. 27). K. P.

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Vol. XX, 1996 VARIANTS FROM VENISAMHARA AND... (.) edn. p. II (p. 169) has also shown it in the ft. note (p. 1, p. 15) jJAnotsekAt N. S. edn. of the Veni (p. 27) has with edu. (p. 37), Gaj. edn. (p. 21) & Des, edn. (p. 23) have a edn. (p. 10) & Madras edn. (p. 25) have. 81 in the ft. note. Chau. while Poona The different commentaries on the K. P. differ in giving this variant. Some of them have jJAnodrekAt. See Jha edn. (p. 424), . edn. (p. 454), R. P. edn. (p. 438), edn. (p. 293). edn. p. II (p. 120) & fat. edn. p. II (p. 96). pra. & uedn (p. 357) & saMketa (mA.) edn (p. 159 ) have jJAnodrekAt with jJAnotsekAt in the ft. note, while saMketa (so.) edn. p. II ( p. 169) has jJAnotsekAt with sattvodrekAt & in the ft. note (p. 1 p.15) a viveka edn (p. 246 ) has jJAnotkarSAt, but zrIdhara has noted jJAnaM prakAzAtmakaM tadudrekAt in his commentary. Thus seems to be favoured by him. sA. cU & saM. pra.edn (p. 127) has jJAnotkarSAt with jJAnotsekAt in the ft. note - 0tsekAda iti mUlakozapAThaH / 0 tamogranthayaH The different commentaries on the K. P. have also 357) has in the ft. note. Moreover, in 3 Jha. (p. 424) has criticized both the readings. kamapi All editions of the Veni and those of the K. P. have this variant, but, . & J. edn. on the K. P. (p. 357) has also noted the other reading : in the ft. note. vIkSate All editions of the Veni have this variant, but N. S. edn. (p. 27) also mentions the otherones in the ft. note. far, but . & 3. edn. (p. (p. 358) is referred. All editions of the Veni have this reading, but N. S. edn. (p. 27), Gaj. edn. (p. 21) Des. edn. (p. 23) have also mentioned ff for f in the ft. note. The different commentaries on the K. P. do not differ in giving this variant. mohAndha : This variant is accepted by all edns. of the Veni and those of the K. P. but N.

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JAGRITI PANDYA SAMBODHI S. edn. of the Veni (p. 27) has also noted the other reading HEICHT in the ft. note. aham This variant is seen only in N. S. edn. of the Veni (p. 27). Chau. edn. (p. 37), Poona edn. (p. 10), Madras edn. (p. 25), Gaj. edn. (p. 21) & Des. edn. (p. 23) liave 3747 for 31441 The different commentaries on the K. P. also have 3794 for 3464. See - Jha. edn. (p. 424), 36. & 3. edn. (p. 357), 7 edn. (p. 454), R. P. edn. (p. 438), rer edn. (p. 293), Fl. a. edn. p. II (p. 120), F. 7. & F. 3. edn. (p. 127), fach edn. (p. 246), facile edn. p. II (p. 96), ha (FT.) edn. (p. 159) and Chat (1) edn. p.II (p. 169). vetti Chau. edn. (p. 37) shows afer, while N. S. edn. (p. 27) has afer with an in the ft. note, which is accepted by Poona edn. (p. 10), Madras edn. (p. 25), Gaj edn. (p. 21) & Des. edn. (p. 23) Gaj. edn. & Des. edn. have also noted afer in the ft. note. The different commentaries on the K. P. have afat only, but what (.) edn. p. II (p. 169) has afer with ay in the ft. note. (p. I, p. 15). (7) catvAro vayamRtvijaH sa bhagavAn karmopadeSTA hariH sanAmAdhvaradIkSito narapatiH patnI gRhItavratA / kauravyAH pazavaH priyAparibhavaklezopazAntiH phalaM rAjanyopanimantraNAya rasati sphItaM yazodundubhiH // -1.25 This verse shows only one variant - viz. URG-STA: All editions of the Veni have TIGET:, while N. S. edn. (p. 29-30) has mentioned Eagsfy in the ft. note. The major commentaries on the K. P. prefer Eciggfa: for G-9f4: See - Jha. edn. (p. 355), 4. & 3. edn. (p. 309), R. P. edn. (p. 378), em edn. (p. 253), 11. . edn. p. II (p. 68), fade edn. (p. 219) faktile edn. p. II (p. 57) & ficha (17.) edn. (p. 95). The last one has also noted the other reading - 21Ggfa: in the ft. note, which is accepted by Ye. edn. (p. 391-92) and F. . & #. edn. (p. 73). a ( .) edn. p. II (p. 141) has also Gfy: with Edigsf: in the ft. note. Some commentators have discussed this reading as below:

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Vol. xx, 1996 VARIANTS FROM VENISAMHARA AND.... 83 rAjanyAH kSatriyAH, teSAM upanimantraNAya, AhvAnAya hataH, tADitaH, dundubhiH, bherI sphItaM snigdhaM yathA syAttathA rasati zabdaM karotItyarthaH / tADane snigdhazabdodayAjjayasUcanam / 'yazo dundubhiH' iti pAThe sphItamabhivRddhaM yaza eva dundubhiriti vyastarUpakaM bodhyam samAse sphItamityasyAnanvayAt / - 'bA. bo.'-Jha. edn. p. 355 hato dundubhiH sphItaM snigdhaM yathA tathA racati / tADane snigdhazabdodayAjjayasUcanam / yazo dundubhiriti pAThe sphItaM yaza eva dundubhiriti vyastarUpakaM bodhyam / samAse sphItamityananvayAt / -'udyota'-pra. & u. edn. p. 309 hatodundubhiH sphItaM snigdhaM rasati / tADane snigdhazabdodayAt jayasUcanam / yazodundubhiriti vA paatthH|-- 'sA. bo.'-prayAga edn. p. 254 bAlacittA0 has favoured yazodundubhiH yazodundubhiH rAjanyopanimantraNAya sphItaM yathA syAttathA rasati zabdaM karoti / - prayAga edn. p. 253 (4) mahApralayamArutakSubhitapuSkarAvartaka pracaNDadhanagajitapratiravAnukArI muhuH / / ravaH zravaNabhairavaH sthagitarodasIkandaraH kuto'dya samarodadherayamabhUtapUrvaH puraH // 3.8 This verse has three variants. They are as under: 0puSpakarAvartaka - All editions of the Veni, except Madras edn., have opuSpakarAvartaka. Madras edn. (p. 71) has puSpakarAvartaka for puSpakarAvartaka but in the notes (p. 296) it mentions puSpakarAvartaka as referred to by Mallinatha in the Meghaduta. Most of the different commentaries on the K. P. have also puSpakarAvartaka, while sA. cU. & saM. pra. edn. (p. 81) has puSkalAvartaka, pratiravAnukArIAll editions of the Veni. have pratiravAnukArI, but the N. S. edn. (p. 70). has mentioned the other reading after cre in the ft. note, which was preferred by most of the different commentaries on the K. P. See 0151 - Jha. edn. (p. 365), pra. & u. edn. (p. 316), R. P. edn. (p. 386), prayAga edn. (p. 260), sA. dI. edn. p. II (p. 74), viveka edn. (p. 222-223), vistA0 edn. p. II (p. 6465) saMketa (mA.) edn. (p. 105) and saMketa (so.) edn. p. JI (p. 146). pra. & 3. edn. (p. 316) and saMketa (mA.) edn. (p. 105) have noted the other reading

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JAGRITI PANDYA SAMBODHI - pratiravAnukArI in the ft. note, which is accepted by sudhA. edn. (p. 400) and sA. cU. & saM. pra. edn. (p. 81). abhUtapUrvaH puraH - All editions of the Veni. have this reading but N. S. edn. (p. 70) has the other readings - abhUtapUrvaH plavaH, abhUtapUrvaplava: and abhUtapUrvaH zruta: also in the ft. note. In this verse the different commentaries on the K. P. have shown different readings. Jha. edn. (p. 365) has abhUtapUrvaH puraH. He has also discussed about abhUtapUrvo hare: of sudhA. edn. in the coinmentary'. pra. & u. edn. (p. 316), R. P. edn. (p. 386), prayAga edn. (p. 260), sA. dI. edn. p. II (p. 74), vistA. edn. p. II (p. 64-65), saMketa (mA.) edn. (p. 105) and saMketa (so.) edin. p. II (p. 146) have accepted abhUtapUrvaH puraH, following Jha. edn., while viveka edn. (p. 222-223) and sA. cU. & saM. pra. edn. p. II (p. 81) have abhUtapUrvodaya: with abhUtapUrvaH puraH in the ft. note. sudhA edn. (p. 400) has abhUtapUrvo hare:, (9) astrajvAlAvalIDhapratibalajaladherantaraurvAyamANe senAnAthe sthite'smin mama pitari gurau sarvadhanvIzvarANAm karNAlaM saMbhrameNa vraja kRpa samaraM muJca hArdikya zaGkAM tAte cApadvitIye vahati raNadhuraM ko bhayasyAvakAzaH / / -3-7 This verse shows two variants. astrajvAlAvalIDha0 All editions of the Veni. and those of the R. P. have accepted this reading but sA. cU. & saM. pra. edn. (p. 94) has mentioned 'astrajvAlAvalIbhiH' in the ft. note. raNadhuraM - N. S. edn. of the Veni. (p. 72) has 'raNadhuraM' with 'raNadhurI' in the ft. note. Poona edn. (p. 33), Gaj. edn. (p. 63), & Des. edn. (p. 68) have raNadhuraM, while chau. edn. (pp. 104-105) and Madras edn. (pp. 73-74) have accepted raNadhurAM. Most of the different commentaries on the K. P. have raNadhuraM. See - Jha. edn. (p. 383), pra. & 3. edn. (p. 330), R. P. edn. (p. 402), sudhA0 edn. (p. 417), prayAga edn. (p. 270), sA. dI* edn. p. II (p. 88), sA. cU. & saM. pra. edn. (p. 94), viveka edn. p. II (p. 229), vistA* edn. p. II (p. 76). But saMketa (mA.) edn. (p. 123) accepts raNadhurAM, which is also read in udyota (p. 330). saMketa (so.) edn. p. II (p. 155) also has raNadhurAM with raNadhuraM in the ft. note. (p. I., p. 13).

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Vol. xx, 1996 VARIANTS FROM VENISAMHARA AND... 85 (10) gRhItaM yenAsI: paribhavabhayAnnocitamapi prabhAvAdyasyAbhUnna khalu tava kazcinna viSayaH / parityaktaM tena tvamasi sutazokAnna tu bhayA dvimokSye zAstra tvAmahamapi yataH svasti bhavate / / -3.19 In this verse the following variants are noted. nocitamapi This reading is accepted by all editions of the Veni, but N. S. Edn. (p. 78) has also mentioned the other reading - nocitamiti in the ft. note. See - Chau. edn. (p. 118), Poona edn. (p. 37), Madras edn. (p. 82), Gaj. edn. (p. 71) & Des. edn. (p. 77) The different commentaries on the K. P. have also accepted nocitamapi. See - Jha. edn. (p. 386), pra. & u. edn. (p. 332, R. P. edn. (p. 404), prayAga edn. (p. 272), sA. dI. edn. p. II (p. 90), sA. cU. & saM. pra. edn. (p. 96), viveka edn. p. II (p. 230), vistA. edn. p. II (p. 78), saMketa (mA.) edn. (p. 120) and saMketa (so.) edn. p. II (p. 156) But udyota? (p. 332) has preferred nojjhitamapi. sudhA. edn. (p. 420) follows in giving this reading. It also refers nocitamapIti in the commentary - na cocitamapIti kvacitpAThaH sugamaH / (p. 421) With reference to nojjhitamapi, Jha edn. (p. 386) reads'nojjhitamapi' iti pAThe yena pitrA tvaM gRhItaM svavRttivirodhe'pi svIkRtam AsI: paribhavabhayAt zastradhAribhyastiraskArastadbhayAt nojjhitaM na kadAcittyaktamapItyanvayaH / abhUt - All editions of the Veni have abhUt, but N. S. edn. (p. 78) has noted AsIt for abhUt in the ft. note. The different commentaries on the K. P. have abhUt, while sA. cU. & saM. pra. edn. p. II (p. 96) and saMketa (so.) edin. p. II (p. 156) have abhUt with AsIt in the ft. note. (p. I, p. 13) tena - All editions of the Veni and those of the K. P. have 44. But chau. edn. of Ven (p. 118) has yena for tena. The commentator mentions tena. K. P. saMketa (mA.) edn (p. 120) has also yena for tena.

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86 JAGRITI PANDYA SAMBODHI yataH All editions of the Veni liave this reading. The different commentaries on the K. P. also have yata: except pra. & u. edn. (p. 332) which has tata: for yata: in the ft. note. with reference to this reading Fl. a. edn. p. II (p. 90.) observes - yataH ityapi pAThaH, na ca yat iti pAThe nanvayata iti pAThe yato'haM tvAM vimokSye'taH svasti bhavata iti / ata iti padasAkAGkSatA abhU dyatvaparasya vizeSataH uttaravAkyasthitasya yatpadasya prakRtiparityAgavAcitayAnyasAkAGkSatvAbhAvAt / (11) kRtamanumataM dRSTaM vA yairidaM gurupAtakaM manujapazubhirnirmaryAdairbhavadbhidAyudhaiH / narakaripuNA sArdhaM teSAM sabhImakirITinA mayamahamasaGmedomAMsaiH karomi dizAM balim // -3.28 This verse does not suggest any variant in the different editions of the Veni., except the N. S. edn. (p. 81), which has 'pazubhiH' with '0patibhi:' in the ft. note. The different commentaries on the K. P. also do not suggest any variant. (12) deza: so'yamarAti zoNitajalairyasmin hudAH pUritAH kSAtrAdeva tathAvidhaH paribhavastAtasya kezagrahaH / tAnyevAhitazastraghasmara gurUNyastrANi bhAsvanti me yadrAmeNa kRtaM tadeva kurute doNAtmajaH krodhanaH // -3.33 This verse has so many variants. They are as underzoNitajalaiH This variant is accepted by all editions of the Veni but N. S. edn. (p. 86) has also noted zoNitabharaiH in the ft. note. The different commentaries on the K. P. have zoNitajalaiH only. kSAtrAt - This variant is seen only in the N. S. edn. of the Veni (p. 86) while Chau. edn. (p. 134-135), Poona edn. (p. 42), Madras edn. (p. 93), Gaj. edn. (p. 80), Des. edn. (p. 87-88) have kSatrAt Gaj. edn. and Des. edn. have also noted kSAtrAt in the ft. note. The different commentaries on the K. P. have also kSatrAt for kSAtrAt see - Jha edn. (p. 328), pra. & 3. edn. (p. 291), sudhA. edn. (p. 370-371), R.P. edn. (p. 360), prayAga

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Vol. XX, 1996 VARIANTS FROM VENISAMHARA AND... 87 edn. (p. 240), 7. 4. edn. p. II (p. 49), F. 7. & F. 5. edn. (p.60), fade edn. p. II (p. 212), fakil. edn. p. II (p. 42), i (7.) edn. (p. 72-73) and Harian (H) edn. p. II (p. 134). ante: - All editions of the Veni have this reading, but N. S. edn. (p. 86), Gaj. edn. (p. 80) and Des. edn. (p. 87-88) have also noted the other' reading. Et in the ft. note. The different commentaries on the K. P. have also accepted are: except yello edn (p. 370-371), which has SUUTETTL for UE: . & 3. edn. (p. 291) and a (7.) edn. (p. 72-73) have also mentioned TITET in the ft. note. Jha edn. (p. 328) has also noted it in his commentary 'kezagrahAt' iti pAThe tAtasya droNasya kezagrahAddhetoH kSatrAt kSatriyAdeva dhRSTadyumnAt tathAvidhaH kArtavIryArjunAjjamadagneriva paribhava ityarthaH / zastraghasmara - This variant is accepted by all editions of the Veni, but N. S. edn. (p. 86) has also noted the other reading- are in the ft. note. The different commentaries on the K. P. differ in giving this variant. Some of them have zastraghasmara. See - 77. & 3. edn. (p. 291), T. edn. (p. 370-371), H. 7. & F. 4. edn. (p. 60), falarci edn. p. II' (p. 212), fasil. edn. p. II (p. 42), al (FT.) edn. (p. 72-73) and ha (F.) edn. p. II (p. 134). The first and the last but one - i.e. 4. & 3. edn. and ha (F.) edn. have also noted faceret? in the ft. note; while Jha. edn. (p. 328), R.P. edn. (p. 360), TTT edn. (p. 240) and F. t. edn. p. II (p. 49) have fare for a . #All editions of the Veni. have accepted this reading but N. S. edn. (p. 86) has also noted the other one - in the ft. note. The different commentaries on the K. P. have #, while he (h.) edn. (p. 134) has 7 with in the ft. note. ca - This reading is also accepted by all editions of the Veni. and those of the K. P.

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88 JAGRITI PANDYA SAMBODHI but pra. & u. edn. (p. 291) and saMketa (mA.) edn. (p. 72-73) have also noted the other reading TE in the ft. note. doNAtmajaH - N. S. edn. of the Veni. (p. 86) has droNAtmajaH with drauNAyani: in the ft. note. Des. edn. (p. 87-88) has droNAtmaja: and chau. edn. (p. 134-135) and Gaj. edn. (p. 80) have drauNAyAniH, while Poona edn. (p. 42) and Madras edn. (p. 93) have drauNAyanaH Most of the different commentaries on the K. P. have droNAtmajaH See - Jha. edn. (p. 328), pra. & u. edn. (p. 291), sudhA. edn. (p. 370-71), R.P. edn. (p. 360), prayAga edn (p. 240), sA. dI. edn. p. II (p. 49), saMketa (mA.) edn. (p. 7273) and saMketa (so.) edn. p. II (p. 134). vistA. edn. p. II (p. 42) has droNAtmajaH with drauNAyani: in the ft. note. Similarly, saMketa (so.) edn. p. II (p. 134) also reads droNAyani: in the ft. note (p. I. p. 12) while, sA. cU. & saM. pra. edn. p. II (p. 60) and viveka edn. p. II (p. 212) have drauNAyani: for droNAtmajaH krodhanaH All editions of the Veni have accepted this variant. The different commentaries on the K. P. also mostly prefer this. But pra. & u. edn. (p. 291) and saMketa (mA.) edn. (p. 72-73) have krodhanaH with kopanaH and krodhataH in the ft. note; while sudhA. edn. (p. 370-371) has kopanaH for krodhanaH. (13) prayatnaparibodhitaH stutibhiradya zeSe nizA makezavamapANDavaM bhuvanamadya niHsomakam / iyaM parisamApyate raNakathAdya doH zAlinA mapaitu nRpakAnanAtigururadya bhAro bhuvaH / / -3.34 This verse has three variants. They are as under - doHzAlinAm - All editions of the Veni. have do:zAlinAm but N. S. edn. (p. 87) has also mentioned the other reading- do:zAlinA in the ft. note. The different commentaries on the K. P. have also doH zAlinAm. apaitu - This variant is seen in all editions of the Veni, except Poona edn. (p. 42), which has vyapaiti for apaitu N. S. edn. (p. 87) has also noted the other readings - vyapaitu

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Vol. xx, 1996 VARIANTS FROM VENISAMHARA AND... and apaiti in the ft. note. The different cominentaries on the K. P. have apaitu, while sudhA. edn. (p. 436) has upaiti for apaitu. pra. & u. edn. (p. 343) and saMketa (mA.) edn. (p. 140) have apaitu with apaiti in the ft. note, while saMketa (so.) edn. p. II (p. 162) has apaitu with upaitu in the ft. note, (p. I. p. 14). nRpakAnanA. All editions of the Veni. have nRpakAnanA. but N. S. edn. (p. 87) has also noted the other reading ripukAnanA. in the ft. note. The different commentaries on the K. P. differ in giving this variant. Some of theni have nRpakAnanA., while the others have ripukAnanA. sA. cU. & saM. pra. edn. p. II (edn. p. II (p. 109), viveka edn. p. II (p. 235-236) and vistA. edn. p. II (p. 88) have nRpakAnanA. While, Jha. edn. (p. 402) has ripukAnanA. The other reading is noted in the commentary - nRpakAnana ityapi pAThaH / pra. & u. edn. (p. 343), sudhA. edn. (p. 436), R. P. edn. (p. 419), prayAga edn. (p. 280), sA. dI. edn. p. II (p. 103), saMketa (mA.) edn. (p. 140) and saMketa (so.) edn. p. II (p. 162) have also ripukAnanA. Thus, fixing up of a given variant poses many problems. Works on Alankara could serve as useful research tools for the purpose. Our effort will be rewarded if scholars feel this approach to be useful and unavoidable. It may be noted that other works on Alankara, such as those of Hemacandra and Vis'vanatha and others could also be utilized while preparing a critical text of a given work. NOTES : 1. See K. P. Jha. edn. p. 422 - veNIsaMhAraTIkAkartA jagaddhareNa tu 'nirvANavairidahanAH' iti pAThaM matvA 'nirvANo nistejIkRto vaiyeva dahano yaiste' iti vigraho darzitaH / paraM tu prAguktapATha eva rucira: 'arINAM prazamAt' ityanena saha sAmaJjasyAtizayAditi bodhym| 2. yaM kamapi vAgAdyagocaraM dhyAyantItyanvayaH / 3. yattu 'vIkSante' ityatra 'dhyAyante' iti pradIpe dRzyate taccAtmanepadAprApterduSTameva / yazca 'dhyAyanti' ityudyotasaMmataH pAThaH so'pi chandobhaGgApattyA duSTa eva / 4. See Jha. edn. p. 365 - sudhAsAgare tu 'abhUtapUrvo hareH' iti paThitvA hareH ravaH siMhanAdaH iti vyAkhyAtam / 5. K. P. saMketa (mA0), AnandAzrama edn. Pune, (p. 158) reads raNadhuraM.

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JAGRITI PANDYA SAMBODHI 6. yena brAhmaNasyAnucitamapi tvaM paribhavabhayAtkSAtrakRtAnAdarabhayAd gRhItamaGgIkRtamAsIH / tadbhayAdeva gRhItvA nojjhitamapi yasya prabhAvAt sAmarthyAdviSayo lakSyaH / 7. udyota (p. 291) seems to favour this reading. tAni prasiddhAnyahitAnAM kSatriyANo yA hetayaH zastrANi teSAM ghasmarANi bhoktRNi bhAsvanti shilaatiikssnnaani| 8. This variant is preferred by bAlacittAnuraJcanI (prayAga edn. p. 240) and sA0 dI0 edn. (p. 50) in the discussion as below : ahitaiH zatrubhiH kSiptAni yAni, zastrANi teSAM ghasmarANi...astrANi AyudhAni mama santi / AhitAni zatrubhiH kSiptAni yAni shstraanni....| REFERENCE BOOKS : 1. veNIsaMhAram Ed. - K. P. Parab Pub. - Nirnaya Sagar Press, Bombay, seventh edition, 1930 2. veNIsaMhAranATakam Ed. - Pandit Shri Ramadev Jha Pub. - Chaukhamba Sanskrit series office, Varanasi, Third edition, 1959 3. veNIsaMhAram Ed. - Prof. K. N. Dravid Pub. - The oriental Book supplying Agency, Poona, Second editon, 1922 4. veNIsaMhAram Ed. - C. Sankara Ram Sastri Pub. - The Sri Balamanorama Press, Mylapore, Madras, 1943. 5. veNIsaMhAram Ed. . & Pub. Pub. - A. B. Gajendragadkar Revised third editon, 1941 6. veNIsaMhAram Ed. - R.R. Deshpande Pub. - Dadar Book Depot, Bombay First edition, 1953 7. kAvyaprakAza:- (With Balabodhini) Ed. - Vamanacharya Jhalakikar Pub. - Bhandarkar Oriental Research Institute, Poona, Eighth edition, 1983 8. kAvyaprakAza:- (With Pradeepa & Udyota) Ed. . Vasudeva Shastri Abhyankar Pub. - Anandashram Sanskrit Granthavali, Pune, 1911

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Vol. XX, 1996 9. kAvyaprakAza: Ed. Pub. 10. kAvyaprakAzaH Ed. Pub. 11. kAvyaprakAzaH Ed. 12. kAvyaprakAza: Ed. Pub. 13. kAvyaprakAzaH Ed. Pub. 14. kAvyaprakAzaH Ed. Pub. 15. kAvyaprakAza: Ed. Pub. 16. kAvyaprakAzaH - 17. kAvyaprakAzaH- Ed. Pub. Ed. Pub. 18. kAvyaprakAzaH Ed. Pub. - VARIANTS FROM VENISAMHARA AND... (With Sudhasagar) Sri Narayana Sastri Khiste Chowkhamba Sanskrit Series Office, Benares, 1927 Rewaprasad Dwivedi Banaras Hindu University Varanasi, First edition, 1981 (With Balacittanuranjani, Sarabodhini and Kavyaprakasadarpana) Dr. Goparaju Rama & Dr. Jagannatha Pathak Ganganatha Jha Kendriya Sanskrit Vidyapitha, Prayaga, 1976 (With Saradipika) Dr. T.S. Nandi Gujarat University, First edition, 1976 (Vol. 1), & 1984 (Vol. II) P. I. & II. (With Sahitya-cudamani & Sampradaya-prakasini) K. Sambasiva Sastri Trivandrum Sanskrit Series, 1926 & 1930 P. I. & II (With Viveka) Sivaprasad Bhattacharya Sanskrit College, Calcutta, 1961 - 91 (With Vistarika) Dr. Gaurinatha Shastri Sampungananda Sanskrit Vis'vavidyalaya, Varanasi, First edition, 1976 (With Samketa I.) Vasudeva Shastri Abhyanakar Anandashram Sanskrit Granthavali, Pune, 1921 (With Samketa I.) N. S. Venkatnathacharya Oriental Research Institute University of Mysore, Mysore 1974 (Vol. 1) & 1977 (Vol. II) P. I & II (With Samketa.) prof. R.C. Parikh Rajasthan Oriental Research Institute, Jodhapur, 1959.

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ALAMKARA DAPPANA H. C. Bhayani (Continued from Sambodhi Vol.17, 1990-91) uvamanenuvameassa jam niruvijjae ni (?) ruvanam khu / davva-guna-sammaam tam bhanami iha ruvam kaino //41 upamanenupameyasya yat nirupyate nirupanam khalu / dravya-guna-sammatam tam bhananti iha rupakan kavayah //41 When the nature of Upameya based on the latter's substance or qualities is represented by Upamana, then that representation is called Rupaka by the poets. tam cia duviham jaai samattha-paattha-viraana-janiam / padhamam bian ekkekka-desa-parisamthiam hoi //42 tadeva dvividham jayate samasta-padartha-viracana-janitam / prathamani dvitiyam ekaikadesa-parisamsthitam bhavati // The same is of two types: the first is such as produced by relating to all the terms, the second is confined to a single part. Saala-vatthu ruaam jaha : gaana-sarai pecchaha pausammi tanu-kirana-kesara-sanaham / tara-kusuma-vvavanam mahabharana paulam samakkamai //43 ekkekka-desa-ruvaam jaha : aviraa-pasaria-dhara-nivaa-nitthavia-pamthia-samuho / inarihai mam sa-daiam nikkivo pausa-cilao //44 'The pitiless Rainy Season in the form of a Kirata, who has killed the travellers by the incessantly pouring showers will kill me also along with my beloved.' blea naehim cia haria-cchaehini ruvaana kaa / atthe labbhijjai cia saaleara ruaa-himto //45 divijjamti paaini ekkae cea jattha kiriae / mula-majjhanitagaae tam bhannai divaam' tiviham //46 That Alamkara wherein a single verb illuminates the words of the sentence, that verb being placed either in the beginning or middle or end (of the sentence), is called Dipaka of the three varieties. 1. Diviam.

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Vol. XX, 1996 ALAMKARA - DAPPANA 93 mulia-divaam jaha : bhusijjarti gaida maena suhada asi-ppaharena/ gaua? ta-raena turamga sohagga-gunena mahilao //17 The illustration of Mukha-Dipaka : 'The excellent elephants shine forth in virtue of the ichor, the brave-warriors in virtue of the sword-strokes received, the horses in virtue of their speed and the women in virtue of their beauty.' majjha-divaam jaha : sukavina jaso surana dhirima ihiam narimdana / kena khalijjai pisunana dummai bhiruana (?) bhaam //18 The illustration of Madhya-Dipaka : 'Who can harm, violate or diminish the fame of great poets, the steadfastness of the brave men, the wishes of the kings, the evil designs of the back-biters and the fear of the cowards.' antadivaam jaha : satthena buha danena patchiva guru-tavena jai-nivaha / rama-sahasena suhala mahiale paada honiti // 19 The illustration of Antya-Dipaka : The wise men by means of learned treatises, the kings by means of charity, the ascetics by means of rigorous austerity, the soldiers by means of daring acts on the battle-field become famous in this world. addha-bhaniam nirunibhai jassim juttia hoi so roho / paa-vanna-bhea-bhinno jaai du-viho anuppaso 1/50 That is Rodha wherein what is partly spoken is restrained artfully. Anuprasa has two types distinguished on the basis of words and sounds. roho jaha : ko na valai tena vina ina bhanasu a pulaiehim pasehim / ai-rahasa-jampiaim havamti paccha avacchaim //s1 Who would not burn without liiin? Do not speak with your sides thrilling. Words spoken very rashly become harmful afterwards.

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94 paanuppaso jaha : H. C. BHAYANI sasi-muhi muhassa lacchimh thanasalini thanaharam-pi pecchamto tanusai tanuoari hali [a] suo kahasu jah juttam //52 The illustration of Padanuprasa: The ploughman's son, seeing the beauty of your face, O moon-faced girl, and seeing your breasts, O bearer of plump breasts, becomes thinner, O slim-bellied girl. So tell me what is proper in this matter. vannanuppaso jaha : vaanti sajala-jalahara-jala-lava-samvalana-siala-pphamsa / plullamdhua-dhuva-kusumucchalamita-gamdhuddhura pavana // The winds are blowing, having cooling touch due to the mixture of water particles from the water-bearing clouds, and strongly redolent with the fragrance springing from flowers that are shaken by bees. jattha nimittahinto loa ekkamta-goaram vaanam / viraijjai so tassa a aisaa-namo alam karo //54 SAMBODHI Where the words of usual discourse are used purposefully to convey oneness then that figure is called Atisaya. aisaalamkaro jaha : jai ganidha-milia-bhamarami na hoi avaamisa- Campaa-pasuar / te kena vibhavijjai kaola-miliam paham tissa // The illustration of the figure Adisaya: If bees had not gathered (attracted by) the fragrance of the Campaka flower used as ear-ornament, who could have observed it, as its colour was commingled with the colour of her cheeks ? vigae vi ekka-dese guantarenam tu samthui jattha / kirai visesa-payadana-kajjenant so viseso tti // Where a quality disappears from one part, if it is praised through attribution of another quality with a view to bring out speciality, that figure is Visesa. Visesalkaro jaha: na-vi taha nisisu sohai plana tambola-ria-paccaio / jaha piaama-pio padaro-vi aharo pahayammi //

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Vol. XX, 1996 The illustration of the figure Visesa : The lower lip of the beloveds, which is at night wet with betel leaf-juice does not appear as beautiful as when it appears in the morning deeply kissed by their lover even though then it is deprived of colouring. ALAMKARA DAPPANA jattha niselo vva sasihi (?) kirai visesa-tanhae / so akkhevo duvilo homta-vakkamta-bheena // Homtakkhevo jaha : Where something is negated... with some specific purpose, the figure is Aksepa. It is of two types: Bhavat and Apakranta. 95 jai vaccasi taha vaccasu mahu garu (a-daha)-virahaggi-tavia-taque / vaccai tai samaam cia ahava kaha jampiam esa (?) // The illustration of Bhavat aksepa: 'If you are going away, then go. As my body will be burnt by the intense fire of separation, with you will certainly depart my....But how Avakkamtakkhevo jaha : khagga-ppahara-dadha-dalia-riu-dalassa gaa-kumbha-vidhassa / tua natthi ettha ko mahiharana samcilano holja // The illustration of Apakrantaksepa: You, who has torn the broad temples of the elephants of the hostile army that was crushed with your forceful sword-strokes- there is nobody here to... who can possibly be a mover of mountains? hoi sahao jai vairego una visesa-karanena / vaana-manehim saa annenam bajjhai kaihim //63 The (description of) nature is Jati. When some special trait is pointed out it is Vyatireka. jai jaha: sira-dharia-kalasa-gholira baha-jualai gama-tarunie / mannai vilasa-dittho bhai-tthiaam pamaro puhavim // The illustration of Jati. The husbandsman, glanced at sportively by the young village girl, carrying a

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96 H. C. BHAYANI SAMBODHI water pot on her head and swinging her both hands, thinks he has gained (the (whole) earth. vairego jaha : dusaha-paava-pasaro somo sai akhalia-paho tam si / te vya jada una donha ve ravi raa raa haa-chaa //63 The illustration of Vyatireka : The spread of your prowess (2. heat) is unbearable. You are always gentle and you tread the path without stumbling (2. stopage) ....... Besides the sun ...... are inanimate (?) Hence their lustre is dimined (before you) phuda-simgarai-raso so rasio aha bliannae alamkaro / anna-vavaesa-bhanie vininimio loi pajjao // When there is explicit erotic sentiment the figure is said to be Rasita. When something is said under disguised reference Paryaya is produced. rasio jaha : . . dui-viaddha-vaananubamdha-iara viambhium thaddha / padai saunnassa uare rasamta-rasana kuramgacchi //69 The illustration of Rasita : The proud fawn-eyed girl, won over (?) by the soliciting clever words of the female messenger, yawning and with her girdle tinkling would fall on the chest of a man who has earned religious merits. pajjao bhannai jaha : garuana coriae ramamti (e) payada-rai-rasam katto/ ma kunasu tassa dosam sumdari visama-tthie kajje 7/66 Paryaya is illustrated as follow : How can there be real sexual pleasure in making love clandestinely-concealing it from the elders ? O Charming woman, in such a difficult matter do not blame lim. jaha nia (?) bhannai bahua parivadi-paadanam jaha-samkham / kim puna biunam tiunam cauggunam hoi kavvamini // 67 When many things are described with a view to reveal a series it is

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Vol. XX, 1996 ALAMKARA - DAPPANA 97 Yathasankhya. It can be two-membered, three-membered or four-membered. biuno jala : hansa-sasi-kamala-kuvalaya-bhasala-mulanana nijjia lacchi / tissa gai-muha-karaala-loana-dhammetta-bahahim // The illustration of the two-membered Yathasamkhya : Her gait, face, palms, eyes, tuft of hair and arms have conquered the beauty respectively of the swan, moon, lotus, blue lotus, black-bee and lotus-fibres. tiuno jala : jo vahai vimala-vellahala-kasana-sia-sari [a]-visa-miamkam / muddhaddha-raaniara-mauli-samsiam tam sivam navaha // The illustration of the three-membered Yathasamkhya : Bowdown to that Siva, who carries respectively pure, delicate, black and white river, poison and moon. Cauggumo jala : tie sama-maua-dilehim nimmala-tamba-dhavala-soliehim/ dasanalara naanelim jiaim mani-javaa-kamalaim // The illustration of the Four-membered Yathasamkhya : Her teeth, lower lip and eyes which are respectively even, soft and long and have also respectively shining, red and white lustre have conquered diamonds, lac-dye and lotus respectively. anavekkhia-patta-sahaa-sampaae samahio hoi / guna-kiriana-virohena esa bhanio viroho-tti // Samahita occurs when rich hielp is received unexpectedly. When there is opposition between qualities or actions, the figure is called Virodha : Samahio jala : accamta-kuvia-piaama-pasaanattham paattamanie / uio cando-vi tatto a pasario malaa-gandhavaho 1/72 The illustration of Samahita : When she has begun efforts to appease her greatly indignant dear one, at that very moment arose the inoon and then the southern breeze spread.

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98 H. C. BHAYANI SAMBODHI viroho jaha : tujjha jaso hara-sasahara-samujjalo saala-navania didham-pi / mailai navara vara-veri-vira-vahu-vaana-kamalaim // 73 Your fame eventhough bright white like the moon on Siva's (head)....... ............. makes black with dirt the lotus-faces of the wives of your brave enemies. uvamanena saruam bhaniuna bhsssae jahim bheo / thui-karanenan samdeha-sainsio so-hu samdeho // 74 When the character of something is described first through a standard of comparison and then the distinction is made in order to praise, resorting to doubt that figure is Samdeha. Sandeho jaha : kini kamalaminam no tam sa-kesaram kim sasi na tattha mao / dittham sahi tujjha muham sa-samsaani ajja tarunehim 1/5 The illustration of Sandeha : 'Is this a lotus ? But no, that has filaments. Then is this the moon ? But no, there the deer (is present).' O friend, your face is looked at with such doubts by the young boys.' natchi viheo kiria-rasiassa-vi hoi jattha phala-riddhi / bhannai vibhavana so kavvalamkaraittehim //76 Wherein eventhough there is no still, because of resort to actions there ensues abundance of result, that has been called Vibhavana by the experts in Poetic figures. vibhavana jaha : vaddhai a-sitta-mulo apao hom to-vi pasarai nahammi / gao-vi a kanho a dhoa-vimalo jaso tujjha // 78 The illustration of Vibhavana Your fame, grows even though its roots are not watered, even though without legs it spreads to the sky, even though..........it is not black, even though not washed it is spotlessly white/clean.

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Vol. XX, 1996 ALAMKARA DAPPANA anno cia uttara aa jattha bhavai tam sa tam bhanio / duviho hoi jaha taha sahijjamtam nisameha // Listen to it being described how it is of two types: kassa-i vaanai tahim a-suebim uttarehim najjarhti / sa uhim tarammi uhia gudha-bhavo a-saautto //79 When somebody's words are known even though the reply given is not heard. jassa bhanilhimh anno anno paadijjae jahim attho annavaesa-namo sittho satthaarehim // 99 That in which words express one meaning but another meaning also becomes revealed that Bhava is called Anyapades'a by the authorities of the Alamikarasastra. NOTES: 41.1 viruvijjae viruvaan su. 42.1 paattha. 43.1 sara, kesari; kaniai. tthavaam (?); paunam (?); 1. diviam. 52. paa 53.2. kusuma 54.1. moaram. 59. homitaekkamta 61. ekkamtak 61.1 pahara, dalikymbh 2. atta samcanam (to be continued)

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manovijJAna kI bhASA meM jagat kI vicitratA kA kAraNa hai karma !* ratnalAla jaina 'karma bhAratIya darzana kA eka pratiSThita siddhAnta hai| usa para lagabhaga sabhI punarjanmavAdI darzanoM ne vimarza prastuta kiyA hai| pUrI taTasthatA ke sAtha kahA jA sakatA hai ki isa viSaya kA sarvAdhika vikAsa jainadarzana meM huA hai / " -yuvAcArya mahAprajJa mahApurANa meM karma rUpI brahmA ke paryAyavAcI zabdoM ke bAre meM likhA hai - 'vidhi, sraSTA, vidhAtA, daiva, purA-kRtam aura Izvara - ye karma rUpI brahmA ke vAcaka zabda hai| isa prakAra karma ko brahmA ke rUpa meM hI mAna liyA gayA / nItizataka meM likhA hai - ki karma to brahmA, viSNu aura maheza se bhI aneka prakAra se nAca nacavAtA hai - 'jo karma brahmAjI ko kumhAra ke samAna brahmANDa rUpI bhAMDa meM sthApita karatA hai / jo bhagavAna viSNu ko dasa avatAroM ke mahAn aura bar3e bhArI saMkaTa meM DAla detA hai aura jo mahAdeva ke hAtha meM kapAla - phUTe hue ghar3e kA AdhA bhAga, dekara unase bhikSA ke lie bhramaNa karAtA hai, tathA jisake prabhAva se sUrya nirantara AkAza meM bhramaNa karatA hai, usa karma ko namaskAra ho|' jainAcArya devendrasUri ne karma kI vicitratA-vividhatA kA isa prakAra udghATana kiyA hai - 'rAjA-raMka, sundara-kurUpa, dhanavAn-dhanahIna, balavAn-nirbala, svastha-rogI, bhAgyazAlI-abhAgA-ina saba meM manuSyatva samAna hone para bhI jo antara - jo bheda dikhAI detA hai, vaha saba karmakRta hai / aura vaha karma jIva ke binA nahIM ho sakatA / karma ke astitva ko siddha karane ke lie isase bar3hakara aura kyA pramANa ho sakatA hai ?' gautama svAmI ne pUchA - 'he bhagavan ! kyA jIva ke sukha-duHkha tathA vibhinna prakAra kI avasthAe~ karma kI vibhinnatA - vicitratA yA vividhatA para nirbhara hai, akarma para to nahIM? bhagavAn mahAvIra ne kahA - 'gautama ! saMsAra ke jIvoM ke karmabIja bhinna bhinna hone ke kAraNa unakI avasthA yA sthiti meM bheda hai, antara hai / yaha akarma ke kAraNa nahIM hai|' 'karma rUpI bIja ke kAraNa hI saMsArI jIvoM meM aneka upAdhiyA~, vibhinna avasthAe~ dikhAI detI AtmA ko maNi kI upamA dete hue yaha satya prakaTa kiyA gayA hai - "jisa prakAra mana se AvRta maNi kI abhivyakti vibhinna rUpoM meM hotI hai, usI prakAra karma rUpI mala se AvRta AtmA kI vividha-vibhinna avasthAe~ dRSTigocara hotI hai| .

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101 Voll. XX, 1996 jagat kI vicitratA... karma ke kAraNa hI jIva saMsAra meM pRthak pRthak gotroM meM, jAtiyoM meM yA gatiyoM meM utpanna ho jAtA hai - jisa prakAra - "isa saMsAra meM vibhinna prakAra ke karma-bandhana ke kAraNa prANI bhinna-bhinna gotroM meM, jAtiyoM meM utpanna hote haiM / ' 'pUrva janma-samaya meM kie karmoM ke anusAra hI kitane hI jIva devaloka meM jAte haiM, aneka naraka gati meM aura bahuta se asura-nikAya meM cale jAte haiN|' 'kitane hI jIva kSatriya bana jAte haiM, aneka jIva cAMDAla ke rUpa meM utpanna ho jAte haiM / bahuta se kIDoM pataMgoM kA janma grahaNa kara lete haiM tathA aneka kuMdhurUpa meM cIMTI kI taraha janma lete haiN|' 'isa prakAra isa karma ke saMyoga se mUDha banA evaM bhArI vedanA aura duHkha pAtA huA yaha jIva manuSya gati ko chor3akara anya (naraka-tiryaMca Adi) yoniyoM meM duHkha kaSTa bhogatA rahatA haiM / ' bauddha darzana meM - rAjA milinda ne pUchA bhagavan nAgasena ! ye jo pAMca Ayatana - A~kha, kAna, nAka, jIbha aura camar3I haiM kyA ye alagaalaga karmoM ke phala haiM, yA eka hI karma ke phala haiM ? - rAjan / alaga-alaga karmoM ke phala haiM, eka hI karmaphala nahIM / __ - kRpA karake upamA dvArA samajhAie / - rAjan / yadi koI manuSya eka kheta meM pRthaka pRthak jAti ke bIja boye to kyA aneka prakAra ke bIjoM kA phala aneka jAti kA na hogA ? - hA~ bhagavan ! aneka prakAra ke bIjoM kA phala aneka jAti kA hogA / - rAjan ! isI prakAra ye pAMca Ayatana haiM - ye pRthak pRthak karmoM ke phala haiM / eka karma kA phala nahIM / - bhaMte ! Apane ThIka pharamAyA / rAjA milinda aura sthavira nAgasena ke bIca hue saMvAda meM jIvoM kI vividhatA, vibhinnatA kA kAraNa karma hI hai-10 rAjA milinda ne sthavira nAgasena se pUchA "bhante ! kyA kAraNa hai ki sabhI manuSya samAna nahIM hote - koI alpa-AyuvAlA, koI dIrgha AyuvAlA; koI adhika rogI to koI nIrogI, koI kurUpa to koI ati sundara; koI prabhAvahIna, koI prabhAvazAlI, koI alpabhogI-nirdhana, koI bahu bhogI-dhanavAn, koI nIca kula vAlA, koI U~ce kula vAlA, tathA koI mUrkha va koI vidvAn kyoM hote haiM ? sthavira nAgasena ne praznoM kA uttara dete kahA -- 'rAjan ! kyA kAraNa hai ki sabhI vanaspati eka jaisI nahIM hotI - koI khaTTI, koI mIThI, koI 'namakIna, koI tIkhI, koI kar3avI, koI kasejI kyoM hotI hai ?

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ratnalAla jaina SAMBODHI 102 rAjA milinda ne kahA - 'maiM samajhatA hU~ ki bIjoM ke bhinna-bhinna hone ke kAraNa hI vanaspati bhI bhinna-bhinna hotI haiN|' nAgasena ne kahA-'rAjana jIvoM kI vividhatA kA kAraNa bhI unakA apanA karma hI hotA hai| sabhI jIva apane-apane karmoM ke phala bhogate haiN| sabhI jIva apane karmoM ke anusAra hI nAnA gatiyoM aura yoniyoM meM utpanna hote haiM / ' vaidika darzana manusmRti meM likhA hai ki karma ke kAraNa hI manuSya ko uttama, madhyama yA adhama gati prApta hotI hai-12 "mana, vacana aura zarIra ke zubha yA azubha karma-phala ke kAraNa manuSya kI uttama, madhyama yA adhama gati hotI hai|' unhoM ne Age kahA hai-13 'zubha karmoM ke yoga se prANI deva yoni ko prApta hotA hai / mizra karmayoga se vaha manuSyayoni meM janmatA hai aura azubha karmoM ke kAraNa vaha tiryaMca-pazu-pakSI Adi yoni meM utpanna hotA hai / viSNu purANa meM kahA gayA hai-14 _'he rAjan ! yaha AtmA na to deva hai, na manuSya hai, aura na hI pazu hai, na hI vRkSa hai-' ye bheda to karmajanya zarIra kRtiyoM kA hai|' zArIrika manovijJAna aura nAma karma zArIrika manovijJAna Aja ke zarIra zAstriyoM ne zarIra meM avasthita granthiyoM ke viSaya meM bahuta sUkSma vizleSaNa kiyA hai / bonA honA yA lambA honA, sundara yA asundara honA, buddhimAna yA buddhihIna honA, svastha yA rogI honA - yaha saba ina granthiyoM ke srAva para nirbhara hai / granthiyoM ke srAva ina sabako niyantrita karate haiN| isI tathya ko hama karmazAstrIya bhASA meM samajheM / karmazAstrIya bhASA - nAma karma ATha karmoM meM eka karma hai - nAma karma / usake aneka vibhAga haiM / saMsthAna nAma karma ke kAraNa manuSya lambA yA naunA hotA hai / isa prakAra sundara-kurUpa, susvara vAlA yA duHsvaravAlA Adi saba nAma karma kI vibhinna prakRtiyoM ke kAraNa hotA hai / nAma karma kA sUkSma adhyayana karane para spaSTa ho jAtA hai ki hamAre zarIra kA sArA nirmANa nAma karma ke AdhAra para hotA hai / uparyukta karmazAstrIya vizleSaNa aura zarIra zAstrIya vizleSaNa ko dekheM / donoM meM bhASA kA antara hai, tathya kA nahIM / zarIra-zAstrI hArmonsa,' sikrIzana Apha glainDsa'-graMthiyoM kA srAva kahate haiN| karma-zAstrI karmoM kA 'rasavipAka'-'anubhAgabandha' kahate haiM /

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VoII. Xx, 1996 jagat kI vicitratA... 103 manovijJAna kI bhASA meM bhinnatA kA niyama-(Law of Variation) sAdhAraNata: yaha samajha liyA jAtA hai ki 'samAna samAna' hI utpanna karatA hai / isakA artha yaha huA ki buddhimAna yA svastha mAtA-pitA apane hI samAna santAna utpanna karate haiM aura nirbala nirbala santAna utpanna karate haiN| para kahIM-kahIM hameM isa niyama meM parivartana dikhAI detA hai| 'buddhimAna mAtA-pitA ke mUrakha santAna kyoM utpanna hotI hai ? bahuta sAdhAraNa parivAra meM kabhIkabhI bar3e pratibhAzAlI vyakti kaise utpanna ho jAte haiM ? isa zaMkA kA samAdhAna bhinnatA ke niyama se hotA hai / ' vaMzAnukramIya guNoM (Heredity traits) ke vAhaka bIjakoSa (Germ Plasm) huA karate haiM / ye bIja-koSa aneka reze se bane hue hote haiM / ina rezoM ko aMgrejI meM kromo(Chromosomes) jomsa kahate haiM / ise hama vaMza sUtra kI saMjJA deMge / jInsa-vibhinna guNa doSoM ke vAhaka eka bIjakoSa meM aneka vaMza sUtra pAye jAte haiM / Azcarya hai ki ina vaMza sUtroM ke aura bhI aneka sUkSma bhAga hote haiM, jinheM aMgrejI meM jInsa kahate haiM / ye 'jInsa' aneka saMkhyA meM milakara vaMza sUtra banAte haiM / vAstava meM ye jInsa hI vibhinna guNa-doSoM ke vAhaka hote haiM / koI jIna paira kI lambAI kA huA to koI nAka kA / koI choTI A~kha kA huA to koI cir3acir3Apana kA ityAdi / 17 jIvavijJAna ke anusAra pratyeka bhrUNa-koSa meM caubIsa pitA ke tathA caubIsa mAtA ke vaMza-sUtroM kA samAgama hotA hai / vaijJAnikoM kA anumAna hai ki inake saMyoga se 16,777,216 prakAra kI vibhinna sambhAvanAe~ apekSita ho sakatI haiN| vibhinna mAnasika-zArIrika sthiti : prakRti kI lIlA kitanI vicitra hai ! vaijJAnikoM kA kathana hai ki vaMzasUtroM kA mizraNa eka mAtA-pitA meM bhI sadaiva samAna nahIM hotA kyoMki unakI mAnasika tathA zArIrika sthiti sadaiva ekasI nahIM rahatI / manovijJAna meM bhinnatA kA siddhAnta karmazAstra meM to vaiyaktika bhinnatA kA citraNa milatA hI hai / manovijJAna ne bhI isakA vizada rUpa se citraNa kiyA hai / isake anusAra vaiyaktika bhinnatA kA prazna mUla preraNAoM ke sambandha meM uThatA hai / mUla preraNAe~ (Primary motives) - mUla preraNAe~ saba meM hotI haiM, kintu unakI mAtrA saba meM eka samAna nahIM hotI / kisI meM koI eka pradhAna hotI hai to kisI meM koI dUsarI pradhAna hotI hai|' adhigama kSamatA (Learning Capacity) adhigama kSamatA bhI saba meM hotI hai, kisI meM adhika hotI hai, kisI meM kama / vaiyaktika bhinnatA kA siddhAnta to manovijJAna ke pratyeka siddhAnta ke sAtha jur3A huA hai /

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104 ratnalAla jaina SAMBODHI vaMza-paramparA aura vAtAvaraNa Heredity and Environment manovijJAna meM vaiyaktika bhinnatA kA adhyayana vaMzaparamparA aura vAtAvaraNa ke AdhAra para kiyA jAtA hai| jIvana kA Arambha mAtA ke Dimba aura pitA ke zukrANu se hotA hai / kromosoma (Chromosomes) jInoM kA samuccaya vyakti ke AnuvaMzika guNoM kA nizcaya kromosoma dvArA hotA hai| kromosoma aneka jInoM (jInsa) kA samuccaya hotA hai| ye jIna hI mAtA-pitA ke AnuvaMzika guNoM ke vAhaka hote haiN| eka kromosoma meM lagabhaga hajAra jIna mAne jAte haiM / zArIrika mAnasika kSamatAe~ (Potentialities) ina jInsa meM hI zArIrika aura mAnasika vikAsa kI kSamatAe~ nihita hotI haiM / vyakti meM koI aisI vilakSaNatA prakaTa nahIM hotI jisa kI kSamatA unake jIna meM nihita na ho / manovijJAna ne zArIrika aura mAnasika vilakSaNatAoM kI vyAkhyA vaMzaparamparA aura vAtAvaraNa ke AdhAra para kI hai / manovijJAna aura karmazAstra-vaiSamya zArIrika vilakSaNatA para AnuvaMzikatA kA prabhAva pratyakSa jJAta hotA hai, para mAnasika vilakSaNatAoM ke sambandha meM Aja bhI aneka prazna anuttarita haiN| kyA buddhi AnuvaMzika hai ? athavA vAtAvaraNa kA pariNAma hai ? kyA bauddhika stara kA vikAsa kiyA jA sakatA hai ? ina prazroM kA uttara prAyogikatA ke AdhAra para nahIM diyA jA sakatA / vaMzaparaMparA aura vAtAvaraNa se sambaddha prayogAtmaka adhyayana kevala nimrakoTi ke jIvoM para hI kiyA gayA hai / bauddhika vilakSaNatA kA sambandha manuSya se hai| isa viSaya meM manuSya abhI bhI eka pahelI banA huA hai / jIvana aura jIva - manovijJAna aura karma manovijJAna ke kSetra meM jIvana aura jIva kA bheda abhI taka spaSTa nahIM hai| karmasiddhAnta ke adhyayana meM jIva aura jIvana kA bheda bahuta hI spaSTa hai / AnuvaMzikatA kA sambandha jIvana se hai, vaise hI karma kA sambandha jIva se hai / usameM aneka janmoM ke karma yA pratikriyAe~ saMcita hotI hai| isalie vaiyaktika yogyatA yA vilakSaNatA kA AdhAra kevala jIvana ke Adi-bindu meM hI nahIM khojA jA sakatA / usase para bhI khojA jAtA hai / jIva ke sAtha pravahamAna karmasaMcaya (karmazarIra) meM bhI khojA jAtA hai| zArIrika manovijJAna kA mata - jIna meM sATha lAkha Adeza - Aja ke zarIravijJAna kI mAnyatA hai ki zarIra kA mahattvapUrNa ghaTaka hai - jIna / yaha saMskArasUtra hai, yaha atyanta sUkSma hai / pratyeka jIna meM sATha-sATha lAkha Adeza likhe hue hote haiM / isa sUkSmatA kI to mAtra kalpanA hI kI jA sakatI hai| manuSya kI zakti, cetanA, puruSArtha kartRtva kitanA hai ? ekaeka jIna meM sATha-sATha lAkha Adeza likhe hue haiN| prazna hotA hai ki hamArA puruSArtha, hamArA kartRtva, hamArI cetanA kahA~ hai / kyA yaha 'kromosoma' aura jIna meM nahIM hai ? isa lie to itanI taratamatA eka vyakti se dUsare vyakti meM / sabakA puruSArtha samAna nahIM hotA / saba kI cetanA samAna nahIM hotii| isa asamAnatA kA kAraNa-prAcIna bhASA meM karmazAstra

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Vol. XX 1996 kI bhASA meM karma hai 190 jaisA karma vaisA vyakti , jagat kI vicitratA... 105 eka bAra gaNadhara gautama ne bhagavAn mahAvIra se pUchA- 'bhaMte hai kisI meM jJAna kama hai, kisI meM adhika isakA kyA kAraNa hai24 ? vizva meM sarvatra taratamatA dikhAI detI bhagavAn bole- 'gautama ! isa taratamatA kA kAraNa hai 'karma'. yadi Ajake jIva-vijJAnI se pUchA jAe ki vizva kI viSamatA yA taratamatA kA kAraNa kyA hai to vaha kahegA ki sArI viSamatA- taratamatA kA eka mAtra kAraNa hai 'jIna' / jaisA jIna, vaisA AdamI jaisA 'jIna' hotA hai, guNasUtra hotA hai, AdamI vaisA hI bana jAtA hai, usakA svabhAva aura vyavahAra vaisA hI ho jAtA hai yaha jIna hI sabhI saMskAra-sUtroM tathA sAre bhedoM-vibhedoM kA mUla kAraNa hai| jIna-karma para likhe Adeza jIna - vijJAna kI bhASA meM kahA jAtA hai ki eka-eka jIna para sATha-sATha hajAra Adeza likhe hue hote haiN| karma-skandha karma - zAstra kI bhASA meM kahA jA sakatA haiM ki eka-eka karma-skandha meM ananta Adeza likhe hue hote haiN| jIna sthUla zarIra, karma sUkSma zarIra / abhI taka vijJAna kevala 'jIna' hai, kintu karma sUkSma zarIra kA ghaTaka hai vaha sUkSma hai| isase sUkSma hai, karma zarIra lipiyA~ likhI huI hai / hamAre puruSArtha kA, sArA lekhA-jokhA aura sArI pratikriyAe~ karma vaisA hI vyavahAra karane laga jAtA hai / taka hI pahuMca pAyA hai| jIna isa sthUla zarIra kA hI ghaTaka isa sthUla zarIra ke bhItara taijasa zarIra hai, vidyut zarIra hai, yaha sUkSmatama hai| isake eka-eka skandha para ananta ananta acchAiyoM aura burAiyoM kA nyUnatAoM aura vizeSatAoM kA zarIra meM aMkita haiN| vahA~ se jaise spandana Ate haiM, AdamI karma siddhAnta aura manovijJAna kA siddhAnta karma kA siddhAnta ati sUkSma hai| sthUla buddhi se pare kA siddhAnta hai| Aja ke vaMzaparaMparA ke siddhAnta ne karmasiddhAnta ko samajhane meM suvidhA pradAna kI hai / jIna- AnuvaMzika guNoM ke saMvAhaka jIna vyakti ke AnuvaMzika guNoM ke saMvAhaka haiM / vyakti-vyakti meM jo bheda dikhAI detA hai, vaha jIna ke dvArA kiyA huA bheda hai| pratyeka viziSTa guNa ke lie viziSTa prakAra kA jIna hotA hai / ye AnuvaMzikatA ke nimaya karmavAda ke saMvAdI niyama hai|

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106 sthUla zarIra se sUkSma kI yAtrA sthUla zarIra se sUkSma zarIra kI kAza apane Apa meM bar3I mahattvapUrNa hai| yaha zarIra sthUla hai, yaha sUkSma kozikAoM (Biological cells) se nirmita hai| lagabhaga sATha-sattara kharaba kozikAe~ hai / suI kI noka meM ? ananta jIva ! ratnalAla jaina ina kozikAoM ko jainadarzana ke pratipAdana ke sandarbha meM samajheM ki sUI kI noka Tike utane se sthAna meM nigoda ke ananta jIva samA sakate haiN| nigoda vanaspati kA eka vibhAga hai - yaha sUkSma rahasyapUrNa bAta hai para Aja kA vijJAna bhI aneka sUkSmatAoM kA pratipAdana karatA hai| zarIra meM kharaboM kozikAe~ hai, una kozikAoM meM guNa sUtra hote haiN| pratyeka guNasUtra dasa hajAra jIna se banatA hai| ve sAre saMskAra-sUtra haiM / hamAre zarIra meM 'chiyAlIsa ' kromosoma hote haiM / ve banate hai jIna se saMskAra sUtroM se saMskAra-sUtroM se eka kromosoma banatA hai| saMskAra-sUtra sUkSma hai; jIna sUkSma hai| SAMBODHI karma paramANu ke saMvAhaka karmavAda manovijJAna se eka caraNa aura Age hai| karma paramANu kA saMvahana karate hai| vyaktigata bheda kA mUlakAraNa hai karma sAre vibheda karmakRta haina / 1 pratyeka jaivika vizeSatA ke lie karma uttaradAyI hotA hai| AnuvaMzikatA jIna, rAsAyanika parivartana-karma ke siddhAnta : yadi tulanAtmaka dRSTi se siddhAnta karma ke hI siddhAnta haiN| kA avayava hai| donoM zarIra se jur3e hue haiN| - sUkSmatara zarIra karmazarIra hai 'karma banAma jIna' yaha tathya bhI anusandhAna meM A jAegA ki jIna nahIM karate kintu ye hamAre kie hue karmoM kA bhI pratinidhitva karate haiM / 30 2. mahApurANa dekhA jAe to AnuvaMzikatA, jIna aura rAsAyanika parivartana- ye tInoM jIna hamAre sthUla zarIra kA avayava hai aura karma hamAre sUkSmatara zarIra eka sthUla zarIra se aura dUsarA sUkSmatara zarIra se yaha anusandhAna kA viSaya mahAprajJajI likhate hai eka dina kevala mAtA-pitA ke guNoM yA saMskAroM kA hI saMvahana ataH uparyukta vivecana kA niSkarSa hai ki 'jIna banAma karma' zodha kA eka mahattvapUrNa viSaya TippaNo : patA-galI Arya samAja hA~sI - 125033 (hisAra) 1. karmavAda pR0 235, yuvAcArya zrI mahAprajJa. vidhi, sraSTA vidhAtA ca daivaM karma purAkRtam / Izvara Izvarazceti paryAyAH karmavedhasaH // 3. nItizataka 92, bhartRhariH brahmA yena kulAlavanniyamito brahmANDabhANDodare, viSNurvena dazavAhale sino mAsature /

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Voll. XX, 1996 jagat kI vicitratA... 107 rudro yena kapAlapANipuTake bhikSATanaM sevate / sUryo bhrAmyati nityameva gagane tasmai namaH karmaNe / 4. karmagrantha prathama rIkA : devendrasUri : mA bhUkakayormanISijaDayoH sadpanirUpayoH, zrImadurgatayo balAbalavatornIrogarogAtayoH / saubhAgyA'subhagatvasaMgamajuSostulye'pinRtve'ntaraM, yattatkarma nibandhanaM tadapi no jIvaM vinA yuktimat // 5. bhagavatIsUtra 12/5. kammaoNaM bhaMte jIve to akammao vibhatti bhAvaM pariNamaI / kammaoNaM ja o No akammao vibhattibhAvaM pariNamaI // 6. AcArAMga sUtra, 1 / 3 / 1 : kammuNA uvAhI jAyai. 7. tattvArtha zloka vArtika, 191 : ___ 'malAvRtamaNevyaktiryathAnakavidhekSyate / .. karmAvRtAtmanastadavat, yogyatA vividhA na kim // ' 8. uttarAdhyayanasUtra, 3/2, 3, 4, 6 : 'samAvannANa saMsAre, nANA gottAsu jAisu / kammA nANAvihA kaTTa vissaMbhayA payA // egayAdevaloesu, naraesu vi egayA / egayA AsuraMkAya, ahAkammehiM gacchai // egayA khattio hoi, tao caMDAlabukkaso / tao kIDapayaMgo a, tao kuMthu pivIliyA // kammasaMgehi saMmUDhA, dukkhiA bahuve aNA / amANusAsu joNIsu, viNihammaMti pANiNo // ' 9. milinda-pajho pRSTha 68, vibhaticcheda paJho rAjA Aha - bhante nAgasena, yAni' mAni paJcAyatanAni kiM nu tAni nAnAkammehi ninnattAni udAhu ekena kammenA'ti / nAnA kammehi mahArAja nibbattAni, na ekenakammenAM'ti / opammaM karohI'tti / taM kiM maJjasi mahArAja ekasmi khete nAnAbIjAni vappeyaM, / tesaM nAnAbIjAnaM nAnAphalAni nibbatteyyu'ti / Ama bhante nibbatteyyu'ti / evameva kho mahArAja yAni tAni paJcAyatanAni tAni tAni nAnAkammehi nibbattAni na ekena kammenA'ti / kallo'si bhante nAgasenA'ti / 10. karmajaM lokavaicitryaM cetanA mAnasaM ca tat / -abhidharmakoSa. 11. bhAratIya dharmomA karmavAda : milinda paJho, pRSTha 68, vimaticcheda paJho : rAjA Aha - bhante nAgasena kena kAraNena manussA na savve samakA, ajhe appAyukA, aje dIghAyukA, aJje bavhA bAdhA, aJje appAbAdhA, aJje dubbaNNA, aJje baNNavanto, ache appesakkhA, aje mahesakkhA, aJje appabhogA, aJje mahA bhogA, aJje nIcakulInA, aJje mahAkulInA,

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108 ratnalAla jaina SAMBOD aJje appA , aJje pacavanto'ti / / thero Aha-'kissa pana mahArAja rukkhA na savve samakA, achu ambilA, aJjelavaNA, aJje nittakA aJje kaTukA aJje kasa aJje madhurA'ti / rAjA AhA-mAmi bhante bIjAnaM nAnA kAreNanA'ti thero Aha-eva me'va kho mahArAja kammAnaM nAnA karaNena manussA nasa samakA-aGge appAyukA, aje dIghAyukA, aJje bavhAbAdhA, aJje appAbAdhA, aJjedubbaNNA, aJjevaNNavanto, a) appesaka aJje mahesakkhA, aJje-appabhogA, aJje mahAbhogA, aJje nIcakulInA, aJje mahAkulInA, ache appA aGge paJjavanto 12. manusmRti, a0 12.3. -zubhAzubhaphalaM karma, manovAgdehasambhavam / karmajA gatayo nRNAmuttamAdhamamadhyamAH // 13. manusmRti a0 12.10. zubhaiH prayogaiH devatvaM, vyAmitrairmAnuSo bhavet / azubhaiH kevalaizcaiva, tiryagyoniSu jAyate // 14. viSNupurANa, 2.13.97. pumAnadevo na naro, na pazurna ca pAdapaH / zarIrakRtibhedAstu, bhUpaite karmayonayaH // gommaTasAra (karmakANDa) 12 :- nemicandra gadi Adi jIva bhedaM dehAdI poggalANa bhedaM ca / gadiyaMtara pariNamanaM karedi NAmaM aNeyavi // 16. "The Law of Variation' bhinnatA kA niyama -manovijJAna aura zikSA, pR0 160 (1960) DaoN0 sarayU prasAda caube / 17. manovijJAna aura zikSA, pR0 161. -DaoN0 sarayU prasAda caube / 18. vahI 19. karmavAda - P. 236, 1966- yuvAcAryamahAprajJa Human Anatomy and Physiology p. 188 20. Ed. 1982, David Myshne. Mir - Moscok. The Union of an ovum and Spermatozoon, in a Uterine Tube Results in Fertilization.' 21. manovijJAna aura zikSA (1960) pR 161. -DaoN0 sarayU prasAda caube / 22. karmavAda - yuvAcArya mahAprajJa, pRSTha 237 23. karmavAda, 136 pRSTha, yuvAcArya mahAprajJa 24. bhagavatI sUtra 12/5 : kammaoNaM bhaMte ! jIve, no-akammao vibhattibhAvaM pariNamaI ? kammaoNaM, jao No akamma o vibhattibhAvaM pariNamaI / 25. karmavAda, pR0 137, yuvAcArya mahAprajJa / 26. manovijJAna aura zikSA, pRSTha 161 (1960) -DaoN0 sarayU prasAda caube 27. karmavAda, pR0 164 - yuvAcArya mahAprajJa. 28. karmavAda, pratikramaNa, yuvAcArya mahAprajJa. 29. kammuNA uvAhI jAyai / AcArAMga, 1.3.1. 30. karmavAda,-atIta ko par3ho, bhaviSya ko dekho-mahAprajJa.

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sammatAkAra : eka aprasiddha vaiyAkaraNa nIlAMjanA su. zAha sAyaNaracita "mAdhavIyA dhAtuvRttimAM je aneka aprasiddha vaiyAkaraNanA mata maLe che temAMnA sammatAkAra eka che. temaNe pANinIya dhAtapATha para "sammatA'nAmanI vyAkhyA lakhI jaNAya che, kAraNa ke sAyaNa, mAdhA, vRttimAM temanA mate TAMkatI vakhate, keTalIka vAra "sammatA'no keTalIka vAra tenA kartAno - sammatAkArano nirdeza kare che. pANinIya dhAtupAThane lagatA hAla upalabdha, graMtho jevA ke kSIrasvAmI racita "kSIrataraMgiNI', maitreyaracita "dhAtupradIpa ke devakRta deva' (puruSakAra sahita) vageremAM temanA nAmano ke temanA matano nirdeza maLato nathI. tethI temanA vizenI kazI mAhitI ApaNane prApta thatI nathI - temanA samaya vize eTaluM ja kahI zakAya ke teo sAyaNa pahelAM eTale ke caudamI sadI pahelAM thaI gayA che. yudhiSThira mImAMsake paNa temanA hiMdImAM lakhelA "saMskRta vyAkaraNanA itihAsamAM, temano mAdhA, vRttimAM maLatA eka matano ullekha karIne temane pANinIya dhAtupAThanA eka aprasiddha vyAkhyAtA tarIke darzAvyA che (bhA. 2, pR. 141) sammatAkAranA ekatrIsa mata "mAdhA, vRttimAM je krame maLe che te krame temane ahIM rajU karyA che ane kSIrataraMgiNI (11mI sadI) dhAtupradIpa (12mI sadI), bopadevanA "kavikalpadruma' (13mI sadI) vageremAM maLatA je te dhAtuo vizenA mata sAthe temane sarakhAvyA che : - 1, , hurta, gurta mudra jhIlAyameva | gvAdigaNanA A dhAtasUtranI vyAkhyAmAM sAyaNa mAdhA, vRtti(50 61)mAM sammatAkArano mata Ape che. te jaNAve che ke keTa, puraSakAra ane maitreya vagere trIjA dhAtu guno A sUtramAM pATha karatA nathI, paNa hakIkatamAM kayaTa moDanAne | (8 248) sUtra paranI pradIpa vyAkhyAmAM ane kRSNa lIlA zuka "puruSakAra'(pR. 10)mAM cAre dhAtuno pATha kare che. temaNe noMdhyA pramANe maitreya 'no pATha karatA nathI (pR. 5). sAyaNa e jaNAve che ke sammatAkAra moghavistara ane cAndra vaiyAkaraNo pUrva, raghu ane mudde - e traNa dhAtuno ja pATha kare che. teo gurva dhAtuno A sUtramAM samAveza karatA nathI. sAyaNa bIjo nirdeza e kare che ke maitreya-sammatA-mogha vitarAyatuM tIrthamicchanata | A dhAtuonAM rUpo upadhAyAM 2 | (8.2.78) sUtrathI dIrgha thAya che, jemake vRddhata rapUrvata vagere. A dhAtuonA dIrghatva vize vaiyAkaraNomAM matabheda pravarte che. sAyaNe khUna dhAtunI vyAkhyAmAM (pR. 101) maitreyano A bAbatano mata TAMkyo che. maitreye kahyuM che ke 35dhAyAM rUti tItvamatra vaizvine dhyate | tanmate ute ta . (pR. 5) kSIrasvAmI paNa koIno A prakArano mata noMdhe che. keTalAka vaiyAkaraNo mAne che ke, 3padhAyAM 2 | (pR. 19) sUtrathI A dhAtuonAM rUpo dIrgha thavAnAM ja hatAM, chatAM jJa dhAtune dIrgha upadezavALo karyo, te darzAve che ke "padhAyAM !' sUtrathI thatuM dIrdhatva anitya che.

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nIlAMjanA su. zAha sammetAkArane A dhAtuonA dIrghatva bAbatamAM sAyaNa, kSIrasvAmI ane maitreya vagere badhAnuM samarthana maLI rahe che, kA2Na ke te badhA A dhAtusUtranA dRSTAMta tarIke pUrvate pUrvate ema dIrghatvavALAM rUpo ja Ape che. bopadevakRta 'kavikalpadruma' (pR 134)mAM rva pUrvak ema baMne rUpo maLe che. 110 SAMBODHI 2. zrutir kSaLe / svAdigaNanA A dhAtusUtrane samajAvatAM sAyaNa vadhu jyotatIti 'madhuvrut' zabda parathI madhuk zabda kevI rIte bane che, tenI pote darzAvelI rUpasiddhi sAthe 8.2.3 sUtranI vyAkhyAmAM vRttikAra, nyAsakAra ane padamaMjarIkAra temaja maitreya (pR. 7) ane sammatAkAra saMmata thAya che, tema noMdhe che. (pR 67) te prakriyA nIce pramANe che. tatmaputrut+vivar| che temAM tatkRti tavArae / (3-1.26 paranA vArtika)thI vadhuzruta +fr+vivat = thayuM. khAvizvavat (6.4.155 paranA vArtika)thI nio lopa thayo. tethI madhun +fo+vivat = rahyuM. tyAra bAda nazava / (1.3.8) sUtrathI no veravRttasya (6.1.6)thI no ane tttattvam (1.3.3) sUtrathI no lopa thayo ane parezeDananunAsi | (1.3.2)thI no lopa thAya che. Ama vivano lopa thAya che. tethI madhu+ri = rahyuM. tyAra bAda pratyayatope pratyayanakSaLam / (1.1.62) sUtrathI vivajJe mAnIne kheniTi / (6.4.51) sUtrathI biSno lopa thatAM 'mallu' rahyuM te yakArAnta prAtipadikane rojhasam. / (4.1.2) sUtrathI su pratyaya lAgatAM madhura+su = thayuM. su pratyayano han yAnmyo / (6.1.68) sUtrathI lopa thatAM madhuc rahyuM, no lopa saMyontasya ! (8.223) sUtrathI thatAM 'mathu' rahe che. temAM sno zrutva asiddha thatAM s thayo. svo: (8.2.29) sUtrathI sno lopa thatAM madhuv 2he che jo : (8.2.30) sUtrathI no thaIne madhut thayuM. AnAM nazo (8.2.39)thI madhumAMnA no t thaIne madhuk rahyuM sammetAkAre dhAtuonAM rUponI siddhi aMge paNa potAnI 'sammatA' nAmanI vyAkhyAmAM vicAra karyo lAge che. ema sAyaNe noMdhelA emanA A matane AdhAre karI zakAya. 3. ruthivuthisudhimathimAhitAsajJezano: / (pR. 68) A dhAtusUtranI vyAkhyAmAM sAyaNa he che } atra ca kSIrasvAmI manthaM sAnuSaGgamaniditaM paThitvA madhyata iti codAhRtya 'mathIti daurgA manyate' phAda temaNe noMdhyA pramANe kSIrasvAmI thi...mantha / ema A sUtramAM pATha kare che. tenA udAharaNa tarIke mati, mate vagere rUpo Ape che. (pR. 24) teo 'thi mAthi kRtyapIti vaumAM: kahe che. kSIrasvAmI je anidita 'mantha' pATha kare che, tene lIdhe anivitAM0 (6.4.24) sUtrathI viGat pratyaya 52mAM hoya to upadhAnA nakArano lopa thAya che. sAyaNa sammatAkArano mata noMdhatAM kahe che sammatamAM tu dApi pacete / eTale ke te mantha ane thi baMneno pATha kare che jethI mate ane mate baMne rUpo thaI zake. maitreya A dhAtusUtramAM 'mathi' pATha Ape che (pR. 7). 4. vidhu zAstra mAMgalye haiM / svAdigaNanA A dhAtusUtranI carcA karatAM sAyaNa kahe che ke

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VoI. XX, 1996 sammetAkAra : eka aprasiddha vaiyAkaraNa (pR. 70) niSThAmAM 'yasya vibhASA / (7.2.15) sUtrathI iTno niSedha Ave (paNa krAdi niyamathI nitya ijh thatAM) 'siddham' evuM iMDAgamavALuM rUpa thAya che. krAdiniyamanA saMdarbhamAM te sammetAkA2no mata TAMke che. 111 dhRmRvastuniTi (7.2.13) sUtrathI vihita thatA niyamane krAdiniyama kahevAya che. sUtrano artha e che ke hra s mR vR stu vagere sUtramAM darzAvelA dhAtuo ja liT eTale ke parokSakALamAM aniT thAya che. te sivAyanA bIjA dhAtuo liTsamAM se thAya che. A sUtra pahelAM meDvijJa (7.2.8), tigtra0 (7.2.9), vAtta vezeDanuvAttAt (7.2.10), vagere IMDAgamanA pratiSedha aMgenAM sUtro AvI gayAM che, ane tyAra pachI paNa A adhyAyamAM bIjAM aneka sUtro IMDAgamanA niSedhane lagatAM che svaratibhUti (7.2.44) 3vito vA (7.2.56) jevAM bIjAM sUtro paNa maLe che je IMDAgama vikalpe kare che, jyAre ArthadhAtukSettAveH / (7.2.35) sUtra IDAgamanuM vidhAna kare che. maitreya ane sammatAkAranuM kahevuM e che ke krAdiniyama pahelAM ja pratiSedhakAMDa eTale ke pratiSedha karanArAM sUtrono AraMbha thayo che. tethI te pachI AvatuM krAdisUtra ane tene AdhAre rahelo niyama baLavAna che, mATe ITnA pratiSedha aMgenAM sUtro hoya ke Tavito vA jevAM InuM vikalpe vidhAna karatAM sUtro hoya, te badhAMno A niyamathI bAdha thAya che. krAdisUtramAM darzAvelA dhAtuo ja liTyAM aniT thAya che, bAkI badhA dhAtuone nitya IMDu thAya che ane tethI sintheSitA jevAM rUpo banI zakaze. ya eva liTyaniTastato'nye liTi saMDityanena niyamena.... yAvAn kazcida'bhAva0 pratiSedhanibandhano vikalpanibandhano vA sarvo bAdhyate..... maitreye dhAtupradIpa(pR. 8)mAM A ja vAta bIjA zabdomAM saMkSepamAM kahI che : jhAvinivamAt pratyujjIvitasyeo balIyastvamiSyate / tena svarati0 / iti prAptasya vikalpasyApavAdo nityamiDAgamo mati / krAdi niyamanI balavattA aMgeno sammatAkArano A mata noMdhapAtra che. 5. ha ndrazUve / sAyaNa A dhAtusUtra paranI kriyA dvArA vyAkhyAmAM (pR 73) kahe che ke vaMze ema artha kahevAmAM tAcchIlyArthano saMgraha na thAta, mATe zU, ema kahyuM che. te noMdhe che ke sAdhanapradhAnaprayozitvavyApanArtha vandrazUpramiti sammetAtarakiLyoH / kSIrasvAmI kahe che ke vazanamAtre vAgye sAdhananirdeza:, sAdhanapradhAnaprayosamavAyArtha; / (pR 27) kahevAno bhAvArtha e che ke mAtra daMza ke dazana artha darzAvyo hota to dAMta dvArA daMza devAnI je sarpanI svabhAvagata kriyA che teno artha na vyakta thAta. mATe sAdhana (dazana) jemAM pradhAna che, tevA dantaNUkanA prayogane bhArapUrvaka darzAvavA mATe vasU kahyuM che. maitreye A ja bAbata kahI che ke vandrazULa kahevAthI tenI sAme samaveta svabhAvabhUta garvita dazanakriyAno bodha thAya che (pR 9) 6. ni adi vazvane ! svAdigaNanA A dhAtusUtranI vyAkhyAmAM sAyaNa noMdhe che (pR. 73) ke dhanapAlanA mata pramANe dramiDo eno ati pATha kare che, jyAre Aryo addi pATha kare che.

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nIlAMjanA su. zAha sammetAkAra, kAzyapa, maitreya (pR. 9) ane kSIrasvAmI (pR. 27) eno 'ati kavi' ema ubhaya rIte pATha kare che. 112 SAMBODHI kSIrasvAmI 'avi' pAThane anArSa kahe che, je mata dhanapAlathI judo paDe che. zAkaTAyanadhAtupAThamAM 'avuM vazvane' (pR. 6) ema pATha maLe che, jyAre 'kavikalpadruma'mAM ati (pR. 123) ane avi vanyane (pR 132) ema baMne pATha maLe che. 'ati vane' parathI bannUrambU (uNAdi 1.93) sUtrathI : pratyaya lAgIne banelo anDrU; (beDI) zabda 'amarakoza' 2.8.41mAM maLe che. 7. vivi avayave / dhAtusUtranI vyAkhyAmAM sAyaNa (pR. 75) noMdhe che ke sammatAkAra A sUtramAM vilinI sAthe mirino pATha kare che ane niddi ne bAhulakathI 3 pratyaya lAgI tyajyuye (33.113) sUtrathI vintu: zabda bane che tema sammatAkAra middi parathI mintuH zabda banAve che : atra sammetAyAM miti avayave minvati| yadyapridhAnamasti mityuriti dRzyate / sammatAkAranA mivi pAThane maitreya (pR. 10), kSIrasvAmI (pR. 27) ane zAkaTAyana (pR 6) vagere koI 'mitti avayave' evo pATha A dhAtusUtramAM karatA nathI. 8. nahi vanaiveze| A dhAtusUtranI vyAkhyAmAM sAyaNe (pR 75) noMdhyuM che ke kAzyapanA mata pramANe atyAyaH e pAMca dhAtuo (ati, avi, vi, vivi(miTI) nahi) e tik viSayanA nathI, eTale ke tiGga sAthe temano saMbaMdha nathI. sammatAkAra AthI judo mata Ape che tema sAyaNa 6ve che sammatAyAM tu bidibhidi eva prakRtyaivamuktam / avigItamanye sarveSAM tiGamudAharanti / sammatAkArano abhiprAya e che ke AmAMthI vidgi ane mitti ja prakRtithI evA che eTale ke ativiSaya che. bAkInA dhAtuo tiviSaya che ema badhA jaNAve che. noMdhavuM ghaTe ke 'kavikalpadruma' (pR. 138)mAM bopadeve kahyuM che ke 'bindu' zabdanI vyutpatti mATe ja A vidhi dhAtu mAnavo paDe che, bIje kyAMya eno nirdeza nathI. . 9. giri z2attAyAm / A dhAtusUtranI vyAkhyAmAM (pR. 75) sAyaNa kahe che ke 35savisamAkSe'pi / (8.4.14) sUtrathI upasargapUrvakanA dhAtuonAM rUpomAM gatva thAya che, jemake pravRiti ! A saMdarbhamAM sAyaNa noMdhe che ke maitreya, AbharaNakAra ane sabhyatAkAra vA nisanikSanindrAm / (8.4.33) sUtrathI 'khatva'no vikalpa icche che, jethI prattivRtti. paNa thaI zake. maitreya A sUtranI vyAkhyAmAM eTalo nirdeza kare che ke asya nopavezatva vaizvitrArtham / 'vA niza|' rUti violpavidhAnAt| (pR. 10) sAyaNa chatvanA vikalpane icchatA sammetAkAra vagerenA A matane svIkAratA nathI, kAraNa ke nRtya6: ! (8.4.29) sUtramAMthI 'kRti padanI anuvRtti vA rnisa / sUtramAM Ave che, mATe kRtpratyaya pa2mAM hoya to ja tva vikalpe thAya che, jemake pranvina, prattina. timAM A vikalpa maLI na zake mATe nitya tva thAya che. sAyaNe kahyuM che tema zAkaTAyananA nAinAikSanindraH kRti vA| (4.2.248) sUtramAM A bAbata ekadama spaSTa thAya che.

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113 Vol. XX, 1996 sammetAkAra : eka aprasiddha vaiyAkaraNa 10. ni vRddhi zva,i tyif: / A dhAtusUtramAM je zraki nAmano dhAtu che tenuM lanuM rUpa "te thAya che. sAyaNa AnI vyAkhyAmAM noMdhe che (pR. 80) ke zruti; sammetAyAM vantyAvi pacaMte / eTale ke sammatAkAra svanti evo daMtyAdi pATha kare che, ane tenuM rUpa svakte thaze. maitreya (pR. 12) ane kSIrasvAmI (pR. 32) zvavi evo tAlavyAdi pATha ja Ape che. 11. patti vyahIrane / dhAtusUtrane samajAvatAM sAyaNa kahe che (pR 87) ke pavRtti du:i tathA vardhamAno'pi / yuvAhaiM-anividhI padmAsUitre TuvacabA, panna vyahrI raLe / e loko baMne pattane aniT gaNe che tethI kahe che Ana paveze (7.2.10) sUtra para je Si dhi vividhi... e aniT kArikA che temAM baMne padma dhAtuno samAveza thAya che, mATe te aniT che. sammetAkAra, durga ane vardhamAna sAthe saMmata thAya che ane kahe che ke arcasvamivita pacate / Ama sammatAkAra sAyaNathI judA paDe che ane Si ne badale patna evo pATha kare che. 12. gi mRganI margane / A dhAtusUtra paranI vyAkhyAmAM sAyaNa noMdhe che (pR. 88) ke RRninuM ttinuM rUpa nAza thAya che. vadhArAmAM noMdhe che ke banne kRti sammetAtakiyo: tavataMt; numnidhAvupapezivadattanAt / ata va AzyapamaitreyAva: sarva samayeva vAnadu:| temano mata e che ke sammetAkAra ane kSIrasvAmI vRnne evuM RRninuM ttinuM rUpa Ape che te barAbara nathI, kAraNa ke 'vito num dhAto:' (7.1.58) sUtra paranA mahAbhASyamAM vArdika che : 'nunvidhAnuzi-vRddhattanuM pratyayavidhyartham / ' eTale ke 'vito.' / sUtrathI thatI nuvidhimAM je upadezivacananI AvazyakatA che, te upadezivacana ni dhAtumAM nathI. mATe AnRnne na thaI zake, mATe ja kAzyapa ane maitreye RRnAca evuM mavALuM rUpa vihita karyuM che. ahIM phanAvezcanumato0 / (3.1.36) sUtrathI bananuM vidhAna thAya che. maitreye paNa noMdhyuM che ke tumAtramanimittApi yasya gurumannA tato'vyAt mati / yathA rUndrAzcAra / vik tu AvRnne kRti pratyuvAdaranti / keTalAka phanAvetha sUtranA pratyudAharaNa tarIke AnRddhe Ape che. mATe sammatAkAre ApeluM nRnne barAbara nathI. 13. jI zrejI prAtR vIptau / A dhAtusUtrane samajAvatAM sAyaNa sammatAkAra, maitreya ane kSIrasvAmIno bhrAtR dhAtu vizeno eka mata TAMke che (pR. 88). temano mata e che ke AX...rA brAnaOza MSa:| (8.2.36) sUtramAM darzAvelA drazaghrasta...brAna vagere dhAtuone SakArAdeza thAya che. A sUtra nRnA sAhacaryavALA prAna dhAtune lAgu nahIM paDe. temanuM kahevuM ema che. 'zva' sUtramAM AnanuM sAhacarya che mATe prAna phaNAdigaNamAM paThita TuSrAtR rItau / che. tethI jInA sAhacaryavALA prAntanA kRdaMtanuM strIliMgI rUpa Artti: thaze, jyAre phaNAdimAM pati brAnanuM rUpa SakArAdeza thavAthI praSTi: thaze. maitreya dhAtupradIpamAM (pR 17) A mata darzAve che tatra kriSNAta dhruvate prAtisUtre (8.2.36) nisaMhari tasya brAnepradaLa yathA sthAt / tenA prANi: prAoiiita yamupapadyate / kSIrasvAmIe Avo ja mata vyakta karyo che (pR. 39).

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114 nIlAMjanA su. zAha SAMBODHI 14, bragani...na tau| A dhAtusUtranA svarUpanI bAbatamAM sAyaNa sammatAkArano mata Ape che. (pR. 98) tarIkAzyapa samatAsu sAdI vRtrinI rUti jyaSTacAvI pacete | A sutranI zarUAtamAM AvelA 'ghanaghana'ne badale sammatAkAra 'vrattavRSyi' ema pATha kare che. noMdhavuM joIe kSIrasvAmI (pR. 45) paNa na ghana ghana dhvani jati | ema sutra Ape che. sAyaNe noMdhyA pramANe vRSadhvani pATha "kSIrataraMgiNI'mAM maLato nathI. maitreya (pR. 19) dhUna dhana ane zAkaTAyana ghana thranuM (pR. 6) pATha Ape che. mATe sammatAkAranA A pAThane pANinIya dhAtupAThanA vyAkhyAtAonuM bhale samarthana maLatuM nathI, paNa amarakoza(7.7.35)mAM je vRSyA zabda maLe che te vRnatI e gvAdi dhAtu parathI Avelo che. granthAno artha temAM bhramaNa ke paryaTana Apyo che tema bhAnujIdIkSita darzAvyuM che. 15. 2 di vaTI tau sUtranI vyAkhyAmAM sAyaNa sammatAkArano A sUtramAM traNa nahIM paNa cAra dhAtuo hovA vizeno mata nodha che (pR. 111). sAyaNa kahe che ke maitreya rUTa vikaTa Ti ruM ema pATha kare che ane tema karavAnuM phala te e jaNAve che ke DuMgare ramato (3.1.36) sUtrathI pazivabhAvathI DuM dhAtunA 'mayazciAra' e rUpanI siddhi thAya che. kharekhara maitreyanA dhAtupradIpa'mAM rUTa viTa reTa rU ema pATha maLe che. (pR 29). "sAyaNe darzAvyA pramANe kSIrasvAmI (pR pa6) sAyaNanA pramANe ja traNa dhAtuno pATha kare che ane koIkano mata noMdhe che ke rImAM TI dhAtu prazliSTa che. sAyaNa lakhe che : saptatatoTi ru rUti vavAre dhAtavastRtIya kriti vyAdhyiAdhi | sAyaNe taraMgiNIno pATha ahIM vaLI judo darzAvyo che je temAM maLato nathI. kSIrasvAmI ane taraMgiNI benA judA pATha kevI rIte hoI zake te khyAla Avato nathI. sammatAkAranA pAThano vicAra karIe to te phUTa Ti Ti Tu ema pATha Ape che te spaSTa thAya che. AmAM rU dhAtuno teNe Apelo pATha mahattvano che. rU dhAtunA pAThane. gvAdigaNanA 2 varganA dhAtuonA aMte maitreye karelA nirdezathI samarthana maLe che : 3ttatvamativargamU | no pATha prastuta dhAtustramAM hoya to ja A nirdeza sArthaka Thare. sAyaNe dhyAna kheMcyuM che tema 35cAyata . (8-2-19) sUtranI vyAkhyAmAM haradatte DuM dhAtuno pATha ahIM hovAnI bAbatane samarthana ApyuM che, to tistuzAstu | (3.1.109) sUtranI vRttimAM paNa kAzikAkAre ApelA abhiprAya no samAveza A sUtramAM karavAnI tarapheNamAM jAya che : thampayam ? paretadUuM, ! Ama sammatAkAranA 'DuM' dhAtunA pAThane samarthana maLe che. 16. 3mana ...zabdArtha ! A dhAtustranA aMte sAyaNa nodhe che (pR. 131) ke iniravi samratA mitra pacate | sAyaNanI dhAtuvRttimAM dhUpa zatre ema juduM dhAtustra maLe che (pa 132) jyAre sammatAkAra zrakhano samAveza A daMDakamAM kare che, juduM sUtra te ApatA nathI. maitreya sAyaNanI jema juduM sutra Ape che jyAre kSIrasvAmI brAno kyAMya pATha karatA nathI. sAyaNa dhUna zatre sutra paranI carcAmAM paNa A bAbatano ullekha kare che : riSi sammata raivo | (pR. 132)

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vol. XX, 1996 sammatAkAra : eka aprasiddha vaiyAkaraNa 115 17. lagneza adhyAyAM vAva | sAyaNa ahIM noMdhe che ke kSIrasvAmI Ano artha thapyAM tti | ApIne kaleza ane vyakti vAcA - baMnene artha tarIke darzAvI A pUrve AvelI mikSa dhAtunA artho che tema rajU kare che. jyAre candra, durga, maitreya, sammatAkAra deva (pR. 9) vagere varteza ne judo dhAtu gaNAve che. kSIrasvAmI to jANe A AkhA dhAtusUtrano upakSanA arthamAM samAveza kare che. (pR0 91) maitreya A dhAtuno pATha judA sUtramAM kare che (pR. 43)... sammatAkArane sAyaNa candra, durga maitreya vagere uparAMta zAkaTAyananuM paNa samarthana maLe che kAraNa te vaSi pyAM vAva ema juduM sUtra ja Ape che (pR. 3). 18. mAhasi rUchAyAm ! A dhAtusUtranA AraMbhamAM sAyaNa kAzyapano mata TAMke che (pR. 165) ke 3yahUrva iva prayo: | sampatIyAM ra "va chevatte nANupattarapUrvaka ' ema kahIne sammatAkArano mata Ape che. kAzyape kahelI vAta ja temaNe bIjA zabdomAM kahI che ke A dhAtune ekalo paNa na prayojavo ane 3mI sivAyanA bIjA upasargapUrvaka paNa na prayojavo. 19. triputrapukuSupta6 tAhe / dhAtusUtranI vyAkhyAmAM sAyaNa A dhAtu seTuM che tevA potAnA matanuM samarthana karatAM vardhamAna, kSIrasvAmI sammatAkAra paNa tene seTu kahe che tema noMdhe che. sAyaNa kahe che ke va 35ze. (7.2,10) sutra paranI kAzikAvRttimAM maLatI aniTu kArikA zifs fifuM...pim... mAM nhAdika pittajUnuM nahIM paNa daivAdika glinuM grahaNa che mATe gvAdika niSu seTu che. tenA samarthanamAM te 7iSa maniphare ! (3.1.46) sUtra parano kaiyaTano mata TAMke che. tyAM teNe mahAbhASya paranI "pradIpa' vyAkhyAmAM kahyuM che ke, gata rUpadhaniTa: jasa: | (3,1.45)mAMthI ninI anuvatti uttaio (3.1.46) sUtramAM Ave che mATe dAtArthavALA seTuM ttinuM grahaNa AmAM na thaI zake. - sAyaNe noMdhyA pramANe zi7Sa mahine | sutra para nyAsakAre lakhyuM che : 35tra zig zliSu...dAhe / ityetasya zliSo grahaNaM kasmAnna bhavati AliGgane tasya vRttyasambhavAt, aniTaH (rU.2.45) tyadharIkva, selvAn | A sUtra paranI "padamaMjarI' vyAkhyAmAM paNa haradatte Avo ja abhiprAya darzAvyo che. kSIrasvAmI paNa sAyaNanI jema dhAtusUtrano pATha karI rattejitvA, arajoSIt evAM IDAgAmavALAM rUpo Ape che, jyAre daivAhika riznanAM utsarTI, unnakSat evA IDAgamanA abhAvavALAM rUpo thAya che. Ama gvAdigaNano A pitta dhAtu seTu che e sammatAkAranA abhiprAyane samartha vaiyAkaraNonuM samarthana sAMpaDI rahe che. 20. stra, dhvaMsu, jaMtu mavarlsane natau | khrasutivA | A be dhAtusUtronI samajUtI ApatAM sAyaNa noMdhe che (pR. 187) ke sammatAkAra, kSIrasvAmI (pR. 108) maitreya (pR. 51) ane bodhinyAsa A dhAtuno tAlavyokhAnta eTale ke evo pATha kare che ane nIgvidhi eTale ke nIvaDyua...zaMsu... (7.4.84) sutramAM paNa teno braNa evo pATha kare che. tethI ja A sUtranA dRSTAMta ApatAM maitreya ane kSIrasvAmI vanaprasthane badale vanIprIte rUpa Ape che. bhaTTabhIme racelA.

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116 nIlAMjanA su. zAha SAMBODHI 'rAvaNArjunIya' nAmanA zAstrakAvyamAM vanaprazyamAna (24.60) evuM je rUpa maLe che te sammatAkAra vagerenA khaMzu pAThanA svIkArane samarthana Ape che, te noMdhavuM ghaTe. 21. maraNatoSanizAneSa jJa | A dhAtusUtra paranI vyAkhyA karatAM sAyaNa sammatAkArano jJA dhAtunA artha aMgeno mata Ape che (pR198) A dhAtu gvAdinA paTAgaNa ghaTAdimAM Avelo che, tethI paviyoma: | e gaNasUtrathI A jJI dhAtune mitva thAya che. gvAdigaNanA jJA dhAtuno artha sAyaNe mAraNa, toSaNa ane nizAnae darzAvyA che. temAM sAyaNa, maitreya, bodhinyAsa vagere prAcIna vidvAno nirAmane; I e pATha svIkAre che, jyAre cAndra vaiyAkaraNa ane vardhamAna vagere nizApu ne badale nizAneSa | pATha pasaMda kare che. je vaiyAkaraNo nizAnane badale "nizAna" artha levAnI tarapheNa kare che temane "nizAna" artha svIkAravA sAme keTalAka vAMdhA che. prAcIna vaiyAkaraNo kahe che ke "nizAna"no artha cakSuHsAdhana jJAna thAya che, kAraNa ke te zamatakSa mAnavane dhAtu parathI nizAna' zabda Avyo che. teo te arthanA udAharaNa tarIke prajJapati pam I e dRSTAMta Ape che. cAndra, vardhamAna vageree A arthano virodha karyo che, tenAM kAraNo temaNe A pramANe darzAvyAM che. temanuM kahevuM ema che. jo "nizAmana'no artha cakSuHsAdhanajJAna svIkArIzuM to snAyunun (1-4.34) sUtra paranI samajUtImAM je "zcamana' zabda che tene kema samajAvIzuM ? garNamAnano artha vothitufkhetaH karIe chIe ane te jJAnuM parvavALuM rUpa che. jo "nizAna'no artha jJAnamAtra karIzuM to tannApati bhAvArya | vagere mittva vagaranA prayogonuM samAdhAna kema karavuM? A badhI muzkelIo jotAM 'nizAna' e artha svIkAravo sAro che. nizAnano artha tikSmIrA thAya che ane prajJapati zaram ! e te arthanuM dRSTAMta che. sAyaNa kahe che ke "nizamana' pATha barAbara che, tenuM vAsakAra, deva (pR. 15-17) bodhinyAsa vagere to samarthana kare che, paNa te uparAMta kAzyapa ane sammatAkAra vagere paNa maitreye svIkArelA "nizAna' pAThane vadhAre sAro darzAve che : vAyAsamatI coDapatti maitreyIdyo nizAnara gva pAyAna | maitreye mArA-topanizamaneSu jJa | ema dhAtusUtra ApyuM che. sAyaNa, cAndra vardhamAna vageree darzAvelA virodhanuM samAdhAna karatAM kahe che ke sthAne rUpa caurAdika "TV fmanva'nuM che ane jJAti prayoga caurAdika + 'jJA niyo'no che. A dhAtusUtramAM sammatAkAra prAcIna vaiyAkaraNone anusarIne nizAne; pATha svIkAre che, te bAbata darzAve che ke te moTe bhAge prAcIna paraMparAne anusare che. 22. 3 jatau yAvane | A dhAtusUtranI vyAkhyAmAM sAyaNa sammatAkArano dhAtunA svarUpa vizeno mata noMdhe che. (pR. 221). - sAyaNa noMdhe che te pramANe maitreya pote ztauyAvaneva' pATha Ape che, paNa evuM rUtye! ema koIkano mata Ape che (pR. 62), sAyaNe darzAvyuM che ke kSIrasvAmI tu "kazuM to, tau !

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Vol. xx, 1996 sammatAkAra : eka aprasiddha vaiyAkaraNa 117 rUti tau dAtU pIDha | ane tyAM iditvanuM prayojana lopano abhAva e darzAvyuM che paNa kSIrataraMgiNI (pR. 41)mAM 'manyu nipUgano | pATha ja maLe che. A dhAtusUtramAM vi pATha maLato nathI, paNa vArikAmAM mAtra rAta | evuM dhAtusUtra maLe che (pR. 129), tyAM tenA udAharaNa tarIke zata: te vagere rUpo ApyAM che. sAyaNa spaSTa kare che ke kAzyapa, maitreya ane sammatAkAra magna dhAtunA A idivane anumodana ApatA nathI. maitreyano mata zuM tipUnanayo: ! (pR17) sUtra AgaLa ke zuM patI thAvane (pR 62) sUtranI vyAkhyAmAM maLato nathI. TUMkamAM kahI zakAya ke sammatAkAra, kAzyapa, maitreya ane sAyaNa pote badhA ja uditpakSanI ja tarapheNa kare che. zAkaTAyana 'az' ema drita pATha Ape che (pR. 6) te paNa sAyaNe noMdhyuM che. 23. lai gai zabdasaMpAtoH | A dhAtusUtranA saMdarbhamAM sAyaNa sammatAkArano 'Irtha' dhAtunA pAThanuM phaLa darzAvato mata Ape che. (pR. 242) sAyaNa spaSTa kare che ke popadezalakSaNanA paryAdAmAM eka ja dhAtu prahaNa thAya, paNa tema karavAthI ubhayanA pAThavaiyazmano prasaMga Ave. popadezavALA thai dhAtunAM rUpo to lai dhAtunAM rUpo sthAti vagere jevAM ja thavAnAM, kAraNa ke dhAtvare pa: : (6 .1-64) sUtrathI pUno Adeza thAya che. popadeza karavAnuM prayojana e che ke mArezapratyayaH (8.3.59) sUtrathI 4 Adezano pa thaI zake ane matadayapata vagere rUpo siddha thaI zake. sAyaNa noMdhe che ke maitreya, sammatAkAra, kAzyapa vagere kahe che ke punaH padetta dhAtvAke : saH | rUti satvAkAva: | temano mata e che pachI kharca ema popadeza pATha karavAnuM phala e che ke dhAtvA: sUtrathI thatA satvano ahIM abhAva thAya. sAyaNa A matane svIkAratA nathI ane te kAraNa Ape che ke Ama karavAthI thAvADa (6.1.64) sUtra paranA mahAbhASyamAM maLatA 3 -5): sAya: parezA: / lakSaNanI avyAptino prasaMga Avaze. A lakSaNano artha e che ke na AdimAM hoya, 36 upadhAmAM hoya ane datyavarNo paramAM hoya tene paNa kahevAya, mATe no sa na karIe to boveza lakSaNa lAgu nahIM paDe. A kAraNasara maitreya (pR. 66) sabhyatAkAra vagereno mata svIkArI zakAya tema nathI. prastuta sUtra paranI maitreyanI vyAkhyAmAM ATalo ja nirdeza maLe che : giMJsAmarthyavarsa pos (pR. 66) kSIrasvAmImAM, A bAbatane lagato je mata maLe che te sammatAkAranA matane maLato Ave che te vAta sAyaNanA dhyAna bahAra gaI lAge che : gyAti tyAti - mayopaze 35vAnA dhAtvAkeH Y: : nAti | (pR 139). Ama sammatAkArane kAzyapa ane kSIrasvAmI jevA samartha vaiyAkaraNono sAtha maLI rahe che. 24. DuM cAlyAM vAra. adAdigaNanA A dhAtusUtranA saMdarbhamAM vakSa dhAtu parathI banelA 'vivakSaNa' zabdamAM lAgelA pratyaya aMge sAyaNe sammAtAkArano mata Apyo che (pR. 329). vakSa dhAtumAM je ikAra che, tenuM prayojana nuvAdita mAtamane pam (1-3.12) sUtranI

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118 nIlAMjanA su. zAha SAMBODHI AtmapadanuM vidhAna karavA mATe ane anuvAre taza hennA | (3.2.149) sUtrathI lAgatA yu pratyayanA vidhAna mATe che, ema vaiyAkaraNo mAne che. sAyaNa noMdhe che ke satIratuM vAra kvArA tA tanmate virakSaNa yu hatu. sammatAkAra mAne che ke kSa mAMno kAra uccAraNa mATe che ane tenA parathI banatA vivalakha zabdamAM yuvuM pratyaya nathI (paNa nyu che). - sAyaNa A matanuM khaMDana karatAM kahe che ke ahIM yu che ane cuMTuM nathI. teo kahe che ke vakSaH ram | (2.4.54) sUtra para vArtika anoza pratiSa: te eTale ke mam ane mana pratyaya lAge tyAre valaH dhAtunuM rahyIgU na thAya. sAyaNa kahe che ke thono abhAva mAtra yuTyAM che evuM nathI te yumAM paNa che. vaLI liH | sUtra paranI kAzikA vRttimAM ne anavaSatrivirakSaNa vagere zabdono nirdeza che tenA parathI ja yuqno nirdeza thAya che evuM paNa ame nathI kahetA, kAraNa ke te yud ane nyuTu baMnemAM caritArtha thaI zake che. paNa vipakSana'mAM yu che ane skuTuM nathI te svaranA taphAvatane lIdhe ame kahIe chIe : sUrya 3mA vendramasA vivakSaTI: ahIM vivakSaTI:mAM antAdAtta svara che je yuno spaSTa nirdeza kare che. jo juduM hota to madhyodAttasvara darzAvAta. sAyaNa noMdhe che ke nyAsakAre paNa vakSa: | sUtra paranI vyAkhyAmAM 'vikSa'mAM nyu darzAvyo che, te temano mata paNa svaranA virodhane lIdhe ja khoTo kare che. Ama sAyaNe svarano taphAvata darzAvI, 'virakSaNa' zabdamAM nyu pratyaya che ane vRkSamAM rUAra uccAraNa mATe che tevA sammatAkAra matano asvIkAra karyo che. yud ane nyu baMne kRtmayo cheyu pratyaya anuvAjetaro hRhanA ) (3.2.149) ane yud | (3.3.115) sUtrathI juduM lAge che. 25. 382zaku chAyAm | adAdigaNanA A dhAtusUtranI vyAkhyAmAM, sAyaNa sammatAkArano eka mata zAnuM dhAtunA anubaMdhanA saMdarbhamAM TAMke che, (pR. 331). te jaNAve che ke Atreya, maitreya (pR. 78), svAmI (pR. 178) ane kAzyapa Ano zAsuM ema udita pATha karI nA+tnofpa sAvRttitAm | (7.4.2) sUtramAM tenuM sAmAnyapaNe grahaNa karI, te sUtrathI upadhAcsvano niSedha karIne zarAsan rUpa daSTAMta tarIke Ape che. upAdhACsvanA niSedhane uditkaraNanuM prathama prayojana darzAve che. tenuM bIjuM prayojana darzAvatAM kahe che tvapa chasi | (7.1.38) sUtrathI jyanA apavAda tarIke jyAre svI Adeza thAya tyAre 'vato vA' ! (7.3.56) sUtrathI 'mAzAvA' ane 'nAzAsitvA' ema IDra vikalpa thaI zake. niSThAmAM vacce vimA ' (7.2.15) sUtrathI iDu vikalpa na thAya tethI mArAsta ane mAzAstavAna evAM rUpo thAya che. sAyaNa noMdhe che ke vardhamAna, sammatAkAra, haradatta (7.4.2 sUtranI vyAkhyAmAM) ane garga vagere teno zAs ema anudita pATha kare che. teo mAne che ke nAsto isatramAM zAka azi'nuM grahaNa che. tethI A zAn ne te sUtra lAgu na paDe, mATe upadhACsvano niSedha na thAya tethI upadhAhUsvavALuM zizasat rUpa bane. te vaiyAkaraNo anudita pATha kare che, mATe niSThAmAM mAsita evA rUpano Agraha rAkhe che. sAyaNa umere che ke nAnofo | sUtra para haradatta kahe che ke mA:zAnuM A sUtramAM grahaNa na thAya te mATe keTalAka 28AnuM anuziau

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Vol. XX, 1996 sammatAkAra : eka aprasiddha vaiyAkaraNa 119 ema te zAsano Rdita pATha kare che te kahe che ke RdittvathIja zAsRganuziauno upadhAcsvaniSedha siddha thaze. tethI temane AzAsanuM udittva anabhipreta lAge che. Ama sammatAkArane haradattanuM prabaLa samarthana maLI rahe che. sammatAkAra, vardhamAna, haradatta vagere zAsUnA anudita pATha kare che mATe niSThAmAM te loko mAlita | evA IDAgamasahitanA rUpano Agraha rAkhe che. 'nAtopa' sUtra para haradatta kahe che (2, pR. 599) ke, zAstranuM A sUtramAM grahaNa na thAya mATe keTalAka traTaza, DAnufzI ema te zAno tra pATha kare che. te kahe che ke tratvathI ja ahIM upadhAsvaniSedha siddha thaze tethI te dRSTie paNa A karUNAnuM uditva anabhipreta che. sammatAkArane haradattano Teko maLe che. 26, vava Apo. adAdigaNanA A dhAtusUtranI vyAkhyAmAM sAyaNA van dhAtunAM nam (vartamAnakALa)nAM rUpono nirdeza karatAM kahe che ke vavantItyaprayoroDanaHdhanAta rUti svasiSNatarI | kSIrataraMgiNI(pR191)mAM e pramANeno mata maLe che : vantIti neNa, manapAnAn | sAyaNe kSIrasvAmI ane sabhyatAkAranA samarthanamAM bhoja ane Atreyano mata paNa TAMkyo che te darzAve che ke te pote A bAbata sAthe saMmata che - maitreye paNa vara maLe | sUtra para nirdeza karyo che ke antavanacAnakathAnA vakSate ! (pR. 83). Ama "vati' e rUpano prayoga thato nathI e bAbatamAM badhA sahamata lAge che. 27. motanI mornI brIDe 1 sAyaNa A dhAtustranuM svarUpa samajAvatAM noMdhe che ke cAndro monanI monabbI brIDe ema pATha kare che, (pR. 464) jyAre mAtre maitreyasvAmimatA - zAyanA: sarve yAtimag: | sAyaNa noMdhyA pramANe maitreya (pR. 110) temaja kSIrasvAmI (pR. 246) motanI motajJI trI? ema pATha kare che ane zAkaTAyana go nanai morner brIDe ! (dhAtupATha, pR. 16) ema pATha kare che. Ama sammatAkAranA matane pANinIya paraMparAnA vaiyAkaraNo taraphathI samarthana maLe che. 28. huM rAtre ! tudAdigaNanA A dhAtusUtranA AraMbhamAM sAyaNa kahe che (pR. 479) ke keciddIrghAntamimaM paThanti iti Atreyamaitreyau / evaM svAmikAzyapasudhAkaradhanapAlasaMmatAkArA api / sAyaNa pote hRsvAnta pATha Ape che; keTalAka Ano dIrdhAnta pATha kare che ema jaNAve che ane pachI svAmI, kAzyapa, sudhAkara dhanapAla saMmatAkAra ema ja kahe che evo nirdeza kare che. A parathI A vaiyAkaraNone hasvAnta pATha saMmata che ke dIrdhAnta te spaSTa thatuM nathI. tethI kSIrasvAmInA matane AdhAre temano mata nakkI karI zakAya. kSIrasvAmI (pR. 257) kurR I hRsvAnta pATha karIne vUDuM lyA ema Ape che. tethI ApaNe anumAna karI zakIe ke kAzyapa sudhAkara ane sammatAkAra paNa hRsvAnta pATha karIne keTalAka ne dIrdhAnta mAne che ema jaNAvatA haze. maitreya (pR. 118) ema ja kare che ane kaphanA dRSTAMta tarIke yuvate rUpa Ape che. sAyaNa ullekha kare che ke nyAsakAra paNa pho la7 | (1.29) sUtra AgaLa te tvatra tIvavanaparthava | kahe che te parathI temane

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120 nIlAMjanA su. zAha SAMBODHI husvAnta iSTa lAge che. haradatta lAgo (1.2.1) sUtranI vyAkhyAmAM kahe che ke "mAta' zabdanA prayoga parathI A dhAtu dIrdhAnta che ema kahI zakAya : matati TurzanAr rI: 1 kapaTa pho kSan | (1.2.9) sUtra paranI vyAkhyAmAM ema ja kahe che : 1 2 TIviSAnastha lupha rAtre iti dhAturavakAzazcukUSata iti, yasmAt kUG zabda iti pAThastatra kuTaditvAnGitve sati guNAbhAvAda dIrghasya zravaNaM siddham / sammatAkAra kuno hRsvAnta pATha karIne tene keTalAka dIrdhAnta mAne che, ema kahetA hoya to te matane kaiyaTa vagerenA abhiprAyathI samarthana maLI rahe che. 29. rUSa mA baLe ! krayAdigaNanA A dhAtusUtranI vyAkhyAmAM, sAyaNa sammatAkArano eka mata Ape che (pRTa pa33). sAyaNa noMdhe che ke tIkSadakumae (7.2.48) sUtrano artha e che ke A sUtramAM gaNAvela dhAtuone ArdhadhAtuka pratyaya paramAM hoya tyAre vikalpa IDAgama thAya che. kAzikAvRtti A sUtrane samajAvatAM kahe che ke rUpu DUchIyAtviyaM vinDa DraSyate / te vadhArAmAM spaSTa kare che ke daivAdika 'rUSa tau' ane krayAdika 'rUSa' AmISe e be dhAtuone nitya IDAgama thAya che. A bAbata spaSTa thAya mATe keTalAka "tISasa'0 | sUtramAM rUAno udita pATha kare che jethI te tudAdigaNano rUpa dhAtu che ema spaSTapaNe samajAya. sAyaNe noMdhyuM che tema haradatta 72-48 sUtranI vyAkhyAmAM kahe che ke je tUrti pati, te mahinA saudaryAdricchIrthastha pra du: | morapyAramAtra vivaraNa ti | je loko udita pATha nathI karatA, te loko paNa sahanA sAhacaryane lIdhe ahIM tudAdigaNa icchArthaka rUpa dhAtuno pATha che ema kahe che, kAraNa ke baMnemAM 34 vikaraNa pratyaya che. A ja pramANe vardhamAna, sammatAkAra, kSIrataraMgiNIkAra (pR. 287) vagere paNa ahIM taudAdika rUSa nuM grahaNa mAne che. - sAyaNa vadhArAmAM umere che ke kAzyapa nAmanA vaiyAkaraNa rUstare zvapratyayAt pratiSa: (7. 2.48) sUtra paranA mahAbhASya vArtikane AdhAre, kahe che ke na vikaraNa sivAyanA taudAdika ane krayAdika rUpa dhAtune iDAgama vikalpa thAya che. temano mata sammatAkAra vagerenA matathI judo paDe che. haradatta paNa kahe che jo vArtikane pramANabhUta. gaNIe to kaiyAdika rUpanuM grahaNa A sutramAM karavuM joIe. tIsa60 (7.2.48) sUtra paranA mahAbhASyanI vyAkhyAmAM kaiyaTanA matano sAra evo nIkaLe che ke vArtikakAranA matane svIkArIe to A sUtramAM kramAdikano rUghano samAveza thAya ane tethI tene vikalpa IDAgama thAya. to pita: ane puNa: ema baMne rUpo thAya, sammatAkAra vagere A krayAdika rUmAM nitya rU mAne che. 30. moDa DakSepane 1 curAdigaNanA A dhAtusUtranI vyAkhyAmAM (pR. 539) sAyaNa kahe

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Vol. XX, 1996 samamatAkAra : eka aprasiddha vaiyAkaraNa 121 che ke svAminapasaItA: vivAdita parvanta | temanuM kahevuM ema che. kSIrasvAmI, kAzyapa sammatAkAra vagere keTalAka A dhAtuno ritu pATha kare che eTale ke 4 ullepaNe pATha kare che. temanA mate saMskuti vagere rUpo thAya che. kSIrasvAmI mohi Daslepe che ema ja pATha Ape che (pR. 292), te sAyaNe nodhelA temanA mata karatAM judo paDe che. sAyaNa vadhArAmAM noMdhe che ke bIjA keTalAka ukArAdi eTale ke 3rs ! ema pATha kare che, paNa te maitreya vagere bIjA o ke je ene dhAtvavayava gaNe che temane ane mane isaMjJaka gaNanA bIjAone abhimata nathI. maitreya naMdi vakSepaNe ema pATha Ape che. (pR. 14). 31. nanna pavArane 1 sAyaNa A dhAtusUtranI vyAkhyAmAM kahe che ke nandrisamatI matI viparyastha pati: ERna ti, tanmabhUti maitreyo gatimityuvhAra | nandui sammatAkAra A dhAtustramAM nA' evo je pATha kare che. te sAyaNa maitreyano AdhAra ApI svIkAratA nathI, kAraNa ke maitreya (pR. 140) ane kSIrasvAmI (pR. 292) nanna apavArane evo pATha Ape che. nandI ane sammatAkAra naMga evo je pATha kare che tenA parathI 'nAga' zabda thAya che. bhAratane amuka pradezomAM strIo mukha DhAMkavA lAja kADhe che, tene ane A tanna-nAgane kaMI saMbaMdha haze ke kema evo prazna thAya che. sAyaNe TAMkelA sammatAkAranA A matono abhyAsa karatAM eka vAta spaSTa thAya che ke pANinIya dhAtupATha para temaNe "sammatA' nAmanI vistRta vRtti lakhI haze ane temAM sAyaNanI jemaja dhAtuonAM svarUpa, artha, upadeza, gaNo, saMkhyA peTAgaNo, rUpo, dhAtusaMbaMdhI pratyayo, niyamo, saMdhio vagere dhAtuone lagatI ghaNI ghaNI bAbatonuM UMDuM vizleSaNa karyuM haze. bIjI eka bAbata e Upase che ke sammatAkAranA moTA bhAganA mato kSIrasvAmI, kAzyapa (eka aprasiddha vaiyAkaraNa) ane khAsa karIne maitreya sAthe maLatA Ave che, te parathI kahI zakAya che ke sammatAkAra ane maitreya dhAtupAThanI bAbatamAM koI samAne paraMparAne anusare che. keTalIka bAbatomAM te cAndra, durga ane vardhamAna sAthe paNa saMmata thAya che. te parathI jaNAya che ke te koI eka vyAkaraNa saMpradAyane mAnatA nathI. sAyaNa dhAtupAThane lagatI mahattvanI keTalIka bAbatomAM sammatAkArane je rIte pramANabhUta vaiyAkaraNa tarIke TAMke che, te parathI temanI samartha vaiyAkaraNa tarIkenI pratiSThAno aMdAja Ave che. sAyaNe mAdhavIyA dhAtuvRttimAM je anekAneka aprasiddha vaiyAkaraNonA mata TAMkyA che, te parathI khyAla Ave che ke gaNyAgAMThyA graMtho sivAya dhAtapATha paranA moTA bhAganA graMtho lupta thayA che. te saMjogomAM, dhAtupAThano talasparzI ane sarvAgINa abhyAsa karanAra sabhyatAkAranA nAmanA vaiyAkaraNanA matone sAcavavA badala sAyaNanA ApaNe khUba RNI chIe.

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122 nIlAMjanA su. zAha SAMBODHI saMdarbhagraMthonI sUci : 1. amarakoza saM. haragoviMda zAstrI, pra. cau. saM. sirIjha, prathama saMskaraNa, vArANasI, 1970. 2. kavikalpadruma (bopadevaracita dhAtupATha), saM Azubodha vidyAbhUSaNa, kalakattA. 3. kAzikA, bhA. 1 (e1-4) bhA2 (a. 5-8), saM. ArmendrazarmA, prasaMskRta pariSada, usmAnIyA yuni., prathama saMskaraNa, haidarAbAda, 1969. 4. kSIrataraMgiNI, saM. yudhiSThira mImAMsaka, pra. rAmalAla kapUra TrasTa, dvitIya AvRtti, bahAlagaDha (hariyANA), I. sa. 1986. 5. daiva, (puruSakAra sahi), saM. yudhiSThira mImAMsaka, pra. bhAratIya vidyA pratiSThAna, prathama saMskaraNa, ajamera I. sa. 1963. 6. dhAtupradIpa, saM. zrIzacaMdracakravartI bhaTTAcArya, pra. rAmalAla kapUra TrasTa, prathama saMskaraNa, bahAlagaDha, 1986. 7. nyAsa, bhA. 1 (a. 1-4), bhA. 2 (a. pa-8) saM. pu rAmacaMdra, prasaMskRta pariSada, usmAnIyA yuni., prathama saMskaraNa, 1985. 8. padamaMjarI, bhA. 1 (a. 1-4), bhA. 2 (a) pa-8), saM. pu. rAmacaMdra, prasaMskRta pariSada, usmAnIyA yuni., prathama saMskaraNa, haidarAbAda 1981. 9. mahAbhASya, (pradIpa udyota sahita) khaMDa 1-3, pra. motIlAla banArasIdAsa, prathama saMskaraNa dilhI, 1967. 10. mAdhavIyA dhAtuvRtti, saMdvArikAdAsa zAstrI, pra. prAcya bhAratI prakAzana prathama saMskaraNa, vArANasI, 1964. 11. rAvaNArjunIya, (mahA kAvya) pra. paM. zivadatta zarmA, pranirNayasAgara presa, prathama AvRtti, muMbaI, 1900. 12. zAkaTAyana vyAkaraNa, (dhAtupATha sahita) saM5. munnAlAla jaina, vArANasI, 1921. 13. yudhiSThira mImAMsa, saMskRta vyArAzAstra tihAsa, mAtra 2, prastuta saMskaraNa, bahAlagaDha saM. 2041 (I. sa. 1985).

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vaDanagarano sammatiya saMghArAma ra0 nA mahetA, munIndra ve, joSI, ratilAla sara bhAvasAra prAstAvika mahesANA jillAnA kherAlu tAlukAnuM nAgarotpattinuM kendra, vaDanagara, uttara gujarAtanuM suprasiddha nagara che. hATakezvara ane zaiva saMpradAyanAM A kSetramAM ziva, skaMda, zakti Adi vaidika paraMparAnA saMpradAyo sAthe jaina paraMparAnAM derAsaronI ghaNI mAhitI maLe che. A sAhityanA avalokanamAM bauddhonI pravRttio svAbhAvika rIte na dekhAya. | gujarAtanI bauddha pravRttionI keTalIka noMdha maLe che. temAM A pradezamAM AvelA ke pradezathI paricita yuvAna-svAMga, isiMga Adi yAtrIoe keTalIka mAhitI sAcavI rAkhI che, temAM yuvAna svAMge e-nAna-to-pulo jevAM Arnatapura ke AnaMdapuranAM cInI rUpAMtara heThaLa vaDanagaranA pradezanI je mAhitI ApI che teno sArAMza A pramANe che. AnaMdapuranagarano gherAvo Azare 20lI arthAt pAMca kilomITara jeTalo che. te nagaramAM bauddhonI sammatiya zAkhAnA daza saMghArAmo hatA temAM Azare 1000 sAdhuo vasatA hatA. cInI yAtrInI A mAhitIne puSTa kare tevI keTalIka vastuo vaDanagaramAMthI maLI che. prApta sAmagrI - aitihAsika A varSanA arthAt vikramArka 2048 = I. sa. 1992nA comAsAmAM khetInI haLa calAvavAnI pravRttimAM zrI bAbubhAI paTelane lAla paththaranI eka pratimA maLI. A pratimAnI prAptinI hakIkata temaNe vaDanagara ArTsa ane kaoNmarsa kaoNlejanA prAdhyApaka zrI ratilAla bhAvasArane karI. A pratimA mATe vadhu mAhitI meLavavA temaNe gujarAta rAjyamAM purAtatva khAtAMno saMparka sAdhyo. A khAtAnA uttaravartuLanA kAryakara zrI munIndra veTa joSIne sthaLa-tapAsanI sUcanA maLatAM 12 oNgasTa 1992nA roja temaNe tyAM tapAsa karI ane te tapAsamAM maLelI buddhanI pratimAnI prasiddhi gujarAta samAcAra'mAM 18 oNgasTa 1992nA roja thaI. A pratimA ane sAthe maLelI sAmagrInA vadhu adhyayana mATe zrI munIndra joSIe gUjarAta vidyApIThanA itihAsa ane saMskRti vibhAgano saMparka sAdhyo. temaNe meLavelI mAhitInI vadhu tapAsa jarUrI hatI. tethI 5 Disembara 1992nA roja gujarAta vidyApIThamAMthI prA. 20 nA mahetA. DaoN. paMkaja desAI tathA gujarAta rAjyanA purAtattva khAtAnA zrI munIndra joSI vaDanagara kaoNlejanA prAdhyApaka ratilAla bhAvasAra tathA bAbubhAI paTelanI maMDaLIe A tapAsa hAtha dharI. A tapAsane pariNAme sammatiya zAkhAnA saMghArAmanI maLelI mAhitI atre rajU karI che. anveSaNa oNgasTamAM maLelI bauddha pratimA para cUno caDhAvelo hato, tethI tenI para kotarelA lekhanA

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124 2. nA. mahetA, mu. ve. joSI, 2. sa. bhAvasAra SAMBODHI akSaro aspaSTa hatA. rAsAyaNika prakriyAthI A akSaro sApha karIne te vAMcavAno prayatna karavA mATe tenI zilAchApa kADhI. zilAchApa ane mUrtinA akSaro bannenI tapAsa karI ane lekhanI be paMktimAM AvelA 37 akSaro paikI prathama paMktinA 23 akSaro Azare 2 thI 2.5 senTInA che ane bIjI paMktinA cauda akSaro tenAthI nAnA 1.7thI 1.00 senTInA che. A 37 akSaro sArI rIte kotarelA ane spaSTa che. brAhmI lipimAM lakhAyelA A akSaro I. sa.nI bIjI trIjI sadInAM lakSaNo sAcave che. tenI UbhI rekhAo akSaranI bIjI rekhAo karatAM vadhAre moTI nathI. vaLI tenI tha' saMjJAno DAbo bhAga vaLelo ane nIcethI te be bhAgamAM vaheMcAI jato che. "kha" akSara uparanI aMkoDI para nIceno trikoNAkAra bhAga laTakato darzAve che. na" ane 'Na vacce ghaNuM sAmya che. "ta'no nIce khUlato ardhavartuLano bhAga keTalIka vAra "na" jevo dekhAya che. "gha" ane "vajoDAkSaromAM samarUpa lAge che. "me' jevA joDAkSaramAM bIjo "ma" mAtra goLavartuLanuM rUpa darzAve che. te lipinI lAkSaNikatA che ke takSaka tenI upalI banne bAjuo kotaravAnuM bhUlI gayo hato e prazna vivAdagrasta che. tevo prazna "mahosayakena' zabdanA mATe paNa che. A sADatrIsa saMjJAo nIce pramANe che. A - 1 ti - 1 ye - 3 ka - 1 da - 1 yo - 4 ku - 1 dhi - 1 ya - 1 at ang qn qn y da - e o ca Ta No ta tva - - - - - 2 1 1 2 1 5 ba bhi ma me - - - - - 1 1 1 1 1 va sa ha ho - - - 1 4 1 2 2 1 16 = 37 A sADatrIsa saMjJAothI agiyAra padomAM Akho lekha lakhAyo che tenuM vAcana atre rajU karyuM che. paM. 1 sammatiyo fmaraqo yo tevo vadhisatvasa to pataye zreye paM. 2 mAvAyeMga maholayana riyo.

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0 1 HA049 0 . ANT`IOWM * E , E E: N. SA e Arman HET: nra mi mas 3 E Hn : vaDanagarano sammatiya saMghArAma lekha

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Vol. XX, 1995-1996 vaDanagarano sammatiya saMghArAma 125 pAli jevI bhASAmAM lakhAyelA A lekhanuM arthavAhI bhASAMtara karatAM tenA artha darzAve che ke sammatiya bhikSuonA je deva bodhisattva (che) temanA caitya mATe AcArya mahosayake ANyA. arthAt A pratimA laI AvyA. pratimA bodhisattvanA lekhavALI pratimA rAtA paththaranI che. (kada 0.51.5 x 0.44.5 x 0.85). A pratimA siMhAsana para padmAsanamAM beThelA jaTAdhArI bodhisattva vacce che ane temanI banne bAjue UbhelA cAmaradhara che. laMbagoLa mukhamudrAvALA, DAbA khabhA para saMghATI dhArI bodhisattvanAM padmAsana vALelA paganAM taLiyAM para triratna, covIsa ArAvALAM cakra ane AMgaLI para padmanAM cihano kotarelAM che. temanA prabhAmaMDaLa para pIpaLAnA pAnanI bhAtanuM surekha aMkana che. kaMIka AgaLa DhaLatI mukhamudrA, hAthanI abhayamudrA sAthe sAmya darzAve che. DAbA hAtha paranI saMghATInI rekhAo ane paga paranuM takSaNa pramANamAM yathArthadarzI che. bodhisattvanI banne bAjue ubhelA pArSado cAmara dhAraNa karelA morapicchanA mukuTa, gaLAmAM be hAMsaLI, kAnamAM bhArI kuMDaLa, hAthe bhAre kaDAM, Ti para AmaLA caDhAvelA bhAre kamarabaMdha ane kaTI parathI nIce paga para pahoMcatAM adhovastranI vyavasthita kotaraNI darzAve che. temanI pAchaLa paNa pIpaLAnA vRkSa nIce te UbhA hoya tema darzAvatI bhAta che. bodhisattvanuM siMhAsana sAta ADA paTTAthI suzobhita che. temAM uparanA be paTTA para AgaLa varNavelA be paMktino lekha che. zailinI dRSTie A pratimA mathurAnI bIjI trIjI sadInI bodhisattvonI pratimAo sAthe tAdAbhya rAkhe che. temAM temanAM siMhAsana, siMhAsana paranA lekha, tenI pratimA tathA lekhanI tekSaNakalA Adi vividha bhAgomAM samarUpatA dekhAya che. A samarUpatA tathA lekhanA akSaronI samarUpatA jotAM A pratimA paNa I. sa.nI bIjI-trIjI sadInI hovAnuM samajAya che. prAptisthAna : bodhisattvanI sammatiya zAkhAnI A pratimAnuM prAptisthAna vaDanagaranA naiaetya khUNA paranuM 2834 naMbaranuM khetara che. A khetaranI uttara, pUrva ane pazcima taraphathI jamIna nIcANavALI hoIne tyAM pANI bharAI rahetAM taLAva bane che. A taLAvanI dakSiNe jamIna DhoLAvavALI che. e DhoLAva pUrA thAya tyAMthI bodhisattvanI pratimA uparAMta mATInI pakavelI IMTo, jADAM lAla vAsaNo tathA nIla-lohita prakAra sAthe sarakhAvI zakAya evAM mATInAM vAsaNonA bhAgo, tema ja zaMkhanA kApelA bhAgo Adi vastuo maLI AvI che. A vastuo ahIM jUnI vasAhata hatI ema sUcave che da hIMthI maLelAM mATInAM vAsaNo I. sanI zarUAtanI sadIo tathA tenAthI kaMIka jUno samaya darzAve che. Ama bodhisattvanI mUrtinAM prAptisthAna parathI maLatA avazeSo pratimAnA pUrvakAlIna,

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126 2. nA. mahetA, mu. ke. joSI, 2. sa. bhAvasAra SAMBODHI samakAlIna tathA kaMIka anukAlIna vasavATanuM sUcana kare che ane samagra paristhitinA arthaghaTananA keTalAka aMzo spaSTa kare che. arthaghaTana bodhisattvanI pratimAnAM prAptisthAnanI vadhu tapAsa karIne A sthaLano saMghArAma kevo hato te bAbata nirNaya karavo jarUrI che. te kArya na thAya tyAM sudhI saMghArAma bAbata keTalIka carcA mAtra thaI zake. upara jaNAvyA pramANe yuvAnasvAMge AnaMdapura-vaDanagaramAM daza sammatiya saMghArAmo hovAnuM tathA tyAM Azare hajAra sAdhuo hovAnuM jaNAvyuM che. te mAhitIne mUrtilekhanI sAthe sarakhAvatA cInI yAtrIe varNavelA saMghArAmo paikI A eka saMghArAma hovAnuM spaSTa thAya che. A saMghArAmamAM mUrtilekhanA abhiprAya pramANe caitya hato. A caityamAM pUjA mATe A bodhisattvanI pratimA AcArya mahozayaka laI AvyA hatA. A hakIkatanI sAthe mATInAM vAsaNo zaMkhanA bhAgo ityAdi jotAM tyAM bauddha vihAra hovAnI sUcanA maLe che. tethI jema devanI morInA mahAvihAramAM caitya ane vihAra hatA tema ahIM paNa paristhiti hatI evuM anumAna thaI zake. paraMtu A vistAramAM stUpane maLatA avazeSo dekhAtA nathI tethI ahIM stUpanuM astitva sAbita karavA mATe vadhu anveSaNa Avazyaka che. bauddha saMghanA mukhya bhAgono bheda darzAvatAM itsiMge jaNAvyuM che ke hInayAnamAM bodhisattvanI upAsanA thAtI na hatI. A mAnyatA A pratimAnA lekhathI AMzika nirAdhAra bane che. A pratimA lekha parathI sammatiya zAkhAnA hInayAna saMpradAyanA saMghArAmamAM bodhisattvanI pratimA rAkhavAmAM AvatI hatI tethI tenI upAsanA bAbata jhAjhI zaMkA rahetI nathI. vaLI A pratimA lAvanAra AcArya mahozayakanuM nAma paNa A yugamAM ghaNA lokonuM lAge che. ema jaina Agama upAsaka dazAmAM AvatAM mahozayaka ane cullazayaka jevAM nAmo darzAve che. bodhisattvanI pratimAnI zailInI carcA upara karI che. te jema mathurA taraphanI che. tema A pratimA je paththara para kotarI che te paththara paNa gujarAtanI hiMmatanagara, dhAMgadhrA Adi khANano nathI, paNa te phattepura sIkrI, dholapura jevI khANano paththara che. tevI paththara tathA mUrtinI zailI e banne mathurA pradezanuM sUcana kare che. A paristhitimAM A mUrti mathurA taraphathI AcArya mahozayaka lAvyA hovAnuM anumAna thAya che. mUrtio, liMga Adi jaino, zaivo paNa eka sthaLethI bIje sthaLe lAvatA hovAnI pravRtti ghaNA saMpradAyanA loko karatA hatA. e jotAM mathurAthI A mUrti lAvavAnuM anumAna sabaLa bane che. A anumAnane mUrtinuM kada tathA vajana Teko Ape evuM che. be mANaso e mUrti saraLatAthI UMcakIne laI jaI zake evI che.

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Vol. XX, 1995-1996 vaDanagarano sammatiya saMghArAma Ama jyAre AcArya mahozayaka A pratimA lAvyA tyAre A saMghArAma navo taiyAra thato hato ke jUno hato e praznano uttara ahIMthI maLelAM nIla-lohita prakAranI samAnatA dhAraNa karatAM mATInAM vAsaNonA avazeSo Ape che. 127 A pramANane AdhAre ahIM jUno saMdhArAma hato temAM anukULatA maLatAM caitya taiyAra thayo ane A pratimAnI temAM sthApanA thaI. devanI morInA samudgakanA lekhane AdhAre tyAM prathama mahAvihAra baMdhAyo hato ane tyAra bAda mahAtUpa taiyAra thayo hato. A hakIkata parathI ahIM prathama saMghArAma ane pachI caitya thayo hovAno abhiprAya ApI zakAya. A abhiprAyane puSTa karatAM anya pramANo jotAM sAmAnya rIte lokono vasavATa prathama zarU thAya ane tyAra bAda tenI najIka devasthAna taiyAra thAya evI paristhiti ghaNI jagyAe jovAmAM Ave che. amadAvAdanA jaina caityonAM adhyayana parathI paNa A hakIkata samajAya che. ahIM ghara derAsara pachI zrIsaMghanAM derAsaronuM nirmANa thatuM hovAnAM ghaNAM pramANo che. sAmAnyataH jaina lokono vasavATa zarU thAya tyAra bAda zrAvakone tyAM ghara derAsarano sthApanA ane tyAra bAda teno vikAsakrama dekhAya che; tevI anya saMpradAyomAM paNa pravRtti hoya che. tethI vasavATa thayA pachI iSTadevanI sthApanA thavAnI pravRtti ghaNI jagyAe samajAya che. taduparAMta au bauddha saMghArAmanuM nagaranA kendrastha bhAgathI dUra parAM jevA sthaLe astitva hovAnI vAta paNa prAcIna nagararacanA tathA atyAranI pravRtti parathI lAge che. sAmAnyataH saMnyasta para bhAra mUkanAra saMpradAyo nagara bahAranAM parAM vistA2mAM potAnAM kendro vikasAve che. A kendro mukhya vasatI sAthe saraLatAthI saMbaMdha 2he teTalAM dUra hoya che, kAraNa ke temano nirvAha bhikSA para hoI bhikSArthe javA AvavAnI sagavaDa rahe tevo prabaMdha karavAmAM Ave che. AvAM pramANo devanI mo2I, kapilavastu jevAM sthaLoe dekhAya che tathA sAhityamAM paNa AvAM pramANo ghaNAM hoI vaDanagarano sammatiya saMghArAma A paristhiti darzAve che. Ama vaDanagaranI A sthaLa-tapAsathI ahIM yuvAnacyAMge varNavelA saMghArAmo paikI ekInuM sthAna nizcita thAya che. tenI nagara AyojanamAM je svAbhAvika paristhiti hatI teno khyAla Ave che ane bhaviSyamAM bIjA bauddhasaMghanA avazeSo maLaze evI dizA sUcave che. AbhAradarzana A lekhamAM carcelA mUrtilekhanAM vAcanamAM salAha-sUcana mATe DoM sI. bI. tripAThI phrI yuni barlina tathA lakSmaNabhAI bhojakano RNa svIkAra karIe chIe. saMdarbha : barjesa eNnDa kajhinsa ArkiTekcarala enTIviTIjha oNpha northa gujarAta, pR 82-86. gau. hi ojhA bhAratIya prAcIna lipimAlA, lipipatra 6,7,8,10 zarmA Ara. sI. buddhisTa ArTa oNpha mathurA, A 79, 80, 81, 82, 85 ityAdi.

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amadAvAdanI keTalIka umA-mahezvaranI yugala pratimAo DaoN. rAmabhAI ThAsAvaliyA, zrI munIndra joSI* dharma e bhArata varSano prANa che. dharmamAM hiMdu dharma ane tenA saMpradAyomAM paNa zaiva saMpradAya mokhare che. zaiva saMpradAyanA adhiSThAtA deva ziva che. ziva pUjAno pracAra ane mahattva anya saMpradAyo karatAM vadhu vikAsa pAmelo jovA maLe che. viSNu jema pAlaka deva manAya che. tema ziva saMhAraka zakti dharAvatA gaNAya che. ""ziva" zabdano eka artha "kalyANakArI" thAya che. sAmAnya rIte zivanA pUjana-arcanamAM liMga ja mukhyataH pUjAya che. chatAM temanI upalabdha prakAranI dehadhArI pratimAo jovA maLe che. purANo ane graMthomAM zivanA kArya anusAra mukhya cAra svarUpo batAvyAM che. (1) sAmAnya (2) nRtya (3) anugraha (4) saMhAraka. sAmAnya svarUpamAM zivanI yugala pratimAono samAveza thAya che jemAM "usthita" eTale. UbhelI (haragIrI svarUpa) ane "AsIna eTale beThelI (umA-mahezvara svarUpa) ema be prakAranI hoya che. koI paNa saMpradAyamAM deva sAthe tenI patnI svarUpe devInI pratimAM rahelI jovA maLe che. A prakAranI pratimAomAM moTA bhAge deva-devIne AsIna ke usthita batAvAya che. AvI pratimAo sAmAnya rIte yugala ke AliMgana pratimAo tarIke oLakhAya che. A prakAramAM sarva sAmAnya pracalita svarUpomAM brahmA-sAvitrI, umA-mahezvara, lakSmInArAyaNa, gaNeza-zaktinAM svarUpo vizeSa najare paDe che. zivanA pratibhA-vidhAnamAM zivanI yugala pratimAo vizenAM vidhAna purANo ane zilpa graMthomAMthI maLI Ave che jemAM matsya purANa , abhilakSitArtha ciMtAmaNi, devatAmUrti prakaraNa", aparAjita pRcchA, rUpa maMDana vageremAM zivanA yugala svarUpanuM mUrtividhAna ApavAmAM AvyuM che. temAM jaNAvyA pramANe zivane Asana para lalitAsanamAM beThelAM, dvibhuja ke caturbhuja hoya che jemAM anukrame nIlotpala kamaLa, phUla, trIjo hAtha umAnA khabhA para ane cotho hAtha umAnA DAbA stanane sparzato batAvelo hoya che. zivanA mastake jaTAmukuTa, trinetra, caMdrakalA, zarIra upara garacarma dhAraNa karela, DAbA utsaga para umAM beThelA dvibhuja, eka hAtha zivanA khabhA upara ane bIjA hAthamAM kamaLa ke darpaNa, zarIre vividha AbhUSaNo ne alaMkAro dhAraNa karela hoya che. judA judA graMthomAM A svarUpa vize thoDI thoDI bhinnatA jovA maLe che. gujarAtamAMthI prApta AvI yugala pratimAonuM nirIkSaNa karatAM sAmAnya rIte ziva lalitAsanamAM beThelA ke UbhelA hoya che. temanA hAthamAM anukrame mAtuliMga, trizUla, AliMganamudrA ane sarpa hoya che. zivanA DAbA ullaMgamAM ziva tarapha dRSTi rAkhI beThelA ke UbhA, dvibhuja hoya che. dakSiNa hasta zivanA khabhA para Tekavela ane vAma hastamAM darpaNa ke utpala dhAraNa karela hoya

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dIkarI ,, , , tinka. A yal. = - rAjI rahI che umA-mahezvaranI yugala-pratimA paMcanAtha mahAdeva, vikaToriyA gArDana pAse, amadAvAda.

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Vol. XX, 1996 amadAvAdanI keTalIka umA.. 129 che. vAhana naMdi sAthe ghaNI vAra A samUhamAM gaNeza, kumAra, bhRgI vagere anucaro paNa hoya che. gujarAtamAMthI umA-mahezvaranI pratimAo roDA, kadavAra, rUhAvI, pATaNa, vaDanagara, khaMbhAta, prabhAsa-pATaNa, dhumalI, kapaDavaMja, bharUca, vaDodarA, siddhapura, DabhoI vagere sthaLoethI maLI AvI che. atre amadAvAdanA judA judA vistAramAMthI maLI AvatI keTalIka pratimAo vize vigato joIe. (1) amadAvAdanA sAraMgapura vistAramAM sarakIvADanA eka makAnanA pAyAmAMthI anya pratimAo sAthe umA-mahezvaranI be yugala pratimAo paNa maLI hatI, je hAla sarakIvADanA nAke, Avela hanumAnajInA maMdiramAM rAkhavAmAM AvI che. sapheda ArasAmAM (0.51 se. mI. UMcI ane 0.29 se. mI. pahoLI) kaMDArela A pratimAmAM mahezvara naMdi upara ardhaparyakAsanamAM birAjamAna che. mastake jaTAmukuTa, kAnamAM kaMDala, kaMThamAM graMveyaka, hAra dhAraNa karela che. caturbhujanA anukrame bIjapUraka, trizula, nAgendra ane cotho hAtha devIne AliMgana Apato batAvyo che. mahezvaranA DAbA usaMgamAM zivanA mukhane nihALatAM umAM lalitAsanamAM beThela che. umAnA mastake jaTAmukaTa, karNamAM kaMDala kaMThamAM hAra, hastavalaya, pAdavalaya vagere alaMkAro dhAraNa karela che. devInA hAthano eka hAtha mahezvarane AliMgana Apato darzAvyo che. bIjA hAthanuM Ayudha spaSTa thatuM nathI. A yugala-pratimAnI baMne bAjunA parikaramAM paricArakonuM zilyAMkana najare paDe che. parikaramAM nIce DAbI bAju gaNapatine UbhelA batAvyA che jyAre jamaNI bAju kArtikeya che. (2) ukta yugala-pratimAnI bAjumAM bIjI eka umA-mahezvaranI saparikara yugala-pratimA AvelI che. sapheda ArasanI (0.49 se. mI. UMcI ane 0.26 se. mI. pahoLI) pratimAmAM naMdI upara mahezvara beThelA che. mastake jaTAmukuTa ane anya alaMkAro dhAraNa karela che. mahezvaranA cAra hAtha paikI jamaNo nIcalo hAtha varada mudrAmAM, upalA jamaNA hAthamAM trizUla che DAbo upalo hAtha umAnA khabhA para mUkela che. ane DAbo nIcalo hAtha devInA stanane sparzato batAvyo che. mahezvaranA DAbA utsaMgamAM lalitAsanamAM umA beThelA che. deva tarapha mukha rAkhela che. devInA mastake jaTAmukuTa, kAnamAM kuMDala, kaMThamAM hAra jenI sera be stana vaccethI cheka nAbhi sudhI laTakatI joI zakAya che. dvibhuja devI e jamaNA hAthe devane AliMgana Apela che ane DAbA hAthamAM darpaNa nihALAya che. parikaramAM uparanA bhAge jamaNI bAju kArtikeya ane DAbI bAju gaNezanI pratimAo mUkelI che. uparokta baMne pratimAonI ghaDatara zailI ane alaMkaraNonI kalAzailInI daSTie A pratimAone I. sa. 12mI sadInA aMta bhAganI ke I. sa. 13mI sadInI zarUAtanI gaNavI joIe.

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130 DaoN. rA. ThA. sAvaliyA munIndra joSI SAMBODHI (3) sAbaramatInA kAMThA upara Avela paMcanAtha mahAdeva(vikaToriyA gArDana pAse)mAM anya pratimAo sAthe umA-mahezvaranI pratimA AvelI che. sapheda ArasamAM (0.36 se. mI. UMcI ane 0.22 pahoLAI) kaMDArela pratimAmAM mahezvara naMdi upara ArUDha che. devanA mastake jaTAmukuTa, kaMThamAM cArasenano hAra, ane pralaMbahAra temaja alaMkRta kaTisUtra tathA vanamAlA ane pagamAM kaDAM dhAraNa karela che. caturbhujamAM anukrame bijoruM, trizUla, nAgendra ane devIne keDethI AliMgana Apato batAvyo che. mahezvaranA DAbA ullaMgamAM umA beThela che. deva tarapha unmukha devInA mastake alaMkRta, trikuTamuTa che. gaLAmAM preveyaka ane pralaMbahAra tathA kaTimekhalA ane pagamAM kaDAM dhAraNa karela che. devIe jamaNA hAthathI devane AliMgana Apela che jyAre DAbA hAthamAM darpaNa che. nIce DAbI bAju gaNapati ane jamaNI bAju kArtikeya beThelA najare paDe che jyAre uparanA bhAgamAM jamaNI bAju viSNu ane DAbI bAju brahmAnI pratimAo dRSTigocara thAya che. (4) amadAvAdanA myunisipala kaoNrporezananA kaMpAunDamAM Avela mahAdeva bahAra pIpaLAnA jhADa nIce umA-mahezvaranI eka pratimA AvelI che. sapheda ArasamAM (0.35 se. mI. UMcI ane 0.46 se. mI. pahoLI) kaMDArela A pratimAno paTa koI maMdira sthApatyano bhAga jaNAya che. pANInI asarane laIne pratimA ghaNI ja khavAI gayelI che. naMdi upara ArUDha mahezvaranA mastake jaTAmukuTa, kAnamAM kuMDala, kaMThamAM hAra, pralaMbahAra vagere alaMkAro dhAraNa karela che. caturbhujamAM anukrame bIjoruM, trizula nAga ane cotho hAtha devIne AliMgana Apato batAvyo che. mahezvaranA DAbA utsaMgamAM devI beThela che. devInA mastake jaTAmukuTa che ane pAchaLanA bhAge kezaguMphana karela che. anya alaMkAro dhAraNa karela najare paDe che. devIno jamaNo hAtha devane AliMgana Apato ane DAbA hAthamAM darpaNa che. naMdinI DAbI bAju gaNapati ane jamaNI bAju kArtikeyanI nAnI pratimAo mUkelI che. ahIM mukhya pratimAnI jamaNI bAju puruSa-AkRti ane DAbI bAju strI-AkRti UbhelI che je dAtA yugala hovAnuM jaNAya che. uparokta baMne pratimAonI ghaDatara zailI ane alaMkaraNonuM Alekhana jotAM A pratimAone 14mI sadInI zarUAtanI gaNavI joIe. (5) khADiyA vistAramAM Avela vanitA vizrAmamAM umA-mahezvaranI eka pratimA AvelI che. sapheda ArasamAM (0.33 se. mI. UMcI ane 0.20 se. mI. pahoLI) banelI pratimAmAM deva Asana para beThela che. mukha corasa che. mastake jaTAmukuTa ane anya alaMkAro dhAraNa karela che. devanA cAra hAthamAM anukrame bIjoruM, trizULa jeno uparano bhAga khaMDita che. DAbA upalA hAthamAM nAga ane nIcalA hAthathI umAne AliMgana Apela che. devanA DAbA ullaMgamAM umAM lalitAsanamAM beThela che. mastake trikUTa mukuTa ane pAchaLanA bhAge kezaguMphana karela che. zarIra para anya alaMkAro dhAraNa karela che. devInA dvibhuja paikI jamaNo

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Vol. XX, 1996 amadAvAdanI keTalIka umA.. 131 hAtha mahezvarane AliMgana Apato ane DAbA hAthamAM darpaNa che. nIce pIThikAmAM naMdi beThela che. tenA mukha AgaLa modakapAtra mUkela che. A pratimAnA sapramANa dehalAlitya ane alaMkaraNa zailI jatAM I. sa. 16mI sadI jeTalI prAcIna jaNAya che. saMdarbha : + adhyApaka, bhoje. vidyAbhavana, AzramaroDa, amadAvAda-9 * taphanikI sahAyaka, uttara vartuLa, purAtattva khAtu (gu. rA.) amadAvAda 1. vadhu vigato mATe juo DaoN. rAmabhAI sAvaliyA "rANIvAvanI keTalIka yugala pratimAo", "sAmIpya", pu9, eka 3-4, 1992-93, pR. 53. 2. matsyapurANa, a. 260, 11-20. 3. abhilakSitArthaciMtAmaNi, pra. 3, 31-32. 4. devatAmUrti prakaraNa, e. 6, 31-32. 5. aparAjitapRcchA, sUrI 213, 25-27. 6. rUpamaMDana, a4, 27-29. 7. kabhA. dave, "gujarAtanuM mUrtividhAna", pR. 267. je. pI. amIna, "gujarAtamAM zaivadharmanuM prAcIna svarUpa tathA eno uttarakAlIna pracAra", (apragaTa mahAnibaMdha, 1964, amadAvAda), pR. 579. 9. je. pI. amIna, "gujarAtanuM zavamUrtividhAna," pR. 39-49. .

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katiya dhAtumaya jina-pratimAnA abhilekha madhusUdana DhAMkI, lakSamaNa bhojaka zrI lAlabhAI dalapatabhAI bhAratIya saMskRti vidyAmaMdiramAM saMgRhIta keTalIka dhAtunI jinapratimAo para aMkita lekho ahIM prastuta karyA che. paMcadhAtunI ghasAI gayelI paMcatIrtha pratimA (mULa kra. 34) para mAtra mahiDuM zrAvikA eTalA akSaro vaMcAya che. lipi navamA zataka jeTalI prAcIna hoI tema ja pratimAnI zailI paNa e ja kALanuM samarthana karatI hoI, ahIM tenI noMdha lIdhI che. (2) pArzvanAthanI saparikara pratimA (mULa kra. 25) para nIce mujabano saM1200 (I. sa. 1144)no aMka dharAvato lekhAMza vaMcAya che. koranAre varNazuddhatA jALavI nathI. saM0 1200 vaisAkha suda 4 sanau kArAti(pi)tA pArzvanAthanI saparikara paMcadhAtunI pratimA (mUe kra. 24) para saM1213. (I. sa. 1157)no lekha korelo che. yathA : saMvat 1213 zrAvaka jasahaDaputreNa pUnadevena pratimA kArApitA // phAguNa su 10 budhe zrI pazvarasUri prati[fchatA]... lekhanA chellA akSaro lagabhaga gayA che. cakrezvarasUri te AbUnI vimalavasahImAM pratimAnI pratiSThA karAvanAra saMvignavihArI bRhaddacchIya AcArya cakrezvarasUrI hovAno saMbhava che. (4) paMcadhAtunI covisI (mUtra kra. 18) para saM 1333(I. sa. 1277)nI sAla aMkita che. karAvanAra pallakIya' eTale ke pallivAla jJAtinA zrAvaka che. pratiSThApaka AcArya udyotana(sUri)nA saMtAnIya haze. A sUri jAlyodhara ke kAzahUda (ke pachI brahmANagacchanA ?) hovAno saMbhava che. saM0 1333 mAgha sudi 5 zrIpallikIya gacche zrIrAvaNasUta chADAkena mArAja siri zreyorthaM caturviMzatipaTTaH kAritaH zrI dyotana[sUri).....

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Vol. XX, 1996 katiparya dhAtumaya jina-pratimAnA abhilekha 133 jina pArzvanAthanI A paMcadhAtuM saparikara pratimA (mu. kra. 23) saM. 1347(I. sa. 1291)nI che. tenA pratiSThApaka (caityavAsI) thArApradIya gacchanA vijayasiMhasUri ziSya zAMtisUri che. (AcAryo mATe A nAmonuM te gacchamAM dara traNa peDhIe punarAvartana thAya che.) pratimA bharAvanAra zrAvaka DIsAvAla jJAtinA che te vAta noMdhanIya che. DIsA(prAcIna dizA)mAMthI nIkaLelA A nAnI nAta Aje to vaiSNava dharma pALe che. saM0 1347 vaizAkha sudi 13 guro DIsAvAlajJAtIya zre0 ratanA bhAryA Asamala(?) puta AlahA ke gacche pArzvanAthabiMbaM kAritaM pra0 zrIthArApadrIyagacche zrIvijayasiMhasUriziSya zrIzAtisUribhiH saMvata vinaSTa paNa anyathA IsvIsananA paMdaramA zatakanA pUrvArdhanI dhAtu pratimAmAM upadezaka rUpe tapAgacchanA devasuMdarasUri ziSya somasuMdarasUrinuM nAma hoI teTalA pUratuM mahattvano che. ....zrIzrImAla jJA0 zre0 SAMpava bhAryA prI(pre)malada(de)vI suta zre0 sUMTa bhAryA sAhagadevisuta pUnA pUnAdevi Atmazreyase zrIaranAthAdi caturvizatipaTTakArita zrItapAgacche devasuMdara ziSya zrIsomasuMdarasUrINAmupadezena pratiSThitaM zrIsUribhiH // pazcima bhAratamAM lekhAMkita jaina pratimAo seMkaDonI saMkhyAmAM prApta che. prastuta lekhothI temAM alpa mAtrAmAM vadhAro thAya che. TippaNo : 1. juo saM. munirAja zrIjayantavijayajI, abda-prAcIna jaina-lekhasaMdoha, zrIvijayadharmasUri jaina graMthamALA, pu 40. (AbU-bhAga bIjo) ujjaina vi. saM. 1994 (I. sa. 1938) lekhAMka 114 (pR. 49-50)

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jaina purANo para eka dRSTipAta DaoN. kAntilAla Ara. dave prAcIna bhAratIya vAyamAM mukhyatve saMskRta ane gauNarUpe prAkRta - apabhraMzamAM racAyelI kationo samAveza thAya che. samagra prAkata - apabhraMza sAhitya para daSTipAta karatAM e spaSTa jaNAI Ave che ke emAMnI moTA bhAganI kRtionA kartA jaino che. jaina kavioe saMskRtabhASAmAM paNa prazaMsanIya kRtionI racanA karI che. Ama chatAM prAkRta-apabhraMza janabhASA hovAthI graMthapraNayanamAM teoe tene ja prAdhAnya ApyuM che. kAvyabhASA tarIke apabhraMzanuM kheDANa Ama to I. sa.nI chaThThI sadIthI thayeluM jovA maLe che paraMtu tenI mahattvapUrNa kRtio to I. sa.nI AThamIthI teramI sadI sudhImAM ja racAyelI jovA maLe che. A samayagALAmAM racAyelI kRtionI ucca sAhityikatA ane samRddhine kAraNe vidvAno A kALane "apabhraMzanA suvarNakALa' tarIke oLakhAve che. zrI durgAzaMkara zAstrI noMdhe che tema jaina purANa A ja yugano paripAka che. racanAzailInI daSTie vidvAno jainasAhityane be bhAgamAM vibhAjita kare che : (1) muktaka sAhitya (2) prabaMdha sAhitya. (1) muktaka sAhitya : tattvajJAna, brAhmaNavAdanuM khaMDana, jainadharmanI AMtarika nabaLAIono virodha ane ADaMbaronI vyarthatAnuM A sAhityamAM sarala subodha zailImAM mukhyatve dohA chaMdamAM nirUpaNa thayeluM jovA maLe che. (2) prabaMdha sAhitya : jainoe potAnI prabaMdha racanAone purANa, mahApurANa ane carita vagere nAmo dvArA oLakhAvI che. jenA cheDe "carita" zabda Ave tevI kRtio mukhyatve mahAkAvyo ja che. AvI "carita-nAmAnta' kRtionI vistRta chaNAvaTa karatAM DaoN. nemicaMda zAstrI jaNAve che ke caritanAmAnta mahAkAvyo mArA mate evAM mahAkAvyo che jemAM koIka tIrthakara athavA anya mahApuruSanuM jIvanacaritra nibaddha hoya, uparAMta vastuvyApAranI yojanA kAvyazAstrIya paraMparA anusAra karavAmAM AvI hoya, avAntarakathAo ane ghaTanAomAM vaividhya hovA chatAM jemAM alaukika ane aprAkRtika tattvonI adhikatA na hoya. ( purANa ane mahAkAvya vaccenI bhedarekhA spaSTa karatAM teo jaNAve che ke sAmAnyataH je kutimAM aneka nAyakono samAveza thayo hoya tene purANa kahevAmAM Ave che ane je kRtimAM kathAvastu eka ja nAyaka sAthe saMbaMdha dharAvatuM hoya tene mahAkAvya kahI zakAya. hakIkatamAM mahAkAvya purANonuM ja pariskRta, alaMkRta ane avitiyukta kalAsvarUpa che. DaoN. rAjanArAyaNa pAMDeya AnAthI juduM ja maMtavya dharAvatA jaNAya che. teo koI eka mahApuruSanA jIvanacaritra sAthe saMbaMdha dharAvatA graMthane purANa ane aneka mahApuruSonA caritranuM Alekhana karatA graMthane mahApurANa tarIke oLakhAve che. Ama DaoN. zAstrI jene purANa tarIke oLakhAve che te DaoN. pAMDeyanA mate mahApurANa che ane DaoN. zAstrI jene mahAkAvya gaNe che tene DaoN.

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Vol. XX, 1996 jaina purANo para eka dRSTipAta 135 pAMDeya purANa tarIke oLakhAve che. jaina paraMparAnA dRSTikoNathI vicAratAM DaoN. pAMDeyanI vAta sAcI jaNAya che kAraNa ke jainAcArya jinasena 24 tIrthakaromAMnA koIpaNa ekanuM caritravarNana karanArA graMthane purANa ane sarva tIrthakaronA caritavarNana karanArA graMthane mahApurANa tarIke oLakhAve che. purANAnyevametAni caturviMzatirarhatAm / mahApurAmetevAM samUha: mAdhyate | (AdipurANa 2/134) jaina purANonI mahApurANa' evI saMjJA samajAvatAM zrI ema. je. kasalIkara, Concept of Purana in Jaina literature -11441 (JOIB, XXXI, No.1, 1981, pp. 41-44 42 prasiddha) lekhamAM jaNAve che : "As regards Mahapurana, it is called a Purana because it is a narrative of ancient period and it is called Maha (great) because it relates to great personages, or because it is narrated by the great sages or because it teaches the way to great bliss. hiMdu purANonuM prasiddha paMcalakSaNa A pramANe che : sargazca pratisargazca vaMzo manvantarANi ca / vaMzAnurita reti purA paMvarnakSapAm ! (vAyupurANa. 1/201) (1) sarga : jagatanuM sarjana. (2) pratisarga : jagatano pralaya. (3) vaMza : brahmAjI dvArA thayelI devAdinI saikAlika vaMzaparaMparA. (4) manvantara : 14 manuonA kAlamAnamAM banelA mahattvanA banAvo. (5) vaMzAnucarita : pUrvokta mukhya devo, rAjAo ane maharSionA vaMzono itihAsa. prAraMbhamAM A paMcalakSaNo purANanAM gaNAtAM hatAM. kALAntare te upapurANanAM lakSaNo manAyAM ane A paMcalakSaNamAM bIjAM. pAMca lakSaNo umerAtAM mahApurANanAM dazalakSaNo astitvamAM AvyAM. sargazcAtha visargazca vRttI rakSAntarANi ca / vaMzo vaMzAnucaritaM saMsthA heturapAzrayaH // (1) sarga : jagatanA padArthonI utpatti. (2) visarga : jIvanI utpatti. (3) vRtti : mAnavajIvana dhoraNa tathA saMrakSaNanI pravRtti. (4) rakSA : devatAdi, vedatrayI ane vedadharmanI rakSArthe bhagavAnanI avatAra-lIlA. (5) vaMza : vaMzaparaMparA. (6) aMtara : manvantara.

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136 DaoN. kAntilAla Ara. dave SAMBODHI (7) vaMzAnucarita : viziSTa vaMzonuM varNana. (8) saMsthA : pratisarga arthAt pralaya. (9) hetu : adekha. (jenA dvArA jIva, jagatanI utpatti ane pralayanuM kAraNabhUta bane te) (10) apAzraya : turIya nAmanI avasthAnI prApti (brahmaprApti) - hiMdu purANonAM A paMca ke daza lakSaNonI jemaja jaino paNa potAnAM purANonAM aSTalakSaNo nIce mujaba gaNAve che. juo : loko dezaH puraM rAjyaM tIrthaM dAnaM taponvayam / puSpaSTadhAyeya titha: mityapa NI (AdipurANa, jinasena, 4/3) puSpadaMta paNa zabdotare A ja ATha viSayone purANo mATe jarUrI mAne che. talloku desu puru rajju titthu, tavu dANu gaihalu suhapasatthu / magva pafmaya pUUMLa, sAdevI hoMti mahApurANuM || (mahApurANa, 20/1/4-5) Ama jainAcAryoe gaNAvelAM (1) loka (2) deza (3) nagara (4) rAjya (5) tIrtha (6) dAna (7) tapa ane (8) gatiphaLa - A ATha viSayone hiMdupurANonAM daza lakSaNo sAthe sarakhAvatAM baMne vacce khAsa noMdhapAtra taphAvata jovA maLato nathI. hiMdu purANonAM sarga-pratisarga nAmanAM prathama be lakSaNo dvArA sRSTinuM je vivecana karavAmAM Ave che tevuM ja sRSTivivecana jaina purANomAM loka, deza, nagara ane rAjyanI antargata karavAmAM Ave che. hiMdu purANonA vaMzanI jagAe ahIM 24 tIrthaMkaro ke mahApuruSonA jIvanacaritranuM nirUpaNa karavAmAM Ave che. hiMdu purANonA manvantarane anurUpa koI lakSaNa jaina purANomAM prApta thatuM nathI, paraMtu jaina purANomAM prApta cauda kulakaronAM janakalyANanAM kAryomAM tenI AMzika samAnatA zodhI zakAya. vaLI jainadharmanA tIrthakaro ke mahApuruSo koI ne koI rAjavaMzamAM utpanna thayelA hovAthI temanA pUrvajanmanI kathAomAM vaMzAnukrama nAmanA lakSaNanI samAnatA joI zakAya. baMne prakAranAM purANomAM maLatAM dAna-tapanuM mAhAbhya ane karmaphaLaprAptine baMne dharmamAM tenA mahattvanAM ghAtaka mAnI zakAya. hiMdu purANonA kendramAM jema viSNu ke zivanA avatAronuM nirUpaNa hoya che tema jaina purANonA kendramAM tIrthakaro, mahAna cakravartI rAjavIo ane mahApuruSonuM jIvanacaritra tathA mahAvIranI samasta dvAdazAMga vANI hoya che. anyatra AcArya jinasena nIcenA pAMca viSayonA nirUpaNane jaina purANo mATe Avazyaka mAne che : (1) lokatraya (2) kAlatraya (3) nirvANamArga (4) jainadharmanA mahAna anuyAyIo ane (5) temanAM mahAna kAryo. A uparAMta AdipurANa(2/115-120)mAM teo jaNAve che ke saMsArI ane mukta jIvo, baMdhana ane nirvANanAM kAraNo, ratnatrayI, dharma ane artha nAmanA puruSArtha tathA karma Adi viSayonuM paNa jaina purANomAM yathAyogya sthAne nirUpaNa karavuM joIe. A badhA viSayonI yAdI jotAM jaina purANone "An Encyclopaedia of Jainism' tarIke keTalAka oLakhAve che te yathArtha ja che. mahApurANa/ saMdhi pa9nI prazastimAM puSpadaMtanI A darpokti juo : kiM vIcahita nainavarite nAcatra tavate dAvetau maratezaggzanau siddhacarthayorIdrazam | AcArya jinasena paNa AdipurANa 2/115mAM

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137 Vol. XX, 1996 jaina purANo para eka dRSTipAta gauravabhera jAhera kare che : "yato nAsmArvAhapUtamati vastu vavo pa vA | jainoe potAnAM purANa, mahApurANAdi prabaMdhagraMthonI racanA saMskRtanA rAmAyaNa, harivaMza ane purANagraMthonI paddhatie ja karI che. Ama karavAnuM kAraNa paNa atyaMta spaSTa che. jainoe joyuM ke chellAM hajAreka varSanA bhAratavarSa ane tenI saMskRti para rAmAyaNa, mahAbhArata ane zrImadbhAgavadAdi purANagraMthoe anya koI paNa sAhitya karatAM vadhAre prabhAva pADyo che. bhAratIya janajIvana paranI A graMthonI pragADha asarathI prabhAvita thaIne ja temaNe paNa jaina rAmAyaNa, jaina harivaMza tathA jaina purANonI racanA karI che, jethI teo paNa vizALa saMkhyAmAM janasamudAyane prabhAvita karI zake. jainonA digaMbara ane zvetAmbara evA be paMtho paikInA digaMbara paMthanI paraMparAne anusarIne AcArya jinasena, guNabhadra tathA puSpadaMte purANo racyAM che jyAre zvetAMbara paraMparAnAM mahApurANo sthAnAMgasUtrane anusare che. AcArya hemacaMdranA mahApurANa triSaSTizalAkApuruSane AnA udAharaNa tarIke TAMkI zakAya. ApaNe AgaLa joyuM tema jaina purANo hiMdu purANonA sIdhA anukaraNa rUpe racAyAM hovAthI teo tenI gADha asara jhIlatAM jaNAya che. udAharaNa tarIke teoe harivaMzapurANa jevAM hiMdupurANonAM nAma sIdhesIdhAM svIkAryA che. vaLI hiMduoe ziva ke viSNunA avatAranI pAchaLa "purANa' zabda umerI graMthavAcaka purANanAmo banAvyAM che. (dA. nRsiMhapurANa, kalkipurANa vagere) te ja rIte jainoe paNa pArzvapurANa, zAMtipurANa vagerenI racanA karI che. vaLI mahAbhArata ane tamAma hiMdu purANI vyAsamuninA mukhe kahevAyAM che. temanI pAsethI te kathAnuM zravaNa karI temanA vaizaMpAyana, lomaharSaNa Adi ziSyoe te kathA anya lokone saMbhaLAvI hatI. udAharaNa tarIke hiMdupurANonI kathA lomaharSaNanA putra suta ugrazravAe naimiSAraNyamAM zaunakAdi RSione saMbhaLAvyAnuM prasiddha che. A paraMparAne anusarIne jainoe paNa potAnAM purANonA Adi vaktAnuM sthAna bhagavAna vardhamAna mahAvIrane ApyuM che. (53macariu 1/2 1) magadharAja zreNika biMbisAra)nI vinaMtIthI gautama gaNadhara mahApurANanI kathA saMbhaLAve che. puSpadaMtanA mahApurANamAM AnuM spaSTa anukaraNa jovA maLe che. jainapurANo Ama to jainadharmanA ra4 tIrthakaro, 12 cakravartIo, 9 baladeva, 9 vAsudeva ane 9 prativAsudeva maLIne 63 mahApuruSonA jIvanacaritranuM varNana karavAnA AzayathI racAyAM hovA chatAM, hiMdu purANonA gADha prabhAvarUpe temAM hiMdu purANanAM aneka prasiddha - alpaprasiddha pAtrono paNa samAveza thayelo jovA maLe che. viMTaranitsala jaNAve che tema jainoe prAcIna kALathI ja hiMduonA pratyeka mahApuruSane potAnI kathAomAM sthAna ApavAno prayatna karyo che. paraMtu temanA jIvanakAryanuM nirUpaNa saMpUrNapaNe jainamatAnusAra karavAmAM AvyuM che. udAharaNa tarIke 63 jaina mahApuruSonI yAdImAM rAma aSTama tathA baladeva ane kRSNa navama vAsudeva tarIke sthAna pAmyA che. paNa vicitratA e che ke jaino rAmane ja kRSNanA baMdhu balarAma ane lakSmaNane ja zrIkRSNa mAne che !

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138 DaoN. kAntilAla Ara. dave SAMBODHI A to ThIka paNa jaino e keTalAMka pAtromAM karelAM parivartano to ApaNane atyaMta vicitra, kaDhaMgA, aTapaTAM ane kyAreka to ApaNI dhArmika lAgaNI dubhAvanArAM paNa lAge. udAharaNa tarIke jaina purANomAM karavAmAM AvelI rAvaNanI mahApuruSa tarIkenI gaNanA ane sItAjIno rAvaNanI putrI tarIke ullekha0, Ama chatAM e bhUlavuM na joIe ke jainoe hiMduonA A AdaraNIya pAtrone potAnA graMthomAM atyaMta mahattvapUrNa ane mAnavaMtA sthAnanAM adhikArI banAvyAM che. udAharaNa tarIke jaina purANomAM zrIrAmacaMdranuM siddhAtmA tarIke ane sItAjInuM satI sAdhvI tarIke Alekhana thayuM che. zrIkRSNanuM Alekhana to eTaluM bhaktipUrNa rIte karavAmAM AveluM che ke jenA kAraNe zrIkRSNanI pUjAno jaina dharmamAM pracAra thayelo jovA maLe che. A nAnIsUnI vAta nathI. paraMtu Ama hovA chatAM atyaMta duHkha ane AghAtanI vAta to e che ke aneka bAbatomAM atyaMta udAra dhArmika valaNa apanAvanArAM A jainapurANo paNa sAMpradAyikatA saMkucitatAthI taddana alipta rahI zakyAM nathI. teo hiMduonI IzvaraviSayaka mAnyatAo ane dArzanika siddhAMtonuM kaTTaratAthI khaMDana kare e to jANe samajyA paraMtu Adikavi vAlmIki ane mahAmuni vyAsa jevA vizvavaMdya mahApuruSone "mithyAvAdI' ane 'kumArga-kUpamAM nAkhanArA kavi'11 tarIke navAjavAmAM paNa teo kazo ja kSobha anubhavatAM nathI e atyaMta AzcaryanI vAta che. jaina purANomAM hiMdu pAtronA AlekhananA saMdarbhamAM bIjI eka noMdhapAtra hakIkata e che ke praziSTa saMskRta sAhitya ane hiMdu dhArmika graMthomAM balarAma (rAma, balarAma) vAsudeva (zrIkRSNa, lakSmaNa), prativAsudeva (rAvaNa, jarAsaMdha) ane kAmadeva (pradyumna, hanumAna) vagerenuM vyakti-pAtro tarIkenuM Alekhana thayeluM jovA maLe che. jyAre jaina purANomAM A nAmo vyaktinAmo nathI paNa pada (e. Post)nAM sucaka che. ane A pada para je koI vyakti Ave tenI sAmAnya (common) saMjJA baladeva, vAsudeva, prativAsudeva ane kAmadeva gaNAya che. hiMdu purANomAM jovA maLatI anya keTalIka bAbatono paNa jaina purANo spaSTa prabhAva jhIlatAM jaNAya che. jema ke mukhya kathA sAthe vividha nAnAM moTAM upAkhyAnonuM nirUpaNa, mahattvanA prasaMgoe devatAo dvArA aMtarikSamAMthI puSTavRSTi, zApa-uHzApanuM tattva, svayaMvaraprathA, tIrthonAM ' vistRta varNano vagereno AmAM samAveza karI zakAya. hiMduonA purANagraMthonuM sAmAnyataH khAMDa, adhyAya ane zlokomAM vibhAjana thayeluM jovA maLe che. saMskRtamAM lakhAyelAM jaina purANo(udA. tarIke jinasenanA mahApurANa)nuM parva ane zlokomAM vibhAjana thayeluM jovA maLe che. paraMtu apabhraMza jainapurANo, anya apabhraMza-graMthonI jema saMdhi, kaDavaka ane pado(zloko)mAM vibhAjita thayelAM jovA maLe che. A paddhatinA janaka caturmukha nAmanA jaina kavi manAya che. pratyeka saMdhimAM aneka kaDavakono samAveza karavAmAM Avelo jovA maLe che. saMdhinuM zIrSaka temAM varNavAyelA mukhya prasaMgane AdhAre apAyeluM jaNAya che. svayaMbhU kavinA svayaMbhU chaMdas (8/30) graMtha anusAra kaDavakanI racanA paddhaDiyA chaMdanA ATha yamako athavA soLa pada(caraNa)mAM thavI joIe. paraMtu jaina purANomAM A niyama bAbatamAM zithilatA jovA maLe che. udAharaNa tarIke puSpadaMta kavinA mahApurANamAM cALIsamI saMdhinA bAramA

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139 Vol. X, 1996 jaina purANo para eka dRSTipAta kaDavakamAM 46 pado che jyAre 47mI saMdhinA sAtamA kaDavakamAM mAtra ATha ja pado che. kaDavakanI racanA evI rIte karavAmAM Ave che ke tenA Adi madhya ane aMtano spaSTa rIte khyAla AvI jAya che. kaDavakamAM prayukta traNa prakAranA chaMdonA AdhAre kaDavakanA svarUpano paricaya prApta thAya che. (1) kaDavakanA AdimAM prayojAtA chaMdo : kaDavakanA prAraMbhanAM be-cAra pado(zloko)mAM prAyaH aMbheTriyA, racitA, malayavilasiyA, helA, duvaI, AraNAla ane malayamaMjarI jevA bhAtrika chaMdo prayojAya che. (2) kaDavakanA madhyamAM prayojAtA chaMdo : kaDavakano madhya bhAga ja kaDavakanuM mukhya aMga hovAthI kathAnakane ucita evA paddhaDiyA, vadanaka, pAraNaka, dIpaka, ziva, ullAlA, hAkali, vilAsinI, madanAvatAra, plavaMgama, rAsa, jaga, rolA, zokahara, mAlinI jevA mAtrika ane sudhI, yama, mAlatI, samAnikA, somarAjI, pramANikA, mallikA, ratipada upendravajA, gnavUiNI, caMdrarekhA, cAmara, caMcalA jevA varNavattono prayoga karavAmAM Ave che. (3) kaDavakanA aMtamAM prayojAtA dharA - chaMdo : kaDavakanA aMtamAM "dhattA' prayoganI paddhati prAyaH sarva apabhraMza kRtiomAM jovA maLe che. saMskRta mahAkAvyanA sarmAnta chaMdonI jema enAthI kaDavakanA vartuviSayanI samAptinI sUcanA prApta thAya che. pratyeka saMdhinA AraMbhamAM je dhruvaka hoya che e ja chaMdamAM saMdhinAM badhAM kaDavakonA dhattAnI racanA thAya che. pattAmAM aneka prakAranA chaMdono prayoga karavAmAM Ave che. jemAM dhuvA, digapAla ane yuliyAlA jevA chaMdo mukhya che. AlsaDArka, yAkaoNbI Adi vidvAno paddhaDiyA, aDillA, pAdAkulaka tathA pAraNake A cAra chaMdone ja apabhraMza kAvyanA mukhya chaMdo gaNAve che. emAM paNa paddhaDiyA ja apabhraMzano sarvapriya ane bahulakayukta chaMda che. ene "apabhraMzane anurU' tarIke oLakhAvI zakAya. jaina purANonI saMdhionA prAraMbhamAM sarasvatI vaMdanA, kavinuM AtmavRttAMta ane graMthavistAra jevA viSayonuM nirUpaNa jovA maLe che. e ja rIte graMthanI pratyeka saMdhinA aMtamAM prApta pumbikAmAM saMdhinA kramAMka ane zIrSaka Adino ullekha karavAnI paraMparAnAM paNa svayaMbhU ane puSpadaMta jevAnAM purANomAM darzana thAya che. puSpadaMta ane raviNanAM purANomAM pratyeka saMdhinA aMtima dhattAmAM kavino tathA tenA AzrayadAtAno ullekha prApta thAya che. alabatta svayaMbhU vagerenA graMthomAM AvuM jovA maLatuM nathI. mama haraprasAda zAstrInA matAnusAra 18 mahApurANo, 18 upapurANo tathA anya prakIrNa purANo maLI hiMdu purANonI saMkhyA lagabhaga soeka jeTalI thavA jAya che. jainapurANo ane "caritanAmAnta' mahAkAvyonA banelA jaina-prabaMdha-sAhityane dhyAnamAM letAM baMne prakAranA graMthonI saMkhyA lagabhaga barAbara thaI rahe tema che. upalabdha-anupalabdha jaina-purANonI mAhitI nIce mujaba che".

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140 DaoN. kAntilAla Ara. dave SAMBODHI kramAMka phAte kartA kALa (I. sa.) 1716 ajitapurANa 2. I AdipurANa, 3. | aruNa maNi kavi paMca bhaTTAraka caMdrakIrti bhaTTAraka sakalakIrti bhaTTAraka sakalakIrti 17mI sadI 1pamI sadI 15mI sadI AdipurANa AdipurANa uttarapurANa uttarapurANa karNAmRtapurANa caMdraprabhapurANa 10mI sadI guNabhadra kezavasena 1688 kavi agAsudeva cAmuMDapurANa cAmuMDarAya. zaka saM. 980 1555 jayakumArapurANa dharmanAthapurANa neminAthapurANa ba, kAmarAja kavi bAhubali ba, nemidatta bha, zubhacaMdra caturmukha deva pa75 lagabhaga 17mI sadI svayaMbhU deva padmanAbhapurANa paumacarila (anupalabdha) paumacarila. (anupalabdha) padmapurANa, padmapurANa padmapurANa padmapurANa padmapurANa padmapurANa pArzvapurANa 1656 15-16mI sadI bha. bhImasena bha. dharmakIrti kavi raIdhU raviSeNa bha, caMdrakIrti - jinadAsa padma kIrti 705 17mI sadI 15-16mI sadI 999 22. |

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vol. X, 1996 jaina purANo para eka dRSTipAta 141 kramAMka kRti kato kALa (I. sa.) 15-16mI sadI 1654 1658 pArzvapurANa pArzvapurANa pArzvapurANa pAMDavapurANa pAMDavapurANa pAMDavapurANa pAMDavapurANa purANasAra kavi raIdhU caMdrakIrti vAdicaMdra bha. zubhacaMdra bhayazakIrti bha. zrIbhUSaNa bha, vAdicaMdra 1608 1497 1657 1658 zrIcaMdra mahApurANa jinasena navamI sadI mahApurANa, 114 A malliSaNa mahAkavi puSpadaMta kavi nAgacaMdra 972 ? kavi asaga mahApurANa mallinAthapurANa (kannaDa) mahAvIrapurANa mahAvIrapurANa mallinAthapurANa muni suvatapurANa muni suvatapurANa vAgarthasaMgrahapurANa zAMtinAthapurANa zAMtinAthapurANa zrIpurANa harivaMzapurANa 910 1pamI sadI 15mI sadI ? sakalakIrti sakalakIrti brahmakRSNadAsa bha. surendrakIrti kavi parameSThi kavi asaga bhazrIbhUSaNa bha0 guNacaMdra punAsaMdhiya jinasena 10mI sadI 16pa9 44. zaka saM. 705

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142 De. kAntilAla Ara. dave SAMBODHI kramAMka kRti kartA kALa (I. sa.) svayaMbhUdeva caturmukha deva 15-16mI sadI harivaMzapurANa harivaMzapurANa (anupalabdha) harivaMzapurANa harivaMzapurANa harivaMzapurANa harivaMzapurANa harivaMzapurANa para. | | harivaMzapurANa 1507 1552 ba. jinadAsa bha. yazakIrti bha. zrutakIrti kavi raIdhU bha. dharmakIrti kavi rAmacaMdra 15-16mI sadI 1971 1560 parve A sUcimAM rAmakathAnA AdhAre racAyelAM 'padmapurANa' zIrSakavALAM nava, kRSNakathA AlekhatAM ane "harivaMzapurANazIrSakavALAM nava tathA kauravapAMDavonI kathA AlekhatAM "pAMDavapurANa' nAmanAM cAra purANo maLI 22 purANo to spaSTapaNe hiMdu dharmagraMthonA AdhAre ja lakhAyelAM che. jainapurANo para hiMdu dharmano keTalo bhAre prabhAva che teno AnAthI spaSTa khyAla AvI jAya che. A uparAMta saMskRta prAkRta ane apabhraMzamAM lakhAyelAM aneka caritanAmAnta mahAkAvyo paNa racanAzailInI daSTie jaina purANo jevAM ja che. sattaramI sadI sudhImAM lakhAtAM rahelAM AvAM caritakAvyomAM pahemacariu (vimalasUri) pahemacariu (caturmukha), paumacariu (svayaMbhU), riDraNemi carila (svayaMbhU), bhaviyatta kahA (dhanapAla) karakaMDu cariu (kanakAmara) paumasirI cariu (ghAhila), suloyaNA cariu (devasenagaNi), saMdeza - rAsaka (abdula rahemAna) ane saMskRta caritakAvyomAM caMdraprabhacarita (AcArya vInandI), pradyumnacarita (mahAsena), vardhamAnacarita (asaga), pArzvanAthacarita (vAdirAja), varAMgacarita (vardhamAnakavi) tathA zAMtinAthacarita (munibhadra) vagere. mukhya che. jainapurANo ane jainacaritakAvyomAM bheda mAtra vistArano che. saMskRta carita-kAvyomAM sargo ane apabhraMza caritakAvyomAM saMdhionI saMkhyA, kramaza: saMskRta jainapurANo tathA apabhraMza jaina purANothI ochI hoya che. alabatta A bAbatamAM paNa kazA cokkasa niyamo nathI. dA. tarIke dhanapAlanA bAhubali caritAM 18 saMdhio che jyAre puSpadaMtanA saharacariumAM kevaLa cAra ja saMdhio che. saMskRta caritakAvyomAM sargono to apabhraMza caritakAvyomAM purANanI Dhabe saMdhikaDavaka paddhatino prayoga jovA maLe che. Ama baMne prakAranAM kAvyo vaccenI bhedarekhA khUba pAtaLI che. DaoN. e. DI. pusAlakara hiMdupurANono vizva sAhitya' tarIke ullekha karI jaNAve che ke

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Vol. XX, 1996 jaina purANo para eka dRSTipAta 143 (hiMdu))purANomAM samAviSTa vividha viSaya, jevA ke, rAjanIti, samAjazAstra, dharma, darzana, kalA, vAstu, mUrtikalA Adi bhAratIya sabhyatA tathA saMskRtine jANavAmAM purANo atyaMta sahAyaka siddha thayAM che. A vidhAna sarvIze jainapurANone lAgu pADI zakAya tevuM che ane AMzika rUpe ja hiMdu purANone. kAraNa ke hiMdu purANomAM samaye samaye eTalA badhA prakSepo thayelA che ke jenA AdhAre kazAye anumAna para AvavAmAM jokhama che. ethI UlaTuM jaina purANomAM kyAreya koI paNa prakAranA prakSepo na thayA hovAthI ane tenA kartA tathA racanAkALa viSe koI prakAranI saMdigdhatA pravartatI na hovAthI prAkAlIna bhAratIya sabhyatA ane saMskRtine jANavAmAM jainapurANo atyaMta AdhArabhUta ane upayogI siddha thayAM che. Ama prAcIna bhAratanI sAmAjika, sAMskRtika, dhArmika, bhaugolika ane aitihAsika mAhitI ApanAra vizvAsapAtra dastAvejo. tarIke paNa jainapurANonuM bhAratIya vAyamAM mahattvapUrNa sthAna che ja. jAya , TippaNo : 1. bhAratIya sAhityanA vikAsamAM jainonA pradAnanI prazaMsA karatAM viMTaraniTsa jaNAve che : "I was not able to do full justice to the literary achievements of the Jainas. But I hope to have shown that Jainas have contributed their full share to the religious, ethical, and scientific literature of ancient India." The Jainas in the History of Indian Literature - Edited by Jina Vijaya Muni, Ahmedabad, 1946, Page. 4. 2. I. sa.nI bIjI sadInA samantabhadrathI cheka sattaramI aDhAramI sadI sudhI purANa, mahApurANa, mahAkAvya, saMdhAnakAvya, aitihAsika kAvya, abhilekhakAvya, saMdezakAvya, sUktikAvya, stotrakAvya Adi aneka prakAranI noMdhapAtra kAvyakRtionI jaina kavioe saMskRtamAM racanA karI che. 3. DaoN. rAjanArAyaNa pAMDeya (mahAvi puSyanta, vismaya prakAzana, jayapura, prathama saMskAra, 2268, pR. 18) mahAkavi kAlidAsanA vikramorvazIyam nATakanA caturtha aMkamAM prApta apabhraMza zlokone 'apabhraMza sAhityanA AdikAvya' tarIke oLakhAve che. vaLI chaThThI sadInA valabhInareza dharasena(dvitIya)nA eka lekhamAM tenA pitA. guhasenanA, saMskRta, "prAkRta tathA apabhraMza bhASAmAM pravINa kAvyaracanA karanAra" tarIke teNe karelA spaSTa ullekhane AnA samarthanamAM TAMkI zakAya. 4. purANa vivecana, gujarAta varnAkyulara sosAyaTI, amadAvAda, AvRtti pahelI, 1987, pR. 236. 5. saMskRta kAvyake vikAsameM jaina kaviyoMkA yogadAna, bhAratIya jJAnapITha prakAzana prathama saMskaraNa, DisaMbara 1972, pR. 28. 6. mahAkavi puSpadanta, cinmaya prakAzana, jayapura, prathama saMskaraNa, 1968 pR. 107. 7. samasta digaMbara paMthanuM sAhitya (1) prathamAnuyoga (=mahA puruSonI kathAono saMgraha, (2) karaNAnuyoga (= sRSTinuM bhaugolika varNana, (3) caraNAnuyoga (jaina muni tathA zrAvakonA AcAravicAra) vagere anuyogomAM vibhakta che. 8. jaina matAnusAra baladeva ane vAsudeva bhrAtA hoya che. koIka kAraNe temane prativAsudeva sAthe virodha thAya

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144 DaoN. kAntilAla Ara. dave SAMBODHI che. chevaTe yuddhamAM prativAsudevanuM mRtyu thAya che. vAsudeva ardha-cakravartI-pada prApta kare che, tathA mRtyu bAda narakavAsa bhogave che. jainagraMthomAM baladeva vagere vyakti nathI, pada che, ane pratyeka baladeva, vAsudeva ane prativAsudevanuM caritra A paripATI anusAra ja nirUpAya che. 9. History of Indian literature, Vol. 2. p. 509. 10. DaoN. kAmila bulke (rAmakathA, pR. 295, 52) jaNAve che ke bhAratamAM sItAne rAvaNanI putrI mAnanArA graMthomAM guNabhadranuM 'uttarapurANa' prAcInatama graMtha che. jo ke devIbhAgavatapurANa (9/26) ane brahmavaivartapurANa (prakRtikhaMDa/adhyAya. 14) jevAM hiMdu purANomAM paNa sItAne rAvaNAtmajA tarIke nirUpavAmAM AvI che. tibeTa, khotAna, hiMdeziyA, siyAma Adi videzomAM pracalita rAmakathAomAM paNa A ja prakAranA ullekho prApta thAya che. 11. mahApurANa (puSpadaMtakRta) 69/3/11. vimalasUrinA 'pama ri'mAM paNa vAlmIkino 'mithyAvAdI' tarIke ullekha che. 12. juo, 'bhAratIya vidyA', eprila, 1946mAM prasiddha DaoN. harivallabha cu. bhAyANIno lekha. 13. saMdhi-kaDavaka viSenI A carcA mATe DaoN bhAyANInA uparokta lekha tathA DaoN. rAjanArAyaNa pAMDeya kRta 'mahAkavi puSpadanta' e graMthano AdhAra levAmAM Avyo che. 14. juo, The Mahapuranas' nAmano J.B. & O.R.S.nA sapTembara 1928nA jarnalamAM prakAzita lekha. 15. uddhRta : 'AdipurANa' (prathama bhAga) saM pannAlAla jaina, bhAratIya jJAnapITha, kAzI, dvitIya saMskaraNa, prastAvanA pR. 9 parathI. temAM jaNAvyA mujaba A yAdI paM. paramAnandajIe taiyAra karI saMpAdakane ApI hatI. 16. Studies in Epics and Puranas of India, Bharatiya Vidyabhavan Series, Bombay, First edition, p. 266.

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bhImadeva bIjAnA vi. saM. 126 3nA tAmrapatramAM maLatA keTalAka zabdo para noMdha harivallabha bhAyANI trivaha, tarabha lekhamAM 'trivaha che, paNa tenuM uccAraNa tribaha' thatuM hovuM joIe. to ja "tribaha' > tribha' > "tarabha' e rIte hAlanuM nAmasvarUpa niSpanna thAya : 'nirvAha > 'nibbA > nabhAvavuM'nI jema. pAyalAM, viMzopaka tAmrapatramAM dAnabhUminA mApano je nirdeza che te anusAra ATha pAyalA = 2 hala, ane cha vizopaka = 2 hala e pramANe mApa ApelAM che. maitraka dAnazAsanamAM jamInanA mApa mATe je pAdAvarta che ('maitrakakAlanI gujarAta", pR. 525-526) te ja A pAyalAM hovAno saMbhava che. A uparAMta mApanuM bIjuM eka ekama "vizopaka' kahyuM che, gaNitasAra'mAM ane jaina prabaMdha sAhityamAM vizopaka' (ke "vizopaka') to eka sikkAnuM nAma che. gaNitasAra anusAra 20 koDI = 1 vizopaka ("solaMkI kAla, pR. 246, Lexicographical Studies in Jaina Sanskrit, pR. 35, 93, 205). eTale jamInanA mApa tarIke vizopakano A nirdeza virala che. "gaNitasAramAM je 'halavAha'nuM mApa che te hala' che ke kema e vicAraNIya che. bAhya dAna lenAra "bAhya" nAgarajJAtino navAsUta sUmitra hovAnuM kahyuM che. ahIM jo "bAhya" e vAcana barAbara hoya to te nAgaronI eka peTA jJAti hovAnuM mAnI zakAya 'bAja kheDavALanI jema. bAhya" > prA. "bajha' - guja. 'bAjha, bAja." valA lekhamAM je jamInano "mokharAvalA, somezvaravalA', pratApallavalA" ane "jagadevavalA' evo nirdeza che. temAM "valA' zabdano artha vicAraNIya che. arvAcIna gujarAtImAM 'vaLuM' zabda jamInanuM paDa evA arthamAM kozomAM Apyo che. 'vaNakheDeluM khetara' evo artha haze ? sUmiga dAna lenAranuM nAma "sUyiga" che. gujarAtamAM bAramIthI caudamI sadInA abhilekhIya tathA sAhityika srotomAM puSkaLa vyaktinAmomAM "iMga' nAmAMta maLe che ("zabdaparizIla', pR. 134135, "madhyakAlIna gujarAtI vyaktinAmonuM adhyayana', pR. 208-210). "somezvara' ke 'somadevanuM laghunAvAyaka lADavAyaka TUMkuM rUpa te 'sUmiga". "somezvara"nuM "sumesara' jevuM rUpa maLe che

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146 harivallabha bhAyANI SAMBODHI ('madhyakAlIna vyaktinAmo', pR. 204-205). "nemi'nuM 'nimi' evuM zabdasvarUpa paNa maLe che (jema ke pATaNakRta "AbUrAsamAM kaDI 37, 39, 44), kAlika vyaMjananA pUrvavartI "o'no "U" ke "u" ane "e"no 'I' ke 'I' karavAnuM valaNa che. ("vyutpattivicAra', pR. 140-141). "komala > kUmaLuM', "kSema" > "khIma" ("khImacaMda' vagere), 'lavaNa' > "loNa" > "lUNa' vagere. bacapaNanuM lADavAcaka nAma pachI mAnya nAma tarIke rUDha thayeluM che. vidvAn brAhmaNanuM paNa mULa nAma nahIM, paNa TUMka nAma pracalita thayeluM hatuM - e nAme ja te oLakhAto e noMdhapAtra che. AvAM ghaNAM udAharaNa maitrakakAlIna dAnazAsanomAMthI paNa maLe che. serikA, seraDikA keDI', keDo' e artha barAbara che. arvAcIna gujarAtI "zeraDI", "zeraDo' (jema ke pANI zeraDo) = kaDAM, pagadaMDI. saMdarbha caulukya bhImadeva bIjAnuM aprasiddha tAmrapatro (visaM. 1263), lakSmaNabhAI bhojaka. saMbodhi graMtha 1 1992-93. pR 123-124. caulukya bhImadeva bIjAnuM tarabhanuM tAmrapatra (vi. saM. 1263). lakSmaNabhAI bhojaka. nArAyaNa ma0 kaMsArA. saMbodhi. graMtha 19. 1994-95. pRDha 126-128. madhyakAlIna gujarAtI vyaktinAmo, girIza trivedI, 1996 maitrakakAlIna gujarAta. hariprasAda zAstrI. 1955 Lexicographical studies in Jain Sanskrit bho. je. sAMDesarA, je. pI. ThAkara. 1962 vastupAla prazastisaMgraha. saMpA... puNyavijayasUri. 1961 vyutpattivicAra. harivallabha bhAyANI. 1975 zabda parizIlana. harivallabha bhAyANI, 1973.

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rAjasArakRta puMDarIka-kuMDarIka-saMdhi kalpanA kanubhAI zeTha prAstAvika : prAcIna - madhyakAlIna gujarAtI sAhityamAM vikaselA aneka laghukAvya prakAromAM saMdhikAvya" kAvya prakAra svarUpane aMge viSayavastunI apekSAe noMdhapAtra che. ahIM eka aprakAzita kRti jinasAgarasUri ziSya kavi rAjasAra kRta 'puMDarIka kuMDarIka saMdhi'ne saparicaya prastuta karavAmAM AvI che. pratavarNana ane saMpAdana paddhati : prastuta kRtinuM saMpAdana lAda. bhAratIya saMskRti vidyAmaMdiranA (amadAvAda) munizrI puNyavijayajI graMthabhaMDAranI ekamAtra prata kramAMka 2592 parathI karela che. pratyeka patranuM mApa 26.0 * 10.6 se. mI. che. banne bAjue 2.3 se. mI.no hAMsiyo che. patra kramAMka patranI DAbI bAjue lakhelo che. pAtaLA kAgaLanI A prati devanAgarI lipimAM lAla tathA kALI zAhI vaDe lakhAyela che. zloka kramAMka kALIzAhI vaDe lakhAyela che. ane tenA para lAla zAhInAM TapakAM karela che. madhyamAM phUdaDInI khAlI jagyA choDavAmAM AvelI che. pratanI racanA miti saMvata 1703 poSa suda sAtama darzAvavAmAM Avela che. te amadAvAda maLe muni rAjasAra dvArA racavAmAM Avela che. AraMbha : koI sUcana nathI. aMta : iti zrI puMDarIka kuMDarIka muni saMdhi samAptaH | saMvata 1717 varSe vaizAkha sudi 11 bhome, zrIpatrane / zrIvinayaprabhasUriNA likhitaH vAcyamAna ciraMnidhAtu saMpAdanamAM sarvatra pratano mULapATha kAyama rAkhyo che. kAvyanA kartA : kavi rAjasAra kAvyanI prazasti parathI enA kartA rAjasAra hovAnuM ane kRtinI racanA saMvata 1703(Isa. 1647)mAM amadAvAdamAM thaI hovAnuM kahI zakAya. kIdhau saMvata sattaratiDottaraI, sudi sAtama posa mAsa, rAjaIzrI jInasAgarasUrinai, pahilau eha prayAsa." 12.paMDa ahamadAvAdanagara ati dIpalau jihAM zrIsaMgha sanara zAMtinAtha supasAI tihAMkahyauM, aratha e adhika paMDUra." saMdhi suNaue mAnavamana deI, rAjasAra kahaMI ema, phalaI manoratha mAlA navanavI, hovaI ANaMda khema. zika paMDara 13. paMDa 14. paMDa

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148 kalpanA kanubhAI zeTha SAMBODHI kavi viSe A kRtimAMthI ATalI mAhitI maLe che ke teo kharataragacchanA abhayadevasUrinI paraMparAmAM jinasAgarasUrinA ziSya che. gaccha vaDau kharatara jaga jAMNIyaI, sudhdha paraMpara dhAra, abhayadevasUri sarikhA jihAM thayA, vRti navAMgIkAra. 7. paMDa kAvyano sAra muni rAjasAkRta 'puMDarIka kuMDarIka saMdhi' laghukAvyamAM kavie caritrapAlanano mahimA gAyo che. puMDarIkiNI nagarImAM mahApA nAme rAjA, patibhakta padmAvatI paTarANI, puMDarIka kuMDarIka nAme be putro, nagarImAM padhArela muni. dezanA sAMbhaLI vairAgya utpanna thatAM dIkSA grahaNa karI. rAjyabhAra moTA putra puMDarIkane soMpyo ane nAnA putrane yuvarAjapade sthApyo. muni banela mahApadma cAritra pALI aMte saMlekhanApUrvaka mRtyu pAmI mokSe gayA. puMDarIka sArI rIte rAjyakArabhAra saMbhALe che. ane yuvarAja kuMDarIka emAM sahAya kare che. prajAmAM sukha-samRddhi ane zAMti pravarte che. nagaraudyAnamAM eka mahAmuni padhAratAM banne baMdhuo temanI dezanA sAMbhaLavA jAya che. banne bhAIo dezanA sAMbhaLI vairAgya anubhave che paNa moTA bhAI potAnI zaktimaryAdA samajI zrAvakadharma svIkAre che jyAre nAno bhAI dIkSA grahaNa karavA taiyAra thAya che. moTA bhAI tene saMyamanI maryAdA ane kaThoratA samajAve che. temAM AvatA aneka upasargo, muzkelIonuM bhAna karAve che. paraMtu kuMDarIka potAnA nizcayamAM aDaga rahI dIkSA grahaNa kare che. cAreya mahAvrata pAlana karatA ugra tapasyA kare che, paNa mana calita thatAM te virasa AhAra kare che ane aneka rogano bhoga bane che. anukrame vihAra karatAM teo puMDarIkiNI nagarImAM Ave che. rAjA paMDarIka tene vaMdana karavA jAya che. potAnA nAnA bhAIne rogagrasta joI ciMtAtura bane che ane kuMDarIka munine thoDo samaya tyAM sthiravAsa karavAnI vinaMtI kare che. muni vinaMtI mAnya rAkhI sthiravAsa kare che. kuMDarIkamuni yogya upacAronA pariNAme Arogya prApta kare che. A joI emanA guru tyAMthI vihAra karavAnuM sUcave che paNa kuMDarIkamuni tyAM ja rahI jAya che. guru vihAra kare che. tyAM rahela kuMDarIkamuni muninA Avazyaka AcAramAM zithila banI jAya che. rAjAne tyAMthI AvatAM svAdiSTa AhAra ArogI pramAdI banI jAya che. A jANI puMDarIka emane emanI muni tarIkenI maryAdA samajAve che ane vairAgya levA badala prazaMsA kare che. lajjAvaza banI kaMDarIka tyAMthI potAnA guru pAse jAya che. tyAM thoDA divasa rahI te vaLI pAchA puMDarIkiNI nagarI pAse azokavADImAM Ave che. manamAM bhoga pratye Asakti jAgatAM saMsAramAM pAchA pharavA tatpara thAya paNa hAMsI thaze jANI te tema karatAM aTake che. azokavADI pAse muni padhAryA e jANI puMDarIka tyAM vaMdaNArthe jAya che. ane muninA mananI vAta jANI puMDarIka pote manino veza dhAraNa kare che ane kuMDarIkano rAjyAbhiSeka kare che. pote saMyama grahaNa karI ane tyAMthI abhigrahapUrvaka cAlI jAya che.

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Vol. XX, 1995 1996 rAjasAkRta puMDarIka-kuMDarIka-saMdhi 149 rAjA banela kaMDarIka aneka prakAranA bhoga-vilAsa mANI aMte sAtamI narakamAM jAya che. A tarapha munipuMDarIka gura samIpa pahoMce che. zuddha saMyama pALI aneka prakAranA tapa kare che. gurunI AjJAmAM rahe che ane AyuSya pUrNa thatAM mokSa prApta kare che. muni "rAjasure caritra paryAya svIkArI zuddha rIte te pALe che ane mokSagati prApta kare che. te bahu sAdI, saraLa ane spaSTa rIte samajAvyuM che. puMDarIka kuMDarIka saMdhi kAvya tarIke : "puMDarIka kuMDarIka saMdhi' e 173 kaDInuM kAvya che. jainadharmamAM dIkSA aMgIkAra karI zuddha cAritrapAlanano mahimA darzAvavAmAM Avyo che. ahIM prastuta kRtimAM zuddha cAritrapAlana ane ullaMghananI kathA sadRSTAMta samajAvavAmAM AvI che. kAvyAraMbhe kavizrIe zAMtinAtha bhagavAnanuM smaraNa karI, zrutadevI tathA gurune namaskAra karyA che. zAMti jINesara samarI nAma, jINathI sIjaI vaMchita kAma. zrutadevI naMI sahaguru pAya, praNamI pAMmI tasu pasAya. 1 cAritrapAlanano mahimA kavie ati saMkSiptamAM mAtra eka ja kaDImAM varNavyo che. je cAritra leI naI cUkaI, te duragati dukakha paDIyau kUkaI, je vali pAlaI niratI cAra, te pAmaI bhavasAyara pAra. 4 kavie puMDarIkiNI nagarInuM paraMparayukta rIte suMdara varNana karela che. nagarI eka tihA adUbhuta, puMDarIkiNI devaloka bhUta, IzAna disaMI nalinIvana nAma, tihAM udyAna ghaNauM abhirAma. 7 kavizrIe mahApArAjAnA yazogAna, tenI kuzaLa rAjanIti, tenI dRDha vairAgya bhAvanA, zuddha, cAritrapAlana ane aMte mokSaprApti vagere prasaMgo ati saMkSiptamAM paNa khUba ja suMdara ane saraLa rIte Alekhela che. mahApA rAjAe gurunI dezanA sAMbhaLI kANanA paNa vilaMba vinA putrone soMpela rAjakArabhAra ane dIkSA aMgIkAranA prasaMgane eka ja kaDImAM saMkSiptamAM paNa sacoTa rIte varNavela che. rAja taNau sata naI de kAja, bIjAnaI thApI yuvarAja, tatakhiNa pUraNa prabhutA choDI, prIti akhaMDa dharamasuM joDI. 15 paMDarIka rAjA bane che ane kaMDarIka yuvarAja, teo suMdara ane kuzaLa rIte rAjyavahIvaTa kare che. prajAmAM sukha, samRddhi ane zAMti pravarte che. tenuM nirUpaNa paNa suMdara rIte karela che. rUDI pari pAlaI prajA, nyAya karaI jima rAma, dAtA bhogatAM sAhasI, rupAI jANe kAma. 3

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150 kalpanA kanubhAI zeTha SAMBODHI bIjI DhALamAM kavie nalinIvanamAM AgamajJAtA muni mahArAja padhAre che, temanA upadezanuM upamAdinI sahAya vaDe suMdara varNana karela che. sAkara drAkha samAMNI vANI, suNivA harakhA bhavIyaNa prANI, unayala dekhI naI ghanaghora, jIma ANaMda lahara muni mora. 10 guradeve saMsAranI asAratA, saMsAranuM kSaNika sukha, duniyAno jIvanakrama, pApa-puNyanA eka-cakrI cakranI gati paNa upamA ubhelA dvArA nirUpelI che. TukaDA sukha velA sahu, dukhanI velA dura, e jIva bhavaI ekala, le sAthaI re puNyapApanuM pUra. 6 prati. trIjI DhALamAM kavi banne bhAIo muninI dezanA sAMbhaLI pratibodhitva pAme che te prasaMgane paNa saMkSiptamAM Alekhela che. jyeSTha baMdhu potAnI zaktimaryAdA samajI zrAvakadharma aMgIkAra kare che. ane laghu baMdhu kaMDarIka dIkSA aMgIkAra karavA tatpara thAya che. jyeSTha baMdhu tene sAdhudharmanI maryAdA. tenA upasargo samajAve che. "komala kaMcaNavana kAyA tAharI, viSama parIsaha kima sahaIe. vali mAhAvrata merU sarikhA dAkhavyA, bhAra kema tasu niravahaIe." Ama chatAM paNa kuMDarIka makkamapaNe dIkSA grahaNa karavA tatpara bane che. tenA dIkSA prasaMgane tathA tenA zarUAtanA zuddha cAritryapAlanane kavi saMkSiptamAM varNave che. paNa pachI kALAnukrame kaMDarIka muninuM dhyAna calita thAya che. vairAgyabhAvanA lupta thAya che, te virasa AhAra kare che, zithilAcArI bane che jethI aneka roga utpanna thAya che. temano deha durbaLa bane che. vicaratAM vicaratAM puMDarIkiNI nagarImA padhAre che tyAM rAjA puMDarIka munino durbaLa deha joI duHkhI thAya che. munine tyAM sthiravAsa karavA vinaMtI kare che. muni vAMdI dezaNa suNIjI, baMdhava najaraI dITha, DIlaI ati durabala thayaujI baIsaI uThaI nIM. 12. bhavi adhika asAtA upanIjI, ehavau dekhI bhAya, gurUnaI vacanaI cau kahaIjI, be kara joDI rAya. 13, bhavi. kaMDarIka badheva taNaIjI, aMgaI chaI bahu roga, yAMnazAli mujajau rahaujI tauM karUM aukhadha yoga. 14. bhavi. cothI DhALamAM auSadha dvArA muni kuMDarIka Arogya prApta kare che tenuM varNana che. munine Arogya prApta thatAM guru "calatA pANI nirmaLA" ane "bhamatAM muni zobhaMtamAnI vihAra kare che. kaMDarIkamuni zithilAcArI banI sthiravAsa kare che tenuM mAtra pAMca kaDIomAM ja suMdara rIte nirUpaNa karyuM che. te kavizrInI kRtinI svAbhAvikatA ane sahajatAne kAraNe noMdhapAtra bane che.

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rAjasAraskRta puMDarIka-kuMDarIka-saMdhi kuMDarIka tihAM kaNi rahyauM, na calyau gurU saMghAti, sithilAcArI nipaTate, na karaI cAritta tAti. na karaI DikamaNau karda, paDilehaNa pacakhAMNa, rAta divasa sUtau rahaO, minI na AMNaI kAMNa. Vol. XX, 1995-1996 'jima nAkhI jaI jADakI, vasaI lAgI dhUli, rAja ridhi prabhutA dhaNI, tiNa pari choDI mUli." 2 Ama chatAM paNa munine cena nathI. te azokavADImAM jaI dilagIra bane che. mana sAMsArika sukho-lAlasA bhogavavA utsuka che paNa javuM kema ? e muninA mananI dvidhAnuM nirUpaNa kavie mAtra eka ja paMktimAM karyuM che tenuM zabdacitra paNa noMdhanIya che. 'jAuM ghara kehI paraI re, hasasyaI saha parivAra re...' chaThThI DhALamAM puMDarIkarAjA munikuMDarIka pAse jAya che, saMsA2pravezanI vAta muninA svamukhe ja kahevaDAvavI, pote dIkSA mATe tatpara thavuM, rAjyabhAra kuMDarIkane soMpI tene rAjyapade sthApavo vagere prasaMgo A DhALamAM ati saMkSiptamAM varNavyA che je kavinI kathanakalAnA sAmarthyanI, kavinI chaTA ane tene apAyelA hUbahUrUpanI ghotaka che. puMDarIkarAjAe riddhi-siddhi-samRddhi kevI rIte choDI tenuM kavie surekha ane spaSTa citra upasAveluM che. 1 te tIvra vedana naI vasaI, kari kAla mAsaI kAla, sAtamaI naragaI upanau, dukha jihAM asarAla. kavie sAtamI DhALamAM kuMDarIka rAjA sAMsArika sukho bhogavavAmAM masta che, AhA2nuM koI bhAna nathI, mananAM pariNAmo ati raudra che, tyAre temanI kevI durgati thaI tenuM tAraNa paNa ati coTadAra ane mArmika rIte kavie varNavyuM che. 151 sAtamI DhALanA aMtamAM kavi puMDarIka muninA zuddha cAritranI jhAMkhI karAve che. jenuM mana vairAgyabhAvathI raMgAyeluM che, jene zuddha cAritrapAlananI jhaMkhanA che tevA puMDarIkamuni kevuM zuddha cAritra pALe che tenuM mArmika ane rasALa bhASAmAM kareluM varNana kavinI varNanazaktinI jhAMkhI karAve che. puMDarIkamuninA nirmaLa jIvananI jhAMkhI karAvatuM tAdaza citrAtmaka Alekhana paNa sundara che. sajhAya dhyAna kIyA ka2I, sevaI sugurUnA pAya, rAti naI dina iNi para rahaI, sIdhaI mokSa upAya.16 vrata grahI chaTha karI pAraNaI, pAMDuryau le guru AMNa, trIjaI pahuraI gocarI, jINavara vacana pramAMNa. 17

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152 kalpanA kanubhAI zeTha SAMBODHI saraNakIyA cyAre valI, jehathI sukha paramatya, gati thyArinA dukha meTivA jeha sadA samaratya. 24 AThamI DhALamAM puMDarIkamuni zuddha cAritra pAlana karI sAMsArika sukhone tuccha gaNI tenA parathI mana aLaguM karI saMyamamAM sthira rahI dhyAna-japa-sAdhanAmAM niraMtara aDaga ane ekAgra banI aMtima kALane kevo dIpAve che tenuM varNana temAM AvatI svAnukArI zabdaracanAne lIdhe vizeSa AsvAdIya banyuM che. Ima khAMmI sigalAhI jIvanaI, nija pAtaka AloMya, mana zuddhaI de micchAmi dukkaDam riSi puchata upara loya. 1 puMDarIka munivara nitu vaMdIyaI, trikaraNa zuddhaI trikAla, nita nita nAMma japatAM jehanau, bhAI bhava jaMjAla. saravAratha siddhaI jaI upanau, tetrIsa sAgara AyauM, caMvIya tihAMthI khetavideha kaMI lahisyaI ziva rili caDe. 3 je zuddha caritra laI tenuM pAlana kare che, kevA alaukika sukho prApta kare che te moTI vAta paNa ati laghutApUrvaka nirUpI che te kavinI kathanakalAnuM sUcaka che. Ima je cArita laI pAlisTaI, te lahisyaI bahu sukakha, pujya hasyaI Iha bhavi sahulokanaI, parabhavi varasyaI murkha. 4 AThamI DhALanI chellI kaDIomAM kavi potAnI gaccha paraMparAne varNave che. kAvyanI prazastimAM kAvyanI racanA saMvata 1703 poSa suda sAtamanA amadAvAda nagara madhye thaI hovAnuM jANavA maLe che. aMtamAM kavi potAnA guru ane potAnA nAmano ullekha karI kAvya pUrNa kare che. kidhau savaMta sattaratiDottaraI sudi sAtami posa mAsa, rAjaIzrI jInasAgara sUrinaI pahilau eha prayAsa. 12. puMDa ahamadAvAda nagara ati dIpalau jihAM zrIsaMgha anura, zAMtinAtha supasAyaI tihAM kahyauM, aratha e adhika pahara. 13. paMDa saMdhi suNaue mAnava mana deI, rAjasAra kahaMI ena, phalaI manoratha mAlA nava navI, hovaI ANaMda khema. 14. puMDa, Ama A saMdhikAvya ekAgracitte sAMbhaLanAranA manoratho pUrNa thaze ane te kSemakuzaLatA prApta karaze tevI udAtta ane udAra bhAvanA pragaTa karI kavi kAvyanuM samApana kare che.

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153 Vol XX, 1995-1996 rAjasArakRta puMDarIka-kuMDarIka-saMdhi rAjasAkRta puMDarIka kuMDarIka saMdhi rAga AsA DhAla saMdhinI zAMti jINesara samarI nAMma, jINathI sIjaI vaMchita kAma, zrutadevI naI sahaguru pAya, praNamI pAmI tAsu pasAya. 1 puDarIka kuMDarIka be munivara, dAkhisi suNatAM sukhakara, jima dekhIsi huM chaThaI aMgaI, ugaNIsamaI anjhayaNaIcaMgaI. 2 sAdhukathA nisadIsa suhAvaI, tiNae dAkhuM adhikaI bhAI, jaMbUnaI jima sohama sAmI, bhAkhaI vIra samIpaI pAmI. 3 je cArita leInaI cUkaI te duragati dukha paDIyaukUkaI, je vali pAlaI niratIcAra, te pAMI bhavasAyara pAre. tiNa Upari be muni daSTAMta, sAMbhaliyo mana kari ekAMta, Ima jAMNI jau cArita lIjaI, tau rUDI rItaI pAlIjaI. 5 dviIpa achaI jaMbU abhidhAna, kSetra videha tihAM paradhAna, pukhalAvatIya tihAM ati suMdara, vijaya jihAM chai zrI sImaMdhara. 6 nagarI eka tihAM abhUta puMDarIkiNI devaloka bhUta, IzAna disaI nalinIvana nAma, tihAM udyAna ghaNauM abhirAma. 7 ' tiNa nagara tejaI kari bhAMNa, sahuko mAMnaI jehanI AMNa, vayarI AvI pAye lAgaI, kara joDI UbhA rahaI AgaI. 8 riddhi taNa3 kima lAbhaI pAra, hAthI ghoDAnaI bhaMDAra, prathavI mAhe iMdra samAna, achaI mahApauma vara rAjAna. tehanaI pumAvaI paTarANI pati bhagatInaIM raMbha samANI, sIla-ratana rUDIpari rAkhaI paryau jasa jehanau jagi. AkhaI. 10 subha supanaiM sUcita tiNa jAya, aMgaja ghari AMNaMda savAyA, puMDarIkanaI vali kuMDarIka, vara lakSaNa rupai sobhanIka. 11 vadhatAM caMda taNAM anuhAraI, anukrama sakala kalA guNa dhAraI, jovana-vaya jAMNI paraNAvyA, bhogavai sukha beu mana bhAvyA. 12 anya divasi AvyA viharatA, thivira bhavika naIM dharama kahetA, tehanaI sahu jAI vAMdevA, mana sUdhaI kari karavA sevA. 13

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154 kalpanA kanubhAI zeTha SAMBODHI 14 rAjA piNa ADaMbara melI, leI riddhi potAnA jetI, tehanI sAMjalinAM upadeza, pratibUdhau tatakAla nareza. rAja taNau sutanaI ke kAja, bIjAnaI thApI yuvarAja, tatakhiNa pUraNa prabhutA choDI, prIti akhaMDa dharamaNyuM joDI. 15 thivira samIpai lIdhI dIkha, bhaNaI guNainaIM mAMnai sIkha, pUrava caUda bhaNyau Ima teha, cArita piNa pAlyau dhari neha. 16 aMta samaya saMlekhana kIdhI, mananI vAMchA sigalI sIdhI, jIva caurAsI lakhanai khAmI, karama khAI zivazrI pAMmI. dUhA-3 diva nagarI puMDarIkiNI rAja karaI puMDarIka, kuMDarIka yuvarAja vili Ima beuM nirabhIka. sahuko AMNa gharaI siraI, teja tapaI nilavaTTa, dogaMdhaka sura pari rahI nitu karatA gahagaTTa. ruDI pari pAlaI prajA, nyAya karaI jima rAma, dAtA bhogatA sAhasI, rupaiM jANe kAma. (sarvagAthA-20) DhAla-2 rAga-kedAra catura sanehI re mere lAla, e dezI. eka dina nalinIvana udyAnaI, viharatA vali nija dhama dhyAnaI, samavasaryA guNavaMtA sAdha, Agama rayaNa samudra aMgAdha. je vicaraI sudhdha saMyama dharatAM, paranaI tArai potaI taratA, pravacana mAtA AThe pAlai, mUla thakI mada machara gAi. 2 tyAM AhAra bhamaranI vRtai, uMca nIca kula je kaI vittai, arasa virasa lahaI nAMNAM rIsa, duSaNa TAlai jaitAlIsai. 3 kSamA pramukha dazavidha muni dharama, dhAraI vAraI mithyA bharama, ghai prANInaI nirabhaya dAna, jJAna pradhAna nahIM abhimAna. 4

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Vol XX, 1995-1996 rAjasArakRta puMDarIka-kuMDarIka-saMdhi 155 SaDavidha jIva pratai je na haNaI, sAdhu siromaNimana tanuM vaNAI, ehavA sadUgaranaIM citta lAya, bhagataIM bhavISaNa vAMdaNa jAya. 5 ke hAthI ke baIThA dhoDaI kaI sukhAsana ke ratha joDaI, keIka potaI pAya vihAraI, sahuko jAI evaM kAraI. narapati piNa jAvaI riddhi leI, pragaTyA puNya giNaI mani keI, bIjau bhAI-piNa chaI sAthaI, Ima harakhita be prathavInAtha. 7 sAvi pAMce abhigamarAya, vastrAbharaNa vRbhiSita kAya, AvI pAsi pradakSiNa tIna, deI be vAMdaI layalIna. rAjA maMtrI seThanai sAha, senApati tima sArathavAha, nagarIloka nityA vana mAMhii, baInI parakhada mana uchAMhaI. 9 sAkara drAkha samAMNI vANI, suNivA harakhA bhavIyaNa prANI, unayala dekhInai ghanaghora, jIbha ANaMda lahara mani cora. muni sahunaI pratibodha nimitta, dhaI upadeza karI ikacitta, e saMsAra asAra vakhaNaI, piNa ehavau puNyavaMta pichAMNai. 11 (sarvagAthA-32) DhAla-3 bhoga.1 2.prati. AMkaNI. rAga-dhanyAsirI Apa savAratha jaga sahu re-e dezI. dohilauM nara avatAra e, tima sugurunauM saMyoga, tiNa dharama Upari khapa karuM. tajI tRNa jimare ati caMcala pratibujau bhavya prANIyAre, bhava mAhe re kaI dukha anaMta, te sagalA jIvai sahya re, te jANaI re nAMNaI bhagavaMta. saMsAra svArathanI milyau cetI nahIM citti koI, jAma lagaI ghaTamaI sAsa chaI, sahu setI re. sagapaNa tAMI. na visarAI khiNa piNa jiNa pamaI, jasu sIsa gharanI mAMDi, jaba teha putacaI parabhavaI, mukha huMtI re taba muMkaI chAMDi. rovaI milI sahu svArathaI sukha dukha kuNa lahaI tAsa, dazavIsa dina vaulyAM pachI, vIsArI re karaI lIla vilAsa. 3. prati. 4. prati. 5. prati.

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156 kalpanA kanubhAI zeTha SAMBODHI TukaDA sukha velAM sahU, dukhanI velA dUra e jIva jAvaI ekalauM, sAthai re puNya pApanuM pUra. 6. prati. jehanaI giNIi paNa9, viNa svAra thaI teheja vayarI samau hovai phirI, te Upari re karIvale syau peja. 7. prati. nita neha jIsTrenava navaluM, jehasyauM ati AnaMga, te viSaya ripu jIma avasarai, dukha Apai re tirasyuM syau saMga. 8. prati. IkavAra harakhaI ati ghaNauM, mIThI khaNaMta khAjI, piNa pachaI rIvAI pAmIyauM, tima viSayIre sukha thoDA kAji. 9. prati. bholavai nArI ketanaI, kehanaI bhAkhaI gunjha, ke kI A ke karicaI valI, piNa rAgI re jAMNaI e mukjha. | 10 prati. daza divasa dehI vAMnachaI, rAyau kisyuM tasu rUpa, viNasatAM velA ketalI, aMta jotAM re bAhya sarUpa. 11. prati. mata karuM mamatA dehasuM rAkhau jau na rahaI kema, je pachaIhI piNa cheha ghaI, kima paMDita re tehasuM karaI prema. 12. prati. mada rakhe lakhimI nau karau do putaranI e chAMha, Ika dinaI choDI jAIyaI, jima vezyA re niradhana huAMha. 13. prati. tIne avasthA ehanI, je jAMsi Adara AMNi, saI hathaI vAvarasyaI nahIM, te ghasasaI re mAkhI jima pANi. 14. prati. parajIvanI hiMsA tijauM, tasu dukha kyuM dukha Apa, jIva chaI sahuko tArikhA, te mATaI re e mUkau pApa. 15. prati caMDAlanaI je AbhaDaI, apavitra kahII soya, te vasaI anisi aMgamaI, te haMtaI re nara kima zuci hoya. 16. prati. tiNa tehanaI duraI karI, saMyama-sarovara tIri, dhana karama choti gamADavA, nita hAvI re upasama bhari nIri. 17. prati abhimAna mAyA pariharauM, lobhathI sAva virAsa, ehanau aMta pAmIyaI, tiNa dAkhI re upamA Akasi. 18. prati mana pavana pari pRthivI bhamaI, jIvaDI gUMthaI Ala, jaMjAla sUtA jAla jyauM, piNa kAle re chetarasyaI kAla. 19. prati rIte mAthAno ANa vApI jima pAtha

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Vol. XX, 1995-1996 rAjasArakUta puMDarIka-kuMDarIka-saMdhi 157 jIma osa DAbha aNI rahayauM, tasu paData kehI vAra, jamavAra tima mAnava-taNala, navi jAMNaI re piNa jeha gamAra. 20. prati khiNa khiNaI AUkhala ghaTaI, nIkaI sigalau kAli, dina gayau te nAvai phirI, kAMI cetaje re jInavacana nihAli. 21. prati. hita jeha na karaI AMpana iM, mUrakha tiko saMsAri, Ima jANatAM kAMyAMta, Akhi mAMcI re karuM kAM aMdhAra. 22. prati. sarva gAthA-para duhA-7 bhavIyaNa vayaNa isyA suNI, pAmyA harakha athAha, vali vali parasaMsA karaI, vAha vAha re vAha. dekhI vANI sAdhunI, kuNa dAkhala thayarAga. piNa bhava chUTache kiNa paraI, karama na ghaI jau mAga. vAMdI loka valyA sahu, ulaTa aMgi na bhAI, dhana dina jANaI Aja nau, je bhedyA muni pAya. puMDarIka zrAvaka thayauM, putau nija AvAsi, kuMDarIka kara joDInaI, Avyau munivara pAsi. kahaI suNI mAM navi lahyauM, bhava aTavInI aMta, piNa ziva tihanadai lAdhivA, dIThau mAraga taMta. Aja athira bhava jaNinaI, huM viharisi tumaDa sAthi, kuNa mUrakha kUI paDaI, dIva leI hAthi. dIkSA ghau mujanaI turmo, pUchI AvavuM joma, bApa samau bhAI vaDala, tiNa puchaNa kAma. DhAla-4 rAga-rUDI jaMbUdIpa majhAri-e dezI. kuMDarIka puMDarIka pAsaI, AvIya praNamIya, vacana anopama ima bhaNaIe, dhau mujanAM Adeza, dIkSA leIsi, jIma na paDau bhava baMdhaNaIe. sadguru, kerI Aja vANI sAMbhalI, temaI sudhIsara dahIe, choDI jAvI neTi prabhutA kAriNI, viSaya kalA viSa sama sahIe.

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158 kalpanA kanubhAI zeTha SAMBODHI eha sarIra asAra mAdala ji maDhayala, cAlaI piNa rogaI bharyaue, kADhyau tiNathI ja sAra, jAna sUdhai jiIi, tapa japa niyama samAcarya e. 3 daza dAMte eha, narabhava pAMmivala, dAkhyau jiNavara dohilIe, pUraba puNya prabhAvi, te pAmI hiva, saphala karI jaI take bhalau e. 4 thoDA sukhanaI kAjai, iha bhavi sevatA, viSaya pachaI ati socIyaie, jovau Apa vicAri, bATInaI sATai, kima kari arahaTa vecIyaI e. 5 AMNyau suhaguru mujha, UvaTi jAvaMta, ThAmi vRSabha jIma sArathIe, ghau vahilau Adeza, jAyaI vrata viNa, ghaDI ati kAakI sArathI e. 6 tau valata puMDarIka, kahaI suNi baMdhava, vacana kahyau tai te kharu e, paNi dohelI kAma, cArita pAlevala, bheda na jAMNaI eharapha e. 7 komala kaMcaNavana, kAyA tAharI, viSama parIsaha kima sahaI e, valI mAhAvrata - meru sarikhA dAkhavyA, bhAra kema tasu niravahaI e. ravile gurunI zIkha, vali veyAvaca, karivala parachaMdaI paNaI e, bhaNivau sUtra siddhAMta, aratha vicArivala, AvI samIpaI gurutaNaIe. mAMDavI para dhari hAtha, lajjA jItavI, koI ghaI koI na ghaI e, nAMNevI mani rIsa, karatAM gocarI, loke kaThina vacana vaghaI e. karivau ugra vihAra, ughADe page, keza-loca duSkara achaIe, malina aMga naI vastra, snAna majjA nahIM, saMyama kima palaspaI pachaI e. 11 hAthai samudra agAdha, kuNa sakaI tarI, meru kavaNa tolAI karaI e, gaMgA nadI pravAha, kuNa sAMhamau calai, cArita duSkara iNi paraMi e. 12 bolaI bola amola, laghu bhAI phirI, te Agaie dAkhIyaI e, je kAyara nIsara piNa je sAhasI, tAsa vasaI kima e hIyaI e. tAM ma duhela kAma, sigalau jAM lagaI, dhIra puruSa navi AMgamaI e, kAkara sarikhu meru sAgara chIlara, sAhasika nara cittamaIe. vali nehAkula rAya, kahaI bhAI bhaNI, jora nahIM ko jAvatAM e, piNa sIra hasyaI lAja, tiji jAyaI achaI, kholau ema bichAvatAM e. 15 Atama baMdhava Aja, loka jiyauM, giNyauM, mana UtArI mUlathI e, te kAraNa kahaI mukjha, vAMka achaI kisyauM, tu duhavIyala tala nathI e. 16.

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rAjasAraskRta puMDarIka-kuMDarIka saMdhi 18 jINasyuMuM Ika dina prIti, te piNa lekhavaI, tuM kAM ema avAMNagU e, tuja virahaMI dilagIra, naga2Ijana hasyaI, tima parijana vali elagU e. aMteura khiNa mAta, tujjI viNa navi rahaI, teM kima janama gamAvisTai e, abalA naIM AdhAra, prItama AMpaNau, to viNa tiNa na suhAvasyaI e. moha vasaI sahU jIva, cIMtavatau mina, yuvarAjA Ima uccarai e, kuNa baMdhava kuNa nAri, nahIM ko kehanau, Avi paDayaI dukha avasaraI e. parijana kAjai jIva, bAMdhI pAtaka, potAnA goDA bharaI e, piNa dukha bhAgI eka, ko vAMTI na lyaI jaba te dUragati aNusaraI e. Vol. XX, 1995-1996 sau boleI kabola Apau anumati, DhIla khamaI nahIM mAha2Ie, jAMNyau nahIM ko neTi, tela tileI e, eka manau ghara pariharaI e. kaMDarIka harakhaiM hivai, locamuSTi pAMce karai, duhA-6 vastrAbharaNa utAri, gurunA vacana vicAri. sAdhu veza pahirI karI, guru mukhi sarala sabhAva, cyAri mAhAvrata uccaraI, bhavasAgara va2 nAva. cathau nai vila pAMcamauM, giNII eka ja jeNa, khetra videhaIM jAMNivA, cyAri mAhAvrata teNa. karuM akiryA veSAsa, phiri phiri phokaTa, jAvaNahArA jAisyai e, dIdhau nRpa Adeza, jIma sukha tima kari, ki na kahuM vacanaI jAisyaI e. 22 karIa mahotsava sArA, ati ADaMbarai, be baMdhava vinA AvIyA e, sAdhu pratai kahai rAya, jAi tumhanaIM bhIkSA, ziSyarUpa viharAvIA e. 23. (sarvagAthA-82) maiM mujha jIvana svAMmijI, dIdhau chaI tumha eha, ruDI rItai rAkhiyo, dhariyo adhika sasneha. sIha paNai vrata lyui achaI, tau hiva pAle tema, sovana jima caDhatI caDhe, vAMnI nRpa kahaI ema. Ima suMpInaI sAdhunaI, vila de baMdhava zIkha, rAjA ciMtAtura thakaI, pUThI vAlI vIkha. 19. 17. 20 21. 1 2 3 4 5 159 PS

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160 kalpanA kanubhAI zeTha SAMBODHI DhAla-5 rAga-AsApharI meghamuni kAMI DamaDolaI re, e dezI. hiva nagarI parisara thakIjI, thIvare kIdha vihAra, sAdhu yuvaI paMkhI samA jI, nahIM pratibaMdha ligAra. bhaviyaNa kaMDarIka keruM re, sAMbhaliyo virataMta, rAkhI mana ekata, jIma chaI tima kahuM tata. 2. bhavi. (AMkaNI) gurU nau naI muninau karaIjI, veAvacce pradhAna, AMNI ApaI sUjhatIjI, avasari bhAta nai pAna, 3. bhavi. bhaNaI guNaI vali bhAvasyauMjI, rAti divasa daDha dhyAna, vinaya karaI gurunI ghaNIjI, vinai, vidyAdAna. 4. bhavi. jANaI aMgaI gyAranaujI, anukrami huMvau teha, aratha vicAra sIkhAvIAjI, sahagurU adhikaI neha. 5 bhavi. Azrava pAMce pariharyAjI, myAuM mUla pramAda, pAMce IMdrI vasI kIjI, jItau krodha viSAda. 6. bhavi. pAlatuM pravacana mAnanaiMjI, sama tRNa maNi sovana, cauttha cha4 aThama karaIjI, pAraNaI nIrasa ana. anya divasa kaMDarIkanaIjI, arasa virasa AhAra, karatAM aMgaI UpanAjI, roga aneka prakAra. dIghavara adhika thayaujI, huM tarka ati sukamAla, sukha saMyoga magana thakaIjI, nIgamIya kola. 9. bhavi. komala kuMmAMlAI sadAjI, paratakhi pekhauM phUla, kaThina kisyau kumalAI vajI, javanaka patthara sUla. 0. bhavi. AvyA anukrami viharatAjI, thivira valI tiNa ThAMmaI, rAjA piNa gayau vAMdivAjI, ridhi saMghAtaI tAma muni vAdI dezaNa suNIjI, baMdhava nijaraI dITha, DIla che ati durabala thayaujI, basaI uThaI nITha. 2. bhavi. adhika asAtA UpanIjI, ehavau dekhI bhAya, gurU naIM vacanaI sthau kahaIjI, be kara joDI rAya. 13. bhavi. 7. bhavi. 8. bhavi.

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Vol. XX, 1995-1996. rAjasAkRta puMDarIka-kuMDarIka-saMdhi 161 14. bhavi. kaMDarIka baMdhava taNaIjI, aMgaI chaI bahu roga, yAMnazAli muja jau rahaujI, tala karuM aukhadha yoga. rAya vacana mAMnI karIjI, Avi rahyAM tihAM sAtha, aukhadha tiNa tiNa parI karIjI jima thaI turata samAdhi. ziSya samAdhi thayA pachIjI, tihAMthI zivara mahaMta, cAlyA nRpa pUchI karIjI, bhamatA muni zobhata. 15. bhavi. 16. bhavi. (sarvagAthA-104) duhA-5 kaMDarIka tihAMkaNi rahyauM, na calya gurU saMghAti, sithilAcArI nipaTate, na karaI cAritta tAti. na karaI paDikamaNa kare, paDilehaNa pacakhANa, rAti divasa sUtI rahaI, cinI na AMNaMI kAMNa. muni paramAda vasaI paDyauM, lopI guru kula lAja, narapati ghari AhAra lyuI, sarasa sadA e kAja. rAjA bheda lahyAM pachI, sAthai le parivAra, Avi samIpai vAMdIyAla, dIThI teha prakAra. vinaya vizeSaI sAcavI, bhAkhaI ema vacanna, jAMNaI kimahIka ThAMmie, AvaI vAlI manna. DhAla-7 dhyAna vinaya kAusaga karuM re-e dezI. rAja ramaNi prabhutA tijI re, lIdhau saMyama bhAra, pavidha jIva nIkAyanauM re, huya rAkhaNahAra re. baMdhava. dhana dhana tuM aNagAra, jiNa choDyau saMsAra re. baMdha. (AMkaNI) taI avatAra saphala karayala re, tuja jIvita sukvaccha, dhana parijana mAtApitA re, tuja samajAyau jiccha re. baMdhava. huM pApI paramAdIyala re, khUta bhava jaMjAti, cArita navi leI sake re, jima gaja paMka vicAli re. 2. dhane. 3. dhana

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162 kalpanA kanubhAI zeTha SAMBODHI 4. dhana. 5. dhana. 6. dhana. 7. dhana. 8, dhana. 9 dhana. vAra vitIna vacana suNI re, Ima narapati nau yeha, bolyau nahIM piNa lAjIyau re, kIdhI prazaMsA jehara. baMdhava. cAlyauM te lAI karI re, piNa nahIM manamAM bhAva, vAMchA bhoga saMyoganI re, na calaI koI dAva re. baMdhava. tihAMthI AvI guru nahaI re, rahatAM keIka dIha, vaulyA tehavaI vrata taNIre, lopaNa lAgau lIha re. baMdhava. cArita kuMtI ubhagyau re, nRpamaMdira nai pAsi, azokavanikI vADI achaI re, suMdara sobhA jAsire. baMdhava. Avyau puDhavI silA paTaI re, tihAM azoka naI heThI, ciMtaMI mujhanaI A kisI re, lAgI cArita veThI re. baMdhava. ciMtA Arati baIThau karAI re, karuM akkula paramAra, jAMuM ghari kehI parazuM re, hasacaI sahu parivAra re. baMdhava. kAja vizeSaI ehavaI re, AvI nRpanI ghAya, baIThau dIThau muni tihAM re, ciMtAtura vilakhAya re. baMdhava. vAta kahI nRpanai jaI, vADImAM tuccha vIra, vRkSa azoka taNaI talaI re, baIThau chaI dilagIra re. baMdhava. timahIM ja aNabolyau rahyau re, taba jAMya muja vAta, na gamI saMyama UpareI re, prema nathI tila mAta re. baMdhava. jiNi raNi pAchA paga dIA re, paDatA ghAva zarIra, vadhu kArayau piNate kahe re, na huvaI phirinaI dhIra re. baMdhava. ema vimAsI pUchIyala re, tuNDa nai viSaya saMghAti, vAMchA chaI muja Agalai re, te kahau mananI vAta re. baMdhava, Ima citavi tiNi hA bhaNI re, mAkhI kuNa gilaI lAji, paIThA jau nAMcaNa bhaNI re, tau ghuMghaTasyauM kAja re. baMdhava. teDyA tasu mana jAMNinaI re, sevaka sakala naresa, turata tayAra takhata karI re, kIdhau rAjya niveza re. baMdhava. kaMDarIka rAjA thayau re, jima pahilI puMDarIka, | muni thaI karama vasai paDyau re, karama lagADI bIka re. baMdhava. 10. dhana. 12. dhana. 13. dhana. 14. dhana, 15. dhana. 16, dhana. 17. dhana. 18 dho.

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Vol. XX, 1995-1996 rAjasAkRta puMDarIka-kuMDarIka-saMdhi 163. karama vasai sahu jIvaDAre, karama karaI te thAI, nahIMtari kAga uDAvaNI re, ratana gamADaI kAMI re. baMdhava. 19. dhana. (sarvagAthA-129) 5 duhA-5 puMDarIka munivara thayauM, paMcamuSTi kari loca, avasara pAmI pAMtaraI, pachaI karaI te soca. baMdhavanA upagaraNa le, de baMdhavanaI rAja, puMDarIka cArita lIdhauM, bhava-jala taraNa jihAja. jima nAMkhI jaI jADakI, vastradaM lAgI dhUli, rAjaridhi prabhutA ghaNI, tiNa pari choDI mUli. thyAri mahAvrata uccarI, abhigraha kIdhala ema, jaI guru pAsi na uccara, tihAM lagi jimavA nema. suguru samIpai AvivA, nagarI huMtI teha, munivara cAlyau mAhAlata, mahIali guNa maNi preha. DhAla-7 rAga-jaya sirI giradhara AvaIlau - e dezI merI bahitI kaI kAI acarija vAta e dezI. kuMDarIka ziva pUMThaI thakI, sabalA karyA AhAra, jAgaraNa bhoga prasaMgathI, na jya te tiNavAra. ApaNA karamavasi sahu koI, karama karaMI te hoI, Iha bhavanaI parabhoI, prANI ApaNA karama vasi sahu koya. AhAra sabala sahyA nahIM, haMala ajIraNa teNi, pitrakvara paragata thakauM, viharaI dAha - vileNa. prANI. adharAti ati vedanA thaI, piNa ko na hovaI sIra, vedana kare koI pArakI, na lIyaI neTi udAra. prANI. tiNa samaya rAjA ridhisyuM, mUrachita thayau atyaMta, strI mAlanaI malakaMti tarapha, Arata dhyAna atyaMta. prAMNI. 1. prANI AMkaNI. 2. AMpaNa. 3. AMpaNa. 4. AMpaNa.

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164 kalpanA kanubhAI zeTha mAnyuM nahI muMha te pramukha, tiNa te thayau vikarAla, ati raudra pariNAMme caDhau, gati samati aMtakAla. prAMNI. te tIvra vedana naI vasad kira kAla mAsaU kAla, sAtamaI naragaI upanau, 'dukha jihAM asarAla. prAMNI. Ima sAdhu je vrata bhAMjIsyaI, Ihaloka naI paraloka, te dukha lahaI syaI atighaNau, valata karasyaI zoka. prAMNI. puMDarIka paNa UtAvalau, AvIyau sadgurU pAsi, dIkSA valI lIdhI IhAM, vAta suNau eka khAsa. prAMNI duhA-2 dIkSA na huvaI gurU vinA, tirthaMkaranaI TAli, levaI pratyeka budhdha piNa, pUvabhava guru bhAvi. jau dIkSA gurU viNa huvaI, puMDarIkanau kAMI, abhigraha kari gurUmukhi grahyauM, pherI cArita Aya. DhAla tehI ja. caubhaMgIyaI cAritIyA, dAkhIyA jiNavara deva, sIha paraIM saMyama AdarI, pAlaI tima niti meva. prAMNI. koIka sIha paraI grahaI, thAyaI pachaI sIAla, sIAla pari le sIhajyuM, ke hovaI pratipAla. prAMNI sIAla pari vrata leInaI, sIAla para pAleI, e cyAra bhAMgA tehamAM, pahile be bhAI beI. prAMNI. vrata leI munivara sIha jima, pAlaI achaI jima sIha, mada moha mAyA ni nahIM, nIrAgI naI nirIha. prAMNI. sudhdha satara vidha saMyama dharaI, tapa tapaI bAra prakAra, nija dehanI piNa sAdhu te, na karaI sAra ligAra. prAMNI. sajjhAya dhyAMna kIyA karaI, sevaI sugurUnA pAya, rAti naI dina INi para rahaI, sII mokSa upAya. prAMNI. 1. ApaNAM karama visa sahu koya - ahIM A vadhArAno pATha che. 5. AMpaNa. SAMBODHI 6. AMpaNa. 7. AMpaNa. 8. AMpaNa. 1 2. 10 11. AMpaNa. 12. AMpaNa. 13. AMpaNa. 14. AMpaNa. 15. AMpaNa. 16. AMpaNa,

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Vol. XX, 1995-1996 rAjasAkRta puMDarIka-kuMDarIka-saMdhi 165 17. AMpaNa. 18. AMpaNa. 19. AMpaNa. 20. AMpaNa. vrata rahI chaTha kari pAraNAM, pAMgaryau le gurU ANa, trIjaI pahuraI gocarI, jINavara vacana pramAMNa. prAMNI. muni ana ati nIrasAhyauM, vali jeha kAlAtIta, gurunaI dikhADI ne jimyauM, bila pannaganI nIti. prAMNI. AhAra arasa virasa tiko, pariNamyau nahIM tasu tAma, huyI ajIraNa tiNa paraI, piNa mani subha pariNAma. prAMNI. jAgataI jAgari ko tasvaI, dharamanI AdhI rAti, sabalI zarIraIM upanI, vedana nava nava bhAMti. prANI. ghaTa nipaTa nirabala jAMNinaI, munivara mAhA guNavaMta, aTakalyau Atama buddhiyI. AUkhA nau aMta. prAMNI. sidhanaI kahIye namutthaNa, gurUnaI kahiuM vali pheri, nija pApa niMdI paDikamI, kApI karama kaMtheri. prAMNI. prANAtipAtAdika taNauM, gurUmukhaImaI pacakhANa, kIdhau kutau vali karUM achauM, Ima kahi karaI tiNa ThANa. prAMNI. saraNA kIyA cyAre valI, jehathI sukha paramatya, gati ArinA dukha meTivA, jeha sadA samaratha. prAMNI. jasu yoni caurAsI achaI, lAkha te pAmyA jIva, kehasyauM vayara na mAharaI, maitrI bhAva sadIva, prAMNI. paNa. 22. paNa. 23. paNa. 24. AMpaNa. 25. AMpaNa. (sarvagAthA - 159) DhAla-8 rAga-dhanyAsI DhAlanI- baIyArI. Aja nihejau dIsaI nahalau - e dezI. Ima khAmI sigalAhI jIvanaI, nija pAtaka Aloya, mana zudhdhaI de micchAmi dukkaDa, riSi puhata upara loya. puMDarIka munivara nitu vaMdIyaI, trikaraNa zudhdhaI trikAla, nita nita nAma japatAM jehanauM, bhAjaI bhava jaMjAla. saravAratha sidhaI jaI Upanau, tetrIsa sAgara AyauM, cavIya tihAMthI kheta videha mai, lahisaI ziva rikhi rAuM. 2. paMDa. (AMkaNI) 3. puMDa.

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166 kalpanA kanubhAI zeTha SAMBODHI Ima je cArita laI pAliyaI, te lahisyaI bahu suSma, pujya hasya Iha bhavi sahu loka naI, parabhavi varasyaI mukta. 4. paMDa. chaThaI aMgaI eha aratha kaula, ogaNIsamaI ajhayaNa, mana pira karinA saMyama UparaI, sAdhu bhaNIe kahaNa. vardhamAna svAmI saya-mukhi suNI, gaNahara sohama svAmi, Ubhati bhAMti dikhADI lokanaI, leI jaMbU nAma. gaccha vaDau kharatara jagi jAMNIyaI, sudhdha paraMpara dhAra, abhayadevasUri sarikhA jihAM thayA, vRti navAMgIkAra. sudharama svAmI paTTAnukramaI, yuga pradhAna jima caMda, bhAgyavaMta bhaTTAraka tiNa gacchaiM, sevaI narapati vRda. sAhi akabara jiNi prati bodhIyala, yuga pradhAna pada dIdha, jIvadayA varatAvI jaga mAMhe, sobhA adhikI lIdha. tAsu zIsa vaDavakhatI dIpatA, puNya pradhAna vijAya, sIsa sumatisAgara matiAgara, paragaTa paMDitarAya. sAdhuraMga tasu ziSya sohAmaNAM, sIsa tAsa rAjasAra, bhavIyaNanaI upagAra bhaNI bhaNaI, be baMdhava adhikAra. kIdhau saMvata satara tiDottaraI, sudi sAtami posa mAsa, rAjaIzrI jinasAgarasUri naI, pahilau eha prayAsa. ahamadAvAda nagara ati dIpalauM, jihAM zrIsaMgha sanUra, zAMtinAtha supasAyaI tihAM kahyauM, aratha e adhika paDUra. saMdhi suNa e mAnava mana deI, rAjasAra kahaMI ema, phalaI manorathamAlA navanavI, hovaI ANaMda, khema. 14. paMDa. iti zrI puMDarika kuMDarIka muni saMdhi samApta // saMvata 1717 varSe, vaizAkha sudi bhome, zrIpattane zrIvinayaprabhasUriNAM likhita vAmAna ciranidyAta.

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zubhavijayakRtaM // tarkabhASAvArtikam // saMpA. nArAyaNa ma. kaMsArA [Contd. from Sambodhi Vol. XIX. Dec. 1995] __ [ // anumAnam // ] athAnamAnapramANaM lakSayati-'liGaparAmarzo 'numAnam' iti / parAmarzastRtIyaM jJAnamiti parAmarzo'numAnamityukte hAnopAdAnAdipratyakSe'tiprasaktiH / tat kathamiti cet, nirvikalpakasavikalpakAbhyAmasya pratyakSasya tRtIyatvAt / tannirAsAya liGgeti tAvatyukte'jJAtadhUme'tivyAptiH / tannirAsAya parAmarzeti karaNatvAditi karaNapramANavAdino naiyAyikAH, phalapramANavAdino mImAMsakA iti // [kiM punarliGama ? kazca tasya parAmarzaH ? ucyate vyAptibalenArthagamakaM liGgam / ] kiM punrlinggmiti| lInamarthaM gamayatIti liGgam / vyAptiviziSTa pakSadharmatvaM liGgatvamityukte ekaikamAtrajJAnajanye liGgaparAmarzAdAvatiprasaktiH / katham ? tatra liGgabuddhyA grahaNAbhAvAt / tannirAsAya vyAptIti tAvatyukte samUhAlambanajanyaliGgaparAmarzAdAvatiprasaktiH / katham ? 'atra vahnidhUmau staH' ityatra samUhAlambanajanyajJAnatvaM, na tu liGgabuddhyA grahaNam / tannirAsAya viziSTeti // nanu kathametasya kAraNatvam ? vyApArAbhAvAt / na ca saMskAro vyApAraH / saMskArajanyatvenAnumiti: smRtivyApAramAtrajatarko vyApAro, 'vahivyApya: dhUmavAnayam' ityAdiliGgaparAmarzajanyatve mAnAbhAvAt / ata eva nirvikalpakaM dhArAvahanaM vA na vyApAraH / na ca nirvikalpakaM vyApAri, abhAvAdihetau 'tadaham' tadabhAvAt / maivm| vyAptiviziSTapakSadharmatvAbhidhAne liGgazabdasyaikadezalakSaNayA vyApyAbhidhAyitvAd vyAptijJAnamanumAnamityarthaH / tasya liGgaparAmarzo dvAram / ato na kApi kSatiH / nirvyApArakaraNatvavAdimate liGgaparAmarzaH karaNaM, balabhadramate vyAptijJAnaM karaNaM, liGgaparAmarzo'vAntara iti // nanu liGgaparAmarzaH pakSavizeSyako vA pakSavizeSaNako vA ? ucyate / ubhayathA na doSaH, 'parvato dhUmavAn' iti vizeSyakaH, 'parvate dhUmaH' iti vizeSaNakaH, saptamyantaM vizeSaNamiti nyAyAt / tathA ca 'parvato'yaM vahnimAn, dhUmavattvAd' ityatra yadA dharmI sAdhyate tadA dharmI hetuH prayujyate, yadA dharmaH sAdhyate tadA hetAvapi dharmaH prayujyate, yathA 'yatra yatra dhUmavattvaM tatra vahnimattvam,' 'yatra yatra dhUmastatra vahni': iti / tathA paJcamyantastRtIyAnto vA hetuH, yathA 'parvato'yamagnimAn dhUmavattvAt' / dhUmAt dhUmavattvena dhUmena vA hetau dharmatrayam / yathA dhUmavattvaM vyAptimattvaM sAdhyasamAnAdhikaraNyaM veti vyAptiprayogasyAdyatvAdyavayavayat zabdasya dvitvaM bhavati na tu tat zabdasya, yathA 'yatra yatra dhUmavattvaM tatra vahnimattvam' iti / yaduktaM cintAmaNipragalbhIvRttau 'yad yat pApaM pratijahIhi jagadetannAtha namrasya tanme' iti / / vyAptibaleneti vyAptismaraNenArthabodhakamityarthaH / sAdhyasAmAnAdhikaraNyaM vyAptiriti [ sAhacaryaniyamo vyAptiH / ] sAhacaryeti / sAhacaryamAnaM vyAptirna bhavati, kintvanaupAdhikaH sambandho vyAptiriti sUcayituM niyamagrahaNam / nanu niyatatvaM nAma sAdhyAtyantAbhAvavattitvaM niyatatvamiti cenna, 'gho'bhidheyaH prameyatvAda'

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168 nArAyaNa ma. kaMsArA SAMBODHI ityatrAvyApteH / katham ? iti cet, tatra sAdhyAtyantAbhAvAprasiddheH / ata evAnyonyAbhAvagarbhamapi na ghaTabhidheyayoranyonyAbhAvAbhAvAt tadgarbha lakSaNaM na bhavati / svasamAnAdhikaraNAtyantAbhAvApratiyogisAmAnAdhikaraNyaM vyAptiriti cenna, 'idaM saMyogi dravyatvAd' ityatrAvyApteH / saMyogitvaM niyatatvaM na / kecid ragaragAyamAnAH paramANavo saMyogina eva vartante / teSAM kadApi saMyogo na bhaviSyatItyavyAptiriti // [prayojakazyopAdhiH ityucyate / ] prayojakazceti / nanu zAkAdyAhArapariNAmabhedasyopAdhitvaM vaktumupakramya prayojanapratipAdanamayuktamityAzakya saMjJAbhedo na saMjJibheda ityAha- prayojakaH / uktaM ca vyAptezca dRzyamAnAyAH kazcid dharmaH prayojakaH 'asmin satyamunA bhAvyam' iti zaktyA nirUpyate 1 samAsamA(va)vinAbhAvAdekatra sto yadA tadA samena yadi no vyAptastayo_naH prayojaka: 2 AbhyAmupAdhiH prayojaka uktaH / upAdherlakSaNaM yathA sAdhanAvyApakatve sati sAdhyasamavyAptirupAdhirityukte anityaH zabdaH kRtakatvAt ghaTavat, tatra sakartRkatvamupAdhiH / yatra yatrAnityatvaM tatra sakartRtvameva / tannirAsAya sAdhanAvyApaka iti / tathokte ghaTatvamupAdhiH, zabde kRtakatvasattve ghaTatvAbhAvAt / ata uktaM - sAdhyAvyAptiH / tAvatyukte ashraavnntvmupaadhiH| katham ? zabde zrAvaNatvaM nAsti / yatrAnityatvaM tatrAzrAvaNatvamasti / tasmAduktalakSaNAsadbhAvAt tasyopAdhitvanivRttyarthaM samagrahaNam / yathA japAkusumaM svasaMnihitasphaTike raktimAnaM janayati tathopAdhirapi svasaMspRSTe sAdhanatvAbhimate vastuni svaniSThAM vyAptimAsaJjayatItyataH svasminniva svasaMsargiNi svadharmAsaJjaka upAdhiriti // sa ca dvedhA - nizcitaH, zaGkitazca / tatra nizcitopAdhiryathA - agnedhumasambandhe ArdaindhanasaMyogaH / sarvavyAkhyAvikalpAnAM dvayamiSTaM prayojanam / pUrvatrAparitoSo vA viSayavyAptireva ca // 1 // iti sattvAd viSayavyAptAvudAharati aparanizcito yathA - hiMsAtvasyAdharmatvamupAdhiH / nanu yatra zyAmatvaM tatra zAkAdyAhArapariNatibheda iti saGgacchate, zyAmatve'pi nIlotpalAdAvuktopAdherasambhavAditi cet, tadasamaJjasaM, yataH zyAmatvaM manuSyadharma iti kecidUcire / puruSasya zyAmatvamiti sAdhyavizeSitatvaM pare menire / uktopAdhemaitrItanayatvaM pratyavyApakatvAnizcayAt / zaGkitatvamuktaM zaGkitopAdhe: tau tAni taiH / yAvaccAvyatirekitvaM zatAMzenApi zakyate / vipakSasya kutastAvaddhatorgamanikAbalam // 1 // anupalambha upAdhyabhAvastena sanAthena yuktenetyarthaH / athopAdhistrividhaH / pakSadharmAvacchinnasAdhyavyApaka: 11 sAdhanAvacchinnasAdhyavyApaka: 2 / zuddhasAdhyavyApakazca 3 / tatrAdyo - 'garbhastho maitrItanayaH zyAmo, maitrItanayatvAda' ityatra zAka jatvamiti / dvitIyo yathA-'vAyu: pratyakSaH, pratyakSaspA zrayatvAd' ityatrodbhutarUpatvalakSaNopAdhirasyArthaH pratyakSasyAzrayitvaM sAdhanaM tenAvacchinnaM sAdhyaM pratyakSatvaM, tasya vyApakatvamudbhUtarUpatvamiti 2 / tRtIyo yathA - 'parvato dhUmavAn, vahe:' ityatrATTaindhanasaMyogalakSaNopAdhiriti / tatra tRtIyopAdhau sAdhyavyApakatve satItyAdilakSaNasattve'pi AdyadvitIyayorlakSaNaM na yAti, tayoH zAkapAkajatvodbhatarUpakatvalakSaNopAdhyoH zyAmatvapratyakSatvavyApakAbhAvAt / yatra zyAmatvaM tatra pAkajatvamiti vyAptau gRhyamANAyAM kAkakokilAdau vyabhicArAt tatrAvyAptiH / tannirAsAya bhillAdijAtivyatiriktatve satIti graahymiti| yatra yatra pratyakSatvaM tatrodbhUtarUpatvamiti vyAptau gRhyamANAyAmAtmani vyabhicArAt tatrAvyAptiH / tannirAsAya pratyakSasparzAzrayitve satIti grAhyamiti //

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Vol. XX, 1996 tarkabhASAvArtikam 169 [sAdhakabAdhakapramANAbhAvena saMzayasya nyAyaprAptatvAt / ] sAdhaketi / sAdhakatvaM hi vastunaH sattvaM pratyAyati, bAdhakamasattvaM ca / tadubhayAbhAvAt sandeho nyAyyaH // [taccAnumAnaM dvividham / svArtha parArthaM ceti / svArthaM svapratipattihetaH / ] svArthamiti / svasthAnameyapratipattilakSaNaM prayojanaM yasmAd bhavati tat svArtham / [tathA hi svayameva mahAnasAdau viziSTena pratyakSeNa dhUmAgnyoApti gRhItvA....] viziSTeneti / upAdhyabhAvabhUyodarzanajanitasaMskArasanAthenetyarthaH / [parvatasamIpaM gatastadgate cAgnau sandihAnaH parvatavartinImavicchinnamUlAma_lihAM dhUmalekhAM pazyan...] avicchinneti / zamitavanyAdau vyabhicAravAraNAyAvicchinnamUlAmiti / gopAlaghaTikAdhUmAdau vyabhicAranirAsArtham 'abhraMlihAm' iti // [tathA hi yatra yatra dhUmavattvaM tatrAgnimattvaM, yathA mahAnase ityanvayavyAptiH / ] anvayavyAptiriti / bhAvapurassarA sAdhanapurassarA vyAptiranvayavyAptiriti / evaM yatrAgnirnAsti tatra dhUmo'pi nAsti, yathA mahAde' itIyaM vyatirekavyAptiH / vyatirekavyAptiriti / vyAptidvaividhyamuktam / vyatirekavyAptezyaM krama iti / vyApyavyApakabhAvo hi bhAvayoryAdagiSyate / tayorabhAvayostasmAdviparItaH pratIyate // 1 // anvaye sAdhanaM vyApyaM, sAdhyaM vyApakamiSyate / sAdhyAbhAvo'nyathAvyApyo vyApakaH sAdhanAtyayaH // 2 // vyApakaM tadatanniSThaM vyApyaM tanniSThameva ca / vyApyaM gamakamAdiSTaM vyApakaM gamyamiSyate // 3 // vyApyasya vacanaM parvaM vyApakasya tataH param / evaM parIkSitA vyAptiH sphurIbhavati tattvataH // 4 // nanu hetutraividhyamAha / kevalAnvayI, vipakSAbhAvavAn / kevalavyatirekI, sapakSAbhAvavAn / anvayavyatirekI ca sapakSavipakSabhAvavAn / tatra kevalavyatirekI yathA 'jIvat zarIraM sAtmakaM, prANAdimatvAd' ityatra 'zarIraM sAtmakam' ityukte mRtazarIre bAdhaH / tadvAraNAya 'jIvad' iti tAvadyukte jIvAtmani bAdhaH / tadvAraNAyoddezasiddhaye ca 'zarIram' iti zarIrAvayave'pi pakSa eva, anyathA hetusAdhyanizcayadazAyAmanvayitvaM syAt sapakSe sattvAditi / 'prANAdi' ityatrAdizabdenAtra prANApAnanimeSonmeSajIvanamanAgatIndriyAntarvikArAH sukhaduHkhecchAdveSaprayatnazcAtmano liGgAni prayogaprakAraM darzayati / 'tathA' ityAdinA dehAtiriktamAtmAnamanaGgIkurvANaM cArvAkavarAkaM prati dehAtirikta AtmA sAdhyate / zarIramAtrapakSIkaraNe mRtazarIre bhAgAsiddhiH / ata uktam'jIvad' iti // nanu dhUmAnumAne mahAnasavannizcitasAdhyo nAsti, sarvasya jIvaccharIrasya pakSakukSinikSiptatvAt / dRSTAnte dharmiNi dRSTo dharmastavyAptena hetunA pakSe vidhIyate, vipakSe vA sAdhyanivRttyA sAdhananivRttiH / atra tu sAtmakatvaM prANAdimattvavyApakatvena kvApi na dRSTama, ataH kathaM jIvaccharIre prANAdimattvena sAtmakatvasiddhiH ? kathaM ca ghayadiSu sAtmakatvanivRttyA prANAdimattvanivRttiH ? iti ced, ucyate - laukikaparIkSakANAM yasminnarthe buddhisAmyaM sad dRSTAnta iti payadiSu nairAtmyaM, prANAdimattvaM cetyasminnarthe sarvasampratipattirasti / ataH kathaMkAra nAyaM dRSTAntaH ?

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10 nArAyaNa ma. kaMsArA SAMBODHI sa ca kevalavyatirekIti / nanu kevalavyatireki sAdhyaM kvacit prasiddhaM vA'prasiddha vA, prasiddhau kevalavyatirekatvabhaGgaprasaGgo'prasiddhAvaprasiddhavizeSaNatvamiti cen, maivaM; yato'prasiddhavizeSaNatvaM tasya bhUSaNaM, na tu dUSaNam / yadyevaM tarhi zazaviSANollikhitAntarbhUtvAnna / yadevaM tadevaM yathA gaganamityAdirapi sAdhyasiddhiriti cen maivam, vipakSe bAdhakatarkasAhityAbhyAM sAdhyasiddhyasiddhayorupapatteriti // [lakSaNamapi kevalavyatirekI hetuH / yathA pRthivIlakSaNaM gandhavattvam / vivAdapadaM pRthivIti vyavahartavyaM, gandhavattvAt / yanna pRthivIti vyavahiyate tanna gandhavat, yathA''paH / ] lakSaNamapIti vyAvRttirvyavahAro vA lakSaNasya prayojanaM, yathA gauritarebhyo bhidyate sAsnAdimattvAt / yatretarabhedabhinnatvAbhAvastatra sAsnAdimattvAbhAvo yathA'zvaH / yatra sAnAdimattvaM tatretarabhedatvaM, yathA amuka iti dRSTAnte nAsti, gaumAtrasya pakSIkRtatvAditi / vivAdapadamiti / idaM kASThAdivivAdapadaM bhUrvA Apo vA / naiyAyika: prAha-bhUrgandhavattvAta pRthivIti vyavahartavyaM, yannaivaM tannaivaM, yathA ApaH / yatra pRthvIti vyavahAro na tatra gandhavadapyevamapi na itarebhyo bhidyate na veti vivAdapadamiti / pratyakSanirdoSadUSitendriyajanyaM jJAnaM pratyakSAbhAsAdi kevalAnvayIti vizeSo'bhidheyaH / prameyatvAdatrAbhidhAzabdastaviSayo'bhidheyaH pramAviSayaH prameyaH // nanu kathamasya vipakSAbhAvastabhAdizabdairabhidheyAnAM pratyakSAprameyAntavartinAmanekeSAM sattvAdityAzaDkyAbhidhAtRmAtrasyAnabhidheyasya pramAtRmAtrasya pramAtrapekSayA prameyAsyArthasyAsaMbhavAdavidyamAnavipakSatvaM yuktamityabhipretyAha- sa ca kevalAnvayyeveti / nanvastu puruSamAtrasyAnabhidheyo'prameyazca naraviSANAdiH / sa bhavatu vipakSa iti Aha - [sarvatra hi prAmANika evArtho dRSTAntaH / sa ca prameyazcAbhidheyazceti / ] sarvatreti / apramANikasya niSedhAnahatvamuktamAcAryaiH, labdharUpe kvacit kvacit tAdRgeva niSidhyate vidhAnamantareNAto na niSiddhasya saMbhava iti / anumAnasya dve sAmarthya, vyAptiH pakSadharmatA ceti / pakSeti sandigdhasAdhyadharmI / dharmI pakSa ityukte vipakSe'tiprasaktiH / tannirAsAya sAdhyadharmIti tAvatyukte sapakSe'tiprasaktiH / tannirAsAya sandigdheti tAvatyukte siSAdhayiSAyAmasatyAmapi parvatastathA syAt / siSAdhayiSAviSayaM sAdhyamiti bodhym| nanvatra sandigdhazcAsau sAdhyazca sa tathA, sandigdhasAdhyo dharmo yasya sa tathA iti bahuvrIhiH karmadhArayagarbhito bhavati uta karmadhArayo bahuvrIhigabhitaH ? yadyAdyastahi kevalAd dharmAdanic [dharmAdanic kevalAt // pA0 aSTA0 5 / 4 / 124 // ] iti mahAbhASyasUtram, athavA dvipadAd dharmAdanniti [si0 hai0 za0 7 / 3 / 141] hemasUtram, etatsUtradvayenAtra samAsAnto na saMbhavati / dvitIyapakSe tu sandigdhatvaM pakSasyaiva bhavati / katham ? sAdhyo dharmo yasyAsau sAdhyadharmA / sandigdhazcAsau sAdhyadharmA ceti / maivaM, savizeSaNe vidhiniSedhau vizeSaNamupasaGkrAmato vizeSye bAdhake satIti nyAyAt vizeSaNasyaiva sandigdhatvaM, na tu pakSasya vizeSasya, tena bahuvrIhigabhitakarmadhArayaH kaaryH| evaM sapakSe'pi jJeyamiti // hetvAbhAsAnAha - [na ca sattvakSaNikatvayoAptigrAhakaM pramANamasti / sopAdhikatayA vyApyatvAsiddhau ucyamAnAyAM kSaNikatvamanyaprayuktamityabhyupagataM syAt / sopAdhikatayeti / ] nanu sattvahetoyAptigrAhakapramANAbhAvAd vyApyatvAsiddhatetyuktam / upAdhisadbhAvAd vyApyatvAsiddhatA kimiti nocyate? tatrAha - sopAdhikatayeti / yathA'dharmatvaM hiMsAtvaprayuktaM na bhavati kintu niSiddhatvaprayuktaM, tadvat kSaNikatvaM sattvaprayuktaM na bhavati kintu parabrahmaprayuktamityucyamAne brahmahananAdAvadharmatvamiva kvacit kSaNikatvamabhyupagataM syAt / taccAniSTam / kSaNamAtrAvasthAyitvaM nirhetuko vinAzaH kSaNikatvamiti saugatamatAnusAribhiH kakSIkRtatvAt / tasmAdetAdRzaM kSaNikatvaM kvApi na dRSTamiti sattvakSaNikatvayorvyAptigrAhakapramANabhAvAdeva sattvahetoppyAtvAsiddhamityarthaH / /

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Vol. xx, 1996 tarkabhASAvArtikam 171 [sAdhyavyApakatve sati sAdhanAvyApaka upAdhirityupAdhilakSaNam / ] sAdhye ti / yAvatsAdhanadeze'vartamAno yAvatsAdhanadezavatirupAdhiriti / uktaM ca - ekasAdhyAvinAbhAve mithaH sambandhazUnyayoH / sAdhyAbhAvAvinAbhAvI sa upAdhiryadatyayaH // 1 // sAdhyavyApaka upAdhirityukte 'zabdo'nityaH, kRtakatvAd, ghaTavad' ityatra prameyatvamupAdhiH / tathA 'anityo ghaTaH, sAvayavatvAt, paTavat' / atrAnityatve sAdhye kRtakatvamupAdhirityapi / ata uktaM - sAdhanAvyApaketi / tAvatyukte pUrvAnumAne sAvayavatvamupAdhiH / katham ? yatra yatra kRtakatvaM tatra sAvayavatvaM nAsti, yathA rUpAdau kRtakatvaM vartate, sAvayavatvaM nAsti / ata uktaM-sAdhyavyApaka [iti] / atra sAdhyatvena sAdhanatvenAbhimatatvaM grAhyam, ato nAsambhava iti // [savyabhicAro'naikAntikaH / sa dvividhaH, sAdhAraNAnakAntiko'sAdhAraNAnaikAntikazca / tatra pakSasapakSavipakSavRttiH sAdhAraNaH / sapakSAdvipakSAd vyAvRtto yaH pakSa eva vartate so'sAdhAraNAnaikAntikaH / ] pakSeti / savyabhicAro'naikAntikaH / sAdhyAtyantAbhAvAsamAnAdhikaraNyaM vyabhicAraH / vipakSavRttiH sAdhAraNAnaikAntika ityukte viruddhahetAvativyAptiH / kathamiti cet, 'nityaH zabdaH kRtakatvAt, vyomavat' [ityatra] 'vyomavat' iti nityatve sAdhye nityAnAM sapakSatA, anityAnAM vipakSatA' / anityatve sAdhye'nityAnAM sapakSatA nityAnAM vipakSatA iti nyAyAd ghaTAdau vipakSe kRtakatvasya vidyamAnatvAt / ata uktaM sapakSavipakSavRttiriti / tAvatyukte svarUpAsiddhe'tivyAptiH / katham ? zabdo'nityaH, cAkSuSatvAt / cAkSuSatvaM heturnityatve sAmAnyAdau anityatve paTAdau ca vartate / ata uktaM pakSeti / pakSavipakSavRttirityukte viruddhe'tivyAptiH, prAgvat / ata uktaM sapakSeti / sapakSavRttirityukte svarUpAsiddhe'tivyAptiH / kathamiti ceducyte| 'gaganamanityaM sAvayavatvAt, ghaTavat' / atra sAvayavatvaM hetuH sapakSe ghaTAdau vartate'taH pakSasapakSavipakSavRttiH sAdhAraNAnaikAntika iti vyavasthitamiti / sapakSavipakSAd vyAvRttaH pakSa eva vartamAno'sAdhAraNAnaikAntikaH / sapakSAd vyAvRtta asAdhAraNAnaikAntika ityukte viruddhe'tivyAptiH / ata uktaM vipakSavyAvRtta iti / sapakSavipakSAd vyAvRtta ityukte svarUpAsiddhe'tivyAptiH / katham ? 'zabdo nityaH, sAvayavatvAt, ghaTavat' / atra sAvayavatvaM hetuH sapakSAda rUpAdevipakSAdAkAzAdeAvRttam / ata uktaM pakSa eva vartamAna iti / sapakSavipakSAvyAvRttaH pakSa eva vartamAna ityukte bhAgAsiddhe'ti vyAptiH / katham ? 'nityAH paramANavaH, gandhavatvAt, vyomavat' / atra gandhavattvaM hetuH sapakSAdAkAzAd vyAvRttaH, vipakSAdabAdeyA'vRttaH pArthivaparamANuSveva vartamAnaH / ata uktaM bhAgeti / ataH sapakSavipakSAvyAvRttaH pakSa eva vartamAno'sAdhAraNAnaikAntika iti vyavasthitam // nanu svocitasthalamatikramyAnyatra vartate savyabhicAra iti loke prasiddhaM, tat tu sAdhAraNe'stipakSamAtravRtteH / svasAdhAraNasya kathaM vyabhicAriteti ced, etAvat tAvad AkarNaya, anucitasthale vartanamivocitasthale'vartanamapi vyabhicAra eva // . [prakaraNasamastu sa eva yasya hetoH sAdhyaviparItasAdhakaM hetvantaraM vidyate / ] prakaraNeti / pratIjJArthaviparItArthajJApakahetumAnahetuH prakaraNasameti / nanu imau hetU samabalau hInAdhikabalau vA / nAdyo, vastuno dvairUpyAsambhavena tulyabalatvAyogAt / netaro, prabalena hInasya bAdhitatvena / kAlAtyayApadiSTatayA prakaraNasamatvAnupatte riti cet, maivaM, vastuvRttyA dvayoH samAnabalAbhAve'pi gRhItavizeSaNatvenAbhimAnikaM

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172 nArAyaNa ma. kaMsArA SAMBODHI samabalatvamAdAya prakaraNasamatvopapatteriti // // upamAnam // atidezavAkyArthasmaraNasahakRta gosAdRzyaviziSTapiNDajJAnamupamAnamiti / agRhItasaGketapadopetavAkyamatidezavAkyam / yad vA'tidizyate pratipAdyate'nena sAdhAdirityatidezaH / sa cAsau vAkyaM ceti samAsenAtidezavAkyena pramitAt sAdhAdanantaraM sAdhyasyaM sAdhanaM jJApakaM sAdRzyaviziSTapiNDapratyabhijJAnamupa mAnamiti / uktaM ca - avyutpannapadopetavAkyArthasya ca saMjJini / pratyakSapratyabhijJAnamupamAnamihocyate // 1 // sAdRzyeti tadbhinnatve sati tadgatabhUyo'sAdhAraNadharmavattvamityarthaH / piNDajJAnamupamAnamityukte piNDaviSayakanirvikalpake'tivyAptiH / tannirAsAya viziSTeti tAvatyukte piNDaviSayakaprameyajJAne'tiprasaktiH / tadvAraNAya sAdRzyeti sAdRzyapadaM sApekSyamiti gopadaM gRhyate / tAvatyukte'zrutAtidezavAcyagosAdRzyaviziSTa-" piNDajJAne'tiprasaktiH / tadarthe'tidezavAkyArthasmaraNasahakRteti // saiva phalamiti / na ca vAkyaphalam, ananubhUtapiNDasyApi saMjJAsaMjJisambandhapratipattiprasaGgAt / nApi pratyakSaphalam, anAkaNitAtidezavAkyasyApi tatprasaGgAt / nApi samAhAraphalaM, nagarasthasya vAkyaM na ca svasya pratyakSamiti tayobhinnakAlatvena samAhArAsambhavAt / nApyanumAnaphalaM, liGgasya tRtIyajJAnarUpo liGgaparAmarzaH, tasyAtrAsambhavAt / tasmAdupamitirupamAnaphalameva / taduktam - sambandhasya paricchedaM saMjJAyAH saMjJinA saha / pratyakSAderasAdhyatvAd upamAnaphalaM viduH // 1 // athopamAnaM dvividhaM, sAdharmya vaidhaya' ca / tatra sAdharmya 'yathA gaustathA gavayaH' iti / vaidhayaM tu 'kIdRga uSTraH' iti prazna uttaramAha 'pralamboSThaH kaNTakAzI' ityAdivaidharmyazravaNe sati tAdRzasya vaidharmyasyopalambhe pralamboSThatve kaNTakAzitvaM vaidhaya'miti tadvAkyArthasmaraNe sati yatra zaktiH pramA uSTrapadavAcyo'yamityAkArA bhavati tatra jJAtavyamiti govardhanyAm // ||shbdH // athAgamapramANamAha / AptavAkyaM zabda iti / vAkyaM zabda ityukte 'ghaTamAnaya' iti vaakye'tiprsktiH| tannirAsAya Apteti tAvatyukte 'sambhavaH / tadvAraNAya vAkyeti / zabda iti zabdapramANamityarthaH / yathA dRSTArthadarzinaH puMso yathAdRSTArthavAdinaH / upadezaH parArtho yaH sa ihAgama ucyate // 2 // Apto dvidhA, laukiko'laukika: / laukika: ziSTAdiH / alaukika IzvaraH / tadvAkyaM dvividhaM, vaidikaM laukikaM ca / tatra prathamaM vaidikasyodAharaNaM dvitIyaM laukikasyeti / [Aptastu yathAbhUtasyArthasyopadeSTA puruSaH / ] Aptastviti / atra tuzabdaH bhrAntavipralambhakayorAptatvanirAsArthaH / kutastayostannirAsa: ? tatra yuktimAha / bhrAntasya yAthArthyadarzitvAbhAvAta, vipralambhakasya ca yathArthadarzitve'pi yathArthavAditvAbhAvAt // nanu yathAbhUtaM yathAnubhUtaM tathAvartamAnatvaM vA ? nAdyaH, vastuto nirghaTa bhUtalaM ghaTavattvenAjJAtvA

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Vol. xx, 1996 tarkabhASAvAttikam 173 ghaTavadabhatalamiti vAvaye prayoktu rAptatvaprasaGgAt / nAntyaH, kadAcid ghaTavati bhUtale ghaTAbhAvadazAyAM 'ghaTavabhUtalam' iti vAkyaprayokturAptatvaprasaGgAt / iti vAkyaM tviti AptavAkyaM tvityarthaH / tena zabdapramANalakSaNenAptapadavaiyarthyamiti dhyeyam / yasya padasya yena padena vinA'nvayabodhAjanakatvaM tat tena sAkAGama / prakRtavAkyArthAvabodho yogyatA, anvayabodhavirodhivyavadhAnAbhAvaH / atra tu zabda AkAGkArahitasya padasamUhasya vAkyatvanivRttyarthaH // AkAGkA dvividhA, zAbdI ArthI ca / zAbdyapekSayA''rthI phalavatIti yogyatAvirahaH / kathamityAha - 'kartakaraNayostRtIyA' [pA0 aSTA0 2 / 3 / 18] iti karaNArthe tRtIyAvihitatvAt tayA karaNatvaM pratipAditaM ceda, bhavata, ko doSaH ? ityAha - [na cAgniH seke karaNIbhavituM yogyaH / ] na ceti / abhUtatadbhAve ccipratyayaH / ayogyatvAt karaNatvaM na sambhavatItyarthaH // AkAkSApadakAryamAha - [evamekaikazaH prahare prahare asahoccAritAni 'gAm' 'Anaya' ityAdi padAni na vAkyam / ] evamiti yathAzrute zaGkate - [nanvatrApi na padAni sAkAGkSANi, kintvarthAH phalAdInAmAdheyAnAM tIrAdyAdhArAkAkSitatvAt / ] nanviti / atrApi sAkAGkatvAbhimatapadasthale'pi yathAzrute eva samAdhatte / [ satyam / arthAMstAvat svatadvAreNa tatpratipAdakAni padAnyapi sAkAGkSANItyupacaryante / ] padazrotaryanyonyaviSayAkAGkSAjanakatvena sAkAGkSA ityucyante / satyamiti / sveti svavAcaketi / ko'rthaH ? svazabdenArthaH / tadvAcakaM, tasya zrotA purupastasminnityarthaH / janakatveneti janakajJAnaviSayatvena / [yadvA padAnyevArthAn pratipAdyArthAntaraviSayAkAGkSAjanakAnItyupacArAt sAkAGkSANi / ] yaveti / parasparaviSayAkAsAjanakajJAnaviSayatvenArthAH sAkAGkAH, tatpratipAdyatvena padAnyapi sAkAGkSANIti pUrvamuktam / iha tu arthAkAGkSAprayojakajJAnavipayatvena padAni sAkAGkSANi, tatpratipAdakatvena cArthAH sAkAGkSA ityucyate iti na pUrvabhedaH // [sannihitatvaM tu padAnAmekenaiva puMsA'vilambenoccAritatvam / tacca sAkSAdeva padeSu sambhavati nArthadvArA / ] avilambeneti / anvayabodhavirodhivilambAbhAvenetyarthaH / tena tatraiva tAvadbhiriti dhyeyam / [ tenAyamarthaH sampannaH / arthapratipAdanadvArA zrotuH padAntaraviSayAmarthAntaraviSayAM vA''kAGkhA janayatAM pratIyamAnaparasparAnvayayogyArthapratipAdakAnAM sannihitAnAM padAnAM samUho vAkyam / ] [ padaM ca varNasamUhaH / / padaM ceti / zaktimat padamityatra tAtparyam / tenaikavarNAtmake pade'tivyAptiH / jabagaDadazA ityAdAvativyAptizca na lagatIti bodhyam / 'sAkSAd' ityavyavadhAnenetyarthaH / sAkSAcchabdavyAvRttimAha - 'nArthadvArA' iti / yena padAnAmAkAlAditritayopetatA sAdhitA tena tAdRzAnAM padAnAM samUho vAkyamityarthaH // [evaM ca varNAnAM kramavatAmAzutaravinAzitvena ekadAnekavarNAnubhavAsambhat pUrvapUrvavarNAnanubhUya,] anubhUyeti / etena anubhavAbhAvAt kathaM tatsaMskArasAhityaM zrotrasyeti zaGkA parAstA / antyavarNa zravaNakAle pUrvapUrvavarNAnubhavajanitasaMskArasahakartR kenAntyavarNasambandhena padavyutpAdana samayagrahAnugRhItena zrotreNaikadaiva sadasadanekavarNAvagAhinI padapratItirjanyate , sahakAridAyAta pratyabhijJAnavat / antyavarNeti / etena prathamavarNajJAne antyavarNAbhAvAt tatsaMskArAbhAvAt kathaM padajanakamiti zaGkA nirastA / / [pratyabhijJApratyakSe hyatItApi pUrvAvasthA sphuratyeva / tataH pUrvapUrvapadAnubhavajanitasaMskArasahakRtenAntyapadaviSayeNa zrotrendriyeNa padArthapratyayAnagahItenAnekapadAvagAhinI vAkyapratItiH kriyate / ]

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174 nArAyaNa ma. kaMsArA SAMBODHI pUrvapUrveti / etaccopalakSaNam / pUrvapUrvavRttijAtiviSayakasaMskArasahakRtenetyapi bodhyam / tena ca tajjJAnajAtijJAnAbhAvAt kathaM tatprakArakaM jJAnamityapAstam / etena caramavarNajJAnakAle kathaM prathamAdivarNajJAnaM, pratyAsatyabhAvAta na cAtItasya varNasya zrotrasamavAyo'styeveti vA, samavAyAMzarUpapratyAsattyA hi prathamAdivarNajJAnaM laukikameva syAnna tvalaukikamayogyatvAta, tadapi na sambhavati, viSayAbhAvAditi dUSaNaM parAstaM, padasthasaMskArasyaiva pratyAsattitvAt / na ca tarhi padajJAnasaMskArajanyatvena smRtittvApattiriti vAcyaM, saMskAratvena tajjanyatvasya smRtitvaprayojakatvAt / anyathA pratyabhijJAyAM smRtitvApatteH iha ca pratyAsattitvena saMskArajanyatvamiti na smRtitvApattiH / etena caramavarNasannikarSAbhAvAt kathaM tadavagAhinI padapratIti[riti]zaGkA nirastA / padeti 'vibhaktyantaM padam' [-styAdivibhaktiH / tadantaM padam (si. hai. zaM. 1 / 1 / 19-20)] / pdsngketgrhnnaanugRhiitenetyrthH| ekadetyekAmevetyarthaH / tena samUhalakSaNaM susthamityAzayaH // nanu yadi asavarNavizeSyamapi jJAnaM zrotreNa janyate tadA'nAgatAzeSavarNaviSayakamapi jJAnaM janyetetyata Aha - sahakArIti / tatra saMskArAbhAvAt tatra sahakArItyAzayaH / iyatprakAraprabandhena padapratIti vyutpAdya vAkyapratIti vyutpAdayati - [tadidaM vAkyamAptapuruSeNa prayuktaM sacchabdanAmakaM pramANam / ] tadidamiti / tadayaM zabda ityarthaH // pratyabhijJeti / nanu indriyasya saMnihitamAtraviSayatvAt saMskArasya ca pUrvAnubhavamAtraviSayatvAt tattadantobhayaviSaya- jJAnajanane tayoH sAmarthyAbhAvAt grahaNasmaraNAtmake dve ime jJAne cenna, so'yaM devadatta iti jJAne pUrvAparakAlAvacchinnamekaM vastutattvaM tAvaccakAsti, na ca tasya viSayo na bhavatIti samasti sarvajanInAnubhAvavirodhAt, grahaNasmaraNe ca naikaM viSayamavagAhate / tasmAdekamevedaM jJAnamiti cakSurAdipratyakSAnumAnopamAnAgamapramANajanyamanubhavajJAnaM, tajjanyaH saMskAraH, tajjanyA smRtiH, tajjanyaM pratyabhijJAnam / etadudAharaNAni yathA - 'ghaTo'yam' iti idantA vizeSaNenAnubhavatvajJAnaM 1 'sa ghaTaH' iti tattAvizeSaNena smRtitvajJAnaM 2 'so'yaM ghaTA' tattA-idantA vizeSaNena pratyabhijJAnam 3 iti // nanu caturNA pramANAnAM kAni karaNAnItyatra brUmaH / pratyakSam / akSamindriyam / indriyaM pratigatam / indriyAdhInatayA yadutpadyate tat pratyakSamiti tatpuruSaH / nanvakSizabdAdapi pratipUrvAt 'pratisamanubhyo'kSaH' iti sUtreNAvyayIbhAvasamAsAnte Taci pratyakSamiti sidhyati [iti,] ucyate / evamapi 'pratyakSo bodhaH', 'pratyakSA buddhiH' ityatra pautraM strINaM ca na prApnoti / na hyatra matvarthIyo'rtho ghaTate, pratyakSasvarUpasyaiva vedanasya bodhabuddhizabdAbhyAmabhidhAnAd iti / pratyakSaM pramANaM saptaprakAraM, paJca buddhIndriyANi cakSurAdIni SaSThaM manaH, saptamamIzvarapratyakSam / IzvarasyendriyaM nAsti / IzvaraH sAkSAt pazyatIti / SaDvidhaM laukikaM, saptamamalaukikaM ca / tatra pratyakSapramANe cakSurAdiH karaNam / sannikarSo'vAntaravyApAraH / ghaTadijJAnaM pratyakSapramA phalamiti / vyAptijJAnaM karaNam / liGgaparAmarzo dvAram / anumitiH phalamiti / kecilliGgaM karaNaM, parAmarzo dvAram, anumitiH phalamiti 1 / anye'nirvyApAraH svaparAmarza eva karaNam, anumitiH phalamityapare iti 2 / upamAnapramANe 'yathA gaustathA gavayaH' iti vAkyajJAnaM karaNam / 'gosAdRzyo gavayaH' iti vAkyArthasmaraNamavAntaravyApAraH / gavayapiNDajJAnamupamitipramANaphalamiti 3 / 'jyotiSTomena svargakAmo yajeta' ityAdyAptavAkyaM karaNaM, padsamudAyasaGketagraho'vAntaravyApAraH, vAkyArthajJAnaM zAbdIpramA phalamiti 4 / caturyu pramANeSu catvArikaraNAni catvAro'vAntavyApArAzcatasraH pramAzceti / pratyakSapramANe tvayaM vizeSaH / cakSurAdIni SaT karaNAni, . SaDavAntaravyApArAH SaTpramAzcetyaSTAdazaprakArA bhavantIti / / . jAna

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Vol. xx, 1996 tarkabhASAvArtikam 175 nanUddezalakSaNaparIkSANAM kvAntarbhAvaH ? ucyate / anumAne / katham ? pramANamitarebhyo bhidyate, pramAkaraNatvAt / evaM prameyamapIti / atra pramANasyoddezatvena pakSe'ntarbhAvo, lakSaNasya hetAvantarbhAvaH, parIkSApi lakSaNasyaivetyarthaH / anupapattijJAnaM karaNaM, svarUpasatyananupapattireva vA karaNaM, rAtribhojanAdipramA phalaM nirvyApArameva karaNamitibhAvaH // [ / arthApattivicAraNA / ] bhATTamataM dUSayitumutthApayati / [nanvarthApattirapi pRthak pramANamasti / anupapadyamAnArthadarzanAt tadupapAdakIbhUtArthAntarakalpanam 'athApattiH' / ] nanvarthApattiriti / pramANamiti pramitirityarthaH / tena tatkaraNatvenAnupapattijJAnAptireva tatra pramANaM na mantavyamityAzayaH / tameva prathamato vyavasthApayati - [tathAhi, pIno devadatto divA na bhuGkte iti dRSTe zrute vA rAtribhojanaM kalpyate / ] tathA hIti / rAtribhojanamiti tadvAcakaH zabda ityapi bodhyam / tena zrute ityanena virodho na bhavatIti dhyeyam / pramANaM pramiti: pratyakSAdipramAbhyaH divAbhuJjAnatve sati pInatvAditi yogabhogibhinnatve satyapIti bodhyam / atra padakRtyamAha - pInatvAdityukte divAbhojanaprayuktapInatvavati rAtribhojanavirahiNi puruSe vyabhicAraH / tannirAsAya divAbhuJjAnatve satIti tAvatyukte divAbhojanarahite rAtribhojanAbhAvavati kazapuruSe vyabhicAraH / tannirAsAya pInatvAdi jJeyam / [ kevalavyatirekyanumAnenaiva rAtribhojanasya pratIyamAnatvAt, kimarthamarthApatiH pRthaktvena kalpanIyA ?] [ // abhAvaH // ] [daNDapuruSovizeSaNavizeSyabhAvo na tAbhyAM bhidyate / na hi daNDasya vizeSaNatvamarthAntaraM, nApi puruSasya vizeSyatvamarthAntaramapi tu svarUpameva / abhAvasyApi vizeSaNatvAd vizeSyatvAcca / ] abhAvasyApIti / pUrvoktadaNDAdibhAvavadabhAvasyApi vizeSaNatvAdityarthaH / nanvabhAvasya vizeSaNatve'pi tasyArthAntaratvaM bhavatu, ko doSaH ? ityAzakya [Aha - ] avizeSaNasyArthAntaratve dravyAdInAmanyatamatvena bhavitavyam / tadanyatamabhAve na sambhavati, abhAvasya bhAvAdhikaraNatvAsambhavAd, na cAbhAve kasyacit padArthasya davyAdyanyatamasya sambhavaH ] iti / na cAbhAva iti, udAharaNam - 'daNDI puruSaH' ityatra daNDapuruSayorvizeSaNavizeSyabhAvo na tAbhyAM bhidyate / yo daNDI sa eva puruSo, yaH puruSaH sa eva daNDI' iti / sambandhazca bhinnobhayAzritaikalakSaNa iti svoparakteti svaviziSTapratyayajanakatvamityarthaH / abhAvasyApIti / abhAvasya vyApakatvaM kAraNatvaM ca darzayati / yathA ghaTaprAgabhAvarUpasya mRtpiNDasya ghaTaM prati vyApakatvaM ghaTakAraNarUpasya mRtpiNDasya ghaTaM prati kAraNatvaM cAsti, tathA 'idaM bhUtalaM ghaTAbhAvavat' ityatra idantAviziSTabhUtale ghaTAbhAvo'nyatrApi ghaTAbhAvo, no vyApakatvaM, abhAvasya viSayakajJAnajanakatve na kAraNatvaM ca ghaTAbhAvasyeti / [tasmAd vizeSaNavizeSyabhAvo na sambandhaH / ] tasmAditi / nanu 'idaM bhUtalaM ghAbhAvavad' ityatra bhUtalaM vizeSyaM ghayabhAvo vizeSaNam, 'iha bhUtale ghaTabhAvaH' ityatra saptamyantaM vizeSaNamiti nyAyAd bhUtalaM vizeSaNaM ghaTAbhAvo vizeSyamiti vizeSaNavizeSyabhAvasambandho'stIti cet, na, vizeSaNavizeSyabhAvastu sambandha eva nAsti yato viziSyate yat tad vizeSaNaM, vizeSyate'neneti vizeSyaM, vizeSaNamiti yAvad, vizeSaNavizeSyayoH kAmacArAditi vastusvarUpasambandha eva niyAmaka iti // [tathA cAsambaddhasyAbhAvasyendriyeNa grahaNaM na sambhavati / ] tathA ceti / yadyadindriyaM tat tat sambaddhameva prakAzayatIti yaduktaM tad GgI kriyate, para tvasyA vyavasthAyA bhAvamAtraviSayatvAd asambaddhasyAbhAvasyendriyagrAhakatvaM na hIyate / kutaH ? abhAvAvacchinnatvAd, iti tasyAvyApterbhAvamAtraviSayatayA

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176 nArAyaNa ma. kaMsArA SAMBODHI saGkocanIyatvAdityarthaH // [ idamidAnIM nirUpyate / jalAdijJAne jAte, tasya prAmANyamavadhArya kazcijjalAdau pravartate / kazcit tu sandehAdeva pravRttaH pravRttyuttarakAle jalAdipratilambhe sati prAmANyamavadhArayatIti vastugati: / ] idamidAnImiti pramANanirUpaNAnantaraM tadgataprAmANyaM vicAryate / tatsvatastvaM dvividham / utpattau jJaptau ca / tatrotpattau svatastvaM nAma jJAnakAraNamAtrajanyatvam / yena jJAnaM jAyate tenaiva prAmANyaM sadeva jAyate ityarthaH / jJaptau svatastvaM nAma jJAnakAraNAtiriktakAraNajanyatvam / indriyArthapratisaMyogAdinA jJAnaM jAyate tadatiriktena guNena doSeNa vA tajjJAnaM pramANamapramANaM vA jAyate / jJaptau paratastvaM jJAnagrAhakAtiriktagrAhyatvam / jJAnaM manasA gRhyate tadgataM prAmANyamanumAnena / evaM sthite svataH prAmANyaM pratikSipya parataH prAmANyaM sAdhayituM loke pravartamAnAnAM puMsAM pravRttirubhayatheti lokasiddhAM vastugatimanuvadati / loke hi pipAsuH pumAn tRDupazamanAya jalaM jijJAsamAno jalajJAne jAte tasya jJAnasyAnabhyAsadazApannasyApi samarthapravRttijanakajAtIyatvaliGgena yathArthatvaM nizcitya pravartata ityekaH pakSaH / anyastu jalajJAnAntaraM tasyAdAvatisaMdehAt tatra pravartamAnaphalalAbhe sati samarthapravRttijanakatvaliGgena tasya jJAnasyAbhyAsadazApannasya yathArthatvaM nizcinotItyaparaH pakSaH / ubhayamapi vastu pravRttamAbAlapaNDitam, anubhavasiddhatvAd iti bhAvaH / jalapratilambhe iti jalaprAptAvityarthaH / avadhArayatIti saMvAdipravRttijanakatvaliGgena samarthapravRttijanakatvacihnenetyarthaH // [ atra kazcidAha / ] kazciditi mImAMsakaH / [ pravRtteH prAgeva prAmANyAvadhAraNAt / ] prAgeveti / tadaprAmANyAviSayakayAvattajjJAnaviSayakajJAnena tajjJAnaprAmANyaviSayIkaraNAditi bhAvaH / etadevAha[ kenacijjJAtatAvizeSeNApramANajJAnAvyabhicAriNA jJAnAprAmANye sahaiva gRhyete ityaprAmANyamapi svata eva gRhyatAm / ] svata eveti / tena kenacideva prAmANyaM gRhyate iti matAnapekSatvamityarthaH / jJAnagrAhakAt prAmANyagrAhakAdityarthaH // [jJAnaM ca pravRtteH pUrvameva gRhItaM kathamanyathA prAmANyAprAmANyasandeho'pi syAt ? anadhigate dharmiNi sandehAnudayAt / ] jJAnaM ceti / nanu jJAnamapi pravRttyuttarakAlaM gRhyate cet prAmANyanizcayAnantarakAlapravRttiriti na ghaTate, jJAnaprAmANyayoH sahagrahaNAbhyupagamAd ityAzaDkyAha jJAnaM ceti / nanu jJAnajJAnameva na jAtaM kutaH prAmANyajJAnam ? ata Aha- kathamiti / dharmijJAnaM vinA tava saMzayo na syAt / ato jJAnajJAnamubhayasiddhamiti bhAvaH / tajjJAnajJAnaM mAnasaM vA jJAnatAliGgakaM vA na kazcid vizeSaH / [tasmAt pravRtte pUrvameva jJAtatA'nyathAnupapattiprasUtayA'rthApattyA jJAne gRhIte jJAnagataM prAmANyamarthApattyaiva gRhyate / ] tasmAditi / jJAnatA'nyathAnupapattyA pramANena janitA utpAditA, yA'rthApattiH pramA, tayA jJAnaviSayIkaraNadazAyAM tathaiva tadgataprAmANyameva grAhyata ityarthaH / tataH puruSaH pravartate / na tu prathamaM jJAnamAtraM gRhyate tataH pravRttyuttarakAle phaladarzanena jJAnasya prAmANyamavadhAryate / ] prathamamiti / yadi jJAnamAtraM prathamaM gRhyate pazcAdanumAnena tadgataprAmANyaM nizcIyate tadA nizcitaprAmANyabhAvamevAnumAnaM prAmANyaM nizcinoti jJAnena sAkaM pUrvaM tasya gRhItatvAt, tathA gRhItagrahaNenAvasthAnaM lAlagIti / tasmAt parataH prAmANyapakSasyAnavasthAduHsthatvAd, bodhAtmakatvenaiva sarveSAM jJAnAnAM prAmANyam / kva tattvArthAnyathAjJAnena hetUtthadoSajJAnena vA tatprAmANyamapodyate ? evaM sati prAmANyasya svatastvaM kakSIkartavyamiti // [ atrocyate / jJAtatAnyathAnupapattiprasUtayA'rthApattyA jJAnaM gRhyate iti yaduktaM tadeva vayaM na mRSyAmahe tayA prAmANyagrahastu dUrata eva / ] tayeti / siddhAntAprativaktipathA'rthApattyA jJAnagrahaNaM na sahAmahe tadA tayA tadgata prAmANyagrahaNaM hyAhArotsAritameva vyaktyagrahaNe jAtigrahaNasyAsambhavAt vyaktigrahaNasAmagrI

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Vol. XX, 1996 tarkabhASAvArttikam niviSTagrahaNatvAt, jAtigrahaNasAmagyA ityabhipretyAha - tayeti // [tathAhi idaM kila parasyAbhimatam / ghaTaviSaye jJAne jAte 'mayA jJAto'yaM' ghaTaH 'iti ghaTasya jJAtatA pratisandhIyate / tena jJAne jAte sati jJAtatA nAma kazcid dharmo jAta ityanumIyate / sa ca jJAnAt pUrvamajAtatvAt, jJAne jAte ca jAtatvAdanvayavyatirekAbhyAM jJAnena janyata ityavadhAryate / ] idaM kileti parAbhimataM parAkartumanubhASate, 'idam' ityAdinA / teneti jJAtatvapratisandhAnenetyarthaH prakAzabhAvapakSavAdinA na svIkRta iti kRtvoktamanumIyate iti viSayAnyathAnupapattyA viSayo'numIyata ityarthaH // [nanujJAnajanitajJAtatAdhAratvameva hi ghaTAdeniviSayatvam / tathAhi na tAvat tAdAtmyena viSayatA, viSayaviSayiNorghaTajJAnayostAdAtmyAnabhyupagamAt / ] tAdAtmyeneti arthajJAnayoH svarUpatvenAbhedasambandhatetyarthaH / [ tadutpattyA tu viSayatve indriyAderapi viSayatvApattiH / ] tadutpattyeti tasmAt ghaTAda utpattirjJAnasya, tayeti / nanu jJAnotpAdako jJAnaviSayo'ta Aha 'ghaTajJAnavAnaham' ityatrAnuvyavasAyanAmakaM jJAnajJAnaM, 'jJeyaM jAto ghaTaH' ityatra jJAnajanyajJeyaniSThajJAtatA nAma kazcid dharmaH samutpannastenArthApattyA jJAnaM gRhyate'numAnena ca prAmANyamityarthaH / [evaM ca jJAnajanyo'sau jJAtatA nAma dharmo jJAnamantareNa nopapadyate, kAraNAbhAve kAryAnudayAt / ] evaM ceti / anabhyAsadazApannajJAnaprAmANyaM yadi svato grAhyaM tadA saMzayo na syAdityapi dUSaNamityAha-prAmANyamiti / jJAnopanItaM tanmanasA kvacidavasIyate tena etAvatA svatastvaM, tadaprAmANyAviSayakayAvattajjJAnaviSayatvAbhAvAd ityAcUhyam / svatastvaM nAma jJAnagrAhakasAmagrIgrAhya, yayA jJAnaM tayA tadgataprAmANyamapIti // nanu prAmANyaM pramANadharmo vA pramAdharmo vA / nAdyo'tra pramANadharmAsambhavAt / dvitIyo ghaTate pramAdharmaH yAthArthyamityarthaH / jJAnaprAmANyalakSaNamAha - tadvadvizeSyakatve sati tatprakArakatvaM prAmANyaM, jalatvavadvizeSyakatve sati jalatvaprakArakatvaM prAmANyamityarthaH / tadvatkArakatvaM prAmANyamityukte 'idaM rajatam' iti bhramajJAne'tivyAptiH / katham ? tatra rajatatvasya prakArakatvenabhAvAd rajatatvAbhAvavatazca zuktikAzakalasya vizeSyatvAt / tannirAsAya 'tadvadvizeSyakatve sati' iti grAhyam / tathA tadvizeSyakA tatprakArikA pramA / jalatvavadvizeSyakaM jalatvaprakArakaM prametyarthaH / jJAnena bhAsamAno dharmo'tra prakAra iti bodhyam / iti catvAri pramANAni vivRNvatA pramANapadArtho vivRttaH // // prameyanirUpaNam // [AtmA / ] atha prameyapadArtha lakSayati / ['AtmazarIrendriyArthabuddhimanaH pravRttidoSapretyabhAvaphaladuHkhApavargAstu prameyam' iti sUtram / tatrAtmatvasAmAnyavAnAtmA / sa ca dehendriyAdivyatiriktaH, pratizarIraM bhinnonityo vibhuzca / sa ca mAnasapratyakSaH / ] AtmatvasAmAnyavAniti / deheti / kiNvAdibhyo madazaktivazAda dehAkArapariNatebhyo bhUtebhyazcetanasyotpatteH sthUle'hamiti sAmAnyAdhikaraNyavat sthUlatvAdezca dehe dharmatvAccaitanye'pi viziSTadehamAtramAtmeti cArvAkAH / suSuptyavasthAyAM satyapi zarIre cakSurAdInAmuparame rUpAdibhirjAnAbhAvAda dUragoSThIvat parasparaguNapradhAnabhAvenAnurodha- sambhavAt kAraNAd atIndriyANAmevAhamAlambanatvamanye / svapnAvasthAyAM cakSurAdyuparame'pi manasyeva sarvavyApAropapattermana evAhamityapare / etAn pratikSipati - deheti / etattritayavyatirikta AtmetyakSarArthaH / na deha AtmA, bAhyendriyagrAhyatvAt, ghaTavat / 'yA'haM bAlye pitarAvanvabhavaM sa eva sthAvire pitRRn anubhavAmi' iti / na indriyANi, AtmanaH karaNatvAd, vAkyAdivat / cakSuSi naSTe'pi 'yo'haM cakSuSA

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178 nArAyaNa ma. kaMsArA SAMBODHI rUpamadrAkSaM sa evAhaM spRzAmi' iti / kiJcendriyamacetanaM, niyataviSayatvAt, prAcyodIcyagavAkSavat / tasmAnnendriyANyAtmA / 'asti manaH' iti cet, tadA cakSurAdivyatiriktaM karaNAntaramapekSya rUpAdIn sAkSAtkaroti, anapekSaM vA / nAdyaH, saMjJAbhedamAtravivAde'pyarthe tadabhAvAt / netaraM, rUpAdiSu cakSurAdisambaddheSu yugapadanekajJAnotpattiprasaGgAt / na manaH, brahmaiva svAvidyayA saMsarati svavidyayA mucyate, tatazca jIvabrahmaNoghayakAzAdivat maThAkAzavadeka AtmA tatra vimatau bhinno kiJcijjJatvasarvajJatvAdiviruddhadharmatvAt, dahanaM tuhinavat // [tathAhi buddhyAdayastAvad guNAH, anityatve satyekendriyamAtra grAhyatvAditi / anityatvaM dhvaMsapratiyogitve sati prAgabhAvapratiyogitvam / ato na rUpAdiprAgabhAvAdau vyabhicAraH ekendriyagrAhyatvAd ityukte ghaTadau vyabhicAraH / katham ? tatra cakSuSA darzanendriyeNa ca grAhyatvAt dvIndriyagrAhyatvamiti prabhAdravye ca vyabhicAraH, tasyAtIndriyatvAt / tadvAraNAya mAtreti mAtrazabdenendriyagrahaNAyogyatA vAryate / tenaikendriyamAtrajanyagRhavinaSTaghaTadau na vyabhicAraH / buddhyAdayaH pratyakSA eva pratyakSatvena bodhyAH / tena nirvikalpakAdibhAge pratyakSatvAsiddhiH, guNatve satyekendriyagAhyatvAditi / ekendriyagrAhyatvAdityukte rUpatvAdau vyabhicAraH / tadvAraNAya guNatve satIti tAvatyukte saMkhyAdau vyabhicAraH / tadvAraNAya vizeSyapadaM ekamAtragrAhye sAdhyarahite vyabhicAravAraNAya mAtreti / tadA ekamAtrendriyagrAhyatvAdityarthaH / / [tadevaM pRthivyAdyaSTadavyavyatirikto navamaM dravyamAtmA siddhaH / sa ca sarvatra kAryopalambhAda vibhaH, paramamahatparimANavAnityarthaH / vibhutvAcca nityo'sau vyomavat / sukhAdInAM vaicitryAt pratizarIraM bhinnH|] vibhutvAditi vibhutvayuktimAha / uptA: zAlayo dRSTasahakArisamavadhAne samAne'pi kasyacit phalanti, ksycinn| adRSTasahakAraNAtiriktamadRSTameSTavyam / tacca svopakAriNi pavanapAvakAdau padArthe kriyAM janayan svAzrayasaMsakte eva tAM janakayati / agnerUddhajvalanaM, vAyostiryakpavanam, anumanasozcAdyaM karma / etAnISTakAritAni / tathA ca tatra dezAdau zAlisasyasampattyAdeH phaladRzyamAnatvAta, tatkAraNAdRSTAdhikaraNasyAtmano vibhutvam / AtmA nANuH bAhyendriyagrAhyaguNAdhikaraNatvAt kumbhAdivat / madhyamaparimANe sAvayavatvadoSaH // [zarIram / ] [tasya bhogAyatanamantyAvayavi zarIram / ] zarIramiti / zarIrasya lakSaNadvaye'pi karacaraNAdAvativyAptiparihArArtham antyAvayavIti padaM kSepyam / na ca mRtazarIreSvavyAptiH, kAdAcitkasya tadAzrayasyeSTatvAt / [sukhaduHkhAnyatarasAkSAtkAro bhogaH / ] sukheti / viSayAbhyAsAdijanyasukhaduHkhAnyatara sAkSAtkAro bhoga ityarthaH / [ceSTAzrayo vA zarIram / ceSTA tu hitAhitaprAptiparihArArthA kriyA, na tu spandanamAtram / ] hiteti hitaprAptyahitaparihAro'nyataraprayojanikA kriyetyarthaH // [indiyam / ] [zarIrasaMyuktaM jJAnakaraNamatIndriyam indriyam / ] atIndriyamityAdinA indriyamatikrAntamatIndriyamityucyamAne indriyajJaptAvatIndriyajJaptiH, atIndriyajJaptAvindriyajJaptiriti parasparAzrayaprasaGga iti [cet], maivaM, yogajadharmAjanyasAkSAtkAraviSayatvamatIndriyatvamiti nirUpyamANatvAt / [tAni cendriyANi SaT, ghrANarasanacakSustvakzrotramanAMsi / ] SaDiti / nanu tvacA sarvendriyasthAnAni vyAptAni / tatazca tvagindriyaM sarvArthopalambhakam / sarvArthagrahaNasya tvagindriyAnvayavyatirekAnuvidhAyitvAd ekameva tat / netyAha / tvagindriyasya sarvAdhiSThAnavyAptAvapi anyAnyazaktibhedAt SaD ityabhyupagamyate, maJcasthapuruSakrozane maJcAH krozantItyapi vyvhaaraat| tvaci sthite'pi pRthaktvavyavahAra indriyANAmiti vastutastu zarIrasaMyogAvacchedena ghaTapaTadInA

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Vol. xx, 1996 tarkabhASAvArtikam 179 tvAcajJAnajanakatayA tatrAtiprasaktivAraNAya 'atIndriyatvam' / [tatra gandhopalabdhisAdhanamindriyaM ghrANam / ] gandheti / asAdhAraNavyApAravadgandhopalabdhisAdhanamityarthaH / ato na manasi, na cAsannikarSe'tiprasaGga / surabhidurabhyavayavArabdhe ghrANe'tivyAptivAraNAya 'upalabdhi' iti / nanu indriyamatIndriyaghrANaM ca aindriyakam / ata eva tatkatham ? ata Aha - 'nAsAgravati' iti / [yadindriyaM rUpAdiSu paJcasu madhye yaM guNaM gRhNAti tadindriyaM tadguNasaMyuktaM, tathA cakSU rUpagrAhaka rUpavat / tadguNasaMyuktamiti tajjAtIyaguNavadityarthaH snehAdigrAhakamapi cakSurAdi na tadvadityanatiprasaktaye rUpAdiSvetyAdhuktam // [ rasopalabdhisAdhanamindriyaM rasanam / jihvAgravati / taccApyaM rasavattvAt / rasatvaM ca rUpAdiSu paJcasu madhye rasasyaivAbhivyaJjakatvAlAlAvat / ] rasasyaiveti / manasi vyabhicAravAraNAya evazabdaH / aprasiddhivAraNAya madhya ityantam // [zabdopalabdhisAdhanamindriyaM zrotram / tacca karNazaSkulyavacchinnamAkAzameva, na dravyAntaraM zabdaguNatvAt / tadapi zabdagrAhakatvAt / ] zabda iti / nanu AkAzasya zrotratvena sarvadA sattvAdabadhirasyApi zabdopalabdhiprasaGga iti cenmaivam / zabdazravaNajanitasukhaduHkhAnubhavaprApakadharmAdharmaviziSTasyaiva nabhodezasya zrotratvAbhyupagamena tAdRzAdRSTavaikalyasAkalyAbhyAM badhiratvAbadhiratvopapatteH, indriyasadbhAve pramANapRcchA ca / [nanu cakSurAdIndiyasadbhAve kiM pramANam ? ucyate / anumAnameva / ] nanviti / anumAnameva pramANamityAha / ucyate iti / kimidamakriyAtvaM vivakSitaM, dhAtvartharUpatvaM, paraspandanarUpatvaM vA ? nAdyaH, nimittamAtrasAdhye pradhvaMsAdAvanekAntikatvAt, na dvitIyaH, asiddhatvAt, iti seyamubhayataH pAzArajjuriti cet, tadasAraM, kriyAtvaM kAryatvamitivivakSitatvAt / kAryatvaM vA bhUtvA bhAvitvamiti na kazcid doSaH / [tathAhi rUpAdyupalabdhayaH karaNasAdhyAH kriyAtvAt, chidikriyAvat / ] karaNeti / tattadupalabdhau tattadasAdhAraNajanyatvamanumeyam / ato manasA nArthAntaram / cakSurAdInAmasAdhAraNakatvam asAdhAraNakaraNatvaM vinA cAkSuSatvAdikamAkasmikaM syAdityAdayastarkA anta:karaNAderyathAkathaJcidasAdhAraNatve tvAcAdarapi cAkSuSajJAnAdyApattirityAdayaH // [arthAH] [arthAH SaTpadArthAH / te ca davyaguNakarmasAmAnyavizeSasamavAyAH / ] artheti / nanu dravyAdiSu SaTsu padArtheSu pramANAdInAM SoDazapadArthAnAM yathAsambhavamantarbhAvasya vaktumazakyatvAt pRthak pramANAdau SoDazapadArthanirUpaNamanupapannaM, lAghave sambhavati gauravasyAnAzrayaNIyatvAd itImAM zaGkAM nirasyati / [pramANAdayo yadyapyatraivAntarbhavanti tathApi prayojanavazAd bhedena kIrtanam / ] pramANAdaya iti / ayaM bhAvaH / nyAyazAstrapratipAditAnAM pramANAdInAM sAkSAnniHzreyasAGgatvavat, dravyAdInAM tadabhAvAt SoDazapadArthavAdo'yuktaH / nanu prAdhAnyena SaTpadArthavAdaH prayojanamiti pramANatvAdirUpeNa tattadvilakSaNaprayojanajanakAH pramANAdaya iti dravyAdyantargatA api pRthaguddiSTA ityarthaH // [pRthivyAdidravyANi // ] sthUlapRthivyAH kAryatvam[iti] prAbhAkarAH / tAn kSeptuM prayogaH / vimatA pRthvI kAryA, sAvayavatvAt / sammataM yat sAvayavatvam / kutaH ? kAThinyakomalatvAd iti siddham / [tatra pRthivItvasAmAnyavatI pRthivI kAThinyakomalatvAdyavayavasaMyogavizeSeNa yuktA / ghrANazarIramRtpiNDapASANavRkSAdirUpA / ] zarIretyAdinAdyadravyasAdhakaguNAnAha / [rUpa rasagandhasparzasaMkhyAparimANapRthaktvasaMyogavibhAgaparatvAparatva

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180 nArAyaNa ma. kaMsArA SAMBODHI gurutvadvatvasaMskAravatI / ] rUpeti / sarveSAM nityatve ghaTAdInAM dravyatvApattiH / sarvAnityatve'navasthA syAta / ityataH / [sA ca dvividhA, nityAnityA ca / nityA paramANurUpA / anityA ca kAryarUpA / ] sA nityAnityeti / dvividhAyAH pRthivyA rUpagandhasparzA anityA: pAkajAzca / pAkastu tejaHsaMyogaH / tena pRthivyAH pUrvarUpAdayo nazyantyanye janyanta iti pAkajAH // aptvasAmAnyayuktA ApaH / rasanendriyazarIrasaritsamudrahimakarakAdirUpAH / gandhavarNasnehayuktapUrvoktaguNavatyaH / ] gandhavarNeti / ete pUrvavat siddhAH rUparasasparzavatya Apo dravyAH, snigdhAzca / saGkhyAdayazcAkSuSAH / patanA'gurutvaM uttarakarmataH saMskAra iti // [tejastvasAmAnyavat tejaH / cakSuHzarIrasavitRsuvarNavahnividyudAdiprabhedam |...tccturvidhm / udbhUtarUpasparzam, anudbhUtarUpasparzam, anudbhUtarUpamudbhUtasparzam, udbhUtarUpamanudbhUtasparzaJceti / ] udbhateti / indriyagrahaNayogyatApAdako dharmavizeSa udbhUtaH, taviparIto'nudbhata iti / udbhUtau rUpasparzI yasyetyarthaH / evamanudbhutau rUpasparzI yasyetyarthaH / krameNodAharati / [udbhUtarUpasparza yathA saurAditejaH piNDIbhUtaM tejo vanyAdikam / ] yatheti // suvarNaM tUbhRtAbhibhUtarUpasparzam / suvarNamiti / idamapyudbhUtarUpasparzasyodAharaNam / suvarNasparzo'nudbhUtaH tvacA pArthivabhAga eva gRhyate / evetyanyarAddhAntaH / sparzeti / upalakSaNametat / kintu sparzazabdadhatikampaliGgatvaM vAyoH / nanu suvarNaM pArthivaM, naimittikadravatvAd ghRtavad iti cenna, vimataM pArthivaM na, pAkanirvatyarUpatvAt, toyavad iti satpratipakSAt / na tu vimataM taijasaM pArthivApAbhyAmanyatve sati rUpavattvAta pradIpavad iti // // kAryadravyANAmutpattivinAzakramaH // [kAraNaguNA hi kAryaguNAnArabhante / kAraNAguNA hIti / ] samavAyikAraNaguNA hIti pAkajanyaghaTapaTAdiniSThaikatvA'samavAyikAraNakadvitvAdidhaTapaTasaMyogAdibhinnakAryaguNajanakA ityarthaH / pAkenAjanyaM yat ghaTapayadiniSThaikatvaM tadevAsamavAyikaraNaM yasya dvitvAdeH sa pAkAjanyaH / ata eva vadanti apAkajA rUparasagandhasparzAH, pariNAmarUpatvagurutvadvatvasnehAdayazca kAraNaguNAprabhavA iti // [itthamutpannasya rUpAdimataH kAryadravyasya ghaTAderavayaveSu kapAlAdiSu nodanAd abhighAtAd vA kriyA jAyate / ] nodanAditi / vegarahita sparzavadravyasaMyogAdityarthaH / abhighAtAditi / sparzavadvegavadvyasaMyogAdityarthaH // pratyakSasiddhaM tryaNukaM kakSIkRtya vyaNukaM sAdhayati / [yadidaM jAlaM sUryamarIcisthaM sarvataH sUkSmatamaM raja upalabhyate tat svalpaparimANadravyArabdhaM kAryadavyatvAd ghaTavat / tacca davyaM kAryameva mahaddavyArambhakasya kAryatvaniyamAt / tadevaM vyaNukAkhyaM dravyaM siddham / ] taditi / dravyatvAd ityukte gaganAdAvanaikAntikatvam / ata uktaM kAryeti / kevalaM 'kAryeti' ukte zabdAdAvanaikAntikatvam / ata uktaM 'dravyatvAd' iti / na cAyamasiddho hetuH / vimataM kAryatvaM cAkSuSatvAd, ghaTavaditi / kiJca vyaNukakAryasya paramANu samavAyikAraNaM, tatsaMyogo'samavAyikAraNam, adRSTAdi nimittakAraNam / vyaNukasaMyogakAryasya paramANa samavAyikAraNaM, tadekatvadvayamasavAyikAraNam, apekSA'dRSTAdi nimittakAraNam / vyaNukaparimANakAryasya paramANU samavAyikAraNaM, dvitvamasamavAyikAraNam adRSTAdinimittakAraNam / atrezvarecchAjanyatvaM sarvatrApi / vyaNukakAryasya vyaNukAdIni samavAyikAraNam / tatsaMyogo'samavAyikAraNaM kriyA'dRSTAdi nimittakAraNam / evaM krameNa mahatI

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Vol. Xx, 1996 tarkabhASAvArtikam 181 pRthvItyAdi bodhyam / asamavAyikAraNanAze kAryanAzaH / kvacit samavAyikAraNanAze kAryanAzaH / nimittakAraNanAze kAryanAzo na bhavatyeva / vyaNuka-tatsaMyoga-tadvitva-tatparimANarUpa-caturNA kAryANAM yathAkramasaMyoga-kriyA-ekatvadvaya-dvitva-lakSaNA'samavAyikAraNanAze satyeva nAzo bhavati / tryaNukAdikAryanAzo vyaNukAdisamavAyikAraNanAze satIti virodhiguNAtiriktarUpajanakapAkena zyAmarUpa nAza ityarthaH / raktAntarajanakenApi pUrvarUpaM nAzyate ityapi bodhyam / evaM smaraNena saMskAranAzaH saMskAreNa svajanakAnubhavajJAnanAzaH / uttarasaMyogAntau karmavibhAgau duHkhAdInAM virodhiguNotpAdena nAzaH, prAyazcittAdyanAzyakarmaNAM bhogAdeva kSayaH ityAdi bodhyam // [ // vyaNukAdInAmavayavaniyamaH // ] [zabdaguNamAkAzam / zabdasaMkhyAparimANapRthaktvasaMyogavibhAgavad ekaM vibhu nityaJca / zabdaliGgakaJca / ] zabdaliGgakatvamasya katham ?] zabdasya vizeSaguNatve sati tvagindriyavedyatvAd rUpAdivada avayavitve siddhe pArizeSyAdAkAzaliGgatvamityAha / [parizeSAt / prasaktapratiSedhe'nyatraprasaGgAt pariziSyamANe sampratyayaH parizeSa ] iti / grAhyatvAdityukte'numAnagrAhye paramANvAdau vyabhicAraH / tannirAsAya indriyeti / tathApyAntarindriyagrAhye Atmani vyabhicAraH / tannirAsAya bAhyeti / tathApi yogibAhyendriyagrAhye paramANvAdau vyabhicAraH / tannirAsAya asmadAdIti / tathApi ghAdau vyabhicAraH / tannirAsAya eketi / tathApi rUpatvAdau vyabhicAraH / tannirAsAya sAmAnyatve satIti / tathApi dIpaprabhAyAM vyabhicAraH / tannirAsAya tadvyatiriktatve satIti vAcyam // [tathAhi zabdastAvada vizeSaguNa: sAmAnyatve satyasmadAdibAhyendriyagrAhyatvAd, rUpAdivat / ] vizeSeti / nanu kimidaM vizeSaguNatvam ? dravyasvAzrayavyavacchedakatvaM 1, dravyasyaiva dravyAntarAvyAvartakatvaM 2, tvacA pratiniyatagrAhyatvaM 3, guNatve sati pratiniyatendriyagrAhyatvaM 4, dravyAntaralakSaNavatastadrahitasakalavyAvartaka tvam 5 ? nAdyaH, svAzrayasya guNAdibhyo vyAvartakadravyatvAdAvativyAptiH / netaro, mUrttadravyasyAmUrtavyAvyAvartake karmAdAvativyAptiH / na tRtIyaH, prabhAdAvativyApteH / na caturthoM, dvIndriyagrAhyayordravyasnehayoratIndriyAsu dharmAdharmabhAvanAsu cAvyApteH, prabhAkumbhasaMyogAdAvativyApteH / nApi paJcamaH pRthvItvAdAvativyApteH, guNatve satIti vizeSaNe jIvAtmAnaH vyAvartake duHkhadveSAdAvativyApteH / tasmAda vizeSaguNatvaM nAma guNatvavyAptajAtimattayA niyataikadravyatvavyavacchedakatvaM, navAnAM lakSaNAnAM madhye lakSaNadvayasamAnAdhikaraNatvarahitaguNatvAcAntajAtimattvaM ca // [ata ebhyo'STabhyo'tiriktaH zabdaguNI eSitavyaH, sa evAkAza iti / sa caiko, bhede pramANAbhAvAt / ekatvenaivopapatteH / ] ekatveneti / nanu tIvraH zabdaH tIvrataraH tIvratamaH iti bheda eva nabhobhedapramANamityAzakya tIvrAdyabhighAtAnvayavyatirekyanuvidhAyinaH zabdabhedasya nabho bhedasAdhakatvAsambhavAdekatvamupapadyate iti AkAzasyaikatvenaiva zabdarUpaliGgopapatte kAzatvavyApyanAnAtvamityAha .. ekatveneti / tattvAkAzatvaM jAtireva lakSaNamastvata Aha / [ekatvAccAkAzatvaM nAma sAmAnyAkAze na vidyate, sAmAnyasyAnekavRttitvAt / ] vibhutvaM sakalamUrtasaMyogitvaM, tadanumeyaM mahattvaM, tadeva vA paramamahattvamityapretyAha vibhutvetyAdinA / [vibhu cAkAzam / paramamahatparimANavadityarthaH, sarvatra tatkAryopalabdheH / ata eva vibhutvAnnityamiti / ] ekatvAditi / / [kAlo'pi digviparItaparatvAparatvAnumeyaH / ] kAla iti / dikRtaparatvAparatvabhinnaparatvAparatvAnumeya

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182 nArAyaNa ma. kaMsArA SAMBODHI iti lakSaNadvayamityarthaH / vastutastu dikkRtaparatvAparatvayobhinnA jAtiH, kAlakRtaparatvAparatvayobhinnA jAtiriti tatra jAtiparaskAreNaiva paratvAparatvAderlakSaNatvamiti pUrvAdIti paratvAparatvAvizeSAnumeyatvamasyAH / [manastvAbhisambandhavanmanaH aNu, AtmasaMyogi, antarindriyaM sakhAyapalabdhikAraNaM nityaM ca / ] mana iti / indriyaM mana ityukte cakSarAdIndriye'tivyAptiH / tannirAsAya 'Antar' iti tAvatyukte sukhAdAvativyAptiH / tannirAsAya indriyeti sukhAdIti etAvatA manasi pramANaM sUcitam / nanu sarvasya jJAnasyAtmanaH saMyogajanyatvAt sarvajJAnasAdhanaM mana iti kathaM 'sukhAdIti' ucyate ? saMyogeneti bahirasvatantraM mana iti nyAyena manasaH svAtantryeNa rUpAdijJAnasAdhanatvaM nAsti, vyAsaMgadazAyAM viSayAntaropalambhasambhavAt / mana:saMyuktAnIndriyANi jJAnajanakAni / tasmAt sarvopalabdhisAdhanatvaM manaso yuktam / manaso vibhutvaM prAga nirastam / madhyamaparimANatve sAvayavatvenAnityatvaprasaGgaH / na cAnityatvaM yuktaM, sparzarahitadravyatvenAkAzAdivadanityatvasAvayavatvayorasambhavAt / yasmin dravye yAvanto guNAH santi tadAha / vAyornavaikAdazatejaso guNA jalakSitiprANabhRtAM caturdaza, dikkAlayoH paJca SaDeva cAmbare, mahezvare'STau manasastathaiva / dravyANyuktAni // [ // guNAH // ] . guNA ucyante / [sAmAnyavAn asamavAyikAraNaM spandAtmA guNaH / ] sAmAnyavAniti / asamavAyikAraNatvaM samavAyikAraNabhinnatvam, anyathA ghaTarUpAdAvativyAptiH / sAmAnyAdAvativyAptiprasaktaye sAmAnyavAniti, dravye'nativyAptiprasaktaye'samAyikAraNamiti karmaNyanatiprasaktaye spandAtmeti // [pRthakatvaM pRthagvyavahArasAdhAraNaM kAraNam / ] pRthaktvamiti / nanu anyonyAbhAvanibandhano'yaM vyavahAra iti cenmeva, tatsarvAnullikhitadhIviSayatvana pRthaktvasyAbhAvarUpatvAnupapattaH // [saMyogaH saMyuktavyavahAraheturguNaH / sa ca vyAzrayo'vyAptavRttizca / ] avyApyavRttIti / avyApyavRttitvaM svAtyantAbhAvasamAnAdhikaraNamityarthaH / zarIrendriyayoH zarIrakezayoH zarIranakhayoH saMyoga eva saMyogajeti utpannamAtrasya cirotpannasya vA niSkriyasya svakAryakAraNasaMyogibhirakAraNaiH kAraNAkAraNasaMyogapUrvaka: kAryakAryagatasaMyogaH sa caikasmAd dvAbhyAM bahubhyazca bhavati / tatraikasmAt tAvat tantuvIraNasaMyogAt paTavIraNasaMyogakaH dvAbhyAM dvitvAkAzasaMyogAbhyAmekaH paTAkAzasaMyogaH, dvitvatantrAkAzasaMyogaH, bahubhyazca paTatantuturIsaMyogebhya ekaH paTaturIsaMyogaH / ekasmAt saMyogAd dvayoH saMyogayorutpattiryathA yadA pArthivApyayoraNvoH saMyoge sati pArthivena pArthivasya, Apyena cApyasya yugapat saMyogo bhavataH, tadA tAbhyAM saMyogAbhyAM pArthivApyavyaNuke yugapadArabhyete tato yasminneva kAle vyaNukayoH kAraNaguNaprakrameNa rUpAdyutpattistasminneva kAla itaretarakAraNAkAraNagatAt saMyogAd itaretarakAryAkAryagatau saMyogau yugapadutpadyate / kiM kAraNam ? kAraNasaMyoginA hi kAryamavazyaM saMyujyate iti nyAyaH / sveti svazabdena ca svAvayavaH, tasya kAryaM vasta, tasya kAraNaM, sa evAvayavaH, tadevaM saMyogibhirakAraNairityarthaH // paratvamadhikadezavRttitvam / aparatvaM nyUnadezavRttitvam / tadvyavahAraH sAdhyaH / dipiNDasaMyogakRte kAlakate kAlapiNDasaMyogakRte kAlakRte paratvAparatvayoranityatvam / kutaH ? vinAzAditi / sa cinAzaH sptdhaa| taduktam apekSAbaddhisaMyogadravyanAzAt pRthak pRthak / dvAbhyAM dvAbhyAM ca sarvebhyo vinAzaH saptadhA tayoH // [gurutvamAdyapatanAsamavAyikAraNam / ] gurutveti / Adyeti kriyAvizeSaH / nanu adhaH

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tarkabhASAvArtikam Vol. XX, 1996 1 saMyogaphalikA kriyA tathA guruNo'pi zarIrasya prayatnadazAyAM satyapi gurutve patanaM na bhavatIti tadarthaM prayatnAbhAvaH / tatra prayatnasyaiva patanapratibandhakatvam / vegena gacchataH zarIrAdeH satyapi gurutve patanaM na bhavati, tadarthaM vegAbhAvaH / tatra vegasyaiva patanapratibandhakatvam / tathApi tatsaMyuktasya phalAdeH satyapi gurutve patanaM na bhavati, tadarthaM saMyogAbhAvaH tatsaMyogasyaiva patanapratibandhakatvamiti dhyeyam / gurutve'numAnaM vimataM patanam / svAzrayasamavetasamavAyikArakagamanAnantatvAt, spandanavat, gurutvasya ca patanaM pratyasamavAyi kAraNatve sUtrakAraH saMvAdaM darzayati / [ pRthivIjalavRtti / yathoktaM, saMyogavegaprayatnAbhAve sati gurutvAt patanamiti / ] yathoktamiti / dvitIyAdeH patanasya spandasya ca vegahetutvAt tadubhayatra 'Adyeti' padameSiSTavyamiti / [ jale naisargikaM dravatvam |] naisargiketi / dravyAntarasaMyogAnapekSaM dravatvaM jalasya vizeSaguNa ityarthaH / [ snehacikkaNatA / jalamAtravRttiH kAraNaguNapUrvako, gurutvAdivad yAvaddravyabhAvI / ] kAraNaguNeti / samavAyikAraNe samudAyikAraNamAtraguNAH samavAyikAraNatvaM kAraNaguNapUrvakatvamityarthaH / [ zabdaH zrotragrAhyo guNaH / AkAzasya vizeSaguNaH / ] zabdeti / zabdasyAnityatvAd vinAzena bhavitavyam vinAzazca nirhetuko na bobhavIti / tathA ca kimatra vinAzasya kAraNamityAha / [ tatrAdyamadhyamazabdAH kAryazabdanAzyAH antyastUpAntyena upAntastvantyena sundopasundanyAyena vinazyete / ] tatreti / kAryakAraNobhayavirodhitvaM zabdasyoktaM prazastapAdabhASye / AdyAnAmupAntaparyantAnAM zabdAnAM kAryanAzyatvam / antyasya tu kAryanAzyatvamiti kaizcid vyAkhyAtaM tadubhASyamanyaistu / prathamazabdaH kAryanAzyaH antyazabdaH kAraNanAzyaH, madhyazabdAH kAryeNa kAraNena vA virudhyante, madhyavartinAM zabdAnAM kAryamAtravinAzyatve'pi svakAraNApekSayA vinAzyakatvena svakAryamAtrApekSayA vinAzyatvena vobhayathA virodhasambhavAditi / atra prathamapakSamAdAyAha / Adyeti / sundopasundau tapa: prakarSasampAditaprabhAvAvanyataravinAzyAvapi parasparaM yuddhena vinAzyavinAzakabhAvamApannau tena nyAyenetyarthaH / kutracidevaM vA sundopasundanAmAnau daityau / anayorvadhAya svayameva janitamAyAstrI mohitau pANigrahaNAya yuddhayantau parasparaprahAreNa mRtau ityetayonyayeinetyarthaH / antyasyopAntyena nAzakatvaM na saGgacchata ityAha / [ idaM tvayuktam / upAntyena, trikSaNAvasthAyino'ntyasya dvitIyakSaNamAtrAnugAminA tRtIyakSaNe cAsatA'ntyanAzajananAsambhavAt / ] idaM tviti / tatropapattimAha / upAntyeneti / yasmin kSaNe upAntyasyotpattistasmin kSaNe'ntyasyotpadyamAnatA / yasmin kSaNe'ntyasyotpattistasmin kSaNe upAntyasya sthitiH / yadopAntyavinazyattA tadA'ntyasya sthitireva ca / antyasya tRtIyakSaNe vA'satopAntyena nAzo na sambhavatIti bhAvaH / kathaM tarhi antyasya vinAza ityAzaMkya, upAntyasya nAzakatvAsaMbhavAt tannAza evAntyanAza ityAha / [ tasmAdupAntyanAzAdevAntyanAza iti / ] tasmAditi // 183 [ dharmAdharmau sukhaduHkhayorasAdhAraNakAraNe / tau cApratyakSAvapyAgamagamyAvanumAnagamyau ca / ] dharmeti / dharmAdharmayoH sattve'numAnam / [ tathAhi devadattasya zarIrAdikaM vizeSaNaguNajanyaM kAryatve sati devadattasya bhogahetutvAt devadattaprayatnajanyavastuvat / ] devadattasyeti / zarIrAdikaM vizeSaguNajanyamityukte AparamezvaravizeSaguNajanyatvena siddhasAdhanatA syAt tadarthaM devadatteti / vyAghAtaparihArAya pakSe devadattasyeti / bhogahetutvAdityukte Atmani vyabhicAraH / tadarthaM kAryatve sati / tathApi yajJadattabhogasAdhane zarIrendriyAdau vyabhicAraH / tadarthaM devadattasyeti / sAdhyavaikalyaparihArAya dRSTAnte devadatteti / zarIrotpatteH prAk prayatnAdInAmasambhavAt prayatnAdijanyatvaM zarIrAderazakyazaGkamityAha / [ yazca zarIrAdijanaka AtmavizeSaguNaH sa eva dharmo'dharmazca prayatnAdInAM zarIrAdyajanakatvAt / ] yazceti // nanu saMskAraH kadAcideva smRtiM janayati na sarvadetyatra kiM vinigamakam ? tatrAha [ sa cobuddha eva

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nArAyaNa ma. kaMsArA smRtiM janayati / udbodhazca sahakArilAbhaH sahakAriNazca saMskArasya sadRzadarzanAdayaH / ] sa ceti / uktArthe saMvAdakaM darzayati / [ yathoktamiti - 'sAdRzyAdRSTacintAdyAH smRtibIjasya bodhakAH' iti / ] yathoktamiti / [ sthitisthApakastu sparzavad davyavizeSavRttiH / ] sthiteti / pUrvasthitavat sthApayatIti sthitisthApaka iti // 184 SAMBODHI guNanirUpaNAnantaraM karmocyate idAnImiti / [ calanAtmakaM karma / guNa iva dravyamAtravRtti / ] guNa iveti / yathA guNA dravyeSveva vartante nAnyeSvevaM karmetyupAnArthaH iva / anyayogavyavacchedArtho mAtrazabdaH, ayogavyavacchedena vivakSitazcet tarhi keSu dravyeSu vartate ? UrdhvadezasaMyogakAraNaM karma utkSepaNaM 1 adhodezasaMyogakAraNaM karma apakSepaNaM 2 vakratApAdanaM karma AkuJcanam 3 RjutvApAdanaM karma prasAraNam 4 aniyatadezasaMyogakAraNaM karma gamanamiti // [ anuvRttipratyayahetuH sAmAnyam / ] anuvRttIti / dravyaM sat, guNAH santaH sakarmApi sadravyaM pRthivyAdyanugatavyavahArakAraNaM sAmAnyamityarthaH / lakSaNamAha - [ nityamekamanekAnugataM ca / ] nityamiti / saMyogAdAvativyAptivAraNAya nityamiti / nityaparimANAdAvativyAptivAraNAya 'anekAnugatam' iti / anekasaGgatamityarthaH / ato na samavAyAdAvativyAptiH / ekapadasadbhAve tatprayojanamanyatroktamatra sandheyam / [ tacca dvividhaM paramaparaM ca / ] paratvamadhikadezavRttitvam / aparatvaM nyUnadezavRttitvam / tadvyavahAraH sAdhyaH / tato na sAdhyavaiziSTyaM, na cAparatvAdiguNabhramaH / viSayatvamadhikaraNatvaM vyAkaraNoktaM jAtimatpratiyogikabhedabuddhijanakasyaiva vizeSyasyeti bhAvaH / aparaM.... vyAvRtterapi hetutvAt sAmAnyaM sadvizeSaH / vidhimukhenaivaikAkArasphuraNAt / vidhimukheti / 'gho'yaM, po'yam' ityAdi bhAvamukhenAkAreNetyarthaH // natvaghaTabhinno'yamapaTabhinno'yamityAkAreNeti / kiJcaivamanyonyAzrayo'pi syAdityuktam / kiJca gopadArthAsphuraNa - dazAyAmapi pratItidarzanAnnaiva tat tyAjyam / na ca sambandhapratibhAnaM gotvasya prakAratvena bhAnAt / kiM ca yasyAyaM sambandhastad gotvamiti dik // - nanu ghaTe bhagne ghaTatvaM kva tiSThati ? atra brUmaH / yatra ghaTadhvaMsastatra tiSThatyanyaghaTeSu vA kAle vA / tarhi ka nopalabhyate ? vyaJjakAbhAvAditi / [ agovyAvRttiviSaya evAyamekAkArapratyayo 'nekeSu / ] viSayeti / atra goviSayazabda AzrayavacanaH sa ceti catvarthaH / anuvRttereva hetutvAt sAmAnyamevetyarthaH / yadyapi sattAdravyAditrayAnuvRttijanakatvAt sAmAnyAdicatuSTayavyAvRttijanakatvAnna sAmAnyamAtraM kintu sAmAnyavizeSaH, tathApi matpadArthApekSayAnuvRttereva hetutvAt sAmAnyamAtramiti na vyAhanyate // [ vizeSo nityo nityadravyavRttiH, vyAvRtti buddhimAtrahetuH / nityadravyeti / ] mAtrazabdazcAnuvRttihetutvaM vyavacchinnamiti keSAJcinmate / vibhunityayorvizeSo na vartate / keSAJcinmate vibhunityayovizeSo na vartate / keSAJcinmate AtmAkAzayorna vartate iti / keSAJcinmate IzvarAkAzayornAstIti bodhyam / vizeSakAryapramANamAhavyAvRttIti / sAmAnyenApi yadyapi vyAvRttibuddhirjanyate tathApi tanmAtraM janyate, tenAnugatabuddherapi jananAditi dig // [ sa ca abhAvaH saMkSepato dvividhaH / saMsargAbhAvo'nyonyAbhAvazceti / saMsargAbhAvo'pi trividhaH, prAgabhAvaH, pradhvaMsAbhAvo'tyantAbhAvazceti / ] atyantAbhAvazceti / keSAJcinmate atyantAbhAvo dvividhaH, sAmayikaH sadAtanazca / kasyacinmate turIyo'pi saMsargAbhAvo vartata iti bodhyam // [ utpatteH prAk kAraNe kAryasyAbhAvaH prAgabhAvaH / ] utpatteH prAgiti / nanu kAryasyAbhAvAdityukte

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Vol. xx, 1996 tarkabhASAvArtikam 185 bhAva iti prazne prAgabhAva eva vaktavyastathA cAnyAzraya iti cenna, gandhAnAdhArasamayAnAdhArAbhAvatvasya prAgabhAvalakSaNatvAt / gandhasyAnAdhArasamayo mahApralayasamayaH sa evAnAdhAro yasyAbhAvasya sa prAgabhAva ityarthaH / sarveSAM mate gandhasyaiva vinAzAt gandhagrahaNam / navyAsyu naiyAyikA abhAvatvaM vA bhavatu prAgabhAvatvAdikaM vA bhavatu, paramakhaNDA evaite upodhaya ityUcuH / traikAliketi sadAtanaH samayAbhAva ityarthaH / sAmayikastu samayamAtra: anAdisAntAbhAvaH prAgabhAvaH 1 sAdyanantAbhAvaH pradhvaMsAbhAvaH 2 saMsargApratiyogiko bhAvaH saMsargAbhAvaH 3 anAdyanantAbhAvastraikAliko'bhAvo cAtyantAbhAvaH 4 [anyonyAbhAvastu tAdAtmyapratiyogiko'bhAvaH / ] anyonyAbhAvastviti / bhedazcaturdhA bodhyaH, svarUpabheda (1) -pRthaktvabheda (2) -vaidharmyabheda (3) -atiriktabheda (4) - bhedAt / tanmadhye bhAvavyutpannabhedazabdArthasya lakSaNamidam / na ca tAdAtmyAtyantA- bhAve'tivyAptiH pratiyogitAvacchedakAropahetukadhIviSayAbhAvatve tAtparyAt svarUpabhedAdi / udAharaNAni yathA / ghaTe paTasvarUpaM nAsti, paTe ghaTasvarUpaM nAstIti ghaTapaTayoH svarUpatvAnyonyAbhAvaH 1 / asmAd ghaTadayaM ghaTaH pRthag ityullekhena pRthaktvAnyo nyAbhAvaH 2 / zItatvamuSNatvavidharma uSNatvaM zItatvavidharma iti virodhAnyonyAbhAvastayodvayorvisadRzatvAt 3 / ghaTatvaM pAdatirikta iti atiriktAnyonyAbhAvaH 4 / atra bhedazabdasya bhAvavAcitvAt svasvarUpatvapRthaktvavidharmatvAdatiriktagrahaNamityarthaH // [nanu jJAnAd brahmaNo vA arthA vyatiriktA na santi / maivam, arthAnAmapi pratyakSAdisiddhatvenAzakthApalApatvAt / ] pratyakSeti / nanu pratyakSatvaM svapnaprAyamiti cenna, tatrottarakSaNAvabodhAsambhavAt / tathAtra pratyakSatvamiti ekAtmatve paratra zarIrAnubhUto'rthaH, smaryate tat tathAtreti / buddhiriti sattvarajastamoguNAtmikAyA: prakRteH sattvapradhAnaH prathamavikAro mahadAkhyaH / cittAnta:karaNAdi zabdato buddhiH / buddheviSayAkAraH pariNAmabhedo ghaTa ityAdirUpaH / jJAnaviSayAkAreNa pariNamamAnAyAM buddhau pratibimbitasyAcaitanyAtmanaH puruSasya buddhivRttyanukAra upalabdhiH / buddheviSayasukhAdyAkArapariNatibhedaH pratyaya iti // [smaraNamapi yathArthamayathArthaM ceti dvividham / tadubhayaM jAgare, svapne tu sarvameva jJAnaM smaraNamayathArthaM ca / doSavazena taditi sthAna idamityudayAt / ] svapneti svApe tvekatvaprakArameva jJAnam / tatra yuktiH svapnajJAnasya saMskAramAtrajanyatvena smRtitvam, ananubhUte naiva, svapnajJAnAnudayAd iti / yathArtheti / yathArtho dvividho nirvikalpasavikalpabhedAt / tatra nirvikalpakaM pratyakSameva / yathArthaM tu sarvameva savikalpakarUpam / upAdAnabhedAH jJAnasya svayamUhyAH / svapna iti sarvameva jJAnamanubhavasvarUpaM svapnavahanADImanaH-saMyogajanyaM smaraNaM smaraNajanyamityarthaH / ayathArthatvaM ca tatrAsaMnihitAnAM gajAdInAM saMnihitatvena bhAsanAditi bhAvaH // [sarva ca jJAnaM nirAkArameva / na tu jJAne'rthena svasyAkAro janyate, sAkArajJAnavAdanirAkaraNAt / ] sAkAreti / modakAdijJAnasya modakAdyAkArApattyA modakAdibhakSaNApattyA nirAkaraNAdityarthaH / jJAnasya sAkAratAM nirAkartumAha - sarvamiti / tatra yuktiH sAkArajJAnavAdasya tIrthakaraiH pratyAdiSTatvAdityarthaH / evaM cArthAnAmapi nityAnumeyaM parAkRtamityAha - [ata evAkAreNArthAnumAnamapi nirastaM, pratyakSasiddhatvAd ghaTAdeH / ] ata eveti / ataH zabdaparAmRSTaM hetuM spaSTayati - pratyakSeti / ayaM bhAvaH / indriyasambaddho viSayaH svajanyajJAne svAkAraM samarpya nazyati / tena ca kAraNArtho'numIyata iti sarvaviSayAnumeyavAdinaH saugatasya mataM, tadayuktam / atItAnAgataviSayANAM jJAnAnAM svaviSayArpitAkAratvAsambhavAt, sarvaviSayAnumeyatve pratyakSadRSTArthadRSTAntAsambhavAcca / tasmAt pratyakSasiddhA ghaTAdaya iti / nanu jJAnasya sAkAratvAbhAve kathaM viSayapratibheda ityAzakya, arthenaiva viSayAdi nirAkAradhiyAmiti nyAyenetyAha sarvamiti / [sarvaM jJAnamarthanirUpyam, arthapratibaddhasyaiva tasya manasA

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186 nArAyaNa ma. kaMsArA SAMBODHI nirUpaNAt // ] nanu pravRttizabdena kathaM dharmAdharmeti ? tatrAha - [pravRttiH dharmAdharmamayI yAgAdikriyA, tasyA jagadvyavahArasAdhakatvAt / ] 'Ayurghatam' ityAdivat sAdhyavAdinA sAdhanaM lakSyata ityarthaH / / idAnIM saMzayamAha / [ekasmin dharmiNi viruddhanAnArthAvamarzaH saMzayaH / ] ekasminniti / ghaTo rUpavAn parimANa evAnityAdinirNayAtmakamityativyAptivAraNAya viruddheti / tathApi 'yat kiJcida virodhirUpAviSayakarUpavAnayam' ityAdi nizcaye'tivyAptiH syAt / tadvAraNAya nAneti / nAnAdharmiNi 'ayaM puruSatvavAn' 'ayaM puruSatvA bhAvavAn' ityAdinizcaye'tivyAptivAraNAya ekasminniti / ekatra virodhikoddhiyAvalambijJAnaM saMzaya ityarthaH / sAmagrIbhedAt saMzayasya bhedamAha / [sa ca trividhaH / vizeSAdarzane sati samAnadharmadarzanajaH, vipratipattijaH, asAdhAraNadharmajazceti / ] samAneti sAdhAraNadharmaH samAnadharmaH / viruddhArthapratipattiH [vipratipattijaH] / asAdhAraNeti sajAtIyavijAtIyavyavacchedakadharmo'sAdhAraNa- ' dharmaH / ebhyo vizeSadarzanasmaraNarahitebhyastriprakAra: saMzayaH / / [yena prayuktaH puruSaH pravartate tat prayojanam / tacca sukhaduHkhAvAptihAnI] prayojaneti / vAtapittakaphazleSmarahitasyeti bhAvaH / / 1 [vAdiprativAdinoH saMpratipattiviSayo'thA dRSTAntaH / ] dRSTAnteti / sAdhyasAdhanayoryatra sAhacaryaM sa sAdharmyadRSTAntaH / tadabhAvayoryatrasAhacaryaM sa vaidhAdRSTAntaH // [prAmANikatvenAbhyupagato'rthaH siddhAntaH / ] siddhAnteti / tantryante vyutpAdyante padArthA aneneti vyutpattyA tantrazabdaH zAstravacanaH / sarvatantrAviruddhaH svatantrAdhikRtazca sarvatantrasiddhAntaH 1 / paratantrAsiddhaH pratitantrasiddhAntaH 2 / anumeyA'nuSaktAsiddhiradhikaraNasiddhAntaH 3 / aparIkSitAbhyupagamAt tadvizeSaNamabhyupagamasiddhAntaH 4 / [kSityAdikartRsiddhau sarvajJatvam / ] karteti / kartA sa IdRzaH / Adau jAnAti, pazcAdicchati, pazcAdicchan prapadyate, tadanukarotIti kartRlakSaNam / tasya karturityarthaH // [anumAnavAkyasyaikadezA avayavAH / ] avayaveti / [pratijJAhetUdAharaNopanayanigamanAnyavayavAH / tatra sAdhyadharmaviziSTapakSapratipAdakaM vacanaM pratijJA / ] sAdhya-viziSTeti / 'parvato'yam' ityAdivAkye'tivyAptivAraNAya sAdhyeti / 'imau vahniparvatau ityAdivAkye'tivyAptivAraNAya viziSTeti / 'parvate vahniH' ityAdivAkye'tivyAptivAraNAya dharmIti / tathA ca sAdhyavizeSaNakapakSavizeSyakapratIti-prayojakasya 'parvato vahnimAn' ityAdirUpasyaiva vAkyasya pratijJAtvamiti bhAvaH / / [tRtIyAntaM paJcamyantaM vA liGgapratipAdakaM vacanaM hetuH / ] paJcamyantamiti / atra tRtIyAntamiti na deyama, anyathA'nugamAt, kiJcaivaM kathakasampradAyavirodhApatteH, paJcamyantatvenaiva kathakasampradAyasattvAt / dhUma ityAdizabde'tivyAptivAraNAya paJcamyantamiti / 'A nitambAdayaM parvato vahnimAn' ityAdizabde'tivyAptivAraNAya liGgamiti / hetutvapratipAdakamityarthaH / tena 'gandhAt pRthivI, itarebhyo'bhighAtaH' ityAdivAkyenAtivyApanaM, yathA 'dhUmavattvAdi' iti / atra dhUmAdityeva hi vAkyaM bodhyam / na tumo vaiyarthyameva, hetumAtrasyaivAkAMkSitatvAt / anAkAMkSitAbhidhAne'prAptakAlatvAt // [savyAptikaM dRSTAntavacanamudAharaNam / ] savyAptikamiti / anena vyAptirbo dhyate, na tu dRSTAntAbhidhAnArthamada iti dRSTAnteti / 'na deyameva / kintu vyAptivacanamityeveti //

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Vol. xx, 1996 tarkabhASAvArtikam 187 [pakSe liGgopasaMhAravacana upanayaH / ] upasaMhAraH sambandhaH / tadbodhaka: zabda ityarthaH / tathA ca 'ayam' ityevamAkAramupanayavAkyaM bodhyameva, dhApratyayasya prakArArthatve'saMgatyApatteH // [pakSe sAdhyopasaMhAra vacanaM nigamanam / ] sAdhyopasaMhAra iti / abAdhitatvenAsatpratipakSatvena ca sAdhyavattAbodhakaM vAkyaM nigamanamityarthaH / atra 'tasmAdagnimAn' ityAdyAkArameva nigamanavAkyam / yadi vyutkrameNAvayavavAkyAnAM prayogastadA'prAptakAlatA bodhyA // ] [tarko'niSTaprasaGgaH / sa ca siddhavyAptikayodharmayovyApyAGgIkAreNAniSTavyApakaprasaJjanarUpaH / ] tarketi / prasaJjanaM prasaGgaH / aniSTasya prasaGgo'niSTaprasaGgaH / sa eva tarka iti / atreyaM prakriyA bodhyA / vyAptiH 1, tarkApratihatiH 2, avabhAsanaM 3, viparyayo 4, niSThAnukUlatvam 5 iti tarkAGgapaJcakam / sa tarko dvividhaH, viSayaparizodhako 1 vyAptigrAhakaH 2 ceti / vyAptigrAhakasyaivamAkAraH, 'dhUmo yadi agnyasamavahitAjanyatve sati agnisamavahitAjanyaH syAd' ityAdi 11 viSayaparizodhakasyaivamAkAraH, 'ayaM dhUmo yadi dhUmAbhAvavyApyavanyabhAvavAn syAd' ityAdi / tarkastu mAnasamAhAryaM jJAnaM 'dhUmAbhAvavAn syAd' iti mAtrazarIrakamiti jJeyam / [ato'numAnasya bhavatyanugrAhaka iti / ] anugrAhaketi / tarkA'nugrahAntasya pramANasya sAdhanatvAd anugrAhakaH prasAdakartetyarthaH / / [nirNayo'vadhAraNajJAnam / ] nirNayeti // [tattvabu bhutso: kathA vAdaH / ] vAdeti / tattve ti / tattvaM jJAtumiccho : padArthatattvajJAnAbhilApukasyetyarthaH // [ubhayasAdhanavijigISu kathA jalpaH / ] jalpeti / vAdiprativAdipakSasthApana parajJeyAbhikAGkSopapannA kathA jalpa ityarthaH svapakSasthApanAnumAnaparyantAzcetyarthaH // [sa eva svapakSasthApanAhIno vitaNDA / ] sa eva jalpaH vitaNDeti / ubhayapakSavAcakavAkya racanetyarthaH / kathAbhedA vAdajalpavitaNDA iti // [uktAnAM pakSadharmatvAdirUpANAM madhye yenakenApi rUpeNa hInA ahetavaH / te'pi katipayaheturUpayogAddhetuvadAbhAsamAnA hetvAbhAsAH / ] hetvAbhAseti / uktAnAmiti / yadyapi purastAdetadupanyastaM tathApi tatrAnukUlavizeSaNanirUpaNAya punarArambhaH / udayanAcAryodIritasiddhalakSaNamAdAya 'mA kApIH dopazaGkAma, aGgIkuru yatinazca' ityAdinA puraHsphurtikasyaiva virodhAd ayaM dUSaNatvamavalambya samAdhAna- / vidhAnaM vidadhati - tathApItyAdinA [ tathApi yathA na sAGkaryaM tathocyate / tenaiva purAvasphurtikena duSTau jJApitAyAM kathAparyavasAne jAte tadapajIvino'nyasyAnupayogAt / ] tenaiveti / ekena kRtakatvAda itarAnarthavayamiti nyAyenaiva dUpaNAnaduSTatve jJApite'pi dUpaNAntarAbhidhAne sati // [ayamapyAzrayAsiddhaH / tathAhi ghaTo'nityaH kAryatvAt paTavaditi / ] ayamiti / nanu siddhasAdhano hetvAbhAsaH kutrAntarbhaviSyatItyAzaDkyAha / AzrayAsiddhe vA'ntarbhaviSyatIti vaktuM prasaGgaM sampAdayati 'ayam' ityAdinA iti // vizeSaNAsidbhasyodAharaNaM .. tatreti / [tatra vizeSaNAsiddho yathA zabdo nityo davyatve satyasparzatvAt / ] dravyatvamAtra na nityatvasAdhakaM vyaNukAdAvanaikAntikatvAt / nApyasparzavattvamAtraM vyaNukagataguNAdAvanaikAntikatvAt / tasmAd viziSTasyaiva hetutvameSTavyam / tathA ca vizeSaNaM dravyamAtramasiddha, zabdaguNatvAt //

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188 nArAyaNa ma. kaMsArA SAMBODHI __ anaikAntikaM nirUpayati / [ sAdhyasaMzayaheturanaikAntikaH savyabhicAra iti vA ucyate / ] saMzayeti / ekAnte niyata aikAntikaH / tadviparyayayAdanaikAntikaH / tathA ca tasya saMzayahetutvamuktaM bhavati / sAdhyavata tadabhAvasyApi gamakatvAditi bhAvaH / bhASyoktalakSaNAntaramAha - savyabhicAra iti / vividhamabhitazcaraNaM vyabhicAraH / tena saha vartata iti savyabhicAra ityarthaH / taM vibhajate - sa iti dvividha iti / [sa dvividhaH / sAdhAraNAnaikAntiko'sAdhAraNAnaikAntikazca / ] nanu sAdhAraNasyAnaikAntikatvaM yujyate, sapakSavipakSavartamAnatvAt / asAdhAraNasya tu pakSavRttitvameva nAsti, tat kathaM tasyetyAha - [tasya ca sAdhyaviparItAvyAptasya tanniyamAbhAvo vyabhicAraH / tasyeti / ] niyamAbhAvazca dvidhA ghaTate, ubhayavRtterubhayato vyAvRttezca / dvividhasyApi vyabhicAritvaM ghaTate // [yasya pratipakSabhUtaM hetvantaraM vidyate sa prakaraNasamaH / ] yasyeti / udAharati-tadyatheti / tad yathA 'zabdo'nityo nityadharmAnupalabdheH', 'zabdo nityo'nityadharmAnupalabdheH' iti / apekSitaM pratipakSaM svarUpayati - atra hIti / [atra hi sAdhyaviparItasAdhakaM samAnabalamanumAnAntaraM pratipakSa ityucyate / samAnabalagrahaNasyopayogamAha - yaH punariti [yaH punaratulyabalo na sa pratipakSaH / ] nanu sarvasyApyanumAnasya vyAptipakSadharmavattayA samAnabalatvenetyAzaDkyAha-tathAhIti [ tathAhi viparItasAdhakAnumAnaM trividhaM bhavati / ] sAdhyAbhAvasAdhakAnumAnasya traividhyaM darzayati - viparIteti / [viparItasAdhakAnumAnaM trividhaM bhavati, upajIvyamupajIvakamanubhUyaM ceti / ] upajIvyasyAnumAnasyAdhikabalatvena bAdhakatvaM, tathAhItyAdinA 'anityAH paramANavo, mUrtatvAd ghaTavad' iti vaktrA paramANUn pramitAnapramitAn pakSIkRtya prayogaH kriyate / nAdya AzrayAsiddheH / dvitIyastu 'anumAnena sidhyataH paramANavo nityatvenaiva siddhA iti kRtvA tadupajIvanenAnityatva- sAdhakamayuktamiti bhAvaH / upajIvake dRSTAntamAha / [yathA 'anityaH paramANurmUrtatvAd ghaTavad' ityasya paramANusAdhakAnumAnaM . nityatvaM sAdhayadapi na pratipakSaH kiM tu bAdhakamevopajIvyatvAt tacca dharmigrAhakatvAt / ] yatheti / upajIvyopajIvakatvAbhAve na prabale durbalatvAbhAvena satpatipakSatvaM tRtIyasya ghaTate / pratyabhijJeti pUrvamanubhUte tatkAlAntareNa punastasyaivAnubhavane pratyabhijJAvizeSaNasiddhasya vizeSyAsiddhasya cAsvasvarUpA- siddhyAntarbhAvaH / idaM yaduktaM granthakRtA tat tathaiva cAsamarthavizeSaNAsiddhasyAsamarthavizeSyAsiddhasya ca svarUpAsiddhe'ntarbhAvo viziSTasya hetoH pakSasadbhAvAt / kintvanayoApyatvAsiddhe'ntarbhAvo viziSTasya guNasamAnAdhikaraNAkAraNakatvAdegauraveNa vyaapytvaanvcchedktvaaditi| kiJca SaDeva hetvAbhAsA iti mitbhaassinnyaam|| [abhiprAyAntareNa prayuktasya zabdasyArthAntaraM parikalpya dUSaNAbhidhAnaM chalam / ] chalamiti / trividham / 'navakambalo'yam' ityAdinAvacchedakam 1 / 'maJcAH krozanti' ityAdau maJcazabdasya vRttyantareNArthAntaraparatayoccAritasya mukhyArthatAsambhavamAtreNa kazcidAha 'na hyacetanasyAkrozanaM sambhavati' ityupacArachalam 2 / 'caturvedAdhyAyI' iti 'brAhmaNa' iti sambhavamAtreNokte kazcidAha 'naivam' iti 'anumAne tadabhAvAd' iti sAmAnyachalam 3 // [asaduttaraM jAtiH / ] jAtiriti / uttarasyAsattvaM prayukta hetau dUSaNAsAmarthyam / yaduktam prayukta sthApanAhetau dUSaNe'zaktamuttaram / jAtimAhurathAnye tu svavyAghAtakamuttaram // 1 // 'yathA kRtakatvam anityatvavyAptaM tathA sAvayavatvaM vyAptaM na, kintu ghaTAdau kvacit sAvayavatvasahacaritaM kRtakatvam' iti pakSe tadvazenAvidyamAnasya sAvayavatvasyApAdanam utkarSasamaH // 15 // nigrahasthAnAnIti govardhanyAM vAdapadArthoktAnyapi nigrahasthAnAnyatrAvasaraprAptatvAd vistareNAha / atra

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tarkabhASAvArttikam VoI.XX, 1996 kecit tacca nirNayamAtroddezapravRttakathAtvamiti mAtrapadAntabhAvena vAdalakSaNamAhuH / tanna, mAtrapadavyavacchedyAbhAvAt / na hi vacid vijigISA bubhutsA ceti dvayaM sambhavati yena tadvyavacchedaH syAt / vAdakathAyAM sabhyo nAsti / nApi madhyasthaH / tatkartavyaM ca vItarAgAbhyAM tAbhyAmeva kartavyam / kathakaguNadoSavivecanAdi hitakRtyaM tacca tatra bubhutsAyAM tAbhyAmeva kartavyam, anyathA tattvabodhAnirvAhAt / anuvidheyo'pi rAjAdi lAbhAdisampAdanavyApArakaH / so'pi vAdakathakayoranapekSita iti so'pi na vAde / madhyasthastu buddhipUrvako na kartavyaH / yadi daivAdAyAti tadA vAraNIyo'pi, tatsaMvAde tatsthiratvanirNayasambhavAt sa cASTanigrahANAmadhikaraNamiti // 189 nanu kenAbhiprAyeNaitat pratijJAhAniH 1 pratijJAsaMnyAsaH 2 nirarthakam 3 avijJAtArtham 4 arthAntaram 5 apArthakaM 6 ceti SaTkaM tAvanna patayatyeva vAde ? svAzaktinigUhanArthAnAmeSAM vAde prayoge tattvArthavipratipattivyAghAtaprasaGgAt / svakRtoktiparityAgaH pratijJAhAniH 1 sA paJcadhA pakSasAdhyahetudRSTAntatadvizepaNaparityAgAt, 'zabdo nityaH pratyakSaguNatvAt, ghaTavad' ityukte pareNa pratijJAbAdhena dUSite, 'astu tarhi paTo nityaH' iti pakSaparityAgaH / tenaiva dUSaNena 'astu nitya eva zabdaH' iti svIkAre sAdhyaparityAgaH / zabdasya dravyatvAdinA svarUpAsiddhayA hetau dUSayite kRtakatvAdihetuprayoge hetuparityAgaH / ghaTasya dravyatayA dRSTAntasiddhAvabhidhIyamAnAyAM rUpe dRSTAntIkRte dRSTAntahAnireva // vizeSaNahAnirapyudAhAryA / uktApalApaH pratijJAsaMnyAsaH / so'yaM catuH prakAraH, 'ka evamAha' iti vA 1, 'parapakSo mayoktaH' iti vA 2, svokte 'tvayoktam' iti vA 3, parokte 'mayaivoktam' iti vA 4, 'na cAyaMprakArAH sambhavantyeva, vastutyAgena svIyatayA vizeSaNena vA'palApena vAstavena tannivRttikAmanAsambhavAt 2, avAcakaprayogo nirarthakaH, sa ca liGgavyatyayAdau yathAzabdamiti nityamiti 3, vAdinA nirabhihitamapi paripatprativAdibhyAM durbodhamajJArthaM yathA svazAstrAsAdhAraNapariSadAdau 4 / prakRtAnupayogyarthAntaraM 5 ananvitamapArthakaM ca prasiddhameva 6 / tadetat paTkaM vAde na patatyeva // yadyapyanuktatvabhramAt hAninyAso vAcakatvopayuktatvasphuTArthatvAdibhramAccAnye sambhavanti, tathApi svAzakti nigUhanArthaM na sambhavantIti kathAsampradAyatAtparyArthaH / kiM cet, sambhavadapyanudbhAvyaM yathA pratijJAntaraM 1, hetvantaram 2, ajJAnam 3, apratibhA 4, vikSepo 5, matAnujJA 6, paryanuyojyopekSaNam 7, iti saptakaM paroktadUSaNoddhArAya / pUrvoktavizeSaNavataH pUrvoktasya sAdhanIyAMzasya pratipAdanaM pratijJAntaraM ca dvedhA pakSavizeSaNapUraNAt sAdhyavizeSaNapUraNAd, yathA 'zabdo nityaH kAryatvAd' ityukte dhvaninAM zabdataH siddhasAdhane 'varNAtmaka' iti vizeSaNopAdAne 'AdyavivAdAdhyAsitaM buddhimatpUrvakam' ityukte'nyaviSayakajJAnavatAsiddhasAdhane upAdAnavipayatvabuddhivizeSaNatve caramaH 121, aviziSTa sAdhanaM bhAgamabhidhAya punarvizeSaNavattadvacanaM hetvantaraM yathA 'zabdo'nityaH pratyakSatvAd' ityukte sAmAnye vyabhicAre jAtimattve satIti vizeSaNopAdAnAdau 121, kathAyAM prakRtaviSaye svAjJAnAviSkaraNamajJAnaM sarvavAdimadhyasthAbhyAmabhyudite'pi 'kimanenoktamahaM na jAnAmi' ityAdyAkAraH 131, uttarAparisphUrtirapratibhAsAprasiddhaiva |4| kAryavyAsaGgAt kathAvicchedo vikSepaH, yathA kathAyAM pravRttAyAm 'adya mayA na vaktavyaM, kiJca kRtyamasti' ityAdi 141, sapakSe doSAbhyudgamAt parapakSe doSaprasaGgo matAnujJA, yathA 'tvaM caura' ityukte 'tvamapi caura' iti kathanam |6| nigrahasthAnaprAptasyAnigrahaH paryanuyojyopekSaNamityapi suprasiddhameva // 7 // etat saptakaM sambhavadanudbhAvyam // nanu pratijJAntaraM hetvantaraM vA'vazyodbhAvyaM tadanudbhAvane sAdhanavizeSaNasAdhyavizeSasiddherasambhAvaneti, cenna / yatra vizeSasAdhanaM nAbhipretaM tatsthalAbhiprAyeNaitadabhidhAnAt / tathaiva kathakasampradAyAyAtamatAnujJAyAH prasaGgAbhAsatayA tadanudbhAvane tatra vyAghAta, iti cenna tasyAH prasaGgAbhAsatvAt / paryanuyojyopalakSaNaM tu

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nArAyaNa ma. kaMsArA madhyasthasyodbhAvayiturabhAvAdeva nodbhAvanArham / kiJcidudbhAvyamapi na / kathAvasAnAyaikavAkyAMzayomitho vyAghAtaH pratijJAvirodho, yathA 'me mAtA vandhyA' ityAdAvayogyatArUpaM tattvadhIvirodhItyudbhAvya evAvayavaparyAso'prAptakAlatvaM yathA 'dhUmAt parvato vahnimAn' iti / asAvanAkAMkSitatvAdeva na tattvadhiyaM janayati // 190 nyUnamAkAMkSitAnAsaktirUpatvAdeva / adhikaM punaruktaM cAnAkAMkSitAsattirUpatvAdeva / lakSaNaM tu, nyUnatvaM svasiddhAntasiddhAvayavanyUnatA, adhikaM hetUdAharaNAdhikyam / punaruktasyAnuvAdaM vinA zabdArthayoH punarvacanam 'ananubhASaNaM paJcadhA tad' ityAdi / sarvanAmnA viparItAnuvAdena vA ekadezAnuvAdena vA kevaladUSaNottarAvedanena vA tatrAyathAnubhASaNam / athApratisandhAnasamarpakatayA tattvadhIvirodhyeva lakSaNaM tvananubhASaNasyAnubhUya dUSaNAnabhidhAnam / parigRhItasiddhAntaviruddhAbhyupagame'pasiddhAnte sphuTaM tattvadhIvirodhitvam / tathA ca pratijJAnavirodho'prAptakAlaM nyUnamadhikaM punaruktamayathAnubhASaNamapasiddhAnta ityetat saptakamudbhAvyamapi na kathAparyavasAnakSamam // yadyapi hetvavayavatvanyUnatAyAM nirNAyakAbhAvAt tattvadhIvicchede kathAparyavasAnameva, tathApyavayavAntaraM nyUnatAyAM na tathetyAzayaH hetvAbhAsaniranuyojyAnuyogayoreva kathAvasAnikatvamiti / niranuyojyAnuyogaH svadUSaNe'dUSaNAbhidhAnaM hetvAbhAsAzca prAgeva vyAkhyAtAH / etadevedaM gaNanaM kSepayuktamiti cenna, asya pravAdamAzrityopanyAsAd, upalakSaNatvAt / tathA ca tarkabhASAkArasyAvadhAraNena tAtparyamunneyamiti dig // pratigotamato jambUH prativajrasvAminazca vibudhaguroH / vinayavairAgyavidyAdibhirabhavan hIravijayAkhyAH // 1 // kalikAlakumatakazmalaprakSAlanavArivAhasaMkAzAH / zrImadakabbarabhUpatibodhavidhAnena vikhyAtAH // 2 // tatpAdapadmamadhupapratimena vineyalezena / zubha vijayAbhidhazizunA vihitamidaM vArttikaM sukaram ||3|| vizikharasarasendu 1665 mite varSe harSeNa vikramArkanRpAt / samapUrvasUrikIrtipramadApANigrahaNasAdhoH ||4|| samprati ca vijayamAnavratijanacUDAmaNeH sugurukaraNe: / zrIvijayasenasUreH paTTodayazailagaganamaNeH ||5|| zrIvijayadevasUrerAdezAt tatprasAdasampatteH / zrIpadmapadmasAgaragaNibhiH paNDitaziroratnaiH // 6 // SAMBODHI saMzodhitamidamakhilaM tathApi mAndyataH kimapi vitatham / zodhyaM ca matsarojjhitamatibhiryupakAracetobhiH // 7 // zrImadilAgrAkhyanagare gurupuSyasaMjJake yoge / azvayuje saptamyAM jAtaM sampUrNamiti bhadram // 8 // iti tarkabhASAvArtikaM samAptam //

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REVIEWS Narayan M. Kansara JAIN STUDIES IN HONOUR OF JOZEF DELEU, edited by Rudy Smet and Kenji Watanabe. Honno-tomasha, Tokyo, 1993, pp. xvi + 504. This work is Felicatation Volume in honour of Prof. Deleu, whose students recall his stimulating lessons in all fields of Indology. He first became known for his work on the literary genre called prabandha which flourished in Jain circles during the Middle Ages. He succeeded in calling attention to the importance of the prabandhas "as (semi-) histriographic writings" and to the need for furtlier research on the literary features of this genre. In this field J. Deleu can be seen as a forerunner. He was fortunate enough to be able to work with the eminent specialist on Jain cnonical literature, Walther Schubring, and the later expressed his appreciation of Delue's competence and his affection for this gifted scholar and his fine personality. Deleu was awarded the Doctorate Honories Causa of the Rijksuniversiteit. He was entrusted the task of publishing Schubring's posthumous edition of the Naydhanmakahao (1978). His very useful contribution is to the Worterbuch der Mythologie, on "Die Mythologie des Jinismus" (1978). Deleu's masterpriece is his book Viyahapannatti (Bhagavai), the fifth Anga of the Jaina Canon, with Introduction, Critical Analysis, Commentary and Indexes. Following the text scrupulously he gives a critical and intelligible account of its contents; moreover, in an elaborate introduction he also sheds light on questions relating to the composition of the text; he further addes valuable indexes of proper names and technical terms ocurring in the treatise. According to J. Deleu, "the first aim of studies in the Jaina Canon should be the critical edition of its texts". Preface by Colette Caillat, some reminiscences by Charles Willemen and Bio-data and Selected Bibligraphy by Chris Van Alphen-De Lauwer comprise the first three articles about J. Deleu, and his contribution to Indological studies. The next section entitled 'Jain Studies during the last two decades', contains four articles, viz., The Jaina Agama Series by Muni Jambuvijaya, Jainology in Western Publications I by Klaus Bruhn and Il by Colette Cailat and The Study of Jaina Art by Klaus Bruhn. Then follow the articles, in all eighteen, by scholars like Nalini Balbir, Bansidhar Bhatt, H.C. Bhayan, Willem B. Bollee, Hohanes Bronkhorst, Klaus Bruhn, Colette Caillat, Paus Dundas, Junko Sakamoto-Goto, Phyllis Granoff, Padmanabh S. Jaini, Colin M. Myrhofer, K.R. Norman, Suzuko Ohira, Gustav Roth, Frank Van Den Bossche, Kenji Watanabe and Albrecht Wezler. Muni Jambuvijaya has pointed out that like the Zedic tradition which has posited a Purusa, the old Jaina tradition has posited a Vidya-Purusa or Srauta-Purusa and the various branches of knowledge are viewed as parts Cangas) and sub-parts (upangas) of his body; it is thus that the fundamental class of the Jaina Agamas is known as Anga. The Agamas, at first, only included the Gamipitaka, or Dvadasanga, because the ganadharas are

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192 NARAYAN M. KANSARA SAMBODHI considered to be their authors. All Agamas other than the twelve Angas in the class are included in the class called angabhahya. But we have no source or means at our disposal to work out the chronological order in which the new additions were made in the class called angabahya. Muni Jambuvijaya tries to construct a picture of a chronological order by joining together stray links of history. On the evidence of Vacaka Umasvati, the author of the Tattvarthadhigama-sutra and on that of the Dhavala-tika on it, he finds that eighteen works listed by him were well known as angabahya works in those days. The Nandisutra mentions sixty angabhahya works which were other than the avasyakas. At present many of them are extinct. The list of the established classed of the sruta, which is universally recognised by the Svetambaras with some minor changes includes, 11 Angas, 12 Upangas, 6 Chedasutras, 4 Mulasutras, 10 Prakirnakas, and 2 Culikasutras. The Jaina Aganas are a living literature. They have been edited and published by a number of religious personalities. Modern scholars have not evinced as much interest in the study of the Jaina Agamas as they have in the study of its Vedic and Buddhist counterparts. Indeed the critical edition of all the Agamas was a long felt need. Since 1848 attempts were made for the publication of the Jaina Agamas, as for instance by Stevenson, Weber, Ray Ray Dhanaptsimhaji, Hermann Jacobi, Leumann, Steinthal, Hoernel, Schubring, Sagaranandasuri. As a result of the efforts of Muni Shri Punyavijayaji for about forty years, a committee was formed in the year 1964 by the Shri Mahavira Jaina Vidyalaya (Govalia Tank Road, Bombay 16) to publish a critical edition of the Jaina Agamas. The scheme was adopted to edit all the Jaina Aganias critically and to publish them in 17 Volumes. It was decided to accept the following six principles in critically editing the texts of the Jaina Agamas : (1) utilization of the old handwritten manuscripts, (ii) of the Curni, Tika, Avacuri, Tippanaka, etc., (iii) and of the quotations from the Agama texts; (iv) comparision with the Sutras readings found in other Agama texts; (v) discrimination of the unwanted and wrong amendations made by scholars; and (vi) of the mistakes committed by copyists. So far Volumes I, II, III, IV, V, IX, XV, and XVII have already been published, and Volume VII is under progress. In his article on Jainology in Western Publications I, Klaus Bruhn focuses attention on the less known development in Jaina literature : the exegetical works connected with the Svetambara canon - Niryuktis, Bhasyas, Curnis, Tikas. The main problem of Jaina philosophy as the basis of Jainology is neither the preparation of "better" editions nor the edition of new manuscripts; what is first necessary is the philological study of the inimense mass of edited texts. This is very difficult. Studies of complete works are conspicuous by their absence and even those portions selected for study are often comparatively small. One intention of this paper is to offer a few suggestions for a biblography of text editions and to describe furthermore what we could call a systematic preparation of conspectuses, to greatly facilitate the work of further generations.

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Vol. xx, 1996 REVIEWS 193 Basically, an annotated bibliography of text editions will always be midway between a catalogue of manuscripts and a history of literature. We mention information about the extent of the text, about the traditional sub-divisions, about minor elements (mangala, colopliones, prasasti), about the form (prose/metre), about the language (Sanskrit/Prakrit), about the text-commentary relation (if a text edition contains both), about authors, and about substantial textual parallels. Basically, a conspectus is produced by a continuous segmentation of a given text, extending from the beginning to the end. More often than not a transformation of the continuum of the text into a string of segments is a prerequisite for a quick comprehension of the structure and the contents of a composition. In princile, segmentation will be unilinear, so that frequent sub-segmentacion is avoided. The contents of each segment must be mentioned, and surrogates must be used where a proper title (epitome) cannot be given. In many cases it will be useful to isolate specific units which are known a priori and which do not participate in the intricasies of the text to the same extent as other portions. Attention must be paid to explicit traditional divisions. In metrical works verses are as a rule counted within such divisions. A conspectus is descriptive and thus basically synchronous. There may be different historcal starata but their spearation is not a part of the conspectus project. But, no conspectus of the Vasudevahindi can ignore the fundamental difference between Brhatkatha elements and the elements belonging to the universal history of the Jainas (24 tirthankaras, etc.). A labyrinthine structure of a text may be clarified by isolating certain "blocks" such as the Vetalapancavinsatika in the Brhatkatha versions of Somadeva and Ksemendra. Conspectuses of a tabular type have their main habitat in studies concerned with the Niryukti-Bhasya stratum, the metrical section of the "exegetical" literature. Thus, the conspectuses by Leumann, N. Balbir, Oberlies, Bruhn, Webor, Delue, A.N. Upadhye deal with dogmatic material and with stories only as far as stories partake in the technical character of non-narrative texts or are not easily spearated from their dogmatic context. In some cases the narrative material is either absolutely autonoinous or merely loosely connected with basically dogmatic texts. It is a different matter if stories are units sui generis but nevertheless are embedded in, or connected with dogmatic works for purposes of demonstration. Abstracts of stories or story collections prepared by H. Jacobi, M. Bloomfield, A.N. Upadhye, Mette, Balbir/Oberlies and K.Bruhn can be cited in this field. Besides the problem of the breadth of Indian (and Jaina) literature, there exists the universal problem of the enormous increase in the number of niodern publications. It has thus become necessary to find ways of making the growing corpus of information manageable. Here Bruhn suggests that bibliographies as used in research should not converge in a unified bibliographical system, but that we need as many different types of bibliographies as possible and consequently of bibliographies of different proportions. And, as to the "responsibility of the author, he admits that summaries (mostly in English) and other devices have come to stay and have made the use of books and articles easier than in the

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194 NARAYAN M. KANSARA SAMBODHI past. A suggestion from the point of view of philologists would be to increase the use of the existing matrix of literary trasmission, i.e. of the texts handed down by tradition. The most gratifying step in this direction would be the preparation of fresh studies (editions, translations, analyses, etc.) covering single text in toto. On the one liand, the author should indicate, wliereever possible, in clear manner and at a fixed place which texts (Text portion) have been discussed (Translated) in his study. On the other hand, more attention should be paid to specialized bibliographies considering single texts or limited clusters of texts, e.g. Balbir's "Stories from the Avasyaka Commentaries", in The Clever Adultress (pp. 17-74). In short, it would be desirable to make the relation between the texts and publications more transparent. An introduction to a bibliography should not be restricted to a discussion of general problemis. A few words on the present state of research are also called for. Our knowledge of Jaina literature will remain deficient as long as they are not adequately analyse. The most ambitious - perhaps the only ambitious - research project being carried out in India is. the Jaina Agama Series as started by the late Muni Punyavijaya. The list of monographs and collective volume given at the end of the article notices 53 items published from 1973 to 1991. The bibliograply lists the contributions by scholars like Alsdorf, Balbir, Bloomfield, Bruhn, Delue, Guerinot, Jain, Jainert. Leumann, Lienhard, Mette, Renou, Rocher, Schubring, Tripathi, Upadliye, Weber and Windisch, between 1866 and 1993. In this article on Tainology in Western Publications II', Colette Caillat has started with Grammatik der Prakrit Sprachen by R. Pischel. Colin Mayrliofer (Australian National University) laid the foundation for an Apabhramsa Dictionary. Most of the Jain texts in Old Gujarati lave been edited in India by Indian scholars, who moreover scutinized much of the relevant vocabulary. Important contributions of R.L. Turner, J.C. Wright, G. Baumann and Bender are here noticed. Jaina Sauraseni studies by K. Oejins and K. Okuda are very useful.For the most part, linguistic and grammatical investigations have been focussed on the Svetambara canon. As far as grammar is concerned, Pischel can be still systematically referred to as an authoritative work. On the other hand, following W. Schubring and L. Alsdorf, attention has been concentrated on metrics - an important tool for textual criticism. Finally, lexicographical studies have not been neglected, the less so as vocabulary and grammar are not infrequently interwined. Among the books, editions, etc., accompanied by linguistic descriptions, he has listed the works by Colette, Adeklieid, Norman, Bollee, Gustav, Balbir, Ch. Chojnacki, published between 1972 and 1991. In the case of Phonetics, in most studies all Prakrit data is dealt with from a general point of view, the emphasis bearing on the general rule, rather than the actual realizations in the various Jain Prakrits. Contributions, during 1976-1989, by J. Sakamoto-Goto, Denwood and Piatigorsky, Schwarzchild, Balbir, Breunis, Mette and Norman are listed. In Lexicography, particularly the Jaina one, the studies have derived considerable benefit from the publications, in India, of the Agama Sabdakosa, Vol. I by

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Vol. XX, 1996 REVIEWS 195 Acarya Tulasi and Yuvacarya Mahaprajna, Ladnun, 1980. Jain lexicography, especially when dealing with Prakrit terms, has often been coupled with grammatical and etymological observatons. In several cases, comparisions of Ardhamagadhi / Jaina Maharastri terms with their Buddhist counterparts have proved fruitful, especially when an evaluation of semantic evolutions is necessary. Since 1983 upto 1993, Tatia, Kyoshu, Mette and Balbir have contributed in the field of technical terms. And Cailat, Norman and Watnabe have worked on miscellaneous topics. In his article on 'The Study of Jaina Art', Klaus Bruhn clarifies that Jaina art, being mainly "Jaina-sponsored art" by a particular community, has by necessity its own distinct physiognomy. The period selected by him is 1972-1991. The extraneous factors which intensified both actual research work and the stream of publications during the period were the 2500th anniversary of the Nirvan of Mahavira (1974-75) and 1000th anniversary of the consecretion of the Gommatesvara statue at Shravan Belgola (1981). For documentation of Western Indian Jain painting, he has to rely on the numerous publications by S.M. Navab. Much material which is not found in the Navab publication has been supplied by U.P. Shah. Pictorial presentation has so far been inadequate for painted wooden book-covers or patalis and palm-leaf manuscripts. A very general deficit in the publication of paintings on cloth (svetambara) and of murals (Digambara) exists. A documentation of sculptural and architectural remains is necessary and possible in the case of Jaina sites which are undergoing changes due to jirnoddhara activities, Deogarh in the Lalitpur District being a case in point. In cataloguing, collections, manuscripts, and single illustrations have each to be considered as such; here again we are indebted to U.P. Shah and Moti Chandra, but valuable information can also be derived from some of the Nawab publications. In an "annotated" bibliography of art (including iconography) publications which help us to "understand the representations, i.e. to relate them to the texts as far as possible, also have to be mentioned. A simplifying but useful diagnosis would be the statement that the meaning of both "understanding" and "indentification" will change from case to case. Here, as elsewhere, U.P. Shah has set new standards. It is only in the case of miniature paintings and narrative panels (not very frequent in Jaina art) that we are able to tackle the textimage (text-picture) issue in a more confident matter. The foundation ofr an adequate understanding of those texts which have received the greatest number of paintings has been laid by W. Norman Brown. His list of authors notices Klaus Bruhn, Collette Giallat, Madhusudan A. Dhaky, Saryu V. Doshi, Karl J. Khandalawala, Gritli Von Mitterwallner, Ramesh Prasad Mohapatra, Sarabhai Manilal Nawab, Shadkshari Settar, Umakant Premanand Shah, Harihar Singh, Calembur Sivaramamurti and Maruti Nandan Prasad Tiwari. His bibliography notices 37 works of the above authors, and others like R. Kumar, S.V. Doshi, A. Ghosh, B.N. Goswamy, R.P. Hingorani, M. Chandra, G.D. Sontheimer and D.M. Srinivasan. In his 'Detailed Exposition of the Prakrit word 'Vibhasa', an item in Jaina Exegetical

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196 NARAYAN M. KANSARA SAMBODHI Terminology, Nalini Balbir has selected the word to initiate a thorough investigation of the vocabulary, for it has the basic advantage of being well-documented in all strata of exegetical literature and being explained with the help of examples in two different sets of works, namely, the Avasyaka-corpus and the Brhatkalpabhasya. Thus, besides the actual usage of the word we also come to know about the way it is conceived as a technical term. Vibhasa occurs as a member of a fivefold chain of terms centered around the idea of exposition (Pk. anuyoga) in an arya-stanza common to the Avasyakaniryukti (13) and the Brhatkalpabhasya (187)). In the present case, the formal base of distribution (-yoga-/ bhasa), along with the place of cesura (after niyoga) results in the formation of two distinct groups of two and three terms, respectively. Thus, vibhasa will not be explained individually but only in comparision with bhasa and vattiya with which it is contrasted. The Curni (115.5-116.14) gives (1) a general definition of vibhasa (+ bhasa and vattiya), and (2) an elaboration of the examples. The vibhasaga is a person who tells certain types of meaning. He who expalins in detail the words and meanings of a sutra in two, three or four different ways is called vibhasaga. Vibhasa always occurs in the nomivative singular, mostly be itself as forming a nominal sentence, or rarely in a phrase of the type vibhasa kayavva (exchangeable with the corresponding verb,... vibhasiyavva-). It has not been found in the Canon and appears to be a term born along with the exegetical texts. As a living word, it is restricted to the Prakrit commentaries. The tikas hand down the following standard gloss of vibhasa: vividha bhasa vibhasa, visaya-vibhaga-vyavasthapanena vyaklyetyarthah (AvTH. 508b.2, etc.). This meaning was specific to svetambara exegesis only, since Vasunandin's commentary on Mulacara 7.65 gives vibhasa the usual meaning of 'alternative' (vikalpa). However, almost everywhere else, vibhasa works as an abridgmentmark used in order to avoid a repetition of something which has been said before or which can be easily deduced on the basis of the preceding. In other cases, the term vibhasa means that a detailed explanation is to be supplied on the basis of a pattern already developed within the text. To trace the destiny of vibhasa in later Prakrit is not an easy task. It is in fact unlikely that the word continued to be commonly used. If it were to be placed in a dictionary, the present study would only be a part of the entry vibhasa covering a specific shade of meaning evolved in Jaina Prakrit conimentaries which the usual Prakrit dictionaries do not record as such or for which they provied scarce material. In the Appendix, Balbir has added an extract from E. Leumann's postumous papers, as complementary material. In his 'Acara-Culas and -Niryukti. Study II (Mahavira-biography)' Bansidhar Bhatt examines a praticular series of events presented in a number of Jaina texts as a self-contained piece belonging to a biographical sketch of Vardhamana, the Mahavira, the last and the 24th tirthankara in Jainism. The biography itself is more legendary than historical. It represents a later stage of development in the Svetambara canon, but earlier than any of its kind otherwise available in Jainism. Since the first five events occurred at the moment when the moon was in conjuction with the asterism Uttara-phalguni, they are collectively called "panca

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Vol. XX, 1996 REVIEWS 197 hatth-uttare". The last event of Mahavira's nivvana/nirvana took place in the Svati asterism. The five events, viz., 1, 3-6 (excluding the second event of saharie) are collectively designated as the panca kalyanakas (five auspicious events) in Jainism. The Digambaras liave no palica hatth'-uttare concept since the second event, saharie, in the Mahavira-biography is altogether absent in their tradition. The liturgical fornula as a whole is used in the auspicious rituals particularly during the Rain-Retreat, varsa-vasa. In the Conspectus, he has stated in brief how the Mahavira-biography came to be extended in the texts. The Jainas are very preoccupied with an idea of originality of their scriptures, particularly the teachings of the samayikas, the 5 mahavratas and the varsavasa. The idea has survived until now in an unbroken tradition which started right from the time of Mahavira. The Jaina tradition thus bears a very living and effective testimony to the origin of the above-stated three fundamental teachings, that some monks inserted the Mahavira-biography in the canonical texts wherein these teachings were first codified, viz., the samayikas in the Avasyaka Sutra, the 5 mahavratas in the Bhavana (Acara 15) and the varsavasa in the Kalpa Sutra (Paryusanakalpa). The purpose behind the insertion of the biography was to impress upon the successive generations that the discussion of these fundamentals came directly from the mouth of Mahavira. Of course, it was not feasible to extend the biography in the Avasyaka Sutra. So it was extended in the original Avasyaka-Nirylikti which is equally considered to be one of the canonical texts (Mula-sutras) of the Svetambaras ! Appendix 1, Appendix 2, give the original references from Avasyaka-Niryukti and Acara-Curni, respectively, while Appendix 3 gives abbreviations and select bibliography. Notes conclude the article. In his 'Notes on Some Apabhramba and Desya Words', H.C. Bhayani has discussed the following twenty-three words: Addhovaddhi (fem.) 'divided into two halves'; ariyalla-tiger'; akklaniya 'fond of, given to'; avakkha (fem.) 'worry, anxiety; ucsholi, 'lap'; uvvedha-vedhi 'getting frequently wrapped and unwrapped'; khema-khemi 'mutual embracing' (as a form of intimate greeting); khollada (neut.) 'hut; cadinna 'string' of the bow, chuddahira 'the moon'; dikkaruya-'child' thudankiya. paiddha-' 'addicted to', 'fond of, 'covetous'; palakka-'covetous', 'greedy'; bhagavai 'Durga'; bhaddiya- 'Kysna'; vappikkaya- 'paternal'; valahiya 'pool', 'lake'; vicale 'in the midst'; vongillaya-'adorned', 'decorated'; sattavisanijoyana-'the moon'; sinduraya - (neut.) 'cord or rope made from the date palm'; hevaiya-'became angry, enraged'. In the case of each and every word of this list, a relevant passage in which the word occurs has been duly quoted, the translation of the quotation is given and necessary comparative and critical notes are added. Here the words discussed are 'desya and it presents an area of study that is considerably complex and has inultifarious aspects. Inspite of its importance it has remained neglected after some pioneering initial studies. The few notes presented here relate to some rare and Desya words mostly from the Ritthanenicariya of Svayambhu, an Apabhramsa epic poem datable towards the end of the ninth century A.D. The words discussed here are mostly such as either not recorded in Prakrit dictionaries or, if recorded, no occurrences are noted from literature. Dr. Bhayani has scanned many Prakrit and Apbhramsa texts for ascertaining and authenticating the form, meaning and vogue of the recorded Desya words and for spotting the unrecorded ones. The task becomes quite

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198 NARAYAN M. KANSARA SAMBODHI laborious because the published texts are mostly without any word indeed or only partially and inadequately indexed. In his 'Remarks on the History of Jaina Meditation', Johannes Bronkhorst traces the history of Jaina meditationa to the canonical texts of the Svetambara Jainas, where four kinds of dhyana ae mentioned, and which came to be looked upon as four types of meditation, enuinerated among the different kinds of inner asceticism. The later tradition, when looking for canonical guidance regarding meditation, was henceforth confronted with a list of four kinds of 'meditation, only the last one of which, viz., 'pure meditation', should properly be regarded as such. This strange confusion was followed by an even more dramatic development, that "pure meditation' came to be considered inaccessible in the present age (in this world). Already the Tattvartha Sutra states that knowledge of the Purvas is a precondition for entering pure meditation. Thus, in the time between 150-350 C.E. pure meditation was condidered no longer attainable in this world. The reasons for this development seem clear. It appears to be the almost unavoidable consequence of the gradual exaltation of the Jina, and of the state of liberation preached by him. A comparable development took place in Buddhism, where already early superhuman qualities came to be ascribed to Arhants and release was postponed to a next life. It is clear that all existing practice had henceforth to be assimilated to the descriptions of pious meditations'. This means that two historical developments - (1) the addition of pious meditation under the heading 'meditation' (dhyana), and (2) the exclusion of 'pure meditation' from it - left ineditators with a canonical description of meditation' which was never meant for such a purpose. It can cause no surprise that the practice of meditation has often been neglected in the subsequent history of Jainisin. Yet Jainism never totally abandoned it. Mahavira's main disciple Gotama emphasizes the importance of control of thought (dhyananigraha) above outward signs of penance. This tendency persisted. A number of later Jain works deal with meditation. But how did they treat the subject? Several authors, however, chose other solutions, than simply repeat the canonical classification and simply ignore the problem : (1) Virasena in his Dhavala on Satkhandagama Sutra (5.4.26) drops afflicted (arta) and wratliful (raudra) dhyana from the canonical classification, and retains only pious (dharmya) and pure (sulka) dhyana, and states that the only difference between the latter two lies in the duration. Nothing in the canonical description of these two forms of meditation Warrants such an idea. (2) A number of works, such as Yogindudeva's Yogasara (v.98) and Subhacandra's Jnanarnava (ch. 37-40) mention an extension of the canonical description into the four types of dliyana called pindastha, padastha, rupastha and rupatita, often looked upon as belonging under the fourth manifestation of Dharmya dhyana, 'examination of forms' (sarusthanavicaya). They consist in visualizing objects and mantras inside and outside the body; the rupatita meditation, more particularly, has as object 'the highest self (paramatman) which consists of consciousness and bliss (cidanandamaya) and is without

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Vol. XX, 1996 REVIEWS 199 form (amurta). The suspicion of influence from similar forms of Hindu ineditation seem justified. The same four kinds of meditation are mentioned and similarly described in the Kubjikamata Tantra (ch.17-19), the Malinivijayottara Tantra (ch.2 and 19), Abhinavagupta's Tantraloka (10.241 ff). Nava-cakresvara Tantra (9) and Gurugita (vv. 119ff.). By adopting these forms of meditation the Jainas could interpret dharmya dhyana as a form of real 'meditation', not of thinking'. (3) A far more drastic departure from the scriptures is made by Haribhadra in his Yogadrstisamuccaya, though he does not deny that which he describes consists of eight stages, which are said to correspond with the eight stages mentioned by others, among them Patanjali. But in the last stages nothing resembling the canonical descriptions of meditation shows up. Haribhadra's break with tradition is complete in this respect. (4) Hemacandra's Yogasastra constitutes a special case, since he describes traditional forms of meditation in chapters 7 to 11 wherein he follows earlier texts like the Jnanarnava. What makes Hemacandra special is his twelfth chapter in which something quite different form what precedes is introduced. Most noteworthy is Hemacandra's insistence on not using consraint. If one exerts no restraint on the mind it will reach peace, not otherwise. Muni Jambuvijaya has found very similar ideas, often expressed in virtually identical words in a work entitles Amanska Yoga, attributed to Goraksa Natha, in the context of those in the Yogasastra. It seems, therefore that Hemacandra again introduced new practices into the Jaina tradition, besides or perhaps rather instead of the traditional practices. These few examples must suffice to show that the history of Jaina meditation is not continuous. Those later authors who had a practical interest in meditation felt free to work rather independently from the canonical description, often borrowing elements from nonJaina schools of nieditation. The reasons are: (1) people of greater scholastic than meditational capability had the hand in the development and interpretation of the canonical texts; (2) the relatively minor role was played by meditation in Jaina circles. Every now and then there were individuals who had a strong interest in its practice and this might sometimes lead to some kind of 'revival' in a certain period and region, such as we seem to be witnessing today among the Terapanthis of northern India. But these individuals had to start almost from scratch, so to speak, and to look for a teacher, among the Jainas but perhaps more often elsewhere. Klaus Bruhn presents his study on mana in his article entitled 'The Concept of "mana" (Pride) in Jaina Dogmatics', since a reader should not expect in Jaina literature a treatise or an extensive chapter on mana, although it is contained in a list of vices (anger, pride, deciet, and greed), and this list became a part and parcel of Jaina soteriology with its quasimathematical tendencies (theory of annihilation of karma). Here the individual member was little more than a negative entity among others. But it continued to occupy a place of some importance in the field of ethics as well. As regards the explantion of niana, the available evidence takes either the form of a short statement or the form of a reference to a story which illustrates mana, and the relation between a dogmatic concept and the story

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200 NARAYAN M. KANSARA SAMBODHI may vary a good deal. The story expressing mana in one way or another have developed easily if we consider the situation of the monk and the vivid description of monastic and religious life in Jaina literature: mana of the sisya or student; of the heretic, disbeliver, nonJaina in general; of the Bralinanical priest. But stories with explicit reference to mana are rare. Again, as Jaina literature incorporated an enormous amount of epical and even mythological accounts taken from Brahmanical literatue, a Ksatriya or a demon or even a god is easily described as possessed by mana, and this is also refleced in the relevant Jaina versions of these stories. Yet this mana is hardly related to the mana of Jaina dogmatics which ia clearly a deadly sin. In view of all this Bruhn has thought it advisable to make his discussion of mana to some extent independent from the texts, and use as his starting point a list of keywords largely based on Sanskrit terms found in Jaina texts and to proceed form central terms to more peripheral terms. The list includes: MANA or PRIDE, MARDAVA or HUMILITY, PARAPARIVADA or BLAME, VINAYA or RESPECT for the guru, GURUHILANA or DISRESPECT for the guru, State of INFERIORITY, MANA or PRIDE in positive senses, LAJJA or SHAME, KIRTI or GLORY (MANA or HONOUR), HYBRIS (Greek), and MANABHANGA or MORTIFICATION. He has discussed in detail mana in the kasaya tetrad, other conceptitualizations of mana, mana and gotra, mana as the great spiritual obstacle, mana and vinaya, mana and the issue of terminological fluctuations, mana speculations in the Mularadhana, and worldly attachment and shame. Since the discussion necessiates a digression in the form of observations of a nonphilological character, Bruhn as added a prologue on the place of pride in the life of the Jaina community. The non-Jainas always outnumbered the Jainas. The Jainas felt that their religion had an old tradition, a rich spiritual substance, and a message (ethical tenets like like ahirnsa and doctrinal principles like anekantavada being of special importance). They had to asert and preserve their identity with great zeal, and had to demonstrate by all possible means that their religion could cope with other contemporary crreds. In the early phase, this was mainly done through great rituals (including solemn ceremonies accompaning the consecration of images), through popular lectures, and through public discussions. Demonstrations of the spiritual and cultural strength of Jainism (whatever the occasion) certainly played an important part in the life of the community. There was also an astonishing extravagance in the description of the lives of the Jaina saviours, and the Jaina authors had special aptitude for the composition of impressive biographies of Tirtlankaras and other saints. No study dealing with religious pride and sentiment would try to collect its basic data from a puritan religion like Jainism. Quite different is the situation when Jainism becomes the starting point of the enquiry. In that case we have to study forms of pride as existing in the community, most of them influenced by the special situation of the Jaina cominunity. At the same time, its very opposite, humility, should also be considered in an adequate manner, though it would necesiate an inquity of a different type. In the section on 'Sectional Studies', an attempt is made to improve the description given

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Vol. XX, 1996 REVIEWS 201 by the author in BRUHN Se. While suggesting a few new items which should find consideration in a study of Jaina ethics, he has listed, and clarified, the following: (a) Cluster analysis; (b) ten sections, viz., ethics, soteriology (and karma theory), monastic discipline, ritual, literature (general), narrative literture, dialectics (bhangii, niksepa, etc.), natural philosophy, cosmography, and history of the church; (c) study of the stories as connction of both concepts and stories; (d) necessity of finding adequate ways for the diescription of plain differencies of spirit and atmosphere between Svetambara and Digambara; and (e) the selection of texts for the study of Jaina ethics. With its Abbreviations, Appendix and Notes, the article covers about fortyfour pages of learned presentation. In his 'Words for violence in the "Seniors" of the Jaina Canon', Colette Caillat presents a study of several recurring expressions or words, about violence (hirsa), some of which, though quasi-synonyms, can be shown to be used with slightly different shades of meaning, or to be preferred in specific contexts or plirases. He has reviewed some of these expressions, verbs and verbal nouns, especially danda (aya-danda, dandam (sam)-aranbhai, etc.) and panaivaya (pane aivaei, aivaya); as also the verbal and some nominal forns from the root HAN and HIMS, sometimes exchanged, and that hirsai, hinsa never have a desiderative meaning. The present suevey is limited to the "seniors" of the vetambara canon, i.e. to thie Ayaranga, Suyagada, Uttarajhaya, Dasaveyaliya. It is submitted as a tribute to Deleu. He has shown low grammar, vocabulary, style combine to impress upon the Jaina mind the necessity to respect and spare all life, "not to injure" (na HIMS) the living there is little doubt that the seniors of the canon insist on "non-injury" (ahimsa) so consistently that from the start Jainism can be termed a doctrine of non-voilence, ahinsa-samaya. There is no denying that ahirisa is an old concept in the Indian traditions: Hans-Peter Schmidt has shown, in his "The Origin of Ahimsa", how it has originated, has evolved, has been transformed, enriched, and has become essential in India. But it is no less certain that from the beginning it was central in the Jaina system, which has explored it indefatigably. As far as the seniors of the canon are concerned, it is clear that the vocabulary relating to (non-) violence is particularly rich. Extensive Notes are provided, here. Paul Dundas, in his 'THE MARGINAL MONK AND THE TRUE "TTRTHA" draws the attention to the somewhat peripheral position to which the students of Jainism have long been inured and they have had to endure often imperfect judgements about key topics in South Asian studies as a result of exclusion of Jain evidence. Even the most stoical Jainologist will be driven to protext at a recent interpretation of world-renunciation in South Asian reigions which, extraordinarily, contrives to find a place for Jesuits and Capucins in its proposed model while omitting any reference to Jain ascetics. Burghart's account is referred to here. Many writers, both Jain and Western, have preferred to see Jainism as a unified whole, a path of salvation which revolves around a gradual progress through a series of idealised spiritual stages (gunasthana) encompassing both the lay and ascetic states, while giving only passing acknowledgement to the Svetambara-Digambra split as the one significant 'historical event to take place within the religion since the death of Mahavira. Dundas

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202 NARAYAN M. KANSARA SAMBODHI describes in his paper two ways by which Jain writers shaped a sense of identity by defining as deviant other members of the Jain ascetic comunity. The first is the repeated excoriation by both the Svetambras and the Digambaras of the pa sattha/parsvanatha monk. while the second is the attempt by the sixteenth-century polemicist Dharmasagara to confirm the existence of a true and orthodox Jainism by singling out what he saw as the dislocation in the lineage validation of the rival Svetambara monastic grouping, the Kharatara Gaccha, and the spurious claims of authority of some of its most famous teachers. The fifth anga of the Svetambara agama, the Viyahapannatti, shows clearly that early Jainism was aware of the necessity of differentiating between the ascetic members on the basis of the varying nature of their levels of attainment, when it (25.6) gives the following designations applied to monks: empty (pulaga), 'spotted' (bausa), bad' (kusila), 'free' (niyantha) and 'pure' (sinaya). The first three types represent inadequate or deviant types of monks, while the latter two are, respectively, the monk well advanced on the path to spiritual liberation and the enlightened kevalin. All five of these types are mutually distinct in terms of their elimination of karma and understanding of scripture. However, a canonical taxonomy which was to prove still more ubiquitous over the centuries occurs at the Viyalapannatti 100.4 wliere a group of laymen is described as pasattha, osanna, kusita and ahachanda : in Deleu's translation, 'inert', 'languid', 'bad' and 'self-willed', respectively. This list is significant because it was repeatedly used to apply to deviant monks by both Svetambaras and Digambaras and was thus a means by which true asceticism, understood as being opposite of the traits exemplified by the list, could be defined across the inost significant Jain sectarian boundary. Dundas has concentrated here on the term pasattha, almost invariably Sanskritised as parsvastha. It literally means 'standing near', 'being beside', and Jain commentators explain the 'nearness' embodied in the term as referring to he marginal position which the parsvastha monk occupies with regard to the monastic community and its spiritual and intellectual concerns. A wide range of faults is ascribed to parsvastha monks, and he is reviled by both the svetambara and Digambra writers. Bollee suggested a link with pasanda 'heretic', while some scholars have wished to see a connection with the twenty-third tirtharikara Parsva whose followers were regarded by later tradition as lax. What is more significant for our purposes is the virtually all-encompassing nature of the parsvastha's deviance whereby he infringes nearly every important aspect of correct monastic practice as defined by the most authoriatiative Jain sources of both sects. The description of such as wide range of defects and inadequate behaviour suggests not so much an interest in identifying specific delinquency as the providing of the means by which the character of the upright (samvigna, suvihita) monk could be shaped and recognised. It is easy to feel that, for the purposes of ascetic selfidentification in Jainism, if the parsvastha monks had not existed, it would not have been necessary to invent them. Then, Dundas las considered in detail Dharmasagara's polemic against the Kharatara Gaccha, in his Kupaksakausikaditya, 'The Sun on the Owlish Heretics' or the

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Vol. XX, 1996 REVIEWS 203 Pravacanapariksa. In his concluding Observations, Dundas has noted that for Dliarmasagara, the true tirtha was the lineage to which he belonged, the Tapa Gacha, founded by Jagacandra in the thirteenth century and which, on the basis of its uninterrupted chain of succession, its pure exposition of the doctrine (suddhaprarupana) and practice of austerities (duskarakriya) is described. Firstly, as the unique and only tirtha in India (PP p. 33). The two conclusions drawn are: ascetic groups such as the Kharatara Gaccha and others who claimed to have introduced, single-handedly as it were, reforms into Jain practice might not have been acknowledged by the larger community as quickly as their chroniclers suggest, and, secondly, invocation of the four gacchas descended from Vajrasvamin here gives the impression of being a convenient, 'short hand' way of describing the totality of orthodox, mainstream' Jainism, with no acknowledgeinent of other gacchas or sakhas being allowed. There is tantalising evidence that some ascetics went still further, shortcircuiting this principle completely by the claim of direct contact with Simandhara, the tirtharikara currently preaching in the parallel continent of Malavideha. By the time of the eighteenth century, we find Acarya Bhiksli, an apostate Sthanakavasi ascetic, dispensing with the notion of lineage and founding the Terapanthi sect without reference to any recent predecessors. Dharmasagara's PP, for all the rich data and elaborate polemic it offers, is ultinately an abortive attempt to define and control Jain identity. The repeated reference to parsvastha monks throughout the centuries demonstrates the impossibility of a community of righteous ascetics unified by their blameless performance of the idealised behaviour described in the scriptures. History makes it clear that there has always been a wider range of identities for Jains, both ascetic and lay, involving a variety of social and religiolis practice. They may possibly turn out to be more relevant that the Jesuits and Capucins. W.B. Bollee, las discussed the Story of a Frog in his article in German, entitles 'Die Geschchte vom Frosch Nayadhammakahao 1,13'. Here Mahavira is replying to the question of his clisciple Goyama Suhamina. The story is told by Jambu, the disciple of Goyama. Mahavira narrated the story in the 12th Adliyayana to illusrate the purport that merit is obtained due to association with a good guru. All the stories of the previous adhyayanas are moral stories. The story is located in the city of Rajagrha wherein King Srenika ruled. To the north-east of the city was a caitya known by the name Gunasila. Once Mahavira arrived there, and people came to offer him obeisance. At that time a god named Dardura too came to offer his obeisance to Mahavira, and returned. Then, Goyama asked Mahavira, as to where did the divine attainments of the god go. In reply Mahavira narrates the story of the Frog, which is elaborately presented by Bollee in 45 sections of his article. Mahavira tells that once upon a time when he arrived at Gurasila caitya, the assembly and King Srenika too came to offer his obsisance. Then came the jeweller Nanda who served him and became a sravaka. Thereafter due to the lack of contact with Jain monks, and due to his lack of proper follow up by listening to the instructions pertaining to the Jaina religious discourses of vitaraga, he became prone to the influences of heterodix traditions (mnitlyatva). In due course, he undertook the vow of atthama-bhakta and when he was

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204 NARAYAN M. KANSARA SAMBODHI tormented by extreme hunger and thirst on the third night, he realised the importance of numerous step-wells and tanks where people bathe and get water. And, under the concurrence of the king he constructed Nanda lake, with all the facilities for free food and drink and medical treatments, and with adequate staff to look after all the functions of the establishment. This earned him high fame in the city. In the course of time, the jeweller fell ill and died, and due to his attachment with the lake he was born as a frog in the lake. Even as a frog, he could listen to the people talking with much respect for the jeweller Nanda who had constructed lake, and remembered his previous birth as the jeweller Nanda. Now, wlien Mahavira arrived there this time, he also remembered that he had accepted the vows of five anuvratas and seven siksavratas and that when he was tormented by extreme hunger and thirst, he had constructed this lake. And he resolved to resume those vows and undertook the chattha chattha penance. When the assembly and King Srenika started for the Gurasila caitya, the frog too came out of the lake to go to Mahavira to offer his obeisance. On his way, he was crushed under the left leg of one of the young horses of the king. As he realised that he would not last any longer, he went to a secluded place, folded his hands and having rotated them thrice on his own head he offered obeisance to the tarthakaras and to Malavira, and undertook the vow of the paccaklana for the rest of the life and died in due course. He was reborn as the god Darduraka in the heaven. Bollee has treated this story in great detail. Junko Sakamoto-Goto has presented a very elaborate study of Middly-Indian Verbs in Medical Causative. (The article being in German, the summary could not be given in view of its being very detailed and full of numerous types with numerous illustrations and examples. Phyllis Granoff has highlighted the role of written texts in medieval Jain sectarian conflicts - Going by the Book. Although books or written texts were highly regarded and at times even worshipped by all the major religious gropus, Jain, Buddhist and Hindu, and though the copying of texts was considered a meritorious deed, little attention has been given to the role written texts might have had outside this largely ritual context. The various sectarian biographies that come from the different Brahmanic and Jain group of biographies, viz., that of the Kharataragaccha, a medieval Svetambara Jain sect, as recorded in the Kharataragaccha-brhadgurvavali. He has presented the thesis in three sections: (1) Settling the issues + Written Texts in the context of Debate and Public Discourse; (2) Denying the Book + Scenes from the Deeds of Jinandatta and Jinesvara; and (3) Reading by Stealth. In the 4th section, Conclusions, the author has pointed out that outside the Jain tradition some of the most interesting evidence for a positive valuation of the importance of written texts comes from the followers of Ramanuja, for instance, in the Prapannamrta of Srimadanantacarya, a 17th century biography of Ramanuja. The schools of Vallablia, Madhava and Sankaracarya too provide ample evidence. These few references are meant to indicate that the written word was important in sectarian conflicts in Brahmanical as well as in Jain traditions, and these conflicts might even cause us to revise

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Vol. XX, 1996 REVIEWS 205 our notions of India as the "oral" culture par excellence and pay more attention to book learning in its very scholarly culture. Padmanabh Jaini, in his "Fear of Food ? Jaina Attitudes on Eating", while distinguishing the Vedic tradition from the heterodox systems contrasts the former as oriented to sacrifice (yajna) from the latter as adhering to the path of asceticism (tapas); the one consumes food initially offered to the Deity and hence sanctified by its acceptance, while the other descries oblation to gods as fruitless, prohibits the eating of the so-called prasada, and ridicules the offerings to manes as futile, thus rejecting any notion of sacredness attached to food. The preferred mode of spiritual activity of the of the sramana is tapas, which primarily consists of 'heating' oneself, i.e. drying or thinning by reducing the intake of food and water. Tapas is thus a form of self-sacrifice calculated to bring about magical powers (ddhi) as well as achieve the spiritual goal of moksa. The Buddhist texts, too, make similar claims on behalf of Siddhartha Gautama who is said to have fasted for long periods of time during the six years of his strenuous search for Enlightenment. The Jainas are thus distinguished from the Brahmanical tradition by their rejection of the sacredness of food, of sacrificial meat, as also of gliee and, by extension, rejection of the cow as a sacred animal. They are distinguished from the Buddhists by their emphatic adherence to the practice of fasting as a primary component of their spiritual path. This invites an examination of the attitude of the Jainas to food and the reasons for their belief in the efficacy of fasting as a means of attaining moksa. Probably the Jaina doctrine of the material (paudgalika) nature of karma capable of producing impure transformation (vibhava-parinama) of the soul (java) is at the root of this belief, and Samsara would thus appear to be coterminous for a Jaina; there never was a time when he has not eaten in this biginningless cycle of birth and death. The path of moksa, therefore consists in overcoming the desire for food in all its forms, for true liberation is freedom from hunger for ever. Colon Mayrhofer attempts to place Karakanducariu (KC) of Kanakamara in the context of other treatments of the same theme and to relate the narrative structure to its intention. The differences between the Jataka version, the Devendra-Akhyanakamanikosa (AMK) version, and the KC-Brhatkathakosa (BKK)-Kahakosu (KK) groups can be summarized as bodhi, bodhi plus anagnorisis, bodhi and anagnorisis combined with pathos. Now, uniquely in the KC we find a further elaboration in the direction of pathos, the pathos of sexual love in separation. The KC interweaves the story from the Brhatkatha tradition involving his wife Madanavali with the two stages of the main story. Kanakamara has chosen to work the conquest of Dravida country into the pattern of the cakravartin, the conquest of wives and territary. In the final sandhi of the KC, the sage Silagupta is the omniscient narrator who explains through the narration of an anterior like of K. why he has the scrab on his hand from which he takes his name, and etc. This can be considered the climax of Kanakamara's poem, both in the religious and its literary aspects. K.R. Norman has contributed 'Uttarajjhayana-sutta 1 an Edition and Translation with a Metrical Analysis and Notes'. In this paper he has considered

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206 NARAYAN M. KANSARA SAMBODHI it does not present the same metrical problems as the fourth and eighth ajjaayanas, nevertheless since it deals with discipline it is of great interest. Nearly seventy years have passed since Charpentier made his edition, and in that time much work has been done in the field of Jaina and Middle Indo-Aryan studies. As a result of that, solutions can be suggested for some (but unfortunately not all) of the problems which he discussed in his notes. No MSS were directly available to Norman for the production of a critical edition, but he has mad use of the printed editions listed by him, and he has noted the readings of Jacobi's edition and the MSS used by Charpentier, as quoted in his edition, and the readings of the MSS noted by Pt. Amritlal Mohanlal Bhojak. Suzuko Ohira presents an abstract of a 'Study of Bhagavatisutra: A Chronological Analysis." The Viyahapannatti, the fifth Anga of the Jaina canon popularly known by its epithet "Bhagavati, is fundamentally concerned with the general theoratical problems of jiva-ajiva in the loka that are the essential themes treated in the Pannatti-texts. Inspite of the external appearance of pellmell, it retains its vital consistency in dealing with the doctrines of jivaajiva as a whole. The chronological layers of the Bhagavati passages are hopelessly entagled, and many expository passages of the earlier concepts must have been filtered out and lost in the course of time. Even its commentator Abhayadeva frequently has difficulty in understanding the earlier passages of which the meaning had been lost by his time. Dr. Del deals with its satisfaction in 'A Study of the Bhagavatisutra - A Chronological Analysis" an attempt undertaken over a decade ago under the guidance of Pt. D. D. Malavania. In the present abstract included are its "Introduction, "Table of Contents, "Chapter I Canonical Stages A Chronological Survey of the Canonical Texts" and "Calamane calie", an article belonging to Chapter 111, enough to introduce the said work. Gustav Roth, in his 'Gosala Mankhaliputta's Birth in a Cow-stall Including Notes on a Parallel in the Gospel of Luke 2", seems to vindicate Deleu's observation "that originally XV had been a complete and separate text by itself, named Teyanisagga, before it became part of the Viyahapannatti (Bhagavai) under the name Gosalayasaya", in his study of the said work, with reference to A. Weber's remarks. Roth finds that this important observation is underlined by the fact that Saya XV is not subdivided into uddesa chapters like Saya I-XIV, XVI-XX, XXIV-XXVI, XXVIII-XXXII, XXXIV-XXXVI, XLI, or into vagga sections like Saya XXIXXIII. This actual state of facts shows that Saya XV, known as Gosalaya-saya occupies a special position in the Viy. as a whole. At the beginning of his account of Saya XV, Deleu informs us about the literature relevant to the subject and comments (215) on Gosala's birth as follows: "G. was born in the cow-shed (gosala) of the Brahman Gobahula at Saravana near Savatthi. His parents, the mankha Mankhali and his wife Bhadda, therefore called him Gosala. "Roth has given the Jaina Prakrit text of this passage (in transliteration), English translation of it, and added his commentary in which he has discussed a few points regarding the contents of these chapters which introduce the Gosala-saya section of the Viy. Then he has referred to the discussion by A.L.Basham to which he adds a few notes. Buddhaghosa (5th cent. A.D.) also refers to Gosala's birth in a cow-stall in the Pali commentary Sv I, 1433-31 (PTS ed., London 1886) with reference to the Samannaphala Sutta in the Divyavadana.

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Vol. XX, 1996 REVIEWS 207 Roth feels that if anything is authentic in the Gosala chapter, the last cryptic words speak for themselves, where he teases his lay-follower, speaking about the form of a halla, his host, and crying to play the lute. This comes out of a mind of a man who finds himself exliausted and mad with the intoxicarions of life. To be born in a cow-stall was apparently not uncommon in ancient India, and it is likely that the account originated during the 5th or the 6th centuries B.C., and was transmitted in the Gosala-chapter of the Viy, in the Jaina Canon. Basham called our attention to a parallel version in the New Testament, and felt it to be historically almost valueless. Buddhist and Jaina sources, independent of each other, both refer to Gosala's birth in a cow-stall The Christian sources in the other hand do not show any such uniformity in their respective accounts of Jesus Christ's birth. Garbe and other saw in the account of Luke a parallel connection with the Buddhist legends referring to the appearance of the seer Asita. Asita realising his impending death after his sight of the Buddha-to-be child, and therefore, shed tears in distress because lie could not take part in the career of the Spiritual Awakened one. This specific feature of the Asita legend shows that it is the core of a common, ancient, and most popular tradition, of the third century B.C. Since then close relations were maintained between the Magadha kingdom and the Greek principalities of the Asia Minor with Antiocheia as the centre of the Seleucid Empire, and beyond that. The people of Antiocheia, the present day Antakya, has been famous for its fig, olive, and orange plantations. This important account of Luke's Acts, composed in about A.D. 80-90 A.D., shows that it was in the cosmopolitian metropolis of Antiocheia in which a development started which led to the growth of Christianity into a World Religion as a separate branch of a common Jewish tradition. Scholars in the field of studies of the New Testament have come to the conclusion that early Christian traditions were not concerned about Jesus Christ's birth and childhood. The New Testament passages about legendary temptation invite comparisions with the accounts of Buddha's temptations by Mara; the most striking parallels have been frequently treated by scholars like Windisch an Garbe. This speaks in favour of a high degree of likelihood that Luke had absorbed a good number of Indian tales from the floating mass of legendary motifs hailing from India, and which he modified according to the standards and needs serving the cause of the message of Christ, among them the account of his nativity. Frank Van Den Bossche, presents an investigation into the nature of 'Jain Relatvism, an Attempt at Understanding' and feels that a clear distinction should be made, as K.K. Dixit has done, between canonical and post-canonical relativism. Both are distinct through a dogmatic-doctrinal and logical-rational approach, respectively. The post-canonical writers took up the classificatory relativism of the Canon in order to give it a rational basis and above all to turn it into a coherent metapliysical and epistemological system. The picture of what can be labelled as relativistic has already been drawn by B.K. Matilal. However he did not place Jain Relativism explicitly in the perspective of the problem of negation as it was discussed in the Indian philosophical tradition. Bossche tries to show that the Jain view on negation resulted in the acceptance of the factual existence of Non-existence as a part of the make-up of a real, that this assuption represents the core of Anekanta-vada and that

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Vol. 08 NARAYAN M. KANSARA SAMBODHI 40 Vive LIISI Eac! pos: Ved but his 11011 kulla brah ther to bi goac the Vaya-vada, and Sapta-bhangi-naya vada are but epistemological corrolaries of Anekanta ada. He has discussed (1) Anekanta-vada as propounded in the Anekanta-jaya-pataka, (2) the theory of the nayas in the Syadavada-manjari, and (3) the theory of the Sevenfold Formula (Sapta-bhangi-vada). By way of conclusions he has drawn an overalt picture of Jain Relativism as follows: Anakantavada says that an object is characterized by Existence and Non-existence. This entails no contradiction, since both apply as supra-universals to different attributes. Accordingly, an object has innumerable properties which are not contradictory. On the level of concrete knowledge about the world of sensuous objects and Ets expressions this view entails three possibilities: (1) a proposition of incorrect if Existence or Non-existence are asserted in an absolute way, excluding the alternative; (2) a proposition is partly correct if Existence or Non-existence are asserted out of practical reasons, so as not to exclude the alternative; (3) a proposition is totaly correct if Existence or Non-existence are asserted in a conditional way, implicitly pointing to the alternative. As to the term 'Syadvada', he thinks that it applies to the whole of Jain relativistic thought, the term 'syat' being central to the Jain conception of tlie true knowledge. Naya-vada and Sapta-bhangi-vada do really represent two stages in single movement of thought, generated out of Anekanta-vada. How these doctrines did evolve in the Jain Canon is another matter and should be the object of further studies. In his (Notes on the "Bhavana", 3rd Cula of the Ayararga-sutta II, Kinji Watanabe contributes to the study of the formation of the Jaina Scriptures, taking the third Cula (supplement) of the second book of Ayaraiigasutta, as an example. In conclusion he states tliat though we know the phenomenon that has occurred often enough in the history of the Jains canon, viz., that an older text of the same name had existed before, but which became lost and a new text was substituted later in its place, and was passed off under the older one's name, our case of Bhavana is not such one. In fact most of the prose paragraphs occur with but small alternation in the Kalpa Sutra, says H. Jacoby who doubted the original character of the Mahavira-biography in it. But, says Watanabe, among the inter-. quotations in Argas, the Mahavira biography (no title) in the extent Kalpa-sutra is more iuthoritative than such one of Ayaranga Bhavana. As suggested by Klaus Bruhn, we are in his case only concerned with fluctuarions during the last period of the formation of vatambara canon. Albrecht Wezler examines the contents of the Dvijavadanacapeta Vedatikusa - "A Slap on the face of the Brahmins", 'Introducing a Little-known Jain Text of Polemical Objectives.' The york clearly falls in two parts, the first consisting or 849 (numbered) verses introduced by isesam vina mahabharatadisu/itihasasa muccaye. The verses which he has compiled and Lioted in the first part of this work deal with dhrma, i.e. 'normative rules of conductor ightful conduct' itself. The texts ehich are not subsumed under mahabharatadi consist of the elep one with criti have der! scho price cons the (and of th to 11 and MNO que ives liist read ricl has RES CH Thi L of

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Vol. XX, 1996 REVIEWS 209 40 titles like Argirasasmrti, Rgveda, Taittiriya Aranyaka, Dharmasastra, Bhagavata, Vivekavilasa, and others. Some of these titles, e.g., Ayurveda or Dharmasastra, are quite unspecific; they are rather names of traditional branches of learning than of individual texts. Each and every quotation has to be traced back to its source, taking note of the context and possible variant readings, as a necessary critical examination. The second part of the Vedatkusa is not only clearly demarcated from the first by the latter's concluding statement, but also by its distinctly different character, since it is now the author himself who speaks on his own behalf, and what he wishes to express he states almost right at the beginning. He is not content simply to prove in this manner that none of the nine factors, viz., sarira, jati, jiva, kula, yoni, jnana, saucacara, tapas and satiskara, can be regarded as constituting brahmanhood, but continues his argument by expressing his own opinion. At the very end of the work it becomes entirely clear that the 'slap on the face' (vadana-capeta) is not, of course, to be taken literally, but also that the title Vedankusa itself is not only metaphorical, but "a goad in the form of Vedic litterances". And to be sure, like the real goad, this special one (in the hands of a Jain or a Jain monk) is also considered as being used only to urge on the elephant-like Brahmins so that they avoid the wrong path (kupatha, etc.), return to the right one sanmarga, etc.) and thus in their turn also reach the final goal (but, of course, alone, i.e. without their 'maliout'). Practically no work has been done so far on the special subject of the criticism directed by Jain authors against the Brahmins, or Vedicism in general. What we have, in contradistinction, is von Glasenap's short, though informtive article on 'Die Polemik der Buddhisten and Bralmanen gegen die Jainas". What is pointed out by this late German scholar is 110 doubt true: (that the Jains (as well as the Buddhists) opposed the bralimanical priests, did not accept their claim of superiority, or rather denied it strictly; (2) that they considered Hinduism to be a kind of degenerated Jainism and Hindus to have deserted from the true faith; (3) that they, although they themselves strictly adhered to the caste system (and the varna system), liad their own myth about the creation of the varnas' including that of the true) Bralimins; and (4) that they described in this connection what true Brahmins are to them. It is clear wliy it was first of all the Bralimins who became the target of Jain criticism and polemics. The antipathy which did not fall short of denouncing the other group as inorally wicked, etc., was of course a mutual one; but it would be stupid to even ask the question when it began and by which side it was started, for it was bound to arise as an inevitable confrontation. In any case, this continuous, and still continuing, process is a historical fact whicli fully deserves the attention of scholars. This article will convince the reader that the Vedarkusa is not the least valuable and interesting work of the extraordinarily rich and vast Jain literature to the understanding and knowledge of which Professor Deleu has contributed so much. N.M.K. RESTORATION OF THE ORIGINAL LANGUAGE OF ARDHAMAGADHI TEXTS BY K.R. CHANDRA. Prakrit Jain Vidya Vikasa Fund, Ahmedabad, 1994, pp. XXIV + 104. Rs. 80This work is a follow-up of the author's previous work, entitled 'In Search of the Original Arcliainagali', relating to some other aspects of this same subject. Here is attempted a study of variant readings of a few words from the Acaranga, Part I, which is regarded as the oldest

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210 NARAYAN M. KANSARA SAMBODHI portion of the Ardhamagadhi canonical works of the Svetambara Jains. In the Section 1, variant readings from the palm-leaf and paper Mss. are noted sutra-wise in a number of tables under different titles along with similar old word-forms from the published four other older Ardhamagadhi texts to have the idea of how far the older word-forms could be traced. The analytical study of these tables amply proves that with the passage of time and due to the migration of the Jains from the East to the West, the original Ardhamagadhi word-forms were replaced by later younger (Maharastri) word-forms, may be due to uncarefulness or with the purpose of making the language intelligible to the readers of the time. But this liberty became detrimental to the preservation of the original character of the language of Lord Malavira and his Gandhras who had preached in the East India centuries before the Christian Era started. Additionally, in Section II, there are variants of some words froin older Ardhamagadhi texts, their Prakrit Curnis and Sanskrit Vrittis which strengthen the above conclusion. This study clearly demonstrates that although older word-forms are found scattered in the Mss. and in various editions of the Ardhamagadhi texts, is it not advisable at this stage, now, to replace the currently accepted word-forms by the older word-forms, in the new editions to be published herefter? Although this study is not complete in itself, it being only a beginning, we need a further scanning of older word-forms from all the available Mss. of the Ardhamagadhi canonical works in order to help the editors in restroing the original character of the Ardhamagadhi language of Mahavira and his Gandharas. It is hoped that the Jain acaryas and eminent scholars would move forward in this direction for bringing out a critical edition of the Ardhamagadhi works. This is a true piece of research work and Dr. Chandra is to be congratulatied for this treatise which shows his brilliant scholarship and meticulous care. In making a general estimate of the author's achievement as a editor one feels the difficulty of avoiding superlatives, which are amply justified in this particular case. He has thouroughly ransacked the different readings of the text and has tried his best to find out the original older readings. To find out the original oldest readings of the cannonical texts of the Svetambara Jain canon is a herculean task and requires a painstaking and penetrating scientific outlook with a good background of linguistic insight. It is true indeed that one must take into account the Inscriptional Prakrits and Pali in this respect, but they should not be taken as the only guiding factors for the older specimens of Ardhamagadhi, since sometime this latter language shows greater affinity with old Persian than with classical Sanskrit. However, Dr. Chandra has shown the way for the future scholaas to carry out the research work for a niissing link. N.M.K. THE SAMKHYA-YOGA AND THE JAIN THEORIES PARINAMA by the Late Indukalaben H. Jhaveri. Gujarat University, Ahmedabad, 1990, pp. IX + 192. Rs.30/-. This work is a doctoral dissertation of the author prepared under the guidance of Professor R.C. Parikh and approved by the Gujarat University a few decades ago. The thesis was lying unpublished so long, but it was taken up for publication by the university with the cooperation of the Charitable Trust registered in memory of the late Dr. Indukalaben

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Vol. XX, 1996 REVIEWS 211 Jhaveri by her friends and well-wishers. As lias been stated by the author, few scholars have utilized the Samkhya-yoga sources and the ideas contained in them to formulate a systematic Samkhya-Yoa theory of Parinama, and the Jain sources to formulate the Jain theory of Parinama, and the Jain sources to formulate the Jain theory of Parinama. Although the problem of relation between the Sarikhya-Yoga and the Jain systems has been touched by scholrs like Grabe, Jacobi, and others, 110 one has attempted a comparative study of these systems and their bearing on the theory of Parinama. The Thesis has been divided in ten chapters: (!) Seeds of Parinama in the earliest Sanskrit literature (250 B.C. - 200 B.C.); (2) Sankhya Ideas in pre-Isvarakrsna literature; (3) Parinama in the Samkhya-Karika and its commentaries; (4) Development of Parinama in the Yoga-sutras and their important commentaries, as also in the Sainklya-sutras and their commentaries; (5) Other topics relted to Parinama; (6) Jain sources; (7) Parinamavada in thie Agamas; (8) Parinama in the works of Umasvati and Kundakuunda; (9) Parinama in the Tarka period; and (Satkhya-Yoga and Jain - a comparision. There is further an appendix on 'Agurulagliy', followed by the Bibliograpliy listing 72 Sanskrit and Prakrit works, 45 works in English, and 11 Research Journals. Some of the new points worked out in the thesis are: (1) a new study of the emergence of the idea of Parinama in the early Vedic literature; (2) attention has been drawn, for the first time, to the precise definition of Viparinama or Parinama as given by Yaska; (3) new light has been thrown on the problems of Tattvantara-Parinama, the process of Parinama - savsrsta-viveka and visesavisesa - which occur in the Samkhya-Yoga works; (4) the problem of the relation between Pajjava or Paryaya and Parinama from the Agama passages is discussed for the first time in this manner; (5) a critical study of the Jain technical terms agurulaghy' has been attempted here for the first time; (6) further applications of ParyayaParinama, viz., Dravya-paryaya and Guna-paryaya, Parinama and Parispanda, PrayogaParinama and Visrasa-Parinama, Artha-paryaya and Vyanjana-paryaya, as found in the later Jain dialectical works have been critically examined for the first time in a way done by the alitor; and (7) a new approach has been tried in the study of the nature of Pre-Isvarakssna Sankhya and the historical relation between Samkhya and Jain. In this way, by putting forward in this thesis, a critical study of the views of India's ancient thinkers of the two important scliools on Parinama, the author has attempted to contribute to the understanding of the concept of 'Permanence and Change, a concept of gret significance in the history of philosophy as well as modern knowledge as a scientific principle. N.M.K. JAINA-DARSANA AND SAMKHAYA-YOGA-MAM JNANA-DARsANA-VICARANA (Gujarati) by Jagrti Dilipa Setha. Sanskrta-Samskrti Granthamala, Ahmedabad, 1994, pp. 16 + 200. Rs.150/This study incorporates the doctoral dissertation submitted by the author to the Gujarat University, Ahmedaad for Ph.D. degree under the guidance of Pandit Malavaniya, the Retired Director of the L.D. Institute of Indology, Ahmedabad. It presents a comparative

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212 NARAYAN M. KANSARA SAMBODH study of the concepts of Jhana and Darsana as developed in the systems of India philosophy, particulrly, Jainism, Buddhism and Sankhya-Yoga. By way of historical survey the concepts are also examined in the light of what has been recorded in the Upanisads Gita and the Nyaya-Vaisesika system also. Original works have been taken as the source material and a perspective of integral harmony has been followed in the interpretation o these original works, while evaluating the concepts, with proper and well-guided logica enquiry. The author has also tried to remove the opposition or conflict in the views of the Founders of the systems. The conclusions drawn are non-partisan and logically harmonious. The work is divided into five chapters : (1) Jnana and Darsana in the Upanisads and the Bhagavadgita; (2) the nature of one who possesses Jnana and Darsana in Jainism ans Sarnkhya-Yoga; (3) JMana and Darsana (=bodha) in Jainism and Sarikhya-Yoga; (1) Darsana as sraddhana in Jainism and Sarikhya-Yoga; and (5) Jnana, Darsana and Sraddha in the Buddhist religion and philosophy as also in the Nyaya-Vaisesika system. Some of the conclusions drawn by the author are as follows: (1) It is into proper that Samkliya-Yoga holds Jnana as a dharma of acetana cittatattve. It should have been taken as the essential nature of the cetanatattva, In view of this the refutation of Sarkliya-Yoga by Jainism is noteworthy: (2) The object of Jnana in the Sankhya-Yoga are the external things and Purusa while the object of darsana in Jainism in Jiana itself. Thus, the rana of Jhana is darsana. This brings out the peculiarity of the Jaina concept of Jiana and Darsana. Thus, the Sakliya Yoga concept helps to elucidate the Jaina concept of Jnana Darsana. This also helps us to find out the rational explanation wly Jainism las not accepted a manah-paryaya-darsana, since they take darsana to be sv-savivedana. The Upanisads have used the term 'darsana' in the sense of sraddhi. Similar is the case with Jainism, too. So also both of them agree as to the two types of sraddha, viz., the one that precedes sravana and that which follows it; the former is naisargika and the latter is adhigamaja. But in the Samkhya-Yoga 'darsana' is not taken to mean sraddha although the word has been used. There is no mention of Sraddha that precedes fravana. Sraddha is the root cause of the viveka Jriana through the eightfold Yoga. Vivekanand is not possible without sraddha, and the former is the root cause of Liberation. The author has made it a point to corroborate all her statements by corresponding suitable quotations duly recorded in the foot-notes given at the end of each chapter, to enable the interested scholars to varify them on the basis of the relevant text of the original work. The work is undoubtedly going to be very useful to the students of comparative studies in Indian philosophy. N.M.K. VORILIA LIBRA ISRAR 708806 S6 4.198 ATT