Some Prakrit Works on Non Religious Literature

Author(s): Jagdishchandra Jain
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SOME PRAKRIT WORKS ON NON-RELIGIOUS/SECULAR LITERATURE
Jagadish Chandra Jain
What is custoinary or commonly practised as a matter of course, has to be accepted, is a popular saying. The Jainas have written considerably on religious subjects; however, they did not lag behind in composing non-religious/secular literature. They had to follow and observe local customs in cases they were keen to make their sermons of popular appeal. The Niśitha-sūtra (19. 11-12) and its Bhasya refer to four great festivals (mahāmahas), namely Indra-maha, Skanda-maha, Yaksa-maha and Bhūta-maha being celebrated on full-moon days of the four months when people passed their time in merry-making. There were other deities who were evoked for dispelling various calamities. The earlier Jaina texts such as the Ārādhană of Sivārya, the Brhatkalpabhäsya, the Vyavahāra-bhāsya, the Āvasyaka-niryukti, the Avasyaka-cūrni and others lay down elaborate rules for disposing the dead bodies of the Jaina monks which were supposed to be left uncared at the mercy of wild beasts and birds. Similarly, though a Jaina Tirthankara, who is supposed to be passion-free and devoid of any kind of desire, is later associated with a sāsana-devatā or a guardian-deity of his church which clearly is an indication of endorsement of the prevailing custom with regard to Brahmanical divinities in pre-medieval India. Thus the age-old traditions and customs have to be taken into account for the sake of the welfare of the society.
As the well-being of mankind should predominate over religious considerations in civil or public affairs, it is necessary to have the knowledge of sciences such as inedicine, commerce, astrology, economics, politics, music, habits of animals and birds, and so forth. Jaina authors have composed various useful non-religious secular works which are still lying in manuscript forms in Jaina bhandāras.
Some of these are as follows:
1.
The Agghakanda (Arghakanda): Argha is a technical term in jyotişa, meaning a collection of 20 pearls, having the weight of a dharana. A king or a ruler used to fix price of commodities in consultation with traders; it was known as arghasarısthāpana (Manusmrti, IV. 8. 402). The term is mentioned in the Nīśitha-cūrņi (13, P.400) along with the Vivālapatala. It was consulted by businessmen for profit and loss while buying or selling commodities. The Brhatsamhită of Varāhainilıira has a chapter Arghakanda-adhyāya containing 14 verses. The wellknown Jineśvara sūri (early 11th century) in his Pañcalinga-prakarana (verse 72) has refered to Joisagghakandai. The Arghyakanda by Hemaprabha süri, pupil of Devendra sūri (18th century) is available in Sanskrit (see Rajasthan Oriental Research Institute, Jodhpur Collection, 1963, 1965). Durgadeva, a Digambara

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Jagadish Chandra Jain
Nirgrantha
scholar, is also mentioned as the author of the Arghakanda, also known as Sastisamvatsara-phala (V. S. 1050 / A. D. 994).
Angavijja (Angavidya): Edited by Muni Punyavijaya in Prakrit Text Society Series, 1957. It is also known as the Yogavidhi (Government Collection of Mss. Bhandarkar Oriental Research Institute, Vol. VII, pt. I, p. 322). A manuscript of the Angavidyā is recorded in the catalogue of the Rajasthan Oriental Research Institute, Jodhpur Collection, pt.I, 1 + 63, p. 296. It is stated here that the author's work is based on the instructions imparted by Närada:
अंगविद्यां प्रवक्ष्यामि नारदेन च यत्कृतम् । अंगस्पर्शनमात्रेण जायते वा शुभाशुभम् ॥
Arthaśāstra (Atthasattha), also known as Kautilya or Cānäkya-Kautilya is classified as a popular scripture in the Nandi-Sūtra (42, 193a) along with the Mahābhārata, the Rāmāyana, the Vaišeşika, the Buddha-sasana, the Kapila, the Lokäyata, the Patanjaliya, and others. Then the Vasudevahindi of Sanghadāsa gani (45. 25-27) has cited a quotation from this work, saying "particularly, the growing enemy should be destroyed by employing deceit or a weapon." Then, the Tarangalola (853-855), based on Pädalipra's Tarangavaikahā, has cited a few Prakrit stanzas from the Atthasattha, saying "a secret is disclosed if it goes to a female messenger; a woman discloses a secret when she ought to have kept it secret." Further, Dronācārya, a contemporary of Abhyadeva, in his commentary of the Ogha-Niryukti (gāthā 418, p. 152), cites from Cānākya, saying "it is no fault if one does not evacuate excrement and urine." Haribhadra sūri in his Dhuttākkhāna, mentions Khandapānās, an author of the Atthasattha, a work that was different from the one refered to in the Niśitha-cūrni. Somadeva sūri (mid 10th century A. D.) composed his Nītivākyämta based on the Arthaśāstra of Cănākya. As Canākya has composed his work for the guidance of Candragupta, so did Somadeva for the guidance of King Mahendra and so did Hemacandra his Laghu-Arhanniti for the enlightenment of King Kumārapāla. Haribala has written a commentary on the Nitivăkyāmrta. And Neminātha has composed a commentary in Kannada in the 12th or 13th century (preserved in the manuscript form in the Karkal Jain Hostel).
Assasattha (Ašvaśāstra) or the knowledge about horses. Horses were considered an important constituent of the four-fold army. According to the Arthaśāstra (X. iv. 13), "Horses were regarded specially useful for guarding advanced positions, protecting the treasury and commissariat, cutting off the enemy's supply, delivering attacks against the enemy's forces, and pursuing a retreating foe." Varāhamihira in his Brhatsamhita (aśva-laksaņa-66) provides the characteristics of horses. The sage Salihotra is considered a great authority on the subject.

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Some Prakrit Works....
Bhattotpala, while commenting on the Brhatsamhitā, cites authorities like Parāśara and Vararuci. In order to point out the characteristics of a Mallikāksa horse, he has cited a Prakrit găthā (61.14). It was a particular breed of horse with white spots in the eyes (Monier Williams Sanskrit-English Dictionary). Śrīharsa, in the first chapter of his Naisadhiya-carita, while dealing with king Nala's steed, makes certain observations.
Various varieties of horses are referred to in the Jaina texts. Haribhadra in his Samarāiccakahā (2, 100) refers to Vāhlīka, Turuska, Kamboja, and Vajjira horses. The Kuvalayamālā (23, 221), besides 18 species of horses, refers to Vollāha (a chestnut coloured horse with a light mane and tail (Monier-Williams), Kayaha, and Saraha horses, perhaps the Arabic names introduced by Arab traders. The Jodhpur Collection (part II B, p. 240) has referred to Nakula's śālihotra with commentary. Keith refers to Gana's Aśva-vaidyaka or Aśvāyurveda and Bhoja's Śālihotra, dealing with the care of horses and their diseases. Other varieties of horses such as Akirņa, Kanthaka, Galita, Aśva, Aśvatara(mule), Ghotaka and Pancapundra are referred to in the Jaina texts. Horses were most useful assets to a king; also they were given special names.
Āyajñāna-tilaka was composed by Vosaribhatta at Anahillapāțaka. It is an astronomical work containing 750 gathās. The author was a pupil of a Digambara ācārya, Dāmanandin. He has also commented on this work. The word 'aya' is mentioned in the Brhatsaṁhita in the sense of the 11th lunar mansion. Here the answer of a question is obtained through eight symbols such as smoke, a lion, an elephant, a donkey, a dog, a bull, and a crow. Mallisena (V. S. 1100 / A. D. 1043), pupil of Jinasena, has referred to Bhatta Vosari in his Sanskrit work Ayasadbhāya (JSBI = Jaina Sahitya kā Brhad stihāsa, (Hindi) v, p. 225 f. See also V Report of a tour in search of Sanskrit MSS by Dr. R. G. Bhandarkar, the collection of 1884-87).
Caura-karma or Cora-vidyā or the art of stealing, was recognised as a regular art in ancient India. This art has been ascribed to various authors headed by Skanda, Kanakaśakti, Bhaskaranandi, and Yogācārya. Müladeva, an arch-thief of the Brahmanical fiction, is supposed to have composed Steya-śāstra or Steyasūtra, a manual of thieving.
Dhurta-vidyā or the art of knavery. Müladeva was supposed to be expert in this art. He was surrounded by pupils whom he used to explain the significance of dambha or hypocracy which was essential in playing knavery. Dhurta-samāgamaprahasana by Jyotiriśvara, composed in V. S. 1933, is recorded in the Jodhpur Collection, pr. II B 1965, p. 148.

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Jagadish Chandra Jain
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Dhatu-vidya or Alchemy is considered as one of the 64 kalas. Udyotana süri (A. D. 778) has provided some details about dhātuvāda. The students who resided in the mathas were trained in this lore. This art was practised in a secluded place of the Vindhya forest. It is stated that, while practising alchemy, the red colour of flames of fire indicated the presence of copper, yellow of gold, white of silver, black of iron, and colourless flame of bronze. Dhatuvada is considered as a faultless method of acquiring riches. The Jonipähuda is considered as the source of acquiring this lore. Dhatuvada is also known as Narendra-kalä.
Gandharva-veda or the art and science of music, comes under the category of the Vedas. There was a practice of paying homage to Tumburu and Narada while undergoing the training of playing musical instruments. Svara-präblirta, a portion of the 14 Purvas which is no more extant now, was supposed to have dealt with the description of seven notes, their place of origin, etc. The Anuyogadvära-cürni has cited three Prakrit verses on svaras which shows that there must have been a treatise on the subject in Prakrit.
Gandha-sastra or book on the preparations of fragrant substances, is referred to in the Byhatkatha-sloka-sangraha of Budhasvamin. The Gandha-yukti-Sastra is mentioned in the Tarangalola (152) of Nemicandra. Varáhamihira, in his Brhatsamhita, deals with Gandha-yukti (77). His commentator Bhattotpala cites verses from a Nighantu-lexicon wherein the words employed in the texts are explained. The commentator has cited a Prakrit verse from the Gandha-yukti written by Isvara. P. K. Gode has referred to a rare manuscript of the Gandhavada with its Marathi commentary composed between A. D. 1350 and 1550.
Hatthi-sikkha or the art of training of Elephants was an important subject in ancient India. Treatises were written on this topic. Durlabharaja, a Jaina layman, wrote Hasti-parikşü, also known as Gaja-prabandha or Gaja-pariksa, in V. S. 1215/A. D. 1159.
Joni-pähuda or Yoni-prabhṛta is as important as the Angavijjä, referred to earlier. It is acceptable to both the Digambaras as well as the Svetämbaras. Most probably, the text may be an earlier composition before the division of the two sects. According to a tradition, this work had been composed by ācārya Dharasena out of a portion of the Agrāyaṇi pūrva, one of the sacred Purva texts, while residing in Girinagara (Girnar) in Saurastra. Originally, the text is said to have contained 28000 gāthās. According to tradition, this text was going into oblivion and the author restored it in Kali age.
According to the Bhattippanikä (written in V. S. 1556), Dharasena composed this work after 600 years of Mahavira's nirvana (i. e. between the first and the second

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Some Prakrit Works....
century A. D.) The author, also known as prajfid-śramana (Ascetic of Wisdom) is said to have acquired it as a favour of goddess Kusmandi for his disciples, Puspadanta and Bhutabali, who were called from the Andhra region. Dealing with the importance of this work, it is stated in the Kuvalayamälä: "The summit of Mount Meru might shake and the current of the river Ganga might go reverse, but whatever is laid down in the Joni-pähuda will never go wrong." According to the tradition, däcärya Siddhasena is said to have created magical horses after studying the instructions laid down here. It has been stated that, if a Jaina monk at the time of accepting monkhood, deposited wealth under the earth and later he was unable to trace it, he could successfully seek the assistance of the instructions laid down in this work. The manuscript of this important work is preserved in the Bhandarkar Oriental Research Institute, Poona. It contains 800 gāthās.
15.
Mayaṇa-mauda (Madana-mukuța) has been referred to as a Prakrit work, composed by Gosai Vipra of Mahapura, situated on the bank of the Sindhu river. It begins with obeisance to Makara-dlivaja (having a fish emblem on his banner). It has been referred to in the Jodhpur Collection Pt. II (B), 1965, p.155.
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Mrga-paksi-sästra or the knowledge of animals and birds. The knowledge of horses, elephants, bulls, dogs, cocks, tortoises, and goats was considered very important in ancient India, specially by royalty. Varähamihira dwelt on the characteristics of cows, dogs, cocks, tortoises, goats, and so forth. Dealing with the characteristics of cows, the author has stated that he gathered the information from Parāśara, the teacher of Bṛhadratha. The commentator has cited Śalihotra in support of his views. Dealing with the dogs he cites quotations from Garga as an authority on the subject. Regarding cocks, tortoises, and goats, the authority of Garga has been cited. Hamhsadeva, a protégé of Saundadeva, wrote a treatise of the same title in Sanskrit. It is a rare work on zoology, containing 1712 stanzas. Its manuscript is preserved in the palace library of Trivendrum. The work is divided into 36 sections, dealing with the nature, habits, species, young age, sporting, conception, food habits, duration of life, and so on of 225 animals and birds.
Poragama or the art of cooking, is mentioned in the Vasudevahindi. Süda-sästra which has been ascribed to Bhimasena, finds a mention in the Brṛhat-katha-slokasangraha. It is also known as Anna-saṁskāra-śāstra. Elsewhere it has been stated that the art of cooking depended on the knowledge of the science of medicine and in order to acquire this knowledge people used to travel to the country of Yavana (XXIII. 107). King Nala, the husband of Damayanti, is said to have been expert in preparing delicious dishes with the heat of sun-rays.

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Nirgrantha
16.
Pāśa-kevali or Pāśaka-kevali, it is also known as Pāšaka-vidyā, pāśa being a particular constellation in astronomy. It is an art of foretelling events by casting dice (pānsă in Hindi). It has been ascribed to Garga, who has been called a great Jaina muni (The Jodhpur Collection, Pt. I, 1963, p. 220). Garga also has been referred to by Varāhamihira along with Parāśara, Kaśyap2, and other exponents, and by Thakkura Pheru along with Haribhadra, Jauna, Varāha, and others in his Jyotişasara.
17.
One other Pāśa-kevali in manuscript form contains certain technical words with the help of which good or bad events are predicted.
18.
Keith has referred to two treatises under the title of Pašakevali, preserved as parts iv and v of the Bower manuscript in bad Sanskrit with many signs of Prakritic influence. The language of this work is of peculiar character, being popular Sanskrit, heavily affected by Prakritism (perhaps 4th century A. D.). Pañca-paksin or Panca-paksi-parijñāna is still another work on science of divination, containing auguries, ascribed to Śiva: through it one is able to foretell the future events in which five vowels are associated with five birds.
19.
20.
The Pañca-paksi-stavaka in Old Gujarati and the Panca-paksi-sakunāvali by Narayana Bhatta (V. S. 1840) are recorded in the Catalogue of Sanskrit and Prakrit Manuscripts, part III, Muniraja Śrī Punyavijayaji, Ahmedabad 1969. Varāhamihira has also coinposed a work under the same title.
21.
The Rajasthan Oriental Research Institute Jodhpur Collection (part II B, 1965, pp. 328, 330) has recorded several works, bearing the titles Pañca-paksi-praśna; Pañca-paksi-sakuna-śāstra, Pañca-paksi-sakuna-śāstra (with commentary), Pañcapakşi-tippana by Kalyānakarana śukla (V. S. 1908).
22.
Ramala or Pāśaka-vidyā: Ramala is an Arabic word, meaning a mode of fortunetelling by means of casting dice, marked with points. These points give an answer to one's question. Obviously, this art has been borrowed from the Arabs and numerous works have been composed on the subject. According to the Jaina tradition, Ācārya Kālaka is said to have brought this art from Yavana(deśa). Muni Bhojasāgara (18th century A. D.) has written the Ramala-vidyā, still unpublished. The Ramalaśāstra has been referred to by Meghavijaya in his Meghamahodaya, also known as Varşaprabodha (V. S. 1735). It is written in mixed Sanskrit and Prakrit. It has been published. Various works on Ramala have been recorded in the catalogues of manuscripts of Rajasthan Oriental Research Institute, Jodhpur Collection and elsewhere. This indicates the popularity of the subject in later centuries.

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Like Ramala, Tājika-vidyā (Tāzi is a Persian word, meaning 'Arabic'), also indicates the Muslim influence. This art had gained popularity in the 18th or the 19th century. Numerous manuscripts on the subject have been preserved in the Rajasthan Oriental Research Institute Jodhpur Collection, Jodhpur. Tājikam by Nilakantha (written in Sanskrit in V. S. 1840), has several commentaries. Tājikasära, Tajika-sudha-nidhi, Tajika-padma-koea are some of the important treatises on the subject.
śubhaśīlagani in his Pancasatiprabandha (1, 75, pp. 40-1) (A. D. 1464), under the title Tājika-grantha-viracana-sambandha has provided an account of the composition of the Tājika-grantha. It so liappened that once the Moghuis invaded Gujarāt. During the invasion they caught hold of some local people. Amongst them was a learned Jaina acārya. He was taken to Khurāsān where in course of his sojourn he made a study of Yāvanika-śāstra. Later on the basis of this sästra he composed the Tajika-grantha. This work contained the knowledge of past and future, but it has been stated that, as the people were not intelligent enough, they were unable to grasp it fully.
24.
Vrkṣāyurveda was an art and science of planting or cultivating trees, flowers, and fruits in ancient India. It finds mention in the Arthaśāstra of Kautilya. It is mentioned in Sanghadāsa gani's Vasudevahindi. We are told that Samudradatta was expert in the art of Rukkháyuvveya. This art is also mentioned in Budhasvāmin's Brhatkathāślokasangraha (V. 225). Viśvila, a young artisan, was expert in the craft. He cut down the wood from the forest and manufactured a flying machine out of it. He also manufactured valuable cooking utensils conducive to health and longevity in accordance with the rules laid down here. The Brhatsamhita of Varahamihira contains a chapter known as the Vrksãyurvedadhyāya (55). Here the ancient sages like Kaśyapa and Parāśara are mentioned. They laid down rules with regard to planting and cultivating trees.
In the medieval works, mention may be made of Krsiparāśara, the Abhilaşitărthacintamani, the Viśva-vallabha of Cakrapāni, the Viksāyurveda of Surapāla, the Upavana-vinoda, and others. (M. R. Bhat, Introduction to Brhatsamhita, p. 527). The Puppha-joni-sattha by Nemicandra gani, is referred to in his Tarangalolā, Monier Williams has mentioned the Vrksacikitsa-ropanadi. In Kannada we come across the Bījāropana-nakṣatra (the constellation for planting trees.)
Vivāha-padala (Vivāha-patala), dealing with marriage, seemed to be very popular in ancient India. Jainas as well as non-Jainas have written on this subject. There were several works bearing the same title. Bhartotpala (c. 9th Cent. A. D.), the commentator on the Brhatsamhitā, has referred to two such works; he is reported

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Nirgrantha
to have commented upon this work. The Brhajjataka of Varāhamihira has referred to Vivāha-patala. Elsewhere though it forms a chapter of the Brhatsarhitā, Vindhyavasin is mentioned as author of this chapter. Särangadhara was still another author who composed the work bearing the same title in V. S. 1535. Pītāmbara was one other writer who composed it in V. S. 1579. This popular work is also recorded in the Rajasthan Oriental Research Institute Jodhpur, Collections, Jodhapur, where it is stated that it was composed in V. S. 1856 and commented by Kāśinātha in V.S. 1912 with Stavaka.
The Jainas also composed Vivāha-padala. It is mentioned in the Niśitha-cūrni but without the name of the author. Elsewhere, Abhayakusala or Ubhayakusala has been referred to as the author of the work. The manuscript contains 130 verses, interspersed with quoted Prakrit verses. The work has been commented by several authors which indicates its popularity.
26.
Vaisika-śāstra or the art of courtesans or harlotary. Courtesans were well-versed in this art. Dattaka or Datta-vaisika is said to have been the author of the Vaisika which was composed for the sake of courtesans of Pāšaliputra. The commentary of the Sūtrakrtānga narrates a story of a courtesan who tried to seduce Dattaka by employing charms mentioned in the Vaisika; she did not succeed. But she would not give up. She played another trick when Datraka was caught and thrown into fire. The art of Vaisika has been mentioned in Bharata's Nātyaśāstra and Kuttinimata of Damodara. It forms a chapter of the Kāmaśästra. It is said that one who knows the art of Vaisika, is supposed to be skilled in all arts and crafts, he is able to captivate the heart of women, and is expert in conducting love affairs. Bhojadeva, the great poet, has stated in his Sīgāramañjarī: "As people are frightened of a tiger, so are the prostitutes of showing true love to their paramour; that is how a number of paramours have been deceived by prostitutes." We are told in the Vaisikatantra : "If it is not possible to acquire wealth out of real deathi, the faked death has to be practised." The Sūtrkītāngacurņi (p. 140) cites a Sanskrit quotation from this treatise saying, "The mind of women is difficult to conceive or fathom."
27.
Sāņa-ruya (Svāna-ruta) or the barking of dog, deals with the prediction of events by interpreting the barking of dogs. The treatise finds a place in the Jaina manuscripts of Patan Jaina Bhandar. It has been noted in Jñāng-ratna-kośa (p. 400) 9th chapter contains 20 gāthās.
28.
Siddhanta-pähuda deals with the effect of application of collyrium to the inner coat of eyelids, application of an unguent in the feet (pada-lepa) and keeping tablets in the mouth (gutika).

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We have numerous manuscripts on different other subjects. Here are noted : 1. Cudāmani or Cudāmani-sara-śāstra, containing 75 gathās; not available.
Chāyā dāra deals with interpretation of events by observing shade. It contains two-page manuscript, covering 123 găthās; in Pāšan Jain Bhandār.
Chirka-vicara deals with prediction of events by one's sneezing; manuscript in Patan Jain Bhandär.
4.
Garuda-sattha (Garuda-śästra) deals with the cure of snake-poison.
Jaya-pähuda deals with the science of prognostication; contains 378 gathās.
6.
Nadi-dāra deals with particular artery of human body; Ms. in Patan Jain Bhandar.
Nādi-viyara deals with good or bad events arising out of the movement of right or left artery; MS. in Patan Jain Bhandar.
8.
Nimitta-dāra deals with nimitta; MS. in Patan Jain Bhandar.
Nimitta-pähuda deals with nimitta such as kevali, jyotisa, svapna, etc.
Nimitta-śästra deals with ākāśa, candra, utpāta, varsā-utpata, deva-utpäta-yoga, rāja-utpata-yoga, having good or bad omen arising out of rainbow, the illusory town (appearing in the sky: gāndharva-nagara), occurrence of streak of lightening and a line of clouds. It is composed by Rsiputra, son of acārya Garga. Bhattotpala, the commentator of the Bihatsanhită, has referred to Rsiputra. It contains 187 găthās.
10.
Meghamală deals with future events taking into consideration the movements of constellations and the signs of rains; MS. in Pātan Jain Bhandār.
11.
Panha-vägarana (Praśna-vyākarana) deals with the questions and answers by a deity appearing in a linen cloth, a mirror, a thumb, or an arm. It consists of 450 gâthås. A palm-leaf MS. is catalogued in Patan Jain Bhandār.
Pipiliya-nana (Pipilika-jñāna) predicts the good and bad omen arising out of the movement of ants bearing a particular colour. The MS. containing eight stanzas is available in Patan Jain Bhandār.
13.
Praņasta-lābha predicts profit and loss and life and death; MS. in Patan Jain Bhandar.
Then we have Śakuna-jñāna or Sakuna-vidyā (Sagun in Hindi) or the knowledge of birds or omens or augury, was considered most important in those early days in the absence of scientific knowledge. It was a sort of hymn or song sung at festivals to secure good

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Jagadish Chandra Jain Nirgrantha fortune. Sakuna-sukta or the bird-hymn is mentioned. Sakuna-ruta-jnana or the knowledge of notes of birds was considered very important. It was known as totemism which would unite the tribal people in a sympathetic relation with nature. Siva is known as Pasupati or lord of animals. Nandi is associated with Pasupati, Garuda with Visnu, Hamsa with Sarasvati and Musaka with Ganesa. This affinity was so strong that the species of animals and birds were associated with superstitious beliefs or auspicious or inauspicious omens by local tribal people. According to Indian tradition, the omenology has been handed over right from Indra, Brhaspati, Sukra, and renowned sages like Parasara, Garga, and Bharadvaja. According to the author of the Brhatsamhita, King Dravyavardhana, the ruler of Ujjayani (A. D.495-515) wrote a treatise on the subject. The author of the Brhatsanihita has devoted several chapters related with the topic. They are : sakunam, Antara-cakram, Virutam, sva-cakram, siva-rutam, Mrga-cestitam, Gavergitam, Asvengitam, Hasti-cestitam, Vayasavirutam and Sakunottaram. In the course of his commentary, Bhatotpala has cited Bhagavan Garga, Rsiputra, and Parasara. Parasara has dealt with seasons and their effects on the sexual instincts of animals. Dealing with the chapter on dogs the commentator las cited references from Parasara and Garga. He cites 32 verses from Aksara-kosa of Yavanesvara. Various other works on sakuna-sastra are mentioned. The Grhagodha-vicara and the Kykalasa-vicara are referred to in the catalogue of Sanskrit and Prakrit Mss.,Pt.III, p.960 (compiled by Muniraja Sri Punyavijaya, Ahmedabad 1969). Svarodaya-prakarana, a work of Sakuna-sastra, was composed at Anahillapura during the reign of Ajayapala of Gujarat. In the city of Dhara, there lived a Brahmana Ainradeva by name. His son Narapati was efficient in mantra and tantra and possessed the knowledge of Cudamani. Tliis treatise was composed by him. It has several commentaries*. * The present write up is partly based on author's 'Secular Literature', chapter nine of his forthcoming book, History and Development of Prakrit Literature,