Sambodhi 1998 Vol 21

Author(s): J B Shah, N M Kansara
Publisher: L D Indology Ahmedabad
Catalog link: https://jainqq.org/explore/520771/1

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SAMBODHI VOI. XXI 1997-98 EDITORS J. B. SHAH N.M. KANSARA L. D. INSTITUTE OF INDOLOGY AHMEDABAD

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SAM BODHI VOI. XXI 1997-98 EDITORS J.B. SHAH N.M. KANSARA L.D. INSTITUTE OF INDOLOGY AHMEDABAD

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SAMBODHI VOI. XXI 1997-98 Editors : J. B. Shah N. M. Kansara Published by : J. B. Shah L. D. Institute of Indology Ahmedabad - 380 009 (India) Price : Rs. 100-00 Computer type setting : Sharadaben Chimanbhai Educational Research Centre, 'Darshan' Opp. Ranakpur Society, Shahibag, Ahmedabad-380 004 (India) Printer : Navprabhat Printing Press Near Old Novelty Cinema, Ghee-kanta, Ahmedabad.

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CONTENTS 1. Some Notes On The Transmission of The Ayarangasutta Colette Caillat : 1 2. Kumarasambhava As Critically Examined by Sanskrit Alamkarikas Arpita G. Patel 3. Trade Relations of India With Africa Ravindranath Upto 14th Century A. D. Vaman Ramdas 4. Amari Ghosana-no Dastaveja (Proclamation of Non-killing of animals S. Andhare 5. Water Treatment in the Atharvaveda Subhas Chandra Dash 49 6. Relations Between the Calukyas of Gujarat With the Bhatis of Jaisalmer Ram Vallabh Somani 58 7. Bharat-Bahubali-Mahakavya : A Critique Satyavrat 8. On the Semantic Aspect of Some Types of Gujarati Onomatopoeias H. C. Bhayani 9. Prakrit Narrative Literature And Contribution of Vardhamanasuri (1060-1120 A.D.) to it N. M. Kansara 78 10. Alamkara-Dappana H. C. Bhayani 11. dhruvasena pahelAnuM tAmrapatra (vi.saM. 206) a. 2. zAha 96 12. pAzupatAcArya megharAzinuM tAmrapatra lakSmaNabhAI bhojaka 103 13. gujarAtanA prasiddha hastalikhita-graMthabhaMDAro bhAratI zelata; Ara.TI. sAvaliyA 14. sAhityamImAMsAmAM vicArAyeluM rasasvarUpa pArula mAMkaDa 117 15. jaina AcAryonA mate kavinuM svarUpa ane prakAro aMbAlAla prajApati 132 16. Reviews N. M. Kansara 139 17. Brief Notices N. M. Kansara 164 18. avalokana jayanta che. ThAkara 180 19. Acknowledgements 183 20. L. D. Series Recent Publications 21. Our Contributors 22. Seminar on Ardhamagadhi Jain Agama Literature 85 105 184 185 186

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

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SOME NOTES ON THE TRANSMISSION OF THE AYARANGASUTTA* Colette Caillat Some years ago, after the publication of Ayaranga-sutta in the J(aina) A(gama) S(eries) (2.1, Bombay 1977), Prof. D. D. Malvania drew my attention to the many critical notes and paehantaras 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'. 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 (srutaskandhas). 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 "appendices" and forms the Acaragras, 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 Nistha, tassa ya uvari' bhasissami. In fact, this is because it had become an independant 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. This being the historical situation, it can be concluded that the Jain acaryas have been, and are, accomplishing a considerable philological and critical work, * (Text of the lecture delivered in the L. D. Institute of Indology on 2nd March 1996.)

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COLETTE CAILLAT SAMBODHI 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 Vrtti on the other hand. Curiously, though the text of the first Srutaskandha is often very difficult to follow, it 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 Cunni 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 AvasyakaCurni. 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 next summarizes the ascetic life which Lord Mahavira had led during twelve years with these words:

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3 COLETTE CAILLAT SAMBODHI eva' va viharamanassa je kei uvasagga samuppajjanti - divva va manussa va tericchiya va, te savve uvasagge samuppanne samane a+aile avvahie add +a-ma+ase tivihama+a-vaya+a-kaya-gutte samma' 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 mind4". 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. (ka'se sankhe jive gagane...). As it happens this enlarged text is specifically referred to in the 9th chapter of (ha+anga, which explicitly states jaha bhavanae, thus "as in the Bhavana", i.e. the standard Ayar third Cula. Naturally Muni Jambuvijaya also refers to the wellknown 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"... (saddehi'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 Avasyakaor Acaranga-Curnis 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 established: the order followed in the AcarangaC is exactly the same as in the AvasyakaCurni.

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Vol. XXI, 1997 SOME NOTES ON.... Other such examples could be adduced. For instance, Muni Jambuvijaya points to the interversion of 2 ajjhayana as 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 enumerated as consisting, successively, of sadda-pharisa-rasa-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 Jambuvijayaji 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?. FOOTNOTES: 1. 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, 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 chapters. 3. See a full discussion on this and connected topics in JAS 1, Nandisutta' and Anuogaddarai', Editors Muni Punyavijaya, Pt. Dalsukh 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.l. 6. JAS ed. SS. 742; PTS ed. p. 193 SS 14. 7. 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.

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KUMARASAMBHAVA AS CRITICALLY EXAMINED BY SANSKRIT ALAMKARIKAS* Arpita G. Patel When Abhinavaguptapada in his Locana observes: " R ro fornecer faced "he surely feels that both the poet and the critic make two sides of the same coin. It is very clear that literary creation and literary criticism follow each other in turn and also influence each other. Though, of course, literature precedes criticism but the latter is attached to the former like shadow and the sequence between the two remains unnoticeable. So, in this paper the celebrated creative classical epic Kumarasambhava (Ku.Sam) of Kalidasa is taken up for a closer study as viewed by alamkarikas i.e. Indian classical critics. It may be noted that this paper attempts to record and study critically the views of the alamkarikas beginning with Vamana, down to Hemacandra. More than one hundred references have been studied in this paper critically. In the Appendix given at the end of this paper, is given a comparative chart suggesting variants, wherever available as found in Cifference alamkarikas and also in some modern critical editions of the Ku. Sam., thus trying to help the cause of Kalidasa-textcriticism. The sequence of time in case of alamkarikas follows the same as suggested by Dr. Sushilkumar De. All the editions of both works of poetics and Ku. Sam. have been mentioned at the end showing references. Let us consider the views of the alamkarikas beginning with Vamana first, followed by Anandvardhana/Abhinavagupta, Rajasekhara, Kuntaka, Dhananjaya/ Dhanika, Mahimabhatta, Mammata and Hemacandra. I: Vamana quotes from Ku. Sam. at four places, Anandavardhana at eleven, Rajasekhara at seven places, Kuntaka at sixteen-places, Dhananjaya/Dhanika at eighteen places, Mahima at twenty-nine places, Mammata at eleven and Hemacandra at forty seven places. Different verses are taken up by these critics to illustrate different situations Ly way of literary criticism. Vamana(1) in his Kavyalamkarasutra (Ka.Su). quotes from the Ku. Sam. at the following places : (1) 34yRei. (Ku. Sam. 1/1), quoted at Ka.Su. 3/1/11. * Presented at the Xth World Sanskrit Conference, Bangalore; 3rd Jan.-9th Jan.' 97.

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ARPITA G. PATEL SAMBODHI At Ka.Su. 3/1/11, while explaining the sutra: gure 619, Vamana explains hyura i.e. smoothness of expression as that quality which helps many words look as one word, e.g. astyuttarasyAM. etc. Here the words asti, uttarasyAM and dizi are by themselves separate, but while reading and when pronounced in a particular way these three seem to go to make a single unit. At Ku. Sam. 3/2/6 also while talking of 'avaiSamya as sugamatvaM vA'vaiSamyamiti i.e. sugamatA or easy grasping, makes for 3493 or absence of unevenness according to Vamana. The grasping of meaning is done easily and is illustrated by the same verse, viz., 37r etc. as above. (2) A FEHT4414774. (Ku. Sam. 6/94), at Ka.Su. 3/2/2. Vamana discusses maturity in meaning 37efer ufo: here : which is known as 3716: For him there are five types of maturity in meaning: such as (i) when a sentence is used for some meaning which can be expressed by a single word; (ii) when a single word unit is used for meaning to be collected from a whole sentence unit; (iii) expansion of meaning by a different mode, (iv) compression of meaning by a different mode, and (v) meaning having a special purport. Vamana explains how the expansion or compression of the sentence sense makes more maturity in meaning which is an excellence of 'artha' or meaning. This is ted by a fH441. etc. He uses this verse to illustrate how compression of meaning takes place here. (3) 375; fefifia Islasi. (Ku. Sam. 8/63), at Ka.Su. 8/3/33. Vamana explains 'utpreksavayava' here as 3r TETETA Araya:, i.e. we get utpreksavayava when some other figure of speech becomes cause of utpreksa. Here, says he, by 'avayava' is meant 'arambha' or beginning. The illustration viz. Ra explains this clearly. (4) Rreferidatgy:. (Ku. Sam. 8/62) at Ka.Su. 5/2/23. Vamana has a Sutra H RT HAR11441 According to him, from V ), with the help of the sutra 'gifchET' by applying C suffix in the sense of we arrive at the form rer' when opposite gender (fanfais) and opposite number (viruddhavacana) make for karmAbhidhAna , there is no expectancy of the particular and so by 'samanya' or 'general FSHR or ETHIHR is meant. E.g. raf. etc. In this verse words a: yor' - are co-ordinated. The Bhasyakara in this context observes: 'S hiftirf Tue 4' | Here (fem.) is coordinated with 74 (neu.gender). But this support from the Bhasyakara is not

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Vol. XXI, 1997 KUMARASAMBHAVA AS CRITICALLY EXAMINED BY.... 7 inevitable in the above illustration. The purport is that, taking for granted the presence of the general at all places, the use of you need not be restricted to neuter / singular alone, but it can be used with different genders and different numbers also. Precisely for this, we have the use of R: (Plural) in the line : YRITT 975$ siffa. etc. The outcome is that to illustrate some niceity of grammar Vamana has drawn from Ku. Sam. here. Thus, Vamana has borrowed from Ku. Sam. at four places to bring home different aspects of literary criticism. II : Anandavardhana trying to explain some subtle points of criticism draws up the following verses as illustrations from the Ku. Sam. : (1) j Hostal:. etc. (Ku. Sam. 1/2) Dhvanyaloka (= Dhv.) 1/6. The Locana on Dhv.1/6 has this verse. Abhinavagupta explains that through this verse, all the deserving qualities of Himalaya are illustrated. This also brings to light the genius of the poet. For the cultured readers, the poet's genius is not a matter of reasoning but it shines of its own through exuberence of sentiment - Thal. To explain how the genius of great poets is exhibited by their works, this verse is quoted. (2) waaiffa daut. (Ku. Sam. 6/84); at Dhv. 2/22. Under Dhv. 2/22 dhvani of the variety of 37efyrary.ca is explained. Here without the help of any other expression, the meaning on its own suggests some other fact. In the illustration, viz. daiff. the sense of its own, suggests some other sense. Thus, this verse is quoted to illustrate a particular variety of dhvani. (3) Frateful (Ku. Sam. 3/52). (4) ufaurid. (Ku. Sam. 3/66). (5) Berta fofer (Ku. Sam. 3/67). In the Locana on Dhv 2/22, these verses are quoted. They stand to suggest that through the determinants and consequents following the ancillory and basic emotions, rasa i.e. aesthetic pleasure, is derived in a way where sequence is not perceived. e.g. fiafute fag, etc. The daughter of the mountain was seen, followed by the deities of the forest and awakening the valour of these by the quality of beautiful form. In this verse a complete description of the nature of the determinants, both of the alambana and the uddipana type, is given. In the verse afmetc. etc, also, the same use of determinants is pointed out by the

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ARPITA G. PATEL SAMBODHI critic. While in the third verse, viz. t. etc., the whole mass of ancillories such as autsukya, avega, capalya, harsa etc; is depicted towards 'rati' the basic emotion. Thus, the aesthetic chewing of determinants and consequents result in the rise of ancillory feelings, which on their part being subordinate terminate in the chewing of the basic emotion thus giving rise to imperceptibility of sequence. In this case the counting of lotus-petals and girls looking downwards can be possible through other reasons also. Thus, this description does not drown the heart immediately in 'lajja'. But when the penance practiced earlier is remembered, the apprehension of 'lajja' occurs. Thus there is Krama-Vyangyata i.e. perceptibility of sequence. The rasa or sentiment is arrived at here, when the other form of vyabhicari is considered. So, from that point of view there is imperceptibility of sequence too, but there is perceptibility from the point of lajja. The Locanakara has thus quoted this verse to illustrate both the perceptibility and imperceptibility of sequence in case an emotion. (6) ISIC 46145U. (Ku. Sam. 6/84); Dhv. 3/33. Anandavardhana distinguishes between the nature and scope of laksana and vyanjana under Dhv. 3/33. The secondary function - gunavrtti - rests on either 349R - similarity or secondary usage. But suggestion is different from either of these. Different in nature is that while gunavrtti or indication is a subordinate function, vyanjana or suggestion is the principal one. The three types of suggestions derived from meaning can never be taken as subordinate. Second difference from the point of view of nature is that the power of expression itself, at a subordinate level, is taken as indication. Suggestion is completely different from expression. Anandavardhana has brought home this point in the first chapter of his Dhv. itself. Again the difference is nature is seen because when in indication one meaning gives other meaning, the first one as it were merges - i.e. it is not traced independently, in the secondary sense; e.g. in 'ISTI 19:' But in case of vyanjana, when one meaning makes for another meaning, the first one gives the second meaning while exhibiting its own self along with the suggested sense; e.g. in i 46.. Now, when a meaning without discarding oneself reveals another meaning, if you take laksana, then it will be clear that laksana itself is the primary function of a word. Thus, this verse is quoted by the author to distinguish between the nature and scope of the expressed and the suggested senses. (7) paaiffa. (Ku. Sam. 6/84). (8) T: freka(Ku. Sam. 7/19).

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Vol. XXI, 1997 KUMARASAMBHAVA AS CRITICALLY EXAMINED BY.... 9 Under Dhv. 3/29, the author discusses the problem of applying the term 'dhvani' to instances of what may be called 'Tutugoncuel - Anandavardhana is of the opinion that when a critic feels that logically a piece of poetry belongs to quit. class (945RIRT facut.) etc., then there he should refrain from placing it under the head of dhvani. The matter of placing a poem either under dhvani or gunibhuta-vyangya has to be decided on merits and arguments for or against, this or that. The critic should not be prejudiced in favour of dhvani alone, e.g. patyuH zirazcandra. etc., or "evaMvAdini." etc. Anandavardhana feels that when a critic feels that the suggested sense in conveyed principally, without an artful expression, then it becomes case of dhvani; and not in all places. In these two instances the artful expression seems to be more charming and hence there is quit., and not saft. Thus, we have to be very watchful in evaluating a poem as a case of either dhvani or gunibhuta-vyangya. Under Dhv. 3/43, the author suggests that the divisions and sub-divisions of dhvani multiply when they get combined with the innumerable varieties of Tit.. The instance quoted is again yaifft. etc. Anandavardhana feels that here the variety of alakSyakrama is rendered more beautiful by the variety of arthazaktyu dbhava - anuraNana-rUpa-vyaGgya. This verse is used by him to suggest the subtler poetic beauty. (9) Haf441604. (Ku. Sam. 1/49). (10) HT170979pui. (Ku. Sam. 3/53). (11) ni ysgai 77. (Ku. Sam. 7/13). Under Dhv. 4/7 the author suggests that even with the help of the expressed sense, not to consider the suggested one here, the poetic theme becomes boundless and the meaning crosses all boundary. The description of condition (379 ), place (art), time (161), etc. adds variety even to a bare expressed sense, which gets boundless. He quotes the above poems to substantiate his argument. When sentient or insentient objects are described, a lot of variety springs up owing to difference in there condition, place, time etc., even at the expressed level in a sentence. Thus poetic theme, only by resorting to Fayralen or natural, simple expression, becomes boundless, e.g. in the above verses which attempt to describe Parvati in different contexts and conditions ! Even repetition does not create boredom. III : Kuntaka (=K.) in his Vakrokti-jivita (V. J.), always favours indepth observations keeping the text of the poem before him. At times he supports Anandvardhana's observations. He has taken care of ten illustrations from Ku.

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10 ARPITA G. PATEL SAMBODHI Sam. to illustrate this or that point of his vakrokti-vicara. : (1) Si Ti Hufat. (Ku. Sam. 5/71) : V. J. 1/9 :Under V. J. 1/9 Kuntaka quotes this verse while discussing the nature of poetic word and sense. Kuntaka says that from among thousands of names of Lord Siva, here ifta: sticks, as it is expressive of the determinant of the odious a 4CH, and thus creates indescribable beauty. Likewise the words 'Hufa' and ai are equally beautiful. Thus Siva in form of a mocks at Parvati. The word 'TRAT' is also very charming as it suggests the incongruity on Parvati's part 'to beg for a '0961t' ! This desire for 09161t does not look proper from the point of view of her noble progeny, 'sA ca' & 'tvaM ca' reveal the extreme beauty of thel arc of moon and Parvati. In 'kalAvata:' and 'kAntimatI' the 'matvarthIya' suffix suggests appreciation. No synonyms can replace these terms. Thus, Kuntaka observes that only that word which is all capable of expressing the desired meaning is the right poetic word as shown in this poem. (2) 372 : 441:. (Ku. Sam. 5/40.) V. J.1/19 While discussing quifamily , Kuntaka considers the third variety of it, called rufaaah, illustrated in this verse. This variety is also subdivided and its third sub-division is 499919ria. In this variety, the poet without using a verb, and only by using the stem - sifarufc049 - The use of pronouns such as 1946 etc. is thwarted. Here in place of '3764' the words "37 579:" are used to great poetic effect. Thus it is, for K. an illustration of - '9949a'. (3) arct ga104. (Ku. Sam. 3/29); V. J. 1/29 :Under V. J.1/29, K. discusses 444rurf and quotes this verse. The terms antage, and facilitair are beautiful by themselves, and they tend to describe the beauty of the spring en het etc. But they stand to heighten the beauty of the utprekSA enhanced through nakhakSatAnIva - And this they do effortlessly - anAyAsena. Thus, getting mixed up with a figure of speech they cause beauty. Under V. J. 1/31 also K. repeats this verse as an instance of the expression of a lovely figure of speech. (4) & GIF 4. (Ku. Sam. 3/35). (5) HYF&4.. (Ku. Sam. 3/36). Under V. J. 1/29 while discussing 74R - graceful way of description (rf) K. quotes these two verses where the natural condition of the deer is described

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Vol. XXI, 1997 KUMARASAMBHAVA AS CRITICALLY EXAMINED BY.... 11 through allen i.e. easy, natural expression, without any artificiality, K., however, calls this F alfo also to be a shifth or graceful, artistic expression and places it under. 454R 4rf. (6) 76424474. (Ku. Sam. xxx 3/33) V. J. 1/31. When the suggested meaning is arrived at without any trouble, i.e. artificiality, the meaning as it were flashes immediately . aklezavyaJjitAkRtaM jhagityarthasamarpaNama Here there is absence of compounded words. The face of the beauty is enhanced by drops of perspiration which steal the beauty of pearls. This verse for K. illustrates WHICTY. (7) Arhieltaa. (Ku. Sam. 3/7). V. J. 1/57 :This is where K. gets upset with the poet. This expression on the part of Kamadeva is not in good taste according to K. Thus the poem, through impropriety, looks like a piece of cloth burnt in corners ! - Gerecue - Obviously K. also, like Ananda, does not spare Kalidasa, at times. (8) 40 a UfT. (Ku. Sam. 8/11). V. J. 2/16 :Under V. J. 2/16 where K. discusses how something is covered up - Fata a. - This verse is quoted. By the terms of coif' a world of suggestivity is conveyed in this verse. The gestures are all concealed beautifully this is the third variety of fafal for K. (9) farfarhift. (Ku. Sam. 5/83). V. J. 2/16 :Under 2/16 V. J. in the same context as above viz. Hard arg. etc. K. quotes this to illustrate the sixth variety of Hafaa . Here denouncing of lord Siva is not a welcome thing and so, it is conveyed beautifully through concealment. When a theme is not worthy of description - 3706ditu - such an artful expression comes in as an instance of saMvRtivakratA. (10) ff THC6477fa. (Ku. Sam. 3/33). V. J. 2/24 :Under V. J.2/24, ahografiri. etc. This verse is quoted. f40fa 1470 aanta enhances the beauty in describing the kissing of Parvati by Lord Siva. The poetic beauty lies in the description of the act. (11) ai ugye (Ku. Sam.7/13). V. J.3/1 :K. explains description through "beauty by excellent activity : '3arka4f244 GTA qufth The poet here wants to describe that natural beauty and this description

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12 ARPITA G. PATEL SAMBODHI would get tarnished if the poet uses figures of speech. Only natural graceful description is enough as seen in this verse. No artificiality through simile or metaphor can achieve this task. (12) 3416417417941 arra. (Ku. Sam. 2/10). V. J.3/11 :While discussing alaGkAro na rasavat V. J. 3/11-i.e. rasavat alaGkAra is not possible, K. quotes this verse, while discussing SOST, K. holds that in this verse tra and karaNatva are seen in one and the same object, as Lord Siva is both karaNa and karma of the activity, viz. arra'. Similar is the case with a fel. Thus for K. one and the same object can be both out and on at a time and this is seen in the verse quoted here. (13) prokutafa. (Ku. Sam. 8/62). V. J. 3/29 :K. quotes this verse to illustrate sufarsrullen figure. (14) fremgu. (Ku. Sam. 5/16;) V. J. 3/33. and; (15) ya Sh. (Ku. Sam. 4/44) V. J. 3/33 :These two verses are quoted under V. J. 3/33. The first one illustrates ufigfa figure, where spots are changed. The second illustrates change in qualities ETHEREach, acc. to K. (16) 374. (Ku. Sam. 1/31). V. J. 3/41 :This verse is quoted by K. while discussing the figure of speech fyrah the natural other worldly beauty is described by the poet in this verse by avoiding artificial methods. V : Dhananjaya/Dhanika - (D.R.) quote at eighteen places from the Ku. Sam. Such as :(1) va (4H. (Ku. Sam. 6/63). D.R. 2/14 : In the anlah on D.R. 2/14. The Zf4afya called 'sitaref' is illustrated through this verse. (2) 26 ufraai. (Ku. Sam. 8/2) :(3) Hantaq ayy. (Ku. Sam. 5/85). D.R. 2/16 :Under 2/16, in the familia, the varieties of the heroine are discussed. YTETT fach is illustrated in Ku. Sam. - 8/2. This verse also serves to explain pied - nervousness of the heroine under D.R. 3facio 4/54. To explain the varieties of

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Vol. XXI, 1997 KUMARASAMBHAVA AS CRITICALLY EXAMINED BY.... stingara, Ku. Sam. 5/85 is quoted. (4) Januaferfq. (Ku. Sam. 3/40). under D.R. 2/33 :Under D.R. 2/33, 37asia this verse is quoted. Among ten natural embellishments of a heroine 'Hal is illustrated by this verse. 'Hal consists in not getting disturbed even though the cause for fact / is present. This is read in the specific verse quoted here. (5) El fonfec. (Ku. Sam. 3/67.) D.R. 2/33 :In 3ta on D.R. 2/33, the natural quality called 'qta', of ladies, is illustrated by this verse. The first change noticed, as sprout from a seed is called 'Ta'. In this verse this change of attitude on the part of Siva is noticed. (6) ai yrgyat. (Ku. Sam. 7/13). D.R. 2/34 :The natural grace or 'get' of ladies is read in this verse by Dhanika under D.R.2/34. (7) muffint. (Ku. Sam. 7/17). D.R. 2/38 :Under D.R. 2/38; 'fafagfa' i.e. beauty born of lovely attire, a natural gracefulness of ladies, is read herein by Dhanika. (8) T: feres. (Ku. Sam. 7/19). D.R. 2/50 :In the 3taa on D.R. 2/50, Dhanika quotes this verse to illustrate th, i.e. vacohAsyanarma. This comes in under the discussion of sub-varieties of kaizikI vRtti. narma is eighteen fold. Here it is one where laughter is caused by a particular expression. (9) pahifa foreta. (Ku. Sam. 8/5.) and (10) caf4059400. (Ku. Sam. 3/73). 370711 / D.R. 4/13 : These two verses are quoted in the context as above, where the ancillory feeling called 'HIST' is illustrated. This '350' is caused a due to sighting of a favourite. The other variety by listening to the non-favourite is read in the verse is . etc. a called (11) paaifeft. (Ku. Sam. 6/84); D.R. 4/29 :Dhanika, under D.R. 4/29, quotes this verse to illustrate the 1979 avahitthA. In the locana, the vyabhicArI is said to be lajjA in this context. (12) BICHHISTORI. (Ku. Sam. 7/22.) and

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ARPITA G. PATEL SAMBODHI (13) yyfarfa. (Ku. Sam. 6/95); Under D.R. 4/32 :Dhanika quotes these two verses to illustrate the vyabhicArIbhAva called autsukya. (14) faquant stat. (Ku. Sam. 3/68). D.R. 4/36 :Dhanika here discusses the nature of Rasa - realization. He is clear that the apprehension of Rasa brought about by the complex of vibhAva, anubhAva etc. is never 0124, i.e. expressed. It is illustrated in this verse. The 37714Tas due to love are described leading up to the Rasa - apprehension. Parvati is the fayta here. (15) 3YCHET:. (Ku. Sam. 3/26). (16) Afa24.. (Ku. Sam. 3/36.) and (17) hilofteffa. (Ku. Sam. 3/53.) D.R. 4/48. Under DR. 4/48, Dhanika quotes these three verses while discussing the eterminants etc. of srngara, which include those connected with time, place, attire etc., also. The kAlagatavibhAva is read in asUta sadyaH, and madhudvirepha:. and vezagata vibhAva is seen in azokanirbhatsita. etc. (18) 37fu sifardate. (Ku. Sam. 4/3) DR. 4/83 :This verse occurs while Dhanika (DR. 4/83.) discusses ourch, due to distruction of the se i.e. dear one, Rati laments here due to the death of her husband. V : Mahima Bhatta (=M.), an Anumitivadin, does not accept Vyanjana. To discard Vyanjana and establish 3 fufa, he uses 29 verses of the Ku. Sam. (1). 7 mm. (Ku. Sam. 7/17) Vy.V.1/7 :Under Vyaktiviveka (=Vy.V.) 1/7, M. while discussing the qualification of 37ef viz. quitedicea, quotes this verse. Under 'proq 57' he raises the issue whether in the context of dhvani the yefaria of words is n / activity or not. It is shown here, through this verse, that the activity as it is connected with the agent / chat, creates mis-apprehension i.e. 94. (2) 34kryteri. (Ku. Sam. 1/1.) Vy.V.1 :It is suggested that as it is vyutpattinimitta, in zabdasiddhi or formation of the right word, not only fon / activity but some other element also becomes instrumental in arifa. But in nqfeffit only foal is the cause. With this remark, M. starts 37effrayu by pointing out two varieties of meaning, Viz. are / expressed and 37744 /inferred. In the meaning derived from a sentence we can

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Vol. XXI, 1997 KUMARASAMBHAVA AS CRITICALLY EXAMINED BY.... 15 imagine parrs, such as uddezya & vidheya. The latter is two-fold; siddha & asiddha or sAdhya. The these does not stand in need of its own establishment (394167), while the latter does. Thus sentence-sense is two fold. The part contained in facit is only a predicate - (anuvAdamAtra) of the basic form (svarUpamAtra), e.g. in astyuttarasyAM. The predicate part - anuvAdAMza - being not siddha is of the nature of sAdhyasAdhanabhAvAtmaka, as it is made to serve the function of a predicate. (3) 415A . (Ku. Sam. 3/8.) :(4) . Ku. Sam. 1/43.) Vy.V.1 : deals with three pramanas - cilat, ata & 3782716H, out of which the pramana i.e. authority or source of knowledge, viz. n10 is prevalent in alte i.e. work-a-day world, or popular parlance. The two verses indicated above are quoted to support this. The cause-effect relationship between Yra and 37degC and sarasAparAdhatA and kopanatA is an accomplished thing in the world and so also is the sAdhyasAdhanabhAva depending on it. This is shown by the first verse, while in as a., the normal reasons for Laksmi not enjoying simultaneously the two objects, viz. the lustre of the moon and the beauty of the lotus, are also wellknown to us. So, these reasons do not require a clear statement in so many words, says M. (5) 3faari (Ku. Sam. 1/52). (6) Tyfarf9. (Ku. Sam. 6/95.) Vy.V.1 :: M. quotes the first verse to explain the authority of the Vedas. Lord Siva is the one to whom the daughter is to be given. But when there is no request from the bridegroom party how can it be accomplished by Himalaya ? In the absence of request, giving of the bride is not possible and this cause-effect relation has roots in the sastra. The second verse explains 3724164410. Lord siva's passing of days in difficulty and getting anxious for Parvati have cause-effect relation and this is a selfproven matter. (7) farefquifct. (Ku. Sam. 5/83). (8) fadi afc. (Ku. Sam. 5/45); Vy.V.1 :: Vy.v 1 explains that sAdhya-sAdhana-bhAva is two-fold : zAbda and Artha. That again is twofold as it is expressed through word-sense or sentence-sense. To explain 377ef variety these two verses are quoted. The sentence sense is the a/i.e.)

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16 ARPITA G. PATEL SAMBODHI (instrument) here and the relation is a4441074674 i.e. one having Vedic authority. (9) 44: FACES. (Ku. Sam. 7/19). (10) gaaifeft. (Ku. Sam. 6/84); Vy.vi :To explain the 1940- relation of means and ends with ref. to the inferred sense, 44:. etc. is quoted. Here striking at the friend without speaking a word by Parvati is the 3771414 leading to the inference of her ontgah, seyah, yet, you and other awafuras. Through these, again, her love for Lord Siva is inferred. Again, in the verse paaifeft. whatever the vyanjanavadi has to say is only inferred. Thus, there is sAdhyasAdhanabhAva with reference to the inferred and its cause. (11) 46145fu. (Ku. Sam. 6/84). Vy. V. 1 :This verse is quoted by M. to discuss whether T. etc. are suggested or otherwise. It is stated that while arriving at the so-called suggested sense the apprehension of the expressed sense does not cease to function, as the other apprehension seems to be not identical with but clearly different from the first apprehension of the expressed sense. (12) 1 T. (Ku. Sam. 5/71). Vy.V.2 :: In the second chapter of the Vy.V., M. points out impropriety with ref. to (i) zabda & (ii). artha. He talks of the permanent relation - nityasambandha- of yat/tat. When Ta' is mentioned three types of implication are seen. Implication with ref. to a famous thing is explained with the help of this illustration. In Vy.V.II itself, M. quotes this verse again to explain are in a you compound. samAgamaprArthanA is the cause for zocanIyatA, and on account of relation it is connected with '704f1a:', the adjective. This epithet viz. Itt: extends the pieriaal all the more, as one who holds a skull and is thus connected with unlaudable act, is despirable. Thus the adjective being a predicate is more acceptable faare here. For a third time M. quotes this verse in Vy.V.II, where he discusses alle of 1. In this verse, the word 0641611 expresses both quality and agent i.e. ere and . Now it can either express (i) or (ii) mat or (iii) both. (13) Tilladt all. (Ku. Sam. 3/55). Vy.V.II While discussing R4 74 and giving a counter-illustration (UCIEU) of vidhyanuvAdabhAva, this verse is quoted. M. says that here mauvI dvitIyAM should be the

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Vol. XXI, 1997 KUMARASAMBHAVA AS CRITICALLY EXAMINED BY.... 17 correct reading so that gets may not be looked into here, as 3G / metre is also an ornament - alaGkAra. (14) 31161104rf HEH. (Ku. Sam. 7/57). Vy.V.II :M. explains karaNakAraka with this verse while discussing tatpuruSasamAsa. Here kezahasta is karma & the possible act of obstruction - rodhanakriyA - is there and so 'kareNa' becomes kuchlich, an attribute. The excess of happiness, speed and anxiousness with reference, to the lady are suggested here. The exceptional formal beauty of both the bride and the groom is also apprehended. The prominence of our is brought out here and so ou is kept separate and not made subordinate by making it a part of a compound with ' :'. (15) FRAISI 47. (Ku. Sam. 2/49). Vy. V. II :The pratyudAharaNa of sambandha, while discussing tatpuruSasamAsa is seen in this verse by M. The prominence must rest with & not 77, but as af is part of compound that pradhAnatA is lost here. (16) a fetita. (Ku. Sam. 6/94). Vy. V. II :: This verse is quoted with reference to the 1994 while discussing this fault in Vy.V.II. Here Lord Siva is contextual. The reference, to Him by 5GH (i.e. 3 ), is seen, and then again. He should have been referred by the same pronoun, and not by the word g. The difference between 564 / C is self-evident, says M. like devadata / yajJadatta. Thus sarvanAmaprakrama is broken here. (17) Heya:. (Ku. Sam. 1/27). Vy.V.II :While discussing the second fault viz. 437496 with reference to y15 in Vy.V.II., M. quotes this verse. Here the words putra / apatya are the object of kramabheda, they being synonyms. This is not the case with you and ya as they are Rifatale. Thus, M. says that the reading here should be transfo'. (18) aya ya. (Ku. Sam. 7/32). Vy.V.II :This verse illustrates fauf954441 according to M. The reading suggested by him is "mRgendracarmaiva dukUlamasya"- Another advantage in this reading is that "rocanAGkatA" does not become the quality of getta which again is a quality can be a quality of dravya and not of another guNa ! (19) goeraft fafsrei. (Ku. Sam. 4/7). Vy.V.II :To point out frichaft9541, This verse is cited by M. The better reading suggested is "7 a ase gaarifafara"

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ARPITA G. PATEL SAMBODHI (20) vt per 14t. (Ku. Sam. 1/3). Vy.V.II :To explain #4954975 this verse is cited. Here it is stated in a cluster of excellences one fault is wiped out, like the blemish in the orb of the moon. Now here, you cannot say that there is no 45446 in this description, for its apprehension is clear. Difference in cause element effects difference in result element also. Thus there is 45446 in all varieties of expression. (21). 3721 A:. (Ku. Sam. 5/40). Vy.V.II :at 546 with ref. to 16 is explained in this verse by M. (22) che a H1. (Ku. Sam. 5/71). Vy.V.II :The third fault 445 with reference to you is illustrated in this verse. The second 'a' should have been placed after '4' and so it is not in proper sequence. (23) gouf grift. (Ku. Sam. 3/10). Vy.V.II :3rifer you with reference to word is illustrated in this verse. The word 'pinAkapANi' is used for ziva. The absence of etymological - yaugika - meaning is suggested here but it is not true that in saMjJA-zabdas words denoting names, yaugika meaning cannot be read. On the otherhand the principal sense in underlined, which could not have been possible without the use of a separate IC. So, here two separate eles should have been used says M. This verse is again quoted in Vy.V.II to explain area . It is stated that I can demoralize even 19716410 & !' By the use of the synonym'' some meaning is collected which becomes a cause in afa of 19711064110, where f chifu would normally not allow it. Thus '' is rightly used here. In the context of topy also, this verse is quoted by M, wherein by 7471064110 the word ? gets a special qualification. Only sizi i.e. fyra is not meant here. (24) Fageru. (Ku. Sam. 5/16). Vy.V.II :or with ref. to try (suffix) is discussed here. In this verse the Praeity suffix is 94647 acc. to M. By aegille alone its meaning can be collected. (25) fa fa H. (Ku. Sam. 1/25); Vy.V.II : This verse is cited in the context of paunaruktya with reference to the fourth pada. When we say, "as the digit of the moon/E TGI strengthens other digits" - the meaning is collected by the use of single 'sa'. So the use of second 'ga' is

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Vol. XXI, 1997 KUMARASAMBHAVA AS CRITICALLY EXAMINED BY.... paunaruktya. (26) FYg a 4-497. (Ku. Sam.3/21). Vy.V.II :In the RICERUT of game, this verse is quoted by M. The sequence intended here is : "Inspire the fire". So, whatever is connected with whichever becomes related even by repetition. "3716f" has no value so far as 374461 (noncompounded) words are used". This statement is blurted out without considering the merits of the apprehensions derived from the use of uncompounded words placed closer or otherwise. So, " fred Ruta Efaeftatur afa" is the correct reading acc. to M. (27) FEET (Ku. Sam. 8/57); Vy.V.II :The sixth fault of word, viz. 270124CF is explained with the help of this verse. Here darkness is the matter in hand. By simply stating that only by itself the importance of 3746459 - (unpious people) is not possible to be understood, so it has to be stated separately. So, there is no 3791 here. (28) #Ci 7471:. (Ku. Sam. 4/23). Vy.V.II : While explaining 37910499741o this verse is cited. It is an illustration of Fayralfas figure. (29) Be aasta. (Ku. Sam. 3/20). Vy.V.III :Freiras and 344 ls are taken up in this chapter by M. Some Frutas suggest various feeling. By 3TET 6-, / anger is suggested here; that your ability is boundless. By E feah, sorrow and by where shall I go', 'soka is suggested. So, there should not be tofonata when two, three or more fruids are used at a time. We have seen that M. has gone for very subtle and in-depth text-based criticism of different verses from Ku. Sam. and has tried to establish the 3fafara. VI : Rajasekhara (=R.) in his Kavyamimamsa (=K.M.) takes up seven verses for the Ku. Sam. as below :(1) BryteiKu. Sam. 1/1). K.M.ch.17 :While discussing arrangfara this verse is quoted by R. to illustrate the northen direction. (2) #747. (Ku. Sam. 3/72). K.M.ch.9 : In ch.9., while taking note of the opinion of Avantisundari that a matter can

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20 ARPITA G. PATEL SAMBODHI have different forms and not one fixed one alone, this verse is quoted. The nature of a thing described varies with the style of a poet. (3) TERT. (Ku. Sam. 1/7). K.M.Ch. 14 :In the chapter on cfare, care is illustrated by R. in this verse. In is stated that barch leaves are available in the Himalayas alone. (4) V: FARES. (Ku. Sam. 7/19). K.M.Ch.9 :R. takes up this verse to illustrate the variety of 3Chart. (5) 494 494. (Ku. Sam. 8/14). K.M.Ch.17 : fernice in the chapter.17 / archifam is illustrated by this verse. (6) yoo yarciluferi. (Ku. Sam.1/44). K.M.Ch.15 :To explain Tufacu factu, R. quotes this verse. The whiteness of a flower is underlined here. (7) Eisf9. (Ku. Sam. 3/67). K.M.Ch.4 :To explain the varieties of a foron & also ufayt, R. cites this verse. The idea is that a genius, even though blind, can describe anything. VII -: Mammata has contributed much towards popularizing the dhvani theory. He quotes at eleven places from the Ku.Sam :(1) buy fooled. (Ku. Sam. 3/67). K. P.V :Under K. P.V.66, while discussing the saMdigdhaprAdhAnya variety of guNIbhUtavyaGgya, Mammata quotes this verse. The idea is that between the implicit sense viz. 'Siva wanted to kiss' and the expressed sense viz. "He drove all his eyes towards her" - the connoisseur remains in doubt and does not know which sense is more charming. (2) aylaren 412. (Ku. Sam. 5/72); K. P. VII. 72 :(3) FIFA . (Ku. Sam. 3/55); K. P.VII. 72 :Under K. P. VII 72. Mammata discusses padadosas, 3 fayefaelis is illustrated in this verse. He holds that here in the place of alakSyajanmatA, 'alakSitA janiH' is the right expression. The verse FITTI FACalc, is cited to explain 3710 qera in karmadhArayasamAsa. (4) G . (Ku. Sam. 5/71); K. P.V.69; K. P. VII.; K. P. VII

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Vol. XXI, 1997 KUMARASAMBHAVA AS CRITICALLY EXAMINED BY.... 21 This verse is cited at three places. At K. P.V /69. while establishing vyanjana, Mammata explains that the word '4fsta:' is more poetic than fifcha:' At. K. P.VII. 74 the off stefa Moon is illustrated by this verse. Here the word 'F' conveys everything. Then at K. P.VII/75 also, this verse is cited to explain avidyamAnakrama - Mammata feels that the 'cakAra' should follow the word 'tvaM' and not precede it. This is an illustration of in-depth criticism in the K. P. (5) TGOED. (Ku. Sam. 3/18). K. P.VII/74 :- and (6 78994). (Ku. Sam. 1/4); K. P. VII/74 :Mammara cites tadgaccha. as an illustration of padagata zratikaTdoSa. Here dadhyai and Kdhyai are harsh. yazcApsaro. is cited to illustrate ekadeza-nihatArthadoSa. Here the term 'mattA' is famous in the sense of 'intoxication and hence, the fault creeps in. (7) Helya: F. (Ku. Sam. 1/27); K. P. VII/75 :Mammata cites this verse to illustrate youre 74976. He feels that HETYasuransfu would make a happy reading. Perhaps Mammata indulges in suggesting improved readings drawing a clue from Mahimabhatta. (8) ab . (Ku. Sam.1/43). K. P. VII/79 :This verse is cited in the K. P. to explain the 3TG2 of 'FEL'. Here the matter under discussion is so famous that it does not require any reason to be expressed clearly. Thus not citing a reason, which is otherwise a blemish is not so here. Mammata here seems to follow Mahimabhatta. (9) a fe4174. (Ku. Sam.6/94); K. P. VII/75 :This verse illustrates 45446 with ref. to a pronoun. For 'aferet:' there should be 3477 farget:' holds Mammata. (10) #e st! (Ku. Sam. 3/72). K. P. VII/82 :The K. P. while discussing (414-Yaciti faueta: - cites this verse. It is observed that Hy & 36416 are to be described following the divine nature, prior to this. Mammata, following Anandavardhana's lead and denounces srequis in Ku. Sam. VIII. (11) fcalcer. (Ku. Sam. 1/12). K. P. X./212 :This verse is cited to illustrate how blemishes occur in the use of figures. 377fanefami ata occurs with reference to the figure 379fTRIA as in this verse. Thus Mammata has cited at eleven places from the Ku. Sam. and most of the

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22 ARPITA G. PATEL SAMBODHI citations fall in the ch. VII of the K. P. where the general lead of Mahimabhatta is obvious. VII : Hemachandra (H.) in the Kavanusasana (=Ka.Sa.) refers to this work at 43 times, taking into consideration all the occurrances including those in his viveka also. sometimes one and the same verse is quoted more than once at different places to explain different situation of criticism. For the sake of convenience, we will refer to these verses in their alphabatical order as below. : (1) 37 2 f1a. (Ku. Sam.1/4). Ka.Sa. 3782|ry 5 / E 116 :H. illustrates 382 figure here. (2) 345cfufa 981. (Ku. Sam. 8/63). Ka.Sa. 2/80 :H. holds that rasAbhAsa & bhAvAbhAsa occur when the objects of description are nonsentient objects, animals etc. By 3111 / etc. Fren, 2641 etc. are also covered as in the verse quoted here viz. aGgulIbhiriva.. (3) 3721 Hafta. (Ku. Sam. 2/64). Ka.sa. 8/6 :- fados (=fa) The poet has to adopt a different metre at the end of a sarga in a Mahakavya. The illustration is atha sa lalita. etc. (4) steargfa. (Ku. Sam. 8/6). Ka.Sa. 1/23 :H. explains yra neaf which operates when the expressed sense of a word is restricted by af etc./ 31fc; and the other suggested sense is conveyed. To illustrate nifa', H. here cites this verse, where 'Higit is the factor which restricts the expressed sense. (5) 3 514: (Ku. Sam. 5/40). Ka.Sa. (fa). 3/5 :H. discusses prakramabheda in the viveka. In this verse the poet has 'ayaM janaH' for 'aham' This expression is more beautiful. H. seems to follow the lead of Mammata here and at a number of places elsewhere also. (6) safu ifadatel. (Ku. Sam. 4/3). Ka.sa. 2/12 :This verse illustrates karuna rasa, according to H. (7) 34yfrei. (Ku. Sam. 1/1). Ka.Sa. 3/3. (fa) & 4/1 (fa). This verse is quoted twice in the viveka as above, while discussing deza-kAla-vibhAga, following Rajasekhara, this verse is cited to illustrate the northern direction. Again it is quoted to discuss the ra/ smoothness in expression - quality

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Vol. XXI, 1997 KUMARASAMBHAVA AS CRITICALLY EXAMINED BY.... 23 following Vamana. (8) 316704rf HEM. (Ku. Sam. 7/57); Ka.sa. 2/31 & 3/6 (fa). This verse is quoted twice as above. Vyabhicari autsukya is read in the first case by H., and in the Viveka, while dealing with eight blemishes of both word and sense, this verse occurs again; The blemish afayefariki is the context. In case of 'kareNa rudho'pi', the use of 'karaNa' is charming. (9) Brasil. (Ku. Sam. 3/54). Ka.Sa. 6/5 :'' is illustrated by this verse. (10) $a: 44:. (Ku. Sam. 2/55). Ka.sa. 1/23 :'apadeza' is the factor which restricts the sense here in case of zabdazaktimUladhvani, all to H. (11) #vai #44:. (Ku. Sam. 4/23). Ka.sa. 6/15 :The figure called jAti/(svabhAvokti) is illustrated by this verse. (12) va quat. (Ku. Sah. 6/63.) Ka.Sa. 7/9; 4/1. D fa. () vyabhicAribhAva 'audArya' is explained here, and in the vi. kAntiguNa vArtAyAM. which is twofold; (vArtA/varNanA) is explained by this verse following daNDin. (13) yayift. (Ku. Sam. 8/5); Ka.Sa. 2/25 :H. explains '3152' by citing this verse. (14) vaalfeft. (Ku. Sam. 6/84). Ka.sa. 2/37:Jooll / staferen is explained in this verse. (15) augea TRII. (Ku. Sam. 1/42). Ka.sa. (fa). 8/9 :H. illustrates 3740 in the faldato by citing this verse, wherein he finds ornamentation by each other on the part of the neck and the necklace. (16) gaf feil. (Ku. Sam. 3/10). Ka.Sa. 3/5 (fa) :H. observes that here by using foAlchyfor, the poet avoids repetition with poetic effect. (17) gyurgenfa. (Ku. Sam. 4/40). Ka.sa. 6/8 (fa) :

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ARPITA G. PATEL SAMBODHI H. observes that in this verse, beauty is enhanced by resorting to imagined story in a rho. (18) qarallafa fafri. (Ku. Sam. 4/7). Ka.sa. 3/5 :H. observes that here 5445 with ref. to high is seen. He follows 44 and mahimabhaTTa and suggests." na ca te'haM kRtavatyasi vipriyam" as a better reading: (19) e u (Ku. Sam. 3/72). Ka.sa. 3/3 :While descussing poetic conventions, H. suggests how anger of the divines has to be described. He cites this verse here. (20) Svi frem: (Ku. Sam. 5/24); Ka.sa. 4/1. (fa) :H. explains Bharata's concept of fame with the help of this verse. (21) at TA. (Ku. Sam. 1/43). Ka.sa. 3/7 :H. explains how there is absence of Hichigara in this verse which is therefore free from blemish. (22) PART 47. (Ku. Sam. 2/49); Ka.Sa. 3/6 (fa) :H. following mahimabhaTTa & mammaTa explains avimRSTavidheyAMza not occuring in this verse. (23) 7a THIGT. (Ku. Sam. 3/10). Ka.sa. 3/7 :: H. explains how to feito disappears in this verse. (24) status. (Ku. Sam. 4/73); Ka.sa. 2/44 :H. illustrates HTE / stupor with the help of this verse. (25) a fhita. (Ku. Sam. 6/94). Ka.sa. 3/5 :prakramabhaGga is seen here by H. He suggests, following mammaTa / mahimabhaTTa, that 'anena visRSTAH' is a better expression. (26) FAJERUHI. (Ku. Sam. 5/16). Ka.sa. 3/5 :37f44646radha is seen here when H. finds - Hraeterea suferri (27) Gred H. (Ku. Sam. 3/37). Ka.Sa. 2/54 :zRGgArAbhAsa is seen in this verse by H. (28) ato 7. (Ku. Sam. 8/11). Ka.sa. 2/24 :H. reads 'aisi' in this verse.

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Vol. XXI, 1997 KUMARASAMBHAVA AS CRITICALLY EXAMINED BY.... 25 (29) faalchugafa. (Ku. Sam. 1/12). Ka.sa. 3/6 :31efantera is illustrated by H. in this verse. (30) Guci. (Ku. Sam. 5/71). Ka.sa. 3/5 :Berengracia is read by H. in this verse. He feels like 444, that 'a' should follow 'a'. (31) Hy4. (Ku. Sam. 3/39). Ka.Sa. 2/55 :UTTA is seen by H. in this verse. (32) ya H. (Ku. Sam. 8/34). Ka.sa. (fa). 3/3 :H. feels that werf is illustrated in this verse, while treating arratsamt like Rajasekhara. (33) you waica. (Ku. Sam. 1/44) Ka.sa. 1/10 (fa). cfa444 is discussed here. H. says that whiteness of flowers is seen in this verse. (34) ufausti vufe. (Ku. Sam. 3/66) Ka.sa. 6/28 H. says that two activities are simultaneously described beautifully as in this verse. (35) ayama. (Ku. Sam. 7/33) Ka.Sa. 3/5/. prakramabhaGga with ref. to pratyaya is seen here by H. He says : gajendracarmaiva dukUlamasya is better. (36) Hariyah (Ku. Sam. 6/59;); Ka.Sa. 6/12 :Figure fate is read in this verse by H. (37) Hyg4.. (Ku. Sam. 3/36). Ka.Sa. 2/64 : STTYTA is seen in this verse by H. (38) 4-cifah tid. (Ku. Sam. 1/29). Ka.sa. 7/45 :'fard' an ornament of the heroine is seen by H. here. (39) aytama 12. (Ku. Sam. 5/72). Ka.sa. 3/6 :Bufanyfadaist with ref. to 4 is read here by H. (40) stichtisfa. (Ku. Sam. 3/75). Ka.Sa. 2/6 :abhilASavipralambha through daiva is read here by H. (41) # 8011415(Ku. Sam. 3/70). Ka.sa. 6/15 :Figure jAti / svabhAvokti is read by H. here.

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26 ARPITA G. PATEL SAMBODHI (42) FITI freig. (Ku. Sam. 3/54). Ka.Sa. 3/6 :: avimRSTa vidheyAMza is read here by H. He feels that the expression should be mauvIM dvitIyAmiva. (43) Ech helfa. (Ku. Sam. 4/9). Ka.Sa. 2/6 :chhurch is seen by H. in this verse. Conclusion :- This rather long study reveals that the critics were genuinely inspired by the Ku. Sam., and from Vamana to H., we have noted more than hundred verses quoted by the critics to illustrate various points of subtlety in their criticism. It may be noted that different alamkarikas have used one and the same illustration for different purpose also and have used at times, one and the same verse to illustrate different points. This is done by one and the same critic also. Again, it is interesting to note that not a single critic has gone beyond the 8th canto of the Ku. Sam. Moreover, by and large this work is not highly acclaimed by critics beginning with Anandavardhana and Mahimabhatta and others have even ventured to suggest better construction or reading in a given verse to avoid this or that blemish. A great indepth study is attempted no doubt by the critics. From the point of view of Kalidasa-text-criticism, we have given, in appendix I, a comparative list of various readings available in alamkara works and also traced in some important editions of the Ku. Sam., such as those of Kale, Rewaprasad and the N.S. At times readings edited by the same learned editor differ while editing an alamkara work and the text of Ku. Sam. All this leads us further in the direction of fixing up of variants in the Ku. Sam. Evidence from the alamkara works should be weighed more seriously in our opinion.

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Vol. XXI, 1997 KUMARASAMBHAVA AS CRITICALLY EXAMINED BY .... ku. saM. 1.12. pariziSTa - 1 1. astyuttarasyAM dizi devatAtmA himAlayo nAma nagAdhirAjaH / pUrvAparau toyanidhI vagAhya sthitaH pRthivyA iva mAnadaNDaH // 2. yaM sarvazailAH parikalpya vatsaM merau sthite dogdhari dohadakSe / bhAsvanti ratnAni mahauSadhIzca pRthUpadiSTAM duduhurdharitrIm // 3. anantaratnaprabhavasya yasya himaM na saubhAgyavilopi jAtam / eko hi doSo guNasannipAte nimajjatIndoH kiraNeSvivADkaH // 4. yazcApsarovibhramamaNDanAnAM saMpAdayitrIM zikharairbibharti / balAhakacchedavibhaktarAgAmakAlasaMdhyAmiva dhAtumattAm // 5. nyastAkSarA dhAturasena yatra bhUrjatvacaH kuJjarabinduzoNAH / vrajanti vidyAdharasundarINAmanaGgalekhakriyayopayogam // 6. divAkarAd rakSati yo guhAsu lInaM divAbhItamivAndhakAram / kSudre'pi nUnaM zaraNaM prapanne mamatvamuccaiH zirasAM satIva // 7. dine dine sA parivardhamAnA labdhodayA cAndramasIva lekhA / pupoSa lAvaNyamayAn vizeSAjyotsnAntarANIva kalAntarANi // 8. mahIbhRtaH putravato'pi dRSTistasminnapatye na jagAma tRptim / anantapuSpasya madhohi cUte dvirephamAlA savizeSasaGgA // 9. mandAkinIsaikatavedikAbhiH sA kandukaiH kRtrimaputrakaizca / reme muhurmadhyagatA sakhInAM krIDArasaM nirvizatIva bAlye // 10. asaMbhRtaM maNDanamaGgayaSTeranAsavAkhyaM karaNaM madasya / . kAmasya puSpavyatiriktamastraM bAlyAt paraM sA'tha vayaH prapede // 11. kaNThasya tasyAH stanabandhurasya muktAkalApasya ca nistalasya / anyonyazobhAjananAd babhUva sAdhAraNo bhUSaNabhUSyabhAvaH // 12. candraM gatA padmaguNAn na bhuGkte padmAzritA cAndramasImabhikhyAm / umAmukhaM tu pratipadya lolA dvisaMzrayAM prItimavApa lakSmIH // 13. puSpaM pravAlopahitaM yadi syAnmuktAphalaM vA sphuTavidrumastham / tato'nukuryAd vizadasya tasyAstAmrauSThaparyastarucaH smitasya // ku. saM. 1.25. ku. saM. 1.27. ku. saM. 1.29. ku. saM. 1.42. ku. saM. 1.43. ku. saM. 1.44.

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ARPITA G. PATEL SAMBODHI ku. saM. 1.47. ku. saM. 1.49. ku. saM. 1.52. ku. saM. 2.10. ku. saM. 2.49. ku. saM. 2.55. 14. tasyAH zalAkAJjananirmiteva kAnti(vorAyatalekhayorvA / tAM vIkSya lIlAcaturAmanaGgaH svacApasaundaryamadaM mumoca // 15. sarvopamAdravyasamuccayena yathApradezaM vinivezitena / sA nirmitA vizvasRjA prayatnAdekasthasaundaryadidRkSayeva // 16. ayAcitAraM na hi *devadevamadriH sutAM grAhayituM zazAka / abhyarthanAbhaGgabhayena sAdhurmAdhyasthyamiSTe'pyavalambate'rthe / *devamadriH vya. vi. revA. pratigrAhayituM. vya. vi.; revAH; 17. AtmAnamAtmanA vetsi sRjasyAtmAnamAtmanA / AtmanA kRtinA ca tvamAtmanyeva pralIyase // 18. jayAzA yatra cAsmAkaM pratighAtotthitArciSA / haricakreNa tenAsya kaNThe *niSkamivArpitam // *niSka ivArpitaH - vya. vi. revAH; 19. itaH sa daityaH prAptazrIrneta evArhati kSayam / viSavRkSo'pi saMvardhya svayaM chettumasAMpratam // 20. kAmekapatnIvrataduHkhazIlA lolaM manazcArutayA praviSTAm / nitambinImicchasi muktalajjAM kaNThe svayaMgrAhaniSaktabAhum // 21. kayAsi kAmin suratAparAdhAtpAdAnataH kopanayAvadhUtaH / *tasyAH kariSyAmi dRDhAnutApaM pravAlazayyAzaraNaM zarIram // *suratAparAdhAt - Kale; Edn23; Karundikar; Edn'50. *yasyAM vya. vi. 22. tava prasAdAt kusumAyudho'pi sahAyamekaM madhumeva labdhvA / kuryAM harasyApi pinAkapANedhairyacyuti ke mama dhanvino'nye // 23. tadgaccha siddhyai kuru devakAryamartho'yamarthAntarabhAvya eva / ___ apekSate pratyayamuttamaM tvAM bIjAGkuraH prAgudayAdivAmbhaH // 24. surAH samabhyarthayitAra ete kAryaM trayANAmapi viSTapAnAm __cApena te karma na cAtihiMsramaho batAsi spRhaNIyavIryaH // 2 // 25. madhuzca te manmatha sAhacaryAdasAvanukto'pi sahAya eva / samIraNo *nodayitA bhaveti vyAdizyate kena hutAzanasya // *prerayitA - vya. vi.; revA.; ku. saM. 3.7. ku. saM. 3.8. ku. saM. 3.10. ku. saM. 3.18. ku. saM. 3.20. ku. saM. 3.21.

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Vol. XXI, 1997 _KUMARASAMBHAVA AS CRITICALLY EXAMINED BY.... 29 26. asUta sadyaH kusumAnyazokaH skandhAt prabhRtyeva sapallavAni / ___pAdena nApaikSata sundarINAM saMparkamAsiJjitanUpureNa // ku. saM. 3.26. 27. bAlenduvakrANyavikAsabhAvAd babhuH palAzAnyatilohitAni / sadyo vasantena samAgatAnAM nakhakSatAnIva vanasthalInAm // ku. saM. 3.29. 28. himavyapAyAd vizadAdharANAmApANDurIbhUtamukhacchavInAm / svedodgamaH kimpuruSAGganAnAM cakre padaM patravizeSakeSu // ku. saM. 3.33. 29. taM dezamAropitapuSpacApe ratidvitIye madane prapanne / kASThAgatasneharasAnuviddhaM dvandvAni bhAvaM kriyayA vivaH // ku. saM. 3.35. 30. madhu dvirephaH kusumaikapAtre papau priyAM svAmanuvartamAnaH / zRGgeNa *ca sparzanimIlitAkSI mRgImakaNDUyata kRSNasAraH // kRSNasAraH - Kale; Karandikar va.jI.; kRSNasAraH - da. rU.; * zrRGgeNa saMsparza - da. rU.; ku. saM. 3.36. 31. dadau rasAt paGkajareNugandhi gajAya gaNDUSajalaM kareNuH / adhaupabhuktena bisena jAyAM saMbhAvayAmAsa rathAGganAmA // ku. saM. 3.37. 32. zrutApsarogItirapi kSaNe'smin haraH prasaMkhyAnaparo babhUva / AtmezvarANAM nahi jAtu vighnAH samAdhibhedaprabhavo bhavanti // ku. saM. 3.40. 33. nirvANabhUyiSThamathAsya vIrya saMdhukSayantIva vapurguNena / anuprayAtA* vanadevatAbhyAmadRzyata sthAvararAjakanyA // * anupradAtA - locana. ku. saM..3.52. 34. azokanirbhatsitapadmarAgamAkRSTahemadyutikarNikAram / muktAkalApIkRtasindhu vAraM vasantapuSpAbharaNaM vahantI // *o fringe - Karundikar *o fry - Kale ku. saM. 3.53. 35. AvarjitA kiMcidiva stanAbhyAM vAso vasAnA taruNArkarAgam / ___ *paryAptapuSpastabakAvanamrA saMcAriNI pallavinI lateva // *sujAtapuSpa. - kA. zA.. ku. saM. 3.54. 36. srastAM nitambAdavalambamAnA punaH punaH *kesaradAmakAJcIm / nyAsIkRtAM sthAnavidA smareNa *dvitIyamaurvImiva kArmukasya // *kesara puSpakAJcIm - vya. vi.; revA.. * maurvI dvitIyAmiva. - Kale; Karandikar. ku. saM. 3.55.

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30 ARPITA G. PATEL SAMBODHI ku. saM.. 3.64. ku. saM. 3.66. ku. saM. 3.67. ku. saM. 3.68. ku. saM. 3.70. 37. kAmastu bANAvasaraM pratIkSya pataGgavad vahnimukhaM vivikSuH / umAsamakSaM harabaddhalakSyaH zarAsanajyAM muhurAmamarza // 38. pratigrahItuM praNayipriyatvAt trilocanastAmupacakrame* ca / saMmohanaM nAma ca puSpadhanvA dhanuSyamoghaM samadhatta bANam // *upacakrameva - locana 39. *harastu kiMcitpa*riluptadhairyazcandrodayArambha ivAmburAziH / umAmukhe bimbaphalAdharoSThe vyApArayAmAsa vilocanAni // *haro'pi tAvat parivRttadhairyaH - kA. mI.. parivRttadhairyaH - locana 40. vivRNvatI zailasutApi bhAvamaGgaiH *sphuradvAlakadambakalpaiH / sAcIkRtA cArutareNa tasthau mukhena paryastavilocanena // *sphuTaddhAla. - da. rU.. 41. sa dakSiNApAGganiviSTamuSTiM natAMsamAkuJjitasavyapAdam / dadarza cakrIkRtacArucApaM prahartumabhyudyatamAtmayonim // 42. krodhaM prabho saMhara saMhareti yAvad giraH khe marutAM caranti / tAvat sa vahnibhavanetrajanmA bhasmAvazeSa madanaM cakAra // 43. tIvrAbhiSaGgaprabhaveNa vRttiM mohena saMstambhayatendriyANAm / __* ajJAtabhartRvyasanA muhUrtaM kRtopakAreva ratirbabhUva // '44. zailAtmajApi piturucchiraso'bhilASaM vyarthaM samarthya lalitaM vapurAtmanazca // sakhyoH samakSamiti cAdhikajAtalajjA zUnyA jagAma bhavanAbhimukhI kathaMcit // 45. ayi jIvitanAtha jIvasItyabhidhAyotthitayA tayA puraH / dadRze puruSAkRti kSitau harakopAnalabhasma kevalam // 46. kRtavAnasi vipriyaM na me pratikUlaM na ca te mayA kRtam / kimakAraNameva darzanaM vilapantyai rataye na dIyate // 47. hRdaye vasatIti* matpriyaM yadavocastadavaimi kaitavam / upacArapadaM na cedidaM tvamanaGgaH kathamakSatA ratiH // *vasasIti - Kale, Karandikar ku. saM. 3.72. ku. saM. 3.73. ku. saM. 3.75. ku. saM. 4.3. ku. saM. 4.7. ku. saM. 4.9.

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Vol. XXI, 1997 _KUMARASAMBHAVA AS CRITICALLY EXAMINED BY.... 31 48. RjutAM nayataH smarAmi te zaramutsaGganiSaNNadhanvanaH / madhunA saha sasmitAM kathAM nayanopAntavilokitaM ca tat* // *ca yat - Kale; Karandikar; sasmitAH kathAH - vya. vi.; revA.; catat. - vya. vi.; revA.; kA. zA.. ku. saM. 4.23 49. kusumAyudhapatni durlabhastava bhartA na cirAd bhaviSyati / zrRNu yena sa karmaNA gataH* zalabhatvaM haralocanAciSi // *gataH sa karmaNA - kA. zA.. ciSAm - kA. zA. ku. saM. 4.40 50. tadidaM parirakSa zobhane bhavitavyapriyasaMgamaM vapuH / ravipItajalA tapAtyaye punaroghena hi yujyate nadI // ku. saM. 4.44. 51. kRtAbhiSekAM hutajAtavedasaM tvaguttarAsaGgavatImadhItinIm / didRkSavastAmRSayo'bhyupAgaman na dharmavRddheSu vayaH samIkSyate // ku. saM. 5.16. 52. sthitAH kSaNaM pakSmasu tADitAdharAH payodharotsedhanipAtacUrNitAH / / valISu tasyAH skhalitAH prapedire cireNa nAbhiM prathamodabindavaH // *kSaNaM sthitAH - kA. zA.. valISu - kA. zA.. ku. saM. 5.24. 53. ato'tra kiMcid bhavatIM bahukSamAM dvijAtibhAvAdupapannacApalaH / ayaM janaH praSTumanAstapodhane na ced rahasyaM prativaktumarhasi* // *pratigoptumarhasi - kA. zA... ku. saM. 5.40. 54. divaM yadi prArthayase vRthA zramaH pituH pradezAstava devabhUmayaH / athopayantAramalaM samAdhinA na ratnamanviSyati mugyate hi tat // ka. saM. 5.45. 55. niveditaM nizvasitena soSmaNA manastu me saMzayameva gAhate / na dRzyate prArthayitavya eva te bhaviSyati prArthitadurlabhaH katham // ku. saM. 5.46. 56. dvayaM gataM saMprati zocanIyatAM samAgamaprArthanA pinAkinaH / kalA ca sA kAntimatI kalAvatastvamasya lokasya ca netrakaumudI // *kapAlinaH - va. jI.; vya. vi.; revA. __ku. saM. 5.71. 57. vapurvirUpAkSamalakSyajanmatA digambaratvena niveditaM vasu / vareSu yad bAlamRgAkSi ! mRgyate tadasti kiM vyastamapi trilocane // ku. saM. 5.72.

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ARPITA G. PATEL SAMBODHI 58. nivAryatAmAli *kimapyayaM baTuH punarvivakSuH sphuritottarAdharaH / na kevalaM yo mahato'pabhASate zRNoti tasmAdapi yaH sa pApabhAk // *kimayasau - vya. vi., revA. ku. saM. 5.83. 59. taM vIkSya vepathumatI sarasAGgayaSTi nikSepaNAya padamuddhRtamudvahantI / mArgAcalavyatikarAkuliteva sindhuH zailAdhirAjatanayA na yayau na tasthau // saM. 5.85. 60. bhavatsaMbhAvanotthAya paritoSAya mUrcchate / api vyAptadigantAni nAGgAni prabhavanti me // ku. saM. 6.59. 61. ete vayamamI dArAH kanyeyaM kulajIvitam / bata yenAtra vaH kAryamanAsthA bAhyavastuSu // ku. saM. 6.63. 62. evaMvAdini devarSoM pArve pituradhomukhI / lIlAkamalapatrANi gaNayAmAsa pArvatI // ku. saM. 6.84. 63. te himAlayamAmantrya punaH prApya* ca zUlinam / siddhaM cAsmai nivedyArthaM tadvisRSTAH khamudyayuH // *prekSya - vAmana; vya. vi.; revA. ku. saM. 6.94. 64. pazupatirapi tAnyahAni kRcchrA dagamayadadrisutAsamAgamotkaH / kamaparamavazaM na viprakuryuvibhumapi taM yadamI spRzanti bhAvAH // ku. saM. 6.95. 65. tAM prAGmukhIM tatra nivezya *tanvI kSaNaM vyalambanta puroniSaNNAH / bhUtArthazobhAhiyamANanetrAH prasAdhane sannihite'pi nAryaH // *bAlAM - da. rU. ku. saM. 7.13. 66. karNArpito lodhrakaSAyarukSe gorocanAkSepanitAntagaure* / tasyAH kapole parabhAgalAbhAd babandha caDhUMSi yavaprarohaH // *gorocanAbhedanitAntagaure - da. rU.. ku. saM. 7.17. 67. patyuH zirazcandrakalAmanena spRzeti sakhyA parihAsapUrvam / sA raJjayitvA caraNau kRtAzIrmAlyena tAM nirvacanaM jaghAna // ___ ku. saM. 7.19.

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Vol. XXI, 1997 KUMARASAMBHAVA AS CRITICALLY EXAMINED BY.... 33 68. AtmAnamAlokya ca zobhamAnamAdarzabimbe stimitAyatAkSI / haropayAne tvaritA babhUva strINAM priyAlokaphalo hi veSaH // ku. saM. 7.22. 69. babhUva bhasmaiva sitAGgarAgaH kapAlamevAmalazekharazrIH / upAntabhAgeSu ca rocanAko gajAjinasyaiva* dukUlabhAvaH // *siMhAjinasyaiva - vya. vi.; revA. ku. saM. 7.32. 70. tAsAM ca pazcAt kanakaprabhANAM kAlI kapAlAbharaNA cakAse / balAkinI nIlapayodarAjI dUraM puraHkSiptazatahadeva // ku. saM. 7.39. 71. AlokamArga sahasA vrajantyA kayAcidudveSTanavAntamAlyaH / / *baddhaM na saMbhAvita eva tAvat kareNa ruddho'pi na kezapAzaH // *baddhaM - vya. vi.; revA.; kA. zA.; api hi - kA. zA. ku. saM. 7.57. 72. vyAhRtA prativaco na sandadhe gantumaicchadavalambitAMzukA / sevate sma zayanaM parAGmukhI sA tathApi rataye pinAkinaH // ku. saM. 8.2. 73. evamAli nigRhItasAdhvasaM zaGkaro rahasi sevyatAmiti / sA sakhIbhirupadiSTamAkulA nAsmarat pramukhavartini priye // ku. saM. 8.5. 74. apyavastuni kathApravRttaye praznatatparamanaGgazAsanam / vIkSitena parivIkSya* pArvatI mUrdhakampamayamuttaraM dadau // __ *parigRhya - kA. zA.; parigRhya - Kale. ku. saM. 8.6. 75. darpaNe ca paribhogadarzinI pRSThataH praNayino niSeduSaH / prekSya* bimbamupabimbamAtmanaH kAni kAni na cakAra lajjayA // *vIkSya - kA. zA. ku. saM. 8.11. 76. pazya pazcimadigantalambinA nirmitaM mitakathe vivasvatA / *labdhayA pratimayA saro'mbhasAM tApanIyamiva setubandhanam // *dIrghayA - Kale; kA. mI. ku. saM. 8.34. 77. zuddhamAvilamavasthitaM calaM vakramArjavaguNAnvitaM ca yat / sarvameva tamasA samIkRtaM dhiG mahattvamasatAM hRtAntaram / *hatAntaram - Kale; vya. vi. revA nimnamunnatamavasthitaM, vya. vi.; revA... ku. saM. 8.57.

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34 SAMBODHI ku. saM. 8.62. ku. saM. 8.63. ku. saM. 4.17. ARPITA G. PATEL 78. zakyamoSadhipaternavodayAH karNapUraracanAkRte tava / apragalbhayavasUcikomalAzchettumagranakhasampuTaiH karAH // 79. aGgalIbhiriva kezasaMcayaM sannigRhya timiraM marIcibhiH / kuDmalIkRtasarojalocanaM cumbatIva rajanImukhaM zazI // 80. zirasA praNipatya yAcitAnyupagUDhAni savepathUni ca / / suratAni ca tAni te raha: smara saMsmRtya na zAntirasti me // 81. kimityapAsyAbharaNAni yauvane dhRtaM tvayA vArdhakazobhi kalkalam / vada pradoSe sphuTacandratArakA vibhAvarI yadyaruNAya kalpate // 82. atha sa lalitayoSiddhUlatAcArubhRGgaM rativalayapadAGke cApamAsajya kaNThe / sahacaramadhuhastanyastacUtAkurAstraH zatamakhamupatasthe prAJjaliH puSpadhanvA* // * puSpaketuH - kA. graM; revA.; A. dvi. puSpadhanvA - kA. zA. ku. saM. 5.44. ku. saM. 2.64. saMdarbha sAhitya : 1. kAvyAlaMkArasUtrANi / vAmana, Edn. caukhambA saMskRta sIrIja, vArANasI - 1; 1971: DaoN. becana jhA / 2. dhvanyAlokaH / salocanaH; Edn motIlAla banArasIdAsa vArANasI / 1963; Vol-I and II; DaoN. rAmasAgara tripAThI / 3. kAvyamImAMsA / rAjazekhara; Edn. G. 0.5 1934 : Baroda, C. D. Dalal. 4. vakroktijIvita / kuntaka; Edn. AtmArAma eNDa sansa dillI; 1955, AcArya vizvezvara / 5. dazarUpaka / dhanaJjaya with avakaloka Edn. T. Venkatacharaya; The Adyar library series, Madras; 1969. 6. vyaktiviveka / mahimabhaTTa Edn. caukhambA vidyAbhavana, vArANasI, 1964, DaoN. revAprasAda dvivedI / 7. kAvyaprakAza / mammaTa; B. O. R. I. Poona; edn, 7th, 1965 with bAlabodhinI / 8. kAvyaprakAza-Edn. Dr. Tapasvi Nandi; Vol I and II, Edn. Guj. University; Ahmedabad; '76 and '84. kAvyAnuzAsana / hemacandra Vol I and II, Edn. Prof. Parikh and Kulkarni; 1965; Pub - mahAvIra jaina vidyAlaya, muMbaI / 10 kAlidAsagraMthAvalI - Edn. First and second; Rewaprasad Dwivedi; B. H. H; Varanasi; '86. 11. Kumarasambhava / Kalidasa; N. S. Edn; 1935; Bombay. 12. Prof. Karandikar; Booksellers Publishing Co; Bombay; 1950. 13. Kumarasambhava * Edn. Kale, M. R.; Motilal Banarasidass; Delhi; '67.

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TRADE RELATIONS OF INDIA WITH AFRICA UPTO 14TH CENTURY A. D.* Ravindranath Vaman Ramdas Africa was indeed a dark continent for the Europeans who at first were not even aware of its existence, unlike the Indians. There are some who say that it was Indians, and not the Arabs, Phoenicians or Africans, who built those stone walls and temples, the ruins of which remain one of the mysteries of Zimbabwe. Who knows that ancient Indians might not have walked on the land that a Portuguese navigator two thousand years later sighted on a Christmas day and called Natal? ? From times immemorial India has established contacts with her West-shore neighbour, Africa. Teak-wood has been discovered in the ancient building of Yemen. It establishes the fact that India had trade links with the countries situated on her West Coast before Minacan inscriptions dating back to the 14th Century B. C2. The excavations at Ur dating back to the 7th and 6th centuries B. C. revealed Amazonite beads which could only come from the Nilgiri Hills of South India. It appears that the relations between Egypt and the coast of India were very intimate from the earliest times. The late Flinders Petrie, who discovered the portraits of Indian men and women at Memphis wrote : "These are the first remains of Indians on the Mediterranean. We seem now to have touched the Indian colony at Memphis". The cities of the Indus Valley civilization, had busy urban commercial contacts not only over a wide area in this country but also with maritime Egypt. A royal cemetery at Ur (dated about 2,500 B. C.) shows precious stones and metals which may have been brought there by the traders from the Indus Valley. That the Indus Valley had contact with Ur is also proved by the presence of Indus seals there. One Indus seal has a representation of a sailing boat with upturned bow and stern and another shows a mastless boat with a central cabin. All this evidence clearly indicates wide maritime contact of the Indus civilization*. Dr. S. R. Rao maintains that the Harappan sailor must have studied regularity of South-West and North-East winds carefully almost two thousand years before * Paper presented to the 'First International Conference on Marine Archaeology in the Indian Ocean Countries', at Chennai, on 22-23 February, 1997.

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36 RAVINDRANATH VAMAN RAMDAS SAMBODHI Hippalus 'discovered the trade winds. When the Harappan merchant offered goods, finance and perhaps boats also, the captains of the sea could not resist the temptation to go to distant lands and earn huge profits for themselves and their financiers. The circular seals with Indus motifs or script or both occurring in the Sumerian port of Ur and in the intermediate harbours on the islands of Baharin and Failaka in the Persian Gulf and the discovery of a Baharin type Circular Seal and terracota figures of bearded 'Sumerian' and 'mummy at the Lothal port suggest flourishing overseas trade between Lothal on the one hand and the ports on the African Coast and the Persian Gulf on the other. In due course the Indus merchants established colonies in Ur, Brak, Kish, Aprachiya, Susa and Hissar where Indus goods and trade mechanisms are found in excavations. It appears that the relations between Egypt and the coast of India were very intimate from the earliest times. The theory that India colonized Egypt was propounded by Philostratus and Eusebius in ancient times and by Charles Francious Dupuis, Sir William Jones, Colonel Wilford, Dr. Robert Taylor, Edward Pococke and others in modern times. The American orientalist Alexander Del Mar is a staunch supporter of this theory. He maintains : "There are evidences that the first adventures from the orient came to Egypt by sea from Ceylon by way of Arabia and Abyssinia or Ethiopia. Both Dodorus and Arrian regarded the Arabians of the coasts as Indians. The early history of Ethiopia contains many reminiscences of India. Egyptian epigraphy points to the land of Punt as the earliest landing place of the gold seekers; "Punt" being an Indian word for gold. The land of Punt was on the Red Sea near Bab-el-Mandeb. Following the Cingalese came the gold-seekers, from Malbar and Gulf of Cutch and still others from Orissa and the Bay of Bengal, the latter with Tibetan myths and place names; in short all of the coast tribes of Bharatavarsa"? The recent discoveries in Saurashtra support the hypothesis that the Kathiawar peninsula might have been the home of early colonisers of Egypt. The excavations at Lothal reveal an extensive dockyard and the Harappan people dating 2100 B. C. were richly adorned with gold jewellery Alexander Del Mar alludes 560 words common to Sanskrit and ancient Egyptian language and also to the various findings like pieces of teak, medicinal plants, gums and drugs which could have come only from India'. There is evidence which suggests that ragi, a coarse millet (Eleucine coracana), came to India from Africa. This grain is commonly consumed by the poor in

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Vol. XXI, 1997 TRADE RELATIONS OF.... 37 south India. Archaeological evidence indicates that it was cultivated by the neolithic farmers of south India in the third millennium BC and that it had come from Ethiopia, which was then a part of ancient Egypt". India is supposed to have introduced the cowrie to Egypt. The shell is not indigenous to the Atlantic coast and is said to have been brought to Africa from the Maldive Islands. The Indians are supposed to have had trading contact with Egypt as early as 2800 BC when they introduced cowries as a mode of payment. In Egypt, the cowrie shell, because of its shape, came to symbolize fertility and was reproduced in gold necklaces 2. The Egyptians are also said to have learned their system of reckoning by sixties from India' Even in the texts of the Rgveda, we come across references from which it appears that the people of the Age were used to ships and sea-voyages14. Varuna is depicted as having full knowledge of the Ocean-routes along which vessels sail 15 Prof. Dikshitar is of the opinion that ships for warfare existed on the modest scale even in the Rgvedic period. We have a passage in the Rgveda, which mentions the naval expedition on which Tugra the Rishi King sent his son Bhujyu against some of his enemies in the distant islands. Bhujyu is shipwrecked by a storm with all his followers on the ocean, "where there is no support, no rest for food or hand" from which he is rescued by the twin brothers, the Asvins, in their hundred oared galley 16. The Jatakas are replete with stories regarding sea-voyages to distant lands. The Dipankara Buddha was the deity which was prayed for safe journey by the seafarers. He was regarded as Protector of Mariners 17 and this is why merchants Tapassa and Bhallika were his chief patrons 18. The Dipankara Buddha is illustrated in the cave nos. seventeen, nineteen and thirty six of the Ajanta paintings. The concept of Bodhisattva Avalokitesvara saving ship-wrecked sailors is evident from the time of Valahassa Jataka. A sculpture at Kanheri depicts a ship wreck. Here two sailors pray to Avalokitesvara : 'From captivity and slavery merciful one deliver us, from shipwreck compassionate Lord deliver us. The sculpture of Dipa Tara in cave no. 3 holding full blown lotus in her left hand and a torch in her right hand, the moon alight conspicuously shown on her hair chignon, further suggests her role as the guiding star of navigators20. Contacts between India and the West are testified in language. Even a few Hebrew words are believed by some to be of Indian origin-notably koph, "A

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38 RAVINDRANATH VAMAN RAMDAS SAMBODHI monkey" (Skt.kapi) and tukki. "a peacock", (Tamil togai). Though the details of the Book of Kings may not be historically accurate the statement that the navy of Tharshish brought to King Solomon gold and silver, ivory, apes and peacocks shows that the Hebrews received commodities from India at an early period. It has been suggested that the land of Ophir, from which King Hiram of Tyre brought gold, precious stones and "almug" trees to Solomon, was Surparaka (Sopara), the ancient port near Bombay; this suggestion is strengthened by the fact that in the Septuagint, the Greek version of the Old Testament, the word occurs as Zaxpapa; the almug trees may have been sandal, one of the Sanskrit words for which is valguka, from which the Hebrew word may be derived21 It is suggested that some of the rulers of Egypt can be identified as referred to in the Vedic texts. The Vedic Tarksya is identified with Tahrka, who was an Ethiopian or a Nubio-Egyptian Pharaoh of the XXV Dynasty (689-663 BC). The four tribes mentioned in the seventh mandala of the Rgveda who allied against King Sudasa, are probably the same as the four tribes who invaded Egypt (circa 1200 BC) during the time of Rameses II122. These are known to Egyptologists as Shekelesh, Ekwesh, Teresh, and Weshes. Of these Shekelesh (Greek Sikelos), could be sigru of the Rgveda. The Ekwesh can be identified with Greek Achaeans and the Vedic Yaksu, while Teresh and Weshes, when combined were probably the Turvasus of the Rgveda. This is highly probable because the Turvasus have been referred to by the Puranas as the descendants of the Yavanas--that is, foreigners. Yet another people, referred to as the Peleset in Egyptian records, were the same as the Philistines of the Bible, and can be identified with Pulastya, and the ancestral clan of Ravana. These interesting theories may indicate some contact between India and Egypt during the early period. The hypothesis gains strength from the belief that the bodies of two Iksvaku kings, Nimi and Dasaratha, in the epic Ramayana, were embalmed and not cremated. This, as is well known, was the Egyptian custom23. Dr. M. K. Dhavalikar submits that India's contact with Egypt continued till 3rd Century is evident from a potsherd with painted Brahmi inscription from Qossen on the Red Sea (now in Cairo Museum, case no. 29. No. 66145). It was discovered by the Late Dr. V. S. Wakankar of Bharati Kala Bhavan, Ujjain. The memory of India's trade with Egypt still survives in Western India where the people in the coastal region of Gujarat worship a goddess called Sikotari Mata, named after Sokotra, the island at the entrance of the Red Sea.

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Vol. XXI, 1997 TRADE RELATIONS OF.... 39 Long before the discovery of the Monsoon winds by Hippalus in 45 A. D., the Indian navigators had sailed across and had discovered Socotra (Sukhadhara). Strabo in 120 B. C. refers to an Indian sailor who was found drifting in the Red Sea in a boat and was taken to Egypt. The Indian sailor had offered to show the Egyptians, the route to India24. The first historic reference to India's trade with Africa occurs in the Periplus of the Erythrean Sea, a guide book to the Indian Ocean written in Greek about 60 A. D. The author describes how the ships were customarily fitted out from Arriaca and Barygaza (i.e. the north-west Coast of India) bring to the Market towns of East Africa the products of their own places. Wheat, rice, clarified butter, sesame oil, cotton cloth, girdles and honey from the reed called sacchari (sugar)25 The 'Arriaca' of the Periplus is the region around the Gulf of Cambay, comprising Cutch, Kathiawar and Gujarat, while 'Barygaza' (Bhrgukaccha) is the modern 'Broach'. By cotton cloth and the girdles, the author ofthe Periplus refers to various types of muslins and sashes which had from early times been made in India from the cotton plant26. The Periplus noticed large Hindu ships off East African, Arabian and Persian ports and Hindu settelements in the north coast of Socotra27. Vincent remarks that in the age of Periplus, the merchants of the country around Barygaza traded with Arabian ports for gums and incense, with the coast of Africa for gold and with Malabar and Ceylon for pepper and cinnamon and thus completed navigation of the entire Indian Ocean28. It is believed that there is no equivalent word in Sanskrit for a 'map' in English or 'nakasa' in Arabic. However, the Sanskrit word citra practically connotes the same meaning as the Arabic word Nakasa. That maps were made in ancient India seem to be quite clear from the evidence of the new history of the Tang Dynasty (648 A. D.). The references to the map-like paintings in Act 1 of Uttararamcarita by Bhavabhuti, who flourished in the 8th century A. D. reminds of the remarks of Wilford, who noted besides geographical tracts, the Hindus have also maps of the world both according to the system of the Puranics and of the astronomers. The Puranas, or chronicles of Indian history for several centuries B. C., show that even then Hindus had accurate knowledge of many East African localities 29 Col. John Speke, the discoverer of the source of the Nile, by actual discovery in Nubia (Kusadvipa) has confirmed the Puranic statement regarding the source of Nile30. I'. dds that the ancient Hindus knew the route because since early days they knew the East African Coast and its hinderland. Speke notes that the

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40 RAVINDRANATH VAMAN RAMDAS SAMBODHI ancient Indians had some kind of communications with the Western part of Tanzania. The region between the central lake and the coast of Africa (part of Tanzania) is referred to as 'Candrasthana' and the river Nile as 'Krisna' in the Puranas31. In fact Speke had with him, during this explorations, a map and a most interesting paper prepared by Lt. Wilford which showed the river and the "Mountain of the Moon"32. It is remarkable that in a map of the north of Africa compiled by Wilford upon the authority of the Puranas, a lake called Amara of the Lake of Gods, is placed on the eastern side and between the 5th and 10th degrees of latitude. From the lake they imagined the Nile to take its rise, and passing Sancha divissa and Berbera-desa, it receives the Nile of Abyssinia (the Bohrel-Azrek or Blue Nile) the Asthimati or Tecasse and the Sanchanaga or Mareb. This lake of Gods is believed to a vast reservoir, which supplies all the rivers of the country33. There are references to the geography of Africa in the Puranas. Dr. S. Muzafar Ali notes that by 'salmali Dvip' the Puranas meant the tropical part of Africa bordering the Indian Ocean on the West. It included Madagascar, the Zang of the Arab and Persian geographers, the Harina of the Puranas and the 'Sarkha Dvipa' of some other writers. The Sarkha Dvipa or Zong of the Arabs represents the whole or part of the eastern shore of Africa from Abyssinia to Madagascar. According to the Arab writers, the term Zangistan, from which Zanzibar derives its name covers the whole of the eastern part of Africa that was known to the Muslims.. Lieut. G. P. Rigby in the proceedings of Bombay Geographic Society dated March 24th 1843 submits that according to the Puranas, the knowledge the Hindus formerly possessed of the north east parts of Africa, and the countries bordering on the Nile, was very considerable. The Shankalias, or ancient Cushites, bear, to this day, the name applied to them in the Puranas and which is a word of Sanskrit derivation, from sarkha a shell because its inhabitants (the Troglodytes of the Greeks) lived in shells, or caverns hollowed out like shells. The Sankha-dvipa of the Puranas is the Troglodytica of the ancients, and included the whole western shore of the Red Sea as far as the Straits of Babel-Mandeb. C. P. Rigby refers to an account in the Puranas respecting the range of mountains called "Hubab", situated in the north of Abyssinia. The word "Hubab" signifies a serpent or snake in the Amharic language -- and the Puranas relate

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Vol. XXI, 1997 TRADE RELATIONS OF.... 41 a wild legend, that these mountains were inhabited by the snake Sankha-Naga - the modern Mareb, and the royal snake resided in its capital on the sea shore. The Cultural and Commercial contacts between Dravidian India and Africa existed even long before the arrival of Vasco-Da-Gama (15th Century A. D.) in India. Before Vasco-da-Gama, the sea route between East Africa and South India was familiar to the navigators and merchants of both the continents. Scytax Caryanda, a Greek pilot was the first known mariner to have crossed the Indian Ocean. He sailed on the Indian ocean after crossing the Red sea in 510 B. C. He touched the mouth of the Indus and returned. Periplus of the Erythraean Sea, the earliest extensive work on navigation in the world was written probably by a Greek of Alexandria in 60 A. D. It mentions the trading centers on the African coast and those of the South India coast as well. In about 7500 words length, it explains the imports into and exports between Damirica (The Tamil Country) Rome, Africa and other countries. Roman gold coins were discovered (A. D. 54-68) in Arikamedu. A hoard of 46 gold coins belonging to Roman kings dating back to B. C. 29 was found in Dharwar district of Karnataka. Both confirm the above Periplus statement. The name of the first sailor Scytax Caryanda, is mentioned in the Periplus, though the same was written 200 years after him. In 327-26 B. C. Nearchus, famous pilot of Alexander sailed to the Indus and returned. The Indian merchants were very fond of African ivory, iron and gold. Elmas' udi wrote in 10th century that Sofala was the land of gold. He mentions ivory as principal item of export from the land of zanj the negros of East Africa 34. This ivory was taken to India and China by way of Yemen in Southern Arabia and "were this not the case, there would be an abundance of ivory in the muslim Countries". For Edrisi, two centuries later, iron was the most valued export of the East African coast 35. The iron of Sefala, he thought was much superior to that of India both in quantity and quality; and the Indians were accustomed to make from it the best swords in the world. Demands for Indian goods came from both the people of Africa in the interior and from the fashionable city-dwellers of the coast. The African people were fond of Indian cloth and Indian beads. The coastal communities desired gold, embroidered silks, copper, Indian spices and some precious stones. The book of Duarte Barbosa says: "Here (Zimbabwe in Rhodesia) in the town of Benaametapa (Mwanamutapa) is the king's most usual abode in a very large building and thence traders carry the inland gold to Sofola and give it

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42 RAVINDRANATH VAMAN RAMDAS SAMBODHI unweighted to the Moors (this is in reference to Indian traders) for coloured cloth and beads, which are greatly esteemed by them and come from Cambay"36 Caton Thompson, a great authority on the Zimbabwe culture of Southern Rhodesia, has pointed our that this trade led to the indigenous Zimbabwe culture37. "The stone ruins which consist of a vast elliptical enclosure with other stone walls inside and in particular, a solid conical tower, suggest that they constructed a Siva temple. The eagle image in scap stone found there was probably Garuda of Indian mythology"38. Pandit Anandapriya of Baroda maintains that the key to the Zimbabwe riddle does not lie either in the King Solomon stories or in the culture and civilisation of the Bantus. The Indian Ocean culture came to South-East Africa by sea before the Christian era. It carried into Bantu mythology, the Indian Siva and Durga myths as well as the more practical knowledge of iron smelting. It was the Dravidians who built the Zimbabwe and Inayanga structures. There are reasons to believe that the mining operations in old Mashona and Sofala were conducted by ancient Indian settlers. Down to the minutest details, Zimbabwe was a Siva Temple. The beads discovered in the Zimbabwe ruins were either of Indian origin or resembled Indian workmanship34 Murray G. Schoonraad, a student of Witwatersrand University, while unearthing sandstone rock faces on the Transvaal side of the Limpopo River, has found certain Y symbols whose origin might be traced to the missionaries sent by King Asoka, to the east coast of Africa in 250 B. C. Ancient Buddhist rockwritings started and ended with Y, a symbol representing Brahma, Visnu and Siva he says. Tradewind beads have been found in such quantity both on the coast and in Rhodesia that they must have been used as currency as well as ornaments. Some, at least, of these may have been due to trade with the Colas between the ninth and twelfth centuries. Prof. Cyril A. Hromnik maintains that the ancient gold miners of South Africa were Indians. In the first millennium A. D. when the Negroids first came into contact with Indian gold-seekers or sonars, the most common name for gold was sona a Pali word"l. In the Aitreya Brahmana, there are references to 'Mishnar' or Mashonaland in the context of its gold and elephants. There is also a reference to the 'Jhulus' in the Bhavisya Purana, along with their physical

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Vol. XXI, 1997 TRADE RELATIONS OF.... characteristics. This tallies very much with the physical characteristics of the 'Zulus' of Africa42 One of the famous imaginary peoples of Indian cosmography were the fabulous Puranic Svanamucas, Sanskrit Kauleyaka - Siras or Cresias (400 B. C) Calystri. They were the people with heads of greyhounds or briefly dog heads (Cynocepheli). They were reported by Herodotus and others as having lived in Southern parts of Lybia and by the Puranas as having lived in the mountains west of the Indus River. This indeed sounds like fantasy, but the story was credible not only to the ancient Greeks but also to a fourteenth century Muslim geographer who wrote that there were islands in the sea of Zang (Azania) which were inhabited by Dog heads who were cannibals. The story assumes real dimensions when we realize that such dog-heads are not an uncommon sight among the rock-paintings of Southern Africa and when we learn that the Indian Svanamucas was a metaphoric designation of black-skinned people, who were so swift-paced that they could run down their games like greyhounds. We find their images painted in several caves of South Africa, right next to the image of Indian Banyan traders who most probably were the early source of information about the existence of such scarcely fantastic or imginary people in Africa43 Rajaraja the Great of Cola Dynasty ruled from 985 to 1014 A. D. He is credited to have acquired "the twelve thousand ancient islands of the sea" in the Tanjore inscriptions. It seems certain that he ruled Lacdive and Maldive group of islands. Ahmad-Bin-Majid, an Arab writer of the fifteenth century and author of several nautical works, makes frequent allusion to the opinions of the Colas which he approves or modifies. He must have had before him a specialised nautical literature of Tamil (Cola) origin which he compared with Arab documents of a like nature. This literature must have included geographical tables with indications of the latitude of ports for the use of mariners of the Coromandel coast. Of this technical literature mentioned by this and other Arab writers, unfortunately no part seems to have survived. Ibn Batuta has noted in the fourteenth century that the use of Maldive currency has spread across the African continent. The use of Indian system of weights has also been found in such quantity both on the Coast and in Rhodesia that they must have been used as currency as well as ornaments. Some at least of this may be due to the Chola traders between the ninth and the twelfth centuries 45.

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44 RAVINDRANATH VAMAN RAMDAS SAMBODHI The geographer Ibn Said who probably died about 1286 states that the inhabitants of Kilwa were brothers to those of India and Sind. The Venetian traveller Marco Polo refers in his book to the ships of Maabar (Coromandel), which visit this island of Madagascar and that other of Zanzibar. He also adds that the journey from India took twenty days When Vasco da Gama reached the East Coast of Africa in 1498 A. D., he found Hindu merchants at a number of ports. Vasco da Gama was guided by two Indians in his voyage from East Africa to Calicut in South India"7. He notes that Indians guided themselves by the help of the stars in the North and South and had nautical instruments of their own. It was a Gujrati named Cana, who piloted Vasco da Gama directly across the Indian Ocean to Calicut 48. REFERENCES : 1. G. M. Sarah, The people of South Africa, 1951, p. 223. 2. R. Reush, History of East Africa, p. 29. 3. K. M. Pannikar, India and Indian Ocean, 1962, p. 24. 4. B. G. Gokhale, Ancient India, 1962, pp. 16-17. 5. S. R. Rao, Dawn and Devolution of Indus Civilization, 1991, p. 15. 6. Del Mar Alexander cited by "Indian Marks upon Early Egypt" Indian Review (Madras) Jan. 1908, pp. 4-8. 7. Ibid. 8. H. D. Sankalia, "Stone Age Findings in Saurashtra, a Link with Harrapan Era, "The Times of India, 28th April, 1963, p. 8. 9. Del Mar Alexander op. cit. 10. Sarayu Doshi, Ed. 'India and Egypt - Influences and Interactions' 1993, p. 44. 11. Ibid. 12. C. H. V. Southerland, Gold, London, 1959, pl. 4. 13. Doshi, op. cit. p. 44. 14. Rigveda 1 - 97-788; Rigveda 1 - 48-3. 15. Ibid. 16. V. R. Dikshitar, War in Ancient India, p. 189. 17. B. C. Law, Study in Mahavamsa, p. 40. cited by Miss Nandita Uppal (Dharval) in her Doctoral Thesis on "Maritime Trade of South India (400 - 200 B. C. & 320550 A. D.). Anantacharya Indological Research Institute, Bombay, 1989.

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Vol. XXI, 1997 TRADE RELATIONS OF.... 45 18. Bombay Gazette, Vol. XIV, p. 165. 19. R. S. Gupte, Iconography of the Hindu Buddhist and Tribes, P: 113. 20. Shobhana Gokhale, Kanheri Inscriptions, 1991, p. 32. 21. A. L. Basham, The Wonder that was India, London, 1954, p. 230. 22. Harit Krishna Deb, "Vedic India and Middle East", Jr. of the Asiat Bengal, Vol. XIV, Calcutta, 1948, pp. 137-143. 23. Ibid, p. 186. 24. K. M. Pannikar, op. cit. p. 24-25. 25. W. H. Schoff, The Periplus of the Erythrean Sea, 1927, p. 24. 26. L. W. Hollingsworth, The Asians of East Africa, 1960, p. 11. 27. Schoff, op. cit. 28. Vincent, Commerce of The Ancients, Vol. II, p. 404. 29. J. Speke, Journal of The Discovery of The Source of The Nile, 1863, p. 13. 30. A. D. Pusalkar, The Puranas, Indian Inheritance, Vol.I, 1965, p. 89. 31. Speke, op. cit. 32. Ibid. 33. C. P. Rigby, Proceedings of the Bombay Geographic Society, 1843, Vol. VI, p. 89. 34. K. P. Aravaanan, Dravidians and Africans, 1977, p. 154. 35. Ibid. p. 155. 36. M. L. Danes, The Book of Duarte Barbosa, Vol. 2, 1927, p. 12. 37. G. Caton Thompson, Zimbabwe Culture, p. 196. 38. R. C. Oliver and M. Jervase, History of East Africa, Vol.I, 1963, p. 110. 39. P. S. Joshi, Unrest in South Africa, 1958, p. 13. 40. Cyril A. Hromnik, Indo-Africa, 1981, p. 46. 41. Raghunandan Sharma, Vedic Sampatti (in Hindi), p. 443; 'Sona' is derived from Skt. word 'Suvarna' N. M. Kansara. 42. Ibid. 43. Hromnik, op. cit. p. 31-32 44. K. A. Nilkantha Sastri, The Colas, 1984, p. 459-460 45. Oliver, op. cit. p. 118. 46. H. Yule, The Book of Sir Marco Polo, II, 1930, p. 415. 47. Journal of the Asiatic Society of Bombay, Vol. II, p. 404 48. Pearce, Zanzibar the Island Metropolis of East Africa, N. Y., 1920, p. 254.

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AMARI GHOSANA-NO DASTAVEJA (Proclamation of non-killing of animals) S. Andhare An illustrated Portfolio of the Vijnaptipatra, painted by Ustada Salivahana at Agra in A. D. 1610, is critically edited by Acarya Vijaysilacandrasuri, and published by Bhadrankarodaya Siksana Trust, Godhra, 1996 under the series of Muni Hiravijayji's Fourth Death Centenary Granthamala No. 3, with text pages 12, Colour plates 9, and price not mentioned. The portfolio has been divided into text and colour plates which covers all aspects of the document discussed under separate headings. The author first tries to clarify the misnomer about the term, Vijnaptipatra and defines it thus : a Vijnaptipatra is basically a letter of invitation which also includes Paryusana Ksamapana Patrika, earlier regarded as two different documents. Any sadhu (i.e. muni) or Jain Sangha from any region, requests their principle teacher, Acharya or the head of the gachha to stay in the upasraya in their area during the monsoon season and after successful completion of the Paryusana festival, solicits forgiveness in writing in a long pictorial scroll for the misdeeds committed during the previous year. Thus, it is more of a letter of pardon than invitation. However, at the end of such letters there is generally an invitation requesting the above dignitories to spend four months of caturmasa in their region or town. Normal, letters of invitation seen and published from many collections are stereotype and routine where the sequence of paintings and the text does not change much; whereas the one under discussion, painted by Ustada Salivahana stands out as unique example combining artistic and socio-political history into one. It can, therefore, be called a letter of request or an application made to Emperor Jahangir of Agra to stop killing of animals during the twelve (12) days of Paryusana. It is rightly mentioned by the author that this letter of invitation has been partly or fully referred to by some scholars in the past, namely, Muni Jinavijayji?, by N. C. Mehta, Hiranand Shastri", Pramod Chandras and Shridhar Andhare. Thi however, happens to be the first time that a learned Jain Muni (author) has published it in its totality with a certain degree of authority and authenticity. The first two scholars merely stressed its historicity and of course deserve the

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Vol. XXI, 1997 AMARI GHOSANA-NO.... 47 credit of bringing it to light for the first time. While the third and the fourth laid more emphasis on its pictorial and stylistic aspect by discovering a new school of painting in which the scroll is painted which was hitherto unknown. The present study has gone a step further and proved that Popular Mughal Painting was not only restricted to Mughal centres but was patronized by the Jains at other centuries also. The new material published by the reviewer? in this regard throws light on the fact that Jaisalmer, Ahmedabad, Ahad (near Udaipur), Mater, Kankroli (wellknown Vaisnava centre) etc. also figure as centres of popular Mughal style. It is interesting to note the socio-political background of the event which speaks volumes of the previous history and relationship between Muni Shri Hiravijayji and Emperor Akbar., that the latter held Muni Hiravijayji in very high esteem is undoubtedly clear from the incidents quoted on p. 3 of the portfolio. Unfortunately, not much was known and published earlier in this regard. It is, therefore, a matter of honour for the author to have brought out this relationship in lime-light in this portfolio. Secondly, the essence of this Vijnaptipatra lies in its narrative to which the earlier scholars did not pay any attention. The work of narrating each incident and identifying each figure in the painting, presenting a correct translation of the text and above all making it readable for common people and scholars, is a stupendous taks undertaken and completed by Sri Vijayasilacandrasuri, for which he should be rightly respected and honoured. Being a profound Jain scholar and knowledgeable about the Jaina customs, traditions and ritual practices he was able to translate relevant details from the painting, so minutely painted by Ustada salivahana, who as per the text on the pata is addressed as Patasahi Citera, (the royal painter). Historically however, it is surprising to note that neither his name figures anywhere in the contemporary Jahangiri material nor does the Tuzuk make any mention of this incident and its painter. The present portfolio is well produced, using off-white hand made paper and clear and legible computerised type sets, and wellprinted colour plates mounted on off-white paper. Its size is also suitable for the colour plates chosen by the author. At the end special mention needs to be made of the new bibliography on Vijnaptipatras referred to here by Shri Vijayasilacandrasuri such as; the Tridasatarangini by Muni Sundarasuri, the Vijnaptitriveni by Jayasagara, the Induduta-Khandakavya by Vinayavijaya, the Meghaduta-Samasyalekha by Vacaka Meghavijayaji.

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S. ANDHARE SAMBODHI Similarly, the sequence of incidents depicted on the Vijnaptipatras given by Muni Jinavijayji from the Vijnaptitriveni is helpful in many ways. Thus, to conclude, that this effort to deal with Vijnaptipatras in general and the Salivahana scroll in particular has added considerable information to the existing published material and helped us to certain extent in correcting certain understandings prevailing earlier. This research would surely go a long way in the history of painting and social history. REFERENCES : 1. U. P. Shah, Treasures of Jain Bhandaras, L. D. Series 69, Ahmedabad 1978, Figs. 134-141; 143-148. 2. Muni Jinavijayaji - Sahitya Samsodhaka, vol. 3. N. C. Mehta, Studies in Indian Painting, Bombay, 1926, p. 70-71. 4. Hiranand Shastri, Ancient Vijnaptipatras, Baroda, 1942, p. 20-21. 5. Pramod Chandra, Ustad salivahana and the Development of Popular Mughal Art, Lalit Kala, No. 8, Bombay, 1980. Shridhar Andhare, An Early Rajasthani Ragamala from the Kankroli collection, Bulletin of the Prince of Wales Museum, Bombay, No. 12, 1973. Also see Anarta, Painting activity in and around Ahmedabad, North Gujarat University, Patan, 1990. 7. Ibid. 8. Tuzuki-Jahangiri, Eng. Vol. I.

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WATER TREATMENT IN THE ATHARVAVEDA Subhash Chandra Dash Introduction : The Atharvaveda (AV.) is the source book of Ayurveda. Bhesaja 'medicine' is one of the important contributions of AV. The poet-priest of AV. is a physician who treats patients of different types by the help of his magic spells, rituals and medicines prepared out of medicinal plants. He declares that these plants have magical powers to cure a patient. So also he has taken into consideration the natural factors like, Fire, Air, Water and Earth etc. for curative purpose. The way AV. deals with it, shows us the beginning of treatment of various diseases and methods some of which are known and accepted as a science of. Ayurveda, afterwards. In fact, AV. contributes much in this regard and later on the exponents like Caraka and Susruta have acknowledged' that they have inherited the curative process from AV. 1.0. Though it is a common belief that AV. deals with magic and magical rites only, it is only partially. The descriptions about diseases and its process of cure has some relationship which has been widely taken into consideration by Ayurveda. So the Atharvavedic descriptions have their intrinsic value apart from the magical aspect. The Atharvanic doctor believes that there are some evil spirits which infest the human body and create diseases. So when a man falls ill, he is attacked by the demons? of diseases. To cure the disease means to remove the demon; and this is possible by means of the charms and magical spells or medicinal plants. It is tly cured by the psychological factors and partly by the magic performed along with the medicinal qualities of plants. So also there is the importance of the natural elements which have medicinal powers to cure various diseases. The water is treated as the prime medicine by the Atharvanic priest. He probably realised that water forms one third of the gross weight of a human being, and so it does have some influence over the body as well as the mind. So realised the importance of water as a medicine. i.e. bhesaja and several times he invoked water to cure different diseases. That is why the Atharvanic poet-priest calls water as nectar and describes it as most powerful curative factor. Not only the AV., but also the modern science has testified to the medicinal and curative power of water and accepted it as such under the branch-Naturopathy,

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50 SUBHASH CHANDRA DASH SAMBODHI which is a system of Treatment. In this branch, starting from the ancient period, water plays an important role. This paper endeavours to study and analyse the water treatment. (water as medicine) as developed by both the systems. 1.1. In the Vedic texts, water is considered as a very powerful and curative substance. It is proved to be as powerful as any other medicine. It is, therefore described in the AV. as amrta 'nectar' and also named as bhesaja 'a remedy". It means that there is in water curative power which removes all the dirt from inside the body. Since, water is a natural phenomena it has been praised as a deity many a times in the Vedic literature. Water is described as in a mantra which tells us "Water you are definitely kind and pleasant enough, you give us strength and energy which is the life force prana-sakti and since you are the chief among the desired objects and by dispelling diseases from all human beings, I ask for remedy, I beg the waters for remedy, "Here, this mantra refers to the curative power of water which is named as rasa which gives energy. It is true that water is rasa par excellence. Sayana says evambhuta apah bhesajam vyadhyadi nivarttakam ausadham yacami prarthaye. The importance of water and its medicinal qualities is recorded from other source, too. The poet-priest says 'Soma told me that in waters there are all the remedies and there is well-being for all in Agni". For long life also, water is praised many a-times. As we see 'O waters! bestow me a remedy for my body and protect my body and allow me to live long to see the Sun without disease". The water contains the natural power for bestowing long life without any disease. In AV. 1.33 (1-5) the priest praises the water and solicits the blessings. He says 'In the heaven, Gods make the drink, who has a beautiful colour, clean and purifying. Let these waters be well-beings, kind enough and pleasant to us". Now let us analyse the cases in which water is used as a medicine. 1.2. Water as remover of diseases : In the AV. II.3 (1-6), the poet-priest recognises and prescribes spring water as the remedy which has natural healing power. In this hymn, he says: The spring water which runs down upon the mountain, that do I make for you a remedy in order that you may be a good remedy for relief of flux (a continuous pain

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Vol. XXI, 1997 WATER TREATMENT IN.... 57 of a particular disease like vranaphotakadi). In this hymn also mud is referred as a curative item and hence mud therapy is quite evident from this'. In the third kanda, the priest describes the ksetriya (inherited) diseases. In this context, the powers of water is referred to. The waters verily are healers (remedial) the waters disease-expelling, cures all diseases. May they relieve you from ksetriya 10. Commenting upon this Sayanacarya narrates the importance of the curative power of water. He says : Apa eva khalu bhesajah bhesajabhutah abhisekapanadina rogapanodanena sukhahetavah. Tatha apa eva ausadhirupena parinatah. Amivacatanih - amivacatanyah roganam nasayitryah. Apa eva visvasya sarvasya rogasya bhesajah ausadhantaravad na kasyacideva rogasya bhesajam kintu sarvesamapityarthah. Not only this, he further clarifies the medicinal importance of water as follows : Apam bhesajarupatvam anyatra spastam amnatam. Apsu me somo abravid antarvisvani bhesaja. (Rg. 1.23.20) The hymn VI. 91.31 describes exactly the same idea of the curative power of water. It is said : The waters verily are remedial, the waters are diseaseexpelling, the waters are remedial of everything, let them make remedy for you. In a different context, the Atharvavedic poet-priest praises the water as god and requests it to be kind towards the person who sufferes from various diseases. By invoking water in these mantras, he propitiates it and then invokes it to remove all the diseases. There is a reference to the effect that water cures heart disease. He seems to know that the water which flows from the snowy mountain i.e. Himalayas and the water coming from different corners (of the Himalayas) assemble in the Sindhu, and hence he prays that may heavenly water indeed grant him the cure for heart-ache!2. Regarding eye-diseases and pain in the foot also there is some discussion. "The pain that burns my eyes and which hurts in my heels, my front feet, may the waters remove all that among the physicians the most excellent physician 13." Here water is personified and invoked to work as an active physician who carefully and positively removes all the diseases from the body. There are in the AV. descriptions of invocations of mantras regarding the restoration of perfect health. In the cases of those who suffer from diseases, the poet-priest invokes and prays the respective deities and utters some mantras for

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52 SUBHASH CHANDRA DASH SAMBODHI the benefit of the person who is in disease. So the natural forces like Sun, Air, Water are personified and invoked many a times. They are expected to bestow good health to the suffering person and this is recorded several times. For instance, it is mentioned that, water and plants are the universal remedies. In AV.VIII. 7, the poet-priest invokes to all magic and medicinal plants of different colours to protect a sick man. In the 3rd mantra it is said : the waters and the heavenly plants are the foremost among healers they have driven our from every limb your disease14. 2.0. Ways of Curing : Now let us discuss how water is applied or taken as a medicine. Generally, water is sprinkled or poured on the patient or given to him for drinking. Ksetriya disease : When there is ksetriya disease, the priest consecrates water with AV. II. 8.4 in a vessel and sprinkles it on the head of the patient. In another case, Av. III. 11, the medicine man sprinkles water upon the patient which is earlier consecrated with the mantra III. 11 and heated on fire in which forest sesamums, cow-dung or pacificatory plants are put's. Eye and ENT. diseases : When somebody is suffering from disease of eye or ear or nose or throat, the medicine-man-priest sprinkles water from a water pot in which he has put the remnants of an offering, performed with AV. II.33 and Kausu. 27-28. 2.1. Infections : When a man is having infections, there is the prescription of sprinkling of water on him. In this water, the priest previously puts the powder of twenty-one roots of Usira, and remnants of the offering performed with AV. V. 23.13 and the water is also consecrated with AV. V. 23.13 by effects perfect cure in such cases. Hair-fall : To stop hair-fall, the priest puts burning herbs of pacificatory (santa) class grown upon another tree in to water and then consecrates the water with AV., VI. 21 and sprinkles it on the person who suffers from this defect16. Hair-grow: For hair-grow the poet-priest heats sirsa and nuts of Aksa (bibhitaka) then he consecrates them with AV. VI. 21 and puts them in water. Then he sprinkles the water on the person who wants to have hair-growth. This sprinkling should take place in the morning after all the stars have

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Vol. XXI, 1997 WATER TREATMENT IN.... disappeared"? It is well-known that, water has power of removing the ill-effects of the evil beings since they are killers or Raksasas (evil-beings) 8. Hence, it is used sometimes for the sake of curing diseases which are believed to be caused by the evil beings. When someone is possessed by an evil being (pisaca), the medicine man or priest makes him sip water and sprinkles him with water while reciting one of the catana hymns (AV. 1.7, V.29.1 and Kau.Su. 25. 34) 3.0. The modern Water Cure in Naturopathy: Naturopathy is a science dealing with treatment without drugs. It is based on the natural forces that work within and outside the body. So, the natural agencies like water, air, heat, light and food etc. are essential for curing diseases. These factors have natural powers for curing various diseases and hence are called natural remedies. For our present purpose, we are dealing with water only and see how it helps curing diseases. 3.1. Water cure plays a vital role in Naturopathy. Water is life and used from the very beginning of civilisation. "Records from the third century B. C. coming to us from Hippocrates, the father of healing from Galen, Askepliades and many others remind us that cold water and baths of all kinds were instrumental in curing diseases from time immemorial"." There are various attempts made by different physicians in the middle ages to prove the curative utility of water. Some of them are - Aetius, Paulus, Aegineta and Paracelsus. And, afterwards, we get much more materials and findings regarding water treatment. In 1673, Nicola Lonzani, a physician from Nepal published a learned treatise on the use of water in health. In England, about the beginning of 18th century, Sir John Floyer and Dr. Baynard made large use of water. They wrote a book named 'The History of Cold Bathing Both Ancient and Modern'. In 1738, Dr. J. S. Hahn and Silesia published a book named as 'The Healing Virtues of Cold Water Inwardly and Outwardly Applied, as Proved by Experience. Dr. William Wright, an Army Surgeon published his experience regarding the medicinal qualities of water for curing diseases in the London Medical Journal in September 1777. He was an Army Surgeon and was attached to a vessel, transporting soldiers to India and Africa. While sailing - because of poor hygine and over-crowding condition of the vessel the soldiers were suffering from high fever. He successfully fought the disease by the help of water only. Vincent Priessnitz of Graefenburg in Austria proved that water has the power to

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54 SUBHASH CHANDRA DASH SAMBODHI stop a wound. He observed this in a forest while the wounded deer injured by hunters come to the spring and stayed there for sometime in the water and the wound stopped. He himself has his own experience that water stopped the bleeding and the pain of his crushed finger in an accident. After this, when any of the animals or people on the farm suffered any external injury, Priessnitz applied cold water as a soothing and healing remedy20. In another accident, his ribs were fractured. The doctors attending him declared that it can't be cured. But by cool water he cured himself fully. During the early years he treated mainly sprains, fractures, dislocation, rheumatism, liver and stomach complaining and chronic constipation. According to him "not only is water strengthening, refreshing, invigorating, vivifying, cooling and soothing but it also possesses a purifying power - tending to disperse undesirable matter and to throw off poisonous substances within the system21. He insisted on cold water full bath and partial baths of all kinds, the sweating process and drinking of pure water for removing the diseases. He observed that the water cure system is based on natural laws which have direct impact on our body. This also applies to animals as well. Let us take another personality named Sebastian Kniepp (1821-1897) of Germany. He had a private hydrotherapeutic clinic for the treatment of almost all diseases. In his book 'My Water Cure' published in 1886, he describes how he treated people at large by pure water. He claimed that water of different temperature variously applied to the system will dissolve the morbid matter in the blood, leaving the cleansed blood to the experience of freer circulation. He also proved that proper application of water will give the human body power and strength. The basic principle of Kneipp was very simple. It began with this that every disease arises from blood which either contains impurities or circulates badly. In both these cases, cold water can be used to stimulate the skin to activity so that the diseased matter may be removed and discharged. He used cold water gently and reasonably, usually applying it a half-minute and rarely more than three minutes. He practically cured many diseases by water. As he was a Catholic oriest he practiced the healing art in an unselfish way. And, as the days passed successfully for him of curing a number of patients, he was known as the "priest who heals with water". Another personality Henry Lindlahr (1853-1924) first successfully captured the

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Vol. XXI, 1997 WATER TREATMENT IN.... 55 germ-killing power of sunlight in a glass of water by putting water in sun. The sunlight water was prepared by him every morning at his sanitorium. It was given to the patient to drink particularly when they had stomach and intestinal infections, typhoid fever or other such diseases. Sunlight water also was given to the patient to wash down ulcers and it performed good result. 4.0. Analysis : Even today in our society, people everyday use cold water to clean their eyes. Cold bath is also taken and is prescribed even today when there is temperature in the body. For wounds also cold (ice) water is given and the bleeding stops slowly. It is also a fact that, cows, buffalows etc. go and rotate their body in muddy water sometimes. It is this period that they may have some diseases and that is why they expose their body to water completely. By that, the disease is removed. This is the natural process of the animals who can't express their diseases. The natural power of water heals naturally. So, not only in the laboratory they studied water and practically cured many patients but from our common sense also we can see the healing and curative power of water even today. So also in the early days of our society, people know the importance of water, its curative and healing power and they used it accordingly whenever they faced any problem. It is a natural gift that activates the healing process in the body and cleanses the impurities naturally. That is why it is advised to take in water and drink water properly as per the requirement of the body. 5.0. Conclusion : From the above discussions we can conclude the following: 1. The Av. deals with magic, medicine and sacrifice, which form the essential features of Atharvanic Medicine. 2. The poet priest of the Av. personifies and deifies the natural phenomena many a times knowing the curative aspects of those factors. 3. As per different descriptions, it seems that the Atharvanic men treated the patients with their magical, medical and ritualistic rites. 4. In the treatment of Av., water and herbs play an important role. 5. Demons and evil spirits cause the diseases in the human body. So once

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56 SUBHASH CHANDRA DASH SAMBODHI they are removed by magic and other curative elements, the diseases will be cured automatically. This also involves magical aspect, i.e. some psychological aspects, which cure the disease and medicinal plants also help to cure rest of the disease. 6. In the Av.medicine, the poet-priest generally resorted to the water and plants and other natural objects which contain medicinal qualities. 7. The medicine men were priests of the Av. and have employed ritual in order to cure the diseases too. 8. They knew the three fold causes of diseases such as vataja, abhraja and susma which correspond to the vata, kapha and pitta of Ayurvedic system. 9. The Av. is the source book of Ayurveda. 10. The treatment of diseases and its description is not so systematic in Av. as it is in the Ayurveda. 11. In this way we find that water is supposed to be a curing substance and as such it is deified, praised and requested to cure and lengthen life. Water cure treatment was very much well-known to the Atharvanic people. In modern times also, in Naturopathy we get the water treatment. 13. In the West, they also knew the importance of water as a healer from 3rd century B. C. 14. No doubt, water cures many diseases naturally as it is part and parcel of the organism. Water is proved to be curative by our ancient poets and thinkers starting from the Vedic times and that is why they called it as rasa or bhesaja or amsta. Even in modern naturopathy, water forms the major curative power among all other agencies. Water if taken properly, it performs miracle. FOOTNOTES & REFERENCES : 1. Caraka Samhita, 1.30 : 19-20. 2. Kanvas, Kabavas, Av, II.25 : 3-9. 3. Apsvantaramstam apsu bhesajam, Av. I. 4.4. Commenting upon this, Sayana says: Idrsinam apam upajivanena he janah yuyam sarve amrta arogasca bhavatetyarthah. 4. yo vai sivatamo rasah, Av. I. 5. 2. urmenampa arogasca bravaceyarihan.

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Vol. XXI, 1997 WATER TREATMENT IN.... Commenting upon this : Sayana says - he apah vah yusmakam sivatamah kalyanatamah prasiddho yo rasah sarabhutah amso'sti sarvapranibhih avisam vadena upabhogyatvad apam rasasya sivatamatvam. 5. Apo yacami bhesajam, Ibid. I. 5. 4. 6. Apsu me somo abravid antarvisvani bhesaja agnim ca visvasam bhuvam, Ibid. I. 6. - 2. 7. Ibid, I. 6. 3. 8. Na apah sam syona bhavantu. 9. Upajivaka udbharanti samudradadhibhesajam tadasravasya bhesajam tadu rogamasisamat. Ibid, II. 3. 4. 10. Ibid, III. 7. 5. 11. Apa id va u bhesajirapo amivacatanih apo visvasya bhesajistaste konvantu bhesajam 12. Himavatah prasravanti sindhau samahasamgamah Ibid, VI. 24. 1. 13. Ibid, VI. 24. 2. 14. Apo agram divya ausadhayah, naste yaksmam enasyam angadangadaninasan, Ibid, 7. 7. 3. 15. Kau Su. 27. 33. 16. Ibid, 30.8. & 8.15. 17. Ibid, 30.13. 18. apo vai raksasoghnih. 19. See Singh, S. J., History and philosophy of Naturopathy, Lucknow, 1980, p. 141. 20. Ibid, p. 146. 21. Ibid, p. 149.

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RELATIONS BETWEEN THE CALUKYAS OF GUJARAT WITH THE BHATIS OF JAISALMER Ram Vallabh Somani The Bhatis of Jaisalmer remained very powerful during the pre-medieval times. They fought several battles against the Pratihars of Mandor and other-rulers. The boundaries of Tamani and Valla-Mandal were also finalised at that time. The Jodhpur inscription of VE 894 of Pratihar Bauk mentions that Devaraj Bhati was defeated and was compelled to surrender the royal insignia to the Pratihars. Even then the power of the Bhatis was not curtailed". In the beginning of the 12th century A. D. Bhati Dusad was the ruler. He had two sons named Jaissal and Vijayraj. The Bhatti-Vamsa Prasasti mentions that Dusad overlooking the claim of Jaissal appointed Vijayraj as his successor. Jaissal went towards Tanot and captured some areas of Sind also. He started plundering raids in the Jaisalmer areas and harassed the people much. Several times the battles were also fought between Vijayraj and Jaissal. Slowly Jaissal increased much power and became problematic to Vijayraj, who wanted a permanent settlement of the affair. Therefore, he approached Kumarpal Calukya of Gujarat, a most powerful ruler of the Western India?. The Jaisalmer Khyat and Tawarikh of Jaisalmer narrate an interesting account. According to them Vijayraj was married with the daughter of Siddhraj Jaisimha of Gujarat. During the marriage ceremony, the mother of the bride expressed a desire that Vijayraj should prove to be a veritable portal of the North (UttarBhatta-Kimwada). Such remarks were not improbables in those days. It is known that the Muslim forces, while proceeding to Gujarat passed through the kingdom of the Bhatis. Similarly the epithet 'Lanja' (prodigal), was given to Vijayraj on his prodigality of pouring a huge quantity of camphor in the Sahasra-ling tank of Patan in order to get the water perfumed?. The Chronocles of Gujarat do not mention these incidents. Therefore, these seem to have been aded in the chronocles of Jaisalmer at a later date. However, it is true that the Bhati Vijayraj maintained cordial relations with the Calukyas of Gujarat, which is proved from the following accounts. Somesvar-Paramar of Kiradu invaded Tanot Nosar, Ucca and some other parts of Sind, and defeated Jaijjak (Jaissal), a refractory chief. Later on acknowledging the supremacy of Calukya King Kumarpal his territory was restored back to him.

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Vol. XXI, 1997 RELATIONS BETWEEN THE.... A careful study of Kiradu inscription of VE 1218, proves that Somesvar passed through Ankal, Lodrava, Ramgarh and other parts of Jaisalmer state, then under Vijayraj Lanja and he did not put any deterants there. It proves that Somesvar passed in the territory to assist Vijayraj. Thus, Jaissal was defeated and compelled to accept the suzerainty of Kumarpal Calukya of Gujarat. Vijayraj peacefully ruled thereafter. An inscription of VE 1239, Baisakh Sudi 2 (April 25, 1183 AD) was recently noticed from village Olam (District Jaisalmer). It mentions that Bhimdeva Calukya was having his suzerainty over this area. The name of Jagdeva Pratihar, the Prime Minister of Gujarat, is also mentioned in it. It shows that the army of Gujarat passed through the border of Jaisalmer, while going to Nagaur. A furious battle was fought there, wherein some persons were killed. Two inscriptions of the above date recording the deaths of some Mohilchiefs are also noticed from Ganeri (District Nagaur.) These persons died in the battle, and on receiving the news of their deaths, their wives committed Satis. A 'Govardhan' was established at Olam (District Jaisalmer) in order to keep the memory of the persons who died there. The text of the inscription is as given below. It is an unpublished record of the time of Bhimdeva Calukya. 1. saMvata 1239 baisAkha sudi 2 some rohiNI nakSatre adyeha zrImadana / 2. hilapATakedhiSThita samalaMkRta mahArAjAdhirAja para 3. mezvara tribhuvana gaMDa umApativaralabdha.... pratApa nijabhuja 4. vikramaraNAMgaNaM / sAMkabharI bhuvapAla zrI bhI 5. madeva rAjye tatpAdapadmojIvita pratIhA 6. ra zrI jagadeva paripaMyamate mevAM tat 59 7. mu prasAda / mahAmaMDalezvara zrI .... 8. zivakUpisthAne UlAgrAma (7) rANA jugalA sAMvata suta 9. tathA rANA trihuNirupra caM Da suta.... di 10. pusA mUlaA suta tasya nAme govardhanaM pratiSThitaM 11. divaMcaMdreNa tthaa.....| maMgalaM mahAzrI // Thus the relations between the rulers of Jaisalmer and the Calukyas of Gujarat remained cordial. The rulers of Gujarat assisted Vijaydeva in VE 1218, when Jaissal badly revoltedR.

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60 RAM VALLABH SOMANI SAMBODHI FOOTNOTES: 1. E. I. vol XVIII pp. 95-98/The Bhatti-Vamsa Prasasti V. 56. 2. History of Jaisalmer by R.V. Somani, pp. 23-24. 3. The Tawarikh-Raj-Jaisalmer pp. 27-28/Jaisalmer Ki-Khyat. 4. taNakoTeM navasaro durgo somezvara grahIta uccA...punaH saMsthApayA mA jhaneSu deze su jajjakaM AI.e.volyuma L x i do o 5. Prthviraj-Cauhan and his Times by the Author pp. 54. 6. The "Govardhan' inscriptions are recorded to keep the memory of the persons died in the battle. Such pillars were erected in the large numbers in the Western Rajaschan. 7. The Village Olam is near Pokaran (District Jaisalmer). It was a part of Sivakupa during the 12th century A. D. 8. Jaissal was a powerful chief. After the death of Vijayraj, he attempted to obtain necessary help from Muhammed Ghori, who invaded Lodrava in VE 1234 (1178 A. D.) and badly ravaged the territory. Bhoj-Bhati the son and successor of Vijay Raj, was killed in the battle. Now Jaissal remained the only claimant of the throne. He, therefore founded a new town Jaisalmer on Trikatahill-ranges (History of Jaisalmer by the Author pp. 26-27.)

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BHARATA - BAHUBALI - MAHAKAVYA : A CRITIQUE Satyavrat Notable for its myriad virtues and faithful adherence to the Mahakayya - tradition, as fostered by masters like Kalidasa and Magha, the Bharatabahubali - mahakavya (BBM) has the unenviable distinction of surviving a series of disasters that it encountered in its chequered history. A full-fledged manuscript of the BBM alongwith its Panjika was preserved with the Terapantha sect, at one point of time. Following the misappropriation of the text by a monk as he opted out of the order, the copy of the poem, now left with the sect, ceases in the midst of canto Eleven. The loss of the Third canto besides a part of the second, combined to reduce the poem to a sketchy text, its usefulness in reviving the Kavya notwithstanding. A defective codex of the BBM is deposited with the Vijayadharma Jnanamandira, Agra. Its text is highly corrupt and, therefore unintelligible for the most. The credit for salvaging the BBM must rest with Muni Nathmal (now Acarya Mahapranja), the mighty scholar and philosopher of the day, who recreated the poem in V.S. 2002 on the basis of the two transcripts of the Agra MS. and the incomplete copy preserved with the sect itself. The plethora of the lacuna that tarnished the poem were brilliantly plugged by him subsequently in V. S. 2009 at Lunakarnasar (Bikaner)'. As no scientific measures were taken to distinguish his insertions from the original, the two have tended to melt into an integrated text. However, the text as reconstituted by the Acarya has been instrumental in saving the BBM from disintegration and possible loss. The Colophon to the BBM does not contain any hint to its author, nor is his name mentioned elsewhere in the body of the poem. The name of the poet, as it seems to be suggested by the phrase punyodaya skilfully interwoven in the concluding verse of each canto?, and vouchsafed by the Colophon to the Panjika, is Punyakusala. It also provides the additional information that Punyakusalagani was the pupil of Pandita Somakusalagani and the grand-pupil of Vijayasenasuri, the celebrated pontiff of the Tapagaccha. It was during the pontiff-ship of Vijayasenasuri (V. S. 1652-1659 = 1595-1602 A. D.) that the BBM was composed?. Kanakakusalagani was a fellow student of Punyakusala. His works are known to have been written from V.S. 1641 (1584 A. D.) to V.S. 1667 (1610 A. D.)". The Agra transcript of the poem, dated in V.S. 1659 (1602 A. D.), forms the lowest limit of the composition of the BBM and serves to lend

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62 SATYAVRAT SAMBODHI credence to the date suggested by the Panjika. THEME The BBM seeks to describe in eighteen cantos a brief episode from the life of the Adi Cakravartin Bharata and his valiant younger brother Bahubali, with such trappings as the Mahakavya admits with profusion. While Bharata attains the coveted status of Cakravartin as a result of his sweeping victory over the six divisions (satkhanda), he is appraised of the unsavoury fact that his younger brother Bahubali, the ruler of Taksasila, has disdainfully refused to accept his paramountcy. Bharata immediately despatches a well-equipped envoy to secure his submission. Infuriated at the envoy's temerity in asking for his surrender, Bahubali waxes eloquent on his matchless valour, simultaneously pouring scorn on Bharata's avarice for territorial aggrandisement. He tells the envoy in unmistakable terms that Bharatas' so-called digvijaya cannot be said to be complete without trying conclusions with him. Bahubali's slighting rebuff mysteriously sends Bharata into a fit of fraternal affection. He goes to the extent of questioning his wisdom in sending the ambassador to him, and decides not to besmirch his great family by a fratricidal war. The army-chief Susena prompts him into action against the refractory Bahubali with well-reasoned arguments. The fifth canto is named Senasajjikarana but is lost, for the most, in the description of the autumn and the adornments of the royal ladies with the frustrating gimmick of Yamaka. The next three cantos (VI-VIII) break into time-worn digressions. The march of Bharata's army culminates in its arrival at the frontiers of Bahubali's kingdom. The army-chief immediately mounts reconnaisance. The spies bring the news that Bahubali is adamant in defiance and his troops are exuding confidence. Bahubali gears up his army for the imminent fight. Bharata too appraises his army of the stakes involved in the combat, and reminds it that his Cakravartin-status would be worth its while only if Bahubali is humbled in the clash. Susena assures him that his victory was a foregone conclusion. Soon the rival forces are arrayed on the battle-field. Canto fifteen is marked by a poetic description of the three-day long encounter of the two armies. While on the first day Susena moped down Bahubali's forces like a mass of grass, in the subsequent two encounters Bahubali carries the palm. Bahubali's terrific clash with Suryayasah shook even the inmates of the heaven. With a view to check bloodshed, the deities, in the sixteenth canto, ask Bharata and Bahubali to try conclusions in a duel. Exchanging polemics, they accept the advice of the deities. The succeeding canto

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Vol. XXI, 1997 BHARATA-BAHUBALI.... 63 finds the haughty rivals pitted against each other. Bharata successively loses in the Drstiyuddha, Sabdayudha, Mustiyuddha and Dandayuddha, but still refuses to accept the defeat. In utter frustration, he hurls his disc on Bahubali, but the Cakra mysteriously comes back without so much as even touching him. Furious at Bharata's reckless action, Bahubali raises his fist to pulverize the disc. Convinced that the strike, if carried out, would spell doom, the deities ask him to desist from the terrible venture. Bahubali heeds their advice, but since his action could never go waste, he picks up tufts of hair with the same fist and embraces asceticism, then and theres. Bharata tenders homage to his anuja and returns to Ayodhya after putting Bahubali's son on the throne. In the last canto (XX), as he comes to know from the deities that Bahubali has attained supreme knowledge on shedding hauteur, Bharata is filled with nirveda and attains the bliss of kaivalya, even as a householder. As is evident from the detailed analysis of its contents, the BBM is but another name of a mass of descriptions and digressions. In contrast to the hefty form, its theme is doubtless scanty, but it has been inflated to as many as eighteen sizable cantos. The result of this feat has been that the skeletal theme is all but lost in the spate of the outer trappings. It is a measure of the poet's aversion to the skilfull execution of the theme that it hardly moves a step in as many as five cantos in a row. The theme of the poem is restricted to the first four and the last three cantos. The rest of the poem, not unlike the Maghakavya that serves as its model, is padded with unending descriptions of the gearing up of the army, its march and encampment, battles and encounters, and the hackneyed digressions like jalakrida, vanavihara, love-sports and sexual orgy. Though poetic and attractive in themselves, they tend to raise fearsome impediments in the flow of the story. The well-entrenched tradition has no doubt asserted itself here rather strongly, with a poet of Punyakusala's stature who was expected to release himself from the shackles of the time-worn mannerisms and break fresh ground. That would have surely heightened the worth of the poem. In its present form, the BBM represents a large piece of multi-pattern drapery. Though in isolation, these patterns, however, seem more attractive than the bald texture. SOURCES OF THE BBM The Adipurana of Jinasena (9th Century) and Hemacandra's Trisastisalakapurusacarita (TSSPC) may be taken to represent the Digambara and Svetambara versions of the elevating story of Bharata's fight with Bahubali, his

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64 SATYAVRAT SAMBODHI younger brother. In view of the broad concurrence of the sources, Punyakusala has drawn upon both. Wherever the sources differ substantially, he has often opted for Hemacandra's version. The contents of the first canto of the BBM owe themselves partly to the Adipurana and partly to Hemacandra. While the lovely sketch of the femaleguards of the fields, as drawn in the BBM (I. 38) is inspired by the corresponding vibrant description of the village-belles in Jinasena (XXXV. 32-36); the description of the four-fold forces of Bahubali and their training camp (BBM., I. 42-47, 50-51) has evidently sprung from the TSSpc. (I. 5-55-57). For the lovely account of the affluence of the market of Taxila (BBM I. 56-57) and the life-like sketch of Bahubali (BBM. I. 70-71) Punyakusala is indebted to both his sources. The events detailed in the second canto also accord, almost entirely, with its sources. As the two had described Bharata's Satkhandavijaya elsewhere, they have refrained from repeating it in the present context, though Jinasena has made a covert hint to it here also. In imitation of his sources, Punyakusala is convinced that Bharata deserved Bahubali's submission both because of his age and Cakravartin status. The rejection of the envoy's reckless proposal by Bahubali, as described in canto three, also has its genesis in the aforesaid sources. The author of the Adipurana has sought to air his political equipment in technical phraseology, while Hemacandra has repudiated the envoy with well-reasoned arguments. Both have denounced Bharata's message to Bahubali as a fradulent conspiracy. To Jinasena it is khalacara (35-94), Hemacandra has ridiculed it as bakacesta (1. 5. 128). Punyakusala has likened Bharata's lust for expansion to the submarine fire (III. 14). In detailing the rest of the basic story Punyakusala has invariably followed * Hemacandra some of whose ideas and phrases also he has liberally incorporated. The most glaring difference between the two versions of the story concerns itself with the culmination of the clash the war. The three-day long encounter between the rival forces as described in canto fifteen, is not even remotely hinted in Punyakusala's sources. The description is doubtless based on Magha's account of the clash between the armies of Krsna and Sisupala (Canto XVIII). Jinasena and Hemacandra betray substantial differences in dealing with the final combat and the events that precede it. While it is the prominent ministers who

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Vol. XXI, 1997 BHARATA-BAHUBALI.... opt for the Dharmayuddha in the Adipurana, Punyakusala follows the TSSpc., in crediting the deities with wearing away the heady warriors from the disastrous course. It is on their intervention that they agree to shun the traditional war in favour of the 'Uttamayuddha'10. The arguments that the deities advance in support of their contention in the BBM.", though not much dissimilar from those in the TSSpc., are more weighty and convincing. Punyakusala has meticulously followed. Hemacandra in dealing with this momentous episode. The two descriptions are marked by an amazing similarity in the number, sequence and details of the encounter, and the language in which they are couched. The subsequent events detailed in the BBM also owe themselves to Hemacandra's magnum opus. (I. 5. 730-798). Cantos seven and eight of the BBM are infested with the trite digressions, so common in the Sanskrit-Mahakavyas. These are not supposed to have locus standi in the Jaina puranas. They are indeed conspicuous by their absence in the TSSpc. But surprisingly Jinasena has described with abandon all these frivolities including the sexual orgy. (XXXV. 152-236), the only difference is that in the Adipurana these concern, themselves with Bahubali's soldiery. Punyakusala seems to owe these digressions to Jinasena, besides his mentor Magha 12. PUNYAKUSALA'S INDEBTEDNESS TO MAGHA While Punyakusala is indebted to the TSSpc for the main story, in its execution he has followed the sequence of Magha's poem with a measure of tenacity. That is why, like the sisupalavadha, there are found in the BBM. sizable descriptions of the march of the army, its encampment and departure besides the stereotyped digressions. While Magha's descriptions are distinguished by prolixity and ornate style, those in the BBM. are on a subdued note. Unlike Magha, Punyakusala has shunned to detail the various types of heroines in the course of the love-sports of the soldier-couples, though his descriptions are not wholly void of the mannerism. Whereas the asarada (praudha) nayika is expressly mentioned (BBM. VII. 21, 37, 41-42), a veiled reference is made to the kalahantarita, mugdha and khandita (BBM. VII. 58, VIII. 37-38 etc.) Magha's descriptions are loaded with sastric contents while in Punyakusala they are marked by ease and simplicity. These love-sports of the soldiery are out of joint even in the Maghakavya which is dominated by the heroic sentiment. Their description by the Jaina monk with perceptible gusto in a story that culminates in renunciation is not only absurd, they tend to make a mockery of his puritan proclivities as well.

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SATYAVRAT SAMBODHI In imitation of Magha, Punyakusala has described the six traditional seasons that come to wait upon the hero. The entire description in Magha is infested with fearsome Yamaka; Punyakusala has resorted to the gimmick in describing the Sarat alone. Otherwise also the Yamaka in the BBM. does not pose insuperable difficulty. As indicated earlier, the encounter of the rival armies described in the BBM. is not traceable to its major sources. It has unmistakably been suggested and inspired by the terrific battle between the armies of Krsna and Sisupala in Magha's poem. Cantos fourteen and fifteen are imbued with an aura of the traditional Caritakavyas. Therein are encountered the banal motifs associated with such poems. Magha is lost in the labyrinth of Citrakavya while describing the battle. Punyakusala has spun out a brilliant sketch of the encounter, and has thereby sought to present an opposite pole to Magha's tour de force. Bharata's duel with Bahubali, though based on the TSSpc. seems to have drawn sustenance from the combats detailed in the Kiratarjuniyam and the Sisupalavadham, as well. The description of the impatience of the women-folk in canto six owes itself to the corresponding description in Magha (Canto 13) where the city damsels likewise throng to have a glimpse of Krsna as he enters Yudhisthira's metropolis. He might have drawn upon Kalidasa's parallel descriptions also which seems to have set the norm in this respect. With war as the focal point, the sisupalavadham and the BBM have Virarasa as their dominant sentiment, but Songara has been depicted with such a zeal that it tends to overwhelm the angirasa. The sisupalavadham closes at its natural end - the assassination of sisupala in the BBM. the war undergoes sublimation. Despite the heavy indebtedness to Magha, Punyakusala has no fascination for his pedantic language, ponderous style excessive ornamentation and the despicable citrakavya13 RASA The BBM is one of the few Jainistic writings that are not overtly intended to subserve the sectarian objectives. That is why its pedagogic or didactic overtones are not much pronounced. Punyakusala is well-equipped in delineating the spate of feelings that criss-cross the human breast in differing situations and under various stresses and strains, with the result that a number of rasas find powerful expression in the poem. The sentiments depicted in the BBM. are marked by

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Vol. XXI, 1997 BHARATA-BAHUBALI.... such an intensity and profundity that from this viewpoint alone it is assured of a high place in the galaxy of Sanskrit Mahakavyas. As a poem with yuddha as its central issue, the BBM is imbued with Virarasa. The description of the clash of the rival forces in canto fifteen and Bharata's breath-taking encounter with Bahubali has led to the emergence of the heroic sentiment with a vengeance14. But curiously enough, both the aspects of Srngara e been depicted with such a zeal that more often than not they tend to push the dominant sentiment (Virarasa) into subservience, if not oblivion. While going through the middle part of the BBM., one cannot escape the impression that it is primarily an erotic poem. The fact is that in handling the Rasa also Punyakusala is indebted to Magha to the extent that, not unlike him, he has sought to present Srngara as an opposite pole to the dominant sentiment by according it undue, rather undeserved, importance. However, the non-violent genius of the Jaina monk can hardly reconcile itself with the violence unleashed in a war, leading him to denounce it as despicable and deadly as poison'. After being treated to prolonged accounts of the bloody encounters, one is amused to listen to the homely that one should not fight even with such harmless missiles as the flowers 16. While his expertise in exploiting the various situations to ensure the dominance of Virarasa is beyond question, Punyakusala seems to revel more in handling the Srngara. To him Srngara is the chief sentiment and woman is its lovely abode!7 The BBM. provides ample opportunities for the Srngara to evolve effectively. The Srngara depicted in the BBM has all the trappings that characterise the postKalidasa poetry. As he is at times more than explicit, Punyakusala's eroticism, not unlike that of Bharavi and Magha, tends to degenerate into obscenity. It may cause momentary sensation, but it fails to exercise lasting effect. In such descriptions he emerges, like Magha, as a master of the art of love rather than a poet sensitive enough to handle the Rasaraja with its inherent tenderness and sweep. The BBM throws up several instances of Srngara, cast in this mould. Some of them are bold, if not worse 18. And this unabashed invitation for cohabitation throws all norms of decency over-board : ehi ehi vara dehi mohanam netarasu hrdayam vidhehi re (BBM. VII. 37). But notwithstanding these sensuous descriptions. Punyakusala has the cheek to denounce woman as an embodiment of repulsion and an impediment in the realisation of penance.

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68 SATYAVRAT SAMBODHI Punyakusala is equally, at home in depicting the Vipralambha aspect of Srrgara. The sketch of the warrior about to leave for the battle-field, emerges as the most intense expression of Vipralambha. As the time of his departure drew closer, his spouse is aghast at the impending separation. On seeing her overwhelmed with feelings, the doughty soldier also lost his equipoise. Tears welled up in his eyes and he departed to the battle-field with his face cast down (nyagananah)20. There is infinite suggestion in the phrase nyagananah. Like most of the Jaina poems, the BBM culminates into quietism. The haughty Bahubali and his avaricious brother Bharata arrive at the same destination, though they choose to follow different paths. On knowing that Bahubali has attained the bliss of Kaivalya the moment he shed his proverbial hauteur, Bharata is also overcome by asceticism. In the alluvial soil of his detached state of mind springs up the heavenly tree of santarasa, which, in the poet's own words, is indeed Sarasa : Bhaja santarasam tarasa sarasam (BBM, XVII. 74)21. DEPICTION OF NATURE The BBM purports to be an honest expression of the author's love for nature which invariably provides apt setting to Sanskrit poetry. The poem is indeed dotted with lovely sketches of scenic beauties. Punyakusala is so enamoured of the natural phenomena that he may afford to ignore the theme but is ever intent on drawing the varied facets of nature in different ways and styles. Many a contour of nature is discernible in the BBM. Though the Prakrti-citrana in the poem is, in keeping with the contemporary trend, based for the most on vakrokti, Punyakusala's inborn love for nature and his poetic equipment have combined to lead him to draw winsome sketches of its alambana form, though such instances are not many. He is, however, unquestionably charmed by its ornate form. While so depicting nature Punyakusala has fondly resorted to Yamaka, his Yamaka is happily shorn of complexity and he means to draw thereby beauties of nature in its pure form. Under the diaphanous garb of Yamaka, the natural beauties of Sarat are readily discernible. Some of the sketches of the scenic beauties in the BBM. are based on appropriate aprastutas. The author has pressed into service Utpreksa and Upama with some frequency which combine to invest his descriptions with charm. The description of the night in canto eight merits attention because of the extremely winsome and apt aprastutas employed therein. "The stars twinkling in the sky appear to be so many tiny lamps arranged on the terrace made of emeralds.

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Vol. XXI, 1997 BHARATA-BAHUBALI.... 69 The fire-flies give the impression of being the sparks of the fire of separation. After the sun-set, the darkness has spread in the quarters like a band of bandits." (BBM. VIII. 8-11). Not unique in itself, the nature in the BBM. is largely invested with human feelings and behaviour. The two are so intimately connected that it is almost impossible to separate one from the other. There are instances galore wherein the natural phenomena have been personified with such a finesse that the trite daily occurrences and events have come to pulsate with life. In the lovely description of the Candrodaya, for instance, the moon has been projected as a gallant lover out to enjoy himself unhindered. "As a lover exposes the charms of his lady-love by removing her lower garment in the quiet of the night, likewise the moon, one seeing that the lotuses are asleep and the kumudinis are her intimate friends has pulled down the dark apparel of the lady of night with his hands." Her beauty has, therefore, spread all around in no time"22. The darkness disappears as the moon rises, this simple phenomenon has acquired uncommon charm at the touch of the lovely Samasokti23. Punyakusala has not been impervious to the contemporary trends in depicting the nature, but he has neither indulged in far-fetched fancies nor has he turned it into a medium of parading his equipment in erotics, as is the case with his mentor Magha. CHARACTERISATION There are only two major characters in the BBM. and both are deservedly the heroes of the poem. Bharata's Cakravartin-status alone is sufficient to elevate him to the sublime position. So far as Bahubali is concerned, he not only has the proud distinction of attaining the supreme knowledge first; he, as required by the theory, pervades the warp and woof of the poem like the life-breath. It is also to be remembered that the poem does not end with his defeat or death but sublime elevation. There is no valid reason to deny him the glory that he richly deserves. If he is relegated as a subsidiary character, his detailed description in the poem would amount to rasadasa which is unanimously denounced by the poeticians24. As drawn in the poem, Bharata symbolises the lust for power and pelf, whereas Bahubali is an embodiment of the spirit of freedom and self-respect. of them are determined to stake their all for realizing their respective objectives. Bharata has no qualms in carrying sword against his brothers to reduce them to

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70 SATYAVRAT SAMBODHI submission. Bahubali, on the other hand, does not hesitate in giving him the taste of his own medicine to safeguard his liberty. It is, however, interesting that though pitted against each other as embodiments of the rival forces, they concur to taste the bliss of kaivalya. They represent the sublimation of the baser instincts. The envoy and the army-chief Susena are the minor characters in the poems. They are equal to their respective jobs, faithfulness to their master is the be all and end all of their lives. LANGUAGE The language of the BBM. is marked by pleasing moderation and poise. Though indebted to Magha on counts more than one, Punyakusala has no love for his pedantic language and artificial style. His aversion to the literary gimmichs that had otherwise established themselves as inalienable parts of the later Mahakavyas, speaks volumes of his sense of proportion. The sweetness of his phraseology tends to impart fresh aura to his descriptions. An undercurrent of sweetness runs through the length and breadth of his language. The lucidity and concordance of his language with various situations assuredly contribute to the greatness of the poem. From this standpoint also the BBM. can vie with the best of the mahakavyas. Punyakusala's language is certainly equal to the mass of ideas and situations in which the poem abounds. Tenderness and ease are, however, the traits that breath through his language. It is amply borne out by the fact that contrary to the established practice, he has zealously shunned pedantic style and sesquipedalion phraseology even in such harsh contexts as war. As remarked earlier, the descriptions of war in the BBM. reflect the poet's rich imagery and sweetness of his phraseology more than his commitment to the literary gimmicks. The march of Bharata's army has also evoked a language which is rich in imagery. "As the march began, the quarters were covered with the dust kicked up by the troops. To the poet it appears as if the ladies of the quarters had drawn dark veils on their faces to escape the sight of the mighty lorda." While the language employed in describing the heady encounters is a bit heavy with compounds, the phraseology mustered in delineating the tender, emotions is notable for its natural ease. Punyakusala has been chary to use slightly different language in detailing the Vipralambha and Sambhoga forms of Srngara to accord with the two different mental states. While Vipralambha has evoked

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Vol. XXI, 1997 BHARATA-BAHUBALI.... a phraseology that is tinged with dejection and helplessness, and thereby reflects the agony of the separated heart, the language in Sambhoga exudes joy and gaeity inherent in the situation. Punyakusala is a master in drawing word-sketches. His sketches are drawn after observing and absorbing all the characteristics of the object under description. They are, therefore, realistic enough to reflect the personality, of the object in its entirety. The touch of Punyakusala's magic pen turns every object into gold. The sketch of Bahubali, seated on the throne, drawn in this vein, amounts to be a replica of his prowess and majesty26. Though reach in qualities, the language of the BBM is tarnished by some strange oddities. Faults like adhika, punaruktata, asamartha, klistata, besides other blemishes, reflect poorly on Punyakusala's language which otherwise merits esteem. The wide use of the Arthantaranyasa in the BBM has thrown up a number of wise-sayings. Some of them owe themselves to the other figures of speech. These Suktis bespeak the author's wide knowledge, worldly wisdom, sensitivity and power of observationa?. The language of the BBM varies not between complexity and lucidity but between lucidity and lesser lucidity. FIGURES OF SPEECH Though viewed as merely its outer trappings, the figures of speech are so close to the genius of Sanskrit poetry that it is hard to dismiss them as asthira dharma. It is, however, their judicious application that is favoured by sober poeticians. When so applied, the Alamkaras contribute to the clarity and quicker understanding of the expression. It is in this spirit that the figures of speech have been pressed into service in the BBM. Simile emerges as the most favourite alaskara of the author. Punyakusala has cast his net far and wide in search of the appropriate upamanas on which rests the worth of the simile. The abstract upamanas culled by him merit special esteem. Drawn from a variety of sources, they, alongwith other standards of comparison, vouch for the author's wide knowledge and intimate love for nature. The pinnacle of the royal mansion receded from the vision of the marching troops as pure consciousness recedes from a love-born person (IX. 35). Bharata's cakra did not enter his armoury as kindness never enters the heart of

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72 SATYAVRAT SAMBODHI a snake (XVI. 28). Punyakusala has displayed his skill in handling the upamanas by employing both the types in a single verse. Some of the soldiers ran away from the battle-field as a snake slips out of its slough. Some others lost prowess as a miser sheds liberality (XV. 89). The abstract upamanas have combined to lend exceptional charm to the simple idea. Some of the concrete upamanas are equally winsome. The intensity of the apprehensions that Bharata's army entertained while crossing into Bahubali's territory has been driven home with telling effect by comparing it with the fear that overpowers the new bride as she steps into the bed-chamber for the first time28 Bharata's lust for more and more land, on the other hand, has been highlighted by invoking comparison with the mythic vadavagni which incessantly consumes its own resort29. However, Punyakusala's fascination for the abstract standards of comparison admits of no bounds. Even his Malopamas which rest on more than one upamana, have only the amurta upamanas as their basis. "A soldier broke the string of the bow of his opponent as an angry man forsakes goodness and a virtuous person destroys sin"30. Next to upama, it is the Arthantaranyasa that has found favour with Punyakusala the most. Besides symbolising the poet's sound equipment, it has been instrumental in the emergence of some of the lovely subhasitas. Apart from these figures of speech which have been used with a measure of fascination, the other alamkaras pressed into service in the BBM. include utpreksa, svabhavokti, Samasokti, drstanta, aprastutaprasamsa, virodhabhasa, rupaka, vyatireka, kavyalinga, yathasamkhya, samuccaya, asamgati and visesokti. As remarked earlier upama is the poet's forte. METRES Like the figure of speech, the metre is also inseparable from the genius of Sanskrit poetry, but for which it tends to degenerate into insipid prose. The BBM. bears testimony to the author's skill in handling a variety of metres. He has been keen to employ such metres as accord with the given context and situation. In all, nineteen metres have been used in the poem, which are as follows : Vamsastha, upajati, Anustup, Viyogini, Drutavilambita, Svagata, Rathoddhata, Trodaka, Vasantatilaka, Malini, Sikharini, Harini, sardulavikridita,

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Vol. XXI, 1997 BHARATA-BAHUBALI.... 73 Puspitagra, Sragdhara, Mandakranta, Praharsini, Salini and Prthvi. Of these Upajati emerges as the most favourite metre of the author. It is followed by Anustup and Varsastha. The BBM. seeks to perpetuate the twin strands of the mahakavya - tradition, as nurtured by Kalidasa and Magha. While for the form of his poem, Punyakusala is indebted to Magha, in the matter of language and style. Kalidasa is his model. It has resulted in the happy blend of ease and ornamentation. The poem shines with charming poetic glow. It is indeed assured of a high place because of the sheer quality of its poetry and lucidity of language. FOOTNOTES : 1. muninathamalaH pratimimAM lipIkRtavAn dvisahasrAbde vyuttare / pUrakaM ca likhitaM 2009 phAlgunamAse pUrNimAyAM holIdine lUNakarNasare / Concluding note. 2. For example : kSitipatimavanamyAtyantapuSpodayADhyam / BBM, I-79. 3. 'iti zrItapAgacchAdhirAjazrIvijayasenasUrIzvararAjye paM. zrIsomakuzalagaNiziSyapuSpakuzalagaNiviracite __bharatabAhubalimahAkAvye / 4. Jaina Sahitya Ka Brhad Itihasa, Vol.VI, Varanasi, 1973, P .261-262. 5. trapanetumimAMzcikurAnakarod balamAtmakareNa satAvadayam / BBM, XVII.75. 6. Adipurana, XXXV.42; TSSPc, I.5-60. 7. Adipurana, 34; TSSPc, I.34. 8. Adipurana, XXXV.85; TSSPc, I.5-12; BBM II.95 9. TSSPc, 1.5.221, BBM, III.26, 104. 10. uttamena yuddhena yudhyethA nA'dhamena tu / TSSPc, I.5.516. 11. BBM, XVI.14, 44-45. 12. Adipurana, XXXV.152-236, sisupalavadha, VII-XI. For a detailed discussion, see my book 'Studies in Jaina Sanskrit Literature, Delhi, 1994, P.168-175. 13. For more details see my book Jaina Sanskrit Mahakavya' Ladnun, 1990, P.163-166. 14. zambanAcalamiva nAyakaH surANAM cakrezo draDhimajuSA'tha muSTinA tam / caNDatvAdurasi jaghAna so'pi jajJe vaidhuryopacitavapustadIyaghAtAt // ucchvAsAnila paripUrNa nAsiko 'sau tadaghAtocchalitarUSA karAlanetraH / ni:zaMkaM prati bharataM tadA dadhAva bhogIndraM garuDa ivAhitApakArI || BBM., XVII.41-43. 15. saMgaro gara ivAkalanIyaH / Thid,. XVI.21; gIrvANo garamiti saMgaraM tadAvet / bid, XVII.28. 16. vigraho na kusumairapi kAryaH / bid, XIII.34.

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SATYAVRAT SAMBODHI 17. rasasya pUrvasya ca kelisadmabhiH / Ibid, I-39. 18. Ibid, VII.41-42; VIII. 25-26. 19. kAminI hi na sukhAya sevitA / BBM, VII.40; aMgAradhAnIstapasAM vadhUstvaM hitvA / bid, IX.44. 20. viyogadInAkSamavekSya vaktraM tadaiva kasyAzcana saMgarAya / ___ bASpAmbupUrNAkSiyugaH svasaudhAnyagAnanaH ko'pi bhaTo jagAma | BBM, IX.7 21. tA rAjadArAH narakasya kArAste sarvasArAH kaluSasya dhArAH / zanaiH zanaizcakrabhRtAtha tena prapedire bAndhavavRttavRttyA // XVII.72 upAdhito bhrAjati deha eSa na ca svabhAvAtkathamatra rAgaH / tatkhAdyapeyaiH sukhitaH prakAmaM na svImavejjIva: vicArayaitat // XVIII.76. 22. zaradyavApadrasabhikSuyaSTi vikAsabhAjyabjavanAni cAsan / magalabAlairdadhire pramodAH kiM zArado naH samayo hi nedRg ? BBM.XVII.96 vahannavazyAyakaNAn kRzAnudhvajAdhikazyAmatanuzcacAra / muhurmuhurvAditadantavINaH zaityapravINaH zizirAzugo'tha // BBM, XVIII.53. 23. etadvayasyAH kumudinyaH etAH pazyantu, suptAH punarambujinyaH / vidhurvicAryeti nizAMganAyAstamisravAsaH sahasA cakarSa | Ibid, VIII.54. 24. aMgasyApradhAnasyAtivistareNa varNanam / yathA hayagrIvavadhe hayagrIvasya | Kavyaprakasa, Poona, 1965, Chapter VII, P.441. 25. anAvRtaM pazyatu mA mukhAbjamayaM patirnaH prabhatopapannaH / ___ itIva reNucchalato haridbhiH samAdade nIlapaTI samantAt // BBM, II.41. 26. BBM, I.73,77. 27. Some of the Subhasitas may be listed here : (i) kramaM na lumpanti hi sattamAH kvacit / I-14 (ii) satAM hi vRttaM satataM pravRttyai / II-39 (iii) ahaMkAro hi dustyajaH / III-70 (iv) abhayaH zriyAM padam / IV.60 (v) bhAvinI hi garIyasI | XIII (vi) bodha eva paramaM nayanam | XVI.I 28. BBM, X-1. 29. BBM, III-14. 30. atUTad guNaM kAzciccApadoSNovirodhinaH / manyumAniva saujanyamajanyamiva puNyavAn // BBM, XV-33.

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ON THE SEMANTIC ASPECT OF SOME TYPES OF GUJARATI ONOMATOPOEIAS H. C. Bhayani Below I have noted those Gujarati onomatopoeias that are not sound-imitative, but instead are imitative of the sensation of touch, that of notion and the visual sensation of light and physical conditional of an object. (1) There are several phonaesthemes (phon.s) in Gujarati that are imitative of the sensation of touch. The reduplication is expressive of the fact that the sensation is continuous and not momentary. [1] The phon.s ending in -m-. 1. camcam-vu--to produce burning or smarting sensation on the skin by smiting.' 2. tamtam-vu--'to flicker'. The sensation of light is also associated. 3. tamtam-vu--'to feel the sensation of irritation on the tongue due to tasting of hot eatables 4. ramram-vu--The same as No. 2. 5. samsam-vu--(usually in the compound verbal group 'samsami rahevu) 'to remain feeling internally the sensation of pain or grief. [2]. The phon.s ending in -r-. 1. carcar-vu--(cacarvu)--to produce weak burning sensation on the skin.' 2. karkari that which has a rough surface because of sharp points and edges.' [3]. The phon.s ending in -d-. 1. gadgadiya, gadbadiya "tickling, titillation.' [4]. The phon.s ending in -s-. . 1. tastas-vu--to be close fitting so as to be pulling apart at seems.' [5]. The phon. ending in l. valvalat-light itching sensation' (on the tongue produced by tasting some kinds of vegetables like the elephant's foot.)

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76 H. C. BHAYANI SAMBODHI (2) There are several phon-s in Gujarati imitative of the sensation of motion, objective or subjective. 1. The phon. ending in -b-. (1) masamatav-vu--'to wink', 'to blink' (Turner, 9722). 2. The phon.s ending in -?-. (1) advadi-yu--'a stumble'. (2) tadphad-vu--to wriggle', 'to toss about' (Turner, 5632). (3) radavad-vu--'to roam, to ramble'. (4) ladatha"-vu--"to stumble, to loose balance'. 3. The phon.s ending -d-. (1) khadbad-vu--(with respect to worms) 'to heave', 'to swell and subside' (in a fluid). 4. The phon. ending in -m-. (1) kamkam-vu--to feel a shivering sensation in the body'. 5. The phon.s ending in -r-. (1) tarvarat-agility, 'briskness.' (2) tharathar-vu--'to tremble' (Turner, 6092). (3) pharphar-vu--'to flutter". (4) jharmar--'drizzle'. The sensation of sound also to be associated in this case. 6. The phon. ending in -s-. (1) dhasmas-vu--"to rush in great hurry'. 7. The phon.s ending in -!-. (1) khalbha!-vu--'to be agitated. (2) calgal-vu--'to suck by rolling the tongue in the mouth. (3) Calval--'agitation.' (4) talva!-vu--'to wriggle'

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Vol. XXI, 1997 ON THE SEMANTIC ASPECT OF.... (5) salval-vu--'to stir (6) malmalav-vu--to suck by slowly rolling the tongue in the mouth. (7) Cakal-vakal 'tremulous' (with respect to the eye-movement). 8. The phon. ending in -cu-. (3) dhacu-pacu 'hesitant, vacillating'. There are several phon.s in Gujarati imitating the visual sensation of light. (1) jhagmag-vu, jhagjhag-vu--'to shine brightly'. (2) tagtag-vu--'to glitter, to glisten'. (3) Cakcak-vu--to sparkle'. (4) jha!hal-vu--jhalmal-vu--to shine dazzlingly.' (Turner, 5552, 5391) (5) tamtam-vu--'to flicker'. It has also the association of movement. (6) camak-vu--'to twinkle, to glimmer, to glitter.' (7) Jhabak-vu-jhalak-vu 'to flash'. (4) In case of pacpac-tu 'with juice surfacing and oozing (with respect to an overripe fruit etc.), lacpac-tu 'saked with (e.g. ghee); ladbad 'drenched, suffused with liquid' (e.g. a cloth), drenched or wet all over with juice', the focus seems to be on the physical condition of an object. Reference : R. L. Turner, : A Comparative Dictionary of IndoAryan Languages, 1966.

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PRAKRIT NARRATIVE LITERATURE AND CONTRIBUTION OF VARDHAMANASURI (1060-1120 A. D.) TO IT N. M. Kansara Prakrit language, referred to by indologists and linguists by the term Middle Indo-Aryan (MIA), seems to excel itself particularly in the field of the Katha literature and to give a definite stamp to Indian narrative literature. Besides the national epics of India like the Ramayana or the Mahabharata which have influenced the entire literary output of the nation, whether in classical Sanskrit or in the medieval or modern vernaculars of both Northern and Southern India, or the Buddhist or Jaina literature, the first place must necessarily be given to the lost Paisaci Prakrit Brhatkatha of Gunadhya', which survives in its metrical Sanskrit compendiums like the Kathasaritasagara or the Brhatkathamanjari or the Brhatkatha-sloka-samgraha. While the great epics of India tried to have a final basis on Dharma and Moksa and gave a definite religious bias to all the literature based on them, the Brhatkatha was more or less entirely a secular work, and introduced the purely romantic concept in Indian literature. It was one of the great store houses of Indian literary art. AISDORF has shown the early traces of the influence of Gunadhya's Brhatkatha in the early Maharastri work Vasudevahindi?. Prior to the 9th century A. D. the Prakrit narratives composed by Jaina authors were very few like the stories narrated in the commentaries of the Jaina Agamas, and independent works like the Taramgavaikaha, Taramgalola, Vasudevahindi, Samaraiccakaha, Kuvalayamala, etc. These works are the 'Dharma-kathas' or religious romances or novels of the Jain authors and poets introduce a new genre in Indian literature. In accordance with their obvious intention, they give pleasure and at the same time provide religious instruction and enlightenment. The earliest dharma-katha, Taramgavai-kaha by Padaliptasuri (2nd or 3rd century A. D.), has survived in the form of a later recasting of it, Taramgalola. This Taramgavai most probably served as a model for Haribhadrasuri's Samaraiccakaha (8th century A. D.), a magnificent religious romance, in which the poet traces the fate of a hero and his opponent through nine births. Udyotanasuri (779 A. D.) wrote his Kuvalayamala, rather a samkirnakatha, in which he has outdone his Guru, Haribhadrasuri, by increasing the number of jivas, whose histories are marked by vicissitudes in the course of

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Vol. XXI, 1997 PRAKRIT NARRATIVE LITERATURE.... 79 various births, to five. This genre of dharmakatha reaches its culmination in the Upamiti-bhavaprapanca-katha, an allegorical Sanskrit romance which presents the manifold existence in a parable; it was composed by Siddharsi in 906 A. D. In the 11th century A. D. and thereafter, there seems to be an unprecedented renaissance among the learned authors of Svetambara Jainas due to the patronage received from the Calukkya rulers in Gujarat, Paramaras in Malwa and Guhilots as well as Cahamanas in Rajasthan'. We find now writers of historical Caritas, semi-historical narratives composed in Prakrit, describing the lives of the Tirthankaras and of individual Jainas. Thus, we have Sanamkumaracariu, as a part of the Neminahacariu of Haribhadrasuri (1159 A. D.) written in Apabhramsa. Although the narrative literature of the Jains, particularly the Svetambaras is a veritable storehouse of folktales, fairy-tales, beast-fables, parables, illustrative examples, apologues, - legends, novels, funny stories and anecdotes, and a large number of such tales and parables and legends occur in the Jain Canon and its commentaries, the new stories and legends have also been created, while the old stories have been handed down to them by literary popular tradition. The only significant addition they make is the sermon of the kevalin, i.e. accomplished monk, possessor of the perfect knowledge, the completely enlightened, at the end of the story explaining the cause or causes for the misfortunes suffered or prosperity enjoyed by the characters in the story. These Jain stories, folktales, animal fables, parables, etc. are of great importance for a solution of the problem of migration of stories and for a comparative study of fairytale lore?. However, we are here concerned with only two types dharmakathas, viz., those depicting the life of the Tirthankaras and the ones concerning the individual Jains cast in the format of religious romance. When the Brahmanic tradition got a fillip consequent to the popularity of the great epics, Ramayana and Mahabharata, and Harivamsa and other Puranas, the Jains needed to have their own version of these two great epics as also of the Harivamsa. To this end Jain scholars like Jinasena (783 A. D.) and Maladhari Devaprabhasuri (about 1200 A. D.) composed their Harivamsa-purana in 66 sargas and Pandavacarita in 18 sargas, respectively in Sanskrit. Along with these, Jaina Acaryas like shanka (968 A. D.) composed his Caupanna-mahapurisacariya, dealing with all the great men (mahapurusa), later known as 'salakapurusas'. This work served as a precursor of the later and more famous Trisastisalakapurusa-carita of the great Hemacandra (A. D. 1088-1172), which narrates

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80 N. M. KANSARA SAMBODHI the lives of the 24 Tirthankaras, and their contemporaries, the 12 Cakravartins, 9 Baladevas, 9 Vasudevas and 9 Prativasudevas. The works treating the lives of these great men are usually called 'Caritas' by the Svetambaras, while among the. Digambaras they go by the name of 'Puranas'. Some of the caritas by the Svetambara poets describe the lives of the individual Tirthankaras, while others treat the lives of other holy men and women. Among the caritas which relate the life of individual Tirthankaras, those of Rsabha, santinatha, Aristanemi or Neminatha, Parsva and Mahavira are especially honoured by the Jains, and their lives are among the most popular themes of Jain narrative, may be in Sanskrit like the Mahavira-carita of Hemacandra (12th century A. D.) or in Prakrit like Gunacandra's Mahavira-cariyam'. Vardhamanasuri (later half of the 11th century A. D.), a disciple of Abhayadevasuri, the well-known commentator of nine Jaina Agamas, has given us two such works, of which the one named Jugai-jin-indacariya is the legendary biography (carita) of Rsabha, the first Jain Tirthankara, while the other named Manoramakaha is an extensive didactic-narrative dealing with the four lives of the central character named Manorama. Both these narratives are in Prakrit, the Maharastri at that. The Jugaijininda-cariya (JJC) of Vardhamanasuri has been published by the L. D. Institute of Indology, Ahmedabad, as L. D. Series No. 104, in 1987, while the Manorama-kaha (MK) of the same author has been published by the same Institute, as L. D. Series No. 93, in 1983. Both these works have been critically edited by Pandit Rupendrakumar Pagaria", and Dr. H. C. Bhayani has written a Foreword in each of these two works. The Jugai-jininda-cariya (i.e. Yugadi-jinendra-carita), also called Siri-risahanahacariya (i.e. Sri-Rsabhanatha-carita) was composed by Vardhamanasuri in the year V.S. 1160 (i.e. 1103 A. D.) It is Campu type poetic work utilizing both prose and verse, and the whole work is calculated to be of the extent of 11,000 Anustubh verses. It is divided into five chapters which are called Avasaras. The first Avasara treats the previous lives of Rsabhadeva, the First Tirthankara of the current Yuga, while the rest of the Avasaras deal with his life as Rsabhadeva himself. In all his thirteen lives are described with a view to show how he progressed from birth to birth, undertook penance, observed abstinence (samyama) and practised perfection or rightness (samyaktva) and evolved to the stage of a Tirthankara. The second Avasara describes his birth and the celebrations thereupon by the gods. The Third Avasara narrates the occasions of

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Vol. XXI, 1997 PRAKRIT NARRATIVE LITERATURE.... his naming, naming of his family-line, his marriage, renunciation and attainment of omniscience. The Fourth Avasara is taken up by his religious discourse, and the Fifth Avasara describes in detail his Final Liberation (nirvana) 10. The previous lives (purva-bhava) of Rsabhanatha are the following: (1) As Dhanna Sarthavaha he learned about kalpya and akalpya, and resorting to the former he gave profuse donations to Munis; (2) As a double serpent in a Jumbu tree he spent his life in Uttara-kuru region; (3) As a god in Saudharma heaven; (4) As a king named Mahabala he was convinced by his minister Svayambuddha about merit, sin, rebirth and heaven and hell, and was initiated; (5) As a powerful god Lalitamga he enjoyed heavenly life with his divine consort Svayamprabha; (6) As princess srimati he remembered his past births; (7) As twin again he remembered his past lives; (8) As couple in Saudharma heaven; (9) As Abhayaghosa, a son of a merchant in the Ksitipratistha city; (10) As a god in Acyuta heaven; (11) As prince Suyasa; (12) As prince of king Vajrasena; and (13) As Rsabhadeva" The narrative of the JJC is interspersed with illustrative tales and anecdotes, about 45 of them, viz., a Bhilla couple, Siladhana, a son of a Vaidya, Tapatejakumara, king Bhavabhiru, four ladies named Gitarati etc., Dhanna Sarthavaha, a blind prince, king Samprati, prince Kunala, Candragupta and Cakya, king Gnathasundara, merchant Kartika, Arihamitra Sravaka, Gandhara cattle-breeder, Arihadatta Sravaka, Abhadra, a son of a merchant, Samyagdrstti Sravaka, Upasaka-putra, Arihasara kesava, and etc12 of these forty-five stories five stories, viz., Tavateya-kumara, physician's son, Hunter and others, entrapped suitors, a golden statue, belong to the Pancatantra tradition. The stories of Dhanna Sarthavaha, Mahubindu, and Panca-kula-putta are of allegorical type 13. Vardhamanasuri has adopted or literally borrowed large sections from the Rsabha-carita from that of the Avasyaka-curni?4. He has also utilized other earlier or contemporary literary works. For instance, the story of Samprati, Canakya and Kunala is borrowed from Devendrasuri's Commentary on the Mulasuddhi. Several Gathas are reproduced from Hala's Sapta-bataka. And, the Gathas Nos. 809-812, beginning with 'arambhamtana dhuvam lacchi and ending with 'varei lacchi na samdeho', in Candana-nandana-kaha (JJC, p. 82) may be compared with the Gathas Nos. 1021-1024 of the Samkhitta-Taramgavaikaha. There are numerous Apabhramsa passages, short and long throughout JJC, as

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82 N. M. KANSARA SAMBODHI also a variety of Apabhramsa metres like Vadanaka, Doha, Vastuvadanaka, Dvipadi, Paddhadi, Rasavalaya and Radda, the last one being continuously used for narrating the episode of Bharatesvara and Bahubali. Some three hun Raddas in the JJC provide an intermidiary link between the Radda-poem of Govinda on Krsna's life (cited in the Svayambhuchandas) and that of Haribhadra on Neminaha-cariya (12th century A. D.). And, the seventy-five and odd Rasavalayas also of JJC are equally important historically in view of the total loss of the early Rasaka literature. Further, the passages in simple style are marked by the use of colloquial usages, idioms and proverbs, which enhances the importance of JJC for the beginnings and early history of Gujarati and other related languages 16. The Manorama-kaha (MK) was completed by Vardhamanasuri in 1140 A. D. It is an extensive didactic-narrative work in Prakrit traditionally calculated to be of the extent of 16,000 slokas. It is a Jain dharma-katha preaching various popular tenets of Jainism by means of numerous illustrative tales? This work deals with the four lives of Manorama, each of them narrated in each of the four Avasaras. The First Avasara narrates the life of Narasiha and Rambhavali, wherein they acquire the seed of samyaktva. In the Second Avasara the life of Samudradatta and Taravali is presented, and they accept samyaktva. In the Third Avasara they are born as Bhurivasu and Ratnaprabha, and they undertake the vows of Sravaka. And the fourth life narrated in the Fourth Avasara is of Surasena and Manorama and both of them take to pravrajya and attain nirvana18 There are some eighty-seven tales in the MK in which the fruits of acquiring right religious faith, of practising religious vows of charity, chastity, austerity and renunciation, of observing the five major and seven minor vows are the topics of sermon illustrated. Some of these tales are fairly extensive and contain emboxed tales. In the case of the majority of these tales we find that they are met with frequently in the Jain narrative literature in general. The following tales from the MK bear clear marks of popular origin, viz., The Potter Always Bothered About Others' Affairs (pp. 39-40), The Sweet-tongued Old Woman (pp. 35-41), The Tempted Ascetic and the Imprisoned Monkey (pp. 33-35), The Fable of the Fox and the Oil-drenched Rope (p. 43), The Merchant's Four Sons and the Riddle of the Division of Inheritance (pp. 42-43), Burried Money Stolen by Sham-dead Thief (pp. 100-101), The Fall in Search of a Blame-bearer for his Business Loss (pp. 108-109), The Joke of a Literal Fool and the Illustrative Tale

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Vol. XXI, 1997 PRAKRIT NARRATIVE LITERATURE.... of the Myrobalon-physician (pp. 286-287), The Riddle of Three skulls (pp. 7374), and the Tale of king Tejasara (pp. 204-219). Many of these tales are notable for distinct incidents and situations in a life-like manner, a characteristi of a majority of Prakrit tales in general. We get in these tales authentic glimpses of the middle and lower social strata of Gujarat, Rajasthan and the Adjoining regions during the eleventh century. From this point of view the MK enjoys a great value as a socio-cultural document for that period 19. As regards the sources of the story of the MK, Vardhamanasuri adopted it from tradition, like the Manorama-caritra in which some of the incidents like worshipping deities for obtaining a son, going to a cemetary to assist a Tantrik, bestowing a boon by the deity to the assistant and not to the Tantrik, fight with an insurgent feudatory and defeating him, to regain the wife of the previous life, kidnapping of one's wife by the Vidyadharas, the practice of sati, retiring to forest after making over the kingdom to the son by a king, taking initiation on remembering past life, sailing to foreign lands for business, reaching shore after swimming with the help of a log after the collapse of a boat, enjoyment by a spirit with a king, depoisoning a princess, impressing a princess by one's skill in playing a lute and marrying with her, fighting the rival kings in a svayamvara, rescuing the arrested beautiful girls brought to the stake for sacrificing, fighting the aborigins in a jungle, spend off the accumulated karma and attain to liberation, are commonly found as motifs woven in the texture of the narrative. Some of the motifs are found in the Agama literature as also in the commentaries and narrative literature, such as the Uttaradhyayana-tika of Santyacarya, the Avasyaka-curni, the Nisitha-curni, the Dharmaratna-karandaka 20, and also in Dhanapala's Tilakamanjari. The emboxed tale of Silasundari illustrating the merits of observing chastity (pp. 89-92) is known, partly or wholly, from various Pali works like the Jatakattha-kaha (Paramtapa Jataka, No. 416), the Akhyanaka-manikosa-vrtti (the Rohini-akhyana) in Prakrit, the Nandopakhyana in Sanskrit21 The MK is quite interesting linguistically, too. As a trait common and shared by many earlier and later narrative prose works in Sanskrit, Prakrit and Apabhramba or Old Gujarati, the verb-subject-object sequence is a very obvious syntactic feature of many of its narrative passages. Besides this, we find a number of Desya words in the MK, which are attested for the first time and which are valuable for Neo Indo-Aryan lexicology. The numerous Apabhramsa passages in the MK offer us specimens of the Apabhramba of Hemacandra's

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84 N. M. KANSARA SAMBODHI period. They are important metrically also, in view of the metres like Doha, Rasavalaya, Satpada, Vadanaka, etc. employed in them. REFERENCES : 1. Katre, S. M. - Prakrit Languages and Their Contribution to Indian Culture, Bharatiya Vidya Bhavan, Bombay, 1945, p. 87. 2. ibid., p. 88. 3. Jain, Dr. Jagdish Chandra - History of Prakrit Literature (Hindi), Chowkhamba Vidya Bhavan, Varanasi, 1961, p. 373. 4. Kulkarni, Dr. V. M. - A Treasury of Jain Tales, Sharadaben Chimanbhai Educational Research Centre, Ahmedabad, 1994, Introduction, pp. xxxii-xxxiii. 5. Jain, Dr. J. C. - Op. cit. 6. Katre, Dr. S. M. - Op. cit., p. 88. 7. Kulkarni, Dr. V. M. - Op. cit., p. xv. 8. Jain, Dr. J. C. - Op. cit., p. 525. 9. Kulkarni, Dr. V. M. - Op. cit., pp. xxvi-XXIX. 10. Pagaria, Pt. Rupendrakumar - JJC, Hindi Introduction, p. 7. 11. ibid., pp. 11-18. 12. ibid., pp. 7-10. 13. Bhayani, Dr. H. C. - JJC, Foreword, pp. 6-7. 14. Pagaria, Pt. R. - JJC, op. cit., p. 28. 15. Bhayani, Dr. H. C. - JJC, op. cit., p. 7. 16. ibid., p. 8. 17. Bhayani, Dr. H. C. - MK, Foreword, p. 6. 18. Pagaria, Pt. R. - MK, Introduction, pp. 4-5. 19. Bhayani, Dr. H. C. - MK, op. cit., p. 7. 20. Pagaria, Pt. R. - MK, Op. cit., pp. 14-15. 21. Bhayani, Dr. H. C. - MK, op. cit., p. 6.. 22. ibid., p. 8.

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ALAMKARA-DAPPANA H. C. Bhayani (Continued from Sambodhi, Vol. XX, 1996, p. 99) anno cia uttarao, a jattha bhavai sa bhavao bhanio duviho hu hoi jaha taha, sahijjamtam nisameha || 78 'Wherein altogether quite a different reply one perceives -- that figure is called Bhava. Listen to it being described how it is of two types.' kassa-i vaanai tahim, hu(?) suehim uttarehi najjamti abbhimtarammi nia-hiaa-gudha-bhavo taha utto || 79 "When somebody's words become known through the replies (given to them) of an implied inner meaning that is in his mind that type is called Gudha Bhava (?).' jassa bhaniihi anno, anno paadijjae jahim attho || annavaesa-nano, sittho satthaarehim || 80 That in which words express one meaning but another meaning also becomes revealed - that Bhava is called Anyapadesa by the authorities on the Alamkarasastra.' au(?) alamkaro jaha ha ha vihua-karaalaa lahia amsuam daddham || palia gola-ure, nam sarasena misenam halia-sunha || 81 The illustration of the Gudha Bhava (?) : : (Crying) "oh, oh", the daughter-in-law of the ploughman, getting hold of (her) burnt garment and thus devising a sensible ruse jumped in the flood of the Godavari.' annavaeso jaha : annassa bamdha bhoini, nava-vacchaa-selliam baillassa aloa-metta-suhavo, no kajja-karana-kkhamo eso || 82 The illustration of the Anyapadesa (type of Bhava) : Oh headman's wife, you tie the tether to some another young bull. This one is

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86 H. C. BHAYANI SAMBODHI only attractive to look at; he is incapable of functioning.' puvva-bhania-sarisammi vatthummi tassa vivaria-attha-bhananam so anno The statement of the opposite of what has been said previously is another variety of Arthantaranyasa.' atthamtaranaso jaha : vipphurai ravi uaaalammi nahu attha-mahihara-sirattho teamsino vi team, lahamti thanam laheuna || 83 The illustration is as follows : The sun does not shine on the summit of the setting mountain as it shines on the rising mountain. The brilliant ones too achieve brightness when they get (appropriate) position.' XX XX XX XX anna-pariaro-jaha : turiyae turiya-gamano, niamba-bhara-mamtharae salila-pao maggena tia vaccai, pellavellie taruni-jano || 84 'The illustration of Anya-parikara : Young girls, pushing one another, go following her path rapidly when she goes rapidly, slowly when she moves slowly with sportive steps.' bahu-vatthu ccia kiriya(?) sama-kala-paasanam [u] sahautti guru-virae raio, jaai ujja-alamkaro || 85 'Revealing of several things and activities simultaneously constitutes the figure Sahokti. When a figure is composed on the basis of (the theme of) great prowess -- that figure is urja. sahotti jaha niddae sama lajja, sarira-sohae saha gaa kitti samaam taha anuraani, tie vaddhamti nisasa || 86 'The illustration of Sahokti : Her modesty is gone along with sleep; her physical charm is gone along with her fame; and along with the night-time her sighs increase.'

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Vol. XXI, 1997 ALANKARA-DAPPANA [ujja jaha] visattho ccia genhasu, vaisiane vegga-nivaliam khaggam paharamte padi-paharanamuna karesu na samattham(?) || 87 'The illustration of urja : Do take up confidently your sword which falls forcefully on the enemies. By striking him in return who strikes (first) is not true prowess (?) uvama jattha ninhavai ghala(?) sa avannhui hoi pice a aisaenam, pemaisao bhaneavvo || 88 'Wherein the simile is concealed that figure is Apahnuti. Wherein extreme love (is expressed) - that figure should be called Prematisaya.' avanhui jaha nahu ucca-vidava-samthia-pahittha-kalaamthi-kala-rava-ppasaro | suvvai vana-vilasira-pupphacava-mahuro ravo eso || 89 The illustration of Apahnuti : Really, what is heard is not the spreading sweet notes of the joyous cuckoo perched on a lofty branch. This is the sweet twang (of the bow) of the floweryarrowed one who sports in the park.' pemaisao jaha sahasa tuammi ditthe, jo jao tia paharisaisao || so jai puno-vi hosai, suidara tua damsane ccea || 90 "The illustration of Prematisaya : The extreme joy which she felt on seeing you all of a sudden, will be again felt, if at all, on seeing only you, O beautiful one ! riddhi-mahanubhavattanehi duviho-vi jaai udatto | so pariutto gheppai, jattha visittham niam daum || 91 Two types of Udatta result (through the expression of) prosperousness and high nobility. That is Parivitta in which something special is received by giving away something that is one's own.' riddhi-udatto jaha tuha nara-sehara vipphuria-raana-kirana-niara-nasia-tamaim bhiccana-vi diva-siha-mailai na homti bhavanaim || 92

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88 H. C. BHAYANI SAMBODHI "The illustration of Riddhi-udatta : O crown of men ! The palatial houses even of your servants do not get dirty due to (the soot from) the lamp-flame because there the darkness is expelled by a mass of glittering rays of the jewels.' . mahanubhavatta-jaiudatto jaha vellahala-ramani-thanahara-padipellia-viada-vaccha-pidha-vi | na calamti maha-satta, maanassa sire paam daum || 93 The illustration of Udatta based on high nobility : Even when their broad, strong chest is closely pressed by the beautiful breasts of charming girls, the mind of men of great fortitude does not move (become unsteady) - They plant their foot on the head of the God of Love.' pariatto jaha sasimuhi muha-pamkaa-kamti-ppasarana-kiranakkam(?)-vilasena | ditthim dauna tao, gahiai juana-hiaaim || 94 'The illustration of Parivrtta : O moon-faced girl, by the playful spread of the rays of your bright lotusface, you give a glance and catch the hearts of young boys in return.' davva-kiria-gunanam pahanaa jesu kirai kaihim davuuttara-kiriuttara-gunuttara te alamkara || 95 'In those statements where the poets assign prominence to either the substance, action or quality, in accordance with that we have there respectively the figures Dravyottara, Kriyottara and Gunottara.' davvuttaro jaha vara-kari-turamga-mamdira-anaara-sevaa-kanaa-raanai cimtia-mettaim cia, havamti deve pasannammi || 96 'The illustration of Dravyottara : When the destiny is favourable one can have excellent elephants, horses, house, obedient servants, gold and gems the moment one thinks of them.' kiriuttaro jaha ma ruau ma kisaau, ma jhijjau ma vihim ualahau ja nikkiva tuha bahu-vallahassa varai pide padia || 97

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Vol. XXI, 1997 ALAMKARA-DAPPANA 'The illustration of Kriyottara : She should not weep, nor become thinner, nor be reduced, nor blame her fate, she who, poor one, became fond of you, who has many sweethearts.' gunuttaro jaha sasi-somma sarala sajjana, sacca-vaa suhaa sucaria salajja dittho si jahim tuam tettai kahanu na narimda(?) || 98 The illustration of Gunottara : Oh king, as beautiful as the moon, simple, good man, observing the vow of truthfulness, charming, of good character, modest, wherever you are seen.....(?)' uamanam uameam, ruijjai tena so sileso-tti so una sahotti-uama-heuhimto muneavvo || 99 'It is Slesa when the Upamana (standard of comparison) and Upameya (object of comparison) are described in the same words. It should be understood to be (of three types) : Sahokti, Upama and Hetu.' Sahotti-sileso jaha pina ghana a duram samunna, naha-vivattia-chaa meha thanaa-vi tuha, nitthavamti tanhauro loo || 100 "The illustration of Sahoktislesa : People troubled by trsna (1. thirst, 2. yearning) are reassured by the clouds and by your breasts that are plump, dense, rising high and altering the colour of the sky (or having nail marks).' uvamasileso jaha durahim cia najjai dhakka-sadda-ssa suiam gamanam lahuia-mahihara-sattanumatta-hatthina-va pahuna || 101 "The illustration of Upamaslesa : The march of the elephants and kings, which dwarfs the strength (?) of mahiharas (1. mountains, 2. other kings), suggested by the sound of the kettledrum, is known even from a long distance.' heusileso jaha hela-visavia-naanaggaena sama-pecchiai a janassa alia-parammuhaae bhadda naana-pahe tam si || 102 the strength of the

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'90 H. C. BHAYANI SAMBODHI The illustration of Hetuslesa O simpleton, you are within the range of her vision eventhough she feigns to turn away from you, because she is looking at (all) people with the corner of her eyes in the same manner, to reassure them easily. accubbhada-guna-samthui-vavaesa-vasena savisaa jattha kirai nimdai thui, sa vavaesa-thui namam || 103 That is called Vyapadesastuti wherein something is praised through censure with the objective of praising its highly striking qualities.' vavaesathui jaha akuline paai-jade, akajja-vamke jie sasamkammi | tujha jaso nara-sehara, kijja suana via namai || 104 The illustration of Vyapadesastuti : Oh highest among men, by gaining victory over the moon which is akulina (1. not in contact with earth, 2. of low lineage), jada (1. stupid, 2. inanimate) by nature and vamka (1. crooked, 2. curved) without reason your fame XX XX XX.' guna-sarisattana-tanhai jattha hinassa guruaena samam hoi samakala-kiria ja sa samajoia sahu || 105 'Where activity of the low takes place at the same time with that of the high with a desire to achieve equality, there occurs the right Samayogita.' samayogita jaha maanassa param rajjam kirai rai-tarala-taruni-nivahassa samaala-calia-mani-valaa-mehala-neura-ravena || 106 The illustration of Samayogita : The sound of the jewelled wristlets, girdle and anklets of the bevy of young girls, restless due to love, installs the supreme rule of Madana.' appatthuappasamgo, ahiara-vimukka-vatthuno bhananam | anumanam limgenam, limgi sahijjae jattha || 107 'Aprastutaprasanga consists in the statement of something outside its domain. Anumana occurs where the subject of a proposition is inferred by means of evidence.' appatthuappasamgo jaha

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Vol XXI, 1997 ALANKARA-DAPPANA sasukkoena gaa uaha vahuai sunna-devaulam || patto dullaha-lambho-vi anna-kajjagao jaro || 108 'The illustration of Aprastutaprasanga : See, the daughter-in-law went to the deserted temple driven by the wrath of her mother-in-law. There she met her paramour, otherwise difficult to meet, who happened to go there on some other business.' anumanam jaha nunam tia vi suamti tena saha vilasiam haasena naha-paa-pallava-lagga saanijja-dalai amgai || 109 The illustration of Anumana : Her dallying with that wicked one is doubtlessly suggested by her limbs which bearing nail-marks have left signs on the bed-leaves.' aarisammi-va jasim ucshara-ronanabhara(?) phuda-cchaa || disai paccakkh(?) hiaa-harini so hu Wariso || 110 That is Adarsa wherein is seen vividly the heart-winning reflection, as if in a mirror, of the various parts of senses(?)' Kariso jaha keli-para mosara manne tuha phamsusavam apavamta hattha se naha-kirana-cchalena dharahi-va ruvamti || 111 The illustration of Adarsa : Indulging in sport, do not move away : her hands deprived of the festive joy of touching you are weeping profusely, I believe, under the guise of the (bright) rays from her finger-nails.' thevovamai sahia, (a) samta-karana gunanujoena | avivakkhia-samattha, uppekkha hoi saisaa || 112 'With a slight touch of Upama, attributing non-existing qualities due to some connection, lacking in intention of stating all (parts) is Utpreksa excelling in poetic beauty.' uppekkha jaha disai puria-samkho-wva malaa-marua-narenda-samcalane dara-dalia-mallia-maula-lagga-muha-gumjiro bhamaro || 113

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92 H. C. BHAYANI SAMBODHI "The illustration of Utpreksa : The bee, humming while its mouth is stuck to the Mallika bud slightly open (blossomed) appears like the conch that has been blown at the march of the king, the Malaya breeze.' Mallikas bied slightly couple vivihehi alamkarehi ekka-miliehi hoi samsitthi | asisalamkaram, asivyaam ca bhanamti || 114 'Samsrsti results when different figures are combined into one, and the figure Asis is said be in the form of a statement of blessing.' samsitthi jaha tujjha muham sasi sasimuhi taha tujjhamba-nava-pallava calana thanaa tuha jala-kalasa-va sumdara kam na mohamti || 115 The illustration of Samsrsti : O moon-faced girl, your face is the moon and your feet are fresh leaves of mango; your breasts are beautiful like water-pitchers. Whom they would not fascinate ?' asisa jaha asisa samtattassa-vi saala-kalusai tumha nasastu | dia-guru-tavasi-kumarieh-saana-suanehi dinna u || 116 'The illustration of Asis : May the blessing given by the Brahmanas, the preceptor, young ascetics, relatives and good people destroy all your sins, you who is suffering agony.' uvamaruvaameam, viraijjai jattha ruvae uvama niarisanam hu vi sittham camdaviajaovamarahia(?) || 117 That is Upamarupaka wherein Upama is incorporated in a Rupaka. Nidarsana is described as....without explicit Upama.' uvamaruvaam jaha sampesia-naana-sara, rasana-rava-tarala-milia-ghara-hamsa khalia-juana nisarai, mammaha-dhadi-vya dhavalacchi || 118 'The illustration of Upamarupaka : That girl with white eyes shoots arrows of her eye-sight, draws the flock of the

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VOL. XXI, 1997 ALAMKARA-DAPPANA restless pet swans because of her jingling girdle and makes the boys falter as she comes out like a sudden invasion of the God of Love.' niarisanam jaha davamti jalahara saala-damsana-vaham samarudha khana-vihadamta-khana-samunnai-dharaa kala-kilau || 119 The illustration of Nidarsana : The clouds, mounted over whole of the visible expanse, now disintegrating, now rising high, show the sportings of Time.' hoi silesa-chalenam, majjamti ruaena a-phuaenam | uppekkha eso suo uppekkhavaava-namo hu || 121 'That figure is known as Utpreksavayava wherein Utpreksa is merged in an implied Rupaka under the guise of Slesa.' Uppekkhavaavo jaha sama-viasana-sampunnam, vanam nu kusumana raani-viramammi ujjovai iha(?)-camdo, joikkhani va(?) paisho || 122 "The illustration of Utpreksavayava: At the close of night the moon illuminates the luninaries....as if a forest filled with flowers, all blooming at the same time (?).' so ubbheo vatthuna jattha vatthuhi hoi ubbheo | bhanio kim-paa-gabbho, biio taha nuna-saddena || 123 'Wherein there is revelation of some things by others -- that figure is Udbheda. Its one type is said to have the word 'kim' implied. The other type is marked by the word 'nunam'.' Ubbheo kim-paa-gabbho jaha alin niacchana-saloniam haliassa a-munia-rasassa nivvasia-sira-ciramuchunnam muham viaddhenam || 124 The illustration of that type of Udbheda in which the word kim is implied : The face of the rustic, who had not experienced love, and who was looking at the beautiful girl whose head was bared due to slipping of upper garment, was bashed by her lover (?)'

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94 H. C. BHAYANI SAMBODHI nunam-sadde ubbheo jaha dara-niggaam na pecchai nunam sahaara-mamjarim ajja tena tuha vaccha loanam ahiu(?) vahu-muhaamdam || 125 The illustration of that type of Udbheda which contains the word naman : She does not look, it seems, at the mango-blossom that slightly came out just to-day. Hence, O dear son, the moon-like face of your wife....(?)' vara-vaana-palanam kim-paena sahi-desanam khu valio toi ! jamaam sui-sama-bhinnattha-vanna-punaruttaam-bhaniam || 126 That figure is Valita wherein the friend of the Nayika advises her to keep her promise with the lover, by using the word kim. Yamaka is defined as the repetition of words which are same in sounds but different in meaning.' valialamkaro jaha kim tuha ruassa hala ruasu (tuam] samini nia-sattie assauccheadhaiu (?) tassa a paesu padia u || 127 "The illustration of the figure Valita : What is the use of your weeping, O friend ? You weep as much as you can. (You can please him only ?) by falling at his feet.' ai-majjhamta-gaan, paabbhaso taha avali-nibamdho | nisesa-paa-raiam, jaai jamaam a pamca-viham || 128 'Yamaka is of five types : repetition of a word in the beginning or the middle and end, repetition of a Pada, concatenated repetition and repetition of all the Padas.' paai-jamaam jaha ma nam manam harehi niddaa-daie aha saluri(?) || gaa-naha-gea(?) sanasa-sasauram ramiam || 129 The illustration of Yamaka occurring in the beginning of a Pada : Do not loose your pride before your pitiless darling, O.....and make love to him avidly with heavy breathing with the nose (?)' majjhamta-jamaam jaha jassa pavamgamehi khaa-samam dittham tanhaienam nacciram ciram |

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Vol. XXI, 1997 ALAMKARA-DAPPANA 95 vimala-pphuramtaara-raana-vijjujjalam jalam mahiharaghaavisaramta-amtaam || 130 XX XX XX XX The illustration of Yamaka occurring in the middle and end of a Pada : paabbhase jamaam jaha seu-baddha-samuddam tarala-lavammanam | kamdaraghana-caram ovvaa paana-nalam kamdara-ghana-cariam ovvam paana-nalaam || 131 XX XX XX XX 'The illustration of Yamaka occurring as repetition of a Pada : avali-jamaam jaha hambho ramvijjala-pajala-pajala-nibbhare nibbhareunam sarasame sasame saamottum kalio || 132 xx xx xx xx 'The illustration of Yamaka in the form of concatenated repetition : saala-paa-jamaam jaha tuha kajje sahasia kena kaa vamdanena sahasia || tanniunam sa hasia sahiahi phudam sa hasia || 133 XX XX XX XX 'The illustration of Yamaka in the forn of repetition in all the Padas : anne vi ana asesa na homti samaggadhino kavvel tena vi anno bhavopaeso ea darphavvo || 134 xx xx xx xx iti alamkaradarpanam samaptam || subham bhavatu 11 'Thus ends the Alamkaradarpana. Let there be welfare and prosperity

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dhruvasena-pahelAnuM tAmrapatra (vi. saM. 206) a. 2. zAha saMgrahasthAna eTale saMsthA athavA sthaLa / makAna ke jyAM kalA, saMskRti ane vijJAnane lagatI vividha vastuono saMgraha karavAmAM Ave che. ane te vastuone sArI hAlatamAM jALavIne suvyavasthita rIte pradarzita karavAmAM Ave che jethI A pradarzita vastuone sAmAnya janasamudAya nihALe che ane gammata sAthe jJAna meLave che. vividha namUnAomAM raheluM vijJAna, kalA, saMskRti je nirUpita thAya che teno vividha viSayanA vidyArthIo, saMzodhako ane niSNAto abhyAsa kare che ane ghaNuM vizeSa jJAna prApta kare che. tethI ja saMgrahasthAna e phakta saMgRhIta namUnAonuM pradarzana sthaLa na rahetAM zikSaNa mATenuM zikSaNadhAma che. eTaluM ja nahIM te itihAsa, kaLA vagerenI prayogazALA paNa che. A myujhiyamasaMgrahasthAnamAM pradarzita namUnAo sArI hAlatamAM hoya to ja jovA game ane jovAnI tema ja temAMthI jJAna meLavavA mATenI ruci jaLavAI rahe te mATe myujhiyama haMmezAM jAgrata rahe che ke jethI saMgRhIta vastuo sArI hAlatamAM jaLavAI rahe. sArI hAlatamAM jALavI rAkhavA mATe myujhiyamamAM alaga alaga viSayanA takanIkI niSNAta hoya che tethI ja myujhiyamanI mulAkAta rucikara ane lokabhogya bane che. vaDodarA myujhiyama ane pikacara gelarI, vaDodarAmAM kendrIya surakSA prayogazALA AvelI che, je vaDodarA myujhiyamanA saMgRhIta namUnAone rAsAyaNika upacAravidhithI surakSita rAkhe che. eTaluM ja nahIM paraMtu gujarAta rAjyanA saMgrahAlaya khAtAnA vividha myujhiyamanA saMgRhIta namUnAone paNa surakSita rAkhavA mATenI kAmagIrI kare che. prayogazALAnI kAmagIrInA bhAgarUpe bhAvanagara(gujarAta)nA bArTana myujhiyamanA kyureTarazrIe atre eka be patarAnuM tAmrapatra mokalyuM hatuM. A tAmrapatra vAMcI na zakAya tevuM kaTAI gayeluM hatuM. tethI tene rAsAyaNika upacAravidhithI surakSita karavA mATe ane sahelAIthI vAMcI zakAya te mATe atre mokalyuM hatuM. A tAmrapatra bhAvanagara jillAnA kukaDa gAmethI maLI AveluM. maitrakonA valabhI vaMzanuM che. tAmrapatranI paristhiti : be patarAnuM A tAmrapatra jyAre leboreTarImAM lAvavAmAM AvyuM tyAre tenI upara khUba ja kATa caDhela hato ane tethI te vAMcI zakAya tema na hatuM (citra - 1). A kATa saLaMga na hato. paraMtu cUno ane retInA sakhata paDanI sAthe lIlAza paDatA vAdaLI raMgano kATa jANe DAghA paDyA na hoya, te rIte chUTochavAyo hato. A kATa e tAMbAnA kSAra jevA ke Cu (OH), CuCO, mAMthI banatA ekajhuyurAITa ane melokAITamAMthI banela hato. jamInanI aMdara daTAI rahevAthI AjubAjunA bheja ane kSArane kAraNe Avo kATa bane te zakya che. lAMbA samaya sudhI jamInamAM

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97 Vol. XXI, 1997 dhruvasena-pahelAnuM tAmrapatra daTAI rahevAne kAraNe tenI upara cUno retI vagere sakhata rIte coMTI jAya te paNa svAbhAvika che. rAsAyaNika sAravAra tAmrapatranI upara rahela cUnA ane retInuM sakhata paDa je sahelAIthI tAmrapatra uparathI chUTuM pADI zakAya tema na hatuM te sakhata coTela paDane chUTuM pADavA mATe sau prathama soDiyama hekjhAmeTAphopheTano upayoga karavAmAM Avyo. A rasAyaNanA drAvaNamAM (pa%) baMne patarAM DUbelAM rAkhIne alTAsonIka mazInanA upayogathI kATanA paDamAM rahela retI, cUno vagerene dUra karavAmAM AvyAM, tyAra bAda baMne patarAM upara lIlAza paDato bhUro kATa dUra karavAno bAkI raheto hato. sadara kATa 15% AlkalAIna rasela solTanA drAvaNamAM tAmrapatra DubADI rAkhIne dUra karavAmAM Avyo. A prakriyA badhA raMgIna kATa drAvaNamAM jAya tyAM sudhI karavAmAM AvI hatI jethI tAmrapatra suMdara vAMcI zakAya tevuM thaI gayuM hatuM tema ja badho ja kATa dUra thaI gayo hoya tema lAgatuM hatuM. paraMtu tAmrapatranA baMne patarAM upara keTaleka ThekANe lAla raMgano kATa dekhAto hato. A lAla raMganA kATa nIce lIlA raMgano kATa jaNAto hato. Avo kATa tAMbAne khUba ja jhaDapathI khAI jato hoya che. (kaTAI jAya che.) A kATa te kyaprasa kalorAIDanuM bheja ane havA-prANavAyunI hAjarImAM thayela kyuprIma kalorAiDamAM parivartana, Avo kATa je saLaMga patarA upara na hotAM koIka jagAe jovA maLe che ane te kATathI tAmrapatranI kaTAI javAnI prakriyA jhaDapI bane che. ane te patarA mATe jokhamI hoya che. AvA kATane aMgrejImAM "bronjha DIsIjha" kahe che. A kATane dUra karavA prathama pa% gaMdhakano tejAba ane tyArabAda upara jaNAvela AvhAlAIna rasela solTanI rAsAyaNika upacAravidhi karavAmAM AvI ane Ama tAmrapatrane saMpUrNa kATamukta karavAmAM AvyuM hatuM. uparokta sAravAra bAda tAmrapatrane pANIthI barAbara dhoIne niryAdita pANIthI barAbara dhovAmAM AvyuM. dhovAnI prakriyA pANImAM kalorIna Avato baMdha thAya tyAM sudhI cAlu rAkhavAmAM AvI hatI. aMte baMne patarAMne barAbara sUkavIne bhaviSyamAM sAmAnya paristhitimAM tAmrapatra pharIthI kaTAya nahIM te mATe tenI upara polImIthAIla methAkIleTa (1, 2, DAya kaloro ithenamAM)nuM pAtaLuM paDa caDhAvavAmAM Avela hatuM. Ama karavAthI tAmrapatra surakSita thayuM ane sahelAIthI vAMcI zakAya tevuM banyuM che. (citra-2) tAmrapatra : A tAmrapatra be tAMbAnA patarAMmAMthI banAvela che. baMne patarAM upara lakhANa phakta aMdaranI bAjue ja che. baMne patarAM uparanuM lakhANa patarAnA ghasArAthI ghasAI na jAya ane surakSita rahe te mATe patarAnI kinArI upasAvavAmAM AvelI che. vaLI baMne patarAMnA khUNA goLa karelA che. tAmrapatranA pahelA patarAnI nIcenI bAjue ane bIjA patarAnI uparanI bAju babbe kANAM che te uparAMta pahelA patarAnI DAbI bAjue upara khUNAmAM eka kANuM che. A kANAmAM rAjamudrA sAthenI eka tAMbAnI kaDI che. A mudrA je pittaLanI che temAM beThela naMdI che jenI nIce "zrI bhaTakka:

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98 A 2. zAha SAMBODHI lakhela che. A mudrA kaMIka aMze uparathI sapATa ane nIcenI bAjuethI IMDA AkAranI che. baMne patarAMne pakaDI rAkhatI tAMbAnI DAbI bAjunI kaDI jaLavAI rahela che, jyAre jamaNI bAjunI kaDI khovAI gayela che. tAMbAnA patarA uparanuM lakhANa vyavasthita ane suvAcya che. lakhANa UMDe sudhI kotarela hovAthI patarAnI lakhANanI pAchaLanI bAjue te UpasI Avela dekhAya che. bIjA patarAnI pAchaLanI bAjuethI kodALIno ghA vAgela hoya tevI nizAnI che, je AgaLanI bAjue UpasI Avela che. A tAmrapatrane lagatI keTalIka mAhitI nIce mujaba che. dareka patarA upara lakhANa - 14 lITI patarA upara lakhela bhASA - saMskRta patarA upara lakhela lipi - valabhI-brAhmI patarAnuM mApa - 28 se. mI. X 16.5 se. mI. patarAnI jADAI - 0.17 se. mI. tAMbAnI kaDIno vyAsa - 0.49 se. mI. mudrA sAthe joDela kaDIno vyAsa - 0.51 se. mI. mudrAnuM mApa - 5 se. mI. x 4.5 se. mI. patarA uparanA akSaronuM mApa - 0.5 se. mI. tAmrapatranuM kula vajana - 17. 17 grAma mudrA sAthe pahelA patarAnuM vajana - 988 grAma mudrAnuM tenI kaDI sAthe vajana - 245 grAma pahelA patarAnuM vajana - 743 grAma bIjA patarAnuM vajana - 719 grAma tAMbAnI kaDInuM vajana - 10 grAma tAmrapatranA lakhANamAM anya tAmrapatranI jema vaMzAvalI che. dAnapatramAM je sthaLano ullekha karavAmAM Avela che te gAma kukuTa che. dAna ApavAnuM kAraNa maMdiranA samArakAma, anna, vastra, pUjA ityAdi mATenuM che. dUtaka pratihAra mammaka che. ane lakhanAra phikakka che. valabhI rAjA dhruvasena pahelA dvArA apAyela A dAnanI tAmrapatramAM tithi valabhI saMvata 206nA Aso suda-5 che. eTale ke I. saparapa. A tAmrapatranuM kuphphaTa gAma te AjanuM bhAvanagara jillAnuM kukaDa gAma hoI zake. A tAmrapatranA bIjA patarAnI 7mI lITImAM (saLaMga 21mI lITI) SoDaza lakhela che, je

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Vol. XXI, 1997 dhruvasena-pahelAnuM tAmrapatra MoDaza lakhela hoya tema vaMcAya che. lakhanAre pahelAM bhUlathI va lakhela che. paraMtu te bhUlathI lakhavAmAM Avela hovAthI UMDe sudhI kotarela nathI, je spaSTa kare che ke lakhanAra DroDaza nahIM paraMtu SoDaza lakhavA mAMge che. A tAmrapatramAM droNasiMha zabdono be vakhata ullekha thayela che jemAM 8mI lITImAM droNasiMha lakhela che. jyAre 19bhI lITImAM eTale ke bIjA patarAnI pamI lITImAM droNasiMha lakhela che. tAmrapatramAMnA lakhANa 5,6 devanAgarI lipimAM (citra 3 ane 4) nIce mujaba che". pataruM-1 (1) OM svasti valabhIta: prasabha praNatAmitrANAM maitrakANAM matula bala saMpanna maNDalAbhoga saMsakta saMprahAra (2) zatalabdha pratApaH pratApopanata dAna mAnAjavopAjitAnurAgonurakta maulabhRta mitra zreNI balA (3) vApta rAjyazrIH parama mAhezvaraH zrI senApati bhaTakkaH tasya sutastatpAda rajoruNanata pavitrIkRta (4) zirAH zirovanata zatru cuDAmaNi pravAvicchurita pAdanakha pakti dIdhitiH dInAnAtha janopajIvya mAna vibhavaH (5) parama mAhezvaraH senApati dharasenastasyAnujastatpAdAbhi prazasta vimala mauli maNimanvAdi praNIta (6) vidhi vidhAna dhA dharmarAja iva vihita vinaya vyavasthA paddhatirakhila bhuvana maNDalA bhoga svAminA para (7) ma svAminA svayamupahita rAjyAbhiSeka mahAvizrANanAvaputa rAjazrIH parama mAhezvarI mahArAja (8) droNasiMha ssijha iva tasyAnujaH svabhuja balena paragaja ghaTAnIkAnAmeka vijayI zaraNaiSinAzara (9) Nama va bodhyA zAstrArtha tatvAnAM kalpataruriva suhRtpraNayinAM yathAbhilaSita phalopa bhogadaH parama (10) bhAgavataH parama bhaTTAraka pAdAnudhyAto mahArAja dhruvasenaH kuzalI sarvAnevasvAna yuktaka (11) viniyuktaka drAjigaka mahattara cATa bhaTa dhruvasthAnAdhikaraNa daNDa pAzikA dInanyAMzca yathA sambadhya (12) mAnakAnanu darzayatyastu vassaM viditaM yathA mayA hastaka vaprAharaNyAM kukkUTa grAme pratihAra (13) mammaka pratikhyApita kAditya bhaTTAraka pAdAnAM dhUpa dIpa taila mAlya gandha puSpopayogI

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100 a 2. zAha SAMBODHI devakula (14) sya ca patita vizIrNa prati saMskAraNArtha satropayogI paricAraka bhojakAya ca grAsA cchAdana nimittaM pataruM-2 (15) mAtA pitroH puNyApyAyanAyAtmanazcaihikA muSmikaM yathAbhilaSita phalAvApti nimitta mA ca (16) ndrArkArNava kSiti saritparvata sthiti samakAlInA traiva grAme parasyAM dizI kuTuMbI bhadradInna pratyaya sItA (17) pAdAvarta zata parimANaM tathA parasyAmeva dizirotya pratyaya sItA pAdAvarta zata parimANA tathA syA (18) meva dizi devazarmA pratyaya sItApAdAvarta zata prAmANyA pUrvasyAM dizi pratihAra mammaka sva bAhu (19) vo tArAmo payojyA kRpaka dvayaM catvArI jzatpAdAvarta parisaraM sArINI peyaM mahArAja droNasiha pAda (20) prakAla prabhuktaka manu modita midAnImapi mayAsmIneva grAme dakSiNasyAM dizi khila pAdAvarta zataM __ (21) pUrvasyAM dizi vApI SoDaza pAdAvarta parisarA kallavAlasyaikasyA dAnaM cakra dvayA dAnaM cadattaM yatotrAdhi ___ (22) kRtAnAmadhyAsatA madhyAsApa yatAMvAna kaizcitsvalpApyA bAdhA vidhAraNA vA kAryAsma dvaMzajairAgAmI (23) nRpatibhizcAnityAnyai zvANya sthiraM mAnuSyaM sAmAnyaM ca bhUmidAna phalamavagaccha dbhirayamasma dAyA (24) numati zvAnumantavyaH yazcAcchindyA dAcchidhyamAnavAnu modetsa paMcabhirmahA pAtakai ssopa pAtakaiH ___(25) saMyuktasyAdapi cAtra vyAsa gIto zloko bhavataH SaSTi varSa sahasrANi svarge modati bhUmidaH Acche (26) ttA cAnu mantAca tAnyeva narake vasetabahubhirvasudhAbhuktA rAjabhissagarAdibhiH yasya yasya yadA bhUmi (27) tasya tasya tadA phalamiti sva hasto mama mahArAja dhruvasenasya dUtakaH pratihAra mammakaH (28) likhitaM kikkakena saM 200 6 Azva yuja su pU mudrA - zrI bhaTakkaH

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Vol. XXI, 1997 dhruvasena-pahelAnuM tAmrapatra 101 - lITI-10 avalokana : tAmrapatramAMnI bhASA ane vyAkaraNane dhyAna samakSa rAkhyA sivAya tAmrapatrano abhyAsa karatAM keTalIka viziSTatAo jovA maLI che je dhyAnAkarSaka hoIne noMdhavI jarUrI che. (ka) lakhANamAM eka ja akSara mATe alaga alaga lakhANa kotaravAmAM AvyuM che. (1) i dhruvasenamAM) lITI-27 (2) mi (svAmimAM ane bhUmimAM) lITI-6 lITI-26 lITI-7 lITI-23 (3) bho lITI-19, 20 lITI-24, 25 (4) la I lITI-1,20 vagere 6lITI-2,20 vagere Ama eka ja patarAmAM eka ja akSara mATenI vividhatA jovA maLe che, je vadhu abhyAsa mAMgI le che. (kha) anya tAmrapatromAM hoya che tema A tAmrapatramAM baMne patarAMmAM babbe kANAM che. paraMtu A tAmrapatramAM prathama patarAmAM eka vadhu kANuM che, je viziSTa che ane alaga tarI Ave che. (ga) sAmAnyataH tAmrapatranI sAthe je rAjamudrA hoya che. te tAmrapatranAM patarAMne joDatI be kaDImAMthI eka kaDI sAthe joDela hoya che. jyAre A tAmrapatramAM rAjamudrA phakta pahelA patarAnI sAthe ja joDelI che, je anya tAmrapatranI sarakhAmaNImAM khUba ja juduM paDe che, ane te vadhu abhyAsa mAMgI le che. (gha) A carcita tAmrapatramAM kuphphaTa gAma che. ane valabhI saMvata 207nA kArtika suda-7nA roja lakhAyela tAmrapatranuM gAma kuphphaTa che. A baMne gAma sarakhAmaNI mAMgI le che. kadAca baMne gAma kukUTa ane kukkuTa te bhAvanagara jillAnuM kukaDa gAma hoI zake. Ama akSaromAM vividhatA, pahelA patarAnI aMdara traNa kAMNAM, rAjamudrAnuM phakta pahelA patarAnI sAthe joDANa vagere A tAmrapatranI viziSTAo che je mATe vidvAno vadhu prakAza nAMkhI

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a 2, zAha SAMBODHI * aMte e paNa ullekhavuM jarUrI che ke A tAmrapatramAM je gAmanuM nAma che te kuTa che jyAre A rAjyanuM valabhI saMvata 207nA tAmrapatramAMnA gAmanuM nAma kukkaTa che. kadAca A baMne gAma eka ja hoI zake. jo baMne gAma eka ja hoya to kuphphaTamAMthI kukkaTa nAmamAM parivartana ATalA TUMkA gALAmAM kema thayuM? lakhanAranI kadAca bhUla hoI zake. paraMtu A bAbatanI upekSA karI zakAya nahIM. uparokta saghaLA muddA talasparzI abhyAsa mAMgI le che, ane vidvAno A bAbate sAro prakAza nAMkhI zake tema che. A lekha lakhavA mATe sahakAra ApavA badala saMgrahAlaya khAtuM, gujarAta rAjyanA niyAmakazrIno huM AbhAra mAnuM chuM. vaLI lekha mATe jarUrI sahakAra ApavA badala sva. DaoN. zAradA zrI nivAsana, purAtattva vibhAga, masa. yunivarsiTI, vaDodarA. zrI esa. vAya. vAkaNakara ane zrImatI vijayAbena lele, prAcya vidyAbhavana, vaDodarAno huM AbhArI chuM. saMdarbha :1. zrI manahara solaMkI, kyureTara, bArTana myujhiyama, bhAvanagara dvArA maLela mAhitI. 2. konvenzana oNpha enTIvITIjha enDa varkasa oNpha ArTa- eca. je. plenDaralItha 1957. 3. TekanIkala sTaDIjha ina dhI philDa oNpha myujhiyama enDa phAIna ArTsa - svarNakamala. 4. AlkalAina rasela solTanuM drAvaNa 5 bhAga vajananA soDiyama hAiDroksAIDa, 15 bhAga vajananA soDiyama poTeziyama TATareTane 100 bhAga vajananA pANImAM ogALavAthI bane che.. 5. bhAratIya prAcIna lipimALA (hindI) gaurIzaMkara ojhA, 1918. 6. gujarAtanA aitihAsika lekho bhAga-1, girajAzaMkara AcArya, 1933. 7. inDiyana enTIphaverI-pAna 204, volyuma. 2, 1876.

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vikAsava cavarA somapasamA najAti nAtavadhImAnAnAnAsIptipaNapAlasana zAsana prapati || maTA ghAsAma yahAgapavenibhAvAvilAkI zaMkaramasAgadivAnapina nAnapA zAsana mAnAtinAnAsa tabhAva TAnihAya mahAnAmA vinAtacIvita manAta prasAdAcI / rAjadhAsAnadAtANa vAhAyAnasAmAvAna3 diyA mAsvatimAna Ram AG-rAyasAyAma nArAmAnalagAtAvaniyatA FREKAtrAbara mAvatArArivAtazAsAnAnAdaka pAzupatAcArya megharAzinuM tAmrapatravi. saM. 1131 patra prathama mAvApATa vAniyA gidhA samana : hivArakata ghaTasanA mAtrAvAsanAmAmAhAkA ___yatanAbAI nasamaTIbhIpanArAyazAsAnAnAratrayaH / / mAnapadavImanA:samAtesAmA napi sarvarA sarvacA pAnAtIla patA Rtagava nAgAsanAmanivasamAna kAmAtati sI kasA yasamikAmAta sAdaralAganAkA(jidAnadhAma sAnadevA taDa/gA nAMgara (prAtamidanizumati pAvasammata pAe / mAta jAtikA sabhAddhaHsAmanAra lagatA svarasaMzAvApAnadevarA pAzupatAcArya megharAzinuM tAmrapatra vi. saM. 1131 patra bIjuM

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pAzupatAcArya megharAzinuM tAmrapatra 5. lakSamaNabhAI bhojaka [prathama patra] paM. 1]zrIvikramasaMvat 1131 caitrazudi 15 su (zu ke yeha zrImadaNahilapATake sAMkhyapAtaM [paM.2jalapurANAdiprabodhamAhezvaraH paramapAzupatAcAryazrIvizuddharAzitatpAdAnu [paM. 3] dhyAtaH SaTtarkaparijJAnanipuNaH paMDitazrIbRhaspatirAzistatpAdAnudhyAtaparama-[paM. 4]pAzupatAcAryaH zukamaharSiriva yamaniyamasvAdhyAyadhyAnAnuSThAnapratiSTho rA [paM. 5] jahaMsa iva vimalobhayapakSaH, kamalayoniriva vitatakamalAzrayastryaMbaka iva [paM. 6]vihitAcalAzrayaH zrImegharAziguruH svabhujyamAnasedhagrAme samastamaThapuruSA [paM. 7]na tapasvyuttarAn tannivAsijanapadAMzca bodhayatyastu vaH saMviditaM yathA / adya so [paM. 8]magrahaNaparvaNi snAtvA tridazaguruM bhavAnIpatiM samabhyarcya saMsArasyAsAratAM viciM [paM. 9]tya nalinIdalagatajalalavataralaM prANitavyamAkalayya aihikamAmuSkikaM ca phala [paM. 10]maMgIkRtya sedhagrAme svayaM kAritavApyAH kuTuMbikagaNipAnAmopalakSitabhUmi[paM. 11]halavAhArddha zAsanenodakapUrvamasmAbhiH pradattaM / aMke halavAhArddha / [paM. 12] asyAghAya likhyate yathA pUrvadigbhAge soDhAkSevA(trAM) dakSiNataH pUnAkSetraM / dvitIya-patraM] [paM. 1]pazcimataH kSetrANAM mArgaH / uttarataH zrIpatikSetraM [paM. zaevaM caturo(rA)ghATopalakSitaM bhUmihalavAhArddha grAmasya AgneyakU(ko)Ne pradattaM / [paM. 3 iti matvA tannivAsibhiranumaMtavyaM / sAmAnya caitatpuNyaphalaM buddhvAsmadanvayajairanyai [paM. 4Arapi bhAvibhoktRbhirasmatpradattadharmAdAyo'numantavyaH pAlanIyazca // tathA sedhagrA [paM. 5)mIyabrAhmaNa pAhila / jasahaDa / pahnaravAhaNa / mahasuyaNa / mahipAla / caaNdaiy| dA [paM. 6]dA / vAlahula / cAhila / gohaDAdisamastagrAmeNa zrImegharAzigurubhaNitena vApyA [paM.7] halavAhaM pratikRta(ta)dra []ra dvau / yA bhUmI(mI)vahati tasyA deyaM / yA ca bhUmI nibaMdhamadhyAt patati [paM.8]tasyA bhUmyA grAmamadhyAt AhetaM kRtvA halavAhaM pratyAdrammadvayaM deyaM // uktaM ca bhaga [paM. 9)vatA vyAsena || SaSTiM varSasahasrANi svarge tiSThati bhUmidaH / AcchettA cAnumaMtA ca tA [paM. 10nyeva narakaM vaset // bahubhirvasudhA bhuktA rAjabhiH sagarAdibhiH / yasya yasya yadA bhU [paM. 11] mistasya tasya tadA phalaM // yAnIha dattAni purA narendrairdAnAni dharmArthayazaskarANi / [paM. 12]nirmAlyavAMtipratimAni tAni ko nAma sAdhuH punarAdadIta // zrImegharAziguroH // [paM. 13]likhitaM lakSmaNena // prastuta dAnapatra lAlabhAI dalapatabhAI bhAratIya saMskRti vidyAmaMdiranA purAvastusaMgrahamAM Agama prabhAkara pU. munirAja zrI puNyavijayajI ma. sA. taraphathI bheTa maLela che. teno 20 ji. naMbara - 28010 ane mUrtinaMbara - 499 che. A dAnapatranA be tAmrapatro che. te cAre bAjunI dhAra upasAvelI che. baMnnenuM parimANa 15.5 X 23 c.m. che. prathama patranuM vajana 1030 grAma che. temAM 12 paMktio che. dareka

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14 lakSamaNabhAI bhojaka : SAMBODHI paMktiomAM Azare 30 akSaro che ane kaDI mATenuM chidra patramAM nIcenA bhAgamAM che. bIjA patranuM vajana 710 grAma che. 12 paMkitao saMpUrNa che ane 13mI paMkti aDadhI che. dareka paMktimAM 32 akSaro che. kaDI chidra patramAM uparanA bhAgamAM che. A dAnapatramAM vikrama saMvata 1131 caitra suda pUnama zukravAranA divase megha gAmamAM vApInI bhUminuM dAna ApyAno ullekha che. pATaNamAM pAzupatAcArya vizuddha rAzinA ziSya paMDita bRhaspati rAzinA ziSya pAzupatAcArya megharAzie potAnA bhogavaTAnA sagha grAmamAM samagra maThapuruSo tapasvIo ane nagaralokone jaNAvavApUrvaka caMdragrahaNa parva nimitte bhagavAna bhavAnI-patinuM pUjana karI jIvananI saphaLatA mATe jala mUkavApUrvaka saMghagrAmamAM pote banAvaDAvelI vApInI te bhUmi kuTuMbika gaNiyAnA nAmathI oLakhAtI hatI. halavAhaardhabhUmi dAnamAM ApI. A bhUminI cAra dizAnI maryAdA-pUrvadizAmAM soDhAkSetra dakSiNamAM pUnAkSetra, pazcimamAM kSetrono mArga, uttaramAM zrIpatikSetra. Ama cAra AghATA sAthenI halavAhaadhabhUmi gAmanA agni khUNAmAM che. jenuM dAna apAyuM che. te grAma nivAsIoe svIkAravuM ane A puNyaphaLa che tema mAnI amArA vaMzajo ane bIjA bhAvi vArasadAroe amArA ApelA A dharma bhAgano svIkAra karavo ane pAlana karavuM. saMgha grAmanA brAhmaNa-pAhila, jasataDa, paddha, naravAhaNa, mahasuyaNa, mahipAla, cAMdaya, dAdA, vAlahula, cAhila, gauhaDa Adi samasta gAme megharAzi gurunA kahevAthI vApInuM halavAhanA be dramma ApavAnuM svIkAryuM. je bhUmi vahe che te bhUmi peTe ApavuM, ane je bhUmi nibaMdha madhyamAMthI jAya che te bhUminA halavAhaprati be dramata gAmamAMthI Aheja (ugharANuM) karIne ApavA. aMtamAM - bhagavAna vyAsanAM nAme traNa zloko dvArA dAnanA samarthanamAM svargaprApti ane ullaMghanamAM narakaprAptino ullekha karyo che. . varSa-sahastrAni 2. vara vasudhA mupl.... 3. yAda sattAni purA narendra .... aMte zrI megharAzi gurunI sahI che. A tAmrapatranA lipikAra lekhaka lakSmaNa che.

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gujarAtanA prasiddha hastalikhita graMthabhaMDAro bhAratI zelata; Ara. TI. sAvaliyA gujarAtanI bhUmi bhUtakALano bhavya sAMskRtika ane vidyAkIya vAraso dharAve che. enI vidyApravRttinA ghaDataramAM prAcIna hastalikhita graMthabhaMDAronuM bahumUlya pradAna che. A hastalikhita graMthabhaMDAro eTale prAcIna kALanAM pustakAlayo. emAM tADapatra, kApaDa ane kAgaLa para lakhAyelA vividha viSayone lagatA hastalikhita ane sacitra graMthono saMgraha karelo hoya che. gujarAtamAM AvA jJAnabhaMDAronI saMsthA ghaNI prAcIna che. I. sa. nI pamI sadInI AsapAsa saurASTranuM valabhI eka vidyAdhAma tarIke AkhA bhAratamAM vikhyAta hatuM. tamAma jaina Agama graMtho, je agAunA kALamAM mukhapAThathI cAlatA hatA, te AcArya zrI devardhigaNi kSamAzramaNanA adhyakSapaNA heThaLa pustako rUpe valabhImAM lakhavAmAM AvyA. bhAratIya vidyApravRttinA itihAsamAM A ghaNo mahattvano banAva che. A rIte lakhAyelAM pustakonI aneka nakalo thaI haze ane te judA judA graMthabhaMDAromAM rAkhavAmAM AvI haze. prAcIna kALamAM gujarAtamAM bauddho, jaino ane brAhmaNonI sAhityapravRtti sArA pramANamAM cAlatI hatI. AthI koI prakAranAM pustakAlayonuM astitva to tyAM hovuM ja joIe. paraMtu caulukya vaMzanA be gurjara rAjAo siddharAja jayasiMha ane kumArapALanA samaya pahelAMnA gujarAtanA jJAnabhaMDAro vize koI vizvAsapAtra mAhitI upalabdha nathI. rAjA siddharAjanI vinaMtIthI hemacandrAcArye gujarAtanuM pradhAna vyAkaraNa racyuM ane tyArathI gujarAtanI sAhityapravRttino madhyAnakALa zarU thayo. vijetA siddharAje traNaso lahiyAo pAse satata traNa varSa sudhI vividha lekhanakArya karAvI rAjakIya pustakAlayo sthApyAM ane siddhahema vyAkaraNanI seMkaDo prato lakhAvI videzanAM pustakAlayomAM bheTa mokalI. siddharAja pachI rAjA kumArapALe paNa ekavIsa jeTalA jJAnabhaMDAro sthApyA hatA ane rAjakIya pustakAlaya mATe jaina Agama graMtho tathA AcArya hemacaMdranA graMthonI suvarNAkSaravALI 21 pratio lakhAvI hatI. dhoLakAnA rAjA viradhavalanA suprasiddha maMtrI vastupALe karoDo rUpiyAnA kharce traNa jJAnabhaMDAro sthApyAnI hakIkata prAcIna graMthomAMthI maLI rahe che. A prAcIna jJAnabhaMDAromAMnI eka mAtra tADapatrIya hastaprata hAla upalabdha che ane te udayaprabhasUrie racelI "dharmAlyudaya" kAvyanI. mAMDava gaDhanA maMtrI pethaDa zAhe bharUca vagere sAta nagaromAM bhaMDAra sthApyA hatA. A uparAMta keTalAka dhanADhya gRhasthoe paNa jJAna-saMgraho lakhAvyA hatA.' jAhera mAlikonA AvA hastalikhita graMthabhaMDAro rAkhavAnI prathA jaina samAjamAM vizeSa aMze pracalita hatI. gujarAta ane rAjasthAnamAM jaina dharmano vizeSa prasAra hoI graMtha-bhaMDAronI saMsthA ahIM khAsa dhyAna kheMce che. A graMthabhaMDAromAM mAtra jaina dharmane lagatA ja graMtho nathI, zAstra

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106 bhAratI zelata; Ara. TI. sAvaliyA SAMBODHI ane vijJAnanA je viSayonuM prAcIna ane madhyakAlIna bhAratamAM adhyayana-adhyApana thatuM e tamAma viSayone AvarI letA graMthabhaMDAro che. AvA viSayomAM kAvya, koza, chaMda, alaMkAra, jayotiSa, nATaka, zilpa, darzanazAstra vagere viSayaka samagra sAhityanA graMthono samAveza thato. gujarAtanA hastalikhita graMthabhaMDAromAM pATaNa, khaMbhAta ane amadAvAdanA bhaMDAro sauthI vadhAre khyAti pAmelA che. A uparAMta vaDodarA, chANI, pAlanapura, kheDA, pAdarA, harAparA, sinora, bharUca, surata ane saurASTramAM bhAvanagara, ghoghA, pAlItANA, lIMbaDI, jAmanagara, vaDhavANa kempa, mAMgaroLa vagere sthaLoe aneka nAnAmoTA graMthabhaMDAro che. I. sa. nA agiyAramA, bAramA ane teramA zatakamAM pATaNanuM rAjakIya mahattva carama sImAe pahoMcyuM hatuM ane AcArya hemacaMdrasUrinA prabhAvathI vidyApravRttine rAjyAzraya tathA uttejana maLatuM hatuM. tyAre itihAsa dharma, nIti, tattvajJAna sAhitya vagere viSayonA graMthonI racanAne ghaNo ja vega maLyo hato. A samaye racAyelA graMtho bhAratIya saMskRtinA saMdarbhamAM khUba mahatvanA nIvaDyA. vaLI jaina dharmane je rAjayAzraya maLyo, tethI jaina sAdhuo ane AcAryoe jJAnavardhaka pravRttio vikasAvavAmAM khUba ja rasa lIdho. AvI sAhityika pravRttithI moTA moTA jJAnabhaMDAro astitvamAM AvyA ane emAM prAcIna, samakAlIna ane navA graMthono saMgraha thato rahyo. pATaNanA hastalikhita graMthabhaMDAroH pATaNanA lagabhaga vIsa jeTalA hastaprata bhaMDArono eka rasaprada itihAsa che. emAM prAkRta, saMskRta, jUnI gujarAtI, hiMdI, marAThI vagere bhASAomAM racAyelA lagabhaga badhA ja viSayonA graMtho sacavAyA che, jemAM jaina ane bIjA dharmonI racanAono samAveza thAya che. Ane lIdhe pATaNanA bhaMDAro deza-videzamAM vidvAnonA AkarSaNanuM kendra rahyA che. Aje pATaNanA be sivAyanA badhA ja bhaMDAronI tADapatra uparanI tema ja kAgaLa paranI hastapratono saMgraha ekatrita thaIne pATaNanA jaina saMghanA tAbAnA zrI hemacaMdrAcArya jaina jJAna maMdiramAM sacavAI rahyo che. Azare vIsa hajAra prato kAgaLa upara lakhAyelI sacavAI che. A jJAnamaMdiranI sthApanA sane 1939mAM thaI hatI. pATaNanA vikhyAta graMthabhaMDAro kAyamane mATe sacavAI rahe ane prAcIna vidyA tathA sAhityanA kSetre kAma karatA vidvAnoe hastapratono saraLatAthI lAbha laI zake e hetuthI A jJAnamaMdiranI sthApanA thaI che. pATaNanA nAmAMkita bhaMDAromAM saMghavInA pADAno tADapatrIya graMthabhaMDAra vidvAnonA AkarSaNanuM khAsa kendra banelo. A bhaMDAranI mulAkAte pAzcAtya, vidvAno ane saMzodhako AvatA hatA. bhaMDAramAM kula 434 tADapatra uparanI hastaprato che. emAMnI keTalIka hastaprato sacitra che. emAMnAM citro madhyakAlIna pazcima bhAratanI citra zailInA uttama namUnA pUrA pADe che. A zailInAM citro laghucitro svarUpe maLe che. pazcima bhAratanI citrakalAnuM janmasthAna ane poSaNasthAna gujarAta che. emAM gujarAtanA dharma ane samAjajIvananuM pratibiMba paDe che. A laghu-citronI zailInA namUnA moTe bhAge gujarAta ane rAjasthAnanA jaina bhaMDAromAMthI ane khAsa karIne jaina ke jainAzrita lakhAyelA graMthonA

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Vol. XI, 1997 gujarAtanA prasiddha hastalikhita.... 107 laghu-citro rUpe maLe che. citronI A zailIne gujarAtanI zailI ke mAru-gurjara zailI paNa kahe che. pATaNanA saMghavI-pADAnA bhaMDAramAM keTalIka tADapatra paranI sacitra hastaprato surakSita che. emAM zvetAMbara jaina saMpradAyanA graMtha "nizIthacUrNi"nI I. sa. nI 12mI sadInI prata gujarAtI sacitra tADapatrano sahuthI jUno namUno che. A prata bhRgukaccha (bharUca)mAM lakhAyelI che. emAM eka patra upara vartuLAkAramAM hAthIsavAranuM citra AlekhAyeluM che. citramAM mALA dhAraNa karatI strIonA Alekhana che, je ghaNuM karIne apsarAo hovAnuM jaNAya che. A saMgrahamAMnI "kalpasUtra"nI eka 13mI sadInI hastapratamAM jaina sAdhvIo ane zrAvikAonAM citro AlekhelAM che. 13mI sadInI "kathAratnasAgara"nI hastapratamAM pArzvanAtha ane zrAvaka-zrAvikAnAM suMdara citro maLe che. AvI ja eka bIjI A ja samayanI "kalpasUtra"nI hastapratamAM jaina paraMparAmAM vatteoche aMze pUjAtA brahmazAMti yakSa ane lakSmIdevInAM AkarSaka citro maLe che. A uparAMta "RSabhadevacarita"nI Azare 13mI sadInI hastapratamAM RSabhadeva ane jaina yakSiNI cakrezvarInAM suMdara citro dorelAM che. "triSaSTizalAkApuruSacaritanI pratanA chellA traNa patro upara hemacandrasUri, rAjA kumArapAla ane zrAvikA zrIdevInAM manorama citro AlekhAyAM che. pATaNanA vakhatajInI zerInA bhaMDAramAMnI eka pratamAM cAra suMdara citro aMkita karelAM che, jemAM hemacandrAcAryane vyAkaraNano graMtha lakhavA mATe vinaMtI karato rAjA siddharAja, vyAkaraNa graMthane aMbADI upara mUkIne pharatI yAtrA pArzvanAthanuM maMdira ane vyAkaraNa graMthanI nakala meLavavA AnaMdaprabha upAdhyAyane vinaMtI karatA karmaNa maMtrI vagere prasaMgonA AbehUba citro AlekhelAM che. A citromAM kalAkAranI pratibhA tathA kauzalyanA darzana thAya che. pATaNanA hemacandrAcArya jJAnamaMdiramAM kalpasUtranI 15mI sadInI be hastaprato che, emAMnI eka pratamAM lakSmIdevI ane caMdradevanAM citro maLe che. kApaDa para citrAMkano karavAnI jaina paraMparA I. sa. nI 14mI sadI jeTalI purANI che. emAM yaMtro, vizvaracanA (cosmology) yAtrAsthaLo ane mAMgalika cihno jevA viSayone rajU karatAM kApaDa paranAM citro bhArata ane videzonAM saMgrahAlayomAM sacavAyelAM che. vaiSNavonI jema jainomAM paNa kApaDa upara dhArmika citro AlekhavAnI prathA che. ene paTa kahevAmAM Ave che. vIMTo vALIne AvA paTa maMdiramAM ke khAnagI gRhomAM sAcavI rAkhavAmAM AvatA. A prakAranA sauthI prAcIna citrano namUno pATaNanA saMghanA bhaMDAramAM sacavAyelI "dharmavidhiprakaraNa"nI 14mI sadInI hastapratamAM maLe che. emAM sarasvatInI sAdI AkRti citrita karelI che. saMghavI pADAnA bhaMDAramAMno 15mI sadIno kApaDa para cItarelo paMcatIthI paTa khUba prasiddha che. A paTa cAMpAneramAM taiyAra thayelo che. emAM sAta citronuM Alekhana kareluM che. maMdiranA garbhagRhamAM sarpachatra dhAraNa karatA tIrthaMkara pArzvanAthanI pratimA, giranAra parvatanuM dazya, sametazikhara ane pAvAgaDha uparanA mahAvIra svAmInA maMdiranAM citro manohara lAge che.

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108 bhAratI zelata; Ara. TI. sAvaliyA SAMBODHI amadAvAdanA sArAbhAI navAbanA saMgrahamAM "sUrimaMtra paTanuM 14mI sadInuM citra saMgRhIta che, emAM pUrNa vikasita padama upara beThelA, mahAvIra svAmInA prathama ziSya gautama svAmInuM citra AlekheluM che. sArAbhAI navAbanA saMgrahamAMno RSabhadevanA samavasaraNano 15mI sadInA madhyano eka paTa ane jaMbUdvIpano 16mI sadIno eka paTa noMdhapAtra che. kApaDa para citro AlekhavAnI prathA 17mI sadI sudhI jainomAM jaLavAI rahI. hastapratonI jALavaNI mATe vaparAtI lAkaDAnI pATalIo upara paNa laghucitro jovA maLe che. AvA lAkaDAnI pATalI paranAM laghu citronA sahuthI jUnA namUnA rAjasthAnanA jaina bhaMDAromAM maLe che. amadAvAdanA sArAbhAI navAbanA saMgrahamAM surakSita lAkaDAnI pATalI para bhArata ane bAhubali vaccenA yuddhaprasaMganuM Alekhana che. eka pATalI para tIrthaMkara pArzvanAthanA pUrvanA dasa bhavo AlekhelA che. muni puNyavijayajI saMgrahamAMnI eka pATalI para mahAvIra bhagavAnanA 27 bhavo paikInA keTalAka bhavonuM citrAMkana kareluM jovA maLe che. pATaNanA bIjA bhaMDAromAM tapAgaccha bhaMDAra, bhAbhAnA pADAno bhaMDAra, vastA mANekano bhaMDAra, zrI hiMmata vijayano saMgraha vagere atyaMta mahattvanA che. joke A badhA bhaMDAro hemacaMdrAcArya jaina jJAna bhaMDArane soMpAI gayA che. khaMbhAtanA jJAnabhaMDAroH pATaNanI jema khaMbhAte paNa saMzodhana vidvAnone AkarSyA che. teramA saikAmAM thaI gayelA gujarAtanA vikhyAta maMtrI vastupAle moTI rakama kharcIne pATaNa, bharUca ane khaMbhAtamAM graMthabhaMDAro sthApyA hatA. hAlamAM khaMbhAtamAM mukhya cAra graMthabhaMDAro che. pAyacaMda gacchano bhaMDAra, jJAnavimalasUrino bhaMDAra, nemisUrijIno bhaMDAra ane zAMtinAthano bhaMDAra. AmAM zAMtinAthano bhaMDAra samagra gujarAta ane rAjasthAnamAM sahuthI samRddha ane mUlyavAna bhaMDAromAMno eka che. emAM graMthasaMkhyA bahu moTI nathI. paraMtu enI viziSTatA emAMnI prAcIna ane durlabha tADapatrIya hastaprato che. emAM tADapatra upara saMskRta ane prAkRta bhASAmAM lakhAyelI Azare doDhaso jeTalI hastaprato che. A bhaMDAranI hastaprato I. sa. nI 12mI, 13mI ane 14mI sadI jeTalI prAcIna che. gujarAtanI graMthastha laghu citrakalAnA sahuthI prAcIna namUnA A bhaMDAranI tADapatrIya hastapratomAMthI maLe che. AcArya hemacandra, temanA ziSya ane rAjA kumArapALanuM vikhyAta citra bAramA saikAnI "dazavaikAlikasUtranI laghuvRttinI hastapratanA chellA patra para che. emAM Asana para birAjamAna hemacaMdrAcArya, jamaNA hAthamAM tADapatra rAkhIne sAme beThelA potAnA ziSya mahendrasUrine jANe pATha ApatA hoya ema lAge che. mahendrasUrinI pAchaLa be hAtha joDIne UbhelA dADhIvALA gRhasthanI AkRti rAjA kumArapAlanI jaNAya che. A citra AcArya hemacaMdra ane rAjA kumArapAla baMnenA jIvanakALa daramyAna dorAyeluM hoI be samakAlIna mahApuruSonA citra tarIke paNa tenuM viziSTa mUlya che.

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Vol. xxI, 1997 gujarAtanA prasiddha hastalikhita 109 A bhaMDAranuM eka amUlya ratna te "dharmAlyudayakAvya"nI 13mI sadImAM lakhAyelI tADapatrIya prata che. maMtrI vastupAle potAnA guru vijayasenasUrinA upadezathI zatruMjayano saMgha kADhyo hato, eno aitihAsika vRttAMta ApavA sAthe keTalIka dharmakathAo varNavatuM e saMskRta kAvya che. e kAvya vijayasenasUrinA ziSya udayaprabhasUrie raceluM che. AkhAye kAvyanI vastupAlanA svahastAkSara khaMbhAtamAM ja thayelI nakala tyAM sacavAyelI che. A uparAMta bauddha vidvAnonA graMtho, subhASita saMgraho, phArasI zabdono saMskRtamAM artha Apato zabdakoza jevA saMskRta-prAkRta ane itara sAhityanI vividha zAkhAonA keTalAye graMthonI prAcIna prato upalabdha che. emAMnI keTalIya hastaprato gujarAtanA caulukya ane vAghelA rAjAonA samayamAM lakhAyelI che. A graMthomAMthI gujarAtanA sAmAjika ane dhArmika itihAsa prAcIna gAmonA sthAnika itihAsa tema ja prAcIna madhyakAlIna gujarAtanI saMskAra ane sAhitya pravRttio vize upayogI mAhitI maLe che. khaMbhAtanA A prAcIna graMthabhaMDAro mAtra gujarAtanI ja nahi, paraMtu samasta bhAratanI moMdhI vidyAsaMpatti che. A bhaMDAramAM saMgRhIta "neminAthacaritanI 13mI sadInI pratamAM jaina tIrthaMkara neminAtha, aMbikA devI ane aMjalimudrAmAM zrAvaka-zrAvikAnAM citro AlekhelAM che. bIjI eka 12mI sadInI sacitra pratamAM be citro dorelAM che, jemAMnA ekamAM padmAsana para beThela mahAvIra svAmInuM ane bIjA citramAM tribhaMga avasthAmAM UbhelAM caturbhuja sarasvatInuM suMdara Alekhana che. khaMbhAtanA pAyacaMda gacchanA bhaMDAramAM 1500 jeTalI hastaprato jaLavAyelI che, jemAMnI keTalIka tADapatra para lakhAyelI che. jJAnavimalasUrinA bhaMDAramAM A ja sUrinI lakhela saMskRta ane gujarAtanI bhASAnI keTalIka racanAo paNa jovA maLe che. AcArya nemisUrijInA graMtha bhaMDAramAM Azare vIsa hajAra jeTalI prAcIna prato che. nemisUrijIe jaina daSTie vizvavidyA (cosmology) nuM nirUpaNa karato loka prakAza nAmano graMtha jUnAgaDhamAM racelo. emanA potAnA hastAkSarovALI prata ahIM sacavAyelI che. amadAvAdanA hastaprata bhaMDAro : bho. je. adhyayana - saMzodhana vidyAbhavana hastaprata saMgraha: | gujarAta varnAkyulara sosAyaTInA nAme oLakhAtI gujarAta vidyAsabhAe enA mULa sthApaka elekajhAMDara phorbsanA samayathI hastapratono saMgraha karavAnuM kArya zarU kareluM. saMsthAnA uttarottara vikAsanA pariNAme bheTarUpe prApta thayelI athavA kharIdelI hastapratonI saMkhyA lagabhaga 2000 jeTalI thayelI che. 1946mAM gujarAta vidyAsabhAno ucca abhyAsa ane saMzodhana vibhAga bho. je. vidyAbhavananA nAme vikasyo. tyArathI A saMsthAnA myujhiyamamAM A hastalikhita saMgraha surakSita che. hAla A myujhiyamamAM saMskRta, prAkRta, jUnI gujarAtI, hiMdI, vraja, marAThI, baMgALI, arabIphArasI jevI bhASAomAM lakhAyelI lagabhaga 10,000 jeTalI hastaprato saMgRhIta che. moTA bhAganI hastaprato kAgaLa upara lakhAyelI che. keTalIka kApaDa ane tADapatra upara paNa lakhAyelI maLe

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SAMBODHI bhAratI zelata, Ara. TI. sAvaliyA che, tADapatrIyaprato kannaDa, telugu, malayAlama jevI dakSiNa bhAratanI lipiomAM lakhAyelI che ane I. sa. nI 15thI 19mI sadI sudhInI che. A hastaprato veda-vedAMga, itihAsa purANa, bauddha sAhitya, jaina sAhitya, bhakti, taMtra, kAvya, vyAkaraNa, koza, nATya, zilpa, alaMkAra, kAmazAstra, Ayurveda, jayotiSa, koza jevA vividha viSayone lagatI che. A saMgrahamAM 18 jeTalI sacitra hastaprato che jemAM saptazatI, zrImad bhAgavata, kalpasUtra, madhumAlatI kathA jevI suMdara citrovALI hastapratono samAveza thAya che. 18mI sadInI gIta-goviMdanI sacitra pratamAM viSNunA dazAvatAronAM citra ane rAdhAkRSNanA milana-virahanA prasaMgo bhAvapUrNa rIte AlekhAyelA che. phArasI lipimAM lakhAyelI sacitra hastaprato paNa ahIM jaLavAyelI che. jyotiSane lagatAM saLaMga sacitra oLiyA (vIMTAscroll) ane jaina sUrio ane sAdhuone tema ja temanA saMghane yAtrA daramyAna AmaMtraNa ApatuM eka sacitra vijJaptipatra (18mI sadInuM) upalabdha che. "bAbIvilAsa" jevI aitihAsika kRtio medapATa purANa, kAyastha paddhati jevI jJAtiviSayaka hastaprato tema ja maMDapadurga jevI sthApatyanI hastaprato paNa ahIM che. AmAMnI keTalIka hastaprato suMdara velabuTTAnI AkRtiothI zaNagArAyelI, koIka sonerI zAhIthI lakhelI, lAla kALI zAhInA lakhANavALI che. A myujhiyamamAM khetaro, makAna ke hATanA kharIda-vecANa ke gIro aMgenA, pallAnI phAragatI aMgenA, milakatanI vaheMcaNIne lagatA 150 jeTalA khatapatro (dastAvejo) che. I. sanI 14mI sadIthI 1lmI sadI sudhInA che. A dastAvejo sAMkaDA kAgaLa ke kApaDanI paTTI para saLaMga lakhelA che. lAMbA hovAthI vIMTo vALIne sAcavavA paDe che. AvA khatapatromAMthI tatkAlIna rAjakIya, sAMskRtika, Arthika ane sAmAjika mAhitI maLe che. A khato saMskRta tema ja arabI-phArasImAM lakhelA che. A uparAMta A myujhiyamamAM ramatanAM citrita pAnAM khAsa noMdhapAtra che. AvAM pAnAMonI saMkhyA 150nI che. goLAkAra pAnAMo upara pazupaMkhInI AkRtio che. pAnAMo paranI saMkhyA kalAtmaka rIte AlekhavAmAM AvI che. ekanI saMkhyA darzAvavA ghoDA upara savAra thayelI rAjAnI AkRti aMkita karelI che. ghoDAnuM Alekhana jIvaMta ane gatimaya lAge che. rAjAnI vezabhUSA rAjapUta che. eNe dhAraNa karela Ayudho ane alaMkAro citranI samRddhimAM vadhAro kare che. keTalAMka pAnAMnA saMkhyAMka darzAvavA chatrI, lIlAM pAMdaDAM ke parvatanuM Alekhana kareluM kalAtmaktA lAvavA lIlAM, pILAM ane kALA TapakAMno upayoga karAyo che. pazu pakSIomAM ghoDo, mayUra, popaTa vagerenuM Alekhana suMdara AbehUba ane sahaja che.

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111 vol. XI, 1997 gujarAtanA prasiddha hastalikhita.... lA. da. bhAratIya saMskRti vidyAmaMdira hastaprata saMgraha: A saMsthAmAM lagabhaga paMcAvana hajAra jeTalI hastapratono amUlya khajAno saMgRhIta che. munizrI puNyavijayajIno potAno hastalikhita graMthono samagra khajAno A bhaMDArane bheTa maLelo che. e pachI hastalikhita graMthonA aneka nAnA moTA graMthabhaMDAro A jJAnamaMdirane bheTa maLatA rahyA che. A saMsthAno ATalo moTo saMgraha mAtra eka ja vyaktino paripAka nathI. paraMtu Agama prabhAkara munizrI puNyavijayajI temanA gura caturvijayajI tathA pravartaka kIrtivijayajInA parizramane AbhArI che. A hastaprata saMgrahamAM jaina ane jainetara sAhityanA amUlya graMtho che. e badhA graMtho saMskRta, prAkRta, apabhraMza, jUnI gujarAtI, rAjasthAnI vagere bhASAomAM lakhAyelA che. hastaprato I. sa.nI 12mI sadI sudhInI maLe che. hastapratonAM sUcipatro paNa prakAzita thayAM che. lA. da. vidyAmaMdiranA saMgrahamAM 553 jeTalI sacitra hastaprato che, jemAM tADapatranI ane kAgaLanI hastaprata uparAMta, guTakA ane chUTAM paTTarUpe paNa maLe che. ahIMnI 18mI sadInI kalpasUtranI eka hastapratamAM rAjyavArInAM dRzyo jovA maLe che. keTalIka kAgaLanI hastapratomAM bhagavAna tIrthaMkaranA jIvanaprasaMgo AlekhAyelA che. I. sa.nI 18mI sadInI kalpasUtranI kAgaLa paranI sacitra hastaprato gujarAta-saurASTranA jaina bhaMDAromAM sacavAyelI che. A hastapratomAM tIrthakara bhagavAnanA jIvana prasaMgo, khAsa karIne janma, vivAha, kezaloca, dIkSA, dharmopadezanA prasaMgo AlekhAyelA hoya che. lAda. vidyAmaMdiramAM saMgRhIta 18mI sadInI kalpasUtranI eka pratamAM rAjasavArInAM dazyomAM puruSa ane strI-pAtronI vezabhUSA marAThI jovA maLe che. ahIM "saMgrahaNI sUtra"nI bAra sacitra prato maLe che. saMgrahaNIsUtra e jaina paraMparA pramANe brahmAMDanI utpattine lagato graMtha che. emAM tIrthakaro, deva-devIo, gaMdharvo, yakSa-yakSiIo, sUrya, caMdra, parvato, nadIo ane vRkSonuM Alekhana karavAmAM AvyuM che. "aDhAra zIlAMga ratha"nI 18mI sadInI aDhAra citrovALI prata che. lAkaDAnA lAMbA rathamAM sAdhue pALavAnA AcAranAM nAmovALAM pAnAM pADelAM che. rathanI upara madhyamAM je te tIrthaMkara bhagavAnanuM citra che. rathane hAMkanAra sArathie ghoDAnI lagAma potAnA jamaNA hAthamAM pakaDI che. AkhuM citra jANe gatimAM hoya tema lAge che. - 17mI - 18mI sadInI kAgaLa paranI dhannAzAlibhadrarAsanI pratomAM citrAlekhana jovA maLe che. emAM AlekhAyelAM citromAM zAlibhadranI mAtA dhannA, zAlibhadranA jIvanaprasaMgo, zAlibhadra ane magadharAja zreNikanI mulAkAtano prasaMga ityAdi noMdhapAtra che. "lokaprakAza" nAmanI eka pratamAMnA eka citramAM cakravartI rAjAnA rAjyAbhiSekanuM citra che. rAjyAbhiSeka vakhate rAjAnI pRthvInAM judAM judAM pavitra jaLathI kevI rIte abhiSeka thato enuM Alekhana che. zrI pAlarAsanI eka 19mI sadInI hastapratamAM rAsanA kathA- prasaMga AlekhatAM suMdara citro che, jemAMnuM eka citra dhavala zeThanI kalAne lagatuM che. vahANanAM citromAM briTizaronI yuniyana jeka dhvaja spaSTa dekhAya che.

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bhAratI zelata; Ara. TI. sAvaliyA saMskRta sAhityanA mahAna kavi kAlidAsanI be kRtio meghadUta ane kumArasaMbhavanI sacitra kAgaLa para lakhAyelI prato ahIM sacavAyelI che. I sanI 17mI sadImAM parataragacchanA sAdhu uddaya harSe lakhelI meghadUtanI pratamAM kula pAMca citro che. emAM sarasvatInuM citra, rAmagiri Azrama para virahI yakSanuM citra, svarganI alakApurI nagarInuM citra, virahiNI yakSiNInuM citra ane premIonA milananuM dRzya rekhAMkita karAyuM che. 112 SAMBODHI kumArasaMbhavanI 17mI sadInA pUrvArdhanI pratamAM pazcima bhAratIya citra-zailImAM sarasvatI ane ardhanArIzvara pArvatI paramezvaranAM manorama Alekhano maLe che. jaina paraMparA anusAra jaina AcAryo ane munione judAM judAM zahero ke nagaronA jaina saMgha potAne tyAM paryuSaNa karavA ane caturmAsa gALavA nimaMtraNa ApatA. A nimaMtraNapatro vyavasthita rIte taiyAra karavAmAM AvatAM ane emAM citronuM Alekhana karavAmAM AvatuM. citromAM dhArmika ane nagarano mahimA batAvatAM citro AlekhAtAM. nagarajano jaina sAdhuonAM darzana karavA ane emanAM vyAkhyAno sAMbhaLavA keTalA utsuka che enuM varNana karavAmAM AvatuM. nagaranI bhautika ane kudaratI samRddhinuM sacitra varNana karAtuM. A prakAranA nimaMtraNane jaina paribhASAmAM vijJaptipatra kahe che. emAM sAla ane tithi ApelI hovAthI aitihAsika dRSTie enuM mahattva ghaNuM che. amadAvAdamAM devazAnA pADAnA bhaMDAramAM "zrIpAlarAsa"nI eka citrita hastaprata che. emAM vepAra mATe surata AvatAM vahANonAM citrAMkano AbehUba che. keTalAMka citromAM vRkSo vanarAjionAM dRzyo aMkita karelAM che, jemAM citrakAranAM prakRtipremanuM darzana thAya che. keTalAMka citromAM gIta-saMgIta ane nRtyanuM Alekhana kareluM che. puruSonA hAthamAM vINAnuM citraNa viziSTa ane noMdhapAtra che. gAMdhInagara jillAnA pethApura gAmamAM citrita zrIpAlarAsanI eka hastaprata amadAvAdanA DahelAnA upAzrayamAM che. A pratanAM citra uttara gujarAtanI viziSTa grAmINa zailImAM AlekhAyelAM che. pethApuranAM lokonAM makAnonI dIvAlo para je citro jovA maLe che, tevI ja zailInAM citra A pratamAM cItarelAM che. puruSapAtronAM pAghaDI, lAMbI bAMyanAM aMgarakhA, paTAdAra dhotiyAM ane khesanuM Alekhana AkarSaka che. strI-pAtro gherA vAdaLI raMganI oDhaNI ane lAla raMgano caNiyo dhAraNa karela darzAvAyAM che. citromAM pazupakSI ane vanarAjanuM Alekhana manohara che. hiMdu ane jaina paraMparAmAM sAdhuo ane saMsArIo mATe je jJAnacopATa taiyAra karAtI, temAM citronuM Alekhana karavAmAM AvatuM. emAM devalokanuM, sarponI sIDIonuM, navagrahonuM tema ja jIvayonionuM Alekhana karAtuM. AvI eka 19mI sadInI citrita jaina jJAnacopATa A saMsthAmAM surakSita che. jaina sAdhuo ane zrAvakone A jJAnacopATa batAvI judI judI jIvayonio vividha prakAranA devaloka, svarga ane naraka tema ja mokSano khyAla ApatI jJAnacopATa hiMdu paraMparAmAM paNa taiyAra karAvavAmAM AvatI, jemAM 84 koThAonuM Alekhana karAtuM. A 84 koThAo 84 lAkha yoninuM pratIka manAtA.

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Vol. XI, 1997 gujarAtanA prasiddha hastalikhita.... 113 gujarAta ane rAjasthAnanA lokasAhityamAM gopIcaMdanI kathA ghaNI lokapriya che. A gopIcaMdanI kathA varNavato "gopIcaMda kI zAbdI" nAmano hiMdupaTa A saMsthAmAM sacavAyelo che. emAM A rAjAnA jIvanane lagatAM citronuM Alekhana kareluM che. A citrono samaya Azare 18mI sadIno che. citronI zailI pazcima-bhAratIya che. pAtronI vezabhUSA rAjasthAnI che. bIjA eka hiMdupaTamAM koI hiMdu dharmagurunA gAdIvArasA vakhatanA prasaMgonuM judAM judAM dazyomAM Alekhana karAyuM che. 19mI sadInA pUrvArdhamAM A kapaDAnA paTTamAM judA judA khaMDa pADI prasaMganI ujavaNInAM dazyo cItarelAM che. enA eka dazyamAM naTanartakI UMdhA mAthe nRtya karatAM karatAM paganI madadathI tIra choDatI batAvAI che. enI bAjumAM ene madada karanAra bIjI naTanartakI UbhI che. aMgakasaratanA dAva sAthe nRtya darzAvatuM A citra e samayanI nRtyakalAnI jhAMkhI karAve che. bIjA eka citramAM nRtyakAra strI eka hAthamAM kapaDAnuM banAveluM kamaLanuM phUla rAkhI nRtya karatI jovA maLe che. enA mAthA para pAMca gAgaranuM beDuM che. enI pAchaLa hAthamAM ghUgharAnI paTTI laI be vAdaka strI nRtya karI rahI che. puruSapAtra be hAthamAM maMjIrA vagADe che. strIpAtra mRdaMga vagADe che. eka puruSa sAraMgI jevuM vAdya vagADe che. A samagra citra gujarAta-saurASTramAM lokapriya hAlanA beDA-nRtyano khyAla Ape che. AkhyAno ane citra : gujarAtI bhASAmAM lakhAyela madhyakALanA kavi premAnaMdanAM AkhyAnonI hastaprato A saMgrahamAM upalabdha che. "kuMvarabAInA mAmerA"nI 19mA saikAnI hastapratamAMnA eka citramAM vahelamAM besIne jatAM zeThazeThANInuM Alekhana bhAvavAhI che. paNa vezabhUSA saurASTranI che. vahela lAkaDAnI banAvelI che. emAM kotarakAma ane citrakAma AkarSaka che. zaNagArelA baLadathI haMkArAtI A vahelanAM paiDAM jANe gatimAna darzAvAyAM che. jainetara citrakalAno vikAsa vaiSNava, zaiva ane zakti saMpradAyo dvArA thayo. vaiSNava saMpradAyanI asara nIce lipibaddha thayelI hastapratomAM jayadeva kavinuM gItagoviMda, bAlagopAlastuti ane nArAyaNa kavaca mukhya che. zaiva saMpradAyanI asara nIce lakhAyela kAgaLanI hastapratamAM zivakavaca ane chAyA puruSajJAna mahattvanI che. emAM bhagavAna zivanAM citronuM Alekhana kareluM che. chAyApuruSa jJAnanI 18mA saikAnI eka hastaprata A saMgrahamAM che. emAM vAgha para beThelA zivanuM citra atyaMta AbehUba, mohaka ane AkarSaka che. zive kaMThamAM khoparInI mALA paherI che. jaTAmAM sarpa, be hAthamAM DamaruM ane trizULa dhAraNa karela che. zAkta saMpradAyanI hastapratomAM devI bhAgavata, caMDIpATha mAhAbhya jevA graMtho maLe che. A saMsthAmAM 18mI sadInI eka devI bhAgavatanI hastapratamAM devInAM judAM judAM svarUponAM citra AlekhAyelAM che. emAM mahiSAsuramardinInuM eka jIvaMta citra noMdhapAtra che. sUryanA upAsakono saura saMpradAya kahevAya che. A saMpradAyanI sUrya sahasranAmastotranI

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114 bhAratI zelata; Ara. TI. sAvaliyA SAMBODHI 18mA saikAnI kAgaLa paranI hastaprata sacavAyelI che. emAM bhagavAna sUryanA mAnuSasvarUpanuM citra AlekheluM che. sUryano ratha sAta ghoDAothI haMkArAya che. ratha hAMkanAra sArathinI pAghaDI marAThI DhabanI che. sArathie eka hAthamAM ghoDAonI lagAma pakaDI che, to bIjA hAthamAM pAtaLo daMDa dhAraNa karela che. rathanI madhyamAM sUryanuM mastaka prabhAmaMDaLanI sAthe darzAveluM che. AkhuM citra layayukta gatimAM hoya ema jaNAya che. gujarAta rAjyanA daphatara bhaMDAramAM premAnaMdanI bhAgavata dazamaskaMdhanI eka gujarAtI bhASAnI sacitra hastaprata saMgRhIta che. vaDodarA pAsenA mAMDavImAM lakhAyelI A hastapratamAM kula 365 citro che. citrono samaya 18mI sadInA uttarArdha ane 19mI sadInA pUrvArdha jaNAya che. emAM bakAsuravadha, pUtanAvadha, aghAsuravadha, kRSNanI bALa lIlA, nAgadamana vagere prasaMgonAM bhAvavAdI Alekhano che. vezabhUSA paraMparAgata gujarAtI che. eka citramAM bALakane sUvAnA pAraNAnuM Alekhana kareluM che, je saMkheDAnI kASThakalAnI yAda tAjI karAve che. citrone uThAva ApavA hAMsiyAmAM vela buTTAnI kalAtmaka bhAta upasAvelI che. kavi premAnaMde je bhAva kavitAmAM vyakta karyo che, tene ja citrakAre raMga ane rekhAmAM abhivyakta karyo che. amadAvAdamAM devazAnA pADAnA dayA vimalajI bhaMDAramAM Azare 15mI sadInI kalpasUtranI sacitra suvarNAkSarI hastaprata sagRhIta che, jemAM rAga rAgiNIo jevA saMgIta zAstranAM tathA AkAzacArI, pAdacArI ane bhomacArI jevA bharatanATyazAstranAM rUpo cItarelAM che. pAMjarApoLanA vijayanemisuri jJAnabhaMDAramAM zAMtinAtha caritanI citrita lAkaDAnI paTTI che. amadAvAdamAMnA ujamaphaInI dharmazALAnA graMtha bhaMDAramAMthI eka 14mI sadInI pratamAM mahAvIranuM cyavana, janma nirvANa samavasaraNa vagere prasaMgo cItarelA che. gUjarAta vidyApIThanA graMthAlayamAM 437 jeTalI hastapratono saMgraha thayelo che. emAM saMskRta, prAkRta, hiMdI ane gujarAtI bhASAnI hastaprato che. A hastalikhita graMtho, veda, upaniSada itihAsa-purANa, chaMda, jayotiSa, karmakAMDa, vyAkaraNa jevA viSayone lagatA che. vaDodarAno prAcyavidyA maMdira hastaprata saMgraha : mahArAjA sayAjIrAva trIjAnA apUrva prayAsa ane bhAratIya sAhitya tema ja saMskRti pratyenI emanI apAra premabhaktine pariNAme vaDodarAmAM hastapratono vizALa bhaMDAra astitvamAM AvI zakyo che. vaDodarAnI senTrala lAIbrerImAMnI saMskRta hastapratone judI tAravI teno svataMtra vibhAga prAcya vidyA maMdira nAme astitvamAM Avyo. A saMsthAmAM 20,000 jeTalI hastapratono saMgraha surakSita che. hastapratonAM sUcipatro prakAzita thayelAM che. A saMgrahamAM veda, upaniSada, smRti, vedAMta, vyAkaraNa vagere viSayonI hastaprato sacavAyelI che. keTalIka hastaprato dakSiNa bhAratanI telugu, kannaDa, graMtha, malayAlama ane uttara bhAratanI baMgALI, zAradA, nevArI, uDiyA jevI

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iis Vol. XI, 1997 gujarAtanA prasiddha hastalikhita lipiomAM lakhAyelI che. keTalIka jainetara hastaprato ahIM sacavAyelI che, jemAMnI harilIlA SoDazakalA nAmanA saMskRta graMthamAMthI gujarAtI rUpAMtara karela graMthanI saciprata maLe che. emAM govardhana dhAraNa ane pArvatIdakSa prajApatinAM citro AlekhAyelAM che. A prasaMgonAM citro atyaMta mohaka che. paMcaratna gItA"nI sacitra guTako paNa ahIM che. emAM bhagavadgItAnAM citro noMdhapAtra che. enA dasamA adhyAya vibhUtiyogamAM zrIkRSNa arjunane sRSTimAM sarva sarjanomAM je zreSThatAno aMza che te paramAtmAno che, e prakAre samajAvatAM citro AlekhyAM che. vaDodarAnA haMsavijayajI saMgrahamAM kalpasUtranI 15mI sadInI sonerI zAhIthI lakhAyelI hastapratamAM 8 citro ane apratima kArIgarIvALI suMdara 74 kinAro che. chANInA jaina graMtha bhaMDAro : vaDodarA pAsenA chANI gAmamAM traNa jeTalA bhaMDAro che. kAMtivijayajI saMgrahamAM kula 1120 kAgaLanI ane 3 tADapatrIya hastaprato saMgRhIta che. emAM cAMdInI zAhIthI lakhela 17mI sadInI kalpasUtranI hastaprata noMdhapAtra che. ahIMnA vIravijayajI zAsasaMgrahamAM "oghaniryukti" graMthanI I. sanI 12mI sadInI (1961) prata che, jemAM 16 vidyAdevIo, sarasvatI, lakSmI, aMbikA, brahmazAMtiyakSanA maLI kula 21 citro jaina mUrtividhAnanI daSTie mahattvanAM che. A uparAMta abhayasAgarajI mahArAjanA bhaMDAramAM paNa hastaprato saMgRhIta che. zrImad bhAgavatanI saMpUrNa hastaprata paNa ahIM upalabdha che. IDaranA zeTha ANaMdajI maMgaLajInI peDhInA graMtha bhaMDAramAM kalpasUtra ane kAlakakathAnI 14mI-15mI sadInI sacitra prata che. tADapatranI prata upara sonAnI zAhIthI citro AlekhelAM che. e A pratanI vizeSatA che. kalpasUtranA vadhumAM vadhu prasaMgo A patramAM sthAna pAmyA che. aSTa mAMgalika, mahAvIrano janma, pArzvanAthano janma, nirvANa, emanA yakSa-yakSiI, RSabha devanuM nirmANa vagere citro khUba AkarSaka ane noMdhapAtra che. A uparAMta jAmanagaranI Ayurveda yunivarsiTImAM paNa hastaprato saMgRhIta che. suratanA saradAra paTela myujhiyama, rAdhanapura jUnAgaDha bhAvanagara, mahuvA, pAlitANA, lIMbaDI, boTAda jevAM sthaLoe jJAnabhaMDAro che, jemAM hajAronI saMkhyAmAM ApaNo purANo hastalikhita vAraso sacavAyelo che. lIMbaDInA jaina jJAna bhaMDAramAM kalpasUtranI sacitra suvarNAkSarI hastaprata che. jAmanagaramAM kalpasUtra-kAlaka kathA (I. sa. 1501)nI sacitra hastaprata che. 1886mAM sthapAyelI naDiyAdanI DAhIlakSmI lAIbrerImAM apragaTa hastapratono bhaMDAra sacavAyelo che. emAM saMskRta, gujarAtI bhASAnI hastaprato vipula pramANamAM upalabdha che. A badhI kAvya, jyotiSazAstra, yoga, saMgIta, vijJAna, Ayurveda vagere viSayone lagatI hastaprato ahIM jovA maLe che.

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bhAratI zelata; Ara. TI. sAvaliyA amadAvAda najIka kobAmAM paNa jaina jJAna bhaMDAra astitvamAM Avyo che. emAM jaina ane jainetara sA nI pra vipula saMkhyAmAM che. ahIMnI I sanI sadInI kalpasUtra "bAlAvabodha"nI sacitra hastaprata noMdhapAtra che. 116 SAMBODHI Ama gujarAtanA jJAnabhaMDAro e bhAratIya saMskRti ane sAhityanA bhavya vArasA samAna che. e vartamAna yuganA ane bhAvi peDhInA bhAratIya vidyAnA upAsako ane vidvAnonI moTI mUDI samAna che, jemane A bhaMDAromAM sacavAyelI jJAnasaMpattinI paribhASA, lipi tathA anya saMketonuM jJAna che, tene mATe A jJAnabhaMDAro divya khajAnA rUpa che. bhAratIya lipionA adhyayana mATe, durlabha graMthonI hastapratonA tulanAtmaka abhyAsa ane saMzodhana mATe tema ja prAcIna ane madhyakAlIna itihAsanI sAhityika ane sAMskRtika mAhitI meLavavA mATe AvA jJAnabhaMDAro khUba upayogI nIvaDe tema che.

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sAhityamImAMsAmAM vicArAyeluM rasasvarUpa pArula mAMkaDa 'sAhitya-mImAMsA'-(sA mI.) rumyakanI kRti kahevAI che ane svayaM ruththake 'vyaktivivekavyAkhyAna" tathA "alaMkArasarvasva'mAM teno ullekha karyo che. vidyAnAthe temanA 'pratAparudrayazobhUSaNa'" (athavA pratApadrIya)mAM A kRtino ullekha lekhakanA nAma vagara karyo che. hAla prApta thatI 'sAhityamImAMsA' trivendram saMskRta sIrIjhamAM I. sa. 1934mAM prakAzita thaI che, jemAM vacce ghaNuM badhuM chUTI gayuM che. hastaprata ghaNI badhI khAmIvALI hatI evuM prastAvanAmAM AnA saMpAdaka zrI ke sAmbazivazAstrI jaNAve che. kRtinA AraMbhamAM ke aMtamAM kyAMya lekhakano nAmanirdeza thayo nathI. saMpUrNAnanda saMskRta vizvavidyAlaya vArANasI (I. sa. 1984)e prakAzita karelI 'sAhityamImAMsA' jenuM saMpAdana mahadaMze trivendravALI 'sAhityamImAMsA'ne AdhAre thayuM che. tenuM kartRtva maMkhakane nAme caDAvavAmAM AvyuM che. maMkhaka ruSpakanA ziSya hatA. kartRtvanI carcA bApue mUkIne prastuta lekhamAM ApaNe 'sAhityamImAMsA'mAM nirUpAyelA rasasvarUpane spaSTa karavAno upakrama rAkhyo che. 'sAhityamImAMsA'no mAlavaparaMparA pratye vizeSa jhoka rahelo jaNAya che, kAraNa ke temAM dhanaMjaya-nikane anusarIne tAtparyazakti dvArA rasAnubhUti svIkAravAmAM AvI che, eTaluM ja nahIM, zabdanI vyaMjanAzaktino temAM koI ullekha nathI, je A kRtinI noMdhapAtra vizeSatA che. A aMge dvitIya prakaraNamAM ja sUcavAyuM che : vartate yat paraH zabdaH sa zabdArtha iti sthitiH / etad rasasya prastAve parastAt sAdhayiSyate // -(sA. mI.-trivendram. pR. 7) zabda yatparaka = je artha viSe prayojAyo che, te teno zabdArtha che ane A rasanA prastAva vakhate pachIthI siddha karavAmAM Avaze. prastuta kRtinA chaThThA prakaraNamAM 2sa aMge carcA karavAmAM AvI che, atre tenI saMkSipta noMdha laI rasasvarUpanI ApaNe vistArapUrvaka carcA karIzuM. rasanAM kAraNonI carcAmAM (sA mI 6, pR 54)rasanAM bIja, rUpa ane sahakArI kAraNono ullekha karavAmAM Avyo che. A sivAya rasaniSpattimAM sahakArI evAM anya tattvonuM nirUpaNa paNa karavAmAM AvyuM che. bhAvanA (1) pradhAna ane (2) apradhAna be prakAro kalpavAmAM AvyA che. apradhAna bhAva ATha prakArano che, jene sAttvika bhAvo paNa kahe che. 33 abhyantara bhAvo che, jene vyabhicArI bhAvo kahe che. prAcInoe svIkArelA ATha raso uparAMta zAntano svIkAra paNa sAmI kare che. paraMtu zAntanA sthAyI tarIke 'zama' ke 'nirveda'ne badale 'dhRti'no ullekha karavAmAM Avyo

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pArula mAMkaDa SAMBODHI che. keTalAka AcAryoe ApelA udAtta, manthara ane preyAnuM nAmanA traNa anya rasono ullekha paNa A kRtimAM thayo che. joke teno aMtarbhAva ATha rasomAM thaI zake ema sUcavavAmAM AvyuM che. zRMgAranA bhedo tathA karUNa ane vipralaMbhano bheda paNa batAvAyo che. uparAMta rIti, vRtti vagerenI raso sAthenI upayuktatA darzAvAI che. AraMbhamAM ja rasane "AtmabhUta' kahyo che : kAntayA guNazAlinyA sarvAlaGkArayuktayA / kiM phalaM kAmayAnasya yadi na syAd rasAvahA // tadan guNottara vALamaka #l(raso(fna?bdhi)* tam 2 nAtyAmAM prajJApanapratimAtram II-(g. 14) sA. mI. kAranA mata mujaba strI guNazAlI ane sarva AbhUSaNothI yukta hoya to paNa jo rasAvaha na hoya to tene icchavAthI zuM vaLe? te ja rIte jo kAvya paNa alaMkAra ane guNathI yukta hoya paNa rasa vagaranuM hoya to zuM vaLe? upara uparathI ja AnaMda ApanArA kAvya mATe vidvAnone Adara thato nathI mATe ja rasanuM bIja, rUpa ane sahakArI tathA bIjuM je kaMI rasane mATe yogya che te badhuM prathakAra have spaSTa kare che. rasanuM bIja zuM che? to kahe che - sa bhAvo rasanIyatvaM yatprakarSaH prapadyate / | (sA. nI. pR 14). jeno prakarSa rasanIyatAne pAme che te thayo sthAyI bhAva. vRttimAM kahe che - vastra rAmavat (2) sa vittavRttivizeSo mAvaH | Ama Avo bhAva vizeSa prakAranI cittavRtti ja che. e pachI sthAyI viSe spaSTatA karatAM sA. mI. kAra noMdhe che :viruddhairaviruddhairvA bhAvaivicchadyate na yaH / AtmabhAvaM nayatyanyAn sa sthAyI lavaNAkaH // - (sA. nI. p. 14) arthAta viruddha athavA aviruddha bhAvo vaDe je vicchinna thato nathI ane te sarvane AtmabhAva-potA tarapha dorI jAya che te sAgara' jevo sthAyI bhAva che. vRttimAM sA. mI. kAra spaSTatA kare che : yathA rUmAyAM nikSitaM sarva lavaNaM sampadyate, tathAsmi (na? tri) viSTaM sarvametadrUpatAM pratipadyata tyartha. I (9. 14)

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Vol. xxx, 1997 sAhityamImAMsAmAM vicArAyeluM rasasvarUpa 119 jema mIThuM thatuM hoya tevA sthaLamAM badhe mIThuM ja prApta thAya tema sthAyImAM niviSTa thayelA bhAvo etarUpatAne ja-sthAyirUpatane ja-sthAyitvane ja prApta kare che evo artha che. e pachI viraddha bhAvo viSe sAmI. kAra sodAharaNa carcA kare che. bhAvo bhale viraddha hoya paNa je kavinA kauzalabaLathI nirUpavAmAM AvyA hoya to AzrayanA saMbaMdhane kAraNe vizeSa zobhA pAme che. Ama kyAreka sAkSAt AzrayanA saundaryane lIdhe ayogya vastumAM paNa zobhAvRddhi thAya che, jema ke suMdara strInI AMkhomAM aMjana, je kALuM hovA chatAM zobhe che. kvacidAzrayasaundaryAt dhatte zobhAmasAdhvapi / kAntAvilocananyastaM malImasAmivAJjanam // - (sa. pI. pR. 11). bharatamunine anusarIne "manuSyomAM jema rAjA, ziSyomAM jema guru tema bhAvomAM sthAyI mahAna che." ema jaNAvyuM che. ATha sthAyI bhAvone sAmI. kAre rasanA hetuo kahyA che. ratihAsau tathotsAhavismayau ca krudhAzucau / jugupsA bhayamityaSTau sthAyino rasahetavaH // Ama sA. mI. kAre sthAyIne hetubhUta - kAraNabhUta gaNyo che. e pachI pR. 55thI 57 sudhI sAttvika ane vyabhicArI bhAvonI carcA bharatAdine anusarIne karI che. keTalAkamAM nAmabheda che, jemake, romAMca nAmanA sAttvika bhAvano 'tanyota nAme ullekha karyo che. pratikULa svabhAvanA bhAvo "rasatAne kevI rIte prApta kare athavA to temano "rasopayoga kaI rIte saMbhavI zake e aMge sAmI. kAre rasaprada carcA karI che. pratikUlasvabhAvAnAM bhAvAnAM rasanIyatA / rasaniSpAdakatvena sthAyyantarvartanena vA // yathA bahudravyayutairvyaJjanairbahubhiryutam / AsvAdayanti bhuJjAnA bhaktaM bhaktavido janAH // yathauSadhirasAH sarve madhunyAhitazaktayaH / vimAna vartate taAvA manvanta (2) i (2) (sA. nI. pR. 18) pratikuLa svabhAvanA bhAvonI rasanIyatA be rIte saMbhavI zake : (1) rasaniSpAdakatvathI athavA (2) sthAyImAM (bhAvo) aMtarvartI thavAthI.

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120 pArula mAMkaDa SAMBODHI vaLI jema bahu dravya ane vyaMjanothI yukta bhojana bhojanavido AsvAde che tema rasono AsvAda saMbhavI zake. jema sarva prakAranAM rasAyaNo madhathI balaprada bane tema ja eka sAthe maLIne rahelA vividha bhAvonuM paNa samajavuM. A saMdarbhamAM bIjuM paNa eka daSTAMta sA. mI. kAra Ape che. rasaviddhaM yathA tAnaM lohatvaM pratipadyate / sthAyividdhAstathA bhAvA bhajante rasanIyatAm // -(pR. 18) jema pArAthI harasa-pAro) vadheluM tAMbuM lohatvamAM pariName che tema sthAyIthI viddha thayelA bhAvo rasanIyatAne pAme che. pratikULa svabhAvanA bhAvAnI rasanIyatA rasaniSpAdakatvathI banI rahe che enuM prasiddha udA. taM vIphTa vepazumata sarasAyaSTi vagere che. ahIM Akasmika darzana vagerethI samusthita thayelA Avega ane saMkSobha naisargika rIte ja pArvatInI ratine niSpAdita kare che ane pote paNa (arthAta te bhAvo paNa) rasyatAne pAmyA che. bIjuM udA. sthAyImAM aMtarvartI (bhAvo) hoya tyAranuM che. jemake, yA nyA muhurvatita ramInane ta, vageremAM. ahIM mAdhavanI mAlatI viSenI ratimAM aMtarvartI rahelA viM li. vagere vANIthI AraMbhAtA ane anubhAvita thatA vyAdhi vagere bhAvo paNa AsvAdAya che. e ja rIte rasAnudhA (rasathI anuviddha) bhAvo, jemake, navagrAhaM vimatu to..vageremAM ahIM lAMbA samayanI tapazcaryA pachI kaleza vagerethI janita nirveda, glAni, zrama vagere (bhAvo) pArvatInI paribhASaNaprArthanAparaka vANIthI AraMbhAtA anubhAvone sUcita karatI naisargika (rati) vaDe vistArAya che. Ama pratikULa bhAvo traNa prakAre AsvAdAya che. kAvya vaDe bhAvonI samajaNa sarvathA icchanIya che. A bhAvo kevA hovA joIe ? to sAmI. kAra noMdhe che : manoharairhetukAryasahakArisvavAcakaiH / kAvyaiH samastairvyastairvA bhAvAvagatiriSyate // svanA vAcaka evA manohara hetu (vibhAva) kArya (anubhAva) ane sahakArIthI yukta kAvya vaDe samasta athavA vyastarUpe bhAvone jANavA joIe -bhAvono bodha icchavo joIe. sA. mI. kAra vRttimAM noMdhe che ke hetuthI eTale AlaMbana ane udIpana ema be prakAranA

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121 Vol. X, 1997 sAhityamImAMsAmAM vicArAyeluM rasasvarUpa hetu vaDe-vibhAvo vaDe, jemake, khUba kALAM vAdaLonA gherAvAthI ja vRSTi thAya. kArya dvArA eTale AMgika, vAcika ane sAtvika tathA AhAryarUpa ema cAra prakAranA anubhAvo vaDe. viziSTa nadIne bharI detI varSAnI jema, sahacArIo vaDe eTale smRti vagere rUpa vyabhicArIo vaDe eTale ke eka cakra vaDe anya cakranA gamananA zabda vaDe kAvyamAM bhAvonuM avagamana thAya che. AthI AcAryo kahe che, "bhAvo cAra prakAranA che." (e pachI kRtimAM thoDuM chUTI gayuM che). A bhAvo rasonA upAdAna kAraNabhUta ityAdi vaDe vyakta thAya che. (evI noMdha pachI vAMcavA maLe che.) Ama sAmI. kAre vibhAvo vagerenI samajUtI prasiddha daSTAMto ApIne samRddha karI che. have dazarUpakane anusarIne "rasanuM svarUpa spaSTa kare che - vibhAvairanubhAvaizca sAttvikairvyabhicAribhiH / AnIyamAnaH svAdutvaM sthAyI bhAvo rasaH smRtaH // -(sa. mI. pR. 12) vibhAva, anubhAva, sAttvika ane vyabhicArI bhAva vaDe svAdutvane prApta karAto sthAyI bhAva rasa" kahevAya che. Ama spaSTa che ke sAmI. kAra sIdhesIdho sthAyI bhAvane ja rasa kahe che. A lakSaNa dazarUpakane lagabhaga akSarazaH maLatuM Ave che". Ama sA. mI. kAra bharatathI judI rIte rasanuM lakSaNa Ape che. temaNe dazarUpakakAranI jema ja vibhAvAdi sAthe sAttvika bhAvone judA tAravIne ullekhyA che. bharatamAM AvuM nathI. bhArate to rasasUtramAM "sthAyIno ullekha paNa karyo nathI ane vibhAva, anubhAva ane vyabhicArInA saMyogathI ja rasaniSpatti vicArI che. Ama "sthAyI lakSaNamAM mUkavAthI A lekhaka paNa lolUTAdinI jema thAyI va rasa:'nI paraMparA svIkAre che. TUMkamAM AsvAdya evo sthAyI eTale rasa. jayAre abhinavagupta "thivitakSano rasaH'nI paraMparA svIkAre che. zaMkuke paNa kahyuM hatuM ke ta=lollaTanA khaMDana daramyAna) bharate rasasUtramAM "thAyI' zabda mUkyo hota to zalyarUpa gaNAta, nathI mUkyo te ucita che. anumitivAdI zrI zaMkuka paNa rasa sthAyIthI vilakSaNa che ema mAnatA hovAno pUro saMbhava che. paraMtu agAu noMdhyA pramANe sA. mI. mAlavaparaMparAne jhIlatI kRti hovAthI . . ne anusarIne rasalakSaNa Ape che. rasanuM svarUpa : sA. mI. kAre rasane tAtparyazakti dvArA gatArtha thato batAvyo che. te pahelAM tAtparyavRttinI sthApanA karI che. AraMbhamAM ja kahyuM che ke vAkya vaDe kavi dvArA rasanuM pratipAdana thAya che. vAMco : rasastadartha kavinA vAkyena pratipAditaH / (pR. 82)

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122 SAMBODHI pArula mAMkaDa tadartha eTale sAmAjikonA rasane mATe evo artha che. Ama ahIM graMthakAra sAmAjikone paNa rasa sAthe joDe che. rasane tAtparya zaktithI gatArtha thato batAvatAM sA. mI. kAra noMdhe che : apadArtho'pi vAkyArtho rasastAtparyavRttitaH / (pR. 85) vRttimAM sA. mI. kAre AnuM vigate pratipAdana karyuM che. e sAcuM che ke padArthano anvaya te vAkyartha che ane te jo tAtparyavRttino viSaya hoya to tAtparyanA abhAvamAM padano anvayArtha paNa vAkyartha nahi thAya ane anya tAtparyaviSayaka artha paNa vAkyartha banaze. jemake, viSa yuti - ahIM hitecchu pitAno viSabhakSaNamAM tAtparyano abhAva hovAthI viSabhakSaNa jevuM aniSTa karanArA bIjAnA gharanA bhojanamAMthI nivRtti eTale tene tyAM bhojana na karavuM evA abhiprAyayukta yogya artha che. Ama ahIM apadArtha hovA chatAM paNa rasa tAtparyagocara hovAthI tenuM vAkyarthatva dUra thatuM nathI. A vyutpattisiddha che. e pachI AnA samarthanamAM graMthakAre mammaTanuM lAkSadhiyatAvazad vagere prasiddha uddharaNa paNa TAMkaryuM che. pUrvapakSa kahe che haze, paraMtu bIjI kazyAmAM avagAhana nahIM karanAra tAtparya ja paheluM che. AthI vibhAvAdi padArthanA saMsargathI pratIta thatA vAkyanI tenAthI avinAbhUta zamAdinA rasarUpI dvitIya kakyA che. paraMtu AnuM atikramaNa karIne tRtIya kazyAmAM AvatuM tatsadaza sAmAjikone thatuM rasapratipAdana to dhvanino viSaya che, tAtparyano kevI rIte ? AnA pratyuttaramAM granthakAra potAnA matanI sthApanA karatAM ra. . ne paNa uddhare che. jema tAtparya uddezya na hovAthI prathama parvane = kakSAne choDIne bIjA parvamAM Ave che tema Ane paNa choDIne trIjAne sparze- AcAryoe kahyuM che : te, te kalyAnA bhedamAM bahudhA (tAtparyavRtti) prasaratI hovA chatAM uddezya jayAM sudhI siddha na thAya tyAM sudhI pravarte che. - "tAtparyanI ATale sudhI vizrAnti evuM zA mATe ? jayAM sudhI kAryanuM prasAraNa thAya tyAM sudhI tAtparya jaI zake che, tAtparya kaMI trAjavAMthI toLAtuM nathI ke ATaluM eTale tAtparya) tethI kazyAvibhAga vaDe vAkyatAtparyano samUha yathAruci-abhidhA, vastudhvani athavA vRtti ja che athavA to traNeya vRttithI juduM te tAtparya che mATe bIjI vRtti (=vyaMjanA?) kalpavAnI jarUra nathI, kAraNa ke vidvAnomAM te prasiddha nathI. laukika zabdavRttimAM paNa kAvyanI paddhati yojavI joIe." pratItino krama kalyAnA bhedathI vicArAyo che. AthI vRtti ane tAtparyanA bhedano upanyAsa karavAmAM Ave che. Ama sA. mI. kAra rasane tAtparyathI siddha karI have rasanuM tAtparyaviSayatva darzAvatAM kahe che.

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123 Vol. XI, 1997 sAhityamImAMsAmAM vicArAyeluM rasasvarUpa 123 vize rasadara phU (tti ? ft) mudrA krati hi! - (9. 85) rasanuM tAtparyaviSayatva eTalA mATe ke kavi rasane uddezIne ja sUkti race che. punaH eka pUrvapakSa udbhave che. tenA mata anusAra rasa sAmAjikone Azraye rahelo hoya che. tenuM ja vAkyarthatva iSTa che paNa ahIM (= tAtparyamAM) te ghaTatuM nathI kAraNa ke kavino udeza samAdine Azrita (= anukAryane) rasamAM hoya che. siddhAMtI A AzaMkAno javAba ApatAM kahe che - nA, - sAmanizAnAM hatAM rasa (Ava ? veva) marda tham | iti pravartate kAvye kavistatparamAnasaH // kAraNa ke, sAmAjikonuM hRdaya ja rasanuM adhiSThAna bane mATe - ema pravartita thatA kAvyamAM kavi tatparaka - kAvya taraphanA ke (rasa taraphanA) manavALo hoya che. pUrvapakSa kahe che ke e sAcuM ke kavino sAmAjikonA rasa prati uddeza hoya che paNa tene utpAdita karavA mATe, pratipAdita karavA mATe nahIM, je arthapratIti karAvavA pratye uddeza che te to vAkyartha ja che. eTale rasa vAkyartha banato nathI. siddhAMtI pratyuttaramAM jaNAve che - viziSTaiH zabdasandabhaiMpiyeyaM rasaM yataH / iti pravRtte sukavau teSAmutpadyate rasaH // (pR. 86) viziSTa zabdasandarbha vaDe "huM rasa jaNAvuM chuM ema sukavinI pravRtti che ane temanAthI rasa utpanna thAya che. AgaLa vRttimAM sA. mI. kAra jaNAve che ke utpattimAM ke jJAnamAM hetu ja AdhArarUpa hoya che. athavA utpanna thayelo rasa svayaMprakAzita hovAthI pratItisiddha che tethI udeza sAthe teno (= pratItino) avinAbhAva siddha che. AthI te prakAranI rasotpatti vAkyarthane haNatI nathI arthAt rasa sAmAjikone grAhya hoya che. e pachInI carcAmAM pATha bahu spaSTa nathI (kyAreka saMpUrNanandavALI sA. mI.no AdhAra laI spaSTatA karavAno prayAsa karyo che. pR. 207) - pUrvapakSa zaMkA kare che ke viparyaya kema nathI arthAt vAkyartha kema haNAto nathI? to siddhAMtI kahe che, kAraNa ke vAkya ja pramANa che. arthapratItine uddezIne ja te pravRtta thAya che. AthI rasapratItinA upAdAnathI te tyAM ja vyApI vaLe che. AthI sAmAjikagata rasa pratipAdanano viSaya che, utpattino nahIM ema siddha thayuM.

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l24. pArula mAMkaDa SAMBODHI vaLI vAkyanI arthapratItimAM jJAna ane utpattino eka ja vyApAra nathI, udezaya paNa eka ja che. AthI ja rasa ane kAvyanA bhAvya-bhAvaka saMbaMdhano nirvAha thAya che. AthI AcAryoe kahyuM che - prakaraNAdi vaDe vAcya evI buddhimAM jema kriyA rahelI hoya che, jema vAkyartha kAraka vaDe yukta hoya che, tema sthAyI bhAva bIjAo vaDe yukta hoya che. (= vibhAvAdi vaDe). rasa rasikano ja (= sAmAjikono ja) hoya che, kAraNa AsvAdya che, anukAryano nahIM, temAM raheto nathI ane kAvya paNa tatparaka (anukAryaparaka) hotuM nathI. vAkyathI ja thatI rasapratItimAM pramANa kahe che - prabaMdhanA zravaNa pachI AnaMdanI saMvituthI utpanna thayelAM pulakAdi cihno zrotAmAM pratyakSa jovA maLe che - (A paNa sahRdayomAM rasa raheto hovAnuM pramANa che). vAkyartha rasa che e 'phUlI rinAnane' - vagere vAkyo vaDe jaNAya che. kevI rIte te pratipAdya na hoya ? "kAraNa te te rasanA avinAbhUta vibhAvAdine samarpaka viziSTa evo kavino guMpha rasano pratipAdaka banI rahe che." Ama sA. mI. kAra rasanuM adhiSThAna spaSTa rIte sAmAjikane ja mAne che ane 'thAyI va ra:'nI paraMparA svIkAratA hovA thatAM paNa rasane AnaMdarUpa mAne che. zakya che ke sA. mI. sarva rasone AnaMdarUpa mAnatI hoya. sI. mI. mAM zRMgAranI vibhAvanA sA. mI. kAra bhojane kiMcit anusarIne ahaMkArarUpa zRMgAranI vicAraNA kare che. viziSTAdRSTajanmA yamajamInAmantarAtmA (?)17 // svAtmagAmiguNodbhUtereko hetuH prakAzate / vibhAvaizcAnubhAvaizca sthAyibhirvyabhicAribhiH // sa cetasA rasyamAno rasatAM pratiparUte / tathAbhimAno'haGkAraH zrRGgAra iti cocyate // sahakAriyutevirarthasiddhirataH param / ahaGkArakhyayA kiJcit kimarthaM guru kalpyate // viziSTa, jeno janma (= utpatti) adaSTa che, je prANIonA aMtarAtmArUpa che. (aneka janmonA anubhavathI) potAnA tarapha jatA guNomAMthI (arthAta) svaguNo - AtmasamyaguNomAMthI) utpanna thayelo te (= ahaMkArarUpa zRMgAra) "eka hetunuM prakAzana kare che, (ane) vibhAva, anubhAva, sthAyI ane vyabhicArIo vaDe prakAzita thAya che. sacetaso vaDe rasyamAna thato rasatAne pratipAdita karato abhimAnarUpa "ahaMkAra' ja zRMgAra kahevAya che. sahakArI bhAvothI tenI parama arthasiddhi thAya

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125 Vol. X, 1997 sAhityamImAMsAmAM vicArAyeluM rasasvarUpa che. te abhimAnarUpa "ahaMkAra'nA nAmathI kalpAyo che. bhojanI jema sAmI. kAre paNa sthAyI, vibhAva, anubhAva, vyabhicArIne enI prakRchAvasthAmAM rasarUpe kalpIne temanI vaccenI bhedarekhA dUra karI che. bhojamAM sA. mI. kAre mUkelA "vAtmAnI muLabhUta" e zabdo Asthita guNavizeSam vagere rUpe vAMcavA maLe che. zuM pra 1/ 4) Ama bhojanI jema sA. mI. kAra paNa rasikomAM rahela rasadharma e ja adAra ema mAne che. have prazna thAya che ke zuM A ratyAdio potAnA vaDe, potAnA AlaMbana (bhAva) vaDe utpanna thatA (teo) sarvanA bhAvone utpanna kare che ke koIkanA ? temanuM adhiSThAna zuM ? (arthAtu A ratyAdio kharekhara konA ane temanuM adhiSThAna konuM hRdaya?) jo teo badhAMnA hoya to pachI AkhuM jagata rasika kahevAta paNa tema jaNAtuM nathI, kAraNa ke, koIka Astika (= kharekhara rasika joIe) to koIka nIrasa che ane je daSTa hoya (pratyakSa hoya) tenAthI viparIta jANavuM zakya nathI. AthI ratyAdi bhAvo kaMI sarvanA hotA nathI, koIkanA hoya che. tethI niyamathI niyamita abhidhAna karavuM ghaTe. Ama kaMIka to che ja (ane) ema ja kahetA ho to pachI te daSTa ke adaSTa hovuM joIe. adaSTa nathI, kAraNa ke prApta thAya che. daSTa to sAdhAraNa hoya. AthI pahelAMno doSa lAgaze. (eTale ke sarva jagata rasika banaze.) AthI asAdhAraNa evuM kaMIka ahIM Azraya karIne rahyuM che to te zuM che? kyAM che? (uttara che) te ja "ahaMkArI' (?) nAmathI oLakhAya che. Ama ahaMkArane Azraye raheluM (te kaMIka) A pramANe kalpI zakAya che. te viziSTa ane adaSTajanmA che. daSTa koIkanuM che ema jo kahetA ho to vibhAvAdi sAthe ja ratinI utpatti thatI hovAthI (te daSTa) apekSaNIya che. sarva utpattimaya (= utpanna thanArI) vastuonuM nimitta adaSTa ja hoya che. evuM kalpanAgaurava zA mATe? Ama ahIM kAraNono samUha paNa adaSTa hotAM vaikalyane kAraNe kArya utpanna thatuM nathI ane te dekhAtuM nathI. AthI bhAvanI utpatti thAya che ema atyAre lAge che. Ama sA. mI. kAra abhimAnaahaMkArane samajAve che. rasanuM ratyAdi vagara paNa tyAM tyAM upalakSaNa che, jemake, haratu vicita vagere. sA. mI. kAra AgaLa noMdhe che ke mananI vikAsa, vistAra, kSobha ane vikSepa-A cAra avasthAo koIke (=. . 1) ApI che. prakarSane pAmelA bhAvo 49 che ane te vibhAvanIya che. tene AThanI saMkhyAmAM ja zA mATe niyamita karavAmAM Ave che? cAra avasthAmAM rasanA ATha prakAro kevI rIte? ane cAra avasthA pAramArthika kaI rIte gaNAya ? (kharekhara to) vikAsa e ja vistAra che. kSobha e ja vikSepa che tethI be ja prakAranI

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126 pArula mAMkaDa SAMBODHI vyavasthA kahevI yogya che, viparIta nahIM. ekarUpa AnaMdano bheda kevI rIte kalpI zakAya ? viSNula evA manane kSobha ane vikSepa ucita che ? potapotAne prApta karI sadA AnaMda meLave che. AnaMdanuM vikAsa vagere kAraNa ke kArya nathI. te kAraNatva ke rUpa nathI jemAM cittanuM nimIlana thAya, tyAdinuM kAraNa tenI upalabdhithI AvatuM nathI. AnA prayatnarUpa sukharUpa rasanA tAdAtyane so varSa sudhI paNa kahevuM zakya nathI. tethI cittanA AnukUlyathI duHkhAdimAM paNa je thAya te sukhAbhimAnarUpa rasa che. pAtromAM mukhya te ja che. tethI abhidhIyamAna (kahevAto) athavA zrayamANa (saMbhaLAto) A sarasa che e rIte sabhAsadane bhAvita kare che. tadgata rasa prItimAtrane mATe ja che, tadgata rasa mukhya nathI. e pachI rasanA svarUpa viSe punaH carcA karatAM sA. mI. kAra 49 bhAvo viSe jaNAve che. sthAyI, sAttvika ane vyabhicArInA bhedothI 49 bhAvo kahyA te badhA prakarSarUpa bhAvita karavA (=jANavA). prazna thAya che ke to pachI rasane 49 prakArano kema kahetA nathI, mAtra ATha ja prakArano kema kahyo che ? vaLI jo AnaMdanI mananA vikAsa, vistAra, kSobha ane vikSepane AdhAre cAra avasthA gaNIne (rasa) ATha prakArano zRMgAra, hAsya, vikAsa, vistAra vagere) gaNatA ho to te paNa barAbara nathI, kAraNa ke jo cAra avasthA hoya to mAtra cAra ja prakAro kalpavA joIe. (=ATha nahIM) badhI maLIne kaMI pAramArthika avasthA cAra prakAranI nathI tethI vikAsa ane vistAra vacce ane kSobha ane vikSepa vacce paraspara bheda nathI. AthI avasthAnA be ja prakAro kahevA yogya che. teno eka prakAra kevI rIte kalpI zakAya ? vaLI kSobha eTale mananI asthiratA ane vikSepa eTale viziSTa prakArano lepa. kSobha ane vikSepa kaMI AnaMda upajAvatA nathI. kAraNa AvuM mana svArthanA lopane prApta thayuM hoya che. vaLI AnaMdanI vikAsAdi koI avasthA hotI nathI, kAraNa tenuM liMga = kAraNa nathI, kAraNa ke te vyabhicarita thAya che. mana thoDuMka ja vikase che, pUrNa nahIM. (eTale kAraNarUpa nathI)vaLI AnaMdamAM cittano laya thAya che. AthI te kAryarUpa nathI, kAraNa ke mana to e kArya karanAruM che. Ama kAraNa paNa nathI, kAraNa ke, adbhuta vagere pachI vikAsa ane vistAra jovA maLe che. vaLI ratyAdi zRMgArAdinAM kAraNo che, rUpa eTale kArya nathI. kAraNa te vikAsAdinA prayatnanuM svarUpa che, AnaMda sukharUpa che. AthI ja AsvAdamAM mananA vikAsa vagereno upabhoga barAbara nathI. kAraNa duHkha vageremAM paNa sukhaduHkha anubhavAtAM hovAthI abhimAnarUpa rasa pAtramAM ja mukhya che. targata = te pramANatAne samajIne kavio AnaMda pAme che ane te zrayamANa athavA abhinIyamAna banne sarasa che evuM bhAvana karatA sAmAjiko prItimAtrane pAme che. temanAmAM mukhya rUpe rasa nathI hoto paNa upacarita thAya che tethI rasano vyapadeza karavAmAM Avyo che evo artha che.

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127 vol. XI, 1997 sAhityamImAMsAmAM vicArAyeluM rasasvarUpa A badhA praznono yathAkrama uttara sA. mI. kAra nIce pramANe Ape chee. badhA bhAvonuM rasatva che. mukhyatve eka ja rasa ( =ahaMkArarUpa zRMgAra) che. anya bhAvo sAthe rasatvanA milanamAM lavaNAkaranuM ja sAmya ratyAdimAM che. AthI AnaMda ekarUpa hovAthI (rasanA) bhedo kahevA zakya nathI. chatAM paNa candanAdi jema sukhamAM ja yojAya che tema zRMgAranA dharma vagere bhedo (dharma, artha vagere) kahyA che : kSobhano zabda vaDe upasthApita evo svarUpano koI hetu rasa pratye hoto nathI, jene zabdazakti vaDe jovAmAM Avyo nathI ke pratipAdita karavAmAM Avyo nathI. Ama avasthAonA kAraNatvanI bIjI saMmati iSTa nathI. A avasthAo ja (vikAsa vagere) nimittarUpa hovAthI tene Adya hetu kahI che. amArA mate (= sAmI. kAranA) sAmAjikonuM rasamAM zaraNa te ja saMvit che te ja rIte sAmAjikonA hRdayamAM rasapoSa thAya che. pAtragata rasa to nyUna ke gauNa che. kavi to sAmAjikonA rasane mATe vAkya vaDe pratipAdana karatA hoya che. (pR. 82). Ama sarva bhAvo rasIbhUta thAya che ema je kahyuM che te barAbara nathI. sthAyIonuM lavaNAkara jevuM che kAraNa ke cittamAM rahelA teo badhA saMbaMdhIone svarUpa tarapha laI jatA hovAthI tenI vRddhi karavAmAM samartha che. pUrvapakSa kahe che hoya evuM evo A niyama vaLI zuM che ? koNa jANe che ? vastuno svabhAva kaMI saMbaMdhane yogya hoto nathI. siddhAMtI jaNAve che ke paraMtu ahIM to anubhUti ja ekamAtra pramANa che. rasanI cAra avasthA (vikSepa vagere) ane ATha prakAro kevI rIte hoya te prazna paNa barAbara nathI, kAraNa sAmagrImAM aMtara che. ratyAdisahita jeno vikAsa thAya che te zRMgArasAmagrI che. hAsa vagere sahita hAsyanI sAmagrI judI ja che evuM bIje paNa (= bIjA rasomAM) jANavuM. vikAsa vistArano ane kSobha vikSepano paryAya nathI. vikasitane vistRta na kahevAya ane subhita thayelAne vikSipta na kahevAya. ekarUpavALA AnaMdano kAraNaaucityane kAraNe suMdarIe lagADela caMdananA sparza ane saMgItanA sukhanI jema bhedavyavahAra ghaTe che. zabdanA upasthApananA mAhAbhyane lIdhe kSobha vagerenI pratikULatAnuM paNa rasamAM upAyarUpa- sahya bane che. anupapanna evuM kaMI nathI, vikAsa vagere rasanA kaMI kAraNa nathI tema mAnavuM nakAmuM che. kAraNa teo pAchaLathI thanAra che. AthI phaLanuM svarUpa juduM ja che. vismayathI vikSobha ane vikAsathI AnaMda Ave che evuM samAdhAna thAya che paNa vikAsAdi nimitta nathI. upAdAnakAraNa satyAdi che ane tenAthI janita thato, atizaya guNathI saMpanna yogya pAtronuM AlaMbana karanAra tenA saMvidhAnamAM aucityanI bhAvanAyukta sAmAjikonA AtmAmAM utpanna thatA AnaMdane "rasa' ema kahevAya che. AmAM pramANa anubhava che. bhagavatI prItino viSaya evA sattva (= sAttvikabhAva ?)nA upagamamAM saMvita ja zaraNa che ema AcAryoe kahyuM che. Ama rasanuM tadartha arthAt sAmAjikanA rasane mATe kavie vAkya vaDe pratipAdana karyuM hoya che.

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18. pArula mAMkaDa SAMBODHI upasaMhAra : sA. mI.mAM nirUpAyelA rasasvarUpanI mImAMsA karatAM nimnokta tAraNo para AvI zakAya. sA. mI. e rasanuM svarUpa 6. . AdhAre nirdhArita karyuM che. AthI bhArate jema rasalakSaNamAM sthAyI' pada mUkyuM nathI tevuM temAM nathI. sA. mI. kAra paNa "sthAyI' padane rasalakSaNanI aMdara ja samAviSTa kare che. A rIte 4. stra ane sA. mI. banne "zAvI va ra:'nI paraMparA svIkAre che. banne "thAyI' ne lavaNAkara jevo kahe che. Ama chatAM ra. .. kAranI jema ja sAmI. kAra paNa rasane sukhaduHkhAtmaka mAnatA nathI paraMtu AnaMdAtmaka ja mAne che. nATyadarpaNakAranuM rasalakSaNa . . nI najIka che chatAM teo sukhaduHkhavAdanA puraskartA banI rahyA che. paraMtu sAmI. kAra . nI jema spaSTapaNe rasane AnaMdamaya svIkAre che, ane Ama abhinavaguptanI najIka jaNAya che. temanI jema paNa saheja judA zabdomAM sA. mI. kAra noMdhe che ke bhagavatI prItinA viSayamAM svasaMvita ja zaraNarUpa che. abhinavagupta rasane nijasaMvatanI vizrAMtirUpa mAnyo ja che. Ama mammaTe jema vya: sa saimAvA miAvo : mRtaH e kathanamAM jema sthAyIno ullekha karyo che tevuM sA. mI. kAranuM paNa mAnavuM rahyuM. ahIM alabatta vyaMjanAnuM sthAna tAtparyazakti le che. sA. mI. kAra rasanuM adhiSThAna rasikane ja mAne che. (pR. 80) abhinavaguptanI jema sAmAjika zabda paNa temaNe rasikane mATe prayojyo che. (pR. 82) rasane anukAryagata mAnyo nathI. anukAryagata rasane mukhya mAnanArAnuM temaNe khaMDana paNa karyuM che ane pratipAdana to sAmAjikanA rasapakSe ja mukhya hoya tevuM siddha karyuM che. Ama rasanA AsvAdanI bAbatamAM . nI jema sa. pI. kAra paNa abhinavaguptanI najIka hovA chatAM vyaMjanAne svIkAratA nathI ane rasane tAtparyathI ja gatArtha thato mAne che. 4. raNa nI gherI asara chatAM vyaMjanAnuM khaMDana sAmI. kAre karyuM nathI e noMdhapAtra che. vaLI rasanA saMdarbhamAM sA. mI. kAre vyaMgyavyaMjakabhAva saMbaMdha svIkAryo nathI paNa bhaTTanAyaka ane dhanaMjaya-dhanikanI jema rasane bhAvyamAna thato svIkAryo che ane eTale bhAvya-bhAvaka saMbaMdha svIkAryo che. abhinavaguptanI abhivyakti dArzanikonI abhivyakti karatAM sAva judI che eTale rasa temane mate pUrvasiddha mAnavo anivArya nathI. A vastu bhaTTanAyaka ane rU. 2, kAranI jema sA. mI. kAra paNa pakaDI zakyA nathI eTale rasane teo abhivyaMjita mAnatA nathI paNa bhAvita thato mAne che. vikAsa, vistAra vagere 4 avasthAo H ne anusarIne sI. bI. e svIkArI che. bhAratanA 4 prakRti ane 4 vikRti raso sAthe tenuM sAmya che. sA. mInI zRMgAravibhAvanA bhoja ane agnipurANa(a. pu)kArane maLatI Ave che. Ama chatAM A samagra bhAga bhraSTa ane aspaSTa pAThone kAraNe bahu spaSTa thato nathI. chatAM eTaluM noMdhI zakAya ke sAmI. kAra abhimAna-ahaMkArarUpa zRMgArane svIkAre che. bhoje sUcavelI rasanI parA vagere koTio viSe sA. mI. kAra spaSTatA karatA nathI. rasanuM svarUpa ahaMkArarUpa zRMgAra hovA chatAM AnaMdasvarUpa che. aMte AtmAmAM utpanna thatA AnaMdane temaNe "rasa' kahyo che. a. pu. kAra paNa AnaMdane zRMgArano svAbhAvika dharma gaNAve che. bhoja to ahaMkAramAMthI udbhavatA AnaMdane

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129 Vol. xi, 1997 sAhityamImAMsAmAM vicArAyeluM rasasvarUpa cidAnaMdathI UtaratI koTimAM mUke che eTale A saMdarbhamAM paNa sAmI. kAra bhojane badale abhinavagupta tarapha DhaLatA lAge che. ema lAge che ke upacita sthAyIne paNa sA. mI. kAra svIkAratA nathI. vaLI zRMgArane ekamAtra rasa svIkAratA hovA chatAM bhojanI jema badhA ja bhAvone rasarUpe svIkAratA hoya ema paNa jaNAtuM nathI. TippaNa: 1. vyaktivivekavyAkhyAna, saM. DaoN. revAprasAda dvivedI, caukhambA saMskRta sIrIjha oNphisa, vArANasI, I. sa. 1964, pR. 286. 2. alaMkArasarvasva, saM. DaoN. revAprasAda dvivedI, caukhambA saMskRta sIrIjha oNphisa, vArANasI, I. sa. 1971, pR201. 3. prapazcitaM ca sAhityamImAMsAyAm / 'nAyakaguNagrathitAH sUktisrajaH sukRtinAmA kalpamAkalpanti' iti / - pratApadrIya, saM. esa. candrazekhara zAstrIgala bAlamanoramA presa, madrAsa, Isa. 1914, pR. 8. 4. juo "sAhityamImAMsA'nI saMskRta prastAvanA, (pR. 2) saMpA. ke. sAmbaziva zAstrI, trivendram saMskRta sIrIjha, trivendram, I. sa. 1934. 4. History of Sanskrit Poetics - Dr. De; Vol-1 Firm K.L.M.P.L.T.D., Calcutta P-183. 1976. 6. saMparyAnanda vizvavidyAlaya dvArA prakAzita sA. mI.mAM 4 cihnavALo pATha yogya mAnyo che. 'raNotiyuM ja vizeSa yogya jaNAya che, kAraNa ke to ja kArikAnI prathama paMktino saMdarbha baMdha bese. 7. A pATha aMge sA. mI.(saMpUrgAnandomAM A pramANe pAdaTIpamAM noMdha che. - dRti : pati: sAdhike (2) vA samIvInam | 8. tulanA karo : 8. hR. 4/rUSa sAthe - e ja zabdo che - viruddhairaviruddhairvA bhAvairvicchidyate na yaH / AtmabhAvaM nayatyanyAnsa sthAyI lavaNAkaraH // ru. saM. TI. veMkaTAcArya, adyAra lAIbrerI enDa risarca senTara, adyAra, madrAsa, I. sa. 1969. 9, saMparzAnana vizvavidyAlaya dvArA prakAzita sAta mIDamAM A pAThane pAdaTIpamAM sammAjita karIne A pramANe mUkyo che. - tarthavatra di manyate (pR70) prastuta pATha svIkArI zakAya tevo che. 10. "vAkyapadayamAM paNa A uddharaNa che, saheja pheraphAra sAthe yathauSadhirasaH sarve madhunyAhitazaktayaH / avibhAgena vartante saMkhyAM tAM tAdRzI viduH // - (3/38 pR. 102, saMpUrNAnandavALI sA. mI. pR. 70 para uddhata) 11. sarakhAvo :- 4 ra 8/1 vibhAvairanubhAvaizca sAttvikairvyabhicAribhiH / AnIyamAnaH svAdyatvaM sthAyIbhAvo rasaH smRtaH //

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130 pArula mAMkaDa SAMBODHI sA, mImAM vAkuvaM pATha che eTalo bheda che. 12. sAmImAM zRMgArAdi rasonI carcA paNa karavAmAM AvI che (pR. 12 para) paraMtu ahIM rasasvarUpanI carcAno upakrama hoI A aMge noMdha ja levAmAM AvI che. 13. DaoN. gaurInAthazAstrI saMpAdita sAta mImAM "papretAtra paramAtha' - evo pATha sUcavavAmAM Avyo che. juo sA. mI. saMpUrNAnaMda saMskRta vizvavidyAlaya, vArANasI, I. sa. 1984, pR. 207, pAdaTIpa naM. 2. 14. advitIyakakSyAvagAhi tAtparya prathamam / ato vibhAvAdipadArthasaMsargapratItimato vAkyasya tadavinAbhUtarAmAdirasalakSaNA dvitIyakakSyA / - (tA. mI. 9. 8) 15. yathA tAtparyamardezyatvat prathamaM parva vidAya tithimavahate, tagaeNta tyajya tRtIya kRt | sA. mI. 16. ataH sAmanAto raH: pratipAdyatayoddezaviSa: no(papa ? tyA)ghatati siddham | a, te vAvI jJaptyutpattyoreko vyApAraH, uddezyamapyekamiti ca / ato rasakAvyayorbhAvyabhAvakatvamapi niyUMDham / - ( mI. mI. saMpUrNAnaMda, pR101) 17. prastuta pATha saMpUrNAnaMdavALI sI. mI. mAM paNa yathAvata che. (pR. 24). pAThamAM garabaDa lAge che. kharekhara to bhojanA sarasvatIkaMThAbharaNa(sa. ke.)ne AdhAre A padya mukayuM che - viziSTAdRSTajanmAyaM janminAmantarAtmasu / mAtmasaTokUtevo hetuH prAte (. . 2) 18. sA. mI. pR94. 19. te tAm tivagere pR. 96. 20. 8 rU. 4/34 paranI laghuvRtti. saMdarbhagraMtho : 1. dhanaMjaya-dhanikakRta dazarUpaka ane avaloka, laghuvRtti sAthe, saM. TI. veMkaTAcArya, adyAra lAIbrerI enDa risarca senTara, madrAsa, I. sa. 1969. 2. bhojakRta zRMgAakAza - saM. josTara ane posTara koronezana presa, maisUra, I. sa. 1963. 3. bhojakRta sarasvatIkaMThAbharaNaH (jagaddhakRta TIkA sAthe) saM - kedAranAtha ane vAsudevazAstrI. nirNayasAgara muMbaI, I. sa. 1934. 4. rucyakakRta alaMkArasarvasva, saM. - DaoN. revAprasAda trivedI, caukhambA saMskRta sIrIjha oNphisa, vArANasI. I. sa. 1971. 5. vyaktivivekavyAkhyAna saMDaoN. revAprasAda dvivedI, caukhambA saMskRta sIrIjha oNphisa, vArANasI. I. sa... 1964. 6. sAhityamImAMsA - saM. ke. sAmbazivalAsI, trivendram saMskRta sIrIjha, trivendram - I. sa. 1934. 7. sAhityamImAMsA - saMta zrI gaurInAthazAstrI, saMpUrNAnaMda saMskRta vizvavidyAlaya, vArANasI. I. sa. 1984. 8. vidyAnAthakRta pratAparudrIya saMesa. candrazekharazAstrIgala bAlamanoramA presa, madrAsa, I. sa. 1914. 6. History of Sanskrit Poetics - Dr. De vol-1, Firm K. L. M. P. LTD. Calcutta p.183

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Vol. XXI, 1997 sAhityamImAMsAmAM vicArAyeluM rasasvarUpa 131 1976. 10. Bhoja's Srngaraprakasa Dr. V. Raghvan, 7, Sri Krishnapuram Street, Madras, 1963. 11. bhAratIya sAhityazAstranI vicAraparaMparAo, - tapasvI nAndI, dvitIya saMzodhita AvRtti, yunivarsiTI graMthanirmANa borDa, I. sa. 1984. " 12. arthAlaMkAronI vikAsayAtrAnA saMdarbhamAM "alaMkArasarvasvakAra rudhyaka eka adhyayana - aprakAzita mahAnibaMdha, pArula mAMkaDa, gujarAta yunivarsiTI, I. sa. 1975. 13. agnipurANoktaM kAvyAlaGkArazAstram, saM. DaoN. pArasanAtha dvivedI, saMpUrNAnaMda vizvavidyAlaya, vArANasI, I. sa. 1985.

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jaina AcAryone mate kavinuM svarUpa ane prakAro aMbAlAla prajApati je kAvyanA rasAsvAdathI sahRdayane alaukika AnaMdanI anubhUti thAya che, te kAvyanA racayitA arthAt kavinuM svarUpa zuM che ? tenI jijJAsA svAbhAvika che. A viSayamAM alaMkArazAstrIoe be prakAre vicAra karelo che. prathama koTimAM evA alaMkArazAstrIo Ave che ke jemaNe kavinuM svarUpa spaSTa rIte kahyuM che. AvA AlaMkArikomAM rAjazekhara, vinayacaMdrasUri, vijayavarNA, ajitasena vagereno samAveza thAya che. bIjI koTimAM evA AlaMkArikono samAveza thAya che ke jemaNe kAvyakAraNavyAjathI kavinA svarUpanuM varNana karyuM che. temAM AcArya bhAmaha, daMDI, mammaTa, vAlmaTa-prathama, hemacaMdranarendraprabhasUri, vAlmaTa-dvitIya tema ja bhAvadevasUri vagereno samAveza thAya che. kAlakramanI dRSTie vicArIe to lagabhaga badhA ja jaina-AcAryo hemacaMdra (vi. saM. 1145thI 1229)nA anugAmI che. tethI hemacaMdranA purogAmI AlaMkArikono kavisvarUpa vicAra pUrvaprApta che. alaMkAra saMpradAyanA pratinidhi AcArya bhAmahe kavinA svarUpanuM spaSTa nirUpaNa na karatAM kAvya-kAraNanA vyAje tenuM kathana kareluM che. temaNe lakhyuM che ke, vyAkaraNa, chaMda, abhidhAna (koza) artha, itihAsanI Azrita kathAo, lokavyavahAra, tarkazAstra ane kalAonuM kAvyanI racanA karanAra kavie manana karavuM joIe. A saMpUrNa vivecana vyutpattinI aMtargata Ave che, tethI je vyaktine uparyukta viSayonuM jJAna hoya te abhyAsanA mAdhyamathI kavitA karI zake che, arthAt te kavi che. rAjazekhare " varNana' dhAtuthI kavinI utpatti mAnI che, jeno artha thAya che varNanakartA arthAtu je varNana kare te kavi kahevAya che. A uparAMta temaNe anyatra lakhyuM che ke pratibhA ane vyutpattithI yukta hoya, te kavi kahevAya che. AcArya daMDIe kAvyasaMpattinAM kAraNonI carcA karatAM kahyuM che ke, svabhAvotpanna pratibhA, atyaMta nirmala zrutAdhyayana ane tenI yojanA kAvya-saMpadA che. arthAt daMDI anusAra pratibhA ane zrutAbhyAsa A baMne kavimAM hovAM anivArya che. AcArya mammaTe joke kavinA saMbaMdhamAM spaSTa rUpathI kaMI lakhyuM nathI topaNa kAvyakAraNavyAjathI temaNe kavinI yogyatAnuM kathana avazya kareluM che. temanA mata pramANe svAbhAvika pratibhA (zakti), loka, zAstra tathA kAvyazAstranA paryAlocanathI utpanna nipuNatA tema ja kAvyaracanAnA jJAtA gurunA mArgadarzana nIce kAvyanirmANano abhyAsa A traNa guNothI yukta vyakti kAvyaracanAnI yogyatA dharAve che". arthAt te kavi padano adhikArI che. bhUmikArUpe hemacaMdranA purogAmI AcAryonA kavisvarUpanuM nirUpaNa karyA pachI have ApaNe hemacaMdra ane temanA anugAmI jaina AcAryonA kavi svarUpanI carcA karIzuM.

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Vol. XI, 1997 jaina AcAryo mate kavinuM.... 133 AcArya hemacaMdra paNa kAvyakAraNavyAjathI pratibhAne ja kavinI yogyatA tarIke svIkArI che. arthAt kavi te che ke je pratibhAvAna hoya. tenA samarthanamAM temaNe bhatautanA kAvyakautukamAMthI uddharaNa ApatAM lakhyuM che ke, navA navA arthono unmeSa karanArI vizeSa prajJA te pratibhA che ane tenAthI anuprANita varNana karavAmAM nipuNa kavi kahevAya che. AcArya vAlmaTe (prathama) kavinA svarUpanuM spaSTatAthI varNana karyuM nathI topaNa teo kAvya kAraNavyAjathI pratibhAne ja kavinI yogyatA tarIke svIkAre che. AcArya narendraprabhasUri kAvyakAraNavyAjathI kavi svarUpanuM nirUpaNa karatAM kavimAM pratibhAnI AvazyakatAno svIkAra kare che. tenA samarthanamAM temaNe paNa bhaTTatautanA kAvyakautukamAMthI ukta uddharaNa prastuta kareluM che. vinayacaMdrasUrie kavinuM lakSaNa karatAM kahyuM che ke, zabdArthavAdI, tattvajJa, mAdhurya, oja Adi guNono sAdhaka, dakSa, vAgmI, navIna arthono udyotaka, artha ane vAkyanA doSono jJAtA, citrakAra, kavimArganuM anusaraNa karanAra, alaMkAra ane rasano jJAtA, balpasauSThava tema ja padbhASAonA niyamomAM niSNAta, paDradarzanono jJAtA, nityAbhyAsI, laukika vastuono jJAtA ane chaMdazAstrajJa kavi kahevAya che. kavinA uparyukta lakSaNamAM vinayacaMdrasUrinuM mAnavuM che ke kavie saMpUrNa viSayonA jJAtA hovuM Avazyaka che, pachI te laukika hoya ke alaukika, guNa hoya ke doSa, rasa hoya ke alaMkAra, vyAkaraNa hoya ke darzana. kavinA svarUpa vize ATaluM spaSTa ane vistRta varNana anyatra jovA maLatuM nathI. AcArya vijayavarNIe kavi svarUpanuM nirUpaNa karatAM lakhyuM che ke, pratibhA-zaktisaMpanna tathA vyutpatti ane abhyAsathI yukta aDhAra sthAnonuM varNana karavAmAM nipuNa vyakti kavi che athavA zakti, nipuNatA ane kavi-zikSA A traNethI yukta tathA rasabhAvanA parijJAnarUpa guNothI yukta kavi che. A rIte vijayavarNIe kavisvarUpanuM nirUpaNa be prakAre kareluM che. paraMtu temAM pahelo prakAra mahattvapUrNa che, kAraNa ke temAM pratibhA, vyutpatti, abhyAsa ane aDhAra sthAnonA varNananI vAta karavAmAM AvI che. jo sUkSma dRSTithI vicAra karavAmAM Ave to aDhAra sthAnonuM varNana karavAnI nipuNatAno pratibhAmAM ja aMtarbhAva thaI jAya che. paraMtu vijayavarTI dvArA nirUpita kavi svarUpamAM aDhAra sthAnonA varNananI carcAnuM AgavuM mahattva che. te aDhAra sthAno kayAM che? tenuM vivecana karatAM ajitasene lakhyuM che ke, caMdrodaya, sUryodaya, maMtra, dUtasaMpreSaNa, jalakrIDA, kumArodaya, udyAna, samudra, nagara, Rtu, parvata, surata, yuddha, prayANa, madhupAna, nAyaka-nAyikAnI padavI, viyoga ane vivAha. A aDhAra varNanIya viSaya keTalAka loko mAne che. AcArya ajitasene kavisvarUpanuM nirUpaNa karatAM lakhyuM che ke, pratibhAzAlI, nAnA prakAranAM varNanomAM kuzaLa, vyavahAramAM nipuNa, bhinna viSayonA adhyayanathI kuzAgrabuddhi ane vyutpattivALo kavi kahevAya che. ajitasenanA A kavisvarUpamAM mAtra kAvya-kAraNono ja samAveza che. vADmaTadvitIya ane bhAvadevasUrie paNa kAvya-kAraNanA mAdhyamathI ja kavinA svarUpa ke tenI yogyatAnuM nirUpaNa kareluM che. bhinna bhinna AlaMkArikoe kavinA svarUpa vize karelI carcAnA niSkarSarUpe kahI zakAya ke

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134 aMbAlAla prajApati SAMBODHI AcArya vinayacaMdrasUrie "kAvyazikSA'mAM kavinA svarUpanuM nirUpaNa jeTalI spaSTatA ane vyApakatAthI kareluM che tevuM anyatra jovA maLatuM nathI. joke rAjazekhare "kAvyamImAMsAmAM kavisvarUpanA nirUpaNano uttama prayAsa karelo che chatAM te eTalo spaSTa nathI. uparyukta tathyothI eTaluM to spaSTa thAya che ke kavine pratyeka viSayanuM sAMgopAMga jJAna hovuM joIe, tyAre ja te dareka viSaya para adhikArapUrNa rIte kalama calAvavAmAM samartha thaI zake che. upara joyuM te pramANe keTalAka AcAryoe kavinuM svarUpa athavA tenI yogyatAnuM varNana kareluM che, paraMtu vAstavikatA e che ke kAvya-kAraNa e bIjuM kaMI nathI paNa kavinA guNo athavA tenI yogyatAnuM ja kathana che. Ama kavinI yogyatA, buddhimattA ane pratibhA para ja kAvya-sarjana avalaMbita che, tethI kAvyanirmANamAM kavinI yogyatAnuM mahattvapUrNa sthAna che. upara pramANe kavinA svarUpanI vistArathI carcA karyA pachI have ApaNe AcAryoe ApelA kavinA prakAronI carcA karIzuM. vibhinna AcAryoe potAnI vicArasaraNInA AdhAre kavinA prakAro prastuta karelA che, temAM rAjazekhara agraNI che. rAjazekhare kavinA prakAro ApavAmAM nIce pramANe 6 AdhAro svIkArelA che : (1) viSayavivecana (2) avasthA (3) kAvyakalAnI upAsanA (4) pratibhA (5) racanAnI mauliktA ane (6) arthApaharaNa. (1) viSayavivecananA AdhAre sarvaprathama traNa prakAro pADelA che. zAstrakavi, kAvyakavi ane ubhayakavi. zAstrakavinA traNa prakAra che - zAstronI racanA karanAra, zAstramAM kAvyano samAveza karanAra ane kAvyamAM zAstrano samAveza karanAra. kAvyakavinA ATha prakAra che - racanAkavi, zabdakavi, arthakavi, alaMkArakavi, uktikavi, rasakavi, mArgakavi ane zAstrArthakavi. (2) avasthAnA AdhAre kavinA daza prakAro pADavAmAM AvyA che - kAvyavidyAsnAtaka, hRdayakavi, anyApadezI, sevitA, ghaTamAna, mahAkavi, kavirAja, Avezika, avicchedI ane saMkrAmayitA. (3) kAvyakalAnI upAsanAne AdhAre cAra prakAra pADelA che - asUryapazya, niSaNa, dattAvasara ane prAyojanika7. (4) pratibhAnA AdhAre traNa prakAro ApelA che - sArasvata, AbhyAsika ane aupadezika. (5) racanAnI maulikatAne AdhAre cAra prakAro pADyA che - utpAdaka, parivartaka, AcchAdaka ane saMvargakara. (6) arthApaharaNane AdhAre pAMca prakAro che - bhrAmaka, cuMbaka, karSaka, drAvaka ane ciMtAmaNi3. AcArya vijayavarNAe mAtra kAvyakavinA prakAro para vicAra karelo che. temanA mate

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Vol. XI, 1997 jaina AcAryo mate kavinuM.... 135 kAvyakavinA sAta prakAro che - (1) rocika, (2) vAcika, (3) Artha, (4) zilpika, (5) mArdavAnuga, (6) vivekI ane (7) bhUSaNArthI. temanuM svarUpa nIce pramANe che - (1) rocika-je kavi potAnI ruci pramANe vAraMvAra zabda athavA arthano tyAga athavA grahaNa kare che. (2) vAcika-mAtra zabdonA ADaMbarane icchanAra, (3) Artha-mAtra arthavaicitryane icchanAra. (4) zilpika - zabda ane artha e baMnenuM varNana icchanAra. (5) mArdavAnuga- mUdu zabda ane arthanI racanA karanAra, (6) vivekI - zabda ane artha saMbaMdhI guNa ane doSone jANanAra, mahAkavionA mArgano jJAtA tema ja aneka zAstromAM nipuNala. (7) bhUSaNArthI - divyAlaMkAra saMyojanamAM tatpara. jainAcArya ajitasene kavinA traNa prakAro mAnyA che- mahAkavi, madhyama kavi ane anya (adhama) kavi. temanuM svarUpa nIce pramANe che : (1) mahAkavi kAzikSAno anugAmI, saMpUrNa raso ane bhAvono jJAtA tema ja zAbdika saMpUrNa kAvyAMgonA jJAnathI prasannacitta hoya che, (2) madhyama kavimAM koI kavi zabdasauMdarya, koI arthasauMdarya, koI samAsayukta to koI samAsarahita padasamUhanI icchA karanAro hoya che. koI komala racanAnI icchA kare che, koI phuTa prasAdaguNaviziSTa racanA Icche che, koI madhyama prakAranI racanA icche che. A badhA madhyama kavi chera, (3) anya kavi- upara jaNAvI tenAthI bhinna prakAranI racanAnI IcchA karanAro anya kavi kahevAya che. upara karelA vivecana parathI jaNAya che ke rAjazekhare je rIte vibhinna AdhArone dhyAnamAM rAkhIne kavinA prakAronuM nirUpaNa karyuM che, tevuM anya jaina AcAryoe kareluM nathI topaNa jainAcArya vijayavarTI dvArA kAvyakavinA prakAranA nirUpaNamAM karelo prayAsa uttama che. jaina AcArya ajitasene kavinA sAmAnya traNa prakAro pADelA che. temaNe madhyama kavinI aMtargata aneka kaviprakArono samAveza karelo che, te eka rIte yogya ja che.

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136 aMbAlAla prajApati SAMBODHI pAdaTIpa : 1. kAvyAlaMkAra : bhAmaha, 1/9. 2. kAvyamImAMsA, pR. 17. 3. pratibhAvyutpattimAMzca kaviH kavirityucyate / - ejana, pR. 43. 4. kAvyAdarza, 1/103. 5. zaktinipuNatAlokazAstrakAvyAdyavekSaNAt / ____ kAvyajJazikSayAbhyAsa iti hetustadudbhave // -kAvyaprakAza, 1/3. 6. kAvyAnuzAsana, 1/4. 7. ejana, 1/3 vRtti / 8. vAgbhaTAlaMkAra, 1/3. 9. alaMkAra-mahodadhi, 17. 10. prajJA navanavonmeSazAlinI pratibhA matA / tadanuprANanAjIvadvarNanAnipuNaH kaviH // - ejana, 17 vRtti / 11. zabdArthavAdI tattvajJo mAdhuyA~jaHprasAdhakaH / dakSo vAgmI navArthAnAmutpattipriyakArakaH // zabdArthavAkyadoSajJacitrakRt kavimArgavit / jJAtAlaMkArasarvasvo rasavid bandhasauSThavI // . SaDbhASAvidhiniSNAtaH SaDdarzanavicAravit / nityAbhAsI ca lokajJazchandaHzAstrapaTiSThadhIH // -kAvyazikSA, 4/153-155 / 12. zRMgArArNava-candrikA, 2 / 1-2 / 13. candrArkodayamantradUtasalilakrIDAkumArodayo dyAnAmbhodhipurartuzailasuratAjInAM prayANasya ca / varNyatvaM madhupAnanAyakapadavyorvipralambhasya ca kAvye'STAdazasaMkhyakaM yatavivAhasyApi kecidvidaH // - alaMkAracintAmaNi, 1 / 68 / 14. alaMkAracintAmaNi, 1 / 8 / 15. kAvyAnuzAsana-vAgbhaTa dvitIya, pR. 2-3, 7 / 16. kAvyAlaMkAra-sArasaMgraha, 1 / 3-4 / 17. kAvyamImAMsA, pR. 43 / 18. ejana, pR. 44 / 19. ejana, pR. 49-50 /

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Vol. XXI, 1997 haina Aryo bhane vi.... 137 20. ejana, pR. 137 21. ejana, pR. 32 / 22. ejana, pR. 158 23. ejana, pR. 164 24. zRMgArArNavacandrikA, 2 / 3 / 25. zaMgArArNavacaMdrikA, 2 / 4 / 26-30. ejana, 2 / 5-7 / 31. alaMkAracintAmaNi, 2 / 3 / 32. ejana, 1 / 104-105 / 33. ejana, 1 / 104-105 / saMha aMtho : 1. kAvyAlaMkAra : bhAmaha, bhASyakAra - devendranAtha zarmA, prakA. bihAra rASTrabhASA pariSad, paTanA, san 1962. 2. kAvyamImAMsA : rAjazekhara, vyA. - DaoN. gaMgAsAgara rAya, caukhambA vidyAbhavana, vArANasI-1, pra. saM., vi. saM. 2021. 3. kAvyAdarza : daMDI, anu. vrajaratnadAsa, prakA. zrI kamalamaNi granthamAlA kAryAlaya, bulAnAlA, kAzI, vi. saM. 1988. 4. kAvyaprakAza : mammaTa, vyA. jhalakIkara vAmanabhaTTa, prakA. nirNayasAgara presa, bambaI, dvitIya saMskaraNa, 1901. 5. vAgbhaTAlaMkAra : vAgbhaTa-prathama, anu. pro. udayavIrazAstrI, prakA. maheracaMda lakSmaNadAsa, lAhaura dvi. saM., 1935. 6. kAvyAnuzAsana : hemacandra, saM. paM. zivadatta zarmA, prakA. nirNayasAgarapresa, dvi. saM. san 1934. 7. alaMkAramahodadhi : narendraprabhasUri, saMpA. lAlacanda bhagavAnadAsa gAMdhI, prakA. jI. o. esa. baDaudA, 1942. 8. kAvyazikSA : vinayacaMdrasUri, saMpA. DaoN. hariprasAda zAstrI, prakA. lA. da. bhAratIya saMskRti vidyAmaMdira ahamadAbAda, 1964. 9. zRMgArArNavacandrikA : vijayavarNI, saMpA. vAmana mahAdeva kulakarNI, prakA. bhAratIya jJAnapITha, pra. saM. san 1969. 10. alaMkAracintAmaNi : ajitasena, saMpA. anu. DaoN. nemicaMdra zAstrI, prakA. bhAratIya jJAnapITha, pra. saM. 1973 ii.| 11. kAvyAlaMkArasAra-saMgraha : bhAvadevasUri, (alaMkAramahodadhi ke aMtameM pR. 343 se 356 taka prakAzita) /

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REVIEWS N. M. Kansara AYARANGA WORD INDEX AND REVERSE WORD INDEX, Yamazaki, Morichi and Ousaka, Yumi - Philologica Asiatica Monograph series 8, The Chuo Academic Research Institute, Tokyo, 1996, pp. ii + 105. SUYAGADA WORD INDEX AND REVERSE WORD INDEX, Yamazaki, Morichi and Ousaka, Yumi - Philologica Asiatica Monograph Series 9, The Chuo Academic Research Institute, Tokyo, 1996, pp. ii + 121. Both Yamazaki and Ousaka have so far published similar pada index and reverse pada index to the following five early Jaina Agamic texts, viz., Dasaveyalia, Isibhaiyaim, Uttarajjhaya, Ayaranga and Suyagada, by doing the metrical and the grammatical analysis with the help of computor. Now, they have employed the said technic for compiling the word index and reverse word index of these texts. As a result they have given us the word index and reverse word index for the Ayaranga and also for the Suyagad. The Ayaranga consists of nine chapters in prose and verse. To distinguish prose from verse they have marked the locational numbers with an asterisk in the case of its occurrence in prose. For instance, the entry "avaharai *9.5' indicates that this verse occurs in the fifth line of page nine, while the entry 'tippamano 8.10' indicates that this word occurs in verse ten of chapter 8, being without the asterisk mark. This applies to both these texts in the respective books, since the Suyagada too consists of sixteen chapters in prose and verse. These two scholars have taken up the research mission of compiling the pada index and reverse pada index as also the word index and reverse word index of the above-mentioned five Jaina Agamic texts. We may, therefore, eagerly wait for the remaining three word and reverse word indices from them in near future. For the Ayaranga word and reverse word Index they have utilised as the basic text Schubring's critical edition, while for that of the Suyagada they have based it on P. L. Vaidya's edition. We are at a loss to know whether they are in the know about the Mahavira Jaina Vidyalaya, Bombay (or Muinbai) edition of the Jaina Agamic texts, published by the efforts of the late Muni Shri Punyavijayaji, and if they do know about it, why have not chosen to base their valuable and

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Vol. XXI, 1997 REVIEWS 139 pain-staking researches on these latest, upto date and more authentic critical edition. Further, we are afraid they will have to revise their works, though not in near future, if the linguistic researches of K. R. Chandra pertaining to the original nature of the Ardhamagadlii Prakrit language in which the last Tirthankara Mahavira actually taught, as distinguished from subsequent compilations of the Jaina canons in Pataliputra, Mathura and Valabhi, successively incorporating the influences of local Prakrit variations, twins' out to be more authentic. All the same, the effort they have put in their research monographs so far fully deserves to be congratuated in view of the valuable assistance it is envisioned to provide to researchers in the field of Prakrit and Agamic Jainological studies. N.M.K.. SIVASVAMIN'S KAPPHINABHYUDAYA OR EXALTATION OF KING KAPPHINA, edited by Gauri Shankar, with an Appendix and Romanized Version of Cantos I-VIII and XIX by Michael Hahn, Aditya Prakashan, New Delhi, 1989, pp. + 165 + LXXXVIII + 165 + xxxvi + 100, Rs. 400/-. Apart from Kalidasa, to whom some scholars have sought to assign a home in Kashmir, in the long list of famous writers and scholars who have enriched and extended the realms of thought and knowledge, we come across Prakrit poets like Pravarasena of the Setubandha fame, prolific writers like Ksemendra and Ratnakara, literary critics like Anandavardhana and Mammata chroniclers like Kalhana and Saiva philosophers like Kallata. In the reign of King Avantivarman (855-833 A. D.) a remarkable revival of Sanskrit learning was witnessed in Kashmir, and Sivasvamin was one of the 'gems' of his court. He was an opponent of the literary principles formulated by Dandin in his Kavyadarsa, and is credited with the authorship of seven Mahakavyas, several dramas and prose works, and other writings. But, now, only the Kapphinabhyudaya and a few stray verses make up all that is left to us to read and admire. The Kapphinabhyudaya is composed in a highly ornate and complex style, which makes it difficult to study and appreciate by all, except only the scholars who are equipped with an intimate knowledge of traditional Sanskrit grammar, mastery of the Sanskrit language, rhetorics and literature. Sivasvamin is equally at home in both Sanskrit and Prakrit. His imagination soars high and he displays exquisite poetic skill. The theme of this Sanskrit epic is a Buddhist story. He has adapted the simple

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140 N. M. KANSARA SAMBODHI Avadana story to his needs and has succeeded in producing a poem of a very high order. He was a pioneer of Citrakavya and well-versed in the narration of many wonderful stories. The mere melody of his words was enough to fill the hearts of the learned with awe and wonder. This work was first published in 1937 by the University of Punjab under its series of oriental publications, No. 26, with an elaborate English Introduction by Professor Gaurishankar, as also a Sanskrit one, and the Preface to it was written by Professor Gulbahar Singh, of the Government College, Lahore. The Introduction gives an elaborate account of the manuscripts of the poem, the collation of the manuscripts, testimonia, the sources of the poem, analysis and abstract of the story and its plot, the details about the author, his name, his motive in writing the poem, the name Kapphina, his relation with Buddhism, about his other works, his contemporaries, as resume of his works, his predecessors, his style and thought, his language and metres. At the end of the Sanskrit text of the poem proper, he has given illustrated figures of Citrakavya, a Pratika index, and a bibliography. Michael Hahn, the Head of the Department of Sanskrit at the University of Marburg, in Germany, who specialises in classical Sanskrit, especially that written by Buddhist authors, Buddhism and Buddhist studies, and who is mainly interested in the study of unknown or inadequately edited works of Indian Buddhism, has taken up this work of Prof. Gaurishankar, rendered the work in the form of a revised romanized version., particularly cantos i-viii and xix, and added an appendix comprising his Postscript to the reprint of the edition princeps of Sivasvamin's Kapphinabhyudaya. The postscript presents his study of the work under the topics entitled the Mahakavyas and their study, the Kapphinabhyudaya and its first edition, the discovery of the lost leaves of the manuscript N, the discovery of a second language Nepalese palmleaf manuscript, principles and scope of the present reprint of the work, some remarks on the value of manuscript N, selected illustrations of the superiority of N, in view of the gross mistakes in M and M3, minor yet far-reaching mistakes in both of them, disturbances of the original sound pattern, wrong names, unintelligible construction or meaning, the marking system of N, the billingualism of canto xix, the metrics of the Kapphinabhyudaya, and followed by two Tables, one about the metres of the poem and the other of the calculation of the size of the poem.

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VOL. XXI, 1997 REVIEWS 141 Towards the end of his postscript, Michael Hahn has made the following concluding remarks: In none of the other Mahakavyas preceding the Kapphinabhyudaya, viz., the Kiratarjuniya, the sisupalavadha, the Ravanavadha, the Janakiharana, and the Haravijaya, do we find a canto which is written in the difficult style and technique, as is found in the canto xix of our poem. Rudrata is the first alamkarika to define and illustrate this extremely demanding figure of speech. Considering the fact that both these authors were contemporaries, a direct relationship between the poet and the rhetorician becomes likely, so much the more as Rudrata is generally held to have been a Kashmirian like Sivasvamin. It would be a rare coincidence if the two authors living at the same time and perhaps even in the same part of India had dealt with the same extravagant figure of speech independently. Hahn has done a great service to indological studies by his careful study of the poem and critical reassessment of the work of Professor Gaurishankar, and his new discoveries of a few more rare manuscripts, thus revising and improving upon the previous edition of the Kapphinabhyudaya, a rare Buddhist classical Sanskrit epic. N.M.K. NIRAYAVALIYA-SUYAKKHANDHA UVANGAS 8-12 OF THE JAIN CANON. Delue, Jozef - with Introduction, Text-edition and Notes, translated from the Dutch by J. W. de Jong and Royce Wiles, The Chuo Academic Research Institute, Tokyo, 1996, pp. 86. The Nirayavaliyao, the Kappavadissiyao, the Pupphiyao, the Pupphaculiyao and the Vanhidasao, traditionally presented as the five vaggas named the Nirayavaliya-suyakkhandha Uvangas, numbered from eight to twelve, of the Jaina canon were published, with introduction and notes by Jozef Deleu in 1969 Orientalia Gandensia IV (1967) 77-150. Now, Jong and Wiles have translated this work, from original in Dutch, into English and reproduced Deleu's edition of the Ardhamagadhi text hoping to make his contribution to Jain studies available to a wider audience. In order to improve the readability of the text, they have made a number of changes. Thus, most of the abbreviations used frequently by Deleu have been given here in full and a list of those abbreviations that are retained has been added. Similarly, since Deleu's style is sometimes rather brief, explanatory word or two, for the sake of clarity, have been inserted, of course in square brackets accompanied by an asterisk mark. Other minor changes and corrections have been given in the list of alterations. The variants printed at the end of Deleu's original text have been given here beneath the relevant paragraphs, and

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142 N. M. KANSARA SAMBODHI wherever a few additions have been made to the variants, they are also marked with asterisk. A bibliography has been added. J. W. de Jong had translated this work orally and it was typed out. Then, both de Jong and Royce Wiles worked over the draft checking for consistency. Royce Wiles is responsible for the bibliography and the final preparation of the text, including the minor alterations in Deleu's edition. The bibliography contains about fifty-four items, including editions of original texts, translations, and other works. At the end of this book, a summary has been given in which the main lines of the introduction to the present edition of Uvangas eight to twelve of the Jain canon have been given by Deleu himself in brief as follows: 1. Deleu's text is based on Warren (1879), the Agamodaya Samiti edition (with the commentary of Candra Suri, 1922), Vaidya's edition (1932) and the Suttagama Sthanakavasi edition (1953-1954). 2. The so-called Ajja Suhamma frame to these Uvangas and their general contents are supposed to be sufficiently known from such works as Schubring's Worte Mahaviras (p. 8) and The Doctrine of the Jainas (par. 49). As to their position in the Jain canon as a whole his research led to the following results: (a) The signs of relationship between the narrative Angas (6-11) and Uvangas (8-12), viz., the features they have in common, are much more substantial than those between the respective poetical and doctrinal group of texts. (b) One important common element is the Ajja Suhamma introduction. From its phasing at the outset of the Nirayavaliya-suya-kkhandha, one may conclude that the name Uvanga(s) was first given to the five angapavittha texts gathered in that work, but the sequence of these texts was an old-established one judging from the list of kaliya works in Nandi. (c) Another common feature is the vagga style. The origin of these vagga texts is clearly seen in such texts as the Antagadadasao and Anuttarovavaiya-dasao, the greater part of the original contents of which (cf. Thananga 10) was lost and had to be replaced by vagga cliches. Most of these texts show the decimal subdivision, whence the term dasao in their titles. (d) Pupphiyao and Pupphacul(iy)ao have five ajjhayana titles in common with one of these old dasa texts, viz. the Dihadasao; they are Canda, Sura, Sukka, Bahuputti (Pupphiyao 1-4) and Siridevi (pupphaculao 1). Several indications

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Vol. XXI, 1997 REVIEWS 143 would indeed seem to prove that these two works have a common origin. In agreement with the Jain sense of parallelism Pupphiyao discusses only male (Bahuputti becoming Soma in the end), and Pupphculao only female gods. The sequence Canda-Sura-Sukka of Dihadasao has been maintained in that work; this might explain the curious interruption of the parallel legends Pupphiyao 1-2 and 5-10 by two legends of different contents. (e) The origin of most of the other ajjhayana titles in both works added to restore the decimal (subdivision) can only be guessed at. (f) Nirayavaliyao is connected with Antagadadasao 8 by the names Kali etc. and Kappavadimsiyao (good deed leads to heaven) has been added to Nirayavaliyao (bad deed leads to hell) as Vivagasuya 2 has been added to Vivagasuya 1. It is hard to decide whether it is or is not a coincidence that the theme of the last vagga of Anga 8 (Kali) is taken up again in Uvanga 8, and that both Anga 9 and Uvanga 9 discuss people earning a divine birth. (h) Likewise Vahnidasao is connected with Antagadadasao 1-5 (and with Nayadhammakahao 1,5) by the names Aritthanemi etc. The scribal tradition of the proper names heading the first few ajjhayanas of this work is quite uncertain. Moreover the number of ajjhayana (twelve) disagrees with the title Vahnidasao. (i) Nirayavaliyao and Kappavadimsiyao respectively Pupphiyao and Pupphaculao belonging together as shown above, the five texts seem to have been placed in the reverse chronological order of the Tirthankaras playing the converter's part in them. Mahavira (Nirayavaliyao and Kappavadinsiyao), Pasa (Pupphiyao and Pupphaculao) and Aritthanemi (Vahnidasao). Suvvaya, the stereotypic female converter, is another proper name that links up the narrative Angas and Uvangas, viz., Nayadhammakahao 1, 14 and 16, and Pupphiyao 4. Her name nearly always takes the honorific plural form. (1) The Jaina and Buddhist records of the legends dealing with Kuniya largely agree except in point of the circumstances of Seniya's death. In this matter some authors will suspect the Jain texts of partiality for Kuniya. Nirayavaliyao and Viyahapannatti (300-304 = 315b seqq.) clearly prove that, at least with respect to Kuniya's war against Cedaga of Vesali, the Jain texts obviously side with the latter. (k) List of jivas are repeatedly referred to by the texts. At the end of this summary, Deleu has advised that for all the details the text

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144 N. M. KANSARA SAMBODHI of both the introduction and the notes following the different texts should be consulted. N.M.K. THE SAMBANDHA-SAMUDDECA (Chapter on Relation) AND BHARTRHARI'S PHILOSOPHY OF LANGUAGE by Jan E. M. Houben, Egbert Forsten, Groningen, The Netherlands, 1995, pp. xiv + 460. The present work is an outcome of a research project at the University of Utrecht, Faculty of Letters (1988-1992) and seeks to contribute to the solution of problems like the reasons for undertaking the work, acknowledgements and use of previously published material. In spite of the efforts and important contributions of several scholars to a better understanding of Bhartshari and the Vakyapadiya, many fundamental interpretational problems are not yet satisfactorily solved. These problems affect the entire Vakyapadiya and, therefore, also the Sambandha-samuddesa. When Hauben started to work on this project, there was no finished framework of interpretation in which the Sambandha-samuddesa would find its natural place. As a result, in order to define his position with regard to some of these fundamental problems, he has paid much attention to such broader issues is devoted in this work. His critical attitude should, therefore, be interpreted as a tribute, from his own level of understanding, to their remarkable achievements. The editions and translations of K. A. S. Iyer, and the studies of textual and interpretational problems by Professor Ashok Aklujkar forms the immediate basis of this project. The first part of the project consisted in the translation of the Sambandhasamuddesa together with Helaraja's commentary. After this, the study of Bhartrhari's karikas of the Sambandha-samuddesa in their own context comprised the second part. Bharthari was more interested in the philosophical presuppositions and implications of common language, and their compatibility with some important metaphysical systems in his time, than in the role of language in the form of mantras in attaining and experiencing meditative states of consciousness; he did recognize the possibility of reaching such states, but neither this nor a certain spiritual technique called sabda-purva-yoga occupied a central place in his thought as reflected in his extant writing. On the other hand, true insight into the relation between daily language, thought and reality is in several spiritual traditions considered to be contributive to attaining 'liberation'. Since the themes of the Sambandha-samuddesa pervade the entire third Kanda

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Vol. XXI, 1997 REVIEWS 145 and even the whole of the Vakyapadiya, and since Bhartshari's perspectivism, and his awareness of the limits of philosophical and theoretical discourse is obvious, it is of the utmost importance never to lose sight of the place a certain passage occupies in a larger argumentative complex. By taking other parts of the Vakyapadiya into account, it is to some extent possible to check Helaraja's interpretations, which leads to a justification of Helaraja's views, while occasionally they turn out to be questionable. This approach determines the form of the present work. The body of the work is formed by three parts : (1) A discussion of sambandha in some early Indian traditions and in Bhartehari's philosophy of language; (2) A discussion of the Third Kanda and the immediate context of the Sambandhasamuddesa; and (3) The Sambandha-samuddesa, translation and discussion of the Karikas. Finally, in an appendix, Helaraja's commentary on the Sambandhasamuddesa is given in translation. The Karikas of the Sambandha-samuddesa had to be given at least twice, once in part 3 with his own discussion and next in the appendix with Helaraja's comments; but this was unavoidable in this organisation of the work. Still, the work that is offered here to the readers is very much an explorative study of the Sambandha-samuddesa, which is no surprise. Too many issues of vital importance for a correct interpretation and evaluation of Bhrathari's achievements, for instance, his relation with early schools of thought, are still very much shrouded in darkness, and need further investigation, not only in the context of the Sambandha-samuddesa, but in the context of the entire Vakyapadiya. But, surely, the material collected and organized here around the theme of sambandha, will provide not only some insight into the place and the function of this theme in the Vakyapadiya, but will also contribute to better insights into Bharthari's thought and its place in the context of that most dynamic intellectual climate of the fifth century India. To this end, the painstaking and highly exhaustive efforts put in by Houben deserve to be highly welcomed and duly commended, the more so particularly for the rich bibliography given by him at the end of his work. It lists about 305 works. It is followed by three highly useful indices, viz., general, textplaces, and textcritical observations in two parts on the Sambandha-samuddesa, with part A listing the deviations from W. Rau's edition (Rau. 1977), and B listing some of the more important deviations from K. A. S. Iyer's edition, with Helaraja's commentary, Poona, 1963. N.M.K

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146 N. M. KANSARA SAMBODHI HALA'S SATTASAI : STEMMA AND EDITION ( GATHAS 1-50) WITH TRANSLATION AND NOTES by Herman Tieken, Leiden, 1983, pp. i - x + 283. At first sight on this book one finds reproduced the third leaf (recto) of palmleaf Ms. of the Sattasai at present kept in the Shri Hemachandracarya Jain Jnanamandir in Patan in Gujarat. This book printed in type-written form, is a dissertation submitted by the author, rather the editor, for the research degree of Doctor in de Letteren under the guidance of Professor Dr. O. J. de Jong. For the present edition only Weber's manuscript material has been used, since other noteworthy editions, viz., the Nirnayasagara Press edition (1889) and the one by A. N. Upadhye (1970), and numerous other Indian editions do not bring forward any new material, but are merely more or less faithful copies of the Nirnayasagara or Weber's edition. The present study is preparatory to a critical edition of the complete text of the sattasai. The present edition begins with the study of the systematical study of the stemmatical relations between the Mss. used by Weber. In the edition itself, of which in this volume only a sample consisting of the first 50 Gathas is given, it has been attempted to establish for each Gatha a text as close to the original as was possible with Mss. available. The stemma involves ten of Weber's eighteen Mss. viz., those which contain the Prakrit text, since the other eight Mss. contain only a Sanskrit commentary or a Chaya; thus they are regarded as not necessary to be considered. Consequently the stemma covers five out of Weber's six recensions. To these ren Mss. could, however, be added three so far unknown Mss. from South-India, which contain a seventh recension of the Sattasai, which after Weber's Telanga and Second Telanga, is henceforth referred to as the Third South-Indian recension. As a result of this stemma the Mss are basically divided into two branches, a SouthIndian and a North-Indian one. Possibly all available Mss., of both the southIndian as well as the North-Indian branches ultimately go back to one single, perhaps North-Indian, Ms. which though lost is referred to as the archetype. The text of the South-Indian branch, according to the considered opinion of Tieken, is in many respects the most authentic one available. But the order of the Gathas, which differs for each recension, as found in the North-Indian branch is the most original. The stemma is expected to provide the basic arguments in the reconstruction of the text of the archetype, in respect of the order as well as of the text of the gathas. There may be cases where it might be impossible to rely solely on the stemma, for instance, in the case of variation

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Vol. XXI, 1997 REVIEWS 147 in the forms of the words, which appear to have been considerably influenced by Sanskrit in both the branches of the Mss. Of the many translations of the Sattasai into many languages, European as well an, in the opinion of Tieken, only Weber's German translation is critical in that it is verifiable, and Tieken's translation differs from Weber's in many instances often simply because it is based on a different text. The differences are also because of the fact that Weber had relied heavily on the traditional interpretations found in the Sanskrit commentaries which in many Mss. accompany the text. For the meanings of words Weber referred to Hemacandra's Prakrit grammar and his Desinamamala (12th cent. A. D.) and to Dhanapala's Paiyalacchi-namamala (10th cent. A. D.), the latter two being Prakrit dictionaries. It appears to Tieken that often the interpretations given in the Sanskrit commentaries rest on misunderstandings and have been based on faulty divisions of words or compounds, on vogue associations, preconceived notions or etymological speculations. One of the conclusion drawn on by Teiken the basis of the above is that between the time of the composition of the Gathas of the Sattasai and that of the Sanskrit commentaries, Hemacandra's grammar and the two dictionaries, there must have been a certain period of relative neglect of, or unconcern with, the text, a period long enough to lose sight of the original intention of many of the Gathas and of the meanings of many of the words occurring in them. Thus, for the reconstruction in each case the final test applied to the text is the translation. Since the Gathas contain associations or refer to practices and ideas which are not otherwise known, the interpretations of the individual Gathas is often difficult. Many Gathas do not have parallels outside the text itself. And, further, the text as a whole seems to Tieken, to have been compiled with the specific aim of amusing well-to-do city-dwellers and courtiers; this occasionally may indicate a way out to arrive at a possibly correct interpretation. Tieken has refrained, at this stage, from making a complete word-index to the Gathas edited, and instead restricted himself to preparing an index of words and that of grammatical points discussed in the notes. Although the text is known by various names, such as Gathasaptasati, Saptasataka, Gathakosa and Sattasai, Tieken has opted for the last one for the practical reason that it is the name by which the text is discussed in most recent book on the anthology-genre by Sternbach, and more importantly, it makes

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148 N. M. KANSARA SAMBODHI immediately clear that the text concerned is written in Prakrit. This scholarly attempt by Tieken should invite the attention of veteran scholars in the field of editing of Prakrit works, for the methodology he has adopted for the reconstruction of the text of this highly popular work of anthological poetry, and his views pertaining to its interpretation and translation. N.M.K THE THEATRES OF BHARATA AND SOME ASPECTS OF SANSKRIT PLAYPRODUCTION by Govardhan Panchal, with a Foreword by Dr. Kapila Vatsyayana, Munshiram Manoharlal Publishers Pvt. Ltd., Delhi, 1996, pp. xviii + 162, Rs. 450/ The efforts to reconstruct the Theatres of Bharata described in chapter II of the Natyasastra go back even beyond the time of Abhinavagupta (10th cent. A. D.), the commentator of the work of Bharata, for he too mentions the opinions of his predecessors about some of the elements concerning these theatres, which fact shows that these theatres had gone out of existence long before his time. Panchal has evolved his own methodology for reconstruction of these theatres. Bharata's theatres are entirely different, in form and spirit, from the modern proscenium theatre. A clear understanding of the nature of Natya of Bharata is also very vital, because it was for the presentation of this Natya that these theatres were created and for which the plays were written. Our own regional traditional forms still exist and are crying to be noticed and they would immediately make clear the fundamental nature of Natya which links them to the classical tradition having certain common conventions. A close look at the Kuttapalama would immediately clear all cobwebs surrounding it and some other elements of the theatres of Bharata. It is also necessary to understand the deep relationship between the plays and the theatre in which they were produced in a particular period. The style of the plays and the production technique, stagedirections and the conventions used in the plays cannot be understood without the knowledge of the theatre for which the plays were written and produced. To recreate Bharata's theatres mentally and physically, or on paper, it is necessary to have the basic knowledge of draughtmanship. Without the clarity of drawing which could be read like a script, much confusion can result, and has resulted in most of the writings where attempts to illustrate them have been made. It is necessary to understand that every dot or line and its shape and size, when applied to a drawing, acquires a definite meaning and is a help or hindrance in clearly understanding the element attempted to be clarified. It is

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Vol. XXI, 1997 REVIEWS - 149 necessary to have some basic acquaintance with the elements of architecture such as Gavaksa, pillar, Salabhanjika, etc., and their historical development: e.g. the concept of Gavaksa has not remained the same in the various periods of history. All the elements shown must conform to the particular period which the drawing or the model attempts to recreate. Though the path is strewn with difficulties, for no archaeological monuments of Bharata's time (i.e. 6th or 5th century B. C., exist, we can build on a period of architecture from which sufficient material is available till new knowledge of actual material comes to light. One must have a wide practical experience of theatre itself in order to be able to understand what is possible and what is not possible or practical on a particular stage and why. It is necessary to understand some fundamental principles of the construction of a building and also to understand that the construction of a theatre is functionally different from that of a residential building. And one must also have the understanding of the physical limitations of certain materials used in the construction, such as the bricks and wood (istaka-darubhih) mentioned by Bharata. A further aspect is to know the traditional Vastusastra to understand the origin of the three types of Bharata's theatre forms the Vikrsta, the Caturasra and the Tryasra, and the fundamentals of their construction by the divine architect, Visvakarma, who constructed them according to the sastra and the Vidhi (principles and ceremonials laid down by him as mentioned by Bharata again and again in chapter II and elsewhere. The Vastusastra and some Puranas, such as the Agnipurana and the Visnudharmottara, also deal with the paintings of murals and the processes employed in these. The murals were integrated in the architecture and formed a part of it as they reflected the very spirit of the Natya and the culture of the period. And without the knowledge of the process of paintings of murals such words as Bhittilepa and Sudhakarma cannot be understood. Instead of merely sticking to the text of chapter II, which is at one or two places rather obscure and topsy-turvy, one must relate it to the other chapters of the Natyasastra in order to have a clearer and fuller understanding of these theatres. These theatres were living ones humming with performances and certain aspects, such as the Mattavaranis and Kaksyas, etc., and the way they were used could be understood by relating them to the plays and their theatre. Some new aspects have been dealt with and some have been emphasized for proper focus, on the basis of the methodology that has been discussed here. The attempt by this methodology is to show that the theatres of Bharata could not be understood or re-constructed without an integrated approach comprising of

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150 N. M. KANSARA SAMBODHI several disciplines. The method of limited literary research and piecemeal approach to these theatres must now end. And, in the present study, such an integrated approach has been made. The Sanskrit drama and the theatre for which it is written are the products of a particular religious, social and cultural milieu at a given period, and they are inseparable as the world history of theatres clearly shows. The new awareness of the Sanskrit drama and its theatre is growing in India and the western world, and it has led to a new consciousness. If the Sanskrit plays are to survive in the modern times, they must be reinterpreted and its stage techniques should be recast, as some feel, in a contemporary mould to make them acceptable to larger uninitiated audiences. There have been several levels at which such experiments are made. But they invariably make use of music and four aspects of Abhinaya, viz., Angika, Vacika, Sattvika and Aharya. It is at this level, at which the Sanskrit dramatic form is sought to be recreated, that it is presumably aimed at seeking a theatre identity to our own. The popular regional traditional forms, like Yaksagana, Bhavai, Tamasa, etc., are of late increasingly studied, explored and perceptively used by young directors to create a dramatic form contemporary in form and content and rooted in our soil. But the real nature of the Natyasastra tradition of the Sanskrit drama remains unexplored. This approach to the Sanskrit drama demands a great deal of research in various aspects, and these efforts have to be multi-disciplinary. Experts in dance, music, speech, practical theatre men, and others have to come together to recreate this ancient tradition. It is not an impossible task, at least in India. For, the Natyasastra has influenced almost all our traditional performing arts and also the plastic arts. Panchal's aim to recreate the theatre of Bharata is three-fold : One, it could be be reconstructed to stage the ancient Sanskrit plays which would be based on the Natyasastra tradition and in their own environment. Two, it seeks to provide a model for a new theatre-form for the emerging Sanskrit dramatic style aiming at presenting before the modern audiences. And, three, it would serve to provide a model for an indigenous stage for the third-level dramatic form based on the West-oriented drama which is Indian in context. This book is also aimed at educating the young theatre people in the Drama Schools and the University Drama Departments and theatre enthusiasts in general. Panchal has successfully answered to all these aspects of a shcolars expected equipment, and here is the fruit of his multi-disciplinary research ready to be digested by all who are hungry for the necessary knowledge in the field for a long time. N.M.K.

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Vol. XXI, 1997 REVIEWS 151 THE NATYASASTRA, (Chapters 17-22 and 24) English Translation with Critical Notes, by Adya Rangacharya, Munshiram Manoharlal Publishers Pvt. Ltd., New Delhi, Revised Edition, 1996, pp. XXV + 391, Rs. 525/-. The Natyasastra of Bharata was discovered in 1865 by Fitz Edward Hall of U.S.A. and published by him as as Appendix to Dasarupaka. Later on the German scholar Haymann and others published parts of the work or articles on them. It was only in 1926, that too after an edition thirty years ago by K. P. Parab for the first time in India, the Gaekwad Oriental Series, Baroda, undertook a critical edition; but it published only the first seven chapters. This was followed by the Benaras and the Nirnayasagar editions with different readings as footnotes. The Gaekwad Oriental Series published, in 1936, eleven further chapters as volume II; and finally, volume III, containing chapters 19-27, published in 1954. Inspite of all these results, the final text is contradictory, repetitive and incongruent; there are lacunae too, but, what is verse, there are words and passages that are almost impossible to understand. Often times, the text of one recension has not only more verses, or less, but verses which, though broadly looking the same, have entirely different words. It is not only modern scholars who suffer this inability to understand; even almost a thousand years ago, a commentator called Abhinavagupta, very able and very erudite, displayed this tendency. That the text, as we have it now, underwent changes may be seen from another circumstance. We find what are obvious references to plays of Kalidasa and Sudraka. The eminence of the Natyasastra, therefore, lies not in the fact that it was the first book on the subject, but that it was the first comprehensive treatise. It remains the origin of our dramatic tradition. That traditional stage has been an attraction for our people for our thousands of years. A study of this treatise is thus essential for our scholars, no less than for our amateurs. It has now become necessary to promote a critical study of the treatise, to screen the divergent readings and arrive at a consistent and authoritative text, and to understand the various symbols in it. Mere declaration of the holiness of the Natyaveda as a handiwork of Bharatamuni, and a refusal to apply common standards of textual criticism, cannot lead to any kind of a critical study. The fixing of an agreed authoritative text in the first place would be a great convenience for future studies. Adya Rangacharya has made considerable use of Abhinavagupta's commentary and the edition of Dr. Manomohan Ghosh, but he does not aspire for a place in the company of such learned ancients and modern specialists. It is his life

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152 N. M. KANSARA SAMBODHI long love of the theatre and interest in such studies that has prompted him to attempt this translation, of thirty-six chapters of Bharata's Natyasastra. At the same time, this is not a translation of each and every verse, since the texts are rambling repetitive, contradictory and even of doubtful meaning. Word to word translation of each and every verse would not convey any idea of the importance of this first and the most ancient Indian work on dramaturgy. He has consulted the text published by Dr. Ghosh and the various readings and tried to give the correct meaning. In certain contexts (particularly about the movements of hands etc.), he has translated almost each and every verse, so that the reader may find how scrupulous, deep and detailed the book is. He has added notes to each chapter in which he has discussed and/or explained complicated ideas or irrelevant passages, etc. In some cases he has given a free translation only with the intention of saving the reader from getting confused. Adya Rangacharya has given four appendices : (1) A critical epilogue; (2) Thoughts on the theory of Rasa; (3) Natyamandapa; and (4) A note on 'Some details', as also an Index. N.M.K. THE CONCEPT OF DIVINITY IN JAINISM (The 1992 Roop Lal Jain Lecture) by Robert J. Zydenbos, Centre for South Asian Studies, University of Toronto, Canada, 1993, pp. 31. In the opinion of Zydenbos, the Jaina concept of the divine is also a concept to be profitably taken notice of today by religiously initiative people in any tradition, and also by those who do not adhere to any tradition in particular. It may contribute to a fresh rethinking of our ideas about the divine in a society and the time in which it is becoming almost taboo to speak about the divine publicly in any way other than that which has officially been given to it by religious institutions that happen to have become entrenched in that society. Jaina thought has no place for a god who has created the universe and has placed mankind in it; nor is there any supreme god who will pass judgement on us and thereby determine our fate after our present existence in this world, for it is us who, through our actions in this existence, determine our own karma and thereby the nature of our next of many existences. But, there are gods in Jainism too. The Christian criticism that was levelled against the Jaina ideas about the divine can be found in a book entitled The Heart of Jainism, which was first published in 1915 by Oxford University Press, written by Mrs. Margaret Sinclair Stevenson

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Vol. XXI, 1997 REVIEWS 153 of the Irish Mission in Gujarat. The Indian barrister Jagmander Lal Jaini wrote a lengthy review of Mrs. Stevenson's book, in which in dozens of pages he has pointed out the many factual errors in her book; but few people outside India have taken notice of it. When she quotes Jainas, she ought to have tried to understand the statements of those people in the light of the religious tradition they adhere. She has indeed summarized some of the main Jaina ideas in her book, but she disregards the meaningful theological context of Jainism itself when she criticizes these separate Jaina views. Instead, she offers new, i.e. Christian, meanings for Jaina terms and pretends that these are probably what had originally been meant by those terms in the first place. In this she is not original, for other missionary authors have done so in their descriptions of Asian religions long before her. Karma is, in her opinion, a "hideous thing", presumably because it is not personal and therefore cannot be influenced by prayers to it. The question of whether our world is a "fair" one, and of what justice there is in our having to live through numerous sorrows and sufferings, is of course the question of theodicy, which theistic thinkers in various traditions have tried to deal with in different ways throughout the centuries. As an example of Jaina apologetic writing in response to what is seen as socalled scientific criticism of the Jaina tradition, the book The Scientific Foundations of Jainism written by K. V. Mardia and published by Motilal Banarsidass, Delhi, in 1990, tries to recast certain key concepts in Jaina philosophy and scholasticism in what he considers a scientific form, in order to show that Jainism is basically a scientific system of belief. In two places in the book, he also deals with the Jaina notions about gods. The author does not mention from where he got the idea that gatis are "mental states", and it seems that in this he was led entirely by his own, quasi-scientific imagination. Such writing reflects an interesting cross-cultural misunderstanding : rather than seeing the sciences in their modern Western form as something essentially nonreligious, authors such as Mardia apparently conceive of science as a rival system of religious thought, and he has implicity recognized the superiority of the sciences over his religion in an area where the natural sciences cannot claim much authority, if they claim any at all. Most Jaina studies which have been carried out by Western scholars, and by modern Indian scholars, have concentrated on the Jaina scriptural texts that contain the oldest historical material, viz., the canonical writings of the Svetambara sect in the Ardhamagadhi language. It is typical of the romantic

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154 N. M. KANSARA SAMBODHI tendencies of the early Western Indologists, who delighted in the search for the first beginnings of things, that far more attention was given to some forty-five Ardhamagadhi texts than to the huge mass of later literature which Jaina authors have produced in Sanskrit. Just like its two sister-religions, Jainism holds that all living beings are caught up in a series of existences, a series of repeated births and deaths, that worldly life involves a great deal of suffering, and that we can shape our destiny by influencing our karma : the residue that is left in our souls by three kinds of actions - mental, vocal and physical. Each action we perform leads to the binding of a sort of karma, and karma determines certain future experiences in this life as well as in the next. Whatever makes souls seem unequal in their embodied state is not intrinsic to the souls; it is a result of karma. All the Jaina authors are unanimous in stating that the supremely worshipable being is the Jina, the Tirthankara, the perfect soul that has freed itself from all bondage to karma and to samsara or worldly existence. That one is able to set an example and serve as a teacher, as a guide on the spiritual path, makes one worthy of worship. This quality of being able to set an example is held in common by the five classes of souls known as the Panca-paramesthins : the Arhats or tirthankaras, the Siddhas, the Acaryas or leaders of groups of mendicants, the Upadhyayas or preceptors, and the Sadhus or mendicants. A comparison between the Yoga school and Jainism is interesting. Pt. Sukhalalji Sanghvi has pointed out textual similarities between the Yogasutra and the Tattvarthasutra. It seems reasonable, according to Zydenbos, to assume that the meaning of and the attitude to Isvara in Yoga is an incholate form of the Jaina view of the attitude which the Jaina believer assumes with regard to the Tirthankaras. But, Devagati is one of the four species in which a soul in samsara can exist." The reason why those beings are called Devas is that they possess shining bodies and shine constantly with eight divine characteristics. Just which gods possess which abilities to which degree is again a matter of karma of those gods. Humans are also said to acquire such abilities through special effort, and the Siddhas and Tirthankaras are said to have been such persons; persons who overcame the limitations of bondage to matter and realized the potential of their innate beings. Some of the divinities mentioned in the Tattvarthasutra have gained special

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Vol. XXI, 1997 REVIEWS 155 prominence in Jaina temple ritualism. Certain Bhavanavasin gods are called upon to help in purifying the elements on the site; the gods of the cardinal regions are called upon to protect the site against evil influences that might approach from those various directions. Among the Jyotiskas or spirits of the heavenly bodies are the nine heavenly bodies that are of importance in Indian astrology. But still far more prominent than these deities are the Yaksas; they form the class of gods known as Vyantaradevas or "gods that reside everywhere"., and their importance in the everyday religious life of the people, both in the temple and in the household rituals, is enormous. Tirthankaras and Siddhas cannot intervene in our lives through any action, but the Yaksas and especially the Yaksis, however, can be approached for help in worldly matters. In old Jaina literature we come across malicious Yaksas, overpowered by Jina and compelled to worship the latter. In the course of time, the idea developed that each of the twenty-four Tirthankaras was associated with a Yaksa and a Yaksini, who came to serve the Tirthankara. In the case of Parsva, we read that in their last moments Parsva taught the two snakes the principles of Jainism, and being responsive to his teaching they immediately assumed new existence as Dharanendra and Padmavati, who protected Parsva against misfortunes and the ill-will of demons that would have come in the way of his becoming the twenty-third Tirthankara. The Yaksa and Yaksis who are associated with the Tirthankaras are also known as sasanadevatas or "deities who serve the Jaina teachings", because through service to the Tirthankaras in their last sojourns on earth, they have served the cause of Jainism. In some stories about Yaksis, the idea that they are basically souls like other souls is underlined by their having been incarnated as human beings in earlier existences. The stories of the Yaksis Kusmandini and Jvalamalini are good illustrations of this. As we know, the Jaina belief is that the soul is actually in possession of immense powers and abilities, but these are obscured by various kinds of karma. Karma removes itself from us in the course of time as it takes effect on us and gets worn out (nirjara), but we must prevent new karma from entering us, through certain psychosomatic practices, which involve meditation. The Jaina method of purifying the self involves a great deal of subtle psychology, which came to be expressed in terms of its doctrine of karma, which deals more than only psychology, and this is because as a religion, Jainism must deal with the totality of human existence. Jung's depth psychology may explain why the worship of the feminine Yaksis is so much more popular than that of the masculine Yaksa. Possibly, the reasons are that the Yaksi cult witnessed an

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156 N. M. KANSARA SAMBODHI upsurge in popularity with the acceptance of Agamic modes of tantric worship in the middle ages, and the worship of the masculine Tirthankaras needed to be counterbalanced by the worship of divinities that represent a polar opposite and work in the world, and who must be feminine; and that because the Tirthankaras cannot be seen as having a marital relationship with the feminine counterparts, as Hindu and Buddhist tantric deities have, the Yaksis have Yaksa as their partners. Jungian psycho-analysis has shown that the male subconscious presents itself to the conscious part of the male psyche in a feminine form. Feminine deities as objectifications of the male subconscious would have served male religious thinkers betters than masculine deities. Unlike the Tirthankaras, the Yaksis can be approached by devotees for a variety of reasons. Zedenbos has also noticed that the names of some Sasanadevatas are identical to those of Hindu deities, e.g. Kali, Brahma, Gauri, Sanmukha, Varuna. Rather than plainly denying the existence of these gods, it seems to Zedenbos, that Jaina religious thinkers integrated them in a Jaina framework, the same as the Brahmins have done with gods of little traditions throughout the history of Hinduism. Thus, the Jaina concept of the divine has not been a static, unchanging thing, and various entities have been called deva in the course of the history of Jainism; and the devotee can relate them in such a way that the innate qualities of the devotee's self are enhanced ever further. The Pancaparamesthis are to be worshipped as teachers and examples, and the Sasanadevatas are not only examples but can also offer immediate help by intervening in our lives here and now. But, the Sasanadevatas will only cooperate when one leads one's life in agreement with the Jaina doctrine and also recognizes the position of the Sasanadevata's within the whole of the doctrine. Thus one's understanding of oneself within the totality of one's physical, social and spiritual environment is the most essential aspect of worship. N.M.K THE BHAGAVATA (SRIMAD BHAGAVATA MAHAPURANA), Vol. I (Skandhas I to III), Critically Edited by Prof. H. C. Shastri, B. J. Institute of Learning and Research, Ahmedabad, 1996, pp. LXVIII + 276, Rs. 500/-. THE BHAGAVATA (SRIMAD BHAGAVATA MAHAPURANA), Vol. IV (Skandha x), Critically Edited by Prof. K. K. Shastree, B. J. Institute of Learning and Research, Ahmedabad, 1997, pp. LXVI + 388, Rs. 1000/-. Consequent to the suggestion of Winternitz, the projects of preparing critical

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Vol. XXI, 1997 REVIEWS 157 editions of the Mahabharata was undertaken and successfully completed by the Bhandarkar Oriental Research Institute of Poona. This scholarly achievement inspired the undertaking of preparing a critical edition of the Valmiki Ramayana by the Oriental Institute of Baroda. And on completion of this project successfully, this institute took up the projects of preparing the critical editions of Visnupurana and other Puranas. This gave an impetus to the B. J. Institute of Learning and Research to aspire to prepare a critical edition of the Bhagavata Purana, which is a valuable source-work and is again the most popular among the Puranas. The celebrated Vishnudev Sankaleshwar Pandit and Prof. Rasiklal Parikh shouldered the initial responsibilities of locating various versions of the work, and of planning the entire project of the critical edition. Dr. Parikh was then, in 1955, the Director of the B. J. Institute. In November 1961, Prof. Parikh and Prof. Dolarray R. Mankad were appointed as General Editors of the project. In 1970, after the sad demise of Prof. Mankad, Dr. Hariprasad G. Shastri succeeded as one of the General Editors. Meanwhile the Institute pursued to request the Union Government for grant, though unsuccessfully. In 1985, fortunately the Government of Gujarat sanctioned the necessary grant, and the Institute appointed Prof. Dr. Keshavprasad K. Shastri, Dr. H. G. Shastri and Dr. Bharatiben K. Shelat as General Editors. Then with due appointed of necessary personnel the work of noting the variant readings from MSS attained considerable progress in 1988. It was planned to publish the critical edition in four volumes, comprising three Skandhas each. This volume contains the critical text of the Skandhas I, II and III, along with the variant readings and interpolated passages noted in the critical apparatus, as also in the footnotes given below the critical text on respective pages. In the Introduction, Dr. Shastri has given a detailed description of the manuscripts utilized for collating the variants and the critical text. The manuscripts pertain to the Sarada Version, the Nepali Version, the Maithali Version, the Bengali Version, the Devanagari Version, the Nandinagari Version, the Telugu Version, the Kannada Version, the Grantha Version and the Malayalam Version. They are thirty-eight in all. Over and above these Mss., he has given a list of testimonia or aids of a subsidiary character available for the Bhagavata, in the form of commentaries, printed editions and abstract expositions or epitomes. These are twelve, seven and three, respectively. Apart from a detailed discussion of each of the above mentioned Mss., and testimonia, the editor has discussed relevant topics like the renderings and translations,

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158 N. M. KANSARA SAMBODHI general survey of the manuscripts, features of the constituted text, principles adopted for the Critical Edition, the Bhagavata among the Mahapuranas, the subject matter of the first three Skandhas, and a critical survey of the contents of the early Skandhas, also. After acknowledgements, he has given a concordance of the Critical Edition with the Kumbhakonam, Bombay, Gorakhpur and Nadiad Editions. At the beginning of each Skandha, a list of the contents gives the details of the Adhyayas, and topics of each of the Skandhas, thus the First Skandha has eighteen Adhyayas, the Second Skandha has ten Adhyayas and Third Skandhas has thirty-three Adhyayas. Towards the end of the book, the editor had given critical notes one each verse of each Adhyaya of each of the three Skandhas included in this volume. These notes sometimes give the synonyms of particular words by way of explanation, and sometimes add explanatory details about geographical places, or mythological characters. In his observations on a critical scrutiny of the Mss. copied in different regional scripts, the editor notes that they yield no different recensions as noticed in the case of two Great Epics. Only the general impression that the Bhagavata may be classified into versions, especially North-Western, North-Eastern, Northern and Southern ones is here confirmed and corroborated. And, as far as the early Skandhas (i.e. I, II and III) are concerned, the interpolations consist of only one, two or a few more lines. They occur more frequently in the Southern Version. However, they are not infrequently also shared by the rest of the versions. But no entire Adhyayas are found to be inserted or omitted in any of the Mss. as far as these early Skandhas are concerned. N.M.K. The Bhagavata Critical Edition, Volume iv, Containing The Tenth Skandha is critically edited by the celebrated Professor Dr. Keshavram K. Shastree (Bambhania), who is well-known among the scholars in Gujarat by his endearing nomenclature 'KEKA'. This volume contains the critically constituted text of the Tenth Skandha along with the variant readings given below the text in footnotes on respective pages. Minor interpolations are noted in the footnotes, while long interpolated passages have been given at the end in the Appendices. The learned editor has contributed a scholarly Introduction for this volume and provided a table of concordance and critical notes. In his introduction, Prof. Shastree has given a detailed description of the Mss. he has utilised for collating the variant readings and compiling the critical text. He has based this edition on 36 so far available Mss., out of which eleven belong to the Northern Version, thirteen to the Devanagari-Mid-Western Version,

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Vol. XXI, 1997 REVIEWS 159 and twelve to the Southern Version. Moreover he has also utilized twelve commentaries and three epitomes listed under Testimonia. Giving an analysis of the Mss., the editor has noted that there are only three main Versions noted above. He has further noted that over and above genuine 326 interpolations, the Tenth Skandha has bigger to biggest interpolations numbering XXXI. In Appendices I and II, he has given the information about the absence of 20 stanzas (42 lines) on D1, while the first 11 ones (24 lines) are omitted in Cv after X.11,9. In Appendix III, he has noted that after the end of the Tenth Adhyaya, Vulgate Adhyayas Twelve, Thirteen and Fourteen have not been found in D1 and Nni, Cvd and Cv consider them as interpolated (vigitah), though commented upon. These three Adhyayas form the Appendix III. These three Adhyayas are also a later interpolation, since not a slight mention of the incidents narrated in these Adhyayas is found anywhere in the Bhagavata Purana, where several times some references about Krsna's childhood have been given. Again the last stanza of X. 11. 39 has been repeated at the end of the Vulgate 14th Adhyaya. Over and above these three, the editor has given twentysix more Appendices, although the Appendix V and XXI have been split into A and B. Thus in fact the total number of appendices comes to thirty-one. He has observed in this connection that it is a strange thing that only the Tenth Skandha is full of smaller 326 and bigger 31 interpolations, which fact shows that this Skandha was very very popular over the continent and it is for that very reason that a great number of interpolations, small and big, have crept in. He has further noted that Sridhara is the oldest commentator, and still however his version possesses a lot of interpolations as against the Devanagari (D1) Version of about the 12th Cent. A. D., possibly both of the same period. In this Critical Study, which forms section III of his Introduction, the editor has taken stock of the learned findings of the veteran orientalists like Dr. R. G. Bhandarkar, Jacobi, Prof. Winternitz, S. N. Tadpatrikar, surveyed their views, and has considered the Krsna problem afresh. The opinion of Dr. Bhandarkar that nomadic tribes brought the name of Jesus Christ in India is no longer tenable, because in the concluding portions of the Mahabharata, excluding the Bhagavadgita, Krsna seems to be considered a superhuman person, in whom we hardly see divinity; he is before us as an able politician, as a superman friend of Arjuna. But in the Gita we find for the very first time that Krsna is not only a superman, but rather as God par excellence, a Parat-para, Paramesvara, Paramatma, and Purna-purusottama, (15. 16-18). It is true that in the Mahabharata, in very rare places the incidents of Krsna's childhood are found

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160 N. M. KANSARA SAMBODHI (only in the words of Sisupala in the Sabhaparvan), while he abused Krsna. The genuineness of such a place, according to Dr. Shastree, may perhaps be doubtful or perhaps it may be an earlier interpolation. To find out narrations of Krsna's childhood we have to turn to the Puranic literature, such as the Matsya, the Vayu, the Brahma, the Visnu, the Agni, the Linga, the Bhagavata, the Padma, the Brahmavaivarta, the Devi-bhagavata Puranas, and also to the Garga-samhita. Over and above these, the stories about the life of Krsna have been narrated in dramas and poems also, and in these works of creative authors fanciful incidents have been added. This sort of creative literature cannot help us in getting authentic material. Still however, Bhasa's Balacarita is perhaps the first drama so far known, which is noteworthy as it narrates the most natural boy-hood of Krsna; doubtlessly it is earlier even than the genuine portions of Harivamsa and than even Patanjali.. Dr. Shastree has then listed twenty events or topics calculated to help us to derive the details of the boyhood of Krsna, as known upto the time of Bhasa (i.e. about the 3rd Cent. B. C.). It is a pity that on pp. Xlii-xliii, in the introduction, the last six lines of p. xlii and the first ten lines of p. xliii are duplicated due to the oversight of the proof-reader. In Critical Notes, the editor has given a key to understand the essence of the Tenth Skandha. The chief topic narrated here is the confinement (nirodha) souls to achieve oneness with the Almighty, the sub-topics being the birth (janma) of the Almighty, the malignant (tamasa) people, those endowed with the quality of emotion (rajas), those possessing goodness and purity (sattvika), and those surpassing all the three modes or qualities of rajas, sattva and tamas. i.e. Nirguna. These five topics have been treated in the Adhyayas 1 to 4, 5 to 32, 33 to 60, 61 to 81, and 82 to 87, respectively. He has further tabulated sub-sub-topics, too. And lastly, an Errata has been given, though not fully, since a rubber-stamp informs us that it is to be continued in Vol. IV, Part-II. N.M.K. THE IDEA OF AHIMSA AND ASCETICISM IN ANCIENT INDIAN TRADITION by Dr. Bansidhar Bhatt. B. J. Institute of Learning and Research, Ahmedabad, 1995. pp. vii + 98. Rs. 78/-. The present monograph is an outcome of the three research lectures delivered by the author in February, 1993 at the B. J. Institute of Learning and Research, and apart from some alterations and additions, it is identical with the one that was presented earlier in December, 1992 for publication at the Centre for Indian and Inter-religious Studies, Rome (Italy). The reason is it was practically impossible for the author to work out a new theme for the research lectures

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Vol. XXI, 1997 REVIEWS 161 within the limited period of scarcely seven weeks which were at his disposal after receiving the invitation in January, 1993 from Ahmedabad, and during this period he had also other responsibilities in Germany. In this monograph, Dr. Bhatt deals with the theme of Ahimsa and asceticism in their historical aspects - their origins and developments in ancient Indian culture containing many related issues with variety of mutually intricated structures posing numerous problems. He has tried to solve them with some supporting views of modern scholars known in the research-world for their significant contributions to the study, and balanced views in the field of Indo-European (Vedic and Brahmanical), Buddhist and Jaina philology. Dr. Bhatt's main aim is to offer the reader an opportunity to rid themselves of some false notions prevailing among most of them about ahimsa and asceticism in ancient India. Attached as he is with the Indological Seminar, Westfalian University, Muenster (Westfalen), Germany, Dr. Bhatt feels contented even with this type of service he could render to the academic circles in this part of the world. Ahimsa, as an ethical concept in Indian religious traditions, involves variety of complicated issues. Religion contains diverse elements and presents a complex structure. The Vedic religion is intermingled with ethical motives. Sometimes the moral principles act as a part and parcel of even a religion of some of the primitive tribes such as those in Australia and the Andaman Islands. Unfortunately, we do not possess early reliable records of religions of the nonAryan tribes, viz., Dravidas, Mundas, lodas, Nagas, etc. on the soil of India. And what we possess may be slightly earlier than the early Greek invasions on India. Anyhow, by the Indo-Iranian period, and to some extent, in the Indo-European period also, an element of love for offsprings effectively came in operation owerfully affecting the nature of gods. The transfer of sins, faith and prayer are the means of forgiveness, repentences (prayascittas), celebacy (brahmacarya) and fasting are the heat (tapas). The element of tapas is the earliest concept in the Veda and it elevates man to supreme status; through it man wins magic or creative power and acquires ecstacy and the desired results including the final deliverence. Discussing the literary sources, Dr. Bhatt has pointed out that the earliest available sources for the origin or historical developments of these concepts, viz., ahimsa, vegetarianism, prohibition of cow-slaughter and beef-eating and the holy-cow, lie scattered over the ancient literature, viz., the Vedas, especially the ritualistic texts like Brahmanas, Sutras, Upanisads, some of the canonical texts of

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162 N. M. KANSARA SAMBODHI the Buddhists and the Jainas. The sutra texts developed around the Vedas give us some contradictory views from different sources, and mention names of some known or unknown "authors" or followers of their traditions or schools. Different sutra texts actually came into existence in different times and different regions. The dharmsutras abound in materials relevant to the ahimsa concept, and furnish social and cultural aspects of the society. But it is rather risky to rely exclusively on them to derive a real picture of the society so far as the ethical conduct of the peoples of those days is concerned. Over and above these we can also tap some materials from the early Jatak stories antedating Buddhism and Jainism, and some recent researches based on the discovered materials of the Indus Valley Civilisation. At the concluding stage of the monograph, Dr. Bhatt explains that the concept of Ahimsa with it privative prefix, though giving a negative meaning of noninjury, implies only a positive sense, viz., subjective-fellow-feelings and compassion (daya) towards all living beings. This is the basic idea underlying almost all Indian religions. So also the word abhaya which, though it literally means 'abstention from fear' denotes a positive sense of "secure", "safe", or dent": asteya denotes "respect for others' property". The vow of ahimsa is to refrain oneself from the animal instinct of himsa, and this stage is achieved by means of discipline-vow (vrata). As regards ahimsa in modern world, Dr. Bhatt points out that the doctrine of ahimsa was widened its field of applicability and employment in different situations, and some new concepts have emerged in different perspectives. As an ethic of non-violence it played a prominent role in the politics of Mahatma Gandhi. Gandhi considered the ahimsa as the only means of realization of Truth which he equated with God. Winding up his discussion of the topic, Dr. Bhatt has offered some casual observations regarding vegetarianism and the ahimsa doctrine in general. Plants and vegetables, seeds and cereals, whether sentient or not, are most essential in day to day diet for everybody, and are considered as the vegetable food, the real vegetarianism. If we exclude them from our daily diet only on the ground that they are sentinent and it is in eating them, we would be deprived of food and suffer from hunger for the whole of life. On the contrary, we have to use them in our diet; we have to "kill" them while calling ourselves vegetarians. It is a paradox, but quite inevitable, unavoidable and a lesser evil than the one involved in eating meat, fish and eggs, which is certainly a cruelty to the

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Vol. XXI, 1997 REVIEWS 163 animal-world, and also against the eco-system. Also medically it is advisable and quite often recommended for a better health. The modern methods of stimulating milk production by injecting animals like Cows with artificial hormones are so terribly painful to animals that we at once would revolt against it, atleast by avoiding it from our daily diet. He concludes with fully concurring with Lambert. Schmithausen by expressing his wishes that we should decide firmly to accept willingly the vegetarian diet and to live a life according to the ahimsa ideal; we should protest against industries and firms, where all possible cruel tactics accepted are detrimental to creatures and ecosystem; we should protect nature, natural products, and animal world surrounding us, and avoid any means that causes hazard to their lives; we should live with all in harmony and with goodwill. N.M.K.

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BRIEF NOTICES A STUDY OF JAYANTABHATTA'S NYAYAMANJARI A MATURE SANSKRIT WORK ON INDIAN LOGIC, Part III, by Nagin J. Shah, Sanskrit-Sanskriti Granthamala, B-14, Dev-Darshan flats, Nehru Nagar Char Rasta, Ahmedabad - 380 015, pp. 10 + 214, Rs. 198/-. Jayanta Bhatta, a distinguished Indian logician (885-902 A. D.) covers all the important problems of Indian philosophy and examines all the important theories formulated by the different systems of thereof. His acquaintance with the subject is deep and extensive and his treatment is arresting, due to his thorough grasp of the subject along with his clear presentation, which makes his Nyayamanjari a comprehensive handbook on Indian philosophy and logic. The present work is a study of its nine chapters, called ahnikas, from IV and XII, and it deals with the problems pertaining to validity of Vedas and other spiritual texts, universals, word-meaning, sentential meaning, soul, liberation, illusionism, steps of inferential demonstration, and pseudoprobans. It strongly refutes the Mimamsa theory of the authorlessness of the Vedas, the theory of Anvitabhidhanavada of the Prabhakaritas, the Samkhya theories of Buddhi and causation, the Buddhist theories of 'exclusion' (apoha) and momentariness, Vijnanavadin's idealism and monism of the Brahmavadins. His criticism of rival theories is mostly fair, rational and revealing. The present study by Dr. Nagin Shah does full justice to Jayanta Bhatta by presenting his discussions faithfully and lucidly, and also attempts to evaluate his views logically and in their historical perspective. N.M.K. VAIDIKATVA IN INDIAN PHILOSOPHY AND RELIGION edited by S. G. Mudgal, Akshardham Centre for Applied Research in Social Harmany (AARSH), Akshardham, 'J' Road, Sector - 20, Gandhinagar - 382 020, 1996, pp. 194, Rs. 90/ 'Vaidikatva' or 'Vedicness' denotes a common agreement on the general definition of the term as 'one who accepts Veda as authority in matters mundane, and spiritual.' In his Preface the editor tries to define 'Vaidika' in a wider sense of one who accepts the authority of Vedas and also of those texts which are the elucidations, explanations, illustrative presentations, simplified and comprehensive systematic consistent statements of the philosophy of the Vedas. Naturally these are authored by human beings (pauruseya) as well as those about the authorship of which no particular human being is known (a

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Vol. XXI, 1997 BRIEF NOTICES 165 pauruseya). The texts like the Vedanta-Sutras, the Bhagavadgita, the Pancaratra Samhitas, the Puranas, the Ramayana and the Mahabharata are all pauruseya, while the texts like the Vedic Samhitas are a-pauruseya. In this sense, no system of Vedanta is a-vaidika. While the Vedas may be called primary authorities, the Vedantasutras, the Bhagavadgita and others may be regarded as secondary authority. The writings of the acarya of a school is on a different level. He is accepted by the followers of the particular school only and not accepted by those of the other schools. And the acceptance by the followers of a particular religious tradition (sampradaya) makes no difference to the Vaidikatva of that particular or other schools. This book is a collection of research papers presented to the Akshardham Centre for Applied Research in Social Harmony (AARSH) on the occasion of a Seminar on the concept of Vaidikatva as accepted by various philosophical schools and religious traditions (Sampradaya). Sadhu Srutiprakasadasa has contributed the Keynote paper while Dr. T. N. Dharmadhikari, Dr. S. S. Antarkar, Dr. E. A. Solomon, Dr. M. D. Paradkar, Dr. D. Prahlad Char, R. J. Bhatt, Sadhu Vevekasagaradasa, J. M. Dave and R. M. Dave have contributed their respective papers on the concept of Vaidikatva, Kevaladvaita Vedanta, Advaita, Dvaita Vedanta, Vallabha Vedanta, Swaminarayan Philosophy. N.M.K. ECLIPSES IN HINDU LIFE AND THOUGHT by Jayasree Hariharan, The Kuppuswami Sastri Research Insitute, Madras, 1995, pp. viii + 105, Rs. 70/-. The present monograph in five chapters, says Dr. V. Narayanaswami, the chairman, Dr. G. Srinivasamurti Foundation, Madras, has brought together and analysed relevant mythological, semi-scientific and scientific information on eclipses (grahanas) scattered in the Vedic literature, Epics, Puranas, Jyotisa and Dharma Sastra literature. The documented study has indeed highlighted some crucial points about eclipses, their concepts and explanations in the varied texts. It is revealing that astronomers like Brahmagupta, Bhaskara and Sripati, scientifically computed the eclipses; they also tried to bring about a reconciliation by stating that Rahu through the medium of moon and shadow of earth, causes solar and lunar eclipses, respectively. The monograph deals adequately in the concluding chapter, with the various rituals and expiatory rites to be performed in order to counteract the negative effects of the shadow of the sun and the moon on terrestrial life. The Appendix contains valuable material

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166 N. M. KANSARA SAMBODHI from Vedic and astronomical texts, on the effects on human life of the actual occurrence of the eclipse in its various stages. N.M.K. PALANDU MANDANA PRAHASANA OF HARIJIVANA MISRA, Text Critically edited by Dr. V. Raghavan, Golden Jubilee Publication, The Kuppuswami Sastri Research Institute, Madras, 1996, pp. xi + 69, Rs. 70/-. This monograph of an edition with critical study (by Dr. George T. Artola of the University of Hawaii, pp. 1-27) and English translation of a little known unique farce, the Palandu-mandana (PM) of Harijivana Misra, a poet scholat who lived in Jaipur in the 17th century A. D.) is brought out to mark the Valedictory function of the Golden Jubilee (on 10th July, 1996) of the K.P.S. Research Institute, Madras. Both the PM and its author deserve a special place in the history of the Prahasanas. Harijivana Misra is the only writer who has composed as many as six Prahasanas concluding the PM, each of which is endowed with some feature not usually found in the Prahasanas. They form a substantial contribution to the comic theatre of India and among them the PM is on all accounts the master-piece of the author. An edited version of the PM as from mss. was also successfully staged on 12th May, 1966 at Madras as directed by Dr. Raghavan with the assistance of Dr. C. S. Sundaram and S. S. Janaki; a couple of photographs from this presentation as from the Samskrit Ranga photo album are included in the present edition of the PM. S. S. Janaki has contributed the Preface (pp. i-x) in this book. The main thrust of the play is the funny situations set up by the author in depicting the consumption of prohibited vegitables, specially onions, mushroom, and garlic by the so-called orthodox priests, openly and stealthily. These vegitables are used to spice the various food preparations at the ritual function. Harijivana Misra criticizes the nature of the brahmins adequately in simple and appropriate similes and metaphors, saying that without small onions "dishes will be tasteless like the grassy food of mammals", that "the bulbous root of garlic is like the moon while the onins are like fire-flies, that a "good collection of big onion shines like the multitude of stars." It is noteworthy that not only human beings including the priestly class, enjoy eating food dishes seasoned by onions and garlic but also the divinities, gods and demons. In the Nandi verse itself Siva is described as "enjoying all kinds of food and drinks" and "delighting in varied tastes". The funniest part is at the end of the play when the author effectively describes a brawl arising from the mutual criticism of the orthodox Southern and Bengali priests and pandits. The Southerners are not able to put

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Vol. XXI, 1997 BRIEF NOTICES 167 up with the unorthodox nasty smell of rotten fish. In the same way the Bengalis strongly criticize the Southerners relishing assiduously the foodstuffs seasoned with the strong-scented onions and garlic. Being learned pandits they cite the Smrti texts to document their respective views. This disputation ends in the imprisonment of the Bengali pandits by the policemen and royal official on the argument manipulated by the "crafty" Southerners. Accordingly, the latter point to the accumulated red and white peelings of onions and prove that the Bengalis were trying to perform some tantric rite to kill them all! The Southerners headed by the 'respected' guest Palandu Mandana had the final say on all matters including foodstuffs and rituals so that the title of the play becomes most appropriate and significant. N.M.K. SRI UMAPATI SIVACARYA : HIS LIFE, WORKS AND CONTRIBUTION TO SAIVISM. Edited by S. S. Janaki, Golden Jubilee Publication, The Kuppuswami Sastri Research Institute, Chennai - 600 004, 1996, pp. xxii + 300, Rs. 150-. Umapati Sivam was born and bred up in the famous Diksitar family belonging to the Cidambaram Nataraja temple, and hence he had the privilege to perform he various rituals for the deities in this temple that are said to uniquely blend the Vedic and Agamic conventions according to the Tillai Muvayiravar tradition. As a man of spiritual attainment, he deeply revered and appreciated the Nayanmara and their soulful psalms. He was instinctively committed to spread Saivism in all its aspects - ritualistic, mythological, theological, philosophical, etc. This commitment of his is quite evident from the large number of Saivite works, big and small, written by him in Sanskrit and Tamil on varied topics, in distinct styles and methodology to suit the attitudes and qualifications of a vast range of audience. His compositions reveal also his acumen, his deep understanding of the Vedas, Vedanta and their commentaries by great acaryas, and Agamas, all of which he aptly used in expounding the tenets of the saiva Siddhanta philosophy. He, thus, occupies an extraordinary position in the Saivite tradition. The book is divided into two sections. Section I contains the proceedings and the eight research papers presented at the Seminar on Umapati Sivam held in the K. S. Research Institute on 11th and 12th November, 1988. Section II carries four traditional biographies of Umapati Sivam already available in print, viz., the Parthavana and the Rajendrapuramahatmyas. The Sanskrit text of the two sthalapuranas has been rendered into Devanagari in the present publication. The next two are reproductions of the biographies in Sanskrit and Tamil given

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168 N. M. KANSARA SAMBODHI in the Introduction to the edition of the Kuncitabghristava. A few scattered Tamil verses glorifying Umapati Sivam have also been added. The biographies are followed by a brief critique on 'Umapati Sivam'. His Life and Works in Tamil by Pandit Sri R. Subramaniyan, wherein he lists the writings of Umapati Sivam and also brings to notice the problem of the authorship of Umapati Sivam in some of these works like the Pauskarabhasya in Sanskrit, and the Sivasthalanamakkalivenba and Jnanapujai in Tamil. Thus, this publication contains a good amount of information on the major Sanskrit and Tamil works of Umapati Sivam, his life, and his contribution to Saivism in theory and practice, and opens new vistas in this field of study. N.M.K SAMSRTA-VYAHARA : SPOKEN SANSKRIT edited by S. S. Janaki, Golden Jubilee Year Publication, The Kuppuswami Sastri Research Institute, Madras, 1995 (2nd Edn.), pp. xxiv + 199, Rs. 120/-. Sanskrit was the lingua franca of this country and had its origin in India. Sanskrit in its Vedic form has certainly been the mother of the medieval Prakrits and modern Indian languages and mother tongues. Though there are thousands of Pandits who speak Sanskrit more fluently than their own mother tongue, yet it is far away from the approach of the common man, chiefly because it is not in common use. Even these scholars sometimes find it hard to freely exchange their views through simple Sanskrit. Use of Sanskrit needs practice in student - life, and an environment of its general usage in day-to-day life. This book is specially prepared by the staff of the Kuppuswami Sastri Research Institute in a very systematic way, and it carries twenty-one leesons with their English translation and appropriate notes on unfamiliar words. The style in the work is very smooth and readable. Lovers of Sanskrit, both scholars and students will, no doubt, find this work very helpful and stimulating. N.M.K THE JOURNAL OF ORIENTAL RESEARCH, MADRAS, VOL. LXIII, 1992-93, The Kuppuswami Sastri Research institute Golden Jubilee Publication, Madras, 1996, pp. vii + 200, Rs. 150/-. This Vol. LVIII (for 1992-93) of the Journal of Oriental Research, carries nine scholarly papers, two of them in Sanskrit. A few of these were delivered as special endowment lectures at the Kuppuswami Sastri Research Institute, Madras. About fifty-six book-reviews add to the prestige of the Journal among the savants doing work in the field of Sanskrit and Indology. As is usual the highlights of the activities of the institute during 1989-94 have been added. The Institute has

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Vol. XXI, 1997 REVIEWS 169 been carrying out its varied activities through the last five decades under varied circumstances. The Journal itself started gloriously in 1927 by the great savant Prof. Kuppuswami Sastri has had a chequered career. The inspiring divine presence of H. H. Sri Paramacharya Kanchi Kamakoti Pitha in the Institute premises named after Him, has been providing its inmates the solace and strength at all times. The learned contributors of research papers in the issue are Prof. P. Thirugnanasambandhan, Dr. W. Selvamurthy, Prof. N. R. Bhatt, Dr. K. V. Sarma, Dr. S. S. Janaki, Dr. B. N. K. Sarma, Sri R. Muthukrishna Sastri and Sri R. Thangaswami Sarma. The last two have contributed their articles in Sanskrit, viz., Bhatta-varttikam and Samavaya-samiksa, respectively. This issue carries eleven obituary notices, pertaining to Swami Gangeshwarananda (1881-1992), Sri K. Balasubramanya Sastri (1901-1993), Prof. P. Thirujnanasambandhan (1915-1989), Dr. C. S. Venkateswaran, Sri V. H. Subramanya Sastri (1911-92), Prof. V. S. Venkataraghavacharya, Smt. Suryakumari Dwarkadas (1922-1990), Sri Ramanatha Dikshitar (1908-1988), Smt. K. Savithri Ammal, (1898-1992), Sri S. Nilakantha Iyer, and Prof. M. Ramakrishna Bhatt. N.M.K. MANATUNGACARYA AUR UNKE STOTRA (Hin.), by Madhusudan Dhaki and Jitendra Shah, Shardaben Chimanbhai Educational Research Centre, Ahmedabad, 1997, pp. 4 + 135, Rs. Amulya. This book presents a complete study of the Bhaktamara-stotra and the Bhayahara alias Namiuna-stotra of the celebrated Jaina acarya Manatungasuri who hailed in the latter half of the 6th century A. D. It is addorned with a Preface (Purvavalokana) by Dr. Jagadishchandra Jain, and a Foreword by Pt. Dalsukh Malavaniya. The Introduction by the editors discusses the following eight topics in details : (1) Background; (2) the originator of the Bhaktamarastotra and its genesis; (3) The extent of the Bhaktamara-stotra; (4) The insight into the Bhaktamara; (5) The Bhayahara-stotra; (6) The eight great fears (mahabhaya) of the Bhaktamara and the Bhayahara; (7) The date of the author of the stotra; and (8) The religious geneology of the author of these stotras. In an Appendix one more stotra, entitled Pancaparamesthi-stavana alias Bhattibbharastotra is discussed. Then follows a list of variants in the Bhaktamarastotra. The Bibliography at the end gives a list of about 96 references consulted for this research work. N.M.K

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170 N. M. KANSARA SAMBODHI RAJANAGARA-NAM JINALAYO (Guj.) by Jitendra B. Shah and Chandrakant Kadiya, Sheth Anandji Kalyanji, Ahmedabad, 1997, pp. 22 + 440, Rs. 200/-. The firm of Sheth Anandji Kalyanji published a set of three works, entitled "Jaina-tirtha-sarva-samgraha", in V.S. 2009 (1964), in which was given the information about all the Jaina temples of India. This work was out of print for a long time. Sheth Shri Shrenikbhai Kasturbhai wished to get this work updated. In April 1996, a project to this end was drafted, and it was proposed to compile all the information regarding the Jaina temples of Rajanagar, i.e. Ahmedabad. The work of personally visiting these temples and gathering all the minute details was carried out by a team of eight workers, headed by the two scholars - Dr. Jitendra B. Shah and Shri Chandrakant Kadiya. Initially, the information about the Jaina temples of Rajanagara was given only in five pages in the form of a brief note in the JTSS, mentioned above. But the present project was rather ambitious, and as a result much more material, and many more details about these Jain temples, also about those that were built only recently, was collected, collated and compiled in this work. This excellent and highly beautiful work is divided into fifteen chapters, the first being Introductory and the last one the Bibliography. The rest of the chapters are devoted to the following topics : (1) The Cintamani Parsvanatha of Saraspur; (2) The Hathisimhani Vali Temple : (3) A Short Note on the Ancient Jaina temples of Rajanagar; (5) The Caityas destroyed; (6) The Sresthis of Rajanagar; (7) A table of the Jaina temples of Rajanagar; (8) A list of Jaina temples according to the order of the Tirthankaras; (9) A list of the Jaina temples as per the Samvat chronological order; (10) The domestic Jaina temples of Rajanagara; (11) The Upasrayas of Rajanagara; (12) The Jaina Sanghas of Rajanagara; and (13) The Ambila-shalas of Rajanagara. N.M.K. DHARMABINDU-PRAKARANAM edited by Muni Shri Jambuvijay, Shri Jina Shasana Aradhana Trust, Mumbai, V. S. 2050, pp. 3 + 47 + 6 + 3 + 305, Rs. 150/This edition of the Dharmabindu of Haribhadra Suri, along with the Vrtti of Municandrasuri, is printed in the Pothi style, but instead of counting the numbers of folios, each page has been numbered independently and serially. In his Foreword, the editor has given in English the information regarding the original Mss., viz., J1, J, K1, K, L, and D, he has utilized for this edition; all these are palm-leaf Mss., written approximately in the 13th century A. D. He

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Vol. XXI, 1997 REVIEWS 171 has noted that really D and L Mss. are one Ms. which contains the text beginning with folio 1 and ending on folio 27, then the commentary begins in the same Ms., which contains the commentary in the folios 1 to 272. The first folio of the text and 2 to 272 folios of the commentary are in L, while D contains folios 2 to 27 of the text and folio 1 of the commentary; and he observes : "Only God knows how this has happened." In his Gujarati Prastavana, covering pp. 1-41, the editor has discussed the problems pertaining to the author Haribhadrasuri, the nature of the work, its place in Indian literature, comparision of the topics discussed in the Dharmabindu with those by Hemacandra in his Yogasastra, synopsis of the contents of Dharmabindu, the author's biography, the works of Haribhadrasuri, the date of the author, the commentator Municandrasuri, variants in the textual readings of the commentator, biography of the commentator, his works, about the seven appendices, about the two versions of the work in the Mss., some clarifications, and acknowledgements. Then follows a Sanskrit Amukham, giving many of the details of the Gujarat Introduction in brief. It is followed by a list of works by way of a bibliography. The text is given in parts, not continuously, in such a way that the Sutra of the Dharmabindu proper is given first, which is followed by the commentary of Municandrasuri on it. The printing is excellent, and the text of the Dharmabindu and the commentary are conveniently printed in suitably different fonts, and the Pratikas of the text in the commentary too are suitably given in suitable bold fonts. Some stray notes are also added in the footnotes on each page. There are seven appendices at the end of the text, covering pp. 161-305. The first Parisista gives the sutra-patha of the Dharmabindu. The Second Parisista, gives the alphabetical index of the sutras. The Third Parisista gives an alphabetical list of quotations in the Dharmabindu and the commentary from other works. The Fourth Parisista gives some special notes on the statements on k, of course in Sanskrit. The Fifth Parisista, gives an alphabetical list of proper names mentioned by the author. The Sixth Parisista gives the stories of Marudevi, Sthulabhadra, Metaryamuni, Govinda-vacaka, Sundarinanda, etc., referred to in the commentary. And, the Seventh Parisista gives the biography of Haribhadrasuri as given by Municandrasuri at the end of his Vrtti on the Upadesapada, followed by a work of Devasuri, the disciple of Municandrasuri, viz., the Guruvirahavilapa in Prakrit and its Gujarati translation by Pradyumnavijaya. N.M.K.

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172 N. M. KANSARA SAMBODHI BHARATIYA TATVAJNANA : KETALIKA SAMASYA (Guj.) by Nagin. J. Shah, Samskrta Samskrti Granthamala, No. 5, B-14, Devadarshan Flat, Near Nehru Nagar Char Rasta, Ambawadi, Ahmedabad - 380 015, 1998, pp. 184, Rs. 99-. Dr. Nagin J. Shah is fairly well-known to scholars in the field of Indology, particularly Indian Philosophy, by his researches on Akalanka and Jayanta Bhatta, and on Samkhya-Yoga system of Indian Philosophy. He is an independent thinker who goes to the roots of some of the crucial problems of Indian Philosophy in general. This book is a collective work of some of his very important and interesting research articles published previously in various journals or commemoration volumes, all in Gujarati. This work contains seven chapters, viz., (1) Sat-Asat; (2) The Concept of Liberation in Indian Systems of Philosophy; (3) Karma and Rebirth; (4) Isvara in the systems of Indian Philosophy; (5) General Introduction to the Problems of Knowledge; (6) Pramanya of Knowledge - Svatah or Paratah ?; and (7) The discussion about Pratyaksa by Indian logicians. All these articles are fully documented by footnotes from original Sanskrit and Prakrit works. This work is highly valuable for future researches in the field of Indian Philosophy. N.M.K JAIN PHILOSOPHY AND RELIGION by K. R. Chandra. Prakrit Jain Vidya Vikas Fund, Ahmedabad, 1996. PP. 32, Rs. 12/-. This booklet contains two lectures on Jain Philosophy and Jain Religion, delivered by Dr. K. R. Chandra in the Department of Jainology, University of Madras, Madras, on 18th March, 1994, under the auspices of Mahasati Tarabai Swamy Endowment Lectures. The first lecture treats the following topics : Monistic, dualistic or pluralistic realism, nature and sat or dravya, three categories and six substances, astikayas, Jiva or the living being, classification of jivas, five non-living substances, ethical classification, darsana and jnana, anekanta or syadvada, naya and pramana, the saptabhangi, manners of positing (niksepas), points of views (nayas), theory of karma and stages of spiritual progress (gunasthanas). The second lecture discusses the topics of Jain religion, like Ratnatraya, right conduct, five main vows, four virtues or attitudes (vrtti or bhavana), seven supplimentary vows (silavratas), peaceful death (sallehana) asta-mulaguna, types of himsa allowed to a householder (upasaka), Yoga and Karana, transgressions (aticaras), dana, stoppage of asrava and bandha, three guptis, dasalaksanadharma, anupreksa, parisahajaya, austerities (tapa) both external and internal,

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Vol. XXI, 1997 BRIEF NOTICES 173 and positive aspects of Jainism. N.M.K. WHEN DID THE BUDDHA LIVE ? THE CONTROVERSY OF THE DATING OF THE HISTORICAL BUDDHA. Edited by Heinz Bechert. Sri Satguru Publications a division of Indian Books Centre, Delhi, 1995. PP. 8 + 387, Rs. 1200/-. From the beginning of modern Indological research, the dates of Buddha have been recognized as having crucial importance for early Indian history. The date of the Buddha's Parinirvana has been varying from ca 480 B.C. to 368 B.C. Confronted with the divergent theories of scholars, the present author felt challenged to test the reliability of the various chronological calculations, and for this purpose, a symposium on this problem was convened under the auspices of the Akademie der Wissenschaften in Gottingen, in April 11-18, 1988. The present volume represents an updated survey of the state of research in this field which is based largely on the results achieved at this symposium and incorporated some more recent investigations. It concentrates mainly on those aspects which are directly relevant for the reconstruction of the early history of Buddhist chronology as well as for the understanding of the related developments in India, Sri Lanka, and in the countries of South Asian Theravada tradition. In all twenty-one (21) papers are included here. They are arranged under five sections : I. Introductory Essays; II. History of Research; III. Cultural Setting; IV. Evaluation of the Indian Theravada Traditions; V. Central and East Asian Traditions. In section II five research papers by scholars like Siglinde Dietz, Jens-Uwe Hartmann, Gustav Roth, Heinz Braun and Hajime Nakamura treat the topics like History of Western Scholarship up to 1980, South Asian Studies Published in Western Languages, Hindi writings, Era in Malalankaravatthu and Japanese Research, all pertaining to the problem of the date of Buddha. In Section III, scholars like Herbert Hartel, Hermann Kulke, George Von Simson, Adelheid Mette, Oskar Von Hinuber, Wilhelm Halbfass, Andr Bareau, and Heinrich Von Stietencron have discussed, in eight research papers, archaeological research. Some considerations for the History of North India, the Historical Background for the Rise of Buddhism, the Synchronism of Buddha and the Jina Mahavira, linguistic considerations, early Indian references to the Greeks and the First Encounters between Buddhism and the West, Some considerations concerning the Problem and the Puranic Geneologies, in connection with the date of Buddha. In section IV, scholars like Heinz Bechert, Corneelia Mallebrein,

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174 N. M. KANSARA SAMBODHI and Petra Kieffer-Pulz have studied the origin and spread of the Theravada Chronology, Inscriptional Sources and the Buddhist Revival Movement, in three research papers. In section V, scholars like Gunter Gronbold, Claus Vogel, Herbert Franke and Klaus Rohrborn have dived into the Tantric Texts, Bu-ston, Chinese Tradition and the Central Asian Tradition with regard to the date of Buddha, in four research papers. Heinz Bechert has compiled the bibliography. In his concluding remarks, the editor, Heinz Bechert, confesses that we cannot provide the historian with a new chronology of the Buddha's dates which would be approved by all or even most experts. Opinions remain strongly divided. We may, however, state that the symposium has at least made it clear that the "general agreement among scholars that Buddha died within a few years of 480 B.C." has become a thing of the past. N.M.K. BRAJ : CENTRE OF KRISHNA PILGRIMAGE by A. W. Enwistle. Ebgert Forsten, Groningen, 1987. PP. xviii + 554. This book presents a comprehensive study of the region where Krishna, one of the most popular gods of devotional Hinduism, is believed to have spent his early years as a cowherd boy. The area of Braj, lying between Delhi and Agra, is visited annually by hundreds of thousands of pilgrims, who come to see the sacred sites associated with the romantic legends of Krishna's youth. Many of them follow a pilgrimage circuit over three hundred kms. in length that takes up to eight weeks to complete and includes such famous places as Mathura, Vrindavan and Gokul. For many centuries the Krishna legends have been a source of inspiration for poets and devotees all over India. Since the turn of the 16th century Braj had been a focus of their attention; devotees who came to settle there related its topography to their conception of a transcendent realm in which Krishna is eternally engaged in his divine play with his consort, Radha. The local dialect served as the medium for most of the vernacular literature written in northern India upto the end of the last century. From the seventeenth century onwards various European travellers passed through the area and made a brief record of their impressions. Although many studies have appeared on different aspects of the Krishna cult, there is no upto-dated and suitably comprehensive account in English of Braj, the most important centre of Krishna pilgrimage. Hence, the present endeavour. The opening chapters survey the development of the Krishna cult from the

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Vol. XXI, 1997 BRIEF NOTICES 175 earliest times to the present day, with reference to the extensive literature in Sanskrit and modern Indian languages, as well as to the numerous studies that have been written about the relevant mythology, theology, archaeology, and political history. Modern pilgrimage and associated beliefs and practices are described and related to what is known about Krishna worship to Braj prior to the 16th century. The various Sanskrit and later vernacular texts dealing with sacred places are examined in detail in order to show how they evolved and are related to each other. On the basis of these sources the full itinerary of the sacred circuit is described with plates and maps. As well as being a valuable handbook for anyone visiting Braj, this detailed study will be of use to all those who are interested in the Krishna cult and Hindu devotionalism. As has been stated by the author, he cannot by any means claim that his own study has not been tinged by personal taste and subjectivity. In his efforts to present the Vaishnavas' own account of their beliefs, history, and practices, he tried to avoid giving undue stress to the views current in any particular Sampraday. Though he has attempted to suppress value judgements and less opinionated than his colonial predecessors, his own perspective remains that of an outsider who, while being charmed by the aesthetics and vivacity of Braj culture, has remained stubbornly impervious to the theology and mysticism. He is intrigued by the sentimental and emotional appeal of Krishna devotion, but has failed to it sweep him off his feet. He has tried to assimilate and select information from the vast amount of material available in various languages, emphasizing the salient points and providing references to sources where more detail can be found. His aim has been to produce a digestible cultural history for the western reader and a handbook that will be useful for students of various disciplines. His own particulars contribution to the study of Braj has been to examine all available texts relating to the sacred places. By collating these sources he has produced a description of the pilgrimage circuit, presenting the itinerary in the form of a gazetteer. N.M.K. MYTHS, SAINTS AND LEGENDS IN MEDIEVAL INDIA by Charlotte Vaudeville. Oxford University Press, New Delhi, 1996. PP. 334. Rs.545/-. The eleven essays in this volume are classified under three Parts, viz., Part I: The Lord of Govardhan Hill; Part II : The Saint Poets of Maharashtra; Part III : Ballads and Legends of North India. Part I contains six essays entitled : (1) The Cowherd God in Ancient India ; (2) Braj, Lost and Found ; (3) The Govardhan Myth in Northern India ; (4) Krishna Gopala, Radha, and the Great Goddess;

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176 N. M. KANSARA SAMBODHI (5) Multiple Approaches to a Living Hindu Myth - The Lord of the Govardhan lill; and (6) The Eater Hill. Part II contains three essays, viz., (1) Pandharpur, City of Saints; (2) Chokhamela, an Untouchable Saint of Maharashtra; and (3) The Saiva-Vaisnava synthesis in Maharashtra Santism. Part III contains two essays, viz., (1) Lor-Kaha - The Ancient Legend of Lorik and Chanda; and (2) Leaves from the Desert - The Dhola-Maru-ra-Duha - An Ancient Ballad of Rajasthan. These essays offer a representative selection of Charlotte Vaudeville's pathbreaking studies of north-Indian devotional traditions of the period which we usually describe as medieval. It brings together, for the first time, a selection of longer essays falling naturally into two groups, one dealing with the cluster of myths surrounding the cult of Krsna in the Braj region and the other with Vithoba in the Pandharpur area in Maharashtra. They offer an insight into the author's peculiar gifts as a writer and scholar which were to inspire and guide whole generations of scholars in the field. Her knowledge of Bengali Chaitanya tradition at one end and Marathi at the other extreme, makes for a narrative of all-India significance, which traces affinities between regional traditions as well as distinguishes peculiarities. Above all there is an awareness which is characteristic of her later work, of the historical evolution of a given strand of tradition, of accretions and layerings, which never completely replaced the older strata, but often continued to coexist with it. Distingushing between the layers also makes the identification and appreciation of the transgressive and often iconoclastic devotional attitude of poets whose works were later appreciated by more orthodox Brahmanical traditions, thus, Surdas and his appropriation by the Vallabhite hagiographers in the seventeenth century, as also the impressive personality and works of Kabir who was roped in for a variety of causes, most predominently the Vaisnava. The essays in this collection offer a fine representation of an approach which integrates a vast range of material and disciplines : epigraphic, iconographic and textual. Vaudeville draws upon a wide variety of sources : the Sanskrit epics, the Puaranas and Kavya literature, as also diverse vernacular textual traditions, including devotional poetry, religious tracts and popular secular forms such as the Barahmasa and romantic ballads. These are complemented with material from local oral traditions and personal observation of festivals and rituals, which in the turn supplement and echo, but also correct, the textual and iconographic information. This scholarly expanse covered by Charlotte Vaudeville remains

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Vol. XXI, 1997 REVIEWS 177 unique. Her peculiar vision the mastery and controlled lyricism of her writing, its vivacity and poetry, offer insights and inspiration which will hopefully continue to kindle further research. N.M.K. JOHN BROUGH COLLECTED PAPERS, edited by Minoru Hara and J. C. Wright. School of Oriental and African Studies, University of London, London, 1996. PP. xxii + 533. John Brough (1917-1984) was Professor of Sanskrit in the University of London from 1948 to 1967, and in the University of Cambridge from 1967 until his death in 1984. He was the most accomplished scholar of Vedic and Buddhist philology and the most sensitive exponent of Sanskrit lyric poetry that Britain has produced. He was also a pioneer of Anglo-Japanese collaboration in Buddhist studies, and this book is appropriately the fruit of such continued collaboration. In anticipation of the eighteenth anniversary of his birth, virtually all his exemplary journal articles and other minor writings in the field of Indology have been brought together in this volume. Thus it contains not only Brough's fundamental contributions to knowledge, in fields such as the history of the organization of Indian society, the nature of Soma, the reconstruction of the transmission of Buddhism from India to China and Japan, the evolution of Buddhist Sanskrit as a literary medium, but also his bequest to the non-specialist reader, including evocative critical appreciations of Sanskrit literature and the evaluation of the basic linguistic theories of classical India. Those of his book reviews which include original philological material have also been reprinted here, as have two short notices of works by Edgerton and Waldschmidt, since they are referred to in the article The Language of the Buddhist Sanskrit texts'. While efforts have been made to reduce their bulk by judicious selection, the wide range and depth of Brough's scholarship has resulted inevitably in indexes of substantial proportions. At the outset, just after the Introduction by J. C. Wright, is given John Brough Bibliography and Table of Contents, which lists his 33 books, articles, etc., 13 book reviews, two appendices, list of 59 books reviewed, and 8 obituaries by scholars like T. H. Barrett, Oscar Botto, J. Burton-Page, Minoru Hara, P. S. Jaini, D. MsMullen, K. R. Norman and J. W. Wright. N.M.K. PARAMPARAGATA PRAKRTA VYAKARANA KI SAMIKSA AURA ARDHAMAGADHI (Hindi) by Dr. K. R.Chandra, Praksta Jaina Vidya Vikasa Fund, Ahmedabad, 1995, pp.4 + 152, Rs. 50/-.

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178 N. M. KANSARA SAMBODHI The traditional works of Prakrit grammar are styled on the traditional Sanskrit grammars structured according to the Paninian system or many others upto Hemacandra. They are in the form of Sutras in Sanskrit with a commentary which explains and supplements the sutras by illustrations and technical discussions where necessary. As has been observed by Nitti-Dolci, Maharastrigrammarians and the rest of other Prakrit grammarians wrote in Sanskrit; among them there were some, like Hemacandra and Kramadisvara, who conceived Prakrit grammar as an appendix to Sanskrit grammar. There existed in Sanskrit for every system of grammar a Dhatupatha in which the verbs were collected together in a section. The Prakrit grammarians were of the opinion that students would refer to them and be able to construct different types of Prakrit verbal forms, in anology with nouns. The Prakrit grammarians did not take into account the verbs, at the time of framing the rules on the phonetic correspondences. Consequently they have expounded the alterations that the affixes have undergone without troubling their mind about the form of the verbal themes. They thought of filing up the lacunae by inserting as examples certain verbal themes of Prakrit, either in the section on conjugation or in the small supplementary list of Dhatvadesas, rather as a collection of samples, than an exposition of the whole. We can hardly say anything about grammars of the Jaina-dialects. Without a grammar, probably these dialects had been employed the most and had spread far and wide in India. Since the Prakrits of the Jaina canonical and non-canonical texts offered strong similarities with Maharastri, they preferred to use the grammars of Maharastri by adopting it more or less according to their needs. It is due to this circumstance that Hemacandra who embarked upon teaching the diverse dialects of his religion dressed his materials about the frame-work of the sutras of Vararuci on classical Maharastri. However, it so happens that a grammarian, while copying out merely inserts in his exposition certain facts taken from the languages of the texts that are of particular interest to him: the remarks on Arsa or Ardhamagadhi that Hemacandra has made in his commentary is the result of this attitude. Modern linguists like Sukumar Sen have noted that the Prakrit speeches, recognised by the old grammarians, that occur in Sanskrit drama and in poems do not come in the direct line of development of Indo-Aryan. The Prakrits are almost entirely based on artificial generalisation of the second phase of MiddleIndo-Aryan and stand in the same relation to the latter proper as Classical Sanskrit stands to Vedic.

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Vol. XXI, 1997 BRIEF NOTICES 179 The author of our present book, Dr. K. C. Chandra, has taken a clue from both these scholars and many more too, and endeavoured to tread a new path of a synthetic viewpoint of describing the language objectively and tried to examine how far the rules of the traditional grammars apply to Prakrits in general and Ardhamagadhi in particular. Taking his clues from old word-forms preserved in the palm-leaf manuscripts the readings whereof are recorded in some of the critical editions of Curnis and Agamas of Jainism, and also from the fact that Mahavira who preached in Ardhamagadhi was almost a contemporary Buddha from chronological point of view, and not far removed in distance in point of geographical region of the sojourn for preaching, and from his logical inference that Pali, the mother tongue could not be far removed from Mahavira's original mother tongue, Ardhamagadhi, Dr. Chandra has embarked upon the task of discovering genuine original features of the text portions of edited Agamic works. His comparative study of traditional grammars is ultimately targeted at finding the original features of the language in which Mahavira originally or actually preached. It is to this end that he has discussed his subject in fifteen chapters and beginning with Bharatamuni and the genesis of the Prakrit tongue in general, and then deliberating on the changes of initial and medial consonents, vowels, he has tried to discover two forms of the Ardhamagadhi, one ancient and other of medieval ages, and has proposed or suggested lines on which the so-far-critically-edited Jaina Agamic texts are now required to be reedited. Although his views on the yoni' of Prakrit are hardly convincing, his discovery has far reaching implications, which are likely to be instrumental in raising new controversies inspite of their basically sound academic foundation. Dr. Chandra deserves our sympathy for embarking on a highly sensitive project, and also our encomiums for the academic courage he has exhibited in propounding his new discovery. N.M.K.

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avalokana paraMparAgata prAkRta vyAkaraNa kI samIkSA aura ardhamAgadhI : (hindI) H lekhaka DaoN. ke. Ara. candrA; prakAzaka : prAkRta jaina vidyA vikAsa phaMDa, 375 sarasvatI nagara, amadAvAda-380015, 195. pRSTha 8 + 152, kada 22 se. mI.x 14 se. mI., mUlya rUA. 50=vidyA vikAsa phaMDa graMthAMka 11. saMzodhananuM atisuMdara pustaka. temAM kula 15 adhyAya che, jemAMthI prathama 11 tathA 15mo lekharUpe prakAzita thaI cUkyA che. prAraMbhamAM lekhake saMskRta ane prAkRta bhASAonA paraspara saMbaMdhane udAharaNo tathA uddharaNo ApI vizada rIte samajAvyo che. AmAM "prakRti" ane "yoni" zabdono je artha karyo che te pratItikara lAgato nathI. paraMtu te pachInuM je muddAsara vivecana che te saghaLuM dAda mAMgI le tevuM che. upalabdha prAcIna sAhitya tema ja zilAlekhomAM maLatA bhASAnA svarUpanI dRSTie ahIM paraMparAgata prAkata vyAkaraNanA keTalAka niyamonI samIkSA karI ardhamAgadhI bhASAnI vizeSatAo darzAvavAno prabaLa ane prazasya prayatna karyo che. vizeSAvazyakabhASyanI eka prAcIna tADapatrIya hastaprata jesalameranA bhaMDAramAMthI prApta thaI temAMnA pAThonA abhyAse lekhakane A navI dizA sujhADI. vyAkaraNanA A niyamonI carcAmAM vividha labdhapratiSTha vidvAnonA maMtavyo rajU karI sarasa vizleSaNa karyuM che. vaLI Agamo AdimAMthI thokabaMdha udAharaNo ApyAM che. jyAM jarUra lAgI tyAM koSTako paNa ApyAM che. pahelI so gAthAonA zabdonI paNa carcA koika ApI karI che. ardhamAgadhInuM to vyAkaraNa ja racAyuM nathI; AcArya hemacanTe paNa tene "ArSa" kahI aTakI gayA che. vyAkaraNanA niyamo pachInI prAkRta bhASAo mATe ghaDAyA che. AthI aghoSa vyaMjanonuM ghoSIkaraNa, madhye AvatA vyaMjanano lopa tathA no thavo vagere mATenA niyamo prAcIna ardhamAgadhIne lAgu pADavA ucita nathI. ardhamAgadhI AgamonA sarva saMpAdakoe vyAkaraNanA niyamone lakSamAM laIne saMpAdana karyuM hovAthI bhASAmAM khUba parivartana AvI gayuM che. A rIte mahArASTrI prAkRtanAM rUpo sArA pramANamAM ghUsI gayAM che. A mATe eka rocaka udAharaNa joIe. prAcIna kALamAM - "I" A rIte lakhAto, ane '1' Ama lakhAto. bheda spaSTa hato. guptakALanA prAraMbhe devanAgarInA badhA akSaro upara zirorekhA mUkavAnI prathA zarU thaI. AthI 4 nA svarUpane zirorekhA lAgatAM ' AvuM svarUpa thatAM ra ane pa vacce bhrama Ubho thavA lAgyo. uccAramAM paNa no vizeSa thavA lAgyo. pariNAme no thAya evo niyama ghaDAyo. A mahArASTrI prAkRtano niyama pUrvabhAratamAM pAMgarelI prAcIna ardhamAgadhIne lagADavo e kyAMno nyAya ? daivayoge hastapratomAM sArA pramANamAM prAcIna rUpo maLe che. evuM paNa daSTigocara thAya che ke cUrNiTIkAomAM jUnAM rUpo maLe che ane jUnA mULa graMthomAM navAM rUpo vadhyAM che. DaoN. candrane jesalameranI tADapatrIya pratanA nirIkSaNamAMthI preraNA maLI ane temaNe mULa ardhamAgadhI prayogonI zodhamAM saMzodhana AdaryuM. temanuM A saMzodhananuM UMDANa prazaMsApAtra che. AmAMthI pratIta thAya che ke mULa bhASAmAM dhvanyAtmaka daSTie bahu parivartana thaI gayuM che. emanA A abhyAsano niSkarSa evo che ke :

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Vol. XXI, 1997 avalokana 181 prAcIna granthonI bhASA prAcIna ja hovI joIe. samayAntare thayelA vikAra choDI devA joIe. pramANamAM arvAcIna evAM cUrNiTIkAomAM AvatAM prAcIna rUpo AgamomAM svIkAravAM joIe. vaLI hastapratavijJAnano e niyama che ke granthonI prato jema vadhAre ne vadhAre lakhAtI jAya tema bhASAprayogomAM adhika parivartana AvatuM jAya. ane tethI ja prAcIna granthonI samIkSita AvRtti (Critical Edition) thavI joIe. AthI DaoN. candra jaNAve che ke arthanI saMvAditA jaLavAtI hoya to prAcIna zabdo apanAvavA joIe ane e rIte A navI daSTie badhAM AgamonI navI AvRttio thavI joIe. avalokanakAra temanA A niSkarSa sAthe saMpUrNa rIte sahamata thAya che ane tenuM to evuM sUcana che-daDhatApUrvakanuM sUcana che--ke bhAratIya pATha-samIkSA(Indian Textual Criticism)nA mAnya niyamo anusAra A atyanta mahattvanA prAcIna granthonI navI AvRtti ja nahi paNa samIlita AvRtti (Critical Edition) karavI khUba jarUrI che. | DaoN. candranI dRSTi ApaNI prazaMsA mAMgI le che eTaluM ja nahi, paNa te mATe ApaNe temanA AbhArI chIe. temanA A prayatnamAM temane sarva dizAethI protsAhana maLavuM joIe ane jaina dharmanA pUjya AcAryoe paNa rUDhicustatA na rAkhatAM saMpradAyanA hitamAM ja nahi, paNa bhAratanI prAcIna saMskRtinA hitamAM A navI daSTine AvakAravI joIe. AvA saMzodhana dvArA DaoN. candra bhAratIya saMskRtinI anupama sevA bajAvI che ane teo A uttama pravRttimAM satata rata rahe tevI abhilASA che. - jayanta pre, ThAkara Restoration of The Original Language of Ardhamagadhi Texts. (2120) : lekhaka DaoN. ke. Ara. candra : prakAzaka : prAkRta jaina vidyA vikAsa phaMDa, amadAvAda-380015; 1994. pRSTha 24 + 104 +1 chabilaka; kada 22 x 14 se. mitra; mUlya rU80=00. jaina AgamonI mULa ardhamAgadhI bhASAnA punaHprasthApana mATeno A eka atyanta prazaMsanIya prayatna che. prAcInatama Agama manAtA "AcArAMgasUtra"nA prathama bhAgamAMthI chUTA chavAyA daza zabdo laIne tenAM pAThAntarono eka abhyAsa ahIM rajU karavAmAM Avyo che. A mATe aneka koSTako dvArA sundara pRthakkaraNa kareluM che. A pRthakkaraNanA adhyayana uparathI phalita thAya che ke jANe mULa ardhamAgadhI bhASAnuM prathama zaurasenI prAkRta ane pachI mahArASTra prAkRtamAM rUpAntara ja thaI gayuM che ! A mATe aneka kAraNo javAbadAra hoI zake : eka to samaya vItatAM thatAM svAbhAvika parivartano, bIjuM pUrva bhAratamAMthI pazcima bhAratamAM sthaLAntara, trIjuM lahiyAo tathA vAcakonI niSkALajI ane cothuM te te samayanA samAjane saraLatAthI samajAya te mATenA sahetuka prayatno. AmAM anya cAra prakAzita prAcIna AgamomAMnAM samAna zabdarUpo sAthe tulanA paNa karelI che jethI keTalAM jUnAM rUpo upalabdha thaI zake che teno khyAla Ave. A to eka namUnArUpa adhyayana che. A ja rIte sarva hastapratone AdhAre prAcIna AgamomAM AvatA sarva prAcIna prayogono tulanAtmaka abhyAsa karAya to sampAdakone prAcIna ardhamAgadhI zabdo puSkaLa maLI rahe ane e rIte AgamonI navI AvRttimAM mULa bhASA punaH prasthApita thaI zake. AvA keTalAka zabdonI sUci paNa lekhake ApI che. hastapratomAM tema ja mudrita AgamonA pAThamAM paNa je prAcIna prayogo maLe che te A kArya mATe dizAsUcana kare che. ane AvA kAraNe ja DaoN. candrane A dizAmAM pahela

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182 jayanta che. ThAkara SAMBODHI karavAnI preraNA maLelI. mULa rUpo jotAM spaSTa thAya che ke asala ardhamAgadhI bhASA saMskRta tema ja pAlinI atyanta najIka che jethI ta no 2 ke 3 no ja evA pheraphAro tyAre nahotA thatA tema samajAya che. DaoN. candra sAcI dizAmAM prayatna karI rahyA che ane temaNe rajU karelA namUnArUpa abhyAsa uparathI spaSTa thAya che ke A atyanta Avazyaka paNa che. temanI sUkSmaNikA ane Avazyaka kAryamAMnI pahela mATe teo khUba ja abhinaMdanane pAtra che, dhanyavAdane pAtra che, ane AvA manthana dvArA prAcIna AgamonA adhyetAo upara temanA dvArA moTo upakAra thayo che ema kahevAmAM atizayokti nathI. A navi daSTie badhAM AgamonI samIkSita AvRtti (Critical edition) taiyAra karAya e jarUrI che. A mATe teo "AcArAMgasUtra"thI prArambha karavA dhAre che. AvuM bhagIratha kArya koI saMsthA ja karI zake, aneka vyaktionuM jUtha maMDe to ja saphaLa thAya. A mATe DaoN. candra sarva dizAothI protsAhananA adhikArI che. jaina AcAryavaryo taraphathI paNa temane pUratuM protsAhana prApta thAya tevI zraddhA rAkhIe. jo tema thaze, to A mahattvapUrNa kSetramAM krAnti thaI gaNAze. jayanta che. ThAkara

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ACKNOWLEDGEMENTS VANAVALLI (Skt.) - A Collection of Poems in Sanskrit by Dr. Ravindrakumar Panda, Lions Club of Lalbaug, Baroda, 1996, pp. 36, Rs. 20/-. BHASA-SASTRA-PRAVECINI (Skt.-Eng.) by Prof. R. S. Venkatarama Sastri, Golden Jubilee Publication, The Kuppuswami Sastri Research Institute, Madras, 1996. pp. 243, Rs. 100/-. A HISTORY OF SANSKRIT LITERATURE (Skt.) by Prof. R. S. Venkatarama Sastri, Golden Jubilee Publication, The Kuppuswami Sastri Research Institute, Madras, 1996, pp. 264, Rs. 100/-. SRI CHINUBHAI : NAGARA-JANO-NA SACHA HITECCHU PRATHAMA MAYOR (Guj.) edited by Prabhaben Chinubhai, Chinubhai Chimanbhai Parivar, Ahmedabad, pp. 192 + 32 (photographs), Year Nil, Price Nil. JAINADHARMA AUR DARSANA (Hin.) by Munisri Pramanasagara, Rajpal & Sons, Delhi, 1996, pp. 274 + 13 (Appendices), Rs. 95/-. NIRGRANTHA VOL. 2, Sharadaben Chimanbhai Educational Research Centre, "Darshan", Opp. Ranakpur Society, Shahibaug, Ahmedabad -380004, 1996, pp. x + 100 + 106 + 50, Rs. 200/-. PARVA PRAVACANAMALA (Guj.) by Acarya Sri Vijaya Bhadragupta Surisvaraji, Shri Vishvakalyan Trust, Mehsana, 1990, pp. 312, Rs. 30. SYADVADA MANJARI, Guj. Tr. by Sadhviji Sulocanasri, Shri Navrangpura Jain Svetambar Murtipujak Sangh, Ahmedabad, V. S. 2037 92nd EDn.), pp. 334. Rs. 25/ HIRA-SAUBHAGYA MAHAKAVYA, Guj. Tr. by Sadhviji Sulochanasriji, Parts I, II and III, Kantilal Chimanlal Kolsavala, "Goodluck' 9, Shrimali Society, Ahmedabad, 1972, Pt. I, pp. 588; Pt. II, pp. 469; Pt. III, pp. 462-892. Rs. 25, + 25/-; + 50/-.

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L. D. SERIES RECENT PUBLICATIONS JAINA - SAMMATA JNANA-CARCA (Guj.) by Dr. HARNARAYAN U. PANDYA, L. D. Institute of Indology, Ahmedabad, 1991, pp. 284, Rs. 105/-. SIRI DEVASURI'S PAUMAPPAHASAMI CARIYAM, Edited by Pt. Rupendrakumar Pagariya, L. D. Series No. 116, L. D. Institute of Indology, Ahmedabad, 1995, pp. 28 + 499, Rs. 250/-. AMARACANDRAYATI'S KAVYAKALPALATAVRTTIH, edited by R. S. Betai, L. D. Series No. 117, L. D. Institute of Indology, Ahmedabad, 1997, pp. 24 + 232 + 156, Rs. 225/ JINADATTA SURI'S SUVARNA-RAUPYA-SIDDHI-SASTRA, edited by J. C. Sikdar, Prajnacaksu Pandit Sri Sukhalalji Bharatiya Vidya Granthamala No. 4, L. D. Institute of Indology, Ahmedabad, 1997, pp. Xxxvi + 143 + 231, Rs. l. SOME TOPICS IN THE DEVELOPMENT OF OIA, MIA, NIA, edited by H. C. Bhayani, L. D. Series No. 118, L. D. Institute of Indology, Ahmedabad, 1997, pp. 144, Rs. 75/-. SRI PANCA PRATIKRAMANA SUTRO (Guj.) Gujarati Tr. with Vivecana, by (Late) Pt. Prabhudas Bechardas Parekh, Shri Yashovijaya Jain Sanskrit Pathashala, Shri Jain Shreyaskar Mandal, Mehsana (N. Guj.), 1997, pp. 807, Rs. 200/-.

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OUR CONTRIBUTORS 1. Colette Caillat, Parc Eiffel, F 92310 SEVRES. 2. Arpita G. Patel, Lecturer in Sanskrit, Navgujarat Arts College, Ashram Road, Ahmedabad - 9. 3. Dr. Ravindranath Vaman Ramdas. 4. Dr. S. Andhare, Museum, L. D. Institute of Indology, Ahmedabad. 5. Dr. Subhas Chandra Dash, Sanskrit Dictionary Department, Deccan College Post-Graduate and Research Institute, Yerwada, PUNE-411006. 6. Ram Vallabh Somani, S. 3 A, Satyanagar, Jhotawara, Jaipur. 7. Dr. Satya Vrat, Principal, Government College, 7/34, Purani Abadi, Sriganganagar. 8. Dr. H. C. Bhayani, 25/B, Bimanagar, Polytechnic, Ahmedabad-380015. 9. Dr. N. M. Kansara, 17/176, Vidyanagar, Near Himmatlal Park, Polytechnic, Ahmedabad : 380015. 10. A. R. Shah, Senior Chemist, Museum and Picture Gallery, Vadodara-390018. 11. Pt. Laxmanbhai Bhojak, L. D. Institute of Indology, Ahmedabad - 380009. 12. Dr. Bharatiben Shelat & Dr. R. T. Savalia, B. J. Institute of Learning and Research, H. K. College Compound, Ashram Road, Ahmedabad - 380006. 13. Dr. Parulben Mankad, L. D. Institute of Indology, Ahmedabad - 380009. 14. Dr. Ambalal Prajapati, Reader, Sanskrit and Indian Culture Deptt., Uttar Gujarat University, Patan.

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SEMINAR ON ARDHAMAGADHI JAINA AGAMA LITERATURE Kanjibhai Patel By way of the celebration of the birth-centenary of Agama Prabhakara Muni Shri Punyavijayaji, the L. D. Institute of Indology, Ahmedabad organized, in collaboration with the Gujarat Sanskrit Sahitya Academy, Gandhinagar, a national level seminar on the Ardhamagadhi Jaina Agama Literature, for three days, from 16th to 18th February, 1997, on the premises of the L. D. Institute at Ahmedabad. Muni Shri Punyavijayaji has highly obliged the academicians and scholars of India and abroad, by critically editing and publishing many rare Sanskrit and Prakrit works and thus brought out the merits of the Indian ethos. He undertook to set right the contents of the ancient Jaina Jnanabhandaras, which were not being run in a methodical manner. He took utmost pains to reorganize these collection of books, classified them, catalogued them, and where necessary made arrangements for their long term preservation and prevented the eventual loss in future due to white ants and the like. He presented his rare collections of both the hand-written ancient and medieval manuscripts and printed books to the L. D. Institute Library, after getting the L. D. Institute of Indology established in 1956, and made the library available to the scholars interested in research in Jaina language, literature and philosophy. Although as a Muni he was devoted to the scriptural lore of Jainism, he was an institution by himself. This, being the centenary year of his birth, the Institute organized this Seminar commemorate his academic achievements and pay homage to his excellent scholarship. About forty-five scholars from Madras, Shravana Belgola, Mumbai, Patna, Varanasi, Delhi, Udepur, Ladnu, as also from Dwarka, Rajkot, Bhavanagar, Veravala, Vadodara, Patan, besides many local ones from Ahmedabad, participated in this seminar. The seminar was inaugurated by Dr. H. M. Joshi, the Vice-Chancellor of the Saurashtra University, Rajkot, at 9. 30 a. m. on the 16th February, 1998. On that occasion, Sheth Shri Shrenikbhai, the Secretary of the Managing Trust of the L. D. Institute welcomed the scholars who had come from various parts of our vast country, and expressed his pleasure for the organization of this Seminar as a means to express the sense of respect and appreciation of his literary and scholarly activities on the occasion of his birth-centenary. Dr. Jitendra Shah, the then Hon. Director of the L. D. Institute, presented an account of the academic and extra-curricular activities of the institute. Prof. Ujamshi Kapadia, the Co

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Vol. XXI, 1997 SEMINAR ON.... 187 ordinator of the Institute, and Prof. Kanjibhai Patel, the Co-ordinator of the Seminar, introduced the guests and gave an outline pertaining to the Seminar to them. Dr. H. M. Joshi, the Chief Guest inaugurated the Seminar by enkindling the auspicious lamps and emphasized the importance of philosophy in human life in his Inaugural Speech. The Retired Veteran Professor of Gujarati Dr. Ramanlal C. Shah of the Bombay University, delivered an elaborate and scholarly lecture on the Importance of Knowledge in Jaina Philosophy by way of a Keynote Address. This was the Inaugural Session. The First Session of the Seminar proper started from 2. 30 p.m. onwards on the 16th, the same day. Among ten the papers presented to the Seminar in this Session, under the Chairmanship of Dr. K. R. Chandra, the one by Pandit Laxmanbhai Bhojak endeavoured to give an account of the painstaking efforts on the part of Muni Shri Punyavijayaji towards setting right the contents of the various Jaina Bhandaras, and reorganization of the manuscripts by carefully listing them subjectwise and then cataloguing them. Dr. Balavant Jani, of the Saurastra University, Rajkot, presented an elaborate account of the valuable literary contribution of the Munishri. Dr. Smt. Yashodhara Wadhvani, of the Deccan College Post-Graduate and Research Institute, Pune, presented her research paper about the language of the Visesavasyaka Bhasya. Dr. Uday Chandra of Udepur, Dr. Hansaben Hindocha of Rajkot, Dr. Jayprakash Narayan Dwivedi of Dwarka, and other scholars also presented their research papers to the Seminar. While reviewing the papers presented in this session of the Seminar, Dr. Chandra, the Chairman, observed that the research process got enhanced by the presentation of the papers in this Seminar, particularly more so by the discussion that followed each of the papers. The discussion was highly significant and many suggestions too came forward. The second, Morning Session, of the Seminar on the 17th was chaired by Dr. Sagarmal Jain. In all, eleven research papers were presented in it. In his own research paper Dr. Sagarmal Jain discussed the development of the Navakara Mantra in the Angavijja. Among the other papers, there were those of Dr. Niranjana Vora of the Gujarat Vidyapeeth, Ahmedabad, Dr. Dinanatha Sharma of the North Gujarat University, Patan, Dr. Kamalesh Kumar Jaina of the B. L. Institute of Indology, Delhi, Dr. I. B. Raval of Veraval, Dr. Ashok Kumar Singh of Varanasi. The paper of Prof. Dayananda Bhargav of Landu was presented by the Shramanas from that place. The papers touched various aspects of the Jaina Agamas, and there was good discussion on each of the papers after its presentation in this session.

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188 KANJBHAI PATEL SAMBODHI The Third Session, in the evening was chaired by Prof. Bhagachandra Jain. 'Bhagendu' and the papers presented and followed by interesting discussions, were by Dr. Y. S. Shastri of the Gujarat University, Ahmedabad, and Dr. Vijay Pandya, Kum. Vaishali Trivedi of the M. S. University, Vadodara, Prof. P. C. Shah (Retired) of Junagadh, and Dr. Sagaramal Jain of Varanasi. The Fourth Session, i. e. the morning one on 18th, was held under the chairmanship of Dr. Prem Suman Jain of Sukhadia University, Udepur, and Dr. Punam Mehta of Madras, Dr. Ramesh Betai, Dr. Jitendra B. Shah, both of Ahmedabad, Dr. Hukamchand Jain of Udaypur, presented their research papers of kindred aspects of the topic proper of the Seminar. During his concluding remarks Dr. Prem Suman Jain appreciated that all the topics of the papers presented in this session were quite original and presentations therein treaded a path anew. He also expressed his satisfaction at the opportunity afforded to young scholars, and emphasized the importance of holding such seminars. The Fifth Session of this Seminar was chaired by Dr. N. M. Kansara, Visiting Professor of the L. D. Institute, and Dr. Jitendra Shah, the then Hon. Director, both of Ahmedabad. Dr. Kanubhai Sheth, Dr. S. C. Rangatia, Dr. Prem Suman Jain, Prof. Kanjibhai Patel, Pt. Amritbhai Patel, Prof. Sumanben Thakkar, etc., presented their papers in this session. The Valedictory Session of this Seminar was held at 4.00 p. m. in the evening on the 18th February, 1998 was presided over by Dr. Nagin J. Shah, the ExDirector of the L. D. Institute, Ahmedabad. At the outset of the session. Dr. Sagarmal Jain, thanked the organizers of this Seminar for paying such a fitting tribute to Agama Prabhakara Muni Shri Punyavijayaji in the form of the present seminar, especially because Shri Muniji was beyond the sectarian difference and any dogmatic outlook. He also emphasized the need for holding such seminars, to enable the scholars on all-India level to come together and present the essence of their latest studies. On behalf of the participants Dr. Y. S. Shastri of Ahmedabad. Dr. K. K. Jain of Delhi and Dr. P. S. Jain of Udepur expressed their surprise at the excellent arrangements for lodging and boarding of the guests and at the punctuality with which each of the session was commenced at the scheduled time and was also concluded in time. In this valedictory Address, Dr. Nagin Shah gave a brief but first hand and living account of the academic mission and the utmost care taken by Muni Shri Punyavijayaji, and drew the attention of the gathered scholars towards the importance and relevance of the discussion in such seminars, as also of the conclusions arrived at in them.

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