Sambodhi 2002 Vol 25

Author(s): Jitendra B Shah, N M Kansara
Publisher: L D Indology Ahmedabad
Catalog link: https://jainqq.org/explore/520775/1

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SAMBODHI Vol. XXV 2002 EDITORS J. B. SHAH K. M. PATEL LEN L. D. INSTITUTE OF INDOLOGY AHMEDABAD

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SAMBODHI Vol. XXV 2002 EDITORS J. B. SHAH K. M. PATEL L. D. INSTITUTE OF INDOLOGY AHMEDABAD For Personal & Private Use Only

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SAMBODHI Vol. XXV - 2002 Editors : J. B. Shah K. M. Patel Published by : J. B. Shah L. D. Institute of Indology Ahmedabad-380009 (India) Price : Rs. 150.00 Computer Type Setting : Shree Swaminarayan Mudran Mandir 3, Vijay House, Parth Tower, Nava Vadaj, Ahmedabad-380013 (India) Printer : Chandrika Printery Mirzapur Road, Ahmedabad-380 001. For Personal & Private Use Only

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CONTENTS avada : 1. The Influence of various darsanas on P. R. Vora the Interpretation and presentation of the Rasa Theory 2. General Introduction to uparupakas and Tapasvi Nandi Examination of sri-gadita and Durinilika in particular 3. Alamkarakarika - a critical study Parul K. Mankad 4. Madhyamikas Theory of Error in Yajneshwar S. Shastri Comparison with Anyakhyati of suddhadvaita school 5. "Psthu Vainya Episode - An Astronomical D. G. Vedia Interpretation" 6. Dimensions of Babanagara Inscription Hampa Nagarajaiah 7. Verses Relating to Svabhavavada : Ramkrishna Bhattacharya A collection 8. Sarasvatikanthabharana -- The Magnum Narayan Prasad Opus of Sanskrit Grammar 9. Jainism : A Prominent Living Indigenous Rajjan Kumar Culture 10. vegum Hifti hadir draai toy #rantarea vasantakumAra bhaTTa 11. A A Aukt dia mukula rAja mahetA 12. RIPELR 24 Yaani vylosunaidh iz naMdana hariprasAda zAstrI nodhapAtra pratimAo 13. fr ATT fafarfota ferifraga saM. vijayazIlacandrasUri 14. itihAsanA pariprekSyamAM keTalIka sAMprata aitihAsika raseza jamInadAra B ail : aut 242 Qaza 15. "Camundi" of Harsacarita of Bana : Sudarshan Kumar Sharma A Critical Review 16. Reviews 196 209 For Personal & Private Use Only

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THE INFLUENCE OF VARIOUS DARSANAS ON THE INTERPRETATION AND PRESENTATION OF THE RASA THEORY P. R. VORA Indian tradition often tries to claim a divine authorship for every Sastra or to trace its origin to the Vedas or seeks to establish its approval by the Ssti or Smrti. Bharata too traces the origin of the Natya-Sastra or the Natya-Vedal as he prefers to call it, to the Brahma2-deva, who on his part drew upon the four Vedas for the main subject-matter of his work.3 It is, therefore, not surprising if scholars, both ancient and modern, try to associate the interpretations of the Rasa-Sutra given by the early writers on dramaturgy like Bhatta Lollata and others with the one or the other of systems of Indian philosophy. Thus Lollata is thought to be a Mimamsaka,4 Sankuka is considered to have based his interpretation on the Nyaya Darsanas, Bhatta Nayaka is understood to have followed the Samkhya Darsana, while Abhinavagupta is mostly accepted to have interpreted the Rasa-Sutra according to the Kashmir Saiva philosophy. We shall discuss how far these claims are justifiable and proper. It is, however, worth noting that the poet's world is declared by all rhetoricians to be, not merely, quite distinct from but also by far superior to the Creator's world. Here the poet is the monarch8 of all he surveys with 'none his right to dispute'. His world is in short alaukika. How far, therefore, is it proper to apply the norms and standards laid down by the laukika darsanas for evaluating Rasa which is itself alaukika ? The particular darsanas by themselves should, therefore, be thought to be unable to account for the process of natyarasa-svada, for it is far beyond their pale. The rhetoricians and even sastrakaras also do not countenance the application of the standards of the Sastras to the field of poetry which has its For Personal & Private Use Only

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P. R. VORA SAMBODHI own norms and standards which too are alaukika. Bhamahal0 draws a clear line of distinction between the scope of Sastra and that of Kavya. Dandill has expressed his dislike for the discussion of epistemological topics in Poetics since it is too rough and insipid to be relished. Abhinavagupta too shows his distaste for the false and uncalled for parade of meagre erudition while discussing Rasa theory. 12 Appayya Diksita points out the impropriety of the meticulous division of Upama and remarks that it reduces itself to a mere gaudy display of one's proficiency in Sabda-Sastra. 13 Kesavamisra points out that in the matter of Poetry whether it is embellishment, quality, blemish or Rasa, the only authority is the appreciation by the learned. 14 Darsana : The word darsana is derived from the root drs to see and, therefore, primarily it denotes 'sight or 'point of view. The darsanas are therefore points of view within the doctrine and not competing or conflicting systems. 15 It is not surprising, therefore, that their help is invoked in the interpretation of several matters concerning life. The terminology of one darsana is often used in other philosophies often with different connotations. 16 The Rasa Sutra17' of Bharata : It is a brief enunciation of Bharata's theory of the origin and appreciation of Rasa. It is followed by a detailed discussion of Rasa. Bharata does not define Rasa in the strict logical sense for that is impossible, since Rasa is alaukika; but he gives an analogy18` to explain his concept of Rasa suggesting thereby, as it were, the indescribable nature of Rasa. Origin of the word Rasa : The word Rasa has several dictionary meanings and in different sciences it has its distinct significance. Rasa is a quality of the substance apah (waters) in Ayurveda19, it is parada (mercury) in Rase Svarasastra. In Vaisesika darsana it is the quality of 'taste', one of the 24 gunas. In Vedanta it is the pleasure of the self and the Parabrahma itself (Raso Vai Sah) But Rasa in the science of dramaturgy is a natys-rasa. Rasa and natya synonyms as Abhinava points out20. This Rasa can be had only in a natya21. Which is the seat of Rasa ? Is it the anukarya (the original character) who is dramatised, or is it the actor who plays the role of the former, or is it the spectator that is the seat of Rasa ? It is of course expected to belong to the anukarya, but that is undoubtedly the worldly (laukika) Rasa. As regards the Actor Kohala and others believe that Rasa perceived in him is an illusion22. Abhinava rules out the possibility of Rasa being there in the nata. "The latter", says Abhinava, "is a patra (a vessel)23 and as such appreciation of Rasa by the actor is out of question. Does a goblet ever taste the wine it contains ?" Why For Personal & Private Use Only

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Vol. XXV, 2002 THE INFLUENCE OF VARIOUS DARsANAS.... Rasa should belong to the spectator24 is rightly pointed out by Dhanika in his Avaloka on Dasarupaka IV 38-3925. Number of Rasas : In his Natya Sastra Bharata mentions only eight Rasas.26 santa too was included in this list on the authority of Udbhata, by Anandavardhana and Abhinava. So there are nine Rasas27 But often it is claimed that there is one Rasa viz. Srngara, Karuna or santa or Bhakti Rasa. The last Rasa is often considered to be identical with 'Bhagavan who is the highest substance consisting of infinite supersensuous Rasa28. But it may be called a Rasa at a purely metaphysical level, so it may not find place as a full-fledged Rasa in natya. But the other Rasa, santa is very important especially as it represents a state of balance, which is the essential nature of every thing that is worldly. Water seeks its natural state of equipoise by rolling or pouring itself down from a place on higher level, as Kalidasa has remarked 'payas ca nimnabhimukham pratipayet. If it is hot it has the tendency to become cool for that is its essential nature as Kalidasa remarks in the Raghuvamsa29. Even Ayurveda describes physical normalcy as the state of balance of the three humours (vata, pitta & kapha). So santa is the state of balance of Rasa just as prakrti or pradhana is the state of equipoise of the three gunas, or as whiteness or colourlessness is the state of balance of light which when disturbed by the intervention like a prism analyses itself into the spectrum. According to Ayurveda water is tasteless in its original state of rain or distilled water (aqua pura)30 (avyakta Rasah), similarly from the point of view of the Aesthetics Rasas also, it may be said that the state of 'equipoise of the Rasas is the santa. Abhinavagupta has stated this in his commentary on N.S. Moreover it accords with his philosophy of multiplicity in unity. Just as the phenomenal world is nothing but a manifestation of the Absolute (the Annuttara)31, these Rasas too are nothing but the manifestations of santa Rasa32. This unity in multiplicity and multiplicity in unity is also echoed by the Upanisads : eko'ham bahu syam. Even Amaruka finds this unity in multiplicity in the sexual embrace33. Lollata's theory : It is unfortunate that we do not get sufficient information about Lollata's view regarding Rasa and its enjoyment. Scholars have even seen discrepancies in the presentation of his theory as available in the Abhinava Bharati and Locana on the one hand and the K. P. on the other. Dr. K. C. Pandey, for example, thinks that the word 'pratiyamanah' in the K. P. is 'a slight emendation For Personal & Private Use Only

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P. R. VORA SAMBODHI (by Mammata) of the text of Abhinava"34. It is, therefore, very difficult and even rash to judge Lollata's attitude towards Rasa from the meagre evidence gatherable from these afore-said sources. However the following points may be noted in this connection : (i) Rasa is a product of the combination of the determinants (vibhavas), consequents (anubhavas) and the auxiliaries (vyabhicaribhavas) (ii) Rasa abides primarily in the original character (anukarya) and only secondarily in the actor (anukarta / nartaka) (iii) Rasa is perceived by the Samajika, who derives pleasure therefrom. It does not seem to be correct to say that Lollata ignored the spectator35, for the following reasons : (a) Bharata speaks of Rasa as a relishable object (asvadya padartha) 36. Though he does not discuss in detail Bharata's theory of Rasa, Lollata does contemplate the enjoyment of Rasa by the Samajika of course. How then can we suppose that Lollata, one of his early commentators, was guilty or utsutra-vyakhyana ? (b) Abhinavagupta also speaks of the 'prati-patti' of Rasa abiding in another person, 37 while discussing the Mimamsaka's view-point in his Locana. This, it is submitted, is Lollata's view. (c) Mammata while discussing Lollata's view uses the words 'pratiti-yogyah (fit for apprehension) and 'pratiyamanah' (which is being apprehended)38. Who else, if not the spectator, would apprehend the Rasa ? Dhanika has rightly remarked : Kim ca na kavyam ramadinam rasopajananaya kavibhih pravartyate/ api tu sahrdayan anandayitum 39// (d) Natya is alaukika imitation40; the actor imitates the original character. But for whom does he do so ? For the Samajika of course. How would Lollata leave him in the cold ? (e) Even the verses quoted by Abhinavagupta from the Kavyadarsa41 point to this very fact for who else would relish the srngara and the Krodha in illustrations quoted by him and the Vira42 and Karunya in the other illustrations not quoted by him ? (f) "Natya', says Bharata, 'is a play thing (kridaniyaka)43 which pleases both the eye and the ear. Lollata would not ignore this and spectator also. For Personal & Private Use Only

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Vol. XXV, 2002 THE INFLUENCE OF VARIOUS DARSANAS.... If we accept that Lollata did speak of Rasa from the spectator's point of view also, we have to see then how the latter enjoyed it according to him. As the samajika watches a drama, he allows himsef to forget for the nonce that he is witnessing a dramatic performance -- due to the clever acting of the nata. He identifies (anusandhana) the actor with original character (anukarya, Rama). This identification is due to the former's peculiar movements etc. (anubhavas). He is not able to account for the various mimetic movements of the actor otherwise than by construing them as the indications of love (Rati). He does so by resorting to laksana44 - secondary function of word (abhidheyavinabhuta - pratitih). This avina-bhava is not necessarily an invariable connection like that between smoke and fire.45 Is this identification of the actor with the original character an aropa (superimposition) or a bhrama (illusion) ? Yes, of course it is an aropa, but it is not a bhrama. It is a voluntary (aharya) super-imposition as we have noted earlier the samajika suspends his consciousness of the difference between the nata (the anukarta) and the anukarya. It is due to this sort of superimposition that natya is called a Rupaka (rupakam tat-samaropat)46. This aharya aropa is like the aropa of the moon (candra) on the face (mukha) in the illustration of metaphor : mukha-candrah udeti/ Though we know that the face is not the moon, we enjoy this Rupaka. We cannot, however, enjoy it if we are, all the while, conscious of the rugged and -covered surface of the moon. According to Lollata the samajika enjoys rasa in the same manner, of course his theory is confuted by Sri Sankuka. From the foregoing discussion it is amply clear that Bhatta Lollata was not influenced by the Vedanta Darsana as some scholars 47 have tried to establish, by explaining 'anusandhana' as super-imposition (aropa) 48, because as has been pointed out before, this aropa is not an illusion like that of a serpent on a rope. Lollata probably drew on the Bhatta school of Purvamimamsa, for he resorts to the secondary power of word (laksana) accepted by Kumarila Bhatta, to account for the mimetic movements of the actor.49 It is suggested that Lollata explained this not by laksana but by Arthapatti.50 Even then he was influenced by the Purvamimamsa darsana. Mm. Kane51 too has suggested and rightly so, that Lollata was influenced by Purvamimamsa. For Personal & Private Use Only

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P. R. VORA SAMBODHI While we discuss the Rasa theory as influenced by Purvaminamsa it would not be out of place to refer to the views of Dhananjaya and his scholiast Dhanika set forth in the Dasa-rupaka and the Avaloka thereon respectively.52 They contend that one is able to apprehend Rasa, by virtue of vakyartha i. e. tatparyartha which though it is not a padartha is none the less a vakyartha. (apadartho pivakyarthah).53 According to Dhanika vibhavas etc. are like padarthas (vibhavah padartha-sthaninah) and ratyadi connected therewith is vakyartha. Vibhavas etc., in short, conduce to the apprehension of the sthayi, which is the total meaning or purport (tatparyartha) of the great sentence in the form of dramatic performance. It is, for this reason, that while distinguishing nitya from natya he points out that nrtya is padarthabhinaya while natya is vakyarthabhinaya54. We shall deal with the other part of Dhanika's theory regarding the appreciation of rasa later on. Sankuka's Theory of Rasa : Sankuka argues that the spectator apprehends the sthayi abiding in the actor by inference and derives pleasure therefrom, since due to the clever acting of the trained and well practised actor he identifies the anukarta as the anukarya shorn of his individuality (i. e. not as Ramah ayam but only as Ramah).55 The following points may be noted in this connection : (i) Vibhavas etc., the lingas for the anumana are artificial yet the samajika is led into believing them to be real due to the ingenious actions of the nata. (ii) The sthayi is cognised as abiding in the anukarya by inference of an extraordinary nature since other subjects of inference (anumiyamana) are not relishable where as the sthayi is. (iii) The anukarta is taken for the anukarya on the analogy of the citra-turaga. (iv) Though this sthayi cognised by the samajika, does not abide in him he nonetheless enjoys it and derives pleasure therefrom; and the sthayi so enjoyed is Rasa. 56 From the above it is clear that Sankuka's explanation of the Rasa theory is influenced by the Nyaya Darsana. But he makes it amply clear that in this anumana the object inferred is not as prosaic as in the inference of fire from the smoke. Commentators like Vidyacakravarti have tried to explain the extraordinary nature of the anumiyamana in this inference57. Sankuka claims that the anukarta (nata) is identified with the anukarya on For Personal & Private Use Only

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Vol. XXV, 2002 THE INFLUENCE OF VARIOUS DARSANAS.... the analogy of the Citra-turaga (The horse in a picture, which is taken for a real horse). He explains this cognition as peculiar since it is distinct from prama as well as aprama58. 7 When one looks at the picture of a horse the cognition is not (i) mithya (false) since it is the same-unchanged-at all times and is not contradicted, (ii) it is not doubtful (samsaya) because it is certain, (iii) it is not even similarity (sadrsya) because there is no similarity of limbs etc. Hence just as this cognition of the Citra-turaga is quite distinct from all other cognitions, the cognition of Rama with respect to nata is quite distinct. This citra-turaga is like the Vikalpa' says Nagesa59, 'which is defined by Patanjali thus: Sabda-jnananupati vastu-sunyo vikalpah/60 'Predicate-relation61 (vikalpa) is without any corresponding perceptible) object and follows as a result of perceptions or of words.' Here too there is no corresponding real horse and yet the abhasa of a horse is there. It may be noted that the concept of citra-turaga is probably not a part of Sankuka's theory as represented by Abhinavagupta for the following reasons: (i) this portion is given only in the square brackets in the G.O.S.Ed of Abh.Bh.62 (ii) it is also not found in the Locana. (iii) both Locana63 and Abh.Bh.64 give chitra-asva and citra-go analogy respectively, but not as a part of the theory of Sankuka. (iv) Abh. Bh. and Locana do not refer to this nyaya. They therefore naturally do not confute it while controverting Sankuka's theory, Coming back to Sankuka's theory we may say that Sankuka was not only guided by the Nyaya Darsana but also by the Yoga Darsana if we admit the citra-turaga-naya as a genuine part of Sankuka's arguments; with this latter he sought to account for the process of identification of the anukarya and the anukarta by the samajika. Such a dependence on several darsanas is met with in other theorists also, for wherever their theory contains a loophole they have attempted to plug it by resorting to some other darsana65 or by inventing some more complicated concept.66 As a matter of fact Darsanas, as has been pointed out earlier, were not contradictory in themselves and things were often explained by resorting to one or more of these darsanas without reservation and without incurring any criticism. The most glaring example is that of the adoptation of the concept of Dhvani by the rhetoricians67 from the Paniniya Darsana especially For Personal & Private Use Only

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P. R. VORA SAMBODHI when they do not have any faith in the latter's theory of Sphota68. Even Kashmir Saivism accepts the paravac of the grammarians to account for the absence of determinancy in the Sadasiva though it is self-conscious. (vide I. A. P. 96) Sankuka claims that the unreal vibhavas are taken for real by the samajika and on the strength thereof he infers the Sthayi of the actor. This has no parallel in the Nyaya sastra. Abhinava remarks that there cannot be any valid inference from an ureal mark (linga).69 Hemacandra70 quotes a verse from Dharmakirti's Pramana-vartika to justify Sankuka's stand; for artha-kriya-karita is after all the true test of reality,71 (i. e. for the right form of cognition). 'Even a mistake', observes Dharmakirti, 'if it does not delude the perceiving subject, is a source of right knowledge.' So Sankuka is vindicated to that extent if we accept causal efficiency to be the basic criterion for reality.72 It should be noted in this connection that though they do not subcribe to the view of Sankuka, Dhananjaya and Dhanika resort to a similar analogy It would not be out of place to see what our greatest poet has to say in this connection. In the sixth Act of the sakuntala, the hero looks at the picture of his beloved, drawn by himself on the canvass. He gets so much lost in the act that for the time being he forgot that he was looking at the picture till he was awakened, so to say, of course sadly, by the Vidusaka with words, "Bhoh citram khalv etat." The disappointed king's reply73 suggests Kalidasa's view in the matter. He probably thought that it was not impossible to act on citra-turaga-naya, for Dusyanta says, "Punar api citri-ksta kanta." Bhatta Nayaka's Theory: His main contribution to the theory of Rasa is the idea of universalisation (Sadharanikarana), whereby the determinants (vibhavas) etc. are stripped of all relations, temporal, spatial or personal, and presented in a universalised form by a distinct function of word admitted by him and called Bhavakatva. The sthayi which too is universalised by Bhavakatva is enjoyed by virtue of the third function viz Bhoja-katva bhoga bhogikrti, which is of the nature of Samadhi74. Now Bhatta Nayaka has no sastric authority to support him so far as the admission of the last two functions, besides Abhidha, is concerned. One may call it his invention but that does not in any way lessen the importance of his contribution to the explanation of the Rasa Theory. From the word 'Sattvodreka' used by Bhatta Nayaka, Govind Thakkur75 and Nagesh Bhatta believe that he was influenced by the Samkhya Darsana.76 For Personal & Private Use Only

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Vol. XXV, 2002 THE INFLUENCE OF VARIOUS DARSANAS.... According to them bhoga is like the consciousness of ananda. 'According to the Samkhya system,' says Nagesa, 'nana is nothing but the reflection of the cittavrtti in the Purusa and the form of the jnana is, therefore, the same as that of the reflected citta-vrtti.77 Now when the samajika witnesses a drama, the sattva quality becomes predominant while the other two qualities, rajas and tamas, are subdued. This sattva-maya citta-vrtti' is reflected in the Purusa and since sattva gives rise to ananda, due to the sattva so reflected in the Purusa, the consciousness of ananda arises. Thus the samajika enjoys rasa. This of course is the explanation given in Pradipa and Uddyota.78 Vidyacakravarti79 explains this theory on the basis of the Yoga Darsana. He points out that acts of purification (pari-karma) like cultivation of friendliness (maitri) towards happiness (sukha), compassion (Karuna) towards pain (duhkha), joy (mudita) towards merit (punya) and indifference (upeksa) towards demerit (a-punya),80 the sattva quality becomes free from the other two, rajas and tamas, which eclipse it and the mind-stuff assumes a state of complete calm like that in a samadhi, which is of the nature of consciousness (prakasa) and bliss (ananda).81 According to Vidyacakravarti's interpretation of Bhatta Nayaka, the Samajika's pleasure partakes of the ecstatic bliss which a yogi enjoys in the state of samadhi82. It is suggested83 that the words 'prakasa' and 'ananda' employed by Mammata in the explanation of Bhatta Nayaka's theory of Rasa are used in their Saiva significance; so prakasa stands for vimarsa (self-consciousness) and the word sattva too should be interpreted in that light. This conjecture does not seem to be very helpful84 since Bhatta Nayaka's concept of aesthetic experience appears to be more akin to the Vedantic concept of ananda, which consists in the predominance of pure Sattva due to the inoperation of the other two qualities, rajas and tamas, because of the absence of the phenominal world. The samvid-visranti conceived by Bhatta Nayaja stands for 'vigalitavedyantara ananda'. This state, may be compared with the last stage of samprajnata samadhi which is short of a-sam-prajnata due to the obstruction of Rasasvada.85 But this is not identical with the former. We have the authority of one of the greatest philosophers of all times, Acharya Abhinava, to say with confidence, that Nayaka's approach to Rasa Theory was grounded in Vedanta Philosophy, for twice in the Locana86 and once87 in the Abhinava Bharati, he equates the ananda of the aesthete, according to Bhatta Nayaka, with the Brahmananda. For Personal & Private Use Only

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10 P. R. VORA It is possible that though Bhatta Nayaka was a Mimamsaka he explained the Rasa theory on the basis of his own invention of the two powers and just explained, by way of analogy, the aesthetic pleasure as being akin to the state of bliss enjoyed by the person who realises Brahma. He just wanted to confute the newfangled notion of Dhvani. In order to achieve this and being fully conscious of the alaukika (unworldly) and mystical nature of Kavya-rasasvada, he invented Bhavakatva and Bhojakatva vyaparas and somehow tried to controvert the theory of Dhvani. In this he came so near to the latter that Abhinavagupta accepts his theory minus the two powers which, according to the latter, are redundant88 or synonymous with Dhvani. It may be pointed out that Dhananjaya and Dhanika who explain Rasa theory on the basis of the Bhatta School of Purvamimamsa also seem to accept one of these two functions invented by Bhatta Nayaka, viz Bhavakatva. They too believe in the process of universalisation89 though they do not elucidate this point. They also accept like Bhatta Nayaka and Abhinava that ratyadi sthayi belongs to the samajika, or as they put it, to the rasika.90 They also follow Lollata, as has already been pointed out, for the cognition of sthayi by laksana. SAMBODHI Abhinavagupta's Theory : This is the most convincing of all the interpretations of the Rasa Theory. The following are some of the important features of his theory91; (i) The vibhavas etc., presented in a universalised form, suggest (vyaktah)92 the permanent state (sthayi). (ii) This sthayi is already present as a vasana93 (previous impression) in the particular spectator (samajika). (iii) The sthayi so suggested by the vibhavas etc. is apprehended by the samajika in a universalised form though it belongs to that particular samajika,94 because at the time of witnessing the Natya he becomes a de-individualised cogniser95. (iv) This sthayi is enjoyed by the samajika on the analogy of Panaka-Rasa. (v) When relished the sthayi becomes Rasa. (vi) The word nispatti in the Bharata-Sutra refers not to the Rasa but to the relish (rasana)97 of the Rasa, which former is bodha-rupa yet alaukika98. (vii) This Rasa is not itself distinct from one's being,99 and hence it is very much similar to the Brahmananda. 100 For Personal & Private Use Only

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Vol. XXV, 2002 THE INFLUENCE OF VARIOUS DARSANAS.... 11 From the above points the indescribable and unworldly nature of Rasa becomes fairly clear. Moreover Abhinava himself and the author of Kavya Prakasha have used certain phrases in their exposition of the Rasa-Sutra e.g. (i) Svakara ivabhinno' pi gocarikrtah101 (ii) brahmanandani ivanubhavayan 102 (iii) Svasamvedana-gocarah 103 (iv) alaukikanandamayasya104 (v) Sva-samvedanasiddhatvat105 etc. These epithets used in respect of Rasa have induced, of course, not unjustifiably, several scholars, modern 106 as well as ancient107 to consider that Abhinava's interpretation of the Rasa theory is based on the Vedanta Darsana. Let us see some of these epithets : (i) Svakara ivabhinno 'pi gocarikrtah: Like the self (atma) Rasa is Jnanarupa, yet it can be seen by atman itself as Kalidasa describes 'Atmanam atmany avalokayantam'108. In the same way Rasa which is of the nature of knowledge (bodha-svarupa) can also become the object (gocara) of knowledge, (u) Sva-samvedana-gocarah and (v) Sva-samvedana-siddha : Like the self (atma), Rasa is Sva-samvedya, self-conscious. One can only realise the Rasa by oneself and in one's own self, but it cannot be described since it defies all descriptions like the Atman. It cannot even be proved either by savikalpa or nirvikalpa-pratyaksa. (iii) Bralimanandam iva anubhavayan and (iv) alaukikanandamaya : These two are too clear to need any explanation for the word Brahma is used here specifically and Brahma is anandamaya. This Ananda is not the worldly transient Ananda but the Eternal Bliss. Rasa is very near to this Brahmananda with the following differences : (a) Brahmananda is eternal, Rasa-nanda lasts till the vibhavas etc. last. (b) Brahmananda is a state of nirvikalpata, but Rasananda or Rasa is beyond savikalpata and nirvikalpata. "In this lies the secret of its alaukikatva," says Abhinava. From these several common features of Rasasvada and Brahmasvada it may be proposed that abhinava's interpretation of the Rasa Theory is influenced, perhaps very heavily so, by the Vedanta philosophy. But this does not seem proper. Dr. K. C. Pandey109 has very ably and in a highly convincing and scholarly way established Abhinava's association with the Kashmir saivism. He has also pointed out in great detail the unquestionable influence of the Kashmir Saiva philosophy on Abhinava's aesthetic theory. For Personal & Private Use Only

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P. R. VORA SAMBODHI Abhinava110 and, following in his foot steps, Mammata111, have used several terms and phrases which are technical to the Kasmir saivism. e.g. (1) parimita pramata 112; (2) na parimitam sadharanyam, api tu vitatam 113; (3) bhunjanasyadbhutabhoga-spandavistasya manah karanam camatkarah 114; (4) Sphurann astu santana-vrtten115 etc. As I have already said these and many other traces of Kashmir Saiva philosophy are already pointed out by Dr. K. C. Pandey. It is worth noting that this saiva influence on the great Acharya's interpretation was well known to Bhatta Gopal, the learned author of the Sahityacudamani a commentary on the Kavya Prakasa. At least five hundred years from now Bhatta Gopala interpreted Abhinava's doctrine, as given in the Kavya Prakasa, in the light of Kashmir Saivism. He even quotes three verses116 from the Spanda Karikas to corroborate his explanation of the terms parimita and aparimita pramata. Who is an aparimita pramata ? The individual is a mere manifestation of the Absolute and as such he is related to temporal and spatial limitations; he is therefore called a parimita pramata, as a cogniser with utilitarian out-look. But when he is witnessing a drama (natya) the practical, utilitarian approach is absent, therefore he is freed from the temporal and spatial limitations. 117 He can, therefore, witness the drama and cognise the Vibhavas etc. and the sthayi in a universalised way, as Abhinava remarks : na parimitam sadharanyam api tu vitatam/118 (i. e. aparimitamor universalised). This is what they call 'Sadharanikarana. The absence of Savikalpa and nirvikalpa pratyaksa pramana119 also can be more suitably explained on the basis of Kashmir Saivism. Vikalpa is determinancy which has reference to the object related to temporal and spatial limitations as distinct from the subject. 120 But since the Absolute of Saivism, unlike the Brahman of Vedanta, is unity in multiplicity, we can account for this alaukila condition of Rasa in so far as it is neither perceived by Savikalpa nor by nirvikalpa pramana, for Sadasiva too is self-conscious yet nirvikalpa121. The word sphuran suggests sphuratta122 or satta a power of the Absolute also called Kriya, which appears in the individual in a limited way as Sattva. The word bhunjana is explained as suggesting a person who 'attains to the state of rest on self, when he sees a good drama presented on the stage'. 123 Dr. Pandey points out that 'the impediment in the form of object is totally absent 124 in the case of the aesthetic experience, whereas in the case of the experience of flavour this impediment is present. For Personal & Private Use Only

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Vol. XXV, 2002 THE INFLUENCE OF VARIOUS DARSANAS.... From this it appears that according to Abhinava aesthetic experience is far ahead of the state of Samprajnata Samadhi which according to Vedanta is a little away from the asam-prajnata samadhi due to the obstruction of Rasasvada, the last of the four obstructions on the way to reach the a-sam-prajnata samadhi, the other three being laya (mental activity), viksepa (distraction) and kasaya (Passion) 125. At this stage 'the yogi remains steeped in the beautific vision without the will to abandon the duality of the seer and the seen. It is the tasting or enjoying (asvada) of the substantial sap or flavour of the self. It is as though someone tasting palatable food should prolong indefinitely the act of holding it on the tongue'126. According to Dr. Pandey aesthetic experience, as Abhinava explains, belongs in its final stage to the level of Vyatireka Turiyatita in which all objectivity merges in the sub-conscious and the subject itself shines in its ananda. This stage bears comparison with the stage of rasasvada mentioned above, but the difference lies in the fact that in the former the vikapla merges in the subconscious while in the latter it is there. We have seen how the various interpretations differ. But it should not be forgotten that the chief aim of all the great scholars and Acharyas was to find out the process of the apprehension of Rasa. They should therefore not be thought to be contradictory theories. Each one of these writers had a constructive approach. These theories are the several rungs of the same ladder as Abhinava has pointed out, and Abhinavagupta stands on the shoulders of all these and has the last Word in the solution of this problem. That is why he says - urdhvordhvam aruhya yad artha-tattvam dhih pasyati srantim avedayanti / phalam tadadyaih parikalpitanam vikasa-sopana-paramparanam // tasmat satam atra na dusitani matani tany eva tu sodhitani / purva-pratisthapita-yojanasu mula-pratistha-phalam amananti // For Personal & Private Use Only

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4 P. R. VORA SAMBODHI NOTES 1. nATyavedaH kathaM brahmanabhyutpannaH kasya vA kRte / N. S. I. 4. also see (ibid) I. 6, 7, 15 to 17 etc. 2. nATyazAstraM pravakSyAmi brahmaNA yadudAhRtam / (ibid) I. 1, 7, 18. 3. jagrAha pAThyamRgvedAtsAmabhyo gItameva ca / yajurvedAdabhinayAn rasAnAtharvaNAdapi (ibid) I, 17. .. 4. See Kane : Hist. of Alamkarasastra (p. 49); Indian Aesthetics I. pp. 50, 80; Balribe sAhitya mImAMsA (marAThI) p. 123; kAvyaprakAza - S. N. Ghosal Sastri (p. 90). 5-6. sAhitya mImAMsA (p. 123); kA. pra. S. N. Ghosal shastri (p. 90). 7. kAvya prakAza I. 1. ___8. asAre kAvyasaMsAre Cp. kavirekaH (V/1 eva) prajApatiH / yathAsmai rocate vizvaM tathedaM parivartate / / dhvanyA0 (p. 488). 9. atazca raso'yamalaukikaH / locana (p. 158). 10. tasmAtsRjAparaM vedaM paJcamaM sArvavarNikam / N. S. I. 12. 11. kAvyAlaMkAra V. 32, 33. . 12. kAvyAdarza III. 127. 13. vayaM tu prakRtAnupayogizrutalavasandarzanamithyAprayAsasaMzrayam azikSitapUrviNaH etc. abhi.bhA. (p. 294). 14. evamayaM pUrNAluptAvibhAgo ..... zabdazAstravyutpattipradarzanamAtraprayojano nAtIvAlaMkArazAstre vyutpAdyatAmarhati / citramImAMsA caukhambA (1971) (p. 124). 15. alaMkAre guNe doSe rase vA kAvyasampadAm / pratItireva vidUSAM pramANamavasIyate // alaMkArazekhara (p. 23). 16. Introduction to the Study of Hindu doctrines (p. 230) - Rene Guenon. 17. Tripura Rahasya, for example uses the terms of Vedanta & Tantra but at times with different connotations - Shining Harvest (p. 16) - M. P. Pandit. 18. vibhAvAnubhAvavyabhicArisaMyogAdrasaniSpattiH / 19. See N. S. p. 288 ff. 20. rasanArtho rasastasya dravyamApaH / sUtrasthAna 21. yadi vA nATyameva rsaaH| abhi. bhA. (p. 270) 22. nATya eva ca rasAH (ibid) (p. 290) 23. dRSTastu tatpratyayo naTe bhramaH / (abhi. bhA. p. 264). 24. naTe tarhi kim ? AsvAdanopAyaH / ata eva pAtramucyate / na hi pAtre madyAsvAdaH / (ibid) (p. 291). 25. The spectator is called a sahRdaya or rasika, one who is qualified to appreciate a poem or a drama. For Personal & Private Use Only

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Vol. xxv, 2002 THE INFLUENCE OF VARIOUS DARSANAS.... 26. rasaH rasikavartI / ...kAvyaM na samAdInAM rasopajananAya kavibhiH pravartyate / api tu sahRdayAnAnandayitum / 27. N. S. VI 15, 16. 28. abhi. bhA. p. 332 ff. 29. The philosophy of Vaisnava Religion (VI p. 34) Girinarayan Mallick. (caukhambA ) 30. kumAra. V. 31. uSNatvamagnyAtapasamprayogAt zaityaM hi yatsA prakRtirjalasya / V. 32. saumyA khalu Apo'ntarIkSaprabhavAH prakRtizItA ladhvyazca avyaktarasAzca tAstvantarIkSAd bhrazyamAnAH bhraSTAzca paJcamahAbhUtaguNasamanvitAH ...jaMgamasthAvarANAM bhUtAnAM mUrtIrabhiprANayanti yAsu mUrtiSu SaDbhimUrcchanti rsaaH| caraka saMhitA Quoted by G. N. Mallick (p. 311) 33. The analogy of uscH is given by the saivas to illustrate the state of unity. 34. svaM svaM nimittamAsAdya zAntAdbhAvaH pravartate / punarnimittApAye tu zAnta eva pralIyate // abhi. bhA. (p. 340). 35. Cp. amaruzataka V. 14 ed & 15 cd,. etc. 36. Indian Aesthetics (p. 40). 37. Cp. (ibid) p. 40. Also sec Dhvani Theory in Sanskrit Poetics (p. 157), M. M. Sharma. 38. atrAha - rasa iti kaH padArthaH / ucyate AsvAdyatvAt / N. S. (p. ) 39. idaM tAvadayaM pratItisvarUpajJo mImAMsakaH praSTavyaH / kimatra paracittavRttimAtrapratipattireva rasapratipattirabhimatA ___ bhavataH ? (lo. p. 155); and ata eva parakIyA na cittavRttirgamyate etc. (ibid) p. 156.. 40. anubhAvaM ... pratIti yogyaH ... nartake'pi pratIyamAno rasaH / K. P. IV. 41. avaloka on D.R. IV 38. 42. avasthAnukRtirnATyam / D. R. I. 7a; cp. saptadvIpAnukaraNaM nATyametadbhaviSyati / N. S. I. 117. 43. mRteti pretyasaMgantuM yathA me maraNaM matam / ...prAk prItirdarzitA, seyaM ratiH zRMgAratAM gtaa| K. D. II 280, 281 ab and 282.283 ab. 44. K. D. II 284 to 287 ab. 45. krIDanIyakamicchAmo dRzyaM zravyaM ca yad bhavet / N. S. I 11 cd. 46. ratyAdyavinAbhUtaceSTAdipratipAdakazabdazravAdabhidheyAvinAbhAvena lAkSaNikI ratyAdi pratItiH / dhanika's avaloka (p. 96) on D. R. IV 37. 47. See K. P. II : avinAbhAvo'tra sambandhamAtraM na tu nAntarIyakatvam / (p. 22) (Anandasrama Ed.) For Personal & Private Use Only

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16 P. R. VORA SAMBODHI 48. D. R. I 7c 49. Acharya Vishveshwara's Ed. of K. P. (p. 102). 50. naTe tu tulyarUpatAnusandhAnavazAdAropyamANaH etc. | pradIpa (p. 91) and sAmAjikairnaTAdAvAropyate / udyota (p. 91). 51. This conjecture is based on the following evidence : (i) 'pratItiyogyaH kRtaH' is explained as suggesting gamyagamakabhAva (vidyAcakravartI & bhaTTagopAla on K. P. p. 185). (ii) abhinava in his locana & mammaTa in K. P. discuss an opinion according to which THUT can well serve the purpose of saf which was, therefore, redundant. - (cp lo. I and K. P. II). 52. cp. S. N. Goshal Shastri (K. P. (p. 7). 53. Hist. of Alamkara Sastra (p. 49). 54. D. R. IV 37 & avaloka thereon. 55. K. P. II, 1 ff. 56. D. R. (p. 4). 57. In the K. P. (pradIpa-udyota) (AnandAzrama Ed.) The reading is : sAmAjikAnAM vAsanayA caLamANo rasa iti zrIzaGkukaH / (p. 94). mANikya does not refer to vAsanA, though K. P. (saMketa) (AnandAzrama Ed.) reads vAsanayA caLamANaH etc. / (p. 43). The word vAsanayA is not there in the Trivandrum Ed. with saMpradAyaprakAzinI & sAhityacUDAmaNi (loc. cit. p. 109) 58. K. P. (p. 107) : rAma iti pratItyA etc. 59. abhi. bhA. (p. 284) : sthAyyeva vibhAvAdi pratyAyyo rasyamAnatvAdrasa ucyate / 60. See saMpradAyaprakAzinI (p. 107) 61. dhIrasAvayamityasti nAmAvevAyamityapi / quoted - by bhaTTagopAla in sA.cU. (p. 107). 62. udyota (p. 92). 63. yogasUtra I. 9. 64. (ibid) (Eng. Trans). J. H. Woods (p. 26) (1977) Motilal Banarasidass. 65. loc. cit. p. 273. 66. loc. cit. (p. 186) : bhittAviva haritAlAdinA azvAvabhAsaH / 67. loc. cit. (p. 276). For Personal & Private Use Only

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Vol. xxV, 2002 THE INFLUENCE OF VARIOUS DARSANAS.... 17 68. See K. P. II where mammaTa resorts to zrutA or dRSTA arthApatti to controvert mukula's ____contention that pIno devadatto divA na bhuGkte / is an illustration of lakSaNA / 69. like that of samavAya by the vaizeSika's. 70. K. P. I budhairvaiyAkaraNai pradhAnabhUtasphoTa / 71. zapathairapi cAdeyaM vaco na sphoTavAdinAm / kAvyAlaMkAra (VI. 12 ab.). 72. yatrApi liMgajJAnaM mithyA tatrApi na tadAbhAsAnumAnaM yuktam / abhi. bhA. (p. 275). 73. maNipradIpaprabhayoH This verse is quoted by hemacandra (K. S. p. 93) and Manikyacandra (saMketa on K. P. p. 43). But in the G.O.S. Ed. of N.S. it is given in square brackets (See abhi. bhA. p. 273) vyaktiviveka has quoted this verse (loc. cit. p. 59) caukhambA (1979). . 74. Gnoli : The Aesthetic Experience According to Abhinava (p. 30; fn. 7) 75. krIDatAM mRNmayairyandad bAlAnAM dviradAdibhiH / svotsAho svadate tadvacchrotRRNAmarjunAdibhiH / / D. R. IV 41 ___ed. 42 ab. 76. darzanasukhamanubhavataH sAkSAdiva tanmayena hRdayena / smRtikAriNA tvayA punarapi citrIkRtA kAntA / zAku. VI. 21. 77. samAdhyavasthAsadRzeneti piNDitArthaH / sampradAyaprakAzinI on K. P. IV (p. 111) Vol. I. 78. pradIpa (pp. 95-96) 79. cp. Visvesvara K. P. (p. 107). This has been controverted by Revaprasad __Dwivedi in his article bhuktivAde sthAyibhAvAzrayaH / cArudeva zAstrI-abhinandana grantha (p. 130). 80. cp. sAMkhyamate puruSe vRttipratibimbena tatsamAnAkAratvameva tadviSayakajJAnamiti bhAnaH / udyota (p. 96). 81. loc. cit. (pp. 95-96). 82. sampradAyaprakAzinI on K. P. IV (pp. 111-112). 83. yogasUtra I. 33 also J. H. Woods (Eng. Trans.) (p. 71). 84. saM. pra. (p. 112). 85. cp. samAdhyavasthA sadRzeneti piNDitArthaH / (ibid) (pp. 111 & 112). 86. See (hindI) kAvyaprakAza (p. 74). 87. cp. "bhaTTanAyaka did not come under the influence of either (i. e. dhvani or zaiva metaphysics). He was an avowed opponent of the spiritual meaning theory and wrote a work, EG44Ut with the expressed object of demolishing it." I. A. (p. 72). For Personal & Private Use Only

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. om P. R. VORA SAMBODHI 88. Philosophies of India (p. 437-9) H. Zimmer. 90. loc. cit. parabrahmAsvAdasavidhaH / (p. 183) & parabrahmAsvAdasabrahmacAritvaM cAstvasya rasAsvAdasya / (p. 190). 91. parabrahmAsvAdasavidhena bhogena paraM bhujyata iti / abhi. bhA. (p. 277). 92. See Locan (p. 189). 93. tA eva ca parityaktavizeSA rasahetavaH | D. R. IV 41 ab. 94. rasaH rasikavartI / D. S. IV 38-39 (See fn. 4 on p. 4). 95. sarvasvaM tu rasasyAtra guptapAdA hi jAnate / quoted by mANikyacandra on (K. P. p. 52) 96. K. P. (p. 112-121); abhi. bhA. p. 277-287 and locana p. 155ff. 97. K. P. (p. 113). 98. (ibid) (p. 113). . 99. (ibid) (p. 114). 100. (ibid) (p. 114 ff) and abhi. bhA. (p. 279). 101. abhi. bhA. (p. 285) and K. P. p. 115. 102. abhi. bhA. (p. 285) tarhi rase niSpattiriti katham etc. 103. (ibid) (p. 285) rasanA ca bodharUpaiva etc. 104. svAkAra ivAbhinno'pi gocarIkRtaH / K. P. (p. 115 ff). 105. brahmAsvAdamivAnubhAvayan / (ibid) (p. 117) Abhinava has not used this analogy to explain his own theory. 106. K. P. (p. 115 fi). . 107. (ibid) (p. 117 ff). 108. (ibid) (p. 120 ft). 110. (ibid) (p. 121). 111. (ibid) (p. 121). 112. cf. I. A. (p. 87). 113. See pradIpa-udyota p. 97 ff & rasagaMgAdhara (p. 88) (caukhambA). 114. kumAra0 VII, 50. 115. Abhinavagupta, An Historical & Philosophical Study (p. 165 ff) & I. A. Vol. I. For Personal & Private Use Only

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Vol. XXV, 2002 THE INFLUENCE OF VARIOUS DARSANAS.... 116. abhi bhA. p. 277 ff. 118. K. P. (pp. 112-120). 119. (ibid) (p. 120). 120. abhi. bhA. (p. 279). 121. (ibid) (p. 279). 122. (ibid) (p. 279). 123. sAhityacUDAmapi (p. 112 ft). 124. spandakArikA I 14 to 16 :- avasthAyugalaM cAtra kAryakartRtvazabditam / kAryatA kSayiNI tatra kartRtvaM ___ punarakSayam / / kAryonmukhaH prayatno yaH kevalaM so'tra lupyate / tasmin lupte vilupto'smItyabudhaH pratipadyate // na tu yo'ntarmukho bhAvaH sarvajJatvaguNAspadam / tasya lopaH kadAcitsyAdanyasyAnupalambhanAt // 125. cp. I. A. (p. 150). 126. abhi. bhA. (p. 279). 127. K. P. II (p. 121) & abhi. bhA. (p. 285). 128. I. A. (p. 96). 129. I. A. (p. 96). 130. (ibid) (p. 114). 131. (ibid) (p. 108). 132. cp. (ibid) (p. 109). 133. Philosophy of Vedant And Vedantsara (p. 80) Jacobi. 134. Philosophies of India (pp. 437 ff) -H. Zimmer (1957), Meridian Ed. :135. I. A. pp. 134 & 142. 36. See abhi. bhA. (p. 278). For Personal & Private Use Only

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GENERAL INTRODUCTION TO UPARUPAKAS AND EXAMINATION OF SRI-GADITA AND DURMILIKA IN PARTICULAR TAPASVI NANDI Dramaturgists beginning with Bharata, and also writers on Indian literary aesthetics, the alamkarikas, beginning with Bhamaha and Dandin who also imbibe in them earlier traditions preserved in works now lost to us, speak of various art-forms prevalent in the dramatic and also performing arts, and also various literary forms not to be discussed here. Ten principal types of drama and also natika, the eleventh, are discussed by Bharata, and it may be noted that dramaturgists following Bharata accept practically all the features of these major dramatic forms without any deviation in their general concept and features. But along with these major dramatic forms must have emerged, almost parallel to these, many other art-forms. known as 'upa-rupakas' to later tradition. Perhaps these art-forms were the out-come of more say, folk-art than classical art and had not only drama in them, but were fused more with song, dance and music, of course with abhinaya' or acting also continuing as their life-breath. Abhinavagupta mentions a number of them. But prior to him Bhamaha and Dandin in the field of literary aesthetics and Vatsyayana the author of Kamasutra and even Kumarila the author of sloka-Varttika had an occasion to mention a few of them. Abhinavagupta quotes Kohala and others and also Harsa's Varttika that make a mention of some art-forms which embrace the dramatic art and we may say, they are also the representatives of performing art in general. The idea is that these forms do not divorce themselves from drama, but are also something plus; a spectacle full of dance, music and song. That way we may say that the fourth act of Vikramorvasiyam of Kalidasa can be taken as a unique performance though of course conceived here as part of drama. But perhaps parallel to this and outside drama proper some other minor art-forms must have For Personal & Private Use Only

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Vol. XXV, 2002 GENERAL INTRODUCTION TO UPARUPAKAS... developed on Indian stage as fresh contribution to the field of performing art in general. They were perhaps known as upa-rupakas or minor types of drama. We will not talk about what Abhinavagupta and his predecessors both in the field of dramaturgy and literary criticism and even in other fields had to say. Bur we will begin with Dhananjaya / Dhanika and Bhoja, and move on to what Hemacandra, Ramacandra and Gunacandra, Saradatanaya, Sagaranandin, Vagbhata II and Visvanatha have to say about these minor types of drama or better say, types of performing art in general. There art-forms need not be just drama, where an artist. necessarily plays the role of a given character either historical or imaginary. But they do not cease to be drama either, because a stage-performance by an artist does involve an element of 'abhinaya' i. e. 'acting' also; and 'abhinaya' is the life-breath of dramatic art. But it is equally true that these art forms had their roots in folk-traditions which continue in various forms and under various names even to-day in many parts of India, such as in Rajasthan, Madhya-pradesh, Maharashtra, Gujarat, Kerala, Tamilnadu, Orissa, Bengal, and some eastern states also. All these modern folk-art forms perhaps owe their origin to these "preksya" types of minor plays, these upa-rupakas as recognised by Bhoja and others. 21 We will take a very brief account of what the Dasarupaka (DR) of Dhananjaya and the Avaloka of Dhanika on it has to say about these art-forms. It may be noted that the DR. divides natya into major type i. e. rasasraya, comprising of the ten types of drama as enumerated and discussed by Bharata, and the minor type which takes care of bhava i. e. which is bhavasraya. The former is called 'rupaka' and the latter "nrtya", which is 'bhavasraya' and is of the form of 'padarthabhinaya', the former being 'rasasraya' and of the form of 'vakyarthabhinaya'. Dhanika in his Avaloka on DR. I. 9 (pp. 8,9; Edn. The Adyar Library series, vol. 97, T. Venkatacharya, '69, Madras) observes: "rasasrayan natyad bhavasrayam nrtyam anyad eva. tatra bhavasrayam iti visaya-bhedan nrtyam iti nrter gatra-viksepar thatvenangika-bahulyat tat-karisu ca nartakavyapadesalloke'pi range preksaniyakam iti vyavaharan natakader anyan nrtyam, tad bhedatvac chrigaditader na'vadharana'nupapattih. natakadi ca rasa-visayam, rasasya ca padarthibhuta-vibhavadi-samsargatmakavakyartha-rupatvad vakyarthabhinayatmakatvam rasasrayam ity anena darsitam natyam iti ca 'nata avaspandane' iti nateh kincic calanarthatvat sattvika-bahulyam. ata eva tat-karisu nata-vyapadesah. [loke'pi ca range natyam iti vyapadesah. etad uktam bhavati] yatha ca gatra-vikseparthatve samane' pyanukaratmatvena nrtyad anyan nrttam, For Personal & Private Use Only

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22 TAPASVI NANDI SAMBODHI tatha vakyarthabhinayatmakan natyat padarthabhinayatmakam anyad eva nstyam iti." The difference is here brought out by Dhanika who holds that nrtya is "angika-bahula" and natya is sattvika-bahula; the former has concern more with physical movements and with some feelings only, the latter has more psychological activity and is rasa-based. Rasa for Dhananjaya-Dhanika is collected through tatparya sakti and is therefore here termed as vakyarthabhinaya-rupa. Dr. Raghavan observes (pp. 538, ibid)- "Therefore, the tatparyavadin, and mainly the Dasarupaka and the Avaloka on it, are responsible for introducing this new nomenclature and terminology to distinguish the major and the minor dramatic varieties. Vakyarthabhinaya and padarthabhinaya are not phrases born in the Kashmirian tradition represented by Abhinavagupta." Dr. Raghavan here gives a foot-note in which he concedes that even Abhinavagupta uses such terms as padartha and vakyartha, but observes that they are not in the sense used by the Avaloka. But we feel that even the Dhv. uses these terms with a shade of meaning closer to major and minor senses quite often when rasa is described as 'vakyartha' at many places and bhavas as padartha. Be it as it is, but the DR. and the Avaloka use these terms to distinguish between major and minor forms of stage performances. We have called them artforms in general with the former having anukarana and therefore rupana as its soul with acting as its medium and the latter having suggestive movements of limbs i. e. dance as its medium. In all these types, there is no imitation like as it is in drama proper. So the upa-rupakas are art-forms, varieties of performing art and not rupaka or drama proper. Bhoja also seems to follow the phraseology of the DR. and Avaloka to distinguish between major and minor art-forms, i. e. the rupakas and the uparupakas. But Bhoja does not suggest that he accepts the views of the DR. in this respect. This strengthens our earlier observation that these terms viz. padarthabhinaya and vakyarthabhinaya need not be taken as trade-marks of the DR. & Avaloka only as Dr. Raghavan suggests, but actually their roots and practice were still older; perhaps even older than Anandavardhana. Even Anandavardhana (pp. 170, Edn. K. Kris.) Observes : na ca rasesu vidhyanuvadavyavaharo nastiti sakyam vaktum, tesam vakyarthatvena abhyupagamat.) .... evamvidha-viruddha-padartha-visayah katham abhinayah prayoktavya iti cet, anudyamanaivamvidha-vacya-visaye ya varta sa'tra'pi bhavisyati .... etc." For Personal & Private Use Only

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Vol. XXV, 2002 GENERAL INTRODUCTION TO UPARUPAKAS... 23 Thus padartha-visaya-abhinaya, and therefore also vakyartha-visaya-abhinvaya are not absolutely new terms. For Bhoja, the ten rupakas and also natika and sattaka are rasasraya varieties and thus they make for twelve, major types. Prior to Bhoja, it is the Abhinavabharati which mentions some upa-rupakas with their features. The relevant portions from the A.bh. make it clear that Abhinavagupta probably knew all the art-forms known to 'Kohaladi' and also to Harsa as quoted from his varttika. So, we will not be away from truth if we conclude that Abhinavagupta knew the following upa-rupakas viz. (1) totaka (2) sattaka (3) rasaka (4) kavya (5) raga-kavya (6) dvipadi (7) samya (8) skandhaka (9) lasya (10) chalita (ka). These are through Kohala and others and Bhamaha and Dandin. Perhaps through Vatsyayana's Kamasutra he also knew (11) Hallisaka, (12) Natyarasaka and (13) Preksanaka. Through Kumarila again Dvipadi and Rasaka are known which were read in earlier domuenents also. Again A. bh. mentions further upa-rupakas (ch. IV. N.S.) such as-(14) Dombika (15) Prasthana (16) Silpaka or sidgaka (17) Bhanaka (18) Ragakavya (19) ka (20) prerana (21) Ramakridaka, with Rasaka and Hallisaka already enumerated. Avaloka also was perhaps available to Abhinavagupta and there we find seven varieties of notya such as dombi, (= dombika), (22) Srigadita, and bhana, bhani, prasthana, rasaka and kavya--all noted above. Bhoja was perhaps acquainted with all these names and also their features through different sources prior to him. But actually Bhoja enumerates the following twelve types of uparupakas, such as-(i) Srigadita (2) durmilika (or ta), (3) prasthana (4) kavya (or citra-kavya), (5) bhana (suddha, citra and sammilita), (6) Bhanika (7) gosthi (8) hallisaka (9) nartanaka (10) preksanaka (11) rasaka (12) natya-rasaka or carcari. The uparupakas as noted above are closer to dance than drama and could be representative of folk-art also. Many of these are performed by a single artisti. e. ekaharya'. Hemacandra following Bharata, gives natika after treating the ten major types. He classifies Kavya=literature into preksya and sravya. Preksya again is pathya and 'geya'. Paehya are the ten rupakas and natika and among geya varieties, -- which are also preksya and therefore enacted on stage and make for visual art-forms belonging to the class of performing art in general, - he enumerates (1) dombika (2) bhana (3) prasthana (4) singaka (5) bhanika (6) For Personal & Private Use Only

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24 TAPASVI NANDI SAMBODHI prerana (7) ramakrida (8) hallisaka (9) rasaka (10) gosthi (11) srigadita and (12) raga-kavya, etc. He says that details for these which he has only defined should be sought from "brahma-bharata-kohaladi-sastrebhyah avagantavyah." The Natyadarpana of Ramacandra and Gunacandra talks of other varieties of rupaka at the end of the fourth chapter when it is stated : tad evam natakadini vithyantani dvadasa rupani sa-prapancam laksitani. anyanyapi rupakani drsyante. The ND. does not call these as upa-rupakas, or geya etc. but simply states that there are other forms of rupaka or drama also. But when the ND. describes them in brief and separates them from the first twelve, it follows that they are taken as minor varieties. They are enumerated as : (1) sattaka (2) srigadita (3) durmilita (4) prasthana (5) gosthi (6) hallisaka (7) samya (8) preksanaka (9) rasaka (10) natya-rasaka (11) kavya (12) bhana and (13) bhanika. The ND. enumerates natika and prakarani as major types. For Saradatanaya (ch. IX) (IX), the minor types are 'padarthabhinavarmaka' and are twenty such as (1) totaka (2) natika (3) gosthi (4) sallapa (5) silpaka (6). dombi (7) preksanam (8) natya-rasaka (9) rasaka (10) ullapyaka (11) hallisaka (12) durmallika (13) kalpavalli (14) mallika (15) parijataka (16) lasaka (17) srigadita (18) bhana-bhani (19) prasthana & (20) Kavya. For NLRK (i. e. Natakalaksana-ratna-kosa) of Sagaranandin, the uparupaka types are : (1) gosthi (2) samllapa (3) silpaka (4) prasthana (5) kavya (6) Hallisaka (7) srigadita (8) bhanika (9) bhani (10) durmalika (11) preksanaka (12) rasaka (13) natya-rasaka (14) ullapyaka. Natika and Trotaka are enumerated with the major types. Vagbhata II mentions natika and sattaka and the 'geya' varieties after Hemacandra, such as- (1) dombika (2) bhana (3) prasthana (4) bhanika (5) prerana (6) singaka (7) ramakrida (8) hallisaka (9) srigadita (10) rasaka (11) gosthi (and the rest.) Singabhupala in his Rasarnava-sudhakara speaks only of natika and takes it only as a mixed variety of nataka and prakarana which does not deserve a separate recognition for him (Rs. III. 218-222). He does not talk of other upa-rupakas. Vidyanatha does not mention anything beyond the ten major types (Pra. Ru. Nataka-prakarana, pp. 73-74, Edn. Madras, '14, ibid). Visvanatha enumerates (SD. VI. 4-6) (1) nalika (2) trotaka (3) gosthi (4) satdaka (5) natya-rasaka (6) prasthana (7) ullapyaka (8) kavya (9) prenkhanam (10) rasaka (11) samlapaka (12) srigadita (13) silpaka (14) vilasika (15) durmallika (16) prakarani (17) hallica (18) bhanika. They are eighteen in all. For Personal & Private Use Only

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Vol. XXV, 2002 GENERAL INTRODUCTION TO UPARUPAKAS... 25 Actually before starting with Bhoja we will notice the total varieties of uparupakas amounting to 44 or 45, as recognised by all theorists. We feel that some uparupakas are named slightly differently by this or that theorist, but actually the type may be identical. The result of our analysis may be roughly placed as under It may be noted that we will treat our theorists in their chronological order beginning with Bhoja as he is the first author who deals with this topic systematically and perhaps more seriously. The result of our analysis roughly gives the following picture, which shows different art-forms discussed by different authorities or at least known to them. - -- (1) Natika: This form is discussed by practically all beginning with the N.S. of Bharata. So we have Bharata (B); Dhananjaya/Dhanika (Dha); Bhoja (Bho). Hemacandra (H.), Ramacandra and Gunacandra, i. e. Natyadarpana (ND); Vagbhata II (Vag.), Singabhupala in Rasarnava Sudhakara (RS.), Sagarnandi, Nataka-laksanaratna-kosa-(NLRK), Visvanatha (Sahityadarpana) (SD./Vis.); & Bhavaprakasana (BP.) of Saradatanaya (=Sa). (2) Dvipadi Bhamaha (=Bha.); Abhinavagupta (A.bh.), Kumarila (Ku.); (3) Rasaka Bha., Abh.; Ku., ND; NLRK; Vag.; (4) Skandhaka : Bha. Abh.; (5) lasya Dandin (Da.); Abh.; (6) Chalita Da; Abh; (7) Samya - Da; Abh; ND; (8) Sattaka Abh.; ND; Vag.; Bho; Vis. (9) Totaka or Trotaka- Abh.; Sa; Vis; (10) Kavya Abh.; ND; . - (11) Ragakavya - Abh., H. (12) Hallisaka OR Hallisa - Vatsyayana; Abh.; Bho; H.; ND; Sa.; NLRK.; Vag.; Vis. (13) Natya-rasaka OR Carcari - Vatsya.; Bho; ND; Sa.; NLRK Vis.; (14) Preksanaka OR Penkhanaka - Vatsya.; Bho; ND., NLRK.; Vis.; (15) Rasaka Abh.; Dha; Bho; H.; Sa; Vis. (16) Ullopyaka OR Ullapyaka - Sa. NLRK; Vis.; For Personal & Private Use Only

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26 TAPASVI NANDI SAMBODHI (17) Preksana - Sa.; (18) Dombika or dombi Abh.; Dha; H.; Sa; Vag; (19) Prasthana - Abh.; Dha.; Bho; H.; ND.; Sa., NLRK; Vag.; Vis. (20) Silpaka OR Sidgaka - Abh.; Sa; NLKR; Vis. (21) Bhanaka * Abh.; (22) Bhanika - Abh.; Bho; H. ND; NLRK; Vag., Vis. (23) Prerana - Abh.; H. Vag.; (24) Ramakridaka - Abh.; H.; Vag. (25) Srigadita - Dha.; Bho; H., ND; Sa. NLRK; Vag.; Vis. (26) Bhana - Dha.; Bho; H., ND. Vag. (Bhana/Bhanaka; Bhani/Bhanika could be identical. But we have mentioned them separately as their names appear differently. Similarly, dombi / dombika, ullopyaka / ullapyaka, perhaps kavya / raga-kavya and sallapa-samlapaka - could be one and the same.) (27) Bhani - Dha; Sa.; NLRK; (28) Kavya - Dha; Bho, Sa.; NLRK; Vis. (29) Durmallika - or Durmilika - Bho; Sa; NLRK; Vis. (30) Gosthi - Bho; H.; ND.; Sa; NLRK.; Vag; Vis. (31) Nartanaka - Bho; (32) Singaka (or sidgaka ?) - H. Vag. (33) Durmilita - ND; (same as 29 above ?) (34) Preksana - Sa. (35) Parijataka - Sa. (36) Kalpavalli - Sa. (37) Mallika - Sa; (38) Lasaka - Sa. (39) Sallapa - Sa. (40) Samllapaska)- NLRK. Vis. (41) Vilasika - Vis. (42) Prakarasi - ND. For Personal & Private Use Only

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Vol. XXV, 2002 GENERAL INTRODUCTION TO UPARUPAKAS... We will now proceed with examining the special features of two of these uparupakas, given by Bhoja, - to begin with. First, we will introduce this topic with a quotation from Dr. Raghavan (pp. 546, ibid). "The uparupaka chapter of Sanskrit Natyasastra treatises is very important for students of the history and development of Indian dance and minor representations belonging to the vast indigenous Indian theatre. The uparupakas are, as distinguished by Bhoja and Dhananjaya, emotional fragments, compared to rupakas which present a major theme with the unity of a single rasa running through and fed by other subsidiary rasas. Although ancient Indian drama or Sanskrit drama as envisaged by Bharata is of the nature of a dance-drama, with music and dance-movements, it is the uparupaka class of performances that is so par excellence; for in them music and dance predominate; most of them are merely dances accompanied by songs, interpreting through abhinaya or gesture the emotional contents of the song. Many are, like the Bhana among the dasarupakas, done by one person: ekapatra-harya; in fact, the verse cited in the Dasa-rupakavaloka (I. 8) makes all the seven varieties, Dombi etc., 'eka-harya.' Whatever definitions early works like that of Kohala might have given to each of the forms in this class, we do not have now; and except for stray references and discussions in the Abhinavabharati, as at the end of ch. IV., the Sr. Pra. of Bhoja is the earliest treatise available to us which fully describes them. It is from the Sr. Pra. that Saradatanaya borrows his descriptions of many of the uparupakas in ch. IX. of his work."- With due respect to Dr. Raghavan, we will not use the term "borrows". Perhaps Saradatanaya also had a living tradition before him and he gives some more types also. It is better to use the term "accepts" in place of "borrows", for both Hemacandra and Saradatanaya and later Visvanatha. These authors "accept" what is found to be "acceptable". This is a better expression, which does justice to the efforts of later writers. We now begin with two of the uparupakas as seen in Bhoja and also as accepted by later theorists. -(1) Srigadita (pp. 466, Sr. Pra. ibid)- Bhoja defines it as, "tatra sririva danava-satror, yasmin kulangana patyuh; varnayati saurya-dhairya-prabhrti-gunah agratah sakhyah, patya ca vipralabdha gatavye tah kramad upalabhante. srigaditam iti manisibhir udahrto'sau, padabhinayah" 27 For Personal & Private Use Only

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28 TAPASVI NANDI SAMBODHI This uparupaka is concerned with moments of separation and hence there is vipralambha-sngara depicted in it. The person concerned is a kulangana, a lady from a respectable family, and she describes her feelings to a friend, a second character here. The description is centred round the husband's high qualities of valour, firmness or fortitude, etc. If she is deceived by her lover / husband, she is a vipralabdha and she in turn admonishes (him). The theme is presented in song. This is a variety of padarthabhinaya as against vakyarthabhinaya. Bhoja does not cite any illustration of this type. The name 'Sri-gadita' is explained by Bhoja as due to the fact that the kulangana, a heroine belonging to a noble family, describes (gadita) her husband's qualities like goddess Laxmi or Sri, describing those of her lord, Narayana. The 'Srigadita' of Bhoja can be placed with the Sidgaka or Silpaka of Abhinavagupta. In this a separated heroine relates' to her friend the bad and unruly conduct of her husband. Sidgaka represents only a complaint and therefore a negative aspect of the narrator lady's husband, the Srigadita first describes the good qualities and then after being deceived, the lady finds fault with her husband. Dr. Raghavan tries to place this variety with the modern 'Kuravanci' art-form prevalent in Tamil. We have noted above that this art-form is known to Dhanika, Hemacandra, the Natyadarpana, saradatanaya, the NLRK., Vagbhata II, and Visvanatha. Dhanika simply mentions srigadita by name, under DR. I. 8., in a verse along with dombi, bhana, bhani, prasthana, rasaka, and kavya - a total of seven artforms in all, over and above the ten major types and also natika. Hemacandra (Ka. sa. VIII. vs. 69. Edn. Parikh/Kulkarni, pp. 449) has "yasmin kulangana patyuh sakhyagre varnayed gunan, upalambham ca kurute, geye srigaditam bhavet." This is the same as Bhoja. This is 'geya/preksya.- It is an art-form where song (geya) and also dance predominate. H. accepts Bhoja. The Natyadarpana has (ND. IV. sutra 299/1,2) : sririva danavasatror yasmin kulangana patyuh... etc. This is accepted from Bhoja without any change. No illustration is cited. For Personal & Private Use Only

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Vol. XXV, 2002 Saradatanaya has - (BP. IX. 13, pp. 378, GENERAL INTRODUCTION TO UPARUPAKAS... Edn. Agrawal, ibid)"atha srigaditam vidyat prasiddhodatta-nayakam, bharati-vrtti-bahulam udatta-vacananvitam. garbhavamasa-sandhibhyam sunyam prakhyata-nayakam, ekankam, vipralambhakhyarasa-prayam kvacit kvacit. yasmin kulangana patyuh saurya-dhairyadikan gunan, sakhinam agrato vakti, tan upalabhate'tha va. vipralabdha ca tenaiva yadi, tatsangamasaya asina, yatra lalitam priyabhoga-vibhusitam utkanthita pathed-gayet pathyam va gitameva va, evamvidham srigaditam ramanandam yatha krtam." Saradatanaya has something more to say than the earlier writers. He cites an example viz. Ramanandam. For Saradatanaya, this art-form is not just all dance and music but is a play, a type of drama, with one act and three samdhis such as mukha, pratimukha, and nirvahana, with garbha and avamarsa absent from it. It has a famous and nobly born hero and is decorated with lofty expression udatta-vacananvitam. There is prominance of bharati-vrtti and this suggests that the physical action may be on a low key with descriptive element thriving. Because of this we have a lot of talks, wherein a lady from a noble family describes before her friends (=sakhinam agrato vakti) (and this is against a single friend as described by Bhoja, Hemacandra and the ND), the high qualites 29 For Personal & Private Use Only -

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30 TAPASVI NANDI SAMBODHI of her husband, or she rebukes him or runs down these qualities in case if she is deceived by him. She sits there with a hope of getting united with him and dresses herself in beautiful attire and ornaments. This is also the vasakasajja avastha. Perhaps after getting ready and waiting for him for long she feels frustrated and finds faults with him. She is utkanthita also, and getting very eager she either recites or sings. Thus, there is lot of love in separation here. But what is important for Saradatanaya is that he calls it an art-form to be staged in a single act. The nayika appears in three stages as vasaka-sajja, utkanthita and vipralabdha. The nayaka is also a famous character 'prasiddhodatta' and 'prakhyata', which perhaps gives some historicity to the story or theme. The NLRK. has the following : atha srigaditam. yatra strir asina karunam pathati. ekankam. udatta-vacana-kstam, bharati-vTtti-pradhanam, prakhyata-vastunayakam, yatha- krida-rasatalam. Obviously the NLRK. has the definition of sri-gadita modelled on Saradatanaya. Dr. De (SP.) (pp. 310) observes that Sagaranandin's date is uncertain but Bahurupa Misra (later than 1250 A.D.) knows him. So, he could be somewhere between 1150 AD-1200 AD. Saradatanaya is placed by Dr. De (pp. 238, SP. ibid) between 1100-1300 A. D. So, either Saradatanaya was Sagaranandin's near predecessor or was his contemporary or perhaps even his junior contemporary. But looking at NLRK'S style and treatment, it seems its author tries to give prose summary of authentic works. Hence, we are inclined to place Saradatanaya earlier than Sagaranandin. But this is only a personal impression. It could be otherwise also. But for the sake of convenience we will place NLRK after BP. Or, both of them must be imbibing a common tradition, perhaps seen earlier in Bhoja - what we may call the Malava tradition. So, for NLRK also, as seen in BP., this minor art-form has one act, is having bharati vitti as predominant diction, is having a famous theme and a famous hero, and is full of lofty expressions and the female character here is engaged in * woes - karunam pathati - perhaps because she is deceived by her husband whose great qualities have proved to be otherwise in her case personally, especially where love-matters are concerned, the illustration cited is kridarasatalam. The BP. has a more elaborate and more methodical presentation which thus could be, possibly an iinprovement on NLRK'S presentation and therefore later. Whatever it may be, for our methodology we have preferred to place the BP. earlier than the NLRK. For Personal & Private Use Only

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Vol. XXV, 2002 GENERAL INTRODUCTION TO UPARUPAKAS... 31 Vagbhata (II), naming his work and also modelling it after the Kavyanusasana of Hemacandra, calls srigadita as 'geya' art-forin. Hemacandra divides 'preksya' i. e. abhineya as pathya and geya, but Vagbhata does not indicate that he takes geya also as abhineya. But we may conclude that as he chooses to follow Hemacandra, for him also the 'geya' art-forms are part of abhineya also. He observes : (pp. 18, ibid) "ekasitram tu neta syad gopastrinam yatha harih. yasmin kulangana patyuh sakhyagre varnayed gunan, upalambliani ca kurute. geye srigaditam tu tat." As is Hari of gopis, so there is one neta i. e. nayaka and in this 'geya' artform, the heroine, a nobly born lady, describes before her friend the qualities of her husband, and also passes adinonition. In the Sahitya-darpana (=S.D.) Visvanatha obsesves : (S. D. VI. 293/295) : "prakhyatavittam ekangam prakhyatodatta-nayakam, prasiddha-nayikam, garbha-vimarsabhyam vivarjitam. (VI/293) bharati-vitti-bahulam sri-ti-sabdena sankulam, matan srigaditam nama vidvadbhir uparupakam. (VI/294) stir (strir) asina srigadite gayet kincit pathed api, ekanko bharatipraya iti kecit pracaksate. (VI. 295) Obviously this is modelled after the BP. But there is something more. Visvanatha does not cite an illustration, which he does quite often in other artforms. Here he says -- uhyam udaharanain. Then, he says that this art-form is For Personal & Private Use Only

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32 TAPASVI NANDI SAMBODHI "sri"-iti sabdena sankulam." Perhaps he came across illustrations where 'Sri-sabda was read invariably. In vs. 295, he says srir asina.... meaning wherein Sri or Laksmi, while sitting either sings or speaks. But our suggestion is that is place of Sri we can read 'Stri', for it is so in other definitions also. The NLRK read-yatra strir asina karunam pathati, wherein we do not have a reference to 'geya'. Here we have "gayet" and "pathet". So, perhaps in Visvanatha's time this art-form had both song and recitation also. Again, the S. D. expects the nayika also to be prasiddha i. e. famous. The SD. clearly calls it an "upa-rupaka". But its having one act is an opinion held by 'some' - 'kecit pracaksate'. So, for Visvanatha also this is an art-form with dance, eloquence and acting also, as its special features. Like the BP. this act has neither 'garbha' or 'vimarsa' juncture. Durmilika (or, .ta) is the next art-form, Bhoja discusses at sr. Pra. XI. pp. 466, ibid. Bhoja observes : "caurya-rata-pratibhedam yunor anuraga-varmanam va'pi, yatra gramya-kathabhih kurute kila dutika rahasi, mantrayati ca tadvisaye nyag-jatitvena yacate ca vasu, labdhva'pi labdhum icchati durmilita namasa bhavati. This art-form is also discussed later by ND., BP., NLRK and also SD. ND. calls it Durmilita. BP. calls it Durmallika. SD. calls it "Durmalli". For Bhoja, its theme concerns itself with a secret love-intrigue or it is sometimes a description of love between two young persons. This secret love affair is described before the audience by a female servant, a dutika, in vulgar language. The male or female lover whose love is being described makes an appearance and makes a plan (in secret !) with the messenger who being a lowly-born asks for money (to do the work and also to keep the mouth shut). After getting money tries to get more (as if by blackinail). No illustration is cited by Bhoja. The ND. (IV./3) accepts Bhoja's definition verbatim. The name given to this art-form is "durmilita". For Personal & Private Use Only

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Vol. XXV, 2002 GENERAL INTRODUCTION TO UPARUPAKAS... 33 BP. of Saradatanaya has both "durmallika" and also "mallika", which we will take up later. Bhoja's durmilika and ND.'s durmilita is "durmallika" in BP., which observes- (pp. 391, Ch. IX/ 51, 52, 53; Edn. Agrawal, ibid) : "atha durmallika nama praudha-nagara-nayika. caturanka catussardhir, garbhe-sandhi-vina-kita. vito vilasati svairam, prathamanke (tri) nadikal. vidusako dvitiye'nke vilasat panca-nadikah, pithamardo viharati titiye sapta nadikal, vitadi-tritaya-krida caturthe dasa-nadikah. - X/51 caurya-rati pratibhedam yunor anuraga-varnanam kva'pi, yatra gramya-kathabhih kurute kila dutika rahasi. mantrayati ca tadvisayannyag-jatitvena yacate ca vasu, labdhva'pi labdhum icchati ya sa durmallika namna. enam durmallikam anye prahur matta-mallikam iti. IX / 52 yasyam udbhavyah syat purohita'matya-tapasadinam, prarabdha'-nirva), sa'pi ca matta-mallika bhavati. ksudrakatha matta-mallika yeha maharastra-bhasaya bhavati, gorocane ca karya anangavati bhava-rasa-vidya. For Personal & Private Use Only

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TAPASVI NANDI SAMBODHI : Saradatanaya is both lucid and exhaustive in his treatinent. He says that some call durmallika by the name of 'inatta-mallika' also. Even though he is acquainted with Bhoja and also perhaps with the ND., he does not notice the titles viz. durinilika or durinilita read in the above two sources respectively. The BP. observes that this art-forin has a heroine who is inature (both in age and experience) and is a cultured lady of cultivated taste i. e. nagara'. So, perhaps she resides in an urban place. Again, durmallika has four acts. All four saindhis, except the 'garbha'-samdhi are visible in this. The first act has the free activity of a 'vita' and it lasts upto three nadikas. Thus, the first act has a duration of 3 nadi = 6 ghadis (one ghadi = 24 minutes) so 6 ghadis = 24 x 6 = 144 minutes. This comes to two and a quarter hours. The second act is longer with 5 nalikas i. e. ten ghadis equivalent to 240 minutes i. e. four hours. In this act we have the free activity of the vidusaka. The pithamarda has his free role in the third act which had the duration of seven nadikas i. e. 14 ghadis = 14 x 24 = 336 minutes i. e. Five hours and a half roughly. The fourth act comprises of ten nadikas i. e. 480 minutes equivalent to 8 hours ! So, the whole show takes up 2hr. 15, 4hrs., 5 hrs and 30 minutes and 8 hrs i. e., 19 hrs and 45 minutes. Perhaps the show was staged by the end of the day in a make-shift theatre in a temple at the outskirts of a village and it went on upto nearly a week in a leisurely fashion ! Again these art-forms were also folk-art-forins and had a lot of dance, music and drama in them. The expression 'vitadi-tritaya' is explained by Dr. Agrawal (pp. 291 ibid) as "threefold" thus taking it to mean the threefold activity of vita. But we may choose to take "tritaya" as a group of three', meaning the fourth act here abounds in the activity of the three taken together, i. e. of vita, vidusaka and pithamarda. Saradatanaya further (IX/52) makes observations that are read in Bhoja also. Here a maid-servant, a lady messenger or dutika describes the secret love-adventure of a couple, or describes the love affair of two young people in vulgar language. Then enters into a secret deal (with the lovers). Here 'rahasi' of the second line is to be read with the third line as "rahasi mantrayati"- She makes a plan, enters into a deal concerning 'tadvisaya' i. e. the secret love affair. She being a woman lowly born, i. e. she being a women of low culture and low taste, asks for money in return). After grabing some amount she becomes avaricious and asks for more money. This durmallika is also named matta-inallika by others. For Personal & Private Use Only

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Vol. XXV, 2002 GENERAL INTRODUCTION TO UPARUPAKAS... 35 That also is termed matta-mallika in which imaginary lack of activity in case of a project on hand of the office-bearers such as a minister or a purohita - a preceptor-, or tapasa i. e. an ascetic etc. is delineated. A trivial story ksudrakatha related in Maharastra-bhasa is also termed matta-mallika. The line "gorocane ca karya anangavati bhava-rasa-vidya" is not clear. But 'gorocana' is explained by Monier-Williams, pp. 366 as, "a bright yellow orpiment prepared from the bile of cattle employed in painting, dyeing, and in marking Tilaka on the forehead; in medicine used as a sedative".... etc. Thus perhaps 'anangavati' is an illustration of a trivial story narrated on the occasion of preparing 'gorocana' (or. na.). Again 'bhava-rasa-vidya' also is not very clear. "Rasa-vidya' could have something to do with rasayana-vidya, i. e. medicine. Anangavati is said to be 'bhava-rasa-vidya', which is a clumsy expression. May be it is full of bhava, rasa and rasa-vidya ! or, "having predominance of bhava and rasa-vidya". We are not very clear about this. The NLRK. has the following on this art-form (pp. 302, 3, Edn. Babulal Shastri, ibid) : atha durinallika. caturanka, garbha-samdhi-sunya. yatha bindumati. asyam ekanko vita-vilasamayah, dvitigo vidusaka-vilasamayah. trtiyah pithamardavilasamayah caturthah nagara-vilasamayah prathamastu tri-nalikah, dvitiyah panca-nadikah, sesau dasa-nadikau. Obviously this seems to be the summary of saradatanaya's writing. But according to the NLRK., the fourth act is full of sporting activity of nagaraka, or a cultured citizen. Thus it is going to be grace and culture. Again the further details as read in BP. are also omitted here. They were seen in Bhoja and ND. also. The illustration cited is "bindumati". - The Sahitya-darpana of Visvanatha has the following: - S.D. calls it 'durmalli S.D.VI. 303-305 read as, "durmalli caturarika syat kaisi-bharati-yuta. a-garbha, nagara-nara, nyuna-nayaka-bhusita. -VI. 303. S.D. For Personal & Private Use Only

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36 TAPASVI NANDI SAMBODHI SUVU trinalih prathamonkosyam vita-kridamayo bhavet panca-nalir dvitiyonkah vidusaka-vilasavan. - VI/304 snnalikas trtiyah tu pithamarda-vilasavan caturtho dasanalih syad ankah kridita-nagarah." Here also, a maid messenger talking about the secret love of someone and to exploit the situation and getting money for it etc., the vulgarity going with this narration etc. -- all these features are missing. As for the duration of acts, there is some difference in all these accounts. But that it was a spectacle in four acts is almost common. The S.D. suggests that the hero is a lowly-born"nyuna-nayaka", and other male characters are urbane, 'Bindumati' is cited as an illustration and this could be from the NLRK. Thus, the description of this artform differs not only in name but also features. But that it is more of drama, and of course also of song and music, is proved by its having four acts and its having the predominance of bharati vitti. References (along with abbreviations) (1) Bhoja's Smigaraprakasa - V. Raghavan Edn. '63, Madras. (2) Laws and Practice of Sanskrit-drama - Edn. '61, Surendranath Shastri-Varanasi. (3) Types of Drama - D. R. Mankad. (4) Smigara Prakasa (=sp.Pra)-Bhoja; Edn Josyer; Mysore; Vol. I. IV '55, '63 etc. (5) Naryasasastra of Bharata (NS.) with Abhinavabharati (A.bh.)- Vol. I. II. G.O.S. Vadodara Vol. I. Edn. '92 K. Krishnamoortty Vol. II. '34, Kavi; G.O.S.; Vol. II. 2001 Kulkarni & Nandi (second Edn.) (6) Kavyanusasana (ka.sa). Hemacandra Edn. Parikh & Kulkarni. Bombay. '64 & Edn. Nandi, L. D. Indology. Ahd. 2000 For Personal & Private Use Only

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Vol. XXV, 2002 GENERAL INTRODUCTION TO UPARUPAKAS... (7) Natyadarpana (ND.) of Ramacandra & Gunacandra. Edn. G.O.S Vadodara & Edn. Pundit Visvesvara, Delhi '61 (8) Dasarupaka with Avaloka Venkatacharya. (9) Bhavaprakasana (BP.) of Saradatanaya (sa). Edn. M. M. Agrawal, Chawkhamba Vidyabhavan, Varanasi, '83) 37 Adyar library series, Madras, '69 (D.R.) Prof. T. (10) Narakalaksanaratnakosa (NLRK) of Sagaranandin (Sa)-Edn. Babulal shastriChawkhamba skt. samsthan Varanasi. "72. (11) Kavyanusasana of Vagbhata II (Va.)- N.S. Bombay '15. (12) Sahityadarpana (SD) of Visvanatha-with Laxmi chaw. Skt. samsthan Varanasi. '85. (13) S.D. Edn. MLBD; '56; Sri Salagrama Sastri. For Personal & Private Use Only

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. ALAM KARAKARIKA* - a critical study PARUL K. MANKAD Alamkarasastra has its own reputated place in the field of Sanskrit learning and research. The word Alamkara is used in two types of senses : wider and limited. The first represents the whole idea of poetic beauty. Anything like guna, riti, vitti, the alamkaras of word and of sense, the rasa, the samdhyangas, the vittyangas and whatever else that beautifies poetry are known by the term 'alaikara' (beauty of poetry). And the latter sense represents only the figures of speech and sense. Anandavardhana's predecessors upheld both the terms, while Anandavardhana and his followers have used the terin alamkara in limited sense. Since Bhamaha and others and up to Narendraprabha have used the wider sense even the titles of their works such as Kavyalamkara, Alamkaramahodadhi, incorporate the term -- Ruyyaka, Sobhakaramitra, Appayyadiksita have used the word alamkara in limited sense. The present work proposes to discuss arthalamkaras in Kuvalayananda as delineated in it. Naturally here the term alamkara is used in limited sense. Jayadeva's Candraloka (fifth chapter) has influenced the present work. But style and language and form are saine with Appayyadiksita's Kuvalayananda (=Ku.). Of course Ku.'s vitti is larger than the tippana on Alamkarakarika. The tippana seems to be influenced by the commentary of Asadharabhatta on Ku. One cannot be sure whether the author of Alamkarakarika and that of A.K.Tippana are the same. Both the scripts are written by different scribes. So, inay be the writer of Tippana is not the same as A.K.'s -- The Tippanakara is also Based on the ms. available from the collection of mss. in the L. D. Institute of Indology, Ahmedabad. Description of the ms. material. No. 2. c. . 5698 size - 26' x 11.2 Pages - seven. country paper, 12 to 14 lines to a page; 40 letters to a line, Devanagari characters; borders ruled with double black lines. The Tippana is written in margin. Age - Samvat 1825 Condition - good. For Personal & Private Use Only

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Vol. xxV, 2002 ALAMKARAKARIKA - a critical study 39 anonymous. Because of lack of evidence at present, we can only say that the said manuscript contains the two works : (1) Alamkarakarika and (2) its Tippana. The colophon runs as follows: zrImatpuNyasAgarasUrIzvarairdatto'yamalaMkAragraMthaH // saMvat 1825 varSe mahAsudi 5 gurau bhaTa zrIbhagavAnapArzve paM. muktisaubhAgyagaNibhiH paThito'yamalaMkAragraMthaH zrI vaDodarAnagare zrIphatesiMhajIrAjye / ( ). The le. saM. (= The year of copying this work) is 1825 of Vikram era, i. e., A.D.) 1881. On the last page Savaiya ( A T) is also written by the scribes of the manuscript in the vacant place. The time is of 19th century during the reign of the famous king Fatehasimharava Gaikwad of Baroda. The Alankarakarika treats the following alamkaras : (1) upamA (2) ananvaya (3) upameyopamA (4) pratIpa (5) rUpaka (6) ullekha (7) smRti (8) bhrAnti (9) sandeha (10) apartuti (11) utprekSA (12) rUpakAtizayokti (13) apahravAtizayokti (14) bhedakAtizayokti (15) saMbandhAtizayokti (16) akramAtizayokti (17) capalAtizayokti (18) atyaMtAtizayokti (19) tulyayogitA (20) dIpaka (21) zabdAvRttidIpaka (22) arthAvRttidIpaka . (23) zabdArthAvRttidIpaka (24) prativastUpamA (25) dRSTAnta (26) nidarzanA (27) vyatireka (28) sahokti (29) vinokti (30) samAsokti (31) parikara (32) parikarAMkura (33) zleSa (34) aprastutaprazaMsA (35) prastutAMkura (36) paryAyokta (37) vyAjastuti (38) vyAjanindA (39) AkSepa (40) virodhAbhAsa (41) vibhAvanA (42) vizeSokti (43) asaMbhava (44) asaMgati (45) viSama (46) sama (47) adhika (48) alpa (49) vicitra (50) anyonya (51) vizeSa (52) vyAghAta (53) kAraNamAlA (54) ekAvali (55) mAlAdIpaka (56) sAra (57) yathAsaMkhya (58) paryAya (59) parivRttiH (60) parisaMkhyA (61) vikalpa (62) samuccaya (63) kArakadIpaka (64) samAdhi (65) pratyanIka (66) kAvyArthApatti (67) kAvyaliGga (68) arthAntaranyAsa (69) vikasvara (70) prauDhokti (71) UhA (72) mithyAdhyavasati (73) lalita (74) praharSaNa (75) viSAdana (76) ullAsa (77) avajJA (78) anujJA (79) leza (80) mudrA (41) ratnAvalI (82) tadguNa (83) pUrvarUpa (84) anuguNa (85) mIlita (86) sAmAnya (87) unmIlita (88) vizeSaka (89) gUDhottara (90) citra (91) sUkSma (92) pihita (93) vyAjokti (94) gUDhokti (95) yukti (96) lokokti (97) chekokti (98) vakrokti (99) svabhAvokti (100) bhAvika (101) udAtta (102) nirukti (103) pratiSedha (104) atyukti (105) vidhyalaMkRti (106) hetu' and (107) rasavadAdi alaMkAras and 8 pramANAlaMkArAs have been only mentioned and not defined. For Personal & Private Use Only

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40 PARUL K. MANKAD SAMBODHI These alamkaras have not been narrated in classified manner though the sequence is almost according to Ruyyaka, has been also given in the Ku. But Ku. has mentioned other alamkaras too, which were not described by the alamkarakarika. So Yralcuif and 941 are sixteen more alamkaras mentioned in the Ku. The text : The A. K. is composed in a Karika form. The style of the Karikas is same as that of the Ku. The definition of the concerned alamkara is given in the first half of the Karika's and the illustrations of the same is given in 2nd half of the Karika's. But here we do not find any Tippana or vstti written by the author himself. One Tippana is found but it does not seem to be by the author of the Karika. The Tippana is short but is full of various references, e.g. of grammar and alamkara works. The text stands with the benedictory verse, the first addressed to Goddess Parvati and next to Shiva-Parvati both. Then the author has prayed Lord Mukunda (= Vishnu) and begged for everlasting welfare. The content and its Purpose : The A. K. is prakarana typed. So naturally only the alamkara field of poetics has been dealt with by the author. This beautiful 'ARTETMEYE:'(= collection of definition and illustrations) is written for the beginners, (arc = innocent one). The author admits that this work has been written on the base of Candraloka. In fact the influence of Ku. also is found therein : yeSAM candrAloke dRzyante lakSyalakSaNazlokAH / prAyasta eva teSAmitareSAM tvabhinavA viracyante // 5 // The author seems to be the follower of alamkara-parampara (tradition). He holds the same views as Ku. Some of its readings are different from C and also from Ku. (5/71). The author of the Tippana is also unknown to us. He has explained not all the Karikas of A. K. but has chosen some selected alamkaras and written the Tippana on them. He has written the Tippana on the following alamkaras : (8) 3441 (2) 1944 (3) Rom (8) @ (4) fa (E) Hit () HTE () Talefa (9) chekApahanuti (10) utprekSA (11) rUpakAtizayokti (12) bhedakAtizayokti (13) akramAtizayokti For Personal & Private Use Only

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41 Vol. xxv, 2002 ALAMKARAKARIKA -- a critical study (14) capalAtizayokti (15) atyantAtizayokti (16) tulyayogitA (17) dIpaka (18) prativastUpamA (19) nidarzanA (20) parikara (21) zleSa (22) aprastutaprazaMsA (23) prastutAMkura (24) vyAjokti (25) AkSepa (26) vibhAvanA (27) asaMgati (28) vicitra (29) vizeSa (30) vyAghAta (31) parisaMkhyA (32) ullAsAlaMkAra (33) avajJA (34) leza (35) mudrAlaMkAra (36) mIlita (37) sAmAnya (38) uttara (39) pihita (40) chekokti (41) udAtta (42) atyukti / He is highly influenced by Asadhara Bhatta's Kuvalayanandadipika tikal as is evident on the basis of some of the following observations : Karika-1 dIpikA- gaurI caraNapaGkajaM gauryAH pArvatyAzcaraNameva paGkajaM pAdapadyam / caraNatvena pariNataM padmamityarthaH / - (p-2) and TippaNagauryAH pArvatyAzcaraNameva paGkajam / pAdapadmam / caraNatvena pariNataM padmamityarthaH / - (p-1) dIpikA - says about iva etc. atra AtmAnamityasya gamyamAnatvAdupameyalopaH aicchikaH / iva zabdasya tu zAstrakRtaH / (p. 5) Tippana follows dIpikA Karika-7 dIpikA- (p-6) dharmopamAnavAcakalupteti / (1) dvilopapakSe bheda catuSTayam / dharmavAcakaluptA (2) vAcakopameyaluptA (3) vAcakopamAnaluptA (4) dharmopamAnaluptA ceti (5) ekalopapakSe ca trayo bhedAH / vAcakaluptA (6) dharmaluptA (7) upamAnaluptA ceti (8) a. kA. TippaNaIn the Tippana these varieties are given with slight changes : (1) vAcakaluptA (2) dharmaluptA (3) dharmavAcakaluptA (4) vAcakopameyaluptA (5) upamAnaluptA (6) vAcakopamAnaluptA (7) dharmopamAnaluptA (8) dharmopamAnavAcakaluptA / eteSAM lopaH iti jJeyam sarvatra / (p-) Both have quoted the verse of citramImAMsA-upamaikA zailUSI0 etc. (p-6) dIpikA- - rUpavatkaroti rUpayatIti rUpako lakSaNAvizeSaH / rUpayuktaM karotItyarthaH / so'styasminniti rUpakamalaMkAraH / lakSaNAprapaJcastu matkRte kovidAnande dRSTavyaH / (p-9). and Tippana rUpavatkarotIti rUpyati rUpayatIti rUpakam / (p-) For Personal & Private Use Only

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42 (22) pariNAma dIpikA reads kriyArthaH kriyAyai iti kriyArthaH kriyAsAdhakazcettarhi pariNAmaH / (p-55) PARUL K. MANKAD and Tippana pariNAmeti - kriyArthaH kriyAsAdhakazcettarhi pariNAmaH / - (p- ) dIpikA - reads atra adRk dRk saMpadyate tathAbhUtaM dRgbhUtamiti prathamArthe tatpuruSaH / evaM ca pariNAmAbhivyaktirna tu mayUravyaMsakAdiH / (p-11) and Tippana dRgeti / dRgbhUtaM abjaM tam / abjaM upamAnaM, dRg upameyam / (p) 'ullekha- dIpikA (42) capalAtizayoktiH dIpikA viSayabhedataH sthAnakabhedAt -ayaM rAjA vacasi vacanaviSaye gururmahAnvAcaspatizca / arjunaH zubhraH pArthazca / zarAsane dhanuSi bhISmo bhayaMkaro gAGgeyazca / atra zleSo rUpakaM ca jJeyam / (p-12) and Tippana guru iti / mahAn vAcaspatizca / arjuneti / zubhraM pArthazca / bhISmeti / bhayaMkaraH gAGgeyazca / - (p) I (24) smRtibhrAntisandehAH / dIpikA - paGkajaM pazyataH me manaH kAntAmukhaM gAhate pravizati smaratItyarthaH / and Tippana gAhate smaratItyarthaH / (p-) SAMBODHI kasyAtikRzatotpattAvaGgulIbhUSaNaM kaGkaNa[s]thAnIyatAM gatamityarthaH / - (p-21) Tippana has changed this as kasyAtikRSatotpattAvaGgulIbhUSaNaM kaGkaNasthAnIyatAM gataH iti bhAvaH proktaH / (p- ) For Personal & Private Use Only

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Vol. xxV, 2002 ALAMKARAKARIKA - a critical study But the reading of Dipika is better. It seems here (=in A. K.) '' has fallen. (43) tvadaGgamArdave dRSTeH - dIpikA- atrAprastutAnAmupamAnabhUtAnAM kAThinyaguNarUpaikadharmAnvayaH / -(p-23) and Tippana tvadaMgeti |-uttrshloke nAyikAsaukumAryavarNane prastute avAnAM mAlatyAdInAM kaThoratArUpaikaguNAnvayaH pradarzitaH / -(p-) atra hitAhitayormitrazAtravayorutkRSTabhUtidAnasya parAbhavadAnasya ca zleSeNa bhedAdhyavasAdvRttilaulyam / (46) (aparA) hitAhiteti0 dIpikA- he rAjan, tvayA mitrazAtravayoH hitAhitayoH zatrureva zAtravamityatra praprajJAditvAdaN pratyayaH / saMpradAnasaMjJAbhAvAt SaSThI / (dIpikA - pR. 23) And in Tippana faalferrat: is mentioned with slight difference. nidarzanA yattadbhayAmaikyAropaH abhedAropaH nidarzanA nizcitya darzanaM sAdRzyaprakaTanaM nidarzanA / (p-27) TippaNa - on abhedAropaH atra dAtRpuruSasaumyasvasthayopameyavAkyArthasya pUrNendorakalaGkatvasthopamAnavAkyArthasya ca yttdbhyaamaikyaaropH| parikara - dIpikAvizeSaNe sAbhiprAye sAkUte vyajhyArthasahite satItyarthaH / -p-39 TippaNa sudhAMzukalitottaMsa iti sAbhiprAya-vizeSaNam / (p- ) 72 vyaajnindaa| dIpikA-sarvANyapi nAharadityevakArArthena haranindayA duHkhamayaprapaJcakartRtvena sraSTunindA gamyate / 71. (p-38) For Personal & Private Use Only

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PARUL K. MANKAD SAMBODHI and TippaNa 37 Kft facufam fer gardent parents afraifft: i-(p) Asadhara's afgant is short but valuable commentary on Ku. He cited in 18th century - (1775 saka & 1850 A.D.), while Tippana is simple and sometimes gives only the ineaning of the words. After two hundred years of Ku. Alamkarakarika was written in Gujarat. The author was a Jaina Acarya, so this is one more contribution of Jaina Gurjara Acarya to the Alamkarasastra. Though this work does not deserve much credit, it is a little input of Gujarat and Jaina Alamkarika to the Kavyasastra. References 1. Total 123 alankaras have been acknowledged therein. List is taken from the front page of the Mss. 2. factata ghly-piarsifat4, H.- arda muf, Aufmerk da, gas, 8824 $.A. For Personal & Private Use Only

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MADHYAMIKAS THEORY OF ERROR IN COMPARISON WITH ANYAKHYATI OF SUDDHADVAITA SCHOOL PROF. DR. YAJNESHWAR S. SHASTRI The theory of error is one of the important topics, which is discussed by almost all Philosophical systems of India. This matter is focus of Realists as well as Idealists Schools of Indian Philosophy. The realistic schools are also divided into two groups. One group holds that error is mere non-apprehension. Prabhakara-Mimamsaka, earlier Sankhya and Ramanuja belong to this category. Akhyati of Prabhakara, Satkhyati of earlier Sankhya and Yatharthakhyati of Ramanuja hold that error is mere non-apprehension and reject the subjective element, in error altogether. Error is treated as partial truth by these theories. The another group treats error as mere misapprehension. The Viparitakhyati of Kumarila, the Anyathakhyati of Naiyayikas, the Sadasatkhyati of later Sankhya and of Jainism fall under this group. According to these theories error in misapprehension and admit the subjective element in error. Error is regarded as partial mis-representation. Madhyamika School, Vijnanavada and Advaita Vedanta belong to Idealist Schools. 2. Every school tried to solve this problem in the back-ground of its own philosophical stand-point. Realists tried to explain the error in their own way. One thing is very clear that all these theories put forth by the realists cannot explain the fact of error satisfactorily. Error cannot be taken as mere nonApprehension, for there is definitely a subjective element involved in error which later on contradicted by the sublating cognition. This view ignores the fact that as long as error lasts, it is taken as true and prompts activity, though it may result in failure. In the case of 'Shell-silver' illusion, there is actual presentation of silver to consciousness and not a mere memory image. If the two cognitions stand apart unrelated, and if error is due to mere non-apprehension of their For Personal & Private Use Only

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46 PROF. DR. YAJNESHWAR S. SHASTRI SAMBODHI distinction, the natural question which arises is - do these two cognitions appear in consciousness or not? If they do, then there must be the cognition of their distinction also, if they do not, they are unreal. The other group of realists, which regards error as misapprehension equally fails to explain error. If error is purely subjective, if knowledge can misrepresent its object, then realism stands rejected. How can the shell be misperceived as Silver ? Silver cannot be perceived because it is not there and there can be no sense-contact with it. It cannot be a mere memory image because as long as error lasts, there is actual presentation of silver to consciousness. The real problem before these realists is : if silver is real, it cannot be contradicted afterwards by the sublating cognition of Shell, and if Sliver is unreal, how can it appear to consciousness during error ? The realists answer is not very satisfactory in this regard. The Idealists, such as Madhyamikas - Vijnanavadins and Advaita Vedantins tried to give some kind of satisfactory answers advocating theory of nondescribability and anirvacaniyakhyati. Vaidika and Jain thinkers, wrongly ascribe asatkhyati to Madhyamika or Sunyavada and atmakhyati to Vijnanavada of Asanga and Vasubandhu. Nyaya-Vaisesika, Mimasa, Vedanta and Jainism, have presented, Madhyamika as upholders of asatkhyati and refuted it. Its presentation and refutation is found in Jayanta Bhatta's Nyayamanjari, Bhamati and Kalpataru, Sarvadarsanasangraha, and Syadvadaratnakara, Nyayakumudachandra and many of the works of Vedic and Jaina Texts. This term or this theory is not found in the original texts of Madhyamikas, such as Mulamadhyamika-karika and Vigrahavyavartani of Nagarjuna, and in the works of later Madhyamikas. Asatkhyativada, as exposed by these Vaidika and Jaina thinkers, means that in erroneous -- perception, there is merely the perception of something which is unreal or non-existent (asat). In the Shell-Silver illusion, the silver that is perceived is neither real as something external nor even real as something internal. Therefore it is absolutely unreal. There is no such thing as internal or external, it is all void (Sunya). If the silver would have been externally real, then there would not have been any scope for erroneous perception. If the silver would have been merely an internal idea, then also there would have been no explanation with regard to its external manifestation. It is as such, asat or Sunya. It is 'asat which is the object of perception in this context. Thus, erroneous perception is declared to be 'non-being's apprehension (Kuppaswamy Sastri p. 123). For Personal & Private Use Only

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Vol. XXV, 2002 MADHYAMIKAS THEORY OF ERROR... 47 Jayanta Bhatta in Nyayamanjari, explains asatkhyati as : 'in the illusory cognition of a shell as a silver neither the shell nor the piece of silver is real. The silver is unreal, since it is sublated at the disappearance of the illusion. The shell is not real, since, it is but one factor of the sublating cognition, others being the silver and the connection between the silver and the shell. Unlike the Vijnanavadins who hold that in error, the internal, appears to be the external, the Sunyavadins, maintain that there is no such thing as internal or external, it is all void. In the "Shell-Silver illusion" neither the shell nor the silver is real, it is just an apprehension of the unreal as real.' (Nyayamanjari p. 164). Syadvadaratnakara states that the Madhyamika uphold the asatkhyativada, that error consists in the manifestation of the non-existent object. The cognition of silver in the shell is erroneous because it manifests the non-existent silver. The thing that appears as silver cannot be consciousness, as it does not manifest itself as 'I am silver' but as 'This is Silver', as an external entity. It cannot also be real thing, as no purpose is served thereby, and because it is cancelled as a real thing by the cancelling cognition, This is not Silver'. Therefore, non-existent thing is manifested there and hence the theory of error is called asatkhyati-c7e1 TG4 rajatamiti pratibhAsamAnaM vastujJAnaM artho vA bhvet| na tAvajjJAnam, antarmukhAkAratayA'haM rajatamiti ahaMkArasAmAnAdhikaraNyenApratibhAsanatvAt; idaM rajatamiti bahirmukhAkAratayA prathamAnatvAcca; nApi arthaH; tatsAdhyArthakriyAkAritvAbhAvAt; nedaM rajatamiti bAdhakapratyayena vitathajJAnaviSayIkRtasya vastuno'rthatayA 07241alta; T 3TH Ja Ja ufiitafuta hraifa: 1 (Ricaratriitit, p. 125) It is very clear from this account that as per asatkhyati, the silver which is perceived in the 'Shell-silver illusion' is really non-existent. It is neither the silver which was perceived in a different place previously, nor is it a momentary silver exclusively limited to the moment of illusion. It is non-existent (asat) which is falsely perceived as existent (sat) i. e., silver. The silver in the 'Shell-silver' illusion being-absolutely unreal nowhere exists. It neither exists in the present situation nor even any-where else. The totally non-existent is apprehended as existent. Error arises in taking something totally non-existent as existent. It is important to note that, this asatkhyati exposes the unreality of silver as against its apparent reality. But not only that, it al;so maintains that, whatever is perceived as the 'silver' is also mere non-being or non-existent. That means. the 'shell', which is ordinarily accepted to be real as against the silver is also rejected as really not existing. Asatkhyati stands for complete void or Sunya. Both For Personal & Private Use Only

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48 PROF. DR. YAJNESHWAR S. SHASTRI SAMBODHI the ordinarily accepted erroneous perception as well as the valid perception are declared to be erroneous. Only the erroneous character of shell is not empirically known because of its practical utility. Here, along with the rejection of error, its locus (31fe81a) is also rejected. And it is this rejection of locus which is the distinguishing features of this theory of asatkhyati. The draw-back of this asatkhyati is that, it not only negates silver, but also the 'this' (idam) or the very basis of error along with error. The Vedantins, Naiyayikas and many others rightly point out that, that how can a totally nonexistent thing at all be apprehended. An absolute nought cannot even be conceived, e. g. Son of a barren woman, what to speak of its being perceived. Jayanta Bhatta refutes this theory by asking 'what does the term "Asatkhyati' means? Is it the awareness of an object which does not exist anywhere or does it mean that it exists somewhere but is absent from the present locus ? Jayanta argues that the first alternative is not tenable since no-body experiences an unreal object. If the second alternative is accepted, then it is the same thing as Viparitakhyati, according to which an error is the manifestation of a real object in the form of a different object (N. M. I-166). It is also unreasonable to hold that impression (Vasana) presents the unreal object, since Vasana arises from the experience of real objects. So, "an absolutely unreal object has a place, neither in the world of theory nor in the world of practical." nAtyaMtamasato'rthasya sAmarthyamavakalpate 26 yi atg sediugngary 11 (N. M. 1-164). This theory maintains that, all cognitions are cognitions of Sheer non-being. But it is a matter of experience that Shell is misperceived as silver. This clearly shows that something is being apprehended as something else. So, the silver Characterisation of the present object may be found to be false after later verification, but that something as the locus of silver characterisation is positively present even at the time of error. Therefore, it is not the absolute nothing (Sunya), which is perceived as something existent (Sat) but something is apprehended as some other thing. In the 'Shell-silver illusion, shell in the form of 'this' (idam) remains, however, as the basis of silver apprehension. Here something existent appears as silver and not that non-existent appears as existent (sat). The silver that is perceived in illusion is unreal but the referent on which silver is perceived cannot be rejected as void or Sunya. (B. Kar. p. 96). For Personal & Private Use Only

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Vol. XXV, 2002 MADHYAMIKAS THEORY OF ERROR... 49 This is not really Madhyamikas view. This is a nihilistic interpretation of Madhyamika view. This kind of asatkhyativada as exposed by the classical Hindu as well as the Jaina Philosophers can never be said as the theory of actually propounded by the Madhyamikas. The asatkhyativada as implying absolute Void is not found or discussed by any Madhyamika Buddhist. The Madhyamika theory of Sunya does not fit into the Classical exposition of the asatkhyativada. Sunya is only significantly used in Madhyamika Philosophy to repudiate all empirical entities. But the reality as the locus (adhisthana) of all that are rejected as void, is however not denied. The Sunyavada does not mean "void' or 'no-reality doctrine, but merely 'no-view about Reality. The Madhyamikas did not evolve any logical theories of their own. They, on the contrary, showed the contradictions and faults involved in the logical theories of others. (yadi kAcana pratijJA tatra syAt eSa me waela la au ufasi THT # 2 | Vigrahavyavartani 29; and Mulamadhyamikakarikavitti p. 16.). Madhyamikas are not propagator of absolute Sunya. For them, sunya transcends only the four categories of thought - (Catuskotivinirmuktam). Reality is neither existent, nor non-existent, nor both existent and non-existent, nor different from existent and non-existent. Nagarjuna, a systematic expounder of Madhyamika School or Sunyavada, takes great care to see that his doctrine is not interpreted as Nihilism (Ucchedavada). He defines absolute Reality as "that which can be directly relised, which is calm, in which there is no manifold phenomena, which is free from all conceptual constructions, which is non-dual, harmoneous - whole". apapratyayaM zAntaM prapaJcainapaJcitam / Afache 344147ef gara Traffet Hur || (Mulamadhyamikakarika. XVIII. 9). In Madhyamika Philosophy sunya signifies the absolute Reality, devoid of multiplicity (M. V. S. I. 15). It is Sunya in the sense of non-describability, free from empirical predicates. The word Sunya, is understood in two senses in Madhyamika system. First of all, it is Sunya from the point of view of phenomena. It means Svabhavasunya i e. devoid of independent substantiality of its own. All appearances are devoid of any essence or reality. They are unsubstantial. Everything of which somthing can be predicated is relative (Sunya). But from the Absolute point of view, it means prapanca-Sunya i. e. devoid of verbalization, thought constructions and plurality. In its highest aspect, it is the Absolute itself-wherein all plurality and relativity are merged and For Personal & Private Use Only

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50 PROF. DR. YAJNESHWAR S. SHASTRI SAMBODHI which transcends all categories of thought. (M. K. XXVI. 11). It is indescribable in human language. It does not mean absolute blank or void. Nagarjuna makes it very clear be stating that, "It cannot be called void or non-void, or both or neither, but in order to indicate or convince others, it is called Sunya" zUnyamiti na vaktavyaM azUnyamiti vA bhavet / 3441 que afa seyf geyid II (M. K. XXII. 11). This shows that Madhyamika's Sunya is not mere non-being or asat. It is in its highest sense, Reality itself, transcends all categories of thought and is the transcendental background of the world phenomena. Absolute Reality is beyond the range of all conceptual predication, no. categories of thought applies to it. Avidya, presents it in all the diverse forms, we come across in our empirical experience. Avidya is responsible for all this varied experience. The Absolute is the realm of ultimate Reality, avidya belongs to appearance. Avidya hides the real from us and in its place projects an unreal appearance (37487641448488 474 34194 ada 1 - Bodhicaryavatarapanjika p. 352). The Salistambasutra, defines avidya and identifies it with ajnana (ignorance). It defines avidya as the non-apprehension of the real and its inis-apprehension as different from what it is (crasyfauft: fhufayfa: 3451174 En I as quoted in B. C. A. p. p. 352). Thus, avidya has two functions - one is the covering the essential nature of things (avarana) and the other is projecting a false appearance (asatkhyapana). These correspond to Sankara's conception of "avarana' and Viksepa Saktis (Powers of concealing and projecting) of Maya or Avidya. Had there been true knowledge, the appearance would not have been there at all. Madhyamika Buddhist have accepted two kinds of truth viz., absolute truth (paramarthasatya) and empirical truth (SamvTtisatya). Nagarjuna says, Buddha's preaching is mainly based on these two kinds of truth : dve satye samupAzritya buddhAnAM dharmadezanA / Atlantiqfaruri a HRV a qurfa: Il M. K. XXIV-8 Candrakirti states that Samvsti is covering, it is the essence of ajnana (ignorance), on account of its completely enveloping the reality (Hi-lig kui Hafa: 1 3511 F 4 G hd grefaraldaSIGHIQ Haraffat 3e4dt i M.K.V. p. 492). Samvsti covers up entirely the real nature of things and makes them appear otherwise. For Personal & Private Use Only

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Vol. XXV, 2002 MADHYAMIKAS THEORY OF ERROR... 51 This Sainvsti is error. Bodhicaryavatara identifies Samvrtisatya with error or inisapprehension by Stating that 'avidya (ignorance), moha (delusion), and Viparyaya (error or misapprehension) are synonyms of Samvrti (31f -476facute fautet: B.C.A. p. 352). This error is of two kinds: the universal error and the other is the subjective or the individual error. Candrakirtri calls them as lokasamnvrti and alokasamvrti. Santideva calls them as tathyasamvrti and Mithyasamvrti (B.C.A. p. 352). Lokasamvsti or tathyasamvrti, signifies empirical truth and alokasamvrti or mithyasamvrti, is empirical illusion or error, e. g. things in dreamn, mirage, things perceived when the sense organs are not properly functioning. Tathyasamvrti is the phenomenal truth and Mithyasamvrti is falsity or error. These two kinds of truth correspond to the paratantra and parikalpita truths of Vijnanavada and the Vyavahara (empirical) and pratibhasika (illusory) degrees of truth of Sankara Vedanta. According to Madhyamika at empirical level, there may be distinction between error and valid knowledge, but at transcendental stand-point, even all empirical knowledge come under the category of error. Both are based on contradiction, negativity, limitation and relativity. For convenience, we call the former 'appearance and the latter 'error'. Both baffle the description, both are indescribable, for they can be called neither real nor as unreal. Contradiction is the essence of all appearances, for non-contradiction belongs only to reality, which is of the nature of pure-knowledge. Knowledge, therefore, removes contradiction and the moment contradiction is removed, error vanishes. According to Madhyamikas causation is a mark of the unreal. Whatever is produced is liable to destruction and unreal, Avidya is beginningless positive tendency, that is destroyed by true realisation. Avidya is indescribable, unreal, ultimately. Thus, at empirical level, Madhyamikas exposition of theory error may be said to be like that of Advaita-Vedantic theory of anirvacaniyakhyati. When the Shell is mistaken for Silver, the shell-delimited consciousness is the ground on which silver and its cognition are illusorily imposed by beginningless ignorance. This silver is not real, because, it is contradicted afterwards when the shell is known and it cannot be unreal, because, it appears as silver as long as illusion lasts. It is therefore called Sunya by Madhyamnikas and anirvacaniya, indescribable either as real as unreal by Advaita Vedantins. Error is indescribable superimposition which is removed by For Personal & Private Use Only

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52 PROF. DR. YAJNESHWAR S. SHASTRI SAMBODHI right knowledge. It is true as long as it lasts, and becomes unreal only when it is contradicted by a highter knowledge. The illusory is sublated by the phenomenal and the latter by the transcendental (C. D. Sharma p. 232). According to suddhadvaitins error is knowledge of an altogether different object like Silver than that which is in contact with sense organ (i. e. Shell). Thus, it is known as anyakhyati : (indriyeNa gRhyamANAdviSayAt zuktyAdirUpAt anyasya rajatAdeH khyAtiH anyakhyAtiH ucyate / - khyAtiviveka p. 84). Error is knowledge of completely different object in place of perceived object (viparyAso bhinnArthapratipAdakaH / - subodhinI III. 26-30). It is knowledge of another object than that which is in contact with sense-organ indriyasaMyuktArthAd bhinno arthaH / khyA. vi. p. 84). Purusottamacarana, explains the process of error of suddhadvaitins. He states, that previously generated experiences (of objects) are stored in the buddhi, in the form of impressions. When causes of arousing these imp become predominent then a buddhivrtti taking the form of illusory object, is pushed out or thrown out by Maya. Then, this buddhivitti partially or completely covering the object in front of us, appears externally or outside. So, on account of knowledge of illusory object than real object, this theory is known as anyakhyati (tatra pUrvotpannasya anubhavasya saMskArAtmanA sthitasya udbodhakaiH prAbalye mAyikAkAravatI buddhivRttiH mAyayA bahiH kSipyate tadA sA purovartinaM sarvato aMzato vA AvRtya bahiH avabhAsate iti mAyikasya anyasyaiva khyAnAd 'anyakhyAtiH' iti atra vyavahiyate / (Prasthanaratnakara-IV. 25-26). It is knowledge of another illusory Object (Mayika) which is not in contact with sense organ. It is activity or modification o buddhi, so error is product of Buddhivstti. In the case of Shell-Silver illusion, Silver is illusory object created by the buddhi, due to influence of Maya. Here buddhi grasps the self-imagined illusory silver. Deluded by Maya buddhi does not grasp the real nature of the object-shell. Due to predominence of impressions of Silver, grasping the similary of Shining, whiteness, etc., buddhi projects or creates silver on the shell, then buddhi grasps the silver which is already existing in the mind. (mAyAmohitA buddhiH rajatasaMskAraprAbalyAt cAkacakyAdi dharmasAdRzyamAdAya rajataM tatra nirmAti / tadidaM bauddhameva rajataM buddhyA viSayIkriyate / khyAtiviveka - (p. 84 and) viparyAsajJAne tu svakalpitaM rajatAdikaM mAyikameva viSayIkaroti / ) For Personal & Private Use Only

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Vol. xxV, 2002 MADHYAMIKAS THEORY OF ERROR... 53 In the erroneous knowledge of silver on shell, knowledge of Silver is known as- AMtara i. e. in between creation. Silver is created in-between sense and its object (i. e. Shell) by buddhi. This is false knowledge. This Silver is imagined and thus unreal. indriya-tadviSayayormadhye mAyAdUSitabuddhayA yo viSayIkriyate sa tu avAstava eva buddhikalpitaH iti jJeyam / - khyAtiviveka -P. 85. This illusory Silver is created by buddhi after Samanyajnana only, i. e., first there is sense-object contact-Shell and the eye, then indeterminate knowledge arises, after that in-between the sense and the object, buddhi creates illusory silver. Thus, in error, there is no real object (Silver) still, it appears as an object arthAbhAve'pi arthavad bhaaste| khyAtivAda p. 1). In the case of Shell-Silver, it is knowledge in the form of buddhivstti, projected by Maya, appears or known in the form of object. - ataH zuktirajatAdisthale mAyayA bahiH kSiptabuddhivRttirUpaM jJAnameva arthAkAreNa khyAyate iti mantavyam / - khyAtivAda p. 3). ___ Lalubhatta explains this very lucidly. After the sense-object contact, indeterminate knowledge takes place. After that, Maya creating a illusory or false object in the buddhi, makes it object of buddhi, (object of knowledge). This knowledge existing in buddhi is erroneous and its object is also false or illusory indriyaviSayayoH saMbaMdhe sAmAnyajJAnAnantaraM yad buddhau mAyA mAyikaM padArtha nirmAya buddhiviSayI kArayati, tad bauddhaM jJAnaM bhramAtmakaM, tadviSayaJca mAyikaH / khyAtiviveka p. 86.) . Here, Purusottama partially agrees with Ramanuja saying that, everything is Brahman (brahinatmaka), because everything is caused by the God(brahmapadanaka). As per trivrtkarana or Pancikarana, everything is the nature of everything (itaretaratmaka). Then natural question is, why not in Shell-Silver illusion, silver cannot be accepted as valid knowledge ? Purusottama says that, we have to accept, there is something wrong in this kind of knowledge, and accept it as anyakhyati - tada asmAkamabhISTaM paraM kazcid vizeSo asti / tathAhi --- ataH sarvatra sarvasattve'pi bhrama prabhA - bhedanirvAhAya prasiddhAtiriktasya tirobhAva eva sarvathA abhyupeyaH, anyathA sarvatra sarvapratIteH durvAratvApatteH, svopagata-vyavahAra vibhAga-bhaGgApatteH ca / tatazca zuktyAdau rajatAdisattve'pi teSAM tirohitatvAt na pratItigocaratvasiddhiH, ataH tAdRzasthale rajatAdijJAnaM prati asmadupagataiva sAmagrI avazyam abhyupeyaa| - (- khyAtivAda p. 12) For Personal & Private Use Only

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54 PROF. DR. YAJNESHWAR S. SHASTRI SAMBODHI Madhyamikas say, it is Avidya or SamvTtti which hides the real from us and projects on unreal object in its place, while suddhadvaitins state that it is Mayasakti influences buddhivitti and this buddhivstti partially or completely convers the real object which is in front of us and appears externally. That means, in the case of Shell-silver illusion internal buddhivitti or idea of silver appears externally it is illusory (Mayika). This knowledge of silver created by mind is unreal. (viparyAsastu saMprayukta bhinnArthamAtra pratipAdakaM bAhyaM jJAnam / Prasthanaramakara p. 25). In anyakhyati knowledge of one thing is projected as another thing due to Maya. In Madhyamika system also, it is ignorance or Maya which covers the real and projects another. In Advaita Vedanta also error arises due to avidya. In this respect, these theories do not differ very inuch, cause of error is Maya or ignorance, in all these systems. Vijnanavadins also hold that, in error the internal idea appears to be the external object. Really, there is no external object corresponding to it. Suddhadvaitins differ from Madhyamikas, saying that, knowledge of silver created by mind is not real, but real Silver and Shell are not unreal even empirical level, because, they are created by God, part of God- (Sadamsa). For Madhyamika, both are unreal, at highest level, because of relativity, and contradiction. BIBLIOGRAPHY * Bralunasutrasankarbhasya with Bhamati. Chaukhamba Vidyabhavan, Varanasi, 1995. Bodhicaryavatara of Santideva with Panjika. Poussin (BI). The Central Philosophy of Buddhism. T.R.V. Murti, George Allen and Unwin, Ltd., 1960. A Critical Survey of Indian Philosophy. C. D. Sharma, Motilal Banarasidass, Delhi, 1966. * Khyativada of Purusottaina. Khyativiveka of Balakrsna Bhatta. Shri Balakrsna Granthavali. Prameyaratharnava. Shri Vallabhavidhyapeeth Trust, Kolhapur, p. 82-96. V. S. 2054. For Personal & Private Use Only

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Vol. XXV, 2002 MADHYAMIKAS THEORY OF ERROR... : 55 * Madhyamaka sastra. Ed. P. L. Vaidya, Mithila Institute, Darbhanga, 1960. * Mahayana Buddhism. N. Datta, Motiala Banarasidass, Delhi, 1977. Mahayanasutralankara of Asanga : A Study in Vijnanavada Buddhism. Y. S. Shastri, Indian Book Centre, Delhi, 1989. * Nyayamanjari of Jayanta Bhatt. K. S. S. (No. 106) Outlines of Mahayana Buddhism. D. T. Suzuki, London 1930. Prasthanaratnakara. Ed. Goswami Shyam Manohar, Kolhapur, V. S. 1988. Syadvadaratnakara - Vadidevasuri : Arhatamataprabhakar, Poona. # Subodhini. I-II Skandha. Ed. Goswami Shyam Manohar. Shri Vallabha Vidyapeeth Trust, Kolhapur, V. S. 2043. * Theories of Error in Indian Philosophy. Bijayananda Kar. Ajanta Publications, Delhi 1978. For Personal & Private Use Only

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"PRTHU VAINYA EPISODE - AN ASTRONOMICAL INTERPRETATION" Prof. D. G. VEDIA "The Purana's have no originality. The Purana merely copies some chapters from some well-known authors, e.g. the Agnipurana borrows from an author called Puskara.' "So says, Dr. K. P. Jayaswal, on the value of the Puranas as a source of ancient Indian Polity. Many other Scholars also opine so. But one should not forget that Puranas represent some natural phenomena or knowledge of something in their own language. Moreover the puranas are not written by one hand. So it becomes very difficult for any scholar to find out the purport behind the myth represented. Dr. Hazra found it necessary to establish the chronological order, but as the puranas are not constructed at a particular period. Moreover a particular portion also can not be assigned to a particular period. Various portions of the Puranas are developed time to time. Same had been happened in the case of the myth. Prthu Vainya episode is the glaring example of such happening. In this paper it is proposed to examine the episode as the astronomical phenomena. Prthu Vainya episode and his cow-milching is referred to in the Vedic Literature2, Mahabharata, the Puranas. Prthu is called Vainya, Son of Vena who is invoked in a single hymn of Rv. X. 123.1. Although this name occurs several other times in the Rv. in singular to qualify the Sun (1-83-5), Indra (1.61.4) and Brhaspati (1-139-10), and in Plural (1.56.2, IX-64-11, IX-73. 2 etc). It signifies brilliancy or beauty. In the Vedas he is called a messenger of Varuna (X-123-6), having bright appearance (X-123-1). He has bright wings (X-123-6-7). He holds a spotted weapon and a shining armour (X-127-7). He travels in the top of the sky (V. 123). For Personal & Private Use Only

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Vol. XXV, 2002 PRTHU VAINYA EPISODE... He is the celestial musician (Rv. X-123-4-5). He roars like Buffalo (X. 123-4). He is the lover of Apsara (X- 123-5). . Vena is connected with Moon (Rv. IX-21-5, VIII-63-1). He remains in the heaven of the Sky. The Puranic literature has developed the story on the basis of the Prthu's Cow-milching episode of the Av. Legend and Prthu Vainya episode of the Mahabharata. On Completion of the Golden Age (Keta yuga) Lobha, Moha, Kama and Krodha gradually increased among the people. This unhappy situation moved the Gods. They requested Prajapati who compiled a Code of law. The Gods approached Visnu who appointed his mind-born Son Virajas. Virajas, his Son Kirtiman and his grand Son, Kardama were not interested. His great grand Son, Anga succeeded. He proved him a great protector of the subject according to the political science (Dandaniti). But his Son Vena, born of Sunitha, a daughter of death (Mothyu) was full of vices. He acquired all the heritage of evil qualities of his maternal grand father. He stopped the practice of sacrifice and religious vows. He ordered to worship him and him only. The sages advised him to rule according to the rules laid down by Dharmasastra and Arthasastra. In order to save the people from the blinding dust of the unrule they tried to find out unifying influence of a benevolent centrally governing power. The sages churned the left arm or the left thigh of the dead body vigorously according to the two different versions. There arose a dwarfish man with exceptionally short limbs and red hair, and "the complexion of a charred stake". He bowed low and, being frightened", said to the sages, "what shall I do ?" They ordered to sit down (Nisida) and therefore he became known by the naine Nisada. He acquired terrible sins of Vena and thus the wickedness of the dead ruler was extracted. Then the sages began to churn Vena's right arm or a right thigh. As a result of this act the good king Psthu was born to whom the sages laid the responsibility to restore life and orderliness among the people. Looking to the pitiable condition of his subjects Psthu concluded the Earth herself as the root of the whole affliction i. e. want of the nourishing food. His great anger became ready to suit the earth with a single arrow. The earth, in the form of a cow flew away to find some refuge but she could not save herself from pursuing king Pethu. Then she approached him, appealled by flattering his knowledge, Dharma, graciousness and kindness and she requested not to kill the only support of all the created beings. For Personal & Private Use Only

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58 Prof. D. G. VEDIA SAMBODHI As the earth found that the king was not earthly and ordinary one who seized her with great trembling and terror. She bowed reverently and said submissively, you, hero with strong arms, select a proper calf as I will provide for you in the form of sweet milk the nourishing food desired by the living beings." The king was further requested to remove ruggedness and make the level. And as the story runs the king Psthu through Manu as calf received all the medicinal herbs and annual plants from earth. He was followed by sages, gods, demons, serpents, trees, mountains each group who milched the cow through distinctive calves and milk-pails and received the desired objects. The Earth-cow became a Wishfulfilling cow i. e. Kamadhenu. King Prthu now tamed his mind to use his bow for the constructive purposes. He uprooted or crushed the mountains and levelled the surface of the whole earth on which he planned the building habitations of every kind over the earth for all the subjects. The king provided all the arrangements to the subjects to live comfortably in peace, prosperity and security. Thus the rule Psthu made the king Adiraja or Rajaraja. This myth in the Vedas, Mahabharata and the various Puranas is studied by the scholars from the various points of view. Smt. S. S. Dange had thrown light on the Psthu's unnatural birth in her thesis 'Folk element in the Bhagavata Purana'. The earth cow and Psthu's dert is studied by Smt. Dange keeping in view the following points : (i) Pethu assumed the bow as the earth may yield, (ii) At the end of it, he divided the earth into various regions, and (iii) The cow yielded her treasures, when a calf is provided. In her paper Smt. Dange has established the agricultural development. Shri Om Prakash has studied this legend with a view to discuss the problem of the first traditional king.' Dr. S. G. Kantawala has studied this myth referred to in the seminar on Visnupurana in his paper 'The legend of Psthu Vainya in the Visnupurana from the cultural point of view.* Shri Ronald H. Huntington has studied this account in his paper' The legend of Psthu, a study in the process of individualization from Psycho-analytical point of view. According to him Anga i. e. limbs of the body is the creation of an imbalance in the Psychic forces by giving to consciousness of excessive masculine emphasis upon physical strength, activity, the extraversion, of the Rajas quality (Guna). Anga's wife Sunitha symbolizes the absolute negation of physical vitality, death a Tamas quality (guna) in its ultimate form, which covers the sages in the utter confusion of the symbolic of For Personal & Private Use Only

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59 Vol. XXV, 2002 PRTHU VAINYA EPISODE... total psychic collapse. The churning of the arms of the dead vena is nothing but the churning of the neorosis psychic energy. Churning is the redactive treatment. Nisada is a iamasic evolution which is set aside and made inactive.' The whole episode can be summarised in "Holiness", which seems to be wholeness to Josef Goldremner 10 (New York Pentheon Book, 1955). C. P. Ramaswami. Aiyer reaches to the same conclusion." "One of the greatest lessons that the Epics and the uranas teach us is the composite character of human nature. They bring to us the fundamental thought that man is composed of good and evil elements and that not even the greatest is exempted from his alloy." Thus the purport of the whole episode seems to be the renewal of creative harmony between the unconsious and the ego and the restoration of libido to the conscious sphere, the work of revivification was to proceed. The epithet Adiraja pinpoints the function of the 'once-for-all' pathfinder. 12 This myth had been studied by the Indian scholars such as V. M. Apte, Bhave, B. G. Tilak, Taraporewala, R. N. Dandekar etc. and the western scholars, such as Walde J. Pokorny, Grassman, Oldenberg, Weber, Renou, Schmidt, Wilson, Bergain, Roth. Zimmermann, Botlingk, Whiteny, Lanmann, Hillebrandt, Griffith, Geldner, Charpentier, Gonda etc. with a view to discuss the meaning Vena, its connotation, its formation, etymology etc. The word Vena is derived from the polysemous of Vena meaning to go, to know, to contemplate. In the Dhatukosa Shri M. R. Kale to roota i. e., (i) Vena and (ii) Vena in the same sense". (Kale M. R. Op. C. P. 127) The same case lies with Pan, Bhann in the Rv. Which appear as Pan, Bhann in the post Vedic literature. We the words Vena, Vena Vainya, Vainya Vena, Vena. But virtually they do not make any difference. Gonda has suggested that the root is, limited to gudo-granion, and attemptor to connect it with the words in other languages, to array conviction. Grassman and Monior Williams have given four different senses of this root; (i) to turn against a person (in an a vimical manner) (2) to long for a person (to turn towards a person in a frindly manner), (3) to be envious, and (4) to yearn for something. Scholars have tried to find out the original root and its proper meaning, though it is still uncertain. Various scholars differ regarding the meaning of the word Vena." For Personal & Private Use Only

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Prof. D. G. VEDIA SAMBODHI In Avesta the root vaen (ven) means to see. So T. Chawdhary takes it in the sense of observer. The Sun is the seer, the observer, the watcher. The persian verbal base 'bin' also denotes the same sense. Dandeker R. N. connects with 'Pasyat'. The seer or Rishi is so called on account of observing or percieving. Thus we find all the meanings based on the combination of the two theses ::. (i) The Seer theory and (2) Gandharva theory. Vena, the true seer, carries the meaning to see. As a Gandharva he was conceived of a divinity that kept a careful eye on the Soma plant as a protector of Soma plant. He did ag ma plant as a protector of Soma plant. He did aguire a sort of special prominence and he became the protector of all secrets. Ultimately the act of seeing gradually was developed into knowing which is equal to darsana of the seer as Prof. Dandekar remarks. "Gandharvas become associated with Apsarases and both with Indra. Vedic mythology closely associates Soma with Indra. Indra is an epithet of Sahasraksa. Sahasraksa also denotes the connotation of seeing which resembles with the Vena's meaning to see. Thus Vena, the seer, is Gandharva. Their female counter-parts Vena and Gandharvi are found in the last stage of Rgvedic compilation of 10th book. In the middle stage Apsarasas took their place and the Gandharvi disappeared. Vena is called beloved of Soma which was protected by Gandharva. The venas are Gandharvas. Av. mentions Vena together with vena, the boiler (Ukhah), the cup, the supporter, the sustainer, the Unyoking and the mist-felted care and significantly with BIhaspati. In Av.XV1- 3-2 head and preserver denote the highest position of Vena. The VS. BK. XIII-3, Av. IV-1.1 and TS. IV. 28 refer to the creation of Vena who was created by Brahman i. e. over spreaded as the bright ones from summit, disclosed his deepest and nearest revelations, womb of existent and none existent. Griffith calls Brahma,. a prayer and bright ones the bright flashes. RV. X-123-1 and TS. 1-4-8 refers to sukragraha, the cup ot sukra the offering for sukra which seems to be the piece of gold according to VS. This developed the conotation of Sukra-Venus in the gradual stages.io All these references show the origin of the world through the Solar aspect. Vena denoting the meaning to see, bright flashes, Protecting for the near, associated with Soma-Gandharva, Apsarasa, the material cause of the Ukhah i. e. boiler, origin of the world, i. e. male and female parts from which resulted in the various bright stars and planets like Venus through Indra i. e. energy of light and sound together etc. It is interesting to note that the Vena is used in the sense of pain at the time of the delivery in Gujarati language which closely resembles with the meaning of generation of the bright flashes. This connotation gradually For Personal & Private Use Only

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61 Vol. XXV, 2002 PRTHU VAINYA EPISODE... developed by the various aspects of divinities like Ukhah, Gandharva, Apsaras, Soma, Indra and lastly Sukra or Vena. Now let us turn to Prthu episode devolved from Vena episode. Pethu is called Vena's Son. Vena became a tyrant king as a Son of Sunitha, a daughter of Mrtyu. It is noteworthy that Aditi begot twelfth son Martanda and death came into existence. This shows the twelfth explosion in the Ukhah, rather boiler of Brahmnanda which resulted to diversity through Vena, Gandharvi, Apsaras, the female aspect. This shows the creation through the conguality of the two opposite forces i. e. Positive and negative pouring and receptive, male and female. In puranas henceforth the creation is known as Maithuni Srsti where death is the deterinining factor. In an astronomical spare of space at a certain stage everything was centralized which is called Vena in the myth. At this occasion everything was disturbed. So the seven seers who were keeping eye on this solar aspect or the Ukha -- i. e. boiler from the seven points in the space. They all came to the left side and one piece from the vena bright centralized bright gacial force was separated and was settled on the left side by the gravity force of the seven seers. This was in black completion but shining one. Myth calls it Nisada i. e. Ni + Sad means to sit down. This is the point on the left side of astronomical world which helped to systematized the central force. Like Dhruva a fixing point in the planetary world. By its settlement the seven seers rather seven points of this planetary world moved to the right side of Ukha or the bright gacial boiler and with a great struggle i. e. churning, called by the myth once more. Piece of the gacial force previously centralized one in the systematic order. As a result of this the planetary world was expanded. Vena became Gandharva. Gandharvi, Apsaras, Indra, sukra etc. All the planets were settled with the force of gravity. Akasaganga and important stars, Solar and Lunar World, Earth region etc. came into existence. The word Pethvi is called the female child of Prthu. It directly indicates the living beings in the plenatary world. Possibility of such beings can be on the planets which are originated through the two forces i. e. Agni and Soma, Active and Receptive forces. Jo The word 'Psthvi' also conveys the sixfold physical development of the being viz.-Asti, Jayate, Vardhate, Viparinamate, Apaksiyate and Mriyate considered in Vedanta. This is the cycle of death and rebirth. For Personal & Private Use Only

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62 Prof. D. G. VEDIA The word 'Prthvi is derived from the root Prath to expand. The planetary world of the space is the result of expansion of the force of gravity from the gacial boiler, where it was centralized. Diversification is called churning. SAMBODHI Thus, 'Prthvi itself denotes the expanding nature of the planetary world. The weakest position of it i. e. force of gravity will bring again vacuum and the centralization will take place. So the word Prthvi denotes the planetary world expanded directly and not the earth, as we believe in the sense of Bhuni. The milching of the earth cow by various classes also denote the proper placement and order at all levels in the planetary world. Prthu, the mythical king in the Puranic Story is associated with kingship, who establishes inhabitants, developes regional divisions such as village, city etc., regularize the way of life of the subjects and makes the earth smooth by removing hilly areas to make advancement in the agriculture. He becomes the first king, elected by the tribal kings. He earns the epithets Adiraja and Rajaraja. These all Prthu's adventures are important from the cultural point of view. Here I discuss Prthu Vainya from the astronomical point of view. So I take the word 'Prthvi' formed from the root Prath to expand. This earth is the result of gacial form turned into solid form, through liquid one. This gradual change is reflected in the Varaha theory of the Puranas. All five varahas are the stages of such gradual development. Prthvi is the result. Space is the place for change. Ap, Tej and Vayu all three elements have played vital role in the transferance of the gacial form into solid one. Earth is formed by contraction and not expansion. So the word Prthvi for Bhumi neither suits to its conotation of expansion nor to its scientific development. Astronomically the word Prthvi denotes the expansion of the whole planetary world. Thus the whole, Prthu Vainya episode seems very important from the astronomical point of view, the root ven is meant for constant contraction and expansion or motion at initial stage. The brightness and shining of this element of it made Sun, Soma, Indra and Venus. Seven seers, Dhruva-Nisada etc. are the astronomical points of the present astronomical world. On the other side there is black and shining element. In future this whole expansion will result in great vacuum by contraction at the loss of gravity-force caused from over expansion. For Personal & Private Use Only

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Vol. XXV, 2002 PRTHU VAINYA EPISODE... NOTES 1. Dr. K. P. Jayashwal, Hindu Polity P. 7. 2. Rv. I. 9.7.; 56. 2; 61.14; 83.5; 139.10 VII 3.18, VIII 9-10; 83.1; IX 21.5; 63.1; 64.11; 93.14; X 73.2; 123-1; 171.3; AV 5.28; XX 140.5 Sd. v. Br. 13.5.19; Jai.Br. I. 186; Jai.up. 4,2,3,9,11; Tai. Br. 2-7-5-1 etc. 3. Mbh. santi. 29/137-143; 53/113; Drona 69/4-13. 4. Vp. 62/126-182; 63; Vip. I-13-39; MTS. 10/10-35; Pdm. Bh. 2/8/21; Brahm. P. 4; Brahmand, 2/37, Bhp. 4/15. 16, 17, 18, Agni. P. Adisargavarnana 2/25-27; 4/170. 114; 18/14-18. 5. Nagpur University, 1967 P. 126-129. 6. Purana Vol. XIII Jan. 1971. P. 79-89. 7. Purana Vol. VII Jan. 1965, P. 128-136. 8. Journal of the Oriental Institute, Baroda, Vol. 41. No 3-4, March, June, 1992 P. 315-325. 9. Ronald M. Huntington, The legend of Prithu, A study in the process of Individuation, Purana, Vol. II No. 1-2, July, 1960 10. Ibid. quoted by Ronald M. Huntington. 11. Ibid quoted by Ronald M. Huntington from some thoughts on the puranas, Prabuddha Bharat, LVIII Ferbruary, 1963, P. 89. 12. Myth in Vp. 62/126-182; MTS. 10/10-35. 13. Kale M. R. Op. cit. P. 127. 14. (1) Kale M.R., A Higher Sanskrit Grammar, Delhi, 1960, Appendix-I P. 127, to play on instrument, to recognise, percieve, (2) According to V.M. Apte (Ven) In the Rgvedic context means "primarily to see, in a physical sense" secondarily, it means to see (with the mind's eye), to sense, to attend, regard, ponder over, meditate upon)," to reflect, to consider (Apte V. S. The student's Sanskrit English Dictionary, Delhi, 1968, P. 532). (3) The vedic forin Venati' corresponds to avestan form 'vaenaiti' (he sees). vaen, to see, to observe (vide Apter V. M. Op. cit. P. 1. (4) Taraporewala, IJS, Some vedic words viewed in the light of "Gathas and other Avesta Texts JBBRAS Vol. 26, 1951, P. 127. Prabudante For Personal & Private Use Only

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64 Prof. D. G. VEDIA SAMBODHI (5) According to Grassmann the Sanskrit root Ven means, (a) to turn against a person (in an inimical) (vide also Burrow, The Sanskrit language, London, P; 40). (b) to long for a person (to turn towards a person in a friendly manner), (c) to be envious (vide also Macdonell A. A., A practical Sanskrit Dictionary, OUP, London, 1954, P. 299), (d) to yearn for something (As quoted by IJS, Taraporewala, Op. Cit. P. 127, Fn. 1. (6) Gonda and Apte both reject the variety of translations such as to yarn, to be envious, to strive after, to cherish etc. (7) Bhave understands it in the sense to love, to be in favour with (Rv. I.34.2) ) Wilson-Ven - Thuder cloud. (9) Narayan in his Dipika derives the word from the root Ve (to weave), (10) Bhatt Bhaskar derives it from vena-to desire and explains vena as the lord who willed the creation of the Universe. According to him Gandharva , "Gam dharayati iti'. Gandharva - A mystic sound. Vena - Gandharva. (11) Roth and Grassman identify vena with Indra, the Atman. (12) Bergainne and Renou explain Vena as Soma (13) Gonda is convinced to understand in the sense of Soma than Moon. (14) Tilak understands Vena as sukra. (15) Roth. Grassman, Mayer, Oldenberg etc. identify Vena as Gendharva. (16) Zimmermann opines to understand Vena in the sense of solar aspect of the nature of Agni as found in Rv. X. 123. (17) St. Petersberg Laxicon gives the meaning longing or desire. Botlinka, Roth, Whitney Lanmann also opine so. (18) Mahidhara translates it as 'Moon'.(19) Gonda understands Vena as seer. Aditya. (20) Carpainter, Sayana, Griffith and Wallies understand it as sun rising in the mist and dew of morning. Dew is presonified as Gandharva, See for details 'minor vaidika deities'. 15. Rs. Gatau. #fa: fonet astara 11 16. Wide details 'minor vaidika deities'. ...4. For Personal & Private Use Only

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DIMENSIONS OF BABANAGARA INSCRIPTION [Vide South Indian Inscriptions, Vol. XVIII. No. 187, C. E. 1168, pp. 256-59] DR. HAMPA NAGARAJAIAH Introduction The much mutilated epigraph under discussion, containing 71 lines, has recorded three separate donations, made at different periods, to three Jaina temples at-Kannadige, the modern Babanagara, a village at a distance of about 27km to the west of Bijapura, the District head quarters in Karnataka. The language of the inscription is Kannada and is written in Kannada characters. Epitome of the text It opens with a benedictory Sanskrit sloka from Bhatta-Akalankadeva's Pramana sangraha, invoking Jaina Order initiated by Jina, Lord of the three worlds. Subsequent lines eulogize the valour and virtues of Bijjanadevarasa-II (1130-67), the Kalacuri king and eldest son of Permadideva (1118-30). Then follows the description of (Vira) Mailugi ksonisa (1167), the youngest brother of Bijjanadeva and his affiliation to Jaina creed. Manikya Bhattaraka, a bee at the lotus feet of Jina, was patriarch of the Kannadige diocese. His pupil (Ravi) deva, an ardent devotee of Jaina Church, attained eminence by commissioning a shrine enshrining Candraprabha, the Eighth Tirthankara, at Kannadige. Cavundaraya, fostering probity and far famed for four types of charity, installed a huge Manastambha, characteristic Jaina Pillar of Eminence, also called Pride Pillar, that looked like a scale to measure the three worlds. Synchronizing the Astanhika Jaina holy day in the year C. E. 1160, Bijjanadeva, purifying his body by sprinkling Jina-gandhodaka, the scented holywater mixed with sandal paste and anointed on the Jain idol enshrined in the sanctum, gifted 24 mattar land, with its boundary specified. This land For Personal & Private Use Only

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DR. HAMPA. NAGARAJAIAH SAMBODHI grant was for the specific purpose of performing Astavidha-arcane, eight types of worship including the lamp-waving ceremony scheduled to take place on the Astanhika, and to the repairs and white-wash of the Jaina shrine at Kannadige town. This Jinalaya, shining like a mirror, was caused to be made by Manikya Bhattaraka, head of the Mangalaveda monastery, and a pupil in the lineage of Tribhuvanadeva of Mulasamgha Desigana, a cohort of Jaina friars. Manikya Bhattaraka, the abbatial monk, figures twice in the charter and seems to have been a celebrity and played a prominent role in the dissemination of his faith. Mailugi, Bijjala, Sovideva and Camundaraya were his disciples. The third portion of the epigraph refers to the grant of land and money by Somanspa for the maintenance and repairs of the Basadi, the Jaina fane at Kannadige, founded by Candimayya. Somanrpa, second son of Bijjandevarasa, had the other aliases of Somadeva and Sovideva (1165-76). On the auspicious occasion of the first anniversary of his pattabandha, coronation, at his residence at Modeganuru, the modern Madanuru in Koppala District, Somanrpa donated land to the Jaina temple, in C. E. 1167-68. This epigraph was composed by Mallinatha, grand son of Nagacandra-I, poet- : laureate of Tribhuvanamalla Vikramaditya (1076-1125), and elder brother of Nagacandra-II and another grand son of Nagacandra-I. Muliga Nagarya engraved the lithic record, with clear cut Kannada characters beautifully shining like a necklace of fresh pearls picked up by Brahma, the creator, who dipped them in the nectar and tied it to the necklace designed exclusively for Vagvadhu, the goddess of speech. Importance The above charter is incomparable in historical documentation of the Kalacuri dynasty. It affords solid proof of the personal faith of Bijjana, his brother, son, and other relatives. Corroborative evidences to endorse this assumption are not lacking, Bijjala and Ecaladevi, his consort, were parents of eight children - two daughters and six sons. Siriyadevi, elder daughter of Bijjala had married Cavundaraya, scion of Sinda dynasty. His achievements and religious outlook are documented in this record. This epigraph has the rare distinction of being the last inscription of Bijjana, and the early inscription of mentioning the coronation regnal year of Sovideva. Singularity of the epigraph is furthered by its details of father, son, grandson, son-in-law et For Personal & Private Use Only

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Vol. XXV, 2002 DIMENSIONS OF BABANAGARA INSCRIPTION cetera, members of single royal family. The significance of the inscription is enhanced by the fact that it affords authentic material to solve the Gordian knot of clinching the issue of Bijjala's faith once for all. Tirtha and Jina-gandhodaka Among other epithets and the usual royal titles, Bijjanadevarasa is described as possessing Jina-Gandhodaka pavitrikita-uttamanga, a head that is purified by being sprinkled with sandle paste water used for the lustration of Jina. This uncommon cognomen, attributed to Bijjaladeva, needs an in extenso discussion. Anatomy It has been the custom in Hindu temples that, after completing the prescribed usual worship of the main deity to whom the shrine is dedicated, the devotees are blessed with tirtha, sacred water poured over the idol. The priest, carrying the small vessel containing the holy tirtha, would let fall one or two spoon full of tirtha into the right palm placed on the left palm of the devotees, who in trun would drink it with great devotion and feel delighted to have been blessed so. In the Jaina temple too, the devotees who are the lay votaries, are blessed with tirtha, but the method of blessing with tirtha is altogether different. Jaina priests in the temple will put one or two flowers instead of a spoon in the vessel containing sacred tirtha, the holy water mixed with sandal paste, which was used for purifying the Jinabimba with ablutions. The priest, as is the traditional custom current in the Jaina place of worship, would take out the flower dipped in the sacred yellow or red sandal wood water in the vessel, and sprinkle its drops on the head of the devotees, who with its touch would feel that their body is purified and so are gratified. Sometimes the flower, dipped in the tirtha, is also distributed to the devotee who in turn would willingly touch it to his eyes and set it in the hair or safely place it behind the ear. Thus, the main difference in giving tirtha between the Jaina and non-Jaina houses of worship is that in the former case tirtha is simply sprinkled on the head and not poured on the palm to drink. Abhiseka (i) Without phenomenalizing the approach, I would like to historicize and contextualize abhiseka in terms of grography and sect. For Personal & Private Use Only

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68 DR. HAMPA. NAGARAJAIAH SAMBODHI (ii) Interestingly "the Jaina ritual of sacred ablutions was far more complex than that observed in the temples of Siva. Visnu, or mother goddess' [Ramendra Nath Nandi : 1973: 33]. Ethnographically speaking, abhiseka, lustration, is the most important ritual for Jaina laity. Early Jaina works like Varangacarita of Jatasimhanandi (circa 7th cent. C. E.), and Yasastilaka of Somadevasuri (C. E. 959) clearly mention that abhiseka is the paramount rite of worship in medieval period. Jaina inscriptions frequently speak of liberal land grants to Jaina shrines to provide for daily performance of elaborate abhiseka, ablution. (iii) "Jainas worship a deity who is symbolically represented as a king. * The Jina is a spiritual conqueror. He was born into a royal family as a prince. According to the traditional biographies of the Jinas, many of them were consecrated as kings in the rite of royal lustration (rajyabhiseka) before they renounced the world" (infra). Symbolism of god as king is reflected in the ritual cultures of Karnataka, and the conception of kingship finds its expression in Jaina ritual culture. "In Karnataka since early medieval times, kingship has been inextricably intertwined with the rite of abhiseka" (Cort :-2002 : 42-43). (iv) Ronald Inden has rightly observed that "virtually all of the rites having to do with the making or remaking of a Hindu kingdom during the period of the Hindu kingdom's glory, the eighth of twelfth century, consisted of a more or less elaborate bathing ceremony either of the king or of an image of god... The rite of abhiseka was essential to remake daily the man as king.... Without the rite, he was an empty receptacle. After the rite, he was imbued with the luminous energy (tejas) of the deity" (Ronald Inden : 1990 : 234 & 236). Bijjana, the Kalacuri king, visited the Jaina shrine on the occasion of Astanhika festival. Nandisvara dvipa is the eighth and last island situated in the middle of universe. Exactly in the centre of Nandisvara dvipa stands Anjanaparvata, surrounded by Akitrima caityalayas on all sides. Deities who belong to the Bhavanavasi, Jyotiska, Vyantara and Vaimanika, the four groups of celestial beings, worship the Jina bimbas enshrined in these caityalayas. Exclusively for this purpose, they visit the caityalayas thrice a year in the months of Asalha, Kartika and Phalguna, and the duration of worship is extended to eight days at For Personal & Private Use Only

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69 RIPTION Vol. XXV, 2002 DIMENSIONS OF BABANAGARA INSCRIPTION a stretch. Hence the nomenclature of Astanhika' olim 'Nandisvara Astanhika'. Since this period is considered very auspicious, Jaina householders visit Jinamandiras to observe vows and donate gifts. In brief, only Jaina laymen and women follow Astanhika ritual. King Bijjala, as a devoted votary, after participating in the ritual mentioned above, gave several endowments to mark the event of Astanhika holy day. It is worth pondering that instead of making an endowment only for khanda-sphutita-Jirnoddhara, gift for repairing and white washing the temple, Bijjala has specified that the donation should be made use of for observing the Astanhika, a festival of his faith. This typical phraseology of Jina-gandhodaka-pavitrikrta-gatra occurs occasionally, but invariably, appropos of ardent Jaina laics. We do come across this usage only in a few Jaina inscriptions and Jaina poems. Out of about 3000 Jaina epigraphs in Karnataka, this phrase is used in eight charters while introducing sravaka Jaina layman, and upasaki, Jaina lay woman. Instead of quoting the text from those inscriptions, I would rather prefer to record the source of concerned epigraphs chronologically : (1) MAR 1921, p. 18, C. E. 963, Kadaluru (ii) SII, vol. XI-I, No. 52, C. E. 1007, Lakkundi (Gadag Dt.) (iii) JSI, Ingalagi inscription of C. E. 1094 (Gulbarga Dt.) (iv) EC. VII-I (BLR) Shimoga 97, C. E. 1112 (v) EC. VI (R) Krsnarajapete 3, C. E. 1118 Hosaholalu (Mandya Dt.) (vi) EC. II (R) Shravanabelagola 176 (143), C. E. 1123 (Hassan Dt.) (vii) EC. VII (R) Nagamangala 169. C. E. 1142, Kasalagere (Mandya Dr.) (viii) EC. XII (BLR) Tipturu 93, C. E. 1174, Karalalu (Tumkur Dt.) Bijja!adeva had the alias of Bijjanadevarasa, a nomen used more frequently in the Jaina records. Himself being a Jaina by faith, had chosen some Jaina men as his dependable officials. Among such bona fide subordinates Recana camupa was fidus Achates. Recana dandadhipa (1135-1225), field-Marshal of the Kalacuri army and scion of Vaji family, related to the illustrious Danacintamani Attimabble who commissioned 1501 Jaina temples including the magnificent Brahma Jinalaya at Lakkundi (SII. xi-i. No. 52. C. E. 1007). Recana, Bellona's bridegroom, bestowed his wisdom on Bijjana, his overlord and inspired to usurp the Calukya throne. Accordingly For Personal & Private Use Only

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70 DR. HAMPA. NAGARAJAIAH SAMBODHI history repeated and it was Bijjana who turned the tables to cease the throne, and declare himself independent as the emperor of newly initiated Kalucuri monarchy. Recana established Bijjana on the throne and helped himn secure prosperity of the seven constituent elements of a king, by his might, stratagem and secret consultations. Thus Recana stretched his trunk-like strong arms so that Kalacurya-Rajyalate, the creeper of Kalacurya kingdom, could spread to flourish. [EC. VII-i (BLR) Shikaripura 197, C. E. 1180, Cikkainagadi). Recana founded Jaina sanctuaries and monasteries at Lakkundi, Arasikere and Jinanathapura, and patronized poet Acana to author Vardhamana Purana, a poem of 16 cantos in Kannada language. There are ample epigraphical, archaeological and literary evidences to show that Jainism was widespread during this epoch. 1. Rambhadevi, ardhanga-laksmi of Bijjana, renovated the dilapidated Jaina temple at Malakavate olim Malavitige in the Mandubbe-30 Kampana of Anandur-300 subdivision, in C. E. 1166. [Inscriptions from Solapur District, No. 17, C. E. 1166, Malakavate (Maharashtra : Solapur Dt and Tk)] 2. She also endowed the Jaina temple at Kandalagaon in south Solapur Tk (ibid, No. 18, C. E. 1166]. 3. Kesavadeva, who had the title of 'guna-nidhi', 'treasure-trove of virtues', donated gold to the Jaina shrine called 'Balleya Jemayyana Basadi'at Lakkundi in 1173 (SII. vol. XV. No. 119, C. E. 1173] 4. An inscription composed by Hittina Senabova, a bard who had the epithet of 'Anupama kavi Kalidasa', records the endowments of land etc., extended to the Jaina shrine at Cikka Handigola, in C. E. 1174 (ibid., No. 128). 5. Kopparasa, Lord of Adakki and general of Rayamurari Sovideva, the Kalacuri king, made over several gifts to Cenna Parsvadeva's angaboga, Astavidharcane, Jivadaya -Astami and festival days of Nandisvara in C. E. 1165 (Kalburgi Jilleya Sasanagalu, Adaki No. 3, C. E. 1165]. 6. The Five Hundred of Ayyavale granted gifts to perform Astavidharcane in the Senior temple, also known as Tirthada Basadi, dedicated to Goddess Padmavati Mahadevi of Adakki, important seat of Jainism, in the reign of Rayamurari Sovideva (ibid, No. 4. C. E. 1165]. For Personal & Private Use Only

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Vol. XXV, 2002 DIMENSIONS OF BABANAGARA INSCRIPTION 7. When Rayamurari Sovideva was on the Kalacuri throne, Adaki flourished as a great centre for Jaina activities. While he was administering from his residence at Modeganur and Koppa, mahamandalesvara Ecarasa and others donated land and other gifts to the temples of Parsvadeva of Big temple and Ghatantakidevi of Tirthada Basadi of original congregation for performing Astavidha-arcane, Jivadayastami, Nandisvaraparva and for daily worship. 8. An incomplete inscription dated C. E. 1159, inscribed on the backside of the Virabhadrasvami image enshrined in the Virabhadradeva temple at Karadikal village (Raichur Dt, Lingasugur Tk), of the Kalacuri period, provides information about Jaina Church. 71 9. Another charter, of the Kalacuris, from Nadiharalahalli, dated C. E. 1168, records that Arasigavundi and Nagagavunda gifted land to the maintenance of Rsbha Jinendra caityalaya and danasala of Gottagadi village [SII. Vol. XVIII. No. 180. C. E. 1168. Nadiharalahalli (Haveri Dt, Ranibennur Tk)]. 10. Holarasa, son of Bittarasa, a sun to the Lotuses of Sindakula, endowed the Gunadabedangi Jinalaya at Arasibidu olim Vikramapura (Bijapur Dt, Hungunda Tk), in C. E. 1167 [SII. Vol. XV. No. 108]. This Jaina shrine was commissioned by Akkadevi, princess of the Calukya dynasty who had the cognomen of Gunadabedangi ('the beauty of virtues'), in C. E. 1046 [El. Vol. XVII. No. C. E. 1946] 11. Kalidevasetti of Hanugal founded a Basadi dedicated to Caturvimsati (=24) Tirthankaras at Mantagi (Haveri Dt, Hanagal Tk), and entrusted it to Nagacandra Bhattaraka, his preceptor. 12. Samanta Sankara built a new Basadi at Cikka-Magadi which was graced by the presence of Recana-camupa, minister and general of Bijjana and his sons. Kavadeya Boppa, a subordinate, had accompained Recana. 13. Kavadeya Boppa, minister of Recana, was in intrepid warrior of the Kalacuris. Jaina shrines at Bandanikapura, Battakere, Bankapura, Belagola Hanugal, Huli, Kolaturu, Kogali, Kupana, Lokkigundi, Mulgunda, Navilgunda, Puligere and other places were renovated and resurrected by Kavadeya Boppa. Similar instances of installing, consecrating and commissioning of Jaina For Personal & Private Use Only

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72 DR. HAMPA. NAGARAJAIAH SAMBODHI images and places of prayer are not lacking. Mangalavede, now in Maharastra (Sholapur Dt.) was a well-known Jaina seat and the royal house of the Kalacuris made it more sacred by founding new houses of worship dedicated Jina. Abbots of Mulasamgha Desiga gana were chief of the Mangalaveoe diocese. Bijjaladeva, born at Ingalesvara (Bijapur Dt., Bagevali Tk), a nerve centre of Jaina faith, was brought up at the nearby Mangalavede olim Mangalavada, included in the Tarikadunadu division, and the early capital of the Kalacuri monarchy. The pontiffs of the Jaina monastery at Mangalavede were the royal preceptors of the Kalacuri kings ab initio to ad finem. Hence the patriarchs of the Mangalavede Jaina cloister were privileged to the biruda, title of 'Mangalavedada Rayaracarya', 'the teachers of the kings of Mangalavede'. Interestingly this epithet appears in the Babanagar inscription. Acarya Tribhuvanadeva, chief of the Mangalavede Jaina monastery, was the preceptor of Bijjanaraya. It is noteworthy that some of the Kalacuri kings had Raya as part of their names : Rayamurari, Bijjalaraya. Manikya Bhattaraka, successor disciple of Tribhuvanadeva, was the royal preceptor of Vira Mailugi, younger brother of Bijjala, and of Somanspa, son of Bijja!a. Epitome : The religio-historical and socio-cultural significance of the Babanagara epigraph needs no exaggeration. The Virasaiva and Jaina literary sources categorically affirm that Bijjala was Jaina by faith. Inscriptional evidences also endorse the above account. The Babanagara charter under discussion contains completely reliable record of the Jaina influence. It possesses phrases and references which hark back to the early phase of the Kalacuri monarchs. It describes the imperial policy for the propagation of the royal faith, especially the deeds of Bijjana, the projenator of the dynasty's rule and, after a hiatus of a decade, refers to the reign of Somanypa. It was issued in C. E. 1167, according to (SII. Vol. XVIII) editor's computation. Unfortunately this unique lithic record is severely damaged at several places, and the lines between 65 and 69 in particular are completely wornout. However, the main portion and purport of the charter could be made out. For Personal & Private Use Only

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Vol. XXV, 2002 DIMENSIONS OF BABANAGARA INSCRIPTION GENEALOGY OF THE KALACURI DYNASTY Bijjala-I (1057) Krsna alias Kannama (1067) Jogama (1080-1118) Permadideva (1118-1130) (w. Nagaladevi) Raja Bijjaladeva .(w. Ecaladevi) (1130-65) Mailugi (1165) Rayamurari Mallikarjuna Sankama Ahavamalla Singhana Siriyadevi Sovideva (1175-76) (1176-80) (1180-83) (1183-84) (m. Cavundaraya) (1165-75) Younger daughter (m. Barmarasa) ABBREVIATIONS ARSIE : Annual Report of South Indian Inscriptions BLR : Benjamin Lewis Rice Edition C. E. : Current Era Dt : District : EC : Epigraphia Carnatika El : Epigraphia Indica JSI : Jainism in South India and some Jaina Epigraphs by P. B. Desai Kl : Karnataka Inscriptions For Personal & Private Use Only

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14 DR. HAMPA. NAGARAJAIAH SAMBODHI MAR: Mysore Archaeological Annual Reports (R) : (Revised) SB : Sravanabelagola SII : South Indian Inscriptions Sk : Sanskrit Tk : Taluka BIBLIOGRAPHY Cort, John E. : The Jina as king, In-Vasantagauravam, (ed) Jayandra Soni. Mumbai, 2002. Desai, P. B. : Jainism in South India and Some Jaina Epigraphs, Solapur, 1957. Gogi, Hanumakshi (ed) : Kalburgi Jilleya Sasanagalu, Hubli, 1996. Nagarajaiah, Hampa (ed) : 1. Jainism under the Kalacuris and the Seunas - In Jinamanjari, Vol. 21, No-1, April 2000 (A bi annual from USA & Canada) 2. Koppalada Sasanagalu, Mysore, 1998. 3. Jaina Corpus of Koppala Inscriptions X-Rayed, Bangalore, 1999. Ramendra Nath Nandi : Religious Institutions and Cults in the Deccan, Delhi, 1973. Ritti, S. H., and Ananda Kumbhar (eds) : Inscriptions from Solapur District, Dharwada, 1988. Ronald Inden : Imagining India, Oxford-Blackwell, 1990. . For Personal & Private Use Only

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VERSES RELATING TO SVABHAVAVADA : A COLLECTION RAMKRISHNA BHATTACHARYA FOREWORD The doctrine of svabhava (lit. inherent nature) has been aptly called one of the "lost philosophies" of ancient India. Prior to the systematization of several mutually exclusive philosophical schools, having sutra-works and commentatorial traditions of their own, some rudimentary speculations concerning the origin of the world and of life had emerged by the time of the Svetasvatara Upanisad (c. sixth century BCE). There we read : kalah svabhavo niyatir yadeccha bhutani yonih purusa iti cintyam 2 (1.2) Whether Time, or inherent nature, or destiny, or accident, or the elements, or God is the (first) cause is to be considered. The word, svabhava, occurs first in this Upanisad : no other major Upanisad (excepting the Maitri, 5.1) - not to speak of the samhita-s, Bramana-s and Aranyaka-s-contains it. Right from the Sve. Up. the doctrine came to be mentioned by name (but very seldom expounded) and continued to be noted and rejected through the Mahabharata, Asvaghosa's Buddhacarita (first century CE) down to the seventeenth century commentaries on the Samksepa-Sariraka by Sarvajnatma Muni (eleventh century CE). It is curious that not a single exponent of this doctrine is known, not a single sutra or an authentic statement is to be found in the whole corpus of Sanskrit philosophical literature. All we have are a handful of verses, all anonyinous, found scattered in brahminical, Jain and Buddhist works of various kinds. There is no way to ascertain whether any verse has come down to us from some authentic svabhavavadin source. A few verses, particularly the For Personal & Private Use Only

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76 RAMKRISHNA BHATTACHARYA SAMBODHI kah kantakasya, etc. (v. 6 below), are more oft-quoted than others. Most of the verses purporting to represent the basic idea seem to have been composed by its opponents when they are engaged in the exposition of the exponent's view (purvapaksa). Critics held different, and even totally contradictory, views about this doctrine. But more of that hereafter. At first, I propose to give all the verses I have been able to locate in various sources (with variants noted), followed by an English translation. The problems regarding the doctrine itself will be pointed out in the Afterword. Further elaboration will be made on some other occasion. VERSES | 1. astiti kecit paralokamahurmoksisya yogam na tu varnayanti agneryatha hyausnyamapam dravatvam tadvat pravrttau prakrtim vadanti || BC, 9. 57, p. 102 (Text) 2. kecit svabhavaditi varnayanti subhasubham caiva bhavabhavau ca . svabhavikam sarvamidam ca yasmadato'pi mogho bhavati prayatnah BC, 9.58, p. 102 (Text) 3. yadindriyanam niyatah pracarah priyapriyatvam vinayesu caival samyujyate yajjarayartibhisca kastatra yatno nanu sa svabhavah 11 BC, 9. 59, p. 102 (Text) 4. adbhirhutasah samamabhyupaiti tejamsi capo gamayanti sosam | bhinnani bhutani sarirasamsthanyai kyam ca gatva jagadudvahanti || BC, 9.60, p. 103 (Text) For Personal & Private Use Only

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77 Vol. XXV, 2002 VERSES RELATING TO SVABHAVAVADA : A COLLECTION 5. yatpanipadodaraprsthamurdhnam nivartate garbhagatasya bhavah yadatmanastasya ca tena yogah . . svabhavikam tat kathayanti tajjnah 11 BC, 9. 61, p. 103 (Text) 6. kah kantakasya prakaroti taiksnyam vicitrabhavam mtga-paksinam va | svabhavatah sarvamidam pravsttam na kamakaro'sti kutah prayatnah ||| BC, 9. 62, p. 103 (Text); Comm. on DNC, p. 191; LTN v. 21, f. 22a (kantakanam ... vicitratam ... kamacaro); ASVs, on su. 3, p. 12. 10-11 (kantakanam ... kamacaro); TRD, p. 13. 7-10 (kantakanam ... ca ... kamacaro); Curni, on SKS, 1. 17, p. 29. 14 (first hemistich only. kantakanam) 6a. kah kantakanam prakaroti taiksnyam vicitrabhavam mrga-paksinam ca madhuryam iksoh katutam ca nimbe svabhavatah sarvamidam pravittam || Svi on BS, 1.7, p. 9; Comm. on PVS, quoted by Kulkarni, p. 116 n 21 (first hemistich only); Nis on ss, 1.11. p. 340 (citram vicitram mrgapaksinamca ... katuta marice); CRS, 8. 60, p. 66 (vaicitryam ... katuta ... ca siddham); in some other texts; ... iksau ... ca [hi] ... prasiddham | hi siddham); prapannam) (CNTT, vol. I. pt. II, 8.118, p. 221; ibid. vol. II. pt. II, vi 226, p. 145); SRBh, v. 17, p. 84 (nimnonnatam vaksyati ko jalanam ... hi siddham) v. 1. nicoccam ... tiksnatam (ibid.); Curni on SKS, 1.1.17, p.29 (first hemistich only) 6b. kantakasya ca tiksnatvam mayurasya vicitrata | . varnasca tamracudanam svabhavena bhavanti hi | For Personal & Private Use Only

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6c. Liu 11 RAMKRISHNA BHATTACHARYA SAMBODHI 1 SKSVr on 1.1.12, p. 14.22; Curni on SKS, 1.1.12, p. 26.24 (ca citrata ... paurnasca nilata "mvranam); v.1. paurnasva nilata "mrganam ... parnanam nilata svaccha ... (ibid., n.11) ko karai kamtayanam tikkhattam miyavihamgamadinam vivihattam tu sahao idi savvampi ya sahaotti || (kah karoti kantakanam tiksnatvam mrgavihamgamadinam | vividhatvam tu svabhava iti sarvamapi ca svabhava iti || GS, Karmakanda (uttarardha), v. 883, p. 1066 (Sankrit version on p. 1067) Cf. PV, v. 182 cd, p.54; NS, 4.1.22 and MVI on SK, v. 38, p. 151; Sankara's comm. on Br. Up-, 4.3.6, p. 884 badaryah kantakastiksna rjurekasca kumcitah || phalam ca vartulam tasya vada kena vinirmitam || LTN, v. 22, f. 22a; TRD, p. 13. 11-12. agnirusno jalam sitam samasparsastathanilah | kenedam citritam tasmat svabhavat tadvyavasthitih || KB, on NK, 1.5, p. 10; NKP, on NK, 1.5, p. 19 (vahoi ... racitam); SDS, Ch. 1, p. 13. 107-08, San. Comm. on NK, 1.5, p.20 (vahoi ...) (attributes the verse to Dinnaga). See also No. 14; SSS, Ch. 2, v.2. p.7 (agnair ausnyam apam saityam kokile madhurasvarah ityadyekaprakarah syat svabhavo naparah kvacit (1) Cf. No. 1 above. kah padmanaladalakesarakarnikanam samsthanavarnaracanamrdutadihetuh || patrani citrayati ko'tra patatrinam va svabhavikam jagadidam niyatam tathaiva | JM, 23.17, p. 152. 9. For Personal & Private Use Only

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11. Vol. XXV, 2002 VERSES RELATING TO SVABHAVAVADA : A COLLECTION 79 10. yena sukliksta hamsah sukasca haritikrtah mayurascitrita yena sa no vsttim vidhasyati || SSs on SK, v. 27, p. 36; on v. 61, p. 74; SKBh on SK, v. 61, p. 48 ... mayurah kena citritah / svabhavenaiveti iti); MVr on SK, v. 61, p. 167 Note : SSs contains a different version of this verse (on SK, v.27, p.26); "What produces the white colour of the hamsas, the green colour of the parrots, and the variegated colour of the peacocks, it is from that I too am created." (emphasis added). (See S.S.S. Sastri, p. 36). Not having access to N.A. Sastri's Sanskrit restoration (Tirupati, . 1944) of this commentary I am unable to say anything more. kenanjitani nayanani msgangananam ko'vakaroti rucirangaruhan mayuran kascotpalesu dalasannicayam karoti ko va karoti vinayam kulajesu pumsu || Comm. on DNC, p. 222; ASVI, on Su.3, p. 12. 12-13 (ko'lankaroti...dadhati (for karoti in d) ... pumssu) cf. No. 13 below 12. svabhavatah pravittanam nivittanam svabhavatah naham karteti bhavanam yah pasyati sa pasyati || Comm. on DNC, p. 226; ASVI, on Su. 3, p. 12. 11-12 ... bhutanam...) 13. ko cittei nayuram gaim ca ko kunai rayahamsanam | ko kubalayan gamdham vinayam ca kulappasuyanam ||| Sukhabodha-Laghuvrtti to Uttaradhyayana Sutra (Agadadatta, v. 75) (Quoted in Kulkarni, p. 14 n 13). Cf. No. 11 above. 14. nityasattva bhavantyanye nityasattvasca kecana vicitra kecidityatra tatsvabhavo niyamakah || KB on NK, 1.5, p. 9; NKP on NK, 1.5, p. 19; San. Comm. on NK, 1.5, p. 20 ...bhavantyeke...) (attributes the verse to Dinnaga). See also No. 8 above. sarvahetunirasamsam bhavanam janma varnyate svabhavavadiviste hi nahuh svamapi karanam || TS, Ch. 4, v. 110, p. 78; Comm. on GV, 2. 25 (1643), p. 132. For Personal & Private Use Only

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RAMKRISHNA BHATTACHARYA SAMBODHI 7. 18. 19. I 20. rajivakesaradinam vaicitryam kah karoti hil mayuracandrakadirva vicitrah kena nirmitah || TS, Ch. 4, v. III, p. 79; Comm. on GV, 2.25 (1643), p. 132 ...kantakadinam ... mayuracandrika...) See Kulkarni, p. 13 n 10 and p. 20. yathaiva kantakadinam taiksnyadikam hetukam kadacitkataya tadvad duhkhadinamahetuta || TS, Ch. 4, vi.112, p. 79; Comm. on GV, 2.25 (1643), p. 132 (kadacitkam yadatrasti nihsesam tadahetukam yatha kantakataiksnyadi tatha caite sukhadayah || Cf. No. 6 above. na svabhavatirekena garbhabalasubhadikam yat kincijjayate loke tadasau karanam kila ||| SVS, 2.169, p. 46. sarvabhavah svabhavena svasvanhave tatha tatha | varttante'tha nivarttante kamacara-paranmukhah || SVS, 2.170, p. 47. na vineha svabhavena mudgapaktirapisyate | tathakaladibhave'pi nasvamasasya sa yatah 11 SVS, 2.171, p.47. atatsvabhavat tadbhave'tiprasamgo'nivaritah tulye tatra mrdah kumbho na patadityayuktimat || SVS, 2.172, p. 47. sikhinas citrayet ko va kokilan kah prakujayet svabhavavyatirekena vidyate natra karanam || SSS, Ch. 1, v. 5, p. 5. yathosnatarkanalayosca sitata vidhau drutih ke kathinatvamasmani | maruccalo bhuracala svabhavato yato vicitra vata vastusaktayah || Siddhanta-siromani, Goladhyaya, v. 5, p. 344. Cf. Siddhanta-sekhara, 15. 21. 22. 23. For Personal & Private Use Only

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Vol. XXV, 2002 VERSES RELATING TO SVABHAVAVADA A COLLECTION 81 TRANSLATIONS 1. Some say there is a future life but do not explain the means of liberation. They teach that there is an essential force of nature (prakrti) at work in the continuance of activity, like the essential heat of fire and the essential liquidity of water. (Trans. E.H. Johnston) 2. Some explain that good and evil and existence and non-existence originate by natural development (svabhava); and since all this world originates by natural development, again therefore effort is vain. (Do) 3. That the action of each sense is limited to its own class of object, that the qualities of being agreeable or disagreeable is to be found in the objects of the senses, and we are affected by old age and afflictions, in all that what room is there for effort? Is it not purely a natural development ? (Do) 4. The oblation-devouring fire is stilled by water, and the flames cause water to dry up. The elements, separate by nature, group themselves together into bodies and coalescing constitute the world. (Do) 5. That, when the individual enters the womb, he develops hands, feet, belly, back and head, and that his soul unites with that body, all this the doctrine of this school attributes to natural development. (Do) 6. Who fashions the sharpness of the thorn or the varied nature of beast and bird? All this takes place by natural development. There is no such thing in this respect as action of our own will, a fortiori no possibility of effort. (Do) 6a. Who fashions the sharpness of the thorns and the varied nature of beasts and birds? Who fashions the sugarcane sweet and the margosa bitter? All this takes place by matural development. (Trans. mine) 6b. The sharpness of the thorn, the variety of the peacock and the colour of the cocks are (due to) natural development. (Do) For Personal & Private Use Only

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RAMKRISHNA BHATTACHARYA SAMBODHI 6c. Who makes the sharpness of the thorns and the variety of the animals, birds etc.? (It is) natural development (that does so), all is natural development. 82 (Do) 7. Of the many thorns of a jujube tree, one is sharp, another is straight, yet another is crooked. But its fruit is round. Say, who has made all this? 8. The fire is hot, the water cold, refreshing and cool the breeze of morn; By whom came this variety? From their own nature was it born. (Trans. E. B. Cowell) (The verse in SSS: "The heat of fire, the cold of water, the sweet sound of the cuckoos, and such other things happen to be (due to) the invariable nature (of those things), and (they) are not anything else." (Trans. M. Rangacarya) 9. What is the cause of the shape, the colour, the arrangement, the softness and so on of the stalks, the petals, the filaments and the pericarps of the lotuses? Who diversifies the feathers of the birds in this world? In just the same manner this whole universe is the product of the work of essential and inherent properties, to be sure. (Trans. J. S. Speyer) 10. That which made the swans white and the parrots green, and coloured the peacock will provide for us. (Trans. mine) 11. Who embellishes the eyes of the female deers, who decorates the bright plumes of the peacocks, who arranges the petals in the lotuses, and who provides modesty (lit. good conduct) to the nobly-born man ? (Do) 12. All those that have come forth are due to natural development; they cease to exist due to natural development. He who sees himself not as the agent of things sees (rightly). (Do) 13. Who colours the peacock, who provides the swans with (their) gait, who (provides) scent to the lotuses and modesty (lit. good conduct) to the nobly-born ladies? (Do) For Personal & Private Use Only

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Vol. XXV, 2002 VERSES RELATING TO SVABHAVAVADA : A COLLECTION 83 14. Certain objects exist forever, some objects never exist, some others are varied. Here natural development is the determinant. (Do) 15. The propounders of the doctrine of natural development describe the origination of things as being independent of all causes. They do not declare even the thing itself to be its own cause. (Trans. Ganganatha Jha) 16. Who makes the diversity in the lotus and its filaments, etc. ? By whom, too, have the variegated wings of the peacock and such things been created ? (DO) 17. Just as sharpness and other properties of the thorn and other things must be regarded as without cause, on the ground of their appearing at certain times only, so also must pain and other (internal) matters be regarded as without cause. (Do) 18. Without inherent nature, there is no conception, boyhood and (the understanding of) what is beneficial, etc. (i. e., manhood). It (sc. inherent nature) is the cause of whatever is born in this world. (Trans. mine) 19. All entities exist in their own being and cease to exist due to their inherent nature, irrespective of (free) will. (Do) 20. Without this inherent nature even mudga (a kind of bean) cannot be cooked, just as notwithstanding the presence of all other necessary elements like) time, etc. asvamasa (?) is not (cooked). (Do). 21. Acceptance of an effect even in the absence of inherent nature (as the cause) makes way for an undesired conclusion. Then it will not be reasonable to say that the pot is made of earth, (but) not the cloth. (Do) 22. Who colours wonderfully the peacocks, or who makes the cuckoos coo so well ? There is in respect of these things) no cause other than nature. (Do) For Personal & Private Use Only

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84 RAMKRISHNA BHATTACHARYA SAMBODHI 23. As heat is an inherent property of the Sun and of Fire, as cold of the Moon, fluidity of water, and heaviness of stones, and as the Air is volatile, as the earth is naturally immovable. For oh ! the properties existing in things are wonderful. (Trans. Lancelot Wilkinson) AFTERWORD It is evident from the above verses that the Alpha and the Omega of the doctrine of svabhava may be encapsulated in three words : nirisvarata (atheism), akasmikatva (accidentalism) and akriya (inactivism). Pseudo-Sankara, the commentator on the Sv. Up., and some other writers (both brahminical and Jain) distinguish svabhava from yadrccha,5 but some others (more particularly the Buddhists, Naiyayika-s and some other Vedantins) treat svabhava as equivalent to yadrccha, Thus, svabhava could mean both causality inherent in every phenomenon (although not the one imposed from outside by any agency such as God, a doctrine in contrast called parabhava in the Mahabharata, Santiparvan, 172.10)' as well as chance. At the present state of our knowledge we have no way to solve this crux. Another crux lies in ascertaining the relation of svabhavavada to the Carvaka/ Lokayata system of philosoply. We read of svabhava and bhutani as two different and apparently divergent doctrines in the Sv. Up., 1. 2. The proto-materialists of India (i. e., the pre-Carvaka philosophers referred to as ucchedavadins by the early Buddhists, tajjiva-tacchariravadins by the Jains and bhutacintaka-s by a redactor of the Mahabharata) spoke in terms of five elements, while the Carvaka-s admitted only four (earth, air, fire and water, sky excluded).' In any case, we do not hear of the name of Carvaka before the eighth century C.E.10 The word, lokayata in the Buddhist works means nothing but vitandasattham, vitandasastra, the science of disputation." But there were materialists of other kinds before them, right from the time of the Chandogya Upanisad (in which the doctrine is associated with the asura-s, demons).12 Thus the two doctrines, those of svabhava and the Carvaka / Lokayata, must have originated quite independent of each other but, at some juncture (unfortunately we do not know precisely when), they may have coalesced. The Lokayatika-s may have incorporated the doctrine of inherent nature in their system. This is suggested by the anonymous commentary on the SK available only in the Chinese translation by Paramartha and more explicitly by Utpalabhatta in Svi (on BS, 1.7) as also by the anonymous Curni on SKS.13 For Personal & Private Use Only

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Vol. XXV, 2002 VERSES RELATING TO SVABHAVAVADA : A COLLECTION 85 Haribhadra and santaraksita, on the other hand, seem to be unaware of any connection between the two doctrines. They refute both the views separately, taking each in turn.Candrakirti (sixth century C.E.), however, seems to hint at some sort of relation between the two doctrines. Some later writers, such as Sayana-madhava (Vidyaranya) and Nilakantha, take the two doctrines to be almost synonymous, or at least, closely related. 16 Many a modern scholar, whether or not agreeing on what svabhava stands for - causality or accident - follow them in this regard. The basic problem in accepting such an identification is that there is no way of knowing whether the Carvaka-s were kriyavadin-s (activists) or not. If Somadevasuri (tenth century CE) is to be believed, they were proponents of activism as opposed to fatalism." Then, of course, the view of Vidyaranya and some later Vedantins (that the Indian materialists were svabhavavadins) is to be rejected.18 An activist cannot be an accidentalist at the same time. 19 Again, at the present stage of our knowledge, it is not possible to offer any solution to this crux either. NOTES AND REFERENCES 1. H. M. Randle, Indian Logic in the Early Schools, London : Oxford University Press, 1930, p. 16 n3. 12. V. P. Limaye and R. D. Vadekar (ed.), Eighteen Principal Upanisads, Vol. 1, Poona : Vaidika Samsodhana Mandala, 1958, p. 283. 3. Other translators like Hume and Radhakrishnan interpret the words, yoni and purusa, differently. I have preferred to follow Pseudo-Sankara's commentary.. 4. The Mahabharata (Mbh), santiparvan, Critical Edition, ed. S. K. Belvalkar, Poona : Bhandarkar Oriental Research Institute, 1966, 229. 3-19; Buddhacarita (BC), 57 cd-62; Commentaries by Agnicit Purusottama, Madhusudana Sarasvati and Ramatirtha on Samksepa-Sariraka (Ss), 1.528. 5. Pseudo-Sankara's Commentary on sv. Up. 1:2; Sankarananda on above; Amalananda, Vedantakalpataru on Brahmasutra, 2.1.33; Anandagiri on Sankara's Comm. on the Brhadaranyaka Upanisad, 4.3.6; Silanka, ASVK,on sutra 3, p. 12; Gunaratna, TRD, pp. 13-15. For Personal & Private Use Only

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86 RAMKRISHNA BHATTACHARYA SAMBODHI 6. BC (see n4); Dharmakirti, PV, vv. 182 cd-183a, p. 64; Santaraksita, TS, Ch. 4, vv. 110-12, pp. 79-80; Nyayasutra (NS), 4.1.22; Nrsimha Asrama and Madhusudana Sarasvati on SS, 1. 528. 7. I am indebted to Dr. Nicholas Sutton for drawing my attention to the word, parabhava. It must have been coined by the redactor of this chapter as an antonym of svabhava. The use of the word in this sense appears to be unique. Monier Monier-Williams does not record it in his A Sanskrit-English Dictionary although other meanings are noted (S.V., 1899 ed; p. 587 col.1) 8. Samannaphalasuttam, Dighanikaya, Patna: Pali Publication Board, 1958, Part 1, pp. 48-49; SKSVr on 2.2.9, pp. 185-87; Mbh. 12. 224. 50d and 14. 48. 24d. 9. Cf. the oft-quoted Carvaka-sutra : prthivyapastejovayur iti tattvani, : "Earth, water, fire and air are the (only) principles." For sources see Mamoru Namai, "A Survey of Barhaspatya Philosophy", Indological Review (Kyoto), No. 2, 1976, pp. 38-39 and nnll-12. To those we may add Prabhacandra, Prameyakamala-martanda, Mumbai Nirnay Sagar Press, 1941, p. 116; Yamuna, Siddhitraya, Tirupati, 1942, pp. 13, 17;, Vadidevasuri, Syadvadaratnakara, Delhi: Bhartiya Book Corporation, 1988, p. 1075, 1086; Vidyanandin, Tattvartha-sloka-varttika, Mumbai: Nirnay Sagar Press, 1918, pp. 26-28; Siddharsi, Upamitibhava-prapanca-katha, Calcutta: The Asiatic Society, 1901-14, p. 668 and Haribhadra, LTN, on 2.3, p. 24a. 10. The name Carvaka, as a synonym for Lokayata, is first encountered in Haribhadra's Saddarsana-Samuccaya, v. 85d and Kamalasila's Panjika on TS, v. 1885, pp. 639, 649. 11. See my article, "The Significance of Lokayata in Pali", Journal of the Department of Pali, University of Calcutta, Vol.10, 2000, pp. 39-46. 12. Chandogya Upanisad, 8. 7-9, See also Brhadaranyaka Up., 2.4.12 (= 4, 5.13) as well as Taittiriya Up., 2.1.1, 2.2.1, 2.3.1 and Chandogya Up., 5.1.7 The word, avaidika occurs in the Maitri Up., 7.10 (unique in the Upanisads) to refer to all those who denied the authority of the Vedas. See also ibid., 7.9 and S. Radhakrishnan, Indian Philosophy, Vol. 1, Delhi : Oxford University Press, 1989 (first pub. 1940), pp. 277-278. For Personal & Private Use Only

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Vol. XXV, 2002 VERSES RELATING TO SVABHAVAVADA : A COLLECTION 87 13. See Verse No. 10 above. It is introduced with the sentence : "The Laukayatika-s speak of svabhava as the cause of the world"; SSs, p. 36 ("This verse is found in the work of the Lokayatika-s.", on SK, v. 27); Curni on SKS, 1.1.17, p. 29 (introduces kah kantakanam, etc.) with "as of the Lokayatika-s"). 14. See my article, "Haribhadra's Views on Svabhavavada and the Lokayata", Jain Journal, Vol. XXXVI, No.1, July 2001, pp. 46-52. Santaraksita refutes the doctrines of svabhava and Lokayata in TS, Chs. 4 and 22 respectively. 15. Candrakirti, Madhyamakavatara, before and after v. 100, summarized by A. K. Warder, Outlines of Indian Philosophy, Delhi : MLBD, 1971, p. 35. 16. SDS, Ch. 1, p. 11; Vidyaranya, Vivarana-prameyasargraha, Benares : E. J. Lazarus and Co., 1893, p. 210; Nilakantha on the Mbh. (Vulgate ed.), Aranyakaparvan, 32.13, 32.32. 17. Somadevasuri, Yasastilaka-campu, Mumbai : Nirnay Sagar Press, 1903, Asvasa 3, pp. 379-82. 18. For Vidyaranya and Nilakantha, see n16; Agnicit Purusottama, Nssimha Asrama and Ramatirtha identify svabhava with the Carvaka in their commentaries on sS, 1.528. Anandagiri in his sub-commentary on Sankara's Brhadaranyakabhasya (4.3.6) refers to the Lokayata and dehatmavada although Sankara speaks of the svabhavavadin-s only (Poona : Anandashram, 1914, pp. 552, 554). Some non-Vedantins, too, equate the two doctrines, See, e.g., Slanka, SKSVI, on 1.1.12, p. 14; Cakrapanidatta on the Caraka-samhita, Sutrasthana, 11.6, Varanasi: Chaukhambha Sanskrit Samsthan, 1984, p. 68 and Varadaraja, KB on NK, 1.5; p. 9. 19. Keith Campbell has characterized materialism on the basis of three principles, viz.; (1) "Everything that is, is material". (2) "Everything that can be explained can be explained on the basis of laws involving only the antecedent physical conditions." (3) "There is a cause of every event." ("Materialism" in : Paul Edwards (ed.), The Encyclopedia of Philosohy, New York : Macmillan Publishing Co. & Free Press, 1972 reprint, Vol. 5, p. 179) If svabhavavada=accidentalism, can it then be admitted as materialistic at all ? For Personal & Private Use Only

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RAMKRISHNA BHATTACHARYA SAMBODHI ABBREVIATIONS AND BIBLIOGRAPHY Anandagiri Comm. on sankara's Comm. on Br. Up. Ed. K. S. Agasche. Poona : Anandaashrama, 1914. Acarangasutravrtti by Silanka, Acarangasutram and Sutrakrtangasutram with the Niryukti of Acarya Bhadrabahu Svami and the commentary-of Slankacarya. Re-ed. Muni Jambuvijayaji, Delhi : MLBD Indological Trust, 1978. BC Asvaghosa's Buddhacarita. Ed. and trans, E. H. Johnston. Delhi : MLBD, 1978 (first pub. 1936). Brs Varahamihiracarya. Brihat Samhita. Ed. Avadhavihari Tripathi. Varanasi: Sampurnanand Sanskrit Vishvavidyalaya, 1968 (with Bhattotpala's (Samhita] Viviti. Br. Up. Bshadaranyaka Upanisad. Gorakhpur : Gita Press, 2014 Samvat. CNTT Canakya-Niti-Text Tradition. Ed. Ludwik Sternbach, Vol. I, Part II, Hoshiarpur : WRI, 1964. Vol. II, Part II (Ur-Text) 1967). CRS Canakyarajanitisastram (A Tibetan Text with Sanskrit Parallels). Ed. Suniti Kumar Pathak. Santiniketan : Visva-Bharati, 1959. Curni Anon. Suyagandagasuttam. Ed. Muni Shri Punyavijayaji. Ahmedabad - Varanasi : Prakrit Text Society, 1975. DNC Dvadasaram Nayacakram by Mallavadisuri, Comm. by Simhasuri. Ed.. Muni Jambuvijayaji. Bhavnagar : Jain Atmanand Sabha, 1966. Gommatasara. Ed. Gadadharlal Jain, Nyayatirtha and Srilal Jain Kavyatirtha, Calcutta (?) : Jaina-Sidhantaprakasini-Samstha, n.d. Ganadharavada by Jinabhadragani. Comm. by Maladhari Hemacandra. Ed. Muni Ratnaprabha Vijaya, Ahmedabad : Sri Jaina Grantha Prakasaka Sabha, 1942. Jataka-Mala by Aryasura. Ed. P. L. Vaidya. Mithila : The Mithila Institute, 1959. Trans. J. S. Speyer. Delhi : MLBD, 1982 (first pub. 1895). The Kusumanjali-bodhani of Varadaraja Misra. Ed. Gopinath Kaviraj. Allahabad, 1922. Kulkarni V. M. Kulkarni, "Svabhavavada (Naturalism) : A Study", Sri Mahavira Jaina Vidyalaya Suvarna Mahotsava Grantha : Ed. A. M. Upadhye et al. Bombay, 1968. IM KB For Personal & Private Use Only

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PV Vol. XXV, 2002 VERSES RELATING TO SVABHAVAVADA : A COLLECTION 89 LTN Sri Lokatattvanirnayagranthah by Haribhadra. Amadavada (Ahmedabad) : Sri Hamsavijayaji Jaina Free Library, 1978 Vikrama Samvat. MVI Samkhyakarika with Matharavrtti. Ed. Svami Divakarananda. Mandirbajar (West Bengal) : Jagannath Barman, 1968. NK Nyayakusumanjali by Udayanacarya. Ed. Srimohan Bhattacharya. Kolkata : West Bengal State Book Board, 1995. Nyaya-kusumanjali-prakasa by Varddhamanopadhyaya. Ed. Laxman Shastri Dravid. Benares : Chowkhamba Sanskrit Book Depot, 1912. Nyayasutra. Die Myayasutra's. Ed. Walter Ruben. Leipzig : Deutschen Morgenlandischen Gesellschaft, 1928. Nivandha-sangraha by Dalhana on Ss. Ed. J. T. Acharya. Varanasi : Chowkhambha Orientalia, 1980 Pseudo- Comm. on the Sv. Up. Ed. Durgacarana Samkhyavedantatirtha. Cal : Sankara Deva Sahitya Kutira, 1361 B. S. (1st published 1338 B. S.) Pramana-varttikam by Dharmakirti. Ed. Swami Dwarikdas Shastri. Varanasi : Bauddha Bharati, 1968. Prasna-vyakarana-sutra. See Kulkarni. Sankaramisra's Comm. on NK. Ed. Narendrachandra Vedantatirtha. Calcutta : University of Calcutta, 1964 (in two parts). SDS Sarva-darsana-samgraha by Sayana-Madhava. Ed. Vasudev Shastri Abhyankar. Poona : Bhandarkar Oriental Research Institute, 1978. Trans. e. B. Cowell and A. E. Gough. Ed. K. L. Joshi. Ahmedabad-Delhi : Parimal Publications, 1981. Samkhya-karika by Isvaraklsna. See MVr. SKBH Samkhya-karika-bhasya by Gaudapada. Ed. Jivananda Vidyasagar Bhattacharya. Kolkata, 1892. SKSVI Sutrakstangasutravrtti by silanka. See ASVr. SRBA Subhasita-ratna-bhandagara. Ed. Narayan Ram Acharya. Bombay : Nirnay Sagar Press, 1952. SS Samksepa-saritaka by Sarvajnatma Muni. With the Comm. by Nssimha Asrama. Ed. Surya Narayan Sukla. Benares-Allahabad : Government Sanskrit Library, 1937. PVS Sari. For Personal & Private Use Only

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SSS SSS SVS RAMKRISHNA BHATTACHARYA SAMBODHI Samksepa sariraka with glosses by Agnicit Purusottama and by Ramatirtha. Ed. Ranganath Sastri, Poona Anandasrama, 1918. Sarksepa-sariraka with a gloss by Madhusudana Sarasvati. Ed. Bhau Sastri Vajhe. Benares : Chowkhamba, 1924. Susruta-sarhita. See Nis. Suvarna-saptati-sastra. An anonymous Comm. on SK. Trans. into Chinese by Paramartha. Rendered into French by M. Takakusu and from French into English by S. S. Suryanarayana Sastri. Madras, 1933. Sarva-siddhantasamgraha. Ed. and trans. M. Rangacarya, Madras. 1907. Sastra-varta-samuccaya by Haribhadra. Ed. Krishnakumara Dixit. Ahmedabad : L. D. Institute of Indology, 1969. , Samhita-viviti by Utpalabhatta (Bhattotpala). See Brs...! Siddhanta-sekhara by Sripati with Makki Bhatta's commentary. Ed. Babuaji Misra. Calcutta : University of Calcutta, 1932. Siddhanta-siromani by Bhaskaracarya. Ed. Muralidhara Chaturvedi. Varanasi: Sampurnanand Samskrita Vishvavidyalaya, 1981. Trans. Lancelot Wilkinson (revised ed. Vapudeva Sastri), Calcutta, 1861. Tarka-rahasya-dipika, by Gunaratna. Ed. Luigi Suali. Calcutta : the Asiatic Society, 1914. Tattva-sangraha by santaraksita with Panjika by Kamalasila. Ed. Dvarikdas Sastri. Varanasi : Bauddha Bharati, 1968, 1981. SVi TRD For Personal & Private Use Only

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SARASVATIKANTHABHARANA - THE MAGNUM OPUS OF SANSKRIT GRAMMAR NARAYAN PRASAD 1. Introduction - Importance of Panini The Astadhyayi of Panini (5th century B. C.) is the most refined and sophisticated grammar of all the ancient and modern languages of the world. 1-5 Accepting its importance even the Western scholars have called it in express terms 'one of the greatest monuments of human intelligence', 'a wonderful specimen of human intelligence", a notable manifestation of human intelligence', 'one of the greatest productions of the human mind' and 'an important invention of human intelligence'. 10-11 The algebraic formulation of Panini's rules was not appreciated by the first Western scholars. They regarded the work as abstruse 13, ambiguous and in the highest degree obscure?4 or artificialis; its each aphorism more dark and mystic than the darkest and most mystical of oracles16, pregnant with endless progeny of interpretations and commentaries sometimes as obscure as the original"?; a system with a network of mysticisms, and the order of the Sutras as illogical and impracticable for any one to learn Sanskrit by its means. But the Western critique was muted and eventually turned into praise when modern schools of linguistics developed sophisticated notation systems of their own.20-28 Today some scholars go upto the extent of saying that 'the Astadhyayi is not a Sanskrit grammar, it is a work on general linguistics. "29 Acquaintance with the Paninian analysis of root and suffixes and his recognition of ablaut - though only indirect via Charles Wilkins' (c. 1750-1836) Sanskri Grammar (1808) - inspired Franz Bopp (1791-1867) and others to develop the imposing structure of Indo-European comparative and historical For Personal & Private Use Only

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92 NARAYAN PRASAD SAMBODHI linguistics.30' Otto Bohtlingk (1815-1904) was so much impressed by Paninian method that he wrote the grammar of the Turkic Yakut language of Siberia?', in which the working out of phonology, morphology, and syntax is detailed and complete in a very Panini-like fashion, and which Edward Sapir used repeatedly to praise as a model of excellent method.32 The Russian scholar E. E. Obermiller (1901-1936), who was profoundly impressed by, and full of admiration for the greatest Indian linguist, knew by heart almost every sutra and cherished for some time a scheme of writing the grammar of the Russian language according to the grammatical sutra method of Panini. 33 2. Additions to Panini In view of the importance and usefulness of Panini's monumental work, attempts have been made almost right from the time of Panini to revise and improve it. The famous Paribhasasucana of Vyadi, a contemporary of Panini34-35, contains also some supplementary rules called varttikas.36 The great commentary called Mahabhasya of Patanjali (c. 150 BC) preserves about 4280 varttikas37-38 of his predecessors Katyayana (c. 350 BC), Bharadvajiyas, Saunagas, Slokavarttikakara etc. The two grammatical saints, Katyayana and Patanjali, scrutinised every doubtful word of the sutras.39 In addition to the varttikas of his predecessors, Patanjali gave some extra supplementary rules called istis. In the 3983 sutrasto (excluding the 14 Sivasutras) of the Astadhyayi, 270 sutras deal, with Vedic morphology and 334 with the accent. In the Kielhorn edition of Mahabhasya, 1713 sutras have been discussed by Patanjali-1245 with Katyayana's varttikas and the remaining 468 with Sloka-varttikas and bhasya or only with bhasya; 1153 sutras have been cited, 532 without discussion; 1760 sutras have been given in the footnotes by Kielhorn, out of which 516 sutras are neither discussed nor cited by Patanjali; in case of 1222 sutras, Kielhorn has not indicated in the footnote.41 Later in the commentary called Kasika, Jayaditya and Vamana (6th century A. D.), gave 917 varttikas42 (excluding those having explanatory nature in the Mahabhasya), out of which 78 varttikas43 are extra, not found in the Mahabhasya, and 138 istis.44 3. Revised Editions of Panini 3.1 Candra-vyakarana - the first great revised edition of Panini" Candragomin (c. 5th century A. D.) wrote his grammar called after him as Candra-Vyakarana, embodying all the suggestions and corrections of Katyayana and Patanjali. Dr. K. C. Chatterji calls it the first great revised edition of Panini. 45 This grammar had both laukika and Vedic parts in which the Vedic morph For Personal & Private Use Only

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Vol. XXV, 2002 SARASVATIKANTHABHARAN... was covered in ch. VII and the accent rules in ch. VIII - this is evident from its commentary.46 But at present only the first six chapters have come down to us. Many other systems of grammar came up in the first millenium of the Christian era but only the laukika portion was given a place in them. 3.2 Sarasvatikanthabharana -- the second great revised edition of Panini7 In 11th century A. D. Bhojadeva wrote a monumental grammatical work called Sarasvatikanthabharana48 in eight chapters, each chapter in turn containing four quarters or padas like the Astadhyayi of Panini. The Sarasvatikanthabharana (SKA) is the biggest grammar of the sutra style containing 6432 sutras (see TABLE-I in section 5) in all. It is the only extant complete revised edition of Panini in which the rules of accent and the Vedic morphology are also taken into account. It embodies all the suggestions and corrections of Vyadi, Katyayana, Patanjali, Jayaditya, Vamana and the post-Paninian grammarians such as Sarvavarman, the author of Katantra grammar, Candragomin and (Jain) sakatayana. The varttikas, istis, unadi-sutras, gana-patha, gana-sutras, paribhasas and phit-satras have been incorporated by Bhoja in the body of the sutra-patha itself. Thus, the SKA can safely be placed next to the Astadhyayi of Panini.49 The work itself was not known, except through citations, till about the first quarter of the 20th centuryso (S. K. Belvalkar does not make any mention of this work in his 1915 edition of Systems of Sanskrit. Grammar), when manuscripts of the work were discovered, all in Malabar. 51 In the SKA, unlike Astadhyayi, all the samjna sutras are kept in the first pada of the first chapter, while the second pada contains all the paribhasa sutras. The unadi-sutras are placed in the proper order in the krt-prakarana itself and form the first three padas of ch. II. The first two padas of ch. VIII contain the sutras related to the Vedic morphology, while the accent rules of both laukika and Vedic Sanskrit are placed in the last two padas. The phit-sutras are incorporated in the grammar of Bhoja in the svara-prakarana itself under the sutras VIII. 3.109-196. All the words of gana-patha are enumerated in the form of sutras only in the respective places. The strategy behind the preparation by Bhojadeva of the complete revised edition of Panini is expressed in a very brief and compact form in one sentence by the Prastavana writer, K. S. Mahadeva Sastri, thus : "...lokavedobhayanugrahakatvad-arsatvad bahubhir-adrtatvad vyakhyasatairupavimhitatvacca sarvatomukhim pratisthamasthaya pravartamane'smin For Personal & Private Use Only

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94 NARAYAN PRASAD SAMBODHI Paniniye tantre varttika-ganapathadi-sapeksatayadhyetinamativa klesa-jalam pasyannacaryadesiyo Bhojadevah bahu-granthalodanamantara ekenaiva granthenadhitena kitsnasyapi vakaranasastrasya laghunopayena pratipattavabhyupayam cintayan prayena Paninimevanurundhanah tatra tatra Candra-Katantradi-gatanapyarthan yavadapeksam sancitya varttika-ganonadi-paribhasapatha-phitsutradikam nikhilamapi samgrhya Paninyananusistanam tattat-samaya-samuccitanam mahakavibhiranyaisca sadhutaya prayujyamananam sabdanamapyanusasanan vidadhat Sarasvatikanthabharanakhyam grantha-ratnam vinirmame ps2 Bhojadeva appears to have made great efforts towards making grammar easy for the readers. This point is expressed by Mahadeva Sastri thus: "hahi Paniniyam tantramadhijigamsamananar mahan klesah sampadyate / tathahi kvacid jnapakena kvacid yogavibhagena kutracid vakhyanena kvacang padanamanukarsena kvacicca manduka-plutya kvacicca parigananena ekatra bhasyartha-parisilanena itaratra varttika-paricintanena aparatra ca ganapathadisilanena te te'rthah sadhaniya drsyante / tanetan klesan parijihirsur-Bhojadevah ganapathitan sabdan, paribhasah, jnapaka-bhasyesti-varttika-vyakhya-gamyanarthasca sutra-rupena granthasarira eva samayojayat / kvacit tatra tatra viprakirnanam sutranamekatraiva samavesena, kvacicca prakaranadi-vinimayena, sutranam pradesa-vinimayena paurvaparya-viparinamadinaca mahati saukarya-sampattih sampadita p153 Many sutras in Panini grammar are interpreted through jnapaka. This is especially the case regarding the optional dirghatva of astan, when a vibhakti follows. (This point has been discussed by mahadeva Sastri in his Prastavana, p. 10). Patanjali rejects some of the Katyayana varttikas on the ground that the same are indicated by the wordings of Panini's other sutras. Bhoja has included such implied meanings of jnapakas in his sutras itself. Two examples are presented here. Consider first P. 2.3.13 caturthi sampradane. The Katyayana varttika no. 1 says : caturthi-vidhane tadarthye upasarkhyanam. The Bhasyakara says: "caturthi-vidhane tadarthye upasamkhyanam kartavyam / yupaya daru / kundalaya hiranyam // ... tat-tarhi vaktavyam/ na vaktavyam/ acarya-pravrttir-jnapayati Savaiyarhaasschstena yoge caruthita yutuyun turha rututiarna 2.1.36) iu caturthyantasyartha-sabdena saha samasam sasti // Bhoja includes this implied meaning of jnapaka when along with the sutra caturthi sampradane (3.1.230), he also gives tadarthye (3.1.234). bere For Personal & Private Use Only

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Vol. XXV, 2002 SARASVATIKANTHABHARAN... On the sutra sarvadhatuke yak (P. 3. 1. 67), varrtika 3 says: bhava-karmanoryagvidhane karma-kartary-upasamkhyanam. On this the Bhasyakara remarks: ": blavakarmanor-yag-vidhane karma-kartary-upasamkhyanam kartavyam/ pacyate svyameva / pathyate svyameva / .... athavacarya-pravittir-jnapayati bhavati karmakartaryag-iti yadayam na duha-snu-namam yak-cinau (3.1.89) iti yak-cinoh pratisedham sasti / " Bhoja includes the implied meaning of this jnapaka and gives the sutra karma-kartari ca (1.3.104) after the sutra sarvadhatuke yak (1.3.103). A list of such sutras along with corresponding Panini sutras is given below : SKA sutra (Madras edition) Panini sutra (+vtt.) Jnapaka sutra in Panini 1.3.104 3.1.67 v.3 3.1.89 2.4.113-114 3.3.90 v. 1-2 3.2.117 3.1.234 2.3.13 v.1 2.1.36 . 4.1.21 4.1.87 v.2 6.3.34 6.4.53 7.2.84 6.1.172; 7.1.21 * 7.1.53 3.1.30 v.1 na kamyamicamam (GS) 7.1.91 7.3.45 v.1 5.4.39 7.2.31,33 1.1.56 v.21 8.2.35 7.3.63 8.2.7 v.2 8.2.68 A good discussion of all the peculiarities of Bhoja's SKA can be found in the Prastavana (in Sanskrit) of K. S. Mahadeva Sastri, Vol. IV of Trivandrum Edition. 4. Commentaries on SKA There are three incomplete commentaries on SKA - the first one is the Hrdayaharini by Dandanatha Narayana Bhatta (either contemporary of Bhoja or 12th century A. D.) and extends only upto ch. VII. Not only the commentary, but also some sutras are missing in between (see TABLE-III & IV in the next section) The other commentary called Purusakara is by Krsnalilasukamuni(c. 12th century A. D.), the author of the commentary Purusakara on the dhatupatha called Daivam. M. Krishnamacharya in his 'History of Classical Sanskrit Literature' mentions his name twice54 and says that in Krsnalilasuka's commentary on Bhoja's grammatical treatise, Sarasvatikanthabharana, Panini's verses are quoted freely as illustrations. 'A Catalogue of Skt MSS', edited by T. Ganapati Sastri (1921), Vol. VI, mentions at p. 6, No. 35, the commentary Purusakara (sutravyakhya-rupah) of size 2200 granthas. Probably this For Personal & Private Use Only

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NARAYAN PRASAD SAMBODHI commentary is related to Bhoja's SKA. The New Catalogus Catalogurum, Vol IX, mentions Purusakara as the commentary on Daivam only. The third commentary in Gujarati on ch. VIII by Dr. N. M. Kansara has been written only recently (see the last para in the next section). 96 5. Editions of SKA The complete sutra-patha of SKA, edited by T. R. Chintamani, was published in the Madras University Sanskrit Series No. 11 in 1937 with a Foreword by C. Kunhan Raja and Preface by the editor himself giving a brief sketch of the life and works of Bhojadeva. The Madras edition is based on the following MSS (The details of the MSS have not been given in any of the published works on SKA. Based on the Descriptive Catalogues on SKt MSS in different libraries, these. details have been compiled by the present author and are separately given at the end of this article) (i) R. No. 3279 (ii) R. No. 4179 (iii) No. 698 (iv) a transcript of the SKA sutras, prepared from the original palm leaf Ms (v) a fragment of the commentary of Dandanatha, the last two supplied to the editor by his friend M. Ramakrishnakavi. The Madras edition suffers from a lot of errors mostly misprints. Some of the errors have arisen due to limitations of the editor in understanding Bhoja sutras. This edition contains 6432 sutras in all. The padawise break-up is shown in TABLE-I. TABLE-I: Number of sutras in the Madras Edition of SKA 2 3 4 5 348 304 211 181 161 148 135 207 1 212 Ch. - Pada 1 Pada 2 Pada 3 Pada 4 Total 1077 748 The available Hrdayaharini commentary of Dandanatha has been published upto first six chapters in the Trivandrum Sanskrit Series Nos. 117, 127, 140 and 154, edited by K. Sambasiva Sastri, Vol, I (ch. I, 1935), Vol. II (ch.II, 1937), Vol, III (ch. III-IV, 1938) and V. A. Ramaswami Sastri, Vol. IV (ch. V-VI, 1948). The Trivandrum edition is based on the following MSS (i) No. 806 135 231 277 1 855 255 283 149 269 224 156 6 189 For Personal & Private Use Only 175 180 192 836 750 730 183 7 140 151 150 178 619 8 -- 173 149 263 232 817

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Vol. XXV, 2002 SARASVATIKANTHABHARAN... (ii) No. 817 (iii) No. 557 (iv) R. No. 3279 (v) the Ms containing the sutrapatha alone obtained from Brahmasri Venkitarama Sastri, Shenkotta. The commentary on ch. VII is still unpublished. There is considerable variance in readings of the sutras in the two editions. Upto ch. VI, the number of sutras in the Trivandrum edition is 5019, as against 4996 in the Madras edition. The pada-wise break-up is shown in TABLE-II. TABLE-II: Number of sutras in the Trivandrum Edition of SKA 23 Ch. Pada 1 Pada 2 Pada 3 Pada 4 1 211 134 230 278 348 255 190 285 307 164 150 135 4 853 1078 756 212 152 272 208 5 182 227 157 189 6 For Personal & Private Use Only 175 185 181 Total 844 755 There is a difference also in the number of pratyahara-sutras in the two editions. The Madras edition had 14, i. e. same as in the Astadhyayi. But the Trivandrum edition has only 13, as in Candra-vyakarana. The two sutras 'ha ya va rat/lan/' are combined into one as 'ha ya va ra lan / With takara only one pratyahara viz. at is used in grammar. The at pratyahara does not occur in any Bhoja-sutras. Therefore, the reading without the takara viz. 'ha ya va ra lan/ appears to be the correct one. The at occurs in four Panini sutras: ato 'ti nityam (8.3.3), dirghad-ati samana-pade (8.3.9), at-kupvan-num-vyavaye'pi (8.4.2) and sascho'ti (8.4.63). The Bhoja-sutras corresponding to P. 8.4.2, and 8.4.63 are : dirghadani samana-pade (8.2.128), cu-tu-tu-la-sar-vyavaye (7.4.145) mentioning the letters the intervention of which prevents natva and cayassascho'mi (7.4.176), which is based on the Katyayana's varttika chatvam-ami tacchmasruna tacchlokeneti prayojanam. Bhoja has rejected the Panini sutra ato'ti nityam, following the statement found in the Kasikavrtti: kecidanusvaramadhiyate, which indicates that the anunasikatva is not nitya. 192 97 733

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98 Ch. 1 2 3 4 sl 6 **7 Pada 1 3 10 6-17 4 84a, 98a, 200 1 2 3 4 2 3 4 2 4 2 TABLE-III: Sutras without Dandanatha commentary Sutra No. in TSS 3 4 NARAYAN PRASAD 20, 27-41, 223-279 16-20, 80, 83-117 102-113, 142 24, 12# 46 224-226, 205#, 248# 98a 77-96, 76# 161-167 153, 154-155, 164-176 4, 26, 127, 150-162 39-52, 72#, 112# 1 52, 101 2 4 90, 105, 106, 25# 66, 67, 158-167, 173 Sutra No. in Madras Edition Total 10 6-18 83, 98, 199 19, 26-40, 220-275 16-20, 80, 83-114 98 77-98, 76# 161-168 151a(fn), 151b(fn), 160-171 102-112,140 24, 23# 45a 1 223a-223c (fn), 205a, 245 3+2 1 3a, 25-27,128,151-164 39-52, 72#, 112# SAMBODHI Same Same Same 1 For Personal & Private Use Only 12(13) 3 73 41(38) 13(12) 1+1 20 (17)+1 7(8) 16(14) 16(19) 14+2 The symbol # after the sutra number indicates that only one or two words of commentary are available. The letters a & b following a sutra number indicate that the sutra is not available in the corresponding edition but if also followed by (fn), indicate that the sutra is available in the foot-note. 2 3+1 13

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Vol. XXV, 2002 SARASVATIKANTHABHARAN... TABLE-IV : Sutras with incomplete Dandanatha commentary (*) Ch. Pada Sutra No. in TSS Sutra No. in Madras Edn. 113m, 128m 113, 128 ge 31 18i 19 277 96 277m 95m 61m, 98, 98bi, 183, 284m 59a, 97, 99, 183, 282 6le, 62i, 115m, 120m, 212m, 280i 60, 61, 114, 119, 209,276 6m, 10i, 41m, 43m, 82e, 118i, 6, 10, 41, 43, 82, 115, 125m, 150i 122, 147 1li, 101e, 114i, 141e, 143im 11, 101, 114, 139, 141 1m, 7m, 10me, 1le, 14m, 16m, 18ie, same as in TSS 19i, 20, 21ie, 23m, 25m, 54e, 55i 7i, 64e, 65i, 66i, 193i, 1971 7, 64, 65, 66, 193, 196a(fn) 471 45b 49e, 50i, 55i, 121m, 247e 49, 50, 55-56, 122, 244 9e, 26m, 154e, 1551 9, 26, 154, 154a 88, 891, 133m 88, 88a, 131 97i, 108, 112m, 167m, 174i, 178i 94, 105, 109, 164, 171 (misprinted 271), 175 149e, 150i 148, 149 10m, 160e, 1681 10, 160, 168 13e, 13a(fn)i, 27m, 45i (hvah), 92m, 12, 13, 27, 45, 92, 109, 109m, 172im, 172 20m, 72, 73i, 74e(possibly), 20, 72, 73, 74, 74a(fn), 75i, 113m, 152, 178e 112, 151, 173 9m, 11m, 19m, 22m, 32m(possibly), 8, 10, 18, 21, 33, 65, 76, 64m, 75i, 76m, 102m, 104, 1051, 112m, 77, 103, 105, 106, 113, 125e(misprinted) 122), 126i, 128m, 163i 126, 127, 129, 165 38e, 113i 38, 113 5 1 1: 2 1 8m, 46i, 56m, 83e, 84i, 123m 14m, 97m, 138e, 139i 4m, 27m, 44, 84m, 149m 70i, 157e, 168i, 175m, 177m Same Same Same Same . For Personal & Private Use Only

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100 NARAYAN PRASAD SAMBODHI (*) Letters i, m & e following the sutra numbers indicate respectively the initial, middle & end portion of the commentary as missing. **. Available only in manuscript without sutra numbers, sutra numbers indicated are taken from Madras edition. The Gujarati commentary of Dr. Narayan M. Kansara on ch. VIII has been published by Rashtriya Veda Vidya Pratishthan and Motilal Banarsidass, New Delhi, 1992. The editor deserves praise for bringing out the so far unavailable commentary on this chapter. This edition is based on the Madras edition only. No available MSS have been consulted. The variations from the Ms are not supplied. The Madras edition itself does not give the original readings of many sutras. That is why the Gujarati edition also suffers from inaccuracy in case of many sutras, In case of a few sutras, the vstti requires to be rewritten. Moreover, many correct sutras of the Madras edition have been blunderingly modified in this edition. For example, the Bhoja-sutra hiyasamah (8.3.11) makes provision for the udattatva of hi (the substitute for si in lot), yas (= yasut, the agama in case of lin) and am of anaduh. In the Gujarati edition this sutra has been changed to himaranyabhyam. 6. Review of the first three chapters by Louis Renou (1957) Renou has given an excellent review of the first three chapters of the Trivandrum edition of SKA in his 'Le Sarasvatikanthabharana', pp. 121-127 in Vol. III of 'Etudes V'ediques et Panineennes' (in French). According to him, the SKA is much more than a revised edition of Panini (beaucoup plus qu'une edition "revue" de P.) First of all, it has incorporated in the frame of sutras all the positive teachings (tout l'enseignement positif of the old varttikas, which are more or less preserved in the Kasika : casting aside the varttikas which are of technical, scholastic and explanatory character. Secondly, the new additions in the form of iti vaktavyam, ity upasamkhyanam take the form of sutra. Every effort has been made to remove the limitations of Panini, which makes this manual that the Sanskrit tradition has bequeathed to us, more complete.55 He adds in the footnote that it contains some rare Vedic examples (naturally in the commentary only) - 1.1.118 raksa makir no aghasarsa isata (RV 6.75.10); 119 adhainam vrka rabhasaso adyuh (RV 10.9514); 120 Visvakarma vimana ad vihayah (YV 17.26) etc.56 Regarding paribhasa-sutras he says, not less interesting is the 2th pada which condenses all the paribhasas taken from Panini as well as varttikas and bhasya. There are some paribhasas which are not attested by For Personal & Private Use Only

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Vol. XXV, 2002 SARASVATIKANTHABHARAN... 101 Siradeva, e.g. adistad acah, purvasya (49). One also finds the maxims of Bhasya which have not been brought under special treatment, such as nanistartha sastrapravittih (123). A few others make appearance unprecedented, such as the last but one, abhidhanalaksanah krt-taddhitasamasah (133) which summarises a point of view often expressed by the commentators.57 Commenting on the series of exceptional sutras in between III. 2.62-68, 7388. related to composition (samasa), he says, "This shows the considerable part of novelties, which the grammar of Bhoja provides. Novelties in the sense of relative term, because the vrtti of Candragomin, much earlier to the SKA, gives in the long commentary on the sutra carthe (II.2.48) most of the examples cited in the (Dandanatha) vrtti or those resulting from the teachings of the sutras of Bhoja."58 7. Article of Robert Birwe (1964) An excellent article entitled 'Narayana Dandanatha's Commentary on Rules III.2.106-121 of Bhoja's Sarasvatikanthabharana' of Robert Birwe has appeared in the Journal of American Oriental Society, Vol. 84, 1964, pp. 150-162. The article is mainly meant for providing an alternative to the missing commentary on many rules of the sutras under the above title. Narayana Bhatta quotes in his Prakriyasarvasva, a commentary on Panini's grammar, numerous rules from Bhoja's SKA, among them the rules Bh III.2.106-121. Besides Narayana Bhatta's commentary there is another one-the Kasika-manuscript No. 2440 of the India Office Library (cf. J. Eggeling, Catalogue of the Skt MSS in the Library of India Office, Vol. II, p. 159, No. 991, 992 = Ind. Off. Lib. Nos. 2440, 2441. The Ms, in Devanagari characters, has been written between 1630-1632 A. D.) on Rule P. II.1.72: mayuravyarnsakadayasca. It is a unique fact that this Ms comments a Paninian sutra by quoting rules from a non-Paninian grammar and a commentary thereon. Since this commentary is, moreover, partly missing in the Trivandrum edition of Bhoja, it deserves to be published. First quoting, on pp. 153-155, the vrtti of the above Ms, Dr. Birwe discusses in section 11, p. 155, the possible author of this Ms. In his opinion it must be Dandanatha. In section 12, pp. 155-158, he has attempted to edit and reconstruct the missing portions of Dandanatha's vitti on Bhoja's rules III.2.106-121. In sections 13-17, pp. 159-162, he has discussed the date of Dandanatha. With the help of a comparative study of the Dandanatha's commentary on Bh.I.3.197 and the Hemacandra's auto-commentary called Bshadvrtti on Haima sutra V.1.52, For Personal & Private Use Only

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102 NARAYAN PRASAD SAMBODHI Birwe concludes that Hemacandra must have copied Dandanatha's commentary. With this he leaves a scope of further research - a systematic search for parallel passages in the works of Hemacandra and Dandanatha. According to Dr. Birwe, the year 1100 A. D. is the upper limit of Dandanatha's date (p. 161). 8. Articles of Dr. N. M. Kansara (1989, 1990) The article entitled 'The Vaidika Vyakarana of Bhojadeva' by Dr. Kansara was published in the Journal of the Oriental Institute, Baroda, Vol, 38, Nos. 3-4, 1989, pp. 309-313. In this paper he has given an outline of the contents of ch. VIII of Bhoja's grammar based on the Madras edition. At the end he mentions the possible scope of research work regarding search for the correct readings of the sutras of this chapter with the help of the parallel sutras in Panini. . A second article entitled 'Emendations Essential to the Vedic Grammar of Bhojadeva' by the same author was presented to the AIOC, 35th Session, Hardwar, 1990, pp. 43-53. In most of the sutras discussed by him, he has modified the Bhoja sutras by adding many words for the sake of anuvitti. In his Gujarati edition of SKA, he has emended many more sutras by adding certain words to them. In my opinion such additions, except in very few cases, are unwarranted. Consider, for example, the Bhoja sutras lyaph ktva va (VIII. 2. 67) and pluta udattah (VIII. 4. 225). In the Gujarati edition they are changed to samase'nanpurve lyapah ktva va (VIII. 2. 68) and vakyasya teh pluta udattah (VIII. 4. 228). The sutra lyapah ktva va simply means that in case of Vedic literature the suffix ktva is optionally applicable to the case where the suffix lyap has been prescribed in the laukika section. Here the context does not demand where the suffix lyap is used. This provision has already been made in the laukika part under the sutra bhavini gatyupapadasamase ktvo lyap (VI. 4. 6). The.Bhoja sutra VIII. 4. 225 makes provision for udattatva to pluta. This sutra does not require any statement regarding which ac is pluta. This part is already covered under the sutra vakyasya teh plutah (VII.3.131). Thus modifying the Bhoja sutra pluta udattah to vakyasya teh pluta udattah is not only unnecessary but also wrong. 9. Ph.D. Thesis on SKA by K. Neelakantham (1989) A Ph.D. thesis entitled 'A Comparative Study of Panini's Astadhyayi and Bhoja's Sarasvatikanthabharanam' by K. Neelakantham was submitted to Osmania University, Hyderabad, in 1989. For the comparative study, the order of Astadhyayi has been followed except in samjna and paribhasa sutras. This thesis of 6+718+iv pages gives all the novelties in SKA with exact number of For Personal & Private Use Only

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Vol. XXV, 2002 SARASVATIKANTHABHARAN... 103 varttikas included as sutras, added and deleted words in ganas and added and deleted unadi suffixes. Thus it is a good contribution to the study of SKA. However, it must be noted that except in a few cases, no attempt has been made to correct the corrupted sutras of SKA. Comparison of the two grammars has been done only for the selected sutras and not for all the sutras of Panini. Moreover, in case of many sutras of Panini which contain the accent part also, such as caturanaduhoramudattah (P VII.1.98), he has given the parallel sutras from SKA only for the morphological part, completely neglecting the accent part of SKA. For P.VII.1.98, the parallel sutra in SKA is hiyasamah (VIII. 3. 11), as mentioned earlier. At p. 323, he says "SKA has sayam-ciram-prahnepragevyayebhyas-tyuh (4. 3. 109) as against sayam-ciram-prahne-prage'vyayebhyastyu-tyulau tut ca (4. 3. 23) of Ast. Bhoja following CG omits the affix tyul." He does not look in SKA for the svara-siddhi of the affix tyu corresponding to Panini's tyul. In SKA, it will suffice to provide an optional litsvara to tyu. This gives us a clue for correcting the highly corrupted sutra radyau va [?] 8.3.71 in the Madras edition of SKA. It must be tyau va. The Gujarati edition gives rathorva (8. 3. 74), which is obviously not correct. Many conclusions indicated in the thesis are wrong. For example, at p. 39, Dr. Neelakantham says, "sasthi sthane yoga (1. 1. 49) of P. is not found in SKA.... Bhoja does not seek the help of this sutra and only implies this rule in the sutra like iko yanaci (6.1.77)". Actually based on the Bhasya on P.1.1.49, Bhoja has accepted the second alternative to this sutra, viz. nirdisyamanasyadesah (1.2.38) where sasthya comes as anuvitti from the sutra I. 2. 30. On p. 661 he says that 'the P. VIII. 4. 66-68 are not found in SKA'. But actually corresponding to P. VIII. 4. 66-67, we have the Bhoja sutras udattadanudattah and udattasvaritaparasca va yanah (VIII. 4. 229-230). The latter sutra is wrongly printed in the Madras edition. In the Ms also yanah has been wrongly included in sutra no. 230. Actually it forms part of the next sutra which is supposed to be parallel to P. VIII. 2. 4. At p. 149, he says that 'the anudattau sup-pitau (P. III. 1. 3) is not found in SKA'. This topic has been discussed in detail in the Februry 1999 issue of Vedavani by the present author. 10. Ph. D. Thesis on SKA by V. G. Sastri (1989) A Ph. D. thesis entitled 'Bhojadevaksta Sarasvatikanthabharana (Ek Samiksatmak Adhyayan)' by V. G. Sastri was submitted to Gujarat University, Ahmedabad, in 1989. It has been published by Parimal Publications, Delhi, 1996. For Personal & Private Use Only

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104 NARAYAN PRASAD SAMBODHI The main contribution of this thesis lies in its first chapter, which contains the discussion on the life and works of Bhojadeva. Out of the total 287 pp., 120 pp. have been allotted to the description of contributions of other grammarians ! As per the title and his Foreword, this thesis is supposed to be the critical study of SKA, especially on ch. VIII. One hardly finds in the published thesis any significant contribution to the study of SKA. What has been expressed by Dr. Chintamani in the tabular form in Bhoja-Panini Concordance in Appendix-I, has been expressed in oft-repeated words in ch. 6 of this thesis. As per Dr. N. M. Kansara's information, all the corrections in the sutra-patha with the help of parallel sutras in Panini, done by V. G. Sastri (but not compiled separately in the thesis), have been incorporated in the Gujarati edition. 11. SKA cited as Authority in Various Works The great depositaries of learning such as Hemacandra, Ksirasvamin, Vardhamana, Mallinatha Suri, Devaraja Yajvan, Sayanacarya, Narayana Bhatta and Bhattoji Diksita have cited in their works the SKA as authority. This topic has been described in detail by the present author in the May 1995 issue of Vedavani. Some details not supplied in this issue are given below. Vardhamana had quoted Bhojadeva by name as a lexicographer, grammarian commentator in the following karikas of Ganaratnamahodadhi (edited by Julius Eggeling, 1879; Reprint MLBD, New Delhi, 1963): 2(2) 7(2) 13 22 25 27 28 29 31 39 40 45 46 49 52 64 80 82 85 91(2) 93 94 95(2) 96(3) 101 105 107 109 112-114 123(2) 131 135 139 140(2) 145 146 157 164(2) 170 175 182 186 191 197 202(2)' 203 207 209(2) 211 212(3) 214 215 216 219(4) 222 228(2) 229 230 233(2) 240 243 245 249 261 268 27202) 286 288 302 304 314(2) 315 317 326 330 342 348 351 352 353 359 392(4) 403(2) 404 405 406 409 414(2) 417 419 420 423 426 433 434 435 437(2) 438 446 449 450 452 457(2) --- Total 1 (in karika 2) + 129 (in the commentary) For Personal & Private Use Only

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Vol. XXV, 2002 SARASVATIKANTHABHARAN... 105 Devaraja Yajvan quotes Bhoja in his Nighantu-nirvacanam (edited by Sudyumnacarya and published by Ram Lall Kapoor Trust, Bahalgarh, 1998) at the following pages : By name : 3 13 14 19 20 24 26 31 39(2) 49(2) 52 55 67 83 92 102 117 122 123 127 128(2) 129 131 135 137 138 139 150 178(2) 207 210 216 ---- Total 36 times SKA sutras quoted without mentioning by name : 41 144 152 154 157 179 183 186 188(2) 189 201 202 204 206(2) 208 209 210(2) 211 214 216 230 237 244 246 274 276 279 281 282 284(3) 285(2) 288 290 291(2) 301 302 308 310 311(2) 322 ---- Total 48 times Dandanatha-vstti (by name) : 152 198 202 On page 210 under the commentary on 'durone' the Bhojasutra (2. 2. 184) is mentioned along with its vrtti. But this vitti is found otherwise in * Trivandrum Edition. Scholars like Bhimsen Sastri and Hariscandramani Tripathi have made good use of the SKA and its commentary in their theses entitled 'Nyas Paryalocan' and Nipatarthanirnayah' respectively, published by Bhaimi Prakashan, New Delhi, 1979 and Sampurnanand Sanskrit Vishvavidyalaya, 1991. 12. Aksepas against SKA Certain modern scholars like K. V. Abhyanker and Nemicandra Sastri have put up aksepas against this monumental work. K. V. Abhyankar says in 'A Dictionary of Sanskrit Grammar - "By the anxiety of the author to bring together, the necessary portions of the gana-patha and the paribhasas, which the author has included in his eight chapters, the book instead of being easy to understand, has lost the element of brevity and become tedious for reading. Hence it is not studied widely." -It appears that reading the Paninian grammar scattered in different books like the Astadhyayi with Kasika and Mahabhasya, gana-patha, Unadi-patha, phit For Personal & Private Use Only

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106 NARAYAN PRASAD SAMBODHI In sutras and paribhasas with their commentaries and sub-commentaries was not tedious for him ! In "Acarya Hemacandra aur unka sabdanusasan" (1963), pp. 101-102, Nemicandra Sastri remarks : (i) The Bhoja grammar is heavily loaded with paribhasa. It can be said in express terms that the above-mentioned grammar cannot be understood . without the knowledge of Paninian grammar. Only an expert in Panini can understand it well. Regarding paribhasa it appears essential that the knowledge of the Panini grammar be gained first .... Bhojaraja has collected all the paribhasa-sutras found in Paribhasendusekhara. Due to this an initial complexity appears in this work. ---With the above remarks Nemicandra Sastri has only strengthened the statement that the SKA is nothing but the great revised edition of Panini and supports also the view of Robert Birwe who says in his article mentioned earlier : "I doubt very much that the understanding of the SKA is impossible without the vrtti, as maintained by K. Sambasiva Sastri. There is, I am convinced of it, no serious difficulty, not to speak of impossibility, to understand it for anyone fully conversant with Panini's Astadhyayi and the main works of his followers" (p. 152). It is always preferable to have all the information implied by the sutrakara at one place. Nemicandra Sastri has expressed the view that Hemacandra has kept his grammar free from the burden of paribhasa. But in order to fully understand the grammar of Hemacandra, Hemahamsagani has compiled 141 paribhasasthe largest number of paribhasa in Sanskrit grammar ! Out of these, 57 paribhasas have been cited by Hemacandra himself in his auto-commentary Brhadvrtti. (ii) Bhojaraja's treatment of the feminine affixes is very complicated. ---Nemicandra Sastri has compared the SKA with the brevity of Haima grammar in which the accent part has been neglected. Naturally the affixes nis, nip and nin are changed to a single affix ni. That cannot happen in case of a work like the Astadhyayi and SKA where accent is also taken into account. He shows happiness over the fact that Hema has only one sutra 'ajadeh' regarding the feminine affix, whereas Bhoja has constructed 13 sutras for the same affix tap, III. 4. 2-14. It is to be noted that Bhoja had to construct so many sutras as exceptions to the affix nis. For Personal & Private Use Only

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107 Vol. XXV, 2002 SARASVATIKANTHABHARAN... 13. Articles on SKA by the Present Author Ten articles on SKA by the present author have been published so far in Vedavani (July 1993- June 2000), mostly dealing with the correction of some sutras from ch. VIII whose readings are found incorrect in both the editions. This has been possible with the help of the "Concordance of Nine Sanskrit Grammars" prepared by the author especially for this purpose. In this Concordance, Panini sutra and varttika numbers have been given in the first column in serial order and the corresponding sutra numbers of the remaining eight grammars - Bhoja, Katantra, Candra, Jainendra (mahavitti), Jainendra (laghuvrtti or Sabdarnava-candrika), sakatayana, Haima and Malayagiri -- in the following columns. 14. Details of the MSS on the Sarasvatikanthabharana (grammar) I. K. Sambasiva Sastri (1938): "A Descriptive Catalogue of the Skt MSS in H. H. the Maharajah's Palace Library, Trivandrum", Vol. III - Vedanta, Mimamsa, Vyakarana, Nyaya and Jyotina (1) No. 806 Sarasvatikanthabharanam Palm leaf; 115x11/2", 6 leaves, 11 lines per page, 40 letters per line, Grantha script, and size - 150 granthas. The Ms contains only sutra-patha and concludes with the 2nd pada in the 1st chapter. (2) No. 817 Sarasvatikanthabharanam (savsttikam) Palm leaf, 22 3/8" x 7/8", 330 leaves, 9-11 lines per page, 88 letters per line, Malayalam script, sixe - 18000 granthas. The Ms contains the Hrdayaharini commentary of Dandanatha Narayana Bhatta upto the end of ch. VII. II. K. Sambasiva Sastri (1939):" A Descriptive Catalogue of the Skt MSS in the Curator's Office Library, Trivandrum", Vol III- Vedanta, Mimamsa and Vyakarana. (3) No. 556 Sarasvatikanthabharanam Paper, 13' x 8", 112 pages, 24 lines per page, and 24 letters per line, Devanagari script, and size - 2000 granthas. The Ms contains only sutra-patha. Complete. For Personal & Private Use Only

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108 NARAYAN PRASAD SAMBODHI (4) No. 557 Sarasvatikanthabharanam (savsttikam) Palm leaf, 11 3/8" X 1 3/8", 64 leaves, 7-8 lines per age, 28-36 letters per line, Malayalam script, size-960 granthas. The Ms contains the Hedayaharini commentary of Dandanatha Narayana Bhatta. It begins on a portion of the 1st pada of the 2nd ch. and breaks off on the 4th pada of the same chapter. The last 18 leaves are blank. (5) No. 558 Sarasvatikanthabharanam (savrttikam) Paper, 1 31/4" x 8 3/8", 1067 pages, 14 lines per page, 20 letters per line, Devanagari script, size - 9000 granthas. The Ms contains the Hsdayaharini commentary of Dandanatha. It extends from the beginnning of ch. V. upto the end of ch. VII. III. S. Kuppuswami Sastri (1928) :" A Triennial Catalogue of MSS collected during the Triennium 1919-20 to 1921-22 for the Govt Oriental MSS Library, Madras", Vol IV, Part I, Sanskrit B. (6) R. No. 3279 Sarasvatikanthabharanam Paper, 10 5/8" x 9 1/2, 62 foll., 20 lines per page, 28-33 letters per line, Devanagari script. Good. Transcribed in 1920-21 from a Ms of M. R. Ry K. C. Valiyaraja of Kottakal, Malabar District. Foll. 61b and 62 are left blank. The Ms contains only sutra-patha. Complete. (7) R. No. 4179 Sarasvatikanthabharana-vyakhya -- Hrdayaharini Paper, 10 3/4" x 9 3/4". 298 foll, 20 lines per page, Devanagari script. Good. Transcribed in 1922-23 from a Ms of Mahamahopadhyaya Narayana Nambudiripad Avargal, Kunnanukulam, Cochin State. Fol. 297 b contains the name of the owner of the original Ms. Fol. 298 is left blank. The Ms contains ch. I to III complete and breaks off in ch. N. IV. V. Krishnamacharya (1947):" A Descriptive Catalogue of Skt MSS in the Adyar Library, Madras", Vol VI -- Grammar, Prosody and Lexicography. For Personal & Private Use Only

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Vol. XXV, 2002 SARASVATIKANTHABHARAN... 109 (8) No. 697 (38.1.7) Sarasvatikanthabharanam - Bhojadevakstam Paper, 8 1/2" x 6 5/8", 170 foll. 14 lines per page, Devanagari script. Good. Good writing. The Ms contains only sutrapatha. Complete in 8 chapters. It is a copy of R. No. 3279 prepared by K. Ramachandra Sharma, Adyar. (9) No. 698 Sarasvatikanthabharana-vyakhya - Hrdayaharini Paper, 8" x 6 1/2", 1247 foll., 14 lines per page, Devanagari script. New. Good. Good writing. Bound in 7 volumes or 8 parts on the whole, the volume 3 containing 2 parts. The pagination in parts 1 to 3 is continuous as 1 to 1043 and in parts 4 to 8, as 1 to 1449. The Ms contains the commentary upto the end of ch. VII. Remarks : 1. The Revised Catalogue of the Palace Granthappura (Library), Trivandrum, edited by K. Sambasiva Sastri (1929) at p. 35 mentions palm leaf MSS Nos. 806 and 817. It appears that these same MSS are described in the Descriptive Catalogue of 1938. However, in the case of No. 806 the character is mentioned to be Malayalam and no. of granthas 175. In the case of No. 817, the no. of granthas is mentioned as 20000. 2. The Annual Report on the Administration of the Dept for the Publication of Skt MSS for 1104 ME, Travancore State, mentions on p. 16, No. 62 Sarasvatikanthabharana-vrtti of Dandanatha. This appears to be same as described under No. 557 earlier. The Ms belongs to Brahmadattan Namburipad, Plakkattiri, Koodalloramana, Pattambi. However, the size is mentioned to be 1200 granthas. 3. A Catalogue of Skt MSS, edited by Ganapati Sastri (1923), Trivandrum, Vol III, p. 9, No. 53 mentions a Ms of Sarasvatikanthabharana (size 2200 granthas) which was prepared from the Ms obtained from the Govt Oriental MSS Library, Madras. The latter appears to be R. No. 3279, which was copied to Ms bearing No. 556 mentioned earlier. Acknowledgement The author expresses his deep gratitude to Prof. E. R. Rama Bai, Head of the Sanskrit Dept, University of Madras, for making available the manuscript numbers on SKA from different libraries. The author is thankful to Dr. S. D. Laddu, For Personal & Private Use Only

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110 NARAYAN PRASAD SAMBODHI Curator, Bhandarkar Oriental Research Institute, Pune, for his suggestion to write to the Editor, New Catalogus Catalogurum, University of Madras, in regard to the details of MSS on SKA. The author is also thankful to Dr. P. G. Lalye, who made available for reference a copy of the unpublished thesis of Dr. K. Neelakantham. Dr. Narayan Kansara, Ex-Director of Maharshi Academy of Vedie Sciences, Ahmedabad, deserves special thanks, who provided the required information on SKA through correspondence from time to time. This paper is dedicated to late Mahamahopadhyaya Pt. Yudhisthir Mimamsak who has been a great inspiration to the author regarding svadhyaya (self-study) and who created interest in research on SKA, the result of which is the state-of-art in this field, presented for the first time, especially the details of MSS, which would be of grear help to the future researchers on SKA. ;' Notes 1. "Samsar bhar mem kisi bhi itar pracin athva arvacin bhasa ka aisa pariskt vyakaran aj tak nahim bana" - Pt. Yudhisthir Mimamsak, Samskrt Vyakaran-Sastra ka Itihas, 4th edition, Ram Lall Kapoor Trust, Vol. I, 1984, p. 192, lines 13-15 (in Hindi). 2. Commenting on Panini's extraordinary work and about one hundred and fifty grammarians and annotators who followed in the footsteps of the great Father of Sanskrit grammar, Monier Williams (1819-1899) remarks - "It cannot be wondered .... that the science of Sanskrit grammar should have been refined and elaborated by the Hindus to a degree wholly unknown in the other languages of the world", A Practical Grammar of the Sanskrit Language, Third Edition, The Clarendon Press, Oxford, 1864, p xii, (Reprint The Chowkhamba Sanskrit Series. Vol. XXI, 1962). 3. "For no language of the past have we a record comparable to Panini's record of his mother-tongue, nor is it likely that any language spoken today will be so perfectly recorded." - Review by Leonard Bloomfield of Bruno Liebich's "Konkordanz Panini-Candra", Language : Journal of the Linguistic Society of America, Vol. V, 1929, p. 274. 4. Commenting on the works of Panini and his successors T. Burrow remarks - "The importance of the grammarians in the history of Sanskrit is unequalled anywhere in the world. Also the accuracy of their linguistic For Personal & Private Use Only

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Vol. XXV, 2002 SARASVATIKANTHABHARAN... 111 analysis is unequalled until comparatively modern times. The whole of the classical literature of Sanskrit is written in a form of language which is regulated to the last detail by the work of Panini and his successors", The Sanskrit Language, Faber and Faber, London, 1977, p.47. 5. Commenting on Panini and his predecessors, A. B. Keith remarks -- "....in this field Panini, or more correctly his predecessors, achieved very remarkable results, as in the postulate of Guna and VIddhi changes, of forms with long s vowel, roots in ai, masj as the original of majj, dive, s as the ending of inflexions. The analysis of forms is normally carried out with great acumen; ... In comparison with the work of Greek Grammarians Panini is on a totally different plane in this regard", A History of Sanskrit Literature, The Clarendon Press, Oxford, 1928, pp 424-425. [* "Although Panini's work has a history behind it, it is the achievement of one man", Bloomfield, op. cit., p. 274, para 2.) 6. The Father of modern linguistics, Leonard Bloomfield, in his book 'Language', which is considered the Bible of modern linguistics, remarks"This grammar (Panini's Astadhyayi) which dates from somewhere round 350 to 250 B. C. is one of the greatest monuments of human intelligence..... No other language to this day has been so perfectly described", Language, Henry Holt and Company, New York, 1933, p. 11. Cf. also Language, Vol. V, 1929, p 268, para 2 and p 274, para 2. 7. "Paninice vyakaran mhanje manvi buddhica ek ascaryajanak namuna ahe ase Monier Williamsne kalhlele udgar prasiddhac ahe", K. V. Abhyankar, Vyakaran Mahabhasya, Prastavana Khand, Part VII, Deccan Education Society, Pune, 1954, p. 153, fn. 1 (in Marathi). .8. K. V. Abhyankar and J. M. Shukla, A Dictionary of Sanskrit Grammar, Oriental Institute Baroda, 1986, p. 286. 9. "Panini's book is something more than a mere grammar. It has been described by the Soviet Professor Th. Stcherbatsky of Leningrad, as one of the greatest productions of the human mind", Jawaharlal Nehru, The Discovery of India, Asia Publishing House, Bombay, 1972, p. 115 (Reprint of 1961 edition) 10. "Samsar ke vyakarnom mem Panini ka vyakaran coti ka hai. Uski varniuddata, bhasa ka dhatvanvay siddhant aur prayogvidhiyam advitiya evam apurv haim. ... Yah manav mastisk ka atyant mahatvapurn aviskar tha For Personal & Private Use Only

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112 NARAYAN PRASAD SAMBODHI hai." -- W. W. Hunter's statement translated in Hindi and quoted in Yudhisthir Mimamsak, op. cit., p. 224. 11. "Sir William Hunterne suddha Paniniya astakala manvi buddhica mahatvapurna aviskar ase mhatle ahe." - K. V. Abhyankar, op. cit., p. 153, fn 1. 12. Hermut Scharfe, Grammatical Literature, Otto Harrassowitz, Wiesbaden. 1977, p 112, para 2. In the footnote he remarks -- "Often mislabeled in the past as 'mnemotechnical devices"." 13. "...the study of the more abstruse work of the first great grammarian, Panini", Monier Williams, op. cit., p xi. 14. Even H. T. Colebrooke (1765-1836), the profoundest Sanskrit scholar of his day, imbued with a predilection for every thing Indian,* remarks on Panini's work -- "The studied brevity of the Paniniya sutras renders them in the highest degree obscure; even with the knowledge of the key to their interpretation, the student finds them ambiguous. In the application of them, when understood, he discovers many seeming contradictions; and, with every exertion of practised memory, he must experience the utmost difficulty in combining rules dispersed in apparent confusion through different portions of Panini's eight lectures", Miscellaneous Essays, Higginbotham and Co., Madras, 1872, Vol. II, pp 67. Further on p. 11 he adds -- "The outline of Panini's arrangement is simple, but numerous exceptions and frequent digressions have involved it in much seeming confusion.... The apparent simplicity of the design vanishes in the perplexity of the structure. The endless pursuit of exceptions and limitations so disjoins the general precepts. that the reader cannot keep in view their intended connexion and mututal relation. He wanders in an intricate maze, and the clew of the labyrinth is continually slipping from his hand." [* Monier Williams, op. cit., p. xiii. It was the same Colebrooke, who, before tasting the beauties of Sanskrit literature, believed that there was nothing worth learning in this land of hot sun. According to him, Charles Wilkins was "Sanskrit mad", "Asiatic Miscellany' was a repository of nonsense", and " 'the Institute of Akbar' a dunghill in which, perhaps, a pearl or two might be found", Eminent Orientalists, G. A. Natesan & Co., Madras, 1922 (Reprint Asian Educational Services, New Delhi, 1991), p.49]. For Personal & Private Use Only

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Vol. XXV, 2002 SARASVATIKANTHABHARAN... 113 15. Not only (Panini's) grammar but also the Sanskrit language according to Monier Williams is artificial. He remarks - "At the best, a grammar is regarded by an European as a necessary evil, only to be tolerated because unavoidable. Especially must it be so in the case of a language confessedly more copious, more elaborate and artificial, than any other language of the world, living or dead", op. cit., p. ix. On p. xiii he says about the grammar - "....constructed a complicated machinery of signs, symbols and indicatory letters." 16. Monier Williams, op. cit., p.xiii, lines 4-6. 17. Ibid, p. xiii, lines 6-8. 18. Ibid, p. xiii, lines 8-9. 19. Panini's Grammar is written in cryptic sutra form and its illogical order renders it impracticable for anyone to learn Sanskrit by its means", Alfred Master, Jones' and Panini, JAOS, Vol. 76, 1956, p. 187. Cf. also A. B. Keith, op. cit., p. 424. 19a. W. D. Whitney (1827-1894) in his article "The Study of Hindu Grammar and the Study of Sanskrit" (1884), remarks on Panini's Grammar thus : "Its form of presentation is of the strangest : a miracle of ingenuity, but of perverse and wasted ingenuity. The only object aimed at in it is brevity, at the sacrifice of everything else -- of order, of clearness, of even intelligibility except by the aid of keys and commentaries and lists of words, which then are furnished in profusion.", J. F. Staal, A Reader on the Sanskrit Grammarians, Motilal Banarsidass, 1985, p. 142, lines 41-46. 20. Scharfe, op. cit., P. 112. Cf also p. 115, para 2, where he elaborates this point -- "It is a sad observation that we did not learn more from Panini than we did, that we recognized the value and the spirit of his 'artificial and 'abstruse' formulations only when we had independently constructed comparable systems. The Indian New Logic (navya nyaya) had the same fate : only after Western mathematicians had developed a formal logic of their own and after this knowledge had reached a few Indologists, did the attitude towards the navya nyaya school change from ridicule to respect. A striking example of how we only understand what we already know is the frequent translation of varna as 'letter' by F. Kielhorn and others who followed the Western grammatical tradition at least in their choice of words, while the linguistically inclined O. v. Bohtlingk at the same time correctly used 'Laut (e. g. in his translation of 1.3.9 and in the index under varna)." For Personal & Private Use Only

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114 NARAYAN PRASAD SAMBODHI 21. "It was.... the linguistics of the India of more than two millenia ago that was the direct germinal origin of the linguistics of the Western world of today." - M. B. Emeneau, India and Linguistics, JAOS, Vol. 75, 1955, p. 145, col. 1, para 1. 22. "The native and Medieval Greek and Latin phonology is immature and inept compared with the Hindu phonetic, phonemic, and morphophonemic analysis. One result of the difference is that on numerous points we can only guess how Latin and Greek were pronounced, while we are almost one hundred percent sure of the pronunciation of Sanskrit in Panini's time", ibid, p. 147, col. 1, last para. 23. "Indo-European comparative grammar had (and has) at its service only one complete description of a language, the grammar of Panini. For all other Indo-European languages it had only the traditional grammars of Greek and Latin, woefully incomplete and unsystematic.", Bloomfield, Language, Vol. V, 1929, p. 270, para 1. 24. "The Hindu achievements in morphological description were of a kind that we have only just begun to rival in modern Western descriptive linguistics and that we have not yet bettered.", Emeneau, op. cit., p. 147, col. 2, para 2. 25. "... Benfey, Whitney, and all others who described Sanskrit for the West. They tended to graft onto their virtual translations and rearrangements of Panini the traditional European method of description by means of paradigms, in which morphological units are essentially unidentified, similarities of the morphophonemics type are not analysed, and the description proceeds in terms of whole words - a graft which tends to obscure the excellences of the Paninean system", ibid, p. 149, col. 2, para 1. 26. John Brough remarks - "It is well known that the discovery of Sanskrit by the West at the end of the 18th century* provided the operative stimulus for the development of the comparative study of the IndoEuropean lenguages. It has been recognized that the Paninean analysis of Sanskrit into a system of roots, stems, and suffixes pointed the way to the method which has prevailed in Indo-European studies to the present day. For Personal & Private Use Only

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Vol. XXV, 2002 SARASVATIKANTHABHARAN... It is true that roots amd suffixes were not entirely new concepts to Europe, but it remains doubtful whether the method would have been applied with such thoroughness if it had not been for Panini's example. It is customary to add at this point the deprecatory remark that Panini was, of course, aided in his analysis by the extraordinary clarity of structure of the Sanskrit language; but we are apt to overlook the possibility that this structure might not have seemed so clear and obvious to us if Panini had not analysed it for us.... we in the West have acknowledged a debt to Panini in the matter of formal analysis"., Theories of General Linguistics in the Sanskrit Grammarians, Transactions of the (American) Philological Society, 1951, p. 27. *(i) Father Heinrich Roth (1620-1668) was the first European to write a grammar of the Sanskrit language in 17th century itself. He was a Jesuit missionary to the Moghul court in Agra. In Agra, Roth learnt Sanskrit and was able to discuss with Brahmins in the language. He realised the importance of Sanskrit and wrote a grammar between 1660-1662. The grammar is descriptive and shows great pedagogical skill-the explanations are given in Latin. The grammar is based on Panini. The grammar was later highly appreciated by Max Mueller. The manuscript was taken to Roma, but never printed, although several scholars and even the Austrian Emperor wanted to have it published.... Roth not only studied Sansktrit but was also well-versed in Sanskrit literature and Indian philosophy The grammar and manuscripts of Father H. Roth were published in a facsimile edition in Leiden, 1988.", Valentina Stache-Rosen, German Indologists, 2nd revised edition, Max Mueller Bhavan, New Delhi, 1990, pp. 1-2. (ii) The other early European scholars to write Sanskrit Grammar are Johann Ernest Hanxleden (1681-1732) and Jean-Francois Pons (16881752 ?). See Filliozat (Ref. under footnote 29), Introduction, p. 41, para 2. For details see J. C. Muller, "Recherches sur les premieres grammaires manuscrites du sanskrit", Bulletin d'etudes indiennes, Ndeg 3, Paris, 1985, pp. 125-144. 115 (iii) Theodore Benfey (1809-1881) in his 'Geschichte der Sprachwissenschaft und orientalischen Philologie in Deutschland' (History of Linguistics and Oriental Philology in Germany), 1869, p. 222 tells about the Italian scholar Filippo Sassetti (c. 1585) "Schon im 16. Jahrhundert schrieb For Personal & Private Use Only

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116 NARAYAN PRASAD Sassetti, dass das Italienische vieles mit dem Sanskrit gemeinsam habe, Zahlworter und andere Worter" (As early as 16th century Sassetti wrote that Italian has much in common with Sanskrit regarding the numerals and other words) and at p. 336 onwards "Im Jahre 1725 verglich Benjamin Schultze, Missionar in Tranquebar, die Zahlworter des Sanskrit mit den lateinschen bis 40" (in the year 1725, Benjamin Schultze, a missionary in Tranquebar, compared the numerals of Sanskrit with those of Latin upto 40). The original German quotations are taken from Ernst Windisch' (1844-1918) "Geschichte der Sanskrit Philologie und Altertumskunde" (History of Sanskrit Philology and Ancient Culture), p. 24, fn. 1. Cf. also Alfred Master, Jones and Panini, op. cit., p. 186, col. 1. SAMBODHI 27. "Panini and the Mahabhasya are documents of the first importance for the historical interpretation of old India and of the Sanskrit language, as well as for the history of linguistic science in general", Paul Thieme, Panini and the Paniniyas, JAOS, Vol. 76, 1956, p. 23. 28. Regarding importance of Panini, Louis Renou refers to Pavolini, Asiatica, 3, No. 1 (1938), vide Jakob Wackernagel's Altindische Grammatik (in German), Vol. I, 2nd edition, Vandenhoeck and Ruprecht, Gottingen, 1957, Introduction generale (in French), p. 113, fn. 513,. I have not had access to the journal Asiatica mentioned by him. 29 "...1' Astadhyayi, n'est pas une grammaire sanskrite, c'est une oeuvre de linguistique generale", Pierre-Sylvain Filliozat, GRAMMAIRE SANSKRITE PANINEENNE, Picard, Paris, 1988, Introduction, p. 12, lines 40-41 (in French). Cf. also the following lines of the article "Les notions de verbe et de substantif dans l'Ecole panineenne" by the same author, where he expresses his viewa more lucidly "L'etude de Panini est un chapitre important de l'histoire des sciences. La grammaire dans l'Inde ancienne n'est pas une simple discipline d'erudition, c'est une science. Elle se presente ellememe comme une linguistique generale et non comme une grammaire d'une langue particuliere en une periode donnee. Panini et ses successeurs traitent du langage en general en traitant du Sanskrit. Ils considerent que le Sanskrit est le langage parfait, unique, et que toute autre langue en est une corruption. Il n'y a donc chez eux de considerations historiques et comparatives." (The study of Panini is an important chapter in the history of science. The grammar of ancient India is not a simple discipline of erudition, it is a science. It presents itself as general linguistics and not as For Personal & Private Use Only

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Vol. XXV, 2002 SARASVATIKANTHABHARAN... 117 a grammar of a particular language of a given period. Panini and his successors treat the language in general while dealing with Sanskrit. They think that Sanskrit is a unique and perfect language and that all the other languages are a corruption. There are, therefore, no historical or comparative considerations in them), Bulletin d'etudes indiennes, No 1, Paris, 1983, p. 81, para 1. 30. Scharfe, op. cit., p. 115, para 2. The title of the Wilkins grammatical work is 'A Grammar of the Sanskrita Language' (1808) (Reprint Ajay Book Service, 704 Chandani Mahal, Darya Ganj, New Delhi, First Indian Edition, 1983). 31. Die Sprache der Jakuten (A. Th. Von Middendorff, Reise in den aussersten Norden und Osten Siberiens, Bd.III, St. Petersburg, Kais. Ak. D. Wissen., 1851) - Emeneau, op. cit., p. 150, fn. 18. It was the first scientific grammar of the hitherto not at all studied Yakut language. Bohtlingk, member of the Russian Academy of Sciences, initiated the civilian written form of the Yakut language. While doing research on Yakut language, he devised the civilian Yakut alphabet for the first time, against the parallel and already existing missionary alphabet. The publications of religious literature by the missionaries in Yakut language from 1819 onwards were not accessible to the Yakut people, as the masses were illiterate. The school education started only in the last few decades of the 19th century (p. 23 in the Ref. mentioned below). In a letter to Bohtlingk, the Yakut born Russian A Y Uvarovskiy (1800-c. 1860) teacher and great inspiration to the former regarding research on the Yakut language, warmly greeted his initiation of the creation of written Yakut language : "Iz-za otsutstviya pis'mennosti yakutskiy yazik schitaetsya mertvim yazikom. Nedaleko to vremya, kogda Vi ozhivite ego. Nedaleko to vremya, kogda Vi polucite pokhvali ot visokoobrazovannikh lyudey I beskonecnuyu blagodarnoct' ot yakutskogo naroda. Gryaduschee pokolenie yakutov polnoct'yu ispolzuet Vase tvorenie I visoko podnimet Vase imya... Eto budet vozdayaniye ot nikh, eto budet nagrada dlya Vas." (Due to the absence of the written form, the Yakut languge is considered to be a dead language. The time is not far away, when you will revive it. The time is not far away, when you will receive appreciation from highly educated people and the endless thanks and gratitude from the Yakut people. The coming generation of Yakut will fully utilize your work and raise your name high.... It will be a For Personal & Private Use Only

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118 NARAYAN PRASAD SAMBODHI requital from them and a reward for you."), Ocerk istorii yakuctskoy Sovetskoy literaturi, izdatelstvo akademii nauk SSSR, Moskva, 1955, str. 24 (Essay on the History of Yakut Soviet Literature, Publishing House of the Academy of Sciences, USSR, Moscow, 1955, p. 12).--- in Russian. As expected by Uvarovskiy, Bohtlingk's work excited great interest in the scientific circle, which had important after-effects in the study and development of the Yakut language. 32. Emeneau, op.cit., p. 150, col. 1, para 2. 33. "Obituary Notice : Dr. E. E. Obermiller", by Th. Stcherbatsky, IHQ, Vol. 12, 1936, p. 380. Cf. also Scharfe, op. cit., p. 115, fn. 119. 34. Pt. Yudhisthir Mimamsak assigns same date to Panini and Vyali, op. cit., p. :: 193 and 298. He considers Vyadi to be the maternal uncle of Panini. -- cf. p. 301, line 5. 35. "He (i. e. Vyali) is believed to have been a relative and contemporary of Panini", A Dictionary of Sanskrit Grammar, op. cit. p. 378. 36. "As Vyadi has used a number of Panini's rules in deciding his Paribhasas and, as he has actually quoted a few varttikas he appears to have flourished a few decades after Panini, when there was an addition of a few varttikas only for the sutrapatha of Panini", K. V. Abhyankar, Paribhasasamgraha, B. O. R. I., Poona, 1967, Introduction, p. 12. 37. "Sampurn bhasya mem 4280 varttik haim. Inmem 3870 varttik Katyayan ke haim. 410 vacan anya acaryom ke evam svyam bhasyakar ke haim", Vedpati Mishra, Vyakaran-Varttik : Ek Samiksatmak Adhyayan, Pethivi Prakashan, Varanasi, 1970, Amukh, p. 8. 38. "Nagesa appears to have divided varttikas into two classes as shown by his definition 'sutre'nuktaduruktacintakaratvam varttikam'. If this definition be followed, many of the varttikas given in the Mahabhasya as explained and commented upon the sutras will not strictly be termed as varttikas, and their total number which is given as exceeding 5000, will be. reduced to about 1400 or so. There are some manuscript copies which give this reduced number, and it may be said that only these varttikas were written by Katyayana while the others were added by learned grammarians after Katyayana. In the Mbh. there are seen more than 5000 statements of the type of varttikas out of which Dr. Kielhorn has marked about 4200 as varttikas", A Dictionary of Sanskrit Grammar, op.cit., pp. 247-248. For Personal & Private Use Only

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Vol. XXV, 2002 SARASVATIKANTHABHARAN... 119 39. Goldstucker, Panini : His Place in Sanskrit Literature, London and Berlin, 1861 (Reprint MLBD, New Delhi), p. 57. 40. The number of total sutras varies from edition to edition. Ram Lall Kapoor Trust, Bahalgarh, edition contains 3964 sutras, while Kasika published from the same place contains 3981; the Vrndavan edition (Reprint Anita Arsa Prakashan, Panipat, 1990), contains 3973; Krishnadas Academy, Varanasi edition, edited by Satyanarayan Shastri Khanduri, contains 3983; which is same as in Bohtlingk's edition (various reprints are available, e.g. MLBD, Delhi, and Rinsen Book Company, Kyoto, 1977); the one edited by C. Sankararama Sastri (Reprint Sharda Publishing House, Delhi, 1994) contains 3981 sutras. The number of sutras in the last one and that in Kasika mentioned above is, although, same, there is difference in the number of sutras in ch. 4, pada 1 and ch. 8, pada 4. The number of sutras preserved in Siddhanta-kaumudi, published by MLBD, is 3978. The number mentioned in the main body of the article is taken from Bohtlingk's edition. 41. Robert Birwe, Studien zu Adhyaya III der Astadhyayi Paninis (in German), Otto Harrassowitz, Wiesbaden, 1966, Table at pp. 156-157. 42. Raghuvir Vedalamkar, kasika ka samalocnatmak adhyayan, Nag Publishers, Delhi, 1977, Parisista-7, pp. 359-387. The list gives 913 varttikas plus additional four under 191A, 413A, 418A, and 711A. 43. Ibid, Parisista-8, pp. 388-390. 44. Ibid, Parisista-10, pp. 394-398. 45. K. C. Chatterji, Candravyakarana of Candragomin, Part-I (ch. 1-3), Deccan College Post-Graduate and Research Institute, Poona, 1953, PREFACE, p.v, lines 1-2. 46. E.g. IV. 3. 93. Svaravicesam tu svaradhyaye vaksyamah and 1.1.145. O svaravisesam astame vaksyamah --Chatterji, op. cit., Part II (ch. 4-6), 1961, p.90 and Part I, p. 51. 47. Chatterji, op. cit., Part I, p. v, lines 28-29. 48. This work is not to be confounded with another work of Bhoja named likewise sarasvatikanthabharana. It deals with poetics. 49. Madras Edition of SKA, FOREWORD, P. vii. For Personal & Private Use Only

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120 NARAYAN PRASAD SAMBODHI 50. Ibid. 51. Ibid. 52. Trivandrum edition of SKA, Vol. IV, Prastavana, p. 6, para 3.. 53. Ibid, pp. 6-7. 54. "In Krsnalilasuka's commentary on Bhoja's grammatical treatise, Sarasvatikanthabharana, Panini's verses are quoted freely as illustrations" and "In the field of grammar and philosophy, his proficiency was over as great as in the field of poetry. He commented on the Astadhyayi of Bhoja (known as Sarasvatikanthabharana) and there quotes several verses of Panini.", M. Krishnamachariyar, History of Classical Sanskrit Literature, MLBD, New Delhi, p. 85 and pp. 335-336 respectively. 55. "...le Ssarasvat])K(anth)A(bharana) est beaucoup plus qu'une edition "revue" de P. D'bord, il a incorpore dans la trame des su. tous l'enseignement positif emane des vieux var)tt(ika), celui-la meme qui, a peu de choses pres, nous a ete conserve dans la Klasika): laissant de cote, comme fait cette derniere, les vtt. de caractere technique, scolastique, argumentatoire. .... Ensuite, des additifs nouveaux --- semblables aux axiomes introduits ailleurs par iti vaktavyam, ity upasamkhyanam --- prennent rang de su. .... Il y a eu la tous un effort pour sortir des limites panineennes, ... et qui fait de ce manuel le plus complet que nous ait legue la tradition sanskrite.", p. 212. 56. fn. 2, pp. 122-123. 57. p. 123. 58. "Ceci montre le part assez considerable de nouveautes qu'apporte la grammaire de Bhoja. Nouveautes au sens relatif du terme, car il est aise de voir que la vrtti de. Candragomin, oeuvre de l'auteur meme des su. et bien anterieure au SKA, donnait deja, dans le long commentaire qu'elle fabrique sur le su. II.2,48, la plupart des examples que cite la vrtti de Bhoja ou qui resultent de l'enseignement des su., p. 125. The abridged version of this paper was submitted to the 40th Session of AIOC, by Narayan Prasad, B. Tech. Honours (Civil Engg.) Senior Research Officer D-20, CWPRS Colony, Khadakwasla, Pune - 411 024 For Personal & Private Use Only

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JAINISM : A PROMINENT LIVING INDIGENOUS CULTURE DR. RAJJAN KUMAR* Jainism, the great humanistic religion with scientific philosophy represents the sramanic tradition of India. There are many misunderstandings carried by the people regarding Jainism viz. Antiquity, religion, philosophy, literature, culture etc. that Jainism represents. Each is a vast subject or rather consists of a number of subquerries. The basic misunderstanding There are numerous misunderstandings regarding Jainism, but the fundamental misunderstandings has had been charged on it is that-whether this is an independent culture with some requisite antiquity or be an offshoot of some other culture. In this purview many consider that it is a branch of vedic religion, some others take it to be an offshoot of Buddhism; whereas many others are of the opinion that Jainism arises as a reaction against the thought and practices of Vedicism. The extent of its misunderstanding about its philosophical stand-point can be indicated by the view that has been advanced by many who claim to be known veterans of philosophy that its epistemological position relativism' or 'syadvad' represents a kind of 'sansayavada' (scepticism). The misunderstanding about the nature of its literature can be judged by the opinion put forth by renowned literary critic as that Jain literatures are nothing but writtings without any objectives. As for concern about the culture of Jainism the misunderstanding has been prevailed and the opinions put down are not rather different as expressed for other aspects of Jainism. For Personal & Private Use Only

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122 DR. RAJJAN KUMAR SAMBODHI Perhaps all those misunderstandings have no requisite face or it may be considered that all those misunderstandings have been laid down due to not properly acquint with the religion, philosophy, literature, culture etc. of Jainas. This is true that Jainism has its own culture with antiquity, religion with bases, philosophy with idea, literature with objectives as well as enormous number of technical terms. They have their own meanings. This may be presumed that perhaps many more misunderstandings have been aroused by claiming the wrong interpretation of all those technical terms. Aside all those so-called misunderstandings one may consider about Jainism as not a religion of any one particular caste or community, but it is the religion of all living beings. It is that kind of religion which was primarily called simply. Dharma or manavadharma or Magga (the path). Vedic and sramanica culture This religious system, Jainism represented the Sramanica tradition, one of the prominent culture prevalent in India. The counterpart or the other tradition is known as Vedic culture. It is supposed that sramanica tradition has their own specialities and is inherited the same principles which were subsequently systematized and expounded by Tirthankaras such as Rsabha, Parsva, Mahavira etc. These sramanas believed in soul's potentiality to achieve God-hood, through its own exertions, the theory of transmigration and karma and the existence of Jiva in all sentient things. Rising above all caste and class divisions and distinctions it has made the declaration of providing equal opportunity to all living beings to develop their spiritual power and prowess. It has emphasized on the purification of head and heart, thought and conduct in an equal measure. The 'Sramana' has word 'srama', and the meaning of 'srama' is labour. That labour is with penance for the control of senses. Tirthankaras were called sramanas because of the labour, they were taking in observing strict austerities, by dwelling in forests and renouncing the worldly affairs. After renunciation, by the performance of extremely severe penances, they overcome the hundreds of terrific inflictions and calamities that come in their path, destroy all the sins accumulated during numerous births in the past, burn down the dense karmas to ashes, inculcate a spirit of equanimity towards friends and foes both and thereby attain the status of mahasramana or vitaraga. For Personal & Private Use Only

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Vol. XXV, 2002 JAINISM : A PROMINENT LIVING INDIGENOUS CULTURE 123 Aryans were a nomadic race and as such were not trained in the sophisticated philosophical thinking of the fully settled and prosperous people of Indus valley culture whom they invaded and conquered. As Pt. Sukhalal Sanghavi points out, the attitude towards life of the people who are settled and prosperous, and of those who are leading a nomadic existence would be basically different. The attitude of the former would be more introvert, while that of the latter be more extrovert. This really happened in case of Aryans who came to India. They were in search of a happy and peaceful life wherein they could enjoy the materialistic objects to the full. In view of scholars, Rgveda reflects this attitude when its Rsis pray to different God of Nature for fulfilment of their earthly desires and the destruction of their enemies. However, after the Aryans began to settle in the fertile lands of Indo-Gangatic plains they also began to think deeply, and gradually imbibed the philosophical ideas of the indigenous culture. This fact has been elaborated in the following words of Pt. Sukhalal Sanghavis. The sramana line of thinking, which had influenced the original residents of India, was of serious and introvert nature. : Sir Sanmukha Chetly opined that recent historical researches and archaeological discoveries have led scholars to believe that in the pre-Aryan period there flourished a very great civilization in India, which, for the sake of convenience I shall call 'Dravidian civilization'. He further said that the Aryans came with their own ideas based upon ritualism and animal sacrifice, and the prominence given to the revival in the time of Lord Mahavira is only an indication of that feeling of revolt which came amongst the vast masses of Jainas in this country against this new cult and the practices which were the antithesis of the principles that the Jainas (sramanas) believed in. That kind of idea can be traced from the ancient texts of India like Rgveda. In 'Kesi-sukta' of Rgveda (10.36) we find a strange pen picture of Munis having locks of hair on head, dirty and ochre-robbed, flying in air, drinking poison, delicious by 'Mauneya' and 'Devesita'. This sukta thus indicates the distinct class of Munis who were practising yoga either alone or in groups living in the places away from populations. On account of severe penances undertaken by them they were called Sramanas. They had no attachment to their bodies and took utmost care to see that no life was destroyed. The lives of these Munis were in accordance with the teachings of Rsabhadeva, the first Tirthankara of Jainas. The roots of Samkhya philosophy of Kapil Muni is in this non-Aryan tradition.? For Personal & Private Use Only

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124 DR. RAJJAN KUMAR SAMBODHI The epoch-making discovery of the prehistoric Indus valley civilization of Mohenjodaro and Harappa further sheds a new and significant light on the two tradition of India. Sir John Marshal emphatically asserts that - a comparison of the Indus and Vedic cultures shows incontestably that they were unrelated. The Vedic religion is normally aniconic. At Mohanjodaro and Harrappa iconism is everywhere apparent. In the houses of Mohanjodaro the firepit is conspicuously lacking. At Mohanjodaro there have been discovered many nude figures-depict personages who are no other than Yogis. And nudity has been one of the most special characteristics of Jaina Sramanas of Digambara sect. Lord Rsabha himself went nude and his images are represented as such. Even in the Rk-samhita, there is a mention of the "wind girdled Bachhanters-Munayah vatavasanah", who according to Dr. A. Weber, seem to be none else but Jaina' sramanas who "also appear to be referred to in the wellknown accounts of the Indian gymnosophists of the time of Alexander the Great. Now about these nude yogic figures of Mohanjodaro, it has been said that "these statutes clearly indicate that the people of the Indus Valley, in the chalcolithic period not only practised yoga but worshipped the images of the yogis." Prof. R. P. Chanda extended this view-point and said not only the seated deities engraved on some of the Indus seals are in yoga posture and bear witness to the prevalence of yoga in the Indus valley in that remote age, the standing deities on the seals also show kayotsarga posture of yoga. Further that the kayotsarga posture in peculiarly on Jaina. It is a posture not of sitting but of standing in the Adi Puranas. (book XVIII) Kayotsarga posture is described in connection with the penances of Rsabha or Vrsabha. The name Rsabha means 'bull' and the bull in the emblem of Jain Tirthankara Rsabha. 12 Prof. P. N. Vidyalankara says the names and symbols on plates annexed would appear to disclose a connection between the old religious cults of Hindus and Jainas with those of the Indus people. It may also be noted that the inscription on the Indus seal no. 449 reads according to my decipherment. Jinesvara or Jinesa (Jin-i-i-Sarah) He is also of opinion that the Indus people worshipped such Tantric deities as SriHri, klim etc. which incidently are important female deities of the Jaina pantheon. He further says it is interesting to note that the Puranas and the Jaina religious texts both assign high places to these gods of the Indus people).13 For Personal & Private Use Only

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Vol. XXV, 2002 J AINISM : A PROMINENT LIVING INDIGENOUS CULTURE 125 The words 'Barhata' and 'Arahata' are found used in the Rgveda. The followers of the Barhat tradition accepted the authority of the Vedas and were used to the practice of performing sacrifices (yajnas) where as those of the Arhata persuation did not accept the authority of the Vedas and were against the performance of sacrifices since they involved in the killing of innocent animals. The 'Arhatas' had been the upholders of the cult of non-violence (Ahimsa) having faith in kindness and mercy. According to Visnupuranal4 the Arhatas opposed the Vedic practices of karmakanda and worked for the realization of the value of non-violence. We find in some other Puranas such as Padmapurana5 and alike a similar reference to the Arhata tradition. This Arhata tradition had been no other than the Jaina (sramana) tradition itself. This tradition had been given another name Vatrasanamuni' or the Vratya parampara during the period between the Vedic and the Aranyaka ages. Vratya means the one who follows the practices of observing vows such as those of fasting etc. Atharvaveda designates such a person who happens to be a brahmina, brahmacari (one who practices continence), performer of specially good or meritorious deeds, a scholar (vidvana), wise and respectful in the world (visvasammana) as a vratya. 16 There were two ethnic groups of 'vratya' and Vrsala which were following the non-Aryana traditions. There were five sub-races of Vratya group, one of which was known as Arhanta. Vratyas were also the worshippers of Linga. Atharva-Veda contains a prayer of 'Eka-vratya' (15th Kanda) who was a Vratya-God. Linga-worship is indicative of Saiva religion. The Aryans subsequently recognised Siva as one of their gods, but previous to that Siva or Rudra was not originally an Aryan-god." In both the ethnic groups of Vratya and Vrsala non-violence (Ahimsa) and austerities (yoga-sadhana) were greatly respected. Non-violence, austerities and sacrifice are the result of a peaceful and steady social structure. The development of these virtues in the people, who have to move from place to place in struggle of life, is not possible and therefore, the cultural development of Aryans was based on active and adventurous social life. For these reasons non-Aryan culture became introvert and Aryan culture became extrovert. Both these cultures developed in their own way, but after the Aryans settled in this land, both the cultures influenced each other for thousands of years as a result of which a new synthesis grew up which we now identify as Bharatiya-Samskrti (Indian culture).18 For Personal & Private Use Only

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126 DR. RAJJAN KUMAR SAMBODHI We learn about the Arhata tradition and also acquint with its relationship to vratya tradition. Here it is mentioned that the Munis who are cited in the Rgveda as the Vatarasanamunis must be belonging to the Arhata tradition. Sayana calls these Vatarasanamunis 'Atindriyarthdarsi, who aim at the goal beyond senses.19 Kesi and some other munis are also mentioned as the Vratyas.20 Srimadbhagavata Purana refers the name of Rsabhadeva as the chief religious leader of these munis and describes him as the Nabhiputra (the navel-born).21 Many archaeological evidences testify to the antiquity of the Jainadharma and the Tirthankaras. In the Jaina literature also the word 'Arhat' has been recognised for a Tirthankara.22 The word 'Arhat were frequently used for each of the Tirthankara upto the time of Tirthankara Parsva. But from the time of Lord Mahavira, a new word 'Nirgrantha' was incorporate in place of Arhata. Nirgrantha means free from encumbrances came into vogue.23 The word 'Nirgrantha' was referred in Buddhist texts for Lord Mahavira as niggantha nataputta (Nirgrantha Nathaputra).24 In the inscriptions of Ashoka, the great too we find use of the word Niggantha 25 Even afterwards, later than the period of Lord Mahavira till those Eight Ganadharas and the Acaryas the word 'Nirgrantha' continued to be used in the main. Some Vedic works have also made use of it. Nirvrtti and Pravrtti are two terms referred for the outlook of lifestyle. Nirvrtti means inactive while pravrtti defines action, but this is not the only meaning of these two words. We shall just give up that kind of discussion and come to the point which culture adopt nirvrtti vrtti and which one accepts pravrtti. Tradition shows that sramanic culture has nirvrtti tendencies and the. Vedicism adopts pravrttidharma. Nirvrttamargi refers Sanyasa in the most prevailed action while Pravrttamargi mentions grhasthacarya in the most effecting life style. But both are essential to maintain a society and spiritual demand. Uttaradhyayanasutra explained that either a householder or a monk, who is free from passions and attachments and adorns penances. attains godhood. 26 The Gita defines both the life styles are equally important but Sanyasamarga is fit for those who are jnani and karmamarga is established for action-loving people.27 The Sramana outlook towards life, being introvert in nature was known as Nirvrtti Dharma, while that of Vedic Aryans being extrovert in nature was known as Pravrtti Dharma. This basic difference of approach marked the advent of different theories in the field of philosophy. One sought to achieve the absolute by withdrawing from the worldly affairs, undergoing the process of pratikraman (returning back to soul). The other sought to achieve the same by undergoing For Personal & Private Use Only

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Vol. XXV, 2002 JAINISM A PROMINENT LIVING INDIGENOUS CULTURE 127 the process of expansion which would develop the whole universe by its theory of Advaita. Both these processes went on together for thousand of years influencing each other with the result that the absorbing power of the Aryan mind made it possible to evolve a synthesis wherein both become complimentary to each other and both became two aspects of the same composite culture. Process of Synthesis Indian culture has two trends the first one in Vedic and second one in Sramanica. They are known as Aryan-Vedic culture and non-Aryan-Sramana culture. The composite culture of India is a form of synthesis and the process of synthesis were started with the emergence of Upanisada era, scholars assume it was a time period of about 800 B.C. and after. It is assumed that the social, economic and political interaction between Aryana settlers and their more advanced non-Aryan brothers, enriched their knowledge of the former. They began to interpret their Vedas in the light of this enhanced knowledge. At this stage, a recapitulation of periodic division of early Indian history would be of some interest to understand the long process of integration of the nonAryana cultures, 28 - The time period of integration of the two cultures may be estimated roughly to 3500 B.C. to 1500 B.C. and is considered to be the period of Indus valley civilization of non-Aryana races in India. This coincides with the Sumerian and Akkad civilizations of Middle east, prepared in about 2300 B.C. (They were also river valley civilizations) and Minoan civilization of Crete. Thus the period corresponding over two thousand years can be carved out for River valley civilization which spread over northern and western parts of India extending upto Saurastra in Gujarat. It is a story which is five to six thousand years ago.2 Aryana invasion of India dated approximately before 1500 B.C. i. e., about three to four thousand years ago from today, practically considered with the Hellenic invasion of Greece. They seem to have brought some portions of Rgveda and other Vedas with them. From 1500 B. C. to 800 B.C. a period of about 700 years may be termed as Vedic and subsequent Brahmana period. Brahmanas elaborate the rules and details for the employment of the mantras or hymns at various sacrificial rituals. As a result of which the priestly class, with sole and exclusive right of performing rituals gained much social prominence and virtually dominated the society. During this period the Aryans had completely settled and had fully vanquished the For Personal & Private Use Only

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128 DR. RAJJAN KUMAR SAMBODHI non-Aryans races. These were being absorbed in thier social structure principally as 'dasyus' (labour class) and were treated as second class citizens. However, the Aryans had tremendous capacity to absorb and to assimilate all new things of life.30 The Aryans not only adopted many cultural and philosophical thinking of their non-Aryan brothers, but also enriched the same by their own original thoughts. They realised that beyond this mundane existence as well as after life, there is something distinct. For attaining that something the propitiation of gods by sacrifices and offerings of living beings is not the way. When acquainted with the non-Aryan theories of austerities, non-violence, karma and soul, they realized that something, the aim of their pursuit could be apprehended by working on these theories.31 The above facts very much found in the Upanisadic thought, as Chandogya Upanisad quotes that Rsi Aruni explains to his son the newly found secret of the real nature of the self, not taught to him during the course of the long term of his education in existing Vedas.32 Naciketa of Kathopanisad 33 goes to Yama (God to Death) to learn the science of Atman by asking the question "when a man dies, does he still exist or not ?" Thus there was a fervent intellectual agitation in the Post-Brahmanica period when the Upanisadas began to challenge the usefulness of sacrificial rituals and began to apply their mind objectively to the teachings of Sramana traditions of ancient India. This trend had started long before Upanisadic period but it gained momentum during that period. 23rd Tirthankara of Jainas, Parsvanatha,34 recognised now as a historical person, flourished during 872 to 772 B.C., the time when the Upanisadas were getting on full swing. Like his successor Mahavira, Parsva also had a great organising capacity. He organised the Sramanica order and propounded caturyama35 of four principles namely-non-violence (ahimsa), Truth (satya), Non-stealing (Asteya) and restrictions on possession (aparigraha). His Sramana teachings had great influence on contemporary thinking. And with the advent of Mahavira (526 B.C.) the time became ripe for the final and decisive assault on priestly Brahmanica culture of rituals and violent sacrifices. Both Mahavira and Buddha (563 B.C.) led a relentless crusade against the social and cultural evils prevalent at the time. Buddha, the contemporary of Mahavira was a prophet of another Sramanica tradition Buddhism. For Personal & Private Use Only

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Vol. XXV, 2002 JAINISM : A PROMINENT LIVING INDIGENOUS CULTURE 129 This crusade went on with such a vigour till 8th century A. D. that, but for the advent of the great Sankara, who assimilated sramana ideas of Buddhism with his brilliant exposition of Vedanta. Vedic culture would have been practically eclipsed throughout India. Now the sramanica ideas of non-violence, karma, soul have become so much identified with the Vedic culture that there is absolutely no difference between the attitude of a Jaina and a Hindu towards life's problems, individual or social. These attitudes are so identical that unless one tells you that he is a Jaina by religion you cannot make out from his behaviour that he is a non-vedic by faith. The use of the word Jaina-Dharma' Jainism, the oldest humanistic religion was primarily called simply Dharma or manavadharma' or Magga (the path); in the Indus valley days of Rsabha cult; by the Vedic people as vratya religion or Ahimsa-dharma; in the time of the Upanisadas as Arhata Dharma or Atmadharma; in the Buddha's time as Nigantha Dharma; in the Indo-Greek and Indo-Scythian periods as sramana Dharma; in the so-called Hindu periods as Syadvad Mata or Anekantavadin. Hence, Jainism was prevailed as a religion from the very ancient time upto the present day. Now, the question raised when and why the word 'Jaina' was used to define this religion as 'Jaina dharma'. As tradition defines that Jainism is a religion propounded by a Jina. A Jina means a conqueror, that is one who conquered the worldly passions by one's own strenuous efforts. He is not a supernatural being nor an incarnation of an all-powerful God. Human beings are entitled to become Jinas and as such Jinas are persons of this world who have attained supreme knowledge, subjugated their passions and are free from any sort of attachment. Jainism is nothing but a set of principles preached by such persons. On the contrary, it is a religion of purely human origin and it has emanated from the mouth of a dignitary who has secured the omniscience and self-control by his own personal efforts. In short, Jainism is the substance of preachings of dignitaries who have attained of the state of Jinas. 36 Jainism is a religion based on the preachings and principles of Jinas, hence the canonical Jain texts like sutrakstanga, Uttaradhyayana, Dasavai kalika etc. the words Jinapravacana, Jinamarga, Jinasasana etc. have been used. But the "Vaina-Dharma' has been used for the first time probably in the For Personal & Private Use Only

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130 DR. RAJJAN KUMAR SAMBODHI Visesavasyakabhasya, 38 the date of composition of which in the 845th year of the Vikrama era (calendar).39 The word 'Jaina-Dharma' has been used especially in the literature that came after that. Matsya Purana 40 used the word Jina-dharma' but Devibhagavati mentions Jaina-dharma' itself. Briefly, it may be stated that even though due to the changes in time and space there had been changes in the use of words but this change did not modify the internal nature of the Jaina-Dharma i. e. with the change in the use of words there did not come about any change in that which they were all intended to indicate. Traditionally, the Jaina-dharma has remained associated with Rsabhadeva, as saivism on the name of Siva, Vaisnavism on the name of Visnu and Buddhism in the name of Buddha. Jainism or Jain dharma has not similarly been got started. or found by an individual nor does it worship any one individual. It has not been said to be the Dharma of Rsabhadeva, Parsvanatha or Mahavira but of the Arhatas, of those who have had perfect self-control or the victory over their souls; the Jinas. That is why it is a Jina-dharma or Jaina-dharma. NOTES 1. New Light on the Antiquity of Jainism - J. A. XIV. I, P. 22. 2. Samskrta-Hindi-kosa, Apte, P. 1035. 3. Mahavira ki Aitihasika Prsthabhumi, Pt. Sukhalal Sanghavi, P. 25. 4. Jaghana Vstram svadhatirvaneva rurojapuro aradana sindhun 1, Vibheda giri navaminna kumbhama ga indro aksnuta svayugabhih || Rgveda, 10/89/7. See Vedic Mythology (A. A. Macdonel) Hindi trans. Ramkumar Rai 5. Mahavirani Aitihasika Prsthabhumi (Gujarati) quoted from The Path of Arhat, P. 3 (Mehta) T.U. 6. Jain Gazette, June 1943, pp. 83-85. 7. See The path of Arhat (Mehta), p. 4. 8. Mohanjodaro, Vol. I. pp 110-111. 9. Ibid pp. 33-34. 10. History of Religions in India, IA--XXX, July 1901. For Personal & Private Use Only

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Vol. XXV, 2002 JAINISM A PROMINENT LIVING INDIGENOUS CULTURE 131 11. Survival of the pre-historic Civilization of the Indus Valley - Memoir-ASI. 12. Sindh Five thousand years Ago-Modern Review, Aug, 1932, pp. 155-160. 13. Indian Historical Quarterly, VIII-Supplement, p. 18. 14. Arthatam Sarvarmetaccha muktidvaramasamvrtam | Dharmad vimukterarhoayam naitasmadaparah parah | 15. Padma Purana, 13/350. 16. Atharvaveda (with Sayana commentaries), 15.1.1.1. 17. Early History and Culture of Kashmir, S. C. Ray, p. 155. 18. The Path of Arhata (Mehta), p. 4. 19. See Sayana's commentary on Rgveda, 10/136/2. 20. Rgveda, 10-11.1, 36.1. 21. Srimadbhagavata Purana, 5/6/20. -Visnupurana, 3.18.12. 22. Kalpasutra, Edt. Devendra Muni, pp. 161-62. 23. Acarangasutra, 1/3/1/108; Bhagavatisutra, 1/6/386. 24. Dighanikaya, Samannaphalasutta, 18.21; Vinaya-Pitaka, Mahavagga, p. 242. 25. ime iyapara ho hantitti nigganthesu pi me kate-Pracina Bharatiya Abhilekhon ka Adhyayana, Pt-II, p. 15. 26. Uttaradhyayana, 5/20. 27. Loke'smin dwividha nistha pura prokta mayanagha / Jnanayogena samkhyanam karmayogena yoginam // Gita, 3/3. 28. See The Path of Arthta (Mehta), P. 6. 29. Ibid, P. 6. 30. Ibid, PP. 6-7. 31. Ibid, P. 7. 32. Chandogya Upanisad, 6/1-16; See The Path of Arhat (Mehta), PP. 66-68. 33. Kathopanisad. For Personal & Private Use Only

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132 DR. RAJJAN KUMAR SAMBODHI 34. Bhagavana Parsva : Eka samiksatmaka Adhyayana, Devendramuni, PP. 61-69. 35. Uttaradhyayanasutra, Chap. 23; Nayadhammakahao, 141 ff.; Bhagavana Parsvanatha ka caturyama Dharma, Dharmanand Kausambi. 36. Jainadharm, Pt Kailashchandra Jain, pp. 55-58; Jaina Religion and community, V. A. Sangave, P. 18. 37. Jaina Religion and Philosophy : An Introduction, Devendra Muni, P. 7.. 38. Jenam tittham - Visesavasyakabhasya, p. 1043; Tittham-Jinam - Ibid, 1045-1046. 39. This time period mentions as saka samvat 531; see JSBI, Vol. 3, P. 118. 40. Matsyapurana, 4.13.54. 41. Gatvatha Mohayamasa Rajputran Bihaspatih | Jaina-dharma krata svena yajna ninda paramtatha || -Devibhagvata, 4.13.58.. For Personal & Private Use Only

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saMskRta sAhitya meM mAnavIya tattva ke rUpa meM anukrozatva vasantakumAra bhaTTa bhUmikA : lIlaikahetuka paramAtmA ne saMsAra meM nAnA prakAra ke prANioM kA sarjana kiyA hai aura vaha parama karuNA se prerita hokara usakA paripAlana bhI kara rahA hai| usa prANI-samUha meM se anyatama mAnava prANI meM jo kucha anitara sAdhAraNa vaiziSTya dikhAI de rahA hai, vaha buddhigata, bhASAgata evaM sAmAjika bhAvanAgata to hai hI, lekina isase bar3hakara 'anukrozatva' nAmaka jo mAnavIyatattva hai vaha bhI eka vaiziSTya ke rUpa meM gaNanAha hai / saMskRta kAvyasAhitya meM karuNA, dayA, ghRNA, anukampA, sahAnubhUti ityAdi zabdoM se vyApakarUpa se mAnavIyatattvoM kI ora dhyAna AkRSTa kiyA gayA hai| parantu isa sandarbha meM, 'anukroza' zabda kA jo prayoga saMskRta kAvyasAhitya meM kiyA gayA hai vaha prastuta lekha kA viSaya hai // 'pratijJAyaugandharAyaNa' nATaka meM mahAkavi bhAsa ne dAmAda kI pasaMdagI kaise kI jAtI hai isa sandarbha meM mahAsena kI eka ukti rakhI hai : rAjA - bAdarAyaNa / evametat / atilobhAd varaguNAnAm atisnehAcca vAsavadattAyAM na zaknomi nizcaya gantum / kulaM tAvacchlAghyaM prathamamabhikAGke hi manasA tataH sAnukrozaM mUdurapi guNo hyeSa balavAn / tato rUpe kAntiM, na khalu guNataH, strIjanabhayAt tato vIryodagraM, na hi na paripAlyA yuvatayaH // ' * saMskRta vibhAga, dillI vizvavidyAlaya dvArA Ayojita "saMskRta vAGmaya meM mAnavIyatattva" viSayaka rASTriya parisaMvAda (15-17 Sept. 2000) meM prastuta kiyA gayA lekha // For Personal & Private Use Only

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134 vasantakumAra bhaTTa SAMBODHI. ___ varaNIya jAmAtA meM kauna kauna se guNa honA Avazyaka hai, isakI eka dhyAnArha mImAMsA yahA~ rakhI gaI hai| vAsavadattA ke pitA mahAsena zlAghanIya kula ke bAda 'sAnukroza' nAmaka guNa kA nirdeza karate hai / jo guNa mRdu hone para bhI manuSyajIvana meM balavAn batAyA gayA hai| ___mahAkavi bhAsa ne isa zabda kA prayoga anyatra bhI kaI bAra kiyA hai| jaise ki-'svapnavAsavadattam' ke prathama aGka meM brahmacArI batAtA hai ki - lAvANaka grAmadAha meM vAsavadattA bhasmasAt ho gaI hai| isI bAta ko sunakara rAjA udayana ne bhI agni meM apane ko DAla kara prANa chor3ane kA nizcaya kiyaa| brahmacArI yaha bAta avantikAveSadhAriNI vAsavadattA sunatI hai aura tatkSaNa eka svagatokti bolatI hai - jAnAmi jAnAmyAryaputrasya mayi sAnukrozatvam / "maiM acchI taraha se jAnatI hU~ ki Aryaputra mere lie sAnukroza hai|" isI nATyakRti meM, dUsare sthAna para bhI isI 'sAnukroza' zabda kA prayoga dhyAtavya hai : dvitIya aGka meM padmAvatI, ceTI evaM vAsavadattA ke bIca meM kucha parihAsa cala rahA hai| vahA~ vAsavadattA ceTI se pUchatI hai ki kisa kAraNa se prerita hokara padmAvatI udayana kI abhilASA karatI hai ? to, ceTI uttara detI hai : "sAnukroza iti|" vaha udayana sAnukroza vyakti hai, isa lie pati ke rUpa meM usakI abhilASA kI jAtI hai| vAsavadattA bhI isa abhilASA kI anumodanA karatI huI Atmagata bolatI hai : "jAnAmi jAnAmi / ayamapi jana evam : unmaaditH|" yaha vyakti bhI (arthAt svayaM vAsavadattA bhI) yahI anukrozatva ko dekhakara udayana ke lie unmAdita huI thii| isa saMvAda se sUcita hotA hai ki nAyaka ko nAyikA ke lie athavA nAyikA ko nAyaka ke lie jo prema hotA hai, usameM dehasaundaryajanita AkarSaNa se bacakara koI anya kAraNa bhI ho sakatA hai jisakA nAma 'anukroza' hai| bhAsa kI dRSTi meM yaha anukrozatva premodbhava kA eka nimitta evaM sadRr3ha prema kA AdhAra bhI banatA hai| (2) manuSyoM meM yaha jo anukrozatva hotA hai, vahI usakA eka saccA anitara sAdhAraNa vaiziSTya hai| kyoMki- AhAra-nidrA-bhaya-maithunazca samAnametad pazubhirnarANAm / ukti se batAyA gayA hai ki yadi hameM dUsarI prANIsRSTi se honA hai to dharma kA sevana karanA cAhie / dharmo hi eko .... dharmeNa hInaH manuSyaH pazuH bhavati / aba prazna uThatA hai ki ko'sau dharmaH ? For Personal & Private Use Only

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Vol. XXV, 2002 saMskRta sAhitya meM mAnavIya tattva ke rUpa meM anukrozatva 135 yaha dharma kyA hai, usakA svarUpa kyA hai ? rUpa se jahA~ batAyA gayA hai vaha hai jainadarzana | jainadarzana ne kahA hai ki ahiMsA paramo dharmaH / ahiMsA hi parama dharma hai / aisA kyU~ kahA hai ? manuSyetara sRSTi meM to jIvo jIvasya bhojanam vAlI bAta calatI hai / parantu kevala manuSya meM hI anukrozatva - paraduHkhaduHkhitA kA eka bIjabhUta tattva aisA hai, jisake AdhAra para ahiMsA rUpa dharma kA vaTavRkSa vikasita ho sakatA hai // 'hamAre bhAratIya darzana meM dharma kA svarUpa prabala / utkRSTa ataH aba vicAraNIya hai ki yaha 'anukrozatva' zabda kA abhISTa vivakSitArtha kyA hai / hamAre kozakAra to isa kA " dayA, karuNA" jaise sAmAnya artha batAte hai / 'amarakoza' meM kahA hai : kAruNyaM karuNA ghRNA / kRpA dayA'nukampA syAd anukrozo'pi // ' arthAt karuNA, ghRNA, kRpA, dayA, anukampA evaM anukroza * ye zabda ekArthaka haiM / arthAt paraspara paryyAyavAcI haiM / parantu sUkSmekSikA se vicAra kiyA jAya to koI bhI zabda dUsare kisI bhI zabda kA paryyAya nahIM hotA hai / pratyeka zabda kI apanI apanI alaga arthacchAyA hotI hai| jaise ki - 1 I (1) sarvazaktimAn paramAtmA ne jo jala, vAyu sUryaprakAzAdi ko jIvamAtra ke lie sahaja sulabha banAyA hai, vaha unakI 'karuNA' kahI jAtI hai| isa jala, vAyu ityAdi ke abhAva meM prANioM kA jIvana sarvathA asambhAvya hai| sarvopari Izvara kI isa kRpA ko hI 'karuNA' kahate haiM / (2) parantu jaba eka sabala jIva dUsare nirbala jIva kA jIvana nahIM chInatA, eka jIva dUsare jIva ko kisI taraha kA AghAta nahIM pahu~cAtA to vaha 'dayA' haiN| 'day dAnagatihiMsArakSaNeSu' dhAtu se 'dayA' zabda banatA hai / 'dayate rakSatyanayA / (3) jaba ki 'anukroza' zabda anu + kruza AhvAne rodane ca (bhvAdigaNa ) dhAtu se banatA hai / yahA~ " anukrozati " kA artha hotA hai : paraduHkhaduHkhitA / jaba eka jIva kA duHkha dekhakara dUsarA jIva bhI rotA hai; arthAt samaduHkha hotA hai, aura pariNAma svarUpa usako sAhAyya karane ko daur3a par3atA hai to vaha 'anukroza' hai / saMskRta kAvyasAhitya meM jo anukroza zabda kA prayoga huA hai, vaha isI arthacchAyA ko prakaTa karatA hai | 1 'svapnavAsavadattam' nATaka ke pUrvokta sandarbhoM meM vAsavadattA evaM yaugandharAyaNa lAvANaka ke agni meM bhasmasAt ho gaye haiM - aisA sunakara udayana bhI agni meM kUda par3ane kA prayAsa karatA hai / vaha udayana ke citta meM rahe hue anukrozatva kA pariNAma hai / yahI anukrozatva eka anupama evaM ananya mAnavIyatattva hai | For Personal & Private Use Only

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136 vasantakumAra bhaTTa (3) bhAsa kI taraha, mahAkavi kAlidAsa bhI do bAra 'anukroza' zabda kA prayoga kiyA hai / 'abhijJAnazAkuntalam' nATaka ke saptama aGka (zloka - 24 ) meM duSyanta kSamAyAcanA karatA huA, zakuntalA ko praNAma kara rahA hai / taba zakuntalA bolatI hai : SAMBODHI. uttiSThatvAryaputra / nUnaM me sucaritapratibandhakaM purAkRtaM teSu divaseSu pariNAmamukham AsId, yena sAnukrozo'pyAryaputro mayi virasaH saMvRttaH // yahA~ para zakuntalA duSyanta kA eka sAnukroza vyakti ke rUpa meM paricaya karAtI hai / aba prazna hotA hai ki saMskRta kavioM ne kyA yaha 'anukrozatva' pati-patnI yA nAyaka-nAyikA jaise parisImita sambandhoM meM hI batAyA hai, yA vyApaka rUpa se anya sambandhoM / sandarbhoM meM bhI batAyA hai ? isa prazna ke anusandhAna meM mahAkavi kAlidAsa ne 'meghadUta' ke antima zloka meM 'anukroza' zabda kA jo prayoga kiyA hai vaha draSTavya hai : etatkRtvA priyamanucitaprArthanAvartino sauhArdAdvA vidhura iti vA mayyanukrozabuddhayA / iSTAndezAJjalada vicara prAvRSA saMbhRtazrIrmA bhUdevaM kSaNamapi ca te vidyutA viprayogaH // * yahA~ para yakSa megha se prArthanA karatA hai ki tuma mujha para anukroza- buddhi se dekho, aura maiM anucita yAcanA karanevAlA hU~, phira bhI merA priya kro| kyoMki, he megha ! yaha yakSa becArA vidhura hai, patnI se viyukta huA hai, to paradu:khaduHkhitA se prerita hokara merI madada kro| merA sandeza alakA meM sthita merI priyatamA yakSiNI ko pahu~cA do // - yahA~ para yakSa evaM megha ke bIca meM eka suhRd kA sambandha hai; aura vahA~ para 'anukroza' zabda kA prayoga hai / isI taraha bhavabhUti ne bhI mAlatI mAdhavam' meM 'anukroza' zabda kA prayoga kiyA hai| mAlatI ne eka bAra aisA anubhava kiyA thA ki pitA bhUrivasu ke lie rAjArAdhana karanA hI bar3I cIja hai, aura apanI putrI mAlatI kA to koI mUlya hI nahIM hai / ' parantu jaba vaha, Age cala kara, dvitIya apaharaNa ke prasaGga para sunatI hai ki pitAjI putrI ke viraha meM AtmaghAta ke lie udyata hue hai, taba vaha bolatI hai ... mayA punaranAryayA niranukrozA yUyamiti sambhAvitamAsIt // ' yahA~ para eka putrI apane pitA kI sAnukrozatA dekha kara apanI niranukrozatA kI nindA karatI hai / For Personal & Private Use Only

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Vol. XXV, 2002 saMskRta sAhitya meM mAnavIya tattva ke rUpa meM anukrozatva 137 ___ aba 'mRcchakaTika' meM zUdraka ne jisa vyApaka sandarbha meM 'anukroza' zabda kA prayoga kiyA hai, vaha atIva dhyAnAspada hai : mAthurAdi dyUtakaroM se bhAgakara saMvAhaka vasantasenA ke ghara meM ghusa AyA hai| vaha apanA pUrvavRttAnta sunAte hue kahatA hai ki usane ujjayinI meM eka bAra cArudatta ke ghara dAsyavRtti kI thii| usa cArudatta kA paricaya detA huA vaha kahatA hai ki saMvAhaka : Arye, sa idAnIm anukrozakRtaiH prdaanaiH...| vasantasenA : kim uparatavibhavo saMvRttaH ? saMvAhaka : anAkhyAtameva kathamAryayA vijJAtam ?' saMvAhaka batAtA hai :-"vaha cArudatta Ajakala anukroza ke kAraNa kiye huo aneka dAnoM se..." vasantasenA isa vAkya kI pUrti karatI hai ki-"kyA usakA vaibhava naSTa ho gayA hai ?" saMvAhaka sAzcarya prazna karatA hai ki-"Apane binA batAye kaise jAna liyA ?" isa saMvAda se jJAta hotA hai ki apane AsapAsa ke snehI-sambandhI evaM sabhI nagarajanoM ko aneka prakAra ke kaSToM se chur3Ane ke lie cArudatta ke citta meM pragAr3ha anukroza hai| isase prerita hokara cArudatta ne aneka dAna diye hai; aura pariNAma svarUpa vaha svayaM daridra ho gayA hai| cArudatta kI saMvedanA meM jo paraduHkhaduHkhitA hai - anukroza hai - vahI usakI sarvocca mAnavIyatA hai| yahA~ para yaha bAta suspaSTa ho jAtI hai ki saMskRta kavioM ne pati-patnI ke sambandhoM se atirikta sambandhoM meM bhI anukroza' zabda kA prayoga kiyA hai // (4) 'anukroza' zabda kA prayoga 'kundamAlA' nATaka meM bhI dikhAI par3atA hai| rAma vAlmIki ke Azrama meM jA kara, kuza se bheMTa hone para, unase pUchate hai ki Apa donoM ke pitA kA kyA nAma hai ? kuza batAtA hai : hamAre pitA kA nAma 'niranukroza' hai ! vidUSaka pUchatA hai ki aisA kauna kahatA hai ? taba kuza uttara detA hai : "hamArI mAtA (sItA) jaba hamAre koI bAlabhAvajanita avinaya-cApala-ko dekhatI hai to - are niranukroza pitA ke putroM ! Apa cApala na karo" - aisI sUcanA detI hai / yaha sunakara vidUSaka niSkarSa nikAlatA hai ki yadi ina donoM putroM kA pitA koI niranukroza nAmaka vyakti hai to nizcita rUpa se unakI mAtA apamAnita kI gaI hogI evaM nirvAsita bhI kI gaI hogii| aba aisI mAtA ina donoM ke pitA ko pratyakSa rUpa se kucha AkSepa dene meM asamartha hone ke kAraNa 'niranukroza (pitA) ke putra' kaha kara bAlakoM kI bhartsanA karatI hogI // For Personal & Private Use Only

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138 vasantakumAra bhaTTa SAMBODHI yahA~ para rAma ke lie sItA ne jo "niranukroza" aisA vizeSa nAmAbhidhAna diyA hai vaha bahuta sUcaka hai| ApannasattvA strI kA parityAga taba hI koI vyakti kara sakatA hai, jaba vaha niranukroza' banakara amAnavIya krUratA ko dhAraNa krle| sItAdevI rAma kI zikAyata kisa ko kare ? vaha rAma ke lie kevala 'niranukroza' zabda kA prayoga karake apane mana ke Akroza ko vyakta karatI hai| raghuvaMza meM, kAlidAsa kI sItA to"vAcyastvayA madvacanAt sa raajaa..."| (raghuvaMzam 14-63) kaha kara rAjA rAma ke pAsa eka prajAjana kI haisiyata se nyAya mA~gatI hai, parantu kundamAlAkAra kI sItA ne to rAma ko 'niranukroza' kaha kara rAma ke amAnavIya vartana ke lie, eka citkAra ke sAtha sarvakAlika zikAyata kara dI hai| mAnavamAtra meM jisa anukrozatva kI hama ummIda rakha sakate hai, usakA puruSottama rAma meM hI kyA sarvathA abhAva ho gayA hai ?yaha sItAdevI kA gambhIra AkSepa hai| sItA rAjA rAma ke pAsa bhI nahIM aura pati rAma ke pAsa bhI nahIM, balki eka sAdhAraNa manuSya ke pAsa jisakI hama saba apekSA rakha sakate haiM, vaha anukrozatva yAne paraduHkhaduHkhitA kI apekSA rakhatI hai| yadi hama loga karuNA ke mahAsAgara paramAtmA ke aMzabhUta haiM, to anukrozatva hamAre meM sahaja hogA hI. aura paramAtmA ke kAruNya se anugRhIta hue hama saba logoM kA yaha pavitra kartavya hogA ki hama loga anukrozatva se anuprANita ho, aura tadanusAra sarvatra vyavahAra kreN| hameM isa bAta kA iGgita milatA hai bhAsa ke 'avimAraka' nATaka se / :___ rAjA kuntibhoja kI putrI kuraGgI aJjanagiri nAmaka madamasta hAthI se AkrAnta hone vAlI thI, aura kSaNArdha meM akalpya aniSTa kI sambhAvanA khar3I ho gaI thii| taba koI ajJAta yuvaka ne rAjakumArI ko abhaya diyA aura hAthI ko mAra bhgaayaa| yaha bAta sunakara rAjA kuntibhoja ke mu~ha se eka vAkya nikala AtA hai : anRNaH sa kAruNyasya / 2 arthAt usa ajJAta yuvaka ne paramAtmA ke kAruNya kA RNa adA kara diyA / aura Age calakara kuntibhoja kI patnI ne isa ajJAta paravyasanasahAyabhUta yuvaka ko 'sAnukroza' vyakti kahA hai| avimAraka kuraGgI ko saMtrasta dekhakara, usako abhaya dene ke lie, binA pUrvaparicaya ke, aura apanI gopanIyatA ko bhI dAva para lagA kara jo daur3a par3atA hai, vaha usakI paraduHkhaduHkhitA hai, sAnukrozatva hai| saMskRta kavioM dvArA vibhinna sandarbho meM batAyA huA yaha anukrozatva eka sarvocca mAnavIyatattva hai usameM aba koI sandeha nahIM hai| For Personal & Private Use Only

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139 Vol. XXV, 2002 saMskRta sAhitya meM mAnavIya tattva ke rUpa meM anukrozatva pAdaTIpa 1. pratijJAyaugandharAyaNam (II-4) 2. svapnavAsavadattam (Act-I) 3. svapnavAsavadattam (Act-II) 4. saMskRta-hindI koza; (saM. vI. esa. ApTe), nAgaprakAzaka, dillI, 1988, (P. 36) 5. amarakoSaH (1-7-18) 6. abhijJAnazAkuntalam (Act. VII-24 ke nIce) 7. meghadUtam / (uttaramegha-55) 8. mAlatI kA rAjazyAlaka nandana ke sAtha vAgdAna hone para mAlatI socatI hai : rAjArAdhanaM khalu gurukaM, na punarmAlatI ||-maaltiimaadhvm (II-7 ke nIce) 9. mAlatImAdhavam / (X-11 ke bAda nepathyokti) 10. mRcchakaTikam / (Act-II-14 evaM 15 ke madhya meM) . 11. kuzaH-yadyAvayorbAlabhAvajanitaM kiJcidavinayaM pazyati tadaivamadhikSipati-niranukrozasya putrau ! mA cApalam / iti // vidUSakaH-etayoryadi piturniranukroza iti nAmadheyam, etayorjananI tenAvamAnitA nirvAsitA, tasyA prabhavantyetena vacanena dArakaM nirbhartsayati ||-kundmaalaa / (Act-V) 12. avimArakam // (Act-I) 13. devI-mahArAja ! akulInaH kathamevaM sAnukrozo bhavet ||-avimaarkm (Act-I). For Personal & Private Use Only

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jaina darzana meM nirjarA tattva jaina darzana ke anusAra saMvara ke bAda "nirjarA" tattva kA sthAna hotA hai| saMvara navIna karmoM ke Amrava ko rokatA hai to nirjarA dvArA pahale se AtmA ke sAtha baMdhe hue karmoM kA kSaya hotA hai, arthAt karmoM kI kSayaprakriyA kA nAma nirjarA hai / jisa prakAra meM tAlAba meM pAnI ke praveza dvAra ko banda kara dene para sUrya kI garamI, dhUpa Adi se tAlAba kA pAnI dhIre-dhIre sUkha jAtA hai usI prakAra karmoM ke Asrava saMvara dvArA roka dene para tapa Adi kAraNoM se AtmA ke sAtha pahale se ba~dhe hue karma dhIre-dhIre kamaz2ora par3a jAte haiM / isa dRSTi se nirjarA kA artha hai, karma vargaNA kA AMzika rUpa se chUTanA / dvAdazAnuprekSA meM kahA gayA hai tattvArtha bhASya meM kahA gayA hai nirjarA hai / 3 DA0 mukula rAja mahetA ba~dhe karmoM ke pradeza - piNDa ke galane kA nAma nirjarA hai / 2 hue -- -- - paripAka se athavA tapa ke dvArA karmoM kA AtmA se alaga honA nirjarA kI avasthA prApta karane ke lie yoga evaM nididhyAsana atyanta Avazyaka mAnA gayA hai| rAga, dveSa tathA moha ke kAraNa 'Amrava' hotA hai| saMvara tathA nirjarA kI prakriyA ke dvArA Amrava kA nAza hotA hai / isa prakAra karma pudgaloM se mukta hone para jIva svayaM ko sarvajJa tathA sarvadraSTA samajhakara mukti kA anubhava karane lagatA hai / jaina darzana ke anusAra jIva kI yaha avasthA bhAva mokSa athavA jIvana-mukta avasthA kahalAtI hai / 4 paMcAstikAya meM nirjarA kI vyAkhyA karate hue kahA gayA hai ki zubhAzubha pariNAma nirodha rUpa-saMvara aura zuddhopayoga rUpa yogoM se saMyukta aisA jo bheda vijJAnI jIva aneka prakAra ke antaraMga - bahiraMga tapoM dvArA upAya karatA hai, vaha nizcaya hI aneka prakAra ke karmoM kI nirjarA karatA hai / 4 For Personal & Private Use Only

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Vol. XXXV, 2002 jaina darzana meM nirjarA tattva 141 - isa kathana para TIkA karate hue amRtacanda kahate haiN| 'yaha jIva vAstava meM aneka karmoM kI nirjarA karatA hai / isIlie yaha siddhAnta huA ki aneka karmoM kI zaktiyoM ko naSTa karane meM samartha tapoM se buddhi ko prApta huA jo zuddhopayoga hai, vaha bhAva nirjarA hai| nirjarA ke bheda jaina darzana meM ATha prakAra ke karma batAye gaye haiN| jaba ve karma udaya hokara phala dete haiM aura bAda meM jhar3a jAte haiN| ise hI nirjarA kahate haiN| isake do bheda haiM : 7 1. bhAva nirjarA 2. dravya nirjarA 1. bhAva nirjarA : bhAvAvasthA meM sAdhaka kI AtmA meM karmoM ke nAza karane kI bhAvanA jAgrata hotI hai| isI avasthA ko bhAva nirjarA kahate haiM / aba punaH bhAva nirjarA ke do bheda kiye jAte haiM : I (1) savipAka nirjarA (2) avipAka nirjarA - (1) savipAka nirjarA * bhAvAvasthA meM bhoga lene ke bAda karma- pudgaloM kA svataH nAza ho jAtA hai, arthAt udaya meM jAne ke bAda karma AtmA svayaM hI alaga ho jAte haiN|' AtmA ke sAtha eka sthAna vizeSa meM karma bhI apanI sthiti pUrNa hone para hI alaga hote haiN| isalie use "savipAka nirjarA" athavA " akAmabhAva nirjarA" kahate haiM / (2) avipAka nirjarA udaya kAla kI prApti hone ke pUrva hI AtmA ke puruSArtha se yadi karma alaga ho jAyeM to vaha "avipAka nirjarA" athavA "sakAmabhAva nirjarA" kahalAtI hai / - eka anya vargIkaraNa ke anusAra nirjarA do prakAra kI hotI hai- ." sakAma nirjarA aura akAma nirjraa|" jo vrata ke upakrama se hotI hai, vaha sakAma nirjarA hai, aura jo jIvoM ke karmoM ke svataH vipAka se hotI hai vaha akAmanirjarA hai| AcArya umAsvAmI ke anusAra nirjarA do prakAra kI hotI hai - abuddhipUrvaka aura kuzalamUla / inameM naraka Adi gatiyoM meM jo karmoM ke phala kA anubhava na kisI taraha ke buddhipUrvaka prayoga ke binA karatA hai, usako " abuddhipUrvaka nirjarA" kahate haiM / tapa aura parISaha jaya kRta nirjarA " kuzalamUla" hai / " svAmI kArtikeya ke anusAra ATho karmoM ke udaya ke bAda phala dekara karmoM ke jhar3a jAne ko nirjarA kahate haiN| yaha nirjarA do prakAra kI hotI hai| * svakAla prApta aura tapaHkRta / prathama svakAla prApta nirjarA For Personal & Private Use Only

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142 DA0 mukula rAja mahetA SAMBODHI gatizIla jIvoM meM hotI hai; aura vaha lagAtAra hotI rahatI hai| dUsarI tapa Adi dvArA kI jAnevAlI nirjarA vratayukta jIvoM ke hotI hai|11 candraprabha carita meM kahA gayA hai ki karmakSapaNavAlI nirjarA do prakAra kI hotI hai - kAlakRta aura upakrama kRta / naraka Adi jIvoM ke karma-mukti se jo nirjarA hotI hai, vaha "kAla kRta" athavA "kAlajA" nirjarA hai aura jo nirjarA tapa se hotI hai, vaha "upakrama kRta" nirjarA kahalAtI hai|12 tattvArthasAra meM spaSTa kiyA gayA hai - "karmoM ke phala dekara jhar3ane se jo nirjarA hotI hai, vaha 'vipAkajA' nirjarA hai aura jo anudIrNa karmoM ko tapa kI zakti se udayAvali meM lAkara vedana karane se jo nirjarA hotI hai vaha 'avipAkajA' nirjarA hai / 13 akAma nirjarA binA upAya, binA ceSTA aura binA prayatna ke hI hotI hai| vaha kisI kI icchA se nahIM phalIbhUta hotI, balki svayaM utpanna hotI hai| svakAla prApta vipAkajA prabhRti nirjarA ke jo vizeSaNa haiM ve svayaM hI phalIbhUta hote haiN| yaha sabhI jIvoM ke hotI hai| isase sabhI cintaka ekamata hai kintu sakAma nirjarA ke sambandha meM matabheda hai| hemacandra sUri kA mAnanA hai ki sakAma nirjarA yAmiyoM-saMyamiyoM ke hI hotI hai| arthAt jo yama saMyama kA pAlana karate haiM aura akAma nirjarA dUsare prANiyoM ke hotI hai / 14 svAmI kArtikeya kA mAnanA hai ki prathama nirjarA cAra gatiyoM ke jIvoM meM hotI hai aura dUsarI vratiyoM ke / 15 paM. phUlacandra siddhAnta zAstrI kA mAnanA hai ki yathAkAla nirjarA sabhI saMsArI jIvoM ke aura hara samaya huA karatI hai, kyoMki bandhanagrasta karma apane samaya Ane para phala dekara naSTa hote hI rahate haiN| isalie ise nirjarA tattva meM nahIM samajhanA cAhie / jo nirjarA tapa ke dvArA hotI hai, vaha nirjarA tattva hai aura isIlie mokSa kA kAraNa hai / isa prakAra donoM ke hetu aura phala meM antara hai / 16 (uparyukta vivecana se spaSTa hotA hai ki Atmazuddhi kI dRSTi se jo tapa Adi kI sAdhanA kI jAtI hai, usase sakAma nirjarA hotI hai| jisa prakAra gIle kapar3e ko dhUpa meM phailAkara DAlane se zIghra sUkha jAtA hai tathA jaba usI kapar3e ko acchI taraha se phailAyA na gayA ho, to use sUkhane meM dera lagatI hai| isI prakAra karma nirjarA ke lie jaba vidhipUrvaka va vivekapUrvaka tapa Adi kI sAdhanA kI jAtI hai taba vaha sakAma nirjarA hotI hai| binA jJAna evaM saMyama se jo tapa Adi kriyAyeM kI jAtI haiM, to unase honevAlI tathA karma kA sthitipAka hone para unakI jo nirjarA hotI hai, vaha akAma nirjarA hotI hai| isalie kahA gayA hai ki - 'yaza, kIrti, sukha evaM paraloka meM vaibhava Adi pAne ke lie tapasyA, dhyAna, jJAna Adi nahIM karanA cAhie, kintu ekAnta nirjarA ke lie tapa karanA cAhie / 17) For Personal & Private Use Only

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jaina darzana meM nirjarA tattva Vol. XXV, 2002 2) nirjarA ke sAdhana ( savipAka nirjarA ke lie kisI sAdhana kI AvazyakatA nahIM hotI hai| vaha kAla dravya ke anusAra svataH hI ghaTita hotI hai, kintu avipAka nirjarA ke lie tapa Avazyaka hotA hai / mAtra icchA karane se karmoM kA nAza nahIM hotA, usake nAza ke lie tapa Adi kA vidhAna kiyA jAtA hai / 143 AcArya umAsvAmI kA mAnanA hai ki tapa se nirjarA hotI hai / 18 kucha vyAkhyAkAroM ne tapa se saMvara bhI mAnA hai, kintu nirjarA ke lie tapa hI eka mAtra sAdhana hai / tapa se nirjarA aura nirjarA se mukti prApta hotI hai| samyak darzana aura AtmajJAna ke binA kiyA gayA tapa bAla tapa ke samAna hai / pravacanasAra ke anusAra" svarUpa meM vizrAnta, taraMgoM se rahita jo caitanya kA vratapana hai, vahI tapa kahalAtA 19 tapa ke bheda tapa ke bheda ko nirjarA kA bheda bhI kahate haiM / AtmA ke upara jo karma kA AvaraNa hai use tapa Adi dvArA kSaya kiyA jAtA hai / karmakSaya kA hetu hone se tapa ko nirjarA kahA gayA hai / 20 sthAnAMga sUtra meM egA NijjarA - 21 eka nirjarA hai, aisA mAnA gayA hai kintu kucha anya sthAnoM para nirjarA nimitta bheda se bAraha prakAra kI batAyI gayI hai / jaise agni eka rUpa hone para bhI nimitta ke bheda se kaSTAni, paNana aneka prakAra kI hotI hai, vaise hI karma paripATana rUpa nirjarA vAstava meM eka hI hai para tuoM kI apekSA se bAraha prakAra kI kahI jAtI hai / 22 tapa ke kanakAvali Adi aneka bheda haiN| isa dRSTi se nirjarA ke aura bhI aneka bheda ho sakate haiM / 23 AcArya abhayadevane sthAnAMga vRtti meM kahA hai ki - " aSTavidha karmoM kI apekSA nirjarA ATha prakAra kI hai / " dvAdazavidha tapoM se utpanna hone ke kAraNa nirjarA bAraha prakAra kI hai / akAma kSudhA, pipAsA zIta, Atapa, daMzamazaka aura mala-sahana, brahmacarya dhAraNa Adi anekavidha kAraNajanita hone se nirjarA aneka prakAra kI hai / 24 yahA~ para kula bAraha prakAra ke tapoM kA varNana kiyA gayA hai / ye bArahoM tapa do prakAra ke tapoM meM vibhakta * bAhya tapa aura abhyantara tapa / ina donoM tapoM kA varNana kramazaH nimna prakAra se hai - prastuta - bAhya tapa jaina darzana meM chaH bAhya kriyAe~ yA bAhya tapoM kA varNana kiyA gayA hai, jo nimnalikhita haiM1. anazana 13. vRtti - saMkSepa ( bhikSAcarI) 5. vivikta zayyAsana (prati saMlInatA) 6. kAya kleza 25 2. avamodArya (anodarI) 4. rasa - parityAga For Personal & Private Use Only www.jalnelibrary.org

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144 DA0 mukula rAja mahetA SAMBODHI 1. anazana - maryAdita samaya taka athavA jIvana paryanta sabhI prakAra ke AhAra kA tyAga karanA "anazana" kahalAtA hai| ise bAhya tapoM meM prathama sthAna prApta hai / yaha tapa anya tapoM se adhika kaThora aura durgharSa hai| isameM bhUkha para vijaya prApta karanI hotI hai aura vizva meM bhUkha para vijaya pAnA durjeya hai| bhUkha ko jItanA aura mana kA nigraha karanA "anazana" tapa hai| upavAsa karane se tana kI hI nahIM balki mana kI bhI zuddhi hotI hai| gItA meM kahA gayA hai - "AhAra kA tyAga karane se viSaya vikAra dUra ho jAte haiM aura mana bhI pavitra ho jAtA hai / "26 eka vaidika RSi ne kahA hai - "anazana se bar3hakara koI aura tapa nahIM hai| sAdhAraNa mAnava ke lie yaha tapa bar3A hI durgharSa-sahana karanA aura vahana karanA kaThina hai, kaThinatama hai|" 27 bhagavAna mahAvIra ke anusAra -- "AhAra kA tyAga karane se jIvana kI AzaMsA arthAt zarIra evaM prANoM kA . . moha chUTa jAtA hai|"28 tapasvI sAdhaka ko na zarIra kA moha rahatA hai aura na hI prANoM kA ! eka cintaka ne kahA ki - upavAsa meM 1. brahmacarya kA pAlana, 2. zAstra kA paThana, 3. Atma svarUpa kA cintana ye tIna kArya karane cAhie aura 1. krodha, 2. ahaMkAra, 3. viSaya, pramAda kA sevana ye tIna kArya kabhI bhI nahIM karanA caahie| __ anazana kA artha AhAra tyAga se liyA gayA hai| yaha tyAga kama se kama eka dina-rAta, chaH mahIne yA vizeSa avasthA meM jIvana paryanta kA ho sakatA hai| isake do bheda kiye gaye haiM - itvArika - kucha nizcita samaya ke lie, aura yAvat kathika--jIvana paryanta ke lie / 29 itvArika tapa meM nizcita samaya ke bAda bhojana kI icchA jAgrata hotI hai / isalie isa tapa ko sAvakAMkSa tapa bhI kahate haiM aura yAvat kathika tapa meM yojana kI koI AkAMkSA zeSa nahIM rahatI, isalie ise niravakAMkSa tapa kahA gayA hai / 30 ___ itvArika tapa ke navaphArasI, paurasI, pUrvArdha, ekAzana, ekasthAna, AyaMbila, divasa carima, rAtri bhojana tyAga, abhigraha, caturthabhakta Adi aneka bheda haiM / 31 yAvatkAlika anazana ke pAdapopagamana aura bhakta pratyAkhyAna ye do bheda haiM / 32 bhakta pratyAkhyAna meM bhojana tyAga ke sAtha-sAtha satata svAdhyAya, dhyAna-Atmacintana meM samaya bitAyA jAtA hai| sAdhaka hamezA prasanna kI avasthA meM rahatA hai| pAdapopagamana tapa meM eka hI sthiti meM sthira rahanA batAyA gayA hai| jaise-TUTe hue vRkSa meM caMcalatA nahIM hotI, usI prakAra yadi vyakti kI A~kha khulI hai to use banda nahIM krnaa| 2. avamodArya (anodarI)- jitanI bhUkha kI icchA ho, usase kama bhojana karanA avamodArya (UnodarI) kahA gayA hai| yaha nirjarA kA dUsarA bheda hai| ise alpa AhAra yA parimita AhAra bhI kahate For Personal & Private Use Only

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Vol. xxV, 2002 jaina darzana meM nirjarA tattva 145 haiM. jisa prakAra AhAra meM kamI kI jAtI hai, usI prakAra kaSAya, upakaraNa Adi meM kamI hotI hai| isake dravya aura bhAva do bheda haiN| dravya ke avAntara aneka bheda batAye gaye haiN| bhAva UnodarI meM krodha ko kama karanA, mAna ko kama karanA, mAyA aura lobha ko kama karanA Adi zAmila haiN| dravya UnodarI meM sAdhaka jIvana ko bAhara se halkA, svastha va prasanna rakhane kA mArga batAyA gayA hai aura bhAva UnodarI meM antaraMga prasannatA, Antarika laghutA, aura sadguNoM ke vikAsa kA mArga prazasta kiyA hai| 3. vRtti saMkSepa (bhikSAcarI) - vRtti saMkSepa kA artha hai - sImita yA kama karanA / isameM aneka vastuoM kI icchA yA lAlasA ko kama kiyA jAtA hai| AhAra Adi ko abhigraha karake usakI gaveSaNA karanA hai| AcArya haribhadra ne bhikSA ke tIna prakAra batAye haiM - dInavRtti, pauruSaghnI aura sarvasampatkarI / 33 jo anAtha hai, apaMga ho, daridra ho, aise vyakti jaba bhikSA mA~ga kara khAte haiM, use dInavRtti bhikSA kahate haiN| yadi vyakti meM zrama karane kI zakti ho, lekina kamAne kI zakti na hone para mA~ga kara khAne ko pauruSaghnI kahate haiN| isa prakAra ke bhikSuka deza bhara ke lie bhAra svarUpa haiN| jo tyAgI ahiMsaka, santoSI zramaNa apane udara nirvAha ke lie zuddha aura nirdoSa AhAra grahaNa karate haiM, vaha sarvasampatkArI bhikSAvAn hai / isa prakAra kI bhikSA lene va denevAle donoM hI sadgati meM jAte haiN| sarvasampatkArI bhikSA hI vAstava meM kalyANakArI bhikSA hai| bhikSAcarI ke aneka bheda-prabheda kA ullekha kiyA gayA hai|34 bhikSuka ke aneka doSoM ko TAlakara bhikSA grahaNa karanI cAhie / 35 / 4. rasa parityAga - rasa kA artha hai--prIti bar3hAne bAlA / jisa padArtha se bhojana meM, vastu meM prIti utpanna hotI ho, use rasa kahate haiN| ghRta, dUdha Adi tathA madhu, makkhana ina vikAra-kAraka rasoM kA tyAga rasa tyAga kahalAtA hai| bhojana se sambandhita chaH rasoM kA varNana kiyA gayA hai, jo nimna haiM1. kaTu - kar3avA 4. tikta - tIkhA 2. madhura - mIThA 5. kASAya - kasailA 3. Amla - khaTTA 6. lavaNa - namakIna ..... ina chaH prakAra ke rasoM se bhojana madhura va svAdiSTa banatA hai aura adhika khAyA bhI jAtA hai / ataH kahA gayA hai - rasa prAyaH dIpti uttejanA paidA karanevAle hote haiN|36 dUdha, dahIM Adi rasoM ko vigaya kahA gayA hai| siddhasena ne batAyA ki - inake khAne se vikAra paidA hote haiM / jisase manuSya sadmArga ko chor3akara bhraSTa ho jAtA hai / ataH ye padArtha sevana karanevAle meM vikRti evaM vigati donoM ke hetu haiM / isI kAraNa ise vigaha kahA gayA hai / 37 For Personal & Private Use Only

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146 DA0 mukula rAja mahetA SAMBODHI ____ kisI bhI sAdhaka ke lie pauSTika va madhura bhojana sarvathA tyAjya nahIM hai / vaha use kevala AvazyakatAnusAra hI grahaNa karatA hai kintu usakA svAda nahIM letA / svAda ke lie AhAra ko cabAnA, cUsanA Adi doSa hai / 38 rasa tyAga ke aneka bheda batAye gaye haiN| 5. vivikta zayyAsana (prati saMlInatA)- nirbAdha rUpa se ekAnta sthAna meM nivAsa karanA athavA dUsare ke hita meM lIna AtmA ko apane hita meM lIna banAne kI prakriyA hI vAstava meM prati saMlInatA yA vivikta zayyAsana kahalAtA hai| isalie isa saMlInatA ko svasaMlInatA bhI kahate haiN| indriya kaSAya Adi ko yoga ke mAdhyama se bAhara se haTAkara bhItara apane mana meM gupta karanA yA chipAnA saMlInatA haiN| bhagavatIsUtra meM pratisaMlInatA ke indriya pratisaMlInatA, kaSAya pratisaMlInatA, yoga pratisaMlInatA aura vivikta zayyAsana sevanA Adi cAra bheda kiye haiM / 39 6. kAya kleza - kAyakleza kA artha hai - zarIra ko zIta, uSNa athavA vividha Asana Adi dvArA vibhinna prakAra se kaSTa denA / eka kaSTa svakRta hotA hai aura dUsarA parakRta / sAdhaka apane zarIra para Asakta nahIM rhtaa| vaha zarIra va AtmA ko alaga-alaga svIkAra karatA hai| AcArya bhadrabAhu ne spaSTa kiyA hai ki - "yaha zarIra aura AtmA dUsare kA hai| sAdhaka isa prakAra kI tattva buddhi ke dvArA duHkha aura kleza denevAlI zarIra kI mamatA kA tyAga karate haiN|40 AtmavAdI sAdhaka yaha svIkAra karatA hai ki - "jo duHkha hai, kaSTa hai, vaha saba zarIra ko hai, AtmA ko nahIM / kaSTa se zarIra ko pIr3A hotI hai, vadha Adi se zarIra kA nAza hotA hai, AtmA kA nahIM / 41 sthAnAMga meM kAyakleza ke prakAra ko batAte hue kahA gayA hai - kAyotsarga karanA, utkaTuka Asana se dhyAna karanA, pratimA dhAraNa karanA, vIrAsana karanA, niSadyA-svAdhyAya Adi ke lie pAlathI mArakara baiThanA, daNDApata khar3e hokara rahanA, lakar3I kI bhA~ti khar3e hokara dhyAna karanA / 42 uvavAI sUtra meM kAya kleza ke prakArAntara se caudaha bheda batAye gaye haiN|43 abhyantara tapa jaina darzana meM cha: abhyantara kriyAyeM yA tapoM kA varNana kiyA gayA hai, jo nimnalikhita haiM - 1. prAyazcitta . 4. svAdhyAya 2. vinaya 5. dhyAna 3. vaiyAvRttya 6. vyutsarga For Personal & Private Use Only

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Vol. xxV, 2002 jaina darzana meM nirjarA tattva 147 1. prAyazcitta - prAyazcitta kA artha haiM - vrata meM pramAdajanita doSoM kA zodhana karanA / prAyazcitta do zabdoM ke yoga se banA hai - prAyaH + cit / jaina AcArya ne kahA hai - prAyaH kA artha pApa aura cit kA artha usa pApa kA zodhana karanA / arthAt pApa ko zuddha karane kI kriyA ko prAyazcitta kahate haiM / 45 AcArya akalaMka ke anusAra aparAdha kA nAma prAyaH hai, cit kA artha hai zodhana / jisa kriyA se aparAdha kI zuddhi ho, vaha prAyazcitta hai|46 - prAyazcitta ko prAkRta bhASA meM "pAyacchitta" kahate haiM / jaina AcAryane pAyacchitta zabda kI utpatti ke bAre meM kahA hai-"pApa' arthAt pApa kA jo chedana karatA hai, arthAt pApa ko dUra kara detA hai use pAyacchitta kahate haiN| ___ sthAnAMga sUtra meM prAyazcitta ke dasa prakAra batAye gaye haiN| isase doSa dUra hote haiN| hRdaya zuddha hotA hai| ' tattvArtha sUtra meM prAyazcitta ke nau prakAra batAye gaye haiN| inhIM nau prakAroM kA varNana nimnavat prastuta hai 1. Alocana 4. viveka 7. cheda 2. pratikramaNa 5. vyutsarga 8. parihAra 3. tadubhaya 6. tapa 9. upasthApana . 1. Alocana- apanI bhUla yA galatI ko guru ke samakSa zuddha bhAva se prakaTa karanA yA svIkAra karane ko "Alocana" kahate haiN| 2. pratikramaNa - jIva dvArA ho cukI bhUla yA galatI kA anutApa karake usase vaha mukti cAhatA hai, tathA bhaviSya meM koI naI bhUla na ho, isake lie sAvadhAna rahanA hI "pratikramaNa" hai| 3. tadubhaya - isa sthiti meM jIva dvArA huI bhUla ko svIkAra karanA aura bhaviSya meM koI bhUla na ho, isake lie prayAsa karanA / ye donoM kriyAe~ "tadubhaya' meM sAtha-sAtha hotI hai / 4. viveka - isameM kisI bhI prakAra ke khAdya padArtha tathA peya padArtha ke vicAra Ane para usakA pUrNa parityAga karanA "viveka" kahalAtA hai| 5. vyuttsarga - ekAgratA pUrvaka zArIrika tathA mAnasika vyApAroM kA parityAga karanA "vyuttsarga" kahalAtA hai| 6. tapa - sabhI prakAra ke Avazyaka vastuoM para mana kA niyaMtraNa rakhanA "tapa" kahalAtA hai / 7. cheda - doSa ke anusAra varSa, mAsa, pakSa tathA divasa kI saMkhyA kA pravrajyA kama kara denA hI "cheda" kahalAtA hai| For Personal & Private Use Only

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148 To mukula rAja mahetA SAMBODHI doSI vyakti ko usake doSa ke anusAra kucha samaya taka saMsarga se dUra rakhanA hI 8. parihAra "parihAra" kahalAtA hai| 9. upasthApana - * ahiMsA, satya, brahmacarya Adi vratoM ke bhaMga ho jAne ke kAraNa punaH unhIM mahAvratoM kA paripAlana " upasthApana' kahA jAtA hai / vinaya jaina dArzanikoM ne vinaya zabda kA sambandha hRdaya se lagAyA hai| yaha usakA AtmikaguNa hai / jaina sAhitya meM vinaya zabda tIna meM prayukta huA hai 1. vinaya - anuzAsana 2. vinaya 3. vinaya namratA evaM sadvyavahAra sthAnAMga vRtti meM AcArya abhayadeva ne spaSTa kiyA hai ki jisase ATha karma kA vinaya (vinayadUra honA) hotA hai arthAt vinaya AThoM karmoM ko dUra karatA hai; usase cAra gati kA anta hokara mokSa gati prApta hotI hai / 50 - - - Atma saMyama - zIla- sadAcAra -- pravacanasAra vRtti meM likhA gayA hai- "vinapati klezakArakamaSTaprakAraM karma iti vinayaH ) " kleza paidA karanevAle aSTakarma zatruoM ko jo dUra kare, vaha vinaya hai / bhagavatI Adi Agama sAhitya meM jJAnavinaya, darzana vinaya, cAritra vinaya, mana vinaya, kAya vinaya aura lokopacAra vinaya Adi sAta prakAra ke vinaya haiM / 11 vinaya yadyapi guNarUpa se eka hI hai phira bhI usake bheda kevala vinaya kI dRSTi se hI kiye gaye haiM / ve cAra prakAra ke haiM 1. jJAna vinaya 2. darzana vinaya 3. cAritrya vinaya 4. upacAra vinaya 52 -- 1. jJAnavinaya * jJAna prApta karanA tathA prApta jJAna kA bAra-bAra abhyAsa karanA jisase vaha jJAna bhUla na jAya, "jJAna vinaya" kahalAtA hai / - 2. darzana vinaya - tattva kI yathArtha pratIti svarUpa samyak darzana se calita na honA, usameM honevAlI zaMkAoM ko saMzodhita kara nizcala va zuddha bhAva se sAdhanA karanA " darzana vinaya" ka 1 For Personal & Private Use Only

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Vol. XXV, 2002 3. cAritrya vinaya vinaya" kahalAtA hai / 4. upacAra vinaya rakhanA 'upacAra vinaya" kahalAtA hai / jaina darzana meM nirjarA tattva samyak pUrvaka kisI bhI caritra meM cit kA samAdhAna karanA " cAritrya -- - pratyeka jIva apanI apekSA sadguNI manuSya meM samAdara bhAva arthAt samAna bhAva - vaiyAvRttya dharma sAdhanA meM sahayoga karanevAlI AhAra Adi vastuoM se zuzrUSA karanA vaiyAvRttya kahalAtA hai| vaiyAvRttya se tIrthaMkara nAma gotra karma kA upArjana hotA hai / 53 rogI, navadIkSita, AcArya Adi kI sevA karatA huA sAdhaka mahAnirjarA aura mahAparyavasAna paramamukti pada ko prApta karatA hai / 54 sevA muktidAyinI hai / sthAnAMga meM jo ATha zikSAe~ dI gayI haiM unameM se do zikSAe~ kevala sevA ke sambandha meM haiN| 44 bhagavatI Adi meM vaiyAvRttya ke dasa prakAra batAye haiM / 56 inhIM dasa prakAra kA varNana nimnavat prastuta hai 1. AcArya 6. gaNa 7. kula 8. saMgha 149 2. upAdhyAya 3. tapasvI 4. zaikSa 9. sAdhu 5. glAna 10. samanojJa -- - mukhya rUpa se jisakA kArya vrata aura AcAra grahaNa karAne kA ho, vaha "AcArya" hai| 7. kula - eka hI AcArya dvArA dIkSita ziSya- samudAya ko " kula" kahA jAtA hai ---- 8. saMgha - 1. AcArya 2. upAdhyAya -- - mukhya rUpa se jisa vyakti kA kArya zrutAbhyAsa karAne kA ho, vaha " upAdhyAya" hai / 3. tapasvI - jo mahAna aura ugra tapa karanevAlA ho, use "tapasvI" kahate haiM / 4. zaikSa - jo navadIkSita hokara zikSaNa prApta karane kA pratyAzI ho, use "zaikSa" kahate haiM / 5. glAna - - jo guNa Adi se kSINa ho arthAt jisameM guNa kI mAlA kama hai, vaha "glAna" kahA jAtA hai| 6. gaNa - - pRthak-pRthak AcAryoM ke sAMnidhya meM rahakara zikSA grahaNa karanevAle samudAya ko 'gaNa' kahate haiN| - * dharma kA anuzaraNa karanevAle samudAya kA nAma saMgha hai| isake sAdhu, sAdhvI, zrAvaka tathA zrAvikAe~ ye cAra bheda haiM / For Personal & Private Use Only

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150 DA0 mukula rAja mahetA SAMBODHI . 9. sAdhu - pravrajyAdhArI upAsaka arthAt apanI indriyoM para vijaya prApta karanevAle ko "sAdhu" ___ kahate haiN| 10. samanojJa - jJAnAdi guNoM meM samAna vyatti ko "samanojJa" kahate haiM / 57 . svAdhyAya zAstroM ko maryAdApUrvaka par3hanA, vidhisahita adhyayana karanA "svAdhyAya" hai / 58 dUsarA artha haiM - apanA apane hI bhItara adhyayana arthAt Atmacintana manana, "svAdhyAya' hai|59 isameM sAdhaka svayaM kI galatI ko DhU~r3ha karake usake nivAraNa ke lie Atmacintana krnaa| jisa prakAra zarIra kI vRddhi ke lie bhojana va vyAyAma kI AvazyakatA hotI hai, usI prakAra buddhi ke vikAsa ke lie Atma-manthana-cintana va adhyayana kI AvazyakatA hotI hai| svAdhyAya se sabhI prakAra ke duHkhoM se mukti milatI hai|6deg isase mana meM ekatrita, saMcita dUSita karma svAdhyAya se kSINa ho jAte haiN|61 AcArya saMghadAsagaNI ne kahA hai - svAdhyAya eka abhUtapUrva tapa hai| isake samAna tapa na atIta meM kabhI huA hai, na vartamAna meM hai aura na bhaviSya meM kabhI hogA / 62 eka vaidika RSi ne spaSTa kiyA hai - 'tapo hi svAdhyAyaH / "63 arthAt svAdhyAya hI tapa hai| svAdhyAya meM kabhI bhI pramAda na karo / 64 svAdhyAya karane se mana nirmala, svaccha va pAradarzI ho jAtA hai / AcArya pataMjali ne to yahA~ taka kahA hai ki svAdhyAya karane se apane iSTa devatA kA sAkSAtkAra hone lagatA hai|65 ____ jJAna prApta karane se use vizada evaM paripakva banAne tathA usake pracAra kA prayatna karanA, ye sabhI svAdhyAya ke antargata Ate haiN| ye svAdhyAya pA~ca prakAra ke hote haiN|66 1. vAcanA 4. AmnAya 2. pRcchanA 5. dharmopadeza 3. anutprekSA 1. vAcanA - kisI zabda kA yadi prathama pATha kiyA jAya to vahI "vAcanA" hai| 2. pRcchanA - sabhI prakAra kI zaMkA ko dUra karane ko "pRcchanA" kahate haiN| 3. anutprekSA - kisI bhI zabda, pATha tathA artha kA manana karanA "anutprekSA" hai| 4. AmnAya - par3he gaye pAThoM kA zuddha uccAraNa karanA "AmnAya" kahalAtA hai| 5. dharmopadeza - jJAta vastuoM ke Antarika va bAhya sabhI prakAra ke rahasya ko samajhanA "dharmopadeza" kahalAtA hai| For Personal & Private Use Only

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Vol.XXV, 2002 jaina darzana meM nirjarA tattva 151 dhyAna mana kI ekAgra avasthA kA nAma 'dhyAna' hai| AcArya hemacandra ne kahA hai ki - apane viSaya meM (dhyeya ke rUpa meM) mana kA ekAgra ho jAnA dhyAna hai|67 AcArya bhadrabAhu ne bhI kahA hai ki - citta yA mana ko kisI bhI viSaya para sthira karanA ekAgracitta karanA dhyAna hai / 68 AcArya siddhasena divAkara ne dhyAna kI paribhASA spaSTa karate hue kahA hai - zubhaikapratyayo dhyAnam / 69 zubha aura pavitra Alambana para ekAgra honA dhyAna hai| samAdhi evaM zAnti kI kAmanA rakhanevAlA Arta evaM raudradhyAna kA tyAga karake dharma aura zukla dhyAna kA cintana kre| dhyAna meM pavitra vicAroM meM mana ko sthira rakhA jAtA hai / AtmA kA AtmA ke dvArA AtmA ke viSaya meM socanA, cintana karanA dhyAna hai| dhyAna rUpI agni se karma rUpI lakar3I jalakara bhasma ho jAtI hai aura AtmA zuddha-buddha-siddha-niraMjana svarUpa prApta kara letA hai| uttama saMhanana vAle kA eka viSaya meM cittavRtti kA rokanA dhyAna hai, jo antarmuhUrta taka hotA hai / 72 tattvArtha sUtra meM dhyAna cAra prakAra kA hotA hai / 73 inameM se Arta aura raudra saMsAra kA kAraNa hone se durdhyAna evaM heya hai tathA do zukla aura dharma mokSa hone ke kAraNa sudhyAna va upAdeya yA grahaNa karane yogya hote haiN| cAroM dhyAna nimnavat hai1. Arta dhyAna 3. dharma dhyAna 2. raudra dhyAna 4. zukla dhyAna 1. ArtadhyAna - apriya vastu ke prApta hone para usake parityAga ke lie satata cintA karanA prathama Arta dhyAna hai / duHkha par3ane para usako dUra karane kI satata cintA karanA dUsarA Arta dhyAna hai| priya vastu ke viyoga ho jAne para use pAne ke lie satata cintA karanA tIsarA Arta dhyAna hai / aprApta vastu ko pAne ke lie saMkalpa yA cintA karanA caturtha Arta dhyAna hai| Arta dhyAna avirata deza, saMyata aura pramatta saMyata ina cAra guNasthAnoM meM hI sambhava hai / 2. raudra dhyAna - galata kArya se dUra rahanA raudra dhyAna hai| hiMsA, asatya, corI aura viSaya rakSaNa ke lie satata cintA karanA "raudra dhyAna" kahA jAtA hai| yaha avirata aura deza virata meM sambhava hai| yaha dhyAna bhI cAra prakAra kA hotA hai - 1. hiMsAnubandhI 3. steyAnubandhI 2. anRtAnubandhI 4. viSayarakSaNAnubandhI / 75 For Personal & Private Use Only

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152 DA0 mukula rAja mahetA SAMBODHI 3. dharma dhyAna- vItarAga tathA sarvajJa puruSa kI AjJA kI parIkSA tathA paricaya prApta karane meM manoyoga denA "dharma dhyAna" kahA jAtA hai| doSoM ke svarUpa tathA usase bacane ke upAyoM kA vicAra karane meM manoyoga denA / anubhavagamya vipAkoM kA samyak tathA jJAna rakhane meM manoyoga denA / loka ke svarUpa kA vicAra karane meM manoyoga denA / yaha dhyAna bhI cAra prakAra kA mAnA gayA hai| 1. AjJAvicaya dharmadhyAna 2. apAyavicaya dharmadhyAna 3. vipAkavicaya dharmadhyAna 4. saMsthAnavicaya dharmadhyAna / 76 4. zukla dhyAna - sAdhaka ko sabhI prakAra ke karmoM se mukti dilAne meM yaha dhyAna lAbhadAyaka hai arthAt sampUrNa jIvana meM kiye gaye pApa duSkarma se chuTakArA milatA hai / isa dhyAna kA pramukha lakSya mokSa prApta karanA hai| mokSa kI prApti meM yaha vizeSa upayogI hone ke kAraNa upazAnta moha tathA kSINamoha do prakAra kA mAnA gayA hai| vyutsarga vyutsarga zabda do zabdoM ke yoga se banA hai - vi+utsarga / 'vi' kA artha hai viziSTa aura 'utsarga' kA artha hai--tyAga / viziSTa tyAga yA tyAga karane kI viziSTa vidhi ko 'vyutsarga' kahate haiN| AcArya akalaMka ne vyutsarga ko isa prakAra paribhASita kiyA hai ki - "niHsaMgatA-anAsakti, nirbhayatA aura jIvana kI lAlasA kA tyaag|" vyutsarga isI AdhAra para TikA huA hai| dharma ke lie, sAdhanA ke lie, apane Apako utsarga karane kI vidhi vyutsarga hai / tattvArtha sUtra meM vyutsarga ke do prakAra kiye gaye haiM 1. bAhyopAdhivyutsarga 2. aabhyntropaadhivyutsrg|78 1. bAhyopAdhivyutsarga - dhana-dhAnya Adi bAhya vastuoM se mamatAbhAva samApta kara lenA hI "bAhyopAdhivyutsarga" kahalAtA hai| 2. AbhyAntaropAdhivyutsarga - zarIra se mamatAbhAva samApta ho jAnA evaM kASAyika vikAroM meM tanmayatA kA tyAga karanA hI "AbhyantaropAdhivyutsarga" kahalAtA hai| For Personal & Private Use Only

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Vol. XXV, 2002 jaina darzana meM nirjarA tattva bhagavatI sUtra meM vyutsarga ke cAra prakAra svIkAra kiye gaye haiM, jo nimnavat hai 3. upadhi vyutsarga 1. gaNa vyutsarga 2. zarIra vyutsarga 4. bhaktapAna vyutsrg| 79 zarIra vyutsarga ko kAyotsarga bhI kahate haiN| isake antargata sAdhaka mohavaza kiye gaye kAryoM kA prAyazcitta karatA hai, mana meM pazcAttApa karatA hai aura zarIra kI mamatA ko tyAga kara una doSoM ko dUra karane lie kRta saMkalpa karatA hai / kAyotsarga kI sAdhanA karate samaya devatA, manuSya tathA tiryaMca sambandhI upasarga bhI ho sakate haiM, sAdhaka una upasargoM ko samyak prakAra se sahana kare, tabhI usakA kAyotsarga zuddha ho sakatA hai / 80 kAyotsarga jIvana kI pratidina kI sAdhanA hai / pratyeka kSaNa meM kAyotsarga kI bhAvanA karanI cAhie / bhagavAna ne kahA - " abhikkhaNaM kAussaggakArI " abhIkSNa bAra-bAra kAyotsarga karatA rhe| prakArAntara se isake do bheda haiM - 1. dravya kAyotsarga, 2. bhAvakAyotsarga / 81 dravya meM kAyaceSTA kA virodha hotA hai aura bhAva meM dharma evaM zukla dhyAna meM ramaNa rahatA hai / kAyotsarga meM tapa pramukha hai / kAyotsarga meM jo sAdhaka siddha ho jAtA hai, vaha sampUrNa vyutsarga tapa meM * siddha ho jAtA hai / 82 pAdaTIpa (ka) "ekadeza karma saMkSaya lakSaNA nirjarA / " sarvArthasiddhi, 1/4. (kha) tattvArthavArtika akalaMka, 1/4/17. 2 "vaddhapadesaggalaNaM NijjaraNaM idi jiNehi paNNattaM / " dvAdazAnuprekSA, 66. 3 " karmaNAM vipAkatastapasA va zATo nirjarA / " 4. " bandhahetvabhAvanirjarAyAm" tattvArtha sUtra, 10/2. tathA "kRtsnakarmakSayo mokSaH " vahI, 10/3. 5.. " saMvarajogehiM judo tavehiM jo ghiTThade va duvihehi / kammANaM NijjaraNaM bahumANaM kuNadi so Niyada / " 6. paMcAstikAya, pR0 209. - 153 tattvArthabhASya haribhadrIya vRtti 1/4. - paMcAstikAya, gAthA 144 For Personal & Private Use Only

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154 SAMBODHI DA0 mukula rAja mahetA 7. "yathAkAlaM tapasA ca bhuktarasaH karmapudgalo yena / bhAvena sa'tijJeyA tassa'naM ceti nirjarA dvividhaa|" - vra0 saM0 gAthA, 36. 8. "tatazca nirjarAH' - tattvArtha sUtra 6-23. 9. "nirjarA sA dvidhA jJeyA sakAmAkAmabhedataH // sakAmA smRtA jainairyA vratopakramaiH kRtA / akAmA svavipAkena yathA zvabhrAdivAsinAm // - dharmazarmAbhyudayam, 21/122-123. 10. tattvArtha bhASya, 9/7. 11. dvAdazAnuprekSA-nirjarA anuprekSA, 103-104. 12. candraprabhacaritam, 18/109-110. 13. tattvArtha sAra, 7/2-4. 14. "jJeyA sakAmA yAminAmakAmAnyadehinAm / " - saptatattvaprakaraNa, gAthA 128. 15. "cAdugadINaM paDhamA, vayajuttANaM have vidiyaa|" - dvAdazAnuprekSA, nirjarAanuprekSA 104. 16. sabhASya tattvArthasUtra pR0 378. 17. dazavaikAlika, 93. 18. "tapasA nirjarA ca" - tattvArtha sUtra, 9/3. 19. pravacanasAra, gAthA 14. 20. "jamhA nikAiyANa'vi kammANa taveNa hoI nijaraNaM / tamhA uvayArAo, tavo ihaM nijarA bhnniyaa|" - navatattvaprakaraNa 11 bhASya 90 devaguptasUri praNIta 21. sthAnAMga 9/16. 22. "kASTopalAdirUpANAM nidrAnAnAM vibhedataH / vahniryathaikarUpo'pi pRthagrUpo vivakSyate // nirjarApi dvAdazadhA tpobhedaistthoditaa| karmanirjaraNAtmA tu sekarUpaiva vastutaH // zAntasudhArasa nirjarAbhAvanA 2-3 vinayavijayajI For Personal & Private Use Only

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Vol. XXV, 2002 23. navatattva prakaraNa 11 devaguptasUri praNIta. 24. sthAnAMga sUtra 1 / 16 TIkA. 25. "anazanAvamaudarya vRtti parisaMkhyAnarasaparityAgaviviktazayyAsanakAyaklezA bAhyaM tapaH / " 26. "viSayA vinivartante nirAhArasya dehinaH / " 27. " tapo nAnazanAt paraM / yadvi paraM tapastad durdhurSam tad durAdharSam / " 28. uttarAdhyayana 29/35. 29. bhagavatI sUtra 25/7. jaina darzana meM nirjarA tattva 38. (ka) bhagavatI 7/1. (kha) AcArAMga 8 / 6. 36. uttarAdhyayana 32 / 10. 37. (ka) pravacanasAroddhAra vRtti - pratyAkhyAna dvArA / (kha) yogazAstra 3, prakAzavRtti. 39. bhagavatI 25/7. 40. Avazyaka niryukti 1547. 49. uttarAdhyayana 2 / 27. 42. sthAnAMga 7 sUtra 554. 30. uttarAdhyayana 30 /9. 31. jainadharma meM tapaH svarUpa aura vizleSaNa ( munizrI nathamalajI ) pR0 181-199. 32. " Avakahie duvihe paNNatte - pAovagamaNe ya bhattapaccakkhANeya / " . uvavAI sUtra. 33. aSTaka prakaraNa 5 / 1. 34. (ka) uttarAdhyayana 30 / 25. (kha) sthAnAMga 6. 35. (ka) uttarAdhyayana 24 / 11-12. (kha) piNDaniryukti 92-93. * bhagavadgItA 2/59. - maitrAyaNI AraNyaka 10/62. For Personal & Private Use Only - tattvArtha sUtra 9/19. - 155

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156 48. (ka) sthAnAMga sUtra 10. 43. uvavAI : samavasaraNa adhikAra. tattvArtha sUtra, 9/20. 44. prAyazcittavinaya vaiyAvRttya svAdhyAya vyutsarga dhyAnAnyuttaram / " 45. " prAyaH pApaM vinirdiSTaM cittaM tasya vizodhanam / " dharma saMgraha 3, adhikAra. 46. " aparAdho vA prAyaH cittaM zuddhiH / prAyas - cittaM prAyazcitaM - aparAdhavizuddhiH " rAjavArttika 9/22/1. 47. "pAvaM chiMdaI jamhA pAyacchitaM ti bhaNNai teNa / " paMcAzaka saTIka vivaraNa 16/3. - (kha) bhagavatI sUtra 25 / 7. DA0 mukula rAja mahetA - 49. "AlocanapratikramaNatadubhaya viveka vyutsarga tpshcchedprihaaropsthaapnaaH|" 50. sthAnAMga 6 TIkA. 51. ( ka ) bhagavatI 25/7. (kha) sthAnAMga 7. (ga) aupapAtika : tapavarNana / 52. "jJAnadarzanacAritropacArAH / " tattvArtha sUtra, 9/23. SAMBODHI -- For Personal & Private Use Only 53. uttarAdhyayana 29/3. 54. sthAnAMga 5 / 1. 55. sthAnAMga 8. 56. (ka) bhagavatI 35/7. (kha) sthAnAMga 10. 57. "AcAryopAdhyAyatapasvizaikSaglAna gaNa kula saMghasAdhumanojJAnAm / " * tattvArtha sUtra, 9/24. 58. "suSThuA-maryAdayA adhIyate iti svAdhyAyaH / " - sthAnAMga abhayadeva vRtti 5/3/465. 59. "svasya svasmin adhyAyaH - adhyayanaM svAdhyAyaH / " 60. " sajjhAe vA niutteNa savvadukkhavimokkhaNo / " 61. " bahubhave saMciyaM khalu sajjhAeNa khaNe khavaI / " - candraprajJapti, 91. 62. (ka) na vi atthi na vi a hohI sajjhAya samaM tavokammaM / " uttarA0 26/ 10. - - bRhatkalpabhASya 1169. (kha) candraprajJapti sUtra 89. 63. taittirIya AraNyaka 2/14.. 64. taittirIyopaniSada 1/11/1. - tattvArtha sUtra, 9/22.

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157 Vol. XXV, 2002 jaina darzana meM nirjarA tattva 65. "svAdhyAyAdiSTadevatA sNpryogH|" - yogadarzana 2/44. 66. (ka) bhagavatI 25/7. (kha) sthAnAMga 5. ___ (ga) "vaacnaapRcchnaanuprekssaamnaaydhrmopdeshaaH|" - tattvArtha sUtra, 9/25. 67. "dhyAnaM tu viSaye tsminnekprtyysNttiH|" - abhidhAna cintAmaNi koSa 1/48. 68. "cittassemaggayA havai jhANaM" Avazyaka niyukti 1456. 69. dvAtriMzad dvAtriMzikA 18/11. 70. "aTTa ruddANi vajittA jhAejA susamAhie / . dhamma sukkAI jhANAiM jhANaM taM tu buhAvae // " 71. tattvAnuzAsana 74. 72. "uttamasaMhananasyaikAgracintAnirodho dhyAnamAntamuhUrtAt / " -- tattvArtha sUtra 9/27. 73. "Arttaraudradharmya zuklAni" - tattvArtha sUtra, 9/28. 74. "ArttamamanojJasya samprayoge tadviprayogAya smRtisamanvAhAraH / viparItaM manojJasya / vedanAyAzca / nidAnaM ca / tadavirata dezavirata pramatta saMyatAnAm / " - tattvArtha sUtra, 9/30-34. 75. "hiMsA'nRtasteyaviSayasaMrakSaNebhyo raudrmvirtdeshvirtyoH|" - tattvArtha sUtra, 9/35. 76. "AjJA'pAyavipAka saMsthAnavicayAya dharmamapramattasaMyatasya / " -- tattvArtha sUtra, 9/36. 77. "niHsaMga-nirbhayatva jIvitAzA vyudAsAdyartho vyutsrgH|" - tattvArtha rAja vArtika, 9/26/10. 78. "baahyaabhyntropdhyoH|" - tattvArtha sUtra, 9/26. 79. bhagavatI sUtra, 25/7. 80. Avazyaka niyukti, 1549. 81. so puNa kAussaggo davvato bhAvato ya bhavati / ____davvato kAyaceTThA niroho bhavato kAussaggo jhANaM // - Avazyaka cUrNi / 82. jaina dharma meM tapa : svarUpa aura vizleSaNa, pR0 523. For Personal & Private Use Only

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saradAra paTela yunivarsiTI myujhiyamamAMnI pAMca nodhapAtra pratimAo ika , ga naMdana hariprasAda zAstrI vallabha vidyAnagara(ji. ANaMda) mAM AvelA saradAra paTela yunivarsiTInA yunivarsiTI myujhiyamamAM aneka pratimAo AvelI che, jemAMnI keTalIka para lekha kotarela che. keTalIka pratimAo paththara para kaMDArelI che, jyAre keTalIka dhAtunI banelI che. ahIM AmAMnI pAMca noMdhapAtra pratimAono paricaya prastuta karavAmAM Ave che. navAmAM Ave che , 1. brahmAnI pASANapratimA : A pratimA peTalAdamAMthI 1984mAM prApta thaI hatI. brahmAnI pratimAo jUja saMkhyAmAM maLe che. nagarA(tA. khaMbhAta)mAM brahmAnI moTI pratimA adyaparyata pUjAya che. tyAMnI brahmAnI ane bIjI moTI pratimA vallabha vidyAnagaramAM cArutara vidyAmaMDaLanA AMgaNAmAM vRkSa nIce rAkhelI che. - peTalAdamAMthI maLelI A Arasa-pratimA nAnA kadanI (55 se.mI. x 30 se.mI. X 14 se.mI.) che. caturmukha brahmAne ahIM adhamUrta kaMDArelA che. emanuM saMmukha raheluM mukha pUrNataH kaMDAreluM che, jyAre bAjunAM be mukha ardha karatAMya ochA pramANamAM mUrta karelAM che, brahmA samapAda avasthAmAM UbhA che. saMmukha dekhAtA mukhamAM lAMbI mUcha ane lAMbI dADhI najare paDe che. kaMThamAM nAnI kaMThI che ane traNa serano lAMbo hAra laTake che. upalA jamaNA hastamAM brahmA suva dhAraNa kare che. bAkInA traNa hasta khaMDita che, pratimA 8 mI ke 9mI sadInI che. For Personal & Private Use Only

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Vol. XXV, 2002 saradAra paTela yunivarsiTI myujhiyamamAMnI pAMca noMdhapAtra pratimAo 159 2. dazAvatArano khaMDita zilApaTTa : viSNu bhagavAnanI mukhya pratimA najare paDe che. AnI pahelAMnA cha zilApaTTa para kotarelA haraze, paraMtu e paTTa upalabdha thayo nathI. prastuta paTTamAM DAbe cheDe pahelAM be dhanurdhArI AkRtio kaMDArI che. DAbI bAjunI AkRti spaSTataH rAmanI che. emanI DAbI bAjue lakSmaNanI evI UbhI AkRti dekhA de che, enI DAbI bAjue dhyAnastha buddhanI pratimA che. saMbhava che ke zilpIe rAma ane buddhanI vacce balarAmane badale saratacUkathI lakSmaNanI AkRti kotarI dIdhI hoya. buddha padmAsanamAM beThelA che. emanI DAbI bAjue azvArUDha kalkinI AkRti najare paDe che. e jamaNA hAthamAM khaDga dhAraNa karela che ne DAbA hAthamAM azvanI lagAma paDela che. kalkinI upara mAlAdhArI gaMdharva dekhA de che, jyAre emanI pAchaLa chatradhArI anucara Ubho che. roDA(ji. sAbarakAMThA)mAMthI maLelI retiyA paththaranI 51 se.mI. X 37 se.mI. x 22 se.mI.nuM kada dharAve che. JOANIN aure A zilApaTTa maheLAva (tA. peTalAda) gAmamAMthI maLelo. e 110 se.mI. X 46 se.mI. X 15 se.mI.nA kadano che. jamaNe cheDe bhagavAna viSNu roSarAyyAmAM poDhelA che. e nIcalA jamaNA hastamAM zaMkha ane upalA DAbA hastamAM cakra dhAraNa karela che, nIcalo DAkho hasta khaMDita che, jyAre upalA jamaNA hasta vaDe e potAnA mastakane Tekavela che, e kirITa, zrIvatsa ane pItAMbarathI vibhUSita che. paga pAse beThelAM lakSmI emanA jamaNA caraNanI caMpI karI rahyAM che. ahIM emanI nAbhimAMthI kamala-nAla nIkaLatI darzAvI nathI. A zilpa lagabhaga 8mI sadInuM che. 3. mahAlakSmInI pASANapratimA : A paTTamAM viSNu bhagavAnanA traNa ke cAra avatAronI AkRti kaMDArI che. jamaNe cheDe zeSazAyI ke sAta avatAra AvA eka bIjA FIE For Personal & Private Use Only }}}} A pratimA laMbacorasa pIThikA para udbhavelA adala kamala para mahAlakSmI padmAsanamAM beThelAM che, mAthe jaTAmukuTa che. caturbhuja devIno nIcalo DAbo hasta zrIphala dhAraNa kare che. bAkInA badhA hasta koNIthI khaMDita thaI gayA stana moTAM ane bharAvadAra che. kaTi pAtaLI che. nAbhi UMDI che, e makara-kuMDalo, nAbhi sudhI pahoMcato lAMbo suMdara hAra ane kalAtmaka dupaTTo dhAraNa karela che. mahAlakSmInI A pratimA 9mI sadInI che. Br Blo

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160 | gi[ naMdana hariprasAda zAstrI SAMBODHI 4. zrIdharanI pASANa pratimA ke lIlAza paDatA sleTa paththaranI A pratimA gAnA(tA. ANaMda) mAMthI prApta thaI che. e 91 seM.mI. UMcI ane 46 seM.mI. pahoLI che, jyAre enI jADAI 22 seM.mI. che. A pratimA UbhelA caturbhuja viSNunI che. emanA cAreya hasta khaMDita che, paraMtu besaNInA vacalA bhAga para kotarelA lekhamAM jaNAvyA mujaba A pratimA zrIdhara svarUpanI che, A svarUpamAM bhagavAna viSNu upalA jamaNA hastamAM cakra, upalA DAbA hAthamAM gadA, nIcalA DAbA hastamAM zaMkha ane nIcalA jamaNA hAthamAM padma dhAraNa kare che. pratimAnI be bAjue dazAvatAranA UbhA paTTa che. jamaNI bAjunA paTTamAM nIcethI upara jatAM matsya, varAha, vAmana, rAma (khaMDita) ane buddhanI AkRti najare paDe che, jyAre DAbI bAjunA paTTamAM kUrma, narasiMha, parazurAma, balarAma ane kalikanI AkRti dekhA besaNInA vacanA bhAga para kotarelo lekha pAMca paMktino che. paMkti 1-2mAM miti ApI che - saMvata 13 29 jyeSTha sudI 8 [guru, e divase I.sa. 1273 nA me mahinAnI 25mI tArIkha hatI. e samaye gujarAtamAM vAghelA solaMkI rAjA arjunadeva rAjya karatA hatA. paMkti 2 - 4mAM pratimA karAvanAra vyakti, jenuM nAma 'dhAhada' vaMcAya che teno tathA enA kulano ullekha che. emAMnAM anya nAma avAcya che. paM. 4-5 mAM deva zrIdharanI pratimA karAvyAno nirdeza che. va LI , 5. viSNunA trivikrama svarUpanI pASANa pratimA : saranAla(tA. ThAsarA)mAMthI prApta thayelI A pratimAM cUnALa paththaranI che. mahI nadInA kAMThe AveluM saranAla gAma tyAMnA galatezvara maMdira mATe jANItuM che, pratimA 54 se.mI. X 30 se.mI. X 15 seM.mI.nuM kada dharAve che. pratimA UbhelA caturbhuja viSNu bhagavAnanA trivikrama svarUpanI che. A svarUpa raNachoDajI tarIke paNa oLakhAya che, trivikrama upalA jamaNA hAthamAM zaMkha, upalA DAbA hAthamAM cakra, nIcalA DAbA hAthamAM gadA ane nIcalA jamaNA hAthamAM padma dhAraNa kare che. paganA nIcalA bhAga pAse be bAjue babbe Ayudha-devatAo dekhA de che, bhagavAna mastaka para kirITa-mukuTa ane kaTi nIce pItAMbara dhAraNa kare che, e vividha AbhUSaNothI vibhUSita che. For Personal & Private Use Only

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Vol. XXV, 2002 saradAra paTela yunivarsiTI myujhiyamamAMnI pAMca noMdhapAtra pratimAo 161 ja pratimAnI pAchalI bAju para sAta paMktiono lekha kotarelo che. sAmAnya rIte evuM lAge ke A lekha prastuta pratimAne lagato haze, paraMtu vastutaH evuM nathI. lekha pratimAthI UlaTI (UdhI) dizAmAM 4/19/144713317 kotarelo che ne emAM sarva paMktiono mAtra AraMbhika bhAga ja Apelo nI durta kodhita che. dareka paMktino pachIno bhAga A khaMDita zilAnA jamaNA bhAga para vi. !!auite kotaravAmAM Avyo haze, paNa e bhAga hAla lupta thaI gayo che. A DhAjhI rUA.1 parathI mAluma paDe che ke A zilA khaMDita thatAM astavyasta paDI rahI ga1i7Inat]ILE] kiMva jarUrataijhaR haze, AgaLa jatAM eno DAbI bAjuno bhAga sarakho karI, enA nIcalA bhAgane ardhavRtta AkAra ApI enI pAchalI bAju para UMdhI dizAmAM bhagavAna viSNunI pratimA ghaDavAmAM AvI che. khaMDita zilAlekhanA upalabdha bhAga paranA lakhANa parathI jANavA maLe che ke brahmANa gacchanA koI sUrinA upadezathI prAgvATa (poravADa) jJAtinI koI vyaktie vi. saM. 1321mAM potAnA pitAnA zreya arthe mahAvIrasvAmI ke koI anya tIrthaMkaranuM biMba karAvI enI pratiSThA karAvI hatI ne ene lagato zilAlekha kotarAvyo hato. e pratimAne lagato A lekha vAghelA solaMkI rAjA arjunadevanA rAjyakAlano che. enI pAchalI bAju para kotarelI trivikramanI pratimA spaSTataH enA karatAM uttarakAlIna che. A ghaTanA asAmAnya prakAranI hoI khAsa noMdhapAtra che. AvI eka ghaTanA agAu dhoLakAnI eka pratimAmAM maLelI. emAM udayana-vihAranA jaina caityane lagatA khaMDita prazastilekhanA eka khaMDanI pAchalI bAju para AgaLa jatAM viSNunA trivikrama svarUpanI pratimA ghaDAI hatI. sthAnika loko ene raNachoDajI tarIke oLakhe che. mULa lekha rAjA kumArapAlanA samayano hato. A myujhiyamamAM saMgRhIta hiMdu devatAo tathA jaina tIrthaMkaronI anya pratimAo prAyaH dhAtunI che. = JrI karI zakAya For Personal & Private Use Only

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zrI mAna' kaviviracita jinasaMgItASTaka // saM. vijayazIlacandrasUri madhyakALanA jaina kavioe adbhuta racanAo ApI che. saMskRta, prAkRta, apabhraMza, gujarAtI uparAMta mizra bhASAomAM paNa te kavioe apUrva ane mAtabara yogadAna karyuM che. asaMkhya AvI viziSTa ane akalpanIya racanAo Aja sudhImAM pragaTa thaI che, to paNa tenI tulanAmAM te prakAranI apragaTa racanAo anekagaNI vadhAre haze tema khAtarI sAthe kahI zakAya. hastalikhita pratio ane pAnAMo ane guTakAomAM saMtAyelI-sacavAyelI A racanAo jema jema hAthamAM AvatI jAya che tema tema sthaLa-samaya-saMjoga anusAra mudraNa-prakAza pAmatI rahe che. viSayAMtara karIne eka vAta sUcavavAnuM mana thAya ke vigata 8-9 dAyakAo daramyAna, vidhavidha sAmayika patrikAomAM tema ja prakAzita graMtho ke pustikAomAM chapAyelI A aDhaLaka sAmagrInuM eka sUcIkaraNa ja thAya to te paNa eka svataMtra zodhakArya banI rahe ane navA saMzodhako vagere mATe eka dastAvejI saMdarbhagraMtha banI rahe. vizALa graMthAlaya, kAryakaronuM jUtha, kayUTara tathA jherokSa mazIna vagere aghatana sAdhano tathA teno upayoga karI jANanArAonI sahAya, ane satata chapAye jatI sAmagrInI avirAma upalabdhi - A badhuM dharAvanAra saMsthA athavA vyakti ja A kArya karI-karAvI zake. bhUtakALamAM hasta likhita graMtho mATe "na prasthAvatnI" ane chapAyela graMtho mATe "jaina graMtha !" jevAM prakAzano karIne jaina zvetAMbara kaoNnpharanse A viSayamAM mArgadarzaka bhUmikA pUrI pADelI che ja. atre prastuta karavAmAM AvelI laghukRti, nAme "binasaMtAI'' e kRtinA aMtima-navamA kAvyamAM nirdezyA pramANe tathA pumpikamAM varNavyA pramANe mAnava nAmanA kavie racelI che. A mAnakavi" koNa te nakkI karavuM jarA kaThina che. kRtino viSaya jinabhakti che, ane tenuM nirUpaNa nRtya tathA saMgItanI paribhASAmAM thayeluM che. te jotAM kavinuM citta jinabhaktinA ucca raMge raMgAyeluM hoya tema saheje mAnI levAnuM mana thAya. pratilekhana saM. 1764mAM thayeluM che, te paNa dhyAnamAM levuM paDe. upAdhyAya zrImAnavijayajI nAmanA eka ucca koTinA vidvAnuM ane prabhubhakta munirAja aDhAramAM For Personal & Private Use Only

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163 Vol. XXV, 2002 zrI'mAna' kaviviracita jinasaMgItASTaka / / zatakamAM thayA che. temaNe "dharmasaMprada jevA mahAgraMthanI racanA karI che tema, paramAtmabhaktinA anupama ane hRdayavedhI bhAvonI gUMthaNI dharAvatAM 24 stavano(stavana covIzI)nI paNa racanA karI che. te stavano Aje jaina saMghamAM khUba bhAvapUrvaka gavAya che, ane temAM gUMthAyelI vAto bhAvika bhaktonAM hRdayane Aje paNa bhaktirasataraboLa karI mUktI hoya che. banavAjoga che ke temanI ja A racanA paNa hoya ! jo kharekhara A racanA temanI ja hoya to temanA saMgIta-nRtya viSayaka jJAna ane temanuM bhASA-kauzalya-banne ApaNane herata pamADe tevAM che. alabatta, temanI racanA na hoya ane koI anya gacchanA muni ke yati ke pachI koI gRhastha kavinI A racanA hoya toya, tethI tenuM mUlyamahattva ghaTe tema to nathI ja. AmAM kula nava padyo che. prathamanAM 4 paghono chaMda eka che, ane pAchalAM 3no chaMda kavitta eTale ke chappaya- chappA prakArano lAge che. viSaya che batrIza baddha nATaka dvArA jinabhakti. jaina AgamomAMzAstromAM sUryAbhadeva vageree bhagavAna mahAvIranI sanmukha batrIza baddha nATako' kyAM hovAnA ullekho maLe ja che. tenA sAmAnya anusaraNarUpe ke varNanarUpe A racanA kavine UgI jaNAya che. mukhyatve to vividha vAjiMtrono tAla ane bola AkhI racanAmAM saMbhaLAya che. bhagavAna samakSa thatAM nRtya ane saMgItamAM keTakeTalI jAtanAM vAjiMtro vAgatAM haze ane te darekanA bola-tAla kevA meLabharyA nIkaLatAM haze teno aNasAra AmAM ApavAno kavino madhuro prayAsa che. chellAM traNa kavita'nI cothI dhruva-paMkti joIe to samajAya che "jina-sanmukha deva-devIo saMgIta, nRtya ane vAjiMtro sAthe nRtya karI rahyAnuM varNana kavine abhipreta che. chaThThA ane AThamA padyamAM dubhi ane tenA nAmano ullekha che ja, paraMtu navamA padamAM, prabhubhaktinA A anuSThAnamAM kevAM ne keTalAM vAdyo haze tenI kalpanA kavi ApI de cheH muraja, tAla, kaMsAla, tUra, traMbaka, sahanAI, veNu, Dapha, caMga, tabalAM, mukhacaMga, sAraMgI, vINA, trimukha, aliguMja(?), napherI, jhAlara, jhAMjha, pinAka (DamarU) Dhola, Dholaka, bherI, zaMkha, ghaMTa ityAdi... AnI eka pAnAMnI be prationI jheroksa mane, ghaNA bhAge, munizrI dhuraMdharavijayajI pAsethI prApta thayelI che. jenA AdhAre A vAcanA ApI che teno lekhana saMvat 1764 che. tenA AraMbhe atha samastananAnAM saMgItaH tiya- ema che, ane chevaTe puSpikA bAda A pramANe eka duho che : yata:-merai tuma sama eka tuma, mama sama tumheM anek| kite kamalavana sUrakai, kamalani sUra ju eka // 1 // bIjI prati paNa eka ja pAnAnI che. tenA prAraMbhe- "saMtAI:' ane prAMtabhAge- tatrI SaTtriMzadvAjitrasuraracitajinasaMgItASTaka saM. 1771 varSe zrAvaNa zudi 11 dine vairATadurge likhitaM RSizrI chItara svavAcanArtham // For Personal & Private Use Only

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164 saM. vijayazIlacandrasUri SAMBODHI AkhI racanAmAM mukhyatve vAjiMtronA bola ja ThAMsavAmAM AvyA che. e bolomAM hRsva-dIrdhAdi prakAranA bheda, be pratomAM avazya jovA maLe che. paraMtu tenuM AvI racanAmAM bahu mahattva na hovAnuM lAgavAthI pAThabhedo nodhyA nathI. bannenI puSpikAone sarakhAvatAM eka majAno taphAvata jaDe che : 1764 vALI pratinA lekhaka A racanAne nRtyapradhAna samaje che, jyAre anya 1771 vALI pratinA lekhaka ane saMgIta-sUrapradhAna samajatA lAge che. bhASAnI dRSTie to mizra bhASA hovAnuM ja lAge che. saMskRtanI chAMTa dharAvatI gujarAtI bhASA hovAnuM sUkSmatAthI avalokana karatAM spaSTa thaI zake che ja. astu. zrIjinasaMgItASTakam // drau~ = drA~ drA~ hA~ drauM drau~ drA~ drA~ drau~ drau~ drA~ drA~ dramaki dramaM jheM jheM jheM jhI jhI mAM jheM jhI jhI mAM jhamaki jhamaM / do do do drAgaD drAM dri mi ra mi drAM ga i drAM dra NaNaNa drAgaD drAM dramakayutaM dhapamapadhunimapa dhuni nidhupaki mapadhuni tathugi tathaMgi thugi nRtatanRtaM // 1 // dhidhi kiTi dhoM dhoMkRti dhidhikiTi dhoMkRtidhIdhIdhI kI dhaTunaTudhrikiTidhRTaM , cAM cAM cAM caca paTu paTucAM cacapaTu cAM cAM cacapaTu capaTucaTaM / dhU dhU miSu miSu dhuMdAM dhU SuDdISu dhUdAM triSimiSi dhuMdAM SU SU miSitaM dhapamapa dhunimapadhuni nidhupakimapadhuni tathaMgita,gi thugi nRtatanRtaM // 2 // DeM DeM DeM DIDImAM mAM DeM DIDImAM Dihu Dihu DIDImAM Dahaka DimaM lIdU mRdU mRdU dulUmAM mAM mRdU dulumAM lIdU mRdU dulumAM kramati kramaM / beM meM gre ghrI dhrI mAM ghRNaNaNa dhrI dhrImAM ghama ghama ghrI dhrI mAM ghRtata ghRtaM dhapamapadhuni mapadhuni nidhupaki mapadhuni tathaMgi tathugi thugi nUtata nRtaM // 3 // / / / trAM trAM trAM / trAM trAM trimi trimitrAM trAM tananatritaM gRNaNaNa gRNa gRNaNaNa grIgaD dAM gRNaNaNa grAM groM gRNaNaNa gRNa kiNitaM The TheM ThaM TheM kRti Thanana ki ThekRti Thananana The The TheM ki rutaM dhapamapadhuni mapadhuni nidhupaki mapadhuni tathugi tathugi thugi nRtata nRtaM // 4 // For Personal & Private Use Only

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165 Vol. XxV, 2002 zrI'mAna' kaviviracita jinasaMgItASTaka / / dhUa dhUa maTha maTha dhUa dhU dhU maTha maTha dhUa dhUa maTha dhU dhUmiki dhrasaki dharaM tananana rIrI tana rIrI rIrI tana tana rIrI tananana tana rIrI rati suraM / nananari mama sarigasu sasarimu garirisu sasa gaga mamaga su sugama zrutaM dhapamapadhuni mapadhuni nidhupaki mapadhuni tathaMgi tathugi dhuMgi nRtata nRtaM // 5 // kiTi kiTi kiTi TiTi kiTi kiTi TiTi Tiri kiTi nikuTi kuTiri kiTi Tiku nikuTaM ti tu mAtAM timlAM titumi tutimlAM chachimAM chimlAM chachimi chaTaM / bhahararabhara bhaharara bhaharara bhaharara bhahararadundubhi surasubhRtaM dhapamapadhuni mapadhuni nidhupaki mapadhuni tathugi tathugi dhuMgi nRtata nRtaM // 6 // kavitta dhapamapa dhoM dhoM kAra drAMki droM droMki dramaM drama tathugi tathugi dhuMgi tathugi jheMki jheM jheM ki rimaMjhima / do do drAgaDa dI ki draNaNa gRNaNa gRNaNeki gRNaMNaNa dhI dhI dhI ki dhI dhI kiTi dhikiTi dhrikiTi dhI dhI dhrasaki dharaMgana // cAM cAM ki ca capaTa capaTa caTu SuSu miSu dhuMdAMSuSuDadiSuSu saMgItanRtya vAjitrayuta nRtata surIsura jinasamukha // 7 // DeM DeM Dimu Dimu Dahaki vahaki / / ki trimaMtrima ghRta tata theI theI ghughumi ghRNaNa ghRNaNATa ghamaMghama / Theki Theki TheM Thanana Thanaki ThekAra ThanaMThana dhUa dhUa maTha dhua dhunaki ranaki rana nATa raNaMNaNa // bhahararaki bharara dundubhi susura tana rIrI tanarIrIra ratiruSu saMgIta nRtya vAjitra yuta nRtata surIsura jinasamukha // 8 // For Personal & Private Use Only

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166 saM. vijayazIlacandrasUri murajatAla kaMzAla tUra traMbaka sahanAIya madhura veNu Dapa caMga tavala muhacaMga trighAIya / sAraMgI varavIna trimukha aliguMja napherIya jhallara jhaMjha pinAka Dhola Dholaka guru bherIya // kahi mAMna oMki OM zaMkhadhuni ghaMTa trighaMTa bajaMta laghu saMgItanRtya vAjitra yuta nRtata surIsura jinasamukha // 9 // iti zrImanmAnakaviracitaM dvAtriMzadbaddhanRtyasUcitaM zrI jinasaMgItASTakaM saMpUrNam // zrIpUjya zrI 108 zrI bhImasAgarasUrivarendrANAM jyeSTha ziSya RSi zrIpuSkarajI vAcanA - paThanArtham / saM. 1764 jyeSTha 15 jJe zrIudayapuramadhye // SAMBODHI For Personal & Private Use Only

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ItihAsanA pariprekSyamAM keTalIka sAMprata aitihAsika ghaTanAo vRtta ane vivecana DaoN. raseza jamInadAra ItihAsa vyakti sApekSa che. samaye samaye upalabdha thatI jatI trividha prakAranI sAmagrInuM vizleSaNa karI mAnavajIvananAM bhUtakAlIna kAryone arthaghaTita karatI vidyA ke vijJAna te itihAsa. tethI itihAsa zeSa-avazeSa rahelI sAmagrI uparathI thatAM arthaghaTita anumAnanuM zAstra che. ItihAsanuM kheDANa vividha daSTibiMduothI, vividha parimANothI ane vividha pariprekSyamAM ane je te mAholanA paryAvaraNamAM samaye samaye thatuM rahe che, ane tethI te parivartana pAmatuM rahe che. A parivartita arthaghaTano jo ke atItanI mUlagata sAmagrI uparathI thAya che. A saMdarbhe itihAsanuM Alekhana khasUsa vastuniSTa karatAM vyakti sApekSa (sagnekTiva) vizeSa rahevAnuM. ItihAsa eTale samAjano AvRtta khajAno to itihAsanuM lakSya che mAnavInI AsapAsa bhUtAtaMtunI jema gUMthAyelI ghaTanAonuM arthaghaTita varNana karavAnuM. AthI mananI ke vicAronI bAhya abhivyaktithI itihAsanuM kaThuM saMpanna thAya che. arthAt mAnavIe karelA puruSArthanI satyAdhika mImAMsA ke satya-sApekSa pRthakkaraNa ane enuM arthaghaTana karatuM zAstra e 'itihAsa che. anyathA joIe to, bhUtakAlIna hakIktonuM tathyonuM samAjanA-saMsAranA vyApaka pariprekSyamAM arthaghaTana karavAnuM kArya itihAsanuM che. AthI, ema kahI zakIe ke itihAsa e mAnavajIvananA sAMsArika-sAMskRtika anubhavono pramANabhUta dastAvejI sAheda che. Ama, itihAsa e AkhA samAjanuM ItivRtta che, AvRtta khajAno che. ItihAsanuM kAryakSetra mAnavI svabhAve samUhapriya che ane tethI sAmAjika vizeSa che. koI ne koI AzAonI saMprApti miSe AthI mAnavI samAjamAM-samUhamAM rahe che, jIve che ane zvase che. AzAo phaLIbhUta thAya te sAru mAnavI satata mathAmaNo karato rahe che, jemAM tene kyAreka saphaLatA, to kyAreka niSphaLatA For Personal & Private Use Only

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DaoN. raseza jamInadAra SAMBODHI ke cAreka abhUtapUrva suphaLa prApta thAya che. A samagra puruSArthanuM satata vizleSaNa ane enuM arthaghaTana itihAsanuM kAryakSetra che. 168 Ama, itihAsa e anubhavonuM anumita che; AthI upamAna-pramANanuM itihAsavidyAmAM mahattva prasthApAyeluM che. TUMkamAM, itihAsa pramANanA vivaraNathI baddha che. mAnavakRta pramANo samaye samaye hAthavagAM thatAM rahe che ane tethI te pramANone prajApratyakSa karavA miSe enI vAranavAra ke samaye samaye vivecanA-arthaghaTana thatAM rahe te atyAvazyaka che. mAnavakAryonuM arthaghaTana te itihAsa ApaNe jANavuM joIe ke itihAsa e jJAnano viSaya che. jJAna e mAnavIne bhUtakALamAM thayelo anubhava che. tethI bhUtakAlamAM ghaTelI ghaTanAo ke prasarelA prasaMgo ke banelA banAvo e jJeya che. AvI . . ghaTanA-prasaMga- banAvane jANavAnI icchA rAkhanAra vyakti jJAtA che. AthI vyakti je vicAro darzAve che temAM jJAna samAyeluM che. Ama, jagatanuM tamAma jJAna mAnavInA bhUtakAlanA anubhavonA saMcayarUpa che. AthI itihAsano abhyAsa eTale jJAnanI sAdhanA. AvI sAdhanA sthaLa (bhUgoLa) ane kALa(samaya)nI maryAdAmAM rahIne thaI zake che. AthI, sarva itihAsa e vicArono itihAsa che ane tethI enI buniyAdamAM mAnava samAviSTa che; kema ke mAnavInI rojanIzI te itihAsa arthAt mAnavInAM rojabarojanAM kAryonuM arthapUrNa mUlyAMkana te itihAsa athavA dhabaktA mAnavajIvananuM arthaghaTita Alekhana te itihAsa. ApaNe avalokyuM ke itihAsavidyAne kevaLa mAnavI sAthe, enI samagra ane sarvagrAhI AMtarabAhya kriyAo sAthe, enI cetanAo sAthe, enI saphaLatA-niSphaLatA sAthe savizeSa saMbaMdha anucUta rahelo che. eTale ke mAnavIno sauMdarya sAtheno saMbaMdha, kudaratanA alaukikapaNA sAtheno saMbaMdha, jIvananI romAMcakatA sAtheno saMbaMdha, kalAnI sarjakatA sAtheno saMbaMdha ane jJAnanI pipAsA sAtheno saMbaMdha A badhAMnuM sugrathita-arthaghaTita nirUpaNa itihAsanuM tattvajJAna che; kaho ke enuM baMdhAraNa che. itihAsAnveSaNano abhigama mAnavI jIvana jIvavA sAru je mathAmaNo-maMthano karato rahe che te daramyAna tene kyAreka kudaratano, kyAreka samAjano, kyAreka rAjakAraNano to kyAreka potAnA ajJAnano avarodha naDe che; ane chatAM A caturmukhI paribaLo sAme te aDaga nizcalatAthI pragatinA paMthe Daga mAMDato vikAsa-yAtrAne avirata cAlu rAkhato rahe che. pariNAme, e AsapAsanI prakRti para prabhutva prApta kare che, samAjanA nItiniyamomAM pheraphAra karI avarodho dUra kare che, sattApalaTA mAraphate rAjakAraNanI AkRtine Alekhe che ane jijJAsAvRtti vATe ajJAna dUra karI vijaya prApta kare che. A badhAMnuM vivaraNa-mUlyAMkana-arthaghaTana e itihAsa-anveSaNano mahattvano abhigama hovo joIe. - For Personal & Private Use Only

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Vol. XXN, 2002 itihAsanA pariprekSyamAM keTalIka sAMprata aitihAsika ghaTanAo... 169 sAMprata ghaTanAo vRtta ane vivecana prastuta bhUmikAnA pariprekSyamAM atre sAMprata samayamAM ghaTelI ane hAthavagI thayelI keTalIka ghaTanAonI sAdhakabAdhaka carcA, mahattvanA graMthonAM ane vicArasaraNIonAM avalokana ItyAdinoItivRtta-vivecanA saMdarbhe prastAvita karavAno upakrama rAkhyo che. satyane saMkhyAdhika pAsAM che e to spaSTa che ke ItihAsanuM eka mAtra dhyeya satyane zodhavAnuM-pAmavAnuM che. AvuM satya tathya upara avalaMbita che - AdhArita che. eTale ke ItihAsanuM satya tathyathI AvRtta che. AthI, itihAsamAM tathya (eTale ke zeya) ke bhUtakAlIna yathArthatA satyano paryAya banI rahe che. AthI to, phrenca vidhAnanuM gujarAtI avataraNa che : AdhAra nahIM to ItihAsa nahIM. chatAM A satyane ghaNAM paheluo hovAnuM anubhave samajAyuM che. vyaktie vyaktie ane samAje samAje tathA samaye samaye satyanI arthacchAyAo parivartana pAmatI rahe che ane A parivartananuM tattva mAnavavikAsano AtmA che. A hakIkta hovA chatAMya yuge yuge bhAratIoe itihAsa karatAM (eTale ke satya karatAM) vizeSa to purAkalpanone mahattva bakSya che; sAdaya samaya karatAM kAlAtIta bAbatane vizeSa bhAve apanAvyuM che. ahIM ApaNe aSTAvakranI kathAnuM aTAmaNa laIne samayanAM vividha pAsAne samajavAno prayAsa karIzuM. purANomAM vikhyAta RSi-yogI aSTAvakranI kyA che. aSTAvakra eTale jenAM ATheya aMga vAMkAM che te vyakti. eTale aSTAvakranuM zarIra beDoLa ane jugupsA upajAve tevuM hatuM. te jyAre bAra varSano hato tyAre videha athavA mithilAnA tattvajJAnI mahArAjA janake dezasamastanA paMDitonI eka mahAsabhAnuM Ayojana kareluM. hetu hato "satyanI buniyAdIne carcAnI eraNa upara tapAsavAno. janake A miSe vijetAne suvarNa-hIrA-jaDita zRMgoyukta eka hajAra gAyonuM InAma ApavAnuM paNa jAhera kareluM. A carcAmAM aSTAvakranA pitAe paNa bhAga lIdho hato. teo prakhara tattvajJA hatA. divasa daramyAna badhA paMDitone mahAta karyA pachI varuNanA dIkarA khyAta vidvAna baMdIe aSTAvakranA pitA kahoDa RSine harAvyA. A sAMbhaLI aSTAvakra sabhAsthAna doDI gayo tyAre ene joIne mUrdhanya paMDitone Azcarya thayuM ane hasavuM AvyuM. samasta sabhAsthAna hAsyanA sAgaramAM DUbI rahyuM tyAre aSTAvakra paNa khaDakhaDATa hasavA lAgyo. AthI rAjA janake aSTAvakrane hasavAnuM kAraNa pUchyuM jenA pratibhAvarUpe aSTAvake janakane jaNAvyuM ke satyanA anveSakone badale ahIM to carmanA sodAgaroe satyane zodhavAno prayAsa karyo tethI mane hasavuM AvyuM che. aSTAvakranA javAbathI samasta sabhAsthAna nIrava zAMtimAM palaTAI gayuM. janake aSTAvakrane potAnA vidhAnanI spaSTatA karavA sUcavyuM tyAre aSTAvake jaNAvyuM ke mAruM kathita kathana sAduM ane spaSTa che A mUrdhanya paMDito kevaLa mArI cAmaDIne-zarIrane jue che, mane nahIM, mArA AtmAne nahIM. mArA karatAM vizeSa zuddha ane sAdo mANasa maLavo muzkela che je bAbata temane jaDatI nathI. teo phakta mArA kUbaDA ane vAMkA vaLelA zarIrane ja jue che. teo carmasodAgaro che kema ke teo vyaktine For Personal & Private Use Only

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170 DaoN. raseza jamInadAra SAMBODHI tenI cAmaDIthI nirNata kare che. zuM maMdiranA vaLAMmAM AkAza vAMkuM bhAse che? zuM ghaTane-ghaDAne phoDavAthI AkAzano bhukko saMbhave che? AkAza to parivartanAtIta che. mAruM zarIra vAMkuM che, huM nahIM. vyaktine aMdarathI nihALavo joIe. A mArA kathananI spaSTatA che. aSTAvakranA AvA pAradarzaka vidhAnathI ane pAzavI satyathI janaka zaramiMdo banyo ane hasavA sAru pastAI rahyo ane vicAramAM garakAva thayo ke zA mATe eNe carmasodAgaronuM ToLuM ekatrita karyuM? bIje divase savAre ghoDA upara pharavA nIkaLelA janake aSTAvakrane joyo ane ghoDA parathI nIce UtarI aSTAvakanA page paDyo. sabhAsthAne te Ama karI nA zakyo kema ke tyAM janakane aSTAvakra bAra varSano chokaro jaNAyo. paNa Aje tene aSTAvakramAM vidvAnanAM darzana thayAM. eNe aSTAvakrane rAjamahela padhArI satya vizenI jijJAsA saMtoSavA nimaMtraNa pAThavyuM. jeo phakta zarIrane dhyAnamAM rAkhe che teo AtmAnI-amaratvanI-satyanI carcA zuM karI zakaze? aSTAvakanA mAnamAM janake rAjamahela zaNagAryo. ahIM janaka ane aSTAvakra vacce je saMvAda thayo tenuM pariNAma te "aSTAvakra saMhitA'; jene vartamAne yogIo jIvanasaMgIta kahe che. ApaNA kavi premAnaMde gujarAtImAM 'aSTAvakrAkhyAna" lakhyuM che. prastuta kathA itihAsanA anveSako mATe dhyAnArha banI rahe che, kema ke ItihAsane satya-tathya sAthe sIdhI nisabata che ane satya-tathyane ghaNAM pAsAM hoya che. tethI itihAsalekhakoe carmasodAgaro thavAne sthAne satyAnveSaNa-tadhyAnveSaNa tarIke kAryarata rahevuM joIe. eTale ke koIpaNa avazeSanuM ke purAvastunuM ke dastAvejanuM kevaLa bAhya parIkSaNane ItizrI mAnavAne sthAne sAthosAtha AMtara-parIkSaNa paNa vizeSabhAve karavuM joIze. arthAt vyaktine cAmaDIthI nahIM paNa aMdarathI nihALavo joIe tema vastunuM AMtarika mUlyasthAna samajavuM jarUrI bane che. Just Truth has many facets; so does historio-archaeological source. jyAre yuddha e dharmanuM svarUpa le che mAnavajIvananA prAdurbhAva sAthe ja saMgharSa-laDAI-yuddhanI bhAvanA sAkAra banI che. yuddha mAnavasamasta mATe anivArya AvazyaktA nathI japarantu nyAyanI surakSA paratve yuddhano nakArAtmaka abhigama paNa Avazyaka rIte anivArya nathI. kuTuMbanA, dezanA, sarahadanA, saMskAranA, saMskRtinA rakSaNa sababa jyAre badhAM sAdhano niSphaLa rahe che, nAkAmiyAba bane che, tyAre yuddha khasUsa dharma banI zake che. gItAno A sanAtana abhigama che. mAnatihAsamAM yuddha vize kevaLa gerasamaja pravartI rahI che. yuddha e ApaNI jiMdagIno sanAtana siddhAnta che e vize zrI araviMda lakhe che: mAnavInA vAstavika jIvanamAM, je astitva dharAve che ane jenuM astitva hovuM joIe e baMne vaccenA saMgrAma vinA, pragatinuM sopAna zakya nathI e hakIkta che. For Personal & Private Use Only

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Vol. XXN, 2002 itihAsanA pariprekSyamAM keTalIka sAMprata aitihAsika ghaTanAo... 171 TUMkamAM jIvana saMgharSamaya hovAno ApaNo anubhava che. mAnavajAta samayanA koIka tabakke evo anubhava kare che jemAM paribaLo paraspara athaDAtAM hoya; ane te vinAza ane punarnimANamAM pariName che. gItokta anusAra nItimattA ane anaitiktA vacce saMgharSa vidyamAna hoya che. war has always repelled man. kaliMganA yuddha pachI azoka maurya yuddhadharmane badale dharmayuddhanA abhigamane AvakAre che. viyeTanAmanA yuddhamAM amerikI navayuvAno joDAvAno inkAra kare che. vartamAne vizvasamastamAM, japAna upara aNuboMba pheMkAyA pachI, aNuboMbanA nirmANa bAbate ke aNuboMba rAkhavA viruddha jabaradasta virodhano anubhava ApaNe karI rahyA chIe. jyAre arjuna hathiyAra pheMkI de che ane yuddha nahIM karuM ema kahe che tyAre kRSNa kahe che ke satyanA rakSaNArthe yuddha karavuM e pharaja ane dharma bane che. arthAt gItAnA saMdeza mujaba zaktibaLa ane hiMsAnI dayA upara jIvatA lokonuM rakSaNa karavuM jarUrI che. AthI to araviMda kahe che ke evA bahu ja ochA dharmo che jemanAmAM, bhAratIya dharmanI jema, evI hiMmata che je eka tarapha paropakArI durgA tarIke mUrtimaMta svarUpa dhAraNa kare che to bIjI bAju bhayAnaka kAlInA rUpe vinAzanRtya kare che. gItAnA saMdezanuM A zrI araviMdhI arthaghaTana ApaNe zuM samajI zakyA chIe? eka tarapha zivAjI mahArAja ane jhAMsInI rANInAM kRtyo che to bIjI bAju cheka 1906mAM zrI aravide AvAhana dIdhuM ke jarUra jaNAye baLano upayoga karIne paNa briTizone hAMkI kADhavA joIe; evA samaye jyAre koMgresane AjhAdInuM svapna paNa lAdhyuM na hatuM. ApaNA ItihAsanuM adhyayana spaSTa sUcita kare che ke AkramaNanA abhigamane ApaNe kyAreya apanAvyo nathI; to e paNa hakIkata che ke bhAratIya prajAsamUhe AkramaNono sakriya pratikAra nathI karyo. muslimonAM AkramaNo, muslimonI ghUsaNakhorI, emaNe karelAM mUrti maMdironAM khaMDana, gujArelo baLAtkAra ane Apelo amAnuSI trAsanAM dariyAI mojAM pachI mojAM AvatAM rahyAM ane ApaNe paDakArane jhIlavAne badale aMdaroaMdara jhaghaDatA rahyA ane koI rASTrIya unmeSa-vidroha jovA maLyo nahIM. briTizoe bhAratane nadhaNiyAtuM khetara samajIne ogaNIsamI sadInA cothA caraNa sudhI ApaNA upara 'binarokaToka zAsana karyuM; 1857nA prathama svAtaMtrya saMgrAmanI ghaTanAne bAda karatAM, koI rASTrIyatAnuM saMgIta briTiza viruddhanuM ApaNane sAMbhaLavA maLatuM nathI. AjhAdI pachInI paNa keTalIka ghaTanAo Avo ja aMgulinirdeza kare che. prazna e thAya che ke gItAno rASTrIyatAno saMdezo ApaNe kema bhUlI gayA? uttara che - ApaNA rAjakIya pakSono, samayanA takAjAne nahIM samajIne, uttaradAyitvanA adhikAranI avagaNanA karIne mAtra TUMkI dRSTie pakSIya lekhAMjokhAM paratve sabhAnatA keLavavAno ane prajA paratvenA dAyitva pratye AMkha ADA kAna karavAno abhigama. bAkI svAtaMtryottara samayano adyApi ApaNo anubhava che ke, ApattinA samaye prajA samasta eka banIne sarakAranI paDakhe nircAja rIte ane nirdeza rIte khaDA page For Personal & Private Use Only

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172 DaoN. raserA jamInadAra SAMBODHI UbhI rahI che, ane tyAre nAtajAtanA koI bheda kyAMya jovAyA nathI. eTaluM ja nahIM ApaNA sainikoe paNa potapotAnA dharmane bAjue rAkhI rASTrIyatA mATe eka rahIne AkramaNano pratikAra karyo che. A bhUmikA saMdarbhe gItokta saMdeza Ajeya ApaNA mATe eTalo ja prastuta che ane saMkhyAdhika bAhya dhamakIo sAme TakI rahevA paNa gItAsaMdeza anivArya jaNAya che. AthI ja kRSNa arjunane je bodha Avyo hato ke satya e vAstavika AdhyAtmikatAnI buniyAda che ane hiMmata eno AtmAte ApaNe AtmasAt karavAno samayano takAjo che. adhyAtmavidyA ane suphImata bhAratIya ane islAmI adhyAtmavAdane sUtrAtmaka rIte nirdezavuM hoya to kahI zakAya ke mAnavajAta dvArA Izvarano prema saMpAdita karo. kahevAnuM tAtparya e che ke karmamArgane anusaro ane jJAnamArga tathA bhaktimArgane pAmo. kAraNa jagata mithyA che, mAyA che. mAyAnI vibhAvanAthI sarva dharmo abhizita che. enuM pRthakkaraNa jarUrI nathI, arthakaraNa jarUrI nathI. sUphImata mujaba mAnava e ja satya che athavA manuSya e satyanuM pragaTIkaraNa che. pavitra kurrAna anusAra je bAhya ke AMtara rIte dekhItuM astitva dharAve che te sthaLakAla sApekSa che. kevaLa allA vAstavika che. islAmamAM tasabuka zabda prayogAyo che, je sUphIvAdano paryAya manAyo che. paraMtu A eka tarkadoSa che. bhAratIya upakhaMDano AdhyAtmika vAraso khasUsa dhyAnArha che. te dIrghakAlIna che, sazakta che, gahana che, vividhArthI che, vaividhyayukta che. bhAratIya AdhyAtmika vArasonA vizALa ane virATa lakSaNane hindu rahasyavAda nathI oLakhAvI zakato ke nathI samajAvI zakato. mananI ane AtmAnI amaryAda ane vividha vRttione kevaLa 'rahasyavAda' zabdathI sImita karavI te upahAsIya bane che. kema ke eka padArthanA vividha AkAra hoya che ane te pratyeka AkArane vividha chAyAo hoya che. hindu ane muslima adhyAtmavAdanI bhinnatA darzAvavA rahasyavAda' ane 'sUphIvAda' zabdanA prayogo nA kare to prazna prazna rahe che ane tethI kyAM sAmya che ane kyAM viSamatA che te nakkI karavuM saraLa nathI. saMmati ane asaMmati tathA vividhatA ane teno abhAva hindudharmanAM viziSTa lakSaNo nathI. islAmI tasavvakanA anuyAyIo paNa "vahadAtula vajUda' ane 'vahaThAtuza zuhUda'nI vicAraNA paratve vibhAjita che. rAta pUrI thAya che paNa vArtA adhUrI rahe che evuM che. chatAM IzvaraprAptinA mArganA parizramI loko sAru AvAM lakSyasthAno vacagALAnAM niyatisthaLo che; kemake lakSyasthAna ghaNuM ja dUra che ane tethI jeo IzvaraprAcarthe icchuka che. teo aMte to mAnavajAtanI sevA mATe pAchA phare che. Love God through mankind. valI (pIra ke oliyA) karatAM payagaMbara For Personal & Private Use Only

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Vol. XXV, 2002 itihAsanA pariprekSyamAM keTalIka sAMprata aitihAsika ghaTanAo... jaMkzana sTezana che; kema ke IzvaraprApti thayA pachI paNa teo (payaMgabaro) mAnavajAtane mArgadarzana ApavA Atura hoya che. hajharata nijhAmuddIna oliyAe hajharata samasuddIna yAhyA sudhI khilAtanAmA prasiddha thayeluM temAM jaNAvyA mujaba : tame iccho to huM Izvara sogaMda lauM chuM, jenA hAthamAM mAruM jIvana che; je mAnavo IzvaranI samIpa che ane jeo IzvarArthe mAnavatAne cAhe che ane jeo mAnavajAta dvArA Izvarane cAhe che... iti. 173 mAnava-vaibhava-vArasAnuM jatana A noMdhanA AraMbhe ja ApaNe avalokyuM ke itihAsanA kendrasthAne mAnavI che. ravIndranAtha ThAkure sAcuM ja noMdhyuM che : There is only one history; the History of Man. AthI mAnavasarjita ane samayanA pravAhamAM TakI gayelI tathA prAkRtika ane rAsAyaNika paribaLothI avaroSita rahelI saghaLI purAvastuonuM jatana karavuM, enuM saMrakSaNa karavuM ane zakyataH yathAvata enI jALavaNI karavI e pratyeka Ama AdamInI naitika pharaja che. vizvanI virAsatane potIkI gaNIne-svIkArIne enAM jatanajALavaNI karavAM e ApaNo dharma che. mAnavajIvananA prAraMbha sAthe jema yuddha e mAnavijajJAsAno AMtarika bhAga che tema, gItA kahe che tema yuddha paNa eka dharma che. to mAnavakRta vaibhava ane vAraso sAcavavo e paNa dharma che. ahIM A vicAra paratve keTalIka ghaTanAone avalokavI che. vijayanagarano vaibhavI vAraso uttara bhAratamAM jyAre islAmI AkramaNane kAraNe ane muslima rAjasattAnI sthApanAne kAraNe bhAratIya saMskRti upara bhayAnaka jokhamanAM vAdaLo ghaTATopa dekhAI rahyAM hatAM tyAre vidhyAcaLa girimALAnI dakSiNe ApaNI saMskRtine sAcavatuM ane saMvardhatuM eka hindu sAmrAjya aDIkhama kAryarata hatuM. AthI to, porTugIjha musAphara Domingo Paese noMdhyuM che ke vizva samastamAM vijayanagara suvidhAsabhara zahera che. dakSiNa bhAratamAM vijayanagaranuM hindu sAmrAjya islAmI sattAno jabaradasta sAmano karI rahyuM hatuM; balke ema kahI zakAya ke hindutvanA punaHpravartananuM, saMskRta ane prAdezika bhASAonA navanirmANanuM mahattvanuM kendra eTale vijayanagaranuM sAmrAjya ane tenuM pATanagara vijayanagaranuM zahera. A sAmrAjya enI paramasImAe pahoMcyuM rAjA kRSNadevarAyanA (1509 thI 1550) samayamAM. azoka, harSavardhana, caMdragusa, vikramAditya ane bhojarAjAnI paraMparAmAM ArUDha thayelo mahAna rAjA kRSNadevarAya hato. sAmrAjyanuM saMcAlana te pratyakSa rIte karato hato. lazkara upara svayam sIdhI dekharekha rAkhato hato. sAmrAjyanA pratyeka vistAramAM te pravAsa karI cUkyo hato. adbhuta ane bhavya maMdironA nirmANathI For Personal & Private Use Only

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174 DaoN. raseza jamInadAra SAMBODHI eNe sAmrAjyane vibhUSita karyuM hatuM. e udAra dAnavIra hato ane eNe porTugIjho sAthe maitrIpUrNa saMbaMdho sAcavyA hatA. eNe parziyA ane bIjAM rASTromAMnA elacIone AvakAryA hatA. A vijayanagara sAmrAjyanuM pATanagara te vijayanagara zahera. eka samaye vIrUpAkSa maMdira saMkulathI AraMbhI hampI pAsenA mAtaMgagirinI taLeTImAM sthita AlIzAna naMDhI sudhIno vistAra 'royala evanyu'thI khyAta hato. kRSNadevarAyanA zAsanakAlamAM A zAhI vistAra enI bhavyatA ane vizALatAthI zobhato hato. parantu vartamAne A raoNyala evanyuno bhapako ane vaibhava jokhamAyA che. khAsa to, yuneskonA mArgadarzaka siddhAntonI uparavaTa jaIne khANIpINInAM kendrothI A vaibhavI vArasAno vizALa mAhola jhAMkho paDyo che. ahIMno hampI vistAra videzI yAtriko sAru uttama purAvastukIya sthAna tarIke AvakArya banyuM che. parantu rAjya sarakAranA purAvastuvibhAga taraphthI ane/ athavA bhAratIya purAvastu sarvekSaNa saMsthA taraphathI A suMdara ane amUlya aitihAsika sthaLanAM joIe tevAM jatana ane jALavaNI thatAM nathI. ahIMnAM keTalAMka maMdira surakSAnA abhAvanI rAha jue che. khaMDita ane veravikhera pratimAonI koI darakAra karatuM nathI. hampInAM jatana-jALavaNI viSe ApelA karoDo rUpiyAnI sahAya kaMTALIne japAne pAchI kheMcI lIdhI che; ane yuneskoe paNa AvI udAra sahAya baMdha karavAnI dhamakI uccArI che, jo tyAM baMdhAI rahelA pulanuM bAMdhakAma rokavAmAM Ave nahIM to. chatAM hampInA bhagnAvazeSo, zaMkArahita dRSTie, bhAratIya maMdira sthApatyanA itihAsamAM sArI rIte surakSita ane vizALa maMdirothI yukta che. AthI to phrenca itihAsavida Alain Danielou nA zabdo dhyAnArha bane che : like an island of civilization, chivalry, and beauty, in the midst of shattered and bleeding India after nearly seven centuries of Muslim invasions. iTalInA Nicolo di Conti thI AraMbhI parziyAI abdula rajhAka sudhInA saMkhyAdhika videzI yAtrikoe vijayanagaranI saMskArasamRddhi ane sthApatyazailInAM mophATa vakhANa karyAM che. sakhta zailakhaMDo upara bhakti ane premanA sAmrAjyasamAM devadivatAonAM bhavya zilpo saMskArasamRddhinAM ghotaka che, jenI bhavyatA ane sauMdaryanA siddhAnta ane devo tathA prakRti ema pratyekanuM sanmAna Ajeya paNa sAkSIpratIko che. kamanasIba bAbata e che ke kRSNadevarAyanA anugAmI rAmArAyanA samayamAM 26-1-1565nA roja vidhvaMsa hatyAkAMDa thayo hato ane husena nijhAma zAhanA sainikoe lagabhaga pAMca mahinA sudhI badhuM nAza karavAno upakrama rAkhyo hato ane trAsa ane ahIM AkArAyelAM bhayanAM dazyo tathA hatyAkAMDano joTo jaDavo murakela che. sainikoe eTalI badhI lUMTa calAvI ke jenI kalpanA karavI murakela che. Aje hampInA pratyeka khUNe muslimoe AcarelA vidhvaMsanAM cihno sAkSIrUpa banI rahyAM che : jANe ke zuMka paNa hindu, te dhikkArane pAtra. nijhAmanA sainikoe pratimAonAM nAka, stana, hAtha, For Personal & Private Use Only

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Vol. Xv, 2002 itihAsanA pariprekSyamAM keTalIka sAMprata etihAsika ghaTanAo... 175 paga, gajasTa ityAdi khaMDita kyAM hatAM. sAthosAtha sthApatyanI bhavya imArato ane rAjamahelo ane maMdiro evA majabUta zelakhaMDothI nirmANa pAmyAM hatAM ke vidhvaMsanI saMhAraka lIlAnAM karatUtothI te bacI gayAM, je Aje ApaNane vijyanagaranA sAMskRtika vaibhava ane vArasAnI smRti apAve che. duHkhada bAbata e che ke ApaNAmAM-bhAratIyomAM chatAM AvA asAdhAraNa vArasA paratve thoDuMkeya mAna-sanmAna hoya tevuM jovA maLatuM nathI. A aitihAsika sthaLanA mArgadarzakoye jANe che ochuM ane bake che vadhAre. kevaLa pazcimI yAtrikone AkarSavAnuM emanuM dhyeya hoya tevuM temanA vartanathI jaNAya che. sthAnika loko A paratve sabhAna hovAnuM jaNAtuM nathI. pariNAme Happy is a vast excremental dump. ApaNI rASTrIyatAnI A nabaLAI che. yuropa ane amerikAmAM purANAM aitihAsika sthaLoparaMparA-saMskAra paratvenI sabhAnatAnA pATha zALAzikSaNathI zIkhavAya che. A baMne khaMDonI prajA potAnAM bhUgoLa ane itihAsathI vizeSa vAkepha hoya che ane abhiruci darzAve che. yuropIyo ethensa ke romanI yAtrAne pratyeka mATe must gaNAve che. A abhigamanA saMdarbhe jo bhAratIya bALakone bhavya vArasA paratve sabhAna karavAmAM Ave to je dudhanIya sthiti aitihAsika smArakonI thAya che te aTakAvI zakAya. Ama thaze to vijayanagara jevAM the city of victory smArako surakSita rAkhI zakAze. bhavabhUtinuM janmasthaLa ApaNA sAMskRtika vArasAnA vaibhavane prajA pratyakSa karavAnuM ane tenAM jatana-jALavaNI karavAnuM kArya chUTaka chUTaka saMsthAgata rIte ke vyaktigata rIte thatuM rahe che, jenuM vyApaka dhoraNe, prajAnI sAmelagIrI sAthe ane vyavasthita paddhatie amalI banAvavAnI jarUra che. ahIM ApaNe khyAta saMskRtajJa bhavabhUtinA janmasthaLanI durdazA ane prajAkIya upekSA vize nuktacInI karIzuM. mahArASTranA goMdiyA jillAmAM agAMva ane sAleksane joDatA mArgathI aDhI kilomITaranA aMtare binajarUrI ghAsa ane mAnavamaLathI gherAyelo DuMgara che. A DuMgaranI Toce be laghu pASANa AdhArita havAnA jhapATAthI ghasAIne goLa banelo retiyo paththara che. Ama to A mAhola cakSugamya nathI ke AsapAsamAM evuM zuM nathI je nayanaramya hoya ane chatAM enuM aitihAsika-sAMskRtika mahattva amUlya che. A kudaratI pASANa-Azraya-je traNa goLAkAra retIyA paththarathI baneluM che-bhAgye ja koI kalpI zake ke te Azare teraso varSa pUrvakAlIna che ane vizvakhyAta saMskRtajJa ane nATacakAra bhavabhUtinuM kAryasthaLa che. kahevAya che ke najIkanA paThApura gAme bhavabhUti janmyA hatA. kazyapavaMzIya udumbara brAhmaNa parivAramAM pitAmaha gopAla bhaTTa ane pitA nIlakaMThanA kuTuMbamAM mAtA jAtukarNInI kUkhe janmelA bhavabhUtinuM janmanAma zrIkaMTha hatuM. bhavabhUti emanuM upanAma hatuM. sAmAnyataH AThamI sadInA pahelA caraNa daramyAna emano kAryakAla hovAnuM sUcavAyuM che. evuM mAnavAmAM Ave che ke bhavabhUtie For Personal & Private Use Only

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176 DaoN. raseza jamInadAra SAMBODHI emanI khyAta racanA "mahAvIracarita'nuM sarjana A sthaLe kyuM hatuM. A nATakanI prastAvanAmAM lekhake svayam emanA janmasthAna ane kAryasthaLano ullekha karyo che, je A DuMgara hato. vidarbhanA vAkATavaMzanA zaktimAna zAsakonuM mukhya mathaka ahIM hatuM. ahIMthI phakta so kilomITaranA aMtare nAgapura jillAnA rAmaTeka nAmanA sthaLe vAkATaka rAjA prabhAvatI guptanA darabAramAM sanmAna pAmelA kAlidAsanI smRtimAM eka smAraka ane eka saMskRta vizvavidyAlayanI sthApanA thaI hatI, jyAre bhavabhUtinA A mAdare vatanamAM emanuM AvuM sanmAna sukAI gayuM hatuM te itihAsanI eka viDaMbanA gaNAya. padmapura gAmanI bhAgoLe bIjI eka smRti-imAratanA bhagnAvazeSo astitva dharAve che, jemAM jaina dharmanuM vizALa maMdira hovAnuM ane vAkATakonA zAsanasamaye baMdhAyeluM hovAnuM kahevAya che. A sthaLe kotaraNIyukta pratimAonA ane staMbhonA khaMDita avazeSo veravikhera paDelA najare paDe che, je mukhyatve chANAM ane kacarAnA DhagalAthI yukta che. jaina maMdira 1500 jeTaluM pUrvakAlIna che. A baMne smArako vartamAne arakSita che. A sthaLe jo purAvastukIya utpanana hAtha dharAya to mahattvanA avazeSo hAthavagA thavA saMbhava che. padmapura paNa aitihAsika mahattva dharAve che. bhavabhUtinI e karamakahANI che ke ene kAlidAsanA paDachAyAmAM cAlavuM paDyuM che, to kAlidAse "meghadUta'nI racanA rAmaTekamAM karI to cAra sadI pachI janmelA bhavabhUtine uttara bhAratanA nAgavaMzIya rAjAono ane chevaTe kanojanA rAjA yazovarmAno Azraya saMprApta karavo paDelo. kAraNa aitihAsika che ke vAkATako pachI vidarbhamAM koI zaktizALI rAjavaMza sattAdhIza hato nahIM. jo ke anujIvana (sarvAivala) sAru bhavabhUtine janmasthAnathI dUra javuM paDyuM to paNa vatana pratyeno prema yathAvat rahyo hato. emanA eka zlokamAM bhavabhUtie kIrtisaMpadAnA abhAva paratve vedanA vyakta karI che evI AzAe ke kyAreka koIka mane samajaze ane sanmAnaze. paraMtu A kyAreka koIka'nI bhavabhUtinI AzA caritArtha thaI nahIM. saMskRta sAhitya akAdamIe tathA jaina samAje sAMskRtika-aitihAsika evAM A baMne sthaLonA saMrakSaNa-saMvardhana-punarutthAna mATe kAryarata thavuM joIe e samayano takAjo che. saMskAra-abhijJAna darzAvatuM saMgrahAlaya saMskAra-saMskRti-itihAsanAM jatana-jALavaNI-saMrakSaNa-punaruddhAra bAbate AmajanatAmAM udAsInatA ghara karI gaI hovA chatAMya ane itihAsanA adhyApako A bAbate bedhyAna hovA chatAMya nirAzAnAM vAdaLamAM kyAMka to rajatarekhA dazyamAna thAya che. ahIM ApaNe mahArASTranA pazcima dariyAkAMThe AvelA caula sthAnanA rahevAsIoe porTugala-saMskAranI oLakha jALavI rAkhavA kaTibaddhatA darzAvI te vize vizleSaNa karIzuM; saMbhavataH AvuM abhijJAna hAthatALI ApI jAya evA bhayathI. ane For Personal & Private Use Only

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Vol. XXV, 2002 itihAsanA pariprekSyamAM keTalIka sAMprata aitihAsika ghaTanAo... A jatana-jALavaNInA preraka ane svapnazilpI che vaDodarAnI ma.sa. vizvavidyAlayanA saMgrahAlayavidyA vibhAganA pUrva-prAdhyApaka DaoN. vI. eca. beDera.. ane emanuM preraNAbaLa che caula vistAranA rahevAsIoe jALavI rAkhelA porTugala rItarivAjo ane vaibhavavAraso. hetu che A projekTano mukhyatve to ahIMnI khAsa jJAti taraphathI upayogAtA padArtho, paraMparita prathAo, dharmavidhio ityAdi tasthAne jALavI rAkhavAno. aitihAsika daphtaro evuM sUcita kare che ke porTugalanA rAjAe enA lazkaranA mANasone bhAratIya mULanI strIone paraNavA protsAhita karyA hatA; evA khyAlathI ke porTugIjho videzI-parAyA nathI paNa ahIM ja sthAyI thavA ane potAno parivAra prasthApavA icche che. Ane kAraNe caula vistAranI vasatI mizra pitRtvavALI banI rahI. pachInA samaye marAThAothI mahAta thayelA porTugIjho A sthaLa choDIne govAmAM sthAyI thayAM, paNa sthAnika prajA to pUrvajonA sthAna upara rahI. chatAM navo vaMzavelo ane navI bolI udbhavI. A bolI oLakhAI Korlai Portuguese Creole. A bolI Azare IsvI 151pamAM udbhavI; porTugIjhonA prathama jUthe caulamAM karelA kArobAranA dAyakA pachI. A kholI (ke bhASA) adyApi ahIM pracAramAM che. porTugala sainya caula pAsenA dariyAI mathakanA- killAnA rakSako hatA. A baMdara IsvI 130 thI 1786 sudhI AMtararASTrIya vepAra mATe vikhyAta hatuM. 177 parantu varSonA pasAra thavA sAthe vidyamAna yuvAna peDhIne mahArASTra rAjyanI vahIvaTI bhASA marAThI zIkhavAnI jarUriyAta jaNAI ane zikSaNanuM mAdhyama Creole ne sthAne marAThI amalI banatAM saMskArasaMskRtinuM lolaka viruddha dizAmAM gayuM. AthI DaoN. kheDekare A saMskAra-saMskRti-rItarivAja jALavI rAkhavA sAru sthAnika prajAne samajAvI Eco-museum sthApavAnuM bIDuM jhaDapyuM che. sAmAnyataH saMgrahAlayoe sAMskRtika abhijJAnane saMrakSavAmAM udAsInatA darzAvI che evuM kahI zakAya. jo ke gUjarAta vidyApITha AdivAsIonI sAMskRtika oLakhANane surakSita rAkhavA sAru AdivAsI saMzodhana ane tAlIma kendra aMtargata Eco-museum prakAranuM saMgrahAlaya sAThanA dAyakAmAM sthApyuM che. mAyasoramAM 'phoka myujhiyama' A prakAranuM sarvottama saMgrahAlaya che. jo ke A to chUTaka chUTaka prayAso che. paNa prayAsonA guNAkAra pratyeka prajAnA saMdarbhamAM karavAno samayano takAjo che; khAsa karIne nAnAM jJAtijUthonA anusaMdhAne Ama karavuM itihAsa-saMskRtinI mAga che. Ama karavAthI je te jJAtijUthanAM sAMskRtika lakSaNo havenI peDhIne pratyakSa karavA hAthavagAM thavAM joIze. A paratve sthAnika rahIzoe agrabhAga pradatta karavAnI jarUra che. paitRka vArasAnI sAcavaNI itihAsanirUpaNanAM jAhera sAdhanono viniyoga hamezAM thato rahe che; parantu vyaktigata saMgrahamAM sthita (saMbhavataH surakSita) aitihAsika sAdhano anveSaNArthe ochAM upayogAya che; kema ke tenA For Personal & Private Use Only

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DaoN. raseza jamInadAra mAliko enA upara sarpa banIne beThA hoya che. daphtaro ane sikkAonA AvA upayoganI maryAdAno anubhava A lekhakane thayelo che. parantu samAjamAM kyAMka kyAreka apavAdarUpe ekAda rajatarekhA jovI prAsa thAya che. AvA eka anveSaNaparasta zakhsa che muMbaInA (paNa hAla pUNemAM) satIza honAvara jemaNe pitA vasaMta eca. honAvaranA vaibhava vArasAne prajApratyakSa karavA surakSita rAkhavAnuM rIkSaNika ane zodhanIya abhiyAna hAtha dharyuM jene pariNAme 130 nakzAno adbhuta saMgraha zodhakone hAthavago thayo ema khasUsa kahI zakAya. A 133 nakzAo taiyAra karavAno paravAno 1895mAM iMgleMDanI rANIe honAvara parivArane Apelo ane laMDananI Belle Sauvage Works nI Cassell and Company limiTeDe te chApyA hatA. nakazAono A saMgraha bhAratanA ane jagatanA parivartana pAmatA samoccarekhA (konTursa) vize bhAtIgaLa mAhitI saMprApta karI Ape che. A saMgrahamAM je nakzA surakSita che jemAM vividha sthaLa-pradezonI bhaugolika ane rAjakIya sImAo darzAvAI che. AmAM sekasonI rAjya, Alpsa, parziyA, haMgerI, pelesTAIna, konsTenTInopala, polinezayAI TApuo ane malaya TApuono samAveza thAya che. uparAMta bhArata ane AsapAsanA duSprApya nakzAo paNa che, jemAM lazkarI nakazo gauravabharyuM sthAna dharAve che. 178 satIza honAvara jaNAve che tema baMgALa lazkara, muMbaI larakara ane madrAsa lazkara hatA. baMgALa lazkara adhIna uttara-pUrvIya samagra paTTIthI kAzmIra sudhI; muMbaI larakaranA adhikArakSetramAM rAjapUtAnA ane madhya prAMto; to madrAsa lazkara hakUmatanAM raMgUna sudhIno vistAra hato. moTA bhAganA nakzAo tyAre larakarIvyUha mATe saMsthAnavAdIoe taiyAra karyA hatA. bhAratIya upakhaMDanA nakzAo abhUla rIte briTiza sAmrAjyanA citrane abhivyakta kare che. A uparAMta prANIjanya utpAdana, vAnaspatya utpAdana, jAtio, dharmo, tAranAM doraDAM, khristI mizanarI kendro ane relave aMgenA nakzAo che. honavara pAse amUlya lithogrAphsanA mahattvanI vyaktionAM evAM 40 citro che. bilorI kAcanI madadathI jovAthI A lithogrAphasanAM pratyeka rekhA, pratyeka biMdu spaSTa joI zakAya che, jenuM nirmANa laMDana sthita Vincent Brooks Day and Son Lith e kareluM che. A pratyeka nakzo chellA eka saikA uparAMtanA samayathI saMbhALapUrvaka sacavAyelo-surakSita rakhAyelo che ane temAMnA ghaNA nakzA sAthe akhabAranI kApalI paNa joDelI jovA maLe che. SAMBODHI svAbhAvika ja nakzAo kalAmarmajJo mATe AnaMdarUpa che; vaMzajo mATe amUlya saMgraha che. nakzAmAM gAma, nagara, zahera, rAjya uparAMta sAmAjika, rAjakIya, dhArmika ane lazkarI mahattva dharAvatAM sthAnono nirdeza pUrI cokasAIthI thayelo hoya che. AthI zikSaNamAM ane zikSaNetara pravRttiomAM For Personal & Private Use Only

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Vol. XXW, 2002 itihAsanA pariprekSyamAM keTalIka sAMprata etihAsika ghaTanAo 179 nakazAvAcana, nakazA-abhyAsa, nakazA-adhyayana mATenI jogavAI hovI joIe. pratyeka staranA vidyArthIne nakazAnA upayogathI paricita karavA jarUrI che. samayano A takAjo che. eka zilA-nirmita maMdiranuM jatana bhAratIya purAvastukIya sarvekSaNa dvArA gaI sadInA aMtima varSa daramiyAna madhya pradezanA maMdasora jillAnA dhamanAramAM sthita eka zilAnirmita maMdira ane traNa dharmonI guphAone vinAzamAMthI bacAvavA miSe eka saMkalpa hAtha dharAyo che-1935nA nezanala monyumenTa ekaTa anvaye. A dhatihya sthAna vilakSaNa ane bhAtIgaLa che. ahIM bauddha dharma ane zaiva tathA vaiSNava saMpradAyanA saha-astitvane sAcavatuM ane 7mI-8mI sadI daramyAna eka ja rolamAMthI kaMDArelAM maMdira deza samastamAM A prakAranuM ekamAtra sarvadharmasamabhAvane sAcavatuM aitihAsika sthAna che. uparAMta maMdiranirmANanI traNeya paddhati-vesara, nAgara ane draviDa-zikharanA bhAge ekasAthe jovI prApta thAya che. mukhya maThaguphAo DuMgaranA dakSiNa bhAge sthita che. chaThThA naMbaranI maThaguphA-je 'baDA kacerIthI khyAta che-mAM madhyabhAge moTo khaMDa (je vIsa corasa phUTano ane staMbhothI AdhArita) Avelo che jenuM chAparuM sapATa che. sAta corasa phUTanA traNa oraDA pratyeka bAjue AvelA che. varaMDA AgaLanA bhAge ane caityaguphA pachIte AvelAM che. AnuM sthApatya sAduM chatAM AkarSaka che. "samarAMgaNa sUtradhAra' nAmaka zilpagraMthamAM varNavyA mujabanAM badhAM dhoraNo A sthApatyamAM joI zakAya che ane 1842mAM sahu prathama jemsa ToDa ane phargyusane enI noMdha lIdhI hatI. DAyanosauranuM kabrastAna gujarAtamAM jenI kalpanAmAtra ApaNane sahune vizvasamastamAM romAMcita, Azcaryacakti ane bhayabhIta karI de tevuM sarIsRpa jUthanuM rAkSasI kAyA dharAvatuM prANI che DAyanosaura (kaho ke rAkSasI garoLI); jenuM astitva vartamAne mAtra asthio ane avazeSo pUratuM sImita che. gujarAta A rAkSasI kAyA dharAvatA ane lupta thayelA athavA nirvaza thayelA prANInuM kabrastAna che. mAnavInA akalpanIya AzcaryanI avadhi eTale DAyanosaura. A prANInI UMcAI Azare 60 phUTa ane laMbAI Azare 40 thI 50 phUTanI hoya che. gujarAtamAMthI sahu prathama paMcamahAla jillAmAMthI A nirvaza rAkSasI prANInAM azmibhUta iMDAM ane asthi-avazeSo bAlAzinora tAlukAnA raiyolI gAmethI 1984mAM hAthavagA thayA pachI avAranavAra A prANInA avazeSo gujarAtamAM anyatrathI vizeSa karIne kaccha jillAmAMthI hAtha lAgatA rahyA che. kayolImAMthI to 29 phUTa lAMbuM durlabha hADapiMjara maLyuM hatuM je jayapura myujhiyamamAM laI javAyuM che. A sthaLa DAyanAsauranAM IMDAM sevavAnuM sthAna hovAnuM kahevAya che. 199tnA phebruArInI pacIsamIe to kacchanI sarahade AvelA kuMvarabeTa khAtethI DAyanosoranuM smazAna maLI AvyuM, oIla enDa necarala gesa For Personal & Private Use Only

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180 DaoN. raseza jamInadAra SAMBODHI korporezananA bhUstaravijJAna vibhAganA prayAsothI. A bhUstaravijJAnIone ahIMthI je avazeSo hAtha lAgyA temAM DAyanosauranAM jaDabAM, paga, anya avayavono samAveza thAya che, jeno samaya prAgaitihAsika hovAnuM sUcavAya che arthAt AjathI 23 karoDa varSathI AraMbhI sADA cha karoDa varSa sudhI A prANInuM sAmrAjya vidyamAna hovAnuM sUcavAya che. eTale ke Triassic samayathI Cretaceous nA aMta samaya sudhI A prANI vidyamAna hatuM. bhUstaravijJAnIone kacchamAM DAyanosauranA je azmibhUta avaroSo maLyA te Azare 18 karoDa varSa jUnA hovAnuM jaNAya che. 1994mAM aMjAramAMthI sADA cha karoDa varSa jUnAM DAyanosauranAM IMDAM hAtha lAgyAM hatAM. A avazeSo (baoNrDara sikyoriTI phorsa) sarahada salAmatI daLanI surakSAmAM sacavAI rahyAM che. kamanasIbI e che ke A avazeSonA vijJAnI abhyAsa ke purAvastukIya abhyAsa thayA nathI. DAyanosauranA sarjanathI patana sudhInA vikAsane darzAvatuM, sAsyarU5 raheluM gujarAta ekamAtra sthaLa che evuM pratIta thAya che. paMcamahAlamAMthI maLelAM IMDAM paikInuM eka IMDu prAdhyApaka ra. nA. mahetAe A lekhakanA adhyakSapaNA heThaLanA gUjarAta vidyApIThanA itihAsa ane saMskRti vibhAga aMtargata bhAratIya saMskRti saMgrahAlayane bheTa AvyuM hatuM. bhArata sivAya vizvamAM anyatrathI AvA avazeSo hAtha lAgyA hoya to karoDonA kharce e paratve anveSaNo hAtha dharAya ane pariNAmo pragaTa thAya tathA DAyanosaura udyAnanuM nirmANa thAya. bhAratamAM-gujarAtamAM A kyAre zakya banaze? haThIsiMga saMsthAnuM preraNAdAyI kArya ApaNAM pUrvakAlIna aitihAsika-sAMskRtika smArakonAM jatana ane jALavaNImAM ApaNe UNA UtaryA chIe te to vijayanagaranA udAharaNathI ApaNe joI zakAya. AvAM udAharaNonA guNAkAra ApaNane itihAsanA pratyeka pRSTha uparathI thaI zakaze. paristhiti smArakonA jatana paratve dayAjanaka ane nirAzAjanaka hovA chatAMya there is a silver lining. amadAvAdamAM haThIsiMga heriTeja phAunDezana nAmanI A paratve sajAgatA dAkhavatI eka dhyAnArha saMsthA che. bIjI saMsthA che amadAvAda sosAyaTI phora heriTeja eNnDa envIronamenTala proTekazana. trIjI eka saMsthA che senTara phora envIronamenTala eDyukezana. A badhI saMsthAo amadAvAda sthita che paNa rASTrakakSAe pahela prathama AvI eka saMsthA zarU thaI ane te TUMkA nAme inTAkaINTACH)thI oLakhAya che. enuM AkhuM nAma che InDiyana nezanala TrasTa phaoNra ArTa eNnDa kalcaraNa heriTeja. to vizvakakSAe "varlDa heriTeja De" prati varSa UjavAya che. haThIsiMga heriTeja phAunDezanano hetu bhAratIya vidyA aMtargata badhI bAbatonuM anveSaNa karavuM ane eno abhyAsa karavo. A saMsthAnA upakrame 18-4-2000 nA divase heriTeja prIjharavezana kempaIna' hAtha dharAI hatI; jeno mukhyAlaya amadAvAda zaheramAMnI vaibhava-vArasAthI vibhUSita sthaLonAM jatana, saMrakSaNa, zikSaNa, jAgRti ane vikAsano rahyo che, jethI amadAvAdIomAM emane prApta thayelI vIrAsata paratve lagAva thAya, saMbaMdha baMdhAya ane gaurava prasthApita thAya. A saMsthAe zarU karelI jatana-jALavaNI For Personal & Private Use Only

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Vol. XXN, 2002 itihAsanA pariprekSyamAM keTalIka sAMprata aitihAsika ghaTanAo. 181 prakriyA 19-11-2000nA roja pUrI thaI; kemake A divase amadAvAda vAraso dina' tarIke UjavAya che. A kAryakrama aMtargata vizeSa karIne zAleya vidyArthIo (jeo amadAvAda zaheramAM dUra dUra vase che teo) asalI amadAvAdamAM potAnA mULa raheThANane oLakhI zake te hetu nihita rahyo che. jo ke je mahAvidyAlayomAM ItihAsa-saMskRtinA vibhAgo che temaNe purANA amadAvAdamAM AvelI koI ekAda aitihAsika sthAnane-ImAratane-smArakane dattaka laIne enAM jatana-jALavaNI karavAM jarUrI che. vizvavidyAlayanA ItihAsa vibhAge tathA bho. je. adhyayana saMzodhana vidyAbhavane, lA. da. bhAratIya saMskRti vidyAmaMdire, gUjarAta vidyApITha, keliko myujhiyame A paratve sakriya thavAnI jarUra che. to "vizva virAsata divase amadAvAda sosAyaTI phora heriTeja enDa enjironamenTala proTekzananA svayasevakoe amadAvAdanI bhAgoLe AvelI dAdA harinI vAvane sApha karI ane darzanalAyaka banAvI tathA A vAvanA ItihAsa vize lokajAgRti keLavAya tadarthe eka pradarzananuM paNa te sthaLe Ayojana karyuM hatuM. to senTara phora environamenTala eDyukezana taraphathI "sAMskRtika keDI (cultural trail)no dAyitvapUrNa kAryakrama ghaNAM varSothI hAtha dharAyo che, je aMtargata amadAvAdanI zALA-mahAzALAmahAvidyAlayanA thoDAka vidyArthIone pasaMda karIne "ahamadazAhI ahamadAbAda'nA kAryakrama heThaLa amadAvAdanA ItihAsamAM Domi karAvavAno sujJa prayAsa thAya che. A kendra taraphathI A miSe gujarAtI ane aMgrejImAM nAnakaDI pokeTa prakAranI sacitra mAhitI darzAvatI pustikA paNa pragaTa karI che. mahAbaLezvarano re khaMDa eka tarapha saMskAra-saMskRtinA vaibhava-vArasA paratve AvI udAsInatA jovAya che to anyatra jatana-jALavaNI paratve gaurava anubhavAtuM jovA maLe che. A bAbate jAgRti darzAvI mahAbaLezvara kalabanA TrasTIoe ane bombe enjironamenTala ekzana grupe. mahAbaLezvaranA pAristhitika ane paryAvaraNIya nukasAnane bacAvavA sAru baoNmbe environamenTala ekzana grupe 1998mAM muMbaInI vaDI adAlatamAM arajI karI ane vaDI adAlate rAjya sarakArane mahAbaLezvara-paMcagInI pradeza mATe heriTeja samitinI racanA karavA Adeza Apyo. kamiTIe ahIMnAM smArako ane prAkRtika sthaLonI yAdI sarakArane suparata karI ane ene baLa maLyuM kendra sarakAranA jaMgala ane paryAvaraNa vibhAga taraphathI jeNe 17-1-2001 nA roja mahAbaLezvarane pAristhitika saMvedanazIla vistAra tarIke jAhera karyo, te sAthe mAnavakRta imAratonA jatana sAru paNa hukama ryo jethI muMbaInI vaDI adAlatanA "vArasA-sthAnanA rakSaNa' vizenA Adezane baLa maLyuM. mahAbaLezvara kalabanA TrasTIo, jeo phere khaMDanA rakhevALa hatA temaNe, A makAna jamInadosta karI te sthaLe Adhunika imArata bAMdhavAne badale navembara 1999mAM zarU karI eka varSamAM cALIsa lAkhanA kharce phere khaMDanuM yathAvat kIrtine jALavatuM rInovezana kyuM ane jAnyuArI 2001mAM ene prajA mATe khulluM mUkyuM. For Personal & Private Use Only

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182 SAMBODHI DaoN. raseza jamInadAra phera isTa inDiyA kaMpanIno lokamAnya adhikArI hato ane satArAnA resiDanTa tarIke ane pachIthI muMbaI prAntanA gavarnara tarIke paNa rahI cUkyo hato. eNe 1850nA arasAmAM rei haoNla' bAMdhyo hato. AraMbhamAM briTiza adhikArIo ane emanA parivAra sAru mahAbaLezvara kalaba ane graMthAlaya prajA mATe khullo mukAyAM hatAM. kere khaMDa ghaNo vizALa che. enuM bhoyataLiyuM lAkaDAnuM che. chata DhaLatA chAparAthI yukta che. khaMDamAM be agnisthAna (bhaThI) che. bArIo vizALa che. pachItano varaMDA kAjhapaTTIothI zobhe che. mukhya khaMDanI pAse Azare traNa hajAra graMthono khajAno che. have phere khaMDa ItihAsanA smRticihanane prajA pratyakSa kare che. hiTalarI hatyAkAMDane vAgoLatuM smAraka bIjA vizvayuddha pachI AThamA varSe (1953mAM) ane IjharAyelanA svataMtra rASTranI sthApanAnA pAMcamA varSe jerUsalema pAsenA nIrava DuMgara upara baMdhAyeluM Yad Vashem smAraka Ajeya IjharAyalIonA manocittamAM ane vizvamAM kendrIya sthAna pAmI rahyuM che; aDatALIsa varSanAM vahANAM vAyAM chatAMya. A smAraka paDache nAjhIo dvArA thayelI sATha lAkha yahUdIonI bhasmahutinI AhanI smRti bhaMDArAyelI paDI che; vizvanuM mukhya smRtimaMdira ane anveSaNa kendra banI rahyuM che. A smArakano kendravartI uddeza loko ane tathyo uparanA jhokathI vyAsa che. jerUsalemanA prAkRtika taLazilA (bedrock) upara aDhI ekaranI jagyA upara A smAraka astitva dharAve che. samaye samaye eno vistAra thato rahe che ane cIjavastuonuM umeraNa thatuM rahe che. arthAt smArakane vikasatuM rAkhyuM chuM. hajI hamaNAM ja daphatarabhaMDAra ane graMthAlayanA vibhAgonI sthApanA thaI, jemAM 550 lAkha pRSTho dharAvatA dastAvejo ane 80,000 graMthone saMgRhIta karavAmAM AvyA che. evuM sUcita thAya che ke ijharAyelanuM A smAraka vizvamAM hatyAkAMDanI vigatothI bharapUra vizALa bhaMDAra che. smRtio-yAdonI A jIvaMta imArata che ema kahevAmAM atizayokti nathI. mahattvanI bAbata to e che ke prAthamika-mAdhyamika zALAnA pratyeka yahUdI vidyArthIne A smAraka batAvAya che jethI nAjhIonA hAthe thayelA vidhvasIya nuksAnane peDhI-dara-peDhI jIvaMta rAkhI zakAya ane pUrvajonI zahAdatanI jyotane akhaMDa jvalita rAkhI zakAya. kahevAya che ke pratyeka varSe traNa lAkha jeTalA mulAkAtIo A smArakanI mulAkAta le che. AthI vartamAna smArakane traNagaNuM moTuM banAvAI rahyuM che jemAM badhI ja Adhunika Diple TekanikanI suvidhAo anusmRta haze. paMdareka mahinA pUrve InTaranezanala skUla phora holokosTa sTaDIjha' nAmano vibhAga zarU thayo. anujIvI (hatyAkAMDanI vinAzaka jhaMjhAvAtamAMthI saddanasIbe bacI gayelA) loko For Personal & Private Use Only

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Vol. XXN, 2002 ItihAsanA pariprekSyamAM keTalIka sAMprata etihAsika ghaTanAo.. 183 jema jema cira vidAya laI rahyA che tema tema bhayAnaka hatyAkAMDa paratveno abhigama parivartana pAmato rahe che. bIjA vizvayuddha pachI Azare pAMca lAkha yahUdI loko ijharAyela AvyA ane emAMthI be lAkha jeTalA hajI vidyamAna che. uparAMta yuropa ane amerikAmAM rahetA yahUdIo vizeSamAM. A smAraka amArA sAmUhika oLakhANanuM pratIka che. eDolpha hiTalara (1889 thI 1945) nAjhI netA hato ane jarmanIno cAnselara (pramukha) hato (1933 thI 1945). te Apakhuda rAjakAraNI hato ane yahUdIonA AvA akalpanIya narasaMhArano e vidhAtA hato. bIjA vizvayuddha daramyAna (1939 thI 1945) jyAre barlina upara soviyeTa raziyAe kabajo jamAvyo tyAre kahevAya che ke hiTalare ApaghAta karyo hato. jerUsalemanuM Yad Vashen smAraka hiTalaranAM kArAM karatUtonI ane yahUdIonI rAhAdatanuM smAraka che. ( vizALa vizva vistAre smRtione anujIvIoe (survivors) vahetI mUkI che; vizeSa to cittakozamAM saMgharI rAkhavAne sthAne teo tene zabdastharUpa bakSe che. 1970nA dAyakAmAM pratyeka varSe thoDIka smRtiSNAo pragaTa thaI hatI. paNa have prativarSa baso-aDhIso jeTalI smRtiSpAo vizvastare pragaTI rahI che. uparAMta phoTAo, avazeSo, yuddhakAlIna, kalAsarjano ityAdithI smAraka samRddha thatuM jAya che. "Hall of Names no vibhAgamAM 60 lAkhamAMthI 50 lAkha zahAdatIonI vyaktigata mAhitI komyuTaramAM sAcavavAmAM AvI che. mosesanI pratimA vebakemerAmAM vijJAnanI zodho amaryAda che, satata vikasatI rahe che. samaye samaye vijJAnanA viziSTa unmeSo ApaNane hAthavagA thatA rahe che ane keLavaNInA ane abhirucinA abhigamo parivartita thatA rahe che. graMthAlayo, saMgrahAlayo, daphtarAlayo ityAdi keLavaNInAM kendronI vyAkhyA badalAtI rahe che, balake vistaratI rahe che ane enA hetuo bhAtIgaLa thatA jAya che ane vijJAnanI zodhone kAraNe upalabdha thatAM jatAM vividha upakaraNono viniyoga keLavaNInA pratyeka kSetramAM vikAsonmukhanA saMdarbhe vyApakapaNe thato rahe che. ahIM ApaNe AvuM eka udAharaNa mAIkala enjalonA hAthe ghaDAyelI mojhejhanI pratimA Ten Commandments nA patha para AkAra laI rahI che. mAIkala enjalo (1475-1564) ITAlIno kavi, sthapati, zilpI ane citrakAra hato. enuM AkhuM nAma hatuM Michelangelo Buonarroti. eNe mojhejhanuM zilpa kaMDAreluM hatuM. romanA vinacolI carcamAM sthita A pratimA lokonuM mukhya AkarSaNa banyuM na hatuM. paNa mojhejha resTorezana projekTa sAkAra thaze tyAre vebakemerA mojhejhanI pratimAnA pratyeka aMganI jhINI vigato vizvasamastamAM For Personal & Private Use Only

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DaoN. raseza jamInadAra SAMBODHI. i-mulAkAtIonI pratyakSa thaze; dA.ta. dADhI, jhabhbho, zarIra ityAdi. loTomeTikAnA phebrIjhIyo menIcelAnA jaNAvyA mujaba A bAbate inTaraneTa navuM ane sakSama mAdhyama che. ane enA upayogathI vizvaprajA sudhI amArI zodhone pahoMcADIzuM; jethI loko pratimAnA pracchanna itihAsane, tenAM Adhunika arthaghaTanone jANI zakaze. 184 Ama to, popa juliyasa bIjAe mAyakela enjelone mojhejhanI pratimA kaMDAravAnI javAbadArI soMpI hatI. parantu anyathA te kArya zarU thaI zakyuM nahIM je 1513mAM juliyasanA avasAna pachIthI zarU thayuM; ane traNa varSamAM mojhejhanI pratimA taiyAra thaI gaI. A pratimA eTalI badhI lokapriya banI ke pratyeka rAjakumAra potAnI AvI pratimA banAvavA icchatA hatA. bauddha mUrtiono dhvaMsa sAMskRtika vaibhavI vArasAnAM jatana ane jALavaNI paratvenI keTalIka ghaTanAo ApaNe avalokI. jagatamAM jeno vartamAne joTo jaDavo muzkela che, balake azakya che. evI aitihAsika-sAMskRtika pratimAonA dhvaMsanI ghaTanA aphaghAnistAnamAM tAlikhAna zAsakoe AcarI batAvI. AvuM duSkRtya ane teya sarakAra dvArA asaMbhava. chatAM tAlibAnoe AvuM adhama kRtya ane teya jaMgalIyAta bhareluM karyuM tene vakhoDavuM zuM ? yunonA pratinidhio paNa tAlibAnone Ama na karavA samajAvavAmAM niSphaLa rahyA. evuM kahI zakAya ke saMskArabhASA ke saMskRtinI bhASA tAlibAno samajatA nathI. vizvasamastanAM akhabAroe tAlibAnonA A hevAniyata kAryane vakhoDyuM che. 'bAmiyAnanuM mRtyu' evuM nAma A ghaTanAne ApavuM joIe. A kRtya mAnavajAtanA itihAsamAM ghAtakI, dAruNa, AparAdhika, amAnuSI, AsurI ane akalpanIya banI raheze. tAlibAno islAmI che, ane tAlibAna sarakAra islAmane nAme kArobAra calAvavAno dAvo kare che. islAmamAM mUrtipUjA niSedha che ema kahIne khAmiyAnanA khaDakomAM kaMDArelI virATakAya be buddhapratimAono dhvaMsa karyo. ATalethI saMtoSa na thatAM aphaghAnistAnamAM anyatra sthita saMgrahAlayomAMnI bauddha pratimAono vinAza paNa karyo. tAlibAnanA eka pravaktA saiyada hAzamInA jaNAvyA mujaba 'bAmiyAnano vidhvaMsa e bAbarI masjidanA dhvaMsanI javAbI kAravAI che.' paNa A dalIla yogya nathI; kema ke aphaghAnistAnamAM A pUrve paNa muslima zAsakoe rAja karyuM che. payagaMbaranA khudanA senApati khAlida bina vAlIde bAmiyAna upara jIta prApta karI tyAreya payagaMbare vidhvaMsano hukama karyo na hato te jJAta che. zariyata anusAra 'jUnAM sthAnako toDavAM nahIM ane navAM bAMdhavAM nahIM" evuM kaTTarapaMthI musalamAna bAdazAha auraMgajhebe banArasanA brAhmaNone ApelA pharamAnamAM spaSTa nodhyuM che. muslima tavArIkhamAM noMdhAyuM che ke sikaMdara lodIe kurukSetramAMnAM purANAM hindu sthAnakonA dhvaMsanuM lakSya banAvyuM hatuM tyAre ulemAe te islAma viruddhanuM kRtya hovAno Adeza For Personal & Private Use Only

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Vol. XXV, 2002 itihAsanA pariprekSyamAM keTalIka sAMprata etihAsika ghaTanAo... 185 ApatAM sikaMdare IccheluM lakSya rokavAmAM AvyuM hatuM. jo ke islAmI zAsana daramyAna kayAMka kyAMka maMdiro ane mUrtionA vidhvaMsanI vigato ItihAse noMdhI che, paNa tAlibAnanI vartamAna sarakAranuM pagaluM ane emanI dalIla aitihAsika nathI tema islAmika paNa nathI. hA, islAma khasUsa butaparastI (eTale mUrtipUjAnI viruddha) che. paNa bAmiyAnanI buddhapratimAo to apUja che ane tethI vizeSa aitihAsika che ane vizvasamastano amUlya sAMskRtika vaibhavI vAraso che. tAlibAnonuM vartamAne sadya kRtya mUDhAcArathI saMlagna che; tethI khudA rAjI nA thAya. payagaMbarane prArthanA karavAno mArga to sAttvika ane tattvaniSTha hovo jarUrI che. eTale islAmanA pariprekSyamAM ke kurAnanI AyAtonI daSTie tAlibAnanA kRtyanI TIkA sahaja che. emano dharmaprema ke emanuM butaparastI valaNa niMdanIya che. koI paNa dharmano e haka nathI banato ke te anya dharmanA vinAzano ja vicAra kare. "apUja pratimAo to zuM, tAlibAno rItasaranAM hindu maMdiro jamInadosta kare to paNa ene vAjabI TheravI zakAya evI koI bhUmikA nathI' evuM insTiTyUTa opha onTekaTIva sTaDIjhanA pravaktA mohammada majUra AlamanuM vidhAna dhyAnArha banI rahe che. jANItA vicAraka DaoN. guNavaMta zAha emanA 7-4-2001 nA patramAM lakhe che : svIDana jaI Avyo. tyAMnI eka strI aphaghAnistAnanI buddha-pratimAo jovA varSo pahelAM gayelI. tyAMnA sau muslima grAmajano e pratimAono "zAhamAmA' tarIke lADathI Adara karatA; mAnatA paNa rAkhatA... Iti. sAra eTalo ja ke tAlibAnonuM A adhama kRtya udAramatavAdI muslimone paNa svIkArya nathI. A to kadarapaMthI ane islAmanA tattvane nahIM samajanArA tathA ItihAsanI upayogitAnuM ajJAna dharAvatA thoDAka bhAna bhUlelA muslimonuM kAranAmuM che je vizvasamasta vakhoDyuM che. tAlibAna netA mullAha mohammada omare 26mI phebruArI 2001nA roja phatavo bahAra pADIne evI jAherAta karI ke aphaghAnistAnamAM bhagavAna buddhanI vizvakhyAta mUrtio ane dhArmika zilpakAma sahitanI anya tamAma mUrtio islAma virodhI che eTaluM ja nahIM tethI islAmI kAnUnanuM avamAna thAya che. tAlibAnanI dhArmika samitie Adeza bahAra pADyo ke dezamAMnI tamAma mUrtione toDI pADavI ane tenA hIrAmANeka-jaDita TukaDA paNa kacarApeTImAM nAMkhavA. kema ke kiMmata tenA mAlika mATe hoya, islAma mATe nahIM. A bhAvanA kevaLa ItihAsanI nahIM, balake pratyeka dharmanI vibhAvanAnI viruddhanI che. trIjI ane pAMcamI sadI daramyAna girimALAmAMthI kaMDArelI A baMne buddhapratimAno tA. 1-3-2001nA roja topagoLAthI vinAza ane kAbUla saMgrahAlayamAM surakSita Azare cha hajAra jeTalA bauddhalAnA avazeSono nAza viSetihAsamAM misAla maLavI-zodhavI azakya che. For Personal & Private Use Only

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186 DaoN. raseza jamInadAra SAMBODHI gurudeva ThAkuranuM bAvaluM premamAM - kavivara ravIndranAtha ThAkura (1861-1941) vizvamAnya sAhityajJa hatA kema ke emane sAhityano nobela khitAba 1913mAM emanA graMtha "gItAMjali" mATe enAyata thayo hato tyArathI pazcimanI daSTie ThAkura bhAratIya sAhityika virAsata'nA pratIkarUpa sthAna pAmyA hatA. Ama to emane bhAratanA guIye ane bhAratIya punarjAgaraNanA lIyonArDo da vinsI tarIke abhijJAta karAyA che. kalA, sAhitya ane jIvanamAM ravIndranAthane bahurAsannatAnA paryAya tarIke navAjavAmAM Ave che. joke ApaNI e kamanasIbI che ke ThAkura vizvavikhyAta banyA pachI ApaNe emane gharaAMgaNe oLakhyA. ahIM kavivara ane gurudeva ThAkurane yAda ApaNe sahetuka karyA che. tAjetaramAM ceka ripabliknA bhAratIya elacIe preganA meyarane ThAkuranuM uttarAMga bheTa ApyuM. ravIndranAthe 1921mAM preganI mulAkAta lIdhI hatI. emaNe tyAre tyAM je pravacana ApeluM te emanAM kAvyothI sabhara hoI enI pragADha asara sarakAra Leos Janacek upara evI thaI ke emaNe ThAkuranAM kAvyone saMgItamAM maDhI lIdhAM. eTaluM ja nahIM cArlsa yunivarsiTInA (yuropanI atipUrvakAlIna 1342mAM sthapAyelI) InsTiTyUTa ov inDiyana sTaDIjhanA niyAmaka prAdhyApaka Jaroslav Vacek nI pAse Janacek e karelI saMgIta rekorDanI anAmata che. prAdhyApaka Jaroslav nA mata mujaba vIsamI sadInI vidAyaveLAe cekanA boddhiko mATe ThAkura bhAratIya saMskRtinA pratinidhirUpa saMmAnya che. pregamAM bhAratIya elacI kacerIthI bahu dUra nahIM evI eka poLanuM nAma ThAkura sAthe saMlagna che ane tyAMnuM vahIvaTataMtra ThAkuranuM uttarAMga tyAM kyAMka prasthApavA icche che. haMgerI paNa ThAkurane mahAna saMskAraelacI tarIke sanmAve che. paraMtu parziyAI kavi hAphijhanI kabara pAse ravIndranAthanA phoTogrAphanI upasthitine kevI rIte joIzuM? zirAjhamAM AvelI hAphijhanI kabaranI mulAkAta kavivare 1932mAM lIdhI hatI tenI A smRti hoI zake. citramAM ThAkurane hAphijhanA graMthane kholI rahelA batAvAyA che. tyAre evI paraMparA hatI ke koI mahAna kavinI kRtimAMnA eka pRSThane kholavuM ane enI prathama paMktionuM raTaNa karavuM. ThAkura ene anusaryA. zreSTha kavitA kevI preraNAnuM pariNAma hoya che evuM kahevAyuM che. vIsamI sadImAM bhAratamAM-gujarAtamAM phArasInuM adhyayana-anveSaNa ghaNA umaLakAthI thatuM hatuM. gAlibe phArasImAM lakhelA enA sarvottama patro enA hindu mitrone saMbodhita thayelA che. vArANasIne varNavatuM enuM dIrgha kAvya phArasImAM che. ThAkuramAM sarvarASTravAda ke vizvabaMdhutvanuM je rakta vahI rahyuM hatuM teNe temane bhAratanA sagha sanmAnIya kavi tarIke upasAvyA hatA ane tethI ja vizvamAMnA kyAMka ne kyAMka lattAnA nAma tarIke ke kyAMka bAvalArUpe kavivara AvakArAyA che. turkInA vaDApradhAna Bulent Ecevit nA aMgata graMtha saMgrahamAM For Personal & Private Use Only

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Vol. XXV, 2002 itihAsanA pariprekSyamAM keTalIka sAMprata aitihAsika ghaTanAo... 187 ThAkuranA 'gItAMjali' graMthanuM hovuM e emanA ThAkurakAvyanA premaparastInuM ghotaka udAharaNa che. A vaDApradhAne gItAMjalinuM bhASAMtara karyuM che. baMgalAdezamAM seMkaDo zALAonAM ane anya saMsthAomAM ravIndra saMgItane zIkhavavAmAM ane gAvAmAM Ave che. ThAkura eTale yunivarsala kavi. dvArakA maMdira saMkulamAM anya maMdiranA avazeSo dvArakA bhAratIya saMskRtinuM mahAtIrtha che. kheDA jillAnA ThAsarA tAlukAmAM AveluM DAkora ane jAmanagara jillAmAM AveluM dvArakA vaiSNava saMpradAyanAM mukhya kendro che. mathurAmAM janmelA zrIkRSNanI karmabhUmi gujarAta hatI. mathurAnA zAsakothI trAselA yAdavo zrIkRSNanI salAhathI gujarAta AvyA ane samudrataTe vaselI pUrvakAlIna kuzasthalI nagarInA purANA durgane samarAvI tyAM dvArAvatI nagarI vasAvI hatI. te AjanuM A dvArakA. A sthaLa aitihAsika, sAMskRtika ane dhArmika mahattva dharAve che. tIrtha tarIkeno teno mahimA to che ja; sAthosAtha zrI Adya zaMkarAcArye bhAratamAM cAra dizAmAM sthApelA saMskRtirakSaka cAra maThomAMno eka maTha ahIM che. AthI A tIrthasthaLa kRSNabhakti ane zivabhakti ubhayanA upAsako mATenuM mahattvanuM dharmakendra che. 'jagata- maMdira' tarIke khyAta dvArakAdhIzanuM maMdira ahIMnA maMdirasamUhamAM mukhya AkarSaNa che. ahIMthI bhAratIya purAvastu sarvekSaNa saMsthAnA purAvidone, vartamAna maMdiranA astitva dharAvatA daravAjAne toDI pADavAnI prakriyA daramyAna, AThaso varSa purANA viSNu maMdiranA avazeSo hAtha lAgyA; gaI sadInA aMtima varSanA pUrvArdha daramyAna. saMbhavataH vartamAna dvArakA maMdiranuM nirmANa thayuM tyAre A viSNumaMdira toDI pADavAmAM AvyuM hoya. daravAjAnA vizALa staMbhone jamInadosta karavA samaye AThathI nava phUTa jADI dIvAla hAtha lAgI che jene pariNAme viSNumaMdiranA avazeSo surakSita rahyA hovAnuM sUcavAya che. AthI evuM sUcita thAya che ke dvArakA maMdira saMkulanuM nirmANa vividha samaye thayuM hoya jemAM viSNumaMdiranA hAthavagA thayelA avazeSo AThaso varSa pUrva samayanA jyAre mukhya maMdira Azare sADAcAraso varSa pUrvenuM hovuM joIe. kuSANakAlanuM bauddhasaMkula zodhAyuM jammu pradezanA sAMskRtika itihAsanA punarnirmANane upayogI evI prathama vAra bauddhasaMkulanI zodha bhAratIya purAvastu sarvekSaNanI saphaLatAnuM ghotaka che. jammu jillAnA akhtara pAsenA aMbarAna pAsethI upalabdha thayelA A avazeSo kuSANakAlanA hovAno purAvidono mata che. cenAba nadInA kinAre sthita anUrane A zodhathI mahattvanuM bauddhadharmanuM kendra hovAnuM sUcita kare che. IsvInI pahelIthI cothI sadI daramyAna A kendra dhyAnArha astitva dharAvatuM hatuM. ahIMthI 1920nA dAyakA daramyAna vizvavikhyAta 'anUra TerAkoTA'no A vistAra hovAno pratyaya thAya che. For Personal & Private Use Only

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188 Do. raseza jamInadAra SAMBODHI anUranA aitihAsika zahera pAse jammuthI aThThAvIsa kilo mITaranA aMtare sthita aMbarAnano vistAra 1920nA dAyakAmAM tyAMthI saMprApta thayelA pakvamRttikA mastakanA avazeSothI jagakhyAta thayelo. pakvamRttikAmastako lAhoranA saMgrahAlayamAM surakSita che. lAhora myujhiyamanA tatkAlIna kyUreTara cArlsa phebrIe 1950nA dAyakAmAM aMbarAnA vistAranI mulAkAta laIne sAbita kareluM ke pakvamRttikAnAM zilponuM A janmasthAna che; ane vizvavyApI dhyAnAkarSaNa baneluM A sthaLa gaMdhArakalAnuM lAkSaNika kendra hatuM. ahIMthI pakvamRttikAnAM khaMDita zilpomAM AMgaLIo, caherAo ane zarIranA anya aMgopAMgonA avazeSono samAveza thAya che. uparAMta mATInAM ThIkarAM, vATakA, jhArI, rasoI pAtra paNa hAtha lAgyAM che; je kuSANakAlIna bauddhasthaLa hovAnuM sUcave che. vizALa bauddha vihAra saMkula (jemAM mahAtUpa sAthe saMlagnita mAnyatAnA nAnA stUpo) IzunI pahelI bIjI sadI daramyAna nirmANa pAmyAM hovAnuM jaNAya che. enAba nadImAM samayAMtare AvatA pUrathI A purAvastukIya sthaLane sAruM evuM nukasAna thayeluM che. ahIMthI prApta zilpo buddhanA jIvananA vividha prasaMgone pratibiMbita kare che. 3000 varSa pUrvenuM hADapiMjara hemavatI naMdana bahuguNA gaDhavAla vizvavidyAlayanA purAvastuvidone gaI sadInA aMtima varSanA pUrvArdhamAM gaDhavAlanA DuMgaromAM sthita malArI gAmethI prAgaitihAsika yuganuM eka mAnavahADapiMjara hAtha lAgyuM. gaDhavAla ane kumAunA DuMgaronA vistAramAM gaDhavAla yunivarsiTInA purAvido taraphathI cAlI rahelA utpanana daramyAna A puruSa- hADapiMjara maLI AvyuM hatuM jenA AdhAre prAdhyApaka vinoda notiyAla jaNAve che ke gaDhavAla himAlayI pradezane pASANayuga sAthe sAMkaLI zakAya. AthI anumAnI zakAya ke A pradezamAM mAnavajIvana tyAre astitva dharAvatuM hatuM. cha phUTanI UMcAI dharAvatA A hADapiMjara uparathI evuM sUcita thAya che ke himAlayanA A vistAramAM koI jAtinA mAnavo tibatta thaI AvyA hoya ane malArI gAma gaDhavAla-tibatta sarahada upara AveluM che. A vistAramAM mAnavajIvana IzunI sAtamI sadI pachI astitvamAM hatuM evI mAnyatA A hADapiMjaranI zodhathI nirmULa thAya che. kumAu pradezanA saranA-baseDI vibhAgamAMthI pASANayuganAM thoDAMka hADapiMjaro paNa hAthavagAM thayAM che. pASANayugathI 14mI sadInI mAnavavasAhata vize prakAza madhya pradezanA mahAsamuMda jillAmAM mahAnadInA kAMThethI gaI sadInA chellA varSanA madhyamAM vikhyAta purAvastukIya sthaLethI pASANayugathI AraMbhI alAuddIna khalajInA samaya sudhI (14mI sadI)nA For Personal & Private Use Only

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Vol. XV, 2002 itihAsanA pariprekSyamAM keTalIka sAMprata aitihAsika ghaTanAo.. 189 mAnavavasAhatanA avaroSo hAtha lAgyA che. rAyapurathI pUrvottara paMcAsI kliomITaranA aMtare AvelA sirapura sthaLethI prAgaitihAsika mAnave (Azare be lAkha varSa pUrvakAlIna) upayogelAM pASANa-ojAro zodhI kADhavAmAM AvyAM che. A ja sthaLethI jitala nAmaka dvibhASI sikkAo paNa hAtha lAgyA che je alAuddIna khalajIe (1296 thI 1316) paDAvyA hatA. A bahumUlya ane alabhya evA avazeSo evA sthaLethI upalabdha thayA che jyAMthI agAu vizALa bauddha vihAra (bhikSuNIonA nivAsasthAna sahita) ane suMdara zivAlaya zodhAyAM hatAM. A baMne dharmAlayonI imAratonA pAyAnA paththaro kALA ziSTanA ane upanuM bAMdhakAma ITarI hovAnuM jaNAyuM che. A badhA pUrvakAlIna avazeSo samakAlIna saMskRtinI sAhedI pUre che. paththaranAM hathiyAro vihAranA nIcalA starathI eka mITaranI UMcAIethI prApta thayA che, jyAre sikkAo jamInanA upalA stara uparathI maLI AvyA che. sikkAonI saMprApti cokkasa samayano nirdeza kare che, kema ke te dvibhASI che ane alAuddIna khalajIno spaSTa ullekha kare che. AthI prastuta sthaLa caudamI sadI sudhI mAnavavasAhatathI dhamadhamatuM hatuM. mAnavavasavATanI A uttara sImA che. to pASANa ojAro lIluDI dharatInA starathI eka mITara nIcenA kaMkarastaramAMthI hAtha lAgyAM che jeno samaya Azare be lAkha varSa pUrveno aMkAya che. AthI mAnavavasavATanI A pUrvasImA che. bhAratIya purAvastu sarvekSaNa saMsthAnA sthAnika kAryAlayanA Do. ema. ilyAsa kudsI ane Do. jI. esa. khAjAe A sikkAo uparanuM lakhANa A mujaba ukelyuM che : sulatAna-ula-ajhamaallAudunyavAda-dIna eka tarapha che; to sikkAnI bIjI bAju vartulanI bahAra zrI sulatAna alAuddIna ane aMdara mohammada zAha vaMcAya che. saMskRta varNa zrI-no nirdeza ahIM dhyAnArha bane che. ahIM e noMdhapAtra bane che ke akabaranA cAMdInA eka prakAranA sikkAnA agrabhAgamAM jamaNI tarapha mukhavALA dhanuSadhArI rAmanI UbhI pratimA ane temanA DAbA hAthe sItAnI UbhI AkRti kotarelI che. jahA~gIranA keTalAka sikkAnA pRSTha bhAgamAM sUryanuM cihna prApta thAya che. mahamUda ghorIe enA sonAnA eka prakAranA sikkAnA agrabhAge beThelAM lakSmIjInI AkRti kotarAvI hatI. enA dehalIvAla prakAranA sikkA upara naMdInI AkRti paNa jovA maLe che. AthI pratyaya thAya che ke muslima sulatAno ane pAdazAhomAMnA ghaNA, vijita pradezanA, rItarivAjone zakyataH sanmAnavAno prayAsa karatA hatA tyAre temane islAmI kAnUna aMtarAyarUpa banatA na hatA. sirapura khAte thayelA purAvastukIya utpanane eka mahattvanI paNa rasaprada ane bhaugolika hakIkata ApaNI pratyakSa karI che ane te che vinAzaka bhUkaMpano pahela prathama purAvastukIya purAvo; je vaDe AThamI sadInA aMtamAM thayelA bhUkaMpathI verAyelA vinAzanI hakIkato ApaNane saMpaDAvI ApI che. For Personal & Private Use Only

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190 - DaoN. raseza jamInadAra SAMBODHI ulbananIya purAvAoe darzAvyuM che ke mahAnadInA pazcima vibhAgamAM bhUkaMpanuM uddabhavakendra hatuM. A utnananathI hAtha pAmelA be aitihAsika smArakonI pUrvIya dIvAlo bhUkaMpane kAraNe jamInadosta thaI hovAnI sAbitI prApta thaI che. bhUkaMpanI bhayAnaktAnI cADI khAya che. vizALa prastarakhaMDamAM paDelI pahoLI tirADo. bauddhAlaya ane zivAlayanI imArato vibhinna samaye baMdhAI hovA chatAMya eka ja vaijJAnika paddhatino viniyoga enA nirmANamAM thayo hato ane te e ke baMnenuM bAMdhakAma pUrva tarapha 23 DigrInA pharakanuM hatuM. A baMne AlayonI dIvAlo uttara-dakSiNa baMdhAvAne sthAne pUrvottara ane dakSiNa-pazcime hatI. ahIMnI bhUgoLano abhyAsa karavAthI A dIvAlonA 23 DigrI pharakanuM (deiationnuM kAraNa e che ke ahIMnA vistAranuM sthAnavarNana (TopogrAphI) sUcita kare che ke mahAnadIno kendrIya pravAha dakSiNa-pazcimathI uttara-pUrvano che tethI. AthI tatkAlIna sthapatioe nadInA pravAhane bhavananirmANamAM dhyAnamAM lIdho hoya ane thus the underlying fault to escape the fury of quakes and waves. A vistAramAMthI pahelI vakhata bauddhavihAra sAthe bhikSuNIo mATenAM nivAsakhaMDonuM astitva hAthavaguM thayuM che. bauddhavihAra traNa garbhagRhayukta hatuM. madhyanA garbhagRhamAM doDha mITaranI aka zilAnirmita bauddhapratimA padmAsanastha che ane bhUmisparza mudrAmAM che. zeSa be garbhagRho saMbhavataH anukAlIna jaNAya che, je mukhya garbhagRhanI pUrve ane pazcime AvelAM che, ane te baMnemAM bodhisattvonI pratimAo che. A garbhagRhamAMthI saMprApta 32 se.mI. lAMbo ane 30 se.mI. vyAsa dharAvato eka vizALa lohaghaMTa rasaprada zodha kahI zakAya. garbhagRhamAMnI chatamAMthI hAtha lAgelo hUka A lohaoNTane laTakAvavAnA hetusara hoya. ahIMdhI zodhAyelo A ghaMTa bauddhavihAramAMthI hAtha lAgelo sahu prathama ghaMTa che. bhikSuNIo mATenA AvAsa, soLa staMbhoyukta maMDapathI kendramAM nirmANa pAmelA che ane tene pharate dakSiNa, pazcima ane uttaramAM khaMDonI hAra AvelI che. 2-40 mITara lAMbI ane 2-00 mITara pahoLI evI kula 12 oraDIo zodhI zakAI che. bhikSuNIonA upayogArDe baMdhAyelI TAMkI paNa zodhAI che. A vihAranuM vadhu eka AkarSaNa che enI killebaMdhI. ziSTa zilAkhaMDothI nirmANa pAmelo A killo rA mITara jADo ane 250 x 220 mITaranI dIvAlathI rakSita che. vihAranI dakSiNa-pUrva tarapha zivAlaya AveluM che. A zivAlayamAM maMDapa, adhamaMDapa ane garbhagRhano samAveza thAya che. A zivAlayamAM yonipITha ziSTa pASANanuM che ane temAM 1.20 mITara UMcuM zyAma grenAITamAMthI ghaDeluM zivaliMga che. naTarAjanI AkRti, zivanuM mastaka, mahiSAsuramardinI ane For Personal & Private Use Only

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Vol. XXv, 2002 itihAsanA pariprekSyamAM keTalIka sAMprata aitihAsika ghaTanAo.. 191 bhAlA ane tIranAM lohanAM mAthAM A zivAlaya-saMkulamAMthI hAtha lAgyAM che. A baMne ImAratomAMthI moTA jaththAmAM mATInAM nIlalohita vAsaNo paNa hAtha lAgyAM che. bauddhavihAranA pAyAnA paththaro upara pAlimAM keTalAka akSaro utkIrNa che je kaDiyAnI oLakha saMpaDAvI Ape che. pharonI kabara ane grIka-mIya cirAbonI zodha ijiptanA pirAmIDo, surakSita zabo (mummies) ane phiksa (mAnavapazuyukta prANI) vizvavikhyAta che ane jagatano vaibhavI sAMskRtika vAraso che. ijisano pUrvakAlIna saMskRti-itihAsa jagatanA sAMskRtika itihAsanuM eka aneruM ane adakeruM AbhUSaNa che. AvA purAvastukIya khajAnArUpa IjiptamAMthI tyAMnA purAvidoe eprila be hajAramAM Pharaonic zAsakanI kabara ane sauthI vadhu gIkaromIya surakSita zabo zodhI kADhyAM che. gijhA pleTonA niyAmaka Zahi HawassnA netRtva heThaLa vIsa sabhyonI purAvidaTukaDIe zaktizALI paNa rahasyamayI phArohAsama zAsaka Eyuf nI kabara umarAvonA kabrastAnasaMkulamAMthI (jenI zodha 1930nA dAyakAmAM kerothI dakSiNa pazcimamAM 400 ki.mI.nA aMtare sthita Bahriya raNadIpamAMnA Bawii sthaLethI) zodhI kADhavAmAM AvI che. Bahriyah no meyara Eyuf phArohaApris (I. pU. 598 thI 500)nA zAsana daramyAna 26mA vaMzano hato; ane teNe raNadvIpamAM eprila nAmaka devAlaya baMdhAvyuM hatuM. agAu Eyuf nI kabara zodhavAnA ghaNA niSphaLa prayAso thayA hatA. 1930nA dAyakAmAM ijirI purAvida Ahmed Fakhry e umarAvonuM kabarasaMkula zodhyuM hatuM paNa teya Eyuf nI kabaranuM sthAna zodhI zakyA na hatA. phakhrInI kabarasaMkulanI zodhanA eka dAyakA bAda Eyuf nI saMbhavita kabaranA sthAna upara grAmajanoe makAno banAvyAM hatAM. paraMtu eprila 2000mAM havAsane tenI kabara zodhavAmAM saphaLatA prApta thaI. daza mITara UMDI Eyuf nI A kabarane kAraNe prAMtIya meyara vizenA rahasyane pragaTa karavAmAM saraLatA raheze. A saMbhavita rahasya e che ke Gad Khensu Eyuf bindhAsta rIte potAnA jIvana daramyAna rAjAonI jema potAne abhivyakta karato hato. Eyuf nI kabarathI daza kilomITaranA aMtarethI havAsane 102 mamIo sAta kabaromAMthI hAthavagI thaI che. A mamIo cha corasa kilomITaranA vistAramAMthI maLI che ane je grIka-romIya samayanA chevaTanA bhAganI jaNAya che. khaDakamAMthI kaMDArelI guphAomAMthI prApta surakSita zabo hajIya raMgIna dekhAva saMpaDAve che. AmAMnuM eka strI-zabanA peTamAM bALaka-zaba surakSita che to bIjA zabanuM mahoruM sUcita kare che loko pUrvakAlIna ijisI devone artha arpaNa kare che. zabone surakSita rAkhavAnI paddhati uparathI temano samayanirdeza sUcavI zakAyo che. Eyuf nI pASANazabapeTI 12 TananI che ane tenA upara zailautkIrNa citro zobhe che ane Eyuf nuM meyara tarIkenuM pArthacitra paNa kaMDAreluM che. chellA sarvekSaNa For Personal & Private Use Only

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192 DaoN. raserA jamInadAra SAMBODHI mujaba A vistAramAM Azare daza hajAra mamIo daTAyelA hovAnuM sUcavAya che. limadhAno hajIro ane tenA khajAnA vironI mAnavavRtti mAnavavRttine koNa pAmI zakayuM che? mAnavamanane pArakhavAnuM kArya AkAzakusumavat gaNAyuM che. ApattimAMthI paNa dhanaprAptinI manuSyaceSTAnuM tAjetaranuM udAharaNa che gujarAte anubhavelo bhUkaMpa. saujanya 26-1-2001. A aMtima udAharaNa nathI tema pahela prathama paNa nathI. khAsa to sAMskRtika vaibhavanA vArasAno caurya ane vijya karIne dhanaprAptinI mAnavamurAda, anyatra to khabara nathI paNa, ApaNA dezamAM eka rASTrIya lakSaNa che ema kahIe to khoTuM nathI ane karuNAjanya ane ciMtApreraka bAbata to e che ke kyAMka kyAMka rakSaka ja (ahIM abhipreta che kyUreTara-vastupAla) bhakSaka banIne vArasAno vinAza kare che, tyAre nirakSara ane vArasAvaibhavanI upayogitAthI ajANa (?) lokonI to vAta ja zI karavI? chellA be dAyakAthI AvI eka pravRtti ApaNA rAjya gujarAtamAM cAlI rahI che ane na to rAjya sarakAra ke na to bhAratIya purAvastu sarvekSaNa saMsthA A pravRttine rokavA sakriya che. dAhoda jillAmAM rAyaNiyA gAmamAM lIdhA hajIrAthI sthAnika lokomAM jANItI eka masjida che. saMbhavataH 1499mAM nirmANa pAmelI A masjida kahevAya che ke eka muslima sUbA likhakhAne baMdhAvelI hatI. maMdirane dharAzayI banAvIne kahevAya che ke A masjidanI racanA thaI hatI. tyAre rAyaNiyA samRddha gAma hatuM. dAhodathI dilhI jatI veLA sUbAo rAyaNiyAmAM rAma pharamAvatA hatA. jo ke A vizenAM daphataro-dastAvejo upalabdha nathI ane masjidano itihAsa to rahasyathI AvRtta che. parantu A masjidanI nIce khajAno daTAyelo che evI lokvAyakAthI chellAM 27 varSathI gAmaloko rAtri daramyAna suvarNa sikkAnI saMprApti mATe masjidanI aMdara khADA khodIne niSphaLa prayAso karatA rahyA che. keTalAke masjidanI jADI dIvAlomAM bAkorAM pADyAM che. atratatra vikharAyelI ITIkAmanI toDaphoDa karI che. uparAuparI be dAyakA lAMbI niSphaLatA chatAM gAmalokone AzA che ke kyAreka to khajAno hAthavago thaze ja. khAsa to svapnamAM thayelI preraNAthI paNa dhanaprApti arthe masjidamAM toDaphoDa thAya che. masjidanI dIvAlo ane bhoMyataLiyAnuM sUkSmAvalokana sUcita kare che ke khajAno zodhavA miSe ahIM keTakeTalA prayAso thayA hatA. A prayatnonA silasilA paratvenI vArtA evI che ke eka vRddhagrAmajanane eka vakhata A masjidamAMthI suvarNasikkAono khajAno hAtha lAgyo hato. ane tethI svapna sAkAraicchukonA nasIba zikArIonA prayatno avirata thatA rahe che. savAla to che sAMskRtika virAsatasamI A paMdaramI sadInI masjidanuM koI raNIdhaNI nathI. nathI muslima saMsthAo kazuM karatI, nathI zikSaNa saMsthAo A paratve jAgrata. For Personal & Private Use Only

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193 Vol. XXV, 2002 itihAsanA pariprekSyamAM keTalIka sAMprata aitihAsika ghaTanAo... jalIya purAvastuvidyA - eka AvazyaktA itihAsa ane saMskRtinA nirUpaNamAM purAvastukIya utnananathI ane sthaLatapAsathI prApta sAmagrI vadhu vizvasanIya ane zraddheya puravAra thaI che, kema ke saMprApta avazeSo tatkAlIna samAje jeno viniyoga ane upayoga karyo hato te ja khaMDita ke akhaMDita ke avazeSa svarUpe ApaNane hAthavagA thAya che. Ama to, purAvastuvidyA eka nIvaDeluM vijJAna che, je ekAMgI nathI, paNa bahujaMgI che ane jenA vikAsamAM ane anveSaNamAM bahumukhI pratibhA dharAvatA vividha viSayanA vijJAnIonI anivArya AvazyaktA hoya che. mukhya javAbadArI itihAsa ane saMskRtinA prakhara adhyetAonI hoya che. temanI sahAyamAM, bhUgoLavida, vanaspativiTha, abhilekhavida, kalAvida, rasAyaNavida, purArakSaNavida, nakazAAlekhanavida ityAdi niSNAto hoya che. purAvastuvidyAnAM vividha aMgo che : sthalIya purAvastuvidyA, jalIya purAvastuvidyA, nistAra purAvastuvidyA, havAI purAvastuvidyA, aitihAsika purAvastuvidyA vagere. bhAratamAM govAmAM paNajImAM 'nezanala insTiTyUTa oNva ozanogrAphI saMsthA ghaNAM varSothI kAryarata che. A saMsthAno eka vibhAga marAIna ArkiyaoNlaoNjI" (samudrIya purAvastuvighA) ke anDaravoTara ArkiyolaoNjI' (adhojaLa purAvastuvighA) nAmano che, je mAraphate jaLamAM surakSita purAvazeSonI zodha thatI rahI che. A vibhAga mAraphate gujarAtamAM pazcimI dariyAkAMThA najIka dvArakA pAse DUbelI dvArikAnA avazeSo gaI sadInA chellA caraNa daramyAna zodhavAnA saphaLa prayAso thayelA tenAthI ApaNe abhijJa chIe. atyAra sudhI dilhI sthita bhAratIya purAvastu sarvekSaNa saMsthA ane tenI prAdezika zAkhAo . kevaLa jamIna aMtargata purAvastuonAM utpanana karatAM hatAM. jalAMtargata purAvastuonI zodha enA hastaka na hatI. paNa aDhI dAyakAnA puruSArthI prayAso pachI have A saMsthA marajIvAnuM kArya hAtha dharavA sajja thaI che. A saMsthAmAM adhojaLa purAvastuvidyA vibhAga' eka karoDanA bajeTathI phebruArI 2001 thI astitvamAM Avyo che. A vibhAganA upakrame dariyAkAMThAnA jalIya vistAromAM surakSita TApuo, vahANo ane anya khajAnAonI zodhanA kAryakrama hAtha dharAze. hAla turata muMbaInA dariyAkAMThA najIka samudramAM AvelA 'eliphanTAnI guphAothI oLakhAtA aitihAsika sthaLa pAse dariyAmAM DUbelA TApu vize, lakSadvIpa pAsenA baMgarAma TApu najIka vahANanA bhaMgara vize ane pUrvIya samudrakAMThe mahAbalIpurama pAse jalasamAdhistha maMdiro vizenI zodha karavAno upakrama hAtha dharAyo che. aDhAramI sadImAM bhAratIya dariyAkAMThA pAse Azare 2600 vahANo DUbI gayAM hovAnI mAnyatA che. Azare pAMcaso jeTalAM moTAM vahANonA bhaMgAra hAtha lAge evuM bhA. 5. sa. saMsthA mAne For Personal & Private Use Only

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194 DaoN. raseza jamInadAra SAMBODHI che. me 2001mAM hAtha dharAnAra vahANoja saMkalpamAMnuM vahANa aDhAramI sadInuM yuropIya vahANa hovAnuM jaNAya che. vahANano dhvaja hajI hAtha lAgyo nathI paNa prAthamika sarvekSaNa daramyAna pakvamRttikAnI pratimAo ane tAmravAsaNo hAtha lAgyAM che. eliphanTAnI guphAo pAsenA dariyAmAMnA vahANanAM bhaMgAra romIya hovAnuM sUcavAya che kema ke ahIMthI romIya eNmphorA zodhI zakAyA che. dastAvejo evuM sUcita kare che ke ahIM 'zrIpurI" nAmano samRddha TApu hato. romIya vahANa mauryakAlIna hovAnuM kahevAya che. ajaNayuga astikanI rAzi pASANayugIne mAnava aNaghaDa hato, asaMskRta hato, nirakSara hato evI ApaNI sAmAnya mAnyatA che. paratu lothalanA ukhananathI prApta avazeSoe pahelaprathama ApaNane A yugano mAnavI vADhakApanI kriyAthI abhijJa hato te bAbata hAthavagI karI ApI. ahIMthI prApta navadaza varSanA bALakanI khoparI rephination no ajoDa namUno hovAnuM sUcita thAya che. tyAre eTale AjathI sADA cAra hajAra varSa pUrve bALako phepharuMnA rogano bhoga banatAM haze ane tatsaMbaMdhI zastrakriyAno A dAkhalo saMbhavataH vizvano pUrvakAlInatama hovAnuM sUcita thAya che. (lothala eNnDa dha InDasa sivilijhezana, 1973, pR. 149-50). arthAt lothalanA loko zalyataMtrathI (sarjarIthI) jJAta hatA. parantu arabI dvIpakalpanA yAyAvara vasAhatIo AjathI sAta hajAra varSa pUrve zalyataMtrathI jJAta hovAnI bAbata jarmana purAvidonI TukaDIe zodhI kADhI che. vikhyAta mAnavazAstrI Henrike kiesewettese presa konpharansamAM 14-4-2001nA roja A mAhitI prajA pratyakSa karI. eNInA kahevA mujaba zastrakriyAnAM sAdhano tyAre astitvamAM na hatAM. parantu tIkSNadhArI pASANanI madadathI khoparI kholavAmAM AvatI hatI. jarmana purAvikonI TukaDIne IsvI pUrva 5000 thI 4200nA samayagALAnI eka khoparI hAtha lAgI che jenA AdhAre mastiSkanI zastrakriyA jevI atyaMta nAjuka prakriyAthI A mAnavo abhinna hovAnuM sUcavAya che. pUrvIya erebiyAnI pUrvakAlInatama khyAta Jebel Al Bahis nA kabrastAnamAMthI pASANayuganA aMtima tabakkAno samaya darzAvatI A khoparI zodhI kaDhAI che. A sthaLa have zArajaha emirATanI hakUmata heThaLa che. khoparInI jamaNI bAju upara kANuM pADIne oNparezana karAyuM hovAnuM jaNAya che, je jJAta sAdhano mujaba vizvanuM pUrvakAlIna mahAna oNparezana hatuM. khoparImAM paDelA kANAnA adhyayanathI puravAra thAya che ke bahu buddhipUrvaka tema karAyuM hatuM ane te dardI be varSa jIvyA hovAnuM hADakAMnA vikAsa uparathI sUcita thAya che. bebhAna karavA sAruM vanaspatiya saMvedanAhavA vaparAI hovAnuM jaNAya che. vadhu anveSaNa hajI apekSita che. mahAbhAratanI tADapatra hastaprata japAnamAMthI hAtha lAgI For Personal & Private Use Only

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Vol. Xxv, 2002 itihAsanA pariprekSyamAM keTalIka sAMprata aitihAsika ghaTanAo... 195 itihAsa satata vikasatI prakriyA che, kemake te miSenAM sAdhano vAranavAra hAthavagAM thatAM rahe che, zodhatAM rahe che. AthI itihAsanAM parimANonAM pariNAmo satata badalAtAM rahe che. Ama itihAsanI prakriyA jIvaMta che. tAjetaramAM UDiyA (utkalI) bhASAmAM racita ane tADapatra upara utkIrNa mahAbhAratanI hastaprata japAnanA be prAdhyApakone japAnanA eka maMdiramAMthI hAtha lAgI : Kyoto vizvavidyAlayanA Hojun Nagasaki ane Nobuyuki Haswara jyAre A hastaprata anvaye bhuvanezvara doDI AvyA tyAre A mAhitI saMprApta thaI. Kyoto vizvavidyAlayanI pAsenA eka purANA maMdiramAMthI 16mI sadInI A hastaprata A be prAdhyApakone traNa varSa upara hAtha lAgI hatI evuM bhuvanezvaranI utkala yunivarsiTInA UDiyA bhASA vibhAganA vaDA prAdhyApaka esa. ena. dAsanuM mAnavuM che. A tADapatrIya hastapratanuM nAma che "saralA mahAbhArata', kema ke tenAM racayitA saralA dAsa che ane te emaNe 14mI sadImAM lakhI hatI. Dandibrutta lipimAM ane UDiyA bhASAmAM lakhAyelI A hastaprata cAraso varSathI te maMdiramAM hovA chatAM koIne khyAla nA Avyo ke A zuM che ane ahIM te kyAMthI AvI che paraMtu prA. hojuna nAgAsAkI bauddhadharmanA abhyAsI hatA, bihAramAM adhyayana karyuM hatuM ane UDiyA bhASA upara kAma kareluM. temaNe A bAbate vizeSa ruci dAkhavI ane vizvavidyAlayanA viSaya niSNAtonI madadathI te 'saralA mahAbhArata" che evI jANakArI maLI. alabatta A hastaprata saMpUrNa nathI; ane tenuM punarlekhana bIjA lekhake 15mI sadImAM karyuM hovAnuM jaNAya che. baMne japAnI prophesaro japAna AkhuM ghUmI vaLyA. A hastaprata vizenI mAhitI meLavavA ane UDiyA anveSaka zobhArANI dAsanI sahAyathI te mahAbhAratanI hastaprata hovAnuM jAhera thayuM. For Personal & Private Use Only

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"CAMUNDI" OF HARSACARITA OF BANA A CRITICAL REVIEW1 Dr. SUDARSHAN KUMAR SHARMA Bana in his Harsacarita while dilating upon the caution of Skanda Gupta made to Harsavardhana against his all-confiding disposition, refers to an accidental happening against Puskara the king of Camundi whose life was sipped by the spying soldiers of the army of the king of Campa. This happening historical event as it does striks, needs a detailed examination as to who king proper the Lord of Campa was and it also needs the identity to be proved of "Camundi" a place, a capital or a country proper whose king / one named Puskara was fond as he was of hunting Rhinoceroses who normally have their abundance in the country of Kamarupa / Pragjyotisa, modern Assam. A review of the history of Anga and Kamarupa along with the place proper Camundi shall have to be taken up to arrive at the identity proper of the terms quoted above. E. B. Cowell and F. W. Thomast in their English Translation of Harsacarita translate the lines as under : "The life of the chase-loving Puskara King of Camundi was sipped while he was extirpating rhinoceroses, by the lord of Campa's soldiers ensconced in a grave of tall stemmed reeds". Suryanarayana Chaudhari in his Hindi translation says (English version given below). "The king of Camundi Puskara, was very fond of hunting. At the time he was killing rhinoceroses, that very moment, the soldiers ambushed within the forest of reeds of lofty stalks, brought about the end of his life. "S Jagannatha Pathaka says :"The soldiers of the king of Campa sitting having ambushed within the For Personal & Private Use Only

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Vol. XXV, 2002 "CAMUNDI" OF HARSACARITA OF BANA 197 forests of reeds having tall stalks put an end to the life of the Lord of Camundi named Puskara who was engaged in killing Rhinoceroses." R. D. Karmarkar in his "Bana"7 says NAME RESULT (19) Puskara (Lord of City Camundi) Was killed in the Nala forest addicted to hunting by the army of the king of Campa. Jivananda Vidya Sagara edition tika says8 "Uddandeti Uddandani Udgatanalani nadvalesu nadabhuyisthadesesu yani nala vanani --- tesu nilinah sugudham sthitah Campeti Campa-dhipasya tadakhyanagari pateh camusu senasu caranti bhramanti tisthantiti yavat tathoktah bhatah virah campadhipa sainikah ityarthah mtgayasaktasya akhetavyasaninah gandakan"gandara" iti vanga bhasaya prasiddhan khadginah mathnatab vyapadayatah ityarthah Camundi pateh - Camundi nama nagari tasya patih isvarah tasya puskarasya tadakhyasya rajnah pranan jivanam acemuh bhaksayamasuh" Sankara's sanketakhya tika' only gives a sanketa i.e. an indication. "sandakah khadgadyah Praninah Camunditi nagari nama acemurabhaksayan" P. V. Kaneo in his Notes Says : Canlakah - A Rhinoceros. Uddandam-High stemmed, nadvalam abounding in reeds. Nalavana-Forest of reeds. Campa was the capital of Anga or North Bengal Camum Carantiti Carah Bhatah Camundi seems to have been the name of city. Dilipa Kumara Kanjilal in his article -- "Ancient Indian Geography in Banabhatta" has quoted this incident at Foot Note No. 100 but has not explained its historical value. He has only quoted Campa as a city, on the Bhagirathi four miles to the west of Bhagalapura and as one of great six cities of the time of Buddha. He quotes Mahaparinirvana Sutra mentioning Campa as one of the great cities of the time. 12 Dr. Yugal Kishore Mishra13 in his article "ANGA: ITS NAME AND EXTENT" has illustrated the point that the kingdom of Anga comprised the modern districts of Bhagalapura and Monghyr and extended northwards upto Kosi river and included western portions of the district purnia. It also included some parts of modern Santhal Pargana of Bihar. Quoting Santiparva of Mahabharata he says :Anga had also extended its supremacy over Magadha. He also quotes a king For Personal & Private Use Only

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198 Dr. SUDARSHAN KUMAR SHARMA SAMBODHI Brahmadatta of Anga having defeated Magadha and conquered Rajagriha. 14 Mahabharata Santiparva XXIX refers to one Brhadratha as the king of Anga15a Angasya Yajamanasya tada Visnupade girau"16 -- Likewise indicates the area of Magadha having a Visnupadagiri distinct from one referred to in the Mahrauli Iron pillar inscription of Candra (Candragupta Vikramaditya of Gupta regime). Kalidasa in his Raghuvamsa VI 27-3017 refers to Anganatha coming as a suitor for Indumati, having his elephants trained by the Professors of elephantine science but does not name him to allow the critic to trace out the name of the king who occupied the throne of Campa in the Gupta period. S. A. Sabnis18 in his Kalidasa, his style and his times, and Dr. Bhagavat Sarana Upadhayain his "Kalidasa ka Bharata", Dr. V. V. Mirashi20 in his Kalidasa, Dr. Dimbesvara Sharma21 in his "An interpretative study of Kalidasa and Vagisvara Vidya-lankara22 have all ignored the point of identification of Angaraja and Anganatha of Kalidasa. Bana has definitely alluded to an incident having happened during the time of turmoils and that certainly seems to be one detailed by Dandi in his Dasakumara-carita wherein he has centred his activity of political events around the welfare and security of Angaraja Simha Verma for whose safeguard he has concentrated the achievements of Rajavahana son of King of Magadha along with the other princes namely Apahara Varma, Upahar Verma, Mitra Gupta, Arthaapala, Visruta, Puspabhava, Pramati and Somadatta who symbolises the participants of the intercecine struggle going on in the post Gupta epoch having Magadha-Malava conflict for regainment of the supremacy. Dandi ultimately solves the riddle by ensuring the supremacy of Magadha in collaboration with Angaraja Simha Varma having demolished the invidious moves of the forces of Malava Kings who did not have a sacred intention though an intention to usurp what they were not capable of because of their unrighteous tendencies. Hence we shall have to concentrate on Simha Varma as Angadhipa of Bana who happened to have the first-hand knowledge of political happening wherein Camundi Pati Puskara fond of killing Rhinoceroses was killed by the secret spies of the forces of Angaraja. Puskara a definite name given by Bana also affords us a cue to the surmise that he must have seen a king of an area where the forests infested by Rhinoceroses were not very far away so as to enable him to reach there from his own capital Camundi. Dandi in his Dasakumaracarita (Kathabhage) Ucchvasa two, mentions "angesu gangatata bahiscampayan23 clearly indicating the point that Anga country in his times had Campa for its Capital and the shores of Ganga were For Personal & Private Use Only

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Vol. XXV, 2002 "CAMUNDI" OF HARSACARITA OF BANA 199 on the outskirts of Campa. His clear allusion "Campesvarena Sinhavarmana Sahopagatya Dhanamitrah Pranipapata"24 clearly alludes to the fact that Anga having capital for Campa had Simhavarma for its overlord. He refers to the king of Mithila as Prahara Varma25, Kalingaraja as Kardana 26 Andhranatha as Jaya Simha27, Vidarbharaja Punyavarma having son for Ananta Varma and grandson for Bhaskarvarma28 hailing from Bhoja Vamsa Utkalapatih Pracanda Varma29, king of Kusumapuri as Ripunjaya30Suhmapati as Tungadhanva". Keeping in view the security and progress of Anga-Magadha confederacy regaining its lost prestige from the Malavaraja Manasara defeated and killed, Dandi has given only those kings' names who come directly into conflict in collaboration with Malavaraja and those who combined in confederation with the Magadharaja Rajahamsa defeated in a second encounter by Malavaraja having Angaraja entrapped but got released by his son Rajavahana working in communion with the nine princes who ultimately joined him in Campa, a fact pointedly corroborating the point that Simha Varma the sovereign Lord of Anga was the next to kin ally of the Magadharaja to the throne of Malava (the latter having Ujjayini as its capital whom he ultimately in line with the other nine princes had ordered an independent role of subsidiary vassals to Rajavahana, his son. "atah Puspapura rajye manasara rejye ca rajavahana mabhisicya Avasistani rajyani navebhyah Kumarebhyo yathoditam Sampradaya."33 As already observed by me in my earlier papers. "nasikyamadhya Paritas' Caturvarna Vibhusita, astika citpuri yasyam astavarna hvayah srpah34this verse of Dandi should evidently refer to Campa (nasikya madhya puri) and not to kanci as held by jivananda Vidya Sagars35 in his Vyakhya because the absolute anxiety displayed by Dandi in his Dasakumara carita for the security of the life and kingdom of Simhavarma Angaraja with whose help Magadharaja Rajahansa and his son Rajavahana managed to create a neutral spot a nepathya where to collect ultimately after individual victories against the ailing kings whose administration had all types of corrupt practices prevailing as such earning thereby the name of Romance of Roguery to the work DKC actually an effort on the part of Dandi to ensure a unified administrative unit having supremacy of paramount sovereign. Dandins allusion to "Kamandaka" in line with Kautilya36 and Bana's borrowing of his first verse from Dandi.37 For Personal & Private Use Only

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200 Dr. SUDARSHAN KUMAR SHARMA SAMBODHI "Caturmukha Mukhambhoja Vanahansa Vadhurmama. manase ramatam nityam sarvasukla Sarasvati" occurring only in the Calcutta Edition but missing in Bombay edition followed by others such as P. V. Kane, Jaganatha Pathaka, Suryanarayana Chaudhari, E. B. Cowell and F. W. Thomas, and even Dr. V. S. Agravala, prompts one to conclude the posteriority of Bana to Dandi who flourished in all probability after Kamandaka and contemporaneously or before or even after Visnusarma who wrote his Pancatantra as a grand father of the donee of the Tandivada grant which was issued from Pistapure of Ancient Kalinga (5th century A. D)38 as held by Dr. Sarat Candra Behera in Indian Historical Quarterly Volume XXXVIII 2-3, June-Sept. 1962, pp 160-167. The fact of handing over the kingdom of Magadha and Malava to his son by the Magadha overlord as per Dandi's assertion in Dasakumara carita the possibility of handing over the sole monarchy of Malaveto Simha Varma (originally Angaraja) as an ally and subsidiary confeduate, is not an impossibility. That is why in post Gupta panegyrics of Naravarman (Mandasor Prasash) we find one Simha Varma, Son of Jaya Varma and father of Naravarma,39 (and in Gangadhara Lekha of Visva Varma40 dated Malava Samvat 480 i. e. 423 A. D.) we find Visvavarma as the son of Naravarma reigning as subsidiary, vassals holding supremacy in their own territories (Jaya Varma narendrasya pautre devendra Vikrame Ksitise Simha Varman-ah Simhavikkrant gamini, satputre srimaharaja nara Varmani Parthive" and sriman-abhuva naravarmma nrpati Prakasah-tasyatmajah- bhuvi Visva-Varmmaa. Obviously Naravarma's time tallies with that of Candragupta II Vikramaditya of Gupta dynasty and that of Visva Varma with that of Kumara Gupta I, the successor of Candra Gupta II in so far as Mehrauli Iron Pillar Inscription of Candra (Candra gupta II Vikramaditya)" is dated 413 A D. and Bhilasad Pillar Inscription of Kumara Gupta I is dated Gupta era 96 i. e. 415 A. D.42 Sinha Varma father of Naravarma dating his Inscription as 404 A. D., obviously comes much earlier in the reign of Candragupta II whose Sanchi Pillar Inscription is dated Gupta Era 93 i.e. 412 A. D.", and Udaya Giri Gupta lekha is dated 82 Gupta era i. e. 401 A. D.) and Mathura Pillar Inscription is dated Gupta era 61 i. e. 380 A. D.44 Dandi as the acquaintance of Sinha Varma Angaraja holding sway over Malava, by all means becomes a contemporary of Candra Gupta II or Kumara Gupta and even Skandagupta whose Junagadha Inscription is dated Gupta era 136 i. e. 455 A. D.)45 For Personal & Private Use Only

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Vol. XXV, 2002 "CAMUNDI" OF HARSACARITA OF BANA 201 and Indore Inscription is dated 146 i. e. 465 A. D.,46 Kahaum Pillar Inscription is dated 460 A. D."7 In any way Dandi cannot be placed posterior to Bana and positively he can have referred to the days of Kumargupta Bandhu Varma, and even Yaso-varman-Visnuvardhana (532 A.D.) being their contemporary at the most and not at all posterior to them. Hence "CampadhipaCamu-Cara bhatah" of Bana in Harsa Carita Ucchvasa VI quoted above 18 can easily refer to Sinha Varma of Dandin's Dasakumara Carita as the Angaraja who might have had the chance to combat some Camundipati Puskara whom his army-spies could have taken the opportunity to do away with while he was engaged in hunting of rhinoceroses apprehending he might have the knack to usurp Angas having Campa as their Capital. Regarding the name referred to by Bana as the king of Camundi we can say for certain that Bana means by him a king in the annals of history quite closer to his epoch and not to one a son of Naksatra, a father of Antariksa(bhavita marudevo'tha Sunak-satro, the Puskarals" or one among the sons of Durvaksi and VIkaso" taksa puskara'saladin durvaksyam Vnkadadhe" or one among the sons of Kesnasi "puskarah veda bahusca sruta-devah Sunandanah" nor does he mean to refer to puskara a younger brother of Nala52. We even cannot think of his allusion to Bharata's son named as Puskara in Ramayana53 - Raghuvamsa XV. 8954. "Bharatsya tmajau virau taksah puskala eva ca" and "Sah taksa puskalau Putrou rajadhanyastadakhyayoh. abhisicyabhisekahau ramantikamagatpunah. Almost quite pertinently Bana has referred to all the incidents or accidents happened as such in the period ranging between the time of the sixteen Mahajanapadas down to the one closely anterior to his own times. Hence we shall have to bank upon some king of an age not very distantly removed from his own times. Gupta and post-Gupta period appears to be the most reasonable period when such an accident might have happened. "Kasmirah Puskarakah"55 of Visakhadatta alleuding to Puskaraksa as a king of Kasmira in the day of Candra Gupta Maurya and even earlier when Canakya contrived to bring Candragupta Maurya by counter posing the covins of Raksasa can hardly have any bearing for an identity of Puskara, Camundipati. Candapura, Chayenpur, five miles to the west of Bhabua in the district of Shahbad in Bihar may tentatively be taken to be the ancient Camundi referred For Personal & Private Use Only

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. 202 Dr. SUDARSHAN KUMAR SHARMA SAMBODHI to by Bana-because the famous batte described in the Candi between Kali and the two kings Sumbha and Nis-umbha is said to have been faught in this place. Markandeya Purana (chapter 85 Verses 41, 42, 43, 54) refers to the scene of battle as Himacala.56 Vamana Purana (chapter 55) places it in Vindhyacala. The name of Canda pura according to Nando Lal Dey57 is derived from the name of one of the two brothers Canda and Munda who were the generals of the two kings. The Caumukhi Mahadeva and Durga in a temple at Mundesvari are sai have been established by the other brother Munda. Mundesvari is seven miles South west of Bhabua. The temple according to Dr. Bloch is very old, the carising being of the Gupta style. (Bloch's archaeological Report (1902). The temple bears a date which is equivalent. to A. D. 635. Vamana Purana takes the two as generals of Mahisasura who were killed by the goddess Bindubhasini on the Vindhya mountain. "Candamundi mahasthane dandini Paramesvari"58 in the postscript of Sakta pathas of Dr. D. C. Sircar quoting Devi Bhagavata VII. 385.30 L.27 refers to Candi at Mahasthana, identified as modern area in the Bogra district of north Bengal by Dr. D. C. Sircar himselfs being earlier Pundravardhana, now in East Pakistan (Bangladesh since 1971). D. C. Sircar also identifies Anga as comprising the present Bhagalapura-Manghyr region of East Bihar having head quarters at Campa Bhagalpura. Karusa he identifies with Shahbad region of South West Bihar6o while commenting as the topic "The Eight elephant forests" and refers to "Kalinganga rajahsresthah pracyas-Cedi Karusajah"61 R. P. Kangle61 corrects it to "Kalinga-riga gajah sresthah. in his note to English translation. I. Ganapati sastri's ed. p. 117 has the reading Kalinganga gajahs sresthah62. Kalinganga desod-bhavas gajah. This makes us take a point in view that Candamundi could be the original name of Camundi taken as such by Bana or may be a scribal error like so many visible in Sanskrit manuscripts. Sandhyakaranandi in his Rama Carita63 the Dvayasraya Kavya bearing the descriptions of Sita and Varendri refers to Anga as bowing law before Varindri. For Personal & Private Use Only

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Vol. XXV, 2002 "CAMUNDI" OF HARSACARITA OF BANA 203 "Sukalapayita Kuntala ruci mavi lalata Kantimavandmadangam. adharita karnateksena lila dhrta madhya desa tanimanamapi." Varendri according to Dr. D. C. Sircar comprises of parts of North Bengal forming a portion of Gauda western and north western areas of Bengal the original home of Kulluka bhatta the commentator of Manu Smrti. Gaude nandana Vasinamni Sujanair Vandye Varendryam Kule. Srimadbhatta divakarasya tanayoh kulluka bhatto 'bhavat. Kasyamuttare vahijahnu tanaya tire Samam Panditaih teneyam Kriyate hitaya vidusam manvartha muktavali".65 The notes to Rama Carita III-24 add a colophon. "Varendri" before which the Anga country remained always bent low, Anga, where Ramapala's maternal relatives Mahana and others ruled always remained dominated by Varendri.66 Ramapala the king of Palas in whose praise Ramacarita has been written reigned in second half of eleventh and first quarter of 12th century A. D.67 Mahana or Mathana the maternal relative of Ramapala reigning at Anga can give us a cue to the point that in centuries fifth and sixth A. D. Sinha Varma could have been the ruling king. And as per contention of Dr. D. C. Sircar Anga comprised of present Bhagalapura Monghyr regions of East Bihar havind head quarter at Campa near Bhagalpura and Karusa (Karusa or Karusa) was identical with Shahbad regions of South West Bihar the identity of Camundi with Candamundi alias Candapura or Chayenpur five miles to the West of Bhabua, in the district of Shahbad in Bihar may be a reality having puskara as a subsidiary king addicted to hunting of Rhinoceroses in Assam Bihar border areas was killed by the spies of the armies of king of Campa Sinha Varma. Gandiman66 or Candimau, a village situated on the old road from Silao to Ciriyek in Bihar sub division of the Patna district at a distance of about three miles from the Giriyak police station having a number of fine Buddhist images" may be the exact identification of Camundi. But Candamundi appears to be a better point from the linguistic corruption point of view of Process of Hapology which is understood as such. For Personal & Private Use Only

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204 SAMBODHI Dr. SUDARSHAN KUMAR SHARMA NOTES 1. Paper presented to A.I.O.C. Session Forty One Jagannatha Puri University Puri (Orissa) 752 001. 2. Retired Principal M. R. Govt. College Fazilka HIG Block 61-B-3, Sector-VI Parwanoo * 173 220. 3. Mrgaya Saktasyaca Mathnato Gandakan Uddanda nadvala nala nilinasoa Campa.. dhipa Camu-Carabhatah Camundi pateh acemuh pranan puskarasya. Harsa Carit VI. p. 696 LL 1-3 Calcutta edition edited by Asutosa and Nitya-bodha, two sons of Bivananda Vidya Sagar along with their commentary AMALA IVth ed: 1939 (ONVSE) Printed at Vacaspatya Press Calcutta. P.V. Kane's ed. P51 LL 7/9 Motilal Banarsi Dass Bunglow Road, Jawahar Nagar, Delhi 110007. Second edition 1965 (PVKE). Nirnayasagara Press ed. p. 199 LL 17-19 with Sanketakhya tika of Sankara Kavi Edited by Kasinatha Panduranga Paraba 7th ed. Reedited by Narayana Ramacarya Kavya tirtha published by Satya Bhamabai Panduranga 1946 (NSPE) Jagannatha Pathaka's edition p. 354 L 7-9 Chowkhamba Vidyabhavana, Varanasi 221001, 1972 printed by Vidya Vilasa Press. 4. The Harsacarita (HC) of Bana p 194 LL 1-3 Motilal Banarsi Dass Bungalow Road Jawahar Nagar, Delhi 110007. 1961 By arrangement with Royal Asiatic Society of London published by Sundar Lal Jain and printed by Shanti Lal Jain at Jainendara Press. 5. Uchhvasa VI p 88 LL 10-13 published by Sanskrit Bhavana Kathautiya P. O. Kajha District Purniya (Bihar). First ed. June 1948, Part II Uchhvasa V-VIII printed by Sh. Apurva Krsna Vasu Indian Press United Banaras Branch. 6. JNPE p. 354 Hindi translation lines 8-9. 7. Karnataka University, Dharwar, 1964 published by Sh. S. S. Wadeyar Registrar and printed by D. V. Ambekar at Arya Bhusana Press 915/1 Shivaji Nagar, Poona 411004, Page 43. 8. JNVSE P. 696 commentary Para 375 L-6-15 Translation easily tallies with the tika. 9. NSPE p. 200 tika LL 2-3 JNPE p. 354. tika LL 4-5. 10. PVEK p. 162 Notes LL 21-24. 11. Indian Historical Quarterly Volume 34(2) June 1958, pp 123-138, published by Asiatic Society at 9 Pancharan Ghosh Lane, Calcutta-700009. Now 1 Park Street, Calcuttea-16. For Personal & Private Use Only

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Vol. XXV, 2002 "CAMUNDI" OF HARSACARITA OF BANA 205 12. Ibid pp 136-137. 13. Journal of the Ganganatha Jha Kendriya Samskit Vidyapeetha, edited by Dr. G. C. Tripathi and Maya Malaviya, pp. 1-8, Volume XXXIV July-December 1978, parts 3-4. 14. Ibid p. 8. 15. MBH Part III Gita Press ed. edited by Ghanasyamadasa Jalana 1957, p. 346. angam Brahadratham Caiva Mrtam Srnjaya Susruma. 16. Ibid. 17. Raghuvamsa G. R. Nandargitakar ed. Motilal Banarsi Dass, Delhi 110007, 4th ed. 1971. 18. N. M. Tripathi Private Limited, Bombay 1966, p. 198, 41 printed by V. P. Bhagat Mouj. Printing Bureau Khatauwadi, Bombay-4. 19. p. 112 Bharatiya Jnanapitha Kasi; Granthanka 34, published by Babu Lal Jain Phagulla. Sanmati Mudranalaya Durga Kunda Road, Varanasi 1957, Second ed. 20. Kalidasa p. 140 Popular Prakashan Bombay 1969 printed by D. V. Ambekar at Arya Bhushana Press, Pune 411002. 21. Published and printed by Dr. D. Sharma at M/S Sumudran 1/A/21 Ram Lal Agrawal lane, Calcutta-50. 22. MLBD, Delhi 110007, 1963 p. 95. 23. Dasakumara carita (DKCKB) p. 64 LL 15-16, MLBD, Delhi-110007. (Edited by legal heirs of the author, Fourth edition 1966, M. R. Kale's text Introduction and Notes. 24. Ibid DKCKB. I p. 64 LL 3-4 V. p. 136-137 Lib L-1 angarajah Simha Varma. Uttarapithika p. 213 L-4. 25. Ibid III p. 103, LL 3. 26. Ibid VII p. 173, L-9. 27. Ibid VII L-11. 28. ibid VIII p. 187 LL 3-4 Vidarbha nama Janapatah Punyaslokah Punyavarma--Anant Varma tadayatih p. 188, LL 2-4 p. 201, LL 15-16. 29. DKG UP. p. 213, L-9. 30. DKC KB IV p. 125, L. 11. 31. DKC KB V p. 149, L-7. For Personal & Private Use Only

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206 Dr. SUDARSHAN KUMAR SHARMA SAMBODHI 32. muniravodat-rajan/rajavahana pramukhah Sarve'pi Kumarah anokandur-jayansatrun Vijitya digvijayam vidhaya bhuvalayam vasikrtya Campayamekatra Sithitah tavajnapatra-madaya tadanayanaya presyantam sighrameva Sevakah DKC p. 214, LL 19-21. 33. Ibid p. 215, L-3-6. 34. Kavyadars-'ah III-114.p. 270 Sri Jivananda Vidyasagara bhatta saryaviracitaya upakhyaya sahitah. Printed by V. Venkatesvara Sastrulu and sons at their vavilla" press, Chennapuri (Madras) Chennai. 35. Ibid, p. 270 tika line 7. "Kancityarthah. 36. DKC, purvapithika I (pp) p. 21. LL th. 15 "Kautilya kamandakiyadi nitipatate kausalam." 37. Kavyadarsa (KA) I-1-pl. op cit. cff 34 above and Harsacarita of Bana Jivananda. Vidyasagare Amala tika ed. developed by his two sons Asusodha and Nitya-bodha Fourth ed. 1939, printed by Vacaspatya press. Introductory verse 1. p. 1 Calcutta ed. 38. Edited by Dr. Narendra Natha Law, printed by the Calcutta Oriental Press Private limited, Panchanan Ghosh Lane, Calcutta 700009. 39-40. Mandasor Panegyric of Naravarman dated Malava Samvat 461 i. e. A. D. 404 and Gangadhara Inscription of Vishva Varman dated M. S. 480-423 A. D. pp. 95, 96, 97. A study of Ancient Indian Inscriptions by Dr. Vasudeva Upadhyaya, Part-II Mula Lekha MLBD Delhi 110007, 1961 published by Sunder Lal Jain and printed by Shanti Lal Jain at Jainendra Press LL. 4-5 verses 6-7 LL 5-6 verse 5. 41. As per S. S. Rana King Candra of Mehrauli Iron Pillar Inscription pp. 106-107, VIJ series 219 Volume VI (1968) published in 1969 MVB and Viss Punjab University Hoshiarpur 146021. HALI by Dr. Raj Bali Pandeya p. 80 CSSOV 1962, Varanasi 221001. 42. A study of Ancient Indian Inscriptions by Vasudeva Upadhyaya MLBD Delhi 110007, 1961, p. 53 part-II Mula lekha. 43. Ibid p. 52. 44. Ibid. p. 51. 45-47. Ibid p. 63-69. 48. Op. cit off. 3 above. 49. Bhagavata Purana IX. 12-13 p. 456 Gita Press, ed. Edited by Hanuman Prasada Poddar Gorakhapur 1961, seventh ed. 50. Ibid p. 474 IX. 43. For Personal & Private Use Only

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loco Vol. XXV, 2002 "CAMUNDI" OF HARSACARITA OF BANA 207 51. Ibid p. 665 X.34. 52. MBH Vana parva 59. 5-7 p. 478 CP Mulamatram Part I edited by Ghanshyama dasa Jalana 1956 : 61. 1-2 p. 480 puskarena hrtam rajam-hrtarajye nalam rajan prahasan puskaro'bravit 78.4. tatah puskara-masadya virasena-Suto nalah p. 500. 7818 20 tatah pravartata dyutam puskarasya nalasyaca. ekapanena virena nalene sah parajitah. Jitvaca Puskaram raja Prahasanni-damabravit. Ibid. p. 501. 53. Ramayana, MM UK 100. 16 p. 703 GPE Gorakhpur HP. Poddar 1960. 54. Raghuvamsa, G. R. Nandargikar, MLBD, Delhi 110007, 1971 Fourth edition p. 489. 55. Mudraraksasa V. p. 173 L. 1. Dr. R. R. Deshpande Professor of Sanskrit. R. R. College Bombay published by N. K. Gandhi Popular Book Store Surat. Printed by B. P. Saman and C. N. Chapekar at Modern printing press 39. Narayana Peth, Poona 411002 and Arya Sanskrit Press 198/17 Sadashiv Peth, Tilak Road, Poona 411002. 56. Markandeya Purana. pp 394, edited by Manasukhraya Mara 5. Clive Road Calcutta. 1962 Kaliketi Samakhyata himacala krtasraya. dadaria Cando mundasca bhrtyau sam bhanisahayoh. 57. Geographic Dictionary of Ancient and Mediaeval India, p. 47 published by Oriental Books Reprint Corporation Book publishers, 54 Rani Jhansi Road, New Delhi 110005 (GDOAAMI) 58. The sakta pithas p. 107 MLBD Delhi 110007, Second Revised edition, Delhi 1973. 59. Studies in the Geography of Ancient and Mediaeval India MLBD Delhi 110007 Second edition Revised and enlarged. pp. 37n ite, 214n. 333. GDOAAMI p. 119. HGOAI p. 277 1971. 60. Ibid p. 332-333. 61. Kautilyamartha-sastram, R. P. Kangle Part-1 Text. p. 35 II. 2.15 University of Bombay, 1960, Published by V. A. Chidambaran Registrar. Fort Bombay I. Part II p. 68 Note 15. 1963. First edition. 62. Kautiliya Marthasastram Anantasana Sanskrta Granthavalih Granthanka 79. Prathamah Samputah by Mahamahopadhyaya T-Ganapati Sastri, Curator, Sanskrit Manuscripts Library Trivandrum published under the Authority of Government of His Highness the Maharaja of Trivandrum. printed by the Superintendent of the Govt. Press, Trivandrum 1924. For Personal & Private Use Only

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208 Dr. SUDARSHAN KUMAR SHARMA SAMBODHI 63. P. 69 Memoirs of Asiatic Society of Bengal Volume III No. 1 p. 1-56 Edited by Mahamahopadhyaya Hara Prasada Sastri Calcutta, printed at the Baptist Mission Press and published by Asiatic Society 57 Park Street Calcutta, 1910. 64. SIGOAAMI p. 294. 65. Manusmrti page I commentary verse 1 Niranaya Sagara Press edition Bombay 1946 10th edition. 66. Rama caritam Notes p. 153. 67. History of Ancient India p. 361 by Dr. R. S. Tripathy. Second edition 1960 MLBD Delhi 100007 and Introduction to Ramacaritam of Sandhyakara nandin p. XXVIII (28) 68. Page 256 Historical Geography of Ancient India by B.C. Law under Eastern India, published by Societie Asiatique De Paris I Rue-De-Seine Paris VI France 1967. (HCOAI). For Personal & Private Use Only

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REVIEW A LOVER OF LIGHT AMONG LUMINARIES : DILIP KUMAR ROY Written by : Dr. Amrita Paresh Patel, Published by : L. D. Institute of Indology, Ahmedabad, Year of Publication : 2002, Page : 256, Price : Rs. 220/ A Lover of Light among Luminaries : Dilip Kumar Roy is Mrs. Amrita Paresh Patel's doctoral thesis published in a reworked form by L. D. Institute of Indology, Ahmedabad, one of the most reputed institutions of Indian Culture, Art and Philosophy in the world. It is a well-known fact that Dilip Roya was a versatile writer and a determined pilgrim of eternity of the twentieth century. One can discover in his works an expression of a sincere and burning quest of true spiritual knowledge, an authentic account of his enocunters with the great men of the East and the West, a sweat and poetic prose and an amazing vitality of style. The revised version of her work comprises four parts, divided into ten chapters, with a concluding Note and Appendices attached at the end. The first three chapters of PART I introduce Dilip Roy's life, traits of biography as it was his favorite form of literature and Roy's art of spiritual portrait painting. Her real work lies in the third chapter where she discusses how the biographies of Roy's authorship differ from the traditional types. For Roy, Amrita Patel rightly points out, all writing including biographies, is merely a means to the end of spiritual progress. PART II, Prose - Portraltures is divided into two chapters : Fuller Portraits and sketches. The former contains the most intimate full-length portraits of Shri Aurobindo, his gurudev, Shri Krishnaprem, his follow pilgrim of eternity, Subhas Chandra Bose, his bosom friend and Indira Devi, his daughter disciple. In the next chapter, brief sketches of his contact with a few great Luminaries of his times like Romain Rolland, Bertrand Russell, Rabindranath Tagore, Mahatma Gandhi, Ramana Maharshi, Swami Ramdas etc. are evaluated. For Personal & Private Use Only

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210 REVIEW SAMBODHI In Imaginative Pictures (Part III) Dilip Roy's plays, novels and poems which are fictionalized biographies, are considered. Self - Portrayal (Part IV) is an interesting study of Pilgrims of the Stars, which is an authobiography of two spiritual aspirants, Dilip Roy and Indira Devi. Mrs. Amrita Patel, in the due course of her research, has found that Roy met great men all over the world to benefit by their inspiration and guidance in his own spiritual pilgrimage towards eternity. He published his private records of his meetings with the great in the form of books to invite all who cared to have the same benefit. To Roy, literary art, even like his skill in music, is merely a means to the spiritual end of life, not an end in itself. Moreover, his constant love of krishna can be observed in almost all of his works. Hence, his biographies are different from traditional types. He does not present chronological events of his subject's life from birth to death. They could best be described as impressionistic accounts of the personalities written about. The Concluding Note sums up Mrs. Patel's evaluation of Roy as a biographer, authobiographer, artist and a saintly personality. Mrs. Patel says that Dilip Roy as a literary artist has not so far been seriously. considered. Here is the first systematic Study which brings out an aspect of the literary art of an eminent musician and an ardent seeker of Truth of the last generation. If is indeed a genuine contribution to existing knowledge. ACARYA HEMACANDRA"S KAVYANUSASANAM, (with a Critical Introduction and Gujarati Translation) ed. T. S. NANDI, L. D. Institute of Indology, Ahmedabad, 2000, pp. 408. Rs. 480. Hemacandra"s Kavyanusasana (Kas) is edited with a critical introduction and translation in Gujarati by Dr. T. S. Nandi. Nandi is a voluminous writer. Several works on Alamkarasastra are to his credit. He has also contributed over seventyfive research articles to various Oriental Journals of repute. These are related to Alamkarasastra. He is chiefly interested in Sanskrit Literature and Sanskrit Poetics. The present work is a new feather in his cap. Hemacandra's Kas deals with the subject of Sanskrit Poetics in all its aspects. The late Professor R. B. Athavale had translated in Gujarati only two of its chapters - the First and the Sixth. Nandi presents here, perhaps for the first time, a translation in Gujarati of all the eight chapters of Kas adding a comparative and comprehensive study by way of a Critical Introduction. It For Personal & Private Use Only

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Vol. XXV, 2002 REVIEW 211 extends over full one hundred and twenty pages and forms the very kernel of this work. In the course of his study, he does not hesitate to criticise the modern munitraya in the Alamkarasastra - 1. P. V. Kane, 2. S. K. De and 3. V. Raghavan. He also criticises the two editors, Parikh and Kulkarni of Kavyanusasana, especially for their failure to point out Hemacandra"s indebtedness to Mahimabhatta from whose Vyaktiviveka he has adopted passages after passages. In fairness to Nandi it must be said that there is nothing personal in his criticism against the said scholars. To Further the cause of the study of Alamkarasastra is the sole motive behind this criticism. Nandi"s defence of the great aesthete and literary critic Anandavardhana and those who follow him in selecting Prakrit verses - in preference to Sanskrit ones - to illustrate various points of poetics though brief is very sound and convincing and is clothed in striking and appropriate language (see Introduction pp. 20-21). So also, his evaluation of Hemacandra as a poetician towards the end of the Introduction (p. 121) is, on the whole, fair and just. Now about a few errors. While going through the book, we come across - (i) a few misprints - p. 4 Freyda faqfet for fagfa; p. 92 - hazzy for hazy; p. 117 - 370kft, for 340khrel, gre; p. 366 - HGYat for 94641 ar. (ii) a misstatement - p. 20 - Erstf 1 Hariat at BUT 3494404 . (Hala"s Saptasafi, which is not at present extant). This Saptasati also called Gathasaptasafi is available even-today in Oriental Libraries as well as bookshops. The text of Saptasati is accompanied with translation in a modern language like Marathi. (iii) Misinterpretation - p. 364 - The Sanskrit sentences runs - PagTHATAT: Peter ifa afect 4997 | The translation reads (p. 365) - (c) Parque 41-RACMA as tyAM skhalano naMkhAyA (= jovAyAM) che ema tadvido kahe che. For Personal & Private Use Only

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212 REVIEW SAMBODHI i The translation misses the whole point and simply misinterprets the expression 'galitakani". Hemacandra first states that Prakrit epics Ravanavijaya, Harivijaya and Setubandha are composed in a single metre (that is the Skandhaka) from the beginning to the end and then adds - the galitakas are later interpolations inserted by some who fancied themselves to be learned or wise. The Tippanam given as Index-I (pp. 567-607) to the edition, followed by the translator, reads - A Gifh II p. 607. Hemacandra in his Chando"nusasana deals with galitaka metres in Ch. IV, pp. 142-149. Incidentally, it may be mentioned here that Nandi"s critical and expert eye has not noticed the serious mistake committed by the two editors. The Vilasa Alamkara has been already defined (and illustrated) earlier (sutra-37). So there was no question of defining Vilasa again (at sutra-45). In fact, the sentence given as sutra-45 forms an integral part of the passage that immediately follows. This passage brings out the distinction between Vilasa defined at sutra-37 and Lalita defined at sutra-44 and illustrated by citing v. 735 (that precedes immediately before this integrated passage which distinguishes between the two Alamkaras). This apart, in a massive work covering over four hundred pages the few errors pointed out above hardly detract from the merit of this excellent work. Dr. Tapasvi Nandi deserves hearty congratulations for this excellent work. It would be only appropriate if the L. D. or some other Research Institute persuaded him to translate in Gujarati Hemacandra"s svopajna commentary Viveka as a companion to this volume. V. M. Kulkarni AMRITA : THE COLLECTED PAPERS CONTRIBUTED BY PROFESSOR A. M. GHATAGE, published by J. B. Shah, Shreshthi Kasturbhai Lalbhai Smarak Nidhi, Sharadaben Chimanbhai Educational Research Centre, Ahmedabad, 2000 pp. 520. Rs. 600. Dr. A. M. Ghatage, a pre-eminent and senior indologist of India, has won international fame by his outstanding work in the field of Prakrit Languages and Prakrit Literature, Sanskrit Language and Grammar, Linguistics and Lexicography. This volume Amirita, (significantly, it happens to be the first name of Dr. Ghatage), is a collection of forty papers including Key-note Address for a seminar on Lexicography, Address as President to the Section of Indian Linguistics, General Address as President to the Session of All-India Oriental Conference. For Personal & Private Use Only

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213 Vol. XXV, 2002 REVIEW Introduction to a Comprehensive and Critical Dictionary of Prakrit Languages, and to Dictionary of Sanskrit on Historical Principles. His other Papers falling under various groups were published from time to time in various research journals, during the long span of six decades and a half. Most of these papers had remained scattered in various research journals and other academic publications. All these writings are collected together in this large volume. Some of the papers, on account of the very nature of the subject matter, make rather tough reading, whereas some others, pleasant reading. Each and every paper is important and contributes to knowledge. In a brief review like the present one, it is, however, not possible to do justice to the many merits of Dr. Ghatage's work. We shall therefore content ourselves with drawing attention of readers only to a few of them. From amongst the eight papers dealing with Prakrit Languages, in the opening one Dr. Ghatage shows that to preserve the syllabic quantily of a word is basic tendency of Prakrit Languages and observes that it is probably the strongest proof in favour of regarding the Prakrit languages as having a natural origin (p. 9). From among the 13 papers on Prakrit literature, the one dealing with 'Maharastri Language and Literature" (pp. 95-148) is perhaps the best and most important. He convincingly refutes Ghosh's view that Sauraseni was really the Prakrit par-excellence (and not Maharastri as held by Dandin). He describes at length the 'linguistic nature of Maharastri, discusses, among other things, the problem of the "Home of Maharastri", "The Origin and Development of this language, the relation between 'Maharastri and 'Marathi' and finally presents a detailed and critical account of "Maharastri Literature'. His critical remarks on "Maharastri Verses in Alankara Works" are worth quoting. "All such stray verses quoted in the Alankara works produce a strong impression that they are essentially the poetry of the populance with all its frankness and rough good common sense, lack of courtesy, pomp and delicacy. They lack the usual formal phrases and expressions which are so prominent in the Sanskrit literature and a kind of naturalness imparts them a peculiar charm and simplicity." (p. 138). From amongst the ten papers on "Sanskrit Language" attention may be drawn to "Some Etymologies In Manusmrti". In this paper, Ghatage discusses etymologies of seven words : 1. Narayana, 2. Om, 3. Atithi, 4. Mamsa, 5. Vrsala 6. Jaya, and 7. Putra. This discussion is interesting and illuminating, whichhe For Personal & Private Use Only

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214 REVIEW SAMBODHI concludes in these words - 'Whenever the material in Sanskrit language was insufficient to arrive at the correct source of the word, the Indian etymolo have simply satisfied their desire for derivation in a fanciful manner with obviously wrong explanations. But when the language afforded them the slightest help as in the case of 'atithi' and 'jaya', they have rightly hit upon the real source of the word." (p. 322). From amongst the nine papers on 'Linguistics and Lexicography' the two comprehensive introductions - 1. 'Dictionary of Sanskrit on Historical Principles' and 2. 'A Comprehensive and Critical Dictionary of the Prakrit Languages' are highly important and deserve to be read in full. In passing, however, attention of readers may be drawn to Dr. Ghatage's discussion about the misplaced criticisin of some Western scholars - Tr. Bloch. Pischel. Niti Dolci, Alsdorf and others - against Hemacandra's statement (Siddhahema-Sabdanusasana, Ch. VIII. i. 209 : (rudite dinA eNaH...rUNNaM // ) atra kecid RtvAdiSu ityArabdhavantaH sa tu zaurasenImAgadhIviSaya eva dRzyate sfa zeytt 1) "The scholars (mentioned above) have blarned Hemacandra quite unnecessarily by saying that he has copied his passage from somewhere and without understanding it." Dr. Ghatage concludes his discussion with these words : 'Instead of blaming him (Hemacandra) on the count of copying without understanding, we must admire his skill in following a far more systematic and rigorous procedure in this case" (italics ours) - pp. 496-498. Most of Dr. Ghatage's papers, articles, introductions, etc. were scattered in various research journals and other academic publications, indeed not always easy to lay hands on, spread as they also are over long decades of his scholarly endeavours, Prof. M. A. Dhaky and Dr. J. B. Shah, Director, the Sharadaben Chimanbhai Educational Research Centre, Ahmedabad, persuaded Dr. Ghatage to bring them out in a collection and have now brought them out in the present volume. We warmly congratulate both the author and the publishers for making these valuable papers availables to scholars as reference work for further research on the topics presented in this valuable volume. The printing is pleasing to the eye, and get-up attractive. V. M. Kulkarni For Personal & Private Use Only

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Vol. XXV, 2002 REVIEW 215 MAKARANDA, (Madhukar Anant Mehendale Festschrift), Editors M. A. DHAKY, J. B. SHAH, Sharadaben Chimanbhai Educational Research Centre, Ahmedabad, 2000, pages VIII + 270; Rs. 600. This felicitation volume dedicated to Prof. (Dr.) M. A. Mehendale, the distinguished and internationally renowned scholar is a collection of twenty-five erudite essays in Sanskrit, Prakrit and Avestan studies written in Sanskrit, English and Gujarati. Twenty-five scholars, most of whom know him personally and intimately for many years, have contributed learned papers to this volume. The first essaly by P. D. Nawathe studies 'Kampa pronunciation in Tema 7 T: RV 10.78.4." Kampa, which means tremor, is a peculiar kirid of pronunciation that frequently occurs in the traditional recitation of the Rgveda. The second essay deals with the 'Emendation to the text of the Maitrayani Samhita" by T. N. Dharmadhikari. The Maitrayani Samhita no longer figures in the oral tradition and is limited to a few manuscripts only. However this text has been critically edited and brought out by Schroeder in Leipzig in 1881-1886 and later by Satavalekar in Aundha (Maharashtra) in 1942. Similies abound in literature and the Brahmanas are no exception. While the similies in the Aitareya and Taittiriya Brahmanas have been studied before, the third essay in this volume, 'On some Similies in the Jaiminiya Brahmana" by Madhavi Kolhatkar is a pioneering work. Hanns-Peter Schmidt looks into the description of animal sacrifice in the Satapatha-Brahmana in his essay "How to Kill a Sacrificial Victim". Varaha Srautasutra, A further textual study" is a well researched essay by C. G. Kashikar who came across parts of the Varaha Srautasutra in the middle of an old manuscript of Maitrayaniya Sutra text which he retrieved quite by chance. G. U. Thite"s Vedisms in Daivarata"s Chandodarsana" is most interesting. Daivarata was a modern rsi, to whom 448 mantras are supposed to have been revealed. A collection of hymns thus revealed to him is called Chandodarsana. S. J. Noel Sheth in The Justification of Krsna"s Annihilation of his own Clan" looks into an episode that occurs in the Mausala Parvan (Book 16) of the Mahabharata where the Yadavas are decimated, Krsna and Balarama leave this world and the city of Dvaraka is submerged by the ocean. 'A note on Sabara's India" by Shripad Bhat is thought-provoking. Sabara was a Bhasyakara whose work, Sabarabhasya formed the basis for all later Mimamsa works. This essay For Personal & Private Use Only

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216 REVIEW SAMBODHI highlights the geographical, social and cultural facts as reflected in his work. 'An Earlier Reference to salaturiya (Panini)" is an incisive essay by M. A. Dhaky where he conclusively proves that George Cardona, one of the front ranking authorities on Panini and Panini and Paninian literature was right in assigning 500 BCE as the probable date for this great grammarian. Anna Radicchi discusses the authorship of the various parts of the Kasikayrtti by Jayaditya and Vamana respectively in her article Vivaksa in Kasikavrtti : Jayaditya and Vamana". Sanskrit is the only language that has a large number of finite and nonperiphrastic desideratives (sannantas). V. P. Bhatta studies the 'Meaning of the Accusative in Desiderative" using clear examples, ''Semantic Randomness and the Comparative Method" by Henry M. Hoenigswald is highly scholarly treatise on double articulation and narrow phonological and wide-ranging morphemic structure. Ludo Rocher's essay "The Aurasa Son" studies the different kinds of sons recognized by ancient rsis. Sara, A-sara, Sam-sara, Sam-sara" by Minoru Hara is one of the most readable essays in this volume. The word sara seems to vary in accordance with the nature of contexts in which it occurs with the prefixes a and sam. Anandavardhana was a great poet of both Sanskrit and Prakrit and had first-hand knowledge of the poetic process. His research work Dhvanyaloka is the topic of the essay by C. Panduranga Bhatta entitled 'Anadavardhana"s Contribution to Research Methodology". The relation between man and Nature has always been a part of Indian tradition and 'Ecological Awareness in Indian Tradition (specially as reflected in Sanskrit Literature)" is a very readable essay by Leela Arjunwadkar. She examines the relation between man and Nature, and her conclusions are : The ancient Indian attitude as reflected in Sanskrit literature has never been anthropocentric and relation between man and Nature has always been that of love, harmony and peaceful interdependence. Vyasa"s Leftovers : Food imagery in Indian Literature" is a well-written article by Vidyut Aklujkar where the most valuable theoretical and conceptual contributions of South Asia to the study of food are discussed. She presents the treatment of left-over food in life and literature. She covers topics such as purity and pollution, clannish acceptance and rejection, Bhakti or worship and its ritual practices. In her discussion on 'originality and plagiarism", however, she leaves For Personal & Private Use Only

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Vol. XXV, 2002 REVIEW 217 out altogether any reference to the two outstanding literary critics Anandavardhana and Rajasekhara. Indian materialism is discussed in Krishna S. Arjunwadkar's 'The Ressurection of Carvaka". He critically examines Debiprasad Chattopadhaya"s work, Lokayata : A study in Ancient Indian Materialism, and A. H. Salunkhe"s three studies : Carvakadarsana rather in aggressive and provocative language and combative spirit. He says that these studies are the outcome of a motivated research : Chattopadhaya is interested in establishing roots of Materialism in ancient Indian thought while Salunkhe sees in Carvaka an ancient champion of anti-Brahmanism and anti-Vedism. Valahassajataka and Telapattajataka" by Siegfried Lienhard evokes the legend of the merchant Simhala. We come across many such fairy tales in the Buddhist and Jaina literature. Such fairy tales of mariners can easily find place in the voyage literature of the world. 'Notes on Avestic Asha Truth" " by Helmut Humbach looks into the numerous phrases in the Avesta that have parallels in the Rgveda. Avesta is the sister language of Sanskrit and with careful observance of certain phonetic laws, entire stanzas may be converted from one language to another. N. M. Kansara"s 'Avestan Eschatology" is a lucid essay that deals with concepts of death and after-life in Zarathustra"s teachings. B. V. Shetti"s essay, 'Manuscript Collection in the Asiatic Society of Bombay is the most informative of all the essays. After a brief history of the Society he goes on to present the Society's most extraordinary manuscript collection lovingly introducing each of the masterpieces like Dante Alghieri"s Divina Commedia of the mid fourteenth century or the illustrated Shahnamah by Firdausi. The list of the rare manuscripts given at the end of the article will be extremely useful to scholars. Hukum Chand Patyal"s Concept of Sistacara" discusses the concept of sistacara (practice or conduct of the sistas or learned or virtuous persons) concludes the English section of this volume. The other section includes articles in Sanskrit by V. B. Bhagvat and in Gujarati by Jitendra Shah. The articles are well researched and presented. However, there are some typographical errors, which should have been corrected. The entire volume is neatly organized and printing is pleasing to the eye. We heartily welcome this publication and congratulate the authorities of the Sharadaben Chimanbhai Educational Research Centre for bringing out this publication. V. M. Kulkarni, Vidya Vencatesan For Personal & Private Use Only

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218 REVIEW SAMBODHI The Hathigumpha Inscription of Kharavela and The Bhabru Edict of Asoka by Shashi Kant, D. K. Printworld (P) Ltd. Sri Kunj, F-52 Bali Nagar, New Delhi - 110 015, P.P. 24 + 168 Rs. 295 Ever since its discovery in AD 1825, Kharavela's Hathigumpha Inscription has had a fascinating course. It is not a royal panegyric merely; it is an epitome of history, specially of the so-called dark period-unveiling, as it does, the political and cultural conditions that prevailed in India during the three centuries before Christ's birth, And yet more significantly, it is the only hitherto-known document to tell the saga of its heroic author : the first historical king from India's eastern coast to lead extensive campaigns in different directions. But for this inscription, Mahameghavahana Kharavela could never have been resurrected from oblivion. Likewise personal in character is Asoka's Bhabru Edict, considered as the earliest written record of Buddhist scripture and monastic organisation. For the history of Buddhism, this little document is as important as the Kharavela's Hathiguinpha Inscription is for that of Jainisin. Shashi Kant's study examines afresh these inscriptions : not just for their thematic similarity, but essentially for their crucial historicity. Going into their tenor and context, it is the first ever decipherment/interpretation of the two rare documents, with the whole Jaina and Buddhist traditions in the background. The author demolishes myths, addresses controversies and, these besides, offers convincing theories that are authenticated by recent archaeological findings. Acclaimed and favourably reviewed in India and elsewhere alike, this epigraphic study is now in its second, enlarged edition-including a whole new section on the genesis of the Prakt languages and the ancient Indian scripts. Together with the original epigraphs, their romanised transliteration and English translation, it holds out immense appeal to the scholars of ancient Indian history, epigraphy, archaeology, and Buddhist-and-Jaina studies. For Personal & Private Use Only

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219 Vol. XXV, 2002 REVIEW Savitri satakam : Dr. Jaydev Jani, (With the auto-commentary in Sanskrit of Savitri Latikakhya), Published by Savitri Prakashan Samati, Baroda, Price Rs. 150/-, Page : 105 Famous episode of Savitri is narrated in Savitri Satak written by Jaydev Jani. As the name indicates, this episode is woven or knit in 101 metrical verses. Autocommentary is composed on it in Sanskrit language. 30 pages in English in the beginning represent the story of Savitri, its history and comparative information of the tale. Second part of the book comprises original text in Sanskrit, its commentary and the third part of the book contains original verses in Roman script and criticism in English language. Thus, the entire book is very useful to the students of Sanskrit language and to the reader of the episode. Nowadays very few books are published in Sanskrit language. At this juncture the author's efforts for giving us this book are really praiseworthy and commendable. Bhagavaticurni - edited by Rupendra Kumar Pagariya, L. D. Institute of Indology, L. D. Series 130, Ahmedabad-9, 2002 price Rs. 135.00, page 120. One of the brilliant publications of the Prakrit language in the beginning of the twenty first century is the Bhagavaticurni of Sthaviracarya edited by Pt. Rupendra Kumar Pagariya. This Curni of the Bhagavatisutra is a rare one and its publication has enriched the Jaina Agama literature on the one hand, and the Prakrit literature on the other. Pt. Rupendra Kumar Pagariya is an able editor and has edited many Prakrit texts from original manuscripts. The Prakrit text is reliable and the Prakrit language presented here gives in many ways the true picture of the language. The language of the text is very near to Maharastri, although the change of k to g lends us to believe that it is Ardhamagadhi. The retension of intervocalic in words like kajjati, sambhavati, ogahati etc. shows that the Prakrit language does not seem to be archaic. As the edition is a good one, I recommend the text to every lover of Prakrit. Satya Ranjan Banerjee For Personal & Private Use Only

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220 REVIEW Mulasuddhi-prakarana (in 2 volumes) edited by Acarya Dharma Dhurandharasuri and Pt. Amrtalal Mohanlal Bhojak, Sardabahen Cimanbhai Educational Research Centre, Ahmedabad-380 004, 2002, price Vol. I. Rs. 250.00; Vol. II. Rs. 250.00. - SAMBODHI The Mulasuddhi-prakarana of Pradyumna Suri written in the eleventh century is a jain religious text in Prakrit. The text contains many religious tales and narratives and from that point of view it is a type of Kathakosa. This edition of the text is superb and it is nicely printed with a good quality of paper. Both the editors deserve special thanks for this edition. The Prakrit language is faithfully represented for which the editors are to be congratulated. The commentary is interspersed with numerous slokas written in Prakrit and Sanskrit. These slokas are sometimes collected from different literature, such as, Sanskrit Kavyas and dramas. All these slokas from different Sanskrit and Prakrit literature will show how the jains were Catholic-minded in selecting slokas. Abhidha by Tapasvi Nandi, L. D. Institute of Indology, L. D. Series 131, Ahmedabad-380 009, 2002, Price Rs. 120.00 The Abhidha, a treatise of 76 pages of quarto size, is a remarkable contributions to the field of literary criticism, particularly to the category of meaning. This monograph contains the lectures delivered by Professor Nandi at the L. D. Institute of Indology, Ahmedabad. In this treatise, the author has discussed Abhidha from rhetorical point of view. The treatment of the subject is historical. It transpires from the preface of the writer that this is a small portion of his bigger project on "Thought-currents in Indian Literary Criticism". We all hope that when the whole work is published it will be a great contribution to the history of Sanskrit Alamkara literature. In the words of the author, "Abhidha is the power of word yielding the expressed or conventional sense." The view is upheld by Anandavardhana, Abhinavagupta and Mammata and subsequently followed by Hemacandra, Vidyadhara, Visvanatha, Appayadiksita and Jagannatha. The analysis of the subject is remarkable and proves the critical accumen of the author. I am sure that the readers will be much benefited by reading this monograph. For Personal & Private Use Only Satya Ranjan Banerjee

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221 Vol. XXV, 2002 REVIEW Sambodhi (Vol. XXIV, 2001) - edited by J. B. Shah, L. D. Institute of Indology, Ahinedabad-380 009, 2001, Price Rs. 150/-, Page 160. This is a trilingual Journal in Enlish, Hindi and Gujarati. It is published by the L. D. Institute of Indology, Ahmedabad. The Journal has a quality of its own. In this number, some papers are worth mentioning; these are Tatparva in Bhoja by T. S. Nandi, the Lalitavistara-tika of Haribhadracarya by K. A. Shah and the Gandassa Kahanayani edited by J. B. Shah. The Gandassa Kahanava is for the first time edited from a single manuscript. K. R. Candra's article on the different readings of Agama texts is worth reading and he has collected lots interesting passages from Jaina Agama texts. Although some of his readings might by disputed, on the whole the paper is interesting. The quality of paper and printing is very good and the Journal is worth consulting for research purpose. Satya Ranjan Banerjee HISTORY OF JAINISM With Special Reference of Mathura by V. K. Sharma, Bibliography; Index; 25 cm, 2002, xx, 280 p.; 21 col. & b/w Plates,, ISBN 81246-0195-X Price Rs. 850/ As one of the world's major religions, founded on the spiritual principles of ahinisa (non-violence), truth, and righteous conduct, Jainism has today 2,600 years of a splendid living tradition - with a well-defined worldview, metaphysics and code of ethics. A leading scholar, V. K. Sharma here presents an altogether fresh, pan-Indian historical survey of this great religion, spelling out its beginnings, antiquity, doctrines, tirthamkaras, country-wide spread and, among other aspects, its contribution to India's culture and art heritage - in all its varied manifestations. In the latter part of the book, the author comes to focus upon Jainism in the specific contexts of Mathura - one of India's ancient cities, which not only is venerated as the legendary birthplace of Lord Krsna, but is also famed as an eminent centre of Brahmanical, Buddhist and Jaina art. Thus shows Dr. Sharma how this principal Vaisnava centre today had been a stronghold of Jainism: from second century BC to about eleventh century AD; how it has contributed to Jaina canon, literature and iconography; and how in Mathura is traceable the centuries-long, unbroken history of Jaina plastic art. Setting out a panoramic view of Jaina architecture, sculptural art, and socioreligious life over the ages, specially in the sacred city of Mathura, this study is based on wide-ranging authoritative sources and supplemented by a number of highly representatives illustrations. For Personal & Private Use Only

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REVIEW SAMBODHI, DaoN. ramaNalAla dhanezvara pAThaka : 'zrI araviMdanAM saMskRta tathA saMskRta viSayaka lakhANo;'' (hari Azrama prerita zrI araviMda vyAkhyAnamALA-13); prakAzaka : saradAra paTela yunivarsiTI, vallabhavidyAnagara- 388120; pR. 6+76, oNgasTa 2001; kiMmata rUA. 56 - 00 222 DaoN. ramaNalAla pAThaka vaDodarA sthita 'mahArAjAsayAjirAva vizvavidyAlaya'nA hindI vibhAganA nivRtta adhyakSa che; te zrI araviMdanA bahumukhI sAhityanA adhyetA che, eTaluM ja nahi, paraMtu te zrI arivaMdanA upAsaka ane sAdhaka che e suvidita che. zrI araviMde vaDoTharAmAM keTalAka samaya mATe gAyakavADI rAjyanI sevA daramyAna nivAsa karyo hato; tethI temano vaDodarA sAtheno saMbaMdha vaDodarAnA itihAsamAM ane temanI jIvanagAthAmAM suvarNa akSare lakhAyelo che. DaoN. pAThaka vaDodarA nivAsI che ane eka samayanA vaDodarAvAsI ane vizvavikhyAta yogI zrI araviMda vize A pustikA lakhAya temAM sonAmAM sugaMdha maLyA jevuM thAya che; tethI DaoN. pAThaka abhinaMdanane pAtra bane che. zrI araviMda upara ane temanA sAhitya upara ghaNuM ghaNuM lakhAyuM che; temaNe paNa puSkaLa lakhyuM che; temanA keTalAka graMthonuM gujarAtI bhASAMtara thayuM che; paraMtu anuvAda nahi thayelA graMthonuM bhASAMtara gujarAtImAM AgAmI kALamAM thaze, e AzA atre asthAne gaNAze nahi. ''saMskRta bhASAmAM temanAM maulika lakhANo ane veda, upaniSada vagere AkaragraMthonAM temaNe karelAM bhASyo ane vivecano tathA kAlidAsa, bhartRhari jevA kavionI kAvya, nATaka jevI utkRSTa racanAonA karelA anuvAdo vagere vizeno paricaya eka sAthe sau prathama vAra prastuta pustaka dvArA thaI rahyo che,'" (Amukha). A pustikAmAM zrI araviMdanA ''ajJAta evA yogIjIvananA mULabhUta AMtaratattvono paricaya paNa prastuta karavAmAM Avyo che.'' (Amukha) '"gujarAte gaurava levA jevuM che ke zrI araviMdanA saMskRta sAhityanA adhyetA, anuvAdaka, bhASyakAra, sarjaka vagere vibhinna pAsAMonuM kheDANa vaDodarA jevI saMskRta nagarImAM thayuM che.'' (nivedanam). A graMthanA prastuta viSayonI carcA ane rajUAta nIce jaNAvela 1+10(=11) prakaraNomAM suMdara rIte ane vizadatAthI karavAmAM AvI che : 1. prAstAvika; prakaraNa-1 saMskRta ane zrI araviMda racanAkALa nirNaya; prakaraNa-2 : pUrvArdha :-saMskRtanAM lakhANo H maulika kRtiono paricaya : (1) kAvya '"bhavAnI bhAratI'', ''viThThalA'' vagere. (durgAstotra); prakaraNa-3 : maulika kRtiono paricaya (2) gadya; '"aravindopaniSat'", '"sakSacatuSTaya'" ane tAMtrika ''siddhiprakaraNam'"; prakaraNa-4 : uttarArdha; saMskRtaviSayaka lakhANo : anuvAdono paricaya : (1) mahAbhArata, rAmAyaNa ane nItizataka ane gItA; prakaraNa-5 : anuvAdono paricaya (2) : kAlidAsanI kRtio-kAvyo ane nATako; prakaraNa For Personal & Private Use Only

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Vol. XXN, 2002 REVIEW 223 kevalyopaniSad ane anya upaniSado; prakaraNa-7 gItA ane veda prakaraNa-8: prakIrNa lakhANo; prakaraNa-9 upasaMhAra; prakaraNa-10 zrI araviMdanA hastAkSarono namUno. uparyukta dareka viSayanI rajUAta, carcA ane AlocanA vizaTha, suMdara ane madhura che. zrI araviMdanI racanAo ane lekho vize jANavA maLe che ke keTalIka racanAo / lekho eka ja sthaLe te eka ja samaye lakhAyAM nathI. keTalIka racanAo / lekho sthaLAntara sAthe ane samayanA vaheNa sAthe pUrAM thayAM che. adhUrI rahelI racanAonI kAM to punanirmiti thaI che, to keTalIka racanAonuM punarIkSaNa ane saMskaraNa thayuM che. A samaya ane prakriyA daramyAna te kRtiomAM vizeSa vizadatA ane gahanatA AvelI jovA maLe che; A badhA pheraphAro pachI te kRtio prakAzita thayelI che." A prakriyAnA saMdarbhamAM, udAharaNa tarIke Rveda 1-1 : "agnisUkta"nA bhASAntarono ullekha karI zakAya. A sUktanuM bhASAntara' judA judA abhigamothI vAre vAre" lakhAyuM che. (pR. 53). AvI racanAomAM zrI araviMdanI pragatizIla vicAradhArA ane sAdhanAnAM darzana thAya, to te svAbhAvika che. uparyukta "agnisUkto'nAM bhASAMtaro upara Do. pAThake vaDodarA mukAme I.sa. 1998mAM maLela "akhila bhAratIya pariSada"nA 39bhA adhivezanamAM "vedavibhAga" mAM lekha rajU karyo hato. (sArAMza mATe daSTavya : "Sri Aurobindo on the Rgveda l- A Glimpse", Summaries of Papers : 39ch IOC, Vadodara, 13-15 October, 1998, edited by R. I. Nanavati and others; pp. 12-13). DaoN. pAThake prakaraNa 2 ane 3mAM maulika kRtiono suMdara ane sodAharaNa paricaya ane carcA rajU karyA che. vividha kRtio kyAre, kyAM racAI, punaH tenuM saMskaraNa thayuM che ke nahi ane prakAzana kyAre thayuM tenI vigatavAra mAhitI ApI che. A mAhitI ApavAmAM temano araviMda pratyeno agAdha prema ane saMzodhanamAM amuka abhigama saparizrama dekhAI Ave che; teo sAthe sAthe potAno te aMge abhiprAya paNa Ape che, te vizeSa noMdhapAtra ane prazaMsApAtra che. maulika kRtionI carcAnA saMdarbhamAM mavAnI mAhitI (zrI raviMdra sosAyaTI paDaverI dvArA prakAzita, dvitIya AvRtti 1992; A prakAzana hindI bhASAMtara sAthe che) nAmaka saMskRta kAvyano ullekha karavAnuM mana thAya che. atre e noMdhavA jevuM che ke "prastuta kAvyanI racanA karyA pachI zrI araviMdane tenA tarapha pharI jovAno moko maLyo nathI; kAraNa ke temanI ghaNI badhI anya racanAonI mAphaka A racanA paNa briTiza sarakAranA kabajAmAM jatI rahI hatI" (pR. 11). lagabhaga I. sa. 1985mAM A kRti zrI araviMda AzramanA adhikArIone pAchI maLI ane te pachI te prakAzita thaI, (pR. 11) ane tenuM prathama saMskaraNa 1986mAM thayuM hatuM. zrI araviMda eka rASTrapremI hatA ane temaNe sAhitya dvArA ojasvI zaMkhabherI bajAvIne dezanA yuvAnone thanaganatA karI mUkyA hatA." (pR. 10). A kAvya- mavAnI mAhitI- mA bhoma pratyeno prema darzAve che. vaidika kALathI dezapremanAM kAvyo racAtAM AvyAM che; arvAcIna kALanA rASTrabhaktinAM kAvyomAM A kAvya eka viziSTa sthAna bhogave che. bhAratamAtAnI kalpanA kaThora karAla evI kAlI'nI karavAmAM AvI che. I. sa. 1903mAM For Personal & Private Use Only

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224 REVIEW SAMBODHI (narmadAtIre AvelA-kausa amAro) karanALInA mahAkAlI maMdiramAM (zrI araviMdane- koMsa amAro) anubhUti' (pR. 16) vagerene AdhAre A kalpanA thaI hoya, ema lAge che. A kAvyamAM zrI araviMda uddAma rASTrIya bhAvanAvALA dezabhakta kavi tarIke UpasI Ave che. teo zakti-upAsaka hatA (pR. 10-11, 16); vaLI "tAMtrika siddhiprakaraNam" paNa A sUcave che. karanALInA prasaMganA saMdarbhamAM narmadAtIre AvelA gaMganAtha tIrthano saMbaMdha eka athavA bIjI rIte hovAnI zakyatAo DaoN. pAThaka mane maukhika vAtacItamAM jaNAve che. saMskRtamAM racAyelI vividha kRtio uparathI jaNAya che ke ""zrI araviMda ucca kakSAnA saMskRta kavi paNa che. temano saMskRtabhASA ane chaMdo upara moTo adhikAra hato.' (nivedana), teo temanI saMskRta racanAomAM sUtrazailInuM temaja aupaniSada zailInuM anukaraNa karI zakyA che, e noMdhapAtra che. (draSTavya "tAMtrikasiddhiprakaraNam'). kevalyopaniSadanA prathama maMtra upara temaNe saMskRtamAM vyAkhyA lakhI che. (pR. 52), arvAcIna saMskRta sAhityanA saMdarbhamAM zrI araviMdanI saMskRta kRtiono eka abhyAsa thAya, e icchanIya che. teo eka mahAyogI, pUrNayoganA praNetA, kavi ane arvAcIna kALanA mahAna RSi ane rASTrapremI mahAmAnava hatA. DaoN. pAThake gAgaramAM sAgara samAvavAno prayatna karyo che; udAharaNo sahita-AMgla bhASAnA ke saMskRta bhASAnA-vastunI suMdara chaNAvaTa ane AlocanA sarala, gaMbhIra ane suMdara gujarAtImAM DaoN. pAThake karI che; A mATe teo abhinaMdanane pAme che. A bIjarUpa prazasya prayAsa AgAmI kALamAM eka bRhad bhASya tarIke ApaNane prApta thAya, evI AzA ane abhilASA. aMtamAM prakAzaka saMsthAne paNa suMdara prakAzana mATe hArdika abhinaMdano. surezacaMdra go. kAMTAvALA, vaDodarA-1 For Personal & Private Use Only

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225 Vol. XXV, 2002 Our Contributors Dr. P. R. Vora Dr. Rajjan Kumar Avni Flats, Nr. Jariwala Park, Appliad Philosophy, Ishwar Bhuvan, 1ASE, MJPRU, Ahmedabad - 380 009. * Bareilly (U.P.) 243 006. Dr. Tapasvi Nandi Dr. Vasantkumar Bhatt 4, Professor Colony, Head, Dept. of Sanskrit Nr. Vijaya Char Rasta, Gujarat University, Ahmedabad - 380 009. Ahmedabad - 380 009. Dr. Parul Mankad L.D.Institute of Indology, Dr. Mukul Raj Mehta Nr. Gujarat University, Department of Philosophy and religion, Ahmedabad - 380 009. Banaras Hindu University, Varanasi - 221 005. Dr. Yajneshwar S. Shahstri Department of Philosophy and Psychology, Dr. Nandan H. Shastri Gujarat University, University Museum, Ahmedabad - 380 009. Sardar Patel University, Vallabh Vidyanagar (Anand) Dr. D.G.Vedia L.D.Institute of Indology, Vijayashilchandrasuri Nr. Gujarat University, L.D.Institute of Indology, Ahmedabad - 380 009. Nr. Gujarat University, Dr. Hampa Nagarajaih Ahmedabad - 380 009. 1079, 18th 'A' Main 5th Block, Rajaji Nagar, Dr. Rasesh Jamindar Banglore - 560 010. 10/B, Vasu Apartments, Nr. Shreeji Palace, Naranpura, Dr. Ramkrishna Bhattacharya Ahmedabad - 380 013. Reader in English Anand Mohan College, Kolkata. Dr. Sudarshan Kumar Sharma HIG, Block 61-B-3, Sector, VI - Dr. Narayan Prasad Parwanoo - 173220 D-20, CWPRS Colony, (Himachal Pradesh) Khadakwasla, Pune - 411 024. For Personal & Private Use Only

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226 SAMBODHI 50 lAlabhAI dalapatabhAI insTiTyuTa opha inDolaoNjI gujarAta yunivarsiTI pAse, amadAvAda-380 009. 2.naM. : 9702493, 37A : 1307329 taddana navAM prakAzano L.D. Sr. No. Price Rs. 116 paumapahasAmicariyaM-paM rUpendrakumAra pagAriyA, pR. 527 130 117 kAvyakalpalatA parimala makarandaTIkA-DaoN. Ara. esa. beTAI, pR. 412 225 Some Topics in the Development of OIA, MIA, NIA118 Dr. H. C. Bhayani p. 144 119 sirianantanAhajiNacariyaM-paM rUpendrakumAra pagAriyA, pR. 144 .400 120 alaMkAradappaNa-DaoN. harivallabha bhAyANI, pR. 53 121 aSTakaprakaraNa-DaoN. ke. ke. dikSita, pR. 140 122 siricaMdappahasAmicariyaM-paM rUpendrakumAra pagAriyA, pR. 236 123 A. hemacaMdrakRta kAvyAnuzAsana-gujarAtI anuvAda sahita, saM. DaoN. tapasvI nAMdI pR. 630 480 124 tarkataraMgiNI-saM. DaoN. vasaMta parIkha, pR. 304 270 125 Madhu-vidya collected papers of Prof. M. A. Mehndale p. 754 560 126 dravyAlaMkAra-A.rAmacaMdra-guNacaMdra, saM. muni jaMbuvijayajI pR. 280 290 127 prAcIna madhyasIna ra sAhitya saM. pro. niyaMta 56, pR. 760 560 128 zAstrAvArtA samuccaya-A. haribhadrasUri, sAnuvAda, saM. a. DaoN. ke. ke. dIkSita pR. 272 129 Temple of Mahavira Osiyaji Dr. R. J. Vasavada p. 30 : Plates 61 360 130 bhagavatIcUrNi - saM. paM. rUpendrakumAra pagAriyA pR. 120 135 131 Abhidha Dr. Tapasvi Nandi P. P. 84 132 A Lover of Light among Luminaries : Dilip Kumar Roy Dr. Amrita Paresh Patel P. P. 256 220 . 215 For Personal & Private Use Only

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Vol. XXV, 2002 227 30% Trade terms for L. D. Series Publications : (1) Gross purchase excerding Rs. 5000/- or on purchase of 20 copies of any title or 25 copies of assorted title at a time. (2) Book-Sellers and the Institutions on any purchase. (3) Gross purchase excerding Rs. 10,000/- or on the purchase of one copy of all imprint available titles. (4) Packing and forwarding free by rail for order at a time excerding Rs. 10,000/-. 30% 40% Our general practice is to send the proforma invoice on inquiry for our publications and dispatch the books on receiving the payment by D. D. in favour of the Institution. * Distributors * 1. Ahmedabad Saraswati Pustak Bhandar Hathi Khana, Ratan Pole, Ahmedabad-380 004 Phone : 5356692 3. Mumbai Hindi Grantha Karyalay Hira Baug, C. P. Tank, Mumbai-400 004 Phone : 4. Varanasi Motilal Banarasi Dass Chowk, Varanasi-221 001 Phone : 352331 2. Delhi Motilal Banarasi Dass 41/U-A, Banglow Road, Jawahar Nagar, Delhi-110 007 Phone : 3918335 5. Channai Motilal Banarasi Dass 120, Royapetth thing Road, Mylapore, Channai-600 004. Phone : 4982315 For Personal & Private Use Only

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

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Edicato helbrey .