Sirisirwal Kaha Part 01

Author(s): Vadilal Jivabhai Chokshi
Publisher: Vadilal Jivabhai Chokshi
Catalog link: https://jainqq.org/explore/032881/1

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sirirayaNaseharasUrihiM saMkalikhA sirisirivAlakahA MAP paDhamamAo SIRI SIRIVALAKAHA Ratnas'ekharasti Part I. Edited and published With an exhaustive Introduction, Translation and critical, explanatory and grammatical Notes, by Vadilal Jivabhai Chokshi, B. A. (HONS.) Sometime Dakshina Fellow, .. Gujarat .College, AHMEDABAD. with a foreword by Prof. K. V. Abhyankar, M. A. First Edition 1 LCopies 1000 __1932 . Price B AdhI

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Copies can be had of Vadilal Jivabhai Chokshi. [ Editor de Publisher ] Nagajibhuder's Pole, Mandvi's Pole, AHMEDABAD. ( All rights reserved by the editor) Printed by Ratilal Keshavlal Shah, at the Dirshasan P. Press, Ratanpolo, Ahmedabad.

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Contents 1 Foreword 2 Preface 3 Introduction 4 Text 5 Translation 6 Notes 7 Good Sayings in Sirivalakaha 8 Errata pages i to i i to vi 1 to 46 i to 39 1 to 78 1 to 158 1 - 2 1 to 4 Illustration Shree Siddhachakraji or Navapadaji

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Foreword It gives me much delight to get this occasion of writing a short foreword to the present edition of Ratnas'ekharasuri's Sirisirivalakaha undertaken by my pupil Vadilal Jivabhai Chokshi. B. A. (Hons). I was eagerly waiting for such an occasion for a long time ever since I began teaching Ardha-Magadhi in the Gujarat College in 1923. Mr. Chokshi has made a very appropriate selection as the book is one of the most important books in the story literature in Ardha-Magaahi of the Jainas, and if the present edition receives a warm. reception at the hands of the college-students and the general public, as it is expeoted to do, not only the editor will look upon his efforts as amply rewarded, but the students and scholars will get a sort of confidence and stimulus to do vigorous critical and original work in Ardha-Magadhi which is a keen necessity of the day on account of several reasons. The Yas'ovijayji Jaina Granthamala, the Agamodaya Samiti, the Atmananda Jaina Sabha, the Sanatana Jaina Granthamala, the Arhatamataprabhakara Karyalaya and many other institutions have done and are doing an invaluable service to the spread and popularity of the Jaina Literature and Philosophy in Ardha-magadhi and Sanskrit. The editions brought out by these institutions have generally been authorita

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Foreword tive, correct and reliable. They have been, no doubt, of considerable help to scholars and students trained in the modern western methods of criticism and scholarship who by the use of these editions get their ground prepared for doing further work of exploring the vast field and doing research-work therein. The number of Jaina students and scholars trained in the western method is gradually increasing and side by side with it, it is natural that the appetite for critical apparatus should also be on the increase. Editions based on a critical examination of the Manuscript-material available and furnished with scholarly and critical notes and introduction are expected to quench the appetite, and it is no doubt a welcome feature that people have turned their attention now in that direction. The present volume will have, I hope, its second edition more critical and scholarly as the editor expresses it in the preface, and it will be quite justified and reasonable on my part to expect a school of critical editors opened by Mr. Cbokshi and his circle of friends in Ahmedabad doing a great service to the Sacred Literature of the Jainas in the modern critical way. Gujarat College K. V. Abhyankar, AHMEDABAD. I Professor of Sanskrit & July 1932. Ardha-Magadhi. te cozpocted and oritioavailable ning altome.come quonokial notes and

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Preface. A word of explanation is necessary for undertaking the present edition of Ratnas'ekharasuri's Sirisirivalakaha. It is prescribed by the University of Bombay as a text-book in ArdhaMagadhi for the First Year Arts examination. The whole of the book contains 1342 stanzas in all, but in the present volume there are edited only the first 400 stanzas, which form the portion prescribed for the F. Y, A. Examination of 1933. The idea of editing this book was entertained by me at the suggestion of my revered prof. K. V. Abhyankar, under whom I passed the two most important and golden years of my college career, to whom I owe all my learning and scholarship, and who has always borne towards me fatherly love and affection by giving me invaluable help and instructions from time to time. It was under him that I learnt the most invaluable lessons of life. The most important qualities in him that attracted me most were his sincerity, fatherly affection towards his pupils, simplicity of life,

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Preface and the capacity to take infinite pains which is, as somebody has said, 'the first and the most important quality in a genius'. In him I have found an ideal Professor who has always seen his welfare in the welfare of his students a very high ideal which only few Professors can achieve. Hence it is that I take this opportunity, in this short preface, of paying my homage to my worthy Guru by bending down my head to him in veneration. But the less said the better. Therefore, apart from this digression which can not be helped, I shall come to the subject proper. Although I entertained the idea of editing this book long ago, I was not able to commence the work soon on account of various distractions and difficulties. It was, however, a few months before, that I began the work in right earnest. The chief aim with which I undertook the work was to enable the University students to get copies of it, there being very few copies of it ( published some years ago by the Agamodaya Samiti : Surat ) available in the market. Another consideration which goaded me to do the work was the wide spread popularity and importance of the book in the Jaina world, and the unparalleled greatness of the subject with which it

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Preface deals. It discusses the topio of the Navapada by giving us in beautiful, lucid, and simple Prakrit verse, the life-story of king Shripala and his queen Mayanasundari, which the Jainas always cherish in their hearts, especially in the days of the Ayambila Oil Festivals, and which has enabled the Jainas for ages to-gether to accomplish their spiritual welfare. It is the story of king Shripala that has created a very high respect for the Navapada in the minds of the people; and it is the same story that has purged the hearts of many of their several impurities by exhorting them to practise the Ayambila penance with great fondness and delight giving up all attachment to sweetness and taste. There was a third consideration also viz. to make this book usoful to persons interested in the study of Ardha-Magadhi and the Jaina Literature. It is with these considerations in view that the work of editing this volume has been undertaken. The text has been based mainly upon the printed text of the Agamodaya Samiti edition, which is the most trustworthy being editod by the reverend Jaina Aoharya Shree Sagaranandasurishwarji who has earned for himself the title of * Agamoddharaka ' by his editing almost all the Agamas of the Jainas and many

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Preface other important books which would hardly have been possible without his great learning and scholarship. On account of want of time at my disposal and various other considerations I have not been able to go through the various Manuscripts which are available at some Bhandaras' and * Upas'hrayas'. However, I intend to do this at a later date. But in this volume I have given an exhaustive introduction, having collected all available and useful information about the author, his works, his date, his Gachchha, his predecessors and his pupils etc. I have traced the origin of the story literature of the Jainas and have explained the purpose etc. of the author in writing it. For the benefit of the students I have given also a brief summary of the portion prescribed from the story, and at the end of the introduction I have instituted a comparison between Sirivalakaha and Kummaputta so that the students might have & comparative study of the two books. Over and above the introduction I have given a word for word English translation of the text, and full explanatory, critical, and grammatical notes in English--which is a special feature of this book. One more special feature is the illustration of the Siddhachakra or the Navapada

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Preface v which is given on P, 8 of the notes. In the beginning there has also been given a short foreword by Prof. K. V. Abhyankar for which I am greatly indebted to him. Here I must also express my gratefulness to Sjt. Mohanlal Dalichand Desai, B.A.L.L.B. Advocate who has. furnished me with some valuable information about the author, his works, and predecessors etc. My thanks are also due to Divanbabadur K.H. Dhruva who helped me in understanding the metres that are discussed at the end of the introduction. For purposes of translation and notes there was taken at several places the help of the ef (i. e. the commentary) published in the Agamodaya Samiti Edition, the name of its author being not definitely known. In his * Upodghata' in the Agamodaya Samiti Edition, however, the reverend Acharya Sagaranandasuriji says that there is a belief that the staf is written by Shree Kshmakalyanaka ("A STAT u faffeafa cena:").' Some help has also been received for certain explanations and notes from some Jaina Sadhus and friends. My thanks are also due to Messrs. B. G. Parekh, S. A. Kapadia and Sarabhai Nawab who helped me in making fair copies of my original notes and transa

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Preface lation, in examining proofs, and in procuring certain books of reference, which rendered me an invaluable help in making the book ready in time, I am also thankful to the Jaina journalist Chimanlal Nathalal Shah alias Shreekanta who is the manager of the Vira S'asana Printing Press which is under the patronship of the Virasamaj the well-known Jaina institution of Ahmedabad, for doing the work of printing quickly and efficiently. I should also say, before closing this preface, that in spite of all the care being taken there might have remained some mistakes for which the readers would, I hope, forgive the editor and correct them sympathetically. In the end let me say that my labour will be fully rewarded, if the readers are enabled to understand, grasp and appreciate the story with the help of the introduction, translation and notes and are inspired to cherish in their hearts great love and adoration for the Desire-yielding Tree-Kalpataru of the 'Navapada'. V. J. Chokshi. July 12, 1932

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Introduction 1. The story of Shripala occupies a very The importance important and prominent place of the story in the Story Literature of the Jainas. It is looked upon with such great reverence and sacredness by them that it has become enshrined in the hearts of all the Jainas-young and old, from very ancient times. Its popularity and greatness can be seen from the zeal and devotion with which they read-in the days of the Ayambila Olis--and try nslate into action the useful spiritual lessons which they learn from the Rasa of King Shripala or Shripala Charitra, composed by the great Upadhyayas Vinayavijayaji & Yas'ovijayaji and based on our author Ratnas'ekharasuri's Sirisirivalakaha, the very text that is edited in this volume. Its greatnees can also be seen from the fact that our author puts it in the mouth of the Great Sage Gautamaswami, the first Ganadhara of Lord Mabavira, who reveals it to the well known Jaina King Sbrenika who was an ardent adherent of Jainism. This is done, evidently not only to create an atmosphere of antiquity

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Introduction round the story, but to convey home to the readers the supreme greatness and importance of the topic with which it deals, implying that even such a great sage as Gutamaswami himself testified to it by emphasizing it to his devout follower king Shrenika. 2. But what is that great topic which makes The topic of the story also so great? It is the Navapada the Navapada the most sacred and significant expression in Jainism, which gives in brief the sum and substance of the whole of the Jaina Religion. It connotes the nine most important Padas or Dignities in Jainism consisting of Panchaparameshthi (the Five High Souls)--viz. the Arihanta (or the Tirthankara or the Jina.), the Siddha, the Acharya, the Upadhyaya and the Sadhu--and the Four-fold. Religion consisting of ARTIESTA, ETTEA, TETIT and a i. e. Right Faith, Right Knowledge, Right Character and Penance. ( All these Nine Dignities are fully explained in notes on St 1.) The Panchaparameshth i are regarded as the gardiens (i. e. the establishers or founders ), the 168 (i, e. governers ) and Tan 8 (i. e. the propagators) of the various doctrines and principles of Jainism such as the Jivavichara, the Nine Tattvas, the Karma

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Introduction Theory and the well-known Syadvada of the Jainas etc. which create in the hearts of the people & love for the Four-fold Religion mentioned above. The Arihantas are the gardens, the Acharyas are the sia 1648 and the Sadhus are the Gars. Cultivating a true and firm Faith (net) in the Nine Dignities by understanding them properly by studying their gunas or qualities etc. is an indispensable thing to those who want to attain Perfection and reach Liberation. Once a firm Faith is created in them and in the words and scriptures propounded by them, the * jiva' obtains what is known as Bodhibija or Samyaktva i. e. Enlightenment. It is said in the navatatvaprakaraNa verses 51, 52:"jIvAinavapayatthe, jo jANai tassa hoi samma / bhAveNa sahahaMto, ayANamANe'vi sammattaM // savvAiM jiNesarabhosiyAM vayaNAI nannahA hu~ti / ii buddhI jassamaNe, sammatvaM niccalaM tassa // " 3. To enable and help the people of this world The three main in obtaining this Samyaktva classes of the me or Bodhibija, thus making it easy for them to traverse the path of spiritual welfare without any hindrance and reach Liberation was one of the most important things that the Jaina Teachers or Acharyas of old wanted to accomplish. For achieving this purpose, they

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Id#rodaction thought it necessary to adopt different methods of imparting knowledge to different *jivas' or souls according to their capacities of grasping and understanding things. Hence they divided the souls into three main classes viz. zraddhAnusArI or those who put complete faith in their pro ceptors and their proachings and always act according to their advice, (2) Cere or those who put faith in their preceptors and their preachings after giving a full scope to their powers of reflection and reasoning, and (3) arrangert or those who come to acquire Faith by reading stories and lives of great persons. We find even to-day that all the souls of the world fall under one or the other of these three main classes. 4. As for the Shraddhanusaris, the Acharyas. : had no anxiety, for they always rigin of the have an inborn belief in the story literature of the Jainas. Nine Dignities etc. As for the Tarkanusaris, they (i. e, the Aobaryas) have always paid proper attention to them for whom they have composed important Sutras and various other religious books which expound the principles of fundamental truth and discuss the questions whioh enable the soul to understand the true nature of this

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Intrnduotion worldy life, the greatness of Ahisma Dharma ( non-injury to any of the six kinds of living organisms) consisting of renunciation and asceticism; the nature of Karma which binds the soul and makes it wander in this miserable wordly existence, and the way in which its complete Destruction can be brought about-thus enabling the soul to yet itself completely released from the bondage of Karma and reach Final Beatitude. Fully understanding and foi lowing these principles, the l'arkanusaris are enabled to accomplish their spiritual welfare. They are thus the most intelligent and best of the 'jivas,' if a firm Faith be cultivated in them, and that is the reason why even to-day we find that th@ Jaina Preachers-Sadhus always give a due importance to them in the first half of their daily sermons in which they propound the principles expounded by the Acharyas of old. Their number is, however, greatly limited the Shraddhanusaris being met with in the world in a greater number than the Tarkanusaris. But the number of the Charitanusaris is still greater, because the vast majority of humanity are always guided in their actions by hearing and reading stories and lives of great persons whose examples they always follow. Bearing this 2 .

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Introduotiori in mind and wishing to do good to the vast majority of humanity at large, the Jaina Acharyas of old attached greater importance to them and adopted the method of writing stories and lives of great persons which they call charitas, kathas, or kathannkas, and akhyanas etc. and to-day also we find that the Jaina Sadhus reserve the latter half of their sermons for telling such stories or kathanakas composed by the Acharyas of old and in expounding them in order to impart religious teaching and knowledge to the common mass at large who hear the stories with great attention and interest. The voluminous Story Literature that the Acharyas of old have produced is rich both in literary and didactio qualities, & special feature of which is the high emotions and sentiments with which they are laden and the infallibility of their appeal to the hearts of the readers 5. As we have said in the beginning Ratna : s'ekharasuri's Sirisirivalakaba or The place of Si- rivalakaha in Alkhavana, as it is called by Akkhayana, as it is called by the story litera. Gautamaswami, occupies a very ture of the Jainas. important and prominent place Jainas. There are, no doubt, many other

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Introduotion equally important kathas in Jainism such as the Story of Varadatta and unamanjari, the Story of Abhayakumara, the Story of Ilachiputra, the Story of Kurmaputra etc., but this is in a way 'a pet story of the Jainas '. It is because of the greatness of the topic with which it deals. As the poet hiinself says, through the mouth of Gautamaswami who says to king Shrenika to whom he reveals the story, in Verse 36: "to bhaNai muNI nisuNusu, naravara ! akkhANayaM imaM ramma / sirisiddhacakamAhappasuMdaraM paramacujakaraM // " " Then the sage said :-oh, king I hear this beautiful story which is charming on account of the greatness of the Siddhchakra, and which excites great wonder (in our hearts )." The greatness and importance of the story is also due to the literary and didactic qualities which it possesses. 6. The purpose of the author in writing the story is the same as exAuthor's purpose pounded before viz. to convey in writing ihe story. home to the readers the great ness and importance of the Navapada or the Siddhachara and we are to

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Introduotion study it in the same light. The author himself reveals his purpose of writing the story in the very first verse of the book where he ways:"arihAinavapayAI, jhAittA hiayakamalamajjhami / sirisiddhacakkamAhappamuttamaM kiMpi jaMpemi // " Having contemplated in the lotus-like heart the Nine Dignities such as the Arhat etc., I shull speak a little about the most ele-- vated greatness of the Siddhachakra ( or The Circle of the Sacred Ones ).". While seading the story it also appears that the author wants. to lay a greater stress on Bhava or extremely pure mental condition and Ayambila Penance. A stress has also been laid on the effect of Karma also. Moreover, by writing this story the author wants to show the superiority of the Jaina Religion over the Saiva and other religions, just as the Mahabbarata stories show the superiority of the Brahmanic Religion over other religions. 7. The greatness of the Navapada has been emphasized in striking words. The greatness of by Gautamaswami, the narrator the Nauarala. of the story himself in verses 16 to 34 which are briefly summarized

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Introduction on pages 30 and 40 of the notes. It is again further emphasized by the Sage Munichanda before King Shripala and bis queen Madanasundari in Sts. 190 to 194, 206 to 225 and 238 to 242. What does he say ? * He says that the propitiation of the Siddhachakra formed by the Nine Dignities is the only faultless and sinless remedy for removing all the pains, miseries and diseases of this world. It is the root-cause of all our happiness of this as well as the next world. In short, it is the One Supreme Thing which constitutes the very essence of the whole of the Jaina Religion. As the author says in St. 192: "eehiM navapaehiM, rahiaM annaM na atthi paramatthaM / eesuccia jiNasAsaNassa savvasta avayAro // " / Hence it is due to the power of the propitiation of the Navapada that many a soul were enabled to be emancipated in the past, are enabled at present and will be enabled to be so in future, and thus obtain the lordship of all the three worlds by their attaining to the position of a Tirthankara or a Siddha. The Navapada is thus a Desire-yielding Tree which fulfils the desires of the minds of those who propitiate it. It is said to be the very

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lo Introduction eggence of the Tenth Parva called Vidyanuvada and it has the power, if it is well propitiated, to enable us to accomplish the eight great Siddhis or supernatural powers such as Anima (or the power of becoming as small as an atom ), Laghima (or the power of assuming excessive lightness at will etc.). He who propitiates it with pure meditation accompanied with penance accomplishes large destruction of Karma. But there is no wonder, says . the poet, that by the propitiation of the Siddhachakra all the great Siddhis etc. are accomplished, because by worshipping it is obtained even Moksha or Final Beatitude. Hence it is that the poet says in verse 210 : eyaM ca paramatattaM paramarahassaM ca paramamaMtaM ca / prej tchui, The Chyfare a * This ( i. e. the Siddhachakra has been declared by the Tirthankaras ( lit. Supreme Beings ) to be the Greatest Truth (Tattva) the Greatest Secret, the Greatest Spell the Greatest Thing and the Greatest Pada.' But stop and reflect. Can each and every kind of man propitiate the Siddhachakra and achieve all these things ? 'No', says the poot. Only that man can do so who is possessed of forgiveness, kelf-control and freedom from pabbions. He

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Introduetion : 11 alone can become the worshipper of the Siddachakra, while a man who is possessed of opposite qualities becomes its insultor or Viradhaka as he is called. Hence he who wants to be a true worshipper of the Siddhachakra, whether a monk or & householder, should make his mind totally free from passions and should obserye pure celibacy and character, because he who worships it with an impure mind, though its propitiator, instead of bringing to himself his desired object and happiness, undoubtedly brings him misfortune. But if a person propitiates it with a pure mind and if any wicked person thinks of doing anything wrong to him, that wicked person, instead of doing so, brings wrony to himself. Hence a person wishing to do good to himself should worship the Siddhnchakra with a pure and delightful mind, keeping pure celibacy together with practising the penance of Ayambila fasts and observing proper religious rites. If he will do so with a pure mental condition, he will get all the prosperities even of gods and excellent human beings. Even formidable diseases such as indigestion, consumption, fever, fistula, gout, will never come to him and if they have come to him before he propitiated the Siddhachakra, they

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12 Introduotion will at once be destroyed. Moreover, by worshipping the Siddhachakra he will suffer no misfortune such as slavery, servitude, 'having no art, having impaired or defective organs of sense, blindness, a degraded body, & degraded family etc. In the case of a woman the misfortune of being not iked by her husband, being a poison maid, a whore, a widow, a barren woman, a woman bearing a dead child etc. will never come to her. In short such is the greatness of the Navapada or the Siddhachakra that by worshipping it the 'jivas' are always able to fulfil the desired objects of their minds, and there is no doubt about that. Again such is the greatness of the Navapada, says the poet further, that by its propitiation all the evils such as wicked planets, demons, ghosts and witches etc. of those high souls who are possessed of a pure mental condition, disappear at once. Moreover, by the propitiation of the Navapada all the dangers from water, fire, serpents, and beasts of prey; the pains from poison and calamities such as excessive rain, drought etc. and diseases such as plague etc. which bring death to the bipeds and quadrupeds all these do not remain in the world. Moreover, even barren women get

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Introduction 13 Da sons, even the children of nindus (i.e. wo men bearing dead children) beoome alive and play with joy, the defects of the stomach disappear and all other kinds of misfortune perish. Thus such is the elevated greatness of the Siddhachakra or Navapada upon which the author has based his whole story. 8. As regards the author, it is a matter of great pleasure that we have The author, his not to take the special trouble of going to any external Gachchha, predecessors source for information about and pupils etc. his namo or date as is often the case with regard to many Sanskrit poets like Kalidasa and others. The author himself has given us definite information about his name and date etc. in Sts. 1340, 1341, where he says :" sirivajaseNagaNaharapaTTapahUhematilayasUrINaM / sosehiM rayaNaseharasUrIhiM imA hu saMkaliyA // tassIsahemacaMdeNa sAhuNA vikkamassa varisaMmi / caudasaaTThAvIse lihiyA gurubhattikalieNaM // From this internal evidence we come to know that the name of the author is Ratnas'ekharasuri and that he flourished in the fourteenth century A. D., as it is stated that

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Introduotion he composed Sirivalakaha in Samvat 1428 i.e. 1362 A. D. Moreover, Ratnassekhara here states himself as the pupil of Vajrasena and Hematilaka and as we shall see later on, it is clearly stated he last verse of our author's Turfy G AT: Thafa that Ratnas'ekhara was the pupil of Vajrasena and a successor of Hematilaku who was the Pattadhara-successor of Vajrasena. Our author bere calls himself the pupil of both Vajrasena and Hematilaka only in order to show his respect for the latter, but as a matter of fact, he was the pupil of Vajrasena and a successor of Hematilaka. [ The compound sarivajaseNagaNaharapaTTapahUhematilayasUrINaM is solved by the commentator of Sirivalakaba as follows:"zrI vajrasenagaNadharANAM-zrIvajrasenasUrINAM paTTasya-prabhavasvAmino ye hematilakasUrayasteSAM (ziSyaiH zrIratnazekhara effa: ) "; thus making Ratnas'ekharasuri the pupil of Hematilakasuri. But from the facts stated above, this appears to be a wrong solution. The correct way of solving the compound is :-*f asrama (TRY) TET-hfacang aeth i. e. at: (forset: xft Topteceff:)-and this solution is quite in keeping with the explanation given above. ]

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15. Introduction From this internal evidence, we also come to know that he had & pupil named Hemachandra. This much is the important information that we get from our text. There are many other external sources also from which we got some more useful and more definite information. In his work guruguNaSaTtriMzikAvRtti, * our author Ratnas'ekharasuri gives his granfeat as under:" zrImad bRhdgcchpyojhNsH| . samastavAdIndrazirovataMsaH / prajJAparAbhUta surendrasUri / jarjIyAjjagatyAM gurudevasUriH // 1 // tadgacche svacchamanAH samajani jayazekharo guruHzrImAn / tatpaTTagaganabhAnuH sUriH zrIvajrasenAhvaH // 2 // tatpaTTanAyakAH zrIhematilakasUrayastadAdezAt / zrIratnazekharAkhyaH, ziSyo likhati sma vivRtimimAm // 3 // Here the mUlapuruSa-devasUri i.e. vAdidevasUri is mentioned, and the Gachchha is stated to be the bRhadgaccha. As for the Brhad Gachchha some explanation is necessary. It is a Sakha or branch of the Mala Tapagachchha and takes its origin from the famous Vadi Dovasuri who defeated * His works are discussed on P. 23. of the introduction.

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16 Introduction the Digambara disputant by name Kumudachandra in the royal council of Siddharaja Jayasinha of Gujarat in Samvat 1181. He was the pupil of Munichandra the 40eth Pattadhara of the Mula Tapagachchha. He was born in Samvat 1143, took Diksha in 1152, became Acharya in 1174 and died in 1226. He composed & book called Syadvadaratnakara which gave birth to agrafatestarrat * or LE1083 which got its name from the big number of 24 Acharyas that were instituted by Vadi Devasuri. He also converted 35000 families to Jainism and enlightened King Albadana of Nagpur. From all this, his great glory also, his aglalaecialet came to be known as Brhad Gachchha. Thus the author gives his Gachchha to be le 583 which later on came to be known as Nagapuriya or Nagori Tapa Gachchha. The connection between these two Gachchhas can be understood from the following version. + Cf. Prabha vakacharitra 21. 95. : "argielaist net gforarladt stigat aliquiori at aircufaefenti * For their names see Sjt. Mohanlal Dalichand Desai's Gujarati work " Jaina Gurjara Poets " Part II P. 757.

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17 Introduction Padmaprabhasuri, the pupil and successor of Vadi Devashri, with the Permission of his preceptor went to the city of Nagor in Samvut 1177and practised hard and difficult penance there and having preached religion to Alhadana, the king of that city, made him a Jaina and the king being pleased gave him the name ' Nagapuriya Tapa Shree Padmaprabhasuri.' But though he was given this name by the king, no Nagapuriya Tapa Gachchha as such came into existence in the time of Vadi Devasuri. It was later in the time of Parshvachandrasuri in the 16th century that be (i. e. Parshvachandrasuri ) described himself to be the successor in the list of the Brhad Gachchha Pattavali and his Gachchha was popularly called Payachanda Gachchha while those Gachchhavalas give their Gachchha's name to be Nagapuriya ( coming, as we have seen, from Nagpur--Nagor of Marwad ) Tapa Gachchha. This fact is corroborated by the following lines of Chandrakirtisuri, who belonged to the same Gachchha of Parshyachandrasuri mentione before, which are taken from the fanfeet of his commentary on Rajas'ekharasuri's Prakrit Chhanda Kos'a:"varSeH catuH saptatiyuktarudrazatai 1174 ratItairatha vikramArkAt / vAdIndramukhyo gurudevasUriH sUrIzcaturviMzatimabhyarSicat //

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18 Introduction atei 7 T ema 9: tant per i yadIya zAkhA prathitA krameNa khyAtA kSitau nAgapurI tpeti||" Thus our author Ratnase'kharasuri belonged to the Brhad Gachchha which Gachchha later on came to be known as Nagori Tapa Gachchha. As regards the Guru-preceptor and other predecessors of Ratnas'ek harasuri w@ have already got some information from the TFETS of his works Sirisirivalakahi and guruguNaTtriMzikAafa already quoted hefore where he describes himself as the pupil of Vajrasenasuri and he became a successor of Hematilakasuri who who became Acharya in Samivat 1354, as can be seen from the following genealogy quoted from the book "TASIMECRET TITToegaft tert' (published by Shree Jaina Yuvaka Mandal Office & Library, Shamala's Pole, Ahmedabad). 40. Munichandrasuri The 40eth Pattadhara of the Mula Tapa gachchha Pattavali. 41. Vadi Devasuri The mUlapuruSa or the first Acharya in the Nagapuriya Tapagachchha Pattavali,

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Introduction 19 42. Padeisprabhasuri Author of partye composed in Samvat 1221. 43. Prasannachandrasuri 44. Gunasamudrasuri 45. Jayas'ekharasuri Became Acharya in Samvat 1301. 46. Vajrasenasuri Became Acharya in Samvat 1354. 47. Hematilakasuri 48. Ratnas'ekharasuri That our author Ratnas'ekharasuli, the 48th Pattadhara in the Nagapuriya TapaGachchha Pattarali was the pupil of Vajrasenasuri, and that he became a successor of Hematilakastiri becomes much more definite from the following 3 passages taken from his own works saMbohasattari (saMbodhasaptatti), guNasthANakakramAroha and laghukSetrasamAsasvopajJavRtti respectively. (1) The last gatha of HEART is : " saMvegamaNo saMbohasattari jo paDhei bhvjiio| sirijayaseharaThANaM so lahaI natthi saMdeho // " The name jayasehara (jayazekhara) mentioned here, refers to perstare also and one may be led to think that he (i. e. fustaceft) was the author of saMbohasattari. But one amarakIrtisUri while. commenting on this gatha says:

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20 Introduction ___"pale svagurornAma sUcitaM zrI jayazekhara iti / arthAprAMgapurIya tapAgacchAdhirAja zrI jayazekharasUreH paTTasthaH zrI. ratnazekharasUririmAM saMbodhasaptatiM cakAra // yaduktam / zrImannAgapurIyAhna tpognnkjaarunnaaH| zAnapIyUSapUrNAMgAH sUrIndrA jayazekharAH // 1 // teSAM patkajamadhupAH sUrayo rtnshekhraaH| sAraM sUtrAtsamuddhatya cakruH saMbodhasaptatim // 2 // . Hence jayazekhara was guru but in fact was praguru (guru' guru), because in the prazastis of sirivAlakahA, guNasthAnakakramArohasavRtti, guruguNaSaTtriMzikA, ( see p. 24 ) the author clearly refers to vajrasena as his guru. (2) In guNasthAnakakramArohasavRtti the last verse is: " ityuddhRto guNasthAnaratnarAziH zrutArNavAt / ___pUrvarSisUktinAvaiva ratnazekharasUribhiH // 135 // Here ratnazekharasUri's name is merely given but further particulars are given in his own commentary thereon as under : kairuddhRtaH ?- ratnazekharasUribhiH-bRhadagacchIyazrIvajrasenasUriziSyaiH zrI hematilakasUripaTTapratiSThitaiH zrIratnazekharasUribhiH svaparopakArAya prakaraNasUpatayA prakaTitaityarthaH // 135 // Here ratnazekharasUri definitely refers to himself as the pupil of a theft and a successor of hematilakasUri who was the Pattadhara-successor of vajrasenasUri. This fact is further co

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Introduction 4. and those who become famous by the bame of their father-in-law are the lowest 87 all'. He, therefore, returned home withi a pale face, his mother asked him the reason of his dejection, be explained the sa me to hor and having persuaded his wife and his mother ho decided to go to foreign countries in order to earn Wealth and strength for regaining the kingdom of his father Sinharaha. He started at an auspicious moment, wandered at various places and after some time came to a forest where underneath a beautiful Champaka tree he saw & certain Sadhaka and helped him in accomplishing the Vidya given to him by his preceptor. In return that Sadhaka gave him two medicinal kerbis Jalatarini and Paras'athhanivarini-one which enabled a man to go safely through water, ana one which enabled a man to evade the weapons of the enemy respectively. Then the Sadhaka took him to the declivity of a mountain where he helped certain mineralogists in accomplishing the gold-producing liquid. They thanked him much and offered him gold, and though he was indifferent to tho taking of it, they tied some of it to the skirt of his garment. Then the prince moving through various places gradually came to the city of Broach where

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Introduction he bought clothes, ornaments and weapons eto. by selling that gold. Now in the city of Kosambi there lived a very rich merchant named Dhavala who had come to the city of Broach accompanied by merchants and even though he made a very big profit there he was intent upon going to a distant shore on account of the covetousness of wealth, and therefore, for that purpose he made ready 400 ships. Then in an aus picious moment Dhavale embarked on those ships but they did dot move in spite of the sailors' trying to do so. Then Dhavala got down, went into the city and asked a sikottari (a female evil spirit) the reason of the ships' not moving and he was told that they were stopped by a god and would move only if a man possessed of thirty two auspicious marks on the body were given in oblation to that god. Dhavala having satisfied the king of Broach with presents etc. took permission from him for catching hold of such a man. The king allowed him to do so on a condition that such a man must be a foreigner and most be helpless (i. e. without a guardian etc). Obtaining his men to find out such a man, who after a

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Introduction great search succeeded in finding out Shripala to be exactly such a man as they required. Dhavala again obtained the permission of the king and sent his soldiers to capture him. They tried to do so but on hearing the roaring noise prduced by the prince, they ran away. The army sent by the king, being impelled by Dhayala, was also defeated by the prince in no time. Here ends the portion edited in this volume 16. The form and style of the story are like those of epic poetry and remind Form, style and us of Mahabharata and such author of Sirivalakaha compa- other stories. Its diction is sired with thosem ple, lucid and easy to grasp, of Kummaontta, and adds to the beauty of the .: story. The author has woven his story in such a beautiful and charming manner that the interest of the reader is sustained throughout from beginning upto the end. The language that he has used in composing most of his verses is simple and reminds us of the verses of Anantahansa's Kummaputta. However, the excellent literary and didactic qualities which Ratnas'ekhara's Sirivalakaha possesses are not to be met with in Kummaputta. Though the verses are simple and easy

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Us 40 Introduction in both, yet the richness of imagination, thought and expression which are found in Sirivalakaha are rarely to be seen in Kummaputta, quantity, whereas it is not so in the case of Kummaputta which lacks, more or less, in both. Moreover, the author of Kummaputta does not appear to be so great a scholar and a voluminous writer as the autbor of Sirivalakaha. In originality also Ratnas'ekhara far more surpasses Anantahansa, for so far as it is known upto now Sirivalakaba appears to be the original composition of Ratnas'ekhara, whereas Anantahansa has borrowed his story from S'ubhavardhana's version of Kummaputta which is a commentary in Sanskrit on the original source Rsimandala of Dharmaghosa ( St. 125 ). A comparison of other works composed by both also leads us to the same conclusion that the author of Sirivalakaha is far more original, Kummaputta. The literary and kharasuri are also seen from the special features various literary and special feam of Sirivalakha which are tures that are found in Siri. absent in valakaha itself. They are as Kummaputta. follows.

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Introduction 41 ... . JEIL.at (12 in it the author has made a very happy BY and successful use our was made a moringa happy of various Alankaras or figures of speech such as vyatireka (St. '32 ), utprekSA ( Sts. 38 to 40 ), atizayokti ( Sts. 42, 43 ), zleSa (Sts. 38, 44, 178), arthAntaranyAsa ( St. 77 ), rUpaka ( St. 103 ), vyAjastuti (Sts. 115, 116 ) etc.* In Kummaputta we hardly meet with such Alankaras and such a happy and . 135, sua to Kumman such (2) The author has also made a happy use of a number of Des'i words which occur here and there in the text. In Kummaputta also we do meet with some Des'i word's but not in such a great number. (3) Another feature of Sirivalakaha is the use of various technical terms such as caubuddhi, paMcavihaM abhigamaNa, paMcavihR pamAya, aTThArasadosa, panarasameye siddha, siddhAnaMtacaukka, kammabhUmi, duvAlasaMgadharaM, tavokammaM, kuMTalaviTalAI, . egAsattA, dubihonao, kAlattayaM, gaicaukaM, paceva asthikAyA, davvachakaM, aTheva kammAI, navatattAI, dusaviho dhammo, mUluttarapayaDIo, kammaThiI, kammavivAgaM, baMdha, udaya, udIraNA, sattA, amahAsiddhi, IIo, aThThArasajAI kuTThassa, sasicArapANa, etc. which show * All these Alankaras are fully explained in the notes on Sts. wherein they occur.

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Introduction the great learning and scholarship of the author, and his mastery over the Jaina Philosophy. * (4) A fourth feature is the introduction of the sermons through the mouth of Gautamswami, Munichanda and other sages which feature is found in Kummaputta also with equal success and effect. (5) The fifth feature is the use of difficult stanzas at random in the text, which contain the descriptions of countries and cities, the description of the marriage ceremony of Surasundari, the prayer-song to Lord Rsbha by Mayanasundari, etc. In Kummaputta we get one or two such descriptions but they are not so remarkable. (6) The sixth more important and highly oreditable feature is the descriptior of the Recitation Rite of the Siddhachakrayantra (Sts. 196 to 206), which, as the author says, has been extracted from the Tenth Purva called Vidyanuvada, and thus saved from oblivion. * These various terms require fairly long explanations and they are given in the notes on the Sts. wherein they ocour. For further details on the Siddhachakrayantra and its Recitation Rite refer to the notes on Sts. 196 to 206.

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Introduction (7) The seventh feature is the Apabhrans'a verses (Sts. 73, 76, etc.) which contain the solution of the riddle which the two princesses Surasundari and Mayanasundari were asked by their father King Prajapala to solve, and so on. In Kummaputta also two such Apabhrans'a verses are used which give the description of the birth festival of Kummaputta. But in this respect also, the verses used in the former appear to be of a superior quality than those used in the latter from a literary point of view because in the former the dialect is the pure Apabhrans'a dialect whereas in the latter though the stanzas appear to be written in A pabbhrans'a they resemble old Gujarati, as Diwanbabadura K. H. Dhruva also holds. (8) The eighth feature is the frequent use of grammatical forms like furthefoers which is explained in notes on St. 20 and the mastery of the author over various grammatical peculiarities. (9) The ninth feature is the use of certain pure Sanskrit words and phrases, which we term Sanskritism. Throughout the whole text it appears that the writer of this Prakrit book.

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{ Introduction has also got a mastery over Sangkrit and is well acquainted with the relation between Sanskrit and Praktit Dialects. (10) The tenth feature is the use of various Heas or good sayings which are collected and given at the end of this edition, (11) The eleverith and the last feature is the metre that is used in the text. The general metre running through the whole text is the same as that which is used in Kummaputta also viz. the perf metro which consists of 30 and 27, Matras or syllabic instants in the first two and the last two Padas respectively, there being 4 Padas in all. ( For a further detailed explanation on AryA metre refer to vRttaratnAkara ). In addition to this Ratnas'ekhara has made use of some other metres also e. g. the rates metre which is used in the description of the marriage ceremony of Surasundari. It consists of 4 Padas each Pada containing 16 syllabic instants, the last letter of each, which is a determinant, being always neeessarily long, and there being stress ( FC ) on the ist, 5th, 9th and 13th syllabic instants. In Guj. this arenes metre is more popularly, known as 2140. Besides, there is also used in the prayer-song to

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nr. Inlagduation * Lord Rsabha by Mayangsyndari the waren metre which is often . met with in Prakrit Literature. It consists of 4. Padad, each Pada containing 16 syllabio instants, there being stress on the $rde 6th, 11th and 14th syllabje instants. These are very good singable metros and can be appreciated by those who kngw the science of music. 18. From all this our discussion it appoars that i literary qualities KummaSuperiority of putta is quite meagte and inferior Sirivalakaha over Kummaputta when compared to Siriva. lakaha. In didactio qualities, also, Sirivalakaba surpasses Kummaputta because the appeal made by the former is far more greater than that made by the latter. No doubt, Kummapusta has succeeded in laying stress on Bhava or the extremely puro mental condition which is also emphasized in Sirivalakaba. But in the latter, Bhava is not the main thing that the author wants to emphasize, but it is the greatness and importance of the Navapada in emphasizing which he has achieved a far greater success than Anantahansa has done in emphasizing Bhava. Thus in conclusion, we can say that Ratnas'ekhara's Sirivalakaha

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Introduction far surpassos Anantahansa's Kummapatta both in literary and didactic qualities, and this is but quite natural because the author of the former far surpasses the author of the latter 19. Here ends the introduction and the edition is now ready to be put in the wone hands of the public. But before doing so, the editor would like to wish, after Ratnas'ekhara suri, that as long as the sea and the mountain Meru are upon this world and as long as the sun and the moon shine in heaven let this story as well as its readers prosper. NAGAJIBHUDER'S POLE) V. J. Chokshi, B.A. (Hons.) MANDVI'S POLE, Sometime Dakshina Fellow, AHMEDABAD. J Gujarat College, AHMEDABAD.

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sirisirivaalkhaa| paDhamabhAo gAhA 1-400

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_

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||aiim nmH|| // sirisirikhAlakahA // arihAinavapayAI, jhAittA hiayakamalamami / sirisiddhacakamAippamuttamaM kiMpi japemi // 1 // atthitva aMbudIce, dAhiNabharahaddhamajjhime khaMDe / bahudhaNadhanasamiddho, magahAdeso jayapasiddho // 2 // jarathuppana sisciIranAivitvaM nayaMmi vitthariyaM / taM desaM savisesaM, titthaM bhAsaMti mIyatyA // 3 // tatya ya mamahAdese, rAyagihaM nAma puravaraM atyi| vebhAviulagiridharasamalaMkiyaparisarapaesaM // 4 // batya ya seNiyarAo, rajaM pAlei tijyvikkhaao| bIrajiNavalaNabhatto, vihiajjiyatitthayaragutto // 5 // nassatyi paDhamapacI, naMdA nAmeNa joi varaputto / abhayakumAro bahuguNasAro caubuddhibhaMDAro // 6 // ceDayanariMdadhUyA, bIyA jassatthi cillaNA devI / jIe asogacaMdo putto hallo vihallo a||7|| acAu aNegAo dhAraNIpamuhAu jassa deviio| mehAiNo aNege, puttA piyamAipayabhattA // 8 // so sepiyanaranAho, abhayakumAreNa vihiyaucchAho / tihuyaNapayaDapayAvo, pAlai rajjaM ca dhamma ca // 9 //

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2 sirirayaNaseharasUrihi-saMkaliyA eyaMmi puNo samae, suramahio bddhmaanntitthyro| 'viharaMto saMpatto, rAyagihAsannanayaraMmi // 10 // pesei paDhamasIsaM. ji8 gaNahAriNaM guNagariSTuM / sirigoyamaM muNidaM, rAyagihaloyalAbhatthaM // 11 // so laddhajiNAeso, saMpatto raaygihpurojjaanne| kaivayamuNipariyario, goyamasAmI samosario // 12 // tassAgamaNaM souM, sayalo nrnaahpmuhpurloo| niyaniyariddhisameo, samAgao jhatti ujANe // 13 // paMcavihaM abhigamaNaM, kAuMtipayAhiNAu dAUgaM / paNamiya goyamacalaNe, uvaviTTho uciyabhUmIe // 14 // bhayapi sajalajalahara-gaMbhIrasareNa khiumaaddhtto| dhammasarUvaM sammaM, parovayArikatalliccho // 15 // bho bho mahANubhAgA ! dulahaM lahiUNa mANusaM jamaM / khittakulAipahANaM, gurusAmaggiM ca puNNavasA // 16 // paMcaviiMpi pamAyaM, guruyAvAyaM vivajiu jhtti| . saddhammakammavisae, samujjamo hoi kAyavyo ||17aayugmm|| so dhammo caumeo, uvaiTo sayalajiNavariMdehiM / / dANaM sIlaM ca tavo, bhAvo'vi a tassime bheyA // 18 // tatthavi bhAveNa viNA, dANaM nahu siddhisAhaNaM hoI / sIlaMpi bhAvaviyalaM, vihalaM ciya hoi logaMmi // 19 // bhAvaM viNA tavoviha, bhavohavitthArakAraNaM ceva / * tamhA niSabhAvuciya, suvisuddho hoi kAyavvo // 20 //

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sirisirivAlakahA bhAvovi maNovisao, maNaM ca aidujjayaM nirAlaMba / to tassa niyamaNatthaM, kahiyaM sAlaMbaNaM jhANaM // 21 // AlaMbaNANi jaivihu, bahuppayArANi saMti satyesu / tahavihu navapavajhANaM, supahANaM biti jagaguruNo // 22 // arihaMsiddhAyariyA, ujjhAyA sAhuNo asammattaM / nANaM caraNaM ca tavo, iya payanavagaM muNeyavyaM // 23 // tattharihate'dvArasadoSavimukke visuddhanANamae / payaDiyatatte nayasurarAe zAeha niccaMpi // 24 // panarasabheyapasiddhe, siddhe ghaNakammabaMdhaNavimukke / siddhANaMtacaukke, jhAyaha tammayamaNA sayayaM // 25 // paMcAyArapaktei, bisuddhasiddhaMtadesaNujjutte / parauvayArikapare, niccaM jhAeha mUrivare // 26 // gaNatisIsu niutte, muttatthajjhAvaNaMmi ujutte / sajjhAe lINamaNe, sammaM jhAeha ujjJAe // 27 // savvAsu kammabhUmisu, viharate guNagaNehi saMjutte / gutte mutte jhAyaha, muNirAe niTThiyakasAe // 28 // sambannupaNIyAgamapayaDiyatattatthasadahaNaruvaM / daMsaNarayaNapaIvaM, nicca dhAreha maNabhavaNe // 29 // jIvAjIvAipayatthasatyatattAvaboharUSaM ca / nANaM sanvaguNANaM, mUlaM sikkheha viNaeNaM // 30 // asuhakiriyANa cAo, suhAsu kiriyAsu jo ya apamAo naM cArittaM uttamaguNajuttaM pAlaha nirutvaM // 31 //

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sirisyaNaseharasUrihi-saMkaliyA / ghaNakammatamobharaharaNabhANubhUyaM dukaalsNgdhrN| navaramakasAyatAvaM, careha sammaM tavokammaM // 32 // eyAI navapayAI, jiNavaradhammami sArabhUyAI / kallANakAraNAI, vihiNA ArAhiyanvAiM // 33 // annaM ca-eehiM navapaehi, siddha sirisiddhckmaautto| bArAhaMto saMto, sirisiripAluvva lahai muhaM // 34 // to pucchai magaheso, ko eso muNivariMda ! siripAlo ? kaha teNa siddhacakaM, ArAhiya pAviyaM mukkhaM ? // 35 // to bhaNai muNI nimupasu, naravara ! akkhANayaM imaM rammaM / sirisiddhacakamAhappasuMdaraM paramacujakaraM // 36 // tathAhi-ittheva bharahakhitte, dAhiNakhaMDaMmi atthi supasiddho savaDikayapaveso, mAlavanAmeNa varadeso // 37 // so ya keriso?:pae pae jattha muguttiguttA, jogappavesA iva sNnivesaa| pae pae jatya agaMjaNIyA, kuDuMbamelA iva tuMgaselA // 38 pae pae jattha rasAulAo, paNaMgaNAovva trNginniio| pae pae jattha muhaMkarAo, guNAvalIovva vnnaavliio||39 pae pae jattha savANiyANi, mahApurANIva mhaasraannii| pae pae jattha sagorasANi, muhImuhANIva sugoulANi // 40 tatyaya mAlavadese, azyapavese dukAlaDamarehi / atthi puro porANA, ujjeNI nAma supahANA // 41 //

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sirisirivAlakA sA ya kerisA ?:aNegaso jattha pathAvaIo, naruttamANaM ca na jattha sakhA / mahesarA jattha gihe gihesu, sacIvarA jattha samaggaloyA // ghera dhera jattha ramaMti gorI-gaNA sirio apae pae / vaNavaNe yAvi aNegaraMbhA, raI apoIviya ThANagaNe // 43 tIse purII suravarapuroI ahiyAi vaNNaNaM kAuM / jai niugabuddhikalio, sakaguru ceva sakei // 44 // tatthathi vipAloM, payapAlo nAmao a guNao / jassa payAdo somo, bhImo viya siTajaNe // 45 // tassavarohe bahudehasohaavahariyagorigravvevi / accaMta maNaharaNe, ni uNAo dunni devIo // 43 // sohaggalaDaidehA, emA sohaggasundarInAmA / bIyA a svasuMdarI, lAmA rUveNA raitullA // 17 // 'pajhyA bAIsaralatamA teNa micchdiciti| bIyA sAgavadhUyA tega sA sampadichiti // 18 // o sarisavayAyo, samasoggA srisruvaayo| sAvatevi hu pArya, paruppara pItikaliA // 19 // makaraM Apa maThiyadhammasarUvaM niyArayaMtrANaM / . dUreNa visaMvAo, visapIUsehi sAriccho // 50 // tamo aramaMtImI, navanavalIlAhiM naravareNa sm| . thoktarami samae, dovi sagabbhAu jAyAyo // 51 //

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sirirayaNaseharasUrihi-saMkaliyA samayaMmi pasyAo, jAyAo kannagAu dohipi / naranAhovi sahariso, vaddhAvaNayaM karAveI / / 52 // sohaggasuMdarI naMdaNAi surasuMdaritti varanAmaM / bIyAi mayaNasuMdari, nAmaM ca Thavei naranAho // 53 // samaye samappiyAo, tao sivadhammajiNamayaviUNaM / ajjhAvayANa ratnA, sivabhUtisubuddhinAmANaM // 54 // murasuMdarI a sikkhai, lihiyaM gaNiyaM ca lakkhaNaM chNd| kavvamalaMkArajuyaM, takaM ca purANasamiIo // 55 // sikkhei bharahasatthaM, gIyaM naTuM ca joisatigicchaM / vijja maMtaM taMtaM, haramehalacittakammAI / / 56 // annAipi kuMDalakTilAI krlaaghvaaikmmaaiN| satthAI sikkhiyAI, tIi camukkArajaNayAiM // 57 // sA kAvi kalA taM kiMpi, kosalaM taM ca natthi vinnANaM / jaM sikkhiyaM na toe, pannAabhiogajogeNaM // 58 // savisesa gIyAisu, niuNA vINAviNoyalINA sA / murasuMdarI viyaDhA,-jAyA pattA ya tArunaM / 59 // jArisao hoi gurU, tArisao hoi sosgunnjogii| ittacciya sA miccha-dihi ukiThadappA a||6|| tai mayaNasuMdarIvi hu, eyA u kalAo lolmittenn| sikkhei vimalapannA, dhannA viNaeNa saMpannA // 61 // jiNamayaniuNeNajjhAvaeNa sA mynnsuNdriibaalaa| vaha sikkhaviyA jaha jiNamayaMmi kusalataNaM pattA // 2 //

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.... 'sirisirivAlakahA egA sattA duviho nao ya kAlattayaM gaicaukaM / / . paMceva atthikAyA, davvachakkaM ca satta nayA // 63 // aTheva ya kammAiM navatattAI ca dasaviho dhmmo| egArasa paDimAo bArasa vayAI gihINaM ca // 14 // iccAi viyArAcArasArakusalattaNaM ca sNpttaa| . anne suhumaviyArevi muNai sA niyayanAmaM va // 65 // kammANaM mUluttarapayaDIo gaNai muNai kammaThiI / jANai kammavivAgaM, baMdhodayadIraNaM saMtaM // 66 // . jIse so ujjhAo, saMto daMto niiMdio dhiiro| niNamayarao subuddhI, sA kiM nahu hoi tassIlA ? // 67 // sayalakalAgamakumulA, nimmalasammattasIlaguNakaliyA / lajjAsajjA sA mayaNasuMdarI juvvaNa pattA // 68 // annadiNe abhitarasahAniviTeNa naravarideNa / ajhAvayasahiyAo, aNAviAo kumArIo // 69 // viNaoNayAu tAo, sruvlaavnnkhohiashaao| viNivesiAu rannA, neheNaM ubhayapAsesu // 70 // harisavaseNaM rAyA, tAsiM buddhiparikkhaNanimittaM / ega dei samassA-payaM duvinhaMpi samakAlaM // 71 // yathA " punihi labbhaipahu;" ........... to takAlaM aicaMcalAi / accaMtagavvagahilAe, surasundarIi bhaNiyaM, huM huM pUremi nisuNeha // 72 // .

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siristhaNateharasUrihi saMkaliyA . yayA dhaNajuvvaNa suviyaTThapaNa, rogarahima niba de| maNa vallaha melApaDau, pulihi~ lambhai ehu||73|| taM suSiva miyo tuDo, pasaMsae sAhu sAhu ujjhAyo / jeNesA sikkhabiyA, parisAvi bhaNei saccamiNa // 7 // to ramnA AichA, mapaNA vi hu pUrae samasta taM / niNavayaNarayA saMtA baMtA sasahAvasAricchaM // 79 // yathA-viNayaviveyapasaNNamaNu sIlamunimmaladehu / paramappaDamelAvaDau, puNNehi labbhai ehu // 76 // to tIe uvajhAo, mAyAvi aharisiAna uNa sesaa| jeNa tattovaeso na kuNai harisaM kudihiNaM // 77 // io a-kurujaMgalaMmi dese, saMkhapuronAma puravarI atthi| jA pacchA vikkhAyA, jAyA ahichattanAmeNaM // 78 // tatyatyi mahIpAlo kAlo iva veriANa dmiaarii| paivarisaM so gacchai, ujjeNinivassa sevAe // 79 // annadiNe tapputto, aridamano nAma taartaaruno| sampattI piaThANe , ujjeNiM rAyasevAe // 8 // taMcaM nivapaNamaNatyaM, samAgayaM tattha divvarUpadharaM / surasundarI nirikkhA, sikkhakaDakkheMhi tADaMti 81 // satyeva thiranivesidihI diDA niSNa sA vaalaa| bhaNiyA ya kahasu vacche / mujha paro kerilo hoDa 82 // to tIe hiTThAra, piTThAe mukkloaljjaae| / bhaNiya tAyaphsAyA, 'maha lamai magmiya kahati // 13 //

Page #53
sirisiriyAkA va sadhyakalAkulalo, tovararUpaNakAyako / erisao hou kro, ahavA tAmociSa pamANe // 44 // jeNaM sAtha tuma ciya, sevayajaNamaNasamIsvitthANaM / pUraNapaSaNo dIsasi, paccakkho kaparUkkhavva / / 85 // to tuTo naranAho, didviniveseNa nAyavIimaNA / 'pabhaNei hou bara ! esabhIdavaNo caro tuma // 86 // sosayalasabhAloo, pamamai naranAha ! isa sNnoso| aisohaNo'hivalopUgatarUNa va niyaMta / / 87 // aha mayaNasundarIci hu, rakana neheSa puchiyA kcche| kerisao tujha varo, korau ? maha kahasu avilaMya 88 // sA.puNa jinnvynnciyaarsaarsNjniynimmltiyaa| rAjyarANikasajjA, ahomuhI jA na jaMpei // 89 // tApa naradeNa puNo puTA sA bhaNai Isi hasiUNaM / lAya ! viSayasameo, puSchasi sakhi kimajura // 9 // jeNa vAhiyo , na kahati haveu esa majA ko| jo kira piUhiM dino, so gheva mANiyabutti // 11 // ammApiuNovi nimittamittameveha crpyaami| 'pAyaM punvanibaddho, sambandho hoi jIvANa // 12 // * jeNa jayA jAssimupanmiya hoi kamma muhmmuii| saM vArisa vA se, saMpajjahA dorithanibaddhaM // 13 // nA kamA bahumunA, dinA kukulevi sA havai muzyiA / jA hoihINapumA, mugurale disApisA duhiyA // 14 //

Page #54
20 sirirayaNaseharasUrihi-saMkaliyA . tA tAya ! nAyatattassa, tujjha no jujjae imo gayo !! jaM majjha kayapasayApasAyao suhaduhe loe // 95 // jo hoi punabalio, tassa tuma tAya ! lahu pasIesi / jo puNa puNNavihUNo, tassa tumaM no pasIesi // 96 // bhaviyavvayA sahAvo, davAiyA sahAiNo vAvi / pAyaM pubbovajjiyakammANugayA phalaM diti // 97 // to dummioya rAyA, bhaNei re tasi maha psaaenn| vatthAlaMkArAi, pahiraMtI kosima bhaNasi ? // 98 // hasiUNa bhaNai mayaNA, kayasukayavaseNa tujjha gehami / uppannA tAya ! ahaM, teNaM mANemi sukkhAiM // 99 // puvakayaM mukayaM citra, jIvANaM sukkhakAraNaM hoi| dukayaM ca kayaM dukkhANa, kAraNaM hoi nibbhataM // 100 / / na surAsurehi, no naravarehi, no buddhivalasamiddhehiM / : kahavi khalijjai iMto, suhAsuho kammapariNAmo // 101 // vo lho naranAho, aho aho appapunniA esaa| majha kayaM kiMpi guNa, no mannai dundhiyaDA ya // 102 // pabhaNei sahAloo, sAmiya ? kimiyaM muNei mudamaI ? / taM ceva kapparukkho, tuTTho ruTo kayaMto ya // 103 // mayaNA bhaNei ghiddhI, dhaNalavamittathiNo ime savve / jANaMtAvi hu aliaM, muhappiyaM ceva japaMti // 104 // jaha tAya ! tuha pasAyA, sevayaloA havaMti samvevi / - muhiyA tA samasevAnirayA kiM dukkhiyA ege ? // 105

Page #55
siriMsirivAlakahA. tamhA jo tumhANaM, rucai so tAya ! majjha hou vro| - jai asthi majjha punnaM, tA hohI nigguNovi gunnii||106 jaI puNa punnavihINA, tAya ! ahaM tAva suMdarovi vro| hohI asuMdaruciya, nUNaM maha kammadoseNaM // 107 // to gADhayaraM rAyA, ruTo ciMtei dunviyaDhAe / eyAi ko lahuo, ahaM to veriNI esA // 108 // roseNa viyaDabhiuDIbhIsaNavayaNaM paloiUNa nivN| dakkho bhaNei maMtI, sAmiya ! raivADiyAsamao // 109 roseNa dhamadhamaMto, naranAho turyrynnmaaruuddho| sAmaMtamaMtisahio, viNiggao rAyavADIe // 110 // jAva purAo bAhiM, niggacchai naravaro sprivaaro| tA purao jaNavaMdaM, picchai sADaMbaramiyaMtaM // 111 // to vimhieNa rannA, puTTho matI sa naayvuttNto| vinnavai deva nimuNaha, kahemi jaNavaMdaparamatthaM // 112 / / sAmiya ! sarUvArisA, sattasayA navavayA sasoMDIrA / duTThakkuTThabhibhUyA, savve egattha saMmiliyA // 113 // ego ya tANa bAlo, milio uNbryvaahighiyNgo| so tehiM parigahio, uMbararANutti kayanAmo // 114 // varavesarimArUDho, tayadosI chattadhArao tassa / gayanAsA camaradharA, ghiNidhiNisadA ya aggapahA // 115. gayakannA ghaMTakarA, maMDalavai aMgarakkhagA tss| . daddala thaiAitto, galIaMguli nAmao maMtI // 116 //

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29 sirirakSaNasehatamUrihi-saMkaliyA kevi payavAyA, kacchAdagmehi kevi vikraam| kevi vivibhapAmAsamabiyA sevagA tassa / / 117 // evaM so kuDiapeDaeNa pariveDhilo mahIpIDhe / rAyakulesu bhamaMsI, paMjiadANaM pagimhei // 118 // so eso Agai, maravara ! ADaMbareNa sNnuttii| lA mammamiSaM mugu, gacchaha annaM disa tumme // 119 // to balio maranAhI, annAi disAi jAva tApa puro| to peDayapi tIe, dIsAi baliyaM turija turita // 120 // rAyA bhaNei meti, puraSo gaMsUNime nivArenu / muhamaggiyapi dAuM, jeNesi dasaNaM na muha // 121 // mAta karei maitI, galiamulinAyo duyaM sAva / naravara purao ThAuM, evaM bhaNiuM samADako / 122 // sAmiya! amhANa pahU, uMbaranAmeNa rANazro eso| samvattha vi malinA, galahi kSaNamAhi // 12 // teNa'mhA maNakapaNavIsamuhehiM kIrahama kissi| etassa pasAyeNaM, amhe sabvevi aisuhino / 124 // kiMca-go mAisimasthi, amha mamamitio vidhpputi| jai lahai rANamo rANiyati tA suMdaraM hoi|| 125 // tA naranAha ! palAyaM, kALayaM dehi samaya ena / avareNa kaNamakapaDadANe tubaha pajjataM 126 / / to bhagai rAvatI, aho ajura vimagnibhaM tumr| . ko dei niyaM yaM kuhakirista jAgatI / / 197

Page #57
lirisirivAlakahA. 13 maliaMguliyA bhagika, amhehiM supA nivarikhamA kittI / naM kila mAlabasayA, karei no patthamAbhaMga / / 128 // no sA nimmalakitI, hArijau aja nsvriNdst| ahakA dijjau kAvihu, dhUyA kukulevisaMmayA // 129 // pabhaNeha naravariMdo, dAhissai tumha kannamA egA / ko kira hArai kitti, ittiyamitteNa kajjeNa ? // 130 // ciMtei maNe sayA, kocaanlnliynimmlvivego| niyadhUyaM aribhu, taM dAhissAmi ekssa // 131 // sahasA paliUma tamo, niyamAkAsaMmi Agao rAyA / bullAvai taM mayaNAsundarinAmaM niyaM dhRyaM // 132 / / hu~ ajjavi jai manasi, majjha pasAyarasa saMbhavaM mukhaM / tA uttamaM varaM te, pariNAviya demi bhUri dhaNaM // 133 // jai puNa niyakammaM ciya, mannAsa tA tujjha kmmnnaanniio| eso kuTiarAmo, hou varo ki viyappeNa ? // 134 // isiUNa bhaNai bAlA, ANIo majjha kammaNA jo u / so ceva maha pamANaM, rAo vA raMkajAo vA // 135 // kovaMdheNaM rannA, so uMbararANao smaahuuo| bhaNio ya tumamimIe, kammApIosi hosu bro||136|| teNuttaM no juttaM, naravara ! vupi tujjha iya vayaNaM / ko kaNavarayaNamAlaM, baMdhai kAgassa kaMThami // 137 // emamahaM puMcakayaM, kammaM bhujemi erismnnjj| avaraM ca kahamimIe, jammaM bolemi jANato? // 138 //

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14 sirirayaNaseharasUrihi-saMkaliyA . tA bho naravara ! jai desi kAvi tA desa majjha aNuruvaM / dAsivilAsiNidhyaM, no vA te hou kallANa. // 139 // to bhaNai naravariMdo, bho bho mahanaMdaNI imA kiNpi| no majjhakayaM mannai, niyakammaM ceva manneha // 140 // teNaM citra kammeNaM, ANIo taMsi ceva joi vro| jai sA nikammaphalaM, pAvai tA amha ko doso ? 141 taM souNaM bAlA, uThittA jhatti uMbarasta kreN| giNhai niyayakareNaM, vivAhalaggaMva sAhati // 142 // sAmaMtamaMtiaMteuriu vAraMti tahavi sA baalaa| sarayasasisarisavayaNA, bhaNai saI succiapamANaM // 143 // egatto mAulao, egatto ruppasuMdarI maayaa| egatto parivAro, ruyai aho kerisamajuttaM ? // 144 // tahavi na niyakovAo, valei rAyA aIva kddinnmnno| mayaNAvi muNiyatattA, niasattAo na pacalei // 14 // taM vesarimArovia, jA calio uMbaro niyaThANaM / / tA bhaNai nayaraloo, aho ajuttaM ajuttati // 146 // ege bhaNaMti ghiddhI, rAyANaM jeNimaM kayamajuttaM / anne bhaNaMti ghiddhI, eyaM aidunviSIyaMti // 147 // kevi nidaMti naNaNiM, tIe nidaMti kevi uvajhAyaM / kevi niMdati divvaM, jiNadhammaM kevi niMdati // 148 // tahavi hu viyasiyavayaNA, mayaNA teNuMbareNa saha jaMti / na kuNai maNe visAyaM, sammaM dhamma viyANaMtI / / 149 //

Page #59
sirisirivAlakahA uMbaraparivAreNaM, milieNaM harisanibbharaMgeNaM / . niapahuNo bhatteNaM, vivAhakiccAI vihiyAI // 15 // itto-ranA surasuMdarIi vaavaahnntthmujjhaao| puTTho sohaNalaggaM, so pabhaNai rAya ! nimuNesu // 15 // ajjaM ciya diNasuddhI, atthi paraM sohaNaM gayaM laggaM / taiyA jaiyA mayaNAi, tIi kuTThiakaro gahio // 152 // rAyA bhaNei huM huM, nAo laggassa tassa prmttho| ahuNAvihu niadhyaM, eyaM pariNAvaissAmi // 153 // rAyAeseNa to, khaNamittaNAvi vihiasAmagi / maMtIhiM pahiDehiM, vivAhapavvaM samADhataM // 154 // taM ca kerisaM:UsiatoraNapayaDapaDAyaM, vajjiraturagahIraninAyaM / nacciracAravilAsiNighaTa, jayajayasahakaraMtasubhaTTa // 15 // paTuMsuyaghaDaolijjamAlaM, kUrakapUrataMbolavisAlaM / dhavaladiaMtasuvAsiNivaggaM, vuDDhapuraMdhikahiavihimagaM // magaNajaNadibjaMtasudAnaM, sayaNasuvAsiNikayasammANaM / maddalavAyacaupphalaloyaM jaNajaNaSayamapi jaNiyapamoyaM // kAriasurasuMdarisiNagAraM, siMgAriaaridamaNakumAraM / hathalevai maMDalavihicaMgaM, karamoyaNakaridANasuraMga // 158 // evaM vihiavivAho, aridamaNo laDahayagayasaNAho / surasuMdarIsameo, jA nigacchai puravarIo // 159 // tA bhaNai sayalaloo, aho'NurUvo imANa sNjogo| / dhannA esA surasuMdarI ya jIe varo eso // 160 //

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16 sirisvaNaleharasUNiha-saMkaliyA kevi pAsaMti nika, kevi vara kevi suMdari knn| - kevi toe~ ujjhAya, keki pasaMsati sivadhamma / / 161 / / surasuMdarisammAgaM, mavaNAi viDaMbaNaM jaNo dii| siSasAsaNappasaMsa, niSasAsaNaniMdagaM kuNai // 162 / / ioma-niapeDayassa majjJe, ravaNIe uMbareNa sA mayaNA / maNiA bhadde ! nisuNasu, imaM ajuttaM kayaM rannA // 163 / / tahavi na kipi viNar3ha, ajjavitaM maccha kamavi nararayaNaM / jeNaM hoi na vihalaM, eyaM tuha rUvanibhmANaM // 164 // ia peDayassa majjhe, tujjhavi ciTuMviAi no kusalaM / pAyaM kusaMgajaNiaM, majjhavi jAyaM imaM kuTuM // 165 // vo tIe mayaNAe, nynnNsuyniirklusvynnaae| paipAemu nivesia-sirAi bhaNiaM imaM vayaNaM // 166 // sAmitra ! savvaM maha AiseMsu kiMcerisaM puNo vayaNaM / no bhaNiyadhvaM jaM duhavei maha mANasaM eyaM // 167 // annaM ca paDhamaM mahilAjammaM, kerisayaM taMpi hoi jai loe sIlavihaNaM nUNaM, tA jANaha kaMjiaM kuhikaM // 168 // sIlaM cia mahilANaM, vibhUsaNaM solameba savvassaM / sIlaM jIviyasarisaM, solAu na suMdaraM kiMpi // 169 // tA sAmia ! AmaraNaM, maha saraNaM taMsi ceva no anno| ia nicchiyaM viyANaha, avaraM jaM hoi taM hou // 170 // evaM tIe ainicca-lAi dadasattapikkhaNanimittaM / sahasA sahassakiraNo, udayAcalacUli ptto||17||

Page #61
sirisirivAlakahA mayaNAe vayaNeNaM, so uMbararANopamAmi / tIe samaM turaMto, patto siririsahabhavaNaMmiH // 172 // ANaMdapulaiaMgehiM tehiM dohivi namaMsio saamii| mayaNA jiNamayaniuNA, evaM thouM samADhattA // 173 // bhattibharanamiramuriMdavaMda-vaMdiapayapaDhamajiNaMdacaMda / caMdUjalakevalakittipUrapUriyabhuvaNaMtaraverisUra // 174 // sUruvva hariaMtamatimira deva devAsurakheyaravihiaseva / sevAgayagayamayarAyapAyapAyaDiyapaNAmaha kayapasAya // 17 // sAyarasamasamayAmayanivAsa, vAsavagurugoyaraguNavikAsa / kAmujjalasaMjamasIlalIla, lIlAivihiamohAvahIla // 176 // hIlAparajaMtusu akayasAva, sAvayajaNajaNiaANaMdabhAvaH / bhAvalayaalaMkiarisahanAha,nAhattaNu kari hari dukkhdaah||177 ia risahajiNesara bhuvaNadiNesara, tijayavijayasiripAlapaho! mayaNAhiasAmiasivagaigAmia, maNaha maNoraha pUrimaho . // 17 // evaM samAhilINA, mayaNA jA thuNai tAva jinnkNg| karaThiaphaleNa sahiA ucchaliA kusumavaramAlA // 179 // mayaNAvayaNAo uMbareNa sahasatti taM phalaM ghi| mayaNAi sayaM mAlA, gahiyA ANaMdiamaNAe // 18 // bhaNiaM ca tIi sAmi phiTTissai esa tumha tnnurogo| jeNeso saMjogo jAo jiNavarakayapasAo // 181 // ..

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14 sirirayaNaseharasUrihiM saMkaliyA tatto mayaNA paiNA sahimA municNdgurusmiivNmi| .. . pattA pamuiacicA bhattIe namai tassa pae // 182 // guruNo ya tayA karuNAparittacittA kahati bhaviyANaM / gaMbhIrasajalajalaharasareNa dhammassa phalamevaM // 183 // sumANusattaM mukulaM suruvaM, sohaggamAruggamatucchamAu / riddhiM ca viddhiM ca pahuttakittI punappasAeNa lahaMti sattA // 18 // iccAidesaNaMte guruNo pucchaMti pariciyaM mayaNaM / vacche ko'yaM dhano varalakkhaNalakkhiasuputro ? // 185 / / mayaNAi ruaMtIe kahio savvovi niayvuttNto| vinataM ca na annaM bhayavaM ! maha kiMpi atthi duhaM // 186 // eyaM citra maha dukkhaM jaM micchAdihaNo ime lo| nidaMti jiNaha dhammaM sivadhamma ceva saMsaMti // 187 // tA pahu kuNaha pasAyaM kiMpi uvAyaM kaheha maha pinno| jeNesa duTThavAhI jAi khayaM loavAyaM ca // 188 // pabhaNei gurU bhadde ! sAhUNa na kappae hu sAvajja / kahiuM kiMpi tigicchaM vijja maMtaM ca taMtaM ca // 189 tahavi aNavajjogaM samapi ArAhaNaM navapayANaM / ihaloiaparaloianuhANa mUlaM jiNudilaM // 19 // arihaM sidAyariyA jamAyA sAhuNo ya samma / nANaM caraNaM ca So, isa payamavarga paramatataM // 191

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sirisirivAlakA eehiM navaparahi, rahiaM amaM na asthi parasatyaM / eesu cia jiNasAsaNassa sancassa akyAro // 192 // je kira siddhA, siprati je a, je Avi sijjhaismati / te savvevi hu navapayajhANegaM ceva nibhaMtaM // 193 eesiM ca payANaM payamegayaraM ca paramabhattIe / ArAhiUga ge saMpatA vijayasAmittaM // 194 // eehiM navapaehiM siddhaM sirisiddhacakkameaMjaM / tassuddhAro eso puvAyarie,ha nidiTho // 195 // gayaNamakaliAyaMta uDAhasaraM sanAyavindukalaM / sapaNavabIANAhaya-maMtasaraM saraha pIDhami // 196 // zAyaha aDadalavalae, sapaNavamAyoiesuvAIte / siddhAie disAsuM vidisAsuM dasaNAIe // 197 // bIavalayaMmi aDadisi, daLenu sANAhae saraha vagge / aMtaradalesu aTTama, sAyaha paramiTipaDhamapara // 198 // taiavalae'vi, aDadisi, dipaMtapraNAhaehiM aMtarie / pAyAhiNema tihipaMtiAhiM pAeha saddhipae // 199 // te paNavabIaarihaM, namojiNANaMti evmaaiithaa| aDayAlIsaM NeA, saMmaM sugurUpaeseNaM // 20 // taM tiguNemaM mAyAvIeNaM suddhsevbnnennN| pariveDhiUNa parihIi tassa gurupAyae namaha / / 2013

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20 sirirayaNaseharasUrihiM saMkaliyA arihaM siddhagaNINaM guruparamAdiThaNaMtasuguruNaM / duraNaMtANa guruNa ya sapaNavabIyAo tAo ya // .202 // rehAdugAyakalasAmArAmiamaMDalaMba ta saraha / caudisi vidisi kameNaM jagAijaMbhAikayasevaM // 203 / / sirivimalasAmipamuhAhiTThAyagasayaladevadevINaM / suhagurumuhoo jANia tANa payANaM kuNaha jhANaM // 204 // taM vijAdevisAsaNasurasAsaNadeviseviadupAsaM / mUlagaha kaMThaNihiM, caupaDihAraM ca cauvIraM // 205 // . disivAlakhittavAlehiM seviaM dharaNimaMDalapaiI / pUyaMtANa narANaM nUNaM pUrei maNaiha // 206 // eyaM ca siddhacakaM, kahiaM vijjANuvAyaparamatthaM / nAeNa jeNa sahasA sijhaMti mahaMtasiddhIo // 207 // eyaM ca vimaladhavalaM jo jhAyai mukkajjhANajoeNa / tavasaMjameNa jutto, so pAvai nijaraM viulaM // 208 // akkhayamukkho mukkho jassa pasAraNa labbhae tassa / jhANeNaM annAo siddhAo huMti kiM cujjaM ? // 209 / / eyaM ca paramatattaM, paramarahassaM ca paramamaMtaM ca / paramatthaM paramapayaM, pannattaM paramapurisehiM // 210 // tatto tijayapasiddhaM aTThamahAsiddhidAyagaM suddhaM / sirisiddhacakkameaM, ArAhaha paramabhattIe // 211 //

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sirisirivAlakahA 21 khaMto daMto saMto, eyassArAhago naro hoi / jo puNa vivarIyaguNo, eyassa virAhago so u // 212 // tamhA eyassArAhageNa egaMtasaMtacittega / nimmalasIlaguNeNaM muNiNA gihiNA vi hoyavvaM // 213 // jo hoi duddacitto eyassArAhagovi hoUNa / tassa na sijjhai evaM kiMtu avAyaM kuNai nUgaM // 214 // jo puNa eyassArAhagassa uvarimi suddhacittassa / ciMtai kiMpi virUvaM taM nUNaM hoi tasseva // 215 // eeNa kAraNegaM pasannacitteNa suddhsiilenn| ArAhaNijjameaM sammaM tavakammavihipucvaM // 216 // AsoaseaahamidiNAo AraMbhiUNameyassa / aTTavihapUyapuvvaM, AyAme kuNaha aTTha diNe // 217 / / navamaMmi diNe paMcAmaeNa NhavaNaM imassa kAUNaM / pUyaM ca vitthareNaM, AyaMbilameva kAyavvaM // 218 // evaM cittevi tahA, puNo puNASTAhiyANa navageNaM / egAsIe AyaMbilANa evaM havai pugnaM // 219 // eyaMmi kIramANe, navapayajhANaM magaMmi kAyavvaM / pugne ya tavokamme, ujjamaNaMpi viheyavvaM // 220 / eraM ca tavokamma, saMmaM jo kuNai suddhabhAveNaM / sayalamurAsuranaravarariddhIu na dullahA vassa // 221 //

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22 sirirayaNaseharasUrihiM saMkaliyA eyaMmi kae na hu dukuttkhyjrbhgNdraaiiaa| pahavati mahArogA puvvuppannAvi nAsaMti // 222 / / dAsattaM pesattaM vikalattaM dohagattamaMdhattaM / dehakulajuMgiyattaM na hoi eyassa karaNeNaM // 223 / / nArINavi dohaggaM, visakatra kurNddrNddsN| vaMjhattaM mayavacchattaNaM ca na havei kaiyAvi // 224 // kiM bahuNA jIvANaM, eyassa pasAyo sayAkAlaM / maNavaMchiyatyasiddhI, havei natthitya saMdeho // 225 // evaM tesi sirisiddhacakamAhappamuttama kahiu~ / sAvayasamudAyassavi guruNo evaM uvaisati // 226 // eehiM uttamehi, lakkhijjai lakkhaNehiM esa nro| jiNasAsaNassa nUNaM, acireNa pabhAvago hohI // 227 // tamhA tumhaM jujjai, esiM sAhammiANa vacchallaM / kA jeNa jiNidehi vanioM usameM eyaM // 228 / / to tudahi tehiM, musAvaehi varaMmi ThANaMmi / te ThaviUNa dina, dhaNakaNavatthAiyaM savvaM // 229 / / na yataM karei mAyA, neva piyA neva baMdhuvamgo a| jaM vacchallaM sAhammiANa mussAvao kuNai // 230 // tatya Thio so kumaro mayaNAvayaNeNa guruvaraseNaM / sikkhei siddhacakkappasiddhapUAvihiM sammaM // 231 //

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bAda sirisiriyAlakahA aha annadiNe AsoaseaavamitihIi saahute| / mayaNAsahio kumaro, AraMbhai siddhabakkatavaM // 239 // paDhama taNumaNasuddhiM kAUNa jiNAlae jiNaccaM ca / sirisiddhacakkapUyaM aTThapayAraM kuNai vihiNA // 233 // evaM kayavihipUo paJcakkhANaM karei AyAma / ANaMdapulaiaMgo jAo so paDhamadivase vi // 234 // bIadiNe savise saMjAo tassa rogrvsaayo| evaM divase divase rogakhae baDDhae bhAvo // 235 // aha navame divasaMmI pUaM kAUNa vityrvihiie| paMcAmaeNa NhavaNaM karei sirisiddhacakkassa // 236 / / NhavaNUsavaMmi vihie teNaM saMtIjaleNa svvNg| saMsitto so kumaro jAo sahasatti divvataH // 237 // savvesi saMjAyaM acchariaM tassa dasaNe jAva / tAva gurU maNai aho eyassa kimeyamacchari ? // 238 // imiNA jaleNa savve dosA gahabhUasAiNIpamuhA / nAsaMti takkhaNeNaM, bhaviANaM suddhamAvANaM // 239 // khayakuTujarabhagaMdarabhUyA bAyA visuuiaaiaa| je kevi duTTharogA te savve jati uvasAmaM // 24 // jalajalaNasaNasAvayabhayAI visaSetraNA uiilo| dupayacauppayamArIu neva pahavaMti lomi // 241 // .

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24 sirirayaNaleharasUrihiM saMkaliyA vaMzANavi DaMti suyA, niMdavi naMdaNA ya naMdati / phiTaMti puTThadosA, dohaggaM nAsaha asesaM // 242 // iccAi pahAvaM nisuNiUNa daLUNa taM ca paccakkhaM / loA mahappamoA saMtijalaM liMti savisesaM // 243 // taM kuThThipeyarDa pi hu tajjalasaMsittagattamacireNa / upasaMtappAyaruaM jAyaM dhammami sarui ya // 244 // mayaNApaiNo niruvamakhvaM ca nirUviUNa saannNdaa| pabhaNei paI sAmia! eso savvo gurupsaao||245|| mAapiasuasahoarapamuhAvi kuNaMti taM na uvyaarN| jaM nikAraNakaruNAparo guru kuNai jIvANaM // 246 // taM jiNadhammagurUNaM, mAhappaM muNiya niruvamaM kumro| deve gurumi dhamme, jAo egaMtabhattiparo // 247 // dhammapasAeNaM ciya jaha jaha mANati tattha sukakhAi / te dapaiu taha taha dhammami samujjamA niccaM // 248 // aha annayA u te jiNaharAu jA nIharaMti tA purao / pikkhaMti addhavuDDhaM egaM nAriM samuhamiti // 249 // taM paNamiUNa kumaro pabhaNai romaMcakaMcuijjato / aho aNamA vuTTI saMjAyA jaNaNidaMsaNao // 250 // mayaNA vi hu piyajaNaNi nAuM jA namai tA bhaNai kumro| ammo ! esa pahAvo sabyo imie tuha NhuhAe // 25 //

Page #69
...sirisirivAlakahA sANaMdA sA AsIsadANapuvvaM muyaM ca muNDaM c| .. abhinaMdiUNa pabhaNai taiyA'haM vaccha ! taM muttuM // 252 / / kosaMbIe vijjaM soUNaM jAva tattha vaccAmi / tA tattha jiNAyayaNe, diho ego muNivariMdo // 253 // khato daMto saMto, uvautto gunimuttisNjutto| karuNArasappahANo avitahanANo guNanihANo // 254 // dhammaM vAgaramANo patthAve namiya so mae puttttho| bhayavaM ! kiM maha putto kayAvi hohI niruyagatto // 255 // teNa murNideNuttaM, bhahe ! so tujjha naMdaNo tattha / teNaM ciya kuThiyapeDaeNa daLUNa saMgahio / / 256 // vihio uMbararANutti niyapahU laddhaloyasammANo / saMpai mAlavanaravadhUyApANappio jAo // 257 // rAyasuyAvayaNeNaM guruvai sa siddhavaracakkaM / ArAhiUNa sammaM saMjAo kaNayasamakAo // 258 // so ya sAhammiehi, pUriyavihavo sudhammakammaparo / acchai ujjeNIe, gharaNIi samanio suhio // 259 // taM soUNaM harisiacittA'haM vaccha ! ittha sNpttaa| diTThosivahUsahio, juNhAi sasivva kayaharisoM // 260 // tA vaccha ! tumaM bahuyAsahio jaya jIva naMda cirakAlaM / esaccia jiNadhammo, jAvajjIvaM ca maha zaraNaM // 26 //

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sirirayaNaseharasUrihi saMkaliyA jiNarAyapAyaparAma,namijaNaM baMdiUNa muguruM c| tinidhi karatti dhamma, samma jiNadhammabihiniuNA // 262 // te annadiNe jiNavarapUrNa kAUNa aMgaagamayaM / bhAvaJcayaM karatA, deve vaMdati uvauttA // 263 // io yAdhyAduheNa sA ruppasuMdarI rUsiUNa saha rnaa| niabhAyapuNNapAlassa maMdire acchai sasoyA // 264 // vIsAriUNa soaM, saNioM saNiaMjiNuttavayaNehiM / jaggiacittaviveA samAgayA ceiyaharaMmi // 265 // jA pikkhai sA purao, taM kumaraM devavaMdaNApauNaM / niuNaM niruvamakhvaM paccakkhaM surakumAraMva / / 266 // tappuTIi ThiAyo jaNaNIjAyAu tAva tssev| daNa ruppasuMdari rANI ciMtei cittaMmi // 267 // hI esA kA lahuyA bahuyA dIsei majjha puttismaa| jAva niuNaM nirikkhai upalakkhai tApa se mayaNaM / / 268 // nRNaM mayaNA esA, laggA eyarasa kassavi nrss| puDhIi kuTiaM taM muttUNaM cattasaimaggA // 269 // mayaNA miNamayaniuNA saMbhAvijjai na erisaM tIe / bhavanADayaMmi ahavA hI hI kiMkiMna saMbhava // 270 // vihikule kalaMka ANAdasaNaM ca jinndhmme| jIe tIi suyAe na muyAe tArisaM dukkhaM // 271 //

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.... sirisirivAlakahA 27 jArisamerisa asamaMjaseNa carieNa jIvayaMvIe / jAyaM majma imIe dhUpAi kalaMkabhUpAe // 272 // 1. evaM ciMtatI ruppasuMdarI dukkhpuurpddipunnnnaa| karuNasaraM royaMtI bhaNei eyArisaM vayaNa // 273 // ghiddhI aho akaja nivaDau vajjaM ca majjha kucchIe / jatthupamAvi viyakkhaNAvi hI erisaM kuNai // 274 // taM soUNaM mayaNA jA pikkhai ruppsuNdriijnnnniN| ruyamANiM tA nAgo tIe jagaNIabhippAo // 275 // ciapaMdaNaM samaggaM kAUNaM mayaNasuMdarI jnnnniN| karavaMdaNeNa vaMdia viasiavayaNA bhaNai evaM // 277 // ammo ! harisahANe kIsa visAo vihijjae evaM / jaM eso nIrogo jAo jAmAuo tumheM // 277 // annaM ca jaM viyappaha taM jai puvvAi pcchimdisaae| uggamai kahavi bhANU tahavi na evaM niyamuyAe // 278 // kumarajaNaNIvi jaMpai suMdari ! mA kuNam erisaM citte / tujjha muAi pabhAvA majjha muo suMdaro jAo // 279 / / dhannAsi tumaM joe kucchIe itthirayaNamuppanna / erisamasarisasIlappabhAvaciMtAmaNisaricchaM // 280 // harisavaseNaM sA ruppasuMdarI pucchae kimekaM ti? / mayaNAvi muvihiniTaNA pabhaNai eArisaMpaNaM // 28 //

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28 sirirayaNaseharamurihiM saMkaliyA ceiahami vattAlAbaMmi kae nisiihiaabhNgo| hoi tao maha gehe vaccaha sAhemimaM savvaM // 282 // tatto gaMtuNa giha mayaNAe sAhio samaggovi / sirisiddhacakamAhappasaMjuo niyayavutto // 283 // taM soUNaM tuhA ruppA pucchei kumarajaNaNipi / vaMmuppattiM tuha naMdaNassa sahi ! soumicchAmi / / 284 // pabhaNei kumaramAyA aMgAdesaMmi asthi supsiddhaa| verihiM kayaakaMpA caMpAnAmeNa varanayarI // 285 / / . tattha ya arikarisIho sIharaho nAma naravaro asthi / tassa piyA kamalapahA kuMkuNanaranAhalahubhaiNI // 286 // tIe aputtiAe cireNa varamuviNasaio putto| jAo jaNiANaMdo vaddhAvaNayaM ca kAraviyaM // 287 // pabhaNei tao rAyA amhaM aNAhAi raaylcchoe| pAlaNakhamo imo tA haveu nAmeNa siripAlo // 288 // so siripAlo bAlo jAo jA vrisjuylpriyaao| tA naranAho mUleNa atti pNcttmnnuptto|| 289 // kamalappahA ruyaMtI maisAyaramaMtiNA nidaarittaa| dhAIucchaMgaThio siripAlo thApio rajje // 290 // jaM bAlassavi siripAlanAma rabo pavattiA aannaa| savvatthavi to pacchA, nivamiyakiccaMpi kAraviyaM // 29 //

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..sirisirivAlakahA 29 bAlovi mahIpAlo raja pAlei maMtimutteNaM / maMtIhiM savvatyavi rajja rakkhijjae loe // 29 // kaivayadiNapajjate bAlayapittijao ajiasenno| parigahameaM kAuM, maMtai nivamaMtivahaNatthaM // 293 // taM jANiUNa maMtI kahilaM kamalappabhAi svvNpi| vinavai devi jaha taha rakkhijasu naMdaNaM niyayaM // 294 // jIvaMteNa sueNaM hohI rajjaM puNovi nibhaMtaM / tA gaccha imaM ghittuM katthavi ahayaMpi nAsissaM // 295 // tatto kamalA cittUNa naMdaNaM niggayA nisimuhmi| mA hou maMtabheo ti savvahA cattaparivArA // 296 // nivabhajjA mukumAlA vahiyaco naMdaNo nisA ksinnaa| caMkamaNaM caraNehiM hI hI vihivilasiyaM visamaM // 297 // piamaraNaM rajasirInAso egAgiNittamaritAso / rayaNIvi vihAyaMtI hA saMpai kattha vaccissaM ? // 298 // iccAi ciMtayaMtI jA vaccai aggao pbhaayNmi| tA phiTTAe miliyaM kuTTiyanarapeDayaM egaM // 299 // taM daTThaNeM kamalA, nirupamarUvA mhgghaahrnnaa| abalA bAlikasuA bhayakaMpirataNulayA ruyai // 30 // taM ruyamANi daTuM peDayapurisA bhaNaMti karuNAe / bhadde ! kahesu amhaM kAsi tumaM kIsa bIhesi? // 301 / /

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sirisvAsaharasUrihi saMkaliyA tIe nibaMdhUNa va, kahio savvo'pi niyydhusNto| tehiM ca sA sabhaiNivya sammamAsAsibhA evaM // 302 // mA kassavi kuNasu bhayaM, amhe savve sahoarA tujjha / eyAi vesarIe ArUDhA calamu vIsatthA // 303 // tatto jA sA varavesarIe caDiA paDeNa pihiaNgii| peDayamamaMmi ThiyA, niyaputtajuA suI vayai // 304 // tA pattA veribhaDA ubhaDasatyehi bhosnnaayaaraa| pucchaMti peDayaM bho diThA kiM rANiAegA ? // 305 // peDayapurisehiM tabho, bhaNi bho asthi amha satthami / rautANiyAvi nUna, jai kajja tA pagiNheha // 306 // egeNa bhaDeNa tao, nAyaM bhaNi ca diti me pAma / savvaM dijjai saMtaM, to kuTThabhaeNa te nahA // 307 // tehiM gaehiM kamalA, kameNa pattA suheNa ujjeNiM / tattha ThiA ya saputtA, peDayamannatya saMpattaM // 308 // bhUsaNadhaNeNa taNazo, jA vihibho toi junbnnaabhimuho| tA kammadosabasao, upasrogeNa so gahio // 309 // bahuehipi karahiM, ukyArehiM guNo na se jAo, kamalappahA adabA, naNaM jagaM pucchae tAva // 10 // keNavi kahi bIse, kosaMbIe samathi paravijjo / jo aTThArasanAi, kussa harei nigmataM / / 311 //

Page #75
sirisiriSAlakahA 31 kamalA putaM pATosiANa samma bhakAviUNa sarva vijjassa ANaNatyaM, pattA kosaMvinayarIe // 312 / / taM vijjaM titthagayaM, paDikalamANI ciraM ThiA tattha / muNivayaNAo muNiUNa puttamudi iI pattA // 313 / / sA'haM kamalA so esa majjha puttattamo (tthi) siripaalo| jAo tujjha muyAe, nAho savvattha vikkhAo // 314 // sIharaharAyajAyaM, nAuM jAmAuaM to ruppA / sANaMdaM abhiNadai, saMsai pugnaM ca dhUyAe // 315 // gaMtUNa gihaM ruppA, kahei taM bhAyapugNapAlassa / so'vi sahariso kumaraM, sakuDuMbaM nei niyagehaM // 16 // appei varAvAsaM pUrai dhaNadhanakaMcaNAIyaM / tattha'cchai sirivAlo doguMdugadevalolAe // 317 // annadiNe tassAvAsapAsaserIi niggao raayaa| pikkhaI gavAkhasaThiakumaraM mayaNAisaMjuttaM // 318 // to sahasA naranAho mayaNaM dama ciMtae evaM / mayaNAi mayaNavasagAi maha kulaM mailiyaM gaM // 19 // ikkaM mae ajuttaM kobaMdheNaM. tayA kayaM bii| kAmaMdhAi imIe viDiyaM hI hI ajuttayaraM // 320 // evaM jAyavisAyAsa tassa ramo mumunnypaalenn| vinattaM taM samaM pAcari sbchri|21||

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32 sirirayaNaseharasUrihiM saMkaliyA taM soUNaM rAyA vimhiacitto gao tamAvAsaM / paNao ya kumAreNa mayaNAsahieNa viNaeNaM // 322 lajjA''Nao nariMdo pabhaNai ghiddhI mamaM gyvive| jaM dappasappavisamucchieNa kayamerisamakajjaM // 323 // vacche ! dhannA'si tumaM kayapunA taMsi taMsi sviveaa| taM ceva muNiyatattA jIe eyArisaM sattaM // 324 // uddhariaM majjha kulaM uddhariyA jIi niyayajaNaNI vi / uddhario jiNadhammo sA dhannA tasi paramikkA // 325 // annANatamaMdheNaM duddhara'haMkAragayavivegeNaM / jo avarAho taiA kao mae taM khamasu vRcche ! // 326 // viNaoNayA ya mayaNA bhaNei mA tAya ! kuNasu mnnkheN| eyaM maha kammavaseNa ceva savvaMpi saMjAyaM // 327 // / no dei koi kassavi, sukkhaM dukkhaM ca nicchao eso| niayaM ceva samanjiamuvabhuJjai jaMtuNA kammaM // 328 // mA vahau koi gavvaM jaM kira kajja mae kayaM hoi / suravarakayapi kajja kammavasA hoi vivarIaM // 329 // tA tAya ! jiNuttaM tacamuttamaM muNasu jeNa nAeNaM / najjai kammajiyANa balAbalaM baMdhamukkhaM ca // 330 // tatto dhamma paDivajjiUNa rAyA bhaNei saMtuTTho / sIharaharAyataNo jaM jAmAyA mae laddho // 331 //

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. . . .. sirisirivAlakA 33 taM pattharamitakara hatyami pasArithami sAmati / cario aciMtio cciya nUnaM ciMtAmaNI eso // 332 // jAmAiyaM ca dhyaM Aroviya gayavaraMmi naranAho / mahayA maheza gihamANiUNa sammANai dhaNehiM // 333 // jAyaM ca sAhuvAyaM mayaNAe sttsiilkliyaae| jiNasAsaNappabhAvo sayale nayaraMmi vitthario // 334 // anadiNe siripAlo hygyrhsuhddpriyrsmeo| caDio rAyavADIe paccakkho surakumAruvva // 335 // loe a sappamoe pikkhate caDia caMdasAlAkheM / gAmillaeNa keNavi nAgario pucchio kovi // 336 bho bho kahesu ko esa jAi lIlAi rAyataNauvva ? / nAgario bhaNai aho, naravarajAmAuo eso // 337 // taM soUNa kumAro sahasA saratADiovva vicchaao| jAo valiUNa samAgao agehami svisaao||338|| taM tArisaM ca jaNaNI daTTaNa samAkulA bhaNai evaM / kiM ajja vaccha ! kobi hu tuha aMge bAhae vAhI ? // 339 // kiMvA AkhaMDalasarisa tujjha keNAvi khaDiyA aannaa| ahavA aghaDaMtoM vi hu parAbhavo keNavi ko te ? // 340 // kiMvA kamArayaNaM, kiMpi hu hiyae khaDukkae tujha / gharaNIko aviNao, so mayaNAeM na saMbhavai // 341 //

Page #78
34 sirirayaNaseharasUrihiM saMkaliyA keNAvi kAraNeNaM, ciMtAturamatthi tuha maNaM nUgaM / jeNaM tuha muhakamala, vicchAyaM dIsaI vaccha ! // 342 // kumareNa bhaNiamammo ! eesi majjhao na ekaMpi / kAraNamathimima, annaM puNa kAraNaM suNa // 343 // nAhaM niayaguNehi, na tAyanAmeNa no tuha guNehiM / iha vikakhAo jAo, ahayaM sumurassa nAmeNaM // 344 // taM puNa ahamAhamattakAraNaM vajjiaM supurisehiM / tattucciya majjha maNaM dUmijjai susuravAse gaM // 345 // to bhaNi jaNaNoe, bahusina meliUNa cauraMgaM / giNhasu niapiarajja, maha hiyayaM kuNasu nissll||34|| kumareNuttaM musurayabaleNa jaM giNhaNaM sarajjassa / taM ca mahaccia dUmai, majjhaM cittaM dhuvaM ammo! // 347 // tA jai sabhuyajjia siribaleNa giNhAmi peiaM rajja / tA hoi majjha cittaMmi nivvuI annahA neva // 348 // tatto gaMtUNamahaM, katthavi desataraMmi ikvillo / ajjialacchivaleNaM, lahuM gahissAmi piaranaM // 349 // taM par3a jaMpai jaNaNo, bAlo saralo'si taM si mukumAlo / desaMtaresu bhamaNaM, visamaM dukkhAvaha ceva // 350 // to kumaro jaNaNI pai, jaMpai mA mAi ! erisa bhaNam / tAvaJciya visamatta, jAva na dhIrA pavanaMti // 351 //

Page #79
sirisiribAlakahA pabhaNai puNA'vi mAyA, vacchaya ! amhe shaagmissaamo| ko amhaM paDibaMdho tuma viNA ittha ThANami ? // 352 // kumaro kahei ammo ! tumhehiM sahAgayAhiM savvattha / na bhavAmi mukkalapao, tA tumhe rahaha ityeva // 353 // mayaNA bhaNei sAmia! tumhaM aNugAmiNI bhavissAmi / bhAraMpi hu kipi ahaM na karissaM dehachAyavya // 354 // kumareNuttaM uttamadhammapare devi ! majjha vayaNeNaM / niyasasssa ssUsaNaparA turma rahasu ityeva // 355 // mayaNA''ha paipavAsa saio icchaMti kahavi no thvi| tumhaM Ayesucciya mahappamANaM paraM nAha ! // 356 // arihaMtA''ipayAI khaNaMpi na maNAu milhiyvvaaii| niyajaNaNi ca sarijjasu kaiyAvi hu maM'pi niyadAsIM // 357 jaNaNIvi tassa nAuNa nicchayaM tilayamaMgalaM kAuM / pabhaNai tuha seyatthaM navapayajhANaM karissamaI // 358 // mayaNA bhaNei ahayaMpi nAha ! niccapi niccalamaNeNaM / kallANakAraNAI jhAissaM te navapayAiM // 359 // teNaM mayaNAvayaNAmaeNa sitto namittu mAipae / saMbhAsiUNa daiyaM siripAlo gahiakaravAlo // 360 // nimmlvaarunnmNddlmNddiassicaarpaannmupvese| taccaraNapaDhamakamaNaM kameNa callei gehAA. // 361 // jummaM //

Page #80
. 36 siriravaNasaharasUrihi saMkaliyA so gAmAga varaparanesu koGahalAI pikvtii| nimbhayacitto paMcAgaNuvva niriparisaraM pacau // 32 // tattha ya emi vaNe nNdnnvnnsrissrspussphphleN| koilakalaravarambha tarupati jA nihAi / / 363 / / tA cArucaipayatale AsI pavararUvanektyai / eMge suMdarapurisa pikkhai bhataM ca mAryate // 364 // so jAvasamattaue viNayaparo pucchio kumAreNa / ko'si tuma kiM prAyasi emAgI *ca iva vaNe ? // 36 // teNutaM gurudattA pijjA maha atyi sA mae jpio| parasucarasahigamaMtareNa sA meM na sijneha // 266 // jAte ho'si mahAyasa ! maha uttarasAhago kahavi anja / tA'haM homi kayastho, vijjAsidoi nimmata // 267 // taso kumarakaraNa sAhajjeNa sa sAhago purisoN| gaI sidavijoM mAmI egAi rayanIe // 68 // sacI sahamarisepa teNa kumaramsa bhoshiijub| paDiuvavArasa para dAUna maNiprameyaM ca // 369 // jalatAriNI meM ego parasasthanivAriNI sahA goyaa| eyAu osahIo viSAumarikAu pAritA // 30 // kumareNa samai so vijasAhago mAra girinivami / vA tatva pAucAimArasahi parisa mApanI // 371 / /

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.sisiriyAlAhI deva ! turu dekhievaM bApamAna sAhA : RNAvi kAraNe bhAsaNana issaliMdI // 172 / / kumareNa tamo bhani bhomAdiDIha sAhaha imati / tA tehiM tahAvihie jAyA kalAgarasasiddhI // 33 // kAkrama caNaM sAhagehi maNi kumAra ! amhANaM / jaM bAbA rasasiddhI tumhANaM so pasAoci // 374 // tA giha kaNagameya no giNA nimpiho kumAro ya / tahavi hu alavassavi kiMpi durbhAta te tve // 37 // tatto kumaro patno kameNa bharupacanApayaM nyrN| ... kaNagabbaeNa giNhai vatthAlaMkArasatyAI // 376 // pAumA bhAumadiyaM osahijuyalaM ca baMdhA apami / logaha bhamai nayare sacedaM sarakumAruSva // 377 // io yakosaMbInayarIe pravalo nAmeNa vANiyo atyi| so bahupati koe, kuveranAmeNa vikkhAoM // 378 // bahukaNayakoDigADiakayANagoM NegavANijanehi / sahio so satyavaI bharuyaccha Ago asthi // 379 jAgo ve tatva ho pavaro sau tehavi devakohaNa / parasagamaNapaugoM pauNaI bahunANavatAI // 380 // majisamajugI egI sosavaravAI krsoNhoN| canAri yamuTuMgoM vApasahi pari

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sirirayaNaseharasUrihiM saMkaliyA vaDasapharapakhaNANaM egasamaM beDiyANa aThasayaM / caurAsI doNANaM causaTThI vegaDANaM ca // 382 // sillANaM caupanA AvattANaM ca taha ya pNcaasaa| paNatIsaM ca khurappA evaM sayapaMca bohitthA // 383 // gahijaNa nivAesaM bhariyA vivihehiM te kayANehiM / nAkhuiyamAlamehiM ahihiyA vANiuttehiM // 384 // marajIvaehiM gambhillaehiM khullAsaehiM khelehi / muMkANiehiM sayayaM kayajAlavaNIvihivisesA // 385 // nANavihasatyavihatyahatyasuhaDANa dasasahassehiM / dhavalassa sevegehiM rakkhijaMtA payatteNaM // 386 // bahucamarachattasikaridhayavaDavaramauDavihiasiMgArA / siDadorasAranaMgarapakvarabherIhi kayasohA // 387 // jalasaMbalaiMdhaNasaMgaheNa te pUriUNa samuhutte / dhavalo ya saparivAro caDio cAlAvara jAva // 38 // tAva balImuvi dijjaMtayAsu vjNttaarturesuN| nijjAmaehiM poA cAlijjatAvi na calaMti // 389 // tatto sa saMjAo dhavalo ciMtAi tIi kAlamuho / uttariya gao nayariM pucchai sIkottari cerga // 39 // sA kahai devayArthabhiyAI emAI jaannvnaaii| battIsasulakkhaNanaravakIi dimAi callaMti // 391 //

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sirisirivAlakahA tatto dhavalo sumahagyavatthubhiTTAi tosiUNa nivaM / vinavai deva ! egaM balikajje dijjau naraM me // 392 / / ranA bhaNiyaM-jo ko'vi hoi vaidesio aNAho a| taM giNha jahicchAe anno puNa no gaheyavve // 393 // tatto dhavalassa bhaDA jAva gaveti tArisa purisaM / tA siripAlo kumaro videsio jANibho tehiM // 394 // battIsalakkhaNadharo kahio dhavalassa tehiM purisehiM / dhavaleNa puNo rAyAeso gahio ya taggahaNe // 395 // so siripAlo cauhaTTayami lIlAi saMniviThovi / ghavalabhaDehiM ubbhaDasatthehiM atti akkhiso // 396 / / re re turiaMcallasu ruTo tuha ajja dhavalasatyavaI / taM devayAbalIe dijjasi mA kahasi no kahi // 397 // kamareNuttaM re re deha. baliM teNa dhvlpsunnaavi| paMcANaNeNa katthavi kiM keNavi dijjae hubalI ? // 398 // tatto payaDaMti bhaDA kiMpi balaM jAva tAva kumarakayaM / soUNa sIhanAyaM gomAugaNuvva te nahA // 399 // dhavalassa perieNaM ranAvi hu pesiyaM niyaM sinnaM / tapi hu kumareNa kayaM hayappayAvaM khaNadveNaM // 400 //

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iti sirisirivAlakahAe causayagAhAo smttaao|

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IV TILTI PAPALA (THE STORY OF SHRIPALA) Translation Having Contemplated in the lotus - like heart the Nino Dignities such as the Arhat etc. I shall speak a little about the most ele. vated greatness of the Siddba-Chakra (or The Circle of the Sacred On98). (1) Here in the continent of Jambu, in the middle part of the Southern Bharatardha, there is the country named Magadhe prosper. ons with abundant wealth and corn, well-known to the (people of the) world. (3) Where originated the Tirtha (or the FourFold Religion ) of the Lord Vira which spread in the world. The. Gitartbas (or the great sages) propound that place to be a special place of pilgrimage. (3) In that Magadha country there is an excellent city named Rajagriha, the boundarylines of which are well-decorated by the mountains Vaibhara and Vipula. (4)

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Siri Sirivalakaha Thore king Shrenika, who was well-known in all the three worlds, who was a great devotee of the feet of the Conquerer Vira and who had, through good fortune, cerned for himself the 'karma' which enables a person to attain to the position of a Tirthankara, protected his kingdom. (5) Whose chief queen was Nanda by name, she having an excellent son named Abhayakumara, endowed with many virtues and a store of four kinds of talents. (6) He had a second wife namel Chillana, the daughter of king Chedaya, who had (the eldest) son named Asogachanda (i. e. Kunika) and (the other two sons named) Halla and Vihalla. (7) He had many other queens such as Dharani and others, and many clever Sons who were devoted to the foot of their parents. (8) That king Shronika, whose energy or Utsaba-S'akti was incited by Abhayakumara, and whose prowess was manifest in the three worlds, protected (his) kingdom as well as religion. (9) In the meanwhile Lord Mabavira, the Pro phet, who was worshipped by the gods and

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Translation who was moving fapon the surface of the earth on his religious journeys), arrived at & city, situated in the vicinity of Rajagriba. (10) He sent the sage Gautama, his first pupil, and the eldest of all the holders of a Gana, who was great on account of the virtue of his merits, for the (spiritual) benefit of the people of Rajagriha. (11) . He, having obtained the command of the Lord (Jina), came to the garden of the city of Rajagriha being surrounded by a number of monks (12) Having heard of his arrival, all the people of the city, including the king, forthwith came to the garden with all their grandeur. (13) And having observed 'the five-fold manner of approaching,' and having gone round him thrice, and (then) having bowed down to the feet of Gautama, they took their propor seats. (14) (Then), the Reverend One (Gautama) also, who was intent upon doing good (to the people), began to preach the true nature of religion by means of a voice which was as profound as (the roaring of) & cloud full of water. (15) "Oh, you high-spirited ones! having, by the power of (your) meritorious deeds, obtained

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Siri Sirivalakaha (this) birth as a human being which is difficult to be obtained, and the excellent ("arya') country and (arya'), family, as well as the provision of a worthy preceptor, it behoves you to well engage yourself in the practice of true religion. (16, 17) " That religion has been propounded by all the excellent Jinas to be consisting) of four parts viz. Charity, Character, Penance, and the Pure Mental Condition-these are its (four) parts. (18) "There also Charity, without the pure men-. tal condition, does not become a cause of emancipation; and character, devoid of the pure mental condition, becomes fruitless in the world. indeed! (19) "Without the pure mental condition, even penance becomes only a cause of the increase of the flood of the world. Therefore one's own mental condition itself must be made exceedingly pure. (20) H: "The pure mental condition is the subject of the mind, and the mind is very difficult to be conquered (because) it is without any prop. Hence "Meditation' has been prescribod to be the prop for curbing it. (21) .

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Translation "Though there are many kinds of props (or supports propounded for curbing the mind ) 'in the scriptures, yet the meditation on the 'Navapada' (or The Circle of the Nine Dignities) is the best; so declare the prophets of the world (i. e. the Jinas). (22) "The Arbats ( or The Destroyers of internal enemies such as Love and Hate), The Siddhus (or the Enancipated Ones), The Achary 18 (or the Religious Heads), The Upadhyayas (or the Religious Teachers', The Monks, The Right Faith, The (Right) Knowledge, The (Right) Character, and The (Right) Penance-these nine should be known to be the Navapada' (or The Nine Dignities). (23) "There (in the Navapada') you should always contemplate upon the Arhats (i. e. the Tirthankaras) who are free from "The Eighteen Faults,' who are possessed of pure knowledge, and who have propounded "The Truth' (consisting of the nine fundamental categories of Jainism), and who are bowed down by the lords of gods (i. e. Indras). (24) "You should, with an exclusively devoted mind, constantly meditate upon the Siddhas for the Emancipated Ones) who are of fifteen kinds (lit. who are well-known by their fifteen

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Siri Sirivalakaha kinds), who are freed from the tie of heavy karmas, and who have achieved The Four Infinitios.' (25) "You should always contemplate upon the excellent Atharyas (or The Heads of Religion), who are pious being possessed of 'the five conducts (or behaviours),' who are always alert in preaching the excoedingly cbaste commandments (of the Fina), and who are intent upon doing good (to the world). (26) . " You should well meditate upon the Upadhyayas (or The Religious Teachers', who are placed at the head (' titti') of the Gana, who are diligent in teaching the Sutra and its meaning, and who are deeply engrossed in (keir) study. (27) . " You should contemplate upon the Sadhus (or monks), who are moving in all the Karma: bhopis, who are possessed of many (viz. 27) virtuos, who are protected (in mind, body and speech), who are free (from all kinds of atteet chmont), and who have destroyed all the * kashayas' or bad emotions (28) "Always koop in the place of your mind the jewel-lamp in the form of Right Faith: which croates true belief in tho teachings of

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Translation: the principles taught by the Agamas (or scriptures) propounded by The Omniseient Sages. (29) " Acquire, with discipline, Knowledye consisting of the philosophy of the collection of Nine Categories of fundamental truth (Nava Tattya) such as jiva', 'ajiva', eto, which is the root of all merits. (30) << Practise Character (which is) explained thus : "The abandonment of bad actions and the observance of good ones,' (and which is) endowed with excellent merits. (31) " Practise well * the twelve-fold Penance ? which is just like the sun- which also has got twelve forms (the suns being twelve in number), and which is capable of removing the mass of darkness in the form of heavy karmas, just as the sun removes the mass of pitchy darknose (from the world), and which is, moreovur, free from the heat of emotionis (unlike the stha which is possessed of boat). (32) " These Nine Dignities which constitute the wory essenex of the Jaina Religion (lit, the redigion of the excellent Jina) and which bring spiritual welfare (to as), sh ould be stored with (proper) religious rites. (33) " Morcover, having worshipp.d with dili

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Siri Sirivalakaba gence The Circle of the Sacred Ones formed by those Nine Dignities, (a man) obtains real hap pinoss like King Shripala." (34) Then the lord of Magadha (i. e. king, Shrenika) asked, " Ob, you lord of the excellent sages! who was this king Shripala, and how did be obtain happiness having adored The Circle of the Sacred Ones ? " (35) Then said the sage, "Oh, you excellent among men! hear this beautiful story which is charming on account of the greatness of The Circle of the Sacred Ones, and which excites great wonder (in our hearts)". (36) It is as follows: Here in this Kharata continent, in the southern part of it, there was a very famous and excellent country named Malaya which was very prosperous (lit, in which all kinds of prosperity had implanted their feet). (37) Of what description ( was that Malava country?) There were (in it) at various places (many) villages, inhabited (lit. protected) by righteous persons, which resembled a cetics who are also protected by the three 'Guptis '; and there were, also, at various places lofty mountains

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Translation which were difficult to be crossed just like fairs, (lit. the meeting places of families) waich are also difficult to be crossed. (38) . There were (also) at various places streamlets full of water which resembled prostitutes who are full of erotic sentiment. There were (also) at various places lines of forests which afforded pleasure, and which (therefore) resembled lines of virtues which (also) give happi.' iness. (39) There were (also) at various places great lakes full of water, which resembled great cities which are full of merchants. There were (also) at various places beautiful cow-pens abundant. with milk which resembled the mouths of learned persons which are full of the charm of speech. (40) In that Malava country which was never visited by drought or calamity, there was an excellent ancient city called Ujjaini. (41) '. Of what description was that ( city ) ? (There is only one Prajapati i. e. Brahma in the world, but in this city) there were many prajapatis' or persons having progeny (i. o.; [athers. of children); (there is only one Naro, ttama or Purushottama i, e. Lord Krishna in

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10 : Siri Sirivalakaha this world, but in this city) there were mony purusbottamas' j. o, excellent men; (there is only one Maheshwara i. e. S'iva or Vishna in this world, but in this eity) there were many * maheshwaras'or opulent persons; (there is only one Indra (lit, husband of S'achi ) in this world, but in this city) all the people were * sachivara ' i, e. were possessed of clothes (i. e. they were quite happy). (42) (There is only one Gauri i. . Parvati in this world who resides on mount Kailasa, but in this city) there were a number of gauris" i e, virgin-girls playing in every house; (there: is only one goddess Shres i. e. Laxmi in this world, but in this city) there were ' shrees' or richas everywhere; (there is only one Rambha in this world, but in this city) there were many 'rambhas'i. o. plaintain trpes in every forest; (there is only one geddess Rati and one goddess Priti in this world, but in this city), there were 'rati' and 'priti' i. e. love and affection at every place. (43) If any person endowed with keen intellect can describe that city, whiehi surpasses the city of gods (viz. Indrapuri), it is only the precopter of Indra (i, e. Brihaspati). (44)

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Translation 1t There (i. e. in Ujiaini) ruled (lit. waz) a king who was Prajapala by name as well as by merits, and who was humblo-spirited towards the virtuous. and harsh-spirited towards the wicked. (45) In his harem, there were two very beautifal clover queens, who by the excellent beauty of their bodies deprived Gauri (i. e. Parvati). of ker pride. (46) One was Sohaggasundari by name with her body delicate on account of her gracefulness, and the other was Rupasundari by name resembling the goddess Rati in beauty. (47) The first (i. e. Sohaggasundari) was born in the family of the worshippers of S'iva and hence she was a heretic. The second (Ruva-- sundari) was the daughter of a Shravaka and hence she was a believer (in the Jajna. - They were of the same age and possessed of the same grace and beauty; and even though they were co-wives, they were generally attaehed to each other. (49) - But once when they were thinking over the nature of religion existing in their indivi. dual) minds, there was a great disagreement between thema-(even) as great as the difference: between poison and nectar. (50)

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12 Siri Sirivalakaha Both of them, enjoying with the best of kings various kinds of amoroas sports, became pregnant in a short time. (51) (Then), they gave delivery at the (proper) time, and daughters were born to both of them. The king algo reared them up with great joy. (52) (Then), the lord of men (i, e, the king) gave the excellent name Surasundari to the daughter of Sohaggasundari and the name Mayanasundari to the daughter of the) other (queen Ruvasundari). (53) (Then) when it was time (for their study,) they were entrusted by the king to the (two) preceptors Sivabhuti and Subuddhi who were proficient in the Saiva and the Jaina doctrines respectively, (54) Surasundari began to learn writing, counting (i.e. mathematics), 'lakshana' (i.e. the science of an indirect application or secondary significance of a word' or 'the science of auspicious or inauspicions marks on the body'), prosody, poetry laden with 'alamkaras' or figures of speech, logic and the old Smritis ': (55) She (also) learnt dramaturgy, singing, dancing, astrology, medical science, spells or incantations, charms, magic, the art of captivatiog

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13 : Translation to for bewitching the minds of men), -'Mukhala! ( a kind of art), and painting. (56) . She (also) learnt witchcraft and the art of fascination as well as the art of making gestures, and all other sciences which create wonder (in the hearts of men). (57) There was no art, no proficiency, and no science wbich was not learnt by her, who was possessed of (great) intellect, (58) That Surasundari, specially proficient in singing etc. and (therefore) greatly engrossed in the diversion of the lute, became (rery) clever and (gradually) attained to youth. (59) * As is the preceptor, so is the pupil." Hence she turned out to be a heretic and became puffed up with pride. (60) (Now) in the same way Mayanasundari, who was possessed of puro discrimination blessed (with the gift of religion), and who was possessed of decorum, also learnt (all) these arts as if in sport (i.e. quite easily). (61) That girl Mayanasundari was so trained by (her) preceptor who was proficient in the Jaina Doctrine, that she (also) became wellversed in it. (62) : (She learnt that there is only) One (and

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14 Siri Sirivalakaba the game) Satta' (1.e. a particular power or dharma' our account of which all the things in the universe are found to be existing to gether), <Page #99
. Translation 15 which we are at present accumulating), Udaya' for the karmas which we are aetaally experiencing at present), Udirna', (or the act of entering of pre-mature karmas into . Udaya" by sudden changes into the 'Adhyavasayas' or feelings of the soul), and "Satta' (1.e, the karmas which we have already aecumulated). (66) How can she indeed! be not. of that charaet:r whose teacher was that Subuddhi (lit, one who is possessed of pure intellect) who was tranquil and self-restrained, who had conquered (all) his senses and who was courageous. (67) Well-versed in all the arts and sciences, endowed with the pure virtues of True Faith (Samyaktva) and character, and fully eqnipped with (i.e. possessed of) modesty, that Mayana sundari (also gradually) attained to youth. (68) Ori a certain day (both) the princesses were sent for with their preceptors by the king who was sitting in the inner assembly-ball. (69) They, who were humble (lit. bent down) on account of modesty, and who had agitated (the minds of the people in the) assembly with the brilliance of their beauty, were made to sit by the king on his both the sides with (great) affection. (70)

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16 Siri Sirivalakaha The king, who was greatly delighted (to see them), gave simultaneously to both of them a foot ('pada') of a riddle, in order to test their intellect. (71) (It was) thus: These (things) are indeed ! obtained by merits.' Then at that very moment Surasundari, who was very fickle and who was very much puffed up with pride, said: "Ah! Ah! I shall solve it; listen to me." (72) It is thus : *Riches, youth, cleverness, a healthy body (lit. one's body free from diseases), and the union with one whom we love,-these (things) are indeed ! obtained by merits. (73) Having heard her, the king, who was pleased, began to praise (the preceptor) thus : "Very clever (lit. very good) is the preceptor who has trained her (so well)." Then the assembly also began to say, " True it is ( our lord 1)". (74) Then being asked by the king, Mayana also, who was greatly attached to the words of the Jina and who was equanimous and selfcontrolled, solved that riddle according to her own natural tendency. (75). (She solved the riddle) thus : Modesty, discrimination, a pure (lit. delightful) mind, a body

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Translation 17 pure with chastity, and the union with the highest path (i.e. emancipation), these (things) are indeed ! obtained by merits. (76),.. . Then her teacher was pleased as well as her mother, but not the rest; because the preachings of the Tattya ( or the fundamental categories of inherent truth) do not bring joy to those who are heretics. (77) (Now) in the meanwhile, (it happened like this). There was in the country of Kurujangala, an excellent city named Shankhapuri which afterwards became known as Ahichhatta. (78) In that city, there lived the king Damitari who was like the god of death to his eno: mies. And every year he used to go to the king of Ujjaini to pay his obeisance. (79) On a certain day his son Aridamana, who was possessed of magnanimous youth, came to Ujjaini in the place of his father to pay obeisance (to the king of Ujjaini). (80) Surasundari looked at him ( i.e. Aridamana); who had come there to pay his obeisance to the kings, and who was possessed of wonderful (lit. celestial). beauty, casting piercing glances at him. (81) That daughter (lit. girl', who had fixed her

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Siri Sirivalakaba eyes on him there, was seen by the king, and was asked, "Tell me, my child! whom would you like to be your husband ? " (82) : Then she who was pleased and encouragod and who had put aside the fear (lit. shame) of the people said: " If through the favour of my father any thing that I desire can be had, let such a man, who is proficient in all arts and who is possessed of young age, beautiful form and excellent beauty, be my husband; or ( here ) the words of my father themselves are law, because, father ! you yourself alone are ready, like a Desire-yielding tree incarnate, to fulfil the desires of the minds of your servants. " (83, 84, 85) Then the king, who was pleased and who had known her mind by her fixing her glance (on that prince), said: "Oh, child ! let this Aridamana be your husband." Then all the people in the assembly said : "Oh, king ! this union ( between Aridamana and Surasundari ) is, indeed ! very desirable (lit. beautiful) like the union between a piper-betel tree and the areca (or the betel-nut-tree.)" (87) Then Mayanasundari also was asked with affection by the king ( thus ): "Oh, child ! tell

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: Translation me at once what kind of husband should be given to you ? " (88) But she, who had acquired pure discrimi nation by (her study of ) the essence of the thoughts and the words of the Jina, and whu was fully equipped with the virtue of modesty, and who had her face bent downwards, did not speak, and, therefyre, being asked again by the king, she, having smiled a little, said: "Oh, father! is it proper that you, who are ei.dowed with discrimination ask me this question ? ( It is not proper, ) because noble - born girls do not say (such things as ) let this be my husband.' (But to them ) he, who is given to them by their parents, is indead ! welcome. (89-91) 1. "( Still, however, ) here in the question of giving a husband (or wife ), even pirents are merely an instrumental or apparent cause (and not an efficient one ); but generally the union between souls ( as husband and wife ) is already decided by our actions of previous births. (92) ~ Whatever karma, good or bad, is accumulated by a 'java' at a particular time, that karma of his comes into effect at another parti. cular time as if tied down with a string. (93). "That daughter ( lit. girl) who is possessed

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Siri Sirivalakaha of mapy merits, even though given in a ... low family, becomes happy; and (that daughter), who is devoid of merits, even though given in a noble family, becomes miserable. (94) "Therefore, oh, father ! this pride, that the world is happy or miserable on account of the favour or disfavour shown by you, does not. behove you who are conversant with the true nature of things. (95) . " Ob, father! you are at once pleased with him who is possessed of the power of merits, and you are not pleased with him who is devoid. of merits. (96) "Even fate, disposition (or nature) and Dravya etc. (i.e. Dravya, Kshetra, Kala and Bhava) which are our helpers, yield us fruits in keeping with our actions of previous birth. " (97) Then the king, who was greatly displeased said: "Oh! it is due to my favour that you: are putting on (beautiful) dress and ornaments, and how is it that you dare to) say like: this?" (98) (Then) having smiled, Mayana replied: "I am born in your house, oh, father ! on account of the merit of good deeds practised by me (in my previous birth), and honce it is that I experience (those) pleasures. (99)

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Translation .." A meritorious deed, done in provious life, alone becomes a cause of happiness to the souls; and a bad deed (done in previous life) certain-- ly becomes a cause of misery. (100) "The pleasant or unpleasant effect of karma which has arisen, cannot any bow be removed even by gods, demons, kings or per sons possessed of great intellect." (101) Then, the king who was enraged (said:) "Oh, oh! this girl is devoid of meritis and -cleverness, because she does not regard any good done (to her) by me." (102) (Then) the people of the assembly said : "Oh, lord! what can this simpleton know? You yourself, if pleased, are a esire-yielding tree, and if displeased, the god of death." (103) - (Then) Mayana said: " Fie upon all these who are covetous of a paltry sum of money, and who (therefore) speak only honey-mouthod words even though they know. them to befalse. (104) ..." If, father ! your servants are happy on account of your favour, (then) how is it that some of them, though rendering the same kind of service, are miserable ? (105) " Therefore, oh, father ! let whomever you tre, and elf if pleased, this simpleton

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22 Siri Sirivalakaha please be my husband, If I might have got merits, he, even if unmeritorious, will become meritorious. (106) "If, on the contrary, I were devoid of merits, even a good husband, indeed! will become bad on account of the evil offect of my karma." (107) Then the king being greatly enraged thought: "I am (thus) belittled by this foolish girl and, therefore, she has turned out to be my enemy (and ceased to be my daughter)." (108) Having seen the king, with his eye-brow fierco, and his face terrible on account of his. rage, the minister, who was (very) clever said: . " Lord ! (now) it is time for (going to) the. pleasure-garden." (109) . (Then) the king, burning with rage, mounted an excellent horse and accompanied by his: feadatory kings and ministers went to the royal garden. (110) When the king, with his retinue, came out of the city, he saw, in his front, a crowd of people coming (before him) with great pomp. (111) Then the minister, who had got the intelligence (about the crowd), being asked by the king who was struck with wonder said: "Oh,

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Translation 23 lord l' Histen to me; I shall tell you the secret about the crowd of the people. (112) .'"Oh, lord ! these seven hundred handsome, young and brave men, are attacked by the wicked (disease of) Leprosy and are all (therafore) gathered together. (113) "They found a boy who was suffering from the disease of urabaraka' (a variety of leprosy) and was taken by them (with them), and was given the name Umbararanau (i.e. the. king of the lepers). (114) "He was mounted on an excellent mule, and a person whose skin was spoiled (i.e. whitened on account of leprosy) was the bearer of his umbrella; (two) persons who had lost their noses (i.e. whose poses were stunted) were waving 'chauries' at bim and persons, who were producing * dbini, dhini,' sound, were going ahead of him. (115) " Persons who had lost their ears were his bellmen, persons suffering from the disease of * mandala' (a variety of leprosy with red round spots) were his bodyguards, a person suffering from the disease of 'dardru' ( or Herpes--a variety of leprosy) was the bearer of his betel-box, and he had got a minister

Page #108
Siri Sirivalakaba named Galianguli (i.e. &. person who had lost his fingers). (116) "Some of his servants were suffering from the disease of prasutikavata' ( i.e. the wind produced in the womb during the pangs of travail), some were formidable on account of (the diseases of )'kachhu' (i.e. itch or scab) and darbha' (a kind of disease ) and some of them were suffering from 9 skin-disease called pama' which resembles yicharchika' (i.e. itch or scab). (117) "Ho (i.e. Umbararaja), thus surrounded by his multitude of the lepers, and wandering on the surface of the earth in royal families, de manded his desired gift (from the various kings that he came across). (118) . Oh, king! it is he who is coming here with great pomp; therefore, leaving this path, you should (better) go in a different direction." (119) Then when the king turned towards another direction, that multitude of lepers ) in front (of him) also forth with turned in that (same) direction. (120) (Then) the king said to the minister, " Having gone to the front, please, stop them

Page #109
Translation 25 even by giving (them their) desired gift, bogause their sight is not (at all) pleasant." (121) ..... While the minister was trying to do 80, (Umbararaja's minister) named Galianguli ato once came before the king and began to speak thus. (122) "Oh, lord ! this our chief named Umbara is respected everywhere (by kings eto.) by means of great gifts and honours. (128) Therefore, we have nothing to do with (i, e, we are not greedy of) wealth, gold and clothes etc; through his favour we are all very happy. (124) " But, oh powerful (good) lord! we have got one desire in our mind, viz., if our king gets & queen (befitting) bim, it would be very good." (125) " Therefore, oh lord of men ! show us favour and give (him only) one girl; we do not want (from you) any other gifts snch as gold and clothes." (126) Then said the royal-minister: "Oh ! you are seeking for an improper thing; who would give his daughter to a person suffering from leprosy, knowingly?" (127)

Page #110
26. Siri Sirivalakaha . (Then ) Galianguli said: "We have heard. this fame of the king that the ruler of Malava does never indeed ! disregard a supplication. (128) " Therefore, lose today that pure fame of that lord of kings, or give us any bride (no matter) even if born in a low family." (129) : (Then) the king replied: You will be given one bride; who, indeed! would ( like to lose (his) fame only for so (little) a thing (lit. work) as this?" (130) The king, whose (power of) pure discriinination was burnt down by the fire of anyer, thought in his mind (thus): 'I shall give him that daughter of mine (i.e. Mayana) wbo his turned out to be my enemy.' (131) Therefore, having turned away (from that place) all at once, the king came to his palace, and called that daughter of his named Mayana. sundari. (132) (And he said to her); " If at all yon con. fess even to-day that the happiness (you enjoy) is due to my favour, I shall get you married to an excellent husband and give you. much wealth. (133) " But if on the contrary, you again beliove in your karma alone, let this king of the .

Page #111
Translation . 27 lepers, who is brought here by your karma, be your husband and let go deliberation (lit. what.. is the use of deliberation ?)" (134) . The girl having smiled said: " Whoever: is brought (to me) by my karma, whether a. king or a beggar (lit. poor), is acceptable to me. (as a husband). " (135) The king who was blind with anger sent for that king of lepers and said to him: " You are brought (here) by the karma of this (girl);.. (therefore) be (her) husband. " (136) He (Umbararaja) said: "Oh king ! it does not befit you even to utter those words; for, who would (like to) tie & necklace of gold and gems on the neck of a crow? (137) "I am alone experiencing the result of), such an evil (' anarya ') action done by me in my former birth. Why shoul:) I, therefore, knowingly spoil her life also ? (138) "Therefore, oh king ! if you give (me) any (girl), give that one (only) which is befitting me-(say) a daughter of a maid-servant or a harlot (and if such a girl is not available) may good attend you and me (i, e. let me depart). ^ (139) Then said the king : "Oh, you ! this dau-- ghter of mine does not believe (that) any thing

Page #112
28 Siri Sirivalakaha (is) done by me, (but) believes in her alan karma alone. (140) "If by that very karma (of her), you your-self are brought (here) as her husband and if she is reaping the fruit of her own action, how am I to be blamed ?" (141) Havin, heard that the girl (Mayanasundari) having got up at once took the hand of Umbara by her own hand, as if performing the marriage ceremony. (142) That girl, whose face was like the autumnal moon, though stopped (or persuaded) by the foudatory princes, ministers, and the women of the inner apartment, said, a noble woman (satee ') as she was: " He (and he) alone is acceptable to me." (143) On one side cries (hor) maternal uncle, on the other (her) mother Ruvasundari, and on the third (all) her attendants. Alas! what an improper thing ! (144) In spite of this, the king, who was very hard-hearted, did not desist from his anger; and Mayana; also, who know the true nature of things (* Tattva ') did not swerve from her - courage. (145) : (Now) when having placed her on the malo,

Page #113
Translation Umbara started for his place, the people of the city said: " Alas ! this is improper, (very) improper." (146) Some said: " Fie upon the king, who has done this improper thing;" while others said: "Fie upon this exceedingly, immodest girl, (because she did not respect the words of her father)." (147). Some censured (her) mother, some her teacher, some (ber) fate, and some the religion. of the Jina. (148) In spite of this, indeed I Mayana with a delightful heart, while going with Umbara, was not (at all) dejected at heart, as she know the true (nature of) religion. (149) Then the retinue of Umbara, who had gathered together, and whose hearts (lit. bodies ) were full of delight; and who were devoted to their 'lord, performed the marriage ceremony (of their king). (150) (Now) here (in the meanwhile ), the king asked the preceptor, the auspicious time for (performing) the marriage ceremony of Surasundari, and he replied : " Oh king! listen to me. (151) "To-day, itself, is a good day, but the (most) auspicious time has already gone at the

Page #114
-30 Siri Sirivalakaha time when Mayana: accepted the hand of the leper." : (152) The king said: " Oh, oh! I know the auspiciousness ( lit. the secret meaning ) of that time (which was so auspicious (i.e. inauspicious), that at that time, she married not to a prince, but to a leper). But now I shall get this daughter of mine married (to a good husband)." (153) : Then at the command of the king, the marriage ceremony (of Surasundari) was begun, by the ministers who wore greatly delighted, - the marriage ceremony for which (all) the preparations were made, in a very short time. (154) Of what type was that (marriage ceremony)? The flags were fixed on the raised up arches, there was a profound sound of the drums that were beaten, there was a multitude of attracting harlots that were dancing, (and) the good panegyrists were uttering the words *** be victorious, be victorious !' (155) . The assembly-hall (erected for the marriage ceremony), was covered ( on four s des ), and floored with silk-cloth; food (i.e, sweets and dainties etc.), and (after the meals) betel-leaves flavoured with camphor, were distributed in -abundance; the collection of young women,

Page #115
: Translation (whose husbands were alive), were singing (lit. giving) auspicious songs; and the old ladies, (whose husbands and children were living), were explaining the form of the ceremonial rites (for. the perfornance of the marriage). (156) Bountiful (lit. good) gifts were given to the beggars, the kinsmen and young women were given ( great ) honour, many (lit. four-fold ) people had gathered together on account of the beating of drums (and other instruments), and a (great) delight was created in the hearts of the citizens and countrymen. (157) Surasundari was nicely, decorated (with ornaments, dress etc.), and the decorations of Aridamana were (also) performed; it (the marriage ceremony) was delightful, on account of the ceremony of going round (the fire tbrice) at the time of 'hathalova' (or accepting the hand of the bride), and pleasant, on account of the gift, of elephants, that was given at the time of freeing the hands.' .. (Such was the marriage ceremony that was performed). (158) (Then), when Aridamana, whose marriage ceremony was thus performed, and who had with him horses and elephants which he had

Page #116
32 Siri Sirivalakaha obtained (in marriage, as dowry), and who was accompanied by Surasundari, went out of the city, all the people said: "Oh! the union of these two) is quite proper; and blessed: is. this Surasundari, who has got such a ( lit. this ) husband. " (159, 160) Some praised the king some, (her) husband, some the girl Sundari (.i.e. Surasundari), some her preceptor, and some praised the S'aiva Religion. (161) Seeing the respect (given) to Surasundari, and the disgust (shown) to Mayana (the foolish) people began to praise the S'aiva, and censure the Jaina religion. (162) . (Now) here, (in the meanwhile), Mayana, when it was night, was asked by Umbara in the midst of his crowd : "Oh, good one ! listen to me; the king has done an (lit. this) improper thing. (168) "Yet the things have not gone out of the hand; even to-day you can go to some excellent man, so that this creation (or formation) of your beauty may not be fruitless, ( i.e. your beauty may not be (totally) impaired by your union with a leper like me). (164) " (Moreover), it is not good for you to stay here in (this) crowd, (because) most probab

Page #117
Translation ly, this (disease of) leprosy has come (lit. produced) oven to me, on account of the bad com. pany (ot lepers). " (165) : : Then that Mayana, whose face had become pale (lit. turbid), on account of the water of the tears of her eyes, and who had placed her head on the feet of her husband, said these words : (166) "Oh lord ! tell (lit. order) me anything, but do not speak again these words which give pain to my mind. (167) " Moreover, in the first place, how impure is the birth as a woman ? and if that is devoid of even chastity in this world, (then) certainly know it to be foul and (very impure) like sour-gruel. (168) "Chastity alone is the ornament of women, it alone is (their) all-in-all; it is as ( dear to them as) life, and to them) nothing is more beautiful than chastity. (169) " Therefore, oh, lord! know (this) for certain ( that ) uptil my death, you (and you ) alone are my place of shelter, and no other; then let whatever happens, happen." (170) (Then), in order to test the unswerving courage of her, who was thus very firm (in her)

Page #118
3 Siri Sirivalakaba determination, there at once arose the sun (lit. the thousand-rayed one) on the top of the rising mountain (Nishadha). (171) .. (Then) in the morning, on account of the words of Mayana, that Umbararaja quickly (.e. at once) went with her to the temple of Shree Risaha (i.e. Rishabhadeva or Adinatha, the first Tirthankara of the present era). (172) : : . (Then) both of them, with their bodies horripilated on account of the joy (of having the sight of the idol of the Tirthankara), bowed down to the Lord ( Adinatha ), (and) Mayana who was well-versed (lit. clever) in the Jaina Doctrine began to extol (the Tirthankara ) thus: (173) "Oh, you First Jinendra ! (delightful) like the moon, whose feet are bowed down to by the multitudes of the lords of gods--who are bent down by the excess of devotion, who have filled (all) the three worlds with the flood of fame as white (lit. bright) and full as the moon, and who are brave in conquering (the internal) enemies (such as lust, anger, pride, deceit and greed etc): (174) . . "Oh God! who have removed the darkness in the form of ignorance (in the world), who are

Page #119
Translation 35) worshipped by the gods, demons and demigods, whose feet are bowed down to by the kings who come ( to the temple ) for worship and whose pride is gone i.e. who have given up their pride, before the Tirthankara, and who have done favour (i.e. good), to the people of the world: (175) (Oh God !) Who are an abode of nectar in the form of equanimity as profound as the sea, and the spread of whose virtues has become an object of praise to the preceptor of Indra (i. e. Brihaspati), whose asceticism and character (lit; whose sport, i. e. practising, of asceticism and character ) were as bright (i. e. pure ) as the *kasa' grass, and who had slighted off. Delusion (Moha) as if in sport (i. e. quite easily and in no time): (176) "Oh you Rishabhanaha ! who did not imprecate those persons wbo were bent upon despising (you and the Jain Religion), who created a feeling of joy in the hearts) of the Shravakas, and who are endowed (lit. decorated) with & halo (lit. circle) of light, show me your lordship (i. e. show me favour and do good to me), and pacify (my) fire of misery. (177) "Oh such (great) Risaha Jinegar (as described above)! who are like the sun (lit, the lord

Page #120
36 Siri Sirivalakaba of the day) in the world, who are the lord and protector of the Goddess of victory of the three worlds-or who are the lord of Shripala who is victorious in (all) the three worlds, who are an enemy of Mayana (Sk. Madana, i.e. god of love) or who are the benefactor of Mayana (i, e. Mayanasundri), and who have reached (lit. gone to) the path of liberation or Moksha, ( please ) fulfil the desires of my mind." (178) Thus when Mayana, greatly engrossed in meditation, praised (the Lord' Risaha), the excellent garland of flowers jumped up from the neck of the Jina, together with the (Bijapuraka or such other) fruit (placed) in the hands (of the Jina ). (179) (Then), on account of the words of Mayana Umbara at once took that fruit, and Mayana, with her mind greatly ) delighted, took the garland herself. (180) And she said (to him ): Oh lord ! this your disease of the skin will certainly) perish (now), because this circumstance has happened on account of the favour shown (lit. done) by the excellent Jina. (181) Then Mayana, accompanied by her husband, came before a preceptor named Munichanda.

Page #121
- Translation and with her mind deligheted bowed down to his feet with (great) devotion. (182) Then the preceptor, also, whose mind was full of compassion, expounded, in a voice as profound as the ( roaring of a ) cloud full of water, the fruit (i. e. the good result) of (prectising) religion thus : (183) *. "The excellent birth as a human being, (and there too) a noble family, and a good form (with all the parts of the body complete and fully developed), good fortune, ( good ) health, long (lit. not insignificant) life, prosperity (riches etc. ), increase ( in the family etc. ), lordship (over others), and fam9,-these things are obtained by the 'jivas' by virtue of merit ( punya )" (184) : After this sermon the preceptor asked Mayana with whom he was familiar, "Oh child I who is this blessed man who has got excellent marks ('lakshana', on his body ) and who is possessed of good merits." (185) Mayana, with tears in her eyes, revealed ( to him ) her whole account and requested : "Oh lord ! (except this) I have got no other misery whatsoever. (186) "This only is the greatest misery that these

Page #122
38 Sixi Sirivalakaha heretio people scandalize the religion of the Jina, and praise only the S'aiva religion. (187) ... " Therefore, oh lord ! do favour and show me some remedy by which this evil disease of my husband, as well as the prattling of the people may disappear (i.e. come to an end)." (188) The preceptor replied: "Oh (you :) gooit -lady! it does not behove a monk to tell any. thing which is sinful ( lit. full of fault_ savadya ')-such as (prescribing ) a medicine, (or telling any) lore, charm, or incantation. (189) "Still however, there is one powerful or good (samatthi,' remedy ) which involves no sin (or fault) viz. the worship of the Nine Dignities which is propounded by the Jinas to be the root (cause) of (all) the happiness of this world, as well as of the next. (190) i <Page #123
- Translation 39 * There is no supreme thing other than these Nine Dignities; (and) in them ( and them) alone there is the essence of the whole of the Jaina Religion. (192) "Those (souls) who bave (already) emancipated (themselves), those who do so (at presaut), and those who will do so (in future), -all these indeed ! (have), undoubtedly (done so) only by means of the worship of the Nine Dignities. (193). . . in " Many (souls) have obtained the lordship of the three worlds (i.e. have become the Siddhas or the Tirthankaras ) by propitiating with great devotion any one of these (nine) Dignities. (194) : << The Acharyas of old have shown the follo. wing extracted rite (* Uddbar') of this Siddha chakra, formed by these Nine Dignities...(195) "Recite ('saraha, Sk. smarata ') in the heart (i.e. centre) of the 'yantra' ('pidha') the 'gayana' (i.e. the letter '') together with the.. kalika'j.e. 's' (avagraha) which is put for the letter 'q'; with 'I' above and below it; together with nada' (i.e. ardhachandrakara''? and bindukala! [i.e. anuswara' (:)); together with panava! (i. e.

Page #124
Siri Sirivalakaha te for ), 'bija' (i.e: Start), and "ana. heata' (i.e. kundalakara '0'); to gether with the (sixteen) vowels. (196) "Meditate upon the (lotus-like) circle having eight petals; (also) upon the Sildhas etc. (i.e. Siddhas, Acharyas, Upadhyagas and Sadhus) with oMkAra, drIMkAra and svAhA, in the (four) principal directions (respectively); ( also ) upon the (True) Faith eto. (i.e. the True Faith, the True Knowledge, the True Character and the True Penance) in the (four) by-directions. (197) "Round about (the inside of) the secord circle (of a round shape), write (lit. recite, eight) letters on its eight alternate) patals in the eight directions, making circles round them (i. e, the letters); and in the remaining (alternate) eight petals (write eight times thus: "Bu THE RETU " and) meditate upon the First Pada (i.e. Arihanta) among the (five) * Parmeshti Padas'. (198) " In the third circle, medidate upon the (48) Labdhi-Padas'' arranged by means of eight brilliant circles (drawn in) eight directions (with) three lines (drawn) from the right (each consisting of sixteen Labdhi-Padhas,-the total number being 48). (199)

Page #125
Translation " These 48 (Labdhi-Padas) quch as "the LE FAT frufro" ete. should be well known from the instiuctions received from a worthy (lit. good) preceptor. (200) " Having surrounded it (i.e. the whole yantra formed upto now) by means of a written thrise having pure white letters, baw down to the (eight pairs of) foot-prints ( padukas' or * pagalas ', as we call them ) of the preceptor (Guru) marked on its circumference. (201) . . " (The eight pairs of foot-prints referred to above viz.) one pair of the Arihanta, (one) of the Siddha, (one) of the Gani (i.e. Acharya), fone ) of the Guru ( which means Upadhyaya here), (one) of the Parama-Guru (which means the. Sadhu here), (one representing.) the sadhus whom we have never come across (in our life), (one representing) tho idnumerable sadhus (actually moving in the universe, and (one representing ) the innumerable sadhas of ( the past, present and future),-(are to be bowed down to), together with sut X (i.e. with the formula of the type OM hI arhatpAdukAbhyo namaH, the remaining 'guru-padas' being substituted, in order, for ea, each time). (202) " Medidate (i.e. draw) the amrit-mandal'

Page #126
42 Siri Sirivalakaba having the shape of a jar formed by the two lines (drawn on the top of the yantra, on the 'right hand and on the left hand sides which when joined together give the shape of a ' kalas'a'). which is presided (lit. served) over the four principal directions by ( the four Digkumaris) Jaya etc. (i.e. Jaya, Vijaya, Jayanti and Apara: jita), and over the four by directions by (the other four Digkunaris) Jambha etc.(i. e. Jambha, Shambha, Moba, and Gandha) respectively. (203) " Knowing from the mouths of worthy (lit. good)preceptors the(names etc.) of all the presiding gods such as Shree Vimalaswami etc. and the presiding goddesses (such as Chakeshwari etc.), meditate upon (or recite or write) their padas (i. e. mantra-padas) on all sides of the kalas'a-like amrit-mandal thus: 3 o fermoarrat : substitutiny for Vimalswami the names of all the other gods and goddesses, one by one). (204) ... "That (Siddhachakra),--which is waited apon by the (sixteen) goddesses of Learning (all round the yantra, i.e. having the names of the sixteen goddesses of Learning written round it), and (on both the sides of the kalas'a - on the right and the left) the (names of the) presiding

Page #127
Translation gods and goddesses of the Jain Church (JinaS'asana, respectively), having written at the base (of its kalas'a) the '(nine) Treasure-pots (niddhis)" at the neck (of the kalas'a), having 'the four doorkeepers', and 'the four warriors'; (also) waited upon by (i.e. having written towards the ten directions of the yantra the names of the) 'ten guardians of the quarters and the Kshetrapala', and which (thus completely becomes. drawn on the surface of the earth,-certainly fulfils the desires of the minds of those who worship it. (205, 206) " This Siddhachakra' is said to be the essence of Vijjanuyaya? (The Tenth Purva), knowing (the greatness of) which (and propiti-- ating which, even) .the great (eighi) .siddhis' (or superuatural powers) are accomplished atonce). (207) " He, who being possessed of penance and control, propitiates (or worships) this pure and bright (Siddhachakra) with white (i.e. pure), meditatiop destroyes many of his karmas (lit.. accomplishes large destruction of karma). (208) : " What wonder is there that by the propi-- tiation of that (Siddhachakra, all) the super natural powers are accomplished, (if by the

Page #128
Ait Siri Sirivalakaha greatness of which is obtained (aven) Moksha (or liberation) which is full of undestructible happiness ! (209) .. " (In short), this (Siddhachakra) has been declared by the Tirthankaras (lit. Supreme Beings) to be the greatest Truth (Tattva), the greatest Secret, the greatest Spell, the greatest Thing, and the greatest Pada. (210) " Therefore ( Oh you good souls !) propitiate with great devotion this 'Siddhach akra,' which is well-known in (all) the three worlds and which has (the power of) giving The Eight Great Siddhis (or supernatural powers). (211) "A man who is possessed of forgiveness and self control, and who is free from passions, becomes the worshipper of this (Siddhachakra); and he, who is possessed of the opposite quali. ties, becomes its insulter' (viradhaka). (212) "Therefore, the propitiator of this (Siddhachakra), whether a monk or a householder, should make his mind totally (`aganta") free from passions and should observe pure celebacy (and character). (213) " It does not fulfil the desired object of one, who, though its propitiator, keeps an impure (lit. evil) mind, but (on the contrary it) Pundoubtedly brings hin misfortune. (214) :

Page #129
Translation 45 "(But) if any (wick ed) person thinks of (doing) anything wrong (viruvam) to a person who is the propitiator of the Siddhachakra being possessed of a pure mind, (that person instead of doing so ) brings wrong to himself, indeed! (215) On account of this reason, it (the Siddhachakra) s honld be propitiated with a pure (lit. delightful ) mind, keeping pure celebacy together with (practising) penance (i.e. observing * Ayambila' fasts), and observing (proper) religious rites. (216) "Beginning from the Ashtami (the eighth day) of the bright half of the month of) Ashwin, observe * Ayama' (or Ayambil) fasts on eight days performing (on all these eight days) The Eight-fold Worship (Ashtaprakari Puja) of this (Siddhachakra). (217) "On the ninth day, having consecrated (bathed) it (the Siddhachakra) by sprinkling over it water, etc., and having performed (all) other (minute) particulars (of worship) in full, one should observe the very * Ayam bila 'fast. (218) " In the same way, the same thing (is to be done) in the month of Chaitra also. (Thus). by (the practising of) the nine "Atthais' again

Page #130
46 Siri Sirivalakaha and again (in regular successive order) and (hence also) by the (observance of) eighty one Ayambila fasts this (vow of the Ayambila O`li Penanoe) becomes complete. (219) : "While practising this (Ayambila penance), The Nine Dignities should be meditated upon in the mind; and when the penance is over, one should perform the concluding festival rujjamanam ') also. (220) "To a man who practises this good 'penance with a pure mental condition, all the prosperities of gods, demons and excellent human beings, are not difficult to be obtained. (221) . "When this (penance) is practised formidable (lit. great) diseases such as the wicked leprosy, consumption, fever and fistula (bha gandara ') etc, do not come to a person) and if they have come to him before (he practised the penanoe), they are (at once) destroyed. (222) .. " On acconnt of (the power of) this peKance, slavery, 'servitude, having no art for having impaired or defective organs of sense) misfortune, blindness, a degraded body, and a degraded family--these things) do not come (to a person). (223) . " (Also by the power of this penance) mis

Page #131
Translation 47 fortune (of being not liked by the husband), being a poison-maid, & whore, a widow, a barren woman, and a woman bearing a dead child (these things) do never come to a woman. (2:24) "Why say anything more? Due to the propitiousness of this Siddhachakra the "jivas' are always able to fulfil the desired objects. of their minds; and there is no doubt about that." (225) Having thus said to them, the excellent (lit. noble) greatness of the Siddhachakra the preceptor preached (i.e. advised) the multitude of the Stravakas (who had assembled there) thus : (226) "It appears from these (his) excellent marks that this man will, .erelong, certainly become the illuminator of the Jain Religion. (227) - " Therefore, it is proper for you to show affection to these your co-religionists, because it (i.e. the affection shown to the co-religionists) has been propounded to be very excellent (i.e, spiritually beneficial) by the Jinas. " (228) Then those Shravakas, who were greatly pleased, gave them (i.e. to Shripal and Mayanasundari) an excellent residence and offered them: money, corn (i.e. food), and dress etc. (229)

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Siri Sirivalakaba :: That affection which a good Shravaka shows to (his) co-religionists, is not shown oven by a mother, father, or near relatives. (230) . Now (thus honoured there, and staying there), that prince, on account of the words of Mayana and (also) by reason of the preaching of the preceptor, learnt properly the well-known rite of worshipping the Siddhachakra. (231) And there, in an auspicious moment on a certain (i.e. encuing) eighth day ( 'ashtami') of the month of Ashwin, that prince together with Mayana, begins the penance (for propitiating) the Siddbachakra. (232) First having purified (lito cleaned up) hisbody as well as his mind, he worships the idol of the Jina in a Jain temple and performs 'the Eight -fold Worship of the Siddhachakra with (proper) religious ritos. (233) Thus performing the worship with (proper) religious rites, he took the vow of (practising) the Ayambil fast; and even on the (very) first day his body became horripilated with joy (of propitiating the Siddhachakra). (234) : . On the second day, his disease (of leprosy) became much more (lit. specially) mitigated; (and) thus day by day his inward mental

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49 Translation condition (bhava') went on increasing as his disoase went on decreasing. (235) Now, on the ninth day, having performed the worship with full religious rites ( observing all the minute particulars ), he consecrated (or bathed) the Siddhachakra by sprinkling over it the aggregate of five sweet things.' (236) When The Festival of Bathing' ( the Siddhachakra ) was completed, that prince, being sprinkled all over his body with that 'pacifyingwater,' (santijala") all of a sudden had his body rendered celestial. (237) On seeing him, all were struck with wonder; but the preceptor said; " what wonder is there in this ? (238) "By this water all the evils, such as the wicked planets (or demons), ghosts and witches etc. of those high souls who are possessed of a pure mental condition, disappear at once. (239) " ( Moroover, various ) diseases such as consumption, leprosy, fever, and fistula etc. as well sko all the wind-diseases, and indigestion (or cholera ), and all other wicked diseabos_all these are pacified (i. o. cured ). ( 240 ) "(And) the dangers from water, fre, serpents and boasts of prey; the pains from poison, cala

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50 Siri Sirivalakaha mities (such as excessive rain, drought etc.), und diseases such as plague etc. which bring ruin (i.e. death) to the bipeds and quadrupeds; - (all these) do not remain in the world (241) "Even barren women get sons, even the children of ' nindus' (i.e. of women bearing dead children ) play with joy (i.e. become alive and grow up), the defects of the stomach disappear, and all other kinds of misfortune perish." (242) Having heard this greatness (of 'the. pacifying-water' obtained from the Bathing of the Siddhachakra), and seeing it ( i.e. the greatness of 'the pacifying-water ') with their own eyes, the people, with great deli ght, specially (i.e. with great devotion) began to take the pacifying water. (243) That multitude of lepers also, having their bodies sprinkled over with water, had their diseases aleniated in no time, and they came to acquire (in their hearts) a love for religion.(244) And Mayana also, seeing the matchless beauty of (her) husband, and therefore, full of delight, said to her husband : "Oh lord ! all this is (due to) the favour of the preceptor (245) "That obligation which a preceptor, possessed of compassion devoid of any motive, does to the

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51 Translation souls, is not done even by a father, mother, son, or brothers etc." (246) Having known that unparalleled miraculous power ( 'prabhava') of the Jina, the religion, and the preceptor, that prince ( Umbararaja ) became firmly attached to the ( Vitaraga ) Deva ( Nirgrantha ) Guru and the (Jaina) Religion (lit the religion of the Jinas or the Omniscient Sages).(247) There (in Ujjaini), as those husband and wife ( i.e. Umbararaja and Mayana ) went on experiencing ( various kinds of ) happiness through the favour of religion ( and religion ) alone, they (also) became more and more alert in (practising the true) religion. (248) Now on a certain day, while they (i.e. Mayana and her husband) were coming out of the temple of the Jina, they saw coming before them & certain grown up woman, (249) Having bowed down to her, the prince with horripilation said:. "Oh! on account of the sight of (my) mother, (it seems to me that ), the rain has come '(even) without the clouds." (250) (Then), When Mayana also, knowing (her to be) the mother of her husband, bowed down to her, the prince said "Mother! all this is due

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52 . Siri Sirivalakaha to)the miraculous power of this your daughter-inlaw." (251) (Then), she (i.e. the mother of the prince), full of delight, having congratulated (her) son and (her) daughter-in-law (upon their good luck), together with giving them (her) blessings, revealed to them (her whole account thus :), "Oh child! when, having left you (here) at that time, I went to Kosambi, having heard that ( there), there was a physician (who cared all diseases'), I saw there in a Jaina temple one magnanimous (Jaina ) ascetic, who was forgiving, solf-restrained, equanimous, exerting, possessed of the three Guptis and aversion to covetousness, with the feeling of compassion foremost in his heart, possessed of true know. lodge, and a store of merits. ( 252 to 254) " He (i... that ascetic), who was propounding religion, was asked, at an opportune time, by me with a bow (thus :) 'oh, reverend one ! will my son ever have his body free from disease ? (255) "That excellent among sages replied : Oh, good lady I that son of yours has been taken there (i.e. in Ujjaini) by that very multitude of lepers, who saw him. (256)

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53 Translation (And by them), he has been made their king (lit ford ), naming him Umbararanu, who obtained the respect of the world; (and) at present he has become the husband of the daughter of the king of Malava. (257) '(And) on account of the words of that princess (Mayanasundari), having well propitiated the excellent Siddhachakra, as exhorted by the preceptor, he has got his body rendered as (handsome) as gold. (258) '(And) he, being gifted with wealth (etc.) by his co-religionists, and engrossed in doing good religious deeds, and (quite) happy, is (at present) staying in Ujjaini in the company of his wife.' (259) "Having heard him (i.e. that ascetic), oh, child ! I, with my mind full of delight, have come here; (and) Dow you, (who are) creating a great joy (in my heart ), are seen (by me) in the company of your wife, like the moon in the company of the moon- light (which also creates delight in our hearts). (260) " Therefore, oh, (dear) child ! may you, together with your wife, be victorious, live, and enjoy (prosperity), for a long time; and let

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54 Siri Sirivalakaba this religion of the Jina alone be my place of shelter as long as I live." (261) (And thenceforth), all the three, (always) bending down their heads before the lotus-like feet of the Lord Jina, and (always) bowing down to the preceptor, practised' well religion (every day), being (now) well-versed in the religious rites of the Jaina Religion. (262) (Now), on a certain day, they, having performed the bodily ("anga') and the front (agra') worship of the excellent Jina, and (also) having performed the mental (bhava') worship, were bowing down to the idols (lit gods) with an attentive mind. (263) In the meanwhile, that Ruppasundari, who being enraged with the king (i.e. her hnsband) on account of the ( pain of) misery to (her) daughter (Mayana), was staying in the house of her brother Punnapala with (great) grief, having gradually forgotten it (i.e. her grief), and with discrimination aroused in her mind on account of the words of the Jina, came to (that very) temple. (264, 265) (And then), when she saw (there), in her front, that clever prince, greatly engrossed in bowing down to the gods, possessed of un

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Translation 55 paralleled beauty and like the son of a god incarnate, and behind him his mother and his wife, that queen Ruppasundri began to think in her mind thus: (266, 267) "Ah! who is this light-bodied young bride, who appears just like my daughter !! " And when she observed carefully, she recognized that (her daughter) Mayana. (268) (And she thought :) "Certainly this is Mayana, who forgetting the duty (lit path) of a 'satee', has become attached to this man, having abandoned that leper. (269) But, (sae argued to herself), Mayana is well-versed in the Jaina Doctrine; and therefore), such an improper) thing cannot bappen in her case : or alas / alas ! what cannot happen on the stage (lit drama) of this worldly existence ? (270) "The death of that daughter, who has brought a stain upon the family and a blame upon the Jaina religion, does not give so much pain as is given to me by the existence of this stained daughter, who is living the life of such a bad character." (271, 272) Thus thinking, Ruppasundari, full of great

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Siri Sirivalakaha misery and crying with a piteous sound, uttered these words ; (273) "Ha, fie upon (this) wicked action (done by Mayana), and let the thunder-bolt fall upon my womb; (because) though born there in my womb) and though clever, she (i.e. Mayana) has alas ! done such a (wicked) thing." (274) Having heard this, when Mayana saw her mother Ruppasundari sobbing, she understood the thoughts (lit opinion) of her mother. (275) (And therefore ), having completed the prayer of the idol of the Jina (chiavandanam).' Mayansandari bowed down to her mother by folding her hands, and spoke these words with a joound mind: (276) " Mother ! why do you thus enter into dejection (at a time) when you should be full of delight ?; because this your son-in-law has become quite free from ( his ) disease (of leprosy). (277) "Moreover, what you imagined (that I was of a bad character etc.) cannot happen in the case of your daughter, even if the sun were to rise in the west instead of the east." (278) The mother of the prince also said: "Oh, good lady! Don't think so in your mind; it is

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Translation 57 tnrough the miraculous power of your daughter that my son has become (so) handsome. (279) "Blessed are you in whose womb has been born this jewel of a woman, who is like a chintamani (Desire-yielding) gem on account of the prowess of her unparalleled chastity." (280) Ruppasundari, greatly delighted (to hear all this), asked: "What is this (whole account)"; and Mayana also who was very clever in (observing) religious rites (properly) spoke these words: (281) "By entering into conversation (about wordly things into the temple, there is committed the breach of 'nisihia' (i.e. 'the vow of saying that I stop from all sinfull actions"); therefore, come to my house, (and) I shall tell (you) all this.".(282) Then having gone home, Mayana revealed (to her mother) ber whole account, which was blended with the greatness of the Siddhachakra. (283) Ruppasundari, being greatly pleased to hear this (account of her daughter and son-in-low), asked the mother of the prince also (thus): "Oh sister ! I want to hear the name of the) family in which your son was born." (284)

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58. Siri Sirivalakaha The mother of the prince (thereupon) revealed (her whole story thus :) " In the country named Anga there is a very famous and excellent city named Champa, unshaken by the enemies. (285) "There, there is a king (lit. the best of men) named Siharaha, who is like a lion to the elephants in the form of his enemies. He has a beloved named Kamalappaha, the young. er sister of the king of Kunkuna. (286) " She, who had no son, after a long time gave birth to a son who was betokened by an excellent dream, and who created delight in the hearts of all persons). (Then) he was reared up (with great fondness). (287) " Then the king (i.e. Siharaha) said (to her): " This our son is (i.e. will be) able to protect our goddess of royalty (rayalachhi') when she will be without its protector (i.e. when king Sibaraha will die ), therefore, let him be named Siripala (i.e. he was given the name Siripala ' or 'the protector of the goddess of royalty '). (288) " (Now), when that child Siripala became two years of age, the king (Siharaha, bis father) all of a sudden died due to the disease of rheumatism (Sala). (289)

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59 Translation " (Then) Kamalappaha, who was crying, was persuaded by the minister Maisagara; and Siripal, who was (playing) in the lap of the nurse, was made to sit upon the throne (lit. kingdom). (290) .." As the command of even the baby-king Siripala was obeyed everywhere, the deathceremony of the king (Siharaha) was also performed afterwards. (291) " The king (Siripala), oven though a baby, protected (his) kingdom by the thread of the minister (i.e. his kingdom was managed by the minister Maisayara); and this was quite allright (because) everywhere in the world, the government of a kingdom is (always) carried on (lit. managed) by ministers. (292) " (Now), after some days Ajiyasena, the paternal uncle of the boy (Siripala), made a split in the attendents (parigaba', of Siri. pala ), and thought of committing the murder of the minister of the king ( Siripala, i.e. thought of murdering Maisagara). (293) "The minister (Maisagara), having come to know all this told (it) to Kamalappaha and requested her: 'Oh queen! any how protect your son.' (294) * If your son will remain alive, you will positively (lit. undoubtedly) get the kingdom

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60 Siri Sirivalakaha again; therefore taking himn (with you) run away (lit. go) somewhere, and I shall also do the same.' (295) : " Then Kamala (i.e. Kamalppaha), taking her son (with her), went away at night aban. doning all her attendants, lest there be any breach of her secret plan (mantrabbeya'). (296) "(What was her condition then ? She was) a queen, hence tender, had to carry her son (on her waist), (and) the night was dark, (and) she had to walk on foot. Alas ! alas ! terrible are the ways of Destiny. (297) " (On the way she thought:) .(My) husband is dead, the kingdom is usurped (lit. ruined), I am alone, there is a great danger from the enemy (Ajiyasena), and the night is approaching the dawn; alas ! where shall I go now?' (298) " Thinking thus, as she went onwards, she met on the road, when it was morning, a multitude of lepers. (299) "On seeing that Kamala (i. o. Kamalappaha), who was possessed of wonderful beauty, who had put on costly ornaments, who was a (mere) woman (* abala ), who had only one son (and that too) a baby, and whose creeper-like

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Translation body was trembling on account of the fear (of that multitute of lepers), began to cry. (300) " Seeing her crying, the men of the multitude asked with compassion : 'Oh, good lady! tell us who are you, and why are you afraid ?' (301) " She (i.e. Kamalappaha) told them her whole account as if they were her brothers, and they (i.e. the lepers) also consoled her in the following words, as if she was their sister. (302) . *Do not be afraid of anybody; we are all your brothers; having mounted this mule come (lit. go, with us) with (full) confidence.' (303) "Then she (i. e. Kamalappaba), who was mounted upon that excellent mule, whose body was covered with a piece of) cloth, and who was in the middle of the multitude, went (on. wards) with her son (quite) happily. (304) " Thon (after some time), thore came the soldiers of the enemy (Ajiyasena) with weapons drawn up in their hands and baving formidable appearance; and (they) asked the multitude : Oh, you (people) ! have you seen some (lit. one) queen (going by this path)?' (805) " Then, the men in the multitude said: t . !

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62. : Siri Sirivalakaha Oh! certainly there is in our multitude a jautaniya' (i. e. a skin-disease known as pama' or scab, or a queen); if you. want it (i.e. the disease of 'pama ') take it.' (306) " Then, one of the soldiers understood (the meaning of the word 'rautaniya' as parna' or scab), and said: "These (persons) are offer: ing to us 'pama' (or the disease of scab); (and this is but proper on their part because) all give (only) what they have got '; and then being afraid of leprosy they ran away. (307) "When they (i.e. the soldiers) went away Kamala (i.e. Kamalappaba) in the company of the lepers gradually reached Ujjaini (quite) happily, and she stayed there with her son; (and) the multitude of the lepers) went to some other place. (308) " (Then), when she brought up her son upto youth by means of the wealth (obtained) by (selling her) ornaments, he (i. e. her son Siripala) was, through ill-luck, attacked by the disease of Umbara. (309) "Even though many remedies were employed, its (i.e. of the disease of Umbara) effect was not effaced; and Kamalappaha, greatly anxious, asked everybody (about the remedy of removing the disease of her son). (310)

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63 Translation " (Then), somebody told her tbat there was & clever ( samatthi') and excellent physician in Kosambi who would certainly remove ( any one of the) . eighteen kinds of leprosy.' (311) " (Thereupon), Kamala, having wellentrusted her son to (her) neighbours, went her. self to the city of Kosambi in order to bring (i.e. to call) the physician. (312) " And waiting for the physician who had gone on a pilgrimage, she stayed there (in Kosambi ) for a long time; and (in the mean. while) knowing from the words of (that) ascetic the cure (i.e. the expiration of the disease) of her son she (i.e. Kamalappaha) has come here. (313) "I, (myself ), am that Kamala ( i.e. Kamalppaha), he (i.e. this) is my noble son Siripala who has become the husband of your daughter, as is well-known everywhore ( or who is well-known everywhere). " (314) ; Then Ruppa (i.e. Ruppasundari), knowing her son-in-law, to be the son of king Siharaha, congratulated him, and praised the merit (punya ') of her daughter, (315) .. (Then), Ruppa (i.e. Ruppasundari), having gone home told all that to her brother Punna. pala; and (therefore) he also, with great joy,

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Siri Sirivalakaha brought the prince (10. Siripala) to his place (lit. house) together with his (Siripala's) family (i.e. with Kamalappaba etc. ) (316) . He (i.e. Punnapala) gave them an excellent residence, and offered them (much) wealth, corn and gold etc; and Sirivala stayed there enjoying the pleasures of ' Dogunduga' gods. (317) (Now), on a certain day, while the king ( Prajapala ) was passing through the lane in the vicinity of his (Siripala's) residence he (.e. king Prajapal) saw that prince (Siripala) seated (happily) on a window in the company of Mayana. (318) Then the king (Prajapal), seeing Mayana ( seated there ), thought thus : "Certainly, Mayana, being under the evil influence of the god of love, has stained my family. (319) "At that time, I, blinded by anger, did that one improper thing, (and now this) second (improper thing) is done by her (i.e. Mayana) who is blinded by love. Alas ! alas ! (she has done) a very improper thing". (820) (Then), to the king (Prajapala) who was thus (greatly) dejected, Punuapala revealed the whole account of (his i. e. Prajapala's ) daughter (i. e. of Mayana) which was full of ( great) wonder. ( 321 )

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Translation . 65 Having heard that, the king ( Prajapala ), with his mind struck with wonder, went to that residence ( of Siripala ), and ( there ) he was bowed down to, with great courtesy, by the prince ( Siripala ) together with Mayana. (322) (Then) the king ( Prajapala ), bent down with shame, said : " Fie upon me who am devoid of courtesy, for I did such an in proper thing, being stupefied by the poison of the serpent in the form of pride". (323) ( And turning towards Mayana, he said: ) "Oh, child ! blessed are you, meritorious are you, full of ( the power of ) discrimination are you, and you alone know the * Tattva' ( or the true nature of things ),-you who are possessed of such (1. e. so much ) courage (or prowess ). (324) "You have elevated my family, you have elevated your mother also, and you have elevated the Juina Religion; you ( and you ) alone are blessed ( you who have done such & thing ). (325) "( Therefore ), oh, child | pardon me for the offanoe that I committed at that time, being blinded by darkness in the form of ignon

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66 : Siri Sirivalakaha rance, and with my power of discrimination being lost on account of irresistible pride ". (326) Mayana, bent down with modesty, said, "Oh, father ! do not be dejected in your mind; all this has happened on account of ( the evil effect of ) my karma. (327). " ( Oh, father ! ) this is but certain that nobody gives happiness or misery to anybody; ( but ) the 'jivas' experience only the karma which they have accumulated." (328) "Let nobody take pride that an action which he does is certainly accomplished, (for) even an action done by the best of gods, becomes reversed on account of ( the evil effect of ) karma. (329) "Therefore, oh, father ! know the * Tatta ' ( or the principles of fundamental truth ) propounded by the Jinas, to be the best, knowing which, one is enabled to know the comparative strength and weakness of the 'karmas' and the 'jivas', as also the i principle of ) 'bandha' (i. e. the uniting of the karma-pudgala with the soul ) and moksha'( i. e. the liberation of the soul by the destruction of the karmas which have stuck to it)". (330)

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Translation 67 Then having accepted the Jaina Religion, the king, who was pleased, said : " That I have got the son of king Siharaba as my son-in-law, is verily like a Chintamani ( i. e. Desire-yielding ) gem unexpectedly fallen into my hand by accident, when it ( i. e. the hand ) was stretched only for getting a stone."(331, 332) ( Then.) the king ( Prajapala ) seated his son-in-law and daughter on an excellent elephant, and having brought them home (i. e. to his palace ) with great festivity, honoured them by ( giving them much ) wealth ( i. e. gave them much wealth ). (333) ( Moreover ), there was a ( loud ) cry of praise ( that she was a great' satee') about Mayana, who was possessed of courage and chastity; and the greatness of the Jaina Religion ( 'jina-s'asana') spread in the whole city. (334) (Now ) on a certain day, Siripala accompanied by his retinue, consisting of horses, elephants, chariots and warriors, went to the royal garden like & prinse of gods ('surakumara' ) incarnate. (335) ( And ) when the people, who had ascended on the rooms on the tops of their houses,

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68 Siri Sirivalakaba were looking at him with great delight, a cortain villager asked a citizen (thus): (336) "Oh, oh, ( please ) tell me who is this. person ( Siripala ) who is going sportively like: & prince?" The citizen replied : "Oh, he is the son-in-law of (our) king." (337) Having heard that the prince ( i. e. Siripala ) became suddenly pale as if struck with an arrow and taking a turn went home (greatly). dejected. (338) Having seen him in that condition, his mother ( Kamalappaha ), who was ( greatly ) bewildered, spoke thus : "Oh, child ! does any disease in your body give you pain to-day !". (339) " Or, oh, you Indra-like ( son ), has anybody given you a bad ( lit. undeserving ) insult " (340) "Or, have you given place in your heart to some best of maidens ( i. e. are you enamoured of some best of maidens ) ? As for the immodesty shown by a house'wife, it is quite improbable in the case of Mayana. (341) "( But ) your mind is certainly full of anxiety on account of any reason whatsoever,

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Translation 69 Because, oh, child ! your lotus-like face appears to be pale." (342) (Then ) the prince replied : "Oh, mother! here ( in iny face becoming pale ), there is not any reason out of these ( four ); but hear this another reason. (343) "I have become famous here in this oity), not by my own merits, nor by the name of my father, nor by your merits, but by the name of my father-in-law." (344) " And this cause of the lowest position ( out of the four-fold positions of a man ) has been ( always ) relinquished by good persons; hence it is that my mind is also pained on account of iny stay in the house of my fatherin-law." (345). Then said his mother ( Kamalappaha ), "Having gathered together a large army consisting of four parts, take back the kingdom of your father and make my heart free from the dart (of pain or misery )." (346) The prince replied: "Oh, mother ! the taking back of our kingdom with (the help of) the army of my father-in-law, certainly gives even more pain to my mind." (347)

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70 Siri Sirivalakaha " Therefore, my mind will be at ease only if I take back the kingdom of my father with the strength of the wealth earned by my own hands, and not otherwise. " (348) " Therefore, having gone to some foreign country alone, I shall, with the help of the strength of the wealth earned (by myself), soon take back the kingdom of my father," (349) His mother replied to him: "You are (only) 8 boy, you are ( quite ) straightforward and you are tender; (whereas) wandering in foreign countries is, indeed, ( very ) difficult and pain. ful." (350) Then the prince told his mother: "Oh, mother ! do not say like this ; there is difficulty only so long as the courageous do not undertake ( to do a thing )." (351) Again the mother said : "Oh, child, (then) we shall ( also ) come with you; ( because ) without you what ( other ) tie (or connection) have we got here in this place ? " (352) The prince said: "Oh, mother! if you come with me, I cannot move freely in every place; therefore, you stay here." (353) ( Then ) Mayana said : "Oh, lord ! I shali

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Translation accompany you, (and) I shall be no burden to you like the shadow of the body." (354) The prince replied : " Oh, dear! ( lit. go. ddess ) who are ( always ) alert in ( practising ) the excellent ( i. e. true ) religion, upon my words you stay here, ( always ) doing service not any how like ( lit. wish ) the going ( lit. journey ) of their husbands ( to foreign countries ), yet oh, lord ! your order should be obeyed by me ( lit. your order alone is acceptable to me ). (356) " But you should not, even for a moment, remove from your mind the ( Nine ) Dignities such as Arihanta .and others. You will also (always) remember your mother, and sometimes also me, your servant." (357) The mother also knowing his (firm) determination made an auspicious Tilak-mark ( on his forehead ) and said : " For your welfare, I shall propitiate the Navapada". (358) Mayana said; "Oh, lord ! I, also, shall, with a fixed mind, always propitiate the very Nava. pada which are the cause of welfare." (359)

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72 Siri Sirivalakaha Siripala, sprinkled with that neotar of the words of Mayana, bowed down to the feet of his mother, bade farewell to his wife and with & sword in his hand, started from his house, having first raised up his left leg, at the time which was characterized by the entrance (i.e. presence) of the breath in the left nostril (lit moon's nostril) which was adorned by clear drops of water. (360, 361.) ( And ) observing ( different) objects of curiosity in ( various ) village, mines, cities and large towns (either on land or on sea) etc., he, like a lion, with his mind (quite) free from fear, arrived in the vicinity of a mountain. (362) There in a certain forest, which was full of blooming flowers and fruits like those in the garden of Indra, while he was looking at a line of trees which was pleasant on account of the (sweet) sound of the cooing of cuckoos, be saw, seated underneath a beautiful Champaka tree, a handsome man who was possessed of excellent beauty and dress, and who was reciting a 'mantra' (or incantation). (363, 364 ) He, when he finished his recitation, was asked by the prince with modesty ( thus ); " Who are you, and what are you reciting, and why are you (moving) alone in the forest ? (365).

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73 Translation Ho replied; " My procoptor has given me # Vidya (or 'spell") and I have already) rocited it, but without a helper 1 do not succeed in acco omplishing it and getting my desired object. (366) "( Therefore ), ob, you, magnanimous one ! if you will, anyhow, become my helper to-day, I will be able to fulfil my. (desired) object, by being successful in accomplishing the spell. " (367) Then on a certain night, that'sadhaka ' (or accomplisher), with the help of the prince, had his spell accomplished as if in sport. (368) (Then) that 'sadhaka', for returning the ob ligation, gave the prince two medicinal herbs and spoke these words: (369). "One (of these two herbs ) enables a person to cross safely through water (jalatarini'), and in the same way, the other evades the weapons of the enemy('parasathhanivarini'); these medici. nal herbs, (therefore), should be kept (carefully) furnishing them with covers made up of 'three metals' (viz. gold, silver and copper). (370). (Then) when that Vidyasadhaka, accompanied by the prince, went to the declivity of the mountain, he was thus spoken to by the mineralogist: (371)

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Siri Sirivalakaha "Oh, lord ! though accomplishing according to the rules prescribed by you, we are not able, due to one reason or the other, to accomplish the production of the ( gold-producing ) liquid (rasasiddhi')." (372). Then the prince said: "Oh, you ( mineralogists) | accomplish it in my presence." Then when they did so, they became successful in accomplishing the production of the gold-producing liquid. (373). (Then) the 'sadbakas' having produced (lit. made) gold said: " Oh, p:ince ! it is due to your favour that we have been successful in accomplishing the production of the ( gold-producing ) liquid (374). " Therefore, take this gold." But the prince, who was indifferent (to the desire of gold), did not take it; still, however, though he did not take it, they tied some of it to his garment. (375) Then the prince, (moping through various places), gradually came to a city named ' Bbaruyachchha' (i. e. Broach) and (there) by selling (lit. spending ) the gold, he purchased clothes, ornaments and weapons. (376). And having furnished the two medicinal herbs with covers (made up) of (three-fold) me

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Translation 75 tals, he tied them to bis hand; and ( then ) he moved in the city at his pleasure with delight like a prince of gods. (377). Now in the city of Kosambi, there lived a bania (i. e. a merchant) named Dhavala; and because he possessed much wealth he became known in the world as Kubera ( the god of wealth). (378) (And) that merchant having bought with crores of gold coins ( various ) mercantile commodities (`kayanaga') and accompanied by many merchants (lit, sons of merchants), had come to Bharuyachchha. (379) There he made a ( very ) big profit, but still intent on going to a distant shore on account of covetousness of wealth, he got many ships made ready. (380] There was one middle-sized ship which was beautiful being furnished with 16 masts, and there were 4 smaller ships each of which was furnished with 4 masts. (381) There were 100 (big) ships used for a long journey, 108 boats, 84 ' Donas' (a kind of ships) and 64 ' Vegadas' (another kind of ships). (382) (There were) 54 "Sillas' ( a kind of this

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-76 Siri Sirivalakaba -50 Avattas" (also a kind of ships), and 35''Khurappas' ( a kind of ships ). Thos ( in all there Were) 500 ships. (383) With the permission (lit. order) of the king they (i. e. the ships) were filled with merchandise and (then) the captains of the ships and the merchants embarked on them (i. e. the ships ) a special care of which was always taken by the divers, boatmen, rowers, mariners, and helmomen; and which were diligently protected by 10,000 soldiers, who were under the service of Dhavala and who had held various kinds of weapons ( ready ) in their hands [ lit. whose hands were intently engaged in ( holding ) various kinds of weapons ]; and which were decorated with many chauries', umbrellas, 'sikkaries' ( a kind of ornaments for the ship ), flags and excellent crests; and whose beauty was enhanced by sails, ropes, anchors, *pakhharas' ( a kind of implements for the protection of a ship ), and drums. ( 384, -385, 386, 387) (Then) having stored them (i. e. the ships) with large quantities of water, provisions for the journey, and fuel, Dhavala, with his retinue, embarked on ships in an auspicious moment and

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Translation 77 gave orders for putting the sails on clit, caused them to be started); but even though oblations were given, and the drums were beaten with a loud poise, the ships did not move, in spite of the sailors' trying to do so. (388, 389) Then on account of that anxiety, Dhavalahad his face turned black; and ( therefore ), having got down, he went into the city and. asked a woman ( the reason of the ship's not moving). (390) She replied: " These ships are stopped by a god; ( and ) they will move ( only ) when a man possessed of thirty-two auspicious marks on the body is given in oblation." (391) Then Dhavala, having pleased the king with presents of very costly things, requested: him. ( thus ): "Oh, lord ! give me one man for offering oblation." (392) The king said : "Take, as you please, any man who might be a foreigner and helpless ( i.e. without a guardian etc. ), but you should not take any other person." (393) Then when the soldiers of Dhavala began to make a search for such a man, they came to. know the prince Siripala to be a foreigner. (394)

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78 Siri Sirivalakaha Then they (lit. those people i.e. the soldiers) informed Dhavala about him (ie, Siripala ) who was possessed of 32 auspicious marks on the body; and Dhavala again obtained the order of the king for capturing him. (395) . (And then) that Siripala, though he was sitting in the market ( or forum ) in a pleasant mood, was suddenly surrounded by the soldiers of Dhavala who had weapons drawn up (ready) in their hands. (396) (And they said:) " Oh, oh, come on quickly; to-day, the merchant Dhavala has become exasperated with you. You will be given in oblation to a god; do not say that we did not tell you (so). (397) The prince replied: " Oh, oh, give oblation by (offering) that animal in the form of Dhavala; have you ever heard anywhere that anybody gives oblation by (offering) a lion? " (398) : Then the soldiers tried to show some strength, but hearing the roaring noise (lit. roaring of a lion) produced by the prince, they ran away like a crowd of jackals. (399) The king also boing impelled by Dhavala sent his own army; but that too was defeated by the prince in no time (lit. in half a moment). (400)

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NOTES

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NOTES St. 1. afegira998 (Sk. arftarfgangun), The Nine Dignities or * Padas' constituting the three 'Tattyas' or groups of fundamental Dignities viz. (1) 27 (2) 14778 and (3) - aty which aro very essential and indispensable factors in Jainism, a firm faith in which enables a man to obtain what is known as Arria' or True Faith-which is a true path to Liberation, Hence they occupy an unique place in Jaivism, and their importance is the greatest of all, as they constitute the very essence of the Jaina Religion. The reverend author of this book Ratnas'ekha rasuri himself emphasizes, in striking words, the great importance of these Nine Dignities or Padas, upon which he has based , his wbole story, his object being to create in our hearts a true and firm faith in these Nine Dignities in order to enable us to reach the true path to Liberation and thus cross the occan of this miserable worldly life. First be enumerates them in yerse 23 of the text thus : __ " bharihaMsivAyariyA, unmAyA mAhuNoM asammattaM / nANaM paramaM ca tatro, ina payanavagaM muNegravvaM / " and then he remarks in verse 33 1. 1. " gyre

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Siri Sirivalakaba AUTOTE, ferret FARA ATTUTSI": These Nine Dignitios constitute the very essence of the religion of the excellent Jinas.' Thus theirs is a very unique place in the Jaina worship and devotion, and the incessant flow of their eternal adoration, from ancient times, has remained unfinching even up to-day. This is quite evident from the two great religious festivals,which the Jains (especially the orthodox) so devoutly observe very magnificently and .reve rentially even to-day, in the months of Chaitra and Ashwin, --known as the tests' when they keep what are known as Ayambila' fasts (which consist in taking rough (ra) and tasteless (3) food devoid of ghee, sugar, oil, milk and all such tasty articles of eating which create passions, and which we generally take every day-and this food, too, is to be taken only once a day). It is, therefore, essential for us, as students of the Jaina Literature, to study properly all these nine great and important Di'gnities, and have a clear conception of all of them, so that we may have a fair idea of what constitutes the essence of the Jaina Religion. The Nine Dignities already mentioned above are (1) after (2) fera (3) anara (4) 3976014 (5) i aig (6) FIAT (7) TT (8) afts (9). a4. The

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Notes first two constitute the * Devatattva". The third, fourth and the fifth constitute the + Gurutattva', and the last four constitute the * Dharmatattva'. We shall discuss all these Nine Dignities briefly below. - 1. arhat or arihaMta also called tirtha kara-th) propounder of the Jaina Tirtha or Religion ani the Destroyer of the internal enemies (such as Love and Hate, as also Anger, Pride, Decoit and Greed). He is said to be possessed of twelve Gunas viz. the eight Pratiharyas' (arfagris) or paraphernalia (consisting of eight things), and four * Atis'ayas' (watts) or excellences. The eight' Pratiharyas are mentioned in the following sloka': "3771T2: alpuSpavRSTiH divyadhvanizcAmaramAtanaM ca / bhAmaMDalaM duMdubhitragi zgi faxroffo fra sa TOP 11" They are thus: (i) The As'oka Tree, sittiny under which the Tirthankara delivers his sermons. (ii) The Shower of fragrant flowers possessed of five different colours, by gods, which covers the Jower part of the Tirthankara's body up to the knees. (iii) The Super-human Speech of the Tirthankara which is as sweet as nectar, and which could be understood by all creaturesgods, human beings, and animals, alike. (iv)

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Siri Sirivalakaba The Four Pairs of Chauries possessed of gold Handles studed with gems, which are wavedi before the Tirthankara by the gods. (v) The Gold Throne also studed with gems on which the Tirthankara sits (vi) Thc Halo of Light seen round about the head of the Tirthankara. (vii) The Celestial Drum. . (viii) The White Umbrellas, twelve in number, and decorated with wreaths of pearle, held over the Tirthankara, who sits on his throne in the Samosarang' (PATATU) with his face turned towards the east, and over his other three similar forms, which are created by the gods in the south, west and north. The four * Atis'ayas' or excellences are: (i) The Apayapagamatis'aya, (STUTTOATE T) according to which all the troubles and hardships (TTX), both external (such as all diseases and others ), and internal (such as the troubles or hardships which stop one from being charitable, from gaining, from enjoyment, from enjoyment again and again, from exerting bimself, and also those which make him laugh, pleased, displeased, afraid, aggrieved, censured, engage into sexual enjoyment, also those which bring unbelief, ignorance, sleep, non-aversion to worldly things, love, and hate). According to this Atis'aya,

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Notes moreover, the plaees lying in the 21 yojanas' found about the place where the Tirthankara moves, remain free from diseases and droughts etc. (ii) The Gmanatis'aya (maTfATT) which ofers to His Omniscience or Kevala Knowledge. (iii) The Pujatis'aya ( quam ) which refers to His being worshipped by all-gods, kings and mon. (iv) The Vachanatis'aya (Niqarfato) which refers to the speech of the Tirthankara, which is such as could be understood by gods, men, and animals, alike. It is said to be possessed of 35 'gunas' which we need not mention here. 2. Siduha (fax) or the Emancipated One. Every soul that has completely destroyed all the eight karmas (which are discused somewhere else in these notes) and reached Libera tion, is known as Siddha. He is said to be possessed of eight Gunas' viz. (1) Infinite Knowledge. (ii) Infinite Vision. (iii) Complete and Uninterrupted Bliss. (iv) Unchangeable Condition. (v;Undestructive Nature. (vi) Having no form, colour, smell, taste and touch. (vii) Having nothing like lightness or heaviness or having nothing like a high or low family. (viii) Infinite Ability which enables him to do anything he likes, but he never

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Siri Sirivalakaha exerts it,' ais he has broken off all his connections with gross matter or pudgala ', as it is called in Jainism. - 3. Acharya or the Religious Head. He is said to be possessed of 36 'gunas such as the control of the five senses, freedom from lover and hate, celebacy, non-injury, not telling a lie, not taking any thing which is not given, not being attached to worldly things, the * five * Acharas '; the five Samitis and the three * Guptis '. 4. Upadhyaya or The Religious Teacher, who teaches other monks under him the Elevan Angas, the Twelve Upangas, and who observes what are known as Charansittari' and * Karansittari'. All these make up his 25 'gunas '." 5. Sadhu or a Monk, who is on the path to Liberation. He is said to be possessed of 27 'gunas' such as non-injury, not telling a lie, not taking what is not given, celebacy, non-attachment to worldly things, not taking food at night, protecting the lives of six kinds of living organisms of earth, water, fire, wind, plant and the moveable bodies, curbing the SODEO:, curbing greed, forgiveness, pure minda

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:: Notes examining clothes carefully for avoiding 'hinsa' of any living creature stuck to it, practising self-control, curbing the mind from going astray, not uttering foul words, curbing the body from any ill-use, suffering cold and heat, and suffering delightfully and patiently the troubles and hardships leading even to deatb. 6 to 9. The remaining four Dignities are : (1) varat atas or True Faith. (2) .AFIT ITA' or True * Knowledge. (3) du atta o- True Character and (4)' aq 'Penance. These Nine Dignities are represented by the Jains in the form of a circle, putting the Tirthankara or Arihanta in the middle, and round about the Tirthankara, there are the Siddha, Faith, Acharya, Knowledge, Upadhyaya, Character, Sadhu and Penance respectively. Theoretically, the dignity or position of a Siddha is higher than that of a Tirthankara, but the reason why the latter (i.e. the Tirthankara) is placed in the middle is this, that he is the Nearest Benefactor (&#T#131) of the people of the world, as he establishes the fourfold 'Tirtha' or religion known as the 'agfira (consisting of the monks, the nuns, the laymen, and the laywomen) which enables the

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00 Siri Sirivalakaha people of this world to cross the ocean of this worldly existence and teach Emancipation. The diagram on the opposite page shows the circle which is known as "The Siddha-Chakra'or. The Circle of the Sacred Ones (viz. the Nine Dignities) as it is found in the Jaina temples and so reverentially worshipped by the Jains. The special feature to be noted here is that in Jainism, it is not any particular person (or persons) that is worshipped. but it is the 'pada' or the dignity '-i.e, merits or virtuesthat is worshipped. Thus it is not Malavira or Rishabha-the person that is worshipped, but it is the Arihanta Pada, which they have got, that is worshipped. The same is the okse with all the remaining dignities. siddharcaka (Sk. siddhacakraParala (of the sacred ones) * Tas or ide: ferie forga fra fagur)-the circle formed by the Nava-Pada or Nine Dignities such as Siddha tto. already explained above; hence in short it can be translated as "The Circle of the Sacred Ones.' High (Sk: Alert)-greatRegs. 376 (Sk.)- most elevated, highest. idfa (Sk. ATIA). He is a Pk. root for Sk. get to speak or to to tell. St. 2. fyn is Pk. for Sk. Aky St. 3. fact (Sk. 6). The Four-fold Roli

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zrI siddhacakrajI or navapadajI dasarAsta vasta MITEE am The Circle of the Sacred Ones : or The Nine Dignities

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Notes gion established by Lord Mahavira, consisting of (1) monks, (2) nuns, (3) laymen, and (4) laywomen. vittharivaM (Sk. vistRta) spread. savisesaM (Sk. savizeSa) specially. gIyasthA (Sk. gItArthAH) Those sadhus or monks who are well-versed in the Jaina scriptures, and who are well-conversant with the rules and usagos which a sadbu has to observe in practical life. St. 4. TATT (Sk. QATT) and faca (Sk. fago), are the names of two mountains which are situated on the boundary-line of the country of Magadha. OfThr-boundary-line. St. 5. frenat (Sk. forsura:) famous. mu. Sk. Toot) foet. In Pk, T is sometimes changed to . Fafe (Sk. fafv) lit. fortune; here, good fortune. bhajimaya (Sk. arjita) earned. titthayaraguttoM (Sk. frustuta) or what is usually known as the femrata which is a kind of 'karna-prs kriti' (or potency of action) which enables a man to become a Tirthankara. It is earned or acquired when a soul entertains the noble 'Bhavana' expressed in the phrase "eferante T a TET". St. 6; TTH (Sk. quh) lit. first; chief. T *excellent. sAroM endowed with. cabuddhi (Sk. catu fa) The Four Talerits. A little discussion on this tojm will make its understanding quite clear. The Nandisktra of Shrimad Dov&vacha

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10 Siri Sirivalakaba kasuri gives us an important information about various technical terms; and the Four Buddhis. or Talents are also explained there. In the beginning, the sutra says: "Tiui rafale tad, taM jahA-AbhiNiyohianANaM suanANaM ohinANaM mapaFH Caruje BATON" ( .) i. e.' knowledge is of five kinds viz. Abhinibohika (or knowledge which we obtain by means of our talent), Shruta (or knowledge which we obtain by 'hearing' seripturas etc.), Ayadhi (or knowledge by the power of which we are enabled to know whatever things happen in a particiilar part or region of the earth within a certain specified limit, great or small, without the use of the senses or the mind ), Manahparyaya: (or knowledge by means of which we are enabled to know, without the use of the senses or the mind, the thoughts and desires of the minds of other persons), and Kevala (or Omniscience). Commenting upon this sutra, the commentator Haribhadrasuri defines the Abhinibodhika, the first kind of knowledge, thus : , ___" tatrAbhimukhoM niyato bodho'minibodhaH, sapaSa Farfas Facturarararfufaalfa*............fara budhyate vA tadityAminibodhikam-avagrahAdirUpaM matijJAnaHa................ill " [Padiya (Marwad) Edition

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* Notes 11 of the Nandisutra: commentary page 21]. The words " Haara" underlined in the passago, quoted above, show that the word stafratlan is a synonym of the word mati (Pk. mai). This Amifarantate or hfa knowledge is again sub-divided by the Nandisutra into 'two sub-divisions : " AmiNibohiyanANaM duvihaM pannataM, taMjahA - suyani ferro seETREFTET " ( 88.). The two subdivisions thus are: (1) zrutanizrita or that mati knowledge which arises on account of the power of the study of hearing of the sta knowledge practised previously (ie, in previous life) .and (2) syafafera or that knowledge which arises without any such thing practised before.. As the commentator says, ' it arises out of the 'tathAvidhakSayopazama' or that particular state in which all the potencies of action (Fagfas ) that come in the way of our obtaining such knowledge are destroyed and subsided. Now this second sub-division Titafafera mafaatdhika or mati knowledge is again further subdivided into four kinds which are known as gra' or the Four Talents mentioned here. "assuanissiaM caunvihaM pannataM, taM jahA uppattiA 1. veNaiA 2.. kammayA 3. pariNAmiA 4. / buddhi cauvihA a IAT uitageTE II " ( 78). Thus the Four Buddhis or talents are (1) cyferent i. e. Intui

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"12 Siri Sirivalakaha. tive or Spontaneous. (2) bainapikI i.e. Disciplined (3) karmajA i.e. resulting from practice and experience. and (6) pAriNAmikI i. e. Developed. In the Nandisutra they are thus defined: "puvvaM aditthmssua-mveiytkkhrnnaavsuddhghiatthaa| avvAhayaphalajogA, buddhI uppattiA nAma // " "bharanittharaNasamatthA, tighggsutttthaahapeaalaa| ubhao logaphalavaI, viSayasamutthA havai buddhI // " "uvaogadivasArA, kmmpsNgprigholnnvisaalaa| sAhukkAraphalavai, kammasamutthA havai buddhI // " * "aNumANaheudiLaMta-sAhiA vyvivaagprinnaamaa| hiyanisseasaphalavai-buddhI pariNAmiA nAma " Under each of these four verses defining the four kinds of buddhis' the Satrakara gives a long list of examples or stories which illustrate the same (i. e. the four buddhis'). The illustrations given for the Autpattiki buddhi are enumerated in the following three verses * "bharahasila 1 paNiya 2 rukkhe 3, khuDDuga 4 paDa 5 saraDa 6 kAya 7 ubAre 8 // gaya 9 ghaSaNa 10 gola 11 khame, khuDupa 13 magpitthi 15 paha 15 putte 16 // "bharaha 1 sila 2 miMDha 3 kukkuDa, 4 cAlua 5 hatthI 6 agaDa 7 vamasaMDe)

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Notes 13.. pAyasa 9 aiA 10 patte 11, khADahilA 12 paMca piaro __ a 13 // "mahusistha 17 muhi 18 aMke 19, nANae 20 mikkhu 21 cer3aganihANe 22 // sikkhA ya 23 atthasatthe 24, icchA ya mahaM 25 sayasahasse 26 // " Those for the Vainayiki are :"nimitte 1 atthasatthe a 2, lehe 3 gANae a 4 kUva 5.. ___ asse a6| gaddabha 7 lakkhaNa 8 gaMThI 9, agae 10 rahie a 11 gaNiyA ya 12 // "sIyA sADI dIhaM ca, taNaM avasavvayaM ca kuMcassa 13 nivvodae a 14 goNe, ghoDagapaDaNaM ca rukakhAo 15" Those for the Karmaja are:"heraNNie 1 karisae 2 kolia 3 Dove a 4 muAtta 5 ghaya 6 pavae 7 / tunnAe 8 vaDDhaI ya 9 pUyai 10 ghaDa 11 citakAre a 12" And those for the Parinamiki are :"abhaye 1 siddhi 2 kumAre 3, devI 4 udiodae havai rAyA 5 / sAhU ya naMdiseNe 6 dhaNadatte 7 sAvaga 8 amaJce 9 // "khamae 10 amaJcapute 11, cANakke 12 ceva thUlabhadde a 13 // nAsikasundarinaMde 14, vahare 15 prrinnaambuddhiie|| "calaNAhaNa 16 AmaMDe 17, maNI a 18 sappe a 19 khaggi 20 thUbhiMde 21 // pariNAmiyabuddhIe, eSamAI udAharaNA // " /

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14 Siri Sirivalakaha All these illustrations or stories are given in the Malayagiri's Commentary on the Nandisutra (Agamodaya Samiti Edition). They are also given by Haribhadrasuri, as he says, in his commentary on the Avas'yaka Sutra, as he has not given them in his commentary on the Nandisutra on account of the fear of length. If we were to give at length all these stories "in full details, it would make a whole separate volume. Hence being satisfied by only enumerating them as above, we shall here take the first story from each of the four lists of illustrations, and give four stories in details in order to illustrate the four buddhis' respectively. Those desirous of knowing all of them in details should refer to the two commentaries mentioned above. The four illustrations that are to be given here are : (1) FAE (Sk. Fot) or the Story of the Stone: which illustrates the Autpattiki Buddhi. [Before actually giving this story one point requires to be made clear. The first illustration, given in the first verse out of the 3 yerses giving illustrations for the Autpattiki. Buddhi, is HSEfare which refers to the whole of the 2nd verse ARE & fe & fic etc. '-all these stories

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Notes :15 being illustrated in one long story of 784, the son of tra a dancer (`nata"). As the commentator Malayagiri says 'TE FATEHT' at T TAT tercifaretra F T ". Now this wholo long istory of Teillustrating all the 13 examples given in verse 2. is itself called 'Efe' in the first verse. But all these 13 illustrations cannot be given here for fear of unnecessarily lengthening the notes. Hence the focond illustration of faro alone, [the first illustration of the dancer TE (Sk. * ) is not given because it is not so interesting and does not so well and exquisitely illustrate the Aulpattiki Buddhi ), is given here. It is as follows : There was a city named Ujjaini. In its vicinity there was a village inhabited by dancers. In that village there lived a dancer named Bharat, His wife had died, but he had & young son named Rohaka. Hence in order to : well look after him he soon married & second : wife. But she did not treat Rohaka well. Rohaka, however, brought her round by play ing a trick with the help of his Autpattiki * Buddhi. But thinking that, in order to take revenge, she will kill him by. poison etc., he al.. ways took his food in the company of his

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Siri Sirivalakaha father, but never took it alone, Now on 2. certain day, he went with his father to the eity of Ujjaini, and he saw that city of Ujjaini which was like the city of gods (i. e. Indrapuri). With his heart struck with wonder, he observed the whole of the city very ..well, and then, with his father, he went out of the city. His father, saying that he had forgotten something in the city, asked Rohaka to sit on the ban's of the river Sipra and went to the city again for bringing that thing. Now, here, Rohaka also according to his clever boy-like nature, drew the figure of the whole of the city on the sand of the bank of the river Sipra. Now, in the meanwhile, the king of Ujjaini who was mounted on his horse, and who was moving quite alone, being, on account of one reason or the other, separated from his company, tried to pass by that path. When Rohaka saw bim passing through the figure of the) city drawn by him he asked the king: " Oh, king I do not go by this path. The king asked: "Why?" Rohaka replied: "Do you not see that this is tho royal palace ? " The king, through curiosity, saw the whole of the city drawn by him (ie. Rohaka) and asked : " Boy! did you ever see this city before !" Rohaka

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Notes 17 replied, "No, I have come here from my village only to-day." Then the king thought; << Oh, wonderful is the talent of this boy." Then he asked Rohaka: " Boy ! what is your name, and what is your village ? " He replied "My name is Robaka, and I live in the neighbouring city." By this time there arrived Rohaka's father and both of them started for their village. The king also went his own way and thought in his mind: "I have got 499 ministers, but if however, I may get a prime minister possessed of exceptional talent and intelligence, then my kingdom would go on quite happily, because generally a king possessed of the strength of 'buddhi' (i.e. talent), though wanting in other kinds of strength, is never defeated and conquers other kings as if in sport." Thinking thus, he after a few days called before him the leading men of the village, and apparently ordered them to make a very big stone' lying outside their village into a covering (i.e. ceiling) fit for a royal 'mandap ', without lifting it from that place. But by ordering them to do so he really wanted to test the 'buddhi'(i.e. the talent) of Robaka. Then receiving this order from the king, all the people of the village, thinking it impossible to carry out

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Siri Sirivalakaha the order of the king and therefore, with their minds greatly troubled, gathered together in an assembly outside the village and began to ask one another thus: " What should be done now ? the king has given us a very bad order, and if the order of the king will not be carried out, great evil will come to us." While they were thinking thus it became mid-day, and their anxiety increased more and more. Now Rohaka, as usual, did not take his meals without his father and he (i.e. his father) had gone to the meeting of the villagers outside. Then Rohaka, being very much hungry, went to his father and began to cry and said: "I am very hungry, therefore come home for meals." Bharata, Lis father, said: " Child ! you are happy; you do not kNGow any calamity of the village." He asked: " Father, what is it? Then Kharata explained to him the order of the king in full details. Then by the power of his innate talent Rohaka at once thought out a plan of accomplishing the work and said: "Do pot be troubled. Dig underneath the big stone in order to create a 'mandapa' fit for the king and place pillars at proper places. Then make the walls and polish them." When he said so, all the people of the village cried

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19 Notes out: "excellent !" and then all of them went to their houses for meals. Having taken their meals they came to the place where tho stone was lying, and began to do their work. After a number of days they completed the whole 'mandapa', and that stone served the purpose of its ceiling. Then the royal officers brought the intelligence to the king that the order of His Majesty was carried out. The king asked: "how?" Then they revealed to the king the whole manner in which the mandapa' was created. Then the king asked as to whose buddhi it was and they replied: " This is the Autpattiki Buddhi of Robaka, the son of the dancer Bharat." In this way the king tested the buddhi' of Rohaka twelve other times by giving similer riddlelike orders, as illustrated in the remaining 12 illustrations given in the second verse, all of which Robaka solved easily by means of his innate ''buddhi'. The king was, then, greatly pleased with his wonderful Autpattiki Buddhi and appointed him his prime minister=thus placing him at the head of all his 499 ministers. Here ends our illustration of the Autpattiki: Buddhi (2) nimitta (Sk. naimittikaH) or the Story of an Astrologer: which illustrates the Vainayiki Buddhi:

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Siri Sirivalakaba In a certain city there lived an inspired sage (or seer). He had two pupils who were studying under him 'the science of marks and omens (fafAaCT).' One, who was very obedient and modest towards the preceptor, always pondered over what the preceptor taught, and if there remained any doubts after pondering over, he went to the preceptor and solved thom. Thus always pondering over whatever he learnt, he became clever and intelligent. The other pupil was devoid of all these virtues of modesty, pondering over, etc. and hence he did not turn out to be so. Now, once, being asked by the preceptor, both of them started for a n ighbouring village. On the road they saw some big foot-prints and, therefore, the pupil who had formed the habit of pondering over ( Vimrus' yakari) asked the other who never pondered over (Avimrus'yakari) thus: " Brother! whose footprints are those ?" Avimrus'yakari replied: "What is to be asked here? These are the foot-prints of an elephant." Then Vimrus'yakari said: "Do not speak like this, these are the foot-prints of a she-elephant, and she is blind by the left eye, on her is mounted a certain queen,--her busband is alive, and she is heavy with child, and about to give birth; and she will deliver

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21 Notes to-day or to-morrow, and a son will be born to her." Then, when he said so, Avimrus'yakari asked: " How did you Know this?" Vimrusyakari replied: " Knowledge can be judged by conviction; hence while going further it will be more certain by conviction. Then they reached the village of their destination, and on the bank of a great lake outside that village they saw the queen halted there. They also saw that the she-elephant was blind by the left eye. At this moment a certain maid-servant (of the queen) said to a courtier: "I congratulate you upon the king's getting a son". Thereupon Vimrus'yakari called the attention of Avimru: s'yakari upon the words of the maid-servant, and the latter replied: "I am convicted of everything; your knowledge is quite right". Then, they, having washed their hands and feet, sat under a fig-tree situated on the bank of that great lake in order to take rest, and were seen by an old woman who was carrying a pot full of water upon her head, and she examined them and thought: " Verily, these appear to be learned persons. Therefore, I shall * ask them about the coming back of my son who has gone to a foreign country." She asked them the same, and while

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22 Siri Sirivalakaha she was doing so,' the pot on her head foll down and was broken into hundred pieces. Then at once, Avimrus'yakari spoke : " Your son has gone to destruction (i. e. death ) like this your pot." Vimrus' yakari said: " No, no, brother ! do not speak like this, her son has already come to her house "; and he, then, said to the old woman : " Oh you, good old lady'! go home and see the face of your son." Then, she, being spoken thus, went towards her house as if become alive again, giving hundreds of blessings to Vimras' yakari; and there she found that her son had come home. There she was bowed down to by her son, and she also give him her blessings and told" hini aboat'the incident of the astrologer (Vimrus' yakari'. Then with the permission of her son, she gave a pair of clothes and a number of rupees to Vimirus'yakari as a present. And Avimrus'yakari greatly dejected at heart thought in his mind thus: "Verily, I am not well taught by the preceptor; otherwise how is it that I cannot know this if he does it ? " Then having performed the work of the preceptor, both of them came before the preceptor. There Vimrus'yakari at the very sight of the preceptor bent down his head, folded his hands, and fell at the feet

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Notes: 23 of the preceptor with great respect, and with his eyes full of the tears of joy. But' Avimrus'yakari stood there as motionless as a moun. tain without even slightly bending down his body, inhaling smoke, and emitting out the fire of malice. Then the preceptor asked him : " How is it that you do not fall at my feet?" ilo' replied: "He, who is well-taught; will fall at your feet, not I". The preceptor said: " How do you say that you are not well taught ? " Then he revealed to him the whole account. Then the preceptor asked' Vimrus'ya kari: "Boy! tell me how did you know this ?") Then he said: "At your advice I began to ponder over thus :-that these foot-prints are well-known as those of an elephant, but when I reflected over it further, whether they were of an elephant or of a she-elephant and seeitig their corporeal size I decided that they were of a she-elephant. Again I found that the shieelephant had completely cut down a bower of Valli-creepers which fornis her substinence on her right side, but not on the left. Henee I decided that she was blind by the left eye, Again I reflected that a person possessed of such a retinue, and mounted upon an elephant, cannot be other than a royal person; and that

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24 Siri Sirivalakaha person had, I found, alighted the elephant at a certain place in order to calm down her bodily pain, and judging from the size of her body I decided that she was a queen, and see. ing some small bits of the skirt of a red garment entangled in a tree I decided that her husband was alive. Finding that she had got up after supporting herself on her hand on the ground, I decided that she was heavy with child; and judging the unbearable freeing and placing on ground her right leg I decided that she was about to deliver. Now as regards the question of the old woman my reflection was thus :--"Just as her pot merged into the dust from which it was born, in the same way the son also will meet his mother who gave him birth". Then after this the preceptor looked at Vimrus'yakari with delight and praised him; and to Avimrus'yakari he replied: " It is your fault, that you do not ponder over, and not mine. We (preceptors) are simply to explain to you the meaning of the s'astra' (or scriptures ), but it is for you to ponder over. Thus this was the Vainayiki Buddhi of Vimrus'ayakari. (3) heraNNia (Sk. hairaNyaka) or the Illustration of a gold and silver merchant: which illustrates the Karmaja Buddhi. He (i. e. &

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Notes gold and silver merchant), is able to examine well a rupee even in darkness by means of touch etc. This is due to his Kar. maja Buddhi. The same is the thing in the case of a weaver, a merchant, a potter, & painter etc. To make it more clear we shall take one more story of karisaga (Sk. karSaka) i.e. a farmer (who knew the art of attracting things ) : A certain thief, made a hole of the shape of a lotus in the house af a. baniya, and having come in the morning to that very house without being perceived by any one, he heard the praise of the people about himself. There was, however, a certain farmer who said: "What indeed ! is difficult to a man who has got practice ? If a man has got constant practice of doing a thing and if he does that thing in an excellent manner, there is no wonder". Then that thief, hearing these words, burnt with rage. Then he (i. e. the thief) inquired of somebody who that farmer was, and having known him, he went to his (i.e. the farmer's) field on a certain day, with a dagger drawn in his hand, and standing before him he said: "I shall kill you to-day ". He asked " Why ? " The thief replied : " Because the other day you

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Siri Sirivalakaha : did not praise' ray bola". The farmer said: " It was "true; because he, who has got practice of doing a thing always becomes a master of that thing. There I, myself, am an example. If you ask me, I will make thone beans in my hand fall on the ground with their faces down wards, or if you like with their faces upwards or sidewards". Then the thief being more' struck with wonder said: "Make all of them fall on the gfound with their faces downwards." The farmer, thereupon, spread a piece of cloth on the ground and made them all fall on it with their faces downwards. The thief was greatly struck with wonder and be again and again praised the cleverness of the farmer drid said : " If thc beans had not fallen on the ground with their face'downwards, I would Heve certainly killed you ". Here, in this story, the 'buddhi' of tle thief and the farmer was the Karmaja Buddbi. (4) ep (Sk, stret) or the Story of Abhayakumara: bimiself who'is here said to be possessed of all the four buddhis. [Before actually giving this story some explanation is here required to be made. Each of the 21 illustrations of tho Parinaniki Buddhi, is simply alluded to, by the commentator Malayagiri, in his commentary

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7. Notes" 27 merely in one or two lines, the details being not given because, as he says, all those stories are very very long and would cover separate big volumes. Accordingly, this story of Abhaya" (i. e. Abhayakumara) is also not given there in full details, but is simply alluded to in about a line and a half. But it is given in full details in Abhayaktimara Charitra. in poetry by Upadhyaya Shree Chandratilaka which is translated into Gujarati in three volumes by Motichand Oghavji Shah, and published by Bhaichanda Naginbhai Zavori for Sheth Naginbhai Manchhoobhai Jain Sahitya Fund: Surat. The detailed story of Abhayakumara given below, which illutrates the last i.e. the Parinamiki Buddhi, is taken and summarised from the 8th 'sarga' of the second volume of this translation. ] Abhayakumara' was, as is mentioned in our text also, the son of the well-known Jaina king Shrenika, who ruled in the city of Rajagrina in the country of Malava. In that same country there was a city namied Ujjaini whore ruled the mighty kings Chandapradyota. Once he thought of conqueriny Rajagriha. King Sorenika, getting news about this, became much puzzled, because he thought that Chandrapra.

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28 Siri Sirivalakaba dyota, with his large army, will certainly conquer him, and hence he asked his talented son Abhayakumara what to do. He asked his father not to worry about that, and he ( i.o. Abhayakumara ) asked his men to put under the ground over which the enemy would lodge, jars full of gold coins. Now in a short time, Chandrapradyota, with a large army and many feudatory chiefs, invaded Rajag riha and besieged it. Getting news about this Abhayakumara sent a letter to Chandra pradyota in which he wrote: " You are the husband of queen S'ivarani, my mother's sister. You will, therefore, carefully consider the few lines that I write to you. My father has won over his side all your feudatory chiefs by giving them jars full of gold coins, and they themselves, therefore, will hand you over to my father, with your hands and legs tied up. If you do not believe in me, dig and scrutinize the places where they have lodged, and you will know the truth." Having read this letter, Chandrapradyota dug the ground under the camp of one of his feudatory kings, and found those jars full of gold coins; and thinking that his life was in danger he ran away with his army from that place, and

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Notes 29 therefore his feudatory kings also did the same. When they reached Ujjaini the latter asked the former the reason of his running away and he explained to them the same. They told the king that it was false, and thus Chandrapradyota became aware of the trick of Abhayakumara, and in order to take revenge, he took a vow to get him (i.e. Abhayakumara) brought to Ujjaini with his hands and legs bound. In order to carry out this purpose,he engaged a harlot who asked the king to procure for her two young girls possessed of equal beauty. This was done, and then the harlot, with the two girls, went to some Jaina nuns, and all the three, in a short time became great Shravikas-of course, not at heart but only in name. After learning all the duties etc. of Shravikas they started for Rajagriha. Having reached it, they visited all the Jaina temples there, and then at last they went to a temple built by king Shrenika himself. There they worshipped the Jina in an excellent manner with great pomp. At that time Abhayakumara, also, came there to worship the Lord Jina; and seeing the harlot and the two girls extolling the Lord Jina with as great a devotion and attention as those of an ascetic, he got much delighted and thought

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Siri Sirivalakaha that if he would go in they will be interrupted in their worship, and therefore he remained outside. After a time they got up carefully to avoid any kind of 'hinga.' Then Abhayakumara went in and with the devotion of a co-religio. nist he folded his hands to them, and asked them who they were. The harlot, pretending to be a great Shrayika told that she was the widow of a rich Shravaka of the city of Avanti, and that the two girls with her were also the widows of her son who was also dead, and added that all this was the working of their evil karmas, and also told that all of them were to take Diksha (initiation) in a few daye, and that they had for the present started on their pilgrimage-journeys to various pilgrim-places such as S'atrunjaya, Sametas'ikhara oto. Abhayakumara, * great Shravaka as he was, was greatly delighted to hear this, and invited them to the royal house for entertainment. In return, after some days, the harlot invited Abhayakumara to her temporary residence in Rajagrina for the same. In order to please his religious sister, Abhayakumara accepted the invitation and went to her place. He was given an excellent dinner, but in drink he was given Chandrahasa' wine which after some time threw him into

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Notes 31 deep slumber. He was, then, tasen in a swift chariot to Ujjaini before king Chandrapradyota. Now, here in Rajagriha when king Shrenika found that Abhayakumara was missing, he sent his men to the place of the harlot but she replied that he had come to ber place but soon left it lest he would miss his other stateduties. In a short time after this, she left Rajagriba and went away to Ujjaini and revealed to Chandrapradyota the whole account. Abhayakumara was, then, put into prison, and thus Chandrapradyota took his revenge. Now in the kingdom of Chandrapradyota (1). queen S'ivadevi (2) The elephant Nalagiri (3) The chariot Agnibhiru and (4) the messenger Lohajangha, were considered to be the four gems which accomplished all his actions. Now the messenger Lohajangha was always sent to the place of one of his feudatory kings by Chandrapradyota, and he (i. e. the feudatory king ) was greatly dejected with always making arrangements for receiving him, and giving him and his retinue lodging, food etc. The same was the case with other feudatory kings. Therefore, one day, they gave him poisoned sweet-balls as provision for the return journey. Due to ill-omong on the road, . . .

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32 Siri Sirivalakaba however, he did not eat them and brought them to Ujjaini and told Chandrapradyota how he had not eaten them on account of ill-omens on the road, and come home hungry. The king told the same thing to Abhayakumara and asked him to explain to him the hidden meaning of this. A bhayakumara smelt the pot of the sweet-balls and told that some snch thing had been mixed with them that a drashtivisa' serpent has been born in it. Had Lohajangha opened it, he would have met with death. Then the serpent was taken out of the pot and thrown into a jungle. Chandrapradyota was greatly pleased with this talent of Abhayakumara and promised him one boon which the former reserved for a proper occasion. Similarly Abhayakumara was 'promised a second boon on the occasion of his checking the elephant Nalagiri who had created a great excitement and uproar in Ujjaini, and whom no body could control. He was also given a third and a fourth boon in return of his pacifying a great fire, and a great divine wrath (Upadrava). ; Now Abhayakumara thought the proper occasion of asking all the four boons and

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Notes 33 said: "Give me these four boons. (1) I should be seated on the elephant Nalagiri, (2) S'ivadevi should make me sit in her lap, (3) you should be the keeper of the elephant and (4) with all this I shall enter the pile made up of the wood of Agnibhiru chariot. Hearing this Chandrapradyota became as cold as ice and told Abhayakumara with folded hands that he was unable to give these boons, and further told him that he was, therefore, released and he could go. Then Abhayakumara took a vow before him i.o. Chandrapradyota ) that as he had brought him there bound by practising a religious deceit, he ( i. e. Abhayakumara) would take him (i.e. Chandrapradyota ) bound a mad man from Ujjaini at mid-day, in the presence of all the people of his city; and then he returned to Rajagriha and appeased king Shrenika and all who were miserable on account of his separation. Now Abhayakumara employed two beautiful harlots for entrapping Chandrapradyota, and he took the dress of a merchant and changed his voice by some magical charm. Then they (i. e. Abhayakumara and the two harlots) went to Ujjaini and hired a big building and stayed

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34 Siri Sirivalakaba there. Once Chandrapradyota happened to see these two beautiful harlots, and fell in love with them, and was smitten with great pangs of love. After great entreaty and requests: through his maid-servant, the harlots agreed. that the king should come to their place after seven days at a particular time when their brother would be absent, because he did not allow them to leave their place. . In the meanwhile, Abhayakumara found out a man having the same shape as that of Chandrapradyota; called him by the name * Pradyota', and made him known in the city as his mad brother, and he told: alli the people that he was much worried about his brother and he did not know where to take him and what medicine to give him etc. and sometimes he used to place him on a cot and tio him tightly and take him on the royal road publicly, even though he gave loud cries, and that man also, as taught by Abhayakumara, used to cry out "Oh, people ! please listen to my one sentence, I am king Pradyota, he is carrying me away, get me released from him etc." Hearing this the people used to come to him, but recogniz-. ing him not to be Chandrapradyota they used to laugh among themselves. Abhayakumara did

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1 Notos 35 so every mornings and created a confidence in the hearts of all the people, young and old. * Chandrapradyota passed his seven days with great difficulty. On the seventh day he went to the harlots at the appointed time. Abhayakumara's men caught him and bound him to a cot and Abhayakumara carried him even during the day time through the midst of the town. Chandrapradyota gave loud cries: "I am king Pradyota; the enemy is" carrying me away." But the people took him to be that mad Pradyota and Abhayakumara told that that day he was troubling him much and, therefore, he was taking him with him to give him some strong medicine so that he would not cry out again. Then he (i.e. Chandra pradyota) was taken to Rajagriha before king Shrenika who ran at him with a dagger in hand, as he was reminded that he had kept Abhayakumara in prison; but Abhayakumara intervened and said that they should not kill even an enemy who had come to their shelter. Then Chandrapradyota was allowed to go and he went to his city with his mind greatly dejected. Thus Chandrapradyota's pride was soiled to dust by the Parinamiki Buddhi of Abhayakumara:

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36 Siri Sirivalakaha St. 7. celereret (Sk. 342119 cis:) As'okachandra is the same as Kunika, the wellknown figure in Jainism. St 9. 3089EUR (Sk. grace). (See Hem. VIII. 1. 114.) It has two meanings: (1) zeal or energy (2) or it may be taken here to mean one of the three s'aktis' or powers of a ruler, the other two being maMtra and prabhAva. St. 10. Hent ( Sk. afeguretat: ). * Worshipped. rAyagiha (Sk. rAjagRha). A historical city, often met with in the Jaina Literature, it being the centre of Jainism in ancient times. Many of its rulers such as king Shrenika, Kunika and others were ardent adherents of Jainism. vaddhamANa (Sk. vadhemANa) was another name of Lord Mahavira given to him by his parents, because, since the entrance of the soul of their son in the womb of his mother, their prospe. rity, in every respect, was increasing day by day. The name Mahavira was given to him by the gods, when they were pleased with his warrior-like exploits in his boyhood, as well as with his bearing patiently and courageously all the troubles and hardships of ascetic life. He, also, had a third name, viz. 'Samana ' or * The Ascetic ', which was given to him by the

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Notes * 37 people on account of his innate virtues of asceticism,--of bearing with equanimity all dreadful dangers and fears, the noble nakedness, and the miseries of the world. Cf. Acharanga Sutra (Second Srutaskandha, Fifeen Adhyayana of Bhavana, sutra 177. A. sa. Edition): . "samaNe bhagavaM mahAvIre kAsavagutte tassa NaM ime tinni nAmadhijjA evamAhijjaMti, taM jahA-ammApiusaMtie "vaddhamANe" 1. sahasamuie " samaNe" 2. bhImaM bhayameravaM urAlaM acelayaM parisahaM sahattikaTTa devehiM se nAmaM kayaM samaNe bhagavaM " mahAvIre" 3. // " St11. gaNahAriNaM (Sk. gaNadhAriNaM i.e. gaNadharaM ). The holder of a Gana. gaNa is a technical term in Jainism meaning ' a group of monks living together under one head-preceptor or an Acbarya.' The word Turite is not often used in this literal meaning of an Acharya, but it is generally used in its special conventional sense of a Disciple of a Tirthankara.'Gautama was a pupil of Lord Mahavira. Hence he is called a gaNadhAriNa or gaNadhara. - St. 12. samosario (Sk. samavasRtaH). This term is often met with in the Jaina Literature. It means ' arrived, came etc.' St. 14. paMcavihaM abhigamaNaM (Sk. paMcavidhaM abhiH Thai) The Five Requisites of Approaching. Be

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Siri Sirivalakaba fore a person goes to a Tirthankara, he observes five requisites of app onc ing which are mentioned in stanzas 20 and 21 of the acticated by arsefe as follows: "saccittadavvamujhaNaccittamaNujjhaNaM maNegattaM / igasADiuttarAsaMgu aMjalI sirasi jiNadile // isa 'paMcavihAbhigamo', adavA muccaMdi grAmalinhAI / I STELLYE, AS A U." The Five-fold Ways of Approaching. mentioned here, thus, are: (1) pot pasting or not keeping with oneself (i.e. abandoning) things (ie things possessed of life )-such as a flower (gon), or a betel-leaf (at) (as mentioned in the Aupapatika Saetra, Poong Edition, sutra 38, (2) not abandoning (i. e. & person is allowed to keep with him) a things (i e. things not possessed of life ) sych as orna. ments etc. (3) concentration of the mind (HUFIRI), (4) keeping with one an upper garment consisting of only one scarf ( SBTRTET), (5) folding the hands on seeing the Jina. If the person is a king he abandons (i. e. keeps outside) the five kinds of Ensignia or symbols of royalty known as partslag gila or gree* as mentioned in * In the Aupapatika Sutra, the five Ensignia or symbols of royalty are thus mentioned:

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Notes.. 80 the second stanza quoted above. St. 15, 316T ( Sk. Pro) begun ( see Hem. VIII. 2. 138). E fectoest. It is a Des'i word meaning 'engaged in, intent upon etc.' It is used in Kummaputta also (st. 21). It is akin to Sk. go+FOSCET, 5497 gefocat TT ( a. att.) Sts. 16 to 34, contain the preaching of the sage Guutama and they are somewhat difficult but very important stanzas, as they discuss the topio upon which the whole story of king Shripala is based, and they are put in the mouth of the great sage Gautama in order to emphasize the greatness of the Navapada or the Nine Dignities, (already explained before). They are an outcome of the feelings of the poet's own heart, and hence they are very beautiful stanzas rich in language, diction, thought and exposition of feelings. They are briefly summarized below. . First of all, the sage Gautama says that giving up 'pramada' (i. e. carelessness and negligence), - one should practise the true religion "eport, Fi, B , algu tareafteroi" (i.e. a sword, an umbrella, a crowd, shoes or sandals, and a fan ).

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Siri Sirivalakaba which consists of Charity, Character, Penance, .and Pure Mental Condition, the last being the most important, as the other three depend upon it. The pure mental condition, however, says the sage, depends upon the mind which can be best disciplined and restrained only with the help of pure meditation, and the most important of all the meditations is the meditation upon the Navapada, also called fogat (or the Circle of the Sacred ones). Then the sage further says that this Navapada constitutes the very essence of the Jaina Religion, and then he describes the true nature of each of these Nine Dignities in appealing words, and advises us to cultivate in our hearts a feeling of adoration for this Navapada which gives us real happiness (viz. Spiritual Liberation). St. 16-17. jalat Tari. The Five kinds of Pramada. They are enumerated in the following shloka : " majjaM viSaya kaSAyA nidA vikahA paMcamI bhnniyaa| 95 TY TART' Efra osfa Fiard il ". These Five Pramadas: (1) pride (2) 'enjoy-_ ment of the senses (3) 'kasayas' or bad emotions (4) sleep and (5) gossip, torment the soul in this world.

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Notes Sts. 18, 19: Cf. similar ideas in (Anantahansa's ) Kummaputta, "dANatavasIlabhAvaNamehi cauviho havai dhmmo| savvesu tesu bhAvo mahappabhAvo muNeyanvo // " (st. 5.) "dANatavasIlabhAvaNameA cauro havaMti dhammassa / tesu vi bhAvo paramo paramosahamasuhakammANaM // " (st. 190) etc. hu and khu are indeclinables in Pk. showing ' resolve, imagination or wonder'. See Hem. VIII. 2. 198. which says : "hu, khu nizcayavitarka-saMbhAvana-vismaye". ciya or cia (Sk. eva). Nai, cea, ceva, ccea, cceva, cia, ciya, ccia and cca are indeclinables in Pk. showing 'determination or force' and are equivalent to Sk. eva. See Hem. VIII. 2. 184. which says : " Nai, cea, citra, cca avadhAraNe (nizcaye)." ciya, cia, and ccima are sometimes used in the sense of Sk. iva also, indicating upamA or utprekSA. St20. NiyabhAvucciya (NiyabhAvo + cciya-Sk. nijabhAva eva). In Pk. conjunct consonants are generally either simplified (one of them being dropped), or retained ( in which case the conjunct consonants, if they are dissimilar, are changed to similar ones by dropping one of them and doubling the other by reduplication). In the former case, the preceding vowel if short, is made long, e.g. kammaNa = kAmaNa, (magic); and in the latter case, the preceding vowel, if

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42 Siri Sirivalakaha long, is made short. e. g. qui a avut. In the phrase forringfourt, the second case of this rule applies. We retain the conjunct consonant in the indeclinable for and hence the preceding vowels in forerurat is shortened. Now we have no established short vowel fort as we have for f and 3 for Jr, but by convention the short vowel for st is 3, and hence we get the phrase fumigfog. Similarly of. fortuga in st. 34. St. 22. mavapada, same as navapadAni diseussed in st. 1. St. 23. This stanza enumerates the * Navapada' or the Nine Dignities. gror is a Pk. root in the sense of Sk. # to know. (see Hem. VIII. 4. 7.) St. 24. aTThArasadIsa (Sk. aSTAdazadoSa) * The Eighteen Faults.' They are enumerated by Nemichandrasuri in his Pravachansaroddhara sts. 457, 458. " atrANa koha maya mANa loha mAyA ra ya araI ya / nihA soya aliyavayaNa coriyA macchara bhayA ya // pANivaha pema kIlApasaMga hAsA ya jassa iya doSA / aTThArasa vi paNaTThA namAmi devAdhidevaM taM // " Thus they are: (1) ignorance, (2) anger,

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Notes (3) pride, (4) vanity, (5) greed, (6) deceit, (7) pleasure, (8) displeasure, (9) sleep, (10) grief, (11) telling a lie, (12) theft, (13) arrogance, (14) fear, (15) injury to.animals, (16) love, (17) sportiveness and (18) laughter. tatta (Sk. tattva) The word tattva, here, refers to the nine (according to the Digambaras, -seven, including 'papa' and ' punya' under * Ashraya') fundamental categories or principles of Jainism which are enumerated in the following verse : " jIvA'jIvA puNNaM, pAvA''sava saMvaro ya nijmaraNA / bandho mukkho ya tahA, nava tattA hu~ti nAyabdha // " (navRtattvaprakaraNAH Verse 1) (for further details, see vavatattvAkasma itself). St. 25. panarasameye siddhe (Sk. paMcadazamedAH sikhAH) The fifteen kinds of Siddhas or Liberated Souls. They are thus enumerated in the avatazvaprakaraNa Verse 55 :" jiNa ajiNa tittha'titthA, gihi anna saliMga thI nara napuMsA . patteya sayaMbuddhA, buddhabohiya ikkaNikkAya // " ( for further details see navatattvaprakaraNa verses 55 to end ). The state or nature of a Siddha is thus

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44 Siri Sirivalakala given in the Acharanga Sutra I. V. 6. sutras 170, 171 A. sa. Edition:- "savve sarA niyaiMti, takkA jattha na vijai, maI tattha na gAhiyA, oe, appaiTThANassa kheyane, se na dohe na hasse na baTTe na taMse na cauraMse na parimaMDale na nIle na lohie na hAlihe na sukkile na surabhigaMdhe na durabhigaMdhe na litte na kaDue na kasAe na aMbile na mahure na kakkhaDe na mauNe na garuSa na lahue na uNhe na niddhe na lukkhe na kAU na ruhe na saMge na itthI na purise na annahA parinne sanne uvamA na vijjae, arUvI sattA, apayasta payaM natthi / se na sadde na rUve na gaMdhe narasena phAse, iJceva tti bemi||" _In jIvavicAraprakaraNa, zAMtisUri describes Siddha thus:-- ____ siddhANa natthi deho, na AukammaM na pANajoNIo sAiaNaMtA tesiM ThiI jiNaMdAgame bhaNiyA // " (verse 48.) siddhANaMtacaukke (siddhAnaMtacatuSkAn). siddha here means niSpanna accomplished, achieved. Hence siddhAnaMtacatukAn means - those who have accomplished or achieved the anaMtacatuSkaM or The Four Infinities' viz. (1) anantajJAna or Infinite Knowledge (2) anantadarzana or Infinite Vision (3) anantacAritra or Infinite Character and (4) anantavIrya or Infinite Prowess or Exertion. ghaNakamma (Sk. ghaNakarma ) see notes on *stanza. 32. St. 26. paMcAyAra, (Sk. paMcAcAra) The Five Con ducts or Behaviours' which an Acharya is to

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Notes 45 observe. They are (1) Ararar or the good behaviour with regard to the acquiring and imparting of knowledge. (2) Aer or the good behaviour wtth regard to the cultivating of True Faith in oneself and in others.(3) af Trak or the good behaviour with regard to the practising of asceticism by one self and by others. It consists in observing 'the five samities' and 'the three guptis' generally known as the story TATTAIAT '( because they give birth and nourish talent or the true religion consisting of Fjars. The five samities mentioned are:iriyAsamiti, bhASAsamiti, eSaNAsamiti, AdAnabhaMDani eutafafa; and holy fatefhfa; and the three gupties are:- Hailufa, ceafa and rufa. (4) tapAcAra or the good behaviour with regard to the practising of penance. It is of twelve kindsa-six an outward and six s ia or inward. The six kinds of outward penance are (i) waita (ii) mlecat (iii) afariam (iv) THRITT (1) kAyakleza and (vi) saMlInatA. The - six kinds of inward penance are (i) Tefta (ii) faare (iii) artes (iv) Faro (o) sera(vi) TTT.(5) atlar or the good behaviour with regard to exerting oneself according to one's capacity in doing religious deeds. All these Five Acharas with their subdivisions are explained in the following

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.46 Siri Sirivalakaha shtra generally known as the NANaMmisUtra which consists of eight stanzas. Hence it is sometimes also called paMcAcAraaThagAhAH" nANaMmi desaNaMmi a, caraNami tavaMmi taha ya viriyaMmi / AyaraNaM AyAro, ia eso paMcahA bhaNio // (1) " kAle viNae bahumANe, uvahANe taha aniNhavaNe / paMjaNa-attha-tadubhae, akRviho nANamAyAro // (2) " nissaMkkiA nikaMkhia, nivitigicchA amUDhadiThThIbha / uvavUha thirIkaraNe, vacchalla pabhAvaNe aThTha // (3) / " paNihANajogajutto, paMcahiM samiihiM tIhiM guttiihii| paMsa carittAyAro, aviho hoi nAyavvoM // (4) " bArasavihami viM tave, sabhitarabAhira kusldihuuN| agilAi aNAjivI, nAyavoM soM tavAyAro // (5) " aNasaNemUNoMariA, vittisaMkhevaNe rsnycaaoN| kAyakileso saMlINayA ya bajjho tavo hoi // (6) " pAyacchitaM viNao, veyAvaJcaM taheva sajjhAo / jhANaM ussaggo vi a, abhitarao tavoM hoi // (7) " aNimUhiabalavirio, parakamai jo jahuttamAutto / jhuMjai a jahAthAma, nAyavvo vIriAyAro // (8)" It should be noted here that these five acbaras or be haviours' are five out of the thirty six gunas which an Acharya is to possess.. St. 27. Tufafag. Here fafa has two meanings: (1) Either it may be taken to be equivalent to Sk. tRpti meaning satisfactionor (2) it may be taken

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Notes: as a Des'i word which has got the sense of atrof or art' (see TTESTACHEVurert), and it may be taken here as a figure of speech corresponding to English Climax '. Cf. "garanta areti prafat:" (Apte's Dictionary ). Hence sufafae will here mean' at the head of the Gana , the Upadhyaya being the next in rank to an Aoharya who possesses a Gana, the Upadhyaya being the foremost in the Gana. (The commentator explains " tureT-17OEFT stary-erotten fare Teata erfaren for meret: :") St. 28. Foare apare (Sk. arate that bhUmiSu ). In jivavicAraprakaraNa of Shrimad S'antisuri the human beings are said to be of three kinds: " APATA TEPATfret HOTEET TI." (aerTatu St. 23.1. 2. ) Viz. (I) those born in Karma-bhumi' (2)those born in. Akarma-bhumi' and (3) those born in 'Antardwipa'. Now Karma-bhumis are those regions of the universe where various karmas (or works) such as warfare ( sifa ), commerce, religion and writing etc. (fe), and agriculture (He) etc. are done, and where there are opportunities of hearing and practising religion consisting of renunciation and asceticism. The regions where no suoh karmas or actions are done are called 'Akarma-bhamis. In such lands all the

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*8 Siri Sirivalakaba inbabitants are twins. A son and a daughter are both born together, and when they grow old they become husband and wife; and the needs of the people of such places are supplied by the ten kinds of Desire-yielding trees. Such being the nature of these lands, no religion can be practised there. This explains why the sa. dhus are said to be moving in Karma-bhumis' and not in ' Akarma-bbumis' because they can practise religion and ascetic life only in the former and not in the latter. As regards the 'Antardwipas', they are so called because they are born in the islands known as the ' Antardwipas '. The number of " Karma-bhumis 'mentioned in Jainism is 15 viz. 5 Bharata Countries, 5 Airwat Countries, and 5 Mahavideba countries. The number of ' Akarma-bhamis' is 30 viz. 5 Haimyat Countries, 5 Hariyarsa Countries, 5 Devakuru Countries, 5 Uttarkuru Countries, 5 Ramayka Countries, and 5 Aairanyavat Countries. The Antardwipas are said to be 56 in number ( for further details see Gujarati gloss on sfraFaeruacut). Torrutfe (Sk. Justur:) The collection of virtues. The 'gunas' or virtues referred to here are the 27 gunas which a Sadhu is to possess ( see notes on stanza 1 where all of them are enumerated). T# (Sk. Ta) i.e. protected

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49 Notes by 'the three guptis' viz. Hatufa, faragha and pyfa. o ( Sk. ) is explained by the commentator as " perafafsira " free from all kinds of attachment. Afgar ( Sk. Afisa ) here means ' destroyed'. It is used in this sense in gurerat arti also (st. 446). St. 30. girersitargo (Sk. utatufafacertaria tvAvabodharUpaM) sArtha here means 'collection.' tattvAvabodha - tattvajJAna philosophy. The doctrine of navatattvaor the Nine Categories of fundamental truth forms the essence of the Jaina Philosophy. This is the reason why it is called the root of all merits by our author. St. 31. Erit-a737 or art is a Pk, root in the sense of Sk. 39 to abandon. Hence a = Sk. NT: abandonment'. STATSFT (SK. STTATT: ) lit. non-carelessness i, e, observance. aga ( Sk. farami- rata faoyait ) as' explained in the first line of the verse. St. 32. In this stanza we have got a beautiful illustration of what is known as the vyatireka alaMkAra or that figure of speech in which the JTAT (or the object of comparison) is described as possessing some rare excellence, and is thus placed above the 3Thn (or the standard of comparison). Thus here tavokamma which is the upameya excels

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Siri Sirivalakaha bhANu the upamAna in akaSAyatAvai. e. in having no heat like the sun' and hence is thus placed even above the sun. ghaNakamma (Sk. ghanakarma) heavy karmas. The uniting of karma-pudgalas with the soul is Karma, As dirt sticks to an oily cloth, 80 Karma sticks to the soul which is, so to say, oily with (i. e. under the influence of ) love and hate, and this close and thick uniting of karma-pudgalas with the soul is ghanakarma. duvAlasaMgadharaM (Sk. gTqMFT ) This has got two meanings (i) when going with tavokammaM (Sk. tapokarma) it means 'the Twelve-fold Penance'( for further details see notes on st. 26 ), and ( 2 ) when goiug with g (Sk. re) it means the twelve forms of the sun (see 'Apta's Dictionary'), or the 12 suns. Just as there are 12 kinds of penance in the same way there are 12 suns in the universe : " sUryapakSe loke dvAdazasUryANAM rUDhatvAt " Com ). With regard to the importance of penance-the ninth Dignity in Jainism-wark Mrs. Stevenson's remark: " Tapa is the key-word of the whole Jaina System." TECH is a Des'i word in the sense of 'only, moreover, but, afterwards etc.' (see Hem. VIII. 2. 187. 188; cf. also 'Tarziala Aata:' Cum ). STATUTTa (Sk. 37 Tar- facra Tataart of ). In which there is no heat in the form of 'kasayas' or bad emotions

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Notes 51 i. e. which is free from the heat of bad emotions. ... St. 33. fale ( Sk. fafer ) here means 'proper religious rites.' St. 34. SA T (Sk. 37Y)=English 'moreover'. Fac ( Sk. ) here means 'formed '. 350 (Sk. #T-STATFE) with diligence.feftuiga see notes on foreruterat in verse 20. Shripala is the name of the hero of our story. As for the indeclinable et see Hem. VIII. 2. 192. which says " miva piva viva vva va vitha ivAthai vA" hence all these indeclinables are optionally substituted for Sk. a indicating JYAT, JT TETT or ela. St. 36. ATECO (Sk. ATETERI) see Hem V.III. 1. 33. is a Des'i word in the sense of Sy or wonder (see ITTAATST 314) of zoefti a Pk. word having the same sense. St.. 37. 'ff (sk. kie) here y of xfg is dropped because it comes together with the vowel 3 in pool and it is a rule in Pk. that if two vowels come together. one of them is dropped optionally, Sts. 38 to 40 contain the description of the "Malava' country. They are some of those few and somewhat difficult stanzas which are found at random in our text. They are inportant and beautiful stanzas as they illustrate

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52 Siri Sirivalakaha the FFHIT pame or that figure of speech which is known as' Poetical Probability' in English in which the identity between the 3447 and the guite is apprehended as probable and is generally expressed by the word . St. 39. re qe (Sk. ve ) lit. at every step i. e. at various places. Eyfaya ( Sk. suguptiguptA). This goes both with sannivesA and jogappavesAH (i) when going with sannivesA it has the sense of aftrefafurat TETAT Qfcat sa Taal protected i. e. inhabited by righteous persons, (2) when going with fingarat it means protected by the three Guptis. Finde (Sk. faat) lit. dwelling place. Then it means a ' TA' or a village. spitstoftar (Sk. forfiet): This also goes with tuMgaselA and kuDaMbamelA. It means 'difficult to be crossed? (from Sk.. a to go: see Apte's Dictionary ). THT (Sk. gaat). #es(mas.) means 'a meeting place,' hence The meeting places of many families i. e. 'fairs.' St. 39. THICOTS ( Sk. THET: ) Here there is mind or pun upon the word th. The phrase goes both with taraMgaNIo and paNaMgaNAo, and it has got two meanings according to the two senses of the word te viz.' water' and 'sentiment ( jour Te ): (1) when going with it

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Notes 53 offent, it means ' full of water,' (2) and when going with qutoturisit, it means 'full of love sentiment.' poisturiant (Sk. gullfat:) means 'prostitutes or harlots'. suhaMkarAo (Sk. sukhakarAH). This also goes both with currarestant and forestat both of which 'give pleasure or happiness. ___St. 40. savANiyANi, Here there is zleSa upon the word aforenfor which has got two seoses viz. 'water' and 'merchants'. Hence corresponding to these two senses, the phrase prafurenfor has got two meanings, viz. (I) when going with AETERITUT it is equivalent to Sk. after meaning 'full of water' and (2) when going with her for it is equivalent to Sk. Fralforsaft. full of merchants'. sagorasANi. (Sk. sagorasAni). Here also we have got sise, and the phrase goes both with gritsestfor and glutenfor. (1) When going with gontgafor-it means. ( Free Tea fragranfeat ada sfa Firmalta) 'fall of i. e. abundant with the milk of the cow etc. (2) When going with getherfor it means ( ht: auen TET TRA:, ata filetAni) full of the charm of speech.' suhImuhANi ( Sk. garganta greut yfusarai gera ) the mouths of talented or learned persons. . Sts. 41 to 44 contain the description of the city of Ujjaini which, the author says,

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54 Siri Sirivalakaha is indescribable. In short, it is a city possessed of all kinds of prosperity. St. 41. 5H (Sk.) means 'a calamity--such as a riot or an affray. (GHT farca: TOTT TE vyApaharaNAluNTikopadrava iti yAvat / ) St. 42. This and the following stanza illustrate the atizayokti alaMkAra or that figure of speech which is known as Hyperbole' in English, and which consists in representing things much greater or much smaller than they really are.' This is done here by playing puns upon the words perang TOTTA, HET and efters, each of which has two senses. ria (I) Sk. Tolfa i. e. Brahma or the Creator of the world. (2) THAT paratai ufa: Teilyfa: fathers of children, persons having progeny.' TOTH ( Sk. ATTA) (I) lit. the Highest or Supreme Being. It is an epithet of Lord Krishna, (2) an excellent man. HET (Sk. A ART) (1) name of S'iva or Vishnu. (2) Opulent or rich persons ' ( HERE AT: 2: aTT). reiter (1) Sk. yatar-18 gratuen at: ratert: fry: the husband of rent i, e. Indra. (2) aftara: e da far pratar: lit. possessed of clothes i. e. happy. St. 43. Here there is some upon the words mift, fapt, thT, & and fts, each having two sonses.

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55 Notes That ( Sk. ota ): (1) name of the goddess Parvati, who resides on mount Kailasa, a peak of the Himalayas. (2) A young girl prior to menstruation (EUCITA: Fore) i. e. 'a virgin,' Generally a ita is taken to be ' a girl who is eight years old' ( cf. spearf war uit ). fat ( Sk. xft ): (I) The goddess Shree who is the wife of Vishnu, usually known as Laxmi. (2) Wealth, riches, etc. THT (Sk.) The well-known * Apsaras' or nymph considered as the most beautiful woman in the paradise of Indra. (2) The word dat also means a plantain tree ( Fot).' (Sk, fa ): (I) The goddess of Love, the wife of Cupid. (2) Affection, fre (Sk. fifa ): ( 1 ) Name of a wife of Cupid and the rival of Rati; (' sapatnI saMjAtA ratyAH safera a). (2) Love. St. 44. FERTE (Sk. Taya: ) i. e. Brihaspati, the preceptor of the gods. St. 45. Uret (Sk. 15141c:) lit. the protector of the people ( lit. subjects) i. e. a king. Not only the king was your by name but by his virtue even he deserved this name, because he protected his subjects well. Thus etymologically also it was Terte or quite in keeping with the meaning of the word. St. 46. AUTETUT (Sk. HATTE UT: ) lit. bewitching the minds i, e. beautiful.

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56 Siri Sirivalakaha St. 47. 75EUR is a Des'i word in the sense of beautiful, handsome, delicate, clever, chief etc. ( see Hemachandra's TATTAATST. 7. 17.). Here it means 'delicate'. It is connected with the Sk. word ew from which it appears to have been derived. (Sk. fa ) already explained in the previous stanza. . St. 48. HEER (Sk. AITSTT) The worshipper of deate i. e. S'iva of Vishnu ( see notes on st. 42). fwosgiftsfa (Sk. F efor) is a Jaina technical term often used in the sense of a person not believing in the true God ( Vitarag) the true preceptor (viz. a Nirgrantha), and the true Religion. ( viz. the Jaina Faith ). Hence secondarily it means 'a person holding heretic doctrines, i.e. a heretic.'Amers (sk. Erre:) is the opposite of fHoencefa i, e. ' a person believing in the true god, the true preceptor and the true religion. Hence secondarily it means, "a person baving a firm faith i. e. a believer. 'In ordinary language (HTETETC) these are the meaninys of the words micchAdiThi and sammadihi, but in the philosophical language (nizcaya), the word sammadiThi means a person believing in the doctrine so nicely explained by Umaswati in bis well-known satra 6 AFTore Sa anatakafor AETATT: "--the very first satra of his Tattvartha Satra, the opposite

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Notes 57 being furostfaefo or 'a person who does not be lieve in the above-mentioned doctrine. St. 49. Area (Sk. art) The state of being co-wives. (cf. Sk. fia; Guj. 'H1937.'... St. 50. Tari, but (see st. 32). Tot is used adverbially here meaning' in a high degree i. e. great. Faberan (Sk. faciale:) Disagreement. St. 51. me ( Sk. Faites ).' little ( see Hem. VIII. 2. 125. ). St. 53. seur (Sk. iqht) a daughter. St. 55. greoi ( Sk. To ) what is called Turite or the science of characteristic marks of things. sja (Sk.) 'metrical soience or prosody,' which is regarded as one of the six Vedangas or auxiliaries to the Vedas, the other five be. ing zikSA, vyAkaraNa, kalpa, nirukta and jyotiSa. alaMfare (Sk.) primarily means ' an ornament. * In literary compositions 3700 R is to the style what an ornament is to the body. It corres ponds to the English 'figure of spevch, 'which has been defined as a deviation from the plain and ordinary mode of speaking with a view to greater effect. af (Sk. Fefa) The well-known smRtizAstra of the Hindus. St. 56. TEETY ( Sk, Raritet ). The well -known FETITET or Dramaturgy of the ancient

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58 . Siri Sirivalakaha sage Bharata. Fafross or fafrost, asus, acogetc. are special Pk. words for Sk. For forear or medical science. The word aross in this sense is used in the first verse of the fourth Uddes'a of the saETUTEST Tratuur ( the ninth Adhyayana ) of the Acharanga Saetra, the first Anga of the Jains. farsi (Sk. fagi) a spell or an incantation Hd ( Sk. gi ) a charm. Mi ( Sk. jiy magic. & a kind of art. has it is also a kind of art. faut ( Sk. ferry ) the art of painting. St. 57. safaceri ( Sk. givenrauecafa-Ftfura afecurata ) guess is witchcraft, and faces is the art of fascination. karalAghavAikammAi ( Sk. ooreena ulfur-femicigita Affor ) the art of making gestures. St. 59. fact ( Sk. faqat- T) lit. burnt i. e. clever, proficient. St. 60. groale (artfony Sk. gen) see notes on 'furerute foart' st. 20. also cf. RARpAluvva. The first line of this verse is a subhASita or good saying, cf. Guj. wall us at hell, and Eng. "What is in the pot will come on the plate,' and "What is bred in the bone will never come out of the flesh. This stanza also gives us an illustration of arthAntaranyAsa alaMkAra or that Agure of speech in which' a particular

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Notes 59. statement is supported by a general statement or vice versa.' St., 61. g. it is an indeclinable showing * wonder' or 'censure' ( s@o Hem. VIII. 2. 199. which says: "Tefarofati TELENO"). y see notes on Sts. 18, 19, St. 63, 64. The philosophical items given in these two stanzas are the varivus important constituents of the Jaina Philosophy, and hence they constitute the very essence or kernel of Jainism. It would be desirable, therefore, to explain them somewhat in details so that the student may have a rough idea of the essence of the whole Jaina System in brief. St. 63. Fa (Sk). Ant pra:ftantsfarefarrafi, A paraft rerong sa aral This is a technical term mentioned in the Vedanta and other Hindu Philosophies and it is recognised, by the Jaina Philosophy as well. That particular power or 'Jharma' on account of which the greu guNa and karma, or according to Jainism dravya, guNa and perfe of all things in the universe are found to be existing together, and hence which remains and is of only one particular nature in qoy Tur and perfers (or **s) of all things in the universe, is known as far. It is always of one and

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60 Siri Sirivalakaha similar nature (942) in all the things of the universe. Just as in the menfa, feufa, er and pradeza the four divisions of karma, the karma is one and the same, in the same way, in the sea, guNa, and paryAya of all things the sattA is the same, and it is on account of this that all the three viz. dravya, guNa, and paryAya of all things are found to be existing together, just as it is on account of one particular to that all its stefas, feras, Parts and Toys are found to be existing together: (for further details see Kanada's Tarkasangraha and such other books, dealing with the topic ). graet ( Sk. fferent per: ) the Two-fold Philosophical system viz. (1) dravyArthika and (2) paryAyAthika or (1) arthanaya and (2) zabdanaya or (1) vyavahAranaya and (2) Frant; vide notes on ETT FIT p. 65. F1677 (Sk. Ti) the Three-fold Time viz. Past, Present and Future; or jaghanya, madhyama and utkRSTa (vide notes on fires in notes on polegi on p. 64. T 5 (Sk. faragoti) The Four kinds of Existences viz. (1) Arcent or hell (2) facter or the existence of any lower creature, other than those of human beings and gods, having one, two, three, four, or five senses (3) garifa or heaven (4) manuSyagati or the human existence. pacatthikAyA (Sk. jaiffarat) The Five Astikagas or cate

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Notes 61 gories. fear means steri.e. an atom' and orta collection. Hence sufry means that matter, or category which is a collection of many atoms. These Astikagas are five in number viz. (1) Tait Fairt. It is thus explained : " 15 TARTSIT THAT". Thus Dharmastikaya helps the 'jiva' and 'pudgala' (matter) in making movements. Just as a fish has got in itself the capacity of swimming, but it can do so only with the help of water; or just as the eye has got in itself the power of vision, but it cannot see without the help of light; or just as a bird has got in itself the capacity to fly, but it cannot do so without the help of air; in the same way th@ 'jiva' and the 'pudgala' have got in themselves the capacity to move, but they cannot do so without the help of that matter or et known as 'Dharmastikaya' (2) TAR: fety. It is explained thus: "POT CEGTUTT FAT T" ( ASTUT here means Fahre). Just as the Dharmastikaya helps the 'jival and the "pud. gala ' in making movements, in the same way Adharmastikaya helps them in stopping movements i. e. it helps them in taking resi. Just as a traveller takes rost under a tree, or a fish on an island, in the same way on Adharmastikaya rest the 'jiva' and the 'pudgala. Thus it o the hommove, got in

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Siri Sirivalakaha is with the help of the Dharmastikaya that we are able to speak, breathe, come and go eto, and it is with the help of the Adharmascikaya that we are able to stop, si', stand etc. (3) far. It has been thus explained: " stammed SAITA." The Dharmastikaya and the Adharmastikaya extend as far as what are called . The Fourteen Rajalokas ' in Jainism. Bnt the Akas'astikaya pervades the whole universe constituted of 'Loka' and 'Aloka! It gives space to Dharmastikaya, Adharmastikaya, jivas, and pudgalas. It is divided into two divisions (i) 141414 That Akas'astikaya which is pervaded by Dharmastikaya is called Lokakas'a It is said to resemble the shape of a man who stands with his two legs apart and with his two hands on his waist.(ii) TTTT. The remaining Akastastikaya is known as Alokakas'a. It is said to be of the shape of a round hollow ball. In this Alokakas'a there is only one Padartha' or matter viz. Akas'astikaya, whereas in the Lokakas'a there are all the pots or Padarthas. It is due to the presence of Dharmastikaya and Adharmastikaya that the 'jivas' and the 'pudgalas' can move freely in the Lokakas'a. But as these are not found in the Alokakas'a even powerful gods like Indra cannot enter it; and that is also the

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63 Notes reason why even the Siddhas stop at the top of the Lokakas'a. (4) gyurcsere. All the three, Dharmastikaya, Adbarmastikaya, Akas'astikaya, as well as Jivastikaya are starti.e. formless), and they are constituted of Fries made up of Ts and teams which can never be separated. Pudgalastikaya, on the other hand, is wat (i.e. having form) and is constituted of Fame which can be separated into dezas, pradezas and paramANu ( atoms ). Its ratus meet, and are separated, every moment. In the terreinencu verse 11, its qualities are thus described : " sabaMdhayAra ujjoa, pabhA chAyA tave hi / vana gaMdha rasA phAsA, puggalANaM tu lakkhaNaM // " Hence a pudgala is 'that matter which is possessed of the qualities of sound, darkness, light, lustre, imago, heat, colour, smell, taste and touch. It is divided into four main divisions : " ... gorros Gratur Oct 3CTI ETETT A YET, AT a afyat II" Thus, they are Fang az, yet and TATU. (5) sfratterie-The Pudgalastikaya and the Jivastikaya, like Dharmastikaya and Adharmastikaya, extend as far as Lokakas'a i, e. as far as the Fourteen Rajalokas. The qualities of a 'jiva'_are thus given in the watauonut verse 5:

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Siri Sirivalakaha ___" nANaM ca dasaNaM ceva, caritaM ca tavo thaa| vIriyaM uvaogo ya, eyaM jIassa lakkhaNaM // " "and in the streiar FLET of Shrimad Siddhasena Divakara, Verse 31, a jiva is thus defined: " pramAtA svAnyanirbhAsI kartA bhoktA nivRttimAn / svasaMvedanasaMsiddho jIvo kSityAdyanAtmakaH // " Somewhere else, it is thus defined :- . " yaH kartA karmabhedAnAM, bhoktA karmaphalasya ca / / . saMsartA parinirvAtA, sa hyAtmA nAnyalakSaNaH // " (For further details vide navatattvaprakaraNa and jIva. vicAraprakaraNa). davvachakkaM (Sk. dravyapadakaM ) -- The Six Dravyas or Padarthas', i. e. Categories or Predicaments. The five Astikayas together with the kAladravya constitute what are known as the SaDdravya (or the six kinds of matter in the universe). The five Astikayas are already explained above, but its remains to be explained. As it is quite evident, its yor or quality is to make a thing old or new. It is divided into three well-known main divisions viz. Past, Present and Future, or sometimes it is divided into jaghanya, madhyama and utkRSTa. It has also got many sub-divisions, which are briefly enumerated in the thirteenth verse of the navatattvaprakaraNa which says :" samayAvalI muhuttA, dIhA pakkhA ya mAsa varisA ya / bhaNio paliyA sAgara, uslappiNisappiNI kaalo||"

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Notes: 65 Sometimes kAla is divided into byabahArakAlaandnidhayakAla. ( for further details on kAla.and the Six Dravyas, vide the discussion on verses 13, 14 navatattvaprakaraNa Mehesana Edition.) satta nayA (Sk. sapta nayAH ). naya may be roughly defined as a system of mental thinking for expressing in words our knowledge of a thing which we have obtained by the help of our senses or otherwise.' Such a system or p is mainly divided into two divisions viz. (i) dravyAthika and (ii) paryAyArthika, or sometimes into (i) sperate and (ii) regate or (i) vyavahAranaya and (ii) nizcayanaya. But generally in Jainism, this systein is divided into seven divisions known as the later or the Seven Nayas. They are (i) naigama (ii) saMgraha, (iii) vyavahAra (iv) RjusUtra (V) zabda (Vi) samabhirUDha and (vii) evaMbhUta. St. 64. aTheva kammAiM (Sk. aSTava karmANi) The Eight Main Divisions of Karma (for details see notes on st. 66 ). navatattAI ( Sk. navatattvAni) They are already explained in the notes on st. 24. dasaviho dhammo (Sk. dazavidho dharmaH ) The Ten Duties or Qualities of a gfa or a. Sadhu ?. They are enumerated in the following verse:" khaMtI mahava ajjava muttI tava saMjame a boddhavve / saccaM sonaM AkiMcaNaM ca baMbhaM ca jaidhammo // " (navatattvaprakaraNa St. 29)

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66 Siri Sirivalakaha Thus they are (1) fer forgiveness, (2) aprilie humility, (3) arte simplicity, (4) fa (forento Het) freedom from grood etc, (5) to penance, (6) saMyama control, (7) satya truth (8) zauca purity and cleanliness, (9) afinere non-possession and (10) ngeri celibacy. As opposed to these ten qualities, there are what are known as the ton Kasayas or Fierauf viz. Hitel, A1, ATT, TT, TT, T, cl, 32 , er and forefa. TIRE fshTait (Sk. 5414 fahr) The Eleven Pratimas (i. e. higher rules or standards of conduct ) of a Shravaka which fill up the gap between the lay and the ascetic life. They are briefly enumerated in the following stanza given in the ETTEITS at the end of the Upasakadas'a Sitra, the Seventh Anya of the Jainas:"tau--14189-otak-ofsh a focenti STICH-ie-glas arte-EHUTITE TII" The Upasakadas'a Sutra deals with these Eleven Pratimas in great details and illustrates them by the ten stories of the ten 'Upasakas' or lay disciples ( i. e. Shravakas ) of Lord Mahavira, the most important of them being and and Tea. The Eleven Pratimas may be briefly discussed as follows:

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Noten ... (1) araufert worshipping the true Deva (i. e. the Vitaraga Deva), the true Guru ( j. e. the Nirgran tha ), and believing in the true Dharma (i.e. the Ahimsa Dharma of the Jinas), of." format gat, fariteit gei, afsen A: 40:1"; also avoiding #TBTATS (the seven great vicos) montioned in the following verse:" cUtaM ca mAMsaM ca surA ca vezyA pApadhi cautha paradArasevA / etAni saptavyasanAni loke borAtidhoraMnarakaM nayanti // " (2) Agafant-Koeping each of the twelve vows without any AgAra or aticAra (i. e. without any laxity), and when death comes to receive it in absolute peace and performing "santharo' to die & Faftur. (3) Fila f ant-Doing 'samayika' every day at least three times. (4) staat atafahrObserving Posadba at least six times a month ( on the 2 yrfts, 2 urgeaits, and the 2 teraris). (5) Frutca Tafant-Doing Kausagga ( i. e. meditating upon the 24 Tirthankaras eto. while observing Posadha; also never to eat between sun-set and sun-rise or to sip water before day-light. If a guest arrives, the layman may prepare a bed for him, but never offer him food, lest he would cause his guests to sin.

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68 Siri Sirivalakaha (6) marefularatGetting nearer to the ascetic ideal, the layman nest promises to keep away from the society of his own wife, and nover in any way to scent or adorn his body, lest he would cause his wife to love him. (7) eranfer With the object of never oven taking vegetable life, avoiding all uncooked vegetables or cooked vegetables mixed with the uncooked. Not using any unripe vegetable. . (8) ArambhatyAgapratimA-Never even to begin to build a house or to take to a trade (like a blacksmith's or of coal, lac, ivory etc.) which entails. the taking of life. (9) gauryfuerimufaat--Never allowing the servants to work for oneself --may allow them to wait only on his children, having no attachment for worldly possessions, and to avoid it dividing one's property, money or grain amongst. one's children, or giving it away in charity. (10) offerta TAT-Here there is a fur ther step towards a Sadhu's life. Never allowing any special cooking to be done for one, and only to take what has remained when others have dined, and if nothing remains, just to fast. Giving no advice in any worldly or household matter, but keeping one's mind free from all thoughts about such things. .

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69 Notes - (11) sauren Horst Shravaka is practically, a monk, for he promises to wear a Sadhu's dress, to remain apart in some religious building (when the Digambaras call him a Kussalaka Shravaka), or in the jungle (when they name him an Ailaka Shravaka), and act acoording to the rules laid down in the scriptures for a Sadhu to follow. The first Pratima is to be observed for one month, the second for two, the third for three, the fourth for four and so on, and thus it takes 66 months or five years and a half to complete all these Eleven Pratimas, after whioh some may again return to household life, some may take to ascetic life, and some may take to Sparta or religious death. These Eleven Pratimas were observed by many Shrava kas in ancient times as can be seen from the various instances of Ananda Shravaka, Kamadeva and others. But in modern times, they are very rarely observed. . ... ace pene (Sk. 197 gaifa ). The Twelve Vows of a Shravaka. These, also, with their various sifarancs ( i. e. violations ) etc. are dealt with and illustrated in the Upasaka das'a Sutra. These Twelve Vows are sometimes

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Siri Sixi valakaba known as the garden Patient or the twelvefald religious duties of a householder, consisting of pazcANukyAI and sattasikkhAvayAI or the Five Anuyratas' and the Seven S'iks'ayratas'. The Five Anuvratas or Lessor Vows are the same as the secreteras or the Five Great Vows of a Sadhu viz. prANAtipAtaviramaNavata, muSAvAdaviramaNavrata, adattAdAnaviramaNavrata, maithunaviramaNavrata, and parigrahaviramaNavrata, which a householder is to observe in part ( whence the term dezavirati used for a householder who observes the Twelve Vows ) i. e. in a less stringent form than a Sadhu. The Seven S'iksavratas or the Disciplinary Vows are: (1) faftarchut or the Vow of Quarters ( i. e. going only up to certain quarters ), (2) bhogopabhogaparimANa or Limiting things of reiterate as well as momentary use,' (3) anarthadaMDa or abstention from unprofitable employment of the mind, body and speech in order to stop - himsa ', ( 4 ) sAmAyika (samo rAgadveSaviyukto yaH sarvabhUtAnyAtmavat pazyati, or "ito rAgamahAMbhodhiH, ito dveSadavAnalaH / yastayormadhyagaH panthAH tatsAmyaM parikIrtitam // " tasva AyaH pratikSaNamapUrvApUrvajJAna darzanacAritraparyAyANAM nirupamasukhahetubhUtAnAmadhakRtacintAmaNikalpadrumopamAnAM lAmaH-samAvaH, sa prayojanaM yasya anuSThAnasya iti sAmAyikam / ) the Law of Inward Peace, (5) desAvagAsi (Sk. dezAvakAzikaM ) or the

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Notes 71law of keeping oneself within a certain limited place, (6) generere keeping of the Poso in which a Sbravaka observes a fast for a day, and remains for all the 24 hours (or sometimes 12 ) just like & Sadhu ( cf. 'THUt a arerait en grat') and that, too, in the vicinity of a Sadhu in an Upashraya, (7) safer fit or the law of giving pure alms to a worthy ( gure ) guest like a Sadhu etc. The first three of the Seven S'iks'avratas are sometimes called yurags, the remaining four being called zikSAvratas. St. 65. pont agafareira (Sk. T ElenaUNIT) other minute thoughts, By this the author refers to st. 66 which .enumerates various technical terms and expressions about the theory of Karma. a an indeclinable ( see notes on st. 34. ) . st. 66. This verse alludes in brief to all the six Karmagranthas viz. ffanten, toteara, apstafara, raifa, Taf and faraft and thereby the poet wants to show to the readers that Mayanasundari was well-versed in the much intricated and difficult theory of Karma propounded in them. In order to thoroughly understand this verse, the study of the Karmagranthas is in:

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72: Sizi Sirivalakaha dispensable. We sball, however, try to explain them below: THAT Garvesterit ( Sk. Fituri alertpret: ) The ( 8 ) primary and ( 158 ) subsidiary divisions of Karma. There are four ways in which Karma binds the soul and this is known as the fourfold ). patata which is thus defined :"payaiThiharasapaesA taM cauhA moagassa dilNtaa| mUlapagaiThTha uttarapagai aDavannasayameyaM // " . (Karmagrantha I. verse. 2.) Thus teafa is one of the four main divisions of the apparater and it (i. e. gefa ) is thus defined : "TTC erat ga" i. e. Prakriti means ' a natural character or potency. As soon as a soul accumulates Karma, the nature or potency of that Karma is also decided and this is Prakriti. In order to understand this nature or Prakriti, the illustration of a sweet-ball is very useful. Just as a sweet-ball made up of dried-ginger (go') removes ar or wind, that made up of "Jiru ' (sfrs) removes humour (former ) and that made up of cough-removing ingredients removes cough, in the same way some karma removes i. e. obstructs knowledge,

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stus Notes 79 some obstructs Dars'ana or True Faith;" some obstructs Character and so on. Thus at the time of the binding of the karmas with the soul, their different natures or potencies are decided and this is known as * Prakriti.' Thus here Prakriti means natural character or potency.'. Prakriti also means te or division'. In kammANaM mUlapayaDIo. it has got this latter meaning, and hence this phrase means the Principal Divisions of Karma' which are 8 in number ( cf. Furta8 ) viz. (1) rarerurter (2) Fare curret (3) Hartie (4) Biacre (5) aqafter (6) STRI (7) ata and (8) TET. Out of these 8 main divisions of Karma, the first four are often called aifa Karnas, because they destroy the spiritual welfare of the soul and the last four are called staula as they do not do so. The former, four are sometimes also called famafara or those which we are bound to experience, and the latter four afar fara or farmers Karmas i.e. those which we may, by extraordinary exertions, evade. [ The fanfarces are also again divided into two sub-divisions viz. (1). sufentfern and (2) grafen out of which the stepfam fatis can be destroyed up to a certain limit, by practising hard and extremely pure inward penance, after which they must be experienced:

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74 Siri Sirivalakaba Contrary is the case in perfect. They must. first be, experienced up to a certain limit and then they can be destroyed by hard and extremely pure inward penance ). The natural character ( FRETE ) of these 8 main divisions. of Karma can be understood by 8 illastrations givien in verse 38 of the perarak kuras follows: T54FSETSEM-Esferagere SRTON jaha eesi bhAvA, kammANa'vi jANa taha bhaavaa||" We shall discuss the same briefly below : (I) The Nature of malecofterent. It is just like a 'bandage ( )' to our eyes ( cf. 1909 avek a tacti'). Just as we cannot see anything if our eyes are bandagod, in the same way on account of the bandage of the m ercofrer and we cannot see anything by the eye of our knowledge. Thus, in short, sapratTofter becomes a hindrance to a man in acquiring knowledge. (2) The Nature of metalicercufferat Just as a king cannot see a man stopped by the door-keeper (pratihAra or vetrina Pk. vitti), in the same way the soul cannot see the things and objects of this world in their real nature, being stopped by the covering of darzanAvaraNIyakarma (3) The Nature of here . This is the most powerfal of all Karmas, and it becomes a great hin

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: Notes 75. drance in our getting purphy and pure character as well as agceticism. Its effect is just like that of wine ( g ). Just as a man, who is drunk, becomes intoxicated and is unable to know whether he does a good thing or bad, in the same way & man under the influence of actof is unable to discriminate between Dharma and Adharma (religion and irreligion). (4). The Nature of sarcian. It is just like a treasurer ( verir). Just as a great donor, such as a king etc. cannot give charity lavishly if his treasurer is a miser ( because the latter often dissuades him from doing so by telling him that the kingdom is suffering from this loss and that eto.), in the same way, the soul, which is also of a charitable nature and which is possessed of Virya etc. cannot use them properly, so long as it is under the influence of firstf. (5) The Nature of aarr. This Karma creates happiness or misery to the soul. Just. as a sword (STRA:) besmeared with honey, when licked by a person, gives him taste at first but. gives him pain afterwards on account of histongue being cut or injured by the sword, in the same wey under the influence of vedanIyakarma, . man experiences momentary happiness, but. suffers bitter pain afterwards (of, the well-known::

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-76 Siri Sirivalakaha aytareid in Jainism.) (6) The Nature of A. It is compared to a fetter or a shackle (). Just as a man, who is fettered, cannot be set free until the king orders, in the same way, under the influence of are the soul cannot be free" from existence (fa) until the period upto which it is to stay there is completed. This Karma creates transmigration of the soul. (7) The Nature of THA . It is compared to a painter (fertart). Just as & painter paints various designs and various kinds of persons, in the same way, through transmigration, the 'java' gets various names and existences. ( 8 ) The Nature of T1774. It is compared to a potter (). Just as a potter makes good as well as bad pots, in the same way this TTA puts a man in a noble or a low family. These are the 8 main divisions in which Karma is divided, and they themselves are further divided into various sub-divisions which we need not note here. This much for kammANaM mulapayaDIo. Now remain kammANaM GATT481247 (Sk. HOT SKYTT: ). Here tenta has got the first meaning of 'natural character or potency.' Hence this phrase means 'the secondary potencies of action,' which are 158 in number (TUTTE 259 tari"),

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Notos and which are briefly enumerated in the following verse which ocours verbatim both in the navatattvaprakaraNa (verse. 38), and in Devendrasari's karmagrantha I. (verse 3.):" iha naanndsnnaavrnnveamohaaunaamgoyaanni| vigdhaM ca pnnnvduatthviisvutisydupnnvihN||" Thus bhAnAvaraNIyakarma has got 5 Prakritis viz. (I) matijJAnAvaraNIya, (2) zrutakSAnAvaraNIya (3) avadhijJAnAvaraNoya (4) mana:paryavajJAnAvaraNoya and (5) kevalajJAnAvaraNIyaThe darzanAvaraNoyakarma has got 9 Prakritis (of. karmagrantha I. verse 9. line 2. which says: " dasaNa cau paNa nihA, vittisamaM dasaNAvaraNaM // " Thus they are (I) cakSudarzanAvaraNIya, (2) acakSudarzanAvaraNIya, (3) avadhidarzanAvaraNIya, (4)kevaladarzanAvaraNIya, (5) nidrA, (6) nidrAnidrA, (7) pracalA, (8) pracalApracalA, (9) thINaddhi (Sk. styAnagRddhi i. e. 'somnambulism or walking-in-sleep, '-see. Hem. VIII. 1. 74. & VIII. 2. 66). The four darzanAvaraNIya prakRtiu are explained thus in karmagrantha I. verse 10 :"cakhkhUdiThiacakhkhU-sesiMdia ohi kevalehiM ca / dasaNamiha sAmannaM tassAvaraNaM tayaM cauhA // "... - and the fire fagts are explained in verses 11. and 12. line. 1. as follows: "suhapaDibohA nihA nihAnihA ya dulkhpddibohaa| payalA ThiovaviThassa payalApayalA u caMkamao // didhitiatyakaraNI, thINaddhI addhckiadblaa|"

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78 Siri Sirivalakaha The last troreft is a bit difficult to understand .and heroe requires to be explained : --PATAT saMghAtIbhUtA vRddhidinadhititArthasAdhanaviSayobhikAMkSA basyAM sA styAnagRddhiH / prAkRtatvAt thINI iti nipaatH|| Thus it is equivalent to Sk.'Fungua:' and means 'somnambulism or walking-in-sleep.' In Shakespeare's drama : Macbeth ' we have got such & soone of somnambulism in which we find lady Macbeth walking in sleep and speaking out murderous deeds which she had committed previously. The vedanIyakarma *has got 4 prakRti viz. (1) zAtAvedanIya and (2) azAtAvedanIya of karmagrantha I. Verse. 12. line 2. and verse 13 line 1 : "mahulittakhaggadhArA,-lihaNaM va duhA uveanni||" "osannaM suramaNua, sAyamasAyaM tu tirianiresu||" The mohanIyakarma has got two main divisions viz. (1) darzanamohanIya and (2) cAritramohanIya. The first has got three Prakritis and the second has got 25_Prakritis, viz. 16 kaSAyas and 9 NokaSAya (gokaSAya is thus explained 'kaSAyasahacArisvAt, kaSAyapreraNAdapi / kaSAyapariNAmAcca, NokaSAye kaSAyatA // '). Thus in all the mohanIyakarma has got 28 Prakritis. The 3 Prakritis of the darzanamohanIya are (1) samyaktva mohanIya, (2) mimohanIya and (3) mithyAtva mohanIya. They are thus explained in the Karmagrantha L verses 14, 15, 16:- .

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Nobelis 79 "IsaNamohaM ticiha, sanma miccha taba milA: suddha avisuddha adhisuddhaM se havA kamasoma .. - 'jibha ajia punnnnpaavaa-sNghsNvrbNdhmuslnijjrnnaa| jeNaM saihaha tayaM sammaM sAgAi bahu bhayaM // mIsA na rAgadoso jiNadhamme aMtamuhu jahA anne| . * nAliyaradIvamaNuNo, micchaM jiNa dhmmvivriiaN||" The. 16 kaSAyas of the cAritramohanIyakarma are as follows:-There are four main kaSAyas viz. krodha, mANa, mAyA and lobha and each is anaMtAnubaMdhI, apratyAkhAnIya, pratyAkhAnIya and saMjvalana. Thus we get 16 Kasayas in all. The 9 NokaSAya: are:-(1) hAsya, (2) rati, (3) arati, (4) zoka, (5) bhaya, (6) jugupsA, (7) strIveda, (8) puruSaveda, (9) napuMsakaveda. In Karinagrantha I. verses 17 to 22, the 16 Kasayas and the 9 NokaSAyas are explained as follows: "solasakasAya navaNokasAya duvihaM caricamohaNiyaM / aNaapaccakhkhANA, paccaskhANA ya saMjalaNA // jAjIvavarisacaumAsa-pakhkhagAnirayatiriamaraamarA / smmaannusvvvirh-ahkhkhaaycritghaaykraa|| jalareNupuDhavipavyaya-rAisarilo caunviho koho| tiNisalayAkaDima-selatthaMbhovamo maanno|| maayaavhigomuni-middliNgssnnsimuulsmaa| loho haliikhaMjaNa-kahamakipirAmaramANo (saariccho)| jassudayA hora jie, hAsanasomabhayAna sanimittamamahA vA taM hAtAva mohabhiyaM / / ...

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80 Siri Strivalakaba purisirila dumaya para, ahilAmo javvalA havA to u| * thInaranapuveudo, kuNkumtnnngrdaahsmo||" .. - The Ayukarma has got 4 Prakritis viz. (1) devAyu (2) manuSyAyuH (3) tiryaMcAyu (4) narakAyu. The nAmakarma has got 103 Prakritis, this being the maximum number. Sometimes, it is said to have 42, 93, or 67 Prakritis also, which are got by dropping certain sub-divisions from the maximum number of 103 Prakritis which are as follows : ___4 gatis. viz. (1) naraka, (2) tiryag, (3) manuSya, (4) deva. 5 jAtis viz. (1) ekendriya, (2) beiMdriya, (3) teiMdriya, (4) cariMdriya, (5) paMceMdriya. 5 zarIras. viz. (1) audArika, (2) vaikriya, (3) AhAraka, (4) tejas, (5) kArmaNa. 3 zarIropAMgas. viz. (1) audArikopAMga, (2) vaikriyopAMga, (3) AhArakopAMga. ___ 15 zarIrabandhanas. viz. (1) audArikaaudArika, (2) audArikatejas, (3) audArikakArmaNa, ( 4 ) audArikatejaskArmaNa, ( 5 ) vaikriyavaikriya, (6) vaikriyatejas , (7) vaikriyakArmaNa, ( 8 ) vaikriyatejaskArmaNa, ( 9 ) AhArakabhAhAraka, (10 ) AhArakatejas, (11) AhArakakArmaNa, (12) AhArakatejaskArmaNa, ( 13 ) tejastejas, (14) tejaskArmaNa, (15) kArmaNakArmaNaH

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81 Notes... 5.zarIrasaMghAtana3 .viz. (1), audArika, .(2). vaikriya, (3) mAhAraka, (4) taijas, (5) kArmaNa. 6 saMghayaNas or saMhananas. viz. (1) vajraRSamanArAba, (2) RSamanArAca, (3) nArAca, (4) ardhanArAca, (5) kI. likA, (6) cheva. 6 saMsthAnas. viz. (1) samacaturasra, (2) nyagrodha, (3) sAdi, (4) vAmana, (5) kubja, (6) huMDa. __5 varNas. viz. (1) kRSNa, (2) nIla, (3) lohitya, (4) hAridra, (5) zveta. 2 gandhas. viz. (1) surabhi, (2) durgaMdha. ... 5 rasa. viz. (1) tikta, (2) kaTuka, (3) kaSAya, (4) Amla, (5) madhura. . 8 sparzas. viz. (1) karkaza, (2) mRdu, (3) guru, (4) laghu, (5)zIta, (6) uSNa, (7) snigdha, (8) rUkSaH ___4 AnupUrvIs. viz. (1) naraka, (2) tiryag, (3) manuSya, (4) deva. 2 vihAyogatis. viz. (1) zubha,(2) azubha. . 8 pratyekaprakRti viz. (1) pArAghAta, (2) ucchvAsa (3) Atapa, (4) udyota, (5) agurulaghu (6) tIrthakaranAmakarma, (7) nirmANa, (8) upaghAta. ____10 items known as trazadazaka viz (1) prasa, (2) bAdara, (3) paryApta, (4) pratyeka, (5) sthira, (6) zubha, (7) subhaga, (8) susvara, (9) Adeya, (10) yaza. ___10 items known as sthAvaradazaka viz. (1) sthAbara, (2) sUkSma, (3) aparyApta, (4) sAdhAraNa, (5) asthira,

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82 Siri Sirivalakaha (6) anya, may gator, (8) gener (9) smurta, (10) PAT. Total 103, Dropping from these 103 Prakritis, the sub-divisions of 10 items and retaining only 5 we get 93 alhistas. Again dropping from the same all the 15 T OTFAS and the 5 acas ( taking them to be included in the intis ) as well as the 16 sub-divisions of varNa, gaMdha, rasa and sparza keeping only these four main divisions, we get (103-36 i. e.) 67 7749 senfas. Again dropping from the same all the sub-divisions of what are known as the 14 fushefcas: (because they have further saber divisions) viz. (1) fa, () ffa, (3) , (4) 27toit (5) zrcrcaleta (6) TRATA, (7) setempat, (8) pero, (9) avi, (10) Vzt, (11) TA, (12) Fyzi, (13) mart, (14) Faerutia, aud retaining only these. 14, we get 42 11hinenfas. But we are to remember that in the number 158 JTRgefas (or secondary potencies) of Karma, we take the number 103 as the prakRtis of nAmakarma and not 42, or 93, or 67. (For detailed explanation on all these nAmakarmaprakRtis, karmapranya I. should be referred to). The gotrakarma, like vedanIya, has got two prakRtika

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Notes 88 viz. (1) uccagotra (2) nIcagotra. of. karmavanyaI. verse 52. line 1. which says: " go duhuccanI, kulAla iva sughddbhuNbhlaaii||" The aMtarAyakarma has got 5 prakRti3 viz. (1) dAnAMtarAya, (2) lAbhAMtarAya, (3) bhogAMtarAya, (4) upabhogAMtarAya, (5) vIryAtarAya. ____They are thus explained in karmagrantha I. verse 52. line 2. and verse 53: " vigdhaM dANe lAme, bhoguvabhogesu vIrie a||" " sirihari asamaM eaM, jaha paDikaleNa teNa rAyAi / na kuNai dANAI aM, evaM vigNa jIvo vi // " kammaThiiM (Sk. karmasthiti). Like prakRti, sthiti is also one of the four main divisions of aratata and it is thus defined: "ThiI kAlAvahAraNaM". Hence feufa means '& certain fixed time'. As soon as a karma is accumulated by the soul, the time, for which it will bind the soul, is also decided and this is known as ferfa. In order to understand this term also, we have, of course, to take the same illustration of a sweet - ball which we took in understanding Prakriti (and later in understanding agubhAga ie. rasa and pradeza also, we shall take the same illustration). Just as some sweet-ball remains ftt for eatiny for & month, some for 15 days and so on, and then it becomes useless, in the same way, some

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84 : Siri Sirivalakaha karma remains with the soul for 70 Kodakodisagaropama' (this number is so great that it cannot be counted by an ordinary man) years, this being the maximum time, some for 40 and so on, and then it is destroyed and this is known as farfaraz. The maximum and the minimum time for which each of the 8 main divisions of Karma binds the soul is thus given in the TATTAY**UT, verses 40 to 42:" nANe a dasaNAvaraNe, veyaNie ceva aMtarAe a / tIsaM koDAkoDI, ayarANaM ThiI a ukkosA // sittari koDAkoDI, mohaNie vIsa nAma goesu / tittIsaM ayarAI, AuThiibaMdha ukkosA // are HET heat, anfong sugata otce I FATICHETI, ci defesari 11 ". ( for further detailed explanation refer to gelatenfc0 Mehesana Edition and Karmagra-. ntha I. ). mafari ( Sk. *fauren ). The good. as well as bad effects of Karma which make. us happy or miserable respectively. There are four principal inward causes which bring Karma to the soul viz. (1) Hezre or False: Faith, (2) serta or Attachment to worldly things, (3) mart or giving vent to anger, pride, deceit and greed, (4) stor or Employing one's mind, body and speech in worldly things.

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Nates se 85 . There are however, many other outward causes, which bring zubha or azubhakarmas to our soul and give us happiness or misery accordingly. And this bringing of happiness or misery to our soul by the various causes of karma is known as karmavipAka, on which the whole of the Karmagrantha I. is based and it is itself called karmavipAka. The various outward causes of the coming of zubha or azubhakarmas to the soul given at the end of the Karmagrantha I. are very useful for fully understanding the term 'karmavipAka' as well as for the spiritual welfare of the soul. Hence they are quoted verbatim below:" paDiNIattaNaninhava-uvadhAyapaosa aMtarAeNaM / accAsAyaNayAe, AvaraNadugaM jibho jayai // gurubhattikhaMtikaruNA - vayajogakasAyavijayadANajuo / dRDhadhammAi ajjara, sAyamasAyaM vivajjayao // umaggadesaNAmagga - nAsaNAdevavvaharaNehiM / dasaNamohaM jiNamuNi-veiasaMghAi paDiNIo // duvihaMpi caraNamohaM, kasAyahAsAivisayavivasamaNo / baMdhai nirayAu mahA-raMbhapariggaharao ruddo // tiriAu gUDhahiao, saDho sasallo tahA magussAu / payaii taNukasAo, dANarui majjhimaguNo a|| avirayamAi surAuM, bAlatavokAmanijjaro jayai / saralo agAravillo, suhanAmaM annahA asuhaM //

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Siri Sirivalakaba guNavahI bhayarahimao, bhAyavajhAvaNAI nincha / pakuNA jiNAibhatto, ucca mI imarahA u|| jiNapUAvigdhakarI, hiMsAiparAyaNo jayA vigcha / ia kammavivAgoya, lihio deviNdsuuriihiN||" As for those desirous of knowing further details on the four principal inward causes, they should study Karmagrantha IV. called paDazIti Mehesana Edition verses 51 to 58. baMdha (Sk.) This is one of the nine most important Tattvas or categories of fundamental truth in Jainism, it buing the eighth in chronological order. Soul with Karna is like gold found in earth with clay and other impurities clinging to ito Or, as heat unites with iron and water with milk, so Karma unites with soul. This uniting of the Karma with the soul, due to the causes already discussed above, is known as baMdhatattva or baMdha and by baMdhakarma is meant the karmas which we are at present accumulating. As we have already said before the baMdhatattva is divided into 4 parts; see navatattvaprakaraNa verse. 34 " ............baMdho cauvvigappo a / payaha chiha aNubhAgappaesameehiM naayvvo||" Thus they are (1) prakRti (2) sthiti (3) aNubhAga i... rasa and (4) pradeza. Out of these four, the first two sofa and feefa we have already explained before; but the last

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Notes two viz. myynt and get still remain to be explained. ___ aNubhAga is thus defined : " aNubhAgoM raso jeo" i. e. aNubhAga lit. means rasa or taste. As soon as a karma is accumulated by the soul, its good or bad effeot, which will give us happiness or misery, is also decided and whether this happiness or misery will be extreme or ordinary or little is also decided and this is known as rasa or aNubhAgabaMdha, To take the illustration of the sweet-ball: Just as a sweet-ball may be very sweet or little sweet or very bitter or little bitter or may be made up of much ghee or little ghee, in the same way, the happiness or misery which the good or bad karmas give us respectively may be smaller or greater according to the nature of the karma and this is known as aNubhAga or rasabaMdha. It is divided into 4 subdivisions viz. (1) generiff, (2) Paperita, (3) farefas and (4) ab Fitfa. (For further details see tearaten ur Mehesana Edition page 131 ). (4) azt. It is thus defined : "moet dalasaMcao." Hence pradeza means 'a collection or heap of fragments of Karma. The number of the fragments of the heap of which each karma is constituted, is not the same. To make it

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88 Siri Sirivalakaha more clear, let us take the usual illustration of the sweet-ball. Just as a sweet-ball is made up of a quarter of a pound or of half a pound of pounded-wheat, in the sarue way, the frag. ments of some karmas are many and those of others are few. This is what is called gaiET. Thus the fragments of the heap of the are the fewest of all the karmas. Those of ATA and 111en are equal and more than those of Ayukarma. Still more than these are those of zAnA. auiter, arcuite and parents which are also equal. Still more are those of weiter . And those of the afairs are the greatest in number-( For further details see Tarraga UT Mehesana Edition. Page 132 ). Seuratoi si [ Sk. genieten (OT) #71). 374, geturT (UT) and FTIT are also technical terms in Jainism like teafa, feufa, Sjet etc. For fear of lengthening the notes, we shall not dwell upon them in details here. Those desirous of studying them carefully and minutely should read the Karmagranthas themselves especially the second and the fourtb, which throw a very important and useful light upon these terms and explain them beautifully in the best possible manner. We shall, however, only explain here their general sense in order that the student may have a

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Notes 89 rough and brief knowledge of the same. udayaThe karma which we are actually experiencing at present is called udayakarma or udaya. udIraNayAraNA) It is thus defined : "aprAptasya (karmaNaH) prApaNaM udIraNA." Hence the act of the entering of premature karmas into udaya (or udayAvalikA) by a sudden change into the adhyavasAyas or lezyA of the soul is known as udIraNA. Different from udaya and udIraNA, there is sattA or sattAkarma * which are the karmas which we have already accumulated previonsly (i. e. in previous life ) due to baMdhakarma. Thus udaya, udIraNA and sattA together with siet are the four stages of Karma in Jainism. Their thorough and exact knowledge in brief can bu had from the following extract taken froin Muni Shree Jivavijaya's commentary (bAlAvabodha) on the Karmagranthas : mithyAtvAdibhirbadhahetubhiH aMjanacUrNapUrNasamudgakavaniraMtaraM pudgalanicite loke karmayogyavargaNApudgalairAtmanaH kSIranIravat vahnaya yaH piMDavadvA anyonyA'nugamA'medAtmakaH saMbaMdho bandhaH / teSAM ca yathAsvasthitibaddhAnAM karmapudgalAnAM apavartanAdikaraNavizeSakRte svAbhAvike vA sthityapacaye (kSaye ) sati udayasamayaprAptAnAM vipAkavedanaM udayaH / teSAmeva karmapudgalAnAM akAlaprAptAnAM jIvasAmarthyavizeSAdudayAvalikAyAM pravezanaM udIraNA 3 // teSAmeva karmapudgalAnAM baMdhasaMkramAbhyAM labdhvAtmalAbhAnAM nirjaraNa: saMkramaNakRtasvarUpapracyutyabhAve sadbhAvaH sattA 4 / " Now

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90 Siri Sirivalakaha here if we do not differentiate between men and A we shall get only three stages, which are often called the three kind of , and which exactly correspond to the three wellknown stages of the Vedantists vir. afera, Face ATUT and SET respectively, though there may be some difference in their explanations and other details. St. 67. mit (Sk. :). Tranquil, free from passions; or forbearing. 5, an indeclinable showing wonder; see notes on sts. 18-19. St. 68. Esant. (Sk) fully equipped, accoutred, possessed. St. 70. Fauretturers (Sk. Fentana: ). Bent down due to modesty i. e. humble. St. 71. FARIT ( Sk. ET). A riddle, ad enigma, & .puzzle. 8t. 72. "gfalt HE ." This is the first foot of the riddle that the two princesses were asked to solve. gavvagahilAe. (Sk. garvagrathi09) The root o in Sk. means ' to be crooked'. Hence that would mean crooked. with pride i. e. puffod up with pride '. St. 78. This stanza is written in the Apabhrans'a Dialeot, the special feature of which is

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Notas 91 that in it the nominative sing. of sonns ending in at ends in . ; St. 74. Hy hug The repetition shows that she was very clover.' St. 75. fororegurcan (Sk. PoredaCAT). This is a very important and essential quality which a true Jaida must possebi. For a real Shravaka it is indispensable, so declare the Agamas : ef "Paturront *t;" also * A fres si fratte varer "ete. Thus religion consists in following the Commandments of the Jina, believing them to be perfectly true, keeping no doubts whatsoever. As Madanasundari was a true Shravika, she is degoribed here, as being endowed with the quality of possessing a true faith in the words of the Jina. St. 76. Like st. 73 this stanza is also written in the Apabhrans'a Dialect. georg Sk. THT:) lit. the highest path i. e. Liberation or Moksha. St. 77. In this stanza we have got an illustration of that figure of speech which is known as spettare in which a general statement is supported by a partioular statement or vice versa?. Etui (Sk.garai). By this. phrase is here meant the miNyAies or mithyAtvIs. i.e. heretics or non-believers.

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-92 Siri Sirivalakaha St. 80 ari (Sk.) Lit. it means 'clear, preeminent i.e. exalted, roagnanimous.' . Sts. 83, 84 are to be construed together. St. 85.gaur (Sk. gaut) has the sense of "ready or eager.' St. .87. ahivallI (Sk.) also called nAgavallI meaning 'piper betel.' qor (Sk.) also called ques meaning 'the areca or botel-nut-tree, Sts. 89 to 91 are to be construed together kira as well as ira and hira are indeclinables in Pk. for Sk. feres indeed." See Hem. VIII. 2. 186. which says " Feriz Fer Forsta afT." In sts. 82 and 88 to 97, the poet discusses the question of marriage. According to him, marriage--whether marriage by parents or choicemarriage or any other kind of marriage--is a contract already decided by our actions of former life. A certain wife or husband. is already decided in this life for a male or a female respectively according to their actions of former birth. Whatever system of marriage we adopt, we are sure to get that particular bride or bridegroom that is already decided for us and none else. Thus happiness of marriage does not depend upon any system of marriage, but it depends upon our actions of former birth. If our

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Notes 93 former actions are bad, even choico-marriagowill bring us misery and if our actions are good even marriage by parents or any other kind of marriage will bring us happiness. The: author, however, gives a better place to marriage by parents which, according to him, oultivates in our hearts the virtue of modesty which many times becomes a cause of happiness in the end as was in the case of Mayanasundari, whereas choice-marriage on the contrary brings the vices of arrogance and immodesty which often become the cause of misery in the end as was in the case of Surasundari. Save this reason, he has no system of marriage to advocate. The only thing that he wants to emphasize is that whatever system of mar. riage might be, the happiness or otherwise of it does not depend upon any such system, but it depends upon a person's actions of former birth. This is the view of the author, a Jaina Acha. rya, and hence it is the view of Jainism as well, and any believer in the theory of Karma (as propounded in the 6 Karmagranthas ) wilt certainly adopt this view. St. 92. The second half of this stanza is a subhASita. For similar thought of. " likhitamapi See alfag FH: 1".

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Siri Strivalakaha St. 98. This stanza is also a una verse. St. 94. This verse serves, as it were, to be 4. prophecy or the part of Madanasundari. She, though married to a leper, becomes happy in the end because she was meritorious, whereas Surasundari, even though married to & promising prince, becomes, miserable in the end because she was devoid of merits. St. 96. (Sk 5g) has here got the sense of at once'. St. 97. olgem ( Sk. FouT) This refers to the well-known four items outst, fle, and 'bhAva. For the idea in the second line of. kummAputta verse 81. line. 2. :" orcofa er for et storfo HTTartu." St. 98. kIsa (aa. well as kiNa and kamhA) are used in Pk. for Sk. 7, meaning 'how', (see Hem. VIII. 3. 68). &t. 99. Atufa (Sk. Atrend). The causal of the root ott is sometimes used, as here, in the :sense of 'to experience'. St. 100. This stanza is one of the fer beautiful guitas in our text. St. 101. Beat ( Sk. apere.ie. SYARA) from to go; 'which has exigen. groftrat (Sko

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Notes wegget). sre meaning "little' its many times used in Pk, to show negation. Hence teachers moang having little merits i.e. havidg no merits.' yer here means 'obligation, good. '". St. 103. In the second half of this stanza, we have got an instance of 4 or that figure of speech which is known as "Metaphor in English, in which the gutter and the guite on account of their very close resemblance are taken to be identical and described as such; and it is generally recognised by the introduction of words like ; ger etc. Thus here king Prajapala is taken to be identical to frete and kayaMta and described as such. kayaMto ( Sk, garat. Yama, the god of death. St. 104. equicefiafierunt (Sk. 776 Arnfera:) those desirous of a paltry sum of money. gefag (Sk. haft) honey-mouthed (words). St. 107. CET (Sk.) beautiful i. e. 'good'. It is used in this sense in the Uparakadas'a Sutra also, where the doctrine of Lord Mahavira is said to be here or 'good,' and that of Mankhaliputta Gosalo to be maGgulI or bad'. asuMdarucciya, See notes. Or zivabhAvucciya and siripAlulya in sts. 21 and 38. respectively: ' '. St. 109. after (Sk. fagfT). "A pleasure

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96 Siri Sirivalakaha garden'. The commentator renders it ag" Trst atlet. It appears, that the commentator has taken the word or as Standing for rAya (rAman )The word Te is found as an optional form for Tror in Praknt. The word Trensen Corresponds to Trreifsen' or' the royal garden' mentioned in st. 110. St. 110 punHAT ( Sk.) Burning with rage. This is an onomatopoetic word which is a word in which the sound resembles the sense.' St. 112. TCH ( Sk. aCHTof-HTaref) lit. the essence i. e. the secret. St. 113, Fatt ( Sk. gallustof: ) ilusti in Sk. means 77951 or valour (from the adj. Tlust, which means 'elevated, full of valour etc.') Hence itustarf: means 'full of valour, brave'. (Sk.g. 3) Leprosy--a disease of which there are 18 varieties for which see notes on st. 311, St. 114.9977 (Sk. ga%) It is a Des'i word and is one of the 18 varieties of the disease of Leprosy. Sts. 115, II6. In these two stanzas we have got a beautiful instance of refa or what is called 'Irony' in English. This figure of speech expresses tho contrary of what is really meant,

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Notes there being generally something in the tone or manner to show what is really meant. ' A satire may be disguised in the form of a compliment or a compliment in the form of a satire.' erat (Sk.) has the sense of sparerit or 'a mulo'. Perfor piNisahA (Sk. dhiNidhiNizabdA). Persons producing * Dhini, Dhini' sound, of, the word pagaat in St. 110. St. 116. HUSBA (Sk. Autora:)' HERE' like gacy or jac is a kind of leprosy with red round spots. dahula (Sk. damat ). Like uMbara and Huse, ) is also a kind of leprosy generally called 'Herpes.' TE SHTETIT ( Sk. FerfitA4TII- TERET). 87187 or 291 (Sk. Feft) means 'a betel-box,' and 2757 (Sk. 3448) means bearing, possessing:' Hence 7347 at means the bearer of the betel-box.' St. 117. Teks (Sk. gefaamat:) Those who had got the disease of stefanala i. e. 'the wind produced in the womb during the pangs of travail.' 083caaf ( Sk. poegerufzzu). Jog ( 56 ) means 'Itch or scab'. It is equivalent to Guj. nyorell'. (N. B. Here 3 of Foreign is changed to 3-any vowel substituted for any other vowel.) (Sk. a) It generally means Kus'a grass, but here it means a kind of disease, per win dezavail! Terch or scabit of the

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98 Siri Sirivalakaba haps giving pain similar to that given by the piercing of thorns. viuciapAmAsamanniyA (Sk. vidyarcikApAmAsamanvitAH) Suffering from pAmA which is a skin-disease resembling foreningen i. e, itoh or scab. (vicacikAjAtIyA yA pAmA tayA samanvitAH) St. 118 peDaa ( Sk. peTakaH-samahaH ). peTaka (also piTaka) means 'a. collection, a. multitude, a crowd etc.' It also means a basket, a bag, a box. paMjibha It is a Des'i word meaning ' a gift which a supplicant demands'. The commentator explains it as " mukhamArgitaM dAnaM." _St. 122. duyaM (Sk. drutaM-zIghra). at once. St. 125. samatthi ( Sk. samasti) from as with sam 'to. be.' viapputti (Sk. vikalpo + iti) cf. NiyabhAvucciya, siripAluvva and asuMdarucciya in Sts. 21, 38 and 107 respectively. St. 126. kappaDa (Sk. karpaTa) a cloth, a garment. St. 128. kira 800 notes on St. 89. St. 132. bullAvai causal of bullU (also bolla ) & Pk. root in the sense of Sk. kaz to tell (see Hem. VIII. 4. 2.) ___St. 133. huM is an indeclinable in Pk. used to denote question, prevention, disregard, driving and gifb.' (see Hem. VIII. 2. 197. which says: "dAna-pRcchA-nivAraNe.")

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Notes 99 St. 137. The second half of this stanza is . subhASita. St. 138. aah (Sk. asenfa ) (spoil. St. 142. Entela (Sk. Errrcft) 'aocomplishing, performing." St. 143. gfors (Sk. a) of. furraieroete, fertuigea, s afoerst, farcyfer etc. St. 144. HTEESSUT ( Sk. HOT) Maternal uncle. St. 145. ETTTT ( Sk. Htet) fra here means 'courage'. The root as in the sense of 'to swerve or deviate governs the ablative, St. 148. Face (Sk. a) Fate. St. 151. ATEU (Sk. THA) Good, auspicious. St. 153. , . This shows' disregard of the king who speaks ironically. Sts. 155 to 158 are written in the fact metre in which a verse has got four "padas' each are or foot consisting of 11 syllables; and they are some of the few difficult stanzas met with at random in the text, and contain the description of the marriage ceremony of Surasundari. St. 155. ME (Sk. gen) here means 'fixed'. JE (Sk). A crowd, a multitude. St. 156. T may be taken in its usual sense of a pitcher. 'lfers appears to be explained as

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100 Siri Sirivalakaha afata (marked with, possessed of)' by the commontator. Ates is a Des'i word having the sense of #59 or 'a pendal' constructed for a marriage ceremony eto. ( see Hem.'s Des'inamamala, 6. 146.) T: (*) is a Sk. word meaning 'food'. Teres lit. meansowhite, beautiful', hence secondarily it means. . auspicious'and then ' auspicious songs'. the adjective being used as a noun.staclesia(Sk.Tabara:) therefore, means' singing (lit. giving) auspicious songs'. suvAsiNi (Sk. suvAsinI.) Here it has got the sense of a young woman whose husband is alive." puraMdhi (Sk. puraMdhi-dhI). an elderly woman whose husband and children are living. St. 157. HEC ( Sk. HTFT). A kind of drum. 7504 (Sk. arhes i. e. a ut) lit. fourfold i. e. 'many. St. 158 persa is a Dos'i word in the sense of Sk. hastagrahaNa or pANigrahaNa i. e. -- accepting the hand of the bride'. cf. Guj. odzdaley', 'ploaiel' etc. maMDalavihi ( Sk. maMDalavidhiH ) ' The ceremony of going round ( the fire three times )', what is generally known as 30141321' in Guj. * Sts. 159, 160 are to be construed together. St. 165. gri (Sk. art: ) has got the sense of most probably ( TEUTT)' here, ( and not the usual sense of 'generally '). Finsforzi (Sk.

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leper by bir of his acrid had been bis Umbara Notes 101 grannfara ) produced i. e. come on accout of the bad ( i. e. infected ) company' of lepers. This shows that Umbara was not a leper by birth but the disease had come to him on account of his accidental association with the lepers, to whom he had been brought by fate. We shall see later on that this Umbara is none else but King Shripala, the hero of our story himself. St. 166. Fe (Sk. g) lit. turbid, displeased i. o. pale '. St. 167. gad (Sk. grevefa ) 'gives pain', ef. Guj. $Gai, $144 . St. 168. AFECTSA EFTFRI ($k. HECTRA TESI ?-219&vafa sa:) ' how (foul ) is the birth of a woman?' It is said in Jainism that a soul gets the birth of a woman in this world as a result of infinite heaps, so to say, of sin ( SprayTECTTT: ' ), which it has committed during its transmigrations from one existence to the other. Hence it is said to be very foul and impure here. In spite of this, it should be remembered, however, that women are not looked down upon in Jainism, and perfection and liberation are not denied to them. The Digambaras, however, hold that a woman

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102 Siri Sirivalakaha cannot go to Moksha. Even though their birth is very foul, and a result of heaps of sins, yet they can shake off all their sinful actions and get emancipation by living the lives of satees' like Mayanasundarii, Savitri, Sita, Damayanti, Chandanbala, Sulochana and others who serve as beacon-lights to them. It is a matter of great regret, however, that such satees' are very rare, the majority of the woman-world, instead of alleviating the heaps of their evil karnas, living such crooked lives which go on accumulating them, thus 'adding fuel to fire' and preparing & way which certainly leads them to 5 or hell, the abode of endless pain and misery from which they can hardly emerge out again. St. 169. This is a very beautiful stanza emphasizing the importance of the virtue of chastity in women. St. 170. falfossi (Sk. fafari) for certain. St. 171.. Fra (Sk. Era). Stuff i. e. courage. erae (Sk.) The rising mountain i. e. the mountain Nisadha. cUliaM (Sk. cUlikAM-zikhAM ) Top. St. 172. Tin (Sk. garant:) Swiftly, speedily, quickly, at once. free (Sk. * ). The First

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Notes 103 Tirthankara of the Jainas of the prosentavasarpini, generally known by the name afaria. St. 173. str (Sk. Ritg ) -gjur is a Pk. root for Sk. a to praise ( see Hem. VIII. 4. 241.) and from that we get the infinitive thoDe or thotuM. Sts. 174 to 178 contain a beautiful eulogy or panegyric (eta) of Lord Rsabha in "exqui. site words. They are some more difficult stanzas met with in the text. St. 174 *T (Sk.) has got the sense of ex-cess 'bere; of. gurtu, and not the usual sense of 'burden' etc, afas (Sk, ) lit.'humble i. e. bent down'. This is an instance of what is called Facufet, often met with in Pk. which is the splitting up of two conjunct consonants by means of a vowel (Faror fi Finn:). Jotes ( Sk. Jras:) lit. bright i.e. white. Fame is always conventionally taken by poets to be possessed of a white colour, as (Sk.) lit. 'only '; here it has got the sense of foot i. e. 'full' as the conmentator explains. kiMtipUra (Sk. 'kIrtipUra) food of fame.' yani is explained by the commentator as "lokatrayaM" the three worlds. aMtara aft (Sk. waaa). The internal enemies such as Fita, ET, ATA, ATT and are St. 175. Execa cf. fuper terre eto. Tafafar

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104 Siri Sirivalakaba (Sk.) darkness in the form of ignorance. Lit. A like fafit means 'darkness, but here it has got the sense of ignorance'. Here (Sk. ger) lit. those who have got the power of moving in the sky, i. e. the fautes or 'demi-gods'. refst ( Sk. arafea: ) lit. shown i.e. done. St. 176. T. arare means Indra, therefore, aterata means 'the preceptor of Indra,' which is the same as 'Heyra' in st. 44. There (Sk. gocara). It is the short form of govaraviSaya i. e. an object of range, hence secondarily an object of praise. Fante [ Sk. Fante (T)] has, as the commentator says, the sense of faretra or 'spread' here. kAsa (Sk. kAza or kAsa) 'A kind of grass used for preparing mats, roofs etc. which is known for its brightness. Tot lit. sport i. e. practising. Start or what is more commonly used as Tetesat, or eat meaning disregard, contempt, despising, disparagement, slighting off. __St. 178. hIlA-same as avahIlanA explained above. There [Sk. 3 T : ( :)]'not imprecated'. HT (Sk.) is equivalent to th, both meaning 'light'. nAhattaNu kari (Sk. nAthatvaM kuru), show us your lordship' i. e. show us your favour and do us good. St, 177. 537 (Sk. a). The word sfat at

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H :: Notes 105 the beginning of a sentence is changed to go in Pk. tijayavijayasiripAlapaho (Sk. trijagavijayamIpAlaprabhA) Here there is a play or pun upon the word 'siripAla', and accordingly, the phrase has got two meanings; (1) The Lord who is the protector of faft (Sk. *) i. e. the goddess of victory of the three worlds. ( 2 ) The Lord of ferture (Sk. xfiyle ) i. e. king Shripala who is victorious in all the three worlds. speratifear (Sk. ea: ) This phrase also has got two meanings, there being a play upon the the word 'pruut' (1) The enemy ( ahitaH) of mayaNa ( Sk. madana) i. e. the god of love, (2) The benefactor of terut i, e. Mayanasundari. ure (Sk. He:)'' is the genitive sing. termination in Piz. St. 179. gorge (Sk, Filfa ) see notes on St. 173. ffurfiat (Sk. FH Sta). The ablative sing. termination is generally dropped optionally in Pk. karaThiaphaleNa ( Sk. karasthitaphalena). The commentator renarks: " #Efferaats galfanniesa ",hence by ons is here meant the Systy i. e. the fruit of the Citron tree or such other fruit. By this fruit is here to be taken pot the actual fruit of that tree, (because such actual fruits are never placed in the hands of the idol of the Jina ), but a gold or silver fruit having the shape of the is fruit (such fruits being often placed in the hands of the idol of the Jina).

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106 Siri Sirivalakaha St, 180,- FT (Sk. aftfa) cf. -furering Preseto. fat is used here for the sake of metre 6 TEKUT". . St. 181. Phierat (Sk. brefa ). Pre is a Pk, root in the sense of Sk. tid to be des. troyed; to perish ( see Hem. VIII. 4. 177 ). saMjogo (Sk. saMyogaH) circumstance. St. 183. Tauit etc. The plural is used for the singular in order to show respect. Ofa. (Sk. ota-b41) lit, surrounded by i. e. full of. Sts. 184 to 228 contain the preaching of the sage Munichanda, its purport being to emphasize the greatness of the Navapada'. St. 184. ASGA (Sk.) lit. not insignificant i. e. not short, i. e. long. St. 198. are short of art ( Sk. Baig:). prattling, abuse, censure eto, of, amani yaitgi." St. 189. Erarsi (Sk. ATCE) is a technical term in Jainism meaning 'sinful. It connotes any action which involves 'himsa' of any one of the 6 kinds of living organisms mentioned in Jainism known as the "acarauitas' * as well as any * They are (1) quaftaty or the earth-bodies, (2) grity or water-bodies (3) 3 T4 or fire-bodies, ( 4 ) TT or wind-bodies, ( 5 ) artefato or plants, (6) Tara or all moving creatures.

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Notes .. 107 other kind of sinful or faulty action whatsoever. fafore (Sk.REPAREIT) see notes on St. 56. It'should be noted here in this verse from the words of the sage Munichanda that the Jaina Sadhus are prohibited from engaging themselves into any sinful or faulty . (sAvadya) action which includes. also the prescription of any kind of medioine or telling any spell, charm .or incantation. etc., because, . they, either directly or indirectly, involve -- himsa' of any one of the 6 kinds of living organisms. Hence those monks who are engaging themselves in doing such things are not true Jaina monks. For a similar idea cf. the 'sabhikhkha' Adhyayana ji. e. the fifteenth Adhyayana ) of the Uttaradhyayana Sutra verses 7 to 10 : "chinnaM saraM bhomamaMtalikhkhaM suviNaM lakhkhiNaM daMDavatthuvijjaM / aMgaviyAraM sarassa vijayaM jo vijahiM na jIvaha sa mikhkhU // maMtaM mulaM vivihaM vijaciMttaM vamaNavireyaNadhUmanettasiNANaM / AurasaraNaM tigicchiyaM ca taM pariNAya parivvara sa bhikhkhU // khattiyagaNauggarAyaputtA mAhaNabhoiyavivihAya sippinno| no tesiM vayaha silogapUyaM taM pariNAya parivvara sa bhikkhU // gihiNo je pavvaieNa diThA apavvarapaNa va saMthuyA hvejaa| tesiM ihaloiyaphalaThyAe jo saMthavaM na karei sa bhikhkhU // " "He who does not profess and live on divination from cuts and shreds, from sounds on

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108 Siri Sisirvlkaha the earth or in the sky (which includes astrolo gy), from dreams, from science of telling future etc., from the characteristic marks on the body, from sticks, from properties of buildings and fields, from throbbing, from the meanings of the cries (of birds, animals etc.)--is a true monk. 'Spells, roots, every kind of medicinal treatment, emetics (i. e. vomitting ), purgatives, fumigation, anointing of the eye and bathing, the patient's lamentation and his consolation, -he who abstains from all these things is & true monk. He, who does not praise or pay attention to the warriors, Ugras, princes, Brahmanas, Bhogas and artists of all sorts, who abstains from these,-is a true monk. 'He, who does not, for earthly gain, cultivate familiarity with householders, with whom he became acquainted as a monk, or was in friendly relation before he became a monk,--is a true monk.' Thus we see that a monk is prohibited from professing all prophetical arts and this is to be specially borne in mind in these days, when certain strolling monks are practising them apparently to insinuate themselves into the graces of

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Notes 109 laymen and laywomen. According to the commandments of the Soriptures,such monks would not be called true monks. In the Satrakrtanga Sutra also, a similar view is propounded. Hence true monks, acoording to the scriptures are never to engage themselves in practising any such prophetical arts. St. 190. FARG. see notes on St. 125. ETTEUT Haymi. (Sk. Teretai BATT&TTTT). The worship or propitiation of the Nine Dignities already explained fully in notes on St. 1. Here the poet, through the mouth of the sage Munichanda, introduces the main object of his writing the story of Sirivala which is to create in our hearts a devotion for the Navepada which as he says, is the root-cause of all our happiness in this world as well as in the next, and which, as he says further, bas enabled, enables and wil enable many a soul in getting themselves to be emancipated. St. 191. St. 23 and this stanza are exactly the same word to word, the only difference being in the last word of each. In st. 23, the last word is gurce and in this stanza it is UCHT. St. 192. seperti (Sk, saate:). The essence.

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110 Siri Sirvialakaba Sto 193. fa see notes on sts 89 to 91. I 800 notes on Sts 18, 19. fasts (Sk, fara sa-Mi e) undoubtedly. . St. 194. oft (Sk. ara ). In Pk. the of 3is dropped optionally. St. 195. The first line of this stanza is verbatim similar to the first line of st. 34, gan (Sk.) The Extracted Rite. The rocitation rite of the Siddhachakra explained in the following stanzas, has been extracted, as the poet himself says in St. 287, from the Tenth Pirva called Vidyanuvada. Sts. 196 to 206. These eleven stanzas discurs in brief the Siddhachakra Yantra 'which has got the shape of a' kalas'a" or jar. They are somewhat tedious stanzas difficult to understand. Their meaning and explanation are however, roughly discussed below. For a thorough and exact conception of them refer to the glass paint-jewelled photo to be found at Mr. Sarabhai Nawab's place which he has got prepard by inourring the heavy expense of Rs. 700. It is of a fairly large size and gives & vory vivid and exquisite idea of the Tearstafa of the whole of the Siddhachakra Yantra.

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Notes. 111 Some learned Jaina. Sadhus who might be. well-versed in the Science of Yantras if approached and consulted will also throw much light upon its understanding and recitation rite. Some books dealing with the said Yantra if available may also be read and consulted.* St. 196. This stanza gives the description of the 'FECUT' (Sk. Sufro ) i. e. the innermost centre or the heart of the Yantra. Tura ( Sk. ma). By this word is designated the letter te both the words having the same meaning 'sky'. f iei (Sk.efonrii-27T PATTETELE kalikA vyAkaraNasaMzAmayI vakrA''' ityakSararUpA tayA AvantaMAlati-ot for TFTAE I fout here has the sense of what we call 's' 377100EUR in grammar which is put for the letter 34, and criei (Sk. reri-Biga) means 'accompained by, together with'. Thus by the phrase 'Turhafsara' is meant that we are first to take the letter and then put before it the 's'. Thus the whole phrase designates 'se'. ESTETI ( Sk. gsarat:ari * It is heard by the editor that there are some books which explain and give the picture of this yantra, but which on account of want of time he has not been able to see

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112 Siri Sirivalakaha grafa: hr z u anda formataient I). Now in the symbols that we have already got we are to put 'm above and below in the letter out and then we get the symbol 'I'. sanAyavindukalaM (Sk. frarefargeten) Imeans ' a nasal sound represented by a semi-circle or as the commentator says' 2969781477:' ().' fangstest means 'the dot over a letter representing the UEFAR (-).' Hence the whole phrase ' rarefargenes' means together with the anunAsika (-) and anusvAra (ka). Now taking all the three phrases together, we get the symbol ' s e queretut ( Sk. 7. attare). Fura means 'the sacred syllable om ( 3 ).' afts means the mystical letter forming the essential part of the mantra of a deity, viz. V. Sarat means ' a circle, ( Voer 'o'). Now the whole porase means that we have to write za before sig , and af before 3 S, and then round about the symbol of mos thus obtained we are to draw two circles. Then tne final symbol will be: TETE ( Sk. ratai ) Havirg ( 16 ) vowel

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Notes 113 (viz. a, A, , I, u, U R R , karade, o, au, meM, *:,) at the end. This means that round about (prela:) the final symbol obtained above, we are to put all the ( 16 )vowels. saraha (Sk. smarata) remember in the mind i. e. recite or write. St. 197. This stanza gives us the description of the first grey having a lotus-like shape with eight petals. aDadalavalae [Sk. aSTadalavalayaH (1)] A (lotus-like) circle having 8 petals. sapaNavamAyAie suvAhate (Sk. sapraNavamAyAdikAn svAhAMtAn ) Together with OM hrIMkAra (mAyA) and svAhA. mAyA is a synonym of bIja both meaning hrI. sidhyAe (Sk. siddhAdikAn) i. e. siddha, AcArya, upAdhyAya and sAdhu. dasaNAie (Sk. darzanAdIni) i. e. darzana, zAna, cAritra and tapa. The method of drawing the first ou described here is roughly as fojlows: First we are to draw a lotus-like cirole having 8 petals. Then we are to bow down to the siddha, AcArya, upAdhyAya and sAdhu writing the formula OMdrI...svAhA' in all the 4 directions respectively, putting in the ellipse the name of the four Dignities in the dative case one by one according to their ranks. In the same way we are to bow down to darzana, zAna, cAritra and tapa in the four by-directions writing the same formula in the same manner.

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114 Siri Sirivalakah a St. 198. This stanza gives the description of the second ase which is to be placed outside round about the first and which has the shape of a regular round circle having 16 petals. sANAhae (Sk. sAnAhatAn ) having circles round them. arit (Sk. aria ). The (8) letters viz. 37, , a, a, a, T, T, TT. THERO-9644 (Sk. THIS prathamapadAni). The first parameSThipadas i. e. we are to write the name of the First Dignitysittia thus : - 3 At s atui?. eight times. The description of the second aesty is roughly as follows:- It is of a regular round shape having 16 petals. In the alternate 8 petals out of these, we are to write the 8 letters. 37, 45, a, Z, 7, 9, 7, 7 respectively, and in each of the remaining 8 alternate petals, we are to write the formula 'gio THT efectur'. St. I99. pAyAhiNeNa ( Sk. prAdakSiNyena.) Drawn from the right. laddhipae (Sk. labdhipadAni). The * Labdhis or Supernatural Powers.' The third 969 can roughly be described as follows: First we are to draw three circles round about the Yantra got upto now and then we are to draw 8 cone-like petals circumscribed by these circles. Then in the intervening spaces between the 8 petals in each circle we are to

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Notes 115 write the fastes. In each intervening space in each circle, we are to write two fogyas. Thus in each circle there will be 16 folyes. Therefore, in the three circles taken together there will be 48 fostures in all. Thus is completed the description of the third valaya. St. 200. te refers to labdhipadAni. In Sk. labdhi. Te is neuter, but in Pk. it is treated as magculine; hence we have got a ( mas. ) and not tAI (neuter). saMmaM (Sk. samyak ) well. St. 201. j i. e. the whole Yantra formed upto now. fagrurOI ( Sk. fstyora ). Tur means tan or line, hence fargo here means the go or tan circled three ( and a half ) times. Ofte ( Sk. ofrutt ) on the circumference.gr ( Sk. No:) The ult# or etymological sense of the word *T16 ' is ' sandals'; but here we are not to take this etymological sense, but its til or conventional meaning which is 'foot-prints'. Cf. Guj. "yolali'. . St. 202. This stanza enumerates the 8 pairs of foot-prints referred to in the former stanza. tfu (Sk. aforal). It is a technical word in Jainism meaning 'a Sadhu standing at the head of a Gana (or a group of monks) i. e. the Head or the Acharya of the Jaina Church.

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116 Siri Sirivalakaha guru (Sk.) Here it refers to the upAdhyAya who teaches the Agamas etc. to other monks. TCH This word here refers to the Jaina Sadhus who are the great (UCA) 'Gurus' of the world. sleg ( Sk. SEE i. e. Seura:) The 'Gurus' whom we have not come across in our life. TOATE gurUNaM (Sk. anaMtasugurUNAm ) refers to the infinite number of holy Sadhus that are moving in the whole universe. duraNaMtANa gurUNa (Sk. duraNaMtAnAm THUTH-traria FUTH) This term refers to the innumerable . Sadhus' that are moving in the universe at present, that were moving in tte universe in the past, and that will move in the universe in future. The method of bowing down to the 8 Taygets or Pagalas as explained in Sts. 201 and 202 is as follows: Over the top of the Yantra got upto now, we are to write the letter off and then beginning from the sign 67 representing a long T of gt, we are to draw a ter or a curved line circled three and a half times, the letter my being written at the end of the half-drawn 4th circle of the above mentioned tar. Then on the circumference of this tet, we are to meditate upon the 8 TOUTE TS, the formula of reciting or wri

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Notes 117 ting them being of the type o site EkAbhyo namaH', the remaining gurupadas having to be substituted for the turn by turn. St. 203. TEIGT (Sk. teft). Round about the Yantra got upto now, we are to draw two tets (i. e.curved lines) of the shape of semi-circlesone on the right-hand side, and one on the lefthand side--which when joined together will form the shape of a kalas'a (or jar). fastHES (Sk. THES). The 'kalas'a-like circle, obtained as explained above, is here termed as Ich. a see notes on St. 34. PITE ( Sk. ayAdi). The four zAsanadevIs or dikkumArIs, i. e. goddesses that guard or preside over the Jaina S'ajana (or Order). They are (1) FPTT, (2) Faseit, (3) Ferrat, (4) That, who reside in the four principal directions of the mountain rucaka. jambhAi (Sk. Ami ). This also refers to the group of other 4 mendafts or facsarts viz. (1) FFHT, (2) TEHT, (3) let, (4) TaeT who reside in the four by-directions of the mountain Ter. The description of the S TAGE is as follows: Round about the Yantra formed upto now we are to draw two tets or semi-circlesone on the right hand side and one on the lefthand side which when joined together

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118 Siri Sirivalakaba form the shape of a kalas'a (or jar). This whole Yantra thus obtained is termed BPCTATES which, as the auther says, is presided over the 4 principal directions viz north, east, south and west, by the four fanarts frit, fast, fermet and startetat respectively, and over the four by-directions by the other 4 F ATTIS TANT, SambhA, mohA and gandhA respectively. St. 204. Farrah FIFA ( Sk. eft fansharift). Vimalaswami is not the same as Vimalanatha, the thirteenth Tirthankara, but it is the name of a god who presides over the Siddhachakra, and who resides in terheasin. He is sometimes called Vimaleshwara also. payANaM (Sk.padAnAM) Here it refers to TUC8 or 'the words of the sacred texts' and not 'feet'as usual. The formula of reciting these Apyres is as follows: Round about the Amrtmandala, we are to draw a circle and write on its circumference the H eas of the gods and goddesses presiding over the face, the formula of writing them being abo si felicstafa 77:' etc. Sts. 205-206. fargfa (Sk. faena fet ) The goddess of Learning. The fourreants are 16 in number, Rohini being the chief of them. Fra 5 ( Sk. JATEKS) a god prosiding over the

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Notes: 119 Jaina zAsana or. Order, or zAsanadeva as - he is generally called. Such maaaas are said to be 24 in number, the gomukhayakSa being the chief of them. sAsaNadevi. (Sk. zAsanadevI). Corresponding to the zAsanadevas mentioned above, there are the zAsanadevIs which are also 24 in number, cakkesarI (Sk. cakrezvarI) being the chief of them. mulagahaM ( Sk. mUlagrahaM i. e. kalazabhUlagraha). Having the planets at the base of the whole kalas'a-like Yantra. The planets are nine in number and they are mentioned in the following verst:__sUryazcandro maMgalazca buddhazcApi bRhaspatiH / zukraH zanaizcaro rAhuH ketuzceti grahA nava // kaMThaNihiM (Sk. kaMThanidhi) Having the Niahis or Treasures which form the neck of the whole kalas'a-like Yantra. The Nidhis are also nine in number and are enumerated in the Jaina scriptures thus: " naisarpaH 1 pANDakazcAtha, 2 piGgalaH 3 sarvaratnakaH / / mahApadmaH 5 kAla 6 mahAkAlau 7 mANava 8 zakhakA 9 // There is some difference, as will be seen, in this list and the list of the nine nidhis of Kubera enumerated in Apte's Dictionary in the following shloka : "mahApannazca pannazca, zaGkho makarakacchapI mukuMdakuMdanIlAca, kharvazca nidhayo nava // "

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120 Siri Sirivalakaha afturi ( Sk. "CTETE). Having the four starts or door-keepers viz. (1) , (2) spa, (3) atha and (4) goueat. atsaiti (Sk. caturvIraM ). Having the four vIras or warriors viz. (1) #furat, (2) quran, (3) mes and (4) fus. Pareala (Sk. faeum). The guardian of the quarter. Corresponding to the 10 quarters, there are 10 guardians of quarters which are mentioned in Jainism as follows: (1) Indra, (2) Agni, (3) Yama, (4) Nairuta, (5) Varuna, (6) Vayu, (7) Kubera, ( 8 ) Is'ana, (9) Brahma and (10) Naga. Sometimes, they are taken to be 8 in number omitting the last two. khittavAla (Sk. kSetrapAla) The guardian of the continents. The further process of the Yantra as ex. plained in these two verses is as follows : Round about the Yantra got upto now we are to draw a circle writing on its circumference the names of the 16 faendafts, the formula being of the type, caso ci site TA:' etc. Then round about this circle, we are to draw another circle writing on the left and right of its circumference, the names of the zAsanadevas and zAsanadevIs respectively. Then at the base of the whole "kalas'a '-like

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Notes 121 Yantra, we are to write the names of the 9 planets, the formula being of the type, syfePart (Refe) :'. Then on the right and left of the neck of the whole' Kalas'a'-like Yantra, we are to write the names of the Nine Nidhis, the formula being of the type, OM naisarpakAya namaH' Then round the Yantra formed upto now, we are to write the names of the Four Doorkeepers' in the four principal directions and in the four by-directions, the names of the Four Warriors.' Then on the circumference of the whole Yuntra we are to write in order the names of the Ten Guardians of the Quarters' in the ten directions respectively, the formula being of the type, 3 FETT TA: ' and then in the four corners just near the names of the guar. dials of the by-direcrions, we are to write the names of the TTTO, FASFETft, heart and aprasiddhasiddhacakrAdhiSThAyaka respectively, the formula being of the lype, '3 StyleTI FTA:'. Thus the whole Yantri will be completed. Here in these tedious to understand but lucid verses, the author has shown us his genius by giving us in brief-and * brevity is the soul of wit'-an exquisito description of the fact Here which, we must admit, can be done only

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122 Siri Sirivalakaha by few poets, who have got a mastery over the science of Yantras and who are possessed of extra-ordinary power of observation, imagination and exprefsion. St. 207. faoiuer (Sk. faelgare). It is the name of the Tenth Parva' out of the 14 Purvas. Rapaj ( Sk. TCHTO ) Essence. siddhio (Sk. siddhayaH) The Superhuman Powers or Faculties. These are 8 in number and are enumerated in the following Shloka :-- . " aNimA laghimA prAptiH prAkAmyaM mahimA tathA / IzitvaM ca vazitvaM ca tathA kAmAvasAyitA // " Thus they are (1) Anima' or the super. human power of being as small as an atom, (2) * Laghima' or the supernatural power of assuming excessive lightness at will, (3) Prapti' or the supernatural power of obtaining anything we want, (4) * Prakamyam' or Irresistible Will, (5) 'Mahima or the supernatural power of increasing size at will, (6) ` Is'itvam 'or the supernatural power of getting lordship over the world, (7) * Vas'itvam' or the supernatural power of bewitching the minds of other persons, and (8) * Kamavasayita' or the supernatural power of suppressing our passions and desires. St. 208. sukkajhANa (Sk. zukladhyAna) The White

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Notes: 123 i.e. Pure Meditation. In Jainism there are Four Kinds of Meditation, viz. (1) stora, () trgEra, (3) tea and (4) 1719, the first two being meditations of a bad nature, and the last two of a good one, the groot being the best. nijaraM ( Sk. nirjarA) The Destruction of Karmaone of the Nine Tattvas or Categories of fundamental truth in Jainism, it being the seventh in chronological order. In Taarayut, it is thus defined : "arrafaggat ForT." The Twelvefold Penance is 'Nijjara'. For the Twelve-fold Penance see notes on St. 26. St. 209. Ei see notes on St. 34. St. 210. MAYRA ( Sk. Paga) lit. the Supreme Being i. e. the Tirtbankara. St. 211. STEJHEIRATE Crui ( Sk. THERE TY*) The Giver of the Eight Great Siddhis already explained in St. 207. St. 212. This stanza tells us that before a man can become the propitiator of the Siddhachakra, it is necessary that he should first cultivate in him the virtues of forgiveness, selfcontrol, and freedom from passions. St. 214. Hari (Sk. BY-) Misery, misfortune.

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124 Siri Sirvialakaba St. 215. For ideas similar to the idea expressed in this verse, cf. the well-known maxims, 'the biter bit,' 'evil to him who evil thinks' etc. St. 216. na Alagoas ( Sk. aq: Afafaqah) Along with penance and (proper ) religious rites. Their nature is described by the author in the following four stanzas. St. 217. SAISTET 2737&SPA Porrat ( Sk. sarfsaat sales Cert) From the Ashtami or the Eighth Day of the bright-half of the month of Ashwin. Surf STATEE ( Trif55T++STFE)'F' is often put between two words in Prakrit for the sake of metre etc., or sometimes even without any purpose. aTThavihapUyapUvvaM ( Sk. aSTavidhapUjApUrvam ) performing the aSTavidhapUjA or what is commonly known as Teteras i. e. the Eight-fold Worship. It is so called because in this puja or worship, eight materials are used. viz. (1) water (jala ) for Bathing the idol (2) Sandal ointment (chandana, ) (3) flowers (kusuma), (4) incense (dhupo ), (5) lamp (dipa), (6) rice with unbroken ( akshata ) ends, (7) offering of sweets, and other things generally eight in number ( which are presented before an idol and which are technically known as naivedya'), (8) fruits ( fala). These eight materials

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Notes 125 are enumerated in a Guj. couplet thus: "8919, raama, buhall, 44, E14, 121812; 2424'3 Bed, tall, 2424 uzrazila " The object of performing this. Eight-fold Worship is explained in an another couplet which says : " 619-2692 slph, f04-2019 auf$12; 3lpen $1207 ha, ao you BELZ." Thus the object. of performing the Eight-fold Material Worship is. to enliven in our hearts a feeling for Spiritual Worship consisting of a Pure Mental Condition. Thus water among the eight things indicates that we are to make our soul pure. Sandal ointment indicates that just as it makes things crol and fragrant, in the same way we are to make our soul equanimous and virtuous as well as virtue-loving. Flowers indicate that we are to make our mind and soul as fragrant ( i. e. virtuous) and beautiful (i. e. pure) as a flower. Incense, indicates that just as fire burns fuel, in the same way by pure meditation, we are to destroy all our karmas. The lamp indicates that. just as it destroys darkness and gives light, in the same way by destroying our jJAnAvaraNIyakarmas, we are to destroy our ignorance and obtain Omniscience. Rice with unbroken ends indicate that by this worship we shall obtain uninterrupted and indestructible bliss (i. e. Moksha ). Offering of sweet things, etc. ('naivedya') indicates that.

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126 Siri Sirivalakaha just as we renounce and present these things before the idol, in the same way, we are to renounce our attachment to worldly things and cultivate nirveda or a version to worldly life. Lastly the fruits indicate that we are to pray to the Lord Jina to give us the fruit of Liberation or Moksha. WRTA (generally explained as Sk. AcAmAmlAni). The AyAma fast or what is more commonly known as rifares fast is thus defined : " atstaforest gaat hie Thia Br "; for further explanation see notes on St. 1. St. 218. jalagut (Sk. januaa) . The Aggregate or collection of Five Sweet Things' used in worshipping deities. As the commentatur says : "FETCPETET FISTERETETA TOT " i. e. they are (1) curds, (2) milk, (3) ghee, (4) water and (5) sugar. In Apte's Dictionary they are enumerated thus : "dugdhaM ca zarkarA caiva dhRtaM dadhi tathA madhu." The only difference beoween the two lists is that in stead of the word stes in the first, we have got the word hy in the second, both meaning water. ( y generally means ' honey' but it also means 'water'). regui ( Sk. Fiqi ). Bathing the idol. From this we get Guj. 1994. facertar (Sk. fararter) with full particulars and minute

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i Notes 127 details. After Bathing the Siddhachakra with water, it is to be rubbed gently by means of quite pure, clean and bright pieces of muslin, then burning incense is to be waved before it, then it is to be worshipped with sandal ointment mixed with saffron, then what is called FATTYTV' is to be performed, then the Eightfold or Seventeen-fold or Ninety-nine-fold Worship is to be performed and all such minute particulars that are found to be observed in practical worship of the Siddhachakra even to-day are to be observed. syrifas see notes on arro in the preceding stanza. St. 219. Farat (Sk. =) The Chaitra month. 2758thgemut Teritoi (Sk. spesifirati tereta). By the observance of nine ai. 'aTThaI' is a special term in Jainism meaning 'a collection of eight consecutive religious days' on which the Jainas are expected to abstain from what they call SCHETAT27 i. e. from all sinful actions involving 'himsa' of any creature, great or small. There are such 6 TETS in a year viz.--one in the month of kArtika, one in the month of phAlguna, one in the month of TT, these being known at the Chaturmasi (i: o. four-monthly ) TITS, because they come at the interval of every four

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128 Siri Sirivalakaba months. Besides these, there is one part of Pajusana, the holiest days of the Jainas; and the two ETFs for propitiating the Navapada occuring in the mouth of 1916 and the respectively as referred to in sts 217 to 219 of our text. Among these six spect the last two are held to be over-lasting ( TT eart ) hy the Jainas and special worship is performed of the Navapada in the days of these two argys in order to propitiate it (i. e. the Navapada or the Siddhachakra ). One more special feature to be noted in these two Tags is, as is well-known, that the Jainas -sadhus and sadhwis, shrayakas, and shravikas--all read or hear the * Rasa' or * Charitra' of King Shripala translated in verse or prose in the vernacular and based on our text or similar other books in Sanskrit or Prakrit dealing with the lives of King Shripala and his queen Mayanasundari. The more learned sadhus, however, read and explain before a large audience Ratnas'ekhara's Sirivalakaha, in Prakrit i. e. the very text that we are studying, here. From this we can understand the importance of our text which has become a source of enlightenment and devotion to many a religious-minded person. One more point that still remains to be noted is that in the two

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129 Notes : eggs for propitiating the Navapada, we have nine days instead of eight as in all the remaining four areas. The reason is that as there are Nine Dignities, the days fixed for propitiating them are also nine-one day being allotted to the propitiation of each Dignity. Otherwise, as a matter of fact, each 375EUR has got only eight days as the word it:elf denotes and not nine, but in the Navapada-Atthais 'nine days are kept as a special case as already explained. gourite refacut ( Sk. HTETAT FOTOTH ATT ). By (the completion of) 81 Ayambila fasts. A parson who wants to practise the Vow of the Ayambila Oli Penunce [ or the . penance of (observing) a line (i. e. & number ) of Ayambila fasts.] has to observe consecutively nine Ayambila Atthais in every start and et months. When a mau has completed the practising of such nine Ayambila Atthais, his vow of the Ayambila Oli Penance becomes complete. Now in each such Ayambila Atthai, he observes nine Ayanbila fasts. Hence in all the nine Ayambila Atthais taken together, he will observe 81 Ayambila fasts. Hence it is said in this stanza that the Vow of the Ayambila Oli Penance becomes complete by the completion of the ob servance of nine Ayambila Atthais in successive

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130 Siri Sirivalakaha order and consequently by the completion of the observance of 81 Ayambila fasts. $t. 220. JFHUI (Sk. JETTA) The festival which is performed at the conclusion of a religious ceremony etc., which generally consists in distributing presents etc. to the co-practitioners of a particular religious ceremony. The higher kind of genua consists in doing such religious festivities as would create a love for the Jaina Sasana in the hearts of all the people who might happen to see them. As regards the 5ty after the completion of the Vow of the Ayambila Oli Penance, the general practice is to distribute certain articles among the co-practitioners, which would create in their hearts a greater devotion for the Navapada as well as for the Ayambila Penance. St. 222. TC55445THIE TEST HERIT: (Sk. gegatura estay: HERTIT:) The formidable disea: os such as the wicked leprosy, consumption, fever, and fistula ( in the anus or pudenda ) etc. In the Agharanga Sutra (Adhyayana VI. Uddesta 1.) these diseases are said to be 16 in number and are enumerated as follows:- . . . " gaMDI aduvA kuDi rAyaMsI avamAriyaM / kANiyaM simiyaM ceva kuSiyaM khutriyaM bhaa||

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Notes 131 udariM ca pAsa mUyaM ca saNoyaM ca gilAsaNiM / vevayaM pIDhasappi ca silivayaM mahumehaNaM // solasa ete rogA akkhAyA aNupuvvaso // " Thus they are (1) scrofula or boils, (2)leprosy, (3) consumption, (4) epilepsy, (5) blindness, (6) stiffness (7) lameness, (8)haunch-backedness, (9) dropsy, (10) dumbness, (11) apoplexy, (12) eating too much and digesting without adding to .strength, (13) Tremour, (14) crippleness, (15) elephant-tiases, and (16) Diabetes. These diseases are enumerated in certain other Sutras as well with only a slight difference. St. 223. fasa (Sk. faisca ) This is somewhat a vague word. The commentator ex. plains it as " Fourcaci " i. e. having no art. But it inay also mean'fa ' i.e. having impaired or defective organs of sense. juMgiyatta (Sk. juGgitatva fraca). Degradedness, lowness. In Jainism, Initiation ( Diksha) is prohibited to persons having foto ( i. e. degraded ) body, family and action, because they are considered unfit for it. St. 224. leri ( Sk. alafooi ) misfortune. In the case of a woman this misfortune refers to her not being liked by her husband. Fachat (Sk. Far a ). Becoming a poison-maid. Sexual intercourse with such a woman brings death

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132 Siri Sirivalakaha to a man who enjoys her. In literature we get several instances of poison-maids who are employed in treacherously bringing about the death of certain kings or enemies. kuraMDaraMDattaMFis (Sk. ET) means ' a slut, a whore', and t (Sk. *ET) means 'a widow.' Hence Fisisti ( Sk. HTETETA ) means 'becoming a whore and becoming a widow.' vajhattaM (Sk. vaMdhyAtvaM) barrenness. ATTETU (Sk. gaarala) becoming a woman bearing a dead child." St. 228. seed ( Sk. arhei) affection. Showing affection to a co-religionist (araft) bas been regarded in Jainism as one of the most. important factors in the life of a Shravaka. This affection consists in giving honour and cordial reception to a co-religionist and if he is poor to supply him with food, money, clothes etc, not with pity but with religious devotion and thus make him happy in every way. How happy the Jainas of to-day would be and how flourishing would be the Jaina Religion, if they would keep in their minds this excellent commandinent of the Jina !! They should also remember that the affection shown towards & co-religionist or Swamivatsalya' as it is called, has been regarded as one of the five most

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Notes 133 important duties which a Shravaka is to perform during the most sacred and holiest days of the Pajusana. They should also remember, as our author says in verse 230, that the affection which a good Shravaka should show to his co-religionist should be such as cannot be shown even by a mother, father or other relations. St. 229. ETUTUT is the same as FTTETTY. FOUT lit. means 'a grain' but here it has the sense of corn.' a. here refers to king Shripala and Mayanasundari. St. 239. 173. see notes on St. 228. St. 231. faecenia (Sk. Afhagstifafar ) The well-known rite of worshipping the Siddhachakra. The author, .by this, refers here to the 3grcffs of the Siddhachakra which we have already explained before in our notes on Sts. 196 to 206. St. 233. sagenti (Sk. gari) see notes on St. 217. St. 234. Toufarot ( Sk. NICOTT ) It is a technical Jaina word having the sense of 'giving a pledge, or taking a vow.' Lit. it means * renunciating.

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134 Siri Sirivalakaha St. 236. jeragut see notes on St. 218. St. 237. ugqueeft (Sk. Frunica ). In the Festival of Bathing ( the Siddhachakra ). jeres ( Sk. uifacies) . The Pacifying Water', generally known as nomana among the laymen. Here it is called Pacifying Water because it pacifies or alleviates formidable diseases like leprosy etc., and cures them, and also because it pacifies the mental pain that we experience in. this miserable worldly life. Even to-day it is the experience of many that by the sprinkling of this water or nomana ( which we get from the Pk. word nhuvana ) on the body, diseases such as leprosy etc. are cured or alleviated. Hence it is that many of the Jainas have continued this practice of applying the water of namana to their bodies especialy on the eyes, and chest etc. even upto-day. St. 238.3468ftar (Sk. starf) Wonder (see Hem. VIII. 1. 58 ). St. 239. ti ( Sk. atat:) lit. faults; then secondarily it means ' evils'. TE ( Sk. E) a planet; it also means a kind of evil demon. Any of these two meanings can be taken here. St. 240. Ereto for these various

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Notes 135 diseases see notes on St. 222. (Sk. a) has got the sense of rupA here. visUI (Sk. forefat). The commentator explains it as " saffof " i.e. indigestion. In Apte's Dictionary it is explained as cholera '. ____St. 241. jalaNa (Sk. jvalana) fire. sAvaya (Sk. sance ) beasts of prey. ffait ( Sk. get: :) calamities or distresses of the seasons. The itis are usually said to be 6. viz. (1) excessive rain, (2) drought, (3) locusts, (4) rats, (5) parrots, and (6) foreign invasions. Cf.: ativRSTiranAvRSTiH zalabhA mUSakAHzukAH / ... pratyAsannAzca rAjAnaH SaDetA ItayaH smRtAH // ( some read for the second line, svacakraM paracakraM ca saptatA ItayaH smatAH // making the total number seven ). Arts (Sk. ref:). ATO (FT) in Sk, means a plague, a pestilence, an epidemic. St. 242. fargut ( Sk. Fargati). farge means 'a woman bearing a dead child', cf. feqogaui in St. 224. fingfa (Sk. Hurra ) are destroyed. ( see Hem. VIII. 4. 177.) Te is a Des'i word in the sense of 57 stomach '. __St. 244, peyaDaM same as peDayaM explained in St. 118. Tui (Sk. asti) disease, pain. St. 246. This is a free verse showing

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136 Siri Sirivalakaba the greatness of a true preceptor who is possessed of compassion devoid of any motive: :: St. 247. Furthy UI (Sk. farmer fault) This is to be taken as a dvandva compound; jinazca dharmazca guruzca jinadharmaguravasteSAm / . deve gurumi dhamme-by these three terms the poet refers to the devatattva, gurutattva and dharmatattva the three most important Tattavas in Jainism (vide notes on St. 1). St. 248. fery see notes on st. 20. Avuita Sk. Aiara:) experience ( see notes on St. 99): ( Sk. 7) there i.e. in Ujjaini. . St. 249. ffureers (Sk. fragere). This is an instance of what is called art or transposition in grammar. gRha is changed to hara, ga being dropped and thus for jinagRha we get jiNahara in Pk. hara is again changed into ghara as in gharaNIi in St. 259. iMtiM (Sk. AyAntIM-from E to go ) coming. 36gb ( Sk. staraggi ) lit. half old i.e. a grown up woman. There ale four stages in the life of a woman which are explained in the following shloka. ASo'zAdbhavedbAlA triMzatA taruNI mtaa| . paMcapaMcAzatA prauDhA bhavedvRddhA tataH param // By stareat, therefore, it seems, that the poet refers to the the third stage of a set or a grown up woman of about 55

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* Notes 137 St. 250. Thereforint ( Sk. Thisvaraat) igrena means 'furnished with ' Hence thrrado perenait will mean * furnished with horripilation, i.e. horripilated'. aNabhA vuTi saMjAyA (Sk. anabhrA afic sitat) The rain has come without the clouds ' i.e. an unexpected thing has bappened. Just as, if the rain comes without the clouds, it is a thing of wonder, in the same way the prince's meeting his mother, without any expectation or possibility of meeting her, was also & thing of wonder--and hence it was a cause of great joy as well. Sts. 252, 253, 254 are to be construed tugether. St. 254. gfa (Sk. afet.) lit. freedom. Here it has the sense of fosfaat or freedom from i.e. aversion to covetousness, it being one of the Sadhu-dharmas ( for which refer to the notes on St. 64). It is rarely used in this sense, its general sense, as is well-known, being ' Liberation or Moksha. 'sferas ( Sk. sfarty) Party means 'false '; hence sufente means true'. St. 255. Tera (Sk. Tetra ) an opportune time. ... St. 259. 39051 ( Sk. STET) 39083 is a Pk. root in the sense of Sk. r8 to sit, to live, to

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138 Siri Strivalakaha be, to exfst, to remain; to stay etc. ( see Hem. VIII, f. 214 ). putte ( Sk. if vet) see notes on St. 249. St. 260. guete (Sk. Filtr): quet is a Pk. word meaning 'moonlight': . St. 261. serverar cf. forening foret, perfuisoa etc. St. 263. aMgaaggamayaM (Sk. aMgA'gramayI) consisting of the Anga puja and Agra puja. In Jainism worship is said to be mainly of two kinds viz. dravyapujA and bhAvapujA. Sometimes the first i. e. gorge is sub-divided into two parts Anga and Agra and then worship is said to be of three kinds (cf. T eThENT OBTT) viz. Anga Puja, Agra Puja, and Bhava Puja--and in these three kinds of worship all the other forms of worship such as the Eight-fold, the Seventeen-fold, the Twentyone-fold, and the Ninty-nine-fold etc. are included. The Anga Puja or 'Bodily Worship consists in worshipping the idol of the Jina with water, sandal ointment mixed with saffron, flowers and ornaments etc. This worship has got the power of removing all the farsas (i. e. hindrances ) that come in bur way. The Agra Paja or the worship performed in the 'Agra' i.e.

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139 Notes : in front of the idol, consists in making a Ffears is in front of the idol by means of rice, with unbroken ends, placing upon it fruits etc. also placing before the idol, naivedya, and in sounding in front of the idol various musical instruments such as bell's, drum, cymbals etc. Waving of incense, holding a lamp, a mirror etc. are also included in this. This worship has got the power of leading us to prosperity, even upto the twelfth devaloka.. Bhava Paeja or "the mental worship consists in sitting before the Tirthankara in a particular posture and extolling the Tirthankara by means of hymns and songs (Falas, as they ere called) containing the eulogies and panegyrics of the virtues of the Tirthankara, with a pure mental condition in order that those virtues may enter our own souls and make us pure and virtuous like the Tir thankaras themselves. The object of this worship is beautifully expressed by the well-known Jaina Muni Padmavijayaji in one of his Gaj. hymns where he says: " ford SHH og alalai, 2412 Color ziyol" while singing the songs of the excellent virtues of the Jina, the virtues themselves enter our own bodies (i.e. souls) ... Thus Bhava worship, in short, aims at making our souls one with the Tirthankara and leading

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140 Siri Sirivalakaba us to liberation. In Vicharamrtasangraha, woiship is divided into three main divisions, from a different point of view as depending upon the thoughts and feelings of the worshipper. viz. (1) acet, (2) treft and (3) arheft. The first consists in extolling the Tirthankara with a pure mental condition and good feelings of the soul, abandoning the body and keeping in mind no other motive except that of obtaining Moksha. The second consists in extolling, the Tirthankara with a view to get prosperity and happiness in this world, and with a view to please other people. The third consists in extolling the Tirthan kara with & view of overpowering our enemies etc. The last two kinds, no doubt, do fulfil our desired object, but they are not propounded by the Jinas as fit to be put into practice because they make us wander in this miserable worldly life for endless time; but only the areas worship is propounded as fit to be put into practice as it makes our souls pure and leads them to liberation. Over and above the three kinds of worship mentioned above there is propounded a fourth kind of worship known as the stagraryst which consists in obeying fully the commandments of the Jina 'without carelessness. bhAvaccayaM (Sk. bhAvArcI). The

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Notes 141 Bhava or mental worship already explained above. uvauttA (Sk. upayuktA) with an attentive mind, attentively. Sts. 264, 265 are to be construed tog etber. Taifa (Sk. acue) see notes on Facts in St. 249. Sts 266, 267 are to be construed together. pauNaM (Sk. praguNaM) has got the sense of 'lagnaM or engrossed in' here. St. 268. it is an indeclinable in Pk. used to denote conjecture or guess. fasui (Sk. Fagui) here has got the sense of 'carefully. ' St. 270. warszift (Sk. Paared). This is the usual conventional simile used by great poets like Shakespeare and others who compare the world to a stage or drama, in which men and women are the actors and actresses. Cf. the following lines from Shakespeare's 'As you like it' (Act II Sc. vii 11, 138, 139): - " All the world's a stage, And all the men and women merely players ". Sts. 271, 272. are to be construed together. asamaMjasena (Sk.) samaMjasa means 'good'; hence asa#ste means 'bad'. St. 276. fararegut ( Sk. Erda). It is a technical term in Jainism having the sense of

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142 Siri Siriyalakaba "hymn or prayer' of the Lord Jina. Whil@ doing this prayer, one is to stop his body, mind and speech from all other actiyities, concentrating his attention upon the virtues of the Jina. St. 280. gfie ( ceft) [ Sk. af ] a woman. ( see Hem. VIII. 2. 130.) ___St. 282. nisIhiA ( Sk. naiSedhikI). Like catyavaMdana, nisIhiA is also a technical term in Jainism. It means 'the act or vow of saying faeitige i. e. I stop from all sinful actions'. When a Shravaka goes to the temple of the Jina, he is to utter the word ' Forelle' three times in the following manner : once just before he actually enters the temple which means that he has now renounced all the sinful actions of the world. Then he is to utter the same word a second time when he performs the cougat or stands before the idol of the Jina for dars'ana or sight which means that now he has given up all the actions which he is required to do for the purity, cleanliness etc. of the temple. Lastly he is to utter the word 'faelf 'a third time when he sits before the idol for chaityavandana which means that now he has given up even performing the material worship, and has abandoned the care eyep of his body and has completely offered himself at the feet of the

Page #309
143 Notes Lord Jina for praying to him to get Liberation Thus the act of uttering the word 'farein' three times in the manner as explained above is called 'Farenth STT.' Arefa (Sk. aferen ) ere is a Pk. root in the sense of Sk. 7 to tell (see Hem. VIII. 4. 225), St. 285. It should be noted here that Umbara or Umbararaja, as is clear, is none else but King Shripala the hero of our story himself and the son of King Sinharatha and the queen Kamalaprabha. From here onwards, we are told his previous story before he came into the company of the multitude of the lepers. The real interest of the story begin from here, and is sustained by the poet up to the end. St. 286. Tant ( Sk. Tac:) lit, the best among men i. e, king. St. 288. STUTETE (Sk. gaTeRIT: ) when it will be without its protector (lit. lord), i e. after the death of King Sinharatha. . St. 289. Les (Sk. 1) Rheumatism. gout. Vatra (Sk. Teri) Death (lit. being resolved into the five elements viz. sky, wind, light, water, and earth of which the body is supposed to be composed). St. 252. For the idea in the second line cf. Het As CR Triffa " ..

Page #310
144 Siri Sirivalakaba St. 293. ffrwurst ( Sk. fogar:). Paternal uncle, father's brother. RUTE ( explained as Sk. fine by the commentator ) rotinue, attendents. St. 296. HTAT ( Sk. Herha:). A breach of her seorot plan of running away. yfer (Sk. f ). Retinue, attendants. St. 297. Here the poet has given us a fine pathetic description of the pitiable condition of a queen when she is in a deserted state-her husband dead, the kingdom usurped by his brother, she a tender queen, to carry her two-years' child on her waist, to wander helplessly and alone in a dark night, walking on foot, and the dawn approaching which would make her recognizable to the soldiers of the enemy-how pitiable is this condition of a queen when compared to her happy life with attendants to take care of her and her child, chariots to move, and having no troubles whatsoever !! St. 298. Fareriai (Sk. Patyraeft-Fantaneet THTHOUT pamat) lit. bringing light, i.e. approaching dawn. afore ( Sk. affronta ) see notes on asu in st. 282. St. 299. fett on the road. Foret' is

Page #311
Notes: 145 & Dos'i word meaning road. 6.800 METER Thevurent). The Com. explains it as "sperto sterre". St. 304. affent ( Sk, SOGT) are is a Pk. root in the sense of Skyrity to mount etc. (see Hem. VIII. 4. 206.). * St. 305. g65 (Sk. gra ) drawn up. St. 306. Toatfurant. There is a play upon this word which has got two meanings, (1) It is a Des'i word meaning a kind of skin-disease known as 'pama' or scab, (2) or it may be taken as equivalent to Sk. THIAGOT lit. 'a princess,' hence secondarily 'a queen.'Cf. Com. who says: " T ufo Teztet: ". By playing a pun upon this word, the lepers 'strike at two fruits with one stone. They save the queen, and at the same time they do not speak falsehood. By the word tsanfUTSTT they understand in their hearts that there is 'a queen' in the multitude, but they wish the soldiers to understand it not in this sense of a queen but in the sense of the skin-disease of 'pama' prevalent among them. The soldiers do take the word in the latter sense which occurs more easily and hence afraid of being infected with that disease, they run away from them, and thus the queen and her son are saved. St. 307. # ( Sk. ) these. . of is 10

Page #312
Siri Srivalakaba dropped it (Sk. arc) that which oxlsts, i.e. owiat they have got . St. 308. gft ( Sk. 4: Tat: ) . Here the instrumentent is used for the locative, which is often the case in Pk. Therefore i rat will be equivalent to T . St. 309. Falet ( Sk. Fareer:) lit, made i. e. reared up, brought up. SR same as Farce or sak explained in St. 114. St. 310. quit (Sk. gur: ) has got the sense of effect' here. (Sk. (TT) is 'often used in Pk, in the sense of the genitive TFT in Sk. adanA as well as ahaNNa, ahaNa are Des'1 words meaning 'perturbed agitated, greatly anxious etc.' St. 311. aug see notes on Sts. 125 and 189. STORAGE EFT ( Sk. Segala yet). The Eighteen Varieties of Leprosy. They are mentioned by S'ilank suri in his commentary on Acharanga Sutra as follows:- (I) Staunguar, (2) fagarca, (3) 41, (4) 1991, (5) alusta, (6) , (7) $8, (8) FEBTECH, (9) HEIS, S, (10) ganoo, (11) V S, (11) FACH, (13) Ferencg, (14) ferit, (15) faara, (16) Perla, (17) TAT, (18) Ta10%. Out of these, the first seven are called saptamahAkuSThAni or the seven higher varieties of leprosy,' and the remaining eleven are known as garrygeostra or the eleven minor varieities of leprosy.

Page #313
Notas St. 312 paDosimANa-pAnima-isa Desi word equivalent to Shr prAlisika- nighbour. bhalAdiuNa (Sk, bhalApayitvA ) bhava is a Ph. root for Sk. bhal 'te sea, to look after, to take care of', and erasur is the causal of that, meaning *having entrusted.' St. 318. paDikkhamANI (Sk. pratIkSamANA)waiting for. St. 317. acchai (see notes on St. 259) doguMduga(ya) [ Sk. dogunduka ] a kind of very excellent gods. The commentator explains it as "trAyastriMzaka." St. 318. serI It is a Des't word meaning 'a lane, a pole, a street, a road etc.' . St. 321. vinnattaM ( Sk. vijJaptaM ) revealed, told; it also sometimes means 'requested.' St. 326. taiA ( Sk. tadA). duddhara (Sk. durdhara) irresistible, difficult to be opposed. St. 328. This verse is a guifera. For similar ideas cf. " kRtakarmakSayo nAsti, kalpakoTizatairapi / avazyameva bhoktavyaM, kRtaM karma zubhAzubham // " also " likhitamapi lalATe projjhituM kaH samarthaH // " etc. nicchao eso ( Sk. nizcayaH eSaH) this is but certain. samajjiaM (Sk. samArjataM-upArjitaM ) accumulated. St. 329. This stanza. is also a subhASita. For parallel ideas cf. the Guj. poet Kalapi's lines: " thu cha meM 3 chu , 4 me alimAna che; pAsA pheke ja sarve, dA de hari hAtha che. " .. St. 330. tatta ( Sk. tattva) here refers to the navatattva, karmagrantha etc. balAbalaM The comparative

Page #314
148 Siri Sirivalakaba strength and weakness. For the idea expressed here of. "sperta oftat apesat, pela mangfor afeti." ay or staan is already explained in the notes on St. 66. ( Sk. 1). The principle of the liberation of the soul by the complete destruction of the karmas which have stuck to it. Like et, it is one of the Nine Tativas of Jainism, it being the last i, e. the ninth in chronological order. According to Jainism, a 'jiva' gets Moksha when it destroys all its: karmas good as well as bad, which is done by practising 'Nirjara '; and the soul, which has thus destroyed all its karmas completely, becomos a Siddha or Liberated One-the First Pada or Dignity in Jainism; and all such souls, who have destroyed all their karmas good as well as bad--and achieved emancipation are their Parmatmas or Gods fit to be worshipped by all those who are desirous of getting emancipation and becoming "Siddhas', thus getting the same Pada or Dignity which those High Souls or Paramatmas whom they worship, have achieved. This is in brief the Jaina conception of Moksha. If we were to explain it in full, it would cover many big volumes. Hence we shall here rest satisfied only with this brief explanation of Moksha given above. Those desirous of knowing it in fall should read the act o r and other important books dealing with the topic.

Page #315
149 Notes Sts. 331, 382. PUTC (Sk. ferC) a stone. afst (Sk. arge:) lit. 'mounted' i. e. oame. See notes on St. 304. HEET (Sk.) accidentally. preferat (Sk. farfari-fararna: ) unexpectedly. St. 333. ARUT ( Sk. are ) he means * a festival, festivity.' St. 334. etgan ( Sk. Erya:) a cry of 'well done,' a cry of approbation or praise that she was a great satee. The commentator expl. ains: "ErTActerfata arei sigurarpet: " Here the two-sided unthoughtful nature of the world is worth noting. As it is said in a Guj. idiom, 'the world is two-coloured ( flzoll frul).' It is such that it flatters the prosperous though going wrong, and kicks the roiserable though going right. We have seen in the beginning of our text that the people of Ujjaini flattered Surasundari and praised the S'aiva Religion because at that time the stars were in her favour; and they scandalized and censured Madanasundari even though she took the side of Truth, and a blame was put upon the Jaina Religion which she patronized. Now here the same people praise her and the Jaina Religion, because now the stars are in her favour. Hence it is said, 'everybody will make friends with you in prosperity, but none will come to you in adversity'-such is always the nature of the world,

Page #316
150 Siri Sirivalakaba which speaks one thing to- day sna quite different thing the' very next day. Helico persons dering for Pruth and Justice should not be guided by the opinion of the world which is always fickle, and thus :swerve from the true path that they have taken; but with courge and strength of the soul; they should go on traversing their path of Truth and Justice without caring either for fame or .censure, and they will find in the end that the victory will be theirs as was, as we have seen, in the case of Madanasundari, who though slighted off in the beginning by her father and the people of Ujjaini was honoured by them in the end, and the people called her a great satee, thus her victory being complete. It should be noted, however, that it is not the praise or consure that counts and makes a man great, but the courage and soul-power that he shows. St. 335. fer see notes on St. 296. afsant lit, mounted, i. e. started for, went to; see notes on Sts. 304,331 and 332. gegurta cf. ferrite fan ferraungod etc. * St. 336. ACT (Sk. are HUT ) & room on the top of a house taga ( Sk. arab: ) & villager; a countryman. * Sto 388. fas great (Sk. fororer:) pabe. rii St. 339 mer (Sk. awa), gives pair.

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Misteria St. 340. Ces it is en opithst. of Indra, white parfaitsi Lito one who, breaks the mountains, hence, Indra, who is often des dribed in the Rgveda 88 the breaker of moun. tains. aghaDaMto (Sk. aghaTamAno) not worthy, bad; TRT (3k) has got two meanings (1) defeat (2) insult. Here the second meaning is to be taken, St. 341. ** (Sk, area:) lit. manifested, put forth i, e. given place to. The commentator remarks: " Esenc-hartseit: " i, e. the use of this phrase is conventional. ruft or afruft (Sk. Treuf) a wife, see notes on St. 249. St. 342. faoisti see notes on St. 338. From the paleness of the face of Shripala, Kapialaprabha concluded that he was full of anxiety, because as the idiom goes, the face is the index of the mind.' * Ste. 344, 345. (Sk. *) I. gene ( Sk. nyt ) father-in-law. fafort cf. fuperaretoane oto. Ho (Sk. gard) a is a Pk. root in the sense of Sk. to be pained. ( See Hom. VIII. 4. 23.). For the idea exprosted in those two Vines of. * : tout parterulta: 1 adhamA mAtulai khyAtAvazurubAbamAmAThe pout has nicely introduced this feeling in the norment of b r ol in ordor o preparo # soppe for hurther development of the plot. We shall

Page #318
132 Siri Sirivalakaha see later on that it is due to this one single idea that the hero Shripala is impelled to undertake 80 many adventures which make the whole story 80 very magnanimous and interesting. St. 346. Toti (Sk. agtri) consisting of four parts viz. (1) elephants, (2) cbariots, (3) cavalry, and (4) infantry. Hressur (Sk. Hefurrent) Having gathered together. St. 347. The has got the sense of an army' here. St. 348. faroge (Sk. Prefa:) happiness, ease. St. 351. qarsifat (Sk. gueja) undertake. For the idea in the second line cf. "ENE E aft: uidereta ",' fortune favours the brave 'eto. St. 352. afsciant (Sk. afara:) tie,.connection. St. 353. Roue is a Des'i word having the sense of 'free'. Hence encogent means" with legs free' j.e. 'freely '. ter-te is a Des'i word meaning 'to stay, to remain.' St. 355. Free (Sk, saz) mother-in-law. From this we get Guj. Hly. HIEU (Sk. g. qui ) serving; waiting upon.. Sts. 360, 861. Eri ( Sk. gerai) wife. Free antes (Sk.) sword. Thou ( Sk.). Tourer wou. lit. property of Varuna i.e. water, H (Sk.)

Page #319
Notes 168 lit. & circle, i.e. a drop. ifrer (Ski Atsar) decorated. sasicArapANa (Sk. zazicAraprANa.) The words fa and art are many timos seen used in the science of omens in the senses of right nostril' and left nostril' respectively. Hence, Teretur here means breath moving through the left nostril'(lit. moon's nostril). Farnogvaret (Sk. faticosat) this epithet appears to be used as an adjective to erit or han understood. The conception of the breath passing in succession through the right and the left nostrils, is frequently found in books of astrology. For a similar idea cf. Jinadattasuri's Vivekavilasa, Chapter I. St. 362. SATT (Sk. 316T) a mine. Ta ( also Teu ) this word is used in the Acharanga Sutra. I. 8. 6. where it is explained by the commentator Srilankasuri as " jalasthalamedabhinna TITE." Hence it means a large town either on sea or land.' iterroryoa (Sk, Tratara FET) like a lion'; for the grammatical forin of. fororite for etc. after (Sk.) vicinity-petyezi. faoireferent (Sk. farteau: ) 'free from fear or danger. It can be taken both with Siripala and terroror. Str. 363, 364 are to be construed together. navaNavaNa (Sk. maMdanavana) the.garden of Indra. sarasa The commentator explains it as "C " i.

Page #320
Siri Sisivalakaha * full of honey, blopping. Herrei (Sk. grei) ha got the sense of drog here, and not of 'curs tain or provisions etc). .. . ... St. 366. FE ( Sk. Ath.) mine. JUKEET (Sk. JUCATE-- Argrafy@#:) a helper. a fost (Sk. a feast)' is not accomplished 'i. e. he does not succeed in aocomplishing it and getting his desired object. St. 368. FIECE (Sk. Hier) help. St. 370. u (Sk.) lit. the other; secondarily it means ' an enemy'. It is many times used in this sense. osahIo (Sk. auSadhyau) medicinal herbs or medicines. faents (Sk. Fareng ) The Three Metals viz. gold, silver and copper. Afa15-Afcon is a Des'i word iu the sense of "furnished with a cover, cf. Guj. maj...". St. 381. foffarter (Sk. fortfaerpa) declivity or the downward slope of a mountain. roma (Sky gani ) a mineralogist. St; 372.4 andur ( Sk. 4C44HTUTAT ) according to the rules prescribed by you. tarafa (Sk.) accomplishment or production of the ( gold-produging, r*a ' or liquid ( Tree-gauicunt For more:-awufa:). , St978poglu (Sk. Touro) means 'geld" here, . St. 375. Parfagret i Sk. foringer ) Indiferent. byta (Sk, sema) or is a Pk: root in the HORSE OS T "to tako!, :

Page #321
Note 966 Sto 376. pteros (Sk d the mou. dort Drosch. d St. 379. fenfurt (Sk. pitre ) mordantile commodities, merchandise. of. Gnj. ' sulei. Orat forset (Sk, wanafu )for Ort for BUFT" see notes on St. 194 St. 380.gart (Sk. gec:) lit. excellent, best, i. e. 'big'. regnes (Sk.) gris means & shore' and distant'; bence. Teos means '& distant shore ! Tour ( Sk. cteur) intent on, prone to. T301EUR (Sk. gurita rotta alla gets ready', ju with 9 means 'to make straight, put in order, arrange, make ready etc. Frau (Sk. UTYnfo-tagurfa) 'ships'. St. 381. #fit ( Sk. HTF: ) a middle-sized boat: ( TT:=boat ). enero (Sk. 944:) a mast. parikaliA (Sk. parikalitA) furnished with. 1. St. 382. g is. Bos'i word in the senso of 'big, long, etc.' (see Hem.'s ATAHTOT. 7. 82.). is an Arabie word in the sense of journey'. In Ratpas'ekbarsuri'stinde (i. e. in the 14th century ): the Indian Davy was in the hands of the Arabs and atbor Mobammadang and hence many suob Arabit words had come into vogue. In Sk. we have got the word in whore it WPADA ' a fish. But this at worden is very old and belongs to the days oven befor the wellknown Sk, poet Kalidas; and is quite different

Page #322
156 Siri Sirivalakaba from the came Arabic word having the sense of journey, 'beDiyANa-beDiyA (as well as beDa, vesva #ST, Ust) are. Desi words in the sense of a boat. 'The word erst in this sense is very rarely met with in Sk. also. TOT ( Sk. getur ) a kind of boat. Hors. It is a Des'i word meaning a boat.' St. 383. fag is a Des'i word meaning & kind of boat. It also means 'a dagger, a weapon. 78491 (Sk. aguusalt ) fifty-four. syaret ( Sk. grad) lit. one that roams, i. e. & (kind of) boat. Dark (Sk. grallta) fifty. Juste (Sk. reift zat thirty five. khurappa (Sk. zUrapra) a kind of boat. allery is a Des'i word meaning a boat. Sts. 384 to 387 are to be construed together. 384. pentut same as peurt in St. 379. preFAVATES fos ) is a Des'i word meaning' the -captain of a. ship' ahidiThayA (Sk. adhiSThitA) boarded, embarked on. St. 385. proftere is & Desii word meaning a diver'. The commentator explains it thus: "samudrajale pravizya ye vastu niSkAzayanti te marajIvakA uwit. " sough it is a Des'i word meaning & boatman in charge of a certain part of a ship'. C ET it is a Desui word meaning 'rower' cf. Guj. weath. a Des'i word meaning a' mariaer.' fure a Des'i word meaning '& helmsman' -of. Guj. "Est-fl'. Hearunt & Des'i word meaning

Page #323
187 Notes 'care!, of. Guj. Manakala regular fester (T resoft fafaragtar:)' who were taken special care of'. St. 386. nANaviha (Sk. nAnAvidha) various. vihaRECT ( Sk. Fas FEFT) fast is explained by the Com. as suas meaning intently engaged in, busy with'. Hence fata meads. * whose hands were intently engaged in i. e. in whose hands there were (weapons). Pau ( Sk. perta) lit. with effort i. e, carefully, diligently, assiduously. St. 387. ferra a Des i word meaning 'a kind of ornament decorating a ship'. 48H55 ( Sk. varamukuTa) excellent crest. siDa (or saDha) 'sail', cf. Guj. 'He'. The commentator explains thus: " DESHETHRITYen U nte: arscrafa afts: 1". Er is & Des i word meaning 'a rope.' Frar & Des i word meaning' a strong anchor'. The commentator explains it thus : "Arirt-TEHT: TITETET TYPICUT I". Terar a Des'i word which the commentator explains as "qateitigeur" a kind of implement for the protection of the ship. *T (Sk.) a drum. .. Sts. 388, 389 are to be construed together. saMbala (Sk. zambala) provision for the journey. saMgaha (Sk. saMgraha) a large quantity. caDio lit. mounted i. e. embarked on; see notes on St. 307. allAvara (Sk. cAlApayati) caused to be put on

Page #324
158 Siri Sirivalakaha emilosti s t ym* :) being beaten. at (Sk.) a loud noise. It also monna Alarm, exoallant exalted; see notes on St. 80. facit ( Sk. Pain#: ) a bailor. St. 390. ATSET [. Sk, ATC (black) mukhaM yasya sa kAlamukhaH] who had his face turned black. uttasthi (Sk. uttIrya) having got down frentar it is a Des' word having the sense of sociarst' or a female evil spirit.' cf. Guj. zbida?,' St. 391. Hura aid see notes on St. 380. gere ( Sk. galizia) thirty two.. St. 392. First or fout is a Des'i word in the sense of prosent,' cf. Guj. ' Qid'. St. 393. sesua (Sk. TEOST) according to your desire, as you please. St. 396 TEE ( Sk. a ) a market, a forum. 369EUR see notes on St. 305. suffet (Sk. IfTet:) surrounded. St. 397. (Sk.) not. St. 398. januar (Sk. jamaa) a lion. Here Shripala compares Dhavala to a beast, and himself to a lion, and says that a beast like Dhavala can be given in oblation and not a lion like himself, St. 399. Ars ( Sk. Tar) a jackal. stor & crowd. St. 400 gyura ( $k. TTU ) lit. whose prowess is crushed i. e. defeated'.

Page #325
sirisirivAlakahAe subhAsiyaSaSaNAI ( Gaeod Sayinge in Sirisirivalakaha ) ( From the portion prescribed ) jArisao hoi gurU tArisao hoi sIsaguNajogo // viNayaviveyapasaNNamaNu sIlamunimmaladeha / paramappahamelASaDau puNNehi labhai ehU // pAya puvamibaddho saMbaMdhI hoi jIvANaM // jaMjeNa jayA jArisamuvajjiyaM hoi kamma muhamamuhaM / taM tArisaM tayA se saMpajjai doriyanibaddhaM // bhaviyavvayA sahAvo dabAiyA sahAiNo vAvi / pAyaM punbovajjiyakammANugayA phalaM diti / puvakayaM sukayaM cia jIvANaM sukkhakAraNaM hoi| dukayaM ca kayaM dukkhANa kAraNa hoi nibhaMtaM // na surAsurehi no naravarehi no buddhisamidhdhehiM / kahavi khalijahi iMto muhAsuho kmmprinnaamo|| ko kaNayarayaNamAlaM baMdhai kAgassa kaMThami // paDhamaM mahilAjammaM kerisayaM taMpi hoi jai loe| sIlavihuNaM nUNaM tA jANaha kaMjiaM kuhirN|

Page #326
2 sirisiricAlakahAra subhAsiyavayaNA sola citra mahilA vibhUsaNaM sIlameva sbss| sIla jIviyasarisa sIgau na suMdara kipi // ................sAharNana kappara hu sAvaja / kahiuM kiMpi tigicchaM, vijaM maMtaM ca taMtaM ca // mAapiasuasahoarapamuhAvi kuNaMti taM na uvayAraM / jai nikAraNakaruNAparo gurU kuNai jIvANaM / na ya taM karei mAyA, neva piyA neva baMdhuvagmo / jaM vacchallaM sAhammiANa mussAvao kuNai // . aho aNamA vuTTI saMjAyA jaNaNidaMsaNao // emucia jiNadhammo jAyajjIvaM ca mahasaraNaM // bhavanADayaMmi ahavA hI hI kiM kiM na saMbhavai ? // no dei koi kassavi sukhkhaM dukkhaM ca nicchao eso| niayaM ceva samajjiamuvajhuThajai jaMtuNA kammaM // mA vahau koi gavvaM jaM kira kajjaM mae kayaM hoi // suravarakayapi kajjaM kammavasA hoi vivarIaM // te pattharamittakae hatthaMmi pasAriyami sahasatti / caDio aciMtio ciya nUnaM ciMtAmaNI eso|| tAvacciya visamattaM jAva na dhIrA pavajjaMti.

Page #327
Bi Bi Bi Bi Errata Preface P. iii line 9 Read: Oli for Oil Introduction 2 line 4 Road Gautamaswami for ... Gutamaswami 18 : samyagavAna for myagamAna P. 2 * 24 ,, governors for governers , following for folwing Siddhachakra for Siddha chara 7 , liked for iked Text. P. 2 line 15 read Paraps For Faefoss P. 3, 11 , pavite , pavite , padavaM ., pazva , mahAsarANi , mahAsarANI , ghareSare , gheraghara. . 5...... 4 , sirIo , siriyo ..6 -.-purIha , purII . ...7.. . sabaguru , sahara 18 - ruvasuMdari , svasuMdarI 5, 19. .. ., tAmo , tamo . . Nrs 5 Ricipi Bi Bi Bi Bi Bi Bi Bi or er er er er-coc0

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w Errata didi 1 4 ___15 savva saruva , kudiThiNaM , 18-CR tADatA , tADaM ti kapparupamai P. 10 , kayapasAya , kayapasaya 10 1 61; mAjha.. majha.. P. 136 kitti , kitti . P. 19, 8 , aribhUga , arimuyaM / , 14 , 1 desu , desU . P. 14 line 8 , sAhaMtI , sAhati P. 14, 9 , aMtearoDa , aMteariu P. 14, 21 bedI , jati P. 15 .. 3 , ittoranA , itto rannA P: 120 tUraga , turaNa- . P. IR, 21 nignacchA, nigacchaha / P. 16 : 7 , kiMpi , ki pi / P. PBT.gar nimmANaM , nimbhANaM : P. IN , 6 caMdu.. , caMd. . P.18 .. 11 dihiNo , diThaNo .. P. 2017 ... 16 masiddhIo :, siddhAo . P. .. 14 AyaMbilameva, AyaMbikameva PAT .. 107 gurU.. guru. , .. P. 300 .. 20 aThAisajAho aTArasaDAi

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P. 34 P. 35 P, 36 , P. 37, -19 20 17 5 ur for grupeft Ernt storat , Prifcunt , faucon mg SOUL , Ali . Ripi Ri RiRi BiBiRiNi P, 39 :41 m angeyoent Tercer Translation line: 2 Restaurt on the for heart the 2 ... 18. J amed for name I 5 , 24 you for yeri 22 ,, attachment for attachment . Skanld for oh ould . ,, worshipped for worshippd - P. 8. 24 ., ABoetics for acetics 9 ,, 14 , beautiful for beautful :: P. 1:2 .. 1$ opit the words in the second bracket and read for them the gcience of characteristic marks of things o P. 14 :23 Read metion for potian ... R 15. 7 Apgumulated for aecumplasted P. 21 - 25 blevet dagire for osire : P. 40 05. directions for directions Pi 45 ,728. Should for. Shgnld: P. 45 m 16. od iPorforming for Pestioiming P. 50 ,,14 delight for delight...i

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Ri. Ai Ai Ai Bi Bi Bi Bi Bi Bi Bici Biesiesiai Errita P. 55 23 daughter for daug teg 57 :1 through for through * 15 Sinful for Sinfull , 77 9 usikottari (a female ovil spirit generally known as mino for woman P. 63 >>. 14 , her for her Notes P. 1 line 20 Read Ocean for Occan P. 4, 5, The for. The P. 6 ,, 20 v celibacy for celebacy se tamaria for Africa ., neighbour for nighbour P. 21., 16 Convinced for Convicted P. 23 , 23 , Hence for Henee * approaching for appoacing >> : fort P. 101, 1 , account for accout P. 103 , 11 excess for ex-ooss is laywomen for laywemen: P. 111 , 17 . aocompanied for accoma pained 4., enemies for enemies , P. 134, 17", especially for espacialy . P. 141, 14 m Conventional for Conventioned P. 142 ** 20 ,, required for required P. 148 * 14 , Second for First