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 Nisitha-sutra (19. 11-12) and its Bhasya refer to four great festivals (mahamahas), namely Indra-maha, Skanda-maha, Yaksa-maha and Bhuta-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 Aradhana of Sivarya, the Brhatkalpabhasya, the Vyavahara-bhasya, the Avasyaka-niryukti, the Avasyaka-curni 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 sasana-devata 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 bhandaras. Some of these are as follows: 1. The Agghakanda (Arghakanda): Argha is a technical term in jyotisa, 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 arghasaristhapana (Manusmrti, IV. 8. 402). The term is mentioned in the Nisitha-curni (13, P.400) along with the Vivalapatala. It was consulted by businessmen for profit and loss while buying or selling commodities. The Brhatsamhita of Varahainiliira has a chapter Arghakanda-adhyaya containing 14 verses. The wellknown Jinesvara suri (early 11th century) in his Pancalinga-prakarana (verse 72) has refered to Joisagghakandai. The Arghyakanda by Hemaprabha suri, pupil of Devendra suri (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 Angavidya 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 Narada: aMgavidyAM pravakSyAmi nAradena ca yatkRtam / aMgasparzanamAtreNa jAyate vA zubhAzubham // Arthasastra (Atthasattha), also known as Kautilya or Canakya-Kautilya is classified as a popular scripture in the Nandi-Sutra (42, 193a) along with the Mahabharata, the Ramayana, the Vaisesika, the Buddha-sasana, the Kapila, the Lokayata, the Patanjaliya, and others. Then the Vasudevahindi of Sanghadasa 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 Padalipra's Tarangavaikaha, 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, Dronacarya, a contemporary of Abhyadeva, in his commentary of the Ogha-Niryukti (gatha 418, p. 152), cites from Canakya, saying "it is no fault if one does not evacuate excrement and urine." Haribhadra suri in his Dhuttakkhana, mentions Khandapanas, an author of the Atthasattha, a work that was different from the one refered to in the Nisitha-curni. Somadeva suri (mid 10th century A. D.) composed his Nitivakyamta based on the Arthasastra of Canakya. As Canakya 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 Kumarapala. Haribala has written a commentary on the Nitivakyamrta. And Neminatha has composed a commentary in Kannada in the 12th or 13th century (preserved in the manuscript form in the Karkal Jain Hostel). Assasattha (Asvasastra) or the knowledge about horses. Horses were considered an important constituent of the four-fold army. According to the Arthasastra (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." Varahamihira in his Brhatsamhita (asva-laksana-66) provides the characteristics of horses. The sage Salihotra is considered a great authority on the subject.

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Vol. 1--1995 Some Prakrit Works.... Bhattotpala, while commenting on the Brhatsamhita, cites authorities like Parasara and Vararuci. In order to point out the characteristics of a Mallikaksa horse, he has cited a Prakrit gatha (61.14). It was a particular breed of horse with white spots in the eyes (Monier Williams Sanskrit-English Dictionary). Sriharsa, 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 Samaraiccakaha (2, 100) refers to Vahlika, Turuska, Kamboja, and Vajjira horses. The Kuvalayamala (23, 221), besides 18 species of horses, refers to Vollaha (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 salihotra with commentary. Keith refers to Gana's Asva-vaidyaka or Asvayurveda and Bhoja's Salihotra, dealing with the care of horses and their diseases. Other varieties of horses such as Akirna, Kanthaka, Galita, Asva, Asvatara(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. Ayajnana-tilaka was composed by Vosaribhatta at Anahillapataka. It is an astronomical work containing 750 gathas. The author was a pupil of a Digambara acarya, Damanandin. He has also commented on this work. The word 'aya' is mentioned in the Brhatsamhita 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 Ayasadbhaya (JSBI = Jaina Sahitya ka Brhad stihasa, (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-vidya 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, Kanakasakti, Bhaskaranandi, and Yogacarya. Muladeva, an arch-thief of the Brahmanical fiction, is supposed to have composed Steya-sastra or Steyasutra, a manual of thieving. Dhurta-vidya or the art of knavery. Muladeva 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-samagamaprahasana by Jyotirisvara, composed in V. S. 1933, is recorded in the Jodhpur Collection, pr. II B 1965, p. 148.

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14 8. 9. 10. 11. 12. Jagadish Chandra Jain Nirgrantha Dhatu-vidya or Alchemy is considered as one of the 64 kalas. Udyotana suri (A. D. 778) has provided some details about dhatuvada. 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 Jonipahuda is considered as the source of acquiring this lore. Dhatuvada is also known as Narendra-kala. 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-prablirta, 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 Anuyogadvara-curni 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. Varahamihira, 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-pariksu, also known as Gaja-prabandha or Gaja-pariksa, in V. S. 1215/A. D. 1159. Joni-pahuda or Yoni-prabhrta is as important as the Angavijja, referred to earlier. It is acceptable to both the Digambaras as well as the Svetambaras. 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 acarya Dharasena out of a portion of the Agrayani purva, one of the sacred Purva texts, while residing in Girinagara (Girnar) in Saurastra. Originally, the text is said to have contained 28000 gathas. According to tradition, this text was going into oblivion and the author restored it in Kali age. According to the Bhattippanika (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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Vol. 1-1995 13. 14. Some Prakrit Works.... century A. D.) The author, also known as prajfid-sramana (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 Kuvalayamala: "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-pahuda will never go wrong." According to the tradition, dacarya 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 gathas. 15. Mayana-mauda (Madana-mukuta) 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. 15 Mrga-paksi-sastra 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. Varahamihira 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 Parasara, the teacher of Brhadratha. The commentator has cited Salihotra 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 protege 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. Suda-sastra which has been ascribed to Bhimasena, finds a mention in the Brrhat-katha-slokasangraha. It is also known as Anna-samskara-sastra. 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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Jagadish Chandra Jain Nirgrantha 16. Pasa-kevali or Pasaka-kevali, it is also known as Pasaka-vidya, pasa being a particular constellation in astronomy. It is an art of foretelling events by casting dice (pansa 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 Varahamihira along with Parasara, Kasyap2, and other exponents, and by Thakkura Pheru along with Haribhadra, Jauna, Varaha, and others in his Jyotisasara. 17. One other Pasa-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 Pasakevali, 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.). Panca-paksin or Panca-paksi-parijnana is still another work on science of divination, containing auguries, ascribed to Siva: through it one is able to foretell the future events in which five vowels are associated with five birds. 19. 20. The Panca-paksi-stavaka in Old Gujarati and the Panca-paksi-sakunavali by Narayana Bhatta (V. S. 1840) are recorded in the Catalogue of Sanskrit and Prakrit Manuscripts, part III, Muniraja Sri Punyavijayaji, Ahmedabad 1969. Varahamihira 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 Panca-paksi-prasna; Panca-paksi-sakuna-sastra, Panca-paksi-sakuna-sastra (with commentary), Pancapaksi-tippana by Kalyanakarana sukla (V. S. 1908). 22. Ramala or Pasaka-vidya: 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, Acarya Kalaka is said to have brought this art from Yavana(desa). Muni Bhojasagara (18th century A. D.) has written the Ramala-vidya, still unpublished. The Ramalasastra has been referred to by Meghavijaya in his Meghamahodaya, also known as Varsaprabodha (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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Vol. 1-1995 Some Prakrit Works.... 23. Like Ramala, Tajika-vidya (Tazi 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. Tajikam by Nilakantha (written in Sanskrit in V. S. 1840), has several commentaries. Tajikasara, Tajika-sudha-nidhi, Tajika-padma-koea are some of the important treatises on the subject. subhasilagani in his Pancasatiprabandha (1, 75, pp. 40-1) (A. D. 1464), under the title Tajika-grantha-viracana-sambandha has provided an account of the composition of the Tajika-grantha. It so liappened that once the Moghuis invaded Gujarat. During the invasion they caught hold of some local people. Amongst them was a learned Jaina acarya. He was taken to Khurasan where in course of his sojourn he made a study of Yavanika-sastra. Later on the basis of this sastra 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. Vrksayurveda was an art and science of planting or cultivating trees, flowers, and fruits in ancient India. It finds mention in the Arthasastra of Kautilya. It is mentioned in Sanghadasa gani's Vasudevahindi. We are told that Samudradatta was expert in the art of Rukkhayuvveya. This art is also mentioned in Budhasvamin's Brhatkathaslokasangraha (V. 225). Visvila, 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 Vrksayurvedadhyaya (55). Here the ancient sages like Kasyapa and Parasara are mentioned. They laid down rules with regard to planting and cultivating trees. In the medieval works, mention may be made of Krsiparasara, the Abhilasitarthacintamani, the Visva-vallabha of Cakrapani, the Viksayurveda of Surapala, 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 Tarangalola, Monier Williams has mentioned the Vrksacikitsa-ropanadi. In Kannada we come across the Bijaropana-naksatra (the constellation for planting trees.) Vivaha-padala (Vivaha-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 Brhatsamhita, has referred to two such works; he is reported

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Jagadish Chandra Jain Nirgrantha to have commented upon this work. The Brhajjataka of Varahamihira has referred to Vivaha-patala. Elsewhere though it forms a chapter of the Brhatsarhita, Vindhyavasin is mentioned as author of this chapter. Sarangadhara was still another author who composed the work bearing the same title in V. S. 1535. Pitambara 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 Kasinatha in V.S. 1912 with Stavaka. The Jainas also composed Vivaha-padala. It is mentioned in the Nisitha-curni 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-sastra 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 Pasaliputra. The commentary of the Sutrakrtanga 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 Natyasastra and Kuttinimata of Damodara. It forms a chapter of the Kamasastra. 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 Sigaramanjari: "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 Sutrkitangacurni (p. 140) cites a Sanskrit quotation from this treatise saying, "The mind of women is difficult to conceive or fathom." 27. Sana-ruya (Svana-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 Jnang-ratna-kosa (p. 400) 9th chapter contains 20 gathas. 28. Siddhanta-pahuda 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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Vol. 1-1995 Some Prakrit Works.... We have numerous manuscripts on different other subjects. Here are noted : 1. Cudamani or Cudamani-sara-sastra, containing 75 gathas; not available. Chaya dara deals with interpretation of events by observing shade. It contains two-page manuscript, covering 123 gathas; in Pasan Jain Bhandar. Chirka-vicara deals with prediction of events by one's sneezing; manuscript in Patan Jain Bhandar. 4. Garuda-sattha (Garuda-sastra) deals with the cure of snake-poison. Jaya-pahuda deals with the science of prognostication; contains 378 gathas. 6. Nadi-dara deals with particular artery of human body; Ms. in Patan Jain Bhandar. Nadi-viyara deals with good or bad events arising out of the movement of right or left artery; MS. in Patan Jain Bhandar. 8. Nimitta-dara deals with nimitta; MS. in Patan Jain Bhandar. Nimitta-pahuda deals with nimitta such as kevali, jyotisa, svapna, etc. Nimitta-sastra deals with akasa, candra, utpata, varsa-utpata, deva-utpata-yoga, raja-utpata-yoga, having good or bad omen arising out of rainbow, the illusory town (appearing in the sky: gandharva-nagara), occurrence of streak of lightening and a line of clouds. It is composed by Rsiputra, son of acarya Garga. Bhattotpala, the commentator of the Bihatsanhita, has referred to Rsiputra. It contains 187 gathas. 10. Meghamala deals with future events taking into consideration the movements of constellations and the signs of rains; MS. in Patan Jain Bhandar. 11. Panha-vagarana (Prasna-vyakarana) 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 gathas. A palm-leaf MS. is catalogued in Patan Jain Bhandar. Pipiliya-nana (Pipilika-jnana) 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 Bhandar. 13. Pranasta-labha predicts profit and loss and life and death; MS. in Patan Jain Bhandar. Then we have Sakuna-jnana or Sakuna-vidya (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,