Sambodhi 2011 Vol 34

Author(s): Jitendra B Shah
Publisher: L D Indology Ahmedabad
Catalog link: https://jainqq.org/explore/520784/1

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SAMBODHI Indological Research Journal of L.D.I.I. VOI. XXXIV 2011 EDITOR J. B. SHAH @ R OG L. D. INSTITUTE OF INDOLOGY AHMEDABAD Personal & Private Use Only

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M. A. Dhaky 6th Floor, People's Plaza, Nr. Memnagar Fire Station, Ahmedabad 380009. Mahendrakumar A. Dave Head, Departmenr of Sanskrit Neema Girls Arts College, Gojharia Mahesana Maulik Hajarnis 18/212/ Parishram Apartment, Nr. Bimanagar, Satellite Road, Ahmedabad-380015 Nilanjana Shah Swirvihar Apartment, Panjrapole Char Rasta, Ambawadi, Ahmedabad 380015 Paramba Shree Yogamaya Lecturer, Dept. of Sanskrit, Utkal University, Vani Vihar, Bhubaneswar-751004 Renuka J. Porwal 10, Dixit Bhavan, 148, P. K. Road, Mulund (West), Mumbai 400080 Sagarmalji Jain. Director, Prachya Vidhapith, Dupada Road, Shajapur Our Contributors For Personal & Private Use Only Satya Vrat Varma 7/34, Purani Abadi, Nr. Namdev Flour Mill, Sri Ganganagar (Raj.) Sunanda Y. Shastri Department of Sanskrit Gujarati University Ahmedabad 380009 Surekha Patel 1, Vinayak Park Society Jampura Road, Palanpur 385001 Sureswar Meher Special Centre for Sanskrit Studies Jawahar Lal Nehru University New Delhi 110067

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SAMBODHI Indological Research Journal of L.D.I.I. VOI. XXXIV 2011 EDITOR J. B. SHAH . L. D. INSTITUTE OF INDOLOGY AHMEDABAD For Personal & Private Use Only

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SAMBODHI VOI. XXXIV 2011 Editor J. B. Shah Published by Dr. J. B. Shah Director L. D. Institute of Indology Ahmedabad 380 009 (India) Phone: 26302463 Fax: 26307326 Idindology@gmail.com Price Rs. 150.00 Printed by Sarvoday Offset 13-A, Gajanand Estate, Old Manek Chowk Mill Compound, Nr. Idgah Police Chowky, Ahmedabad 380 016 For Personal & Private Use Only

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CONTENTS 1. The impact of other Yoga-Systems on Hemachandra's Yoga-Sastra Sagarmal Jain 01-04 2. The Morphology of the Trident Weapon M. A. Dhaky 05-16 3. Yogic Elements in Principal Upnisads Paramba Shree Yogamaya 17-23 4. Observations on the use of Kr Satyavrat Varma 24-32 5. Musical Instruments in Nirgrantha Canonical Literature M. A. Dhaky 33-37 6. The Minarets of the Hilal Kham Qazi Mosque, Dholka M. A. Dhaky 38-46 7. Change of land use in the City Centre over a period of time : Case study of Vadodara City Centre Maulik Hajarnis 47-50 8. Appashastricharitam - Evaluation of a Biography Sunanda Y. Shastri 51-61 9. Scientific Dimensions of Spiritual Energy Sureswar Meher 62-69 10. Jinaprabhasuri's account on Mathura in Vividha tirtha kalpa Renuka J. Porwal 70-75 11. jaina dArzanikoM kA anya darzanoM ko trividha avadAna pro. sAgaramala jaina 76-85 12. Herafa sit ameters on 'TAMAICII Ha a 86-90 13.2442512 42-11 Elsi 29 247 padacaMdrikA' temaja "uNAdisUtravRtti'mAM maLatA vaNadazanAnA mata nIlAMjanA zAha 91-121 10.2141431, zylua dull Gul RAUSLYZ42 RA 4964 HALERI mahendrakumAra e. dave 122-126 11. jg 9415191 127-130 12. List of Publication of L.D.I.I. 131-140 For Personal & Private Use Only

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

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The impact of other Yoga-systems on Hemachandra's Yogashastra Sagarmal Jain Among the eminent and versatile Acharyas of Jaina tradition, who wrote the works on Jaina-Yoga system, such as Jinabhadragani, writer of Dhyanasataka (5th-6th C.A.D.), Pujyapada Devanandi, writer of Samadhitantra and Istoupadesa (5th-6th A.D.) Acharya Haribhadra writer of Yogavinsika, Yoga-sataka, Yoga-drstisummuccaya and Yogabindu (8th century), Shubhachandra writer of Jnanarnava (11th-12h centulry A.D.), the Hemachandra writer of Yogashastra is most prominent. However, the Yogashastra of Hemachandra is considered as one of best works of Jaina-Yoga. However, if we consider on it thoroughly, we have the impacts of various pervious Jaina and nonJaina Acharyas on it. Here, I would like to say regarding Yogashastra, Hemachandra is not original writer but a good compiler. In general, we can say that this work is influenced by many works of previous Jaina Acharyas as well as non-Jaina Acharyas. In the field of Jaina-Yoga we have some impact of non-Jaina Acharyas and their works such as Patanjali's Yogasutra as well as Gheranda Samhita, Hathayogapradipika etc. along with some Jaina Acharyas and their works such as Yoga works of Acharya Haribhadra and Jnanarnava of Shubhachandra of Digambara sect, on it. ... But in canonical age as well as in the post canonical age i.e. the age of Haribhadra, it is very difficult to see any impact of earlier Jaina and non-Jain Acharyas and their works, except the Yogasutra of Patanjali indirectly or directly, directly they are based on Jaina canonical concepts. In the works of Haribhadra, we do not find any mention of pranayama, sacakras and their relating concepts. In the history of Jaina-Yoga for the first time, prannyama was mentioned in Jnanarnava of Shubhachandra and then Acharya Hemachandra's Yogashastra. Hemachandra's Yogashastra is a blend of canonical concepts of Jaina ethics, religion and Yoga along with Patanjali's Yogasutra and tantric practices of Hindu Hath-Yoga and Buddhist Yogic-sadhana. Let us try to see the impacts of previous Jaina and non-Jaina Acharyas and their works on Yogashastra of Hemachandra chapter-vise. Its first chapter deals with the importance of Yogic-sadhana as well as five mahavratas, five samitis and three guptis, which were considered as the basic code of For Personal & Private Use Only

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Sagarmal Jain SAMBODHI conduct of Jaina monks and nuns. Here Hemachandra follows the Jaina canonical tradition. At the last of this first chapter of his Yogashastra, Hemachandra deals with thirty-five marganusari qualities of a house holder, we do not find any reference of these thirty-five qualities in Jaina canonical works, these thirty-five qualities of a house-holder first of all discussed by Haribhadra in his work - Dharma-bindu. I think that these thirty-five qualities of house-holder of Hemachandra's Yogashastra, are borrowed from Haribhadra. Similarly the second and third chapters of Yogashastra deals with right-vision (samyak-darsana) along with twelve vows of householder in detail, which are also, based on the Jaina canonical work and other traditional works, such as Tattvarthasutra etc. Here one thing to be noticed that while discussing stealing Hemachandra mentions a new concept that "ill luck, slavery, cutting of the organs of any-one living being, and poverty are also the same as steeling." The fourth chapter of Yogashastra is devoted to the Jaina spirituality and science of meditation along with the practice of equanimity, which is the base of Jaina spiritual sadhana. In this chapter Hemachandra also mentions some brief description of mediation, four basic feelings (bhavanas), which are necessary for meditation, along with some of the bodily postures. While dealing all these Hemachandra also follows the Jaina canonical and traditional works. Except some of the bodily postures, there is nothing new in this chapter, which can be considered as an impact of other Jaina and non-Jaina Acharyas and their works. The fifth chapter of Yogashastra is devoted to pranamyama. In this fifth chapter we find the direct impact of Patanjali's Yogasutra as well as Hathayogapradipika and Gheranda Samhita on Hemachandra. In its first verse Hemachandra mentions that "having obtained mastery on various postures Patanjali and others advocated the necessity of pranayama (breath-control) for securing meditation power, as otherwise there will be no control over the mind." Here Hemachandra advocated the necessity of Pranayama, while in earlier Jaina tradition pranayama has not been accepted as an essential limb of Yogic-sadhana. Though in this fifth chapter, Hemachandra gives a very detail account regarding the Pranayama, but in the sixth chapter of his Yogashastra he him-self rejected the necessity of pranayama, he writes." 2 tatrApnoti manaHsvAsthyaM prANAyAmaiH kadarthitam / prANasyAyamane pIDA tasyAM syAccittaviplavaH // 4 // pUraNe kumbhane caiva recane ca parizramaH / cittasaMklezakaraNAn bhakteH pratyUhakAraNam // 5 // Mind does not get stability if it is put to trouble through exercises of the breathcontrol because while controlling the breath the body also undergoes discomfort and distress and this again becomes the cause of mental imbalance. Inhaling, suspending, and exhaling it involve hard labors. This, on its part, produces grief; and the aggrieved state of mind and thus really blocks the way to salvation. On this account we can say that the fifth chapter of Yogashastra of Hemachandra is fully borrowed from Patanjali's Yogasutra and Hathyogapradipika. But being an Acharya of Jain-tradition in the sixth chapter of Yogashastra he rejected the necessity of pranayama, because it was not accepted as an essential feature of For Personal & Private Use Only

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Vol.XXXIV, 2011 The impact of other Yoga-systems on Hemachandra's Yogashastra 3 Jaina-Yoga-sadhana in Jaina canonical works as well as even by Haribhadra, a founder of Jaina-Yoga system. In the fifth chapter of Yogashastra Hemachandra deals with Pranayama along with the forecasting of death. He discusses this concept of forecasting of death on various grounds with much detail, such as the moment of breath in the various nadis, external signs, dreams, shadows as well as some other symptoms namely the absence of taste, hearing, smelling etc. Hemachandra discusses this in very detail, near about two hundred verses. I have tried to know the original sources of these verses, but remain unable to find out them Pujya Muni Jumbuvijayaji also did not give any trace regarding these verses. I have found only some traces of it in Bhavisyapurana and Garuda Purana. As I have already mentioned the sixth chapter of Yogashastra is fully devoted for the negation of the utility of pranayama, this chapter ends only in eight verses. The seventh chapter of Yogashastra introduces the various levels of meditation. In this chapter he mentions the four types of dharma-dhyana i.e. the Pindastha, Padatha, Rupastha and Rupatita and five dharanas (thought processes) which are based of five elements such as earth, fire, wind, water and the real nature of self. In earlier Jaina canonical works, we do not find any traces regarding these four types of dhyanas and five types of dharanas. Acharya Haribhadra also silent regarding these in this various Yoga-works. After Haribhadra, there are two other Jaina Acharyas namely Shubhachandra (11th century) and Hemachandra (12th century) whose contribution in the field of Jaina-Yoga are remarkable. Shubhachandra belongs to Digambara Jaina tradition and his famous Yoga work is known as Jnanarnava, while the Hemachandra belongs to Svetambara Jaina tradition and his notable work is known as Yogashastra. For Yogic sadhana, Hemachandra prescribes the fourfold virtues of maitri (friendship with all beings), pramoda (appreciation of the merits of others), karuna (sympathy towards the needy person) and Madhyastha (equanimity or indifference towards unruly), as the prerequisite of the auspicious meditation (Yogashastra 4/117). Here, it is to be noted that these four reflexions are also accepted in Buddhism and Yogasutra of Patanjali. Secondly while discusssing the Dharma-dhyana Hemachandra mentions four types of it, such as pindastha, padatha, Rupastha and Rupatita, along with five types of dharanas i.e. parthivi, agneyi, vayavi (svasana), varuni and tattvarupavati of the pindatha dhyana. Here it is to be noted that these four types of dhyanas and five types of dharanas are also available in Buddhist and Hindu Tantric literature, but not in early Jaina-literature. Though Hemachandra in his Yogashastra generally deals with three jewels of Jainism i.e. right knowledge, right vision and right conduct, but among these three, he has given more stress on right conduct. While dealing with meditation methods he also elaborately discusses the pindastha, padatha, rupastha and rupatita dhayan along with above mentioned five dharanas. But in this regard scholars are of the opinion that he borrowed these ideas either from Shubhachandra's Inanarnava, which is an earlier work to his Yogashastra or form Gheranda Samhita directly. For Personal & Private Use Only

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Sagarmal Jain SAMBODHI In short, these types of dhyana and dharana, are either borrowed from Hindu Tantra or Hemachandra followed the Shubhachandra's concept of dhyana and dharana. We see that the impact of other systems of Yoga-sadhana can easily be seen on Hemachandra's Jaina-Yoga. We can also see the impact of Patanjali's Yogasutra on Hemachandra's Yogashastra. In Jaina canonical works, we do not have any reference regarding practice of Pranayama. But Hemachandra in the fifth chapter of Yogashastra mentions the various kinds of pranayamas in all sixty verses. Not only this he also mentions about three nadis i.e. Ida, pingala and susumna. It is crystal clear that all this he barrowed from Patanjali's Yogasutra, Gheranda Samhita, Skandapurana, Sivasamhita of Hindu tradition as well as from Amitagati's Sravakacara, Vasunandi's Sravakacara, Adipurana, Tattvanusasan of Nagasena and Paramatma-prakasa of Digambara sect. Eighth chapter of Hemachandra's Yogashastra is devoted to padastha-dhyana. This chapter fully concern with mantrika sadhana. Though in this chapter Hemachandra has taken the help of Hindu-mantras, but he tried to make them according to Jaina tradition. In this regard, he was influenced by previous Jaina Acharyas such as Haribhadra, Shubhachandra and some others. Nineth chapter of Yogashastra deals with the rupastha-dhyana and the tenth chapter of it is devoted to the nature of liberated souls along the four sub-types of Dharma Dhyana i.e. Ajnavicaya, Apayavicaya Vipaka-vicaya and sansthana-vicaya in detail. This chapter deals with these, according to Jaina canonical works and Dhyanasataka. The eleventh chapter of Yogashastra deals with the sukla-dhyana with its four sub types along with some special qualities of the Arhat or the Tirthankar. This chapter also discusses the process of Samuddhta and achieving liberation (siddha gati). All the discussion of this chapter is based on Jaina's traditional literature. The last twelfth chapter deals with four types of mind (971i.. (1) viksipta (2) yatayata (3) silista and (4) sulina in detail. This kind of division of mind, Hemachandra barrowed from the Goraksanatha's Amanaska-yoga. In this field the contribution of Muni Shri Jambuvijayaji is remarkable. He has given a comparative as well as exhaustive list of the verses of Yogashastra and above mentioned works in the third volume of Yogashastra in its 1s appendix. Similarly about four seeing of the age and death he also picked-up the information from the above mentioend texts. Thus we can conclude that while writing Yogashastra, Hemachandra was influenced by other Indian Yoga systems particularly Patanjali's Yogasutra, Hathyogapradipika, Amanaska-yoga of Goraksanatha, Kularnava and Ghernda Samhita of Hindu tradition, Tattvanusasana of Nagasen of Buddhist tradition as well as Subhachadra's Jnanarnava of Digambara sect. Here it is to be noted that Hemachandra in writing this his Yogashastra mostly depended on Shubhachandra's jnanarnava along with some Shwetambara texts such as Dhyanasataka and its Haribhadriyatika, Prasamarati of Umaswati, Brahatkalpabhsya etc. For Personal & Private Use Only

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The Morphology of the 'Trident' Weapon M. A. Dhaky The sula or the trisulal-trident-is the king among the weapon-attributes carried by some Indian divinities. As a consequence, it ranks first among the divyastras, divine arms. Symbolically, then, it reflects potential just as represents power that is apratikarya (inopposable) and amogha (unfailing). The trisula is the chief weapon of Siva who is hence called sulin or sulapani, the wielder of the trident-weapon. It is also the weapon par excellence of Candi or Durga in her many manifestations, be they pacific and benevolent (Ambika-Ksemankari) or terrifying and violent (Mahisamardini). Some of the tantric divinities of the Buddhist as well as of the Jaina pantheon, too, adopt it as their premier attribute, symbolizing as it does their numinous potentialities and, equally, their manifest propensities. The trident-forms noticed in association with the Indian sacred images reveal many formal variations that follow the biaxial rhythm of the regional and period styles. The formal diversifications may have started taking shape seemingly not long after trident's first detectable appearance in the early formulations of Indian iconograms. It attained to its handsomest and the most perfect form in the Gupta period (and times close) in the North;5 its most powerfully conceived form appeared in South India, in the Pallava-Chola periods. The problems concerning the origin and history of the trident in relation to Indian imagery and its symbology as well as the metaphysical meaning are not considered in the present paper, though for relevance's sake very brief and cursory observations I intend to make in the sequel. The consideration of the trident's diverse regional and period-forms I have reserved for a long paper planned some years ago now, which may some day, hopefully, be written and published. In the present paper I wish to dwell on the morphology of this very distinctive and beautiful weapon. Before going to weapon's formal details, I shall make a few * Earlier published in the Journal of the Asiatic Society, Vol. XIX, Nos. 1-2, Calcutta 1977, pp. 24-32 For Personal & Private Use Only

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M. A. Dhaky SAMBODH preliminary observations based on a study of the many examples of the weapon scattered through the known range in terms of regions and periods of Indian divinity sculptures that have bearing on the discussions to follow. First, as in the realm of figural sculpture in general, the trident-forms, too, resolve into two broader, clearly defined and distinctive typographical zones, the Northern and the Southern. Within the Northern zone may again be reckoned four major type areas, the Eastern, the Central, the Upper, and the Western Indian, each neatly defined and showing inter-relationships or inter-connections, gradations and progressive changes inside the many period-styles that developed and decayed in those areas. In the Southern zone, the Tamil and the Tamil influenced areas show varieties differing from those in the Karnata and Karnata-affiliated areas. Second, the formal details, the relative proportions of the trident's constituent parts also varied from region to region but more so from period to periodo While we may find no practical difficulty in describing the morphology of the trident on the basis purely of observation and in terms of our coining or drawn from practical sources, it would be more realistic, nay, authentic if we used the nomenclature which ancients used, and incidentally find out as to how they reckoned, envisioned, and processed the trident. To my knowledge, there are at least three literary works which among other things deal with the morphology of divinities' attributes and the information embodied therein is useful in the present context in that the trisula and its componental parts find mention in at least two of them. Of the three, the Aparajitaprccha of Bhuvana-deva (c. late 12th or early 13th century), 10 a vastusastra-treatize dealing in main with the Maru-Gurjara (Western Indian) architecture and iconography, is clearer in its perception and exposition of the trident's from. The second, namely the Laksanasamuccaya of Vairocani, an Eastern Indian Saivagama of either the 11th or the 13th century, 11 is somewhat obscure as regards details of the apportionments but none the less clear enough on the nomenclature of the sub-parts involved. The third is the Karanagama, 12 originally a Northern work of about the sixth or the seventh century, 13 southernized and very probably enlarged and extended in the medieval period, 14 has its twenty-first chapter dealing with astras, sacred arms wherein, if not trisala at least the kulisa (thunderbolt) has been treated at some length. Though the verses in the selfsame passage are at places fragmentary, there is still the terminological information which is of value in the context of the present discussion. The work, unlike the other two, also lends some insight as regards the methods by which the astra in question is delineated, in painting or sculpting. The trisula, as the Aparajitaprccha enjoins, should be of 16 units, out of which 10 are to be allocated to the danda (staff), 1 to the nabhiyrttaka (circular holder at staff's upper-end) and the remaining 5, by reductio ad absurdum, to the weapon-head which the latter holds, and, which, as the text goes on giving further details, consists of For Personal & Private Use Only

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Vol.XXXIV, 2011 The Morphology of the 'Trident Weapon pattastra (spear-head) flanked by two paksas (spikes) which are "terrifying at the tip" (bhisan=agro) i.e., having a sharp-point. The spikes (flanking the spear-head on either side) are said to be katak=opeto, which in essence implies they are 'undulant'. As for danda's thickness, it is said to be 1 part. As the text further goes on to say, the valana (circumference) of the saktipinda (=nabhivrttaka) of the pattastra has to be kantakravrta, that is to say, barbed. 15 The sakti (=pattastra) proper which is centrally situated, has to be "high" (unnata) meaning that it should be taller than (and thus extending beyond) the spikes : Sodas=akyam padam kltva padena nabhivsttakam / tad=urdhve ca ubhaya-paksau bhisan=agro prakirttitau // Pattasr=amsa-saktipinda-valanam kantak=avstam/ ubhayoh katak=opeto madhye sakt=yamsa unnatah // Dasa-bhagai=r=bhaved dandam prthutvam c=aika-bhagikam / - Aparajitaprccha 235. 14-16" This essentially is the description, faithful and detailed indeed, of the Western Indian type of trident. The weapon-head of the kind conveyed by the text one notices in Rajasthan and Northern Gujarat between the late fifth and the 12th century, and the dimensions of the danda given there begin to be followed from the tenth century or sooner after. The sketch of the trident (fig. 1) illustrates the parts as implied in the text. Since the Aparajitaprccha is a Western Indian compendium of the late 12th or early 13th century, using as it does at places textual works of the preceding century as its sources, the illustration for the detailing and shape has been based entirely on the Western Indian types, particularly those of the early Solanki period. 16 Next we may notice the Eastern Indian variety as reflected in a description in the Laksanasamuccaya. The text here cannot be said to be as clear as that of the Aparajitaprccha as I earlier hinted. After careful consideration of the passage involved by Pt. Shatkodi Mukhopadhya of Benares, the form visualized here is perhaps as close to the intentions of the original author as possible. The formal treatment as well as the terminology, to some extent, differs from its Western Indian counterpart. According to the Laksanasamuccaya, the weapon-head should cover a 9-unit square and the danda should be three times the former, that is to say, 27 units in length and thick by 3 units. No details of the shape and small decorations of the danda are given; but the weapon-head has been treated at some length. The sula (spear-head proper), as the text goes on to say, should be centrally placed and fitted into a hole (randhratah) over a base (mula) of 1/2 unit. Sula's edges have to be champhered upto the width of a quarter of the unit, the champhering is said to simulate the shape of the lotus. Leaving 2 1/2 parts (implied probably from the sula-edge) may be drawn the two srrigas (horns i.e., For Personal & Private Use Only

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M. A. Dhaky SAMBODHI horn-shaped spikes), tall by 6 units. The latter may have bone-joint like articulation : (asthi-kalik=opame). Underneath the root of the weapon-head is to be the vedi (circular-holder) decorated on its exterior with lotus-leaf design. (The dimensions of the vedi, not given: Possibly, it was subsumed under the danda, regarded perhaps as the latter's knob at the upper end.) Thus : Vedasro graha-bhakte syan=madhye sulam tu randhratah // Ardh=ardh=amsa=stu=paks=abhya=mutpala mukul=akstih / Tyaktvada sardhau dvi-vistaran sadibha-dirghau bhraman=matau // srngo dvo sula-parsve ca tvag=asthi kalik=opame/ tad-vrttau dvyardha-dirghau ca kartavyo ca susobhanau // - Laksanasamuccaya 9. 1"-4" (Fig. 2 illustrates this type, based as it is on the premedieval and medieval Orissan forms.) The text gives small additional information meant perhaps for the painted instances. It states that Siva's danda should be white-coloured and lined red. Aisyas (= Parvati's) danda should be red, and lined white.17 The vajra (thunderbolt), as graphically represented, is essentially a trisula with weapon-head mirror-imaged at the other end of the danda, the latter often being much shorter in length.18 Hence most of the details of vajra given in ancient works, particularly those of the weapon head, apply to trident as well. For example, the term paksasrriga (lateral spike) used in the description of vajra in the Laksanasamuccaya stands for the riga and the term srga specified to be in the centre there (madhye srigam) stands for the sula or sakti proper. I so far have not come across any South Indian work that deals with the detailed description of trisula; but the one given of kulica i.e., vajra in the Karanagama, mentioned earlier, is useful for its terminology. The work, while outlining the basic method of delineating the vajra, incidentally mentions the parts involved. From this description we gather that the central spear in the weapon-head is called sula as also sakti and madhyasmiga. the two spikes disposed symmetrically on either side of and hence outside the sula are called srngas (srngam dvayam bahih).19 The latter are implied to be drawn as crescent-moon (khand-endu-vat, ardha-candra-var), a feature unmistakably of the ancient Tamilian instances. One term, namely for the base-knot of the weapon-head here differs from those in the former two works, for it has been called gandika, which is said to be elliptical in form (gandika vartul-ayata). And the danda, too, is mentioned there. This essentially South Indian (Tamilian) type is illustrated here in fig. 3, basing on Zimmer, Rao, and Sivaramamurti. For Personal & Private Use Only

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Vol.XXXIV, 2011 The Morphology of the 'Trident Weapon Sula originally meant 'spear'; the trisula implies the combination of three spears. The Latinic term 'trident' is literally equivalent of a hypothetical Sanskrit tridanta (three-toothed) and is formally a three-pronged weapon of the Hellenic marine deity, Poseidon : (cf. figs. 7 and 8). Whether the Indian trisula ultimately is inspired by the Greek trident or not is not very clear, though some trident forms on the Gandharan coins may provide links, or at least the Gandharan rather than Hellenic proper may have in the end been responsible for some of the Indian types which more clearly begin to emerge from the Gupta period.20 There is, of course, a basic difference in the classical Greek and the Indian types. The Hellenic have the prongs generally parallel and grafted on a common cross-bar: (cf. fig. 7). The Indian trident is less geometric and therefore more organic in that the lateral spikes meet and smoothly merge with the central at the weapon-head base. Again, in the Hellenic types, the prong bears a fish-hook at the end, and the weapon, then, is implied to be purely marinal. The Indian trident is conceived as a triplicated spear, where the two lateral limbs are lance-heads often in name only, for they are convolved or frequently horn or crescent shaped, and their ends generally incurve, whether they represent an 'open type' (cf. flg 1 and 3) or closed type' where the ends touch the central sakti: (cf. figs. 2, 4 and 5). The lateral spikes thus in essence are purely ornamental. The main function of "piercing through" is done only by the central lance-head, the sula proper, the madhyasrnga or sakti as it also has been termed. But one of the Javanese types such as illustrated in fig. 6a represents the trisula in a form reflecting the original intent, for here the three limbs of the weapon-head are three sulas vertically shooting up: the lateral ones are a little modified at the outer edge for practical reasons. The more poetic representation of the central sakti of the trisula where the spearhead flashing like lightening or the dynamized energy as noticeable in Tamilian examples (cf. fig. 3)21 and an instance is also known from Bengal:22 (cf. fig. 5b). The Indian weapon-attributes have not been studied in detail nor their form analysed. The present study on trident is an initial attempt on a modest scale and with somewhat restricted ends in view, to be supplemented by a larger one in future.23. The other promising attribute, capable of a larger study, namely the gada - Indian mace--for which I have plans to direct future studies. Acknowledgments My greateful thanks are due to (late) R. P. Hingorani of the American Institute of Indian Studies, Varanasi for calling my attention to this last reference and for tracing sources for the Greek trident forms. The illustrations were drawn by Shri G. S. Telang and the script was typed by Shri V. K. Venkatavardhan, both of them then on the staff of the American Institute of Indian Studies Varanasi. I wish to thank both of them. For Personal & Private Use Only

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10 M. A. Dhaky SAMBODHI Ipattastra Cakti) Inabhivrttaka faktipinda) Idanda Figure 1 sula. Edriga (paksairnga) mula vedl -danda Figure 2 For Personal & Private Use Only

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Vol. XXXIV, 2011 The Morphology of the 'Trident' Weapon sula sakti, madhyasmiga) srnga gandika danda Figure 3 Figure 4 For Personal & Private Use Only

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121 EUR Figure 5 M. A. Dhaky For Personal & Private Use Only AAA SAMBODHI Figure 6 b

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Vol.XXXIV, 2011 The Morphology of the 'Trident' Weapon Figure 7 Figure 8 For Personal & Private Use Only

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M. A. Dhaky SAMBODHI NOTES 1. Sula actually means 'spear', but if not infrequently stands for 'trident.' 2. Of course, the Greek oceanic deity Poseidon also carries the trident weapon. His Indian counterpart-Varuna-carries pasa. 3. Siva usually is represented the 'linga', but in his rather rare figural representation often two armed, his right arm carries trident. In his Javanese representation he also carries camara, the signification of which is not clear. 4. In the Sunga terracotta figurines of the famous primordial Durga from Tamralipti and the like. The Buddhist triratna symbol has been time and again suggested as precursor of the trident, which may not perhaps be in fact. The trident-like head wear noticeable on Indus seals figures possibly signifying divinity figures (including the one generally identified as Siva Pasupati) is sometimes alluded to as the plausible forerunner of trident. The subject needs a separate, long and patient inquiry. 5. Those carried by the two Sivaite dvarapalas in the door frame of the Parvati temple at Nachna Kuthara in Madhya Pradesh, and some other stray sculptures: (cf. here fig. 4). See C. Sivaramamurti, p. 53, fig. 34. In the medieval period one often encounters good examples such as here illustrated in fig. 5. A paper entitled "Forms of the Trident in Indian Iconography" had been planned and the tracings were made for the proposed Bulletin of the Department of Archaeology, Government of Gujarat, which, however, never materialized. Karnatadesa, by virtue of its geographical position and historical associations, knew Deccan (lower Maharastra ) and lower Central India fairly intimately and the Deccani as well as Central Indian influences have time and again trickled down to Karnata country. The earlier trident forms in the Karnatan imagery is akin more to Northern than to Tamilian: (cf. Sivaramamurti, figs. 33 and 34). The Tamilian types are crescent or horn shaped. The Karnatan is a variation of the usual wavy pronged type of the North. More will be said about the truly southern i. e., Tamilian types as the discussion progresses. 9. Discussion on this I reserve for the second paper. 10. Gaekwad's Oriental Series, No. CXV, Ed. Popatbhai Ambashankar Mankad, Baroda 1950. 11. Pratisthalaksanasamuccaya, pt L. Ed. Damodar Sharma, Nepal V. S. 2023. The evidence concerning its date is rather conflicting. I am discussing it in a separate paper. 12. Unpublished. I consulted a transcript of mss. (R. 16784) in the Government Oriental Manusciipts Library, Madras of the selfsame work. 13. My paper discussing the date of its chapters concerning architecture is in press. 14. The older parts contrast sharply with the later additions both in language and content even though the general form for the added chapters has been outwardly brought in line with the older. The formal relationship between Kulisa and trident will be clarified in the discussion to follow. For Personal & Private Use Only

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Vol. XXXIV, 2011 The Morphology of the Trident' Weapon 15. If the reading may be katak-avrta, it would be ribbed as is found in actual instances. 16. For instance Sun temple, Modhera (1027), etc I have also taken ideas from the earlier images from Samalaji where the form is still clearer and handsomer, such as of the famous dvarapalas and Virabhadra Siva. (cf. 26. P. Shah, figs 1 and 21) 17. Luptva rekham sitaih sula, rakte dande kusesayam site rekha bhaved dandam Aisyam eva trisulakam Laksanasamuccaya 9. 5. - 18. Vajra, as earlier represented outside India, sometimes assumed the form of lightning. In a Gandharan instance, it is shown as bone in accordance with the legend of the creation of vajra from the bones of Rsi Dadhici: (cf. Sivaramamurti, p. 23 and fig. 3 a.) But soon after it was depicted as a weapon three pronged at both ends; (ibid. figs. 3 b, c & d ). That vajra should be that way is confirmed by an injunction in the Aparajitaprecha saying as it does that, vajra is a double trident: Vajram sula dvayam: (235. 33). 19. The passage is rather too long and at places mutilated and unintelligible: hence not quoted. 20. A trident form represented on a Kusana coin (of Vasudeva) (cf. here fig. 8 e and also Rosenfield. pl. XI, No 214) has the left spike recalling Grecian fish hook prong but the right one is more in line with or anticipating the Indian form. The central prong is very rarely after a lance-head shown in Greek types, an exception is found on a coin dated to 387-374 B.C which shows such one: (cf. here fig 8 d). The progressive changes in Hellenic forms, from the relatively archaic (fig. 7) to the classical (fig 8) shows the persistence of the basic shape in essential particulars. 21. Also Sivaramamurti, fig. 34, 1 b & c. 22. Drawn after the image of a goddess from Dinajpur, Bengal: cf. R. D Banerji pl. LVI (a). 23. I must here mention an article written long ago by William Simpson entitled "The Trisula Symbol", Journal of the Royal Asiatic Society of Great Britain and Ireland, 1890, pp 299317. The author's concern there is mostly with the origins. List of Figures 1. The Western Indian trisula according to the Aparajitaprecha. 2. The Eastern Indian trisula according to the Laksanasamuccaya. 3. The South Indian trisula (following vajra's weapon-head) according to the Karanagama. 15 4. Gupta tridents: a) b) c) Of the Saivaite door guardian, Parvati temple, Nacana Kuthara, c. 3rd quarter of the 5th century: Mandsor, Siva's, c. early 6th century: Of a Saivaite dvarapala, Nacana Kuthara, c. late 5th century: (all drawn after the photographs in the Archives of the American Institute of Indian Studies, Varanasi.) For Personal & Private Use Only

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M. A. Dhaky SAMBODHI 5. (a) trident of Avalokitesvara, Mahoba, Candella style, c. mid 10th cent. (influenced by Eastern school ) : (cf. Zimmer fig. 321.) (b) trident of Devi, Dinajapur, Bengal, c. 11th century. (cf. Banerjee, pl. LVI a.) (b) trident held by Siva, Siva and consort, Orissa, c. 12th century : (cf. Zimmer, fig. 387.) 6. (a) Trident of one of the Regents of the Quarters, Lara Djonggrang, Java, c. mid 9th century: (cf. Kempers, plate 156.) (b) * trident of Rsi Trnavindu, Singasari, Eastern Java, c. early 13th century: (cf. Kempers, fig. 241.) trident of Poseidon, relief from Tarentum, Greece, c. 6th century B.C.; (cf. Grimal, frontispiece.) trident of Poseidon, coin. Poseidonia, c. B. C 530.: cf. C. M. Kraay & Max Hirmer, Plate VIII. (a) trident of Posiedon, coin of Demetrius Poliorcetes, Macedonia, Greece, B. C.306 283 ; (cf. CMK & MH, fig. 574.) (b) trident of Poseidon, coin of Haliartus Boltia, Greece, C. B. C. 387-374: (cf CMK & MH, fig. 460.) (c) trident of sea-god, coin of Itanus, Crete, c. B. C. 375-350: (cf. CMK & MK, fig. 546.) (d) trident of Siva, coin of Vasudeva. Kusana (cf. Rosenfield, fig. 214.) BIBLIOGRAPHY 1. R. D. Banerji, Eastern Indian School of Mediaeval Sculpture, ASI (NES), Vol. XLVII, Delhi 1933. 2. Pierre Grimal (editor), Larousse World Mythology, London 1965. 3. A. J. Bernet Kempers, Ancient Indonesian Art, Cambridge, Massachusetts 1959. 4. C. M. Kraay and Max Hirmer, Greek Coins, London (undated). 5. John M. Rosenfield. The Dynastic Arts of the Kushanas, Los Angeles 1967. 6. U. P. Shah. "Sculptures from Samalaji and Roda (North Gujarat) in the Baroda Museum" Bulletin Museum and picture Gallery, Baroda, Vol. XIII 1960. 7. C. Sivaramamurti, "Geographical and Chronological Factors in Indian Iconography" Ancient India, No 6, Jan. 1950. 8. Heinrich Zimmer. The Art of Indian Asia, (editor Joseph Campbell), Vol. II, sec. ed reprint, New York 1964. For Personal & Private Use Only

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Yogic Elements in Principal Upanisads 0. Prologue to Yogic Sciencea Yoga is consciousness of unity with the atman. The word 'Yoga' in a technical sense first occurs in Taitt.Up. 3 II/4/1), Kath.Up. (... 1/2/12), sve.Up. (... brahmaNyabhivyaktikarANi yoge, 2 / 11 ) (tatkAraNaM sAMkhyayogAdhigamyaM, 6/13), Mai.Up. (tathA tatprayogakalpaH prANAyAmaH pratyAhAro dhyAnaM dhAraNA tarkaH samAdhiH SaDaGga ityucyate yoga:, .. 6/18). The true explanation of it is 'arranging' which is evident from the expression ' occuring in Mai.Up. (6/3). In Mai.Up. (6/25) the word 'Yoga' is used in the meaning of 'union' between prana and the syllable Om.1 So we find that the Upanisads contain the earliest theory of the Yogic practice. Paramba Shree Yogamaya Particularly prana is the basic element in all beings and is greatest among the organs in human beings generally. So, to achieve greatness in life one has to contemplate upon prana. By engaging oneself with Yogic Contemplation one can achieve a complete life. The accomplishment related to prana is completely the subject matter of Yogic science. This article aims to discuss how the Yogic elements have their roots in the age-old Upanisads.' L Upanisads and Yoga Among the fourteen principal Upanisads eight srutis of the second chapter of Sve.Up. deal with Yoga. The conduct and behaviour, the place, the preliminary symptoms, the attainment of the yogic power and its consequences all are discussed in a very significant manner in this Upanisad. It seems that the latter Samkhya and Yoga systems of philosophy has been developed on the basis of this eve.Up. Usually a layman understands the postures by the word 'Yoga'. But the postures are a part of Yoga and not the whole. Even before the Bh. Gita the sitting posture for prana contemplation is depicted in Sve. Up. as that the body, neck and For Personal & Private Use Only

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18 Paramba Shree Yogamaya SAMBODHI head should be steady with a comfortable sit. Though we don't find a detailed discussion about the postures in this Upanisads still the basic and original themes are found there. The Sve. Up. has a great significance in development of a system of philosophy i.e. Yogadarsanam. A full-fledged development of the postures are found in the text of Hathayogapradipika. The sadhaka is directed to regulate the mind and organs. This can be said 'pratyahara'. Before this he is directed to control his breath in Rajayoga. It signifies that our inhalation and exhalation should be regular and the practice of it's regulation is known as pranayama in almost all the Yogic texts. For this pranayama and pratyahara the place to contemplate should be pure, dustless, fire and water free and also free from noise. If possible the meditation is preferable in caves also. The primary symptoms of Yogic contemplation is very clear in Sve. Up. And lastly the contemplator is taken to a higher level through the effect of his meditation. One can attain a diseaseless, long healthy and happy life through the unending bliss of Yogic practice. Sve. Up. holds up the sadhaka towards samadhi Yoga or accomplishment where the individual soul meets the universal soul and frees him from all bondages in the former becomes one with the latter. This equal theme is also found in Patanjaliyogadarsanam. GI : Taysan (Pata. Yoga. 1/3) For accomplishment two of its previous stages are named as dharana and dhyana which are not mentioned in Sve.Up. But both of them are necessary for the final stage; so also are incorporated in the process also. Ka.Up. describes dharana as the highest Yogic practice or equal to samadhi. It is said that only when manas with the five senses has attained the still state and when Buddhi or intelligence does not waver, that they call the highest goal to be reached." Here we observe that if we add the yamas and niyamas of the eight-foldpath of Yoga to Upanisadic contemplation process it will fulfil the requirements in the path of Yoga. These are elements of Yoga in Upanisads. 1.1. The Form of Isvara in Yoga and Principal Upanisads It is quite significant that Pata. Yoga. gives a definition to isvara as conheffausiteure: yrafasta $24: 1 (Pata. Yoga. 1/24) A similar discussion is found in Mun.Up. in this regard where it is said that paramatman is the only witness and the jiva only enjoys the subjects. Likewise, Ka.Up. describes that the sun, the eye of the whole universe remains pure, free from For Personal & Private Use Only

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Vol. XXXIV, 2011 Yogic Elements in Principal Upani sads 19 external blemishes to which the eyes are susceptible; so also, the one inner self of beings which remains pure and free from the sorrows of the outside world." 1.2. The Essential Ingredients of the body as described in Principal Upanisads The seven dhatus are the ingredients on the basis of which Yogic science and ayurveda sastra provide treatment. Though these are a latter development still the Mai.Up., latest among the principals depicts them as follows: bhagavannasthicarmasnAyumajjAmAMsazukrazoNitazleSmAdUSite viNmUtravAtapittakaphasaMghAte durgandhe fa:Aristott fa T: (Mai. Up. 1/2) Again in Kau.Up. we are told that the blood vessels called Hita or which is active and beneficial and arising from heart are as small as a hair divided into thousand parts and they are filled by the fineness of a brown, white, dark, yellow and red sap. Before this Kau.Up. same type of discussion regarding the ateries is found in Ch.Up. Here it is said that Sun is reddish brown (fast) and white, blue, yellow, etc. are there in Sun. So, the reddish brown arteries from heart are all of these colours.? A very scientific and reasonable cause regarding the colour of nalis is given by Acharya Shankara like this that the arteries with bile (fur) when brunt by the sunrays a come in contact with phlegm (274) a little then their colour becomes reddish-brown. When the quantity of wind (ala) is more in this condition the colour becomes blue and when the phlegm is more the colour becomes white. When the quantity of wind becomes equal with phlegm then the colour of arteries becomes yellow. And when the quantity of blood is more, then the arteries are red in colour. Describing this Acharya Shankara has suggested for more research in this line in his commentary. This bloodvessel named 'Hita' is the cause of our dream state as the Br.Up. describes. In this connection, in the context of Sautramani sacrifice of Vajasaneyi Samhita it is prayed that the body should be free from the trouble of wind etc. 10 That means an equillibrium state of phlegm, wind & bile is required for sound body and mind. A very subtle and significant description of human limbs is also found in satapatha Brahmana. In fact it is very significant that we find the description of the subtle arteries in the age-old Upanisads for which it can be said they are the beginning of physiological science and the base of modern medical science. It is the study of Yoga only which gives us a chance to unfold the secrets of the vedic vision. For Personal & Private Use Only

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Paramba Shree Yogamaya SAMBODHI III. The Symbolic Information of Yogic Practice in Upanisads One can achieve success in the Yogic path only through regular practice. We find some references of Yogic practice in Upanisad symbolically where it is aimed for self-realisation or Brahma - realisation. In Sve. Up. it is said that the soul is the wood below that can burn and be fire. AUM is the whirling friction rod above. Prayer is the power that makes AUM twine round and then the mystery of God comes to light. This can be interpreted as by overcoming the obstacles which prevent the realisation of Brahman, suffering is generally involved. We have to critically meditate on Godhead to bring Him to be reflected in our heart. Here the description of body is below wood and AUM as the rod above is the true state of the human soul to be identical with the supreme spirit. This type of friction is known as adhiyajna. This is the fact that Atman lies concealed in the body is elucidated as the fire lies concealed in the rubbing fuel-sticks. In between the lower and above sticks who sits very steady, calm and quite, who is jatavedas in the sacrifice and who is protected by the Yogic through their contemplation as the foetus lying concealed as well-protected by the pregnant woman is the Atman.12 This can be interpreted differently. In the Yogic process both the sticks are lower breath and upper breath respectively or prana and apana. Who sits in between them is worshipped by all the organs is vamana. The up-breath (prana) and inbreath (apana) are active for this vamana or Atman only.13 In this context we can quote the line of Mun.Up. also where it is said that mind relies upon the pranas for its purification. When the mind becomes pure and calm through pranaregulation at the time there appears the Atman automatically. 14 'Here very clearly it is said that the Atman can be known through consciousness (AH). But this consciousness is concealed by subjects of our organs usually. When all the organs are controlled through the regulation of breath at that time mind becomes very calm and steady. In this state only one becomes fit for realisation through consciousness. IV. The suitable place for Yogic contemplation in Sve. Up. Each and every work towards success demands a suitable atmosphere. Among the principal Upanisads Sve. Up. describes clearly about the atmospheric condition for Yogic practice. In a level clean place, free from pebbles, fire, noise and the murmur of water and other features not offensive to the eye, in a hidden retreat protected from eye, let the sadhaka practise his exercise of Yoga. In For Personal & Private Use Only

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21 Vol.XXXIV, 2011 Yogic Elements in Principal Upanisads 16 Bhagvat Gita we find 8 verses of chapter VI continuously describing the atmospheric condition for the practice of Yoga. In Hathayogapradipika also we find the description for the Yogic circumstance as mathalaksana." In some Puranas we also find the description of mathalaksana. So, pure, calm and quite atmosphere is required for Yogic practice. 18 The preliminary symptoms and the attainment of the Yogic power In the beginning of the accomplishment the sadhaka feels, fog. Because with the pranas cittavrttis are also active. Then one feels smoke, sun, fire, wind, fireflies, lighting, crystal and moon. All these are the preliminary forms which produce the manifestation of Brahman is Yoga. nIhAra dhUmArkanilAnalAMnAM khadyotavidyutsphaTikazazInAm / etAni rUpANi puraH sarANi brahmaNyabhivyaktikarANi yoge | (Sve. Up. 2/ 11 ) V. The symptoms of the progress in Yoga are lightness, healthiness, steadiness, fairness in complexion, pleasantness of voice, sweetness of odour and slight excretions. Sve.Up. says these are the first results of perfect Yogic practice.19 After this Yogic achievement one becomes free from all sorrows and bondages. V. Conclusion: Each and every human being is a mirror stained by dust; but he shines rightly when it has been cleaned. Then only he can see the real nature of his own self which is integrated. He can participated himself in the final goal and freed from sorrow. When one knows the essential nature of his ownself through the perfect Yogic practice by overcoming all the bodily and mental obstacles he becomes a torch for himself and for the society. He releases himself from the material world and becomes free from bondages which is the ultimate aim of each and every human being. Notes 1. evaM prANamayoGkAraM yasmAtsarvamanekadhA / yunakti yuJjate vApi tasmAdyoga iti smRtaH // ekatvaM prANamanasorindriyANAM tathaiva ca / sarvabhAvaparityAgo yoga ityabhidhIyate // (Mai. Up. 6 / 25) trirunnataM sthApya samaM zarIraM hRdIndriyANi manasA saMnivezya / brahmoDupena pratareta vidvAn srotAMsi sarvANi bhayAvahAni // ( Sve. Up. 2 / 8 ) yadA paJcAvatiSThante jJAnAni manasA sh| buddhizca na viceSTati tAmAhuH paramAM gatim // (Ka Up. 11/3/10) - tayoranya: pippalaM svAdvati anaznannanyo abhicAkazIti // (Mun. Up. III/I/D) 2. . 3. 4. .... 5. sUryo yathA sarvalokasya cakSurna lipyate cAkSuSairbAhyadoSaiH / ekastathA sarvabhUtAntarAtmA na lipyate lokaduHkhena bAhyaH // (Ka Up. II / 2 / 11) For Personal & Private Use Only

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Paramba Shree Yogamaya SAMBODHI 6.... hitA nAma hRdayasya nADyo hRdayAtpurItatamabhipratanvanti tadyathA sahasradhA kezo vipATitastAvadaNvyaH piGgalasyANimnA tiSThanti / zuklasya kRSNasya pItasya lohitaspe tAsu tadA bhavati / yadA suptaH svapnaM na kaMcana pazyati .... I (Kau.Up. 4/19) 7.. atha yA etA hRdayasya nADyastAH piGgalasyANimnastiSThanti zuklasya nIlasya pItasya lohitasyetyasau vA AdityaH piGgala eSa zukla eSa nIla eSa pIta eSa lohitaH / (Ch.Up. VIII/6/1) tathA zuklasya nIlasya pItasya lohitasya ca rasasya pUrNA iti sarvatrAdhyAhAryam / saureNa tejasApitrAkhyena pAkAbhinivRtena kaphenAlpena samparkAtpiGgalaM bhavati sauraM tejaH pittAkhyam / tadeva ca vAtabhUyastvAnnIlaM bhavati / tadeva ca kaphabhUyastvAcchuklam / kaphena samatAyAM pItam / zoNitabAhulyena lohitam / vaidyakAdvA varNavizeSA anveSTavyAH / kathaM bhavantIti / (Comm. of Shankara, Ch.Up. VIII/6/1) 9. Br.Up. IV/3/20 10. tvayA hi naH pitaraH soma pUrve karmANi cakruH pavamAna dhIrAH / vanvannavAtaH paridhIra // rapauNu vIrebhirazvairmaghavA bhavA naH / / (Vajasaneyi Sam. 19/53) 11. svadehamaraNiM kRtvA praNavaM cottarAraNim / dhyAnanirmathanAbhyAsAddevaM pazyennigUDhavat // (Sve.Up. 1/14) 12. araNyornihito jAtavedA garbha iva subhRto garbhiNIbhiH / dive diva IDyo jAgRvadbhiH haviSmadbhirmanuSyebhiragniH // etadvai tat // (Ka.Up. II/1/8) 13. UrdhvaprANamannayatyapAnaM pratyagasyati / madhye vAmanamAsInaM vizve devA upAsate || (KaUp. II/2/31 14. eSo'NurAtmA cetasA veditavyo yasminprANaH paJcadhA saMviveza / prANaizcittaM sarvamotaM prajAnAM yasminvizuddhe vibhavatyeSa AtmA // (Mun.Up. III/1/9) 15. same zucau zarkarAvahivAlukAvivarjite zabdajalAzrayAdibhiH ___mano'nukUle na tu cakSupIDana guhAnivAtAzrayaNe prayojayet // (Eve.Up. 2/10) 16. yogI yuJjIta satatamAtmAnaM rahasi sthitaH / yuktasvapnAvabodhasya yogo bhavati duHkhahA // (Bh.Gita VI/10-17) 17. alpadvAramanandhragartavivaraM nAtyuccanIcAyataM samyaggomayasAndraliptamamalaM niHzeSajantUjjhitam / bAhye maNDapavedikUparuciraM prAkArasaMveSTitaM proktaM yogamaThasya lakSaNamidaM siddhairhaThAbhyAsibhiH // (Hathayogapradipika 1/13) 18. Nandikesvarapurana 13 19. laghutvamArogyamalolupatvaM varNaprasAdaM svarasauSThavaM ca / gandhaH zubho mUtrapurISamalpaM yogapravRtti prathamA vadanti // (Sve.Up. 2/13) Reference Books 1. Brhadaranyakopanisad (Sanuvada Sankarabhasyartha), Gita Press, Gorakhpur, 9th Ed. Samvat, 2058. For Personal & Private Use Only

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23 Vol.XXXIV, 2011 Yogic Elements in Principal Upanisads 2. Chandogyopanisad (Sanuvada Sankarabhasyartha), Gita Press, Gorakhpur, 9th Ed. Samvat, 2055. 3. Hathayogapradipika, The Adyar Library and Research Centre, Madras, reprint 1994. 4. Isadi Nau Upanisad (Sankara Bhasyartha), Gita Press, Gorakhpur, 2th Ed. Samvat, 2060. Mahanarayanopanisad, Swami Vimalananda, Sri Ramakrishna Math, Mylapore, Madras - 4. Patanjalayogadarsana (Vyasabhasya sahita), Swami Brahmalina Muni. Chawkhamba Samskrta Samsthana, Varanasi, 5th Ed., Samvat, 2056. Srimad Bhagavad Gita Bhasyam of Sri Samkaracarya, trans. by A. G. Krishna Warrier, Sri Ramakrishna Math, Madras, 4th impression, 1996. The Thirteen Principal Upanisads, trans. by S. L. Seru, Nag Publishers, Delhi, 1st Ed., 1997. 9. Vajasanekizmadhyandinasuklayajurvedasamhita, Chowkhamba Vidyabhawan, Varanasi, reprint, 2005. 10. Deussen, Paul, Philosophy of the Upanisads, Oriental Books Reprint Corporation, New Delhi. 11. Deussen, Paul, Sixty Upanisads of the Vedas, Vol. I & II, MLBD, reprint Delhi, 2004. 12. jaina, jayakumAra, yoga aura Ayurveda, anekAnta sAhitya zodha saMsthAna, iTArasI, ma.pra., dvitIya saMskaraNa, 1986 13. Sri Aurovindo, The Vital (The life - Force, prana) Known Theyself - I, reprint from All India Magazine, Sri Aurobindo Ashram, Pondichery, 1999. 14. Ranade, R. D., A Constructive Survey of Upanisadic Philosophy, Bharatiya Vidya Bhavan, Bombay, 2nd Ed. 1968. For Personal & Private Use Only

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Observations on the use of Kr SATYA VRAT VARMA The phenomenon represented by a group of Sanskrit roots in denoting more than one meaning is brilliantly summed up by Patanjali in the pithy sentence 'bahvartha api dhatavo bhavanti.' The dictum is however to be taken with a modicum of caution. The multiplicity of meanings of the roots in question is circumscribed by strict grammatical formulations. But for certain specific cases they are not known to convey a sense that is not assigned to them in the dhatupatha or that belongs to other roots. Kr, however, towers above them all and unfolds an array of meanings that rightfully belong to other specific roots. In view of the plethora of meanings that it is found to denote in the vast domain of literature, both sacred and profane, Kr may well be treated to form a class (gana) by itself. What has been said of the 'Word' Sarve Sarvarthavacakah sabdah is more true of Kr. The rationale behind the quaint phenomenon is, however, not hard to define. The primary sense of Kr action is general (dukrn karane), turns out to be a magic lamp to conjure up the gamut of meanings that it denotes with a vengeance. In the true spirit of the Samkhya theory of causatin (Satkaryavada), the array of specific meanings in which Kr has been used by the successive generations of cultured writers are latent in its general sense, which unravel themselves in the given situation and context. The general after all invariably culminates in the specific (na nirvisesam samanyam). Besides those noted elsewhere, the present note is intended to focus on a number of peculiar meanings of Kr which we have been able to identify in the course of our sustained investigations in the functioning of the root. It is interesting to find that the Vedic language has equal fascination for the root. The Rgveda itself serves to highlight the various nuances of its import that it unravelled in its semantic march. While waxing eloquent on the sanctity of the Praci Sarasvati Tirtha, located at Prthudaka, the Vamanapurana (VP.) brings out its efficacy to purge evil of all hues in the verses that follows: For Personal & Private Use Only

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Vol. XXXIV, 2011 Observations on the use of Kr prAcI sarasvatI puNyA api duSkRtakarmaNAm / trirAtraM te kariSyanti prAcI prApya sarasvatIm // na teSAM duSkRtaM kiJcid dehamAzritya tiSThati / The phrase FERTE afofo sounds somewhat enigmatic. Kr seems to have been used here in a highly uncommon sense which, on contextual evidence, can only be 'to stay', 'to live'. Those who stay for three nights at the sacred Praci Sarasvati are absolved of all sins. The VP. is not alone in using the root in this sense. Its antiquity goes back to the time of Rgveda. It denotes much the same sense in the Rc bahvIH samA akaramantarasmin / Akaram here evidently means avasam. The excerpt from the Mahabharata aghtit 1924alla col qulfur yang serves to lend added support to the meaning. Cakruh in the verse can not mean anything but usuh. 'Permitted by him, they lived / stayed there for fourteen years. Obviously the general sense of Kr has climaxed here in the specific act of living, though it is for removed from it. Far more removed from the primary sense is the fact of slaying' which Kr is found to denote in the Bhagavatapurana. vyabhicAraM munitviA patnyAH prakupito'bravIt / ghnatainAM putrakAH pApamityuktAste na cakrire // The Perfect plural Cakrire poses difficulty in ascertaining its true significance in the verse. Kr seems to have been intended here as a counterpart of the root han in ghnata. If so, Cakrire can only mean Jaghnuh here. And this is the only sensible interpretation that can be put on it, though Kr is seldom, if ever, used in this sense. The sons, though bidden by their father, did not kill their mother.' of the meanings that Kr has been denoting since the Vedic times, 'to give (dane) stands out prominently. get ri4 a fe HET 34f" purports to be an excellent illustration of the use of Kr in this sense. Krdhi doubtless means dehi here. 'Bestow riches on us, O Indra, for you are a repository of wealth.' So does Krdhi stand for dehi in asmabhyamindra varivaH sugaM kRdhi / 'Bestow joy and good luck on us, o Indra.' The Atharvaveda has been equally fond of using the root his this sense. Verses like cael A 395 Q12: quitg? and AH 499171 sulta ar sayfa 34 si amply bear out of the sage's predilection for the root. Krnotu in the excerpts clearly means 'dadatu. Kr. has been widely popular with the classical writers. The Valmiki - Ramayana furnishes several instances of the use of Kr in this sense. 'Krtam' in Stall gadi Epig gari na #24: unmistakably stands for 'dattam'. 'Anything given For Personal & Private Use Only

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26 SATYA VRAT VARMA SAMBODHI with disrespect to the suppliant brings about the ruin of the donor.' The meaning is inherent in the Desiderative from Cikirsavah compounded with tapahphala in 37821100 T: 79: falda:10 | It is doubtless synonymous with ditsavah, 09. ggfoga: as the siromani puts it. The deities flocked there with a view to bestow on them the reward for their austerities'. A very interesting use of Kr preceded by the prefix upa in this sense is met with in the Manusmrti: cal toe vApyutpAdya paropakRtameva1. The credit for resolving the cryptic phrase upakRtam rests with Manu's brilliant commentator Kulluka. But for his unerring paraphrase of the term as 37 a abru Guh it would have been hard to interpret it with a measure of cogence. Another verse from Manu serves to make the sense all the more clear. rAjabhiH kRtadaNDAstu kRtvA pApAni mAnavAH / nirmalAH svargamAyAnti santaH sukRtino yathA // 12 nagusi: in the verse evidently means dattadandah, "punished.' "The people who have been punished for their evil deeds by the king, go to heaven like pure souls, purged of their vices.' Though the two are denoted by the Sanskrit root da, paying' is a trifle different in import from 'giving'. As borne out by a forud 3tant acitrari3, Kr. had come to mean 'to pay in the Vedic period itself. Kautilya furnishes some more uses of the root in this sense. The instances reproduced below merit notice for effectively highlighting the use of Ke in the sense of 'paying'. (i) qoymufti Hi algerli yechicerut cus: 114 Those who cross the toll-post without paying the toll-tax are to be punished with a fine eight - fold more than the usual tax. (ii) zainstaligaynon frafera: .............. Non doa qus:15 | 'He who smuggles the goods on which tax has not been paid with those on which it has been paid, will have them confiscated and an equal amount of fine imposed on him.' The commentary srimula is beyond reproach in rendering graag met as Garch and dynot as 3G icon "To give name', 'to name' is the meaning which seems to be an extension of the basic sense of giving'. The meaning is preserved in a large number of works, some of which are pretty early. Some of the notable examples are reproduced here. (i) aft: at the dood l 116 (ii) TRE TARHfa 79 of 117 For Personal & Private Use Only

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27 Vol.XXXIV, 2011 'Observations on the use of Kr It is a testimony to the resilience of Kr that it voices effectively the different shades of the basic sense of the root grah. It is thus found to mean 'to receive', accept, attain, borrow, in various texts and contexts. While commenting on the Varttika (9799, S. Ray remarks Te graffa FH4, 7 7 Taxiffet: gadi fafie317418 | Krtam here obviously means Feld, Li, 'attained'. The word Buddhi in the Sutra falGERICHTPCTGCH HUTHU anafu (I. 4.52) denotes knowledge in general, not the specific knowledge attained through eyes etc. The Ramayana - verse got # 418Hi ga Ha Fod fit brings out another aspect of the root grah as denoted by the ubiquitous Kr Kuru here obviously means grhana, Svikuru. 'Accept our request, Son. Sita may stay back here in Ayodhya.' It is almost in the same sense that Kr is found used in the Rgveda : 5 44 44 Stocall 91G-720 | Krsva in association with antaram is rendered by Sayana as 'asannam kuru', 'receive'. 'Receive in your heart i.e. accept this laud of mine as that of a friend.' 'Receiving is but a prelude to accepting.' Yajnavalkya has been instrumental in focusing on a rare sense of Kr though in ultimate analysis that too represents an aspect of the basic meaning of grah. As used by him in the following verses, it means 'to borrow', 'to incur.' ; (i) fanat: pastarief ucui j gori waai dadyustadrikthinaH prete proSite vA kuTumbini // The debt incurred for the undivided family is to be paid back by the head of the family, or his heirs after he is dead or gone on (a long) journey. (ii) 7 forefayatezi 7 yetu aci fali ... GEIG #ed gostalef ufa: ilgoci 79122 | The famous line from the Uttararamacarita, 7 fori Cartief a123 is all that is generally reproduced to illustrate the use of Kr in the sense of 'creating', 'producing', 'generating'. The meaning, however, seems to have been quite popular with the ancient authors. While dilating upon the advantages of the study of philosophy, Kautilya remarks sal a ire a cfa24 "Kr is used here in the sense of 'producing.' 'The study of philosophy produces sharpness of intellect, clarity of expression and effective action.' The Jatakamala throws up a very interesting use of the root in this sense. In view of its somewhat philosophical overtones, the verse in question merits reproduction. yadi padmanAlaracanAdi ca yattadahetukaM nanu sadaiva bhavet / salilabIjAdikRtameva tu tata, sati tatra saMbhavati na hyasati / / For Personal & Private Use Only

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SATYA VRAT VARMA SAMBODHI 'If the lotus - stalk etc. were to spring up without any cause, it should have been always there. That however, is produced by seed, water etc. So when they are there, the lotus - stalk is produced, otherwise not.' The meaning is met with in some of the Smrtis as well. The Brhaspati - smrti provides an interesting illustration. anekadhA kRtAH putrAH RSibhizca purAtanaiH / na zakyante te'dhunA kartuM zaktihInairidantanaiH / / Krtah in the verse means utpaditah and kartum is synonymous with utpadayitum. "The ancient sages produced many sons, but the present - day sages, being shorn of virility, are not able to procreate them.' The meaning seems to have come down from the Vedic period itself. Krnoti in wulfiunfa 74126 bears testimony to its antiquity. "The delightful dawn produces light, is what the expression means. Closely related to the above is the sense (to cause) in which it is used by Kalidasa in 24972farge 64127 | 'Mutual longing causes pleasure to both the partners. Kalidasa, is ably supported by such celebrities as Aryasura and Sankaracarya. In his analysis of the power of God, Aryasura remarks greda a RE fanya u28 1 'That overlordship is but slavery, which is caused by extraneous considerations,' Sankaras observation of has alryzffagprefecafargely in his Bhasya on Brahmasutra I. IV is equally illuminating. "To manifest'. 'to display' is a sense that Kr has been denoting since the Vedic time. It au goud en b47e729 forms a worthy illustration of the use of Kr in this sense. "The sun manifests its form on the lap of the sky.' The Wise-saying fc HREF: svabhAvakAnti ravipAdairanadhiSThitaH karoti30 joins the Vedic verse in highlighting the meaning. "Unless assailed / covered by the solar rays, the sun-gem does not manifest its inherent brilliance.' graifefte 411931, represents a slightly different aspect of 'manifesting.' Krtva here means darsayitva. 'Displayed valour that surpassed that of a lion.' Kr is known to mean 'to place', 'to put', the sense that is generally conveyed by ni + dha. The meaning seems to have enjoyed a measure of popularity with the ancient writers. Valmiki has palpable fondness for this sense of Kr the verse wa opfovi A 5 fea:32 underscores the sense with a measure of clarity. "Rama calmly put the spade and basket on the boat.' Valmiki is ably supported by the author of the Visnupurana in using the root in this sense. The expression Hoa smayantakamaNimAtmanivezane cakre leaves little doubt about the true import of Cakre. As ating For Personal & Private Use Only

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29 Vol.XXXIV, 2011 Observations on the use of Kr borne out by the excerpt garant and analyutafael, famillaci T emi dar4, the meaning percolated down to Asvaghosa. The author of the Bhagavatapurana seems to use the root in a slightly different sense. In spelling out the procedure of the Yogic practices, he says hastAvutsaGga AdhAya svanAsAgrakRtekSaNa:35 / kRtekSaNaH here evidently means faledett:, that is, aadu:, 'with sight fixed on the tip of one's nose.' "To fix', 'to decide', 'to lay down' is another interesting meaning that Kr is known to denote since early times. It has evoked unequivocal approbation from stalwarts like Vyasa, Kautilya and Manu. Sugriva lays down a strict schedule for the monkey - hordes, sent in search of Sita, to return. Halli a ga: aici: PHP140 49:36. 'I have fixed time for them all to return in a month.' Ketah here obviously stands for niscitah. The author of the Arthasastra has invested the meaning with a measure of technical overtones. He favours the adjudication of the judicial matters by a panel of ministers and judges : ETHEREUSHIRI: ..... G efichteti kuryu:37 | The Commentator unerringly renders vyAvahArikArthAn kuryuH as vyavahArayogyAna 41eft fafcere: It is the past participle form of Kr that has been used to convey the meaning in Kautilya's warning to the traders to sell the royal merchandise at a pre-decided price : bahumukhaM vA rAjapaNyaM vaidehakAH kRtArthaM vikrINIran38 | Krtartham is niscitamulyam. The expression ya 79141441 74601939 is rather abstruse. What one has to do with apam napata, defies imagination. Obviously Kr has been used in the verse in a sense that is hardly met with elsewhere. The credit for unravelling the true import of Krnudhvam rests with Sayana. He rightly believes that the root Kr which denotes a general action, has graduated to convey here the specific act of 'extolling' : karotiratra kriyAsAmAnyavAcI kriyAvizeSe stotre paryavasyati / prakarSeNa stuvdhvmityrthH| We owe it to Mammata that Kr at some point of time meant to use also. The Kavyaprakasa provides an interesting illustration of the meaning. Justifying the use of the fleeting feelings (Samcari bhavas) by name in a specific situation, Mammata observes : ... utsukatvAnubhAvasya sahasA prasaraNAdirUpasya tathA pratipattikAritvAbhAvAdutsukamiti 440 Krtam in the excerpt evidently means prayuktam. 'The fleeting feeling Bryaha has been used here by name in the verse as its manifestations like 'quick movement' are unable to convey Parvati's impatience with cogence. The root has been used in the verse havirAjyaM puroDAzaH kuzAH yUpAzca khAdirAH / naitAni yAtayAmAni kurvanti punaradhvare1 / / For Personal & Private Use Only

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30 SATYA VRAT VARMA SAMBODHI in a sense that is only a shade different from its preceeding meaning. As paraphrased by the commentator, ghafer farry outd, Kr in the verse denotes viniyoga, though that too would be rendered in English by the word 'used. Time-worn or stale oblation, ghee, offering, kusa grass and sacrificial posts made of khadira wood, are not to be used in a sacrifice.' The use of karitah in the Bhagavata - verse Y : 1579 ta dalfitat:42 defies comprehension. It does not mix well with ontstaal, though this precisely is the phrase that holds key to determing the meaning of the root in the excerpt. Kr has been used here in the highly uncommon sense of 'dancing'. til 500 alfai: therefore means here krIDanavana a:, 'made to dance like a puppet.' An equally uncommon but highly interesting sense of the root is preserved in the Atharvaveda. The present participle form krnvan used in RI ara afyaua with gude i x q9T743, poses some difficulty. But it is clear from the context that Kr cannot mean here anything else but to raise'. kRNvan = utthApayan / "The strong wind blows, raising dust and bringing down the trees.' The verse from Valmiki, cfa ere 1919 qocal FRFH 4114-144 is open to question so far as the meaning of krtva is concerned. The way the commentator has sought to interpret it, leaves one cold. TIF 3780Ft forft for Tage griet: gocall 37& STS: che rief:, this is how he resolves the text. He is convinced that Kr has been used here in the sense of 'adorning'. Kausalya adorned (embellished) Rama's head with rice, as he was about to leave for the forest. This is hardly convincing. There was no point for her to decorate Ramas head or forehead at that traumatic hour. Nor is it rational to render Sirasi as Sira-ekadese. He seems to have failed to pinpoint the exact meaning of Kr in the context. The root appears to have been used here in the sense of 'throwing. Kausalya threw rice on Rama's head to bid him farewell. This practice is still current in some parts of the country. It would be more in tune with the context to paraphrase zeSAzca kRtvA zirasi as zirasi akSatAn, prakSipya, rAmAzIbhi saMvarya iti piNDito'rthaH / A modicum of ambiguity likewise, sticks to the root in the following excerpts from Kadambari. (i) Youth Prohi are 445 (ii) bhagavan, sakalatribhuvanadarzanAbhirAmAyAstavAkRterasyA sadRzo'yamalaGkAraH kriyatAm / The Commentator smugly renders kartum in the former as vidhatum and kriyatam in the latter as vidhiyatam. This is quaint, if not reckless. Synonyms For Personal & Private Use Only

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31 Vol. XXXIV, 2011 Observations on the use of Kr hardly serve to unravel the import of the original. The so-called interpretation leaves us in the dark about the precise meanings of the root in the two sentences. It is evident from the tenor of the expressions that Kr has been used here in the sense of 'leaving' and 'putting on respectively. It accords with their spirit to render kartum as tyaktum and kriyatam as dharyatam. While the latter sense of the root is not unknown, the former is unique in a way. Karomi in TEE 7 aro cafq47 is not amenable to a coherent interpretation. As dosam and karomi do not mix well, the expression is reduced to a jumble of words. The situation is saved in case Kr is taken here to mean 'to find'. 'Prince, I do not find fault with you.' This seems to be the only sensible interpretation that can be put on the verse. The note, though fairly detailed, does not exhaust all the meanings that Kr is potent enough to yield. Patient investigations are sure to bring out a plethora of peculiar meanings of the root. Kr is a virtual Kamadhenu. Notes 1. SATYA VRAT, On Some Meanings of Kr, Journal of Oriental Institute, M. S. University, Baroda, Vol. 43, Pts.1-2, P. 7-13. Vamanapurana (SM), XXI. 20-21, as quoted in An Epic Pilgrimage (Devendra Handa), Aryan Books International, New Delhi, 2004, p. 75, fn 176 3. Rgveda (RV.), Vedic Samsodhan Mandal, Poona, 1933, X. 124.4 4. Bhagavatapurana, Gita Press, Gorakhpur, V.S.20.59, IX. 16.1 5. Rgveda, op. cit, VII. 16.6 6. Ibid., 1.102.4 7. Atharvaveda, V1.53.3 8. Ibid, VI.57.1 9. Ramayana, Gujarati Printing Press, 1.13.34 10. Ibid., 1.63.1 11. Manusmrti, Nirnaya Sagar Press, IV. 54 12. Ibid, VIII. 318 13. Atharvaveda, III. 29.3 14. Arthasastra, ed. Udayavira Shastri, Delhi, 1970, II. 21.22 15. Ibid, II. 21.24 16. Ramayana, op.cit, I. 18.22 17. Pancatantra, ed., Jwala Prasad Mishra, Bombay, 1923, p. 493 18. Siddhanta kaumudi, Vol.II, Calcutta, 1920, p. 25 19. Ramayana, op. cit, II. 37.19 20. Rgveda, op. cit, I. 10.9 For Personal & Private Use Only

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SATYA VRAT VARMA SAMBODHI 21. Vajnavalkyasmrti, Nirnaya Sagar Press, 1949, II. 45. 22. Ibid, II. 46 23. Uttararamacarita, ed. M. R. Kale, Gopal Narayan and Company, Bombay, 1924, II.4 24. Arthasastra, op. cit, 1.2.12 25. Jatakamala, ed. Surya Narayan Chaudhari, Motilal Banarsi Dass, Delhi, 1991, XXIII. 26 26. Rgveda, op. cit, 1.48.8 27. Abhijnanasakuntalam, ed. M. R. Kale, Gopal Narayan and Company, Bombay, 1934, II: 1. 28. Jatakamala, op. cit, XXIII. 39 29. Rgveda, op. cit., I. 115.5 30. Mahasubhasitasamgrahah, Vol. VIII, WRI, Hoshiarpur, 2007, Verse 13093. 31. Hammira - mahakavya, Oritental Research Institute, Jodhpur, 1968, V. 63 32. Ramayana, op. cit., II. 55.17 33. Visnupurana, Gita Press, V. S. 2041, II. 13.24 34. Saundarananda, ed. Surya Narayan Chaudhari, MLBD, Delhi, V. S. 2026, VL. 10 35. Bhagavatapurana, op. cit. XI. 14.32 36. Mahabharata, Gita Press, V. S. 2014, Vanaparva, 282.18 37. Arthasastra, op. cit., III. 1.1 38. Ibid., II. 16.10 39. Rgveda, op. cit., 1.122.4 40. Kavyaprakasa, ed. Acharya Vishveshvara, Jnana Mandal Limited, Kashi, V. S. 2024, p. 366 41. Ramayana, op. cit., II. 61.107 42. Bhagavatapurana, op. cit., X. 22.22 43. Atharvaveda, XII. 1.51 44. Ramayana, op. cit., II. 25.37. 45. Kadambari, ed. Kashi Nath Pandurang Parab, Nirnaya Sagar Press, Bombay, 1932, p. 285 46. Ibid., p. 273 47. Mahabharata, Gita Press, Vanaparva, 291.22 For Personal & Private Use Only

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Musical Instruments in Nirgrantha : Canonical Literature* M. A. Dhaky St. Augustine was very firm with those who professed an instinctive enjoyment of music, saying that this places them on a level similar to birds - Andrew Martindale The early Nirgrantha attitude towards music somewhat parallels the early Christian as reflected in St. Augustine's exhortation (c. late 6th early 7th cent. A.D.); both religions advocated, and resolutely enforced, severity of discipline for friars and nuns. For the Nirgrantha Church, asceticism in its extreme, almost in absolutist form, was not only a desirable virtue; it also was, and still is, an invariate precondition to salvation. As with the Buddhist church, the disciplinary rules as first framed in the Nirgrantha Order 'were fewer and simple. As time wore on, these progressively became exhaustive, elaborate, and complex. Very largely as a result of the burgeoning material culture, the "danger points" in terms of laxities in monastic discipline multiplied and grew in intensity. To this continually renewed and phenomenally augmenting challenge, spasmodic adjustments including some minor concessions) but also additional, fresh, and sterner clauses were introduced, together with enlargement in the scope of the existing injunctions. The extended code of strictures, which now also included atonements, was expected to act as a safeguard and an expediency against lapses and transgression of the monk's fundamental and inviolable vows taken at the time of ordination. The monastic conduct rules forbid what was considered then, as now, the 'good things' leading to material happiness in life. But, in the very process of negation, the disciplinary texts reveal what, in times contemporaneous to their * Earlier published in The Indian Theosophist (Thakur (Dr.) Jaideva Singh Felicitation Number), Official Journal of The Indian Section, The Theosophical Society, Vol. 82, Nos. 10 & 11, Varanasi 1985. For Personal & Private Use Only

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34 M. A. Dhaky SAMBODHI composition, were looked upon as desirable objects, and proper means and channels of enjoyment, of which music was an important part. Excepting the Anuyogadvara-sutra (c. early 5th cent. A.D.), no other Nirgrantha agama speaks about the foundational elements of Indian music. More information, however, is available on the traditional four classes, and types within them, of Indian musical instruments, in the books on monastic conduct and in the later Prakrta and Sanskrit commentaries on them. The Acararga-sutra Skanda II consists of five culas or appendices of which the premier two (c. 1st cent. B.C.) relate to monastic rules; four passages therefrom forbid the friars and nuns to listen to, or go to listen to the sound of musical instruments of the four categories, vitata (percussion, drums of many sorts), tata (string), ghana (solid beat-keeping) and susira (wind). The text also lists a few instruments that fall under each category.? Vitata : mrdanga, nandi, jhallari; Tata: Vina, vipanci, babbisaka, tuna. tumba-vina, dhakuna; Ghana :tala, kamsya-tala, lattika, godhika, kirikiri; Susira: samkha, venu, vamsa, kharamukhi, piripiriya or piripirika. The Acaranga passages in question include some instruments that are untraceable in the standard pre-medieval and medieval works on music in Sanskrit, on which I shall focus in the sequel. Incidentally, this data is important in that they predate those given within the gandharva literature including the earliest text, namely the Natyasastra of Bharat (c. 2nd 3rd cent. A.D.). The tumbu-vina (in those days possibly ekatara like string instrument) existed in the early centuries. It was called brahmavina in the medieval Sanskrit literature and its earliest instance of sculptural representation is known from a grille of one of the walls (now. fallen) of the Gupta temple at Naccana Kuthara (c. mid 5th cent. A.D.) in Madhya Pradesh. The lute type vinas figure in several carved instances from at least the 7th-8th cent. A.D. The next work is the Nisitha-sutra (c. 1st-2nd cent. A.D.): whose rules of prohibition and expiation of the Nirgrantha recluses include a rather large number of musical instruments in addition to those that figure in the Acaranga Book II. Vitata: bheri, panava, pataha, muraja, mrdanga, nandi, jhallari, vallari, (vallaki?)", damaruka, mattaka, dhuttunga(?), goluki: Tata: vina, vipanci, tunava, babbisaka, vinaiga(?), tumba-vina, jhondya (?), dharkuna (or dhakula), kacchapi, mahati; Ghana: tala, kamsya-tala, littika (lattika, godhika), makarika; susira: samkha, srnga, samkhika, vamsa, venu, kharamukhi, pirili, or pairipirika (piripirika), pava or parva. The increased length of the list in the Nisitha-sutra is due in part to its relatively later age as compared to the Acaranga Book II, but may also in small part be due to For Personal & Private Use Only

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Vol. XXXIV, 2011 Musical Instruments in Nirgrantha Canonical Literature* interpolations before and after the Mathura synod which was convened for the redaction of the (Svetambara) sruta or canon in c. A.D. 350/363." The Vyakhya-prajnapti, a huge compendium on Nirgrantha dogmatics that existed in the third century A.D., in large part in the present form, also yields some information in one of the questions pretended by apostle Gautama to Jina Vardhamana Mahavira; while the text in general manner refers to the four classes of instruments, those of two-susira and vitata-alone are specifically listed: Susira: samkha, srnga, samkhika, kharamukhi, pova (pava i.e.parva), paripiriya, Vitata: panava, pataha, bhambha, horambha, bheri, jhallari, and dundubhi. Anupapatika-sutra (in the present shape dating before c. 4 cent. A.D.) in its stereotyped varnaka-description of the regal procession of king Srenika (Bimbisara) of Magadha (proceeding to pay obeisance to Jina Mahavira) alludes to the sound of the following instruments (without, however, reference to their pertinent class)9: [Susira]: samkha [Vitata] panava, pataha, bheri, jhallari, hudukka, muraja, mrdanga, and dundubhi. 35 Here, the hudukka, a variety of drum, not included in the aforenoted works is mentioned. (It does of course find mention in the medieval literature on music.) The exegetical literature sometimes explains the form and meaning of the instruments (atodya) alluded to in the agamic passages. Among the available commentaries are the curni (mainly Prakrta: author unknown; c. late 7th cent. A.D.) and the vrtti (Samskrta: Silacarya: c. A.D. 851), both on the Acarangasutra, the visesa-curni (mainly Prakrta Jinadasa gani mahattara: c. A.D. 675) on the Nisitha-sutra; and the Samskrta vrtti on the Vyakhya-prajnapti by Abhayadeva suri of Candra-gaccha (A.D. 1072).10 And lastly mention may be made of a gatha cited by Jinadasa gani mahattara in his curni-commentary (c. A.D. 675) on the Nandi-sutra of Deva vacaka (c. A.D. 425-450) wherein are mentioned the following twelve instruments (without reference to their categories)" : [Vitata] : bhambha, mukunda (mrdanga ?), mardala, kadamba, jhallari, hudukka, panava. [susira]: kahala, talima, vamsa, and famkha. Collectively, these Nirgrantha agamic references take note of many musical instruments known in ancient India, some of which are now unavailable and their form and sound they produced cannot be divined. For Personal & Private Use Only

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M. A. Dhaky SAMBODHI The commentators do not explain the formal glosses of most of the instruments; for they take it for granted that these are known (prasiddha), though in a few cases such as babbisaka, dhanikuna, dhattundha, etc., I suspect they in fact were ignorant, nor do we have any means to cast light on them. Those that they explained are as follows: Vitala: (1) panava is explained in Prakrta by Jinadasa as gumja panavo mamthana (or bhardana), the gloss is not clear. 36 (2) Bhambha, glossed by the same authority as Bhambha mayangana bhavati, is equally unclear. However, Sricandra suri of Candra-gaccha (12th cent. A.D.) in his Nandi-sutra-vrtti-tippanaka (an annotated gloss on the difficult words in the Samskrit commentary of c. mid 8th cent. A.D. by Haribhadra suri on the aforenoted Nandi-sutra) explains Bhambha as a very broad-topped dhakka (atiprthula-mukha-dhakka-visesa). (Could it be a large dhola or a kind of nagada ?) (3) Dundubhi is said by Jinadasa to be shaped like bheri but narrow above: (bheri-agara samkuda-muhi dundubhi). (4-5) mukunda (mrdanga ?) as well as mardala are explained by Sri Candra suri as a kind of muraja (mukunda-mardalau muraja-visesau). The commentator further states that mukunda is narrow at one end and broad at the other, while mardala maintains the same dimensions at both ends. (6) muraja is explained by Jinadasa Gani as a large sized drum (mahatpramano murajo). (An instrument like jhallari is said to have a circular shape or frame and could be tough.) Tata: The term tata is defined by Jinadasa gani in two ways: by citing examples; and etymologically. He cites alapini as tata, defines vina as trisari or three-stringed lute, and adds bahutantri (harp?) to the list. And a second time he defines tata as tantri or stringed instruments. Ghana: Jinadasa gani seems to restrict ghana with wooden percussion instruments (ujjaula-lakuda); and the term kamsika he uses for kamsala or kamsya-tala. He also refers to tala-tala, jala-vaditra (jalataranga ?), jivaruta (?), and the whole class of these instruments he calls in Prakrta as tavvivariya, the meaning of which is unclear. Sri Candra suri glosses kadamba as karatika and talima by an Apabhramsa appellation teullika. The instrument mattaya or mattaga is mattaka (Hindi mataka, Gujarati matalum), perhaps the predecessor of the ghatam of the Karnatic system of music. Susira: Kharamukhi is explained by Jinadasa as a kahala having a wooden-head shaped after a donkey. And piripiriya (papudi in Gujarati), as far as it can be understood, is a wind instrument having a pipe-like form, single mouth, and a lateral conch shaped part; the instrument makes piripiri like three sounds. For Personal & Private Use Only

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Mas Vol. XXXIV, 2011 Musical Instruments in Nirgrantha Canonical Literature* 37 The instrument's appellation, like bhambha, seems may be a children's handmade instrument. (Is it an early form of the snake charmer's mahivar ?) From this preliminary estimation of the music data, it is clear that many musical instruments were known in ancient India, some of which have not survived. A detailed study of the information on the musical instruments from the Nirgrantha agamas vis-a-vis the texts on music on the one hand and the depiction in ancient carvings on the other is reserved for a future study. Notes 1. The data though are rather preliminary. And the portion embodying musical text (svara mandala i.e. sapta-svara) is rightly considered an interpolation by Pt. Dalsukh Malvania : (CA) Sthananga-Samavayanga (Gujarati), Ahmedabad 1955, 879, 872. Howesser, the date here suggested holds on the grounds of content and style of the work. The selfsame material verbatim figures in the Sthananga-sutra. 2. Ed. Muni Jambuvijay, Ayaranga-suttam, Jaina-agama-Granthamala, Vol. 2 (1), Shri Mahavira Jain Vidyalay, Bombay 1976, pp. 240-2. 3. Eds. Amaramuni and Muni Kanhaiyalal, Pt. IV, Agara, 1982, pp. 200-1. The Nisitha sutra is ascribed to Visakha gani who probably is Arya Visakha. Several of its rules, including those on music, are based on, and are extensions of, those of the Acararga sutra Book II. 4. A variant reading which might be more correct. 5. A variant reading is saduya. In neither case is it possible to cull out any meaning. 6. In the different published versions of the Nisitha-sutra, kacchapi and mahati are wrongly included under the ghana class. As is known from the Sanskrit works on music, both were forms of vinas or lutes, the kacchapi is assigned to Sarasvati and mahati to Narada. 7. This canon is not recognized by the Digambara Jainas. 8. Some of the passages in the Vyakhya-prajnapti (c. 2nd 3rd cent. A.D.) have at some stage gone to the Prajnapana-sutra; while several that originally formed part of other agamas have drifted to the Vyakhya-prajnapti. 9. Ed. Muni Kanhaiyalal and others, Beawar 1982, p. 104. 10. This vytti uses an earlier curni commentary, seemingly not as yet published. 11. Ed. Muni Punyavijaya, Prakrit Text Society, Vol. IX, Ahmedabad 1966, p. 1. Also same work with Haribhadra's vrtti, PTS, Vol. X, Ahmedabad 1966, pp. 2 and 99. For Personal & Private Use Only

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The Minarets of the Hilal Kham Qazi Mosque, Dholka M. A. Dhaky The medieval Gurjaradesa--Gujarat of our times,--was the province where Islam entered at an earlier date, in fact much prior to the Muslim conquest of 1298. The advent of Islam in Gujarat, at that early date, was peaceful. As a result, the sacred buildings of Islam in India, earlier than those in Delhi and Ajmer, were built on the soil of Gujarat. The Sadre-e-avval or Jami Mosque in Cambaya was founded before the 12th century and traditionally is held of a date as old as the late eighth century. After Mahmud of Gazana's invasion on Somanatha (A.D. 1026), as an inscriptional record reports, a mosque was founded in Asapalli* in 1053.5 One other early mosque is said to have been built in Bharuch', in about 1066.' And in Bhadresvara (anc. Bhadravati) in Kutch were built two mosques (one of c. late 11th century and the other of the 3rd quarter of the 12th century and the third, plausibly a mausoleum there, was built in c. late 12th century.)* Posterior in date to Delhi buildings but still in pre-conquest era were built two mosques, one founded in Prabhasa-Patan,& in 1264, the other at the northern outskirts, Junagadh, in 1286-87,10 both of these in the Saurasra sector of the Gujarat State. And, as the later Jaina sources noted, Vastupala, the Prime Minister of the Vaghela Regent Viradhavala, who was in the ministerial office between 1220 and 1235, had built mastitis i.e., masdjids for the benefit of the Muslim populace. 11 In the Jagaducarita,-a biography of the illustrious Jaina tradesman Jagadu saha of Bhadresvara written by Sarvananda Suri in the latter half of the 13th century, it is stated that Jagadu saha founded a masiti, very probably in Bhadresvara.12 The discovery of a fragmentary passage in the vastusastra Jayaprccha-a Sanskrit work on the medieval Maru-Gurjara (i.e. Western Indian) civic architecture (c. first half of the 12th century) concerning the constitutional elements of Rahamana prasada literally temple of Rahman' (i.e., mosque) 13-proves that, in that age, the buildings sacred to Islam were built in number and size that compelled a Brahmanical work on architecture to take mosque's cognizance. All of the earlier Gujarati mosques, excepting the Bhadresvara and the Junagadh ones, have disappeared. For Personal & Private Use Only

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Vol.XXXIV, 2011 The Minarets of the Hilal Kham Qazi Mosque, Dholka. 39 From among the post-conquest mosques, the earliest and the largest one, namely, the Adina Mosque at Patan?4 (A.D. 1305), was destroyed in the 19th century during Maraha occupation. The two buildings next in date and importance, namely the Jami Masdjid at Cambay (A.D. 1375) and the Hilal Kham Qazi's Masdjid (A.D. 1333) at Dohlkas still survive and are in tolerably good condition. Of the two, the Cambay mosque is more impressive by virtue of its scale: The Dohlka one, though smaller, is more graceful. What is more, it contains, unlike the former building, only traces, if at all, of material pilfered from the Brahmanical and Jaina temples earlier desecrated in that town.16 It is, therefore, a building with a greater emphasis on the authenticity of the local purely Islamic style of that age in Gujarat. The Dohlka Mosque, as a whole, is very chaste in workmanship and possesses several elements--the well-proportioned entrance hall and the grilles in the women's gallery--which are of considerable beauty17. Outshining in significance, no less in elegance, is a pair of minarets placed above the battlemented parapet over the central arch in the front wall of the prayer hall: They apparently represent the earliest examples of the minarets in Gujarat. (Pl. 1). The Jayaprccha takes no notice of minar in the context of mosque, nor do the Bhadresvara and the Junagadh mosques, referred to earlier, betray any. It is not certain whether the Gujarat mosques of the Solanki period (942-1298) possessed minarets. Even when they occur, as they do in Cambay and Dohlka, they by far are small and hence not particularly monumental compared to the later examples of the Sultanate period (1412-1537) in Ahmedabad are. The Cambay ones lack even the primary beauty of shape, besides dimensions.18 Jas. Burgess was perhaps the first archaeologist to write about this Dohlka mosque with a photographic illustration of its inner front20 and a drawing along the longitudinal section.21 Burgess takes only a brief notice of the pair of minarets there: "There are no minars proper, but two little turrets stand on the front wall, - and on each side of the central arch, which are quite unlike any other employed in similar circumstances elsewhere: they just stand behind the battlementing of the facade, and are 17 feet high with shafts 2' 3" in diameter."22 (Burgess also gives a small, separate drawing of one of the two minarets.23) While comparing the Hilal kham Qazi's mosque with the Cambay one, Percy Brown specially dwelt on its minarets and his comments are more than casual.24 Wrote he: "It is a smaller and even simpler structure but with notable innovation to the facade in the shape of a pair of tall ornamental turrets, one on each side of the central archway. In design these turrets are indigenous, with no definite traces of Islamic influence, but they are apparently an attempt to produce something corresponding to a minaret without, however, any exact knowledge as to what this was like, or for what purpose is was intended."25 Burgess saw these minarets not as "minar proper" but rather as "turrets" which in a certain sense-dimensionally indeed-they are, but in a more specific For Personal & Private Use Only

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40 M. A. Dhaky SAMBODHI sense they are not; for they really represent manar or minar and the builders, despite Brown's assertion to the contrary, certainly knew the purpose for which they were made. In India, the minar, like mihrab (and hence the pointed Sarasenic arch) had come to acquire a special significance, of a religious cognizance of Islam. That must have been soon after the famous Qutb-minar at Delhi built in the year 1200. It thus transcended the purely functional purpose, of the adhana call summoning the faithful, as it eventually had come to be in the homeland of Islam. The minarets here proceed above maqsuras central arch and served the purpose symbolic rather than functional. That is how, in the Indian context, they first occur over the maqsura in the old mosque at Ajmer (c. 1206) where they otherwise seem to follow Qutb-minar's design.26 In Gujarat, too, eight years earlier than the Dholka example, the great mosque at Cambay shows a pair of minarets in an identical situation.27 Dholka, just as Cambay examples, are not minaret proper in the sense that minars or minarets normally are tall, monumental, and oftener functional, starting from over the mosque's base and rising skyward far above the mosque's walling. But they are for certain minarets, symbolically conceived and placed for denoting the distinctive sacred mansion of Islam, masdjid. We may next take up Brown's other observations on these minarets. Like Burgess, Brown also calls them 'turrets' and their presence seems to him as a "notable innovation to the facade". But, as I pointed out earlier, the Cambay mosque already possesses this feature, and, a century and quarter earlier, the Ajmer mosque shows this innovation in relation to its maqsura screen standing in front of and apart from the Ibadatkhana. There is no question of innovation, therefore, on the part of the architect of the Dholka mosque who just seems to follow a convention previously formalized in Delhi and which must have been known and observed in Gujarat in his own times. Brown's second observation, that "In design these turrets are indigenous, with no definite traces of Islamic influence, but they are apparently an attempt to produce something corresponding to a minaret without, however, any exact knowledge as to what this was like..." does not seem valid if we take into account the facts as they are now known about the minar in general, some more facts revealed by the minarets themselves at Dholka. First, the Dholka minarets do follow the general pattern of a minaret: The minar's basic conception is clearly reflected in them. As one beholds them, he instinctively knows that they are minarets. Their form encourages this belief and their position strengthens it. Second, there is no single standardized shape for minar. Many variations developed, even in the Middle East, the home of Islam. We have there the Syrian, the Iraqi, the Palestinian, the Anatolian, the Armenian, the Egyptian, the Turk, the Afghan, the Iranian and the Moorish varieties, each rooted in and each sometimes using the architectural elements characteristic of the earlier, ancient native civilizations that flourished in those lands. In India, too, the minar, after its first introduction, took too many and varied shapes, each predictably emanating from the earlier provincial styles of Hindu architecture. The Gujarat variety For Personal & Private Use Only

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Vol.XXXIV, 2011 The Minarets of the Hilal Kham Qazi Mosque, Dholka is only one such manifestation and like any other, uses certain native elements, those of the sacred architecture of the Hindus in its formal make up. But ideologically the overall form, for certain, is non-Hindu: It is very definitely Islamic. Without the knowledge of the conception of minar, a minaret cannot be built. There was a strong Islamic tradition behind the Dholka minaret even when it presses some Hindu elements into service in its make up. Let us, then, analyze its components and see what the results have to indicate. We shall, for the purpose of description, use the terminology of the Maru-Gurjara brahmanical architecture, some of whose elements have gone into its make up. As the plate 2 and the drawing (Text figure), reveal the minaret in question can be resolved from base to the finial into eight components, namely, the bhias (plinths: here two courses), the piha (base), the first bhumi (first floor), the prahara (sur-entablature), the second bhumi (second floor); the third bhumi, the miniature minar, and finally the kalasa (pitcher-finial). The piha comprises five mouldings, namely, the jadyakumbha (inverted cymarecta), the antarapaa (astragal), the karnaka (knife-edged fillet), the faceted plain paika and the chadyaki (rooflet, faceted?). The piha thus follows the formal organization of Brahmanical architecture of Gujarat. Next comes the stambha or shaft proper divided into three janghas (here fluted friezes), defined with the help of distinctive mouldings such as the madhyabandha (medial band) and kapotapali (cyma awning) as also a shortened kapotali. Then comes the kanha-necking-and next the khuracchadya, cyma-awning, of the entablature supported by madalas, consoles or strut-brackets. The lower rim of the khuracchadya above shows a row of sarilambanas, knob-pendants. There ends the first storey and the next one begins with the prahara or entablature made up of antarapaa and kapotapali. In the second bhumi proper, the .. fluted jangha is replaced by a ratnapaa (here plain lozenge band) to ensure reduction of height, and in mouldings what we get here are only the antarapaa and the kanha with, as before, madala-struts in shorter dimensions that support the cyma-awning. The third storey is further diminished in height, formed as it is by a cippika, minor inverted cyma recta (with sawedge ornament on the astragal), and next the antarapaa followed by a small khuracchadya merging at its top with a miniature minar, the latter shaped like a cooling tower of an electrical power generating station. The minar motif pierces through an unribbed amalasaraka or myrobalan member of the Hindu temple. At minar's top is the candrika, moon-cap, with suspended leaf decoration at its border. And finally the kalasa-pitcher finial--formed by a ghaa or pitcher proper and the bijapuraka, citron fruit, the last one rendered schematically as in the instances of the Maru-Gurjara temples of Gujarat. Now to the analysis of the minaret's constituent elements. The minaret's organization up to the end of the first storey more or less follows the conventions of the sacred architecture of the Hindus. The bhias and the piha for example, are where For Personal & Private Use Only

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M. A. Dhaky SAMBODHI they should be in a Hindu structure. The three jangha registers collectively forming the shaft have a sort of flutings, a feature not found in the Hindu architecture and on whose significance we will enlarge upon soon. The madalas supporting the khuracchadya of the entablature is a feature rather of the 15th century temples than of the earlier ones, but the elements as such were earlier known, in a different context though.28 The prahara, too, is a component to be found in an identical position in Western Indian Hindu temples. Minaret's second storey, too, corresponds to the second storey encountered in larger temples, though the mouldings used here differ from those in the Hindu temples and the storey concept is only symbolic, not functional. The third storey is smaller, further constricted and reduced in height, consisting as it is of only two elements, the antarapaa and the minor khuracchadya as noticed in the foregoing. At the finishing point, the architect is faced with a problem: He knows what the elements of the crowning part in a Hindu sacred building are, and which must follow suit in view of his using Hindu architectural forms; and yet he has to make it clear that the structure he wants to design is Islamic. To resolve therefore this dilemma, he places a miniature replica of the conventional minar and grafts the customary amalasaraka of the Hindu temple with the minarand ends with the kalasa, the sacred pitcher-finial of the Hindu buildings, for finial no better than that could be conceived in the Indian context., The Brahmanical elements, though freely used (and in an orderly sequence to be sure) in this pair of minarets, do not result in a structure that is Hindu either in manifest semblance or in feeling. The secret of this phenomenon may be sought in the combination of three factors, each serving the other in the realization of the same objective. First, the overall circular plan and elevation, rather unknown in this manner in Hindu architecture: The medieval Hindu architecture mainly employed paralleopipes and cubes29 and the major curved masses, organic more than geometric, come in the apexial part of the superstructure. Second, the condensation of mass resulting in slenderness in these minarets, of the kind unknown in the Hindu monumental architecture, whether functional, or symbolic. Third, the Hindu elements, though present, are conceptually subordinated to the Islamic proper in that what actually dominates and ultimately determines the character is, in this case, the shaft with its prominent flutings. This is a sort quite foreign to Indian wall surfaces, and its place of origin is, as we will have seen, not India. The minaret's shaft creates an illusion of an Ionic or a Corinthian column; but the flutings here are triangular in section with blunt tops and from a closer quarter differences in minutiae between this and the typical Hellenic become more obvious. Where, then, do we with such a shaft treatment? The Ajmer minarets (and for that matter the Qub which they copy) differ from the Dholka instance in three respects: First, the batter: Second, they are not provided with a base:30 Third, there are no true flutings but what is encountered there is stellate corners (pallavis) alternating with the rounded corners (vrtta-karnas). There is no parallel in India, even in the Islamic context For Personal & Private Use Only

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Vol.XXXIV, 2011 The Minarets of the Hilal Kham Qazi Mosque, Dholka 43 for the shafts such as of the Dholka mosque. Not only that: Even in the Middle East, it is very rare: I came across only one parallel with which to compare. That is met at the Great Mosque of Wasi in Irag, in the column-drums of its earliest building period datable to A.D. 702-5.31 The drums clearly show flutings somewhat analogous to those of the Dholka minarets: (cf. here text figure and pl. 2). The distance between Wasi and Dholka is enormous in terms of space but also of time: Over two thousand miles, and six centuries separate them. However, the connection, if not with Wasi proper, with Middle East is surely there, difficult though it certainly is to work out the links and trace the channels by which the inspiration went to Gujarat. The Wasi columns ultimately owe to the Persian apadana columns of the Achaemanian period, such as for example of Persipolis (c. 5th century B.C.). But the Indian example has to be linked not with ancient Persia but with medieval Middle East with which it had contacts via the trade and through the intermediary of Islam itself.32 It is no accident that Dholka minarets possess fluted shaft, and, in any case, a connection with Islamic culture outside India, particularly that of Middle East, is definitely hinted, even implied we may say. Brown's assertion that, "In design these turrets are indigenous, with no definite traces of Islamic influence, but they are apparently an attempt to produce something corresponding to a minaret without, however, any exact knowledge as to what this was like, or for what purpose it was intended" is only partially borne out by facts. The Dholka minarets, for their basal part just as shaft, in essential features simulate a column rather than minar proper of the Islamic world, and in this as well as several other respects they stand in a class by themselves, in contrast sharply to all of the examples of early minarets that have survived. The almost conical minarets of the Cambay mosque are rather simplified and caricatured version of the Ajmer examples. Those of the Haibat Khan's mosque at Ahmedabad (c. 1422) are not so acutely. battered33 as the Cambay ones but they still are in the tradition of the tapering type.34 There is a third variety, where the Hindu column of the inornate Misraka class has been improvised as minaret, such as for example at the Jami Mosque at Mangrol in Saurasra (A.D. 1364) or the Sayyidi Masdjid in the town of Mandal, 35 of the Sultanate period in Gujarat and datable to about the third quarter of the 15th century. The Cambay variety disappears from the subsequent minaret architecture in Gujarat, poor as it seems in architectural potential. The type such as in Mandal mosque likewise has no intrinsic possibility of further development. The Dholka minaret form, combining as it does the prettiness of a Corinthian shaft and the elegance, for its upper part, of a decorative stone lantern in a Japanese garden, possessed, as the later history demonstrates, power of augmenting to size and form monumental. This is proven by the minars of the very first mosque of the Sultanate period in Ahmedabad, namely the Ahmed Shah's mosque founded in 141236 and next to it, those of the great Juma Masjid in the selfsame city (1422).37 The substructure in these Sultanate examples is provided by the simulated Hindu shrine sans sikhara, and what came in For Personal & Private Use Only

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44 M. A. Dhaky SAMBODHI lieu of sikhara is an enlarged, elaborated version of the Dholka minaret without flutings. Eight or nine decades separate the Dholka and the Ahmedabad versions, and what evolutionary changes went in between must account for the differences and elaborations which distinguish the two. Had the architects in Ahmedabad, for their minar elevation, entirely followed the Hindu conventions, using balconied stories to increase the height and finish it with a mandapika-pavilion, having a pha, sana, i.e. tiered roof, they would have produced structures hardly different from the contemporaneous Hindu and Jaina buildings (of course sans figural decoration), as for example the manastambha (c. late 13th century), and the famous kirttistambha of Maharana Kumbha (1459), both in Chitor.38 But the situation and form of the Dholka type of minaret, at once distinguishes the two, by changing the character of the structure from Hindu to Islamic. 39 Architecturally, the non-tapering verticality of the Dholka minarets may have been found convenient for grafting it over and blending it with the lower part fashioned after a Hindu shrine form. But there also may be a sentimental reason in choosing this Dholka variety. For it preserves, it would seem, an imprint on its face of the more ancient architectural devices of Islam, and, with that, the distant but ineffaceable association with the homeland of Islam. Notes and References In the context of the pre-partitioned India, Islam of course first entered in Sind in early eighth century through a military conquest and was established there since then. The form of the early mosques there is unknown. The Mosque no more exists. Cambay then was known as Stambhatirtha or Khambhayat in the medieval period and at present Khambhat. It was burnt down in a riot in early 12th century and was soon rebuilt through the intervention of the Solanki king Jayasimha Siddharaja (1095-1144) of Anhilapaaka. It was once more rebuilt in 1218: (vide Epigraphia Indica, Arabic and Persian Supplement pt. 1, 1961, pp. 4-5.) Renamed Ahmedabad in 1412 by Sultan Ahmedshah. Cf. M.A. Ghagtai, "The Earliest Muslim Inscription in India from Ahmedabad", Proceedings of the Indian History Congress, Vol. III, 1939, p. 647. Anc. Bhigukaccha anglicized 'Broach.' Vide Imamuddin Dargahwala, "Gujarat-mam avela arambhika Muslim pracarako" (Gujarati), Vallabhavidyanagara Sa jodhana-patrik', Vallabhvidyanagar, Vol. I, No. 2, p. 62. Personal observation as also consultations with Dr. Z.A. Desai. Anc. Sri Devapattana. Cf.D.C. Sircar, "Veraval Inscription of Chaulukya-Vaghela Arjuna, 1261 A.D.", Epigraphia Indica, Vol. XXXIV, part IV, pp. 141-151. 10. Epigraphia Indica, Arabic and Perrsian Supplement, 1961, 10, pl. V (a). 11. Cf. Puratana-Prabandha-Sangraha: Ed. Shri Jinavijaya Muni, Singhi Jaina Granthamala, For Personal & Private Use Only

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Vol.XXXIV, 2011 The Minarets of the Hilal Khamh Qazi Mosque, Dholka 45. Calcutta 1936. The particular 'manuscript (B)' in the compilation is datable to the 15th century. It gives an exaggerated inventory of Vastupala's religious foundations and relevant matters, wherein he is credited to have built 84 masitis. (cf. p. 65). Vastupala probably founded mosques at Cambay, Dholka, and Paan, or at least in one of these three cities. The mosque has not survived. 12. 13. 14. 15. 16. 17. 18. 2 2 2 2 2 2 2 2 19. 20. 21. 22. 23. 24. 25. 26. 27. 28. 29. 30. 31. See my article in Gujarati having the title "Maru-Gurjara Vastusastro-marh Masdjidvidhi", Svadhyaya, Vol. 7, No. 1, Baroda, V.S. 2025, pp. 64-79. Cf. Jas. Burgess and Henry Cousens, Architectural Antiquities of Northern Gujarat, London 1903, ASIR (NIS), Vol. XXXV, p. 30; Paan then was known as Anhillapaaka. Anc. Dhavalakakka. These elements, the decorated ceilings in particular, could as well be the original elements which reflect the Maru-Gurjara style of the late Solanki period. See the author's The Indian Temple Traceries, New Delhi 2005, pls. 243-247. Cf. Jas. Burgess. On the Muhammadan Architecture of Broach, Cambay, Dholka, Champanir, and Muhamudabad in Gujarat, ASIWI, VOL VI, London 1896, plate XVII; and Percy Brown, Indian Architecture (Islamic Architecture), Fourth Edition, Bombay 1964, plate XXXIII, fig. 1. Burgess. Ibid., pl. XXV. Ibid., pl. XXVII. Ibid., p. 22. Ibid., pl. XXVII. His, unlike Burgess's, is a sort of discussion, albeit with no allusion to details. Brown, p. 49. Cf. Derek Hill and Oleg Crabar, Islamic Architecture and its Decoration, London 1964, figs. 524 and 527; also, cf. Brown, pl. V, figs. 1 and 2 and p1. VI, fig. 1. Cf. Burgess, On the Muhammadan Architecture., pl. XVII; and Brown, pl. XXXIII, fig 1. The madalas are found in the well section of some vapis, Examples: Harsa and Pipad (c. late 9th century) and Vasantagadh (c late 10th century)-all in Rajasthana, and Modhera (c. 1000) and Paan (Ranivav; c. 3rd quarter of the 11th century), both in Gujarat, and, in the torana ornamenting the pratolis (gateways) of the forts such as at Jinjhuvada (c. 2nd quarter of the 12th century) and Dabhoi (c. 1225-1253), once again in Gujarat. A Malava example is furnished by a gateway at the river front in O,kara-Mandhata: (c. late 11th century). The temple base, though cut-up by mouldings, is, in principle, a paralleopipe, and the walls, a cube. The Dholka minarets are cylindrical. I'once more mention this latter fact for emphasizing the point. This feature ultimately derives from the Susa and Ekbatana variety of the Achalmanian column from which the Mauryan columns drew. Cf. K.A.C. Creswell, Early Muslim Architecture, Vol. I, Part I, Oxford 1969, pp. 131-134 For Personal & Private Use Only

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M. A. Dhaky SAMBODHI and p1.39c and d. It is claimed to be the "oldest mosque in Islam of which remains have come down to us:" (cf. Creswell, A Short Account of Early Muslim Architecture, Pt. 1, Victoria 1958, p. 42.) For details, see Dargahwala. Burgess, The Muhammadan., plate IV. For an early Persian type resembling this one, cf. Masjid Ali Minaret, Isfahan (c. late 12th century), Hill and Crabar, fig. 516. Burgess, The Muhammadan Architecture of Ahmedabad, ASI (WS) Vol. XXIV, pt. II; London 1905, p1. LXXVI. Cf. Henry Cousens, Somanatha and Other Mediaeval Temples in Kahiawad, ASI (IS), Vol. XLV, Calcutta 1931, p1. LXXIV; and Burgess, The Muhammadan., pt., I, pl. III. The upper part of each minaret is lost in earthquake. The drawing of the inner front of the selfsame mosque by James Forbes in 1781 (cf. Burgess, The Muhammadan., pt. I, fig. 9). shows them intact and there the flutings on the surface of the drums of the upper section are clearly marked. The Manastambha was formerly regarded as of c. 1486 by D. R. Bhandarkar and other scholars. The details and style of the monument certainly accords with the new dating of the late 13th century. Chitor was known in the medieval times as Citrakua. Whether the placement of the minar component over the component denoting Hindu shrine was perhaps for indicating the triumph of Islam over Hinduism, it is hard to say. The idea possibly is to blend the sacred symbols of the two into a single unity. Text Figure Elevation of the northern minaret, Hilal Kham Qazi Mosque, Dholka. Plates 1. The facade of the maqsura, Hilal Kham Qazi Mosque, Dholka. A.D. 1333. 2. The northern minaret. Acknowledgments I am grateful to Shri M. C. Joshi, then Superintending Archaeologist, (afterwards DirectorGeneral), Archaeological Survey of India, for the information on the inscriptions of Junagadh and Prabhas-Patan mosques. For Personal & Private Use Only

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For Personal & Private Use Only 1. The facade of the maqsura, Hilal Kham Qazi Mosque, Dholka. A.D. 1333.

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2. The northern minaret. For Personal & Private Use Only

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bijapuraka ghata candrika kalasa amalaka miniature mapar khuracchadya antarapatta 3rd bhumi cippika - 2nd bhumi I prahara khuracchadya madala - kantha antarapatta - kapotali - antarapatta khuracchadya sarilambana mustibandha kantha madala malajanghakapotalijargha madhyabandha-W WSW lat bhumi ANI WA jangha MMAMMA kamarupachadyakiantarapatta karnakajadyakumbha pitha bhitta-s Elevation of the northern minaret, Hilal Khaa Qazi's mosque, Dholka: (Partly after Burgess). For Personal & Private Use Only

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Origin and development of Vadodara Maulik Hajarnis Every city is heterogeneous in terms of its population, composition and has complex land use structure. The physical form of the cities has been shaped by economic, social, political and cultural forces of the society. Rapid industrialization and massive increase in population witnessed in many of the developing countries including India; has led to unbalanced settlement pattern and environmental degradation. Hence the need arises for providing effective legal tools to control and regulate the development of towns and cities based on certain principles; within an overall comprehensive frame of sustainable development. According to R. N. Hammed throughout history, architectural form and city pattern have been defined and affected by legislation; designed to control their appearance and use. Thus it can be said planning of a city through master plan portrays a future state of affairs and tries to link the economic and social policy with physical design to solve urban problems like housing, transporation, public spaces and green areas etc. For the study of any city, myths-legends, place-name, survey of archaeological evidences is taken into account. But as paper is titled; Origin and Development of Vadodara. And article has space limitation also, due to this it is not necessary to go into much detail as mentioned above. However, archaeological evidences, ancient town planning of Vadodara are given here briefly. The first man appeared on the bank of the river Vishwamitri during the prehistoric period. Chronologically, he lived before 4000 years in the Late Stone Age. This makes it clear that bank of river Vishwamitri, (in the area to the west of today's modern bridge situated beside the Sayaji Baug) was the mainland for human activities. When this pre-historic settlement came to an end, is not a known fact. The Second human settlement was found in the historic period at the Dhana Tekri area of Ankotaka, the then Akota, before 2200 years. There are literary sources telling about the Ankotaka Nagri (Town). The question may arise, whether human settlement at Ankotaka (2200 yrs.). and Akota from 2000 yrs. was a small town or an urban city ? Archaelogical evidences suggest that atleast from 2000 yrs., it was fully urbanized as a city. Excavation revealed clay objects, copper handle, R. P. W. (Roman polished ware), pottery, etc. it shows its relation with the For Personal & Private Use Only

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48 Maulik Hajarnis SAMBODHI Roman world. Ancient route way from Bharukachha (Bharuch) to Ujjain (M.P.) passes through Savli, Ajabpura, and Bank of Mahi River to Dungarpur and DahodJalat road to Ujjain is now proved. And Ankotaka was on this route of trade-commerce. On account of urbanization process, centre was extended from Bhimanatha Mahadeva (Sayajigunj), Dhana Tekri, Akota village and to the western side developed towards housing board colony. Appromixately the area was from 1/2 km2 to 3/4 km2 of that town.? Kstrapa, Gupta and Post Gupta bronzes of Akota (now housed in the Picture Gallery of Baroda Museum, Vadodara) are world known. Jain, Saiva and Sakta icons of stone are worthy to note from this place. Its brick houses and decorative clay vessels can also be compared with the objects obtained from contemporary towns / cities. Thus Ankotaka - Akota was flourished city of international standard prevailing at that time. It was first referred to in the copper-plate grant of A. D. 812 (Saka Samvat 734) as a district headquarter. When Ankotaka - Akota developed and extended elsewhere in the form of Suburb, in this process of development a small village near and around the main town or city developed. Likewise Vatpadraka - Vadodara was also a small suburban village developed in the east of the Vishwamitri River. It was in existence not later than 5th cent. A. D. this was comparatively higher area suitable for human settlement. This was the area of Pahadi Nala, Bhukhi Nala and Dandiya Bazaar Nala of lower area. It was a small settlement upto 9th century because Vatpadraka was given in a gift as a Dharmakayabhumi to a Brahmin. Around the present Medical College, Nurses Quarters and Narmada Bhavan area was the probable location of the Vatpadraka. The extent of this settlement was probably, in the east upto the Kothi mound near Jambu Bet, in the south near Kalabhuvan and Polo Ground and in the west upto the river Vishwamitri and Pahadi Nala. Right upto 10th Cent., Vatpadraka remained a small village. But thereafter gradually it developed. During the 11th century the development of Vadodara extended in the Kothi area upto the Salatvada. If the memorial stonePalia found lying in the Narmada Bhavan suggests the southern boundary of Vadodara in the 13th century A. D. This suggests that the Vatpadraka had grown larger than the Ankotaka - Akota. In the 14th century Khilajis invaded Baroda. But still the development continued. The Navalakhi Step well was erected by Muzaffar Shah in the 15th century. It line outs the southern boundary of Vadodara. The main population was concentrated in and around the Kothi Area. FORT OF BARODA Sultan Mohammed Begda died in 1511 A. D. His son Khalil Khan succeeded him as the Sultan of Gujarat. He adopted Muzaffar title. He constructed the strong fort near Baroda. There used to be a constant struggle between Gujarat and Malwa. And due to this the fort was necessary. Another reason for erecting the fort For Personal & Private Use Only

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49 Vol.XXXIV, 2011 Origin and development of Vadodara was to keep an eye on the Chauhans of Champaner, who were defeated by the Sultan. The square fort was approx. 0.6 sq. kms. On the basis of the Silpa Sastras this could be considered as middle sized Hemkuta Nagar. The fort was constructed by lime and bricks, on a higher elevation. By blocking the water streams on the north and the east, the Sultan created a series of lakes, which provided water supply to the fort. Gradually, more and more people started residing in the fort area. Similarly the population of Vadodara also got diverted to the fort area. At that time the fort was known as Killa-E-Daulatabad. However even today it is popularly known as the FORT OF BARODA. Sultan Muzaffar fought against the Mughal Emperors. On account of this Kutbuddin died in 1583 A. D. The newly established fortified Baroda had four gates - Pani Darwaja, Gendi Darwaja, Lehripura Darwaja and Champaner Darwaja. By the end of the 16th century the fort area; due to rapid population growth turned out insufficient to accommodate such huge population. Therefore the fort was extended in the 17th century. However the city's centre during the 16th century was the fort area. And by the end of 17th century Baroda expanded with the fort area as its nucleus. In the 1732 A. D., there was a change in the power. Then the Maratha power appeared into the scenario and Baroda became the throne of the Gaekwad power. Alongwith the Maratha power their people migrated from Maharashtra towards Baroda. And this gave rise to the setting up of Residences, Religious structures (temples), accommodation of the horses and elephants of the Gaekwad army, etc. The important development of this time was the 'Sur Sagar' Lake, which was named after 'Sureshwar Desai' and was built in 1757. This was developed in order to provide increased water supply to the western part of the city. Siddhanath Mahadeva temple and Siddhanath Lake, Khandoba temple and its lake are important in the development of Baroda. In the 19th century * Udaynarayana temple and Suryanarayana temple in the Raopura were developed during this period. Similarly to the north of Baroda, Thekarnath, Jangaleshwar; to the south Ramnath, Sindhwayi and Danteshwar were either developed or restored. In the 18th cent. a graveyard of the Arabs also developed. In the Fatehpura area the Hathikhana and Genda Faliya were developed. In the beginning of the 19th century, a rapid growth took place in Baroda. The Arab army * was replaced by the soldiers of the English Company and on account of this change in 1802; the Anandpura area towards the Kothi became the campsite for the English. Population in the Raopura and Babajipura area increased. The population in the Wadas of the Wadi area also increased. Now the Gymnasiums were established in Baroda. In the mid - 19th century, English residencies were established in the Kothi Area. In 1835 their residency was brought to Fatehgunj Area and along with it setting up of Christian Churches, Graveyards, etc. was done. The new development near the Residency was the Railway (1859 A.D). During the time of Khanderao Gaekwad, Baroda was connected to Bombay For Personal & Private Use Only

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50 Maulik Hajarnis SAMBODHI 5. and Delhi by Rail. A Railway yard also developed near the Residency Area. It seems that Baroda developed at that time near the Residency and the Station Area. A very important place belonging to that time was the Sarkarwada Mahal near Mandvi, Sanskrit Pathshala and Vitthal Mandir near Sarkarwada. In 1875, Maharaja Sayajirao III came in power. during his reign Baroda witnessed all types of progresses and developments. After independence, Baroda was included in the Bombay State. In 1960, Gujarat State was formed with Baroda as a part of it. Baroda became a district headquarter and progressed along the path of modern development. Thus, through the above discussion the landmark events of the history of development of the Baroda, which is the third largest city in Gujarat, have been illustrated. Notes 1. Charles Correa, "The New Landscape", Bombay, 1985. 2. Vasudeva Bhawana, "People, Planning Legislation and city Development : Prospects for Urban sustainability," Baroda, p. 4. 3. R. N. Hammed, "Islamic Legislation in Land use and planning and its effect on architectural sytle", p. 54-59. Vasudeva Bhawana, Ibid, p. 5. Akota was named after the bushes - ankol since it was set up by clearing- removal of the bushes ankol. 6. Ravi Hajarnis, "Gambhipura Rock painting", Pt. Bechardas Doshi Commemoration Volume, (ed.) Jain - Dhaky, Varanasi, p. 102. This seems very small as compared to the modern Vadodara. But if we examine it with ancient capitals like Valabhipur, Mandor, Thaneshwar, chandravati and Arthuna; its area comes out to be larger than them. 8. Charles Correa, The New Landscape, Bombay, 1985. 9. Vasudeva Bhawana, People, Planning Legislation and City Development : Prospects for Urban sustainabilily, Baroda, p. 4. 10. R. N. Hammed, Islamic legislation in land use and planning and its effect on Architectural style, p. 54 - 59. 11. Vasudeva Bhawana, Ibid, p. 5. 12. Akota was named after the bushes - ankol since it was setup by clearing-removal of the bushes ankol. 13. Ravi Hajarnis, Gambhipura Rock Painting, pl. Bechardas Doshi Commemoration Volume-Eds, Jain and Dhaky Varanasi, p. 102. Alsosee : By the Same author puravastu anekala (Gujarati), 2009, Ahmedabad, p. 51. 14. This seems very small as compared to the modern Vadodara. But if we examine it with ancient capitals like Valabhipur, Mandor, Thaneshwar, Chandravati and Arthuna; its area comes out to be larger than them. 15. R. N. Mehta, Bhartiya Vasavat (Gujarati) Ahmedabad, 1986, p. 88. For Personal & Private Use Only

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Appashastricharitam (Evaluation of a Biography) Sunanda Y. Shastri There are very few biographies in Sanskrit literature. Old Sanskrit literature has almost no biographies written except first two chapters of Harshacharitam. Bana has written about his own life in the beginning of Harshacharitam, which can be called autobiographical notes. There are few biographies written in prose in modern times. Appashastricharitam is one and one of the best among them. It is a biography of Shri Appashastri Rashivadekar, an eminent Sanskrit scholar, great writer, poet, astrologer, commentator and an expert journalist who flourished in the later part of 19th century. Pandit Vasudevashastri Audumbarkar wrote Appashastricharitam. It is published under Sharada Gaurav Granthamala (No. 30) by Pandit Vasant Ananta Gadgil in Pune, 1973. It has 264 pages. Index of the specific words is given in the end. Pandit Vasudevashastri happens to be Appashastri's wife Vatsala's brother's son. He belonged to a village called 'Audumbara' in Maharashtra. He was basically a priest of Datta temple in Audumbara. His son is still working there as the priest. Vasudevashastri also worked in Dharmakosha project in Wai town. Appashastri's last wife Vatsala was Vasudevashastri's paternal aunt. After Appashastri's demise she lived with her father until her death. Appashastri's all belongings including his books and writings were shifted to her father's house. That is how Vasudevashastri got to learn many things about Appashastri. Therefore, the facts mentioned here are very authentic. Vatsala's father himself was a Sanskrit scholar. He knew the value of Appashastri's works. This was the reason that his documents were preserved in the family. This biography of Appahastri (Appashastricharitam) is divided into seven parts and each part is called 'Parva'. There are many subsections in each Parva, methodically dealing with one topic at a time. These parts are in accordance with different periods of Appashastri's life chronologically. First parva gives brief background of Sanskrit learning in India. Second parva (chapter) speaks about Appashastri's family, birth, his early education, his special talents, marriage, early writings and entry into his carrier. Third chapter relates about his indulgence in For Personal & Private Use Only

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52 Sunanda Y. Shastri Sanskrit Chandrika (well known Sanskrit journal) and its publication from Kolhapur and Appashastri's efforts to propagate Chandrika and briliance of Appashastri's intelligence. Fourth chapter is named as 'Uttamaparva', i.e. 'the best part', but this chapter has portrayed his struggle to survive the debt incurred to publish Chandrika regularly. It shows his supreme efforts as a dedicated journalist, his literary pursuits as translator, his patriotic thoughts and writings. Fifth chapter records his achievements as the editor of Chandrika and Sunrtavadini and his shifting from Kolhapur to Wai because of epidemic of plague and again shifting from Kolhapur due to the attack of plague epidemic at Wai. This chapter records all the social, personal, financial and political problems in his editorship of. Chandrika and Sunrtavadini. Finally both these periodical were banned and publication was stopped. Sixth chapter is final part of his life. Appashastri finished his translation of Mahabharata in Marathi language and tried again to publish Chandrika. He was also working as teacher in Pune, where he finally was caught by plague and died at the age of forty in Pune. Vidyavachaspati Appashastri lived so short but his contribution for Sanskrit is so great that it would take a life time to read and evaluate his task. He died on 25th October 1913. Author has described the history of Sanskrit language, its ups and downs and political influence on the development of Sanskrit in the introductory chapter titled 'Purvaparva'. He has briefly explained how Sanskrit suffered setback under Muslim rule and how Chhatrapati Shivaji promoted Sanskrit (Appashastricharitam (AC), Purvaparva, p. 3). Progress of Sanskrit suffered severe setback during the British rule, because British imbibed on the Indian mind that Sanskrit is a dead language. (AC, p. 7) Then author has narrated efforts of different scholars to revive, propagate and reestablish the status of Sanskrit during 19th and 20th centuries. With this background, author has described what the Sanskrit scholars lacked for success in their mission. Author says that, 'Sanskrit scholars' thoughts were one-sided. They were disconcerted about our nation and its history. Those who knew about history had no faith in traditional knowledge and practices. Those who had faith had not knowledge about modern scientific development. Those who had modern knowledge were not patriots. Those who were patriots, they believed in changing the religion. Those who were religious were not enthusiastic about propagating Sanskrit. Those who propagated Sanskrit, were not interested in other languages. Even those who knew many langauges were not respectful towards Sanskrit. Those who had respect for Sanskrit never wrote anything in Sanskrit. Even those few who wrote in Sanskrit, they had no skill in editing Sanskrit periodicals. Even if a rare person might be having all these virtues, had no faith in the god.' SAMBODHI (athApi te ete vidvAMsaH ekadezIya vicArAH Asan / tathA hi ye tAvat saMskRtapaNDitAH te prAyaH svadezetihAsAdi-viSaye udAsInAH samavartanta / ye purAvRttavidaH na te sanAtanadharme zraddhAlavaH Asan / ye tu tatra zraddhAlavaH na te vaijJAnika vArtAmapi azRNvan / ye'pi vijJAnAsaMpannAH naite rASTrabhaktAH / ye ca | For Personal & Private Use Only

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Vol. XXXIV, 2011 Appashastricharitam : Evaluation of a Biography 53 rASTrabhaktAH te tu dharma-parivartana-vAdinaH / ye tu dhArmikAH te saMskRtapracAre parAGmukhAH / ye'pi pracArakAH teSu bhASAntarANAM viSaye na prItiH / bahubhASAvijJatve'pi saMskRtabhaktiH nikAmaM durlabhA / satyAmapi etasyAM gadyapadyAtmaka - sAhitya - praNetRtvaM viralataram / praNayazAlitve'pi patrikA-saMpAdana-kauzalyaM durlabham / Hay 319 ya: gag tog nagyfa: Flat Gc91 I AC, p. 11). With this description author bhings forth that the hero of this biography, saying that, all these blemishes were not in Appashastri Rashivadekar. (tad etat nyUnatvaM saMskRtasaMsAre vidyAvAcaspatizrI 37418fmiferas &TUTi ucurdu mean I AC, p. 11) Prathama Parva means first chapter (which actually is second chapter of the biography) deals with Appashastri's birth, earlier education, his family history, his father's life sketch and his horoscope. His father's name was Sadashiv Shastri and mother's name was Parvati. Till the age of forty-five this couple had no issue, then Appashastri was born. Appashastri was born on 2nd November 1873. Appashastri's first name was 'Shriram'. Appashastri was a special child in his childhood. He mastered all elementary Sanskrit texts like Shabdarupavali, Dhaturupavali and Samasachakram etc. at the age of seven. He newly composed in his own way second line of each verse of Raghuvamsham epic of Kalidas, at the age of twelve. It shows his extraordinary poetic skill and command over Sanskrit. He prepared an almanac (panchanga) at the age of thirteen. He spent four years to study Panini's grammar, though; he was more interested in literature. He also read literature in Marathi and English along with Sanskrit literature. At the age of twenty-one Appashastri entered the essay competition declared by Sanskrit Chandrika. Subject of the essay was 'Matrubhakti' (devotion to mother). Appashastri won first prize and the prize was a great Sanskrit dictionary named "Sabdakalpadruma'. Its cost at that time was Rs. 75/-. This was Appashastri's first .acquaintance with Sanskrit Chandrika. Pundit Jayachandrasharma Siddhantabhushana Bhattacharya then edited and published Sanskrit Chandrika, from Kolkata. Appashastri was so much inspired by Chandrika that he decided to start a monthly journal named 'Sunstavadini'. This decision was advertised in Chandrika. (AC, p. 31) But it could not be realized, probably due to paucity of funds. Jayachandrasharma continued Chandrika's publication for four years from 1893. Then Jayachandrasharma's health deteriorated. He also faced paucity of funds for publication. Since the essay competition, Appashastri was closely connected with Chandrika and wrote articles for Chandrika. He also was corresponding with Jayachandra Sharma. Jayachandra Sharma had great faith in Appashastri's abilities. Therefore he asked Appashastri to take the responsibility of editing and publication of Chandrika. Appashastri consented to this and started publishing Sanskrit Chandrika from Kolhapur. He edited and published it for next ten years despite of all kinds of difficulties. (AC, p. 39) Though Appashastri took complete responsibility as editor and publisher of Chandrika, he always wrote Jayachandrasharma's name as chief editor. He mentioned himself only as For Personal & Private Use Only

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Sunanda Y. Shastri SAMBODHI co-editor, which shows his humble and extremely loyal nature. (Ef tifare: saMpAdana-prakAzana-pracAraNAdInAM bhAraH kevalaM appAzAstriNAmeva zirasi AsIta. tathApi taiH pra pAnasaMpAdaka iti sarvadA zrIjayacandrazarmaNAm eva samullekhaH kRtaH / sahakArisaMpAdakatvena eva svakIya ullekhaH kRtaH / 3721.6.4: eifecret: aga qusH41f4i 1199 yada I Te godelareal: 151681 I AC, p. 41). Vasudevashastri Audumbarakar - the author has finely brought out the best facets of Appashastri's personality as follows: 1. Appashastri was a good poet. He composed an epic 'Gokarnasambhavam' and small poems like Vallabhavilapam, Panjarabaddhah Sukah and many other small poems. 2. Appashastri could write good prose. He translated Bankimchandra's novel 'Lavanyamayi' in Sanskrit, wrote short stories and many jokes. (AC, p. 251) 3. Appashastri was well versed in different sciences (shastrarthavichaksanah). He wrote many scholarly articles on Mimamsa, Dharmasastra, Grammar, Alamkara, Samkhya-Yoga and Nyaya: 4. Appashastri was a literary critic. 5. Appashastri was a great scholar of Vedanta. 6. Appashastri was a researcher and biographer. He wrote many articles on philosophy, religion, spirituality and social issues, geography, astronomy, Ayurveda, science, politics, education, criticism, linguistics, biographies, history and many other subjects. He wrote biographical articles on many great personalities like, Shankara, Gunadhya, Vishvanatha Kaviraj, Shrivenkatadhvari and many others. 7. He was very good reporter. He reported many social and political happenings in crisp language and in interesting way. 8. He wrote many essays with some purport. Some of his essays on the status of untouchables were highly praised. 9. He wrote a treatise on Vriksayurveda (Ayurveda of trees). He wrote about the treatment of humans, animals, trees etc. he had deep knowledge of Ayurveda. 10. He was a very good astrologer. He prepared an almanac at the age of thirteen. Later also he wrote many articles on astrology, which were published in Chandrika and Sunstavadini. 11. Appashastri was dramatist. And humorist. He wrote a drama titled 'Adharmavipakam'. He also wrote many humorous articles in Chandrika. 12. Appashastri mastered many languages like, Tamil, Bengali, Malayalam, English and Telugu. He used to read newspapers and periodicals in those langauges to keep himself updated. Appashastri's shoulders was extremely loyal and grateful to Jayachandrasharma. Chandrika's annual subscription was Rs. 1 and eight annas. Cost of one issue was four annas. Appashastri catered variety of literature through Chandrika like, auspicious verses at the beginning, good quotations, editorial, religious, issues, articles on modern science, etc. Chandrika's each issue begun wtih the sentence 'Shri Shivah Sharanam.' Sanskrit Chandrika was highly praised by the scholars, but financially it did not muster enough support. He could hardly recover the cost of printing. Therefore, Chandrika's publication became more and more difficult. Appashastri faced many difficulties in pursuing his task. Sanskrit Chandrika was printed in For Personal & Private Use Only

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Vol.XXXIV, 2011 Appashastricharitam : Evaluation of a Biography 55 Modavrutta Press at Wai. Shri Kashinathshastri Lele was its owner and he also published news weekly named 'Modavrutta'. British government banned the weekly declaring Modavrutta as anti-government and Shri Kashinathshastri was jailed under the charges of conspiracy and treason. (modavRttasya 13-5-1897 / 3-6-1897 iti aGkadvaye prakAzitalekheSu rAjakIyaiH rAjadrohAropaH kRtaH / daNDitaH ca asau mahAtmA / vipannaH ya ayam idAnIM zrIappAzAstriNaH mitravareNyaH caMdrikAyAH mudrakaH / (AC, p. 57) This was first hindrance in Chandrika's way. Appashastri shifted to Kolhapur in the year 1900 C. E. He rented a house there and started publishing Chandrika. During all this time he was continuously coaxing his subscribers and readers to support Chandrika. Readers were not so enthusiastic. Chandrika's subscribers were more than thousand when it was published in Bengal, as on the list. Many of them did not pay and many paid small part of subscription. (AC, p. 58) Once Appashastri appealed his subscribers through Chandrika. His appeal is really heartbreaking. Appashastri wrote that. 'Why you all are so disinterested ? ............ Work cannot be accomplished by mere good compliments and praising words. ....... I do not ask you a single coin to fill my belly. I ask for the sake of Sanskrit language and Sanskrit Chandrika. This indeed is bad luck of Chandrika that subscribers are so disinterested. (mUlyapradAne nikAmaM udAsate bhavantaH / ............. na teSAM taiH subahulaiH api sAdhuvAdaiH prazastipatrikANAMvA rAzibhiH kArya nirvAhayituM zakyam / sarvo'pi hi ArambhaH prathamaM dravyamevApekSate / tatra ca na vayamAtmano dagdhajaTharasya paripUrtaye kAkiNImapyekAma abhilaSAmaH / api tu kevalamasyAH saMskRta-caMdrikAyAH saMskRtabhASAyAM vA paricaraNAyaiva / etadavagacchanto'pi grAhakA mUlyapradAna udAsata ityaho durbhAgyaM saMskRta caMdrikAyAH / (AC, p. 57) Appashastri came up with a new scheme in 1898 C. E. He declared that, 'if the scheme is accepted by his 300 subscribers, then he would increase eight pages of Chandrika and give Sanskrit translation of Arabian Nights. Those subscribers who would pay, eleven annas more would be given new issue of Chandrika with eight more pages.' (cadrikAyAH 1820 zAkavIca caitrADU appAzAstribhiH cadrikAviSayiNI AbhanavA kAcit yojanA prakaTIkRtA / 'grAhakeSu trizatamAbhAgAnAM yadi saMmataM syAt tahi caMdrikAyAM pratimAsam aSTapRSThAnAM vRddhirbhavet tatra ya kramazaH 'arebiyana nAiTsa' ityAraraNya-dIrghakathAyAH saMskRtAnuvAdaH prakAzyeta / abhilASukebhyaH eva sAnuvAdaH ayamaGkaH dIyeta / taizca ekAdazAnAH prativarSamadhikAH pradAtavyAH / anyaizca yathApUrvam / (AC, p. 58) The same advertise, he gave in English as well. It reads like this, 'we have intended to publish a Monthly named 'Kathakalpadruma if 300subscribers are available. It will contain free translation of Arabian Nights in Sanskrit, with necessary changes suitable to Hindus- as to the beauty of the language in it, Sanskrit Chandrika is itself the proof of it...... It is greatly hoped that all the patrons Sanskrit will pay regard to this and help us in the noble work.' (AC, p. 60) He started articles on the subjects like idol worship, articles regarding different topics in Puranas, ancient sciences, poems and critical evaluations of different ancient and modern compositions to attract more subcribers. As the part For Personal & Private Use Only

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56 Sunanda Y. Shastri SAMBODHI of his efforts to boost Chandrika, he also wrote to erstwhile kings and scholars. He probably, personally requested many people to subscribe and support Chandrika. In turn he received many dry promises. With the present subscriptions he could only pay for the printing charges of Chandrika. (UECHUTTET anasi iscri: : Tara FI (AC, p. 76) He even promised gifts for those prompt subscribers. ( 41661: Dret algalami yurgy: : 346R: GRT I (AC, p. 76). This year (1897 C. E.) he started printing of Chandrika in Samarth Printing Press. Appashastri had to leave Kolhapur in 1899 due to the epidemic of plague. He went to his native village 'Rashivade' and worked for Chandrika from there. In his efforts to coax the readers, he succeeded in many cases and many scholars helped Chandrika. Many customers were not so kind and they returned Chandrika, which came by V. P. Post. Curfera: zifu cea: U16: HIPATHYGID alfagi: va 371471 Hyund punaH mUlyapradAnaprasaMge te ete vhI-pI-dvArA samAgatAM caMdrikAM parAvartya maNDayanti sma nistule audAryeNa 34164174 I AC, p. 76) Chandrika was rich and variegated in its content. Many poets sent their poems of 'Samasyapurti' (completing the poetical .riddle with adding remaining three lines). Appashastri wanted to publish a separate book of such poems and appealed subscribers to pay Rs.2/- more. There was no positive response from the subscribers and the project never saw its end. (fagl14-nafsi 407: airy: Ta vitend samarpita sarvasvam appAzAstrINAM vyavasAyam / kintu yathA pUrvoktaM kathAkalpadrumaprakAzanaM vihAyasi citrAyitam, 7991 aha geri Hiftefan Heraustso I AC, p. 78) Appashastri incurred the debt of Rs. 150/- in 1890 C. E., which was too much for him. He wrote to his bosom friend Lingesha Sharma about his plight. In return, Lingesha Sharma offered to pay back his debt. Appashastri humbly but firmly denied his offer. (AC, p. 79) Chandrika's financial crisis was not unknown to people. One poet named Shathakopacharya wrote a couplet on this debt of funds, that 'many subscribers, though intelligent, do not pay the cost of Chandrika. chandrika is still awake, but how long this bridge of sand will hold ?' (a gafari Ea Jechyfreeif Shtegu i ona afschen Hochg: fauftat ferd il AC, p. 79) In 1901 C. E. Kolhapur was again attacked by Plague epidemic. Appashastri shifted to Gaganabavada town with his family. After some time he returned to Kolhapur. This time was harder. He had debt to pay. His parents were sick, his first wife died along with the child during childbirth, continuous shifting and paucity of funds for Chandrika, all these things troubled him more. His father got him married again. He was so tired of his poor condition that we wrote a poem requesting the poverty to leave him for a moment. The poem's title is Nirdhanavilapam' (Lamentation of a poor). (ayi nirdhanate dayAvati kSaNamapyeSa vimucyatAM janaH / ) vihito hi nikAmasaMstavo virasatvaM manasaH prayacchati // For Personal & Private Use Only

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Vol.XXXIV, 2011 Appashastricharitam : Evaluation of a Biography, 57 tadalaM praNayena te sakhi tyaja mAM niSpratipattimAnatam / naya vA na cirAdvayAkulA caraNAmbhojayugaM parezituH / / yadi mayi tava premaivAste nitAntamanoramam / saha sakhi mayA kailAsAdrau cirAya nivatsyasi // Chandrika started again in Kolhapur. There were people who criticized Chandrika. Appashastri was proud of his periodical and knew what he was doing was right. Appashatri heard many allegations against him and answered them through Chandrika. His answer and its language is worth noticing. It reads, 'zrutvA ya teSAM vipralApAnna vamakhaNDasya prathamAGke eva garjitametaiH, "ye punara akAraNam eva sudUramutsArya saujanyaM mAtsaryamAtramavalambamAnAH pANDitamanyAzcandrikAM tiraskurvanti, parokSe vA vitatha-doSa-vyAkhyAnayA kRtArthamAtmAnaM manyante, ce ya sarvAGgANi-yauvanabharAlasAyA: vAmAkSyAH saundaryamapahAya pUya-klinna-vraNamAtram anviSyantyA makSikAyAH saraNimanusaranto doSamAtra - darzitAm Alambante, ye vA candriketi nAmazravaNamAtrata eva sanAsAsaMkocaM mukhaM parAvartayitum ihante, ye'pivA tRNacchanna-kUpopamayA vacasi mAdhuryaM sAralyaM ca manasi punanaikAntikaM kATavaM, kauTilyaM pizunatAM ca sthirIkRtyaiva candrikayA sAkaM vyavaharanti / ' (AC, p. 88). Publication of Chandrika was delayed in 1902 C. E. due to paucity of funds. Ninth volume, which was supposed to be completed in May 1901, was completed : with difficulty in October 1901. (AC, p. 94) Appashastri wanted to complete 10th volume in May 1902, which meant that publishing two issues in a month. This task required money and there was no good response from the subscribers. Appashastri appealed subscribers earnestly that they should accept at least one issue of Chandrika sent by v.P. (antatazca vI. pI. dvArA preritAM SaSThottarAM yAM kAmapi saMkhyAM svIkRtya kRtArthIkurvantu asmAkamAyAsam / AC, p. 94) ... Appashastri decided to publish first issue of 10th volume in May 1903. C. E. This gave him six months of respite. Appashastri sold his commentary on Kalidasa's 'Malavikagnimitra' to Venkatesvara Press in Mumbai in order to pay his debt. (niveditapUrvameva 1818 tame zAkavarSe zrImataH kAlidAsasya mAlavikAgnimitraM nAma nATakaM vyAkhyAtametaiH iti / tadetat 1824 tame zAkavarSe mumbayyAM veMkaTezvara-mudraNAlayAdhipatinA prakAzitam / RNaparihArAya khala vikrItametat tasmai / AC, p. 95) Then there was one institute in Wai, which published translations of Puranas (Purana Prakashan Mandali) in Marathi language. Appashastri undertook the task of translating Vishnupurana in Marathi language, for which he received some remuneration (AC, p. 98). Appashastri also took up the task of translating Mahabharata in Marathi language with Ganesh Vishnu Chiplunkar Mandali to return his debt. (RNanivAraNAya yathA khalu appAzAstribhiH zrI viSNupurANam anUditam evaM puNya-pattanIyagaNeza-viSNu-cipaLuNakara-maNDalyAH kRte zrImahAbhAratamapi anuvAdayituM samupakrAntam / AC, p. 107) For Personal & Private Use Only

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58 Sunanda Y. Shastri SAMBODHI He did this translation along with many other scholars, though much of the responsibility was on Appashastri's shoulders. Appashastri was convinced that without his own printing press, work would not be easier. He appealed people that if Chandrika gets only five hundred subscribers, he can have his own printing press. He promised to publish new periodical "Sunrtavadini". (7 falei yaridi karmaitAnnirvAhayituMzakyam anAtmAyatta - mudrAyantrairasmAbhirityataH prArthyate ye kila patrikAm evaM vidho sAmayika viSayacarcAmAtra-saMghaTitAM pratisaptAhamIhante, saMpAdayantu te grAhakAn pnycshtm| saMskRta - caMdrikAyAH prakAzanataH 'prAgevAyamAsId asmAkaM saMkalpo yat 'sUnRtavAdinIM' nAma kAmapi saMskRtapatrikAM prakAzayAmeti / ' AC, p. 110) Previously Chandrika was published from Kolhapur and printed in Wai. Appashastri now wanted it to publish from Wai only, but the erstwhile king of Gaganabavada did not allow this shifting. The king made arrangements for Appashastri and his family's residence in his own palace in Kolhapur. Therefore, Chandrika's office was in the palace from 1904 C.E. At the same time Wai town was affected by Plague epidemic and printing of Chandrika was done in Kolhapur only (AC, p. 100). This year Chandrika got its registration number B 175. Registration of a periodical means it has to be published regularly. Regular publication means Appashastri would need capital money. It invited donors and patrons for deposits in order to establish capital money for Chandrika. Few south Indian scholars came forward to support Chandrika with deposits. This helped Chandrika to stabilize. Then Appashastri started giving news and notes in Chandrika. Language of news and notes was easy, purport was easy to grasp and style was attractive, lucid and convincing. He put forth people's opinion without contradicting the government. During this period he faced many familial calamities. Good and bad things were parallel in Appashastri's life. There was a Sanskrit conference in Kolkata in 1899. Appashastri attended it. Everyone knew about him through Chandrika. The scholars in that conference bestowed the title 'Vidyavachaspati' on him. He published many good long articles in Chandrika. He was politically aware. He published his thoughts fearlessly about Lord Curzon's resignation. He lost his father in May 1905. Same year, around October he became sick with fever. Again Chandrika was delayed. He published first issue of 'Sunrtavadini' in September 1906. 'Sunrtavadini' had four hundred customers. It published articles and news about religion, politics, social issues, science etc. Sunrtavadini's annual subscription was Rs.3/- Shri Nilakanthashastri wrote Sunrtavadini's introduction. ("f mahAbhAgAH ! na bahuvidha-grantha- praNetAraH, kAlidAsAdi kavivarAH, na vA bhayaMkarAH karkaza - tara -vivAdaparAyaNAH saMskRta-paNDitAH, nApigadyavilekhanacaNo bhaTTabANaH saMskRtabhASApraNayinAm asmAkamupakurvanti, yathA ayamekaH zrImAn upakarotividyAvAcaspatiH appAzAstrI nava-nava-saMskRta-prabandha-lekhana - viniyujyamAnasvIya-samayaH svatantraH saMskRta - gadya - vilekhane vaiyAkaraNamaNiH AlaMkArikAlaMkArabhUto naiyAyikamUrdhanyo dharmazAstrarAddhAntAntarArthavedI rasikamaNiH saMskRta - caMdrikA - sahakAri - saMpAdaka: / sulabhAH kila saMskRta For Personal & Private Use Only

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tapny Vol. XXXIV, 2011 Appashastricharitam : Evaluation of a Biography . 59 paNDitA idAnIM ye kevalaM tad-vAdamAtraniSNAtAvartante, dUre saMskRta-bhASA-gadya-vilekhana-sakhyAH / kiM tu sudurlabha eva appAzAstrisadRzaH pANDityaviSaye sarasa-madhura-vAGgamukhAvalekhana-viSaye ca samaM pravartamAnaH pANDita-rasikaH / atastenaiva pracAryamANAyAH sUnRtavAdinyA rAmaNIyakaviSaye na kasyApi jAyeta saMzayAvakAzaH / ato ye tAvada enAM na AdaraparaHsaraM avalokante na teSa asmAkaM roSaH, ki ta dayaiva / 3tapa azi waalfer 372416ci yeri BERTERYGT a n i facere: 1" AC, p. 137). Rules for subscribers and authors were same as Chandrika. (AC, p. 148). Appashastri also declared that whoever will buy ten issues of Sunrtavadini, would get one issue free. (AC, p. 150). Sunrtavadini and Chandrika both periodicals were printed from Modavrutta Printing Press at Wai. Though, Kashinathshastri Lele was no more connected with this press. Appashastri gave eighth issue of Sunstavadini to the press on 15-1-1907. It was Tuesday. Sunrtavadini was to be published on Thursday. Somebody from Modavrutta press came to him on tuesday only and conveyed some message. The purport of the message was, Sunstavadini would not be printed, since there was some mistake in the agreement. (AC, P. 153). 1906 C.E. onwards both periodicals were printed in Srikrishna Press which was owned by Kashinathshastri Lele. Shri Lele formerly was attached to Modavrutta Press. He also had bad experience with Modavrutta Press. Sunstavadini's fourteeth issue was published in April 1906. Then there was plague epidemic again in Wai. Therefore, publication was delayed for a month. (AC, p. 159), This also hindered propagation of Chandrika. Epidemic of Wai town continued probably until August of 1907 C.E. Appashastri left Wai again for Kolhapur. (AC, p. 169) At this difficult time, Appashastri's second wife also expired along with her son. (AC, p. 170) All these difficulties caused delay in publication of both the periodicals for three months. Some good thing also happended during this year. Appashastri bought printing machine. It was his long cherished dream to print his periodicals on his own press. ("abhilaSyate kila asmAbhiracirAdeva svIya eva mudrAyantre prakAzanaM sUnRtavAdinyAH / tata eva krItaM mudrAyaMtramasmAbhiH / kintu kuto'pi daivakRtAtpratibandhakAdvilambate so'yaM manoratho'smAkam / ataH paramapi sAdhayiSyAmaH svIyamabhilaSitaM yadinAvahet prAtikUlyaM niyatiH / pratiSThApite ya svIye mudrAyantre nafilharzi pertafeln: 1" AC, p. 173) Circulation of Sunstavadini became wider. It is known from the advertisement in English published in Sunrtavadinni's 44th issue. It reads as follows : "This Sanskrit paper Sunritavadini has a very wide circulation in all parts of India, Burma and Ceylon, and the next year which is second of the paper begins with the first of Chaitra 1830 Shaka. The size of paper is to be made larger from the first issue of the next year. Advertisers have a special advantage in publishing their advertisements in the Suntitavadini in as much as the paper is largely circulated in India and reaches almost of all parts of the Empire. Rates of For Personal & Private Use Only

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60 Sunanda Y. Shastri SAMBODHI advertisements are quoted on each issue of the paper. Special rates may be granted on application." His ambition was to establish Assembly of Sanskrit Scholars (Pandit Mahasabha) in order to propagate our religion and Sanskrit. He was worried about the apathy of our own people for our traditions and ancient knowledge. He expressed his concern in following words- "Hgpud fe fufa #daifa na ufad: 17 fe iufa raya: sudRDhazarIrA buddhimattarA AdarzabhUtAzca puruSA atra bhArate varSe / na dharmAbhimAnaH / na zraddhA / na deveSu bhaktiH / naguruSu gauravam / na svAyattAni zilpAni / na svadezAnurAgaH / nA pi vAnyat kimapi yadeva pUrvamatra prAdyotiSTa / saMprati punaTuMbalaprAyAH parapiNDopajIvitvameva janmana sAphalya-heturityAklayantaH pAzcAtyAneva daivatAni manvAnAH prAyeNa Grandtournauten: 1 TRE 377 371747 feauagad." (AC, p. 182) Sunrtavadini's 50th issue was published on 5-3-1910 and with this issue first volume was completed. Appashastri expressed his mind that, "Sanskrit Puridits should have knowledge of political happenings is the main aim of Sunstavadini' (rAjakIyaviSayANAM jJAnaM saMskRta - paNDitAnAM kRte sukara syAt ityeva hi anyatamaH pradhAna-uddezya: Haaifra: I (AC, p. 185) He firmly believed that only Sanskrit is the language for Indians. (AC, p. 186). In the year 1908, Kolhapur, where Appashastri was active as editor, publisher, printer and intelligent leader of the scholars - became hotbed for him. He faced opposition from two fronts, first was religious front. It happended because Appashastri opposed some Sannaysi (swami) and his disciples who were in the good books of erstwhile king of Kolhapur. Political opposition also was of two kinds-first Appashastri congratulated when Public Assembly was established in Kolhapur and secondly he evaluated king's rule. Therefore, king of Kolhapur went against him. There was case of defamation against Appashastri. King enforced many restrictions on him. Appashastri was asked to pay fine of Rs.1000/- and pay deposit if wanted to live in Kolhapur city. Appashastri shifted to Wai for some time. He came back to Kolhapur after the case was over. But everything was changed. The atmosphere there was diametrically opposed to him. Appashastri also was firm in his faith and mission. He did not deterred from publishing his fiery articles. This angered the king and king ordered to put Appashastri in jail. (AC, p. 192) at this juncture, Appashastri left Kolhapur and shifted to Satara city. Sunstavadini's 20th issue was published in the March 1908. The arrangements for the publication of Sunrtavadini and Chandrika were made in Satara. But Satara was affected by the epdemic of plague. Therefore, Appashastri left Satara and shifted to Pune. (AC, p. 193) Though, Pune was a big city, he could neither find printing facility for his periodicals, nor he could install his own printing machine. Until this day Appashastri also was not able to collect capital money for Chandrika. He was totally surrounded by monetary and familial difficulties. Appashastri arranged For Personal & Private Use Only

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Vol.XXXIV, 2011 Appashastricharitam : Evaluation of a Biography Sunrtavadini to be published from Mumbai through Vartamana Agency. This he did with help of his close firend Shri Ganapati Modak. Appashastri later entrusted responsibility of Chandrika's publication to this agency. It was year 1908. This did not continue for long. This agency was charged with treason and was closed down. Therefore, publication of Chandrika was discontinued in September 1909. (AC, p. 205) so was the fate of Sunstavadini. Appashastri joined Bhave School in Pune as a teacher. His salary was Rs.40/- only. This job was necessary to repay his debt. He had a son from his third marriage, but this wife died soon after childbirth. Therefore, his mother pressed him for remarriage in 1910. He married again, but his father-in-law took his daughter back and she never returned. Soon after this incident his son from his third wife also expired. (AC, p. 208-209) Meanwhile he was struggling to start Chandrika and Sunstavadini again. But government charged these two periodicals as supporters of national unrest, therefore the publication was not allowed. Government permission to publish Chandrika and Sunrtavadini again came on 19-10-1913. He was overjoyed with this news. His mother expired in 1912. (AC, p. 218) then his scholarly friends became active in getting him married again. Though, Appashastri was reluctant for this. His marriage was fixed with Shri Narayanashastri Audumbarakar's daughter Vatsala. Marriage took place in May 1913. Appashastri decided to start publication of Chandrika and Sunstavadini after the plague epidemic is over. He decided to leave Pune and go to his native place Rashivade. He prepared to leave on 22-10-1913. Same day evening, he had fever. His friends cared for him and called his wife and father-in-law. It was Plague. Appashastri left his body on 25-10-1913. (AC, p. 236-237) Appashastri left a beautiful tradition of modern Sanskrit Journalism. He was a very good journalist to the core. In the short life of forty years, he wrote many books and articles. He received many felicitations like, the title Vidyavachaspati in Kolkata, was felicitated by the king of Dinajpur, he was invited for lectures at many places, felicitated in Dharwar and many more. He was supreme intellectual and dedicated missionary. This biography is a befitting tribute to him. Shri Vasudeva Shastri Audumbarakar himself was a great scholar. The Sanskrit language is lucid and simple. It has covered all the details of Appashastri's life. Not only that, but Vasudeva Shastri has brought forth the real worth assessing his work thoroughly. Bibliography 1. Appashastri: Sahityasamiksha, Prof. Ashok N. Aklujkar, Sharada Gaurav Granthmala, Pune. 2. Appashastri Charitam, Pt. Vasudevashastri Audumbarakar, Sharada Gaurav Granthmala, Pune, 1973. For Personal & Private Use Only

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Scientific Dimensions of Spiritual Energy (Brahmakumaris' Perspective) Sureswar Meher Introduction The whole creation is the combined manifestation of both physical and nonphysical energies. Science explores the material aspects of nature only through its limited scientific methods and techniques. But the knowledge of Self, the nature of Thought or Consciousness or Spiritual energy i.e. the Primary Reality as clearly accepted by all of the famous scientists and physicists, is beyond the scope of Science because Self is not observable and quantifiable. Hence another advanced discipline called 'Spiritual Science' or Meta Science'is significant to study this prime factor. Spiritual Science has the inner power to explain the concepts and laws of metaphysics by its subtle techniques of deep insight and revelation. In this regard, Brahmakumaris, a renowned international spirituo-educational organization shows a unique path for the whole mankind towards attainment of both mundane and transcendental perfection by its spiritual knowledge. B. K Jagdish, Chief Spokesperson of this institution and a multi-faceted personality, has made attempts to shed light on the two realities - material and meta-physical assimilating both the laws and methods of Science as well as Spirituality. In the present research paper, endeavours have been made from Brahmakumaris' perspective to focus and render a concise note on Spiritual Energy on the basis of Modern Scientific Dimensions especially Quantum Theory, Theory of Relativity, Laws of Thermo-dynamics and so on and to justify the Realities of meta-physics which are logically built on and paralleled with Physics. 1. Spiritual Energy: A point of Non-material light Spiritual energy has only the inherent, eternal quality called 'consciousness' which manifests itself in various forms namely thinking power, judgement power, For Personal & Private Use Only

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Vol.XXXIV, 2011 Scientific Dimensions of Spiritual Energy memory, emotions, impression, feelings etc. and clearly differentiates Spiritual energy from Physical energy which does not possess these qualities. Mind, Intellect and Samskara (Sub-conscious mind) - these three are the constituting subtle factors of consciousness.2 Consciousness is not an epiphenomenon of the brain or the electro-magnetic forces at work in the brain and elsewhere, nor can it be considered a product of chemical reactions taking place at the cellular level in the brain and other parts of the body. Souls and Supreme Soul are point sources of spiritual energy where as the rests i.e. the organic and inorganic Matter, the body and the brain etc are within the realm of physical energy. Spiritual energy is the knower, experiencer, observer or possessor that determines the use and purposes of the material things (energy) to get comforts and pleasures out of these. So, spiritual energy is the first or the prime reality and without knowing this, all other knowledge systems would be meaningless, purposeless and worthless.3 Soul is a point of light which is spiritual in nature, divine in its original potential overwhelmed with seven divine qualities - Knowledge, Purity, Joy, Peace, Love, Bliss and Power and is different from the mundane light. As matter in its original form is made of particles, particularly sub-atomic light particles (photons), so the conscient energy is also a divine light particle (spiriton). Seven colours of light - Violet, Indigo, Blue, Green, Yellow, Orange & Red are reflected through seven spiritual qualities because light is the ultimate form of energy. Having shorter wave-lengths and more energy content, the subtler metaphysical energies control the physical energies effectively. That's why human being's desires and intents are so powerful a force in nature that they can literally organize space-time events. 2. Dimensionless energy has the fifth dimension A point does not have any dimensions. So, as a point of super-mundane light Soul is a dimensionless reality. According to Einstein's Theory of Relativity, the world is a four-dimensional space-time continuum. It means all reality exists both in three dimensional space (i.e. latitude, longitude and altitude) and in time (i.e. fourth dimension) and the two are indivisible. All measurements of time are really measurements in space and conversely, measurements in space depend on measurements of time. But in metaphysics, the action of living beings has the fifth dimension, namely the moral dimension. Action of living beings has not only a reaction as one understands it in chemistry or physics but it results either in happiness or sorrow or a mixture of the two for the doer, the soul. Therefore, the moral aspect of action should be considered before doing. Human being (Conscient soul with body) is neither a machine nor a gene. This sentient person has will and makes effort to achieve goal by using the pronoun V for itself as a doer. The soul (spiritual power) which abides in the body sets the body working by dint of its motive force or thought power. Thought or feeling is the agency which keeps the brain at work and the nervous system functioning. The body For Personal & Private Use Only

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64 Sureswar Meher by itself can't do anything. The soul works as a driver or the motive power and the body and its food as the motor power and the brain as the starter, the gear or the steer wheel." 3. Soul-speed: Faster than Light-speed According to the Theory of Relativity, the speed of light is the upper limit to the speed of material objects or particles. But in 1969, scientists namely O.M.P. Bilaniuk, E.C.G Sudarshan have predicted on theoretical grounds that a particle can move faster than light which is named by G. Feinberg as Tachyon, a super-luminous particle. On the basis of this view, there are three types of sub-atomic particles. SAMBODHI Those particles which have a positive physical mass and which move at a speed far less than the speed of light are known as Tradons. * Those particles which have velocity equal to the speed of light and which possess zero rest-mass, are called as Photons or Luxons, Those particles which travel with velocity greater than light and have imaginary rest-mass, are named as Tachyons. From the above statements, it may be considered that the minutest particles tachyons move at speed faster than light. Generally, the velocity of a particle gradually decreases because of the presence of other particles of the medium through which it passes. The velocity of light in vacuum is 3x10 m/sec, while in water it is 2.25x10deg m/sec. But Tachyon's speed cannot gradually be lowered by any means. In that way, the soul which has less than zero mass i.e. imaginary mass can move with a velocity faster than light because it being a non-material entity, other particles in the atmosphere or in bodies can't lower its speed. Gravitation, friction, forces of Nature also cannot affect the incorporeal soul. Thus a soul would take almost no time to leave one body and incarnate into another at a very great distance. It can also go to the Soul World which is far beyond this material world in a flash through thought power." 4. Supreme Soul (God): Knower of three aspects of Time Albert Einstein, the world-famous scientist opines that if one can travel faster than light then one can know three aspects of Time. The soul can know the present, past and future or at least it can know what is happening in a particular part of the world at present just a fraction of time. But for this, the soul has to be free of metaphysical pull i.e. attachment with or of others and has to have its meta-physical mirror i.e. Mind clear or its Intellect divinized. Only Supreme Soul, God knows everything what is happening in this whole universe because He can travel at infinite speed called 'God Speed and has no any mental attachments or impurities. 10 That's why, He is always praised as omniscient. 5. Eternal point of light with elliptical form & Zero mass According to the theory "Confinement of light in a medium "by the physicists For Personal & Private Use Only

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Vol.XXXIV, 2011 Scientific Dimensions of Spiritual Energy Dr. P.K. Jena and Dr. T. Pradhan - "Light of selected frequencies can be confined within the material whose dielectric constant is spherically systematic but decreases radially outward, becoming negative after a certain radius". On account of this theory, quarks, the tiny sub-atomic particles are confined within protons and neutrons. So, what is a fact of modern physics about the ultimate form of matter (physical energy) may have its parallel in meta-physics also regarding the ultimate geometrical form of Soul and Supreme Soul (spiritual energies). Thus the entities of meta-physics 'God' and Soul' are such divine and conscient light which are confined'in their respective oval form (aura)." Further, that light is eternal in this form not only because it goes round and round in elliptical orbits of infinitesimal size without ever leaving the medium but also on the following grounds B. K. Jagdish gives a clear justification about the truth related to these metaphysical energies, referring some of the prime statements of physics - (i) "If there is any ultimate stuff of the universe, it is pure energy because subatomic particles are not made of energy, they are energy. This is what Einstein theorized in 1905; sub-atomic interactions therefore, are interactions of energy with energy. Atsub-atomic level, there is no longer a clear distinction between what is and what happens between the actor and the action. At the sub-atomic level, the dancer and the dance are one."12 This view explains why despite spending energy, the soul-energy is not exhausted. It also explains how the impressions (samskara) abide in soul, the doer or the experiencer. (ii) According to physicists, if two particles are made to collide, they are destroyed and in their place, two new ones are created. Both of these decay spontaneously into two additional particles, making them four. This shows that matter, at energy level isindestructible and the energy can act at its level not getting exhausted but only changing forms and multiplying. 13 This gives a clear hint how despite expending energy, the conscious energy of soul remains intact. Like sub-atomic particles, the soul doesn't get destroyed; it is immortal forever as it is self-conserving. The spending of its energy regenerates energy though its qualities or attributes may change. (iii) According to Einstein, matter or mass causes a curvature of space-time. Thus in meta-physics, this conscious energy called soul may have a curved form like ellipse.14 (iv) Nuclear fission or fusion shows the vast potential energy of a small particle like atom. Similarly, in the domain of meta-physics Soul and Supreme Soul which are minuter than the sub-atomic particles, can have tremendous conscious energy.15 (v) Revelation of physics is that neutron is almost eternal because its time of decay is 1031 years which is 1000 billion billion times the age of the universe as For Personal & Private Use Only

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Sureswar Meher SAMBODHI calculated by evolution scientists. This final truth about matter gives a similar vision towards the immortality and eternity of the soul. Moreover, it is a fact of science that neutrinos have zero mass or they are almost mass-less. On the same lines, it can be understood that soul also has zero mass.16 66 6. Soul & Supreme Soul (God) Discrete particles, both are different The starting point of modern physics, Quantum Theory developed by Max Planck in 1900 and further named by Einstein, brought a great change in the physicists' concept of matter. Previous to Planck's Theory, most physicists conceived of the world of nature or matter as a continuum. But the Quantum theory clearly states that the 'continuous views'of the world is replaced by a "discrete'one. (i) Applying this Quantum theory, Einstein predicted that light is also made up of lightparticles called photons. Hence, Planck's Quantum principle and Einstein's Photo-electric Effect are based on the basic assumption that matter is not continuous, but isdiscrete and that even light which appears to be continuous is, in fact, made of particles called photons. (ii) According to Statistical Mechanics, invented by J. C Maxwell and J.W Gibbs a gas (also air which is a mixture of gases) is also composed of molecules or atoms which are individual in their nature. (iii) Brownian Motion, developed by Robert Brown also states that liquids are also composed of discrete particles or quanta namely molecules. All the above theories" which come under the name of Quantum Theory, substantiate that nothing is continuous or one whole. Solids, liquids and gases, all forms of radiation including light are made up of discrete particles. This universal law can also be seen in meta-physics. Now here the concept of God's or Brahman's all-pervasiveness propounded by monists, can be evaluated on the basis of Quantum theory. If God only appears to be a continuous whole but is, in fact, composed or constituted of innumerable particles or innumerable discrete conscious quanta i.e. infinite number of discontinuous or separate souls, then this, however, can't be because innumerable, separate conscious particles will give to the whole (if there be one) a split personality and such cannot be God's personality ("Satyam Jnanam Anantam Brahma") what monists speak about referring upanishadic statements. God is one single person or one single-consciousness. He is not a jumble or conglomeration of consciousness. A conclusion that can be derived from the Quantum Theory is that Matter can be (and actually is) composed of innumerable discrete particles or quanta, but God cannot be (and is not) composed of numbers of innumerable particles (Souls). In other words, God is not (and cannot be) omnipresent, all-pervading or one who For Personal & Private Use Only

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67 Vol.XXXIV, 2011 Scientific Dimensions of Spiritual Energy permeates the whole universe. There are innumerable Souls and God is one - supreme among them all. Quantum theory in physics gives quantum principle in metaphysics and this latter runs counter to the belief that God is one whole, omnipresent or immanent power. Hence, God can only be a discrete particle - an infinitesimal point of light because light is the ultimate form of energy. 18 7. Entropy (Degradation) in Spiritual Energy & Entropy-reverse The first and second laws of Thermo-dynamics are universally accepted and are applicable in both the spheres - material and non-material or spiritual. (i) The first law of Thermo-dynamics, law of conservation states that energy can neither be created nor destroyed; it can only be transformed from one form to another form. (ii) The second law of Thermo-dynamics says that every time energy is transformed from one state to another, there is a loss in the amount of that form of energy which becomes available to perform work of some kind. This loss in the amount of available energy is known as 'Entropy. For example - if we burn a piece of coal, even then the total amount of energy remains the same, but due to the process of burning, some part of coal is transformed into sulphur dioxide and exhausts cannot bereburnt to get the same work out of it. This kind of loss', wastage' or 'penalty is called Entropy. The Entropy law states that all energy, in an isolated system moves from an ordered to a disordered state. The state in which energy-concentration is highest and available energy is maximum i.e. where entropy is minimum is also the almost ordered state (Sattvapradhana avastha) and where available energy has been highly dissipated and diffused, is the most disordered state (Tamopradhana avastha.) 19 Another aspect of the law is that whenever we make an attempt to reverse the entropy increase, it is only done by increasing the over-all entropy of the surrounding environment. The scientists Angrist and Herpler say - "Each localized, man-made or machine-made entropy decrease is accompanied by a greater increase in entropy of the surroundings, there by maintaining the required increase in total entropy." 20 According to Dharma, the souls have originally 16 degrees level of energyconcentration and gradually, due to entropy, the energy level goes down, so that when there is maximum entropy and the level of energy-concentration is hardly three or four degrees, then Ever-pure Supreme Soul or God, the Highest Point-source of spiritual energy reverses the spiritual entropy by means of Godly knowledge and Rajyoga and the material entropy gets reversed by means of fission of nuclear weapons, natural calamities etc, so that the Earth, Water, Air and their products get again the maximum energy-concentration.21 In other words, when the society has passed through its four stages of Golden age, Silver age, Copper age and Iron age and For Personal & Private Use Only

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68 Sureswar Meher SAMBODHI is in the fifth i.e. the Leap or Confluence age, then God Himself descends on this earth to reverse the entropy. The need of God's act in such a situation is evident because, according to the Entropy Law, in a closed system, entropy increase cannot be reversed without increasing the entropy in the surroundings and therefore, in real terms, an outside source of energy is required to raise the energy-concentration without lowering the energy level in the surroundings.22 Conclusion From the above discussions it may be concluded that Modern Science and Spirituality are correlated disciplines of knowledge where for both of them, ultimate reality whether i.e. physical or metaphysical, is the prime matter of study. It is clearly observed that the established and undeniable Quantum principle, Relativity theory and Thermodynamics laws governing physical energy are equally applicable to metaphysical energy. Hence, on account of the theory of particle physics, spiritual energies vis. Souls and Supreme Soul are merely the discrete, sub-atomic particles of consciousness or sentient light. This conscient light energy's manifested seven attributes of bliss, knowledge, peace, love, joy, purity and power are correlated to the seven hues of VIBGYOR. The infinitesimal point of spiritual light is eternal and massless conscient being with personality which has an elliptical form (aura) or energy shield or force field that expands or contracts according to the vibrations of thought-power and situation. The conscious energy, Soul loses its power gradually in due course of time by taking many births in form of bearing new new bodies and when Almighty Source of conscious energy descends on the earth and by receiving His divine connection then it makes itself fully charged with divine powers and restores them for the successive period of time cycle. In this regard, definitely Brahmakumaris' subtle insight and spiritual knowledge, clearly presented by B. K. Jagdish Chander with modern scientific methods regarding spiritual energy, the prime reality, occupy the most significant importance for the upliftment of the whole modern challenging world. Notes 1. Complementarity of Science and Spirituality for better life, p. 4 2. Eternal Drama-I, pp. 28-29 3. Op.cit, pp. 3-4 4. Mysteries of the Universe, 2008, pp. 27-28 5. The Eternal Drama-II, 1985, pp. 585-856 Situated in between the Pituitary, Pineal and Hypothalamus glands where Hypothalamus is main. 7. Eternal Drama-I, 1998, pp. 90, 93, 99. 8. Ibid, p. 209 9. Eternal Drama-1, 1998, pp. 208-211 10. Ibid, p. 211 For Personal & Private Use Only

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Vol.XXXIV, 2011 Scientific Dimensions of Spiritual Energy 11. Eternal Drama-1,1998, p. 199 12. Quoted from Dancing Wu Li Masters 13. Op.cit, pp. 199-200 14. Eternal Drama-1,1998, p. 200 15. Loc. cit 16. Ibid, p. 201 17. Eternal Drama-III, pp. 164-170 18. Ibid, pp. 170-171 19. Science and Spirituality, 1988, pp. 213-215 20. Quoted by B. K. Jagdish from Stanley Angrist and Loren Helper; "Demons, poetry and Life : A Thermodynamic View", Taxas Quarterly 10 (Sept 1967,) pp. 27-28 21. Science and Spirituality, 1988, p. 216 22. Loc. cit . Reference Books 1. Chander, B. K. Jagdish, 1998 (Rpt), Eternal Drama of Souls, Matter and God, Part-I, (Mount Abu, Rajasthan: Prajapita Brahmakumari's Ishwariya Vishva Vidyalaya). 2. Hassija, B. K. Jagdish Chander, 1985 (3rd ed), The Eternal World Drama (Part-II of the series, titled 'Eternal Drama of Souls, Matter and God'), Mount Abu. 3. Chander, B. K. Jagdish, Spiritual Miscellany (Part-III of World Drama of Souls, Matter and God'), Mount Abu. 4. Chander, B. K. Jagdish, 1988, Science and Spirituality, Mount Abu. 5. Capra. Fritjof, 1975, The Tao of Physics: An Exploration of the Parallels Between Modern Physics and Eastern Mysticism, (Berkeley, California: Shambhala publications). 6. Chander, B. K. Jagdish, 1994 (1* ed.), Parallels between Science and Religion and Philosophy and Science- A Critical Review, Mount Abu. 7. Nair, B. K. Nityanand, 2008 (15 ed.), Mysteries of the Universe, Mount Abu. 8. Paranjape, Kalpana M., 1996, Ancient Indian Insights And Modern Science (A UGC Project), Bhandarkar Oriental research Institute, Pune. 9. Chander, B. K. Jagdish, 1994, Do you know your Real Self, Mount Abu. 10. Chander, B. K. Jagdish, Complementarity of Science and Spirituality for better life, Mount Abu. For Personal & Private Use Only

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Jinaprabhasuri's account on Mathura in Vividha tirtha kalpa Renuka J. Porwal Jaina monks are very good wanderers!. While travelling they write the account of their pilgrimage tour, comprising of the condition of the temple, site, year of establishment, renovation year, and name of the reigning king. Such system of documentation provide important evidences for History, Geography and social customs. The Granthas like Shatrunjay-mahatmya by Dhaneshvarsuri, Shantidas-no-ras by Lakshamansuri, Laksamani tirtha-rasa by Yatindravijayaji, etc. give very good information of the condition of cities and Sravakas of that period. The Vividha-tirtha-kalpa (V. T. Kalp) is such type of informative pilgrimage narration by Jinaprabhasuri. In the history of Jaina there were two Jinaprabhasuri living between the 13th and 14th century. The first Jinaprabha of Agamic gaccha lived in the end of the 13th century till the beginning of 14th century of Vikram Samvat (Vk.S). He composed many informative texts in Apabharamsa language which are stored at Patana Grantha Bhandara. The second Jinaprabhasuri lived in the second half of 14th century of Vk.S. He was blessed by Devi Padmavati and was a disciple of Jinasimhasuri - the Acarya of Kharatara gaccha?. His period could be judged by his earliest work Katantra-vibhrama' in the year 1352 of Vk.S. At that time he might be 25 years of age. His birth year is mentioned in Prabandha-Upadesha-Saptati* i.e.1324 Vik.S. This Jinaprabhasuri composed many books comprising V. T. kalpa containing historical accounts of important pilgrimage centres. In his time Delhi was governed by Sultan Hammira Mohammad Taghalakha. The Pannyas Muni Somdharmagani belonging to Tapagaccha had mentioned the important life incidences of Jinaprabha in Prabandha?. He speaks of the magical power possessed by Jinaprabha besides the efficacy of the Vijay Yantra. He made a Banyan tree to walk with him', while travelling to Gujarat with the Sultan. The Sultan's visit to Giranar Tirtha is also available in "Giranar Prabhava' book by Muni Hemvallabha in recent years. In these both works, the authors named the king as Firoz Surtran / Sultan Tagalakh but Sultan Firoz For Personal & Private Use Only

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Vol.XXXIV, 2011 Jinaprabha's account on Mathura in Vividha tirtha kalpa 71 Tagalakh reigned in 1407 to 1444 Vk.S. while Mohammad Tagalakh ascended the throne in 1381 and ruled up to 1407 of VK.S.", therefore it is possible that Jinaprabha existed during these both Sultans. The story of Vijay Yantra12 is mentioned in Prabandha' of Somdharmagani. As per the Katha, once Sulatana asked Suriji to show some magical power for achieving success in all fields. Accordingly Jinaprabha prepared the Vijaya Raj Yantra. The Sultan wanted to test its power, so he made a goat wear it on the neck and tried to wound her but surprisingly she didn't get hurt at all, as the Vijay Yantra had given her protection. The king tried a second confirmatory test of the same Yantra on another animal pair a cat and a mouse. A mouse was kept below the open umbrella with a Yantra on top and a cat was free near the Chhatra. The cat ran around but couldn't enter in the protected area. The Sulatana was impressed and donated a place for Jaina shrine and Dharmashala near his palace. As well as he returned the jewel studded image of Tirthankara Mahavira looted by his Sardar from Kannanur in Karnataka. Later on, Vira Vihar and Bhattaraka Sarai was constructed on his request. An auspicious welcome was given to Suriji by Jaina Sangha and he inaugurated the temple and Sarai on Ashadha vadi Saptami in the year 1389 Vk.S. at Delhi. During this period he had renovated Mathura shrine as per reference given in Rasa 'Nabhinandanoddhar Prabandha"* and V. T. kalp. From Mathura Suriji travelled with Chaturvidha samgha to Hastinapur where he established Jina images of Kunthunath, Shantinath and Aranath. The king proclaimed mnay Faramanas to protect Jaina shrines in his region. Jinaprabha suri worked hard for the rise of Jainism. There is one beautiful painting showing the meeting of king Mahammad Shah and Guruji, painted after 150 years of his visit with Royal personagels, The work on V. T. Kalpa started with the journey from the sacred Tirtha Shatrunjaya, on Friday in the month of Maha in the year 1385 of Vk.S. The Tagalakh Sulatan became happy with the start of the journey on the auspicious day Le. Friday, seeing his happiness Suriji also named this Kalp as "Rajaprasada". He completed the same in the year 1389 Bhadarva vada Dashami at Delhi. It is a collection of narration on selected sacred Jaina Tirthas like Shatrunjaya, Giranara, Khambata, Ahicchatra, Abu, Mathura, Bharuch, Vaibhargiri, Koshambi, Kalikunda, Kannanur, Nasik, Pratisthan-Pattan/Pethan etc. thrity eight places visited by Suriji and his disciples. Besides this detailed account of tirthas he also mentions the Ganadharas of Mahavira, Yaksa-Yaksi of those Tirthas and life sketches of Vastupal-Tejapal. Here we will discuss only the ninth chapter 'Mathurapuri Kalp'. This Kalp is also described in 'Abhidhan Rajendra kosh' part-3, pp 212-215. The Kalpa starts with adoration of the seventh Jina Suparsvanatha and 23rd Parsvanatha for Mangal of all Jivas". Here before beginning Mathura Puri Kalpa, the author had worshipped seventh and twenty third both Jinas, so one can assume that at Mathura's stupa previously Jina Suparsva was Mulanayak and later on both For Personal & Private Use Only

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Renuka J. Porwal SAMBODHI Jinas Suparsva and Jina Parsva were worshipped as Mulanayakas or there may be more than one shrines where these Mulnayaka images were worshipped. The legend of construction of Stupa The Katha of Mathura's stupa is well described in this V. T. kalp including its controversy with other faiths. The author described, that during the period of seventh Jina Suparsva two Jain monks Dhammarui and Dhammaghosa visited the city of Mathura and stayed in the park named as Bhua ramanals. The presiding deity Kubera of the park converted herself to Jaina faith on seeing them following the Aparigraha Vrata and performing severe austerities. She wanted to bestow a boon but they refused to accept. Then the Devi erected a Stupa at Mathura in one night for the worship of Jaina Samgha. The Katha further goes on describing the Stupa - it was made of Gold studded with jewels. It had toranas, gateways and banners having three Vedikas for Pradaksina moreover the top of the same was decorated with triple umbrella20. Devas, Sadhus and laymen were coming for adoration. There arose a controveresy over the ownership of the stupa with Vaishnavas, Saivities and Buddists in later period21. They all claimed their individual proprietorship. The dispute was over with intervention by some mediators of the city. They adviced "Ma Kalaheh ! (Don't quarrel !), this is the 'Deva Nirmita Stupa' so doubts will be clarified by Deva only. Keep a painted cloth (pado) with the name of one's own deity and hide it. The Devi will keep her own faith and other padas will be thrown out." Jaina Samgha wrote Suparsvaswami on the cloth and this pado/cloth remained there and others were thrown by Devi22. So it was declared as Arihanta Deva Stupa and the painted cloth with the name of Arihanta - Suparsvanath was carried out in a procession in the city. The process of adoring it also mentioned in Kalpa23. A splendid Stupa remained open until the 23rd Jina Parsvanatha visited. In his period a local king attempted to grab its treasure but was killed by protecting deity Kubera. The deity then requested Jain Samgha to cover the golden stupa with bricks and sand and to establish Parsvanatha image as the protective Jina, as her lifespan was less. Jain Samgha obeyed the Devi's instruction. The Deity even informed that whoever becomes king at Mathura must establish Jina Pratima/image otherwise he will not survive. One pedestal of Sarvatobhadra image24 in Mathura museum contains the devotees on either side of wheel wearing dress like royal personage. There is one sculpture of procession going to adore stupa which is now in Lucknow Museum available from the site of Stupa25. In the same museum there is one pedestal of Jina image contains the inscription in Brahmi character which denotes the establishment of that image at the "Deva nirmita Stupa". Later on Jaina laymen established the Arhata images in their homes and worshipped them, they even placed the same on the door lintels for protections. For Personal & Private Use Only

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Vol.XXXIV, 2011 Jinaprabha's account on Mathura in Vividha tirtha kalpa 73 . Beside the myth of Devi Kubera and Devanrimita stupa, the author has given many information related to Mathura stating the word Itthe/here which are as follows: 1. This city is the birth place of future Tirthankara Kanha Vasudeva27. Here Mahaviraswami's previous birth as Visabhuti with unlimited strength is connected28. This references appears in Digambara accounts also. Here there are four Jaina temples - 1. Acarya Mangu, 2. Yaksa Bhuta, 3. Hundiya Yaksa and 4. Stupa29. The five sthalas/places around the Mathura are Akkathalam, Virashala, Kususa sthala and Mahasthala30. The twelve Vanas are Lohajungvana, Madhuvana, Bilvavana, Talavana, Khadiravana, Kamikavana, Kumudavana, Kolavana, Bakulavana, Mahavana, Bhandiravana and Vrindavana. 6. The five Loukika Tirthas mentioned in Kalpa are Vishranti, Asikunda, Vaikuntha Kalinjara and Cakratirtha32. There is reference of Cakra Tirtha available in Oghaniryukti by Acarya Bhadrabahuswami as "Cakke thubhe stupo Mathurayam.' Most of the names of Sthala/places, Tirthas and Vanas we can still recognize like Vrindavan, Madhuvana, Mahavan, Vaikuntha-tirtha, etc. Their names are available in Puranas and Agamas too. He referred Acarya Bappabhattasuri's visit to Mathura where Acarya had established Mahavira's image in Vikram Samvata 826 i.e. 769 A. D. At that time Acarya had adviced King Ama to repair the stupa33. The king restored it and even prepared a Kupa or Kunda near the stupa34. A Kupa close the site (Kankalitila) of stupa is unearthed in excavation by Dr. Joshi and Margabandhu in the year appr.1987 A.D35. . In the Kalpa the author has described the power possessed by Bappabhattasuri. He adored Rishabha at Shatrunjaya, Nemi at Giranar, Munisuvrata at Bharuch, Vira at Mondhera, Suparsva at Mathura and was taking his Gochari/food at Gowalgiri(Gwaliar). Moreover king Ama was his devotee 36. Here the Deva Sakra went to Bhutagraha for the explanation of the 'Nigoda' by Arya Raksitasuri. Suriji has described the Katha of learned Acarya Mangu too that his greed for food restulted in his rebirth as a Yaksa(Jakha). Suriji referred Jinadas Sravaka's two bullocks Kambal and Sambala who observed vratas along with him . He has also mentioned the Agama Vacana at Mathura - convened under Acarya Khandil by Jaina Samgha after the draught of 12 years in the period of Acarya Bhadrabahu last Srutakevali. 1 For Personal & Private Use Only

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Renuka J. Porwal SAMBODHI 12. The author adds further that 'Deva nirmita' stupa was also adored by the Ksamasraman Jinabhadra who obtained the deteriorated manuscript of Mahanisithasutra repaired with the Devi's help38. 13. Here Naravahana Kubera, Simhavahana Ambika and Svanavahana Ksetrapala protected the tirtha39. Some Yaksi images found from Stupa are likely to be of these deities. In 1888, the site of Kankali Tila at Mathura, also known as Jaini Tila, was excavated by ASI. About 737 sculptures were available in that year alone, though the site was explored many times between 1882 to 1892 A.D 40. The available images and other sculptures are inscribed in Brahmi which provide the important documents of Jaina history revealing the Kula, Gana, and Shakha of Acharyas and the condition of Jaina Samgha. The city continued to prosper after Taxila's declination during Kushana period. In the year 1018 Mahammad Gazani looted and destroyed the golden stupa though it was repaired within five years. The obtained material and images show the prosperity and growth of Jainism starting from 200 B. C. to 1200 A. D. Here Mathura school of art was developed by Gandharian artists with the local touch of Mathura. The images of Kushana period, Gupta period, pre and post medieval period were excavated from this site. At the time of exploration the plinth of stupa, two Jaina shrines and many buildings were recognised. Later, the reference of this Deva Nirmita stupa in V. T. Kalpa, Yashatilaka Campu"!, Avasyaka curni42 with its various Kathas came to light. Dr. Bulhar43 found out the references of this stupa in Vividha-tirtha-kalp, while V. C. Agrawal44 found detail of Salbhanjika in Rayapaseniyam. Inscriptions on sculptures revealed that donations were made by all class of people including Ganika". fout the references nscriptions on soc. Agrawal Notes 1 2 Motichandra-Trade and trade routes in ancient India. Also-Doris Meth and ShrinivasMathura the cult. Heritage .arti. by U.P. Shah and Earnest B.-Mathura and Jainism. 'Jain' Silver Jubilee vol. 1935, Arti. By Pa. Lalchand Gandhi on Jinaprabha & Sultan Mohammad, pp. 215, 219. Also Somadharmagani, Upadesha Saptati-1503 Vk.S. pp 49 abhUvan bhUbhRtAM mAnyAH, prAptapadmAvatIvarAH / Jain Vol. Ibid pp. 220. Somdharmagani, Upadesha-Saptati pp 49- Grafaufa au, sifr : 1 Jain Silver Jubilee vol. pp. 220 Dvayasraya Kavya in 1356 Vk.s, Vidhiprapa 1363 Vikram S, Kalpasutra vritti 1364 etc. Ibid, pp. 219. Prabandha by Somdharmagani - Updesha Saptati pp. 49 to 52. Ibid, pp. 50 5 6 7 8 For Personal & Private Use Only

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Vol.XXXIV, 2011 Jinaprabha's account on Mathura in Vividha tirtha kalpa 75 ___ pRSTo vijayayantrasyA-''mnAyastena mahIbhujA / sa sUristaM jagau tasya, tAdRzAnAmagocaram // 6 // devAyaM yatsamIpe syAttasyA samapi daivatam / na lagenna ca bAdheta, vairI roSAruNo'pi san // 7 // ityAkarNitapUrvI tad, yantra nirmApya bhUpatiH / chagasyai-kasya kaNThe ca, parIkSArthamabandhayat // 8 // taravAriprabhRtyasra - prahArAstena mocitAH / tadanne na laganti sma, sannAhamiva vibhrati // 9 // chatradaNDe nivadhyainaM, tasyAghaH punarundaram / sthApayitvA sa mArjArI, prerayAmAsa kautukI // 10 // tadRSTimAtrAdutpanna-vairAddhAvati taM prati / tacchayAM kintu nAyAti, pArzvasthaiH preritApi sA // 11 // ityadbhutadvayaM dRSTavA, yantre tAmramaye punaH / kArayitvA tayorekaM svapArzve sa nyavIvizat // 9 Ibid 10 Hemvallabhasuri - Sahu Chalo Giranar jaie. pp. 59. 11 (a) Buddhisagarsuri, Bharat Vijapur Brihat Vrittant-1925 A.D. pp. 222. Gayasuddin Tagalakh ruled between 1320 to 1325 A.D. Mahammad Tagalakh ruled between 1325 to 1351 A.D. Firoz Tagalakh ruled between 1351 to 1388 A.D. (b) New Indian Antiquerry pp 519 Jainism under Muslim Rule' - Kamata Prasad Jain noted that Mahammad Tagalakh ruled butween 1325 to 1351 A.D. 12 Jain' Silver Jubilee vol. pp. 224. Also, Upadesh Saptati pp. 50- zobhano'yaM vaTaH sUre !, tanmanobhAvavedinaH / te'pyUcuryadi vo vAJchA, tadA'yaM saha cAlyate // 17 // omiti pratipedAne, calite tatra bhUpatau / vaTo'pi sevaka ivA'calatsUriprabhAvataH // 18 // calantaM taM vaTaM prekSya, lokA utphullalocanAH / sUrIndraM manujendraM ca, prazaMsanti pade pade // 19 // 13 Jain'-Ibid fn- 221, Also Cambridge history of India, vol-3, pp. 488. 14 Jain Aitihasika Gurjar Kavya Sanchaya, pp. 246, Jain-Ibid fn 222. 15 'Jain' Silver Jubilee volume, pp. 221 16 V. Smith, The Jain Stupa and other Antiquity of Mathura', 1900 A.D. Varanasi, pp. 13. 17 sattama-tevIsaime namiUNa jiNesare jayasaraNNe / bhaviyajaNamaMgalakaraM mahurAkappaM pavakkhAmi // 1 // 18 titthe supAsanAhassa vaTTamANaMmi dunni muNisIhA / 'ghammarui-ghammaghosA nAmeNaM Asi nissaMgAre // 2 // tattha teM muNivarA bhUaramaNAbhihANe uvavaNe uggahaM aNuNNa via ThiA vAsArattaM caumAsaM kaovavAsA / 1920 tao2 tIe13 devIe15 kaMcaNaghaDio rayaNaciMcaIo aNegasuraparivario toraNajhayamAlAlaMkio : siharovarichattattayasAlI rattiM thUmo nimmAvio mehalAtigamaMDio / ikkikkAe mehalAe cAuddisaM paMcavaNNarayaNama-yAiM biMbAi6 / tattha mUlapaDimA sirisupAsasAmiNo paiTThAviA / 21 pahAe loA vibuddhA taM thUbhaM picchaMti parupparaM kalahaMti a| keI bhaNaMti-vAsuilaMchaNo esa sayaMbhU devo / anne bhaNaMti-sesasijjA5 Thio nArAyaNo esa / evaM baMbha-dharaNiMda-sUra-caMdAisu vibhAsA / buddhA bhaNaMti na esa thUmo kiMtu buddhaMDautti / 22 tao majjhatthapurisehiM bhaNi-mA kalaheha / esa tAva devanimmio tA so ceva saMsayaM bhaMjissai tti / appappaNo devaM paDesu lihittA niaguTTIsameA acchaha / jassa devo bhavissai tasseva ikko paDo thakissai / annesi paDo devo ceva nAsehii / saMdheNAvi supAsasAmipaDo lihio / tao lehianianiadevapaDA saguTTIA pUaM kAuM navamIrattIe savvadarisaNiNo gAyantA ThiA / addharatte udaMDapavaNo taNasakkarapattharajutto psrio| teNa savve vi paDA toDittA nIyA / palayagajjiraveNa naTThA disodasi jaNA / ikko ceva supAsapaDo tthio| vimhiA loA / esa arihaMto devo ti| so paDo salayapure bhAmio / For Personal & Private Use Only

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Renuka J. Porwal SAMBODHI 23 tao egArasIe duddha-dahi-ghaya-kuMkuma-caMdaNAIhiM kalasasahassehiM saDA nhAvisu / pacchannaThiA surA nhAviti / . ajjavi tahe va jattAe", Aviti / kameNa savvehiM nhavaNe kae puSpha-dhUva-vattha-mahAdhaya-AharaNAI Aroviti / 24 Acc. No. B.67 Mathura Museum 25 J.535 Lucknow Museum (Toran beam depicting stupa worship) . 26 Acc. No. J.20 Lucknow Museum 27 ittha nayarIe kaNhavAsudevassa bhAvititthaMkarassa jmmo|' 28 ittha sirivIravaddhamANajIveNa vissabhUiNA aparimiabalattaNakae niyANaM kayaM / 29 ajjamaMgUAyariassa jakkhabhUassa huMDiyajakkhassa ya corajIvassa ittha deulaM ciTThai / .. 30 ittha paMca thalAiM / taM jahA-akkathalaM vIrathalaM paumatthalaM kusatthalaM mahAthalaM / 31 taM jahA-lohajaMghavaNaM mahuvaNaM villavaNaM tAlavaNaM kumuavaNaM viMdAvaNaM bhaMDIravaNaM "khairavaNaM" kAmiavaNaM kolavaNaM bahulAvaNaM mahAvaNaM / 32 itthaM paMca loiatitthAI / taM jahA-vissaMtiatitthaM asikuMDatitthaM vekuMtatitthaM kAliMjaratitthaM cakkatitthaM / 33 AmarAyasevia-kamakamaleNa siribappahaTTisUriNA aTThasayachavvIse(826) vikkamasaMvacchare sirivIrabiMbaM mahurAe tthaavi| 34 tao bappahaTTivayaNAo AmarAe-Na uvari silAkalAvaciaMkAriaM / 35 Doris Meth Srinivasan, AIIS, 1989, Delhi, 'Mathura the Cultural Heritage' - An article by U. P. Shah - Earnest, 'Mathura and Jainism, pp. 209, 210. 36 sittuMje risaha, girinAre nemi, bharuacche muNisuvvayaM, moDherae vIraM, mahurAe supAsa-pAse namittA soraTe DhuMDhaNa viharittA govAlagirimi jo bhuMjei / 37 itthaM kaMbala-saMbalanAmANo vasahapoA jiNadAsasaMsaggIe paDibuddhA nAgakumArA hoUNa vIravarassa bhagavao nAvArUDhassa uvassaggaM niva 38 ittha devanimmiathUbhe pakkhakkhamaNeNa devayaM ArAhittA jiNabhaddakhamAsamaNehiM uddehiAbhakkhiyaputthayapattattaNeNa tuTuM bhaggaM mahAnisIhaM saMdhi / 39 ittha kuberA naravAhaNA aMbiA ya sIhavAhaNA khittavAlo asArameavAhaNo titthassa rakkhaM kunnNti| 40 V. Smith - The Jain Stupa and other Antiquities of Mathura, pp. 3, Introduction. 41 Handiqui, K. K. Yashatilaka Champu and Indian culture, pp. 415. 42 Avasyaka Churni - 1, pp. 472 43 V. Smith, The Jain stupa and other Antiquities, pp. 13. 44 Prithvikumar Agrawal, 'Mathura Railing Pillars' - Banaras, pp. 6. 45 Namo Arhato vardharnanasa Arye ganika ye lonasobhikaye dhitu Samansavikaye Nadaye ganikaye vasu(ye) Arhato devik(u)la ayaga-sabha prapa sil(a) pa(to) Patisth(a)pito Nigathanam Arha(ta)yatane sa(ha) m(a)tare bhaginiyedhitars putrena. Sarvena cha parijanena Arhata pujaye. Q.2 Mathura Museum (Ayagapatta) For Personal & Private Use Only

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jaina dArzanikoM kA anya darzanoM ko trividha avadAna sAgaramala jaina jaina dArzanikoM ne anya bhAratIya darzanoM ko jo avadAna diyA hai vaha trividha hai / vaha trividha isa dRSTi se hai ki prathamataH unhoMne anya darzanoM kI ekAntavAdI dhArmika evaM dArzanika mAnyatAoM kI niSpakSa samIkSA kI aura unake ekAntavAditA ke doSoM ko spaSTa kiyA / isa kSetra meM jaina dArzanika Alocaka na hokara samAlocaka yA samIkSaka hI rhe| dUsare unhoMne paraspara virodhI dArzanika matavAdoM ke madhya apanI anekAntavAdI dRSTi se samanvaya kiyaa| tIsare unhoMne niSpakSa hokara darzana saMgrAhaka granthoM kI racanA kI hai / (1) anya dArzanika evaM dhArmika paramparAoM kA niSpakSa prastutIkaraNa prathamatayA unhoMne anya bhAratIya darzanoM meM jo ekAntavAditA kA doSa A gayA thA, usake nirAkaraNa kA prayatna kiyA / jaina dArzanikoM ne anya darzanoM kI jina mAnyatAoM kI samIkSA kI thI, vaha bhI unakI ekAntavAditA kI samIkSA thI, na ki unake siddhAnta kA samagratayA nirAkaraNa / udAharaNArtha jainoM ne bauddhoM ke jisa kSaNikavAda kI samIkSA kI thI, vaha unake ekAMta parivartanazIlatA ke siddhAnta kI thI, jainadarzana ne vastu yA sattA ke svarUpa meM utpAda aura vyaya ko svIkAra karake vastu kI parivartanazIlatA to svayaM hI svIkAra kI thI / isIprakAra jaba ve sAMkhya ke kUTasthanitya AtmavAda yA vedAnta ke sat kI aparivartanazIlatA ke siddhAnta kI samIkSA karate haiM, to unakA Azaya sattA kI dhrauvyatA kA pUrNa nirAkaraNa nahIM hai, ve svayaM bhI utpAda - vyaya ke sAtha sattA kI dhrauvyatA ko svIkAra karate haiN| isI prakAra jaina dArzanikoM ke dvArA unakI jo AlocanA pratIta hotI hai, vaha AlocanA nahIM, mAtra samIkSA hai, yaha jAna lenA Avazyaka hai| unakI bhUmikA eka Alocaka kI bhUmikA nahIM, eka cikitsaka kI bhUmikA hai| jaise eka cikitsaka rogI kI bImArI kA nirAkaraNa karatA hai, na ki usake astitva ko nakAratA hai, vaha to use svastha banAnA cAhatA hai / usI prakAra jaina dArzanika anya darzanoM ke ekAntavAditA ke doSa kA nirAkaraNa cAhate haiM, na ki una siddhAntoM kA samagratayA khaNDana karate haiM / ataH unakI anya darzanoM kI samIkSA ko isI rUpa meM dekhA jAnA cAhiye / aitihAsika dRSTi se anya dArzanika mAnyatAoM kI samIkSA jainadarzana meM Agamayuga se prArambha hokara satrahavIM zatI ke upAdhyAya yazovijayajI ke granthoM taka nirantara rUpa se calatI rahI, phira bhI jaina dArzanika anya darzanoM ke prati apanI samAlocanA meM bhI AkrAmaka nahIM hue / isakA sabase For Personal & Private Use Only

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78 sAgaramala jaina SAMBODHI acchA udAharaNa hameM mallavAdI kSamAzramaNa ke dvAdazAra nayacakra (4thI-4vIM zatI) meM milatA hai, jisameM unhoMne anya darzanoM kI vidhi-vidhi, vidhi, vidhi-niSedha Adi rUpoM meM samIkSA kI kintu ve kisI darzana yA dArzanika vizeSatA kA nAma lie binA, mAtra siddhAnta kI samIkSA karate haiN| unhoMne pratipakSI yA samanvayaka jaina darzana kA bhI nAma lie binA mAtra unakI samIkSA kI hai| jaina paramparA meM anya paramparAoM ke vicArakoM ke darzanoM evaM dharmopadezoM ke prastutIkaraNa kA prathama prayAsa hameM RSibhASita (isibhAsiyAI lagabhaga I. pU. 3 zatI) meM parilakSita hotA hai / isa graMtha meM anya dhArmika aura dArzanika paramparAoM ke pravartakoM- yathA nArada, asitadevala, yAjJavalkya, sAriputra Adi ko arhat RSi kahakara sambodhita kiyA gayA hai aura unake vicAroM ko niSpakSa rUpa meM prastuta kiyA gayA hai / nizcaya ho vaicArika udAratA evaM anya paramparAoM ke prati samAdara bhAva kA yaha ati prAcIna kAla kA anyatama udAharaNa hai| anya paramparAoM ke prati aisA samAdarabhAva vaidika aura bauddha paramparA ke prAcIna sAhitya meM hameM kama hI upalabdha hotA hai / svayaM jaina paramparA meM bhI yaha udAra dRSTi adhika kAla taka jIvita nahIM raha sakI / pariNAma svarUpa yaha mahAn graMtha jo kabhI aMga sAhitya kA eka bhAga thA. vahA~ se alaga kara paripArzva meM DAla diyA gayA / yadyapi sUtrakRtAMga, bhagavatI Adi Agama graMthoM meM tatkAlIna anya paramparAoM ke vivaraNa upalabdha hote haiM, kintu unameM anya darzanoM aura paramparAoM ke prati vaha udAratA aura zAlInatA parilakSita nahIM hotI, jo RSibhASita meM thii| sUtrakRtAMga anya dArzanika aura dhArmika mAnyatAoM kA vivaraNa to detA hai kintu unheM mithyA, anArya yA asaMgata kahakara unakI AlocanA bhI karatA hai| bhagavatI meM vizeSa rUpase maMkhali gozAlaka ke prasaMga meM to jaina paramparA sAmAnya ziSTatA kA bhI ullaMghana kara detI hai / RSibhASita meM jisa maMkhali-gozAlaka ko arhat RSi ke rUpa meM saMbodhita kiyA gayA thA, bhagavatI meM usI kA azobhanIya citra prastuta kiyA gayA hai, yahA~ yaha carcA maiM kevala isa lie kara rahA hU~ ki hama paravartI jaina dArzanika haribhadra, yazovijayajI Adi kI udAradRSTi kA samyak mUlyAMkana kara sakeM aura yaha jAna sakeM ki na kevala jaina paramparA meM apitu samagra bhAratIya darzana meM unakA avadAna kitanA mahAna hai| anya darzanoM kI ekAntavAditA kI samIkSA kI dizA meM kiye gaye prayatnoM meM sarvaprathama nAma siddhasena divAkara kA AtA hai| unhoMne apane grantha 'sanmatitarka' meM yaha spaSTa karane kA prayatna kiyA ki kisa darzana kA kauna sA siddhAnta kisa naya arthAta dRSTikoNa ke AdhAra para satya hai| unhoMne jaina darzana ke nayavAda kI apekSA se anya darzanoM ke siddhAntoM kI sApekSikasatyatA kA darzana karAyA / unakI isa dRSTi kA kucha prabhAva samantabhadra kI 'Apta-mImAMsA' para bhI dekhA jAtA hai| unhoMne yaha batAyA ki vedAnta (aupaniSadika vedAnta) saMgrahanaya se, bauddha darzana kA kSaNikatA kA siddhAnta RjusUtranaya kI apekSA se tathA nyAya-vaizeSika darzanoM ke siddhAnta vyavahAra naya kI apekSA se satya pratIta hote haiM / yahI dRSTi Age calakara samatvayogI AcArya haribhadra ke granthoM meM bhI vikasita huI / jaina dArzanikoM meM sarva prathama siddhasena divAkara ne apane granthoM meM anya dArzanika mAnyatAoM kA vivaraNa prastuta kiyA hai / unhoMne battIsa dvAtriMzikAe~ likhI haiM, unameM navIM meM vedavAda, dasavIM meM yoga-vidyA, bArahavI meM nyAyadarzana, terahavIM meM sAMkhyadarzana, caudahavI meM For Personal & Private Use Only

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79 Vol.XXXIV, 2011 jaina dArzanikoM kA anya darzanoM ko trividha avadAna vaizeSikadarzana, paMdrahavI meM bauddhadarzana aura solahavIM meM niyativAda kI carcA hai kintu siddhasena ne yaha vivaraNa samIkSAtmaka dRSTi se hI prastuta kiyA hai / ve aneka prasaMgoM meM ina avadhAraNoM ke prati cuTIle vyaMgya bhI karate haiM / vastutaH dArzanikoM meM anya darzanoM ke jAnane aura unakA vivaraNa prastuta karane kI jo pravRttiyA~ vikasita huI thI, usakA mUla AdhAra virodhI matoM kA nirAkaraNa karanA hI thaa| siddhasena bhI isake apavAda nahI haiM / sAtha hI paM. sukhalAlajI saMghavI ne yaha bhI kahA hai ki siddhasena kI kRtiyoM meM anya darzanoM kA jo vivaraNa upalabdha hai, vaha bhI pATha-bhraSTatA aura vyAkhyA ke abhAva ke kAraNa adhika prAmANika nahIM hai / yadyapi siddhasena divAkara, samantabhadra, jinabhadragaNi kSamAzramaNa Adi haribhadra ke pUrvavartI dArzanikoM ne anekAnta dRSTi se prabhAva ke kAraNa kahIM-kahIM vaicArika udAratA kA paricaya diyA hai, phira bhI ye sabhI vicAraka itanA to mAnate hI haiM ki anya darzana ekAntika dRSTi kA Azraya lene ke kAraNa mithyA-darzana haiM, aura jabaki jaina darzana anekAnta dRSTi apanAne ke kAraNa samyagdarzana hai| vastutaH vaicArika samanvayazIlatA aura dhArmika udAratA kI jisa U~cAI kA sparza haribhadra ne apanI kRtiyoM meM kiyA hai vaisA unake pUrvavartI jaina evaM jainetara dArzanikoM meM hameM parilakSita nahIM hotA hai / yadyapi haribhadra ke paravartI jaina dArzanikoM meM hemacandra, yazovijaya, Anandaghana Adi anya dharmoM aura darzanoM ke prati samabhAva aura udAratA kA paricaya dete haiM, kintu unakI yaha udAratA una para haribhadra ke prabhAva ko hI sUcita karatI hai| udAharaNa ke rUpa meM hemacandra apane vItarAga mahAdeva-stotra (44) meM nimna zloka prastuta karate haiM - bhava bIjAMkurajananA rAgAdyA kSayamupAgatA yasya / brahmA vA viSNurvA haro jino vA namastasmai // yaha zloka haribhadra ke lokatattvanirNaya meM bhI kucha pAThabheda ke sAtha upalabdha hotA hai, yathA yasya anikhilAzca doSA na saMti, sarve guNAzca vidyante / brahmA vA viSNurvA haro jino vA namastasmai // ___vastutaH 2500 varSa ke sudIrgha jaina itihAsa meM aisA koI bhI samanvayavAdI udAracetA vyaktitva nahIM hai, jise haribhadra ke samatulya kahA jA ske| yadyapi haribhadra ke pUrvavartI aura paravartI aneka AcAryoM ne jainadarzana kI anekAnta dRSTi ke prabhAva ke pariNAmasvarUpa udAratA kA paricaya avazya diyA hai phira bhI unakI sRjanadhArmikatA usa stara kI nahIM hai jisa stara kI haribhadra kI hai| unakI kRtiyoM meM docAra gAthAoM yA zlokoM meM udAratA ke cAhe saMketa mila jAyeM kintu aise kitane haiM jinhoMne samanvayAtmaka aura udAra dRSTi ke AdhAra para SaDdarzanasamuccaya, zAstravArtAsamuccaya aura yogadRSTisamuccaya jaisI kRtiyoM kA praNayana kiyA ho| anya dArzanika aura dhArmika paramparAoM kA adhyayana mukhyataH do dRSTiyoM se kiyA jAtA hai, eka to una paramparAoM kI AlocanA karane kI dRSTi se aura dUsarA unakA yathArtha paricaya pAne aura unameM nihita satya ko samajhane kI dRSTi se / AlocanA evaM samIkSA kI dRSTi se likhe gaye granthoM meM bhI AlocanA karanI hotI hai, to vaha anya paramparAoM ke prastutIkaraNa meM nyAya bhI nahIM karatA hai aura unakI avadhAraNAoM ko bhrAntarUpa meM prastuta karatA hai / udAharaNa ke rUpa meM syAdvAda aura zUnyavAda ke AlocakoM ne kabhI For Personal & Private Use Only

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80 sAgaramala jaina SAMBODHI bhI unheM samyak rUpa se prastuta karane kA prayatna hI nahIM kiyA hai / yadyapi haribhadra ne bhI apanI kucha kRtiyoM meM anya darzanoM evaM dharmoM kI samIkSA kI hai, apane grantha dhUrtAkhyAna meM ve dharma aura darzana ke kSetra meM panapa rahe andhavizvAsoM kA sacoTa khaNDana bhI karate haiM, phira bhI itanA nizcita hai ki na to apane virodhI ke vicAroM ko bhrAnta rUpa meM prastuta karate haiM aura na usake sambandha meM aziSTa bhASA kA prayoga hI karate haiM / haribhadra ne apane grantha zAstravArtA samuccaya meM kaMpila ko mahAmuni aura bhagavAna buddha.. ko mahA cikitsaka kahA hai, haribhadra ke apane grantha zAstravArtAsamuccaya meM isa dRSTikoNa kA eka nirmala vikAsa parilakSita hotA hai / apane grantha zAstravArtAsamuccaya ke prArambha meM hI grantha racanA kA uddezya spaSTa karate hue ve likhate haiM - - yaM zrutvA sarvazAstreSu prAyastattvavinizcayaH / jAyate dveSazamanaH svargasiddhiH sukhAvahaH / arthAt isakA adhyayana karane se anya darzanoM ke prati dveSa buddhi samApta hokara tattva kA bodha ho jAtA hai| isa grantha meM ve kapila ko divya puruSa evaM mahAmuni ke rUpa meM sUcita karate haiM - (kapilo divyo hi sa mahAmuniH, zAstravArtAsamuccaya 237 ) isI prakAra ve buddha ko bhI arhat mahAmuni, suvaidya Adi vizeSaNoM se abhihita karate haiM (yato buddho mahAmuniH suvaidyavat, vahI 465, 466) / yahA~ hama dekhate haiM ki jahA~ eka ora anya dArzanika apane virodhI dArzanikoM kA khulakara parihAsa karate haiM- nyAya darzana ke praNetA maharSi gautama ko gAya kA bachar3A yA baila aura maharSi kaNAda ko ullU kahate haiM, vahI dUsarI. ora haribhadra jaise jaina dArzanika apane virodhiyoM ke lie mahAmuni aura arhat jaise sammAnasUcaka vizeSaNoM kA prayoga karate haiM / zAstravArtAsamuccaya meM yadyapi anya dArzanika avadhAraNAoM kI spaSTa samAlocanA hai, kintu sampUrNa grantha meM aisA koI bhI udAharaNa nahIM milatA jahA~ haribhadra ne ziSTatA kI maryAdA kA ullaMghana kiyA ho| isI prakAra haribhadra ne anya paramparAoM kI samAlocanA meM bhI jisa ziSTatA aura Adara - bhAva kA paricaya diyA, vaha hameM jaina aura jainetara kisI bhI paramparA meM upalabdha nahIM hotA hai / yadyapi AcArya hemacandra ne anyayogavyavacchedikA (pracalita nAma syAdvAda - maMjarI) meM anya darzanoM kI vyaMgAtmaka zailI meM samAlocanA kI, kintu kahIM bhI anya darzanoM ke prati apazabda kA prayoga nahIM - kiyA hai / samyak samAlocanA kI yaha paramparA Agama yuga se prArambha hokara kramaza: siddhasena divAkara ke sanmatitarka, samantabhadra kI AptamImAMsA, mallavAdI kSamAzramaNa kA dvAdazAranayacakra, jinabhadragaNI kI vizeSaNavatI, vizeSAvazyakabhASya, haribhadra SaDdarzanasamuccaya, zAstravArtAsamuccaya, anekAntajayapatAkA Adi granthoM meM, punaH pUjyapAda devanandI kI sarvArthasiddhi, akalaMka ke rAjavArtika, aSTazatI, nyAya-vinizcaya Adi, vidyAnandI ke zlokavArtika, aSTasahastrI Adi, prabhAcandra ke prameyakamala mArtaNDa, ratnaprabha kI ratnAkara avatArikA, hemacandra kI anyayogavyavacchedikA Adi meM milatI hai| phira bhI yaha dhArA Alocaka na hokara samAlocaka aura samIkSaka hI rahI / yadyapi hameM yaha svIkAra karane meM koI Apatti nahIM honI cAhie ki paravartI madhyayuga meM vAda-vivAda meM jo AkrAmaka vRtti vikasita huI thI, jaina dArzanika bhI usase pUrNatayA For Personal & Private Use Only

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Vol.XXXIV, 2011 jaina dArzanikoM kA anya darzanoM ko trividha avadAna 81 achUte nahIM rhe| phira bhI itanA avazya mAna lenA hogA ki jaina dArzanikoM kI bhUmikA AkrAmaka Alocaka kI na hokara samAlocaka yA samIkSaka kI hI rahI hai, kyoMki unake darzana kI dhurI rUpa anekAMtavAda kI yaha mAMga thii| (2) anekAMta dRSTi se vibhinna darzanoM ke madhya samanvaya ke sUtroM kI khoja jaina dArzanikoM kA dUsarA mahattvapUrNa avadAna unakI anekAMta AdhArita samanvayAtmaka dRSTi hai / jahA~ eka ora jaina dArzanikoM ne anya darzanoM ke ekAntavAditA ke doSa kA nirAkaraNa karanA cAhA, vahIM dUsarI ora bhAratIya darzanoM ke paraspara virodhI siddhAntoM meM samanvaya karanA cAhA aura anya darzanoM meM nihita sApekSika satyatA ko dekhakara use svIkAra karane kA prayatna bhI kiyA aura isa prakAra vividha darzanoM meM samanvaya ke sUtra bhI prastuta kiye haiN| haribhadra ne anya darzanoM ke adhyayana ke pazcAt unameM nihita sAratattva yA satya ko samajhane kA jo prayAsa kiyA hai, vaha bhI atyanta hI mahattvapUrNa aura unake udAracetA vyaktitva ko ujAgara karatA hai / yadyapi haribhadra cArvAka darzana kI samIkSA karate hue usake bhUtasvabhAvavAda kA khaNDana karate haiM aura usake sthAna para karmavAda kI sthApanA karate haiM / kintu siddhAnta meM karma ke jo do rUpa dravyakarma aura bhAvakarma mAne gaye haiM usameM eka ora bhAvakarma ke sthAna ko svIkAra nahIM karane ke kAraNa jahA ve cArvAka-darzana kI samIkSA karate haiM vahI dUsarI ora ve dravyakarma kI avadhAraNA ko svIkAra karate hue cArvAka ke bhUtasvabhAvavAda kI sArthakatA ko bhI svIkAra karate haiM aura kahate haiM ki bhautika tattvoM kA prabhAva bhI caitanya para par3atA hai| paM. sukhalAlajI saMghavI likhate haiM ki haribhadra ne donoM pakSoM arthAta bauddha evaM mImAMsakoM ke anusAra karmavAda ke prasaMga meM cittavAsanA kI pramukhatA ko tathA cArvAkoM ke anusAra bhautika tattva kI pramukhatA ko eka-eka pakSa ke rUpa meM paraspara pUraka evaM satya mAnakara kahA ki jaina karmavAda meM cArvAka aura mImAMsaka tathA bauddhoM ke mantavyoM kA sumela huA hai| isI prakAra zAstravArtAsamuccaya meM haribhadra yadyapi nyAya-vaizeSika darzanoM dvArA mAnya IzvaravAda evaM jagatakartRtvavAda kI avadhAraNAoM kI samIkSA karate haiM, kintu jahA cArvAkoM, bauddhoM aura anya jaina AcAryoM ne ina avadhAraNAoM kA khaNDana hI kiyA hai, vahA~ haribhadra inakI bhI sArthakatA ko svIkAra karate haiM / haribhadra ne IzvaravAda kI avadhAraNA meM bhI kucha mahattvapUrNa tathyoM ko dekhane kA prayAsa kiyA hai| prathama to yaha ki manuSya meM kaSTa ke samaya svAbhAvika rUpa se kisI aisI zakti ke prati zraddhA aura prapatti kI bhAvanA hotI hai, jisake dvArA vaha apane meM AtmavizvAsa jAgRta kara ske| paM. sukhAlAlajI saMghavI likhate haiM mAnava mana kI pravRtti yA zaraNAgati kI yaha bhAvanA mUla meM asatya to nahIM kahI jA sakatI / unakI isa apekSA ko Thesa na pahuMce tathA tarka va buddhivAda ke sAtha IzvaravAdI avadhAraNA kA samanvaya bhI ho, isalie unhoMne (haribhadra ne) Izvara-kartRtvavAda kI avadhAraNA ko apane DhaMga se spaSTa karane kA prayatna kiyA hai| haribhadra kahate haiM ki jo vyakti AdhyAtmika nirmalatA ke phalasvarUpa apane vikAsa kI uccatama bhUmikA ko prApta huA ho, vaha AtmA hai aura vahI Izvara yA siddha puruSa hai| . usa Adarza svarUpa ko prApta karane ke kAraNa kartA tathA bhakti kA viSaya hone ke kAraNa upAsya For Personal & Private Use Only

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sAgaramala jaina SAMBODHI hai| isake sAtha hI haribhadra yaha bhI mAnate haiM ki pratyeka jIva tattvataH apane zuddha rUpa meM paramAtmA aura apane bhaviSya kA nirmAtA hai aura isa dRSTi se yadi vicAra kareM to vaha Izvara bhI hai aura kartA bhI hai| isa prakAra Izvara-kartRtvavAda bhI samIcIna hI siddha hotA hai| haribhadra sAMkhyoM ke prakRtivAda kI bhI samIkSA karate haiM kintu ve prakRti ko jaina paramparA meM svIkRta karma prakRti ke rUpa meM dekhate haiM / ve likhate haiM ki saMtya-nyAya kI dRSTi se prakRti karma-prakRti hI hai aura isa rUpa meM prakRtivAda bhI ucita hai kyoMki usake vaktA kapila divya-puruSa aura mahAmuni haiM / ___ zAstravArtAsamuccaya meM haribhadra ne bauddhoM ke kSaNikavAda, vijJAnavAda aura zUnyavAda kI bhI samIkSA kI hai kintu ve ina dhAraNAoM meM nihita satya ko bhI dekhane kA prayatna karate haiM aura kahate haiM ki mahAmuni aura arhat buddha uddezyahIna hokara kisI siddhAnta kA upadeza nahIM karate / unhoMne kSaNikavAda kA upadeza padArtha ke prati hamArI Asakti ke nivAraNa ke lie hI diyA hai kyoMki jaba vastu kA anitya aura vinAzazIla svarUpa samajha meM A jAtA hai usake prati Asakti gaharI nahIM hotii| isI prakAra vijJAnavAda kA upadeza bhI bAhya padArthoM ke prati tRSNA ko samApta karane ke lie hI hai / yadi saba kucha citta ke vikalpa haiM aura bAhya rUpa satya nahIM hai to unake prati saMsAra kI nissAratA kA bodha karAne ke lie zUnyavAda kA upadeza diyA hai| isa prakAra haribhadra kI dRSTi meM bauddha darzana ke kSaNikavAda, vijJAnavAda aura zUnyavAda-ina tInoM siddhAntoM kA mUla uddezya yahI hai ki vyakti kI jagata ke prati utpanna hone vAlI tRSNA kA prahANa ho / advaitavAda kI samIkSA karate hue haribhadra spaSTa rUpa se yaha batAte haiM ki sAmAnya dRSTi se to advaita kI avadhAraNA bhI satya hai| isake sAtha hI sAtha ve yaha bhI batAte haiM ki viSamatA,ke nivAraNa ke lie aura samabhAva kI sthApanA ke lie advaita kI bhUmikA bhI Avazyaka hai| advaita parAyepana kI bhAvanA kA niSedha karatA hai, isa prakAra dveSa kA upazamana karatA hai ataH vaha bhI asatya nahIM kahA jA sktaa| isI prakAra advaita vedAnta ke jJAna mArga ko bhI ve samIcIna hI svIkAra karate haiM / uparyukta vivecana se yaha spaSTa ho jAtA hai ki anya dArzanika avadhAraNAoM kI samIkSA kA unakA prayatna samIkSA ke lie na hokara una dArzanika paramparAoM kI satyatA ke mUlyAMkana ke lie hI hai| svayaM unhoMne zAstravArtAsamuccaya ke prAkkathana meM spaSTa kiyA hai ki prastuta grantha kA uddezya anya paramparAoM ke prati dveSa kA upazamana karanA aura satya kA bodha karAnA hai| (3) darzanasaMgrAhaka granthoM kI niSpakSa dRSTi se racanA ___ yadi hama bhAratIya darzana ke itihAsa meM sabhI pramukha darzanoM ke siddhAntoM ko eka hI grantha meM pUrI prAmANikatA ke sAtha prastuta karane ke kSetra meM hue prayatnoM ko dekhate haiM, to hamArI dRSTi meM haribhadra hI ve prathama vyakti haiM jinhoMne sabhI pramukha bhAratIya darzanoM kI mAnyatAoM ko niSpakSa rUpa se eka hI grantha meM prastuta kiyA hai| haribhadra ke SaDdarzanasamuccaya kI koTI kA aura usase prAcIna darzanasaMgrAhaka koI anya grantha hameM prAcIna bhAratIya sAhitya meM upalabdha nahIM hotA / For Personal & Private Use Only

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83 Vol.XXXIY, 2011 jaina dArzanikoM kA anya darzanoM ko trividha avadAna haribhadra ke pUrva taka jaina, bauddha aura vaidika tInoM hI paramparAoM ke kisI bhI AcArya ne apane kAla ke sabhI darzanoM kA niSpakSa paricaya dene kI dRSTi se kisI bhI grantha kI racanA nahIM kI thii| unake granthoM meM apane virodhI matoM kA prastutIkaraNa mAtra unake khaNDana kI dRSTi se hI huA hai / jaina paramparA meM bhI haribhadra ke pUrva siddhasena divAkara aura samantabhadra ne anya darzanoM ke vivaraNa to prastuta kiye haiM, kintu unakI dRSTi bhI khaNDanaparaka hI haiM / vividha darzanoM kA vivaraNa prastuta karane kI dRSTi se mallavAdI kA nayacakra mahattvapUrNa grantha kahA jA sakatA hai kintu usakA mukhya uddezya bhI pratyeka darzana kI apUrNatA ko sUcita karate hue anekAntavAda kI sthApanA karanA hai| paM. dalasukhabhAI mAlavaNiyA ke zabdoM meM naya cakra kI kalpanA ke pIche AcArya kA Azaya yaha hai ki koI bhI mata apane Apa meM pUrNa nahIM haiN| jisa prakAra usa mata kI sthApanA dalIloM se ho sakatI hai usI prakAra utthApana bhI virodhI matoM kI dalIlo se ho sakatA hai / sthApanA aura utthApana kA yaha cakra calatA rahatA hai / ataeva anekAntavAda meM ye mata yadi apanA ucita sthAna prApta kareM, tabhI ucita haiM anyathA nahIM / nayacakra kI mUladRSTi bhI svapakSa arthAt anekAntavAda ke maNDana aura parapakSa ke khaNDana kI hI hai / isa prakAra jaina paramparA meM bhI haribhadra ke pUrva taka niSpakSa bhAva se koI bhI darzana-saMgrAhaka graMtha nahIM likhA gyaa| __jainetara paramparAoM ke darzana saMgrAhaka granthoM meM AcArya zaMkara viracita mAne jAne vAle sarvasiddhAntasaMgraha kA ullekha kiyA jA sakatA hai / yadyapi yaha kRti mAdhavAcArya ke sarvadarzanasaMgraha kI apekSA : prAcIna hai, phira bhI isake Adya zaMkarAcArya dvArA viracita hone meM saMdeha hai / isa grantha meM pUrvadarzana kA uttaradarzana ke dvArA nirAkaraNa karate hue anta meM advaita vedAnta kI sthApanA kI gayI hai / ata: kisI sImA taka isakI zailI ko bhI nayacakra kI zailI ke sAtha jor3A jA sakatA hai, kintu nayacakra, antima mata kA bhI prathama mata se khaNDana karavAkara kisI bhI eka darzana ko antima satya nahIM mAnatA hai, vahA~ 'sarvasiddhAntasaMgraha' vedAnta ko ekamAtra aura antima satya svIkAra karatA hai| ata: yaha eka darzana saMgrAhaka grantha hokara bhI niSpakSa dRSTi kA pratipAdaka nahIM mAnA jA sakatA hai / haribhadra ke SaDdarzanasamuccaya kI jo vizeSatA hai, vaha isameM nahI hai| jainetara paramparAoM meM darzana-saMgrAhaka granthoM meM dUsarA sthAna mAdhavAcArya (I. san 1350) ke 'sarvadarzanasaMgraha' kA AtA hai| kintu 'sarvadarzanasaMgraha' kI mUlabhUta dRSTi bhI yahI hai ki vedAnta hI ekamAtra samyagdarzana hai| sarvasiddhAntasaMgraha aura sarvadarzanasaMgraha donoM kI haribhadra ke SaDdarzanasamuccaya se isa artha meM bhinnatA hai ki jahA~ haribhadra binA kisI khaNDana-maNDana ke nirapekSa bhAva se tatkAlIna vividha darzanoM ko prastuta karate haiM, vahA~ vaidika paramparA ke ina donoM granthoM kI mUlabhUta zailI khaNDanaparaka hI hai| ata: ina donoM granthoM meM anya dArzanika matoM ke prastutIkaraNa meM vaha niSpakSatA aura udAratA parilakSita nahIM hotI hai, jo haribhadra ke SaDdarzanasamuccaya meM hai| . vaidika paramparA meM darzana saMgrAhaka granthoM meM tIsarA sthAna mAdhavasarasvatI kRta 'sarvadarzanakaumudI' kA AtA hai| isa grantha meM darzanoM ko vaidika aura avaidika-aise do bhAgoM meM bAMTA gayA hai| avaidika darzanoM meM cArvAka, bauddha, aura jaina aise tIna bheda tathA vaidika darzana meM tarka, tantra aura sAMkhya aise tIna bhAga kiye For Personal & Private Use Only

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sAgaramala jaina SAMBODHI gaye haiM / isa grantha kI zailI bhI mukhyarUpa se khaNDanAtmaka hI hai / ataH haribhadra ke SaDdarzanasamuccaya jaisI udAratA aura niSpakSatA isameM bhI parilakSita nahIM hotI hai| vaidika paramparA ke darzana saMgrAhaka granthoM meM cauthA sthAna madhusUdana sarasvatI ke prasthAna-bheda' kA AtA hai / madhusUdana sarasvatI ne darzanoM kA vargIkaraNa Astika aura nAstika ke rUpa meM kiyA hai| nAstikaavaidika darzanoM meM ve chaha prasthAnoM kA ullekha karate haiM / isameM bauddha darzana ke cAra sampradAya tathA cArvAka aura jainoM kA samAveza huA hai / Astika-vaidika darzanoM meM nyAya, vaizeSika, sAMkhya, yoga, pUrva mImAMsA aura uttara mImAMsA kA samAveza huA hai / inhoMne pAzupat darzana evaM vaiSNava darzana kA bhI ullekha kiyA hai / paM. dalasukhabhAI mAlavaNiyA ke anusAra prasthAnabheda ke lekhaka kI eka vizeSatA avazya hai jo use pUrva ullikhita vaidika paramparA ke anya darzana saMgrAhaka granthoM se alaga karatI hai| yaha vaha ki isa grantha meM vaidika darzanoM ke pArasparika virodha kA samAdhAna yaha kaha kara kiyA gayA hai ki ina prasthAnoM ke prastotA sabhI muni bhrAnta to nahIM ho sakate, kyoMki ve sarvajJa the| cUki bAhya viSayoM meM lage hue manuSyoM kA parama puruSArtha meM praviSTa honA kaThina hotA hai, ataeva nAstikoM kA nirAkaraNa karane ke lie ina muniyoM ne darzana prasthAnoM ke bheda kiye haiM / isa prakAra prasthAna bheda meM yatkiMcit udAratA kA paricaya prApta hotA hai| kintu yaha udAratA kevala vaidika paramparA ke Astika darzanoM ke sandarbha meM hI hai, nAstikoM kA nirAkaraNa karanA to sarvadarzana kaumudIkAra ko bhI iSTa hI hai isa prakAra darzana-saMgrAhaka granthoM meM haribhadra kI jo niSpakSa aura udAra dRSTi hai vaha hameM anya paramparAoM meM racita darzana-saMgrAhaka granthoM meM nahIM milatI hai / yadyapi vartamAna meM bhAratIya dArzanika paramparAoM kA vivaraNa prastuta karane vAle aneka grantha likhe jA rahe haiM kintu unameM bhI lekhaka kahIM na kahIM apane iSTa darzana aura vizeSarUpa se vedAnta ko hI antima satya ke rUpa meM prastuta karate hue pratIta hote haiM / haribhadra ke pazcAt jaina paramparA meM likhe gaye darzana saMgrAhaka granthoM meM ajJAtakRta 'sarvasiddhAntapravezaka' kA sthAna AtA haiM / kintu itanA nizcita hai ki yaha grantha kisI jaina AcArya dvArA praNIta hai kyoMki isake maMgalAcaraNa meM- "sarvabhAva praNetAraM praNipatya jinezvaraM" aisA ullekha hai / paM. sukhalAla saMghavI ke anusAra prastuta grantha kI pratipAdana kI zailI haribhadra ke SaDdarzanasamuccaya kA hI anusaraNa karatI hai| antara mAtra yaha hai ki yaha haribhadra ke SaDdarzanasamuccaya kI apekSA kucha vistRta bhI hai| jaina paramparA ke darzana saMgrAhaka granthoM meM dUsarA sthAna jIvadevasUri ke ziSya AcArya jinadattasUri (vikrama saMvata 1265) ke 'vivekavilAsa' kA AtA hai / isa grantha ke aSTama ullAsa meM SaDdarzanavicAra nAmaka prakaraNa hai| jisameM jaina, mImAMsaka, bauddha, sAMkhya, zaiva aura nAstika ina chaha darzanoM kA saMkSepa meM varNana kiyA gayA haiM / paM. dalasukhabhAI mAlavaNiyA ke anusAra isa grantha kI eka vizeSatA to yaha hai ki isameM nyAya-vaizeSikoM kA samAveza zaivadarzana meM kiyA gayA hai| merI dRSTi meM isakA kAraNa lekhaka ke dvArA haribhadra ke SaDdarzanasamuccaya kA anusaraNa karanA hI hai, kyoMki usameM bhI nyAyadarzana ke devatA ke rUpa meM ziva kA hI ullekha kiyA gayA hai - 'akSapAdamate devaH sRSTisaMhArakRcchiva'-13 For Personal & Private Use Only

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85 Vol.XXXIV, 2011 jaina dArzanikoM kA anya darzanoM ko trividha avadAna ___yaha grantha bhI haribhadra ke SaDdarzanasamuccaya ke samAna kevala paricayAtmaka aura niSpakSa vivaraNa prastuta karatA hai aura AkAra meM mAtra 66 zloka pramANa hai / jaina paramparA meM darzana saMgrAhaka granthoM meM tIsarA krama rAjazekhara (vikrama 1405) ke SaDdarzanasamuccaya kA AtA hai / isa grantha meM jaina, sAMkhya, jaiminIya, yoga, vaizeSika aura saugata (bauddha) ina cha: darzanoM kA bhI ullekha kiyA gayA hai| haribhadra ke samAna hI isa grantha meM bhI ina sabhI ko Astika kahA gayA hai aura anta meM nAstika ke rUpa meM cArvAka darzana kA paricaya diyA gayA hai| haribhadra ke SaDdarzanasamuccaya aura rAjazekhara ke SaDdarzanasamuccaya meM eka mukhya antara isa bAta ko lekara hai ki darzanoM ke prastutIkaraNa meM jahA~ haribhadra jainadarzana ko cauthA sthAna dete haiM, vahA~ rAjazekhara jainadarzana ko prathama sthAna dete haiM / paM. sukhalAlajI saMghavI ke anusAra sambhavataH isakA kAraNa yaha ho sakatA hai ki rAjazekhara apane samakAlIna dArzanikoM ke abhinivezayukta prabhAva se apane ko dUra nahIM rakha sake / ___paM. dalasukhabhAI mAlavaNiyA kI sUcanA ke anusAra rAjazekhara ke kAla kA hI eka anya darzanasaMgrAhaka grantha AcArya merUtuMgakRta SaDdarzananirNaya hai| isa grantha meM merUtuMga ne bauddha. mImAMsA, sAMkhya, naiyAyika, vaizeSika evaM jaina ina cha: darzanoM kI mImAMsA kI hai kintu isa kRti meM haribhadra jaisI udAratA nahIM hai| yaha mukhyatayA jainamata kI sthApanA aura anya matoM ke khaNDana ke lie likhA gayA hai / eka mAtra isakI vizeSatA yaha hai ki isameM mahAbhArata, smRti, purANa Adi ke AdhAra para jainamata kA samarthana kiyA gayA hai| - paM. dalasukhabhAI mAlavaNiyA ne SaDdarzanasamuccaya kI prastAvanA meM isa bAta kA bhI ullekha kiyA hai ki somatilakasUrikRta SaDdarzanasamuccaya kI vRtti ke anta meM ajJAtakartRka eka kRti mudrita hai| isameM bhI jaina, naiyAyika, bauddha, vaizeSika, jaiminIya, sAMkhya aura cArvAka aise sAta darzanoM kA saMkSepa meM paricaya diyA gayA hai kintu anta meM anya darzanoM ko durnaya kI koTI meM rakhakara jainadarzana ko ucca zreNI meM rakhA * ' gayA hai / isa prakAra isakA lekhaka bhI apane ko sAmpradAyika abhiniveza se dUra nahIM rakha sakA / - isa prakAra hama dekhate haiM ki darzanasaMgrAhaka granthoM kI racanA meM bhAratIya itihAsa meM haribhadra hI eka mAtra aise vyakti haiM, jinhoMne niSpakSa bhAva se aura pUrI prAmANikatA ke sAtha apane grantha meM anya darzanoM kA vivaraNa diyA hai| isa kSetra meM ve abhI taka advitIya haiM / isa prakAra hama dekhate haiM ki jaina dArzanikoM ne bhAratIya darzana ke kSetra meM eka mahattvapUrNa avadAna prastuta kiyA hai| For Personal & Private Use Only

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mahAkavizrI kAlidAsa kRta 'navaratnamAlA' surekhA paTela kAvyamAlA sIrija ke cauthe khaNDa meM aMtima kRti mahAkavi kAlidAsa kRta 'navaratnamAlA'. kRti dI gaI hai / yaha kRti eka devI kI stutirUpa graMtha hai / isameM sarasvatI aura mAtaGgI kI stuti kI gaI hai| navaratnamAlA' ke zIrSaka se hI isakA svarUpa 'muktaka' dyotita hotA hai| kyoMki mAlA ke sUtra meM vibhinna ratna pIroe~ jAte haiM / ratna alaga-alaga hote haiN| muktaka kA zloka ekaiva mauktikavat, eka motI kI taraha jagamagAtA huA zloka, muktaka hotA hai / 'muktakaM nAnyenAliGgitam' / muktaka kAvya kA zloka anya zloka ke sAtha sambandhita nahIM hotA hai kyoMki, sAhitya ke prabandha aura muktaka do varga sarvathA bhinna hai / stotra kAvya muktaka kA eka prakAra hI hai, jo laghukAvya ke rUpa meM pAyA jAtA hai| yahA~ zIrSaka meM 'mAlA' zabda, isa kAvya ko muktaka svarUpa kI vidhA batAtA hai / aise kisI kAvya meM kevala pA~ca hI zloka ho to usako 'paMcaratna' kahA jAtA hai| 'navaratna' zabda nava zloka kI maryAdA sUcita karatA hai aura 'nakSatramAlA' se nakSatroM kI sattAIsa saMkhyA abhipreta hai| isase sattAIsa padoM kA saMkalana isa kAvya meM hotA hai| stutikAvya ke anyAnya bheda meM 'ratna' nAmaka eka bheda hama kara sakate haiM / navagraha kI saMkhyA para se 'graha' zabda nau saMkhyA sUcita karatA hai to 'navaratnamAlA' ko 'graharatnamAlA' bhI kaha sakate haiN| ___'navaratnamAlA' stotrakAvya devI sambandhita hai aura mahAkavi kAlidAsa kI kRti mAnI jAtI hai| stotra zabda 'stu' dhAtu se niSpanna huA hai| 'stUyate anena iti stotram' - jisameM stuti hotI hai vaha stotra / jisake dvArA bhaktibhAvapUrvaka ArAdhya deva-devI kI prArthanA kI jAtI hai vaha stotra hai / kisI bhI devadevI kA svarUpa yA guNoM kA kAvyamaya zabda meM kIrtana kiyA jAtA hai vaha 'stotra' kahalAtA hai / stotra aura stuti ko samAnArthaka mAnakara kaviyoMne isI prakAra ke kAvyoM ko stotra yA stuti nAma die hai / khaNDakAvya kI atyanta pracalita vidyA hai - 'stotrakAvya' / jisakA artha hai aisA kAvya, jisameM bhaktakavi apanI kavitA ke mAdhyama se apane ArAdhya kI stuti karatA hai - 'stavaH stotraM stutirnuti / ' (amarakoza : 1/6/11) iSTa deva kI stuti ke lie vyaktigata bhAvanAoM se otaprota aura sAhityika guNoM se suzobhita laghukAvya ko 'stotra' kAvya kahate haiM / For Personal & Private Use Only

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Vol. XXXIV, 2011 mahAkavizrI kAlidAsa kRta 'navaratnamAlA ' 87 saMskRta sAhitya ke naMdanavana meM upalabdha kaI prakAra ke devataruoM meM 'stotra sAhitya' pArijAta samAna zobhAyamAna hai / stotra sAhitya meM AkAza jaisI sarvavyApakatA, vAyu jaisI gatitA, teja jaisI taralatA, jala jaisI nirmalatA aura pRthvI kI taraha vaividhya sabharatA hai / 'stotra' sAhitya stuti, stotra stavana, sUkta Adi nAmoM se pracalita hai / mAnasa, pUjA, paJcaka, aSTaka, dazaka, paMcAzikA, zataka, aSTottaranAma, sahasranAmamAlA, kavaca, argalA, kIlaka, laharI Adi prakAra meM upalabdha stotra sAhitya vibhAjita hai / urmi ke astitva ke sAtha stotra kA AraMbha huA / hRdaya ke bhAvoM se use navajIvana milaa| kAvyamaya kalpanA se use vaividhya milaa| jaba taka hRdaya kI bhAvanAoM kA astitva hogA taba taka 'stotra' isa saMsAra meM raheMge, nirvivAda satya hai / 'stotra' zabda, sabase pahale 'Rgveda' meM prApta hotA hai| (Rgveda : 3/31/14/, RgvedaH5/55/ 1) Rgveda mahat aMzata: stotra saMgraha kA rUpa vyakta karatA hai / isIlie kahA jA sakatA hai ki saMskRta sAhitya kA maGgala prAraMbha stotra sAhitya se hotA hai / stotra kAvya kI prazaMsanIya paramparA hamAre yahA~ vaidika sAhitya se prArambha huI / isake pazcAt laukika saMskRta sAhitya evaM hindI sAhitya meM bhI stotra kAvyoM kI racanA nirantara hotI rahI hai, aura Aja bhI ho rahI hai| rAmAyaNa, mahAbhArata, purANoM meM, mahAkAvyoM meM, bauddha stotroM meM, zaivastotra, vaiSNavastotra aura sAhitya meM bhI stotra milate haiN| bhakta kaviyoM kI vANI bhI stotra kAvya ke rUpa meM mAnya hai, tathA kAvya ke pramukha prayojana 'aniSTa nivAraNa' (zivetarakSataye / kA. pra. : 1 / 2 ) kI siddhi kA sAdhana bhI hai / yaha 'navaratnamAlA' eka choTA sA stotrakAvya hai, jo mahAkavi kAlidAsa kI kRti mAnI jAtI hai / mahAkavi kAlidAsa kA vyavadhAraNa karane meM kAlidAsa nAma kI sUci kAlidAsa nAmaka kavi kA nirdhAraNa karane meM vicAraNIya hai / saMskRta sAhitya meM tIna daNDI kI taraha kAlidAsa bhI nau (Nine) ho cuke haiN| prasiddha kavi kAlidAsa ke sAta grantha nirvivAda kAlidAsa kA kartRtva mAnya hotA hai parantu, uttarakAlAmRta, zrutabodha Adi granthoM ke kartA kAlidAsa hI haiM yaha bAbata vivAdAspada haiM / sampUrNAnanda saMskRta vidyAlaya se kAlidAsa kRta 'pUrvakAlAmRta' prakAzita huA hai| 'zrutabodha' to kavi kAlidAsa kI vilAsitA kA paricAyaka hai / kAvyamAlA meM prakAzita huI 'navaratnamAlA' mahAkavi kAlidAsa kI kRti batAI gaI hai / isa kRti ke prathama padya meM bhagavatI gaurI ko u~kAra paJjarazukI, upaniSada udyAna kali kI kalakaNThI aura Agamavipina kI mayUrI batAI gaI hai / usakA sarasvatI svarUpa meM varNana karate hue kavine dayApUrNa dIrghanayana, dezikarUpa se bhakta kA abhyudaya dekhanevAlI apane vAma stana para rakhI huI vINAvAlI sarasvatI ko saMgItamAtRkA kahI hai / navayauvanodbheda, sukumAratA, amanda Ananda kI saMpatavAlI tarUNI karUNApUrNa hai| usane muktAtATaGka (kAna meM pahanane kA AbhUSaNa pahane hue haiN| usakA hAsya mugdha hai| apanI u~galiyoM ke nAkhUna se vINAvAdana karatI hai| 'sAregamapadhani' vINAnAda zAntatA pravAhita karatA hai / saMgIta ke sUra ke sAtha apanA mastaka kampita karatI hai| apanI dRSTi vikasita kamala kI sugandha aura mAdhurya se AkarSita hote hue bhRGgavAlI (bha~varavAlI) hai| usakA aGga maNibhaGgasama mecaka (zyAma) hai / yauvana vana kI sAraGgI, saMgItarUpa kamala kA AsvAda karanevAlI bhRGgI (bha~vara) mithyA dRSTAnta kA madhyabhAga banatI hai / arthAt saGgIta meM lIna ho jAtI hai / yaha gaurI mAtaGgI maGgala saGgIta kI saurabha hai 1 For Personal & Private Use Only

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surekhA paTela SAMBODHI isa taraha, nau padyoM meM devI kI stuti kI gaI hai / yaha devI gaurI hai, zyAmA hai| kavi usako zivakAntA bhI kahatA hai / to usakA nAma mAtaGgI bhI batAyA gayA hai| mAtaGgI kA zyAmavarNa mecakAGgI aura zyAmalima saukumAryA se sUcita kiyA hai| usakI dRSTi bhI apAGga ke sAtha zyAmavarNa kI hai| usake darzana karate hue bhakta ko tRpti nahIM hotI hai / " 'navaratnamAlA' meM varNita devI ke gaurI, zivakAntA, mAtaGgI nAma prApta hote hai / kAlidAsa kI 'kumArasaMbhava' kRti meM 'gaurI' zabda kA prayoga kiyA gayA hai / kAlidAsane apanI kRtiyoM meM ziva kA acche DhaMga se varNana kiyA hai, isIlie unako zaiva mAnA gayA hai / kAlidAsa sambandhita anyAyanya dantakathAoM meM unako kAli kA dAsa mAnA gayA hai| kAlidAsa ne kumArasaMbhava meM pArvatI kA gaurI svarUpa hI batAyA hai kAli svarUpa nahIM / kAlidAsa nAma kAli kA dAsa, kAli bhakta sUcita karatA hai / 'navaratnamAlA' kRti meM 'mAtaGgI'.. kA saMdarbha milatA hai jo kAlidAsa kI kRtiyoM meM kahIM bhI nahIM milatA / tantrazAstra meM daza mahAvidyAoM ke do pravAha pAyeM jAte haiN|, kAlikula aura tArAkula / kAlidAsa ko kAlikula ke kavi mAna sakate hai, kyoMki 'kAlidAsa' zabda aura 'kumArasaMbhava' meM ziva kI varayAtrA meM kAli kA varNana sAbhiprAya pAyA jAtA hai| ____ 'mAtaGgI' devI kA vAhana zuka hai / yahA~ 'u~kArapaJjarazukIma' zabda, mAtaGgI parAdevatA batAI gaI hai aura vedAntazAstra kI koyala kahI gaI hai / jo OM kAra se nimnastara sUcita karatA hai / upaniSadoM meM paramatattva kI khoja kI gaI hai. yaha sAdhana va upakaraNa ke rUpa meM upalabdha sAhitya hai / isa padya meM hI Agamavipina (jaMgala kI) mayUrI kahakara vibhinna AgamoM meM nirUpita paramatattva vaibhinyavAle matoM kA sUcana kiyA hai| mayUra yA haMsa sarasvatI ke vAhana vizeSa hai| prathama padya ke rUpaka alaGkAra se kavine arthagaurava se devI kA varNana kiyA hai| padya do se sAta taka devI kA varNana yathAtatha pAyA jAtA hai, jo svabhAvokti alaGkAra kaha sakate haiM / AThaveM padya meM yauvanavana kI sAraGgI (bhavaraM) aura navameM padya meM mithyAdRSTAMta madhyabhAga meM bhI rUpaka alaMkAra hai| navameM padya ke uttarArdha meM 'maGgalasaGgItasaurabhaM' kahakara utprekSA alaMkAra kA nirUpaNa kiyA hai / mahAkavi kAlidAsa kI upamA prasiddha hai yahA~ 'navaratnamAlA' meM kahIM bhI upamA alaMkAra kA darzana nahIM hotA hai / stotrakAvya meM phalazruti kA padya bhI hotA hai / yaha choTA sA stotrakAvya hai| isakI pradhAnadevatA mAtaGgI hai / yahA~ kavi ne spaSTa rUpa se kahA hai - 'navaratnamAlikAkhyAM viracitamAtaGga kanyakAbhUSAm' - (padya - 10 kA pUrvArdha) yahA~ isa stotra ko navaratnamAlikA kahA hai| mAlikA choTI hotI hai aura mAlA meM 108 manake (motI) hote haiM / 'navaratnamAlA' ke phalazruti padya meM batAyA gayA hai ki jo isakA pATha karatA hai yA isa stotra ko likhatA hai vaha vAgIzvara (vANI para prabhutvavAlA) hotA hai arthAt banatA hai| yahA~ mAtaGgI devI ko sarasvatI kA hI svarUpa mAnA gayA hai / usako gaurI aura zivakAntA kahakara bhagavatI devI pArvatI ke hI dazamahAvidyAoM ke devI svarUpa hai, aisA batAyA hai / For Personal & Private Use Only

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Vol. XXXIV, 2011 mahAkavizrI kAlidAsa kRta 'navaratnamAlA' 89 1 tantrazAstra meM mAtaGgI ke ArAdhana se bhukti aura mukti donoM prApta hote haiM / vaivAhika sambandha ke lie bhI tantrazAstroM meM usakA ArAdhana batAyA gayA hai / isa taraha mAtaGgI sarasvatI devI vidyA aura prIti kI devI hai| 'durgAsaptazatI' (dhyAnamaMtra ) saptama adhyAya ke AraMbha meM mAtaGgI kA varNana isa taraha kiyA gayA hai / arthAt "ratna ke siMhAsana para baiThI hue zyAmalAGgI devI, totA (zuka) bola rahA hai, vaha suna rahI hai / unakA eka paira kamala para rakhA huA hai, mastaka para ardhacandra hai aura vaha vINAvAdana kara rahI haiN| unhoMne raktavarNa kI custa colI pahanI hai / mastaka ke keza para lAla kamala kI phUloM kI mAlA (veNI) ba~dhI hai / hAtha meM zaGkhapAtra hai, jo madirA se bharA huA hai aura lalATa meM nakazI kI huI hai / " 'navaratnamAlA' meM isa padya kA hI vistRtIkaraNa pAyA jAtA hai / yahI 'mAtaGgI' devI dharmAraNya purANa meM moDhezvarI kahI gaI hai. jo moDha brAhmaNa vaNikoM kI kuladevI hai| uttara gujarAta meM moDherA gA~va kA nAma isa devI para se pAyA jAtA hai| isake svarUpa se hI kAlikula kI devI pratIta hotI hai, aura madirApAna vAmamArga kA sUcana karatA hai / prasiddha mahAkavi kAlidAsa kI kRtiyoM meM devI kA aisA kucha varNana nahIM milatA hai / isase isa kRti kA kartRtva hameM saMdigdha avasthA meM rakha detA hai| ema. kRSNamAcAriyarajIne 'navaratnamAlikA' stotra ko zaMkarAcArya kI kRti batAI hai, (pR. 323) aura eka 'navamAlikA' ko ema. kRSNamAcAriyarajIne zRGgAramaJjarI ko kavi kI nATikA batAI hai, jo stotra kAvya nahIM hai (pR. 355) / isa taraha kAvyamAlA meM prasiddha huI 'navaratnamAlA' yA 'navaratnamAlikA' bhinna kRti hI hai, jo mahAkavi kAlidAsa ke nAma para batAI gaI hai parantu, AntarparIkSaNa se yaha kRti hama kAlidAsa kI nahIM mAna sakate / . TippaNI 1. sarigamapadhaniratAM tAM vINAsaMkrAntakAnta hastAntAm / zAntAM mRdulasvAntAM kucabharatAntAM namAmi zivakAntAm // - navaratnamAlA : 5 avaTutaTaghaTitacUlIpAlIM tAlIpalAzatATaGkAm / vINAvAdana velAkampitazirasaM namAmi mAtaGgIm // - navaratnamAlA : 6 maNibhaGgamecakAGga mAtaGgIM naumi siddhamAtaGgIm - yauvanavanasAraGgI saMgItAmbhoruhAnubhavabhRGgIm // - navaratnamAlA : 8 3. zyAmalim saukumAryAmAnandA mandasaMpadunmeSAm / taruNimakaruNApUrAM madajalakallolalocanAM vande // - navaratnamAlA : 3 2. 'u~ dhyAyeyaM ratnapIThe zukakalapaThitaM zRNvatIM zyAmalAGgIM nyastaikAGghri zazizakaladharAM vallakIM vAdayantIm kalhArAbaddhamAlAM niyamitavilasaccolikAM raktavastrAM mAtaGgI zaGkhapAtrAM madhuramadhumudAM citrakodbhAsimAlAm // ' - For Personal & Private Use Only

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surekhA paTela SAMBODHI 4. mecakamAsecanakaM mithyAdRSTAntamadhyabhAgaM tam / mAtastava svarUpaM maGgalasaMgItasaurabhaM manye || - navaratnamAlA : 9 5. tAsAM ca pazcAtkanakaprabhANAM kAlI kapAlAbharaNAcakAse / balAkinI nIlapayodarAjI dUraM puraH kSiptazatahadeva // - ku. saM : 7/39 6. kiyazciraM zrAmyasi gauri vidyate mamApi pUrvAzramasaMcitaM tapaH / tadarddhabhAgena labhasva kAGkSitaM varaM tamicchAmi ca sAdhu vedatum // - ku. saM. : 5/50 7. ukArapaJjarazukImupaniSadudhAna kelikalakaNThIm / AgamavipinamayUrImAryAmantarvibhAvaye gaurIm // - navaratnamAlA : 1 sandarbha grantha : 1. kAlidAsa, navaratnamAlA, kAvyamAlA khaNDa 4, nirNaya sAgara presa, mumbaI, saMskaraNa-3, 1937 2. M. Krshnamachariar, History of Classical literature, First Reprint, Delhi, 1970. 3. saptazatI, gItApresa gorakhapura 4. amarakoza : nAmaliMgAnuzAsana kiMvA amarakoza, sampAdaka- je. bI. seMDila, ahamadAbAda, AvRtti-1, 1975 .. 5. sItArAma caturvedI, kAlidAsa granthAvalI, alIgaDha, 6. kAvyaprakAza (hindI vyAkhyA), zrI mammaTAcArya viracita, sampAdaka : DaoN. nagendra 7. RgvedasaMhitA (bhAga-2) (maNDala - 3 se 6), saM. zrIrAma zarmA AcArya, AvRtti-2, haridvAra, 1995 For Personal & Private Use Only

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amarakoza paranI TIkAsarvasva' ane padacaMdrikA' temaja "uNAdisUtravRttimAM maLatA varNadezanAnA mata nIlAMjanA zAha prAstAvika baMgALanA prasiddha vaiyAkaraNa puruSottamadeve (I.sa. 1050 thI 1200), laghuparibhASAvRtti, aSTAdhyAyI paranI bhASAvRtti, hArAvalI, trikAMDazeSa, jJApakasamuccaya, vagere saMskRta graMtho uparAMta amarakoza' para "varNadezanA nAme eka saMskRta TIkA paNa lakhI hatI. te TIkA prakAzita thaI nathI, paNa inDiyA ophIsa lAyabrerImAM tenI be hastaprato che tema ema.ema. pATakare temanA "A History of Sanskrit Lexicography' nAmanA pustakamAM jaNAvyuM che. temaNe teno je TUMko paricaya temAM Apyo che, temAM darzAvyuM che ke A "varNadezanA' TIkA amarakoza paranI bIjI TIkAo jevI ke sarvAnaMdanI 'TIkAsarvasva', rAyamukuTanI padacaMdrikA ke kSIrasvAmInI "amara kozoddhATana' vagere karatAM sAva judA prakAranI gadyamAM lakhAyelI TIkA che. kharekhara tene, amarakozanA zabdonI yogya joDaNI bAbata puruSottamanA maMtavyo darzAvato prabandha kahevo vadhAre ucita che. "It is more a treatise on the proper spelling of words than a lexicon and is in prose. It deals with orthographical variations.' temanA uparyukta zabdo parathI te bIjI TIkAo karatAM kaI rIte alaga che, teno aNasAra Ave che. puruSottamadeve A TIkA lakhavA pAchaLano potAno uddeza varNadezanAnI prastAvanAmAM jaNAvyo che; teno saMskRta pATha kezavaracita "kalpaddhakoza' (vo.1) nI prastAvanAmAMthI maLI Avyo che - atra hi prayoge'bahuddazvanAM zrutisAdhAraNyamAtreNa gRhyatAM khurakSuraprAdau khakArakSakArayoH ziMhAzivAnakAdau hakAradhakArayoH / tathA gauDAdilipisAdhAraNyAda hiNDIraguDAkezAdau hakAraDakArayoH bhrAntaya upajAyante / atastad vivecanAya kvacid dhAtupArAyaNe dhAtuvRttipUjAdiSu pravyaktalikhanena prasiddhopadezena dhAtupratyayoNAdivyAkhyAlikhanena kvacidAptavacanenaM zleSAdidarzanena varNadezaneyamArabhyate / temanI A prastAvanA parathI spaSTa thAya che ke temaNe zabdonI joDaNI aMge thato goTALo nivAravA, dhAtupArAyaNa, dhAtuvRttio, uNAdisUtro paranI vyAkhyAono abhyAsa karIne, temanA para lakhIne, Aptavacano, zleSanAprayogo vagereno abhyAsa karIne A TIkA racI che. For Personal & Private Use Only

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nIlAMjanA zAha SAMBODHI te temaNe ApelI A bhUmikA parathI e spaSTa thAya che ke temano uddeza, varNonI joDaNI vize UMDANathI abhyAsa karI, tene vizenAM sUcano ApavAno che. e jotAM A "varNadazanA' TIkA (vargo vizenAM nirdezo-sUcano) tenuM nAma sArthaka kare che. . A varNadazanA TIkAnA, amarakozanA amuka amuka zabdo vizenA mata sarvAnaMdanI "a.ko." paranI TIkAsarvasva" (I.sa. 1159) mAM, "a.ko." paranI rAyamukuTanI "padacaMdrikA' (I.sa. 1431, mAtra prathama kAMDa ja prakAzita svarUpe maLyo che) TIkAmAM ane ujvaladattanI "uNAdisUtravRtti' (I.sa. nI paMdaramI sadI) mAM maLe che. te matone ahIM darzAvI, temane, "a.ko." paranI bIjI TIkAo jevI ke kSIrasvAmInI "amarakozoddaghATana' TIkA (I.sa. nI agiyAramI sadI) liMgasUrinI amarapadavivRtti' (I.sa.nI bAramI sadI), mallinAthanI 'amarapadapArijAta' (I.sa.nI caudamI sadI) appayAryanuM "amarapadavivaraNa' (I.sa.nI caudamI sadI), bhaTTajI dIkSitanI siddhAMtakaumudI (I.sa.nI sattaramI sadI) temaja bhAnujIdIkSitanI vyAkhyAsudhA' (I.sa.nI sattaramI sadI) TIkA vageremAM maLatA te te zabdo vizenA prastuta mata sAthe sarakhAvyA che. A matomAM, a.ko. nA zabdonA mULa dhAtuo aMge sAyaNanI "mAdhavIyA dhAtuvRtti mAM maLato nirdeza paNa prastuta hoya to te Apyo che. uparyukta traNe TIkAomAM puruSottamanI vaNadezanAnI eka vizeSatA khAsa jaNAya che. teo a.ko.nA zabdonI joDaNI bAbate sUcana karIne saMtoSa mAnatA nathI. vyAkaraNanA A prakhara vidvAna svAbhAvikapaNe te zabdonA vyutpativiSayaka pAsA vize paNa sUcana karavAnuM cUkatA nathI. bIjI noMdhapAtra vizeSatA e che ke teo amuka zabdonA je samAnArthI zabdo Ape che te khAsa noMdhapAtra che. A varNadezanA TIkA, varNanirdezanA nAmanI TIkA, jeno ullekha mallinAthanI amarapada pArijAta TIkAmAM traNa vAra (vo.1, pR. 51, 568, 575) thayo che, tenAthI sAva judI che e spaSTatA karavI ghaTe. mallinAthe potAnI amarapadapArijAta TIkA (vo. 1, pR. 51) mAM varNanirdezanA TIkAnA kartA tarIke amaravArtikakAranuM nAma ApyuM che. ane TIkAnI prastAvanAmAM pUrvasUrionA graMthonA saMdarbhamAM paNa amaravArtikanuM nAma ApyuM che. A varNanirdezanA TIkAno mallinAtha sivAya bIjA koIe ullekha karyAnuM jANamAM nathI. amaravArtikakAranI A TIkAmAM maLatA prastuta mata A lekhamAM noMdhyA che. puruSottamanI A vadizanA TIkAno ullekha sarvAnaMda 'TIkAsarvasva'mAM moTebhAge vadizanA tarIke karyo che ane be ThekANe tenA kartA varNadezanAkRtanA nAme mata ApyA che, jyAre ujvaladatte uNAdisUtravRttimAM amuka zabdonA saMdarbhamAM varNadezanA tarIke ane amuka zabdonA saMdarbhamAM dezanA tarIke A TIkAno ullekha karyo che. bIjuM e paNa noMdhavuM jarUrI che ke ujvale 'uNAdisUtravRttinA prAraMbhika zlokomAM dhAtupradIpa' paranI je vadizanA TIkAno nirdeza karyo che. te TIkA puruSottamanI A varNadezanA TIkA karatAM sAva judI ja che. For Personal & Private Use Only

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Vol.XXXIV, 2011 amarakoza paranI TIkAsarvasva ane padacaMdrikA... - puruSottame pote uNAdisUtro para vRtti lakhI hatI eno spaSTa nirdeza emaNe vadizanAnI prAraMbhamAM je bhUmikA ApI che tenA parathI maLI rahe che : dhAtupratyayo vivyAtivanena... vanTezaneHIRJte temAMthI ujjavale potAnI "u.sUvuM." mAM mata TAMkyA che. noMdhavuM ghaTe ke kA. vA. atyaMkara zAstrIe paNa temanA ADictionary of Sanskrit Grammar nAmanA pustakamAM jaNAvyuM che ke puruSottamadeve uNAdisUtro para vRtti lakhI hatI. ane temAMthI ujvaladatte mata TAMkyA che." uparyukta traNe TIkAomAM varNadazanAnA kula 33 mata maLe che. jenI vigata nIce pramANe che: a.ko.nA traNa kAMDa paranI sarvAnaMdanI "TIkAsarvasva' mAM varNadezanAnA nAme 24 mata ane vaNadazanAmRtane nAme 2 mata ema 26 mata maLe che je a.ko.nA kramAnusAra darzAvyA che. a.ko.nA prathama kAMDa paranI je padacaMdrikA TIkA upalabdha thaI che, temAM "a.ko'nA 7 zabdo vize 7 mata maLe che. emAMnA 6 zabdo vize "TIkAsarvasva'mAM varNadazanAnA nAme lagabhaga e ja zabdomAM 6 mata maLe che, tethI 'pada. caM.' nA te 6 matane eka ja sthaLe, TIkAsarvasva pachI "pada.caM.' nA nAme darzAvyA che. bAkI rahelo eka mata je mAtra padacaM."mAM ja maLe che tene paNa 'a.ko.'no zabdonA kramamAM mUkyo che. Ama te baMne TIkAomAM maLIne kula 27 mata thayA. uvale varNadezanA (ke dezanA)nA nAme TAMkelA 7 matamAMthI eka (mutta:) zabda vize je mata che te "TIkAsarvasva'mAM paNa lagabhaga e ja zabdomAM varNadezanAnA nAme ja maLe che, tethI tene punarakti TALavA, u.sUvu. mAM maLatA bIjA mata sAthe na darzAvatAM, sarvAnaMdanA mata pachI, ujvaladattanA nAme mUkyo che. bAkInA 6 mata uNAdisUtronA kramAnusAra ApyA che. Ama 27+ 6 ema vadizanAnA kula 33 mata ahIM darzAvyA che. puruSottamadevanI vadizanAnA uparyukta matone ahIM darzAvIne, te TIkAnA svarUpa ane vizeSatAono Acho paricaya karAvavAno A lekhamAM prayAsa karavAmAM Avyo che. . 2. . va. devInandana (2-2-22) kRSNa TIvA sarvasva (mI-1, pR. 28) tevasthApatyaMti re mata ! (4.2.25). saMsApUrva vidhiranitya iti vRddhayabhAva : iti varNadezanA / ito manuSyajAteH / (4-1-65) iti GIS / devakI tasyA nandano devkiinndnH| mozo. (pR. 6) - TevInandana | vivRti (vo.2 pR.26) : tevA vandranA revInandanaH 5. . (pR. 24) : tevasthApatya re I ati phaMga (4-2-25) saMjJApUrvavatthAt vRddhayabhAvaH, tato striyAm, ito manuSya0 / iti GISi devakI iti varNadezanA / vyA. sudhA (pR. 20) : sevavayA nandanaHA tevarIbdI tapatye nakSaya vRtta paMthona | (4.1.48) iti GIS / ... aNi tu daivakI / devakAnAcaSTe iti NijantAt aca iH / daivakI devakI ca iti dvirUpakozaH / For Personal & Private Use Only

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nIlAMjanA zAha SAMBODHI' (sAvi. 4.631) | aMta phg / (4.6.6) saMjJApUrvajvAra vRddhayamAva: / to manuSyanAte / ti GIS iti ca mukuTaH / 94 sarvAnanda ane varNadezanAkAra sahita moTAbhAganA uparyukta TIkAkAro vevInantanaH zabda ja Ape che. sarvananda vagere moTAbhAganA TIkAkAro vaivasthApatyamiti revavi / ata phg| (4-1-95) sUtrathI akArAnta prAtipadika vevane tasthApatyam arthamAM g pratyaya lAgI re zabda siddha thAya che. ahIM saMjJApUrvaka vidhi anitya hoya che e paribhASAne lIdhe vRddhino abhAva thayo che. ema varNadezanA ane 'vyA.sudhA'mAM kahyuM che. pachI to manuSyanAteH / sUtrathI dhaiN pratyaya lAgatAM, vevI ema thaIne vevavayA nandrana: revaLInanaH zabda vyutpanna thAya che. 'vyA.sudhA'mAM tevI zabdane vyutpanna karavAnA je vikalpa ApyA che, temAno chello vikalpa sarvAnaMda ane varNadezanAkAre ApelI vyutpatti sAthe maLato Ave che. varNadezanAkAra puruSottama tathA uparyukta badhA TIkAkAro ata g / sUtrathI g lAgatAM, taddhitenAmATeH / (7.2.118) sUtrathI je AdivRddhi thAya te vRddhino abhAva, saMjJApUvakanI vidhi anitya hoya che, (93.1) e paribhASAne AdhAre darzAvI, reva zabda siddha kare che. : dvirUpakoza tevI uparAMta vaivI zabda paNa Ape che. noMdhavuM ghaTe ke mA.dhA.v. (pR. 401) mAM sAyaNe noMdhyuM che ke Atreya nAmanA vaiyAkaraNa vRddhinA abhAvavALA levI - ane revInandana baMne zabdone asAdhu gaNe che. atra Atreya:- vaivaSTi mata rUJi AvRitti:| to manuSyanAteH kRti kIr. daivakInandanaH / avRddhistvayamasAdhuH / Ama chatAM noMdhavuM ghaTe ke a.ko.52 nI lagabhaga badhI TIkAomAM tathA saMskRta dhArmika temaja lalita sAhityamAM kRSNanA mAtA mATe levI ane kRSNa mATe levInanaH zabda ja prayojAya che. 2. 4. o. musalI / (1-2-24) balabhadra TIkAsarvasva (bhAga-1, pR. 20) masIpariNAme / dramimasyorucca / iti kalapratyayaH musalaH / tadyogAd musalI / vivRtti. (I, pR. 68) : musalam abhyAmtIti musattI / pa6. caM. (pR. rU7) mulatI / musa lappune vRSAvizcit / (3LAvi. 6. 106) lA / musAM tattvamadhyam / tathA 6 / sarvasva a / (8.2..) tyatra nyAsa: tathA ca visaM viSaM musalaM muSalamiti SatvaM syAt iti muSa steye ityato mUrdhanyo'pIti varNadezanA / taj yot mujatI / vyA. sudhA (pR. 11) musa vakhtane vivAti, vRSAAit / 3LAvi (2, 106) ta, musalamastyasya / mUrdhanyamadhyo'pItyeke / tatra muSa steye ( krayAdi) . padacaMdrikAmAM noMdhAyelA varNadezanAnA matamAMthI A ekaja mata evo che ke je TIkAsarvasvamAM varNadezanAnA nAme maLato nathI. varNadezanA musalI uparAMta munnatI zabda paNa Ape che. a.ko.mAM balabhadranA je sattara nAma maLe che, temAMnuM eka muttI (musaLa dhAranAra) che. temanA musaLanuM nAma saunanda che. TIkAsarvasvamAM A zabdane masI pariNAme / dhAtune / misyottva / For Personal & Private Use Only

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95 Vol.XXXIV, 2011 amarakoza paranI TIkAsarvasva ane padacaMdrikA... (1.105) uNAdisUtrathI na lagADIne siddha karyo che. sAmAnya rIte divAdi dhAtu musa rava ne dhAtune vRSadvizat aa (1.106) uNAdi sUtrathI na pratyaya lagADIne musatI zabda niSpanna karavAmAM Ave che. pada caM. mAM ane vyA. sudhAmAM emaja prakriyA maLe che. si. kau. (bhA.4, pR.541) A uNAdisUtranA daSTAMta tarIke musalam zabda Apyo che - musalam basti gaNya musaf I vadizanA sarvasva che (8.1.1.) sUtra paranA nyAsano AdhAra laIne kahe che ke musa<< muvatam ema baMne thaI zake che. muSa te I e krayAdi dhAtune vRSadiA sUtrathI na pratyaya lagADavAthI muSatram paNa vyutpanna thaI zake che. tethI balabhadrane mukatI paNa kahI zakAya. vyA. sudhA. (pR.11) mAM paNa kahyuM che ke keTalAMka Ano mUrdhacamadhya (kukI) pATha kare che. Ama varNadezanAkArane vyA. sudhAkAra bhAnujI dIkSitanuM samarthana sAMpaDe che. noMdhavuM ghaTe ke a.ko. (1.1.24) mAM maLatA musatI zabdano artha "balabhadra che, jyAre a.ko. (2.5.12)mAM musatI zabdano artha "garoLI' che, bhale baMne zabdone moTAbhAganA TIkAkAro muH Ghane dhAtu parathI vyutpanna kare che. - rU. 3. ko. viDInAra (1-2-46) Indra rIsarvasva (HI-2, pR. 32) - viDInAda | viSNuvyAptI moDa ivivadhU . vi vyApakamojaH asya iti viDojAH / pRSodarAditvAt okArasyautvamiti varNadezanA / viDojA viDojA apIti vRddhavanyu ! amarozo. (pR. 2) - viDInA ve i . vi be vA . vi enoDA vivRti. (I, pR. 30) - biDaujAH / biDaM zatrutApanaM AkrozanaM tejo'sya biDaujAH / pa . (pR. 17) - viDInA: pRSodrAdityaIiRINT (6.rU.202) viDonA rUti vAviDanAtha - 'vivonAza ti vaviveche hRdRvandraH | vyA. sudhA. (pR. 28) - viDInA: vi bene (turi) rUTdha (rU.2.235) rUti vA ... viDojAH iti kecit / viTsu prajAsu manuSyeSu vA ojo'syeti viDojAH iti kecit / TIkAsarvasvamAM vadizanAno je mata sarvAnaMde TAMkyo che temAM vilInA pATha maLe che, ane tene pRSodarAditvathI siddha karyo che, varNadezanAno A mata pada. caM. mAM maLato nathI, paNa temAM harUcandrano mata maLe che ke temaNe viDInA ane vivonA: baMne zabdo varNaviveka TIkAmAM ApyA che. a.ko.nA TIkAkAromAM, sarvAnaMda, kSIrasvAmI, rAyamukuTa ane bhAnujI dIkSita viDInA pATha Ape che, sarvAnaMdra tene viSNu vyAtI - e juhotyAdi dhAtune, manvegoDA (3-2-78) sUtrathI trim pratyaya lagADIne, vi zabdane sAdhIne, vid vyApamoga: aya ti viDanA: I ema siddha kare che. varNadezanAnA matamAM A zabdano mULa dhAtu darzAvela nathI. kSIrasvAmI ane vyA. sudhAkara vihe che - e tudAdi dhAtune mULa dhAtu darzAvI viruM belamonoDI rUti ema viDInA: ne samajAve che. vyA. For Personal & Private Use Only

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nIlAMjanA zAha SAMBODHI (pR. 18) mA 59. savani aise yuddhasandhunA mata vo mata hAlyo cha 332405 viDojA: 5 / 4 59 mAghecha :...... viDojAH iti kecit| liMgayasUri vivRti (I, Y.30) mA~ biDaujAH 54 sApe. cha. zinAnA mata pacha.4 zata suddhamanyuno mata api DIne zyochate 52tha. vazinAne 5 yA viDojAH mane viDojAH abhipreta haze ema kahI zakAya. 4. a. ko. zambarAriH / (1-1-26) amaheva TIkAsarvasva (bhAga-1, pR. 21) : sambarasyAriH / sambarAriH / evaM dantyAdiH / sAhityakalpataruNazrIpovyokena vAsanAmaJjayA~ bhaNitam - sa jayati mAnasajanmA rasavanmAro muneranaGgAkhyaH / rudrasya sambarAriH puSpavatInAM kusumadhanveti // klIbaM tu sambaraM nIre bauddhavratavizeSayoH / vizeSe puMsi daityasya matsyasya hariNasya ca / iti dantyAdau rabhaso'pi / zambaro iti tAlavyAdAvajayaH / tadA ca daityAnAM zaM kalyANaM vRNAtIti zambaraH / zami dhAtoH saMjJAyAm / (3-2-14) " iti ac / varNadezanAkRtA tu pakSadvayamapi darzitam / sambarAriH daitypksse| 'amarakozo' (pR. 7) zambarAriH / vivRti. (vo - 1, pR. 19) : zambarAsurasya ariH zambarAriH / 'pada. caM.' (pR. 39) : zambarAriH / zambastAlavyAdiH / tathA ca zambaraM salile puMsi mRgadaityayoriti tAlavyAdau mediniH / tasya ariH zambarAriH / varNadezanAyAmapi pakSadvayaM darzitam / sambaraH sambarAriH / vyA. sudhAH (pR. 12) : sambarAriH / saMbarasyAriH / sani ane 54yaMFi2. rAyamukuTa ne zinAno me mata noMchate sambarAriH bhane zambarAriH ma bane za06 mA che. varNadezanAnA A matane "a-ko' nA TIkAkAro taraphathI samarthana sAMpaDe che, kAraNake sarvAnaMda ane bhAnu hAkSita sambarAriH 16 mApecha, yAre kSIrasvAbhI, liMgayasUri bhane rAyamukuTa zambarAriH 416 mApecha bhane zambarAsurasya ari; ama samave che. sarvAnaMda svArika pAThanA samarthanamAM koI zrIpotrokanI "vAsanAmaMjarI' kRtimAMno eka zloka ane rabhasanA kozano eka zloka TAMke che te vadhArAmAM e paNa noMdhe che ke "a.ko.' no ajaya nAmanA vRtti||2 daityAnAM zaM vRNAtIti zambaraH / ma pA6 sApecha. anete zami dhAtoH saMjJAyAm / (3-2-14) For Personal & Private Use Only

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91 Vol.XXXIV, 2011 amarakoza paranI TIkAsarvasva ane padacaMdrikA... sUtrathI san lagADIne svara: zabda vyutpanna kare che, tyA sudhAkAra paNa lakhe che ke medinIkAra paNa : ema tAlavyAdi pATha Ape che. A parathI lAge che "a-ko'nA amuka TIkAkAro sviriTa pATha ane amuka savAri ema pATha prayojatA jaNAya che. 1. ma . sutrAmAM (-2-43) Indra TI sarvasva (pA-2, pR. 33) : suSu rAyate muvamiti sutrAmAM saipha pAttane gAto mananA (3-2-74) ti manin ! ajevA drazyate I (6.3.27) ti tIrthatve sUtrAmADapi ti varNavezanA amarakozo. (pR. 10) sutrAmA / suSThu trAyate iti / pAkSikaM dIrghatvamiti rUpamaJjarI / vivRti (vo. 8, 9 rU0): zobhana rAma varte yati vA suhu trAyate ti sutrAmAM I pada caM. (pR. 58) : dIrghatve sUtrAmeti varNadezanA pAkSikaM dIrghatvamiti rUpamaJjarI / vyA. sudhA. (pR. 18) sutrAmAM 2-pattane gAto manana (3--74) su d padayaprayogo tu sUtrAmA dIrghAdirapi / indranAM aneka nAmomAMnuM eka A sutrAmAM che. a.ko.nA lagabhaga badhA ja TIkAkAro sutrAmAM pATha Ape che ane sujhu trAyate rUti ema samajAvI, saipAtane 1 e gvAdi dhAtune lAto manina . (3-2"74) sUtrathI manana pratyaya lagADI, sutrAmAM zabda siddha kare che." sarvAnaMda ane rAyamukuTa baMne vaNadezanAno mata noMdhe che ke sUtromAM ema dIrgha pATha paNa thaI zake che, ane te anveSAmapi (6-3-137) sUtrathI tene siddha kare che. kSIrasvAmI ane rAyamukuTa baMne noMdhe che ke "rUpamaMjarI' paNa pAkSika dIrghatva thAya evo mata darzAve che vyA. sudhA. (pR. 18) mAM ane t e be upasarganA prayogathI dIghadi sUtroma zabdane siddha karyo che. Ama varNadezanAnA matane rUpamaMjarI uparAMta vyA. sudhA nuM samarthana maLe che. eka bAbata noMdhavA jevI che kevA. sudhA. mAM kahyuM che ke mukuTa aSAmafpA sUtrathI dIrdhAdi sUrAmAM zabda siddha kare che, te barAbara nathI. A thakA varNadezanAnI sUtramA vizenI vyutpatine paNa lAgu paDI zake. 6. . je. zI (1-2-45) IndrANI rIsarvasva (HTI-, pR. 24) : vI zava vyatAtha vAri . (5.2.45) tirUnA (4. 227) tiras (. sU. 4.2.45) rUti hA kauziva zavI zItavI ca iti tAlavye varNadezanA / For Personal & Private Use Only

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nIlAMjanA zAha SAMBODHI . amarakozo. (pR. 20) zacate zacI / zaca zvaca gatau / vivRti / (vo 1, pR 32) zaJcate zacate haMsavat gacchatIti zacI / pA. TI. 2: zaM sukhaM cinotIti zacI / pada caM. (pR. 61) zacI sarvendriyeSu sacate samavaitIti / saca samavAye / sarvadhAtubhya in / (uNAdi 4.117) saci : / sacIti dantyAdIti paJjikA / vyA.sudhA. (pR. 19) zacate / zaca vyaktAyAM vAci / in / (uNAdi 4-117) kRdikArAd / iti GIS / sarvendriyeSu sacate / Saca samavAye / in / sacI dantyAdirapi / zacI e IndrANInuM nAma che. varNadezanAkAra temaja a.ko. paranA lagabhaga badhA TIkAkAro tAlavyAdi zavI pATha Ape che. vadizanA tAlavyAdi AvI pATha Ape che. eTaluM ja sarvAnade noMdhyuM che.. sapAnaMha, bhAnu dIkSita zaca vyakatAyAM vAci / me pAyAtune sarvadhAtubhyaH in / bhe. GusUtrAthA in qu31, kRdikArAd (4-1-45) 2|9suutrthii GIS quii zacI 106 siddha 43 cha, yAre kSIrasvAmI mane liMgayasUri zaca zvacagatau / me svAhAtune / zanI bhUpadhAtu vicha ane zavate haMvat chatiti ema samajAve che. padacaMdrikAkAra rAyamukuTa para samavAye e gvAdi dhAtune uparyukta GulsUtrathA in baPu0. zacI za6 siddha 42 cha bhane sarvendriyeSu sacate / mema samave che. rAyamukuTa ane vyA-sudhAkAra baMne dajyAdi kavI zabda che tema noMdhe che. 7. a. ko. urvazI / (1-1-53) 64zI nAmanI aps| TIkAsarvasva (bhAga-1, pR. 39) urvazI / urUna mahato vazIkarotyurvazI / pRSodarAditvAdukAralopaH / gaurAditvAd GIS / evaM hasvAdistAlavyAntaH / tathA ca dadhatyurojadvayamurvazItalaM bhuvo gateva svayamurvazItalam / iti mAghayamakam (9-86) : vasa nivAse / UrAvuSiteti pRSodarAditvAd vyutpAditaM dIrghAdirdantyasa iti keciditi varNadezanA / tathA ca harivaMze - nArAyaNoruM nirbhidya sambhUtA varavarNinI / amarakozo. (pR.11) : urU aznute nArAyaNasyorUdbhavatvAdurvazI / pRSodarAditvAt husvaH / vivRti / (Part I, pR. 37) UrU aznute nArAyaNasya UrvorbhavatvAdUrvazI / urvazI iti vA pAThaH / (F. N. 2) ___ pada - caM. (pR. 70) : dIrghAdirdantyAntA pRSodaroditvAt vyutpAditeti varNadezanA / Urau uSiteti vasa nivAsa ityata UrvasI / vyA. sudhA. (pR. 22) : urvazI / urUn mahato'znute vyApnoti vazIkaroti iti yAvat / sani bhane yamukuTa ne ezinAno meM samAna mata Tai cha : UrvasI mema pAha hantyAnta 416 324 mApe che. For Personal & Private Use Only

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99 Vol.XXXIV, 2011 amarakoza paranI TIkAsarvasva ane padacaMdrikA ... sarvAnaMda, kSIrasvAmI ane vyA. sudhAkAra vaMzI pATha Ape che, jyAre rAyamukuTa varNadezanAnI jema rvasau pATha Ape che ane vivRtikAra vaMzI pATha ApIne pAdaTIpamAM savaMzI vRti vA pA: ema kahe che. sarvAnaMda kSIrasvAmI vyA. sudhAkara vaMza zabdane san mahato'zrute vyAkhoti vazIvoti / ema samajAve che, temaNe A zabdanI vyutpattimAM n eTale ke mahAna janonuM vazIkaraNa kare te - ema artha lIdho che tethI vaMzI pATha Ave che. sarvAnaMda vaMzI zabdanA samarthanamAM zizupAlavadha (zloka 9.86) mAMnA mAghayamakane TAMke che. varNadezanAkAra A zabdane sAva judI rIte samajAve che tethI joDaNI judI thAya che : vasa nivAse / rau kaSitA / Ama darzAvIne pRSovAni sUtra (6.3.109) ne TAMkIne, dIrvAda dattvasavALo vaMsI zabda siddha kare che teno artha - sAthaLamAMthI udbhavelI, temAM rahelI evo thAya che. varNadezanAkAra ane rAyamukaTa baMne A rvI pATha ApIne, tenI samajUtI ApatAM tenA udbhava saMbaMdhanA samarthanamAM harivaMzanI ekasarakhI paMkti TAMke che : nArAyaLoDhuM nimigha sabUtA varSanI / te 52thI lAge che ke harivaMzamAM kadAca vRttI ema pATha maLato haze. a.ko. paranA amarapadavivRtikAra azrute ema samajAvIne rvazI ema dIrghAdi tAlavyAnta pATha Ape che. rAyamukuTa padacaMdrikAmAM rau RSiteti ema samajAvIne evo ja vaMzI pATha Ape che. TIkAsarvasva ane padacaMdrikA baMnemAM maLatAM varNadezanAnA mata pramANe vaMsI pATha maLe che, paNa e zabda saMskRta sAhityamAM bhAgye ja prayojAyo jaNAya che, moTe bhAge to sarvazI athavA vaMzI prayojAya che. 8. sa. jo. akSam / (1-2-6) AkAza TIAsarvasva (bhAga-1, pR. 12) : antarIkSate nAvaminityantarIkSam / kSa vargane / adhirane ghaJ / vede tu chAndasamevekArahrasvatvamiti varNadezanA / amarakozo. (pR. 15) : antarRkSANyatrAntarikSam / pRSodarAditvAt itvam / dyAvApRthivyorantarIkSyate vA / chA mitvam / vivRtti. (vo. 1, pR. 12) : antarikSam / pArijAta. (vo. 1, pR. 51) : antarikSam / amaravArtikakAreNa varNanirdezanAyAM dIrghekArAntarIkSazabda ii pratyAvi|.... . vede tu hrasvekAro dRzyate / tatrApi chandasameva hrasvatvam / - naM. (pR. 14) antarIkSam| antarIkSate nAsmin / adhivane dhan / (rU-rU-121) veDhe tu chAndasaM hrasvatvamiti varNadezanA / vyA. sudhA. (pR. rU0) : antarIkSam / ghAvApRthivyorantarIkSyate / kSa vargane / rmaLi Sag| (rU pada For Personal & Private Use Only

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100 nIlAMjanA zAha SAMBODHI 3-19) - vede tu chAndasaM husvatvam / asmin pakSe antarikSam iti husvamadhyaH / adhikaraNavyutpatistu nocitA / lyuTA gho bAdhaprasaGgAt / kSIrasvAmI, liMgasUri ane mallinAtha antarikSam pATha Ape che, jayAre sarvAnaMda, rAyamukuTa, amaravArtikakAra ane bhAnujI dIkSita antarIkSam Ape che. sarvAnaMda ane rAyamukuTa baMne noMdhe che ke vedamAM chAndasa hRsvatvane lIdhe matarikSam pATha che tema vaNadezanA noMdhe che. bhAnujI dIkSita paNa temaja jaNAve che - sarvAnaMda ane rAyamukuTa kSa rane gvAdi dhAtu parathI A zabdane vyutpanna karI, antarI namina ema samajAvI, hRtva8 - rU.rU.222 sUtrathI dharane pan thI pa pratyaya lagADI antarIkSam siddha kare che, jayAre bhAnujI dIkSita kartari va raveI (rU. rU. 20) sUtrathI vaLa panthI dhan lagADI A zabda siddha kare che ane jaNAve che ke adhikaraNa vyutpatti barAbara nathI, kAraNake varadhavarAyozA (rU.rU.227) sUtramAMnA tyu thI nazA sUtramAMnA par no bAdha thavAno saMbhava che. varNadezanAnA uparyukta mata parathI khyAla Ave che ke te jarUra paDe tyAM vedamAMnI joDaNI paNa darzAve che. 1. . vo. hAniva: (6-4-25) phAgaNa mahino TIkAsarvasva (bhAga-1, pR. 86) : phAlgunastvarjune mAse phAlgunI cAsya pUrNimA iti dharaNikoze dIrghAdirapi phAlgunika iti / vibhASA phAlgunIzravaNA / (4-2-23) iti nakSatrANantebhyaH sA'sminnarthe tthgnnau| phaleguk ca / (uNAdi 3-56) ityunnanto husvAdiriti varNadezanA / amarakozo / (pR. 22): phAlgunikaH / vivRti - paribAtaH (vo. , pR. 82): nava: | pad-ghaM. (pR. 210) : vidhArthI prabhunI ityAdinA ThagaNau / phAlgunikaH phAlgunaH / / vyA. sudhA. (pR. 48) : phAlgunikaH / phalati niSyAdayati / phala niSpatau / phalermuk ca / (uNAdi rU-16) rUtyuna gumagra ! sarvAnaMda, kSIrasvAmI, liMgasUri mallinAtha ane rAvamukuTa Hjuni ema dIghadi zabda Ape che. 7 nigatI e khyAdi dhAtune pachuvA (uNAdi 3.56) sUtrathI 3nanuM pratyaya ane mu Agama thatAM patrabhuna: zabda vyutpanna thAya che ane pachI vipakSa nIzravaNa (4-2-22) sUtrathI vikalpa . pratyaya lAgatAM sthAni: zabda bane che ane prAcitoDa[ 1 (4-2-83) sUtrathI maLyuM pratyaya lAgatAM puna: zabda paNa bane che kAraNake A to tene uparyukta sUtrathI nitya prApta hato. sarvAnaMde TAMkelo vaNadezanAno mata ema che ke uparyukta uNAdi sUtra joIva vA thI sanana pratyaya lAgatAM hRsvAdi juni: zabda bane che. For Personal & Private Use Only

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Vol.XXXIV, 2011 samoza 52nI 2I(sarvasva bhane 5dhyaMdrita... 101 noMdhavuM ghaTe ke "a.ko."nA lagabhaga badhA TIkAkAro ane dharaNikoza jevA kozagratho paNa phAlgunikaH mahAhi yA Apa.che. 10. a. ko. UrdhakAH / (1-7-5) Ginii austu dai auri TIkAsarvasva (bhAga-1, pR. 137) : vAdanArthamUrdhaHsan kAyati zabdAyata ityUrdhakaH / Urdhazabdo'yam / ato nirvakAraH / taduktaM varNadezanAyAm / - ujjihIte udgacchatItyUrdhaH / uddhAGo Dapratyaye AdivarNasyApyUrkArAdeze nairukte UrdhaH / yastUpariparyAya AzrayaparatantraH sa makArAntoDavyayaM vakAravAMzca // amarakozo. (pR. 32) : UrvIkRtya mukhena vAdanAdUrdhvaM kAyati / UrdhvakaH AbhogikAkhyaH / vivRti. (vo - 1, pR. 123) : UrvIkRtya vAdyata ityUrdhvakaH / pArijAta (vo - 1, pR. 123) : Urdhvaka ityete trayo murajabhedAH pada - caM. (pR. 216) : Urdhazabdo'yaM nirvakAraH / UrdhakaH / taduktaM varNadezanAyAm - ujjihIte udgacchatItyUrdhaH / udpUrvAd dadhAte'pratyayaH / upasargasyAdivarNasyorAdeze nairukte vakArarahitaH UrdhaH / yastu upariparyAya ------- vakAravAMzca / / vyA. sudhA. (pR. 73) : UrdhvakAH / UrdhvaH kAyati / kai zabde (bhvAdi) supi (3.2.4) yogvibhaagen| iti kH| ---- Urdhva zabdaM nirvakAramapi kecit paThanti / - sarvAnaMde ane rAyamukuTe varNadezanAno A mata kaMIka vistArathI TAMkyo che. temAM spaSTa kahyuM che 3 UrdhakaH za064 je te UrdhazabdaH 52thI baneko cha. tene ujjihIte udgacchati abha samAvyo che. te ud + dhA dhAtune anyeSvapi dRzyate / (3-2-101) sUtrathI DaH pratyaya bAthI UrdhaH za6 vyutpanna thAya che. UrdhaH san kAyati - / pachI supi sthaH / sUtrathI yogavibhAgathI kai zabde melpAhi pAtune kaH pratyaya datai UrdhakaH za06 vyutpanna thAya che, mAma vazinAmA praDiyA zAvI cha. pazinAre spaSTa 49||vyuNch maha nira UrdhakaH za064 me, Urdhva 52thI baneko UrdhvakaH na yAda, tenA samarthanamA meM zosisyo cha, no artha ||ch : 4 64rino paryAya (Urdhvama) 4||2vaan za06 che te mAzrayaparatantra bhane mArAnta avyaya che. vazinamA 49uvyu cha tema nita (8-15-1) bha. Urdha ucchrito bhavati / bhaNe che. _2Ltdromai, sapani bhane 5dhyaMdri12 rAyamuTa UrdhakaH 5 / 4 mAghe. cha, yA vikRti, pArita bhane vyA. sudhA. TIma UrdhvakaH 416 bhaNe. cha. me 2151510 UrdhvakaH zane UrdhvaH kAyati ema samajAvIne uparyukta prakriyAthI ja vyutpanna kare che. sarvAnaMda Apelo varNadezanAno mata lagabhaga teja zabdomAM padacaMdrikA TIkAmAM paNa maLe che. For Personal & Private Use Only

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102 nIlAMjanA zAha SAMBODHI vyA. sudhA. (pR. 73, pA. TI. naM. 2) avA zabdonA samarthanamAM, kIcaqdhakAvyanA yamakane saMke cheH kurvatIrupalaistuGgairbhuvanaM nIcamUrdhvajaiH / tasyA vanAlIranveti citrA nAgacamUrdhvajaiH / / A parathI ema jaNAya che ke A prakAranAM naraghAM (tabalAM) mATe kardhava ane karNa zabda uparAMta karNana: zabda paNa prayojAto haze. TIkAsarvasvakAra sarvAnaMda ane padacaMdrikAkAra rAyamukuTa kardha zabda vizenA potAnA matanA samarthanamAM vaNadazanAno mata je rIte TAMke che te, varNadezanAnA kartAnuM gaurava vadhAre evI che. 22. ma. Dho. tIrthakSozil (2-10-ra1) pa : koza rIsarvasva (paI-, pR. 24) : koSo mUrdhanya: I tathA mUrdhanyAne dharaH | kozo divye dhane pezyAM kuDmalAsipidhAnayoH / panasAdiphalasyAntaH koSaH zabdAdisaGagrahaH // iti / kAzA vAzA amarakozAdayastAlavyA iti varNadezanA / amarazo. (1. 254) sUyate zAte ko: I vivRti. (II, 5. varU4) : vasUyate tUyata ti voza: I vivaraNa (II, 5. varU4) : tAvyodhograM di: atra kecit koSo'strItyAdikam amarasiMhIya-zlokArdhaM samanantaramUrdhanyoSmopadhavargapaThanti / vyA. sudhA. (pR. 2Q) : SoDastrI suSmatte patre zAsi | jAtikoze'rthasaMghAte divye khaDgapidhAnake // tAlavyAnto'pyayam / sarvAnaMda vaSa: ema mUrdhanya pATha Ape che ane varNadezanAno ethI judo mata koNa: noMdhe che "a.ko.emAM koSa: zabda a.ko. 2.5.37, 2.9.91 mAM ane 3.3.221 mAM ema traNa ThekANe maLe che, paNa sarvAnaMdanI TIkAsarvasvamAM tenA aneka artha darzAvato zloka tathA te aMgeno vaNadazanAno mata a.ko.nA zloka 1.10.25 mAM tIrSavozikA' zabdanA saMdarbhamAM maLe che. varNadezanAnA mate teno tAlavya pATha (za:) thAya che. ane tenA dRSTAMta tarIke "amarakoza' zabda Apyo che. varNadezanAnA mata jevo ja mata kSIrasvAmInA amarakozo. TIkAmAM, vivaraNa' mAM ane vyA. sudhA. mAM maLe che. appayAryakRta amarapadavivaraNa (vo.2 pR. 534) mAM seza: zabdano artha ane daSTAMta For Personal & Private Use Only

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Vol.XXXIV, 2011 amarakoza paranI TIkAsarvasva ane padacaMdrikA 103 sAthe ApyAM che : zA arthA vA samaye vA saMvRdghatteneneti zavvArthasaMgraho pratha: yathA amaroga: / tAlavyopadho'yaM zabdaH / kSIrasvAmI, vivRtinA kartA liMgayasUri ane sarvAnaMda (a.ko. 2-9.91 paranI TIkAmAM) vagere jozaH e tAlavyopadha zabdane k zandre / yate| svAdi dhAtu parathI siddha kare che, jyAre vivaraNaTIkAmAM kahyuM che ke je loko joSaH pATha Ape che te jhuSa nirbhe / dyuti / e krayAdi dhAtu parathI tene siddha kare che. kharekhara to sarvAnaMde a.ko. (2.9.91 mAM nA) jozaH zabda paranI TIkAmAM kahyuM che tema joza: ane joSa: baMne zabdo aneka arthomAM prayojAya che : joSastAAvyazo mUrdhanyaSakSetyutaM prAdh / aneAthaeNDayam / Ama varNadezanAnA tAlavyopadha jozaH zabda vizenA matane moTAbhAganA TIkAkAronuM samarthana maLI rahe che. 2. . jo. pASALaH / ( 2.rU.4 ) patthara TIAsarvasva (mAna-2, pR. 86) : pASALaH mUrdhanyatra rUti varNavezanA / amarakozo. (pR. 52) : pASANaH / pinaSTi prastRNAti girati iti vAkyAni / nivRtti. (vo. 2. pR. 226) : vastuni pinaSTi dhULayatIti pApALaH / pitR saMpUrNane / vyA. sudhI. (pR. 124) : pinaSTi|viSNu saMpUrNana / vADhuvAvAnan / pRSAvaliH (6-3-201) mUrdhanyava: / (pAdaTIpaM 1) saharSapASANapurISadUSitAniSedhaduHSedha- mRSAnuSaGgiNaH / ityuSmavivekAt iti mukuTaH / a.ko. temaja tenA paranI lagabhaga badhI TIkAo A zabdano pALa: pATha Ape che, tethI varNadezanAno mata tenA samarthanamAM TAMkI zakAya. vyA.sudhA. (pR. 124) mAM noMdhyA mujaba mukuTe paNa darzAvyuM che ke 'uSmaviveka' nAmanI kRtimAM paNa pASALa: zabda ja maLe che. moTAbhAganA TIkAkAro jevA ke vivRtikAra liMgayasUri, vyA. sudhAkAra vagere pitR saMpUrNane / e rudhAdi gaNanA dhAtune bAhulakathI yudhivRdhi / uNAdi (2-90) sUtrathI Anar pratyaya lagADIne pASALaH zabdane vyutpanna kare che. vyA. sudhAkara bhAnujI dIkSita bIjI rIte paNa A zabdane vyutpanna kare che. paNa vAdhe pratye 2 / e curAdi dhAtune hataAE / (3-3-121) sUtrathI ban lagADI pAla: zabda banyo. aLa zabve / e svAdi dhAtune naprihi / (3, 18134) sUtrathI av pratyaya lagADatAM maLaH zabda banyA pachI pASazcAsAvaLazca thI pAvALA zabda vyutpanna thAya che. For Personal & Private Use Only

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104 nIlAMjanA zAha SAMBODHI sarvAnaMde noMdhelA vadezanAnA matamAM paSA: zabdanA mULa dhAtuno ke tenI vyutpattiprakriyAno nirdeza nathI, tethI te kaI rIte A zabdane siddha kare che, teno khyAla Avato nathI. 2. . . sastham (2-4-25) dhAnya TIkAsarvasva (bhAga-2, pR. 66) : sasyam / zasu hiMsAyAm / tAlavyAdyapIti varNadezanA / amarazo. (pR. 11) : sIm | vivRti (vo. 2, pR. rara4) ti vRkSadhazete sIm | Sasa svapne / vRkSalatAdiphalanAmanI / vyA. sudhA. (pR. 233) : sacam ! sapta . paNa pati svane ! mAcchAzasibhyo yaH / uNAdi (4.109) / tAlavyAdi pAThe tu zasu hiMsAyAm (bhvAdi) zasyate / takizasivati0 / (vA. 3.1.97) iti yat / sasyaM dantyAdi- 'grAmyakavikathAbandha iva nArasasyamanohara AryAvartaH, iti damayantizleSAt / sarvAnaMde noMdhyuM che ke varNadezanAnA mate tAlavyAdi zam pATha paNa maLe che ane tenA mULa dhAtu tarIke zaj fhaMsAyAm ! (vvAdi) darzAve che. a.ko.nA moTAbhAganA TIkAkAro sIm pATha Ape che ane liMgayakAra ane bhAnujI dIkSita adAdi parva ne dhAtune mAcchAsi. (uNAdi 4.109) sUtrathI ca: pratye lagADI vyutpanna kare che. vyA. sudhAkAra banyAdi pAThanA samarthanamAM "damayaMtizleSa' nAmanA kAvyamAMthI uparyukta paMkti paNa TAMke che. varNadezanAnA matane samarthana maLe tevo mata vyA. sudhAkAre Apyo che ke tAlavyAdi pATha hoya to zaNu hiMsAyan dhAtu parathI navo yat aa (3-1-97) paranA vArtika vizivati | thI vat lagADIne zam zabda siddha thaI zake. noMdhavuM ghaTe ke A vArtikanA udAharaNa tarIke mahAbhASya ane kAzikAmAM zam zabda Apyo che, jo ke tyAM teno artha Apyo nathI. mAdhA.vR. (pR. 180) mAM paNa gvAdi zahuM hiMsAyAm T dhAtusUtra paranI vRttimAM lIm zabda Apyo che ane tene uparyukta vArtikathI ja siddha karyo che. 24. . #o. gua: (2-4-26) guccho TIvAsarvasva (pA-2, pR. 68) : Tdha (T 2) puraSotsa vatsat : tataH svArthe nuM (5-3-76) rUti vadhezanA | guccha: I amarakozo. (pR. 11) : guccha(9) : | vivRti (vo. , pR. rara) : muchava: | For Personal & Private Use Only

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105 Vol.XXXIV, 2011 amaroza 52nI 201sarvasva bhane 5dhyaMdriI... pArijAta (vo. 1, pR. 225) subhUtiTIkAyAM gupassaki (?) gutsa iti takArasakArasaMyogyuktaH / / vyA. sudhA. (pR. 133) : gutsakaH gudhyate pariveSTane / undigudhiSibhyazca / (uNAdi 3-68) iti sa: kit / sapani nache te pramANa ezinAne gutsaka: 5 / abhipreta deg49||y che, 1295 temAM gutsaH ne gudha purISotsarge / pAtu 52thI, (utsa): nIma vyutpanna 42vAnA nirdeza che. temAM utsavat saH / hyu cha tethI mAgecha undigudhi0 / (Gule - 3 - 68) sUtrathI gudha pAtune saHpratyaya 451, pachI saMjJAyAM kan / (5-3-75) sUtrathI kan bADIne gutsakaH siddha 42vAna zinAne abhipreta 4Aya che utsaH zane mA 4 zata 6paryuta sUtratha siddha yo che. sani vAhizanAnA mate gudha (gu?) purISotsarge dhAtu yo cha 5 tevoM dhAtu dhAtupAmA nathI. gu purISotsarge mahivATapAtu vazinAne abhipreta hoya, to e dhAtu paNa kutsava nA artha sAthe baMdha besato nathI. Ama varNadezanAnA sarvAnaMde noMdA matamo gutsakaH nA bhUNa pAtu vize spaSTatA nathI. vyA. sudhA. (pR. 133) gudha pariveSTane - hipAhi pAtu 52thI gutsakaH ne uparyuta prAThiyAthI siddha 3 cha. me pAtu se che. si.DI. (bhA. 4, pR. 572) bhAM undigudhiH| sUtranA 29 tarI gutsaH za6 mAghyo che. - sarvAnaMda mallinAtha ane vyA. sudhAkara kutsa: pATha Ape che, kSIrasvAmI baMne pATha Ape che jyAre vivRtikAra mAtra gujI: pATha Ape che. 15. a. ko. lulApo / (2-5-4) pADo . TIkAsarvasva (bhAga-2, pR. 217) : lulApo / apsu lulatIti lulApaH / luTha saMzleSaNe / luDa ityeke / varNadezanAyAM pavargAnta udAhRtaH / igupadhalakSaNaH kaH / amarakozo. (pR. 81) lulati paGke loDati - iti lulAyaH / (lulaapo)| vivRti. (vo. 1, pR. 327) paGke lulati luDati paGke / luDa viloDane / DalayorabhedatvAt / lula saMzleSaNe iti vA dhAtuH / vyA. sudhA. (pR. 188) : lulApo luDati SaGke / luDa saMzleSe / igupadha0 / iti kaH / 'layorekRtvam / Apnoti / Aplu vyAptau / (svAdi) ac (3-1-134) lulazcAsAvAyazca / 00000000 lulAya : iti antaH stha-yakArAntapAThe vAhulakAdAyaGpratyayaH / yadvA ayate aya gatau / (bhvAdiH) / ac (3-1-134) lulazcAsAvayazca / / | sarvAnaMda pote sutA : ema joDaNI Ape che ane varNadezanA paNa eja pATha Ape che. sarvAnaMda luTha saMzleSaNe / (tu ) pAtune igupadha0 (3-1-135) sUtrathA kaH 451ne lula: za06 vyutpanna 43 For Personal & Private Use Only

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106 nilAMjanA zAha SAMBODHI che ane pachI vyA. sudhAmAM darzAvyuM che tema mAtR vyApta dhAtu parathI padrio at (3-1-134) sUtrathI mApa: siddha karIne suthArAvAzi ema sutA : vyutpanna thAya che. bhAnujI dIkSita paNa prathama to sutA: pATha ja Ape che ane pachI sutAya: pATha paNa che ema noMdhI enI vyutpatti darzAve che. tu saMzleSa dhAtune (tuta:) ne bahulakathI huM lagADe che athavA ya jAtI e gvAdi dhAtune uparyukta sUtra (3.1.134) thI mad lagADI tutazAsaviyathA ema jaNAve che. temAM (pR. 188 pA. TI. 1). sutAya nA samarthanamAM nIcenI paMkti TAMkI che : khuravidhutadharitrI citrakAmo lulAyaH iti mukuTaH / kSIrasvAmInI TIkA ane vivRtimAM sutAya: pATha che ane badhA TIkAkAro aNu suttatiA athavA parpha tuti . (pANImAM athavA kAdavamAM ALoTe che) ema samajAve che. moTA bhAganA TIkAkAro 74 saMzleSane ne mULa dhAtu gaNe che to vivRtikAra nu vittoDane (gvAdi) dhAtune athavA suta saMzleSaNane mULa dhAtu tarIke darzAve che. varNadezanAno mata je rIte A TIkAmAM TAMkyo che te parathI temAM suta ke tutuM saMzleSaNe dhAtu parathI A zabdane tenA kartA siddha karatA jaNAya che. 26. . #o. rima: (2-ba-4) pADo TI.sarvasva (-2, . 228): jairimaH | afzanAthAM sairino strAvI paDhataH | amarakozo. (pR. 85) : sIribhirdAntai ti sIribhaH kuTumbI tasyAyaM sairibhaH / vivRti. (vo. 2, pR. 3ra6): sIrA ghaNAM santi ti sIrijha : vastIvA sImi: saha bhAtIti rimaH | vyA. sudhA. (pR. 88) sIroDakleSA ! niH (-2-225) sIrikhAM pharSAmiSa rUva | za SyAdiHI (vA. 6.2.24) I prazAdya 1 (5.4.28) 000 yadvI sUryaca rUma rUva . putravAhanavvAn ! a.ko. nI badhI TIkAomAM datyAdi sairiSa: pATha maLe che ane varNadezanA teja pATha Ape che. te A zabdane kema samajAve che ane kevI rIte vyutpanna kare che te sarvAnaMde ApyuM nathI. - kSIrasvAmI ane vikRtikAra liMgasUri rIrina no artha haLa sAthe jotarAya te baLada ane pALelA baLadono kuTuMbI te airiSada (pADo) ema kahe che. liMgasUri sIrA pAM sati rUti sIri: ema samajAvI sIripiTa sada mati ti . ema sairinane samajAve che. vyA. sudhAkara bhAnujI A zabdane judI rIte vyutpanna kare che : sIroDakveSAnuM | pachI sI: ne mata ninI . (5-2-115) sUtrathI ni pratyaya lagADatAM sIrina (jemanuM haLa che te kheDUta) siddha thAya . che. pachI sIrikha rU5 phuvA (kheDUtonA hAthI jevo) ema samajAvIne pirapam | (5-1-94) sUtra For Personal & Private Use Only

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107 Vol.XXXIV, 2011 - amarakoza paranI TIkAsarvasva ane padacaMdrikA. paranA vArtika vidhyAtiy I thI pararUpa thayA bAda, prajJAtigaDha I (pa-4-38) sUtrathI 3 pratyaya lagADatAM serima: zabda, vyutpanna kare che. noMdhavuM ghaTe ke sainika no eka bIjo artha. vyA. sudhA. mAM Apyo che. saura: no eka artha haLa uparAMta sUrya paNa thAya che. sairi: sIratha sUrya rU5 rUva je sUryanA hAthI jevo che. sUryanA putra yamarAja gaNAya che ane yamarAjanuM vAhana pADo che tethI te sUrya mATe putranuM vAhana hovAthI hAthI samAna che. A artha vyA. sudhAkAra sivAya bIjA koI TIkAkAre noMdhyo lAgato nathI. 27. . vo. mulatnI (2-1-22) garoLI TIkAsarvasva (bhAga-2, pR. 226) : varNadezanAyAM mUrdhanyamadhyo'pi musalo dRzyate ityuktam / amarakozo. (pR. 86) musyati bhinatti / musalI muSa khaNDane muzalI iti gauDaH / vivRti (vo. 2, pR. rUrala) | muti ra ti krimIniti musatI ! muna gene ! parijhati (pA. 2 pR. 3ra1) musastI dharma | vyA. sudhA: (pR. 22): musa urdhvane ! (vivAdri) . vRSatitvAr (8Ati -26) nan gaurAditvAnGIS (4-1-41). (pA - TI - 2): muSalI mUrdhanyamadhyA ca iti varNadezanA iti mukuTaH / "a.ko." (2-5-12) mAM siMhAdivargamAM A munI zabda Ave che ane mukha uSNane (divAdi) dhAtu parathI vyutpanna thAya che. | sarvAnaMde noMdhyuM che kevadizAnA mate mukSatA zabda mUrdhanyamadhya eTale ke mUtta: paNa hoI zake che. mukSata: zabdavyA. sudhAmAM darzAvyuM che te pramANe uNAdi sUtra vRSatigyacit (1.106) thI vastra pratyaya lAgavAthI siddha thAya che. mutI uparAMta muSanI paNa vaNadezanAnA mate thaI zake ema kahI zakAya. "vyA. sudhA."mAM to mukuTevadeizanAnA mate muSanI mUrdhanyamathyA che ema spaSTa jaNAvyuM che. vaNadezanAno Avoja mata "a.ko.' (2-9-25) mAM AvatAM munam saMbaMdhamAM agAu noMdhyo che ke te paNa mUrdhanyamadhya (mUtro prayojAya che. kSIrasvAmIe noMdhyuM che tema "gauDa vaiyAkaraNa" tAlavyamadhya muza7I zabda paNa Ape che. musatI no artha garoLI thAya che. tenI barAbara samajUtI vivRtimAM ApI che. te muti krimInA jIvajaMtune khAI jAya che. murata ne pit aurAvigaDha 1 (4.1.41) sUtrathI DIpratyaya lAgatAM munI zabda bane che. a.ko. (1-1-24) mAM Avato musatI zabda judo che. teno artha balabhadra thAya che, teno paNa mULa dhAtu musa uvene che vadizanA tene paNa mUrdhanya madhya kahI, muSa steyA (krayAdi) dhAtu parathI mukatI ne vyutpanna kare che. For Personal & Private Use Only

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108 SAMBODHI nIlAMjanA zAha 18. a. ko. joSA (2-6-2) strI TIkAsarvasva (bhAga-2, pR. 258) : juSa paritarkaNe / ghaJ / joSA / cavargAdiH / yauterbAhulakAt sapratyayena antaHsthAdirapi / ubhayameveti varNadezanA / amarakozo. (pR. 91) : yuSyatyanyaM yauti vA yoSA / vivRti (vo. 1, pR. 363) : yauti puMseti yoSit / yoSA ca / pArijAta. (vo. 1, pR. 363) abalA yoSA / joSAzabdo'pi joSayati prINayatIti joSA / . vyA. sudhA. (pR. 203) : yoSA / yoSati, yoSayatIvA / ac / (3.1.134) yuSyate / yoSyate vA / ghaJ / (3-3-19) joSA iti / juSate juSyateM vaa| juSI prItisevanayo : / tudAdi / ac / ghaja (3-3-19) vA / | sarvAnaMda nISA pATha Ape che ane yoSA pATha che tema jaNAvI varNadezanAno mata noMdhe che ke te baMne zabdo thaI zake tema mAne che, kSIrasvAmI, vivRtikAra, mallinAtha tema ja vyA. sudhAkAra paNa yoSA za06 mApI, joSA 5 // cha tebha noM5 42 cha. sapani juSa paritarkaNe / me yu pAtu 52thI ghaJ (3-3-18) sUtrathI ghaJ pratyaya 4031 joSaH vyutpanna 3 cha, bhane pachI tane ajAdyataSTAp / (4.1.4) sUtrathI TAp asii. joSA za6 siddha 43 che vyA. sudhaa||2 juSI prItisevanayo : / tuule pAtu 52thI mA praThiyAthI mA za06 siddha 42 che. savaniha yoSA zane yu mizraNe / yauti me mahApAtune pAhuthI vRtRvadihani.... saH / (Gule 3-61) sUtrathI saH ||iin, pachI TAp pratyaya Kus siddha 43 che, bhAnu hAkSita vyA. supAmA yuSa sevAyAm / yoSati / me sautrayAtune nandigrahi0 (3-1-134) sUtrathI ac pratyaya Runne athavA akartari ca. (3-3-18) sUtrathA ghaJ auii yoSaH ne TAp bI yoSA siddha 42 cha pahizana A baMne zabdone kaI rIte vyutpanna kare che te sarvAnaMde darzAvyuM nathI. joSA bhane yoSA meM bane zo hoza meM vazinAnA matane savaniha 652ita abha256 pArijAta TIkAnA kartA mallinAtha ane bhAnujI dIkSitanuM samarthana maLI rahe che. 19. a. ko. ziznaH / (2-6-76) puruSanI guhyendriya TIkAsarvasva (bhAga-2, pR. 336) : zizno dvitAlavyo varNadezanAyAm / amarakozo. (pR. 108) : zinoti dharSati bhagaM ziznaH / vivRti (vo. 1, pR. 410) : zinoti vRzcati retasA bhagamiti ziznaH / zi nizAne / nizAnaM saMgharSaNam / For Personal & Private Use Only

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109 Vol.XXXIV, 2011 amarakoza paranI TIkAsarvasva ane padacaMdrikA... vyA.sudhA. (pR. 228) zinIti | zin nizAne (svAdri) vAduna | pRSaraHi a. ko. nA badhA ja TIkAkAro zin nizAne pinotiA e svAdi dhAtu parathI A zabdane vyutpanna kare che ane nizAna" no artha saMgharSaNam Ape che. vaNadazanAno mata che ke A zabda dvitAlavya che. te bAbate koI matabheda nathI. mAdhApavuM. (pR. 446) mAM zin paranA dhAtusUtramAM nizAnam no artha tIvAraNan Apyo che, paNa temAM A zabda Apyo nathI. vyA. sudhA. (pR. 228) mA ziznaH zabdane vIdunInA ema kahI, zin dhAtu parathI vyutpanna karyo che paNa kayA sUtrathI A ne pratyaya lagADyo che te jaNAvyuM nathI. ema lAge che ke temane rU#i---nava ! (uNAdi 3-2) sUtra abhipreta haze. 20. . . 3yanam (2-8-12) vimAna TIkAsarvasva (bhAga-3, pR. 96) : DIG vihAyasA gatau / karaNe lyuTi Dayanamapi matabhedAditi vazinA | amarakozo. (pR. 130) : Dayante vihAyasA yAntIvAnena DayanaM vimAnAkhyam / vivRti (vo. , pR. 11): 3yate vihAra chinyatrastha ti Dayanam vidAyarA tI vimAnAkhyanAmAni / cA. sudhA. (pR. ra83): phIDane TIvihAlA tau I (vivADhi) curA (rU.rU.27) sarvAnaMde, kSIrasvAmI ane liMgasUri DIvidAyasa patI Daya . e gvAdi dhAtu parathI A 3yanam zabdane vyutpanna kare che, jayAre bhAnujI dIkSita divAdi DI vihIyA gata kIyo ! dhAtu parathI 3yanam ne vyutpanna kare che. vadizAno sarvAnaMde je mata yaMkyo che temAM teNe nyu kahIne kaMIka matabhedanI vAta karI che. kSIrasvAmI ane bhAnujI jevA keTalAka vaiyAkaraNo udharAyoH nyu (3.3.117) sUtramAMnA ane nyu sUtrathI vidyAsA ti) pratyaya DI dhAtune lagADI vyutpanna kare che to vivRtikAra liMgasUri dhavarane nyuA thI nyu pratyaya lagADe che jemake 3yane vihAra chatyaa: I sarvAnaMde vaNadezanAno pUro mata TAMkyo nathI, paNa lAge che ke varNadezanAkAra A ja matabhedano nirdeza karatA jaNAya che. 22. ma. vo. di: (2-8-81) talavAra. TIva (pa-rU, pR. 226) : RSi tiau I vivi sRSTi: pavanatiH hArjinirmiMzA * jJeyA ekArthavAcakAH iti trikANDazeSazca / riSi hiMsAyAM halAdiriti varNadezanA / dvividha evati rabhasaH / For Personal & Private Use Only

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110 nIlAMjanA zAha SAMBODHI . amarakozo. (pR. 135) : - RSergatyarthAdRSTiH RtyakaH / (6-1-128) iti prakRtibhAvaH / hiMsArthAd riSestu riSTiH / candrahAsAsiriSTaya iti kecit paThanti / vivRti0 (vo 1, pR. 536) : - riSyati ripuM hantIti riSTiH / riSa hiMsAyAm / * pArijAta / (vo 1, pR. 536) khaDge tu - asiriSTayaH / tasmAnnirapatad bhUri zilAzUleSTimudgaram / ' (bhaTTikAvya 17, 45) iti bhaTTiprayogAdajAdizca syAt / vyA. sudhA. (pR. 293) : - reSati / riSu hiMsAyAm / (tudAdi) ktic / (3.3.174) riSTiH khaDge nA zubhe strI (iti medinI) / ajAdiH iti svAmyAdiH / savani pAte RSTiH 5|maa cha bhane noMche 3 ezina riSTi: 5 / bhApa cha, bhane ta riza hiMsAyAm - tuhi pAtune tano bhUNa dhAtu mAne cha. sapAna RSTiH ne kticktau. (3.3.174) sUtrathI vitar pratyaya lagADIne vyutpanna kare che. amaraozo.natA kSIrasvAmI, RSTi: 5|maape cha, bhane riSTiH 558 59 // cha bhanodhecha, to vivRtikAra ane mallinAtha ane bhAnujI dIkSita riSTi pATha Ape che, je bAbata varNadezanAkAranA bhatane samarthana mApecha, amara54Aritama bhaTiyanAtha noMche mAdhyama (17.45) bhAM iSTiH zabda prayoyo cha :...... bhUrizilAzUleSTimudgaram / // 52thI mAgecha 4 54AnA arthamA RSTiH, riSTiH ane I e traNe zabda prayojAtA haze. 22. a. ko. musalaH / (2-9-25) bhusaNa (Ayudha)-sAdhu TIkAsarvasva (bhAga-3, pR. 171) : musalinI musalo vyutpAditaH / mUrdhanyo dRzyate iti varNadezanA / amarakozo. (pR. 144) : musyate khaNDayate'nena iti musalam / vivRti. (vo. 1, pR. 568) : musalaH musyate dhAnyamanena iti musalaH / musa khaNDane / pArijAta. (vo. 1, pR. 568) musalI dantyamadhyo mUrdhanyamadhyazca syAt iti varNanirdezanAmavacanAd muSalo'pi syAt / vyA. sudhA. (pR. 310) : musalaH musa khaNDane / vRSAdibhyazcit / iti kalac / (3.1.106) (uNAdi 1-106) u. sU. vR. (pR. 26) : vRSAdibhyazcit / musalaH / musa khaNDane / / musalaM muzalaM tu ayogre musalI matA / tAlamUlyAmAkhuparNagRhagodhikayorapi // iti vizvaH __mUSa steye ityasya mUSalo mUrdhanyamadhyo'pi iti varNadezanA / dantyasakAro'pi musala ityasyAgre / gurupurumusalaM iti bhaTTiH / (13.47) muzalo musalo'pi ca / iti zabdabhedaprakAzaH / . For Personal & Private Use Only

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Vol.XXXTV, 2011 amarakoza paranI TIkAsarvasva ane padacaMdrikA... 111 a.ko.nA zabda musattaH vizeno vadizanAno A mata jema TIkAsarvasvamAM maLe che, tema eja zabda vizeno varNadezanAno lagabhaga evo ja mata che. sU. 9. mAM vRSadvicchathat | (uNAdi 1. 106) sUtranA saMdarbhamAM maLe che. tethI punarukti TALavA e mata u. sU. vR. nA bIjA 6 mata joDe na ApatAM ahIM Apyo che. TIkAsarvasvamAM ApelA varNadezanAno mata ema che ke musatta: zabda mUrdhanya eTale mutta: zabdarUpe paNa dekhAya che. ahIM teo musa vaDane parathI vyutpanna thatA musatta: zabdano nirdeza karatA jaNAya che. u. sU. vR. mAM vRSaviSyazcit I amti 2.26 sUtranA saMdarbhamAM prathama ujvaladatta musa gine dhAtu parathI musatram ane mutama A sUtrathI #na pratyaya lagADI vyutpanna kare che, ane muratI zabdanA tAlamUlI, AkhuparNa ane garoLI vagere artha Ape che. te pachI varNadezanAno mata Ape che ke mUSa te - e gvAdi dhAtu parathI mUrdhanya madhya mUSata: zabda paNa banI zake. ujjavala umere che ke mulataH e danyasakArAnta zabda bhakie prayojayo che: (vAgapurapuramurata) (13.47) ane zabdabhedaprakAzamAM paNa musatA ane mukhyataH baMne zabdo ApyA che. a.ko. mAM moTAbhAganA TIkAkAro musaH pATha Ape che ane tene musa uve I dhAtu parathI siddha kare che. mallinAtha pArijAta TIkAmAM noMdhe che ke murataH zabdano pATha musattA ane mukata baMne rIte thaI zake tema varNanirdezanA TIkAmAM kahyuM che. AthI sarvAnaMde noMdhelA vaNadezanAnA matane A TIkAnuM samarthana sAMpaDe che. u. sU. vR. mAM varNadezanAne mate mUrdhanyamadhya mUSata: zabda paNa hoI zake ema kahyuM che te mukhya te e kramAdi dhAtu parathI nahIM, paNa mUSa te e gvAdi dhAtu parathI vyutpanna karelo che. vyA. sudhA.mAM (pR. 310) mAM spaSTa kahyuM che ke "muratam' zabda puliMga, napuMsakaliMga ane strIliMga traNemAM prayojAya che ema vizva ane medinIkozamAM kahyuM che tethI musatta:, mutam ane muratI traNe prayojAya che. - varNadezanAnA mata pramANe mulataH uparAMta muratiH ane mUSataH paNa Ayudha ane sAMbelAnA arthamAM prayojAI zake che. noMdhavuM ghaTe ke arthanI daSTie musa rAkhune (divAdi) dhAtu parathI prayojAto musatA ke mukhyataH vadhAre baMdha bese che. rarU. 1. vo. veSavAda (2-1-rUka) zAka vageremAM nAMkhavAno masAlo TIkAsarvasva (bhAga-3, pR. 180) : veSavAra:- kAsamardasurasAdiH / varNadezanAyAM tu dantyo vesavAraH / amarozo. (pR. 245) :- veSa vyAtiM vRnIte vevAra: I vivRtti. (vo. , pR. 174) - veSa pramAnazAvAtuM vRttIti veSavAra vR6 varane ! pArijAta. (vo. 1, pR. 574) vezavAra upaskaraH / saMskAranAmanI / 'vesavAraprasabhasetusinIvAlIti' jyAreSu vanirlezanA | - For Personal & Private Use Only

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112 nIlAMjanA zAha SAMBODHI , vyA. sudhA. (pR. 324) :- vesavADA viNa preraLa (vivAdri) par ved preraNaM vArati vRti, vA vRvarane 1 (svA) rmadhyam I ...... 'vesavAra ti thAta: zApui niyona tyAgeyasaMhitA sarvAnaMde TIkAmAM noMdhyA pramANe varNadezanA TIkA 'vesavAra:' pATha Ape che ane "vyA. sudhA." paNa eja pATha Ape che. jIvana preraLa e divAdi dhAtune bhAve (3.3.18) sUtrathI van pratyaya lagADI veza: zabda vyutpanna karIne pachI vetaM vRnIte ema samajAvI karmathanuM 1 (3.2.1) sUtrathI gaLu pratyaya lagADI vesavAra: zabda siddha karavAmAM Ave che. pArijAtamAM paNa mallinAthe noMdhyuM che ke vanirdezanA TIkA savA:' ema datya pATha Ape che. kSIrasvAmI, liMgasUri ane mallinAtha veSavara: pATha Ape che, ane "veSa' eTale ke caDhI gayelA zAkane je saMskAre che te "vezavAra' ema liMgasUri samajAve che. A "vesavAra' zabdane vyA. sudhA.mAM noMdhyA pramANe, mukuTe samajAvyo cheH vesavAra: eTale hiMga, jIru, haLadara, dhANA, sUMTha sarasava . vagereno banelo masAlo. varNadezanAnA vesavAra; pAThane a.ko.nA TIkAkAra mallinAtha ane bhAnujI dIkSitanuM samarthana maLI rahe che. * ra4. . va. suSiAmiputAni (2-1-22) kAMjI rIsarvastra (mA I-3, pR. 283) : dropa susmAtA: sa ca yavavikAravAci iti varNadezanA / amarakozo. (pR. 146) : kulmASairyavAdibhirardhasvinnairabhiSUyate parivAsyate sA kulmASAbhiSutam / vivRti. (I, 577) : kulmASairardhasvinnai rakAdirabhiSUyate parivAsyata iti kulmASAbhiSutam / vyA. sudhA. (pR. 35) vottatiA suta saMsthAne (vAri), viva6 (rU.2.278) sun ardhavino mASo'smin / kul bandhurmASo'sya vA / kulmASaM syAttu kaanyjike| kulmASo'rdhasvinnadhAnye + yavake caNake'pi ca + ta devendra | sarvAnaMde noMdhelA varNadezanAnA mata parathI spaSTa che ke te eka to te vasubhASa ne badale sunmAtA: pATha Ape che ane bIjuM te zubhyAsa: ane majutAni baMnene judA zabdo gaNe che. a.ko.nA lagabhaga badhA TIkAkAro zuSA: pATha Ape che. mAtra varNadezanAkAra zuklAsa: ema dantAnta pATha Ape che. bIjA koI TIkAkAre A pATha noMdhyAnuM jANamAM nathI. vyA. sudhAkara suta saMsthAne e khvAdi dhAtune maLyo. . (3.2.178) sUtrathI viva pratyaya For Personal & Private Use Only

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Vol.XXXIV, 2011 amarakoza paranI TIkAsarvasva ane padacaMdrikA... 113 Aust, kul za06 vyutpanna :rI, kul ardhasvinnA mASo'smin / ama pa ra sabhAsa. 42rI, kulmASaH zabda vyutpanna kare che. sarvAnaMda, varNadezanAnI jemaja sunmApa: ane miputAni ne judA gaNatA lAge che. liMgasUri ane kSIrasvAmI A baMnene eka ja zabda tarIke samajAve che. - abhiSutAni 106 abhi + SuJ pAtu 52thI bhAveda cha. SuJ me svAhi pAtune ktaH / (3.2.102) sUtrathA ktaH pratyaya 4ulne, upasargAt (8-2-65) sUtrathA sa nuM Satva tha ne abhiSutam zabda bane che. teno artha "bAphelA javane masaLIne banAvelI kAMjI." varNadezanAe ahIM zuklAsa no artha javano vikAra karyo che tethI javanI rAba ke kAMjI ema artha thAya. 25. a. ko. apasavyam / (3-1-84) mI pAhu- zarIra TIkAsarvasvaM (bhAga-4, pR. 78) : dakSiNamaGgamapasavyam / dvivakAra iti varNadezanA / amarakozo. (pR. 178) : apakrAntaM savyAdapasavyam / / vivRti0 / (vo. II 116) : apagataM savyAd vAmabhAgAditi apasavyam / pArijAt / (vo. II 116) : apasavyaM tu dakSiNam / dakSiNaM nAma vAmetarat / vyA. sudhA. (pR. 377) : apagataM savyAt / apasavyaM triliGgaM tu dakSiNapratikUlayoH iti vizvaH / sarvAnaMde vaNadezanAno je mata TAMkyo che, (ke be vakAra joIe.) te uparathI ema jaNAya che ke te sal apasavyam no pA6 apasavvam 3 apasaLyam mema ratAya che. mevo 48 zyAya bhagato nathI. apasavyam no artha yA 21stt kSi! - meTara 3 bhAnuM zarIra mema 42du dAgecha. SuJ abhiSave - me svAhi pAtu 52thI aco yat / (3.1.37) sUtrathI yat pratyaya ne. savyam za06 vyutpanna 42vAmana bhAve che. apagataM savyAt / ama paMyamI tatpuruSa samAsa 'rIne, apasavyam zabda vyutpanna karavAmAM Ave che. 26. a. ko. zANI / (3-5-9) zAnuM vastra-soTIno patthara TIkAsarvasva (bhAga-4, pR. 174) : zANI zraNa dAne tAlavyAdiH / pacAdiH / tasya vikAraH (43-134) ityaNi / zANIti varNadezanA / amarakozo. (pR. 233) zANI nikaSaH / zANa ityeke / vivRti (vo. 2, pR. 678) - zANI karSaNazIlA / pArijAta. (vo. 2, pR. 678) zANI - nikaSapASANaH / For Personal & Private Use Only

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nIlAMjanA zAha SAMBODHI vyA.sudhA. (pR. 412) zALI zaLasya vinnara: | (4.rU.120) tyam / TiThThALa. (4.1.19) 'ti svAmI ! zALa: kRtyane / sarvAnaMda ane bIjA TIkAkAronI jema varNadezanAkAra paNa A zabdanI zALI emaja joDaNI Ape che. 114 sarvAnaMda zALI zabdane vaLa zaLa zraLa vane / svAdi dhAtu parathI vyutpanna kare che. te zraLa vAne e svAdi dhAtune pannAtithyo'v / (3.1.134) sUtrathI av lagADI zaLaH zabda siddha karI, tasya viAra: / (4.3.134) sUtrathI ag lagADI zALaH / siddha karI tene rijJALa. (4.1.15) sUtrathI p lagADI zALI siddha kare che. te teno artha zaNanuM vastra, zaNamAMthI banAvelI sADI karatA jaNAya che. vyA. sudhAkAra paNa e dhAtu parathI A zabda vyutpanna karI, zaNano vikAra emaja artha Ape che. te antari. (3.3.19) sUtrathI yag lagADe che. keTalAka TIkAkAro amarakozanA A zlokamAM zALaH pATha Ape che ema kSIrasvAmIe ane bhAnujI dIkSite noMdhyuM che. varNadezanAnA matamAM zALI nA arthano nirdeza nathI. kSIrasvAmI, liMgayasUri ane mallinAtha teno artha 'kasoTIno patthara' kare che. vyA. sudhA. (pR. 348) mAM vikalpe zALaH zabdane zo tanUjvaLe / e divAdi dhAtu parathI vyutpanna karyo che. te arthanI dRSTie vadhAre baMdha bese che. temAM noMdhyA pramANe medinIkozamAM zALaH ane zALI zabdanA be judA artha spaSTa kahyA che : 'puMsi syAt, zANo mAsacatuSTaye / lohAdInAM ca nikaSe zANI prAvaraNAntare // 27. 4. jo. purohAzaH ( rU-ba-22) yajJamAM homavAno vi TIkAsarvasva (bhAga-4, pR. 180) : puroDAzastAlavyaza iti varNadezanAkRtoktam / sa ca yAgopayuktaH piSTabhedaH / amarajozo. (pR. 11) : puroDAzo thaze / piTapUrva: / nivRtti (vo. 2, pR. 703) : puroDANa: piSTatomadravyam / pAriJAta (vo. 2, pR. 703) yazIyapUrva : / vyA. sudhI. (pR. 46) : puH prathama vAzantyanam / vAglR vAne (svAti) / vaLi paN (rU-3-11) pRSodarAditvAt (6-3-109) vrIhezca puroDAze / (4-3-148) kRti nirdezAdA vakSya 3: / A mata varNadezanAkRtnA nAme maLe che. sarvAnaMde noMdhyA pramANe varNadezanA tAlavyavALo pATha eTale ke puoDAzaH Ape che. 'a.ko.' nA For Personal & Private Use Only

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Vol.XXXIV, 2011 amarakoza paranI TIkAsarvasva ane padacaMdrikA... 115 badhA TIkAkAro A bAbatamAM ekamata jaNAya che. pIselA cokhAmAMthI banAvelA mAlapUDAne yajJamAM prathama homavAmAM Ave che, tene purohAzaH kahe che. / 'vyA.-sudhA.' mAM tene vaz vane / e svAdi dhAtu parathI, rmaLi dhan| (3.3.19) thI pat lagADI vAzaH ne vyutpanna karI, puraH prathamaM vAzantyanam / kRti puroGAzaH zabda siddha karavAmAM Ave che. vyA. sudhA. pramANe auddeza puroDAze / (4.3.148) sUtramAMnA nirdezathI r no 4 thAya che, jyAre mA. dhA. vR. (pR. 227) mAM vAz vane dhAtusUtra paranI vRttimAM pauroDA puroDAzAt jan / (4.3.70) sUtramAMnA nirdezathI vAzaH nA 6 no i thAya che. tema kahyuM che. sarvAnaMde noMdhelA varNadezanAnA matamAM tenI vyutpatti aMge nirdeza nathI. 28. kavi. amantAt : / (2-222) SaNDa: kamaLono samUha - sAMDha u. sU. vR, (pR. 27) : paLu vAne / vahunavattanAt satvAmAvaH / vaLyo AnanopatI / 14: saMSAta iSyate / SaDi rujAyAm / asmAttu ghaJi zaNDazabdastAlavyAdimAnapi vartate iti dezanA / varNadezanAno zabDaH zabda vizeno mata vezanA nA mata tarIke maLe che. a.ko.mAM A SaNDa: zabdano 1:10.42 mAM kamaLonA samUha artha ane 2.9.62mAM sAMDha artha maLe che. ujvala noMdhe che ke SaLu vAne / sanoti / e tanAdi dhAtune gamantrAn 3: / e uNAdi sUtrathI 3: pratyaya lAgatAM paNDa: zabda bane che. dhAtvAve : sa / (6.1.64) sUtrathI 5 no sa thavo joIe paNa bAhulakathI thato nathI. te paNa teno 'jaMgalano sAMDha ane (kamaLono) samUha' artha Ape che. varNadezanA hi (zaDi) hAyAM saddAte 6 / zavute / e svAdi dhAtu parathI ari ca vALe (3.3.19) sUtrathI pab pratyaya lagADI zabDaH ema zabda tAlavyAdi zabda vyutpanna kare che. vyA. su. dhA. (pR. 108) mAM pa6: zabdane ujvalanI jema vyutpanna karyo che ane tAlavya zabDaH zabdane temAM (pR. 323) varNadezanAnI jema vyutpanna karyo che. temAM baMne ThekANe tAlavya zabda che tema noMdhyuM che. si. kau. (bhA. 4, pR. 542) mAM paNa prastuta uNAdisUtranA udAharaNa tarIke paNDa: ApI jaNAvyuM che ke tAlavyAiiratyare / je bAbata varNadezanAnA tAlavyAdi zabdaH zabda vizenA matane samarthana Ape che. varNadezanAkAra pabDaH uparAMta zabda: zabda Ape che, paNa te zabdano temane kayo artha abhipreta che te jaNAvyuM nathI, tethI ema mAnavuM, rahyuM ke temane tenA banne artha - kamaLono samUha ane sAMDha- mAnya haze. vyA. sudhA. nA kartAe 16: ane zabDaH artha vize uSmAvivekano mata noMdhyo che je A saMdarbhamAM mahattvano che. : tAlavyo mUrdhanyo'jJAtibve zabdazo'yam / mUrdhanya Dva vRSaSe pUrvAcAryaniSTi: / eTale SaNDa: ane zabDaH kamaLonA samUha mATe prayojAya, paNa sAMDha mATe panDa: ja prayojAya. For Personal & Private Use Only

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nIlAMjanA zAha SAMBODHI 21. kaLAvi. Acita... sidhizumithyo rah|(2-13) mizraN mizra 3. sU. rR. (pR. 8rU) : miza maza zabve / mato vartulavavanAtraja / mizramiti vezanA 1 A mizraN zabda 'a.ko.' mAM maLato nathI. 'u. sU. vR.' mAM A mata paNa dezanAne nAme maLe che. 116 ujjavala noMdhe che ke varNadezanAkAra bhyAdi dhAtu miza mA zabde roSabhRte vA / miti / mati / ne uparyukta uNAdi sUtrathI rak pratyaya bAhulakathI lagADI mizraN zabda vyutpanna kare che. ahIM varNadezanA, mitram no kayo artha kare che te ApyuM nathI. prastuta uNAdi sUtramAM je 32 dhAtuo darzAvyA che, temAM miza e baMne dhAtu nathI. tethI bAhulakano AdhAra levo paDyo che. maza curAdi gaNamAM mitra sampanneM / mizrayati dhAtu che. tenA parathI A zabda vyutpanna na karatAM miza majJa dhAtu parathI puruSottame vyutpanna karyo che tethI ema anumAna thaI zake ke temane mitram no mizraNa, joDAyeluM, e sivAya kadAca koI bIjo artha abhipreta haze. saMskRta zabdakozomAM mitra (vizeSaNa)no artha 'mizrita' ane mizra no artha 'AdaraNIya puruSa' Apyo che. teo bAhulakathI paNa vyutpanna karavAnI prakriyAmAM mAnatA jaNAya che. 20. kaLAvi. phaeNzmIApAzajyativiSyaH n / ( rU.43) zAm zAkabhAjI : u. sU. vR. (pR. 74) : bAhulakAt zo tanUkaraNe / So'ntakarmaNi / AbhyAmapi kan zAkam, sAkamiti varNadezanA / a. ko. (2.9.34) mAM zAm zabda maLe che. ujvala varNadezanAno mata noMdhe che ke zAm ane sAm baMne zabdo thaI zake. ujjavala je rIte mata Ape che, te 52thI lAge che varNadezanA zo tanUraLe - e divAdi dhAtune prastuta uNAdi sUtrathI bAhulakathI n pratyaya lagADatAM zAm ane po'ntarmaLi - e divAdi dhAtune Aja sUtrathI n pratyaya lagADatAM sAm zabda vyutpanna thAya che ane teno artha paNa zAm jevo ja che. 'mA. dhA. vR.' (pR. 413)mAM paNa zAm zabdane A rIte ja siddha karyo che. zAm no artha ApatAM ujjavale kahyuM che ke zAztro mAtrAvo dvIpa kRti tAlavyAno nAnArthAmaramAlA / a. ko. paranI 'vyA. sudhA.' (pR. 313)) mAM paNa gALo dIpAntare haiM / kahyuM che. eTale zA zabda dvIpano artha paNa darzAve che. 'a.ko.' paranI pArijAta TIkA (vo. 1, pR. 288) mAM zAm zabdano artha spaSTa Apyo che : patrapuSpattamUruipamopyaM zAAvyavASyam / varNadezanAne paNa zAm no Aja artha (zAkabhAjI) abhipreta haze ema lAge che. to sAm no paNa eja artha thAya. noMdhavuM ghaTe ke zAm nA arthamAM sAm zabda saMskRta sAhityamAM prayojAyelo jANyo nathI. a.ko. (3.3.4) mAM to sAm For Personal & Private Use Only

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Vol.XXXIV, 2011 amarakoza paranI TIkAsarvasva ane padacaMdrikA... 117 zabda sahitam arthamAM maLe che. mATe varNadezanAno A mata cittva jaNAya che, ema lAge che ke varNadezanAkAre vim zabda zam nA arthamAM kyAMya prayojAyelo jANyo haze. rU. 3AAtri. sUDa: : (4-64) sUrI viduSI 3 jU. pR. (pR. 205) pUjUtI . mammad dhAtoH pityayaH sAt gumAvaH sUri pafztaH | strIyAM sUrIti varNadezanA / a. ko. (2-7.5) mAM sUri zabda maLe che. ujvala darzAve che ke pUyrfmvimocane sUd I e adAdi dhAtune uparyukta uNAdi sUtrathI fa: pratyaya lagADatAM, sUri: zabda siddha thAya che. zi. e ti pratyaya hovAthI, viti 2aa (1.1.5) sUtrathI guNano abhAva thAya che. sUri no artha paMDita thAya che. varNadizanAno mata e che ke strIliMgamAM Aja dhAtu parathI, DIm pratyaya lAgatAM sUrI zabda bane che. teno artha "viduSI' thAya che. noMdhavuM ghaTe ke mA.dhA.vR. (pR. 338) mAM A pUgdhAtusUtra paranI vRttimAM Atreyano varNadezanA jevo mata maLe che : sUraH- pU. ji: rUti : / grIvivalAyAM virAti (TLasUtra, 10) vA DI rUtthAtreya: I Ama sUrI (viduSI) zabda vyutpanna thAya che a.ko." paranI pArijAta TIkA (vo. 1, pR. 454) mAM vaLI ema kahyuM che sUra: sUrI virakSaNa tyapadhAnAt drAH rUnAza thAt ! A baMne zabdano artha vicakSaNa' thAya che. vyA.sudhA." (pR. 2para) mAM Apelo rabhasano mata paNa emaja che. hUhU viH bhUrI ti ramaza: I Ama sUrI zabda viduSI karatAM vadhAre paMDitanA arthamAM prayojAto jaNAya che. rU. 3Uri niRSya. vananirdhvani sthitistha(4-246) vanIya yAcaka 3 sU. pR. (pR. 220) : vanIyA vani yAvatIti vacam | vanIyati taddattAt vultA vanIyaka: prArthaka iti varNadezanA / gadyarAmAyaNakAvye tu 'kRpaNa iva na vanIpakopasevitaH' iti zleSAdoSThapakAravAnapi vanIpakazabdaH / A vanIya* zabda a.ko. (3.1.49) mAM maLe che. ujvale vadizanAno mata noMdhyo che ke vanIyara: no artha prArthanA thAya che te pachI, vanIpavI evo zabda paNa che te mata ujajavalano che ke varNadezanAno, te khabara paDatI nathI. ujajavala vanu vAvane ! e tanAdi dhAtune uparyukta uNAdi sUtrathI rUH pratyaya lagADavAthI banelA vani: zabdane supa gAtmanaH vayas (3.1.8) sUtrathI vat lagADIne vanimijIti - vanIyati zabda siddha kare che. pachI tene pravutRva (3.1.133) sUtrathI qt pratyaya lagADI vanIya siddha kare che. For Personal & Private Use Only

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lu8 nIlAMjanA zAha SAMBODHI vyA.sudhA. (pR. 366) sarvadhanuSya rUnA (uNAdi 4-118) thI vaniH siddha karIne, bAkInI prakriyA ujvala pramANe Ape che. ujvala vadhArAmAM noMdhe che ke gadyarAmAyaNamAM parvatane paNa rUva na vanIpopavitA (kUpaNanI mAphaka yAcako vaDe na sevAto) ema zleSathI varNavyo che, te parathI kahI zakAya ke vanapa: evo pakAravAnuM zabda paNa bhASAmAM prayojAto haze. vyAsudhA. kAre paNa vanISa pATha maLe che evI noMdha ApI, vana pati AtoDanupa vA (3.2.3) sUtrathI tene siddha karyo che. a.ko. paranI vivRti (vo. 2, pR. 70) ane pArijAta TIkA (vo. 2, pR. 70) mAM anukrame vanIya ane vanIpaLa: pATha maLe che. mA.dhA.vR. (pR. 509) mAM vana yAvane dhAtusUtra paranI vRttimAM keTalAka vanISa pATha Ape che ema jaNAvyuM che - A parathI spaSTa thAya che ke moTAbhAganA TIkAkAro vanaya pATha Ape che, vanIpa: paNa pATha thaI zake ema noMdhe che ane teno artha "yAMcaka "prArthaka Ape che. rUrU. 3 . vR Sya rUpasvAdyaH pu - (4 - 200) zepa:- puruSanI mUtrandriya 3 sU. pR. (pR. 232) : jUnaH zepa: zUna: ruva zeposTa jUnaH zepo muni taraiya 'veti kecit paThanti / teSAM varphaH zephaH iti dezanA / .. a.ko. (2.6.76) mAM A zabda zer (zapa:) tarIke maLe che. ujajavala noMdhe che ke zUnaH zepa: eka muninuM nAma che. keTalAka sUtra mAMnA pur ne badale pATha kare che tethI temanA mate A sUtrathI zepa ne badale ze: thAya che. ema vadezanAno mata che. zIpha svane e adAdi dhAtune sarvadhAtumyogasunA (uNAdi. 4.187) sUtrathI suna pratyaya lagADI, dhAtune guNa thatAM, vRphazIrtho.. (uNAdi 4.199) sUtrathI puAga lAgatAM zeSa: zabda vyutpanna thAya che ane pachI zUnaH va zepoDA e bahuvIhi samAsarUpe gunaH zepa: zabda siddha thAya che. varNadezanAkAre je mata noMdhyo che, tenA jevo pATha vivRti (vo.2, pR.410) TIkAmAM, seksa pATha maLe che ane zepa rUti vA pI: evI noMdha maLe che. vyAsudhA. (pR. 288) mAM paNa zer pATha che, ane putra rUti vA pATa: vAdun - pratyAkhyAmadUtAvaLetI I gata va zepa puccha - (6rU-22) rUti vArti saMchite. ema maLe che Ama zepa che e adamnazabdo rUpe paNa maLe che. parNaya AzA (6.rU.22) sUtra paranA A vArtikano artha e che ke zunaH zabda che : pucha vagere zabdo sAthe joDAya tyAre tenA vibhakti pratyayano lopa thato nathI. temAM paNa A vArtikanA dRSTAMta tarIke gunaH zepa: udAharaNa ApyuM che. For Personal & Private Use Only

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Vol.XXXIV, 2011 amarakoza paranI TIkAsarvasva ane padacaMdrikA... 119 uparyukta TIkAkAronA mata jotAM spaSTa thAya che ke mahAbhASya kAzikA vageremAM zeSa: zabda maLe che, jyAre keTalAka TIkAkAro ze ke zer Ape che. upasaMhAra uparyukta traNe TIkAkAroe puruSottamadevanI je varNadezanA TIkAnA mata potapotAnI TIkAmAM TAMkyA che, te TIkA hAla prakAzita svarUpe upalabdha thatI nathI. vaLI, svAbhAvika che ke A TIkAkAroe paNa potAnA matanA saMdarbhamAM prastuta hoya teTalA pUrato ja varNadezanAno mata saMkSepamAM Apyo hoya. tethI A TIkAomAM varNadezanAnA je mata je rIte maLe che, te parathI e TIkAnI vizeSatA ane paddhati vizeno khyAla saMkSepamAM ApavAno ahIM prayatna karavAmAM Avyo che. A varNadezanA TIkA tenA nAma pramANe amarakozanA zabdonI joDaNI bAbata sUcana kare che, potAno abhiprAya vyakta kare che. amarakozanA amuka zabdo jevA ke revazrInandanaH, zattI, zALI vagerenI joDaNI bAbata anya TIkAkAro sAthe sahamata thAya che, jyAre a.ko.mAM maLatA amuka zabdonA pracalita pATha karatAM, te saheja judI joDaNI dharAvato vadhArAno bIjo paryAyavAcaka zabda Ape che, A temanI khAsa vizeSatA che, jemake saMskRtamAM sutrAmA uparAMta sUtrAmA, vaMzI uparAMta vaMsI, Rttuni uparAMta jyuni. vagere. A TIkAmAM temaNe keTalAya AvA samAnArthI zabdo darzAvyA che ke je amarakozanA abhyAsIone khAsa upayogI nIvaDe tevA che. amarakoza paranI A TIkAmAM puruSottamadeva vadhArAnA paryAyavAcI zabdo ApIne ja saMtoSa mAnatA nathI. te zabdonI vyutpatine lagatA sUtra ke dhAtu, pratyaya ke paribhASA vagerenuM saMkSepamAM sUcana karatA rahe che. tenA purAvArUpe thoDAMka dRSTAMto pUratAM thaze. jema ke indra artha darzAvatA sutrAmAM zabda uparAMta dIrvAda sUtrAmAM zabda Ape che, tyAre tenA dIrghatvane anveSAmapi| (6.3.137) sUtranuM pramANa ApI sAdhu TharAve che. teja rIte nagArAM artha darzAvatAM ardhA: zabdanI keTalAka TIkAkAro dhvA: joDaNI kare che tene te zA mATe mAnya nathI rAkhatA, tenuM kAraNa ApatAM kahe che ke ardhvam zabda dhR karatAM sAva judo che, kAraNake te ri zabdano paryAya vAravAn ane makArAnta avyaya che. puruSottama RSTiH zabdanA saMdarbhamAM samAnArthI iiSTa zabda sUcave che, tyAre tenA mULa dhAtu riza hiMsAyAm (tudAdi)ne paNa darzAve che, teja pramANe 16: uparAMta zabDaH ema tAlavyAdi joDaNI darzAvIne, Di runAyAM sadRAte 6 / e svAdi dhAtu parathI tenI vyutpatti jaNAve che. te vaMzI no samAnArthI zabda keTalAka vaMsI Ape che ema kahyA pachI tene vRSitA ema samajAvIne, pRSovarAti / (6-3-109) sUtrane tenI vyutpattimAM kAraNarUpe jaNAve che. vanam (vimAna) zabda dhivarLayo: nyuT / (3.3.117) sUtrathI jyur (anna) pratyaya lAgatAM vyutpanna thAya che. keTalAka vaiyAkaraNo tene raLe nyuTa thI to bIjA keTalAka tene adhirane lyuT For Personal & Private Use Only

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120 SAMBODHI nIlAMjanA zAha thI vyutpanna kare che. Ama A mudde vaiyAkaraNomAM je matabheda pravarte che te matabhedano paNa varNadezanAkAre nirdeza karyo che. puruSottama moSa: zabda uparAMta teno samAnArthI zerA: zabda Ape che tyAre amarerAya: ema dRSTAMta paNa Ape che. noMdhavuM ghaTe ke A TIkAomAM maLatA matomAM puruSottamadeve je amuka samAnArthI zabdo ApyA che, temAMnA be-eka zabdo ApaNane kaMIka aMze cinya lAge che, jemake zAkabhAjI artha darzAvatA zAm nA paryAyavAcI zabda tarIke sanma Apyo che ane jamaNI bAjunuM zarIra artha darzAvatA apasavya nA paryAya tarIke pasatram ke apasavyam zabda sUcave che. evuM banI zake ke temaNe A paryAyo sAhityamAM kyAMka prayojAyelA joyA hoya ane tethI emano nirdeza karyo hoya. uparyukta TIkAomAM maLatA vadizAnA matono abhyAsa karatAM lAge che ke, amarakozanA pracalita zabdo tathA puruSottamadeve pote darzAvelA samAnArthI zabdonI joDaNIno, vyutpattiviSayaka noMdha sAthe, nirdeza karatI, temanI A vadizanA TIkA, amarakozanA abhyAsIo mATe mahattvanI banI rahe che. TIpa M. M. Patkar, A History of Lexicography, Varnadesana', pp.69-70, Pub. Munshiran Manoharalal, Delhi, 1981. 2. Ara. zaM - vegavavRta varUdhruvoza, voDa, p. xii, . TI. naM. 3, 8 pherita pharITyUTa, voDA, 2228. 3. amaroza : (kSiAtyAyopetA) (i) mallinAtha - amarapadapArijAta : vo.1, pR. 51; amaravAtikakAreNa varNanirdezanAyAM dIrghakArAntarikSa zabda iti pratyapAdi / 4. jhana, vo. 2, pR. 2 : uktAnuktanirukta cintanaphalAM TIkAM subhUteH parAmAlocyAmarabhASyavArttikamukhAn bahUnAdarAt / vyAcakSe ... / zrI mallinAtho mudA // 5. 3LatisUtravRtti: pR. 2 : vRtti nyAsamanunyAsaM rakSitaM bhAgavRttikAm / bhASyaM dhAtupradIpaM ca taTTIkAM varNadezanAm / ..... samIraiSA tirmama II (zno-2-3) E. A Dictionary of Sanskrit Grammar, p. 79. 7. Ibid, p. 254. saMdarbhagrantho 2. maro : ga kSIrasvAmIviravitA amarazIyATIvA, . ke. ke. mora punA, 2223. A dAkSiNAtyavyAkhyopetaH amarakozaH, saM. e. e. rAmanAthana, aDyAra, madrAsa, 1989. For Personal & Private Use Only

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Vol.XXXIV, 2011 amarIza 52nI sarvasva bhane 5dhyadriA... 121 i liMgayasUriviracitA amarapadavivRttiH (Vol. I, II) mallinAthaviracitaH amarapadapArijAtaH (Vol. I, II) appayAryaviracitaM amarapadavivaraNam (Vol. II) sarvAnaMdaviracitA TIkAsarvasvam saM. gaNapatizAstrI, prathamakANDa (1918), dvitIya kANDa (1915), tRtIyakANDa (1918), trivendrama. rAyamukuTaviracitA padacandrikA (prathama kANDa), saM. ke. ke. datta, saMskRta koleja, kalakattA, 1966 au bhAnujIdIkSitaviracitA vyAkhyAsudhA, paM. zivadatta zAstrI, cau. saM, pratiSThAna, dillI, 1995. 2. kezavakRt kalpadrukozaH, vo.1, orienTala insTITyUTa, baroDA, 1928. 3. aSTAdhyAyIsUtravRttiH kAzikA, bhA-1-2, ____saM. Aryendra zarmA, usmAniyA vizvavidyAlaya, haidarAbAda, 1969. . 4. sAyaNaviraciMtA mAdhavIyA dhAtuvRtti : saM. dvArakAdAsa zAstrI, vArANasI, 2000. 5. vaiyAkaraNasiddhAntakaumudI (bAlamanoramA sahitA), caturtha bhAga, saM. gopAlazAstrI nene, pra. cau saM. sIrIjha, vArANasI, 1967. Ujjavaladutta's commentary on Unadisutras by Theodor Aufrecht, Bonn, Germany, 1959. . 7. M. M. Patkar, A History of Lexicography, Delhi, 1981. saMkSepasUcI graMtha saMkSepa graMtha saMkSepa amarakoza sa.DI. uNAdisUtrapATha Gulz. amarakozoddaghATana amarakozo padacaMdrikA 56.yaM. amarapada pArijAta pArijAta vyAkhyAdhA. vyA. sudhA amarapada vivaraNa vivaraNa siddhAntakaumudI si... amarapadavivRti vivRti For Personal & Private Use Only

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rAmAyaNa, raghuvilAsa tathA triSaSTizalAkApuruSacarita mujaba sItAharaNa' mahendrakumAra e. dave maharSi vAlmIkinA karakamaLa vaDe suzobhita banI janasamAjamAM AgavI cetanAnuM pratipAdana karAvanAra "rAmAyaNa'nA dareka prasaMgomAM mahAkavirAjanI vizeSa varNanazakti mohita karI de tevI puravAra thaI che. A "rAmAyaNa'nA agamya chatAM zreSThatA dharAvatA "sItAharaNa' prasaMgamAM kavinI mArmika tathA suMdara kaLA dRSTigocara thAya che, A prasaMga ja rAvaNanuM mRtyu rAmane hAthe karAvavA nimitta paNa banyo che. eTaluM ja nahIM A prasaMgathI rAmanA samagra jIvanamAMthI jANe ke cetanA haNAI gaI hoya tevo ekalatAno ahesAsa jAgRta thaI Ave che. AvA rAmAyaNanA mahattvanA prasaMga evA "sItAharaNa'nI rAmacandra kRta "raghuvilAsa' tathA hemacandrAcArya kRta "triSaSTizalAkA puruSa carita' mujaba samIkSA karIzuM. rAmAyaNa' mujaba rAma-lakSmaNathI mohita zUrpaNakhAne rAma-lakSmaNa na svIkAratAM te khIjAIne sItA para humalo karavA jatAM rAmanI AjJAthI tene sajA karavA lakSmaNe tenA nAka-kAna kApI nAkhyA. AthI tenA pitarAI bhAI kharane zUrpaNakhAe A aMge jaNAvatAM teNe pahelAM cauda rAkSaso mokalyA bAda cauda hajAranI senA sAthe te gayo paNa tamAmano rAme ekalA hAthe saMhAra karI nAkhyo. sItAharaNa prasaMgamAM pAyArUpa bananAra A prasaMgane hemacandrAcAryanA paTTaziSya rAmacandra "raghuvilAsa'mAM varNavyo che. zabUka nAmano putra sUryahAsa nAmanA devatAthI adhiThita banI vAMsanA jALAmAM besI dararoja ArAdhanA karato hato. pharatAM-pharatAM lakSmaNe ramata-ramatamAM sUryahAsane laIne vAMsanA jALAne chedatAM zabUkanuM mAthuM chedAI gayuM. ahIM vainateya dvArA krodhita candraNakhAne zakhUkavadha aMge samAcAra apAya che. tathA pratyaMjana putrane khoLavA AvelI candraNakhAnA cAritryano rAma-lakSmaNe bhaMga karyo hovAnI lokavAyakA vize jaNAve che. jene jANIne tApase A lokavAyakA khoTI hovAnuM kahI candraNakhAnI prArthanAne avagaNatAM te rAkSasIe bUmarANa karI hovAnuM jaNAvI rAma-lakSmaNanI pratiSThAne jIvaMta rAkhI che. jyAre "triSaSTizalAkA puruSa carita mujaba pAtALa laMkAmAM khara tathA candraNakhAnA zabUka ane * hemacandracAryanA nezanala samArohamAM tArIkha-8-2-2008 nA roja pATaNa mukAme rajU karela lekha. For Personal & Private Use Only

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Vol.XXXIV, 2011 rAmAyaNa, raghuvilAsa tathA triSaSTizalAkapuruSacarita mujaba "sItAharaNa' 123 suMda nAme be putro yauvanavayane prApta thayA tyAre zabUka sUryahAsa khagane sAdhavA vanamAM Avyo. bAra varSane sAta divasa tene sAdhavAnI avadhi mujaba te vAgoLanI jema UMdho laTakI rahyo tyAre bAra varSa ane cAra divasa thatAM te vanamAM Avela lakSmaNe te sUryahAsa joI Azcaryavaza samIpa rahela vaMzajALane chedatAM temAM rahela zabUkanuM mAthuM kapAIne lakSmaNa AgaLa paDatAM te A kRtyane dhikkArI rAma pAse AvI temane vAkepha karyA. tyAM ja potAnA putranI sAdhaka avadhi pUrNa thavA AvatAM candraNakhA te vaMzagaNvara AgaLa jatAM potAnA putranuM mastaka kapAyeluM joI AkraMda karavA lAgI. vanamAM pharatAM rAma-sItA-lakSmaNane joI te kAmavivaza thaI potAnuM koI khecara dvArA haraNa thavAnuM jaNAvI te rAma-lakSmaNane tene pAmavAnuM kahetAM teno tiraskAra thavAthI tenA putravadhathI krodhita te candraNakhAe potAnA svAmI kharavidyAdharane kahetAM teo cauda hajAra vidyAdharonAM lazkara sAthe jatAM lakSmaNa temano sAmano karavA jAya che, tyAre te rAvaNa pAse jaI sItAnA ananya sauMdaryanAM vakhANa karI pAmavAnuM kahetA rAvaNa tyAM javA upaDe che. jyAre bhavabhUtie uttararAmacaritamAM zUdramuni evA zabUkanA tapathI rAmarAjayamAM brAhmaNaputra mRtyu pAmyo hovAthI rAme teno vadha karyo hovAnuM jaNAve che. Ama "uttararAmacarita'mAM rAmarAjya pachI A prasaMga varNavAyo che. Ama jotAM raghuvilAsa tathA triSaSTizalAkApuruSacaritamAM A kathA lagabhaga sAmAnya jaNAya che tathA A be kRtimAM varNavAyela candraNakhA e ja vAlmIki rAmAyaNanI zUrpaNakhA hovAnuM paNa gaNI zakAya. vAlmIki rAmAyaNa mujaba zUrpaNakhAnA rAma-lakSmaNe karela apamAnane lIdhe teNe rAvaNane temanA viruddha uzkeryo tathA sItAnA apratima sauMdaryanuM paNa varNana karyuM. rAvaNe dhamakI ApIne mArIcane suvarNa mRga banavA kahyuM te mujaba AkarSaka evA mRgane joI sItAe rAmane te mRga jIvatA ke marelA svarUpe lAvI ApavA vinaMtI karI, jethI rAma paNa sItAnA kahyA mujaba lobhAyA ane sItAne lakSmaNane soMpI rAma mRga pAchaLa gayA, A banAvaTI mRga rAmane dUra kheMcI gayuM. jyAre rAme tene bANathI viMdhyuM tyAre maratAM pahelAM teNe rAmanA avAjamAM hA sIte! hA lakSmaNa ! evI cIso pADI, te sAMbhaLI rAmanI zakti para zraddhA dharAvanAra lakSmaNa sItAnA kahevA chatAM sItAne ekalI mUkI javA taiyAra na thatAM sItAe "rAmanA mRtyu pachI lakSmaNa potAne meLavavA Icche che evA AkarA AkSepo karyA jethI nachUTake lakSmaNa lakSmaNarekhA dorI rAmanI pAchaLa jAya che ane barAbara te ja samaye potAnI yojanAne sAkAra karavA rAvaNe parivrAjaka veza dhAraNa karIne sItAnuM haraNa karyuM. raghuvilAsa'mAM rAma-lakSmaNa pAse virodharUpI banAvaTI vezadhAraNa karI rAvaNa pravezI teonI pAse AtmavaMcanA karI teone gabharAvavAno prayAsa kare che paNa te asaphaLa thatAM tApasa dvArA ja rAvaNa, khara, dUSaNa vagere AvavAnA samAcAra maLatAM lakSmaNa pote ja temano sAmano karaze evuM kahetAM lakSmaNane parAbhava thAya to siMhanAda karavAnuM sUcana rAma kare che tyAre virAdha vezadhArI rAvaNa paNa tenI sahadharmacAriNI patralekhA(prahasta)ne rAmane soMpI yuddha jovA javAnuM kahe che, tyAra bAda sItA pAsethI rAmane dUra karavA te avalokinI vidyAne yAda kare che. tyAM ja prahasta vezarUpI rAvaNanI patnI tenA pati mATe ciMtA vyakta kare che tyAre rAma tathA sItA tene AzvAsana Ape che. tyAM ja avalokinI vinaya sAthe potAnI prazaMsA tathA parAkramonI gAthA varNavatI praveza kare che. tyAM ja rAvaNanA Adeza mujaba te siMhanAda kare For Personal & Private Use Only

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124 mahendrakumAra e. dave SAMBODHI che. tyAre sItA bhayapUrvaka kahe che ke "Aryaputra ! A zuM? he vanadevatA ! he mA ! lakSmaNanuM rakSaNa karajo. kharekhara A AThamo ardha cakravartI lakSmaNa, pitAe AjJA na karI chatAM moTAbhAInA snehathI tamArI pAchaLa vanamAM Avyo che. tyAre lakSmaNanA parAkramathI vAkepha rAma sItAne nizcita rahevAnuM jaNAve che. Ama avalokinIno prayAsa paNa niSphaLa jatAM virAdhane rAvaNe mAya evA kapaTa samAcAra laI zabUka Ave che, rAvaNa harSa sAthe tene vadhAve che. A sAMbhaLI rAvaNanI sahadharmacAriNInA vezamAM rahela prahasta agnimAM pravezavAnuM kahI vanapradezamAM mUkelA alaMkAro yogya pAtrane ApavAnuM kahetAM - parastrI sAthe javA rAma saMmata thatA nathI. bIjI bAju sItA paNa tenI sAthe ekalI javA taiyAra nathI. tyAre te patralekhA (prahasta) ja ekalI javAnI IcchA vyakta kare che. A yojanAmAM paNa rAvaNane niSphaLatA ja soMpaDe che, tyAM ja prahasta dvArA nepathyamAMthI khara dvArA thatuM parAkrama kahevAmAM AvatAM have lakSmaNa hArI gayo hovAnuM jANI rAma sItAne vanadevatAnA zaraNe mUkI dhanuSya laIne jatAM kapaTI rAvaNano mArga khullo thaI jAya che ane satI evI sItAne te sAvadhAna rIte upADI zakavAnuM yogya na mAnatAM te UMcA starethI trADa pADI kahe che ke "he zudra mleccha patnI ! vaDIla rahita tuM tArA koIka ISTadevatAne yAda kara. hAlatA vajanI ramatathI hatheLI ghAyala che tevA te indra paNa tane bacAvI zakaze nahIM. zabUkanA vadhathI jeno gusso AsamAne pahoMcyo che tevo A adhama mANasono yamarAja para tAruM mastaka rUnI jema uMcakI leze." A sAMbhaLatAM ja mUchita thaI gayelI sItAnuM apaharaNa karI rAvaNa tene puSpaka vimAnamAM laI jAya che. sItA cetanAmAM AvatAM AkraMda karI bacAvavAnA pokAra kare che. jyAre triSaSTizalAkApuruSacaritanA sAtamA parvanA pAMcamA sargamAM Apela sItAharaNa prasaMgamAM strI ratna samI lAvaNyavatI evI sItAne jo tuM meLavIza nahIM to tuM rAvaNa ja nathI. evI potAne nahIM svIkAravAnA tathA putraviyoganA duHkhathI uzkeranAra candraNakhAnAM vidhAno mAtrathI ja chakI jaI rAvaNa puSpaka vimAnamAM besI jAnakI pAse Avyo paNa tyAM ugra tejavALA rAmane jotAM ja agnithI jema vAgha bhaya pAme tema rAvaNa bhaya pAmI tenAthI dUra jaI Ubho rahyo tathA te vicAravA lAgyo ke "ahIM AvA ati ugra rAma ane temanI pAsethI sItAnuM haraNa karavuM te eka tarapha vAgha ane eka tarapha nadI jevuM mahAkaSTadAyaka che. tyArabAda tatkAla avalokinI vidyAnuM smaraNa karI dAsInI jema aMjali joDI UbhI rahela avalokinIne "tuM mane sItAnA haraNa karavAnA kAryamAM sahAya kara' evuM kahetAM te bolI ke vAsuki nAga parathI ratna levA karatAM paNa A agharuM kArya che. paNa eka upAya che ke jyAre lakSmaNa yuddha karavA gayA tyAre saMkaTa samaye potAne siMhanAda karI jANa karavAnuM kaheluM che te mujaba rAvaNe tene kahetAM te devIe dUra jaI lakSmaNa jevA avAjamAM siMhanAda karyo. siMhanAda sAMbhaLI rAma saMbhramathI vicAramAM paDyA ke ""hastimalla jevA mArA anuja baMdhu lakSmaNanA jevo jagatamAM koI pratimalla nathI, lakSmaNane saMkaTamAM pADe tevA puruSane huM joto nathI. tema chatAM A siMhanAda prathama karela saMketa pramANe barAbara sAMbhaLavAmAM Ave che tyAre tarka vitarkathI vyasta manavALA rAma pratye vAtsalya hRdayI sItA lakSmaNanA saMkaTamAM vilaMba na karavA kahe che. AvA sItAnAM vacanathI ane siMhanAdathI prerAyelA rAma apazukanane paNa nahIM gaNakAratAM tarApUrvaka jAya che tyAre rudana karatAM jAnakIjInuM rAvaNa baLapUrvaka haraNa kare che. For Personal & Private Use Only

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Vol.XXXIV, 2011 rAmAyaNa, raghuvilAsa tathA triSaSTizalAkApuruSacarita mujaba "sItAharaNa' 125 Ama, "rAmAyaNamAM varNita sItAharaNa rUpI prasaMgane "raghuvilAsa" tathA "triSaSTizalAkApurUSacaritamAM bhinna rIte nirUpyo che, triSaSTizalAkApuruSacaritamAM sItAharaNa prasaMgamAM koI ja banAvaTI pAtrano sahAro levAmAM Avyo nathI. jyAre "raghuvilAsamAM sItAnA satItvane anurUpa A prasaMgamAM banAvaTI pAtronI bharamALa sarjI aneka prayAso rAvaNane AdaravA paDe che. jo ke "rAmAyaNa'nA suvarNamRgane to raghuvilAsa" tathA "triSaSTizalAkApuraSacaritamAM sthAna na ApI lekhake potAnI maulika kathana zailI akhatyAra karI che. A banne kRtiomAM rAmAyaNathI bhinna lakSmaNanA pAtranuM UrdhIkaraNa karI lakSmaNane prathamathI ja dUra karI rAmane ja sItA pAse rAkhavAmAM AvyA che ane avalokinI vidyA dvArA karAyela siMhanAdathI sItAe karelA AgrahathI rAma-lakSmaNa pAse doDI jatA batAvAyA che. Ama A be kRtiomAM lakSmaNanA pAtrane vizeSa opa apAyo che. "raghuvilAsamAM to sItAharaNa prasaMgamAM rAma-lakSmaNa tathA sItAnI sAthe pahelethI ja virAdha vezadhArI rAvaNanuM milana sadhAyuM che. ahIM prastane rAvaNanI banAvaTI patnI banAvIne aneruM hAsya paNa niSpanna karAyuM che. A uparAMta "raghuvilAsa sItAnA vizeSa satItvane pragaTa karavA moTA svarethI trADa pADI gabharAyelI mUchita banela sItAnuM rAvaNa apaharaNa kare che. tathA sItAne potAnI karavA rAvaNe sItA samakSa karela kAkalUdI - AjIjI - vinaMtIone paNa hUkarAvatA sItAnA pAtrane vizeSatA arpe che. uparAMta virAdha, prahasta, avalokinI jevAM kAlpanika pAtronI sajAvaTamAM paNa kavinI maulika dRSTi jaNAya che. jyAre "triSaSTizalAkApuruSacarita'mAM daivItattvavALAM pAtronuM nirmANa na karatAM rAvaNe rAmane dUra karI AkraMda karatI sItAnuM apaharaNa karyuM, tevA karAyela ullekhamAM strIsahaja sItAnI bhIratAne chatI karavAno prayAsa karAyo che. Ama "rAmAyaNa'nA sItAharaNa prasaMgane "raghuvilAsa' tathA triSaSTizalAkApuruSacarita'mAM nAvInyapUrNa rIte maulika dRSTikoNathI AgavI rIte nirUpyo che. TIpa 1. "lachimana ati lAghavaM so nAka kAna binu kInhi / tAve vara rAvana vahAM manI punautanvonTi | tulasIkRta rAmAyaNa, araNyakAMDa, 17, pR. 655, pravINa pustaka bhaMDAra, rAjakoTa 2. tulasIkRta rAmAyaNa, araNyakAMDa, pR. 655 thI 660 sudhI ejana. 3. rAmavAvArthasuri, vistAranATaksa, maMtra - 2, saMpA. vinayaginavari, anuvAdaka, DaoN. mahendra dave, prathama AvRtti, vi. saM. 2065, bhAbhara, pR. 8 - 9 4. tApasa:- (saroSam) alIko'yaM pravAdaH / svayaM punazcandravIravA vRSasyantI rAmalakSNau prArthitavatI / - rAmanAmaNAgAmavALatA 2 sAropamozansI namastastamutpatitA / ejana raghuvatA, pR. 9 5. itaH pAtAlalaGkAyAM kha - cndrnnkhaatmjau| zambUka - sundanAmAnAvabhUtAM navayauvanau / pitRbhyAM vAryamALo'pi daNDakAraNyamanyadA / zambUkaH sUryahAsAsisAdhanArthamupeyivAn / / hemacandrAcArya, triSaSTizalAkApuruSacarita mahAkAvyam, 7-5- 378 / 379 saMpA. ramaNavinayagI jaLa, vinayazItavandrasUri, amaddAvAda . 2002, vi. saM. 2017, pR. 185 For Personal & Private Use Only

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126 mahendrakumAra e. dave SAMBODHI 6. me4na 7 - 5 - 380 thI 381, pR. 185 7. mena 7-5 - 788 thI. 404, pR. 185 8. AtreyI: atrAntare brAhmaNena mRtaM putramAropya - rAjadvAre ..... zambUko nAma vRSabhaH pRthivyAM - tapyate tapaH / (2/ 8) tathA caturdaza sahastrANi rakSasAM .... raNe hatAH / (2-15), bhavabhUti kRta uttararAmacaritam aMka - 2, saM. pI. sI. ve vigaire, amahavAha 1882-83 pR. 40 thI 44 8. dhuA~ dekhi kharadUSaNa kerA ! jAI sUpanakhA~ rAvana prerA || - rAmAyA, a25453, bhesana pR. 661 10. rupa rAsi bidhi nArI savArI / rati sata koTi - tAsu balihArI // rAmAyA, a275is, bheTana pR. 662 11. hohu kapaTa mRga tumha chalakArI / ... ehi mRga kara ati suMdara chAlA / ___Anahu carma kahati baidehI / prabhuhi gaya lai dUrI / - rAmAyaNa, ma275 13, mena pR. 664 thI 667 12. maramabayana jaba sItA bolA hari prerita lachimana mana DolA cale jahA~ rAvana sasi rAhU // AvA nikaTa jatI ke beSA / bhena pR. - 618 13. rAmacandrAcArya kRta raghuvilAsa, aMka - 2, ejana pR. 10 thI 15 14. sItA :- (sabhayam) ajjautta ! kiM nadeM ! / vaNadevayAo ! lakkhaNassa sakkhaM karehU / eso khu aTThamo ____ addhacakkavaTTI piuNA aNAiTTho - vi jiTThabaMdhavananeheNa tumhANaM vaNe samAgado // raghuvilAsa, mena pR.15 15. rAmaH na vayamekAkinaH parastrIbhiH sahasaJcarAmaho ___ sItA : ahaM pi ajjauttaM viNA na gacchAmi, raghu., mena pR. 16 16. AH kSudremalecchapatni ! smara guruvidhurA daivataM kiJcidiSTaM ____ kAlakAluSyabhAjAM haratikhalu khahastUlahAraM ziraste / 27., bhe4 pR. 17 2/48 17. sItA (saroSam) are rattiMcara ! pAradAriya ! muJca me / raghu., mena pR. 17 18. strIratnametad gRhaNIyA na ceta tannA'sirAvaNaH // triSaSTi., mena pR. 186, 7-8-423 18. itazca sItAharaNaM ito vyAghra itastahI / triSaSTi., 75/-427 mena pR. 186 20. so'vocada vAsukemauliratnamAdIyate sukham / triSaSTi., pA430 meTana pR. 186 21. taM na pazyAmi saumitriryena prApnoti saGkaTam / triSaSTi., 75/434 - mena pR. 186 22. AropayitumArebhe rudantI janakAtmajAm // triSaSTi., pA438 - mena pR. 186 For Personal & Private Use Only

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graMtha samAlocanA bAlAjI gaNorakara vijayacaMdacariyaM jaina dharma ke 24 tIrthaMkara, 12 cakravartI, 9 ardhacakravartI (nArAyaNa), 9 (pratiardhacakravartI) (pratinArAyaNa) 9 baladeva isa prakAra kula 63 zalAkApuruSa pratyeka utsarpiNI avasarpiNI kAla ke tIsare cauthe aura meM utpanna hote haiN| inake atirikta atyaMta rUpavAna 2 kAmadeva bhI utpanna hote haiM / ina mahAnAyakoM meM se kucha kA caritra jaina kaviyoM ko atyaMta rocaka pratIta huA phalataH unake Upara aneka kAvya kRtiyoM kA sarjana kiyA gayA / prastuta graMtha meM paMdrahaveM kAmadeva vijayacaMdra kevalI ke caritra ko Alekhita kiyA gayA hai| ise haricaMdra kathA bhI kahA jAtA hai| kyoMki isa kathAnaka meMvijayacaMdra kevalI apane putra haricaMdra ke lie aSTavidha pUjA - yathA - jala, caMdana, akSaka, puSpa, dhUpa, dIpa, naivedya evaM phala ke mAhAtmya Adi ko ATha kathAoM ke mAdhyamase varNita kiyA gayA hai| aMta meM parigraha ke hAnikarAka pariNAma ko abhivyakta karane tathA - pazcAtApa se pApa kI nivRtti kA nirUpaNa karane vAlI rasika surapriya kI kathA varNita kI gaI hai| yaha kRti samaya meM 3000 graMthAya meM pAI jAtI hai jabaki 4000 graMthAgra arthAt 1163 gAthAoM vAlI kRti ko bRhad rUpa meM mAnA jAtA hai| prastuta kRti ke kartA kharatara gaccha ke AcArya zrI abhayadevasUri * ke ziSya caMdraprabha mahattara hai, prazasti se jJAta hotA hai ki kartA ne apane ziSya vIradeva kI vinaMti se isa kRtI kI racanA kI vi.saM. 1127 (I. san 1070) meM kI thii| sarala, subodha evaM manohara prAkRta bhASA meM nibaddha mUla kRti ko pAThAMtaro sahita yathAyogya saMzodhita kara gujarAtI anuvAda ke sAtha pahalI bAra prakAzita kiyA gayA hai / isa anuvAda se prAkRta bhASA na jAnane vAlA varga bhI mAtra paramAtmA bhakti kA rasapAna hI nahIM kara sakegA balki pApa se dUra raha kara naitika jIvana jIne ke lie bhI vAcaka ko abhipreta karegA / prastuta prakAzana ko vidvaddhogya sahaja banAne meM DaoN. jitendra bI. zAha ne sAdhvI zrIcaMdanabAlA ma.sA. ke sahayoga se koI kamI nahIM chor3I hai| vijayacaMdacariyaM, saMpAdaka : jitendra bI. zAha, sahayogI : sAdhvI caMdanabAlAzrI pRSTha : 12 + 204, I.sa. 2008, mUlya : 100, prakAzaka : zruta ratnAkara, ahamadAbAda. kumArapAlacaritra saMgraha kalikAla sarvajJa AcArya hemacaMdrasUri kI nizrA meM ahiMsA kA pATha sIkhane vAle cAlukyavaMzatIya For Personal & Private Use Only

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128 SAMBODHI gurjara nareza rAjA kumArapAla ne sattA prApta hote hI ahiMsA ke pracAra-prasAra meM koI kabhI nahIM hone dii| usane samagra rAjya meM amArI (ahiMsA) kI ghoSaNA kii| gujarAta kI prajA meM ahiMsA kA bIjAropaNa kiyA tathA isakA mUla bahuta hI gaharAI taka phuNcaa| isI kAraNa Aja bhI gujarAta kI dharatI ahiMsA ke lie samagra vizva meM vikhyAta hai / isake atirikta usane apane jIvana meM jaina dharma ko svIkAra kara paramArhat kI upAdhi prApta kii| AcArya hemacaMdra ne isI nareza kI preraNA se yogazAstrAdi kaI graMtho kI racanA kii| isase kumArapAla ke guNoM kI mahattA sthApita hotI hai| usake jIvana evaM kartRvya para samakAlIna evaM paravartI aneka kartAoM, AcAryoM evaM kaviyoM ne apane-apane graMthoM meM bar3A hI sundara citraNa prastuta kara yazogAna kiyA hai / sarvaprathama ina sabhI kRtiyoM kA saMkalana muni jinavijayajI ne kiyA thA tathA ise siMghI jaina graMthamAlA ne 1956 meM prakAzita kiyA thA / prakAzana ke samaya hI munirAja ko anya hastalikhita pratiyoM kI prApti huI thI kintu usa jamAne meM chape hue pharmoM meM upalabdha adyatana prApta sUcanAoM evaM pAThoM ko sammilita karanA saMbhava nahIM thA / yaha graMtha anupalabdha ho jAne para isakA dvitIya saMskaraNa DaoN. jitendra bI. zAMha ne sAdhvI zrI caMdanabAlA ma.sA. ke sahayoga se taiyAra kiyA hai / isa prakAzana meM mUla kRtiyoM ko muni jinavijayajI ke prakAzana ke bAda upalabdha hue hastalikhita graMthoM ke pAThoM se milAna kara samucita pAThAntaroM ko samAviSTa kara saMzuddha evaM saMzodhita kiyA gayA hai / prastuta prakAzana meM agralikhita mUla kRtiyoM ko saMkalita kiyA gayA hai: ajJAta kartA dvArA racita kumArapAladeva carita : isa kRti kI prAcInatama prata vi. saM. 1385 (lagabhaga 1328 (IsavI san ) meM likhI huI pATaNa ke jJAna bhaNDAra meM surakSita hai / isa racanA meM rAjA kumArapAla ke rAjyaprApti taka kA vRttAnta upalabdha hai kintu bAda kA nahIM / isase anumAna lagAyA jA sakatA hai ki isa kRti kI racanA rAjA kI hayAtI meM huI hogii| somatilakasUri kRta kumArapAladevacarita : vi.saM. 1512 meM likhI huI prata se jJAta hotA haiM ki rudrapallIya gaccha ke AcArya saMghatilakasUri ke ziSya somatilakasUri ne isa kRti kI racanA kI / isa kRti meM nAgapura ke mahAmAMDalika kumAra ke sAtha kumArapAla rAjA ke yuddha kA varNana hai jo kisI anya kRti meM nahIM milatA / samagra rupa meM yaha caritra vyavasthita evaM tathyapUrNa pratIta hotA hai / kumArapAla prabodha prabaMdha ( kumArapAla pratibodha prabaMdha ) : pUnA se prApta eka trUTita prati meM prabodha ke sthAna para pratibodha pATha milatA hai / isa racanA kI prApta hastalikhita prati kA lekhana vi.saM. 1464 (I.sa. 1407) meM devala pATaka ( kAThiyAvAr3a ke delavAr3A) meM paNDita dayAvardhana nAmaka yati ke Adeza se unake gaccha ke anuyAyiyoM ko par3hAne hetu kiyA gayA thaa| bIkAnera se vi. saM. 1656 meM likhI eka prati upalabdha huI thI jo vAkyaracanA kI dRSTi se adhika parimArjita hone ke kAraNa Adarza pratilipi kI paramparA se jJAta hotI hai / isake pAThAntara bhI isa prakAzana meM sammilita kara lie gaye haiM / isa prabaMdha meM caritrAtmaka varNanoM ke atirikta upadezAtmaka uddharaNoM kA bhI saMgraha hai| isa kRti meM kartA ne kumArapAla ke jIvana viSayaka mukhya-mukhya ghaTanAoM kA kramabaddha varNana kiyA hai / isa graMtha ko dhArmika kathAgraMtha kA svarUpa prApta huA hai / caturazItaprabandha ke antargata kumArapAladeva prabaMdha : AcArya rAjazekharasUri ke prabaMdhakoza nAmaka For Personal & Private Use Only

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Vol.XXXIV, 2011 graMtha samAlocanA 129 graMtha meM dUsarI kRti kA nAma kumArapAladeva prabaMdha hai / hastalikhita graMthoM ke AdhAra para anumAna kiyA jAtA hai ki isa kRti kI racanA vi.saM. 1500 ke pUrva kI gaI hogii| isakI bhASA bahuta hI sAdI, azuddha, kahIM-kahIM apabhraMza evaM bolacAla kI saMskRta bhASA hai jo lokagamya sahaja dezyabhASA kA anukaraNa lagatI hai| isameM kumArapAla ke jIvana kI choTI-choTI ghaTanAyeM bhI saMgrahita haiM jo anya racanAoM meM nahIM miltii| sAtha hI hemacaMdracArya ke prabaMdha meM varNita kucheka ghaTanAoM kA varNana hai jo anyatra uddhRta nahIM huI hai| isameM viziSTa aitihAsika tathyoM kA varNana bhI huA hai| ___somaprabhAcArya kRta kumArapAlapratibodha - uddhRta aitihyasArAtmaka saMkSepa : isa racanA kI ekamAtra prati khaMbhAta se tADapatra ke Upara vi.sa. 1458 meM likhI huI milatI hai| mUla graMtha kI racanA somaprabhAcArya ne vi.sa. 1241 meM kI thii| isakA mUla nAma jinadharma pratibodha hai kintu puSpikA meM ise kumArapAlapratibodha nAma se iMgita kiyA gayA hai jo adhika ucita pratIta hotA hai / prastuta saMgraha meM hemacaMdrAcArya viracita triSaSTizalAkApuruSa caritAntargata mahAvIra caritastha kumArapAlacaritra varNana 12ve sarga se uddhRta kiyA gayA hai / tatpazcAt unhIM dvArA viracita triSaSTizalAkApuruSacaritra se prazasti prakAzita kI gaI hai| kumArapAlacaritra nAmaka isa saMgraha meM do aise mahAna puruSoM kA varNana huA hai jinakI samAnatA karane vAlA bhArata meM anya koI nahIM huA / rAjarSi kumArapAla ke Adarza jIvana kA eka pala bhI aisA nahIM thA jo kisI ke lie anupayogI hai| ataeva aise mahApuruSa ke jIvana caritra kA cintana, manana evaM anupAlana avazya karanA cAhie / prastuta prakAzana apane viSaya vastu, prastuti evaM aitihAsika - dhArmika mahattva ke kAraNa vidvAnoM evaM saMzodhakoM hetu sahayogI banA hai| saMpAdaka evaM prakAzaka ne gujarAta se prakAzita hone vAle zAstrIya graMthoM kI mudraNa paramparA evaM stara ko saMjoye rakhA hai etadartha badhAI ke pAtra hai| kumArapAlacaritrasaGgrahaH, saGgrAhaka evaM sampAdaka : AcArya jinavijaya muniH navInasaMskaraNasampAdakaH, DaoN. jitendra bI. zAha, sahayogI : sAdhvI candanabAlAzrI, pRSTha : 346, mUlya : ru. 400/-, I.sa. 2008, prakAzaka : zrutaratnAkara, ahamadAbAda. saMkhyAtmaka zabda koza prastuta graMthanA saMkhyAnA krama anusAra je je zabdo saMgrAhakane maLyA, tene te mujaba kramamAM mUkIne uddhata karela che. A zabdone koI cokkasa sImAmAM na bAMdhatAM jaina, bauddha ane vaidika paraMparA uparAMta laukika rUDhimAMthI jyAMthI paNa AvA zabdo sAMpaDyA te sarveno atre samAveza karavAmAM Avela che ane sAthe teno saMdarbha maLela hoya to tenI paNa noMdha che. vaividhyasabhara saMkhyAtmaka zabdakozamAM pU. pravartaka munizrI mRgendra munijIe aneka jainazAstragraMtho, AgamagraMtho ane anya zAstragraMthomAMthI 1 thI 1000 sudhInA aMkonA krame padArthono saMgraha karIne eka navI bhAtano koza taiyAra karela che. chelle 18,000 zIlAMgaratha, coryAzI lAkha vayoni, zUnya, binducakra, nAda, biMdu, kalA vagereno paNa nirdeza karela che. hastapratonA gahana For Personal & Private Use Only

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130 SAMBODHI adhyayana mATe A zabdakoza saMzodhakone atIva upayogI nIvaDaze. RSidattAcaritrasaMgraha karmanA gahana vipAkone anubhavatAM mahAsatI RSidattAe potAnA zIlanuM akhaMDita rakSaNa karela hato. te mahAsatInA jIvana aMge aneka caritro, kathAo, rAsa, copAI vigerenI racanA thayela che. prastuta "RSidattAcaritrasaMgraha'mAM adyAvadhi aprakAzita traNa kRtio (1) zrImuni patiguNapAlaviracita risidattAcariya, (2) ajJAtakartaka RSidattAcaritra ane (3) ajJAtakartaka RSidattAcAritra, A traNe kRtio hastaprato uparathI taiyAra karIne prakAzita karela che. A sivAya bIjI traNa prakAzita kRtio pariziSTamAM ApavAmAM Avela che. pariziSTamAM-1 mAM zrIdharmasenagaNiviracita-vasudevahiMDImadhyakhaMDamAMthI RSidattAkathA, pariziSTa-2mAM. zrIAmradevasUriviracitaAkhyAnaka-maNikozavRttimAMthI RSidattAkhyAnaka ane pariziSTa-3 mAM zrIjayakIrtisUriviracita zIlopadeza mAlAnI zrIsomatilakasUriviracitazIlataraMgiNIvRttimAMthI RSidattAkathA che. nava pariziSTothI samRddha evo A RSidattacaritrasaMgraha paramaviduSI sAdhvI zrI caMdanabAlAzrIjI mahArAja paMDitazrI amRtabhAI paTelanA sahayogathI potAnI nAdurasta tabiyata hovA chatAM ghaNI suMdara rIte prastuta karela che. RSidattAcaritrasaMgrahaH, saMpAdaka : sAdhvI caMdanabAlAzrI, pRSTha : 74 + 362 .sa. 2022, mUlya : 400/prkaashk : bhadraMkara prakAzana, ahamadAbAda. lekhakoM se namra nivedana vidvAnoM se bhAratIya vidyA se sambandhita aprakAzita lekha hindI, gujarAtI yA aMgrejI bhASAoM meM AmaMtrita kiye jAte hai. sabhI sAmagrI TAIpa kI huI honI cAhie. hastalikhita sAmagrI svIkArya nahIM hogI. graMtha samAlocanA hetu prakAzana kI do pratiyA~ preSita kI jA sakatI hai. saMpAdaka, saMvadhi, lA. da. bhAratIya saMskRti vidyAmaMdira, navaraMgapurA, ahamadAbAda 380009, Idindology@gmail.com For Personal & Private Use Only

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LALBHAI DALPATBHAI INSTITUTE OF INDOLOGY List of Publications L. D. Series S. No. Price *1. Sivaditya's Saptapadarthi, (with a Commentary Jinavardhana Suri) (English) Ed. : Nyayacarya Dr. J. S. Jetly, pp 23+98 (1963) Catalogue of Sanskrit and Prakrit Manuscripts (English) Muni Sri Punyavijayaji's Collection Part-I, Ed. : Pt. Ambalal P. Shah, pp 8+481+210 (1963) *3. Vinayacandrasuri's Kavyasiksa (English) Ed. Dr. H. G. Shashtri, pp 22+197 (1964) *4. Haribhadrasuri's Yogasataka (with Auto-commentary along with his Brahmasiddhantasamuccaya) (English) Ed.:Muni Shri Punyavijayaji, pp 30+106 (1965) *5. Catalogue of Sanskrit and Prakrit Manuscripts (English) Muni Sri Punyavijayaji's Collection, Part-II. Ed. : Pt. Ambalal P. Shah, pp 11+365+424 (1965) 6. Ratnaprabhasuri's Ratnakaravatarika, Part-I (Gujarati) 200.00 Guj. Trans. : Muni Sri Malayavijayji Ed. : Pt. Dalsukh Malvania, pp 10+240 (1965) *7. Jayadeva's Gitagovinda (with King Mananka's Commentary) Ed. : Dr. V. M. Kulkarni, pp 23+131 (1965) *8. Kavi Lavanyasamaya's Nemirangaratnakara Chanda Ed. : Dr. Shivlal Jesalpura, pp 9+108 (1965) *9. The Natyadarpana of Ramacandra and Gunacandra : Critical study Dr. K. H. Trivedi, pp 339 (1966) 10. Acarya Jinabhadra's Visesavasyakabhasya 180.00 (with Auto-commentary) Part-I, Ed. : Pt. Dalsukh Malvania, pp 7+281 (1966) * Out of Print For Personal & Private Use Only

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132 SAMBODHI *11. Akalanka's Criticism of Dharmakirti's Philosophy : A study Dr. Nagin J. Shah, pp 18+316 (1966) *12. Vacaka Sri Jinamanikyagani's Ratnakaravatarikadyaslokasatarthi Ed. : Pt. Bechardas J. Doshi, pp 22+117 (1967) *13. Acarya Malayagiri's Sabdanusasana (with Auto-commentary) Ed. : Pt. Bechardas J. Doshi, pp 20+553+46 (1967) *14. Acarya Jinabhadra's Visesavasyakabhasya (with Auto-commentary) Part-II Ed. Pt. Dalsukh Malvania, pp 327 (1968) *15. Catalogue of Sanskrit and Prakrit Manuscripts Muni Sri Punyavijayaji's Collection Part-III Ed. : Pt. Ambalal P. Shah, pp 10+127+220 (1968) *16. Ratnaprabhasuri's Ratnakaravatarika, Part-II Ed. : Pt. Dalsukh Malvania, pp 304 (1968) *17. Kalpalataviveka by an anonymous Author (English) Trans. : Prof. P. R. Vora, pp 168+359 (1968) Ed. : Dr. Murari Lal Nagar and Pt. Harishankar Shastry. *18. Acarya Hemacandra's Nighantusesa (with commentary of Srivallabhagani) Ed. : Muni Shri Punyavijayaji, pp 30+376 (1968) *19. The Yogabindu of Acarya Haribhadrasuri (English) Trans. with Notes and Introduction : Dr. K. K. Dixit, pp 8+146 (1968) *20. Catalogue of Sanskrit and Prakrit Manuscripts Acarya Vijaya Devasuri's and Acarya Ksantisuri's Collections : Part-IV Compiler : Muni Sri Punyavijayaji, Ed. : Pt. Ambalal P. Shah, pp 16+319+130 (1968) *21. Acarya Jinabhadra's Visesavasyakabhasya (with Commentary) Part-III Ed. : Pt. Dalsukh Malvania and Pt. Bechardas J. Doshi, pp 21+328 (1968) *22. The Sastravartasamuccaya of Acarya Haribhadrasuri Hindi Trans.with Notes and Introduction : Dr. K. K. Dixit, pp 21+222 (1969) *23. Pallipala Dhanapala's Tilakamanjarisara Ed. : Dr. N. M. Kansara, pp 40+96 (1969) *24. Ratnaprabhasuri's Ratnakaravatarika Part-III Ed. : Pt. Dalsukh Malvania, pp 24+190 (1969) *25. Acarya Haribhadra's Neminahacariu Pt. I Ed. : Dr. H. C. Bhayani and M. C. Modi. pp 10+435 (1970) 26. A Critical Study of Mahapurana of Puspadanta 100.00 (a Critical Study of the Desya and Rare words from Puspadanta's Mahapurana and his other Apabhramsa works), Dr. Smt. Ratna Shriyan, pp 8+348 (1970) * Out of Print For Personal & Private Use Only

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Vol.XXXIV, 2011 List of Publications 133 *27. Acarya Haribhadrasuri's Yogadrstisamuccaya and Yogavimsika (English) Trans. with Notes and Introduction : Dr. K. K. Dixit, pp 130 (1970) 28. Agamic Index (Prakrit Proper Names) Vol.-I part-I 60.00 Complier: Dr. M.L.Mehta & Dr.K.R.Chandra, Ed. Pt. Dalsukh Malvania, pp 488 (1970) *29. Index of half Verses in Pramanavartikabhasya Compiler : Pt. Rupendrakumar Pagariya, pp 76 (1970) 30. Prakrit Jaina Katha Sahity, Dr. J. C. Jaina, pp 196 (1971) 30.00 *31. Jaina Ontology, Dr. K. K. Dixit, pp 203 (1971) *32. The Philosophy of Sri Svaminarayana, Dr. J. A. Yajnika, pp 183 (1972) 33. Acarya Haribhadra's Neminahacariu Vol.-II 100.00 Ed. : Dr. H. C. Bhayani and M. C. Modi, pp 305 (1971) *34. Up. Harsavardhana's Adhyatmabindu (with Auto-commentary) Ed. : Muni Shri Mitranandavijayaji and Dr. Nagin J. Shah, pp 34+63 (1972) *35. Cakradhara's Nyayamanjarigranthibhanga Ed. : Dr. Nagin J. Shah, pp 20+276 (1972) 36. Catalogue of Sanskrit & Prakrit Manuscripts : Jesalmer collection Compiler : Muni Sri Punyavijayaji, pp 35+471 (1972) 100.00 37. Agamic Index (Prakrit Proper Names) vol.I Part-II 70.00 Compiler : Dr. M. L. Mehta and Dr. K. R. Chandra. Ed. Pt. Dalsukh Malvania, pp 524 (1972) *38. Karma and Rebirth, Dr. T. G. Kalghatgi, pp 75 (1972) *39. Jinabhadrasuri's Madanarekhaakhyayika, Ed. Pt.Bechardas Doshi, pp 70+215 (1973) 40. Pracina Gurjara Kavya Sancaya, Ed: : Dr. H. C. Bhayani and Agarchand Nahata, pp 16+155. (1975) 30.00 *41. Colletion of Jaina Philosophical Tracts, Ed. : Dr. Nagin J. Shah. PP 164 (1974) *42. Haribhadra's Sanatukumaracariya (A section of his Neminahacariya) Ed. : Prof. H. C. Bhayani and Prof. M. C. Modi, pp 27+160 (1974) *43. The Jaina Concept of Omniscience, Dr. Ramjee Singh, pp 242 (1974) 44. Pt. Sukhalaji's Commentary on the Tattvarthasutra of Vacaka Umasvati (English) Trans.: Dr. K. K. Dixit, pp 15+421 (1974/2000) 300.00 *45. Isibhasiyaim : A Jaina Text of Early Period Ed. : Dr. Walther Schubring, pp 12+159 (1974) 46. Devasuri's Haimanamamalasiloncha : Commentary by Srivallabha Mahopadhyaya Vinayasagara, pp 27+128 (1974) 40.00 * Out of Print For Personal & Private Use Only

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15.00 134 SAMBODHI *47. A Modern Understanding of Advaita Vedanta Dr. Kalidas Bhattacharya, pp 4+68, (1975) *48. Jayant Bhatt's Nyayamanjari (Ahnika-1) (Gujarati) Ed, and Trans. : Dr. Nagin J. Shah, pp 4+144. (1975) *49. Atonements in the Ancient Ritual of the Jaina Monks Dr. Colette Caillat, pp 8+210. (1975) 50. The Upabramhana and the Kgveda Interpretation Prof. T. G. Mainkar, pp 4+60 (1975) 51. More Documents of Jaina Paintings and Gujarati Paintings of sixteenth and later centuries 150.00 Dr. U. P. Shah, pp 5+28+34 (1976) 52. Jinesvarasuri's Gaharayanakosa 40.00 hojak and Dr. Nagin J. Shah. pp 11+102 (1975) 53. Jayavantasuri's Rsidatta Rasa (Old Gujarati Kavya) 30.00 Ed. : Dr. Nipuna Dalal, pp 53+140 (1975) 54. Imdahamsa's Bhuvanabhanukevalicariya 30.00 Ed. : Muni Shri Ramanikavijayaji, pp 14+150 (1967) 55. Sallekhana is not suicide 30.00 Justice T. K. Tukol, pp 8+112 (1976) 56. Sasadhara's Nyayasiddhantadipa 90.00 (with Tippan by Gunaratnasuri), Ed. : Dr. B. K. Matilal, pp 28+232 (1976) 57. Fundamentals of Ancient Indian Music and Dance 50.00 S. C. Banerj, pp 16+120 (1977) 58. Indian Philosophy 60.00 Dr. Pt. Sukhalalji Sanghvi, Trans. : Dr. K. K. Dixit. pp 8+118 (1977) *59. Vasudevahindi, An Authentic Jaina Version of the Bihatkatha Dr. J. C. Jain, pp 10+740 (1977) 60. Bauddha-Dharma-Darsanani Payani Vibhavana 15.00 (Gujarati translation of Vidhushekhara Bhattacharya's 'Basic Conception of Buddhism') Trans.: Dr. Nagin J. Shah, pp 8+72 (1977) 61. Sadharana's Vilasavaikaha (Apabhramba Kavya) 75.00 Ed. : Dr. R. M. Shah, pp 66+195+36 (1977) 62. Amotacandrasuri's Laghutattvasphota (English) (Sanskrit Jaina Philosophicai Kavya) 100.00 Ed. & Trans.: Dr. P. S. Jaini, pp 40+258 (1978) 63. Ratnasuri-sisya's Ratnacuda Rasa 10.00 Ed. : Dr. H. C. Bhayani, pp 20+55 (1978) * Out of Print For Personal & Private Use Only

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Vol. XXXIV, 2011 List of Publications 135 64. Early Jainism, Dr. K. K. Dixit, pp 8+99 (1978) 50.00 65. Jayavantasuri's Stngaramanjari (silavaticarita Rasa) 260.00 Ed. : Dr. Kanubhai V. Sheth, pp 64+232 (1978) 66. Sramana Tradition - It's History and Contribution to Indian Culture Dr. G. C. Pandey, pp 10+75 (1978) 40.00 *67. Jaynta Bhatta's Nyayamanjari (Ahnika-2) (Gujarati) Ed. & Trans.: Dr. Nagin J. Shah, pp 10+189 (1978) 68. Vacaka Kamalasekhara's Pradyumnakumara Cupai 20.00 Ed. : Dr. M. B. Shah, pp 89+93 (1978) 69. Treasures of Jaina Bhandaras 450.00 Ed. : Dr. Umakant P. Shah, pp160+ Colour Plates 16+Black & white Plates 82 (1978) 70. Proceedings of the Seminar on Prakrit Studies (1973) 75.00 Ed. : Dr. K. R: Chandra, pp 13+184 (1978) 71. Catalogue of Gujarati Manuscripts : Muni Shri Punyavijayaji's Collection 225.00 Ed. : Dr. Vidhatri Vora, pp 12+855 (1978) 72. Samdhikavya-Samuccaya 15.00 (Collection of 20 Apabhramsa Samdhikavyas) Ed. : Dr. R. N. Shah, pp 14+136 (1980) 73. The Inscriptions of Imperial Paramaras 90.00 . Ed. : Dr. A. C. Mittal, pp 40+377 (1979) 74. Wall Paintings of Rajasthan (Jaipur, Gatta, Kota, Nagpur) 125.00 Y. K. Shukla, pp 31+ Colour Plates, 4 line Drawings and 48 Black and White Plates. (1980) ..75. Samkhitta-Taramgavai-Kaha (Taramgalola) (Gujarati) 60.00 An early Abridgement of Padalipta's Taramgavi Ed. & Trans.: Dr. H. C. Bhayani, pp 4+308 (1979) 76. Jaina Darsan ka Adikala (Hindi) 15.00 Pt. Dalsukh Malvania, pp 4+33 (1980) 77. Merusundaragaai Viracita silopadesamala'-Balavabodha 20.00 Ed. Dr. H. C. Bhayani, Dr. R. M. Shah and Gitabahen, pp 33+192 (1980) 78. Some Aspects of Indian Culture, Dr.A.S.Gopani, pp 26+99 (1981) 90.00 79. The Central Philosophy of Jainism (Anekanta-vada) 30.00 Bimala Krishna Matilal, pp 2+72 (1981) 80. The Ramayana In Pahari Miniature Painting 200.00 Jutta Jaina - Neubauer, pp 2+58+plates 28 (1981) * Out of Print For Personal & Private Use Only

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136 81. Padmasundara's Jnanacandrodayanataka Ed. Dr. Nagin J. Shah, pp 4+58 (1981) 82. A study of Civakacintamani (Tamil Poem by Tiruttakkatevar) Dr. L. M. Joshi, pp 4+78 (1981) 86. A Study of Tattvarthasutra with Bhasya Dr. Suzuko Ohira, pp 1+182 (1982) 87. Hindi Gujarati Dhatukosa Dr. Raghuveer Chaudhari, pp 12+230 (1982) 88. Secondary Tales of the Two Great Epics Rajendra I. Nanavati, pp 12+795 (1982) 89. Laksmana's Suktiratnakosa Dr. R. Vijayalakshmy, pp 8+234 (1981) 83. Appointment with Kalidasa, Prof. G. K. Bhatt, pp 10+140 (1981) 45.00 84. Studies in Indian Philosophy (Pt. Sukhalalji Memorial Volume) Ed. Pt. D. D. Malvania & Dr. N. J. Shah, pp 22+323 (1981) 85. Facets of Jaina Religiousness in Comparative Light 115.00 Ed. Dr. Nilanjana S. Shah, pp 16+71 (1982) 90. Suracarya's Danadiprakarana Ed.: Pt. Amrutlal M. Bhojak & Dr. Nagin J. Shah, pp 12+64 (1983) 91. Ramacandra's Mallikamakarandanataka, Ed.: Muni Shri Punyavijayaji, Ed. Pt. Rupendrakumar Pagariya, pp 16+339+32 (1983) 94. Haribhadra's Yoga Works and Psychosynthesis Dr. Shantilal K. Desai, pp 94 (1983) 95. Narasimha Mahetana Pada Aprakasita (Gujarati) Ed. Dr. Ratilal V. Dave, pp 16+102 (1983) 96. Lilavati-Sara (A Sanskrit Abridgement of Jinesvara Suri's Prakrit Lilavai-Kaha) Ed. Dr. H. C. Bhayani & Dr. N. M. Kansara, pp 8+8+443 (1984) 97. Jayanta Bhatta's Nyayamanjari (Ahnika-3) (Gujarati) Ed. & Trans. Dr. Nagin J. Shah, pp 9+180 (1984) SAMBODHI 15.00 105.00 For Personal & Private Use Only 35.00 90.00 85.00 100.00 Introduction & critical Notes: Dr. V. M. Kulkarni, pp 6+35+166 (1983) 92. Kumarila's Slokavartika: A Study, Dr. K. K. Dixit, pp 8+120. (1983) 93. Vardhamanasuri's Manoramakaha (Prakrit) 20.00 20.00 * 60.00 55.00 125.00 30.00 60.00 150.00 98. Bhartrharis Vakyapadiya (Gujarati) Ed. & Trans. with notes: Dr. J. M. Shukla, pp 46+720 (1984) 99. Dharmasenagani Mahattara's Vasudevahimdi (Madhyamakhanda) (A 7th Century Prakrit Recast of the famous Brhatkatha Narrative Part-I) Ed. Dr. H. C. Bhayani & Dr. R. M. Shah, pp 76+332 (1987) 225.00 40.00 105.00

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137 Vol.XXXIV, 2011 List of Publications 100. Padmasundarasuri's Parsvanathacarita - Mahakavya (Hindi) 45.00 Ed. & Trans. : Dr. Kshama Munshi, pp 12+103+136 (1986) 101. Sri santinathacaritra-Citrapattika (Gujarati) 150.00 Pamnyasa Shilachandravijaya Gani, pp 30+82+Plates 25 Black & white + 8 Colour (1986) 102. santinatha Caritra Citrapattika (English) 150.00 Pamyasa Shilachandravijaya Gani, pp 4+8+52+Plates 25 Black & White +8 Colour (1987) 103. Jnanapramodagani's Jnanapramodika 70.00 (A commentary on Vagbhatalankara), Ed., Dr.R.S.Betai, pp 8+20+144 (1987) 104. Vardhamanasuri's Jugaijinimdacariya 115.00 Ed. : Pt. Rupendrakumar Pagariya, pp 8+30+280 (1987) 105. Padmasundarasuri's Yadusundaramahakavya 70.00 Ed. : Dr. D. P. Raval, pp 12+184 (1987) 106. Sri Candrasuri's Munisuvrtasvamicaritra 130.00 Ed. : Pt. Rupendrakumar Pagariya, pp 24+340 (1989) 107. Acarya Umasvati Vacaka's Prasamaratiprakarana (English) 170.00 Ed. & 'Trans. : Dr. Y. S. Shastri pp 55+103 (1980) 108. Jayanta Bhatt's Nyayamanjari (Ahnika-4-5) (Gujarati) 225.00 Ed. & Trans. : Dr. N. J. Shah, pp 14+313 (1989) 109. Traverses on Less Trodden Path of Indian Philosophy & Religion Dr. Yajneshwar S. Shastri pp 7+292 (1991) 225.00 .. 110. Kavi Dhanapala's Tilakamanjari- Vol. I (A sanskrit Prose Romance) Ed. : Dr. N. M. Kansara, pp 40+418 (1991) 410.00 111. Jaina Biology Dr. J. C. Sikdar, pp 328 (1974) 300.00 112. Nyayabindu of Dharmakirti (with Dharmottara's Commentary) (Gujarati) Trans. with Notes : Nitin R. Desai, pp 39+276 (1991) 180.00 113. The Nyayasara of Bhasarvajna : A Critical & Analytical study 280.00 Dr. Ganeshilal Suthar, pp 30+591 (1991) 114. Srimad Appayyadiksita's Siddhantalesasangraha (Gujarati) 180.00 Trans. : Dr. Esther A. Solomon, pp 30+591 (1990) 115. Jayanta Bhatta's Nyayamanjari (Ahnika-6, 7, 8 & 9) (Gujarati) 300.00 Ed. & Trans. : Dr. N. J. Shah, pp 23+423 (1992) 116. Sri Devasuri's Paumappahasami Cariyam 250.00 Pt. Rupendrakumar Pagariya, pp 28+499 (1998) 117. Amaracandrayati's Kavyakalpalata avsttih 225.00 (with two commentaries Parimala and Makaranda) Ed. : Dr. R. S. Betai, pp 24+232+156 (1998) For Personal & Private Use Only

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138 118. Some Topics in the Development of OIA, MIA, NIA Dr. H. C. Bhayani, pp 144 (1998) 119. Sri Nemicandra Suri's Anantanaha Jina Cariyam Ed. Pt. Rupendrakumar Pagariya, pp 28+747 (1998) 120. Alamkaradappana Ed. Dr. H. C. Bhayani pp 53 (1999) 121. Acarya Haribhadra's Astaka Prakarana Trans. Annotations & Introduction, Dr. K. K. Dixit, pp 22 + 118 (1999) 122. Siri Jasadevasuri Viraiyam Siri Candappahasami Cariyam Ed. Pt. Rupendrakumar Pagariya, pp 24+212 (1999) 123. Acarya Hemacandra's Kavyanusasanam (Gujarati) Ed. & Trans. with Critical Introduction: Dr. Tapasvi Nandi, pp 122+408 (2000) 124. Gunaratnagnni Tarka - Tarangini Ed. Dr. Vasant G. Parikh, pp 304 (2001) Ed.: Prof. Jayanta Kothari, pp 14 + 746 (2001) 128. Acarya Haribhadrasuri's Sastravartasamuccaya (Hindi) Trans. with Notes & Introduction: Dr. K.K.Dixit, P.P. 272 (2001) 129. Temple of Mahavira Osiyaji - Monograph Dr. Rabindra J. Vasavada, pp 30+ Plates 61 (2001) 130. Bhagwaticurni Ed. Pt. Rupendrakumar Pagariya pp 120 (2002) 131. Abhidha, Dr. Tapasvi Nandi, pp 84 (2002) 132. A Lover of Light amoung Luminaries: Dilip Kumar Roy Dr. Amrita Paresh Pate, pp 256 (2002) 133. Unknown writers's Sudansana-cariyam (Gujarati) Dr. Saloni Joshi, pp 8+ 110 (2002) 134. Sivaditya's Saptapadarthi SAMBODHI (with a commentary by Jinavardhana Suri) Ed. Dr. J. S. Jetly, pp 24+ 96 (reprint 2003) 135. Paniniya Vyakarana - Tantra, Artha aura Sambhasana Sandarbha Dr. Vasantkumar M. Bhatt, pp 88 (2003) For Personal & Private Use Only 75.00 400.00 125. Madhu-Vidya : (Collected papers of Prof. Madhukar Anant Mehendale) Ed. Dr. S. D. Laddu & others, pp 27+727 (2001) 126. Acarya Ramcandra and Gunacandra's Dravyalankar 290.00 (with Auto-commentary) Ed.: Muni Shri Jambuvijayaji, pp 29+ 251 (2001) 127. Pracina Madhyakalina Sahityasangraha (Mohanlal Dalichanda Desai-Laghukruti) 50.00 75.00 250.00 480.00 270.00 560-00 650.00 185.00 360.00 135.00 120.00 220.00 180.00 110.00 - 65.00

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Vol.XXXIV, 2011 List of Publications 139 136. Kurmasatakadvayam (Two Prakrit satakas on Kurma) (English) 100.00 Trans. with select Glossary : Dr. V. M. Kulkarni Introduction by Dr. Devangana Desai, pp 85 (2003) 137 Catalogue of Sanskrit and Prakrit Manuscripts, Vol. V (Hindi) 900.00 Ed. : Dr. J. B. Shah, pp 8+5+403 (2003) 138 Catalogue of Sanskrit and Prakrit Manuscripts, Vol. VI (Hindi) 700.00 Ed. : Dr. J. B. Shah, pp 8+6+311 (2003) 139 Mahavira's Words by Walther Schubring (English) 600.00 Trans. from the German with much added material W.Bollee and J. Soni, pp 5+11+286 (2003) 140 Bagavad Patanjali krut Vyakarna Mahabhasya Navahnika 600.00 Trans. with Critical notes : Dr. P.R.Vora, pp 6 +58 + 652 (2004) 141 Sahrdayaloka (Thought-currents in Indian Literary Criticism) vol. I part 1 Dr. Tapasvi Nandi, pp 600 (2005) 650.00 142 Sahsdayaloka (Thought-currents in Indian Literary Criticism) 650.00 vol. I part 2, Dr. Tapasvi Nandi, pp 640 (2005) 143 Sahrdayaloka (Thought - currents in Indian Literary Criticism) 650.00 vol. I part 3, Dr. Tapasvi Nandi, pp 676 (2005) 144 Ksatrapakalin Gujarata : Itihas Ane Samskriti (Gujarati) 500.00 (History and Culture of Gujarat during Ksatrapas) Rasesh Jamindar, pp 10 + 3-405 +40 (2006) 145 Akho (His Life, Philosophy & Society in his time) (Gujarati) 50.00 Narmadashankar Devshankar Mehta, pp 80 (reprint 2009) 146 Kautiliya Arthashastra ( Gujarati) 500.00 (Shethshri Kasturbhai Lalbhai Memorial Lecture Series : 2004-2005) Prof. Nitin R. Desai, pp 965 (2010) 147 Acarya Shri Anandshankar Dhruva : Darshan and Chintan (Gujarati) 500.00 Dr. Dilip Charan, pp 10 + 297 (2010) 148 Sahitya, Shilp Ane Sthapatyaman Girnar (Gujarati) 200.00 (Sambodhi - Puratatva - Visheshank -2) Prof. Madhusudan Dhaky, pp 10 + 150 + 30 149 Trivikrambhatt Pranita Damyanti-Katha-Champu (Sanskrit) 950.00 Ed.: Mahopadhyaya Vinaysagar, pp 3 + 636 (2010) 150 An Outline of the Avasyaka literature by Ernst Leumann 1000.00 (Eng. Translation from German by George Baumann) Introductory Essay by Nalini Balbir, pp 72+5+10+154 (2010) Sambodhi : The Journal of the L. D. Institute of Indology 150.00 (Back Vol. 1 to 21) Per Volume 100.00 (Vol. 22 to 33 and Onwards) Per Volume 150.00 For Personal & Private Use Only

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140 SAMBODHI Prajnacaksu Pandit Sri Sukhlalji Bharatiya Vidya Granthmala 1. Vidusaka (Gujarati) by G. K. Bhatt (1981) 30.00 Essence of Jainism by Tr. Dr. R. S. Betai 55.00 Jain sammata jnanacarca 105.00 Dr. H. U. Pandya pp (1997) Suvarna-Raupya-Siddhi sastra 250.00 Ed. Dr. J. C. Sikdar (1998) Siddhasena Divakara's Sanmati Tarka 225.00 with a critical Introduction and original commentary. Pandit sukhalal Sanghvi and Pandit Bechardas Doshi Translated by Dr. A. S. Gopani Other Publications 50.00 2. 400.00 1200.00 Mahavira and his Teachings Ed. Dr. A. N. Upadhye pp 462 (1977) Arhat Parsva and Dharanendra NEXUS Prof. M. A. Dhaky pp 148+36 Plats (1997) The Temples in Kumbhariya Prof. M. A. Dhaky & U.S. Moorti pp 23+189+244 Plats (2001) Patan Catlogue Hasprat Ne Aadhara Pathsampadan Prachin Lekhanmala Ane tena Sadhano (Guj.) Gnanjyot ni Jivan Rekha Prachin Lekhanmala evam uske Sadhan (Hindi) Our Fourthcoming Publications Haribhadra Suri's Yogasataka Sambodhi Vol. XXXV 50.00 30.00 20.00 30.00 30.00 7. 8. 1. 2. For Personal & Private Use Only

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Notes to the Authors Sambodhi welcomes contributions in all fiods of Indology. However, it would like its contributors to focus on what they consider to be significantly new and important in what they have to say wd consider the counter arguments to what they are saying. This is to ensure that others may judge that what they are saying is on the whole more reasonable than the views opposed to their ow e historical preliminaries may be avoided unless they are absolutely necessary to the development of the arguments, as it may be assumed that most of the rea..ers of the Journal are already familiar with them. The article should, as far as possible, avoid jargon and the author's contes cion should be stated in as simple a language as possible. The articles which use Sanskrit terns should use the standard diacritical marks. Editorial correspondence, including typed copy (or soft copy in CD / VCD are through email) should be sent to the Editor. Articles may be contained between 3000 to 6000 words, they should be typed on one side of the paper, double spaced with ample margins, and contain Author(s) / contributor's name and his/her institutional affiliation alongwith the complete mailing address. Notes and references should appear at the end of the articles as Notes. Only papers which have not been published elsewhere will be accepted for publishing. Proofs will be sent to the authors if there is sufficient time to do so. They should be corrected and returned to the Editor within ten days. Major alterations to the text may not be accepted. Authors will be sent ten off-prints of their articles with one copy of Sambodhi of cost. Copyright to articles published in the Sambodhi shall remain vested with L. D. Institute of Indology. For further information please do not hesitate to con: following address : Editor Dr. J. B. Shah SAMBODHI (L. D. Institute of Indology Nr. Gujarat University Ahmedabad 380009 07926302463, Fax : 26307326 Idindoiogy@gmail.com www.ldindology.org For Personal & Private Use Only www.ainelibrary.org

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