Sambodhi 1998 Vol 22

Author(s): Jitendra B Shah, N M Kansara
Publisher: L D Indology Ahmedabad
Catalog link: https://jainqq.org/explore/520772/1

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

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SAMBODHI VOL. XXIII 1998-99 (Professor A. M. Ghatage Felicitation Number) EDITORS J. B. SHAH N. M. KANSARA BUO L. D. INSTITUTE OF INDOLOGY AHMEDABAD

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NUORT LIB S TIF (11:59 SAMBODHI VOL XXII, 1998-99 Editors : J B Shah N M Kansara Published by : JB Shah L D Institute of Indology Ahmedabad 380 009 (India) Price Rs. 150-00 Computer type setting : Sharadaben Chimanbhai Educational Research Centre, 'Darshan' Opp Ranakpur Society, Shahibag, Ahmedabad-380 004 (India) Printer : Chandrika Printery, Mirzapur Road, Ahmedbad 380 001

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1r E Prof. A. M. Ghatage

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Professor A. M. Ghatage Prof Ghatage was born on the 10th of August in Hasurchampu, a small village in the Gadhinglaj Taluka of Maharashtra He was educated at the primary level in the English School at Gadhinglaj His High School education was at the Rajaram High School, Kolhapur He was graduated as a First-divisioner B A Honours in 1932 and post-graduated as a First-class M A. of the University of Bombay twice, once with Prakrit and Pali and again with Sanskrit and English Shri A. M Ghatage got his PhD degree at the same university in 1940 under the guidance of Prof H D Velankar in Sanskrit Linguistics, with 'History of Causal Formation in Indo-Aryan' as the subject of his doctoral dissertation Thanks to a Fellowship of the Rock Feller Foundation of New York, he studied Descriptive Linguistics and Historical Linguistics at the University of Pennsylvania in Philadelphia in the year 1956-57 His teaching career began as a Lecturer in Ardhamagadhi at the SP College, Pune in 1935-36, and next he joined the Rajaram College, Kolhapur as the Assistant Professor of Sanskrit and Prakrit from 1936 onwards With the merger of the Kolhapur State in the then Bombay Province, he was absorbed in the Bombay Education Service Class II, and served in the Karnataka College, Dharwar, as also in the Nagpur Mahavidyalaya, in the same post During his stay at Philadelphia in 1956-57, he supervised over the Rgveda students for one term in the absence of Prof Norman Brown From 1957 his services were loaned to the Deccan College, Pune, first as the Professor of Linguistics, and next as the Director of the Language Project, and a few years after as the Professor of General Linguistics and Head of the Department of Linguistics, this was till 1978 Since 1968, he also worked as the Director of the Centre of Advanced Studies in Linguistics, as also the Joint-Director, of the Deccan College, Pune In 1973 he was appointed as the General Editor of the project of the Sanskrit Dictionary on Historical Principles He retired from this post on the 10th of August, 1983 at the age of 70 years, but was asked to continue as Emeritus Adviser to the

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Dictionary Project for nine months On the 10th of August, 1984, he left Pune and retired to his native place Again in 1987, he was requested by the charitable institution named Sanmati Tirtha, to take up the Project of the Dictionary of Prakrits and since then he has been working at the Bhandarkar Onental Research Institute, Pune Upto March, 1995, two fascicules of the dictionary containing the "A"-reference to the Jain Literature have been published As a College Teacher, Prof A.M Ghatage taught Sanskrit, Prakrit and Linguistics to the undergraduate and post-graduate classes since 1936 through 1978, and 22 research students got their PhD degree, between 1961 and 1978, under his guidance as a Guide He taught Modern Linguistics at the Summer Schools and Winter Seminars of the Language Project and Department of Linguistics for short penods he was Visiting Professor at the Kurukshetra University, Kurukshetra (UP) Prof Ghatage had attended two archaeological excavations, one at Harappa and the other at Brahmagiri He delivered the Wilson Philological Lectures in 196162 at the Bombay University, and in 1968 on Applied Linguistics at the Shivaji University, Kolhapur Between 1945-46 he attended two excavations of Archaeology one at Harappa and the other at Brhmagin He has published 20 books, edited three Seminar Reports, and about 75 research articles and papers in various oriental journals As the Director of the Languages Project, he organized five Summer Schools, and three Winter Seminars in India He was selected as the General President of the All India Oriental Conference for the Ahmedabad Session in 1985 He presided over the First National Prakrit Conference at Banglore in December, 1990 He was given an award for his work on the Prakrit Dictionary, and another award called Prakrta Jnanbharati Puraskara at Hydrabad in 1993, and Hemacandracarya Award at Delhi in 1998 Since 1993, he is a Life-Member of the Bhandarkar Oriental Research Institute, Pune, and since 1993 of the Lingustics Society of India He was elected as the Honorary Secretary of the Bhandarkar Onental Research Institute, Pune, for a penod of three years, and again for the second term up to 1999 He has received the prestigious and rare Certificate of Merit for Sanskrit and Prakrit, awarded by the President of India Even at this advanced age of 86, he is alert and actively worlang on the further fascicules of the Prakrit dictionary

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CONTENTS 1 Jamna studies in Europe 2 The Bauddha-Santana Dvatrimsika of Siddhasena Divakara 3 Invocatory Sanskrit Verses in Jaina Inscriptions Karnataka 4 Seal of Zahid Shaha 5 The Mangala Verse of the Nyayasiddhanta-muktavali Mahadeva Bhatta verses Ramarudra of Visvanatha Bhattacarya 6 Popular Sports and Pastimes in 12th Century Gujarat as Depicted in the 7 Outstanding Linguistic Features of the Sattakas 8 Historicity of Tribhuvanapaladeva and Kumarapaladeva in the Dutangada of Subhata A Critical Review 9 Physical Dating and Indian Archaeology 10 Doctrine of Karma in Jainism 11 Impact of Jamnistic Perception on Society 12 Some Modern Concepts of Marriage in the Smrti Literature 13 The Vastu-vidya of Varahamihira 14 Meetings with Shri Kartikeya Trivedi 15 sarvAnandasUrikRta zrIjagaDUcarita mahAkAvya exciten 16 'rasagagAdhara' ke kAvyalakSaNa kI samIkSA 17 "zAkuntala" ke vidUSaka kI uktiyoM meM pAThAntaroM kA eka samIkSAtmaka adhyayana 18 AcArya vizezvara ke 'alakAra pradIpa' meM sArazyamUlaka alakAroM kA nirUpaNa 19 mUladevanI gUDha lipi 20 mahimabhaTTa ane vyajanAvyApAra 21 abhilekhonA sapAdana ane vivecananA mArA anubhavo 22 tAmrapatra age spaSTatA 23 pATaNanI be apragaTa caityaparipATIo Colette Caillat M A. Dhaky Hampa Nagarajaiah Z A. Desai Swera Prajapati Saloni N Joshi Chandramauli S Naikar DP Agrawal Yajneshwar S Shastr N L Jam Sunanda Y Shastri N M Kansara N M Kansara govindalAla za zAha jAgRti paNDyA vasatakumAra ma bhaTTa 1 pArula mAkaDa lakSmasabhAI bhojaka aNNA ke paTela hariprasAda zAstrI hariprasAda ga zAstrI, e Ara zAha rasIlA kaDI, zItala zAha 11 Sudarshan Kumar Sharma 57 19 36 39 43 49 3 j8yH 69 75 83 96 108 119 121 132 138 152 157 160 165 171 173

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217 227 229 231 233 236 238 240 241 242 Reviews Outline of Abhinavagupta's Aesthetics by V M Kulkarni T S Nandi Amaracandrayati's Kavyakalpalata-vrtti edt Parul Mankad Maharana Kumbha and His Times by Ram Vallabh Somani Shridhar Andhare Arhat Parsva and Dharanendra Nexus by M A. Dhaky Varsha G Jani The Brhat-Kalpa-Niryukti of Bhadrabahu and the Brhat-kalpa-bhasya of Sanghadasa Gani edt by W B Bollee NM Kansara Nyayasangraha by Muni Nandighosh N M Kansara The Bharata-Samhita by K K Shastree NM Kansara Srimad Bhagavata-Mahapuranam by N J Shastri NM Kansara Anantanaha Jina Canyam by Pt Rupendra Kumar Pagariya NM Kansara Acaranga Prathamna srutaskandha Prathama Adhyayana by K. R Chandra N M Kansara Jainism in India Travel Notes and Photographs by Nicole Tiffen NM Kansara Sakuntala sailisastriya Abhyasa by V K. Lele NM Kansara Saptaka Writings on Music by M A. Dhanky NM Kansara Sanskrit Ramayanas other than Valmiki's The Adbhuta, Adhyatma and Ananda Ramayanas by Dr V Raghavan NM Kansara Women's Role in Kudiyapattam by LS Rajagopalan N M Kansara Gangavatarana-Campuh ed by Dr Gaya Caran Tripathi NM Kansara Bharati-Mangalayatanam Dr Ramanarayan Mishra N M Kansara Anekantavada Eka Samiksatmaka Adhyayana Dr Rajendralal Doshi NM Kansara Vadi-Vinodah of Sankara Misra Ed by Dr Vishvambhara-nathagiri NM Kansara Misra-Nibandhavali alias Sastriya-ShodhaNibandha-Ratnavali Ramnarayan Mishra NM Kansara Dhatupratyayalokah Dhatvarthacandrika Ca Dr Goparaju Rama NM Kansara 244 247 249 251 252 254 254 255 257 258 259

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Brief Notices The Poetry of Business Jaina Siddhanta Siksana Atmanvesi Nandana-Kalpataruh Muktaka-Sataka Lord Swaminarayan Pimage Bhadara-na Tara Gatha-Manjari Patram Puspam Acknowledgements VII N M Kansara N M Kansara N M Kansara N M Kansara N M Kansara N M Kansara N M. Kansara N M Kansara N M Kansara N M Kansara 261 261 262 263 263 264 264 265 265 266 268

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

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JAINA STUDIES IN EUROPE Colette Caillat At the beginning of his paper on "Buhler as a collector of mss", Ernst Leumann who, since 1884, was professor at the University of Strassburg', wrote "It is generally not known or scarcely noticed to what an extent the history of any science is dependent on the local distribution of its material" (Indian Antiquary 27, 1898, P 368-370 = Kleine Schriften (infra] p 294-296) As far as Jaina studies are concerned, this remark has proved up to this day for the fact that, thanks to the action of Buhler (sometimes helped by Jacobi) and of Albrecht Weber, the Berlin National Library had bought many Jaina manuscripts already during the years 1870-1888, and the fact that, later, E Leumann further collected new Jaina (especially Digambara) manuscripts for the Strassburg library, explain why, in Europe, research on Jainism has for many years been philologically oriented, has concerned especially canonical, "procanonical" and postcanonical texts, has been conducted specially in Germany or in association with German scholars, and has often been written not in English, but in German (or in French, Italian) But, due to the considerable development of the science of religion and of anthropology, perhaps also due to the important influx of Jains first into UK, later into North America, it appears that, since two or three decades, several British scholars, after 1970/75, have been attracted to the study of the Jains and the Jaina community on the other hand it should be acknowledged that some books concerning Jaina art have also been published, viz Klaus Bruhn, The Jina-images of Deogarh (Leiden 1969), to which can be added La cosmologie jaina, presentation de Colette Caillat, d'apres les documents recueillis par Ravi Kumar (Paris 1981), an English rendering of the latter is due to K R Norman, The Jaina cosmology (Basel, Pans, New Delhi 1981) Further, after Los Angeles - New Orleans, the Victoria and Albert Museum (London) arranged a remarkable presentation of the peaceful Liberators Jaina art from India (23 November 1995 - 18 February 1996), as recorded in the Souvenir issue of Ahimsa, the quarterly magazine of The Institute of Jainology (Vol 5, 34, Sept -Dec 1995) A conspectus of some of the fundamental books and of more recent studies on Jainism can be found in the lists published by Klaus Bruhn and Colette Caillat in Jain studies in honour of Jozef Deleu Edited by Rudy Smet and Kenji

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2 COLETTE CAILLAT SAMBODH Watanabe (Tokyo 1993), under the title "Jainology in Western publications" (p 13-66) "I Philology", by K Bruhn, "II Languistics, mainly Middle Indo-Aryan' by C Caillat, further "The study of Jaina art", by K. Bruhn More specialized bibliographies have elsewhere been published by K Bruhn, eg recently, i "Bibliography of studies connected with the Avasyaka-commentaries", in the Catalogue of the papers of Ernst Leumann compiled by B Plutat ([cf infra], p 119-136) Other detailed bibliographical data is available in The "Svetambarc Canon" A descriptive listing of text editions, commentaries, studies and indexes Based on editions held in the Library of the Australian National University Compiled by Royce Wiles, Canberra, Apnl 1997 Further, a "Review article" "Recent Jain research", due to Paul Dundas, "is intended to be a resource for graduate students and non-specialist instructors who wish to onent themselves with recent research on the Jain religion" This list can be supplemented by the "Bibliography of secondary sources" included p 261-270 of the valuable book, by P Dundas, The Jains (London and New York, 1992) In this publication, Dundas naturally presents the major aspects of Jainism, he also shows particular interest in the history and evolution of the community Further, in recent papers, he examines some sectarian trends and polemics, and the reactions of Jainism to the general historical and social conditions, in an attempt to view Jainism in the global Indian context In several respects he appears to be attracted towards the investigations conducted by Amencan scholars such as John Cort and Phyllis Granoff-a sign that interchanges between Amencan and European "Jainology" are developing At present, social and anthropological studies are flourishing in UK, as testified by several books and conferences Michael Carruthers and Caroline Humphrey, The assembly of listeners Jains in society (Cambridge 1991), Marcus Banks, Organizing Jainism in India and England (Oxford 1992), Caroline Humphrey and James Laidlaw, The archetypal actions of ritual A theory of ritual illustrated by the Jain rite of worship (Oxford 1994) As for Peter Flugel, who is connected both with UK and with Germany, he seems particularly interested in Jaina reform movements (cf his 1994 [unpublished] doctoral dissertation, and his recent paper "The ritual circle of Terapanth Svetambara Jains", published in the Bulletin d'Etudes Indiennes [infra] 13-14 (1995-96, p 117-176) On the other hand, philological studies, especially of the Svetambara canon, are continued, eg by K. R. Norman, whose investigations focus on grammatical,

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Vol XXII, 1998 JAIN STUDIES IN EUROPE lexicographical, metrical aspects of old texts, and, the case being, on various Jain/Buddhist parallels Unfortunately, the untimely death of R Williams deprived Jainology of a very gifted scholar, the editor of Two Prakrit versions of the Manipati carita (London 1959, James G Forlong Fund 26) and author of Jaina Yoga A survey of the mediaeval Sravakacaras (London 1963, London Oriental Series 14) he had been in touch with Muni Punyavijaya and Muni Jambuvijaya, as well as with Walther Schubring Recently, "procanonical" treatises of the Digambara tradition and the evolution of Jaina thought have drawn the attention of W J Johnson, Harmless souls Karmic bondage and religious change in early Jainism with special reference to Umasvati and Kundakunda (Delhi 1995) As for the Tattvartha Sutra, it is now endowed with a new very suggestive English translation by the late lamented Nathmal Tatia, That which is Tattvartha Sutra A classic Jain manual for understanding the true nature of Reality (London , 1994) Sponsored by the Institute of Jainology, London, and published in the series "The sacred Series of the International Sacred Literature Trust in association with Harper Collins Publishers", this translation is evidently meant for scholars interested not in the Sanskrit language or in sutra-style, but in philosophy and religion as such, this is a very valuable contribution to Jaina studies Philology remains at the centre of Jaina studies in Germany Some scholars, in particular Klaus Bruhn, are keen to further the preparation of research tools, as well as the conceptualization of "Jainology", and its integration into the general trend of contemporary epistemology (of infra) Thanks to the "Glasenapp-Stiftung", important articles and monographs of previous scholars are now conveniently collected and published (by Franz Steiner Verlag GMBH, Wiesbaden, now Stuttgart), in volumes entitled Kleine Schriften They include the works of Hermann Jacobi (1850-1937) edited by B Kolver (1970, Glasenapp-Stiftung 4 2), of Walther Schubring (1881-1969) edited by K Bruhn (1977, Glasenapp-Stiftung 13), of Ludwig Alsdorf (1904-1978), two volumes, edited by A Wezler (1974, Glasenapp-Stiftung 10 and 1998, Nachtragsband Glasenapp-Stiftung 35), of Ernst Leumann (1859-1931) edited by Nalini Balbir (1998, Glasenapp-Stiftung 37) The latter can be supplemented by two other publications One is the Catalogue of the papers of Ernst Leumann in the Institute for the Culture and History of India and Tibet, University of Hamburg Compiled by Birte Plutat (Stuttgart 1998, Alt- und Neu-Indische Studien Hamburg 49) The other is the remarkable Catalogue of the Jaina manuscripts at

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COLETTE CAILLAT SAMBODHI Strasbourg, by Chandrabhal Tripathi (Leiden 1975, Indologia Berolinensis 4) this is precisely the manuscript collection acquired by E Leumann a century ago Among other tools to be mentioned is the "Jaina concordance and Bhasya concordance", by K Bruhn and C B Tripathi (Berlin), of which "A bibliographical report" by CB Tripathi is included p 300-329 of the Studien zum Jainismus und Buddhismus Gedenkschrift fur Ludwig Alsdorf (ed Klaus Bruhn und Albrecht Wezler, Wiesbaden 1981, ANISH 23) In this memorial volume, ten, out of 25 articles, bear on Jainism, several contributions deal with Buddhist and Jaina exegetical literature, a subject that, of late, has attracted some attention Conspicuous among these studies are the "Avasyaka Studies I" by K Bruhn, a previous student of Alsdorf his essay is, naturally, a tribute to Alsdorf, who, himself a pupil of Schubring, was therefore a member of the Leumann parampara, on the other hand, it is also a sort of research program in a vast and intricate subject in which Leumann had been specially interested, as shown by his Ubersicht uber die Avasyaka-Literatur (Aus dem Nachlass hrsg von Walther Schubring, Hamburg 1934, ANISH 4), and his AvasyakaErzahlungen (Leipzig 1897), of infra Another Jainological program has also been drafted by Bruhn in 1987, in Leiden, "Sectional studies in Jainology" (published in the Panels of the VIIth World Sanskrit Conference, vol VI, ed C Caillat, Leiden 1991, p 36-54) this scheme relates to "Jainism with special reference to ethics" Meanwhile, (re)editions, studies, translations of the Svetambara canon (often including references to the canonical commentaries) have continued to be published, among others the posthumous edition, by Deleu, of Schubring's Nayadhammakahao (Mainz 1978), in fact a critical summary of the text, with 2 appendices. Gustav Roth's Malli-jnata study (1952) has been made available (Wiesbaden 1983), W B Bollee's Studien zum Suyagada I, II (Wiesbaden 1977, Wiesbaden-Stuttgart 1988) have prompted various comments, in particular by K. R. Norman and H Tieken (WZKS 25, 1981, 30, 1986) Though it was published in Japan (thanks to the very active Chuo Academic Research Institute Philologica Asiatica Monograph Series 10, Tokyo 1996), mention can also be made of the translation from the Dutch into English, by J W de Jong and Royce Wiles, of Nurayavaliyasuyakkhandha. Uvangas 8-12 of the Jain Canon Introduction, text-edition and notes (1969) by Deleu, the author of Viyahapannatti (Bhagavai), the fifth Anga of the Jaina Canon (Brugge 1970) " Series 10 10 Academ. Rough it

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JAIN STUDIES IN EUROPE At the same time, Leumann's direct or indirect pupils also have given much attention to the canonical commentaries, the importance of which has been emphasized again and again, eg by L Alsdorf, "Jaina exegetical literature and the history of the Jaina canon" (in Mahavira and his teachings, ed A. N Upadhye, et al, Bombay 1977, p 1-8) The latter's student, Adelheid Mette, in her book Pind'esana, a monograph on Oghanuryukti (331-337, 372-595) and on the associated Mula- and Brhad-bhasya laid the foundation for a systematic study of the ogha-pinda literature For this subject research tools are provided also by W B Bollee, Pada index of the Pinda- and Oha-Nyjutti (Stuttgart 1991), and Materials for an edition and study of the Pinda- and Oha-Nyjutt of the Svetambara Jain tradition, II Text and glossary (Stuttgart 1994) The same scholar also published The Nujuttis of the Svetambara Siddhanta Ayaranga, Dasaveyaliya, Uttarajjhaya and Suyagada (Stuttgart 1995), as well as Bhadrabahu, Brhat-Kalpa-Niryukti and Sanghadasa Brhat-Kalpa-Bhasya (Stuttgart 1998), viz I-II Romanized and metrically revised version, Notes from related texts and a selective glossary III Glossary of selected words These three volumes are dedicated respectively to Pt D D Malvania, Dr (Mrs) Madhu Sen, Prof HC Bhayani, the first of them includes the "Glossary of Schubring, Doctrine of the Jainas" by Elfrun Linke (Appendix, p 375-411) Digambara counterparts of the above texts had been addressed by other students of Alsdorf by R P Jain, Pinda-suddhi Das sechste Kapitel von Vattakeras Mulacara und der ahakamma Abschnitt der Pinda-njutti (New Delhi 1983), by K Okuda, Eine Digambara Dogmatik (beanng on Mulacara, chapter 5, Wiesbaden 1975), by K. Oetjens, Sivaryas Mularadhana (Hamburg 1976) Naturally, most of these publications include the study of grammatical and linguistic problems, and of points of vocabulary Further, formal studies on canonical texts have attracted the attention of Bansidhar Bhatt The canonical niksepa Studies in Jaina dialectics (Leiden 1978, of Idem, "A composite niksepa in the Acara Nuryukti, Gedenkschrift Alsdorf, supra, p 1-9, also "Acara-Culas and Nuyukti", Deleu volume, p 85-121, etc) Vol XXII, 1998 5 Though Leumann's investigations in the "Avasyaka-Erzahlungen" ceased after 1900, nevertheless his publications and unpublished papers (supra) contributed, since about 20/30 years, to a renewed interest in Jaina narrative literature, in Germany and in France, as can be seen from the Proceedings of the International Symposium on Jaina canonical and narrative literature, Strasbourg 16-19 June 1981 (ed Nalini Balbir and Colette Caillat, Indologica Taurinensia 11, 1985, p.

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COLETTE CAILLAT SAMBODHI 15-339) In this volume, several aspects of this topic are considered K Bruhn, "Repetition in Jaina narrative literature", D D Malvania, "On Bhadresvara's Kahavali, CB Tripathi "Pancakalpabhasya and cognate texts", N Balbir, "The micro-genre of dana-stones", etc More than one doctoral thesis should also be mentioned, viz I Hoffmann, Der Kathakosa (Munich 1974 editio princeps, with a German translation), Georg Baumann, Drei Jaina-Gedichte in Alt-Gujarati (Wiesbaden, 1975), K. Verclas, Die Avasyaka-Erzahlungen uber die Upasargas im Vergleich mit den Versuchungen des Bodhisattva (Hamburg 1978) Also related to what Bruhn calls the "Avasyaka-cluster" is the study of the jivastitvasiddhi in the doctoral thesis of K Butzenberger Beitrage zum Problem der personalen Identitat in der indischen Philosophie Die Juntstische Beweise fur die existens eines jiva im Visesavasyakabhasya, 1991) Moreover, at present, Prof Srinivasan (Hamburg) is preparing a book on Ahimsa discussions in the Nilakesi (and commentary) in their bearing on ecological ethics, thus inviting to the study of Tamil Jaina literature In France, traditionally (except for Guerinot, and in spite of epistolary exchanges between Muniraj Dharma Vijaya Suri and Sylvain Levi), Jainism has attracted less attention than Buddhism has done Nevertheless, Jules Bloch was greatly interested in the linguistic variety of the Jaina tradition, especially the Middle Indo-Aryan languages Later, thanks to W Schubring's kind help, C Caillat could gain some insight into the Svetambara canonicai literature She also was benefitted by the generosity of the L D Institute of Indology (Ahmedabad) and its successive directors her edition-French translation-commentary of the Candavejjhaya (Paris 1971) is based on manuscripts from Berlin and Ahmedabad, where also the Atonements in the ancient ritual of the Jaina monks have been published (1975, L D Series 49) Relations between the French and the German and Indian scholars and institutes remained friendly ever since, and contacts with the Indological institutions in Ahmedabad, Hamburg, Berlin, and, later, Munster continued Nalini Balbir, after her PhD thesis on the Danastakakatha. Recueil de huit histoires sur le don (Paris 1982 [editio princeps, introduction, French translation, notes]), was encouraged by K. Bruhn and C B Tripathi to turn to the study of the Avasyaka tradition, and submitted a doctoral thesis Etudes d'exegese jaina les Avaiyaka (Paris 1986, unpublished) It includes a comprehensive and analytical survey of the Avasyaka Niryukti and its prose commentaries (with emphasis on the narrative aspect), and on the exegetical vocabulary and methods of the Jaina commentaries A revised version has been

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Vol XXII, 1998 JAIN STUDIES IN EUROPE published, along with a select glossary prepared by a German colleague, Thomas Oberlies (who added a large selection of Middle Indo-Aryan lexemes and their etymology) The title of the book (2 volumes) is an obvious reference to E Leumann's pioneering work I Nalini Balbir, Avasyaka-Studien Introduction generale et traductions [ P33-197, 201-472, English summary P 473-482], Thomas Oberlies, Avasyaka-Studien Glossar ausgewahlter Worter zu E. Leumanns "Die Avasyaka-Erzahlungen" [203 pl (Stuttgart 1993, ANISH 45, 1, 45, 2) N Balbir has also published many monographs and participated in several collective projects (cf among others, her analysis, edition, French translation and commentary of Raidhu's Anatthami Paddhadi, in Indologica Taurinensia 14, 198788, p 47-77) Since Buhler's remarks on the Vividhatirthakalpa, passages of this text have been variously used by different scholars, but there had been no analysis of the whole composition This has been attempted by Christine Chojnacki, reader in Sanskrit in the Lyon University Vividhatirthakalpah Regards sur le lieu saint jaina (Pondichery 1995, 2 vol I French translation and commentary, II Annexes) The same scholar recently examined Mahesvarasun's Jnanapancam katha, in the Bulletin d'Etudes Indiennes (= BEI 15, 1997, p 31-113, cf infra) Finally, in France also, some books are based on field work and anthropological outlook M C Mahias, Delivrance et convivialite le systeme culinaire des jaina (Pans 1985) is an investigation of the food system of Digambara Jains, especially of the Agrawala caste in Delhi, N Shanta, La vole jaina Histoire, spiritualite, vie des ascetes pelerines de l'Inde (Paris 1985), after general considerations, describes the Jaina nuns' life (English translation The unknown Pilgrims History, Spirituality, Life of the Jaina Women Ascetics, Delhi 1997) It has been seen above that, in The Netherlands also, Jainism has retained the attention of scholars H Tieken shows interest in "Textual problems in an early canonical Jaina text" (the Suyagada passages studied by W B Bollee, of supra), and in Prakrit (especially Ardhamagadhi) morphology, RJ Zydenbos in Moksa in Jainism, according to Umasvati (Wiesbaden 1983), as well as in the almsbegging ritual of the Digambara monks, while J Bronkhorst (now in Lausanne, Switzerland) has several publications on the history of Jaina philosophy, cf The two traditions of meditation in ancient India (Stuttgart 1986, repr. Delhi), etc In Italy, at the end of the 19th and the beginning of the 20th century, thanks to the small but valuable collection of Jaina manuscripts acquired especially by

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COLETTE CAILLAT SAMBODHI A De Gubernatis in Surat and Bombay (1885-86), several excellent editions and translations of Jaina texts have been published But, in more recent years, this branch of Indology has been comparatively neglected Nevertheless, law books have retained attention, and O Botto translated i Nitivakyamrta di Somadeva Suri (Torino 1962) The activities of the "Societa Indologica Luigi Pio Tessitori" (http //www tessitori org), Udine, can also be mentioned (cf their Web-site), as it is in touch with the Jaina community in Bikaner, where Tessitori's intercourse with Muni Vijaya Dharma Sun is well remembered Carlo della Casa has recalled "Gli studi grainici di Luigi Pio Tessiton" in the Atti del Convegno Internazionale di Udine 12-14 novembre 1987 (Brescia 1990) It is proposed to edit Tessiton's unpublished papers Due to circumstances, little has been done in Eastern Europe concerning Jainism, except for the thesis of A Terentyev, on "Umasvati's Tattvartha-sutra as the oldest source of postcanonical Jainism" (cf Russian Academy of Sciences, Moscow 1983) The above bibliographical notes only aim at giving a general survey of the main trends of Jaina studies in Europe Other indications will be gained from the Acts of the conference organised by Olle Qvarnstrom in Lund (Sweden) in June 1998 that provided an opportunity for exchanges between European and American scholars interested in Jainism Another forum can be found in scientific journals. It has been recalled above that the Bulletin d'Etudes Indiennes (Paris) has welcomed articles concerning Jainism The same is true of the Berliner Indologische Studien (= BIS) see for instance, among several others, Th Oberhes, "Die Erzahlungen vom Kampulya-Konig Brahmadatta Eine Untersuchung im Anschluss an Vorarbeiten von Ernst Leumann" (BIS 9/10 1996, p 259-313), etc Other publications have been aimed at the general reader, specially those in encyclopaedias, eg, in France, in the Histoire des religions (Bibliotheque de la Pleiade, Paris 1970, reprint, with bibliographical additions, 1999), or, in Italy, in the Enciclopedia delle scienze sociali (Roma 1996) In Germany, the volume Gotter und Mythen des indischen Subcontinents, edited by H W Haussig and H Bechert (Stuttgart 1984), 1.e the volume 15 of the Worterbuch der Mythologie (ed H W Haussig) Includes a chapter "Die Mythologie des Jinismus" (p 205284) by J Deleu * it had been published independently already in 1978. Jainism will naturally be the subject of several chapters in the volume on

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Vol XXII, 1998 JAIN STUDIES IN EUROPE Ahimsa prepared by the Hamburg Institute for the Culture and History of India and Tibet Further, some translations intended for the general public should be mentioned A Mette, Durch Entsagung zum Heil Eine Anthologie aus der Literatur der Jaina (Zurich 1991), the French translation, by Nalini Balbir and C Caillat, of Yogindu's Paramatmaprakasa (Lumiere de l'Absolu, Paris 1999) Several other initiatives could be mentioned Because of the comparatively numerous Indian and Jaina communities who reside in Leicester (England), a Jaina temple has been consecrated in that town, and a Jaina University proposes a three year course in Jainism Similarly, in Antwerp (Belgium), "Sarasvati, Research Centre Indology" announces "in preparation a multi-lingual (English, Hindi, Gujarati) publication on the philosophical, religious and cultural aspects of Jainism " In England and in France, introductions to Jainism have been issued Jainism explained (Jain Samaj Europe Publications, 1985), by Paul Marett, the translation into French by Pierre Amiel, of Vilas Sangave's Aspects of Jaina religion (Le Jainisme Philosophie et religion de l'Inde, Paris 1999) A more ambitious, well planned book is due to Kurt Titze, who "sees himself as an intermediate between scholars and the general user of public libraries", and secured contributions by K Bruhn, Jyoti Prasad Jain, Noel Q King, Vilas A Sangave, and others Jainism, A pictorial guide to the religion of non-violence, Delhi 1998 Finally, a recent, interesting attempt to reach a wide audience, on Internet, is due to Klaus Bruhn Five Vows and six Avashyakas The Fundamentals of Jaina Ethics (edited by Carla Geerdes 1999 [http //www herenow4u de/ger/spr/religion)) the paper is based on a short lecture held in Berlin in Dr N K Jain's Yoga School (20 04 1997) Further short documentary films dealing with various aspects of Jain culture (diksa, Digambara monks, pilgrimage to Palitana) are now regularly shown on French channels (directed by J - M Duhaut, D Soltan and F Raboton, etc ) From the above survey it should be clear that, in Europe, in spite of the limited number of scholars who have more or less specialized in Jainology, progress has continued regularly, new projects have been started, new problematics have emerged, and the general public is more and more informed and interested in Jainism

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10 COLETTE CAILLAT SAMBODHI FOOT NOTES : 1 Before the 1870-1871 war between France and Germany, Strassbourg was in France After the 1871 French defeat, Strassbourg was included in Germany After the 1914-1918 "great war", Strassbourg was returned to France 2 Cf the announcement in Jain Journal, Calcutta, January 1970, p 3-12, and the subsequent description of the project in Bettrage zur Indienforschung Ernst Waldschmidt zum 80 Geburtstag gewidmet, Berlin 1977, p 67-80 3 Cf Colette Caillat's article in the Acts of the International Conference "Tessitori and Rajasthan", Bikaner, 21st-23rd February 1996 (forthcoming)

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THE 'BAUDDHA-SANTANA DVATRIMSIKA* OF SIDDHASENA DIVAKARA M A. Dhaky As one of the sources complementary to the Buddhist proper for the study of the Buddhist doctrines, philosophy, and epistemology, are notices figuring in the Nirgrantha literature This field is particularly valuable for the period between the fifth and the ninth century A D , when several dialectical and commentanal works of the two major Nigrantha sects reviewed the Buddhist doctrinal and epistemological positions at some length, sometimes in considerable detail The discussions, whether of confutations or refutational nature or, somewhat rarely just neutral, take into account the then prevailing Buddhist conceptual as well as epistemological positions on the bases of the then available works of the famous Buddhist masters, particularly Nagarjuna Asanga, Vasubandhu, Dinnaga and Dharmakirt. The additional, indeed sterling, importance of such Nirgrantha notices is also due to the citations they contain of the many non-Sthaviravadin works, all in Sanskrit and now lost, some today available only in Tibetan translations The useful and relatively earlier Nirgrantha works of the Northern tradition which embody these interesting as well as very valuable data are the auto-commentary of Mallavadi called the Dvadasara-naya-cakra (c A D 550-600) and the elucidatory further commentary on it by Simhasura Ksmasramana (c AD 675), Gandhahasti Siddhasena's commentary (c A D 760-770) on the Sa-bhasya Tattvarthadhigama-sutra of Umasvati (c A D 350), and Haribhadra's Anekantajaya-pataka, the Sastra-varta-samuccaya as well as the Lalitavistara tika (c A. D 770-780) The more important early commentarial works of the Southern Nirgrantha Church which carry in-depth discussions on Buddhist positions are of Akalankadeva (active C A D 725-770) and of Vidyananda (c. 1st half of the 10th century AD) The work to be briefly introduced in this paper, the BauddhaSantanadvatrimsika of Siddhasena Divakara (active c A D 400-444), possesses two distinctions First, it is the earliest known Nirgrantha work which dwells on the philosophical doctrines of the Mahayanic (and possibly other contemporaneous and allied or otherwise) post-canonical Buddhist schools Second, it is largely free of polemics, for in its limited compass of a dvatriska * See Appendix to this article.

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12 MA DHAKY SAMBODHI in Sanskrit', it succinctly dwells on the delineation of the main doctrinal positions of the Buddhist creed without seriously indulging in their refutation This work is relatively less known among, and the least used by, even the Nirgrantha scholars an attempt, hence, is made in this paper to focus on its content without delving into the details and without resorting to serious interpretative efforts which are best left to the savants of the post-canonical Buddhism The work, as is available, contains 31 in lieu of 32 verses Perhaps the opening (invocatory), and not the concluding (as had been suggested), stanza is lost Siddhasena's works are known not only for their terseness but also profundity At the same time, as often, his style does not allow an easy access to its core and essential content The Bauddha-Santana-dvatrimsika, as its rubric would suggest, must in the main deal with the famous Buddhist concept of pratityasamutpada or the principle of dependent origination' However, it covers a larger field of the basic Buddhist notions, concepts, and postulates about the nature of Reality and concomitant themes The Dvatrimsika, in the process of exposition, presses into service the then up-to-date jargon of the Buddhist philosophical visions From the concepts noted and the terms used, Siddhasena seemingly was familiar with the works of Nagarjuna, and possibly of the Vaibhaska, Sautantrika, and other pre-Yogacara school masters who flourished before Asanga and Vasubandhu ( A D 400-480), as also possibly several other known, but less famous, some plausibly now unknown Buddhist writers Dinnaga's celebrated apohavada (whether sabdarthantara or arthantara) and his logical positions, not to say of Dharmakirt's amplified and refined statements which place earlier Buddhist theories and epistemological as well as logical postulates in clearer light and more defendable position, are absent in Siddhasena's composition This is because Siddhasena, predictably, had flourished before Dinnaga c A D 480-540 or earlier by a few decades) No old elucidative commentaries (excepting a late medieval one on the 21st, the Paratma-dvatrimsikalo) are available on Siddhasena's dvatrimsikas Since he is subtle, concise, and a guably had loved ambiguity, his works are among the major challenges in the Nigrantha darsanic literature, in terms of intellecting not only the content but also his intentions Sukhlal Sanghvi and Bechardas Dohi" as well as Pinakin Dave 12 who worked on his dvatrimsikas, had found them tough The paucity of older manuscripts in sufficient number added one more impediment in deciding on a more sensible reading in some cases while

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Vol XXII, 1998 THE 'BAUDDHA-SANTANA 13 editing or interpreting his works Consequently, the three scholars have only briefly touched upon this Bauddha-santana-dvatrimsika in their discussions However, Vijayasusila-suri, recently has attempted to comment on it in Sanskrit with the help of the notes left by his guru, Lavanyavijaya-suri?, casting as he did some light on the content and intent of this important composition I shall not attempt to translate the text Such an endeavour needs much deeper study and can involve considerable period of time, at fust in understanding Siddhasena and then projecting his perception and portrayal of the Buddhist concepts, and next initiating comparisons with those known from the Buddhist sources themselves, followed by a sensible and fluent rendenng in English of the total content and meaning with the help of the typical Buddhist terminology he uses I shall, therefore, broadly point out to the terms he employed in the Dvatrimika concerned These terms indeed are a sufficiently clear indicator of how closely acquainted was he with the Buddhist philosophy The terms used in the present Dvatrimsika are clear enough, it is the phraseology which is often dense In the opening six verses Siddhasena alludes to nirvana (cessation of all activities), avidya and vidya (nescence and true knowledge), viveka (discretion), pudgala-skandha (the physical or materialaggregate), sunyata (void), mamatva (attachment or ego), bhavana (contemplation), and santana or the wellknown concept of the interdependent coorigination or relational causation which included factors of momentary manifestation in the flux of existence Santana's wellknown metaphorical association with the river-flow and the lighted lamp is expressed here as santanam bhavanartham va sarit-prata-pradipavat (6) Further on, Siddhasena refers to the mahabhutas (primary or elemental varieties of Nature), rupa (material form and shape), vinana (discriminative consciousness), naya (standpoint), and how the vikalpa (mental discourse) comes into play (7) Then follow the verses in which the terms such as moha (delusion), trsna (greed) smrti (memory), mana (mind), samkalpa (relatively determinative or discerning thought ?) cetana (consciousness), karma (deed-latency), and the upacara (convergence, convention, metaphorical transferance), all or most of which have typically Buddhist connotations At some places, his statements of course are as lucid as they are accurate and authentically Buddhist and their meaning at once becomes intelligible for instance when he writes 'cittavad rupakaya-sya vailaksanyam ksane ksane (10')', referring to the character of the rupakaya (set of forms) that changes at each

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14 MADHAKY SAMBODHI moment in accordance with the mental state He next refers to samskara (latency or modal disposition), jati (birth), jnati (race), vynana (perception), panca-skandha (five naturalities), skandha-prakara (the type of naturality involved ?) and the validity of sunyata This is followed by one more telling observation on the denial of the existence of Self with reference to its morphistic externality Bahyam-ayatanam natma yatha netr-adayas-tatha, (13") Next follows the important Buddhist considerations of the hetu-pratyaya (principal and subordinate causal conditions) and one more famous Buddhist notion of the momentariness and apparent continuality and next extinction of al phenomenic activities, like a lamp-flame 'ksantkatv-adi-buddhes-ca nirvanacca pradipavat (15")', and Nirvanam sarva-dharmanam-avkalpam ksane ksane (16")"4 and how it is brought about by the hetu-pratyaya-bheda (differentiation of main and subsidiary causal conditions) In the next two verses he further explains the reality of nirvana and its relationship with citta and the way it is impressed on or generated or manifested A very telling verse next follows about the apparent and the virtual' in relation to prajna or cognativity by using the metaphor of the face and its image in the mirror 'Darpanastham-iva prajfia-mukha-bimbam atanmayam, tat-samuttham ca manyante tadyat-pratyaya-janmarah, (22") The next verse is equally profound in meaning and pulsates with the wisdom of the Buddhist way of looking at objects and phenomena, where the metaphor of the memory of a dream is employed with acuity Na samagri-svabhavo'yam ato najnana-bhedatah, syapnopalabdha-smaranam ntvrttis-ca na nety apt (23)' The similes and metaphors he uses in the next verses (pataha-dhvanivat-loka (25) or Vikalpo'rani-vahnivat (30") etc further clarify the Buddhist perception of the phenomenic factors and the apparent Reality Although these verses cannot phrase by phrase be traced in the known Buddhist works, the ideas and choice of words as well as the flow and direction of thoughts are faithfully Buddhist and are replete with the typically Buddhist insights, motifs, and imagery The last or the summing verse affirms with an ending note that this represents Buddha's (thought-constructs and) preaching sasana-pranayo muneh (31') (The entire Dvatrimsika is reproduced at the sequel for reference, for it is not easily available or accessible It follows the version of Vijayasusila-sun)

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Vol XXII, 1998 THE 'BAUDDHA-SANTANA Notes and References 1 See Dvadasaram nayacakram, pt 1, (Ed. Muni Jambuvijaya), Bhavnagar 1966, 'Introduction' (Sanskrt) pp 14-17 & Introduction' (Gujarati) pp 49-50 On the basis of a notice in the Prabhavaka-carita of Prabhacandracarya of Raja-gaccha (A. D 1277), which records Mallavadi defeating the Buddhists at Bhrgukaccha in Vira Samvat 880 / A. D 353 Muni Jambuvijaya places the famous dialectician in the fourth century A. D However, this date cannot be correct since Mallavadi had commented upon Siddhasena Divakara's Sanmatiprakarana Hence he has to be placed later than c A. D 450 Moreover, Mallavadi, in his Dvadasara-nayacakra, cites a gatha each from the Avasyaka-niryukti ( A D 525) and also from the Brhatkalpabhasya ( A D 550) Also, at several places, he refutes Dinnaga ( AD 480-540) Hence he is best placed in the latter half of the sixth century A. D (Cf Jitendra Shah, "Vadindra Mallavadi Ksamasramana-no Samaya", Nirgrantha Vol I, Ahmedabad 1996, Gujarati section, pp 1-11) 2 Muni Jambuvijaya dates him before A. D 625 since Simhasura takes no notice of Dharmakart's positions However, two objections to this dating are palpably present First, Simhasura's grand disciple Siddhasena-gani's commentary on the Sa-bhasya Tattvarthadhigama-sutra of Vacaka Umasvati reveals familiarity with the work of the Southern Nigrantha dialectician and epistemologist, Akalankadeva, particularly his Tattvartha-vartika, which is to be dated some time in the second quarter of the eighth century A. D Hence Siddhasen's Vrtti cannot be placed earlier than c. A D 760-770 On this reckoning, and granting Siddhasena-an abbatial pontiff-a long span of life, his grand-preceptor Simhasura's Vrtti on the Dvadasara-nayacakra can at the earliest be placed c A. D 675 During my examination of the various early commentaries of the Northern Nigrantha writers, I noticed that, to those Jaina writers of north who wrote before A. D 700, the southern works, be they Brahmanical, Buddhist, or Nirgranthist, were unavailable for consultation Hence the seventh century writers took no notice of the works of the famous Mimamsaka thinker Kumarila Bhatta, the great Buddhist philosopher and epistemologist Dharmakirts, and the equally great Nirgrantha authors such as Samantabhadra ( A D 550-625) and Pujyapada Devanandi (active c A D 650-680) 3 Among the more notable of his several works for our purpose are the Tattvartha vartika and the Laghiyastrayi. 4 Particularly his Tattvartha-sloka-vartika. 5 In has first appeared in Sri-siddhasena-Duvakara-krta-granthamala, Bhavnagar Vs

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16 MA DHAKY SAMBODHI 1965 (A D 1909) Also of A N Upadhye, Siddhasena's Nyayavatara and other works, Bombay 1971 (Upadhye's preface is uninformative, uncritical, and soaked with stiong sectaiian venom) A third publication which incorporates this dvatrimsika was edited by Vijayasusila suri, atled the Dvatrimsad-dvatrimsikah, Botad 1977 6 This was, as will be further said, due to the difficulty of understanding it fully 7 I possess insufficient expertise in Buddhism to venture in the direction of such an attempt 8 This is at present a more generally accepted date I shall, therefore, forgo citing recent discussions on it 9 If Dinnaga is ultimately proven Vasubandhu's direct disciple as the Northern Buddhist traditions (as also the Nigrantha Simhasura ksamasramana) held, his date will have to be shifted back by three to four decades Even then he remains posterioi to Siddhasena Divakara 10 This is by Siddhicandra, a friar of the Tapa-gaccha, who flourished in early 17th century in the Mughal period 11 For details, see the author's Hindi edition of the Sanmatl-prakarana, Ahmedabad 1963 12 His thesis foi Ph D entitled Siddhasena Duvakara A Study, from which Upadhye extracts in his Siddhasena's, pp 51-68 Also of Dave's introduction in Gujarati to Vijayasusila-suri's edition, p 42 13 See Vijayasusila-suri, pp 375-396 14 The Nirgrantha commentators (Devanandi, Simhasura, Akalankadeva, Haribhadra, and later writers) cite a verse beginning with the words Ksanikah sarva-samskarah which is yet to be traced from the Buddhist sources

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Vol XXII, 1998 THE 'BAUDDHA-SANTANA Appendix paJcadazI bauddhasantAnadvAtriMzikA / nAhakRtasya nirvANa na setsyatyanahakRta / na cAvidyA vivekAya na vidyA bhavagAminI // 1 // anyo'nyaviSayAn pazyan pudgalaskandhazUnyatA / na jAnAti zamaikArthA buddhAnA dharmadezanA* // 2 // sakhyAdibhedAdanyatva bhavAccAnyo'nyasaGkara. / skandhapudgalayoryasmAt skandhamAtrAgata pumAn // 3 // senAvanavadekAntabuddheH prajJaptisauSThavAt / kIlavat kriyate mithyA mAnakIlA pravRttaye // 4 // mamatvAbhigamAt sattvastaccyuto bhraSTarAjavat / bhArahArAdiyogAstu vyAsasaMgrahaNAGgavat // 5 // avaktavyamasadbhAvAt praznArthasya khapuSpavat / saMtAna bhAvanArthaM vA saritprAtapradIpavat // 6 // mahAbhUtocchyo rUpaM vijJAna viSayo naya / devanATyapRthagbhAvo nRjAtyAdivikalpavat // 7 // viparyAsAtmaka mohasaGgAt tRSNA smRtermanaH / sakalpazcaitanAkarma cetayitvopacArata // 8 // cakSurUpAdisaskArasamuttha sarvajAtiSu / vijJAnamiva jJAtInA nAnAtvamiti jAtitaH // 9 // cittavad rUpakAryasya vailakSaNya kSaNe kSaNe / taddhi jAtyantara tulya na bAdhyatpupapattita // 10 // sattvopacArau vyucchinnau skandhAnA pazcakalpavat / zUnyatA vA pratiSThatvAdetadeva prapaJcitam // 11 // skandhaprakAra pazyanto jagatpuSyopakAravat / kimastItyupagaccheyu kimeva tu mameti vA // 12 // bAhyamAyatana nAtmA yathA netrAdayastathA / tadvikalpagatizcittamana kasyAtra kiM yathA // 13 // hetupratyayavaicitryAt tAnevamiti bhaktaya. / katha hi saMpradhAyeMta bhAvo bhAvavizeSata // 14 // saMmohAt smaraNAt tattvakalAbhAvAnna karmaNaH / kSaNikatvAdizuddhezca nirvANAcca pradIpavat // 15 //

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18 MA DHAKY SAMBODHI nirvANaM sarvadharmANAmavikalpaM kSaNe kSaNe / hetupratyayabhedAt tu tadanta iva lakSyate // 16 // sasAre sati nirvANaM kSaNikasya gatiH kutaH / janmavat tena cittasya nirmANamapi saMskRtam // 17 // yat saskRtamanityaM tad bhanAdanyo'nyasaMskRtam / nirvANamanasAM yasmAd bhuktavipratiSedhanAt // 18 // dharmavad viSayebhyo'pi yadA vijJAnasabhavaH / saMskArebhyastadA janma kiM tasya kurute kSamA // 19 // na pUrvA na parA koTi vidyate dhAkphalaM mate / pUrvavipratiSedhastu hetupratyayasambhavAt // 20 // ahetupratyayanaya pUrvAparasamAbhavam / vijJAna tatsamutthaM kA saMvyavasyed vicakSaNa // 21 // darpaNasthamiva prajJAmukhabimbamatanyayam / tatsamutya ca manyante tadvat pratyayajanmanaH // 22 // na sAmagrIsvabhAvo'yamato nAjJAnabhedataH / svapnopalabdhasmaraNaM nivRttizca na netyapi // 23 // na cAniSTaprayogo naH kuzalapratipattivat / manyamAno hi doSaM vA guNaM vA parikalpayet // 24 // paTahadhvanivokaH kalpanAmanuvartate / yata. svabhAvo bhAvo vA tasya vaktu na yujyate // 25 // na copadezavaiphalya spavijJAnajanmavat / duHkhamutpadyate tasya svArthAhAnamayuktivat // 26 // na cAsyAgantusaMklezaH zuddhirSA bhaktayasvimAH / smRtisanasamA kintu tejasyaraNivRttivat // 27 // cittacAravazAt saGga smRtivanna visayate / saskArAyatanApekSa nirodhApattyanantaram // 28 // akuravyaktiniSpattizcetaH sattvasya tat katham / avidyA tRSNayoryadvanna nAnAtvaM na caikatA // 29 // samavijJAnayostadvad vedhe kAntamataH zivam / zrotaH prAptyAdirasyAstu vikalpo'raNivahivat // 30 // ekacitte'pi vA kRtsnaduHkhajJAnopapattitaH / grAmamohakSamodarka zAsanapraNayo muneH // 31 //

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INVOCATORY SANSKRIT VERSES IN JAINA INSCRIPTIONS (KARNATAKA) Hampa Nagarajaiah 1 1. Introduction Jainism, one of the oldest and richest religions in the world, has preserved its basic and original doctrinal characteristics Jainism rose to unrivalled brilliance in the field of letters, arts, architecture, culture and in the domain of politics This religion has an uninterrupted history of three thousand years and even today its followers, nearly six million, are found throughout the length and breadth of India Though the basic canonical texts of Jainism are mostly in Prakrit, a good number of works are also found in Sanskrit and in some other regional languages 12 Karnataka is one of the states in southern part of India, where Jainism claimed great antiquity and where it never failed to receive the warmest hospitality and the sincerest devotion from the rulers and the people alike The advent of Jainism into the fertile regions of Karnataka is connected, and rightly So, with the immigration of Jainas under their celebrated pontiff Srutakevali (a person possessing the infinite knowledge of Jaina scripture)--Bhadrabahu and his disciple the Maurya Emperor Chandragupta and this happened towards the end of fourth century BC and the beginning of 3rd Century BC 21 Acarya Bhadrabahu and his followers from North India came to South India, reached the present Sravana Belgola in Hassan district (Karnataka state) and settled there in course of time Jainism became a dominant religion in Karnataka and guided the fortunes of some well-known royal families It is not known exactly what was the language spoken by those early Jains, but it is believed that Prakrit was their mother-tongue After they settled in Karnataka, Jains either adopted Kannada or continued to speak their own Dravidian language, because it is said that Jains are orginally dravidians, a non-aryan race 22 At Sravanabelagola, the place of early settlement in Karnataka and at many other places in the same state or wherever Jains went, constructed monasteries, donated liberal grants in cash and kind and wrote a number inscriptions recording such memorable events that happened during their life

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20 HAMPA NAGARAJAIAH SAMBODHI time 23 In Sravanabelagola alone there are more than 573 inscriptions and all these inscriptions are included in a single volume entitled Epigraphia Carnatika, vol 2, and its re-revised edition has been published by Kannada department of Mysore University in Karnataka state (1973) Perhaps this is one and only instance in the world where so many inscriptions are found and where the entire volume of inscriptions, numbering around six hundred, is devoted to the epigraphs of one and only one place, a world record worth entering the Guinnes book 3 It is the usual practice in Indian inscriptions that they commence with one or many invocatory verses and conclude with some imprecatory lines, which can also be in verse 31 Invocatory lines can be in prose or in verse, but the latter enjoys preference The accepted standard and model is to make use of the poetical skill, poetry prevails and the frequency of verses increase Therefore, even when the rest of the text is in prose, it opens with a verse and that too with a Sanskrit verse Such a beginning was considered auspicious and prestigious Besides, Sanskrit enjoyed a sort of supenonty complex 32 The inscriptions as documents, either official or private, had a specific purpose in view Hence, language of the masses prevailed Jains were equally at home in Prakrit and Sanskrit Jaina inscriptions of Karnataka are, to a very great extent, influenced by Sanskrit 33 The reason for the preference of Sanskrit to Prakrit is not far to seek, as already explained in 31 It is well-known that the Jains found Prakrit to be a powerful media to propagate their philosophy among the masses, in the north (India) In the south the dominance of Sanskrit as against Praknit appears to have coincided with the spread of Sanskrit in the elite circles of the upper class, and the donars had Sanskrt leanings This fact is evident from the higher frequency of Sanskrit verses 331 It is interesting to note that even the Prakrit inscriptions contained, both the prefatory and the imprecatory portion written in Sanskrit Only the Prakrit inscriptions, of the early Kadambas of Banavasi,-and of Kadamba Mayuravarman, does not contain any Praknt invocatory verse 34 The impact of Sanskrit was so much on the early inscriptions of Karnataka

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Vol XXII, 1998 INVOCATORY SANSKRIT VERSES IN 21 and of Kannada language, that the local Kannada language itself is relegated to secondary status and is used to specify the boundaries of the gift land and the names of the surrounding villages or such other minor details 35 The quality of Sanskrit language used in these inscriptions is good Generally the verses are simple and effective, though on the whole gentle and delicate, at times it is pedantic 366 The Sanskrit language employed here is embellished to enhance the grandeur, metrical composition and the verses are charming It is noteworthy that these compositions in Sansknt are remarkably free from errors 41 Invocatory verses differ, though not in metre employed in the composition of various verses, but in content, from religion to religion If the core subject matter of the epigraph belongs to a Saivite tradition, then invocatory verse will invariably be on salutation to Lord Siva Likewise Vaisnava inscriptions start with a prayer to Lord Visnu, and Jaina inscriptions commence with a prayer to Jina, a spiritual victor 411 This paper is an attempt to critically examine the invocatory verses of Jain inscriptions found in Karnataka, and the methodology applied in this paper is mainly diachronic study and secondarily a synchronic study 412 All the findings of this critical examination of invocatory verses are carefully listed 42 Out of about (twenty four thousand) 24,000 inscriptions in Karnataka, only (two thousand) 2000 belong to Jainism and many of them contain invocatory verses Most of these invocatory verses are of academic excellence and literary mert This paper also attempts to assess, for the first time, the SOCIO-religio-historical importance of Sanskrit verses, in addition to the Kannada verses, found in the Jain inscriptions of mediaeval period 43 Jain inscriptions have certain special features of their own which make them distinct from others These inscriptions and the invocatory verses have, in their own way, enriched Kannada language and literature and they are the forerunners for the later writers to follow 431 Nisidhi stones are again a special feature of Jainism Probably in no other part of India, we find similar inscriptions in such large numbers 432 Sallekhana is a process of death by the ntual fasting, as prescribed by the

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22 SAMBODHI Sastras Sallekhana is a willing submission to death, without any love or hatred against anybody, living or dead After voluntarily accepting the vow of sallekhand and adopting the prescribed posture of reclining, one should renunciate all the worldly belongings by thought, word, and deed, and only concentrate on happily relinquishing this mundane world by fasting unto death This process of concentration leads not only to the gain of complete control over the senses but also to a gradual destruction of the human body Memorial stones are erected to commemorate the holy death of such persons, whether he or she is a revered saint or a lay disciple Such commemorative monuments are called Nifadhi, which are usually engraved on solid rock columns Hundreds of Nisadhi monuments, carved and attractively sculptured, are found throughout the length and breadth of Karnataka Among the outstanding centres where a good number of free-standing Nisidhi pillars with inscriptions, are found, mention should be made of Sravanabelagola, Koppala and Hombuja HAMPA NAGARAJAIAH 44 Some of the major Jain poets have also composed inscriptions, poets Ranna, Santinatha, Nagacandra, Janna are some such significant writers 5 Though these epigraphs are mainly and solely Jain oriented, they also provide an authentic basic material for a socio-cultural study Each religion enjoyed freedom of worship and of expression In total there was coexistence of all religions though at times they differed to agree It is obvious that the philosophy of one religion was different from the other Naturally, each religion tried to establish its superiority and thus increase its social status, popularity, and its votanes As a result, a cold war among the existing religions was inevitable Each religion had its followers, who tned their best to show and prove that their religion was ancient, possessed an excellent tradition and enjoyed an abundant royal patronage. Various religious leaders, who were also highly learned in vanous branches of knowledge and the philosophy of other religions, used to challenge other religions to, either establish their superionty or accept a secondary position Of course, this verbal conflict and argument was only on ethical and moral grounds and usually did not exceed its accepted norms 6 Further the same invocatory text can also be examined from the stylistic point of view Some of these verses are composed at a time when Sankrit was no longer a spoken language and the regional languages were preferred to Sanknt The geographical boundary of these invocatory verses was limited only to the present Karnataka state Kannada, one of the Dravidian languages, had been both the language of the ruler and the ruled, of Karnataka state Both the

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Vol XXII, 1998 INVOCATORY SANSKRIT VERSES IN 23 administration and the literary circle employed Kannada as the language of the media Because the language of inscriptions of this linguistic area was mostly Kannada, some of the invocatory verses of Jain inscriptions are also in Kannada 61 A discussion of the scope and nature of Kannada invocatory verses is out of context in this paper The religious heads or ascetics, who were dedicated to propogate Jainism, made strenuous efforts to impart and popularise the tenets of this religion through the language of the masses They were well-versed not only in Prakrit and Sanskrit, but also in Kannada To cite some outstanding examples, the names of Gunabhadra, Vadiraja and Abhinava-Vadi-Vidyananda are important Some of the inscriptions contain, instead of the entire sloka or verse, only a portion of the original invocatory poem For example bhadram astu jina sasanaya' (EC VI (BLR) Chikkamagalur 75 p 185, SII X1-1 94 1059 p 89) A variant form of the same, bhadram astu jina sasanasya--Is used in another inscription (EC II(R) 155(126) 1113 p90) Gangadharam inscription of Jinavallabha, younger brother of Pampa, the earliest and the best of Kannada poets, opens with and invocatory sacred sentence- 'om namah Siddhebhyah' (LAP Karim Nagara 3 A D 950)--Siddha is a liberated soul with infinite knowledge Some inscriptions carry only a 'Siddham' at the beginning [Corpus of Kadamba Inscriptions (1985), No 9 A. D 458 pp 34-38, ibid, No 29 A D 523 P 107] The sacred word 'Siddham' is used in non-Jain inscriptions also, a Hindu inscription (ibid, No 1 A. D 40, p 3) and a Buddhist inscription (ibid, No 20 A. D 524 p 70) begins with the same auspicious word Siddha in Namah Suddhebhyah (SII IX-1 346 and 347 127576 Kogan pp 369-70] is different from Siddham, which has a non-sectarian connotation Siddhebhyah is confined to Jain inscriptions only and it goes with various permutation such as 'namah Siddh bhyah sasanam jina-Sasanam' [EC II(R) 177 (144). 12 c p 135] and 'namah siddhebhyah bhadram bhuyata' [SII XX. 46 1072] 71 There are some Jain inscriptions with abbreviated Sanskrit invocation * Sri Vardhamanaya namah [EC II(R) 493(480) p 312], Sri Chandranathaya namah [ibid) p 313], Sri Neminathaya namah (ibid, 495(482)p 314] Sri Vitaragaya namah (KI 1 51 1432 Karikini), Sri Gomatesaya namah [EC II(R) 487 (356) P 308] etc There are also some Jaina inscriptions without any Jaina invocation [SII XVIII 79 1074 I SII XI-1 5 752 Annigen, ibid, 38 950 Naregal, SII XX 4 683 Lakshmesvar)

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HAMPA NAGARAJAIAH SAMBODHI 8 Before I conclude this paper, it would be befitting to draw the attention, of Sanskrit scholars in particular, to one of the rare inscriptions of importance An inscription from Bastihalli, a village of antiquity in Hassan district of the same Karnataka state, has preserved an unique dialogue and discourse of an illustrious Balacandramuni-panditadeva It is said that the poets eagerly praise him for his divine speech which is issued from the mouth of Jinendras, the spiritual victors, enters and increases, and thus shines with more lustre I quote only the relevant portion kas-tvam kamah kayete han-hara-vidhi-vidhvamsakrt-pamca-banah Koyam dharmma kayesa bhramara-maya-guna-ste'tra kim yoddhukamah! Samkhyatitair-ggunaughair-jjagati dasa-vidhais-caru-dharmmair anamtairVvanair-walemdu-yogi lasati kuru tatas tat-padambhoja-seva 11 Yenadhitam atita-badham amitam sajnana-sampadakam Sastram sarva-janopakan vihitacarocitam prematah Tasmadanata-bhabya-kamja-taraner valemdu-yogisvarad 11 Aptam mukti-sukhaika-sadhanam anuprekshopadesadhikam || Dakshoyam akshapadadi paksham aviksya tat-ksane Pratyaksadi-pramanena 11 81 Following is the translation of the text Who art thou ? (Kas-tvam) ? Kama (kamah), who is the God of love (cupid) What are these (kayete) ? The five arrows that have overcome Hari (the Lord Visnu the protector) Hara, (Lord Siva the destroyer) Vidhi (Lord Brahma, the creator) What is this (koyam) ? A bow (dharma) What is this (kayesa) ? The bow-string, like a line of bees (bhramara-maya-gunas) What are they here for (tetra kim) ? In order to fight the warrior kama-Cyoddhu kamah) He (balendu) shines with unnumbered bow strings, otherwise a number of virtues, ten kinds of bows, otherwise the famous ten merits called the dasha dharma (uttama kshama, mardava, arjava, saucha, satya, samyama, tapas, tyaga, akimcanya and brahmacarya), and endless arrows, otherwise arguments Therefore, do service to the lotus feet to this Balendu-yogi Like a sun to

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Vol XXII, 1998 INVOCATORY SANSKRIT VERSES IN lotuses, the bowing bhavyas (Jainas), Balendu-yogi gave instruction in Anupreksas, the topics of meditation, which are 12 in number and embrace a wide range of subjects practically covering all the principles and cardinal teachings of Jainism Able in the process of refuting at first sight by illustrations proofs, the premises of the nature of Akshapada who is the rishi Gautama, was Balenduamun [EC IX (R) 402 (V Be 132) C 12-13th C Bastihalli P 368-69] 9 After a critical study of these invocatories, the following observations can be made i The material contained in the invocatory lines, whether a verse or a prose, have new dimensions worth a detailed study 11 Out of about two thousand Jain inscriptions of Karnataka state (India), many contain the invocation poems, though there are stereotyped invocatory verses, there is also variety 11 There are eulogies of Jaina preceptors, either of the Jina, the pathfinder, or of pontiff of higher rank The invocation refers both to a person of mythology (Purana-purusa) and to historical persons None of the Jaina invocation contain a Prakrit verse Non-Sanskrit invocatory verses are in Kannada which had been the regional and administrative language of Karnataka for over two thousand years vi Even when the language of the invocatory verse or the entire text of the inscription is in Sanskrit, the script used is only Kannada Vu Whether these invocatories are just stray verses, exclusively composed for the concerned inscription or quotations taken from some texts is a matter to be carefully examined The usual and famous invocatory sloka-Srimath-parama-gambhira-syad-vad-amogha-lancanam --IS a quotation from Akalamka-acharya's work 'Pramana-Samgrah' (above A D 7th century) But, except the other slokas composed by poet Ravikirthy and Mangaraja, the source of most of the verses is wscure VIL Even when some of the invocatories are repeated, it is found that there are some different textual readings, at times, it is observed, that some corrupt forms are used in such cases, it is not the defect of the 1V

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SAMBODHI 26 HAMPA NAGARAJAIAH composer but the limitation of the sculptor From the point of view of prosody, though higher frequency is of Sloka metre, different varieties of vritta is also used Sragdhara, sardulaVikridita, Malini, Rathoddhata, Indravajra, Campakamala vrittas are also used None of the invocatories exhibit any hatred or derogatory remarks against any non-Jain sect or religion, even when there is the glorification of Jain tradition But a clear suggestion is evident that Jainism was at logger heads with Buddhism, each one trying to score over the other and establish its superior authority APPENDIX - A aparimita-sukham analpavagamamayam prabalabala-hritamtakam 1 nikhilavaloka-vibhavam prasaratu hridaye param Jyotth 11 (EC Vol II (R) No 364 (258) A D 1432 p 227 Arya verse) = Of unlimited joy, consisting of perfect knowledge, remover of fear by mighty power, of all-seeing greatness, may the supreme light pervade the heart Uddiptakhila-ratnam uddhrita-jadam nana-nayamtargriham Sasyatkara-sudhabhiliptijanibhrit karunya-kupochchhrita aropya fruta-yanapatram-amrita-dvipam nayamtah paran Ete tirthakrito madiya-hridaye madhye bhava"dhy asatam || [EC Vol II (R) No 364 (258) A. D 1432 p 227) Sardula-vikridita) May they dwell in my heart, the Tirthankaras, possessed of all brilliant jewels, freed from bilge-water (otherwise, saving the ignorant), containing cabins of various modes of argument, painted with the lime (or, nectar) of the syatkara, and furnished with the high most of compassion for living creatures, -who, taking on board the ship of sacred lore, others (found) in the middle of the ocean of worldly existence, carry them over to the island of immortality Jagat-tritaya-nathaya namo janma pramathine | Naya-pramana-vagrasmi dhvasta-dhvantaya santaye || (EC Vol II (R) No 209(160) 12c p 144] Obeissance to the lord of the three worlds, destroyer of births, Santi, who dispels the darkness (of ignorance) by the rays of authoritative arguments

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Vol XXII, 1998 INVOCATORY SANSKRIT VERSES IN 27 Jagatritaya-vallabhah srtyam apathya-vag-durlabhah Sitatapa-nivarana-tritaya-camarodbhasanah || Dadatu yad aghantakah padavinamra-jambhantakah Sanas sakala-dhisvara vijaya-parsva-tirthesvarah || [EC Vol IX (R) Belur 389 (V Be 124) A D 1133 p 353 Prthvi vrtta] Vijaya Parsva-tirthesvara, the favourite of the three worlds, unassailable by false speech, resplendent with the triple white umbrella (sitatapa nivarana tritaya) and chownies, chamara, the destroyer of sin, his feet being worshipped by Jambhantaka (1 e Indra, the chief of the gods), may grant us property Jayati jagadeka-bhanuh syad-vada-gabhasti-dipitam yena Prasamayya tumira-patalam saksatakrta sakala bhuvanena 11 (MAR 1920 8th C P 23, IWG 1984. No 71.p 253] Victorious is he, who is the singular sun of the world by whom the rays of Syadvada were lighted and by whom the entire world was released) realised from the cover of darkness in the form of the doctrines of the opponents Jayaty atrsayajinair bhasura-ssura-vanditah Sriman jina-patih srster adeh karta dayodayah | [SII XX No 3 A. D, 630] Victorious is the lord Jina, who is shining with great) Jinas, who is saluted by gods, who is the maker of the first creation and who is full of compassion. Jayaty anekadha visvam vivinvann-amsu-man iva Sri-vardhamana-devo rutyam padma-prabodhanah || [KI Vol 1 No 3 A D 750] Victory to lord Vardhamana who has displayed this Universe in manifold ways and who awakens (puts to bloom) the padma (Padma, lotus) daily like the sun. Jayati bhagavan(f) Jinendro [vi]ta-jara-marana Janmano yasya jnanasamudrantarggatam akhilan jagad-antaripam iva 11 [El Vol VI AD 634 pp 1-12, Ihole] = Victorious is the holy Jinendra, he who is exempt from old age, death and birth, in the sea of whose knowledge the whole world is comprised like an island The author of this poetic composition and of the entire inscription in Sanskrit, written in the year Saka samvat 556, is Ravikiru, a court-poet (Poet laureate

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28 HAMPA NAGARAJAIAH SAMBODHI of Pulikesin II, emperor of Badami Chalukya dynasty ) Jayatu jagati nityam jaina-sanghodayarskah Prabhavatu jinayogi-brata padmakara-srth-| Sammadayatu casamyag-darsara-jnana-vritta Prakatita-guna-bhasvad-bhavya cakranuragah ||| (EC Vol IX (R) Belur No 389 A D 1133 p 353 Malini Vrtta] May it daily advance in the world, the rising son the Jina samgha, may prosperity be to the lotus-pond the group of Jinayogis, may affection be to the shining bhavyas (or blessed ones, the Jainas), distinguished for right principle, right knowledge and night conduct in their mode of life Jayatu-durita-durah kshira-kupara-harah Prathita-prthula-kirtti-sri-subhendu-bratisah || Gunamani-gana-sindhuh sishta-lokaika-bandhuh Vibudha-madhu-praphullah phulla-banadi-saly-ah || [EC Vol II (R) No 155 (126) A D 1113 p 90 Malini Vrtta] Inaccessible to sin, of wide-spread fame resembling the milk ocean and a pearl necklace, an ocean to the jewels of good, qualities, sole friend of the good, a flower to the bees, the learned, a spear to the trouble of cupid, may the lord of ascetics, Subhendra be victorious Dharmmika-pundarika-sanda-modana-karaya gunottaraya | Samsara-sagara-nimam hastavalambanavate Jina-sasanaya | [EC Vol VII-1(BLR) Sikanpur No 8 A D 1080, p 124 ] Praise of the Jina sasana, a course of joy to the lotus pond, the righteous, of the highest virtue, extending a hand to pull out those who are sunk in the ocean of family cares (Praise of who erected a Jinalaya to adi-Brahma ) This invocatory verse can be compared with another verse under discussion, ie with bhadram bhavatvakhila dharmika pundarika shandavabodhana Nir gramtha-vrata-chari-suri-vacanan nistrimsa-mrstakrtir Yo duscchedam akhandayat prthu-fila-stambam jayabhyudyatah 11 (He) who, attempting for victory (heading for victory), stationed the wide rock pillar, which is hard to break and which is of eight sharp sides, on the advice of the scholar, who was a follower of the Nirgrantha-vow

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Vol XXII, 1998 INVOCATORY SANSKRIT VERSES IN Bhadram bhavaty akhila-dharmmika-pundarikaSandavabodhana-sumitra-divakaraya || Samsara-sagara-vicitra-tamaghnajantor Nastavalambana-krto jina-sasanaya || [SII Vol IX-1 No 387 A D 1297] Let there be auspiciousness to the ordinance of Jina which is the friendly sun awakening the host of lotuses in the form of pious persons and which lends a supporting hand of pious persons and which lends a supporting hand to the being who is oppressed by the peculiar (various) darkness of the ocean of mundance existence Bhadram bhuyaj jinendranam sasanayaghanasine Kutirttha-dhvanta samghata-prabhinna-ghanabhanave | (A regular sloka) [SII Vol IX-1 No 52, AD 1007] May prosperity be to the sin-destroying doctrine of the Jinendras, a fierce sun in dispelling the mass of darkness, the heretical doctrines Bhadram astu jina-sasanaya sampadyatam prati vidhana-hetave 1 Anya-vadi-mada-hasti-mastaka-sphotanaya ghatana-pathiyase 11. [EC Vol II (R) No 79(69) 12th C P 55] (this is a rathodhata sloka) May prosperity be to the doctrine of Jina, which is a source of self-defence to its followers, and which is clever in preparing itself to break the heads of the rutting elephants, the hostile disputants This hostile attitude of one religion against other, existed and persisted for a long time But it is also a fact that the hostility was mostly based and thrashed (and discussed) on the philosophical level and confined to theoretical arguments Adherents of different religions lived together and co-existence was possible People belonging to one religion helped the people of another religion There are a number of epigraphical references of liberal grants made to temples of another religion with equal respect Standard and set rules and religious policy of the state was always to look upon all religions on par Jains have donated land and money to Saiva temples and vice versa Bhadram samantabhadrasya pujyapadasya sanmateh || Akalanka-guror bbuyat sasanaya jinesinah || [EC Vol VII-1(BLR) Sikaripur No 221 A D 1075 p 299]

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30 HAMPA NAGARAJAIAH SAMBODHI Prosperity be to the sasana of Samantabhadra, of the learned Pujyapada, of Akalamka-guru, (the sasana) of the lord Jina Yasya saddharma-mahatmyat saukhyam jagmur munisvarah Tasya sri-parsvanathasya sasanam varddhatam ciram || [EC Vol VII(R) Nagamamgala 64 (IV Ng 76) AD 1145 p 45] May the doctrine of that Parsvanatha, by the greatness of whose good law the great sages obtain bliss, increase for ever Yen ayol na vesma sthiram arthavidhau vivekina jina-vesma | Sa vijayatam ravkirtih kavitasrita-kalidasa-bharavi-kirtih 11 [El VI 634 A. Dlhole (Bijapur district / Badami tq) PP 1-12, Arayagiti = May that Ravikirti be victonous, who full of discernment has used the abode of Jina, firmly built of stone, for a new treatment of his theme and who, thus by his poetic skill, has attained to the fame of Kalidasa and of Bharavi The author of this poetic composition is the famous poet-laureate of Pulikesin II, written in the year Saka Samvat 556 (A. D 634) This is not an invocatory verse in the sense that this is the last verse of the inscription Viro Visishtam vinataya ratim ih trilokair-abhi-varnyateyah Nurasta-karmma-nikhilarttha-vedi payad-asau paschima-tirttha-nathah 11 [EC II (R) 360(254) 1398 P 215-16 Upajati metre) May the destroyer of karma (sin), knower of all things, Vira, the last Tirthanatha (Tirthankara, the omniscient spirtual teacher of the Jains, who is also a builder of the ford for Jains to follow), who is praised by the three worlds as the maker of an excellent gift to his devotee, protect(us) Srtyam kriyasur jagatam adhrsvaras Sam anta-bhadram-akalanka-nis calam ! Tamo pa(hara)ya jinendra-bhanavah Sphuranti vo yan-nayamana bhanavah || [SII Vol XX. No 52 A. D 1077-78] May the Suns in the form of Jinendras, who are the overlords of the worlds and whose rays have been flashing upwards (?), bring (Kuryasuh) that wealth (glory) which is auspicious allround (Samantabhadram) and which is steady without any blemish (Akalankansciltam)

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Vol XXII, 1998 INVOCATORY SANSKRIT VERSES IN Sri-jayaty-ajayya-mahatmyam visasl-(sri)ta-ku-sasanam Sasanam Jainam-udbhast mukti-lakshaika-sasanam || [EC Vol II(R) No 364(258) A D 1432 p 227] Victorious is the brilliant doctrine, of unassailable greatness, of Jina, which refutes false doctrines and is the sole controller of the goddess of emancipation Sri-nabh@yo-jitah sambhava-nami-vimalah Suvratanamta-dharmmasCamdramkah santi-kumthu-sa-sumati-suvidhiah-sitalo-vasupupyah | Mallih sreyah suparsvau jalajaruchuro nandanah Parsva-nemi-Sri-viras-chett deva bhun dadatu chatur-vimsatir-mmamgalani || [EC Vol II (R) No 360(254) 1398. p 215) = Nabheya (Rishabha), Ajita, Sambhava, Nami, Vimala, Suvrata, Ananta, Dharma, Chandranka (Chandraprabha), santi, Kunthu, Sumati, Suvidhi (pushpadanta) Sitala, Vasupudya, Malli, sreya (Sreyamsa), Suparsva, jalajaruchi (Padmaprabha), Ara, Namdana, Parsva, Nemi, Vira, may these 24 gods grant good fortune in the world In this prayer like invocatory verse, nowhere the name of Jain, Jainism or Jina is mentioned And also the prayer is not for any favour of any individual As such, this poem is non-religious and assumes new proportions of a radical and secular approach to human wishes Sri-prabha chandra-siddhanta-devo jiyacchiram bhuvi Vikhyato bhaya-siddhanta-ratnakara itt smritah 11 [EC VIII (R) Arakalgud, No 133, A. D 1079-80 P 186] May Prabhachandra-siddhantadeva, famous in the world, remembered as bearing the title ubhayasiddhanta ratnakara (an ocean of both siddhantas) live long Srimapayatty-anekanta-vada-sampaditodayam Nis-pratyuha-namat-pakasasanam jina-sasanam 11 [EC Vol VIII-I(BLR) Sorab No 262 A D 1075] Victory to the ordinance of Jina which attains eminence through Anekantavada and which Indra salutes without hesitation (impediments) Srimapaina-vachobdhl-vardhana-vidhuh sahitya-vidya-rudhisSarppa-darppaka-hasti-mastaka-lutthat protkanttha-kantthiravah

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32 HAMPA NAGARAJAIAH SAMBODHI Suman-gunacandra-diva-tanayas saujanyavant sttheyatu Su-Nayakirtti-deva-munipa-ssiddhanta-chakresvarahl [EC Vol II (R) No 564 Undated p 345] A moon in increasing the ocean, the teaching of Jina, a mine of literature, a roaring lion striking the head of the elephant, the cunning cupid, the birth place of kindness, the illustrious emperor of philosophy, Guna-Chandradeva's son Nayakirtideva-munipa, may he continue long (to guide us) Srinat-parama-gambhira-syad-vadamogha-lanchhanam | Jiyat trailokya-nathasya sasanam jinasasanam || [EC Vol II (R) No 176(143) AD 1123 p 128] May the doctrine of Jina be victorious, the doctrine of the lord of the three worlds, the unfailing characteristic of which is the glorious and most profound syadvada Srimat-pavitram-akalamkam-ananta kalpam Svayambhuvam sakala-mangalam adi-tirtham | Nityotsavam marimayam nilayam jinanam Thailokya-bhushanam- aham saranam prapadye || [EC Vol VII-1(BLR) Sagara No 159 A D 1159] I respectfully resort to the first Tirthankara (Rsabha-deva), who is endowed with glory, who is without blemish, whose creation is infinite (anantakalpa), who is self-born, who is all auspiciousness, who of ever festivity, who is the bejewelled abode of the Jinas and who is the ornaments of the three worlds Srimat-syadvada-mudramkitam-amalam-ahinemdra-cakresvaredyam Jainiyam sasanam vsruitam-akhila-hitam dosha-duram gabhiram ! Jiyat-karunya-janmavanir-amita-gunair-vvarnnyanika-prarekaih Samsevyam muktikanya-paricaya-karana-praudham etat trilokyam || [EC Vol II (R) No 72(65) A D 1313 p 30] Sragdhara = May the pure, famous, beneficial, faultless and profound doctrine of Jina, which is stamped by the seal of the glorious syad-vada, extolled by the Naga kings, Indras and emperors, the fountain-head of mercy, followed by host of virtuous and pre-eminent men, and capable of procuring intimacy with the maiden of salvation, be victorious in the three worlds Sriman-natha-kulendur-indra-parishad-vamdya-sruta-sri-sudhaDhara-dhauta-jagat-tamopaha-mahah-pinda-prakandam mahat |

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Vol XXII, 1998 INVOCATORY SANSKRIT VERSES IN Yasman nirmmala-dharmma-varddhi-vipula srir-yvarddhamana satam Bharttur-bbhavya-cakora-cakram avatu sri varddhamano jinah || [EC Vol II (R) No 77 (67) 1129 p 42 Sardulavikridita ] = May he protect the circle of the chakoras (The bartavelle or Greek partridge said to subsist upon the moonbeams) the blessed Vardhamana Jina, a moon to the illustrious Natha race, honoured by the court, of Indra, supporter of the good, a large and excellent globe of light dispelling the darkness of the world purified by the ambrosial stream of his learning, through whom the great glory of the ocean of pure religion increases Sriman-nabheya-nathady-amala-jinava ranika samdhoru-varddhih Praddhvastagha-prameya-pracaya visaya-kaivalya-bodhoru vedih Sasta-syatkara-mudra-sabalita-janat anandanadoru-ghoshah Stherad-achandra-taram parama-sukha-mahavlryya-vici nikayah || [EC II (R) 71(64) 1163 p 27 Sragdhara] May the great ocean of nectar consisting of the group of the illustrious Nabheya-natha (1 e Rishabha) and other great holy Jinas continue as long as the moon and stars endure, an ocean which has the highest knowledge regarding the group of faultless objects for its great altar (or,-seal, -ring), which has the shouts of joy of the people distinguished by the token of the excellent syatkara (or, syadvada) for its great roar, and which has supreme happiness and great splendour for its cluster of waves Samsara-vana-madhye-asmin-nruums-tadgan jana-druman! Aloky-alokya sad-yrittan cchinatti-yama-takshakah | [EC Vol II (R) No 163(133) AD 982 p 106] In the midst of this forest of mundane existence does the carpenter yama select upright round (otherwise, well-behaved) trees in the shape of men and cut them down Tara spnaralakause sura-krta-sumhano vrsti puspasayaliSto-makramam-tidrhajadhara-patali dhambhatoyasya murdhniSoya sri Gummatesas-tribhuvana-sarasi ramjaneya-rajahamso bhavya-bbhanur-belugula-nagari-sadhu-je jiyatirdam || [EC Vol II (R) No 473(342) A D 15th c p 285 Sragdhara vrtta] Victorious of the city of Belgola is Gummatesa, a royal swan in beautifying the pond of the three worlds, a sun to the lotuses, the blessed, over whose head

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HAMPA NAGARAJAIAH SAMBC 34 abounding in shining curls swarms of bees coveting the flowers showerec the gods move about in the shape of a cluster by clouds APPENDIX - B Anustubh sloka is actually Gayatri, extended by another pada, thus it has padas(verse-lines) each It has many varieties, the most popular variet characterised by1 The fifth syllable in each pada being laghu', and the sixth being 'guru 1 The seventh syllable being 'guru' in the first and the third padas, and la in the second and fourth padas (pamcamam laghu sarvatra sashtam guri sloka is so popular in Sanskrit that it very much dominates the epics and 1 Sanskrit kavyas, it is prevalent even in Puranas, Sastras, dictionaries and in inscriptions Even though there are references and examples in Kann immitating and assimilating this Sanskrit sloka style, it did not become pop in Kannada literature Arya is a type of four line verse which consists of 30 matras in the first and 27 matras (a prosodical unit in Indian literature) in the second half, thus totally consists of 57 matras Arya yrtta is also called as Gatha vrtta Prakrit language the same Arya (Gatha) Vrtta, enhanced by seven more mat became a verse of 64 matras Kannada poets adopted this Arya (Gatha) model and, though they retained form, they changed the name from 'Arya-Gatha' into 'Kamda' Kannada p mostly preferred this kamda metre to all other forms of verses and 1 Kannada poetry is abounding in kamda metre APPENDIX - C ABBREVIATIONS BLR = Benjamin Louis Rice, who edited the volumes C = Century EC = Epigraphia Carnatika and its Volumes El = Epigraphia Indica and its Volumes IAP = Inscriptions of Andhra Pradesh IWG = Inscriptions of western Gangas, ed, Ramesh, K. V, 1984 KI = Karnatak Inscriptions, and the numbers succeeding indicate the numt

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Vol XXII, 1998 INVOCATORY SANSKRIT VERSES IN of Volume and Inscription MAR = Mysore Archaeological Annual Reports (R) Revised edition 35 [example EC II (R) No 364(258) Epigraphia Carnatica, Volume II, revised edition, No 364 is the number of the new edition and the number in bracket (258) is the old number of the same inscription of earlier editions ] SII = South Indian Inscriptions and its Volumes

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SEAL OF ZAHID SHAHA Z. A Desal There are in all twenty two seals imprinted on the leaf, of which fourteen ar square and eight octagonal in shape While both the seals are identical in tha they belong to the same person, they differ in their legends to the extent tha the one on the square seals contains the name and designation of the perso in whose name the seal is made as well as the date, but the legend on th octagonal seals in addition contains the name of the father, omitting, howeve the date, as will be clear from their readings quoted hereunder A Square Seal Zahid Shah Khalifa al Qadiri a'r-Rifa'i . 1201 (H) "Zahid Shah, spiritual head (Khalifa, hit Successor) of the Qadiri (and) the Rifa (orders) 1201 H (24 October 1786 12 October 1787 A D)" B Octagonal Seal Zahid Shah bin Lal Shah Khalifa al-Qadira war-Rifat "Zahid Shah son of Lal Shah, Spiritual Head (Khalifa, lit Successor) of the Qadiri and the Rifai (orders) " The purpose of putting a number of two identical seals of the same person or a leaf is not clear Separate legends of the two seals of the same person is no unusual in the case of officials or noblemen who would have a fresh sea prepared with a different legend consequent upon change of designation appointment to a new post, or promotion in the year of the event of that occurrence In the case of other persons, that is not usually the case Therefore it is difficult firstly to explain fully or quite satisfactorily two seals of his anc also the fact that these were put a number of times on the same sheet of paper Then again, one seal has name of the owner of the seal without the father's name, but without the date write the other, his name along with the date One

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Vol XXII, 1998 SEAL OF ZAHID SHAHA would be tempted to think that the seal with the date was made when Zahid Shah succeeded his father in the spintual headship of the Qadiri-Rifa'i order in the year engraved on the seal That Zahid Shah occupied a prominent position in the heirarchy of the QadiriRifai order of his town, city or region is clear from the text of the seal-legend In India, while Qadiri order founded by Shaikh Muhyiud-Din Abdul-Qadir Jilani (d 1165 A D) is quite widespread throughout India, the Rifa'i order initiated by Shaikh Ahmed Rifa'i (d 1192 A D) is mainly confined to Gujarat with its chief centre Surat and later on, also at Vadodara A Rifai saint-Gujare poet Shah Ali Jiyu Gamdhani lived in Ahmedabad and lies buried in the eastern most part of the Raikhad locality of the city where his tomb can be seen on the main road from Khamasa gate to Jamalpur gate He had died in A D His descendants live in Ahmedabad But Surat and Vadodara Rifa'i and Qadri-Rifa'i families are more prominant On the reverse of the leaf are a couple of verses doha or kavit in Gujarati written in Devanagari and Gujarati characters The one at top left, written vertically upwards reads. marama na burje mAhalo nahi cita eka ra sudara paNa sohe nahI Sa (kha) rASa (kha) rI che Dhora 37 Below it inscribed horizontally as usual from left to right is the same doha or kavit with a heading (?) and a name of a person with its place of residence airdaNA | vyAsa baladeva phumakhAmeM vAlezara rahiyA gAma kumA madhe raha 19 marama na bupheM mAhalo nahi cita eka Thora sudara paNa sodhe nahI SarA SarI gharI che Dhora Below this is evidently the signature and address of the writer of the above panasA (sAha) ratana (sA)majI gamA (gAma) kaMDana (kInA) ravasucha (rahevAsI che)

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ZA DESAI SAMBODHI dada manasukharama (rAma) 8 0492H1 (6494241) 5141 (14) dla-512- Ra 9 (Paul :)) That this Gujarati writing is from the pen of Mansukh Ram of the Bazar (Market), Visnagar (in Mehsana district) is clear from the word EE for Ezud le signature preceding the name as also from the word in erased in the second Devnagari quotation This signature it may be noted is written in Bodi (GULL) Gujarati characters, that is to say without vowel marks like in most cases The Devnagari-Gujarati writing is assignable to the century

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THE MANGALA VERSE OF THE NYAYASIDHANTAMUKTAVALI OF VISVANATHA : MAHADEVA BHATTA VERSUS RAMARUDRA BHATTACARYA Swera Prajapati In the field of Sanskrit Sastras the most remarkable point is that all Sastras are interdisciplinary in their nature and scope They form an unitive whole even though there are intra-differences among themselves Each Sastra is enriched by the principles of the other Here in this paper I have taken up an example to show how Alamkarasastra develops a concept of its poetic blemish on the strength of the principle of Nyayasastra and later on how an expert of Nyayasastra makes use of that principle while analysing a piece of poetry in a Nyaya work The Mangala verse of the Nyayasidhantamuktavalil of Viswanatha Nyayapancanana reads. cUDAmaNIkRtavidhurvalayIkRtavAsukiH / bhavo bhavatu bhavyAya lIlAtANDavapaNDitaH // 1 // (He by whom the moon is made to be crest-jewel, he by whom Vasuki is made to be grant armlet, may that Bhava, who is an expert in the art of sportive dance Tandava, be the cause of your well being ) This verse, according to Ramarudra, is faulty for having a poetic blemish called Samaptapunaratta In this verse 'Bhava' is a vibesya (substantive) pada and the last clause, lilatandavapandita is an adjective added after the completion of the sentence a Mahadeva Bhatta, the author of the commentary Dinakari does not agree with Ramarudra on this point The clause, lilatandavapandita, according to him, is itself a Visesya, it is not an adjective as said by Ramarudra So there is no fault Explaining further the nature of the poetic defect, Samaptapunaratta, he argues that "Only in case of a sentence which is completed and the substantive again is added with some adjective then the above defect arises m Thus this argument, says Ramarudra, is not convincing Mahadeva himself is * Research officer, Oriental Institute, MS University Baroda - 390 002

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SWERA PRAJAPATI SAMBODHI 40 conscious of the weakness of this contention and hence has proposed another explanation which seems cogent enough Mahadeva asserts that the last clause "lilatandavapandita" gives the reason of the entire make-up of the Lord Siva The sentence is not complete without it The question, therefore, naturally arises Why Lord Siva put the moon on his crest and made Vasuki his armlet ? "Lilatandavapandita is the answer to this question that the Lord Siva is going to perfom his favourite dance Tandava and a dancer must make decoration which is necessary for his purpose So the sentence, inspite of the mention of the verb, does not give a complete and coherent meaning without the last clause, lilatandavapandita There is no ground, says Mahadeva, to change the concluded sentence just for the sake of construing an additional adjective (visesana) with the substantive (vibesya) The defect under consideration arises only in the case where the sentence has already covered the logically self-sufficient meaning and the introduction of a fresh adjective giving rise to fresh expectancy, utthapyakanksa le occasioned by force But in the case of the present verse, there is no such expectancy The last clause lilatandavapandita does not create any fresh akanksa The final clause though delivered as an adjective states the reason and the logical necessity without which the proposition becomes meaningless and this fact exempts the case from the blemish under reviews Now, a look at the nature of this defect from the poetic works will be helpful to analyse the problem in hand samapta-punaratta (resumption of the concluded) anses of a speaker employs a further qualification when the relation of the subject with the predicate has been fully understood Mammata does not give any definition of it The logic of this defect lies in the consideration that when a sentence is completed or when a proposition expressed by it is logically self-sufficient, the addition of a further adjectival clause is necessarily of the nature of an after-thought For example kreGkAra smarakArmukasya suratakrIDApikInA ravo jhaGkAye ratimaJjarImadhulihA lIlAcakorIdhvaniH / tanvyAH kaJculikApasAraNabhujAkSepaskhalatkaGkaNaH kvANaH prema tanotu vo navavayo lAsyAya veNusvana. // (Like unto the twang of Cupid's bow, the sweet singing of the cuckoo of dalliance, the humming of bees in the bloossom of love, the sound of the parridge of graceful sportiveness, -may the jingling of the slender girl's bangles

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THE MANGALA VERSE dropped in the shaking of her arms at the time of the attempt to remove her bodice-expand your love I the gingling resembling the ring of the flute played to the dancing of youthfulness 1) Vol XXII, 1998 41 Here the sentence concludes at 'tanotu vah but the qualification 'navavayollasyaya venusvanah' is thrown in, after the sentence has been completed, without matenally adding to the beauty or intensity of the effect already produced This dosa is based on logical relevance The Naiyayikas have devoted considerable attention to the problems of the logical conditions of the constituent words coming into relation with one another in a sentence They affirm that there are three conditions viz, akanksa (logical dependence of one word upon another word), yogyata (mutual compatibility) and sannidhi (proximity) A sentence understood to be completed when the akansa is satisfied It is of two kinds 1 utthita-akansa (spontaneous) and 2 utthapyaakanksa (occasioned by after thought) In the given context the blemish of samaptapunaratta anses from having recourse to the second type of akanksa In the instance quoted above the addition of the last clause 'navavayolasys venusvanah' only ends in repetition without satisfying any logical requirement But if an additional meaning is conveyed by the adjectival clause, the defect does not arise The defect in the present case would be avoided if it would be given in the form of a sentence which can be effected by the substitution of yah' for 'vah' which would give it a formal status of a separate clause The verse then would give a meaning as May the ringing sound of the moving bangles which plays the role of the music of the flute and which accompany the dancing of youth expand your love Mammata also asserts that samaptapunaratta is neither a defect nor an excellence in some cases where the resumption is not for the purpose of adding a further epithet but is introduced as a distinct statement Samaptapunaratta is a logical defect If a sentence either in prose or in poetry is completed and a further addition does not give anything new and simply repeats the same idea, then, there is no logic in adding a word, sentence or a clause If it is done, it leads to the fault of samaptapunaratta for the simple reason that it is an extra addition without any purpose Now to conclude as in ordinary sentence so also in a piece of poetry logical completion is a necessary factor From the point of Nyayasastra a sentence is 4

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SWERA PRAJAPATI SAMBODHI 42 said to be complete if it fulfils the expectancy If a piece of poetry or a verse does not give a coherent and complete meaning what is expected from the point of view of the listener, then expectancy arises Either for the expectancy or for the purpose of some other cause of an addition is made which does not fit into the structure of the verse after the formal completion usually denoted by the verb The poetic blemish samaptapunaratta, is rooted in the idea of logical completion of the sentence Poeticians have developed this concept on the logical foundation of the Nyayasastra It is interesting to see here that Ramarudra argues against Mahadeva Bhattacarya on the issue of whether the given piece of poetry is defective or not ? As I understand in the above given versecudamanikrtavidhu, the term lilatandavapandita is added with a definite purpose It is a substantive, of bhaya It explains the nature of him and also explains why he has made moon his cudamani and why Vasuki as his valaya The given clause therefore fulfils the desired expectancy Taking into consideration this point the argument of Mahadeva seems to be convincing But, as apparently clear the construction of verse is little awkward which perhaps urges Ramarudra to find a fault with it However, his argument is not clear and convincing He shows excessive logical concern and argues that the word is given after the completion of the sentence and it does not add anything new to the content of meaning, But Mahadeva nghtly argues and shows how the given Mangalasloka is free from the defect of Samaptapunaratta REFERENCES 1 Nyayapaficanana Visvanatha, Karkavali-Muktavali, with Dinakari and Ramarudri, edited by Shukla Hariram, Pub by Chowkhamba Sanskrit Series, Benaras 1959 2 kriyA'nvayena zAntA''kAkSasya bhavo bhavyAya bhavatvityetAvatA'nvayabodhenaiva bhavapadasya zAntA''kAkSatayotaratra vidyamAnasya "lIlAtANDavapaNDita" iti vizeSaNasyA'nvayArtha sa bhavaH puna. kIdRza ? ityAkAGkSAsampAdanAya bhavapadena bhavasmaraNasyAvazyakatayA bhavati samAptapunarAttatva doSa iti bhAvaH / Ramarudri, P 1-2 3 wafa gefastoa, : THYRICA ea. Dinakari, P 1 4 vidhoH kimiti cUDAmaNIkaraNam ? kimartha vA vAsukervalayIkaraNam ? ityAkAkSAyA nirAkAGkSapratipattirna Hafa istifafarerga faratas 991065444 ara: Dinakari, P 2 5 utthApyA''kAkSayA vizeSaNA'nvaya eva tanprasarAdini / lIlayA tANDava nRtya, tatra paNDito'bhijJa ityarthaH / Dinakari, P 2 6 Parekh Nagindas, Mammata no Kavyavicara, Gujarati Sahitya Parishad, Ahmedabad, P 275

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POPULAR SPORTS AND PASTIMES IN 12TH CENTURY GUJARAT AS DEPICTED IN THE CANDAPPAHACARIYA Salont N. Joshi References to sports and means of entertainment are found in abundance in ancient Jaina texts The royal households included a vanety of sportsmen such as acrobats (nada) dancers (nattaga), wrestlers (malla), boxers (muttthiya), Jesters (velambiya), reciters (kahaga), storytellers (akkhayaga), ropedancers (alla), jumpers (pavaga), rasa singers (lasaka), pole dancers (lamkha) etc References to these are found in the Rajaprasntyasutra! Aupapatikasutra? Detailed description of these sports and means of entertaining are found in the Candappahacariyam composed in Prakrit by Haribhadra of (12th century AD) This work is yet unpublished and a palmleaf manuscript is available in Hemacandracarya Jain Inanabhandara at Patan? It describes the life of Candraprabhasvami--the ninth Tirthankara of the Jainas along with his six previous births in his fifth previous birth he was Ajitsenacakravarti in the narration of whose life story we find detailed and beautiful description of Udyanakrida It was the end of winter and the beginning of autumn Here the author gives a detailed description of nature (V 2868-2881) Ajitsena pleads with his beloved to visit nagaraudyana to observe and enjoy the beauty of autumn He announced that the citizens my join him His subjects happily join the king Here the poet describes the beauty of Vanasri and of Kandukakrida, Puspacayanakrida Dolakrida, music dance, and drama (vs No 2917-2951) performed by the citizens for their own entertainment The king was very happy to see his people enjoying themselves Then he occupies his seat on Kridagiri made of crystal Players commenced their performances to please the King This description of entire performance of various sports is very lively and picturesque Sometimes the author uses Apabhramsa language to make this picture more effective It is very rare and elaborate description of different kind of sports at one place such as nada, natta, jalla, malla, velambaga, kahaga, lamkha, indajaliya Let us see in detail how this work narrates the different kind of sports

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44 SALONI N JOSHI SAMBODHI Laudarasa (Lakutarasa) It is very popular in Gujarat and specially played in present times during Navaratri festival Here there is no detailed description, how this lakutarasa played It seems to be the same as what popularly known as Dandiya-rasa But the author describes the sound of playing sticks and musical instruments (pataha, karadi, mrdanga) played with rasa which filled the entire atmosphere with sound very similar to thunder clouds Nadaya (Nataka), Natta (Nstya) Natas started showing their skills according to rules mentioned in BharataNatyasastra with various abhinaya Then the dancers began showing their performance with the help of various Karana and nrtyavidhi The pleasing sounds of their Katimekhalas gave joy and satisfaction to the audiences Jallakrida (Varatrakhela), Rope dance According to Abhayadevasuri ( in the commentary of Rajaprasniyasutra) jalla means rope dancer', but he mentions that many commentators interpret jalla as 'one' who praises the King' Malayagin takes jalla in this sense, in the commentary on Aupapatikasutra? Here in 'Candappahacariya' the word jallis used for rope dancers While standing on the rope these jallas were exhibiting different types of skills, such as throwing the disk (cakra) in the sky and catching it, and doing the same thing with a ball They were moving the knives tied with thread which creates the impression of a circle of knives They were also dancing on the rope balancing themselves Description of this king of Jallakrida is very rarely found Mallakrida References to Mallakrida are found in many places in Sanskrit and Prakrita literature Here the poet mentions two types of Malla boxers (mutthi malla) and wrestlers (nijuddhamalla) They were showing their skills by fighting and deceiving each other Velambaga-(Vidambaka Vidusaka) Vidusakas were performing special type of folk dance known as 'Perani' wearing mask, artificial teeth, nails and hair Through their various kinds of facial gestures they were entertaining the spectators 10

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Vol XXII, 1998 POPULAR SPORTS AND 45 Kahaga=Kathaka, Story tellers Among the entertainers storytellers were also included They were telling vanous kinds of stories with physical and facial gestures, so that people became wonderstuck11 Lamkhakrida (Mahavamsagrakhela) = Bamboopole dance References to Lamkhas (Mahavamsagra khelakah) are found abundantly in ancient Jaina texts, especially in the Tlaciputrakatha The oldest and detailed description can be read in the 'Avasyakacurni (early 7th century A D )12 This sport is called 'langhan-padanakrida (jumping up on pole and again jumping down) also A board is fitted on a long bamboo pole and two big nails are fixed on it Two hollow pipes are fitted on the sole of players shoes He jumps in the air and lands on the board in such a perfect manner that both standing nails exactly come under the two hollow pipes of his shoes He moves around himself speedily seven times in front and seven times in back, without losing his balance Then he jumps on the ground safely A little disbalance may lead the player in hundred pieces Above mentioned description is not found in these Udyankrida Here this kriida is described in only one Apabhrmkha' verse 'Lamkha' players were ascending the tall post of bamboos like an aeroplane in the sky and performed amazing feats They moved on the post like potter's wheel The description of this krida is also found in another place in the same text In the story of Ilaciputra' (4292-4294),14 the author narrates this lamkhakrida with the help of three verses which is similar to those in the Avasyakacurnu Indajaliya (Indrajala) After the description of lamkha poet describes the skill of magicians in three Apabhrmsa verses These magicians made people wonder-struck by producing precious stones, pearls and fire from mouth They were roasting the grains with the corner of their clothes They were showing the plants full of leaves, flowers, and fruits after immediately sawing the magic seeds The king enjoys the skill of magicians In reality, it was nothing but hypnotising the common people is Thus this text gives valuable information about various kinds of sports and means of entertainment which were wellknown in ancient times

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46 7 8 4 FOOT NOTES 1 rAyapaseNai sutta (rAjapraznIsUtra ) - malayagirivRtti sapA. pa. becaradAsa dozI, prakA. gurjara, amadAvAda, 1914 pR. 2 aupapAtikasUtram abhavadevasUri TIkA. prakA. Agamodaya samiti, sUta 1916 pU. 2 cadahacariya karttA zrIcadramUdiziSya AcArya haribhadrasUri tADapatrIya hastaprata patra 265 prathA 8032, mApa x 2 ica lekhana savata 1223 - tA savisesa khelaya - khelI loeNa pADa-pahueNa / lauDarAsa khelnaNaya sapamoya kAThamADhattaM // - siddha naha-vivara pakSa-karaDI-mumukSaNa AujjANa saddo ucchalio viviha- pADehiM // SALONI N JOSHI lauDasa- saddeNa sacalio taha kaha vi tami khaNe / jaha rAyA sapariyaNo sajAo citta lihio va kiM ca // puDhavi paDe ramaNIya pavara vAyahi Aujjai / pAThasa - jalahara - gahira- sareNa jaNa- viraiya-coNjai // 5 saccaviya bharahabhAvA cakkIva taruva udiya patta - sirI / payarDeti nADayAi naDA aNegAhiNaya sArA // laThaDArAsu tayANusAri tiva keMvai khellAhi / jiva loyaha annattha kahiM vi maNa-nayaNa na DollAhiM // hariyama-raNira-pagvariya jaya-jaya-tosa / saccaviya - viviha karaNA kuNati atre va naTTa-vihiM // 6 jaya - vastra khelakA rAja stotrapAThako ityanye- aupapAtikasUtra - See (2) See (1) atrattha varattA - kheliyATha, vAi-gIya - saMgaya-naTTa - vihANeNa naTTaya-jaNeNa / svavi taha cakkI jaha se dAlinavaNer3a // " tahi cakka ullalatiyATha / dazaguNam pupu zipAda gohila rAmatiyATha // yA vi guNavatiyAda, golaya-churiyA payaDeMtiyATha SAMBODI

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Vol XXII, 1998 POPULAR SPORTS AND tiga-jogiNa jaNu rajatiyATha naccati varattA-saThiyATha // 9 bAhUrUya-kara-calaNa-pamuhagAi aNega-bhagehiM / kuvvatA mallA niya-niya-vinnANAI payaDeMti // nijjuddha-juddha-kusalA anne annonnmgsdhiio| yaleMti savvati ya puNo vi kaya karaNayAi sayA // kevi puNa muTThimAlA paroppara muTThi-paharaNa-pasattA / vaMcati muSTi-pahAre karaNa-visesehi ullalilaM // 10 kevi puNa vihiya-paDimuha-kArima-bahudata vAla-naha-niyarA / dasati peraNAi bahuNi jaNajaNiya-cojjAi // naccatA gAyatA kuNati taha viviha-vayaNa-ceSTAo / jeNa hasAvati jaya pi sugattaM payasatA // 11 kahagA kaheMti bahuviha kahAo taha viviha-hAvabhAvehiM / jaha cittAlihio iva uvautta-maNojaNo suNai // vajjismaddaliyA raNajhaNata-kasAliyA-rakha-miseNa / ke vi hu dUra-gayANa vi jaNANa kuvvati AhavaNa // tayaNataramADhatta taratarA-ruira-ThANaya-pabadhA / gAyatA gIyAi kavati puTviAll-caripAi / 12 zrImadAvazyaka sUtra, pUrva vibhAga, bhadrabAhusvAmi niyukti, haribhadrasUri vRtti. prakA. Agamodaya samiti, sUrata 1916, pR. 349 13 laMkhA uNa caDivi mahata-vasi bahu-pavvarami gayaNAvayaMsi akilesiNa kiriNA vicitta deMti kubhAra-cakku jimba puNu phirata // 14 narajuyala-pANi-sapuDa-uddhIkaya garuyavasa siharami / ThaviUNa kaTThaphalaya tattha do kIlage nisiTha // ta mUlami ya do pAThayAo ThavikaNa gayaNamuppaiTha / kiraNappaogao pAThayAsupAe pariTuvai // jai puNa kahamavi cukei pAThayANa tao sa sahasatti sayakhaMDI hoi paDeUNaM vissabharAvIThe //

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SALONI N JOSHI SAMBODHI 15 dasahi nANAviha idiyAla jaNa-jaNiya-cojja apabhUya kAla nANAviha maNimottiya-pavAla kaDDahiM muhAu aggi-jAla // bhujahiM vatthacali dhANiyAo taDayaDa-saddeNa phuDatiyAo takkhaNa-Aroviya-bhUya-guliya dasahi supatta lahu phulla phaliyA // iccAi-sayala-vinANa-nANa saccavai nivaI vissuya-naDANa paramattha-viyAri na tAi kiM ci para jaNahiM mohu jaNa-dihi vaci //

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OUTSTANDING LINGUISTIC FEATURES OF THE SATTAKAS Chandramouli S. Naikar From time immemorial, drama' is the most attractive of all the literary forms because it pleases and appeals to all tastes of mankind 2 It is indeed a reflection of all that man observes, thinks, feels, experiences and identifies himself with Sanskrit Drama being of divine, legendary origin, it has evolved through many centuries in the past by great poets like Bhasa, Kalidasa, Sudraka and Bhavabhuti When compared to these literary luminaries, the Prakrit playwrights ie, Sattakakaras like Rajasekhara and others though lesser poets, their dramatic compositions or Sattakas have a peculiar charm of their own and deserve to be studied for whatever they are worth There are six Sattakas that have come down to us They are as follows 1 The Karpuramanjari of Rajasekhara of the 10th century A. D 2 The Rambhamanjari of Nayacandra of the 15th century A D 3 The Candralekha of Rudradasa of the 17th century A. D . 4 The Vilasavati of Markandeya of the 17th century A D (second half) 5 The Srngaramanjari of Visvesvara of the 18th century A. D (first quarter) 6 The Anandasundari of Ghanasyama of the 18th century A. D (first half) Karpuramanjari composed by the great poet and rhetorician Rajasekhara belongs to the 10th century AD is the earliest And the Vilasavati of Markandeya is known to us only by reference A thorough linguistic study of these Sattakas can be substantial enough for an exclusive dissertation But, it is impossible to give here an adequate idea within the limited space and restricted canvass at our disposal, of the infinite variety and beauty of these cameos of thought and feeling Therefore, only the outstanding linguistic peculiarities of features of the Sattakas have been noted here For this purpose we shall take up the first Sattaka ie the Karpuramanjari Karpuramanjari: Scholars have discussed at length and controversy over the language in general

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50 CHANDRAMOULI S NAIKAR SAMBODHI and Prakrit dialects of the Karpuramanjari. Some held that it is written in Saurasenu but others held that it is written in Maharastri Grammarians like Markandeya, it has been noted by scholars, remark that Rajasekhara's Sauraseni has its own peculianties, for, he uses 'd' for 't' in verses composed in Maharastn Even scholars like R Pischel, charge that Rajasekhara has committed dialectal erros in the Karpuramanjari by using forms like 'ghettuna' often and 'genha' once only. He repeats this charge in his monumental work Noting all such points and facing the problem of proper text of the Karpuramanjari to be followed, we come to the conclusion that Rajasekhara has composed his Karpuramasjari in Prakrit which is an admixture of Maharastri and Sauraseni dialectal characteristics Taking into account the date of Rajasekhara (c. 10th century AD) we can say that he was surrounded by the living Prakrit tongue and was naturally much influenced by it This living Prakrit language must have had not only the characteristics of both Sauraseni and Maharastri dialectss but also the currency of certain words some of which have crept into this Sattaka Sten Konow has collected such words and put them in a table under the caption 'Rare and provincial words' some of them have been called by him Maharastnicisms N G Suru observes that Rajasekhara's home being the old Maharastra ie, Vidarbha (which was also called Kuntala country), such Maharastricisms could naturally form part of Rajasekhara's diction If we carefully look into Konow's table above, we come to know that most of these words are Desi words & But several of these and a few others can be traced to Marathi The following words are interesting in the sense that they suit with the minor variations even to the phonology of the current Marathi language, wherein their meanings also are almost intact Kadilla (A cloth girt round the lions) Kodda (desire) 37 3 Khadakkia (A side door) Camga (Beautiful) 20-21 31,33 24,25,26,28 Nipatta (Abundant) Tappara (large) 17 20-21

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Vol XXII, 1998 OUTSTANDING LINGUISTIC FEATURES OF Tikkida (Adorned with a tulaka) II 11-12 Cakkala (Round) 34 (Gali) bailla (A strong but lazy bull) 20-21 Baullua (A doll) 19-20 Besides the usages of Desi and provincial words or vernacularisms, Rajasekhara here and there has put in his literary Prakrit of the Karpuramanjari the very breath of the living tongue words like 'dosolah' (pair of sixteen' (1V-10), abuses like bhamaratente (having an unsteady character like a bee), and 'tentakale (owner of the gambling place) (1 2021), popular proverbs like 'suse sappo' desantare vejjo' (the snake is dangling over the head while the physician is away in a distant land) (TV 18-19) and expressions like rudha ka khandana ?? (How can there be a break from customary usage ? (II 27) are some of the examples of such outstanding peculiarities Rambhamanjari Nayacandra composed his Rambhamanjari in the 15th century AD when Praknit had ceased to be a living tongue His knowledge of Prakrit was acquired through Prakrit grammar and he was the earliest imitator of the Karpuramanjari Though he uses three languages 1e Prakrit, Sanskrit and Marathi, in his work the main language is Prakrit which has both the characteristics of Sauraseni and Maharastri The artificiality of Nayacandra's Prakrit in this Sattaka has been already pointed out by R P Poddar in the introduction of his edition. To substantiate this view the learned editor has exemplified vetse I 32 To strengthen this view, verses like I 48 and II 5 etc , can be pointed out as additional examples Moreover Prakrit forms like 'maccamm' ( 18), pudo' (19) 'gambhurida' ( 50) etc, further confirm the artificial nature of the Prakrt language here As the author's Prakrit knowledge is solely based on Prakrit grammer, it is not found fluent also Could it be the reason that the author resorted to the "Promiscuous use'10 of Sansknt and Prakrt, and even Marathi ? Moreover, Naycandra's Prakrit here is conspicuous by the absence of provincialisms or vernacularisms But forms hke Caccaribhau' ( 60), Jau' (I 53) etc indicate some Apabhramsa influence that could prevail in his native tongue Desi words are rarely found, yet words like 'chailla' (wise) (I 13), 'madappharo' (pride) (III 15) etc somehow reconcile us in this regard

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52 CHANDRAMOULI S NAIKAR Candralekha Scholars have noted that Rudradasa has composed his Candralekha in Praknt which has assimilated Maharastri and Sauraseni characteristics almost on an equal footing During his period Praknt was not a living tongue at all SAMBODHI Dr AN Upadhaye has opined that his Prakrit is nearly the same as the one described in the grammar of Vararuci, current in South India " Thus his knowledge of Prakrit is based entirely on Prakrit grammar 12 Therefore, there is no wonder if the Praknt language of the Candralekha sounds artificial But unlike the Praknt of Nayacandra, Rudradasa's language is fluent and forceful Possibly owing to his perfect mastering of it with grammar lexicons and early excellent Praknt works of Pravarasena, Hala etc The following five Dell words used by the author in this work bear testimony to the above noted fact Phulla Chailla (wise) Purilla (excellent) Cukka (A clenched hand) Thora (Gradually becoming large) (1 16 35) (126) (III 4) (IV 15) (IV 19) Srngaramafijari Scholars have noted already that Visvesvara has composed his Srngarmanjari in Prakrit which has both Maharastri and Sauraseni dialectal charactenstics He belongs to the last stage of the decadent period of Praknt literature ie the 18th century AD, and he being a voluminous Sanskrit author, acquired the knowledge of Prakrit through grammatical works and composed his Sattaka Hence its language naturally sounds artificial It is possible as Dr AN Upadhye remarks, 18 that he first mentally drafted in Sanskrit and then expressed it in Prakrit A close scrutiny of verses like I 38 III 15 etc would easily convince us of this view Moreover his formation of Praknt words like 'Samatta' (Skt Samasta), Pamma (Skt Padma), niccaa (Skt Niscaya) etc, further more elucidate the artificiality of his language 14 Visvesvara who flourished in Northern India has not been influenced by his native tongue or by the Apabhramsa elements rooted in it, for his Prakrit does

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Vol XXII, 1998 OUTSTANDING LINGUISTIC FEATURES OF not contain either provincialisms or Apabhramsa forms Another linguistic peculiarity of Visvesvara's Prakritis his rare use of Desi words like chailla (wise) (I 6), cikkhulla (Mud) (III 10) etc But he is found to have been partial to the Dhatvaadesas, is the reason for which is very difficult to trace Anandasundari It has been noted by scholars that this Sattaka too has been composed in Prakrit in which Maharastri and Sauraseni dialectal characteristics are found to a considerable extent Ghanasyama, the author of this Sattaka, who is mainly a voluminous Sanskrit writer, 16 belongs to the last stage of the decadent period of Prakrit literature 1 e 1800 A D and whose knowledge of Prakrit is based primarily on the study of grammatical works He is the last available imitator of the Karpuramanari and he is said to have produced twenty Prakrit works, of which three were Sattakas, the Anandasundari being the sole extant Sattaka by his pen The Prakrit language of this Sattaka displays considerable artificiality and lack of natural and lively expressions The artificial knack of mental drafting in Sanskrit and then converting it into Prakrit also applies to him Dr A. N Upadhye, the editor of Anandsundari observes in this regard that the Prakrit verses II 6 and III 11 can be conveniently changed into Sanskrit even without distrubing their metre 17 Similar artificiality is also conspicuous in the following Prakrit words18 arbitrarily changed from Sanskrit Cakira (cakra) P 14 Sirusa (sursa) P 23 nuva (nrpa) P 29 Usamga (utsanga) P 54 Ghanasyama, flourishing during 1800 A D is practically free from the influence of Apbhramsa forms in his Prakrit writings But as an accomplished scholar, he has at his command some Desi words like 'masina' Masrna ( 12), 'camga' (beautiful) (1 2), rincholi (a line) ( p 35) etc, which he could scatter in his writing The most interesting feature of Ghanasyama's Prakrit is that his abundant use of Marathi words and roots with Prakrit inflexions The following list of such forms would indicate that many of them are in currency in Marathi even to this day

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54 CHANDRAMOULI S NAIKAR (12) (p 2) (p 3) (p 6) (p 6) (p 9) (p 11) (p 24) (p 14) (p. 15) (p 18) (p 39) (p 49) (p 50) (p 52) (p 12) Even some of Ghanasyama's full Prakrit expressions sound quite close to Marathi 19 kodana ghodo thevuna gheuna makkadacettha songa kappuna khauna porassa pottae basadu pluna badabadat dukkari pahuna khadao ettha basadu pingalo (p 9) na dakkhavanti ma tondam (p 24) Thus these outstanding linguistic features indeed demand our special attention while taking a linguistic survey of the Sattakas and they do enhance the structure and the style of language of these Sattakas FOOTNOTE. 1 Kavyesu natakam ramyam A popular saying 2 Natyam bhunnarucerjanasya bahudhapyekam samaradhanam 4 Ibid. S 584 5 Scholars differ in this conection SAMBODHI Malavikagnimitram I 4 Avasthanukrtirnatyam rupam driyatayocyate Dasarupaka, I 7 3 Comparative Grammar of the Prakrit Languages, Eng Tr by S Jha Varanasi 1957, s 22 6 Karpuramaljart (Sattaka), Ed. by Sten Konow and Charles R Lanman, Harvard, 1901, p 201 7 Karpuramanjari, Ed. by N G Suru, Ruparel College, Bombay 1960, pp LIV-LVII 8 Op cit p 201

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Vol XXII, 1998 OUTSTANDING LINGUISTIC FEATURES OF 55 9 Rambhamanjari, Research Institute of Prakrit, Jainology and Ahimsa, Vaishali (Bihar), 1976, p 2 10 As termed by Dr A N Upadhye, Introduction to his Candralekhi, Bharatiya Vidya Bhavan, Bombay 1945, p 42 11 His edition of Candralekha. Introduction, p 63 12 Moreover, Rudradasa's period is the decadent period of Prakrit literature, vide Dr A. N Upadhye, op cit, p 58 13 In his edition of Srngarmanari, introduction, p 41 14 For details vide ibid, pp 41-42 15 As remarked by Dr A. N Upadhye, Op cit, p 42 16 Besides being a reputed Marathi writer also 17 Ghanasyama's Anandasundari, Motilal Banarasidass, Banaras 1955, p 18 18 Dr A N Upadhye calls such words as abnormal forms op cit, P 19 19 At such contexts we cannot forget that the author has called himself 'Maharastra Cudamani through the words of Vidusaka, Anandasundari, op cit, p 3

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56 CHANDRAMOULI S NAIKAR SAMBODHI REFERENCES Malavikagnimitram of Kalidasa Dasarupaka of Dhanafijaya Karpuramanjari of Rajasekhara 1 Ed by Sten Konow and C R Lanman, Harvard 1901 2 Ed. by N G Suru, Ruparel College, Bombay 1960 Rambhamanjari of Nayacandrasuri, Ed. by R. P Poddar, Research Institute of Prakrit, Jaunology and Ahimsa, Vaishali (Bihar) 1976 Candralekha of Rudradasa Ed by Dr A. N Upadhye, Bharatiya Vidya Bhavan, Bombay 1945 Srngarmanjan of Visvesvara Ed. by Dr A N Upadhye, Journal of the University of Poona, Vol XIII, 1961 (Humanities) Anandasundari of Ghanasyama Ed. by Dr A. N Upadhye, Motilal Banarasidass, Banaras 1955 Comparative Grammar of the Praknt languages by R Pischel Eng Trans by S Jha, Varanasi 1957

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HISTORICITY OF TRIBHUVANA-PALA-DEVA AND KUMARA-PALA-DEVA IN DUTANGADA OF SUBHATA . A CRITICAL REVIEW: Sudarshan Kumar Sharma? Dutangada of Subhata containing fiftysix verses commencing with two benedictory verses and a regular Prologue refers to the Parisad of Maharajadhiraja-srimat-tribhuvanapaladeva as ordaining the poet to take up the task of initiating a play which has been called as "chaya-nataka" by the poet, not in the real sense of the term denoting its meaning The play was to be enacted on the occasion of a procession in honour of Devasri-kumarapala-deva in the spring season The poet calls himself as Maha-kavi though no other work of his is available extant He calls himself as "padavakya-pramana-parangatah" The play in its present extant available form is a one act play, the shorter version, as illustrated by scholars like Dr Sushil Kumar De, AB Keith,V Varadacari, M Winternitz, Krishnamachariar, Baladeva Upadhyaya,' G V Devasthali, 10 and others, apart from a longer version forming a part of the Mahanataka available in two recensions, Bengali, in fourteen Acts and the Devanagari recension having ten Acts, revised by some Madhusudana at the command of Vikramaditya and also by Damodara at the command of Bhoja Dr Sushil Kumar De calls it as spectacular play of popular type, composed frankly for a festive occasion which fact will sufficiently explain (having regard to the expansive character of popular entertainments) its alleged laxity, as well as the existence of various recensions (pointed out by Pischel), but there is nothing to show that it was meant for shadow pictures, except its doubtful selfdescription as a chaya-nataka, which need not necessarily mean a shadow play" Dr Sushil Kumar De, 12 A. B Keith 13, M Winternitz, 4 D V Devasthali, 15 M Krishmamachariar, 16, Krsna Caitanya,all are unanimous in placing Subhata as contemporary of Caulukya king Trbhuvanapala of Ahnilavada in the thirteenth century A D Both of them Sushil Kumar De 18 and A B Keith call Kumarapala as deceased and dead king, respectively The date these scholars ascribe to the author and his work is 1242-1243 A D and the spring festival, they hold as having been held in commemoration of the restoration of the Saiva

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58 SUDARSHAN KUMAR SHARMA 20 temple of devapattana (Somnath) in Kathiawada M Winternitz and G V Devasthali go to the extent of giving a definite date as March 7, 1243 for the enactment of the play on the stage Kumarapala's date has been given by M Krishnamachanar as A. D 1147-1172. Dr V. Varadacari", however, refers to author Subhata of Dutangada as having lived in 1200 A D But he strangely enough refers to its enactment on the stage in 1243 A. D at the same spot Vacaspati Gairola" refers to the enactment of this play (anatika) in 1142 A. D in the court of Tnbhuvanapala-deva King of Anahilavada SAMBODHI Subhata is, however, very clear in his enumeration of Tribhuvanpala-deva as majarajadhiraja and Kumarapala-deva as Deva, the court of former having asked the poet to initiate the creation of the play and its enactment on a spring festival in the procession organised in honour of Kumarpala-deva Both of them appear to have been living persons, Tribhuvanapala-deva as the supreme sovereign and Kumara-pala-deva as a prince Whether the two had a congenital or bereditary relation, it shall have to be determined by examination of the evidences available at hand both from the point of view of literary works, histoncal and inscriptional records belonging to the twelfth and thirteenth century A. D "Udyoginam purusa-simham upaiti laksmir darvam ht davam itt kapurusah vadanti darvam nihatya kuru paurusam atma-faktya yatne krte yadi na sidhyati ko'tra dosah" verse no 524 occurring in Pancatantra25 (Mitrabheda) verse 365 and Mitrasampraptikam verse 134 tales 15 and 5 respectively and m Prastanka verse 11 of the Hitopadesa, helps us construe the point that Subhata flourished between the age of Visnu Sarma and Narayana Pandita The explicit allusion to Subhata" in the Kirt-Kaumudi by Somesvara" (11791262 A. D) as "Subhatena padanyasah sah kopt samitau krtah Yend, dhunapi dhiranam romanco napaciyate." gives us a clue to the point that Subhata flourished as quite anterior to Somesvara ie in the twelfth century A. D and earlier but not in the thirteenth century by any means as postulated by scholars quoted above Anata-ramasastri Vetala in his Introduction to Dutangada says as under

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Vol XXII, 1998 HISTORICITY OF 59 The Patrony of Tribhuvanapala-deva in case of Subhata stands established but the suzerainty of Tribhuvanapala-deva in the Gurjara country is not patent Therefore, Subhata while taking recourse to the patrony of Sri-kumarapaladeva, the over-lord of Gurjara country deemed as hailing from Gurjara country as held by many scholars deserves to be connived at Even if he enjoyed the patronage of Gurjara king, his being a person of the Gurjara clan, leaves doubts as such According to Dr RS Tripathi,30 "The Caulukya (Solanki) house of Anahilavada or Anhil-pataka, identified with modern Patan in Gujarat was founded by Mularaja son of Raji He was a son of the Prince of Kalyana-Kataka, in Kanauj and his mother belonged to the Cavada or Capotkata line, which ruled over a portion of Gujarat prior to the rise of Caulukyas Mularaja succeeded to the throne of Anahilavada after having slain his maternal uncle in 941 A. D Bhima-I, nephew of his grandson Durlabharaja was the next important figure having reign period as 1021-1063 A D Mularaja died in 996 or 997 A. D The intervening period of reign of some one is not given by Dr Trpathi Karna, son of Bhima-I succeeded and ruled between 1063-1093 AD, followed by Jayasimha Siddharaja (A. D 1097-1143 A D) Kumarapala has been described as a distant relation of Jayasimha Siddharaja, who usurped the throne as the latter had no male issue Merutungacarya, however, refers to one Ahada as the adopted child of Jayasimha Siddharaja (Cahadanama kumarah sri-siddharajapratipanna-putrah)91 who was probably slain or dethroned by Kumarapala (before succeeding to the throne of Jayasimha Siddharaja sri-kumaras paladevasyajnama-vamanyamanah sapadalaksiyabhupateh pattibhavam babhara)32 Kumarapala died shortly before 1172 A. D His reign period has been determined as 1143-1172 by Dr Tripathi Vacaspati Gairola3 refers to Vagbhata as the mahamatya of Kumarapala He also refers to Hemacandra Jainacarya as the court scholar of Jayasimha Siddharaja whose life sketch has been given in the Kumarapala-carita by him34 Hemacandra in his Abhidhanacintamants has referred to kumarapala caulukya as a Rajarsih Paramarhata"Kumarapalas-caulukyo rajarsih paramaahatah mrtasvamokta dharmatma marivyasana-varakh rajavizi rajavamsyo vijyavamsyo tu vamsaje" Dr Nemi candra Sastri in his Introduction to Abhidhana-Cintamani of Hemacandra has referred to Hemacandra and Kumarapala having the relation of teacher and a taught He also refers to Siddharaja as of same age as Hemacandra Siddharaja was senior to Hemacandra by only two years Dr Nemicandra Sastri also refers 111cs

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60 SUDARSHAN KUMAR SHARMA to the war of succession after Siddharaja and alludes to the succession of Kumarapala in Vikram Samvat 1194, Margasirsa-14 Professors Rasik Lal Parikh and VM Kulkami in their Introduction to Kavyanusasana" of Hemacandra refer to Kumarapala-pratibodha of Somaprabha Suri and discuss in details the works of Hemacandra detailing the personal life and faith of Kumarapala and Jayasimha Siddharaja They also refer to Prabandhakosa of Rajasekhara referring to Kumarapala's consultations with Hemacandra and, on the basis of Trisasti-salakapurusa-carita verses 16-18, they refer to Kumarapala as the conqueror of Ladi, Dasarna, Malava, Kuru Sindhu and other inaccessible countries with the power of his own arms, a veritable lion, a descendant of Srimularaja and a great Arhata They also refer to his relations with Great Udayana and his equally great son Bahada, Abhada Amiga etc They also refer to Jayasimha as the predecessor of Kumarapala holding Hemacandra to respect Bahada was the minister of Jayasimha Siddharaja who followed Hemac andra According to M Winternitz, Somesvara in his Kirti-kaumudi brings to knowledge the history of Caulukyas of Anahila-vada SAMBODHI Dr. R S Tnpathi" in his "History of Kanau" on the evidence of Kumarapalacarita Prakrta Dvyasraya-Mahakavya of Hemacandra refers to the devastation of Kanyakubja Kumarapala's reign penod he assigns as 1144-1172 A D HD Velankara in the Age of Impenal Kanauj refers to Hemacandra of Gujarata living at the court of Kumarapala in the twelfth century A. DR C Majumdar refers to Kumarapalacarita as a biography of Kumarapala Caulukya, wntten by Hemacandra who was born in the year 108942 A D, and died in 1173 A. D 43 at the ripe old age of 84 years, a short time before Kumarapala died Dr Kailasa Candra Jaina" in "Malwa through the Ages" refers to Kumarapala as the successor of Jayasimha Siddharaja on the basis of Dvyasraya canto XXX verse 13, as also to the Caulukya ruler Ajayapala's reign period as 1172 A D to 1175 A. D on the basis of Indian Antiquary Review of all the facts enumerated above makes the following, points clear 1 Dvyasraya-Mahakavya of Hemacandra also called Kumarapala-carita, the Kumarapalacarita of Jayasimhasun Siddharaja and Prabandha-cintamani of Merutungacarya refer to Kumarapala as the immediate successor of Jayasimha Siddharaja having the foster son of latter indulging in war of succession with him for a year or so, bearing the name as Ahada 2 Merutungacarya refers to Ajayapala as the immediate successor of

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Vol XXII, 1998 HISTORICITY OF 61 Kumarapala-deva Hence the question of Tribhuvana-pala-deva succeeding or preceding Kumarapala does not arise at all He was neither a father nor a son of Kumarapala Mularaja, son of Raji (961-996) (A D) Camunda (997-1009 AD) Vallabha (1009 A D Durlabha (1009-1021 A D) Nagaraja Bhima-I (1021-1065 A. D) Karna(1063-1093 A D) Ksemaraja Haripala Jayasimha Siddharaja (1093-1143 A D) Tribhuvanapala Majhipala Kumarapala (1143-1173 A. D) Ajayapala (1173-1175 AD) Mularaja-II (1176-1178 AD) Bhima-II (1178-1241 A. D) Tribhuvanapala-II 1242 onwards

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SUDARSHAN KUMAR SHARMA SAMBODHI M Krishnamachariar is the only critic who has brought two Trbhuvanapalas, one before Kumarapala and the other after him in his "History of classical Sanskrit Literature" para 116 pp 204-206, under the head-"Somesvara-Deva" where in while enumerating the descendants of Sola under the successors of Mularaja holding the office of Purohita viz Lalla, Munja, Soma, Ama, Kumara, Sarvadeva, Amiga, Kumara and Somesvara, he refers to the geneology of Mularaja as given by C V Vaidya in his History of Mediaeval Hindu India (III209) as under. Somesvara was the son of Kumara and Laksmi His 8th ancestor Sola was enrolled as the state Purohita by king Mularaja, the founder of the Caulukya Dynasty Kumara was in the court of Kumarapala, Ajayapala and Mularaja II Kumara had three brothers Saryadeva, Munja and Ahada Kumara was made a generalissimo of the forces of Mularaja II and he vanquished King Vindhyavarman of Dhar Like M Winternitz, Dr M Krishnamachari also takes Somesvara as the court poet of King Viradhavala (1219-1239) A D. and Visaladeva (1343-1271 A. D) as revealed by Prabandha-kosa of Rajasekhara, having flourished between 1179 and 1262 A D His Kirti-Kaumudi is a biography of Vastupala minister of Vaghela kings Lavanaprasada and Viradhavala"? Somesvara calls himself as the chief priest of the king of Gujarat and is the author of many inscriptions dated between 1241 and 1255 A D One of these inscriptions contains a stanza from Kirti-Kaumudi the panegyric of liberal minister Vastupala4 Dr M Krishnamacharior calls Somesvara as a frend of Vastupala. He also calls Harihara, Subhta as Somesvara's friends who praised his poetry This geneology refers to Camunda as the son of Mularaja I reigning between 997 and 1009 A D Vallabha son of Camunda having died or having been Ignored, Durlabharaja (1009-1021 A D) succeeded Camunda Bhima-I being the son of Nagaraja who died during the reign period of Durlabharaja was the nephew of Durlabharaja, grand son of Mularaja-I as stated by Dr R S Tripathi 50 Bhima-I was succeeded by Karna Ksemaraja brother of Karna, father of Harpala and grandfather of Tribhuvanapala having expired during the reign period of Karna, and having Jayasimha Siddharaja succeeding himself as his son, was succeeded by Kumarapala brother of Maipala and father of Ajayapala The point of this Tribhuvanapala-I father of Kumarapala-deva (1143-1173 A. D) stands precluded by a possibility being the Maharajadhiraja referred to by Subhata as he never ascended the throne according to this geneology which

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Vol XXII, 1998 HISTORICITY OF agrees with the geneologies given by other historians Ajayapala was not the son of Kumarapala He was the nephew of Kumarapala, brother of Mahipala whose son Ajayapala was Ajayapala's two sons Mularaja-II and Bhima-II reigned between 1170 and 1242 A. D Tribhuvanapala-II succeeded Bhima-II in 1242 A. D This Trbhuvanapala has been recognised as the patron of Subhata by scholars like S K De, A B Keith, Winternitz, Krsnacaitanya, Baladeva Upadhyaya and others, a proposition irreconcilable with the factual representation of Subhta who clearly calls Tribhuvanapala-deva as Maharajadhiraja and Kumarapaladeva as Deva simply, a Mandalika or a vassal or a Crown Prince Dr Kailasa Candra Jainasi refers to one Tribhuvanapala-deva, son of Prthvipaladeva and father of Vijayapala-deva mentioned in the INGNO-DA Inscription of Vijayapala-deva dated 1133-1134 A D , inscribed in the neighbour-hood of Ujjain which records Maharajadhiraja Paramesvara Vijayapaladeva who after worshipping Siva, granted the village of Agasiyaka, situated to the south of Inganapat (Modern Ringod now in Ratlam district), to the god Gohadesvara Dr Jain judges from the titles held by the kings mentioned in this inscriptional record that Vijayapaladeva was an independent monarch and had established an independent Kingdom An undataed inscription found at Bhopal of Laksmi Varman reveals that the rulers of this dynasty belonged to the dynasty of Adhi-Dronacaryanvaya Subhata, therefore, appears to have been the court poet of this Tnbhuvanapala-deva having the title Maharajadhiraja as Vijayapaladeva held this title as such when running reign as independent monarch Had Subhata been the court poet of Kumarapalacaulukya having Hemacandra, Bahada, Abhada, Amiga as his court poets Kumarapalacanta of Hemacandra would never have omitted his name As Dr Miss Pratipala Bhatia exclaims in her Thesis "Paramaras" "Vijayaraja is the last known ruler of the Vagada line of the Paramaras No trace has been found of his successors It is known, however, that in Vikram Samvat 1212-1155 A. D, Vagada was being ruled over by one Maharaja-Surapala, son of Vijayapala, son of Tribhuvanapala, who was the son of Prthvipala alias Bhartrpatta, who issued his inscription from Thakarda in the Dungarpur state One Maharajadhiraja Amrtapala, son of Maharajadhiraja Vijayapala alias Bhartrpatta who according to the Virapura Copper plate, dated VS 1242-1185 A. D was a subordinate chief ruling over the Vagada country under the suzerainty of Caulukya Bhima-II, was probably the brother and

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64 SUDARSHAN KUMAR SHARMA SAMBODHI successor of surapala This Vijayapala the father of Surapala has been identified with Vijayapala of Ingnoda inscription, dated VS 1190=1133 A D the geneology given for these rulers makes it clear that they were not connected with the Paramara dynasty which was ruling in Vagada only three decades earlier 54 This shows that by the time the Paramaras of Vagada were dethroned by the members of a family whose name is not known to us It may be that when tlie Caulukya king Siddharaja Jaisimha invaded and occupied Malwa, he captured Vagada as well This is proved by the Talwara inscription of Jaisimha Siddharaja (Annual Report of Rajaputana museum-1915-1916 p 2) It was perhaps during these circumstances that the princes of this family accepted the Caulukyan suzerainty From another inscription dated VS 1236=1179 A D found at Solaj in Dungarpur state, we find that king Samantasimha Guhila was ruling over Vagada Samantasimha, however, seems to have been dispossessed of his newly established kingdom by Maharajadhiraja Amrtapala of the Virapura copper plate grant dated A, D 1185 who may have established himself with the help of his Caulukyan overlord The Caulukyn paramountcy in this area is proved also by an inscription at Diwara, dated V S 1253=1196 A D in the Dungerpur State" Hence independence of Vijayapala, Surapala Amrtapala and prior to them of Tribhuvanapala in the area contiguous to Ujain goes beyond any scepticism and the reference to Tribhuvanapala-deva as Maharajadhiraja Trbhuvanapaladeva of Subhata, definitely makes Subhatta as the court poet of this Tribhuvanapala-deva in the tweltfth century A. D prior to the period of Somesvara who eulogises Subhata in his Kirti Kaumudi 4 Kumarapala Caulukya being yet a prince or Mandalika being a son of Tribhuvanapala father of Mahipala father of Ajayapala, grandson of Haripala and great grandson of Ksemaraja brother of Karna, father of Jaisimha Siddharaja was definitely a distant relative of Jaisimha Siddharaja whom he succeeded by a war of succession by dethroning or defeating Ahada, the foster son of Jaisimha Siddharaja He was a prince whose suzerainty was anticipated after Jaisimha Siddharaja by Subhata who in the reign period of Tribhuvanapala-deva simply organised a procession (yatra) in the spring season simply to offer a laudatory encomium to the future ruler of the Caulukya suzerains The question of two Tnbhuvanapalas mentioned in the geneology of Mularaja given by C V Vaidya in his History of Medieval Hindu India (III 209) stands ruled out as being considered patrons of Subhata because the past never became a king and the

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Vol XXII, 1998 HISTORICITY OF 65 second having occupied the throne in 1242 did not enjoy longer period of reign as Maharajadhiraja as the king of Malava as well as Yadava rulers of Devagini and the Muslim invaders kept their roads into the territory of Gujarat Anahilavada and occupied it between A. D 1178 and 1297 FOOTNOTES 1 Paper presented to the 39th session of the all India Oriental conference, M S University Baroda October 13-15, 1998 2 Retired Principal, M R Govt College Fazilka HIG Bloc-61, B-3, Sector-VI, Parwanoo (Pin 173220) 3 Sutradharah-Visva-visvambharabhara-samuddharana divarahasya nijabhuja-yugala vidalita-sakalavairi-venda-sundari-netra-nilotpala-vigulita-bahala-vaspapura-plavamanapratapa rajahamsasya maharajadhiraja srimat-trbhuvanapala-devasya parisadajnaya prabandha-visesam ahamupakramamano 'smi Bho bho ! Samajikah | sruta savadhanah yad adya vasantotsave deva-sri kumarapaladevasya yatrayam pada-vakyapramana-parangatena maha-kavina srisbhatena vinirmitam dutamgadam nama chayanatakam abhinetavyam Haridas Samkrta Granthamala, 202, Maha Kavi Subhat Pranitam Dutangadam nama Chaya-natakam, editied by Sahityacarya Sri madanantaramasastri Vetala with Sanskrit and Hindi tika-dvayam and an Introduction in Sanskrit, Published by Chaukhamba Amarabharati Prakasana post Box No 138 K-37/ 130, Gopal Mandira Lane, Varanasi, (221009) (India) Jayakrsnadasa Haridas Gupta, 1950, printed at Vidya Vilasa Press Banaras 4 History of Sanskrit literature (Prose, Poetry and Drama) University of Calcutta 1947 Printed and published by Sibendranatha Kajilala, Superintendent, Caluctta University Press, 48, Hazra road, Ballyganja Calcutta pp 502-503 5 The Sanskrit Drama, p 269 Geoffrey Cambridge Oxford University Press Amen House London E C First published 1924 Reprinted Lithographically 1954 Printed in Great Britain Hindi version Samskrta Nataka p 285, Dr Udaya Bhanu Simha, Motilal Banarasi Dass, Bangalow Road, Jawahar Nagar Delhi, 11007 Second ed 1971 Published by Sunder Lal Jain and Printed by Shanti lal Jain at the Jainendra Press 6 History of Sanskrit Literature, P 170 Ram Narain Lal Booksellors and publishers 1952 Allahabad Hindi ed p 183 Ramanarayana Lala Beni Prasada Allahabad 2 Revised and enlarged ed 1962 by Dr Kapila deva Dvivedi, Allahabad Printed by Rama Babu Agravala Janodaya Press Allahabad 2

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SUDARSHAN KUMAR SHARMA SAMBODHI 7 History of Indian Literature vol III part-I, P 274, 103, (Classical Sanskrit Literature translated from German with Additions by Subhadra Jha) Motilal Banarasi Dass (MLBD) Delhi-6 (New Delhi-110007) First ed 1963 8 History of Classical Sanskrit Literature, para-771, p 686 and para-116, pp 204-205 MLBD, Delhi-110007 First reprint 1970 Published by Sunder Lal Jain and printed by Shanti Lal Jain 9 Samskrt Sahitya ka Itthasa by Padma Bhusana Acarya Baladeva Upadhyaya erstwhile organiser Research Deptt Sampurnananda Samskrt Visva Vidyalaya, Varanasi, Sarada Niketana Varanasi-5 First ed 1977, Tenth ed 1978, Reprint ed 1983, 1985 Printer Kripa Printers Kayasthana Road, Kanapura, Paricched XI, P 598 10 Age of Imperial Kanau, Bharatiya aidya Bhavana History and Culture of the Indiani people volume IV Bharatiya Vidya Bhavana Bombay First published in 1955, Second edition 1964, printed in India by P H Raman at Associated Advertisers and Printers 505, Tardeo Arthur Road Bombay 34, and Published by S Ram Krishan, Executive Secretary, Bharatiya Vidya Bhavan, Caupatty road, Bombay-7, p 181 Also Samskrit Sahitya Ka Navina Itihasa by Krsna Caitanya Hindi translation of A New History of Sanskrit Literature, by Vinaya Kumar Rai, Professor All India Samskrt Vidyapitha, Delhi, Caukhamba Vidya Bhavana Varanasi-I (CVBV) 1965, Printed at Vidya Vilasa press Varanasi 11 HOSL, p 503 op cit cff 4 above 12 Ibid. P 502 13 S D P 269 op cit cff 5 above 14 HOLL Volm, pt I, P 274, cff 7 above op cit 15 AOIK. P 182, op cit cff 10 above 16 HOCSL, P 686, op cit. cff 8 above 17 SSKNI P 375 op cit cff 10 above 18 HOSL p 503 op cit off 11 above 19 S D p 269, op cit. eff 13 above 20 Op cit cff 14, 15 above 21 Op ait off 16 above 22 Op cit HOSL, p 170, cff 6 above 23 (Samskrta Sahitya Ka Itihasa) SSKI p 812 Vidya Bhavana Rastrabhasa grantha mala

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Vol XXII, 1998 HISTORICITY OF Caukhamba Vidya Bhavana, Varanasi-1 1960 Vidya Vilasa press Varanasi 24 op cit PP 9-10, cff 3 above 25 pp 75 and 26 respectively-MR Kale's ed MLBD Delhi-110007, 1969 second edition published by Sunder Lal Jain and printed by Shanti Lal Jain at Jainendra Press 26 P3 MR Kale ed MLBD Delhi, 110007 Sixth ed 1967 27 SSKI Baladeva Upadhyaya p 598, op cit cff, 9 above 28 HOIL. M Winternitz, P 103, op cit cff, 14 above 29 p 3, LL 9-13 op cit cff, 3 above, Bhumika Subhata-kavestribhuvana-pala-deva samasrayanam tavat tadajnaya prastuta-natakanirmana-kartrtvena prasiddham Tribhuvanapala-devasya gurjaradesa-sasanam tv aprasiddham At-as cagurjaradesadhipateh sri-kumarapala-devasyasrayanam kurvanah Subhato gurjarajatia eveti kesamain matam pramanabhavad upeksaniyam gurjara-desasrayane' pu kaver gurjarajatiyatvam na vaktum sakyam, anyajatiyenapi tatha karttum Sakyatvat 30 (HOAT) pp 385-391 History of Ancient India MLBD Delh1-6 (New- Delhi-110007) Second ed 1960 31 p 79 Singhi Jaina Grantha Mala grantha tika-11 Chief editor Jinavijayamuni santini ketana-Bengal 1930 Part-I 32 Op cit cff 30 above p 389 Also sec Samskrta Sahitya ka Itthasa (SSKI PP 593-94) Vacaspati Gairola op cit cff 23 above 33 SSKI P 358 34 Ibid., p 594 35 I 376 pp 175-176 edited by Haragovinda Sastri Caukhamba Vidyabhavana Varanasi I Vidyabhavana Granthamala, No 109, 1964 36 Introduction p 17 Ibid 37 Published by Sri Candulala Vardhamana Shah M G Kapadia Jayantilal Ratna Canda Shah Gwalior Tank Road Bombay 26 WB Printed by V P Bhagwat Mou), Printing Bureau, Wadi, Girgaon, Bombay-4 pp50,51,52 38 Op dit 39 p 318 MLDB Delhi-6, (Now Delhi-110007) 1959 Photo Process Impression (First ed 1937) 40 p 208 Prakrta B-section under Language and Literature op ait off 10 and 15 above 41 An Advanced History of Ancient India (AAHOAI) P 202 and Pracina Bharata edited by Visuddhananda Pathaka and translated by Paramesvari Lala Gupta p 390-pt 1

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SUDARSHAN KUMAR SHARMA SAMBODHI Macmillan and Co Ltd New York St Martin Press 1958 and MLBD Delhi-110007 Narendra Prakash Jain and Jainendra Prakash Jain 1986 Reprinted edition Also see Pracina Bharata Ka Itthasa Rama Sankara Tripathi, pp275-278, MLBD Delhi 110007 Reprint ed 1977 42-43 Kavyanusasana - Introduction pp 36 and 52 op cit cff 37, above 44 Pages 363-364 and 367 MLBD Delhi-110007 First ed 1972 Volume XVIII, P 341 45 Op cit, cff 16, above 46 Dr R S Tripathi and others take his reign as 941-996 as already observed 47 HOIL p 103, op cit cff 14 above 48 Ibid. 49 HOCSL p 205, op cit cff 16 above 50 HOA p 386, op cit cff 30 above 51 Malwa through the Ages p 360 MLBD Delhi-110007 First edition 1972, published by Sunder Lal Jain and printed by Shantilal Jain at the Jainendra press a Bungalow Road Jawahar Nagar, Delhi-110007 52 pp 194-195 Published by Messrs Munshi Ram Manoher lal oriental publishers, 54 Rani Jhansi Road, New Delhi-110055- published by Devendra Jain and printed at Navchetan press private Limited (Lessess of Arjun Press, Naya Bazar Delhi-6) First published August 1970 53 Vagda comprised the hilly tracts of Mewar and the former states of Banswara and Dungarpur, extending along longitude 73-22 to 75-00 E and Latitude 23-20 to 23-55N This is the land par excellence of Bhils who practising shifting cultivation, like to build their scattered huts upon hillocks and burn the shrubjungle for cultivation in the rains (Proceedings of the Indian Science Congress, 1938, The Presidential address of the Geography section, p 123) 54 Op cit cff 27 above

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PHYSICAL DATING AND INDIAN ARCHAELOGY D. P. Agrawal INTRODUCTION Today its possible to date a vanety of events and phenomena not only pertaining to human history but even to the history of our planet earth and the universe Physics has provided us a large number of dating techniques which make it possible As a result, we know now that the universe is not infinitely old The universe today is estimated to be about 15 billion years old and the earliest hominid about 4 million years In the mid-50's Libby employed a radioactive form of carbon for dating antiquities and artifacts of organic origin Prof Lal built up a lab in Bombay at the Tata Institute of Fundamental Research (TIFR) to use this new and sophisticated technique of measuring very weak radioactivity By 1962, Radiocarbon Lab of TIFR had become operational and a major national programme of dating Indian Archaeology was undertaken by the author The Radiocarbon (140) Laboratory of TIFR, later on shifted to Physical Research Laboratory, Ahmedabad It has produced thousands of 14c dates by now Many of the sites in Pakistan have also been dated by foreign laboratories in more recent times, another method of dating was developed by measuring Thermoluminescence (TL) emitted by pottery, terracottas and bricks But most of the Stone Age was still out of the range of 14c dating Therefore, some other techniques based on uranium-thorium, potassium-argon (K-Ar), fission track etc were also developed and used to a limited extent to date the early Stone Age In India we are now having sophisticated technologies in a variety of fields which have a great potential for resolving outstanding archaeological problems With more younger archaeologists coming from a science background, there will be a lot of fruitful interaction between the scientific labs and archaeological institutions THE TECHNIQUE I briefly explain the principles and limitations of 14c dating technique below For details of other dating techniques we would like to refer to our popular book, Dating the Human Past (Agrawal and Yadava, 1995)

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DP AGRAWAL SAMBODHI 70 Many chemical elements are stable, but some are unstable because of some extraneutrons in their nucleus or for some such reasons Radiocarbon (14c or carbon-14) is similar to stable carbon (12.) in all other respects except that it has two extra neutrons in its nucleus which make it unstable and liable to change with time Such unstable elements are called 'radioactive' because in course of time they decay or give out a part of themselves by way of some radiation (alpha, beta particles or gamma-rays) Carbon-14 gives out an electron and becomes stable nitrogen (14N) The rate of spontaneous decay for each radioactive species is unaffected by any other process Carbon-14, when isolated,, decays by 1% every 83 years It means that in 5730 years a given amount will be reduced to half, after 11460 years to a quarter and so on in the modern plants and animals the ratio of radioactive to non-radioactive carbon atoms is approximately one to a million million (carbon-14/carbon-12 = 1/8x1011 As time goes on, the concentration of radiocarbon keeps going down Plants get their food (and therefore carbon) by the assimilation of carbon dioxide through photosynthesis Plants are consumed by animals and humans and thus all life forms are labelled by 14c As one knows the half life (5730 years) and one can measure the radiocarbon, one can easily calculate the Age Calibration of carbon-14 dates Normally the real and measured ages should be the same, but it is not so As one goes back beyond 500 BC, the carbon-14 ages tend to become consistently younger and, between 500 B C and 1300 A. D, the ages are overestimated Such discrepancy can be measured by dating tree-rings of a known Age One can use trees like bristlecone pine and sequoia which live for thousands of years, or one can use tree trunks from bogs which have been dendrochronologically dated and thus are related to each other The main calibration curves of different labs agree among themselves This has made it possible to have an internationally accepted calibration curve which can now be used by all laboratories and users (see Appendix 5, Agrawal and Yadava 1995) How to calculate error If the Age is 4000 + 100 BP, the probability that the true Age lies within the given ranges is as follows One sigma error = 4100 to 3900 BP Probability = 68 3%

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Vol XXII, 1998 PHYSICAL DATING AND Two sigma error = 4200 to 3800 BP Probability = 95 5% Three sigma error = 4300 to 3700 BP Probability = 99 7% Besides these probabilistic errors, there are other systematic errors Accelerator mass spectrometry (AMS) technique In this technique, one measures the actual number of carbon-14 atoms present in the sample The greatest advantage of AMS dating is the sample size about 1 mg of carbon is sufficient for AMS techniques It leads to a precision of +50 years As little as 100 microgram of carbon has been dated recently Contamination The soil (archaeological debris) over the sample works as a filter to prevent contamination by younger carbon Bones from open sites are not useful for carbonate dating as there is no collagen left in tropical sites Sampling from the penphery of a mound should be avoided Caves and rock shelters minimise bone contamination ARCHAEOLOGICAL DATING Let's now discuss the role of physical dating techniques in Indian archaeological studies through the conventional categones of Stone Age, Neolithic, Harappan, Chalcolithic, Megalithic penods In addition, we have given 14c dates for some Rock Art sites, PG ware sites, NBP and early iron sites, and also dates from various old workings of gold, copper, zinc etc The calibrated dates are expressed in terms of "B C/A. D" But in the text, to avoid any confusion, only B C/A D terms have been used, though the discussion and interpretations are based on calibrated dates Stone Age The earliest Stone Age tools belonging to Homo habilis go back to 24 Myr (million years) and are expected to go further back (Semaw et al, 1997) Homo erectus has been dated to 16 Myr in Africa The only early K-Ar date in India has been reported from Bon, near Pune and goes back to 14 Myr (million years) It is a volcanic material overlying an Acheulian assemblage Bhaskaran et al (1989) have reported two groups of carbonate deposits from Saurashtra Group I has a range of 50-70 Kyr (thousand years) and Group II, 75-115 Kyr These dates have been used to define the chronology of the underlying Acheulian (early Stone Age) assemblage There are only a few 14c dates for the Middle Palaeolithic sites but they are generally too young for taking them into

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72 DP AGRAWAL SAMBODHI account We had dated two wood samples from Mula dam (TF-217, 345) Both were beyond the limit of 14c range One TL date for Didwana gives the range 144-350 Kyr Similarly TF-1002 from Dhom dam gives a date of greater than 35 Kyr and is thus beyond the range of 14c dating method In Kashmir (Kusumgar et al 1985) fission track dating technique has been used to date the Matuyama/Gauss magnetic reversal boundary to about 23 Myr This is close to the globally accepted value of 24 Myr for this event Its importance lies in the fact that this date marks the lower boundary of the Villafranchian (modern-like) fauna in South Asia In India the Neolithic cultures are generally equated with the beginning of agriculture and polished Stones axes It may however be not true for all the sites There is circumstantial evidence from the lakes of Didwana, Sambhar and Lunkaransar in Rajasthan that agriculture may have started 7-8 Kyr in that region The evidence is in the form of Cerealia type pollen and finely comminuted pieces of charcoal indicative of large scale burning and clearance In Rajasthan, however, the archaeological assemblages of this period are not Neolithic Stone axes but a microlithic assemblage In Kashmir the sites of Burzahom and Gufkral were excavated by the Archaeological Survey The earliest dates for Burzahom go back to 2600 B C Mehrgarh period 1A goes back beyond 8000 B C Thus, in the Indian subcontinent the oldest dates for the Neolithic should go back to this period It must be noted that Mehrgarh shows a transition from late Stone Age to early agriculture Eventually it blossoms into the Harappa culture The Peninsular Neolithic goes back to 2200 B Cat Terdal and Tekkalakota Chirand, a Neolithic site in Bihar, goes back to about 2000 B C Koldihawa and Mahagara in U P tend to show the Neolithic beginning around 6000 BC The Vindhyan Neolithic at Kunjhun river site goes back to 3300 B C In retrospect, the dates from the earliest levels of Mehrgarh, Koldihawa, Kunjhun river and the lakes of Rajasthan indicate a much earlier beginning of agriculture in South Asia going beyond 6000 BC Bronze Age cultures The calibrated dates from Harappa generally do not go beyond 2500 B C Only the pre-harppan/Kotdijian dates go beyond c. 2500 B C The dates for the Kulli culture also suggest a time spread between 2500-2200 B C The Indian site Kalibangan (Harappa Culture) also shows a spread between 2400-2000 B C Lothal, on the other hand, tends to suggest that it dates to 2200-2000 B C

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Vol XXII, 1998 Rojdi in Gujarat also gives a similar time spread, though a couple of radiocarbon dates go back to c 2500 B C At Surkotda most of the dates fall around 2000 B C PHYSICAL DATING AND 73 Chalcolithic cultures. The "e dates for Chalcolithic sites in Pakistan, mainly from Pirak range from 1500 to 800 B C Jodhpura is associated with a typical copper artifact assemblage in Rajasthan It is dated to about 3000 B C The Lustrous Red Ware (LRW) dates from Onyo-tumbo tend to go even beyond 3000 B C (PRL1425, 1426) Prabhas Patan had earlier given "e dates going back to c 3000 BC It appears that in Gujarat one is dealing with an indigenous culture which is pre-Harappan "e dates now suggest that in the north-west Indo-Pak sub-continent there is a neolithic beginning of local cultures which in some areas developed into the Urban Harappa culture The dates for the Chalcolithic cultures of eastern India range from c 1800-900 B C The Central Indian Chalcolithic sites of Chandoli, Daimabad, Dangwada, Eran, Inamgaon, Kheda, Navdatoli, Nevasa, Sonegaon have also been dated Most of these sites have Jorwe and Malwa culture habitations Though some of the calibrated dates go back to c 3000 B C, the general time spread seems to be confined to 20001500 B C and for Jorwe culture it is 1500-1000 B C There are a few dates for Daimabad culture suggesting a time spread between 1800-1700 B C Megalithic sites It is interesting to note that the few consistent radiocarbon dates (TF-183, 173, 179) indicate that the beginning of Megalithic culture in the Doab goes back to c. 2000 B C In the south, c. 1000 B C probably marks the transition between Neolithic and megalithic phases Ancient metal working sites Some copper, gold, silver, zinc mines from different parts of India have also been radiocarbon dated Radiocarbon dates suggest that the exploitation of Kolar Gold Mine goes back to 600 A. D The earliest copper mine dates are from Rajpura Darba (Rajasthan) giving a date of c 1300 BC The Zawar zinc mines have given some dates which go back c 400 B C As zinc is very volatile it was not smelted in the west till the Roman times When mixed with copper it produced brass The 400 B C dates from Zawar are the earliest recorded radiocarbon dates for zinc smelting in the whole world Use of copper is indicated in the Harappa culture sites and even some pre

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SAMBODHI Harappa culture sites like Mehrgarh but the old workings have not been studied in detail and therefore we do not have dates going back to 3000 B C or so PG Ware sites, NBP Ware and early iron sites DP AGRAWAL 74 Now about 21 radiocarbon dates are available for PG sites and it is clear that their time spread is between 800-400 B C The solitary early date from Atranjikhera site is aberrant The NBP Ware sites are covered between 600-300 BC though, some of the dates seem to go back a little bit earlier The dates from Pirak suggest the advent of iron in the beginning of first millennium B C The Sohgora Chalcolithic period dates go back c. 1400 B C but otherwise the black and red ware is confined between 800-300 B C Probably, it does not have a very diagnostic cultural value It is found with different types of assemblages Hanikara presents some early first millennium dates for beginning of Iron ACKNOWLEDGMENTS The author is grateful to his colleagues Dr Sheela Kusumgar and M G. Yadava for multiple help BIBLIOGRAPHY 1 Agrawal, D P and M G Yadava, 1995 Dating the Human Past, Pune ISPQUS 2 Baskaran, M G Rajagopalan and B 1 K. Somayajulu 1989. 230Th/234U and e dating of the Quarternary carbonate deposits of Saurashtra, India, Chemical Geology (Isotope Geoscience Section) 79 65-82 3 Kusumgar S, N Bhandan and D P Agrawal 1985 Fission track ages of the Romishi Lower Karewas. In Climate and Geology of Kashmir the Last Four Million Years (eds) D P Agrawal, S Kusumgar and R. V Krishnamurthy New Delhi Today and Tomorrows Printers and Publishers pp 245-247 4 Lal, B B 1997 The Earliest Civilisation of South Asia, New Delhi Arya Book International 5 Possehl, GL 1994 Radiometric Dates for South Asian Archaeology Publisher not given 6 Semaw S, P. Renne, J W K. Harris, C S Feibel, R L Berner, N Fesseha and K. Mowbray 1997 25 million-year-old stone tools from Gona, Ethiopia Nature, vol 385, pp 333-336

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DOCTRINE OF KARMA IN JAINISM Yajneshwar s. Shastri The doctrine of karma is accepted by almost all philosophical systems of India barring Carvaka This doctrine of karma has special significance in Jainism In fact, it is a driving force of this system According to Jainism, annihilation of all kinds of karma is liberation' and three-Jewels2 viz , right faith in the nine fundamental principles taught by Jina, right knowledge of these principles and right conduct are prescribed to annihilate these karmas Jaina concept of karma is totally different from other schools of thought According to Jainism Karma is neither a mystical force nor unseen power as some philosophical schools believe Karma is something material in nature The subtle particles of matter which flow into the soul and cause its bondage are called Karma Karma is infra-atomic particles of matter It is subtle matter, which cannot be seen by the ordinary sense organs Jainas believe that there kind of subtle particles of matter pervade the entire cosmic-space When we act, physically, mentally and vocally, these subtle particles are attracted towards the soul and stick to it and become cause of bondage of the soul The soul is perfect in its orginal state It has infinite knowledge, insight, power and bliss But the subtle particles of matter enter into the soul and make the mundane soul bound and put limitations to its capacity from beginningless past It is association of Karmnic matter which makes the soul impure and limited It is Karmic matter that binds the soul to the body Passions (kasayas) viz, anger, pride, infatuation and greed, wrong belief (muthyatva), want of control (avirati), negligence (pramada) and Psychophysical activities (yoga) of mind, speech and body are the cause of bondage] These factors attract fresh-material particles which get transformed automatically into Karmic particles and engender empirical bondage of the soul Just as particles of dust cling to the oily body, similarly the karmic particles sticks to the soul which has become sticky by attachment and aversion Four passions are the main force in holding the soul in bondage, cause of suffering and cycle of births and deathsIt is, these passions accompanied by

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76 YAJNESHWAR S SHASTRI SAMBODHI wrong belief, want of control, negligence and yoga are the main cause of eight kinds of Karmabandha Umasvati Vacaka, descubes functions of these passions giving beautiful simile in his Prasamaratiprakarna. He states, passion is a king, wrong belief, non-control, negligence and psycho-physical activities are its army, assisted by this army, passions, the King attacks the soul and becomes the cause of eight kinds of Karma These four pasions are divided into sixteen kinds on account of their function Each passion is of the following four kinds anantanubandhi, apratyakhyanavarana, pratyakhyanavarana and sanjyalana anantanubandhi passion is that which obstructs the spiritual right belief and right conduct and thereby prepares the ground for endless mundane career Apratyakhyanavarana obstructs the partial right conduct Pratyakhyanavarana obstructs aptitude for complete conduct and allows the existence of nght belief and partial conduct Sanjvalana passion obstructs the perfect type of conduct and thus stops us from attaining Arhathood Besides these passions, there are nine kinds of semipassions (nokasayas), which are so called because of their less-obstructing nature They accompany as well as excite passions They are Laughter (hasya), Liking (rati), disliking (arati), grief (soka), fear (bhaya), disgust (ugupsa), hankering after women (purusaveda), hankering after man (striveda) and hankering after both the sexes (napumsakaveda)? Right belief and Right conduct are the main means in attaining liberation These passions obstruct the right belief and hamper the right conduct Lesya is another important concept connected with theory of Karma Lesya is responsible for the duration of bondage of Karma Lesya is defined as that which associates the self with karmic particles (lisyate, slusyate, karmana saha atma iti lefya) Lesya is said to be that by means of which the soul is tainted with ment and dement It is also considered as colour of the soul or emotions colouring the soul It works like a glue between the soul and karmic particles Just as glue is responsible for making colour fast and fixing them on canvas, similarly this Lesya is responsible for the length of time of Karmabandha Lesya is dependent on the yoga i e psycho-physical activities of speech, mind and body Sometimes, our activities, reflect different kinds of Lesyas, i e emotions There are six kinds of Lesyas. (1) Black (Krsna) (2) Blue (nula)

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Vol XXII, 1998 DOCTRINE OF (3) Gray (kapota) (4) Red (tayasa) (5) Yellow (padma) (6) White (sukla) First three viz, black, blue, gray are inauspicious while remaining three i e red, yellow and white are auspicious in character and function All jivas are influenced by these Lesyas or emotions Only the Siddhas (1 e liberated souls) are free from the influence of the Lesyas and they are called alesins or gatalesyas Amongst these six Lesyas (emotions) the black, blue and gray are the lowest type of emotions Such as cruelty, hostility, unkindness, hypocrisy, evil mindedness, thoughtlessness, wrathfulness, corruptibility, through which soul is brought to misery The black lesya is the worst of the three bad emotions colouring the soul The blue is less evil than the first The grey may lead men to do evil The red, yellow and white are the good lesyas, which bring happiness The red removes all evil thoughts, yellow lesya helps to control passions Love and hatred disappear under the influence of white lesya Each following one is better than the preceding one and the last is the best By observing the activities of man we can judge, by which lesya he is influenced Influence of each lesya is beautifully illustrated through the behaviour of six persons Once upon a time, six persons were travelling together, in the forest They became hungry These hungry travellers saw ripe fruits on a jambu tree and thought of eating the fruits The problem before them was how to get fruts from jambu tree The first man suggested that the tree must be up-rooted, to eat fruits The second man told others to cut off half of the tree, the third recommended to chop off the big branches, forth told them to cut only small branches, fifth said, let us pluck the fruits only and sixth advised not to hurt the tree but gather the fallen fruits on the ground and eato Here, we can see, all the six persons are under the influence of different kinds of lesya The first one is influenced by black lestya, so his act is more cruel, uprooting the tree itself The second has blue, the third grey, the fourth red, the fifth yellow and the sixth white The white lesya is the best and the Jaina religious efforts are directed towards the acquisition of this pure lesya, which is

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78 YAJNESHWAR S SHASTRI helpful for minimising the duration of bondage of Karma The Karmas which bind the soul are classified into eight fundamental types on the basis of their nature viz SAMBODHI (1) Knowledge obscuring Karma (jnanavaraniyakarma) (2) Insight obscuring Karma (darsanavarniyakarma) (3) Feeling producing Karma (vedaniyakarma) (4) Deluding Karma (Mohaniyakarma) (5) Age determining Karma (Ayuskarma) (6) Body determining Karma (namakarma) (7) Heredity determining Karma (gotrakarma), and (8) Power hindering Karma (antarayakarma)" Knowledge obscuring Karma (jnanavarniya), insight obscuring Karma (darsanavarniya), deluding Karma (mohaniya) and power hindering Karma (antaraya) are called ghatikarmas, (deadly Karmas) as they tend to obscure the real nature of self, affect the attributes of the soul These Karmas not only lead to worldly misery but also retard the moral progress of the aspirant Remaining four Karmas, viz, feeling producing Karma (vedaniya), age determining Karma (ayuskarma), body determining Karma (nama) and heredity determining Karma are called aghati Karmas, because these are not directly concerned with obscuring the nature of the soul In the absence of ghatikarmas they do not retard the moral progress of the aspirant These eight kinds of fundamental Karmas are subdivided into 97 kinds11 I The Jaanavaraniya Karma which obscures the knowing faculty of the soul is divided into five kinds viz, the Karma which obscures the knowledge acquired through the senses and the mind, prevents our right conscience and intellect It is known as matynanavaraniya The Karma which prevents acquiring knowledge of scnptures is called srutajfianavaraniya That which hinders direct knowledge of matenal objects is avadhynanavaraniya, that which obscures direct knowledge of the thought of others is known as mahah-paryayajnanavaraniya, and lastly that which prevents us from knowing night way of attaining liberation (kevalajnanavaraniya) Darlandvaraniya or insight obscuring Karma prevents us from having night

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Vol XXII, 1998 DOCTRINE OF faith, nght vision, right view It is of nine kinds (1) Physical sight obscuring Karma (caksurdarsanavaraniya) (2) Perceptual power of the four sense organs and the mind obscuring Karma (acaksurdarsanavaraniya) (3) Faculty of direct insight obscurng Karma (avadhidarsanavaraniya) (4) The Karma which obscures the nght intution of obtaining perfect knowledge (kevaldarsanavaraniya) (5) Light or pleasant slumber generating Karma (nidra) (6) Heavy slumber generating Karma (nidranidra) (7) The Karma which causes sound sleep which overtakes a person sitting or standing upright (pracalakarma) (8) The Karma which causes an exceedingly intensive sleep that overtakes a person while walking (pracalapracala). (9) The Karma which generates worst type of slumber with terrific vigour through which man may commit horrible crime in the sleep III Feeling producing Karma (vedaniya) is cause of feeling pain and pleasure and is of two kinds, which helps us to get worldly pleasure (sata-vedaniya) and which leads us to misery (asatavedaniya) IV Deluding Karma (mohaniya) which obscures right faith and nght conduct is divided into 28 kinds First of all it is divided into two kinds that which obscures right belief, infatuates the person, on account of this person loses his discriminative power of distinguishing right and wrong belief (darsanamohaniya) and the Karma which obscures the right conduct, which is the property of the soul (caritramohaniya) The first is divided into three kinds viz, that which obscures the right belief and generates complete wrong belief (mithyatvamohaniya), that which obstructs in getting complete right belief but produces correct partial belief (samyaktvamohaniya) and that which produces mixed belief having some degree of truth and same degree of falsity (misramohaniya) The latter is divided into 25 kinds on the basis of obstruction produced by 10 passions (kasayas) and 9 semi-passions (nokasayas) V Age determining Karma which determines the length of life span of all It

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80 YAJNESHWAR S SHASTRI SAMBODHI is of four kinds Viz, that which determines the age of celestial beings (deva), human (manusa) animal or subhuman (turyak) and helish beings (naraka) VI Body determining Karma determines the physical diversities, State of existence (gati), caste, body, etc VII Heredity determining Karma determines the heredity or family It is of two kinds, that which determines superior heredity (uccaugotra) and inferior heredity (nicairgotra) VIII The power hindering Karma which obscures the power of the soul is of five kinds, (1) that which obstructs the charity (danantaraya) (2) That which obstructs profit of any kind (labhantaraya), (3) that which hinders enjoyment of a thing which can be enjoyed once, such as good food, good drink, etc (bhogantaraya), (4) that which hinders the enjoyment of something which can be enjoyed again and again, such as good clothing, dwelling place, bed, etc (upabhogantaraya), (5) that which obstructs the power of a person and makes a very strong person incapable of exercising his power No other religion or philosophical school has made so minute or detailed study of doctrine of Karma Vanous Karmas determine every activity of man Birth in particular family, high or lower, particular kind of physical body, social status, even man's nature, all are determined by particular Karma Every being of this vast universe is guided by its own Karma The heavenly bodies and even gods are not exceptions Every event of life is due to the Karma of previous life Birth and death, pain and pleasure, sufferng, disease, everything is dependent on Karma But Jainism believes that though the various Karmas of man constantly determining him in various ways, still he has infinite power within him to follow the right path, he has a freedom of will to act Man can overcome all Karmas by his own efforts and become finally liberated Vanous kinds of ethical disciplines are prescribed to achieve freedom from clutches of bondage of Karma At first, the inflow of fresh Karma is to be stopped by observing five great vows (panicamahavrata), practicing cautious behaviour while walking, speaking, taking food, keeping and receiving things and evacuating bowels; (samitis), controlling psycho-physical activities of mind, speech and body (guptis), ngorously following ten kinds of religious virtues (dasavidhadharma), reflecting on 12 kinds of anupreksas, conquering hardships

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Vol XXII, 1998 DOCTRINE OF.. 81 (parisahajaya) and controlling passions Then by austerities (or penance) already existing Karmas must be annihilated When this end is achieved, the age old partnership between the soul and matter is dissolved and the soul shines in its intrinsic nature of infinite faith, knowledge, power and bliss Freed of the dead weight of Karma, the soul flies up to the summit of lokakasa and remains there ever after FOOTNOTES 1 Krtsnakarmaksayo moksah - Tattvarthasutra (TS)-X 2 TS 11 3 Prasamaratiprakarana (PP) - Umasvad Verse-56 4 PP - 55 5 PP - 30 6 PP - 33 7 PP Intro P 35 8 Tah krsna-nila-kapota-taijasi-padma-sukla-namanah. Slesa iva varnabandhasya Karmabandhasthitividhatryah PP 38 9 Ibid. Introduction - P 36 10 Ibid. Verse-34 11 Ibid. 35 12 Ibid. Introduction pp 34-38

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YAJNESHWAR S. SHASTRI SAMBODHI Bibliography 1 An epitome of Jainism - k.b. Jindal, Munshiram Manoharlal, Delhi 1996 2 The Heart of Jainism - S Stevenson, Manshiram Manoharlal, Dehli 1995 3 Jaina Philosophy Histoncal outline, N N Bhattacharya, Dehli 1976 4 Tattvarthadhigamasutra-with Tika - parts I, II ed. H R Kapadia, J S Javeri, Bombay 1926, 1930 5 Prasamaratiprakarana of Umasvati edited and translated by Dr Y S Shastri, L D Institute of Indology, Ahmedabad 1989 6 Suttagame, Vols I, II Ed. Pupphabhikku, and Mani Shri Phulchandji Maharaj, 1993, 1954

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IMPACT OF JAINISTIC PERCEPTIONS ON SOCIETY N L. Jain Society and its Components The term 'Human Society' is defined as everchanging complex and awaring system consisting of individuals, communities and institutions mutually interesting and reciprocating a web of social relationship and organised on the basis of similarity of culture, ideology and behaviour etc for their overall welfare and stability Gupta and Sharma' have mentioned many examples like Kamla (1920), Anna (1938) and Ramu - the wolf-boy (1954) to indicate that an individual is only a biological species at birth but he develops as a social being in the society inheriting language, habits, cultural values and behaviours Thus, the individual and society are interdependant for their mutual growth The sociologists have counted more than a dozen impact factors for overall growth, central power and development of society involving family, mares, customs, political and legal system, education, morality and religion etc Among these, religious thoughts (and lives of torch bearers) are major factors influencing the individual and society in many ways leading them towards the sacred path of cultivation of good virtues, better economic, moral and equalitarian life, development of personality, personal security, psychological satisfaction, moral recreation and adjustment capacity The society, in general, has two forms . (a) animal and (b) human We are concerned here with the human society only The biological difference between the two is not important However, the earlier seers have differentiated them on the basis of religion This term has been elaborated in terms of eighteen sociocultural factors by sociologist They involve the way of life-thoughts and practices, physical and non-physical culture of arts, language, literature, philosophy, ideals and values and customs and traditions Thus, the term religion is taken as a sociological factor for human society specifying its various thoughts and activities The relgion, thus, has high impact in society involving groups and individuals The society consists of many groups based primarily on religion, class communities, professions, politics, economics and culture etc The religion, being defined as a way of life, has impact of all these gr for the aforesaid objects The

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84 NL JAIN SAMBODHI earlier history and current trends in world testify this statement Religion and Jinistic Perceptions The term 'Religion could be defined as a system of a set of activities, behaviours, rituals, beliefs and practices for socialisation of individual for the ordered pleasure and upliftment of society Formerly, the religion had a supernatural-based definition, but the scientific age has dethroned it by a sociological one to suggest that it is a symbol of collective conciousness about the above activities It is the explanatory form of the earlier one as the way of life. The earlier Jain texts indicate that the Ford-makers and seers were definitely sociologists in their thoughts and sermons They preached the objectives of misery-removal, welfare and best of happiness for all beings through the words "Savva-jaga-jiva-rakkana-dayatthaye bhagvaya pavayanam kahiyam" "Dhamme hitayam Payanam" "Sattvan ye dharat uttare sukhe," where the specific terms indicate all types of living beings rather than human beings only where individuals form the unit However, the later periods turned the table towards the individual welfare etc as the objective of religion Nevertheless, as the individual forms the basic unit of society, their groups should also be effected by these objectives and methods to acquire them It must be pointed out that a true religion is really humanism based on principle of 'live and let live' Thus religion is universal However, a good number of religious systems have developed independently during different periods of history and in different regions of the world Ellwood, Jr seems to be right to suggest that each system is only a partially altered version of cosmic religion under different names in fact, all religions are sister concerns Jainism is also a system of humanism-happiness of all beings with certain perceptions of codes and ideals Jainas suggests that it is a system of ascendants, independent, intelligent, rational and self-efforting people of the world This system has perceived (a) physical and psychical non-violence, (b) detailed mutational causeeffect law of Karma (c) work-based system of caste and status, (d) equal and respectable status and potency of women, (e) ethical and pluralistic realism, (f) septadic predication law, and (8) psychological spiritualism These are described in traditional language in Jaina texts which should be presented in current scientific language for their wider understanding and impact in the coming century The major Jaina perceptions are summarised here in this fashion

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Vol XXII, 1998 (Happiness, H and Satisfaction, S The happiness and satisfaction are the prime objectives of life and religion The Jaina system postulates that human welfare, happiness, H or satisfaction, SIS proportional to religiosity, R If H or S is defined as the number of desires / acquirements divided by their total numbers, we have, as the economists will IMPACT OF JAINISTIC PERCEPTIONS ON SOCIETY say R HD/D, and S =Aq/Aq, This leads to the result that if one wishes to maximise H or S, the number of desires or acquirements must be made minimum, 1 e the denominator must be very small This is what the theory of non-possession or Aparigraha postulates One has to limit them for better life This principle states limitation in consumeristic mentality and, therefore, better welfare and religiosity It has a potency of increasing overall pleasure in the world (2) Perception of Three A's (or N's, Individual Triad) S1 S, * S, + S, 85 The Jinistic perception of three A's (or N's) is very important for the welfare of individual and society It aims at cultivation of one's own mind, speech and body This triad of non-violence, non-one-sided-ness and non-possession represents the process of highest welfare If one follows this triad, it results in multiplicity of its effects, as shown below N, (Non-violence) + N, (Nononesided-ness) + N, (Non-possession) N,N,N, This is the perception of welfare at Individual level This tnad is the exposition of non-violence at every level It is not a totally negative term In positive way, it means love and reverence In a practical way, it is minimising pain and passion to self and others It is positivity-onented negativity with optimisite bias = (3) Perception of Three S's (Sociological Triad) The Jaina system is a shramanic (Striver) system It has the welfare of the society as an objective This could be attained by the tnad of Sweating, S,, Selfsupporting, S, and Sameness, S, It is known that as one works hard, one becomes self-supporting and all hard workers develop sameness among all This triad belongs to the makers of own destiny This triad has also the multiple effect like the earlier one This trad exemplifies the development of the society through karmic processes S,S,S, =

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86 NL JAIN SAMBODHI (4) Perception of three R's (Spiritual Trad) The Jinistic system is basically spiritual It aims at releasing the karmically embodied being from the karmic shackles through the triad of three R's of Right faith, Right knowledge and Right conduct It is called Gem-trio or Tradic confluence in Jaina system It involves all the perceptions mentioned above which are specific forms of this triad This is also multiply effective All these three triads are the condensed forms of many Jinistic vows and practices which emanate from the basic perception of non-violence for which the Jainas are noted (5) Cause-effect Law of Karma : Weber-Freshner-Equation The Karma theory is one of the most developed theory of action-reaction of our daily life It has more a basic of psychology rather than physical basis The psychologists have developed an equation which could be applied for mental processes and their physical effects This equation is known as Weber-Freshner equation If S is the stimulent mental emotion / state and R is the resultant effect, we have, S = K In R This stimulant here is the karmic force and the R is the effect produced This equation has been verified for medium range stimulents but it needs verification in case of finer karmic forces Moreover, the karma theory is a mutational theory which makes effects proportional to forces which are always changing in their nature depending upon many environmental factors This equation has ascertained the psychological nature of karma theory and that karma theory could be explained in that way The karmas are also said to be inversely proportional to destinities, i e lighter or better the karmas, higher will be the destiny of the living beings It requires that good karmas only will yield human life Impact of Jinistic Perceptions on Components of Human Society We are living in an age of scientific and industrial development leading to more and more consumerism and comforts It has created larger number of problems in compansion to Mahaviran age-some carry-over of the past and some newly created ones These problems start with individuals in terms of their ethical standards, family life including the status of women and upto many social, national or even global problems of ethnics, population growth, environmental

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Vol XXII, 1998 IMPACT OF JAINISTIC PERCEPTIONS ON SOCIETY 87 pollution, economic disparity and politics of government, war and peace etc It is seen that the above triads have had large impact on improving the mentality and actions of individuals in the society in the past their impact is a tr-timal phenomena They have potency and pregnancy for better present and future of practised honestly The Jaina ascetics are the crest of the fourfold Jinistic order They command and control social and religious life of the community They have influences royalties, army commanders and nich men in the past Their sermons for reveronce of life and love have changed the course of life of many heretics and sinners as could be clear from the early Jaina texts They were instrumental in establishing non-violent royalties in many parts of India They promoted the concept of non-absolutism through academic debates Acarya Bhadrabahu, Arya Suhasti, Samantabhadra, Akalanka, Bappabhatti, Simhanandi, Sudatta, Silagunasun, Acarya Tulasi and Vidyasagara, Hemcandra and Hirvijayji and others have moulded the public and royalities to the path of these triads The institutions of ascetics still continues to hold similar position even today The politicians and richmen still seek their blessings and advice on many national and social problems of modern life The Jinistic perceptions have a large impact on common men to practice the triadic path for prosperity, progress and peace physically and spiritually It seems that most of the people of the world are Jainas without proclamation as they realise the truth of these triads and follow them as far as possible That is why, Tobias' has pointed out that the practice of non-violent way of life has given a viable alternative towards these objectives Their non-violent businesses prove the fact that non-violence can be economically more frutful Though he points out that nobody could be totally non-violent and a theory always breaks down in practice to a certain extent, but Jinistic perceptions are ethically realistic and practically workable under some restrictions The Jainas have had a large impact on their life style in this country and abroad in the past and present. A summary of such impact has been brought out by GP Jain recently Impact of Society : (a) Action-based Caste System The general society of the east has been stricken with many traditional problems thwarting its overall physical and spiritual progress The birth-based caste system is one of them Though it seems to have been based on division of labour in the society but it lacked mutational progress and encouraged conservatism and self-pride The Jaina system has no place for it as all human beings--nay all living beings are equal and similar in potency of progress That is why the

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88 NL JAIN SAMBODHI Jainas have been originating from all traditional castes and ethnic groups without proselytisation Of course, it agrees to work-based caste system which has the modern form of professional class system as in the west of today There is no bar for anybody to modify or move for better and better class of professions Even the Govt today is encouraging this process. It is due to homogenisation of heteregeneous groups that a society of highest morals and least crime rates and offences has developed There have been virtually the class and religious conflicts of Jainas with others as are observed in current days Per chance, these are due to their supremacy concepts or political ambitions which the Jainas do not have. They have been the neutral components of the society and adjustable with all because of their non-violent attitudes This point has restricted their promotion far and wide but it now seems to be the toch bearer for a better society and human race of the future and twenty first century. The Jainas go beyond the carnivere mentality of the west They favour peace and love ever war and hatred. This system has never deviated from the tradic concepts and that is why it remains as one of the best living religions of the world The pacifist doctrine of non-violence was unknown in the west until about 12th century Since then, it has been making high in roads and now it has become one of the major roads of their life and culture The birth-based caste system, hence, does not find any place there The Jaina system points out that one's outlook should be four-foldly tuned substantively, regionally, temporally and modally. This is ascertained by the fact that Jaina seers have added, modified, redefined many theoretical and practical issues for necessary tunings with times indicating their attitude of scientificity There has, thus, never been fundamentalist attitude in them which has been oi is there in other systems and decried by the conscientious intelligensia. The intellectually equalitarian and polyviewistic training gives accommodation capacity in the society for alleviating birth-based theories and sectarianism and promoting tolerance and harmony This training is the need of the day This training of the Janas has a great impact on their continued preservation. (b) Equal Status and Potency of Women It is unfortunate that the patriarchial society has always been non-genuine towards women folk in general despite some better litanic or biographical references The Mahaviran age had the traditional society where they were taken even as a marketable commodity They were taken as property He

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Vol XXII, 1998 IMPACT OF JAINISTIC PERCEPTIONS ON SOCIETY 89 revolted against this attitude and promoted the concept of equality of sexes, status and potency of women along with regulated marriage and see through the minor vow of celibacy He placed them in two cadres of nuns and vetaresses in his four-fold order whose strengths were nearly double the cadres of men There have been many llustrious women in Jaina order for promotion of Jaina culture and literature The Jaina nun-system has been and is very influential even today for preserving the Jinistic practices They are promoting Jaina ideology even abroad in different countries Mahavira was very far sighted on the issues of women and we are experiencing it in current times when they are holding positions of heads of Govt, administrators in civil, police and even in defence services along with other fields including politics The case of 33-50% reservation is also pending indicating the current state of thinking about the status of women The concept and practice of equality of sexes has effected the women in more than one way While they have their duties of morality-based procreation, they hold their nghts for equality in personal and social spheres This morality of sex has resulted in least sexual offences and lesser population growth among the Jainas This inbred concept is now felt necessary in the days of AIDS by modern women society with alleviated their major physical and psychological problems Besides marriage, there have been many associated problems in the past like remarriage, widow marriage and in the present the Sati tradition, divorce and abortion The west had no such problems as it did not give much value to th morality of sex, though it attaches sacredness to the marriage However, the conservative east did rule against these issues It is only during the last 150 years that the women folk has risen from their slumber and have started utilising Mahaviran concept of equality of sexes Now, Sati burning is resisted tooth and nail and legally also the other issues are also moving in affirmative direction One remembers the days when advocates of such issues were insulted by the society However, the days have changed stealthily The tuning in women problems is being effected with respect to the changing times and conditions as per Mahaviram dictums It is not only the pre-creative issues which attracted the attention of Mahavira He also took up the case of education and leadership potency of women He had a large number of women disciples who were proficient in canons and conducts His chief nun was Candanabala The women of today are being educated in different fields and they are taking leadership in many specialised

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90 NL JAIN SAMBODHI areas This is a pleasant sign of the impact of realistic Jaina perception on women equality This trend is going to be ascelerated in the twenty first century (c) Politics and Peace Tobias has written that there are very few pure or even medium level nonviolent people Nevertheless, their principle is very attractive It is the harbinger of peace It provides solutions not only for problems associated with individuals but it also guides to solve the national and international problems on round tables too Though the Jinistic non-violence has not been able to stop wars and violence in the world, but it has done quite a lot in this direction in India It has been applied in terms of peace treaties and political war stoppage for long The institutions of ambassadors has been its other form Many political and religious leaders have been impressed by this principle and have realised its dormant potencies That is why, they could make it an nstrument of social equality and national independence Mahatma Gandhi, Velson Mandela, De Vakera, Martin Luther King, Dalai Lama, Fuji Guruji and others are the shining stars of this age in getting the potency of non-violence manifested in different parts of the world They have let us believe that it is not only a principle for individuals, but it can function in wider areas of groups and nations Many royalties were impressed by the non-violent life, learnings and teachings of Jaina saints and gave them not only royal patronage but began practising it in part and encouraging the public to follow suit through royal decrees Many names of such saints have been cited earlier in this regard As a result, non-violence has become a global political, economic, social and environmental principle The institutions like UNO, G-77, SAARC, Non-alliance movement and others are practical forms of non-violence at global level The concept of armyless states, moral rearmament and nuclear and chemical war banning are its sheets Conflict resolution is its effects It is due to this potency that many institutes of peace and non-violent studies and training have been established in many parts of the world This subject has attracted the academic world too and international congresses are held by them off and on Many scholarships are also instituted for conflict resolution studies The political powers have applied the concept of Panchasila for mending the ways of the world through political morality They have started solving their problems through consensus, pursuations, intermediaries and round table

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Vol XXII, 1998 IMPACT OF JAINISTIC PERCEPTIONS ON SOCIETY 91 conferences to avoid wars and attendant destructions The rays of non-violence are increasingly peeping through to usher in a new era of peace and progress in the war-torn world This will give us a better world in twenty-first century The impact of this Jinistic principle has resulted in movements like 'Land Gift of Vinobaji and 'Renunciation of meal once a week of L B Shastri in India for reducing the rich-poor conflicts and increase the amount of happiness in general The WHO, UNICEF, Red Cross Society, Lion and Rotary movements and many other philanthropic institutions throughout the world are the proponets for improving chances of peace and progress They are working on Jinisitic principle without any adjective (d) Economic Problems Jinistic Socialism It is seen that the world is infested with disparities on economic fronts There are pairs of classes like rich-poor, master-servant, landlord-peasant, mill-ownerworker and the like where the capitalistic trend has resulted in majority of them under deprivation and turmoil The Jinistic perception of all men are religiously and morally equal' has been out of the way since long The natural instinct of ambition in men has resulted in these classes and class wars Formerly, the religion also seemed to support this status quetist view psychologically on the basis of Karma theory However, this was neither desirable nor justified in view of the mutational character of Karmas The Jinistic perception of Aparlgraha or equitable distribution and sharing of wealth, denational duty and limitation of wants and greedy nature have paved the way to eliminate the above disparities Collectively, these perceptins are termed as 'Jinistic Socialism' This has potency to equalise human beings at physical and social level too They are already equal spiritually This perception is again a humanitarian application of non-violence which develops an attitude on non-attachment towards wealth and encourages its proper distribution as indicated by Kempfort' This attitude will have to be ingrained in human mind to cherish for an egalitarian society The current systems of Gandhism, Communism etc are but newer varieties of this Jinistic socialism with different types of adjustments The co-operative movement throughout the world is its another version (E) Environmental Problems The most important aspects of Jinistic perceptions have been the cultivation of

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92 NL JAIN SAMBODHI an attitude of (1) livingness in all natural objects (1) feeling of equality and compassion for them and (ul) observational interdependence among all the living beings Taking men at the center, all its inside (volitions, mind) and outside (earth, water, air, plants, minerals, animals etc) surroundings form what we call environment There has been a natural balance between men and their environment so that his health, wealth and happiness were protected However, the population growth greedy nature, consumersm, industrialisation gases and wastes, mis-use of forests etc have broken this balance which is now effecting the warmth of the globe at large involving the depletion of protective ozone layer Man could not realise the gravity of this situation until about early half of this century but now he has got acutely worried about it The Jainas were forsighted on this issue too Their first book of Acaranga tells us that violence or mis-use of the environment systems leads to delusion, bondage, hell and death How a man could be called religious if he injures his own class of lower life? The indifference towards this perception and injunction has effected us heavily today However, these injunctions have advocated two points. (1) Vegetarian food habits and (11) upkeep of environmental balance These points now show a high impact on global front to maintain clean environment For quite a long time, westerners were not in favour of vegetarianism and they counted many deficiencies in it Now, it is said to be scientifically nutritive, economically sound, aesthetically enriched and charming and spintually noble In contrast, non-vegetarianism causes as many as 160 types of diseases That is why, it is getting global popularity and many national and international organisations have come up in its favour More and more people worldwide are adopting this food style It has a potency of making up food shortage of the world A large number of non-vegetarian chain stores is being wound up It gives health, longevity, saves wealth aand serves humanity in producing secretions encouraging qualities of compassion and reducing the bad qualities of anger, conflict and aversion It also keeps the environment safe Currently, It holds high impact on society which is going to increase faster in twenty first century. The upkeep of environmental balance has become most important for the survival of our universe The Brazil and Kyote type conferences are being held globally to devise ways and means in this direction Television and other media are propagating for savaging forests, check mis-use of water and other natural resources, use of depollution devices in transport systems, industrial gases and wastes are being developed globally. The afforestation festivals are

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93 Vol XXII, 1998 IMPACT OF JAINISTIC PERCEPTIONS ON SOCIETY being organised Population growth faster is being tackled medically All these steps are being taken unconscious of Jinistic principles of (1) checking available use of natural resources (u) limiting wants (u) restricted celibacy and, of course, non-violence The principle of animism and reverence for life is coming to practice which is an indirect impact of these principles How best it could have been if these principles would have been taken into account while industrial progress was under development There are nearly seven vows and practices which are advocated by the Jainas in this direction People can argue 'religion has nothing to do in these matters' However, if it is the way of life for socialisation and welfare of society, any issue interferring in this objective has to be tackled by its perceptions. The above Jama perceptions are specifically important for ecological balance One should try to take as much from mother earth as much it could regenerate The Jaina Declaration on Nature' (1990) is an effort to promote this objective worldwide This problem could not go critical if these perceptions are followed with resolve The man has been guilty of neglect of them specially in increasing population in geometrical proportion Though it seems that religious seers have not proved to be powerful enough to subdue the matenal scientists but one feels the man would have to turn back to seek refuge in religious injunctions like the physicists now turning towards metaphysics in their theonsation Tobias has nghtly said that Jinistic injunctions are a little Switzerland in this turbulent environment (F) Philosophy The Jaina system is noted for its non-extremist middle course philosophical concepts because of its mental, vocal and physical triad of non-violence It prefers a naturalistic trend over any supernatural one That is why, it does not have creator God concept so that a man could become master of his own destiny by his own efforts The major Jaina philosophical concepts are based on the principle of non-absolutism It has proved to be more realistic than theoretical only It has relativistic approach It has devised its perceptions on the basis of physical and psychical, physical and modal real and ideal aspects of any issue The scientific theory of Relativity and its later developments have verified. the correctness of this philosophical concept experimentally This concept has a heavy impact on the mould of the society, politicians and economists who have to look into the welfare of all The scholars have verified it statistically and superpositionally 10 This inculcates the capacity to develop an attitude of liberalism, tolerance and harmony in thoughts and actions and creation of

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94 NL JAIN SAMBODHI casteless and creedless society which is the need of the day This principle is a very important instrument in socialistic tempo of the Jaina system It requires persons to think ever any issue from many angles before taking any decision that is what the management people suggest Thus, this principle asks us to manage our mind, speech and body to be in tune for maximum benefit to the individual and society The Jaina philosophy discusses many topics on physical and spiritual issues on logical and intellectual basis This has influenced the world of philosophers in the east and west It is highly impressive and is referred by many noted scholars This has provoked the middle course way in real life The western Journals have a variety of comparative discussions on this concept in modern language This philosophy is also an off-shoot of non-violence and other triads However, this requires presentation of Jinistic philosophical works through English language for wider objective--a high need for twenty first century (g) Social vs Individual Aspects It has been pointed out that the basically socialistic concepts of Jainism were later transformed into pre-dominently individualistic bias This is the case of all eastern religious systems This might have happened at the start of devotional cult and in middle ages This has led to catastrophe in general life The man has become so much individualistic that one almost overlooks the society and we are facing the disorder in almost all spheres of life and the nation itself The twentieth century end requires that the medieval age trend should be reversed to socialistic objectives as the individual is made through the society and one's own contnbution is very small The west could grow through socialistic base though it is also now moving towards the same catastrophic line The saint and intelligensia should try to modify their traditional views to get the idea of socialistic objectives of the religion into daily practice The twenty first century requires this background from the twentieth century people It has been pointed out by many scholars that this trend has been responsible for non-popularisation of Jinistic perceptions Of course, there were many other factors too like absence of impressive saints, lack of internal power and practices and concept of harsh and rigid vows etc All these factors have to be tuned with respect to regions and times The pastorientation and traditional language are also such factors The twenty first century requires that these drawbacks should be minimised as far as possible to

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Vol XXII, 1998 IMPACT OP JAINISTIC PERCEPTIONS ON SOCIETY 95 make our perceptions more amenable for better understanding and practice Conclusion The discussions above indicate the various types of impacts of Jinistic perceptions on different components of the society The twentieth century trends suggest towards movement of practicing these perceptions This will have to be intensified This author has every hope that the next century will have widened these practices for better peaceful and progressive world It is pleasing to learn that the Jainas are promoting these perceptions through national and international institutions like Western Order of Jainism, JAINA, JAFNA, Brahmi Society, Jaina Academy, Jaina International, Anubibha etc Their efforts will lead to a highly powerful Jinistic world in twenty first century REFERENCES 1 Gupta, M L, and Sharma, D D, Sociology (H), Sahitya Bhavan, Agra, 1986 2 V Ferm (Ed.), Encyclopedia Britannica, London 1964, p 646 3 N L Jain, in Prakrta Vidya, 3-4, 1992-93, p 14 4 Ellwood, Jr, Many People, Many Faiths, Prentic-Hall Inc, Englewood Cliffs, N J USA, 1986 5-6 N L Jain, Jaina System in Nutshell, JSK, Satna, 1993 7 Tobias, IX Michael, Life Force, Humanities Press, Berkeley, CA, 1991 8 Gokul Prasad Jain, Videso maim Jaina Dharma, DJ Mahasabha, Delhi 1997 9 Waldemar Lempfort, Today and Tomorrow, Dennis-Dobsen, London 1947 10 D S Kothan in K. C Shastri Fel. Vol. Rewa 1976, p 3 68

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SOME MODERN CONCEPTS OF MARRIAGE IN THE LIGHT OF THE SMRTI LITERATURE Sunanda Y Shastri There are many sources like epics, classical Sanskrit literature, sutras, smrtis philosophical works, different commentaries on smrtis and many other texts t understand, contemporary society Among these sources smrtis are importan sources to understand the social practices, laws and rules and politics Smrti. are important because, they are treatises of rules about conduct, social custom and usages, legal matters and family life They also reflect the current practice: in contemporary society There were, it is said, more than one hundred smrtis out of which Manavadharmafastra (or Manusmrti) is the oldest, most importani and exhaustive source Some other important smrtis are-Visnusmrti, Yajnavalkyasmrti, Naradasmrti, Brhaspati etc Manusmrti is said to have been composed probably between 200 B C-200 A D Smrtis seem to have formed the minutest rules and laws regarding individual's life, and hence marriage is an important subject discussed in the smrtis at length The institution of marnage must have come into existence in very remote past Even the extant Vedic texts show that the institution of marriage was fully developed, and that the Vedic society was not a promiscuous one Marriage was regarded as but highly necessary to qualify for the performance of religious nites and begetting children' Marnage was regarded as religious and social duty Marriage ntuals were already developed and were regularly practiced Girls were married at quite a mature age2 The very notion of marriage implies many other aspects such as, legality, children and their nights, extra mantal relations, monogamy, polygamy, poliandry, levirate (nuyoga), sonorate (husband of a barren woman marrying her sister for progeny and some of those children are counted as of the barren wife), social status, inheritance, divorce, nullification of marnage, remarriage and widow-marriage etc Since marnage was regarded as social institution, the various aspects naturally demanded consideration as they were intimately interconnected with marriage Mammage being the union of two persons of opposite sex coming from two different surroundings, it became social event of fargoing consequences The ancient Indian law-makers looked upon marriage as more of a duty than

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Vol XXII, 1998 SOME MODERN CONCEPTS OF a means of pleasure it was one of the major-acts of refinement (samskaras) One became a house-holder after marriage and was thus authorised to perform duties towards elders, children, society and religion Views about marnage were found transitory and more and more social aspects came to be discussed in connection with marriage One view from Manu's famous text is, 'external laws for husband and wife are to keep them on the path of duty, whether they are separated or united Another famous text that of Narada (3rd CAD), says that the legal rules are laid down regarding marriage and other mutual relations between husband and wife The marriage is discussed here regarding following topics - [1] Choice of bridegroom and bride, [2] man's virility test, [3] forms of marriage, [4] Anuloma and Pratiloma marriage (marriage in direct order of Varnas and in inverse order of Varnas) and social arrangement for their progeny [5] Monogamy, polygamy and polyandry, [6] Divorce and separation, [7] Remarriage, [8] Levilate and sonorate, and [9] Arrangement for the children born without wedlock (1) Choice of bridegroom and bride Manusmrti gives stress on the choice of bride-groom Manu has given in detail the qualities of maiden one should choose as a bride He prescribes the right colour of her eyes and hair, her health, family background and he even wants to consider her names Woman's choice about her life partner is not considered at all A later work, like Naradasmrti, stresses completely on the choice of maiden It is considered important and consent given by the girl is an essential part of marriage Her acceptance of marnage proposal and her consent in clear words is considered as bethrothalo (2) Man's virility test Here a very unique view comes up, which probably is the first of its kind in the smrti literature Young man seeking hand of the maiden had to undergo

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98 SAMBODHI SUNANDA Y SHASTRI physical fitness test including the virility test, after he proposes to the parents of the girl It is said that, "when the fact of his vinlity is placed beyond doubt, he shall obtain the maiden'" Marriage would not take place unless he passed the test The part of maiden's choice and man's virility test bears likeness to the tradition of Swayamvara It is more or less a cross between Swayamvara and an arranged marnage This betrothal is not indissoluble and could be broken if some fault is found in either of the party It could be even broken if a better suitor approaches for the maiden Marriage takes place only with the chanting of mantras with the ritual of joining hands" (3) Forms of Marriage In the sutra and smrti literature, eight different forms of marriage are described They are (1) Brahma Vivaha-It is the one in which a maiden properly decked with ornaments is given to the bridegroom with religious ceremony10 (2) Prajapatya Vivaha-Daughter is given to a virtuous bridegroom with the words, 'fulfil your sacred duties together" (3) Arsa Vivaha-Father of the bride receives a dress, a bull and a cow, by way of a token gift, from the bridegroom and gives his daughter with proper rituals and ceremony (4) Darva Vivaha-Darva means fate During a sacrifice, when the host gives his daughter to the officiating priest in the front of the altar it is called Daiva marriage's (5) Gandharva Vivaha-when a maiden and a young man unite through love and mutual desire, it is called Gandharva marriage" (6) Asura Vivaha-when the price is paid for the bride by the bridegroom, then the bride is given ceremoniously to him, it is Asura marriage's (7) Raksasa Vivaha-Raksasa means a demon. When a girl who is unwilling and resisting is abducted and forcibly marned it is called Raksasa marriage. (8) Paisaca Vivaha-Pisaca means a ghost, or a basest or foulest thing When a girl is approached while she is asleep or intoxicated or mad or unconscious and raped, and consequently married to the person it is called Paisaca form of marriage

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Vol XXII, 1998 SOME MODERN CONCEPTS OF First four forms of marriage are legal, socially acceptable and praiseworthy, according to most lawmakers There are certain and definite opinions about the legality and morality of all marriage forms Manu recognizes first six forms of marnage as legal for Brahmanas Ksatryas and Vasyas can get married as per the last four forms But Paisaca and Asura forms are criticised Last three forms of marriage gave more or less a free hand to Ksatriyas--the military and ruling class of the society They always did not follow the moral code of conduct laid down by Brahmanas The acceptance of Raksasa form is proof of this licence Another peculiar thing about the Parsaca form is that it is legally recognized which is the most condemnable and noteworthy of all That may be probably to give social status and protection to the victimised woman or girl One more facet regarding the legality is found in Narada's treatise Only first four forms are recognised as legal and are prescribed for all orders of men In the law of inheritance of property, only first four lawful forms of marriage are considered Property of a childless woman goes to her husband only, if she is married to him according to any one of the four praiseworthy forms beginning with the Brahma form 16 Common feature in Arsa and Asura form of marriage is bride's price which seems to be paid in both cases Only a token gift of clothes, a cow and a bull is given to the bride's father in Arsa form This practice came into being, probably because, parents of the girl would lose her services once she is gone with her husband and to compensate such losses, the token price was given Price is paid for the bride in the Asura marriage and if higher bid is there from another suitor, then bride is given to him This is actually the sale of the bride and cannot be compared with Arsa marriage In the first four forms there is not much difference. Only the selection of bridegroom differs, but marriage ntual is same Regarding Gandharva and other marriages, Devala has very clearly stated "In marriages under Gandharva and other forms, the nuptial nte is intended to be performed by the members of the three Varnas by an agreement in the presence of the fire " (misalfface faltaalle. Wa: 1 Sam) This implies that in whatever form a maiden is obtained, the legalization and solemnization of the marriage is to be done only after the performance of the rituals with mantras in the presence of the fire

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100 SUNANDA Y SHASTRI SAMBODHI (4) Anuloma and Pratiloma marriages and social arrangement for their progeny The Aryan society was divided into four varnas or classes according to the division of labour, intellectual and physical capacity, likings and inclinations etc The one whose profession is learning and teaching was Brahmana Brahmanas were supposed to learn, teach and preserve Vedic tradition by handing it to worthy students The second varna is Ksatriya-the warmor class or ruling class-who would take the responsibility of protection of people, fight enemies etc The Vaisyas were mainly involved in trading-inland and overseas and agriculture The fourth varna-sudras probably were the labour class people, at times those conquered in the battles and kept to serve three varnas This system was flexible in its early days Later, especially in the smrti penod it became as ngid as could be This flexibility gave birth to the concept of Anuloma and Pratiloma Anuloma marriage is marriage in direct order of the varnas and Pratiloma is marriage in inverse order of varnas Among the varnas, Brahmanas are supenor, next comes Ksatriya and then Vasya and lastly the Sudras Theoretically, all the lawmakers insist on marrying a boy or girl of the same varna" And if the marnage is to be inter-varna then, men are allowed to marry with the women of inferior varna, but women are not allowed to marry men of inferior varna When man marries with the woman of inferior varna, the manage is called Anuloma marrage-marriage in direct order of classes; and if a woman of higher varna marries with the man of inferior varna-then it is pratiloma marriage-marriage in inverse order of varnas Despite of strict rules and social prohibition, human elements like love and passion always played its role and the rules were not strictly followed Intervarna marriages were disliked by the Smrtikaras" Sometimes it is interpreted that the rule about marrying a man or woman of the same varna may be for the first marriage only In case, one has to marry again, for the some or the other reason, then man can take wife from other varna (lower) than his own The mixing of varnas is criticised even in Bhagvadgita19 This rigidity of the varna system gave rise to many social problems The children born of inter-varna marnages were never really accepted in either father's varna, nor the mother's varna These children were supposed to be of different caste than mother and father's The children born through Anuloma

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Vol XXII, 1998 SOME MODERN CONCEPTS OF 101 marriages are called 'Apasada' children Manu has declared nine sons born through Anuloma and Pratiloma marriages The name given below is of that caste by which they are recognized in the society - (1) Ambastha--son born through the union of Brahmana father and Vaisya mother20 (2) Nisada--son of Brahmana father and Sudra mother21 (3) Ugra-son of Ksatriya father and Sudra mother (4) Suta-son of Brahmana mother and Ksatriya father23 (5) Magadha-son of Ksatrtya mother and Vasya father24 (6) Vaidehaka-son of Brahmana mother and Varsya father25 (7) Ayogava--son of Sudra father and Vaisya mother26 (8) Ksattri--son of Sudra father and Ksatriya mother27 (9) Candala-basest of the sons declared by the ancient lawmakers He is born of Brahmana mother and Sudra father28 Again when these castes mix within or with main varnas, then other subcastes are created Detail description of such sub-castes is found in Manusmrti29 It seems that those lawmakers or the intellectual leaders of the contemporary society were anxious to protect pure varna system from defilement They nevei wanted to give the status of mother's or father's varna to the children born of inter-varna In other words it can be said that the system itself became rigid and overpowering for them and the whole society, that they could not penetrate into it to accommodate the new extensions of the society or failed to carve a niche for them Thus many new castes were created and it gave rise to the utter confusion in the society (5) Monogamy, Polygamy and Polyandry As a general rule monogamy seems to be in the practice in the contemporary society Since the wife is called 'Sahadharma-carini' ie who performs duties of family life, religion and rituals with her husband Another thing is, laws about the marriage in all the smrti literature does not indicate that man can have more than one wives Rules about remarriage, i e., when the spouse is deceased or divorced are there, but not one single rule is found about marrying

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SUNANDA Y SHASTRI SAMBODHI 102 again, while the first wife is there alive, hale and hearty Another very important thing is, man has to take an oath at the time of marriage ntual that, 'he would never transgress his wife's privileges in the matters of religion and duties, financial matters and worldly pleasures30 Still, the instances of polygamy are found For instance, King Dasaratha had three wives Famous philosopher Yajnavalkya had two wives--Maitreyi and Katyayani Lord Krsna also had many wives Probably wealthy people and kings might be exceptional cases, but it definitely was not a rule, nor was the practice of polygamy encouraged There are not many instances regarding polyandry There is neither any rule, nor the custom Draupadi's episode is there in the Mahabharata more as an exception than a rule Even at that time it raised a lot of controversy Except in few uncivilized tubes, polyandry did not exist at all in the cultured sections of the Indian society at all times (6) Divorce and Separation Peculiarity of the rule of divorce lies in the prohibition to lodge the complaint, ie husband and wife must not lodge complaints against each other? It is considered a sin, if husband and wife leave each other through mutual dislike32 In a case, where wife commits adultery, then it is not an offence on the husband's part, if he leaves her. He can drive her out of house, or treat her like a slave and her head is shaven 34 There are also punishments for men which are prescnbed for the higher degree criminals35 A man can abandon his wife if she is wasting husband's property on pretext that it is her 'Stridhana', or when she is procuring abortions, or when she is barren, or when she hates her husband, or when she attempts to kill her husband36 It is advised that a woman who always shows malice towards her husband, or who always quarrels, or who gives birth to female progency, or who drinks spirituous liquor, or who is suffering from disease should be abandoned $8 It is obvious that it was a male dominant society where interests of men came before lives of women Regarding women, divorce is allowed to a girl who is faultless, but is unknowingly married to a man having some blemish or fault Then, she can approach the royal court and get her marriage dissolved Her relatives should restore her to a better suitor39 This procedure is more like a nullification of

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Vol XXII, 1998 SOME MODERN CONCEPTS OF 103 marriage The other cause of nullification of marriage is, when husband has gone abroad immediately after marriage and does not return within the three months In such a situation she can marry to another suitor40 Nullification of marriage and instance of remarriage is very clear in these cases If a maiden is abandoned by her husband immediately after marnage ceremony for whatsoever reason, then she should be remarried with another suitor with proper Vedic rituals again" The social justice in this rule is obvious (7) Remarriage Remarriage is advocated for women in the following five classic situations -, viz, (1) If husband is lost and not heard of for a specific period of time, (2) f dead, (3) if he becomes a religious ascetic, (4) if he is impotent and (5) if he is expelled from the caste for heinous crime or sinful actions42 Among them, apart from death, the other four are genuine reasons for divorce and remarriage In all these five cases, a woman's future becomes bleak In act, according to (levirate) Nyoga such women can beget sons to support herself in their old age It is sheer irresponsibility on the men's part in the other cases, except death Begetting a son for a husband who has done no justice to 11s wife, nor cared for her, is not proper The best thing is that she should live her life happily and normally with another man If a man starts leading ascetic ife ignoring worldly responsibilities or does something which makes him outcaste or one who is impotent and knowingly deceives the maiden, do not need any consideration or justice by creating a ksetraja son for him. In case husband is lost, 1e he goes abroad and is not heard for a considerable ength of time, then his wife is supposed to remarry after stipulated period of waiting This waiting period is different for the women of different varnas Waiting period for the women having sons is longer than those not having sons --Brahmana woman should wait for eight years if she is having son, and four years, if she does not have son -Ksatriya woman having son should wait for six years and three years if she has no son -Vaiya woman with son should wait four for years and two years if she is

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104 SUNANDA Y SHASTRI SAMBODHI not having son -For a Sudra woman the period is one year, if she has son and if one without son marries before the stipulated waiting period is over, then no rule is violated in her case13 (8) Levirate and Sonorate By levirate (niyoga) is meant the situation when after the death of a man without progeny, his brother is duty-bound to marry the widow and any children born out of their union are counted as the progeny of the deceased man Levirate was performed not only in the occasion of husband's death, but also in the case of an impotent man who is unable to procreate progeny He allows his wife to beget children through another man, with the permission of elders in the patriarchal society of India, it was always more than a need to continue father's lineage through a male issue A son only can perform rituals for father after father's death Son-biological or legal offers funeral ball-ofrice (pinda) to the dead father It is believed that, after the funeral ball-of-rice is offered, then father would not have to starve in the world of the Manes, thereafter Another thing is that the property remains in the family when there is male issue to continue the lineage Woman was free to decide whether to perform the levirate or not Usually elders of the family and clan would decide in this matter they would order her to perform the levirate and go to her brother-in-law, and have relation with him until a son is born" The rule was,-'one should resort to Niyoga, when there is threat of family's extinction ' Children born without the authorisation of elders are deemed illegalo Sonorate-Husband of a barren woman marries to her sister, and some of the children born to the union are counted as those of the childless wife* (9) Social arrangement for the children born without wedlock Thought is given to the children born through extramantal relations for the sake of inheritance This category consists of the sons, who may not be biological sons of their fathers They are as follows - (1) Ksetraja-A son begotten according to the law of Niyoga on the appointed wife of dead man, or of impotent man, is called ksetraja-one begotten on the field-wife47

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Vol XXII, 1998 SOME MODERN CONCEPTS OF 105 (2) Datrima--A son who is given by his parents to a man, of the same caste and having no issue, with a libation of water is considered as adopted son 48 (3) Krtrima--A son whom a man adopts as his own son and who is of the same caste49 (4) Gudhotpana--When a male child is born in a household and his father's identity is not known, then that child belongs to the husband of his mother 50 Apaviddha--A male child who is deserted by his parents and is taken by another man as his son, he is called 'a cast off son' (6) Kanina--A son born to an unmarried damsel while she is in her father's house This son belongs to him, whom she wedssi (7) Sahodha--Knowingly or unknowingly, when one mamies a pregnant bride, the child of hers belongs to him whom she marries 52 (8) Krtaka-When one buys male child from his father and mother for the sake of a having son, he is called Krtaka son (9) Paunarbhava--A son of a remarried woman by her second husband is classed under this category Lawmakers have given a subtle thought for the placement of such children in the social set up It could be psychologically difficult for any man to accept a pregnant bride or he may abandon her after knowing the fact In the case of 'Gudhotpama' son, if there were not any law to protect such a child, then he would have had to live as an orphan All these children were not disowned Apaviddha son was adopted out of sheer pity and compassion A maiden's son also was looked after in her father's house and law authorised him to officiate as the child's father who marries the maiden Ancient law thus seems to have made provision for such children and made some corrections for some of the human failures FOOTNOTES 1 Rgveda - X. 85 36 2 Rg X. 22-46 3 Manu smrti, IX, 1

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106 4 Naradasmrti, XII, 1 (Abbreviation Nr) 5 Manusmrti - III-1 6 strIpusayostu saMbandhe varaNaM prAg vidhIyate / varamAd grahaNaM pANeH saskAro'tha dvilakSaNaH | Nr XII-2 7 when you you Pedongperari: 1 pumAzcedavikalpena sa kanyA labdhumarhati // Nr XII-8 8 Nr XII 30 9 Nr XII 3 10 Nr XII 40 11 Nr XII 40 12 Nr XII - . - 13 Nr XII 41 - 41 14 Nr XII 42 - SUNANDA Y SHASTRI 15 Nr XII 42 16. strIdhana tadapatyAnA bhartRgAmyaprajAsu tu / brAhmAdiSu catuSbAhuH pitRgAmItareSu ca // Nr XIII - 9 17 sajAti zreyasI bhAryA sajAtizca patiH khiyAH / Nr XII - 4 18 Yajnavalkyasmrti 1-56 19 Bhagavadgita 1-41 20 Manusmrti - X-8 21 Manusmrti - X-8 22 Manusmrti - X-9 23 Manusmrti - X-11 24 Manusmrti - X-11 25 Manusmrti - X-11 26 Manusmrti - X-12 - 27 Manusmrti - X-12 28 Manusmrti - X-12 29 Manusmrti - X-15, 18 30 dharme ca arthe ca kAme ca nAticarAmi / - SAMBODHI

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Vol XXII, 1998 SOME MODERN CONCEPTS OF 107 31 IrSyAsUyasamutve tu sambandhe rAgahetuke / dampatI vivadIyAtA na jJAtiSu na rAjani na rAjani || Nr XII-90 32 Nr XII-90 33 Nr XII-90 34 Nr XII-90-91 35 Nr XII-70 36 Nr XII-92 37 Nr XII-93-94 38 Nr XII-80 39 ajJAtadoSeNoDhA vA nirdoSA nAnyamAzritA / bandhubhi. sAbhiyoktavyA nirbandhuH svayamAzrayet || Nr XII-96 40 pratigRhya ca ya kanyA varo dezAntara vrajet / samatikramya kanyAnya varayedvaram // Nr XII-24 41 Nr XII-46 42 naSTe mRte pravrajite klIbe ya patite patau / paJcasvApatsu nArINA patiranyo vidhIyate INr XII-97 43 Nr XII-98-99 44 Nr XII-82 45 Nr XII-85 46 Encyclopaedia of Social Sciences, vol 10 p 14 47 Manu ZX-167 48 Manu ZX-168 49 Manu1X-169 50 Manu Ex-170 51 Manu1X-172 52 Manu 1x-173 53 Manu ZX-174

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THE VASTU-VIDYA OF VARAHAMIHIRA N. M. Kansara Varahamihira (505 A D) was a scientist of rare merits, who in spite of his regard for ancient traditions and sages, followed always the scientific method In view of his extraordinary and masterly treatment of the subject of astronomy and astrology in all their ramifications, he was held in high esteem by scholars of ancient and medieval India About his greatness Alberuni (11th cent A D ), the Arab scholar and traveller, testified that he had already revealed himself as a man who accurately knew the shape of the world, and on the whole his foot stood firmly on the basis of the truth, and that he clearly spoke out the truth Varahamihira is supposed to have been one of the nine traditional gems in the court of a mythical Vikramaditya?, and is thus stated to be a contemporary of Kalidasa, a poet of unrivalled fame? The Brhatsamhita, usually classed under the astronomical and astrological treatises, is but a semi-Purana, dealing, as it does, with heterogeneous subjects like the Puranas themselves in this treatise there are but five chapters devoted to both architecture and sculpture But the subjects have been treated with a master hand The chapters open with a definition of the science of architecture, and the author goes on to describe, briefly but succinctly and to the point, the sutable building sites, testing of soil, general plan, comparative measures of storeys and doors, and carvings thereon, and other important parts of the buildings The preliminary subjects are described in the opening chapter No 53, entitled "Vastuvidya" Then follows a description of the buildings proper, in chapter No 56, entitled Prasada-laksanam, under the same twenty types as in the Matsyapurana and the Bhavisyapurana, the names and details being identical The preparation of cement is discussed in a separate chapter No 57, entitled Vajralepa-laksanam'. One whole chapter No 79, entitled 'Sayya-laksanam', is devoted to the construction of the necessary articles of house-furniture, such as bedsteads, couches, and seats Quite consistently with a sense of proportion Varahamihira devotes only one chapter No 58, enttled 'Pratima-laksanam' to sculpture, where, too, the details of images are described in a scientific manner

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Vol XXII, 1998 THE VASTU-VIDYA OF VARAHAMIHIRA which is missing in other ancient literature Although he is accused of being in the habit of copying his authonties and appropriating their materials he has mentioned distinctly in his treatise seven architectural authorities, viz, Garga, Manu, Vasistha, Bhaskara, Visvakarman, Nagnajit, and Maya * 109 The word 'vastu' literally means "a place of residence", or a house-site and a house proper Varahamihira uses 'Vastu' in the strictly limited sense of a residential building 5 Varahamihira first gives overall measurements for five kinds of houses meant for a king, army-chief (senapati), ministers (saciva), queens (mahisi), crown-prince (yuvaraja) and his younger brothers, feudatory chiefs (samanta) state officials (raja-purusa), chamberlain (kafcukin), royal courtesans (vesya) and artistes (kalajna), envoys (duta), astrologers, priests and physicians, persons belonging to the four primary classes and sub-classes, treasury and pleasure-house (rati-bhavana) The houses of a king may measure 108, 100, 92, 84, or 76 cubits in breadth, the length being greater than the breadth by a quarter? The houses of an army-chief may measure 64, 58, 52, 46, or 40 cubits broad, their length being one-sixth more than the breadth The house of a minister may measure 60, 56, 52, 48, or 44 cubits broad, the length exceeding the breadth by one-eighth For a crown prince the houses may measure 80, 74, 62 or 56 cubits broad, the length being one-third more than their width The dimensions of the houses of his younger brothers may be half of those of the crown-prince The houses of feudatory chiefs and high state officials are equal to the difference between the houses meant for the king and his minister The best house of this class may measure 48 hastas x 67 hastas and 12 angulas The difference between the houses of a king and his crownprince gives the dimensions for the houses of chamberlains, royal courtesans and artistes, the largest house of this group would thus be 28 h x 28 h 8 a9 Of the houses meant for the royal astrologer, prest and physician, the largest one measured 40 cubits in breadth, the width of the remaining four types for this class decreasing by 4 cubits each in a descending order and their length being greater than the breadth by one-sixth The residences of the officer-incharge of workshops (karmadhyaksa) and of the envoys corresponded to the difference between those prescribed for the crown-prince and the minister The difference between the measures of the residences of a king and his commander gives us the dimensions of treasure-house and pleasure-house as also for the houses meant for superintendents of state departments "The best structure of this class is thus 44 h x 60 h a "

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110 NM KANSARA SAMBODHI The houses meant for the members of the four classes (varnas) measured 32. 28 24, 20, 16 cubits in width, with the provision that a Brahmin could have all the five types of houses, a Ksatrya, the last four; a Vaisya, the last three; and a sudra, the last two The length of these houses of the four varnas exceeded the breadth by one-tenth, one-eighth, one-sixth and one-fourth in a descending order People from the lowest sections of society were to have houses with smaller dimesions Houses with various measures are prescribed for state officials in accordance with their caste According to a general rule laid down for the purpose, a royal officer was to have houses with dimensions equal to the difference between those of the houses of the army-chief and those prescribed for the caste to which he belonged Persons of mixed castes like Parasava could have houses with dimensions equal to a half of those prescribed for both of his parents put together Thus the biggest house of a Parasava would be 26 h wide 12 There was no fixed rule as to the size of the cattle-sheds, residences of ascetics, granary, armoury, a structure for keeping sacrificial fire ablaze and pleasurehouse 13 Besides the proportionate length of individual houses noticed above, it is laid down that the length of a structure consisting of a single room (sala) should be twice its breadth Normally, the height of a building was required to be equal to its width 4 Proportionate measurements for different parts of a structure are laid down in detail A peculiar method of obtaining measures for the hall (sala) and the balcony (alinda) in all the houses, except those of the four castes, was to add 70 to their width and place the sum total separately at two places and then to divide one by 35 and the other by 14, the two quotients thus give measures for the sala and the alinda, respectively As for the houses of the four castes, the sala and the alinda measured 4 h 17 a x 3 h. 19 a for a Brahmin, 4 h 3 x 3h 8 a for a Ksatriya, 3 h 15 a x 2 h 20 a for a Varsya, and 3 h 13 a x 2 h 18 a. or 2 h. 3 a. for a Sudra 15 Outside the house a pathway (vithika) was to be made, its width being onethird of the sala6 The location of the pathway formed a basic of the classification of dwellings Thus, a structure was called Sosnisa, Sayasraya, Savastambha and Susthita according as there was a pathway to its east, west, south or north, and on all sides, respectively In a house consisting of more than one storey, the height of the ground-floor

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lol. XXII, 1998 THE VASTU-VIDYA OF VARAHAMHIRA 111 hould be one-sixteenth of the width with an addition of four cubits, and the height of each of the following storeys (bhumi) should be diminished by onewelfth of the preceding one 18 Chickness of the walls was laid down to be equal to a 1/16th of the total breadth in view of much stress laid on the strength and stability of a house 19 Thus, for instance, the walls of the first type of the royal house would be 6 h 18 . thick As regards the door-way, the breadth of the houses of the king, the army-chief ind others (except) those of the four castes) increased by an eleventh and with in addition of 70, when turned into angulas gives the height of the door-way, ind a half of that its width 20 For the four-caste houses, the width of the doorway could be obtained by adding 18 digits to a 5th of their breadth taken as ingulas and then again adding to it one-eighth of itself, three times this would De its height 21 The thickness of the two side-frames (sakha) of a door is as nany angulas as its altitude numbers in cubits, one and half that measures zives the thickness of the threshold and the upper block (udumbara), and oneaughtieth of seven times the height gives the breadth of all the four pieces 22 Normally, the door was placed in the middle of the front wall and faced a 'ardinal point and never an intermediate direction with a view to prevent obstructions (vedha) to light and air and to provide hygienic conditions it is laid lown that the door should not face a road, tree, corner, well, pillar, mud, god temple), a Brahmin's house and a water sluice 2 In densely populated towns ind villages, it is recommended, in order to avoid difficulties, that the minimum listance between the door and the obstructing object should be twice the height of the door 24 Further the door should not be such as opens or closes by itself, s larger or smaller than the prescribed dimensions, one above another, too narrow or broad, bent, pressed hard by the upper block, bent inward or outward, and stands in a haphazard direction All these defects were believed o augur evil to the landlord or family members 2 The main door (muladvara) Nas embellished by auspicious decorative designs like a pitcher, a bilva fruit, oliage and boughs and the Pramathas 26 As to the columns, Varahamihira has given proportionate dimensions and their nouldings. Thus, its width at the bottom should be equal to 1/80th part of une times its height, and the same decreased by 1/10th its width at the top 27 These measures are meant for the columns supporting the upper storey or roof

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112 NM KANSARA SAMBODHI and not for free-standing columns to which also they can be applied with some minor changes We are asked to divide the entire height of a pillar into nine parts, the pedestal (vahana) being the lowest The second part immediately above it was the one shaped like a pitcher (ghata) The eighth part at the top resembled a lotus flower and was consequently known as Padma or Kamala the ninth part immediately above it being called the Upper Lip (uttarostha) Between the two lower and the two upper parts was the shaft which occupiec five of the nine divisions 28 The pillars were given various names, such as Rucaka, Vajra, Dvivajraka, Pralinaka, and Vetta, in accordance with the shape of the shaft 29 The architraves (bharatulas) were horizontally placed above these columns and their number depended on that of the columns, but their thickness was the same as that of the pillars Cross-beams (tulopatula) were placed above the architraves, and therr thickness was lessened by a quarter 30 These details are of unusual interest for us inasmuch as they throw welcome light on the evolution of the 'Gupta order' 31 The Gupta pedestals are mainly square In spite of this change, names like Ghata, Kamala and Uttarostha were allowed to continue, presumably because they had a history and tradition behind them That the names of the mouldings of pillars are older than Varahamihira is evident from their mention in the Kiranakhyatantra The circular Asokan shaft was replaced by many-sided ones of which the octagonal one seems to have been the most popular It is this evolved form of the shaft that is referred to by Varaharuhira 32 The general plan of a residential house in the days of Varahamihira seems to have been based on a courtyard surrounded by chambers (sala) on one, two, three or four sides He has mentioned five kinds of four-chambered (catuhsala) houses, viz, Sarvatobhadra, an edifice with uninterrupted terraces (alinda) on all the four sides and broken by four doorways, especially recommended for a royal residence and temples, 33 Nandyavarta, a structure with verandahs starting from the wall of the hall and going to its extremity from left to right and with a door on each side except in the west, 34 Vardhamana having the front terrace of the main building extending from the left hall to the right hall, thence another terrace from left to right and thereon again another, and having a door on each side except in the south, 95 Svastika, having an entrance in the east, and a continual western verandah at the ends whereof begin two other verandahs (southern and northern) going from west to east and between the

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Vol XXII, 1998 THE VASTU-VIDYA OF VARAHAMIHIRA extremities of the latter having the fourth terrace (eastern), Rucaka, having two terraces touching the ends in the west and east, and touching these two internally two more and one door on each side except in the north of these Sarvatobhadra was suitable for kings and other persons of eminence, while Nandyavarta and Vardhamana are said to be best for all the Svastika moderate 37 113 Of the three-chambered (trisalaka) houses, Varahamihira has referred to four types, viz, Hiranyagarbha, a three-halled house without a northern hall, Suksetra, a house without an eastern hall, Culli, lacking a southern hall, and Paksaghna, without a hall in the west Out of these the first two are spoken of with approval, while the last two are regarded as inauspicious 38 As for the two-chambered (dv-salaka) houses, Varahamihira has mentioned six types, viz, Siddhartha, Yamasurya, Danda Vata, Grhaculli and Kaca, according as they had chambers in the west and south, west and north, north and east, east and south, east and west, and south and north of these only the first type was considered to be auspicious and the rest inauspicious 39 Varahamihira is very particular in his recommendations about the selection of a site for building a house Thus, he recommends that the soil that is soft, even and of sweet adour and taste, that is not hollow from inside, and that abounds in commendable herbs, trees and creepers is highly suitable for the purpose He advises that a house should not be constructed close to the residence of a minister or a rogue, a temple, a cattya tree and a cremation ground, or facing a cross-road, and on a site shaped like a tortoise and abounding in anthills and holes "Here, he seems to be prompted by the desire to provide an hygienic and peaceful environment and to ensure the durability of the structure Further, he disapproves the presence of water to the east, south-east, south, south-west, west and north-west of a house, while he approves of that to the north and north-east 42 40 He gives us three modes of testing the soil As per the first mode, a circular pir, one cubit in diameter and depth, should be dug in the centre of the site, it should be filled again with the same earth; according as the pit is insufficiently filled, just filled and overfilled, the site in question should be regarded the worst, the moderate and the best respectively As per second mode, the pit should be filled with water which was allowed to remain for the time required for a hundred steps, if the water is not diminished, the site is

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114 NM KANSARA SAMBODHI best suited for erecting a structure And, as per the third mode, if an adhakafull of the earth dug out of the pit weighs 64 palas, the site is fit for construction These instructions too aim at avoiding a porous and loose soul for building a house and are inspired by practical considerations of ensuring the stability of the structure as also that of ascertaining the quantity of water available 43 In modern times, one would be surprised of find Varahamihira prescribing the houses of the four classes in their descending order to be located in the north, east, south and west 4 The reason lies in the then prevalent astrological beliefs Thus, the intermediate directions, were supposed to be presided by the demonesses called Caraki in north-east, Vidari in the north-west, Putana in the south-east and Raksasi in the south-west they were relegated to the out-classes such as Syapacas 45 A piece of land possessing certain properties was though to be specially suited to a particular class In this connection, declivity of a site towards a particular direction, colour, odour and taste of the soil, and the variety of the grass growing over it were taken into consideration Thus, a plot declining towards the north, east, south and west, white, red, yellow and black in colour, smelling like clarified butter, blood, food and wine, sweet, astringent, sour and pungent in taste, and covered by Kusa, sara, durva and kasa grass is recommended for the four classes in a descending order 46 This, and a few other, methods of testing the soil and the practice of relegating it to a particular class on the basis of its declivity, colour, odour and taste were prevalent from very early times as is evident from their mention in the Grhyasutras 47 They are also mentioned in almost all the works of both the northern and southern architectural traditions, indicating their wide-spread popularity and universal operation throughout India 48 After the examination of the soil, the site was ploughed and seeds were sown, evidently to test its fertility Then followed purificatory rites consisting of the stay of the Brahmins and cows there for a night Next, the landlord went to the site at an auspicious moment prescribed by an astrologer, worshipped deities and honoured the architect and the Brahmins Lastly, touching his head, breast, thighs and feet according as he was a Brahmana, Ksatrya, Vaisya or Sudra, he drew a demarcating line which marked the commencement of construction 49 Varahamihira mentions two types of site-plans (pada-vinyasa), viz , the one consisting of eighty-one squares, and the other of sixty-four squares These squares

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THE VASTU-VIDYA OF VARAHAMIHIRA Vol XXII, 1998 were believed to be presided over by forty-five deities, thirty-two of them external and thirteen internal 50 Of these two the second one was specially meant for temples As for the first one, Brahma occupies nine squares in the centre of the remaining deities twenty others, known as dvipada, preside over two compartments each, and four deities, called tripada, occupied three squares each This plan was applicable to all kinds of secular structures, towns and villages " Though Varahamihira refers to only square plans, they could as well be applied to circular, hexangular and sixteen sided structures which are mentioned by him His commentator Utpala is aware of this omission on the part of our author and supplies necessary information about circular and trangular plans from a work of one Bharatamuni 52 The nine meeting points of the diagonals and the exact middle points of the squares (1/8th of a square) were considered to be the most vulnerable points and these together with Brahma-sthana, when hurt >y impure articles, nails, pegs, pillars, etc, were believed to bring trouble to the andlord in the corresponding limbs of his body 53 115 The building site was believed to constitute the body of the House-God Vastunara) He is a male figure and his image should be carved in the likeness of man He should be represented in such a way as to cover the entire site His lead is turned to the north-east and face hung down Different parts of his >ody are occupied by several gods 54 After the selection of the site and the preparation of the ground plan, the next >peration, known as the stone-laying ceremony, consisting of laying blocks of tones first in the south-east and then in the south, south-west, west, northeast, north, north-east and east in order followed, and it marked the :ommencement of building Columns and doors were also erected in a similar nanner 55 Besides mentioning burnt bricks, wood and stone as building materials, /arahamihira describes, in Ch 56 of the Brhatsamhita, four kinds of plaster, viz, wo vajralepas, vajratala and vajrasanghata. Of these vajralepa was composed of he precipitate of unripe tinduka and kapittha fruits, blossoms of silk-cotton tree, eeds of sallaki, skin of dhavana and vaca boiled in a drona of water and reduced o 1/8th of its original volume and finally mixed with resin of a tree (srivatsaka), asa, guggulu, bhallataka, resin of devadaru, resin of sarja, linseed and bilva fruit.5% Another plaster of the same name was prepared in the above manner from lac, esin of devadaru, guggulu, grhadhuma, kernel of the kapittha and bilva fruits, ruits of naga, numba, tinduka and madana, resin of sarja and myrobalan fruit 57

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116 NM KANSARA SAMBODHI The vajratala paste was prepared in the above manner from the horns of cows, buffaloes and goats, hair of donkeys, skins of buffaloes and cows, nimba and kaputtha fruts and rasa 5 The plaster known as vajrasanghata was composed of eight parts of lead, two parts of bell-metal, and one part of iron rust These pastes were applied hot to temples, mansions, windows, linga images, walls and wells, and are said to adhere for an unusually very long time 59 Since the site-plan is inspired to a great extent by religious considerations, oblations were offered to Vastunara and deities of squares, omens interpreted from the appearance of fire, and worship was offered to deities while demarcating a building site 60 Every constituent of a structure was looked upon with a feeling of sanctity, and columns and doors were erected after they were decked with parasols, wreaths, cloths, incenses and ornaments 61 After building was ready, the entrance ceremony was performed as now with great pomp and show, the house was decorated with abundance of flowers, leafed arches and pitchers filled with water, Brahmins recited Vedic hymns and gods were worshipped with incenses, perfumes and oblations 62 Varahamihira has recorded certain beliefs pertaining to the time when the landlord entered a finished or unfinished house, they are prevalent even in modern times, since there is a revival of the Vastundya recently These beliefs are associated with the birds and animals crying harshly or warbling sweet supposed to indicate the presence of a bone or wealth, respectively, inside the earth Similarly, braying of an ass at the time of measuring the sight, a dog or jackal crossing the measuring string, snapping of the measuring string, a peg driven upside down, the architect and the landlord forgetting something, the falling from shoulder, draining away or breaking of a water-jar, birds sticking to columns and doors, and the shaking, fall or misplacement of pillars or doors were believed to indicate some bad omens 63 Varahamihira refers to the architect by the common name sthapati who combined in himself the function of both the engineer and the mason, enjoying a high status, since he was responsible for preparing the ground-plan and for the successful completion of the undertaking 4 REFFERENCES 1 Varahamihura's Brhat-samhita (VBS), Sanskrit Text and English Translation by M. Ramkrishna Bhat, Parts I, Motilal Banarasidass, Delhi 1981, Introduction, p xi 2 India as seen in the Brhastamhita of Varahamthira (ISBV), by Ajay Mitra Shastri,

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Vol XXII, 1998 THE VASTU-VIDYA OF VARAHAMIHIRA 117 Motilal Banarasidass Delhi 1968, p 35 3 Hindu Architecture in India and Abroad by Prasanna Kumara Acharya, Manasara Series Vol Vil, Oxford University Press, London, 1946, p 241 4 Ibid., p 84 5 VBS, 52 1,11,15,22,31,37, 55 9, 1066 6 ISBV, pp 372-373 7 VBS, 524 8 Ibid., 52 5 9 Ibid., 528 10 Ibid., 52 149 11 ISBV, p 374 12 VBS, 52 12-15 13 Ibid., 52 16 14 Ibid., 52 11 15 Ibid., 52 18-19 16 Ibid., 52 20 17 Ibid., 52 20-21 18 Ibid., 52 22 19 Ibid., 52 23, ISBV, P 377 20 VBS, 52 24 21 Ibid., 52 25 22 Ibid., 52 27 23 Ibid., 55 10, ISBV, P 378 24 VBS, 52 74-76 25 Ibid., 52 77-79 26 ISBV, P 378 27 VBS, 52 27 28 ISBV, P 379 29 Ibid., pp 379-380 30 VBS, 52 30 31 ISBV, P 381 32 Ibid., p 382 33 VBS, 52 31, ISBV, pp 382-383 34 VBS, 52 32, ISBV, P 383

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118 NM KANSARA SAMBODHI 35 VBS, 52 33, ISBV, p 383 36 VBS, 52 34, ISBV, P 383 37 VBS, 52 35-35 38 Ibid., 52 37-38, ISBV P 384 39 Ibid., 52 39-41, ISBV, P 384 40 VBS, 52 86 41 lbid, 52 87-88, ISBV, P 384 42 VBS, 52 117, ISBV, P 384 43 ISBV, P 384-385 44 VBS, 52 67-68 45 Ibid., 52 81-82 46 ISBV, P 385 47 Gobhila Grhya Sutra, vu 22 23 48 ISBV, P 386 49 Ibid., p 386 50 VBS, 52 42-50 51 Ibid., 52 7, 70, ISBV 52 Utpala on VBS, 55 56 53 VBS, 52 2-3 54 ISBV, P 390 55 VBS, 52 110-111 56 Ibid., 52 23, 110-111, 56 103, 5-6 57 ISBV, P 391 58 Ibid., P 391 59 Ibid, pp 391-392 60 VBS, 5297, 111 61 Ibid., 52 111 62 Ibid., 52 103-105, 107 63 Ibid., 52 103, 105-109, 112 64 ISBV, p 392 This to acknowledge, with highly due thanks, that I have practically sought to rather abridge the material presented by Dr Ajay Mitra Shastri, Chapter VII of his learned work ISBV

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MEETINGS WITH SHRI KARTIK TRIVEDI N. M. KANSARA The following members of the Non-teaching Staff of the L D Institute of Indology, Ahmedabad, visited Shri Kartik Trivedi, in the underground gallery of the LD museum, Ahmedabad, on the dates mentioned herein this report 1 On 21st February, 1998 Dilip Y Vyas (Accounts Clerk) 17 PM to 18 PM. He gave Kartik a small photograph of his dead sister and asked him to summon the presence of her spirit and get the answers to his questions about the cause of her death The reply was that she was very sensitive and had drunk a poisonous medicine and thereby died she was visiting her house and knocking at the backside door and has given an indication of the glimpse fo her presence to Jayantibhai Vyas confirmed that this was true He also confirmed the fact that she liked the day of Sarad Punam and some members of his family have felt her presence on that day Same date and time . Harshad Kantilal Shah (Head Clerk) He gave Kartik a photograph of his diseased father Immediately Kartik began to speak and told about Shri Kantlal's relation with Jayantibhai, and with Manguben, with whom Kantlal lives on the spirit plane Manguben was Harshad's grandmother Kantial was doing a job under Natvarbhai Patel There was no question of Manguben ever troubling Harshad or his family; she was a pious soul This was confirmed by Harshad 3. Same date and time . Dalpatsimha P. Chauhan (Clerk) He gave Kartik a photograph of Dungarsimha, the husband of Dalpatsimha's wife's sister, who had died some time back. Kartik got the reply from the spirit of the deceased that he was not murdered, but had died a natural death As regards the spirit's wish, he told that since he was devoted to a goddess they should offer five sweetballs to her He lives in the spirit world Same date, 19 P M. : Urmila Brahmbhatt She gave Kartik a photograph of her father-in-law, Vitthaladas C Brahmbhatt, and asked about the last wishes of the deceased in the course of his clairaudience with the deceased kartik mentioned the names of Padmaben, at present in U K., and of Rameshbhai, at present in U S.A., both of which were closely related with the deceased, but Kartik uttered them as having heard from her father-in-law Kartik was not expected to know the names of these persons, unless he heard their names from the deceased father-in-law On 20th February, 1998 : Mangaji Jugalji Parmar (Head Peon) : 17 P. M. He handed over a photograph of his deceased brother Natvarlal Jesingbhai Parmar (cousin brother) to Kartik, and the latter began to mention the names like Jasvantbhal (a fast friend of Natvarlal), Dalap at Dayaram (an affectionate gardener), Vasant (the

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120 NM KANSARA SAMBODHI driver of his boss in Bombay who used to knock him with his palm thrice or four times in the morning and evening, Kartik further revealed that Natvarlal (who lived in Bornbay for about 35 to 40 years and served as cook of actors and actresses) is happy in the above world of spirits and still wishes to help people as much as possible all this tallied with the information which Mangaji had about his brother Some time in the first week of March, 1998 * Dr D. G Vedia, Professor of Sanskrit, Uttar Gujarat University, Patan about 3 PM Dr Vedia gave Kartik a photograph of Kusum, the deceased wife of his son Nikhil Kartik revealed that she was living in spirit world with some lady relatives whose name began with R, and was happy that they should not worry about her, and that Kusum had no objection of Nikhil married again 7 On 10th March, 1998. Premila Mukundbhat Kansara, 9.45, A M. All the three of us, i e, Premila (my wife's sister), Niranjana (my wife) and myself (N M Kansara) went to see Kartik. We handed over to him a photograph of Jijna, the deceased young daughter of Premila Kartik attuned himself with her spirit and revealed that she mentioned the names of Pareshbhai, Jyotiben, Lataben, Vidyaben, whom Premila did not know But when the names of Babulal (Premila's brother), Pravinbhai (their neighbour), Ronak (the brother of Jigna's husband's elder brother's wife), Pradyumnabhai (another neighbour or acquaintance at whose house Jijna used to go for seeing or enjoying TV programmes), Zarina, Mayaben, Rama, Rashmi etc, these tallied with the living or dead friends of Jijna On 13th March, 1998. Prof. Kapadia, Prof. Kanjibhai Patel, Dr Jitubhai Shah and Prof. Kansara about 17 P. M. All the four of us went to meet Kartika, and we found him sitting in the chamber of the museum curator Shri Lalitkumar in the L D Musium We presented to Kartika a typed and bound volume of the doctoral dissertation of Prof Vasantbhai Parikh of Amreli About hundred and eleven pages in the beginning and about ten pages at the end were torn out and removed from it We requested Kartik to identify and locate the person with whom this disjoined material of about 21 pages was lying He said the material was in Patan and some scholar, whose name began with M had taken it, it was likely to be sold to some Germans When we further requested him to try to locate if there was a copy of the thesis in Ahmedabad, after some effort he located it in the Gujarat University And, both Dr Jitubhai and myself (Kansara) had actually gone to the Gujarat University Liberary and located and seen a copy of it on the previous day to verify as to how many pages and containing what matter were missing 1 This was our attempt to test Kartika in slightly different field of retrieving lost things II (Prof Ujamshi Kapadia is co-ordinator, Prof Kanjibhai is the Administrator and Dr Jitendra B Shah is the Director of the L D Institute of Indology, Ahmedabad) N M. Kansara

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sarvAnandasUrikRta zrIjagaDUcarita mahAkAvya - samIkSA govindalAla zaM. zAha madhyakAlIna gujarAta meM jina jaina kavioM ne saskRta meM sAhitya sarjana kiyA ina meM dhanaprabhasUri ke ziSya sarvAnandasUri bhI eka haiM / jagaDUzAha yA jagaDUzA yA sirpha jagaDU nAma se suvidita zrImAlI zrAvaka vaNika vyApArI vi. saM. 14vIM zatAbdI meM ho gaye, jinhoM ne sAhasa eva deza-videza ke vyApAra se-khAsatora se kahA jAya to samudra pAra ke jahAjI vyApAra se-dhanasapatti ajita kI thii| isa jaina zreSThI ne tatkAlIna kaccha, kAThiyAvADa, siMdha, gujarAta Adi pradeza meM akAla-durbhikSa ke tIna-cAra sAla taka apane nijI koThAroM meM se annadAna dekara tathA dravya, vastra aura pAtra kA dAna karake janatA kI sevA kI thI / maraNAsanna manuSyoM aura pazuoM ko jIvanadhAraNa karane meM sahAyatA kI thii| jagaDU ne kaccha ke bhadrezvara meM jinamandiroM kA nirmANa karavAyA thA / jagaDU ke bAre meM aneka kiMvadantiyA~ pracalita haiM / isase jagaDU dantakathAprathita vyakti (legendary figure) lagatA hai / vaoNTasana 'kAThiyAvADa gejheTiyara' meM likhate haiM ki i. sa. 1559 (saM. 1615) meM jo akAla paDA thA vaha 'jagaDUzA kA akAla' kahA jAtA hai / rAjakoTa meM AjI nadI ke pUrva taTa para jo minAre haiM ve 'jagaDUzA ke minAre' kahe jAte hai / sarvAnandasUri ne isa mahAkAvya meM akAla ke jina varSoM kA ullekha kiyA hai isake sAtha yaha samaya kA mela nahIM hai| mA jAmanagara jilA meM samudra taTa para harSadamAtA yAne harasiddhamAtA kA mandira hai isake sAtha jagaDUzA kI balidAna kI kathAeM juDI huI hai inakA koI nirdeza isa mahAkAvya meM nahIM hai / eka paramparA anusAra jagaDUzA kaccha ke vAgaDa pradeza meM kaMthakoTa gA~va ke the aura bhadrezvara nagara meM Akara base the / anya paramparA jUnAgaDha ke gIra pradeza ko jagaDUzA kA janmasthAna mAnatI hai| mahAna dharmAtmA, zaravIra, dIrghadRSTi sapanna, udAra dAtA, ahiMsA ke ArAdhaka, bhAgyavAna seTha jagaDU ko nAyaka banAkara sarvAnandasUri ne 'zrIjagaDUcarita' nAmaka aitihAsika mahAkAvya likhA hai jisa meM sAta sarga aura 388 zloka haiM / byUlera ke hastaprata viSayaka riporTa 2/284 meM isa grathakA nirdeza hai / byUlara ne isa carita kAvya ke aitihAsika aza, apanI TippaNI ke sAtha prakAzita kiye haiN| mohanalAla DI desAI ke anusAra visaladeva ke samaya savat 1312 se 1315 meM jabara duSkAla paDA, usa vakta kaccha ke bhadrezvara ke zrImAlI jaina jagaDUzAha ne siMdha, kAzI, gujarAta Adi dezoM meM bahuta anna dekara dAnazAlAe~ zurU kI thI aura tIna sAla taka duSkAla kA sakaTa kA nivAraNa kiyA thA /

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122 govindalAla zaM zAha SAMBODI 'zrIjagaDUcarita' para eka lekha meM kRSNalAla mo. jhaverI ne likhA hai ki lokakI rahanasahana, de kI sthiti, eva nAyaka kA vRttAMta kA varNana, vAcaka ko isa samayakA yathArtha darzana karavAtA hai kaMthakoTa, bhadrezvara Adi nagaroM ke varNana ke AdhAra para ve sthAyI vibhUti se usa samaya kita samRddhivAna the yaha spaSTa hotA haiM / 'zrIjagaDUcarita' kA kathAnaka saMkSepa meM isa prakAra hai / sarga 1:- sarga kA nAma 'vIyadupabhRti-pUrvapuruSa-vyAvarNana' hai| isameM 45 zloka haiN| " zreyase bhavatu pArzvajinAdhinAthaH" ina zabdoM se yaha mahAkAvya kA Arambha AzIrvAda se hotA hai| pratha sAta zlokoM meM pArzvanAtha, sarasvatI, guru dhana prabhasUri tathA RSabhadeva ko namaskAra kiye gaye haiM a satpuruSoM ke bAre meM kahA gayA hai / kathAvastu kA Arambha karate samaya hI kavi ne apanI kAvyaprati' kA paricaya isa zloka meM diyA hai| "lakSmIstaraGgataralApavanaprakampazrIvRkSapatranibhamAyurihAGgabhAjAm / tAruNyameva navazAradasAMdhyarAgaprAya sthirA sukRtajA kila kItireSA // zloka 24 taka apane caritra nAyaka jagaDU ke guNoM kI prazaMsA calatI hai / zloka 2 se jagaDU ke pUrvajoM kA varNana hai / "zrImAlavaMza iha merurivonnato'sti ..." / isa vaza meM vIyA varaNAga, vAsa nAmaka putraparaMparA calI / vAsa ke pA~ca putra zrI vIsala Adi the| zrI vIsala / cAra putra the jina meM se eka sola nAmaka putra thA / kavi sarvAnanda ne pUrvajoM ke sadagaNoM kA varNa kiyA hai| anta meM puSpikA meM 'zrIjagaDUcarita' ko mahAkAvya kahA hai / sarga 2 :- sarga kA nAma 'bhadrezvarapura-vyAvarNana' hai / isameM 24 zloka haiM / zloka 1 24 taka bhadrezvara nagarI kA sundara varNana hai / udA. mahApurandhIkaradarpaNAbhaM mahemyalokaH paribhAsamAnam / astIha bhadrezvaranAmadheyaM puraM varaM kacchakRtaikazobham // (4) isa nagarI kI rakSA ke liye zeSanAga, devamandiroM me ghaNyanAda, samudrataTa, vaNikoM kI hA meM suvarNa aura ratna ke Dhera, nagarI ke zaukIna taruNoM, mRganayanI strIoM ke madhuragAna Adi kA varNa hai / nagarI bhogavatI, amarAvatI, alakA se utkRSTa thI / agurucandana ke dhUpa, madhurabhRdaGga, krIDAzuva kI mAninI ko mAna choDakara bhoga karane kI salAha Adi kA bhI varNana hai| yahA~ kucha zRMgArie zloka bhI hai / udA. "prAsAda para baiThe kabUtaroM ke pAsa se navavadhUoM apane ratisamaya ke sunra huMkAra sIkhatI thI" / jaba patine kaTivastra ko hAtha se khIMca liyA hai tababhI sacce padmarAgarmA jaDita gRha kI kAnti se zarIra AcchAdita hone ke kAraNa kamalAkSI lajjita nahIM hotI thii| isa nagara meM manuSyoM puNyabuddhivAle the, deva aura guru matsararahita dikhAI dete the / vahA~ ra manuSya parvata kI taraha unnata evaM sthiratA se zobhita the / 11

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Vol XXII, 1998 sarvAnandasUrikRta zrIjagaDUcarita.. 123 badaragAhavAle isa nagara meM jagaDU ke pitA sola ne 'kathakoTa choDakara, jyAdA saMpatti prApta karane ke liye sakuTumba nivAsa kiyA / sarga 3 :- isa sarga kA nAma 'ratnAkara-varadAna-vyAvarNana' hai / sarga meM 61 zloka haiM / Aramma meM sola ke tIna putra, jagaDU, rAja aura padma kA aura unakI patnIoM kramazaH yazomatI, rAjalladevI aura padmA kA kAvyAtmaka varNana hai / bAda meM jagaDU ko, bakarA ke kaTha meM bA~dhA huA maNi kI pUjA karane se, lakSmI kI vRddhi kA varNana hai| jagaDU kI putrI prItimatI kA yazodeva ke sAtha lagna tathA durbhAgya se usakI yuvAvaya meM mRtyu kA nirUpaNa hai| jagaDU pragatizIla evaM krAntikArI vicAra ke the / 14 vIM zatAbdI meM vidhavA kA punarvivAha kA vicAra-krAntikArI lagatA hai| putrI kA punarlagna ke liye jagaDU ne apanI jJAti se saMmati prApta kI lekina apane kuTumba kI do vRddha mahilAoM kA virodha hone ke kAraNa vicAra ko kAryAnvita nahIM kiyA / tInoM bhAIoM kI yahA~ putra saMtati nahIM thI / jagaDU ciMtita rahatA thA / sAta dina upavAsa karake naivedya dharakara samudra ke deva varuNadeva kI / ArAdhanA kI jagaDU ne prasanna varuNa se vazavRddhi kara putra tathA dhanavRddhikara ghana mA~gA / varuNa ne kahA 'tere bhAgya meM putra nahIM hai, lakSmI tere yahA~ sthira rahegI, tere jahAjoM ko samudra meM kabhI nukasAna nahIM hogA / tathA bhAI rAja ke yahA~ do putra aura eka putrI hoNge| isa prakAra kA varadAna tathA ratna dekara deva aMtardhAna ho gaye / jagaDU subaha ghara ko lauTa / isa sarga meM putra saMtati ke bAre meM acche zloka haiM / 2 nizAnta aura sUryodaya kA kavi ne sundara prakRtivarNana kiyA hai / sarga 4:- sarga kA nAma 'bhadrAsuradarzana' hai| isameM 36 zloka haiM / jagaDU seTha kA ekasevaka jayaMtasiMha yAne jetasI jagaDU ke liye dhana kamAne ke liye samudra pAra karake Ardrapura (eDana) phuuNcaa| vahA~ rAjA ko naz2arAnA dekara prasanna karake kirAyA para vizAla makAna lekara rahatA thA / eka bAra samudra taTa para eka baDA paththara kharIda ne ke bAre meM stambhapurI-khabhAta ke turka ke sevaka kArANI ke sAtha Takkara ho gii| donoM kImata baThAte cale / tIla lAkha dInAra turanta dekara jetasI ne turka kA parAjaya kiyaa| jetasI anya koI sAmAna liye binA jahAja meM kevala paththara lekara bhadrapura vApasa AyA / videza meM pratiSThA banAI ata: jagaDU ne vIMTI tathA rezamIvastra dekara jetasI kA sanmAna kiyaa| usakI mAsika Aya baDhAI / tIna lAkha dInAra kA paththara ghara ke Agana meM hi rakhA / nagaradevatA bhadradeva yogIndra kA rUpa lekara jagaDU ke ghara Aye / yaugika zakti se dekhanevAle bhadradeva ne paththara ghara meM maMgavAkara tIkSNa zastra se toDane ke kahA / aisA karane para zilA ke do

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124 govindalAla zaM zAha SAMBODHI bhAga ho gaye / aneka divya ratnoM kI pakti dRSTigocara huI / rAjA dilIpa ne ratna andara rakhe the aisA tAmralekha bhI milA / bhadradeva antardhAna ho gaye / dinapratidina jagaDU kI samRddhi baThatI rahI / unake yaza kA kAvyAtmaka varNana hai / / sarga-5 .- isa sarga kA nAma 'pIThadeva narapati darpadalana' hai| isameM 42 zloka haiN| maryAdA choDakara Age baThanevAlI pralayakAlIna samudra jaisA, pArakara deza kA rAjA pIDhadeva, sainya kI uThatI dhUli se sUrya ko AcchAdita karatA huA kacchadeza ko khadeDatA huA bhadrezvara para AkramaNa le aayaa| solakI vaza ke rAjA bhImadeva ne durga banavAyA thaa| pIThadeva usako toDakara, lUTa calAkara vApasa calA gayA / jagaDa ne nagaradarga kA punarnimANa zurU kiyA / yaha jAnakara pIThadeva ne dUta bhejakara jagaDU ko manA karate hue kahA, "zRGgadvaya cet kharamUkhribhAvi, tadA vidhAtAsi ca vapramatra // 2 jagar3ha ne pratyuttara bhejA "kharasya zRGge viracayya mUrdhni durga kariSye vihitaprayatnaH // 14 dUta ne samajhAyA ki balavAna pIThadeva ke sAtha spardhA karake, dravya ke abhimAna meM Apako kula kA vinAza nahIM karanA cAhie / "pazya pradIpasya vibhA vilokya patan pataGgo labhate vinAzam // "5 pratijJA pUrNa karane ke liye jagaDU ne umadA naz2arAnA lekara aNahilapura ke rAjA lavaNaprasAda se bheTa kii| rAjA ko stuti aura dhanase satuSTa karake kahA, "jisa taraha jala kA pravAha saritA taTa ko toDatA hai| usI taraha Apake pUrvaja bhIma ne jo banavAyA thA vaha durga pIThadeva ne toDA hai| mujhe kSatriyoM ke baDe 36 kula meM utpanna yoddhAoM kA sainya vahA~ rakhane ke liye dIjiye / bhadrezvara meM lavaNaprasAda kA sainya jagaDU kI sAtha hai aisA jAnakara pIThadeva bhAga calA / cha mAsa meM durga bana gayA / jagaDU ne nayA sainya gaThita kiyA tathA lavaNaprasAda kA sainya vApasa bhejaa| durga meM do sIMga vAlA gadhA kA paththara kA zilpa banavAyA / pIThadeva ke sAtha saMdhi karake jagar3a ne pIThadeva ko nimatrita karake satkAra kiyA / mAna khaDita hone ke kAraNa AghAta se pIDita pIThadeva ke mukha meM se rudhira nikala AyA aura vaha mara gayA / isa taraha jagaDU ne pIThadeva kA abhimAna toDA / sarga 6 :- isa sarga kA nAma 'sakalajanasajIvana' hai| isameM 132 zloka haiM / Arambha meM jaina AcArya paramadeva ke tapa evaM camatkAra kA varNana hai| paramadeva jaba bhadrezvara Aye taba jagar3a ne unakA pUjA-satkAra kiyA / paramadeva se nitya upadeza zrAvaNa karane se jagaDU ko dharma ke prati prIti huii| jagaDU paramadeva ke sAtha sagha lekara giranAra tathA zejuMjaya kI yAtrA ke liye nikalA / sAtha meM caturaga senA bhI thii| kavi ne saghaprayANa kA yAcakoM ko anna, vastra, pAtra ke dAna kA bIca meM AnevAle jaina daherAsaroM kA jIrNoddhAra tathA dhvajArohaNa kA sarasa varNana kiyA hai / jagaDU ne bhadrezvara vApasa Akara vIranAtha ke madira para suvarNakalaza tathA suvarNadaNDa kI sthApanA kI / sundara aSTApada jinamadira apane parivAra ke logoM kA kalyANa ke liye banavAyA / jagaDU ne tAlAboM aura vATikAoM kI navaracanA krvaaii| pUjA ke puSpoM ke liye udyAna banavAyA / kapilakoTA

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Vol XXII, 1998 sarvAnandasUrikRta zrIjagaDUcarita 125 meM nemimAdhava maMdira, kunnaDa meM harizakara madira, DhA~ka(saurASTra) meM AdinAtha madira tathA vardhamAna (vaDhavANa) meM aSTApada daherAsara banavAyA / zatavATI nagarI meM RSabhadeva kA daherAsara banavAyA / zetrujaya para sAta daherI, pauSadha zAlA, zaMkhezvara pArzvanAtha ke do rajatapAda, pittala kA devAlaya, guru ke zayana ke liye tAmrapalaga banavAye / khImalI meM masjida banavAyI / paramadeva kA zrISeNa nAmaka ziSya ko utsava ke sAtha AcAryapadavI dI / rAjA ke sainya dvArA mughala logoM ko jItakara zAti sthApita kii| ekadA paramadeva guru ne jagaDU ko ekAta meM kahA dvIndvagni candravarSeSu vyatIteSvatha vikramAt / dubhikSaM sarvadezeSu bhAvi varSatrayAvadhi // apane pravINa anucara bhejakara sabha dezoM meM sabhI tarahake dhAnya kA saMgraha karane ko guru ne khaa| jagata ke logoM ko jIvanadAna dekara yaza prApta karanA cAhiye / jagaDU ne guruvacana ko sara para rkhaa| pUrA Ayojana karake aneka dezoM meM dhAnya kA sagraha kiyA / sacamuca akAla par3A / duSkAla ke do varSa kaSTa se pasAra hue / rAjAoM ke koThAroM meM bhI dhAnya nahIM bacA thA / eka dramma(cavannI) se canA ke teraha dAneM milate the / dAna, dayA aura yuddha ye tIna prakAra kI vIratA prApta zrImAlavaza ke ratna jagaDU ne lAvaNaprasAda ke putra vIsaladeva ko anna ke ATha haz2Ara kothale diye / 10 somezvara Adi kaviyoM ne jagaDU kI prazaMsA kI / sarvAnandasUrine bhI "zrI zrImAlakalodayakSitidharA "18 zloka meM prazasA kAvyAtmaka zailI meM kI hai| anya kAvyAtmaka aura prazasAtmaka zlokoM meM bali, ziva, viSNu govardhanadhara kRSNa, diggajoM, pazcima kI gagA, dhanvantari Adi ke sandarbha meM upamA, vyatireka, rUpaka Adi alaMkAroM se jagaDU kA varNana huA hai| jagaDU ne kaunase rAjA ko kitanI sahAya kI thI isake bAre meM aitihAsika mAhitI isa kAvya meM dI gaI hai| "siMdha ke rAjA hamIra ko dhAnya ke 12000 kothale, ujjaina ke rAjA madanavarmana ko dhAnya ke 18000 kothale, dilhI(garjaneza) ke sulatAna mojauddIna ko dhAnya ke 21000 kothale, kAzI ke rAjA pratApasiMha ko dhAnya ke 32000 kothale, kaMdhAra deza ke sadhila rAjA ko dhAnya ke 12000 kothale dAna meM diye the / 9 jagaDU ne dhAnya ko vitaraNa ho sake isaliye 112 dAnazAlAe~ banavAI thI / 20 jagar3a ne 9,99,000 dhAnya ke kothale tathA aThAraha karoDa dAma yAcakoM ko duSkAla ke samaya diye the|29 sarga-7 :- sarga kA nAma 'triviSTapa prApaNaH' hai / isa sarga meM 39 zloka haiM / tIna varSa bAda acchI vRSTi huI / kavi varNana karate hai - "ambhodharAnatitanIlakaNThAH svagarjanacchadmamadanAdAH /

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126 SAMBODH govindalAla zaM zAha saccAtakavrAtaravacchalena gustarAM zrIjagaDUyazAMsi // 22 bIsaladeva rAjA kA maMtrI nAgaDa ne jagaDU se apanA azva dene kI mA~ga kI, jo jagaDU amAnya kI / jaba zrISeNasUri nAga ke bAre meM carcA kara rahe the taba ApakA kaMthakoTa ke eka yogI va sAtha vivAda, zrISeNasUri kA apane yogabala se apane deha meM nAgadaMza kA viSaprasAra rokanA, suMdarastotra gAna, sAta dinoM bAda yogI kA usI nAga ke daza se mRtyu Adi camatkArika prasaMga kA varNana hai jagaDU kI zrISeNasUri para zraddhA baDhatI rhii| zrISeNasUri ke pAsa se dharmatattva sUnakara jagajja kA uddhAra karane vAlA jagaDU apanI Ayu pUrI karake hari ke locana ko pAvana karane ke li svarga meM gaye / taba logoM ko lagA kI Aja hI bali, zibi, vikrama, jImUtavAhana, bhoja svarga meM gayeM zoka ke kAraNa dilhIpati ne mastaka para se mukuTa nIce utArA, vIsaladeva ke putra arjuna ne atizaya rudana kiyA / siMdhapati hamIra ne do dina taka anna nahIM khaayaa| sabhI rAjAoM ne zoka manAyA jagaDU ke rAja aura padma nAmaka do bhAI guru vacana se bhArI zoka kA tyAga karake dharmakArya meM agresara rahe aura rAjA se sanmAnita rahate the / zarada pUrNimA ke candra ke kampita kiraNa jaisI ujjvala aura jAjvalyamAna kIrti ke prakAza se pRthvI ko nirmala karane vAle aura zrISeNasUrIndra ke caraNa dvandva kI sevA meM tatpara aise zrIsaMgha ke una donoM agraNIoM ne zrImAna visala kA samagra kula ko bahuta samaya taka suzobhita kiyA / samIkSA :- (1) mahAkAvyattva AcArya daNDI ne kAvyAdarza tathA vizvanAtha ne 'sAhityadarpaNa' meM 24 tathA anya AlakArikoM ne saMskRta mahAkAvya ke lakSaNa diye haiM / 'zrIjagaDUcarita' kI parIkSA ina lakSaNoM ke pariprekSya meM hama kara sakate haiM / kavi sarvAnandasUri ne 'zrIjagaDUcarita' ko, pratyeka sarga kI puSpikA meM mahAkAvya kahA hai| yaha mahAkAvya sargabaddha hai / sAta sarga hone ke kAraNa vizvanAtha kA 'aSTayadhikAH sargA:' tathA 'IzAna saMhitA' kA 'aSTasargAt na nyUnam' lakSaNa 'zrIjagaDUcarita' meM nahIM dikhAI detA / dvitIya saMrga meM tIsa se kama zlokasaMkhyA hai / anya sarga meM isase jyAdA hai / isa mahAkAvya kA Arambha AzIrvAdAtmaka hai / kathAvastu ke bAre meM 'anyad vApi sadAzrayam, 'anyada vA sajjanAzrayam' lakSaNa lAgu hotA hai / nAyaka jagaDU hai jisakA janma sadvaza meM huA hai aura jo 'dhIrodAttaguNAnvitaH hai| nAyaka catura aura udAtta bhI hai /

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Vol XXII, 1998 sarvAnandasUrikRta zrIjagaDUcarita. 127 isa mahAkAvya kA pradhAna rasa dayAvIra prakAra kA vIrarasa hai| zRgAra tathA zAntarasa gauNa haiM / camatkArika prasaga nirUpaNa meM adbhuta rasa hai / jagaDU ke janma se lekara mRtyu taka kI kathA samagra kAvya meM varNita hone ke kAraNa mukhya, pratimukha, garbha, vimarza, nirvahaNa nAmaka nATakasandhi haiN| pratyeka sarga eka vRtta meM aura anta meM vRttaparivartana huA hai, kahIM bIca meM bhI bhinnavRtta pAyA jAtA hai / turka kA sevaka kArANI, pArakara kA pIThadeva, kathakoTa kA yogI Adi durjanoM kI nindA kI gaI hai / paramadeva, zrISeNasUri Adi sajjanoM kI prazasA hai| bhadrezvaranagarI kA varNana, samudra kI ArAdhanA prasaga para rAtri eva prabhAta kA varNana, duSkAla ke bAda meghavarSA honepara prakRti kA varNana hai| nizAnta aura sUryodaya kA kavi ne sadara prakRti varNana isa zloka meM kiyA hai / udA. prasvedabindunibhanirgaladacchatArA vizvastamecakatamo vasanA nikAmam / kokAmbujanmanivahe vihitAparAdhA zIghraM yayau ravibhiyeva nizA pizAcI // lokaraJjaka bananekI kSamatA, kAvyAnanda dene kI kSamatA isa mahAkAvya ke pAsa hai| upamA, rUpaka, atizayokti, arthAntaranyAsa, apahanuti Adi alaMkAra isa kAvya meM pAye jAte haiN| nAyaka ke nAma se mahAkAvya kA zIrSaka rakhA gayA hai / sarga kI kathA anusAra sarga ke nAma diye gaye haiM / isa mahAkAvya caturvarga phala se yukta hai| nAyaka jagaDU kA jIvana dharma, artha, kAma aura mokSa caturvarga puruSArtha kA dRSyanta hai| kAvya meM jainadharma kA vAtAvaraNa hai| kisI eka lakSaNa kI kamI hone para bhI 'zrIjagaDUcarita' sarala zailI meM likhA huA mahAkAvya hai| jaina dharma kA vAtAvaraNa :- isa mahAkAvya meM jaina parivAra kI kathA hai| jagaDU seTha ke pUrvaja vIyahu, varaNAga, vAsa, zrIvIsala, vIradeva, nemi, cAMdU, zrIvatsa, lakSa, sulakSaNa, sola, sohI dharmaparAyaNa jaina the / zetrujaya aura giranAra kI yAtrAe~, RSabhadeva kI sevA, paropakAra aura vyApAra ke sAtha inakA sambandha rahA thA / jagaDU ke pitAjI sola sAta tattvoM ko jAnanevAle, sAta pavitra kSetroM meM dravya kA vyaya karanevAle, sAta narka ke bhaya se rahita the / 26 paramadeva nAmaka jaina guru kA AcAmlavardhamAna vrata kA nirdeza hai / isa ko AmbIla vrata bhI kahA jAtA hai / isa vrata meM tela. ghata. dagdha. dadhi rahita. rasavarjita bhojana liyA jAtA hai / mASa(ur3ada) ko pAnI meM bhIgoye rakhakara isakA bhojana kiyA jAtA hai / paramadeva AcArya ne sagha meM vighna karanevAle sAta yakSoM ko zakhezvara pArzvanAtha meM upadeza diyA tathA durjanazalya rAjA kA kuSTharoga miTAyA thA / AcArya paramadeva, iryA, bhASA, eSaNA, AdAna nikSepaNa, Alokita pAnabhojana-ye pA~ca samIti tathA mana, vacana, kAya ye tIna gupti kA AzrayabhUta honevAle, 17 prakAra ko saMyama kA pAlana karanevAle, sarva bhavya puruSoM ko upadeza denevAle the| paramadeva ke kAraNa jagaDU ko dharma meM prIti huI / paramadeva jIva,, ajIva, Azrava, bandha, savara, nirjarA aura mokSa-ye saptatattvI vidyA kA prakAza karane vAle the / jagaDU ne saMghayAtrA kI / paramadeva ne saMghayAtrA meM jagaDU kA saMgha ke adhipati ke rUpa meM tilaka kiyA /

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128 govindalAla zaM zAha SAMBODHI jena madiro para dhvaja AropaNa, zetrujaya, giranAra ke jaina madiroM kI yAtrA, 24 tIrthaMkaroM kI matavAle aSTApada daherAsara baeNdhavAnA, RSabhadeva kA daherAsara badhavAnA, jisa meM anna, vastra, pustakoM ke sAtha paDhane kA itejAma hotA hai aisI pauSadhazAlA kA nirmANa karavAnA, paramadeva kA ziSya zrISeNa ko AcAryapadavI kA utsava, AnevAle tIla sAla meM durbhikSa honevAlA hai aisA jAnanevAlI paramadeva kI jyotiSa vidyA yA yaugika vidyA, zrISeNasUri kA yogI ke sAtha sarpavidyA ke bAre meM vivAda, nAgadaza kA viSaprasAra thAmanA, rAja aura padma kI gurUpadeza tathA dharmakArya meM zraddhA isa mahAkAvya kA jaina vAtAvaraNa para-pariveza para-prakAza DAlate haiM / pAtrAlekhana .- kavi sarvAnanda ne nAyaka jagaDU kA caritracitraNa vistAra se kiyA hai| yaha aitihAsika mahAkAvya hone ke kAraNa isameM atizayokti honA sabhava hai / jagaDU ke dharmaniSTha pUrvaja, bhAgyavazAt maNiprApti se vRddhi, samudradeva ke varadAna se lakSmI kI vRddhi, bhadradeva kI kRpA se patthara me chipe hue ratnoM kI prApti, anya deza ke rAjAoM ke yahA~ bhI jagaDU seTha kA AdaraNIya sthAna, gujarAta kI mahAjana paraparA kA pratinidhi jagaDU ne yukti se kiyA huA pIThadeva kA parAbhava, jaina AcAryoM aura dharma prati sapUrNa zraddhA, saghayAtrA tathA daherAsara Adi ke nirmANa ke liye dravya kA dAna, duSkAla meM aneka dezoM ke rAjAoM ko tathA janatA ko annadAna meM vyakta dAnavIra jagaDU kI karuNA ityAdi guNoM ko prakAzita karane meM kavi saphala rahe haiM / isa mahAkAvya meM jetasI, turka kA anucara kArANI, pIThadeva, parama-devasUri, yogI, lavaNaprasAda, hamIra, vizaladeva vAghelA zrISeNasUri, maMtrI jAgaDa, jagaDU kI patnI yazomatI, putrI prItimatI, rAjaladevI Adi gauNa pAtra haiM / bhASA-zailI-vyAkaraNa :- 'zrIjagaDUcarita' kI saMskRta bhASA mahadaMza sarala hai / varNAtmaka zlokoM meM bhASA samAsayukta hai / kathanAtmaka zlokoM meM purANoM jaisI bhASA hai| kAvya meM yathAvasara vaidarbhI tathA gauDI zailI pAyI jAtI hai / sarvAnanda kI bhASA vyAkaraNa zuddha hai / dalayoMbabhuNa (I20), zuzubhire (1-29), vyadhAyi (1-41), carayoM babhuva (II-8), racayoMJcakAra (II-9), kalayA~ babhUvuH (II-12), ThokayitvA (III-46), kArayAmAsivAn (VI-72), jaise rUpa milate haiM / chanda :- alaMkAra .- sarvAnanda vividha samavRttoM meM kAvyaracanA karane meM nipuNa hai / prathama do sarga kA hi chandovaividhya dekhA jAya to prathama sarga meM 1 se 31 zloka vasatatilakA meM, 32 mAlinI meM, 33-34 upajAti meM, 35 dodhaka meM, 36-37 zArdUla-vikrIDita meM, 34-45, vaMzastha meM, 44 drutavilabita meM haiM / dvitIya sarga meM 1 se 16 zloka upajAti meM, 17 zArdUlavikrIDita meM, 2425 rathoddhatA meM, zloka 26 svAgatA meM hai| amuka zlokoM meM klezadAyaka yati hai / udA. (i) bhikSAkRte zrIjagaDUnivAsAGgaNe''gamattad guNahRSTacittaH / yahA~ 'sA' ke pAsa pAdasamApti hai aura 'ga' se8 nayA pAda zurU hotA hai jo doSapUrNa haiM /

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sarvAnandasUrikRta zrIjagaDUcarita (11) cakAra sattvaikanidhiH sa dhIraH // 29 kileti yogIndra varyaH pramANI yahA~ eka pAda ke anta para 'pramANI' hai / nayA pAda cakAra se Arambha hotA hai / 'pramANI cakAra' ko isa taraha tor3anA sahI nahIM lagatA / Vol XXII, 1998 129 sarvAnanda ne upamA, rUpaka, arthAntaranyAsa, atizayokti Adi arthAlaMkAroM kA prayoga kiyA hai / udA. (1) 'jisa taraha pA~ca kalpavRkSoM se meru, pA~ca vratoM se sAdhu, pA~ca mukha se ziva, pA~ca nIti ke aDDoM se rAjA, isa taraha (jagaDU kA pUrvaja) vAsa pA~ca putroM se suzobhita thA / "30 isa zloka meM upamA hai / (2) mayUra ko jaise megha ko dekhakara, cakravAka ko sUrya ko dekhakara, cakora ko canda ko dekhakara AnaMda hotA hai vaise guru ko dekhakara jagaDU ko prasannatA huI / " ina zloko meM arthAntaranyAsa alaMkAra hai / (3) sAdhormatiH sphurati bhUritarodayAya / 12 (4) kva dhiyaH skhalanti vivekato nirmalamAnasAnAm / 13 (5) pazya pradIpasya vibhAM vilokya patan pataGgoM labhate vinAzam // 4 (6) nijapratijJAparipUraNAya kurvIta mAnI hi guruprayatnam // 5 atizayokti kA eka udAharaNa isa prakAra hai / " sagha calane se UDI huI dhUli - rajaH AkAzagaMgA ke kinAre aisI ekatrita hokara kIcaDa ho gayA ki jahA~ sUrya ke azva phasA huA ratha ko mahAkaSTa se calAte the / isa zloka meM rUpaka tathA apahanuti alakAra hai / dhanvantarirbhUvalaye 'vatIrNo bhUyo'pi solAtmabhUvacchalena / dhAnyauSadha saGgrahavAnnihantuM durbhikSaro gaMjanatArti hetum // 37 yahA~ nirdezita eka zloka meM 'bhUbhRt' zabda para zleSa aura vyatireka alakAra 1 "cAra hAthavAle zrIkRSNa ne eka govardhana parvata ko UThAyA (bhUbhRt), magara do hAthavAlA jagar3a ne sarva bhUbhRt ( rAjAoM) kA, annadAna dekara uddhAra kiyA, yaha Azcarya hai / 8 aitihAsika aMza :- 'zrIjagaDUcarita' mahAkAvya meM aNahilavADa pATaNa ke lavaNaprasAda, vIradhavala, vizaladeva, rAjAoM ke, (thara) pArakara kA pIThadeva, siMdhakA hamIra, stambhatIrtha khabhAta kA turka, dilhI ke mojauddIna, rAjA durjanazalya, ujjaina ke madanavarmana, kAzI ke pratApasiMha Adi rAjAoM ke nirdeza hue haiM / tatkAlIna sAmAjika, dhArmika, Arthika evaM rAjakIya sthiti kA bhI paricaya isa kAvya se milatA hai /

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130 SAMBODHI govindalAla za zAha upasaMhAra-- sarvAnandasUri ke 'zrIjagaDUcarita' meM sahRdaya bhAvaka ko kAvyAnanda de sake aise bahuta zloka haiN| pacamahAkAvya aura anya pracalita saskata mahAkAvyoM kI paMkti meM hama na bhI rakheM toDI kavi ne jagaDU ke karuNA, dAnavRtti, mAnavasevA, jainadharmasevA, vaNika vyApArI kI Atmasajha, dIrgha zatru kA kaTaka yuktipUrvaka dUra karake apanA sara U~cA rakhanekI jAtigata vizeSatA. isa mahAkAvya meM kahIM abhidhA se kahIM vyaMjanA se dikhAI hai ye bAta sarAhanIya hai| kavi dIkSAgrahaNa kiye sUri mahArAja the / ataH yaha sarjana, koI Arthika lAbha lene ke liye nahIM kintu niHsvArthabhAva se kavi ne kiyA hai / Apako jagaDUzreSThI kI guNarAzi ne AkarSita kiyA hogA / tathA kavitvazakti hone ke kAraNa Apane isa mahAkAvya likhA hogA / jaina dharmaprasA bhI isa mahAkAvya kA uddeza nahIM lagatA / jaina tattvajJAna kA upadeza bhI isa mahAkAvya dvArA apekSita nahIM hai| isa sAhitya kRti meM-mahAkAvya meM eka mahAna paropakArI dAnavIra zreSThI kA caritra sabhI dharmoM ke logoM ke sAmane prastuta karane kI kavi kI manISA dikhAI detI hai| jagar3a kI sarvAnandane kI huI yaha prazasA hRdaya kI gaharAI se hai yaha kahakara zloka dekara maiM virAma karatA huuN| zrIzrImAlakulodayakSitidharAlaGkAratigmadyutiH prasphurjat kalikAlakAliyamadpradhvaMsadAmodaraH / rohaH kandaravartikIrtinikaraH saddharmavallI dRDhatvakrasAro jagaDUzciraM vijayatAM sarvaprajApoSaNaH // pAdaTIpa / 1 zrIjagaDUcarita-sapAdaka maganalAla dalapatarAma khakhkhara, prakAzaka 'mesarsa ena ema, nI kapanI, mubaI, mudraka - govardhana mudraNAlaya, mubaI (1896 A. D) upodghAta meM cha kathAe~ dI gaI hai (pRSTha 5 se 1) 2 vahIM upodghAta pR. 4 3 "jaina sAhityano itihAsa" (guja.) mohanalAla dalIcada desAI / 1933 pR. 401 4 vahIM pR. 401 5 vahIM pR. 402 para 'vasata' sAmayika se uddhRta 6 kavi sarvAnandasUrikRta 'zrIjagaDUcarita' sarga-1 zloka-4 7 "iti AcArya dhanaprabha gurucaraNarAjIva caMcarIkaziSya zrI savANandasUri viracita zrIjagaDUcarita mahAkAvye vIyahuprabhRti pUrva puruSavyAvarNano nAma prathama. sargaH / 8 zrIjagaDUcarita II-I 9 vahIM 11-12, II-22 supAtradattojjvalavittarAzivimuktadoSaH kRtadharmapoSaH / janaH samagro'pi ca yatra reje saujanyadhanya. kalitorukIrti // vahIM II-27 12 stambheneva gRha nAgAdhIzeneva mahItalam / 10

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Vol XXII, 1998 sarvAnandasUrikRta zrIjagaDUcarita. 131 najareNeva vohitya kula putreNa dhAryate // zrIjagaDUcarita II-32 dhUlidhUsara putrAGgapariSvaGgasukhAmRtaiH / dhanyAnA hRdaye tApa sakalo'pi vilIyate // 11-33 13 zrIjagaDUcarita V-8, 14 vahIM v-9, 15 vahIM V-11, 16 vahIM VI-64, dvI-2, indu-1, agni=3, candra=1 1312(vi. sa.) (asAnA vAmato gatiH / ) 17 vahIM VI-90, vahIM VI-92, 19 vahIM VI-125, 126, 127, 124, 129 (kramAnusAra) 20 vahIM VI-130 21 vahIM-navanavatisahastrayutAnavalakSadhAnyamUTakAnA saH / aSTAdazaraikoTIrarthibhyo'datta du samaye | VI-132 22 vahIM-VII-2, 23 daNDI-kAvyAdarza (1-14 se 22 taka) 24 vizvanAtha-sAhityadarpaNa (VI -315-325) 25 zrIjagaDUcarita v-8, 26 vahIM II-1, 27 vahIM-sarga- VI-, 28 vahIM IV-27, 29 vahIM V-30, 30 vahIM 1-30, 31 zrIjagaDUcarita- VI-11, 32 vahIM II-28, 33 vahIM IV-24, 34 vahIM V-11, 35 vahIM V-36, 36 vahIM VI-38, ___ vahIM VI-119, 38 vahIM VI-95, 39 vahIM VI-92

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'rasagaMgAdhara' ke kAvyalakSaNa kI samIkSA* jAgati paNDyA kAvyazAstrIya AlocanA meM kAvya ke svarUpa ke viSaya meM sarvaprathama vicAra kiyA jAtA hai| bhAmaha se lekara jagannAtha taka sabhI AcAryoM ne kAvya kA svarUpa darzAte hue kAvyalakSaNa dene kA prayAsa kiyA hai| una sabakA parizIlana karane se jJAta hotA hai ki bhAmaha rudraTa Adi AcAryoM ne zabda aura artha donoM ko kAvya mAnA hai jaba ki daNDI, vAmana Adi AcAryoM ne kevala zalda ko / jagannAtha bhI 'zabdaH kAvyama' kA svIkAra karate haiN| 'rasagagAdhara' meM diyA gayA kAvyalakSaNa isa prakAra hai-ramaNIyArthapratipAdakaH zabdaH kAvyam / / isa kAvyalakSaNa ko dene se pUrva jagannAtha batAte haiM ki, kIrti, parama AhalAda jaise kaI prayojano kI siddhi kAvya ke dvArA hotI hai ata* kavi aura sahRdaya donoM ke lie kAvya kA jJAna honA Avazyaka hai| vaise to kAvya kA jJAna usa meM prApta yA nirUpita guNa, alaGkAra Adi ke dvArA hotA hai phira bhI vizeSyarUpa kAvya vizeSyatA kA pratipAdana karane ke lie tathA unase bhinna anya bAtoM se kAvya ko alaga darzAne ke lie kAvyalakSaNa diyA jAtA hai| jagannAtha ne apane kAvyalakSaNa meM ramaNIya artha pradAna karanevAle zabda ko kAvya kahA hai / isa ke dvArA zabda para AdhArita kintu ramaNIya artharahita racanAoM se kAvya kA pRthakatva aura sAtha hI zabda para AdhArita nahIM kintu ramaNIya artha denevAle kaTAkSa Adi se bhI kAvya kA pRthakatva abhipreta hai| kAvyalakSaNa dene meM jagannAtha ne baDI sajha-bUjha kA paricaya diyA hai| usameM ullikhita hareka pada svArasyapUrNa hai| jagannAtha ne zabda ko hI kAvya mAnA hai, para yaha zabda ramaNIya artha kA pratipAdana karatA ho yaha jarUrI hai| yahA~ lakSaNa meM 'ramaNIya' pada ke hone se sAmAnya arthavAcI zabda-jaise ki, 'ghaTamAnaya', kAvya ke prAnta meM nahIM A sakate / 'artha' pada ke hone se vyAkaraNazAstra, ki jisase ramaNIya zabda kI siddhi hotI hai, usakA samAveza kAvya meM nahIM ho sakatA / tathA ca, ramaNIya artha kI abhivyakti karate hue kaTAkSAdi bhI zabdarUpa nahIM hone se kAvya ke kSetra se bAhara rahate haiM / eka bAta yaha bhI ullekhanIya hai ki, yahA~ 'artha kA pratipAdaka' aisA prayoga kiyA hai, isa se kevala vAcyArtha hI nahIM, api tu lakSyArtha, vyaGgyArtha Adi hara koI artha ko denevAlA zabda kAvya mAnA gayA hai / jagannAtha ke kAvyalakSaNa meM rakhI gaI ramaNIyatA kI zarta itanI bulaMda hI ki sAmAnya zabda aura zAstra meM nibaddha zabda se kAvya kA prAnta surakSita rahatA hai| isa ramaNIyatA ke dvArA jagannAtha kA abhipreta kAvya ke lokottara AhalAda kA anubhava karAne kI yogyatA hai| yaha lokottaratA yA alaukikatA jo ki camatkAra kA hI dUsarA nAma hai, vaha Ananda kA eka aisA viziSTa

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Vol XXII, 1998 'rasagaMgAdhara' ke kAvyalakSaNa... 133 dharma hai jo kevala anubhava se hI pramANita kiyA jAtA hai / kAvyalakSaNa dene ke bAda jagannAtha ne spaSTatApUrvaka samApana karate hue kAvya kI tIna vyAkhyAe~ dI haiM aura tatpazcAt prAcInoM ke kAvyalakSaNa kA khaMDana kiyA hai| yahA~ ina tInoM vyAkhyAoM kA vizada vivaraNa na karake usakA nirdezamAtra hI paryApta samajhA jAyegA, kyoMki, yaha samagra nirUpaNa pUrNatayA zAstrIya aura tarkasaMgata pratIta hotA hai| usake svIkAra meM hameM koI Apatti nahIM / jagannAtha kahate haiM ki ittha ca camatkArajanakabhAvanAviSayArthapratipAdakazabdatvam, yatpratipAditArthaviSayakabhAvanAtva camatkArajanakatA'vacchedaka tattvam, svaviziSTajanakatA'vacchedakArthapratipAdakatAsasargeNa camatkAratvavatvameva vA kAvyatvamiti phalitam / / prathama vyAkhyA ke anusAra camatkRti utpanna karanevAlI bhAvanA ke viSayarUpa artha kA pratipAdaka zabda kAvya hai / dUsare meM, zabda se pratipAdita arthaviSayaka bhAvanA ki jisameM camatkRti utpanna karane kA vaiziSTya hai, use kAvya kahA gayA hai / jaba ki, tIsarI vyAkhyA ke dvArA batAyA gayA hai ki camatkArakatAyukta honA hI kAvyatva hai, jo camatkRti se viziSTa Ananda utpanna karanevAlI bhAvanA ko AnandajanakatA ke dvArA viziSTa karate hue artha ke pratipAdaka zabda ke sasarga se siddha hotA hai| yahA~ taka hamane jagannAtha ke kAvyalakSaNa ko yathAkathita rUpa meM prastuta kiyA hai| kAvyalakSaNa ke viSaya meM yaha samagra carcA, jo jagannAtha ne kI hai vaha nitAnta nAvInyapUrNa hai| kisI bhI AlakArika ne isa taraha kAvya kA svarUpa nizcita karane kA prayAsa nahIM kiyA / bhAmahAdi AcAryoM ne jo kAvyalakSaNa diye haiM una saba meM jagannAtha kA yaha prayAsa atyadhika saphala samajhA jAtA hai, phira bhI "zabdaH kAvyam' kI jo paramparA hai usa kA svIkAra yuktipUrNa nahIM hai| isa paramparA kA svIkAra karake jagannAtha ne jisa aMdAja se prAcInoM ke kAvyalakSaNa kA khaDana kiyA hai, usa viSaya meM punaH vicAra karanA Avazyaka hai| sarva prathama mammayacArya ke kAvyalakSaNa kA khaDana karate hae jagannAtha ne kahA hai ki. zabda aura artha donoM kA eka sAtha bodha hotA hai, yaha kahanA ThIka nahIM hai, kyoMki, usake lie koI pramANa prApta nahIM hotA hai| isase ulaTa kAvya joroM se paDhA jAtA hai / 'kAvya meM se artha samajha meM AtA hai / maiMne kAvya sunA kintu 'usakA artha nahIM pAyA / ' aise aise lokaprasiddha vyavahAra se phalita hotA hai ki, viziSTa zabda hI kAvya hai / yaha jo tarka jagannAtha ne diyA hai vaha hameM mAnya nahIM, kyoMki, jo pramANa upara diye gaye haiM, usI se yaha siddha hotA hai ki. kAvya se artha ko alaga nahIM kiyA jA sakatA / kAvya meM

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134 jAgRti paNDyA SAMBODHI agara artha hai tabhI use pAne yA na pAnekI bAta soca sakate haiM / ataH lokavyavahAra ko jagannAtha ne pramANarUpa mAnA hai vaha galata hai / __ dUsarA yaha ki, jagannAtha ne ramaNIyArtha kA pratipAdana karate hue zabda ko kAvya kahA hai to sagIta ke zuddhasvara yA AlApa meM sunAI denevAlI dhvani ko bhI, usakI rasa-vyaMjakatA ke kAraNa kAvya kahanA hogA / bhinna-bhinna rAgoM ke AlApa meM se koI na koI bhAva kI anabhati hotI hI hai yaha to prasiddha bAta hai / isa taraha jagannAtha ke kAvyalakSaNa meM ativyApti doSa A gayA hai| isa viSaya meM agara yaha kahA jAya ki. saMgIta ke svaroM meM vAcyArtha yA lakSyArtha to hotA nahIM hai ataH usa zabda ko kAvya kaise kaheMge? to uttara yaha hai ki, isa tarka kA svIkAra karane se to yaha sutarAm siddha hotA hai ki kAvya meM pratipAdita zabda meM vAcyArtha yA lakSyArtha atarnihita hote hI haiM aura kAvya kI vyaMjanA isa abhidhA yA lakSaNA kA avalambana karake hI pravRtta hotI hai, jaba kI, sagIta kI vyajanA kevala dhvani ke svarUpa se AvAja ke dvArA hI sAkAra hotI hai| isa taraha kAvya kA zabda arthayukta-arthasahita-sArtha ho, yaha siddha hone se, kevala zabda ko nahIM kintu zabda aura artha donoM ko hI kAvya kahanA samucita hogA aura tarkazuddha bhI / jagannAtha ne khuda bhI ramaNIya artha dvArA, vAcyArtha, lakSyArtha aura vyaGgyArtha se yukta aisA artha liyA hai / ataH jagannAtha ke kAvyalakSaNa meM ativyApti doSa aura vyavahAravirodha donoM pratIta hote haiN| usa kI apekSA mammaTa kA kAvyalakSaNa savizeSa grAhya lagatA hai, jisameM bhAmaha-Anandavardhana Adi kA anusaraNa hai aura jise hemacandra bhI puraskRta karate haiM / prAcInoM ke kAvyalakSaNa kA khaMDana prastuta karate hue jagannAtha ne jo uddharaNa diyA hai, vaha'adoSau saguNau sAlaGkArau zabdArthoM kAvyam' mammaTa ke kAvyalakSaNa" se bhinna hai aura hemacandra ke kAvyalakSaNa- se kAphI hada taka milatAjulatA hai (usameM se kevala 'ca'kAra hI chUTa gayA hai / ataH zrI Ara. bI. AThavalejI ne kahA hai ki jo zabda mammaTa ke kAvyalakSaNa meM nahIM hai, unheM usameM thopakara jagannAtha ne unakI nAhaka TIkA kI hai| lekina hama kaheMge ki hemacandra ne mammaTa ke kAvyalakSaNa meM prApta bAteM hI apane zabdoM meM doharAI hai / hemacandra ke kAvyalakSaNa meM prApta 'sAlaGkArI ca' zabdoM dvArA mammaTa ke 'analakRtI punaH kvApi' kA svIkAra abhipreta hai hI / ata: yaha mAnanA hogA ki jagannAtha ne jisa lakSaNa kA khaDana kiyA hai vaha mammaTa ke kAvyalakSaNa kA sArasakSeparUpa hai, yA to phira 'prAzcaH' ke dvArA mammaTa aura hemacandra donoM abhipreta ho aisA bhI ho sakatA hai / isI vajahase zAyada jagannAtha ne aise zabda uddhRta kiye, jo donoM ko lAgu hote ho / jo bhI ho--para prAcInoM ke isa prathama mata kA khaMDana karate samaya jagannAtha kA sarvaprathama nizAna 'zabdArthoM' pada banatA hai| kAvya kA pravRttinimitta usa meM nihita kAvyatva hai isa bAta kA svIkAra karake jagannAtha kahate haiM ki yaha kAvyatva kyA hai| 'eko na dvau'-eka vastu do to nahIM sakatI, isa nyAya se kAvya bhI zabda aura artha donoM rUpa nahIM ho sakatA / agara donoM ko bhinna

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VoI XXII, 1998 'rasagagAdhara' ke kAvyalakSaNa 135 bhinna svIkAra kareM to eka hI racanA meM do kAvya pravRtta hoMge / " jagannAtha kI yaha dalIla tarka pUrNa avazya hai, phira bhI ise hama svIkAra nahIM sakate, kyoM ki, zabda aura artha ke 'samyaka yoga' se hI sAhitya niSpanna hotA hai ataH kAvya meM pravRtta hote zabdArthayugala meM se kisI eka kA dUsare se alaga honA saMbhava nhiiN| ata: kAvya to eka avibhAjya ikAIrUpa hI hai| kAlidAsa ne 'raghuvaza' meM, 'vAgarthAviva sampRktau jagataH pitarau' kI stuti dvArA isI bAta ko puraskRta kiyA hai / Anandavardhana ne bhI 'zabdArthoM tAvat kAvyam' aisA kahakara, isa viSaya meM kisIko koI Apatti nahIM hai yaha sUcita kiyA hai / 'tAvat' dvArA sarvasammati kA sUcana hotA hai ise 'locana' kAra ne noTa kiyA hai / isa taraha jagannAtha ne 'zabdArthoM ke prati jo AkSepa kiye haiM, vaha svIkArya nahIM ho skte| unhoMne 'adoSau' aura 'sagaNau' kI jo TIkA kI hai, usameM vizvanAtha kA prabhAva spaSTa hai / yahA~ yaha kahanA hogA ki vizvanAtha ne mammaTa kA jo khaMDana kiyA hai vaha rasa ko AtmA mAnakara tathA zabdArtha ko zarIra mAnakara kiyA gayA hai, lekina vizvanAtha aura jagannAtha bhI yaha bhUla jAte haiM ki, zarIra, AtmA-jaisA prayoga rUpakAtmaka hI ho sakatA hai| vizvanAtha khuda bhI samajhate hI haiM ki guNa rasa ke dharma hote hue bhI unakI sAkSAt abhivyakti to zabdArtha ke mAdhyama se hI hotI hai, ata: pratyakSa yA parokSa rUpa se guNoM kA sambandha zabdArtha se hai hI / yaha bAta Anandavardhana meM bhI prApta hotI hI hai| Anandavardhana ne dhvani ko kAvyAtmA ke rUpa meM jo varNita kiyA hai vaha to paramparA ke anusAra hI samAmnAtapUrva:-yaha spaSTa hai| vAstava meM zarIra, AtmA ityAdi prayoga to kevala arthavAda hai| daNDI, vAmana jaise AcAryoM ne isa rUpakAtmaka zailI kA prayoga kiyA hai, jise paravartI AcAryoM ne bhI apanAyA hai| kintu bhAmaha ki jo zuddharUpa se tArkika the, unhoMne spaSTarUpa se 'zabdAau~ ' ko hI kAvya kahA hai tathA usIkA svIkAra mammaTa, hemacanda Adine kiyA hai, jo samucita lagatA hai / ata: kAvyalakSaNa ke viSaya meM jo 'zabdaH kAvyam' kI paripATI kA svIkAra huA hai vaha tArkikarUpa se samIcIna nahIM ThaharatA, jaba ki 'zabdArthoM kAvyama' kI, bhAmaha dvArA puraskata, Anandavardhana Adiko abhipreta tathA mammayAdi ke dvArA samarthita paramparA hI sarvasvIkArya hai| pAdaTIpa akhila bhAratIya prAcyavidyA samelana -39-1998 meM prastuta kiyA huA zodhapatra / 1 rasagagAdhara (ra. ga.) 1 1 2 tatra kIrti-paramAlAda-gururAjadevatAprasAdAdyanekaprayojanakasya kAvyasya vyutpatte. kavisahadayayorAvazyakatayA guNAlaGkArAdibhirnirUpaNIye tasmin vizeSyatA'vacchedaka taditarabhedabuddhau sAdhanaM ca tallakSaNa tAvanirUpyate / ra. gaM. 10 vRtti, pR.8 3 ramaNIyatA ca lokottarAhalAdajanakajJAnagocaratA / ra. gaM. 1-1 para vRtti, pR. 10

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136 jAgRti paNDyA SAMBODHI 4 lokottaratvaM cAhalAdagatazcamatkAratvAparaparyAyo'nubhava sAkSiko jAtivizeSa / ra. ga. 1-1 para vRtti, pR. 10 5 ra. ga. 1-1 para vRtti, pR. 11 6 yattu prAca-- 'adoSau saguNau sAlasagai zabdArthoM kAvyam' ityAhu / tatra vicArya te zabdArthayugala na kAvyazabdavadvAcyam, mAnAbhAvAt "kAvyamuccaiH paThyate' kAvyAdartho'vagamyate' 'kAvya zrutam, arkona jJAtaH' ityAdivizvajanInavyavahArataH pratyutazabdavizeSasyaiva kAvyapadArthatvapratipattezca / ra. ga. 1-1 para vRtti, pR. 14 7 tadadoSau zabdArthoM saguNAvanalakRtI puna* kvApi / kAvyaprakAza-1-4 A 8 adoSau saguNau sAlaGkArI ca zabdArthoM kAvyam / kAvyAnuzAsana-1-11 9 dekhie / 'rasagagAdhara' (khaNDa-1) zrI rA. ba. AThavale dvArA sampAdita-pR. 18 10 api ca kAvyapadapravRttinimitta zabdArthayoAsaktam ? pratyekaparyApta vA ? nAdyaH "eko na dvau' iti vyavahArasyaiva zlokavAkyaM na kAvyam' iti vyavahArasyApatte. / na dvitIyaH, ekasmin kAvye kAvyadvayavyavahArApatte. / ra. ga 1-1 para vRtti, pR. 17 11 tAvadgrahaNena na kasyApyatra vipratipattiriti darzayati / 'locana'- 'dhvanyAloka' 1-1 para.

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Vol XXII, 1998 'rasagagAdhara ke kAvyalakSaNa. 137 sandarbhagrantha: 1 rasagagAdharaH sampAdaka zrI badarInAtha jhA aura zrI madanamohana jhA prakAzaka caukhambA vidyAbhavana, banArasa, 1955 'rasagagAdhara' (khaNDa-1) anuvAdaka zrI rA. ba. AThavale sampAdaka zrI nagInadAsa pArekha prakAzaka yunivarsiTI granthanirmANa borDa, ahamadAbAda, prathama AvRtti, 1974 dhvanyAloka (locanasahita) : sampAdaka DaoN. tapasvI nAndI prakAzaka sarasvatI pustaka bhaNDAra, ahamadAbAda, prathama AvRtti, 1997-98 kAvyaprakAza (bAlabodhinI TIkA sahita) : sampAdaka zrI Ara. DI. karamArakara prakAzaka zrI Ara. ena. dANDekara bhANDArakara prAcyavidyAsazodhanamandira, pUNe, saptama AvRtti, 1965 kAvyAnuzAsana : sampAdaka zrI rasikalAla parIkha prakAzaka zrI mahAvIra jaina vidyAlaya, mumbaI, prathama AvRtti-1938. bhAratIya sAhityazAstranI vicAraparaparAo' sampAdaka DaoN. tapasvI naandii| prakAzaka yunivarsiTI granthanirmANa borDa, ahamadAbAda, dvitIya sazodhana AvRtti, 1984

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" zAkuntala" ke vidUSaka kI uktiyA~ meM pAThAntaroM kA eka samIkSAtmaka adhyayana* vasaMtakumAra ma. bhaTTa 1 0 1 'abhijJAnazAkuntala' kI adyAvadhi aneka AvRttiyA~ prakAzita huI hai / jisa meM se katipaya AvRttiyA~ to rAghavabhaTTAdi kI TIkA-TippaNa ke sAtha prakAzita huI hai| abhI abhI gujarAta vizvavidyAlaya meM zrImatI pUnama paGkaja rAvaLa ke dvArA "ghanazyAmakRta abhijJAnazAkuntala-saJjIvana-TippaNa kA samIkSita pAThasampAdana" (A. D. 1991 ) zIrSakavAlA eka mahAnibaMdha prastuta huA hai aura Ph.D kI upAdhi ke lie svIkRta bhI huA hai / prophe. DaoN. zrIrevAprasAda dvivedIjI ke dvArA bhI "kAlidAsagranthAvalI" meM abhijJAnazAkuntalam' kI eka samIkSita AvRtti (2) prastuta huI hai / zAkuntala kI jo pramukha AvRttiyA~ hai aura jo prakAzita TIkATippaNAdi hai vaha nimnokta hai : 1 (ka) SAKUNTALA BY KALIDASA (kha) KALIDASA'S SAKUNTALA (ga) (The Deva-nagari Recension of the text) Ed Monier Williams, Chowkhamba Samskrit Series Office, 3rd edition, Varanasi, 1961 (gha) (Critical edition of the Bengali Recension) Ed Pischel Richard, Second edition, Harvard University Press, 1922 ABHIJNANA-SAKUNTALA OF KALIDASA (The Kashmiri recen sion) Ed Belvalkar S K Sahitya Akademi, New Delhi, 1965 kAlidAsagranthAvalI sampAdaka : dvivedI revAprasAda kAzI hindU vizvavidyAlaya, (dvitIyaM saMskaraNam vArANasI, 1986 2 TIkA-TippaNAdi (prakAzita) (ka) abhijJAnazakuntalam / ( maithilapAThAnugam) (zaMkara-naraharikRta-vyAkhyAdvaya sametam ) sampA. upAdhyAya zrIramAnAtha zarmA mithilAvidyApITha prakAzana, darabhaMgA, 1957

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Vol XXII, 1998 'zAkuntala' ke vidUSaka kI uktiyA~.. 139 (kha) abhijJAnazAkuntalam (kATyavemaviracitayA vasatarAjIyA vyAkhyayA sametam) sampA. raMgAcArya zrI celamacela Andhrapradeza sAhitya akADamI, haidarAbAda, 1982 (ga) abhijJAnazakuntala-carcA (ajJAtakartRkA) (1961 tame UstAbde anatazayana saskRta panthAvalyAM 195 tamAMkana prakAzitasya granthasya punarmudraNam) Published by University of Kerala, Trivandrum, Reprinted-1977 (gha) abhijJAnazAkuntalam (abhirAmakRtayA diGmAtradarzanAkhyayA TIkayA saMbhUSitam) zrIvANIvilAsa-mudrA-yantrAlaya, zrIraGgam / (samaya anullikhita) (Ga) abhijJAnazAkuntalam (TIkAdvayopetam-rAghavabhaTTa evaM zrInivAsAcArya tirumalAcArya) madrAsa, 1950 (ca) ghanazyAmakRta abhijJAnazAkuntala-saJjIvanaTippaNa kA samIkSita sampAdana sampAdikA : zrImatI pUnama paMkaja rAvaLa, A PhD thesis, submitted in the Gujarat University, Ahmedabad-1991 (unpublished ) ina meM monIyara vIlIyamsa kI jo AvRtti hai usameM devanAgarI-vAcanA kA pATha hai / ricArDa pizela ne bagAlI vAcanA kA pATha sampAdita kiyA hai / DaoN. esa. ke. belavelakarajI ne kAzmIrI vAcanAnusAra pAThasampAdana kiyA hai aura prophe. revAprasAda dvivedI ne devanAgarI vAcanA kA hI apanI manISA ke anusAra punaH sampAdana kiyA hai / [yahA~ para yaha ullekhanIya hai ki adyAvadhi dAkSiNAtya hastalikhita pratiyA~ ke AdhAra para koI dAkSiNAtyavAcanA kA svataMtra samIkSita pAThasampAdana karane kA prayatna nahIM huA hai ! ] 'abhijJAnazAkuntala' para jo TIkATippaNAdi sAhitya likhA gayA hai, vaha kauna sI vAcanA kA anusaraNa karanevAlA hai yaha bhI draSTavya hai :-(1) zaMkara aura narahari kI TIkAe~ maithilI pATha paramparA kA anusaraNa karanevAlI hai, (yaha donoM TIkAe~ prAyaH baMgAlI-gauDI-vAcanA ke sAtha adhika sAmya rakhatI hai) / aura zuddha baMgAlI vAcanA meM saMkramita honevAle zAkuntala para jo candrazekhara kI 'sandarbhadIpikA' TIkA hai, vaha adyAvadhi aprakAzita hI hai / (2) rAghavabhaTTa kI vyAkhyA devanAgarI vAcanA kA pratinidhitva karatI hai| aura (3) abhirAma, carcA, kATyavema, ghanazyAma eva zrInivAsa kI TIkAe~ yadyapi dAkSiNAtya hI kahI jAtI hai phira bhI vaha nAgarIpATha paramparA ke sAtha adhika sAmya rakhatI hai, (ataH zrI revAprasAda dvivedI ne to usako pRthak vAcanA mAnI hI nahIM hai|) [(4) zAradA arthAt kAzmIrI vAcanA ke zAkuntala para likhI gaI koI bhI TIkA jJAta nahIM

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140 vasantakumAra ma bhaTTa SAMBODHI sArAza yaha hai ki abhijJAnazAkuntala kI prAyaH pA~ca vAcanAe~ upalabdha hotI hai / (ka) bagAlI vAcanA (pizela dvArA sampAdita (kha) maithilI vAcanA', (ga) kAzmIrI vAcanA (DaoN. belavelakarajI dvArA sampAdita), (gha) devanAgarI vAcanA aura (Da) dAkSiNAtya vAcanA // 2. ina meM se kauna sI vAcanA meM saMkramita huA yA surakSita rahA pATha adhika zraddheya hai, aura kauna sI pAThaparamparA prAcInatama hai ? / isa prazna kA koI nirvivAda samAdhAna milanA sarala nahIM hai / sAtha meM yaha bhI satya hai ki jaba taka saMskRta vAGmaya kI 'abhijJAnazAkuntala' Adi jaisI zreSTha kAvyakRtiyA~ kA samIkSita pAThasampAdana hamAre sAmane nahIM AyegA taba taka kisI bhI kAvyakRti kA samIcIna mUlyAkana nahIM ho sakegA // prastuta lekha meM, zAkuntala ke TIkATippaNa sAhitya ko AdhAra banAkara aura prAyaH vidUSaka kI uktiyA~ lekara" hama-(ka) katipaya pAThaantaroM ke udbhava hetu DhU~Dhane kA AyAsa kreNge| tathA vibhinna vAcanAoM meM pAThAntaroM kA sakramaNa kahA~ se zuru huA hogA isa sadarbha meM kucha anumAna prastuta kareMge // 1 vidUSaka kI uktiyoM meM prApta hote hue katipaya pAThAntara aura unakA vizleSaNa aba prastuta 1 'zAkuntala'ke dvitIya aGka ke prArabha meM ekAkI vidUSaka kI eka lambI ukti hai / usameM vaha kahatA hai ki A aaM mio a varAho tti majjhaMdiNe vi gimhe / (aya mRgaH aya varAha iti madhyaMdine'pi grISme. ) (-pizela, pR. 17) B ayaM mRgo'ya varAha iti / (-zaMkara, pR. 193) C aya mRgo'yaM varAha iti . / (narahari, pR. 311) D. aya mRgo'yaM varAha iti. | kAzmIrI, pR. 26 E aya mRgo'yaM varAho'yaM zArdUla iti / kATyavema, pR. 34 F. ayaM mRgaH, aya varAhaH, ayaM zArdUla ityatra. / carcA, pR. 79 G ayaM mRgo'yaM varAho'ya zArdUla iti / abhirAma, pR. 69 H aya mRgo'yaM varAho'yaM zArdUla iti / ghanazyAma, pR. 102 I. ayaM mao mRgaH / . ayaM varAho'yaM zArdUla iti -rAghavabhaTTa, pR. 124

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Vol XXII, 1998 "zAkuntala" ke vidUSaka kI uktiyA~ 141 J aa mio ityAdinA ayaM mRga punaraya varAha iti tadalAbhe aya zArdUla iti |shriinivaas, pR. 124 ___ yahA~ para bagAlI vAcanA eva maithilIvAcanA meM kevala 'mRga' tathA 'vAha' kA ullekha hai, lekina devanAgarI vAcanA ke TIkAkAra rAghavabhaTTa evaM dAkSiNAtya vAcanA ke anya TIkAkAroM ne 'mRga', 'varAha' ke sAtha 'zArdUla' kA bhI nirdeza kiyA hai / ataH hama aisI kalpanA kara sakate hai ki vidUSaka jaba ragabhUmi para praveza karatA hogA, taba vyAdhalogoM kI anukRti karatA huA sAbhinaya yaha vAkya bolatA hogA / usa meM kucha aura nayA abhinaya jor3ane ke lie dAkSiNAtya naTamaNDaliyoM ne yaha "aya zArdUla:" vAlA nayA pAThyAza prakSipta kara diyA hogA / 2. uparyukta sandarbha meM usakA eka vAkya isa prakAra hai :A mama adhaNNadAe sauntalA NAma kA vi tAvasakaNNaA diTThA / pizela, pR. 17 (mama adhanyatayA zakuntalA nAma kApi ) B.mamAdhanyatayA'bhAgyena zakuntalA nAma / zakara, pR. 194 c praviSTenAdhanyatayA zakuntalA naam..| narahari, pR. 312 D tAvasakanyakA zakuntalA mamAdhanyatayA darzitA |-kaashmiirii, pR. 27 E tApasakanyakA zakuntalA nAma mamAdhanyatayA darzitA |-kaattyvem, pR. 34 F. udarasyAdhanyatayA drshitetynen..| carcA, pR. 81 G atra rAjakartRke zakuntalAdarzane nijodaranirbhAgyatAyAH prayojaka / abhirAma, pR. 71. H . zakuntalA nAma mamAdhanyatayA darzitA / ghanazyAma, pR. 104 I zakuntalA mamAdhanyatayA darzitA / rAghavabhaTTa, pR. 126 J adhanyatayeti / asabhAvyasthale rAjJo yuvatidarzane svasyAdhanyatayaiva heturiti |-shriinivaas, 126 yahA~ para bhI bagAlI vAcanA, maithilIvAcanA aura kAzmIrIvAcanA meM kevala 'mamAdhanyatayA' aisA pATha hai, lekina dAkSiNAtya vAcanA ke do TIkAkAra--eka carcAkAra aura dUsare abhirAma "mama udarasya adhanyatayA"yA "nijodaranirbhAgyatAyAH" aisA pAThAntara prastuta karate hai| dUsarI aura devanAgarI vAcanA ke TIkAkAra rAghavabhaTTa, eva dAkSiNAtya vAcanA ke anya TIkAkAra-kATyavema, ghanazyAma tathA zrInivAsa bhI kevala 'mamAdhanyatayA' aisA pATha hI dete hai| isa se yaha pratIta hotA hai ki nATyaprayoga ke samaya koI ajJAta naTamaNDalI ke dvArA sAmAjikoM ko hasAne ke lie hI 'mamAdhanyatayA' meM 'mamodarasya adhanyatayA aisA zabdavizeSa prakSipta kara diyA hogA | kyoMki saMskRta nATakoM meM vidUSaka

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142 vasantakumAra ma. bhaTTa SAMBODHI kA hI Ama janatA ke sAtha saMbadha hotA hai, aura lokAnuraJjana karAne ke lie: ge-aura noTAmAana karAne ke lie manudhAra ke pAsa usakI uktiyoM meM prakSepa yA parivartana kI adhikatara sambhAvanA rahatI hai| 3 dvitIya aGka kI isI laMbI ukti meM vidUSaka aura bhI eka vAkya bolatA hai, jisameM ragakSamatA baDhAne ke lie kucha pAThaparivartana huA hai aisA spaSTarUpa se dikhAI par3atA hai / jaise ki A eso bANAsaNahattho hiaaNihidapiaaNo vaNapuSphamAlAdhArI ido jjeva Aacchadi piavaasso / (eSaH bANAsanahasto hRdayanihitapriyajanaH vanapuSpamAlAdhArI itaH eva Agacchati / - pizela, pR. 117. B eSa bANAsanahastaH .hRdayanihitapriyajanaH puSpamAlAdhArI ita evAgacchati priyavayasyaH / - zaMkara, 194 C. eSa bANAsanahasto hradayavinihitapriyatamo vanapuSpamAlAdhArI ita evAgacchati priyavayasyaH / narahari, pR. 312 __D eSa rAjA bANAsanahastAbhiryavanIbhiH parivRto vanapuSpamAlAdhArI ita evAgacchati / - kAzmIrI, 27 __E eSa bANAsanahastAbhiH vanapuSpamAlAdhAriNIbhiH yavanIbhiH parivRta ita evaagcchti..| kATyavema, 34 F yavanikAbhiH parivRtaH ityanena / carcA, pR. 82 G yavanikAbhiH AsannaparicArikAbhiH / vanapuSpamAlAdhAriNIbhiriti dezaucityAt / abhirAma, pR. 72. H eSa bANAsanahastAbhiryavanIbhir vanapuSpamAlAdhAriNIbhiH parivRtaH it.|- ghanazyAma, pR. 104 I eSa bANAsana dhanurhaste yAsA tAbhirvanapuSpamAlAdhAriNIbhiriti yavanIbhi parivRtaH ita evAgacchati / rAghavabhaTTa, pR. 127 J yavanIzabdena rAjJaH zastradhAriNya ucyante / zrInivAsa, pR. 127. yahA~ para bagAlI eva maithilIvAcanA meM jo pATha hai vaha prAyaH ekarUpa hai, lekina kAzmIrIvAcanA se zarU karake devanAgarI eva dAkSiNAtya vAcanA meM eka nayA hI pAThaparivartana divA rahA hai| prathama prakAra ke pAThAnusAra raMgabhUmi para kevala puSpamAlA ko dhAraNa karake hAtha meM dhanuSyabANa liyA huA rAjA duSyanta praviSTa hogA / paratu dUsare prakAra ke pAThaanusAra to zastradhAriNI aura puSpamAlA pahanI huI yavanIstriyoM se parivRtta huA rAjA duSyanta raMga para praviSTa hogA / to yaha dUsare pATha meM ragakSamatA bar3hAne kA AyAsa hai / [athavA yaha bhI saMbhava hai ki alpasaMkhyaka pAtrasRSTi ke dvArA yadi koI sUtradhAra ne isa nATaka kA prayoga karane kA upakrama liyA hogA to usane "yavanIbhiH parivattaH"

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143 Vol XXII, 1998 "zAkuntala" ke vidUSaka kI uktiyA~ . vAlA pATha badala diyA hogA / jo baMgAlI vAcanA meM pratibimbita huA hai / ] 4 mRgayA ke lie protsAhana denevAle senApati para kruddha hotA huA vidUSaka bolatA hai ki A jAva siAlamialoluvasya kassa vi juNNaricchassa muhe NivaDido hosi / pizela, pR. ( yAvat zRgAlamRgalolupasya kasyApi jIrNakSasya mukhe nipatitaH bhavasi) B yAvat zRgAlalolupasya kasyApi jIrNabhallUkasya mukhe nipatito'sIti / zaMkara, pR. 197 _____C yAvannAsikAyA lolupasya kasyApi jIrNakSasya mukhe na nipatito bhavasIti / narahari, pR. 313. D yAvatsImAzRgAla iva jIrNakSasya mukhe / kAzmIrI, pR. 31 E naramAsalolupasya kasyApi jIrNaRkSasya mukhe nipatiSyasi / - kATyavema, pR. 40. F AhiNDya gatvA, tIkSNarbhasya krUrabhallUkasya / patito bhaveti zapanam / - carcA, pR. 91. G. mukhe patito'si, jIrNaRkSaste nAsA bhakSayati iti bhAvaH / - abhirAma, pR. 84 H ...idAnIM nAsikAmAMsalolupasya kasyApi jIrNaRkSasya mukhe patito bhavasi / - ghanazyAma, 110 I naranAsikAlolupasyeti svabhAvoktiH / jIrNaRkSasya vRddhabhallUkasya kasyApi mukhe patasi patiSyasi / - rAghavabhaTTa, pR. 142. J. jIrNaRkSasya vRddhabhallUkasya / - zrInivAsa pR. 142 yahA~ para baMgAlI ityAdi sabhI vAcanAoM meM 'jIrNayasya' aisA pATha hai / paraMtu maithilIvAcanA kA anusaraNa karanevAlA TIkAkAra zaGkara ne 'jIrNabhallUkasya' aisA pAThAntara diyA hai, jisameM 'RkSya' ke lie mithilAprAnta - bihAra - meM prayukta honevAlA 'bhallUka' zabda svIkArA hai| saMbhava hai ki vidUSaka kI uktiyA~ prAkRta meM uccarita hotI thI, to jahA~ para yaha zAkuntala khelA gayA hogA, vahA~ kI prAdezika bolI ke anusAra yaha zabda rakhA gayA hogA / dUsarA yahA~ jo baMgAlI vAcanA meM 'zRgAlamRgalolupasya' aisA pATha hai, usake sthAna para aMzataH parivartanavAle aneka pAThAntara milate hai / lekina yahA~ para jo 'naramAMsalolapasya' yA 'naranAsikAmAsalolapasya' aisA pAThAntara dikhAI dete hai, vaha prasaGlocita lagate hai / kruddha hokara brAhmaNa vidUSaka AkheTa kI stuti karanevAle senApati ko yahI zApa de vaha adhika ucita hai / evameva yaha dUsarA pAThAntara devanAgarI evaM dAkSiNAtya donoM vAcanAoM meM pracalita hai, adhika vyAkhyAkAroM ke dvArA svIkRta hai|

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vasantakumAra ma bhaTTha SAMBODHI 5 vidUSaka ko jaba jJAta hotA hai ki rAjA duSyanta koI AzramanivAsinI tApasakanyA meM anurakta huA hai to vaha kahatA hai ki 144 A bho / jadhA kassa vi piNDakhajjUrehiM uvveidassa tintiDiAe saddhA bhodi tathA anteuraitthIradaNaparibhoiNo bhavado ia patthaNA / - pizela, 22 (bhoH yathA kasyApi piNDakharjUraiH udvejitasya tintiDikAyAm zraddhA bhavati, tathA antaHpurastrIratna paribhoginaH bhavataH iya prArthanA 1) B tintiDAbhilASo bhavati tathA strIratnaparibhogino bhavata iyamabhyarthanA / C tintilikAbhilASo bhavati tathA strIratnahAriNo bhavata iyamabhyarthanA / D E - narahari, pR. 314 tantiDikyAmabhilASo bhavati tathA strIratnaparibhogino bhavata iya prArthanA / kAzmIrI, 33 tintriNIphale abhilASo bhavet, tathA strIratnaparibhAvino bhavata iyam abhyarthanA / pR. 44 carcA, pR. 94 F atra bahutva tintriNyAmekatva ca vivakSitam / strIratnaparibhAvina iti / - tintriNIphale'bhilASaH strIratnAni paribhavitumatiparicayAdavajJAtu zIlavataH / G abhirAma, pR. 90 H tintriNyAm abhilASo bhavettathA strIratnaparibhAvino bhavata iyamabhyarthanA / - ghanazyAma, 113. I tintiyAM ciJcAyAmabhilASo bhavettathA strIratnAni paribhavituM tiraskartuM zIla yasya tasya bhavata iyamabhyarthanA / - rAghavabhaTTa, pR. 150 J titriyAm / - zrInivAsa, pR. 150 yahA~ para do zabdoM ke pAThAntara samIkSya hai : (ka) 'tintiDikAyAm' (tamarind ) zabda bagAlI, maithilI evaM kAzmIrI vAcanAoM meM pracalita hai, dUsarI aura devanAgarI evaM dAkSiNAtya vAcanAoM meM 'tintriNIphale' aisA pAThAntara dikhAI paDatA hai| saMbhava hai ki sUtradhAroM ne apane pradeza kA jo pracalita zabda hogA vahI parivartita karake rakhA hogA / (kha) dUsarA jo zabda hai vaha 'strIratnaparibhoginaH ' hai, vaha upamAnabhUta 'piNDakharjUra ke bhoktA' ke sAtha anvaya rakhatA hai / lekina devanAgarI eva dAkSiNAtya vAcanAoM meM 'strIratnaparibhAvino' aisA pATha milatA hai; jisakA 'udvejitasya' zabda ke sAtha badha jor3anA hai / aba yahA~ para vidUSaka kI jo majAka ur3Ane kI Adata hai usako dekhate hue vaha 'strIratnaparibhAvinaH' vAlA (dUsarA pAThAntaravAlA) zabdaprayoga hI karegA aisA pratIta hotA hai / aura vahI pATha adhika kSetroM meM pracalita lagatA hai / athavA jina sUtradhAroM ne 'strIratnaparibhoginaH' kATyavema - 1 - zaMkara, 199 -

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VoI XXII, 1998 "zAkuntala" ke vidUSaka kI uktiyA~ 145 kA 'tintriNyAm abhilASaH' kaise ho sakatA hai ? aisA socA hogA unhoMne, use badala kara 'strIratnaparibhAvinaH' banAyA hogA / aisA karane para bhI 'piNDakhajUra ke bhoktA' ke sAtha anvaya bana jAtA hai / aura, yaha bhI dhyAnAspada hai ki 'strIratnaparibhAvina' vAlA pATha hI duSyanta kI bhramaravRtti ko dhvanita karane meM samartha hai / ataH yahI pATha AntarasambhAvanAyukta kahA jAyegA | 6 dvitIya aGka meM duSyanta kA premaprakaraNa sunane ke bAda vidUSaka batAtA hai ki - A gahidapAdheo kido si tAe / tA aNurata tavovaNetuma takkemi / (pizela, pR. 23) (gRhItapAtheyaH kRto'si tayA / tat anurakta tapovane tvA tarkayAmi / ) B gRhItapAtheyo bhavAn kRtastayeti / anurakta tapovanamiti tarkayAmi / - zakara, pR. 203 C gRhItapAtheyo bhavAn kRtastayA / anuraJjita tvayA tapovanamiti tarkayAmi / - narahari, pR. 316 D bho gRhItapAtheyo bhava / kRtaM tvayAnurUpa tapovanamiti tarkayAmi / - kAzmIrI, pR. 35 E yadyeva gRhItapAtheyo bhava / kRta tvayopavana tapovanamiti pazyAmi / - kATyavema, pR. 47 F tahiM gRhItapAtheyo bhavasIti / anupasarga nirUpadravam / - carcA, pR. 100 G yadyeva gRhItapAtheyo bhavasi kRta tvayAnupasarga tapovanamiti pazyAmi / - abhirAma, pR. 97 H yadyeva gRhItapAtheyo bhava / kRta tvayopavana tapovanamiva pazyAmi / - dhanazyAma, pR. 116 I tena hi gRhItapAtheyo bhava / kRta tvayopavana tapovanamiti pazyAmi / - rAghavabhaTTa, pR. 160 J gRhItapAtheyo bhavetyanena tapovanamupavanamiti anena zAtipradhAne / - zrInivAsa, pR. 160 upara dAkSiNAtya vAcanA ke cAra vyAkhyAkAroM ne "gRhItapAtheyo bhava, kRta tvayA upavana tapovanamiti pazyAmi / " vAlA pATha svIkArA hai / yahA~ para vidUSaka duSyanta ko eka salAha detA hai ki - yadi zakantalA meM tama anurakta hae ho to tumhArI yaha AkheTayAtrA lambe dina calegI, aura mArga meM pAtheya kI jarUrata hogI, so use ikaTThA kara lo / eva vaha duSyanta ko abhinandana bhI detA hai ki tumane tapovana ko upavana banA diyA hai / yadyapi rAdhava bhaTTa ke matAnusAra 'kRta tvayopavana tapovanam iti' isa vAkya meM "uddezyavidheyabhAve vyatyayo jJeyaH" (pR. 160) arthAt uddezya rUpa 'tapovana' kA aura vidheya rUpa 'upavana' kA padakrama viparIta ho gayA hai / tathApi vaha vizeSa vAkbhaMgI se bolane para abhISTArtha kI pratIti karAyegA / isa sandarbha meM dAkSiNAtya pAThaparamparA kA anusaraNa karanevAle abhirAma eva carcA TIkAkAra ne jo pAThAntara svIkArA hai, vaha prasagAnurUpa nahIM dikhAI paDatA / dUsarI aura bagAlI vAcanA kA pAThAntara sandarbhAnusArI hote hue bhI sarala hai| usameM vidUSaka ke vyaktitva kI koI AbhA pratibimbita nahIM hotI hai| zaMkara ke dvArA pradarzita uttarArdha kA vAkya kisI bhI taraha se cAru arthavAlA nahIM hai| narahari ne tayA ke uparAnta 'tvayA' zabda ko bhI uttarArdha meM rakhakara parizuddhavAkya banAyA hai| kAzmIrI vAcanA kA pATha bhI vidUSaka ke vyaktitva ke anurUpa

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146 vasantakumAra ma bhaTTa SAMBODHI hai / lekina baMgAlI evaM kAzmIrI ina donoM vAcanAoM meM rAghavabhaTTa dvArA pradarzita uddezyavidheya bhAva kA bhaga parihata karane kA prayAsa ho sakatA hai / 7 dvitIya aGka ke ata meM vidUSaka ke mana meM zakuntalA ke rUpAtizaya ko dekhane kI icchA-kautuka-haiM yA nahIM / isa prazra kA uttara dete hue vidUSaka kahatA hai ki - A paDhama aparibAdha Asi / sapada rakkhasavuttanteNa saparibAdha / - pizela, pR. 25 (prathamaparibAdhamAsIt / sAprata rAkSasavRttAntena saparibAdham / ) B prathamamaparibAdhamapratyUhamAsIt sAmprata rAkSasavRttAntena sapratyUhaM savighna kutUhalamiti / - zakara, pR. 205 C prathamamanapabAdhamAsIt sAmprataM rAkSasavRttAntena sApabAdha kautUhalam / - narahari, pR. 316 D prathama saparivAhamAsIt / rAkSasavRttAntena punaH sAprata bindurapi nAvazeSitaH / - kAzmIrI, pR. 38 E prathama saparivAhamAsIt / idAnIM rAkSasavRttAntena bindupi nAvazeSataH / - kATyavema, pR. 50 F prathama saparivAhamAsIt / rAkSasavRttAntena punarasya bindurapi nAvaziSTaH / - carcA, pR. 104 G saparivAhamAsIt binduH tasya lezaH / -abhirAma, pR. 103 H prathama saparivAham AsIdidAnIM rAkSasavRttAntena punarasya bindurapi nAvazeSitaH / - ghanazyAma, pR. 119 / prathama saparivAhamAsIt / idAnIM rAkSasavRttAntena bindurapi nAvazeSitaH / - rAghavabhaTTa, pR. 168 _J prathama, saparivAha bindurapi bindumAtramapi / - zrInivAsa, pR. 168 ___ yahA~ para bagAlI eva maithilIvAcanA meM vidUSaka kahatA hai ki pahele to zakuntalA ko binA koI vighna dekhanA thA, lekina aba rAkSasoM kA vahA~ honA sUna kara lagatA hai ki koI vighna ke sAtha hI zakuntalA ko dekhanI hogii| dUsarI aura kAzmIrI, devanAgarI eva dAkSiNAtya vAcanAoM meM vidUSaka kI ukti hai ki pahele to zakuntalA ko dekhane kA kutUhala (nadI ke) parivAha kI taraha thA / lekina rAkSasavRttAnta ko sUna kara mere mana meM aba kautUka kA eka bindu bhI avaziSTa nahIM rahA hai| isa ukti meM se vidUSaka kA bhIru svabhAva bhI ubhara kara bahAra AtA hai aura sAmAjikoM ko hAsya milatA hai| sabhava hai ki yahA~ vidUSaka kI ukti meM jo zabda 'saparivAham' hai, usameM 'va' kAra kA 'ba' kAra, aura 'ha' kAra kA 'gha' kAra karane ke bAda - arthAt 'saparivAham' kA 'saparibAdham' aisA anuvAda hone ke bAda - baMgAlI vAcanA kA anusaraNa karanevAle pANDulipiyA~ ke lekhakoM ne

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147 Vol XXII, 1998 "zAkunsala" ke vidUSaka kI uktiyA~. unameM se "bindu' zabda ko bhI haTa diyA hogA | 8 paJcama aGka ke Arama meM jaba dUSyanta vidUSaka ko haMsavatI / hasapadikA ke pAsa bhejatA hai taba vaha bolatA hai ki - A gahido tae parakeraehi hatthehi sihaNDae acchabhallate / tA avIdarAassa via samaNassa Natthi dANi me mokkho / - pizela, pR. 59 __(gRhItastvayA parakIyaiH hastaiH zikhaNDake acchabhallaH // tat avItarAgasya iva zramaNasya nAstIdAnI me mokSaH / ) B gRhItastayA parakIyairhastaiH zikhaNDake acchamallaH / vigatarAgasyeva apsarasA gRhItasya nAsti me mokSaH / - zakara, pR. 254-255 ___C gRhItastayA parakIyairhastaiH zikhaNDake acchabhallaH / avigatarAgasyApi sujanasya nAsti me mokSaH / (narahari, pR. 340) D gRhItasya tayA parakIyaihastaiH zikhaNDake apsarasA vItarAgasyeva nAsti me mokSaH / -kAzmIrI, pR. 77 ___E gRhItasya tayA parakIyairhastaiH zikhaNDake apsaraseva vItarAgasya nAsti me mokSaH / kATyavema, 98 F gRhItasya tayA parakerakAbhyA hastAbhyA zikhaNDAJcale apsarasA vItarAgasyeva nAstIdAnI me mokSaH / - carcA, pR. 164 G parakerakaiH parakIyaiH / . zikhaNDAzcale zikhaNDAne / vItarAgasya tapasvinaH / mokSaH mocanam / - abhirAma, 190. H gRhItasya tayA parakIyAbhyA hastAbhyA zikhaNDe'psarasevAvItarAgasya nAsti me mokSaH / - ghanazyAma, 169. I. gRhItasya tayA parakIyairhastaiH zikhaNDake apsarasA vItarAgasyeva nAstIdAnI mokSo mocanaM kaivalya ca / - rAghavabhaTTa, pR. 287 J maunam / - zrInivAsa, pR. 287 yahA~ para kAzmIrI. devanAgarI evaM dAkSiNAtya vAcanAoM meM 'vItarAgasyeva apsarasA vAlA pATha prasiddha hai aura jo sandarbhAnusArI hI hai / vidUSaka apane ko 'vItarAga' jaisA kahatA hai / kyoMki usake mana meM aMzamAtra bhI strI-Asakti nahIM hai aura sAmane jo hasapadikA hai vaha apsarA jaisI hai, jo vItarAga RSi ko pakaDanevAlI-anurakta karanevAlI-hotI hai ! to yaha upamA kAlidAsIya hI hai| paraMtu baMgAlI vAcanA kA pATha kucha apapATha jaisA lagatA hai| kyoMki 'avItarAgasya iva zramaNasya' meM zramaNasampradAya ke yati kI aura jarUra AkSepa hai, lekina vaha prahasana yA bhANa prakAra ke rUpaka

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SAMBODHI 148 vasantakumAra ma bhaTTa meM ho to susagata lagegA / yahA~ para nATaka meM, aura vaha bhI kAlidAsa ke nATaka meM asvAbhAvika lagatA hai| evaM yaha bhI dhyAnAspada hai ki maithilI vAcanA kA anusaraNa karanevAlA TIkAkAra zakara bhI 'apsarasA' vAlA pATha hI svIkAratA hai // evameva bagAlIvAcanA meM AyA huA 'acchabhalla' zabda bhI prakSipta lagatA hai, kAlidAsane to dvitIya aGka meM 'jIrNa-RkSa' zabda rakhA thA / aura narahari ko choDakara aura koI vyAkhyAkAra ne usako svIkArA nahIM hai| ____vItarAgasyeva' ke sthAna para AyA huA 'avItarAgasyeva' pAThAntara bhI pazcAdvartI kAla kA ho sakatA hai| jisa meM zramaNoM kI aura se AkSepa ko haTAyA gayA hai / ataH yaha bhI prAdezika pAThaparivartana kI ceSTA ho sakatI hai / 9 SaSTha-aGka meM mAtali ke dvArA pakaDA gayA, vidUSaka apane ko 'biDAlagRhIta mUSaka' kI upamA detA hai : A majjAragahido via unduro NirAso mhi jiivide| (mArjAragRhItaH iva unduraH nirAzo'smi jIvite) - pizela, 91 B mArjAragRhIta ivondurunirAzo'smi jIvite / - zaMkara, 280 C mArjAragRhIta undura ivAnIzo'smi jIvite . / - narahari, 359 D mArjAragRhIta iva unduro nirAzo'smi jIvite savRttaH / / -kAzmIrI, pR. 119 E biDAla gRhIto mUSika iva nirAzo'smi jIvite saMvRttaH / - kATyavema, pR. 151 F pAThyAzaH anupalabdhaH / - carcA, pR. 205. G vAkyamida naiva vyAkhyAtam / - abhirAma, pR. 279 H biDAlagRhIto mUSaka iva nirAzo'smi jIvite savRttaH / - ghanazyAma, pR. 237 I biDAlagRhIto mArjAragRhIto mUSika iva nirAzo'smi jIvite saMvRttaH / - rAghavabhaTTa, pR. 394 J maunam / - zrInivAsa, pR. 394 yahA~ para pUrvottara bhArata meM pracalita baMgAlI, maithilI evaM kAzmIrI vAcanAoM meM jo 'undura/ unduru' zabda milatA hai, vaha dhyAnAspada hai| yahA~ para 'mArjAra' zabda to saMskRta hai, aura use binA koI parivartana apanAyA gayA hai / paraMtu yaha jo 'undura' yA 'unduru' zabda hai vaha dezya zabda hai aura una prAntoM meM pracalita mUSaka-jantu kA jo prAdezika 'undura' aisA nAma prasiddha hogA usakA prayoga kiyA gayA hai| devanAgarI aura dAkSiNAtya vAcanAoM meM eva TIkAkAroM ne 'mUSaka' yA 'mUSika' aisA saMskRta zabda aparivartya rakhA gayA hai, aura 'mArjAra' zabda kA tyAga karake, unake sthAna para "biDAla' jaisA dezya-prAdezika-zabda rakha liyA hai / isa udAharaNa se yaha siddha hotA hai ki jo vidUSakAdi kI

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149 I XXII, 1998 "zAkuntala" ke vidUSaka kI uktiyA~ kRta uktiyA~ hotI hai, usameM prAdezika bolI ke pracalita zabdoM ko lekara anekasthAna para parivartana ye gaye hai / [ isa sandarbha meM smartavya hai DaoN. e. bI. kItha kA yaha vidhAna :- we must hold at neither recension of Kalidasa's Sakuntala is of conclusive value] vidUSaka kI uktiyA~ meM se lekara yahA~ para jina pAThAntaroM kI carcA kI gaI hai usase yaha STa rUpa se pratIta hotA hai ki (ka) kadAcit raGgakSamatA baDhAne ke lie, (kha) eva hAsyaniSpatti ne ke lie, tathA (ga) kutracit prAdezika bolI bhASA meM jo zabda pracalita rahA hogA usakA svIkAra karake vidUSaka kI uktiyoM meM pATha-parivartana kiyA gayA hai / pAThAntaroM ke udbhavahetu anya / adhika bhI ho sakate hai / ( lekina vistarabhaya se hama prastuta viSaya kA upasaMhAra te hai 1) 20 uparyukta pAThAntaroM kA tulanAtmaka abhyAsa karake, TIkAkAroM ke pAsa jo pAThaparamparA kramita huI dikhAI paDatI hai usakA vaMzAnukrama aba samIkSya hai : 21 (ka) kAzmIrIvAcanA, maithilI vAcanA aura baMgAlI vAcanA jahA~ para ekarUpa hai-samAnaaise vAkyoM (aya varAho) 1.1 eva ( strIratnaparibhoginaH ) 15 1 (kha) uparyukta donoM sandarbhoM meM devanAgarI aura dAkSiNAtya vAcanA kA pATha eka samAna hai : naya zArdUlaH' itanA adhika pATha 1.1 meM hai, aura 15 meM 'strIratnaparibhAvinaH' aisA pAThAntara I (ga) kutracit aisA bhI pramANa milatA hai ki kAzmIra kI vAcanA aura dAkSiNAtya vAcanA pATha meM samAnatA hai| jaise ki 13 meM 'bANAsanahastAbhiH yavanIbhiH' vAlA pATha sabhI dAkSiNAtya kAkAroM ne, aura devanAgarI vAcanA ke TIkAkAra rAghava bhaTTane bhI svIkArA hai| tathA 17 meM dikhAI nA huA 'bindurapi nAvazeSitaH ' vAlA pAThyAMza kAzmIrI vAcanA aura dAkSiNAtya vAcanAo meM, tathA ghavabhaTTa meM bhI eka samAna hai / isa kA sambhavataH aisA kAraNa ho sakatA hai ki vaha pATha yA to dAkSiNAtya / devanAgarI canA se kAzmIrI vAcanA meM gayA hogA athavA to kAzmIrI vAcanA se zuru huA yaha pAThAntara [kSiNAtya pATha paramparA meM aura devanAgarI vAcanA meM bhI sakrAnta huA hogA / itane aza meM ina tInoM canAe~ saMmizrita pAThaparamparAvAlI dikhAI par3atI hai | tathA pAThAntaroM ke AdAna-pradAna kA kendra kazmIrI vAcanA ho sakatI hai // (gha) dAkSiNAtya vAcanA ke abhirAma aura carcAkAra jaise do TIkAkAra kutracit svataMtra pATha dete hai / udAharaNa ke rUpa meM 12 meM 'udarasya adhanyatayA', tathA 16 meM 'anupasarga povanamiti' vAlA pAThAntara // isa samIkSaNa ko eka citra se spaSTa kiyA jAya to 'abhijJAnazAkuntala' kI vibhinna {canAoM aura unake TIkA-TippaNakAroM dvArA svIkRta pAThaparamparA kA vaMzavRkSa nimnokta rUpa kA ho nakatA hai . :

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150 vasansakumAra ma bhaTTa SAMBODHI abhijJAnazA(zakuntalam -kAlidAsa kA svahastalekha + (anekAneka pratilipiyA~) 'kSa' ( ajJAta do pravAha ) 'jJa' 'ya'2 (saMmizraNa) yaha maithilI bagAlI maithilI vAcana bagAlI vAcanA (candra TIkAkAra zekhara devanAgarI vAcanA dAkSiNAtya vAcanA kAzmIrI zakara vAcanA TIkAkAra narahari . "kI TIkA aprakAzita 10 TIkAkAra rAghavabhaTTa carcA abhirAma TIkAkAra kATyavema TIkAkAra ghanazyAma TIkAkAra zrInivAsa TIkAkAra TIkA yahA~ para yaha bhI ullekhanIya hai ki 1, 2, 3, 4, 5, 6 - meM 'abhijJAnazAkuntala' kA (kula milA ke prAyaH 194 zlokavAlA) laghusaMskaraNa svIkRta hai; aura 7, 8, 9, evaM 10 meM 'abhijJAnazAkuntala' kA (kula milAke prAyaH 221 zlokoM vAlA) bRhatsaMskaraNa svIkRta hai // 3. DaoN. esa. ke. belavelakarajI kI ukti "The final text naturally belongs to no particular recension" kA smaraNa karake uparyukta pAThAntaroM kA siMhAvalokana kareMge, to satra rUpa se yaha kahanA hogA ki - 11 kA 'ayaM zArdUlaH', 1.2 kA 'mamodarasya', 15 kA 'strIratnaparibhAvinaH', 16 kA 'kRtaM tvayopavanaM', 1.7 kA 'bindurapi' evaM 1.8 kA 'vItarAgasyeva' vAle pAThAntaroM jo devanAgarI eva dAkSiNAtya vAcanAoM kA hai (jisako kutracit kAzmIrI vAcanA kA bhI samarthana hai) unheM baMgAlI vAcanA ke 'zakuntala' meM kaTAkSa, hAsya ityAdi se rahita banAyA gayA hai| athavA, mUlataH baMgAlI vAcanA ke yaha sarala, kaTAkSa evaM hAsya nirapekSa vAkyoM / zabdoM ko devanAgarI eva dAkSiNAtya vAcanAoM meM le jAkara kaTAkSa ityAdi se parivartita yA prakSipta karake baDe coTadAra banAye gaye hai //

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Vol XXII, 1998 "zAkuntala" ke vidUSaka kI uktiyA~.. 151 TippaNo The paper was awarded the "DR. V Raghavan Prize", in the classical Sanskrit section of the 36th Session of the All India Oriental Conference, May 28-30, 1993, Poona 1 prastuta lekha meM inhIM AvRttiyoM kA pRSThAka diyA hai| 2 monIyara vIlIyamsa ne jo sAmagrI kA upayoga kiyA hai (daSTavya . prastAvanA, pR. 1) usameM bagAlI pANDulipi bhI hai, aura rAghavabhaTTa kI vyAkhyA kA samAveza nahIM hai| 3 DaoN. belavelakarajIne kauna sI pANDulipiyA~ kA upayoga kiyA thA ? vaha isa sampAdana ke prakAzaka DaoN. vI. rAghavana ke dvArA bhI ajJeya rahA hai| (draSTavya : Preface, p m) 4 draSTavya * New Catalogus Catalogorum, Vol ONE, (Revised Edition, University of Madras, 1969, (pp 281-287) 5 katipaya vidvAna use pRthakvAcanA nahIM mAnate hai| paratu usakA baMgAlI vAcanA meM hI samAveza hotA hai aisA kahanA 6 yaha suvidita hai ki saMskRta nATyasAhitya ke rIkAkAroM ne zlokoM ke zabdArtha, anvaya aura sandhisandhyaGgAdi kA vivaraNa karane ke sAtha sAtha vidUSakAdi nIca pAtroM kI pratyeka prAkRta uktiyA~ kA saskRta chAyAnuvAda bhI diyA hai| ata. vaha uktiyA~ hamAre lie pANDulipi kI taraha upAdeya hai| 7 kevala vidUSaka kI uktiyA~ isalie lI jAtI hai ki prastuta abhyAsalekha anativistRta banA rahe / 8 A SANSKRIT-ENGLISH DICTIONARY - By Monier Williams (Berkeley, 1976) meM (page 193) batAyA hai ki yaha undura / unduru zabda kevala kezagranthoM meM milatA hai, anya koI saskRta grantha meM usakA prayoga nahIM huA hai| See "The Original Sakuntala", in the Sir Ashutosh Mookerjee Silver Jubilee Volumes m, Orientalia, part-2, (pp 344-59) Calcutta, 1925 10 yaha dUsare pakSa ko svIkAra kiyA jAya to "The Vidusaka" byG K Bhat (New Order Book Co, Ahmedabad, 1959) meM zAkuntala ke vidUSaka kA jo pAtracitraNa kiyA gayA hai vaha bhI viparIta ho jaayegaa| iti dik //

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AcArya vizvezvara ke 'alaMkAra - pradIpa' meM sAdRzyamUlaka alaMkAroM kA nirUpaNa pArula mAMkaDa AcArya vizvezvara ne alakAra - nirUpaNa ke lie tIna granthoM kI racanA kI hai| uname 'alakAra- muktAvalI' aura 'alakAra-pradIpa' kuvalayAnanda kI taraha subodha zailI meM raceM gae haiM / unakI yazodA kRti 'alakAra - kaustubha' hI hai, jisa meM paMDitarAja jagannAtha kI taraha navyanyAya zailI meM khaNDana - maNDana - saha alakAroM kA vimarza nirUpita hai / prastuta zodhapatra meM 'alakAra - pradIpa' meM nirUpita sAdRzyamUlaka alaMkAroM kA sakSipta vivecana kiyA gayA hai / 'alakAra - pradIpa' meM kevala arthAlaMkAroM kA hI nirUpaNa hai / AcArya vizvezvara ne apane pUrvAcArya ruyyaka aura zobhAkara mitra ke samAna sUtrAtmaka nirUpaNapaddhati svIkAra kI hai / pratyeka sUtra meM tad tad alakAra-lakSaNa nibadhita hai tathA choTI-sI vRtti meM usakA vivaraNa diyA gayA hai| AcArya vizvezvara ne svaya koI vargIkaraNa nahIM diyA, phira bhI adhyayana kI suvidhA ke lie alakAra ke suprasiddhi 7 vargoM meM hue vibhAjana ko dhyAna meM rakhate hue prathama varga sAdRzyamUlaka varga ke arthAkAroM kI samIkSA yahA~ prastuta hai / sAdRzyamUlaka alakAroM meM vizvezvara ne bhI prathama krama upamA ko hI sAdara diyA hai / unakA upamA-lakSaNa jagannAtha ke upamA-lakSaNa se prabhAvita hai / 'camatkAra - prayojakaM sAdRzyavarNanamupamA' / 1 ( pR0 - 1) tulanA kareM--sAdRzya sundaraM vAkyArthApaskAkara upamAlakRti / (ru ga. 2/1) vizvezvara ne 'camatkAra' zabda para bala diyA hai / upamA kA bhedopabheda nirUpaNa vizeSataH mammaTAnusArI hai / paratu dharmAbhidhAna ke AcArya ne SaT prakAra pradarzita kiye haiM / sAdhAraNadharma SaDvidha hotA hai, jaise (1) upacAramUlaka (2) anugAmI, (3) samAsabhedayukta (4) zleSayukta (5) bimbapratibimbabhAvayukta aura (6) vastuprativastubhAvayukta / " isa taraha vizvezvara ne upacAramUlaka, samAsabhedayukta aura zleSayukta ye tIna nUtana prakAra apanI ora se juDai haiM / luptAdi kA nirUpaNa pUrvAcAryoM ke hI AdhAra para kiyA gayA hai / ( pR0 2,3) pariNAma alaMkAra meM Aropya kA prakRtopayogitva unhoMne ruyyaka aura vizvanAtha kI hI taraha svIkAra kiyA hai / (sUtra - 2) zobhAkara mitra kA anusaraNa karate hue unhoMne udAharaNa alaMkAra svIkAra kiyA hai / (pR. 7) jo jagannAtha ne bhI nirUpita kiyA hai / | ananvaya kA lakSaNa kucha kliSTa sA ho gayA hai upameya aura upamAna kI) ekatA ananvaya alaMkAra hai / upamAna aura upameya meM jJAyamAna kI (= / jJAyamAna kA artha vRtti meM spaSTa karanA

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Voll XXII, 1998 AcArya vizvezvara ke 153 cAhiye thA / lekina isa sUtra kI vRtti hI nahIM hai / jJAyamAna aikya kA artha upameya/upamAna kI rUpatA ho sakatA hai / yahA~ udAharaNa meM iva zabda kA prayoga upamAna aura upameya kA aikya spaSTa karatA hai| (draSTavya, aMtima padyAMza-loke'sminvaravaNini / tvamiva me satya tvamAbhAsase // (pR. 5) zobhAkara aura jagannAtha kA anusaraNa karate hue unhoMne sarvathA upamAna ke niSedha ko asama mAnA hai / paraspara ke sAdRzya ko upameyopamA svIkAra kiyA hai / ananvaya, asama aura upameyopamA kA Apasa meM sUkSma bheda vizvezvara ne nizcita kiyA hai, vaha sacamuca sarAhanIya hai| vizvezvara ne mammaTa kI taraha utprekSA meM sambhAvanApakSa para hI bala diyA hai, ruyyaka ke adhyavasAna pakSa para nahIM / svarUpa hetu aura phala mukhya tIna hI prakAra ginAye haiM / sAdRzya-nibandhana meM prakRta arthAt upameya meM jo sazaya hai use sandeha kahate hai| yahA~ vizvezvara ne mammaTa kA anusaraNa kiyA hai aura vitarka -vikalpa kA Aropa-svarUpa nirUpaNa sandeha hai, aisA vRtti meM spaSTa kiyA hai, vRtti meM adhUrApana hai| kadAcit vizvezvara sandeha meM vitarka aura vikalpa donoM kA svIkAra karate hai| ve kevala viSaya ko hI sandehAspada mAnate hai, ala. sa. kArane viSayI arthAt upamAna ko bhI sandehAspada svIkAra kiyA thA / (ala. pra. sU. 8 kI vRtti ala. sa. sUtra 18) ruyyakAdi ke jo nizcayagarbha athavA nizcayamadhya saMdehAlakAra hai, vaha alakAra-pradIpa meM vitarkAlakAra nAmaka svatatra alakAra svIkAra kiyA gayA hai / lakSaNa meM spaSTarUpa se nirdeza diyA hai ki 'sazayottaramanirNaye Uho vitarkaH / / (sU.-9 pR.10) zobhAkara ne bhI vitarka ko alaga alakAra svIkAra kiyA hai parata unhoMne 'apoha' para bala diyA hai, vizvezvara ne Uha-tarka para / (draSTavya, ala. 2, pR. 45, ala. pra. pR. 11) vikalpa alaMkAra meM vizvezvara ko ruyyaka-jayaratha kI taraha pAkSikI prApti svIkArya hai, (sU. 1) kintu unhoMne aupamyagarbha cArutva kA koI ullekha nahIM kiyA jo vikalpa ke lie pUrvAcAryoM ne anivArya samajhA hai| eka bAta aura bhI hai ki vikalpa vAkyanyAyamUlaka alakAra hai, vizvezvara ne sAdRzyamUlaka alakAroM ke atargata usako sUtrita kiyA hai / rUpaka-nirUpaNa pUrvAcAryoM ke anusAra hI hai, (sU. 11) Aropa kA svIkAra bhI hai, aura sAvayava aura niravayava do bhedoM kA svIkAra hai / ratnAvalI alaMkAra dIkSitajI ke AdhAra para sUcita kiyA hai / apahRti meM vizvezvara ne prakRta ke niSedha para bala diyA hai / ata: lakSaNa sapUrNarUpa se mammaTAnusArI hai / (sUtra 13) __ zobhAkara aura jayaratha kI taraha vizvezvara ne 'nizcaya' alakAra ko svatatra alakAra svIkAra kiyA hai paratu udAharaNa meM apahati kI spaSTa chAyA hai / (pR. 17)

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pArula mAkaDa SAMBODHI 154 arthazleSa ke prakAroM ke antargata bhASAzleSa ko svIkRti dI gaI hai| samAsokti meM ruyyaka-jagannAtha ke vicAroM kA samacita sakSepa prazaMsanIya hai| atra prakRte'prakRtanAyikAdivyavahAra evAropyate iti sarvasvakArAdayaH / nAyikAtvAdikamapyAropyate iti rasagaGgAdharAdayaH 1 (sU. 16 kI vRtti-pR.-20) nidarzanA meM ruyyaka ne vRtti meM anvayabAdha zabda prayoga diyA hai, vizvezvara ne vahI se preraNA lekara 'anvayAnupapattyA sAdRzyaparyavasAna nidarzanA / ' sUtra racA hai / (sU. 37) dvitIya nidarzanA bhI sarvasva ke nirUpaNa para AdhArita hai / dIkSitajI kA nUtana alaMkAra 'lalita' (jo jagannAtha meM bhI hai) vizvezvara ne svIkAra kiyA hai, lakSaNa meM zabdAntara hai, kintu bhAvArtha samAna hai (sUtra 18, kuva. 12) / aprastutaprazaMsA, prastutAkura ke sUtra kramaza: ruyyaka aura dIkSitajI ke AdhAra para race gaye haiM / (sUtra, 19,20) vizvezvara ne atizayokti ke cha prakAra diye haiM, jo dIkSitajI ke kuvalayAnanda para nirbhara hai / (sU. 21) isa taraha sambhAvanam aura mithyAdhyavasiti bhI dIkSitajI ke AdhAra para sUtrita kiye gaye hai (sUtra 22, 23) vizvezvara meM koI khAsa vizeSatA dRSTigocara nahIM hotI / hetu alaMkAra meM AcArya vizvezvara ne kArya aura kAraNa kA abheda-kathana mAnA hai / dvitIya hetu alaMkAra ruyyaka kA kAvyaliMga hI hai / (dra. sU. 25 kI vRtti. alaM. saM. sU. 58) alaMkArakhadIpa kA ullekha-nirUpaNa sarvathA ruyyaka ke alaM. sa. para AdhArita hai| kintu ruyyaka ne ullekha ke kAraNoM meM ruci, arthitva aura vyutpatti diye haiM to vizvezvara ne mAtra pramAtmaka jJAna hI spaSTa kiyA hai / (sU. 26, alaM. sa. sU. 20) prativastUpamA, dRSTAnta, dIpaka, mammaTa, ruyyaka aura jagannAtha para AdhArita hai / AvRtti dIpaka ko unhoMne dIpaka ke antargata hI mAnA hai / tulyayogitA ruyyakAnusArI hai / vyatireka mammaTAnusArI hai / (sUtra 31, 32) vizvezvara kA AkSepanirUpaNa sarvasvakAra anusAra nirUpita hai| (sUtra, 33) vyAjastuti (sUtra41), sahokti pUrvAcAryoM para AdhArita hai / sahokti meM camatkAra dharma ko unhoMne anivArya mAnA hai / (42) vinokti kI dUsarI vyAkhyA alaMkArabhASyakAra anusAra hai| paryAyokta ruyyaka para AdhArita hai / dUsarA paryAyokta unakI navIna udbhAvanA hai / bhrAntimAna bhI pUrvAcAryoM ke AdhAra para racA gayA hai / (sUtra 17) (ramyabhramo prAntimAn / ) ramya vizeSaNa vizvezvara kA yogadAna hai|

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VoII XXII, 1998 AcArya vizvezvara ke. 155 ina alakAroM kA vargIkaraNa aura krama niyata na hone se hamane jo alakAra sAdRzyamUlaka hai aura virodha jaise sAdRzyetara saMbandhamUlaka alakAroM ke antargata rakhe gaye haiM una sabhI ko sAdRzyamUlaka samajha kara hI hamane vivecita kiye haiM / 'alakAra pradIpa' kAra AcArya vizvezvara usa samaya meM hue haiM, jaba unake sAmane dIkSitajI kA sagama zailI meM racA gayA kuvalayAnanda aura prauDha zailI meM racI gaI citramImAMsA bhI thI tathA navyanyAyazailI meM racA gayA AlakArika dhuradhara paDitarAja jagannAtha kA gratharAja 'rasagagAdhara' bhI thaa| unhoMne mammaTa ke kA. pra. meM svIkRta 61 alakAroM ko hI svIkAra kara paDitarAja kI hI navyanyAya zailI meM mammaTa ruyyaka aura svaya jagannAtha ke matoM ke khaNDana se bharapUra kAvyazAstra kI alakAraparaparA ke hRdaya para suzobhita 'alakAra kaustubha' kI racanA kI / yaha gratha 'vidvadjanahRdayaraJjanAya' hai / paraMtu yahA~ isa zodhapatra meM hamane jisa prathAMza kI samIkSA kI hai vaha gratha jo sUtrAtmaka paddhati kA hai aura kArikApaddhati kA gratha hai alakAramuktAvalI' / ye donoM gratha jo alakAroM ke abhyAsa kI sAdhanA AraMbha kara cUke hai unake lie hai / hama inheM 'bAlAnA to nahIM paratu 'kizorANAmavagAhanAya' avazya smjheNge| ala. pra. ke sUtra sakSipta aura sarala hai / yahA~ ruyyaka ke alakAra sUtroM kI taraha apane Apa meM paripUrNa nahIM hai / kabhI kabhI vRtti bhI adhUrI-sI pratIta hotI hai / yahA~ sAdRzyamUlaka alaMkAroM ko le kara hamane jo graMthAza kA adhyayana kiyA hai unase AcArya vizvezvara kI eka prauDha AlaMkArika ke rUpa meM pratibhA nikharatI hai| vizvezvara ne apane pUrvAcAryoM ke alakAra mata kA sagrahasaMcaya aura vizleSaNa anupama rUpa se kiyA hai / alakAroM ke paraspara ke sabandha aura unake viSaya meM pUrvAcAryoM kA yogadAna unhoMne sArAMza rUpa meM prastuta kiyA hai / upamA ke tIna naye bheda, paryAyokta kA dvitIya prakAra unakI pratibhA kI dena hai / paratu vikalpa, nizcaya ityAdi alakAroM ke svarUpanirUpaNa meM aspaSTatA raha gaI hai| dIkSitajI ko samarthita karate hue unhoMne prastutAkura, lalita Adi alakAroM kA svIkAra kiyA hai, kintu lakSaNa meM kizcit pariSkAra bhI kiyA hai / isa taraha alaM. pra. kA arthAlaMkAra kI vikAsayAtrA meM niHsandeha apanA amiTasthAna to hai hii| pAdaTipaNNa 1 vikasitamabhirAmatama radanadhutikesara rucirapatram / alakazyAmalamAnanamalimalinaM nalinamiya tasyA. // -dharmAbhidhAne ca bahavaH prakArAH / atroktA. SaT / vikasitamityupacAra. (2) padye patravibhAtmakamukhyavikAzaH, mukhe tUpacArAdullAsa-vizeSaH abhirAmetyanugAmitvam (3) radanAtivatkesarANi yatreti padmapakSe, radanadyutaya eva kesarANi yaveti mukhapakSe iti samAsabhedaH / patrapadasya dalaparatvaM kastUryAdipatralekhAparatva ceti zleSaH / kuntalabhramarayo bimbapratibimbabhAvaH / (1) sa ca vastuto bhinnayoranyonyasAdRzyAdabhinnatayAdhyavasitayo prayogaH / zyAmalatva mAlinya cAbhinnatayA tadvizeSyatayopAttamiti vastuprativastubhAvaH / (2) (ala. pra. pR., 1,2) 2 upamAnopameyaporjAyamAnamaikyamananvayaH // (alakAra pR. 5)

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156 pArula mAkaDa SAMBOI 3 ananvaye upamAnAntaravyavacchedo vyaGgya , asame vAcya , upameyopamAyA tRtIyopamAnavyavacchedo vyaGgya iti vize 4 mAdRzyanivandhana pakRtasazaya sandeha / (ala pra.-8) aura (ala. sa. sU. 18 kI vRtti) madarbhagrantha.1 sapA napAlapradezIya-zrI viSNuprasAda bhaNDArI 'alakArapradIpa' (AcArya vizvezvarakata) hari saskRtagranthamAlA, I. sa. 1923 2 sapA mI. Ara. devadhara, alakAraratnAkara (zobhAkaramitra kRta) oriyanTala buka ejansI pUNe, I. sa. 19 3 sapA. DaoN. gvApramAda dvivedI, alakArasarvasva (ruyyakakRta) caukhambA saskRta sIrIja Aphisa, vArA I. ma 1971 4 pArula mAkaDa, arthAlakAroM kI vikAsayAtrA ke sadarbha meM alakArasarvasvakAra ruyyaka eka adhyayana aprakAzita zodhaprabandha, gujarAta yunivarsiTI, I. sa. 1180 saMkSiptAkSara 1 alakArakhadIpa - ala. pra. 2 alakAraratnAkara ala. ra. 3 alakArasarvasva ala. sa. 4 kAvyaprakAza -kA. pra. 5 kuvalayAnanda -kuva. 6 draSTavya -dra. 7 rasagagAdhara ra ga

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mUladevanI gUDha lipi lakSmaNabhAI bhojaka suvarNa-raupya-siddhi-zAstra" nAmanA A graMthamAM keTalAka gUDha-lipinA prayogo jovAmAM AvyA che AvA keTalAka zabdo tenA peja-nabara peregrAnabara ane pakti-nabara sAthe nIce batAvyA che amuka vastune gupta rAkhavA khAtara vaidya, joSI, dhAtuvidyAvAdI, matravAdI vagere lekhakoe karelA eka ja lipinA varNa-parivartanarUpa pheraphArothI AvI gUDha-lipio utpanna thaI che A gUDha-lipinuM nAma "mUladevI-lipi" che mUladeva I. sa. pUrve thaI gayela vidvAnuM rAjamAnya puruSa che mUladevI-lipina koika nIce pramANe che mAlaya: vAyo reyA, ra6-au -hai parasparanuM ! zeSa vargeSu vargeSu, mUladevena bhASitam // 1 // svara. sa eva kathyate // iti mUladevIlipiH // SirilonaDIema siriyaM // zrIrastu // (SisonIna vita) . | 1 | | Ta | 8 12 | | | 4 | M | N | | | | | za | | | | koSTakamAM lakhelA akSaro uparanA badale nIcenA vAcavA ane nIcenA akSarane badale uparanA vAcavA svaro jema hoya tema ja rAkhavA jaina-Agama vizeSAvazyakanI TIkAmA aDhAra lipionA nAma Ave che temA eka "mUladevInAma che A suvarNarauprasiddhizAstranA pustakanA vidvAnuM sapAdaka mahodaya DaoN. je. sI. sIkadAre A graMthamAM AvatA gUDhalipinA zabdo yathArUpe sAcavyA che ane A zabdo nathI samajAya tevI pramANikapaNe TippaNI paNa karI che A TippaNInA AdhAre A zabdonI samaja lakhavA prerAyo chu haju keTalAka zabdo samajAyA vagaranA rahI gayA che mUladevI-lipimA "ja" no "ra" vAcavAno che madhyakAlIna gujarAtImA ""no "a" keTalAka lakhe che tevu AmA paNa thayuM chejema ke "puta-pu" paNa "qtu-pu thAya eTale mUrdhanya " ja lakhavo joIe

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SAMBODHI 158 lakSmaNabhAI bhojaka mUladevI-lipinA prayogo paMkti mUladevIlipi peregrApha na devanAgarI lipi posedAsa tI(tA)So pAde po? nA 15 tole vAla pAro tAbe to? mA(sA) 1 0 32/2 0 32/2 0 32/3 pAdu tAbu 0 32/3 32/3 - nAlA prAdepo(Sa) tAkho(So) prAdepo 1 prAdepo 2 Sutu tolA 1 mAjhA trAbera ti] pAro trAbe to[lo] 1 trAMbe to[lo] 2 rupu tolA 1 34/1 34/1 34/1 34/1 34/1 34/2 34/2 0000 cc c c Mo0 : c c prAdepo 1 hA? pAMdu to 1 hakha to. su (pu.)2 khA(SA)DA po.1 khaciko asaMavIke prAde prahara 1 hA 1 trAbe to0 1 bA[la] 1 tAMbu to0 1 vaMga to01 ru(pu) 2 rAjA to. 1 ga(gu)Tiko kalaMka hoe trAMbe prahara zvA[la]1 34/2 43/3 1 20/2 tApo pAro mm prAdepA trAbe tA

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Vol XXII, 1998 caDhalI kI kI hu 86 86 86 87 88 92 93 93 94 94 94 94 94 94 94 94 95 95 96 96 96 41/1 41/1 41/1 45 46 1 6 6 7 7 7 7 7 7 7 8 10 a am or a z 10 13 21 21 21 24 1 5 10 3 4 1 1 1 1 1 1 1 1 6 1 2 5 1 mUladevanI gUDha lipi kha (Sa) pI tAkho (So) prAdAno saMpuTa hAsa 1 prAdekha haMkhe a (Da)lpa 1 sera a (Da) lpa 8 nAla (lA) 20 prAdu nAlA 28 Sutu a (Da)lpa nAlA 8 'pAkha (Sa) khAsIne pAdAmokhetha (pa) nAlo 1 Doe dhalma (lna) a (Da) lpa a (Da)lpa prAde Arza Ase itI pAro trAbAno sapuTa vAla 1 trAbe ga Li Ya vaMge jasta 1 sera jasta pai 8 mAsA 20 trAbu mAsA 28 rupu jasta mAsA 8 tAra gAlIne tAbAno gaira mAso 1 joTake bhasma jasta jasta trAbe kAryakA UORI LIB 159 247

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mahimabhaTTa ane vyaMjanAvyApAra aruNA ke paTela AnaMdavardhananA mate kAvyano AtmA pratIyamAna dhvani che tene abhivyakta karatI mahAkavionI vANI potAnA pratibhAvizeSane paNa vyakta kare che kevaLa zabdArthanA jJAnathI vyagyArthanuM jJAna thatu nathI vyagyArthane vyakta karatI zabdanI alaga zakti che vAkyarthane prakAzita karato zabdano abhidhAvyApAra pUrNa thaI jAya, pachI zabdano banAvyApAra kAryarata bane che ane vyagyAthane abhivyakta kare che vyagyArthanI abhivyaktimAM vAcaka zabda temaja vAcya artha vaikalpika svarUpe svane guNIbhUta banAvI daIne vyagyArthane vyakta kare che anumAnavAdI mahimabhaTTa vajanAvyApArano sarvathA asvIkAra kare che temanA vyaktiviveka' graMthano udeza dhvaninA sarva bhedaprabhedono anumAnamA atarbhAva darzAvavAno temaja dhvaninI prANabhUta abhivyajanAnuM khAna karavAno rahyo che, tevu svaya graMthakAre jaNAvyu che AthI temanA vyaktiviveka'mAM rajU thayelA temanA vajanAvirodhI vicAronuM parIkSaNa karIzu (a) zabdamAM abhidhA sivAya, koI anya vyApAranI sattA nathI - mahimabhaTTa jaNAve che ke zabdane anekArthabodhaka zaktinA AzrayarUpa mAnIne, tenA para nI. abhidhA sivAyanI anya zaktinI je kalpanA karavAmAM AvI che, te zabdanA sadarbhamA nahi, arthanA saMdarbhamAM suyogya jaNAya che kAraNa ke zabda aneka zaktionA AzrayarUpe siddha thato nathI ane vaLI, je koI ekathI vadhAre zaktio eka ja Azraye rahelI hoya, temanI pravRtti parasparathI nirapekSa ke svataMtra hoya che temAM pUrva ane apara krama hoto nathI. jemake agninI dAhakatA, prakAzakatA Adi paratu je zaktione zabdanI Azrita mAnavAmAM AvI che, temAM AvuM jovA maLatuM nathI kAraNa ke anya zaktionI pravRtti abhidhApUrvakanI hoya che te zaktione bhinnAzrayA mAnavI joIe, kevaLa zabda para AdhArita mAnavI joIe nahi graMthakAranA vaktavyanu tAtparya e che ke zabdamAM ekasAthe aneka arthone vyakta karavAnuM sAmarthya nathI tethI anya arthonI prApti mATe zabdamAM lakSaNA, vyajanA vagere vyApAronI kalpanA karavAmA AvI che, te yuktisaMgata nathI lakSaNa ane vyajanAne zabdanI zaktirUpe oLakhAvavA, te bhUlabhareluM che kAraNa ke vAcyArtha sivAyanA je artho prApta thAya che, te arthanA vyApAro che, zabdanA nathI zabdane to kevaLa abhidhAvyApAra ja sabhavita che zabdanA samAzraye anekavidha arthonI pratyAyikA zaktio rahelI che te bAbatanuM koI pramANa nathI zabda aneka zaktiono Azraya che. te mAnyatAnuM khaDana karavA mahimAe uparanA gadyakhaDamAM traNa yuktio darzAvI che jayA eka ja padArtha para aneka zaktio AzrayarUpa hoya, tyA1 te zaktio parasparathI nirapekSa hoya che

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Vol XXII, 1998 mahimabhaTTa ane janAvyApAra 161 2 temAM pUrva ane apara krama hoto nathI 3 te zaktio ekasAthe potAnuM kAma kare che udAharaNa tarIke, agnimAM dAhakatva ane prakAzavarUpa be zaktio che. agninu dAhakatva agninA prakAzatvane rokI zakatuM nathI, te ja rIte agninI prakAzikA zakti agninI dAdhikAzaktine rokI zakatI nathIvaLI, ahI evo krama paNa jaNAto nathI ke pahelA agninI dAhikAzakti pravRtta thAya, tyArabAda tenI prakAzikAzakti pravRtta thAya athavA to, AnAthI viparIta. prathama prakAzikAzakti pratIta thAya. tyArabAda dAhikAzaktinI pratIti thAya Ama banatu nathI prAya agninuM dAhakatva ane prakAzakatva-bane ekIsAthe pravRtta thatA dazyamAna thAya che eTale ke agni prakAza Ape che. sAthosAtha ApaNane dajhADe paNa che Ama, agninI bane zaktio yugapatu potapotAnuM kArya karatI jovA maLe che zabda para Azrita abhidhA, lakSaNA ane bajanA vize vicArIe, to ema jaNAya che ke A traNeya zaktio agninI zaktionI mAphaka anyonya nirapekSarUpe, pUrvApara kramabhAvarahita ane yugapat kArya karatI jovA maLatI nathI koI paNa AcArya evo ullekha sarakho karyo nathI ke abhidhA, lakSaNo ane vyAjanA yugapatuM kArya kare che eTalu ja nahi, vastusthiti AnAthI viparIta che 1 abhidhAzakti koI eka ja nizcita artha Ape che, tethI anya artha mATe anya zaktinI kalpanA karavI paDe che 2 A zaktionA vyApAra paraspara sApekSa jovA maLe che jemake tAtparyA ane lakSaNA abhidhAnI apekSA rAkhe che vajana paNa abhidhAmUlaka ane lakSaNAmUlaka hoya che 3 vyagyArthanI pratItimA pUrva ane aparakrama jaNAya che tethI traNeya zaktionu yugapatu kAryakAritva saMbhavI zakatuM nathI arthapratItimAM koI eka vRtti ke zakti eka vAra potAnuM kArya karI laI, virata thaI jAya che, tyAre ja anya zaktino vyApAra sabhavI zake che Avo anubhava sAkSAtu thAya che tethI zaktione zabda para Azrita na mAnatA, bhinnAzrayA mAnavI joIe kevaLa abhidhAne ja zabdaniSTha mAnavI joIe anya zaktio to arthAzrayA che tethI lakSaNA, vyAjanA Adi vyApAra arthanA che, zabdanA nahi (ba) vAcaka zabda ane vyaMjanAvyApAra vacce svAbhAvika saMbaMdha nathI. jo ema dalIla karavAmAM Ave che, zabdArthanA nitya saMbadhanA siddhAMta anusAra, svabhAvaprApta kAryakAraNabhAva to sAmAnyarUpe siddha che ja tethI vyajanAzaktino svIkAra karyA vinA vyagyAthanI. pratIti thAya che, tema mAnavAmAM zo vAdho che ? AnA uttararUpe prathakAra jaNAve che ke geya vastuno tenA rAga, laya Adino vibhAvAdi sAthe svAbhAvika sabadha che jemake viyoginI ke vaitAlIya chadomAM gAvAmAM AvatI karaNaprazasti tenA arthanA jJAtAne temaja artha nahi jANanArA bhAvakane samAna rIte bhAvavibhora banAvI de che bhAva ( zabdo) ane tenI abhivyakti (=rAga, laya Adi) vacce svAbhAvika sabadha rahelo che, tevo svAbhAvika sabadha zabda ane vyagyArtha vacce nathI AthI vyagyArthInI pratIti prajJAvAna sahRdaya bhAvakane ja thAya che, mUrkha Adine vyagyAthenI pratIti thatI nathI tethI zabdano vyagyArtha vacce svAbhAvika sabadha svIkArI zakAya nahi mahimAnA zabdomAM

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162 aruNa ke paTela SAMBODHI "nApi zabdasyAbhidhAvyatirekeNa vyaJjakatvaM vyApArAntaramupapadyate, yenArthAntaraM pratyAyayeda vyakteranupapatteH sambandhAntarasya cAsiddheH / tadabhAve'pi tadabhyupagamai tasyArthaniyamo na syAda nibandhanAbhAvAt, na hayasya geyasyeva ratyAdi vaiH svAbhAvika eva sambandhaH, sarvasyaiva tawtItiprasa' 1" arthAt ane vaLI, zabdano abhidhAthI atirikta vyajakatvarUpa vyApAra banI zake nahi, ke jethI karIne te anya arthanuM jJAna karAvI zake kAraNa ke vyajanA zabdamAM banatI ja nathI ane bhajanA sivAya zabdano anya sabadha siddha thato nathI ane tenA abhAvamA (=vyakti, anya prakArano sabadha ke abhidhA sivAyanA anya vyApAranA abhAvamA) paNa teno (=zabdamA vyajakatvano) svIkAra karI levAmAM Ave, to paNa temA arthano niyama (=niyata arthanI pratIti karAvavI) raheze nahi kAraNa ke nizcita arthapratItinA nibaMdhanano abhAva haze. (=abhidhAmA rahelA sakatagrahanI mAphaka kalpita vyajanAmAM niyata arthanI pratIti karAvanAra saMkocaka kAraNa nathI.) Ano geyanI mAphaka ityAdi sAthe koI svAbhAvika sabadha paNa nathI kAraNa ke badhA ja prakAranA (vyajaka ke vAcaka) zabdothI te anya arthanI pratIti mAnI levAmA Avaze.' (ka) vyaMgyAthenI pratIti aupAdhika che tethI abhidhAvyApAra tenA dyotanamAM niSphaLa nIvaDe che : vyagyAthenI pratItimA mukhyArthabAdha Adi hetupAcakano abhAva jaNAya che, tethI tyA lakSaNAvyApAranI zakyatA nathI, tema mAnI koI evI dalIla kare, ke tyA abhidhAvyApAra kAraNarUpa hovo joIe tenA pratyuttararUpe prathakAra jaNAve che ke __ "nApi samayakRtaH vyaJjakatvasyaupAdhikatvAd upAdhInAM cArthaprakaraNAdisAmagrIrUpANAmAnantyAdiniyatatvAzca pratipadamivazabdAnuzAsanasya samayasya kartRmazakyatvAt / ' arthAt "ane te niyata arthano pratyAyaka niyama (sakatagraha)thI paNa thatuM nathI, kAraNa ke bajakatva upAdhijanita (conditional) hoya che ane artha, prakaraNa Adi sAmagrIrUpe anata hovAthI aniyata hoya che. tethI pratyeka pade zabdAnuzAsananI mAphaka sakatagrahano nirdeza azakya che ' prakAranI dalIla evI che ke abhidhA to sakatagraha para AdhArita che bhajanAno zabda sAtheno saMbaMdha upAdhiyukta che te artha, prakaraNa Adi para AdhAra rAkhIne arthAntaranu ghatana kare che. dhvanivAdIoe to svIkAreluM ja che ke vaktA, boddhA, kAku, vAcyavaizistra, ceNavaiziSTaca Adi para vyagya artha AdhArita hoya che eno artha e ke vyagyArtha A badhA tattvo sAthe sApekSa (Relative) hoya che ane te badalAto rahe che. ane Ama hovAthI, vyagyA anatarUpe banI javAno saMbhava rahe che. AthI vAcyArtha ane vyagyArtha vacce niyata saMbadha svIkAravo joIe. AnadavardhananA mata anusAra, vaktA, boddhA, kAka Adi para AdhArita vyagyArtha aniyata thaI jaze. vyagyArthInI aniyatatAne kAraNe ane sApekSatAne kAraNe kevaLa sakatagraha para AdhArita abhidhAvyApArathI tenI

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Vol XXII, 1998 mahimabhaTTa ane vajanavyApAra 163 pratIti thaze nahi vyagyArthanI aupAdhikatAne prathakAra udAharaNo ApIne samajAve che teNe eka ja "rAma" zabda bhinna-bhinna sadarbhavazAt kevA bhinna-bhinna vyagyArthone pragaTa kare che, te nIcenA udAharaNomA samajAvyuM che "eka eva hi zabdaH sAmagrIvaicitryAd vibhinnArthAnavagamayati, yathA 'rAmo'smi sarva sahe' iti, 'rAmeNa priyajIvitena tu kRta premNaH priye ! nocitam' iti, 'rAmasya pANirasi nirbharagarbhakhinnasItAvivAsanapayeH karuNA kutaste' iti, "rAme tayantavasatau kuzatalpazAyinyadyApi nAsti bhagavan | bhavato vyapekSA' ityAdAveka eva rAmazabdaH / ' arthAt ekano eka zabda sAmagrInA bhedane kAraNe bhinna-bhinna prakAranA arthonuM jJAna karAve che jemake (1) hu rAma chu, badhu ja sahana karI laIza (2) he priye ! jiMdagIno moha rAkhanAra A rAme premane ucita vyavahAra karyo nathI (3) tu rAmano hAtha che ke je kaThoragarbhA jAnakIne tyajI devAmAM kuzaLa che tane kayA kyAthI hoya ? (4) bhagavAna samudra ! kinAre taMbu tANIne kuzanI caDhAI para sUI rahelA rAma para haju sudhI Apa dhyAna ApatA nathI ? ItyAdimAM eka ja rAma zabda (bhinna-bhinna arthono bodha karAve che.) ahIM prathama vAkyamAM rAmanuM sakladukhabhAnatva bIjA vAkyamAM rAmanI sAhasakarasikatA trIjA vAkyamAM rAmanI krUratA, cothA vAkyamAM "rAma' zabdano sarvazaktimAna tathA sahiSNu rAma, tevo artha sAhityAcAryoe karyo che. Ama, eka ja rAma zabdanA bhinna-bhinna artho prApta thayA tenuM kAraNa zu che? abhidhAvyApAramAM zabda to koI eka cokkasa niyata artha Ape che, kAraNa ke zabdamAM rahelo sakata arthabodhamA kAraNarUpa hoya che vyajanAvyApAramA sakatajhaha hoto nathI tethI banAvyApAramAM zabda vaDe niyata arthanI prApti thaI zake nahi. upara ApelAM udAharaNomA eka ja rAma zabdanA bhinna-bhinna artho dhvanivAdIoe darzAvyA che A bhinna-bhinna artho te te prakaraNa, sadarbha AdinA AdhAre prApta thayA cheAma, bhajanAvyApAramAM sakatagraha na hovAthI eka ja zabdanA aneka artho prApta thatA hoIne vyagyArtha anata thaI javAno bhaya rahe che. vaLI, dhvanivAdIoe vyagyAthanI prApti upAdhithI yukta (conditional) che, te bAbatano svIkAra paNa karyo che ja uparanA udAharaNomAM te siddha thAya che. zabdanI abhidhAzakti to kevaLa satita arthomAM ja rahelI che. aupAlika arthapratItimAM zabdanI evI koI zakti nathI tethI aupAdhika arthapratItithI yukta vyAjanAzakti zabdanA Azraye hotI nathI. tethI zabda ane pratIyamAna artha vacce koI anya sabadha rahelo che, tevu svIkArI zakAya nahI. artha, prakaraNa Adi paristhitijanya upAyo vaDe pratIyamAna arthanI gamakatA siddha thAya che, zabda vaDe pratIyamAna arthanI gamakatA siddha thatI nathI tethI A carcA upADavI ja vyartha che tevu mahimabhaTTe jaNAvyuM che

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aruNa ke paTela SAMBODHI 164 | 'vyaktiviveka'kAranuM kahevAnu tAtparya evu che ke jyAM arthaprApti sAmagrI para AdhArita hoya, tyAM arthonI anizcitatA pravarte che tethI tyA zabda ane artha vacce koI nizcita sabadha zakA banato nathI ahI ApavAmAM AvelA udAharaNomAM arthanI anekArthatA sAmagrI para nirbhara che. tethI arthapratItimA sAmagrI heturUpa che, zabda nahi zabda vyaka banato ja nathI, evuM jaNAvIna graMthakAre zAbdI vyajanAno cheda uDADI dIdho che eTalu ja nahi, bhajanAvyApAra te zabdano vyApAra ja nathI, tavu siddha karyuM che temanA mata anusAra, bhinna-bhinna sadarbho dvArA je arthAntaranI pratIti thAya che, te anumaiyArtha che kAraNa ke zabdanI kevaLa abhidhAzakti che arthanI kevaLa ligatA - sAdhyanI anumAyikA zakti) che tethI vyAjanA nAmano anya vyApAra zabdamAM siddha thato nathI temaja arthamAM paNa siddha thato nathI prathakAranA zabdomAM - zabdasyakAbhidhA zaktirarthasyaikaiva liGgatA / na vyaJjakatvamanayoH samastItyupapAditam // upasaMhAra " (1) zabdamA abhidhA sivAyano koI anya vyApAra nathI (2) vAcaka zabda ane janAvyApAra vacce svAbhAvika sabadha nathI (3) vyagyAthenI pratIti aupAdhika hovAthI, abhidhAvyApAra tenA ghotanamAM niSphaLa nIvaDe che, tevuM jaNAvIne mahimabhaTTa zAbdIvyajanAnu khaDana karyuM che eTaluM ja nahi, arthanA vyApArane to anumAna kahevAya, tema kahI ArthIvyajanAnu paNa khaDana karyuM che ane A rIte, dhvaninA hArdarUpa abhivyajanAvyApArano cheda uDADI dIdho che. temanI A carcAmA adbhuta tarkazaktinA darzana thAya che pAdaTIpa 1 AnaMdavardhana dhvanyAlokasa- tripAThI rAmasAgara, motIlAla banArasIdAsa, dilhI-1963, 1-11 7,18,1-10 2 'anumADanava sarvacaiva jJane. prAcitam vyaktiviveka kurute praNamya mahimA parA vAcam // ' --bhamahima-vyaktiviveka-(vya vi.)sadvivedI revAprasAda caukhambA saskRta sIrIjha oNphisa, vArANasI 1964, 1-1 3 prAirchUtA dhvaneA$itti saiva vivitA | bhaTTa mahima-vya. vi. 3-33 4 bhaTTa mahima-vya. vi. pR. 113-114 5 bhaTTa mahima-vya. vi. pR. 146 6 bhaTTa mahima-vya. vi. pR 146 7 bhaTTa mahima-vya. vi. pR. 147 ( Vananacarya Jhalkikar--Kavyaprakas'a with Balbodhini-B ORI, Poona 1965 P 188 9 AnaMdavardhana-dhvanyAloka-uttarArdha pR. 665 10 bhaTTa mahima-vya, vi. pR 149 11 bhaTTa mahima-vya. vi. 1-27

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abhilekhonA saMpAdana ane vivecananA mArA anubhavo hariprasAda zAstrI abhilekha eTale kotarelu lakhANa koI paNa padArtha para kotarelu lakhANa enA aneka prakAra che, jemake zilAlekha, takatIlekha pratimAlekha, pALiyAlekha, kabaralekha, sikkAlekha, tAmrapatralekha ityAdi bhAratamAM abhilekha kotaravAnI prathA cheka Agha-aitihAsika kAlathI pracalita che abhilekho e itihAsa mATe mAhitIno eka mahattvano srota che abhilekhomAthI rAjakIya itihAsa uparAta sAskRtika itihAsanA vividha pAsA vize te te samayanI mAhitI sApaDe che aneka abhilekha vibhinna sAmayikomAM prakAzita thatA rahe che ne enA keTalAka saMgraha paNa graMtharUpe prakaTa karAya che hajI aneka jJAta abhilekha aprakAzita rahyA che ne keTalAya abhilekha dharatInA ke makAnanA peTALamAM chupAI rahyA che pustakonA saMpAdananI jema abhilekhonA sapAdananI paNa niyata paddhati vikasI che emA prAstAvika vibhAgamAM abhilekhana prAptisthAna, padArtha, mApa, pakti sakhyA, lipi, bhASA, lekhanapaddhati ItyAdi darzAvIne AkhA lekhano sAra ApavAmAM Ave che pachI lekhamAM jaNAvela rAjA, adhikArIo ane sthaLonuM abhijJAna darzAvavAmA Ave che temaja lekhamAM ApelI mitinI barAbara AvatI IsvI sananI tArIkha paNa ApavAmAM Ave cherAjAo, adhikArIo, anya manuSyo, vahIvaTI vibhAgo, nagaro ane gAmo, aitihAsika ghaTanAo vagere vize kaI navI mAhitI upalabdha thatI hoya, to tenA para paNa prakAza pADavAmAM Ave che prAstAvika tathA vivecanAtmaka lakhANa pachI mULa abhilekhano pATha paktivAra ApavAmAM Ave che A pATha likhatara karIne vartamAna lipimA ApavAmAM Ave chepAThazuddhi, chada vagerenI jarUrI vigata nIce pAdaTIpamA apAya che pachI jarUra jaNAya, to prAcIna abhilekhano anuvAda agrejImAM ke vartamAna prAdezika bhASAmAM ApavAmA Ave che vaLI abhilekhanA pAThanI sAthe enA lakhANano phoTogrApha paNa ApavAmAM Ave che, jethI jijJAsu abhyAsIo enA mULa pAThanI khAtarI karI zake. abhilekhonuM saMpAdana ane vivecana karI enuM prakAzana karavAnuM mane kevI rIte prApta thayuM ne emA mane nodhapAtra anubhava kevA thayA enA keTalIka agata vAta karu ema. e.mAM mukhya bhASA saMskRta ane gauNa bhASA ardhamAgadhI temaja saskRtanI aMdara vaikalpika jUthamAM "epijhA' laI ha 1942mAM ema. e. thayo tyAre mane bhAratIya abhilekho(jane agrejImAM nscriptions ane e samaye gujarAtamAM 'utkIrNa lekho kahetA)no ThIkaThIka abhyAsa thayelo vaLI DaoN. nyUlara ane 5gaurIzaMkara ojhAnA pustako dvArA bhAratIya prAcIna

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166 hariprasAda zAstrI SAMBODHI lipividyAo paNa gADha paricaya thayelo, pachI huM pIeca DI mATe valabhInA maitraka rAjyanA abhilekhono talasparzI abhyAsa karato hato. e daramyAna 194pamA mArI sasthAmAM bahAragAmathI eka nAmAMkita sAhityakArano patra Avyo ke amArA gAmamAM eka prAcIna tAmrapatra-lekha maLyo che te barAbara vacAto nathI, tamAre tyA koI e vAcI ApI zake ema hoya, to emane ahIM mokalazo. saMsthAnA adhyakSazrInI sUcanAthI huM tyAM gayo be tAmrapatro para kotarelo e lekha tyA eka vaNika vidhavAne tyAM hato temaNe e tAmrapatra vAcavA mATe mArA yajamAnane ghera laI javA ApyA. rAte me eno Akho pATha ukelI lakhI lIdho yajamAna sAhityakAranI vinatIthI eno TUka sAra emane gujarAtamA, lakhI Apyo. bIje divase savAre hu amadAvAda pAcho pharyo mAre have abhilekhanA pAThanI pAkI nakala taiyAra karavAnI hatI temaja e lekhamAM jaNAvela rAjA, sAmata, sthaLo tathA lipi vize keTaluka anveSaNa-sazodhana karI eno prAstAvika tathA vivecanAtmaka lekha taiyAra karavAno hato ke A badhu traNa cAra divasamAM nirAte karavA dhArelu tyA mubaInA "janmabhUmi'mAM samAcAra pragaTa thayA ke amuka gAmanA amuka sAhityakArane eka prAcIna tAmrapatra-lekha maLyo che ne temAM amuka rAjAe amuka brAhmaNane amuka varSamA bhUmidAna karyuM hovAnuM jaNAvyuM che samAcAramA e abhilekha vAcI ApanArano koI nAmanirdeza na maLe ne eno badho jaza e sAhityakArane ja ApavAmAM Avelo ! A mAro pahelo anubhava ! mane bodhapATha maLyo. me have e abhilekhanA sapAdana tathA vivecanane lagato mAro lekha tAkIde taiyAra karI dIdho ne bhAratIya vidyAne lagatA eka saMzodhana-sAmayikanA paricita saMpAdakane mokalI Apyo temAM me pelA sAhityakAra jemanI mAraphata mane A abhilekha vAcavA maLelo temano ya nirdeza karelo meM sapAdita karelo abhilekha TUMka samayamAM vigatavAra prakAzita thayo lekha solakI kAlanA Arabhano hato ne emAthI keTalIka navI mAhitI maLI hatI. bIje varSe mane eka anya prAcIna abhilekha vAcavAnuM prApta thayuM eka nAmAnita prakAzaka eka divasa mArI saMsthAmAM mArI pAse AvyA, tAbAnu eka pataru laIne. mane kahe, A vAcI Apo, emAM zuM lakhyuM che ? me pUchyuM, tame e jANIne zuM karavA mAgo cho ? e kahe, mAro eka lekhasaMgraha chapAvAno che. emAM Ane lagatA lekhano samAveza karI lau A jANI hu cetI gayo. me joyu to A pataru koI maitraka rAjAnA dAnazAsananuM paheluM pataru hatu, temA dAnanA dAtA tathA enA pUrvajonI prazasti ApavAmAM AvelI. me e lakhANanA jarUrI aMza utArI lIdhA, khUTatA aza anya dAnazAsanomAnA pATha parathI pUrI zakAya ema hatA. meM kahyuM, A patarAmAM to mAtra dAtA ane enA pUrvajonI jJAta mAhitI ApI che, kharI bAbata to bIjI patarAmAM Ave, tame e pataru laI Avo bIje divase e bhAI bIju pataru laIne AvyA. vAcatA vAra lAge ema hatu me kahyuM, tame mUkI jAva, nirAte vAcI rAkhu, pachI kAle laI jazo te kahe, nA, hu mUkI na jauM, A to mAre bAjumA korTamAM javAnuM che, haju thoDI vAra che, tyA sudhImAM vacAya te vAcI Apo hu mUkI

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Vol XXII, 1998 abhilekhonA saMpAdana ane . 167 na jauM, huM mArA bApanoya vizvAsa rAkhato nathI. e mArI sAme beThA rahyA eTalI vAramAM vacAya teTalu badhu me vAcIne utArI lIdhu eTalAmAthI mane eno pUro pATha maLe tema hatu emanI vinatIthI me emane abhilekhano TUka sAra gujarAtImAM lakhI Apyo ne e pataru laIne gayA me pelA paricita sapAdakazrIne badhI hakIkata jaNAvI prakAzana mATe emanu mArgadarzana mAgyuM emaNe salAha ApI ke hAla tame e abhilekhano sAra Apazo ne enuM vivecana karazo, paNa mULa lekhano pATha prakaTa karazo nahi ne e rIte A maitraka abhilekhano sAra vivecana sAthe pragaTa thayo A mAro bIjo anubhava e vAtane paMdareka varSanA vahANA vAyA eka paricita munizrIe mane jaNAvyuM ke pelu tAmrapatra mane bheTa maLyuM che. tamAre eno pATha saMpAdita karavo hoya to laI jazo me mULa tAmrapatra nirAte vAcI varSo para me lakhelA pAThamAM jarUrI sudhArAvadhArA karyA ne e abhilekhano pATha saMpAdita karI punaH prakAzita karyo, jarUrI RNasvIkAra sAthe amadAvAda jillAmAM dasakoI tAlukAmA kAndrA nAme gAma che. tyAM eka mAnano pAyo khodatA maitraka rAjA dharasena 3 jAnu eka dAnazAsana prApta thayelu e valabhI savata 305 (I. sa. 624)nuM che rAjAe AnaMdapuranA eka brAhmaNane eka gAmanu dAna dIdhelu. e gAma kAthada viSayamAM Avelu hatu Anadapura eTale mahesANA jillAnuM vaDanagara kAzada eTale kAndrA. e samaye e viSaya eTale ke jillA jevA moTA vahIvaTI vibhAganuM vaDu mathaka hatuM AdroTaka e. dhoLakA tAlukAmAM Avelu AdroDA gAma che Anadapura ane kAthaDrada agAu moTA nagara hatAM te hAla nAnA gAma banI gayA che dezo ane mANasonI jema nagaronIya caDatIpaDatI thAya che ! rAjAnI chAvaNI tyAre kheTaka(kheDA)mAM hatI. gujarAtamAM kheTaka (kheDA) ane bharUcakaccha(bharUca) tyAreya jillAnA vaDA mathaka hatA ne hAla paNa che Abu pAse paNa kAsa%A nAme gAma Avelu che e eka gacchanuM mULasthAna hatuM paraMtu ahI A kAsa%A ja abhipreta che jyAre valabhIno bhaMga (nAza) thavAno hato tyAre jainoe tyAnI keTalIka mahattvanI pratimAo anyatra khaseDI dIdhelI. temAM AdidevanI pratimA kAzahada mokalelI kAsandrAmAM AvI koI pratimA hAla che ke kema tenI tapAsa karavA huM tyAM gayelo. tyAnA derAsaramAM AdidevanI pratimA nathI, paraMtu enI bAjumAM AvelA bhAta gAmamAM RSabhadevanuM jUnuM derAsara che. ha kAsa%AthI pAcho AvavA tyAnA basasTenDe Ubho hato tyAre tyAM tyAMnA eka bhAI UbhA hatA. emaNe hu kyAthI ane zA mATe Avelo enI pUchaparacha karI me emane pUchyuM, ahIM koIne tyAM tAmrapatra haze ? e kahe, hA, ahIM eka jaNane tyA che e bhAIne paNa amadAvAda AvavAnuM hatuM me kahyuM, to ApaNe emane maLIne pachInI basamA jaIe. e kahe, Aje to e bahAra gAma gayA che me pUchyuM emanuM nAma zu? to e kahe, e tamane aDavA nahi de me kahyuM, to mane tamAru nAmaThAma Apazo ? emaNe mane nAma-ThAma lakhI ApyuM. basa AvI ame amadAvAda pahocyA basamAthI UtaratA e bhAIe spaSTatA karI, me tamane je nAma-nAma lakhI ApyA te banAvaTI che; huM koI ajanavIne mArA kharAM nAma-ThAma Apato nathI mane khAtarI thaI, emaNe karelI tAmrapatranI

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hariprasAda zAstrI vAta paNa pokaLa hatI ! koI vAra AvAya anubhava thAya eka divasa eka bhAI sasthAmA mArI pAse AvyA emanI pAse eka zilAlekhanI zAhIchApa hatI mane kahe, juo to, A vacAya che ? emaNe potAno paricaya ahInA TeksaTAIla myujhiyamanA kyureTara tarIke Apelo me lekha vAcavA koziza karI koI akSara mauryakAlIna brAhmI lipiya akSara jevA lAge, paNa bIjA koI akSara badha bese nahi me e chApa vAravAra uthalAvI joI mane khAtarI thaI ke e lekha koI videzI lipimA kotarAyo che, bhAratanI koI lipimA nahi mArI vinaMtIthI e bhAI e chApa mane ApatA gayA me paradezamA tapAsa karAvI, to e lekha Arameniyana nAme videzI lipimA nIkaLyo. amadAvAdanI eka valadA kabara para kotarelo A lekha Toca upara khristI dharmanA pratIka kraoNsanu cihna paNa dharAve che mArI vinaMtIthI A zilAlekha jarmanInA pro. rAye sapAdita karI prakAzita karyo che. A lekhanI chApa mane ApanAra hatA zrI ramaNalAla nA mahetA, je AgaLa jatA vaDodarAmA sthAyI thayA ne mArA parama mitra banyA 168 SAMBODHI abhilekhomAthI kyAreka navI mAhitI maLe che. dA. ta. AbaLAsamAthI maLelA eka dAnazAsana parathI saindhava vazanA rAjA puSyaNanA putra ahivamAM 2 jAnI mAhitI maLe che mahAsAmanta cadrAdityanA hiLola dAnazAsana parathI valabhIbhaganI miti para badhu prakAza paDe che 11mI sadImA moDAsA viSaya(jillA)nu vaDa mathaka hatu ne tyA paramAra rAjA bhojadevanA sAmata vatsarAja zAsana karato hato. vaDanagaramAthI maLelA visa 1069nA dAnazAsana parathI solakI rAjA durlabharAjanA mahA sAmata kRSNarAja vize temaja nAgakkaka(nAyakA) maDala nAme vahIvaTI vibhAga vize jANavA maLe che. lADolanA be dAnazAsana solakI rAjA karNadeva 1lAe ane emanA putra (siddhArAja) jayasihadeve sumatinAthanI vasatikAne bhUmidAna dIdhAnu jaNAve che kumArapAlanA A banne purogAmIo pote parama mAhezvara hatA e sadarbhamA A hakIkata rasaprada gaNAya solakI rAjA jayatasiMha (jayasiha) jenu vi. sa. 1280nu tAmrapatra maLelu tenu vi. sa. 1274nu tAmrapatra maLatA A rAjA jayasiha rajAe bhImadeva rajAnA rAjyakAla daramyAna pATaNa vistAramA 15 varSa rAjya karyAnA muddAne sabaLa samarthana maLe che mugala kAla daramyAna amadAvAdamA raghunAthadAsa sa 1779mA amRtavarSiNI vAva badhAvI A vAva sAragapura daravAjA ane kAlupura daravAjAnI vacce AvI hatI e be daravAjAonI vacce pAcakuvA daravAjo to relave thayA pachI sagavaDa khAtara AgaLa jatA badhAyo amadAvAdanI myunisipAliTIe A vAva purAvI tyA saDaka ka2vAnu vicArelu, tyAre itihAsa-purAtattvanA jANakAroe ene pAcakuvA daravAjA karatA vadhu prAcIna vAvanu mahattva darzAvI e vAvane surakSita rAkhavA samajAvelu myunisipAliTIe zANapaNa dAkhavI marAThAkAlIna vAva ane briTIzakAlIna daravAjo bane rahevA dIdhA amadAvAdamA rahetA sahune traNa daravAjA suparicita che emA eka gokhalAmA eka mahattvano zilAlekha che e tarapha bhAgye ja koI dhyAna Ape che. vi sa 1868mA vaDodarAthI phattesiharAva gAyakavADanI savArI amadAvAda AvI, tyAre A nagaranA AgevAnoe pitAnI

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VoI XXII, 1998 abhilekhonA sapAdana ane milakatanA vArasAmA sarakAra taraphathI thatI harakata vize phariyAda karI tyAre gAyakavADa sarakAre pharamAvyu ke dIkaro, aputra dIkarI ane dauhitra vArasadAra gaNAya 169 haThIsihanA derAsaramA e derAsara koNe ane kyAre badhAvyu ene lagatA be zilAlekha kaDArelA che--eka saskRtamA ane bIjo gujarAtImA A derAsara badhAye 150 varSa thayA amadAvAmA yahUdI senegoga, pArasI agiyArIo ane zIkha gurudvArAonA tatIlekha paNa mahattvanA che abhilekhomA jaNAvela manuSyo, sthaLo ane mitinA abhijJAna mATe agAu sAdhanasAmagrI maryAdita hatI have 'gujarAtano rAjakIya ane sAskRtika itihAsanI graMthamALA, gujarAtanA jillAonA tAlukAonA sarva gAmonI akArAdi yAdIo temaja I sa 1thI 2000 sudhInA tithi-tArIkhone lagatA kokonI sAmagrI upalabdha che AthI abhilekhonA sapAdana-vivecanamA saraLatA rahe che abhilekhonA sapAdanamA eka samasyA che saha-sapAdananI keTalIka vAra koI ne koI aprakAzita abhilekha prApta thayo hoya to e enu sapAdana enA jANakAra pAse karAve, tyAre pote e age kaI zAstrIya jJAna na dharAvato hovA chatA e abhilekhanA prathama ke dvitIya sapAdaka tarIke potAnu nAma sAmela karavAnI zarata mUke che ! keTalIka vAra purAtattva vibhAga ke myujhiyamanA koI adhikArI, pote abhilekhanu sapAdana karavAmA kaI madada karI zake tema na hovA chatA, potAnI mAraphata maLelA abhilekhanA sapAdaka tarIke pahelu ke bIju nAma potAnu mUkavAno Agraha dharAve che aprakAzita abhilekhamA ApelI hakIkata prakAzamA Ave e hetuthI enA kharA sapAdake ghaNI vAra AvA saha-sapAdakanu nAma sAmela karavA samata thavu paDe che ? mane paNa AvA aneka anubhava thayA che mAre A sadarbhamA nodhavu joIe ke jyAre abhilekha-vidyAnA be ke traNa jANakAro sAthe maLIne sapAdana kare, tyAre teonu saha-sapAdana kharekhara sArthaka hoya che mane DaoN pra ci. parIkha tathA DaoN bhAratIbahena zelata jevA saha-sapAdakonA sakriya sahakArathI abhilekhonu sapAdana karavAmA hamezA majA AvI che abhilekho e ApaNI aNamola sAskRtika sapatti che pUrvajo pAsethI maLelA A vArasAne surakSita rAkhavo ne AvatI peDhIo mATe evo vAraso mUkatA javo e ApaNu parama kartavya che eka dAkhalo Apu zihoranA dhanajIbhAI nAme kasArAe eka vAra gurU va sosAyaTInA pramukha zrI ramaNabhAI mahIpatarAma nIlakaThanA nAme patra lakhI, temane maLela eka prAcIna tAmrapatra vAcI ApavA vinatI karelI saMsthA taraphathI hu zihora gayo pahelA meM emane A tAmrapatra kyAthI maLelu mane pUchyuM, to temaNe jaNAvyu ke ahIMnA bajAramA hu eka kasArAnI dukAna pAsethI pasAra thato hato, tyAre me joyu to e bhAI eka tAbAnA patarAne kApI ogALI rahyA hatA me joyu to e patarA para lakhANa kotarelu hatu AthI me emane ema karatA rokyA to e kahe,e lakhANa zA 12

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170 hariprasAda zAstrI SAMBODHI kAmanuM ? enu tAbu keTalu sarasa che ! me emane thoDI rakama vadhu ApI emanI pAsethI e patara kharIdI lIdhu ne emA kotarelA lakhANa ane keTaleka sthaLe patra lakhyA me A tAmrapatra parano lekha vAcyo, eno phoTo lIdho, enuM saMpAdana ane vivecana karyuM ne eno lekha prakAzita karyo vayovRddha dhanajIbhAIne tAmrapatra-lekhanA aitihAsika mUlyanI sUjha hatI, jyAre pelA yuvAna kasArAne mAtra e tAmrapatranI dhAtumAM ja rasa hato ! tAmrapatra lekha hoya ke pratimAlekha hoya, sikkAlekha hoya ke takatI lekha hoya, pALiyAlekha hoya ke kabaralekha hoya, smArakalekha hoya ke zahIdalekha hoya--ene jALavavo e ApaNI sahunI pharaja cheApaNe tyAM rahelA evA abhilekhane agata mAlikInI na rAkhatA koI myujhiyamane Apavo joIe, jethI e barAbara jaLavAI rahe bane to bheTa Apavo athavA vecAto Apavo jAhera sthaLe ke myujhiyamamAM ke anyatra jaLavAyelA abhilekhano pATha saMpAdita thaI vivecana sAthe prakAzita thAya, to ja eno mukhya hetu sArthaka thAya che, saskRta, phArasI vagere bhASAmAM lakhelA badhA vAcI na zake are saskRta ke prAkRta lekha atiprAcIna hoya, to ene saskRtanA zikSaka ke adhyApaka ke paDita paNa na vAcI zake, kema ke enA lipisvarUpamAM samaya jatA bhAre parivartana thayu hoya che. AthI abhilekha vAcavAmAM pahelI jarUra rahe che tenI lipi jANavAnI ne pachI enI bhASA jANavAnI abhilekhanI lipi tathA bhASA jANatA hoIe, to ja eno pATha saMpAdita karI zakIe ne enu lipyatara tathA bhASAtara karI zakIe pachI jarUra rahe che te te dezakAlanA itihAsanI jANakArInI aitihAsika bhUgoLa tathA kAlagaNanA-paddhationI jANakArI paNa jarUrI banI rahe che A sarva mATe abhilekha vidyAno abhyAsa jarUrI che e jANanAra vidvAno aprakAzita abhilekhona saMpAdana ane vivecana prakAzita kare, to ja te ItihAsamAM upayogI nIvaDe che mane paricita tathA aparicita vyaktio pAsethI avAranavAra aneka aprakAzita abhilekho prApta thayA che atyAra sudhImAM 70 jeTalA aprakAzita abhilekhonuM saMpAdana-vivecana karI ene judA-judA sAmayikomAM prakAzita karavAnuM prApta thayuM che. emAnA 66 abhilekhone lagatA prAstAvika-vivecanAtmaka lekhono eka nAno saMgraha me "sva-saMpAdita zilAlekho ane tAmrapatro nAme pustakarUpe taiyAra karI ane kAlavAra ne samayavAra vargIkRta karyA e kSatrapAla maitrakakAla, anu-maitraka kAla, solakI kAla, salanakAla, mugala kAla, marAThAkAla, briTizakAla ane anusvAtaMtrya kAlane AvarI le che gujarAta ItihAsa pariSade A pustaka 1991mAM prakAzita karyuM che. abhilekhono abhyAsa e mAro priya viSaya che ne mane ATalA aprakAzita abhilekho sapAdita karI prakAzita karavAnuM prApta thayuM che abhilekhonA saMpAdana ane vivecanane lagatA mArA vividha anubhavo ane ene lagatA anya AnuSagika muddAo vize ApanI A saMsthAnA sazodhanavArtAlApa zreNInA saMyojakono temaja Apa sahuno AbhAra mAnuM chuM * * lA. da. bhAratIya saMskRti vidyAmaMdiranI sazodhana vArtAlApa zreNImAM tA 13-02-'98nA roja apAyelu cotha vyAkhyAna (keTalAka sudhArA-vadhArA sAthe)

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tAmrapatra aMge spaSTatA-2 A tAmrapatranA sapAdaka zrI a.2 zAhe patarAnI durastI tathA patarAnu mApa, tola vagere vize vigate mAhitI ApI che paraMtu dAnazAsananA vAcana tathA sapAdanamA ThekaThekANe bhUlo karI che. A tAmrapatra valabhI savata 206nu che, chatA lekhanA zIrSakamA enu varSa "vi. sa. 206" jaNAvyu che*, emA to 375 varSano phera paDI jAya che sapAdake A tAmrapatra kyAre sApha thayu ne A lekha kyAre lakhyo te vigata jaNAvI nathI paraMtu A lekha 'sabodhi'nA 1997-98nA ekamA 1999mA prakAzita thayo te pahelA 'sAmIpya'nA pu panA aka 1-2mA 1988mA prakAzita thayo hato. emA enu sapAdana DaoN. pra ci. parIkha ane DaoN bhAratI zelate kALajIpUrvaka zuddha rIte karyuM hatu ne e lekha teoe 1991mA prasiddha karelA "gujarAtanA abhilekho * svAdhyAya ane samIkSA" nAme graMthastha abhilekha-sagrahamA paNa prakAzita thayo che chatA A tAmrapatra e pachI 1999mA 'sabodhi'mA prakAzita thayu ! enA sapAdaka tathA 'sabodhi'nA sapAdakonA khyAlamA nahi Avyu hoya ! A sapAdake to prAcInalipivida sapAdakoe sapAdita karelo pATha joyo hota to A sapAdanamA ATalI badhI bhUlo Avata nahi vaLI A tAmrapatramA dhruvasenanu nAma be vAra kema Ave che te samajAyu hota, temaja A tAmrapatra parathI kukkuTa gAmanA sUryamaMdira 52 navo prakAza paDe che te paNa khyAla Avyo hota bIju, 'sabodhi'nA A akamA e pachI 'pAzupatAcArya megharAzinu tAmrapatra' prakAzita thayu che, temA enA be patarAnA zIrSakanI upara je be phoTA chapAyA che te kharI rIte zrI vijayarAjadevanA vi. sa. 1160nA dAnazAsananA patarAnA che, nahi ke pAzupatAcArya megharAzinA vi sa 1131nA dAnazAsananA pataganA utAvaLamA kaI saratacUka thaI lAge che hariprasAda gaM. zAstrI nivRtta adhyakSa, bho. je. vidyAbhavana, amadAvAda * A bhUla amArI arthAt 'sabodhinA sapAdakanI che, lekhakanI nathI lekhake to valabhI savatano ja ullekha va. sa" e rIte karelo NMK.

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e Ara zAha SAMBODHI sadara sabodhimA sajogavazAt chapAmaNI ane cakAsaNI daramyAna bhUla rahI gaI che amArA lekhanA zIrSakathI ja bhUlanI zarUAta thAya che je bAbata yogya nathI, lekhanu zIrSaka viSayamA jaNAvyA mujaba "dhruvasena pahelAnu tAmrapatra (va. sa. 206)' che jyAre prasiddha thayela sabodhimA chapAyela che "dhruvasena pahelAnu tAmrapatra(vi. sa. 206) 1. sa ane vi sa ne kA2Ne samaya gaNatarI khoTI paDe te svAbhAvika che uparAMta anya bhUlo paNa che je pAchaLa darzAvelI che 31 172 vaLI amArA lekha sAthe cAra-phoTA hatA je chApavAmA AvyA nathI phoTA dvArA lekhamAnI vigata ane tAmrapatranI mAhitI sarakhAvI zakAya lekhamA citra 1, 2, 3, 4 che paraMtu chapAvavAnu rahI gayela hovAthI lekhanI mAhitI tAmrapatra pramANe cakAsavI muzkela bane che lekhamA chapAyela bhUlonI vigata nIce mujaba che sadara bhUlo ane citra 1 thI 4 bAbate ghaTita thAya tevu Ayojana karI AbhArI karazojI anaM pAna naM. lITI naM (1) 11 (2) (3) 2 (6) (7) (8) (9) (10) (11) (12) (13) 96 4 3 3 4 4 4 8 8 100 101 102 19 zIrSaka 24 24 18 5 28 (chellI) 18 28 29 11 15 chapAyela bhUla vinasa 206 vi. sa 206 citra-1 citra-2 17017 grAma droNasiha citra 3 ane 4 pratikhyApita vidhAraNA phalamiti su pU (3)bhyo sadarbha(2) konvenzana oNpha enTIkvIrIjha - sudhArela bhUla va sa 201 1 sa 206 1717mA droNasijaha pratisthApita vicAraNA miti-'' (avataraNa cihna) su 5 (3)mo konjharvezana oNpha enTIkvITIjha e. Ara. zAha

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pATaNanI be apragaTa caityaparipATIo rasIlA kaDIA, zItala zAha pATaNanI caityaparipATIo ke pATaNamAnA derAsaronI yAdI soLamA saikAthI cheka vIsamAM saikA sudhI eka ke tethI vadhu saMkhyAmAM maLI Ave che 1 saM. 1576mA racAyela zrI siddhisUri kRta pATaNanI caityaparipATInuM zrI bhogIlAla sADesarAe saMpAdana karyuM che ane te "sabodhi" (va. 4, aka 3-4, pR. 38)mAM prakAzita thaI che. 2 saM. 1648mAM racAyela zrI lalitaprabhasUrinI pATaNanI caityaparipATInu sapAdana zrI kalyANavijaye karyuM che ane sa. 1982mA "zrI haravijayajI phrI lAyabrerI, amadAvAda dvArA prakAzita thaI che 3 saM. 1729tnI paDita harSavijayanI pATaNa caityaparipATI 4 "tIrthamAlA stavana" upAdhyAya jJAnasAgarajIe saM. 1821mAM racela che ane temAM ja pATaNanI caityaparipATI varNavI che. I. sa. 1943mA jaina satya prakAza" (varSa 8, aka. 12)mAM te prakAzita thaI che 5 saM. 1959mAM racAyelI, zrI pattana jinAlaya stuti paMhIrAlAle saMskRta bhASAmAM lakhI che. 6 saM. 1967mA zrI pATaNa jaina zvetAMbara saghAlunI sarabharA karanArI kamiTI taraphathI pATaNanAM jinamaMdironI maMdirAvalI prakaTa thaI che 7 vartamAna jinamaMdiro zIrSaka heThaLa saM. 1982mA pATaNamAM keTalA derAsara hatA teno koTho 8 A uparAta zrI bhogIlAla sAMDesarAe "sabodhi'mAM chapAyelA potAnA lekhamAM jaNAvyuM che ke - saM. 1913mAM 193 kaDImAM racAyelI saMgharAja kata pATaNa caityaparipATInI hastaprata amadAvAdanA pagathiyAnA upAzrayanA bhaDAramAM chejo ke DahelAnA upAzrayanA bhaDAranA sthAne pagathiyAnA upAzrayanA bhaDAranA nAmano saratacUkathI ullekha thayo hovAno saMbhava che | muni kalyANavijaya sapAdita "pATaNanI caityaparipATImA AmAMnI moTA bhAganI caityaparipATIo eka sAthe samAviSTa thavA pAmI che jema ke, paDite harSavijayajInI "pATaNa. caityaparipATI' pariziSTa rUpe (pR. 93 thI 155), paDita hIrAlAle saMskRta bhASAmAM lakhelI zrI pattana jinAlaya stuti paNa pariziSTa rUpe (pR. 106thI 112), sa. 1967nI madirAvalI muni kalyANavijayajInA prastuta pustakanA pR. 34-35 para tathA sa. 1982nA vartamAna jinamadiro A

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174 rasIlA kaDIA, zItala zAha SAMBODHI ja pustakanA pR. 119 para prApta thAya che bhogIlAla sAMDesarA nirdezita sagharAjanI kRtinI pagathiyAnA upAzrayamAM tapAsa karI paNa tyAthI e prApta thaI nahIM anya bhaDAromAM tapAsa karatA eka navI ja kRti prApta thaI ane te hatI kavi lAdhA zAha kRta pATaNa caityaparipATI (saM. 1777). ela DI insTiTyUTa opha inDolojImAM sUcipatra jotA A kRtinI jANa thaI ane hastaprata meLavI (lA. da. sU. 8643 pATaNa caityaparipATI, patra-13) A caityaparipATIno ullekha agAu kyAya thayelo jANavAmA Avyo nathI "jaina gUrjara kavio'mA lAdhA zAhanI bIjI keTalIka kRtiono ullekha thayelo che (bhA. 1, pR. 198-201) emA emaNe ja lakhelI "surata caityaparipATI" (sa. 1793)no ullekha che parata. enA pahelA lakhAyelI pATaNanI A caityaparipATI vize emAM koI nodha nathI Ama banne caityaparipATIo upalabdha thatA have ApaNane pATaNanA jaina derAsaronI kaDIbaddha ItihAsa prApta thAya che kavi sagharAjanI pATaNanI caityaparipATInI khoja A daramyAna cAlu ja hatI ane sadbhAgye te amane DahelAnA upAzrayamAMthI maLI AvI (Da. na. 108, prata na 5331, patra - 7) prastuta kRti saM. 1613mAM lakhAI che kRtine ane kartAnuM nAma sagharAja vacAya che 1. zrI lAdhAzAha kata pATaNa caityaparipATI (saM.1777) bhale mIDu | zrI gurubhyo nama // ra praNamI pAsa jinezarU, sadaguru sAradamAya racanA caitya pravADanI, racisu jana suSadAya poli poli je ahai, pATaName prAsAda nAma ThAma kahI varaNavu, suNiyo citta AhvAda DhAla - lalAnAnI pahelI pATaName prabhu praNamITha, zrI paMcAsaro pAsa lalAnA pole premA dosI taNe, pratApe teja prakAsa. prAsAda ajita jidano, comukha pratimA Ara lalAnA sudara vRkSa saNI tale, bahu jina pratimA sAra lalAnA laghu prAsAda zrI zAMtajI bheTatA bhAvaTha jAya la. caMdraprabhu zrI pAsajI prAsAda doya suhAya. la. - ciMtAmaNi pADA mAhiM, bheTyA citAmaNi pAsa. la. gAmaDapa bhalI koraNI, ati uco jina AvAsa la0 3 la. pATaNa. 4 pA 5 pA. 6 pAve

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vot XXII, 1998 pATaNanI be apragaTa thayaparipATIo 175 kaMsAravADe bheTIyA, prAsAda prathama jirNoda la. prAsAda bIje sobhatA, sItala jina sukhakada la 7 pA sAhane pADe sobhatA, praNamII Adi jiNada, la. sudara mUrati niraSatA, dura TalyA dukha deda la. 8 pATha pole vaDI posAlanaI, prAsAda doya Utaga lai caumukha vADIpAsajI, jihAM nitanita ocharaga. la. 9 pA. bIje jinamaMdira jaI, rISabha niNada johAra lai pAsa nAraMgo niraSatA, upano haraSa apAra. la. 10 pA. sAhAvADe jinamadire, bheTIyA sAMmalapAsa lai prAsAda sAtamA jina taNo, bheTIyA svAmI supAsa lai laghusAvADe bheTIyA, zAMti jida abhirAma lai bhesAtavADe zAMtijI, pAsi gautamasvAmI lai 12 pA. tarabhANuMvADe bhalo, prAsAda eka visAla, la. solasamAM jina zAMtijI, bheTIyA deva dayAla la0 13 prA. taMbolI pADA mAhi, jagaguru zrI mahAvIra, la, pUjIye praNamIye bhAvasu mukhasodhana gaNe dhIra la. 14 pI. prAsAda sAmI supAsano, ziSarabaddha zrIkAra, la. parato paragaTa dIpato, bhavijanane sukhakAra lai 15 pas kuMbhAriyA pADA mAhi, Adi jinesvara deva la. mahatAnI poli zAMtijI, jasa kare suranara seva. la. - 16 pATa maNIyATI pADA mAhiM bheTIyA vIra jirNoda lai prAsAda bIje nIrajIye, AdinAtha mukhacada la. 17 pA caMdrabhANa dosI gRha, sahasakoTa* atisAra, comuSa pratimA dhAtumaya, praNamu eka hajAra * sahastrakoTane prastuta pratanA hAsiyAmAM nIce mujaba samajAvavAmAM Avela che 30 covIsa jina 720 jina 160 batrIsa vijaya 120 jina kalyANanA 20 viharamAna 4 zAzvata sarve thaI 1024 jina pratimA

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176. SAMBODHI rasIlA kaDIA, zItala zAha trAgaDIyAvADe namu, Adi jinesara deva, pAse padmaprabhu taNA, pAya praNamu nityameva DhAla bIjI sIyala kahaI jaga hu vaDo - e desI pole jarASoTaDI taNe SaTa jinabhuvana vicArI re nAma ThAma kahI dANavu te suNayo naranArI re pATaNameM prabhu praNamIye AdinAtha sAMtinAthanA bhuvana yugala manamohaI re, pAsa bhuvana jaI bheTIyA supAsa mUrati ati sohAM re aSTApada jinamadare, caMdraprabhu sukhakArI re, pAsa nagIno praNamII, bhuvana biMba balihArI re 3 pAka mUrati caMdraprabhu taNI, nija svarupa su niraSo re, jina pratimA jina sArISI, Atama rati thaI paraSo re 4 pA. poli sugAlakoTaDI taNe zrI zaMbhaNa pAsa virAje re, kalI kAle mahimA ghaNo Sabhanayara mATe chAje re 5 pATha pIpalIyA pADA mAhi, zrI zAMti jinezvara bheTyA re, mohana mUrati niraSatA, dukha dAlidra savi meTyA re 6 pA ucI serIye niraSIye, zrI zAMtinAtha AvAso re, pATaNa nagara taNo dhaNI, vanarAja cAuDo pAse re 7 pAtra bhaMyare zrI bhagavatajI zAMtinAtha ati dIpa) re, biba anopama niraSIye, ju mugatA phala sIpe re saubhAga jecaMdane ghare, deharAsara mATe dIThA re, caMdraprabhu jina pAsane, praNamatA pAtaka nIThA re 9 pATa pAMca prAsAda sohAmaNA, sudara sAlavIvADe re, vigatasu have sAbhalo nAmaThAma jeNe pADe re 10 pATha golavADa pAsajI trevIsamA jina vado re, pole dhAMdhulanIye bheTIyA, saMbhavanAtha jiNo re 11 pA. pole nArAyaNa taNe, rISabha deva juhAro re, bhavasAyara mAhi bUDatA utAre bhava pAro re 12 pA 8 pA.

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Vol XII, 1998 pATaNanI be apragaTa tyaparipATIo 177 pole jaI taraserIye nemanAtha nitya vado re, pAse Adi jinesa mallinAtha sukhakadI re 13 pADa dehare parataragaccha taNe, sAMtinAtha bhagavato re, zubha yogai karI vadanA, azubha karama kayA atI re 14 DhAla bIjI pUrI thaI, thayA prAsAda cAlIso re, sAha lAdho kahe bhAvasu, bheTyA zrI jagadIso re 15 pA duhA TAMkalavADe bheTIyA, jagajIvana jinarAja, TAMkala pAsa johAratA, saphala divasa thayo Aja pole paDIndI taNe, samaru sItalanAtha, bhava bhrama bhUlA jAne, Ape sivapurI sAtha " DhAla - trIjI desI - naNadalanI ho bhaviyaNa pole jaI kSetrapAlanaI praNamu sItaladeva ho bhavi pAse rahI padamAvatI devI kare jinaseva. 1 ho bhavi. pATaName prabhu praNamIi, ThAma ThAma jinarAja, bha. biba anopama niraSatA, ajaba TharaNa lahu Aja 2 bha0 pA pole kokAnaI bhalA, prAsAda doya jida, koko pAsa johArIi, jema Tale dukhadada 3 bhapA prAsAda bIje nIrakhIye, abhinaMdana jinarAya, bha. mUrati sUrati niraSatA nayaNe tRpati na thAya 4 bhapA. ho bhavi. DhaMDheravADe Dhalakto uco jina AvAsa, Blo moTu biba virAjatu, bheTyA sAMmala pAsa bha05 pAtra ho. bha. prAsAda bIje vIrajI, caraNa namunisa dIsa, bha0 sAsana jehanuM vartasai, varasa sahasa ekavIsa bhavi. 6 pATha prAsada trIjai pAsajI, kalikuMDa jinarAya, bha0 ahi vRzcakanA bhaya Tale, samaratA sukha thAI bha. 7 pA. praNamu mahatAnI poli, munIsuvata jaganAtha, bhas azva taNI parai odharai, ApaI sivapurI sAtha bha. 8 pATa.

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178 rasIlA kaDIA, zItala zAha SAMBOL tihA thakI jamaNI disai, cAlo catura mana lAya, bha. vA vaSAra taNe pADe, solasamo jinarAya bha0 9 pATha pADe godaDane nama, AdIzvara jina geha, Alo Alo vicami comukha niraSIye, moTI yAtrA eha bha. 10 pole zrI aMbAvinaI, dITho sAMti dIdAra, sAti sudhArasa varasato, bhavi jana ThAraNahAra bha. 11 pA. munisuvrata jina bheTIyA, mahAlakSamIne kSetra, ho bhao prAsAda citra nihAlatA, haraSIta thayA doya netra bha. 12 pA. pole karaNAsAhane, sItala jina sukhakAra, bIje sAMti sohAmaNA, biba ratanamaya sAra. bhavi. 13 pATha prAsAda lIbaDInI pole, sAMti jinezvara deva, bha. kavi kahie mujha sAhabo, darisaNanI nitya Teva bha. 14 pA traNya DhAla, AThe duve, aThAvana prAsAda, sAha lAdho kahiM nitya, pratai raNajhaNe ghaTAnAda 15 pA. duhA bhAbhAnI pole jai, bheTyA bhAbho pAsa, nAme navanidha sapajai, pragaTe lIla vilAsa yajurIpADe ache, mohana pArasanAtha, bhava bhaya bhAvaTha bhajaNo, praNamuM joDI hAtha DhAla - cothI kapura hoI ati ujalu re - e dezI prathama niNaMda praNamI karI re, caitya johAru eka, kutakIyAvADe jaI re, ANI hRdaya viveka. sobhAgI prANI vado zrI jinarAya pATaName mana lAya, prabhu pUje pAtika jaya, prabhu nAme navanidha thAya. so A kaNI pole ghIyAnIye bheTIyA re, sAMtinAtha sukumAla, prAsAda bIje dipatA re, pArzvanAtha dayAla 2 sobhA

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Vol XXII, 1998 179 3 sobhA pATaNanI be apragaTa caityaparipATIo pole vAgolane bheTIyA re, nAbhinarida malhAra, pole kAMna revA taNe re, munIsuvrata suvicAra paMcotarI pole jaI re, prathama namu AdinAtha, vasAvADe bheTIyA re, solasamAM zAMtinAtha pole aSaI gaNIyA taNe re, Adizvara arihaMta, pole ajuvasA taNe re, sAMtinAtha bhagavata Setala vasahI bheTIyA re, khetalo pArzvanAtha, bIje zrI mahAvIrajI re, trIje zrI sAMtinAtha pole saMghavInIye bheTIyA re, mUrati mohana pAsa, prAsAdame prabhu bheTIyA re, ANI mana olAsa dehare zrI AdinAtha re, nabi beThA jinarAja, deharAsarame bheTIyA re, jinajI garIbanivAja dhAtumaya jinarAjanA re, biba anopama doya, pAsa supAsa virAjatA re, deharAsara mAhi joya pole sUrajI mAdhava to re, SaSalIo prabhu pAsa, prAsAdame prabhu dIpatA re, ju ravi kiraNa prakAsa cAcarIyA vADe bhalA re, prAsAda doya jisada, vijayacitAmaNi pAsajI re, zAMti jina sukhakada pola bhalI lAlabAInI re, prAsAda eka odAra, dharma jizesara bheTIyA re, dharma taNo dAtAra kasuMbIyA vADaeN namu re, sAhiba sItalanAtha, bhuMyarA mATe prabhu bheTIyA re, paragaTa pArzvanAtha. DhAla cothI pUrI thaI re, ugaNAsI prAsAda, sAha lAdho kahe praNamatA re, dura Tale viSavAda 10 so. 11 so. 13 so. 14 sobhAgI, have vAdu mana mobasu, zrI jina bhavana mujhAra, rAtikAvADe je ache, te suNayo naranAra(2). abajI mahatAne jaI pADA mATe jinarAja, sItalanAtha johArIye, tAraNataraNa jihAja

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180 rasIlA kaDIA, zItala zAha SAMBODHI DhAla - [pAcamI]. Azrava bhAvana sAtamI re - e desI dosI vachA mUlajI tI re, pADA mATe jinarAja, saMbhavanAtha nihAlatA re, siddhA vachIta kAjo re caitya juhArIye, zrI pATaNa nagara mujhAro re, azubha nivArIye - A. coSAvaTI pole jaI re, bheTA zrI sAMtinAtha, balIyAnI pole bhalA re, bheTyA zrI AdinAthI re SImajI phaDIyAnaI ache re, pADA mATe jinageha, cAru pAsa juhArIye, darasana durlabha jeho re laSIyAra vaDe vAdIye, sAhiba mohana pAsa, bIje svAmi zrImaMda re, videha kSetra jasa vAso re poli zrI mallinAthanI re, bheTA zrI mallinAtha, sAma varaNa prabhu sobhatA re, parIkarasu jaganAtho re 5 yogIvADe yugatasu praNamuM sAMmalo pAsa, bhuMyarAmAMhi zrI sAMtijI re, niraSatA adhika olAso re 6 zai. phophalIyA vADe namu re, sAhiba sAMti jida, citrabhuvana ati koNI re, nirakSIta nayaNANado re bIje bhuvana johArIyAM re, zrI saMbhava jinarAya, trIje bhuvane pAsajI, bheTA bhagavata pAyo re velajI sAhAnAM maMdarAM re, deharAsara mAhi jeha, zrI munIsuvrata bheTIyA, sudara mUrata evo re sonAravADe niSiIye re, bhuvana yugala atisAra, prathama namu zrI vIrajI re, sUrati kI balihArI re. bIje bhuvane sAMtijI re, mujha sAhaba sukhakAra, prabhu padakaja nitya praNamatA, dina dina jaya jayakAro re 11 caitya pATaName traNeya bhaMyAM, sapta deharA deva, paMcyAsI jina deharA, praNamIje nitya mevo re 12 cai. paMcANuM sarve thaI re, pATaNa nagara majhAra, bhuvana biba johAratA, upano harSa apAro re 13 caitra ao sto

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VoI XXII, 1998 pATaNanI be apragaTa caityaparipATIo prAsAde jinavara taNA, biba sakhyA navi thAya, tiNa kAraNa mUlanAyako re, vAdu zrI jinarAya re ghara ghara derAsara ghaNA, pATaName suvisAla, bhAva thakI mAharI hojyo, vadana karu triNya kAla re DhAla - dhanyAsI [chaThThI] dITho dITho re vAmA ko nadana dITho e desI 14 cai jina pratimA jinavara sArISI, bhASI vIra jiNado, jaina bhAvai dharI je jina pUje, te na lahe bhavaphaMdo re jina darasanathI lahe bhavi prANI samakita sivasukhakado, je jana bhAva dharI jina samare te prANI ciranado re saMvata satara chIutarA varSe, rahI comAsa ANado, zrI jinavaranI yAtra karI tihA, nATika navanava chado re 15 cai vado vAdo re, bhavi pATaName jina vAdo, caityapravADa karI, mana modai, dAlidra duSa nikado re 1 bhavi pATaName 2 bhavi 3 bhavi 4 bhavi kaTUka gacha mAhe adhikArI sAha kalyANa kavi ido, tAsa pATi lahujI ati sobhIta sAha thobhaNa guNa co re 5 bhavi tAsa ziSya zrI jinaguNa rAgI pATi prabhAvika cado, sAhajI lAdho kahe, zrI jinanA guNa, samare iMda narizto re 6 bhavi satara sityotarA, mAgasara mAse di sAtama vAra maMdo, vohorA tilaka taNe, AgrahathI racIo, stavana jiSNudo 27 bha // iti zrI caityapravADi stavana || 181 nodha : 1 pratanu likhatara karatI vakhate 'kha'nA arthamA prAcIna 5252aa pramANe 'Sa' lakhela hoya to tene mULa akSara '' ja rAkhyo che 2 pratamA jyA azuddha pATha che tyA likhataramA zuddha karIne mUkavAmA Avyo che 3 jyA zabda umeravA jevo lAgyo che tene likhataramA umerI dIdho che ane tene paNa azuddha-zuddha pATha tarIke nirdezavAmA Avela che

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182 SAMBODHI rasIlA kaDIA, zItala zAha kaThina zabdo pratApe - prakAza kAraNI - kotaraNI charaga - AnaMda parato - paricaya, paraco sIpe - chIpamAM nIThA - khalAsa thavA sUrati - mukha vartasaI - pravartaze parai - jema UdhaI - upADIne, UcakIne prataI - pratyeka jina geha- jina gRha, derAsara vicami - vacamAM, vacce bhAvaTha - muzkelI, bhIDa bhalI - sArI nabi - navI UdAra - utkRSTa jihAja - jahAja, vahANa yugala - be parIkara su- parikara sahita mujhAra - mA, madhye zrImada re - sImadhara cAru - sudara citrabhuvana- citrovALo, sudara yugatasu - jugatI, yukti, joDI sAmavaraNa- zyAma raMganA sArIkhI - sarakhI, jevI, ekasarakhI padakaja - caraNakamaLa rakhAo - rakhopu karanAra chIutarA - chotera mado - zani

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Vol XXII, 1998 pATaNanI be apragaTa aityaparipATIo 183 zuddha pATha azuddha pATha gubhyo prArabhe gurubhyo prAsArasAda prAsAda lalAnA lalanA duho - 2 DhAla-pahelI gA1 DhAla-pahelI gA9 DhAla-pahelI gA. 13 DhAla-bIjI gA5 DhAla-bIjI gA12 DhAla-bIjI gA. 4 DhAla-cAra gA3 prabhu prabhu solasalamAM kulIkAle jahAro solasalamA nIrada prabhu solasamAM kalIkAle juhAro solasamA narida ' pratanA AdhAre karelI jinAlayonI yAdI vistAra mULanAyaka vizeSatA premA dosInI poLa pacAsarA pArzvanAtha ajitanAtha caumukhajI zAtinAtha nAnuM derAsara caMdraprabha svAmI pArzvanAtha citAmaNi pADo citAmaNi pArzvanAtha ragamaDAnI suMdara kotaraNI kasAravADo Adezvara zItalanAtha sAhano pADo Adezvara vaDI posAlanI poLa vADI pArzvanAtha caumukhajI Adezvara nAragA pArzvanAtha sAhAvADo sAmala pArzvanAtha supArzvanAtha laghusA vADo zAtinAtha bhesAta vADo zAtinAtha pAse gautama svAmI

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184 rasIlA kaDIA, zItala zAha SAMBODHI tarabhANa vADo vizAla prAsAda tabolI pADo zikharabadha derAsara kuMbhArIyA pADo mahetAnI poLa maNIyATI pADo caMdrabhANa dosInuM ghara derAsara trAgaDIyA vADo zAtinAtha mahAvIra svAmI supArzvanAtha Adezvara zAtinAtha mahAvIra svAmI Adezvara sahastrakuTa Adezvara padmaprabha svAmI Adezvara zAtinAtha pArzvanAtha cadraprabha svAmI nagInA pArzvanAtha caMdraprabha svAmI sthabhaNa pArzvanAtha zAtinAtha, zAtinAtha jarASoTaDI yugala bhuvana supArzvanAthanI mUrti aApada sugAla koTaDInI poLa pIpalIyA pADo UcI zerI pAse vanarAja cAvaDAnI mUrati che. bhoyarAmAM zrI zAtinAtha sobhAga jecaMdanu ghara derAsara caMdraprabha svAmI sAlavI vADo golavADo dhAdhulanI poLa nArAyaNanI poLa tarazerIyAnI poLa pArzvanAtha sabhavanAtha Adezvara nemanAtha Adezvara-mallinAtha zAtinAtha TAkalA pArzvanAtha kharatara gacchanuM derAsara TAkala vADo

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Vol XXII, 1998 pATaNanI be apragaTa tyaparipATIo 18s 185 pAse padmAvatI devI Ucu derAsara sApa tathA vIMchIno bhaya jAya vacamAM caumukhajI derAsaramAM suMdara citro paDIgUdInI poLa zItalanAtha kSetrapAlanI poLa zItalanAtha kokAno pADo kAkA pArzvanAtha abhinadana svAmI DhaDheravADo sAmala pArzvanAtha mahAvIra svAmI kalikuDa pArzvanAtha mahetAnI poLa munisuvrata svAmI vakhArano pADo zAtinAtha godaDano pADo Adezvara abAvinI poLa zAtinAtha mahAlakSmInI poLa munisuvrata svAmI karaNA sAhanI poLa zItalanAtha zAtinAtha lIbaDInI poLa zAtinAtha bhAbhA poLa bhAbhA pArzvanAtha khajUrIno pADo mohana pArzvanAtha kutakIyA vADo Adezvara ghIyA poLa zAtinAtha pArzvanAtha vAgoLanI poLa Adezvara kAna revAnI poLa munisuvrata svAmI pacotarI poLa Adezvara vasAvADo zAtinAtha akhaI gaNIyAnI poLa Adezvara aju vasAnI poLa zAtinAtha khetalavasahI khetalo pArzvanAtha sphaTikanI pratimA kavine nitya darzananI Teva

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186 rasIlA kaDIA, zItala zAha SAMBODHI mahAvIra svAmI zAtinAtha saghavInI poLa mohana pArzvanAtha Adezvara pArzvanAtha supArzvanAtha dhAtu biMba-ghara derAsara dhAtu biMba-ghara derAsara sUrajI mAdhavanI poLa pArzvanAtha cAcarIyA vADo lAlabAInI poLa vijayaciMtAmaNi pArzvanAtha zAtinAtha dharmanAtha. utkRSTa prAsAda zItalanAtha bhoyarAmAM paragaTa pArzvanAtha kasubIyA vADo rAtikA vADo. abajI mahetAno pADo dozI vachA mulajIno pADo coSAvaTInI poLa balIyAnI poLa khImajI haDiyAnI poLa lakhIyAra vADo zItalanAtha sabhavanAtha zAtinAtha Adezvara cApa pArzvanAtha mohana pArzvanAtha sImadhara svAmI mallinAtha ghara derAsara mallinAthanI poLa yogIvADo sAmalo pArzvanAtha bhoyarAmAM zAtinAtha kokalIyA vADo sarasa kotaraNI zAtinAtha saMbhavanAtha pArzvanAtha munisuvrata svAmI velajI sAhAnu ghara derAsara sonAra vADo mahAvIra svAmI zAMtinAtha bhoyarA - 3 gharaderAsara - 7 derAsara - 85 kula derAsaro : 95

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Vol XXII, 1998 pATaNanI be apragaTa caityaparipATIo lAdhA zAhe kRtine ate potAno TUMko paricaya Apyo che tene AdhAre jANavA maLe che ke teo kaDavAgacchanA che. A pATaparaparAmAM AvatA zAha kalyANa - lahujI - zAha thobhaNa - zAha lAdhonA nAma jaNAvyA che. jayata koThArI sapAdita jai zU kai (bhA 5, pR 198 thI 201 mA A kavi ane temanI anya kRtio vizenI maLatI vizeSa mAhitIne AdhAre teozrInI 'pATaNanI caityaparipATI' sivAyanI anya kRtio nIce mujaba che 1 covIzI sa 1760 sa 1764 sa. 1793 sa 1795 sa 1807 2 jabukumAra rAsa 3 surata caityaparipATI 4 zivacadajIno rAsa 5 pRthvIcadra guNasAgara caritra bAlA, 187 'jabukumAra rAsa' mA temaNe pUrNa paTTAvali ApI che ane te A pATaparaparAmAM kaDavA gaccha (kaTukagacha)nA nAyaka sAha kaDuyo (zAha ka uvo) che. temanI pATe anukrame khIma - vIru - jIvarAja tejapAla - ratanapAla - jiNadAsa - teja - kalyANa - laghujI - thobhaNa - sAha lAdho Ave che. vaLI, saMskRtamA lakhAyela pRthvIcaMdra guNasAgara caritra bAlAvabodhamA teozrIe potAnu nAma lAdhAnuM saMskRta 'labdhaka' karyuM che A pratanu mApa 13 semI x 11 semI che. be bAju 1 75 semI. mApanI mArjIna che mArjInanI be UbhI lITIo lAla raganI zAhIthI karela che. A prata lekhanamA zirorekhAnu alakaraNa che pratanA pAnA 13 che caityaparipATI 12me pAne pUrI thAya che. te sapUrNa thaye pratamA 13me pAne ajitanAthanu apUrNa rahelu stavana Apelu che A pratanA akSaro moTA che. pratyeka pRSThamA paktio 13 che. pratyeka paktimA akSaro sarerAza 13 che. kaDI 91 che pratanI sthiti sArI che 6 DhALa ane 10 duhA sAthe 91 kaDInI A caityaparipATImA kavie prathama guruvadanA karI che ane tyArabAda zrI pArzvanAtha, sadguru ane sarasvatI devIne praNAma karI pATaNanI poLe poLe AvelA derAsarone nAma ThAma sAthe varNavyA che. vistAra moTo hoya to vistAranu nAma darzAvI, temA Avela nAnI poLonA nAma sAthe derAsaronA nAma ApyA che. vacce vacce kavi derAsaronI gaNanA jaNAvatA rahyA che jo koI derAsaramA vizeSatA hoya to tene nodhavAnu te cUkatA nathI A ja kAraNe te samaye UMcI zerInA zAtinAthanA derAsaramA zrI zAtinAtha bhagavAna pAse vanarAja cAvaDAnI mUrti hovAnI vigata upalabdha thAya che lIMbaDInI poLamA zAtinAthanA derAsaranI vigata ApatI vakhate kavie te derAsaranA nitya darzananI potAnI Teva hovAnuM jaNAvyu che tene AdhAre kavi comAsA daramyAna lIMbaDInI poLamA rahyA hoya tevu anumAna thaI zake che. ahIM derAsaramAnI biMba sakhyA jaNAvavAmA AvI nathI. kRtimA kavie (DhALa 5, gA 14) jaNAvyu che ke eTalI badhI sakhyAmA biMba che ke jethI gaNI zakAya tema nathI ane te kAraNe ja mAtra

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rasIlA kaDIA, zItala zAha 188 SAMBODHI mULanAyakone vAghA che nirdezita karyA che ) tathA bhoyarAne alaga derAsara gaNavAmAM AvyuM nathI ane kavie bhoyarA, ghara deharAsara ane derAsara ema vargIkaraNa karI darekanI alaga alaga saMkhyA jaNAvI che. A sauno saravALo karatA te samaye pATaNamAM kula 95 derAsaro hatA kRtine ane temaNe potAnA gaccha, guruonA ane potAnA nAmano paricaya Apyo che sa1776mAM teoe pATaNamAM comAsu karyuM hatuM ane prastuta kRti sa. 1777 mAgazara vada sAtamanA roja zanivAre vorA tilakanA Agrahane laIne racAI hovAnuM jaNAvyuM che aDhAramA saikAnI sa0 1729nI pATaNanI caityaparipATI agAu prasiddha thaI hatI temA sa 1777nI prastuta kRtithI aDhAramA saikAnA pATaNanA derAsaronA itihAsa para vadhu prakAza paDe che 2. saMgharAja kRta pATaNanI caityaparipATI (saM. 1613) sa. 1576(I. sa. 1520)mA muni siddhisUrie pATaNanI je caityaparipATI lakhI hatI temAM mAtra sthaLa nAma tathA mULanAyakanA nAma sAthenA jinAlayo ane kyAka keTalAka derAsaranI vizeSatA jaNAvavAmAM AvI che bila saMkhyA ke derAsaranI saMkhyA kyAya jaNAvI nathI e pachI mAtra cAlIsa varSo bAda sagharAjanI pATaNanI caityaparipATI maLe che je enI jhINI jhINI vigatone kAraNe ati mUlyavAna banI rahe che prastuta kRtimAM prAya mULa hastapratano pATha yathAvat rAkhyo che zabdAne "u" ane "o' che tyA prAsane dhyAnamAM laI "u" nu "o' ke o' nuM "u" karIne sudhAryuM che. gharaderAsara mATe te samaye daherAsara zabda pracalita hato paraMtu ahI dareka ThekANe daherAsura zabda Apyo che. AthI ame daherAsura zabda ja kAyama rAkhyo che jyA pATha azuddha lAgyo che tyAM kRtine ane DhALa tathA kaDI darzAvI azuddha pATha sAthe zuddha pATha Apyo che. vaLI, kRtine ane kaThina zabdonA artha ApavAmA AvyA che, temAM zabdanA artha bAbate jayA sadigdhatA che tyA amArI dhAraNA mujabano artha mUkI pachI tyAM praznArtha mUkavAmAM Avyo che zabdano artha maLyo nathI tyAM mAtra praznArtha mUkyo che pratane AdhAre taiyAra karelI jinAlayonI yAdImAM deharA ane daherAsara alaga tarI Ave te mATe DhALa nabara darzAvIne deharAsarane krama Apyo che pratanA lipyataramAM sthaLanAma tathA mULanAyakanA nAmane kALA bIbAmAM chApavAmAM AvyA che DhALa pramANe kavi nirdezita deharA, daherAsara tathA biMba sakhyAno saravALo ApavAnI sAthe ApaNI gaNatarI pramANe kevo taphAvata najare paDe che te jaNAvato kRtimAM nirdezita saMkhyA mujabanI gaNatarI koTho paNa ApavAmAM Avyo che DhALa - 2mAM AkaNI pramANe zabdanI ekarUpatA jaLavAI rahe te mATe artho lakhAyela ke padavyatyaya pAmela zabdane sudhArIne badhe sthaLe "jina tu' karyuM che ane te DhALa nIce tenI nodha mUkavAmAM AvI che

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Vol XXII, 1998 pATaNanI be apragaTacaityaparipATIo 189 prata paricaya . prastuta prata agAu jaNAvyuM che tema pagathiyAnA upAzrayethI maLI che (prata na pa331, DA na, 104) A pratanI sthiti sArI che pRSTha pramANa 25.5 se. mI. x 11 5 se. mI. che te 7 pRSThomA che ane saMpUrNa che 7mA pRSTha para mAtra pAca paktio che pratyeka pRSThamAM ekadare 13 thI 16 paktio saLaga lakhAyela che. pratyeka paktimAM sarerAza 45 thI 49 akSaro che kALI zAhI dvArA 2 se. mInnI mArjIna rAkhavAmAM AvI che ahI haratAlathI pILA raMganA daDa karavAmAM Avela che 7 DhALomAM vibhAjita A kRti 193 kaDIonI banelI che 2. saMgharAja kRta pATaNanI caityaparipATI (saM. 1613) | bhale mIDu / | || zrI gurubhyo nama || sarasati sAmiNi samarI mAya, niramala mati pAmI sahiguru pasAya caitya pravADi zrI pATaNa taNI, karavA Sati bhavananI ghaNI 1 pahila zrI cauvIsa jisada, pUjI praNamI te jinacada suguru vacana mana mAhi dharI, caraNa sadA tehanA aNasarI 2 te gurujInaI calaNa prasAda, guNa gAu hu mana ullAdi valI vizeSaI RSabha jiNesa, pahilu pUja karI desa 3 pAsa niNada vighana upasamiI, ANaMdaI bhavIyaNa je namAM - savata sola tarotaraI varaSyi, prathama jyeSTha zudi punama puSpa 4 guruvAsari gAu jina dhaNI, ArabhI pUjA jina taNI sAvadhAna thai sahu sabhalu, jima sukha saMpatti helA mila 5 zAti karaNa solasamA rAI, nizi dina praNamUu tehanA pAya zAMtinAtha pramukha jagadIsa, traisaThi pratimA nAnsIsa 6 vardhamAna ghari vadu deva, dazamA jinanI kIjaI seva navU deharAsura pratimA Ari, guNa gAtA mani haraSa apAra 7 sAhA ratanA suta ghari udAra, traNa pratimA vadu sukhakAra vasupuja pAsa caMdaprabha vada, pUjau bhavIyA mani ANada 8 zrI kaMboIla karaI kalyANa, nava pratimA vadu nita jANa kaTakIA vADaI ANada, cha pratimAsu RSabha niNaMda

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190 rasIlA kaDIA, zItala zAha SAMBODH seTha megharAja taNAM ghari joya, vimala sahita traNa pratimA hoI seTha vaNAyaga saharIA taNAI, joI zrI jina UlaTa ghaNi 10 tihA praNamI jaI zrI jina vimala, capaka ketakI lIjai kamala traNa pratimA pUjIjai sahI, vadhi sahita jima sUtri kahI 11 dhulI paravi munisuvrata svAmi, darIya paNAsaI jehanaI nAmi tihA pratimA praNamUla chatrIsa, dhyAna karu tehanuM nisa dasa 12 saMghavI aTTAghari aNasa, vAsapujya jina pUjA karu trANa pratimA tihAM kaNi bhAvII, godaDanaI pADaI AvIi 13 dosI guNarAja deharaI sAra, mULanAyaka zrI nAbhi malhAra pratimA ATha tihAra je kahI, visA nAthA ghari AvyA sahI 14 tihA praNamu zrI RSabha jisada, siSarabadha deharAsura cada biMba pyAra jina mUrati sAra, nAthAsAhA pADaI UddhAra 15 mUlanAyaka praNamu zrI zAMti, bhAjai bhAvIka taNI bhaya brAti tihA pratimA chai baItAlIsa, cuvIsavaThThA sahita kahIsa 16 dosI damA rAmA ghari binna, caMdaprabha deharAsura jina pratimA pAca achaI tihA sahI, vadana kIjaI vadhisU rahI 17 seTha bhojA deharAsura joi, caMdaprabha jinavara tihAM hoI biba Ari nitu vadana karI, praNamatA pAmai zivapurI 18 mahitAnAM pADaI joII, sAhA vacharAja ghari jina cAhII biba pAcasU pAsa jisada, kAsagIyA dIThaI ANada suMdara ghara mahitA sAraga vivahAra siddha mani jANaI ragi mahAvIrasUbi jinasAra, AgI kaThi anopamahAra DhaMDheravADaI pahatA jAma, prathama deharaI zrI somalanAma AlIsa pratimA tihA vAdIi, darasaNa dIThaI ANadIi mahAvIra bIjaI surkha karai, pratimA dekhI hoyaDU Tharai bi pratimA nita kIjaI seva, trIjaI deharaI sAmala deva 22 udabhatta mUrati sevu pAya, bheTi bhAvaThi dUri palAya pUjA karatA haraSa apAra, satara bheda vadhi kIjai sAra 23

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Vol XXII, 1998 pATaNanI be apragaTa catyaparipATIo 191 nava pratimA namIi bhAvasu, visA melAnAM ghari AvasU tihA tIrthaMkara trevIsamuM, biba pAca jina bhAviOM namu 24 sAhA sAcA ghari haraSa apAra, navU deharAsura sohi sArA tihA pratimA pramuSa agyAra, praNamatA pAmu bhavapAra deharAsara deSI haraSIi, sAhA bhojAI ghari niraSI saMbhava zItala be jina kahu, AbharaNaI mana mohI rahuM 26 chatratra) mastaki mohaI, jaData hAra AgI sohAi navakamale jinavara paga ivai, jaDyA jaDita hIre navanavaI 27 ghari puhurA pAraSi rAIcaMda, mULanAyaka zrI Adi jisada bIjaI pAsa pArazvanAtha, cha pratimA nita karu sanAtha 28 koko deharA mAhi joI, kAsagIyA be udabhatta hoI mUrati dekhI mana ulhasaI, pUjaI tasu ghari kamalA vasaI 29 pratimA satara achi mahAvIra, praNamatA pAmaI bhavatAra kokApAsaisu be hoI, seTha meghAnA gharamAM joI pADA khetrapAlamA deva, zItala svAmI dasamA deva zItala nIra bharI bhaMgAra, sItala cadana kesara sAra pratimA bahatAlIsa bhAvI, pAraSi kIkA ghari AvIzuM tri gaDhaI samosaraNa maDANa, cubAre zrI zItala jANa siSara kalasa dhaja upaI sAra, ghaTa tAla gheghUra jhamakAra satara bheda pUjA kIjI, nava pratimA nava aga pUjai saMghavI Tokara ghari jANIi, deharAsurajU mana ANI be pratimA eka jina cuvIsa, kara joDI nita nAma sIsa pItalamai pratimA mani ANi, maMtra vaNAiganaI thari jANi carma tIrthakara setu sadA dAlida dohaga nAvaI kadA tihA thikI havai pArIvAvi, pratimA smAri bhalI tihAM bhAvi AdinAtha mUlanAyaka nAmi, pAsAM chae be gotamasvAmi 36 bIjaI pADaI deharA doI, mahAvIra sevaI sukha hoI pratimA sAta taNuM maDANa, deha dIpai tribhuvana bhANa 37

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192 rasIlA kaDIA, zItala zAha SAMBODHI bIjaI deharaI trevIsamu, suprabhAta UThInaI namu biba AranI pUjA karu, sAhA vidyAdhara ghari sIcara mahAvIra mUlanAyaka deva, pratimA sAta taNI karu seva mUrati devI haraSA jAma, sALIvADaI puchatA tAma huyA deharAM cauda sohAmaNA, deharAsura ugaNIsa bhavika jIva bhAvaI namu, eNI DhAli tetrIsa traNisaI ugasuttari namu, pratimA bhavIyaNa loya havaI sALIvADA taNA, sAbhalayo sahu koI DhAla - jina tu. traserII havaI puchatA jAma, mallinAtha mUlanAyaka nAma pratimA pAca pradhAna jina tu nemanAtha deharaI bIjai, doI pratimAsu vadana kijaI sIjhaI saghalA kAja jina tu varasA seTha taNAM deharAsari, mULanAyaka zrI Adi jisesara kesari caracu agi jina tu pratimA ATha valI tihAra jANa, vIjAvADaI valI vaSANu jANu zrI jina pAsa jina tu kurasIpADI acirAnaMdana, cha pratimA sU kIjaI vadana cadana kusami pUji ni tu kalaharavADaI zAMti jisesara, pratimA chapanna parama jogIzvara nadIsara avatAra jina tu kaIAvADaI mAhi pradhAna, ATha pratimAsU mahAvIra nidAna zAna taNuM dAtAra jina tu daNAyagavAI kaSabha namI jaI, ugaNAtI pratimA pUjI jaI lIjaI bhavanu lAhanu jina tu dhAdhulipADaI suvadhi sujANa, tritAlIsa pratimA maDANa ANa vahu nija citta jina tu golavADi mana haraSa dharajaI, sAta pratimAsU pAsa pUjIjaI kIjai saphala sasAra jina tu

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Vol XXII, 1998 pATaNanI be apragaTa caityaparipATIo 193 bIjai deharaI pratimA cauda pUjauM, bhaviyA mani ANada caMdavadana mukha joi jina tu pAsa jigaMda lesI ghari kahII, pUjI pUnAvADaI jaI rahII zrI jina pAsa jina tu AlIsa pratimA tihA pUjeTU baDUyAvADaI Adi namasU kahisra doI biba sAra jina tu satrAkavADaI sAta phaNu jina, ATha pratimA vAdu bhaviyaNa jina bina te jina nita vada jina tu ucApADA mAhi jiNesara, saMghavI nAkara deharAsura haraSa dharu jina daiSi jina tu cha pratimA eka jina cavisaI, jama laI pratimA sAta kahIsaI dIsaI zrI jina zAMti jina tuLa pa7 navuM deharu ati suMdara sohaI, pAsa jiNada mULanAyaka mohaI joI dasa biba sAra jina tu 58 prastuta DhALa-ramA jina tu AkaNI tarIke che paNa ahI kyAka ekalo ji lakhyo che, kyAMka ekalo jina lakhyo che kyAka tu jina lakhAyuM che e badhAmAM ekarUpatA Ave te mATe ahIM ane jina tu ema sudhArIne karavAmA AvyuM che deharAsura traNa jANII, anaI valI deharAM cauda ima sattare pUjA karI, naranArInA vRda basaI sattANuM biMbanI pUjA kIjaI sAra, nave ghare AvIyA, ANI haraSa apAra DhAla - salUNItu nave ghare AvI bhAvI bhAvanA, ati ucchava ragi karIe pUjyA pAsa niNada cadana kusami e, biba ATha bhAvaI dharI e paMcAsara zrI pAsa AgdhApUraNa, jina pratimA nava vAdIi e harakhyA hIyA majhAri, haraSa bhavani jai jina dekhI ANadIA e mUlanAyaka zrI Adi prathama tIrthakara, esI pratimA bhAvIi e bhamatI mAhi deharI yaDI niraSI naI, trIjaI deharaI AvIyA e 61 62 63

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194 rasIlA kaDIA, zItala zAha tihA pratimA pAtrIsa, cuvIsavadyAsu vAsapuja nAyaka dhaNI e cuthai jina ugaNIsa pratimA pUjIi, mUlanAyaka mahAvIra taNI e posAla mAMhi deharu pAcamu, joInai naraSIi nemisiru e tera pratimA tihA vAdI, pApa nikadInai sevIi rAja livaru e uMcI serI mAhi deharu naraSatA, haraSi haiDu ulsai re thabhAguSacitrAma choha ati jhalalai e, pratibiba rupa mAhi vasaI e 66 nadIsara avatAra zAMti pramukha, jina biMba trIsa tihA bhAvayo e bIjai deharai zAMti pratimA bAra e, posAla mAhi jANajyo e pratimA chai agyAra trIjai deharai e, caMdaprabha jinavara taNI e triNi pratimA zrI pAsa vAdI uraDI e, bhaNasAlI samaratha taNI e sAUku pArasyanAtha deharaI pAcamai e, pratimA pacAvana bhaN e caMdaprabha jinarAja jimaNai pAsai e, pItalamaI pratimA ghaNU e sapratirAi bharAvIA, je suhastisUri te guru upadezi lahI e varasa bisai ekANu atara khetalu, zrI mahAvIra pachI kahI e pratimA achad aghota varasa satara sai e, Upari ekANu taNI e dhina te avatAra dhina naranArIya taNA karai jAtrA jinavara taNI e sUrIAbhi sura* pUjI tima jina pUjijyo, bhavika jIva bhAvi namI e TAlu mananI bhrAti gaNadhara bhAsai e, jinapratimA zrI jina samI e 72 trikaraNa siddhi je pUjaI tasu sakaTa nAsaI, durgati te nA vasahI e nAgamaNapADA mAhi deharA bea chaI, posAlamAhi te kahI e 71 SAMBODHI 64 65 67 8 69 70 26 ekai zrI jina zAMti nemIsara taNI e, cha pratimA sukha sAgaru e cuvIsa jina sUpAsa bIjai deharai e, pUjita savi sakaTa haru e pIpala pADai zAMti ekAdaza pratimA mUrati mohaNa - velaDI e bIjai pADai pAca pratimA pUjIi, ajitanAtha jina keraDIi pUja racI tiA agi ragi AvIA, ciMtAmaNi pADA bhaNI e tiSThA pratimA jina trIsa dharaNaMdapAsai e, pUjA sArai jina taNI e 76 74 75 * jaMbu prazapti Agama ane bhagavatI cUrNimA sUryabha nAmanA deve bhagavAnanI pUjA karI hatI tevI vAta nodhavAmA AvI che

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Fol XII, 1998 pATaNanI be apragaTa caityaparipATIo 195 saMghavI arajanapADaI solakuM, jina mRga lachanna jinanaI bhaN e pratimA dazAnitera seva karu, sadA kara joDI nita guNa ghaNU e parAkoDI majhAri zAMti bhavani jaI, bhAvanA tihA bhAvasuM e bAvana deharI mAhi deI, pradakSaNA Adi bhavana mAhi AvasU e pratimA ekasu nava behu deharaI thaI, sAhA sadaratha ghari sAca e tihA chai pAzvanAtha cakravadana mukha biMba pAca zevA karuM e janma karu sapavitra bhAvanA bhAvIi e, aSTApada bhaNI sAcaryA e pratimA ekasu sAThi sAta Upari kahI, caMdaprabhu tihAM paravaryA e toraNa taPya maDANa thAbhe koraNIa, patthara jAmali pUtalI e karatI nATAraMbha jinavara, Agali dIThaI mani pUgI ralI e sahA meghA gharamAhi zAMti jiNasara, traNa pratimA manasu dharI e magatAphalamAM hAra pUjI dIsaie, sovanimAM phUlai karI e ThAkara haraSA ghari phaTika ratna pratimA, caMdaprabha jinavara taNI e tihA pratimA jina cyAra vadI AvIyA, narasaMga ThAkara gharabhaNI e 83 vadyA pAsa jiNada pratimA Ara e, deha kAti sovana taNI e chatra bhalA siri sohaI, dezI mohII deharI jina dIpAM ghaNI e 84 Adila mana mAhi deharAsura devI, ghari AsA ThAkara taNAI e siSarabaddha avatAra traNa pratimA vAdI, caMda laMchaNa je jina tAI e 85 vAmA devi malhAra nIlavaraNa kAti, hAMsA ThAkara ghari kahII e nava pratimA nava agi pUjI agi e, siMhAsaNi baIThI sahI e 86 deharu sudara sohaI suranara mohaI e, citta dina tihA dIsaI ghaNI e pratimA caMdaprabha svAmi mohana mUrati jotA, ati ralIAmaNI e 87 ThAkara zrI AsadhIra biMba bharAvIo, upama kAti pA taNI e pUjaU te bhagavata pUjyA ApaI e, ThAkara padavI ApaNI e 88 AbharaNe ati dIpai motI mANika, joti jisI sUraya taNI e nava pratimA tihA jANI, ANI mana mAhi seva karu tribhovana dhaNI e 89 trAMgaDIAnaI pADaI Adi jisesara, aThAvIsa pratimA kahI e padamaprabha jina chaThThA vadana kIjaie, sIjhaI kAja saghalA sahI e 90

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196 rasIlA kaDIA, zItala zAha SAMBODHI dUhA cha deharAM jANajayo, anaI deharA bAvIsa sagha sahu haraSi karI, nita nita nAmu sIsa aThAvIsa jinabhavananI saMkhyA trIjai DhAli. aDhAra Upari sAtasai jinapratimA nihAli DhAla, maNahaTTIA pADA mAhi mahAvIra vaSANu, tihA prasAda navuM kario pratimA pAca jANu pADaI mahamAIA taNAI pratimA agyAra, carama tIrthaMkara pUjaI, tribhovana zaNagAra tihA thakI havaI cAlIA e, hIyaDaI haraSa dharI jaI, taMbolI pADaI jaI jina pUjA kIjaI cauda bibasU zrI supAsa ati suMdara sohaI, bhaNasAlI sonA taNAM deharAsura mohaI traNi pratimAsu RSabhadeva vadu bhavI prANI, thAvara pAraSinai gharie te ulaTa ANI. Ari pratimAsU zrI zAMtideva jina vadana kIjai, maMDalika pAraSi ghari deharAsura trIjai biMba traNasU RSabhadeva pUjI phala lezuM, pUnA pAraSi ne ghari biba traNa namenU baIDApADA mAhiI tihAM paratara deharu, maDapa cuka vizAla thabha jotA nahI ane solam zrI zAMtideva bhUlanAyaka nAma, jihA pratimA ekavIsa kahI vadI puhattA jAma vaidya taNA pADA mAhi navuM deharu sohaI, deza pratimAsU caMdaprabha jotA mana moha posALanA pADA mAhi deharaI risahasara, tihA pratimA pAtrIsa chaTha pUjI cadana kesara

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Vol XXII, 1998 pATaNanI be apragaTa caityaparipATIo bhajabala zreSThi taNai ghara dekhI mana rIjhai siSarabadha prAsAda jisu kuNa upama dIjai ATha biba sevu sadA Abha2Ne sohai paragara valI rupA taNIe pAca ratnamai sohai javaharI rupA taNaI dira suvidha sujANa biba pAca tihA jANIi citrAmi maDANa seTha ThAkarasA taNaI bhavani tihA vegi AvI ATha pratimAsu RSabhadeva mana siddhi bhAvI bharatha sAhA pADaI jaI pUjau 52mesara nava pratimAsu sohIi tihAM Adi jijJesara thAvarasAhA taNai ghari pratimA cyAra joI sAhA sigharAja taNai ghari pratimA pAca hoi kaMsAravADA mAhi navu prAsAda manohara bhamarI nakhasa chAjai bhalI deSI mohai sura mUla gabhArai Adi deva tribhovana jana vadana biba sola tihA pUjIi leI kukuma cadana deharAsura sohAmaNu vathA pAriSa ghire pAsa jijJesara sahita ATha pUji vividha kari pADai DhAla UtAranai seTha Tokara jAN sumatinAtha cuvIsasU bIjA sola vakhAN bhaIsAtavADai zAMtinAtha jinavadana karasU cupanna pratimA jina taNI bhAvi guNa bhaNasU sAhAvADA bhaNI sAcarayA, ati ANaMda ANI bAvana bibasu zrI supAsa vadhu bhavi prANI sagarakUyApADaI kahU jinahara eka sAra panara biba tihA jANIi vAmA devi malhAra nArigapura zrI pAsadeva savi saMkaTa cUri vIsa biba tihA bhAvayo sevaka sukha pUrad 4 5 6 cha 8 9 10 11 12 13 14 15 16 17 197

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rasIlA kaDIA, zItala zAha SAMBODHI 198 jinamadiranI mAgaNI saSA peSa sAra nAnAvidha varasI taNA citrAsa apAra habadapura haraSaI jaI nemIsara naravu viharamAna jina vIsasU navyAsI paravuM moDha moDha pADaI jaI karu caitya pravADi cha pratimAsu pUja karI AvyA jogIvADa sAmala pratimA zAMtideva pratimA ekavIsa mUrati ati rulIAmaNI nita nita nAme sIsa Dragara seTha taNaI ghari zrI zAMti jiNasara bi pratimA tivA jina taNI seva sAraI suranara dosI bhojA taNAM ghari deharAsura vadhu pratimA sAtasU dharmanAtha dezI ANadu somAseTha taNAM ghari deharAsura bhADU cha pratimA pUjA karI maphalIpuri AvuM zAMti jiNosara solamA e nizi dina plAu biMba pAca pUjI karI jinanA guNa gAu 22 cauda deharAsura vadIyA, jiNahara dIpaI solA Ima tIse jina pUjIyA, bhagatisU raga rola 26 cusaya biba navyAsIya cuthI DhAli vicAra haraSa dharI sahu AvIo, mANikacuka majhAri 27 DhAla - jIrAulu jaganAyaka, seva karaI sukhadAyaka trAyakapanaganaI padavI dharIe, varasa sahastra bAsI taNI loka prasiddha te suNI, te dhaNI vadana kIjai dharI e 28 mAlIpADaI vakhANaI seTha mahipA ghari jANII ANII biba agyAra tihA vaLI e, mAMDaNapADaI jAII biba bAra tihAM gAII dhyAI mahAvIra jina maniralI e 29 seTha malhAra pADaI bhaN zAMtinAtha guNa ghaNU tihAM suSNu pratimA sAta sohAmaNI e mallinAtha bhaNI AvIi eMsI pratimA tihA bhAvIi. pUjAvI tihA traNi suvIsI jina taNI e 30

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Vol XXII, 1998 pATaNanI be apragaTa caityaparipATIo 199 bhANA pAraSi pADaI kahU navU deharu dIpai bahU tihAM sahU pUja race vividha karI e pAsa jiNesara vadhU e biba tera tihA vadU e nadU e avidhi AsAtana je karI e 31 dhina te nara avatAra deharA kIyA UddhAra e sAra samakitanI dIpati ghaNI e vegi gulAla guthAvAi capaka ketakI lhAvIi AvIi pADaI visA bhojAlakkI e 32 biba cAra pUjA karu virama vaDaI aNasaruM mani dharu zAMtinAtha sukhasAgara e. biMba satAvIsa pUjA karI pADaI balIda harSa karI mani dharI biMba aDhAra vadana karuM e 33 sANIsara mAhi jANIi munisuvrata mani ANII biMba pyAra jinavara taNA e satarabhedas vadhi sahI rAiyAsaNI mAhi kahI ANa vahI pUjA kIdhaI phala ghaNA e 34 pADaI mAM vidyAdhara zAMtinAtha sohakara sakhakara pratimA traNa tihAM kharIe kasUbIApADaI kahI zItala jina bhavane e, sAmahI nava pratimA sevA karI e 35 bIjaI deharaI jAII pAsa jisesara plAIi, gAIDa biMba tera nita bhAvasu e koThArI ma ni ANIi aura pratimA vIra jANItuM guNa ghaNI maha jasavaMta ghari Ava e sAmala vana zrI pAsa e pUraI mananI Asa e pAsaI e triNi pratimA pItala taNAI AvyA ghari bAIsAru e kAsagIyA be vAru e dhAru e nava pratimA tihA guNa ghuNI e kovArI pADaI haraSII pAsa jiNesara niraSII parakhII ekAdaza jina sudara e ghari nAkara modI taNaI cha pratimA haraSi ghaNi guNa ghaNAM jehanA devI suravara e 38 sahI ghari maMtrI jerAja e vAsapujya tihA chAjai e vAjaI e madala tAla saghUgharI e jina pratimA tihA cyAra e pUjita pAmaI pAra e sAra e pUja karu bhAvi karI e 39 virASA eSi ghara sAra e vAmAdevi malhAra e hAra e capakamaI sovana taNA e biba ATha tihAM pUjIjaI satara bheda vidhisU kIjaI e janma saphala mAnava taNa e 40 saMghavInaI pADaI jaI saMghavI vastA ghara sahI tihAM kahI caMdaprabha deharAsaru e cha pratimA ati suMdara sevakanaI zivasukha karu sudara jasa suranara sevA karu e 41 vahurA saMgharAja ghari bhaNu deharAsura ralIAmaNe guNa ghaNu caMdaprabha jinavara taNA e pratimA cyArasu cagi jotA UlaTi agi e ragiI e manamAhi mAnava taNA e 42 saMghavI laTTakaNa ghari bhaNI ajitanAtha pratimA thaNI jina taNI mUrati lIAmaNI e deharaTha Adi jiNesara biMba thyAri ati suMdara suravara bhagati karinA bhAvi ghaNI e 43

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200 rasIlA kaDIA, zItala zAha SAMBODHI dUhA nava deharAsura narazI deharA tera UdAra, e saMkhyA bAvIsanI bhavIyaNa jANao sAra pacame DhAla prakAsI pratimA jinanI sAra, ugaNasaThi Upari bisaI tribhovana tAraNahAra DhAla - UlAlu phohalIA vADaI jaIi, jinahara sAta tihA kahI, Adi jiNesara nAyaka, mana vachita phala dAyaka cutrIsa jina cauda pUjau manihi ANaMda, dehara navu sohAkara trevIsamu sukhasAgara pratimA satasU kahII, mUrati dezI gahagahII, seTha dhaNadatta ghari haraSa, parAnA ghara mAhi paraSa daza pratimAsua pAsa, pUraI mana taNI Asa, sAha mAdhava ghari joI, pratimA sAta tihA hoI bArasamu jina bhAvu, seThi vIrA ghari AvuM, pratimA ekAdaza jANuM, vAsapUjya mani ANu pUnamIyA deharaI cauda, pratimA dIThaI ANada, valIAravADaI deharu, zAMti jiNesara keru ekAdaza pratimA sAra, jotA haraSa apAra, madali madali bAMThA sUyaDA, chAjaI dIsaI yaDA zAMtisara mahAvIra namua niratara dhIra, sonAravADaI vadana, navR deharu jagarajana jotA anopama dIsaI, tihA pratimA chaI trevIsa, bhaMDArI pADaI bhagati, jina pUjA kIjaI jugati. vAmAdevi malhAra, biba ATha jina sAra, zAMtijida apAra, kaThi anopamahAra sAhA sadayavacchanaIe, gharamA pUja racI jaI, bi pratimA bhAvi bhAvII sAra, pratimA pyAlIsa niyyAra pa6

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Vol XXII, 1998 pATaNanI be apragaTa caityaparipATIo 201 cuvIsavaTTAsua vadhu, daraziNa dIThaI ANadu, ghari AvyA dosI kamaNa, deharAsura bhAnu bhavayaNa vAsapUjya vadhu sAra, cha pratimA dIpaI hAra, naSasa karI atisAra, toraNa thAbha apAra dosI devA ghara jaIi, zItala jinavara kahII, pratimA sAta sohAkara, dosI vIrA ghari jinahara pratimA cyAra juhArI, zItala jina sukhakArI, seTha karamasI ghari vadu, Adi jiNesara vadhu cha pratimAsUsa sohaba, sahA manajIe ghari mohaI, pADaI sAhAkaraNAnaI, karisi sevA zItalanaI trevIsa pratimA pUjIjai sAhA manajI ghari, abhinava ratnamAM biMba saMbhava pratimA ATha tihA vadu mukha sohi pUnama cadu, deharAsura jagarajana, jotA darIya nikadana seTha pAtA ghara sumati, deharAsura vAru jugati, pratimA pAca tivA jugapati, dAta taNI tihA vatapati dADima bAjai pUtalI yatra kalaI, dhaja lahikaI, sugadha vastu mahi mahikai tihA thI khetalavasahI, karasU paIsatana sahI, pratimA ATha prakAsa, vAsipu e pAsa saMzA pAraSi ghari bina, deharAsura Adi jina, pratimA Ara sucaga, phUla gulAla su 2ga rayaNamAM jinavara Ara, camukha pUjai sAra, pAraSi nAthAnA gharamA, cumukhasu ATha pratimA bIjaI dehara zAMti, bhAI bhavanI bhrAti, Ara pratimA guNa gAsu, trIje deharai jAsU tihA achaI pAsa kumAra, biba pAca jina sAra, ajitanAtha jina bIjao, seTha lakA ri pUjA FY

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202 rasIlA kaDIA, zItala zAha triNi pratimA tihA manohara, vuhurA vachA ghara sudara, vAsapUjya jina jANI, cyAra pratimA mani ANI vimala jijJesara pratimA, seTha amIpAla gharamA, navU deharAsura sAra, pratimA ATha udAra ghara pArariSa udikaraNa, caMdaprabha cakiraNa, deharAsura mana mohai, trIjI bhui jina sohai ratnamaya bibanai kalasa, sadaphakArI kAma sarasa, traNi pratimA tihA bhAvI, laTakaNa sAhA pADai AvI pItalamai zrI jina zAMti, deha sovyana jisI kAti, cha pratimA guNa gAuM, jima avicala pada pAu AnnAvADaI jAsu, pUja karI guNa gAsa, pratimA sAtasu sohaU, trevIsamu jina mohi had pAriSa ghara bhaNIi, traNi pratimA tihA thuNIi, zAMtinAtha pUjA karIi, sayala sidhdhi suSa bharIi mahitA hAdA kUarajI, tasu dhari be pratimA pUjI, nIla varNa si2i pAsa, vichata pUrai Asa pUja racI jai tihA cagi, saMgha sahU milI riMga, bhagati jugati bahU vistara, maNoratha pUrai jijJesa2 dUhA aDhAra deharAsura ati bhalA deharA tera vANi, chaThi DhAli prakAsIyA ima ekatrIsai jANi traNisai cha pratimA sahI pUjI ANaMdapUri, mana mAhi samarasii tehanai durgati dUri. chatrIsa satara bhedasU pUjA kIdhI caMgi, pacazabda niraghoSasu nitu navu ucchava ragi hAla pATaNa nagara vakhANIi e, jinavadana avara na bIju koi, jina bhavana rulIAmaNU e, jina atiha anopama hoi SAMBODHI 71 72 73 74 75 76 09 78 79 80 81 82 83

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Vol. II, 1998 pATaNanI be apragaTa caityaparipATIo 203 bANa deharA dapatA e, jina nirakhatA ati ANada, deharAsura ati sobhatA e, jina sola kalA jima caMda ugaNahattari vadyA sahIya, hIyaDaI dharIya viveka, sarva thaI sakhyA saNa e, jina ekasu sAThinaI eka pratimAnI sakhyA kahI e, jina cuvIsasaI aDatrIsa, pUjA kIjai haraSasu e, nazi dana nAmu sIsa prasidhdha deharAsura je susyA e, jina te saMkhyA e sAra ghara ghari jina pratimA bhalI e, vadana kahituhU na lahU pAra nasi dina te vadana karu e, jina valIya gAmogara deva, sAsaya asAsaya je paDimA bhavi bhavi deyo zeva. vinataDI prabhu huM karuM e, mayA karuM bhagavata, karma vazi bahu parIbhamila e, tAraNa tU arIhata vidhapakSa gaccha guru jayakaru e, zrI dharmayUrati sUri, guru prasAdiI caityapravADi kIdhaI ANada pUri saMvata solatarotaraI eka mAsa AsADha te raga, punyama vAra zina thira rahu e, pATaNa nayara abhaga kilasa aNahalavADaI nayara pATa icuvIsaI jina jagaguru e, zAti jinavara zAMtikAraka sayala sai sukhAka jA dUdha sAgara cada tArA sUri meru mahIdhara , tA caitya avicala kahaI sevaka saMgharAja sukhAka Iti zrI caityapravADi sapUrNa || || zrI / azuddha pATha zuddha pATha pahiluM nisa DhALa 1, kaDI 2 DhALa 1, kaDI 12 DhALa 1, kaDI 16 DhALa 1, kaDI 20 DhALa 1, kaDI 31 pUhila nasi bhAMti AgI. bhagAra brAti AgI. bhUgAra

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204 rasIlA kaDIA, zItala zAha SAMBODHI DhALa 1, kaDI 32 DhALa 1, kaDI 42 DhALa 1, kaDI 63 DhALa 3, kaDI 71 DhALa 3, kaDI 79 DhALa 3, kaDI 79 DhALa 4, kaDI 1 DhALa 4, kaDI 10 DhALa 5, kaDI 31 DhALa 6, kaDI 62 DhALa 6, kaDI 64 DhALa 6, kaDI 64 DhALa 6, kaDI 80 DhALa 7, kaDI 93 tra gaDha jina 2 AsI nArIya taNA cadavana bihU evIsa manora avadhi abhivana samati vattapati e trIsaI tri gaDhaI jina tu eMsI naranArIya taNA cakravadana behU ekavIsa manohara avidhi abhinava sumati vatapati ekatrIsaI kaThina zabdo zabda artha zabda artha - tevIsa - pAreSa - coka - parikara - nakazI sahiguru - zubhagura, kalyANakArI guru pati - ? kSamA, samabhAva vadhi - vidhi dhulI paravi - dhULI paDavo darIya - daridratA paNAsaI - nAza pAmavo kaNi - kane, pAse pUhila vidhisU - vidhi sAthe - jyAre - sAthe, sahita ANa - AjJA. - dhAraNa karu udabhatta - adbhuta - paheluM dazanitera pAraSi cuka paragara nakhasa varasI citrAma cusaya cuthI rayaDA sAmarahI siraI socana thaNI jAma - citrakAma - cAraso - cothI - suDA - ? sanmukha, sAme -- zrI ? - sonAnA - stuti va

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Vol XXII, 1998 pATaNanI be apragaTa caityaparipATIo 205 sAra bhAvaThA zabda - daridratA, saMkaTa artha - sarasa artha zabda yuthaI - sUrya - pRthvI kAsagIyA - kAussaggIyA maMtra - matrI. heva - have vaNAiga - vinAyaka bhaMgAra - kalaza dohaga - durbhAgya jAma tAma - jyAre tyAre carma - chellA (carama) cubAre - cAra dhAravALu (comukha) dUyA - dUjA, bIjA tu - to sIcaru - sacaravu jamalaI - kula, badhu maLIne eNI - A - cothu acirAnadana - zAtinAtha rAjalivaru - rAjulano vara = neminAtha pUgI - pahocI uraDI - oraDI sUri sAku - sthaLa nAma che meru adyota - addabhuta ? dADima - roja keraDII - keraDu = ke, nu yatra kalaI - yatranI cApa athavA kaLa thAbhe - thAbhale lahikaI - laheke che karaNI - kotaraNI paIsatana - praveza jAmali - jumma, yugma, be bhuI - mALe behU dAta taNI vatapati - hAthIdAtanI kArIgarI sovanimaI - suvarNanI nAbhi nirada - Adezvara AphaNI - ApoApa zavapuri - zivapurI avatAra - racanA ? raLI - AnaMda gulAla - lAla phUlano choDa cagi - sarasa sUraya - sUrya trAyaka - trAtA, bacAvanAra sIjhaI - siddha thAya sukhakara - sukhakare ekAdazI - agiyAra - lahANuM, lAbha ugaNahattari - ogaNasATha madali madali - ThekANe ThekANe trikaraNa siddhi - mana, vacana, sUyaDA - popaTa, sUDA kAyAnI siddhi - 1613 zAsaya solatarotaraI - zAzvata azAsaya - azAzvata - pUrNimA pUnyama lAhanuM

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- zani 206 rasIlA kaDIA, zItala zAha SAMBOE mayA - kRpA zina kahIu - kahetA sadaphakArI - eka prakAranI kArIgarI vAmA devI malhAra - pArzvanAtha sada; - motInI chIpa gAmAgara. - gAma bahAra pannaga - sApa ghUghura - ghugharI, ghaTa kavi nirdezita ghara derAsara, daherA tathA biba saMkhyAnI gaNatarI darzAvI che tathA A gaNatarI karIe chIe te mujaba kyA gaNatarIno meLa bese che te ane emAM kayA sthaLe phera mAluma paDe che tene spaSTa karato koTho darzAvavAmAM Avyo che kavi nirdezita gaNatarIno koTho DhALa daherAsura + deharAM = kula derAsara biba saMkhyA 19 + 14 = 33 369 3 + 14 = 17 297 6 - 22 = 28 718 14 + 16 = 30 489 9 + 13 = 22 259 + 13 = 306 69 + 2 = 161 2438 me owne 31 kRtimAM nirdezita saMkhyA mujaba karelI gaNatarIno koTho DhALa gharaderAsara + derAsara = kula derAsara pratimA saMkhyA 20 + 13 = 33 369 3 + 14 = 17 295 6 + 22 = 28 715 14 + 16 = 30 489 9 + 14 = ra3 260 20 + 11 = 31 309 72 + 90 = 162 2437 hAla-1 kavie DhALane ane Apela pratimAnI kula saMkhyA darzAvI che te mujaba gaNatarI karata barAbara thAya che paNa eka vAta dhyAnamAM levA jevI che te ahIM khetrapAlanA pADAmAM vaNAyaka +

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pATaNanI be apragaTa caityaparipATIo Vol XXII, 1998 207 matrInA gha2mAnA mULanAyaka mahAvIra svAmIno A ToTalamA samAveza thayo nathI vaLI, kavi nirdezita gha2derAsara 19 ane dahe2A 14 che. alabatta kula derAsaranu ToTala 33 barAbara thAya che DhAla-2 kavie nirdezya che tema ahIM daherA, gharaderAsaranI kula saMkhyA 17 barAbara thAya che kavi nirdezita biMba sakhyAnI gaNatarI 297 che paNa DhALa - 1mA emaNe jema mahAvIra svAmInI biba sakhyAmA gaNatarI karI nathI tevI rIte A DhALamA paNa vIjAvADAnA pArzvanAthanI saMkhyA ane golavADanA lesInA gharanA pArzvanAthanI sakhyA darzAvI nathI ApaNI gaNatarI mujaba biMba sakhyAnI gaNatarI 295 thAya che DhAla-3 kavie darzAvyA pramANe ahIM 6 gharaderAsara, 22 derAsara ane 718 biMba sakhyA che, alabatta banenI maLIne derAsaranI kula sakhyA 28 beumA barAbara thAya che paNa biMba saMkhyA ApaNI gaNatarI mujaba 715 thAya che DhAla-4 prastuta DhALamA kavi nirdezita gharaderAsara, deharA ane biba sakhyA maLI jAya che DhAla-pa A DhALamA kavie 9 gharaderAsara, 13 deharA ane biMba sakhyA 259 jaNAvelI che saghavInA pADAnA saghavI laTakaNanA gharanu ajItanAthanA gharaderAsaranI biba sakhyA jaNAvavAmA AvI nathI. ApaNI gaNatarI mujaba 9 gha2derAsara, 14 deharA ane 260 biba sakhyA thAya che DhAla-da ahIM kavie 18 gharaderAsa2, 13 daherA ane 306 biba sakhyA jaNAvI che ApaNI gaNatarI pramANe 20 gharaderAsara, 11 daherA ane biMba sakhyA 309 thAya che Ama, kavi nirdezita sakhyAnI gaNatarI ApaNI gaNatarI pramANe judI paDe che pratanA AdhAre jinAlayonI yAdI vistAra mULanAyaka DhAla-1 vizeSatA zAMtinAthanI poLa zAtinAtha 1 vardhamAnanA gharamA zItalanAtha navu gharaderAsara 2 sAhA ratanA putranA gharamA vAsupUjya svAmI-caMdraprabhu- pArzvanAtha kaboI pArzvanAtha pratimA saMkhyA x ja hu

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208 rasIlA kaDIA, zItala zAha SAMBODHI kaTakIA vADo 3 seTha megharAjanA gharamAM 4 seTha vaNAyaga saharIAnA gharamAM Adezvara vimalanAtha vimalanAtha munisuvrata svAmI dhULI paDave darzananuM mahattva vAsupUjya svAmI 5 saghavI aTTAnA gharamAM godaDano pADo 6 dosI guNarAjanA gharamAM 7 visA nAthAnA gharamAM nAthAsAhAno pADo Adezvara Adezvara zikharabaddha daherAsara zAtinAtha covIsavaTA sAthenI pratimAo caMdraprabhu svAmI caMdraprabhu svAmI 8 dosI damA rAmAnA gharamAM 9 seTha bhojAnA gharamAM mahetAno pADo 10 sAhA vacharAjanA gharamAM 11 sAraga mahetAnA gharamAM pArzvanAtha mahAvIra svAmI kAussaggIyA sAthe makAna sudara, , pratimAnA kaThamAM anopama hAra DhaMDheravADo adbhuta mUrti 12 visA melAnA gharamAM 13 sAhA sIcAnA gharamAM 14 sAhA bhojAnA gharamAM 15 pAreSa rAyacadanA gharamA kokAno pADo zAmaLa pArzvanAtha mahAvIra svAmI zAmaLa pArzvanAtha pArzvanAtha nAma nathI sabhavanAtha-zItalanAtha Adezvara navu daherAsara mohaka AbharaNo pAse pArzvanAthanI pratimA 6 be adbhuta kAussaggIyA 17 16 seTha meghAnA gharamAM mahAvIra svAmI kokA pArzvanAtha

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Vol XXII, 1998 pATaNanI be apragaTa caityaparipATIo 209 khetrapAlano pADo zItalanAtha 42 17 pAreSa kAkAnA gharamAM zItalanAtha trigaDha samovasaraNa, caumukhajI 9 18 saghavI TokaranA gharamAM nAma nathI eka covIsI 19 matrI vaNAiganA gharamA mahAvIra svAmI pittaLanI pratimA darzAvI nathI khArI vAva Adezvara, pAse gautamasvAmInI be pratimA bIjo pADo mahAvIra svAmI pArzvanAtha 20 sAhA vidyAdharanA gharamA mahAvIra svAmI DhAla-2 sALI vADo traserIyuM mallinAtha nemanAtha Adezvara pArzvanAtha nadIzvara paTa 1 varasA seThanA gharamAM vIjA vADo kurasI pADo kalahara vADo kaIA vADo daNAyaga vADo dhAMdhali pADo golavADa zAtinAtha zAtinAtha mahAvIra svAmI Adezvara suvidhinAtha pArzvanAtha caMdraprabhu svAmI pArzvanAtha darzAvI nathI 2 lesInA gharamAM pUnA vADo baDUyA vADo pArzvanAtha Adezvara

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rasIlA kaDIA, zItala zAha SAMBOD 210 pArzvanAtha sAta phaNA yukta satrAka vADo UMco pADo 3 saghavI nAkaranA gharamAM zAtinAtha pArzvanAtha eka covIsI navu deharu DhAla-3 nave ghare navagharu) paMcAsara pArzvanAtha pArzvanAtha Adezvara bhamatI sAthe vAsupUjya svAmI covIsavaTA sAthe mahAvIra svAmI neminAtha posAla = poSadhazALAmA 13 UMcI serI zAtinAtha nadIzvara paTa tathA sudara kotaraNI 30 posAla = poSadhazALAmA 12 zAtinAtha cadraprabhu svAmI pArzvanAtha pArzvanAtha 3 bhaNazALInI oraDImAM caMdraprabhu svAmInI ati prAcIna pittaLanI pratimA nAgamaNa pADo zAtinAtha - neminAtha sayukta derAsara, posAla = poSadhazALAmAM pArzvanAtha zAtinAtha AkarSaka pratimA ajitanAtha pIpala pADo bIjo pADo citAmaNi pADo saMghavI arajanano pADo pArzvanAtha dharaNendra sAthe zAMtinAtha

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Vol XXII, 1998 pATaNanI be apragaTa caityaparipATIo 211 parAkoDI. bAvana jinAlaya 1 /9 zAtinAtha Adezvara pArzvanAtha 1 sAhA sadarathanA gharamAM 1 1 da aSTApada caMdraprabhu svAmI kotaraNIvALA thAbhalA 167 2 sAhA meghAnA gharamAM zAtinAtha 3 ThAkara haraSAnA gharamAM caMdraprabhu svAmI sphaTikanI pratimA 4 narasaga ThAkaranA gharamAM pArzvanAtha 5 AsA ThAkaranA gharamAM cadraprabhu svAmI zikharabaddha derAsara 6 hAMsA ThAkaranA gharamAM pArzvanAtha nIla varNanA pratimA, suMdara deharAsara cadraprabhu svAmI ThAkara AsadhIre bharAvela 9 trAMgaDIAno pADo Adezvara padmaprabhu svAmInuM ghaNuM mahattva DhAla-4 maNahaTTIA pADo mahAvIra svAmI navu deharu mahamAIA pADo mahAvIra svAmI taMbolI pADo supArzvanAtha 1 bhaNazALI sonAnA gharamAM Adezvara 2 thAvara pAreSanA gharamAM zAtinAtha 3. maDalika pAreSanA gharamAM Adezvara 4 pUnA pAreSanA gharamAM nAma nathI. nabaiDA pADo zAtinAtha kharataragacchanuM derAsara 21 vaidyano pADo caMdraprabhu svAmI navu deharu posALano pADo Adezvara 5 bhajabala zreSThinA gharamA nAma nathI. zikharabaddha derAsara, rUpAnu parikara, 5 ratnanI pratimA 6 jhaverI rUpAnA gharamAM suvidhinAtha cha cha ja che ke 2 che 9 da

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212 7 seTha ThAkarasAnA gharamA bharatha sAhano pADo 8 thAvara sAhanA gharamA 9 sAhA sigha2AjanA gharamA kaMsAravADo 10 vuthA pAreSanA gharamA DhAla utA2no pADo 11 seTha TokaranA gharamA bhaisAta vADo sAhA vADo sagarakUyAno pADo nAriga pura habadapura moDha moDha pADo jogI vADo 12 DuMga2 seThanA gharamA 13 dosI bhojAnA gharamA 14 somA seThanA gharamA maphalIpura mANekacoka mAlI pADo 1 seTha mahipAnA gharamA rasIlA kaDIA, zItala zAha Adezvara mAMDaNa pADo seTha malhArano pADo Adezvara nAma nathI nAma nathI Adezvara pArzvanAtha sumatinAtha zAtinAtha supArzvanAtha pArzvanAtha pArzvanAtha neminAtha nAma nathI zAtinAtha zAtinAtha dharmanAtha nAma nathI zAtinAtha DhAla-5 nAma nathI mahAvIra svAmI navu de, sudara nakazI kAma ghaNu citrakAma vIsa viharamAna zyAmala pratimA SAMBODHI 8 7 = 4 16 p 92 9 15 89 21 2 ) E 5 11 12

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Vol XXII, 1998 pATaNanI be apragaTa caityaparipATIo 213 zAtinAtha mallinAtha pArzvanAtha traNa covIsI navu deharu K & bhANA pAreSano pADo visA bhojAlakhIno pADo vIrama vADo balaI pADo sANIsaramAM rAiyA seNI mAM vidyAdharano pADo kasuMbIyA pADo nAma nathI zAtinAtha nAma nathI. munisuvrata svAmI 2 0 zAtinAtha zItalanAtha pArzvanAtha mahAvIra svAmI pArzvanAtha 0 0 2 maha jasavatanA gharamAM zyAma raMganI pratimA, traNe pratimA pittaLanI be kAussaggIyA 0 nAma nathI 3 baUsArunA gharamAM kovArI pADo m 2 pArzvanAtha nAma nathI. vAsupUjya svAmI pArzvanAtha 4 nAkara modInA gharamAM 5 matrI jerAjanA gharamA 6 vIrANAnA gharamAM saMghavIno pADo 7 saghavI vastAnA gharamAM 8 vuhurA sagharAjanA gharamAM 9 saghavI laTakaNanA gharamAM ja caMdraprabhu svAmI cadraprabhu svAmI ajitanAtha Adezvara darzAvI nathI Dhola-6 phohalIA pADo Adezvara pArzvanAtha navu deharu

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214 1 seTha dhaNadattanA gharamA 2 seTha paTAnA gharamA 3 sAhA mAdhavanA gha2mA 4 seTha vIrAnA gharamA valIyAra vADo sonAra vADo bhaMDArI pADo 5 sAhA sayavacchanA gharamA 6 . dosI kamaNanA 11 sAhA manajInA gharamA 12 seTha pAtAnA gharamA rasIlA kaDIA, zItala zAha nAma nathI pArzvanAtha nAma nathI khetalavasahI 13 sathA pAreSanA gharamA 14 pAreSa nAthAnA gharamA vAsupUjya vAsupUjya zAtinAtha zAtinAtha-mahAvI2 svAmI pArzvanAtha zAtinAtha gharamA 7 dosI devAnA gharamA 8 dosI vIrAnA gharamA zItalanAtha 9 seTha karamasInA gharamA zItalanAtha 10 sahA manajInA gharamA Adezvara karaNA sAhAno pADo nAma nathI. vAsupUjya svAmI zItalanAtha sabhavanAtha sumatinAtha vAsupUjya svAmI Adezvara nAma nathI. zAtinAtha navu deharu 10 7 11 pUnamIyA gacchanu derAsara 14 11 kaThe anopamahAra eka covIsavaTo to2Na ane thAbhalAnI nakazI ratnanI pratimA kaLavALI pUtaLIo, hAthI dAtanu nAma SAMBODHI ratnanI 4 pratimA, caumukhajI chu 23 8 2 44 g ja dharma 23 8 5 8 4 4

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Vot XXII, 1998 15 seTha lakAnA gharamA 16 vuhurA vachAnA gharamA 17 seTha amIpAlanA gharamA 18 pAreSa udikaraNanA gharamA laTakaNa zAhano pADo AnnA vADo 19 dU pAreSanA gharamA 20 mahitA hAdA kUarajInA gharamA pATaNanI be apragaTa caityaparipATIo pArzvanAtha ajitanAtha vAsupUjya svAmI vimalanAtha caMdraprabhu svAmI zAtinAtha pArzvanAtha zAtinAtha pArzvanAtha navu daherAsara trIje mALa, ratnamaya biba ratnamaya kaLaza, sadaphakArI kAma pittaLanI pratimA 5 3 * 3 da 7 3 215 nIla varNanI pratimA prArabhe kavie gurune namaskAra karI, sarasvatI devInu smaraNa karyuM che. sa. 1913nA prathama jeTha mAsanI pUnama ane guruvAranA divase jinapUjA karI A caityaparipATI zarU kare che ra kavi sagharAje ahIM pratyeka vistAranA nAma sAthe te-te vistAramAM AvelA daherA, gharaderAsara tathA te-te jinAlayamAnI biMba sakhyA ApI che be-traNa sthaLe mULanAyakanu nAma ke biMba sakhyA darzAvavAmA AvI nathI koI paNa jinAlayamAnI nAnI sarakhI vizeSatA paNa nodhavAnu teo cUkatA nathI jema ke - kaTakIyAvADAnA munisuvrata svAmInA jinAlayamA dhULeTIe darzananu mahattva che, keTalAka jinAlayamA bhamatI che to keTalAkamA covIsavaTA che to keTalAkamA nadIzvara paTa che, koIka kharatara gacchanu derAsara che, koIka pUnamIyA gacchanu che, koIka bAvana jinAlaya che, koIka sayukta derAsara che, kyAka comukhajI che, kyAka trigaDha samavasaraNa che to kyAka zikharabaddha jinAlaya che jevI vigato - jinAlayamAnI pratimAo adbhuta che, AkarSaka che, pratimAjI para mohaka AbharaNo che, kaThe anupama hAra che, nIla varNanI, zyAma varNanI ke ratnanI pratimA che, kAussaggIyA che, vIsa viharamAna che - AvA badhA ullekho kavinA sUkSma avalokanano paricaya karAve che te samaye pATaNanAM A jinAlayo kevA adbhuta hatA tenu varNana paNa kavi karavAnuM cUkatA nathI jema ke - kasAravADAnA AdezvaranA jinAlayamA sudara nakazI kAma che, aSTApadamA cadraprabhunA jinAlayamA kotaraNIvALA thAbhalA che ane tenA para be-be pUtaLIo che, nAriMgapuramA pArzvanAthanA jinAlayamA vipula pramANamA citrakAma jovA maLe che, bhaDArI pADAmA dozI devAnA gharaderAsaramA

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SAMBODHI 216 rasIlA kaDIA, zItala zAha toraNa ane thAbhalAnI nakazI adbhuta che. karaNAzAhanA pADAmAM zeTha pAtAnA gharaderAsaramAM kaLavALI pUtaLIo ane hAthI dAtanuM kAma jovA maLe che, khetalavasahImAM pArekha udikaraNanA gharaderAsaramAM ratnamaya biba ane kaLaza tathA sadaphakArI jevI kalA-kArIgarI che - jevI vigato keTaleka sthaLe kavi koIka pratimA, koIka sthaLa ke koIka nakazIkAma sadarbhe labANapUrvaka nodha kare che AvI eka nodha UcI zerInA pArzvanAthanA jinAlayamAnI cadraprabhu svAmInI pratimA sadarbhe pAca kaDImA ApI che te jaNAve che ke - A pratimA pittaLanI ati prAcIna pratimA che Arya suhastisUrinA upadezathI saprati rAjAe te bharAvelI che ane kavi caityaparipATI lakhe che tyAre A mUrti 1700 varSa jeTalI prAcIna che ane tethI A pratimAnA darzana eTale enuM jAtrA jeTalu mahattva che A caityaparipATImA kavie te-te vistAramAM badhAyelA navA derAsaronI vigato paNa jaNAvI che AvA navA derAsaronI saMkhyA 9 jeTalI che muni siddhisUrinI caityaparipATImAM A derAsarono ullekha nathI ane 7mI (chellI) DhALamA kavi AgaLanI 6 DhALamAM nirdezita deharA, daherAsara ane biba sakhyAnu sapUrNa ToTala Ape che ane pote A caityaparipATI (vidhi pakSa) acalagacchIya guru muni dharmamUrtisUrinI kRpAthI Anada sAthe sa0 1613 ASADhI pUnama ane zanivAranA roja pATaNa nagaramAM pUrNa karI hovAnuM jaNAve che kalazamAM kartA tarIke kavi potAnuM nAma saMgharAja jaNAve che tAM caitya avicala kahaI sevaka saMgharAja sukhAkaruM. kavi sagharAja pATaNanI caityaparipATI karatAM nodhe che ke keTalAka jinAlayamAM teoe capaka, ketakI, kamala jevA puSpo vaDe puSya pUjA karI che vidhipUrvaka sUtro bolyA che 36 jinAlayomA vidhi sahita sattarabhedI pUjA bhaNAvI che ghaNA badhA jinAlayomA kesara ane caMdanathI bhagavAnanI aga pUjA to karI hoya ja A abhivyakti darzAve che ke teoe A caityaparipATI karatI vakhate ati ullAsa ane hRdayanA anerA bhAva anubhavyA che pATaNanI caityaparipATIomAM prastuta caityaparipATI tenI vigatasabharatAnA kAraNe amUlya che pATaNanA jinAlayonA ItihAsanA adhyayanamA A vigato bahumUlya umeraNarUpa che

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REVIEW "OUTLINE OF ABHINAVAGUPTA'S AESTHETICS" V. M. Kulkarni, Pub : Saraswati Pustak Bhandar, Ahmedabad - 380 001 First Edn., May 1998 pp. 1-105 + 5 (Appendix) = 110/Rs. Dr V M Kulkarni's book viz Outline of Abhinavagupta's Aesthetics consists of ten valued articles on topics connected with Indian Aesthetics in general and Abhinavagupta's (=A's) approach to the same in particular Before taking a detailed review of Dr Kulkarni's present work, I will hazard to suggest a new title for it such as "An indepth study of Abhinavagupta's Aesthetics", for that exactly it is I know prof Dr V M Kulkarni as a great scholar, so thorough, hard-working and meticulous in his approach to any problem that falls within the scope of Sanskrit Alamkaras'astra in general He exhibits an unbiased and balanced application and dedication to whatever he picks up for a close study, be it in Sanskrit or Prakrt His expressions in keeping with his conclusions are clear and unbiased like his thinking as also seen in his Studies in Sanskrit Sahityas'astra I count him as one of the greatest modern alamkarikas in company with Dr Rewaprasad Dwivedi, Prof KD Tripathi, the late Dr Ram Chandra Dwivedi, the late Dr K. Krishnamoorthy and Dr Raghavan, Pundit Vis'ves'vara, Dr Bishwanath Bhattacharya, Prof R C Parikh, Prof RB Athavale, Dr Hiriyanna, and also Profs Gnoli, Masson, Patwardhan, K. Kunjunni Raja, M M Sharma and the rest The chief merit of his approach is that he goes to the root of a given problem from many angles, tries to interpret the given authour quoting all relevant passages from his writing and then takes a critical, unbiased view, that can be acceptable to all In this respect I would place him with the great Pundit Jagannatha of the Rasa-gangadhara fame For sure, this study is meant only for those who justifiably claim to have a closer acquaintance with A. The present work consists of ten articles engaged in a thread-bare analysis of the problem concerned, highlighting Abhinavagupta's approach in a clear and critical way However, small minds have some small problems and we will atempt to throw light on these points In the first article on "Sanskrit theory of Beauty" (pp 1-17) the author suggests at the outset that "in India, however, the study of Aesthetics does not form a branch of Philosophy" (pp 1) as in the West Dr V M Kulkarni brings out the

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TAPASVI NANDI special traits of Indian approach to the theory of beauty as compared with the western approach The Indian thinkers do not 'venture upon a definition of Art, applicable to all the (Fine) Arts They merely attempt a definition of one of the Fine Arts, namely, poetry (or creative literature as such) and investigate into the source of literary beauty Finally, they arrive at the conception of rasa as the first and foremost source of Beauty in literature" (p 1-2) Dr V M Kulkarni quotes from Prof Hiriyanna and suggests that, "The conception of Rasa is general and furnishes the criterion by which the worth of all forms of fine art may be judged" (pp 2) He also refers to some scholars in their modern writings expressing a view that in the context of other fine arts the term rasa is used in its metaphonical extension only He avoids entering into any controversy in the fashion of the great Anandavardhana (-A) 218 SAMBODHI While further introducing the problem on hand viz Sanskrit Theory of Beauty, Dr Kulkarni discerns two stages-distinct as he notes in the growth or development of Sanskrt (Skt) literary criticism The first stage is represented in the works of known writers on poetics such as Bhamaha, Dandin and the like who preceded Anandavardhana and Abhinavagupta,-with whom goes the second developed form of literary criticism The earlier authors such as Bhamaha, and also those not known to us but who also preceded A and A, reveal, in the opinion of Dr V M Kulkarni an effinity with what is called the "pratiyamana" or suggested, or implied, or inner sense in poetic compositions, but they did not make it a "pre-condition" so to say, or better say "principal condition" for excellent poetry Their approach to beautiful poetic expresion, was more directed towards "the external" aspect as compared with the "internal aspect" of poetic beauty However, the fact remains that even Bhamaha and the earlier lot of alamkarikas considered the problem of 'rasa' and subsumed it under 'alamkara', which was 'saundarya' or poetic beauty in general For them "Vacam alamkrtth' beauty of expression' in general was 'ista' e 'a must' for all poetry and this beauty in general was inclusive of rasa So, if Dr Kulkarni observes (pp 3) that, "We may, therefore, regard them as, on the whole, representing the first stage in the growth of literary enticism and aesthetics", we may not differ from him, but only add that this so called 'first stage' consisting of Bhamaha and others-for there must be others not known to us but known to Bharata who at several places mentions Kavya-rasa', was not a 'dark-age" and that this first stage also reveals awakening towards the concept of rasa and its position in literature in general and in drama, or performing art in general also

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Vol XXII, 1998 REVIEW 219 So, we may only partly agree with Dr Kulkarni when he observes that it was A. the author of Dhvanyaloka (=Dhv) who completely revolutionized the Skt poetics and aesthetics with his "novel theory that dhvani (suggestion) is the soul of poetry (pp 3) We may say that A was the first known advocate of Vyanjana-dhvani-rasa theory and perhaps Dhy was the first written document in this direction, known to us Even A. in his locana confesses his ignorance concerning any earlier written document on dhvani when he says, "Vina'pi Visusta-pustakesu vinives'anat" But the thought-currents were very much there and even A. clearly recognizes the same when he says samamnatapuravah" Dr V M Kulkarni is inclined not to take this expression "literally" (pp 3), but why not ? ask we, when even Bharata uses the term "Kavya-rasa' several times and expects everything,-- guna, dosa, laksana, and alamkara-to be correlated with rasa,-a tendency so clearly advocated by A A. and their so-called dhvanivadi followers ? So perhaps it is safer to suggest that the enquiry concerning beauty took care of all forms-external such as word and expressed meaning, and internal such as guna and rasa and we have with us documents concerning 'the external' only The earlier writers, on the authority of Bharata, were absolutely conscious of the fact of rasa, the base, and also other sources of charm corelated with this centre It is one thing that they called 'rasa' an alamkara, but calling it 'atma' or otherwise was only a metaphorical explanation and it was A who was perhaps the first to inherit the whole theoretical and complex thinking and attempted a neat presentation in writte form, with his thrust and tilt towards vyanjana Dr Kulkarni, neatly and elaborately, quoting original sources, discusses the topic of Poetry vs Philosophy (pp 3-6) and suggests that the former is the result of pratibha or genius and the latter-s'astra- is the outcome of prajna ie intellect He presents the views of different writers on this and also quotes the ideas of poets on the nature of beauty He then turns to alamkarikas on the nature of beauty (p 8), and discusses A's and A.'s observations (p 9), ending with Jagannatha's views (p 10), thus trying to ascertain whether the alamkarikas had a subjective or objective view concerning beauty He also covers up the topics of 'nature of rasa' (p 14), about the content of Ravya (p 15), and the method of Kavya (p 15) also We agree with Dr Kulkarni (p 17) when at the end he observes. "In conclusion, carutva-pratiti' (perception of beauty) is the very soul or the essence of poetry (creative literature) This perception of beauty presupposes the existence of objective beauty due to a

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220 TAPASVI NANDI SAMBODHI beautiful suggested sense and its perception by a sensitive reader or spectator The subjective-cum-objective nature of beauty is suggested, when A says in the mangalas'loka to his Locana "sarasvatyas tattvam kavi-sahridayakhyam vijayate" In his foot notes, and this is true with the rest of his writing, Dr Kulkarni has acknowledged the sources (pp 17, ft n 46) of his inspiration However, a short bibliography at the end of the book would also have been more welcome 'Bharata's concept of Bhava' (pp 19-28) presents the Natyas'astra (NS) view on bhava Dr Kulkarni clearly explains the terms such as bhava, vibhava, anubhava, sthayibhava, sattvikabhava etc Bharata derives the word bhava, "from the causative of bhu, 'to be', which may be intended in two different meanings that is, 'to cause to be' (viz bring out, create, etc) and 'to pervade' The first explanation gives us-Kavyarthan bhavayanti iti bhavah-- e bhavas bring out the purposes of poetry The second explanation suggests how bhavas pervade the minds of the spectators as any smell does (pp 18) The author explains Bharata's views on vibhavas and anubhavas, who for him are unlimited in number, while sthayl-vyabhicart and sattvikas are unalterably fixed as eight, thirty-three and eight respectively (pp 19) Dr Kulkarni takes up the explanation of the verse "Yo'rtho hrdaya-samvadi" especially the first half He cites the interpretations of M Ghosh, Dr Bhat, (Bharatanatya-manjart), J L Masson and M V Patwardhan, an interpretation following the Balapriya on the Locana on Dhy, and of Dr K. Krishnamoorthy (=KK) In our view Dr Krishnamoorthy's interpretation is entirely off the mark and unacceptable When Dr K Krishnamoorthy observes (pp 21) "Bharata is not talking of sahrdaya at the commencement of his seventh chapter but of bhava in drama This context should not be observed" (pp 21), he seems to be under Dr KC Pandey's age-old observations Actually, we fail to understand and therefore categorically reject the very idea that a great dramaturgist of the stature of Bharata can ever divorce the spectator's response from that of the total consideration of dramatic art We, therefore, support Mammata when he uses such terminology as-nartake'pi pratiyamanah, connecting Bhatta Lollata with the Samajika also, for no expert on dramaturgy can ever leave behind exclusively the spectator's response For us, the first half of the verse would mean "the (sthay-bhava) of the theme ie Kavya-vastu, which is hrdaya-samvadi i e having internal harmony, or sympathetic identification is the cause of rasa " This is a very simple and clear

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Vol XXII, 1998 REVIEW 221 explanation We agree with Dr Kulkarni when he observes, "A close look at the verse would reveal that its first half is concerned with the rasa-nuspatti whereas the second half with its enjoyment by a sahrdaya" Then, while explaining the Sthayibhava (p 21), Dr Kulkarni quotes a verse, viz "bahunam samavetanam" etc, and suggests that Abhinavgupta quotes it in his Locana, the verse seems to be a genuine one We agree with this Dr Kulkarni has given the page number (p 386) of the B P Edn which he has consulted But we wish that everywhere he has quoted from Locana, he should have given the direct reference also, such as "Locana on Dhv - udyota number Karika number" The b' part of this verse can be explained as "Sa sthayi (bhavah) rasah mantavyah, s'esah (bhavah) Sancarino matah"-meaning--"that sthayibhava quich is delineated in major portion of a given composition leads to the principal rasa, the rest to subordinate rasas" Actually Abhinavagupta, does the same as seen in the text quoted by Dr V M Kulkarni on pp 21, and the translation that follows Dr Kulkarni observes ( p 23)--"From these passages it would seem that according to Abhinavgupta, vasanas or samskaras are the same as sthayibhavas " We may further explain that vasanas or samskaras are for Abhinavgupta the laukika sthayibhavas and they become alaukika when presented through the medium of art and attain to the state of rasa On pp 23, Dr Kulkarni goes to observe "After it is activated there takes place hrdaya-samvada (sympathetic response) Our feeling is that first step is hrdaya. samvada or sympathetic identification on the part of the samajika ie his mind should rest in the Kavya-vastu, and then follows the rest For this quality, hrdaya-samvada-18 absence of disbelief on the part of the samajika, and if disbelief continues it leads to the first of the seven faults concerning rasaexperience, viz Sambhavana-virahah Or, perhaps it is both absence of disbelief and incapacity to feel a particular bhava, which both make for hrdaya-samvada, Abhinavgupta in his commentary on the S'anta-rasa goes to observe that--"na sarvasya sarvatra hrdaya-samvadah " This point is open to debate Dr Kulkarni ( p 24) correctly observes that the Vyabhicari-bhavas, can attain the status of a Sthayibhava We may refer to the reading accepted by Masson and Patwardhan in their presentation of the portion of the A bh (=Abhinavabharati) on the s'antarasa in their excellent work on the S'antarasa The author observes that, "There is, however, no such suggestion from

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222 TAPASVI NANDI SAMBODHI Bharata's text that a Vyabhucaribhava can become a sthayibhava, though A accepts this Dr Kulkarni also quotes Abhinavagupta's contradictory opinion that "A Sthayin can become a vyabhicarin but a vyabhicarin can never become a sthayin" We may say that when Bharata enumerates 'Jugupsa' as a vyabhucarin in case of Srngara, he in a way rubs off the difference between the sthayin and the vyabhicarin Perhaps this Bharata accepts as a one-way-affair The Sthayin can be a vyabhicarin and not vice-versa but Abhinavagupta perhaps extended this observation So when Abhinavagupta (p 25, ftn 14-(11) denies the status of Sthaytta to Vyabhicarins, he has Bharatas partial acceptance in his mind He himself is clear in both-way traffic Dr Kulkarni nicely observes that (p 25) the new or additional vyabhicarins mentioned by Bharata are only synonyms He, however, is ill at ease with himself when he observes, (p 25) that 'No satisfactory answer is so far, found to this baffling question' viz that how could Bharata include some insentient (jada, acetana) and external (bahya) states in the list of sentient and internal vyabhicarins? We may think that when Bharata talks of nudra, marana, alasya, vyadhi etc he means the respective mental states that lead to these physical expressions This can be an easy and acceptable solution Similarly, when Bharata mentions frama, cinta and alasya as the vibhavas of nidra, a vyabhicarin, the reference could be to the mental states caused by these Again, when Bharata lists some of them as anubhavas, obviously he seems to refer to the angika-abhinaya-external expression that goes with them This is how wel can support Bharata-Sthutasya samarthanam' I Dr Kulkarni (p 26) considers closely the nature of sattvikabhavas We may note that in all the references citied, 'sattva' stands for absolute mental concentration, or singleminded devotion to one's work by the artist Thus for Abhinavagupta 'bhava' stands for citta-vrtti-vis'esa, 1 e a special state of mind These mental states depending on propnety and context, take the form of sthayt, vyabhicari, or vibhava or anubhava The vibhavas and anubhavas being external and insentient are not 'bhava' proper, but sthayt-vyabhicart and sattvika bag the honour of being called bhava' proper Dr Kulkarni discusses 'Dual nature of Sattvika-bhava' in the next article He points out that for Bharata the categones of bhavas are not unalternately fixed The author feels that the treatment given to the thirty-three vyabhicarins in the seventh chapter puts them on par with the Sthayins We may note that in the bhavadhyaya, Bharata tries to explain how various vyabhicarins were to be

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Vol XXII, 1998 REVIEW 223 presented through acting This perhaps does not put them on par with the Sthayins The author also suggests how the Sattvikas are treated as vyabhicarins (pp 29 ft n 2) But we may suggest that the sattvikas when they are mentioned as vyabhicarins stand for the mental states behind them They need not be taken as physical 'stambha, 'Vaivarnya' etc Perhaps we have to understand a metaphorical sense here Even Dr Kulkarni (p 30) himself feels that (line 15) "These sattvikas are used here in the sense of internal feelings which have not manifested themselves externally" p 30, ft 3,4,5 They are to be taken this way only without getting confused or scarred about it Or, could it be that when Bharata calls these sattvikas as vyabhicarins, he wants to convey that even the sattvikas are not absolutely or unalternatively fixed with suggestion of this or that basic emotion On p 31, ftn 10, Dr Kulkarni refers to Dr Raghavan's remark He seems to place all Sattvika-bhavas on par with anubhavas and therefore takes them as jada, -not bhavas proper following Abhinavagupta's observation But when Dr Raghavan (ft n 9, p 31) tries to seek support from Abhinavagupta's remark, he overlooks the fact that all sattvikas are not equally 'yada' or external but that they have a dual nature and we feel that even when insensient sattvikas like 'baspa' tears etc, are considered, Abhinavagupta calls them jada only from external point of view Virtually they stand for the mental states that accompany them from behind Thus, p 31, ft n 7 explains how sattvikas take advantage of, or are partly dependent on the nature of vyabhicarin and abhinayas As they partake of the nature of vyabhicarins, ie as the sattvikas are basically 'a-zada' they are to be separated from mere external acting 1 e abhinaya. It is because of this that, Abhinavagupta declares, as quoted by Dr Kulkarni on p 32, that-tasmat sthayivyabhicarin-sattvika eva bhavah (also on pp 42) Dr V M Kulkarni goes on to discuss how Hemacandra explains this point (p 33) He observes (p 34), that the sattvikas such as 'stambha' etc first suggest the physical attributes and are therefore called anubhavas, but ultimately they stand for the mental states like love etc This is exactly our observation seen earlier in this review The authour observes that the sattvikas (p 34) have no trace of independence even like vyabhicarins The meaning is that we may have a vyabhicari-dhvani but never a sattvika-dhvani The authour also explains how Dhananjaya accepts the dual nature of sattvikas (p 34, 35) Dr Kulkarni refers to Dr Raghavan's understanding about 'sattva' on pp 35 We do not feel that Dr Raghavan places all this in its correct form Dr V M Kulkarni then explains how Vis'vanatha, S'aradatanaya and others understand sattvika-bhava

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224 TAPASVI NANDI SAMBODHI Dr Kulkarni (p 36, para-2) puts forth the views of Abhinavagupta, Hemacandra ( H C) and Kumaraswamin clearly These tally with our observations earlier that external manifestations like 'stambha' etc suggest ultimately the internal states Dr Kulkarni gives in detail the views of Kumaraswamin, Rasatarangini, Rasa-ratna-pradipika, Rasapradipa, Masson and Patwardhan (pp 36, 37) etc We do not agree with the view of Masson/ Patwardhan ( 38) but stick to our explanation as above Dr Kulkarni gives the view as given in the Marathi work-Bharatiya Natyas'sastra ( p38) He feels that the explanation is ingenious but not convincing We accept this and refer to our understanding as discussed above We may add that the Rasagangadhara has not taken sattvikabhavas as independent categories Whue discussing "Hemacandra on Sattvikabhavas" Dr V M Kulkarni ( p41) observes that, 'a careful look at Bharata's treatment of Karuna, vira, and adbhuta would show that Bharata gives some of the sattvika-bhavas as anubhavas and some others as vyabhicarins This treatment implies that according to Bharata they partake of both characters,--they are both vyabhicaribhavas and anubhavas" We have explained our understanding very clearly as it tallies with this Our impression is that on P 42 there is some repetition of ideas and expression, but this, we feel is unavoidable as Hemacandra follows Bharata and almost paraphrases Abhinavagupta Dr Kulkarni has quoted Hemacandra (p 43) as translated by M Patwardhana, Hemacandra has given excellent illustrations, and (p 44) has note which again confirms our clear and correct understanding as to the nature of sattvikabhavas "The final position is this--the external sattvikabhavas such as stupefaction, etc are physical attributes and they operate as anubhavas suggesting the corresponding) internal sattvikabhavas and in reality they (ultimately) suggest emotions, psychic states, such as love, world-weariness, etc" (ft n 11, p 44) on pp 45, Dr Kulkarni says that Kumaraswamin holds that it was Hemacandra who alone has original thinking on this topic It is possible that by the time of Kumaraswamin the A bh on NS VII was not available tull it was reconstructed by my worthy guru Dr Kulkarni with the help of Hemacandra The next topic taken up by Dr Kulkarni is "Rasa-Laukika" He has tried to explain this tradition from Bharata onwards The author suggests that we come across a few indications in Bharata's wnting which lead one to infer that he believed that it is nearly the sthayibhava of the world that is called rasa, when

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REVIEW Vol XXII, 1998 imitated or represented on the stage, and that some rasas are pleasurable and some others sorrowful (p 47) We beg to differ In the NS-I when the demons rise against the performance, Brahman explains that local bhavas are not to be confused with dramatic emotions Art is not life It is life plus something It is above life It is 'ananda', which is above worldly happiness and unhappiness This suggests Bharata's concept of dramatic art The expression (pp 48) "sthayyeva tu raso bhavet" (or rasibhavet) as quoted by Dr Kulkarni clearly suggests that it is the sthayin presented through the medium of art, that is the real stuff of which drama is made of There can be no other explanation As to the terms such as "sthayi-prabhavah" and "sthayyatmakah", the real difference is (p 48) that srngara and karuna in loka produce different responses in different people at worldly level as the case may be, but as for hasya and or other rasas the general response of all concerned is identical, whether in everyday life or art Therefore they are "sthayyatmaka" as against "sthayi-prabhava" On p 49, Dr Kulkarni explains Sankuka's position We may add that the expression 'vastu-saundarya-bala' also supports this on p 50-51 the views of Siddhicandra are quoted For us Siddhicandra was partly under Jagannatha's influence and partly had a confused view when he discards some rasas totally We feel like totally discarding such confused wnters who have a tendency to create problems rather than to solve them He does not deserve mentioning along with A., Abhinavagupta and Jagannatha 225 Next topics discussed by Dr Kulkarni is "Rasa-Alaukika" The presentation 1 neat and thorough as can be expected of him He has quoted pointedly fron Abhinavagupta and Locana. No scholar-including Dr Raghavan and Dr K. Krishnamoorthy-has presented this thesis so thoroughly and so clearly He has pointed out that Abhinavagupta (p. 65) has used the term 'a-laukika' in different shades He has ably concluded (p 67) that both Abhinavagupta and A are 'autonomists' in a wider sense of the term We fully accept this conclusion Actually we are of the firm opinion that nobody in the westphilosopher or a literary critic-has scaled the heights reached by Abhinavagupta and A Actually they have stood higher-atyatisthadas'angulam-as compared to any known great writer in either East or West The next article-Rasa and its pleasurable Nature' follows as a natural corollary from the earlier article We agree with Dr Kulkarni's conclusions As to the next article (p 80-89)-"Rasa and its Aaraya" we generally agree with Dr Kulkarni's observations, but as to Bharata's position we beg to differ

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226 TAPASVI NANDI SAMBODHI slightly We do not subscribe to Dr Kulkarni's conclusion that-Bharata held the view that permanent emotions are themselves rasas and that they are found in the drama In other words, according to Bharata's view, it is in the drama itself that rasa is located" We should be very clear about the fact that when Bharata says "abhivyanjitan vaganga-sattvopetan, sthayibhavan asvadayanti sumanasah he clearly accepts that sthayins suggested through art-medium are not laukika and that they are tasted by spectators mentally not as external sweets (modaka), but as emotions located in their own consciousness We have to interpret Bharata consistently at all places and we can do this with the help of Abhinavagupta alone As for Sankuka's position ( p82) our understanding is very clear that when Sankuka talks of "ramadi-anukarya', he means the historical Rama as is accepted by Dr Kulkarni himself when he explains the position of Locana (p 82, last para) in the words " who is removed both in space and time from the spectators" Surely, we cannot take say, "Raman-lall as a historical figure as in case of Rama, if a poet takes Raman-lal as his hero So, both the positions are acceptable-VIZ that Rama or any character, can be a historical figure or poet's creation But in either case as anukarya they are worldly Again, for Sankuka, anukrta sthayin is rasa and we have a feeling that if we give weightage to the expression 'vastusaundaryabala'--we can locate rasa in the Samajika as it is he who 'infers' rasa "Anukrita-anumita-sthayi is rasa Actually this anumiti-parampara differs from vyanjana-dhvani-parampara in name only because Mahima as shown by Dr Kulkarni in a later article does not equate kavyanumitt' with 'tarkanumiti' and the quarrel is then in name only As to the niew of Natyadarpana N D we cannot accept the same, for they display partial understanding of art-expenence as compared to the great Abhinavagupta and A. As to Bhoja's view, for the present we rely on Dr Raghavan's explanations, but our understanding is that some scholar will have to take a fresh close and independent view of Bhoja's position in future Similarly a comparative study of the N D and A. bh also awaits further investigation As to the last article on Mahima, we feel that Dr Kulkarni should have looked into the Hindi Edn of Dr Rewaprasad Dwivedi also On p 48 Dr Kulkarni is indecisive as to between Bhoja and Mahima who is echoing whom Our instinct says that Mahima represents the onginal source and as compared to Bhoja he was a writer of greater calibre and originality Dr Kulkarni calls Mahima to be 'a natyayka' (p 98) We fail to support this We also do not accept that Bhatta

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Vol XXII, 1998 REVIEW 227 Nayaka was a samkhya philosopher Hemacandra, though a Jain does not become a 'pratyabhijna-vadin' because he follows Abhinavagupta's lead Similarly, Mahima need not be a naiyayika simply because in the field of aesthetics he advocates "kavyanumiti' Again we do not choose to jump to the conclusion that Mahima did not see Abhinavagupta or that A does not refer to 'citra-turaga' ( p 101) which is Mammata's creation No, Abh also talks of gauh' painted through 'sinduradi' and from 'gauh' to 'turaga' we do not have to travel miles As to Bhatta Nayaka's view ( p103) on aesthetic experience in poetry we accept it but add that even Abhinavagupta seems to accept that bhavana in poetry takes place through 'guna' and 'alamkara' as revealed by his explanation of 'lalitocita-sannivesa-Caru' on Dhy I 1 We feel that full passages could have been quoted in it notes Dr Kulkarni deserves all praise for his presentation We repeat our earlier observation that it is Dr V M Kulkarni alone who for the first time, has presented in a coherent and critical way all the observations of Abhinavagupta spread on the vast canvas of his Abh and Locana, concerning art-expenence For us, he seems to be as great as Jagannatha of the Rasa-gangadhara fame We welcome this valuable work of Dr V M Kulkarni Tapasvi Nandi AMARACANDRAYATI'S KAVYAKALPALATAVRTTIH (KKLV) (With two commentaries - PARIMALA and MAKARANDA) Edited by Dr RS Betai, Published by L D Institute of Indology (L D Series - 117) Ahmedabad - 380 009, First Edition July 1997, pp total 413, Introduction - 1-24, KKLV 3-232, Parsistam -1- PARIMALA (auto commentary) 1 to 146, Parisistam - II, 147 to 156 Price - Rs 225/The present work belongs to 13th century A. D, during Vastupala's times-one of the great ages of Gujarat The Sanskrit poetics has its practical aspectkalapaksa-also in poetic term it is called 'kavisiksa' Most of the works of kavisiksa are written in Gujarat and most of the authors there of were the Jain monks As we come to know from Introduction, KKLV has a double authorship, ie of Arisimha and Amaracandra, though being a homeholder was the kalaguru of Amaracandra Amaracandrayati was from Vayata Gaccha (Guy Vayada Gaccha) and a disciple of Jinadattasun Traditionally, the present work is known only by the name of Amaracandrayati

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228 PARUL K MANKAD SAMBODHI His 'Parimala'-though a great auto-commentary has partly come to the light There, in the Stabakas 2-3 (104 karikas)--we find the comments only on sutras 173 and 174, in 24 - The comments on 8 karikas vig - 12, 13, 14, 21, 31,34, 4 1-47 Amaracandrayati is said to have written another auto-commentary called Manjari, but unfortunately it is lost to us Dr Betai has taken great pains in editing and in giving in his notes a critical and comparative estimate about 'Parimala', 'Makaranda', and other works of kavusiksa He has given a brief account about the work and has succeeded in it to some extent There are a few mistakes of proof reading, for intance the word "karika" (printed as karila on p 9-10) The comparison reveals the detailed study of the Sanskrit Poetics on the part of the editor But it is rather strange why Dr Betai fails to mention the Alamkaracintamani of Ajitasenacarya (from Digambara sect-A. D 15th) while companng KKLV with other works of the kind It may be noted that this work has been greatly influenced by Amaracandra's work; eg vide the Varnyavisayah of Mahakavya both in the Alamkaracintamani, pp 6-15 and in the KKLV 1-5 45-78) This work is divided into four broad groups known as Pratana (=chapters) and they are subdivided into stabakas (1) Chandasiddhi- pratana has five stabakas-Anustupasasanam, Chando'bhyasa, Samanyasabda, Vada and Varnyasthith (113 karkas) (2) Sabdasiddha-pratana has four stabakas (1) Rudhi-Yaugrkamisrakhyah (2) Yaugikanamamalakhyah (3) Anuprasakhyah and (4) Laksanikakhyh (206 karikas) [3] Slesasiddhipratana has (1) Vyutpadanam (2) Sarvavarnanam (3) Uddistavarnama (4) Adbhutavidhih and (5) Citraprapanchah--five stabakas (consists 189 karikas) [4] fourth and last Arthasiddhi-pratana-has seven stabakas-(1) Alankarabhyasah (2) Vrhyopasthith (3) Akararthopasthitih (4) Krtyarthopasthith (5) Prakirnakah (6) Samkhyasamkhyah and (7) Samasyakramah (consists....290 karikas) Naturally, without knowing Chanda, Slesa, Alamakaras of Sabda and Artha's a poet can never write his poetry, rather he should not Amaracandra has taught the would be poets as to how they may become famous, and attain the status of great poet (= Mahakav) First of all a poet must have wisdom (pratibha) Then, with the help of scholarship (vyutpatti) and training (abhyasa), gradually he can be a master in the field of poetry Dr Betai has narrated in detail about the Parimala commentary, scholarship of

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Vol XXII, 1998 REVIEW 229 Amaracanda and about the Makaranda commentary of Pt Subhavijayagani, who flourished in 1665 (VS) and was one of the disciples of famous Hiravijayasuri Subhavijaya seems to accept almost all the conclusions of 'Parimala' since he entertains a sense of great respect for Parimala commentary He prefers to be but brief and at the same time perfectly critical, in his comments, on certain passages of different stabakas of KKLV Thus, he has commented only on angabhangaslesa but on sakalakriyastabaka he states that it is simple hence not to be commented upon (sugamostiti na vyakhyatah) Subhavijaya was also a great scholar He follows the views of Mammata and Hemcandra So his commentary is more elaborate, more detailed and subtler After the Introduction the text of KKLV with Makaranda runs to 232 pages Dr Beta has given variants in footnotes for the text for the 'Makaranda' commentary and for the Parimala commentary He has edited this work with the help of so many Mss but unfortunately he has not given any detailed account or opinion of the Mss utilities by him Anyway, this edition has become much better than former by Hosang Shastris of Kashi. (1931 A. D) Parul K. Mankad MAHARANA KUMBHA AND HIS TIMES. Ram Vallabh Somani Publisher : Ramchandra Agrawal, Jaipur Publishing House, SMS Highway, Jaipur. pp. 344, Price : Rs. 450/In keeping with his tradition of writing, Shri Ram Vallabh Somani has embarked upon the topic of his interest and profound research in this publication His contents speak of the Early History from Pre and Proto history of Mewar through various eras and dynasties coming down to the end of the Sultanate period In the second phase of his Life History he comments upon the family relationships and other details Then he goes to describe his several battles with Malwa and Gujarat in a greater detail with facts and figures The chapter on Administration, deals with several aspects such as religious taxes, market taxes and other regular procedures More stress seems to have been laid on two important chapters namely Literature and Art which describe his views on Jain literature and on Acharya Som Sundar Suri (1457-1499) the well-known Yuga Pradhan of the Tapagaccha congregation in the Soma Saubhagya Kavya, composed by Pratistha, Som gives

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230 SHRIDHAR ANDHARE SAMBODHI a vivid account of the Muni's life in detail The author has given a very detailed information of his works with relevant foot notes It is true that his contributions in literary pursuits are of renowned significance in this chapter a large number of MSS have been quoted with valuable information which was hitherto unknown Mention must be made of the detailed study on Sutradhara Mandana, enumerating his works like Prasada Mandana, Raja Vallabha Mandana, Rupa Mandana, Devata Murtt Prakarana, Vastu Mandana, which throw significant light on various aspects of iconography, sculpture and architecture His valued treatise on vocal and instrumental music called Sangita Raja stands second to none in substance and style on which several authors have researched in the past the other worthy contribution is the Rasikpriya commentary Gita Govinda by Jayadeva, which was translated and commented upon as a most significant event in literature during this period The author has dealt with this chapter in a much minute detail exploding the myth of the authorship of Sangita Raja and many such works which were erroneously attributed to Maharana Kumbha Sri Somani has categorically put up his views with adequate proof which will go a long way in correcting certain views for future generation The chapter on Art and Architecture revolves around the two main projects namely, the temple of Ranakpur and the building of the Kirtistambha Though other famous monuments such as the Jain temple of Shringar Chawki of Ca A D 1301, The Mahavira Jain temple of 1300 A. D and many others have also been dealt with In describing them he has given long lists of inscriptions and new names of Sresthus, Sutradharas and others which are new additions Subsequent chapters are on the socio-economic conditions and inscriptional evidences and readations of certain early concepts which have once again been quoted On the whole the work undertaken is of a comprehensive nature and painstaking Its importance as an excellent reference book cannot be denied I congratulate the author for his erudite endeavour Shridhar Andhare.

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Vol XXII, 1998 REVIEW 231 ARHAT PARSVA AND DHARNENDRA NEXUS-edited by M. A Dhaky, published by L. D. Institute of Indology, Ahmedabad and B. L Institute of Indology, Delhi. First edition 1997, Total Pages I to XIV and 1 to 148, plates 67, Price Rs. 600/Prof M A. Dhaky has edited the present volume The material presented is vast and truly encyclopaedic The volume embodies the papers read at the Seminar held at B L Institute of Indology, on Arhat Parsva and Dharnendra Nexus The papers discuss Parsva's history, teachings, doctrines and monastic discipline of hus sect and the plausible factors behind the connection of Dharanendra with Parsva have been investigated Moreover, the surveys of the epigraphical as well as scriptural material related to Jina Parsva have been included There are in total fourteen research papers out of which two are in Hindi The details of some of the papers are as follows In an introductory estimation of Arhat Parsva and Dharanendra Nexus, the sources which include the details of Jinas including Parsva as reflected in the Northern and Southern Nirgrantha tradition are narrated Information about Parsva--his birth, parents, height complexion etc, is given along with the other details of his sect In the teachings of Arhat Parsva and the distinctness of his sect, inscriptional and literary evidence of Arhat Parsva and Jina Vardhamana Mahavira is given Philosophical and ethical views of Arhat Parsva have been descnbed The teachings of Parsva in Isibhastyama text compiled in circa 1st century BC has been explained with due reasons It contains discussion about the nature and different planes of the world [loka), the meaning and different forms of motion (gati) and Karma philosophy The essence of the doctrines and ethical teachings of Parsva as embodied and exposited in Isibhasiyalm has been summarized Moreover, the teachings of Parsva presented in the Sutrakrtanga, the Uttaradhyayana, and the Vyakhyaprajnapti, have been elaborated The facts about Parsva, as noted in the Paryusana-Kalpa, like the dates and names of five Kalyanakas, names of his eight Ganadharas and the number of his disciples etc, are mentioned in the Jaina canonical literature "Arhat Parsva with Dharanendra in hymnic Literature" gives the historical background of the hymnic Literature which includes the time, language and composers of the hymns About 25 citations from the different hymns With details have been presented

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SAMBODHI There are three papers regarding the images and temples of Parsva in central India [Madhyapradesha and Bundelkhand of Uttar Pradesh], Orissa, Bengal and in Ellora caves The detailed narration of the five images of Gupta and post Gupta period, five images of Pratihara penod have been given Moreover, description of about sixteen images of four territories of Central India is also included The study shows that the art of the Mathura tradition was also followed in Central India 232 VARSHA G JANI Regarding twenty six images of Orissa and twenty four images of Bengal certain common characteristic positions have been discussed along with Iconographic traits The description of thirty one figures of Parsvanatha of Ellora caves numbering 30 to 34 is given, in view of the Nirgrantha Iconography In two papers of "Jina Pariva and his Temples in Inscriptions Southern India" five Kannada inscriptions have been described in detail It shows that Jainism never became a popular religion in the Andhra Pradesh among the local Andharas Jainism did not fare any better in Kerala also. Moreover, information of about ten inscriptions in Kannada and Sanskrit from Karnataka reveals that the worship of Parsvanatha is attested to in all ages after Jainism had secured a firm foothold Two papers on the Tirthas of Parsvanatha in Rajasthan and Gujarat gives the details of fifteen Parsvanatha Tirthas of Rajasthan and eight Tirthas of Gujarat The facts about Gujarat Tirthas are available in the medieval and late medieval Svetambara literature The present work highlights all subjects of Indian history, culture, art, literature and Jaina Philosophy The papers also reveal anthropological as well as ontological interpretations of this special nexus The style of papers is scholarly and Sastriya It will serve as important research material from historical and cultural view points especially for researches in the field of Indian folk-tale The nch literary narrative and linguistic data of such work may be helpful for filling up gaps in our cultural history of the period around C A 1000 A. D Both, the editor and the publisher of the book deserve hearty congratulations for bringing out such a highly valuable and interesting work A humble request can be made to publish, if possible, new editions, in Hindi, to afford a wider publicity, and to motivate the researchers to undertake some related work in the subject Varsha G. Jani

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Vol XXII, 1998 REVIEW 233 The BRHAT-KALPA-NIRYUKTI of Bhadrabahu and the BRHAT-KALPABHASYA of Sanghadasa Gani, edited by Prof. Willem B. Bollee in Romanized and metrically revised version, with notes from related texts and a selective Glossary Published, in three parts, by Franz Steiner Verlag, Stuttgart (West Germany), Part I, pp xxiv + 411, Part II, pp XXXIV + 421, Part III, pp VI + 315 In his Preface, Prof Bollee recalls that when in Bhavnagar in 1972, he was lucky enough to obtain through the publishers, Sri Atmanand Jain Sabha, from their special reserve, a copy of the six-volume Brhatkalpasutra the work being long out of print by then This is, he thinks, probably the most valuable and well-known among the many texts edited by the scholarly sadhus Caturvijaya and Punyavijaya In his very brief Introduction, he has made the following observations (1) The old Kalpa-sutra as opposed to the Paryusana-Kalpa, which is worshipped and recited on six days at the annual religious festival of the Svetambara Jains in the middle of the four-month monsoon period, belongs to the large body of the Cheda-sutras, the Jain counterpart of the Buddhist Vinaya Also known as Vedakalpa, but better known as Brhat- (sadhu-) kalpa, it is the fifth and main section of the canonical disciplinary literature of the Jaina, the collection of precepts and prohibitions Duly observed they effect the fulfilment of right conduct (kalpa) (2) Th Jains in many respects have stricter rules than eg the Buddhists, the type of literature in question is considerable, but not only canonical, as shown by the Nisitha., Mahanisitha-, Vyavahara-, Dasasrutaskandha- and Pamcakalpasutras, but also exegetical like Niryukti, (Brhac-)curni, (Brhad-)bhasya, Tika, Vrtty, etc The greater part of both groups still waits to be published and of some texts like Pamcakalpasutra and its Curni only the name is known (3) In the 1930's, the two learned monks, Caturvijaya and his pupil Punyavijaya produced the six-volume edition of the Brhatkalpasutra with Bhadrabahu's Niryukti (1st cent CE), Samghadasas Bhasya (6th cent CE ?) and the Vrtti or Tika begun by Malayagini in the 12th cent, and continued from vs 608-3678 by Ksemakirti (4) The niryuktus, as is well-known, may have been composed as memory aids for monastic teachers, and for that very reason they ere metrical Following the expansion of topics to be treated the stanzas from Brhadbhasya or Mulabhasya

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234 NM KANSARA SAMBODHI or Mahabhasya were added Thus, Bhadrabahu's small original swelled to nearly seven thousand (7,000) aryas These additions are often quotations from the Avasyaka-niryukti and Oha-riryukti, while the Nisithabhasya and the Visesavasyakabhasya cite the Brhatkalpa-bhasya (5) The printed text of the Nisithabhasya has many vanants, often insignificant ones, and on the whole the tradition is less good one than that of the Brhatkalpabhasya The Ta-srtis and n/n have as a rule not been considered in his critical apparatus Much of what K R Chandra remarked of the Mss in the Prakrit Text Society's edition of the Paumacarlya holds good for our texts as well Larger groups of the BKBh stanzas borrowed by NisBh (6) Often the additions are not without interest when, for instance, they contain keywords of parables (udaharana) which latter exegetical prose texts, like curni, tika, etc, elaborate One of these, the Nisitha-curni was taken up by the late Madhu Sen, as the subject of her doctoral thesis, titled A Cultural Study of the Nisitha Curni, and became an informative book which Bollee has often quoted in his selective glossary appearing in the third volume of this BKBH edition (7) The only other scholar known to have extensively used the BKBh was the late Jagdishchandra Jain for his Life in Ancient India as Depicted in the Jaina Canon and Commentaries, the disadvantage of this otherwise very valuable study being that its learned author rarely distinguishes between the niryukti, bhasya, curni, and vrtti, thus disregarding the great difference in time between the various strata of the tradition (8) If the text is metrical, the metre in question is usually signalled, since this may prove essential for the correctness of the text, whereas prose texts tend to be too detailed and circumstantial Here, Prof Bollee has suggested various ways of dealing with bulky Indian scriptural traditions of the kind, treated by the two scholars mentioned above (1) One can make a systematic inventory of the contents and turn it into a cultural study as Madhu Sen did (u) One can choose a portion of the text which is related, edit, translate and comment on it with the help of the tika, etc as Adelheld did with the Pind'esana (w) The entire text can be brought out as a basis for further study, with a

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Vol XXII, 1998 REVIEW 235 complete glossary, as Bollee did with the Pinda-niryukti and the Oha-niryukti, or with an ample selection of important words, as he himself did in the case of small Nijuktis on the earlier canonical texts The BKBh being still verginal territory so far, he has once more opted for this third approach to start work on it Prof Bollee has further pointed out that glossanes of this kind may, on the one hand, serve as an index rerum and a complement to the table of contents, on the other, they can provide the new Dictionary of the Prakrit Languages appearing in Pune and the supplements of Turner's Comparative Dictionary of the Indo-aryan Languages with new words, wordforms and references, and thus may indirectly also be useful for the etymological references in dictionaries of modern Indian languages In the case of the text, although Prof Bollee has taken it to serve mainly as a reference, it was metrically checked and a number of emendations were made, but minor variants like ve u/o, n/n, ya- and ta-sruti have not been considered Further, various parallels were added from other texts which happened to have at least pratika-indices, viz Nisitha-bhasya, Nuryukti-samgraha, Visesavasyaka-bhasya, and Pravacana-saroddhara. Now, as regards the contents of Bollee's Edition Part One contains Preface, Abbreviations, Summary of the contents of the BKBh vols 1-3 and translation of the Kappasutta 1, Introduction, Volume one (Vss 1-806), Volume two (Vss 807-2124), Volume Three (Vss 2125-3289), Corrections on Material for an Edition and Study of the Punda- and Oha- Nijjuttis of the Svetambara Jain Tradition, Vol II Stuttgart 1994, Corrections on The Nijuttis on the Seniors of the Svetambara Siddhanta Stuttgart 1995, Appendix, Elfrun Linke's Glossary of Schubring's Doctrine of the Jainas Part two contains Preface, Summary of the contents of the BKBh vols 4-6 and translation of the Kappasutta 2-6, Volume four (Vss 3290-4876), Volume five (Vss 4877-6059), Volume six (Vss 6060-6490), Corrections on Materials for an Editions and Study of the Pinda- and Oha-Nujjuttis, vol II stuttgart 1994 Part three contains Preface, Abbreviations, Glossary of Selected Works, Remarkable Sanskrit words from the commentary, Bibliography, Index renum (vss) Additions and Corrections to the Glossary, and Additions to the Remarkable Sanskrit words from the Commentary

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236 NM KANSARA SAMBODHI A cursory look at the list of the contents would testify to the fact that Prof Bollee has taken all possible precaution and care to see to it that this latest of his literary research product gets born in the best possible beauteous form One would feel that this work should be transliterated back into Devanagari in order that his labours are made known to the notable Jains in India, so that they may realize how much trouble a veteran Western scholar has taken Anyway, Prof Bollee deserves our profuse heartfelt congratulations for the excellent work he has presented to the academic world NMK NYAYASANGRAHA (With Hindi Trand Explanation) by Muni Nandighosh Vijay Publ Kalikala-sarvajna Srihemacandracarya Samkskara Siksana Nidhi, Ahmedabad, 1997, PP 52+416 Rs 250/The sutras of the Nyayasamgraha and other Paribhasa-samgrahas perform three types of functions (1) They help in explaining or elucidating the meaning of the sutras (2) When two sutras seem to apply in a particular case simultaneously, they help in deciding which should take precedence over the other of the two (3) They help in formulating the acceptable usage and eliminating the unacceptable one The author is a Jaina Muni, and a disciple of Acarya Sri Vijaya-suryodaya-suri The present work endeavors to explain in Hindi all the Nyayas, ie the Paribhasas, utilized in the Siddha-haima-sabdanusasana of Hemacandra, and listed together in the fourth Pada of the Seventh Adhyaya of his work The excellence of Muni Nandighosavijaya les not only in fulfilling successfully his commendable mission of translating and elaborating the original Sanskrit Sutras in lucid Hindi, but also in his learned Introduction, entitled "Nyayasamgraha . Eka Adhyayana' in Hindi, in which he has discussed the following 21 topics the need for the science of grammar, the origin and development of Parbhasa through Panini, Vyadi and Katyayana, Hemacandra, his life and learned scholarship, Siddha-harma-sabdanusasana and the Haimaparibhasa-vrttis, the structural system of the Nyayasamgraha, the author, the definition of the terms 'nyaya' and 'panbhasa', the necessity of Paribhasa/ Nyaya, the order of the Sutras of Paribhsa/Nyayas, the Nyasa on the Nyayarthamanjusa-brhad-vrtti, the sources of Paribhasa/Nyayas, the definitions of Nityatva and Anutyatva, the nature of the Anubandhas, the nature and determination of Karyi, the nature and determination of Nimitta, the maxim of Bala and A-bala, the supriority of Apavada-vidhi, the application of the Paribhasas, and its restrictions, the commentaries of Paribhasa or the text of the Paribhasas in

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Vol XXII, 1998 REVIEW 237 different systems of grammar, the Paribhasa-sucana of Vyadi, the Paribhasas of Sakatayana and of Hemacandra, the Paribhasas of Hemacandra and Jainendra and the concluding remarks The style of the work is quite lucid and simple, but from the variety of his style affords ample proof of his deep scholarship Thus, to convey the sense of the words inapaka' indicator) and fanityata'impermanence), he has utilized a variety of synonyms, to make the subject interesting and entertaining Thus, for conveying the sense of anitya and anityata he has used the words, sthirata, asthestva, anaikantikatva, vyabhicari, savyabhicara While Hemacandra composed, apart from his magnum opus SHSS, his own auxiliary texts, viz , the Dhatupatha, the Ganapatha, the Unadi-suta, and the Linganusasana, no work pertaining to his own Partbhasas has come from his own pen This gap was sought to be filled by Hemahamsa-gani by composing his Nyaya-samgraha Hemahamsa-gani composed his work, along with an elaborate commentary named Nyayartha-manjusa, on Friday, the 2nd day of the bright half of the Margasirsa month of the year 1515 of the Vikrama Era In this work the author has adopted the sutra style, and in it too he has arranged the aphorisms, under various adhikara and their meaning depends on the anuvrta, much in the manner of Panini While Panini in his Sanskrit grammar, the Astadhyayi had actually utilized certain text-crtical rules governing his aphonsms, Katyayana identified them as Paribhasa-sutras, and Patanjali explained and illustrated their use, their independent listing and explanation of the Paribhasas utilized by Panini in his was first attempted by Vyadi in his now no longer extant work called Samgraha We get information about the Paribhasas of ancient grammarians in the works of Siradeva, Kaiyata, and Haradatta Vyadi came a few centuries after Panini and a couple of them before the times of and Patanjali Moreover, we find some Paribhasas among the Vartikas of Katyayana, and most of them occur in Vyadi In the Paninian tradition, thus no notable work seems to have been done after Vyadi upto the twelfth century AD On the other hand, during this period the systems of Sakatayana, Candras and Kalapa developed their Paribhasa-pathas It is for the first time since then that we find a compact text portion of the Paribhasas in the sutras 18 to 135 in the second Pada of the First Adhyaya of Bojadeva's Sarasvatikanthbharana-vyakarana And, Hemacandra was inspired to compose his own independent Vyakarana, named Siddha-haimasabdanusasana (SHSS), from this work of Bhojadeva NMK.

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238 NM KANSARA SAMBODHI THE BHARATA-SAMHITA, IE., THE UR-MAHABHARATA (THE OLDEST EPIC OF THE WORLD), Vols I-II redacted by MMU Brahma Prof (Dr) Keshayram K Shastree (Bambhania), Gujarat Research Society, Ahmedabad, 1998, (Vol 1 pp xxy +1- 344, (Vol II) pp IV + 345-670, Rs 600/- (of both volumes to be sold together) More than a quarter and half century back Oldenberg, the veteran German scholar, opined that the Mahabhararta began its existence as a simple narrative, and became in course of centuries, the monstrous chaos, and that besides the main story there were veritable forests of small stones and besides, numberless and endless instructions about theology, philosophy, natural science, law, politics, practical and theological knowledge of life A poem full of deeply significant dreamings and surmisings, delicate poetry and school-masterly platitudes full of sparkling play, of oppressive and mutually jostling masses of images, of showers of arrows of endless battles, clash after clash of deathdespising heroes, of over-virtuous ideal men, of ravishing beautiful women, of ternble-tempered ascetics, of adventurous fabulous beings, of fantastic miracles - full of empty flood of words and wide, free peeps into the order of the course of the world This was the opinion of that learned scholar after reading carefully the vulgate edition of the Mahabharata (MBH) And, Dr VS Sukthankar too felt that the MBH was a veritable chaos, containing some good and much useless matter, and that it was a great pity that a fine heroic poem, which may evenm be found to contain precious gems of ancient Indian history, should have been thus ruined by its careless custodians And, it was under his pioneership that a skillful surgical operation in the form of Higher Criticism could still disentangle the submerged "epic core" from the adventitious matter in the form of the "interpolations" It is true that even after clearing off of the hundreds and thousands of interpolations in the Critical Edition of the BORI, Poona, we do not get a pure epic One cannot but agree with the opinions of Franz Bopp and Christan Lassen that in the MBH there are pieces belonging to very different periods and of very different colour and content A stnking attempt at reconstructing the onginal epic was made between 1883 and 1894 by the Scandinavian scholar Soren Sorenson Rejecting accordingly from the Vulgate text everything that appeared to him like an episode or a didactic digression, he obtained at first an edition of some 27,000 stanzas But even this extract, he thought, included materials belonging to different epochs

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Vol XXII, 1998 REVIEW 239 His second attenuation rendered the epic to a concentrated essence of some 7,000 or 8,000 stanzas, which seem to have satisfied his soul The attempt of Sorenson stood by itself for more than eight decades A couple of decades back the veteran Indian scholar from Gujarat, Professor Keshavram K Shastree of the B J Institute of Learning and Research, Ahmedabad, undertook the love's labour, though not to lose, of extracting the original core called "Jaya" and later on its amplified epic form "Bharata" He based his work purely on the internal evidence still preserved and profusely available even in the vulgates and in the Critical Edition, too It was very clear to him that there was a Bharata-samhita of 24,000 slokas in extent when the Anukramanika Parva came into existence The author of this sub-Parvan had the information of a tradition that there existed such a Samhita formerly and this was confirmed by the Asvalayana Grhyasutra (3 4 4) that mentions "Bharata" as also "Mahabharata" as two distinct works At the time of separation of both these recessions the MBH had nearly one hundred thousand slokas (MBH, 1 56 13), containing in it not only the eighteen Parvas but also the Harivamsa also Prof Shastree found the clue to discover the Bharata-samhita of 24,000 slokas from the list of contents in the slokas 37-39 of the 55th Adhyaya of the Adiparvan, from which it was felt that the poem ended with the victory of the Pandavas causing Duryodhana's death And, these conclusive slokas, viz, 7, 21. 22, of the 61st Adhyaya of the Salya-parvan were located by him Again, he found the statement about the entry of Yudhisthira in Hastinapura in the 14th sloka of the Asvamedhika-parvan, though the total victory should have had its end after the completion of the Asvamedha sacrifice (MBH, XIV,91) Further he found that the commencement of the Mahabharata was located at the beginning of the third Adhyaya of the Adl-parvan (MBH, I 3 1) Thus He, could infer that the real narration begins with the arrival of the Pandavas from the forest after the death of their father, and in the first instance, ends with the conclusion of the 91st Adhyaya of the Asvamedhika-parvan. One thing was quite clear that the MBH was full of didactic and mythical matter scattered here and there, under which the historical matter was lying hidden Then, again, the truly puzzling problem was of the superhuman characteristics of Krsna, and wherever such narration occurred they were found to be easily discernable, and their very absence being found to be much helpful

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240 NM KANSARA SAMBODHI in restoring the flow of the narration They were all, as found, inserted at later dates when both of them were established as supreme godheads during the Puranic penod When he found that some verses of First Adhyaya of the Bhagavadgita are found repeated in the 47th Adhyaya of the Bhisma-parvan with slight changes, where they were more suitable, he felt that the proper place for the BG was between the 42nd and the 43rd Adhyayas, and that the BG of 18 Adhyayas could not be included not only in the Bharata, but perhaps in the Mahabharata, too It might have been, according to his opinion, a purely independent metrical Upanisadic composition of repute a creation perhaps of some ancient date, comprising about a hundred verses only, and coming in existence during the composition the formulation of the Bharata, not earlier than perhaps between the 15th century BC and the 6th century BC And, the BG of the 700 hundred verses got inserted in the old text of the Mahabharata well before the time when as yet the Northern and the Southern recessions had not been separated as such As regards the Jaya Samhita of 8,800 verses, it was not unknown, as is clear from the verse specifically mentioning the number of verses that both Vyasa and Suka knew but perhaps Sanjaya did not Professor Shastree located them and published them as the Ur-Bharata, that is supposed to be composed as early as the time of the King Janamejaya, and later on Vaisampayana prepared a revised and enlarged version in the form of the Bharata, adding the prolonged dialogues between Sanjaya and the king Dhrtarastra, and expanding it to the extent of about 24,000 verses Thus, Professor Shastree richly deserves the congratulations from the comity of scholars and lovers of Indian culture for the incessant painstaking labors that he has undergone for years together in locating both the Jaya-samhita as well as the Bharata that were lying dormantly hidden in the vast encyclopedic Mahabharata, that was critically edited by the late Dr V S Sukhthankar and his most worthy followers and published from the Bhandarkar Oriental Research Institute, Pune NMK. SRIMAD-BHAGAVATA-MAHAPURANAM (SATVATA-SAMHITA) in Sanskrit, edited by Navnitpriya Jyeshtharam Shastri, Vidyanidhi Trust, Nadiad, V Sam 2054, PP, 22+ 728, non-priced The Bhagavata Purana has been presented afresh in the form of this edition by Shri Navanitpriya Shastri of Nadiad, who is one of the famous popular

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Vol XXII, 1998 REVIEW 241 expositers of the work for the lay public subscribing to the living Vaisnava way of religious faith as per the philosophical tenets of Shri Vallabhacarya and as per the rules of religious conduct as laid by his illustrious son Vitthlesa The speciality of this edition is that it follows the text-readings of the concerned Purana as adopted by Sri Vallabhacarya in his famous commentary, called Subodhini, which is held in high respect by all the suddhadvaita Vaisnavites Thus, from the text-critical viewpoint it is an excellent record of the text of the Purana as adopted by the famous Acarya In his Sanskrit Introduction, titled Prakasana-prasada-prakasa, he has discussed in the traditional way the Anubandhcatustaya, as also the specialty of the Purana from the viewpoint of a staunch Vallabhite Vaisnava It is thus a very useful work fulfilling the urgent needs of Vallabhite Vaisnavas in general and of the editors of the Bhagavata Purana who would find ready at hand mine of the readings of the text as followed by Vallabhacarya and adopted by him in his famous commentary called Subodhinijt with high respect His subtitle of the work, as he calls it Satvat-Samhita, is open to controversy, since there is quite a different work of that name and it is different from this Purana NMK ANANTANAHA JINA CARIYAM of Sri Nemicandra-suri, edited by Pt Rupendra Kumar Pagariya, (L D Series 119), L D Institute of Indology, Ahmedabad, 1998, pp 24 + 747, Rs 400/This Prakrit metrical work is a biographical epic based on the life of the 14th Jaina Tirthankara named Jina Anantanatha It has been edited and published for the first time by Pt Rupendra Kumar Pagariya from a single extant paper manuscript preserved in the Samvegi Upasrasya Jnana Bhandara in Ahmedabad Being a very old manuscript, some of the folios are too much dilapidated and worn out that the gaps are almost impossible to fill Over and above the mistakes, and a general tendency to confound va ba, cal va, ctha ccha, pa/e, e/pa, dda/tta, tth/ddha, w/o, etc, the scribe has at times written single consonants like kha, na, ma, tha, etc, in place of the conjunct ones like kkha, nna, mma ccha, ttha, etc He has at times failed to understand the padlmatra of the subsequent syllable as a part of the previous one Hence, the editor has preferred to keep the reading as it is in the manuscript, even though it was difficult to make out its meaning

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242 N M KANSARA In his Hindi Introduction, the editor has given an account of the manuscript he has utilized, the gist of the narrative in this epic, the details found in the Grantha Prasasti of the Ms, the authorship and his work, the sources of the epic, and a list of the details about twenty-seven incidents in the biography of Anantsanatha SAMBODHI The original Prakrit work is divided into four Prastavas, treating the events of his three previous lives, his birth, his marriage along with consecration as a king and his initiation, and his attainment of supreme wisdom and his sermons The work consists of 9610 Gathas, including the final six Sanskrit verses of author's Prasasti Published as the work is for the first time, it should invite the attention of scholars of Prakrit languages, and it should also attract the research students aspiring to find a suitable topic, to take it up for a very detailed linguistic, literary and cultural study of the work. The author of his work was Acarya Nemicandra-suni of the Vada-gaccha, and a disciple of the famous Acarya Amradeva-sun, the author of the Akhyanakamanikosa-vrtti From the Prasasti at the end of the work we come to know that he composed this work in the year V Sam 1497, which means he lived in the late half of the 15th and the first half of the 16th century of the Vikrama Era Pt Paganya has rendered great service to Indology by bringing to light this rare Praknt work, and for it he deserves our congratuations NMK. ACARAMGA PRATHAMNA SRUTA-SKANDHA PRATHAMA ADHYAYANA, edited by KR Chandra, Praknt Jain Vidya Vikas Fund, Ahmedabad, 1997, pp XXVIII + 327, Rs 150/ The First Adhyayana of the First Sruta-skandha of the Acaramga, is considered to be the earliest and oldest composition of the Jaina Ardhamagadhi Agamas It has been re-edited linguistically only The task undertaken by its editor Dr KR Chandra is a Herculean one as per the opinions of various scholars and particularly of the late Agama-prabhakara Muni Shri Punyavijayaji and Pt Bechardas Doshi It took the editor ten years of painstaking labor to prepare this edition as it was first of all very necessary to sort out the archaic wordforms of the original Ardhamagadhi from the published authentic editions of the important Agamic Ardhamagadhi texts and from the all available manuscripts It entailed the preparation of thousands of cards for recording the vanant readings, to be arranged alphabetically in order to ascertain the onginal

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Vol XXII, 1998 REVIEW 243 word-form By way of preparing the background of his researches, Dr Chandra had published three works to do the spadework The first one was about discovering the ancient archaic Ardhamagadhi language of the 5th century BC when Mahavira delivered his sermons in that language to the laity The next one was about the restoration of the onginal language of the Ardhamagadhi texts And the third one was the exploration of the ancient traits of the Ardhamagadhi language from the Prakrit Grammar of Hemacangra, and those of others The author knows well that right from the times of the 24th Tirthankara Mahavira, the emphasis has been on the contents of the sermons delivered by the great Arhat, than about the exact nature of the language, since the sermons were essentially oral, that it was the task of the direct principal disciples, known as Ganadharas, to reduce them to laconic aphoristic texts and preserve them in oral tradition, and that the texts thus preserved in oral traditions were sought to be reduced to written documents much later, from time to time centuries after the demise of Mahavira But, being a linguist by profession, the editor has taken up the uphill, and almost impossible, task of discovering the onginal nature of the language of the times of the great Tirthankara, and has been working on it with utmost missionary zeal in this he has obtained the commendations and encomiums from veteran scholars of Prakrt language and Jainism, like Prof A.M. Ghatage, Prof GV Tagare, Pt Nathmal Tatia Prof SR Banerjee, Shn J P Thaker, Shri M A Dhanky, Prof Sagarmal Jain and many others, since it is beyond controversy that the language in which Lord Mahavira taught his sermons was definitely archaic Ardhamagadhi It should be noted that the editor has gone about the task undertaken by him here very systematically First he has presented the concordance of the orthographic variants sutra-wise from the editions of the Mahavira Jain Vidyalay, the Agamodaya Samiti, the Jain Vishvabharati, the Silanka's commentary and from several earliest known manuscripts of the 13th, 14th, and 15th centuries Nest he has documented variation between writing the nasal consonant as a dot or homo-organic (para-sarvarna) nasal, between the n and n, between preservation, voicing or elision of the intervocalic stops or the stop-constituents of aspirate stops Dr Chandra has given, in the fourth section statistical information about

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SAMBODHI certain phonetic changes as seen in earlier and later word-forms, along with a complete alphabetical index of all the word-forms of the restored text, and has also presented in parralel columns, the restored text along with the corresponding texts according to the known earlier editions Thus, the present work by Dr Chandra succeeds in giving a glimpse of some phonological and morphological features of the original Agamic Ardhamagadhi, of which we find a later form in the Eastern Asokan inscriptions And the literary evidence based on comparative documentation and assessment of all available data substantiates it 244 N M KANSARA Dr Chandra has tackled one of the several aspects of the task of restoring the Agamic texts Other requisites for forming a sound, authentic and trustworthy idea of the original character of the Agamic texts and the historical changes they have undergone, are those of tracing and locating old words and meanings, expressions, phrases, verses, stylistic devices, themes, legends and tales that are specific and commonly shared by the early stratum of the Ardhamagadhi and the Pah canonical texts This is indeed a stupendous, rather Herculean, task of important research work that may be taken up by other veteran scholars and students of the Ardhamagadhi canon, for which Dr Chandra has taken for himself the role of a torch-bearer, and which should be undertaken with regard to the senior texts of the Jaina canon The importance and the stupendity of the undertaking can be realized when it is taken into account that Dr Chandra could cover only a uny fraction of the text of just one part of the one of the eleven Agamic texts Let us hope, inspite of his uneven health, he continues to inspire some of the like-minded scholars of Praknt languages and Jainology to take up the bid and continue his researches in the field with all the earnestness it fully deserves NMK JAINISM IN INDIA. TRAVEL NOTES AND PHOTOGRAPHS, by Nicole Tiffen, Introduction by Colette Caillat, English Translation by Patrick Andrews, Weber, Switzerland, 1987, pp 116, Price not mentioned This excellent volume comprising high-class photographs of the Jain temple of Palitana, Shankheshwar and Delaware, and Ranakpur is a rare feast for the eyes of a connoisseur of Jain art and architecture of Gujarat In he introductory article, entitled 'The Jain Community in India' Professor Colette Calliat of the University of Paris has surveyed the ongin of Jainism and

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Vol XXII, 1998 the Jain community nght from the days of the Upanisads, through the Great Epics, the Ramayana and the Mahabharata, and has remarked that although the Jain community is a tiny minority group consisting of about three million, their importance is not inconsiderable because of the part they in the activities of the Indian Republic She has given a brief picture of the way of their religious beliefs and practices, of the highly austere life-style of the Jain monks And, at the end she has noted that it is remarkable that one of the most famous Indians of the 20th century listened to, and diffused in his own way, the echoes of the message preached around the middle of the first millenium BC, to the faithful who were going to form the Jain Community, that very same community who, in 1974-75 solemnly celebrated the 2500th anniversary of Mahavir's Nirvana REVIEW 245 Just on the page facing the first one an outline map of some parts of Gujarat/ Rajasthan is given with the locations of the Mount Abu, Ranakpur, Udaipur, Ahmedabad, Cambay, Shatrunjaya, and Palitana, and a few other places The follows two photographs one of the nuns of the Shatrunjaya and the other of the pilgrims climbing up to the temples of Shatrunjaya by the 3,970 steps About forty-two color photographs are given in the section pertaining to Palitana, and each photograph is preceded by a brief write up by Nicole Tiffen Among these are the photographs of one of the many hitters used to help certain pilgrims to climb the hill, of the outer wall, the forecourt of the fortress, a group of pilgrims climbing the sacred hill at dawn, the great east gate, the Pujans, the tower of the temple of Chaumukh, a statue of the Tirthankara Adinatha, a Jain Brahman about to bless a delegation, pilgrims being blessed by the Jain Brahmin after they bowed before the statue of Adinatha, the donors from Rajasthan listening to an address, servants and pilgrims meditating inside the main temple, the Jains seated in the lotus position on the marble floor, one of the tutees (courtyards) between the 863 temples of Shatrunjaya, the ancient tree near the little temple of Rayana puja and the Tirthankara statue, a Jain passing through the courtyards of the temples of Chaumukh on Shatrunjaya, Jains ready for the morning ceremonies at the time of angi or the offering of flowers, a line of the faithful before the main statue of the Tirthankara Adinatha at the back of a rocky shnne, one of the entrances to the temple of Chaumukh (1618), the sacred hill of Shatrunjaya, a marble kiosk on the way where boiled water is served, a Jain family on way back from the temple to Palitana, the Jain Muni Abhaysagaraji, a famous guru of Palitana, a Shraman

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246 NM KANSARA SAMBODHI (great sage) a luminous ochre of dusk, the entrance of the Bahu temple. a statue of Mahavira the 24th Tirthankara with ears of diamonds and enthroned in the Bahu tetnple, the Samosaran temple in Palitana (1986), two flights of steps to the sanctuaries of Parsvanatha and Mahavira, part of the dome and the 108 "identities", Jain girls singing and dancing in honour of Tiffen's visit, young girls dancing and singing for the Tirthankaras, the Jain girls seated in front of the dresser with jars of boiled water, a poor woman waiting serene at the nursery, Ihansniji the Mother Supenor of the Palitana nuns, a ceremony of induction of a nun by the great Jain Brahmans and the gurus of Palitana, a novice nun turning in front of the little tabernacle containing the statue of the Tirthankara Adinatha, two nuns in the Palitana lodging house, the dressing of the bride, the first part of the wedding ceremony in which the future husband presents the bride with a ritual bouquet, and a mother blessing her daughter ties to her husband by a long cord Of Shankhesvar and Dilwara, eighteen photographs are included here They pertain to a young lady sitting beside the exquisitely carved pillars, a woman bnnging offerings of unusual shape and in strange materials like six pots mounted on one another with metal flags and the tower balanced on her head single-handedly, women clad in the most beautiful saris, the turban wearing bearers of the sacred carriage led by a Jain carrying a lion emblem of Mahavira, the sliver carnage with the statue of Mahavira and the Brahman in charge of the ceremony mounted on to it, the two temples of Dilwara, Vimala Vasahi and Tejahpala seen over the top of their outer wall on Mount Abu, preparations for one of the day's ceremonies in front of the sacred shrine, one of the parts of the 52 gateways of the temple of Tejahpala, the statue of a Tirthankara in a niche in one of the Tejahpala gateways, the wild rocks of Mount Abu seen across the courtyard of Tejahpala temple, inset carvings in the ceilings of the outer gallery of the sanctuary, details of the inset ceiling representing the tutelary goddesses of Adinatha, one of the many domes of the sanctuary of Adinatha dedicated also to the goddess Sarasvati, details of the domes of the mandapa (colonnaded hall) in Vimala Vasahi, the centre of the vast dome in the shape of a lotus flower of exceptional delicacy, another dome of Adinatha's sanctuary in the temple of Vimala vasahi with representations of dancers and tutelary goddesses, details of one of the four pillars surrounding Adinatha's temple, and one of the pillars of almost Gothic style surrounding the alcove of Adinatha

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Vol XXII, 1998 And, of the Ranakpur, nine photographs are given They depict the general view of the Adinatha temple of Ranakpur (14th century) in Rajasthan, the roof of Ranakpur sheltering several shrines making a total of 29 mandapas (colonnaded halls), the' Mukha-mandapa hall housing three four faces of Adinatha each one turned towards one of the four cardinal points, a miniature Jain house with little sculpture of the architect Depaka on the right, statue of Lord Parsvanatha the 23rd Tirthankara with his hood of cobras surrounding him with an intricate decoration of serpentine tracery and in company of his tutelary goddesses, the Parsvanatha portrayed in greenish-blue in the temple of Vasupujya, the statue of the Emperor Akbar set in one of the many pillars of the temple of Ranakpur, small statue of Rajput Emperor Kumbharana carved in one of the pillars when the temple of Ranakpur was built, a view taken from the roofs of Ranakpur looking down on the part of the temples with the 1,444 pillars REVIEW 247 And the last nine photographs are about the Jains' pilgnmage to Palitana They depict the a vast awning of red cotton accommodating about 2,000 pilgrims as they wait to go up at dawn to the fortress enclosing the Shatrunjaya temples, nuns equipped with their long staffs with the tip carved like a temple pinnacle which enables them to pray away from holy places, a view of the tops of the temples on the western side of the citadel of Shatrunjaya, some of the courtyards and roofs of the temples of Shatrunjaya built at the beginning of the 19th century, the three important temples of Shatrunjaya, viz,Sampriji, Nandivaradwipa and Kumarapala, a procession working its way into a secret cleft on one of the very wild unspoiled sides of the Palitana region, a meeting of a small group of Jain pilgnms in their traditional costumes, and a general view of Palitana, with the Agam Mandir in the foreground A very short bibliography is given at the end of the book NMK SAKUNTALA SAILISASTRIYA ABHYASA (Marathi) by Dr Vaman Keshav Lele, Inhas-Patnika Prakashan, Thane 400 602, 1997, pp 205, Rs 250/ Kalidasa has been eulogized as the foremost among almost all the poets in the field of ancient and medieval Sanskrit, Praknt, Apabhramsa and Paisacf poetic literature, and in spite of thousands of poets of that have come and gone during the last so many hundreds of years, he has been declared as but unique His literary output is limited to two epics, three dramas, and two lyncal poems Among his dramas, the Sakuntala has been estimated as the best one, so much

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248 NM KANSARA SAMBODHI so that the German poet Goethe is said to have placed it on his head and danced So far, no study of this work carried out from the point of view of stylistics has come to our notice Hence this attempt by Dr Lele The structure of the sakuntala is bilingual, the high-class characters like Dusyanta and others speak in the Sanskrit, while Sakuntala and others speak in the Prakrits According to the norms of stylistics, the evaluation of the structure and style should follow the language in which the text has been composed But since the author is not conversant with the Prakrits, he has depended on the Sanskrit rendering (chaya) of the Prakrit part of the text of the drama Western scholars have studied this drama in its English translation and based their conclusions on it Hence they may not be regarded as normative Now, the sakuntala is a drama, and as such it is meant to be witnessed as being enacted on a stage For this reason it has been categorized as a visualcum-audible literary piece In the case of the literary works like epics and lyncal poems, the reader or the listener has to exercise his/her imagination to mentally visualize the incidents and the characters, and they have to be recreated mentally for the sake of enjoying them on the contrary, in the case of a drama, both the incidents as well as the characters with their dressings and dialogues are present alive in front of the audience, and are in no need of being imagined In view of the use of more than one language, the ancient Indian drama is but a mixed literary piece Dr Lele has analyzed the sakuntala stylistically from the points of view of the status and styles of the languages, of the dialogues and the moods expressed therein, and the adumbrated means of styles, the used by various characters in the drama The western stylisticians believe that the dramatist first of all prepares a rough draft of the script of his drama, which he might revise again and again many times over with care, which process they call by the terms "revision, refinement and polishing" and which makes the literary piece perfect But since we have no record about the original manuscript written by the Kalidasa himself, we have no means to pass any remark about it, although the Indian rhetoricians have also approved this process like Bhamaha and Vamana In his last chapter pertaining to suggested additions and alterations in the extant text of Kalidasa's drama, he has critically examined as many as 175 cases in which the text needs to be revised As regards the purpose of making

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& Vol XXII, 1998 these suggestions he has clarified towards the conclusion of the chapter that since this drama was unique some of the members of the audience may have got the text copied and the process might have been responsible for the flaws noticeable at present Further, the author has no intention to prove the superiority of his talent, or give vent to his ego, in connection to the highly celebrated ancient poet His intention is to just present impartially the result of his academic application of the stylistic analysis of the extant text of the drama, and to point out that they are not worth neglecting, since they detract the poetic work from its status of a literary work fully free from shortcomings At the end of his monograph, Dr Lele has given a bibliography listing about thirtytwo English, one Marathi, six Sansknt and one Hindi works utilized by him for reference REVIEW 249 This work is highly readable revolutionary attempt at scrutinizing an ancient classic from the viewpoint of stylistics, and is most welcome addition to the applied Indological research in the field NMK. SAPTAKA WRITINGS ON MUSIC (Guj) by Madhusudan Dhanky, Shardaben Chimanbhai Educational Research Centre, Ahmedabad, 1997, pp 22+117, Rs 66/ This collection of articles on music by Prof Madhusudan Dhanky is in a way one of the rare one soly devoted to the art criticism It is thus a sort of the first sunray directed to the yet uncultivated dark corner of exposition and criticism in the field This work contains in all seven articles, along with a Prak-kathana by the publisher Dr Jitendra Shah, a very brief Amukha by Shri Shinsh Panchal, a Purovacana Alapa Sathe Vartalapa by Prof Harivallbh Bhayani, a Purvavalokana by Prof Hasu Yajnik, and the Prastavika by the author himself 17 In the First article with the title, "Agiyo Ane Svarna-bhramara" (The Fire-fly and the Golden-bee"), presents an able study of the comparision and the contrast of the North Indian musiv with the South Indian one It is such as only Dhanky could do, highly conversant as he is with the intricacies of bringing forth with precision the proper tunes of particular octaves, with their elaboration in the form of Alapa, the melody set in the Vilambita rhythm, the one in the Madhya one and the one finally in the Druta one, all them intertwining appropnately in their body a variety of Tanas and frequent play with the intricate rhythmic modificatory variations In spite of this onginal and generic similarity, the

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250 NM KANSARA SAMBODHI question arises as to why should there be so much difference between the two styles While the problem has been very elaborately explored by the celebrated late Pundit Omkarnath Thakur long back in his classical work Pranava Bharati. Prof Dhanky notes that the problem has been rather discussed less, and mostly people have been satisfied with some presuppositions only But Dhanky has himself entered into the style and explored the problem on his own, and drawn his own impartial conclusions Thus he has noted that while there is in the Northern tradition a very systematic method of fixing up the proper places of the Srtus, of strengthening the musical notes, of touching the lowest notes of the Mandra octave as also the highest ones of the Tara octave, of training up the vocal cords to bring out highly melodious musical piece, there is no such provision in the Southern one The number of the popular Ragas in the Southern tradition is comparatively greater than that in the Northern one, and the trainees in the former learn at least four or five compositions each and every melody, as a result of which their throat is rendered more dynamic in moving from one melody to another In the second article, 'Samgita-mam Rakti-no Vibhava' (The concept of Emotionalism in Music') he notes that a musical note is after all a basic and fixed up unitary Srti, which becomes a note when the Srtz become a main point of rest But the nature of a Srtz is so subtle, like a point of a needle, that it is very difficult to clasp it on any fixed place Thus it is with great effort that one grasps the true Sadja note in the case of persons from persons or different musical instruments It is when the proper place has been grasped with precision that the emotional effects start getting manifested In the third article, 'Raga Malkosa-num Asli Abhidhan' ('The Original Nomenclature of the Raga Malakosa'), Prof Dhanky has noticed that there is melody named 'Hindolam' which resembles the melody called Malakosa' in the North Indian Musical tradition But then would arise another problem about the nomenclature of the already existing melody named 'Hindola' in this latter tradition in his search for the roots of this problem, Prof Dhanky has been drawn to trace the nature of the ancient Suddha Octave in what is currently known as the Bhairavi Thata, which might prove a very useful discovery since it is at present very difficult to determine the nature of the ancient fundamental pure octave of Bharata or Sarngadhara, and it is unanimously accepted that it was like that of the current Kafi Thata And, it further follows that possibly the melody called Malakosa' today may have been prevalent in the

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Vol XXII, 1998 form of Audava-Bhatrava with the Rsabha and the Pancama dropped The fourth article, 'Samgita-mam Vadyavadana-na Sresthata" ("The Supenonty of Instrument-playing in Music) justifiably supports the viewpoint of Gayaka-raja Although the throat is the best instrument, the singers take the assistance of the instruments to supplement their deficiency Ustad Bismillakhana imparts instruction first by singing, and then asking the students to produce the same melody through his Sahanai Thus, singing is the foundation of instrument playing REVIEW 251 The fifth, sixth and the seventh articles, named 'Nilamma Kadambi, Thakura Jayadeva Simha' and 'V G Doraisami' respectively, are biographical in nature, but they throw considerable light on vanous aspects of Indian musical lore, pertaining to various Gharanas, ladies and gents musicians, Pandits, Vaggeyakaeras and their ideosyncracies Over and above their being research ventures in the field of Indian music, they present the specimens of real research articles, as distinguished from other wnte-ups like reviews, studies, and cnticism NMK. SANSKRIT RAMAYANAS OTHER THAN VALMIKI'S, THE ADBHUTA, ADHYATMA AND ANANDA RAMAYANAS by Dr. V Raghavan Dr V Raghavan Centre For Performing Arts, Chennai-600 020 1998, pp xv+ 143, Rs 100/ The prime intention of the Dr V Raghavan Centre has been to bring out hi unpublished works and continue to encourage research activities in the area of interests that he cherished during his lifetime The present volume is a compilation of his lectures on the three Ramayanas It gives a remarkable insight into them from more than one point of view, as also an idea of the depth of his scholarship, the method of his presentation, and the new insights into the very purpose and the scope of the compilation of these new Ranmayanas when the Valmiki Ramayana had already influenced the Indian thought and culture The main purpose of the Adbhuta Ramayana is to present the Sakta religion and philosophy Sita is made the central figure here and identified as the forms of Sakti, Mahesvari, Dorga, etc Her glory is descnbed on the model of the vibuti-yoga of the Gita and is made to act like Mahakali On killing Ravana she is described as dancing on his body in the ferocious form of Sakti Certain

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252 NM KANSARA SAMBODHI important changes are also made in the structure of the story Sita is here the daughter of Ravana Two Ravanas, one with ten faces and another with thousand ones are envisaged It was the latter who was destroyed by Sita Her marvelous acts performed while killing the senior Ravana justify the title of this work as 'Adbhuta' one The second one is the Adhyatma Ramayana It has a philosophical orientation Much of its philosophy is drawn from the Bhagavata Rama is descnbed here as the role model of Krishna Bhakti is given utmost importance, the intention being to popularize Rama-worship This work is known to have considerably influenced Kabirdas and Tulsidas, and presents the philosophy of Ramananda also Its aim seems to correlate the teachings of the Bhagavata and the Ramayana and relate these two incarnations to the same Supreme God Visnu The third lecture is on the Ananda Ramayang, in which the misdeeds of Ravana start much earlier than abducting Sita This work introduces a number of background episodes to explain the conduct of Kaikeyi, Mathara and a few other events that are apparently unjustified The Jain and Buddhist traditions too follow this technique It also introduces a number of pleasant events, particularly in the Vilasa and Vivaha kandas, which justifies its name In the course of his lectures on these three Ramayanas, Dr Raghavan neatly presents its contents, compares the same with Valmiki's narrations, Bhagavata and other Puranas wherever necessary, states the changes, additions and the omissions made, brings out the philosophical and religious points referred to and evaluates the total contribution made by these three works to Indian thought and culture M M Prof T T Pandurangi of the Bangalore University has highlighted all these points in his Foreword to this valuable work NMK WOMEN'S ROLE IN KUDIYAPATTAM by LS Rajagopalan Kuppuswami Sastry Research Institute, Chennai-600 004, 1997, pp XXXIV + 224 Rs 250/ It is commonly believed that Kudiyapattam is the only surviving performance tradition of the classical Sanskrit plays written between the second and the eleventh centuries CE The tradition has been jealously preserved by a few families of Cakyars and Nambiyars as performers and a few hundred enlightened people around the temples as spectators The tight discipline and rigorous training of the performers perhaps accounts for the qualities of precision and orderliness that are still the hallmarks of Kudiyapattam performances But what distinguishes the Kudiyapattam theatre from theatres in

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Vol XXII, 1998 REVIEW 253 many other parts of the world is the active presence of women in it both as actresses and as singers It is this extremely fascinating aspect of the role of women in Kudiyapattam and the related Nangyar Kottu -+that LS Rajagopalan has undertaken to discuss in depth in this scholarly treatise, after equipping himself through long years of patient watching, listening and discussion, to write the same He is one of the few who can write with authority and conviction on this subject Rajagopalan begins his subject with an account of the different attitudes to the position of women in life and art in ancient India and then quite methodically he moves on to the social setting in Kerala with its matnlineal orientation The mocro-analysis of the social structure given by him helps us understand the overall situation behind the Kudiyapattam theatre He then gives a graphic description of the 'Act of Surpanakha', the second act of Saktibhadra's Ramayana play called Ascaryacudamani, and the roles of Ravana, sister Surpanakha, both as Lalita in disguise and as the demoness without disguise are discussed in detail This is followed by a similar account of the first act of Subhadra-Dhananayam, and the fifth act of the same play The other plays he briefly mentions as the current repertoire of Kudiyapattam are TapatiSamvaranam (Act I), Abhiseka (Acts I, III) Svapnavasavadattam (Act IV), Nagananda (Act II), Sakuntalam (Act III), Bhagavadajjukam and Ascaryacudamani (Act IV), the references being to the annual performances in Thrissur More than half the book is concerned with Nangyar Kottu, where the stage is exclusively dominated by the single woman performer Rajagopalan has given a scene by scene accounts of the entire Sri-Kssnacaritam told in a series of verses to be rendered solo by the actress There is more or less a comprehensive survey of the whole performance running to several days, and the points for our special attention have been highlighted, and illustrative verses are quoted in Sanskrit along with comments on the acting style While the book gives a lot of information, the important thing to be anted is that it creates in the reader a desire to see Kudiyapattam, and prepares him to understand and appreciate the niceties of the performance Prof K Ayyappa Paniker of the Sangeet Natak Akademi, New Delhi has enlightened us on all these points about the book in his scholarly Foreword NMK

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254 NM KANSARA SAMBODHI GANGAVATARANA-CAMPUH (Sanskrit) of Shankara Balakrishna Dixit edited by Dr Gaya Caran Tripathi Ganganath Jha Central Sanskrit University, Chandrashekhar Azad Park, Allahabad, 1996, pp 67 + 159, Price not mentioned The Gangavatarana-campuh (middle of 18th Cent Dr GC Tripathi publishes CE) for the first time It describes the legend of the descent of the Ganges in a literary form of a Campu It has been authored by a Maharashtrian named Samkara Diksit of Benaras It is undoubtedly a work of high literary merit The work has been ably edited on the basis of two manuscripts preserved in Benaras, although both of them have not preserved the original text so well as to yield a satisfactorily critical edition of the work. In his learned and exhaustive Introduction Dr Tripathi has fully dealt with the topics like the authorship, the term Campu and its genre, the manuscript: material, the contents of the original Sankrit work, the date of its composition the plot, the works read by the author, the other works of the author, the author's estimate as a poet, the political situation of Benaras and around during the times of the poet, and so on At the end of the book the editor has given an index of the verses, and in the three appendices that follow, he has given excerpts from Ms No 24792 of the Vidyapith containing the writings of the author, some verses of his second work, and of his third work, respectively And, lastly the editor has obliged u: by given graphic illustration of some of the Citrabandhas, viz , the Khadgabandha, the Sarayantrabandha, the Padmabandha, too The last page gives us a photographic picture in black and white of the clay sculpture o Makaravahini Ganga at Ahicchatra of the Gupta period Dr Tripathi has thu: a highly commendable service to the academic community, for which he owe our hearty congratulations NMK. BHARATI-MANGALAYATANAM (Sanskrit) by Dr Ramanarayan Mishra Rangesh Prakashan, Gayatri puram, Pindra, Devariya (UP), 1997, pp 4 + 250 + 2, Rs 70/ This is a collection of poems of Dr Ramanarayan Mishra, Reader, Ganganatha Jha Central Sanskrit University, and Allahabad It includes the Gangastava o 110 verses (pp 1-19), the Udbodhanam of 13 verses and the Acaryabhivandanan of 10 verses (pp 20-23), the Manobhavaprastutth of 291 verses (pp 24-73), the

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Vol XXII, 1998 Atmanriksanam of 130 verses (pp 73-95), the Mangalacaranopahita-fodhakaryakramah of 109 verses (pp 96-114), the Siddhanta-rahasyam of 41 verses (pp 115-121), the Sridhari-tikanusmrth of 71 verses (pp 122-129), the Sritirtharaja-prayaga-stavah of 31 verses (pp 130-135), the Sri-radha-stavah of 101 verses (pp 136-147), the Sri Val Dhamavasi-P Bhu Sitaramacarya-suprabhatam of 50 verses (pp 148-156), the Atma-nuvedanam of 138 verses (pp 157-180), the Mangalam of 149 verses (pp 181-206), the Mangalabhumih of 98 verses (pp 207223), the Bhajata re manuja kamalavaram of 120 verses (pp 224-244), and the Jagadacarya 108 Sri Visvaksenacaryanam samstavah of 24 verses (pp 245-250) The last two pages give an Errata REVIEW 255 Of these the Gangastava, the Sri-tirtharaja-prayaga-stava, the Sri-radha-stava and the Bhajata re manuja kamalavaram are concerned with philosophical topics and are conducive to mental peace, if they are recited daily for some time and memorized Some of his thoughts incorporated in the verses of his Atma-nuvedanam are really interesting and instructing to people in general and politicians in particular Thus, for instance, the verse "Ya rajanitir na manoratha-pluta, aprajajananam anurodhakarmana Samasrita sangatimantrana"drta, Sa naiva lokabhyudaya-prabhavii " suggesting that the administrative policy that is bot ambitious, not supported by public mandate and not honoring the cooperative thinking, is not likely to conduce to public welfare The poet has used a vanety of poetic metre which testify to his nch scholarship and profound literary equipment NMK. ANEKANTAVADA EKA SAMIKSATMAKA ADHYAYANA (Hindi) by Dr Rajendralal Doshi, Ganganath Jha Kendnya Sanskrt Vidyapeeth, Allahabad, 1982, a-th 363, price not printed This book incorporates the doctoral dissertation of Dr Doshi, at present working in the Ganganath Jha Central Sanskrit University, Allahabad, as a Pandit scholar Muni Vidyanand of Mudabidri Jain Math as contributed a Foreword entitled 'Anekanatavada Aura Syadvada' in Hindi Dr Doshi has noticed two points after deep study of the works on philosophy and ancient scriptural literature that there has been prevalent in India night from the Vedic times two parallel thought processes, one of which was the Anekantavada and the other was parallel ones resembling the Anekantavada

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256 NM KANSARA SAMBODHI And they are mentioned in the later works and philosophical systems too Its nomenclature as such and its formal installation has been effected by the Jainism, and thence forward it has come to be known by the specific name of the Anekantavada The book is divided into six chapters The first chapter deals with the origin and development of the Anekantavada, and the veteran thinkers who contributed to its development The second chapter discusses its nature as a principle in the Jain Agamas, and its later development by the subsequent Acaryas, which includes the concepts of Nayas, its vaneties, the Syadvada, the Saptabhangi, and others The third chapter brings together the views of the veteran thinkers opposing the Anekantavada, and they are discussed in detail after presenting them in a sort of tabular form Further all the refutations that are found to have been attempted by the Jain Acaryas has also been given systematically Not only that the discussions by the authors that are not counted as opponents as such have also been presented in this chapters in the fourth chapter are collected the sympathetic thoughts of different philosophers, as also of the modern thinkers In the fifth chapter the Anekatavada is discussed from the point of view of its relevance modern scientific age The sixth chapter presents a sort of a survey of the whole work The chief contribution of Dr Doshi lies in the fifth chapter of the work Here he has discussed the relevance of the Anekantavada from the points of view of religion, society, literature-art-culture, internationalism, political policy, and has emphasized that it is the life breath of the world peace, and of democracy While surveying the Anekantic outlook in different systems of philosophy, he has highlighted the harmonizing effect of the Anekantavada, pointing out that the Advaita of the Vedantins is in fact the Samgraha-naya, the materialism of the Carvaka is the Vyavahara-naya and the Paryayavada or the Ksanikavada of the Buddhists is but the Rjusutra-naya of the Anekantavada Dr Doshi's work thus serves to present an uptodate account of the Anekantavada right from its ongin, its development in later times and discusses its relevance in the modern scientific age from various points of view It is thus a valuable contribution to the Indian philosophic research in general and the Jainistic one in particular The work deserves to be accessible to those who can read in English only NMK.

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Vol XXII, 1998 VADI-VINODAH OF SANKARA MISRA, re-edited by Dr Vishvambhara-nathagini, Viveka-prakashanam, Prayag, (UP), 1995, pp xxxv+ 297, Rs 54/ REVIEW 257 Dr Dr Vishvambhara-natha-giri, a Senior Professor, Ganganath Jha Kendriya Vishvavidyapeeth, Prayag The Vadi-vinodah is an independent Sansknt work on Nyaya philosophy, particularly pertaining to the technique of logical discussion, or a debate intended to determine the truths with regard to the scnptural topics The work was first edited by M M Ganganath Jha in 1915, and had been out of print since last few decades Dr V N Gini has re-edited it with the help of three Mss The author of this work is Sankara Mira (1450-1550 CE), who was a son of Bhavanatha, a learned Brahmin of Mithila in Bihar He has composed as many as fifteen Sansknt works, five of them on the Nyayadarsana, five on the Vaisesika, one on the Advaita Vedanta, three dramas and one anthology of his own poems The Vadivinoda is a Sanskrit work on the science of debating (katha) a particular point of philosophy as propounded in scriptural works Katha can be of three types, viz, Vada, Jalpa and Vitanda Out of these three Vada is the debate between Guru and disciple both of whom are eager to know the truth and both are detached This work has been composed with a view to introduce the reader with the essentials of a formal debate of the genuine discussion type, to determine the truth regarding the topic of spiritual importance And the author has taken care to present the subject in as simple a manner as to be quite entertaining since he has avoided the use of technical terminology as far as possible It explains the topics of the sixteen elements accepted by the Indian logicians (natyayikas) The work is divided into three chapters, each of which is called an Ullasa The first chapter treats the nature of Katha, Hetvabhasa, Chala, Jati and Nigrahasthana The second chapter discusses the Padartha, Dravya, Guna and Karma The third chapter elaborates upon the similanty of Padartha, Dravya, Guna, the nature of Indriya (senses), different views regarding the Padartha, Dravya, Guna and Pratyasatti Then it presents the viewpoints of Carvaka, Buddhist, Pasanda or Soma, Jain, Bhatta or Kumanila, and Prabhakara Then follows the discussion about Vyapti and Sabda The fourth chapter is devoted to the instruction about refuting the questions put forth by the adversary The fifth

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258 NM KANSARA SAMBODHI chapter seeks to instruct about hurting the ego of the adversary in response to his question which is just not answered The two appendices give us indices, the first of works, their authors and their sectarian adherence, and the second of the verses and quotations The students in the Sanskrit colleges, who are introduced currently to the Indian logic through the old works like the Tara-samgraha of Annambhatta or the Tarka-bhasa of Kesavamisra, and the like, shall benefit much more and shall be equipped in a better manner and with up do date information and logical technique of the universities begin to prescribe this excellent monograph of Sankara Misra Dr Vishvambhara-natha-giri has done a great service to the academic community by reediting such a valuable work NMK. MISRA-NIBANDHAVALI, alias sASTRIYA-SODHA-NIBANDHA-RATNAVALI (in Sanskrit), Part I, by Dr Ramanarayan Mishra, Reader, Ganganath Jha Kendnya Sanskrit Vidyapeeth, Allahabad, Rangesh Prakashan, Devarira (UP) 1993, pp xix + 343 + xi, Rs 88/ The author has composed his Mangalacarana and his Kincun-Nivedana in twentythree Sanskrit verses, the concluding one being "Ksamyo janoyam budhair avasyam, Naivasti sacchastra-patha-prabodhah | Tenaiva satya-skhalanam nibandhe, Svabhavikam viksya sudharavadbhih 11" which entreats the scholars to correct the faults and forgive the author in view of his shortcomings The collection is further adorned with the Sammati each by Dr. Umashankar Mishra of the Directorate of Education, UP, and by Ram Prasad Tripathi, Principal of the Sampurnand Sanskrit University, Varanasi, as also by an Amukha or Introduction by the author The work is a collection of thirty-seven Sanskrit articles of the author Dr Mishra has mad it clear in his Introduction that by the term Sastra he intends to include all the traditional disciplines like Veda, Vyakarana, Vedanta, Sahitya, Dharmasastra and others over an above the six systems of Indian philosophy Thus, the articles entitled 'Yoga-tantra-vimarsa', 'Sphotavada-vilasa', 'Advaitatattvaloka', etc, pertain to philosophy, those entitled 'Samasa-mimamsa', 'Dhavartha-vada-vimarsa', etc, treat the topics of Sanskrit Grammar, 'Sahityamimamsa', Vyanjanayrtti-varta, etc, deal with the topics of Sanskrit Poetics The whole work is in Sanskrit, and the style adopted is that of the traditional

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Vol XXII, 1998 REVIEW 259 classical Sanskrit works wherein the exact location of the sources of quotation is not at all given, except the mention of the name of the work Thus, for instance, in his essay entitled 'Sphotavada-vimarsa' he has the following passage as quoted from the Bhagavadgita, viz, "Aham sarvasya prabhavah mattah sarvam pravartaten | Yatah sarvani bhutani bhavanyadi yugagame || Yasmis ca pralayam yanti punar eva yuga-ksaye" introducing it by the words 'Gitayam api', presuming it to be the responsibility of the reader to fend for himself to find as to in which chapter does the verse occurs and at which number' And here also, we find that while the first line of the quotation can be located as, say Bhagavadgita 10 gab, the next two lines are nowhere to be found in the BG !! This is the traditional deficiency which should be scrupulously removed if any scholar wishes to preserve one's academic prestige There is no doubt about the scholarship of Dr Mishra but for this lack of exactitude, and academic carefulness By way of a specimen of his sound scholarship, may be cited his article on 'Paniniya Siksa' which is practically the best among the commentaries on the work, since it enlightens the reader about almost all the controversial points pertaining to the work. Being in Sanskrit, the work will be accessible to only the scholars of Sanskrit, and there too only to those who would care to read articles written in Sanskrit Any way Dr Mishra has contnbuted his mite to the enrichment of modern Sanskrit essay literature, for which he deserves encomiums NMK DHATUPRATYAYALOKAH DHATVARTHACANDRIKA CA (Sanskrit) by Dr Goparaju Rama, Ganganath Jha Central Sanskrit University, Allahabad, 1995, pp 1 + 144, Rs 120/The author is the Head of the Department of Literature, Ganganath Jha Central Sanskrit University, Allahabad He has composed these two works, viz, the Dhatupratyayaloka and the Dhatvarthacandrika, both of which are published in the form of a single book The aim of this work is to venture to project the real picture as to which of the nearly two thousand Dhatus listed in his Dhatupatha by Panini with different suffixes and all spread over the Astadhyayi carries how many suffixes and in what senses Dr Rama has culled together all of those suffixes together and arranged them as per their context of sense The roots are arranged in the alphabetical order All the suffixes are given under each root followed by its forms, rules and their number in the Siddhantakaumudi

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260 N M KANSARA SAMBODH The second part, viz, the Dhatvarthacandrika, is virtually an index of the sam roots dealt with in the first part, viz, the Dhatupratyayaloka, but arranged nc alphabetically but rather in the order in which they occur in the Siddhanta kaumudi Here one can find out in one place as to how many roots are rea in a single sense Dr Rama has taken proper care in providing the number c each sutra, as has been found in the edition of the Siddhanta-kaumudi with th Tattvabodhini commentary The work is a sort of twofold alphabetical index c Sanskrit Dhatus, with the details about the suffixes they are mentioned in th Dhatupatha, easy to refer to by those interested in the subject NMK.

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BRIEF NOTICES THE POETRY OF BUSINESS, by Atul K Shah, Colchester C04 3SQ, UK (Email ashah@esses ac uk Web http.//sersun 1 essex ac uk/~ashah/), 1998, pp 69, price not mentioned The author-poet is a well-known writer and speaker on business issues, and the contents of this book were successfully presented to entrepreneurs in North America, Africa and Europe It was these dialogues which prompted the writing of this book Although it is rare to see business and poetry linked together, the author believes business is and can be a creative endeavour For a long time he has been interested in aspects of business ethics, and in spite of the common response to the effect that there is no room for ethics in business, his mission is to spread the stories wherein entrepreneurs have been ethical and have been keen to share their success with others, to communicate these ideals and values, and encourage others to raise their values in life The book is a collection of sixty-three poems, with such varied titles like Money, Whistle-blower, Sale, Addiction, Grave, Green Business, Double Life - Shareholders, Debt, Reciprocity, and many more long ones His poetry is couched in British English The book is but a Draft Pre-Publication Copy - Subject to Author's Copyright It is printed in very tiny - 8 point fonts - often with centre alignment to enhance the beauty of the poem in print A few specimen will give a taste of the author's poetic relish In his poem entitled Child Labour, the poet concludes "You can rely on our promise Child labour has been kicked out But bullying and hard labour stays in" In Business Education, he writes "I say values are the key, To education. And you have none" In Stock Market, he writes "Hurry, Hurry, While greed lasts, Make your money, Easily, so you can spend it, Recklessly Forget about your conscience Don't worry, If you become more greedy, You will still live, Happily Just make your buck, Without a fuss You can now afford, A psychiatrist " NMK JAINA SIDDHANTA SIKSANA (Hindi), by Munisri 108 Pramana Sagara, Publ. Anand Sighai, Jabalpur, (3rd Edn), 1996, pp 58, Rs 11/

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262 NM KANSARA SAMBODHI This book is a collection of succinct outlines of twenty topics of the tenets of Jain philosophy and religion according to the Digambara tradition The topics outlined are a general introduction, a glimpse of the history of Jainism, the path of liberation, proper outlook, reality and elements, Jiva-tattva and its nature, its various states, the Non-Jiva, Asrava, Karma, Speciality of the principle of Karma, Samvara, Nirjara, Moksa, gradual steps to selfdevelopment, the conduct of householders, the conduct of mendicants, means of proof and outlooks, Anekanta and Syadvada This is very handy and beautifully printed book to be kept at hand for easy reference NMK ATMANVEST (Hindi), by Muni Ksamasagara, Vidya Prakashan Mandir, New Delhi, (Revised 2nd Edn ), 1998, pp 120, Rs 30'This work is an unusual biography of an extraordinary Digambara Jain saint Acarya Sri Vidyasagara-ji by his disciple The incidents of the part of his early life that are seen very intimately by a mother, are narrated through the mouth of the saint's mother Srimati-ji, and that covers pages 1 to 66, while in the rest of the 54 pages the inspiring incidents are narrated by the author himself The learned scholar Yashpal Jain of Delhi has contributed an Introduction (bhumika) in which he has pointed out that his is not a simple biography, it is rather a religious pilgrimage, in which there are many jaunts and halts, the first being that of the childhood, during which the child gave out indications of the future course of life he was going to adopt The second part of the book records incidents highlighting the aspects of the life of the saint, such as, a guest, his love of Nature, first meeting, innocent life-style, a treasure of jewels, association with good people, the introvert pilgrim, the self-sun, victory over obstacles, intuition, detachment, holy message, granting protection, the real path, alertness, Nirgrantha, titles, purity, infinite love, composure, liberation, best spiritual endeavor, regarding others as one's own selves, mercifulness, real grace, instruction of duty, self-discipline, resting in one place, importance of renunciation, occasion, self-confidence, practice of equanimity, strong determination, test, highly nearby, inspiration for duty, wishing welfare, attachment with a detached one, tolerance, humble faith, self-control, experience and meditation on the Self It is hoped that these incidents will unfailing inspire the readers to further goodness in his life. NMK.

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Vol XXII, 1998 BRIEF NOTICES 263 NANDANA-KALPATARUH (Sanskrit), compiled by Kirti-trays, First sakha, Shri Jain Granth Prakashan Samiti, Khambhat, 1999, pp 93, Rs Nil This work is an anthology of devotional Sanskrit poems of the three 'Kirti'-, viz, Muni Dharma-kirti-vijaya, Muni Kalyana-kirti-vijaya and Muni Ratna-kirtivijaya, over and above those of their preceptor Acarya Vijaya-silacandra-suri The last one has contributed devotional songs about all the twenty-four Jinas, cast in the form of classical musical pieces, which one feels have been personally sung by the author The poetic songs about 30 and covering first 31 pages in all, are followed by a tribute, and a biographical account, many other narrative pieces in Sanskrit prose Each page of the book is marked with a black and white picture of a tree This is, in fact, the first issue of a devotion-oriented Sanskrit journal, to be published at irregular intervals, perhaps when sufficient number of poems and prose pieces are received for publication in it, which betrays the poet and musician in the holy personality of a Jain Acarya, who seems to be grooming his disciples too on to his path NMK. MUKTAKA-SATAKA (Hin.) by Digambara Jainacarya 108 Sri Vidyasagara i Maharaja, publ Vijay Kumar Jain, New Delhi, 1995, pp 26 Price Thinking and retiocination This book being a collection of 102 verses, no list of contents has been given The book starts with a colour photograph of the Acarya, on the first inner page, followed by the printer's page, dedication, introduction, short life-sketch of the Acarya and his works, and then the poetic pearls A couple of specimen may be presented here Kyom bhatakata tu mudha, Kyom dukha sahata bahudha Taba mitegi yaha ksudha, Jaba milegi nija sudha 1|27||" Sapta-svarom se atita, Suna Raha hum Samgita Mano vina ka ta, tuna-tuna dhvanita apara ||77|| Here in the first verse the Poet-Acarya points out of the futility of roaming from place to place and person to person, with the added remark that the spiritual hunger will not be satisfied till one attains to the inner joy of the Selfrealization in the second verse he seems to have reached a point in his

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264 NM KANSARA SAMBODHI spiritual Sadhan, at which a Yogin comes to hear the internal humming sound which is referred by numerous saints as the Anahata-nada The verses are neither set in a fixed meter nor are they meant to be sung But they afford a glimpse of the path of spiritual sojourn of the poetic author NMK. LORD SWAMINARAYAN (AN INTRODUCTION) by Sadhu Mukundcharandas Swaminarayan Aksharpith, Sahibaug Road, Amdavad-380 004 (India), 1999, pp 2 + 79, Rs 20/This is a very handy introduction to the laymen educated in the westernoriented tradition prevalent at present in India, as also to the English-speaking non-Indians, who may be genuinely interested to know about His Holiness Pramukh Swami Maharaj, the current Head of the Bocasanavasi Sri-aksarapurusottama Svaminarayana Samstha, who has been representing the spiritual Guruship in succession of the four Pragata-brahma-svarupa predecessors like Svami Gunatitananda, Bhagatji Maharaj, sastriji Maharaj, Yogiji Maharaj It his under his very powerful inspiration that the unique monuments of Lord Svaminarayan have been coming up in Ahmedabad, Gandhinagar, Bombay, Delhi, Calcutta, Madras, London, Newyork, Nairobi, and other places The book contains, apart from the Preface, ten chapters, viz, Early Days, Teenage Yogi, Divine Leadership, Uplift of Women, Disciples, Scriptures, Mandirs, Philosophy, Teacings After the Epilogue, an account of the Successors of Lord Svaminarayan is given It is followed by Observations of Historians and Scholars, an Appendix, Features of Devotion in the Daily Life of a Disciple, Source References, Bibliography, Glossary and Index It is an ably composed and beautifully produced publication that one would like to go through just for the joy of doing so, if not out of genuine curiosity NMK. PIMAGE by Lt Col C C Bakshi (retd ), Pravin Prakashan Pvt, Rajkot, 1998, Pp 144, Rs 160/This work is an English translation of the Gujarati book "Jivana-na Ramga", and is dedicated to "princess Parul" because of whom the author who came to write it It is a collection of letters addresses to Parul by Dada Every letter begins with "Salutation to the Revered Guru" They contain varied spiritual thoughts and narration of spiritual experiences during his contact with numerous saints and Yogis in the course of his career in military service culminating in the

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Vol XXII, 1998 BRIEF NOTICES 265 final position as a Lt Col in the Indian Army The varied aspects of the author's personality as a spiritual seeker after secrets of human life have been amply revealed in these letters He has authored a remarkably famous book, entitled Coscon which is abbreviated form of Cosmic Consciousness, and is translated into Gujarati with the title Vaisvika Cetana by the author himself NMK. BHADARA-NA TARA (Guj) by Lt Col C C Bakshi Pravin Pustak Bhandar, Rajkot, 1998, pp 171, Rs 80/This book is a novel-like poetic narration of the sweet reminiscences of the author right from his primary school days upto the end of his service as a high-ranking military officer It is divided into five sections, carrying the headings . (1) Bhadara-na Tara (The Stars of the Bhadar river); (2) Kaya kalpa (The Rejuvenation of the body), (3) Case Case Moti (Pearls in each of the farming squares), (4) Apanum Camatkarika Mana (Our wonderful mind), (5) Anurnam Akho Vada Samkelyo (The whole of the bunyan tree has been compressed into an atom), and (6) Prakirnaka (Miscellaneous). The headings of these sections are by themselves remarkable and highly significant, and the book carries its title from that of the first section One is astonished to find here a hardcore military office with a soft heart ascending to the height of poetic sentiments in the last section he has given a piece of his wnting called Katava in which he has narrated in alliterative prose a simple incident, but what is important is not the incident, nor its meaning, but rather the prose itself which is to be read aloud and is thus quite enjoyable We may have a specimen of a line or two here : "Rana-mam, kana-mam mota phulagota khosine gana-mam gulatana eva be miam sultana-na mokalya mulatana-thi avata hata Te be mitra, citra-victra caritra karata, vandarathi darata, to pana hemmata-ne dharata, vividha prakara-na akara-ni vato karata.." NMK GATHA-MANJARI (Guj) by Harivallabh Bhayani, Parshwa International Foundation for Research and Education, Ahmedabad, 1997, pp 56, Rs 60/-. This is a collection of a hundred poetic pearls from the celebrated Prakrit Gahakosa alias the Gatha-saptasati of the celebrated Prakrit poet Hala Each of the poetic pieces presented here in the form of the original verse in printed in the Gujarati script, followed by its free Gujarati translation by the editor.

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N M KANSARA translator Prof Bhayani The verses are classified subject-wise, such as DevaStuti (Prayer), Rtu-o (Seasons) with sub-headings like Vasanta, Grisma, Hemanta, etc, and Anurliga (Attachment) with sub-headings like Samyoga (Union), Sparsa (Touch), Cumbana (Kiss), etc The first thirty-two pages carry a detailed and learned Introduction by the author, giving an account of the nature and types of Muktaka-kavya, ancient pieces of such poetry, division of the subject matter, appreciation, and a short bibliography At the end of the book, the author has given a comparative table showing the original serial numbers of the translated pieces corresponding to those that are given to them in this collection This book is a welcome addition to the Gujarati literature NMK 266 SAMBODHI PATRAM PUSPAM (Guj.) by Prof Harivallbh Bhayani, Image Publications Pvt Ltd, Mumbai, 1998, pp 91, Rs 50/ This is a collection of the author's poetic rendering in Gujarati of some of the most poetical and beautifully charming Sanskrit and Prakrit picturesque verses selected from the works devotional poems pertaining to Krisna worship. The verses translated in the form of Gujarati poems are from the Ritthnemicariya of Svayambhudeva, the Krsnakarnamrta and Balagopala-stutt of Bilvamangala, Srngaraprakasa, Bhagavata, and others Prof Bhayani has found the poetic narration of the loving relationship of the Gopis headed by Radha vis-a-vis Krishna as most interesting and a source on infinite treasure of poetic sentiments, since they depict their feelings of various types with reference to the sports of Krishna's childhood The main contents of the book, covering the first seventeen pages, are the thirty-four poems, with original Sanskrit or Praknt text printed in Gujarati script followed by Gujarati rendering. Then follows the appendices Appendix 1 is divided in three parts Part I treats the two topics, viz, The cosmic sight of Yasoda, and the cowherd damsels selling Krishna Part II deals with rtuvarnana treating the rains in Vrindavan, and the sarad season in Vrindavan Part III contains three Stotras, viz, Bhisma-stutt, Brahma-stuti, and Venugita Appendix II contains a brief outline of the tradition of the Venugita, Gopigita, Bhramaragita, and reminiscences of a Caturmasi Bhagavata-katha, followed by an article about the Carudatta-cantra and researches about Krishna Appendix

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Vol XXII, 1998 BRIEF NOTICES 267 III is about the Krsna-kridita of Keshavdas Appendix IV is about Viraha-bhakti Appendix V is about the development of the nature of Krishna as Bhagavan Then follows a write up about the tradition of Krishna poems, the notes, and bibliography Here the author, normally a staunch rationalist reveals a rather tender aspect of his personality as a lover of poetry NMK.

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ACKNOWLEDGEMENTS elektrolden Jubilee com Journal of Oriental Research, Madras The Kuppuswami Sastri Research tute Golden Jubilee Commemoration Volume, Vol LXIV-LXVII, (1994-97) Kuppuswami Sastri Research Institute, Madras, 1998 IPYA, the Quarterly Journal of B J Institute of Learning and Research, tedabad, Special issue on the occasion of the birth centenary of the Late Rasiklal C. Parikh Vol 13, No 4, January 97 March 1997 ANAM (Half-yearly Bulletin of the Purana-Department, Sampurnanand skrit University, Varanasi), Vol XI, No 1, All-India Kashiraj Trust, Fort, inagar, Varanasi, January, 1998 (ANAM (Half-yearly Bulletin of the Purana-Department, Sampurnanand skrit University, Varanas), Vol XI, No 2, All-India Kashiraj Trust, Fort, anagar, Varanasi, July, 1998 MANA, Golden Jubillee Issue, Apnl-June, 1999, Parshvanath Vidyapith, anasi 114019