Studies in Jain Literature

Author(s): V M Kulkarni
Publisher: Shardaben Chimanbhai Educational Research Centre
Catalog link: https://jainqq.org/explore/001868/1

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Shresthi Kasturbhai Lalbhai Series-2 1785 Studies in Jain Literature The Collected Papers Contributed by Prof. V. M. Kulkarni 500 Shresthi Kasturbhai Lalbhai Smarak Nidhi Ahmedabad.

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About the work The major characteristics of Dr. V. M. Kulkarni's work can be summarised as: For the first time Prakrit poetry has been evaluated in the light of known theories of aesthetics and its substantial contribution is competently assessed by a competent authority. For the first time Abhinavabharati Ch. VII, which was till recently believed by eminent scholars to have been lost, has been recovered. For the first time abundant fresh light has been shed on Sarvasena's Harivijaya, the earliest known Prakrit epic, (now lost), which has been highly appreciated by leading literary critics. For the first time the full significance of Sattvikabhavas has been fully explained in his characteristic style. For the first time Hemacandra has been evaluated from an impartial point of view which a fair-minded scholar alone can do. For the first time in Prakrit Verses in Sanskrit Works on Poetics the great importance of restoring Prakrit verses has been emphasised by reconstructing over 1600 corrupt verses from a score of major works on Alamkarasastra. The supreme importance of Kavyanusasana, Natyadarpana and Kalpalataviveka for restoring corrupt passages by scores from works on poetics has been brought for the first time to the notice of scholars. 000 fon International

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STUDIES IN JAIN LITERATURE (The Collected Papers Contributed by Prof. V. M. Kulkarni) namra sUcana isa grantha ke abhyAsa kA kArya pUrNa hote hI niyata samayAvadhi meM zIghra vApasa karane kI kRpA kareM. jisase anya vAcakagaNa isakA upayoga kara sakeM.

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SHRESTHI KASTURBHAI LALBHAI COLLECTED RESEARCH - ARTICLES SERIES VOLUME-2 General Editor Jitendra B. Shah

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Studies in Jain Literature (The Collected Papers Contributed by Prof. V. M. Kulkarni ) Shresthi Kasturbhai Lalbhai Smarak Nidhi C/o. Sharadaben Chimanbhai Educational Research Centre 'Darshan' Opp. Ranakpur Society Shahibaug Ahmedabad-380 004 (Gujarat State) INDIA

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Studies in Jain Literature (The Collected Papers Contributed by Prof. V. M. Kulkarni) Published by J. B. Shah Shresthi Kasturbhai Lalbhai Smarak Nidhi C/o. Sharadaben Chimanbhai Educational Research Centre 'Darshan' Opp. Ranakpur Society Shahibaug Ahmedabad-380 004 (Gujarat State) INDIA PHONE: 079-2868739. FAX: 079-2862026 e-mail: sambodhi@ad1.vsnl.net.in Website: www.scerc.org Shresthi Kasturbhai Lalbhai Smarak Nidhi First Edition : 2001 Copies 500 Price Rs. 680/ Printer Navprabhat Printing Press Near Old Novelty Cinema, Ghee-kanta, Ahmedabad. Phone 5508631

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Dedicated to The Late Dr. A. N. Upadhye The Late Prof. Dalsukh D. Malvania The Late Dr. H. C. Bhayani and Dr. A. M. Ghatage

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Publisher's Note We feel happy to publish this second Volume in the series of the Research Articles' Volumes. It contains papers, articles, and related material earlier contributed by Prof. V. M. Kulkarni to various research journals as well as felicitation volumes. These embody the results of his researches in Prakrit and Jaina literature. These were then well received by the scholarly world : Hence the publication of their collection is well-justified and deservedly in place. Collecting these articles had proven a rather cumbersome task, as the material was scattered through various journals etcetera and published at different periods. When, however, some four years ago, Prof. M. A. Dhaky and I visited him in Mumbai and requested him to provide us the copies of his earlier articles for publishing them in a compact and comprehensive Volume, to our delight, his response was positive. He subsequently sent to us the total material. In the beginning, we had not considered the scheme of instituting a Series of such volumes. But later we gave more serious thought and began working in that direction. Now, it has been planned to publish the volumes of collected research articles and papers by renowned scholars on Indological / Jainological topics, in a definite regularly published Series. The purpose behind instituting this Series is to make available the published writings of eminent scholars in those fields. We are indeed grateful to Prof. Kulkarani for according his consent to our proposal. We would next like to thank our type-setters-Shri Akhilesh Mishra and Purviben Shah--for preparing the manuscript of this Volume. We also wish to thank Shri Naranbhai Patel, our proof-reader, and Shri Chandraprakashbhai, Administrator of the Centre, for the efficient assistance both of them extended. We likewise are indebted to Su. Sri Manjulaben Joshi in preparing this volume. We hope that the scholarly world of the concerned field of studies will find this Volume useful as a reference work and for further researches. Ahmedabad 2001 J. B. Shah OOO

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PREFACE The present volume is a collection of essays, research articles and critical reviews in the branches of Jain Literature relating to Dharma, Puranas, poetry and poetics (Alamkarasastra). The work consists of two parts. Part I pertains to Dharma and Puranas and part II to non-religious (or secular) literature. It is now for the discerning readers and critics to judge their worth. I will feel amply rewarded if they derive satisfaction by reading these writings which I wrote during the last five decades. I take this opportunity to express my grateful thanks to all those authorities, directors of Research Institute/ Centres, and editors of Oriental Research Journals for giving me permission to include in the present volume the several essays (introductions), research articles and reviews first published by them. I extend my warm thanks to Dr. Jitendra B. Shah, Director, Sharadaben Chimanbhai Educational Research Centre, Ahmedabad, but for whose and pressing requests during the last three-four years I would not have exerted myself in collecting and duly arranging and editing these writings spread over fifty years. In fact I must thank him doubly for accepting this work for publication by Sharadaben Chimanbhai Educational Research Centre, Ahmedabad. I express my heartfelt thanks to my friends, Dr. G. S. Bedagkar, Prof. Dalsukhbhai Malvania, Dr. H. C. Bhayani who took keen interest in my work, alas ! they are no more. I sincerely thank Mrs. Mrudula Joshi for editorial assistance and for taking pains to prepare the Indexes, and Mrs. S. R. Vaswani, erstwhile Dy. Librarian of the Asiatic Society of Bombay for making books readily available to me whenever asked for. I appreciate the services rendered by-Vikram Makwana and Chirag Shah for Data-entry and Typesetting, Naranbhai Patel and Chandraprakash Shah for proofreading, Akhilesh Mishra for final typesetting and butter-prints, and the Navbharat Printing Press. Mumbai V. M. Kulkarni 26 March, 2001.

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BY THE SAME AUTHOR (1944) (1964) (1965) (1969) (1980) (1983) (1986) (1988) SAMARAICCAKAHA OF HARIBHADRASURI (BHAVA-II) (WITH INTRODUCTION, FULL TRANSLATION AND NOTES) KAVYANUSASANA OF ACARYA HEMACANDRA (IN COLLABORATION) JAYADEVA'S GITAGOVINDA WITH A HITHERTO UNPUBLISHED KING MANANKA'S COMMENTARY * SRNGARARNAVACANDRIKA OF VIJAYAVARNI * AN ANTHOLOGY OF JAIN TEXTS (SAHITYA AKADEMY, NEW DELHI) * STUDIES IN SANSKRIT SAHITYA-SASTRA SOME ASPECTS OF THE RASA THEORY (ED.) PRAKRIT VERSES IN SANSKRIT WORKS ON POETICS (VOL. I : TEXT) PRAKRIT VERSES IN SANSKRIT WORKS ON POETICS (VOL. II : TRANSLATION) (WITH INTRODUCTION, GLOSSARY AND NOTES) PRASAMARATI-PRAKARANA OF VACAKA SRIMAD UMASVATI (ED.) * THE STORY OF RAMA IN JAIN LITERATURE * MORE STUDIES IN SANSKRIT SAHITYA-SASTRA * FIVE CRITICAL ARTICLES IN MARATHI ON POETICS AND POETRY * BHOJA AND THE HARIVIJAYA OF SARVASENA * A TREASURY OF JAIN TALES (ED.) * USANIRUDDHAM OF RAMAPANIVADA (SECOND ENLARGED EDITION) * OUTLINE OF ABHINAVAGUPTA'S AESTHETICS * NATYASASTRA WITH THE COMMENTARY OF ABHINAVAGUPTA (IN COLLABORATION, SECOND REVISED EDITION) * ABHINAVABHARATI TEXT : RESTORED (IN PRESS) (1990) (1991) (1990) (1993) (1993) (1994) (1996) (1998) (2001)

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FIRST PUBLICATION 1. CHARACTER OF JAIN MYTHOLOGY : The Story of Rama in Jain Literature; Saraswati Pustak Bhandar, Ahmedabad, 1990. 2. SOME ASPECTS OF PAUMACARIYA : Based on Thesis - "The Story of Rama in Jain Literature", 1952. 3. ORIGIN OF THE STORY OF RAMA IN JAIN LITERATURE : JOI, Baroda, 1959, Vol. XI, No. 2 and No. 3, Baroda, 1960. 4. DEVELOPMENT OF THE STORY OF RAMA IN JAIN LITERATURE : JOI, Baroda, 1959, Vol. XI, No. 2 and No. 3, 1960. 5. VALMIKI RAMAYANA AND JAIN RAMAYANAS : STUDY IN INTERACTION* 6. IMPACT OF RAMAYANA ON JAIN LITERATURE* 7. UTTARADHYAYANASUTRA ON BRAHMANISM : All India Seminar on Jain Canonical Literature, Gujarat University, Ahmedabad, 1986. 8. BHAGAVADGITA AND UTTARADHYAYANASUTRA : A COMPARATIVE ASPECT* 9. VEDA AND JAIN TEXTS* 10. SACRIFICE IN THE JAIN TRADITION : UGC Seminar, University of Bombay, 1986. 11. JAIN VIEW OF CREATION : Seminar on Myths of Creation, University of Bombay, 1985, 12. SVABHAVAVADA (NATURALISM) : A STUDY : Shri Mahavira Jaina Vidyalaya, Golden Jubilee Volume, Part I, Bombay, 1968. 13. ESCHATOLOGICAL IDEAS IN JAIN TRADITION* : Seminar at University of Bombay, March 1992. 14. HARIBHADRASURI'S VIMSATIVIMSIKA : AN APPROACH : Dr. J. C. Jain Felicitation Volume (Ed. Dr. N. N. Bhattacarya). 1994. 15. PANCASUTRA : A STUDY : Introduction to "Pancasutrakam of Cirantanacarya", B. L. Institute, Delhi, 1986.

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XII 16. THE SOURCE OF PRAKRIT LANGUAGES : Journal, University of Bombay, Arts no. Vol. XLI, No. 77, 1972. 17. THE STORY OF KING VASU IN JAIN LITERATURE : H. G. Shastri Felicitation Volume, 1994. 18. TYPES OF STORIES IN SANSKRIT AND PRAKRIT LITERATURE WITH SPECIAL REFERENCE TO DHARMA-KATHA IN JAIN LITERATURE : 19. NANDISUTTAM AND ANUOGADDARAM : Ed. by Munisri Punyavijaya and Pt. A. M. Bhojaka, Pub. Mahavira Jaina Vidyalaya, Bombay; Reviewed in Sambodhi, Vol. 2, No. 4, L. D. Institute of Indology, Ahmedabad, 1974. 20. STUDIES IN EARLY JAINISM : By J. C. Jain, Pub. Navrang Booksellers, New Delhi, 1992; Reviewed in JASB, Vols. 64-66, Bombay, 1993. 21. AYARANGA: PADHAMA SUTA-KHANDHA, PADHAMA AJJHAYANA : Ed. K. R. Chandra, Prakrit Jaina Vidya Vikasa Fund, Ahmedabad; JASB, Vol. 73, Bombay, 1998. 22. ISIBHASIYAIM KA PRAKRIT-SANSKRIT SABDAKOSA : Ed. K. R. Chandra, Prakrit Text Society, Ahmedabad; Reviewed in JASB, Vol. 74, Bombay, 2000. 23. RELIGION AND PHILOSOPHY OF THE JAINAS : By Virchand Gandhi, Ed. Nagin J. Shah, Pub. Lalit C. Shah, Jain International, Ahmedabad; Reviewed in JASB, Vols. 67 68, Bombay, 1994. 24. HEMACANDRA'S TREATMENT OF THE ALAMKARA AND RASA TRADITIONS : Pub. in Sambodhi (Special Issue), Vol. 15, L. D. Institute of Indology, Ahmedabad, 1990. 25. SOURCES OF HEMACANDRA'S KAVYANUSASANA : JOI, Baroda, Vol. XIV, No. 2, Baroda, 1964. 26. HEMACANDRA ON SATTVIKABHAVAS : Seminar on Acarya Hemacandra, Pub. in Sambodhi (Special Number), Vol. 15, L. D. Institute of Indology, Ahmedabad, 1990. 27. DUAL NATURE OF SATTVIKABHAVAS : JOI, Baroda, Vol. 38, Nos. 1-2, Baroda, 1990. 28. HEMACANDRA : AN ASSESSMENT : UGC Seminar, Gujarat University, Ahmedabad, 1990. 29. SOMESVARA BHATTA AND HEMACANDRACARYA : Bulletin, C. G. Vidyabhavan, Nos. 8, 9, Surat, 1961-62. 30. KALPALATAVIVEKA : A STUDY : JOI, Baroda, Vol. XVIII, No. 4, Baroda, 1969. 31. KALPALATAVIVEKA ON ABHINAVABHARATI : JOI, Baroda, Vol. XXI (No. 4), Baroda, 1972.

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XIII 32. KALPALATAVIVEKA ON BHAMAHA'S KAVYALAMKARA (Chapter V, vv. 5-10): Varanasi Session, The Fifth World Sanskrit Conference, 1981; Pub. in "Studies in Sanskrit Sahitya Sastra", B. L. Institute of Indology, Patan (now Delhi), 1983. 33. FRESH LIGHT ON BHAMAHA-VIVARANA : Sambodhi, Vol. 1, No. 1, L. D. Institute of Indology, Ahmedabad, 1972. 34. ABHINAVABHARATI CH. VII RECOVERED : JOI, Baroda, Vol. XX, No. 3, Baroda, 1971. 35. SRNGARARNAVACANDRIKA OF VIJAYAVARNI : Introduction to Srngararnavacandrika of Vijayavarni; Pub. Bharatiya Jnanapitha, Delhi, 1969. 36. DISCOVERY THROUGH RESTORATION : MM. Dr. P. V. Kane Memorial Lecture for 1990, Pub. in JASB, Vol. 37. JAIN CONTRIBUTION TO SANSKRIT POETICS AND AESTHETICS : Pub. in "Contribution of Jainism to Indian Culture", Motilal Banarsidass, Varanasi, 1975. 38. JAIN AESTHETIC CONCEPTS : Seminar on "Jain Culture and Performing Arts"; Pub.in Jain Culture and Performing Arts, NCPA, Bombay, 1990. 39. THE JAIN VIEW OF AESTHETIC EXPERIENCE : JOI, Baroda, Vol. XXIV, No. 1-2, Baroda, 1974. 40. SOME UNCONVENTIONAL VIEWS ON RASA 41. SANSKRIT AND PRAKRIT MAHAKAVYAS* 42. HARIVIJAYA OF SARVASENA : Annals, BORI, (Diamond Jubilee Volume), Pune, 1977 78; Revised and Enlarged edition, Saraswati Pustak Bhandar, Ahmedabad, 1991. 43. SAMARAICCAKAHA (BHAVA -II) OF HARIBHADRASURI : A STUDY : Pub. Bharat Book Stall, Kolhapur, 1944. 44. MALLIKAMAKARANDA BY RAMACANDRA : Introduction to "Mallikamakaranda", Ed. Muni Sri Punyavijayaji, Pub. L. D. Institute of Indology, Ahmedabad, 1983. 45. PRAKRIT VERSES IN SANSKRIT WORKS ON POETICS : Introduction to "Prakrit Verses in Sanskrit Works on Poetics", Vol. II, B. L. Institute of Indology, Delhi, 1990. 46. A BRIEF SURVEY OF JAIN LITERATURE (IN PRAKRIT AND SANSKRIT LANGUAGES): Introduction to "An Anthology of Jain Texts", Sahitya Akademi, New Delhi, 1980. 47. INDIAN NARRATIVE LITERATURE : A STUDY : Introduction to "A Treasury of Jain Tales"; Pub. Sharadaben Chimanbhai Educational Research Centre, Ahmedabad, 1994. 48. JINESVARASURI'S GAHARAYANAKOSA : Sambodhi, Vol. 6, No. 3-4, Ahmedabad, 1977 78.

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XIV 49. TARAYANA (TARAGANA): AN ANTHOLOGY OF BAPPABHATTI: Ed. H. C. Bhayani, Pub. Prakrit Text Society, Ahmedabad, 1987; Reviewed in Sambodhi, Vol. 50. INDOLOGICAL STUDIES-1 By H. C. Bhayani, Pub. Parshva Prakashan, Ahmedabad, 1993; Reviewed in JASB, Vol. 72, Bombay, 1997. 51. INDOLOGICAL STUDIES II: By H. C. Bhayani, Pub. Parshva Publication, Ahmedabad, 1998; Reviewed in JASB, Vol. 74, Bombay, 2000. 52. SAPTASATISARA WITH BHAVADIPIKA Ed. A. N. Upadhye, Shivaji University, Kolhapur, 1970; Reviewed in Journal, University of Bombay, Arts No. Vol. XL, No. 76, Bombay, 1971. 53. WOMEN IN ANCIENT INDIAN TALES: By J. C. Jain and M. Walter, Mittal Publications, Delhi, 1987; Reviewed in JASB, Bombay, 1991. 54. VIDYASTAKAM: By Munishri Niyam Sagarji, Pradeep Cutpiece, Madhya Pradesh; 1994; Reviewed in JASB, Vol. 71, Bombay, 1997. 55. APPENDIX: HARIVIJAYA OF SARVASENA (Revised, tentative and free translation) : First published by Saraswati Pustak Bhandar, Ahmedabad, 1991. [Note Articles marked with asterisks (") are unpublished, though they were read at seminars.] mmm

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CONTENTS 106 112 123 1. CHARACTER OF JAIN MYTHOLOGY 2. SOME ASPECTS OF PAUMACARIYA 3. ORIGIN OF THE STORY OF RAMA IN JAIN LITERATURE 4. DEVELOPMENT OF THE STORY OF RAMA IN JAIN LITERATURE 5. VALMIKI RAMAYANA AND JAIN RAMAYANAS : STUDY IN INTERACTION 6. IMPACT OF RAMAYANA ON JAIN LITERATURE 7. UTTARADHYAYANASUTRA ON BRAHMANISM 8. BHAGAVADGITA AND UTTARADHYAYANASUTRA : A COMPARATIVE ASPECT 9. VEDA AND JAIN TEXTS 10. SACRIFICE IN THE JAIN TRADITION 11. JAIN VIEW OF CREATION 12. SVABHAVAVADA (NATURALISM) : A STUDY 13. ESCHATOLOGICAL IDEAS IN JAIN TRADITION 14. HARIBHADRASURI'S VI MSATIVI MSIKA : AN APPROACH 15. PANCASUTRA : A STUDY 16. THE SOURCE OF PRAKRIT LANGUAGES 17. THE STORY OF KING VASU IN JAIN LITERATURE 18. TYPES OF STORIES IN SANSKRIT AND PRAKRIT LITERATURE WITH SPECIAL REFERENCE TO DHARMA-KATHA IN JAIN LITERATURE 19. NANDISUTTAM AND ANUOGADDARAIM 20. STUDIES IN EARLY JAINISM (SELECTED RESEARCH ARTICLES) 21. AYARANGA : PADHAMA SUTA-KHANDHA, PADHAMA AJJHAYANA (ACARANGA : PRATHAMA SRUTA-SKANDHA, PRATHAMA ADHYAYANA) 22. ISIBHASIYAIM KA PRAKRIT-SANSKRIT SABDAKOSA 23. RELIGION AND PHILOSOPHY OF THE JAINAS 24. HEMACANDRA'S TREATMENT OF THE ALAMKARA AND RASA TRADITIONS 25. SOURCES OF HEMACANDRA'S KAVYANUSASANA 127 131 148 152 155 163 169 172 175 177 179 192

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XVI 200 207 223 230 237 251 262 271 276 26. HEMACANDRA ON SATTVIKABHAVAS 27. DUAL NATURE OF SATTVIKABHAVAS 28. HEMACANDRA : AN ASSESSMENT 29. SOMESVARA BHATTA AND HEMACANDRACARYA 30. KALPALATAVIVEKA : A STUDY 31. KALPALATAVIVEKA ON ABHINAVABHARATI 32. KALPALATAVIVEKA ON BHAMAHA'S KAVYALAMKARA (Chapter V.vv 5-10) 33. FRESH LIGHT ON BHAMAHA-VIVARANA 34. ABHINAVABHARATI CH. VII RECOVERED 35. SRNGARARNAVACANDRIKA (ALAMKARASAMGRAHA) OF VIJAYAVARNI 36. DISCOVERY THROUGH RESTORATION 37. JAIN CONTRIBUTION TO SANSKRIT POETICS AND AESTHETICS 38. JAIN AESTHETIC CONCEPTS 39. THE JAIN VIEW OF AESTHETIC EXPERIENCE 40. SOME UNCONVENTIONAL VIEWS ON RASA 41. SANSKRIT AND PRAKRIT MAHAKAVYAS 42. HARIVIJAYA OF SARVASENA TEXT : Part 1 283 295 313 331 342 347 354 363 369 TEXT : Part II 377 397 417 453 496 521 541 43. SAMARAICCAKAHA (BHAVA-II) OF HARIBHADRASURI : A STUDY 44. MALLIKAMAKARANDA [By Ramacandra) 45. PRAKRIT VERSES IN SANSKRIT WORKS ON POETICS 46. A BRIEF SURVEY OF JAIN LITERATURE (IN PRAKRIT AND SANSKRIT LANGUAGES) 47. INDIAN NARRATIVE LITERATURE : A STUDY 48. JINESVARASURI'S GAHARAYANAKOSA 49. TARAYANA (Taragana) : An Anthology of Bappabhatti 50. INDOLOGICAL STUDIES-I 51. INDOLOGICAL STUDIES-II 52. SAPTASATISARA WITH BHAVADIPIKA 53. WOMEN IN ANCIENT INDIAN TALES 54. VIDYASTAKAM APPENDIX (HARIVIJAYA OF SARVASENA) (Tentative and free) Translation 55. AUTHORS' INDEX 56. INDEX OF WORKS 556 561 563 565 567 569 571 585 593

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CHARACTER OF JAIN MYTHOLOGY 1. RELIGION AND MYTHOLOGY Religion and mythology are always intimately connected with each other. "Works on mythology clothe with flesh and blood, the bony framework of spiritual truths and ethical code as set forth in sacred literature. Without such a body of flesh and bone, the mere life-force of the sacred texts cannot function with effect. It is of course, equally true that without such life-force the mere mass of flesh and bone will decay." The Puranas popularize the truths taught in the sacred books by presenting them in relation to individual men and women and to the events of their lives. They explain, illustrate and inculcate the moral principles stated in them. 2. THE DEFINITION OF MAHA-PURANA Jinasena, the author of the Adi-Purana, says: "I shall describe the narrative of 63 ancient persons, viz., the (24) Tirthakaras, the (12) Cakravartins, (9) Baladevas, (9) Ardha-Cakravartins (i. e., Vasudevas) and their enemies (i. e., Prativasudevas). The word Purana meant 'old or ancient narrative'. It is called 'great' because it relates to the great (personages), or because it is narrated by the great (Tirthakaras, Ganadharas or Acaryas) or because it teaches (the way to) supreme bliss. Other learned men say that it is called Purana because it originates with an old poet and it is called great because of its intrinsic greatness. The great rsis called it a Mahapurana as it relates to great men and teaches (the way to) supreme bliss." And he adds that "the Maha-Purana is regarded 'Arsa' because it was composed by rsis, 'Sukta' as it expounds truth and 'Dharma-sastra' as it declares Dharma. It is also looked upon as Itihasa, Itivrtta, or Aitihya or Amnaya as it contains many stories about 'Iti-h-asa' (--so it has been' i. e., 'traditional history')2. Thus according to Jinasena, Purana and Itihasa are synonymous terms. A Tippana-Kara of Puspadanta's Mahapurana, however, makes a distinction between the two, saying that Itihasa means the narrative of a single individual while Purana means the narratives of 63 great men of the

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2 Jain faith'. The Kautiliya-Arthasastra (I. 5) in its definition of Itihasa enumerates 'Purana' and 'Itivrtta' as belonging to the content of Itihasa. As Itivrtta can only mean a 'historical event', Purana probably means 'mythological and legendary lore'. STUDIES IN JAIN LITERATURE 3. THE ORIGIN AND DEVELOPMENT OF JAIN MYTHOLOGY It is believed that Jainism is comparatively of a later origin. Jain works speak of 24 Tirthakaras. A majority of eminent scholars, however, accept that Mahavira and Parsvanatha (and Neminatha too, according to a few,) were historical personages and they consider the rest of the Tirthakaras to be mythical figures. Jainism received great impetus under Mahavira's religious leadership. A few centuries after the Nirvana of Mahavira, the Jains felt the necessity of having their own mythology which would provide an excellent means for reaching popular thought and propagating their own views, ideals and doctrines. To meet the requirement the religious teachers and masters of Jainism invented myths, accepted popular legends with necessary modifications and borrowed the most. popular stories from the Hindu Mythology-adapting them so as to make them suitable vehicles to convey the truths of their own religion, philosophy and ethics. Jain Mythology centres in the personalities of sixty three great figures. The material for their lives is found partly in the Kalpa-sutra and, in its basic elements, in the Tiloyapannatti and Avasyakabhasya. These lives have assumed a definite pattern, though the extent of details and poetic descriptions etc., differ from author to author. The names of all the Tirthakaras are handed down with a multitude of details. "Yet the minutiae are precisely the same for each with changes of name and place, and with variation as to the details of complexion. and stature, as well as the designations of the attendant spirits, who are a Yaksa and a Yaksini, of the ganadhara (leader of disciples), and of the Arya (first) woman convert)." A minor alteration here and there is remarkable: thus the 20th Tirthakara, Muni Suvrata and twenty-second, Aristanemi3 are said to have been of the Harivamsa, and not like all the others, of the Iksvaku family; such alterations we find in a few cases regarding the place where some Tirthakaras attained Moksa or perfect knowledge or the posture at the time of final release. But for the most part the Jain narratives include precisely the same miracles in regard to the birth and other events in the lives of the Tirthakaras. The Jain tradition traces the origin of the Puranas to Lord Mahavira himself and provides a succession of teachers through who they were handed. down, some of whom cannot be said to be historical personages. The traditions. as recorded in the different Puranas of the Svetambaras and the Digambaras

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CHARACTER OF JAIN MYTHOLOGY differ considerably and are conflicting. It is possible that the origin is traced to Mahavira in order to invest the Purana concerned with sanctity and authorityin the present state of our knowledge we cannot summarily brush aside their claim that they were given in the Purva texts which are irretrievably lost to usbut this much we can say that 'strings of names' (Namavali), such as are found in the Tiloyapannatti, were contained in the Purvas and their oral exposition from his teacher was received by Vimala Suri who composed the earliest extant Jain epic-Purana--the Pauma-cariya-written according to his own statement 530 years after the Nirvana of Mahavira. Modern scholars like Jacobi, Glasenapp and Winternitz hold that the mythology of the Jains is to a great extent derivative. The Mahabharata attributed to Vyasa and the Ramayana of Valmiki--these two epics of the Hindus were very popular and had made a deep impression on the lives of millions of people in the land. Again some of the oldest Puranas, which tradition attributes to Vyasa, must have been widely prevalent in those days. Especially the exploits of Rama and of Krsna were such as made the Hindus look upon them as the Avataras of God Visnu. The Jain writers, coming later, may have wished to make a popular appeal to rival the influence of Brahmanical works on the masses and therefore could not ignore the great heroes-Rama and Krsna--and their lives. It was thus natural for the Jains to adopt the Rama story and the Krsna-legend and to give them a Jain background and atmosphere. Besides adopting the legends of Rama and Krsna they incorporated a large number of popular legends in their mythology in order to propagate Jain virtues. These legends have their counterparts in Hindu and Buddhist literature : e. g., the well-known legends of Bharata, Sagara--the descent of Ganga and the destruction of 60000 sons of Sagara-Brahmadatta, Srenika and Rsyasrnga. They also introduced a number of purely Jain legends in their mythology. To this category belong the biographies of the first 22 Tirthakaras (for the last two are historical ones), of some of the Cakravartins and some of the 27 heroes (Baladevas etc.). Not only the Tirthakaras themselves but other holy men too have been glorified in their works by the Jains, e. g. Salibhadra, a famous legendary hero, Jivandhara, who is celebrated first in the Uttarapurana and then in many later works in Sanskrit and Tamil, Yasodhara, Karakandu, Nagakumara and Sripala. Thus we have the Jain Mythology built up out of considerable borrowings from the Hindu epics and mythology, popular legends from the common stock of Indian literature and pure Jain legends created to give Jainism a background of ancient tradition and to propagate Jain virtues of Ahimsa, Satya, etc.

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4 4. THE SIXTYTHREE GREAT FIGURES OF JAIN MYTHOLOGY Sixtythree salakapurusas: As, already remarked it is mainly the lives of the sixtythree excellent men (salakapurusas) that form the subjectmatter of Jain mythology. These prominent personages are classified into five groups: (i) 24 Tirthakaras, (ii) 12 Cakravartins-sovereign rulers of the world, (iii) 9 Baladevas, (iv) 9 Vasudevas and (v) 9 Prativasudevas. STUDIES IN JAIN LITERATURE Now let us first give a clear idea as to what these words signify. The word salakapurusa is taken to mean by all as 'Pravarapurusa', 'Uttamapurusa' or 'mahapurusa" i.e., great or eminent or prominent personages. But how the word came to be equated with mahapurusa is not properly explained by any writer. The commentary on Abhidhanacintamani III. 364 explains thus: 'salakapurusah purusesu jatarekha ityarthah', meaning thereby probably-"Those who are marked, characterised, distinguished (by 'mukti') from amongst the people at large". Salaka means, 'a small bamboo stick' which a Buddhist monk used as an identity badge. Salakapurusa would probably mean "legitimised, characterised men" so that salakapurusa and laksanapurusa are synonymous. Abhidhanarajendra, however, explains the term differently. The interpretation of the word as 'Men characterised by mukti-liberation' seems to be more correct. Another meaning may be suggested here. In ancient days lines were drawn for counting 'number'. So salakapurusas were those distinguished men whose number would be counted by drawing lines. The word Tirthakara or Tirthamkara means 'saviour', 'spiritual guide', 'one who shows the way to cross the ocean of worldly existence', or to follow tradition, one who establishes the four-fold order of the Jains consisting of (i) 'Sadhu', (ii) Sadhvi, (iii) Sravaka and (iv) Sravika. The two words, viz. Jina and Arhat are often used as synonyms of Tirthakara. Jina means "one who subduing love or hatred towards samsara, has been liberated" and Arhat--one who deserves to be honoured and worshippd (by even Indra and other gods etc.). Tirthakaras are the prophets of Jainism, they promulgate dharma and by their precept and example help their followers to attain mukti. The word cakravartin or cakrin means 'one who rules over the six Khandas of Bharatavarsa'. He possesses a wondours cakra (disc) whereby he is called a 'cakrin'. Dr. Ghatage gives the explanatory gloss as : "The classical Indian idea of a Cakravartin is that of a universal monarch, a paramount ruler. Vedic literature knows the word Sam-rat but Cakravartin comes into vogue only in the later parts of the epics. In the popular literature such rulers are also assigned to the Vidyadharas, semi-divine beings,

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CHARACTER OF JAIN MYTHOLOGY as in the case of Naravahanadatta, the son of Udayana and the hero of the Brhat-Katha. The original meaning appears to be a king, whose chariot-wheel meets no obstacle in his conquests. With the Buddhists the Cakravartin got associated with a disc, a jewel, which precedes him and procures for him success. He represents the secular authority as the Buddha does the spiritual power. It is said of Buddha '14 tafad'. The Jain idea of a Cakravartin is similar and he is said to win 14 ratnas, including the cakra disc. These ideas are all developments from the popular identification of the cakra with the disc in the hand of Visnu, a solar symbol. There are twelve such universal monarchs in Jain Mythology. They have further created the category of Bharatardha-cakravartins who rule only half the Bharata country, and who are having the nine Vasudevas with them. Scholars have explained the word a n different ways. Wilson considered it to mean 'one who abides in (alla) a large territory called a 'Kern takes afis to mean adefa who rules'. Senart regards him to be one who owns a cakravAla while Jacobi thinks that cakra here stands for the political term maNDala." The word Baladeva (also Balabhadra) or Haladhara or Halin is used for the elder step-brother of Narayana or Vasudeva, who is a mighty human king ruling over three parts of the earth. For example, in the story of Rama, Padma (another name of Rama) is the Baladeva and Laksmana is the Narayana or Vasudeva; and Ravana who is antagonistic to Vasudeva is called Prativasudeva. According to one tradition there are 54 great men only, as it does not count the Prativasudevas in the list of Uttamapurusas'. This tradition is recorded in the Samavayargasutra and Silacarya too speaks of 54 great men. It is to be noted that all these 63 salakapurusas are "great men" and are bereft of any divine element. In the Hindu Mythology Narayana is an epithet of Visnu Krsna and Balabhadra or Baladeva (or Balarama) is the name of the elder brother of Krsna, Narayana is the supreme God and Baladeva too is sometimes regarded as an incarnation of the serpent sesa and sometimes as the eighth incarnation of Visnu. And so also the Hindus regard Rama as the Narayana and Laksmana as the incarnation of Ananta (the serpent Sesa). Now the Jains agree with the Hindus in regarding Krsna as Narayana and Balarama as Bala they however, invert their order in the case of Rama and Laksmana whom they regard as Baladeva and Narayana respectively. It appears they deliberately introduced this change for the sake of uniformity-for in the case of Balarama and Krsna the elder brother is Baladeva and the younger one Narayana and it is not unlikely that the name 'Rama' was to some extent responsible for his being

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STUDIES IN JAIN LITERATURE regarded as Baladeva. With these preliminary remarks we now take up a detailed consideration of these five groups of great men of Jainism : The Twenty-four Tirthakaras : Besides the 24 Tirthankaras belonging to the present age, Jain Mythology takes account also of a past and future age and to each of the aeons are assigned 24 Tirthakaras. And further, they are said to be born in ten different regions of Jain cosmography such as Bharata-Ksetra, Haimavata-Ksetra and the like. Thus we have in all 720 Tirthakaras. The 24 of the present aeon are, however, described with great details. Their biographies follow a uniform pattern. The lives of the two famous Tirthakaras-Parsva and Mahavira are described in Jain works with a wealth of detail and in the case of others only remarkable events are recorded. As a rule, in the case of each Tirthakara, the following particulars are mentioned. (1) The previous births, (2) the name of the heavenly region from which he descends, (3) his parents' names, (4) birth-place, (5) 'Naksatra' or the Zodiacal sign of his birth, (6) his height, (7) his colour, (8) his age, (9) the tree under which he obtains Kevala or perfect knowledge, (10) his place of Nirvana, (11) the number of his ganadharas or chief disciples, and of sadhus, sadhvis, sravakas and sravikas, (12) the yaksa and yaksini that wait upon him, (13) the interval between him and his predecessor and (14) the periods of time during which he lived as a householder, etc., and the date of his Nirvana. The names of 24 Tirthakaras are : 1. Rsabha, 2. Ajita 3. Sambhava, 4. Abhinandana, 5. Sumati, 6. Padmaprabha, 7. Suparsva, 8. Candraprabha, 9. Puspadanta, 10. Sitala, 11. Sreyamsa, 12. Vasupujya, 13. Vimala, 14. Ananta, 15. Dharmanatha, 16. Santinatha, 17. Kunthu, 18. Aranatha, 19. Malli, 20. Muni Suvrata, 21. Naminatha, 22. Nemi (or Aristanemi), 23. Parsva and 24. Mahavira. Excepting the last two (or three) who are historical persons, others are from the sphere of Jain Mythology. The twelve Cakravartins are the sovereign rulers over six parts of the Bharata country. Like the biographies of the Tirthakaras, those of the Cakravartins too follow a uniform pattern. As a reward of the good Karman done in the previous births or as a result of 'Nidana' (an evil resolution to utilise the merit of one's penance to get the desired object in the next life) they are born as Cakravartins in the dynasty of the Iksvaku, etc. They expand their empire on the strength of their superior valour. They are handsome mighty heroes; defeating their enemies they rule over the Bharata country--when gods descend from heaven, they bestow encomium on them and coronate them as "Emperor".

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CHARACTER OF JAIN MYTHOLOGY They rule for a very long time over the country-enjoying pleasures in the company of women and the glory due to an Emperor. What is extraordinary about them is their possession of 14 'ratnas' and 9 'nidhis? The ratnas or gems are : 1. Cakra (disc), 2. Danda (a staff), 3. Khadga (sword), 4. Chatra (Parasol) 5. Carma (Marvellous hide), 6. Mani (jewel), 7. Kakini and 8. Senapati, 9. Grhapati, 10. Vardhaki, 11. Purohita, 12. Gaja (Elephant) 13. Asva (Horse) and 14. Stri (woman). The 'nidhis', which they possess, are, according to some, a work treating of nine lores while according to others, treasures kept in Caskets. Their names are : 1. Naisarpa (mansion), 2. Panduka (food-grains), 3. Pingalaka (ornaments), 4. Sarvarathaka (14 jewels), 5. Mahapadma (other jewels), 6. Kala (astrology), 7. Mahakala (mines of metals and gems). 8. Manavaka (the art of war) and 9. Sankha (Poetry, dramatic sciences and music). We do not get an exact idea about the nature of 9 'nidhis'. The names of the twelve Cakravartins are : 1. Bharata, 2. Sagara, 3. Maghavan, 4. Sanatkumara, 5. Santinatha, 6. Kunthunatha, 7. Ara(ha)natha, 8. Subhauma, 9. Padmanabha, 10. Harisena, 11. Jayasena and 12. Brahmadatta. Of these, the names of Bharata, Sagara, Maghavan and Brahmadatta are celebrated in Hindu Epics and Puranas. The 9 Baladevas, 9 Vasudevas and 9 Prativasudevas : Baladeva, Vasudeva and Prativasudeva are great heroes, born as contemporaries. Baladeva and Vasudeva are step-brothers and Prativasudeva is antagonistic to complexion of Baladeva is white and he wears blue garment. His banner is emblazoned with a palm-tree. He possesses four Ayudhas : 1. Dhanus (Bow), 2. Gada (Mace), 3. Musala (Pestle) and, 4. Hala (Plough). According to Digambara tradition he has all these except the first for which they substitute "Ratnamala'. His birth is indicated by four dreams which his mother sees. Vasudeva, also called Narayana or Visnu, is the younger step-brother of Baladeva. He plays a very active role in the narrative and may be looked upon as the hero of the story. It is he who finally kills the Prativasudeva. He is rather hot-tempered whereas his elder step-brother is very pious and gentle by nature. His is a dark complexion and he wears a yellow garment. He bears on his chest the sign of Srivatsa. He possesses a white parasol and chowries and his banner is marked with the figure of 'eagle'. He possesses seven Ayudhas : 1. a Pancajanya conch, 2. Sudarsana (Disc), 3. Kaumodaki-mace, 4. Sarnga bow, 5. Nandaka sword, 6. Vanamala, a garland of wild flowers and, 7. Kaustubha jewel. According to the Digambara tradition he possesses all the seven except the

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8 last two for which they substitute Danda and Sakti. From the number of Ayudhas and also from the number of dreams-7 according to the Svetambaras and 5 according to the Digambaras-which appear to his mother and announce his birth, it can be seen that the Jains represent him to be more powerful than his elder step-brother. Prativasudeva is a mighty hero, no doubt, but he is portrayed as a tyrant. His birth is announced by 1-4 dreams, dreamt by his mother. Baladeva and Vasudeva are deeply attached to each other and for one reason or the other the two entertain hostility to the Prativasudeva, who is an Ardha-Cakrin-one who rules three parts of the earth. In the war it is Vasudeva who kills the Prativasudeva; the latter after death, sinks into hell as a result of his sinful deeds. Vasudeva then becomes an Ardha-Cakrin, enjoys the pleasures of kingdom for a long time and after death goes to hell as a result of 'himsa' that he has committed in war etc., and to counteract which he has not performed tapas after entering the ascetic order. After, the death of Vasudeva, Baladeva finds no joy in Samsara, enters the ascetic order, practises austerities and finally obtains heaven or attains to Nirvana. The names of these heroes are : Baladeva Vasudeva Triprsta Dviprsta 1. Vijaya 2. Acala 3. Dharmaprabha or Bhadra STUDIES IN JAIN LITERATURE 4. Suprabha 5. Sudarsana 6. Ananda 7. Nandana 8. Padma (Rama) 9. (Bala-) Rama Svayambhu Purusottama Purusasimha Pundarika Datta Laksmana Krsna From amongst these heroes we note that some are glorified in the Hindu Mythology and the Epics, e.g., the 8th and the 9th sets of Baladevas, Vasudevas and Prativasudevas. Thus these 63 great men form the backbone, as it were, of Jain Mythology. From the schematic treatment of the lives of these heroes we note that the Jain Mythology has all the appearance of a purely constructed system'. At the same time it must be admitted that the heroes of the Ramayana and of Krsna-story may not have been absolutely fictitious characters. Reputed and Prativasudeva Asvagriva Taraka Meraka Madhu-Kaitabha Nisumbha Balin Prahlada Ravana Jarasandha

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CHARACTER OF JAIN MYTHOLOGY 9 eminent scholars of the Hindu Epic and Puranas do hold that Rama, Krsnna etc., may have lived as actual human beings. 5. THE EXTENT OF JAIN MYTHOLOGY The narrative literature of the Jains is very vast in extent and varied in scope. The Puranas, the Maha-Puranas, and the 'Caritras' together form one of its main types'. They are written in Prakrit, Sanskrit and Apabhramsa. They treat of the biographies of the 63 Eminent Men (salakapurusas) that is to say the 24 Tirthakaras and their contemporaries, the 12 Cakravartins or rulers of the world and the 27 heroes-9 Baladevas, 9 Vasudevas and 9 Prativasudevas of antiquity. These works are usually called 'Puranas' by the Digambaras while 'Caritras' by the the Svetambaras. The Maha-Purana contains the lives of all the 63 prominent personalities, whereas a Purana or Carita generally deals with the life of a single Jina or some other hero 10. The number of these works is very large and a few of them are very wide in their scope, while others confine themselves to narrow limits. Winternitz, in his History of Indian Literature", briefly reviews the wellknown Digambara Puranas (Padma-Harivamsa-, Trisastilaksana-, Maha- and Uttara-Purana) and Svetambara Caritas like Hemacandra's Trisasti-Salakapurusa-Carita. The Jains adopted almost all the favourite popular themes from Brahmanical and general Indian Literature to offer their coreligionists all that they could find elsewhere too. They also created poems of their own, which were to serve the Jain Community as a substitute for the great epics Ramayana and Mahabharata. 6. THE SUBJECT MATTER OF JAIN MYTHOLOGY. Besides the lives of the sixty three great figures the Puranas expound various topics such as the 'Anaditva' of the universe, the origin of different races, genealogies and accounts of kings, the duties of a Sravaka and of a Sramana, philosophy, ethics, metaphysics, criticism of the cult of animal sacrifice and of the priestly religion. No single work treats of all these subjects but, taken collectively, they may justly be described as a popular encyclopaedia of Jainism representing all phases, religious, philosophical, historical, and cultural. The Puranas claim to expound also the four subjects which comprise all human endeavour-Dharma (righteousness), Artha (wealth), Kama (love) and Moksa (liberation) 12. Certain Puranas claim to give a 'history of the world' and present at the same time an encyclopaedia of all that is edifying to the pious Jain and that is worthy of his study. Thus, for example, the Adi-Purana describes the Samskaras 13, which accompany the life of an individual from conception to Stud.-2

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10 STUDIES IN JAIN LITERATURE death, the interpretation of dreams14, and short treatises on town planning and the duties of the warrior15 and the art of governing (Niti) 16_besides ornate descriptions of cities, mountains, rivers and the like in accordance with the rules laid down by Alamkarikas for a Mahakavya. The same Adi-Purana mentions eight topics or subjects which a Purana ought to deal with : (i) the universe (Loka), (ii) the country with its mountains, sea etc., (Desa), (iii) the city or capital (Pura), (iv) Kingdom (Rajyam), (v) the life of a Jina which acts as a ford to cross the ocean of Samsara (Tirtha), (vi) giving of alms and donations and austerities (Dana-tapas), (vii) the four conditions of existence such as hells etc., and (viii) the fruit of 'punya' and 'papa', the highest reward being 'moksa'?. 7. A COMPARISON WITH THE HINDU EPICS AND PURANAS The Mahabharata and the Ramayana and some of the oldest Puranas are undoubtedly older than the Jain Puranas. And these served the Jains as a model--though not a perfect one-in composing their epics about Rama, Krsna and Puranas of the 63 prominent personalities. Broadly speaking the Jain Puranas and the Hindu Epics and Puranas treat of a large number of common subjects including biographies of Rama, Krsna, origin of the universe, dissolution and recreation of the universe, the divisions of time assigned to Manus (Kulakaras), ancient royal genealogies, and accounts of persons mentioned therein; religious instruction, the four Purusarthas, viz., Dharma, Artha, Kama and Moksa, the Tirthas and the benefits which they confer on pilgrims, medicine, architecture, astrology, grammar, the rights and duties of a king, gnomic sayings both on morality and on worldly wisdom and the like. The method of presentation adopted by the Jains is the same as that of the Hindus. The legends of the Tirthakaras and others are presented in the style of ornate epic following the compilers of the Hindu Puranas. Each Purana is constructed as a discourse delivered by some person of authority to one or more hearers 18 : the subjects are expounded, often in the form of question and answer and not always methodically : and into the narration are woven stories and discourses uttered by other persons. These Puranas are mainly in verse. Like the Hindu Epics and Puranas which afford us insight into all aspects and phases of mediaeval Hinduism, the Jain Puranas too constitute a popular encyclopaedia of mediaeval Jainism-religious, philosophical, historical, social and cultural. 8. THE DISTINGUISHING FEATURES OF JAIN MYTHOLOGY The Hindus have got besides the 18 Puranas proper, an equal number of secondary works of the same class called Upapuranas, the Jains have nothing to correspond to these Upapuranas. While the Hindu Puranas are primarily an

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CHARACTER OF JAIN MYTHOLOGY 11 extension, amplification and illustration of the spiritual truths stated in the Vedas in the form of injunctions and commands, the Jain Puranas criticise and condemn the Vedic cult of animal sacrifice and the priestly religion, and amplify and illustrate the Jain ethics, the duties of a Jain householder, and of a Jain monk; in unequivocal words they condemn the incredible legends and doings of the Hindu Puranic deities; they illustrate the inexorable law of Karman that governs everyone's destiny and there is no place for any god bestowing favours and meting out punishments. There are, however, a few stories and incidents in which semidivine or heavenly (to be distinguished from the liberated) beings come to the rescue of Jain devout souls at crucial moments in their life. Exceptional sanctity is bestowed on life and Ahimsa is the highest moral principle guiding all human affairs. Sramanic ideology is always kept in the forefront. Tirthakaras and munis are introduced who give discourses on Jain ethics, dogmatics and philosophy, preach the worthlessness of worldly pleasures and inculcate love for liberation. The principal heroes and important personages are shown to have accepted the duties of a Jain householder or entered the ascetic order and in the end attaining to heaven or liberation. Whereas the heroes of the Hindu epics move in an entirely Brahmanical atmosphere in the Jain Puranas the dharma preached by the Jinas is everywhere very much to the fore. No doubt the Hindu epics and Puranas speak of belief in transmigration and refer to past births but in the Jain epics and Puranas the past and future lives of the heroes are told with a great wealth of detail. Whereas the epics and the Puranas of the Hindus regard Rama and Krsna as human beings who walked the earth veiling their supreme divine glory-incarnations of God Visnu and glorify the trinity of Brahma, Visnu and Mahesa and many other deities, the Jain Puranas rid the stories of their divine elements-to them Rama and Krsna are no divine incarnations and gods such as Indra etc., do not shine prominently in their mythology. It is the 63 salakapurusas that are celebrated in the Jain epics and Puranas. These salakapurusas include the Tirthakaras whom the Jains venerate and worship as the Hindus do their gods-theoretically the Jains refuse to recognise gods and although their Jinas bear the appearance of deities on account of the irresistible Brahmanical influence, the Jinas are still bereft of the power of creation and destruction of the universe, of punishment or forgiveness of sins. Although all the Vedic gods do not retain their prominent position in the Brahmanical Epics and Puranas still a few of them such as Indra, Agni, Varuna, the Surya etc., hold important positions. The Jain Puranas do refer to a few Vedic deities such as Indra, Varuna etc., but they do not occupy places of supreme importance-they are subordinated to the great Tirthakaras. Some of the godlings mentioned in the Rgveda are termed as a class of Vyantaras and given comparatively greater prominence.

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12 STUDIES IN JAIN LITERATURE Notes and References : 1. tIrthezAmapi cakrezAM halinAmardhacakriNAm / triSaSTilakSaNaM vakSye purANaM tadviSAmapi // purAtanaM purANaM syAt tanmahanmahadAzrayAt / mahadbhirupadiSTatvAt mahAzreyo'nuzAsanAt / / kavi purANamAzritya prasRtatvAt purANatA / mahattvaM svamahimnaiva tasyetyanyairnirucyate // mahApuruSasambandhi mahAbhyudayazAsanam / mahApurANamAmnAtamata etanmaharSibhiH / / _Jinasena. Adipurana I. 20-23 2. RSipraNItamAeM syAt sUktaM sUnRtazAsanAt / dharmAnuzAsanAccedaM dharmazAstramiti smRtam / itihAsa itISTaM tad iti hAsIditi zruteH / itivRttamathaitihyamAmnAyaJcAmananti tat / / -Jinasena. Ibid I. 24-25 3. Puspadanta-Mahapurana Vol. I, P. 9. The definitions of Purana found in the Hindu Puranas may be noted here : sargazca pratisargazca vaMzo manvantarANi ca / vaMzAnucaritaM caivaM purANaM paJcalakSaNam // The Brahmavaivartapurana, however, says that the five laksanas are only for the Upapuranas, while Mahapuranas ("the great Puranas") have "ten laksanas" including "praise of Visnu and the gods individually". The Bhagavatapurana likewise mentions "ten laksanas" of the Purana in two places (II. 10.1 and XII. 7.8 ff.) 4. Jacobi. Winternitz, Glasenapp, to mention a few only. 5. The word 3fe-occurs in Rgveda 1, 89. 6, but it has nothing to do with the Jain Tirthakara. 6. For example of the title of Silacarya's work--"Caupannamahapurisacariya" or the word Uttamapurisa' used in this connection in the Samavayanga. 7. Winternitz (Hist. of Indian Lit. Vol. II, p. 505) translates it as "which form as it were lines of demarcation among the monks". 8. kasyacid vastuno'nekabhedajJApanArthaM koSThakarekhAsu 24 tIrthakarAH 12 cakriNaH 9 baladevAH 9 vAsudevAH 9 prativAsudevAzceti trayaSSaSTi zalAkApuruSAH / 9. See Dr. Upadhye's Introduction to Brhatkathakosa and Winternitz's History of Indian Literature Vol.II. 10. For example, the Adipurana of Jinasena or the Trisastisalakapurusacarita of Hemacandra and Parsvanathacaritra of Bhavadeva Suri. 11. Vol. II. pp. 486-519. 12. see, e.g., Pc. 118.111 13. Chs. 38-40. 14. Ch. 41. 15. Ch. 16 16. Ch. 42 17. J. M. P. 4. 3. 18. e.g., Gautama expounds the Paumacariya to king Srenika on his request. 000

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SOME ASPECTS OF PAUMACARIYA Corresponding to the great epic of Valmiki-Ramayana in Sanskrit the Jains have a number of Ramayanas composed in Prakrit, Sanskrit and Apabhramsa languages. The earliest among these is the Prakrit epic Paumacariya (Pc) (Padmacarita). Padma is the name of Rama in this epic. It is written by Vimalasuri (Vimala) in the Prakrit called Jain Maharastri by modern scholars. Scholars like H. Jacobi place it in the third century A. D. or somewhat later. In this brief account light is thrown on some of its aspects : (i) Its form: A Purana The narrative literature of the Jains is vast in extent and varied in scope1. It is generally divided into four broad categories as follows: (a) the Puranas and the Mahapuranas, (b) the Caritras, Kathas and Akhyanas, (c) the Prabandhas and (d) the Kathakosas. We are here concerned with the first category only as the work under study calls itself a Purana (I. 32, CXVIII.III). The term Purana originally meant nothing but 'Puranam Akhyanam', i. e., 'old narrative'. Then in the course of time it came to denote 'a species of literature' comprising works of religious and didactic contents in which were collected ancient traditions of the creation, the deeds of the gods, heroes, saints, and distant ancestors of the human race, the beginnings of the famous royal families and so on. The term Purana is defined in Hindu literature as follows'2: A Purana treats of five subjects (1) Sarga, 'Creation', (2) Pratisarga, 'recreation', i. e., the periodical annihilation and renewal of the worlds, (3) Vamsa, 'account of the genealogy', viz, of the gods and the Rsis, (4) Manvantaras, 'Epochs between the Manus'-the great periods, each of which has a Manu or primal ancestor of the human race, and (5) Vamsanucarita, 'the history of the dynasties whose origin is traced back to the Sun (solar dynasty) and the Moon (lunar dynasty)'. The Brahmavaivartapurana, however, says that the five 'laksanas' are only for the 'Puranas' and the 'Upapuranas', while the Mahapuranas (the great Puranas) have ten laksanas' including praise of Visnu

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14 STUDIES IN JAIN LITERATURE and the gods individually3. Vimala does not define either Purana or a Mahapurana. Among the Jain authors, Jinasena is probably the first to define Purana and Mahapurana. Says he : "I shall describe the narrative of sixty-three ancient persons. viz., the (24) Tirthamkaras, the (12) Cakravartins, (9) Baladevas, (9) Ardha-Cakravartins (i.e., Vasudevas), and their (9) enemies (i.e., Prativasudevas). The word Purana means 'old or ancient narrative'. It is called 'great' because it concerns the great (figures), or because it is narrated by the great (Tirthamkaras, Ganadharas, Acaryas) or because it teaches the way to supreme bliss. Other learned scholars say that it is called Purana because it originates with an old poet and it is called great because of its intrinsic greatness. The great Rsis called it a Mahapurana as it relates to great men and teaches the way to the highest bliss4. Further he adds that the "Mahapurana" is regarded as Arsa because it was composed by Rsis, 'Sukta' because it expounds truth and 'Dharmasastra' because it declares Dharma. It is also looked upon as Itihasa, Itivrtta, or Aitihya or Amnaya as it contains many stories about 'Iti-haasa' (-'so it happened', i. e., 'traditional history')".5 J Thus according to Jinasena Purana and Itihasa are synonymous terms. The Tippanakara of Puspadanta's Mahapurana, makes however, a distinction between the two, saying that Itihasa means the narrative of a single individual while Purana means the narratives of sixty-three great men of the Jain faith'. In its definition of Itihasa Kautiliya Arthasastra (1.5) enumerates Purana and Itivrtta as belonging to the content of Itihasa. As Itivrtta can only mean 'a historical event' Purana probably means 'mythological legendary lore'. The Hindu definition of Purana (or Mahapurana) is applicable only partly to the work of Vimala. He speaks of seven Adhikaras (subjects, topics) as constituting his Paumacariya, viz., (1) The eternal nature of the Universe which was never, created, (2) the origin of the dynasties, (3) Rama's departure to the forest, (4) War between Rama and Ravana, (5) The birth of Lava and Ankusa, (6) the liberation from worldly existence, and (7) The various existences (past as well as future) etc. Out of these seven topics, Rama's departure to the forest, the war between Rama and Ravana and the birth of Lava and Kusa (Ankusa) are peculiar to a Rama Carita or Purana. The remaining four topics are some of the general features distinguishing Jain Puranas. A study of the contents of the Paumacariya reveals that it describes, though briefly, the lives of the Tirthamkaras Rsabha, Ajitanatha, Munisuvrata and Mahavira, and of the soveregin rulers Bharata, Sagara and Harisena, besides mentioning the names of the sixty three great figures, their places of birth, their parents, their span of life, their respective trees, places of liberation, etc. It describes also the fourteen

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SOME ASPECTS OF PAUMACARIYA Kulakaras, the Kalpa-Vrksas the duties of a Jain monk, the horrors of hell, the joys of heavenly worlds, the jina-puja, the jinabhiseka, the jinavandanabhakti, the origin of the four castes, the condemnation of Vedic sacrifice and of the Brahmanas, the dreadful consequences of killing and of the eating of meat. Most of these topics are generally found to be dealt with in all the Jain Puranas. None of the definitions of a Purana or Mahapurana given above covers fully these various topics. The Adipurana attempts to cover some of these topics when it lays down that a Purana ought to deal with the eight topics or subjects given below: 15 (1) The universe, (2) the country with its mountains, sea etc., (3) the city or capital, (4) the kingdom, (5) the life of a Jina which acts as a ford for crossing the ocean of samsara, (6) liberality, munificence and austerities, (7) the four conditions of existence such as hells, etc., and (8) the fruit of Punya and Papa (meritorious deeds and sinful deeds)". Although the Paumacariya is undoubtedly a Purana, it answers some of the salient features of a mahakavya. The subject-matter is the lives of great figures of antiquity. The work is composed in Cantos (uddesa, samuddesa or parvan); it is chiefly in the Arya metre but as the definition of an epic requires, the concluding stanzas of each canto are composed in a variety of metres. He interweaves his name (namamudra) in the closing verse of every canto. It contains many descriptions of towns, mountains, seasons, the rising and setting of the sun and moon, water-sports, love-sports, separation, marriage, battles and the triumphs of the hero. It is embellished with figures of speech such as Upama, Rupaka, Utpreksa, Arthantaranyasa, etc. in the poetic portion of the work. The principal sentiment is that of renunciation and quietude, although in some cantos the sentiments of Srngara, Vira, Karuna, Hasya, Bibhatsa and Adbhuta, are portrayed. The style of the work is, on the whole, fluent and in descriptive passages only reveals long compounds. In short, the Paumacariya may be rightly and justly described as partly exhibiting the features of a Purana and partly of a mahakavya. A modern scholar describes it as a 'Dharmakavya'. (ii) THE TITLE PAUMACARIYA The present work is known as Paumacariya. The poet mentions this title in his work, not always but frequently10. The title means 'The Life of Padma' (another name for Rama). Rama was so called because he was 'Paumuppaladalaccho' (possessed of eyes as the petals of a lotus) and "Viyasiya-vara-paumasarisamuham' (having a face like an excellent blooming lotus)". In the course of the work the poet often refers to Pauma as Rama, Rahava, Ramadeva, Siri, Halahara, etc. It is, therefore, obvious that the various names Rahavacariya,

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16 STUDIES IN JAIN LITERATURE Ramacariya and Halaharacariya used in the work stand for the Paumacariya and by no stretch of imagination can we ever speak that the Rahavacariya was a work quite different from the Paumacariya of Vimala. Professor K. H. Dhruva, however, appears to have advanced this highly fanciful hypothesis of two separate works called Rahavacariya and Paumacariya 2 to suit his late dating of Paumacariya based on grounds of late' metres and modern' Prakrit. No doubt, the poem deals with the life-story of Rama, but it also deals with the life of Laksmana and Ravana at great length. That is Vimala presents to his readers the lives of three of the great figures (viz., the 8th Baladeva, Narayana or Vasudeva, and Pratinarayana or Prati-vasudeva). Although Laksmana and Ravana are with Rama, salaka-purusas, they are spiritually inferior to him for he alone at the end of his life here attains Nirvana and the other two sink in hell. This consideration might have weighed with the poet when he named his work as Paumacariya. In the popular story of Rama, he being the first and foremost hero, the work is naturally named after him (e.g, the Ramayana); and it is not unlikely that this factor too might have influenced the poet in calling his poem Paumacariya. As the date of the Padmapurana of the Hindus is not known definitely we cannot say that this name Padmapurana might have influenced Vimala in naming his Purana dealing with the life of Rama. (iii) THE EXTENT OF THE PAUMACARIYA The Paumacariya is divided into 118 chapters or cantos, the first thirtyfive of which are called Uddesas (Uddesakas, or occasionally Samuddesakas) and the rest Parvans13. In the extent of individual cantos there is great disparity : the shortest is the 60th canto with nine stanzas only and the longest is the eighth with 286 stanzas. Comparatively speaking, the cantos in the first half of the poem are longer whereas those in the second half are shorter. The total number of stanzas comprising the work is 865124. (iv) VIMALA'S AIM IN WRITING THE PAUMACARIYA Vimala holds that the Ramayana stories (of the Hindu poets) are most certainly lies; he thinks that the absurdities which are related regarding the life of Rama, Ravana, Kumbhakarna and others are not worthy of belief, and that the poets who composed Ramayana were liers. Through the mouth of Srenika and Gautama the poet gives expression to all this : "How is it possible that the great Raksasa heroes, though very strong, were killed by the Vanaras (monkeys)? It is reported in the popular scriptures

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SOME ASPECTS OF PAUMACARIYA that all the Raksasas led by Ravana used to eat meat and drink blood and marrow, and that Ravana's brother Kumbhakarna used to sleep for six months without a break; even though his body would be crushed by big elephants and his ears filled with potfuls of oil he would not wake up; he would not hear the sound of drums beaten near him nor would he get up from his bed if the period of six months was not over 1 When he got up, being overpowered with fierce hunger he would devour whatever would be near him at the time, such as elephants and buffaloes. Having filled his belly by devouring gods, men, elephants and the like he would again go to bed for another six months...". Again, it is said that Indra, when defeated in battle by Ravana, was bound in chains and taken to Lanka. How can anyone take Indra captive-Indra who rules over Jambudvipa with its gods and men? One would be reduced to heaps of ashes at the mere thought of attacking him, who has Airavata, the elephantjewel and Vajra, the thunderbolt at his command ! At that rate we might as well affirm that the lion is overcome by the deer, the elephant by the dog! Further, it is reported that Rama during his sojourn in the forest killed a (wondrous) golden deer and that (at Kiskindha) Rama treacherously killed Valin in order to oblige (his ally) Sugriva and win (Su-) Tara for him (Sugriva). It is also said that the Vanaras constructed a bridge across the ocean."16 It is with a view to removing all such absurdities, inconsistencies and incredible elements found in the popular Ramayana stories that Vimala undertakes the composition of the Paumacariya. It is the poet's intention to present faithfully the life of Rama as was proclaimed by Lord Mahavira himself17. That the poet is intent on the propagation of the teachings of the Jinas is evident to every reader of the Purana or Carita. In the concluding portion of his work Vimala exhorts his readers (or hearers) to practise the Dharma as expounded by the Jinas: bahueNa kiM va kIrai, avvo bhaNiyavvaeNa loyammi / ekapayammi vi bujjhaha ramaha sayA jiNavaramayammi // jiNasAsaNANurattA hoUNaM kuNaha uttamaM dhammaM / jeNa avigdhaM pAvaha, baladevAI gayA jattha // CXVII. 112-113 17 It is thus very clear that Vimala aims mainly at propagation of Jain Dharma through his Paumacariya. (V) VIMALA'S CONCEPTION OF RAKSASAS AND VANARAS Vimala's conception of Raksasas and Vanaras is markedly different from that of Valmiki. The Raksasas are not man-eating demons with fearful and hideous appearances. Nor are the Vanaras animals having long tails living on Stud.-3

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18 STUDIES IN JAIN LITERATURE fruits etc., and using their nails and teeth as their weapons. They are, in reality, a race of the Vidyadharas, "A class of beings endowed with many supernatural qualities, if not human beings in the correct sense of the term. Beastly and uncouth behaviour and appearances are not therein attributed to them. On the other hand, they are depicted as having been highly civilized, who, far from killing and devouring all animals that they could obtain, strictly adhered to the vow of Ahimsa."18 The dynasty of Vidyadharas at Lanka came to be called Raksasas after the great and celebrated Vidyadhara hero named Raksasa !9. The author gives also another explanation as to why the Vidyadharas were Raksasas : rakkhaMti rakkhasA khalu, dIvA puNNeNa rakkhiyA jeNa / auj faz cerrui. Tan pa | --V. 257 The Vidyadharas of Kiskindhipura received the name of Vanaras because of their custom of wearing the pictures of monkeys as symbols or totems on their banners and crowns20. This conception of Vimala about the Raksasas and the Vanaras is born of the growing spirit of rationalism of his age. The fanciful and highly exaggerated poetic descriptions of the Raksasas and the Vanaras given in the popular Ramayana stories were unacceptable to Vimala, a champion of rationalism. He, therefore, portrays the Raksasas and the Vanaras as Vidyadharas, possessed of supernatural powers and are thus, capable of the heroic exploits attributed to them. He gives a realistic interpretation of the epithet of Ravana when he writes : Ravana's mother hangs around his neck a wondrous necklace of Ratnas, in which his face is reflected nine times, hence his epithet of Dasamukha "The man with ten faces" (VII 95-96): ............... so jaNaNIe~ piNaddho, kaMThe bAlassa varahAro / / rayaNakiraNesu etto muhAi nava niyayavayaNasarisAI / hAre diTThAi~ phuDaM, teNa phuDaM dahamuho nAmaM // (vi) CHARACTERISATION IN PAUMACARIYA Valmiki's Ramayana is generally regarded as one of the most beautiful and moving of all stories in literature. One very important factor contributing to its greatness and beauty is its unique characterization. The story of Rama presented by Vimala agrees only partly with Valmiki's Ramayana and considerably differs from it on account of the many omissions, additions and modifications effected by him. These changes powerfully affect the

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SOME ASPECTS OF PAUMACARIYA 19 characterization in Paumacariya. Consideration of space prevents us from undertaking here a review of the characters of the important men and women that play a conspicuous part in the story. We rest content by pointing only to some of the more noteworthy aspects of the characterization in Paumacariya. Vimala's aim at elevating his character is very obvious. According to Valmiki's Ramayana, Kaikeyi is a selfish, greedy and intriguing woman. Rama kills Valin treacherously and is guilty of killing Sambuka. Ravana is a tyrant, an oppressor of mankind violently obstructing sacrifices, and he abducts women. Valin is a usurper, and unlawfully takes possession of his brother's wife and kingdom. Vimala takes a very sympathetic view of these characters and attempts to clear them of blame. He represents Kaikeyi as a mother par excellence who is prepared to let her husband accept asceticism but desperately tries to retain her loving son. She does not demand Rama's exile. Valin, a mighty Vidyadhara hero, though capable of inflicting a crushing defeat on Ravana, voluntarily appoints Sugriva to the throne and himself becomes a monk. This account acquits Valin of the shameful charge of living with his brother's wife, and Rama of the charge of treacherously slaying Valin, who had done no harm to him. Laksmana kills Sambuka by accident and this exonerates Rama completely from the guilt of slaying a man who, though a sudra, was a tapasvin. Ravana is a pious and devout Jain. He restores ruined Jain shrines. As far as possible he avoids himsa, whenever he has to fight. In his world-conquest he is shown to have subdued his enemies whom he later on sets free and restores to them their kingdoms. His only weakness is his passion for Sita. Vimala is probably the first poet to represent Ravana as a hero eminently suited to a great tragic play of the western type. The poet presents Kumbhakarna and other Raksasa heroes as very pious souls devoid of all the ugly and ferocious traits attributed to them in Valmiki's Ramayana. Another remarkable aspect of the characterization in the Paumacariya is to be seen in the large number of wives of some principal characters. According to Vimala, Rama, Laksmana and Hanumat had 8000, 16000 and 1000 wives respectively. Sagara and Harisena, two sovereign rulers had each 64000 wives. Ravana at a time had married 6000 wives. Vimala probably believed that the greater the number of wives a person has, the greater is his glory ! According to Valmiki's Ramayana Rama was devoted and faithful to his only wife Sita. Laksmana was married to Urmila only and Hanumat was celibate. One more noteworthy aspect of the characterisation in the Paumacariya is that all the principal characters in the Paumacariya barring Laksmana (and Ravana) are pious Jain laymen who retire from the world at the end and become Jain monks and attain to liberation or heaven. Laksmana is shown to have sunk into hell after death for having failed to adopt Jain Dharma. Kaikeyi,

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20 STUDIES IN JAIN LITERATURE Sita etc., become Jain nuns. Again, in Valmiki's Ramayana Rama is the central figure but in the Paumacariya Laksmana plays a leading part. It is he, not Rama, who kills Ravana. (vii) VIMALA : AS POET Vimala calls his work a "Purana" in the introduction (Canto I. 32) and at the end (Canto CXVIII. 111). His real aim is edification and instruction. He is full of burning enthusiasm for the Jain faith. He writes with an eye to the liberation of mankind by means of Jainism. He delights in singing the glory and greatness of Jainism. The Paumacariya is to him only a means to propagate the doctrines of his faith. He is primarily a preacher and only secondarily a poet, Naturally, he touches on the various aspects of Jain ethics, philosophy, dogma, mythology, cosmography, the dreadful consequences of killing and of the eating of flesh, the gruesome torments of hell, the worthlessness of this worldy existence, the denigration of women, the doctrine of Karma, the past and future births of various characters figuring in the narrative, and thus renders his work open to the charge of "the extreme difficulty in making anything picturesque out of the dry and scholastic Jain tenets and the somewhat narrow views of life prevalent in Jain circles" (A History of Sanskrit Literature, Keith, p. 295) or that it is "of the type of respectable dullness or that "it does not attain the level of literature". Jacobi observes that "it (the Paumacariya) has very little poetic value". This observation of Jacobi is true only so far as this portion of the work is concerned. It is, however, extremely unfair to Vimala to condemn the whole work as poetically worthless. It is equally unjust to Vimala to institute any comparison between him and Valmiki, the Adikavi whose Ramayana is a popular epic and ornate poetry at the same time. It is idle to compare him with Kalidasa, Bharavi or Magha. Their mahakavyas are chiefly meant to give pleasure, whereas the Puranas like the present one are mainly intended to serve the purpose of instruction. A close and careful study of the Paumacariya shows that we cannot claim for Vimala rich poetical genius of high descriptive powers. It is, indeed, very difficult to point to any single canto in the whole work which is poetically of high merit. We, however, come across many pretty and beautiful descriptions of towns, rivers, mountains, seasons, water-sports, love-scenes, etc. in the work which demonstrate that Vimala is capable of some moderately good poetry. The attention of readers is particularly drawn to the descriptions of the water-sports at Canto X.36-44, of the rainy season at Canto XI. 119, of the evening at Canto XVI.46-54, of Sita at Canto XXVI. 98-102, of old age at Canto XXIX. 21-28, of the

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SOME ASPECTS OF PAUMACARIYA 21 winter season at Canto XXXI. 41-47, of the Vanara warriors visiting the marble palace of wondrous beauty at Canto LXVIII. 5-15, of the fire-flames produced on the occasion of Sita's fire-ordeal at Canto CII. 7-12, and of the cremation ground at Canto CV. 52-61. These descriptions will bear out the statement made above regarding Vimala's poetic abilities. Vimala shows his high proficiency in the expression of pithy observations on life, religion and morals. He ever and ever again flings at the reader beautiful subhasitas touching various aspects of human life. Only a few of them may be referred to here : Canto I. 17-27 dealing with various limbs of the human body : Canto IV. 26, 50, LXXV. 18, LXXXVI, 60, CIII. 52, 72, CVIII. 38 CXIII. 71, CXVII. 42 dealing with dharma' : III. 46-47 with dana'; CII. 177 with knowledge, XII. 81; LXII.22, LXV. 30, LXXIII. 17 with good men; XXXV. 66 with the importance of wealth; III. 123-125, LXXVII-15, CV1.4142 with the nature of worldly existence; LXXVII.13, CV.39-40, CX.11 with the karma doctrine; CIII. 73, CVI. 38, CVII. 31, CXVIII. 107 with the pleasures of senses; LXXIII. 14, and CVIII. 25 with Death; LXXXXIV. 80-84 with the lot of a servant; and XVII. 33-34, LXIX.39, LXXXXIII. 35-36 with women. Vimala, now and then, sprinkles his narrative with subhasitas. (i) fe quotusta, 7 fras & HERZU21 1 -1--13b (ii) oreon Ji fagets are a realus Pets aut XII. 101b (iii) Tg Frech a TE ! 7 11540 TE Tutup22 1-XXX. 35 (iv) Thrreta Fe, ETS PHOTed Fru Flerei fo XLVII. 5 (v) a falatot, T45 gust am fagpi23 F-LII. 138b (vi) For Faureret atat, faucis fa g frugte 1-LXX. 27 (vii) fefs Thema ATES, Tell fasteia I-LXXI. 54 (viii) Hvides paifa aufot24 |--LXXV. 1 (ix) F H fa che fuefare TUULHfUUTET ET525 --LXXVII. 42a (x) for giftit, open ruiten ari 6915 1-XCIV. 80 (xi) savvassa vi kouyaM sarisaM / -C. 53d (xii) JE PA TE 941 Heal26 --CV. 106d (xiii) Frita HRU127 --CVI. 26a He uses a few proverbial and colloquial expressions occasionally : (i) na ya gehammi palite, kUvo khaNNai sutUramANehiM /

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STUDIES IN JAIN LITERATURE 22 dhAhAvie Na dammai, Aso cciya takkhaNaM ceva28 |-V. 249 (pajjaliyammi ya bhavaNe, kuvatalAyassa khaNaNamArambho / ahiNA daTThassa jae, ko kAlo maMtajavaNaMmi ||-LXXXVI. 60) (ii) ....vejjanariMdANa mittapurisANaM / AhANao ya loe, eyANaM phuDaM kaheyavvaM ||-XII. 17 (iii) kiM vA tusesu kIrai, taMdulasArammi saMgahie / -XII. 138 (iv) dusahaM havai samakkhaM ciya ubbhave jaNavayassa / gayaveyaNaM tu pacchA, jaNammi esA suI bhamaI // -XXVI. 239 (v) to daharahassa nAma, piyarassa phuDaM na geNhAmi / -LXXXVI. 9 (vi) ko sayalajaNassa ihaM karei muhabaMdhaNaM puriso / -XCIV. 70b (vii) vIrapurisANa bhojjA, vasuhA ki ettha viddhehiM / --XCVIII. 22 (viii) rayaNaM tu puhaimollaM, dinnaM ciya sAgamuTThIe / -- CIII. 110 (ix) asamikkhiyakArINaM purisANaM ettha pAvahiyayANaM / sayameva kayaM kammaM, paritAvayaraM havai pacchA29 // --CX. 11 (x) salile maMthijjaMte suTTha vi na ya hoi navaNIyaM / sikayAe pIliyAe, kutto cciya jAyae tellaM ||-CXIII. 33 (xi) vAlaggakoDimettaM, dosaM pecchasi parassa aisigcha / maMdaramettaM pi tumaM, na ya pecchasi attaNo dosaM0 / -CXIII. 40 (xii) sarisA sarisesu sayA, rajjaMti suI jaNe esA / --CXII. 41b He is very fond of paraphrasing proper names for example, Bhanukarna= Bhanu-Sravana, Ghana-vahanaMegha-vahana, Akhandalabhuti=Indra-bhuti, Vajrakarna=Kulisa-Sravana, etc. He uses a very large number of Desi words with a view to making Prakrit more readily intelligible to the common people. As the work was of a religious and propagandistic nature and meant for a large number of readers and the masses (lokabhogya'), he did not hesitate to use the non-Prakritic forms and idioms-so-called vulgarisms from the popular speech of his days-Apabhramsa. He is very fond of onomatopoeic words too. The figures of speech which are commonly met with in this work are Upama and Rupaka. Some other figures which we come across in the work are Utpreksa, Atisayokti, and Arthantaranyasa. Anuprasa and Yamaka are found to be rarely used. Vimala, no doubt, delineates the sentiments in the narration of the principal story and in the romantic episodes that he has added. The fact, however, remains that his supreme interest lies in the development of vairagya

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SOME ASPECTS OF PAUMACARIYA that leads the various characters in the story to the renunciation of worldly life and acceptance of Jain order. Vimala's style is lucid and fluent and, wherever necessary, forceful. The Purana portion of the work, although otherwise important, makes extremely dull reading, but the style of this portion of the work too is quite simple and easy. In the course of his narration when he chooses to give poetic descriptions we come across comparatively long compounds but they are not difficult to understand. Vimala devotes 106 pages out of a total of 335 pages to narrating the background of the principal narrative. This certainly detracts from his merit as a story-teller. He increases the bulk of the story by adding many legendary stories and romantic episodes; some of these, e.g., the episodes of Bhamandala and Vitasugriva, are indeed quite beautiful. He claims at the end of his work that his Paumacariya is 'visuddha-laliyakkharaheujuttam' and akkhanesu vivihesu nibaddha-attham'. This claim is partially just and legitimate as the language of the work is not pure and chaste but shows many unprakritic forms and idioms. Jacobi rightly observes that the work "is very fluently written, in an easy epic style". Uddyotanasuri pays a handsome tribute to Vimala as follows: jArisayaM vimalaMko vimalaM ko tArisaM lahai atthaM / amayamaiyaM ca sarasaM sarasaM ciya pAiyaM jassa || - Kuvalayamala This high compliment Vimala richly deserves. 23 Notes and References: 1. See Winternitz History of Indian Literature, Vol. II (pp. 475 onwards); Dr. A. N. Upadhye Introduction to Brhatkathakosa (pp. 17-30). 2. sargazca pratisargazca vaMzo manvantarANi ca / gafa yai-Matsyapurana LXV. 63. 3. etadrUpapurANAnAM lakSaNaJca vidurbudhAH / mahatAJca purANAnAM lakSaNaM kathayAmi te // sRSTizcApi visRSTizcet sthitisteSAJca pAlanam / karmaNAM vAsanA vArtA cAmUnAJca krameNa ca // varNanaM pralayAnAJca mokSasya ca nirUpaNam / utkIrtanaM harereva devAnAJca pRthak pRthak // dazAdhikaM lakSaNaJca mahatAM parikIrtitam saMkhyAnaJca purANAnAM nibodha kathayAmi te // Srimad-Bhagavata-Mahapurana likewise mentions the ten topics of Mahapurana as

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STUDIES IN JAIN LITERATURE follows : atra sargo visargazca sthAnaM poSaNamUtayaH / manvantarezAnukathA nirodho muktirAzrayaH / / -Skandha II, Adhyaya 10, v. 1 and sargo'syAtha visargazca vRttI rakSAntarANi ca / vaMzo vaMzAnucaritaM saMsthA heturapAzrayaH // dazabhirlakSaNairyuktaM purANaM tadvido viduH / kecitpaJcavidhaM brahman mahadalpavyavasthayA / -Skandha XII, Adhyaya 7. V. 9.10. 4. tIrthezAmapi cakezAM hlinaamrdhckrinnaam| triSaSTilakSaNaM vakSye purANaM tadidvaSAmapi / purAtanaM purANaM syAt tanmahanmahadAzrayAt / mahadbhirupadiSTatvAt mahAzreyo'nuzAsanAt // kavi purANamAzritya prasRtatvAt purANatA / mahattvaM svamahimnaiva tasyetyanyanirucyate / / mahApuruSasambandhi mahAbhyudayazAsanam / mahApurANamAmnAtamata etanmaharSibhiH // -Adipurana I-20-23. 5. RSipraNItamAeM syAt sUktaM sunRtazAsanAt / dharmAnuzAsanAccedaM dharmazAstramiti smRtam // itihAsa itISTaM tad iti hAsIditi zruteH / itivRttamathaitihyamAmnAyaJcAmananti tat // -Adipurana 1-24-25. 6. purANamitihAsAkhyaM yatprovAca gaNAdhipaH / -Adipurana I. 26a. 7. See Puspadanta's Mahapurana (edited by Dr. P. L. Vaidya) Vol. I (p. 9). 8. ThiivaMsasamuppattI patthANaraNaM lavaMkusuppattI / nivvANamaNeyabhavA, satta purANettha ahigArA // 9. loko dezaH puraM rAjyaM tIrthaM dAnatapo'nvayam / purANeSvaSTadhAkhyeyaM gatayaH phalamityapi // In the article called Jain-Purana (Jain Siddhanta Bhaskara, Vol. VIII, part I, p.4, June 1941) Pandit K. Bhujabali Shastri mentions the eight topics of a Jain Purana according to the view of Pampa, a great Kannada poet : (1) lokAkAra-kathana (2) dezanivezopadeza (3) nagarasampatparivarNana (4) rAjyaramaNIyakAkhyAna (5) tIrthamahimAsamarthana (6) caturgatisvarUpanirUpaNa (7) tapodAnavidhAnavarNana (8) tatphalaprAptiprakaTana It is very obvious that Pampa's source is Jinasena. 10. .....cariyaM vocchAmi pumcriyN....| (I. 8) ko vaNNiUNa tIrai nIsesaM paumacariyasaMbaMdhaM / (I. 9) aha paumacariyatuMge, vIramahAgayavareNa nimmavie / (I. 29) suttANusAra-sarasaM raiyaM gAhAhi pAyaDaphuDatthaM / vimaleNa paumacariyaM saMkheveNaM nisAmeha / / (I.31) paumassa ceTThiyamiNaM.... (I, 33) eyaM aTThamarAmadevacariyaM (I, 90)

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SOME ASPECTS OF PAUMACARIYA paumacariyaMmi etto (II, 105) paumacariyaM mahAyasa, ahayaM icchAmi pariphuDaM souM / (III, 8) ....mahaimahApurisANa ya cariyaM ca jahakkama suNasu / (III, 17) eyaM rAhavacariyaM puriso jo paDhai suNai bhAviyakaraNo / (CIII, 175) eyaM halaharacariyaM niyayaM jo paDhai suddhabhAveNaM / (CXVIII, 93) dubbhaasiyaaii....| nAsaMti paumakittaNakahAe~ dUraM samatthAI / (GXVIII, 97) eyaM rAmAraviMdacariyaM tu suyaM samatthaM, nAsei duggiphN...| (CXVIII, 101) eyaM vIrajiNeNa rAmacariyaM siTTe mahatthaM purA / (CXVIII, 102) ....imaM cariyaM (CXVIII, 103) eyaM rAhavacariyaM.... I (CXVIII, 104) ...raiyaM rAhavacariyaM.... I (CXVIII, 118) 11. avarAiyA kayAI, gurubhArA sohaNe tihimuhutte / puttaM ceva pasUyA, viyasiyavarapaumasarisamuhaM // jammUsavo mahaMto tassa kao dasaraheNa tuDeNaM / nAmaM ca viraiyaM se, paumo paumuppaladalaccho / -(XXV. 7-8.) From these stanzas embodying the circumstance or factor responsible for the name Pauma it will be evident to the readers that the following statment of Dr. Jyotiprasad Jain is erroneous : mahArAjA rAmacandra kA muni avasthA kA nAma padma thA, ataH jaina paraMparA meM rAmakathA kA padmacarita yA padmapurANa nAma hI rUDha huaa| -(Vimalarya Aura Unaka Paumacariyam, p. 438). 12. See Introduction (pp. 7-8) to Paumacariyam (Cha. 27 and 28), edited by Sri S. C. Upadhyaya. 13. Why the poet uses two words for 'a chapter' or 'a canto' and not one consistently we cannot say. 14. The upodghata to the Bhavanagar edition gives the total number to be approximately 9000 stanzas (Asanna-nava-sahasra-sloka-pramitam). Pandit Premi states the total number of verses, to be 10000 Anustup Slokas (Jain Sahitya Aura Itihasa, p. 89 of the revised edition). Professors Gore and Laddu remark in their edition that the poem contains more than 9000 stanzas. This statement needs to be corrected. 15. aliyaM pi savvameyaM, uvvttiviruddhpccygunnehiN| na ya saddahaMti purisA, havaMti je paMDiyA loe / / -II 117. 16. Cf. Canto II. 105-107, III. 8-15 (and VII.58-60). 17. to bhaNai gaNahariMdo, suNehi naravasaha dinnakaNNamaNo / jaha kevalINa siTuM ahamavi tumhaM parikahemi / na ya rakkhaso ti bhaNNai, dasANaNo Neya AmisAhAro / aliyaM ti savvameyaM, bhaNaMti jaM kukaiNo mUDhA // -III. 14-15. 18. "Tradition about Vanaras and Raksasas"-Chakravarti C. in I. H. Q. Vol. I (1925). 19. See V. 251-252 Stud.-4

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STUDIES IN JAIN LITERATURE 20. jaM jassa havai niyayaM narassa logammi lakkhaNAvayavaM / taM tassa hoi nAma, guNehi guNaSaccayanimittaM // qhaggeNa khasAdhArI dhaSuhebAdhaNudharo paDeNa paDI / AseNa AsavAro hatthAroho. sa hatthINaM // ikkhUNa ya ikkhAgo jAo vijjAharANa vijjAe / taha vANarANa vaMso, vANaraciMdheNa nivvaDio // vANaraciMdheNa ime, chattAinivesiyA kaI jeNa / vijjAharA jaNeNaM vuccaMti hu vANarA teNaM / / -VI. 86-89. 21. Cf. maNau vajrasamutkIrNe sUtrasyevAsti me gatiH / -Raghu. I. 13b. 22. Cf. gataM na zocyam / 23. Cf. vinAzakAle viparItabuddhiH / 24. Cf. maraNAntAni vairANi / --Ramayana, VI. c 112 v. 25. . 25. Cf. gRhaM tu gRhiNIM vinA kAntArAdatiricyate / 26. Cf. yathA rAjA tathA prajA / 27. Cf. jAtasya vi dhruvo mRtyuH / -Bhagavadgita. II. 27a. 28. Cf. saMdIpte bhavane tu kupakhananaM pratyudyamaH kIdRzaH / --Bhartrhari, Vairazyasataka. 75 29.Cf. atirabhasakatAnAM karmaNAmAvipatterbhavati hRdayadAhI zalyatulyo vipAkaH / Bhartrhari, Nitisataka, 95 cd. 30. Cf. khalaH sarSapamAtrANi paracchidrANi pazyati / Atmano bilvamAtrANi pazyannapi na pazyati // -Bharata I. 3069. 000

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ORIGIN OF THE STORY OF RAMA IN JAIN LITERATURE I. THE DIFFERENT JAIN FORMS OF THE STORY OF RAMA : THEIR INTERRELATION Among the various Jain adaptations of the Rama legend Vimala's Paumacariya stands, chronologically speaking, first. The study of the different Jain Ramayanas clearly reveals that Ravisena, Svayambhu, silacarya, Bhadresvara, Hemacandra and Dhanesvara, follow Vimala. Ravisena does not state that his Padmapurana is based on Vimala's Paumacariya. A comparative study of the two versions establishes firmly that Ravisena is heavily indebted to Vimala. Svayambhu expressly states to have followed Ravisena in composing his Paumacariya. At the end of his version of the Rama story Silacarya states : "Thus is narrated in brief the life history of Rama and Laksmana which is described at length in works like the Paumacariya". From this statement it follows that he has used Vimala's work in preparing his abridged version. Bhadresvara does not indicate his source but the study of his Ramayana version proves beyond any shadow of doubt that he adopts the story of Rama as given by Vimala and frequently also borrows phrases and lines from him. Hemacandra does not care to mention his source for his two Ramayana versions-one found in his Yogasastra-svopajna-vrtti and the other in his Trisastisalakapurusacarita. We have already established by undertaking a comparative study that Hemacandra has based his version mainly on Vimala. Dhanesvara's version too closely follows the tradition represented by Vimala. Incidentally, we also find that Devavijaya himself says that he is following Hemacandra. Meghavijaya's Laghu-Trisasti is an abridged version of Hemacandra's Trisastisalakapurusacarita. Gunabhadra's version which is largely dependent on Valmiki contains some features which have their parallels in the Dasaratha-Jataka and the version of Sanghadasa, and some traits peculiar to the Jaina forms of the Rama legend, and this conglomeration of different elements gives Gunabhadra's version a new

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28 look and form. It is, therefore, generally regarded-and rightly too, for it has many important divergences with the Paumacariya-as forming another independent version. Puspadanta although he does not expressly state so, follows Gunabhadra. Krsnadasa is another writer who follows him. From the number of authors, who follow Vimala, it is evident that his tradition is highly popular among the Jains. STUDIES IN JAIN LITERATURE The versions of Sanghadasa and Harisena, however, are more related to the Ramayana of Valmiki or the Ramopakhyana of the Mahabharata than to the version of either Vimala or Gunabhadra. The different works noticed in the Jinaratnakosa but not studied here probably do not contain any new features but reproduce, with some variations, one or the other of the versions treated here. It would not be correct to designate the schools of Vimala and Gunabhadra as Svetambara and Digambara, for some Digambara writers too follow the so-called Svetambara version of Vimala. The three groups of Jaina Ramayanas may conveniently be represented in a tabular form as given on the next page. II. THE ORIGIN OF THE RAMA STORY IN JAIN LITERATURE I. The Problem With regard to this problem of the origin of the Rama story in Jain literature three logically possible answers suggest themselves; the story of Rama in Jain literature (i) preserves an independent tradition anterior to that of Valmiki, (ii) is derivative in nature being borrowed from the Valmiki Ramayana or the Hindu Ramayana in general with suitable changes, (iii) partly preserves some features of the very ancient tradition prior to that of Valmiki and partly borrows some features of the Valmiki Ramayana on account of their vast popularity among the masses. For this purpose it is necessary to investigate the oldest Jaina tradition preserved in the Paumacariya. According to the statement of the poet himself it was composed in 530 A. V. (4 A. D. if we accept the traditional date (527 B. C.) of Mahavira's Nirvana, or 64 A. D. according to Dr. Jacobi's date (467 B. C.) of Mahavira's Nirvana). The researches of modern scholars lead us to believe that Vimala cannot be assigned to a later date than second century A. D. Whatever date we choose to accept, the fact remains that the Paumacariya is the earliest extant Jain form of the story of Rama. Let us now see what this earliest poet of Jain Ramayana has to say regarding the origin of the story of Rama.

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ORIGIN OF THE STORY OF RAMA IN JAIN LITERATURE 29 2. The tradition regarding the Origin of the Paumacariya (as recorded by Vimala Suri himself is as follows :) The Paumacariya was in the form of a list of names and was handed down in regular succession from teacher to his disciplel. It was first told by Lord Mahavira to Indrabhuti Gautama who retold it to his disciple. It became known to generations of people through a succession of 'Sadhus'2. Rahu was his grand JAIN RAMAYANAS (School of Vimala) Pauma-Cariya-(Pk.) about 3rd century A. D. or somewhat later Sanghadasa's version, Pk. (School of Gunabhadra) (not later than 609 A. D.) Uttara-Purana (Sk., 678 A. D.) Harisena's version, Sk. (931-32A. D.) closest to Valmiki's Sk. Apbh. Sk. Apbh. 1. Pk Caupanna- 1. Padma-Purana of +Pauma-Cariu Punyacandro- Maha-Purana mahapurisa- Ravisena (678 of Svayambhu daya Purana of Puspadanta cariya of Sila- A. D.) (8th ceentury of Krsnadasa (965 A. D.) carya (868) A. D. ?) (16th century A. D.) 2. Dharma A. D.) 2. "Dhutakhyana Pariksa of of Haribhadra Amitagati (750 A. D.) (1014 A. D.) 3. Yogasastra3. Kahavali of svopajnavrtti Bhadresvara of Hemacan(11th century dra A. D.) 4. Trisastisalaka Key: + Not published. purusacarita Casual treatment of of Hemacan a few fanciful legends. dra (1160-72) Sk. Sanskrit. A. D.) Pk. Prakrit. 5. Satrunjaya Ma Apbh. Apabhramsa. hatmya of Dhanesvara (14th century) teacher and Vijaya was his teacher. He composed this epic, 530 years after the

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30 STUDIES IN JAIN LITERATURE Nirvana of Lord Mahavira, having heard (from his guru) the lives of Narayana and Baladeva as were given in the Purvas. Scrutiny of this tradition : It is difficult to accept this tradition as founded on facts. It is probably true that the poet had before him a Namavali and known its elucidation from his teacher. But that the story was first told by Lord Mahavira himself is difficult to believe. For in the Jain Canon we do not find the story of Rama recorded anywhere, although the story of Krsna who lived centuries after Rama-according to the statement of the Jain writers themselves--occurs in Antagadadasao4. It is not likely that such a well-known story which admirably illustrates the disastrous consequences of passion for another's wife should find no place in their sacred works. Again, it is very probable that the story of Rama was not sufficiently popular in the days of Mahavira and hence he may not have made use of that story for religious purpose. This surmise is strengthened by the fact that the story of Rama was popularised by Valmiki in the 3rd century B.C. Although it is said that the lives of Narayana and Baladeva were given in the Purva texts, we unfortunately are not in a position to verify the truth of the statements as these Purva texts are irretrievably lost. Again the traditions recorded by different poets in their Puranas dealing with the lives of 63 heroes are conflicting. Even the later poets of Jain Ramayanas (such as Hemacandra) do not appear to have taken this tradition of Vimala seriously. Otherwise how could they effect modifications in the principal narrative which Mahavira is said to have told to his pupils ? They would have then remained contented with merely adding poetic descriptions of cities, towns etc., without tampering with the principal narrative of Rama believed to have been delivered by Mahavira. It appears that the poet traces the origin of the story to Lord Mahavira in order just to invest it with authority and sanctity and the statement that the lives were given in the Purva-texts is just intended to induce devout readers to accept the truth of the story when, he found it necessary to give the followers of Jain faith a worthy substitute for the enormously popular epic of Valmiki. That Vimalasuri is considerably indebted to Valmiki and that his Ramayana was used by him when he composed his own work is quite obvious. 3. The Version of Rama story attacked by Vimalasuri The author of the Paumacariya does not specifically mention the name of the poet and the name of his work which, according to him, is full of inconsistencies and lies and absurdities, and to replace which he himself undertakes to narrate the true life of Rama. But the various points of doubt he

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ORIGIN OF THE STORY OF RAMA IN JAIN LITERATURE has raised clearly point to the fact that he has in mind Valmiki's Ramayana. The questions or doubts that presume some versions of Ramayana and the corresponding passages from the Ramayana of Valmiki which give rise to these doubts are set forth as follows : (a) How the great Raksasas, though very strong, were killed by the Vanarasmonkeys? 2. 105 31 How that mighty hero of the Raksasas, viz. Ravana, was defeated by the Vanaras, who are 'tiryak'-lower animals ? 3.9 Valmiki Ramayana does represent the Vanaras as lower animals, e.g., Yuddhakanda Book VI (Canto 4, vv. 63-67) speaks of their 'Kilakila' cries and lashing of their tails, and Sundarakanda Book V (Canto 53, vv. 5-8) speaks of the tail of Hanumat-the Vanara hero; and Book V (Canto 10, v.55) clearly brings out that he belonged to the monkeyrace: "He struck on the ground his tail, kissed his own tail, rejoiced, jumped about, sang, ran about, went up the pillars and fell down, thus showing in many ways that he belonged to the monkey race". Ravana's defeat was due to the valour of Vanara chiefs and Vanara army no less than to the valour of Rama and Laksmana. This is evident from the description of single combats and battles as given in the Yuddhakanda. It tells us that Sugriva killed three of the biggest giants of Ravana's side viz., Kumbha, Virupaksa and Mahodara. Hanumat brought down Ravana's son, Aksa, and among the most important Raksasas he killed were Devantaka, Trisiras and Nikumbha. Nala, Nila, Angada and other great heroes have also many exploits to their credit. In fact, excepting Rama, Laksmana and Vibhisana with his four counsellors, the whole of the army led by them against the Raksasas consisted of lower animals who ultimately caused the downfall of Ravana. (b) It is reported in the popular scriptures that all the Raksasas led by Ravana used to eat and drink meat, blood and marrow. Sundarakanda (V. Canto 5, v. 11 f) tells us of Hanumat's visit to Ravana's Banquet hall where he found various kinds of birds' and beasts' flesh kept ready for Ravana's consumption, and cups of wine. In the Aranyakanda (III. Canto 2 vv. 12-13), the Raksasa Viradha himself tells us that he used to seize a saint to make meal of him and that his lips would quaff the blood of Rama and Laksmana. In Aranyakanda (III. Canto 19, vv. 19-20) we are told of Surpanakha's desire to drink the blood of Rama, Laksmana and Sita. Aranyakanda (iii. Canto 38, v.3) speaks of Marica as one given to eating the flesh

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32 STUDIES IN JAIN LITERATURE of rsis. In the Sundarakanda (V. Canto 22, v. 9) Ravana addresses Sita as follows : "...if after two months' time you do not bend to your lover's will, my cooks shall mince your limbs and serve you for my morning meal"10. Uttarakanda (VII. Canto 10, 38-39) tells us that Kumbhakarna had eaten seven Apsarases and ten followers of Indra. (C) It is reported that Ravana's brother named Kumbhakarna used to sleep for six months without a break; even though his body would be crushed by big elephants and his ears filled with potfuls of oil (he would not wake up), he would not hear the sound of drums beaten near him nor would he get up from his bed if the period of six months was not over! When he got up, being overpowered with fierce hunger he would devour whatever would be near to him at the time, such as elephants and buffaloes. Having filled his belly by devouring gods, men, elephants and the like he would again go to bed for another six months..." This statement of Vimalasuri is based on Yuddhakanda. Canto 60, W. 23-64. (d) It is said that Indra, when defeated in battle by Ravana, was bound in chains and taken to Lanka. How can anyone take Indra captive-Indra who rules over Jambudvipa with its gods and men ? (One would be reduced to heaps of ashes at the mere thought of attacking him, who has Airavata the elephant-jewel and Vajra--the thunder-bolt at his command !) At that rate we might as well affirm that the lion is overcome by the deer, the elephant by the dog ! Pc. 2, 113-116. How Indra was overpowered by Ravana's son and taken captive to Lanka and then Brahma at the request of gods waited in deputation on Ravana etc., is described in detail in Uttarakanda Cantos 29-30.. (e) It is reported that Rama during his sojourn in the forest killed a (wondrous) golden deer. Pc. 3, v. 10. This incident of the golden deer is described at length by Valmiki in the Aranyakanda, Cantos 43 and 44. (f) It is said that Rama treacherously killed Valin in order to oblige (his ally) Sugriva and win Sutara" for him (Sugriva). Pc. 3, v. 10. Rama's alliance with Sugriva and his killing of Valin with the discharge of a single arrow from a covert position is described in the Kiskindhakanda, Cantos 8-26.

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ORIGIN OF THE STORY OF RAMA IN JAIN LITERATURE (g) It is said that the Vanaras constructed a bridge across the ocean ! Pc. 3,v. 12. In the Yuddhakanda (VI. Canto 22) we are told by Valmiki that Nala who inherited a share of his father's--Visvakarman's celestial art and skill, with the aid of hosts of Vanaras, who uprooted mountains, rocks, etc., and overthrew them into the ocean, built a bridge of wondrous strength across the sea. We thus find that the various doubts regarding the life of Rama raised by Srenika have full support in the passages of Ramayana of Valmiki and we, therefore, arrive at the legitimate inference that Vimalasuri had in his mind at the time of composing his Paumacariya, the Ramayana of Valmiki. 4. Vimalasuri's indebtedness to Valmiki's Ramayana Vimalasuri puts down Valmiki as a liar and accuses him of presenting distorted and false account of Rama's life, and undertakes to narrate the true biography of Rama as handed down by unbroken traditiorr. A comparative study of his work with the Hindu epic, however, reveals, in spite of remarkable divergences, alterations, modifications and omissions, a profound influence of Valmiki over Vimalasuri. He follows Valmiki as far as the principal features of the story of Rama are concerned : Rama's wedding with Sita. Bharata's appointment to the throne of Ayodhya by Dasaratha, the exile into forest of Rama, Laksmana and Sita, the abduction of Sita by Ravana, the Raksasa chief of Lanka; the sending of Hanumat as a messenger to bring the tidings of Sita after Rama's alliance with Sugriva, the fights with Ravana and his downfall, the bringing home of Sita, the scandal-mongering in which the citizens of Ayodhya indulge, the repudiation of Sita, and the lamentations of Rama, the birth of twin sons to Sita-these landmarks in the story of Rama are common to both the epics, notwithstanding numerous divergences regarding the details. We point here to certain noteworthy 'minor things which are highly eloquent of Valmiki's influence over Vimala Suri : (a) Padma is the name of Rama in the poem, yet the names Rama, Raghava, Raghunatha occur very frequently. b) Srisaila is the personal name of Hanumat but the name Hanumat is very often met with in the poem. (c) Pavananjaya and Anjanasundari were, we are told, the names of Hanumat's parents but later on the poet uses the names as Pavana and Anjana. (d) The names of Sita's twin sons were Ananga-lavana and Madanankusa but the names Lavana (or Lava) and Ankusa (which have close affinity with Stud.-5

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STUDIES IN JAIN LITERATURE Lava and Kusa of the Ramayana) are used frequently enough. (e) Bhanukarna is the name of Kumbhakarna but the poet uses very often the name Kumbhakarna. (f) Sutara is the name of Tara, the wife of Sugriva, yet the name Tara is more often used. (g) Indra who, according to Vimalasuri, was the overlord of Vidyadharas and not the chief among gods is often called 'Surendra', 'Suradhipati', 'Devendra' and 'Surapati' (see Cantos 12 and 13). This one fact alone is a proof of the profound influence which Valmiki's Ramayana has had on the author of the Paumacariya. (h) On a close comparison of verses which treat of the same subject we do not find any remarkable verbal resemblance between the two epics although occasionally we come across rare subhasita-like lines that seem to be borrowed by Vimala from his predecessor, for example : (1) HUF fa... - V. R. VI. 112.25 maraNaMtAi havaMti verANi / Pc. C. 75.v.I. (2) Ecarta part a E t hif a IV. R. VI. 131.107 Yerrent.... ga i des Etret PETETU.... Pc.C. 118. v. 94-95 (3) FATH JALAN and alfa antra: i V. R. VI. 131.112 MES TCH THU HAITI wa aliqui Pc. C. 118. v. 96 It is, however, clear that such striking resemblances between the two epics are very rare and that Vimala is not a slavish imitator of his predecessor in point of diction and style. On the whole, Vimalasuri's work is profoundly influeni ed by the Ramayana of Valmiki12. 5. Vimalasuri's aims in the Paumacariya The poet holds that Ramayana stories are most certainly lies; he thinks that the absurdities which are related regarding the life of Rama, Ravana and others are not worthy of belief, and that the poets who composed Ramayana were liars. It is with a view to removing all the absurdities, anomalies, inconsistencies and incredible elements that the poet undertakes the composition of the present epic. It is the poet's intention to present faithfully the life of Rama as was proclaimed by Lord Mahavira himself13. That the poet is intent on the propagation of the teachings of Lord Mahavira is evident to one who throws even a cursory glance at the epic. In the concluding portion of his epic, he exhorts his

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ORIGIN OF THE STORY OF RAMA IN JAIN LITERATURE 35 readers (or hearers) to practise the Dharma as expounded by the Jinas : ramaha sayA jiNavaramayammi / -118. 112. fueria EU 394 hi-118. 113. It is thus very clear that the poet aims mainly at propagation of Jain doctrines, This will be further obvious if we bear in mind the changes and modifications made by Vimalasuri in the Rama story as given by Valmiki and analyse the motives which most probably inspired these changes. The changes effected by Vimalasuri give the story a totally different form and purpose. These changes, however, cannot be explained by assuming that Vimala has preserved any original and important traits of the Rama legend anterior to the Valmiki Ramayana. For, Valmiki's Ramayana presents the oldest version of the story of Rama : "As an epic the Ramayana is very far removed from the Veda, and even the Rama legend is only bound to Vedic literature by very slender threads.. Neither is there anything to indicate that songs of Rama and Sita already existed in the Vedic times."14 The story of Rama and Sita is to be found, for the first time, in the Ramopakhyana--The Rama episode--in the Mahabharata and the Ramayana of Valmiki. Eminent scholars like Jacobi, Sukthankar and Winternitz hold, in spite of the objections of A. Ludwig and Hopkins, that the Rama episode is an epitome of the Ramayana of Valmiki, on the evidence of the numerous verbal agreements between the two poems, and other good reasons. 'It is probable', says Winternitz, 'that the original Ramayana was composed in the third century B. C. by Valmiki on the basis of ancient ballads'16. Now, there are some scholars of eminence who hold that the Ramayana of Valmiki has for its source the story of Rama as found in the Dasaratha Jataka and a few other jatakas!?. But there are equally eminent scholars 18 who hold firmly to the opinion that the Dasaratha Jataka is not really older than the Ramayana but only a distorted version of the latter. According to Dr. Narasimhachar, it is difficult to decide the problem either way. The case put forth by Jacobi and others, however, appears to be nearer the truth. In any case, the question of Dasaratha Jataka does not assume importance as the Jain Ramayanas do not show any appreciable acquaintance with the Rama story as given by the Jatakas. And the earliest Jain version of Rama story available to us belongs to first (or second century) A. D. That is, the Jain Ramayana falls centuries after the Ramayana of Valmiki. In fact, Vimala is

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36 STUDIES IN JAIN LITERATURE prompted to effect these changes in the Rama story on account of motives more than one. These motives may be enumerated as follows:(a) Removing of exaggerated and incredible elements In the Ramayana of Valmiki we have an exaggerated account of the Raksasas, Vanaras, Rksas and so on. For example, Ravana had ten mouths and twenty hands. It is said that in spite of all efforts to wake up Kumbhakarna by loud noises, Kumbhakarna used to sleep for half a year, and then after his awakening, would devour elephants etc. and would again slumber for half a year. Then again Indra, though he rules over gods and men, is said to have b taken captive to Lanka by Ravana ! Then again it is said that the demon heroes in all their mighty strength were defeated by the monkeys ! Again how can the monkeys build a bridge across the sea by throwing the rocks, hills and trees uprooted by them? It is these and similar elements that are obviously absurd and exaggerated that Vimala deliberately removes from his story. (b) Realistic Interpretation Some of the changes which Vimala brings about are due to his desire of giving realistic form to the story. For example, Ravana is described by the Valmiki Ramayana as a ten-headed monster-Dasagriva or Dasanana or Dasamukha. According to Vimala, Ravana's mother hangs around his neck a wondrous string of pearls, in which his face is reflected nine times, hence his epithet of Dasamukha "the man with ten faces". This is obviously a realistic explanation of the epithets of Ravana. Again, in the Valmiki Ramayana the Vanaras are represented as animals having long tails and using their teeth and nails as weapons and living on fruit etc. According to Vimala, "On the monkey island there is the city of Kiskindhi-pura. The "Monkeys" (Vanaras) are in reality a race of Vidyadharas, which is so called because these Vidyadharas had monkeys by way of badges on the arches of gates, banners and the like." This interpretation of the term 'Vanaras' is also realistic. Then again, about the Raksasas : They are, in the Valmiki Ramayana, represented as demons with fearful appearances, and devouring all kinds of animals including even human beings; according to Vimala the Raksasas belonged to a race of the Vidyadharas, who, far from killing and devouring animals that they could obtain, strictly adhered to the vow of ahimsa. The Raksasas were so called because one highsouled 'Raksasa' was born in that dynasty of the Vidyadharas19". This also is a realistic interpretation of the term Raksasa. Sita, in the Valmiki Ramayana, comes forth out of the earth, here she is born of Videha in the natural way. This too is an illustration of the realistic representation ! We can multiply such

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ORIGIN OF THE STORY OF RAMA IN JAIN LITERATURE 37 instances of realistic representation from Vimala's epic. (c) Ridding the story of divine elements Valmiki Ramayana represents Rama as a divine being, an incarnation of god Visnu. The story of Vedavati in the Uttarakanda leads us to believe that Sita was Laksmi, Bharata, Laksmana and Satrughna are Amsavataras of Visnu. The Vanaras, Rksas etc. too possess some divine element. Jainism does not admit of the supremacy of the trinity of Hindu gods. Naturally Vimala rids the story of Rama of the divine elements. (d) Elevation : According to the Valmiki-Ramayana, Kaikeyi is a selfish, greedy and intriguing woman. Rama kills Valin treacherously and is guilty of killing Sambuka. Ravana is a tyrant, an oppressor of mankind etc., violently obstructing sacrifices, and he abducts women. Valin is a usurper, and unlawfully takes possession of his brother's wife and kingdom. Vimalasuri takes a very sympathetic view of these characters, and attempts to clear them of blame. He represents Kaikeyi as a mother par excellence who is prepared to let her husband accept asceticism but desperately tries to retain her loving son. She does not demand Rama's exile. Valin, a mighty Vidyadhara hero, though capable of inflicting a crushing defeat on Ravana, voluntarily appoints Sugriva to the throne and himself becomes a monk. This account acquits Valin of the shameful charge of living with his brother's wife, and Rama of the charge of treacherously slaying Valin, who had done no harm to him. Laksmana kills Sambuka by accident and this exonerates Rama completely from the guilt of slaying Tapasvin. Ravana is a pious and devout Jain. He restores ruined Jain shrines. As far as possible he avoids 'himsa' whenever he has to fight. In his worldconquest he is shown to have subdued his enemies whom he later on sets free and restores to them their kingdoms. His only weakness is his passion for Sita ! Thus it will be seen that Vimala is very keen on elevating his characters. (e) Purging the story of Rama of its Brahmanical atmosphere : In the Valmiki Ramayana the heroes move in an entirely Brahmanical atmosphere. From the beginning to the end the poem breathes this atmosphere. Numerous Brahmanical legends and myths such as those of Vasistha, Visvamitra, Agastya, Vedavati, and so on, are inserted in the narrative. The performance of Asvamedha sacrifice is described with approval. The main characters are represented as avataras of the great Hindu god-Visnu. Vimalasuri, who is out "to give his co-religionists a complete substitute for the Hindu epic",

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38 STUDIES IN JAIN LITERATURE cannot allow such atmosphere to colour his poem. He simply omits all these legends and avatara-kathas that have no essential connection with the story of Rama. In certain cases he modifies the legends to suit Jain atmosphere, e.g., the story of Sagara and his 60000 sons. He speaks of the Vedas and animal sacrifices but only to criticise them. (f) Creating of Jain atmosphere in its place : Having purged the Rama-story of its Brahmanical atmosphere, he sets himself to create Jain atmosphere by introducing various upakhyanas such as those of Vajrakarna, Kapila etc., which show the importance of Jainism, by adding at appropriate places the sermons of Jain munis, by explaining the duties of a Jain householder and a monk, by making the main characters of the stories devout followers of Jainism, by describing the existence of Jina shrines at almost all the places and their worship, eulogising the Tirthankaras etc., by giving the stories of the previous existences of the heroes as is done in all the narrative poems of the Jains, by describing Jain festivals such as Astahnika-Puja, by emphasizing the Law of Karma and denouncing the entertaining of nidana, by portraying the kings as pious Jains who in their old age retire from the world and become Jain monks, and so on. (g) Propagagation of the special doctrines of Jainism. "The Ramayana in India is not--and never will be, let us hope-a dead mythology. It is full of the noblest examples of virtue and truth, of devotion and self-sacrifice. Its characters have been for centuries, and still are, living forces moulding the actions and aspirations of the men and women of India20". Now long before Vimala flourished, the Rama story of Valmiki was immensely popular. Vimala thought that this story would provide an excellent means for reaching the popular thought and propagating Jain views, ideals and doctrines. With this thought he modified the story of Rama to suit the Jain view of life. Through this story he teaches the Jain ethics, especially emphasizing the doctrine of ahimsa, and recommends the reader to take up to asceticism as a sovereign remedy against all ills of samsara. He exhorts his reader or hearer to keep moksa as his highest goal. He fully explains the working of the all-powerful and inexorable law of karma and illustrates it with a number of stories. He incidentally points out to us how nidana, a special phase of the law of Karma, is a cause of bondage in this samsara. He sings the glory of virtues like nonviolence, truthfulness etc., and depicts the evil consequences of harassing or molesting a Jain monk or nun. In one word, Vimala presses into service this popular story of Rama for propagating the tenets of Jainism.

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ORIGIN OF THE STORY OF RAMA IN JAIN LITERATURE 39 The motives enumerated and illustrated above must have prompted Vimalasuri in effecting the various changes in the story of Rama as detailed under the heads of omissions, additions and modifications. (h) Consideration of some of the changes not covered by general discussion With this general discussion about the motives behind these changes, we do not think it is necessary to account for each and every change introduced by Vimala. We may, however, account here for the striking ones among these changes not covered by the above general discussion : Omissions :- Vimala omits the famous incident of 'golden deer', for Rama, who is vratastha', cannot kill a deer. According to Vimala all the principal characters abstain from meat-eating and are pious Jains. The incidents of the Illusory Head of Rama and the beheading of Maya-Sita are left out as they do not fit in with the elevated character of Ravana. The fire-ordeal of Sita at Lanka is omitted possibly for this reason that he did not like to show Sita undergoing the same ordeal twice for establishing her purity and innocence, for in the later history of Rama she undergoes one fireordeal. Or it may be that he is influenced by Ramopakhyana in the Mahabharata, where there is no mention of any ordeal. Instead of Anaranya's curse Vimala speaks of a prophecy predicted by an astrologer (Canto 23, w. 10-11). The occasion for Nalakubara's curse on Ravana (viz., Ravana's forcibly carrying away of Rambha, who was proceeding to the house of her lover, Nalakubara) : does not agree with the character of Ravana as conceived by Vimala. Vibhisana and Hanumat are gifted with immortality : According to Jainism not even gods are immortal. Additions :- The pretty episode of Bhamandala is a pure invention of Vimala. Laksmana's lifting of Kotisila has a faint and distinct parallel in the Ramayana where Rama cleaves with a single arrow seven palm trees standing in a row. The account of Viradhita (the name has some similarity with Ramayana's Viradha !) is an innovation introduced by Vimala with poetic skill. The large number of wives of Rama and Laksmana perhaps reflects the idea that the larger the number of queens, the greater would be the glory of that king ! And it is possible that in the days of Vimala it was a custom among Ksatriya kings to

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40 STUDIES IN JAIN LITERATURE marry many women. Modifications :- We have accounted for almost all the modifications in our general discussion. Kausalya is called Aparajita and Vimala is the first poet who so names her. Satrughna is born of Kaikeyi whereas in the Ramayana he is born of Sumitra. Kharadusana is one individual, according to Vimala, and the husband of Ravana's sister--Candranakha. This does not agree with Valmiki's version, where Khara is Ravana's brother and Dusana, one of his generals; and Vidyutjihva is the name of the husband of Ravana's sister. Indrajit and Meghavahana are two different persons, both sons of Ravana. According to Valmiki, Meghanada was later named Indrajit. The episode of Vita-Sugriva is an invention by Vimala to bring together Rama and Sugriva. (i) Vimala's conception of the Raksasas and the Vanaras This is markedly different from that of Valmiki. "The Raksasas are not man-eating demons with fearful and hideous appearances. Nor are the Vanaras animals having long tails, living on fruits etc., and using their nails and teeth as their weapons. They are in reality a race of the Vidyadharas, a class of beings endowed with many supernatural qualities, if not human beings in the correct sense of the term. Beastly and uncouth behaviours and appearances are not therein attributed to them. On the other hand, they are depicted as having been highly civilised, who, far from killing and devouring all animals that they could obtain, strictly adhered to the vow of ahimsa21The dynasty of Vidyadharas at Lanka came to be called Raksasas after the celebrated and great Vidyadhara hero named Raksasa. The Vidyadharas of Kiskindhipura received the name of Vanaras because of their custom of wearing the pictures of monkeys as symbols on their banners and crowns. This conception of Vimala is born of the growing spirit of rationalism of his age. The fanciful and exaggerated poetic descriptions of the Raksasas and the Vanaras given by the Valmiki-Ramayana were unacceptable to Vimala, a champion of rationalism. He, therefore, portrays the Raksasas and the Vanaras as Vidyadharas, possessed of supernatural powers and gives realistic interpretations of the appellations "Raksasa' and 'Vanara' and of 'Ravana's name Dasamukha. These aims satisfactorily explain the changes effected by Vimala in the Rama story of Valmiki. Apart, however, from any question of aims, there is one single episode which establishes beyond any shadow of doubt the fact that Valmiki-Ramayana

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ORIGIN OF THE STORY OF RAMA IN JAIN LITERATURE is Vimala's source, and it is that of Indra's defeat by Ravana. At the end of Canto 2 Vimala says : "Indra, though he rules over gods and men, is said to have been taken captive to Lanka by Ravana ! One will be reduced to a heap of ashes at the mere thought of him who has the best elephant -Airavata and the unfailing weapon Thunderbolt. At that rate we might as well affirm that the lion is overcome by gazelle, the elephant by the dog. The Ramayana stories are most certainly lies." Now Vimala in Canto 7 tells us of Indra, the Vidyadhara-chief. Here he describes Indra in such a way as to lead us to believe that he is another Indra (especially read his appointment of four Lokapalas, his elephant Airavata, his minister Brhaspati, his weapon Vajra, his son Jayanta etc.). But this very Vimala when he describes the fight between Ravana and Indra, employs so many times such words as 'Suravai', 'Surabhada', 'Surinda', 'Surabala', 'Surasenna', 'Sakko', 'Suranaho', 'Surahivai', for Indra, the overlord of Vidyadharas. The use of the words Surendra etc. clearly demonstrates the truth of the remark made above that although Vimala professes to give the faithful story of Rama as handed down by Jain tradition, in actual practice he reveals, though unconsciously, his source viz., Valmiki-Ramayana. Otherwise how could he condemn in one breath the description of the defeat of the overlord of gods-Indra, and himself describe Indra-the Vidyadhara-chief as Surendra, Suradhipa and so on ? This description has misled even Dr. Winternitz who writes : Cantos XII and XIII tell of a fight between Ravana and the God Indra (History of Indian Literature, Vol. II, p. 492). We thus find that the origin of Vimala's Paumacariya which is the earliest Jain form of Rama story (not later than the third or fourth century A. D.), is the Ramayana of Valmiki. 6. Sen's view about an independent Southern legend of Ravana An interesting thesis is, however, advanced by Rai Saheb D. C. Sen regarding an independent Southern legend about Ravana. This thesis has a bearing on our problem, and it becomes necessary to examine it In his celebrated work called "The Bengali Ramayanas", Sen examines the material found in the Jatakas such as the Dasaratha Jataka and the Jain Ramayana of Hemacandra and arrives at the conclusion that "there were two distinct legends-an early Northern Aryan legend about Rama without any connection with the Raksasas and the Vanaras and a Southern Dravidian legend in which Ravana figures, independent of all touch with Rama. These two distinct legends were at a very remote period of history, much earlier than the 4th Stud.-6

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42 STUDIES IN JAIN LITERATURE century B. C., when Valmiki is said to have composed his epic, mixed by the ballad-mongers, who invented the story of the abduction of Sita, or somehow linked the broken chain of a story of some princess who was abducted, fancying her to be Sita, and thus bridged the gulf betwen the two legends now presented as a homogeneous story, and Valmiki came latterly as the most eloquent exponent of this mixed story." We confine our discussion to the so-called Southern Dravidian legend-especially the Jain Ramayana of Hemacandra. Sen holds that "Hemacandra's version of Rama's story, though comparatively modern, gives us a historical clue to the traditions that were extant in the Deccan in the olden times. At the time when this Jain Ramayana was written, Valmiki's Epic was known and read all over India. So it is but natural that the story as given in the latter is found incorporated in the Jain work. But the striking feature of this book is the elaborate description to be found in it of the dynasties of Raksasas and apes. The story of Rama is rather short. The descriptions of the Raksasas and monkeys occupy a very considerable space, and many legends and stories about them are found in it which are not mentioned in the great epic. This shows that in the Dravidian traditions the Raksasas and monkeys had a far greater hold on popular fancy than the story of Rama himself. The character of Ravana as given in this book rises to heights not scaled by the Ravana of our national magnum opus. The tapasya or the austerities...undergone by Ravana show his high character and a majestic command over passions, worthy of a sage, which unmistakably prove him to be the real hero of the Dravidian legend." Again, "the Jain Ramayana begins with the description of the Raksasas and monkeys and introduces Rama only in the later chapters. This is quite unlike what we find in the great epic. The Ramayana, as a matter of course, should give the story of Rama first. The supposition naturally grows strong that in Southern India the story of Ravana and of the monkeys had been widely known, and the Northern legend was introduced, later on, as a supplementary story." Further, Sen corroborates his stand by adducing evidence from the Lankavatara-Sutra, a Buddhist text composed in the second or third century A. D. and the statement of Dharmakirti who flourished in the 6th Century A. D. We have quoted the words of Sen in extenso so that the reader should get a complete idea of Sen's view in the matter in his own words. 7. Sen's view regarding the Southern independent Ravana legend examined (a) The narrative method : Jain Ramayana begins with the description of the Raksasas and Vanaras and introduces Rama only in the later chapter; and

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ORIGIN OF HE STORY OF RAMA IN JAIN LITERATURE moreover it gives an elaborate description of the dynasties of Raksasas and Vanaras and many stories and legends about them. 43 The Uttarakanda, although a later addition, was known to the author of Paumacariya, as we have already shown in the preceding section. The Uttarakanda is intended as a supplement and relates only events antecedent and subsequent to those described in the original poem. Thus the early history of Ravana with the Raksasa and Vanara families fills nearly forty cantos in the Uttarakanda and we have a full account of Ravana's wars with the gods and his conquest of Lanka, which all happened long before the action of the poem begins; and the latter Cantos continue the narrative of the hero Rama after his triumphant return to Ayodhya's kingdom and his coronation and the poem closes with his death and that of his brothers and the founding by their descendants of various kingdoms in different parts of India. Now what Vimalasuri does is that he opens his epic with the description of the universe etc., and the various dynasties of the Raksasas and the Vanaras, the world-conquest of Ravana, etc., with a view to furnishing the reader with the proper background and setting of the real story. This way of treatment will only facilitiate the understanding of the story by the reader. The narrative method of Vimalasuri follows the chronological method of representing the beginning first, then the middle and finally the end. In Uttarakanda we have events antecedent and subsequent to the main story. One might appreciate Vimala's way of unfolding the story but in itself it does not indicate that the Raksasas and Vanaras and their legends were widely known and that the Rama-story was added later on as a supplement only. We may also point out in this connection that the Ramopakhyana in the Mahabharata opens with an account of Ravana and his family, and the Vanaras. Vimala may have taken a hint from this opening in the Ramopakhyana. (b) The elevated notion about the Vanaras and the Raksasas in the Jain Ramayanas: Vimalasuri represents the Raksas as and the Vanaras as a class of Vidyadharas and devout followers of Jainism; Raksasas are not man-eating demons and the Vanaras are not monkeys with tails, etc. To this we answer as follows : The descriptions of the Vanaras in the Valmiki Ramayana are open to the charge of inconsistency. They are generally represented as semi-divine beings with preternatural powers living in houses and eating and drinking like men; sometimes as monkeys pure and simple, living in woods and eating fruits and roots. The highly exaggerated descriptions of ten-faced Ravana, etc., are

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44 STUDIES IN JAIN LITERATURE definitely inconsistent with other descriptions of Ravana where he is a Raksasa with one face and two arms, etc. So too there is sometimes allusion to the eating of human flesh and drinking of human blood by some Raksasas. But as a rule, leaving aside these exceptional instances of grossly exaggerated descriptions, the Raksasas as a class are not spoken of as cannibals. Vimalasuri removing the inconsistencies and absurdities in the epic represents them as a class of Vidyadharas and adherents of Jainism. He was inspired probably by the legitimate purpose of representing the Jain faith as superior to the Brahmanical traditions by removing from the legend of Rama elements which the people may have found difficult to swallow. (c) Ravana depicted as noble and grand: No doubt Ravana is represented by Valmiki as an oppressor of gods and others; he is shown guilty of abducting Sita; he is also depicted as interrupting the performance of sacrifices. But even according to Valmiki (or Vyasa) he is not evil incarnate. Valmiki (or rather the author of Uttarakanda) tells us how Ravana and his two brothers perform austere penance for thousands of years and obtain boons from the god Brahma. He is said to have been born in a celebrated Brahmin family. In spite of his serious weakness he did possess some commendable virtues. He misuses and misdirects his power and might. Vimala, as we have already pointed out, looks upon Ravana as a Salakapurusa a great man, according to Jain tradition; he conceives the character of Ravana as the noblest man, a devout Jain and ideal king. His only defect is his passion for Sita which brings about his death. Thus it will be seen that the elevation of Raksasa princes is no indication of Ravana's having been the hero of an independent legend. In fact, so far no legend of Ravana independent of any connection with the story of Rama has come to light. Further, we have established that Vimala was acquainted with the Ramayana of Valmiki and that his work is a special edition of the Hindu story brought out to serve the adherents of Jainism as a substitute for the highly popular Ramayana of Valmiki. Thus the differences in the treatment of the character of Ravana, and in the general account of the Raksasa and the Vanara families, as between the Valmiki Ramayana and the Jain versions of the story, can all be explained as due to difference of purpose and emphasis. It is not necessary to assume the existence of an independent Ravana legend as a hypothesis to explain these differences, unless there is independent evidence to prove the existence of such a legend. And therefore the view put forward by Sen that there was a Southern Dravidian independent Ravana legend cannot be accepted.

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ORIGIN OF THE STORY OF RAMA IN JAIN LITERATURE 45 3. The Digambara Version of Gunabhadra Now, in connection with this problem of the origin of the Jain Ramayanas, the Digambara' version of Gunabhadra, deserves to be carefully investigated, for the two versions of Gunabhadra and Vimalasuri markedly differ from each other in regard to story element, characterisation, etc. Further, we may note that Vimala shows that Hanumat, Sugriva and Ravana were relatives, that Hanumat had helped Ravana in his fight against Varuna etc., tells of the later history of Rama'-introduces about a dozen upakhyanas, gives a detailed history of the dynasties of the Raksasas and the Vanaras and the Iksvaku, narrates the account of Valin and Sugriva differently. It is but right then if we say that the two versions should be regarded as independent forms of the story of Rama. The first question that comes to mind about Gunabhadra's version is : "Why was it that Gunabhadra did not follow Ravisena, his Digambara predecessor ? Ravisena was a Digambara. We expect, therefore, Gunabhadra, a Digambara poet, to follow his predecessor. But our expectation is not fulfilled. As we have stated above, Gunabhadra's Rama-story is vastly different from that of Vimalasuri (with whose story that of Ravisena almost perfectly agrees). So to find an answer to the question raised we may set forth the following logical possibilities : (i) Gunabhadra was not aware of the existence of the epics of Vimala and Ravisena. (ii) Even if he was aware of their existence he did not think the narrative embodied therein to be good enough to be followed by him. (ii) He gives the story as he found it in some work of a predecessor of his, belonging to his Guru-Parampara, which work is now lost to us. (iv) He gives literary shape to the oral tradition as handed down by a line of successive teachers of his Samgha. (v) He gives shape to some local version that was then current. Now let us examine these logical possibilities : Gunabhadra flourished in the 9th century A. D. So it is not likely that he was not aware of the existence of the works of Vimala and/or Ravisena, or that he gave literary shape to local version. As he is a 'modern writer' compared with the eminent Hindu poets Vyasa and Valmiki and the Jain poet Vimala, their versions, with some slight variations, were widely known at the time of

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46 Gunabhadra. So alternatives (i) and (v) we may dismiss as improbable. Alternative (ii) also may be dismissed as improbable as a man of Gunabhadra's calibre cannot be accused of lack of balanced judgment. It is impossible to imagine that a writer coming at a sufficiently late stage in a literary tradition would invent highly extraordinary variations in an established legend, especially if the legend had a religious significance. Gunabhadra must, therefore, have had some authority for the version of the story that he gave. However, of the alternatives (iii) and (iv), it is difficult to say which is more probable. It is quite likely that he embodied in his Purana the story of Rama as it came to him through Acarya-Parampara. We have some reason to believe, however, that Gunabhadra may have been indebted to Kavi Paramesthi or Paramesvara. He is said to have composed a Purana glorifying 63 salakapurusas, celebrities of the Jain faith. Gunabhadra himself says that it was a gadya-katha and that it was used by Jinasena for Adi-Purana22. Jinasena calls it Vagartha-samgraha23. Now if Jinasena followed Kavi Paramesvara in composing his Adi-Purana it is not unlikely that Jinasena's pupil, who completed his teacher's unfinished MahaPurana by adding to it his Uttara-Purana, too, based his Rama-story on that of Kavi Paramesvara24. STUDIES IN JAIN LITERATURE Let us now turn to the views of Pt. Premi and Dr. Narasimhachar regarding the sources of Gunabhadra. 9. The relation of Gunabhadra's version with the Dasaratha Jataka and the Adbhuta-Ramayana In his paper on "Padma-Carita Aura Pauma-Cariya" Pt. Premi suggests that Gunabhadra describes the birth of Sita as Ravana's daughter after the AdbhutaRamayana, whereas Kingship of Dasaratha over Varanasi and the absence of the incidents such as Sita's abandonment, the birth of Lava and Kusa, the twin sons of Sita, can be traced to the Buddhistic Jataka25. Dr. Narasimhachar, referring to the elements in the story such as Sita's birth, her abduction in the precincts of Varanasi, the intensely ascetic nature ascribed to the character of Rama, and the golden deer incident, remarks that "it seems to be a conglomeration of various legends pertaining to Rama" and that "it has no unitary source" 26 Now let us examine this question of Gunabhadra's sources. Chronologically speaking Adbhuta-Ramayana is very much later than Gunabhadra's Uttara-Purana. Grierson remarks: "The Adbhuta Ramayana is a comparatively modern work. It is distinctly sakta in character, exalting Sita above Rama. It is also an attempt to introduce the terrible cult of Saiva Saktism into the altogether alien soil of Vaisnavism." Adbhuta-Ramayana is later than

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ORIGIN OF THE STORY OF RAMA IN JAIN LITERATURE Adhyatma-Ramayana (14th or 15th century). So it cannot be taken as a possible source of Gunab dra's Rama-story. Again, the way Sita is born. according to the story of Adbhuta-Ramayana is indeed Adbhuta ! 47 "Ravana in the course of his conquest comes to the Dandaka forest, summons the Rsis there to submit without resistance, and, with this demand, draws from each with the tip of an arrow a little blood, which he collects in a jar. One he Rsis is Grtsamada, the father of a hundred sons. His wife has begged from him that she may have a daughter, and that this daughter may be Laksmi herself. In order to fulfil her desire, the Rsi has been day by day sprinkling with appropriate mantras, milk from a wisp of Kausa-grass into a jar, so that thereby it may become inhabited by Laksmi. He does this, as usual, on the morning of the day on which Ravana appears, and, before the latter's arrival, goes out into the forest. It is in this same jar that Ravana collects the Rsis's blood. He takes it home with him, and gives it to his wife Mandodari to take care of, telling her that the blood in it is more poisonous than poison itself. She may on no account taste it, or give it to anyone to taste. Ravana again goes forth on his career of conquest and in Mount Mandara debauches the daughters of the gods etc. Mandodari, seeing them preferred to her, determines to kill herself. With this object, she drinks the contents of the jar Rsis's blood, which Ravana has told her is a deadly poison. Instead of dying, she immediately becomes pregnant with Laksmi, who has been installed in the sprinkled milk by the power of Grtsamada's mantras. When she finds herself pregnant in the absence of her husband, in fear of his reproaches she sets out for Kuruksetra under pretence of making a pilgrimage. There, freeing herself from the foetus, she buries it in the ground and returns home, keeping the whole affair a secret. Shortly afterwards Janaka comes to sacrifice at Kuruksetra. In order to prepare the ground for the sacrifice, he ploughs it with a golden plough, and while doing so turns up the foetus,-a girl child. Being warned by a voice from heaven, he adopts her and names her Sita. After completing the sacrifice, he takes her home, and brings her up." Laksmi (Sita) is born as the daughter of Mandodari on account of a curse: "Narada, while attending a concert in heaven, is hustled aside by Laksmi's attendants, who are conducting her to her seat. He promptly curses her to become incarnate as the daughter of a Raksasa." This fantastic birth-story is greatly different from that given by

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48 STUDIES IN JAIN LITERATURE Gunabhadra where Sita is born of Mandodari as the daughter of Ravana. The Dasaratha Jataka is definitely older than Gunabhadra's Uttara-Purana. But it is a distorted version of the story of Rama as given in the Mahabharata and the Valmiki-Ramayana. So merely because the later history of Rama is absent both in the Dasaratha Jataka and Gunabhadra's version we cannot say that the former is the source of the latter. It is true the Jataka speaks of Dasaratha as a ruler of Varanasi, and Gunabhadra represents him as shifting his capital from Varanasi to Ayodhya. But this is too slender a thread to connect the two stories. The Jataka speaks of Rama and Sita, as brother and sister, staying in the Himalaya mountain for years together at Dasaratha's suggestion, and the marriage of Rama and Sita brother and sister ! All this is absent in the Jain version. So properly speaking we cannot point to Adbhuta-Ramayana and Dasaratha Jataka as Gunabhadra's source for his Rama-story. We might account for these divergences in a different way : The birth of Sita is a mystery according to Valmiki's Ramayana. The Jain poets wanted to give a realistic interpretation of her birth. Vimala straightway calls her the daughter of Janaka and Videha born in a natural manner. Gunabhadra (or the Acarya who first gave the version found in the Uttara-Purana) makes Sita the daughter of Ravana and Mandodari. He gives the reason why Sita was abandoned by the parents and how Janaka and his wife Vasudha come across this fondling ! This change introduced by the Jain poet has something dramatic about it. A father falling in love with his own daughter, being unaware of the fact that she is his own daughter is psychologically not improbable. And as far as we know, Sanghdasa (not later than 609 A. D.) is the first poet to represent Sita as Ravana's daughter. It is not unlikely that this account of the birth of Sita and the names of some of Ravana's ancestors such as Sahasragriva and others, have been taken over by Gunabhadra (or his predecessor whom he follows) from Sanghadasa's version. A guess may be hazarded that Sanghadasa possibly had in mind the story of Karna's birth when he relates the account of Sita's birth. Karna is generally regarded as the son of a charioteer. The Mahabharata story, however, goes that in reality he was begotten by Surya, the Sun-god, and Kunti, when the latter was as yet a maiden, in a miraculous manner, so that Kuntis virginity was not violated. But after she had given birth to Karna, she was filled with shame, and put the boy out on the river in a little water-tight basket. There he was found by a charioteer, who brought him up. Karna is, therefore, really an elder brother to the Pandavas. The names Sahasragriva and others as the ancestors of Ravana were probably invented with a view to making the name Dasagriva not sound utterly strange or fantastic.

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ORIGIN OF THE STORY OF RAMA IN JAIN LITERATURE 49 From this discussion it becomes evident that there is no ground to believe that the Dasaratha-Jataka and the Adbhuta-Ramayana were Gunabhadra's sources. Let us now examine whether the version of Gunabhadra is entirely dependent on Valmiki or contains an independent tradition. Gunabhadra shares with Valmiki the following features : (i) Manimati's curse on Ravana (corresponds with Vedavatis). (ii) The names Dasanana, Kumbhakarna, Surpanakha and Vibhisana. (iii) The stratagem of golden stag. (iv) The slaying of Valin. (v) Rama's giving of his signet ring to Hanumat as an abhijnana. (vi) Hanumat's assuming the form of a bee (a cat, according to Valmiki) on the occasion of entering Lanka. (vii) Hanumat's presenting himself (before Sita) as a Vanara. (viii) Vibhisana's alliance with Rama. (ix) Hanumat's (Anumat, according to Gunabhadra) laying waste the grove and setting Lanka ablaze. (x) Causing disturbance to Ravana in his Vidyasadhana. (xi) Cutting off the illusory head of Sita and throwing it in front of Rama. (xii) Depicting of Ravana as 'adhama', 'khala', 'loka-kantaka', 'paradarapaharin', etc., and of Vibhisana as dharmajna, prajna, etc. Notwithstanding these common features Gunabhadra shows some important divergences from Valmiki as regards : (i) The parentage of Laksmana, Bharata, Satrughna and the place of their birth. (ii) Dasaratha's rule over Varanasi. (iii) The birth of Sita as the daughter of Ravana and Mandodari. (iv) The circumstances and conditions preceding the wedding of Rama and Sita. The Court-intrigue by Kaikeyi for securing the throne for Bharata and Rama's exile (which is absent in Gunabhadra's version). (vi) Surpanakha's visit to Sita as Ravana's duti. (vii) Dasaratha's informing Rama of Sitapaharana. (viii) The later history of Rama (which is almost wholly absent in Gunabhadra). Stud.-7 (V)

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50 STUDIES IN JAIN LITERATURE It is, therefore, right to conclude that Gunabhadra's version is largely dependent, if not entirely, on Valmiki. The version of Gunabhadra gains a new look and form by the assimilation to the frame-work of the story as taken from Valmiki's, of some novel features as listed above and of remarkable features from the Jain tradition, such as Rama and Laksmana having a large number of wives as every Baladeva and Vasudeva should have, their devotion to Jainism, renunciation of the world by Rama, Sita, Vibhisana, Hanumat, etc., and their acceptance of the monastic order, Laksmana's sinking into hell, the representation of the Vanaras and the Raksasas as Vidyadharas and followers of Jainism, and so on. Consequently, this Digambara version is generally regarded as an independent Jain form of the Rama legend. It is, however, obvious from the preceding discussion that Gunabhadra had always a purpose in view in introducing these changes and that like Vimalasuri, Gunabhadra too, took Valmiki Ramayana as his starting point an important changes and modifications in the received legend to suit his aims, artistic, religious or ethical. The differences between the Valmiki Ramayana and Gunabhadra's version cannot, therefore, be taken as a basis for arguing that Gunabhadra's version preserves any original features or traits of the legend as it flourished prior to Valmiki, more faithfully than Valmiki does. Such a hypothesis cannot be advanced except on the basis of independent evidence to prove the existence of a Rama legend prior to Valmiki and substantially different from the version as given by Valmiki. There is no such independent evidence. The versions of Sanghadasa and Harisena are very near to the ValmikiRamayana and are clearly based on it, excepting of course, quite a few Jain features. The versions of Vimala and Gunabhadra are typical of all the Jain forms of the Rama legend. We, therefore, give here a brief outline of Rama's story common to all the Jain forms: 10. Outline of the Rama-story common to all the Jain forms There was a king called Dasaratha of the Iksvaku family, who ruled over Ayodhya. He was blessed with four princes called Rama, Laksmana, Bharata and Satrughna. There was, at the time, a king named Janaka who ruled over Videha. He had a daughter by name Sita. Janaka gave her in marriage to Rama. Now there was a mighty king called Ravana who ruled over Lanka. He was fascinated by the wondrous beauty of that princess Sita. He carried her off by force to Lanka. Rama was stricken with profound sorrow at this misfortune. There was a Vanara prince, Sugriva, who was deprived of his rightful

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ORIGIN OF THE STORY OF RAMA IN JAIN LITERATURE place in Kiskindha. He sought Rama's alliance. Rama and Laksmana helped Sugriva regain the kingdom of Kiskindha. Rama, Laksmana and the army of Sugriva marched against Lanka; Vibhisana, the righteous brother of Ravana, did his best to persuade Ravana honourably to return Sita to Rama, but in vain. He deserted Ravana and formed an alliance with Rama. A terrible war was fought between the two hostile armies of Rama and Ravana. Finally Ravana was killed, Vibhisana was made king of Lanka and Rama was united with his lost queen. After vindicating his honour, Rama, with Laksmana and Sita, returned to Ayodhya, his capital. Rama had 8,000 queeens among whom Sita and three others were the principal ones. Laksmana had 16,000 queens among whom Prthvisundari and others were the chief ones. Rama and Laksmana very deeply loved each other. After Laksmana's death Rama became a monk, practised austerities, obtained perfect knowledge, and in due course attained to moksa, Laksmana, as he did not accept the path laid down by the Jinas, sank into hell. Ravana, for his lapse from the code of correct behaviour, had to go to hell. Both of them after passing through many births would attain to liberation. Sita, after leading the life of an Aryika, was born in heaven, but she too would in course of time obtain moksa. According to the Jain versions, Rama, Laksmana and Ravana are the 8th set of Baladeva, Vasudeva and Prativasudeva. It is quite obvious that excepting the number of the queens of Rama and Laksmana, the killing of Ravana by Laksmana and the Jinistic conclusion this Rama story is basically and essentially the same as that found in the Hindu versions of Vyasa and Valmiki. This investigation of the problem of the origin of Ramayana in Jain literature clearly and unmistakably points to the only conclusion that the Jain forms of the story of Rama are derivative in character, that they are largely dependent on the Valmiki Ramayana and that they do not preserve any features of the ancient ballads about Rama which had gained currency through the bards before Valmiki gave them the literary shape and form of a unified poem in his widely known Ramayana. It would not do to say that the Jain versions of Rama legend preserve the true Rama story and it is Valmiki who presents its distorted version. The reason for not accepting the Jain versions as truer to the original oral tradition than the Valmiki Ramayana may briefly be stated as follows :(i) Chronologically the Jain versions are definitely later than the Hindu Ramayana. The later a work in date of composition the less probable it is that the work embodies the original legend more truthfully.

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STUDIES IN JAIN LITERATURE (ii) The traditions regarding the origin of the Rama-story recorded by the Jains in their works are conflicting. If the story of Rama were told by Mahavira, it should have found a place in sacred works of the Jains. The story of Krsna is found in the canonical texts. It is not easy to explain the absence of the Rama-story in the canon unless we hold that it was taken up later by the Jain poets to popularize the Jain teachings. (iii) The Jain versions unmistakably point to the influence of Valmiki Ramayana (or The Ramopakhyana of the Mahabharata). For example, Vimalasuri who criticizes the Hindu Ramayana for representing the defeat of Indra, the overlord of the gods, at the hands of Ravana when, in reality, Indra, the lord of Vidyadharas, was defeated, himself describes that Vidyadhara lord as 'suradhipa', 'surapati', etc., He uses personal names of heroes after Valmiki although he gives them different personal names. (iv) The tendency of the human mind to find fault with fanciful and highly exaggerated and coloured descriptions as absurd and unreasonable found in the Jain works speaks of their 'modernism'. (v) The Jain version idealizes the characters of Kaikeyi, Ravana and Valin. If their representation of these characters were more faithful to the original legend, it would be difficult to understand how Valmiki could distort the idealism of the original, and give touches of realism in representing the part played by Kaikeyi in bringing about Rama's exile, Rama's slaying of Valin in a manner unbefitting a superhuman hero. In view of Valmiki's intense desire to idealize the character of Rama and represent him as an ideal warrior, an ideal son, an ideal husband and an ideal king, it is difficult to understand Valmiki's motives in slightly degrading the character of Rama in the episode of his fight with Valin, as also in some others such as his killing of Tataka and Khara, his rather unchivalrous treatment of Surpanakha, etc., unless we assume that Valmiki had felt compelled to retain these incidents because he found them as part of the popular tradition. (vi) The divergences which the Jain Ramayanas show from the Valmiki Ramayana are easily accounted for, as proceeding from artistic, or religious or ethical motives thus dispensing with the hypothesis that the Jain versions preserve more faithfully the ancient Rama-story that was prevalent prior to Valmiki. Establishing thus firmly that Valmiki's Ramayana is the fountain source of the Jain versions of the story of Rama we now turn to the development of the story of Rama in Jain literature.

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ORIGIN OF THE STORY OF RAMA IN JAIN LITERATURE 53 Notes and References : 1. nAmAvaliyanibaddhaM AyariyaparaMparAgayaM savvaM / vocchAmi paumacariyaM / / ahANupuvvi samAseNa || - PC. I. 8. 2. eyaM vIrajiNeNa rAmacariyaM siTuM mahatthaM purA, pacchA''khaMDalabhUiNA u kahiyaM sIsANa dhammAsayaM / bhUo sAhuparaMparAe~ sayalaM loe ThiyaM pAyaDaM, ettAhe vimaleNa suttasahiyaM gAhAnibaddhaM kayaM / / -Canto 118, v. 102. 3. paJceva ya vAsasayA, dusamAe tIsavarisasaMjuttA / vIre siddhimuvagae, tao nibaddhaM imaM cariyaM // -Canto 118, v. 103. and, rAhU nAmAyario, sasamayaparasamayagahiyasabbhAvo / vijao ya tassa sIso, nAilakulavaMsanaMdiyaro / sIseNa tassa raiyaM, rAhavacariyaM tu sUrivimaleNa / soUNaM puvvagae, nArAyaNasIricariyAI / / -Canto 118, v. 117-118. 4. Antagada-dasao, Varga III. The Nandi and the Anuyogadvarasutra texts (forming part of the Jain Canon) mention 'Bharata' and 'Ramayana' but they refer to the great epics of the Hindus and not to any Jain Mahabharata, or Jain Ramayana. 5. Winternitz has discussed the age of Ramayana. He holds that "It is probable that the original Ramayana was composed in the 3rd century B. C. by Valmiki on the basis of ancient ballads". 6. We have many parallels in the Hindu literature : e.g., the author of Manusmrti (Chapter I) traces its origin to the Creator; so too Bharata's Natyasastra (Chapter 1) finds divine origin. Such fictitious traditions are fabricated intentionally in order to show that these works possess divine authority. Vimalasuri, being a Jain, introduces a tradition representing Mahavira the Jina, as the expositor of the Rama story and thus claims his story to be a genuine account. 7. See the next article : "Development of the story of Rama in Jain Literature" 8. He only says : taha vivarIyapayatthaM, kaIhi rAmAyaNaM raiyaM / II. 116 Again paumacariyaM mahAyasa, ahayaM icchAmi pariphuDaM souM / uppAiyA pasiddhI, kusatthavAdIhi vivarIyA || III.8 and... aliyaM ti savvameyaM, bhaNaMti jaM kakaiNo maImaDhA || III. 15 The reading in the text as given by Jacobi is 'kukaiNo(mi)mUDhA' 9. See Canto 2. V. 105-117 and Canto 3. vw.8-13. 10. This threat in the same words occurs in Book III, Canto 56, v. 24-25. From such threats which Ravana gives to Sita in order to bend her to his passion we, however, may not be justified in saying that Ravana was a cannibal. 11. Sutara is known in the Valmiki's Ramayana as simply "Tara'. 12. As the story of Valmiki's Ramayana is well known these changes and modifications need not be shown specifically.

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STUDIES IN JAIN LITERATURE 13. Through the mouth of king Srenika and Gautama the poet gives expression to all this see Pc. Canto 2, vv. 116-117, canto 3, vv. 9-15. Also see Winternitz Hist. of Ind. Lit. Vol. II, p. 490. 54 14. Winternitz Hist. of Ind. Lit. Vol. I, p. 515. 15. Jacobi: Das Ramayana, pp. 71ft.; Sukthankar: S. Memorial ed. pp. 387ff.; Winternitz: Hist. of Ind. Lit. Vol. I, p. 384; also Bulcke, Ramayana, pp. 41-51. 16. Hist. of Ind. Lit. Vol. I. p. 517. 17. Weber: On the Ramayana; Sen Bengali Ramayana; Grierson J.R.A.S., 1922. 18. Jacobi, M. Monier-Williams, Vaidya C. V., Maharastriya and also Bulcke. 19. Vimala tells us that Bhima-the raksasapati-bestowed the kingdom of Lanka on the Raksasa-island on Meghavahana a Vidyadhara. In his family were born Maharaksasa, Devaraksasa, Aditya-raksasa, Raksasa... By mentioning these fabricated names he prepares the ground for us to accept his etymology of the word Raksasa. Curiously enough, the poem contains another interpretation of the name Raksasa : rakkhati rakkhasA khalu divA puNNeNa rakkhiyA jeNa / teNaM ci khayarANaM rakkhasanAmaM kayaM loe // - V. 257 Uttara-kanda relates through Agastya that when Brahma created the waters, he formed certain beings, some of whom received the name of Raksasas to guard them (Canto 5). 20. S. K. Belvalkar: Rama's Later History, Part I, p. LXiii. 21. "Tradition about Vanaras and Raksasas"-Chakravarti C. in I .H. Q. Vol. I (1925). 22. Kaviparmesvaranigaditagadyakatha-matrkam puroscaritaim Up. Prasasti 17. 23. Sa pujyah...paramesvarah Vagarthasangraham... puranam Samagrahit.-Adi-Purana 1.60. 24. Cavundaraya (978 A. D.) in his Adipurana declares that Mahapurana was composed formerly (even before Jinasena and Gunabhadra) by Kuci Bhattaraka and Srinandi Muni. 25. See Jain Sahitya aura Itihasa, p. 280. 26. He suggests the sources possible, viz., Adbhuta-Ramayana, Dasaratha Jataka and Valmiki-Ramayana. 27. Raghavan, V.: "Music in the Adbhuta Ramayana", Journal Music Academy, Vol. 16, pp. 66ff. and Grierson, G. A.: "On the Adbhuta Ramayana", Bulletin of the School of Oriental Studies, Vol. IV. pp. 11 ff. mmm

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DEVELOPMENT OF THE STORY OF RAMA IN JAIN LITERATURE (i) Paumacariya-a model for later poets : Although Vimala adopts the main story from Valmiki-Ramayana, he gives it a Jain background and setting, invests it with Jain atmosphere, decorates it with the teachings of Jainism, humanises the divine characters, elevates the characters of Kaikeyi, Ravana, Valin etc., gives an altogether new interpretation of the terms 'Raksasas' and Vanaras', removes the incredible elements of the original poem and thereby succeeds in giving us quite a new Ramayana. He sets in a way a model for all the later Jain poets to imitate. Let us survey the important Jain Ramayanas which were composed during a long period after Vimalasuri and note the contribution of these later poets to the story of Rama. (ii) The Vasudevahindi version (not later than 609 A. D.) : Sanghadasa is, for his version, heavily indebted to the Hindu version represented by the Ramayana of Valmiki/the Ramopakhyana of Vyasa. Regarding many principal features of the story such as Manthara's role in the Court-intrigue, Dasaratha's death on account of grief for his son, Rama's delegating of his authority to the Padukas in all affairs of state, the Surpanakha episode, the golden stag, the slaying of Valin, the great bridge built across the ocean, Vibhisana's alliance with Rama, and Rama's coronation, he is in complete agreement with Valmiki. He ends the story with Rama's coronation--after the Ramopakhyana of Vyasa. And it may be noted, in passing, that he does not mention the specific period of years for Rama's exile--in accordance with Vyasa's version (Compare Vanaparvan, Adhyaya 277, v. 26). A few features of the Hindu version he gives in a modified form. For example, the circumstances in which Dasaratha grants two boons to Kaikeyi are narrated by him in a different way. This may be due to his endeavour to remove the supernatural element from the story. This inference is supported by the fact that throughout the story, Rama etc. are, unlike as in the ValmikiRamayana, portrayed as human heroes. Here possibly he was under the influence of Vimala, who rids the Ramayana of its divine elements. He has again

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56 STUDIES IN JAIN LITERATURE drawn on the version represented by Vimala's Paumacariya while describing Satrughna as the son of Kaikeyi, and Ravana's death at the hands of Laksmana. His own contribution : Sanghadasa's contribution to the development of the story of Rama lies in his description of Mandodari's marriage with Ravana and of the birth of Sita as Ravana's daughter. It appears that Sanghadasa introduced this innovation in order to explain away the mystery of Sita's birth as we find it in the Hindu version. It may be noted here, in passing, that the genealogy of Ravana as given by Sanghadasa only partially agrees with their counter-parts in the Hindu version or the Paumacariya. Probably he invented the names of Ravana's ancestors such as Sahasragriva, Pancasatagriva, Satagriva, etc. with a view to making the name Dasagriva not sound strange or fantastic Sanghadasa's influence is seen in the work of Gunabhadra, who borrows, with slight modification, this account of the birth of Sita and some names of Ravana's ancestors such as Sahasragriva, Satagriva, etc. (iii) Padma-Purana of Ravisena (678 A. D.): It is merely a slightly extended recension of the Paumacariya in Sanskrit, agreeing with it in all essential points. Vimala was presumably a Svetambara author. Ravisena, who is himself a Digambara, while giving an enlarged edition of the Paumacariya which (presumably) is a svetambara work, has introduced, wherever possible, Digambara traits, and removed the Svetambara features of the original poem. Ravisena's contribution to the story of Rama : It may be briefly summarised as follows :(a) The story is presented with a bold Digambara colouring. (b) Suprabha is the fourth queen of Dasaratha and Satrughna is born of her. (c) The image of Janaka too is destroyed by Vibhisana. (d) Vajravarta and Sagaravarta are the two bows bent by Rama and Laksmana on the occasion of Sita-svayamvara. (e) Bharata's wife is called here Lokasundari. (f) In the Ativirya-Episode Rama himself assumes the form of a dancing girl. (g) Hanumat sides with the twins against Rama. (h) It is god Mesa-Ketana who assists Sita in her fire-ordeal. (iv) Upadesapada of Haribhadrasuri (700-770 A. D.): Haribhadrasuri alludes to the story of Rama in one of the Sangraha-gathas in his Upadesapada.

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DEVELOPMENT OF THE STORY OF RAMA IN JAIN LITERATURE The gatha embodying details of the story of Rama runs as follows : lakkhaNarAme devIharaNe sogammi Alihe calaNA / uvari Na diTTha jogo atthittAsAsaNe ceva // From the peculiar method of summarising the essential details of the story of Rama it is crystal clear that a story of Rama containing these features already existed in an oral or written tradition; for without such traditional information the verse referred to above would not be quite intelligible. In his commentary on the Upadesapada composed in V. S. 1174 Municandra adds a short story of Rama in thirty verses to explain the Sangraha-gatha. His version agrees with that of Vimalasuri except in two details : (i) Municandra speaks of three principal queens of Dasaratha, viz., Kausalya, Sumitra and Kaikeyi, and their three sons, Rama, Laksmana and Bharata respectively and (ii) he elucidates the picture motif alluded to in the gatha. The particular version which existed before and was utilised by Haribhadrasuri has not come down to us. The fact, however, remains that the credit of introducing the picture-motif in the story of Rama for the first time goes to an unknown writer who must have flourished before Haribhadrasuri and not to Bhadresvara as I had claimed elsewhere. (v) Paumacariu of Svayambhudeva (middle of the 8th century A. D. ?): Svayambhu himself states that he is presenting the story of Rama as given by Ravisena. He, however, does not slavishly imitate his predecessor. He is perhaps the first Jain poet to divide the poem into Kandas. Of his five Kandas four have titles common with Valmiki's poem-only instead of Balakanda he speaks of Vidyadharakanda. He does not have the two titles Aranya-kanda and Kiskindhakanda. He effects omissions, abridgements, additions and alterations with a to presenting the story in a more attractive and poetic form. His changes, however, do not relate to the principal story of Rama but to such topics as Ksetravarnana, Kalavarnana, Purvabhavakathana, Upakhyanas and descriptions. His work certainly gains by these changes in its poetic value. (vi) Cauppannamahapurisacariya of silacarya (868 A. D.) : Silacarya declares : "Thus is narrated in brief the life-history of Rama and Laksmana, which is described at length in works like Paumacariya." From this statement of his it is obvious that Vimala's work was in his mind when he prepared this abridged version. He has, however, introduced some remarkable features from Valmiki's version directly possibly because of their popularity in his days or indirectly through Sanghadasa whose version always shares these features. These features include the golden stag incident and the Vali-episode. It deserves Stud.-8

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58 our notice that Silacarya's Ravana is after Valmiki's as he speaks of him in such terms as bhuvaNatAvaNo, 'balavamakajjAyaraNeNa dUsio kalusiyacaritto' vijjAgavvio, khala and krUra. STUDIES IN JAIN LITERATURE Vimala's Ravana is nearly a perfect hero with one defect only, viz., his passion for Sita. Silacarya does not count the Prativasudevas, such as Ravana, among the 'Uttama' or 'Maha'-or 'Salaka'-purusas. Naturally, the name Ravana does not find place in the title. Silacarya's Influence on Hemacandra ? Winternitz observes in connection with Hemacandra's work"Trisastisalakapurusacarita'-that the Cauppannamahapurisacariya of Silacarya must be taken into consideration while investigating sources which Hemacandra drew upon for his poem (see pp. 505-506). As far as the version of Ramayana is concerned, it can definitely be asserted that not Silacarya's but Vimalasuri's Paumacariya is Hemacandra's source. (vii) Uttarapurana of Gunabhadra (9th Century A. D.): Gunabhadra, who is a Digambara poet, presents Rama-story which is widely different from that of his Digambara predecessor. His version is largely dependent on the Hindu Ramayana, borrows a few features from Sanghadasa, speaks of Dasaratha's rule over Varanasi for the first time, possibly after the Dasaratha Jataka, and has some traits peculiar to Jain versions of Vimala and others. As a result of this conglomeration of features from various sources Gunabhadra's version gains quite a new look and form and naturally it is regarded as presenting. an independent tradition. Gunabhadra's Contribution to the story of Rama: According to Gunabhadra, Varanasi was originally the capital of Dasaratha, who migrated to Ayodhya (and made it his capital) after Sagara's family was completely annihilated; Janaka gave his daughter Sita in marriage to Rama who protected the sacrifice undertaken by him; Rama, with Sita and Laksmana, went to Varanasi, their old capital, in order to safeguard the interests of their subjects; at Narada's instigation, Ravana was enamoured of Sita; Ravana sent Surpanakha, his sister, as a duti to Sita; Laksmana fought against Valin and killed him; and finally, Ravana cut off the illusory head of Sita and threw it before Rama (this detail is borrowed from Valmiki). Gunabhadra's influence over later writers: Gunabhadra's story, however, does not seem to be as popular as that of Vimala. We find his version given by Puspadanta only. On the authority of Dr. Narsimhachar we may add here that

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DEVELOPMENT OF THE STORY OF RAMA IN JAIN LITERATURE 59 a Sanskrit work Punyacandrodaya Purana of Krsna (1528 A. D.) and two works in Kanarese, viz., Camundaraya-Purana (978 A. D.) and Punyasrava-Katha-Sara (1331 A. D.), present the version of Gunabhadra. (viii) Brhat-Katha-Kosa of Harisena (931-32 A. D.) : This Kosa contains two Ramayana Kathanakas. Harisena, though a Jain (Digambara) gives a Ramayana version, which is widely different from the Digambara (or Svetambara) version of Gunabhadra (or Vimala) and represents a very brief abridgement of Valmiki's Ramayana. The first Kathanaka does not carry the story beyond the death of Ravana and Rama's becoming a sovereign ruler. This is how Ramopakhyana also ends. The only deviations are : Dasaratha has a fourth wife Supraja (Suprabha of Ravisena) who gives birth to Satrughna; Kharadusana is the husband of Surpanakha (after Ravisena's account)-in the ValmikiRamayana Khara is her brother and Dusana is the name of one of Ravana's generals. At another place (v.27), however, Harisena mentions Khara and Dusana as two individuals, which is confusing. In the second Kathanaka Sita is shown to have become a nun, after her fire-ordeal, being initiated by Samyamasena. (ix) Mahapurana of Puspadanta (965 A. D.) : Puspadanta's Ramayanastory is identical with that of Gunabhadra. Puspadanta's contribution to the story of Rama : He criticises the Ramaversions of Valmiki and Vyasa-in the manner of Ravisena and Vimala, and adds to the list of incredible incidents and statements (found in the Ramayana of Valmiki) as given by his predecessors, the following three : (a) Indrajit, though a son of Ravana, was older in age than Ravana, his father. (b) Vibhisana is a 'Ciranjivin'. (c) The arms of Laksmana were long and unbending. Further, he names Ravana's sister as Candranakha instead of Surpanakha. Of course, Vimala and Ravisena too give her name as Candranakha. But all this hardly means any real contribution to the story of Rama as these changes do not help the progress or action of the story. He has, however, we might say, contributed considerably towards the form of the story, which is made more poetic. If Gunabhadra's version is rather less poetic and more prosaic, Puspadanta's Ramayana is written in a grand poetic style. Unlike Gunabhadra, he divides his Ramayana into eleven Sandhis or Cantos and gives them titles which are sufficiently eloquent of their respective

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60 STUDIES IN JAIN LITERATURE subjectmatter. (x) Kahavali of Bhadresvara (11th century A. D.) : Bhadresvara's version of the Ramayana is based on the Paumacariya. For the motif of the picture of Ravana drawn by Sita which is not found in the Paumacariya, Bhadresvara seems to be indebted to Haribhadrasuri. Hemacandra adopts this highly important feature in the Rama legend which he gives in the Trisastisalakapurusacarita. (xi) Trisastisalakapurusacarita of Hemacandra (xii) Yogasastrasvopajnavrtti (12th century A. D.) : In spite of the fact that the two versions are by one and the same author, they betray some remarkable deviation which we have already noted. The Ys version is in general agreement with the Paumacariya; it shows acquaintance also with the Padmapurana, and the version of Sanghadasa. (a) In his TSPC version (based on the Paumacariya and the Padmapurana) Hemacandra follows Valmiki in relating the episode of the fight between Valin and Ravana and the latter's humiliation. . (b) Dasaratha, after his marriage with Kaikeyi, does not return to Ayodhya but goes to Rajagrha, conquers the king of Magadha, stays there, gets his family there, and lives there for a long time, out of fear of Ravana. It is there that Rama and Laksmana are born. And when he feels himself invincible on account of his powerful sons, he goes to Ayodhya with his whole family; and it is at Ayodhya that Bharata and Satrughna are born. (c) Aparajita dreams four dreams and Sumitra seven which indicate the birth of two mighty sons. (d) Khara was the husband of Candranakha, and Dusana and Trisiras were his younger brothers. (e) Hemacandra speaks of four Mahadevis of Rama but does not refer to the larger number of 8,000 wives (f) According to Hemacandra, Rama goes in search of his wife whom he has repudiated. Not finding her, he believes her to be devoured by some wild beast. He goes home and performs her sraddha. (xiii) Satrunjayamahatmya of Dhanesvarasuri (14th century A. D.) : Dhanesvara adds the episode of king Anaranya and the image of Parsvanatha with a view to glorifying the power and grace of Parsvanatha's image and the

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DEVELOPMENT OF THE STORY OF RAMA IN JAIN LITERATURE 61 Satrunjaya mountain. Kaikeyi asks for the banishment of Rama (and Laksmana too) in addition to her demand of the kingdom for her son Bharata. This is after Valmiki's version, although there Laksmana is not mentioned in this connection. According to Dhanesvara, the Vanaras do not interrupt Ravana in his acquisition of Bahurupa-vidya. Again, we meet with a few unimportant changes-Aparajita is called here Kausalya, and Bhanukarna called Kumbhakarna (of course, after Valmiki). While condensing the story of Hemacandra (although the poet never states this) he has omitted many episodes, stories of previous births etc., as they have practically no significance for the course of the narrative. (xiv) Punyacandrodayapurana of Krsnadasa : Krsnadasa wrote this Purana in 1528 A. D. "Judged from the contents of the work as given by Rajendralal Mitra (Notices of Sanskrit MSS, Vol. VI, 70-74), it appears to belong to the tradition of Gunabhadra?." (xv) Ramacaritra of Devavijayaganin : In the year 1586 A. D. Devavijayaganin, a pupil of Rajavijayasuri, wrote a Ramacaritra in prose. The author himself says that he is following Hemacandra's Ramayana. As the work is not published, it is not possible to say whether Devavijaya contributes towards the development of the story of Rama. (xvi) Laghu-Trisasti of Meghavijaya Gunivara : Meghavijaya (17th century A. D.) composed his work after the famous Trisastisalakapurusacarita of Hemacandra. It is no more than an abridged edition of Hemacandra's Ramayana?. After settling the problem of the origin of the Jain Ramayanas and tracing the development of the Rama-story in Jain literature we now touch upon the question of the Jain influence on the later Hindu Ramayanas. The Puranas of the Hindus are of uncertain dates. Consequently, it is very difficult to trace the influence exerted by the Jains on the Hindu Puranas. On account of the difficulty of dates no strict proof is available whether the Jains have influenced the Hindu Puranas or vice versa. We, therefore, simply note the points which are common to the Jain Ramayanas and the Puranas of uncertain dates, and where we know certainly that the Hindu Puranas or works are later than the Jain versions concerned we treat these common traits as part of the Jain influence. These points which are common to the Jain Ramayanas and later Hindu works or Puranas of uncertain dates we set forth, for the sake of convenience, in a tabular form :

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STUDIES IN JAIN LITERATURE JAIN INFLUENCE ON THE HINDU RAMAYANAS Sr. Particular feature Name of the Name/s of the Remarks No. Jain author Hindu work/s 1. Bharata and Satrughna Vimalasuri Bhavartha-Ramayare uterine brothers ana (16th century, (born of Kaikeyi) Marathi) 2. Dasaratha had four Ravisenacarya Padmapurana (Pata- Names of the wives (Aparajita, Sumi lakhanda) queens are not tra, Kaikeyi and identical. Suprabha) 3. Rama bent and strung Vimalasuri Nrsimha-Purana, The Hindu works the bow in the presence Bhagavata Purana, are all later than of other princes who Tamila Ramayana, Vimala's Pauhad arrived there at Telugu Ramayana, macariya. Mithila to participate in Maithili-Kalyana and the Sitasvayamvara Adhyatma-Ramayana 4. Sita was born of Man- dodari and Ravana Sanghadasa (and Gunabhadra) Vimalasuri 5. Bhamandala and Sita were born as twins of Videha and Janaka Mahabhagavata (- The Hindu works Devi-) Purana, and are later than Jain Kashmiri Ramayana. versions. Although Valmiki These Puranas are speaks nowhere of assigned to the 4th Janaka's son, and the 5th centuVisnupurana and ries A. D. Vayupurana speak of Bhanuman as Janaka's son. Vimalasuri Tamila Ramayana 6. Candranakha (=Sur panakha) assumed the form of a lovely maiden and approached RamaLaksmana (no dismemberment of her nose and ears) 7. Ravana himself cuts off the illusory head of Sita. With greater de tails and some variation Kambana describes this episode. Gunabhadra Anandaramayana Is later than Gunabhadra's work. The Hindu works 8. The motif : Sita draws Bhadresvara Bengali Ramayana,

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DEVELOPMENT OF THE STORY OF RAMA IN JAIN LITERATURE (and Hemacandra) the picture of Ravana at the direction of her co- wives--this picture is the cause of scandal against her. Kashmiri Ramayana, are later than the Anandaramayana, Jain versions. etc. Vimalasuri 9. The sons of Sita fight against Rama and Laksmana. With a good deal of variation. Kathasaritsagara, Ananda, UttaraRamacarita, and Jaiminiya Asvamedha 10 Laksmana kills sam- Vimalasuri Telugu Ramayana With some varibuka, the son of Sur and Anandaramay ation. panakha. ana From the foregoing table it becomes evident that the Jain influence on the later Hindu Ramayanas is not very striking. The explanation for this lack of strong influence is probably to be sought in the wide gulf that existed between the two communities. The Jain poets and authors were, as a rule, conversant with the Hindu works both of sacred and secular character. The Hindu writers, on the contrary, may not have cared to read the Jain works in the belief that they were of inferior workmanship and probably in their intellectual arrogance thought that they had nothing to learn from their opponents and antagonists. Before we close at this point let us say a word about the story of Rama as adoptd by the Jains and the best Jain Ramayana. To a dispassionate reader it will appear that the Jains have taken over the story of Rama as given by Valmiki and made it their own. In doing so, however, they have lowered its ethical value. The story is rid of its deep human interest and dramatic value by removing the Court-intrigue. The story gives Rama, who is universally known as intently and solely devoted to his only wife-Sita, and Hanuman, who is described as an ideal Brahmacarin, a large number of wives. This feature of the story is undoubtedly repugnant to the popular mind. Further, according to this story, Laksmana sinks into hell. The reader is not prepared to accept such a terrible end to the glorious career of Laksmana. The antagonism of the Jains to the cult of Vedic sacrifice and himsa, the sense of superiority of the Brahmanas and their superstitious beliefs is perfectly understandable. One, however, would have wished that in making the beautiful Rama-story their own the Jain poets had been able to avoid reducing its human and ethical content. Valmiki is the 'Adikavi' and his Ramayana, the 'Adi-kavya'. It is admittedly "one of the greatest epics that were ever composed by man". It is one of the most

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64 STUDIES IN JAIN LITERATURE beautiful and moving stories in world literature. It is sung "in words of matchless beauty. It is a story full of tenderest pathos and the most moving emotions". It is a work that is "a popular epic and ornate poetry at the same time". This great epic is, no doubt, disfigured by additions and interpolations of numerous myths and legends, still it has a fairly unified form and continues to hold the rank of Adi-kavya ! No Jain Ramayana, can bear comparison with Valmiki's Ramayana for its poetic value. In fact, none of the poets whether Hindu or Jain, equals Valmiki, who remains thus unsurpassed. The Jain poets do not primarily aim at the kavya style, though some of their works do possess poetic qualities. Bearing this in mind if we examine the Jain Ramayanas from the point of view of poetry, we find that Svayambhu and Puspadanta stand out as poets distinct poetic ability. They display the wealth of their poetic gift by giving us poetic ideas and flights of poetic fancy which are refreshingly original. Hemacandra stands next to them. His command of language, metre, and alaskaras and his descriptive skill are beyond question. However, the fact remains that there is an air of conventionality about his descriptions. Acarya Ravisena impresses us by his profound scholarship but not poetry, On the whole, we may conclude that the Jain Ramayanas, as a rule, are essentially Puranas. They are written not as kavyas pure and simple but to glorify the Dharma of the Jinas and teach the people Jain doctrines and criticise the Brahmanical Dharma. It will, therefore, not be fair to the Jain poets to judge their works by the standard which we apply to the mahakavyas like the Raghuvamsa, Kumarasambhava, etc., and harshly criticize them on artistic grounds. Notes and References : 1. Srimatmuktikamala Jainamohanamala, Puspam 19, Baroda, 1923. p. 84, gatha no. 14. I am obliged to Dr. J. C. Jain for drawing my attention to this reference through Dr. Bulcke. 2. Dr. Narasimhachar, I.H.Q., Vol. XV. 3. The Dhurtakhyana of Haribhadra casually treats of some legends from Ramayana, so too Dharmapariksa of Amitagati. We may therefore ignore these works. DOO

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VALMIKI RAMAYANA AND JAIN RAMAYANAS : STUDY IN INTERACTION Introductory The Natyasastra of Bharata (c. third century A. D.) gives elaborate rules for the use of language by the characters. The use of Sanskrit is proper for Kings, Brahmanas, generals, ministers and learned persons generally. The general rule for women and persons of inferior rank is the use of different types of Prakrit. The divergent use of Sanskrit and Prakrit in the same play, laid down by Bharata could be put down to the principle of naturalism or realism-- simply to the copying of the actual practice in real life--without hindering mutual comprehension-the dialectic differences based on locality, sex and rank. Bhoja (1015-1055-A. D.) in his Sarasvatikanthabharana makes some interesting observations regarding the Sanskrit and Prakrit languages and when and where they were in use. Sanskrit alone, he feels, ought to be used in certain matters like the praise of deities, etc., Prakrit alone ought to be used in vividly depicting Reality in its subtle aspects. In a literary club story-teller must alternately use Sanskrit and Prakrit, as occasion demands; thus alone he would win great fame. The people of Lata country are haters of Sanskrit and find delight in Prakrit. The people of Gujarat find pleasure only in their own Apabhramsa. Every one spoke Prakrit and Prakrit alone during the reign of Adhyaraja (Salivahana) as in the times of Sahasanka Vikramaditya every one spoke Sanskrit and Sanskrit alone. Prakrit literature has tremendously influenced Sanskrit poeticians in formulating and illustrating their theories of dhvani (Suggestion), vakrokti, rasa, rasabhasa, etc. They cite more than three thousand Prakrit and Apabhramsa verses in the course of their illustrating various points of poetics. The practice of citing Prakrit verses in Sanskrit works on poetics calls for an explanation which is not far to seek. Notwithstanding the difference in language, the poeticians made no difference between Sanskrit and Prakrit literatures. They appreciated Stud.-9

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66 STUDIES IN JAIN LITERATURE both. Some of them wrote in both. The norms laid down in their works were equally applicable to both and, indeed, till recently to literatures even in our modern languages. Occasionally, we find similarities of ideas among great poets. For example, Kalidasa in his Kumarasambhava, VIII. 7 describes the timid shyness of the new-made bride, Parvati : zUlinaH karataladvayena sA saMnirudhya nayane hRtAMzukA / tasya pazyati lalATalocane moghayatnavidhurA rahasyabhUt // Hala has the following gatha in his Gathasaptasati (V.55) which deserves comparison with the above stanza. rddkelihianniaNsnnkrkislaruddhnnannjualss| ruddassa taiaNaaNaM pavvaipariuMbiaM jaai / / [rtikelihtnivsnkrkislyruddhnynyuglsy| rudrasya tRtIyanayanaM pArvatIparicumbitaM jayati // ] Translation : Victorious, i.e, very fortunate is the third eye of Rudra (i.e., Siva) which was sealed/shut with a kiss by Parvati, while the pair of his normal eyes were covered by her with her sproutlike (tender) hands, when her garment/ clothing was stripped off by him (Rudra=Siva) in the course of amorous dalliance. It would seem that the poet of the gatha knew Kalidasa's verse since he has improved upon him. Such stray similarities apart, Govardhana's Aryasaptasati deliberately attempts to imitate Hala's Gathasaptasati. Jayadeva, who claims to be the chief of the kings of poets (Kavirajaraja), is believed to have been profoundly influenced in the use of rime (= rhyme) by Apabhramsa poems in which its use is regular. With these introductory remarks, we take up the topic of ValmikiRamayana and Jain Ramayanas : Study in Interaction. No other work of Indian literature has enjoyed a greater popularity in India down to the present day than the Ramayana of Valmiki. The story of Rama occurs in the Mahabharata and a number of Puranas. We have, further, the Adbhuta-Ramayana Adhyatma-Ramayana and Ananda-Ramayana. Many eminent poets including Bhasa, Kalidasa, Bhavabhuti and Rajasekhara have again and again drawn upon this great epic and worked them up anew in their poems and plays.

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VALMIKI RAMAYANA AND JAIN RAMAYANAS : STUDY IN INTERACTION 67 This amazing popularity of Valmiki's Ramayana deeply influenced Jain teachers and poets and inspired them to create poems of their own. Keeping the main features of the story of Rama as given by Valmiki intact they introduced many noteworthy changes having recourse to omissions, modifications and additions with a view to propagating the teachings of Mahavira. Many Jain poets created their Ramayanas during the period extending from the fourth century to the sixteenth century. The oldest of them is the Paumacariya of Vimalasuri (4th century A. D.). In the concluding portion of his poem he exhorts his readers or hearers to practise the dharma as expounded by the Jinas. In the very beginning he criticises the popular story of Rama thus : "How is it possible that the mighty Raksasa heroes were killed by the Vanaras (monkeys) ? And Ravana and other Raksasas, who were of noble descent, according to Jain faith, are described as meat-eaters ! Again, it is said that, in spite of all kinds of disturbances, Kumbhakarna slept for six months and then after waking up, devoured elephants and the like and then again slept for six months. Then again it is said that Indra, the lord of gods and men was taken prisoner by Ravana. If we believed this account we might as well believe that the lion was killed by a deer and the elephant by a dog! These Ramayana stories are certainly lies...They say that Ravana, the great Raksasa hero, was routed by Vanaras; that Rama pierced a golden deer with his arrow, that he killed Valin treacherously to favour Sugriva and Tara; that the Vanaras constructed a bridge across the great sea -- all these are surely absurdities". Vimalasuri removes from the story of Rama all such exaggerated and incredible elements. He offers in some cases realistic interpretations : Ra was called 'Dasamukha' as his face was reflected nine times in a wondrous string of gems around his neck; the Raksasas were, in fact, Vidyadharas. They were called Raksasas because one high-souled Raksasa was born in that dynasty of Vidyadharas and also because of their guarding dvipas' (islands); the Vanaras too were, really speaking, Vidyadharas but were called Vanaras because of their having Vanaras' as badges on the arches of gates, banners and the like. Sita did not come forth out of the Earth but was born of Videha in the natural way. Vimalasuri rids the story of divine elements. Rama and Sita, for instance, were not incarnations of Visnu and Laksmi. He elevates the characters of Kaikeyi, Valin and Ravana. Kaikeyi was not a selfish, greedy and intriguing woman but a mother par excellence. He drops the slaying of Valin at the hands of Rama in a treacherous manner. He represents Ravana as an ideal tragic hero, his passion for Sita being his hamartia (and provides a most striking parellel with the Greek story of Oedipus.)

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68 Vimalasuri purges the story of Rama of its Brahmanical atmosphere and creates in its place Jain atmosphere. STUDIES IN JAIN LITERATURE He adopted or rather adapted the highly popular story of Rama with the thought that it would serve as an excellent means for reaching the people's heart and propagating Jain view of life, Jain doctrines and ideals of a householder and a monk, and more especially, their principle of ahimsa and karma. Besides Paumacariya we have many other Jain versions. Some of them may be noticed here: 1. Vasudevahindi version of Sanghadasa (not later than 609 A. D.). It is much closer to the Ramayana of Valmiki. One of its most noteworthy features is that it describes Sita as the daughter of Mandodari and Ravana and provides a most striking parallel with the Greek story of Oedipus. 2. The Padmapurana of Acarya Ravisena (678 A. D.), a Digambara poet; his version is merely an extended recension, in Sanskrit, of Vimalasuri's Paumacariya. 3. Paumacariu of Svayambhu (middle of the 8th certury A. D.). It is in Apabhramsa. The author, according to his own statement, follows Acarya Ravisena. 4. Cauppannamahapurisacariya of Silacarya (868 A. D.). The author mainly follows Paumacariya; he however adds two new episodes of the golden stag (kancanamrga) and the slaying of Valin by Rama from the Valmiki Ramayana because of their great popularity, perhaps. 5. Uttarapurana of Gunabhadra (9th century A. D.). It is to be found in Parvan 68, and is in Sanskrit. Gunabhadra, although a Digambara Jain, does not follow Ravisena, his Digambara predecessor. His version is largely dependent on the Ramayana of Valmiki. He speaks of Dasaratha's rule over Varanasi and describes how Ravana, at the instigation of Narada, was enamoured of Sita. 6. Brhatkathakosa of Harisena (931-32 A. D.). Though a Digambara Jain, he does not follow Ravisena or Gunabhadra, his Digambara predecessors but presents just a brief abridgment of Valmiki's Ramayana. 7. Mahapurana of Puspadanta (965 A. D.). Puspadanta follows the story of Rama as given by Gunabhadra. 8. Kahavali of Bhadresvara (11th century A. D.): Bhadresvara's version is based on the Paumacariya. He describes the episode of the picture of Ravana drawn

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VALMIKI RAMAYANA AND JAIN RAMAYANAS : STUDY IN INTERACTION by Sita which ends in her repudiation (or banishment into forest). He has perhaps adopted this motif from the Upadesapada of Haribhadrasuri (700770 A. D.) 9. Yogasastra-svopajna-vrtti and 10. Trisastisalakapurusacarita of Acarya Hemacandra (12th the century A. D.) These versions generally follow Paumacariya. 11. Satrunjaya-Mahatmya of Dhanesvara : He condenses, it would seem, the story as presented by Hemacandra. There are a few more, rather unimportant, versions by Jain poets. There are also many narratives of Sita recorded in Manuscript Catalogues. The pretty large number of the Jain versions of the story of Rama attest to its popularity among the Jains. Jain influence on the later Hindu Ramayanas : The Puranas of the Hindus are of uncertain dates. Consequently, it is very difficult to trace the influence of the Jain versions on the later Hindu Ramayanas. A few noteworthy similarities are : Bhavartha Ramayana (16th century), like Paumacariya, describes Bharata and Satrughna as the sons of Kaikeyi. Nrsimhapurana, Bhagavatapurana and Adhyatma-Ramayana describe, like Paumacariya Rama's bending and stringing the bow in the presence of other princes at the time of Sita-Svayamvara. Mahabhagavatapurana, like Vasudevahindi, describes Sita as the daughter of Ravana and Mandodari. Visnupurana and Vayupurana speak, like Paumacariya of Bhanuman (Bhamandala) as Janaka's son. Bengali Ramayana and Ananda-Ramayana describe, like Kahavali, the episode of the picture of Ravana drawn by Sita. Ananda-Ramayana, like Paumacariya describes the slaying of sambuka at the hands of Laksmana. This influence, however, is not that important. Conclusion: The Jains, it would seem, have taken over the story of Rama, as given by Valmiki, and made it their own. No doubt they include, Rama, Laksmana and Ravana among their sixty-three (Salakapurusas or "Eminent men". Some changes, however, which they have effected are extraordinary indeed ! In assigning many wives to Rama and Hanuman the Jain writers have probably upheld the popular notion that the might of a man is measured in terms of the women he possesses but in the process of working up such images

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70 STUDIES IN JAIN LITERATURE of Rama and Hanuman they have dealt a severe blow to the Hindu reader who has always looked on Rama as a pattern of the virtue of constancy in love for none but his own wife. And Hanuman can't be anything else but a brahmacarin. Further, the Jain versions describe Laksmana, the mighty hero, as sinking into hell ! The reader is not prepared to accept such a terrible end to the glorious career of Laksmana. The antagonism of the Jains to the cult of the Vedic sacrifice and himsa, to the sense of superiority of the Brahmanas--the Purohitas--and superstitious beliefs is perfectly understandable. One, however, would have wished that in making the beautiful story of Rama as told by Valmiki their own they had done a little less of their moral axe grinding ! Further, by eliminating the Kaikeyi intrigue they have divested the story of its deep human interest and dramatic value. Here they appear keen on mere moral propaganda. None of the Hindu authors who flourished in between the fifth and sixteenth century, has taken note of the story of Rama as presented by the Jain authors nor criticised them for changing the moral atmosphere of the Valmiki story. Apparently they did not care to read the Jain versions in the belief that they were of inferior workmanship and simply ignored them. Notes and References : 1. A History of Indian Literature, Volume II, by M. Winternitz, University of Calcutta. 2. Rama-Katha (Utpatti aura Vikasa) (Hindi) by Bulcke C, Hindi Parisad Prakasana, Prayag Visvavidyalaya, Prayag, 2nd edition, 1962. 3. The Sanskrit Drama, by A. B. Keith, Oxford University Press, Londen, 1964. 4. A History of Sanskrit Literature, by A. B. Keith, Oxford University Press, London, 1928. 5. Sri Ramayana- Samalocana by "Maharastriya", pub. by B. P. Thakar, "Ganesh Vishnu Chiplunkar ani Mandali", Pune, 1927. 6. The Story of Rama In Jain Literature, by V. M. Kulkarni, Sarasvati Pustak Bhandar, 112, Hathikhana, Ratanpole, Ahmedabad-380001. DO

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IMPACT OF RAMAYANA ON JAIN LITERATURE Valmiki's Ramayana (VR) has exercised profound influence on literature of India for more than 2000 years. This literature covers Puranas, Poetry, Drama, Campu, Kathas, etc; it also covers the Jain and the Buddhist literature in Sanskrit, Pali, Prakrit, Apabhraisa or modern Indian languages in its different stages. This paper confines itself to a very general study of the various Jain versions in Sanskrit, Prakrit and Apabhramsa languages vis-a-vis Valmiki's Ramayana. In the canonical literature of the Jains we do not find the story of Rama recorded anywhere although the story of Krsna who lived centuries after Rama, according to the Jains themselves, occurs in one of the sacred texts (Amtagadadasao by name). The Nandi and the Anyogadvara Sutra texts which form part of the Jain Canon, mention Bharata and Ramayana but they refer to the great epics of the Hindus and not to any Jain Mahabharata or Ramayana. Having regard to the tremendous popularity of VR, Vimalasuri most probably thought of writing a poem of his own, which was to serve his coreligionists as a complete substitute for the great epic-(Ramayana). He named his poem as Paumacariya (Padmacarita) (4th Century A. D.) It partly agrees with VR. He claims that he has followed the Jain tradition in narrating Rama's story. 1. In the Paumacariya Vimala pointedly refers to some of the absurd and incredible elements in the popular Rama stories (he has in mind mainly Valmiki's Ramayana) "How is it possible that the demon heroes were defeated by the Vanaras (monkeys) ? And, how is it that Ravana and other demons, nobly born, are described as meat-eaters? And again, how is it that Kumbhakarna is said to have slept for half a year in spite of all the disturbances and then after waking up devoured elephants and the like and again slept for half a year ? And once again how is it that Indra, who rules over gods and men is described to have been taken captive to Lanka by Ravana ? At that rate we might as well aver that the lion is overcome by the deer, the elephant by the dog. These Ramayana stories are nothing but white lies !1"

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STUDIES IN JAIN LITERATURE Vimalasuri removes these 'absurd' and 'incredible elements and presents faithfully the life of Rama as was proclaimed by Lord Mahavira. According to Vimala, on the Vanara-island there is the city of Kiskindhapura. The Vanaras are in reality a race of Vidyadharas, which is so-called, because it has Vanaras (monkeys) by way of badges or symbols on the arches of gates, banners, etc. The Raksasas are not man-eating demons. They belong to a race of the Vidyadharas; they are not meat-eaters but adhere to the vow of ahimsa. They are so called because one high-souled Raksasa was born in that dynasty of the Vidyadharas or according to another etymological explanation, the Vidyadharas since they guarded the holy Raksasa-islands were known as Raksasas?. Bhanukarna (Valmiki's Vibhisana), Ravana and other Raksasa heroes are represented as pious and devout Jains. Ravana restores ruined Jain shrines or temples and as far as possible he avoids himsa whenever he has to fight. Vimala informs us that it was not Indra, the lord of gods, who was defeated by Ravana but Indra, the lord of the Vidyadharas. Ravana's mother hangs around his neck a wondrous string of nine pearls in which his face is reflected nine times, hence he gets the epithet "Dasamukha" (the man with ten faces)." 4) Vimala rids the story of divine elements. His Rama and Sita are not incarnations of Visnu and Laksmi respectively. He however elevates the various characters : His Kaikeyi is a mother par excellence. She is prepared to let her husband accept asceticism but desperately tries to retain her son. She does not demand Rama's banishment to forest. Valin, a mighty Vidyadhara hero, although capable of inflicting a crushing defeat on Ravana, voluntarily appoints Sugriva to the throne and himself becomes a monk. Thus, he frees Valin of the shameful charge of living with his brother's wife, and Rama of the charge of treacherously slaying Valin. Laksmana kills sambuka by accident and this exonerates Rama from the guilt of slaying a tapasvin. Ravana is portrayed as a tragic hero. His only weakness is his passion for Sita. Sita is described as born in a natural way from Videha, the wife of king Janaka-and not come out of the earth as in the Ramayana. These are some of the noteworthy changes effected by Vimala in the VR. That he removes from the story of Ramayana its Brahmanical atmosphere and creates in its place Jain atmosphere is perfectly understandable. For his chief aim is the promotion and propagation of the Jain faith. No doubt, Rama, Laksmana and according to Jain Puranas, three of the sixty three salakapurusas (uttamapurusas or mahapurusas)-eminent or excellent or great personages. But it is

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IMPACT OF RAMAYANA ON JAIN LITERATURE really extraordinary that Laksmana (who is called Vasudeva, and every Vasudeva of Jain Puranas) is sent to hell for countless years for having failed to repent for the himsa committed by him. It is he who kills Ravana, according to the Jain Puranas. These then are some of the radical, major changes introduced by Vimala in the story of Valmiki's Ramayana. 2. Ravisena's Padmacarita in Sanskrit is an enlarged edition of Vimala's Paumacariya. No remarkable changes do we come across in his version (678 A. D.). 73 3. Sanghadasa gives the story of Rama in his Vasudevahindi (not later than A. D. 609). He is heavily indebted to Valmiki and Vyasa for his version. He has however introduced one very drastic change. Ravana, enchanted by Mandodari's wondrous beauty, marries her knowing full well that the first child of Mandodari is destined to bring about the destruction of the whole family. His idea is to desert the first born child and thus save his family and race. Later Mandodari gives birth to a daughter. She is put in a box full of jewels. Mandodari then asks a minister to take away the box and desert the baby. He takes that box to the park of Janaka. The ground there is being ploughed. The box is covered with a magic veil and kept in front of the plough. It is then reported to the king that the baby is sprung from a furrow. The baby is then handed over to Dharini and is brought up by her as Sita (one sprung from a furrow). 4. Gunabhadra in his Uttarapurana (c. 2nd half of the ninth century) deals with the story of Rama. He introduces many changes in Valmiki's Ramayana- Rama story-by way of omissions, alterations and additions. Some of these may be noted here: He omits the account of Rama's banishment or exile into forest. Rama and party go to Varanasi, the old capital of Dasaratha, with his consent. It is there Ravana abducts Sita by the trickery or artifice of a golden deer. He at the instigation of Narada is enamoured of Sita of ravishing beauty and employs the stratagem of golden deer for abducting her. Like Sanghadasa he too describes Sita as Ravana's daughter born of Mandodari. On account of evil portents at her birth Ravana deserts the baby. She is found by Janaka and brought up by him and his wife Vasudha. Gunabhadra completely drops Rama's later history-the scandal regarding Sita's purity, her abandonment into forest by Laksmana, the shelter of Valmiki that she finds, the birth of twin children, their fight with Rama etc., their union with their father Rama and Sita's fire ordeal are conspicuous by their absence. He most probably follows Sanghadasa. 5. Silacarya treats of the story of Rama in his Cauppannamahapurisa Stud.-10

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74 cariya (868 A. D.). He looks upon, as the title of his work indicates, 54 persons only as mahapurusas (or salakapurusas)--great or eminent personages. He excludes nine Prativasudevas from the list of 63 salaka-purusas and regards only 54 as Mahapurusas (or Salakapurusas). Naturally, he leaves out Ravana, the Prativasudeva, from the title of the narrative Rama Lakkhanacariyam (The Narrative of Rama and Laksmana)". He describes Ravana with such epithets : "Tormentor of the World', 'of impure character', 'conceited (or haughty) because of his vidya (learning)', 'wicked', 'cruel', etc. His narrative shares some features of Valmiki's Ramayana and some, of Vimala's Paumacariya. He hardly introduces any innovation. There is nothing special or striking about his version. STUDIES IN JAIN LITERATURE 6. Puspadanta wrote his Mahapurana in Apabhramsa in 965 A. D. His version of the Rama story is identical with that of Gunabhadra. At the beginning of his version he criticises the story of Rama as presented by Valmiki and Vyasa in the form of doubts raised by king Srenika: "Vyasa and Valmiki have spread false notions about the great men figuring in the Ramayana; thus for example we are told that (i) Ravana had ten heads, (ii) his son (Indrajit) was older in age than his father, (iii) Ravana, was a demon and not a human being, (iv) He had twenty eyes and twenty hands and that he worshipped god Siva with his heads, (v) Ravana was killed by the arrows of Rama, (vi) The arms of Laksmana were long and unbending, (vii) Vibhisana is a ciranjivin and (ix) Kumbhakarna sleeps for six months and feels satisfied by eating one thousand buffaloes." Most of these doubts were raised in Vimala's Paumacariya (and Ravisena's Padmapurana). Regarding the doubt that Vibhisana is a ciranjivin we have a passage in Valmiki's Ramayana (vii. 10 vv. 29-35) which describes how Vibhisana asks for his boon that "even amid the greater calamities he may think only of righteousness..." The god Brahma grants his request, and in addition bestows the gift of immortality on him. But regarding the doubt that Indrajit, though a son of Ravana was older in age than Ravana, his own father, it has not been possible to trace its source in Valmiki's Ramayana. Amitagati in his Dharmapariksa (c. 1014 A. D.) also criticises this absurd element which he describes at some length: Mandodari conceives at the contact of her father's semen, has her foetus restrained in the womb for seven thousand years and delivers Indrajit after being married to Ravana. Now it is not impossible that an oral tradition is being criticised here. 7. Dhanesvara in his Sanskrit epic, Satrunjayamahatmya, (C. 1100 A. D.) deals with the story of Rama (Canto IX). He generally follows Vimala but departs from him in some places: According to Dhanesvara, Kaikeyi asks for the

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IMPACT OF RAMAYANA ON JAIN LITERATURE banishment of Rama and Laksmana for fourteen years, and he calls her Kutapeta 'a basket or bag of fraud or trick'. He describes the fight between Valin and Ravana and Ravana's humiliation at the hands of Valin. In introducing these changes he is obviously influenced by Valmiki's Ramayana. His narrative is, however, on the whole an abridgment of Vimala's Paumacariya. 75 8. Bhadresvara wrote his Kahavali (Kathavali, Sk) in the 12th century. It is in Prakrit prose and interspersed with verses. It describes the lives of 63 eminent or great men (mahapurusas) and includes an account of the patriarchs who came after Mahavira. Bhadresvara, generally speaking, follows Vimala. He however introduces two important and original features: A dream dreamt by Sita indicates that she would give birth to two heroic sons. Sita is very happy at this but her co-wives become jealous of her. They manoeuvre to get Ravana's feet delineated by Sita and try to poison Rama's mind ears that Sita still remembers Ravana and as a proof of this show to him the picture of Ravana drawn by Sita. Rama even after seeing that picture keeps silence and continues to attend to Sita. The rivals of Sita through maid-servants give publicity to the picture incident. Now Rama in disguise moves about and comes to the park. There he himself hears the people reproaching him for accepting Sita back whom Ravana, being enamoured of her beauty, had abducted and taken home to Lanka. This picture motif, Rama's moving about in disguise and personally hearing the scandal about Sita are newly introduced by Bhadresvara in the story of Rama. 9. Hemacandra (2nd half of the 12th century) in his Trisastisalakapurusacarita, Parva VII, gives the story of Rama. His narrative generally follows Vimala's Paumacariya. He adds two noteworthy features: (i) Valin fights with Ravana, overpowers him, puts him under his armpit and in that position he circumambulates the earth thus proving his superior strength. This incident he has adopted from Valmiki's Ramayana. (ii) The second noteworthy feature is about the picture motif. This motif he has adopted from Bhadresvara's Kahavali. Incidentally, it may be stated that Hemacandra also relates "The Tale of Sita and Ravana" very briefly and excluding the 'Uttararamacarita' in his commentary on his own Yogasastra. Some of the incidents narrated in this Kathanaka betray divergences when compared with the corresponding incidents in his Trisastisalakapurusacarita. But for the purpose of this paper these divergences need not be considered here. These Jain versions are of the nature of Purana, and their authors, preachers rather than poets; whereas Ramayana is the adi own

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76 STUDIES IN JAIN LITERATURE kavya and Valmiki, the adi-kavi. The Jain versions are decidedly much later. Having regard to its great popularity and hold on the public, the Jain authors use it as a vehicle for the promotion and propagation of their faith. The Jain versions agree in their main features with the Ramayana. At the same time they introduce changes by way of additions, omissions, modifications and innovations. These changes are prompted with a desire either for removing incredible and absurd statements or offering realistic interpretations or ridding the story of divine elements or elevating characters like those of Kaikeyi, Valin, Ravana, etc. Some changes, however, which they have effected are extra-ordinary indeed. In assigning many wives to Rama and Hanuman the Jain writers have probably at the back of their mind the popular notion that the might of a man is measured in terms of the number of women he possesses but in the process of working up such images of Rama and Hanuman they have dealt a severe blow to the image of Rama as a pattern of the virtue of constancy in love for none but his own wife. And Hanuman can't be anything else but an ideal brahmacarin. Further, the Jain versions describe Laksmana, the mighty hero, as sinking into Hell. Readers are not psychologically prepared to accept such a terrible end to the glorious career of an exceptionally mighty hero like Laksmana. The Jain writer's antagonism to the cult of the Vedic sacrifice and himsa, to the sense of superiority of the Brahmanas-the Purohitas-and superstitious beliefs is perfectly understandable. One, however, would have wished that in making the beautiful story of Rama as told by Valmiki their own they had done a little less of their moral axe-grinding. Further, by eliminating the Kaikeyi intrigue they have divested the story of its deep human interest and dramatic value. The heroes of Ramayana move in an entirely Brahmanical or Vedic Hindu atmosphere whereas in the Jain versions the Jain dharma is everywhere very much to the fore. The kings are generally devout householders who retire from the world in their old age and become Jain monks. Sermons of Jain monks are often introduced. They lay emphasis on the Jain doctrines of ahimsa, satya (truthfulness), the law of karma, the fruits of good and bad deeds, descriptions of the past lives of the heroes, the duties of a layman and a monk and the like. In conclusion, we might say in spite of the Jain poets' claim that their Rama story is based on tradition starting right from Lord Mahavira, the undeniable fact remains that while composing their versions Ramayana was

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IMPACT OF RAMAYANA ON JAIN LITERATURE always before their mind's eye and they found its influence almost irresistible. Addendum : Dr. H. C. Bhayani concludes his paper "The Prakrit and Apabhramsa Ramayanas" with these observations : "If a legend or narrative has to preserve its living and inspiring appeal and influence over centuries, it has got to be dynamic and responsive to the changes in the ideals, tastes, norms of behaviour, mores (? morals) and traditions of the people. Most of the numerous significant developments in the Rama narrative throughout the more than two thousand years of its existence would find adequate explanation in the sociological, religious, cultural and ethical changes extending over that period."5 What Dr. Bhayani says is largely true. Notes and References : 1. Pc. II w 105-117; 2. Pc. VI. v 74-to-78, as translated in Winternitz's History of Indian Literature, Vol II. p. 490 3. Pc. V.v. 257. 4. Pc. VII. v. 96-97. 5. (Indological Studies-H. C. Bhayani, publ. by Parshva Prakashan, Ahmedabad 380001, 1993, p. 194.) DOO

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UTTARADHYAYANASUTRA ON BRAHMANISM It is indeed difficult to settle questions such as 'whether Jain agama texts are earlier or later than the Upanisads and the Epics, the Mahabharata (including the Bhagavadgita) and the Ramayana, and the like." Instead of delving into matters relating to chronology the present paper confines itself to investigating into the attitude of Uttaradhyayanasutra, one of the sacred and valuable texts of the Jain agama, towards Brahmanism. Of the thirty-six lectures constituting this text only three lectures called Hariesijjam (Lecture XII), Usuyarijjam (Lecture XIV) and Jannaijjam (Lecture XXV) deserve our special attention as they dwell upon some few noteworthy features of Brahmanism. In the course of his dialogue with his two sons the Purohita, with a view to dissuading them from adopting ascetic life, sets forth before them the Brahmanical ideal : "Those versed in the Vedas say that there will be no better world for men without sons. My sons, after you have studied the Vedas, and fed the priests, after you have placed your own sons at the head of your house and after you have enjoyed life together with your wives, then you may depart to the woods as praiseworthy sages" (XIV. 8-9). The sons spoke to him these words: "The study of the Vedas will not save you2, the feeding of Brahmanas will lead you from darkness to darkness, and birth of sons will not save you. Who will assent to what you said? Pleasures bring only a moment's happiness but suffering for a very long time...they are an obstacle to the liberation from existence, and are a very mine of evils. While a man...seeks for wealth, he comes to old age and death. We will just now adopt Dharma. After adopting it we shall not be born again." In short, this lecture (XIV) strongly recommends the ascetic ideal and pooh-poohs the Brahmanic ideal.

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UTTARADHYAYANASUTRA ON BRAHMANISM Lecture XII (Harikesa) paints Brahmana priests in dark colours: They are described as ignoble men (anarya), arrogant through pride of birth, slaughterers or killers of animals, men who did not subdue their senses, the unchaste / incelibate fools...those who are full of anger and pride, who kill, lie, steal, and own property, are Brahmanas without pure birth and knowledge; they are very bad fields, (on which gifts sown do not grow up as merit): they are only the bearer of words, they do not understand their meaning although they have learnt the Vedas. 79 In the Lecture about the true sacrifice (XXV. 18-19) too the Brahmanas are criticised in these words: The ignorant priests pretend to know the sacrifice; their (so-called) Brahmanical excellence consists in (false) lore; they, resembling fire covered by ashes, shroud themselves in study and penance. He who is called by people a Brahmana and is worshipped like fire is no true Brahmana. Verses 19-29 from this Lecture portray an ideal (Jain) ascetic and call him alone a true Brahmana; and verses 31-34 from this very Lecture explain the true nature of a sramana, a Brahmana, a muni and a tapasa and the four varnas as follows: "One does not become a sramana by the tonsure, nor a Brahmana by the sacred syllable, Om, nor a muni by living in the woods, nor a tapasa by wearing (clothes of) kusa grass and bark. One becomes a sramana by equanimity, a Brahmana by celibacy, a muni by knowledge, and a tapasa by penance. By one's actions one becomes a Brahmana, by one's actions one becomes a ksatriya, by one's actions one becomes a vaisya or by one's actions one becomes a sudra."3 Harikesa, the son of a svapaka (=candala), who has adopted asceticism, criticises the Brahmanas for tending the fire, seeking external purity by water, using kusa-grass, sacrificial poles, straw and wood, touching water in the evening and morning (on the occasion of saying prayers) thereby injuring living beings and committing sins. He indirectly criticises also bathing in a holy bathing-place (like Prayaga, a celebrated place of pilgrimage at the confluence of Ganga and Yamuna) with a view to washing away sins when he declares : "The dharma is my pond, celibacy my holy bathing-place... there I bathe...and get rid of my impurities of sins4" (also hatred). (XII.46) He lays stress on the great value of penance and makes light of birth in a high or exalted family. In fact, Harikesa as well as Citra-Sambhuta legends illustrate how a svapaka, detested by all people for being born in the lowest caste, by taking to asceticism reaches the highest place of perfection. These

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80 legends bear testimony to the fact that the Jain dharma does not believe in untouchability nor in caste-superiority. STUDIES IN JAIN LITERATURE Finally, the Jain criticism of Vedic (animal) sacrifices: Jainism prescribes ahimsa (non-violence or non-injury to living beings) as the first and foremost of its five fundamental or basic vratas (vows). Every follower of Jainism must observe this vrata by abstaining from violence or injury to living beings, in thought, word or deed, together with its causal and permissive variations. With such a great emphasis on ahimsa, the attiude of Jainism towards sacrifices involving slaughter of animal is bound to be one of uncompromising dissent and bitter hostility. The Uttaradhyayana, the first mula-sutra which is one of the most valuable portions of the Jain agama, on one occasion declares : The binding of animals (to the sacrificial pole), all the Vedas, and sacrifices, being the causes of sin, cannot save the sinner; for his karmas are very powerful (XXV. 30). In the Lecture on Harikesa there is a passage interpreting a sacrifice spiritually which deserves special attention : "He who is well fortified by the five samvaras (preventing by means of the samitis and guptis the asrava, the flowing in of the karma upon the soul), is not attached to this life, abandons his body (in the kayotsarga posture), who is pure and does not care for his body, in fact offers the best of sacrifices and as such wins the great victory. Where is your fire, your fire-place, your sacrificial ladle? Where the dried cow-dung (used as fuel)? Without these things, what kind of priests can the monks be? Penance is my fire; life my fire-place; right exertion is my sacrificial ladle; the body the dried cow-dung; karma is my fuel; self-control, right exertion and tranquility are the oblations, praised by sages, which I offer (XII. 42-44)."5 Taking a clue from these passages, many later Jain works dealing with dharma, mythology, philosophy and dharma kathas denounce bloody Vedic sacrifices at length using cogent arguments. Among such works Mallisena's Syadvadamanjari is particularly noteworthy. Its discussion, however, lies outside the scope of the present paper. Some of these works including Syadvadamanjari cite passages from Sruti, Smrti, the Mahabharata, the Puranas, as well as the views of the Samkhyas, etc., in the course of their criticism of himsa, with approval. These passages leave no doubt that there was a strong body of opinion even in Brahmanism which revolted against himsa, even vaidha himsa (i. e. himsa

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UTTARADHYAYANASUTRA ON BRAHMANISM 81 prescribed in sastras, such as animal-slaughter in a sacrifice). A. B. Dhruva maintains that "this trend of thought seems to have come down from times earlier than the rise of Jainism and Buddhism, mainly in the Bhakti and Jnana schools as distinguished from the ritualistic school of Brahmanism." The trend of thought against vaidha hirsa may have been present in the period preceding the times of Mahavira and Buddha. One may however add, without any fear of contradiction, that the strong criticism of the yajniya himsa by the powerful advocates of ahimsa from the Jain and Buddhist circles must have exercised considerable influence and strengthened the trend of thought that was already there and contributed to some extent to the decline of the yajniya himsa. The Uttaradhyayana-sutra criticises the following aspects of Brahmanism : (i) The ritualism or formalism or ceremonialism as against the selfcontrol and the virtuous life of the ascetics, and its advocates, the priests, (ii) The animal sacrifice prescribd by the Vedas, (iii) Caste-system based on birth, (iv) Untouchability and (v) Brahmanic belief that bathing at a holy bathing-place washes away one's sins. In conclusion may I say : Although Jainism and Buddhism assail Brahmanism for enjoining bloody animal sacrifices, for creating the evil castesystem, for recognising untouchability, for entertaining superstitious beliefs like bathing in the river Ganga washes away sins', 'food offered to Brahmanas (on the anniversary of the death of a relative in whose honour sraddha is performed), reaches the particular dead relative (in heaven)', the birth of a son saves you from hell', etc., we must never lose sight of the most important fact that like Brahmanism and Hinduism, Jainism and Buddhism are and remain genuine products of the Indian mind and that they have considerably influenced Indian spiritual life. It is an indisputable fact that although Indian religions and their darsanas present a diversity of views, we can easily discern in them the common stamp of an Indian culture the unity of moral and spiritual outlook. When we compare and contrast these Indian religions with the foreign religions like Islam and Christianity, we at once realise how closely allied these Indian religions are. Every Darsana is moved to speculation by a sense of discomfort and disquiet at the existing order of things. These darsanas agree implicitly on the four aryasatyas (noble truths) discovered by Buddha : 1. There is suffering. Stud.-11

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82 STUDIES IN JAIN LITERATURE 2. There is a cause of suffering. 3. There is cessation of suffering. 4. There is a way to attain it. These darsanas also accept the law of karma which implies optimism and makes man the master of his own destiny. They also hold in common the view that ignorance of reality is the cause of our bondage and sufferings and liberation from these can be achieved only through knowledge of reality, continued meditation on the highest principle and a life of self-control (yoga and samyama); further, these darsanas accept the idea of liberation (moksa, mukti, nirvana) as the highest goal or aim of life. Brahmanism, Jainism and Buddhism are the major constituents of Bharatiya-dharma and Bharatiyasamskrti and every Bharatiya ought to be proud of this glorious heritage. As researchers or investigators into truth we must take note of the attacks on the Vedas, the Brahmanas, their ceremonialism or ritualism and their institutes of varna and jati, the recognition of degrading untouchability, their superstitious beliefs, etc. and learn from their perceptive criticism, ignoring polemics but we must always and ever keep at the back of our mind the common thread of cultural unity and spiritualism that runs through these three great religions of Indian origin. Notes and References : 1. According to some modern scholars Jainism and Buddhism represent a revolt against the older religion of Brahmanism; the orthodox Jains themselves however assert that their religion is the oldest of all religions, and the religion of the Brahmanas is merely a degenerate form of it. 2. Cf. Traigunyavisaya veda nistraigunyo bhavarjuna - Bhagavadgita-II-45. 3. Cf. Caturvarnyam maya srstam gunakarmavibhagasah 1 - Bhagavadgita-IV-13 And, also Bhagavadgita-XVIII-41. 4. Cf. The author of Suyagadamga assails Brahmanical ritual thus : "If it were true that perfection or liberation can be attained by ablutions with cold water, then fishes, tortoises and snakes would attain the highest perfections, and if water really washed away the evil deed, then it must needs wash away the good deed also. Brahmanas assert that perfection or liberation is to be attained by the daily lighting of the fire; if this were true, smiths and artisans of a similar nature would attain the highest sanctity. ---Suyagada VII-14-16, 18. 5. Cf. "Superior is wisdom-sacrifice (jnana-yajna) to the sacrifice with objects (dravya yajna), o harasser of thy foes. All action (karma) without exception, O son of Prtha, is comprehended (or culminates) in wisdom (jnana).-Bhagavadgita-IV.33. And, "Of offerings I am the offering of Japa". (Yajnanam japa-yajno'smi)-Bhagavadgita-X. 25. ODO

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i BHAGAVADGITA AND UTTARADHYAYANASUTRA : A COMPARATIVE ASPECT Bhagavadgita (BG) forms along with Upanisads and Brahma-sutras the famous prasthanatrayi sacred to the Vedic Hindus. Uttaradhyayanasutra (Uttara) forms part of Jain agama consisting of 45 sacred texts-sacred to the Svetambara Jains. A comparative look at these two texts reveals the following facts: (i) Barring a few verses which speak rather slightingly of the Vedas1 BG holds the Vedas in great reverence. Krsna, for instance, declares: "I am the holy Om, the three Vedas-the Rk, the Saman, and the Yajus also."2 Elsewhere Krsna while revealing some manifestations of his divine glory declares: 'Of the Vedas I am the Veda of songs'.3 But Uttara denounces Vedas as the causes of sins. In the famous dialogue between the Brahmanical Purohita (Bhrgu) and his two sons who wish to turn monks, with a view to dissuading his sons Bhrgu says: "Those versed in the Vedas say that there will be no better world for men without sons. My sons, after you have studied Vedas, and fed the priests, after you have placed your own sons at the head of your house, and after you have enjoyed life together with your wives, then you may depart to the woods as praiseworthy sages." The young men replied: "The study of the Vedas will not save you; the feeding of Brahmanas will lead you from darkness to darkness, and the birth of sons will not save you... Pleasures bring only a moment's happiness, but suffering for a very long time, intense suffering, but slight happiness; they are an obstacle to the liberation from existence, and are a very mine of evils."4 Elsewhere the text says: "The binding of animals (to the sacrificial pole), all the Vedas, and sacrifices, being causes of sin, cannot save the sinner; for his works (or karma) are very powerful."" (ii) BG describes the universe as God's creation. For example, Krsna says: "All this visible universe comes from my invisible Being... I am the source of all beings, I support them all.. At the end of the night of time all things return to

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84 STUDIES IN JAIN LITERATURE my nature; and when the new day of time begins I bring them again into light. Thus through my nature I bring forth all creation, and this rolls round in the circles of time... I am the Father of this universe and even the Source of the Father. I am the Mother of this universe, and the creator of all..." Uttara describes the universe as uncreated, eternal, without a beginning and an end. It explicitly says : 1. Dharma, 2. Adharma, 3. Space, 4. Time, 5. Matter and, 6. Souls (are the six kinds of substances), they make up-constitutethis world, as has been taught by the Jinas who possess the best knowledge?. (iii) BG assures the readers of the existence of God, his incarnations (avataras, Krsna being the eighth avatara of Lord Visnu) and also assures his devotees that they would reach him at the end of their life on earth and promises that women, vaisyas, as well as sudras who may be papayonis (of sinful birth) when seek shelter in him attain to the Supreme Goal. Uttara outright denies the existence of God and declares that the law of karma is inexorable-relentlessand nobody can escape the consequences of one's own deeds. (iv) BG, as a rule, stands for traditional Vedic sacrifice-although on one or two occasions it praises the japa or jnana-yajna as far superior to dravyayajna : In the concluding chapter Krsna declares unequivocally : Works of sacrifice, gift and austerity should not be abandoned but should indeed be performed; for these three are works of purification in the case of the wise. But even these works should be performed without any attachment and expectation of a reward; this O Arjuna, is my firm and final opinion."10 In Ch.3 Krsna speaks with admiration/approval of the famous yajna-cakra-pravarntana-Setting in motion the wheel of yajna (lit. sacrifice)-the wheel of the world. Ch. 4. 28 enumerates dravya-yajna, tapo-yajna, yoga-yajna, svadhyaya-yajna and jnanayajna but makes no mention of japa-yajna. But Krsna while revealing some manifestations of his divine glory to Arjuna declares : "Of offerings (or prayers) I am the offering of japa (silent repetition) (or the prayer of silence)". In Ch.4 while describing various kinds of sacrifice Krsna distinctly says: "Superior is the sacrifice of wisdom to the sacrifice with objects, O Arjuna (harasser of your foes) ! All work, without exception, O Arjuna (Partha--son of Prtha), culminates in wisdom-is comprehended in wisdom_" For wisdom is in truth the end of all holy work12. It would seem that BG is definitely in favour of sacrifice of wisdom and it describes other traditional yajnas as a concession to tradition. In the days of

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BHAGAVADGITA AND UTTARADHYAYANASUTRA A COMPARATIVE ASPECT BG most probably there was a strong body of opinion even amongst Vedic Hindus which revolted against dravyayajnas especially yajnas involving slaughtering of animals. Hence this commendation-praise-of jnanayajna. 85 Uttara denounces Vedic sacrifices. The verse (Ch. 25. 30) cited above to illustrate the Jain attitude towards and attack on Vedas also illustrates the hostility of the Jains towards Vedic sacrifices. Jainism prescribes ahimsa (noninjury to living beings) as the first and foremost of the five mahavratasfundamental or basic vows. Every follower of Jain dharma must observe this vow by abstaining from injury to living beings in thought, word or deed, together with its causal and permissive variations. With such emphasis on ahimsa, the Jain attitude towards dravyayajnas, especially sacrifices involving the slaughtering of animals, is found to be one of bitter hostility. The legend of Harikesa (Ch. 12) is a splendid example of the Jain attitude towards Vedic sacrifice and incidentally towards untouchability. It may briefly be related here: Near the river Ganga lived a candala tribe. Harikesa, belonged to this tribe. In the course of time he became a Jain monk. In the course of his vihara (wanderings) he once stayed in the Tinduga-grove near Varanasi. Its presiding deity, a Yaksa, became his ardent follower. One day Bhadra, King Kausalika's daughter, came to the Yaksa's shrine and paid homage to the idol. But seeing the dirty monk, she detested him. The Yaksa to punish her for her want of respect for the holy monk, possessed her. No physician could cure her madness. The Yaksa said, she would recover only if she were offered as bride to Harikesa, the monk. The king agreed, Bhadra became sound as before and went to the monk to choose him as her husband. He of course refused her. She was then married by the king to his Purohita. Once on his begging tour, he approaches the enclosure of the Purohita's Vedic sacrifice. The priests refuse him food. The Yaksa intervenes on the monk's behalf, he scolds the Brahmanas for their arrogance, calls them only the bearer of words of the Vedas. Thereupon many young people, instigated by the Brahmana priests, beat the sage with sticks. Bhadra then appears on the scene and appeases the angry youngsters telling them of his greatness as a holy monk who had refused to marry her. The Yaksa's followers then remaining invisible beat severely the youngsters. Bhadra speaks again, and asks them not to beat a monk on his begging tour and to save their life to prostrate themselves before the great monk. The Brahmana (together with his wife) requests the sage to forgive them. He offers him food. The monk accepts food after having fasted a whole month. The gods in heaven were delighted and praised the gift: "The

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86 STUDIES IN JAIN LITERATURE value of penance has become visible, birth is of no value. Look at the holy monk Harikesa, the son of a svapaka (candala) whose power is so great." The monk advises the Brahmanas not to tend the fire (agnihotra) and not to seek external purity by water, not to use kuca grass, sacrificial poles, straw and wood, not to touch water in the evening and morning (while performing sandhya) as thereby they injures living beings and commit sins. He then explains to them the nature of true sacrifice : "Penance is the fire, life fireplace, right exertion sacrificial ladle, the body the dried cowdung, karma is fuel, self-control, right exertion and tranquillity are the oblations. Dharma is the pond, celibacy holy bathing place. Making ablutions there one gets rid of sins (hatred)."13 This legend shows the Jains' hostility to Vedic sacrifice; it also shows how even a svapaka--a candala-belonging to the lowest caste becomes a Jain monk and can obtain moksa-liberation from the cycle of birth and death. The story of Citra and Sambhuta, who were in one of their births candalas, shows how Citra after he had practised the highest self-control reached the highest place of perfection. According to Jainism birth is of no value and even the so called svapaka (or candala) by practising dharma can obtain perfection. These legends of Harikesa, citra and Sambhuta bear testimony to the fact that Jainism does not believe in untouchability nor in caste-superiority. BG Ch. 4. 13 declares that the four varnas (caste) have been created by Me (isvara) having regard to the distribution of gunas (sattva, rajas, and tamas) and karma (actions, duties, functions, works). The four varnas are: 1. Brahmana, 2. Ksatriya, 3. Vaisya and 4. Sudra. Their respective duties are set forth in Ch. 18. 42-44. From Ch. 9. 32-33 it would seem that among the four varnas Brahmanas and Ksatriyas were privileged classes, they enjoyed special status and women, vaisyas and sudras had a lower status in society. Although in this context candalas or svapakas are not mentioned, they were simply looked down upon as outcaste. Uttara declares : "One does not become a sramana by the tonsure, nor a Brahmana by the sacred syllable Om, nor a muni by living in the woods, nor a tapasa by wearing clothes of kusa grass and bark. One becomes a sramana by equanimity, a Brahmana by chastity, a muni by knowledge, and a tapasa by penance. By one's

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BHAGAVADGITA AND UTTARADHYAYANASUTRA: A COMPARATIVE ASPECT 87 actions (karma) one becomes a Brahmana, or a Ksatriya, or a Vaisya, or a Sudra."]4 In other words, caste is not based on birth nor birth confers on you superiority or inferiority. In conclusion, may I say : Although Jainism and Buddhism assail Vedic Dharma for enjoining bloody animal sacrifices, for creating the evil caste system, for recognising untouchability, for entertaining superstitious beliefs like 'bathing in the river Ganga washes away sins', 'food offered to Brahmanas (on the death anniversary of a relative in whose honour sraddha is performed) reaches the particular dead relative (in heaven)', 'the birth of a son saves you from hell', etc. we must never lose sight of the most important fact that like Vedic Hinduism Jainism and Buddhism are and remain genuine products of the Indian mind and that they have considerably influenced Indian spiritual life. Although these Indian religions and their Darsanas present a diversity of views we can easily discern in them the common stamp of an Indian culture-the unity of moral and spiritual outlook. Every Darsana is moved to speculation by a sense of discomfort and disquiet at the existing order of things. These Darsanas agree implicitly on the four arya-satyas discovered by Buddha : 1. There is suffering, 2. There is a cause of suffering, 3. There is cessation of suffering, 4. There is a way to attain it. These Darsanas also accept the doctrine of karma which makes man the master of his own destiny. They also hold in common the view that ignorance of reality is the cause of our bondage and suffering and liberation from these can be achieved only through knowledge of reality, continued meditation on the highest principle and a life of self-control (yoga and samyama); further, these Darsanas accept the idea of liberation-moksa, mukti, nirvana as the highest goal of life. Vedic Hinduism, Jainism and Buddhism are the major constituents of Bharatiya Dharma and Bharatiya Samskrti and every Bharatiya ought to be proud of this glorious heritage. Incidentally, attention is drawn here to the following passages in the BG and Bhagavatisutra, an ancient Jain canonical text. In the Bhagavadgita (Ch.II) Lord Krsna exhorts Arjuna, who is sorrowstricken and overcome with pity and refuses to fight against the Kauravas. Among other pleadings he makes an earnest appeal to him in these words : "Having regard to your own duty also, you ought not to waver. For a ksatriya there exists no greater good than righteous fight. Blessed ksatriyas, o Son of Prtha, find such a battle as this, come of itself, an open gate to Heaven ... Slain you will attain Heaven, Victorious, you will enjoy the Earth. Therefore, O Son of Kunti, arise with the determination to fight15.

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88 STUDIES IN JAIN LITERATURE The Bhagavatisutra, which forms, along with a few other texts, the earliest part of the Jain Canon criticises the view prevalent in the society in those days that "For warriors who fight their enemy on the battle-ground and meet a heroic death, the gate to Heaven is open and that heavenly nymphs choose them as their spouse and these and such other heroic warriors spend time happilyenjoying pleasures in their company." It is only correct that the Bhagavatisutra does not expressly or directly refer to the above passages in the Bhagavad-gita. In the absence of definite date of composition of these two texts one cannot say that the Bhagavatisatra is attacking here (Sataka, uddesaka 9) the Bhagavadgita. -Gita 2. 42-46 Notes and References : 1. a) yAmimAM puSpitAM vAcaM pravadantyavipazcitaH / vedavAdaratAH pArtha nAnyadastIti vAdinaH // kAmAtmAnaH svargaparA janmakarmaphalapradAm / kriyAvizeSabahulA bhogaizvaryagati prati / / bhogaizvaryaprasaktAnAM tayApahRtacetasAm / vyavasAyAtmikA buddhiH samAdhau na vidhIyate // traiguNyaviSayA vedA nisvaiguNyo bhavArjuna / nirdvandvo nityasattvastho niryogakSema AtmavAn / yAvAnartha udapAne sarvataH sNplutodke| tAvAn sarveSu vedeSu brAhmaNasya vijAnataH // b) vidyA mAM somapAH pUtapApA yajJairiSTvA svargatiM prArthayante / te puNyamAsAdya surendralokamaznanti divyAn divi devabhogAn // te taM bhuktvA svargalokaM vizAlaM kSINe puNye martyalokaM vizanti / evaM trayIdharmamanuprapannA gatAgataM kAmakAmA labhante // c) na vedayajJAdhyayanairna dAna na ca kriyAbhirna tapobhirugraiH / evaMrUpaH zakya ahaM nRloke draSTuM tvadanyena kurupravIra // nAhaM vedaina tapasA na dAnena na cejyayA / zakya evaMvidho draSTuM dRSTavAnasi mAM yathA / 2. pitAhamasya jagato mAtA dhAtA pitAmahaH / vedyaM pavitramoMkAra Rk sAma yajureva ca // 3. vedAnAM sAmavedo'smi... 4. Uttara. Ch. 14.8-13. -Gita 9. 20-21 -Gita XI. 48, 53 -Gita. 9. 17 -Gita. 10. 22 |

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BHAGAVADGITA AND UTTARADHYAYANASUTRA : A COMPARATIVE ASPECT 89 5. Uttara. Ch. 25.30. 6. BG. Ch. 9. 4-17. 7. Uttara. Ch. 28.7. 8. BG. Ch. 4. 5-8; Ch. 9. 32. 9. Kadana kammana na mokkha atthi | --Uttara. 10. BG. 18. 5-7. 11. "yajJAnAM japayajJo'smi'. / -Gita 10. 25. 12. zreyAn dravyamayAd yajJAjjJAnayajJaH paraMtapa / sarvaM karmAkhilaM pArtha jJAne parisamApyate // -Gita 4.33. 13. Cf. Uttara 12.44, 45. 14. Cf. Uttara. 15.31-33. kahaM care? kahaM ciTThe? kahamAse? kahaM sae? | kahaM bhuMjaMto bhAsaMto pAvaM kammaM na baMdhai ? | -Dasavaikalika v. 7. Cf. sthitaprajJasya kA bhASA samAdhisthasya kezava / sthitadhIH kiM prabhASeta kimAsIta vrajeta kim // -Gita II 54. jayaM care jayaM ciTre jayamAse jayaM se| jayaM bhujaMte bhAsaMto pAvaM kammaM na baMdhai // savvabhUyappabhUyassa sammaM bhUyAI pAsao / pihiyAsavassa daMtassa pAvaM kammaM na baMdhai // -Dasavaikalika V. 8-9. Cf. yogayukto vizuddhAtmA vijitAtmA jitendriyaH / sarvabhUtAtmabhUtAtmA kurvanapi na lipyate // -Gita V. 7. sarvabhUtasthamAtmAnaM sarvabhUtAni cAtmani / IkSate yogayuktAtmA sarvatra samadarzanaH // --Gita VI. 29. Atmaupamyena sarvatra samaM pazyati yo'rjuna / sukhaM vA yadi vA duHkhaM sa yogI paramo mataH // -Gita VI. 32. bhikSu - Dasavaikalika x. 5-7, 10-11, 14-21. bhikSuvarga from dhammapada (25th) 23 verses brAhmaNa : Uttar XXV 20-29, 31-33, 35. dhammapada 26 brAhmaNa varga Atma-varga dhammapada 12 Atmavarga gItA III. 17, VI 5-6. paMDita varga 15. svadharmamapi cAvekSya na vikampitumarhasi / dhAddhi yuddhAcchreyo'nyat kSatriyasya na vidyate // yadRcchayA copapatraM svargadvAramapAvRtam / sukhinaH kSatriyAH pArtha labhante yuddhamIdRzam // hato vA prApsyasi svargaM jitvA vA bhokSyase mahIm / tasmAduttiSTha kaunteya yuddhAya kRtanizcayaH // -Gita II. 31, 32, 37. 000 Stud.-12

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VEDA AND JAIN TEXTS Veda is the very bedrock of the Vedic Dharma. The Brahmanas are its exponents and enjoy a special priviledged position in the Caturvarnya system. Candalas are regarded as outcaste. Jain texts, sacred as well as profane, criticise Veda, Brahamanas, the Vedic ideal of a grhastha and varnas based on birth and the degraded position assigned to svapakas (candalas) as outcaste. Uttaradhyayana, the first mula-sutra, is one of the 45 sacred texts of the Svetambara Jains. The following three chapters of this work relating to Harikesa (a svapaka who turns monk), Isukara, a King and Yajna (a true sacrifice) deserve our special attention as they chiefly criticise Veda, Vedic ideal of a hosueholder, Brahmanas and Varnas based on birth and Brahmana's attitude towards svapakas! number of later works of great importance for the Jains like Vimalasuri's Paumacariya (Life of Padma, another name of Rama), Padmapurana of Ravisena, Sanghadasa's Vasudevahindi (Adventures of Vasudeva), Mahapurana of Jinasena and Gunabhadra, Trisastisalakapurusacarita of Hemacandra relate the account of the origin of Vedic Sacrifice (of course from their point of view) with a few minor variations. My paper, referred to in f.n.no 1 below, deals with this topic at length. Wherever necessary, passages from these works are referred to and briefly discussed in this paper. As ahimsa (non-injury, nonviolence) is the most fundamental vow of the Jains their criticism of yajniya himsa is perfectly understandable. We should, however, note that there were sections among the Vedic Hindus who too were strong critics of slaughtering animals at the time of Vedic sacrifices : The followers of Paramarsi Kapila, the Samkhyas, say: yUpaM chittvA pazUn hatvA kRtvA rudhirakardamam / yadyevaM gamyate svarge narake kena gamyate // --quoted in Mathara Vrtti on Samkhyakarika

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VEDA AND JAIN TEXTS (By cutting trees for sacrificial posts and by slaughtering animals and wading through their blood if you can go to heaven, kindly tell us how do we reach hell.) 91 Devi Bhagavata says that the Supreme took the form of the Buddha in order to put a stop to wrong sacrifices and prevent injury to animals : duSTayajJavighAtAya pazuhiMsAnivRttaye / bauddharUpaM dadhau yo'sau tasmai devAya te namaH // Animal sacrifices are found in the Vedas (inserted) by the dvijas (twiceborn) who are given to pleasures and relishing tastes. Non-injury is, verily the highest truth. dvijairbhogaratairvede darzitaM hiMsanaM pazoH / jihvAsvAdaparaiH kAmam ahiMsaiva parA matA // -S. Radhakrishnan The Principal Upanisads, Introduction, p. 50, f.n.1. Uttaradhyayana interprets sacrifice ethically : "He who is well fortified by the five samvaras (preventing by means of the samitis and guptis the flowing in of the karma upon the soul) and is not attached to this life, who abandons his body, who is pure and does not care for his body, in fact, offers the best of sacrifices and as such, wins the great victory over the enemy of karmas." And, penance is my fire; life my fire-place; right exertion is my sacrificial ladle; the body the dried cow dung; karma is my fuel; self-control, right exertion and tranquillity are the oblations, praised by the sages, which I offer."2 In this connection we may note that the Upanisads too interpret sacrifices ethically. For example, the Brhadaranyaka Upanisad opens with an account of the horse sacrifice (asvamedha) and interprets it as a meditative act in which the individual offers up the whole universe in place of the horse, and by the renunciation of the world attains spiritual autonomy in place of earthly sovereignty3. Bhagavadgita too lauds japayajna: 'of sacrifices I am the sacrifice of mantra-repetitions and jnanayajna: 'superior is the sacrifice consisting in knowledge to the sacrifice of material objects, O tormentor of foes.' Manu thus interprets ethically the various yajnas: 'Learning and Teaching is brahmayajna, service of elders is pitryajna, honouring great and learned people is devayajna and entertaining guests is nryajna. Regarding the Vedas Uttaradhyayana says: "The study of the Vedas will not save you' and 'all the Vedas and sacrifices being causes of sin cannot save

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92 STUDIES IN JAIN LITERATURE the sinner; for his karmas are very powerful. In Pauma-cariya, Narada who, according to the text, is a Jain sage challenges the authority of the so-called Vedas and criticises the performance of animal sacrifices in the name of Dharma. According to him the true nature of sacrifice enjoined by the Vedas is ethical : "Body is the altar, mind is the fire blazing with the ghee of knowledge and burning the sacrificial sticks of impurities produced from the tree of karma; anger, pride, deceit, greed, attachment, aversion and delusion are the animals to be sacrificed, along with the senses. Truth, forgiveness, non-injury are the sacrificial gift to Brahmanas; right faith, knowledge, conduct, celibacy, etc., are the gods to be pleased. This is the sacrifice prescribed in the real Vedas by the Jinas. If it is performed with proper concentration and meditation, it yields the fruit--the most cherished nirvana (moksa, liberation). Those who perform sacrifices enjoined by the pseudo--Vedas by killing animals--being greedy of blood, fat, and flesh-those wicked ones like cruel, merciless or hard-hearted hunters sink, after death, into hell and continue to wander in the endless samsara--the cycle of birth and death." Regarding the ethical interpretation of sacrifice, there is no room or could be no room for dispute as the Vedic Hindus too give such ethical interpretations. Here the point to be noted is that the word Veda, which has its own dignity, aura, grandeur and authority, the Jains are ready to use with reference to their own Agama ! In Vasudevahindi (The Adventures of Vasudeva) there is a fantastic story regarding the origin of Atharva Veda and the birth of the author of Atharvaveda with its black magic : Pippalada, so the story relates, is born of Sulasa, a nun and Yajnavalkya, an ascetic. The parents desert the child (later known as Pippalada) as soon as it is born. The child grows up to be an illustrious Vedic scholar-Pippalada. On knowing the peculiar circumstances of his own birth he decides to take revenge upon his parents and invents Atharva Veda with its black magic. He severs the tongue of his father with a knife and reminds him of his crime-desertion of one's own child. He cuts him to pieces and offers his limbs as oblations in the sacrificial fire. He metes out a similar punishment to his mother as well. This outrageous story is beneath contempt. Pippalada is an ancient revered sage. To account for the black magic the Jain author seems to have fabricated this offensive and abusive story.

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VEDA AND JAIN TEXTS In his Syadvadamanjari Mallisena criticises Purvamimamsa for its defence of yajniya himsa and for its doctrine that the Veda is apauruseya. The point of yajniya himsa has already been dealt with. Regarding the doctrine that the Veda is apauruseya Mallisena says that the Veda is a heap of articulate sounds which demand a body with organs such as the palate, etc. and that language and its utterance can never be apauruseya and that every sentence has a certain tatparya (purport) which implies an author purusa-and is thus pauruseya. In the two legends of King Nami and King Isukara, Uttaradhyayana sets forth before us two models: one, of an ideal Vedic grhastha (householder) and two, of an ideal ascetic and establishes the superiority of the latter over the former. Considered dispassionately, however, it would seem that the Vedic ideal of a householder is very wholesome and in the interest of the society as a whole whereas the ascetic ideal is chiefly in the interest of an individual who seeks his own personal spiritual welfare. Now, one very striking, interesting and unique phenomenon deserves our special attention. Although Jain texts, as a rule, criticise the Vedas, Acarya Jinabhadra (c. 500-600 A. D.) is an exception. In vv 1549-2024, popularly known as Ganadharavada, of his Visesavasyakabhasya, he cites a number of passages from Vedas, or rather Upanisads, which come at the end of the Vedas-which are sometimes also called the Vedas--with approval. It is here necessary to give the background : Ganadharavada deals with the conversion of Indrabhuti Gautama, Agnibhuti and nine other very learned Brahmanas to Jainism. (They are later known as Ganadharas-chief disciples of Mahavira.) The topics discussed between Mahavira and Indrabhuti Gautama, etc., are: whether Jiva exists or not, whether karma exists or not and the like. These Brahmanas with their hundreds of Brahmana disciples are represented as highly influenced by the immense popularity of Mahavira and approach him with great curiosity. Seeing them Mahavira at once addresses them and reads their minds. He tells them about the doubts that trouble their minds regarding the existence or non-existence of jiva, karma, etc. He tells them that their doubts have their source in their failure to understand correctly the apparently contradictory Vedic passages. He offers their correct explanations; doubts are removed, and the clever Brahmanas with their hundreds of disciples enter the order and become Mahavira's ardent followers. This is the frame-work of the whole Ganadharavada. By way of example a few sentences may be reproduced and discussed here; the sentences are :

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94 vijJAnaghana evaitebhyo bhUtebhyaH samutthAya tAnyevAnuvinazyati na ca pretya saMjJA'sti / Indrabhuti understood the passage as denying the existence of jiva (atman) and life after death and thus propounding materialism. Mahavira who knew better explains it resorting to vijnanavada. Pata-vijnana, ghata-vijnana, etc, arising from the bhutas (objects pata, ghata, etc.) vanish away when pata, ghata, etc. vanish but as vijnana-santati it ever continues to exist. STUDIES IN JAIN LITERATURE The traditional, and shall we say authentic, interpretation of this sentence as given by Sankaracarya is however, as follows: "Arising from out of these elements one vanishes away into them. When he has departed there is no more knowledge." The confusion arises due to the seeming contradiction that the Self is pure intelligence, and again, when one has departed there is no more knowledge. The same fire cannot be both hot and cold. Samkaracarya points out that Brahman, the pure intelligence, remains unchanged, that it does not pass out with the destruction of elements, but the individual due to avidya is overcome. (ii) astamite Aditye yAjJavalkya candramasyastamite, zAnte'gnau, zAntAyAM vAci, kiMjyotirevAyaM puruSa: ? AtmajyotirevAyaM samrADiti hovAca / -Com. on gatha no-1598 In the course of debate between Indrabhuti (who later becomes the first Ganadhara) and Mahavira, the latter asserts that even in the absence of elements knowledge exists and in support of his view he cites the above sentence from Veda (Upanisad): Brhadaranyaka (4.3.6). The sentence means : When the Sun has set, O Yajnavalkya, and the moon has set, and the fire has gone out and speech has stopped, what light does a person here have? The self, indeed, is his light, O King, said he. In this sentence purusa means atman and jyotih means 'knowledge'. The purport of this sentence is: When all external light is gone out, there exists light in the self and light is nothing but knowledge. So knowledge is not the attribute or property of elements (bhutas). "This self is present in all the states of waking, dream and sleep. It is the light different from one's body and organs and illumines them though it is itself not illumined by anything else". (iii) puruSa evedaM sarvaM yadbhUtaM yacca bhavyam, utAmRtatvasyezAno yadannenAtirohati / -Rgveda 10. 90.2; Svetasvatara. 3.15

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VEDA AND JAIN TEXTS 95 In the course of debate with Indrabhuti Mahavira tells him that there are many Jivas (Jiva atman). Indrabhuti points out to him that according to the Vedanta philosophy atman or soul is really one and in support of this statement he cites four Vedic/Upanisadic passages. One of them is the sentence under discussion. It occurs at Rgveda 10.90.2 as well as Svetasvatara 3.15. It means: "The Person is truly this whole world, whatever has been and whatever will be. He is also the lord of immortality, and whatever grows up by food." Now, you say there are many jivas or atmans which goes against the Vedic passageVedic authority. Mahavira replies that if the soul were one then it cannot at all be called, being all pervading like akasa (space), a doer, an enjoyer, a thinker or a samsarin (a mundane being). Further, if atman were one there would be no possibility of happiness. So it follows that there are many atmans and not only one. Elsewhere Mahavira explains this sentence in another way: "The purusa is praised here by resorting to atisayokti-making an exaggerated statement not meant to be taken literally. Non-duality of purusa does not mean that there is no other thing in this world like karma (We have in the Brhadaranyaka, 4. 4.5, the following sentence: Punyah punyena karmana bhavati, papah papena, i.e. one becomes virtuous by virtuous action, bad by bad action;-this proves the existence of karma outside Purusa who is described as one and only one pervading the entire world). He also adds: The real purport of this Vedic sentence is: 'All atmans are exactly alike. So one should not take pride in one's birth as Brahmana, etc., and should not look down upon others'. Quite a few more sentences from the Upanisads are cited in the course of discussion and debate as authority by Acarya Jinabhadra. It would seem that he falls apart from other Jain writers in this respect. To conclude, various Jain works both in Prakrit and Sanskrit attack the Veda and Vedic sacrifices. They even fabricate stories to discredit revered ancient sages like Pippalada and the Atharvaveda with its black magic. The Jain criticism against Vedic sacrifices involving slaughter of animals is fair and just, no doubt but very often they make misleading statements regarding Vedic sacrifices as very ably shown by Handiqui in his great work (Yasastilaka And Indian Culture, Chapter XIV, especially). Acarya Jinabhadra, however, is, it would seem, a rare exception. He quotes Vedic (rather Upanisadic) passages to support the Jain

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96 STUDIES IN JAIN LITERATURE views regarding atman, karma, moksa, and the like, and very often presents strikingly new interpretations of the passages from Upanisads cited by him. His Ganadharavada is indeed like an oasis in the midst of monotonous anti-Veda Jain literature. Notes and References : 1. For a detailed study see Sacrifice In India : Conception and Evolution, ed. by Dr. (Mrs.) Sindhu S. Dange, Viveka Publications, Aligarh, 1987, pp. 133-142 covering my paper, "Sacrifice in the Jain Tradition." 2. Ch. XII. 42-44. 3. S. Radhakrishnan : The Principal Upanisads. Introduction, pp. 49-50. 4. 'Yajnanam japayajno'smi' - X. 25.c 5. 'Sreyan dravyamayad yajnaj jnanayajnah paramtapa | IV.33-ab 6. adhyapanam brahma-yajnah pitr-yajnas tu tarpanam | homo daivo balir bhauto nr-yajno' tithi-pujanam || 000

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SACRIFICE IN THE JAIN TRADITION Sacrifice is a religious rite, a form of worship, in which an object is offered to a god or divinity in order to establish, maintain or restore a right relationship of man to the sacred power. The man who offers sacrifice firmly believes that the god, propitiated by his sacrifice, would satisfy his needs, avert possible misfortune and calamity. Now, sacrifices are of two kinds : bloodless and bloody. Jainism, which devotedly adheres to and strongly advocates the principle of ahimsa (nonviolence) in thought, word and deed is, naturally enough, opposed to all kinds of bloody sacrifices. It could have no objection, however, to bloodless sacrifices as they do not involve any animal-sacrifice. In the bloodless sacrifices life-giving substances such as milk, ghee, honey, water and the like are used as libations; and vegetable offerings include grains, leaves of sacred trees or plants, flowers and fruits. In the Jain form of worship, in keeping with the Hindu form of worship, flowers, fruits, leaves of sacred trees or plants and grains (cooked and uncooked) are included in the daily temple offerings. Now, regarding Jain attitude towards bloody sacrifices : Jainism prescribes ahimsa (non-violence or non-injury) as the first and foremost of its five fundamental or basic vratas (vows). Every follower of Jainism must observe this vrata by abstaining from violence or injury to living beings, in thought, word or deed, together with its causal and permissive variations. With such a great emphasis on ahimsa, the attitude of Jainism towards sacrifices involving slaughter of animal is bound to be one of uncompromising dissent and bitter hostility. The Uttaradhyayana, the first mula-sutra, which is one of the most valuable portions of the Jain Canon, on one occasion, declares : "The binding of animals (to the sacrificial pole), all the Vedas, and sacrifices, being the causes of sin cannot save the sinner, for his karmas are very powerful."? In the beautiful ballad of Harikesa, in a vivacious dialogue between a Stud.-13

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98 STUDIES IN JAIN LITERATURE proud Brahmana and a monk of low-caste origin, the contrast is set forth between the formalism and ceremonialism of the priestly religion on the one hand, and the self-control and the virtuous life of the monks on the other. The following passage from this text, interpreting a sacrifice spiritually, deserves to be cited in this connections : "He who is well fortified by the five samvaras4 and is not attached to this life, who abandons his bodys, who is pure and does not care for his body, in fact, offers the best of sacrifices and as such, wins the great victory (over the enemy of Karma." "Where is your fire, your fire-place, your sacrificial ladle ? Where the dried cowdung (used as fuel) ? Without these things, what kind of priests can the monks be ?" "Penance is my fire; life my fire-place; right exertion is my sacrificial ladle; the body the dried cowdung; Karma is my fuel; self-control, right exertion and tranquillity are the oblations, praised by the sages, which I offer." Besides this canonical text-Uttaradhyayana--there are also other major Jain works dealing with religion, mythology, philosophy and romance, which denounce bloody Vedic sacrifices. Paumacariya is perhaps the first Jain work which relates the Jain version of the origin of animal-sacrifice. The account as given in Paumacariya is recounted with some minor variations, in later Svetambara and Digambara works. This account is as follows : Parvataka, prince Vasu of Ayodhya, and the Brahmana Narada---the three of them-studied under Ksirakadamba, the father of Parvataka. Once, when they were being taught by the guru, a flying monk said : "One of the four souls will sink into hell." Hearing these words the guru was alarmed. He sent away his pupils and himself turned a monk. His wife was distressed to hear this. Narada went to see and console her. Now, Prince Vasu was crowned king by his father who thereafter entered the ascetic order. Vasu had a divine crystal throne. Once there was a dispute between Narada and Parvataka about the meaning of aja in the sentence ajesu janno kayavvo. Narada explained the sentence to mean "Sacrifice must be made with ajas, i.e., barley-grains (corn three year old) which are abija, i.e. incapable of reproducing." Parvataka, however, told him that ajas undoubtedly mean "animals" (goats) and by slaughtering them sacrifice is performed. Narada asked him not to tell lies; for, lying leads to hell. Parvataka thereupon proposed that they should accept king Vasu as an authority as he was their fellow-student. Narada agreed. Parvataka then hurriedly sent his mother to king Vasu to ask him to take his side (against Narada). Next morning, Parvataka

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SACRIFICE IN THE JAIN TRADITION and Narada accompanied by men went to king Vasu. Narada sought his authoritative opinion regarding the point of dispute between him and Parvataka. King Vasu supported Parvataka's interpretation. That very moment King Vasu along with his divine crystal throne fell to the ground. Then he went to hell. Much ridiculed by the citizens, Parvataka practised blameworthy austerities and after death was born as Raksasa (demon). Remembering his past birth and ridicule and humiliation he decided to avenge himself; and, in the guise of a Brahmana, introduced animal sacrifices like Gomedha (involving the use of wine and incest with mother, sister and other near kindred), Pitrmedha, Matrmedha, Rajasuya, Asvamedha and Pasumedha. In these sacrifices the creatures with whose names those sacrifices begin (go-, pits-, asva-, pasu) are to be slaughtered; wine is to be drunk and flesh is to be eaten. There is no sin in it?. In the same Uddesa (Canto XI) Vimalasuri explains through Narada, a pious Jain, popularly known as devarsi, the true nature of sacrifice in accordance with arsaveda (holy, sacred, venerable Veda): "The body is the altar; the mind is the holy fire; this fire blazes up or burns brightly with the ghee of knowledge. This fire consumes or destroys completely the heap of sacrificial sticks of sins produced by the tree of karma." "Anger, pride, deceit, greed, attachment, hatred, and delusion-these passions, along with the senses, are the sacrificial animals which are to be killed. Truth, forgiveness, non-violence are the adequate sacrificial fee which is to be paid. Right faith, conduct, self-control, celibacy, etc., are the gods (to be propitiated)." "This is the true sacrifice as laid down in the venerable Vedas and expounded by the venerable Jinas. This sacrifice, when performed with complete contemplation or profound meditation, brings the reward, not heaven, but the highest nirvana (=moksa) liberation." "Those, however, who perform sacrifices by actually slaughtering animals go to hell just like hunters." It is not unlikely that Vimalasuri derived inspiration from the ballad of Harikesa in the Uttaradhyayana referred to above, who first interprets the sacrificial acts in the ethical sense. Of course, Vimalasuri's is an extended metaphor. The account of the origin of the Vedic animal-sacrifices is recounted with some variations in other texts also'. The account in these texts throws abundant light on the bitter hostility of the Jains towards the Brahmanas and their sastras

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100 STUDIES IN JAIN LITERATURE prescribing animal-sacrifices. In his Yoga-sastra with svopajna (his own) commentary (Ch. II. 32-49) Hemacandra severely criticises animal-sacrifices and denounces Jaimini as Raksasa, and Smrtikaras too, for prescribing animalslaughter at sacrifices, use of meat at sacrifices to gods, in offerings and feasts connected with ancestor-worship and in the reception of guests. The episode of King Vasu-Uparicara is as old as the Mahabharata. It seems to have been incorporated in the above Jain account owing to the lesson of ahimsa conveyed by it, and provides a good example of Jain adaptation of popular Brahmanical stories. The original story of king Vasu-Uparicara is related in Mbh. (santi-parva, Chs. 335 ff). Incidentally, two stories, containing references to animal (and even human) sacrifices from the Jain narrative literature may be briefly related. Haribhadra (8th century A. D.) narrates in his Samaraiccakaha (Skt. Samaradityakatha) the story of king Yasodhara who because of his queen's faithlessness and approaching old age wishes to become a monk. In order to prepare his mother gently for his plan to become a monk he deliberately tells her of a dream in which he had become a monk. Now, with a view to averting the evil consequences of the dream, his mother advises him to disguise himself as a monk and sacrifice a number of animals to the family goddess (Kali). The king refuses to slaughter, but is prepared to make a compromise. He has a cock made of dough, and this fowl is beheaded in front of the image of the goddess, whereupon he eats the "meat" of the cock 10. Harisena in his Brhatkathakosa, Kathanaka No. 73, Somadevasuri in his Yasastilaka (Book IV) and Puspadanta in his Apabhramsa work called, Jasaharacariu (Skt. Yasodharacarita), relate the same story. Somadevasuri describing the story of King Maridatta in his Yasastilaka recounts : he has ascended the throne at an early age and is entirely given up to sensual pleasures. At the advice of Virabhairava, a Tantrika teacher, he prepares to offer a great sacrifice to his family goddess Candamaridevata, consisting of a pair of every living creature, including human beings possessing all auspicious physical characteristics. Then the servants drag in a youth and a maiden, a pair of ascetics whom they have selected for the human sacrifice. At the sight of them a change comes over the king. It occurs to him that these might be the twin children of his own sister, who were said to have renounced the world and entered the ascetic order. He asks these two ascetics to tell him their history, and it is revealed that they are indeed his relatives. The narrative ends with the conversion of King Maridatta and his farnily goddess to the Jain

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SACRIFICE IN THE JAIN TRADITION 101 dharma' After taking into account the criticism of Vedic animal-sacrifices that we come across in the Jain canonical, mythological and narrative literature we turn to the noteworthy Jain philosophical work, Syadvadamanjari, which systematically deals with the subject of slaughter of animals in the Vedic sacrifices for pleasing gods, guests and ancestors. Mallisenasuri's Syadvadamanjari is a commentary on the 32 verses of Hemacandra's Anyayogavyavacchedika, but is, at the same time, an independent philosophical work. It was written in 1292 A. D. A very able logician as he is, he first sets forth lucidly the prima facie view and then refutes it by advancing logical arguments. The whole discussion may briefly be summarised as follows: Animal-slaughter practised in the course of a sacrifice is justified on the ground that it is prescribed by the Vedas; and use of meat at sacrifices to gods, in offerings and feasts connected with ancestor-worship and in the reception of guests is approved of as it pleases them. Mallisena condemns himsa and points out that to say himsa is a dharmahetu is a contradiction in terms. Himsa is surely not an invariable antecedent of dharma; because, dharma, as you yourself admit, arises from tapas and similar practices. Himsa, therefore, is not a dharma-hetu, The Brahmana replies : We regard only a special kind of himsa--yajniya himsa--as dharama-hetu. The Siddhantin (Jain) asks : How is himsa a dharma-hetu ? The animals when you kill them surely die. We all hear their piteous cries when they are being slaughtered. There is absolutely no proof to assert that after death they go to heaven. The Brahmana might say that just as the Jains make an exception in the case of the himsa of insects, worms, reptiles, etc., which are inevitably killed in the act of constructing a Jain temple, so the follower of the Vedas makes an exception of the himsa involved in the Vedic sacrifice. The Siddhantin (Jain) meets this argument by pointing out that the himsa which takes place while constructing a temple is inevitable--moreover the service which a Jain temple renders to the devotees in making spiritual progress far outweighs the evil of the himsa. The himsa involved in a Vedic sacrifice is not a necessary evil for attaining heaven, which the sastras (sacred to you) admit can be attained by the practice of yama, niyama, and similar other practices. It is not so in the case of yajniya himsa. For equally a great merit can be secured

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102 STUDIES IN JAIN LITERATURE by the practices mentioned above. If the Brahmana says that the animals slaughtered in the sacrifices get into heaven, the Siddhantin (Jain) asks, "who brings the news from heaven?" If the Brahmana answers, "here are our scriptures"; the Siddhantin (Jain) replies that the authority of the scriptures would be shown to be hollow. In the meantime he points out that if himsa can secure heaven, the streets leading to hell may be taken as closed--"hell will be a desert and heaven an over-populated city"-In other words, if the worst sin could bring heaven, it is better to declare an end to hell. Further, if the offering of a lower life at a sacrifice can secure heaven, why not make an offering of a higher life, say, of your father and mother to secure a still higher heaven? If the Brahmana says : So marvellous is the efficacy of the Vedic mantras pronounced on the victim that the result is heaven. The Siddhantin (Jain) replies: The Vedic mantras have been found inefficacious in the matter of marriage, many brides becoming widows in spite of the mantras promising a happy married life, and many other brides leading a happy married life even without these mantras pronouncd upon them. Finally Mallisena argues that language and its utterance can never be apauruseya and every sentence has a certain 'purport' which implies an author. Similarly the Vedas also must have an author. Again, logic demands that exceptions should relate to the same matter to which the general rule is applied. In the case of yajniya himsa exceptions are for the purpose of propitiating gods, guests and manes whereas the general rule ma himsyat sarva bhutani relates to avoiding sin and its evil consequences. Where is the necessity of propitiating them by himsa when other methods are available ? Mallisena's criticism of Jaimini (Purvamimamsa) and Manu, the smrtikara, is, it would seem, fair and just. After Mallisena's Syadvadamanjari we come across two later works which contain passages condemning yajniya himsa and himsa for the propitiation of manes and the reception of learned guests prescribed by the smrtis. These are Kumarapala-Prabandha of Jinamandanagani (pp. 44-49) and Prabodhacintamani of Jayasekharasuri (pp. 17-18) who wrote it in 1405 A. D. The passages from Sruti, Smrti, Mahabharata, Puranas as well as the view of the Samkhyas, etc. cited in some of the above mentioned works in the course of their criticism of himsa with approval leave no doubt that there was a strong current of opinion even in Brahmanism which revolted against himsa, even vaidha-himsa (i.e. himsa prescribed in sastras, such as animal-slaughter in a sacrifice). This trend of thought seems to have come down from times earlier than the rise of Jainism and Buddhism, mainly in the Bhakti and Jnana schools

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SACRIFICE IN THE JAIN TRADITION 103 as distinguished from the ritualistic school of Brahmanism12. The trend of thought against vaidha-himsa must have been present in the period preceding the times of Mahavira and Buddha. One may however add, without any fear of contradiction, that the strong criticism of the yajniya himsa by the powerful advocates of ahimsa from the Jain and Buddhist circles must have exercised some influence and strengthened the trend of thought that was already there and contributed to some extent to the decline of the yajniya himsa. Finally, it may not be out of place to refer to K.K. Handiqui's opinion that the Jains had no direct knowledge of Vedic literature, Vedic rites, and Vedic tradition and that their criticism is disfigured by gross exaggerations, misunderstanding and mis-statements. 13 Granted all this, the fact remains that their total opposition to yajniya-himsa in the name of Dharma was fully justified, on logical grounds, and, more than that, on a deeper sense of Dharma and greater awakening of the moral sense of the community as a whole14. Notes and References : 1. Medieval Jainism does not seem to have opposed the observance of local customs and practices (of the newly converted Jains. Somadevasuri observes in his Yasastilaka, Book VIII (959 A. D.)bat fe that TERHi milfont: qrifano: ... sarva eva hi jainAnAM pramANaM laukiko vidhiH / yatra samyaktvahAnirna yatra na vratadUSaNam / / 2. Chapter XXV. 30- 40 Haden 3 og 2 4100140 na taM tAyaMti dussIlaM kammANi balavaMti hi // 3. Hariesijjam, chapter XII. 42-44 : susaMvuDA paMcahi saMvarehiM iha jIviyaM aNavakaMkhamANA / vosaTTakAi suicattadehA mahAjayaM jayai jnsittuN|| ke te joI ke va te joiThANe kA te suyA kiMva te kArisaMgaM / ehA ya te kayarA saMti bhikkhU kayareNa homeNa huNAsi joiM // tavo joI jIvo joiThANaM jogA suyA sarIraM kArisaMgaM / kammehA saMjamajogasaMtI homaM huNAmi isiNaM pasatthaM / / 4. Samvara is preventing by means of the samitis and guptis, the asrava or flowing in of the karma upon the soul. 5. This is the Kayotsarga, the posture of a man standing with all his limbs immovable by which he fortifies himself against sins, etc. 6. Vimalasuri's Paumacariya, Sanghadasagani's Vasudevahindi, Acarya Ravisena's Padmapurana, Mahakavi Puspadanta's Mahapurana (in Apabhramsa), Somadevasuri's Yasastilaka, Acarya Hemacandra's Trisastisalakapurusacaritra and Yogasastra with

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104 STUDIES IN JAIN LITERATURE svopajna Vrtti (his own commentary) and Mallisenasuri's Syadvadamanjari. 7. Paumacariya, XI. 6-63; w. 40-43, which are as follows soUNa taM kusatthaM, paDibuddhA tAvasA ya vippA ya / tassa vayaNeNa janaM kareMti bahujaMtusaMbAhaM / / gomeha nAmadheA janne pAyAviyA surA havai / bhaNai agammAgamaNaM kAyavvaM natthi doso stha // piimeha-mAimehe rAyasurA Asamehapasumehe / eesu mAriyavvA saesu nAmesu je jIvA // jIvA mAreyavvA AsavapANaM ca hoi kAyavvaM / maMsaM ca khAiyavvaM jannassa vihI havai eso // 8. Paumacariya, op.cit., vv. 75-81...bhaNai tao nArao maipagabbho / ArisaveyANumayaM kahemi jannaM nisAmehi / / veisarIrallINo maNajalaNo naannghysupjjlio| kammatarusamuppannaM malasamihAsaMcayaM Dahai / / koho mANo mAyA lobho rAgo ya dosa-moho ya / pasavA havaMti ee haMtavvA iMdiehi samaM / / saccaM khamA ahiMsA dAyavvA dakkhiNA supajjattA / daMsaNa-caritta-saMjama-vaMbhAIyA ime devA // eso jiNehi bhaNio janno taccatthaveyaniddiTTho / jogaviseseNa kao dei phalaM paramanivvANaM / / je puNa kareMti janaM aNArisaM aliyavevanipphaNNaM / mAreUNa pasugaNe ruhira-vasA-masarasa-lolA / te pAvakammakArI vAhA viva viddayA nirnnukNpaa| mariUNa jaMti nirayaM ajjeMti ya dIhasaMsAraM / / 9. Vasudeva-hindi (Part I, Somasri-lambhaka) of Sanghadasagani (earlier than 610 A. D.), Padmapurana of Ravisena (678 A. D.) 'which is merely a slightly extended recension of Paumacariya in Sanskrit (Parva XI), Harivamsa-purana (17. 38ff.) of Jinasena I (783 A. D.), Brhatkathakosa (Narada-Parvatakathanaka, No. 76) of Harisena (931-32 A. D.), Yasastilaka (Book VII) of Somadevasuri (959 A. D.), Mahapurana (Sandhi LXIX. 23-34) (in Apabhramsa) of Puspadanta (965 A. D.) which is based on the Uttarapurana of Gunabhadra (9th century) and Trisastisalakapurusacaritra (Parva VII.2) of Hemacandra (1088-1172 A. D.). 10. Winternitz, M., A History of Indian Literature, Vol. II, University of Calcutta, 1933, pp. 523-525. 11. Winternitz, op. cit., p. 534. 12. Dhruva, A. B., Syadvadamafijari, ed., Bombay, 1933, p. 338. 13. Handiqui, K. K., Yasastilaka and Indian Culture, 2nd edn., Sholapur, 1968, Chap. XIV. 14. (Note : In preparing this paper I have freely used the works mentioned below. I gratefully acknowledge my indebtedness to their authors, especially to A. B. Dhruva, the

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SACRIFICE IN THE JAIN TRADITION 105 editor of Syadvadamanjari). 1. Vimalasuri's Paumacariyam, Prakrit Text Society, Varanasi, 1962. 2. Vasudevahindi, prathama khandam, Sri Jaina Atmanandasabha, Bhavanagar, 1930. 3. Padmapurana of Ravisenacarya, Bharatiya Jnanapitha, Kashi, 1958. 4. Harivamsapurana of Jinasenacarya, Bharatiya Jnanapitha, Kashi, 1962. 5. Mahapurana of Puspadanta, Vol. II, ed. P. L. Vaidya, Jaina Granthamala, Bombay, 1937 6. Yasastilaka of Somadevasuri, Kavyamala, Nirnaya Sagar Press, Bombay, 1916. 7. Yasastilaka and Indian Culture, K. K. Handiqui, Jaina Samskriti-Samrakshaka Sangha, 2nd edn., Sholapur, 1968. 8. Trisastisalakapurusacaritra of Acarya Hemacandra (Jaina Ramayana), Sri Jaina Dharmaprasaraka Sabha, Bhavnagar, 1906. 9. Yogasastram of Acarya Hemacandra with his own Vrtti, Part I, ed. Muni Jambuvijaya, Jain Sahitya Vikas Mandal, Bombay, 1977. 10. Syadvadamanjari of Mallisena, ed. A. B. Dhruva, Bombay Sanskrit and Prakrit Series, No. LXXXIII, Bombay, 1933. 11. Uttaradhyayanasutra, ed. Jarl Charpentier. 12. Sacred Books of the East Series, Vol. XLV. 13. A History of Indian Literature, M. Winternitz, Vol. II, University of Calcutta, 1933. 14. The Vasudevahindi, ed. Dr. J. C. Jain, L. D. Institute of Indology, Ahmedabad. Stud.-14

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JAIN VIEW OF CREATION The desire to know the nature and origin of things is inborn. Man reflects on the phenomena around him. The explanations of the phenomena of Nature which suggest themselves to him constitute the early stage of mythology, generally called primitive mythology When we come to the Rgveda, however, we find that the hymns of creation represent advanced degree of thought. These hymns are not the products of primitive man but of some highly gifted poets of antiquity who are regarded as "seers". We come across a few majestic hymns of creation in the Rgveda. In one hymn the Vedic seer declares "In the primal age of the gods Being (Sat) was born of Non-Being (Asat)." In the famous Purusasukta the Vedic poet says that the world was formed from the different members of the body of the Virat-purusa?. In another splendid hymn noteworthy for depth of speculation, the Vedic poet says : "Then there was neither Sat (Aught, Being) nor Asat (Nought, Non-Being) there was before creation only darkness clouded over darknesswho truly knows---from whence this vast creation arose ?--Its lord in heaven alone knows it or perhaps he too knows not."3 The Brahmanas contain many legends about Prajapati creating the world. The Upanisads too contain creation-myths; but they are used to illustrate their fundamental philosophical doctrine of the all-pervading Brahman. Incidentally, we may note here that the Svetasvatara Upanisad when dealing with the problem of causation, lists the so-called first causes of the world : Kala (Time), Svabhava (Nature), Niyati (Destiny), Yadrccha (Accident, Chance, Mechanical or fortuitous combination of Elements), Bhutani (Elements) and (Pasama-?) Purusa (the Supreme-) Person. The Epics and the Puranas treat of the creation-myths at great length as cosmogony and secondary creations (the successive destructions and renovations of the world) form two of their five principal topics.5 This brief description of the myths of creation, as found in the Rgveda

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JAIN VIEW OF CREATION 107 and related literature of the Hindus is given here to serve as a necessary background to the Jain refutation of creation myths and the idea of God as creator, etc. The Carvakas outright reject the idea of God. According to them "The Material elements themselves have their own fixed nature (Svabhava). It is by the nature and law inherent in them that they combine together to form this world. There is thus no necessity for God." The Bauddha, the Mimamsa, the Samkhya and the Jain darsanas do not hold that the world was created at any point of time, and consequently, there is no place for a God in their systems. As we are here mainly concerned with the Jain view of God we takeup, by way of example, one reputed Jain writer, Mallisena, the author of Syadvadamanjari who deals with the problem of God. We very briefly treat of the prima facie view and its criticism by Mallisena. For a detailed discussion the reader is referred to the edition of Syadvadamanjarit, edited with Introduction, Notes and Appendices by A. B. Dhruva. God, according to the Nyayavaisesika school is (1) the creator or maker of the world; (2) one; (3) omnipresent and omniscient; (4) self-dependent; and (5) eternal. (1) Everything that is made requires an intelligent maker, e.g., a jar ; the earth, the mountains, etc., are effects and therefore they must have an intelligent maker whom we call Isvara or God. Mallisena criticises this anumana on two grounds : First, it is precluded by Direct Perception which bears witness to the fact that these things (the earth, the mountains, etc.) have no maker. Second, it is common knowledge that the making belongs to persons with a body; and isvara lacks in a physical body. (2) God is one. If there were many Gods (many masters of the world), there would be chaos and confusion in the whole world : but the world is one consistent whole. So, we conclude, God is one. Mallisena replies to this : Not necessarily so. For, many may co-operate to produce a single result e.g., the bees that make their hive. (3) Since His making takes place in all parts of the world, He must be supposed to be omnipresent and he must be also omniscient. If He is omnipresent, He, says Mallisena, absorbs everything into His own Self, leaving nothing to exist outside it. If He is omniscient, He knows, we suppose, even hell : and knowledge in his case being direct experience, He is to

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108 STUDIES IN JAIN LITERATURE be supposed to experience hell. (4) He is self-dependent. Self-dependence is implied in the very notion of one who is the Lord of all. Mallisena replies to this : If He is independent, then why does He create a world so full of misery and inequalities unless He is wantonly cruel and unjust. If misery is a punishment for our bad acts and inequality is due to our varying Karma, the assumption of Karma will suffice to explain everything, and God will be superfluous. (5) He is eternal : for, a created God is a contradiction in terms. To this Mallisena replies : If he is eternal, He should be eternally active or eternally inactive. In the first alternative, His work would at no point be finished, and so nothing could be ever accomplished. In the second alternative nothing could even begin. Further, how could he have eternally conflicting natures viz., making and unmaking simultaneously ? The Jain thinkers thus stoutly deny the existence of God who creates, protects and destroys the world, and who rewards us for our good acts and punishes us for bad ones, and, thus, interferes with human life. Their conception of God is entirely different. God is only the highest, the noblest and the fullest manifestation of all the powers like perfect faith, knowledge, power and bliss (anantadarsana-jnana-virya-sukha), that lie latent in the soul of man. The Tirthamkaras (and the Siddhas) are the real gods of the Jains; for, they have conquered raga (attachment, love), dvesa (hatred), etc., are freed from all that is material and have attained perfect faith, knowledge, power and bliss. Just as the Jains refute the theory of creation by God, even so they refute the other so-called first causes of the wonderful variety and richness of the world like Sat, Asat, Kala, Svabhava, Niyati, Purvakta (Adrsta), Prajapati, etc., which have been referred to above.? After dealing with the Jain view of God let us turn to their description of the world : The world is one reality but it is not one homogeneous substance. Jain metaphysics divides the world into two everlasting, uncreated, co-existing but independent categories : the soul (jiva) and the non-soul (ajiva). The non-souls are sub-divided into five classes : matter (pudgala), space (akasa), the principle of motion or the fulcrum of motion (dharma), the principle of stationariness or the fulcrum of rest (adharma) and time (Kala). It may be noted that it is the Jain

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JAIN VIEW OF CREATION 109 metaphysics that postulates these two peculiar substances of dharma and adharma. Kala is in only a figurative sense a substance; it is devoid of extension. All other substances possess extension and are therefore called astikayas (magnitudes). Space is the locus of extension or of extended things. Out of the six substances matter (pudgala) is liable to integration and disintegration. The smallest parts of matter which cannot be further divided, being partless, are called atoms (anus). Two or more such atoms may combine together to form aggregates or compounds (samghata or skandha). Atoms and their products (aggregates or compounds) possess the four qualities of touch, taste, smell and colour. It is the quality of touch that brings about the atomic combination. The atomic aggregation is an automatic function resulting from the inherent or essential nature of atoms. The atomic theory of the Jains differs from that of the Naiyayikas in some important details; one very important difference is : the Jains hold that the atomic aggregation is an automatic function whereas the Naiyayikas assert that "Motion is first produced in the atoms as a result of God's will. This motion produces conjunction of two monads giving birth to a diad. Three diads or binary atoms make one tertiary. From this last is produced the quadrate, and so on, until the great masses of earth, and water, and light, and atmosphere are formed."8 The Jains define a substance as that which possesses gunas (qualities, essential unchanging characters) as well as paryayas (accidental, changing characters or modes or modifications). In so far as the essential characters of the ultimate substances are abiding, the world is nitya (eternal, or permanent) and in so far as the accidental characters undergo modification, the world is anitya (subject to a change). Since the six ultimate substances exhaust all namable and knowable objects and explain among themselves the whole world, there is no need of God or some other Agency to create them and bring them into existence. From the account given above it is clear that according to the Jains, the world made of six ultimate substances (dravyas), which are eternal and indestructible, is eternal, without beginning or end. The conditions or modes of these substances, however, constantly undergo changes. And it is time which helps substances to undergo these changes or modifications or modes. Incidentally, we may note here the Jain universal cycle--or eternally revolving wheel of Time. Each Kalpa (aeon) has two eras : the avasarpini (descending era), in which dharma (piety), truth, happiness, etc., go on decreasing until in the end chaos and confusion and misery reign over the earth; and the utsarpini

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110 STUDIES IN JAIN LITERATURE (ascending era) in which there is an evergrowing evolution of dharma (piety), truth, happiness etc. Each of these two eras is sub-divided into six ages which have their distinguishing features fixed for them for ever. The Avasarpini consists of the following six ages : (1) Susama-susama; (2) Susama; (3) Susamaduhsama; (4) Duhsama-susama; (5) Duhsama and (6) Duhsama-duhsama. The six ages of the Utsarpini have the same names but they occur in the reverse order. The Avasarpini leads not to destruction but to the beginning of another Utsarpini. It is in the fourth age of the era that twenty-four Tirthamkaras are born. The last of them in the fourth age of the current cycle was Lord Mahavira. Although the Jains have no theory of the origin of the universe, they have their cosmography. We find its description in Umasvati's Tattvarthadhigamasutra (chapters III and IV), which is recognised as an authority by both the major sects of the Jains--the Svetambaras and the Digambaras. An outline of this account may be given as follows: Space (akasa), which is self-supported and the locus of extended things, is divided into two divisions : the universe (loka) and the non-universe (aloka). The non-universe is all void and devoid of dharma and adharma (principle of motion and of rest) and therefore impenetrable to anything. The universe is imagined as "three cups, of which the lowest is inverted and the uppermost meets at its circumference the middle one." The disk of the earth is in the lower part of the middle (madhyama). Below the disk of the earth are the seven lower regions (bhumis), one below the other, and these regions contain hells (narakas). "Above the seven regions of the hells is the disk of the earth, with its numerous continents in concentric circles separated by rings of oceans."l0 In the middle of the earth stands aloft Mount Meru. Immediately above the top of Meru twentysix heavenly regions (Vimanas) one above the other. (At the top of the universe (Lokakasa) reside the blessed perfected souls, siddhas. The detailed knowledge of the structure of the universe was believed to have been attained by contemplation.11 With the introduction of scientific astronomy and modern geography, the traditional cosmography--whether of the Hindus, the Bauddhas or the Jainshas almost lost its importance. Notes and References : 1. Rgveda X. 72. 2 2. Rgveda X. 90 esp. v.5

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JAIN VIEW OF CREATION 111 3. Rgveda X. 129.7 4. Svetasvatara Upanisad 1. 1-2. 5. Siva P. VII-1.41 = Vayu P. (Purva). 4. 10 = Matsya P. 53.64 Sargasca pratisargasca vamso manvantarani ca 1 Vamsanucaritam caiva puranam pancalaksanam || 6. Bombay Sanskrit and Prakrit Series No. LXXXIII, 1933, Text. pp. 21-31, Introduction pp. LXXXVI-Xcii and Notes pp. 55-78. . 7. (i) Read Ganadharavada (Gathas 1641-43) and Introduction : pp. 113-118 in Gujarati by Pt. Dalsukhbhai Malvania, Published by Gujarat Vidya Sabha, 1952. (ii) Sanmati-Tarka (III.53)-Pandit Sukhlalji Sanghavi and Pandit Bechardasji Doshi, 1939 A. D. edn. (Published by Jain Shwetamber Education Board, 20, Pydhoni, Bombay3). (iii) Vimsati-Vimsika (II.18-19, IV.14)-Haribhadra-Suri, ed. and Pub. by K. V. Abhyankar, 1932 Sadashiv Peth, Poona-2. 8. Tarka-Samgraha of Annambhatta, Bombay Sanskrit Series No. LV, 1930 edition, p. 118. 9. Jacobi on Jain Cosmography (Encyclopaedia of Religion and Ethics, Vol. IV, p. 161). 10. Ibid. 11. Tattvarthadhigamasutra IX.37.

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SVABHAVAVADA (NATURALISM) : A STUDY The Svetasvatara Upanisad' gives a list of first causes of the variety of the world according to some thinkers. This list includes Time, Nature, Destiny, Chance (accident), the Elements and Purusa. This paper will confine itself mainly to an investigation of the real nature of the doctrine of Svabhava (Naturalism as opposed to Accidentalism) by scrutinising available references to it in Sanskrit and Prakrit literature. In the commentary to the Svetasvatara Samkaracarya? explains svabhava as inherent nature of a thing, as, for instance, heat of fire. In the Buddhacarita3 Asvaghosa clearly sets forth the views of the supporters of Svabhavavada: ".... They teach that there is an essential force of nature at work in the continuance of activity, like the essential heat of fire and the essential liquidity of water. Some explain that good and evil and existence and non-existence originate by natural development (Svabhava); and since all this world originates by natural development, again therefore effort is vain. That the action of each sense is limited to its own class of object, that the qualities of being agreeable or disagreeable are to be found in the objects of the senses and that we are affected by old age and afflictions, in all that what room is there for effort ? Is it not purely a natural development ? The oblation devouring fire is stilled by water, and the flames cause water to dry up. The elements, separate by nature, group themselves together into bodies and, coalescing, constitute the world. That, when the individual enters the womb, he develops hands, feet, belly, back and head, and that his soul unites with that body, all this the doctors of this school attribute to natural development. Who fashions the sharpness of the thorn or the varied nature of beast and bird ? All this takes place by natural development. There is no such thing in this respect as action of our own will, a fortiori no possibility of effort."4 In the Nyayasutras Gautama states by way of Purvapaksa that things originate without any cause like the sharpness of thorns, Vatsyayana, in his

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SVABHAVAVADA (NATURALISM) : A STUDY 113 commentary to the Nyayasutra, explains the sutra by adding a few examples. In Mathara-vrtti to the samkhya-karika (v. 61), along with Isvara and Kala, Svabhava is mentioned as the cause of the world, of course, from others' point of view and dismissed as non-existent. In his commentary to the Samkhya-karika (v. 61) Gaudapada? writes : "Others say, Svabhava is cause of the world : By what (or whom) the swan is created white, the peacock of many colours ?"; that is, they are so naturally ... for Pradhana, from its universal creative power, is the cause of even Kala (Time); even Svabhava merges into it; and, therefore, neither Kala nor Svabhava is cause. Prakrti (=Pradhana) alone, therefore, is cause. Thus according to Gaudapada Svabhava merges into the all-embracing cause called Praksti. In the commentary to Brhatsamhita (Bhatta) Utpala writes : The world with its variety originates and gets destroyed through Svabhava alone and none else. They (Svabhavavadins) declare : "What fashions the sharpness of thorns, and the varied nature of beast and birds, the sweetness of sugar-cane and bitter taste of nimba ? All this comes about by Svabhava." It may be noted, in passing, that this verse bears close resemblance to Asvaghosa's verse cited above. In the Sarva-Siddhanta-Sangraha Samkaracarya briefly states the doctrine of Svabhava thus : "In consequence of the existence of pleasure and pain, merit and demerit should not be here in this connection) postulated by others. A man feels pleasure or pain by nature and there is no other cause for it. Who colours wonderfully the peacocks, or who makes the cuckoos COO so well ? There is in respect of these no cause other than nature." In his commentary10 to the Visesavasyakabhasya Maladhari Hemacandra quotes three verses giving the views of Svabhavavadins. "The supporters of the doctrines of Svabhava (nature, inner nature, natural development) teach that all things originate without any cause. They do not regard even 'sva' (own, itself) as cause. What makes the varied nature of lotuses and of thorns and the like ? What has fashioned the variegated plumage of peacocks ? Whatever is found in this world is all without cause and due to mere accident. Like the sharpness of thorns human happiness and grief come about by Svabhava only." In the course of his discussion about the Svabhavavada (Introduction to Stud.-15

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114 STUDIES IN JAIN LITERATURE Ganadharavada) Malvania quotes two verses' on Svabhavavada as well-known. "It is due to the all-controlling nature (Svabhava) that some things are ever-existing, some others ever non-existing and still some others varied in nature. Fire is hot, water is cool, wind is neither hot nor cool (by itselt). By whom or what came this variety ? We, therefore, conclude that all this came about by nature (Svabhava)". Of these two verses, the second is quoted in the Sarvadarsanasangraha12, which briefly puts the case of Svabhavavadins thus : But an opponent will say, if you thus do not allow adrsta, the various phenomena of the world become destitute of any cause. But we cannot accept this objection as valid, since these phenomena can all be produced spontaneously from the inherent nature of things. Thus it is said : "The fire is hot, the water cold, refreshing cool the breeze of morn; By whom came this variety ? From their own nature was it born." In his commentary13 to Uttaradhyayana Sutra (Agadadatta, v. 75) Devendra gives a verse in Prakrit hinting at Svabhavavada : "Who paints the peacock? Who provides the swans with their graceful gait ? Who infuses the sweet fragrance in lotuses and modesty in those who are born in noble familjes ?" In his commentary to Saddarsanasamuccaya 14 (st.50), as mentioned by Hiriyanna, Gunaratna quotes as the view of others : "Others again say: All the variety of this world is explained by its own nature and there is no karma whatever serving as its basis." In the Mahabharata 15" (santi-parvan) there are many references to the doctrine of Svabhava; this passage declares how everything comes about by Svabhana. The next passage 16 is from the same source describing the ultimate source of material universe. The Mahabharta records evidence, as pointed out by Hiriyanna"? in support of two opposite views--the ultimate source was conceived as one and as many. The Bhagavadgita 18 contains many passages which lend support to the doctrine of Svabhava. It is pressed into service to explain the difference in the duties of different castes; and its irresistible force is brought to the forefront now and again to persuade Arjuna to fight.

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SVABHAVAVADA (NATURALISM) : A STUDY 115 In the commentaryo to the Sutrakstanga silanka puts forward by way of the view of others the Svabhavavada to explain the variety of the world; the doctrine of Svabhava obviously dismisses the conception of punya and papa for explaining the variety of the universe. In his commentary on Prasnavyakarana Sutra Jnanavimala thus writes about this doctrine : "Some believe that the universe was produced by Svabhava and that everything comes about by Svabhava only." In his commentary20 on Prasnavyakarana Sutra Abhayadeva attempts to distinguish between Yadrccha and Svabhava. He explains all kinds of happiness and grief and every event taking place in the world as due to accident, mere chance. Svabhava he explains, after Asvaghosa, as 'natural development'. Siddhasena Divakara22, Haribhadra and later Jaina writers hold that to look upon any one out of many causes--Kala, Svabhava, Niyati, Karma, Purusakara-as the only cause is wrong and to regard them all as causes-some more important and some less important is the right belief. Before we take up passages refuting Svabhavavada, it is necessary to examine the interrelation between Yadrcchavada and Svabhavavada, and Ajivikism. YADRCCHAVADA AND SVABHAVAVADA Yadrcchavada is also known as Ahetu-Animitta-Akasmat-vada. Gautama and Vatsyayana (Nyayasutra Bhasya (iv. 1. 22)] give 'kantakataiksnya' as an illustration of Animittavada. This illustration has been highly popular with, and very often cited by Svabhavavadins in support of their doctrine. We would not, therefore, be wrong if we drew the conclusion that Gautama and Vatsyayana regarded these two doctrines as identical. Svetasvatara, Siddhasena Haribhadra and many later writers mention these two doctrines separately and distinguish between them. Hiriyanna23 very well brings out the distinction between these two doctrines : "While the one maintains that the world is a chaos and ascribes whatever order is seen in it to mere chance, the other recognizes that 'things are as their nature makes them.' While the former denies causation altogether, the latter acknowledges its universality, but only traces all changes to the thing itself to which they belong." SVABHAVAVADA : A SMALL SUB-SECT OF AJIVIKISM ? In the course of his exposition of the doctrine of Niyati Basham writes : "....Hence it appears that the Svabhavavadins agreed with the Niyativadins on the

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116 STUDIES IN JAIN LITERATURE futility of human efforts. They were classed in the group of Akriyavadins, or those who did not believe in the utility or effectiveness of purusakara. It would seem that the Svabhavavadin differed from the Niyativadin in that, while the latter views the individual as determined by forces exterior to himself, for the former he was rigidly self-determined by his own somatic and psychic nature. These ideas have much in common and we suggest therefore that Svabhavavada was a small sub-sect of Ajivikism."24 Granting that "these ideas have much in common" we cannot persuade ourselves to accept Basham's suggestion for from all the references to Svabhavavada culled in this paper we find that it was intimately connected with Materialism or Carvakadarsana. It is much more allied to Carvakadarsana in as much as both deny a transmigrating soul, whereas Niyativada believes in an immortal soul. Further, in view of the fact that the Ajivikas ultimately merged with the Jains--which indicates that they had much in common--it would be more proper to regard svabhavavada as part and parcel of Materialism as has been done by tradition. SVABHAVAVADA DIALECTIC That the Svabhavavada must once have been well-known is evident from the numerous references to it in Sanskrit and Prakrit literature. No detailed exposition of it is to be found in any single treatise. The only account of this doctrine we have is in the prima facie argument or view (Purvapaksa) given in the works of its opponents for purposes of refutation. It is not improbable that the opponents ascribed to the Svabhavavadin's arguments which were easy of refutation. So we have to be cautious in judging the Svabhavavadin's powers of logical argument and dialectic skill. In the course of his commentary to Ganadharavada25 Jinabhadragani more than once mentions Svabhavavada and refutes it. He explains the variety of the world on the basis of the doctrine of karma, which is the cornerstone of Jaina philosophy. Silanka26, writing as an advocate of Niyativada, disposes of Svabhavavada as follows : "Moreover the causing of joy and sorrow cannot be ascribed to inherent character (Svabhava). For is this different from a man or the same as he ? If it is different it is not capable of causing the joy and sorrow which befall him, on account of that difference. Nor (if it is) the same (as he). For, if it were, it would be a mere man. "If happiness is experienced as a result of human activity there should be no difference in the reward (of equal exertion), nor should there be lack of reward when equal effort is exerted, whether by servants, merchants or

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SVABHAVAVADA (NATURALISM) : A STUDY 117 peasants, etc. Yet it is often seen that even when no means of livelihood such as service, etc., is followed, rich reward is obtained. So nothing is achieved by human effort." In the Nyayamanjari27 Jayanta dismisses this doctrine of Svabhava and establishes that of Adrsta or karma. Jayanta is well-known as a superb writer on Nyaya. This great logician, however, succumbs to the temptation of ascribing a manifestly weak argument to the Svabhavavadin, who argues : "The opening of a babe's mouth is spontaneous-natural like the blooming of a lotus bud." The Siddhantin refutes it saying that the blooming of a lotus bud is caused by the touch of the Sun's rays and that it is not spontaneous or natural. That the doctrine of Svabhava once enjoyed immense popularity and exerted great influence on the thinkers of those times would be patent to any impartial student of the Bhagavadgita. The Gita takes recourse to the doctrine of Svabhava in defending the difference in respective functions of the four different castes and emphatically asserts the inherent and irresistible strength of Svabhava. The Jains, no doubt, criticize this doctrine of Svabhava in their works of philosophical nature but this criticism applies to it only when Svabhava is presented as the only cause of the variety of the world. The Jains find a place for this doctrine under their wide umbrella of Syadvada or Anekanta. In this connection the attention of the readers is drawn to silanka's passages28, quoted below, accepting Svabhavavada. ADDENDUM In the Tattvasangraha of santaraksita with the Panjika (commentary) of Kamalasila who flourished in the first half of the eighth century A. D. we find an exposition as well as refutation of Svabhavika-jagadvada (w. 110-127). The three verses embodying the Svabhavavada, which are quoted by Maladhari Hemacandra, very well compare with the corresponding verses in the Tattvasangraha (w.110-112) and it is not unlikely that they are derived from a common source. Hemacandra reads rajivakantakadinam' in place of 'rajivakesaradinam; 'mayuracandrikadir' va in place of 'mayuracandrakadir va' -it is gratifying that the emendation in the text of Hemacandra that I have suggested above is supported by the text of the Tattvasangraha; the third verse although identical in thought-content differs in its expression. The verse of Hemacandra is already cited above. Here I quote the verse from the Tattvasangraha :

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118 STUDIES IN JAIN LITERATURE yathaiva kaNTakAdInAM taikSNyAdikamahetukam / kAdAcitkatayA tadvaduHkhAdInAmahetutA // The refutation of Svabhavika-jagadvada by santaraksita may very briefly be summarised thus : "Thus filaments of the lotus, etc., have the seed, mud and water as the causes. Why then should we search for other causes which are not to be found ? If all things come about by 'svabhava' why should they appear at particular times and particular places only ? It is clear, therefore, that they have particular causes for their origin and development. The Svabhavika-jagadvada: thus stands refuted by pratyaksa-pramana itself." Notes and References : 1. kAlaH svabhAvo niyatiryadRcchA bhUtAni yoniH puruSa iti cintyA / saMyoga eSAM na tvAtmabhAvAdAtmApyanIzaH sukhaduHkhahetoH // svabhAvameke kavayo vadanti kAlaM tathAnye parimuhyamAnAH / devasyaiSa mahimA tu loke yenedaM bhrAmyate brahmacakram / / -Svetasvatara I. 2, VI.1 2. svabhAvo nAma padArthAnAM pratiniyatA zaktiH / agnerauSNyamiva / 3. agneryathA hyauSNamapAM dravatvaM tadvatpravRttau prakRti vadanti // kecitsvabhAvAditi varNayanti zubhAzubhaM caiva bhavAbhavau ca / svAbhAvikaM sarvamidaM ca yasmAdato'pi mogho bhavati prayatnaH / / yadindriyANAM niyataH pracAraH priyApriyatvaM viSayeSu caiva / saMyujyate yajjarayAtibhizca kastatra yatno nanu sa svabhAvaH // adbhirhatAza: zamamabhyupaiti tejAMsi cApo gamayanti zoSam / bhinnAni bhUtAni zarIrasaMsthAnyaikyaM ca gatvA jagadudvahanti / yatpANipAdodarapRSThamUrjA nivartate garbhagatasya bhAvaH / yadAtmanastasya ca tena yoga: svAbhAvikaM tatkathayanti tajjJAH // kaH kaNTakasya prakaroti taikSNyaM vicitrabhAvaM mRgapakSiNAM vA / svabhAvataH sarvamidaM pravRttaM na kAmakAro'sti kutaH prayatnaH // --Buddhacarita IX. 5 4. Translation by E. H. Johnston, Calcutta, 1936. 5. animittato bhAvotpattiH kaNTakataikSNyAdidarzanAt / animittA zarIrAdyutpattiH / kasmAt / kaNTakataikSNyAdidarzanAt / yathA kaNTakasya taikSNyam, parvatadhAtUnAM citratA, grAvNAM zlakSNatA, ninimittaM copAdAnavacca dRSTaM tathA zarIrAdisargo'pIti / --Nyayasutra-Bhasya IV. 1. 22 6. apare svabhAvamAhuH / svabhAvaH kAraNamiti / tathA hi yena zuklIkRtA haMsAH zukAzca haritIkRtAH / mayUrAzcitritA yena sa no vRttividhAsyati //

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SVABHAVAVADA (NATURALISM) : A STUDY 119 ...svabhAvo nAma na kazcitpadArtho'sti yataH prajAnAmutpattisaGgatiH syAt tasmAdyo brUte svabhAva; kAraNamiti tanmithyA / -Mathara-vrtti to SK. 61 7. apare svabhAvakAraNikAM bruvate / kena zuklIkRtA haMsA mayUrA kena citritAH / svabhAvenaiveti |....kaalsyaapi pradhAnameva kAraNam / svabhAvo'pyatraiva lInaH / tasmAt kAlo na kAraNaM nApi svabhAva iti / tasmAt prakRtireva kAraNaM na prakRteH kAraNAntaramastIti / -Gaudapadabhasya to Samkhyakarika 61 8. apare anye laukAyatikAH svabhAvaM jagataH kAraNamAhuH / svabhAvAdeva jagadvicitramutpadyate svabhAvato vilayaM yAti / tathA ca tadvAkyam / kaH kaNTakAnAM prakaroti taikSNyaM vicitrabhAvaM mRgapakSiNAM ca / mAdhuryamikSoH kaTutAM ca nimbe svabhAvataH sarvamidaM pravRttam / --Bhattotpala's Commentary to Brhatsamhita 1.7 9. na kalpyau sukhaduHkhAbhyAM dharmAdharmoM parairiha / svabhAvena sukhI duHkhI jano'nyannaiva kAraNam // zikhinazcitrayet ko vA kokilAn kaH prakUjayet / / svabhAvavyatirekeNa vidyate nAtra kAraNam // -~-Sarvasiddhantasangraha II. 4-5 10. sarvahetunirAzaMsaM bhAvAnAM janma varNyate / svabhAvavAdibhiste hi nAhuH svamapi kAraNam / / rAjIvakaNTakAdInAM vaicitryaM kaH karoti hi / mayUracandrikAdirvA vicitraH kena nirmitaH // kAdAcitkaM yadavAsti niHzeSaM tadahetukam / yathA kaNTakataikSNyAdi tathA caite sukhAdayaH // -Maladhari Hemacandra's Commentary to Ganadharavada II, v. 1963 Note : The text reads 'mayUracandrikAdirvA vicitraH'. Shri Malvania renders it as "The plumage of the peacock is variegated and the moonlight is bright white..." (Ganadharavada (p. 45): Gujarat Vidyasabha, Ahmedabad). It appears to me, however, that the text originally must have read 'mayUracandrakAdirvA vicitra:'- *which reading eminently suits the context. 11. nityasattvA bhavantyanye nityAsattvAzca kecana / vicitrAH kecidityatra tatsvabhAvo niyAmakaH // . agniruSNo jalaM zItaM samasparzastathAnilaH / kenedaM citritaM tasmAt svabhAvAt tadvyavasthitiH // -Quoted by Shri Malvania in his Introduction to Ganadharavada, p. 114 12. nanvadRSTAniSTau jagadvaicitryamAkasmikaM syAditi cet- na tad bhadram / svabhAvAdeva tadupapatteH / taduktam agniruSNo jalaM zItaM samasparzastathAnilaH / kenedaM citritaM tasmAtsvabhAvAttadvyavasthitiH // --Sarvadarsanasangraha, Carvakadarsanam, p. 13. (BORI, Poona, ed. 1951) 13. ko cittei maUraM gaI ca ko kuNai rAyahaMsANaM / ko kuvalayANa gaMdhaM viNayaM ca kulappasUyANaM // ---Sukhabodha-Laghuvrtti to Uttaradhyayanasutra (Agadadatta, v. 75)

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120 STUDIES IN JAIN LITERATURE 14. anye punarAhuH- mUlataH karmaiva nAsti, svabhAvasiddhaH sarvo'pyayaM jagatprapaJca iti / --Gunaratna's Commentary to Saddarsanasamuccaya (st.50) 15. hantIti manyate kazcinna hantItyapi cAparaH / svabhAvatastu niyatau bhUtAnAM prabhavApyayau / / pazya prahlAda bhUtAnAmutpattimanimittataH / hAsaM vRddhi vinAzaM ca na prahRSye na ca vyathe / svabhAvAdeva saMdRzyA vartamAnAH pravRttayaH / svabhAvaniratAH sarvAH parituSyena kenacit / / svabhAvabhAvino bhAvAn sarvAneveha nizcayAt / budhyamAnasya darpo vA mAno vA kiM kariSyati / svabhAvAllabhate prajJAM zAntimeti svabhAvataH / svabhAvAdeva tatsarvaM yatkiJcidanupazyasi // -Mbh, Santiparvan : 25, 16, 179. 10-11; 222. 27, 35 16. pRthivI jyotirAkAzamApo vAyuzca paJcamaH / etadyonIni bhUtAni tatra kA paridevanA // kecitpuruSakAraM tu prAhuH karmasu mAnavAH / daivamityapare viprA; svabhAvaM bhUtacintakAH // vikArAneva yo veda na veda prakRti parAm / tasya stambho bhavedvAlyAnAsti stambho'nupazyataH || prakRtau ca vikAre ca na me prItirna ca dviSe / dveSTAraM ca na pazyAmi yo mAmadya mamAyate // -~-Mbh, Santiparvan : 224. 17; 232. 19; 222. 26, 31 17. Outlines of Indian philosophy, p. 105. 18 .....prakRtistvAM niyokSyati / svabhAvajena kaunteya nibaddhaH svena karmaNA // kartuM necchasi yanmohAt kariSyasyavazo'pi tat / kAryate hyavazaH karma sarvaH prakRtijairguNaiH / / prakRti yAnti bhUtAni......... ...........svabhAvastu pravartate // -Bhagavadgita XVIII. 59-60; III. 5; III. 33, V. 14 19. tatkathametajjagadvaicitryaM ghaTate?, tadyathA-kazcidIzvaro'paro daridro'nyaH subhago'paro durbhagaH sukhI duHkhI surUpo mandarUpo vyAdhito nIrogIti, evaMprakArA ca vicitratA kiMnibandhaneti ?, atrocyate, svabhAvAt, tathA hi- kutracicchilAzakale pratimArUpaM niSpAdyate, tacca kuGkamAgarucamdanAdivilepanAnubhogamanubhavati dhUpAdyAmodaM ca, anyasmistu pASANakhaNDe pAdakSAlanAdi kriyate, na ca tayoH pASANakhaNDayoH zubhAzubhe staH, yadudayAtsa tAdRgvidhAvasthAvizeSa ityevaM svabhAvAjjagadvaicitryaM / tathA coktam - kaNTakasya ca tIkSNatvaM, mayUrasya vicitratA / varNAzca tAmracUDAnAM, svabhAvena bhavanti hi // -Silanka's Commentary to Sutrakrtanga, folio 21 (a) 20. kecit svabhAvabhAvitaM jagad manyante svabhAvenaiva sarva: saMpadyate / - Jnanavimala to Prasnavyakarana 7, fol. 29 (cited by Basham)

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SVABHAVAVADA (NATURALISM) : A STUDY 121 kaH kaNTakAnAM prakaroti taikSNyaM vicitrabhAvaM mRgapakSiNAM ca / svabhAvataH sarvamidaM pravRttaM na kAmacAro'sti kutaH prayatnaH // -Gunaratna : Tarkarahasyadipika to Saddarsana samuccaya, p. 13 (cited by Basham) Note : Referring to this verse Basham writes : "Gunaratna quotes a verse which he attributes to the supporters of this doctrine." It will be evident by comparing this verse with Asvaghosa's (which is already quoted above) that barring slightly variant readings, it is the same as that of Asvaghosa. 21. anbhisNdhipuuvikaarthpraaptirydRcchaa| atarkitopasthitameva sarvaM citraM janAnAM sukhaduHkhajAtam / kAkasya tAlena yathAbhighAto na buddhipUrvo'tra vRthAbhimAnaH // satyaM pizAcAH sma vane vasAmo bherI karAgrairapi na spRzAmaH / yadRcchayA siddhyati lokayAtrA bherI pizAcAH paritADayanti // svabhAvaH punarvastuta: svata eva tathA pariNatibhAvaH / "kaH kaNTAkAnAm" ityAdi / -Abhayadeva's Commentary to Prasnavyakarana Sutra 22. kAlo sahAva NiyaI puvvakamma purisakAraNegaMtA / micchattaM taM ceva u samAsao huMti sammattaM // 23. Outlines of Indian Philosophy, pp. 103-104. 24. History and Doctrines of the Ajivikas, p. 226. 25. hojja sahAvo vatthu nikkAraNayA va vatthudhammo vA / jaha vatthu Natthi tao'NuvaladdhIo khapuSpaM va // accatamaNuvaladdho vi ahatao atthi natthi ki kammaM / heU va tadatthite jo NaNu kammassa vi sa eva // kammassa vAbhihANaM hojja sahAvo ti hou ko doso| niccaM va so sabhAvo sariso etthaM ca ko heU / / so mutto'mutto vA jai mutto to na savvahA sariso / pariNAmao payaM piva na dehaheU jai amutto // uvagaraNAbhAvAo na ya havai suhamma so amutto vi / kajjassa muttimattA suhasaMvittAdio ceva // ahavA kAraNau cciya sabhAvao tovi sarisayA katto / kimakAraNao na bhave visarisayA ki va vicchittI / / ahava sahAvo dhammo vatthussa na so vi sarisao niccaM / uppAyaTThiibhaMgA cittA jaM vatthupajjAyA / kammassa vi pariNAmo suhamma dhammo sapoggalamayassa / heU citto jagao hoI sahAvo tti ko doso // --Ganadharavada W. 1786-1793 26. tathA svabhAvasyApi sukhaduHkhAdikartRtvAnupapattiH / yato'sau svabhAvaH puruSAd bhinno'bhinno vA / yadi bhinno na puruSAzrite * sukhaduHkhe kartumalaM tasmAd bhinnatvAditi / nApyabhinnaH / abhede puruSa eva syAt tasya cAkartRtvamuktameva / --silanka's Commentary to Sutrakrtanga : folio 30 and 31 (a) Stud.-16

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122 STUDIES IN JAIN LITERATURE yadi puruSakArakRtaM sukhAdyanubhUyeta tataH sevakavaNikkarSakAdInAM samAne puruSakAre sati phalaprAptivaisadRzyaM phalAprAptizca na bhavet / kasyacittu sevAdivyApArAbhAve'pi viziSTaphalAvAptidRzyata iti / ato na puruSakArAt kiJcidAsAdyate / -Silanka's Commentary to Sutrakrtanga : folio 30 (b) and 31 (a) 27. nanu kamalamukulavikAsAdivatsvAbhAvikAmeva zizormukhavikAzAdikAryaM syAt, svAbhAvikaM nAma kimucyate kimahetukamavijJAtahetukamaniyatahetukaM vA / ..... na cAyaskAntadRSTAntasamAzrayeNa svAbhAvikametadbAlakasya kucakalazanimittopasarpaNamuti vaktumucitamanantarameva nirastatvAt / -Jayanta's Nyayamanjari (Prameyaprakarana, pp. 41-42, KSS ed. 1936) 28. tathAsti svabhAvo'pi kAraNatvenAzeSasya jagataH, svo bhAvaH svabhAva iti kRtvA tena hi jIvAjIvabhavyatvA bhavyatvamUrtatvAmUrtatvAnAM svasvarUpAnuvidhAnAt tathA dharmAdharmAkAzakAlAdInAM ca gatisthityavagAhaparatvAdisvarUpAdAnAditi, tathA coktam-ka: kaNTakAnAmityAdi / -----Silanka's Commentary to Sutrakrtanga, folio 213 (b) 000

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ESCHATOLOGICAL IDEAS IN JAIN TRADITION Eschatology is "The doctrine of death, judgment, heaven and hell in Jainisim." The doctrine of karma is inevitably, inseparably and invariably connected with the doctrine of death, heaven, hell and salvation. Actions performed during the present state of existence are the causes of the future existence, and the present life is in its condition and duration, the result of the actions of the preceding one. There are four states of existence in this cycle of birth and death : (1) of gods (devagati), (2) of human beings (manujagati) (3) of non-human beings (tiryag-gati) and (4) of denizens of hell. In accordance with its own karma a soul migrates from one birth to another, from one state to another. Although samsara is anadi (without beginning ) a soul can put an end to it by completely destroying the eightfold karma and attain moksa-mukti,salvation, liberation. At the top of the universe (lokakasa) there is Siddhasila. The liberated soul settles down there permanently. Without visible shape, bodiless, but a dimension in space (immaterial) of 2/3 of that which he had had during his last hurnan existence he dwells there thence forward into all eternity enjoying the infinite, incomparable, indestructible and transcendental bliss of salvation. According to the Jains, the world is everlasting and imperishable, created by no God and governed by no Higher Being. It is subject only to its own laws and in spite of the change undergone by its component parts, remains in its essential character unchanged. In shape it is comparable to a symmetrically built man in whose lower extremities are to be found the hells, whose central portion of the body encloses the animal and the human world, and whose breast, neck and head are composed of the heavens of the gods. Above the world of the gods (to be likened to a lens, concave below and convex above) is the dwelling-place of the liberated souls. The entire world is surrounded by dense layers of air and water. Beyond this is the non-world (alokakasa)--the absolutely empty space. The world consists of six everlasting, imperishable dravyas--substances : 1. Jiva (soul), 2. pudgala (matter), 3. dharma (principle of motion), 4. adharma (principle of stationariness), 5. akasa (space) and, 6. kala (Time).

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124 STUDIES IN JAIN LITERATURE Jiva is distinguished from all other dravyas in that it possesses consciousness and intelligence. Pudgala exists in an infinite number of the most minute indivisible atoms. Each one of these possesses touch, taste, smell and colour. It is found in a gross (sthula) and in a subtle (suksma) form. Dharma makes motion possible like water to moving fish; and adharma is a passive cause of stationariness like a tree for a flying bird which intends to rest. Akasa is the receptacle of all things, but in itself is contained in nothing. The soul (jiva) in its perfect condition regains its innate qualities--ananta darsana, jnana, virya and sukha (infinite faith, knowledge, power and bliss). The soul in samsara when affected by passions (kasayas) like, anger, pride, deceit and greed attracts the fine particles of Pudgala (Matter) which bind the soul to samsara. This foreign element which enters the soul is designated by the Jains as karma. It does not here mean "deed, work", nor invisible, mystical force (adrsta) but a complexus of very fine matter, imperceptible to the senses, which enters the soul and causes great changes in it. The karma according to Jainism is something material (paudgalam karma) which produces in the soul certain conditions. The soul is eternally infected by karmic matter; its union with karma has no beginning and, at every moment it gathers new matter. Through a series of special processes, the jiva must hinder the absorption of new karma and eliminate the karma already accumulated by tapas and nirjara (penance and shedding off or destruction). He then becomes free from all karma. Cleansed of all karma, the souls on leaving the body, will rise in straight line to the top of the universe, where the liberated souls reside for ever-Just as a pumpkin coated with clay sinks to the bottom of a tank or river but rises to the surface of the water when the clay has fallen off. If the soul is burdened with karma it will, on leaving the body, move in any direction to the place where it is to be reborn. The particular state of existence, duration of life, etc. of that soul, are governed by its own karma. The Jains do not believe in God who punishes you for your evil deeds or who rewards you for good deeds. The law of karma is inexorable : A man is the architect of his own fortune--they firmly believe. Whether he is to be born as a god in heaven or as a hellish being in the world of denizens or as a human being again or as a lower animal on earth entirely depends on his own karma. Incidentally, it may not be out of place to discuss briefly the Jain concept of nidana which is a dominant idea or motif in Jain story / narrative literature. It is originally a medical term which is explained as the disorder of the humours of the body (dhatus). Metaphorically, it means 'Bad karma' which upsets the

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ESCHATOLOGICAL IDEAS IN JAIN TRADITION 125 moral constitution of the Jiva concerned. It may be briefly explained thus : Nidana means bartering away one's austerities for sensual pleasures in a future birth, which are denied to him in the present one or for revenging oneself for insults or personal injuries in the subsequent births. Thus, for instance in Haribhadrasuri's Samaradityakatha (in Prakrit) nine different births of two souls, one of them was prince Gunasena and the other, his friend Agnisarma who was very ugly. The prince enjoyed fun at his cost; as a result of this he turned an ascetic, practised austerities. Through enmity towards the prince he resolved "If I have acquired merit by my austerities, may I then be born again and again to kill him in every one of his births." Accordingly the two were born in nine successive births as enemies--as father and son, husband and wife, and so on, and Agnisarma's soul was in every successive birth responsible for the death of Gunasena's. One more example of nidana may be noted : Regarding Draupadi's marriage to five Pandavas the Jain legend offers the following explanation : In one of her former births Draupadi was born as a girl with whom it was impossible to cohabit.. She became a nun but the desire for carnal or animal passion was there. When, therefore, she once happened to see a courtezan enjoying amorous pleasures in the company of five men in a park, she at once exclaimed : If I am to get any fruit for these austerities of mine, let me also enjoy these-such pleasures in my next birth." As a result she gets five husbands (Pandavas) in her next birth. This apart, the law of karma, according to the Jains, is inexorable. According to one's karma, good or bad one is born as a god in heaven or as a denizen of hell. Superhuman beings, according to the Jains, fall into two categories, the denizens of hell (narakas) and the gods (devas) A sub-division of the latter distinguishes good and bad gods-(daivi and asuri gati). The bad gods are also spoken of as kudevas. Demons would fall under the heads--narakas and kudevas, and ghosts, under that of kudevas. It must however be kept in mind that neither the state of a god nor that of a demon is permanent, but both have their fixed duration of life. It may extend to many 'sagaropamas'. The state which a soul may attain and his expanse of life depend on good or bad karma of the soul; at the end of the allotted time, the soul will be reborn in one or the other state in accordance with his karma. A god may be reborn as a hell-being but the latter will be reborn as an animal or a man only. The souls of those who have committed henious sins are on death removed to one of the seven nether worlds which contain different hells. There they have to undergo various tortures, and sufferings. They have also to suffer extreme heat,

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126 STUDIES IN JAIN LITERATURE cold, intolerable stink and the horrid sounds which prevail in the hells. They can never quench their hunger or thirst. The denizens of hell do not die, however much they are mangled. They die at their allotted time after a miserable life, which may extend to 33 sagaropamas. There are four classes of gods : 1. Bhavanapati, 2. Vyantara, 3. Jyotiska and, 4. Vaimanika. Each of these four classes are further divided into various subclasses. The Bhavanapatis or Bhavanavasins include Asuras, Nagas and the like. They form the lowest class of gods. The Vyantara gods living in caves, mountains, etc. include Kimpurusas, Kinnaras, Gandharavas, Yaksas, Raksasas, Bhutas and Pisacas. The Jyotiska gods include the Sun, the Moon etc. The Vaimanika gods live in twelve heavens, one above the other, called Saudharma, Aisana, etc. and nine Graiveyakas, Vijaya, Vaijayanta, Jayanta, Aparajita and Sarvarthasiddha. It is to be understood that all these 26 heavens are one above the other. Above Sarvarthasiddha, at the top of the Universe is situated Isatpragbhara, the place where the souls resort on their liberation. The Uttaradhyayanasutra (chapter XXXVI) gives its description. It may briefly be given here. "Perfected souls reside on the top of the world; they leave their bodies here (below), and go there, on reaching perfection [The dimension of a perfected soul is two-thirds of the height which the individual had in his last existence). They have no visible form, they consist of life throughout, they are developed into knowledge and faith, and they possess paramount happiness which admits of no comparison. They have crossed the boundary of the samsara and reached the excellent state of perfection." As in Hindu mythology the asuras may be good or bad: The remaining classes of Bhavanavasins, Nagas, etc., seem to be demigods rather than demons. The Vyantaras include demons, goblins, ghosts and and spirits who live on, above, or below the earth. All of them occur almost identically in Hindu mythology. Generally speaking, the notions of the Jains on demons, ghosts, etc., are very much the same as those of the Hindus. And in spite of differences in their descriptions, their nomenclature, number, etc., the Jains are in agreement with the Hindus--as far as the basic ideas about heaven and hell are concerned. So also, both of them-the Hindus and the Jains are staunch believers in their general notions about Samsara, transmigration and final release from the cycle of rebirths. Although the Jain's concept of karma-karma paudgalamis peculiar, they both agree that karma is responsible for rebirth and wandering in samsara and that complete freedom from it leads to final release from samsara.

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HARIBHADRASURI'S VIMSATIVIMSIKA! : AN APPROACH Haribhadrasuri (700-770 A. D.) is a very versatile and voluminous author. Tradition credits him with the authorship of 1400 Prakaranas. This number is an exaggeration. According to the latest list and classification of his works, the total number of his available works is 39; 8 more are mentioned against his name in other works, and the number of works attributed to him but which are not definitely known to be his, comes to 26.2 This list and classification shows how Haribhadrasuri has tried various branches of literature. In the galaxy of writers, especially Prakrit writers, he is a star of the first magnitude. An eminent logician and philosopher, a master satirist, a witty critic, a consummate artist, a profound psychologist', a learned commentator, a finished story-teller, a poet of no mean order--these are diverse facets of his versatile genius. He wields a facile pen and displays command of language, both Sanskrit and Prakrit. His fame as yuga-pradhana chiefly rests on his literary activity for the cause of the Jains and Jainism. With this introduction we now turn to his brief but comprehensive work Vimsati-Vimsika (WV). The title : It may be rendered in English as Score of Sets of Twenties. The title is thus explained : Vimsatih slokah parimanam yasyah sa vinsatih Vimsatinam vimsatih yasyam sa vinsati-vimsika || This work is also known Vimsati-Vimsatika. This title is thus explained : Vimsatih vimsatayah yasyam sa vissati-vimsatih 1 Vimsati-vimsatireva vimsati-vimsatika 11 It is not unlikely that Haribhadrasuri was influenced by the titles of Buddhist texts in choosing titles for a few of his works. His titles Saddarsana

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128 STUDIES IN JAIN LITERATURE samuccaya, sastravartasamuccaya remind us of the Buddhist works of Dinnaga and Asanga, Pramanasamuccaya and abhidharmasamuccaya, respectively; his works Dharmabindu and Yogabindu remind us of Dinnaga's Nyayabindu. The title of the present work reminds us of Vasubandhu's Vimsika and Trimsika. Regarding the two forms of the title, both are grammatically correct. Similar titles we come across in Brahmanical literature also. Simhasanadvatrimsika, "Thirty-two Stories about the Throne", and Vetala-pancavimsatika. "Twenty-five Stories of Vetala", are well known throughout the length and breadth of India. Its contents : Haribhadrasuri chooses to present to his readers the following twenty topics in twenty sets of Twenties. He lists these topics in the first Vimsika called Adhikara-Vimsika : (1) Adhikara-List of the Topics dealt with in WV; 2) LokanaditvaBeginninglessness of the world, 3) Kula-niti-lokadharma-Family traditions and popular customs of the country; 4) Carama-parivarta--the last existence preceding liberation; 5) Tat-bijadi-krama, The Seed, etc., of the Tree of Dharma; 6) Samyaktva-Description of Samyaktva (right faith) from the practical point of view; 7) Danavidhi-- The Mode of Charity (and its three kinds;) 8) PujavidhiThe Mode of Worship; 9) Sravakadharma-The Duties of a Householder; 10) Sravakapratima---The eleven observances of a householder; 11) YatidharmaThe Duties of a Monk; 12) Dvividhasiksa--Twofold Religious Instruction; 13) Bhiksavidhi--The Mode of Begging; 14) Tadantaraya--Unforeseen obstacles in the way of eating the alms; 15) Alocanavidhi--The Confessions of Faults; 16) Prayascittavidhi-Sinful Acts and Atonements; 17) Yogavidhana--The Mode of Yoga, 18) Kevalajnana-Perfect knowledge; 19) SiddhaVibhakti-Categories of liberated souls; and 20) Siddhasukha-Perfect Bliss of the liberated souls. This list of topics is comprehensive and covers some of the most important topics of Jainism. The work, therefore, although short, is comprehensive, and may rightly be described as a prakarana-grantha. The Nature of a prakarana-grantha : The dictionary gives the meanings of prakarana as (i) a subject, topic, (ii) a section, chapter or any smaller division of a work, (iii) a species of a drama with invented plot. These meanings are not relevant in the context of our book on hand. One definition of a prakarana runs as follows: Sastraikadesasambaddham, sastrakaryantare sthitam ahuh prakaranam nama granthabhedam vipascitah 11

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HARIBHADRASURI'S VIMSATIVIMSIKA: AN APPROACH 129 According to this definition, a work which aims at expounding some (important) tenet relating to a system of thought is called a prakaranagrantha. The two phrases in the first half of the above stanza amount to the same thing'Related to or dealing with a portion or section or part (ekadesa) of a sastra and 'based on one of the central topics in 'sastra' mean one and the same thing. In other words, this definition is not comprehensive, it applies to a book dealing with a portion or section or part of sastra. K. V. Abhyankar explains the term as "A work in which the treatment (of a sastra) is given in the form of topics, by arranging the original sutras or rules differently so that all the rules relating to a particular topic are found together", and cites Prakrlyakaumudi and Siddhanta-kaumudi as examples. This definition too is not applicable to the text in hand, strictly speaking. For there is no question of "arranging the sutras or rules differently" unless we enlarge the scope of the meaning of sutras to cover teachings set forth in source books and authoritative texts and commentaries on them. The name prakaranagrantha was most probably used to distinguish a work from the akaragrantha (Seminal Work or Source book). A prakaranagrantha is a systematically and topic-wise arranged samgraha-compendiumof the scattered and discursive teachings of its corresponding seminal or source work or works. In this sense, Arthasamgraha, Tarkasamgraha, Siddhantabindu based on Purva-Mimamsa, Nyaya-sutras and Vaisesikasutras and samkara Vedanta respectively are prakarana-granthas. In this sense, the Vimsati-Vimsika too is a prakarana-grantha based on sacred and authoritative Jain sutras, Niryukti, Bhasya and such other commentaries on them. Its Language The language of this text is Prakrit, to be more specific, Jain Maharastri--which is employed by all Svetambara writers in their Prakrit (prose and) verse and does not much differ from classical Maharastri. Its Structure and Style : The Vimsati-Vimsika obviously intends to supply a compendium of the principal teachings of Jainism in Twenty Sets of Twenties. In a sense these sets are quite independent of one another as each set deals with one topic only and is a complete unit by itself. But from another point of view, these sets may be looked upon as closely connected with each other as each preceding set anticipates the succeeding one. His self-imposed condition of completing one topic in 20 gathas only proves a handicap to him. Some of the gathas are too elliptical. The author combines brevity with accuracy all right but not with lucidity. Brevity is the soul of wit, no doubt, but brevity at the cost of intelligibility is not commendable. Occasionally, Haribhadrasuri errs too much Stud.-17

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130 STUDIES IN JAIN LITERATURE on the side of brevity rendering the text of the gatha obscure. Of course it must be admitted that obscurity of sense is sometimes due to corrupt readings also. Long-felt need of a truly critical edition Unfortunately, there is no svopajna commentary on Vimsati-Vinsika, nor any commentary of a later commentator on it, with the only exception of Upadhyaya Yasovijayji's commentary on one of the twenty Vimsikas, namely Yoga-Vimsika. Prof. K. V. Abhyankar's edition is based on six different MSS, one printed edition of Yoga Vimsika and Pt. Sukhlalji's edition of Yoga-Vimsika with the commentary of Upadhyaya Yasovijayji on it. Prof. Abhyankar's edition contains Sanskrit-introduction, Sanskrit rendering of the gathas of the text, notes in English and an appendix. The editor observes at one place in the Sanskrit introduction that all the MSS bristle with many scribal errors and that he has not been able to explain the text at some places satisfactorily. The edition is good as far as it goes. But it is necessary to have another critical edition based on Prof. Abhyankar's edition and the corresponding relevant passages from the seminal works and other works of Haribhadrasuri himself, where parallel thoughts and themes are treated by him, and with fuller explanatory notes. Such as edition is, indeed, a desideratum. Notes and References : 1. Vimsati-Vimsika by Haribhadrasuri, ed. by K. V. Abhyankar, 981, Sadashiv Peth, Pune 2, 1932. 2. Samadarsi Acarya Haribhadra, by Pt. Sukhlalji Samghavi, Rajasthan Oriental Research Institute, Jodhpur, 1963. OD

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PANCASUTRA : A STUDY (i) The Author of Pancasutraka and his Date It is very striking and noteworthy that the oldest palm-leaf MSS of the text as well as all the MSS of Acarya Haribhadra's commentary make no mention whatsoever of the author of this text. The two paper MSS (C and D) however refer to its authorship thus : "Krtam cirantanacaryaih" (i. e., it is composed by ancient acaryas). The suggestion in some quarters that it is composed by an acarya with the name Cirantana does not deserve serious notice or attention. In his Introduction to the text Prof. A. N. Upadhye observes : "It is not possible to talk of individual authorship with regard to works like Pancasutra. The basic contents of this book are as old as Jainism. They are a literary heirloom preserved in the memory of Jain monks"? Professor K. V. Abhyankar cautiously remarks :"....the Pancasutra... is a small elegant treatise written by some old writer whose name has still remained unknown."3 Muniraj Shri Shilacandravijayaji is almost positive in believing that Acarya Haribhadra himself, must be the author of Pancasutraka4. Munishri Jambuvijayaji finds this view interesting but for lack of evidence does not support its. "The language of the post-canonical Jain works is partly Prakrit--the socalled Jaina Maharasti--and partly Sanskrit"6. The language of the known Prakrit works of Haribhadra is Jaina Maharastri whereas the present work is written in Ardhamagadhi prose; and this prose shares quite a few peculiarities of the diction and style of the canonical works. This fact suggests that Acarya Haribhadra was possibly not its author. It is not unlikely that the author of Pancasutra regarded the contents of the text as the property of the entire Jain Samgha and preferred to remain anonymous. It is also suggestive of its early date of composition. How early it is difficult to say. Since Haribhadra does not know who its author was we may not be far wrong in saying that it was composed about a century or so before Acarya Haribhadra flourished.

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132 STUDIES IN JAIN LITERATURE (ii) Summary of Contents 1. Pancasutraka opens with a homage to the Arhats (Tirthamkaras) who thus expound their doctrine : "Here (in this world) the soul is eternal; and because of its association with karma since beginningless time, it wanders in this external samsara, which is full of misery, suffering, and grief. One can put an end to this samsara by adopting the right dharma (which consists of right faith, knowledge and conduct). One can obtain this dharma by annihilating sinful karmas; and these are destroyed by ripening (or fully developing) tathabhavyatva which is inherent in each individual. To ripen or fully develop this capability there are three means: (i) catuh sarana-gamana (taking the fourfold refuge, namely, that of the arhats, the siddhas, the sadhus and the (Jina) dharma. (ii) Duskrtagarha (Censuring one's evil deeds) and (iii) Sukrtasevana (Praising or approving of good deeds of others). One should cherish ideas and feelings like the following : "I am ignorant and sinful and subjected to delusion since eternity; I am ignorant of what is advantageous or disadvantageous to me. May I know it (through the grace of the Arhats etc.) and may I refrain from doing what is disadvantageous and practise only what is advantageous. With the conviction that it is to my advantage may I always and ever be of service to all beings". The inauspicious karmas of one, who reads or hears and reflects on the import of this sutra, are destroyed sand the auspicious karmas produce good results like a sovereign drug, when taken as per physician's prescription. -Destruction of sinful karmas and sowing the seed of dharmagunas (the anuvratas). 2. When a strong desire to adopt the anuvratas (partial renunciation of violence, etc.), meant for a sravaka (householder) rules one's heart, one should first reflect on their nature, their inherent goodness, their fruit accompanying one in one's next birth, their beneficence, their being the indirect cause of liberation, their being difficult to practise and also the dreadful consequences of violating them such as being subject to delusion, and other difficulties in the way of adopting them. One should, thereafter, adopt them in accordance with the prescribed rules and to the best of his abilities. These vows are : Partial renunciation or abstention from (i) injury to living beings (ii) telling lies (iii) theft (iv) sexuality and (v) possessing property. He should also adopt the three gunavratas : (i) dig-virati-limiting one's movements to a particular direction, east west, etc,; (ii) bhogopabhoga (or upabhogaparibhoga)parimana--setting a limit

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PANCASUTRA : A STUDY 133 as to articles of use, such as food, drink, clothing etc.; and (iii) anarthadandaviramana-refraining from all unvirtuous or unprofitable acts; and the four siksavratas: (i) Samayika-equanimity or inward peace obtained by desisting from all evil; (ii) desavakasika-limiting every day the distance to be traversed in that particular direction (to which one has limited one's movements under the vow of digvirati; (iii) Pausadhopavasa-observing fast on the 8th and the 14th day of each fortnight and on the full-moon day and the new-moon day (thus a Jain layman is asked to observe six fasts in a month.); and (iv) atithisamvibhaga-offering charities to guests (atithi) or to pious men of the Jain sect, such as monks, nuns, laymen and laywomen. After adopting these vows the sravaka should strive hard to practise them. He should always study and reflect on the doctrine of the Jinas. For the doctrine is the greatest antidote against the poison of delusion, water that extinguishes the fire of hatred (and other passions), medicine for the disease of karma and the wish-yielding tree which produces the fruit of liberation. He should avoid all evil things, contact with irreligious people, and all immoral habits acquired from the beginningless time. Compassionate to all beings, he should avoid whatever is disliked by men in general and is against the ways of the world. He should take to religious people who are his friends. He should observe the code of conduct prescribed for a householder, always and ever guarding the activities of his mind, body and speech. He should avoid all sinful activities. He should not even think of causing harm to others. He should make gifts, enjoy himself, keep retinue and make savings in proportion to his earnings. He should not torment his attendants but should be compassionate to them. He should develop, however, no sense of attachment to them. All the souls are separate from one another and the sense of ownership or mineness is the root cause of bondage. He should be circumspect in carrying out his duties as householder keeping all the while in mind his station in life, the family to which he belongs, the preceptor whose pupil he is, and the vows he has taken. He should think of his age and the duties that are proper for that age. He should reflect on the harsh realities of life : "The pleasures of the senses are worthless, transient and bitter or unpleasant in the end. Death is dreadful, all-destructive and strikes one at any time, and that it is irresistible, and that it leads to the cycle of birth and death again and again. The only remedy against Death is Dharma, which is all pure, practised by great personages, beneficial to one and all and the source of the highest happiness of liberation". --Reflecting on (the means of acquisition of) the sadhu-dharma (the stage of a monk)

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134 STUDIES IN JAIN LITERATURE 3. The sravaka who has deeply reflected on the stage of a monk, who is disgusted with samsara and who is intent on attaining liberation, should strive to enter the ascetic order without offending others, say, one's parents, Offending others (one's parents) is an obstacle in the way of entering the ascetic order. No good results from a wrong beginning. If the parents are not already enlightened, he should first try to enlighten them with the following arguments : "The life, which is successful both here and hereafter, is really praiseworthy. Karmas done in company yield the fruit in company. If we take to asceticism in comapany, we would not be separated from one another for many births to come. Otherwise, we would be separated from one another like the birds who frequent a tree and then fly away. Death is irresistible and inevitable. Human birth is as difficult to obtain as a gem fallen in an ocean. There are many other states of existence, no doubt, but they are full of sorrow clouded by delusion, end in misery and are not suited to the practice of Dharma. It is in human existence also that one can attain liberation. The state of liberation is fit to be attained as it is free from birth, old age, and death and as there is no separation from desired things nor union with undesired things; there is neither hunger nor thirst nor any other trouble or suffering. In that state the soul is totally, independent and free from the feelings of love, hatred, etc., and is full of peace and happiness and free from all kinds of trouble. Contrary to this state of liberation is the nature of samsara. It is unsteady, Even the so-called happy are unhappy; the existent is non-existent; and every thing is transient or unreal like a dream. Therefore one should not be attached to this samsara". If the parents refuse to be enlightened he should arrange for their maintenance. It is gratefulness indeed. Karuna (compassion) is the very mother (source) of the elevation (exaltation) of Dharma. He may, if need be, employ deceitful means to obtain the consent of his parents to enter the ascetic order. For, after all, following the Dharma, contributes to the welfare of all. If they refuse permission, he should desert them with a view to bringing the medicine of true belief (samyaktva) for them. They might, per chance, be saved. He should, however, give no offence to his parents--keeping in mind the glorious example of Lord Mahavira who did not enter the ascetic order during the life-time of his parents, who were very fond of him. He should, however, remember that any separation from the parents for a beneficial purpose or a good cause need not be understood as desertion, though it really is so. The cause however is more important when he sees the long-term benefit of his ascetic life.

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PANCASUTRA: A STUDY 135 Thus without causing pain to others he should first worship the Jinas, pay homage to the monks, give gifts to the needy, put on auspicious garments and at an auspicious hour enter the ascetic order in the presence of a good (spiritual) preceptor. He should scrupulously practise the rules of conduct prescribed for a monk and never violate them. -The Section on the Mode of accepting Ascetic Order 4. To a monk who seeks liberation, a clod of earth and gold are alike, a friend and a foe are the same. Such a monk becomes free from the sorrows resulting from attachment and enjoys happiness and peace of mind (resulting from non-attachment). He stays with his spiritual teacher. He is devoted to him, he is modest, knows the true nature of things and rightly believes that nothing else is more beneficial than a stay with his preceptor. He attentively studies the sacred texts and carefully observes various injunctions. He knows that if the religious injunctions studied by him are not observed, they are as good as not studied at all. The non-observance leads neither to liberation nor heaven; trangression leads, no doubt, to calamities but this transgression may be regarded as the remote means of liberation-as it forms the first step on its path. The monk observes the five samitis (carefulness in walking, speech, etc.) and the three guptis (restraint of body, mind and speech), together regarded as the eight mothers of the Doctrine. He knows that just as a child, deserting its mother perishes, even so a monk who repudiates these eight mothers, perishes. He knows very well that right conduct is like a safe island in this ocean of samsara : a lamp in the darkness of delusion. Without any delusion and any eagerness for attaining the fruit of liberation, he observes the rules of right conduct. Becoming purer and purer day by day he is released from sinful karmas. Thereafter with his mind all pure, he practises self-control and austerities and undistracted by troubles and suffering caused by hunger, thirst etc., and calmly facing the disturbances caused by celestial or supernatural beings, etc., he gets rid of karmas and experiences the joys of peace of the soul like a leper who has been restored to health through treatment. Knowing the mind of his preceptor, he acts up to it and thus honours him. 'One who accepts me from the bottom of one's heart also respects his preceptorthis is the teaching of the Lord. Any religious acts, performed without respect to his preceptor are really as good as not performed. Such acts, like the fasts, etc., observed by an unchaste woman, do not bring him the fruit of liberation but

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136 STUDIES IN JAIN LITERATURE make him wander in this sarisara and therefore are condemned by the wise. Respect for one's preceptor is the surest means to attain liberation. The monk, who has the highest respect for his preceptor, never swerves from the right path to liberation. He comes to possess spiritual qualities and he excels even gods in respect of happiness. He swims against the current of this worldly life and as he observes thoroughly the duties of a monk he is called a yogin. In his next life such a monk is born in a good family, is endowed with a handsome form, etc., and all enjoyments are at his service; and at the end of that very life he shakes off all karmas and puts an end to all miseries and attains liberation. -Observance of Asceticism 5. The mumuksu strictly observing the rules of conduct for an ascetic, attains perfection, realises his true self. He is neither sound, nor colour,, nor odour, nor taste, nor touch (because of his siddha state he is absolutely free from these qualities of pudgala-matter). He exists eternally without a form-in a formless state. He is all bliss. This bliss of a siddha (a liberated soul) is absolute and independent of anything and everything else. He has absolutely no touch or contact even with space. It is the very nature of soul to rise upwards when completely freed from karmas and enjoy its innate and infinite (faith, knowledge, power and) bliss. This bliss cannot be compared with anything else. An idea of it, however, could be given by an illustration. The bliss or perfect happiness of a siddha, attained after conquering the internal enemies like attachment, hatred, etc. is infinitely greater than the happiness one gets when all of one's enemies are destroyed, diseases cured, the riches attained and the desires fulfilled. The perfect happiness of a siddha cannot be known to others just as the happiness of an ascetic cannot be known to a non-ascetic or as that of good health to a sick man. The soul, even if bound by karmas from the beginningless time, can be separated from them as gold from ore in accordance with the illustration of kancana and upala). The concepts of bondage and liberation are best--satisfactorily and logically-explained if they are related to the different states of the soul without bringing in the (Samkhya) concept of didrksa (desire to see). Again, karma is neither identical with the soul, nor is it imaginary; and liberation is not just the absence of worldly existence. It is not of the nature of the destruction of santana--like the blown out/extinguished flame of a lamp (as held by some followers of Buddha.) In brief, the perfect happiness enjoyed by a liberated soul is infinite. The

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PANCASUTRA : A STUDY 137 liberated souls--siddhas dwell at the top of the universe (lokakasa). Infinite liberated souls dwell in as much place as occupied by one siddha (liberated soul). The liberated soul, as soon as freed from the eightfold karmas rises upward to the top of the universe just as a gourd-fruit, with its eight layers of clay completely loosened rises to the surface from the river-bed. This doctrine of the Jinas is free of all defects and is appreciated by persons who do not attract karmas afresh and who follow the path of right conduct. Never should it be imparted to undeserving or unqualified persons. This instruction is issued with a view to favouring the undeserving or the unqualified in accordance with the illustration of Amakumbhodakanyasa (pouring water in an unbaked earthen jar). Just as water when poured in an unbaked jar destroys that jar even so the imparting of secret doctrine ruins the undeserving or unqualified. Not imparting it to them is, indeed, karuna (compassion) shown to them. -The Fruit of Asceticism (iii) The meaning of the word sutra A sutra is defined as svalpAkSaramasaMdigdhaM sAravadvizvatomukham / astobhamanavadyaM ca sUtraM sUtravido viduH // "A statement in few words, free from doubt, conveying an inportant sense, having a universal application, free from padding and free from any error (grammatical or logical)". It is a short, concise aphorism used as an aid to memory. It contains only the most essential words-words which are absolutely necessary for conveying the intended sense. In course of time the word sutra was applied to a work containing such short, pithy aphorisms--a work treating of a particular subject in its entirety by means of such aphoristic mnemonic rules. In this sense the word is applied to scientific works as the Astadhyayi of Panini and the works dealing with the various philosophical systems. But the word sutrais also used in a rather loose and inexact sense. viz., that of "a short sentence" without any concern for word economy. It is in this sense that the word sutra is used in connection with the Pratisakhyas, Srauta-sutras (sutra works based on the sruti or the Vedas). Grhyasutras (sutra works containing directions for domestic rites and ceremonies) and Dharmasutras (sutra works dealing with sacred and secular law). In connection with the sacred texts of the Jains and the Bauddhas, however, the word sutra is used in the sense of simply a canonical work. "These Stud.-18

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138 STUDIES IN JAIN LITERATURE works are sometimes found to be written in ordinary prose or sometimes in verse and nowhere does one suspect the slightest attempt made to secure brevity and conciseness of expression. They are usually written, especially in their prose parts, in a characteristically prolix and verbose style, full of tiresome repetition and aggregation of synonymous words in one and the same place and to express the selfsame idea." In view of their style they cannot lay claim to the title sutra. J. Charpentier in his introduction to his edition of the Uttaradhyayana-sutra (p 32) observes : "They (the Jains) doubtless adopted this name for their sacred writings more as a sort of formal counterpoise or set-off against Brahmanism, than, with a view to imitating the style and modes of expression of the Brahmanical sutra literature." The learned editors of Nandisuttam and Anuogaddaraim (Jaina-AgamaSeries No. 1) however, defend the use of the title sutra in connection with their sacred texts thus : ...."However, the Jainas have used the term sutra for their Agamas not because they are composed in the sutra style but because their aim has been the same as that of the Vedic sutra. The aim of the Vedic sutra literature has been to comprehend, in a nutshell, all the teachings pertaining to Vedic conduct. Similarly, the main object of the Agamas has been to comprehend, in a summary fashion, all the teachings of Lord Mahavira....When the varied gems or flowers are strung together they remain preserved, do not get scattered and are not lost. Similarly when the teachings regarding conduct are written down and given the form of a book they remain preserved for a long time. So, all these works deserve the term sutra. In this context the meaning of the term sutra is : "sutranat sutram' (i.e., those works that put the various ideas together are called sutras)....Again, the Jainas maintain that the meanings of one single sentence, grasped by different hearers, are innumerable in accordance with their innumerable capacities. As a sentence of the Agama has the power to suggest in various ways innumerable meanings, that sentence or a collection of those sentences could legitimately be termed sutra. In other words, the Jaina Agama is called sutra because it has the power to convey--to suggest various meanings. In this context the meaning of the term sutra is : 'sucanat-sutram (i.e., that which suggests various meanings is sutra)." (iv) The Title of the Text Pancasutraka The text in question is popularly known as Pancasutra? (the Sanskrit equivalent of Pamcasuttam. As pointed out by the Editor, two of the palm-leaf MSS (K and K1) refer to the title of this text as Pancasutra. The list of names of works, prepared in the 14th or 15th century (VS), and known by the name

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PANCASUTRA : A STUDY 139 Brhattippanika also knows this work by the name Pancasutra'. The two paper MSS (C and D) however, read the title as Pancasutraka. Acarya Haribhadra too refers to the work as Pancasutraka'. The Vrtti (commentary) on Acarya Haribhadra's Yogabindu although not svopajna is quite ancient. It also refers to this work as Pancasutraka 10. Upadhyaya Sri Yasovijayaji (17th century A.D.) in his Svopajna-Vrtti (commentary) on Dharmapariksa quotes a passage from this work with the introductory remark 'Pancasutryam apyuktam.'11 It is obvious that he knew this work by the name Pancasutri. It would thus seem that the present work had been known by three different names : (1) Pancasutra, (2) Pancasutraka!?, and (3) Pancasutril3. Acarya Haribhadra would like us to explain the title as follows : pApapratighAta-guNabIjAdhAnasUtrAdIni paJcasUtrANi yasmin prakaraNe tat paJcasUtram / paJcasUtrameva paJcasUtrakaM Wouny 114 (v) The Structure of Pancasutraka The Pancasutraka is a short treatise of the spiritual guidance of Jain mumuksus. It is one whole work containing five sections closely knit together. Each and every section bears an apt title and each preceding section logically leads to the succeeding sections. These five sections form as it were a ladder leading to siddhi or moksa (liberation). The first section treats of the nature of samsara which abounds in misery and in which the soul, chained by karmas has been wandering since times immemorial. The soul can put an end to this samsara by practising the true dharma consisting of right faith, knowledge and conduct. One can attain this dharma by destroying one's sinful karmas; and these sinful karmas can be destroyed by cultivating tatha-bhavyatva (one's capacity for attaining liberation). This capacity can be achieved by three means : (i) Catuh saranagamana (seeking shelter in (1) the arhats, (2) the siddhas and (3) the sadhus and (4) the dharma preached by arhats). (ii) Duskstagarha (censuring one's misdeeds). (iii) Sukstasevana (praising or approving of good deeds of others). The section is therefore called : Papapratighatadharmagunabijadhanasutra : "The section dealing with the destruction of sinful deeds and the sowing of the seeds of religious vows (like Abstention from injury to living beings)." The second section then describes the five sthula (or anu)-vratas and recommends the mumuksu to adopt them, reflect on them, and put them into practice. In due course he cultivates an attitude of mind that is favourable to adopt diksa (initiation). This section is called, Sadhudharma-paribhavana

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140 STUDIES IN JAIN LITERATURE sutra : "The section dealing with Reflection on the duties of a monk'. After reflecting on the duties of a monk the novice becomes totally disgusted with samsara. He should then obtain consent of his parents to enter the ascetic order; if he fails in his efforts to obtain their consent, he should make arrangements for their livelihood and leave them with the express aim of securing the antidote called dharma for disabusing the minds of his parents of moha (delusion) and cheerfully adopt the ascetic order at the hands of a worthy guru. The section is aptly called: Pravrajya-grahana-vidhi : "The mode of adopting the ascetic order." The next section deals with the strict observance of the duties of a monk including reverential attitude towards his spiritual guide and preceptor while receiving instruction and advice from him and his actual study of the scripture. The section is appropriately called Pravrajya-paripalana-sutra : "The section dealing with the observance of monastic life." The concluding section treats of the fruit of asceticism, viz., siddhi or moska (liberation) By his rigorous monastic life and strict observance of tapas (austerities) and samyama (self-restraint) he completely annihilates his former karmas and his soul flies upward to the top of the universe and permanently dwells there in peace enjoying eternal happiness or bliss. In accordance with the contents the section is rightly called : pravrajyaphalasutra : "The section dealing with the fruit of asceticism." This brief analysis of the contents would show how the author has carefully planned and arranged the different sections to constitute one wellorganised whole-one single work. (vi) The Style of Pancasutrakam The work is religio-philosophical in its nature. It would be therefore unfair to judge it as a literary work. Even then when we go through the text we are struck by some of the noteworthy features of its style. The whole work is written in Ardhamagadhi prose. Here and there the style is reminiscent of the style of the Jaina canonical prose. But on the whole it is refreshingly free from the glaring peculiarities that characterise the canonical prose. It is written in a didactic tone, no doubt, but not 'in a dry-as-dust, matter of fact, didactic tone. '16 The prose passages are not 'extremely prosaic'. They are not positively dry and uninteresting, and their style is not 'verbose. laboured and artificial.'17 A. N. Upadhye observes : "The whole work is written in Ardhamagadhi prose...Generally the text is easy but it becomes diffcult in the last two chapters where narration is intermixed with logical discussions."18 And about the treatment of the subjectmatter he says : "The treatment of subjectmatter in this work is a queer admixture of personal exclamations, appeals to the authority,

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PANCASUTRA : A STUDY 141 moral injunctions, aphoristic maxims, homely illustrations and their application, cryptic statements and arguments, and of short descriptions."19 As we read through this text we are struck by some literary excellences that lend a sort of beauty to this semi-religious and semi-philosophical treastise. In order to elucidate the various points pertaining to religion and philosophy the author makes effective use of some figures of speech and examples or illustrations. He is capable of epigrammatic brevity and writes brief, pointed, simple yet effective prose. We cite here below a few passages to illustrate our general observations regarding his style ; evaM suhumameyaM, na tattao iyareNa gammai, jaisuhamivAjaiNA, AruggasuhaM va rogiNa tti vibhAsA / Here we have two apt similes to illustrate the point that none else than a liberated soul can truly realise the nature of the bliss of moksa just as one who is not a monk cannot realise the happiness of a monk or a person afflicted with disease cannot realise the happiness of good health. In the following passage we have an apt malopama : ___ sevejja dhammamitte vihANeNaM, aMdho viya aNukaDDage, vAhio viva vejje, darido viya Isare, bhIo viya HENRI A sravaka should follow his dharma-mitras (senior colleagues) just as a blind man follows his 'leader', a sick person his physician, a poor man his master and a person placed in danger a great general. Here is an appropriate simile : ....farfen 3ffret cashrifin.../ The religious duties, performed by a monk, who does not respect his guru (spiritual teacher), are as good as not performed like the austerities etc. of an unchaste woman--which prove totally barren. Here we have a mala-rupaka : ANA hi mohavisaparamamaMto, jalaM dosAijalaNassa, kammavAhicigicchAsatthaM, kappapAyavo sivaphalassa / The Jaina agama is the supreme spell or incantation to quell the poison of delusion, the veritable water to put out the fire of hatred and the like, the science of medical treatment to cure the disease of karma, the wish-yielding tree that bears the fruit of moksa. Here we have another mala-rupaka : ...mohatimiradIve, rAgAmayavejje, dosANala-jalanihI saMvegasiddhikare havai aciMtaciMtAmaNikappe / The monk who practises asceticism sincerely is a veritable lamp that dispels the darkness of delusion, a physician who cures the disease of attachment, an ocean to extinguish the fire of hatred,...

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142 STUDIES IN JAIN LITERATURE Here we have a virodha (paradox) : esa cAe acAe / acAe ceva cAe / This desertion is indeed no desertion (as he deserts them--his parents-- with a view to securing their welfare). Not deserting them (the parents) would amount to desertion (as it would jeopardize their well-being). Here we have striking subhasitas : savve jIvA puDho puDho mamattaM baMdhakAraNaM / All beings have their own individuality-Each being is different from all others. Self-interest (sense of mine) is the cause of bondage (to the cycle of birth and death). karuNA ya dhammappahANajaNaNI jaNammi / Karuna (Compassion) is the cause of the rise or prosperity of dharma. dhammArAhaNaM khu hiyaM savvasattANaM / Practising of the dharma contributes to the good of all beings. The author has introduced about a dozen jnatas or nyayas (nayas)examples or illustrations to elucidate the various points under discussion. A few of them may be noted here : egarukkhanivAsisauNatullaM The perching of birds on one tree for the night and flying away the next morning--this illustration is introduced to explain the fact that union of beings ends in separation. aTThANagilANosahattthacAganAya The example of deserting (one's parents) who have taken ill in an outof the way place in a forest with the intention of bringing medicine for them. The son who has intense desire to receive the diksa but whose parents try to dissuade him, deserts them for bringing the medicine of dharma for their benefit. AmakuMbhodaganAsanAya The example of water, poured in a raw pot, destroying the pot itself. This illustration is cited to explain that the knowledge of Jain agama is not to be imparted to the unfit-unqualified as it would lead to their ruin. The author when he means can write brief, effective, forceful prose. We may cite here a passage or two by way of illustration :

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PANCASUTRA : A STUDY 143 ...na ciMtejja parapIDaM / na bhAvejja dINayaM / na gacchejja harisaM ....evaM na bhAsejja aliyaM, na pharusaM, na pesunnaM, nANibaddhaM / hiyamiyabhAsage siyA / evaM na hiMsejja bhUyANi / na giNhejja adattaM na nirikkhejja paradAraM / ... "He should not think of causing pain to others. He should not feel dejected. He should not feel elated...Similarly, he should not speak a lie, nor harsh words, nor indulge in slander or backbiting nor speak incoherently. He should speak friendly or salutary words and measured words. Similarly he should not cause injury to living beings. He should not take what is not given. He should not look at another's wife'. ___ tahA jAgarijja dhammajAgariyAeko mama kAlo kimeyassa uciyaM, asArA visayA niyamagAmiNo virasAvasANA / bhIsaNo maccU savvAbhAvakArI, avinAyAgamaNo, aNivAraNijjo,...dhammo eyassa osahaM... prmaannNdheuu| "He should keep vigilant in the matters of dharma; what is now my age ? Is it proper at this age to adopt dharma ? Objects of senses are worthless; they are evanescent; they end in misery. Terrible Death destroys everything. He comes near you-approches you-stealthily. He is irresistible...Dharma is its antidote...is the source of supreme bliss'. In conclusion, the author presents the dignified subjectmatter of Pancasutraka in equally dignified style. (vii) The place of Pancasutraka in the post-canonical religious works of the Jains and the Jain community : This ancient treatise "has occupied a position of high esteem among the post-agama works on Jain religion."20 It has been regarded by tradition as a priceless jewel among the religious works of the Jains. The work is no doubt, small in extent, yet it succeeds in describing effectively the preliminary stage of sravaka-dharma that prepares for the intensified stage of sadhu-dharma which in its own way leads to the Mumuksu's cherished goal of moksa. The sravakas, sravikas, the sadhus and the sadhvis, especially belonging to the Svetambara sect, daily recite, if not all the five sutras, at least the first sutra. This sutra declares that "when it is properly recited, heard, and meditated upon, the inauspicious karmas are...destroyed and...auspicious karmas are attracted...begin to yield results and in due course lead to moksa". With this promise and hope held out, the Jains recite, hear and meditate upon this sutra. As pointed out by Muni Sri Jambuvijayaji the later works and commentaries of reputed Jain authors and commentators show an unmistakable influence of Pancasutraka. Thus Haribhadrasuri's Dharmabindu

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144 STUDIES IN JAIN LITERATURE and Muni Candrasuri's Vrtti on it adopt some portions from Pancasutraka and its commentary. Acarya Hemacandra cites a passage21 from this work in his svopajna commentary on Yogasastra. Further, in his famous Vitaragastotra22 he beautifully summarises the first sutra. The noted commentator Malayagiri makes use of the introductory portion of the Pancasutraka-Vyakhya in his own commentary on Dharma-Samgrahani23. These references lead us to conclude that our text was current and popular in the eleventh and the twelfth centuries of the Vikrama era. Much later in the seventeenth century we find Upadhyaya Yasovijaya making liberal use of our text in his Dharmapariksasvopajnavstti24. The daily recitation of this Pancasutraka and its influence on later celebrated Jain authors and commentators speak volumes of its exalted place in post-canonical Jain works on religion and the Jain community. (viii) Acarya Haribhadra25, the commentator of Pancasutraka : In the 8th century (700-770 A.D.) there lived one of the most distinguished and prolific writers of the Jains, Acarya Haribhadra. He was born as the son of a Brahmana in Rajasthan and was well-versed in different branches of Vedic learning. After receiving the Jain-Diksa he mastered Prakrit languages and literature including Jain agama works. He thus combined in himself the Vedic and the Jain traditions and attained mastery over both Sanskrit and Prakrit. He wrote commentaries on agama-sutras as well as agama-bahya sutras (including the present treatise), Prakarana works and comprehensive philosophical texts, works dealing with yoga, kathas and stuti. He is said to have composed 1400 Prakaranas (systematic, sastriya treatises) ! This number is staggering, no doubt, but his extant works bear ample testimony to his versatile genius and encyclopaedic scholarship. "Haribhadra wrote both in Sanskrit and Prakrit. He was an eminent composer in verse and in prose, and also wrote systematic scientific treatises (Prakaranas) and comprehensive philosophical works. Probably, he was also the first to write commentaries to the Canon in Sanskrit... While utilising the ancient Prakrit commentaries he retained the narratives (Kathanakas) in their original Prakrit form."26 Compared to his predecessors and successors Acarya Haribhadra leaves a deep impression on our mind of his two remarkable qualities : his nonsectarian approach and attitude, and courteous and respectful attitude towards his adversaries. His fair and impartial attitude is very well reflected in his famous statement :

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PANCASUTRA : A STUDY 145 pakSapAto na me vIre na dveSaH kapilAdiSu / yuktimadvacanaM yasya tasya kAryaH parigrahaH // Acarya Haribhadra's meeting with the Jaina sadhvi mahattara Yakini marked the turning point in his life and led to his entering the ascetic order. Out of a sense of gratefulness he thenceforth called himself the spiritual son of the great nun Yakini. It may be noted that got another name for himself, "bhavaviraha", out of his zest for moksa. (ix) Acarya Haribhadra's Pancasutraka-Vyakhya There are various kinds of expositions in Sanskrit and Prakrit literatures. Vyakhya, Vrtti, Paddhati, Varttika, Vivarana, Bhasya, Panjika, Nijjutti (SK niryukti), Curni, Avacuri, Samiksa are well known types of exposition, each and every one of them having characteristic features of its own. In his Kavyamimamsa Rajasekhara defines some of these kinds of exposition. The term 'Vyakhya' is thus defined : "arthasya apratIyamAnasya paryAyAbhidhAnena vibhajya pratipAdanaM vyAkhyA, zabdasyApi vyutpAdanaM vyAkhyA / evamete dve vyAkhye (tayorarthaparijJAnamekasyAH kAryam, zabdaparijJAnamekasyAH / )"27 The religio-philosophical nature and antiquity of this short but important Pancasutraka attracted a scholar of Acarya Haribhadra's eminence and inspired him to write a commentary on it. He has not only put his finger on the stiff points and pointed out their exact meaning "which the ancient unknown author "seems to have intended but at places he has beautifully preserved the traditional explanations which obtained at his time. The commentary is small in compass but rich in meaning, and its style is lucid and graceful. In support of his explanations he cites passages from earlier works of Jaina agama and postagama Jaina works and from poetic works as well. Thus we have citations from Dasavaikalikasutra, Brhatsamgrahani, Nisithabhasya, Avasyakaniryukti, Visesavasyakabhasya, Avasyakasutra, Sravakaprajnapti, Bhagavatisutra, Oghaniryukti, Tattvartha, Prasamarati, and Asvaghosa's Saundarananda and Buddhacarita and from his own other works like Lokatattvanirnaya, Yogadrstisamuccaya and Yogabindu, Pancasaka, and Lalitavistara. There are quite a few citations which remain to be traced to their sources. These numerous citations attest to Acarya Haribhadra's wide reading and ability to use them on appropriate occasions. Acarya Haribhadra's Vyakhya, though learned, is not more erudite and diffcult than the text, but explains the text clearly and unambiguously. Stud.-19

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146 STUDIES IN JAIN LITERATURE Notes and References : 1. Vide this edition p. 79, f. n. 2, p. 81 f.n. 1. 2. Vide this edition p. 79, f. n. 2. 3. Introduction to Prof. Shah's edition p. 9. 4. Introduction to this edition; see the footnote to the discussion in Gujarati) about Author. 5. Introduction to this edition; see the discussion (in Gujarati) about Author. 6. M. Winternitz: A History of Indian Literature, Vol. II, p. 475. The Tattvarthasutra, however, enumerates the three gunavratas and four Siksavratas somewhat differently; The three gunavratas are : (1) Digvirati, (2) Desavirati and (3) Anarthadandavirati; and the four Siksavratas are: (1) Samayika (2) Posadhopavasa (3) Upabhogaparibhoga-parimana and (4) Atithisamvibhaga. Inspite of this difference in the order of enumeration of these seven vratas, the fact remains that the nature of each and everyone of these seven vratas is the same according to the Jaina agama tradition described in the main body above and the Tattvartha tradition noticed in this footnote. * Shri Mahavira Jaina Vidyalaya edn., Bombay, 1968, pp. 12-13. 7. The printed edition, published by Sri Jaina Atmanand Sabha Bhavnagar, 1914 bears the title : cirantanAcAryakRtaM paJcasUtram The two editions of this text, prescribed for the B.A. Examinations of the University of Bombay for 1933 and 1934, are entitled Pancasuttam : (1) Ed. with Introduction and Notes by Prof. A.N. Upadhye and pub. by Dr. P. L. Vaidya, 12 Connaught Road, Poona No. 1, 1932 (2) Ed. with Sanskrit rendering, introduction, Notes and Translation in English by Prof. V. M. Shah and pub. by Gurjar Grantharatna Karyalaya, Gandhi Road, Ahmedabad, 1934, The edn. by Muniraj Rajasekharavijayaji, with translation in Gujarati and pub. by Bharatiya Pracya-tattva Prakasana Samiti, Pindawada (Rajasthan) bears the title Sri Pancasutra. 8. Vide,-(entry No. 75) 9. Vide the present edn., p.1, line 3, p. 24, 1. 19, p. 33, 1. 17, p. 44, 1. 16, p. 65, 1. 16, p. 80. 1. 18, p. 81, 1. 3 10. Vide the extract from the commentary on Yogabindu v. 179, cited in Pancaman Parisistam, p. 112 of the present edn. 11. Vide the extract cited in f. n. 3. on p. 18 of the present edn. 12. Cf. the titles Pancatantra and Pancatantraka. 13. Cf. the titles Astadhyayi, Caruhsutri, Dvadasadhyayi, etc. 14. Acarya Haribhadra, at the beginning of his commentary says: kimidaM paJcasUtrakaM nAma ? ucyate-pApapratighAtaguNabIjAdhAnasUtrAdIni, paJca sUtrANyeva / pravrajyAvidhAnAdIni paJca vastUni yasmin prakaraNe tat paJcavastu, paJcavastveva paJcavastukaM graMthe yathAkramama...kIrtayiSyAmi / -paJcavastukaprathamagAthAsvopajJavRttau 15. The commentator very well demonstrates how the five sections are closely interlinked

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PANCASUTRA : A STUDY 147 when he observes at the commencement of his Vyakhya : ...na hi prAyaH pApapratighAtena guNabIjAdhAnaM vinA tattvatastacchraddhAbhAvaprarohaH, na cAsatyasmin sAdhudharmaparibhAvanA, na cAparibhAvitasAdhudharmasya pravrajyAgrahaNavidhAvadhikAraH, na cApratipannastAM tatparipAlanAya yatate, na cApAlane etatphalamApnotIti pravacanasAra eSa sajjJAnakriyAyogAt / -p. 2.lines 2-5 Professor K. V. Abhyankar, in his Foreword to the edition of Pancasuttam by Prof V. M. Shah, pub. by Gurjar Grantharantna Karyalaya, Gandhi Road, Ahmedabad, 1934, observes thus : ... is a small elegant treatise... The book has occupied a position of high esteem among the post-Agama works on Jaina Religion. In the small treatise the author has given a cogent and logical presentation of the spiritual uplift of the pious individual in five chapters which mark the five successive steps of his spiritual progress. The presentation is fully logical although a little bit unmethodical and the expression is chaste and adequate although a little bit archaic at places. It is the semireligious character and antiquity of the book that attracted a great scholar like Haribhadrasuri to the book and inspired him to write a gloss on it." (Italics ours) 16. A History of Indian Literature, Vol II, University of Calcutta edition, 1933, p. 426. 17. The Dasavaikalikasutra : A Study by Prof M. V. Patwardhan, Willingdon College, Sangli, 1933. 18. The Pancasutram of an unknown ancient writer, edited with Introduction and Notes by A. N. Upadhye and pub. by Dr. P. L. Vaidya, 72, Connaught Road, Poona No.1, Introduction, p. 10. 19. Ibid, Introduction, p. 4. 20. Professor K. V. Abhyankar in his Foreword to Prof. V. M. Shah's edition. 21. feugru..ufacfifeet ferment --P. 29, 11, 16-17 22. Falandi gaand The Hand ECHTG471 nAtha tvaccaraNau yAmi zaraNaM zaraNojjhitaH / / Prakasa 17.1 and other verses, vide Appendix V. p, 111 (this edn.) 23. Vide this edn. f. n. Appendix V. p. 109 24. Vide this edn. p. 13, f. n. 4, p. 18 f. n. 3. 25. (i) M.Winternitz: A History of Indian Literature, Vol. II, University of Calcutta edn. 1933, pp. 479, f. 485, 488, 507, 511, 519f, 522f, 526, 561 and 583f. (ii) Introduction to Samaraiccakaha ed by Dr. H. Jacobi and pub. by Asiatic Society of Bengal, Calcutta. (iii) Samadarsi Acarya Haribhadra (in Gujarati) by Pandit Sukhlal Sanghavi, pub. by Bombay University 1961. 26. A History of Indian Literature, Vol. II, pp. 480-481. 27. Oriental Institute, Baroda, 1934 edn., p. 5. OOO

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THE SOURCE OF PRAKRIT LANGUAGES The Indian grammarians of Prakrit Languages regard Sanskrit as their prakrti--their basis or origin or source. I quote here a few passages from their works bearing on this subject : (i) prakRtiH saMskRtaM tatra bhavaM prAkRtamucyate / --prAkRtasarvasva (ii) prakRtiH saMskRtaM tatra bhavaM tata AgataM vA prAkRtam --siddhahaima vyAkaraNa (iii) prakRtiH saMskRtaM tatrabhavatvAt prAkRtaM smRtam / --prAkRtacandrikA (iv) prakRteH saMskRtAyAstu vikRtiH prAkRtA matA / --SaDbhASAcandrikA (v) prAkRtasya tu sarvameva saMskRtaM yoniH / --prAkRtasaJjIvanI The explanation of the word Prakrti as Sanskrit, however, is not accepted by some scholars. They would like us to understand the word in the sense of the basis for a comparative study of these languages. They also point out that no Sanskrit lexicon records this "Sanskrit" meaning of the word : prakrti and that at least in the context of the Desya words this "Sanskrit" meaning does not fit in. They derive the word as follows : (1) prakRtyA svabhAvena siddhaM prAkRtam / -- "Self-existent." or (2) prakRtInAM sAdhAraNajanAnAmidaM prAkRtam / "What belongs to the masses, the common people." This derivation finds strong support in the writings of some reputed scholars and poets : For ready reference I quote here these passages : prAkRtasaMskRtamAgadhapizAcabhASAzca zUrasenI ca / SaSTho'tra bhUribhedo dezavizeSAdapabhraMzaH // ' - On this karika the comments of Namisadhu run as follows

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THE SOURCE OF PRAKRIT LANGUAGES 149 prAkRta iti / sakalajagajjantUnAM vyAkaraNAdibhiranAhitasaMskAraH sahajo vacanavyApAraH prakRtiH / tatra bhavaM saiva vA prAkRtam / "ArisavayaNe siddhaM devANa addhamAgahA vANI" ityAdivacanAdvA prAkpUrvaM kRtaM prAkRtaM bAlamahilAdisubodhaM sakalabhASAnibandhanabhUtaM vacanamucyate / meghanirmuktajalamivaikasvarUpaM tadeva ca dezavizeSAt saMskArakaraNAcca samAsAditavizeSaM sat saMskRtAdhuttaravibhedAnApnoti / ata eva zAstrakRtA prAkRtamAdau nirdiSTaM tadanu saMskRtAdIni / pANinyAdivyAkaraNoditazabdalakSaNena saMskaraNAt saMskRtamucyate / tathA prAkRtabhASaiva kiJcidvizeSalakSaNAnmAgadhikA bhaNyate / -Niranayasagar press edition, Bombay, 1909, p. 13. Vakpatiraja, in his poem, called "Gaudavaho", observes : saalAo imaM vAA visaMti etto ya aiti vaaaao| eMti samudaM ccia Neti sAarAo ccia jalAiM // (sakalA idaM vAco vizanti itazca niryanti vAcaH / Ayanti samudrameva niryanti sAgarAdeva jalAni // ) In his play "Balaramayana" Rajasekhara writes : yad yoniH kila saMskRtasya sudRzAM jihvAsu yanmodate yatra zrotrapathAvatAriNi, kaTurbhASAkSarANAM rasaH / gadyaM cUrNapadaM padaM ratipatestatprAkRtaM yad vaca smaoNllATaoNllalitAGgi pazya nudatI dRSTenimeSavratam // Hemacandra, in his Kavyanusasana, writes thus : akRtrimasvAdupadAM paramArthAbhidhAyinIm / sarvabhASApariNatAM jainI vAcamupAsmahe / / and in the course of his Vrtti he says : ... athavA akRtrimANyasaMskRtAnyata eva svAdUni mandadhiyAmapi pezalAni padAni yasyAmiti vigrahaH / ....tathA sarveSAM suranaratirazcAM vicitrAsu bhASAsu pariNatAM tanmayatAM gatAM sarvabhASApariNatAm / ekarUpApi hi bhagavato' rdhamAgadhIbhASA vAridavimuktavArivadAzrayAnurUpatayA pariNamati / yadAha- devA daivIM narA nArI zabarAzca zAbarIm / tiryaJco'pi hi tairazcI menire bhagavadgiram // Mahavira Jain Vidyalaya, Bombay, 1964 edn. pp 1-2. In short, according to the view of these writers, the Prakrit language is the root-language and that Sanskrit and other languages are derived from it. Now it needs to be seen whether this view stands a close scientific scrutiny : Modern grammarians and philologists firmly hold that the Prakrits form a connecting link between the Sanskrit language-both Vedic and Classical Sanskrit including the Epic idiom (OIA) and the Modern Indian languages (NIA) like Marathi, Gujarati, Hindi, Bengali etc. They concede the close connection

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150 STUDIES IN JAIN LITERATURE and dependence of Prakrit on Sanskrit but remark "This, however, need not mean that the source (Prakrti) of these languages is Sanskrit." If the Prakrits, as described by the grammarians, are not descended from Sanskrit, wherefrom are they descended ? Have they descended from "primary parent Prakrits" that were earlier than Sanskrit or contemporaneous with Sanskrit, both being vernaculars of those days ? If we examine the vocabulary of the Prakrit language Maharastri from a comparative point of view we find that the tatsama(words identical in form with their Sanskrit equivalents) and the tadbhava (words arising from Sanskrit after undergoing some phonetic modifications) words nearly exhaust the Prakrit vocabulary. Only a few of them are of a different origin and are called Desi words. The origin of the Desi words is a problem. Some of them are obscure Sanskrit words changed beyond recognition, a few may have been borrowed from the Dravidian languages, and a few may have been Indo-Aryan words not retained in their refined form in Sanskrit. This fact of vocabulary, which is nearly identical, coupled with facts of grammar Prakrit grammar only tends to simplify and reduce the number of forms, tenses etc. would lead us to conclude that the Prakrits are derived from Sanskrit. This conclusion is supported by historical evidence too. R. G. Bhandarkar rightly observes that sometimes accidents in the history of a race, such as its coming in contact or being incorporated with another race, serve to transform its language within a short time. "It would seem that when the Aryas moved from abroad with their Bhasa into India and came in contact with native races and these races were closely incorporated into Aryan fold, these native races left their own tongue and learnt that of the more civilized Aryas and in learning it they corrupted it or developed it into Pali and the various Prakrits. They were, however, unable to get over certain peculiarities of their own language such as the short T and 311, the change of dentals to cerebrals and a few words of their language (which came to be known, later on, as Desi) for whom they had especial partiality and they introduced their usage in this newly acquired language." The minute directions about the use of certain Prakrit dialects in the case of certain persons laid down by Bharata in his Natyasastra were motivated to represent in the drama a state of things actually existing in the country. We could safely infer that a few centuries before and after Bharata composed his Natyasastra, the Prakrits were spoken languages along with the Sanskrit language with this difference that the Sanskrit was the vernacular of the higher

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THE SOURCE OF PRAKRIT LANGUAGES 151 or cultured class of the consolidated community whereas Prakrits were the vernaculars of the lower or uneducated classes of the community. The Sanskrit and the Prakrit languages thus existed side by side for some centuries and bore the same relation which we notice between high Marathi of the educated and cultured people of Poona and Bombay and the low Marathi of the lower or uneducated classes in these cities. In conclusion, it may be stated that the Prakrits, described by the grammarians, form the group of Middle Indian Languages. They are developed through corruption and many grammatical phenomena from Sanskrit by the then native races of India, who were closely incorporated into the fold of Aryas who had migrated to India with their own Bhasa and that some centuries prior to Bharata's Natyasastra and some centuries after it, these Prakrits were the vernaculars of the lower or uneducated classes who had given up their original tongue, and thus the view of some scholars that Prakrit was the earlier and ancient language and Sanskrit represents its refined form cannot be maintained. Notes and References : 1. Rudrata's Kavyalamkara II. 12, pub. Nirnaya Sagar Press, Mumbai, 1909 edn. 2. Ibid, p. 13. 3. Gaudavaho by Vakpatiraja ed. N. G. Suru, pub. Prakrit Text Society, Ahmedabad-9, 1975, Gatha No. 93. 4. Kavyanusasana of Acarya Hemacandra, ed. by R. C. Parikh and V. M. Kulkarni, pub. Sri Mahavira Jaina Vidyalaya Bombay, 1964, pp. 1-2. Ona

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THE STORY OF KING VASU IN JAIN LITERATURE The story of king Vasu is narrated, with some variations in details in early Jain works like Paumacariya (Sk. Padmacarita) of Vimalasuri (c. 4th century A. D.), Vasudevahindi (The Wanderings or adventures of Vasudeva) a magnificent Prakrit prose romance earlier than the seventh century, according to some scholars still much earlier, earlier even than the Paumacariya) of Sanghadasagani, Padmapurana of Ravisena (678 A. D.), Harivamsapurana of Jinasena I (783 A. D.), etc. All these works are far removed in time from the great national epic, Mahabharata in which this story of Uparicara Vasu occurs for the first time. "Vasu was a great king of the Satyayuga. He was also known as Uparicara. He was a disciple of Brhaspati and an ardent devotee of Narayana (Visnu). He used to worship the deity according to the tenets of the Satvata or Pancaratra darsana. An asvamedha performed by him was remarkable for the fact that no animals were killed in the sacrifice, the oblations being made with the produce of the forest. Once while travelling through the sky, he was asked to act as judge or umpire in a debate between the gods and sages. It was about the interpretation of the word aja in the Vedic statement that sacrifices should be performed with ajas. The gods maintained that word aja meant 'goats' while the sages held that it meant 'grains of corn'. Having first ascertained what opinion was entertained by each party, Vasu, moved by partiality for the gods, gave the decision in their favour, whereupon the sages cursed and condemned him to fall down from heaven and sink below the surface of the earth. The gods went to his hole and said that he should have the vasordhara 'the stream of Vasu' for his sustenance--as long as he remained there--the stream of Vasu, clarified butter poured for him by the priests as an oblation in sacrifices. Advised by gods Vasu continued to worship Visnu even in the nether regions. Through Visnu's favour Vasu regained his freedom and ascended to Brahmaloka". (Santiparva chs 335 ff). The story of Vasu is also referred to in the Anusasanaparva (6.34), where it is stated that he went to hell for speaking even a single falsehood.

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THE STORY OF KING VASU IN JAIN LITERATURE 153 Now, Vimalasuri relates the story of the king Vasu in the context of the origin of (Vedic) sacrifice. Ajita was the king of Ayodhya and Vasukumara was his son. Ksirakadamba was the priest (of the king). His wife's name was Svastimati and their son's name was Parvataka. This Parvataka and Narada, a young Brahmana (and prince Vasu) were the disciples of Ksirakadamba. One day he was expounding the teachings of the Aranyaka scriptures to his disciples when a kind-hearted monk, flying in the sky, out of compassion said "One of these four would go to hell." The priest heard this remark and felt frightened. He dismissed his disciples. Parvataka went home but the priest didn't. His wife felt very anxious. Next day Parvataka went out in his search; and he found him turned a monk. Svastimats was deeply grieved to hear this. Then Narada learning about the pathetic condition of Svastimati went to her and consoled her. At that time king Ajita (Jitari) placing Prince Vasu on his throne, himself turned a monk. Vasu's was a divine crystal throne. Once there arose a dispute between Parvataka and Narada regarding the interpretation of the word 'aja' in the text 'ajesu janno kayavvo'. Sacrifices should be made with ajas. Parvataka interpreted the word to mean 'aja pasu' a goat whereas Narada interpreted it to mean 'avijja (abijah) yavadikankuraparimuktah' grains three year old-that are sterile, infertile, unproductive. Both of them agreed that they should request their classmate Prince Vasu to act as umpire, and accepting his decision as final. Parvataka sent his mother to Prince Vasu to exert influence on him for announcing a decision in his favour. Next day Parvataka and Narada accompanied by people went to Vasu. Narada said to Vasu "O king Vasu, you are known as truth speaker-for the speaking of truth (satyavadin); So declare what was the interpretation according to our teacher Ksirakadamba". Vasu declared that Parvataka's interpretation was the right one. As soon as he made this false declaration Vasu, as he was seated on his crystal throne, went down (below the surface of the earth) --Vasu for his falsehood and support to killing of goats in sacrifices was born in the lowest seventh hell-the darkest one and the source of terrible tortures. People condemned Parvataka and Vasu as liars and honoured Narada then and there (as satyavadin). Condemned by people wicked Parvataka practised austerities and after death he was born as a raksasa. Remembering his former birth (as Parvataka) and condemnation by people he assumed the form of a Brahmana. Wearing sacred thread, with an umbrella, a kamandalu (water-jar) and a rosary of beads he began to think of and preach the killing of animals in Vedic sacrifices. Following his teaching hermits and Brahmanas started performing animal sacrifices. In 'gomedha' sacrifice he recommended the drinking of liquor, illicit intercourse Stud.-20

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154 STUDIES IN JAIN LITERATURE with a woman (agamyagamana)-intercourse with forbiddein women (mother, sister). In sacrifices like pitrmedha, matrmedha, rajasuya, asvamedha and pasumedha beginning with the name of a living being or creature he enjoined the slaughter of that being or creature in the accompanying ritual. The procedure of a sacrifice thus involved the killing of a creature the drinking of intoxicating liquor (asavapana) and eating flesh (mamsa-bhaksana). The story of Vasu as stated in the beginning, is originally a Brahmanical legend. It is narrated with the express intention or purpose of describing the origin of (Vedic) sacrifice. The author of Paumacariya probably wants simultaneously to illustrate the supreme importance of their doctrine of ahimsa and the disastrous consequence of speaking even a single falsehood. Notwithstanding the changes effected by Vimalasuri in his narrative, he reproduces the core of the story, the debate between Parvataka and Narada regarding the interpretation of the word aja and Vasu's speaking a falsehood, without any change or modification. Jainism attaches highest importance to the doctrine of ahimsa. It is therefore very natural that Jain writers should strongly criticise killing of animals in Vedic sacrifices. It is also not surprising if they quote the views of certain Brahmanical thinkers, Samkhyas, Vedantins and Vyasa in support of their thesis that killing of animals even for the purpose of Vedic sacrifices is a grievous sin. For example : tathA ca paThanti pAramarSAH yUpaM chittvA pazUn hatvA kRtvA rudhirakardamam / yadyevaM gamyate svarge narake kena gamyate // vedAntikA apyAhu: . andhe tamasi majjAmaH pazubhirye yajAmahe / hiMsA nAma bhaveddharmo na bhUto na bhaviSyati / K. K. Handiqui has shown in his work 'Yasastilaka And Indian Culture how Somadeva and other Jain authors have made misleading and erroneous statements regarding Vedic sacrifices!. Apart from this acrimonious aspect of the Jain adaptations of the Hindu tales, the Jain narrative literature is vast, varied and is of invaluable help for a critical and comparative study of the various legends, tales, and narratives in the Hindu, Jain and Buddhist narrative literatures--which reveal partial agreement and at the same time striking divergences among themselves. Notes and References : 1. Chapter XIV, pp. 377-390.

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TYPES OF STORIES IN SANSKRIT AND PRAKRIT LITERATURE WITH SPECIAL REFERENCE TO DHARMA-KATHA IN JAIN LITERATURE (A) Katha and its types as given in Prakrit Works According to Sthananga-sutra', katha is threefold. 1. artha- 2. dharmaand 3. kama-katha whereas vikatha2 is fourfold : 1. stri- 2. bhakta- 3. desa- and 4. raja-katha. Each of these four is further sub-divided into four sub-types. Further on, Sutra 5693 declares that there are seven vikathas and adds to the above four types the following three vikathas. 5. mrdukarunika. 6. darsanabhedini and, 7. caritra-bhedini. Sthananga (Sutra 282) divides katha (or rather dharmakatha) into four sub-types. 1. aksepani, 2. viksepani, 3. samvegajanani (or Samvejani) and 4. nirvedajanani (or nirvedani). According to Vasudevahindia, the katha is twofold : 1. Carita (narrative based on tradition, biography) and 2. Kalpita (work of imagination, fiction invention). Carita is twofold, 1. narrative of life of a woman or man. Carita is : whatever is seen, heard or experienced with regard to the achievement in the field of the three ends of human life, dharma (virtue, sacred law or duty) 2. artha (wealth) and 3. kama (pleasure). But whatever is opposite of this, i.e., whatever is invented by the poet or story-teller and added to what has been told by the wise is called Kalpita. Men and women are known to be 1. uttama (exalted, excellent) 2. madhyama (middlemost) and, 3. nikrsta (low or vite or debased). Narratives based on their lives (Caritas) too are of the same kind. Haribhadrasuri in his Introduction (bhumika) to his own Samaradityakatha informs us that according to the view of the ancient acaryas the subjectmatter of a story may relate to (1) only divine characters or (2) divine and human characters together or (3) all human characters. A story in general could have four types :

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156 STUDIES IN JAIN LITERATURE 1. arthakatha--a story wherein wealth plays a predominant role. 2. kamakatha--a story wherein love plays a predominant role. 3. dharmakatha-a story wherein dharma (virtue, duty,) plays a predominant role, and 4. samkirna (or misra) katha--a story wherein artha, kama, dharma are mixed. Arthakatha is one which has wealth as its predominant subjectmatter and which deals with war-fare, sending of letters, agriculture, trading and mechanical arts, the use of alchemy, making of alloys, etc., the use of expedients like conciliation (sama), dissension (bheda), bribery (upapradana) and punishment (open attack) (danda). Kamakatha treats of beautiful forms, proficiency in arts, which has for its essence respectful reception and union accompanied with horripilation caused by love, and which describes the activities of (maiden messengers or) gobetweens, amours, amd propitiation, etc. Dharmakatha is one which has dharma (virtue, duty) for its principal theme, which treats of virtues like forgiveness, humility, straightforwardness, freedom from greed, self-control, truthfulness, purity, non-possession, celibacy, and other religious matters like the five lesser vows, etc. Samkirnakatha : (A mixed story) is one which deals with all the three human endsdharma, artha and kama, in sutras and kavyas and is told in public (while reciting Ramayana etc.) in Vedas (in the course of performing a sacrifice) and in Samaya (Tarangavati, etc.) and which is accompanied with illustrations and cause-effect relations. As distinguished from katha there is vikatha. It is so called because it is devoid of the distinguishing features of the katha (story) or beacuse it is opposed to the katha and deserves to be shunned (sutra 282). The four types of vikatha, as listed in Sthananga (sutra 282) are quite easy to follow, a story or talk about (1) women, their charms etc., (2) food- 'how delicious !' 'how tasty the food is l' etc. (3) (country, region or) place-how lovely' ! 'how beautiful it is !', etc. and (4) about the king or ruler of the land. The additional three, mentioned in Sthanarga, (sutra 569), mean : (5) a vikatha which is marked by tenderness and pity or compassion. (6) a vikatha which adversely affects one's right faith and (7) a vikatha which adversely affects one's right conduct.

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TYPES OF STORIES IN SANSKRIT AND PRAKRIT.... 157 The Dasavaikalikasutra-niryukti (gatha no. 207) lists the following vikathas : 1. strikatha, 2 bhaktakatha, 3. rajakatha, 4. Corajanapada katha, 5. natanartakajallamustikakatha. The first three types have already been explained. 4. talk about a thief -'a thief was caught today', 'he was thus hurt or oppressed'; 'talk about a janapada--that a particular region or place is so lovely', etc., and 5. talk about an actor, dancer, or a person doing tight rope-walking, a rope dancer or a wrestler. Uddyotanasuri in his Kuvalayamala (779 A. D.) lists five types of stories : 1. sakalakatha, 2. khandakatha, 3. ullapakatha 4. parihasakatha and, 5. samkirnakatha. Sakalakatha (The entire story) follows its hero through a series of lives. The working out of actions and their results through several lives of the hero forms its subjectmatter. It is, as the name suggests, of very great length. Hemacandra gives Haribhadrasuri's Samaradityakatha (8th century) as its example.although Haribhadra himself says his is a dharmakatha. The Khandakatha ("short story') narrates an episode from a long narrative which is already known through some other work. Hemacandra gives Indumati as its example. This work however is not extant. Both these types of katha are known to be written in Prakrit only. The Ullapakatha deals with voyage or love between a young man and a young woman which demands adventures on their part. The Parihasa-katha is 'an amusing story' The samkirna-katha is one which is distinguished by the characteristics of all the types of katha, which is charming with its erotic sentiment (srngararasa), which has its various constituent parts well-knit and which delights (the readers) with the display of knowledge of various arts. Uddyotanasuri declares that this samkirnakatha is threefold : 1. dharma, 2. artha- and 3. kama-katha. The samkirnakatha is marked by all the distinguishing features and shows at the end the attainment of all three ends of human life. It deserves notice that as against the Dasavaikalika niryukti, which gives all the four dharmakatha, etc. as the four types of katha, the Kuvalayamala gives the three dharma-, artha- and kama-katha as the three kinds of the samkirnakatha. Like Haribhadrasuri Uddyotanasuri too gives the four sub-types of the dharmakatha and briefly yet lucidly explains them : Of the four sub-types, the first aksepani is pleasant or agreeable to the mind, the second viksepani unpleasant or disagreeable to the mind, the third samvega-janani is the mother of, that is the source or cause of right knowledge and the fourth nirvedajanani is the mother of, that is, the cause of vairagya, indifference to worldly objects and to life.

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158 STUDIES IN JAIN LITERATURE (B) Katha and its varieties as given in Sanskrit works on poetics We are not interested here in main literary forms- akhyayika (Biography, e.g. Bana's Harsacarita), Katha (Novel, e.g. Bana's Kadambari) and Campu (a literary composition in mixed prose and verse, e.g., Trivikramabhatta's Nalacampu but in katha used in its general sense (a story). Some leave out of consideration the magnificent Brhatkatha which ranked beside the Mahabharata and the Ramayana as one of the great storehouses of Indian literary art. Bhoja in his Srngaraprakasa (Ch. XI) and Hemacandra, following him and Abhinavagupta, in his Kavyanusasana (Ch. VIII) speak of the following types of katha : 1. Upakhyana, 2. Akhyanaka (or Akhyana), 3. Nidarsana, 4. Pravahlika, 5. Manthulli (or Manthullika), 6. Manikulya, 7. Parikatha, 8. Khandakatha, 9. Upakatha, and 10. Sakalakatha (Bhoja does not mention it) Of these ten types, Upakhyana and Akhyana really belong to tradition (History-Itihasa). Since Bhoja and Hemacandra have mentioned them as types of Sravya Kavya (Katha), all these ten may briefly be treated here : 1. Upakhyana (an eposide) : That which occurs in the midst of a long literary composition and gives an account for enlightening someone else is called upakhyana--for example, the Nalopakhyana in the Mahabharata. 2. Akhyana : The upakhyana gets the name akhyana when a reciter (granthika) relates or narrates or expounds it by reciting, acting and singing. Govindakhyana is an example. 3. Nidarsana (which literally means 'illustration, example' or 'lesson') is didactic fiction either direct or couched in parable. It teaches throught the actions or behaviour of animals or of men what is proper or improper to be done. (It is predominantly in prose.) Its examples are the famous Panca-tantra, Dhurta-vita-samvada, Kuttanimata and the like. 4. Pravahlika is that composition which is presented in an assembly as a dialogue between two persons in a mixture of Sanskrit and Prakrit discussing the merits etc. of the hero (pradhana). Its example is Cetaka- which is not extant. 5. Manthulli (or Manthallika) is a ksudrakatha (short story) in Maharastri Prakrit as exemplified by two such stories (now lost), called Gorocana and Anangavati. The titles are possibly the names of their heroine. Or, it may be a humorous story making fun of priests, ministers and hermits who undertake something but do not succeed in carrying it out.

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TYPES OF STORIES IN SANSKRIT AND PRAKRIT.... 159 6. Manikulya : is a story with mystery, the secret of which is revealed at the end. Its example is Matsyahasita (The laughter of a fish, or 'A laughing fish?) No work of this name is available or extant. 7. Parikatha : is a new type of story heard for the first time in Anandavardhana's Dhvanyaloka. In Parikatha there is just a narration of the story and no intention at all of depicting sentiment (rasa). Abhinavagupta defines it as follows : Parikatha is the narration of numerous anecdotes one after another in a variety of ways to inculcate one of the four purusarthas (ends of human life). Bhoja defines it in his Srngaraprakasa as follows : That is called Parikatha wherein experts in narrating stories compete in the art one after another desiring to outshine each other by narrating a story each. Its example is sudraka-katha, which however is not extant. According to Locana it may be in any language, according to Ratnesvara, Bhoja's commentator, it is in Prakrit. 8. Khandakatha : Anandavardhana informs us that the Khandakatha and the Sakalakatha are well-known in Prakrit literature and abound in Kulakas (Kulaka meaning a number of verses ranging from five to fifteen and the whole forming one sentence) thus suggesting that both of them are mixed in prose and verse. According to Bhoja and Hemacandra it is one episode from a very popular work retold separately or independently, e.g. Indumati. This work, however, is not extant. 9. Upakatha : Bhoja and following him, Hemacandra, define upakatha as follows : "An upakatha is what is very well-known by that name, a sub-story coming up in the middle of a main story." It thus resembles the upakhyana. Bhoja cites Citralekha as its example. It is not known whether Citralekha is a separate composition or a chapter or section of another work. The latter is probable, says Raghavan. 10. Sakalakatha : Abhinavagupta defines it as follows : The narrative which ends with the attainment of all the desired aims is to be known as Sakalakatha. Hemacandra holds that the well-known Samaradityakatha (original Prakrit name being Samaraiccakaha) is its example. We have already noted that Khandakatha and Sakalakatha are wellknown in Prakrit literatureimplying that they were written in Prakrit. After this detailed treatment of the types (and sub-types) of stories in Prakrit and Sanskrit literatures let us turn to the important topic of Dharmakatha in Jain Literature. There are quite a few dharmakathas in Jain Literature. It is not possible to treat of them in the limited space of this paper. We deal with one or two of the most famous dharmakathas and that too briefly

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160 STUDIES IN JAIN LITERATURE and draw attention to the distinguishing features of this literary form which is handled by Jain poets for the propagation of their dharma and for the edification and spititual benefit of the adherents of Jainism. The earliest dharmakatha was Tarangavati by Padaliptasuri (c. 1st century A. D.). However, the original has not come down to us but only an early abridgement in 1643 Prakrit stanzas entitled Tarangalola. Its subjectmatter is briefly as follows : A sadhvi (nun), conspicuous for her beauty, tells her story. She was the beautiful daughter of a rich merchant. Once she sees a couple of ducks in a lotus pond and paints. For she remembers that in a former life she had been a duck like this and that out of love for her male duck killed by the hunter she had burned herself with him. She yearns for the husband of her former life and after a long time full of love's sorrow she finds him by the aid of a picture which she paints of the couple of ducks. Her man carries her off. While running away they are taken captive by robbers, and they are to be sacrificed to the goddess Kali. They are, however, rescued and the parents agree to their marriage. Soon after their wedding they meet a monk who delivers a religious sermon. Learning from him that he as hunter had killed the male duck in the former life, they are disgusted with samsara, renounce the world and become monk and nun. The romantic love story is very interesting even in its abridged form. It served as a prototype for Haribhadrasuri's famous dharmakatha called Samaradityakatha (second half of the 8th century A. D.). It narrates in nine successive births the story of two souls-a Prince Gunasena who was handsome and his friend Agnisarman who was very ugly. The prince enjoyed fun at his friend's cost. As a consequence of this he became an ascetic. In due course Prince Gunasena became the king, Once he met Agnisarman, repented for his past ill-treatment and invited him to take food at his place. He accepted the invitation. Thrice he went there, but Gunasena for some reason or the other could not receive him. Agnisarman misunderstood Gunasena. He was inflamed with fury and resolved "If I have acquired merit by my austerities, may I then be born again and again to kill him in every one of his births." Accordingly the souls of Prince Gunasena and his friend Agnisarman were born in nine successive births as enemies, although outwardly they were the father and the son, the mother and the daughter, the husband and his wife, etc. Ultimately the soul of Gunasena attains liberation and the soul of Agnisarman wanders in the endless cycle of birth and death. The central idea, the dominant motif underlying the long narrative and

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TYPES OF STORIES IN SANSKRIT AND PRAKRIT.... 161 most of the tales inserted in it, is nidana. It is a term borrowed from medical science meaning the disorder of the humours of the body(dhatus)'. Metaphorically it means "bad karma' which upsets the moral constitution of the Jiva. It is mentioned as a kind of artadhyana : When somebody practises austerities in order to get something in another life which is denied to him in the present life it takes the form of bartering away one's austerities for sensual pleasures in a future birth (as a sovereign ruler for example) or for revenging oneself for insults or personal injuries in the subsequent births. Thus Agnisarman makes the dreadful resolve : "If I have acquired merit by keeping my vow, may I then be born again and again to kill him in every one of his births." This nidana on the part of Agnisarman underlies the whole narrative of the Samaradityakatha. The inexorable law of karma underlies the principal narrative as well as many inserted stories within the main narrative. Copious instructions on dharma (Jainism) are inserted in all convenient places. Generally speaking, the heroes and heroines-principal characters-after listening to religious sermons renounce the world and enter the Jain Order. Numerous tales, fairy tales and parables (e.g. the parable of the man in the well, otherwise known as madhu-bindu drstanta) are introduced in the course of sermons delivered by the Jain monks. The author, Haribhadrasuri, illustrates by stories, parables, fairy-tales how good deeds are rewarded by pleasures of heaven and bad deeds punished with tortures in hell or lower animal births. The Samaradityakatha "is evidently intended to illustrate the evil consequences of vices, sins and all transgressions of the Jain code of morals and to warn the reader or hearer of it against carelessness in conduct." (Dr. Jacobi). In Samaradityakatha we meet with some interesting tales, romantic love-stories, such as that of Sanatkumara and Vilasavati who are reunited after a long separation and after inexpressibly sorrowful adventures (Ship-wreck, etc.) The story of Dharana and Laksmi, too, is a pretty fairy-romance, full of adventures on land and sea, with many familiar fairy-tale motifs. We cannot help referring, in this connection, very briefly though, to another work, a dharmakatha par excellence by name Upamitibhavaprapanca Katha by Siddharsi. The literary form-dharmakatha or (religious narrative or novel or romance) reaches its culmination in this allegorical Sanskrit novel Upamitibhavaprapanca Katha "The narrative in which the manifoldness of existence is presented in parable or allegory." It was composed by Siddharsi in 906 A. D. Haribhadrasuri's Samaradityakatha served as a model for Siddharsi. It is an elaborate allegory worked out with much skill and care. The separate stories inserted in the main (allegorical) narrative are also in part allegories. "The poet Stud.-21

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162 STUDIES IN JAIN LITERATURE distinguishes between two kinds of personages : "outward" companions of the hero, and "inward" companions. It is only the latter which are personifications, and they are indeed the main characters in the drama of mundane existence"samsara-nataka-which the poet intends to unfold before the pious hearer." That this poem enjoyed great popularity among the Jains is shown by the fact that only 100 years after its appearance extracts and abridgments were made from it. Winternitz has well observed : "All these works, be they stories in plain prose or in simple verse, or elaborate poems, novels or epics, are all essentially sermons. They are never intended for mere entertainment, but always serve the purpose of religious instruction and edification." The distinguishing features of the literary form, called dharmakatha, may be set forth as follows: (i) The poet traces the destinies of a hero and his opponent in numerous births. (ii) The doctrine of karma, especially its phase nidana, is the pivot-cardinal or central point. (iii) Religious sermons dwelling upon Jain ethics and the worthlessness of samsara are introduced in the narrative, finding the slightest opportunity. (iv) The principal characters, the hero, heroine and the like renounce, towards the end of the narrative, the world and enter Jain Order. (v) Interesting and charming narratives and stories, the Jain poets employ simply to attract the readers; but their chief aim is their instruction and edification. (vi) Denigration of worldly life and high praise of asceticism form an essential part of the narrative.* Notes and References : 1. Sthananga-sutra, adhyaya 3, Uddesaka-3, sutra- 194. 2. Ibid, adhyaya-4, Uddesaka-2, sutra-282. 3. Hafa ET377 49TISTI, A TET- 9. sfrenche, P. FILET, 3. Hotel, 8. Ph6, 4. f430 funt &. daMsaNabheyaNI 7. carittabheyaNI. 4. Vasudevhindi, lambha X, Bhavnagar, 1931, pp 208-209. 5. A History of Indian Literature by M. Winternitz, Vol.II (p 521) University of Calcutta, 1933. * I acknowledge with thanks my indebtedness to the authors of the following works on which I have freely drawn : H. Jacobi : Introduction to his edition of Samaraiccakaha, V. Raghavan : Bhoja's Srngaraprakasa, Madras, 1963, A. N. Upadhye : Introduction to his edition of Brhatkathakosa, M.Winternitz : A History of Indian Literature, Volume II, Calcutta, 1933.

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NANDISUTTAM AND ANUOGADDARAIM* The agamas are invaluable as religious scriptures to the Jains. But, in addition, they are a valuable source for the history of religious institutions in India and a complete picture of the composite Indian Culture. A very rich linguistic, socio-cultural and historical material lies embedded in them. Neglect of these texts leaves incomplete the picture of Indian culture portrayed only on the basis of the Pali canon and Sanskrit literature. One of the reasons for their neglect by modern scholars is the absence of a critical edition of all the Jain agamas based on modern, scientific methods of research. Such a critical edition is a desideratum. The task of preparing it, the text of which could lay claim to finality is highly complicated and really tough. The basic sutra texts of the Jain agama reveal inter-relations and cross contamination. The Prakrit languages present dialectal variations and the MSS, in hundreds, variant readings. The Jain sthaviras, when writing the sutra, curni, tika, vrtti etc., extensively quote passages from the old sutras and from their commentaries. Naturally, one comes across almost similar or completely identical passages in hundreds pertaining to the same subject. These passages reveal difference in interpretation of certain words due to different traditions of interpretation. Ancient and modern scholars have emended the readings without consulting MSS belonging to different groups and without taking into account the different traditions of interpretation. Copyists, not fully conversant with the old script, committed mistakes in copying the MSS written in old script and thus corrupted the text. Sometimes sectarian zeal is responsible for expunging passages from the text without MS evidence. Muni Punyavijaya, one of the three editors of the Nandisuttam and Anuyogaddarain (edited by Muni Punyavijaya, Pt. Dalsukh Malvania and Pt. Amritlal Mohanlal Bhojak) published as Jaina-Agama-Series No. 1 by Shri Mahavir Vidyalaya, Bombay-26, 1968, pp. 1-53+1-70 (in Gujarati+1-127 (in English) + 1-476 (List of Abbreviations, Tables of Contents, Texts and Appendices) Price : Rs. 40.00

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164 STUDIES IN JAIN LITERATURE present edition, who devoted his entire life to the study of the Jain agamas and commentaries on them such as niryuktis, curnis, tikas, avacurnis, tippanakas, vrtti and bhasyas and possessed long experience in the field of critically editing Jain agama texts evolved principles of textual criticism to be followed in critically editing the texts in the Jaina-Agama-Series. These principles are : (i) Use of old palm-leaf MSS. (ii) Use of critically corrected commentaries on agamas such as curni, tika, avacuri, tippanaka etc. (iii) Use of quotations from the agamas and also from their commentaries. (iv) Comparision with the sutra-patha found in the other agamas. (v) Discerning wrong emendations made by commentators and / or by modern scholars. (vi) Discerning mistakes made by copyists. The editors, judiciously applying these principles present in this volume the critical text of Nandi and Anuyogadvara sutras which form the culika, as it were, to the entire sruta. It would seem strange that the editors begin with the end. But their explanation is quite convincing and satisfactory. The Nandi falls in the anga-bahya class. Normally, it should occupy a place subsequent to the angas. But on account of its extraordinary position in the whole body of the agama texts, it is placed first. It has secured the place of mangalacarana in the beginning of the study of agamas. So the editors too accord it the first place not only in this volume but in the entire series of the project. If the Nandi serves as a mangala, the Anuyogadvarasutra serves as a key to the understanding of the agamas. Naturally, these two texts form a pair; and rightly the editors open the series with them. The text of the Nandisutra is mainly based on eight MSS that are very old amongst the extant ones. In finalising the text the editors have made thorough use of the Curni, Haribhadra's Vitti, Malayagiri's Vitti, Sricandra's Tippana and also consulted the Dvadasaranayacakra, the Samavayangasutra and Abhayadeva's Vrtti on the Bhagavatisutra which abound in quotations and elucidation, etc, that have a bearing on the text of the Nandisutra. In the preparation of the critical edition of the Anuyogadvarasutra the editors have used ten different MSS, some representing the unabridged text and others the abridged text. The text of this edition is mainly based on the

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NANDISUTTAM AND ANUOGADDARAM 165 Cambay palm-leaf MS and gives readings which are in conformity with the Vrtti of Maladhari Hemacandra and represents the unabridged text (bshadvacana). From among the various useful appendices the two giving the alphabetical index of all the words occurring in the texts of the Nandisutra and the Anuyogadvarasutra as well in footnotes to them are of great importance. They give Sanskrit equivalents of each and every Prakrit word and indicate the desya words, indeclinables and adverbs by appropriate signs. It is for the first time that such all-comprehensive indexes of these agama texts have been prepared. These and similar indexes of the remaining agama texts will facilitate the task of preparing a complete and authentic dictionary of the agama texts. The editors when speaking about the present critical edition rightly lay emphasis on the task of making available correct and genuine readings, point out the deficiencies in the printed editions and expose, more in pain than in anger, the glaring defects in the so-called new commentaries of Ghasilalji and insist on the editor's prior equipment such as knowledge of tradition and history of agamas. They fully discuss (Intro p. 107) some important readings such as tesiyam, terasiyam (for vesiyas or vesitam, Sk vaisikam) in the Nandisutra (p. 29, 1.8) and Kavoyanam or Kanotanam (for Kayanam-Kaya or Kata is a desya word, meaning "Kavati-vahaka, or vivadhavahaka in Sk.) in the Anuyogadvarasutra (p. 73, 1.10) and they also throw fresh light on what is pasattha jhavana and what is apasattha Jhavana rightly criticising the corrupt readings in the printed editions of the Anuyogadvarasutra, and conclude how the preparation of a truly critical edition demands of its editor such qualities as tremendous patience, perseverance, keenness for exactitude, vigilance and sincerity in scrutinising different MSS, in collating variants and in understanding the textual explanations given by commentators. The critical edition is prefaced with a learned and masterly introduction treating of various topics such as the Jain agamas and the Vedas, sources of the angas, the Geographical Region of their composition, Language, Number, Classification, and Age of the agamas, Author of Nandisutra-Devavacaka, his Date, Anuyoga (Exposition), the Method of Exposition as demonstrated in the Anuyogadvara, the Jain, the Buddhistic and the Vedic Methods of Exposition, Life and Date of the author and the Date of the Anuyogadvara and, last but not the least, they treat of the rich socio

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166 STUDIES IN JAIN LITERATURE cultural material found in the two texts. in their Introduction the editors clearly point out the difference between the Vedas on the one hand and the Buddhist Tripitakas and the Jain Agamas on the other. The former are sabda-pradhana whereas the latter are artha-pradhana. The Brahmanas have preserved not only the original words of the Vedas but their correct pronunciation also. The Jains have tried to preserve the meaning of the words concerned and not the original words of their Tirthamkaras. This is a fact none can deny. It would not, however, be correct to belittle the importance of words. If words are to be depreciated there is hardly any sense in undertaking a project like the present one and discussing the principles to be followed in critically editing the agama texts and collating scores and scores of copies of text and recording variant readings. It would only mean 'much ado about nothing.' On p. 39 the Anuyogadvarasutra is referred to as "the earliest among the commentaries on the Avasyaka', but on p. 45 we are told that 'it does not provide us with an exposition of the Avasyaka-sutra'. The suggestion of the editors that "Ghodamuham' and 'Nagasuhumam stand for asva-sastra and hasti-sastra respectively deserves consideration. In his paper "Identification of a Few Sastras mentioned in the Jaina Sutras" (JOI, Baroda, Vol. XVIII, 1968) Shri Anantlal Thakur identifies these two sastras with a work on erotics by Ghotakamukha and a work on the Science of Logic (Suksmonyayah) respectively. The English rendering of the Gujarati Introduction is quite satisfactory. It covers the entire Introduction except the topics entitled "Nandisutra-Anuyogadvara-sutrantargata Sanskritic Samagri" (Gujarati Introduction, pp. 52-70) which is summarised under the heading "Discussion on Certain Secondary Subjects" (pp. 72-76). The editors fight shy of discussing the example of Vridanaka-rasa as it refers to the ancient custom (prevalent in some parts of India) of taking the bridal garment (Vahu-potti=vadhunivasana=anandapata) from house to house with a view to declaring the bride's virginity and its being saluted to by the bride's father-in-law and mother-in-law. Acarya Haribhadra and Maladhari Hemacandra do not, however, hesitate to explain fully this gatha in their commentaries. We come across reference to such a bridal garment being carried from house to house in the Gathasaptasati (V. 57) also. The editors understand the verse illustrating hasya-rasa somewhat differently from the commentators referred to above. It is also possible to take the gatha as referring to the illicit love between the vadhu and her devara, especially in view of some gathas in the Gathasaptasati portraying such love between them. The editors rightly point

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NANDISUTTAM AND ANUOGADDARAM 167 out that the list of nine rasas in the Anuyogadvara-sutra substitutes vridanaka in place of the bhayanaka in the traditional list. Here it may further be pointed out that the Anuyogadvarasutra gives the pride of place to the vira and not to the srngara rasa as found in almost all the Sanskrit texts dealing with poetics. The explanation for this change by the author probably lies in the fact that the present work deals with the highest end, of human life, viz., moksa, and that it is attainable through heroic efforts in conquering the internal enemies (such as kama, krodha, etc). The definitions and the verses illustrating these nine rasas are such as are not to be met with in the treatises on the science of dramaturgy or poetics. Still further it may be pointed out here that the Anuyogadvara-sutra (3rd century A. D.) is the first among the available texts that speak of santarasa. It is, indeed, extraordinary that none of the Jain writers on dramaturgy/poetics cares to take note of these significant changes in their treatment of the topic of rasa. Incidentally, we may refer here to a few errors / misprints, although they are very minor, that have crept in through inadvertence : on p. 26, 1.12 (from below) we should read 'We' for 'l' as the Introduction is contributed by the three editors. On p. 35.1.11 (from below) we should read destroys for destroy. On p. 49, 1.4 we should read refuted and on the same page (L. 12) Sthavira). On p. 50, L. 16 we should read papat for patat. On p. 59, I. 10 we should read partially. On p. 71 f. n. 59a the Kanagasattari is referred to as 'this Sanskrit work. Strictly speaking, it is not erroneous. But the Prakrit title is apt to mislead. On p. 92, 1.12 (from below) we should read ucyante. In the English translation of the Gujarati Introduction (p. 107) Vaibesikam is given as the Sanskrit equivalent of vesiyam. It ought to have been Vaisikam. The appendices at the end meticulously record all the words in the texts as well as the footnotes. But rare omissions could be detected. For instance, mugundassa (p. 63, 1. 17) is not included in the Appendix (p. 415). Further, the Sanskrit meanings of a few words given in the Appendices hardly add to our knowledge. 'sastra-visesa', 'vrati-visesa', 'sutra-bheda', 'silpi-visesa', dhanya-mana-visesa', 'kalamana-visesa', etc., are some such instances. The reviewer ventures to suggest that a critical edition of an agama text should invariably be accompanied by its Sanskrit commentary. For even to an advanced student of Prakrit the glossary of Prakrit words along with their Sanskrit meanings would not prove quite useful. In its absence an English translation or translation in Hindi or any other Modern Indian Language with detailed notes is an absolute must for the understanding of the text. Another suggestion the reviewer would like to make : There should be

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168 STUDIES IN JAIN LITERATURE separate volumes of the critically edited text accompanied by Introduction, Translation, Notes, etc., in English and in Modern Indian Languages adding English translation of Sampadakiya (Editors' Note) and of Prastavana (Introduction) to the Gujarati preface as is done here-although considerations of resources at hand and of economy might have influenced this decision of bringing out the present edition in its present form does not appeal to one's aesthetic sense. Finally, the volumes of critically edited texts of the Jaina agamas, should be, as far as practicable, brought out on uniform pattern. These suggestions apart, it is superfluous to add that the present edition is simply superb. Its printing is pleasing to the eye and get-up excellent. The editors deserve warmest congratulations for presenting to the world of scholars, especally scholars of Jainology, this splendid critical edition. 000

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STUDIES IN EARLY JAINISM (Selected Research Articles) The book under review is a collection of Dr. J. C. Jain's twenty-five research articles published from time to time in Indian and Foreign Oriental Journals. Of these, seven articles deal with one aspect or another of Vasudevahindi, a Jain Version of the lost Brhatkatha of Gunadhya; five, with Prakrit Jain Narrative Literature; four, with Jainism including Religion, Mythology and worship; three, with Ancient Indian Culture; and one article each deals with "Trade and Commerce in Ancient India." "The School of Sarvastivada from Jain Sources," "Prakrit in the Background of Hindi", "The Science of Prognostication : Nimittasastra", "Memorable Pilgrimage by Hieun Tsang--A Chinese Traveller" and finally, "The scope of Research in Jain Studies." The above analysis would show that the title does not quite fit the contents of the book. The title raises the expectation that the book mainly deals with Early Jainism in respect of theology, ethics, logic and philosophy (and seeds of the later principal schisms and sects) as compared with its canonical and post-canonical forms. There are only four articles which, properly speaking, treat of Early Jainism : 1. Early Jainism, 2. Two great Religions of Magadha, 3. The Role of Dharanendra in Jain Mythology and 4. Jain worship : A Critical View. A majority of the articles included in this book deal with Jain Narrative Literature. Dr. Jain is a renowned scholar of Prakrit and Jainism. He has been a Research Professor in the Department of Indology, University of Kiel and a Professor of Hindi in Peking. He is a reputed author. Numerous works on a variety of subjects are to his credit. The work under review is a valuable * STUDIES IN EARLY JAINISM, Jagdishchandra Jain, publ. by Mrs. Nirmal Singal for Navrang, Booksellers and publishers, RB-7, Inderpuri, New Delhi-110012, 1992, pp. 241, Rs. 280.00 Stud.-22

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170 STUDIES IN JAIN LITERATURE contribution to Jain Studies, especially to a critical and comparative study of Prakrit tales in the context of their original source and migrations to other countries of the world. The research articles are free from sectarian bias and attest to his objective attitude and high regard for truth in conducting research. His articles are very informative and of absorbing interest to inquisitive readers and scholars-especially to such readers who are keen on universal story literature as well as Jain religion and culture. It is regrettable that the book has unfortunately numerous spelling mistakes and inaccuracies. A few of them are noted below : p. 4, line 11 'After' for 'altar'. p. 4, para. 2, line 7 (from below) 'Lightening' for 'lightning?. p. 7, para. 2 last line 'Indentical for 'identical'. p. 21, para. 2 (last lines) 'which can (be) only the BK'. p. 27, para. 4, line 6 'harsh' (hard)....-stange' (strange). p. 24, f.n., line 1.1 'peper' for 'paper'. p. 81, para. 3, line 6 behive' for beehive'. p. 81, line 8 'Woridly' for 'worldly' p. 83, para. 4, line 4 (from below) 'thew' for 'threw'. p. 84, line 1 'multilated' for 'mutilated.' p. 93, para 3, line 15, 'pursuade' for 'persuade'. line 19 'undergound' for 'underground.' p. 125, line 13 ...truth is many sides.' for...-many-sided.' p. 146, para 2. line 6 (from below) "(The Science of) deviation for devination'. p. 148, line 4 (from below) 'indiscrimate' for 'indiscriminate'. p. 155, para. 3, line 1 'has very title to do with' for 'little' p. 195, sub-heading 'unforgettful for 'unforgetful'. p. 198, last bu one para. line 4 'Scared Books' for 'Sacred Books.' p. 200, line 5 a renowened scholar for frenowned...' Occasionally carelessness is noticed in citing printed Sanskrit names or quotations. For example on p.182 we read : 'henceforth he should call himself Satyakama Jabala (her mother's name was Jabala)". This sentence given in

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STUDIES IN EARLY JAINISM 171 round brackets is simply meaningless. Saryakama's father's name is not known. His mother's name is Jabala. Satyakama therefore calls himself, on his mother's advice, as Satyakama Jabala. The name Jabala is metronymic and means 'born from Jabala', 'Jabala's son'. On p. 123 the author says : "In support of their view, Carvakas have quoted a passage from the Chandogya Upanisad." And on p. 127 under notes he cites the passage : 5 HEGECHTSTYTT... Ayrety.... 7 R Hallkira satilfeldig 4151062fy: (2.4.12). Now, the citation is not from Chandogya Upanisad but Brhadaranyaka Upanisad. Further the quotation is wrongly given. We should read the passage correctly as follows : CHEG514777448.... Atera...7 FRA crifa... In spite of such spelling/printing mistakes and inaccuracies, Dr. Jain's work is a welcome addition to studies on Jainism and Universal story literature. Ona

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AYARANGA : PADHAMA SUTA-KHANDHA, PADHAMA AJJHAYANA (ACARANGA : PRATHAMA SRUTA-SKANDHA, PRATHAMA ADHYAYANA)* Several works forming part of the Svetambara Jain Agama (Canon) inform us that Mahavira delivered his religious discourses in the Addhamagaha Bhasa (i. e., Ardhamagadhi language). He chose this language for his discourses as it was the spoken language of the people. It was so called, according to one view, because it was current in half of Magadha (modern Bihar) to which region, Mahavira himself belonged. According to another view, the language was so called because it shared some of the features of the dialects that were current in the adjoining regions. In other words, it was not wholly, but only partly Magadhi (ardham magadhyah). But the language of the Svetambara Jain canon which was finally fixed and reduced to writing at the conference of Valabhi under Devarddhi Ganin hardly shows characteristics common to Magadhi. On the contrary it shows surprisingly great affinity with Maharastri. Scholars of linguistics explain the transformation as an inevitable result of the powerful impact of the dominant literary Maharastri. It is a well known fact that from the days of Dandin's Kavyadarsa Maharastri has enjoyed the enviable status of prakrstas prakrtam"--the best among all Prakrit languages. The language of the canon which was undergoing changes slowly and imperceptibly during the very long period of 1000 years from the days of Mahavira, when it came in contact with literary Maharastri, after migration, it was very natural, that it should be highly influenced by the latter (the literary Maharastri) Muni Punyavijayaji has somewhat different explanation. The phonological changes in the readings of the text had not been due to a natural process but these changes in the spelling of the words have been brought about intentionally by the later Acaryas at different times or on account of losing * Ed. K. R. CHANDRA, Prakrit Jaina Vidya Vikasa Pund, Ahmedabad, 1998, pp. 327, Rs. 150.00

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AYARANGA : PADHAMA SUTA-KHANDHA, PADHAMA AJJHAYANA.... 173 contact with the original forms of the ancient Prakrit when the community of monks was unable to understand the original forms of the language (Ardhamagadhi) Acarya Abhayadeva, Acarya Malayagiri etc., found it necessary to change old forms into the new or younger forms and it is they who have transformed old forms. Whatever be the circumstances responsible for the changes, the fact remains that the original (Ardhamagadhi) language of the Svetambara Jain Canon is greatly influenced by the standard Maharastri Prakrit. Now, it is an admitted fact that the Jain Agama texts are not sabdapradhana but artha-pradhana. The Jains have tried to preserve the true meaning (artha) and not the original words (sabda) of Mahavira : atthaM bhAsai arihA suttaM gaMthaMti gaNaharA NiuNaM / (Mahavira promulgates the true meaning of scriptures in the course of his religious discourses, and his Ganadharas--immediate disciples or apostles (chief disciples) undertake the task of arranging them in the sutra-form--in the form of scriptures). If we remember this fact, we need not bother or worry too much about the nature of word forms--whether older or younger as both convey the original true meaning. Looked at from this point of view any attempt to restore old Ardhamagadhi would amount to a futile exercise. The above view is, it would seem, one-sided. The problem has another side too. From among the forty-five texts of the Jain agama some like the Acaranga, Sutrakrtanga are decidedly the oldest which retain older forms of the ancient Prakrit to a considerable extent. By adopting modern tools and methods of research and generally accepted principles of text editing we can fairly certainly hope to restore the ancient Prakrit-Ardhamagadhi-in which Mahavira spoke and his immediate disciples-the Ganadharas-tried to preserve his discourses Dr. K. R. Chandra, a veteran Prakrit scholar, has devoted a number of years to a study in depth of this problem of restoration of the ancient PrakritOld Ardhamagadhi-in which Mahavira gave his religious discourses and his Ganadharas embodied them. In the work under review Chandra presents, after carefully applying the principles of restoration evolved by him, the restored text of Ayaramga I. 1 by way of a sample demonstration. Chandra divides his work into the following six sections : Section I : consists of Introduction both in English and Hindi. (pp. 1-12)

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174 STUDIES IN JAIN LITERATURE Section II : presents comparison of the word-forms of the text of Acaranga with that of its various editions and manuscripts, other agama texts and older Prakrit texts. (pp. 15-72) Section III : gives restored text of Ayaramga I. 1, on the basis of available archaic word-forins. (pp. 75-156) Section IV : gives information about certain phonetic changes as seen in earlier and later word-forms. (pp. 157-166) Section V : gives a cornplete alphabetical Index of all the word-forms of the restored text. (pp. 167-195) Section VI : presents in parallel columns the restored text along with the corresponding texts of the earlier well-known editions. (pp. 199-269) At the end of this section (VI) H. Jacobi's text of the first chapter of Ayaramga is reproduced. Curious readers would find it instructive to compare Chandra's text with that of Jacobi (pp. 271-276). Then follows an Appendix presenting excerpts from the Reviews and Opinions on the linguistically reediting of the Acarangsutra and restoration of the original Ardhamagadhi language (pp. 277-327) In the beginning we meet with the opinions of Prof. Malvania, Prof. Bhayani, Prof. Ghatage and a few more scholars. We have finally the views of Muni Punyavijayji on the form of the original language of Jain Ardhamagadhi texts as it is found altered in the preserved MSS. (pp. xi-xiv). Dr. K. R. Chandra deserves warm congratulations for his brilliant piece of research. We earnestly hope he continues his work of editing the remaining part of Ayaramga on the same lines as followed in the present work. OOO

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ISIBHASIYAIM KA PRAKRIT-SANSKRIT SABDAKOSA* Isibhasiyaim (Sk. Rsibhasitani ) is a unique Jain canonical workunique because it contains the Sayings (bhasitani) of Sages (rsis), who did not, strictly speaking, belong to the Jain fold. This work attests to the catholicity and magnanimity of heart of the early Jain thinkers who collected the sayings of the Non-Jain rsis to form a canonical text. Incidentally, the text points to the existence of the common ethical thought in the various early religious sects. It is generally accepted that the forty-five texts which form the Jain Canon cannot have originated at one period of time. Scholars have distinguished between the earlier and later strata of the Jain Canon. Regarding the antiquity of Isibhasiyaim Dr. Walter Schubring observes : "That we have the old Isibhasiyaim before us cannot be doubted. Numerous indisputably genuine reminiscences in language and style link the work up with the Ayara, the Suyagada, the Uttarajjhaya and the Dasaveyaliya, the seniors of the canon". (Introduction to Isibhasiyaim, 1974 edn p. 2). The Jains use the word isi (rsi) in the sense of muni. In the present work, however, the word isi (muni) carries an additional or special meaning or idea of his being a pratyekabuddha (one who has attained or arrived at the highest knowledge by himself, understood the truth by his own efforts but does not preach it to others). The names of the Pratyekabuddhas include some names which figure in the Vedic and Buddhist literature. It is very desirable to conduct a linguistic study of the senior canonical works for discovering the archaic form of the Ardhamagadhi language. Dr. Chandra, an eminent scholar of Prakrit language and literature from Ahmedabad took upon himself this arduous task. He prepared the present exhaustive Prakrit-Sanskrit Word to Word Index of the Isibhasiyaim along with those of other senior texts of the Ardhamagadhi canon for the specific purpose of tracing the oldest Ardhamagadhi vocabulary and archaic morphological forms to serve as an aid to linguistically re-editing the oldest portion of the Jain * Prepared and Edited K. R. Chandra, published by Prakrit Text Society, Ahmedabad 380009. 1998, pp.140, Rs. 60.00

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176 STUDIES IN JAIN LITERATURE canonical work Acaranga. For it is well known that the language of the Svetambara Jain canon, handed down to us is greatly influenced by Maharastri Prakrit. Dr. Chandra has taken great pains in preparing the Index under review. It is bound to be of great use to scholars working in the field of Indo-Aryan Linguistics. While going through this Index one notices a few misprints : P. 16 col 1 : adyamadhya (for adyamadhya) vasananam P. 63 col 2 : tivravahne for tivra-vahneh P. 109 col 1 : Saddhamava--for saddhamma-vakkadanam P. 112 col 2 : Valkala-Cirina for-cirina One comes across a few errors as well : P. 3 col 2 : adanie atavyam for marge. Note : 'adani magge'--Desi-sabda-samgraha 1.16 P. 7 col 2 : atthahae asthaghayam for astaghayam Note : atthaha adj [astagha].....athaha.....gambhira --PSM p.49, col 2 atthaha adj [des7] see atthaggha--PSM, p. 49, col.2 atthaggha adj [desi)....agadha, gambhira-PSM. p. 48. col 3 P. 123 col : Samvude--Samvrta samvudam-samvittam There is some confusion. samvuda is to be rendered into Sanskrit as samvrta. It conveys the meaning of 'restrained. cf PSM, P. 853 col 2. Samvrtta means became, happened'. p. 123 col 2 : The Prakrit expression samsara-kantaram is thrice rendered into Sanskrit as samsara-kantaram. It should be rendered in Sanskrit as 'samsara-kantaram'. These few misprints and errors hardly detract from the great merit of Dr. Chandra's painstaking, industrious and thorough work, the Index, under review. OOO

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RELIGION AND PHILOSOPHY OF THE JAINAS World's Parliament of Religions was held at Chicago in 1893 A. D. V.R. Gandhi was an exponent of Jainism at this first Parliament. His lectures on Jainism and Jain Philosophy, delivered at this Parliament, were collected and published in two books entitled The Jaina Philosophy (1910 and 1924) and The Karma Philosophy (1913 and 1924). The present publication is a part of the Centenary Celebrations of that first Parliament. Dr. N. J. Shah, who is an eminent scholar of Jainism and Indian Philosophy, has from these lectures selected passages and arranged them in the present book in such a manner as to give a connected, consistent and systematic account of the Jain Philosophy and Religion. He has added at appropriate places headings and sub-headings to indicate the point under discussion. The present book* is divided into four parts . Part Chapter I deals with 'Cultural Environment' : antiquity of Indian civilization and the Vedas, social status of early Hindus, moral status of the Hindus' life, its object and laws according to Hindus, six systems of philosophy, essential principles of Hinduism and essentials of Buddhism and thus prepares the ground for a proper understanding and appreciation of the Jain Philosophy and Religion (pp. 3-39). Part II (consisting of Chapters 2 to 7) explains the essentials of Jain Philosophy. Chapter 2 presents bare outlines of the fundamentals of Jainism : nine principles, six substances, six kinds of living beings, four states of existence, transmigration, Karma and Jain ethics. Chapter 3 treats of the Jain conception of reality and knowledge. Chapter 4 treats of the Jain conception of soul. Chapter 5 deals with the Jain view of the universe, chapter 6, with the Jain view of God and Chapter 7 with Jain Symbolism (pp. 43-95). Part III (consisting of chapters 8 to 16) is devoted to the exposition of the unique Jain theory of karma. It treats of the nature of karma, relation between soul and karma, and eightfold classification of karma, the causes of karma, * RELIGION AND PHILOSOPHY OF THE JAINAS, Virchand Gandhi, edited by Nagin J. Shah, published by Lalit C. Shah, Trustee, Jain International, Navrangpura, Ahmedabad 380014, 1993, pp. 232, Rs. 80/Stud.-23

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178 STUDIES IN JAIN LITERATURE subdivisions of the eight types of karma : 1. Jnanavaraniya (knowledgeobscuring), 2. darsanavaraniya (faith-obscuring), 3. Vedaniya, 4. Mohaniya, 5. ayuh, 6. nama, 7. gotra, and 8. antaraya karma (pp. 99-142). Part IV (consisting of only one Chapter i.e., chapter 17) is devoted to the exposition of the 14 guna sthanas which represent various stages of spiritual development (pp. 145-228) Incidentally, it may be noted here that the position of the subject 'Sixth Stage of 'Development' and onwards (pp. 222-228), which was left unwritten by Gandhi owing to his ill-health, is completed by the editor, Dr N. J. Shah. The 'Contents' are prefaced with a useful Introduction (pp. 5-24) and a Table of Contents (pp. 25-32) by Dr. N. J. Shah, the editor. At the end is added an Appendix very briefly dealing with 'Contributions of Jainism to Literature and Progress'. (pp. 229-232) Part I reveals V. R. Gandhi's deep love for Indian culture. His treatment of the Panca-maha-yajnas (five great sacrifices), by performing which animal man becomes human is indeed very instructive. He points out that according to the Jain conception of reality both the substance (dravya) and its modes (paryayas) are real. He compares this view with that of Vedanta which regards Paryayas, modes as unreal. He deals with the method of analysis (nayavada) and synthesis (syadvada) of the Jains and answers Sankaracarya's criticism of Syadvada. He puts forward forceful and cogent arguments in favour of rebirth and transmigration. He explains the Jain view of God. The Jains do not believe in a God who is a creator of the world. According to them, a perfected soul is a God and there could be any number of such Gods. The Vedic Hindus, the Buddhists and the Jains agree on the conception that each karma (action) entails its fruit, it is the Jain thinkers however who have given deep thought to and studied it minutely from various points of view. They have developed the karma theory in all its aspects in their works dealing with the doctrine of karma. The conception of 14 Gunasthanas as expounded by the Jains, though appears new, has some parallel in the stages of spiritual development mentioned in the yoga system. The work under review reveals V. R. Gandhi's non-sectarian approach, his insight into the essentials of religion, his sound knowledge of other systems of Indian Philosophy, his close acquaintance with Western Philosophy and as stated earlier, his love for our culture. It is an excellent handbook of the Jain Religion and Philosophy. Dr. N. J. Shah, who has ably edited the work and prefaced it with his valuable Introduction deserves our warm congratulations for adding this splendid treatise, based on V. R. Gandhi's enlightening lectures, to the existing literature in English on Jain Religion and Philosophy.

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HEMACANDRA'S TREATMENT OF THE ALAMKARA AND RASA TRADITIONS At the outset, I sincerely thank the authorities of the L. D. Institute of Indology for inviting me to deliver a lecture in Sri Hemacandra Navacatabdi Vyakhyanamala, organised under the auspicies of their Institute. Acarya Hemacandra, the polymath, is a precious gift of the Jain community of Medieval Gujarat to our country. He was a great man not only of his age but of all ages. He had profound knowledge of almost all branches of learning known to Medieval India and he himself contributed to them by writing authentic compendiums/works which won him the covetable title Kali-kala-sarvajna. I pay homage to the sacred memory of this great Jain polymath/savant. Now, I have been asked to speak on "Hemcandra's Treatment of the Alamkara and Rasa Traditions". With the late Prof. R. C. Parikh I edited Hemacandra's Kavyanusasana. This co-operative venture has a history. Prof. Parikh had just about that time brought out his critical edition of Mammata's Kavyaprakasa with the Samketa commentary of Somesvara Bhatta which was till then unpublished. Then I was working at the Gujarat College. He gave me a complimentary copy. When I glanced through the pages of the Samketa commentary, I noticed question-marks at a number of places indicating that those readings were corrupt. I was prompted by these question-marks to a comparative study and I wrote a review article correcting a large number of passages by identifying their sources, and gave it to Prof. Parikh for pre-view. He was highly impressed by that review article and within a few days he invited me to join him as co-editor in the task of bringing out a second revised edition of Hemcandra's Kavyanusasana and I am happy to state that our edition has been welcomed by scholars in the field as a standard edition. I fully utilised the opportunity provided by Prof. Parikh, studied critically and comprehensively the work and the fruit of this study was my paper "The Sources of Hemacandra's Kavyanusasana". This paper was greatly appreciated by an outstanding alamkarika from Bengal, Prof. Siva Prasad Bhattacarya, who had earlier

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180 STUDIES IN JAIN LITERATURE published his paper on "Hemacandra and the Eleventh Century Poeticians of Kashmir" in the Journal of the Asiatic Society, Calcutta, 1957. Hemacandra and The alamkara tradition Let us begin with Hemacandra and the alamkara tradition. It appears that in ancient times kavya and natya (poems and plays) were looked upon as separate compartments. Poetics developed in distinction from dramaturgy. There were certainly predecessors of Bhamaha and Dandi whose works they have freely used but which are no longer extant. These alamkarikas--writers on poetics, literary thinkers in the course of their aesthetic investigation discovered that the prime source of beauty in kavya is the alamkaras. This discovery of theirs gave the name alamkarasastra to poetics, and the word alamkarika or alamkarakara for a writer on poetics. The word alamkara in its widest sense denotes saundarya or vakrokti or atisayokti (beauty, figurative speech or an extraordinary striking mode of expression). It is at the basis of each and every alamkara. It constitutes the very life of kavya (poetry). It distinguishes kavya from sastra (science) or ordinary everyday language of life (lokaprasiddhabhasavyavahara). It is a deviation from ordinary or natural mode of expressing things or facts of any sort in order to produce a certain striking effect (vicchitti or vaicitrya) or an imaginative turn of speech (bhangibhaniti). In this sense it applies to figures of speech because they beautify kavya. Dandi uses the term alaskara in the restricted sense of figures of speech and in the widest sense also to cover anything which lends beauty to the poem : kAvyazobhAkarAndharmAnalaMkArAn prcksste| a arafu fara menant soit bolatait agafa 11 - Kavyadarsa II. 1 and, yacca sandhyaGga-vRttyaGga-lakSaNAdyAgamAntare / aforafta agunichaita 7: |--Kavyadarsa II. 367 Bhamaha, the greatest exponent of the alamkara tradition, insists on the alamkaras as the most essential feature of kavya. He emphatically declares : 7 colouf frete farifa afiangy 1 ---Kavyalamkara I. 13cd Not that these alamkarikas were not aware of the rasa theory but they gave the rasas 'a subordinate place from the point of view of the alamkarikas who held rasa or rasadi (dhvani) to be the soul of poetry.Bhamaha and others defined such alamkaras as rasavat, preyas etc., 'making rasas subordinate to alamkaras. Mammata defines poetry as

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HEMACANDRA'S TREATMENT OF THE.... 181 tadadoSau zabdArthoM saguNAvanalaMkRtI punaH kvapi / Jayadeva, the author of Candraloka, vehemently criticises Mammata for his definition of poetry which omits alamkaras. He bursts out : aGgIkaroti yaH kAvye zabdArthavanalaMkRtI / asau na manyate kasmAdanuSNamanalaM kRtI / We have the cause of the alamkaras in the poet's imagination (kavipratibha) and their effect is a definite fact, species of charm. Mammata's definition of alamkara in effect accepts this fact : vaicitryaM cAlaGkAraH / Vaicitrya' or 'vicchitti' is a certain charm which gives an alamkara its being and value. Such charm does not permit of exact description as it is as infinite as the poet's imagination which produces it, but it is this which forms the basis of any alamkara and justifies our asserting that it is an alamkara differentiating it from other arts. Theoretically speaking, there is no limit to the number of alamkaras. What is after all an alamkara ? Anandavardhana says : 344511 fe afida ficari ya arsidor: 1 - Dhvanyaloka. p. 473 tatra zabdArthavaicitryaprakAro'nantaH / -Locana, p. 25 abhidhAnaprakAravizeSA eva cAlaMkArAH / -Alarkarasarvasva, p. 9 Bhamaha and Dandi hardly made any distinction between gunas and alamkaras. Ruyyaka, the author of Alamkarasarvasva, rightly summarises the view of the exponents of the alamkara tradition in these words : iha hi tAvadbhAmahodbhaTaprabhRtayazcirantanAlaMkArakArAH pratIyamAnamarthaM vAcyopaskAratayAlaMkArapakSanikSipta manyante |....udbhttaadibhistu guNAlaMkArANAM prAyazaH sAmyameva sUcitam / ..... tadevamalaMkArA eva kAvye pradhAnamiti prAcyAnAM matam / As against this alaskara tradition we have the Rasa or Rasadi-dhvani tradition. According to this tradition rasa (or rasadi) is the very essence, the very soul, of kavya (including natya). Rasa is pradhana, alamkarya and alamkaras adorn, or add to or heighten or enhance the beauty of the pradhana artha-the alamkarya rasa. Just as bracelets, etc., when worn on her person by a kamini (a lovely maiden) enhance her beauty and are called alamkaras even so upama, anuprasa, etc. the arthalamkaras and the sabdalamkaras when they heighten rasa, are called alamkaras. When defining alaskaras in a general way Hemacandra says: aGgAzritA alaGkArAH -1.13 Hemacandra here echoes Dhvanyaloka II. 6 :

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182 STUDIES IN JAIN LITERATURE tamarthamavalambante ye'GginaM te guNAH smRtAH / 37sil starosti Hotell stoechlicca! --Kavanusasana, p. 34 For the present discussion we leave out the sabdalamkaras like anuprasa, yamaka etc. and turn to Hemacandra's treatment of arthalamkaras. If Bharata speaks of four alamkaras, Mammata 61, Ruyyaka 75, Appayya Diksita defines and illustrates 125 alamkaras. The increase in number is easy to understand for, as we have already seen, they are the several striking modes of expressing ideas and their number could be infinite-ananta. Simultaneously with this tendency to increase the number of alamkaras there was the counter-tendency to reduce their number by rejecting the status of alamkaras to some alleged alamkaras. Bhamaha is the first alamkarika to deny this status to the alleged figure varta (Reportage) and the three figures Hetu, Suksma and Lesa. Incidentally, it may be noted that Dandi calls them "Vacamuttamabhusanam". But neither of them advances any reasons, either against or in favour of them. The real credit for reducing the number of alamkaras by critically examining their nature goes to Kuntaka. By this examination he rejects about twenty alamkaras. He judges them by three criteria-principles-standards : 1. alamkarantaratva or bhusanantarabhava, 2. sobha-sunyata and 3. alamkaryataya vibhusyatva. Hemacandra defines and illustrates twenty-nine arthalamkaras and rejects a very large number of alamkaras defined by his illustrious predecessors. The late lamented Prof. R. B. Athavale, a top-ranking alamkarika of the old Bombay State, in his Gujarati edition of Kavyanusasana (Adhyaya I, VI Arthalamkaras), (Balagovinda Prakashana, Ahmedabad, 1959) discusses this topic at length, It is not necessary to cover the same ground again here. But two points need to be briefly mentioned. Prof. Athavale in the relevant discussion does not refer to Hemacandra's indebtedness to Kuntaka's Vakroktijivita. Naturally enough, he could not have done it for the obvious reason that the full text of the work was not then available. The other point, however, needs some explanation. It is true that Prof. Athavale finds fault with Hemacandra for rejecting a good many well defined and illustrated alamkaras of his reputed predecessors. Now, we must not lose sight of the fact that the various alaskarikas right from Bhamaha to Jagannatha differ among themselves regarding the nature of certain alamkaras and whether they should be accepted or rejected. The reason behind this divergence of views is not far to seek. For the very concept of charm or beauty eludes a clear-cut and precise definition. Further, it is next to impossible to lay down precise quantum of charm for

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HEMACANDRA'S TREATMENT OF THE.... 183 constituting a separate figure (vicchittivisesa) distinct from all the other accepted figures or of the slight difference of charm required for reckoning it as a subvariety of the concerned distinct figure. Further more, the concepts of aupamya (similarity), virodha (opposition, contradiction or incongruity), bheda (difference) and abheda (identity) are all relative as they admit of degrees or stages. Inherently, the two tendencies, one of multiplying the number of figures and the other, of reducing the number of these figures are quite natural and useful in their own way. As these eminent literary thinkers widely differ amongst themselves regarding the alleged figures, the question naturally arises whom we should follow as the authority. Jagannatha who 'was a poet of creative genius and who also possessed the faculty of aesthetic appreciation in an eminent degree' furnishes the answer to this question when he says more than once that in this matter sahrdayasmen of taste, competent, responsive, sensitive readers are the authority. This appeal to the sahrdayas implies that the apprehension of charm or beauty of a particular figure as distinct from other accepted figures depends as much on the poet's representation of a thing, situation or idea as on the temperament, training and poetic sensibility of the sahrdaya, such as Prof. Athavale. Now, we take up Hemacandra and the Rasa Tradition. Hemacandra and the Rasa Tradition The earliest treatise of the Rasa tradition is Bharata's Natyasastra, a compilation unquestionably from previous works that have been irretrievably lost. The early writers on poetics were aware of the employment and importance of rasas but they did not treat them as the most essential or vital elements in kavya. It was Anandavardhana, the author of Dhvanyaloka, an epoch-making work, who systematically dealt with the relation of rasas to kavya. Bharata unequivocally declared : 7 FE TEN ofergef: yarati Everything, every activity or action in drama is directed towards the creation of rasa. He set down the key-formula--the famous rasa sutra-for developing or producing rasa : vibhAvAnubhAvavyabhicArisaMyogAdrasaniSpattiH / The technical terms vibhava, anubhava, vyabhicaribhava, and rasa were deliberately invented to impress on the minds of spectators and readers that they relate to the world of drama (and by extension to the poetic universe)and not to the real world or everyday life where we use the terms like karana, karya, sahakari karana and bhava. Bharata explains these terms: Vibhavas are

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184 STUDIES IN JAIN LITERATURE determinants. In the later classification they fall into two divisions alambana (fundamental) and uddipana (excitant) determinants. Alambana vibhavas comprise the nayika, the nayaka, for, without them there can be no development or creation of rasa in the audience-preksakas-spectators. Uddipana vibhavas are such conditions of place and time and circumstances as serve to foster rasa (sentiment), for example, the full moon, garden, the fragrant breeze, secluded place, etc.--all things which foster the sentiment of srngara when the emotion of love (rati) has already arisen. The anubhavas (consequents) are the external manifestations of the feeling, by which the actors suggest to the audience the feelings, the minds and hearts of the characters or persons of the drama, such as kataksas (sidelong glances); smita (smile), alingana (embrace) and the like. Bharata singles out eight anubhavas, sveda (perspiration), romanca (horripilation) etc., and designates them as sattvikabhavas (they are called sattvika as arising from a heart which is ready to appreciate the joys or sorrows of another (sattva). Bharata mentions (33) thirty-three vyabhicaribhavas transitory feelings like glani (weakness), sanka (apprehension), srama (fatigue or weariness), asuya (envy), cinta (worry), etc. They are called vyabhicaribhavas because they, like the waves appear on the surface of the sea for a while and submerge the next moment. They are like the gems woven in a thread--the sthayibhava and strengthen it. Bharata mentions eight such sthayibhavas (permanent emotions or feelings) rati(love), soka (sorrow), etc. When they are developed we get the eight corresponding rasas, ssrgara, karuna etc. Later writers add the ninth rasa called santa. Now, the rasasutra has been differently interpreted by four different commentators-Lollata, Sankuka, Nayaka and Abhinava and their views are known as utpattivada, anumitivada, bhuktivada and abhivyaktivada. The commentaries of the first three commentators are lost and we know about their views from the summaries of their expositions recorded by Abhinavagupta in his commentary Abhinavabharati. It is not possible to give an exposition of these views even briefly within the allotted time. Post-Abhinavagupta alamkarikas, with one or two exceptions, follow Abhinavagupta unquestioningly. The salient features of his exposition are : (i) Rasa is not produced in the character of the play, say Dusyanta nor inferred as existing in the nata(actor) who plays the role of Dusyanta, but it is suggested/manifested/revealed (abhivyakata) as the spectator, samajika, witnesses the play. The rasa is to be located in the spectator, Thus according to Abhinava rasa is to be located not in the character of the play, not in the actor but in the spectator himself.

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HEMACANDRA'S TREATMENT OF THE.... 185 (ii) Sthayivilaksano rasah/--Rasa is altogether different from the permanent feeling or emotion; vasanas-latent impressions which man carries from birth to birth. This vasana or sthayibhava is inborn. It is aroused by vibhavas, anubhavas, etc., it is universalised/generalised and this generalised bhava the spectator enjoys by identifying himself or herself with the hero or heroine (of course, on the unconscious level). This enjoyment or relish of rasa continues so long as the vibhavas etc. are present. The sthayibhava when thus universalised and is attended by vibhavas, etc. gets the name/title rasa. When the vibhavas etc., disappear from view rasa ceases to exist. (iii) Rasa is alaukika - out of the ordinary, extra-worldly or non-worldly, different from its sthayibhava. Because of this alaukika nature, even the painful feelings of our everyday life like soka (sorrow), krodha (anger), bhaya (fear) and jugupsa (disgust) become pleasurable. All the eight (or nine) rasas are therefore anandarupa or sukhatmaka (pleasurable). Keith briefly summarises this view of Abhinavagupta in these words : "The sentiment thus excited is peculiar, in that it is essentially universal in character; it is common to all other trained spectators, and it has essentially no personal significance, A sentiment is thus something very different from an ordinary emotion; it is generic and disinterested, while an emotion is individual and immediately personal. An emotion again may be pleasant or painful, but a sentiment is marked by that impersonal joy, characteristic of the contemplation of the supreme being by the adept, a bliss which is absolutely without personal feeling." (The Sanskrit Drama p. 318). Finally, although rasa is alaukika and aprameya (which cannot be known by any of the pramanas--proofs--it does not mean rasa does not exist. For it is sva-samvedana-siddha--it is felt. In the course of his refutation of the rival theories of rasa Abhinavagupta briefly mentions the Samkhya-view which holds that rasa is sukhaduhkhatmaka- 'pleasant and painful. This view is not made clear. Whether each rasa is both pleasant and painful or some rasas are pleasant and some others painful. Abhinava however rejects it summarily out of hand. In his Kavanusasana Hemacandra reproduces the whole section from Abhinavabharati dealing with the exposition of the rasasutra and in unmistakable words declares that in regard to the doctrine of rasa he follows Acarya Abhinavagupta. It is very interesting to find that Hemacandra's close and devoted disciples, Ramacandra and Gunacandra, enunciate in their Natyadarpana that Stud.-24

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186 STUDIES IN JAIN LITERATURE rasa is sukha-duhkhatmaka and thus provide an exception to the ancient rule "yathopadhyayam sisyah"; we have no means to know whether these disciples had discussed their view with Acarya Hemacandra and what the Acarya's reaction was. But for a spirited defence of their view with cogent arguments they have won praise from some modern writers on poetics. Another Jain scholar, Siddhicandragani, a contemporary of Jagannatha, in his commentary Kavyaprakasakhandana observes : "tadapekSayA kAminI-kuca-kalaza-sparza-candanAnulepanAdineva nATyadarzanakAvyazravaNAbhyAM sukhavizeSo jAyate / sa eva tu rasa iti navInAH / " - 90 PE According to the view of the Ancients, the rasa is paramanandarupa. The Moderns (Navinah, including Siddhicandra himself, most probably,) however, say: "A Peculiar pleasure which arises on watching a dramatic performance or hearing the recitation of poetry is similar to the pleasure of anointing one's body with sandal-paste or of pressing the breasts of a young beautiful woman. This peculiar pleasure is itself rasa. In other words, the Moderns regard the aesthetic pleasure as on a par with ordinary pleasures of the senses as only (laukika) worldly. As a corollary to this view they hold that there are only four rasas : the erotic, the heroic, the comic and the marvellous; and they reject the claim of the pathetic, the furious, the terrifying and the disgusting to the title rasa!. From this description of the nature of rasa we can easily see how Siddhicandra, a Modern, has gone a step, rather far ahead in bringing rasa to the laukika level. The view expressed by the authors of the Natyadarpana and Kavyaprakasakhandana has not been taken note of by the followers of the Ancients. It is sometimes argued that Lollata, Dandi etc, held the view that rasa is sukhaduhkhatmaka. This much is, however, true that they hold that the sthayin when intensified to its zenith becomes rasa. Thus soka when intensified to its highest point becomes karuna rasa. But this does not mean that the spectators who witness a karunarasanirbhara play experience sorrow. We should make a distinction between the nature of experience the dramatist and the actor are trying to put across and the way the audience receive it through the medium of art-the poetic art of the dramatist and the art of acting of the actor renders any type of experience pleasurable. There is reason to believe that the ancient thinkers held that all rasas are pleasurable to the audience. But it is a separate topic and so we better leave it here. Hemacandra's Kavyanusasana and D. D. Kosambi's Criticism

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HEMACANDRA'S TREATMENT OF THE.... 187 (Harvard University Press, 1957, p. xvii) D. D. Kosambi observes : "Every portion of the anthology is permeated by the theme of sex. Even in dealing with the gods, it is their night life which is most often treated. What may surprise the reader is that monastic scholars also enjoyed and perhaps wrote, such erotic poetry without the least sense of transgression or incongruity, without deviating from a puritanical doctrine and the ascetic life in any other way. The great Jain acarya Hemacandra quotes and comments upon many of our stanzas with the zest of any other theorist of Sanskrit poetry, finding nothing in the act unworthy of his high position in a celibate religious life of unquestioned purity. Nor is he alone in this. These people were connected with the court as preceptors to kings.. It follows that the type of poetry had become as much the fashion as the Sanskrit language among the ruling classes and their educated dependants. The conventions developed by professional poets suited kings like Harsa and Bhoja; so were taken over without thought of new departure by them as well as their pontiffs and abbots. In flavour, there is little to choose between the Buddhist Dharmakirti and his Saiva or Vaisnava colleagues." The charge of lack of originality and of plagiarism was levelled against Hemacandra in his life-time and he has met it in one of his subsequent works (Pramanamimamsa). We do not know if the kind of criticism passed by Kosambi had reached Hemacandra's ears and if he has answered it in any of his later works. We have however clear evidence of such criticism directed against Ramacandra, who was Hemacandra's very devoted and able disciple. Ramacandra mentions it and refutes it in his prologue to the play Mallikamakaranda. The relevant dialogue reads as follows : "Nata : (disdainfully) Sir, the munis are solely devoted to sama (peace or quietude) and they use their dignified speech solely for the exposition of dharma. It is certainly unworthy of them to write plays portraying the sentiments of srngara (love), hasya (laughter), vira (heroism) and the like. Sutradhara : O my worthy friend, now you speak things which betray that you do not have the cleverness of (even) a villager ! The whole world knows that sama is of the very essence to great monks and sages. Do not however, forget the fact that although gods are born in heaven they move about in all the three worlds." The suggstion is : Munis too should occasionally leave the high pedestal and come down on earth and write poems and plays and appreciate them when sung and staged. Just as the gods do not lose their godhead or divine nature

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188 STUDIES IN JAIN LITERATURE simply because they move about in the three worlds, even so the munis who write poems and plays imbued with rasas like srngara, hasya etc., do not lose their monkhood. This reasoning is rather facile. The real point is that Hemacandra was preparing a critique on poeticsworking out an anatomy of poetry and for this purpose a rational, highly objective and disciplined mind was necessary. Where else can a mind receive such a training if not in the strict world of the (Jain) munis ? But to be a muni one doesn't have to cease to be human and it is a remarkable feature of Hemacandra's personality that the human qualities appear in him so sensitively alive in spite of his being a muni of great or high standing. Kosambi's criticism also suggests an act of impropriety. A muni should have considered erotic experience as unworthy even for the purposes of reading and study. Probably the idea is that such a perusal and continuous perusal at that may have an adverse effect on the mind of even a muni. This seems to be a poor view of the strength of the human mind. Virtue does not mean and should not mean running away from occasions of temptation but taking a firm stand to overcome them and discipline of a serious scholar should teach him to be detached enough. The writing of Kavyanusasana by a muni like Hemacandra could be accounted for this way too : a person can have an experience, say, that of anger, and can treat it as an object of his awareness; thus the duality of subject and object is, or at least, can be present, even when the object is a mental phenomenon.. A sadhaka (mumuksu) can experience the traces of past experience, awakened by the stimulus--(here, a play) and can treat the newly evoked experience as the object of his awareness. Two options are available here for him : (i) He can give up his attitude of subject and get immersed in the aroused emotion, or (ii) he can treat it as an object, to test his spiritual strength, the extent of his spiritual attainment. If he adopts the second option it need not obstruct his spiritual progress. A disciplined muni like Acarya Hemacandra could adopt the second option and read, appreciate and even write kavya portraying srngara, hasya and other rasas. There is absolutely no inherent contradiction between ascetic life and engaging in creative literary activities. Charge of plagiarism A modern writer on Sanskrit poetics has charged Hemacandra of plagiarism. In his own times too, it appears, he was charged with plagiarism. For when writing his Pramanamimamsa he takes note of this unjustified criticism

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HEMACANDRA'S TREATMENT OF THE.... 189 and briefly answers it, basing his arguments on Jayantabhatta's famous Nyayamanjari which was composed about two centuries before Kavyanusasana. This relevant discussion, though somewhat long, deserves to be reproduced at least partially : "Before the advent of Aksapada who was there to establish the validity of the Vedas ? But it is a feeble objection. Who has interpreted the Vedas before Jaimini ? Who has given the analysis of words before Panini ? Who has made a study of metres before Pingala ? From the dawn of creation these sciences are in vogue on earth like the Vedas. (The so-called authors do not invent the sciences but) they treat the existent or old subjectmatters either in an elaborate manner or in an abridged form; and from that point of view only they are called their authors."2 In the same vein Hemacandra says : "These vidyas (sciences or disciplines) are without a beginning; they become new from the point of view of abridgment (samksepa) and/or detailed description (or amplification vistara) and are said to be composed by the concerned authors."3 Now, in Medieval India we find many writers of compendiums in alamkarasastra. The Kavyaprakasa of Mammata, the most important and most popular work on poetics is a compendium. It epitomizes all the important theories of poetics that were developed before him. Topics which were treated by his predecessors in different works were for the first time brought together and systematised by him in this work. The orderly and concise treatment of the main issues of poetics mark off his compendium from other compendiums as a splendid and marvellous achievement. The fact, however, remains that it is a compendium only and that it does not present any new theory or doctrine of poetics. Hemacandra on the other hand treats of the topics of his predecessors elaborately presenting them as far as possible in their own form instead of summarising or paraphrasing or describing in his own language. His capacity to select choicest passages from his authorities and to organise them into a homogeneous and organic whole is supreme. It is indeed surprising that such a scholarly, carefully designed and well organised work on poetics should have remained almost entirely unacknowledged. Hemacandra's invaluable services Hemacandra's Kavyanusasana is one of the authentic and most valuable sources for obtaining better or correct or original readings for scores and scores of passages in Abhinavabharati, Dhvanyalokalocana, Vakroktijivita,

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190 STUDIES IN JAIN LITERATURE Sarasvatikanthabharana, srngaraprakasa, Bhamahavivarana, etc., which have been judiciously used in its preparation. We may take up for consideration one of these source-books, utilised by Hemacandra, namely Abhinavabharati. The text of the Abhinavabharati, has been badly preserved in its manuscripts. The first editor of the text (The Natyasastra of Bharatamuni with the commentary Abhinavabharati, Chs. I-VII ed, by M. Ramakrishna Kavi, second edn., Oriental Institute, Baroda, 1956, p. 63) remarked : "...even if Abhinavagupta descended from Heaven and saw the MSS, he, would not easily restore his original readings." Hemacandra has preserved intact the ideas and the language of some of the long sections from Abhinavabharati on the key chapters of the Natyasastra, Rasadhyaya, the Bhavadhyaya, the Dasrupakavidhana and the Sandhyadhyaya by incorporating them in their original form without abridging them. Thus, for instance, the pretty long section of Abhinavabharati extending over fourteen pages of the Kavyanusasana (Ch. II, pp. 89-103) is preserved in toto by Hemacandra. At the end of the section he acknowledges his source in these words : iti zrImAnabhinavaguptAcAryaH / etanmatameva cAsmAbhirupajIvitam / For all this we all owe a tremendous debt of gratitude to him. Hemacandra's Kavyanusasana, Ramacandra and Gunacandra's Natydarpana and Ambaprasada's Kalpalataviveka that have freely drawn on Abhinavabharati and Dhvanyalokalocana are of immense help in correcting the corrupt text as printed in the editions of Natyasastra with Abhinavabharati and Dhvanyalokalocana. I have published a series of articles all entitled "Abhinavabharati : Text Restored". I have also published two papers : "Abhinavabharati : Ch. VII Recovered" ? and "Kalpalataviveka on Abhinavabharati". Even a cursory glance at these papers will convince scholars of poetics of the invaluable help rendered by these Jain authors to our better understanding and appreciation of the greatest and the most valuable commentaries of Abhinavabharati and Dhvanyalokalocana, of the master-critic and aesthete, second only to Anandavardhana, the author of the epoch-making work Dhvanyaloka. Hemacandra does not claim any originality as regards discovering any new theory of poetics. He however claims originality in his method, manner, and treatment of the subjectmatter. And this claim is just and legitimate. I have done. I thank the authorities of the Institute once again for their kind invitation and I thank you all for patient hearing.

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HEMACANDRA'S TREATMENT OF THE.... 191 Notes and References : 1. navInAstu zRGgAra-vIra-hAsyAdbhuta-saMjJAzcatvAra eva rasAH / karuNAdInAM yathA na rasatvaM tathA vakSyate |...ath karuNAdInAM kathaM na rasatvamiti cet, ucyate...yattu zokAdayo'pi ratyAdivat svaprakAzajJAnasukhAtmakA iti tadunmattapralapitam / evaM bhayAtizayavarNanaM tattadvyaktInAM mArdavapratipAdanAya / vastutastu kavibhiH svazaktipradarzanArthameva-padyabandhAbandhAdinirmANavat tatra tatra pravartyata iti / pR. 16-22 2. nanvakSapAdAt pUrvaM kuto vedaprAmANyanizcaya AsIt / atyalpamidamucyate / jaimineH pUrvaM kena vedArtho vyAkhyAtaH / pANineH pUrva kena padAni vyutpAditAni / piGgalAt pUrvaM kena chandAMsi racitAni / AdisargAt prabhRti vedavadimA vidyAH pravRttAH / saMkSepa vistara-vivakSayA tu tAMstAMstatra kartRnAcakSate / 3. .....pANini-piGgala-kaNAdAkSapAdAdibhyo'pi pUrve kAni kimIyAni vA vyAkaraNAdisUtrANItyetadapi paryunuyukkSva / anAdaya evaitA vidyAH saMkSepa-vistara-vivakSayA navanavIbhavanti tattatkartRkAzcocyante /

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SOURCES OF HEMACANDRA'S KAVYANUSASANA nen Hemacandra's Kavyanusasana is a very fine textbook on alamkarasastra. It is remarkable for its free use of the illustrious alaskara works that preceded it, as well as for its wealth of illustrations. It is admittedly a lucid compendium of the subject of poetics as developed by previous writers, most prominent of them being Bharata, Dandi, Vamana, Rudrata, Rajasekhara (KM), Kuntaka Abhinavagupta (Abh. and Locana), Dhanamjaya-Dhanika, Mahimabhatta, Bhoja (SK and SP), Ksemendra, Mammata and Rucaka or Ruyyaka (Samketa). The following table would give the reader a very good idea of the principal sources utilized by Hemacandra in the preparation of his Kavyanusasana : Subject Kavyanusasana 'Principal Source/Sources' Kavyaprayojana Ch.I (pp. 3-6) KP. I. pp. 6-10; RS p. I; Locana I pp. 40-41 Kavyakarana (pp. 7-33) --Pratibha -pp. 5-6 KM IV. pp. 12-13 --Vyutpatti -pp. 7-13 Vamana 1-3; KM VIII (pp.35-41) and Kavik-V (pp. 17-20) -Abhyasa pp. 13-14 Vamana 1-3 -Siksa -Kavisamaya pp. 14-33 KM-XI-XIV --Sabdarthaharana S Kavyasvarupa pp. 33-42 KP.I. p. 13, p. 263, pp. 462-465, pp. 470-472 Dhv. and Locana pp. 223-234 pp. 42-87 Sabdarthasvarupa Dhv. and Locana pp. 74,78,137139, 167-169, 255-257, 271-276, 351-356 SP.VII (pp. 245-250) (pp. 47-57)

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SOURCES OF HEMACANDRA'S KAVYANUSASANA 193 In his Sr. Pra. (p. 708) Dr. Raghavan observes. : "Not only the Gathas and Sanskrt verses given as illustrations by Bhoja, but Bhoja's comments thereon are also reproduced completely by Hemacandra in his Kavyanusasana.... These six conditions (Abhinaya, Apadesa, etc.) and their illustrations are reproduced from the Sr. Pra." KP. V. (pp. 223-256) Rasalaksana pp. 65-66 Ch.II (pp. 88-105) --Pp. 88-89 ---pp. 89-105 (pp. 106-124) KP. IV-pp. 91-95 Abh.-(vol. I) pp. 272-287 Rasabhedas Sthayibhavas pp. 124-126 Abh. (vol. I) pp. 267, 304, 306-307, 314, 315, 324-326, 328, 329, 330, 333-339. Dhv. and Locana pp. 391-394 NS. VII and Abh. (Vol. 1) pp. 282-283 NS. VII and SK (V) and DR. (IV) with Avaloka NA. VII and SK. (V) Abh. (Vol.I) pp. 295-296; SK. (V) Vyabhicaribhavas pp. 126-144 Sattvikabhavas pp. 144-147 pp. 147-150 Rasabhasa and Bhavabhasa Kavyabhedas pp. 150-158 Dhv. and Locana (II) pp. 261, 263-264, 282-283, 495 KP.V W. 120 etc. Dosa-vivecana --Dosalaksana Ch.III (pp. 159-273) (pp. 159-161) -Rasadi-dosas (pp. 161-168) CP. Dhv. and Locana (pp. 8083) KP. VII. v. 321, 327, 330 Dhv. III (pp. 365-401) and KP. VII (pp. 450-460) DR. IV (p. 91) and Avaloka Dhv. III (pp. 361-364) Locana (pp. 342, 344) KP. VII. 60-62 (pp. 433-445) -Rasadosas (pp. 169-199) Stud.-25

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194 STUDIES IN JAIN LITERATURE (pp. 173-176) (pp. 179-198) KM.(pp. 42-44), NS XVIII. 98-99 KM. XVII & XVIII (pp. 89-112) -Pada-dosas (pp. 199-201) SK I. 93 W 126-127 KP. VII V. 202 -Vakyadosas (pp. 201-226) -Ubhayadosas (pp. 226-261) Vamana II, ii, SK I, W. II. KP. VII and X. Vamana II, i. Dhv. (II) & Locana W. II; KP. VII Artha-dosas (pp. 261-273) Vamana. II ii; SK I W.II; KP, VII Dr. Raghavan's remarks on Hemacandra's treatment of Dosas are very apposite : ".... Chapter III of Hemacandra's Kavyanusasana is almost identical with chapter VII of Mammata's Kavyaprakasa. The number, nature and the illustrations of all the flaws are the same in the two books. In Hemacandra's own commentary on his work, Hemacandra has given additional matter drawn from Anandavardhana and Mahimabhatta under the heads of Rasadosas, Avimosta-vidheya and Prakrama and Krama Bhangas." (Sr. Pra. p. 246) Gunavivecana ch.IV(pp. 274 Mainly based on Ns. 294) XVII, KD; Vamana; and KP. (VIII) Dr. Raghavan's observations on Hemacandra's treatment of Gunas are very pertinent : "On Gunas Hemacandra is a follower of Anandavardhana and he draws upon Mammata and probably from Rajasekhara also... As regards the three Gunas, Hemacandra considers that Madhurya is of the highest degree in Vipralambha, a little less in Karuna and still less in santa. zAntakaruNavipralambheSu sAtizayam / "This is one of the views recorded later by Jagannatha..." Hemacandra's treatment of Gunas is noteworthy for his "reference to strange views on Gunas". One view holds that Ojas, Prasada, Madhurya, Samya and Audarya are the five Gunas (in the sense of Patha-dharmas). The other view is these five Gunas belong to certain metres. Hemacandra criticises both :

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SOURCES OF HEMACANDRA'S KAVYANUSASANA 195 Subject 'Kavyanusasana' 'Principal Source/Sources MUL Sabdalamkara varnana Ch. V (pp. 295-338) -pp. 298-314 Mainly based on the NS. XVII. KD, Rudrata, Devisataka with Kayyata's commentary; SK II and the KP (VIII, X) IX Rudrata, Devisataka, Kayyata's commentary, KD, Bharavi Rudrata (IV, V)and Devisataka, Kayyata's commentary NS XVII & Abh. (Vol. II) (pp. 385-392) -pp. 314-332 pp. 333-337 Arthalamkaravarnana Ch VI (pp. 339-405) Nayakadi-varnana Ch VII. (pp. 406-431) Mainly based on the works of Udbhata, Rudrata, Kuntaka, Mammata and to some extent on the SK and Locana Mainly based on the NS XXII and the Abh. (Vol III) DR(II) and Avaloka and a few verses from SK. Mainly based on the NS XVIII and the Abh. and SP (XI) Kavyakautuka, the NS XXIII and Abh. (on NS IV. 268) SP XI (pp. 469-480) Prabandhatmakakavyabheda Ch VIII (pp. 432-466) --Pp. 432-455 ---pp. 455-466 "The treatment of Sravyakavya in the VIIIth Chapter of the Kavyanusasana is completely a reproduction of the section on Gunas and Alamkaras of Prabandha as a whole and the definitions with examples of the types of Sravyakavya given by Bhoja in Chapters XI and XII of the Sr. Pra." (-Dr. Raghavan, Ss. Pra. p. 709). It is not clear why Dr. Raghavan mentions Chapter XII as Hemacandra's source for his treatment of Sravyakavya. Chapter XII "is devoted to the study of the structure and technique of drama" and has very little to do with sravyakavya. The reader is referred to su. Pra. pp. 403-404 where Dr. Raghavan critically examines and appreciates Hemacandra's treatment of Sravyakavya.

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196 STUDIES IN JAIN LITERATURE P. 52 P. (Hemacandra and Rucaka : Note : Only a few identical passages are indicated below to prove Hemacandra's indebtedness to Rucaka or Ruyyaka) : Hemacandra Rucaka p. 5 (11 1-3) p. 77 (11 11-13, 1 22) p. 31 p. 154 (11 19-23) P. 40 P. 155 (1 12) P. 8 P. 178 (1 18) P. 225 (11 27-28) P. 74 P. 231 (11 6-8, 11 16-18) P. 238 (11 22-25) P. 47 P. 274 (1 7) 275 (1 8) PP. 204-205 P. 376 (11 9-11) P. 70 P. 388 (1 20) p. 69 p. 389 (11 2-6) p. 63 It is rarely that Hemacandra mentions his sources by name;1 but on many occasions when he happens to adopt even very long passages in either prose or verse from his predecessors' works he does not care to indicate their sources?. A few long passages in the Viveka?, although not found in any of the source-books mentioned above, do not appear, by virtue of their language and style, to be Hemacandra's. In many places we come across the expression Vayam tu brumah" or similar oness, which lead us to believe that the views prefaced with these expressions are Hemacandra's own, but the fact is that in many cases at least, Hemacandra only repeats his masters' views faithfully in their own words. There are scores and scores of passages, some of them pretty long, common to Somesvara's Samketa and Hemacandra's KS. R. C. Parikh holds that Hemacandra borrows these passages from Somesvara. I have shown in my paper published in the Bulletin of the Chunilal Gandhi Vidyabhavan, Surat (1961-62) that probably the borrowing is the other way?. In view of the uncertainty of the mutual relation between Hemacandra and Somesvara it will only be right to leave out Somesvara's Samketa while considering the present problem. Parikh and Dhruva consider Hemacandra's Ks to be unique in that it brings for the first time, Poetics and Dramatics within the compass of a single work. The work of Hemacandra, however, is not the first of its kind.

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SOURCES OF HEMACANDRA'S KAVYANUSASANA 197 Hemacandra takes the lead from Bhoja's SP which treats of both Poetics and Dramatics 10. The method of noting the sources of the illustrative verses and quotations in the KS adopted by the editor of the SMJV edition, although unexceptionable, is apt to lead one to believe that Hemacandra has drawn them directly from original sources but it is evident that in most cases Hemacandra has drawn them indirectly through the sources utilized by him in writing the KS. It is clear from what has been said above that Hemacandra's work does not constitute an original contribution to the subject. It is, however, not quite correct to describe the Kavyanusasana as a compilation exhibiting hardly any originality as Kanell does or to charge Hemacandra of plagiarism as De 12 does. Instead of briefly summarising or paraphrasing or describing in his own language the theories and doctrines of his predecessors too illustrious to be mentioned by name, if Hemacandra preferred to present them in their original form we need not find fault with him. Besides we cannot forget the fact that his writing was of a scientific nature and in scientific books such quotations are justified. We will only be betraying poverty of our imagination and scant respect for Hemacandra's intelligence if we were to insinuate that Hemacandra pretended that all the passages and excerpts which he quoted would pass as his own. The truth of the matter is that Hemacandra regards the masterpieces of his predecessors as the property of the entire world 13. Hemacandra is a man of 'pratibha' but his 'pratibha' is more of the 'bhavayitri and less of the 'karayitri type. His capacity to select choicest excerpts from his authorities and to organize them into a homogeneous and organic whole is supreme. Moreover, Hemacandra shows independence of thought and judgment in good many places, refusing to follow blindly his acknowledged authorities. To wit, he rejects, and on logical grounds too, three of the six Kavyaprayojanas given by Mammata (pp. 5-6); he differs with Mukulabhatta and Mammata for he holds that Laksana is based on Prayojana alone and not on Rudhi or Prayojana (p. 46). He differs with Mammata (p. 146) as he rejects Ubhayasaktimula-dhvani (p. 68) He rightly rejects the threefold classification of 'artha' into svatah sambhavi, Kavipraudhoktimatranispannasarirah and 'Kavinibaddhavaktrpraudhoktimatranispannasarirah', as found in the Dhv. (pp. 72-73) and the KP. (IV. 39-40). Hemacandra criticises Dhanika for describing Jimutavahana as Dhirodatta (vide KS p.123 II 19-21 and DR II. P. 37) if Mammata speaks of the eight kinds of Madhyama-kavya, Hemacandra holds that there are only three kinds of it (pp. 152-157). He seems to be hitting at Mammata when he remarks : "Etena nirvedasyamangalaprayatve' pi...tat pratiksiptam" (p. 121 II. 9-10). He differs with Mammata when he remarks "Ayam bhavah-yathanyaih pratikulavarnalaksano dosa uktah...tasya (p. 290 II.

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198 STUDIES IN JAIN LITERATURE 19-20). His treatment of the topic of Gunas (Ch. IV) is indeed remarkable, for its presentation and style invariably reminds us of Rajasekhara's KM. Although Hemacandra takes his cue from Kuntaka and his reasoning in reducing the number of Arthalamkaras is not always satisfactory nor convincing, the fact remains that his treatment of this topic is, to a good extent, novel. In a few places we find him combining passages from different sources skilfully into one organic whole-adding his own remarks in between. In this connection we may point to Viveka pp. 203-4, (I. 13-30) where he combines passages from the Vyaktiviveka and the Vakroktijivita, or Viveka p. 362 (I. 10 to p. 364) where he combines the vrtti of the Dhv. and Locana adding his own remarks in between. It would, therefore, seem that the criticism against Hemacandra's KS is not fair. It would be more correct to describe the KS as a good textbook lucidly setting forth various topics of Alamkarasastra in the very words of the masters and serving as a good introduction to the study of the well-known authorities 14. Notes and References : 1. For instance...iti srimanabhinavaguptacaryah (p. 103) 2. In regard to Hemacandra's source, the KM., it is sometimes argued the "The reason of not mentioning the name of Rajasekhara here might be that, in the view of Heracandra, Rajasekhara also might have taken this matter from some other author." This argument in defence of Hemacandra, if accepted as valid, would lead to disastrous conclusions. For by this reasoning all those excerpts from Mahimabhatta, Abhinavagupta, Kayyata and others would have to be considered as not their own-a conclusion which, on the very face of it, is absurd. 3. For instance, p. 155 (1.24) 156 (11 10-24); pp. 164 (1 24)--166. 4. For example, p. 110 (1, 24), p. 183 (1, 22), p. 217 (1,23), p. 337 (1.13). 5. To wit : p. 176 (II. 20-21), p. 178 (I. 14), p. 220 (lastline). 6. Kavyaprakasa (Part II), Rajasthana Puratana Granthamala, No. 47, Jodhpur. 7. In addition to the arguments set forth in my paper in favour of my thesis the following one may be stated : the treatment of sravya type of literature in the KS (and Somesvara's Samketa) is clearly based on Bhoja's SP (XI, pp. 469-480). The SP, however, does not mention Sakalakatha. Since Hemacandra adds its definition and example (the Samaradityakatha, a Jaina work) and Somesvara omits this example, it is reasonable to hold that Somesvara borrows not directly from Bhoja but from Hemacandra. 8. Introduction to Kavyanusasana (p. CCC XXV), (1st edn.) 9. Foreword to Kavyanusasana (p. 10), (1st edn.) 10. Bhoja's Srngaraprakasa by V. Raghavan : Detailed Notice of the Contents (Ch. V) 11. History of Sanskrit Poetics (1961 ed.), pp. 288-89.

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SOURCES OF HEMACANDRA'S KAVYANUSASANA 199 12. Studies in the History of Sanskrit poetics Vol. I (p. 203). 13. Vide Hemacandra's remarks at the opening of his Pramanamimamsa, he unambiguously and emphatically states; Anadaya evaita vidyah samksepa-vistara-vivaksaya navanavibhavanti, tattatkartrkasca ucyante. "It is interesting to note that even this statement of Hemacandra is based on Jayanta's Nyayamanjari. (p. 1 and 5). 14. The reader is referred to Shivaprasad Bhattacharya's Paper 'Hemacandra and the Eleventh Century Kashmir Poeticists" in the Journal of the Asiatic Society, Calcutta, Vol, XXIII 1957 No. 1. OOO

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HEMACANDRA ON SATTVIKABHAVAS Of all the chapters of Bharata's Natya-sastra the sixth Rasadhyaya and the seventh Bhavadhyaya are the key chapters. For, they deal with the most important elements of rasa and bhava (aesthetic or imaginative experience, and feelings or emotions) in drama. Bharata himself explicitly states 'without rasa no (dramatic) matter can arise." Rasas and bhavas being intimately connected, the bhavas too are equally important. There is clear evidence that verses on rasas and bhavas existed even prior to the Natyasastra.? Chapters on rasa and bhava frequently use technical terms like vibhava, anubhava, vyabhicaribhava, sthayibhava and sattvikabhava in the course of the exposition of the theories of rasa and bhava. Abhinavagupta in his commentary on the Natyasastra emphatically states that "in the everyday world there are no such things as vibhava, anubhava and the like. They are merely causes and effects." In other words they belong exclusively to the realm of art.3 Now, the sole intention behind the invention of this terminology is obviously to emphasize the point that the world of drama is different from the real world. And as Abhinavagupta observes in his commentary, in the theatre we live neither in the time nor in the space of the characters portrayed in the drama nor of the actors. Nothing "really happens" or "is affected" in a drama or on the stage as it happens in the real world; when this is not carefully understood something like the follwing happens : A well-known actress and an actor were to enact in a film a scene of an attempted rape. That the scene should appear as akrtrima (natural) as possible, the actress asked the villain to do his best and that she would resist his attempt with all her might. Later she told her friend that if the filming had gone on a couple of minutes longer she would have died of suffocation : In another film in a particular scene the actress was to be slapped. she asked the actor to give her a slap with all force so that it should appear 'natural'. When the actor actually slapped her, her ear-drum was damaged and her eye too.

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HEMACANDRA ON SATTVIKABHAVAS 201 These things belong to real life and not the world of drama. What the sensitive spectators expect of the actors and actresses is their supreme skill in acting and that they make the scenes appear real although they are fake. Their art lies in concealing art. Once an actor played the role of a villain so very well that one person from the audience rose in his seat, took out his 'Chappal and threw it at that actor. The actor however, smilingly took it as a tribute to his power of acting. The poor fellow who however threw in his anger the 'Chappal at the actor does not deserve to be called an ideal spectator. He failed to make the right distinction between reality and illusion. The poet, gifted with marvellous creative imagination--pratibha, and permeated with latent samskaras (impressions) of worldly love depicts the vibhavas, etc., through his play and the actor, trained and talented, presents the anubhavas in such a way as to bring the enjoyment of love to the level of an imaginative expression of love4. The terms 1. vibhava, 2. anubhava, 3. vyabhicaribhava correspond to karana, karya, sahakarikarana of our everyday life. The technical term sthayibhava (the permanent emotion running all through the play from the beginning to the end) corresponds to the related permanent emotion which is inborn with human beings. Bharata's categories of sthayibhavas, vyabhicaribhavas and sattvikabhavas, are not unalterably fixed. This is quite clear from a perusal of the texts. The technical term sattvikabhava however, is somewhat confounding and calls for a detailed exposition. A careful look at Bharata's treatment of karuna, vira and adbhuta would show that Bharata gives some of the sattvikabhavas as anubhavas and some others as vyabhicarins. This treatment implies that according to Bharata they partake of both characters--they are both vyabhicaribhavas and anubhavas. Abhinavagupta, Bharata's commentator, makes explicit what Bharata implies when he speaks of abhyantara (internal) and external (bahya) sattvikabhavas. The internal sattvikabhavas are sometimes not in excess (anudrikta); they are represented by using a fan etc., and if in excess they manifest themselves as perspiration etc., on one's person and hence are described by Bharata as of the nature of vyabhicarins. Further, Abhinavagupta draws our attention to the fact that Bharata mentions the sattvikabhavas as a separate class immediately after the vyabhicaribhavas and just before the 'catvaro'bhinayah' (the fourfold dramatic representation). Abhinayah mean anubhavas themselves. This fact leads to the reasonable conclusion that Bharata regards that the sattvikabhavas partake of Stud.-26

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202 STUDIES IN JAIN LITERATURE the dual nature-they are vyabhicarins as well as anubhavas. Further on Abhinavagupta states that vibhavas like seasons, garlands, etc. and anubhavas, external manifestations of feelings like tears, etc., are exclusively of bodily or physical nature, and external and they can never be designated as bhavas--mental states. (cittavrttivisesa) and finally establishes : Tasmat sthayivyabhicarisattvika eva bhavah 1 (A. Bh. Vol. I, p. 343) (Therefore, the sthayins vyabhicarins and sattvikas alone are called bhavas-mental states). Now, about the word sattvika : Bharata after dealing with the sthayibhavas and vyabhicaribhavas treats of the sattvikas. He raises the objection : "Are the other mental states (sthayibhavas and vyabhicaribhavas) represented without sattva whence only these eight (stambha, sveda, etc.) are called sattvika"? and himself replies : sattva is something which arises from the mind. It emerges from the concentrated mind. It is essential in drama. Situations of happiness and misery need to be properly presented on the stage with the help of sattva so that they appear completely realistic to the spectators. This itself is the sattva in an actor : feigning to be in an unhappy or in a happy state he has to shed tears or display horripilation. And that is why these states (stambhha, sveda, etc.) are called sattvikabhavas." Abhinavagupta explains the term sattva as concentration of the mind (cittaikagryam). The authors of Natyadarpana who generally follow Abhinavagupta echo him when they say: "When the mind is attentive it is called sattva.. For if the mind be inattentive it is not possible for the actor to act out the sattvikabhavas like svarabheda (faltering voice), etc. In continuation of Abhinavagupta's discussion of the nature of sattva Hemacandra's discussion of the sattvikabhavas deserves to be taken up. In a footnote to my paper "Abhinavabharati, Ch. VII Recovered ?" I wrote "The discussion of this topic (sattva and sattvikabhavas) in the KAS (pp. 144-147) is possibly based on the portion in the A. Bh. on the Bhavadhyaya (now lost). This guess is hazarded on the strength of a few significant phrases common to the A. Bh. and the KAS8. The language, the style, the mode of presentation and the fact that Hemacandra freely adopts the whole section on rasa and passages after passages from Abhinavabharati on Dasarupakavidhana lead a careful student to believe that it is more likely than not that the whole discussion is taken over from the A.Bh. (on Ch. VII) now lost. The theoretical discussion in Alamkaracudamani may briefly be presented in the words of the late Professor M. V. Patwardhan as

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HEMACANDRA ON SATTVIKABHAVAS 203 follows: The word sattva means vital force (or energy) because of the etymology, viz. : the mind is lodged in it, and because vital force consists in an excess of sattva-guna and because of its inherent goodness (sattva=sadhutva). The sattvika-bhavas have their origin in sattva (in the vital force) and hence they are known by the name sattvika.' The sattvikabhavas are associated with the emotions such as rati (love) etc., which arise from Prana-bhumi--the bed-rock (bhumi) of the vital force. They are distinct from the physical effects such as tears, etc., which are extraneous (to the vital force) and which are nonsentient (? bodily, of physical nature) in their or form (jadarupa). They are produced only by the vibhavas associated as causes with the emotions or psychic states such as rati (love), etc. and are beyond the pale of aesthetic experience, and their presence (i.e. the presence of the internal sattyikabhavas) is intimated or suggested by their consequents. To explain : The psychic states, when they enter into the predominantly earth-allied element in the vital force give rise to stambha (the blocking of sensation, when they enter i.e. affect) the predominantly water-allied element in the vital force give rise to tears. But as tejas (heat) is intimately allied to the vital force either intensely (acutely) or in a feeble manner (mildly) and it gives rise to perspiration and paleness of the body (? face) it is spoken of in that way. Perspiration due to the infusion (of tejas) into the water-dominated element of the vital force, for example, is thus illustrated in the following stanza, cited in Viveka (p. 146) : "When in the course of gambling (with dice) for amusement (or diversion) her embrace was first won (as a wager) by her dear consort, and then, thereafter, the charming (delightful) offering of the lower lip (for being kissed) was won by her dear consort as wager, he again inquired of his beloved about the (next) wager to be put forward by her, she silently streched out (extended) her perspiring hand in order to throw (cast) the dice (sara-visaranayaraksa-utksepanaya), while her cheeks began to throb (quiver) because of the outburst of passion accumulated in her (mind) but held in check with a suppressed (inchoate) smile (santarhasa). But (physical) paleness or loss of colour due to the infusion of tejas into the waterdominated element of the vital force in a feeble manner is thus illustrated in the following stanza, cited in Viveka (p. 146) : "As that princess (Indumati) seeking to choose a consort for herself (from among the assembled kings) (simply) passed by the various kings successively (without making her choice of any one of them) each of them became pale (lost colour) just as when a flame (torch) passing successively in

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204 STUDIES IN JAIN LITERATURE front of the mansions on the principal street in a city, each mansion became pale (and plunged in gloom)". When akasa (space) affects(anugraha) there arises pralaya (fainting). But when vayu (air) affects the vital force either slowly or swiftly or in a manner midway between the two, it becomes transformed in a triple way viz., horripilation, tremor or trembling and faltering voice. Faltering voice due to vayu (air) affecting the vital force swiftly is thus illustrated in the following stanza in Viveka (p. 146). "When Krsna went for Dvaraka, Radha, embracing the tender branch (lata) of the Vanjula tree (Asoka tree), bent down because of his jumping down from it (in the river Yamuna flowing near it) sang with such deep longing, her song turning into a loud wail and her throat so choked with profuse tears that the ducks swimming in the water began to cry plaintively (in sympathy)." Such is the view of those who are conversant with Bharata (i. e. with the Natyasastra of Bharata) 10 The final position is this : The external sattvikabhavas such as stupefaction, etc., are physical attributes and they operate as anubhavas suggesting the corresponding) internal sattvikabhavas and in reality they (ultimately) suggest emotions, psychic states such as 'love, world-weariness, etc. 11. These sattvikabhavas occur in connection with each one of the rasas and they do not possess even a slight trace of independence (autonomy) not even like the vyabhicaribhavas on the analogy of a king's servant engaged in his own marriage ceremony who is followed by the king (at the time of the marriage procession, i.e. in relation to his own servant the king occupies, for the time being, a position subordinate to that of his own servant.)12. The whole discussion may briefly be summarised as follows : The basic eight feelings are first felt by mind and later the mind allows or disallows them to be manifested physically through perspiration, or gooseflesh, or tears or pale complexion, etc. The fact to be noted is that all feelings are basically internal. They originate from human consciousness. They are in fact its vital part, hence termed as sattvika. Thus the whole section dealing with the theoretical knowledge about the sattvikabhavas and providing appropriate illustrations drawn from literature is remarkable for its originality and novelty. In the field of poetics it has been preserved for us by Hemacandra and Hemcandra alone. There is a solitary reference by Kumarasvamin, the author of Ratnapana, a commentary on Prataparudriya to the final position--the concluding lines (f.n. 11) which he

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HEMACANDRA ON SATTVIKABHAVAS 205 introduces with the words "uktaM ca AcAryahemacaMdreNa" / Kumarasvamin, it would seem, thinks that the whole section on sattvikabhavas is of Hemacandra himself. In conclusion, we should be grateful to Hemcandra who by his preference for eclectic writing has preserved for us the gold--the precious and best portions and passages from his illustrious predecessors and is of immense help in improving the corrupt readings from the texts of his source-books : Abhinavabharati, Dhvanyalokalocana, Vakroktijivita Srgiaraprakasa, etc., and contributes to knowledge. Notes and References : 1. na hi rasAte kazcidarthaH pravartate / -N. VI v. 31-V. 32 2. For instance, Bharata introduces the two verses VI. 32-33 with the words : atrAnuvaMzyo zlokau bhavataH / The word anuvamsya means "traditional", "handed down as basic and authoritative". Read also P. V. Kane : The History of Sanskrit Poetics, Bombay, 1951 edn, pp. 16-17. 3. i) na hi loke vibhAvAnubhAvAdayaH kecana bhavanti / hetukAryAvasthAmAtratvAlloke teSAm / -A. Bh. Vol. I, p. 292 (ii) loke vibhAvAnubhAvAbhinayAdivyavahArAbhAvAt / -A. Bh. Vol. I on NS VI-71 (iii) loke hi na kazcid vibhAvAdivyavahAra iti bhAvaH / -A. Bh. Vol. I on NS VI-36, 4th edn., p. 287. 4. kavihi laukikarativAsanAnuviddhadastathA vibhAvavAdInAharati nATyaM cAnubhAvAn (naTazcAnubhAvAn ?) yathA ratyAsvAdaH zRGgAro bhavati / 'AsvAdayiturapi prAkkakSAyAM ratyavagama upayogI' ityuktaM prAk / -A. Bh. Vol. I (on NS p. 302), 4th edn, p. 296. 5. Bharata defines the thirty-three vyabhicaribhavas treating them almost as if they were sthayibhavas, and some of the sthayibhavas are given as vyabhicaribhavas of other rasas. The sattvikabhavas, when the individual rasas are defined, are given as vyabhicaribhavas. 6. iha hi sattvaM nAma manaHprabhavam / tacca samAhitamanastvAdutpadyate / manasaH samAdhau sattvaniSpattirbhavati / .... etadevAsya sattvaM yad duHkhitena sukhitena vAyuromAJcau darzayitavyau iti kRtvA sAttvikA bhAvA ityAbhivyAkhyAtA : / -NS VII, pp. 374-75 7. avahitaM manaH sattvaM tatprayojanaM heturasyeti sAttvikaH / mano'navadhAne hi na zakyanta eva svarabhedAdayo naTena darzayitum / ___ ND, Baroda, 1959, edn, p. 169 8. Vide my book Studies in Sanskrit Sahitya-Sastra, B. L. Institute of Indology, Patan (North Gujarat), p. 77 9. sIdatyasminmana iti vyutpatteH sattvaguNotkarSAt sAdhutvAcca prANAtmatvaM vastu sattvam, tatra bhavAH sAttvikAH / bhAvA iti vartate / -Kavyanusasana, Sri Mahavira Jaina Vidyalaya Bombay, 1964 edn, p. 144. 10. te ca prANabhUmiprasRtaratyAdisaMvedanavRttayo bAhyajaDarUpabhautikanetrajalAdivilakSaNA vibhAvena ratyAdigatenaivAticarvaNA

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206 STUDIES IN JAIN LITERATURE gocareNAhatA anubhAvaizca gamyamAnA bhAvA bhavanti / tathA hi pRthvIbhAgapradhAne prANe saMkrAntazcittavRttigaNaH stambho viSTambhacetanatvam / jalabhAgapradhAne tu vASpaH / tejasastu prANanaikaTyAdubhayathA tIvrAtIvratvena prANAnugraha iti dvidhA svedo vaivayaM ca... AkAzAnugrahe gatacetanatvaM pralayaH / vAyusvAtantrye tu tasya mandamadhyotkRSTAvezAt tredhA romAJca-vepathusvarabhedabhAvena sthitiriti bharatavidaH / -Ibid, pp. 144-146 11. bAhyAstu stambhAdayaH zarIradharmA anubhAvAH / te cAntarAlikAn sAttvikabhAvAn gamayantaH paramArthato ratinirvedAdigamakA iti sthitam / __-Ibid, p. 147. 12. ete ca sAttvikAH pratirasaM saMbhavantIti rAjAnugatavivAhapravRttabhRtyanyAyenApi vyAbhicArivanna svAtantryagandhamapi bhajante. . . -Ibid, p. 147. 000

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DUAL NATURE OF SATTVIKABHAVAS* Of all the chapters in Bharata's Natyasastra the sixth and the seventh chapters, called Rasadhyaya and Bhavadhyaya respectively, are perhaps the most significant as they deal with rasa (sentiment, aesthetic experience) and bhava (emotion or feeling), which according to Bharata are the vital elements of a drama. The Bhavadhyaya treats of eight sthayi bhavas (permanent or dominant emotions), thirty-three vyabhicaribhavas (transitory feelings, accompanying emotions) and eight sattvikabhavas (involuntary states) which together make forty-nine bhavas. From Bharata's own treatment, it is, however, observed that the categories of bhavas are not unalterably fixed. For example, Bharata declares : The accompanying transitory feelings of the sentiment of love (srngara) are all vyabhicarins except laziness, violence and disgust (jugupsa). Now jugupsa, which is the sthayibhava (permanent emotion) of the sentiment of bibhatsa (the sentiment of horror or odium or disgust) is mentioned here as one of the vyabhicarins (transitory feelings) to be avoided when portraying the sentiment of srngara. This statement of Bharata implies that the so-called sthayibhavas can or could come as vyabhicaribhavas of some other rasas. Further the very fact that Bharata defines all the thirty three vyabhicaribhavas and treats them almost as if they were sthayibhavas in the seventh adhyaya indicates that the distinction between the two categories of emotions is rather slender. As regards the sattvika-bhavas Bharata gives them, when defining the individual rasas, as vyabhicaribhavas.? This fact once again shows that the categories of bhavas as sthayins, vyabhicarins and sattvikas are not very strict. In this paper, we confine our discussion to the dual nature of the sattvikabhavas only. While defining karuna, Bharata gives asrupata, mukhasosana smrti-lopa (which according to Abhinavagupta indicates stambha and pralaya) as some of its anubhavas; and stambha, vepathu, vaivarnya, asru, svarabheda as some of its vyabhicaribhavas>>. Again, while defining bhayanaka, Bharata gives pulaka,

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208 STUDIES IN JAIN LITERATURE mukhavalvarnya, svarabheda as some of its anubhavas; and stambha, sveda. gadgada, romanca, vepathu, svarabheda, and vaivarnya, as some of its (vyabhicari) bhavas." Once again, while defining adbhuta Bharata gives romanca, asru sveda as some of its anubhavas; and stambha, asru, sveda, gadgada, romanca, pralaya as some of its (vyabhicari) bhavass. This treatment of the so-called sattvikabhavas unmistakably implies that according to Bharata, they partake of both characters (i.e., they are both vyabhicaribhavas and anubhavas). Abhinavagupta, Bharata's commentator, makes explicit what Bharata implies when he speaks of abhyantara (internal) and bahya (external) sattvikabhavas : (i) "Loss or change of colour, tears and faltering voice--these sattvikas are used here in the sense of internal feelings which have not manifested themselves externally. To explain : 'his throat is choked with tears but there are no tears in his eyes'. To show that tears, etc., depend on (i.e. partake character of) both vyabhicaribhava and abhineyatva (= abhinaya), Bharata has described them between the thirty-three) vyabhicaribhavas, and the (fourfold) abhinaya. This we have already said before (A. Bh. p. 268) and will say again in the seventh chapter ?" (ii) "Even in the absence of internal sattvikas, external perspiration, etc., are caused by swallowing poison or by fever, etc. In other words, perspiration, etc., are not invariably of the form or nature of mental states. The internal sattvikabhavas, when they are not in excess, are represented simply by using a fan, etc.; and if in excess, they manifest themselves as perspiration, etc., on one's person; and hence are described by Bharata as of the nature of vyabhicarins" (iii) "The words 'vak', etc. are used in the sense of their functions i.e. vacika abhinaya etc... They produce kavyartha which is connected with vacika, angika and sattvika abhinaya as karana. The vacika is of the form of speech; the angika consists of gestures of hands, feet, etc.; and the sattvika is of two kinds : internal and external."6 The fact that Bharata mentions the sattvikabhavas separately immediately after the vyabhicaribhavas and just before catvaro'bhinayah (fourfold dramatic representation) he ingeniously explains as follows : the sattvikas depend on (i.e. partake of) both characters, viz., vyabhicaribhava and abhinaya (acting or dramatic representation). That is precisely why they are described or classed separately.? For abhinayas' mean anubhavas themselves. 8 When commenting on the technical term bhava, Abhinavagupta says : by the word 'bhava' particular mental states alone are meant... The vibhavas like seasons, garlands, etc., and the external manifestations of feelings like tears, etc. (anubhavas), which are absolutely inanimate, cannot be designated or called by the term bhava (mental state)'. Citing this statement Raghavan observes : "They (tears, etc.) are bahya-anubhavas, physical manifestations and hence are jadas.

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DUAL NATURE OF SATTVIKABHAVAS 209 Abhinavagupta says that the sattvikas cannot be called bhavas at all strictly, though we speak of sattvikabhava. The name bhava primarily applies to mental states, the sthayins and the vyabhicarins". 10 This observation holds good as far as the bahya sattvika-bhavas (like tears, etc.,) are concerned. Abhinavagupta, however, recognises antara or abhyantara vaivarnya, asru, svarabheda, etc., also as vyabhicaribhavas. Thus, it is very clear that as far as Bharata and Abhinavagupta are concerned, they admit sattvikabhavas to be both vyabhicaribhavas and anubhavas. In other words, they hold that the sattvikabhavas have dual character. And immediately after two or three lines following the passage which Raghavan has cited, Abhinavagupta himself concludes: tasmAt sthAyivyabhicArisAttvikA eva bhAvAH / Therefore sthayins, vyabhicarins and sattvikas alone deserve to be designated or called bhava". Now, immediately after dealing with eight sthayibhavas and thirty-three vyabhicaribhavas Bharata goes on to consider sattvikabhavas. He starts off with the following objection ; "Are the other mental states (sthayibhavas and vyabhicaribhavas) represented without sattva whence only these (to be described soon) are called sattvika" ? Reply : sattva is something which arises from the mind. It emerges or results from the concentrated mind. The sattvikabhava which is of the form of romanca (horripilation or goose-flesh), tears (asru) paleness or loss of colour (vaivarnya), etc., and is in accordance with its appropriate feeling, cannot be acted out by an absent-minded actor. The sattva is essential in drama as it is an imitation or reproduction or representation or re-enacting of what happens in everyday life or of human nature. To explain : situations of happiness and misery that are to be enacted on the stage should be properly presented with the help or on the strength of sattva so that they appear completely realistic. How can sorrow which consists in weeping be acted out on the stage by anyone who is not himself unhappy ? (who has no experience of unhappiness)? And how can happiness consisting in joy be acted out on the stage by any one who is not happy (by temperament)? This itself is the sattva in an actor : feigning to be in an unhappy or in a happy state, he has to shed tears and display horripilation respectively. And that is why these states are called sattvika-bhavas"? These are the eight sattvikabhavas : 1. paralysis, 2. perspiration, 3. horripilation, 4. faltering voice, 5. trembling, 6. loss of colour or paleness, 7. tears and, 8. fainting. Stud.-27

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210 STUDIES IN JAIN LITERATURE Abhinavagupta explains the term sattva as concentration of the mind (cittaikagryam). According to one commentator (tikakara) cited by Abhinavagupta, it means manas samadhanam, the same as cittaikagryam. In one context, he paraphrases sattva-samuttham as prayatnakrtam; in another context he explains it as what results from concentration of the mind (manassamadhanajam) and stresses the supreme importance of great effort (prayatna) for sattva (concentration of the mind) for natya (drama) rests or is founded on sattva. "Sattva is something invisible but serves as the basis of mental states by means of horripilation, tears, and other sattvika states displayed in accordance with the situations and sentiments." Compared with sattvika abhinaya the role of vacika and ongika abhinayas in drama is not so important, says Abhinavagupta. 12 It deserves our notice that the authors of natyadarpana, who generally follow Abhinavagupta, explain the term sattva after Abhinavagupta, though the words and expressions differ : When the mind is attentive it is called sattva. For if the mind be inattentive, it is not possible for the actor to act out the sattvikabhavas like svarabheda, etc."13 In continuation of this (Abhinavagupta's) discussion of the nature of sattva, Hemacandra's discussion of the sattvikas deserves to be taken up. For, it is surely enough based, to the best of our belief, 14 on the missing portion of the Abhinavabharati (ch. VII) dealing with the sattvikabhavas; the relevant portion from Kavyanusasana as translated into English by Prof. M. V. Patwardhan is given at the end of this paper as an Appendix to facilitate ready reference. In this paper, we confine ourselves to the main points of the discussion : Sattva means pranatmakam vastu (vital energy). It is so called because the mind dwells in it and because there is exuberance or predominance of sattvaguna in it and because it is characterised by intrinsic goodness. The sattvikabhavas arise from it. They are in the state of knowledge of rati, etc., which emerge from the prana-bhumi. (The idea is : the particular mental states like rati, etc., first appear as manifestations of consciousness. They then colour-by superimposing their own nature--the abhyantara (internal) pranas. In other words, flowing from their original mental state, they rest in the internal pranas without transforming themselves into external manifestations of feeling (anubhava) like paralysis (stambha), perspiration (sveda) etc.,). They are distinct from bodily or physical tears etc., which are external and inanimate (insentient or non-sentient) in their nature or form. They are produced by the same vibhavas which produce rati etc.; to put it differently, the vibhavas of the sthayins like rati, etc., and of the sattvikabhavas like stambha, sveda, etc. are the same. They are beyond the range of aesthetic experience or relish. They are, however,

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DUAL NATURE OF SATTVIKABHAVAS 211 suggested-their presence is conveyed--by their consequents, i.e. by their external manifestations. Although physical weakness (glani), laziness (alasya); fatigue (srama), stupor (murccha) etc., are devoid of alambana-visaya, still as they are caused by external factors, they are listed (or enumerated or counted) among vyabhicarins. The mental states like paralysis (stambha), etc. are, on the contrary, not caused by external factors, and hence they are called sattvikas. The external sattvikas paralysis (stambha), etc., are bodily or physical attributes (sarira-dharma) and therefore are called anubhavas. They first suggest their corresponding internal, sattvikabhavas but ultimately (really speaking or in reality) they suggest the mental states or emotions like love, world-weariness, etc. These sattvikabhavas occur in connection with each one of the sentiments (rasas). They do not enjoy even a slight trace of independence (or of occasional predominance)- not even like the vyabhicarins on the analogy of a king's servant engaged in his own marriage ceremony who is followed by the king (at the time of the marriage procession). (That is in relation to his own servant, the king occupies, for the time being, a position subordinate to that of his own servant). Dhananjaya, who closely follows Natyasastra, pointedly refers to the dual nature of the sattvikabhavas : pRthagbhAvA bhavantyanye'nubhAvatve'pi sAttvikAH / Hralca uredite 9619971994 11 --DR IV.4 (b)-5 (a) i.e., the sattvikas, although they are of the nature of anubhavas, are bhavas other than sthayins (permanent emotions) and vyabhicarins (transitory feelings). For, they arise from sattva and it (sattva) means 'making the spectator's mind or heart realize the joys or sorrows of the character portrayed". It is the actor, who plays the role of Rama, etc., who, by the strength of his fourfold dramatic representation, makes the spectator apprehend clearly or experience almost directly the joys or sorrows the character (Rama) seems to have gone through. In the words of Keith : "The consequents are the external manifestation of feeling, by which the actors exhibit to the audience the minds and hearts of the persons of the drama... A special class is later made of those consequents, which are the involuntary product of sympathetic realization of the feeling of the person portrayed, and hence are called sattvika, as arising from a heart which is ready to appreciate the sorrows or joys of another (sattva)". 15 Raghavan explains sattva as follows : It is the making of our own hearts take the shape of what is presented in the poem or drama. This is sattva. This is how even rajasa and tamasa bhavas like anger and sorrow came to be sattvika. The

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212 STUDIES IN JAIN LITERATURE samkhya term sattva is used in this context with a specialised meaning imported (injected) into it and equated with sattva well-known in dramaturgy as meaning "tanmayibhavana''16 At another place he observes : "Surely sattva means manas and as all bhavas are mental moods, they are all sattvikas. Sattvika also means from the point of view of the actor... those bhavas in the acting of which the actor had to enter into the mind and show. Though such acting is common to all bhavas, it is true most of the sattvikas, for a tear has to be shown by an actual tear and horripilation by horripilation"17 Visvanatha defines sattva thus : Sattva "is a certain inward disposition which spontaneously reveals the repose of one's soul where it does not interfere to modify the indication" and sattvikas as "Those changes in a human being are called 'involuntary or honest and spontaneous-which arise from sattva". These sattvikas differ from the anubhavas (consequents) in general only in their taking rise in sattva-just in the same way as the bull differs from the cattle (go-balivarda-nyayena);!in other words, the sattvikas are a special class of the anubhavas in general. Saradatanaya deals with the sattvikabhavas in his Bhavaprakasana. Kumarasvamin in his Ratnapana commentary on Prataparudriya takes note of his view along with those of others. Kumarasvamin's Ratnapana commentary is remarkable for its resume of a variety of interpretations of sattva, the source of the eight sattvika-bhavas. He specifically mentions Bhavaprakasa, Acarya Hemacandra, and Rasanirupana of Naraharisuri in the course of his exposition of the technical term sattva and the sattvika-bhavas. He is indebted to Dasarupakavaloka also for his explanation of sattva and the dual nature of sattvikabhavas. As already observed above, Hemacandra is almost certainly indebted to Abhinavagupta for his treatment of the sattvikabhavas. So Kumarasvamin may be said to be indebted to Abhinavagupta through Hemacandra. Abhinavagupta, Hemacandra and Kumarasvamin unambiguously state that the mental states such as love, world-weariness, etc. become transformed into (internal) sattvikabhavas, stambha, etc., owing to sympathetic realization; and that they are indicated by the external, insentient, physical and bodily consequents such as stambha, etc.; and that ultimately-in reality-just the mental states such as love, world-weariness, etc., are suggested by the external manifestations. Kumarasvamin records four different views regarding sattvikabhavas held by "some" (Kecit, Anye). The first view stated by him is identical with Acarya Hemacandra's (or rather Abhinavagupta's) view (cf. Kavyanusasana, pp.144-45).

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DUAL NATURE OF SATTVIKABHAVAS 213 According to the second view, sattva is a particular kind of strength or energy (bala) which is of the nature of making the spectators or audience realize vividly, without the aid of other bhavas (the vyabhicarins, transitory feelings) the particular rasa; and sattvikabhavas are those external manifestations of feellings which arise from that sattva. According to the third view, sattvikabhavas are stupefaction, etc. themselves, which though similar to anubhavas (consequents like sidelong glances, etc.) are called sattvikabhava on the analogy of words like pankaja, etc. These words althougth etymologically mean anything produced in mud', by convention mean only "a lotus'. The sattvikabhavas are the outcome of sattva, the manifestations of sattva but because of the predominance of the annamayakosa they convey external manifestations such as stupefaction, etc., through yoga-rudhi (etymology delimited by convention). According to the fourth view, the term sattvikabhavas is used to denote only the external manifestations of feelings like stupefaction, etc., because of its well-known usage in the alamkara-sastra (poetics) just as in the Vaisesika system of philosophy the word padartha is used to indicate the three categories out of seven, viz., dravya, guna and karma (substance, quality and Action respectively). Out of these conflicting views, Kumaraswamin has no special preference for anyone. According to Rasatarangini, 'sattva' means living body; and the sattvikas are its attributes i.e. the sattvikas are physical effects-stupefaction, etc. are physical effects and are called sattvikabhavas. The sthayibhavas and vyabhicaribhavas, being internal, are (of course) not physical effects.19. Rasaratnapradipika (p.10) says : Although these sattvikas in accordance with their possibility (yatha-sambhava) occur in one and all rasas, still disregarding their nature as vyabhicarins they are enumerated separately as sattvikabhavas since they originate in sattva alone. And that sattva means the extreme readiness of the actor's / spectator's heart to appreciate the sorrow (or joys) of another (the original character); and it arises from a (concentrated) mind.20 Prabhakara says in his Rasapradipa (p. 18): "The sattvikas are counted or included among anubhavas as they are the effects of rati (love), etc. They are described separately as they are produced from sattva, their invariable cause. It is defined as follows : In poetics, the mind, when it is not affected or contaminated or influenced by rajas and tamas (the other two constituent elements of prakrti) is called sattva. The sattvikabhavas are so called as they are able to produce or evoke rasa through their connection with it (sattva)". 21

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214 STUDIES IN JAIN LITERATURE The explanation of sattva as jivaccharira given in Rasatarangini though novel is not in conformity with Bharata who very clearly and without any ambiguity whatsoever explains it with reference not to living body but to concentration of the mind, i.e., what results from such a concentration. (N.S. Ch. VII, pp. 374-75). Dr. J. L. Masson and Prof. M. V. Patwardhan observe in their Notes (Aesthetic Rapture, Vol.II, p. 63) : "Note Abhinava, p. 268 : sattvika vyabhicarivrttam abhinayavrttam copajivantiti prthagabhinayadibhyo ganitah. Abhinava's point seems to be that Bharata mentions them separately from the vyabhicaribhavas because they have a dual character : they are transitory (vyabhicari) and they depend on acting. But in so far as the vyabhicaribhavas belong to the actor, they are also dependent on abhinaya. Abhinava's explanation is thus not very convincing. Perhaps, Bharata has mentioned the sattvikabhavas separately because they are harder to feign. It is easy to imitate delight, but more difficult to make one's hair stand on end (romanca) either in fear or in pleasure". It is rather difficult to agree with the authors when they say "Abhinava's explanation is thus not very convincing." As Abhinava observes elsewhere (A. Bh. Ch. VI., p. 290) abhinaya anubhava eva', the sattvikas have a dual nature : they are transitory feelings, and at the same time, external manifestations of feeling. That is why a special class is made of the eight sattvikas, stupefaction, perspiration, horripilation, etc., "which are the involuntary product of sympathetic realisation of the feeling of the person portrayed, and hence are called sattvika, as arising from a heart which is ready to appreciate the sorrow or joys of another (sattva)."22 This nature helps us to distinguish very clearly these eight sattvikabhavas from the usual thirty-three transitory feelings and the other external manifestations of feeling. That the sattvikas are harder to feign, as they involve or demand complete concentration of the mind on the part of the actor/spectator, is very true and acceptable to one and all. The explanation given by Bharatiya Natyasastra (Marathi) as to why the anubhavas, stambha, sveda, etc., are called sattvikas may briefly be stated as follows: "In everyday life, we find that in appropriate circumstances and situations, the sthayins, rati (love) etc., are awakened quite naturally; and their corresponding physical effects become manifest to discerning people. But, an actor has to produce with great effort these artificial mental states by means of sympathetic realisation of the feelings of joys and sorrows in others. To distinguish these artificial mental states from the natural mental states of love, etc., they are given different names on the basis of the particularly prominent

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DUAL NATURE OF SATTVIKABHAVAS 215 anubhavas manifested on their awakening. The eight sthayins, rati, hasa, sokakrodha, utsaha, bhaya, jugupsa and vismaya may thus have been given the sattvika names : 1. pralaya, 2. svarabhanga, 3. asru, 4. vepathu, 5. sveda, 6. vaivarnya, 7. romanca and, 8. stambha. But later on there was utter confusion between these names of artificial sthayins and the anubhavas bearing these very names. Consequently, a doubt might have arisen whether they are anubhavas or bhavas." This explanation is ingenious no doubt but not convincing. If the names of the eight sattvikas were standing in the same order as we find in the case of the eight sthayins with reference to the eight rasas, the explanation offered by Bharatiya Natyasastra would have gained some worthwhile support from Bharata. Abhinavagupta's theory of internal and external sattvikabhavas involving the Samkhya and the Vedanta concepts of sattva (rajas and tamas), and the Kosas respectively is certainly novel and interesting. However, it does not seem to have found favour with later thinkers except Acarya Hemacandra, Naraharisuri23 and Kumarasvamin. May be, they found it unconvincing or unsatisfactory or regarded it as unimportant and unworthy of consideration24. Appendix (Note : Here is Prof. M. V. Patwardhan's translation of Acarya Hemachandra's sections in his Kavyanusasana (MJV edn. Bombay 1964) dealing with the topic of the sattvikabhavas : Now, he speaks of the sattvikabhavas). Sutra 79 : stupefaction (stambha), perspiration (sveda), horripilation (romanca), faltering voice (svarabheda, the same as svarabhanga), trembling (kampa, the same as vepathu), change of colour or paleness (vaivarnya), tears (asru) and fainting or loss of consciousness (pralaya)--these are the eight sattvikabhavas. Alamkaracudamani on the 'sutra : The word sattva means vital force (or energy) (elan vital), because of the etymology, viz, : The mind is lodged in it, and because vital force consists in an excess of sattva-guna and because of its inherent goodness (sattva=sadhutva). The sattvikabhavas have their origin (or existence) in sattva, i.e. in the vital force and hence they are known by the name sattvika. The sattvikabhavas are associated with the emotions (or psychic states) such as rati (love) etc., which arise (or emerge) from the bed-rock (bhumi) of the

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216 STUDIES IN JAIN LITERATURE vital force. They are distinct from the physical effects such as tears, etc., which are extraneous (to the vital force), and which are non-sentient in their nature or form (jada-rupa). They are produced (@hrta) only by the vibhavas associated (as causes) with the psychic states, such as rati (love) etc. and are beyond the pale of aesthetic experience (aticarvanagocarena vibhavena), and their presence (i. e., the presence of (the internal) sattvikabhavas) is intimated (or suggested) by their consequents. To explain : The psychic states, when they enter into the predominantly earth-allied element in the vital force give rise to stambha-stupefaction, i. e. the blocking (inhibition) of sensation (cetana; cesta-physical movement); when they enter (i.e., affect) the predominantly water-allied element in the vital force give rise to tears. But as tejas (heat) is intimately allied to the vital force, either intensely (acutely) or in a feeble manner (mildy), and it gives rise to perspiration and paleness of the body and as it (tejas) is the cause of that (perspiration and paleness ?) therefore it is spoken in that way (tatha ? sense not clear). When akasa (space) affects (anugraha) (the vital force ), there arises pralaya fainting, loss of consciousness). But when vayu (air) affects the vital force ? vayusvatantrye ? obscure. We expect vayu-anugrahe on the analogy of tejasanugraha and akasanugraha as air (wind) affects, (becomes infused in (the vital force either slowly, swiftly or in a manner midway between the two, it becomes transformed in a triple way viz., horripilation, tremor or trembling and faltering voice. Such is the view of those conversant with Bharata (i.e. with the Natyasastra of Bharata). Viveka on the above cited passage, p. 144 : "The bed-rock of the vital force". The idea is as follows : The particular psychic states such as love, etc., first emerge into prominence as manifestations of consciousness. Then they affect (tinge) through the superimposition of their own natures the internal vital force. And this is not something that is incomprehensible. For instance, the infusion (or accession) first arises or manifests itself as something blazing up (or burning) (flushing, simmering) (emending the text 'Krodhavese antara jvalateva' to 'Krodhavesah antara jvalanniva'), and then perspiration follows (due to exasperation). With this very idea in his mind Banabhatta has said : First austerities drop down (i. e., become ineffective) and then the fluid of perspiration begins to ooze (from the body'* (Harsacarita, 1, p. 13). When a particular psychic state attains to (or reaches) such a phase in that manner, it is also observed in the world to be restrained (or inhibited) from reaching a climactic point in the form of visible physical effects (or

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DUAL NATURE OF SATTVIKABHAVAS 217 manifestations). For example : "The mind (heart) of the beloved one, prone to passion (love), as it becomes agitated (excited) at the sight of the moonlike face of her dear lover does not come to rest (i. e. does not become pacified), although the manifestation of physical effects such as perspiration has been restrained through (fear of) its being noticed by the elderly people (near about) (gurusamkama=gurusamkrama=gurujanadarsanabhaya [in the Viveka, p. 145, gurusamkama is explained as 'guru-visaye ma samkramit and hence I understand it to mean "It should not come to the notice of elderly people near about. Viveka, p. 145 : The heart (mind) of the beloved one being prone to an upsurge of passion at the sight of the face of) her dear lover, becomes agitated (or excited). And although the external physical effects of passion have been checked by her in order that they should not be noticed by elderly people (nearby), her heart (mind) does not become relaxed (restful) but is still full of agitation (restlessness (ksobhamaya) caused by sattvikabhavas such as internal perspiration, (tremor), etc. Further in the stanza there is suggested an illustration (nidarsanam (illustrating the situation directly expressed, i.e., this stanza suggests a simile or comparison). To explain : The turbulent (rai=rayin=vegavan= praksubdhah) ocean agitated up to its innermost depth (ahrdayam) at the sight of the moon possessing a pleasing face (orb), and though having its advancing inundating waves checked by the huge embankment (or reclining wall) (along the coast), it does not come to rest (i.e. does not cease to have rising waves). The word sagara has both the masculine and neuter genders in Sanskrit; or though it has only the masculine gender in Sanskrit, there is the mutation of its gender into the neuter gender) in Prakrit. Thus in this stanza, the feeling of love, while giving up its purely psychic nature, does not lead to external, physical (visible, palpable) effects (such as perspiration, tremor etc.), and so it is described or presented (here) (by the poet) as resting on the bed-rock of the vital force itself. Ratyadigatenaiveti-By only the vibhavas associated (as causes) with love, etc."--and not by any other vibhavas, for they are independent of proneness (or orientation) to particular external objects (sense not clear to me). Although glani, alasya, srama, murccha, etc. are devoid of alambanavisaya(?) still as they are caused by external factors they are enumerated (or enlisted) among the vyabhicaribhavas. The mental effects or psychical states such as stupefaction etc. are not caused by external factors and hence they are called sattvikas. Stambho vistabdha-cetanatvam iti--The mind becomes overpowered by joy, etc., and hence it does not move out to join the sense-organs, as it no longer Stud.-28

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218 STUDIES IN JAIN LITERATURE presides over the sense-organs which are restricted only to the vague (hazy, synthetic) perception of external objects, this perception not being analytical (vikalpaparyantatagamana-rahita). For example : Thereafter even their natural agility vanished, like the flare of lamps depicted in pictures, while their lustre faded, the flame of their eyes ceased to stir, and their couage ebbed away". (Setubandha II. 45 as translated by K. K. Handiqui) Similarly the following stanza is an example of tears (baspa) caused by the infusion of tejas (heat) into the water-dominated element of the vital force. "Put a check on (restrain or stop) your continuously flowing (gushing) tears by resorting to mental firmness. On this way, where you are not able to notice its ups and downs, your foot-steps are being placed unevenly by you." Tivrativratveneti (intensely or in a feeble manner): Perspiration due to the infusion (of tejas) into the water-dominated element of the vital force is exemplified in the following stanza : "When in the course of gambling (with dice) for amusement (diversion) her embrace was first won (as a wager) by her dear consort, and then, thereafter, the charming (delightful offering of the lower lip (for being kissed) was won by her dear consort as a wager), he again inquired of his beloved about the (next) wager to be put forward by her, she silently streched out (extended) her perspiring hand in order to throw (cast) the dice (sara-visaranaya= aksautksepanaya), while her cheeks began to throb (quiver) because of the outburst of passion accumulated in her (mind) but held in check with a suppressed (inchoate) smile (santarhasa)". But when the water-dominated part of the vital force is penetrated by tejas in a feeble manner, there results paleness of the body (physical paleness or loss of colour), as in the following stanza : "As that princess (Indumati) seeking to choose a consort for herself (from among the assembled kings) (simply) passing by various kings successively (without fixing her choice on any one of them) each of them became pale (lost colour) just as when a flame (torch) passing successively in front of the mansions on the principal street in a city, each mansion became pale (and plunged in gloom)". -Raghu V1.67. Pralaya iti : Fainting (loss of consciousness) means the complete (prakarsena) absorption (or dissolution) of the faculties of the sense-organs into

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DUAL NATURE OF SATTVIKABHAVAS 219 w the vital force. For example Because of the swoon resulting from the severe impact (of the fire from Siva's frontal eye) which blocked up (arrested) the functioning of her senseorgans, Rati did not comprehend the nature and extent of the catastrophy that had overtaken her husband and because of this (ignorance on her part) a real favour was as it were done to her. --Kumarasambhava IV. 73. 'Tasya means 'pranasya'. (The infusion of) the vital force (by the mind element). 'Manda' iti. When the vital force becomes infused with slow-moving air, horripilation is the result. For example : "When my face was turned to his face, I turned my face down, and directed my glance at his feet; I closed my ears which were very eager to hear his speech; I concealed with my hands the perspiration on my cheeks breaking forth with horripilation. But, O my friends, what could I do when the seams of my bodice began to burst in a hundred places ? -Amarusataka. V.11. When the vital force is infused with air which is neither very slow-moving nor very fast-moving (but midway between the two) there is tremor (trembling or quivering of the body). For example : "Be not puffed up with pride because your cheek is shining with the design of a blossom-spray painted thereon by your consort with his own hand. Cannot, O my friend, other women too have similar designs (painted on their cheeks by their husbands themselves) if it were not for the fact that tremor of their cheeks posed an insurmountable obstacle ?" When the vital force is infused with very swift-moving air, faltering (or stammering) of the voice (chocking of the voice) is the result(takes place). For example : When Krsna (the enemy of the demon Madhu) left for Dvaraka, Radha embracing the tender branch (lata) of the Vanjula tree (Asoka tree), bent down because of hir jumping down from it in the river Yamuna flowing near it) sang with such deep longing, her song turning into a loud wail and her throat so choked with profuse tears that the ducks swimming in the water began to cry plaintively (in sympathy)." -First cited in the Locana on Dhvanyaloka 1.4. p. 147, 11 1-3 : The final position is this : The external sattvikabhavas such as stupefaction, etc., are physical attributes and they operate as anubhavas suggesting the corresponding) internal sattvikabhavas; and in reality they (ultimately) suggest psychic states such as love, world-weariness, etc.

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220 STUDIES IN JAIN LITERATURE p. 147, 11 23-25 : Because these sattvikabhavas occur in connection with each one of the rasas and because they do not possess even a slight trace of independence (autonomy) not even like the vyabhicaribhavas on the analogy of a king's servant engaged in his own marriage ceremony who is followed by the king (at the time of the marriage procession; i. e., in relation to his own servant the king occupies, for the time being, a position subordinate to that of his own servant.) and because examples of the sattvikabhavas are easily available in literature) they have not been cited in the Vrtti (viz., Alamkaracudamani). Notes and References : * Journal of the Oriental Institute Vol. 38, Nos. 1-2, September-December, 1988, issue, pp. 91-106. 1. vyabhicAriNazcAsyAlasyaugryajugupsAvAH / --NS VI. p. 306 Cf. "The point is that normally jugupsa is the sthayibhava of bibhatsa. It is not given in the list of the thirty-three vyabhicaribhavas, but the very fact that Bharata says that it should not be used in love shows that he felt that it could be a vyabhicaribhava as well as a sthayibhava. He, therefore, felt that under certain circumstancs, ordinary vyabhicaribhavas could become sthayibhavas, and sthayibhavas could become vyabhicaribhavas." -Santarasa.. (p. 124, f.n.1) 2. For example (i) vyabhicAriNazcAsya (karuNasya) nirveda... stambha-vepathuvaivAzrusvarabhedAdayaH / -NS VI. p. 317 (ii) bhAvAzcAsya (bhayAnakasya)...stambhasvedagadgadaromAJcavepathusvarabhedavaivarNya...maraNAdayaH / --NS VI. p. 326. 3. tasyAzrupAtaparidevanamukhazoSavaivarNya.. smRtilopAdibhiranubhAvairabhinayaH prayoktavyaH / __ vyabhicAriNazcAsya nirveda... stambha-vepathu-vaivAzrusvarabhedAdayaH / --NS VI. p. 317 4. tasya pravepita... pulakamukhavaivarNyasvarabhedAdibhiranubhAvairabhinayaH prayoktavyaH / bhAvAzcAsya stambhasvedagadgadaromAJcavepathusvarabhedavaivarNyamaraNAdayaH / --N VI. p. 326 5. tasya nayanavistAra... romAJcAzrusveda... bhramaNAdibhiranubhAvairabhinayaH prayoktavyaH / bhAvAzcAsya stambhAzrusvedagadgadaromAJcAvega.. pralayAdayaH / ~-~NS VI. p. 330. 6. (6) vaivAzrusvarabhedA atra bahirudbhitra [? bahiranudbhinna) svabhAvAzcittavRttyAtmAno gRhyante / tathA hi vaktAro bhavanti 'azruNA pUrNo'sya kaNTho na ca nayanajalaM dRSTam' iti / ete hyazruprabhRtayo vyabhicAritvAbhineyatvopajIvanAyaiva madhye nirdiSTA ityavocAma vakSyAmazca / tena na paunaruktyam / --A. Bh. VI. p. 318, Prof. Kangle's edn. (ii bhAvA iti vyabhicAriNaH / svedAdayo bAhyAH / AbhyAntarAH sAttvikA- (ka)-bhAvo'pi ? (?svedAdayo bAhyA AbhyantarasAttvikAbhAve'pi viSasparzajvarAdinA bhavanti / tato'naikAntikAH / AntarA anudriktA vyajanagrahaNAdibhirudriktAH / (? "grahaNAdibhiH, udriktA) bAyaiH svedAdibhirvyaktA vyabhicArirUpAH paThitAH / -A. Bh. VI. p. 321, Prof. Kangle's edn. p. 285 (iii) vAgaGgeti / vAgAdayastatkarmasu vartante / tena varNanAtmanA vAcikena saMnivezavalanAdI (? di)-- nAGgikenAntarbahirAtmanA sAttvikena karaNabhUtenopetAn sambaddhAn / .-A. Bh. VII. p. 343, Prof. Kangle's edn. p. 367

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DUAL NATURE OF SATTVIKABHAVAS 221 7. vyabhicAritvAbhinayatvopajIvakA iti (tadanantaraM) sAttvikAH |....saattvikaa vyabhicArivRttamabhinayavRttaM copajIvantIti pRthagabhinayAdibhyo gaNitAH / -A. Bh. VI. p. 268, prof. Kangle's edn.p. 114 8. abhinayA anubhAvA eva / A. Bh. VI. p. 290 9. bhAvazabdena tAvaccittavRttivizeSA eva vivakSitAH / ...ye tvete RtumAlyAdayo vibhAvA bAhyAzca bASpaprabhRtayo'nubhAvA ekAntajaDasvabhAvAH te na bhAvazabdavyapadezyAH / -A. Bh. VII. p. 342 10. Bhoja's Srngara-prakasa, 1963 edn. (p. 448) 11. iha hi sattvaM nAma mana:prabhavam / tacca samAhitamanastvAducyate / manasaH samAdhau sattvaniSpattirbhavati / tasya ca yo'sau svabhAvo romAJcAzruvaivAdilakSaNo yathAbhAvopagataH sa na zakyo'nyamanasA kartumiti / lokasvabhAvAnukaraNatvAcca nATyasya sattvamIpsitam / ... etadevAsya sattvaM yat duHkhitena sukhitena vA'zruromAJcau darzayitavyau iti kRtvA sAttvikA bhAvA ityabhivyAkhyAtAH / -NS VII, 374-75 12. sattvaM cittaikAgryam / -A. Bh. I. p. 346. sattvaM manassamAdhAnam.. TIkAkAraH / -A.Bh. I p.327 sattvasamutthaM prayatnakRtam / -A.Bh. I p. 328 sattvaM ca manassamAdhAnajam / -A. Bh. III p. 150 tasmAd bhUyasA prayatnena vinA (na) siddhyatIti / ...sattvasya hi prayatnAdhikyamupayogIti vAgaGgayorupAdAnamalameveti .. alamaneta (? na) / -~~-A. Bh. III p. 150 nATyaM sattve pratiSThitam / -NS XXII. 1. d. sattvAtirikto'bhinayo jyeSTha itybhidhiiyte| --NS XXII. 2. ab avyaktarUpaM sattvaM hi vijJeyaM bhAvasaMzrayam / yathAsthAnarasopetaM romAJcAsrAdibhirguNaiH / / -NS XXII. 3 sAttvikAbhAve hyabhinayakriyAnAmApi nonmIlati / abhinayanaM hi cittavRttisAdhAraNatA pattiprANasAkSAtkArakalpAdhyavasAyasaMpAdanamiti / ata evoktaM sattve nATyaM pratiSThitamiti / -A. Bh. III. p. 150. 13. avahitaM manaH sattvaM tatprayojanaM heturasyeti sAttvikaH / mano'navadhAne hi na zakyanta eva svarabhedAdayo naTena darzayitum // -ND, Baroda, 1959 edn, p. 169 14. I had given expression to this belief in a footnote to my paper on Abhinavabharati : Chapter VII Recovered ? First published in Journal, Oriental Institute, Baroda, Vol. No XX, No. 3, March 1971. The various passages from Abhinavabharati (ch. VI and VII) cited above have strengthened my belief almost into conviction. 15. The Sanskrit Drama by A. B. Keith, Oxford University Press, 1964 edn, p. 315 16. Bhoja's Srngara Prakasa, Madras, 1963 edn, p. 484. 17. Ibid, p. 441 18. "sattvaM nAma svAtmavizrAmaprakAzakArI kazcanAntaro dharmaH / vikArAH sattvasambhUtAH sAttvikA: parikIrtitAH / sattvamAtrodbhavatvAtte bhinnA apyanubhAvataH / - 'gobalIvardanyAyena' iti zeSaH / / -Sahityadarapana III. 134-35. 19. ... atredaM pratibhAti sattvazabdasya prANivAcakatvAt / atra sattvaM jIvaccharIraM tasya dharmAH sAttvikAH / tathA ca zArIrA bhAvAH stambhAdayaH sAttvikA bhAvA ityabhidhIyante / sthAyino vyabhicAriNazca bhAvA antaratayA na shriirdhrmaa...| -Rasatarangini, Section IV (Sattvikabhavanirupana) 20. yadyapi ete yathAsaMbhavaM sarveSu raseSu vyabhicaranti tathApi vyabhicAritvamanAdRtya sattvamAtrasaMbhavA bhavanti iti sAttvikA iti

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222 STUDIES IN JAIN LITERATURE bhinnatayA gaNitAH / tacca sattvaM paragata [-sukha-] duHkhAdibhAvanAyAm atyantAnukUlAnta:karaNatvaM manaHprabhAvaH (? manaHprabhavam ) / tena satvena vRttAH sAttvikAH / _Rasaratnadipika, Section III (Vibhavanubhava-sattvika-laksana) 21. anubhAvalakSaNamAha dhanikaH... sAttvikAstvetadantargatA eva / teSAmapi ratyAdikAryatvAt / bhinnatayA pratipAdanaM tu niyata-kAraNa- sattva-janitatvAt / tallakSaNaM tu.. rajastamobhyAmaspRSTaM manaH sattvamihocyate / nivRttaye'sya tadyogAt prabhavantIti sAttvikAH / iti / asya rasasyeti prakRtaparAmarzaH / -Rasapradipa, Section II (Rasaviveka) 22. Keith : The Sanskrit Drama, 1964 edn, p. 315 23. evaM prAcAmAlaGkArikANAmanekadhA pAriplavaM vartate / ... vizeSAntarANi naraharisUriviracite rasanirUpaNe draSTavyAni / --Prataparudriya-Ratnapana (Madras, 1914 edn, p. 160) 24. For translation of the two passages by Prof. M. V. Patwardhan vide Appendix. * (P. 10) Cf. P. V. Kane (edn. p. 4) observes : "The austerities (performed by the angry man) are (first) dissolved, i.e., have to give way before the wave of passion. The angry man (then) perspires". -Kane's edn., Notes 000

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HEMACANDRA : AN ASSESSMENT A careful, critical and comparative study of Hemacandra's Karyanusasana shows that he has composed his Kavyanusasana incorporating the best and well known portions of the works of a number of his illustrious predecessors who wrote on Poetics (and Aesthetics) like Bharata, Anandavardhana, Rajasekhara, Abhinavagupta, Mahimbhatta Bhoja, Ksemendra and Mammata. He is an excellent judge of the whole range of scholarship on the subject, and knows the best authorities in the field. His work reveals that he is both a generalist and specialist rolled into one. This may sound paradoxical. In Sanskrit scholarship of the past as indeed in medical practice today we see a lot of significance being attached to the depth of knowledge of a specialist. In the field of poetics we find ancient authorities laying special emphasis on alamkara or vakrokti or riti or dhvani or rasa or aucitya. A poor student feels bewildered by their exclusive emphasis on their pet doctrines exactly as poor patient seeking opinion from the medical stalwart specialists today feels. In such a baffling situation to develop a right kind of understanding through proper perspective becomes almost impossible unless we go to the right guide and teacher. Hemacandra like his worthy predecessor Mammata is such an unfailing guide for most of the students on the subject. He is an ideal teacher with the right understanding of the whole of the field of knowledge of Poetics. He has the ability to place every thing in its own place and guide students on the correct path as our family physician, a reliable general practitioner does. With a view to meeting the needs of primary students of Sahityasastra he wrote a very lucid textbook called Alamkara-Cudamani comprising (i) the sutras : defining the various topics dealt with in it, (ii) the vritti : a prose commentary on the sutras explaining and sometimes supplimenting them, and (iii) the udaharanas : illustrations--these are stanzas mostly quoted either from the works of preceding writers on poetics or from those of renowned poets. And with a view to meeting the needs or requirements of advanced students, who aspire to attain mastery, of Sahityasastra he wrote a svopajna, his own

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224 STUDIES IN JAIN LITERATURE commentary, called Viveka, on it incorporating the best and most well known portions of the works of previous writers on the subject. The way he chooses the passages and excerpts and the way he organises them in his two-graded scheme of study attest to his supreme wisdom, great critical faculty in selecting choicest excerpts and his marvellous power of organising them into a homogeneous and organic whole. His Karyanusasana may not be, in fact is not, distinguished by any great originality but it does display, like his other works, a truly encyclopaedic learning and enormous reading, and a practical approach without affecting the theoretical side. The method Hemacandra has adopted in writing his Kavyanusasana has preserved for us many significant and worthwhile passages of books that are irretrievably lost. By way of illustration some of these passages may be noted here and their significance briefly discussed : (a) Acarya Hemacandra adopts, with some additions and omissions. the whole section dealing with the nature of rasa from Abhinavabharati and acknowledges his indebtedness to Abhinavagupta : ...itt sriman abhinavaguptacaryah 1 Etan matameva casmabhirupajivitam! || In the above passage from Abhinavabharati when adopting it Hemacandra has omitted the example from Brahmana works? illustrating the concept of sadharanikarana (universalisation) and added in its place the following example : Samba worshipped the Sun-god and recovered his own health. Whoever worships the Sun recovers his health. Therefore I too worship the Sun for recovering my health."3 This universalization (sadhaanikarana) enables the spectator to participate mentally, to identify himself with the character that is being represented, and understand and undergo the experiences presented on the stage. From Hemacandra's acknowledgement at the end of the long passage "iti srimanabhinavaguptacaryah" it would seem that this passage too he has adopted from Abhinavagupta. It is, however not found either in his Abhinavabharati (on Rasadhyaya of the Natyasastra) or Locana, commentary on Dhvanyaloka. R. Gnoli conjectures that the three slokas about Samba are "no doubt taken from a work on poetics existing prior to A.G., perhaps the Hrdayadarpana of Bhatta Nayaka", (b) Another unique passage preserved by Hemacandra is about the dual nature of sattvikabhavas. The whole discussion about the sattvikabhavas

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HEMACANDRA : AN ASSESSMENT 225 (Kavyanusasana, pp. 144-147) is most probably borrowed by Hemacandra from the Abhinavabharati on the seventh chapter-Bhavadhyaya of Natyasastra which is now almost lost). Kumarasvamin in his commentary called Ratnapana on Prataparudriya4 cites a portion from his passage with the introductory remark : 'Tad uktam acarya-Hemacandrena". This remark would make us believe that the portion cited, is Hemacandra's own. But since Hemacandra adopts the whole section on rasa from Abhinavabharati, it is more likely than not, that the passage on bhava too he has adopted from the same source. Following Bharata and Abhinavagupta, Hemacandra holds that the sattvikabhavas are of dual character. They partake of the nature of both : the vyabhicarins and the anubhavas. The sattvikabhavas are of two kinds : internal and external. The external sattvikabhavas like stambha (stupefaction), sveda (perspiration), etc., are bodily or physical attributes and are jada or acetana (inanimate) and therefore are called anubhavas. These external sattvikabhavas first suggest their corresponding internal sattvikabhavas but ultimately they suggest the mental states or emotions like rati(love), nirveda (world-weariness). etc.5 (c) Discussion as to the nature and number of gunas : In chapter IV of his Kavyanusasana Hemacandra briefly states in his vrtti that gunas are three (only) and not five or ten : "trayo na tu dasa panca va" He then discusses at great lengh the ten sabdagunas and arthagunas set forth in their works by Bharata, Dandin and Vamana. He incidentally refers to Mangala's view also. V. Raghavan, in his encyclopaedic work, Bhoja's Srrgaraprakasa, surveys Hemacandra's treatment of gunas amd remarks that Hemacandra must have borrowed this critical discussion from Rajasekhara's Kavyamimamsa which is now lost to us except for its first chapter. I have pointed out in my paper. "The Sources of Hemacandra's Kavyanusasana," how Hemacandra's method has been eclectic and he borrows from his illustrious predecessors in preparing his excellent text book on Sanskrit poetics. In the process he does a valuble service of preserving for us much significant material. Here, for instance, the unique discussion on gunas, which is quite a halimark in Sanskrit poetics, Hemacandra has preserved for us from Rajasekhara's original voluminous work Kavyamimamsa (now lost). Just as Hemacandra has borrowed freely great portions from Rajasekhara's chapters dealing with poetic conventions, plagiarism and vyutpatti (proficiency, scholarship-arising from a close study of the world, the various sastras the works of earlier poets and such other works as Ramayana, Mahabharata, etc.) even so this critical discussion he Stud.-29

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226 STUDIES IN JAIN LITERATURE must have borrowed from Rajasekhara. This conjecture is strongly supported by the way Hemacandra presents the subject and the style and diction he uses which is unmistakably Rajasekhara's. The critical survey of gunas incorporated by Hemacandra in his Viveka commentary is also remarkable for the reference to the two 'strange' or peculiar views : (i) ojaH prasAda-madhurimANaH sAmyamaudAryaM ca paJcetyapare / tathA hi yadadarzitavicchedaM paThatAmojaH, vicchidya padAni paThatAM prasAdaH, ArohAvarohataraGgiNi pAThe mAdhuryam, sasauSThavameva sthAnaM paThatAmaudAryam, anuccanIcaM paThatAM sAmyamiti / tadidamalIkaM kalpanAtantram / yadviSayavibhAgena pAThaniyamaH sa kathaM guNanimittamiti / (ii) chandovizeSanivezyA guNasaMpattiriti kecit tathA hi sragdharAdiSvoja... / indravajropendravajrAdiSu prasAdaH....mandAkrAntAdiSu mAdhuryaM...zArdUlAdiSu samatA...viSamavRtteSvaudArya...indravajrAdiSvaprasAdaH mndaakraantaadissvmaadhuryN...shaarduulaadissvsaamyN...|' -Viveka pp. 287-288 These views are not met with in any of the extant works on poetics by Hemacandra's predecessors. From among his successors Manikyacandra, in his commentary Samketa on Kavyaprakasa (pp. 300-301; Mysore edn; 1922) has nearly reproduced the above text and Bhatta Somesvara in his Sanketa commentary on Kavyaprakasa Jodhpur edn. 1959, p. 208) indifferently reproduces the following lines : __ chandovizeSavizeSyA guNasaMpattiriti kecit / tathA hi sragdharAdiSvojaH indravajrAdiSu samatA viSamavRtteSvaudArya, tacca savyabhicAram / / Incidentally, it may be pointed out that Bharata lays down rules as to the use of particular metres in particular rasas and gives a general rule : zeSANAmarthayogena chandaH kArya prayoktRbhiH // -NS XVI W 114-119 These rules of Bharata recognise the intimate interrelation between metres and rasas. Abhinavagupta in his commentary on NS Ch. XIV, (pp. 24546) quotes the view of one Katyayana : yathoktaM kAtyAyanena vIrasya bhujadaNDAnAM varNane sragdharA bhavet / nAyikAvarNane kAryaM vasantatilakAdikam / / zArdUlalIlA prAcyeSu mandAkrAntA ca dakSiNe // ityAdi In the light of Bharata's rules and Abhinavagupta's commentary there is scope to re-examine whether the second view 'chandovizeSanivezyA guNasaMpatti:' has some merit. (d) Hemacandra's freely borrowing passages and whole sections from the

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HEMACANDRA : AN ASSESSMENT 227 works of his renowned predecessors helps us in another direction. These passages and sections serve as transcriptions of old manuscripts that were available to Hemacandra and enable us to restore corrupt passages from the works he has drawn upon.The text of Abhinavabharati (Natyasastra Ch. VI) bristles with corrupt readings. Hemacandra, who has freely drawn upon Abhinavabharati, especially on the four key chapters of the Natyasastra (Chs. VI, VII, XVIII and XIX dealing with rasa, bhava, dasarupaka and sandhisandhyangavikalpa respectively) is of immense help in restoring many passages. The editors of the Natyasastra, published in GOS, Baroda, have made use of, partially though, in restoring the text of Abhinavabharati, I too have corrected passages, small and big, by scores, and published them in a series of articles in the Journal, Oriental Institute, Baroda (and now included in my book : Studies in Sankrit Sahityasastra). By way of illustration here I restore two corrupt passages not covered in the series of papers referred to above. (i) The printed text of A.bh. (Vol. I, p. 344) reads : cittavRttaya evAlaukikAH vAcikAdyabhinayaprakriyArUDhatayA / svAtmAnaM laukikadazAyAmanAsvAdyaM kurvantItyatastA eva bhAvAH / This sentence as it stands, does not give any consistent meaning; in fact it is self-contradictory. For Abhinavagupta in his exposition of Santarasa remarks : yathA ca kAmAdiSu samucitAzritavRttayo ityAdizabdavAcyAH kavinaTavyApAreNAsvAdyayogyatAprApaNadvAreNa quifaecypalgaa: FTIGT ufa pra y tuicarea funt. - A.Bh. Vol. I. p. 333) The permanent emotions (of every day life) like love, etc. are rendered relishable through the activities of the poet and the actor (i.e. the drama created by the poet's creative imagination and its presention on the stage by the actors endowed with marvellous skills in the art of representation) and are transformed into the erotic sentiment, etc., with reference to the sensitive spectators. Now, how could Abhinavagupta contradict himself, and further, make such an absurd statement ? The whole controversy is not about the four permanent emotions of love, laughter, dynamic energy and wonder (of our everyday life) and the corresponding rasas (sentiments) of srngara, hasya, vira and adbhuta, which are admittedly pleasurable (anandarupa, sukhatmaka) but about how the permanent emotions of sorrow, anger, fear and disgust (of our everyday life) which are patently painful, when transformed into their corresponding rasas (sentiments) of karuna, raudra, bhayanaka and bibhatsa become pleasurable or enjoyable--become full of all pleasure ? Abhinavagupta's reply is that these wordly painful emotions become pleasurable or enjoyable

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228 STUDIES IN JAIN LITERATURE through the activity of the poet's creative imagination and the talent and skill of the actor in the art of representation (abhinayakausala). When we bear in mind this position and read the sentence quoted above we are led to believe that the text here is defective and needs to be corrected. Here Hemacandra comes to our help who preserves the original reading intact when adopting the lines in his Kavyanusasana (p. 124, lines 9-11) : bhAvayanti cittavRttaya evAlaukikavAcikAdyabhinayaprakriyArUDhatayA svAtmAnaM laukikadazAyAmanAsvAdyamapyAsvAdyaM kurvanti (yad vA bhAvayanti vyApnuvanti sAmAjikAnAM mana iti bhAvAH, sthAyino vyabhicAriNazca / ) A careful look at this text reveals that the copyist of the Manuscript of the NS has slurred or passed over the letters TEU through the presence of letters svAdyaM that follow them. (ii) The printed text of A. Bh. Vol. 1, p. 280 reads : sarvathA tAvadeSAsti pratItirAsvAdAtmA yasyAM ratireva bhAti / ... tathaiva copacayAvasthAsu dezAdyaniyantraNAdanukAro'pyastu / bhAvAnugAmitayA karaNAt viSayasAmagyapi bhavatu vijJAnavAdAvalambanAt / sarvathA rasanAtmakavItavighnapratItigrAhyo bhAva eva rasaH / Hemacandra (KAS, P. 99 lines 13-18) presents this passage with the following reading and punctuation marks which are far superior and yield happy and consistent meaning and therefore must be the original ones : sarvathA tAvadeSAsti pratItirAsvAdAtmA yasyAM ratireva bhAti |...essaiv copacayAvasthAstu dezAdyaniyantraNAt / anukAro'pyastvanugAmitayA karaNAt / viSayasAmagyapi bhavatu vijJAnavAdAvalambanAt / The point which Abhinavagupta wants to emphasize, with all the force at his command is : rasa has for its essence asvada relish or enjoyment; it is a perception which is characterised by a generalised emotion, say, rati (love), this perception is entirely free from spatial, temporal and such other) conditions or limitations or specifications. This perception of (generalised) emotion, as it is free from spatial and other limitations, may be called a state of intensification (upacayavastha) as Bhatta Lollata does; or a reproduction (anukara)- a production which repeats or imitates or reenacts the emotion of the character, as Sankuka does; or a combination of different elements or factors (visayasamagri) as does a critic who subscribes to the Samkhya system, by following the doctrine of Idealism (Vijnanavada). In conclusion, Hemacandra's Kavyanusasana and other works of Jain

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HEMACANDRA : AN ASSESSMENT 229 writers like the Natyadarpana of Ramacandra and Gunacandra, two noted disciples of Hemacandra, Manikyacandra's Samketa commentary on Mammata's Kavyaprakasa, and Ambaprasada's Kalpalataviveka deserve to be studied very carefully as they are mines of gold preserving best portions of works from their famous predecessors and render invaluable help in restoring corrupt passages from the texts of the predecessors. Notes and References : 1. Kavyanusasana of Acarya Hemacandra, Sri Mahavira Jaina Vidyalaya, Bombay 1964 edn. 2. The passage, cited in Abhinavabharati : yathA hi 'satramAsata' 'tAmagnau prAdAt' ityAdAvarthitAdilakSitasyAdhikAriNaH pratipattimAtrAditivRttaprarocitAta prathamapravRttAdanantaramadhikaivopAttakAlatiraskAreNa, Asai', 'pradadAni' ityAdirUpA saMkramaNAdi svabhAvA...pratipattiH tathaiva kAvyAtmakAdapi zabdAdadhikAriNo'dhikAsti pratipattiH / ---Rasa-bhava-vicara by Prof. Kangle, p. 154 3. ArogyamAptavAn zAmbaH stutvA devamaharpatim / syAdarthAvagatiH pUrvamityAdivacane yathA // tatazcopAttakAlAdinyakkAreNopajAyate / pratipatturmanasyevaM pratipattirna saMzayaH // yaH ko'pi bhAskaraM stauti sa sarvo'pyagado bhavet / tasmAdahamapi staumi roganirmuktaye ravim // -KAS. p. 98 4. Prataprudriya of Vidyanatha with Ratnapana, Treplicane, Madras. 1914. p. 180. 5. The problem of "The Dual Nature of Sattvikabhavas is fully discussed by me in a separate paper. 6. "The Sources of Hemacandra's Kavyanusasana", Journal of Oriental Institute, Baroda. Vol. XIV No. 2. December 1964. now included in my book. Studies In Sanskrit Sahityasastra, pub. by B. L. Institute of Indology. Patan (North Gujarat) 1983 (pp. 149 154). 7. The reader is referred to V. Raghavan's Bhoja's Srngaraprakasa for a clear and complete appraisal. 8. Vide f.n. no. 6 supra. 000

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SOMESVARA BHATTA AND HEMACANDRACARYA Somesvara's relation to Hemacandra presents a knotty problem to the student of Sanskrit Poetics. Somesvara and Hemacandra use freely their predecessors in writing their Kavyadarsasamketal and Kavyanusasana? respectively. Even when we leave out all such parallelisms between the two works as are due to their common sources we still find numerous passages that are common to them. It is possible that some of them are taken from works which are now lost. There are, however, clear indications that one of the two has used the other. It is extremely difficult to decide who has borrowed from whom for want of direct, positive, and convincing evidence. With greatest reserve, therefore, I present the view that Somesvara probably knew Hemacandra and set forth the arguments in support of this view. The following table sets forth the parrallel passages between Somesvara and Hemacandra excepting those that are due to their common sources : Parallelisms in the Samketa of Somesvara and the Kavanusasana of Hemacandra (excepting, of course, such parallelisms as are due to their common sources). . Somesvara Hemacandra 1. p. 9 (11 27-29) p. 51 2. p. 23 (1 10) to p. 24 (1 10) pp. 155-56 3. p. 28 (1 20) to p. 29 (1 15) pp. 65-66 p. 34 (11 15-23) 5. p. 56 (1 27) to p. 57 (1 27) pp. 147-149 6. p. 89 (11 25-27) p. 154 7. p. 112 (11 17-23) p. 34 8. p. 123 (11 19-22) P. 236 9. p. 127 (11 21-25) pp. 246-47 P. 53

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SOMESVARA BHATTA AND HEMACANDRACARYA 231 p. 202 pp. 203-204 p. 212 p. 220 p. 264 pp. 269-70 p. 270 10. p. 136 (11 19-20) 11. p. 143 (1 24) to p. 144 (1 17) 12. p. 145 (11 21-24) 13. p. 150 (11 23-14) p. 151 (11 22-25) p. 158 (1 19) to p. 159 (1 13) 16. p. 159 (11 23-25) 17. p. 161 (1 25) to p. 162 (1 19) 18. p. 163 (11 25-27) 19. p. 164 (11 21-29) 20. p. 167 (11 22-28) 21. p. 169 (11 16-19) 22. p. 182 (11 20-24) 23. p. 193 (11 14-24) p. 198 (1 6) TO p. 201 (1 15) p. 201 (1 25) to p. 202 (1 19) 26. p. 209 (11 15-23) p. 211 (1 20) to p. 213 (1 7) 28. p. 218 (11 11-13) 29. p. 221 (1 18) to p. 222 (1 6) p. 226 (11 16-18) 31. p. 227 (11 15-25) 32. p. 235 (1 22) to p. 236 (1 10) 33. p. 240 (1 21) to p. 241 (1 14) 34. p. 243 (11 13-14) 35. p. 245 (11 22-25) 36. p. 249 (1 3) to 251 (1 17) 37. p. 253 (1 22) to p. 254 (1 27) 38. p. 259 (11 15-27) 39. p. 262 (11 12-28) 40. p. 264 (11 12-16; 11 22-25) p. 40 p. 262 p. 266 228 p. 238 p. 178 pp. 165-66 pp. 35-42 pp. 34-35 p. 290 pp. 455-466 p. 445 pp. 445, 446, 449 p. 297 pp. 296-97 p. 307 pp. 331-32 p. 329 p. 330 pp. 307, 308, 313, 322-24 pp. 340-41 pp. 343-44 pp. 345-46 pp. 339, 348

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232 STUDIES IN JAIN LITERATURE p. 351 41. p. 266 (1 10) to p. 267 (1 13) p. 349, p. 348 42. p. 267 (11 22-26) p. 387 43. p. 268 (11 15-19) p. 350 44. p. 270 (1 25) to p. 271 (1 21) 45. p. 276 (11 22-28) p. 382 46. p. 277 (11 28-29) 379 47. p. 288 (1 9) to p. 289 (1 16) p. 357, 356 48. p. 292 (11 20-25) p. 383-84 49. p. 294 (11 13-14) p. 384 50. p. 298 (11 25-27) p. 384 p. 302 (11 11-27) pp. 379-381 p. 303 (11 13-15) 53. p. 304 (1 25) to p. 305 (1 25) pp. 377-78 p. 310 (11 19-25) p. 404 p. 319 (11 19-22) p. 397 56. p. 335 (11 25-29) pp. 404-405 57. p. 350 (11 6-16) pp. 238-239 58. p. 350 (11 17-24) Pp. 234-235 Let us consider a few remarkable parallelisms from those listed : p. 380 When we compare the two passages indicated by the number 11 we find that the passage in Somesvara is defective as the lines "3ta ja anta: 7 Dartai ekasyaiva zabdasyAvRttimantareNAnekArthapratipAdanasAmarthyAsaMbhavAt / na cAsAvanibandhanA zakyA kalpayitum / " are left out by Somesvara or the scribe from the original passage found in the Vyaktiviveka4 from where Hemacandra borrows it. Hemacandra's long passage is made up of passages borrowed from Vyaktiviveka and Vakroktijivita. Somesvara's short passage appears to have been adopted from Hemacandra. The two passages numbered 37 contain one very significant detail. Hemacandra illustrates dravyeNa upamAnopameyayorbhedaH by tIrthakara iva gaNadharaH pUjyaH / Somesvara's illustration reads : ziva iva kezavaH pUjyaH / These two examples are in conformity with the respective creed of the two authors. Barring these examples, the two passages are nearly, identical. This fact indicates that the passage with a suitable change has been lifted by one from the other.

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SOMESVARA BHATTA AND HEMACANDRACARYA 233 The two passages bearing number 41 are related in a way to a passage found in Namisadhu who is decidedly earlier than both of our writers. These passages deserve special attention. Let us set forth the three passages for a comparative study : Namisadhu : atha yatra sAmyamAtre sati vinaivopapattyA saMbhAvanA bhavati na copamAvyavahArastatra ko'laMkAraH / yathA(1) yazcApsarovibhramamaNDanAnAM saMpAdayitrIM zikharairbibharti / balAhakacchedavibhaktarAgAmakAlasandhyAmiva dhAtumattAm // -Kumara, I.4 tathA (2) 'AvarjitA kiJcidiva stanAbhyAm' ityAdiSu / -Kumara. III.54 atra hyakAlasandhyAdInAM saMbhAvane na kAcidupapattinirdiSTA / na cApyupamAvyavahAraH / yataH siddhamupamAnaM bhavati / na vA kAle siddhatvam / tathA yadyarthAzravaNAnnApyutpAdyopamAvyavahAraH / na cApyatizayotprekSAsaMbhavo'sti / atrocyate-upamAyAmasaMbhava utprekSAyAM tvanupapattirata ubhayatrApi lakSaNasya nyUnatAyAmupamAbhAso vA syAdutprekSAbhAso vA / evam (3) pRthivyA iva mAnadaNDaH -~Kumara I 1 ityAdAvapi draSTavyam / -On Rudrata VIII. 37 Somesvara : (1) akAlasandhyAmiva dhAtumattAm / -Kumara I. 4 (2) AvarjitA kiJcidiva stanAbhyAM vAso vasAnA taruNArkarAgam / . sujAtapuSpastabakAvanamrA saMcAriNI pallavinI lateva / / -Kumara III. 54 (3) acirAbhAmiva [ca]ghanAM ? (vighanA) jyotsnAmiva kumudabandhunA vikalAm / ratimiva manmatharahitAM zriyamiva harivakSasaH patitAm // -Kuttanimata 258 (4) sthitaH pRthivyA iva mAnadaNDaH / --Kumara I. 1 (5) hiraNmayI sA''sa [? sAla-] lateva jaGgamA cyutA divaH sthAsnurivAciraprabhA / -Bhatti II. 47 (6) bAlenduvakrANyavikAzabhAvAd babhuH palAzAnyatilohitAni / sadyo vasantena samAgatAnAM nakhakSatAnIva vanasthalInAm / / --Kumara. III. 29 ityAdiSu utprekSaiva / dhAtumattAdInAM hi pratyakSata eva akAlasandhyAdisAdRzyamupalabhya akAle sandhyA na bhavatIti asaMbhAvyamAnavastvadhyavasAyasya saMbhAvanA kriyate / 'akAlasaMdhyAmiva' iti pratyakSopalabdhau ca na yuktyantaraM mArgaNIyam, na tu upamA, upamAnasya asaMbhavAt, nApyasaMbhavopamA, asmAd asaMbhAvyopameyadarzane sati tasyAH prayogAt,..... Stud.-30

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234 STUDIES IN JAIN LITERATURE Hemacandra : evaM ca(1) hiraNmayI sAlalateva jaGgamA cyutA divaH sthAsnurivAciraprabhA / zazAGkakAnteradhidevatAkRtiH sutA dade tasya sutAya maithilI // -~-Bhatti. II. 47 (2) tathA-akAlasandhyAmiva dhAtumattAm / --Kumara. I. 4 (3) AvarjitA kiJcidiva stanAbhyAM vAso vasAnA taruNArkarAgam / sujAtapuSpastabakAvanamrA saMcAriNI pallavinI lateva // --Kumara. III. 54 (4) tathA-acirAbhAmiva vighanAM jyotsnAmiva kumudabandhunA vikalAm / ratimiva manmatharahitAM zriyamiva harivakSasaH patitAm // -Kuttanimata 258 (5) tathA-'sthitaH pRthivyA iva mAnadaNDaH' / -Kumara. I. 1 ityAdAvutprekSAbuddhirna vidheyA / yadyapyeSu svarUpato vizeSaNatazcopamAnaM kalpitaM tathApyupamaiva / upamAnopameyayoH sAdharmyasya tadvAcakAnAM ca pratIyamAnatvAt / -Kavyanusasana, p. 349 It is found on comparison that Namisadhu discusses three stanzas from the point of view of 'alamkara' present in them and concludes that they contain Upamabhasa or Utpreksabhasa. Hemacandra has quoted the three verses cited by Namisadhu and added two more verses and remarks that they should not be taken to contain Utpreksa but Upama and Upama alone. Somesvara cites all the five verses found in Hemacandra and adds the sixth one and emphatically asserts that they all contain Utpreksa and Utpreksa alone and not Upama. This comparative study of the three passages suggests that Somesvara is probably later than Hemacandra. The two passages, which are numbered 53, are of special interest. A comparison of the two passages clearly shows that Somesvara includes in his gloss the passage found in Hemacandra and another found in Ruyyaka's Alamkarasarvasvas. It appears likely that Somesvara may have combined the two passages from the two authors. If Hemacandra had before him Somesvara he would not have probably left out the beautiful passage from Alarkarasarvasva. The verse found in these passages numbered 55 is read differently by different writers : AyughRtaM nadI puNyaM bhayaM cauraH sukhaM priyA / vairaM dyUtaM gururjJAnaM zreyo brAhmaNapUjanam / / Namisadhu on Rudrata VII-83; Somesvara. Hemacandra reads the fourth quarter as zreyo brAhmaNabhojanam / Manikyacandra reads it as follows :

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SOMESVARA BHATIA AND HEMACANDRACARYA 235 AyurghataM yazastyAgo bhayaM cauraH sukhaM priyA / vairaM dyUtaM gururjJAnaM zreyaH sattIrthasevanam // Hemacandra's change of reading in the fourth quarter might be deliberate but it is possible to explain that he introduced this change in the text provided by Namisadhu and not necessarily by, Somesvara. It is possible to take Somesvara's remark 'Tafa Uthaorgiafo gatal juara 741114 Ya Ta Hifacy allora, 38 TO START GGETUI GULI (p. 307) as pointing to Hemacandra's text vifaa ..3779Ch Taala | yuq ografa para elfu 7 1967 (pp. 402-403). The use of the dignified expression 'qui ' (p. 144) by Somesvara is, indeed very unusual. In Hemacandra's Kavyanusasana we come across this expression over a number of times. Everytime the expression is used we need not believe that the remark that follows is Hemacandra's own view.? At times we find that Hemacandra prefixes a remark borrowed from his predecessor with this or similar expression. This expression eminently suits the style of Hemacandra. Somesvara's use of the expression 'asi I 14:' once only, and that too, in the corresponding context found in Hemacandra who uses it in several other contexts also possibly points to Somesvara's borrowing from Hemacandra. Now, let us consider Hemacandra's relation to Ruchaka or Ruyyaka which would help us in deciding the interrelation between him and Somesvara. I have shown in a separate paper the indebtedness of Somesvara to Ruyyaka's Alarkarasarvasva by listing the parallel passages. Prof. R.C. Parikh has demonstrated Somesvara's indebtedness to Ruyyaka's Samketa in his learned introduction to the edition of Kavyaprakasa. It is thus firmly established that Somesvara is later than Ruyyaka whose Samketa and Alaskarasarvava he has used freely. On a comparison between Hemachandra's Kavyanusasana and Ruyyaka's Samketa we find that Hemachandra has used not only Kavyaprakasa but also Ruyyaka's Samketa on it. The parallelisms noted below are enough to prove that Hemacandra has used Ruyyaka's Samketa. 8 Hemacandra Rucaka 1. p. 77 (11 11-13, 1 22) p. 31 2. p. 154 (11 19-23) P. 40 3. p. 225 (11 23-26) p. 74 p. 376 (11 9-11) p. 70 5. p. 388 (1 23) 6. p. 389 (11 2-6) p. 63 ni w two P. 69

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236 STUDIES IN JAIN LITERATURE On a careful scrutiny it is found that there is not a single passage common between Alamkarasarvasva and Kavyanusasana. A few verses which are common to them are found in earlier works such as Sarasvatikanthabharana, Kavyaprakasa, Rucaka's Samketa, etc. Considering the fact that Hemacandra freely draws upon his predecessors amd the Samketa commentary of his contemporary Ruyyaka but shows no acquaintance with his contemporary's Alamkarasarvasva one is inclined to believe that probably Hemacandra wrote his Kavyanusasana before Ruyyaka had composed his Alamkarasarvasva or at least before that work had reached him. Somesvara, who uses freely Ruyyaka's Samketa and Alamkarasarvasva as well, and reveals many similarities with Hemacandra's Kavyanusasana, probably, therefore, knew Hemacandra's Kavyanusasana. Notes and References : 1. Rajasthana Puratana Granthamala, edited by Prof. R. C. Parikh. 2. Shri Mahavira Jaina Vidyalaya, Bombay, edited by Prof. R. C. Parikh. 3. For the view that Somesvara is possibly earlier than Hemacandra, vide, Prof. R.C. Parikh's Introduction to the edition of Kavyaprakasa with Samketa. Part II, pp. 14-19. 4. Kashi Sanskrit Series Edition (1936) -page 334. 5. Nirnayasagara edition, 1939, vide p. 105, II 13-18. 6. p. 110, 183, 204, 217, 337, etc. 7. It deserves notice that the passage which follows the sentence azi 14:' is taken over from the Vyaktiviveka (pp. 259-60) and incorporated as his own by Hemacandra (see pp. 217-18). This practice of taking over the words from the original work and incorporating them among one's remarks was followed by very reputed authors. (Cf. Kane : History of Sanskrit Poetics, p. 169). 8. -Edited by Shivaprasada Bhattacharya, Calcutta Oriental Journal, Vol, II. Nos. 6 and 12.

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KALPALATAVIVEKA : A STUDY The publication of the Kalpalataviveka, a hitherto unpublished work on Sanskrit poetics, is a valuable addition to the existing literature on Sanskrit poetics. It is an Addendum to the Pallava which is a commentary on the Kalpalata. The author of the Kalpalata and Pallava, both of which are irretrievably lost, is, as first pointed out by Pt. Dalsukh Malvania, Ambaprasada, the Chief- minister of Siddharaja Jayasimha (1094-1143 A. D.). It has not so far been known whether the same author wrote this book or it is somebody else. His expressed aim is to explain whatever was passed over by the Pallava. But he has gone beyond this declared aim and has incorporated in his Addendum detailed portions dealing with Nrtta-natya, Dhvani, Prastara, 33 Bhavas, and the famous Rasa-sutra of Bharata from the standard works which together take about 160 printed pages, i.e. one half of the Addendum. The editors deserve to be congratulated on critically presenting the text based on three MSS. and adding useful Indexes at the end. Prof. Vora's Introduction, very elaborate, is highly useful in understanding and appreciating the elliptical passages in the text. His was, indeed, a very arduous task to trace the sources; for the text in many places gives only pratikas of Sanskrit karikas, Sanskrit and Prakrit illustrative verses, and of the gloss on them. Sometimes it gives synonyms or adds remarks by way of explanations or criticism. Some of these pratikas are not the words with which the karikas or the illustrative verses open. Naturally, Prof. Vora's task of tracing the sources became all the more difficult. It must be said to his credit that he has, to a great extent, accomplished his task with admirable success. Besides tracing the sources in the course of the topicwise survey of the contents of the four chapters on Dosa, Guna, sabdalamkara and arthalamkara he has critically and ably discussed the various topics of the authorship of the Kalpalata, its Age, the title of the work, the interrelation between the Kalpalata and the Kalpalataviveka, the scope of the Kalpalata, the Pallava and the Kalpalataviveka, the structure of the Kalpalata, the authorship of the Kalpalataviveka, the contribution and usefulness of the

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238 STUDIES IN JAIN LITERATURE Kalpalata and the Kalpalataviveka. He has rightly stated that the Kalpalataviveka is highly useful in understanding Bhamaha's Chapter on nyayanirnaya and that it offers very happy readings of some corrupt passages in the Abhinavabharati and the Locana. The Appendixes to the Kalpalataviveka leave out many Sanskrit and Prakrit illustrative verses, The primary/secondary sources of a good many illustrative verses and verses cited as authorities have not been indicated. In his Introduction Prof. Vora has traced many verses to their (secondary) sources. It would have been appropriate if he had supplemented the work of the editors by adding an Appendix towards the end of his Introduction. A separate Index of Prakrit verses with their Sanskrit chaya and primary and / or secondary sources would have proved a welcome feature of this edition. Prof. Vora could have considerably reduced the bulk of his Introduction by refraining from covering the ground already covered. He need not have explained at lengh the passages traced to their well-known sources. In a scholarly introduction meant for advanced students it would have been but proper if he had pointed out the passages only. It would have enhanced the value of this Introduction if he had discussed and shown how the present text helps us on the one hand to correct the corrupt passages in the source-books and how the sources on the other help us to correct, at some places, the text of the present work. A perusal of the text and the sources traced by Prof. Vora shows that one very important source, viz., Kuntaka's Vakroktijivita, of the present work has completely escaped his attention. Occasionally, one comes across erroneous statements in the Introduction, such as "When it (Pratijna) is established by a powerful means of proof one Dosa arises".--p. 68 "Nityah Sabdah Krtakatvat." Here the hetu being a product is not present in the similar case (akasa) and also in the dissimilar case (ghata)"--P. 70, f.n.1; P. 131, f.n.7. The illustrative quotation which the Kalpalataviveka refers to in this context is not a 59 Hitam qu --Kirata. X-34 but hiraNmayI sAlalateva jaGgamA cyutA divaH sthAsnurivAciraprabhA / ARTICOnafa: ya GG pagare fecit 11 ---Bhatti II. 47. This is indisputably clear from the significant words used by the Kalpalataviveka : salalateva...sthasnuriva (P. 251, 11. 20-21) "(P. 264, 1.28) Dandi's ill.". It is not Dandi's but Vamana's illustration. "All the figures...are given after Vyaghata, Mammata's last sabdalaskara".--p 166. Vyaghata is not a sabdalaskara but an arthalamkara. "(P. 105, 1.12) Then follows a long long section... Viveka which has drawn

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KALPALATAVIVEKA : A STUDY 239 upon the Dhvanyaloka and the Locana, without adding anything original,-"--p. 112. The Kalpalataviveka has certaintly drawn upon the Dhvanyaloka and the Locana but it also has added in suitable contexts a large number of passages from Hemacandra's Kavyanusasana. On page 30 the Prakrit word Madaha is wrongly spelt as Mahada. In a few sentences we find wrong English usage : "No purpose is served by consigning Vatsa to Ujjayini".--. 63. "He then carried out this vow in a feat of anger."--p. 74." Thus Binna (? Bhinna)- marga and Purnasvara cannot co-exist, at the same time." ...though apartha by itself is a dosa, as is universably known."-p. 83...The latter is further divided into imaginable (bhavya) and conceptual or contemplable (vasaniya).....contemplable or conceptual."-p. 103. Bhavya and Vasaniya could be rendered in English as understandable and comprehensible. Prof. Vora has added a long list of corrections in the Corrigenda but still a large number of mistakes and misprints have remained unnoticed. Mistakes of spelling and misprints on such a scale really disfigure the work and positively annoy the reader. The Prakrit verses, cited in the Introduction (under footnotes, are presented rather poorly and carelessly. A few instances may here be cited : (P. 113, f.n. 3) TEU 37........ (Cf. Setu 1.56) (P. 113, f.n. 5) 15 ........ (Cf. Setu V. 19) (p. 139, f.n. 10) T Te... HTF (? K.P. X v. 471) (P. 140, f.n. 12) "Probably utrzy (p. 270, 1.22) is a misreading for it is ettia in S K.....". pattiya iti / pratIhi / is perfectly all right. (P. 141, f.n. 9) 1946.......(Cf. Setu I. 1) (p. 143, f.n. 3) UUEDO...... (Cf. Setu I. 3) (P. 144, f.n. 5) H 3446..... (Cf. Hemacandra-Prakrit Grammar 4.420) Prof. Vora's remark : "It should be Kavi in the text and not Kavi" is absolutely unwarranted. "Kavi" is perfectly all right in Apabharamsa. Hemacandra's text reads bhadu in place of bhidiya. Our text reads bhadi [iti] Kasyascit sambhodhanamidam l] and it appears to be a genuine reading. (P. 147. f. n. 1) GT S 37 (? 1737)........ ...... HAFT3TUT (? UPStuty) (P. 154, f. n. 2) ..... ......fa37 (? f437)....... (P. 156, f. n. 6) ....... Tuhfaq (? quai fa) Jura (? 03) (Cf. Saptasati II. 61) Occasionally, in tracing the passages to their sources, Prof, Vora is not

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240 STUDIES IN JAIN LITERATURE quite precise in citing references but makes general observations which are not very helpful. The following is an instance in point : (P. 254, 1.20). "The varieties of Rupaka, viz., Vakya-rupaka and Samasa-rupaka, and their varieties and Subvarieties as given by Rudrata are discussed and some of the illustrations given by Rudrata and Nami are reviewed". However, I would like to say that these critical observations in no way detract the value and importance of Prof. Vora's learned introduction. That the Vakroktijivita is one of the sources drawn upon by the Kalpolata- viveka will be clear from the following table : Kalpalataviveka And Vakroktijivita Upama 1. vivakSita......na sambhavati / vivakSita.....kriyApadam / / -~~-P. 241 lines 15-18 -III. 30-31 and Vrtti on these karikas 2. yAntyA muhuH .... .... .... P. 438 mAJjiSThIkRta .... .... p. 438 ityAkaNita .... .... .... P. 439 rAmeNa .... .... .... P. 438 ---P. 242 lines 7-10 3. tadvalgunA .... .... .... P. 444 tadvalgunA...padmam / / yadi...iha tu vAkyaikatve netyabhiprAyaH / Note : There is loss of text after this stanza. --P. 242 11. 18-21 Probably it is preserved by Kalpalataviveka. 4. ubhau yadi...P. 242, I. 24 ubhau yadi...(from Sisu III, 8)-De, p. 201. -Vivesvara, p. 442, f.n. 1. Note : According to Dandi, Rudrata and Mammata, this verse would be an illustration of adbhutopama, utpadyopama and atisayokti respectively, Kuntaka takes it as an illustration of tulyayogita, Acarya Visvesvara, however, considers the verse to be out of context and relegates it to the footnotes. saundaryadhAreti P. 242, 1. 26 saundaryasArAvadhi P. 444. 1. 9 tatpUrvAnubhave P. 243, 1, 2 tatpUrvAnubhave P. 444, 1,7 evaMvidham P. 243, 1. 4 evaMvidham P.445, 1. 1 Note : 'saundaryadhAra' is, probably, a scribal mistake for 'saundaryasAraM'. 6. pratyekam...niyama... P. 243, 1.6 pratyekaM prAdhAnyAt, niyamAnizcitezca rUpAntara... P. 243, b. 7 ...rUpAntara...upamitiH 5.

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KALPALATAVIVEKA: A STUDY 241 upamitiH P. 243, 1.9 -P. 446, lines 1-4 7. dara raiya ...P. 243, 1. 12 xxx yatkAvyArtha ...P. 243, 1. 14 yatkAvyArtha... -P. 443, lines 3-4. Note : The Prakrit verse opening with "dara raiya" is probably adopted from the Vakroktijivita. This surmise is based on the fact that there is loss of text just before yatkavyartha etc. and the present verse "dara raiya" occurs in the Kalpalataviveka just before "yatkavyartha". 8. sadayaM bubhuje P. 243, 1.20 sadayaM bubhuje- III.33. (V) 129 samuccitopamodAharaNam P. 243, lines 20-21 bhavati upamitiH eSA cAlaGkRtiH samucitA upamA pUrvavat eva / P. 446 Note : (i) The reading 'samucita' (in the Vakroktijivita) is obviously wrong. It ought to be samuccita (Cf. Dandi's samuccayopama-II. 21) (ii) The verse, indicated by the Pratika ayam ranah (p. 243, 1. 21), is probably adopted from the Vakroktijivita. It follows the verse "sadayam bubhuje" in the Kalpalataviveka and the verse "sadayam bubhuje" in the Vakroktijivita is followed by marks showing loss of text. 9. khaDgaprahAram P. 244, lines 3-5 zastraprahAraM dadatA-(III. 33. V. 133) Note : Dandi (II.356) reads sastradeg). The author possibly quotes from memory, hence the V.L. Khadgao. After this verse in the Vakroktijivita we have mark showing grantha-pata. Possibly, the Vrtti 'atra bahUnAM bhUbhujAM... bhavatyupamitirevAlaMkRtiriti' and the Prakrit illustration sive (? vi) Ne vi (With the Vrtti facerat 34fafa: va sfat) that follows it formed a part of the text of the Vakroktijivita (now lost). Utpreksa 10. ata eva tadiveti tadeveti vA dvAbhyAM tadiveti tadeveti vA dvAbhyAM prakArAbhyAm / prakArAbhyAM... -(p. 244, 1. 11) -Vrtti on III. 25-27 (p. 424) 11. bodhayan iti bodhayanneva bodhayannivavetyarthaH / ayaM mandadyutirbhAsvAna pratigacchati / ...mandadyutirityatra....upamAyAH pratipAda- udayaH patanAyeti zrImato bodhayan narAn / katAM prApnotItyarthaH / The verse is followed by a mark indiP. 244, lines 14-19 cating granthapata. (p. 449-p. 450, 1.1) Note : Probably the Vstti is based on the portion following the verse ayam mandadyutih etc. in the Vakroktijivita which is now lost. Stud.-31

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242 STUDIES IN JAIN LITERATURE 12. tadiva iti sAdRzyapakSe / tadeva iti tu sambhAvanAnumAnena sAdRzyenobhayena vA / sambhAvanAnumAnapakSe yojanIyam / tadiveti tadeveti... kAlpanikam iti -~-P. 252, lines 11-12 -III. 24-26 and the Vrtti on it (p. 422-425) especially, dvividhaM sAdRzyaM saMbhavati vAstavika kAlpanikaM ca / ... 13. ApIDa-iti ApIDa... rAzIbhUtaH-iti rAzIbhUtaH... nirmoka-iti nirmoka... tikkhAruNaM taM iti...ubhayasAdhaneyamutprekSA / nIsAsA iti...iyamapyubhayasAdhanotprekSA / utphulla-iti utphulla... -P. 252, lines 15-26 -De, pp. 193-194 -Visvesvara, pp. 425-26 Note : De's observation on the two missing Prakrit verses is as follows : "The Vastavasadrsyodaharanam is a Prakrit verse which cannot be reconstructed from the MS. So is the Prakrit verse given as ubhayodaharana". (p. 193). The two Prakrit verses in the Kalpalataviveka, which illustrate ubhayasadhanotprekna are most probably the same two verses referred to by De in the quotation cited above. It must, however be conceded that according to De they are not both illustrations of ubhayasadhanotpreksa. (Samsaya=) Sasamdeha 14. raJjitA tu (? nu) iti / / raJjitA nu...(Kirata IX.15) -P. 253, 1. 26 -P. 473, lines 2-3 nimIlad iti / nimIladA' (Kirata, VIII-53) -P. 253, 1. -27 -P. 473, lines 5-6 Dipaka 15. vicchitteH kAraNam iti / varNanIyasya prastAvAdhikRtasya padArthasya vicchitteH -P. 255, 1.5. upazobhAyAH kAraNaM nimittabhUtam / upazobhAyA nimittabhUtaM-P. 255, 1.5 -Vrtti on III. 19, p. 404, lines 1-2 Slesa 16. mAlAmutpala iti / mAlAmutpalakandalaiH -P. 259, 1.11 -III, 34-v. 141 (p. 452, lines 2-5).

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KALPALATAVIVEKA : A STUDY 243 Aprastutaprasamsa 17. lAvaNya iti / atra lAvaNyasindhUtpalazazi- sAmyasamAzrayaNAt vAkyAntarbhUtaprastuta(? bhUtA-- prabhRtayaH padArthAH padamAtrAbhidheyA aprastutA prastuta )padArthaprazaMsA / yathA-lAvaNyasindhuraparaiva... upavarNitAH / --P. 264, lines 28-29 _ --P. 415, lines 1-3. chAyA iti / atra tAleneti padArthaH sakala- sAmyAzrayaNAt sakalavAkyavyApakaprastuta(? 'vyApakA vAkyavyApakatayA upavarNitaH / / prastuta)padArthaprazaMsA / yathAchAyA nAtmana eva... ...tAlena bAlA vayam // -P. 264, 1.29 to p. 265, 1.1 --P. 415, lines 4.8 Drstanta 18. vastusAmyam iti / vastusAmyaM smaashrity...| dRssttaantnaamaalngkaarH...|| --P. 265, 1. 21 -III. 38 (p. 467) sarasijamityatra sarasijamanuviddhaM... .....maNDanaM nAkRtInAm // -P. 265, 1. 23 (Sakuntala I-20)- P. 458, lines 1-5. Dipaka 19. caMkammati iti / caMkamaMti atra kavayaH prAkaraNikAH sphuTameva dukkhaM vaNe ca kaiNo pratIyante / -P. 266, 1. 15 -P. 396, lines 3-4. kaikesarI iti / kaikesarI.. ... / atrApi kavikesarI prAkaraNikaH / ... .... // -P. 266, lines 15-16 --P. 399, lines 7-8. 20. paktisaMstham / ekaM prakAzakaM... ... kevalaM paktisaMsthaM vA ... // -P. 267, 1.6 -III.18 (p. 398) dIpayatyanyattadanyaditi / dIpayatyanyatrAnyat (?dIpayatyanyattadanyaditi) iti -P. 267, 1.7 anyasyAtizayotpAdakatvena dIpakam / yaddIpitaM taddIpakaM karmabhUtaM teSAmiti anyat kartRbhUtaM tatkarmabhUtamanyat, kartRbhUtaM dIpayati, prakAzayati zriyaM iti dIpayati / anyadapi ca karmabhUtaM tadapyanyaddIpayatIti dIpakadIpakam / kSoNImaNDalatAH iti / aparaM kartRbhUtam / acApalamiti / maNDanaM nRpatayasteSAM zriyobhUSaNam dIpayatIti sambandhaH / enamevAha-anyasyA- tAH zobhAM gamayatyacApalamidaM... ... zauryatizaya iti / anyasya iti kSoNImaNDalasya / kriyAlaGkRtaM dIpakam iti nRpatayaH / kraurya iti krauryakriyayAlakriyAm / --P. 267, lines 8-11.

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244 STUDIES IN JAIN LITERATURE [Note : The reading saurya, found in the Vakroktijivita, seems to be better.] -P. 400, lines 4-11. 21. yadi taddIpitaM kartRbhUtaM sa (? sA) iti / mado janayati prIti sAnaGga mAnabhaGgaram / anyat karmabhUtam / anaGgam iti / tadapi sa priyaasnggmotknntthaa...|| kartRbhUtaM sa iti / anyat karmabhUtam, priyAsaGgamotkaNThAmityevaM dIpayati tadAyaM tRtIyaH prakAro bhavati / --P. 267. lines 11-13. (Bhamaha II-27)-P. 402, 1. 2. 22. yadi...rAmasya pANirasIti karuNA kutaste..... he hasta dakSiNa... nirbharagarbhakhinnadevIpravAsanapaTo rAmasya kara rAmasya pANirasinirbhara0 stva m... sItAvivAsanapaTo karuNA kutaste / / (Uttara-rama-carita II. 10) -p. 276, lines 19-21. -P. 462, lines 9-12. ...vacanIyatAm ucyatAM saH... ... ... . ucyatAM sa vacanIyam... ...nezvare paruSatA sakhi sAdhvI / AnayainamanunIya kathaM vA vipriyANi janayannanuneyaH.... -P. 276, lines 21-P. 277, 1.2. (Kirata IX-39) -P. 463, lines 2-3 kiM gatena na hi yuktamupaituM... ki gatena... kaH priye subhagamAnini mAnaH / -P. 277, lines 2-5 (Kirata IX-40)-P. 464, lines 1-2 he parvatarAja mayA viyuktA rAmAtra tvayA sarvakSitibhRtAM nAtha...dRSTA... ! rAmA mayA virahitA tvayA // (Vikramorvasiya-IV-27) -P. 277, lines 6-7 -P. 464, lines 3-4. pradhAnArthaparatvenapradhAnArthaparatvena -P. 277, 1.9. -P. 465, lines 3-4 zabdArthadvaya iti zabdArthadvayaprakAzanam -P. 277, 1.9 -P. 465, 1.6 yugapadarthadvayaprakAzanalakSaNaH yugapatpradIpaprakAzavadarthadvayaprakAzanam -P. 277, lines 11-12 -P. 465, 1.5. dRSya Note : Kuntaka gives these four verses to illustrate his own definition of Sahokti. They are adopted by our author from Kuntaka and not from the original works. This is clear from the fact that they are cited in the same order as found in the Vakroktijivita.

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KALPALATAVIVEKA : A STUDY 245 23 "yatraikenaiva vAkyena" ityAdilakSaNalakSitA 'Kuntaka cites discusses and rejects yA sahoktiH saitasya granthakArasyAlaGkAratayA Bhamaha's definition and illustration saMmatA / yA puna mahAdibhiruktA sA of Sahokti. He defines Sahokti as nAlaGkAra ityarthaH / follows :yatraikenaiva vAkyena varNanIyArthasiddhaye / arthAnAM yugapaduktiH sA sahoktiH satAM matA / / -P. 277, lines 13-19 --III. 37, p. 461. Parivstti 24. ekasya...pUrvam... visRSTarAgAdadharAnnivartitaH...| yadeti...tadrUpatayA ca... ......aksssuutrprnnyii......|| These Pratikas are possibly based on the text of the Vakroktijivita This conjecture is supported by the Pratika which immediately follows : tasya iti / akSasUtrasya / (Kumarasambhava V. 16) -P. 277, 1. 27. --P. 447, lines 5-6 (Discussion of) Rasavat 25. pakSipatireva razanA yasyA iti sambandhaH / taraGgabhrUbhaGgA kSubhitavihagazreNirazanA.... iyaM nadI iti.....bhAvazabdena samAse nadIbhAveneyaM....pariNatA // -P. 316, lines 5-7 (Vikramorvsiya. IV. 28) [Note : 'pakSipaGktiH ' is obviously a --P. 350, lines 1-4 paraphrase of vihagazreNi...] 26. nizcAyaka iti vinihateSu kiM hAsyena... proSiteSu ca patiSu pramadAjana... svapnAnteSviti...priyatama... pravAsavipralambhasya... buddhvA roditi riktabAhuvalayastAraM riktabAhuvalayatvarodana... ripustrIjanaH // svapnAnte priyatameSu -P. 361, lines 1-4. -P. 316, lines 12-16. kuto vipralambhasya pRthaktvavyapadezagandho- kutaHpravAsavipralambhasya 'pItyAha- -P. 316, I. 19 pRthagvyApAre rasagandho'pi / -P. 364, 1.7 bhavadvinihatavallabha... bhavadvinihatavallabho.... -P. 316, 1 22. -P. 361. 1. 5. paryAyoktanyAyana paryAyoktAnyApadezanyAyena -P. 316, 1. 23. -P. 364. 1. 10 preyorUpaH pradhAnabhUtaH ...preyasa: prAdhAnye... -P. 316, 1.24 -P. 364, 1.8.

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246 STUDIES IN JAIN LITERATURE anyo (? anyA)padezanyAyena paryAyoktAnyApadezanyAyena -P. 316, 1. 25 -P. 364, last line-P. 365, 1.1. svarUpAd iti svarUpAdatiriktasya svarUpAdatiriktasya parasyApratibhAsanAt / parasyApratibhAsanAt / ----P. 316, 1. 28 --P. 370, 1. 10 alaGkAryazcedrasa: tadanyena kenacidalaGkaraNena yadi zRGgArAdireva prAdhAnyena bhavitavyam / varNyamAno'laGkAryastadanyena kenacidalaGkaraNena bhavitavyam / -P. 316, lines 29-30 -P. 339, lines 1-2 upoDharAgeNa... upoDharAgeNa... --P. 317, 1.2 -P. 385, lines 3-4. svAtmani kriyAvirodhAt ...svAtmani kriyAvirodhAt -P. 317, 11. 3-4. -P. 371, 1.2. tattulyavRttAntatayA iti zeSasya punastulyavRttAntayA -P. 317, 1. 7-8. -P. 388, lines 3-4. calApAnAm iti calApAGgAM.... ......hatAstvaM khalu kRtI // -P. 317, 1.3 -P. 386, lines 3-6 kapole patrAlI 'kapole patrAlI' ityAdau / -P. 317, 1.3 ---P. 387, 1.3 saMsRSTivyapadezaHsaGkavyapadezo na...saMsRSTisaGkaravyapadezaprasaGgaH vA prasajanna pratyAkhyAtuM zakyate / pratyAkhyeyatAM pratipadyate / -P. 317, 1. 10 --P. 388, 1.5 sa kavinA..kAmapi kamanIyatAmadhiropitaH / ...kavinA kAmapi kamanIyatAmadhiropitaH / -P. 317, lines 13-14 -P. 389, 1.5 Samsssti gajabhujaGga pallavamRduH mlAni.... nItA rAjabhujaGga pallavamRdunUnaM... -P. 320, lines 2-3 --P. 477, lines 2-5. The sources of the Kalpalataviveka help us in correcting its text. The editors have done their best to present the text of the Kalpalataviveka as faithfully and carefully as possible. The text, however, needs to be corrected in many places. Some of the important and significant corrections are noted below for the benefit of readers : P. 23, 1. 16 P. 23, 1. 18 For rUpapati Ahata [?] kAmaH Read bhUtapati AhatavapuH kAmaH

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KALPALATAVIVEKA : A STUDY 247 P. 25, 1. 7. AtiSTha iti Acara... AtiSTha iti / aacr| P. 31, 1, 16 sasaGkoca sa saGkoca P. 31, 1. 23 devadhiSNyamiva deva dhiSNyamiva P. 40, 1, 24 vAco yuktiH 'vAcoyuktiH P. 45, lines 12-13 'vicAreti prapaJcaH "vicAre'tiprapaJcaH P. 47, 1. 1. prapyakSaM pratyakSaM P. 60, 1.7 zabde'vidyamAnatvAt zabde vidyamAnatvAt P. 72, 1. 22 zubhamarakata zubhamarakata. P. 87, 1, 12 baddhA baddhvA P. 87, 1. 25 tadupajIvyadoSo tadupajIvya doSo P. 89, lines 22-26 The passage should be read as follows : iti...vilAsalakSaNe...prayukto [bharatamuninA] nArAyaNakavinA yathAtattvaM nAdhigatArtha iti, adhikRto hyatra vIrarasa iti / evaM doSo'yamabhihitaH / The text as it stands is apt to mislead readers. It is not Narayana but Bharata who has employed the word "ratibhoga" when defining Vilasa', one of the Angas of Pratimukha-Sandhi. Again, the two sentences given within inverted commas are not the two karikas (karika-dvaya) referred to. In fact, they are not karikas at all. The two Karikas meant here are : itivRttavazAyAtAM...and sandhisandhyaGgaghaTanaM...(Dhyanyaloka III. 11 and 12). This interpretation is based on Locana (p. 341 and p. 361). P. 96, 1. 2 and mA. bhI: mA bhaiH 1.5 P. 107, 1.8 "nuSThAnam "nutthAnam P. 107, 1. 28 jAyaM tu jAyantu P. 110, 1. 23 dazanaradana radanadazana P. 111, 1.9 tRtIya eva sa dhvani tRtIya eva rasadhvani' P. 111, 1. 18 'niSpanda "niSyanda P. 117, 1. 9. hyudyAne (? hyucyamAne sa) hRdayAdi vo hyudyAnendUdayAdi vo p. 119, 1.7 itthaM sthitirvarArthAcetyAdi / The footnote reads Adye'rdhe anuprAso dvitIye'rthAntaranyAsaH / The whole verse, however, is nowhere given in the text. The full verse runs as follows :

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248 STUDIES IN JAIN LITERATURE itthaM sthitirvarArthA cenmA kRthA vyarthamathitAm / . rUpeNa te yuvA sarvaH pAdabaddho hi kiGkaraH // -Udbhata, P. 70 P. 119, lines 8-9 mainamevAsvasacchAyeti?AmaivamevAsva (V.L. "stha) sacchAyeti The full verse runs as follows : maivamevAstha sacchAyavarNikAcArukarNikA / ambhojinIva citrasthA dRSTimAtrasukhapradA // -Udbhata, P. 70. P. 119, 11. 21-22 kamalAyarANa-maliyA kamalAyarA Na maliyA P. 127, 1. 24 sItAmapyupekSikA sItA mayyupekSikA P. 160, 1. 24 manoharasuramyamanmathadevasya manoharasurasya manmathadevasya P. 161, 1. 23 tairasadrupAyate tairasadrUpatApyate P. 161, 1. 27 aMkapAlI sahIe aMkapAlIsahIe P. 164, 1. 11 humi avahatthiyare hoiti humi avahatthiyareho iti P. 165, 1. 4 'zobhitaikena zobhinaikena P. 166, 1.4 kastrAtAt kastrAtA P. 173, 1.4 kRSyate / prakRSyate ca kRSyate prakRSyate ca P. 174, 1. 6 dAhArthaM bhoginaM...zAva dAhArthamudyoginaM...zava P. 176, 1.7 mA puMsaya [proJchayasva] # Friluferuit is the correct reading. P. 178, 1. 17 sAdhiturityAdAvapi sA dhenurityAdAvapi P. 183, 14 AkSuNNAste akSuNNAste P. 183, lines 26 etc The Prakrit verse needs to be corrected and the Sanskrit gloss on it needs punctuation marks. P. 184, 1. 4. The Dhvanyaloka and the Locana (p. 479) present the text of this portion correctly. P. 186, 1. 1 sadevaM sa devaM P. 187, 1. 14 pattAyeti pattA ya iti P. 190, lines 5-6 Note : The Danda after sthulam (1. 5) should be deleted. upodharageti is the Pratika of its illustration. For suksmamatam, we should read suksmam matam... P. 235, 1. 4 . tanvI nimittam tanvInimittam P. 238, 1.9 zyAmA lateva zyAmAlateva P. 251, lines 20-21 evotpekSA buddhi evotprekSAbRddhi [Cf. Hemacandra P. 349, 1, 20] P. 253, 1. 26 raJjitA tu raJjitA nu

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KALPALATAVIVEKA : A STUDY 249 P. 274, 1. 28 dhavalatvaM saralatvaM P. 275, 1. 24 bhogAnirvivakSoH bhogAn nirvivikSoH P. 277, 1, 1 sakhisAdhvIti sakhi sAdhvIti P. 278, 11. 5-6 anyathA kAsAdInAmapi anyathA AkAzAdInAmapi P. 281, 1. 16 ubhayApAzrayaH ubhayAzrayaH cf. Nami on Rudrata VII. 77 P. 306, 1.7 sthAyibhAvAnnasattva sthAyibhAvAn rasatva P. 309, 1.8 ayogyatA ayogyatAP. 311, 1. 24 parikalpa [?] parikalpya P. 315, 1.3 niSedhaH niSpeSaH Note : While reading the text I compared it to the sources drawn upon by the Kalpalataviveka and whenever I thought that the sources present happy readings I noted them. These corrections are based on the authority of the source-books. The text of the Kalpalataviveka helps us to restore some of the highly corrupt and unintelligible passages in the Locana and the Abhinavabharati drawn upon by it. A few instances may be given here : "devaditi lunahi"... (Locana p,. 147). This Apabhramsa verse is highly corrupt and unintelligible. It is also cited in the Abhinavabharati (On the Natya-Sastra, Ch. VI (p. 305, G.O.S. edition 1956); there too the text is unintelligible. Appendix I (P. 383) to that volume gives the readings in the MS. of the Dhvanyaloka which too is corrupt. The second half of this verse is correctly preserved in Somesvara's Samketa (p. 24). The Kalpalataviveka, however, for the first time, gives us the text of this verse in its correct form : dIvaDi tellu NAhi...(P. 123, lines 26-27) dIpake tailaM nAsti palam, drammaM gaveSitam / lAvaNyojjvalAGgo gRhe priyatamaH praviSTaH // ] The Locana, in the course of its exposition of the Dhvanyaloka II, 3, says : kvacittu vyabhicAriNaH sandhireva carvaNAspadam / yathA-osuru sumThi aaii...|| (P. 176, 11 7-10). Now the first quarter of this Apabhramsa verse is corrupt and makes no sense. The 'Balapriyakara gives its Sanskrit Chaya as IrSyAzruzobhitAyA...(P. 176). He, however, honestly observes 'iti chAyeti pratibhAti / ' The Kalpalataviveka borrows the treatment of Dhvani from the Dhvanyaloka and the Locana. In identical context it reads : kvacid vyabhicAriNoH sandhireva carvaNAspadam / yathA-usurusuMbhiyAe iti / This reading and the explanation UsuMbhiyaM tathA UsurusuMbhiyaM ruddhagalarodanam' recorded in the Desinamamala helps us to restore the passage : Stud.-32

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250 STUDIES IN JAIN LITERATURE usurusuMbhiyAe muha cuMbiu jeNa / amiarasaghoMTaNu paDijANiu teNa // [ruddhagalaM rudatyAH mukhaM cumbitaM yena / amRtarasaghoTanaM parijJAtaM tena // ] Namisadhu in the course of his commentary on Rudrata XI. 9 illustrates Gramyata. The printed text reads...puruSeSu zUdravarjamanapAkAdiko vyavahAra...kAcAdyAbharaNaM ca veSaH..tathA vidyAyAM paNDiteSu zastragrahaNapUrvako vyavahAra:...The words in bold type do not present happy or satisfactory readings when we take into consideration the context. The Kalpalataviveka adopts this passage and presents appropriate readings : su(?sU)da(doubtful)varjamannA0, kAJcyAdikaM cAbharaNaM...paNDiteSvazAstrako vyavahAraH. The Abhinavabharati reads : AmnAyasiddhe kimapUrvametatsaMvidvikAse'dhigatAgamitvam / (Vol. I. p. 278) The Kalpalataviveka reads 'dhiganagamitvam' in place of (a) dhigatagamitvam in the printed text. In the light of the context we find the reading 'dhiganagamitvam' rather superior. 000

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KALPALATAVIVEKA ON ABHINAVABHARATI The text of the Abhinavabharati (A. Bh.), the commentary by Abhinavagupta on Bharata's Natyasastra (NS) is corrupt and, therefore, obscure in many places. The commentary on the Sixth Adhyaya, though better preserved, than the commentaries on other chapters, has still a great deal of obscurity on account of corrupt readings. Many reputed scholars have tried their best to improve the commentary. The Aesthetic Experience According to Abhinavagupta by R. Gnoli and Aesthetic Rapture by Masson and Patwardhan are two of the recent works which have tried to render considerable help in understanding the Rasadhyaya, Chapter VI of Bharata's Ns and the A. Bh. on it. In a series of articles. I made attempts to restore the text of over ninety passages of the A. Bh. mainly with the help of Hemacandra's Kavyanusasana and the Natyadarpana of Ramacandra and Gunacandra both of whom have made liberal use of the A. Bh. in their works? The Kalpalataviveka (KLV) of an anonymous author has incorporated many long passages from the Dhvanyaloka (Dhv.) the Locana commentary on it and the A. Bh. I have shown in a separate paper, entitled "Abhinavabharati Ch. VII Recovered ?" how the KLV has preserved in toto a major portion of the A. Bh on Ch. VII. In this paper I am attempting to restore the text of A. Bh. Ch. VI with the help of the KLV which offers comments on some of its difficult passages, and renders them intelligible, and incidentally, I would correct a few misreadings in the KLV with the help of the A. Bh. 1. anyacca sthAyinAM ye vibhAvAdayo'bhihitAstaireva yoge sthAyinaH sphItA bhaveyU rasA syurityarthaH / ayoge tu sthAyina eveti kiM rasAvasthAparaparyAyAyAM sphItadazAyAM punarvibhAvAdipratipAdanena / -KLV p. 303, 11 13-15 The text of the A. Bh. which is commented here upon, reads : Fremati 080poezi (Vol. I. p. 272 1.14) The reading 'Sthita' makes no sense. The KLV reading 'Sphita' which directly yields the sense 'in its intensified state is highly superior and, seems convincingly to be genuine. 2. arsata cfa i Brent yeasti

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252 STUDIES IN JAIN LITERATURE vivRddhAtmApyagAdho'pi duranto'pi mahAnapi / etadvAkyaM kRtyArAvaNe rAmeNa svazokasyAbhidhAyakamuktaM nAbhinayaH / / - KLV p. 304, ii. 17-19 This passage confirms that the A. Bh. text cites only the second half of the verse. It further informs us that the verse expressing Rama's sorrow is drawn from the old Rama-play Krtyaravana (now lost). With reference to this verse R. Gnoli observes in a footnote : untraced source (Text, p. 4), unidentified stanza" (Translation, p. 30) 3. zokena kRtaH iti / asyottaramarddham / hRdayasphuTanabhayArte roditumabhyarthyate sacivaiH / idaM tApasavatsarAje vinItadevavAkyamudayanagataM zokamabhidadhAti nAbhinayaH / -KLV p. 304, 11. 17-20 This passage corroborates the fact that the A. Bh. text cites only the first half of the verse. It further informs us that the verse, giving expression to Udayana's profound sorrow, and forming part of Vinitadeva's speech occurs in the play Tapasavatsaraja. With reference to this verse R. Gnoli observes in a footnote : ..... This stanza, whose source I have not succeeded in identifying. (Text, p. 4) Unidentified stanza (Translation, p. 30) In the printed text of the Tapasavatsaraja we read : (nepathye) deva samAzvasihi samAzvasihi, samassasadu samassasadu piavaasso / [samAzvasatu samAzvasatu priyavayasyaH ] vinItabhadraH - (zrutvA dRSTvA ca sakaruNam) aye kathamAgata eva devaH zrAvitazca, tathA hyayamzokena kRtastambhastathA sthito yena vardhitAkandaiH / hRdayasphuTanabhayArte (roditu) mabhyarthitassacivaiH // atikaruNaM ca vartate tadito'pasRtya kAryazeSa pratiyojayAmi / -Act 11, p. 18 This stanza presents some variant readings : 1. zrutvaiSa vidhRtabASpa:- Srigaraprakasa (Ch, XXXII) as quoted by the editor of the play in a f. n. on p. 19 zokena kRtaH stambhaH; KLV P. 304, G. M. 2. -yo'navasthitAkrandaiH -G -yo'vasthitAkrandaiH -M -yena vadhitAkrandaiH -Hema. (as noted by R. Gnoli, Text. p-4) 3. -mabhyarthyate sacivaiH --Hema.; KLV

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KALPALATAVIVEKA ON ABHINAVABHARATI 253 Gnoli's translation of the third "pada" (by his companions), who, filled with the fear that tears their hearts", however, altogether misses the point. The idea intended to be conveyed is the same as found in Bhavabhuti : pUrotpIDe taDAgasya parIvAha: pratikriyA / picha 7 EGZI Y A Erfall -Uttararamacarita III.29 [When a tank is flooded, an outlet is the only remedy (for preventing the banks from bursting). When agitated by sorrow the heart is sustained only by lamentation.]Rumanvan and Vasantaka (the Vidusaka) the minister and the friend respectively of King Udayana, the Hero, plead with him to take heart and bear the loss of Vasavadatta, his beloved wife (who is believed to be dead). They are extremely worried to find him paralysed by sorrow and standing motionless. They are overpowered by the fear that the King's heart might break if he did not give outlet to his overwhelming grief. They, therefore, increase their own lamentations and implore the king to weep and thus unburden his mind of the overpowering grief. 4. tasyaiva iti / sthAyina eva / asmin iti / asmin naTe'yaM sthAyI / ---KLV, p. 305, 1.22 This forms a gloss on anta fe qenda 34f4744' fa Ah li ufayfa: -A. Bh. Vol I. p. 275, lines 12-13 Gnoli, however, renders the phrase in a contrary way : "That man (is) in this feeling." P. 38 Following the KLV, we may translate it as : "In this (actor) is (being realized) this primary emotion." 5.tadanukAre'pi ca iti / tacchabdena ratiH parAmRzyate / abhyupagamo'yam anukaraNarUpatvAdeva ca nAmAntaraM pravartata iti hi tatrabhavantaH / tatazca ratyanukAre kAntaveSagatyAdayo'pyanukAryAH / anukaraNarUpatve ca teSAM kRtAni nAmAntarANi yaiste vyapadizyante munivacaneSu tAvannopalabhyanta iti bhAvaH / - KLV p. 305, 11. 24-27 The text of the A. Bh., on which we have this comment, reads : tadanukAre'pi ca kva nAmAntaraM kAntaveSagatyanukaraNAdau / -P. 276, 11. 6-7 R. Gnoli translates this sentence thus : And, if even that was a reproduction, then what would be the difference between it and the reproduction of the attire, the walk, etc., of the beloved ? He concedes in a footnote : Text and Translation both doubtful. --p. 41. f.n. 4 R. Gnoli takes kva namantaran to mean kva nama antaran whereas 'namantaram is, in this context, used to denote 'another name', 'a different name'.

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254 STUDIES IN JAIN LITERATURE Abhinavagupta himself uses this term precisely in this sense twice on the very next page; kevalamupAyavailakSaNyAnnAmAntaraM pratipadyatAM darzanAnumitizrutyupamitipratibhAnAdinAmAntaravat / A. Bh. p. 277, 11. 8-9 The KLV interprets the line : 'For argument's sake we grant your point of view, viz, 'The Erotic sentiment is an imitation (anukarana) of the permanent mental state called rati. Now in this imitation of rati the dress, the gait etc., of the beloved become anukarya (things to be imitated). By virtue of their having the nature of anukarana they must have been given different names. But these socalled different names for the dress, the gait, etc., of the beloved are not to be found in the text of Bharata's NS. So your stand that Rasa is an imitation or reproduction (anukara, anukarana) of a sthayibhava such as rati etc., has no basis." This interpretation seems to be perfectly all right but for one inconvenient fact. It is true Bharata does not give different names to the imitation of dress, the gait, the speech, etc., of the beloved, he, however, gives a general name Lita : vAgaGgAlaGkAraiH ziSTaiH prItiprayojitairmadhuraiH / iSTajanasyAnukRtirlIlA jJeyA prayogajJaiH // -NS XXII, 14 Abhinavagupta, however, has himself said in the present paragraph : kAntaveSAnukAravaddhi na rAmaceSTitasyAnukAraH / -Vol I. p 276, 1.1 6. Fa fa 7722071741 ---KLV p. 306, 1 10 This comment comes in between ythifura 5179..f419TE I (=Y1H1fUTO utt.....fo HpTad A. Bh. Vol I, p. 276, 1. 17 and Th 7 urtea sfa i The present text of the A. Bh., however, does not have the reading tantra in the present context; it reads : rantai 7: unifad4244451fa TE FORTSATT I --Vol. I. p. 276, lines 17-18 Hemacandra, however, reads : yattvanyattatpratItivaiSamyaprasaGgAdi tat kiyadatrocyatAm / Possibly the KLV might have read Ri f ad924. 7. Masson and Patwardhan observe : "On p. 274 (A. Bh. I) Abhinava begins his views, but it is not clear when they end....it is likely that this refers, not to Abhinavagupta, but a now lost commentary by Bhatta Tauta on the NS..." -Aesthetic Rapture, The following passage from the KLV is very eloquent on this point :

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KALPALATAVIVEKA ON ABHINAVABHARATI 255 raso na pratIyata iti / rasasya pratItyabhivyaktI mukhyatayA, utpattizcopacAreNa bhaTTatotasyAbhimatA / eSa eva ca pakSo yathopAdhyAyaM ziSyA ityAcAryasya [abhinavaguptasya] anumato'ta eva ca pratItyAdivyatiriktazca saMsAre ko bhoga ityAdinA tatra tatra rasasya pratItyAdikamAcAryaH svayaM vyavasthApayiSyatIti zaGkakAdimatanirasanAnantaramupAdhyAyamataM na pradarzitam / p. 306, 11. 10-14 According to the KLV, Abhinavagupta held the same views as those of Bhattatauta, his teacher. And that is why he does not separatly set forth the view of Bhattatauta after mentioning the views of Sankuka and others. Unless we have a definite clue as to a now lost commentary by Bhattatauta on the NS, it is safer to presume that Abhinavagupta quotes Bhattatauta's views and explanations of the NS from his memory or lecture-notes which he might have taken down when reading the text with him (Bhattatauta). Aesthetic Rapture Vol. II (Notes) 8. na cotsAhAdimAn rAmaH smaryate'nanubhUtatvAdityAha- na ca tattvataH iti / sarasatA iti rasopajanaH / ---KLV, p. 306, lines 21-22 In explaining the view of Bhatta Nayaka and its criticism as presented in the A. Bh., (Vol., 1 pp. 276-77) the KLV very cleverly and rightly borrows sentences and phrases from an earlier version preserved by Abhinavagupta himself in his Locana (pp. 180-190). The A. Bh. reads : na ca tadvato rAmasya smRtiH / anupalambhatvAt / -p. 276, 1. 5 (from below) The KLV reads tattvatah; so too, Hemacandra reads tattvato (p. 96 1. 13). The reading 'tadvatah' however suits the context. 9. The A. Bh. (Vol I, p. 277, 11. 1-2) reads : 'flash Ehafinn, Masson and Patwardhan observe : The phrase Nibidanijamohasantkatakarina on p. 277 of the A. Bh., Vol. I. is puzzling. Perhaps we must read sarikataniyrttikarina. "Gnoli accepts the reading of the Sarkatataniyaranakarina but remarks sarkatakarina. G.M. equally possible. (Text, p. 10, F.n. 8) He, however, does not explain how that reading would yield a satisfactory meaning, suited to the context. The fact that the correct reading must have been sankatatanivarana (or nivstti) karina is vouchsafed by Abhinavagupta's own text in the Locana where he reads : misfo 7 pot feed, 3rf I THET=245&aftafel.... . -P. 189. 10. rajastamovaicitryAnuviddhasattvamayanijacitsvabhAvanirvRtivizrAntilakSaNaH / --KLV p. 307, 11. 4-5 The text of Hema. (p. 96 11. 22-23) and of the A. Bh. (p. 277, lines 3-4) too in the present context reads laksana. Dr. Raghavan's emendation (Bhoja's

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256 STUDIES IN JAIN LITERATURE Srngaraprakasa, p. 480) as vilaksana', therefore, seems uncalled for. 11. rasaH iti / rasaH syAnna tRtIyA gatiriti saMbandhaH / --KLV p. 307, 1. 20. The A.Bh (Vol I, p. 277, 11. 9-10) reads : rasa iti na tRtIyA gatirasyAm / Hema (p. 97, 1. 8) too, reads : rasa iti na tRtIyA gatiH syAt / It is, therefore, clear that gatih syat is the genuine reading and not gatirasyam. 12. guNAnAm iti / sattvarajastamasAm / . -~-KLV p. 307, 1. 24 This comment confirms the fact 'gunanam' is the genuine reading and that Hema) has added sattvadi before it by way of elucidation and expansion. 13. saMsargAdiH iti / ___-KLV p. 307 1. 24 From this pratika and the explanation that follows it would seem that the karika : saMsargAdiryathA zAstra ekatvAt phalayogataH / vAkyArthastadvadevAtra zRGgArAdI raso mataH // formed part of the text of the A.Bh and stood just before the karika Samalanakhya (khyaya) etc. (as found on p. 277) bhavasamyojana etc. (Gnoli's text p. 11). This inference is based on the fact that the KLV takes up immediately after the Pratika Samsargadih tadvisayah iti as the next Pratika for explanation and this latter pratika forms part of the A. Bh. line anubhavena ca tadviSaya iti mantavyam / which is a comment of Abhinavagupta on the word anubhava occurring in the karika Bhavasamyojana, etc. 14. dhiganAgamitvam iti / -KLV p. 308, 11. 4-5 The text of the A. Bh. (p. 278, 1.3), however, reads(a) dhigatagamitvam. The verse as it stands is highly obscure, Gnoli's translation (p. 51) of this verse is hardly satisfactory. Masson and Patawardhan frankly concede : "The first verse is corrupt and we cannot derive any satisfactory sense from it." Elsewhere they suggest that it is impossible to interpret it when they say : "We give the verse for anybody who wishes to attempt an interpretation." The following passage from the KLV throws fresh light on the text and the interpretation of this verse : na tvevam (? nanvevam) iti / na tveko (nanveko)'nyathA vyAcaSTe'paro'nyathetarazcAnyathetyevaM rasatattvamalabdhapratiSThaM kathamAstAmiti niviNNaprAyasya jijJAsoH praznaH / ki karmaH iti / nirAmnAyaM nA (? nirAmnAyam A)dyAgamarahasyaM na kazcidvattIti sajugupsamAcAryasyokti: dhiganAgamitvam iti / tathA hyanAgamajJo lolaTaprabhRtiH sthAyyeva vibhAvAnubhAvAdibhirupacito rasa ityAdinA prakAreNa kiM na dUSayati / sarvamapyasaGgatArtha prarUpayatItyarthaH /

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KALPALATAVIVEKA ON ABHINAVABHARATI 257 The reading 'Dhiganagamitvam, found in the KLV, is rather superior and eminently suits the context. The reading (a) dhigatagamitvam hardly goes well with amnayasiddhe in the first pada. With this reading the verse may tentatively be translated as follows : The true nature of rasa (rasatattva) being well-established or being wellknown through (Bharata's) tradition what is there new about it? In the upward march of knowledge the disregard of (Bharata's) tradition deserves to be condemned. Do not people like Lolata vitiate this doctrine of rasa going against the evident and precious hetu (viz. tradition) ? Certainly they do." Abhinavagupta is fond of using this expression 'Kimapurvametat. In the Locana (p. 188 1.5) he says kimetadapurvam. The statement of Abhinavagupta, which follows immediately after the introductory verse, supports this interpretation (what is new about it ?) : uktameva muninA na tvapUrvaM kiJcit / pratipatti iti vAkyArthapratipattimAtrAt / 15. sfarca cfa i sfaqnin sferandref: i --KLV p. 308, 1.24 The text of A. Bh. (Vol. I. p. 278, 1. 3, from below) reads pratipattimatraditivratta; in a footnote the editor notes the variant readings : 'traditivra' ditrivst'. The reading itivstta, found in the KLV, appears to be genuine, although its sense itikartavyata appears to be very unusual. 16. trAsakasya iti mRgapotakAdeH / apAramArthikatvAd iti / atra heturvizeSarUpatvAbhAvAditi / -KLV p. 308, 11. 26-27 Gnoli's translation of this particular sentence appears to be incorrect when he says ...,"the actor, who (playing the role of the deer), frightens (the spectator) (trasaka....showing to be afraid) is unreal (aparamarthika)". Would it not be more correct to construe 'trasaka' (one who causes fear) with Dusyanta, who strikes terror in the heart of the deer ? 17. 94ra: cfa 1471411 --KLV p. 309, 1.2 (from below) The text of the A. Bh. (p. 282 1. 3) reads : tattvajJAnajanitanirvedaprAyo vibhAvo mokSopAya iti / Dr. Raghavan (p. 527 1.3) reconstructs the text as : ... Footcartsfa al teatre sfat i 18. 3Tyrant I sfa Bruffen fra 7144401 44faa I --KLV, p. 310, 11, 2-3 The text of the A. Bh. (Vol I. p. 282, 1.3, from below) reads Stud.-33

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258 STUDIES IN JAIN LITERATURE azaktau ca tato bhIruH kiJcidAjijISurapyanucitavastu Dr. Raghavan notes the variant reading : M ajjijIpurapicita D jigISurapijita / -(p. 527, f.n. 17) From these variant readings we could reasonably infer that the MS of A. Bh., available to the author of the KLV must have had the reading : aparicita. 19. lIyeta iti nazyet / / -KLV, p. 312, 1. 11 The text of the A. Bh. (Vol. I, p. 295, 1. 12) reads : tatsparze hyabhimAno'syA (sya) vilIyata eva / Hema. (p. 149 1.16) reads : tatsparze hyabhimAno'sya lIyetaiva / 20. tadAbhAsatAyAm iti / mokSavibhAvAbhAsatAyAm / prahasana iti / prahasanarUpakeNa hi rAjaputrAdInAM sarvapuruSArtheSvanaucityatyAgaviSayA vyutpattirAdhIyata ityarthaH / -KLV, p. 312, 11. 12-14 The text of the A. Bh. (Vol I, p. 296, 11. 8-9) reads : tadAbhAsatAyAM zAntAbhAso hAsya eva prahasanarUpasya (ruupH|) anau (svAnau) cityatyAgaH sarvapuruSArtheSu vyutpAdyaH Dr. Raghavan reconstructs the text as follows :tadAbhAsatAyAM zAntAbhAso hAsya eva / prahasanarUpasya anaucityatyAgaH sarvapuruSArtheSu vyutpAdyaH / -p. 529 The KLV passage attests the correctness of Dr. Raghavan's reconstructed text and makes it easily intelligible. 21. zAntasyApi iti viSayaviparivRttyA'nturmukhatAlAbhena sarvarasAnAM zAntaprAya evAsvAda; kevalaM vAsanAntaropahita iti hi vakSyate / -KLV, p. 313, 11. 1-2 The text of the A. Bh. (Vol I, p. 339, lines. 21-22) reads : tatra sarvarasAnAM zAntaprAya evAsvAdo na viSayebhyo viparivRttyA / tanmukhyatA / kevalaM vAsanAntaropahita ityasya sarvaprakRtitvAbhidhAnAya pUrvamabhidhAnam / Dr. Raghavan reconstructs this passage as follows : tatra sarvarasAnAM zAntaprAya evAsvAdaH viSayebhyo viparivRttyA / tanmukhyatA lAbha: kevalaM vAsanAntaropahita iti / atra sarvaprakRtittvAbhidhAnAya pUrvamabhidhAnam / --The Number of Rasas (1967 ed.) p. 115. Masson and Patwardhan translate it thus : In this connection, the aesthetic enjoyment of all rasas is similar to that of Santa, because it (i.e. this aesthetic enjoyment) is turned away from actual sense object contact. (Because we are particularly concerned with one rasa,

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KALPALATAVIVEKA ON ABHINAVABHARATI 259 except that it is mixed with other latent mental impressions (Vasana) ? In a footnote they concede : 1. "We cannot arrive at a meaning for this sentence." Yes the sentence, as it stands, yields no satisfactory sense. But the text of the KLV helps us to restore the original reading; the keyword in the text of the KLV is antarmukhatalabhena (antarmukhata meaning introspection). Keeping in view the text of the A.Bh and the text as reconstructed by Dr. Raghavan we may now restore the original text : tatra sarvarasAnAM zAntaprAya evAsvAdo viSayebhyo viparivRttyA'ntarmukhatAlAbhAt, kevalaM vAsanAntaropahita iti / For this proposed restoration we find strong support in the A. Bh. itself. In this very section on Santarasa, when explaining the nature of the true relish of santa Abhinavagupta uses the expression antarmukhavasthabhedena : tattvAsvAdo'sya kIdRzaH / ucyate-uparAgadAyibhiH utsAharatyAdibhiruparaktaM yadAtmasvarUpaM...nirbhAsamAnam antarmukhAvasthAbhedena lokottarAnandAnayanaM [? lokottarAnandadhana tathAvidhahRdayaM vidhatta iti / -A. Bh. pp. 340-341 This passage and the variant reading (tanmukhyata) labhat, found in the two MSS M and G and recorded by Dr. Raghavan (The number of Rasas, P. 115, f.n. 2), leave absolutely no doubt as to the correctness of the proposed restoration of the text. 22. lIlA iSTasyAnukRtiH / -KLV, p. 313, 1.17 This reading is quite significant compared to the tame and flat reading lilanasyanukritih found in the A. Bh. (Vol. I, p. 304, 11. 15-16). If the A. Bh. were to read istajanasyanukstin then it would have been a perfect reading for in the definition of Lila (NS XXII. 14) itself Bharata says: vAgaGgAlaGkAraiH ziSTaiH prItiprayojitairmadhuraiH / iSTajanasyAnukRtirlIlA jJeyA prayogajJaiH / / 23. vipralambha iti / vipralambho viDambanaM prasiddhamiha tUpacArAttadIyaM phalaM virahAtmakaM gRhyate / tena hi parasparaM ratimato'tra viDambanamasti / tena viraheNa kRtaH suSTutamAM poSita ityarthaH / -KLV, p. 313, 11. 26-28. This passage when compared to the A. Bh. (p. 308, 11. 2-4) presents better readings. (They are shown in bold types in this passage.) 24. nanvekaH sthAyIti kA bhUyiSThatA ityAha-SaDbhedAzca iti / -KLV p. 314 11. 11-12 This quotation supports the Editor's emendation of the reading 3168 to (kA'sya) bhUyiSThatA (p. 315 1.2)

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260 STUDIES IN JAIN LITERATURE 25. vikruSTa iti vikruSTaH zravaNakaTuH / upaghAta iti / upaghAtaH putrAdimaraNam / ___-KLV, p. 314., 11. 17-18 The A. Bh., however, reads : vikrstam Sravanakatu (p. 316, 1-2); and, upaghato'gnyadimaranam (P. 318, 1.5) The editor notes the variant reading : ma. bha. atradikama (for agnyadima). This variant reading suggests that the reading found in the KLV (putradi) must have been the original reading in the MS of the A. Bh. that was before the KLV. ___26. tADanaM...bhedanaM parasparaM mitrAdiviyojanaM, bhAve Nyatau praharaNA nAma samantAddharaNam / samprahAreNa rudhirAkarSaNamiti vigrahaH / . -KLV, p. 314 (last line), p. 315 (first two lines). The reading in the A. Bh. (p. 320, last line) : 'bhave nyadantau is incorrect. So too the reading of the KLV bhave nyatau'. The correct reading should be bhave lyudantah. 27. lokottarAnandadhanam iti / etadekaM hRdayasya vizeSaNam / -KLV, p. 315 1. 23. The text of the A. Bh. (p. 341, 1.4) however reads : lokottarAnandAnaya(ndAya )naM tathAvidhaM hRdayaM vidhatta iti / Dr. Raghavan reads : lokottarAnandAnayanaM tathAvidhahRdayaM vidhatta iti / ---The Number of Rasas, p. 117 Apparently the reading, preserved in the KLV, seems to be original one. Incidentally, I may note that the A. Bh, text helps us to correct the wrong readings found in the KL.V. Some of them are pointed below : KLV A. Bh. (Vol. I) 1. tathA prati iti asyeyamiti yo na saMbandhapratItyu- atha sAmAjikasya tathA pratItiyogyAH kriyanta tpAdahetavaH[tuH ?] ityetadevAnusandhAnamucyate... __ -P. 305, lines 21-22 -P. 275, 11. 11-12 In the light of the pertinent passage in the A. Bh. we ought to read the text of the KLV thus : tathA pratIti iti / asyeyamiti yena saMbandhapratItyutpAdahetavo(vibhAvAH) / KLV A. Bh. 2. nApi vAstu iti tRtIyaH pakSaH / tathAhi-anukaraNarUpo rasa iti yaducyate tatki -P. 305, 1.23 (1) sAmAjikapratItyAbhiprAyeNa uta (2) naTAbhiprAyeNa kiMvA The third alternative refers to vastu- (3) vastuvRttavivecakavyAkhyAtRbuddhisamavalambanena vrttavivecaka etc. and is taken up for yathAhurvyAkhyAtAraH khalvevaM vivecayanti iti / atha

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KALPALATAVIVEKA ON ABHINAVABHARATT 261 consideration on p. 276 (lines 2-3). (4) bharatamunivacanAnusAreNa / In the light of these two passages we must read the KLV text as __ -A. Bh. Vol.I, p. 274, lines. 1-4 "nApi vastu...." iti tRtIyaH pakSaH / nApi vastuvRttAnusAreNa tadanukAratvam / -A. Bh. Vol. I. p. 276, 1.2 3. asyArtha:-padArthavAcyArtho...nanvarthazabdo'bhi tatra ca padArthavAkyArthI raseSveva paryavasyata...na dheyavAcI / tvarthazabdo'bhidheyavAcI / --P. 308, lines 12-13 -A. Bh.Vol. I, p. 343, lines 16-17 In view of the text in the A. Bh. we must correct the two words in the KLV text as vakyarthau na tvarthasabdo'bhidheyavaci 4. alaGkAraH kaTakAdiH iSTajanazcaitadvayamuttamatva-- -- alaGkAraH kaTakAdiH / iSTajanaH vidUSakAdiH / etasUcakam / dubhymuttmtvsuuckm| -p. 313, lines. 13-14 -A. Bh. Vol. I, p. 304, 1.9 We must underline the word istajanasca 5. The words vipriya, dehasya, cf : A. Bh. Vol. I, p. 318, p. 319 ayasanam Abhighata(p. 314) p. 320 patanam, pidanam chedanam bhedanam (p.315 1. 1) must be underlined as they are the Pratikas. 6. hasta iti / hastAgrayoranyonyaM niSedhaH saMgharSaNam / hastAgrayoranyonyaniSpeSaH saGgharSaNam / -p. 315, lines 3-4 -A. Bh. Vol. I, p. 321, lines 3-4 We must correct the reading from nisedhah to nispesah as nispesa (meaning rubbing ) suits the context. In spite of a few such wrong readings, it must be admitted on all hands that the KLV is highly important, among other things for a better understanding of the A. Bh. on the Rasadhyaya (and the Bhavadhyaya). Notes and References : 1. GOS No. XXXVI, Vol I, 1956 (vide pp. 22-23) 2. Vide Chapter No. 4 supra. 3. Journal of the Oriental Institute Vol XX, No. 3, March 1971

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KALPALATAVIVEKA ON BHAMAHA'S KAVYALAMKARA (Chapter, V. w 5-10) These six verses of Bhamaha have baffled modern scholars, Pandits and commentators as regards their true import. A perusal of the English translation and Notes by P.V. Naganatha Sastry and the Sanskrit commentary Udyana of D. T. Tatacharya? would substantiate the above statement. Naganatha Sastry's attempt at a lucid exposition of Bhamaha's text is no doubt admirable and the Udyana commentary of Tatacharya goes a long way towards a better and more correct understanding and exposition of Bhamaha's difficult text. What Dr. P.V. Kane, however, wrote regarding the editions of Bhamaha's work holds good even today. He says : "Unfortunately all these printed editions are unsatisfactory. The mss material is meagre and the editions do not explain many knotty points, nor do they bring together all the various readings in Bhamaha's text as quoted in many works and the explanations of his verses by numerous writers from the days of Udbhata, the Dhvanyaloka and Locana onwards. A scholarly edition of Bhamaha's work is a great desideratum." In the present paper I confine myself to Bhamaha's apology for his treatment of Logic in his work on poetics and to a discussion and interpretation of the six karikas from his Nyayanirnaya (V. 510) dealing with the two pramanas-pratyaksa and anumana-with special reference to Kalpalataviveka," which was unfortunately not available to the pioneering scholars and Pandits who have taken great pains to interpret Bhamaha's work. One expects that a work on poetics should confine itself to an exposition and elucidation of the principles of literary criticism. Barring a few exceptions the works on Sanskrit poetics do not dwell upon an exposition of even the ten types of drama, which are regarded as the best among literary compositions It would therefore seem extraordinary that an ancient Alamkarika like Bhamaha should have thought fit to treat of Logic and Grammar in his treatise. One would have expected of Bhamaha to treat of the faults like Pratijna-hina, Hetuhina and

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KALPALATAVIVEKA ON BHAMAHA'S KAVYALAMKARA 263 Drstanta-hina at the end of Chapter IV wherein the rest of the dosas listed together are treated of. He has gone out of the way in treating of the Buddhist logic and its refutation and of logic in relation to poetry in a separate independent chapter. Anticipating such criticism Bhamaha offers an apology in the first opening verses : . "I describe the faults pratijna-hina, hetu-hina, etc. I briefly describe them in accordance with Logic with a view to giving simply an idea of them. Generally the slow-witted or unintelligent shy away from sastras because of their difficulty. In order to persuade them to study the sastras, I present here a small collection of the logical topics.5 Granting that logic subserves poetry one might pertinently ask : "When the stream of poetry is all-embracing and is not partial to one or the other school why Bhamaha prefers the Buddhist logic for his treatment of the subject ?" Bhamaha answers this criticism thus : Indeed we aim at giving a mere direction or indication and not an exhaustive treatment of the whole subject of logic, variously treated by the various schools of thought. If the entire field of logic were to be covered it would lead to prolixity and voluminousness. We therefore restrict ourselves to giving a mere direction in regard to pramanas, etc. People take to the study of sastras if presented in poetic garb. Persons (children) who have first tasted honey take in, without much diffculty, bitter medicine. Although it is widely believed that the subjectmatter of the sastras and poetry widely differs the sage Bharata has rightly declared : "There is no work, no meaning, no logic, no art that does not subserve poetry. Oh, what a heavy burden the poet carries !" This defence, this justification for including the treatment of Logic in his work on poetics is, as far as it goes, all right. But logically it is not very sound, For by the same logic (viz., since Logic subserves poetry he has included its discussion in his work on poetics) he should have also treated of fine arts, such as, dance, drama, music, painting, sculpture and architecture in his Kavyalamkara since they too subserve the cause of poetry. Dr. V. Raghavan advocates the view that Logic and Grammar formed part of Pre-Bhamaha Alamkara works, Once I was inclined to hold this view. But on reconsideration I feel that if Logic and Grammar had formed part of PreBhamaha works there was no need for Bhamaha to preface his apology before commencing the treatment of Logic. Dr. G. T. Deshpande? would like us to believe with him that Bhamaha for the first time treated of these two important sastras in his Kavyalamkara with a view to placing alamkarasastra on the same footing as of these two important sastras as poetry was denounced and looked

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264 STUDIES IN JAIN LITERATURE down upon with contempt and ridicule by orthodox Pandits in his days. This view, seems to be plausible. Now, we take up the second part of the present paper, viz., the interpretation of ths six karikas ('Nyayanirnaya', w 5-10): V5. sattvAdayaH pramANAbhyAM pratyakSamanumA ca te / asAdhAraNa sAmAnya viSayatvaMtayoH kila / i) Naganatha Sastry translates the first quarter as follows: By Pramanas arise the ideas of Existence, etc. (p. 90) ii) Tatacharya comments on the quarter thus : pramANAbhyAM sattvAdayaH dravya-guNAdayaH padArthAH siddhyanti / mAnAdhInA hi meyasiddhiH / sattvamiti vaiyAkaraNasaMpradAyavAsanayA dravye / padArthAnAM sattvAsattvatucchatvAdIni vA sattvAdaya ityuktAni / iii) The reading 'sattvadayah' deserves consideration. Bhamaha himself uses the word 'sandha' further on in the same chapter twice : sandhAdi sAdhanaM siddhyai (? v. 32. c) and sandhA'bhyupagamAdvinA (v. 45. b) Now, the Kalpalataviveka (KLV) reads : 'sandhadayah' in place of 'sattvadayah'. This reading perfectly suits the context as would be seen from the following passage in KLV : sandhAdaya iti / pramANamUlA iti / tathAhi agnimAn parvata iti pratijJAyAM parvatastAvat pratyakSeNa nizcIyate / agnisaMbandhastu tasyAnumAnAt pratIyata iti pratijJAyAH pratyakSAnumAnamUlatvam / ....pratijJAhetUdAharaNAnAmanantaroditena nyAyena pratyakSAnumAnamUlatvAdetaduktam / pratijJAhetudRSTAntAH pramANamUlA iti / - (p. 46 11, 1-16) So with the indisputably genuine reading supplied by KLV, we may translate the verse as follows : Pratijna, etc., established-proved to be correct (or otherwise) by means of the two proofs : the two proofs are Perception and Inference. The object (or sphere or area of operation) of Perception is asadharana (=visesa = svalaksana) while samanya forms the object of Inference. The word 'adayah in 'sandhadayah' obviously stands for Hetu and Drstanta as shown by KLV in the passage cited above. The use of the word 'kila' suggests, according to Tatacharya, that the doctrine of 'Pramanavyavastha' is not acceptable to Bhamaha (kilety anangikare 1). "According to the Buddhist view there are two different sources of

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KALPALATAVIVEKA ON BHAMAHA'S KAVYALAMKARA 265 knowledge : 1. Perception and, 2. Inference. These two sources of knowledge have settled and clear limits (Pramanavyavastha), the one never acting in the sphere of the other. The opposite theory of the realists (the Vaisesikas and the Naiyayikas) receives the name of a mixture or duplication theory (Pramanasamplava), since according to that theory every object can be cognised in both ways either directly in sense-perception or indirectly in an inference. In other words, according to the Buddhist view, and what is cognised by inference can never be subject to cognition by the senses. Thus svalaksana (asadharana, visesa, ksana, paramartha-sat) or the only real object, the extreme particular, the thing in itself, is the province of perception and samanya (class, species, genus, universal) is the province of Inference. According to the realists (the Vaisesikas and the Naiyayikas), every object can be cognised in both ways either directly, e.g., when a fire is present in the ken and cognised by the sense of sight, it is a case of sense perception. When the same fire is beyond the ken and its existence is cognised only indirectly through the perception of its product, the smoke, through its mark, it is cognised indirectly by inference." V. 6 G 441 Gils effcfa gol kalpanAM nAmajAtyAdiyojanA pratijAnate / / Naganatha Sastry emends the words 'tato' rthat to 'Sato' rthat' and in support of the emendation he says in his Notes :......... Thus in the definition of pratyaksa of the Bauddhas the epithet given is "Abhrantam". This means 'devoid of illusion'. What is devoid of illusion is what is real, i.e., Sadartha. So I have corrected the printed text from tato'rthai' into 'sato'rthat'. This emendation appears justifiable also from the use of the word 'sadarthalambanam' in the verse following'. (pp. 91-92), The emendation however is absolutely uncalled for. In this verse Bhamaha presents two definitions of Pratyaksa : one given by Dinnagas and the other by Vasubandhu.The KLV (p 47, 11 15-16) unambiguously and clearly says that the second definition is given by Vasubandhu : vaibhASikamatAnusAri vasubandhUktalakSaNaM pratyakSasya darzayitumAha tato'rthAditi / / Elsewhere (p. 51 11 18-21) it informs us : vAsubandhave'pi mArge iti vaibhASikamata ityarthaH / tadevaM vaibhASikasautrAntika-yogAcAra-mAdhyamika-darzaneSu pratyakSalakSaNasyAnupapattiruktA / vaibhASikadarzane khalu "tato'rthAditi kecana" iti pratyakSalakSaNam / ziSTeSu ca darzaneSu "pratyakSaM kalpanApoDham" iti tadubhayaM nirAkRtam / So we may translate the karika as it is : According to some (Dinnaga and others) Perception is devoid of "kalpana"; according to some others (Vasubandhu Stud.-34

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266 STUDIES IN JAIN LITERATURE amd his followers) Perception arises from that artha' (rupa etc., colour etc., which alone is real). 'Kalpana'; they maintain, means attributing of qualifications such as name, class (jati), etc. In his Pramanasamuccaya) (1.3) Dinnaga thus defines Perception : pratyakSaM kalpanApoDhaM nAmajAtyAdyasaMyutam / The Vrtti elucidates the definition as follows : yatra jJAne kalpanA nAsti tat pratyakSam / atha kalpanA ca kIdRzI cedAha-nAmajAtyAdiyojanA / yadRcchAzabdeSu nAmnA viziSTo'rtha ucyate Dittha iti / jAti-zabdeSu jAtyA gaurayamiti / guNa-zabdeSu guNena zukla iti / kriyA-zabdeSu kriyayA pAcaka iti / dravya-zabdeSu dravyeNa daNDI viSANIti / atra saMbandhaviziSTasyeti kecit / anye tvarthazUnyaiH zabdaireva viziSTo'rtha iti / According to Dinnaga kalpana (yojana or samaropa) is five-fold : 1. name, 2. class, 3. quality, 4. action and 5. dravya (substance or a single thing or person). These may be illustrated as follows : (1) This is Dittha (Mr. So and So); (2) this is a cow or a bull; (3) this is white; (4) this is moving (calah), and (5) this is the possessor of a stick (dandi). According to Patanjali "There is a fourfold currency of words as instanced in Cow or Bull, White, Moving, Dittha" : gauH zuklazcalo Dittha iti "catuSTayI zabdAnAM pravRttiH / " iti mahAbhASyakAraH / The KLV (p. 47) comments on tato' rthat' as follows : tato vyapadezanimittAd iti / vyapadezanimittaM rajata-vijJAnasya rajatam / tena hi tad rajatavijJAnaM vyapadizyate rajatasyedaM vijJAnamiti / tatazca vyapadezanimittAd rajatAd yad rajatavijJAnamutpannaM tatpratyakSam / yasya tu rajatavijJAnasya na vyapadezanimittAd rajatAdutpAdo'pi tu zuktikAtastasya na pratyakSatA / V. 7. samAropa: kilatAvAn sadAlambanaM ca tat / .jAtyAdyapohe vRttiH kva kva vizeSa: kutazca saH // Here, Bhamaha takes up the definition of perception, given by Dinnaga, for criticism and refutation. "So much or of such measure is indeed the wrong attribution" (Inputing name, etc., to a real thing (or object) is verily wrong attribution), and the perception has as its subject 'a real', 'reality'. If from the reality, jati, class etc., are excluded where could the perception operate ? (What remains of that reality on which the perception could operate ?) And where is

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KALPALATAVIVEKA ON BHAMAHA'S KAVYALAMKARA 267 the visesa (-svalaksana) ? And how could you distinguish one svalaksana saya ghata' from another, say 'a pata' ? (We cannot account for the distinction between the two when both are vijnanas pure and simple.)" Here we have the refutation of the Sautrantikas, who accept visesa or svalaksana as an external existent (sat) from the point of view of the Yogacara School (or the Vijnanavadins). V 8. Gue a gent fH SI HI feet art ! avastukaM ced vitathaM pratyakSaM tattvavRtti hi // Naganatha Sastry (p. 92. V-8) reads 'na' in place of 'ca' in the first quarter. Tatacharya's text agrees with that of the Banaras edition. Naganatha Sastry understands by 'Sa' the vyakti whereas Tatacharya understands it to mean "Jati". These explanations are hardly convincing. Tatacharya might find support for his interpretation in the phrase "Jatyadyapohe" which occurs in the immediately preceding verse (No. 7). As the discussion centres round the proof 'perception' and its subject (visaya) asadharana (=visesa=svalaksana) there does not seem to be any scope for establishing the existence or non-existence of jati'. The text as it stands is indeed confounding. When we are faced with this obscure line the KLV comes to our help. It reads the line (p. 49 1 20) as follows : Tante a pena fater H [gres-] ritare: 1 Instead of emending 'buddha' to 'buddhi' as done by the Editors, if we emend it to 'buddhya', the line becomes intelligible : "With the exclusion of 'jati', etc., from the frupa, etc., (the object of cognition) there remains only 'tathata' (the true reality) and that reality does not become the object of cognition (buddhyagocarah=jnanagocarah)."10 The second half of this verse may be translated as follows : "Now, if this reality be only vijnana pure and simple, devoid of the perceiver (grahaka vijnanaamsa) and the perceived object (grahya vijnana-amsa), then it is futile (vitatham=asaram) or worthless for direct perception (pratyaksam) operates on what is real (a real object)." It is equally possible to interpret 'avastukam' as 'nirvastukam'-"sunyameva idam sarvam" i.e. 'void' or better still nissvabhavam' (without any nature, qualities). Even if avastukam' is thus interpreted, in accordance with the Sunyavada of the Madhyamikas, the same refutation (vitatham, pratyaksam,

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268 STUDIES IN JAIN LITERATURE tattvavritti hi) holds good. V. 9 MEI-W162-976 fasthith HTTafsi fazla-45 (? HE-)HTEPUTC fagtaspa fachmytt This verse may be translated as follows : "If you say that perception / knowledge (vijnana) is made up of two parts, viz., the apprehending or cognising part (grahaka assa) and the apprehended or cognised part (grahya amsa) then, as these two parts, according to you (vijnanavadin), are alike as vijnana (pure and simple), you will have to admit that your visesa (or svalaksana) is simply unreal (or that the difference between them will simply be conceptual)." V. 10. 379fara tinatia pafat fra: 1 anyathA ghaTavijJAnamanyena vyapadizyate // The first half of this verse elucidates here the definition of perception formulated by Vasubandhu (when he was an adherent of the Vaibhasika school) in his tract called Vada-vidhi. This definition 'Tato'rthat' has been already stated in verse No. 6 above. The verse may be translated as follows : "Sense-perception is that knowledge which is produced by the (pure) object itself", the colour, etc. (`tato' 'rthat utpannam jnanam); by this emphasis of "itself" the ultimately real object, (the mere efficiency of a point-instant); is meant" and not from any other object (resembling it, say, for instance, the knowledge of silver from conchshell). It is certainly a fault (wrong) that the knowledge of the subject, say ghata, (a jar) which is gained through rupa, etc., (colour etc.) should be designated by another name (say, ghata jnana). The remarks of TH Stcherbatsky are very apposite on this definition : "Vasubandhu apparently had produced two definitions. The first is the inserted in his Vadavidhi. It states that sense-perception is that cognition which is produced from the object itself. By this emphasis of "itself" the ultimately real object, the mere efficiency of a point-instant, is meant. This definition has been severely criticised by Dignaga, since it too closely resembles the first part of the definition of realists, "Produced from a contact between object and sense-organ", and is apt to be misinterpreted in a realistic sense. In a subsequent Vada-Vidhana Vasubandhu probably corrected his definition and made it consonant with the one of Dignaga, but since the work is lost, we cannot know it exactly". 11 In conclusion, we may note that the KLV throws a flood of light on the

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KALPALATAVIVEKA ON BHAMAHA'S KAVYALAMKARA 269 tough verses dealing with Logic and Epistemology. From the comments of the Kalpalataviveka Bhamaha's Pramanavimarsa". treatment of pramanas (Means of acquiring certain knowledge, proofs) we get the following definite information : i) Three schools of the Buddhists viz, the Sautrantikas, the Yogacara (-Vijnanavada) and the Madhyamika (Sunyavada), accept the following definition of Pratyaksa : taai to M4A1416H (Cf p. 47, 11 14-15, and p. 51, 11. 20-21) (This definition occurs in Dinnaga's Pramanasamuccaya 1.3) ii) The remaining school of the Buddhists, viz, the Vaibhasikas, accepts the following definition of Pratyaksa : adsefa (Ffa 29A) (Cf p. 47, 11 15-16 and p. 51, 1. 20) This definition is formulated by Vasubandhu. iii) Both these definitions of Pratyaksa are criticised and refuted by Bhamaha, (Cf p. 51, 11 20-21) iv) Bhamaha's criticism and refutation of the definition of Pratyaksa as given by Dinnaga, rests on the authority of Kanada and the like who lay down that savikalpa pratyaksa is a valid source of knowledge. (Cf. p. 50, 11 5-6) v) Bhamaha's treatment of the three members (and not five members as in Nyaya-Vaisesika school) of a syllogism indicates that in this regard he agrees with Dinnaga, the Buddhist Logician. The three members of the syllogism are pratijna, hetu and drstanta. They are accepted by him as authoritative and he quietly ignores the remaining two members (upanaya and vigamana) of the five membered syllogism of the Nyaya-Vaisesikas and indirectly rejects their claim to be authoritative. (Cf p. 46. 11 16-18) vi) Although Dharmakirti dispenses with the use of pratijna and speaks of only two-membered syllogism, Bhamaha speaks of the three members of the syllogism in accodance with Dinnaga. (Cf p. 46, 11 19-22) Notes and References : 1. Kavyalamkara of Bhamaha, Edited' with English Translation and Notes by P. V. Naganatha Sastry, Tanjore, Second Edition, by Motilal Banarasidass, Delhi, Varanasi, Patana, 1970.

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270 STUDIES IN JAIN LITERATURE 2. Bhamaha's Kavyalamkara with Udyana Vsitti, By D. T. Tatacharya Tiruvadi, 1934. 3. The Sahityadarpana of Visvanatha Paricchedas I. II X, arthalarkaras with Exhaustive Notes and the History of Sanskrit Poetics, by P. V. Kane, Third edition, 1951. 4. Kalpalataviveka by an anonymous author, ed. by M. L. Nagar and Harishankar Sastry, with an English Introduction by Prof. P. R. Vora, L. D. Institute of Indology, Ahmedabad 9, 1968. 5. One feels tempted to interpret the compound word-hetu-nyaya-lavoccayah', to mean a collection of (topics relating to logic from) the hetu-lava-(-Hetu-bindu) and Nyaya-lava (-Nyayabindu). Such an assertion on the part of Bhamaha would mean he is later than Dharmakirti. The second half of V. No. 28 is said to be an attack against Dharmakirti who holds that the enunciation of pratijna is not quite essential and that it can be dispensed with. The second half of V. 61 also is looked upon by some as containing a sly reference to (Dharma) Kirti. 6. Vide : Bhoja's srngaraprakasa by Dr. V. Raghavan, 1963 edn. p. 257, P. 723, etc. 7. Vide : "Bharatiya Sahitya sastra" (Marathi) 8. Dinnaga : Pramana-Samuccaya (1, 3) Mysore, University Publication, Mysore, 1930. 9. Vasubandhu : Vadavidhi. 10. I am indebted to Pandit Dalsukh D. Malvania for this emendation. 11. Vide : Buddhist Logic, Vol I pp 174-175. Incidentally, it may be mentioned here that there is no real difference between the meanings of the two titles-Vada-Vidhi and Vadavidhana. Could they point to one and the same text? o 30

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FRESH LIGHT ON BHAMAHA-VIVARANA Till recently Udbhata's commentary on the Kavyalamkara of Bhamaha, generally known as Bhamahavivarana (BV) was presumed to have been lost beyond recovery. In 1962, however, Gnoli published some fragments from this commentary'. Gnoli's identification of his publication with BV. was doubted by Dr. Raghavan?. In his paper on PunaruktavadabhasaDr. K. Krishnamoorthy came to the conclusion that the published fragments do represent the genuine Bhamahavivarana of Udbhata himself. The study of Kalpalataviveka" (KLV), however, throws some interesting light on this controversy, and goes a long way in support of Gnoli's claims. Numerous passages of the commentary published by Gnoli are, beyond any shadow of doubt, the source of numerous passages in KLV. They shed abundant light on some of the obscure, ambiguous and knotty verses in chapter V (Nyayanirnaya) of Bhamaha's Kavyalamkara. It borrows most of the passages from BV when treating of dosas. A good many of its pratikas, referring to Bhamaha's text, present variant readings from the printed texts. Some of them are convincingly genuine readings. The text of BV bristles with uncertain and doubtful readings; it is often mutilated as syllables, words, phrases and occasionally sentences are partly or entirely lost. I quote below about a dozen passages from KLV which throw light on and render the corresponding passages from BV intelligible. (1) Fr. 16 (a) lines 2-8: These lines which treat of anyartha dosa (Bhamaha 1. 40) could be restored with the help of the following passage from KLVS : nanu caivaM zabdahIne'syAntarbhAvaH / viSayAntaraprayoge'pyapazabdo bhavati na kevalaM lopAgamavarNavikArAdInAmayathAkaraNe / tathA ca "PAPUYTG4: progi: qual format" (alek19874 . 888 ] sfat dar faqat afa: pAdavikSepe prasiddhasambandhaH, asya ca parimoSaprayuktAvapazabdataiva / apazabdasya ca svapne'pyaprayogAdanityadoSamadhye'sya pATho na saMbaddha ityAha-...upasargavazenetyarthaH / ....vItta iti / "aca upasargAttaH" [pANini 7-4-47]iti tattvam / vidattazabde tu na dRzyate tatvamiti vizabdasyAtra nipAtatvamiti siddham / vihRtaM ca iti

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272 STUDIES IN JAIN LITERATURE vijahuriti / viharaNaM ca tat pAdavikSepalakSaNAyAM krIDAyAM prasiddhaM na tvapaharaNa ityarthaH / prasiddhArthaH iti prasiddho'rthaH pAdavikSepalakSaNAdi : / pR. 7, paM. 20-28. . (2) Fr. 19 lines 5-8 : The commentator, when commenting on Bhamaha II. 8 treats of the figure Punarurktabhasas and distinguishes it from yamaka and Latanuprasa. The following extract from KLV is based on these lines of BV : ayamabhiprAyaH sarUpANAM svaravyaJjanasamudAyAnAM vinyAse punaruktAbhAsataiva saMgacchate, ko hyanunmattaH punaruktaM brayAditi / tatra cArthAbhede'pi tAtparyabhedazcettadA lATIyo'nuprAsaH utArthabhedastato yamakAlaGkAra iti kutaH punaruktadoSaprasaGgaH, kathaM ca lATAnuprAsaparyanuyoga iti / punaruktAbhAsatApi zabdasArUpye'rthaikatvanAnAtvayoH zabdasArUpyAbhAve'pi arthakatvAbhAse bhavatIti trividhA / avAntarabhedApekSayA tu bahuprabhedA vakSyate / ata eva ca punaruktAbhAseSu lATIyo'nuprAsaH, tadapavAdadvAreNa ca yamakAlaGkArazca bhavatItyetadeva vaktuM nyAyyamityarthaH |-pR. 186 paM. 24- pR0 187 paM. 4. (3) Fr. 27 a lines 3-4 : In the context of Bhamaha II. 43 the commentator endeavours to show that the upamadosa called Hinata, is, really speaking, no defect at all. The following passage from KLV which is, no doubt, adopted from BV makes these lines intelligible to a great extent : vA yAni padAni tAnyupamAnopameyavizeSaNabhUtAni sAdharmyavAcIni kartavyAni / tatrAdyaM pakSamadhikRtyAha-sarvaM sarveNa [bhAmaha 2. 43 ] iti / ..... na ca pakSAntaramastIti na hInatAlakSaNo doSa ityarthaH / / -pR0 245, paM0 25-pR0 246 paM0 9 Gnoli has correctly hit on the right reading vikalpadvaya in his f. n. 2 (p. 25). (4) Fr. 39(b) lines6-7 : Gnoli discusses this passage in his Introduction (p. XXXVI paragraph no. d) where he mentions this Fragment twice as fr. no.27, which is clearly an error. The topic, discussed here, is about the figure slesa (that is slista). A perusal of this entire fragment produces a strong impression that the commentator has introduced here a discussion of the famous doctrine 'Arthabhedena tavat sabda bhidyante.' For restoring these lines the following passages from (Hemacandra's) Kavyanusasana and Kalpalataviveka should prove useful : zrutyaikyagrahaNaM lokapratItitulyatvaparigrahArtham / tena dantyauSThyauSThyavakArabakArAdivarNabhede laghuprayatnatarAlaghuprayatnatarakRte ca bhede....yamakabandho na virudhyate / / -p. 299 lines 14 17. And, ayamAzayaH |...vaakyaantrprtimaa vA [V.L. vAkyArthAntarapratibhA vA] iti / alaGkArAntaraparyavasAyitvenAlaGkArAntarapratyAzayA saMgRhItA'pyupakramAvasthAyAmalaGkArAntarasyApratItervAkyArthAntarapratibhA pRthagupadarzitA / p. 258 11 3-7 ____ The two lines of the fragment when restored would read as : yatra tu zabdAnAmatyantasarUpANAmapi dantyauSThyalaghuprayatnatarakRto bhedo'sti tatra vAkyArthAntarapratibhA / tathAlaGkArAntare vAkyAntare vA pratibhotpadyate /

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FRESH LIGHT ON BHAMAHA-VIVARANA 273 (5) Fr. 45 (b) 11 5-6 : The commentator intends this passage to serve as an introduction to Bhamaha V. 2. In a corresponding passage from KLV we have all the words of this fragement intact, which fact clearly indicates that the author of KLV has adopted the passage From BV. The passage runs as follows: nanu kimiti sugatasiddhAntapramANayoreva vicAraNam / sarvasiddhAntAnuvartanaparo hi kAvyapravAhastena kaH pakSapAto bauddhasiddhAntaM pratItyAha-prAyeNa...(Bhamaha V. 2 ] -pR0 45, paM0 8-9 (6) Fr. 47 (a) : The text of this fragment is, on the whole, quite intelligible. This fragment may, however, be read with profit along with KLV (pp. 57-59). A few expressions and lines of this Fr., however, need correction : 1 2 : zabdAbhivyakti xxx should be read as zabdAbhivyaktivAdinaM prati anyatarasiddha 13 : should be read as sAdhayitumiSTo yo dharmastadanugamane yaH sadRzaH pakSaH sa sapakSaH / tatra ca ya: san sa heturityarthaH / 15 : sAmAnyamiha saMvRtisaddhi nAbhipretam : this line should be corrected in the light of sAmAnyamiha saMvRtibuddhirabhipretA10 / ___ 18 : Should be read as taM ca darzayitumAha-iti dvayaikAnugativyAvRttI lakSmasAdhutA // V. 25 iti sA pUrvoktayA bhaGgyA11 x [ (7) Fr. 50 (a) 11 2-3 : This passage is easy to restore with the help of the following passage from KLV : "so ajJAno doSaH" iti / asiddhatvamityarthaH / tato hi sAdhyasya jJAnaM nAsti / ime doSAH iti / itthameva samAso yuktaH / ye punarajJAnaM ca saMzayajJAnaM ca viparyayazceti samasya tAn kurvantItyajJAnasaMzayajJAna-viparyayakRta iti vyAcakSate teSAmajJAnasya jJAnaprAgabhAvasyAnutpAdyamAnatvAt tatkaraNavirodha:12 | (8) Fr. 50 (a) 16 : The following passage from KLV13 throws some light on this line : nanUpamAnamevAstviti / upamAne khalu bimbapratibimbopanyAso dRSTaH / candra iva mukhamityatra mukhasya bimbatA, candrasya tu tatpratibimbatvam / dRSTAnte'pi ca "tanuriyaM va vilocanahAriNI" tyAdau bimbapratibimbabhAvo vidyate, tat kathamupamAyAmantarbhAvo'sya na syAdityarthaH / (9) Fr. 50 (a) 17 : The following line from KLV14 should help us in restoring this line : upamAnopameyabhAvavivakSA saamymivaadipryogshc.....| ka. la. vi. pR. 71 paM. 1 When restored it would read : sAmyamivAdiprayogazca / 'tadRSTAnte nAsti' iti nopamAyAmantarbhAvo'syAzaGkanIyaH / (10) Fr. 50 (a) 18 : The following passage from KLV15 throws some light on this line : na caivaMvidhaM lakSaNaM "tanuriyaM va vilocanahAriNI" ityAdau dRSTAnte vidyate / tanutApasayoryathAkrama Stud.-35

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274 STUDIES IN JAIN LITERATURE navamAlikAkuzaguNAbhyAM sahopamAnopameyabhAvasyAzAbdatvAt / The line "tanuriyaM...." forms a quarter of a stanza; possibly the stanza occurs in the poem Hayagrivavadha, now lost16. (11) F. 50 (a) lines 3-5 : These lines are easy to restore with the help of the following passage from KLV17 : kiM puna: kAraNaM sAdhyasAdhanopanyAsa upamAne na kriyate / mukhamindurivetyatreti / etaduktaM bhavati / upamAne kutsitaH sAdhyasAdhanopanyAsaH sahRdayahRdayaharaNabhraMzaprasaGgAt / yadyevaM kriyate mukhamidamAhalAdakaraM kAntivizeSAtizayayogAdinduriveti tadA kliSTaM kAvyaM syAt / yathedaM vakSyamANamudAharaNam / etadeva darzayati-tadAha iti / These numerous passages, which have their source in Udbhata's Commentary on The Kavyalamkara of Bhamaha clearly suggest that Bhamahavivarana itself must have been ready at hand for the author of KLV18. Finally, I refer to one passage from KLV which unambiguously corroborates this inference. The author of KLV (pp 70-71) comments at length on Bhamaha V. 56. In this comment we read : "taduktam ivAderapratItApi zabdasaMskArataH kvacit / upamA gamyate'nyatra kevalArthanibandhanA // iti / yattvatra vivaraNakRtA upamAnopameyabhAvavivakSA sAmyamivAdiprayogazceti tritayamudghoSitaM tada bAhulyAbhiprAyeNa na tu lakSaNatayA / ...." Now, the quotation "ivaderapratitapi" etc. is found introduced in his Laghuvrtti (p. 29, Banhatti's edition) by Pratiharenduraja with the words 'tadahuh'. The author of KLV identifies this quotation as originating from vivaranakrt, i. e. Udbhata, the author of (Bhamaha-) Vivarana and thus indicating that he must have had Bhamahavivarana in front of him. Notes and References : 1. Udbhata's commentary on the Kavyalamkara of Bhamaha, Roma, Istituto Italiano per ___II Medio Ed Estremo Oriente, 1962. 2. Presidential Address, The Twenty-first All India Oriental Conference, Srinagar, October, 1961 3. ""Punaruktavadabhasa and Genuineness of the published Fragments from Udbhata's Bhamatavivarana," The Journal of the Karnatak University VIII. 1964. 4. L. D. Series No. 17, Lalbhai Dalpatbhai Bharatiya Sanskriti Vidyamandira, Ahmedabad-9.

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FRESH LIGHT ON BHAMAHA-VIVARANA 275 5. Vide p. 7 lines 17-28. 6. Read in this connection Prof. Krishnamoorthy's paper, mentioned in note 3 supra. 7. In the Sanketa commentary of Manikyacandra on Kavyaprakasa we have almost an identical passage in the same context. Probably they have adopted the quotation from a commom source and this source was possibly the Bhamahavivarana. 8. Vide KLV p. 57 1. 18. 9. Vide KLV p. 57 lines 21-22. 10. Vide KLV p. 57 1. 22. 11. Vide KLV p. 58 lines 23-24. 12. Vide KLV p. 70 lines 4-7. 13. Vide KLV p. 70 lines 8-11. 14. Vide KLV p. 71 1. 1. 15. Vide KLV P. 70 lines 18-19. 16. This surmise is based on the context supplied by KLV (p. 78 lines 5-13) : On a festive occasion Hayagriva sends his son to bring Narakasura with him. He goes to his capital but learns from the subjects of Narakasura's death at Krsna's hands, and his daughter's departure to forest on account of her bereavement. He then proceeds to meet her in the forest with a view to offering condolences to her; seeing her practising austerities he is struck with love and points out the great disparity between her tender youthful body fit for love's joy and her hard penance. But there is one serious difficulty which prevents us from making such a surmise. And it is the metre in which the two verses (i alfei...etc. and ii 7 aaf etc. on p. 78) are composed. The quarter, however, unmistakably, reveals the influence of Kalidasa (Kumarasambhava, canto v. 4). 17. p. 71 11. 9-12. 18. So it was also for Hemacandra who quotes some passages from it. For a contrary view, however, vide Kane's History of Sanskrit Poetics (p. 127, 1951 ed). 000

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ABHINAVABHARATI CH. VII RECOVERED The commentary Abhinavabharati (A. Bh.) on the Natyasastra (NS) has been lost from the fourth verse in Ch. VII to the end of Ch. VIII. The precise line from where the commentary has been lost is line 16 on page 347 (Vol. I) after the words ata eva. The editor has noted this in his footnote?. Every student of Sanskrit poetics and aesthetics feels very much the loss of this portion, especially the one that concerns the Bhavadhyaya (Ch. VII). In spite of vigorous efforts by scholars and researchers no MS of the A. Bh. containing the missing portion could be found. In this paper I propose to prove beyond cavil that the portion of the Kalpalataviveka? (KLV) from p. 286 1. 22 to p. 303 1. 3, dealing with the thirty-three vyabhicaribhavas of the NS is a straight quotation of the major portion of the original A. Bh. on the Bhavadhyaya. As such the major portion of the lost Ch. VII has been restored and scholars should be happy to welcome it. The paragraph preceding the treatment of nirveda (KLV p. 286) probably explains the commentary of Abhinavagupta on the NS VII. 4-5 defining vibhava and anubhava respectively. The portion of the NS Ch. VII p. 348 to p. 356 just preceding "tatra nirvedo nama" and the portion which just follows the treatment of the thirty-three vyabhicaribhavas from p. 374 to the end of this chapter have been ignored in the KLV. This omission could be explained in two different ways : (i) The author of the KLV says he would avoid repeating whatever has been already said in the Pallava". So perhaps he is silent on these topics in the KLV. (ii) The author of the KLV is most probably explaining here Bharata's famous rasasutra that might have been quoted in the Pallava in connection with the figure rasavat. For he explains the terms vibhava, anubhava and vyabhicaribhava and then proceeds to comment on the different views of different commentators of the rasasutra as presented in the A.Bh. So there was no occasion for him to deal with these topics.

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ABHINAVABHARATI CH. VII RECOVERED 277 Hemacandra, the joint authors of the Natya-darpana (ND) and the anonymous author of the KLV freely utilise the A. Bh, in writing their own works. A comparative study of their treatment of the thirty-three vyabhicaribhavas would, therefore, help us in deciding whether the KLV preserves the original A. Bh. on this portion of Ch. VII. With this aim in view I note below in tabular form the identical or nearly identical or corresponding passages between the KAS and the KLV and the ND and the KLV respectively : Kavyanusasana' of Hemacandra Kalpalataviveka (a) parasmin yathA-samudradattasya nandayantyAmanyAnu- ata eva yAnyagatatvena zaGkA yathA samudradattasya rAgazaGkA [puSpadUSitake"] duryodhanasya vA nandayantyAmanyAnurAgazaGkA / duryodhanasya vA bhAnumatyAM, bhAnumatyAm (veNI. 2) / -pR0 134 sApIha zaGkAtvena parigRhItaiva |-pR0 288 (A) cintA / sA ca smRteranyA / grasanAdadanavat cintAnusmRteranyaiva 1....sarvadhAtUnAM hyartho'nyonyato khelanAd gamanavacca |....saa ca vitarkAt bhidyata eva / tathA hi khela gatAviti yadyapi paThyate tato vA vitarka iti vitarkAt pRthagbhavati tathApi savilAsagamanameva viziSTaM khelanamiti prasiddha cintA |-pR0 138 khe khelagAmItyAdau / grasanaM ca...viziSTam adanaM na tu adanamAtramevamanyatrAvadheyam |-pR0 292 (i) akAryakaraNajJAnAdejDA ... ... 1-pR0 130 vrIDA nAma akaarykrnnaatmikaa....| akAryakaraNazabdena tajjJAnamucyate |-pR0 293 (I) .....cApalam avimRzya kAryakaraNamiti avimRzya'paryAlocya kAryakaraNaM cApalamiti yAvat |yaavt / pR0 134 pR0 294 nidrodbhavamityanena nidrAyA eva gADhAvasthA nidrAsamutthamityanena nidrAyA eva gADhAvasthA suptamiti... suptamityAha |-pR0 132 / / mAha | pR0 298 (U) ... ...bhrUvikAramukharAgAdInAmAcchAdanakAriNI ___ .....teSAM bhUvikAramukharAgAdInAM saMvaraNamAcchAdanakAri cittavRttiravahitthamavahitthA vA / na bahiHsthaM yaccittavRttirUpaM tadavahitthaM na bahiHsthaM cittaM yeneti cittaM yeneti pRSodarAditvAt |-pR0 133 niruktaM pRSodarAditvAcca rUpamityAhuH / pR0 299 ...mRteH prAgavasthA mRtiH / sAkSAnmRtAvanu yadi vA vyAdhInAM...bhAvanamanena vyAdhinA na me nivartibhAvAbhAvAt / prAgavastheti / tavyamityevaM rUpaM cittaM tadeva maraNamabhinIyamAnamucyate / mriyamANAvasthaiva anena vyAdhinA sa eva hi prANAnAM tyAgaH / tena mriyamANAvasthaiva... me na nivartitavyamityevaMvidhacittavRttirUpA / - anubhAvAderabhAvAt |-pR0 301 (ai) sandehaH kiMsvidityubhayAvalambI pratyayaH saMzaya-sandehaH kiJcidi ? kiMsvidiAtyubhayAvalambI pratyayaH rUpaH / vimarzo vizeSapratItyAkAGkSAtmikA sNshyruupH| vimarzo vizeSapratItyAkAGkSAtmikA icchA / icchA / bAdhakapramANena pakSAntarAbhAvapratItimAtraM bAdhakapramANena pakSAntarAbhAvapratItimAtraM vipratyayaH / vipratipattirityAhuH / yebhyo'nantaraM bhavitavyatA- vipratipattirvA / ebhyo'nantaraM bhavitavyatApratyayasvabhAva pratyayasvabhAva: ekatarapakSazaithilyadAyI pakSAntara ekatarapakSazaithilyadAyI pakSAntaraMtulyakakSyA? kSa]-bhAvA[? pakSAntaraM] tulyakakSabhAvAccyAvayannunmagnatAma- ccyAvayan unmagnatAmanyasya darzayastarkaH / sa ca

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278 STUDIES IN JAIN LITERATURE nyasya darzaya~starkaH / sa ca saMzayAt pRthgev| saMzayAt pRthageva saMzayena tattvabubhutsAdirUpasya vimarzAdaH saMdehena tattvabubhutsAdirUpasya vimarzAdeH svIkAre'pi kavizikSArthaM bhaktvA nirUpaNam / anye svIkAre'pi kavizikSArthaM bhaGgyA [? bhaktvA] tu dharmiNi sandeho dharme tu vimarzo bhrAntijJAnaM nirUpaNam / anye tu vipratyaya ityAhuH |-pR0 302 "dharmiNi saMdeho dharme tu vimarzo bhrAntijJAnaM vipratipattiH" ityAhuH |-pR0 142 (o) tenAnyeSAmatraivAntarbhAvaH / tad yathA anyeSAM tvatraivAntarbhAvaH / tad yathA dambhasyAvahitthe / dambhasyAvahitthe, udvegasya nirvede, kSuttRSNAde udvegasya nirvede / kSuttRSNAderlAnau / evamanyadapyUglAnau / evamanyadapyUhyam / anye tvAhuH hyam / apare tu manyante kaH khalu cittavRttIrgaNayituM --etAvatsveva sahacAriSu avasthAvizeSeSu samarthaH / gaNane vA...zocya [? zAkya] zikSitaprayoge pradarziteSu sthAyI carvaNAyogyo cittacaittadvayabhedena vaa...| tathA hyetAvatsveva sahacAribhavati |-pR0 129 pvavasthAvizeSeSu prayoge pradarziteSu sthAyI carvaNAyogyo bhavati |-pR0 302-03 The Natyadarpana The Kalpalataviveka (a) zramasya vyabhicAritve'pyanyavyabhicAriNaM prati kheda iti zramo vivakSitastena bhAvo bhAvAntare vibhA vibhAvatve na doSaH |-pR0 164 vatAM pratipadyata eveti darzitam |-pR0 291 (A) ...sadRzadarzanam / AdizabdAt sadRzazravaNa ....sadRzasya darzanam zravaNaM vA / cintA praNidhAnam / cintana-saMskAra-rAtripazcAdbhAganidroccheda-praNi- abhyAsaH punaH punaH parizIlanam....pR0 293 dhAna-puna:puna: parizIlanapUrvaM darzanapATavAdevibhAvasya graha: |-pR0 160 (i) jJAnaM vivekajJAnaM bAhuzrutyaM vA / pR0 160 vijJAnaM vivekajJAnaM zrutavibhavo bAhuzrutyam...| pR0 293 (I) kAryAjJAnaM netrAbhyAM pazyato'pi zrotrAbhyAM ...cakSurdhyAmapi pazyataH zrotrAbhyAmapi zrRNvata iti zRNvato'pi cedAnI kiM kRtyamityanizcayaH / darzayan mohAdasyAH svarUpAntaraM darzayati |-pR0 296 nedaM vaikalyAcaitanyasvabhAvamityapasmAramohAbhyAM bhinnam |-pR0 164 (u) sutaM nidraaprkrsso'tr...| prakarSo gADhatamAvasthA / ...nidrAyA eva gADhAvasthA suptamiti darzayannidrAyA svapnasya tAtkAlikaviSayajJAnasya AyitaM viSayebhyaH upariraMsAtmakatvaM svarUpamAha-svapnAyitam pratIti-ryatastat svapnAyitaM pralapitam / iti pralapanamiti loke prasiddhaM svapnAdasAdhAraNatAtkA-pR0 161 likaviSayajJAnAdbhinameva / svapnasya ayitaM pratItiryataH ....... pR0 298 (U) apakAriNi svayamapakaraNAbhilASaH pratIkArecchA, amarSa iti / pratikaraNecchArUpo'yaM krodhAdanya eva / parasyApakArAbhAve'pi parAnarthakaraNAbhiprAyarUpaH -pR0 299 krodha ityanayorbhedaH |-pR0 160 (e) dhASTyaM prAgalbhyam |...srvaanugttvkhyaapnaarthN ...teSAM bhrUvikAramukharAgAdInAM saMvaraNamAcchAdanakAri dhASTaya prathamamupAttam / sabhayAdirapi hyapragalbho yaccittavRttirUpaM tadavahitthaM na bahi:sthaM cittaM yeneti

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ABHINAVABHARATI CH. VII RECOVERED 279 na zaknotyAkAraM saMvarItum / vikriyA bhrU- niruktaM pRSodarAditvAcca rUpamityAhuH / pragalbho hyAkAraM vikAra-mukharAgAdikA, tasyA rodhaH saMvaraNam / saMvarItuM jAnAtIti dhATyagrahaNam...tena dhASTya rodhakArakatvenopacArAccittavizeSo'pi rodhaH, na sarvavibhAveSvasyAnuyAyIti mantavyam |-pR0 299 bahiHsthA cittavRttiriti pRSodarAditvAdavahitthA / -pR0 164 (ai) cauryAdirUpAd vibhAvAd yad rAjAde dhuNyaM cauryamupalakSaNamakAryANAM tannimittaM gRhIte jane rAjAnirdayatvaM tadaugryam |-pR0 162 dInAmauyyaM nirdayatvam |-pR0 299 (o) pratibhAnaM matiH... ... / navanavollekhazAlinI matiriti / apUrvapratibhAnarUpA / UhApohAvanvayavyatireka prajJA pratibhAnam |...trko [UhApohau"]vidhi- pratyayau vidhiniSedhaviSayau vA saMbhAvanApratyayau / niSedhaviSayau saMbhAvanApratyayAnvayavyatireka- -pR. 299 pratyayau vA / -pR0 160 (au) prANanirodharUpaM tu maraNaM na nATye prayojyamiti tena mriyamANAvasthaiva cittavRttirUpeha vivakSitA na tu na tasya vibhAvAnubhAvasvarUpANi pratipAdyanta mRtAvasthA / tatrAnubhAvAderabhAvAt |-pR0 301 iti |-pR0 161 (aM) cakitatodvegakArI camatkAraH / anarthasaMbhAvanAtaH jhaTiti vidhUnanakArI camatkRtisvabhAvatrAso bhayAt sattvabhraMzo bhayamityanayorbhedaH |-pR0 163 pUrvAparavicArapUrvakAdanya eva |-pR0 301-302 These tables should lead us to the obvious inference that the authors of these works draw on a common source and to a further inference that their common source could not have been anything else than the A. Bh. on the Bhavadhyaya (NS Ch. VII) which treats of the eight sthayibhavas, the thirtythree vyabhicaribhavas, and the eight sattvikabhavas. There is another fact, obvious to all, that the authors of the Kas and the ND, do not reproduce the definitions of the forty-nine bhavas, as they are found in the NS, but adapt them and that they do not fully borrow the comments in the A. Bh. on them but pick up only such phrases and significant lines from them as they think to be useful for a clear exposition. On the other hand, the author of the KLV reproduces verbatim the definitions of the thirty-three vyabhicaribhavas in the same order as found in the NS and he also gives fuller comments which agree in parts with the corresponding lines in the Kas and the ND as shown above. From this fact we may therefore, draw a further inference that these fuller passages, presenting comments on thirty-three vyabhicaribhavas, found in the KLV represent the original portion of the A. Bh, on the Bhavadhyaya. That the author of the KLV borrows this whole section from the A. Bh. should not surprise us if we remembered that elsewhere too in his work he has borrowed long sections from the NS and the A. Bh. (Vide pp 33-40, and pp. 101-104) and from the Dhvanyaloka and the Locana commentary of Abhinavagupta on it (vide pp. 105-186).

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280 STUDIES IN JAIN LITERATURE This conclusion finds strong support in the similarity of language, style, diction and the method of exposition found in this portion and the rest of the A. Bh. It is generally true that such a similarity, especially when we speak of post-Panini Sanskrit writers, is no safe or sure criterion of an author's identity. In the present case however, one could safely rely on this consideration. If this portion of the commentary from the KLV were to be printed as the A. Bh. on the Bhavadhyaya no one would ever have dreamt of doubting its genuineness. So complete, so perfect is the similarity, even identity. The references in this portion to the views of Srisankukati, Kecitiz, Ghantuka3, (? Ghantaka), Tikakara14, Bhattatotals, Kavikulacakravarti16. Anye17, Canakyacarya18, Aparely, Tarkika, Samkhya and Socya (? Sakya) are such as could come only in the Abhinavabharati. Apart from these considerations, there is an unassailable piece of internal evidence which conclusively and decisively proves that this portion in the KLV preserves the major portion of the A. Bh. on the Bhavadhyaya (NS Ch. VII) and it is this : In the course of his discussion whether the nirveda is the sthayi of santarasa Abhinavagupta says as follows: yattu vyabhicArikhyAkhyAnAvasare vakSyate taccirakAlavibhramavipralabdhasyopAdeyatvanivRttaye / yat samyagjJAnamyathA-'vRthA dugdho'naDvAMsstanabharanatA gauriti paraM (? ciraM) pariSvakto SaNDho yuvatiriti lAvaNyarahitaH / kRtA vaiDUryAzA vikacakiraNe kAcazakale mayA mUDhena tvAM kRpaNamaguNajJaM praNamatA // ' iti tannirvedasya khedarUpasya bhAvatvena / etacca tatraiva vakSyAmaH / 20 Now, this promised description of nirveda is found in this portion of the KLV : nirveda iti dAridrayavyAdhyAdikAraNajanyo ruditaniHzvasitAdInAM kAraNaM manovikAro duHkharUpo bhAvavizeSaH / zeSeSvapyevaM vivRtiH / tattvajJAnaM ciraM bhrAntyA guNitahAnopAdAnAdiprabandhasya bhramanivRttau satyAM dhiG mAM vRthA bhrAntamiti nirvedaM janayati / yathA vRthA dugdho'naDvAn stanabharanatA gauriti ciraM pariSvaktaH zaNDho yuvatiriti lAvaNyarahitaH / kRtA vaiDUryAzA vikacakiraNe kAcazakale mayA mUDhena tvAM kRpaNamaguNazaM praNamata (? tA) // 21 On the strength of this evidence 22 alone we could, without any hesitation whatsoever, assert that the KLV (pp. 286-303) preserves a major portion of the A. Bh. on the Bhavadhyaya (NS Ch. VII) which is presumed by Indologists as lost.

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ABHINAVABHARATI CH. VII RECOVERED 281 Notes and References : 1. GOS, Second Revised Edition, Vol I, Baroda, 1956. 2. etasmAtprabhRti navamAdhyAyaparyantaM vyAkhyA nopalabdhA / Dr. J. L. Masson and Prof. M. V. Patwardhan observe in their recent work, santarasa and Abhinavagupta's Philosophy of Aesthetics (1969) : "All of the seventh Chapter of the Abhinavabharati but the very beginning has been lost, which is a great misfortune, since Abhinava refers to it frequently. It must have been a large and important section of the A. Bh." (p. 120 f. n. 2) 3. L. D. Series No-17, Lalbhai Dalpatbhai Bharatiya Sanskriti Vidyamandira, Ahmedabad 9, 1968. 4. One may reasonably surmise that the Kalpalata or the Pallava commentary on the Kalpalata must have quoted NS VII. 4-5 and used the A. Bh. on it for explaining the terms vibhava and anubhava occurring in Bharata's rasasutra; and the author of the KLV is explaining here what is durbodha (Unintelligible) in the Pallava commentary (vide infra f. n. 5). This surmise is based on a few significant words in this paragraph of the KLV : 'Asrayah' (p. 286. 1. 12) which occurs in NS VII. 7 and Vagadyabhinayasahita (vibhavyante) (P. 286 11. 13-14) which occurs in the A. Bh on it (p. 347 1.14) and "Vagangopangasamyuktah' the V. L. for Sakhopangasamyuktah) in NS VII. 5. I have not been able to trace the pratikas 'Pratitihetavah' (p. 286. 1.13), 'Anubhavan' (p. 286. 1. 16), and "Yena' (p. 236. 1.19) as they are most probably parts of the author's own comments in elucidation of the Kalpalata text (now lost). 5. Vide the opening verse of the KLV : yat pallave na vivRtaM durbodhaM mandabuddhibhizcApi / kriyate kalpalatAyAM tasya viveko'yamatisugamaH // 6. Second Revised edition, Sri Mahavira Jaina Vaidyalaya, Bombay, 1964. 7. That this incident to be portrayed in this play is vouchsafed by Abhinavabharati : etadevAbhimanyamAnena puSpadUSitake'zokadattAdizabdAkarNanena samudradattasya zaGkA yopanibaddhA sA na doSAya nirvahaNAntopayoginI hi nandayantInirvAsanaM tasyAzca gRhAntarAvasthA / ... na tena brahmayaza:svAmiyazaH khaNDitaM...../ abhinavabhAratI (adhyAya 18) pR0 432. 8. The reading you makes no sense. Probably it is a scribal error for STIRI, Vide f. n. 9 infra. 9. Revised Second Edition, Oriental Institute, Baroda, 1959. 10. The printed text leaves out this term. The context, however, demands that we must have this reading to make the sentence intelligible. 11. Brisau...fa 215000:JEH I p. 295. 12. 267952 7 oferta FTTIGHOL I p. 296. 13. progra4KICI Tafa stucco: [?] I p. 298. 14. ferri faontaifa Ferzifalchre sfa alcholohru: 1 p. 300. Stud.-36

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282 STUDIES IN JAIN LITERATURE 15. bhaTTatotastu...... p. 300. uktaM ca bhaTTatotena / p. 302. 16. etadeva hi pratijAgaritaM kavikulacakravartinA "tiSThet kopavazAt" (vikramorvazIya 4.2) ityAdinA / p. 300. 17. anye tu dharmiNi sandeho dharme tu vimarzo bhrAntijJAnaM vipratyaya ityAhuH / p. 302. 18. tathA ca-daivamacintyaM puruSakArastu cintya iti vadan cANakyAcAryastarkapUrvakameva samastaM vyavahAramAha | p. 302. 19. apare tu manyante kaH khalu cittavRttIrgaNayituM samarthaH / gaNane vA tArkikatarkitAtmaguNanavakena vA sAMkhyasaMkhyAtabuddhidharmASTakaviparyayAdipratyayacatuSTayena vA zocyA? zAkya]zikSitacittacaittadvayabhedena vA sarvasaMgrahe kimiyatA 1 p. 302. In passing, it may be noted that the term firet in the present context makes no sense. This is a scribal error for pic which reading eminently suits the context. Abhinava elsewhere speaks of zAkyAcArya (rAhula). Vide A. Bh. XXII p. 164. 20. A. Bh. Ch VI pp. 334-335. 21. KLV, p. 287. 22. There are two more statements of Abhinavagupta promising to discuss the matter at lengh in his commentary on the 'Bhavadhyaya': (i) citrapustAdyapi ca nATyasyaivArthabhAgAbhiSyando yathA sargabandhAdi zabdabhAgAbhiSyandaH / etacca 'yo'rtho hRdayasaMvAdI' (nA. zA. 7-10 [? 7-7]) ityatra vitatya vakSyAmaH / -(A. Bh. Ch VI, p. 291) (ii) yatrApi vyabhicAriNi vyabhicAryantaraM saMbhAvyate...etacca 'yathA narendra (nATyazAstra, 7-10 [? 7-7 vRtti; pR0 349] ityatra vakSyAmaH / -A. Bh. Ch. VII, p. 345 The KLV, however does not treat of these two passages from the NS. Naturally, we cannot verify if the KLV has presented these promised discussions. Again, in the A. Bh. on NS Ch. XXXII pp. 152-153 Abhinavagupta states that the nature of sattva has been explained at great length in the Bhavadhyaya (and Rasadhyaya). This portion, dealing with sattva and sattvikabhavas, however, does not find place in the KLV, probably it was dealt with in the Kalpalatapallava. The discussion of this topic in the Kas (pp. 144-147) is possibly based on this portion in the A.Bh.. on the Bhavadhyaya, now lost. This guess is hazarded on the strength of a few significant phrases common to the A. Bh. and the Kas. Compare for instance : iha cittavRttireva saMvedanabhUmau saMkrAntA dehamapi vyApnoti / saiva ca sattvamityucyate / tatra cAvyaktaM yat saMvitprANabhUmidvayAnipatitaM yat sattvaM tat bhAvAdhyAyasaMzrayatvenaiva vijJeyam / -A. Bh. III. 22 p. 152 saMvedanarUpAt prasRtaM yat sattvaM tad vicAritam / anyat tu dehadharmatvenaiva sthitaM sAttvikam / -A. Bh. 22 p. 153 and te (sAttvikabhAvAH) ca prANabhUmiprasRtaratyAdisaMvedanavRttayo......! -Kas, p. 144 000

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SRNGARARNAVACANDRIKA (ALAMKARASAMGRAHA) OF VIJAYAVARNI INTRODUCTION 1. CRITICAL APPARATUS Srngararnavacandrika (SC) of Vijayavarni is being published for the first time from the only available MS. Dr. A. N. Upadhye to whose efforts I owe this MS. could not get any other MS. of Vijayavarni's work perhaps it does not exist. This MS. on which the text is based, is in the Jaina Siddhanta Bhavana, Arrah, (Bihar). In Prasastisamgraha* Pt. K. Bhujabali Sastri describes it : Manuscript No. 231 Srngaranavacandrika Kha Author : Vijayavarni Subject : Alamkara (Poetics) Language : Sanskrit Length : 8.5" (21.6 cm); Breadth 7" (17.8 cm) Condition : Good; Manuscript : Paper manuscript; No. of lines per folio about 11, No. of letters per line : 20 to 22. The MS. opens thus : zrRGgArArNavacandrika alaMkAra zrI anantanAthAya namaH / / nivighnamastu / / jayati saMsiddhakAvyAlApapadmAkareyaM and ends with ...zravaNabelugulakSetranivAsi. bi. vijayacandreNa jainakSatriyeNa idaM graMthaM samApta lekhIti. maMgalamahA ||shrii|| Generally speaking, the condition of the MS is good but, occasionally, we are faced with lacunae in it. Wherever possible I have filled up these gaps. I have corrected scribal errors; and the readings, about which I felt doubtful, I have

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284 STUDIES IN JAIN LITERATURE noted in the footnotes. In some cases I have corrected the readings by referring to the passages in the books used by the author. I have spared no pains in presenting the text of SC as faithfully as was possible in the circumstances. 2. THE PERSONAL HISTORY OF VIJAYAVARNI Nothing is known about the personal history of Vijayavarni beyond what he has himself told us in the prasasti and the puspika to his work : he was a disciple of Munindra Vijayakirti, a devout adherent of the doctrine of Syadvada, propounded by the great Jinas. In the course of a literary discourse he was once asked by King Kamiraja of Bangavadi to explain the various aspects of poetics. At the King's request he composed Alamkarasamgraha called Srngararnavacandrika (SC). This work, while elucidating the different topics in poetics, sings the glory of King Kamiraja through the examples with which he illustrates the different points. In the introduction to his work he particularly refers to the poetry of Karnata poets like Gunavarman. This reference would lead us to believe that he had himself studied their poetry. A perusal of the sc would reveal that he had studied the standard works on poetics namely, those of Dandi, Bhoja, Dhanamjaya, Mammata and the like, Vijayavarni was in personal association with king Kamiraja. Naturally, his date depends on that of King Kamiraja. 3. DATE OF KING KAMIRAJA In his Prasasti the author gives the geneology of his patron; and according to Pt. Bhujabali Sastri and Dr. Nemicandra Sastri, our author's information does not conflict with historical facts. Viranarasimha ruled at Bangavadi (1157 A. D.). He had a brother called Pandyaraja. Candrasekhara, the son of Viranarasimha, came to the throne in A. D. 1208, and his younger brother Pandyappa, in A D. 1224. Vitthaladevi, their sister, was appointed regent in A. D. 1239. Then her son, called Kamiraja, came to the throne in A. D. 12645. Our author wrote his SCs at the request of this King Kamiraja (name is spelt as Kamaraya, Kamiraya and Kamiraya in the MS) Vijayavarni must have, therefore, composed his SC in the last quarter of the thirteenth century (A. D.). A comparative study of the nearly common or corresponding passages between SC and Prataparudrayasobhusana(PRY), and SC and Alamkarasamgraha, however, raises doubts regarding the date of composition of Vijayavarni's work. Dr. Kane assigns PRY to the first quarter of the fourteenth century. Pandit Balkrishnamurti assigns Amstanandayogin to the thirteenth century whereas C. Kuhnan Raja assigns him to the beginning of the second half

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SRNGARARNAVACANDRIKA (ALAMKARASAMGRAHA) OF VIJAYAVARNI 285 of the fourteenth century. The date of Amotanandayogin remains thus uncertain. A comparative study instituted by me leads me to believe that Vijayavarni has much common with PRY and Alamkarasamgraha for the treatment of a few topics. In the present state of our knowledge the question of Vijayavarni's date evades definite determination, and it is but right to keep it open till definite and conclusive evidence comes forth. 4. VIJAYAVARNI'S POETRY In the introduction to his SC Vijavavarni refers to himself as Kavisaktibhasura" and as "Kavisvara'and to his own work in glowing terms. For his karikas he is deeply indebted to authoritative works on poetics and he expressly states, on a few occasions, that he has followed 'Purva-Sastra'. The illustrations and introductory stanzas are, however, his own. A few of these illustrations would appear to have been modelled on those found in his authorities. Considering his verses it is difficult to admit his claim to high poetic power or to the title "Kavisvara'. His poetry is rather pedestrian and highly conventional. There is hardly anything which enlivens his SC. His slokas are easy to understand. At handling elaborate metres he is not so adept. He is guilty at a number of places of the metrical defect called yatibhanga. He profusely uses expletives. Occasionally, we come across similies which are strikinglo; but the work, as a whole, has value rather for its subjectmatter than for its literary merit. 5. THE TITLE OF THE PRESENT WORK In the course of his introductionll to the present work the author tells us that at the request of King Kamiraja he composed Alamkarasamgraha called SC. The colophon 12 refers to the title as 'srngararnavacandrika-namni, alamkarasamgrahe...". From these references it is crystal clear that the author gives 'Alamkarasamgraha' as the general name to the work and SC as the distinguishing appellation. The name 'Alamkarasamgraha' consists of two words : (1) alamkara and (2) samgraha. The word alamkara stands here obviously not in its restricted sense of figures of speech but in its wider sense denoting all such factors as word and sense that should find place in poetry, rasa, bhava, guna, vrtti, riti, sayya, paka, alamkaras and dosas (which a poet should avoid in his composition), in short, Sanskrit poetics. Samgraha primarily means a collection but here it signifies compendium 13 or a brief exposition. Alamkarasamgraha therefore means : A compendium or a brief exposition of Sanskrit poetics 14', and metaphorically, the work dealing with it. According to some, samgraha comprises three parts, namely, uddesa (simple enumeration), laksana (definition) and pariksa (examination or

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286 STUDIES IN JAIN LITERATURE exposition). The present work contains all the three. The title SC is made up of three words : 1. songara, 2. arnava and 3. candrika. The word srngara denotes one of the eight or nine rasas bearing that name; arnava means an ocean; and candrika moonlight. The whole title, therefore, means : 'Moonlight to the ocean of Srngara's. The word candrika 16 at the end of compounds means elucidation or throwing light on the subject treated. The author compares his work with candrika-moonlight, which is so very lovely and delightful, and thereby suggests that it is a delight to read and study his work which is (implicitly claimed to be) so lucid in its method of composition and style. The title inay also be explained as : "The work imparting special knowledge about poetics covering srngara-rasa and allied topics."17 The work does not prominently treat of sungara nor the author has anything new to say regarding songara as Bhoja had in his Srigaraprakasa. The reason why srngara finds a place in the title is probably this : Srngara rasa is regarded as the prince among sentiments (rasaraja). When this very essential and vital topic of poetics is mentioned in the title, it automatically follows that other, comparatively less important, topics of poetics are implied by it or covered under it. 6. A BRIEF SUMMARY OF THE CONTENTS OF SC The work opens with a homage to Lord Jina, and goes on to describe some of predecessors of King Kamiraja, the patron. The first chapter 18 mainly deals with consequences ascribed to initial letters of any composition and to the metrical feet employed in it. The second chapter19 enumerates seven groups of poets and deals with fourfold sense and fourfold power of word. The third chapter20 deals with Rasa, Bhava and their varieties with illustrations of each and every type. The fourth chapter21 is a study of the types of hero and heroine and their friends and messengers and their rivals. The fifth chapter22 treats of ten Gunas. The sixth chapter23 makes a study of Riti and its kinds. The seventh chapter24 deals with Vitti and its varieties. The eighth chapter25, which is the shortest of all, deals with the concepts

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SRNGARARNAVACANDRIKA (ALAMKARASAMGRAHA) OF VIJAYAVARNI 287 sayya of and paka. The ninth chapter26, which is the longest of all deals with Arthalaskaras. Lastly, the tenth chapter27 treats of Dosas in a poetic composition and also of circumstances when they cease to be so. 7. SOURCES OF THE SC A striking feature of this work is that all the examples given as illustrations of the different points, are composed by Vijayavarni himself and go to glorify King Kamiraja. In this respect it resembles Vidyadhara's Ekavali (12851325 A. D.) Vidyanatha's PRY (1300-1325 A. D.) As the work is composed in the decadent period of Sanskrit Literature and as it deals with a scientific subject, poetics, on which authoritative treatises of masterminds were already in existence, it would not be fair on one's part to expect any originality or contribution to poetics from Vijayavarni. Occasionally, he clearly states that his descriptions are in accordance with earlier authorities 28. A perusal of his work reveals that he had carefully studied the authorities on poetics. The matter relating to the predictive character of the initial letters and metrical feet, which the author treats of in Chapter I, is generally described in works on metrics. Some early works on metrics are irretrievably lost but a few passages from such works are preserved in the works of later writers where they are quoted, perhaps directly from the original sources but mostly they appear at second hand, quoted from some writer who quotes them. Thus some slokas are quoted by Narayanabhatta in his commentary on Vrttaratnakara with the introductory remark : taduktam Bhamahena29. These slokas inform us of Varnaphala and Ganaphala. It is very doubtful if this Bhamaha is the same man who wrote Kavyalarkara. Narayanabhatta also quotes some passages describing the deities of Ganas and auspicious or inauspicious character of the initial Ganas with the introductory remark : anyaistu devatAphalasvarUpANyeSAmuktAniIt is the authors of Alaskarsangraha and SC who have introduced this topic in works on poetics. In Chapter II the author gives a sevenfold classification of poets based on their taste or aptitude for a particular type of literary composition. This classification is somewhat different from the eightfold classification of poets given for the first time by Rajasekhara in his Kavyamimamsa 30. Whereas Rajasekhara names the groups of poets and adds stanzas to illustrate the type of literary composition of each one of them, Vijayavarni gives a definition of each one of the groups of poets but does not

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288 STUDIES IN JAIN LITERATURE illustrate the types of their literary composition--SC and Alamkarasangraha, however, agree in their classification and definition of groups of poets leading to the conclusion that one of them must have borrowed from the other31. in the same chapter the author treats of the fourfold sense of words : 1. Mukhyartha with its four kinds ((i) Jati (ii) Kriya (iii) Guna and (iv) Dravya) 2. Laksyartha, 3. Gaunartha and 4. Vyangyartha, and the fourfold power of words : 1. Abhidha 2. Laksana (with its three kinds : (i) Jahati (ii) Ajahati and (iii) Jahatyajahati) 3. Gauni and 4. Vyanjana. It is the Mimamsakas who look upon Gauni as a separate power of words32. This whole discussion is, generally speaking, based on Kavyaprakasa (Ullasas II and III). In Chapter III the author deals with Rasa and Bhava and their divisions. He treats of nine Sthayibhavas, nine Rasas, Vibhavas (Alambana and Uddipana), Anubhavas, eight Sattvikabhavas and thirty three Vyabhicari (Sancari) bhavas, and such details about Rasas as the primary and the derivative Rasas, (their inter relations), their harmonies and conflicts, their colours (Varna) and their presiding deities (Adhidevata). He clearly acknowledges his indebtedness to ancient or earlier authorities on the subject33. A study of his definitions of technical terms relating to Rasa-Bhava and the like corroborates his statement. Two points, however, deserve special mention : his description of the different factors relating to santa rasa is typically Jain34 and is original; another remarkable point is that the author mentions Para-Brahma as the presiding deity of Srngara. In his celebrated commentary35 on Natyasastra Abhinavagupta writes : vIro mahendradevaH syAt buddhaH zAnto'bjajo'dbhutaH / iti zAntavAdinaH kecit paThanti / buddho jinaH paropakAraikaparaH prabuddho vA / From this statement it is clear that the author had not Abhinavabharati before him but some other text where Para-Brahman has been mentioned as its presiding deity. No early work on Alamkarasastra which would be regarded as standard and well-known makes any reference to Para-Brahman as its presiding deity. Dr. Raghavan states that "the Alankarasarvasva of Harsopadhyaya (?), written for one Gopaladeva, makes the supreme spirit, Para-Brahman, as the Devata of santa36. We, however, do not know the exact date of this work which would have enabled us to determine the interrelation between these two works. Alamkarasamgraha of Amstanandayogin speaks of Para-Brahman as the presiding deity of santarasa. There is a close agreement between Sc of Vijayavarni and Alamkarasamgraha of Amstanandayogin in their treatment of some common topics from poetics37. The dates of these two works as proposed

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SkNGARARNAVACANDRIKA (ALAMKARASAMGRAHA) OF VIJAYAVARNI 289 by scholars 38 do not, however, permit us to state categorically that Vijayavarni has drawn upon Amstanandayogin's work. 'In Chapter IV the author deals with characters : the hero, the heroine and their types, the rivals of the hero and the Dutis. A comparative study of this chapter and the second Prakasa of Dasarupaka reveals that Vijayavarni is heavily indebted to Dhanamjaya in his treatment of the characters 39. He differs with Dhanamjaya on three points : 1. Dhanamjaya speaks of three friends (Sahayas) of the hero 40 : 1. Pighamarda (Patakanayaka), 2. Vita, and 3. Vidusaka : Vijayavarni adds the fourth Nagarika41 to the list. 2. Dhanamjaya mentions three types of heroines42 : 1. Sviya (=Svastri or Svakiya), 2 Anya (=Anyastri or Parakiya) and 3. Sadharana stri (Sadharana). Vijayavarni makes them four 43 by adding one more type viz. Anudha. He, however, says that according to one view, Anudha is parakiya only and hence there are three types of heroines only. 3. In Dhanamjaya's view if absence is due to death the love sentiment cannot be present44. Vijayavarni advocates the view that Karunatmakavipralambha can be present if one of the two, (the lover and his beloved) passes away and the other laments his or her deaths. Now, Vidyanatha 4 also speaks of four Sahayas of the hero but his list has Seta and no Nagarika. Rudrata47 and Dhanamjaya48 speak of two types of Parakiya or Anyastri : Kanyaka and Anyodha, Vijayavarni mentions Parakiya and Anudha (=Kanyaka) separately and makes four types of heroines. Of course, he is fully aware of the views of Rudrata and Dhanamjaya that Anudha (=Kanyaka), too is regarded as not one's own (Parakiya). Finally, in setting forth the four kinds of Vipralambhasrngara he has followed Rudrata49. In Chapter V the author treats of Gunas. A careful and comparative study of the definitions of these ten Gunas with those given in the Kavyadarsa reveals that Vijayavarni closely followed Dandiso, and occasionally Vamanasi. Vijayavarni paraphrases Dandi's definitions52. In Chapter VI the author treats of Riti and its four kinds : 1. Vaidarbhi 2. Gaudi, 3. Pancali, and 4. Lati. It is Rudrata53 who for the first time added Lati to the three well-known Ritis set forth by Vamana. Agnipurana54 and Jayadeva's Candralokas too speak of these four Ritis. In Bhoja's Sarasvatikanthabharana56 the Ritis number six with the addition of Avantika and Magadhi. Stud.-37

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290 STUDIES IN JAIN LITERATURE The definition of Riti given by the author is in agreement with the one set forth by Vidyanatha in his PRYS7. Vidyanatha, however, speaks of three Ritis only, omitting Lati as has been done by Mammata. The definitions of the four Ritis as laid down in SC58 and Alamkarasangraha are in close agreement. The definitions of the three Ritis are partly in agreement with those of Vamana59. In Chapter VII the author treats of six Vrttis-1. Kaisiki, 2. Arabhati, 3. Bharati, 4. Sattvati, 5. Madhyama Kaisiki and 6. Madhyama Arabhati. These six Vrttis are first dealt with by Bhoja in his Sarasvatikanthabharana, but as Sabdalamkaras (Chapter II. 34-38) and after him by Vidyanatha in his PRY (Kavyaprakarana, pp. 57-63). Vijayavarni's treatment of this topic bears remarkable resemblance to that of Vidyanatha's60. In chapter VIII we find an exposition of the conception of Sayya and Paka. No doubt, the conception of Paka is found in Vamana's Kavyalamkarasutra-vrtti and Rajasekhara's Kavyamimamsa, but the striking thing is that the definitions of Sayya and Paka as given by Vijayavarni are in close agreement with the corresponding ones in Vidyanatha's PRY :61 padAnAmAnuguNyaM vAnyonyamitratvamucyate / / yat sA zayyA kalAzAstranipuNairviduSAM varaiH / / -VIII. 2 Cf. 9 TERI YIRIRST gpzifa Freztat ...atra padavinimayAsahiSNutvAd bandhasya padAnuguNyarUpA zayyA / --PRY p. 67 Alambya zabdamarthasya drAk pratItiryato'jani / sa drAkSApAka ityukto bahirantaHsphuradrasaH / / Alambya zabdamarthasya drAkpratItiryato na hi / sa nAlikerapAkaH syAdantargaNDa (? gUDha ) rasodayaH // -VIII. 6-7 drAkSApAkaH sa kathito bahirantaHsphuradrasaH / sa nArikelapAkaH syAdantaYDharasodayaH / / -PRY pp. 67-69 In Chapter IX the author gives an exposition of 47 Arthalamkaras. Of these, he defines the first 33 Arthalamkaras, including 33 divisions of Upama and 20 divisions of Ruppaka, after Dandi's Kavyadarsa62. The rest of the Arthalamkaras are possibly defined by the author keeping in view Rudrata's Aryas dealing with them. In Chapter X the author treats of Kavyadosas viz; Pada-dosas, Vakyadosas, Artha-dosas and Rasa-dosas, and also describes the circumstances in

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SkNGARARNAVACANDRIKA (ALAMKARASAMGRAHA) OF VIJAYAVARNI 291 which the Dosas cease to be so. His treatment of Kavya-dosas clearly reveals his considerable indebtedness to Mammata63 who treats of the Dosas in his Kavyaprakasa (Ullasa VII). Mammata has utilised earlier writers on this topic and added new Dosas which he himself has discovered. Vijayavarni follows Mammata's classification of Dosas in toto. ACKNOWLEDGEMENT In conclusion, I acknowledge my deep indebtedness to Dr. A. N. Upadhye, M. A., D. Litt., Dean, Faculty of Arts, Shivaji University Kolhapur, at whose suggestion this work of editing SC from a single manuscript was entrusted to me. It is he who gave me the MS and requested me to edit this work. He has all along been taking kindly interest in the progress of my work and its publication. I can never adequately express in words what I owe to Pandit Balacharya Khuperkar Shastri who has taken keen interest in this work and made valuable suggestions for emending the text as correctly as possible. It was, indeed, my proud privilege to spend hours together with him discussing matters relating to Sanskrit poetics in general and the text in particular. I offer my warmest thanks to my friend Professor G. S. Bedagkar, who kindly went through the Introduction and made valuable suggestions to improve it. However, for whatever imperfections still left in the work, I am entirely responsible. The Author acknowledges his indebtedness to the Shivaji University, Kolhapur, for the grant-in-aid received by him from the University towards the cost of Publication of this book. Notes and References : * Pages 73-76; published by Nirmal Kumar Jaina, Secretary, Jaina Siddhanta Bhavana Arrah. 1942. 1. iti paramajinendravadanacandiravinirgatasyAdvAdacandrikAcakoravijayakIrtimunIndracaraNAbjacaJcarIkavijayavarNiviracite zrIvIranarasiMhakAmirAjavaGganarendrazaradindusaMnibhakIrtiprakAzake.... 2. sa rAjA kAvyagoSThISu sabhAjanavibhUSitaH / 314cfecite 25 fansif Y a 11 I. 19 It appears, Vijayavarni was also known as Dvitiya. 3. Vide footnote No. 1, supra. 4. Tuahifanicenahi gratiaa: 1 amifandi dan Thangailu II I. 7. 5. Vide Prasasti-samgraha (pp. 76-78) edited by Pt. K. Bhujbali Sastri, Arrah, 1942 and a Triat trent out grosforgath by Dr. Nemicandra Sastri in Jaina Siddhanta Bhaskara, Part XXIII, Kirana I, Dec. 1963.

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292 STUDIES IN JAIN LITERATURE 6. Vide infra, Sources of SC. 7. I. 19. 8. I. 26. 9. I. 23-28. 10. III. I, IX. 62. 11. itthaM nRpaprArthitena mayAlaGkArasaMgrahaH / -kriyate sUriNA nAmnA zRGgArArNavacandrikA || I. 22. 12. Vide colophon at the end of Chapters I, II, IX and x : vijayavarNiviracite zRGgArArNavacandrikAnAmni alaGkArasaMgrahe... 13. saMgraha: saMcitya grahaNaM svIkAraH saMcayanamityarthaH / athavA saMkSepeNa svarUpakathanam / 14. alaGkArANAM saMgrahaH saMkSepeNa svarUpakathanamityarthaH / 15. zRGgAro'rNava eva tasya candrikA prakAzikA ityarthaH / 16. The words kaumudI and candrikA convey this sense when they stand at the end of compounds. Compare the titles : tarkakaumudI, vaiyAkaraNasiddhAntakaumudI, sAMkhyatattvakaumudI etc. and rasacandrikA, kAvyacandrikA, nATakacandrikA, alaGkAracandrikA, camatkAracandrikA, etc. 17. zRGgAro'rNava eva tasya candrikeva (ucchUnayatI-vardhayantI) candrikA / zRGgArarasAdisAhityazAstraviSayakaM viziSTaM jJAnaM bodhayantItyarthaH / 18. Chapter I (vv 1-63) : Varnaganaphala-nirmaya. 19. Chapter II (vv 1-42) : Kavyagata-sabdartha-niscaya 20. Chapter III (w 1-130) : Rasabhavaniscaya 21. Chapter IV (w 1-163) : Nayakabhedaniscaya 22. Chapter V (wv 1-31) : Dasagunaniscaya 23. Chapter VI (vv 1-17) : Ritiniscaya 24. Chapter VII (vv 1-16) : Vrttiniscaya 25. Chapter VIII (vv 1-10) : Sayya-paka-niscaya 26. Chapter IX (w 1-310) : Alamkaraniscaya 27. Chapter x (vv 1-197) : Dosaguna-niscaya 28. ataH ato kAraNato'smAbhirucyate rasalakSaNam / pUrvazAstrAnusAreNa bhAvabhedavizeSitam / / III. 2 ato guNAH prakIrtyante pUrvazAstrAnusArataH / kAmirAya narAdhIza zrUyatAM bhavatAdhunA || V. 3 anye vikalpA draSTavyA AkSepANAM vicakSaNaiH / mayA zAstrAnusAreNa digmAnaM saMpradarzitam / / IX 174 29. Vide appendix-C. 30. Vide Appendix-C 31. Vide Appendix-D 32. gauNIvRttilakSaNAto bhinneti prabhAkarAH / Ratnapana (p. 44). Vidyanatha, however, emphatically says : gauNavRttirapi lakSaNAprabheda eva | Prataprudrayasobhasana (pp. 44-45)

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SZNGARARNAVACANDRIKA (ALAMKARASAMGRAHA) OF VIJAYAVARNI 293 33. ataH kAraNato'smAbhirucyate rasalakSaNam / pUrvazAstrAnusAreNa bhAvabhedavizeSitam // --SC. III 3. 34. III 109-112. 35. Abhinavabharati Vol I. p. 299. 36. The Number of Rasas (p. 50). The Adyar Library, Adyar, 1940. 37. See Appendix-D. 38. For the date of Vijayavarni vide pages 2 and 3 supra. For the date of Amrtanandayogin, vide Introduction to Alamkarasangraha (pp iv to vi) edited by Pandita Balakrishnamurti, Sri Venkatesvara Oriental Institute, Tirupati (1950) and Introduction to Alamkarasangraha (pp. XXXVIII-XLIII) edited by V. Krishnamacharya and K. Ramachandra Sarma (The Adyar-Library Series No. 70, 1949). 39. Vide Appendix-C. 40. Dasarupaka II, w 8-9 (ab). 41. Sc IV. vw 29-32. 42. Dasarupaka II, v 15 (ab) and vv20 (cd)-22 (ab). 43. SC IV, vw 43-59. 44. Dasarupaka IV, w 50-51 (ab) and vw 57-68. 45. SC IV, v 103 and v 110 46. Prataparudrayasobhusana, Kavyaprakarana, v 40. 47. parakIyA tu dvedhA kanyoDhA ceti te hi jAyete / - Kavyalamkara XII-30 (ab) 48. anyastrI knykoddhaac...| --Dasarupaka II-20 (c) 49. atha vipralambhanAmA zRGgAro'yaM caturvidho bhavati / prathamAnurAgamAnapravAsakaruNAtmakatvena // -Kavyalamkara XIV-1 and, karuNaH sa vipralambho yatrAnyataro mriyet nAyakayoH / yadi vA mRtakalpaH syAttatrAnyastadgataM pralapet / / -- Kavyalamkara XIV-34 50. Vijayavarni's statement : ete dazaguNAH proktA daza prANAzca bhASitAH / ---V-5(ab) Unmistakably reminds us of Dandis iti vaidarbhamArgasya prANA daza guNAH smRtAH / -Kavyadarsa 42 (ab) 51. Cf. athavA padabandhasyojjvalatvaM kAntirucyate / -V-16 (ab) and aujjvalyaM kAntiH / 3, 1. 25 bandhasyojjvalatvaM nAma yadasau kAntiriti / -- Kavyalamkarasutravitti 52. I give here only two examples : (i) Cf. zruticetodvayAnandakAriNAM komalAtmanAm / ___varNAnAM racanAnyAsaH saukumArya nirUpyate ||-V.6 and, aniSThurAkSaraprAyaM sukumAramiheSyate / bandhazaithilyadoSo'pi darzita: sarvakomale // sukumAratayaivaitadArohati satAM manaH / -Kavyadarsa I, 69-71

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294 STUDIES IN JAIN LITERATURE V. 15 (ii) Cf. ilfcholeifsfq 2791 ale : 1 sA kAntiruditA sadbhiH kalAgamavizAradaiH and kAnta sarvajagatkAntaM laukikArthAnatikamAt / tacca vArtAbhidhAneSu varNanAsvapi dRzyate / / --Kavyadarsa 1. 85 53. Rudraca II. 3-6. Vamana distinguishes Ritis on the basis of qualities (Gunas) present whereas Rudrata distinguishes them on the basis of the use of compounds. Vijayavarni clearly says that Ritis are based on the qualities possessed by words. In his definitions of Ritis, however, he follows these two principles. 54. Chapter 340, vv. 1-4. Dr. Raghavan corrects the text of the the fourth stanza (vide Some Concepts of Alamkarasastra, p. 180, f. n. 1) 55. Mayukha VI. 21-22 56. Pariccheda II, Karikas 2-3 57. Cf. Ofaath JuullYGHETEN HATI -PRY p. 63 and mAdhuryAdiguNopetapadAnAM ghaTanAtmikA / --Srngararnavacandrika V1-3. Vidyanatha's definition is, however, based on Vamana's Sutras 1, 2, 7-8. 58. Chapter VI, v.v 5-7, 9, 11 and 13 and Chapter V. w. 9-12. 59. Kavyalamkarasutravrtti 1-2. 11-13. 60. Vide Appendix-C 61. If it were accepted that Vijayavarni modelled his definitions of Sayya and Paka on those of Vidyanatha we would have to reconsider the date of composition of SC. 62. Vide Appendix-C. 63. Vide Appendix-C. IDO

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DISCOVERY THROUGH RESTORATION (Discovery of hitherto unknown works through restoration of corrupt passages on Sanskrit Poetics) I began my work on the emendation of the texts way back in 1960. It was a lucky accident, I should think. Professor R. C. Parikh, Director, B. J. Institute of learning and Research, Ahmedabad gave me a copy of his latest publicationhis edition of Kavyaprakasa, the speciality of which was that, it contained the hitherto unpublished Samketa commentary of Somesvara Bhatta. He also asked me whether I would write a review of it. I glanced through it but soon enough I had to prepare myself for a long spell of hard work. The Samketa commentary contained a number of question marks : much of its text was corrupt. I thought that I should take it on myself to set the passages right. But how ? This question did not frighten me. I thought out a plan : I could get the original texts from where the writer of the Samketa commentary could possibly have drawn his material by looking up the books on the topics to which the passages in the Samketa referred-these books comprised : Bharata's Natyasastra, Abhinavgupta's commentary on it Natyavedavivrti, better known as Abhinavabharati, Dhanamjaya's Dasarupaka with Dhanika's commentary Avaloka, on it, Vamana's Kavyalamkarasutrani, Rudrata's Kavyalamkara with Namisadhu's Tippana on it, Anandavardhana's Dhvanyaloka with Abhinavagupta's Locana commentary on it, Rajasekhara's Kavyamimamsa, Mukulabhatta's Abhidhavsttimatrka, Mahimabhatta's Vyaktiviveka and Ruyyaka's Alamkarasarvasva with Jayaratha's commentary called Vimarsini. So, began a big hunt and the subsequent comparative study of the text in the Samketa and the original versions that were located in some of the source books mentioned above. Scores and scores of passages, small and large were common between the Samketa commentary on the one hand and the above source works on the other. The comparative tables facilitated the task of restoring the corrupt

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296 STUDIES IN JAIN LITERATURE passages to their original form; and they also revealed how the commentator very often bodily lifted the passages from his sources, at times adopted them and occasionally combined passages of different authorities or of the same authority found at different places in that work. I then wrote a review article and gave it to Prof. Parikh for preview-later it was published in the Journal of the Oriental Institute, Baroda in 1961. This is how I set up an anti-corruption Bureau which is still functioning. Prof. Parikh was obviously impressed, for, within a couple of weeks, he invited me to join him as co-editor in bringing out a second revised edition of Acarya Hemacandra's voluminous work, Kavyanusasana. I availed of this opportunity, carefully went through almost all the sources of Hemacandra, recorded all significant variants from these sources in the footnotes and traced a large number of illustrations to their primary or secondary sources. This edition has been welcomed by scholars as a standard edition. Now, Sanskrit alamkarikas (poeticians) quote as illustrations, with a view to explaining various points of Poetics, passages in verse or prose from Sanskrit, Prakrit or Apabhramsa works. A number of works from which they cited illustrations are no longer extant. Consequently, the learned editors, when confronted with corrupt readings or passages, in the absence of the source books, contented themselves by planting question marks (in brackets) immediately after the corrupt readings, or showing lacunae (missing portions, small or big gaps) by three dots or simply reproducing the corrupt passages as found in the manuscripts, the jumbling of verses or groups of verses as mere prose passages. They, as a rule, added Sanskrit chaya below the Prakrit (or Apabhramsa) passage. In some cases it is noticed that the chaya did not agree with the Prakrit text, often partly and on occasions wholly. In the footnotes the editors simply remarked durbodha or aspasta or avisada iyam gatha, and thus expressed their helplessness in rendering the Prakrit gatha intelligible. Owing to want of sufficient knowledge of Prakrit and Apabhramsa languages, some perpetrated ludicrous blunders while translating these verses into English or modern Indian languages. The following noteworthy works, either text-books or commentaries, are disfigured by corrupt readings and passages : Abhinavagupta's commentary on Bharata's and his commentary on Anandavardhana's Dhvanyaloka called Locana, Kuntaka's Vakroktijivita(VJ), Bhoja's Srrgaraprakasa and Sarasvatikanthabharana with the commentaries of Ratnesvara and Jagaddhara, Somesvara's commentary Samketa on Mammata's Kavyaprakasa, Ruyyaka's Sahityamimamsa and Alamkarasarvasva

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DISCOVERY THROUGH RESTORATION 297 with the commentary of Jayaratha, called Vimarsini, and Sobhakaramitra's Alamkara-Ratnakara(Ratnakara). If the text, whether Sanskrit, Prakrit or Apabhramsa, is not restored to its original form, the verse remains obscure and the very purpose of explaining or making clear by examples the points of Poetics is defeated. Of all the works, the A.Bh., the VJ, the srngaraprakasa, the Sarasvatikanthabharana(SK) with its commentaries, the Sahityamimamsa, the Vimarsini, and the Ratnakara pose a real challenge to one's critical ability, scholarship, patience and industry, for a very large majority of Prakrit and Apabhramsa passages are presented in these works in a very corrupt and confounding form--some of them are indeed corrupt beyond recognition. I think it is the duty of modern research scholars to present the text of the corrupt passages in their correct or original form. These corrupt passages from works on Alamkara haunted me all along. I decided to do my best to restore them to their correct form. During several years past I endeavoured to restore the corrupt passages in the above works. In restoring many corrupt readings and passages the following three works have rendered invaluable services: Hemacandra's Kavyanusasana(Kas), Ramacandra and Gunacandra's Natyadarpana(ND) and Ambaprasada's Kalpalataviveka(KLV). The authors of these three works have freely drawn on A. Bh., Dhvanyalokalocana, VJ, SK, Srrgaraprakasa, etc. Hemacandra has preserved intact the ideas and the language of some of the long sections from Abhinavabharati on the key chapters of the Natyasastra, the Rasadhyaya (Ch. VI), the Bhavadhyaya (Ch. VII), the Dasarupakavidhana (Ch. XVIII) and the Samdhyadhyaya (Ch. XIX) by incorporating them in their original form without abridging them or paraphrasing them in his own language. Ramacandra and Gunacandra too have freely used A.Bh. on almost every page in the course of their treatment of the various dramatic topics. Ambaprasada too has incorporated many long passages from the Dhvanyaloka, the Locana commentary on it and the A.Bh. (on Ch. VI and Ch. VII) in his KLV. These works are of supreme importance, especially from the point of view of restoring corrupt passages and readings because their authors had access to more reliable or correct manuscripts than we now possess. We may consider here, by way of example, the case of A.Bh. Its text has been badly preserved in its available manuscripts. The first editor of Bharata's Natyasastra along with the commentary Abhinavabharati, Ramakrishna Kavi, remarked : "...even if Abhinavagupta were to descend from Heaven and see the MSS, it would not be easy for him to restore his original text." Stud.-38

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298 STUDIES IN JAIN LITERATURE With the help of the above texts which preserve sentences, paragraphs and sometimes even long sections of the original text of the A. Bh. I wrote and published a series of articles entitled "Abhinavabharati : Text Restored". I also wrote and published a number of papers restoring scores and scores of corrupt Prakrit verses from Alamkara works, disfigured by corrupt passages, that are mentioned above. In restoring the corrupt verses / passages through my own experience I evolved the following principles of emendation : (i) First of all, to hunt the source of the corrupt passage. If the source is traced the emendation becomes universally acceptable. (ii) If the source is irretrievably lost, to try to find if the passage under consideration is cited in any other work on Poetics or Metrics or Grammar. (iii) If it is not so traced, to try to find if the verse in question is included in a later anthology, or any other poetic work by way of quotation. (iv) If by chance the corrupt verse is found quoted at two or more places in one and the same work, to reconstruct it by comparing the corrupt texts at the different places. (v) If no internal or external evidence be available, to take into consideration the immediate context and emend the text in consonance with the metre and the general or overall purport. (vi) To take into consideration parallel ideas found in other works in Sanskrit or Prakrit and emend the text accordingly. (vii) To take special care that the emended text is as far as possible very akin to the printed letters or words in the corrupt verse/passage. (viii) Failing all these alternatives, to emend the text, by using one's (creative) imagination (pratibha) keeping in mind the immediate and the larger context, the metre and the tenor of the concerned verse. (ix) To take particular care that the proposed emendation keeps arbitrariness to the minimum. (x) To consult, wherever possible, the manuscripts on which the printed text is based; if the editor of the printed text has read a word or quarter of a verse or part of it wrongly, the consulting of manuscripts may help one to recover the correct reading.

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DISCOVERY THROUGH RESTORATION 299 For my work of restoration, however, I consulted printed editions only. I felt the need of consulting manuscripts only in the case of srngaraprakasa. I understand a new edition of Bhoja's Srrgaraprakasa with V. Raghavan's own Sanskrit commentary is published in the Harvard Oriental Series. On a perusal of this edition we would know how far the editor has succeeded in restoring the corrupt verses and passages, both in Prakrit and Apabhramsa. I would have liked to discuss in detail a few corrupt passages and their restoration by me. Being afraid of boring you with such a discussion, I thought of drawing your attention to two of my works which embody these restored verses and passages : (i) Studies In Sanskrit Sahitya Sastra, and (ii) Prakrit Verses In Sanskrit Works on Poetics in two volumes, Vol. I : Text and Vol. II : Translation (with Introduction, Glossary and Notes). This evening I discuss, rather refer in a general way to, just a few of them to give you some idea. I am fully aware that the subject of restoration of corrupt passages and reading is dry, dull, tedious and patience-wearing. But even in this work when you trace after a long search the original source of a corrupt passage or reading you feel thrilled. This thrill, this joy is the greatest reward the hard work involved fetches. When the work leads you to the discovery of an invaluable text or a portion of it, hitherto believed to have been lost, for example, the Abhinavabharati on the Bhavadhyaya (Natyasastra Ch. VII.) helps you to shed new light on an epoch-making work like Sarvsena's Harivijaya, which has been irretrievably lost, your joy is all the greater. It is like landing on the source of the Nile. 1) In the course of his commentary on Rudrata's Kavyalamkara (XI. 36) Namisadhu observes : . atra ca vAstavAdInAM caturNAmapi ye sahoktyAdayaH prabhedA uktAste bAhulyato na punaretAvanta eva / uktaM na hughaTu itANaavahI nayane dIsaMti kahavi puNarUttA / je vi sanApiyaANaM atthA vA sukaivANIe / tato yAvanto hRdayAvarjakA arthaprakArAstAvanto'laMkArAH / Now, the Prakrit gatha, as presented here by the editor of the printed text, is on the face of it corrupt, and hardly yields any satisfactory sense. Namisadhu asserts here that the sub-varieties, the Sahokti alamkara, etc, of the four main varieties vastava, aupamya, atisaya and slesa, that are dealt with in the text, are only illustrative and not exhaustive. In support of this statement he has cited the Prakrit gatha. But the gatha is quite corrupt. In the

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300 STUDIES IN JAIN LITERATURE course of search for its source, we find Anandavardhana, the greatest Sanskrit critic, citing it from his own poetic work, Visamabanalila, towards the end of his Dhvanyaloka : darzitameva caitadviSamabANalIlAyAm Na a tANa ghaDai ohI Na a te dIsaMti kahavi puNaruttA / je vibbhamA piANaM atthA vA sukaivANINaM / / [na ca teSAM ghaTate'vadhiH na ca te dRzyante kathamapi punaruktAH / ye vibhramAH priyANAmarthA vA sukavivANInAm // ] -Dhvanyaloka (IV.7) Vrtti) Translation : "There is no end to the flirtatious ways of the beloved and similarly no end of variations in the expression of good poets; there can be no repetition in either." Namisadhu concludes : tato yAvanto hRdayAvarjakA arthaprakArAstAvanto'laMkArAH / (There are as many alamkaras, figures of speech, as there are charming ideas.) 2) In his Dhvanyaloka, (I. 16) Anandavardhana categorically states : Words which signify by popular usage meanings other than their etymologial meanings (as, for example, the word lavanya---its etymological or original meaning is saltiness, from lavana meaning salt-whereas by common usage it signifies 'loveliness' or 'beauty') do not become instances of suggestion-dhvani. In the course of his commentary on the karika Abhinavagupta cites the following passage : nanu 'devaDiti luNAhi palummigamijvAlavaNujvalaM gunariphellaparaNya' (!) Ramasaraka in his Balapriya commentary (Praudhalocanatippani) remarks : . pustake dRzyamAnAyA 'devaDityAdigAthAyA grantheSu tatra tatrAkSarabhedA dRzyante / atazcAsyAH svarUpaM chAyAM ca nizcetuM na zaknomi / sahadayA nizcinvantu / -p. 147. The text of the passage given above from the Locana is highly corrupt. It is also cited in the Abhinavabharati (Ch. VI., P-305, GOS edn. 1956) there too the text is very corrupt. Appendix I (p. 383) to that Volume I of the Natyasastra gives the readings in the manuscript of the Dhvanyaloka which too are very corrupt. The second half of this verse is correctly preserved in Somesvara's Samketa (p. 24). The Kalpalataviveka of Ambaprasada, however, for the first time gives us the text in its correct form : dIvaDI tellu NAhi palu drammi (? drammu) gamiTThA (? gaviTThA) / lAvaNNujjalaMgu ghari Dhollu paiTThA / /

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DISCOVERY THROUGH RESTORATION 301 [dIpake tailaM nAsti palaM (palamAtra), drammaM gaveSitam / lAvaNyojjvalAGgo gRhe priyatamaH praviSTaH // ] (Note : drammu-dramma (a drachama, a word derived from the Greek drachama) is the Marathi dama', cf. damadi' too, Pala is a measure for fluid. 'Pala' may be compared with 'Pali' in Marathi). Translation : There was not a drop of oil in the lamp. nor could I find even a farthing in the house. Exactly at this time came in my lover, his body resplendent with its beauty. The suggested meaning here is : The bright and beautiful face of the lover gave light to (the room, or rather) brightened all the quarters. So there was no need of a lamp. 3. Anandavardhana holds the view that the literal meaning and the suggested meaning are apprehended almost simultaneously--if the suggested meaning be rasa or bhava or rasabhasa, bhavabhasa, etc., and if it shines with prominence then we have the very soul of suggestion (Dhvanyaloka II 3. vrtti). Abhinavagupta in his Locana on this karika observes : in some cases the two conjointed transitory emotions (bhavasamdhi) become the object of relish. As an example he quotes the verse : osurusumThi AI muhu kambiu jeNa / amiarasaghoNThANaM paDijANiu teNa / / The Balapriya commentary gives its Sanskrit chaya as follows : IrSyAzruzobhitAyA mukhaM cumbitaM yena / amRtarasanigaraNAnAM tRptirjAtA tena / / This chaya gives the overall meaning all right. The earlier part of the first half of the (Apabhramsa) text is very corrupt. It needs to be corrected keeping in view the reading usurusuMbhiyAe (cited as pratika in Kalpalataviveka (p. 127, 1. 17) and the following statement in Hemacandra's Desisabdasamgraha (p. 55) : UsuMbhiya-UsurusuMbhiyA ya ruddhagalaruNNammi / (UsuMbhiyaM tathA UsurusuMbhiyaM ruddhagalaM rodanam / ) We may, therefore, restore the Apabhramsa passage as follows : UsurusuMbhiAe muhu cumbiu jeNa / amiarasaghoMTANaM paDijANiu teNa // (ruddhagalaM rudatyA mukhaM cumbitaM yena / amRtarasagaNDUSANAM parijJAtaM tena / )

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302 STUDIES IN JAIN LITERATURE Translation : He alone has tasted nectar-even a mouthful of it--who has kissed the mouth of his sweetheart when she could not weep aloud, being choked with tears. 4. The Abhinavabharati on the Natyasastra (Ch XXII verse 210)2 has the following corrupt passage : atra tu vRddhapazuvyo (pazavo?) vadanti mAsapasUA....(SaNa) mAsa gambhiNI ekdiahjjrmuhe...| The editor in a footnote adds : apUrNA cAsphuTArtheyaM gAthA kokkokavacanasya mUlaM syAt / yathA raGgAdizrAntadehA ciravirahavatI mAsamAtraprasUtA garbhAlasyA na navyajvarayutatanukA tyaktamAnaprasannA / snAtA puSpAvasAne navaratisamaye meghakAle vasante prAyaH saMpannarAgA mRgazizunayanA svalpasAdhyA rate syAt / / -anaGgaraGga 4.36 The reading 'vRddhapazuvyo (pazavo ?) is very doubtful. The corrupt gatha mAsapasUA etc. is, however, to be identified with the following gatha from Hala's Gathasaptasati (III. 59) : (baho: kAlAt pUrNadhanadAnena toSayantaM dhanikabhujaGgaM prati kAmazAstrarahasyopadezena nijanirmAyatAM sUcayantI sahaiva nartanakarmINAM svaduhitaraM prati taM sAbhilASaM kurvatI ca vRddhA vezyAmAtA Aha-) mAsapasUaM chammAsagabbhiNi ekkadiahajariaM ca / raMguttiNNaM ca piaM puttaa kAmaMtao hohi // (mAsaprasUtAM SaNmAsagarbhiNImekadivasajvaritAM ca / raGgottIrNAM ca priyAM putraka kAmayamAno bhava // ) Translation : 0, dear boy, direct your sexul / lustful desire towards the woman, who has given birth to her child a month back, or who has been pregnant for six months, or who has had fever for one day, or who has finished her dance or performance on the stage. 5. Bhoja asserts in his Sarasvatikanthabharana (Ch.I.123) : yadA tIvraprayatnena saMyogAderagauravam / na cchandobhaGga ityAhustadA doSAya sUrayaH // Ratnesvara in his commentary on this karika quotes the following two lines : dhavalAiM galetti dhavalehi aNaJjaNasAmalehi nnisaalaae| NakkhattakusumAiM NahaalAo osarai / / -p. 121 These two lines, though printed in the form of a verse, do not yield any

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DISCOVERY THROUGH RESTORATION 303 consistent meaning. The point under discussion is : under a particular circumstance chandobhanga (offending against metre) ceases to be a flaw. As the topic falls under prosody, I thought it wise to consult Hemacandra's Chando'nusasana (Bharatiya Vidya Bhavan, Bombay, 1961, edn.). To my delight, I found Hemacandra citing the following two gathas with the introductory remark : padAnte vartamAnau ekAra-okArau prAkRtabhASAyAM vA hrasvau bhavataH / yathApaccUsagayavarUmmUliAe~ uDDINa-sasi-vihaMgAe / dhavalAIMgalaMti nisAlayAe~ nakkhatta-kusumAiM // ua pommarAyamaragayasaMvaliA NahayalAoM oara (v.1. osarai ) / NahasirikaMThabbhaTTha vva kaMThiA kIrariMcholI || [pratyUSagajavaronmUlitAyAH uDDIna-zazI-vihaMgAyAH / dhavalAni galanti nizAlatAyAH nakSatra-kusumAni / / pazya padmarAga-marakata-saMvalitA nabhastalAdavatarati / nabhaH zrIkaNThabhraSTeva kaNThikA zukapaGktiH // ] The words, in bold type in the corrupt passage, are common to the two gathas cited above. So from the mixing up of different verses we can easily identify these two gathas that were intended by Ratnesvara as illustrations. The first verse occurs in Lilavai (verse 1091). The second verse occurs in the Gathasaptasati (I. 75). Still, however, the two padas dhavalehi aNaMjaNasAmalehi from the medley passage remain unaccounted for or untraced. When we turn to Svayambhucchandah, another work on prosody, the whole problem of this jumbled text is solved, Svayambhu cites three verses to illustrate three different rules of Prakrit Prosody : (i) hiAro biMdujuo pAvasANammi lahU / chaillANa jahA [hikAro binduyutaH padAvasAne laghuH / vidagdhAnAM yathA -] dhavalehi aNaMjaNasAmalehi peraMta-taNua-taNuehi / NidvAettiuveMdo, gaaNiddaehi acchAhi // [dhavalAbhyAmanaJjanazyAmalAbhyAM paryantatanukatanukaiH / (nidrAyate upendro gatanidrAbhyAmakSibhyAm // )]- gAthAdividhi 1-2 (ii) eAro suddho pAvasANammi lahU / vammautta(? ssa) jahA [ekAraH zuddhaH padAvasAne laghuH / varmaputrasya yathA -- paccUsa-gaavara...(as cited above) (iii) oAro suddho paAvasANammi lahU a / pAlittassa jahA [okAra: zuddhaH padAvasAne laghuzca / pAdaliptasya yathA- ] ua pommarAamaragaa...(as cited above)

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304 STUDIES IN JAIN LITERATURE Ratnesvara's text may be written as follows : "dhavale hi aNaMjaNasAmalehi","dhavalAiM galaMti NisAlaAe~ NakkhattakusumAiM", and "NahaalAo oarai / osarai." These three gathas may be translated as follows : (i) Upendra (Krsna, Visnu) is sleepy, his sparkling eyes, (naturally) dark even without collyrium, are drooping drowsily like the half closed eyes of an elephant. (ii) At the daybreak, a mighty elephant uprooted the night-creeper, the moon-bird flew off and the white constellations, the flowers, dropped (in panic). (iii) Lo, behold, there comes down from the firmament a line of parrots, as if a necklace with rubies and emeralds has dropped from the neck of the Sky Beauty. 6. Kuntaka cites in his Vakroktijivita a Prakrit passage as an example of suggested Utpsreka. The text of this passage is highly corrupt and it is given as running prose : pravANa cala vijju ya duli rAiAsu khanaanti me aAso uvANa urulisadvayami hiLiAsuka jillai virahae / (?) Dr. H. C. Bhayani, in his paper', has sugggested the following reconstruction: pavaNeNa calaM vijju-caDuliaM rAiAsu pulaaMti mehaaM / soUNa a orallisaddaaM mahiliAsu kalijjai virahao (?) The Sanskrit chaya : pavanena calaM vidyut-prajvalita-pUlakaM rAtriSu pazyanti megham / zrutvA ca dIrghagambhIra-garjita-zabdaM mahilAsu kalyate virahaH / / Kalpalataviveka (p. 75), however, seems to have preserved the original text : ghettuANa calavijjucaDuliyaM rAiAsu pulayaMti mehayA / souANa orallisaddayaM mahiliyANa kA jiyai virahae / [gRhItvA caladvidyut-pradIpaM rAtriSu pralokayanti meghAH / zrutvA (dIrghagambhIra) meghadhvani strINAM kA jIvati virahe / / ] [ Note : It is creditable to Dr. Bhayani that his reconstruction hits upon

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DISCOVERY THROUGH RESTORATION 305 quite a few words in the original.] Translation : With the help of the lamp of tremulous lightning the clouds see during the nights if any of the ladies separated from their beloveds still continue to live even after hearing the loud thundering noise. 7) In Srngarraprakasa (Vol. III p. 800), Bhoja cites a Prakrit gatha as an example of gita-nimittah naimittikanuragah. Its text is somewhat corrupt : keNA ci ajja gose kappivaNe vallahaM mharaMteNa / aMhamaaNasarAhaahiaavaNapphoDaNaM gIaM / / I reconstructed the text as follows : keNAvi ajja gose kappivaNe (? aMbavaNe) vallahaM bharateNa / 6-73701-HTE37-f83737-qu-isuj 1731 11 [kenApi adya prabhAte Amravane vallabhaM smaratA / G:HE-467-PRIET-664-90- te a ll] After the text was printed I realised that the second half of the gatha is metrically defective. I should have read either 'F83737-qu' or 'qu- Gui'. But my two emendations of kappivaNe to aMbavaNe and ahaM to dUsaha were quite arbitrary. But when the translation was being printed, by chance I came across the original gatha : ajja sahi keNa gose kaM pi maNe vallahaM bharateNa (pA0 bhe0 mharaMteNa) / amhaM maaNasarAhaa-hiaa-vvaNaphoDaNaM (pA0 bhe0 hiaa-vaNa-pphoDaNaM) giiaN|| [adya sakhi kena prabhAte kAmapi manye vallabhAM smaratA / 3AHGARRIES-EG4-797-Pac 1a 11] . --Gathasaptasati IV. 81 Translation : Early this morning, my friend, some one sang a song remembering, methinks, his sweetheart and that tore up all the wounds caused to my heart by Madana's arrows. The method of comparative study that I followed for restoration of the corrupt readings and passages in the works on Sanskrit Poetics paid rich dividends. It led to the discovery of (i) a major portion of Abhinavabharati, on Ch. VII, the Bhavadhyaya which was believed till yesterday to have been lost, and (ii) considerable portion of Sarvasena's Harivijaya which also was believed to have been lost altogether. Let us first take up for discussion the discovery of (i) Abhinavabharati (Ch. VII). Abhinavagupta is the greatest name in Sanskrit literary criticism. His two famous commentaries, one, Abhinavabharati on Bharata's Natyasastra and two, Locana on Anandavardhana's Dhvanyaloka, are regarded as their Bible or Stud.-39

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306 STUDIES IN JAIN LITERATURE more appropriately the Vedas by most of his successors and even modern scholars working in the field of Sanskrit Poetics and Aesthetics. Of all the chapters in the voluminous Natyasastra the most important are the sixth (on rasa), the seventh (on bhava), the eighteenth (on dasarupa) and the nineteenth (on samdhis). The Abhinavabharati on these chapters too is equally important. The loss of Abhinavabharati Ch. VII was naturally very much felt by all scholars working in the field of Poetics and Aesthetics. To wit : Dr. J. L. Masson and Prof. M. V. Patwardhan observe in their recent work Santarasa and Abhinavagupta's Philosophy of Aesthetics (1969) : "All of the seventh chapter of the Abhinavabharati but the very beginning has been lost, which is a great misfortune, since Abhinava refers to it frequently. It must have been a large and important section of the A.Bh." (p. 120, f. n. 2) I wrote two papers : (i) 'Abhinavabharati Ch. VII Recovered'? and (ii) "Hemacandra on Satrvikabhavas.' In the first paper I have instituted a detailed comparison between the Kavanusasana of Hemacandra and the Kalpalataviveka and also between the Natyadarpana of Ramacandra and Gunacandra and the Kalpalataviveka. These comparisons lead us to the obvious inference that the authors of these works draw on a common source and to a further inference that their common source could not have been anything else than the Abhinavabharati on the Bhavadhyaya (Natyasastra Ch. VII), Further, the authors of Kavyanusasana and Natyadarpana do not reproduce the definitions of the forty-nine bhavas as they are found in the Natyasastra but adopt them and that they do not fully borrow the comments in the Abhinavabharati on them but pick up only such phrases and significant lines from them as they think to be useful for a clear exposition. On the other hand, the author of the Kalpalataviveka reproduces verbatim the definitions of the thirty-three vyabhicaribhavas in the same order as found in the Natyasastra and also he gives fuller comments which agree in parts with the corresponding portion in the Kavyanusasana and the Natyadarpana. From this fact we may draw a further inference that these fuller passages, presenting comments on the thirty-three vyabhicaribhavas, found in the Kalpalataviveka represent the original portion of the Abhinavabharati. That the author of the Kalpalataviveka borrows this long, whole section from the Abhinavabharati should not surprise us if we remembered that elsewhere too in his work he has borrowed long sections from the Natyasastra and the Abhinavabharati and from the Dhvanyaloka and the Locana commentary on it. This conclusion finds strong support in the similarity of language, style. diction and the method of exposition found in this portion and the rest of the

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DISCOVERY THROUGH RESTORATION 307 Abhinavabharati. If this portion of the commentary from the Kalpalataviveka were to be printed as the Abhinavabharati on the Bhavadhyaya no one would ever have dreamt of doubting its genuineness. So complete, so perfect is the similarity, even identity. In addition, I have shown how the promised discussion of nirveda referred to in the treatment of the Santarasa (Ch. VI) is found in this portion of the Kalpalataviveka. On the basis of all these arguments I have established that the Kalpalataviveka (pp. 286-303) preserves a major portion of the Abhinavabharati on the Bhavadhyaya. In another paper, "Hemacandra on Satrvikabhavas", I have shown how Hemacandra in his Kavyanusasana (pp. 144-147) has preserved the section of Sattvikabhavas (dealing with the theroretical aspect of the Sattvikabhavas and citing verses to illustrate each and everyone of them) from the Abhinavabharati Ch VII. This portion on Sattvikabhavas and the long section on the thirty three vyabhicaribhavas preserved in the Kalpalataviveka together preserve most of the Abhinavabharati on Bhavadhyaya. Abhinavagupta is a sahrdayasiromani, He selects carefully best examples from first-rate poetic works like Setubandha, Sakuntala, Raghuvamsa, Amarusataka, etc. I have not been able to trace three of the examples to their source. I quote here one of them : AzleSe prathama kramAdatha jite hRdye'dharasyArpaNe kelidyUtavidhau paNaM priyatame kAntAM punaH pRcchati / sAntarhAsaniruddhasaMbhRtarasodbhedasphuradgaNDayA tUSNIM zAravizAraNAya nihitaH svedAmbugarbhaH krH|| [Perspiration (sveda) due to the infusion (of tejas) into the waterdominated element of the vital force is exemplified in the following stanza :) At a game of dice with which they amused themselves she first wagered a close embrace which her lover won. The second was a kiss of her nether lip which also he won. Now when he asked what the third wager would be, perspiration broke on her hand as she prepared to throw the dice; her cheeks quivered as the rush of passion filled her bosom and her mouth tightened in suppressed smile. Only four verses from Bhoja's Sarasvatikanthabharana were, according to Raghavan", identifiable as Sarvasena's from his Harivijaya, now lost. In the course of restoration I noticed that, at least forty verses, some of them are repetitions, are definitely identifiable and nearly a century of verses as probably identifiable as Sarvasena's from his Harivijaya. Leaving aside probably identifiable verses and piecing together all the

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308 STUDIES IN JAIN LITERATURE available items of knowledge from the identifiable verses and taking into account the discussions by critics, viz, Anandavardhana. Kuntaka, Abhinavagupta, Bhoja and Hemacandra, we get a good deal of information about the theme of Sarvasena's Harivijaya, its structure, language, style and poetic merits and its place in artistic epics : The Harivijaya of Sarvasena (4th century A. D.) The Title : The title means "The Victory of Hari (Krsna)', The object of Hari in the present epic is to carry off the Celestial Parijata tree from Indra's heaven. He marched against Indra with a view to securing the desired objectthe Parijata tree, the rise of the hero in the form of the conquest of the enemy (Indra) who himself surrendered and allowed him to carry the Parijata tree for Satyabhama. The Contents of the epic : Hari offers the Parijata manjari (given to him by Narada who had brought it from Indra's heavenly Nandana garden) to his beloved Rukmini, Although Satyabhama and the other wives of Hari (Jambavati, etc.) were hurt, Satyabhama alone showed her anger and jealousy-her feelings reflected her deep and abiding love for Hari. The rays of the moon, blended with the lustre of the sparkling Kaustubha gem, which should normally have increased her joy, actually aggravated her agony and made it just unbearable (because of Hari's offence--who offered the heavenly Parijata manjari to Rukmini but called on her empty-handed). When Hari met her, she sarcastically remarked : You have favoured Rukmini with a bunch of Parijata flowers from Heaven and me with your kind visit. Both your women should be satisfied with the equally distributed favours." Hari replied : "You are hurt, I know, because I gave the celestial Parijata flowers to Rukmini. But if I were to bring back the very flowers to gratify you it wouldn't be in keeping with my love for you, my delicate one, nor with my offence. I will soon get you the celestial Parijata tree itself, its leaves moist with spray of the rut of Airavata, its flowers along with the bees greedily sucking the nectar of their honey." At this Satyabhama's heart was overpowered with joy. And owing to the excitement thus caused, tears gathered in her eyes, and in spite of her attempts to suppress them, they still rolled down and fell on the back of Hari who was lying prostrate at her feet". Hari then appeased whatever little anger still was there in her heart by his conciliatory gesture, viz., falling prostrate at her feet--the feet of his beloved Satyabhama whose heart was still half-closed against him." "Her face promises to beam out any time now--the shades of displeasure are receding, a glow of joy is gradually spreading and the mixture of the two contrasting moods is increasing the beauty

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DISCOVERY THROUGH RESTORATION 309 of her face." Now when Hari marched against Indra in order to secure the celestial Parijata tree, Satyabhama, although she had seen (known) his valour, was distressed at the great calamity she feared out of great love for him, and felt extremely anxious. Satyabhama was increasingly full of regret for having brought about separation from Hari and blamed herself for it. "As the night advanced Hari, who has been separated from his beloved, saw the moon rising high in the sky as an impending calamity and as the god of love threatening with his bow". The next day Hari first sent his charioteer Satyaka (or Satyaki) as envoy to Indra. Satyaka addressed Indra in these words : "You prize friendship with Hari, O Indra, and yet you are reluctant to part with Parijata, the jewel (i.e. best) among trees. Give up this show of naivety and honour the desire of the Yadavas". Indra rejected Satyaka's advice. (Hari then fought with Indra. (Fearing total rout, Indra surrendered and allowed Hari to take the Parijata tree with him to the Earth)]. Hari achieved what Satyabhama had desired and came back home safe and sound. " 'Here he comes--this announcement of her maids Satyabhama only heard but, even though he was close to her, she didn't see him as her eyes were dimmed by tears". "At the sight of Hari, Satyabhama's heart leaped with joy, and her eyes, filled to the brim with happiness wandered all over with pleasure; both joy and happiness spread on her face an expression of unique grace", Satyabhama's eyes, tremulous like a swarm of black bees, although her heart was enchanted by the fragrance of flowers first rested on her beloved Hari and only then on that celestial Parijata tree. "Look here at this your own excellent tree"--when her dear husband uttered these words, indicative of his profound love for her, immense satisfaction found free scope and spread over her whole body." That very residence of hers (i. e. of Satyabhama) with the celestial Parijata tree planted at its entrance, and full of the decorative arrangement of its flowers, and with attendants plunged in joy, now looked quite different-exceptionally and uniquely beautiful." "With a view to giving his beloved, Satyabhama, the rapture of sexual union far exceeding wildest of her desires, Hari, with a smile on his face and with both of his hands holding his mukuta (crown) in its place, fell at her feet." Rukmini felt highly flattered by her dear husband's visit to her which quite thrilled her and gave immense pleasure although she had reason to feel displeased with him who still showed on him the signs of dalliance with her rival

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310 STUDIES IN JAIN LITERATURE (Satyabhama). Besides the valuable information collected above from the clearly identifiable skandhakas as Sarvasena's from his Harivijaya, Bhoja? and, following him, Hemacandra8 gives us a good deal of information about the contents of Sarvasena's Harivijaya : It was marked by the word 'Utsaha' (energy) occurring at the end of each asvasaka (chapter) and indicating the intention of the author (svabhipraya). It contained description of a city, seasons, the sunset, the hero, his mount (garutmat-Garuda), his envoy to Indra (Satyaka), Satyaki's visit to Indra (for securing the Parijata tree peacefullly), his march against Indra for carrying off the Parijata tree, his victory over his enemy (Indra, the king of the gods) who is forced to surrender after a great fight, a drinking party (madhupana) in a literary club (gosthi-gsha), the removal of Satyabhama's jealous anger (by securing for her the Parijata tree from the Nandana garden after defeating Indra in the fierce fight.) Its Structure or Technique : From the point of view of form, Sarvasena's epic is written throughout in one metre called skandhaka consisting of two equal halves of thirty-two(32) (12+20) matras. Its older name is aryagiti. The work is divided into asvasakas (and not into sargas as in the Sanskrit Mahakavya). Its Language : According to Bhoja, the Setubandha etc. are composed in pure Prakrit. Hemacandra follows Bhoja : the Setubandha, etc., are composed in Prakrit. This Prakrit bhasa is later known as Maharastri. Its Style : Kuntaka, the author of the Vakroktijivita chooses Sarvasena along with Kalidasa, as representative of the Sukumara marga (delicate style). which is natural, fresh, simple in its scantily adorned beauty, dominated by emotion, and spontaneously lyrical. This Sukumara marga is nothing but the old Vaidarbhi style. Its literary evaluation : From discussions by the critics, Anandavardhana (and Abhinavagupta), Kuntaka, Bhoja and Hemacandra, we see that Sarvasena's Harivijaya was an epoch-making work. As a classical Prakrit (Maharastri mahakavya) it was long famous. As Kalidasa's plays eclipsed Bhasa's plays, even so, it would seem, Pravarasena's Setubandha eclipsed Sarvasena's Harivijaya. Hemacandra criticises Sarvasena for inserting a disproportionated lengthy description of the ocean out of his inordinate love for composing alliterative (galitaka) verses, and that too in a situation of Vipralambha Srngara---when

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DISCOVERY THROUGH RESTORATION 311 Hari is marching against Indra to secure the celestial Parijata tree with a view to placating Satyabhama's jealous anger. Dandin in his Avantisundari (verse 12 at the beginning) refers to King Sarvasena and his epic poem Harivijaya. This reference must have been made out of admiration, no doubt. Anandavardhana admires Sarvasena, along with Kalidasa, for effecting changes in the story adopted from the Itihasas to suit the intended rasa8. Abhinavagupta adds in his Locana commentary that the incidents of the wedding of Aja, etc., described in the epic, Raghuvamsa, were invented by Kalidasa which were not found in the Itihasas; and the emotive motivation of placating the jealous anger of Satyabhama by securing the Parijata tree from Indra's garden, and centering the entire story round the rivalry of the two wives of HariSatyabhama and Rukmini--was invented by Sarvasena in his Harivijaya, although not found in the Itihasas. This change in the emphasis is poetically effective; it makes the poem humanly appealing and emotionally rich, Anandavardhana's remark about Sarvasena's originality and genius with specific reference to this motifkantanunayanangatvena parijataharanadi, as explained by Abhinavagupta, shows how he discusses the whole epic from the standpoint of how the author deals with the rasa, which constitutes the very life--forms the very essence-of the epic. This then is a brief account of my work of restoration of many corrupt readings, verses and passages from the works on Sanskrit Poetics, and of the discovery of invaluable portions of Abhinavabharati of Abhinavagupta and Harivijaya of Sarvasena through restoration. I have done. I thank you all for giving me a patient hearing. Notes and References : 1. Cf. The Natyasastra of Bharatamuni with the commentary Abhinavabharati, Chs. I-VII, edited by M. Ramakrishna Kavi, 2nd edn, Oriental Institute, Baroda, 1956, p. 63. 2. 3fed area Filhosfe an : 114dUai corel #1444014 11 -- Natyasastra XXII. 10 3. Restoration of the text of some corrupt... citations.. in Kuntaka's Vakroktijivita, Journal, Asiatic Society of Bombay, Volumes 52-53, 1981, P. 53. 4. Bhoja's Srngara Prakasa by Dr. V. Raghavan, Punarvasu, 7 Sri Krishnapuram Street, Madras--14, P. 825, See also : Indian Kavya Literature, Volume Three, A. K. Warder, The Early Medieval Period, Motilal Banarasidass, Delhi 1977, PP. 62-63.

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312 STUDIES IN JAIN LITERATURE 5. Maharaja Bhojaraja's Srngaraprakasa, Second Volume, ed. by the Yatiraja Swamy of ___Melcote and G. R. Josyer, Mysore-4, 1963, pp. 474-476. 6. Kavyanusasana of Acarya Hemacandra, ed. by R. C. Parikh and V. M. Kulkarni, Sri Mahavira Jaina Vidyalaya, Bombay, 1964, pp. 458-462. 7. evaM sahajasaukumAryasubhagAni kAlidAsasarvasenAdInAM kAvyAni dRzyante / -Dharwad edn. p. 66. 8. itivRttavazAyAtAM kathaJcid rasAnanuguNAM sthitiM tyaktvA punarutprekSyApyantarAbhISTarasocitakathonnayo vidheyaH / yathA ___ kAlidAsaprabandheSu / yathA ca sarvasenaviracite hrivijye| -Dhvanyaloka (III.11) Vrtti, pp/335-336. 9. raghuvaMze ajAdInAM rAjJAM vivAhAdivarNanaM netihAseSu nirUpitam / harivijaye kAntAnunayanAGgatvena pArijAtaharaNAdi nirUpitamitihAseSvadRSTamapi / -Locana, p. 335) 000

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JAIN CONTRIBUTION TO SANSKRIT POETICS AND AESTHETICS Winternitz observes at one place! : "The Jains have extended their activities beyond the sphere of their own religious literature to a far greater extent than the Buddhists have done, and they have memorable achievements in the secular sciences to their credit, in philosophy, grammar, lexicography, poetics, mathematics, astronomy and astrology, and even in the science of politics. In one way or other there is always some connection even of these "profane" works with religion. In South India the Jains have also rendered services in developing the Dravidian languages, Tamil and Telugu, and especially the Kanarese literary language. They have, besides, written a considerable amount in Gujarati, Hindi and Marwari. Thus we see that they occupy no mean position in the history of Indian literature and Indian thought." Now, the present paper confines itself to an examination of this view with particular reference to the Jain contribution to poetics and aesthetics. Soon we will be undertaking a brief review of the published Jain works on alamkara sastra but before that we take note of the widely known work, Kavanusasana of Acarya Hemacandra who has been extolled as Kalikalasarvajna. Standard works on the history of Sanskrit poetics and Sanskrit literature make critical references to this work and devalue it. I quote from the works of Kane, De and Keith in support of this statement. Kane remarks : "The Kavyanusasana is a compilation and exhibits hardly any originality. It borrows wholesale from the Kavyamimamsa of Rajasekhara, the Kavyaprakasa, the Dhvanyaloka and from Abhinavagupta's works"?. De observes : "His (Hemacandra's) dependence on earlier works is so close as to amount at times to almost slavish imitation or plagiarism."3 And, "It (Kavyanusasana) is like most of Hemacandra's other productions, more or less an industrious compilation displaying its author's encyclopaedic erudition, but hardly constituting an Stud.-40

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314 STUDIES IN JAIN LITERATURE original contribution to the subjects."4 Finally, Keith remarks : "In the contemporary of Mammata, Hemacandra, we find a placid borrowing from Mammata, Abhinavagupta, Rajasekhara, the Vakroktijivita, and so on. His Kavyanusasana, with the Viveka by himself is destitute of originality, but contains a section on dramaturgy." I have quoted these three eminent scholars to draw your special attention to what they think of Hemacandra's work, perhaps the best among all the Jain works on poetics. And it follows that they regard other Jain works on poetics "even less valuable". The approach of these eminent scholars to the Jain works, especially to Acarya Hemacandra's Kavyanusasana, is wrong and their criticism unfair, unjust and unsympathetic. In my paper "The Sources of Hemacandra's Kavyanusasana."6 I have shown in detail how Hemacandra's work does not constitute an original contribution to the subject, and observed : "It is, however, not quite correct to describe the Kavyanusasana as a compilation exhibiting hardly any originality as Kane does or to charge Hemacandra of plagiarism as De does. Instead of briefly summarising or paraphrasing or describing in his own language the theories and doctrines of his predecessors too illustrious to be mentioned by name, if Hemacandra preferred to present them in their original form we need not find fault with him. Besides we cannot forget the fact that his writing was of a scientific nature and in such scientific books such quotations are justified. We will only be betraying poverty of our imagination and scant respect for Hemacandra's intelligence if we were to insinuate that Hemacandra pretended that all the passages and excerpts which he quoted would pass as his own. The truth of the matter is that Hemacandra regards the masterpieces of his predecessors as the property of the entire world. Hemacandra is a man of pratibha but his pratibha is more of the bhavayitri and less of the karayitri type. His capacity to select choicest excerpts from his authorities and to organise them into a homogeneous and organic whole is supreme. It would, therefore, seem that the criticism against Hemacandra's Kavyanusasana is not fair. It would be more correct to describe the Kas as a good text-book lucidly setting forth various topics of Alamkarasastra in the very words of the masters and serving as a good introduction to the study of the well-known authorities."? This approach and point of view adopted in the above-mentioned paper is, to my mind the right one8. We now briefly review the published Jain works relating to poetics. (1) The old passage in Prakrit in Anuyogadvarasutra' (third century A. D.

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JAIN CONTRIBUTION TO SANSKRIT POETICS AND AESTHETICS 315 or latest the fifth century A. D.) : This passage speaks of nine rasas in poetry. They are : "The heroic (vira), the erotic (srngara), the wondrous (adbhuta), the furious (raudra), the bashful (vridanaka), the disgusting (bibhatsa), the comic (hasya), the pathetic (karuna) and the tranquil or the calm or the quiet (prasanta = santa). This enumeration of rasas is markedly different from Bharata's well-known list in three respects. One, it opens with vira and not with srngara. Two, it does not mention bhayanaka but speaks of a new rasa called vridanaka. And three, it gives nine rasas, instead of eight, by adding an altogether new one, namely, prasanta. According to the commentator Maladhari Hemacandra (end of the 11th century and early part of the 12th) vira is mentioned first because it is the noblest and foremost of rasas and the vira meant here is danavira and tapovira (and not yuddhavira which is vitiated by paropaghata (destruction of others); and that bhayanaka is included under raudrarasa and hence not mentioned separately. And to the addition of prasanta (=santa) he did not feel the necessity of giving any explanation most probably because the modified version of Bharata's text enumerating nine rasas was already well known. Now, the question arises whether this whole passage in Prakrit dealing with nine rasas of poetry is adopted from an earlier independent text in Prakrit on alamkara or the redactor of the text Anuogaddaraim has himself composed and added it or it is still a later interpolation. As regards the existence of an independent Prakrit text on alamakara prior to Anuyogadvarasutra there is no clear evidence. The possibility of interpolation cannot be entirely ruled out in the case of a text that provides examples of numbered objects. If, however, there existed any such ancient text on alamkara in Prakrit it passes one's comprehension why none of the Jain authors on alamkarasastra cares to refer to this work or the passage adopted from it by their sacred text. The puzzle remains unsolved. (2) Alaskaradarpana in Prakrit, consisting of 134 slokas (to be precise gathas) is devoted to the treatment of poetic figures. The name of its author is not known. Catalogue of Sanskrit And Prakrit Manuscripts, Jesalmer Collection gives a description of a manuscript of this work and reproduces a few gathas that occur at the beginning and at the end of the work?. It is hardly a work of value or importance. (3) Hari's work on alamkarasastra ? Namisadhu in his Tippana (Commentary) on Rudrata's Kavyalamkara (II. 19) quotes a gatha with the introductory remark :

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316 STUDIES IN JAIN LITERATURE Tatha hyastau (vrttayah) harinoktah | Yatha : Mahuram parusam komalamojjassim nitthuram ca laliyam ca Gambhiram samannam ca attha bhanii u nayavva ||| Hari speaks of eight yrttis of anuprasa. They are as follows : 1. sweet (madhura), 2. harsh (parusa) 3. gentle (komala), 4. vigorous (ojasvi), 5. jarring (nisthura), 6. graceful (lalita), 7. deep (gambhira) and, 8. common or miscellaneous (samanya). Now Kane, in his Index of authors and works on Sanskrit Poetics' (1951 edn, p. 422) makes the following statement : "Hari mentioned by Namisadhu on Rudrata's Kavyalamkara II.19 as a writer on Poetics in Prakrit." (italics mine). De too observes : "It is interesting to note that Nami quotes a Prakrit verse from one Hari (ii) presumably a writer on Poetics, which mentions eight yrttis instead of five of Rudrata."12 V. Raghavan, however, writes in his work, Bhoja's Srngaraprakasa (1963 edn, p. 821) : "The verse (mentioning eight varieties of anuprasa) is evidently from the preliminary part of the opening chapter of some Prakrit poem by one Hari." (Italics mine). The nature of the quotation is such as to allow Kane and De on the one hand, and Raghavan on the other to draw their respective inferences as to its source-whether it was a work on Prakrit poetics or poem. In the absence of any supporting evidence it would be wrong on one's part to accept or reject either inference. Some noteworthy Jain commentaries (4) Kavyalamkara-Tippana 13 by Namisadhu : Nami, known as Nami-sadhu or Nami-pandita was a svetambara Jain and pupil of Salibhadra. He composed his commentary in Samvat 1125=1069 A. D. He 'deserves more than a passing notice. He is an early writer. He followed older commentators as he himself says : purvamahamativiracitavsttyanusarena kimapi racayami.' His commentary, though generally concise and to the point contains many quotations. (5) Kavyaprakasa-Sanketa :14 Manikyacandra, a Jain author of Gujarat wrote his commentary called Sanketa on the famous Kavyaprakasa. It is dated in Samvat 1216-1159-60 A. D. "Among the numerous commentaries those of Manikyacandra, Somesvara, Sarasvati-tirtha and Jayanta deserve special mention as being amongst the earliest ones."

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JAIN CONTRIBUTION TO SANSKRIT POETICS AND AESTHETICS 317 (6) Kavyaprakasakhandana 15 : by Siddhicandragani (1587-1666 A. D.). The author's intention was to write a critical exposition and to distinguish it from mere expositions he calls it Kavyaprakasakhandana. On more than sixty occasions Siddhicandragani differs with Mammata. Thus he criticises Mammata's definition of poetry, varieties of poetry, the nature and number of rasas, etc. His criticism is bold and refreshing. Treatises in Sanskrit on Alamkarasastra (7) The Vagbhatalamkara of Vagbhata 16 (the first half of the 12th century A. D. ) with the commentary of Simhadevagani : Vagbhata is perhaps the first Jain author to write a treatise on Sanskrit Poetics. His work is divided into five paricchedas (Chapters) and it contains 260 verses. Most of these verses are in the anustubh metre. He treats of the same topics usually covered in a treatise on poetics. He speaks of four figures of word (Citra, Vakrokti, Anuprasa and Yamaka) and thirty-five figures of sense and two styles (Vaidarbhi and Gaudiya). The examples cited in the work are the author's own. The popularity of this work could be judged from the number of commentaries on it. No commentaries on Hemacandra's or Vagbhata's Kavyanusasana are known. But the Vagbhatalamkara is fortunate in this respect. De has recorded information about eight commentaries on this work. The commentaries of Simhadeva Gani and Jinavardhana Suri are better known. (8) The Kavyanusasana"? of Hemacandra (between 1136 to 1143 A. D.): The Kavyanusasana with its vrtti called Alamkara-cudamani and its commentary, called, Viveka, composed by Hemacandra--the author himself, is a fine book in eight chapters comprehending the following topics (i) the purpose (prayojana) of poetry, its cause (hetu) viz. pratibha, the aids to pratibha, viz., vyutpatti and abhyasa, definition of poetry; the nature of sabda and artha, meanings--the denoted, indicated and suggested meanings. (ii) The rasa and its factors sthayi vyabhicari and sattvikabhavas. (iii) The dosas (defects) of pada, vakya, artha and rasa (iv) The gunas which are three, madhurya, ojas and prasada and the letters which help to produce them. (v) six figures of word. Twenty-nine figures of sense, (vii) The characteristics and kinds of nayaka and nayika. (viii) Division of kavya into preksya and sravya, and their sub-divisions and their characteristics. Hemacandra lucidiy sets forth these topics very often in the very words of the authorities on Alamkarasastra that preceded him and thus his work serves as a very good introduction to the study of the authoritative texts used by him. It is rather unfair to Hemacandra to describe his work as a compilation exhibiting hardly any originality as Kane does or to charge him of

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318 STUDIES IN JAIN LITERATURE plagiarism as De does. A close study of the Kas reveals that Hemacandra shows independence of thought and judgment in good many places refusing to follow blindly his acknowledged authorities. It is, however, incorrect to call Hemacandra's Kas unique because it brings for the first time poetics and dramatics within the compass of a single work. For it is not the first of its kind. Hemacandra takes the lead from Bhoja's Srngaraprakasa which treats of both poetics and dramatics. Again, it is to be remembered that Hemacandra's treatment of dramatics is scanty. It is probably for this reason that his two pupils Ramacandra and Gunacandra undertook writing their Natyadarpana which gives a comprehensive treatment of this science of dramatics. . (9) Kalpalata and its Pallava (and Viveka) 18 of Ambaprasada (c. 1136 A. D.) : The text Kalpalata and its vitti Pallava are as yet not discovered. Kalpalata and its svopajna (auto) commentary Pallava are the composition of Ambaprasada, who was, most probably, a Jain. Whether Viveka was also composed by him or by some other author is not as yet definitely known. Possibly, this Viveka is the composition of a Jain author. This Viveka commentary forms a supplement to the Pallava commentary. Although it is a supplement and sub-commentary it is highly important in many respects : It presents correctlly a couple of Prakrit and Apabhramsa verses which were otherwise extremely corrupt and obscure. It preserves a large portion of the Abhinavabharati ch. VII, which was regarded as lost for ever by scholars working in the field. It helps a good deal in restoring corrupt readings in Abhinavabharati and Locana. It preserves about a hundred pratikas of the Vakrokti-jivita mostly related to Chapter III and presents authentic explanations. It throws fresh light on Bhamahavivarana (Udbhata's commentary on Bhamaha's Kavyalamkara) which was presumed to have been lost beyond recovery. It supports Gnoli's identification of his publication of some fragments from this commentary with Bhamahavivarana It also helps to restore some of the corrupt readings in the voluminous srngaraprakasa publisherd from Mysore in four volumes. (10) The Natyadarpana 19 of Ramacandra and Gunacandra (c. 1125 to 1172 A. D.) : This is a very important work dealing with the science of dramatics. Unfortunately it is less known but deserves to be known better. It treats of almost all the topics of dramaturgy which a playwright ought to know. The authors of the ND critically studied all the literature on dramaturgy that was available to them. They made full use of the works of their predecessors but whenever and wherever they disagreed, they boldly criticised them and set forth

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JAIN CONTRIBUTION TO SANSKRIT POETICS AND AESTHETICS 319 their own views. Their exposition of the theory of rasa (aesthetic experience) which markedly differs from that of his illustrious predecessors such as Abhinavagupta is noteworthy from this point of view. The ND notes anonymously the views of other authorities, some of which are no longer extant. It is rich in illustrations drawn from various plays of great merit, some of them are now lost to us. It is, therefore, valuable from the standpoint of literary history as well. Its long quotations proved of great help in reconstructing the lost play Devicandragupta and they are of great historical value. Its style is simple and lucid and exposition brief yet clear. It bears comparison with the Dasarupaka of Dhananjaya (with Dhanika's Avaloka), the most popular work on dramaturgy, nay, it surpasses it in many respects. (11) The Alamkaramahodadhi20 of Narendraprabhasuri (first half of the 13th century A. D.) : This work on Sanskrit Poetics was composed at the request of Vastupala (d. 1242 A. D.). It is divided into 8 tarangas (Chapters.) It contains 304 karikas and 982 illustrative stanzas. The author himself wrote a commentary on this his own work. He does not lay any claim to originality but frankly admits that it is a compilation based on works of his predecessors in the field of poetics. nAsti prAcyairalaGkArakArairAviSkRtaM na yat / opfaert 169: FRHEYECH 11 Introductory v.no 21, p.3 A study of this work shows that the work is primarily based on the work of his distinguished predecessors, for instance, Anandavardhana, Kuntaka, Bhoja, Mammata, Hemacandra and the like. It is, no doubt, an industrious and intelligent compilation and the treatment of the topics is at once lucid. (12) The srngararnavacandrika21 of Vijayavarni (last quarter of the 13th century A. D.) : The author was a Digambara Jain. He composed this work at the request of king Kamiraya of Bangawadi (Karnataka). It is divided into ten paricchedas (chapters). Chapter I mainly deals with consequences ascribed to initial letters of any composition and to the metrical feet empoyed in it. Chapter II enumerates seven groups of poetry and deals with fourfold sense and fourfold power of word Chapter III treats of rasa and bhava. Chapter IV gives a study of the types of hero and heroine and their friends, messengers and rivals. Chapter V treats of ten Gunas. Chapter VI makes a study of Riti and its kinds. Chapter VII deals with Vrtti and its varieties. Chapter VIII, which is the shortest of all, deals with the concepts of sayya and paka. Chapter IX which is the longest of all deals with Artnalamkaras. Chapter X treats of dosas in a poetic composition and also of circumstances when they cease to be so. In the course of his exposition

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320 STUDIES IN JAIN LITERATURE of various topics of poetics the author sings the glory of king Kamiraja. Vijayavarni, generally follows the authorities on poetics (Purvasastra or sastra). The author of Alamkara-sangraha and this author for the first time introduce the topic of varna-phala and gana-phala in works on poetics. Vijayavarni has drawn on the Kavyadarsa, Kavyalamkara(of Rudrata), the Dasarupaka, the Kavyaprakasa and the Prataparudrayaso-bhusana. The verses, illustrative of various points of poetics, are his own. It has to be said, however, that their literary merit is not up to mark. (13-14) The Alamkaracintamani22 (and srngaramanjari) of Ajitasena (1420 A. D.) : He was a Digambara Jain; this work of his is divided into five paricchedas (chapters) The first chapter treats of kavisiksa ("education of the poet", "instruction of the aspiring poet in the devices of the craft."). It sets forth in great detail various instructions for an aspiring poet, the eight topics to be described in a mahakavya (epic-poem) and various poetic conventions. The second chapter treats of the citralaskara (with its 42 varieties), one of the kinds of sabdalamkara (figures of word). The third chapter treats of the remaining three kinds of figures of word-vakrokti, anuprasa and yamaka (with its eleven varieties). The fourth chapter treats of 72 arthalamkaras and the last chapter deals with rasadi (rasa, riti, sabdasakti vrttis, gunas, dosas and the types of hero and heroine. Srrigaramanjari is possibly (or rather probably) from the same Ajitasena, the author of Alamkaracintamani. It was written at the instance of a Jain Apupa prince of the lunar race, named Raya or Kamiraya for his instruction. It consists of three chapters and 128 stanzas dealing with (I) dosas (2) ten gunas of Vamana and (3) ten arthalaskaras. The work has not been published so far. (15) The Kavyanusasana23 of Vagbhata (c. 14th century A. D.): This work (with its vrtti, Alamkaratilaka, by the author himself), like Hemacandra's work of the same name, is written in the form of prose sutras. Siksa-works (16) The Kavi-siksa of Jayamangala (end of the 11th Century and first half of the 12th Century A. D.) : The author was a Jain who wrote at the time of Jayasimha Siddharaja (1094-1143 A. D.) and was thus a contemporary of Hemacandra. The work has not been published so far. (17) The Kavya-siksa 24 (also known as Kavi-siksa) of Acarya Vinayacandra (about 1250 A. D.): is divided into six paricchedas (chapters) : 1. Siksa, 2. Kriya-nirnaya, 3. Loka-kausalya, 4. Bija-vyavarnana, 5.

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JAIN CONTRIBUTION TO SANSKRIT POETICS AND AESTHETICS 321 Anekarthasabdasamgraha and 6. Rasa-bhava-nirupanapariccheda. The first chapter deals with certain siksas instructions) for the composition of kavya (poetry), for example, conventions about describing things which are not actually found in certain place as being present there, not describing some things as existing even when in reality they do exist, artificial restrictions on the existence of things; use of expletives, conventions regarding metres, colours, and topics which should be described in an epic poem, The second chapter deals with kriya-nirnaya 'correct forms of verbs' and exposition of numerous verbs with their roots, meanings and ganas. The third chapter makes the reader conversant with the various ways of the world. This chapter lists entities numbering one, two, three, etc. (ekadi-padartha-ganana) terms of collective nouns and some select abhanakas, sayings, in Sanskrit and Prakrit and examples to illustrate acquaintance or familiarity (paricaya) with various sastras, and standards of comparison (upama-padani). The fourth chapter deals with the description of bijas of various topics, Jina, Hara, Brahma, Hari and so on. The fifth chapter deals with homonymns (anekarthasabdas) arranged according to different principles. Last chapter deals with the characteristic features of rasas and bhavas. This work is a lucid and comprehensive treatise on Kavya-siksa and very useful for an aspiring poet. (18) Kavitarahasya or Kavyakalpalata25 of Arisimha and Amaracandra (Middle of the 13th Century A. D.) : These two Svetambara Jain authors are notable in Sanskrit poetics for this work on the composition of verses and its commentary entitled Kavisiksa-vrtti. This work was composed in part by Arisimha and completed by Amaracandra who also wrote the commentary. The Kavyakalpalata consists of four Pratanas, (Chapters) viz, : 1. Chandah-siddhi, 2. Sabda-siddhi, 3. Slesa-siddhi and 4. Artha-siddhi. The first chapter deals with prosody. It consists of sections on (i) the construction of the anustubh metre, (ii) enumeration of the principal metres, conversion of one metre into another, caesura (yati) (iii) use of expletive particles and words for filling up the verse, (iv) argumentation, pointed sayings, subjects of laudation or vituperation etc. and (v) subjects for descriptive poetry, how to describe the King, his ministers, the prince, the army, battle and hunting as well as a city, a village, a garden, a lake and so forth; enumeration of poetic conventions (varnya-sthiti). The second chapter treats of etymology, derived meanings of compounds, denoted, indicated and suggested meanings, etc. The third chapter deals with play on words of various kinds. The last chapter is devoted to the construction of similes, ellipsis and similar figures. Stud.-41 -

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322 STUDIES IN JAIN LITERATURE (19) The Kavi-Kalpalata of Devesvara (c. beginning of the 14th century A. D.) : This work is "directly modelled on the Kavyakalpalata with considerable plagiarism of passages in extenso." General Evaluation of the Jain works on Sanskrit Poetics We must not lose sight of the fact, when we judge the works, that they belong to the period of decline and decadence and that the creative period was over since long before. It is idle on our part to expect of the authors, whether Jain or non-Jain, (belonging to the decadence period) any new poetic theories. The writers' creative period had already propounded the various doctrines of rasa, alamkara, riti, dhvani, vakrokti and aucitya and there was hardly any scope to set forth a new doctrine of poetics. We must judge these works not by applying the test of originality and novelty of thought as they hardly lay claim to originality. Rather we must judge them as text-books presenting a rare collection of fine passages in earlier works for they are primarily intended as text-books, or as manuals of poetics to guide the aspiring poet in his profession, their primary object being Kavi-siksa-instruction of the aspiring poet in the devices of the craft. When they are judged from the correct stand-point we realise that they are not trash or insignificant and that they serve very well the purpose of text-books or of siksa-granthas as the case may be. Although these Jain authors and commentators in a sense do not contribute anything new to our knowledge they do, in another sense, contribute to our knowledge in that they have preserved long paragraphs, passages, chapters from the original far-famed works they drew on such as Bhamahavivarana, Dhvanyaloka, Vakroktijivita, Abhinavabharati, Locana, etc; and adopted passages have proved of invaluable help in restoring many corrupt passages and recovering lost passages and chapters. Jain Contribution To Aesthetics : Introductory Aesthetics or the inquiry into the character of beauty (Saundaryasastra) is a regular part of philosophy in the West. In India, it does not form part of philosophy. The study of aesthetics was carried on here by a distinct class of thinkers alamkarikas (literary critics) who were not professional philosophers. Naturally, they nowhere systematically discuss in their works the essential characteristics of art in general, or of the fine arts in particular. They deal mainly with beauty in creative literature, only in one of the fine arts. They do not explicitly or emphatically speak of the distinction between the "Fine Arts" and the "Lesser" or "Mechanical" Arts-those which minister to the enjoyment of man, and those which minister to his needs. Nor do they speak of "Arts of the

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JAIN CONTRIBUTION TO SANSKRIT POETICS AND AESTHETICS 323 Eye" and the "Arts of the Ear". Nor do they venture upon a definition of Art, applicable to all the (Fine) Arts. They merely attempt definition of one of the Fine Arts, namely Poetry (kavya or creative literature as such) and investigate into the sources of literary beauty. Finally, they arrive at the conception of rasa as the first and foremost source of Beauty in Literature. Modern scholars like M.Hiriyanna say "... the numerous works in Sanskrit on poetics furnish adequate data for constructing a theory of fine art in general." And, "The conception of rasa is general and furnishes the criterion by which the worth of all forms of fine art may be judged 26." Some other scholars however hold that in the context of other fine arts the term rasa is used by metaphorical extension only and the rasa theory is not applicable to other fine arts. Be that as it may, let us revert to aesthetic inquiry carried on by the alamkarikas in relation to the fine art of kavya (Poetry including the Drama). Two stages in the growth of Sanskrit literary criticism In the growth of Sanskrit literary criticism we discern two distinct stages, The first stage is represented by the early alamkarikas and the second by Anandarvadhana and his followers. The early alamkarikas hold that in kavya it is the alamkara that enjoys the pride of place. They fail to notice the central essence of kavya as their attention is concentrated on its body--the outward expression or externals of kavya, viz., sabda and artha. It is Anandavardhana the Dhvanikara-who completely revolutionized the Sanskrit poetics and aesthetics by his novel theory that dhvani (suggestion) is the soul. (the very essence) of kavya. Pratibha is the cause of poetry. It renders the poet's creation unique. And to appreciate and enjoy the poet's unique creation a sahrdaya (a sensitive and sympathetic spectator or reader) is needed. The poet and the sahrdaya are gifted with pratibha. In the realm of kavya pratibha enjoys the place of supremacy. Whatever is touched by the magic wand (power) of pratibha becomes alaukika (unique) and a source of beauty. Mere dhvani is not a source of beauty, the dhvani itself must be charming. There is no charm in such expressions as simho batuh (The boy is a lion) or gangayam ghosah' (there is a hamlet on Ganga.) just as there is no beauty in the bald vakrata of a dog's tail (but the vakrata of the crescent moon is incomparably beautiful). The traditional views of rasa Now, the traditionally accepted view of rasa is stated out in Abhinavagupta's Abhinavabharati on the Natyasastra and Locana commentary on Dhvanyaloka. Its distinguishing features are : Rasa is totally different from an ordinary emotion. It is generic

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324 STUDIES IN JAIN LITERATURE universal i.e. common to all other sahrdayas while an emotion is individual and immediately personal. Rasa is always pleasurable but an emotion may be pleasant or painful. Rasa is not created as the result of the denotation-the way joy is produced when (a man hears the words), "A son has been born to you" nor does it come about through laksana; nor it is created as a result of perception, inference or recollection. It cannot exist without vibhavas, etc. but these are not in the normal sense causes; an effect can exist when its causes have disappeared but rasa exists only while the vibhavas etc., last. Rasa is something alaukika (supernatural or supernormal, transcendental, unique, sui generis). It is marked by unselfishness-selflessness- a forgetting, though temporary, of one's private self-individuality and by a unique kind of delight. Its essence consists exclusively in aesthetic pleasure (carvyamanataikasara). As in the case of a taste like madhurya--sweetness there is no knowing of rasa apart from directly experiencing it (asvadya-manata-pranataya bhanti); rasa is felt, therefore it exists. Rasa is parabrahmasvada-sahodara (similar to the enjoyment of the Absolute or Ultimate Reality, but not identical), Rasa is manifested or suggested by the vibhavas etc., in their idealised or generalised form. Rasa is marked by restful joy. We have deliberately set forth in some detail the view of rasa set out in Abhinavagupta precisely because it has been accepted in toto by the polymathwho is known as Kalikalasarvajna-the Jain scholar Acarya Hemacandra in his Kavyanusasana :--tena sadharanibhutaratih srngarah-iti srimanabhinavaguptacaryah | Etanmatameva casmabhirupajivitamiti (p. 103). Now, chronologically speaking, the "nava kavva-rasa pannatta" passage in Anuyogadvarasutra is the oldest one. We have absolutely no clue to know the author's view as to the laukika or alaukika nature of rasa and its sukhatmakata or sukhaduhkhatmakata. The senior Vagbhata who preceded Hemacandra, it would seem, regards that sthayibhava itself, when fully developed by the vibhavas etc., becomes rasa. This view is in agreement with the view of Lollata and differs from Abhinavagupta's sthayivilaksano rasah--"Rasa is very different from the permanent emotion." Namisadhu, while commenting on Rudrata (Ch, XII. 3), explains the line : 'sfa H R 7: Ha' as follows : iti zabdaH evaMprakArArthaH / evaMprakArA anye'pi bhAvA ratinirvedastambhAdayaH sarve'pi rasA boddhavyAH / If Rudrata extends rasatva to nirvedadi i.e. to all the cittavsttis and primarily to the vyabhicarins, Namisadhu extends rasatva to sattvikabhavas also (which are, though called bhavas, physical manifestations). He follows, it would

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JAIN CONTRIBUTION TO SANSKRIT POETICS AND AESTHETICS 325 seem, Bhoja in this respect27. From amongst the rest of the Jain commentators on poetics and writers on poetics all excepting Siddhicandragani (the author of Kavyaprakasakhandana) and Ramacandra and Gunacandra (the authors of Natyadarpana) have nothing new to say about the nature of rasa28. They follow, as a rule the standard works on Sanskrit poetics, like Mammata's Kavyaprakasa. . The credit of presenting graphically and vigorously the view that all the rasas are not pleasurable, but some alone are pleasurable and some others painful, goes to Ramacandra and Gunacandra29. They were disciples of Acarya Hemacandra, the author of Kavyanusasana. They, however, do not agree with their master, for whom they have great reverence, as to the nature of rasa and set forth cogently their own view which may be termed as sukha-duhkhatmavada (according to which some rasas are pleasurable and some painful) as opposed to Kevalanandavada according to which all rasas are pleasurable. According to the Natyadarpana30, 1. srngara, 2. hasya, 3. vira, 4. adbhuta and, 5. santa are pleasurable whereas 1. karuna, 2. raudra, 3. bibhatsa and, 4. bhayanaka are painful. They say : the view that all rasas are pleasurable goes against experience. The karuna, raudra, etc. when presented on the stage or in poetry cause indescribable pain to the spectators or sensitive readers. They experience camatkara, only at the end of rasasvada due to the poet's divine pratibha and actor's skill in presentation. Persons (like Abhinavagupta) dupedcarried away--by this camatkara, regard the karuna, raudra etc. as pleasurable although in reality they are painful31. Attracted by this aesthetic experience of grief etc., spectators feel like going to plays in which karuna is present. Poets and playwrights compose poems and plays which consist in pleasure and pain in accordance with this worldly life itself which consists in both pleasure and pain. Witnessing of tragic events on the stage never produces pleasure. If the representation of tragic events be pleasurable then the representation itself will have to be called misrepresentation32. The Natyadarpana holds that the sthayibhava itself, when developed by vibhavas and vyabhicaribhavas and manifested by anubhavas is to be called rasa. This view of the nature of rasa is identical with the utpattivada or pusti-vada of Lollata (and Dandi), and most probably with Bharata's own view of rasa as found in the Natyasastra. For Bharata explicitly says: Sthayibhavansca rasatvam upanesyamah | --NS, Vol. I, Ch. VI, p. 299

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326 STUDIES IN JAIN LITERATURE and, sthayyeva tu raso bhavet | --NS, Vol. I, Ch.VI.p. 379 Further, Bharata's description of a sensitive spectator corroborates this above statement : "A true spectator at drama is he who, when the character is happy becomes himself happy, when the character is in sorrow is himself in sorrow, and when the character is depressed becomes himself depressed." Thus it would seem that the authors of the ND, in contrast to their own revered Acarya Hemacandra who follows Abhinavagupta, word for word, as regards the nature of rasa, regard, following Bharata, Lollata, Dandi etc., rasa as laukika and therefore, sukhaduhkhatmaka. Here, we may note, in passing, that the authors of the ND do not subscribe to the misrananda-vada of rasa alluded to in their work by Dhanika and Jagannatha, when they speak of its being sukha-duhkhatmaka ! They clearly state that five rasas are sukhatmaka and four, duhkhatmaka. Regarding the location of rasa they differ with Lollata. They hold that rasa is present in the hero (say, Rama, Dusyanta, etc.), in the spectator, and some times in the actor also. Siddhicandragani's view of rasa is more radical. He very probably sets out his own view under the guise of 'iti navinah' or "navinastu" : According to him, the aesthetic pleasure or rapture is just like ordinary pleasures of sense, that arise, for instance, from pressing plump breasts of a beautiful young lady or from applying cool sandal paste to our bodies33. Rasa is thus laukika Rasa, by its very nature, being pleasurable he holds that there are only four rasas : 1. srngara, 2. vira, 3. hasya and, 4. adbhuta. He rejects the claim of karuna, raudra, bibhatsa, bhayanaka and santa to the title of rasa34. The whole discussion of this topic is marked by originality logical reasoning and freshness of outlook and deserves to be read in the original35. Siddhicandra goes a step, and a very big step indeed, further than Ramacandra and Gunacandra in holding that there are four rasas only. The description of Aja-vilapa, or santa or of bhayatisaya is aimed at showing the intensity of love towards Indumati, his beloved wife, or complete detachment or world-weariness of mumuksus or the tenderness or softness of a particular individual, respectively. In fact, however, poets undertake to describe such incidents, events or situations only to demonstrate their own descriptive power or the richness of their own imaginative faculty36. This survey would show that there is nothing peculiarly Jain about their view of the nature of rasa. Along with other writers on poetics they take rasas to be laukika or alaukika, sukha-duhkhatmaka or sukhatmaka only. A "Moderner" like Siddhicandragani disregards tradition and holds that there are

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JAIN CONTRIBUTION TO SANSKRIT POETICS AND AESTHETICS 327 four rasas only. It is, however, very surprising, if not shocking, that none of these Jain authors and commentators takes congnisance of the "nava-kavva-rasa pannatta" passage found in their sacred text., the Anuyogadvarasutra. In conclusion, I should like to say that the Jain contribution to the Sanskrit poetics and aesthetics is noteworthy, especially when we remember that almost all these Jain works have been composed during the period of decline and decadence. A few of them, like Acarya Hemacandra, (Ramacandra and Gunacandra) adopt the finest passages or lines from the standard works or early authorities on alamkara and organise them into good text-books. A few others choose to write commentaries on the far-famed Kavyaprakasa. Manikyacandra's commentary Kavyaprakasasamketa enjoys reputation and authority as one of the early and authentic commentaries. Still a few others devote their attention to writing convenient hand-books or manuals with a view to providing instruction to the aspiring poet in the devices of the craft. The Kavyakalpalatavrtti of Arisimha and Amaracandra is a typical or model siksagrantha. Authors like Ramacandra and Gunacandra who wrote the Natyadarpana and a 'moderner' like Siddhicandragani who wrote Kavyaprakasakhandana set out their novel theories regarding the nature of rasa--whether it is laukika or alaukika, whether it is sukhatmaka or sukhaduhkhatmaka, whether their number is limited to eight or nine or whether there are as many rasas as there are cittavrttis or bhavas including the sattvikabhavas (which are, in fact, physical manifestations) and spring on us a pleasant surprise by their fresh outlook and logical reasoning in the face of stalwarts--intellectual giants like Abhinavagupta. By adopting passages long and short from early authorities and preserving them in their original form they have proved themselves of invaluable help in restoring the corrupt text of highly important works like Abhinavabharati, Locana. Bhoja's srngaraprakasa, Kuntaka's Vakroktijivita, etc. Notes and References : 1. A History of Indian Literature, Vol. II, Calcutta, 1933, pp. 594-595. 2. The Sahityadarpana of Visvanatha and The History of Sanskrit Poetics by P. V. Kane, third edition, Bombay 1951, p. 217. 3. History of Sanskrit Poetics In Two Volumes, Second Revised Edition, Calcutta, 1960, Vol. I, p. 189, f. n. 1. 4. Ibid, p. 190. 5. A History of Sanskrit Literature by A. B. Keith, Oxford, 1928, pp. 395-396.

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328 STUDIES IN JAIN LITERATURE 6. Studies In Sanskrit Sahitya-Sastra, pub. by B. L. Institute of Indology, Patan (North Gujarat), 1983, pp. 149-154. 7. Ibid, pp. 153-154. 8. Cf Dr. Raghavan : Bhoja's Srrgaraprakasa, Third revised and enlarged edition, Madras, 1978, p. 237 f. n. I : ... "Hemacandra's Kavyanusasana which is a rare collection of all the fine passages in all the earlier works." And, Ibid, p. 687 :... "Hemacandra's Kavyanusasana is a work embodying in itself the best portions of the works of many preceding writers like Bharata, Anandavardhana, Abhinavagupta (Locana and Abhinavabharati), Mahimabhatta and Ksemendra." 9. Nandisuttam and the Anuyogaddaraim, Jaina-agama series No. 1., Sri Mahavira Jaina Vidyalaya, Bombay, 1968, pp. 121-124. 10. Compiled by Muni Shri Punyavijayji, L.D. Institute of Indology, Ahmedabad-9, Serial No. 326-2, p. 138. 11. Ibid, the following three gathas out of six, reproduced in the Catalogue expressly inform us that the work deals with only figures of speech : savvAiM kavvAiM savvAI jeNa hoMti bhvvaaii| tamalaMkAraM bhaNimo'laMkAraM kukavi-kavvANaM // accaMtasuMdaraM pi hu niralaMkAraM jaNammi kIraMtaM / kAmiNimuhaM va kavvaM hoi pasaNNaM pi vicchAaM / tA jANiUNa NiuNaM lakkhijjaha bahuvihe alaMkAre / jehiM alaMkariAI bahumaNNijaMti kavvAI // 12. History of Sanskrit Poetics, Calcutta, 1960 edn, Vol. I, p. 93. 13. Edited in the Kavyamala Series (No. 2) with the Tippana of Namisadhu, Bombay, 1909. 14. Edition with the text (i) By Vasudeva Abhyankar, Anandasrama press, Poona 1921; (ii) by R. Sharma Sastry, Mysore, 1922. 15. Edited by Prof. R. C. Parikh and pub. in Singhi Jain Granthamala (No. 40,) Bharatiya Vidya Bhavan, Bombay, 1953. 16. Ed. by Sivadatta and K. P. Parab (with Simhadevagani's commentary) "Nirnaya Sagar" Press, Bombay, 1895. 17. Second revised edition by R. C. Parikh and V. M. Kulkarni, pub. by Mahavira Jaina Vidyalaya, Bombay, 1964. 18. L. D. Series No. 17, L. D. Institute of Indology, Ahmedabad-380 009, 1968. 19. Revised Second Edition by Pt. L. B. Gandhi, Oriental Institute, Baroda, 1959. 20. Ed. by Pt. L. B. Gandhi, Gaekward's Oriental Series, Baroda, 1942. 21: Manikachandra D. Jaina Granthamala : No. 50, ed. by V. M. Kulkarni, pub. by Bharatiya Jnanapitha Sales Office : 3620/21 Netaji Subhash Marg, Delhi-6, 1969. 22. Edited by Dr. Nemi Chandra Shastri, Bharatiya Jnanpitha Publication, publication office : Durgakunda Road, Varanasi - 221 005, 1973. It may be noted that there was a lot of confusion about the name of its author and his age which is now cleared by Dr. K. Krishnamoorthy. Vide his paper "The Date of Ajita Alamkaracintamani" included

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JAIN CONTRIBUTION TO SANSKRIT POETICS AND AESTHETICS 329 by him in his own vol. Essays In Sanskrit Criticism, pub. by Karnataka University, Dharwad, 1974, pp. 307-310. 23. Published in Kavyamala Series, No. 43, "Nirnaya-sagar" press, Bombay. 1915. 24. Edited By Dr. H. G. Shastri, L. D. series No. 3, L. D. Institute of Indology., Ahmedabad 380 009, 1964. 25. Printed in Chowkhamba Sanskrit Series. Benares, 1931. 26. Art Experience By M. Hiriyanna, Kavyaiaya Publishers Mysore, 1954, p. 2, and p. 64. 27. Vide Bhoja's Srrigaraprakasa by Dr. Raghavan, 1978 edition, (p. 432) and Sarasvatikanthabharana, (ch V,) (p. 722) N. S. edn, Bombay, 1934. 28. Incidentally, it may be noted that Ajitasena, the author of Alamkaracintamani, introduces the technical terms of Jain philosophy, namely, inanavaraniya (karma), viryantaraya (karma) and their ksayopasama, and mohaniya (karma) in defining Sthayibhava : kSayopazamane jJAnAvRtivIryAntarAyayoH / indriyAnindriyairjIve tvindriyajJAnamudbhavet // 1 // tena saMvedyamAno yo mohanIyasamudbhavaH / rasAbhivyaJjakaH sthAyibhAvazcivRttiparyayaH / / 2 / / ___-alaMGkAracintAmaNau paJcame paricchede 29. Abhinavagupta refers to the Samkhya view of rasa (that it is sukha-duhkha-svabhava) in his Abhinavabharati (Chapter VI p. 270, 4th edn). yena tvabhyadhAyi-sukhaduHkhajananazaktiyuktA viSayasAmagrI bAyaiva sAGkhyadRzA sukhaduHkhasvabhAvA rasaH / Vide also, Dr. Raghavan : The Number of Rasas, The Adyar Library And Research Centre, Adyar, Madras 600 022, 1979, (Ch.VII). The fact, however, remains that it is Ramacandra and Gunacandra who for the first time forcefully and elaborately set forth this view. 30. tatreSTavibhAvAdiprathitasvarUpasampattayaH zRGgAra-hAsya-vIrAdbhuta-zAntA paJca sukhAtmAno'pare punaraniSTavibhAvAdyupa nItAtmAnaH karuNaraudrabIbhatsa-bhayAnakAzcatvAro duHkhAtmAnaH / yat punaH sarvarasAnAM sukhAtmakatvamucyate, tat pratIta (?pratIti-bAdhitam) / --Natyadarpana, GOS edn, Baroda, 1959, p. 141. 31. bhayAnako bIbhatsaH karuNo raudro vA rasAsvAdavatAmanAkhyeyAM kAmapi klezadazAmupanayati / ata eva bhayAnakAdibhirudvijate samAjaH / na nAma sukhAsvAdAdudvego ghaTate / yat punarebhirapi camatkAro dRzyate, sa rasAsvAdavirAme sati yathAvasthitavastupradarzakena kavi-naTa-zakti-kauzalena / vismayante hi ziracchedakAriNA'pi prahAra-kuzalena vairiNA zauNDIramAninaH / p. 141. 32. anye ca sarvAGgAhlAdakena kavinaTazakti-janmanA camatkAreNa vipralabdhAH parAtmarUpatAM duHkhAtmakeSvapi karuNAdiSu sumedhasaH pratijAnate / etadAsvAdalolyena prekSakA api eteSu pravartante / kavayastu sukhaduHkhAtmakasaMsArAnurUpyeNa rAmAdicaritaM nibadhnantaH sukhaduHkharasAnuviddhameva grananti ....api ca sItAyA haraNaM draupadyAH kacAmbarAkarSaNaM.... abhinIyamAnaM sahRdayAnAM ko nAma sukhAsvAdaH ? / ....yadi cAnukaraNe sukhAtmAnaH syurna samyaganukaraNaM syAt, viparItatvena bhAsanAt... 33. ....iti prAcAM niSkarSaH / tadapekSayA kAminIkucakalazasparzacandanAnulepanAdineva nATyadarzana-kAvyazravaNAbhyAM sukhavizeSo jAyate / sa eva tu rasa iti navInAH / -- Kavyaprakasakhandana p. 16 34. iSTanAzAdibhizcetovaiklavyaM zoka ucyate / Stud.-42

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330 STUDIES IN JAIN LITERATURE tathA raudrazaktyA tu janitaM vaiklavyaM manaso bhayam / doSekSaNAdibhirgardA jugupseti nigadyate / tathAtattvajJAnAd yadIAdenirvedaH svAvamAnanam / ityAdiniyuktazokAdipravRttikAnAM karuNAdInAM rasatvaniSedhAt / yattu zokAdayo'pi ratyAdivat svaprakAzajJAnasukhAtmakA iti tadunmattapralapitam / -Ibid p. 21 35. Ibid, p. 16 and pp. 21-22. 36. nanu kathamajavilApAdikaM kavibhirvarNyata iti cet, ucyate-teSAM ajamahIpati-prabhRtInAM svasvapriyAnurAga prakarSapratipattyartham / . . .evaM zAntasyApi varNanaM mumukSUNAM vairAgyAtizayapratipattaye / evaM bhayAtizayavarNanaM tattadvyaktInAM mArdava. . . pratipAdanAya / vastutastu kavibhiH svazaktipradarzanArthameva padmabandhAbandhAdinirmANavat tatra tatra pravartyata iti / --Ibid, p.22 000

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JAIN AESTHETIC CONCEPTS Jhalakikar', the learned Sanskrit commentator of Kavyaprakasa informs us that the four commentators, Bhatta Lollata, Srisankuka, Bhatta Nayaka and Abhinavagupta have explained the Bharata-sutra (rasasutra) in accordance with the four systems of philosophy, Mimamsa, Nyaya, Samkhya and Alamkara, respectively. Professor Hiriyanna observes in one of his essays : "When the predominance of rasa came to be insisted upon as indispensable to artistic excellence, many of the systems of philosophy applied their own fundamental principles to its interpretation so that in course of time there came to be more than one theory of rasa", and elucidates these theories according to two of the chief systems, viz. Vedanta and Samkhya and sums up the essential differences between the Vedanta and the Samkhya aesthetics". In keeping with this usage one may speak of Jain aesthetics and Jain aesthetic concepts. On a closer study one would, however, find that it is somewhat misleading to stamp an alamkarika as a Samkhya or Naiyayika or Vedantin or Mimamsaka simply on the basis of the fundamental principles or technical terms of a particular system of philosophy employed by him in the course of his interpretation of the rasasutra. Bhatta Nayaka, for instance uses the Samkhya technical terms moha, sattvodreka, rajas and tamas and bhoga but at the same time compares this bhoga (characterised by a resting on one's own consciousness which is pervaded by beatitude and light) with the tasting of the supreme Brahman (parabrahmasvadasavidha), a phrase met with in Vedanta-darsana. On the basis of this slender evidence it would be simply incorrect to label Bhatta Nayaka either as a Samkhya or a Vedantin. In fact elsewhere Abhinavagupta himself gives him the title of 'Mimamsakagranih4. Acarya Hemacandra, perhaps the greatest Jain acarya of medieval India, adopts the entire commentary of Abhinavagupta on the rasasutra and declares that his authority (or source) is Acarya Abhinavagupta-who is a 'Mahamahesvara'. It would be seen from what has been said that there is no such thing as Hindu or Jain or Buddhist Aesthetics. Of course we have some works on poetics and aesthetics by Jain writers:

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332 STUDIES IN JAIN LITERATURE Vagbhata-I (Vagbhatalamkara, 1st half of 12th century A. D.), Acarya Hemacandra (Kavyanusasana lst half of 12th century A. D.), Maladhari Narendraprabha (Alamkaramahodadhi, 1st half of the 13th century A. D.). Vagbhata (II) (Kavyanusasana, 14th century A. D.) and Vijayavarni (Srngararnavacandrika, last quarter of the 13th century A. D. ?). These Jain writers accept, generally speaking, all the aesthetic concepts of alamkara, vakrokti, gura, riti, aucitya, rasa, dhvani and the like, as conceived and formulated by master alamkarikas like Bharata, Bhamaha, Dandin, Vamana, Anandavardhana, Bhoja, Kuntaka, Mammata and others, and presented in their celebrated works. They hardly have anything new to say about these concepts or add any new concepts. They have nothing new to say even about the central aesthetic concept of rasa. But there are two other Jain works which are noteworthy for their views about rasa and problems related to it. The first is Natyadarpana of Ramacandra and Gunacandra, the two remarkable disciples of Acarya Hemacandra, and the second, Kavyaprakasakhandana, a commentary on Kavyaprakasa of Mammata, composed by Siddhicandragani, contemporary of Panditaraja Jagannatha (17th century A. D.). These two writers depart from the beaten path regarding the nature of rasa and problems related to it. They indeed break fresh ground and their views strike the reader as novel. It is proposed to deal in this paper with their novel views. In the course of his commentary on the rasasutra Abhinavagupta briefly deals with the Samkhya view of rasa. According to the Samkhyas rasa is of dual nature--of amphibian nature-of the nature of pleasure or pain. But it is the Natyadarpana which for the first time divides the sentiments (rasas) into two distinct groups : 1. Those which are pleasurable (srngara, hasya, vira, adbhuta and santa--the erotic, the comic, the heroic, the marvellous and the quietist) and those that are painful or unpleasurable (karuna, raudra, bibhatsa and bhayanaka--the sentiment of pathos, the furious sentiment, the disgusting sentiment and the terrifying sentiment) and gives a reasoned exposition of this dual nature of rasa. It takes intensified permanent emotion (sthayi bhava), which is of the nature of pleasure or pain, to be rasa. (See karika III. 7); and in the vivarana (commentary) that follows sets forth arguments in support of the dual nature of rasa : To say that all rasas are pleasurable is against experience. The sentiment of bhayanaka etc. even when presented through poetic description or represented on the stage through fourfold abhinaya (acting) cause indescribable pain to the sahrdayas-sensitive and responsive readers or spectators, in factuality ! That is why people simply shudder when they witness plays depicting sentiments like the terrifying; shuddering and relish of pleasure

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JAIN AESTHETIC CONCEPTS 333 ill go together. The camatkara (peculiar delight) experienced by the spectators at the end of the performance of tragic scenes is, however, simply due to the genius or creative imagination of the poet and the high skill of the actors in presenting things faithfully. The proud are wonderstruck at the sight of an enemy who cuts off the head at one stroke. The wise (alamkarikas like Abhinavagupta), deceived or misled by this all-delightful camatkara caused by the display of the poet's genius and the extraordinary skill of actors, regard even these unpleasurable or painful karuna and other rasas as highly pleasurable?. Spectators too, eager to taste this camatkara, turn up to witness plays depicting Karuna and other painful rasas. Poets portraying the life of Rama etc : depict it as intermingled with joy and sorrow in accordance with the actual human life which is mixture of both. Again, pleasures become all the more enjoyable when accompained by sorrow like the sweetness of a beverage with a hot ingredient like chilly added to it. Tragic events such as the abduction of Sita, Duhsasana dragging Draupadi by her hair and attempting to disrobe her, Hariscandra's serving a Candala as a slave, the death of Rohitasva, Laksmana's being hit by a sakti--a kind of missile-Aghoraghanta's attempt to kill Malati (in the play Malati-Madhava) when represented on the stage can never cause delight in the hearts of the sensitive and sympathetic spectators (sahrdayas). Again, the emotions of sorrow and other (painful) feelings in the original character cause lamentation, shedding of tears, etc., and are therefore undoubtedly painful. If through imitation by actors these painful feelings are said to become pleasurable, it is obvious that the actor's art is very deficient as it represents things falsely-in their perverted form. The apparent relish of pleasure by one when a tragic event is being described or staged is really speaking the relish of pain. An unhappy person alone feels joy or satisfaction on hearing tragic news and is distressed on hearing good news. Thus karuna and other painful rasas produce sorrow and nothing but sorrow. The seat of rasa is the original character; the spectator, the hearer or the poet himself. Generally speaking, an actor does not experience the aesthetic delight, but it is not an absolute or invariable rule that he never experiences rasa. For example, a harlot who, through avarice or cupidity enters into amorous dalliance for the pleasure of others, may at times herself experiene great delight; a singer singing to delight others at times himself experiences great delight. Similarly an actor while playing the role of a character may at times be completely absorbed by that role and experience rasa'. It is quite clear from the very definition of rasa, given by the Natyadarpana (III 7.), that it holds, like Lollata, that rasa is laukika (as in

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334 STUDIES IN JAIN LITERATURE actuality). It holds rasa to be alaukika only in the sense that the vibhavas as depicted in a play or poem are not real. In the case of a real man and real woman the rasa is apprehended vividly because its vibhavas are actually present; and it is on account of this actuality that the vyabhicarins and anubhavas produced by rasa are clearly perceptible. In the case of a spectator or an actor however the rasa is apprehended only indistinctly for the vibhavas portrayed in a play or a poem do not have real existence. Consequently the vyabhicarins and the anubhavas too which follow rasa are not clearly perceptible. That is why the rasa, apprehended in a spectator is called alaukika (not of actuality, nonworldly, supranormal) 10. It would seem from the above that the authors of the Natyadarpana, strongly differ with Abhinavagupta on two points regarding rasa. Abhinavagupta holds all the eight (nine, including santa) rasas to be pleasurable (anandarupa) whereas these authors speak of two distinct groups of rasa : (1) srngaradi (the erotic and others), which are pleasurable and (2) karunadi (pathos and others), which are unpleasurable or painful. Abhinavagupta locates rasa primarily in the spectator (or hearer) whereas these locate rasa in the original character, the spectator (or the hearer), the poet and at times even the actor And now as regards Siddhicandra's view : Siddhicandra, a contemporary of Jagannatha, first explains the experience of paramananda, the supreme joy of rasa, according to the doctrine of the Vedantinsll. His use of terms like ratyadyavacchinnam (caitanyam), "bhagnavaranam (caitanyam)." strongly remind us of Jagannatha's explanation of rasa as ratyadyavacchinna bhagnavarana cideva rasah in his Rasagangadhara2As compared with it, a peculiar pleasure which arises on watching a dramatic performance or hearing the recitation of poetry is similar to the pleasure of anointing one's body with sandal-paste or of pressing the breasts of a young beautiful woman is itself rasa--this is the view of the moderns (navinah) who belong to the 17th century13. In other words, the navinas (possibly, including the author himself) regard the aesthetic pleasure as on a par with ordinary pleasures of the sense-as only laukika(worldly). As a corollary to this view they hold that there are only four rasas; the erotic, the heroic, the comic and the marvellous; and reject the claim of the pathetic, the furious, the terrifying and the disgusting to the title of rasas 14. The pathos (karuna) and others, arising from sorrow (soka) etc., although are revealed with cit (or caitanya)-consciousness consisting of delight, they cannot be called rasa since

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JAIN AESTHETIC CONCEPTS 335 the sthayi amsa (part) is opposed to the state of rasa. Again, if you argue that they, being revealed by alaukika vibhavas, etc., deserve to be called rasa like the pleasurable bites inflicted in the course of love game, our reply is 'No'. For following this line of argument you will have to call mental distress caused by hunger, thirst, etc., as new or different rasas. The bites in the course of sexual enjoyment remove the pain caused by overpowering passion and give a sense of relief as when a burden is taken off one's shoulders. But to say that sorrow (soka) etc., like love (rati) etc., consists of (lead to) light, knowledge and joy is simply a madman's prattles. Further in 'Aja-vilapa (Aja's Lament) etc., because of varnaniyatanmayibhavana 'identifying one's self with the event or situation portrayed', how could there arise the aesthetic joy similar to brahmananda ? In the disgusting (bibhatsa rasa) which describes vividly flesh, pus, etc., the reader or spectator does not vomit or spit is itself a matter of surprise; how could it produce rasa consisting of supreme joy ? It may be granted that the santa somehow deserves the title rasa with reference to persons who have given up completely all vasanas (various instincts) but certainly not with reference to sensualists as it (the santa) involves abstention from all pleasures of the senses. The heroic and the furious do not differ as their vibhavas bear resemblance. Regarding danavira, etc., the poet's chief intention is to describe the supreme generosity, greatness, etc. of the hero. The poets describe 'The Lament of Aja' for pointing out the profound love of Aja, towards Indumati his beloved queen. So too the santa is described to demonstrate the intense sense of world-weariness of mumuksus (persons desirous of liberation). So too the terrifying in order to illustrate the tenderness of heart of the heroes concerned. In fact (to tell the truth), poets depict these/various situations to demonstrate the richness of their pratibha (creative imagination) in the same way as they write Padma-bandha (artificial composition in which the words are arranged in the form of a lotus flower). etc16. This point of view that "rasa is laukika, is made up of pleasure and pain, and that it in no way differs from other pleasures of the senses", however did not find able advocates among the alaskarikas and was thrown into background, if not completely eclipsed by the writings of Abhinavagupta, Mammata, Hemacandra, Visvanatha and Jagannatha. Althought the Jain writers do not make any significant or original contribution to the subject of Sanskrit poetics and aesthetics they deserve our gratitude on grounds more than one : They incorporate almost word for word, passages after passages, large and important sections from standard and authoritative works of master minds and preserve them intact and help us

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336 STUDIES IN JAIN LITERATURE immensely in restoring the corrupt and hence obscure text of Abhinavabharati (about which the first editor, Ramakrishna Kavi remarked : "...even if Abhinavagupta descended from Heaven and saw the Mss. he would not easily restore his original reading") 17 and Locana, the two unique commentaries on Bharata's Natyasastra and Anandavardhana's Dhvanyaloka respectively by Abhinavagupta, the greatest authority in Sanskrit literary criticism and aesthetics. These works are the sources of many aesthetic ideas, concepts and famous comparisons of later alamkara literature. They preserve important passages and sections from authoritative works on alamkara which are now irretrievably lost. The commentaries of Jain authors utilise earlier works and elucidate the text and help us a good deal to understand better the original works on alamkara that they comment upon. Most noteworthy works which belong to the above categories are Hemacandra's Kavyanusasana, Natyadarpana of Ramacandra and Gunacandra, Kalpalataviveka of Ambaprasada (?), Namisadhu's Tippana (commentary) on Rudrata's Kavyalamkara, Manikyacandra's commentary Samketa on Kavyaprakasa and Gunaratnagani's Saradipika, another commentary on Kavyaprakasa. Though Hemacandra's Kavyanusasana does not constitute an original contribution to the subject it is not quite correct to describe it as a compilation exhibiting hardly any originality as Kanel does or to charge Hemacandra of plagiarism as Del' does or to label it as 'siksa-grantha' as De, again, does. Instead of briefly summarising or paraphrasing or describing in his own words the theories and doctrines of his great predecessors too illustrious to be mentioned by name, if Hemacandra preferred to present them in their original form we need not find fault with him. Besides we cannot forget the fact that his writing was of a sastriya (scientific) nature and in scientific books such quotations are justified. We will only be betraying poverty of our imagination and scant respect for Hemacandra's intelligence if we were to insinuate that Hemacandra pretended that all the passages and sections which he quoted would pass as his own. The truth of the matter is that Hemacandra regards the masterpieces of his worthy predecessors as the property of the entire world. He is a man of pratibha (creative imagination) but his pratibha is more of bhavayitri (appreciative) and less of the karayitri (creative) type. His capacity to select choicest passages from his authorities and to organise them into a homogeneous and organic whole is supreme. Moreover, Hemacandra shows independence of thought and judgement in good many places, refusing to follow blindly his acknowledged authorities. Hemacandra adopts the entire long section or Abhinavabharati on the famous rasasutra of Bharata. He also adopts explanations of Bharata's

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JAIN AESTHETIC CONCEPTS 337 Dasarupakadhyaya from Abhinavabharati. He also freely incorporates passages after passages from his authorities as shown in my paper "The Sources of Hemacandra's Kavyanusasana."20 If the sections and explanations from Abhinavabharati were not preserved intact by incorporating them in his Kavyanusasana, it would have been next to impossible to restore the corrupt text of Abhinavabharati on the key rasasutra. Next to the Rasadhyaya of Natyasastra, the Bhavadhyaya is all important. The commentary Abhinavabharati on it has been lost. Every student of Sanskrit poetics and aesthetics feels very much the loss of this portion. As late as 1969 A. D. Dr. J. L. Masson and Prof. M. V. Patwardhan observe in their recent work santarasa and Abhinavagupta's Philosophy of Aesthetics "All of the seventh chapter of the Abhinavabharati but the very beginning has been lost, which is a great misfortune, since Abhinava refers to it frequently. It must have been a large and important section of the A. Bh." (p. 120 f.n.2). In my paper "Abhinavabharati CH.VII Recovered ?" I have shown decisively how the portion of the Kalpalataviveka from p. 286, line 22 to p. 303, line 3, dealing with the thirty-three vyabhicaribhavas of the Natyasastra is a straight quotation of the major portion of the original Abhinavabharati on the Bhavadhyaya21. Kalpalataviveka of Ambaprasada, Natyadarpana of Ramacandra and Gunacandra and Kavyanusasana of Hemacandra have been of great use in recovering the original readings of Abhinavabharati and Locana as well. Again, Hemacandra's treatment of gunas is noteworthy : "On gunas Hemacandra is a follower of Anandavardhana and he draws upon Mammata and probably on Rajasekhara also....As regards the three gunas, Hemacandra considers that. madhurya is of the highest degree in vipralambha, a little less in karuna and still less in santa... This is one of the views recorded later by Jagannatha." It is noteworthy for "his reference of strange views on gunas." One view holds that ojas, prasada, madhurya, samya and audarya are the five gunas (in the sense of the pathadharmas). The other view is these five gunas belong to certain metres." Hemacandra criticises both. What is remarkable is his reference to strange views on gunas which are not mentioned elsewhere by any alamkarika. Hemacandra's Kavanusasana and Ambaprasada's Kalpalataviveka shed abundant light on the vexed problem whether Gnoli's claim that his publication, Udbhata's commentary on the Kavyalamkara of Bhamaha22, really represents some fragments of the "lost" Bhamahavivarana. These two texts contain passages which support Gnoli's identification. Again, Kalpalataviveka lucidly explains the six verses of Bhamaha (Kavyalamkara V. 5-10) which have baffled modern scholars, Pandits and commentators alike. In a paper "Kalpalataviveka on Bhamaha's Kavyalamkara Stud.-43

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338 STUDIES IN JAIN LITERATURE (Chapter V w.5-10)23" I have shown how Kalpalataviveka throws a flood of light on the tough verses dealing with Logic and Epistemology. As poets the Jains have also contributed their share to the literature of the Drama24. Muni Ramacandra, a well-known disciple of Acarya Hemacandra wrote a number of plays. It may not be exaggeration to describe him as Bhasa of medieval India. Some years ago I had occasion to read his delightful play of a prakarana type called Mallikamakaranda25. A common man is puzzled to find a muni, who has renounced the world, depicting scenes of love between young men and women and describing approvingly the charms of young beautiful damsels. It also seems that some people professing to guard jealously the dignity and high position of munis, especially Jain munis must have severely criticised Ramacandra for writing plays dealing with srrgara and hasya (the erotic and the comic) sentiments. For peace or quietitude is of the essence of munis and these sentiments are harmful to maintain and develop the attitude of quietitude. Ramacandra defends himself against this criticism thus ; "The whole world knows that sama (peace of quietitude) is of the very essence of munis. (Don't you however forget the fact that) although gods are born in heaven they move about in all the three worlds." The suggestion is : Munis too should occasionally leave the high pedestal and come down on earth and should write plays and appreciate them when staged. Just as the gods do not lose their divine nature simply because they move about in the three worlds even so the munis who write plays and aesthetically appreciate them do not lose their sageness or monkhood. Ramacandra on occasions expresses his views about beauty : taM ciya paramattheNaM ramaNijjaM jattha hiyayavIsAmo / harisaMti asoyalayA jeNaM pAyappahArehiM // (tadeva paramArthena ramaNIyaM yatra hRdayavizrAmaH / hRSyanti azokalatA: yena pAdaprahAraiH // ) iti cchAyA // This aesthetic concept strongly reminds us of Abhinavagupta's hrdayavisranti or carurupam visrantisthanam (Beautiful means that which gives rise to aesthetic repose). yad yasya nAbhirucitaM na tatra tasya spRhA manojJe'pi / ramaNIye'pi sudhAMzau na nAma kAma: sarojinyAH // "Whatever one does not like, one has no eager desire or longing for it even if it be beautiful. The lotus-plant has indeed no longing for even the beautiful moon." Ramacandra has, of course, adopted this verse from Bhartrhari's Srrgarasataka.

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JAIN AESTHETIC CONCEPTS 339 Finally a word or two about Prakrit examples in Sanskrit works on alamkara : Sanskrit thinkers introduce about 2500 Prakrit verses in their works by way of examples. The principal reason behind such a large number of Prakrit citations is that these thinkers (alamkarikas) make no difference between Sanskrit and Prakrit literatures. They appreciated both--some of them wrote in both the languages. The norms laid down in their works were equally applicable to both and, indeed till recently to literatures even in our modern languages. The Prakrit text of inany verses is, in many places, corrupt or shows small or big gaps and in some cases it is so hopelessly corrupt that it becomes obscure. The Prakrit languages and literatures have been especially preserved by the Jain. I am glad to state that Prakrit Verses in Sanskrit Works on Poetics : A Critical Edition, prepared by me is recently published. I have done my best to present the Prakrit text of these verses as correctly and faithfully as humanly possible. In some quarters it is alleged that these Prakrit verses are full of obscenity. The alamkarikas have defined in their works what constitutes the fault of obscenity. Use of words which give rise to feelings of shame, of disgust or convey the sense of inauspiciousness--such words are taboo in cultured and polite society--is condemned by them as obscene. They have, with their sharp intellect, recorded and denounced as obscene even particular combinations of letters giving rise to words meaning the names of private parts of the human body. So there is no question of defending obscenity. These Prakrit verses fall into two groups : those which are highly erotic and those which portray illicit or clandestine or adulterous love. We must clearly distinguish between the erotic and the obscene. The writings of great poets, both Sanskrit and Prakrit, are highly erotic and artistic. To brand them obscene, as impatient critics do, would mean putting these great works out of the reach of the sensitive sahrdayas, We must not mistake the highly erotic for the obscene. Indian tradition treats the joys of love and the relations between the two sexes in a frank manner. The explanation for the citing of the second group of verses could be given as follows : The height of pure love is said to exist in relations with other men's wives or unmarried girls. Naturally, poets, Sanskrit as well as Prakrit, composed verses portraying Caurya-rata and the alamkarikas quoted such verses as specimens of dhvani-kavya refusing to be impressed by considerations of morality. In other words, alamkarikas show a very sensitive understanding of the aesthetics. Their approach to it is strictly a-moral. What they object to is not immorality but whatever is bad in aesthetic taste. To their

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340 STUDIES IN JAIN LITERATURE minds eroticism was not bad in taste; aesthetically it was most appealing to them. Notes and References : 1. idaM hi bharatasUtraM taTTIkAkRdbhirbhaTTalollaTa-zrIzaMGkaka-bhaTTanAyaka- abhinavaguptapAdaizcaturbhiH krameNa mImAMsAnyAyasAGkhya___alaGkAramatarItyA caturdhA vyAkhyAtam / -Kavyaprakasa, BOR Institute, Poona, 1950, edn., p. 87 2. Art Experience by M. Hiriyanna, Kavyalaya Publishers, Mysore, 1954, p. 7. 3. Ibid, pp 15-16. 4. See Introduction to The Aesthetic Experience According To Abhinavagupta (p.xx, f.n. 1) by R. Gnoli, Varanasi (1968) edn. (Chowkhambha Sanskrit Studies Vol. LXII). In the Dhvanyalokalocana (Kashi Sanskrit Series, Banaras 1940 edn., p. 173) Abhinavagupta censures Bhatta Nayaka thus "Such discussions are all right in Mimamsa but have no place in poetry". He makes such a remark about Bhatta Nayaka in Abhinavabharati (Vol. III p. 309) : Kevalam jaiminir anusrtah. 5. Incidentally, it may be noted that Anuyogadvarasutra, a sacred work of the Svetarbara Jains, which claims to be old (before third century A. D.) contains a Prakrit passage on nine kavya-rasas. The list omits 'bhayanaka and substitutes in its place 'vridanaka'. Further, it gives the pride of place to vira and not to srngara. It is surprising, if not shocking that all Jain writers on poetics and aesthetics completely ignore this passage giving an additional proof that aesthetics is not necessarily related to any religion or system of philosophy. 6. yat punarebhirapi camatkAro dRzyate, sa rasAsvAdavirAme sati yathAvasthitavastupradarzakena kavinaTazaktikauzalena / -Natyadarpana III. p. 141. 7. vismayante hi zirazchedakAriNA'pi prahArakuzalena vairiNA zauNDIramAninaH / anenaiva ca sarvAGgAhalAdakena __ kavinaTazaktijanmanA camatkAreNa vipralabdhAH paramAnandarUpatA duHkhAtmakeSvapi karuNAdiSu sumedhasaH pratijAnate / / -Ibid, p. 141. 8. tathA'nukAryagatAzca karuNAdayaH paridevitAnukAryatvAt (? paridevitAdikAryatvAt) tAvad duHkhAtmakA eva / yadi vAnukaraNe sukhAtmAnaH syurna samyaganusaraNaM syAt, viparItatvena bhAsanAt / iti / -Natyadarpana, p. 142. 9. ... na ca naTasya raso na bhavatItyekAntaH / paNyastriyo hi dhanalobhena pararatyarthaM ratAdi vipaJcayantyaH kadAcit svayamapi parAM ratimanubhavanti / gAyanAzca paraM raJjayantaH kadAcit svayamapi rajyante / evaM naTo'pi rAmAdigataM vipralambhAdhanukurvANa: kadAcit tanmayIbhAvamupayAtyeveti / -Ibid, p. 142. 10. ...sukhaduHkhAtmA lokasya naTasya kAvyazrotrAnusandhAtroH prekSakasya ca rasaH / kevalaM mukhyastrIpuMsayoH spaSTenaiva rUpeNa raso vibhAvAnAM paramArthasattvAdata eva vyabhicAriNo'nubhAvAzca rasajanyAH tatra spaSTarUpAH / anyatra tu prekSakAdau dhyAmalenaiva rUpeNa vibhAvAnAmaparamArthasatAmeva kAvyAdinA darzanAt / ata eva vyabhicAriNo'nubhAvAzca rasAnusAreNAspaSTA eva / ata eva prekSakAdigato raso lokottara ityucyate / -~-Ibid, p. 143. 11. Kavyaprakasakhandana (p. 16) Bharatiya Vidya Bhavan, Bombay, 1953 A. D. 12. Kavyamala 12. "Nirnaya-Sagar" edn. 1939, p. 27 13. tadapekSayA kAminIkucakalazasparzacandanAnulepanAdineva nATyadarzana-kAvyazravaNAbhyAM sukhavizeSo jAyate / sa eva tu rasa iti navInAH / -Kavyaprakasakhandana, p.16.

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JAIN AESTHETIC CONCEPTS 341 14. navInAstu zRGgAra-vIra-hAsyAdbhutasaMjJAzcatvAra eva rasAH / karuNAdInAM yathA na rasatvaM tathA vakSyate / -Ibid, p.16. 15. yattu zokAdayo'pi ratyAdivat svaprakAzajJAnasukhAtmakA iti tadunmattapralapitam / Kavyaprakasakhandana, p. 21. 16. atenta afafy: Farif yerfarefita sanifcfauluara na tayarfa sfat -Ibid., p. 22. 17. Natyasastra of Bharatamuni (GOS. No. xxxvi), Vol., I, 1956 edn. Baroda, Preface to the First Edition, p. 63. -18. History of Sanskrit Poetics, 1961 edn., pp. 288-89. 19. Studies in the History of Sanskrit Poetics, Vol.I, p. 203. 20. Journal, Oriental Institute, Baroda, Vol. xiv, No. 2, December 1964. 21. Journal, Oriental Institute, Baroda, Vol. xx No. 3, March, 1971. 22. Roma, Institute Italiano per II, Medio Ed Estremo Oriente, 1962. 23. Pub. in my Studies in Sanskrit Sahitya-Sastra (pp. 123-129), B. L. Institute of Indology, Patan (N. Gujarat). 24. A History of Indian Literature by M.Winternitz, Vol. II University of Calcutta, 1933 (pp. 546-548). 25. Pub. by L. D. Institute of Indology, Ahmedabad-9, 1983. 000

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THE JAIN VIEW OF AESTHETIC EXPERIENCE It is indeed absurd to speak of a Science such as Aesthetics as Hindu or Buddhist or Jain. A careful examination of the views of different writers about rasa, however, reveals that they are influenced by their own schools of thought or darsanas. The view of Bhatta Lollata, which is classsed as one of the production (utpatti) of rasa, is regarded as that of the Mimamsa school; and the view of Srisankuka which interprets the manifestation of rasa as a process of inference (anumiti) is regarded as that of the Naiyayika school. Bhatta Nayaka's view of rasa, termed as bhuktivada shows influence both of the Samkhya and the Mimamsa darsanas. Finally, Abhinavagupta's exposition of the theory of rasa is deeply influenced by the Vedanta school of thought as well as Kashmir Saivism (Pratyabhijnadarsana). In view of these facts it would be interesting to examine the Jain authors' writings on rasa and see whether they reveal any influence of Jain school of thought. The Jain text, the Anuyogadvarasutral, which claims to be old (before third century A. D. ?) contains a Prakrit passage on nine kavya rasas. It is not easy to decide whether this passage is taken from an early independent Prakrit text on Alamkarasastra or whether it is composed by the author himself keeping in view Sanskrit texts on dramaturgy or poetics. No such early Prakrit work on poetics is so far known. It is not unlikely that the author himself added this passage. It is, however, noteworthy that the usual order of rasas is not followed here. The list notes the rasas in the following order : 1. vira, 2. srngara, 3. adbhuta, 4. raudra, 5. vridanaka, 6. bibhatsa, 7. hasa, 8. karuna and, 9. prasanta. The definitions and the verses illustrating these nine rasas are such as are not to be met with in the treatises on the science of dramaturgy or poetics. It deserves notice that bhayanaka is not included in the list. In its place we have vridanaka(with vrila or lajja as its sthayibhava). The commentator informs us that bhayanaka is included under raudra. Futher, it is

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THE JAIN VIEW OF AESTHETIC EXPERIENCE 343 vira and not srngara that is given the pride of place, This change appears significant. As the author belongs to Jain monastic order we can well appreciate this change of emphasis. The inclusion of prasanta rasa in the list tends to suggest a much later date for this text, at least for this portion of the text, Again, it is to be noted that this passage does not indicate at all whether the author considered some of these rasas as pleasurable and some others painful or whether all rasas are pleasurable. From amongst the Jain writers on Alamkarasastra proper Vagbhata I, Acarya Hemacandra, Maladhari Narendraprabha, Vagbhata (II) and Vijayavarni, who wrote Vagbhatalamkara (1st half of 12th century A. D.), Kavyanusasana (1st half of 12th century A. D.), Alamkaramahodadhi, (1st half of 13th century A. D.), Kavyanusasana, (14th century A. D.) and Srngararnavacandrika (last quarter of the 13th century A. D. ?) respectively, have nothing new to say about rasa. They follow, as a rule, the standard works on poetics. Acarya Hemacandra expressly states that he bases his view of rasa upon that of Abhinavagupta". The credit of presenting graphically and vigorously the view that all rasas are not pleasurable but some alone are pleasurable and some painful, goes to Ramacandra and Gunacandra, the joint Jain authors of the Natyadarpana (latter half of the 12th century A. D.) They were pupils of Acarya Hemacandra, the author of Kavyanusasana. They however, do not agree with their master, for whom they have great reverence, as to the nature of rasa and set forth cogently their own view which may be termed as sukhaduhkhatmavada as opposed to Kevalanandavada according to which all rasas are always pleasurable. According to the Natyadarpana3 1. srngara, 2. hasya, 3. vira, 4. adbhuta and, 5. santa are pleasurable whereas 1. karuna, 2. raudra, 3. bibhatsa and, 4. bhayanaka are painful. They say : the view that all rasas are pleasurable goes against experience. The karuna, raudra, etc. when presented on the stage or in poetry cause indescribable pain to the spectators or sensitive readers. They experience camatkara, only at the end of rasasvada due to the poet's pratibha and actors' skill of presentation. Persons (like Abhinavagupta) duped-carried away--by this camatkara, regard the karuna, raudra, etc. as pleasurable although in reality they are painful. Attracted by this aesthetic experience of grief etc., spectators feel like going to plays in which karuna is present. Poets and playwrights compose poems and plays which consist in pleasure and pain in accordance with this worldly life itself which consists in both pleasure and pain. Witnessing of tragic events on the stage never produces pleasure, If the representation of tragic events be pleasurable then the representation itself will

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344 STUDIES IN JAIN LITERATURE have to be called misrepresentation. The Natyadarpana holds that the sthayibhava itself, when developed by vibhavas and vyabhicaribhavas, and manifested by anubhavas is to be called rasa. This view of the nature of rasa is identical with the utpattivada or pustivada of Lollata (and Dandin), and most probably with Bharata's own view of rasa as found in the Natyasastra. For Bharata explicitly says : Sthayibhavansca rasatvam upanesyamah | -NS, Vol. I, Ch. VI, p. 299 and sthayyeva tu raso bhavet -Ns, Vol. I, Ch. VI. p. 379 Further Bharata's description of a sensitive spectator corroborates this above statement : "A true spectator at a drama is he who, when the character is happy becomes himself happy, when the character is in sorrow is himself in sorrow, and when the character is depressed becomes himself depressed:"4 Thus it would seem that the authors of the ND, in contrast to their own revered Acarya Hemacandra who follows Abhinavagupta, word for word, as regards the nature of rasa regard, following Bharata, Lollata, Dandin etc., rasa as laukika and therefore, sukhaduhkhatmaka. Here we inay note, in passing, that the authors of the ND do not subscribe to the misrananda-vadas of rasa alluded to in their work by Dhanika and Jagannatha, when they speak of its being sukha-duhkhatmaka ! They clearly state that five rasas are sukhatmaka and four, dukhatmaka. Regarding the location of rasa they differ with Lollata. They hold that rasa is present in the hero (say, Rama, Dusyanta, etc.), in the spectator, and some times in the actor also. From amongst the Jaina commentators on poetics a few deserve notice here. Namisadhu (1069 A. D.), the able commentator of Rudrata's Kavyalamkara looks upon rasas as innate gunas, like saundarya, of kavya; and asserts that there is not a single state of mind which when intensified or fully developed does not become rasa. Bharata speaks of eight or nine rasas only as they appeal to the sensitive spectators and are abundantly found in literature Manikyacandra's Sanketa (1160 A. D.), Kavyaprakasakhandana of Siddhicandragani (1587-1666 A. D.) Saradipika of Gunaratnagani (17th century A. D.) are the commentaries on Mammata's famous Kavyaprakasa. Of these commentators, Siddhicandragani deserves special mention here. He very probably gives his own view under the guise of "iti navinah" or "navinas tu".

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THE JAIN VIEW OF AESTHETIC EXPERIENCE 345 According to him, the aesthetic pleasure or rapture is just like ordinary pleasures of sense, that arise, for instance, from pressing plump breasts of a beautiful young lady or from applying cool sandal paste to our bodies. Rasa is thus laukika and not alaukika. Rasa, by its very nature, being pleasurable he holds that there are only four rasas : 1. srngara 2. vira 3. hasya and 4. adbhuta. He rejects the claim of karuna, raudra, bibhatsa, and bhayanaka to the title of rasa?. The whole discussion of this topic is marked by originality, logical reasoning and freshness of outlook and deserves to be read in the originale. Siddhicandragani goes a step, and a very big step indeed, further than Ramacandra and Gunacandra in holding that there are four rasas only. The description of Aja-vilapa, or of santa or of bhayatisaya is aimed at showing the intensity of love towards Indumati, his beloved wife, or complete detachment or world-weariness of mumuksus or the tenderness or softness of a particular individual, respectively. In fact, however, poets undertake to describe such incidents, events or situations only to demonstrate their own descriptive power or the richness of their own imaginative faculty. This survey would show that there is nothing peculiarly Jain about their view of the nature of rasa. Along with other writers on poetics they take rasas to be laukika or alaukika, sukha-duhkhatmaka or sukhatmaka only. A "Moderner" like Siddhicandragani disregards tradition and holds that there are four rasas only. It is, however, very surprising, if not shocking, that none of these Jain authors and commentators takes cognizance of the "nava-kavva-rasa pannatta passage found in their sacred text, viz., the Anuyogadvarasutra. Notes and References : 1. Nandisuttam and the Anuogaddaraim, Jaina-Agama series No. 1. Shri Mahavira Jaina Vidyalaya, Bombay, 1968. pp. 121-124. 2. ...sAdhAraNIbhAvanA ca vibhAvAdibhiriti zrImAnabhinavaguptAcAryaH / etanmatameva cAsmAbhirupajIvitamiti / -Kavyanusasana (p. 103) (Mahavira Jaina Vidyalaya, Bombay 2nd revised edition, Bombay, 1964.) 3. tatreSTavibhAvAdiprathitasvarUpasaMpattayaH zRGgAra-hAsya-vIrAdbhuta-zAntAH paJca sukhAtmAno'pare punaraniSTavibhAvAdyupa nItAtmAnaH karuNaraudra-bIbhatsa-bhayAnakAzcatvAro duHkhAtmAnaH / yat punaH sarvarasAnAM sukhAtmakatvamucyate, tat pratIta (? fa) antical -p. 141 (GOS, Baroda, 1959 edition) 4. poe afghafa rilas 911449f all dainye dInatvamabhyeti sa nATye prekSakaH smRtaH // -Natyasastra (Ch. XXVII) --kintu tAdRza evAsAvAnandaH sukhaduHkhAtmako yathA praharaNAdiSu saMbhogAvasthAyAM kuTTamite strINAm / anyazca Stud.-44

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346 STUDIES IN JAIN LITERATURE laukikAt karuNAt kAvyakaruNaH / ---Avaloka commentary on the Dasarupaka (Ch. IV. p. 98) NS edition Bombay (1941) 5. atha yadyAlAda iva duHkhamapi pramANasiddhaM tadA pratibandhakatvaM na kalpanIyam / svasvakAraNavazAccobhayamapi bhaviSyati / atha tatra kavInAM kartuM sahadayAnAM ca zrotuM kathaM pravRttiH / aniSTasAdhanatvena nivRtterucitatvAd iti cet / iSTasyAdhikyAdaniSTasya ca nyUnatvAccandanadravalepanAdAviva pravRtterupapatteH / - Rasagangadhara (p. 31,) Kavyamala edition, (1939) According to Lollata rasa is primarily present in the hero and only secondarily in the actor who imitates or represents him. 6. ayamAzayo granthakArasya-yaduta nAsti sA kApi cittavRttiryA paripoSaM gatA na rasIbhavati / bharatena sahRdayAvarjakatvAt prAcuryAt saMjJAM cAzrityASTau nava vA rasA uktA iti / -Tippani on Kavyalamkara, Kavyamala edition (1909) 7. Abhinavagupta explicitly says that some of the 'sthayibhava's are 'sukha-svabhava' (of the nature of happiness, i.e. pleasurable) while some others are duhkha-svarupa' (of the nature of unhappiness, i.e. painful) : ratihAsotsAhavismayAnAM sukhasvabhAvatvam / .... krodhabhayazokajugupsAnAM tu duHkharUpatA 1 --Abhinavabharati on NS I. 119, pp. 43-44 Siddhicandragani holds that rasa is simply 'laukika.' Naturally, he recognises the four 'rasa's based on 'rati', 'hasa' 'utsaha' and 'vismaya' and rejects the claim of 'raudra,' 'bhayanaka' etc. to the title of 'rasa'. Abhinavagupta, who firmly subscribes to the view that 'rasas' are 'alaukika,' regards even 'raudra', 'bhayanaka,' etc. as 'sukhasvabhava' or 'sukhapradhana.' 8. Kavyaprakasakhandana (p. 16 and pp. 21-22), Singhi Jaina Series, Vol. 40, Bombay, 1953.

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SOME UNCONVENTIONAL VIEWS ON RASA Says Bharata : The great Brahma has declared that in a drama there are the following eight rasas : (1) srngara (erotic), (2) hasya (comic), (3) karuna (pathetic, compassionate), (4) raudra (furious), (5) vira (heroic). (6) bhayanaka (terrifying), (7) bibhatsa (disgusting) and (8) adbhuta (awesome or wondrous or marvellous). The permanent emotions (on which the above-mentioned eight rasas are based) have been declared to be (1) rati (love) (2) hasa (mirth, amusement, laughter), (3) soka (sorrow), (4) krodha (anger). (5) utsaha (energy), (6) bhaya (fear, terror), (7) jugupsa (disgust) and (8) vismaya (astonishment, wonder)". Of these eight permanent or dominant emotions, the following four are pleasant or pleasurable : rati, hasa, utsaha and vismaya; the remaining four, viz. soka, krodha, bhaya and jugupsa, unpleasant. Incidentally, it may be noted that Bharata nowhere speaks of the ninth rasa called santa (the sentiment of calm). Now, the question arises : Whether the four rasas, based on unpleasant emotions, are painful or whether they are also pleasurable like the other four rasas, based on pleasant emotions ? Bharata does not specifically answer this question. He, using a simile, explains how rasa is relished : "As connoisseurs of table delicacies are able to relish the flavour of food prepared with many spices and attain pleasure, etc., so sensitive and sympathetic spectators relish the dominant or permanent emotions suggested by the acting out of the various bhavas and presented with the threefold abhinaya called vacika (of speech), angika (of body, gestures) and sattvika (of sattvika bhavas-the involuntary states--like stambha--paralysis, sveda-perspiration, etc.) and attain pleasure, etc. (harsadims cadhigacchanti)." Regarding this phrase 'harsadin', Abhinavagupta notes the view of an earlier writer : "Others however think that the word etc. [in the compound harsadims cadhigacchanti) includes pain and the like. But this is not correct. For drama produces only joy in the spectator, and not such feelings as sorrow...these

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348 STUDIES IN JAIN LITERATURE authors read harsamscadhigacchanti' (they attain pleasure)...while this is not given as Abhinavas position, we can be fairly certain that he would agree with the view that the sole purpose of drama is harsa (or priti) and that it never creates sorrow." Abhinavagupta in his commentary Abhinavabharati on the Natyasastra and his commentary Locana on Dhvanyaloka declares, on a number of occasions, that rasa is always pleasurable?. Dhananjaya in his Dasarupaka and Dhamka in his commentary Avaloka on it also declare that rasa is pleasurable (anandatmaka). Jagannatha too declares that things like sorrow, although unwelcome in themselves, when portrayed in creative literature produce extraordinary joy or delights. Among the four commentators of the Natyasastra we have already noted the view of Abhinavagupta. Bhattanayaka, like Abhinavagupta, holds that rasa is always pleasurable since he compares rasasvada to brahmasvadas. Regarding Sankuka, though he does not touch this aspect in the course of his expositon of the rasa-sutra, we come across a passage in Abhinavabharati which unmistakably shows that Abhinavagupta has in mind Sankuka who held the view that rasa is of the nature of imitation of emotions like rati and that soka (sorrow), when portrayed in a play, assumes an altogether different nature and causes joy?. About the view of Lollata and the ancients, whom he approvingly quotes, there is no indication to know if they held the view that all rasas are pleasurable or some are pleasurable and some painful. But we may not be wrong if we say that the generally accepted and traditional and dominant view is that all rasas are pleasurable8. Keeping in mind this background we now deal with some less known and unconventional views on rasa. The Anuyogadvara-sutra, one of the sacred texts of the Svetambara Jains, composed between A. D. 300 and 500, according to Weber, and according to the editors of its critical edition (Nandisuttam and Anuyogaddaraim, Jaina Agama Series No.1 Shri Mahavira Jaina Vidyalaya, Bombay, 1968) not later than 300 A. D., deals with the nine kavya-rasas : 1. vira 2. srngara 3. adbhuta, 4. raudra, 5. vridanaka, 6. bibhatsa, 7. hasya, 8. karuna, and 9. prasanta (i.e. santa). This list of rasas differs from the well-known list of eight rasas given by Bharata in his Natyasastra in three noteworthy respects : (1) It breaks the usual order in enumerating the rasas. It opens with vira instead of opening with srngara (ii) It does not include Bharata's bhayanaka but gives in its place vridanaka. (iii) It adds for the first time to Bharata's list of eight rasas prasanta, the same as santa, is the ninth rasa.

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SOME UNCONVENTIONAL VIEWS ON RASA 349 (i) Maladhari Hemacandrasuri's Sanskrit Commentary on this sutra (Agamodaya Samiti edition, Bombay, 1924.) says that the vira (heroic) is the first and best of the rasas. It has two sublime varieties called tyaga-vira (the heroic relating to magnanimity) and tapo-vira (the heroic relating to asceticism). Both of these are superior to the third variety called yuddha-vira (the heroic relating to battle). It further says that yuddhavira is vitiated by the sin or flaw of injury to others (paropaghata). The commentary says that vira is mentioned first-is given the pride of place--because it is the noblest and foremost of rasas'. The primacy of vira may be regarded an early contribution to aesthetics by the Jain tradition. Tapovira is a new view in aesthetics as far as we know. (ii) The vridanka rasa : As said earlier the Anuyogadvarasutra omits the bhayanaka and in its place gives a new rasa called vridanaka. The sthayi of this new rasa is vrida, or lajja (shyness, modesty, bashfulness, shame). The traditional bhayanaka is, according to the commentator, included under raudra rasa, and hence not mentioned separately. The illustration of this new rasa is very interesting, the reference in it is to a peculiar provincial marriage custom, According to this custom "elderly men and women including the father-in-law and the mother-in-law pay their respects to the sari and the person of the bride after the nuptial night. The bride is taken round and elders revere her for her chastity. The thought of the elders revering her produces a sense of shyness in the bride's heart."10 (iii) If the passage dealing with nine kavya-rasas be as old as claimed by Weber or the editors of the critical edition brought out by Shri Mahavira Jaina Vidyalaya, Bombay, then it is perhaps the earliest text defining and illustrating, for the first time, the santa rasa. It is thus defined : "That rasa, which is characterised by sama (tranquillity), which arises from composure of the mind divested of all vikaras (passions), is to be known as prasanta- (the same as santa) rasa." The following is its example : "Oh, (look) how the lotus-like face of the sage shines ! It is full of great beauty (arising from tranquillity), truly devoid of any vikaras (passions)--the face with its eyes calm and gentle unperturbed by passions like anger, love and the like." Even if these passages were older than Abhinavagupta, it is very unlikely that he would have seen them. His treatment of the santarasa shows absolutely no signs of his having seen them. If he had seen them, he would have certainly dealt with them in a critical manner. The Natyadarpana of Ramacandra and Gunacandra (1100-1175 A. D.) : They were disciples of the famous Hemacandra who wrote Kavyanusasana, a

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350 STUDIES IN JAIN LITERATURE noteworthy work on poetics and dramatics. Hemacandra reproduces the whole section of Abhinavabharati on rasasutra and acknowledges his indebtedness to Abhinavagupta. Now, these disciples who wrote Natyadarpana have freely and copiously drawn on Abhinavabharati. They, however, have criticised Abhinavagupta's theory that rasas, one and all, without exception, are pleasurable by nature. Indirectly they have criticised their own guru who has literally followed Abhinavagupta in the exposition of the nature of rasa. They nowhere in their work have given any indication as to whether they had discussed this topic of the nature of rasa with their guru and whether he had approved of their presentation of the view that rasa is sukha-duhkhatmaka--both pleasurable and painful. They support their theory with the following arguments : "To say that all rasas are pleasurable is against experience. Karuna, raudra, bibhatsa and bhayanaka-these four rasas cause indescribable pain to the sahrdayas. They simply shudder when they witness plays depicting these rasas. If these rasas were pleasurable they would not shudder. The camatkara (thrill of pleasure, peculiar delight) experienced by the sahrdayas at the end of the performance of tragic scenes, etc., is however simply due to the display of the creative imagination (pratibha, sakti) of the poet and the great skill of the actors. The literary critics (like Abhinavagupta) who hold that these rasas also are pleasurable are perhaps deceived---misled by this camatkara. It is through excessive desire to experience this camatkara that people go to the theatre to see plays depicting these rasas also. Poets present the subject-matter keeping in mind the pleasant and unpleasant nature of the emotions of the hero Rama etc. : these four rasas resemble the pungent taste that adds to the sweetness of a beverage. For they heighten the pleasure yielded by pleasurable rasas. Tragic events, for example, the abduction of Sita, Dussasana dragging Draupadi by her hair and attempting to disrobe her, Hariscandra's serving a candala as a slave, the death of Rohitasva, Laksmana's being hit by a missile, Aghoraghanta's attempt to kill Malati, when represented on the stage can never cause delight in the hearts of sahrdayas. If through imitation by actors the unpleasant or painful feelings and emotions are said to become pleasurable, it is obvious that the actor's art of acting is very deficient or defective-it represents things falselyin their perverted form". It is for the first time in the history of aesthetics we find that this unconventional view on rasa is presented so vigorously and eloquently by the authors of Natyadarpana. Rudrabhatta's Rasakalika agrees with the above view that some rasas are pleasurable and some others painful. It attributes our interest in witnessing

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SOME UNCONVENTIONAL VIEWS ON RASA 351 plays depicting them to our mental absorption in the acting going on in front of us. "So the rasa of karuna is of a peculiar kind and is particularly due, not to the nature of the emotion itself, but to our contemplation of the art with which an actor presents it."l1 Kavyaprakasakhandana 12 of Siddhicandra : Finally, we have this commentary which presents altogether new and novel ideas regarding the nature and number of rasas. These may briefly be stated as follows : As compared with the supreme joy (or rather delight) of rasa of the Vedantins, a peculiar pleasure which arises on watching a dramatic performance or hearing the recitation of poetry is similar to the pleasure of anointing one's body with sandal-paste or of pressing the breasts of a young beautiful woman and is itself rasa--this is the view of the moderns (navinah) who belong to the 17th century A. D. In other words, the navinas (including the author himself) regard the aesthetic pleasure as on a par with ordinary pleasures of the senses--as only worldly (laukika). As a natural consequence of this view they hold that there are only four rasas : the erotic, the heroic, the comic and the marvellous, and they reject the claim of the pathetic (or compassionate), the furious, the terrifying and the disgusting to the title of rasa. The pathetic and others, arising from sorrow, etc., although are revealed with cit (=caitanya)-consciousness consisting of delight, they cannot be called rasa since the sthayi-amsa (part) is opposed to the state of rasa. Again, if you argue that they, being revealed by alaukika vibhavas etc., deserve to be called rasa like the pleasurable bites inflicted in the course of love game, our reply is : "No". For following this line of argument you will have to call mental distress, caused by hunger, thirst, etc., as new or different rasas. The bites in the course of sexual enjoyment remove the pain caused by overpowering passion and give a sense of relief as when a burden is taken off one's shoulders. But to say that sorrow, etc., like love etc., consist of or lead to light, knowledge and joy is simply a madman's prattle. Further in Aja-vilapa (Aja's Lament), etc., because of varnaniyatanmayibhavana (identifying one's self with the event or situation or mental mood portrayed), how could there arise the aesthetic joy similar to Brahmananda [the supreme delight arising out of the direct vision of the Highest Reality (the Absolute)-- brahmasaksatkara] ? In the disgusting rasa which arises out of vivid description of flesh, pus, etc., the reader or spectator does not vomit or spit is itself a matter of surprise; how could it produce rasa consisting of supreme delight ? It may be granted that the santa somehow deserves the title rasa with reference to persons who have given up completely all vasanas (various instincts) but certainly not with reference to sensualists as it (the santa) involves abstention from all

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352 STUDIES IN JAIN LITERATURE pleasures of the senses. The heroic and the furious do not differ as their vibhavas bear resemblance. Regarding dana-vira etc., the poet's chief intention is to describe the supreme generosity, greatness, etc., of the hero. The poet (Kalidasa) describes 'The Lament of Aja' for pointing out the profound love of Aja for Indumati, his beloved queen. So too the santa is portrayed to demonstrate the intense sense of world-weariness of mumuksus (persons desirous of liberation). So too the terrifying in order to illustrate the tenderness of heart of the heroes concerned. To tell the truth, poets depict these various situations to exhibit the richness of their pratibha (creative imagination) in the same way as they write padma-bandha (artificial composition in which the words are arranged in the form of a lotus flower), etc. This point of view thar "rasa is laukika (worldly), that it is 'sukhaduhkhatmaka', and that it in no way differs from other pleasures of the senses", however, did not find able advocates among the alankarikas and was thrown into background, if not completely eclipsed, by the writings of Abhinavagupta, Mammata, Visvanatha, Jagannatha and the like. Notes and References : 1. Natyasastra VI. 15-17. 2. anye tvAdizabdena zokAdInAmatra saMgrahaH / sa ca na yuktaH / sAmAjikAnAM hi haIMkaphalaM nATyaM na zokAdiphalam / ..harSAMzcAdhigacchatIti paThanti / ---Abhinavabharati (A. Bh) I, p. 289 and Aesthetic Rapture, Vol.II. Notes, p. 68, fn, no. 385, by Masson and Patwardhan, Deccan College, Poona, 1970 3. i) tatra sarve'mI sukhapradhAnAH / svasaMviccarvaNarUpasyaikaghanasya prakAzasyAnandasAratvAt / ...iti AnandarUpatA sarvarasAnAm / -A. Bh., Vol. I. p. 284 ii) tenAlaukikacamatkArAtmA rasAsvAdaH smRtyanumAnalaukikasaMvedanavilakSaNa eva / --A. Bh., Vol. I, p. 234 iii) caturvargavyutpatterapi cAnanda eva pAryantikaM mukhyaM phalam / ---Locana, Balapriya edn., p. 41 iv) prItyAtmA ca rasastadeva nATyaM nATyameva veda ityasmadupAdhyAyaH / -Ibid., p. 336 4. i) AnandaniSyandiSu rUpakeSu... ...svasaMvedyaH paramAnandarUpo rasAsvAdo dazarUpANAM phalam...Dasarupakavaloka I.6, N.S. edn., p. 2 ii) tAdRza evAsAvAnandaH sukhaduHkhAtmako yathA praharaNAdiSu saMbhogAvasthAyAM kuTTamite, strINAm, anyazca laukikAt karuNAt kAvyakaruNaH / ..tasmAd rasAntaravat karuNasyApyAnandAtmakatvameva / --Ibid., p. 98 5. ayaM hi lokottarasya kAvyavyApArasya mahimA, yatprayojyA aramaNIyA api zokAdayaH padArthAH AhalAdamalaukikaM janayanti / vilakSaNo hi kamanIyaH kAvyavyApAraja AsvAdaH pramANAntarajAdanubhavAt / ___ -Rasagaigadhara, Anana I (under rasasvarupa) 6. bhAvakatvavyApAreNa bhAvyamAno rasaH..sattvodrekaprakAzAnandamayanijasaMvidvizrAntilakSaNena parabrahmAsvAdasavidhena bhogena paraM bhujyata iti / -A. Bh., Vol. I, p. 277

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SOME UNCONVENTIONAL VIEWS ON RASA 353 7. ye tu ratyAdyanukaraNarUpaM rasamAhuH atha codayanti zokaH kathaM zokaheturiti / pariharanti ca Asti ko'pi nATyagatAnAM ' vizeSa iti / .. -A.Bh., Vol I, p. 291 8. Abhinavagupta after refuting Sankuka's view very briefly refers to and refutes the view of the Samkhyas that rasa is of the nature of pleasure and pain. We have no more information about this view. The view of the authors of the Natyadarpana soon to be discussed below, bears close affinity to the Sarkhya view in its essence. 9.cf : atra tu tyAgatapoguNo vIrarase vartate / tyAgatapasI ca 'tyAgo guNo guNazatAdadhiko mato me', 'paraM lokAtigaM dhAma tapaH zrutamiti dvayam' ityAdivacanAt samastaguNapradhAna(ne)ityanayA vivakSayA vIrarasasya AdAvupanyAsaH / --p. 135 10. Raghavan, V., The Number of Rasas, Adyar, Madras, 1975, p. 161. 11. This information is based on V. Raghavan's work : Bhoja's Srngaraprakasa, 1963 edn. p. 484, fn. 12. Parikh, R. C. Ed., Bharatiya Vidya Bhavan publication, Bombay, 1953, p. 16. 000 Stud.-45

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SANSKRIT AND PRAKRIT MAHAKAVYAS Writers on poetics define and describe the salient features of an epicmahakavya : Dandin, one of the earliest alamkarikas, lays down in his Kavyadarsa the following characteristics : The subject should be taken from old narratives or traditions (itihasaKathodbhutam), not therefore invented; the hero should be noble and clever (caturodatta nayakam); there should be descriptions of cities, oceans, mountains, seasons, the rising (and setting) of the Sun and the Moon, sport in parks or water sport, drinking (madhupana), love feasts, (ratotsava), separations, marriages, the birth of a son, meeting of councils, (mantra), envoys, campaigns, battles and the victory of the hero although his rival's merits may be exalted. It should not be too short or compressed (asamksipta) and it should flow with sentiments and emotions (rasa-bhava-nirantaram). It should be marked with effective samdhis. The metres should be charming (sravya-vrttaih upetam); and each canto, which should not be too long, should end with a change of metre (sarvatra bhinna - vrttantaih upetam). The poem should open with a prayer (benediction), paying homage or invoking a blessing or an indication of the subject-matter (asirnamaskriya vastu-nirdeso vapi tanmukham). It should promote the four ends of human existence : dharma-Duty or Conduct, arthaWorldly success or Wealth or successful practical life, kama love and moksafinal release. The famous Sanskrit mahakavyas-Asvaghosa's Buddhacarita (the life of the Buddha), Saundarananda (The Handsome Nanda-the Gautama Buddha's half-brother); The Kumarasambhava (The Birth of Kumara Kartikeya) and the Raghuvamsa of Kalidasa, Bharavi's Kiratarjuniya, Magha's Sisupalavadha (slaying of sisupala), Sriharsa's Naisadhacarita or Naisadhiya (Life of Nala), etc., satisfy more or less, generally speaking, the above requirements. Asvaghosa is almost ignored by Sanskrit alamkarikas (literary critics or writers on poetics). We say almost because Rajasekhara quotes one verse from

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SANSKRIT AND PRAKRIT MAHAKAVYAS 355 Buddhacarita for an example of a namakhyatakavi (a grammatical poet) : hatatviSo'ndhAH zithilAMsabAhavaH, striyo viSAdena vicetanA iva / na cukuzu! rurudurna sasvanurna celurAsulikhitA iva kSaNam / / "Other women, their splendour destroyed, their shoulders and arms loose, were as if senseless with despair; They did not cry, they shed no tears, they did not sigh, They did not move, they stayed as if they were painted!." Johnston in his Introduction to his translation of the Life of the Buddha has collected a number of examples where Asvaghosa's influence seems visible. "The kavis affected include among others Bhasa, Kalidasa and Bana. This suggests that his influence was considerable upto the 7th century, after which perhaps he was rarely read by kavis, who devoted their time to other models." Kalidasa's two poems, the Kumarasambhava and the Raghuvarsa rank among the famous five mahakavyas. The traditional list mentions the following five : Raghuvamsa, Kumarasambhava, Kiratarjuniya, sisupalavadha and Naisadhacarita. According to the old gloss on Svayambhu's Apabhramsa poem, Paumacariu (1.3.7.) the five poems are : 1. Kumarasambhava, 2. Raghuvamsa, 3. Meghaduta, 4. Kiratarjuniya and 5. Sisupalavadha. According to Handique, this enumeration is wrong. He would like to read 'Setubandha' of Pravarasena in place of Meghaduta (see Introduction to Pravarasena's Setubandha, pp. 50-51). This suggestion is, on the very face of it, unacceptable for the simple reason that the tradition wants to enumerate five famous mahakavyas in Sanskrit whereas Pravarasena's Setubandha is in Prakrit. Keith in his History of Sanskrit Literature observes : "Though inferior in some slight degree to the Kumarasambhava, the Raghuvamsa may rightly be ranked as the finest Indian specimen of the Mahakavya as defined by writers on poetics." H. D. Velankar in his Introduction to Raghuvamsas however says : "The Technical definitions of these varieties (Maha and Khanda kavya) given in the later works on the Sahityasastra are primarily based on the works of Kalidasa." This is very plausible, nay probable. So no wonder if Kalidasa's mahakavyas are true to the type. Kumarasambhava, canto VIII describes, according to the principle of Kamasastra, the joys of the wedded pair. Anandavardhana tells us in his Dhvanyaloka that there were critics who deemed it wrong to depict the amour of two deities. But Kalidasa wants to

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356 STUDIES IN JAIN LITERATURE suggest that the wedding of Siva and Uma and their love are depicted as the prototype for human marriage and human love. Aesthetically, this canto is perhaps the best and I would like to suggest in all seriousness that it should be brought out separately with translation in modern Indian languages like Hindi, Marathi, Gujarati, etc., and its copies presented to the newly wed pair who are about to proceed on their journey for honeymoon. The early epics of Asvaghosa and Kalidasa deserve all praise for their simple and lucid style--the Vaidarbha marga or Vaidarbhi riti. Kalidasa, much more than Asvaghosa, makes appeal to the heart and imagination of the hearer, but rarely to his intellect. His poetry therefore as one reads delights and teaches also but in the manner of a loving wife. Moral advice is so conveyed that the sahrdaya spectator or hearer is hardly conscious of it. Another distinguishing characteristic of Kalidasa's mahakavyas is ; he maintains judicious balance between the subjectmatter and descriptions and his poetic descriptions do not hamper the steady progress of his subjectmatter or narrative. In Kumarasambhava Kalidasa expressly claims the divine precedent of Siva and Uma as sanction for the most passionate married love; and throughout his Raghuvamsa we are reminded of the duties of kings; and he portrays in Rama an ideal ruler. If our present day rulers read Raghuvamsa and seriously and meticulously try to follow it, there would descend on earth real Ramarajya. . Bharavi's power of description is no doubt remarkable : 'His style at its best has a calm dignity which is certainly attractive' : 'He excels also in the observation and record of the beauties of nature and of maidens.' He, however, 'is guilty of errors of taste.' In Canto XV he sets himself to try 'feats of skill of the most foolish kind. Thus in Canto XV one verse has all four lines identical ! He 'sets a bad example in his fondness for showing his skill in grammar.' Magha in his sisupalavadha sets himself to vie with his predecessor Bharavi. If Magha "lacks the conciousness, the calm serenity and dignity of Bharavi at his best, he possesses much luxuriance of expression and imagination and in the many love passages of his epic sweetness and prettiness abound." Magha's exhibition of his power of twisting language is indeed deplorable (Canto XIX). The effort for achieving double entendres "leads to constant ransacking of the poetical lexicons extant and turns the pursuit of poetry into an intellectual exercise of no high value to the utter ruin of emotion and thought4." Indian tradition names Sriharsa mahakavi, as the successor of Kalidasa,

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SANSKRIT AND PRAKRIT MAHAKAVYAS 357 Bharavi and Magha. His poem, though long, "carries us only to a description of the married bliss of Nala and Damayanti leaving off with a description of the moon carried out in a dialogue between the amorous pair." "The Naisadhiya unquestionably has a definite interest in the history of Sanskrit literature, for it exhibits the application to the charming episode of Nala of the full resource of a master of diction and metre, possessed of a high degree of skill in the difficult art of playing on words and capable of both delicate observation of nature and of effective expression of the impressions thence derived." The three works of Bharavi, Magha and Sriharsa are tough. Poetry to them was essentially a learned pursuit, the product of much cultivation. A poet, according to Mammata, must supplement his natural genius-pratibha by a careful study of the Sastras as also of the worldly topics of knowledge. He must even practise extensively under the watchful guidance of a Kavya-critic. In short, after Kalidasa, Kavya became a preserve of men of learning and scholarship. Scholarship displaced genuine poetry. The Kavya ultimately became an object of study for Pandita-sahrdayas rather than a delightful thing of beauty. Now, a mahakavya is expected to promote the four aims of human life :dharma, artha, kama and moksa Abhinavagupta's perceptive remarks on rasas in relation to the four purusarthas in the context of drama are : "Thus vira, raudra, srngara are used there respectively, occurring in these works by being engendered by (the aims of the characters portrayed) dharma, artha and kama, while santa and bibhatsa occur in connection with moksa. But not every character can carry the main role in this latter case, only the occasional saint. Although in the nataka, santa or bibhatsa may be the principal rasa when moksa is the principal goal, this is not a common practice, so they although engendered by the best of human aims (the character's pursuit of moksa) are considered subordinate to the other rasas-vira, raudra and srngara. Thus the main rasa of a drama is really governed by the purusartha if it portrays, but other rasas occur in support of it as a result of the variety of subjectmatter in hands." A. Bh. Vol. II, p. 451. Prakrit Mahakavyas, "Maharastri, the language of Maharastra, is called the best of Prakrits in which the works like the Setubandha are written", tells us Dandin in his Kavyadarsao. Hemacandra specifically refers, following Bhoja, to the three Prakrit poems : Ravanavijaya, Harivijaya and Setubandha, as composed in a single metre, i. e., the skandhaka from the beginning to the end?. There are two

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358 STUDIES IN JAIN LITERATURE more poems in Maharastri Prakrit. Madhumathavijaya and Gaudavadha which are mentioned by literary critics. These five may be regarded as the famous panca mahakavyas in Prakrit. Of these, three poems are lost Ravanavijaya, Harivijaya and Madhumathavijaya. Only a single quotation from Ravanavijaya, cited by Bhoja and after him by Hemacandra, is preserved to us; and a couple of quotations from Vakpati or Vakpatiraja's Madhumathavijaya. And till recently only four quotations from Harivijaya (HV) of Sarvasena were identified by Raghavan and A. K. Warder. In my monograph, Bhoja and the Harivijaya of Sarvasena, I have identified about forty quotations as definitely from Harivijaya and over 100 quotations as probably from Harivijaya. Sarvasena composed, it is surmised by Handique, his HV about a hundred years earlier than Pravarasena's Setubhandha (SB) (first-half of the 5th century A. D.). Eminent Sanskrit alamkarikas, viz., Anandavardhana, Kuntaka, Bhoja and Hemacandra speak appreciatively of Sarvasena's HV : (i) Anandavardhana observes8 : itivRttavazAyAtAM kathaMcid rasAnanuguNAM sthiti tyaktvA punarutprekSyApyantarAbhISTaraSTasocitakathonnayo vidheyaH / yathA kAlidAsaprabandheSu / yathA ca sarvasenaviracite harivijaye / "If in a plot adopted from a well known source, the poet is faced with situations conflicting with the intended rasa, he should be prepared to leave out such incidents inventing in their place even imaginary ones in conformity with the intended rasa. Kalidasa's works provide us illustrations and so does the Harivijaya of Sarvasena." Abhinavagupta thus explains in his Locana : "In Raghuvamsa we find the description of Aja's wedding, etc., although there is no basis for such events in the source books like Ramayana, etc. So too Sarvasena has described the event of Parijataharana etc. as part of pacifying or appeasing the anger of his beloved Satyabhama." The accounts of the Parijata story as they occur in Itihasa works (VisnuPurana and Bhagavata-Purana) do not suggest much regarding the emotive motivation of Hari in forcibly bringing the tree down to his terrestrial garden. Anandavardhana and Abhinavagupta admire the significant change that Sarvasena has worked out, viz., the jealousy of the two wives-Satyabhama and Rukmini-of Hari that has been aroused by the Parijatamanjari which to both the women is the measure of Hari's love for them. Sarvasena takes a cue from the earlier motivation found in the itihasa works and elaborates it. He centres the entire story round the rivalry of the two wives of Hari. This human element that he has introduced in his version has not only earned him the praise of Anandavardhana and Abhinavagupta but of every succeeding generation of

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SANSKRIT AND PRAKRIT MAHAKAVYAS 359 audiences and readers. The change in the emphasis is poetically rich. In his Vakroktijivita' Kuntaka ranks Sarvasena along with Kalidasa for his graceful style of composition : evaM sahajasaukumAryasubhagAni kAlidAsasarvasenAdInAM kAvyAni dRzyante / tatra sukumArasvarUpaM carcaNIyam / That Bhoja cites a large number of verses from HV to illustrate various points of poetics is indicative of his high appreciation of this work of Sarvasena. In the course of his exposition of the definition of a mahakavya Bhojalo mentions HV along with great Sanskrit and Prakrit epics several times : teSu abhiprAyAGkatA yathA....utsAha....sarvasenasya / nagaravarNanaM yathA harivijaya-rAvaNavijayazizupAlavadha-kumArasaMbhavAdau / zailavarNanaM yathA...harivijayAdau / zarad-vasanta-grISma-varSAdi-varNanAni setubandha-harivijaya-raghuvaMza-harivaMzAdau / [arkAstamayavarNanaM kumArasaMbhava-harivijaya....setubandhAdau / ] nAyakavarNanaM yathA harivijaya...raghuvaMzAdau / vAhanavarNanaM yathA....harivijaya rAvaNavijayAdau / dUtastridhA....nisRSTArthaH / tatra nisRSTArtho harivijaye vA satyakaH (sAtyakaH, sAtyakiH ?) / prayANaM tridhA....abhimatArthasiddhaye yathA viSNoH pArijAtaharaNAya harivijaye / tatrArivijayo dvidhA zatrUcchedena taduparatyA (? tadupanatyA) ca / dvitIyo yathA harivijayAdau / madhupAnaM dvidhA goSThIgRhe vAsabhavane ca / tatrAdyaM yathA hrivijye| mAnApagamo [dvidhA prAyanika: naimittikazca / prAyaniko harivijaye satyabhAmAyAH / ] From Bhoja and Hemacandra we get the following information about HV : It was asvasabandha (composed (not in sargas but) in asvasakas). Its prevalent metre was skandhaka. It contained some galitakas which , according to some critics, were interpolations, but according to Hemacandra, were genuine parts of Sarvasena's own original work. It was marked by the word utsaha in the concluding verse of each asvasaka. It contained descriptions of nagara (city), saila (mountain), seasons-sarad - vasanta - grisma - varsa, etc.), the sunset, the hero, his vehicle, Garutmat, his duta, Satyaka (? Satyaki), Hari's march against Indra for securing the Parijata tree, the rise of the hero, in the form of the conquest of the enemy who himself surrenders, drink-party and the removal of Satyabhama's jealous anger by effort (by Hari, by winning the Parijata tree from Indra and planting it in front of Satyabhama's mansion.) __Now, Vakpati's Gaidavaho (Sk. Gaudavadha) and Pravarasena's Setubandha are completely available and have been thoroughly studied by eminent scholars. Gaudavadha of Vakpati or Vakpatiraja is a unique historical poem. It is no doubt a mahakavya having a wide variety of topics. Its prototypes in Sanskrit and Prakrit are Raghuvamsa and Setubandha but it is not divided into Cantos

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360 STUDIES IN JAIN LITERATURE sargas or asvasakas to indicate its division into different topics. It is just one long continuous composition. It is written to celebrate the defeat of a Gauda prince by the poet's patron, King Yasovarman of Kanauj, who himself, however, was overthrown and killed not much later (c. 740) by Lalitaditya of Kashmir. There is hardly any history in it. Even the name of the Gauda prince is not mentioned. The subject-matter or story is slender whereas descriptions of various topics in the wonted kavya manner occcur one after another throughout the epic. There is no division of the poem into cantos yet there is division in kulakas. It is written uniformly in one metre called gatha. If Kalidasa excels in Upama, Vakpati excels in Utpreksa. His Gaudavadha is an ocean of Utpreksas (Utpreksa-sagara). Vakpati delights in two figures Utpreksa and Upama. His kavya is much more for a man of learning and scholarship rather than for a sahrdayama man of taste, a sensitive, sympathetic and responsive reader. His style may best be described as characterised by narikelapaka. For it is very tough; its hard, external shell, like that of a coconut must first be broken to get at the sweet juice of its inside. It deserves special mention that the poet devotes 61 gathas to mangalacarana, 37 to kavi-prasamsa (praise of poets) and 150 to ways of the world. This last one is the longest of kulakas. Partiality for long compounds is responsible for rendering his poem tough. It is, however, to be remembered that Anandavardhana, the celebrated author of Dhyanyaloka is considerably influenced for his several cherished ideas to Vakpati. In this connection I would like to draw your pointed attention to the excellent paper of J. L. Masson and M. V. Patwardhan entitled : "The Dhvanyaloka and the Gaudavaho11." Anandavardhana quotes the verse : gaaNaM ca mattamehaM dhArAluliajjuNAi~ a vaNAI / NirahaMkAra-miaMkA haraMti NIlAo a NisAo / (gaganaM ca mattameghaM dhArAlulitArjunAni ca vanAni / FRESTYST ERF iiciter fien: 11) --Gaudavaho v. no. 406 For its brilliant exposition and appreciation I refer you to the Locana commentary of Abhinavagupta. Under Uddyota 4. 16 Anandavardhana says : "Because in the case of a poet who is intent upon suggesting rasas and who has imaginative genius even figures of speech which may appear difficult to create, clamour to present themselves to him." This thought is similar enough to Gaudavaho v. no. 86 : The gatha in translation means : "The minds of ordinary poets wander about frantically searching for subjectmatter. But in the case of great poets the themes themselves rush to their

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SANSKRIT AND PRAKRIT MAHAKAVYAS 361 hearts, without any effort on their part." For some of the ideas on anantya, the endlessness of poetic themes Anandavardhana is indebted to Vakpati. The Setubandha (SB) of Pravarasena is extolled by Dandin and Bana as the best of the mahakavyas written in Prakrit. (c. 1st half of the 5th century). It relates the tale of Rama from the advance against Ravana and the building of the bridge to Lanka down to Ravana's death in conformity with, generally speaking, the Valmiki Ramayana--Kalidasa's Raghuvamsa (RV) written probably half a century earlier, has exercised its influence on the Setubandha. But the two works are different in some respects. RV recounts the careers of many kings of a dynasty including the entire story of Rama whereas SB deals only with a portion of the early career of Rama. The descriptions in RV are strictly subordinated to the narrative. In SB they are more extensive and dominate the narrative unlike in Kalidasa. In SB (Canto 10) Pravarasena introduces elaborate pictures of the evening scenery and the moonlit landscape and the joys of wine and love with the abhisarikas playing their customary role. Nothing like this sequence of descriptions is found in Kalidasa; portrayal of the amorous activities of the nayikas aided by their maiden messengers--this theme is introduced by Pravarasena, probably for the first time, in the structure of a mahakavya. Handique has observed well when he says 12 : "The Raghuvamsa treats a very wide subject within a relatively narrow compass (nineteen Cantos). The Setubandha, though much more limited in scope, has as many as fifteen; while the mahakavyas of Bharavi and Magha, in spite of the greater brevity of their themes, have eighteen and twenty Cantos respectively. In the evolution of the mahakavya the Setubandha thus marks the stage at which the descriptions begin to preponderate at the expense of the narrative, and illustrates the transition from Kalidasa to the poems of Bharavi and Magha." "The topics introduced by Pravarasena into the tenth Canto of his poem appear in toto in Bharavi's Kiratarjuniya (Canto 9) in the same sequence as in the Setubandha. They were taken over by Magha from Bharavi, and expanded into two Cantos of the sisupalavadha (9-10), and soon became stereotyped in the Sanskrit mahakavya.... The affinity of the Setubandha to the Sanskrit mahakavyas is no doubt one of the causes of its popularity through the centuries." And further more : "The Setubandha contains a considerable number of verses of ethical import; but we miss in it the many pithy sayings found in the Sanskrit mahakavyas, usually at the end of a verse that are formally called Stud.-46

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362 STUDIES IN JAIN LITERATURE arthantaranyasa. Likewise the absence of any reference to philosophical or other tenets relating to the different branches of learning is another feature that differentiates the poem from the Sanskrit mahakavyas." Finally, A. K. Warder treats of Vimala's Paumacariya (Sk. Padmacarita, Padma is another name of Rama, so it means Ramacarita) in his Indian Kavya Literature13. The term kavya could be used, with reference to Vimala's work, in its widest sense, 'what is opposed or distinct from sastra ?' But Sanskrit literary thinkers use it in a fixed, definite sense : it is different from authoritative works like the Veda and other sastras which are sabda pradhana and which are like a master and from itihasa and purana in which artha (sense) is pradhana; in kavya both sabda and artha are a-pradhana and they contribute to the creation or manifestation of rasa. The term kavya in this special sense cannot be applied to Vimala's work. It would be a misnomer and totally misleading. It belongs to the second category of purana-itihasa. So it has not been taken note of in this lecture. Notes and References : 1. As translated by A. K. Warder. 2. A History of Sanskrit Literature, p. 92. 3. N. Sagar edn, 1948, p. 5. 4. A History of Sanskrit Literature, p. 127. 5. As translated by Professor Wright, B.S.O.S, Vol. 26, 1963, p. 115. 6. HERTER 9191 ani wana tag: 1 sAgaraH sUktiratnAnAM setubandhAdi yanmayam // 1.34 7. See srngaraprakasa, Mysore edn., Vol. II, 1963, p. 475. And, Kavyanusasana, Mahavira Jaina Vidyalaya, Bombay, 1964, p. 461. 8. Dhvanyaloka with the Locana and Balapriya Commentaries, Chowkhamba Sanskrit Series edn., 1940, pp. 335-336. 9. Vakroktijivita of Kuntaka, ed. K. Krishnamoorthy, Dharwad, 1977, p. 66. 10. Srngaraprakasa, Mysore edn., Vol II, 1963, p. 475. 11. See Professor D. D. Kosambi Commemoration Volume. 12. Pravarasena's Setubandha, translation by K. K. Handique, Introduction, pp. 53, 56, 59 pub. Prakrit Text Society, Ahmedabad, 1976. 13. See Vol. II, Ch.XVI : "Maharastri Kavya In The + 2..." ODO

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HARIVIJAYA OF SARVASENA INTRODUCTION In his works srngaraprakasa (SP) and Sarasvatikanthabharana (SK) Bhoja quotes from a number of Prakrit works, some of which are now lost. In his SP he mentions in one breath three Prakrit mahakavyas : Ravanavijaya (RV), Harivijaya (HV) and Setubandha (SB), composed in asvasakas. The prevailing metre of a Prakrit mahakavya is skandhaka. So these three Prakrit mahakavyas were composed in the skandhaka metre. Of these the first two, RV and HV, appear to be irretrievably lost. It is indeed a pity we have only one skandhaka verse from RV preserved to us in the form of a quotation in SP. We are, however, somewhat fortunate to have at least a quarter of century of skandhaka verses which we can definitely ascribe to HV on the strength of their contents and (or) on the basis of clear reference by Anandavardhana and Bhoja. There are nearly a century of verses cited by Bhoja in his SP and SK which are in Maharastri Prakrit and are composed in the skandhaka metre. As they are not found in SB, they may have been drawn from RV or HV as no other Prakrit mahakavya in the skandhaka metre is known to have been composed. Most probably they are drawn from HV since Bhoja has copiously drawn on HV for his illustrations whereas he has cited only a solitary skandhaka verse from RVI. Sarvasena composed, it is surmised,? his HV about a hundred years earlier than Pravarasena's SB (first half of the fifth century A. D.). Eminent Sanskrit alankarikas, viz. Anandavardhana, Kuntaka and Bhoja speak appreciatively of Sarvasena's HV. (i) Anandavardhana observes in his Dhvanyaloka (pp. 335-336) : itivRttavazAyAtAM kathaJcidrasAnanuguNAM sthitiM tyaktvA punarutprekSyApyantarAbhISTarasocitakathonnayo vidheyaH yathA kAlidAsaprabandheSu / yathA ca sarvasenaviracite harivijaye / Abhinavagupta, his commentator, thus explains in his Locana (p. 335) : ....kAlidAseti / raghuvaMze'jAdInAM rAjJAM vivAhAdivarNanaM netihAseSu nirUpitam / harivijaye

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364 STUDIES IN JAIN LITERATURE kAntAnunayanAGgatvena pArijAtaharaNAdinirUpitamitihAseSvadRSTamapi / Regarding the episode of Parijataharana vide Appendix I at the end. (ii) In his Vakroktijivita" Kuntaka ranks Sarvasena along with Kalidasa for his graceful style of composition : evaM sahaja-saukumArya-subhagAni kAlidAsa-sarvasenAdInAM kAvyAni dRzyante / tatra sukumArasvarUpaM carcaNIyam / (iii) The very fact Bhoja cites a number of verses from Sarvasena's HV to illustrate various points in poetics is eloquent of his high appreciation of Sarvasena's work. In the course of his exposition of the definition of a mahakavya he mentions it along with great Sanskrit and Prakrit epics several times : teSu abhiprAyAGkatA yathA...utsAha: srvsensy...| nagaravarNanaM yathA harivijaya-rAvaNavijaya-zizupAlavadhakumArasaMbhavAdau / zailavarNanaM yathA...harivijayAdau |...shrd-vsnt-griissm-vrssaadivrnnnaani setubandhaharivijayaraghuvaMzaharivaMzAdau / [arkAstamayavarNanaM kumArasaMbhava-harivijaya...setubandhAdau / ]nAyakavarNanaM yathA harivijaya... raghuvaMzAdau / vAhanavarNanaM yathA...harivijayarAvaNavijayAdau / duutnidhaa-nisRssttaarthH....| tatra nisRSTArtho yathA...harivijaye vA satyakaH (sAtyakiH ?) / prayANaM tridhA...abhimatArthasiddhaye yathA viSNoH pArijAtaharaNAya harivijaye... / tatrArivijayo dvidhA-zatrUcchedena taduparatyA (tadupanatyA ?) ca / ... dvitIyo yathA harivijayAdau / ...madhupAnaM dvidhA-goSThIgRhe vAsabhavane ca / tatrAdyaM yathA hrivijye...| mAnApagamo [dvidhA-prAyatnikaH, naimittikazca / prAyaniko harivijaye satyabhAmAyAH / ] (iv) Hemacandra, following Bhoja, repeats almost word for word, the above exposition in his Kavyanusasana". So he too, with Bhoja, regards Harivijaya as a great mahakavya. On one occasion, however, he finds fault with Sarvasena in the course of his treatment of the eight rasa-dosas : aGgasyApradhAnasyAtivistareNa varNanaM (rasasya doSaH)...tathA hi harivijaye-IrSyAkupitasatyabhAmAnunayanapravRttasya hareH pArijAtaharaNavyApAreNopakrAntavipralambhasya varNanaprastAve galitakanibandhanarasikatayA kavinA samudravarNanamantarA gaDusthAnIyaM vistRtam / / Hemacandra criticises Sarvasena for introducing in his mahakavya a lengthy description of the ocean, 'a superfluous excresence', (gadu-sthanam) as he calls it. Bhoja while discussing the galitakas in HV mentions the view of some critics that they are interpolations (as they violate the principle that asvasakabandhas are to be in a single metre (called skandhaka) from beginning to end]. V. Raghavan observess : "If the view of the interpolation-theorists is true, Sarvasena would be saved from the criticism of Hemacandra". In his Introduction to Pravarasena's Setubandha K. K. Handiqui remarks? : "Of these Sarvasena's Harivijaya appears to have been the best

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HARIVIJAYA OF SARVASENA 365 known;... But nothing seems to be known about the extent and structure of the poem. Hemacandra refers to it in connection with the various descriptions found in the different mahakavyas, and mentions several topics described in Sarvasena's work; but he criticizes the author for inserting in his poem an irrelevant description of the ocean, "a superfluous excresence', as he calls it. The subject of the poem is the forcible removal of the Parijata tree from heaven by Krsna. Anandavardhana praises Sarvasena for introducing an element of rasa into the insipid mythological theme by representing Krsna's action as motivated by a desire to appease his wife Satyabhama. But, in the absence of the text, it is difficult to determine how far Krsna's action in going to war with Indra for the purpose of placating his wife's jealousy lent dignity to the subject or contributed to the success of the poem as a work of art. Sarvasena is also praised by Kuntaka for following the sukumaramarga corresponding to the old Vaidarbhi style; but to judge from Hemacandra's criticism, it may be doubted if the Harivijaya was a mature effort in the field of the Mahakavya, comparable to the Setubandha. In any case it failed to maintain its popularity as a major work of the early Kavya literature." In view of Sarvasena's appreciation by top ranking alamkarikas like Anandavardhana, Abhinavagupta, Kuntaka and Bhoja it would seem Handiqui's criticism : "it may be doubted if the Harivijaya was a mature effort..." is rather harsh and unfair to Sarvasena. As Kalidasa's plays eclipsed Bhasa's plays, Pravarasena's Setubandha might have eclipsed Sarvasena's Harivijaya. But it does not necessarily follow that Sarvaseria's work was not 'a mature effort. We get the following information about the contents of the Harivijaya from Bhoja's SP and Hemacandra's KAS : It was asvasabandha' (composed in asvasakas and not in sargas-cantos). Its prevailing metre was skandhaka. It contained some galitakas which according to some critics were interpolations, but according to Hemacandra were genuine parts of Sarvasena's own original work. It was marked by the word utsaha in the concluding verse of each asvasaka. It contained descriptions of city (nagara), mountain (saila), seasons (sarad-vasanta-grisma varsadi), the sunset (arkastamayavarnanam-mentioned by Hemacandra but through oversight dropped in the printed Mysore edition of SP), the hero (tatra nayakavarnanam yatha Harivijaya...) his vehicle-Garutmat, his duta, dutah nis [rstarthah... Harivijaye va Satyakah (Satyakih) his (nayaka's-Hari's) march against Indra with a view to securing the desired object--the Parijata tree, the rise of the hero in the form of the conquest of the enemy who himself surrenders, drink-party and the removal of Satyabhama's jealous anger by effort (by Hari by

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366 STUDIES IN JAIN LITERATURE winning the Parijata tree from Indra and planting it in front of Satyabhama's mansion). From the statements of Anandavardhana and Abhinavagupta in Dhvanyaloka and Locana respectively-which are cited above-it is evident that Parijataharana (The Carrying off of the celestial Parijata tree) and similar incidents in the Harivijaya of Sarvasena are pure inventions by the poet and that they have no basis in the Itihasa works. They are introduced with a view to developing the desired rasa--the sentiment of love (both in union and separation)-omitting incidents from the original narrative which were not favourable to depict the desired rasa. The verses from Harivijaya, cited by Bhoja, deal with Hari, his two beloveds, Rukmini and Satyabhama, the latter's sulky wrath (mana) and her appeasement by Hari by winning the heavenly Parijata tree for her. Bhoja refers to this epic in connection with the various descriptions found in the various mahakavyas and mentions, as already pointed out above, several topics described in Harivijaya. Regarding the extent and structure of Harivijaya we know very little. As mentioned above, Harivijaya was asvasaka-bandha (which is composed in a single metre, called skandhaka from beginning to end). According to one view the galitakas in Harivijaya (as well as Ravana-vijaya and Setubandha) were later interpolations. Hemacandra, however, takes them as the genuine parts of the poet's own original work. Its language was Maharastri Prakrit. Its principal theme was Parijata-harana and it was replete with descriptions of the various topics mentioned above. We may not be far wrong if we were to remark that it was descriptive rather than narrative in character. As regards its extent we might further hazard a guess that it contained as many asvasakas as are found in Setubandha which is modelled on it. * From the citations we find that Harivijaya was composed in a graceful style. Its language and style were, compared to Setubandha, more easy and less involved. Like Pravarasena, Sarvasena too shows the use of long compounds and poetic figures of speech. Kuntaka's praise for his graceful style and Anandavardhana's compliment for his imaginative handling of the theme of Parijataharana and Bhoja's appreciation of his work by profusely quoting from it and ranking it with Sanskrit and Prakrit masterpieces like Raghuvamsa Kumarasambhava, Kiratarjuniya, sisupalavadha, Ravanavijaya, Setubandha etc. while illustrating the salient features of a mahakavya-Sarvasena very well deserves.

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HARIVIJAYA OF SARVASENA 367 Ravanavijaya and Harivijaya were both composed in the skandhaka metre; and Vakpati's Madhumathavijaya was composed in the gatha metre. This series of epics of conquest is no longer extant. It is indeed an irreparable loss to the students of Maharastri language and literature.* Now we turn to the verses drawn by Bhoja from Saravasena's Harivijaya. In Part I, we reproduce the verses which we can definitely ascribe to Harivijaya on the strength of external or internal evidence and in Part II those verses which, we feel, are probably drawn from Harivijaya. In the body we present the text as restored by us and in the footnotes the text as printed in the Mysore edition of Srngaraprakasa and / or the Sarasvatikanthabharana (N. S. edn. 1934). This method of presentation will help readers in judging how far we have succeeded in restoring the original text of the verses. It would also help them in suggesting better or improved readings. For the convenience of the readers who are not adequately acquainted with either Prakrit or Sanskrit, translation of the text is given towards the end as an appendix. Notes and References : 1. fa (anfa?) WIAT 9791 Taufae saalaM cea NibaMdhaM dohiM paerhi kalusaM pasaNNaM ca tthiaN| jANaMti kaINa kaI suddha-sahAvehi loaNehi va (pA. bhe. ca) hiaaN|| [sakalameva nibandhaM dvAbhyAM padAbhyAM kaluSaM prasannaJca sthitam / / jAnanti kavInAM kavayaH zuddha-svabhAvAbhyAM locanAbhyAm iva(pA. bhe. ca) hRdayam 1] pR. 456 2. "Dandin mentions the Harivijaya in a mutilated verse at the beginning of his Avantisundari, and refers to Sarvasena as a king probably identical with Sarvasena, the founder of the younger branch of the Vakatakas. If so, the Harivijaya was composed in the first half of the fourth century A. D. about a hundred years earlier than the Setubandha."--Pravarasena's Setubandha, Tr. By Handiqui, Prakrit Text Series No. 20. Ahmedabad-380 009. p.50. 3. No other work is known to have been composed by Sarvasena. Pitambara and Bhuvanapala, two of the commentators of Hala's Gathasaptasati also known as Gathakosa, however, ascribe four gathas to one Sarvasena; this Sarvasena is probably identical with the author of Harivijaya. The four gathas are : (1) pattia Na pattiaMtI, jai tujjha ime Na majjha ruirIe / puTThIa vAhabiMdU pulaubbheeNa bhijjaMtA // ["Catfe" 7 sata (watai) ufc nad 7 794 Tartare: (FERII:) pRSThe bASpa-bindavaH pulakodbhedena bhidyamAnAH (bhigheran) // ] --GSS-III-16

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368 STUDIES IN JAIN LITERATURE (2) jassa jahiM cia paDhamaM tissA aMgammi NivaDiA diThThI / tassa tahiM cea ThiA savvaMgaM keNa vi Na diTuM / / [yasya yatraiva prathamaM tasyA aGge nipatitA dRSTiH / tasya tatraiva sthitA sarvAGgaM kenApi na dRSTam / / ] -~~GSS-III-34 (3) ajjaM pi tAva ekkaM mA maM vArehi piasahi ruaMtiM / kallaM puNa tammi gae jai Na muA tA Na roissaM // [adyApi tAvadekaM mA mAM vAraya priyasakhi rudatIm / kalyaM punastasmin gate yadi na mRtA tarhi na rodiSyAmi // ] -GSS-VI-2 (4) ehi tti vAharaMtammi piaame uaha oNaamuhIe / viuNAveTThiajahaNatthalAi lajjoNaaM hasi / / ["ehi" "iti vyAharati priyatame pazyatAvanatamukhyA / dviguNAveSTitajaghanasthalayA lajjAvanataM hasitam / / ] ---GSS-VI-3 4. Vakroktijivita of Kuntaka ed. K. Krishnamoorthy, Karnatak University Dharwad, 1977, ___p. 66. 5. Sri Mahavira Jaina Vidyalaya, Bombay, 1964, pp. 457-459. 6. Bhoja's srngaraprakasa by V. Raghavan, Madras, 14, 1963, p. 803. 7. Pravarasena's Setubandha (Translation) Prakrit Text Society, Ahmedabad-9, 1976, pp. 56-57. 8. Vakpati himself has referred to this work in his Gaudavaho. He suggests that it was composed in robust or flowery language. Abhinavagupta (Locana p. 346, Banaras edn. 1940) cites a verse from this work. For its correct text vide Hemacandra's Kavyanusasana (Mahavira Jaina Vidyalaya, Bombay. 1964 edn. p. 79). It is in the Gatha metre. From Vakpati's statement we learn he considered his earlier work (Madhumathavijaya) as superior to Gaudavaho : mahumaha-viaa-pauttA vAA kaha NAma maulau imammi / paDhama-kusumAhi taLiNaM pacchA-kusumaM vaNalaANa / / [madhumatha-vijaya-prayuktA vAk kathaM nAma mukulayatvasmin / prathama-kusumAttalina pazcAt-kusumaM vanalatAnAm // --V.69] * I gratefully acknowledge my thanks to Prof. M. V. Patwardhan and Dr. H. C. Bhayani for going through the restored verses and for suggesting improved readings in some cases. 000

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TEXT : Part I -dhvanyAloka, pR. 298 -zRGgAra. pR. 458 -zRGgAra. pR. 725 4) 1) cUaMkurAvaaMsaM chnn-psr-mhggh-mnnhr-suraamoaN| apaNAmi pi gahi kusumasareNa mahumAsa-lacchIeN muhaM* // [cUtAGkarAvataMsaM kSaNa prasaramahAdhamanoharasurAmodam / asamarpitamapi gRhItaM kusumazaraNa madhumAsalakSmyA mukham // ] tIe daMsaNa-suhae, paNaa-kkhalaNajaNio muhammi maNahare / roso vi harai hiaaM, maapaMko vva maa-laMchaNammi NisaNNo / / [tasyA darzanasubhage praNayaskhalanajanito mukhe manohare / roSo'pi harati hRdayaM madapaGka iva mRgalAJchane niSaNNaH // ] 3) bahumaNNasi hari-paNaaM, saMdANesi tiasesa pAava-raaNaM / A~jahasu muddha-sahAvaM, saMbhAvesu suraNAha jaaav-loaN|| [bahumanyase haripraNayaM saMdAnayasi tridazeza pAdaparatnam / apajahihi mugdhasvabhAvaM saMbhAvaya suranAtha yAdavalokam kuviA a saccabhAmA (hAmA) same vi vahuANa Navara mANakkhalaNe / pAaDia-hiaa-sAro pemmAsaMghasariso paaTTai maNNU // [kupitA ca satyabhAmA same'pi vadhUnAM kevalaM mAnaskhalane / prakaTitahRdayasAraH premavizvAsasadRzaH pravartate manyuH // ] taM tiasa-kusuma-dAmaM hariNA Nimmahia-surahi-gaMdhAmoaM / appaNaiaM pi dUmia-paNaiNi-hiaeNa ruppiNIa viiNNaM / / [tat tridazakusumadAma hariNA nirgata(prasRta) surabhigandhAmodam / apraNayitamapi dUna(=saMtApita-) praNayinI-hRdayena rukmiNyai vitIrNam // ] 6) sura-kusumehi~ kalusiaM jai tehiM cia puNo pasAemi tumaM / to pemmassa kisoari avarAhassa a Na me khamaM hoi kaaM // [surakusumaiH kaluSitAM yadi taireva punaH prasAdayAmi tvAm / tadA premNaH kRzodari aparAdhasya ca na me kSamaM bhavati kRtam // 7) airA ANemi tuhaM amaAsava-lola-bhamara-laMghia-kusumaM / tiasa-gaa-dANa-sIhara-tusAra-taNNAa-pallavaM sagga-dumaM / -zRGgAra. pR. 585 -zRGgAra. pR. 748 -zRGgAra. pR. 602 Stud.-47

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370 STUDIES IN JAIN LITERATURE [acirAdAnayAmi tavAmRtAsvAdalolabhramaralaGghitakusumam / tridaza-gaja-dAna-zIkara-tuSArArdrita-pallavaM svargadrumam / / ] -zRGgAra. pR. 748 ANia-pulaubbheo savatti-paNaa-paridhUsarammi vi garue (? hiae) pia-dasaNe pavaDDai bhaNNuTThANe vi ruppiNIa pahariso / [AnItapulakodbhedaH sapatnIpraNayaparidhUsare'pi guruke (? hRdaye) / priyadarzane pravardhate manyusthAne'pi rukmiNyAH prhrssH||] -zRGgAra. pR. 773 diTThA kuviANuNaA (? kuviANuNiA) piA sahassa-thaNa-pelaNaM pi visahiaM / jassa NisaNNAi ure sirIe~ pemmeNa lahuio appANo / -zRGgAra. pR. 748 [dRSTA kupitAnunayA (? kupitAnunItA priyA sahasrastanapreraNa (pIDana) mapi visoDham / yasya niSaNNayorasi zriyA premNA laghUkRta AtmA // ] 10) to se rubbhaMta ccia-viaMbhaMta-harisa-veucchaliA / pAapaDiassa hariNo paDiA puTThIe bAha-salila-tthevA / / [tatastasyA rudhyamAnA eva hRdayavijRmbhamANaharSavegocchalitAH / pAda-patitasya hareH patitA pRSThe bASpasalilabindavaH // ] 11) sA kusumehi garuiA maha vi kao suhaa daMsaNeNa pasAo / kaha a Na pasAa-saddo laggau piA-hiaassa a imassa tuha // [sA kusumairgurUkRtA mamApi kRtassubhaga darzanena prasAdaH / kathaJca na prasAdazabdo lagatu priyAhRdayasya cAsya tava / / ] -zRGgAra. pR. 990 12) parivaTuMte Nisi-samae maMDalia-kusumAuhaM va aNaMgaM / virahammi maNNai harI Nahe aNattha-paDiuTThiaM va miaMkaM // [parivardhamAne nizAsamaye maNDalitakusumAyudhamivAnaGgam / virahe manyate harirnabhasi anarthapratyutthitamiva mRgAGkam / / -zRGgAra. pR. 1005 13) saMvaDDia-saMtosA phuraMta-kotthuhamaNi-ppahA-saMvaliA / viuNia-maNa-saMtAvA jAA savisesa-dUsahA sasi-kiraNA / / [saMvadhitasaMtoSAH sphuratkaustubhamaNiprabhAsaMvalitAH / / dviguNitamanassaMtApA jAtA savizeSaduHsahAH zazikiraNAH // ] --zRGgAra. pR. 1006 14) to ia suraarukAraNa-maulia-hiaAe sAvasesa-lahuo / saMbhAvia ccia hio hariNA pAa-paDaNammi tIe~ amariso // [tata iti suratarukAraNamukulitahRdayAyAH sAvazeSalaghukaH / saMbhAvita eva hRto hariNA pAdapatane tasyA amarSaH // ] -zRGgAra. pR. 1009 15) thoosaraMtarosaM thoatthoa-privddddmaann-phrisN| hoi adUra-paAsaM (? pasAo) uhaa-rasAatta-vibbhamaM tIa muhaM // [stokApasaradoSaM stokaparivardhamAnapraharSam / bhavati adUraprakAza (? prasAda)mubhayarasAyattavibhramaM tasyA mukham / / ] -zRGgAra. pR. 1040

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HARIVIJAYA OF SARVASENA TEXT : Part I 371 16) aha Agao tti Navaria accAsaNNo vi saccabhAmAe harI / pariaNa-muha-ccia suo vAhajalaMtaria-loaNAe~ Na divo // [athAgata (? eSa Agata) iti sahasAtyAsanno'pi satyabhAmayA hariH / parijanamukhAdeva zruto bASpajalAntaritalocanayA na dRSTaH / / -zRGgAra. pR. 1040 17) tIeN savisesa-dUmia-savatti hiaAe~ NivvalaMtasiNehaM / piagaruiAe~ NimiaM sohaggaguNANa aggabhUmI' paraM / / [tayA savizeSadUna (=saMtApita)sapatnIhRdayayA spaSTIbhUtasneham / priyagurukRtayA (=gauravitayA) nyastaM saubhAgyaguNAnAmagrabhUmyAM padam // ] -zRGgAra. pR. 1046 18) dAra-TThavia-sura-dumaM taM cia sagga-kusumoAra (kusumovahAra)gghaviaM / aNNaM va saccavijjai pariosa-paritta-pariaNaM tIe~ gharaM // [dvArasthApitasuradrumaM tadeva svargakusumopacArA(kusumopahArA) rghitam / anyadiva dRzyate paritoSaparItaparijanaM tasyA gRham / / -zRGgAra. pR. 1047 19) aha diTTha-vikkamammi vi siNeha-saccavi [a]-garua-viNivAa-haA / ciMtei saccabhAmA suraarulaMbhaTThie gaammi mahumahe // [atha dRSTavikrame'pi snehadarzitagurukavinipAtabhayA / cintayati satyabhAmA suratarulAbhArthini (=lAbhArtha) gate madhumathe (=mathane) // ] -zRGgAra. pR. 1058 (a) 20) tIe hiaANuciMtia-maNorahabbhahia-saMgama-suhAe~ harI / hasiro vi dohi karehi paDirubbhaMta-mauDo gao ccia calaNe // [tasyA hRdayAnucintitamanorathAbhyadhikasaGgamasukhAya hariH / hasanazIlo'pi dvAbhyAM karAbhyAM pratirudhyamAnamukuTo gata eva caraNayoH ||-shRnggaar. pR. 1209 21) ua jAva sA kilammai appakkaa-viraha-vittharaMtANusaA / tA patto jaha icchA taha Nivvattia-maNoraho mahu-mahaNo / / [pazya yAvat sA klAmyati AtmakRtavirahavistIryamANAnuzayA / tAvat prApto yathA icchA tathA nirvatitamanoratho madhumathanaH // ] -zRGgAra. pR. 1220 22) assia sohAisao saccAe vi bhoi(? hoi) deva-dasaNa-jaNio / jaha hiaassa pahariso taha harisa-visaMThulANa acchINa suhaM // [AzritazobhAtizayaH satyAyA api bhogi (? bhavati) devadarzanajanitaH / yathA hRdayasya praharSastathA harSavisaMSThulayorakSNoH sukham // ] -zRGgAra. pR. 1220 23) Nimmahia-kusuma-parimala-hia-hiaAe vi mahuarAvali-caDulA / paDhamaM piammi diTThI pacchA tIe surapAavammi NisaNNA // [nirgata-prasRta-) kusumaparimalahRtahRdayAyA api madhukarAvalicaTulA / prathamaM priye dRSTiH pazcAttasyAH surapAdape niSaNNA // ] -zRGgAra. pR. 1222 24) to se piammi rasiA tA duma-raaNammi ccia uppala-suhaA / pariosa-rasuvvellA aNurAa-aMdoliA Nisammai diTThI //

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372 STUDIES IN JAIN LITERATURE [tatastasyAH priye rasitA tato drumaratna evotpalasubhagA / paritoSarasocchalitAnurAgAndolitA niSIdati dRSTiH // ] -zRGgAra. pR. 1223 25) ua Nia-pAava-raaNaM (?-raaNaM) ia aNurAa-pisuNaM piammi bhaNaMte / savisesa-laddha-pasaro ADhatto tIe~ pasariuM parioso // [pazya nijapAdapa-ratne (?-ratnam) ityanurAgapizunaM priye bhaNati / savizeSalabdhaprasara ArabdhastasyAH prasartuM paritoSaH // ] -zRGgAra. pR. 1224 pAdaTIpa : Anandavardhana cites this stanza with the express mention of its source (yatha Harivijaye) in his Dhvanyaloka. It is therefore proper to include it in this monograph. There are two more verses in the skandhaka metre that have been quoted in the Dhvanyaloka which are probably drawn from Harivijaya : (i) sajjei surahimAso Na tA paNAmei (pA.bhe.Na dAva appei) juai-jaNa-lakkha-sahe / ahiNava-sahaAra-muhe Nava-pallava-pattale aNaMgassa sare // [sajjayati surabhi-mAso na tAvadarpayati yuvati-jana-lakSya-sahAn / abhinava-sahakAra-mukhAn nava-pallava-patralAnanaGgasya zarAn // ] __ --dhvanyAloka, pR. 255; kAvyAnuzAsana, pR. 72 kalpalatAviveka, pR. 144 (ii) caMda-mauhehi~ NisA, NaliNI kamalehi~ kusumagucchehi~ laA / haMsehi~ saraa-sohA, kavvakahA sajjaNehi kIrai guruI // [candramayUkhainizA nalinI kamalaiH kusumaguccharlatA / / haMsaiH zaracchobhA kAvyakathA sajjanaiH kriyate gurukI // ] -dhvanyAloka, pR. 259-260 The verse "sajjei surahi-maso" etc., forms part of a description of the advent of the season of spring. The second verse "Canda-mauhehim nisa", etc. forms part of a description of the nature of sujana (or sajjana). For comments on and translation of these two verses vide notes. 2. (i) tIe daMsaNasuhae paNaa-kkhalaNa-jaNio muhammi maNahare / roso vi harai hiaaM maapaMko vva maalaMchaNammi NisaNNo / [tasyA darzanasubhage praNayaskhalanajanito mukhe manohare / roSo'pi harati hRdayaM madapaGka iva mRgalAJchane nissnnnnH]|| --zRGagAra. pR. 458 (ii) tIedaM savaNaaMhakhalaNajaNio maha0 mi maNahade / deso viharai hiaa gaapa0kovva maalaMcaNamiNasiNNo // --zRGgAra. pR. 1007 (ii) tIe daMsaNasuhae paNaakkhalaNajaNio muhammi maNahare / roso vi harai hiaaMmaapaMko vva mialaMchaNammi NisaNNo / tasyA darzanasubhage praNayaskhalanajanito mukhe manohare / roSo'pi harati hRdayaM madapaGka iva mRgalAJchane niSaNNaH // ] -sarasvatI. pR. 724

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HARIVIJAYA OF SARVASENA TEXT : Part I 373 3. (i) bahumaNasiharipaNaaMsa 0 daannesitiasesupaaaanN| ojahamuMdhasabhAva 0 sa 0 bhAvesi saraNAhajAvaavaloa0 // -zRGgAra. pR. 725 (ii) maMtesi mahumahapaNa saMdANesi tiasesapAavaraaNam / ojasu muddhasuhAvaM saMbhAvesu suraNAha jAavaloam / / manuSe madhumathapraNayaM saMdAnayasi tridazezapAdaparatnam / apajahi mugdhasvabhAvaM saMbhAvaya suranAtha yAdavalokam // ] -sarasvatI. pR. 550 4. (i) kuviA a saccahAmA samevi bahuANaM NavaramANakkhalaNe / pAaDiahiaasAro pemasaGghariso paaGgaI maNU // [kupitA ca satyAbhAmA same'pi vadhUnAM kevalamAnakSaraNe / prakaTitahRdayasAraH premasaGgharSaH pravartate manyuH // ] -zRGgAra. pR. 585 (ii) kuviAasa0cabhAmA samepivahuANaNavaramANa khalaNe / pAaDiaahiasAro peMmAsaMghasariso pava0Thai maNNU // [kupitA ca satyabhAmA same'pi vadhUnAM kevalaM mAnaskhalane / prakaTitahRdayasAraH premAzvAsasadRzaH pravartate manyuH // ] ---zRGgAra. pR. 773 (iii) kuviA a saccahAmA samevi bahuINa NavaramANakkhalaNe // pAaDiahiaasAro pemma saMvasariso vaaTTai maMtu / / [kupitA ca satyabhAmA samepi vadhUnAM kevalamAnaskhalane / prakaTitahRdayasAraH prema...pravartate mantu // -zRGgAra. pR. 812 (iv) kuviA a saccabhAmA same vi vahuINa Navara mANakkhalaNe / pAaDiahiaasAro pemA saMghasarisA ? paTTai maMtu // -zRGgAra. pR. 860 (v) kuviA a saccahAmA same vi vahuANa Navara mANakkhalaNe / pAaDiahiaasAro pemmAsaMghasariso paaTTai maNNU / / kupitA ca satyabhAmA same'pi bandhUnAM kevalaM mAnaskhalane / prakaTitahRdayasAraH premAzvAsasadRzaH pravartate manyuH // ) --sarasvatI. pR. 647 5. (i) tItiasa-kusuma-dAmaM hariNA NimmahimahuromAyaaMa0paNai / aMpidUmiavaNaiNihiaeNa ru0viNIevii0NaM / / -zRGgAra. pR. 602 (ii) taM tiasa kusumadAmaM hariNA Ni0mahiasurahi gNdaamoaN| aMpaNaia 0 pidUmiapaNaNihiaeNa ruppiNIa viiMNaM / / [tat tridazakusumadAma hariNA nirgacchatsurabhigandhAmodam / AtpanAtItamapi dUnitapraNayihRdayena rukmiNyai vikIrNam // -zRGgAra. pR. 748 (iii) taM tiasakusumadAmaM hariNA nnimhiasurbhigNdhaamoaN| appaNaiaM vi dUmia paNaiNi hIaeNa ruppiNIe viiNNaM // [tat tridazakusumadAma hariNA nirmathita surabhigandhAmodam / ....duHkhitapraNayinI hRdayena rukmiNyA vitIrNaM // -zRGgAra. pR. 812 (iv) taMtiasakusumadANi hariNANi0 mahiasurahigaMsAmoaM / a0 paNaia0 pidUmipaNaiNi hiaeNaru0 piNievia 0 NaM // -zRGgAra. pR. 1024 Note : SK (p. 678) presents the Prakrit text and its Sanskrit chaya almost correctly; it renders Nimmahia into Sanskrit as nirgacchat, appaNaiaM as AtmanAnItam and dUmi as dunita -

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374 STUDIES IN JAIN LITERATURE these renderings need to be corrected. 6. (i) sirakusumehi kalusiaM jaitehiMcia puNopasAemi tumaM / to ve0 ma...sakisoariavarAha0saaNamekhamaMbhoikaaM / / --zRGgAra. pR. 603 (ii) surakusumehiM kalusi jai tehiM cia puNo pasAemi tumaM / to pemmassa kisoari avarAhassaM a Na me kaaM aNurUaM // [surakusumaiH kaluSitAM yadi taireva punaH prasAdayAmi tvAm / tataH premNaH kRzodari aparAdhasya ca na me kRtamanurUpam // ] -sarasvatI. pR. 655 7. (i) airAANemi tuha0 amaAsaralolaabhamaralaMghikusumaM / kiasagaadANasIratusArataMNAapalapaMsaMDaDumaM // -~-zRGgAra. pR. 748 . ii)...jana...NamituhaMamaAvayalolabhamaralaMghiakusumaM ti / asagaadANasIharatusArata0NAapa0lavaM sa0gadumaM / / / --zRGgAra. pR. 1009 8. (i) ANiapulaubbeosavatipaNaaparisarammi vi grue| adhaMsaNe pavai maNNuThThANe viruppiNU apahariso / / -zRGgAra. pR. 773 (ii). ANiapulaubbheo savattipaNaapaDipUraNaMmi vi garue / piadasaNe pavaTTai maMtuTThANe vi ruppiNIe pahariso // [AnItapulakojhedassapatnIpraNayapratipUraNepi guruNi / priyadarzane pravartate ma(ntu)nyusthAne'pi rukmiNyAH prhrssH|] -zRGgAra. pR. 787 (iii) ANiavalaubbheo saattiaNaapaDipUraaMmivigarue / piadaMsaNe pavaDDai muMtuTThANe vievvahariso // -zRGgAra. pR. 1220 Note : The Prakrit text of this skandhaka and its Sanskrit chaya are correctly presented in SK.(p. 673 v. 330). It reads 'gurue' in place of 'garue' at the end of the first half of the verse. It reads 'garue' as a.v.l. in the foot-notes. 9. (i) diTThA kuiANuNaA piA sahassa-dhaNapellaNaM vi sahiaM / jassa NisaNNAe ure sirIe pemmeNa lahaio appANo / [dRSTA...tAnunayA priyA sahasrastanapreraNamapi soDhaM / yasya niSaNNAyA urasi zriyaH premNA laghUkRta AtmA // ] -~-zRGgAra. pR. 794 (ii) diTThA kuviANuNaA piA sahassajaNapellANaM pi vishiaN| jassa NisaNNAi ure sirIe pemmeNa lahuio appANo // [dRSTA kupitAnunayA priyA sahasrajanapreraNamapi visoDham / yasya niSaNNayorasi zriyA premNA laghUkRta AtmA / / / -sarasvatI. pR. 671 10. (i) to se rubbhaMtaccia hiaaviabhbhaMtaharisaveuccaliA / pAapaDiassa hariNo paDiA puTThIe vAhasalilakkhevA / / [tata...hRdayavijRmbhamANaharSavegoccalitA / pAdapatitasya hareH patitAH pRSThe bASpasalilotkSepAH // -zRGgAra. pR. 840 (ii) tose ku0 bhaMta0 chiahiavia0 bhNthrisveu0cliaa| pAapaDia0sahariNo paDiA pu0ThIevAhasalila0dhevA // -zRGgAra. pR. 1041 (iii) toserubhNtcchiahiaaviaNjNthsisdeuccliaa| pAapaDiAahariNo paDiAaTThaevAhasalilacchevA // -zRGgAra. pR. 1209

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HARIVIJAYA OF SARVASENA TEXT : Part I 375 11. (i) sAkusumehi guruiA mahavikaosuha adaMsaNeNa psaao| kahaaNa pisAasaddo lagai Nasahi aasa0la0satuha // -zRGgAra. pR. 990 (ii) sA kusumehiM guru...mahari...suhaadaMsaNeNa pasAo / kahaaNa hiAasaddo laggau eAhiAimissa tuhaM // ---zRGgAra. pR. 1212 12. (i) paria0ThaMtIvaNisaM saIraMDaliakusumAuhaM va aNaMgaM / viaraMmi pe0chatu hariNNaho aNaddhAau0ThiaM va miaM / / -zRGgAra. pR. 1005 (ii) parivaTuMtiva NisaMsa(ma)i maMDaliakusumAuhaM va aNaMgaM / virahammi maNNai harINahe aNatthapaDiuTThiaM va miaMkam / / -sarasvatI. pR. 616 13. saMvaDDia saMtose purNtko0dhuhmnni0phaasNvliaa| viuNiamaNisaMtAvA jAAsavisesa dUsasarisikiraNA // -zRGgAra. pR. 1006 14. (i) toiapiANuva0taNa mauliahiaAe evsesvhuuo| saMbhAvia0chihio hariNA pAdapaDaNamitIeamariso / -zRGgAra. pR. 1009 (ii) lolasurarukaarnnmuliahiaaaesaavsesvlhue| sa0bhAvia ciahio hariNA pAapaa0mi tiieamriso|| -zRGgAra. pR. 1041 (iii) toiasuraarukAraNasauiahiAe saavseaahlhuo| saMbhAviacchiahiao hariNA pAapaDaNammi tIe amariso // -zRGgAra. pR. 1209 ( dhoosaraMtarosaM dhoa0dhoapriv0ddhmaannphriisN| hoi adUravasAaM uarasAatavi0bhamaM tIe muhaM / --zRGgAra. pR. 1040 (ii) thovosaraMtarosaM thoamuhadhoaparivaDDamANavarisaM / holaadUsapasAaM tuhaparasAaM vikSmamaMtI emuhaM / / -~-zRGgAra. pR. 1211 (iii) thoosaraMtarosaM thoatthoaparivaDDamANapaharisam / hoi a dUrapaAsaM uhaarasAaMtavibbhamaM tIa mukham / [stokApasaradoSaM stokastokaparivardhamAnapraharSam / bhavati ca dUraprakAzamubhayarasAyattavibhramaM tasyA mukham / / ] -sarasvatI. pR. 727 16. (i) aha AgaNo 0 tiNaparia a 0 cAsa 0 Nopisa 0cabhAmAe / haripariaNa * ciasuro ohajila 0 tariaNoaNAeNa di 0 Tho ||-shRnggaar. pR. 1040 (ii) ahaAgao ttiNavaria accAsaNNovi saccabhAmAe harI / pariaNamuha ccia suovAhajalaMtarialoaNAeNaiTTho // -zRGgAra. pR. 1219 17. (i) ...sadUmiasavattibhiaeNi...tasiNehaM pia / garuAa NimiuM sohaggaguNANa aggabhUmIevaaM // -zRGgAra. pR. 1046 (ii) tIe savisesadUmiasavattihiaAe Ni vaddhatasiNehaM / piaguruiAeNimiaM sohaggaguNANa aMgabhUmIevaaM // -zRGgAra. pR. 1224 18. (i) dAra ThaviasuramaMtaMciakusumopahAra.... gapiaM / a0NaM ca sa0cavijjaIparioghaparitapariaNaMtIe gharaM // -zRGgAra. pR. 1047 (ii) dAraTuvia...ramumataMcia sNgmkusumopaarssviaN| aNNaM vi saccahijjai pariosaparittagghaNaMtIe gharaM // ---zRGgAra. pR. 1221

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376 STUDIES IN JAIN LITERATURE -----zRGgAra. 1058 (a) -zRGgAra. pR. 1209 ---zRGgAra. pR. 1220 19. aha diTTha vikkamasmi visinnehsccvigruavinnivaaahaa| citei saccabhAmA suraarulaMmahie gaammimahumahe / / 20. tIe hiaANucitiamaNorahanbhahiaraMsaMgamasuhAe / harivahasikhetirakaraaivaDikubbhattamauDo gao ccia calaNe // 21. ua jAvasA kilammai appakkhaaviraha vittharaMtAnusaA / tApatte jahalacchA tahamivvattiamaNoraho mahumaaNo // 22. assiasohAisao saccA avibhoideadNsnndnnio| jahahiassapahariso tahaharisavisaMDhulANa acchINamuhaM / / 23. nimmahiakusumaparimalahiahiaAevimahuarAvalicaDulA / paDamaM piammi diTThI pacchA tIe visupAavammi NisaNNA // 24. tosepiammirasiA tAdumaraaNammi viasuuppalasuhaA / pariosarasuvvelaaNurAaMdoliA Nisammai diTThI / / 25. ua NiapAavaraaNeia aNurAapisuNaM piammi bhaNate / savisesaladdhavasarA ADhatto tIe pariupparioso / / ----zRGgAra. pR. 1220 -----zRGgAra. pR. 1222 ----zRGgAra. pR. 1223 ----zRGgAra. pR. 1224 000

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TEXT : Part II 4) 1) avaUhia-puvvadise samaaM joNhAe~ sevia-paosa-muhe / mA ira jhijjau raaNI avaradisAhutta-patthiammi miaMke / [avagUhita-pUrva-dize samakaM (=samaM) jyotsnayA sevita-pradoSa-mukhe / mA kila kSIyatAM rajanI aparadizAbhimukha-prasthite mRgAGke / / ] -zRGgAra. pR. 230 eMto vi Na saccavio gose psrNt-pllvaarunn-cchaao| majjaNa-taMbesu mao taha maataMbesu loaNesu amariso // Ayannapi (=Agacchannapi) na dRSTaH prabhAte prasaratpallavAruNa-cchAyaH / majjana-tAmrayormadastathA mada-tAmrayorlocanayoramarSaH / / ] -zRGgAra. pR. 401 3) vaNa-rAi-kesa-hatthA kusumAuha-surahi-saMcaraMta-dhaa-vaDA / sasiara-muhutta-mehA tama-paDihatthA viNeti dhUmuppIDA / / vina-rAji-keza-hastAH kusumAyudha-surabhi-saMcarad-dhvaja-paTAH / zazi-kara-muhUrta-meghAstamaHpratihastA viniryanti dhUmotpIDAH // ] -zRGgAra. pR. 414 dIho diaha-bhuaMgo rai-biMba-phaNA-maNi-ppaha-viasaMto / avarasamuddamuvagao muMcaMto kaMcuaM va ghammaa-NivahaM // [dIrgho divasa-bhujaGgo ravi-bimba-phaNA-maNi-prabhAM vikasamAnaH (? vikAsayan) / aparasamudramupagato muJcan kaJcukamiva dharmanivaham // ] -zRGgAra. pR. 415 5) deho0va paDai diaho kaMThaccheo 0va lohio hoi raI / galai ruhiraM va saMjhA gholai kesa-kasaNaM siraM miva timiraM // [deha iva patati divasaH kaNThaccheda iva lohito bhavati raviH / galati rudhiramiva sandhyA ghUrNate keza-kRSNaM zira iva timiram // ] -zRGgAra. pR. 417 jaM ca aliovaAraM jaNassa dakkhiNNaAe gheppai hiaaM / jai so vi siNeho ccia Na NAma sabbhAva-keavANa viseso // [yaccAlIkopacAraM janasya dakSiNatayA (= dAkSiNyena) gRhyate hRdayam / yadi so'pi sneha eva na nAma sdbhaavkaitvyorvishessH||] -zRGgAra. pR. 603 7) taM Natthi jaM sahiaNo bhaNejja paccakkha-maMtu-dUmia-hiaaM / aNuNejjA jaMpaMto jai NavaraM vammaho miaMkovavio // Stud.-48

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378 STUDIES IN JAIN LITERATURE [tannAsti yat sakhIjano bhaNet pratyakSa-mantu-(manyu)dUna-hRdayAm / anunayet jalpan yadi kevalaM manmatho mRgAGkopetaH // ] -zRGgAra. pR. 729 aNuNaa-suhaM Na pattaM piAhi daiesu khijjio vi Na calaNo / osAriammi paDhamaM dUIe~ vva dosiNAe mANaggahaNe // [anunaya-sukhaM na prAptaM priyAbhirdayiteSu khedito'pi na caraNaH / apasArite prathamaM dUtyeva jyotsnayA mAnagrahaNe // ] -zRGgAra. pR. 798 9) Nimmavia-saMdhiammA tAva a dUra-paDibaddha-vammaha-pasarA / garuaM suraucchAhaM dAUNa sahivva jAmiNI tIeN gaA / / [nirmApita-sandhikarmA tAvacca dUra-pratibaddha-manmatha-prasarA / gurukaM suratotsAhaM dattvA saravIva yAminI tasyA gatA // ] -zRGgAra. pR. 799 10) oloaNammi/oloiammi tuli[ApiAhi gahiammi saMbhameNa vliaN| paDicakkhiammi kaaM ca pae (? pi e su) saMdhia-saraM aNaMgeNa dhaNuM // [avalokane/avalokite tulitaM priyAbhirgRhIte saMbhrameNa valayitam / AsvAdite kRtaM ca priyeSu saMdhita-zaramanaGgena dhanuH // ] -zRGgAra. pR. 799 11) diNNa-taNu-aMjaNAI juai-jaNassa dara-ratta-taMboTThAI / AsaNNa-rai-suhAI ahivAsijjati vammaheNa muhAI // [dattatanvaJjanAni yuvatijanasya ISadraktatAmrauSThAni / AsannaratisukhAni adhivAsyante manmathena mukhAni // ] -zRGgAra. pR. 803 12) Na kao vi rAa(vAa ?) mokkho mANa-khalaNe vi Na paDio ccia bAho / tIe~ NavaraM piaamo gao tti attitta-loaNaM (?allia-loaNaM) nniissiaN|| [na kRto'pi rAga(? vAga) mokSo mAnaskhalane'pi na patita eva bAppaH / tayA kevalaM priyatamo gata iti atRpta (?Ardrita-)locanaM niHzvasitam // ] -zRGgAra. pR. 839 Note : The earlier part of the first half of this skandhaka is not satisfactory. This very skandhaka undoubtedly is cited again on p. 986 where the earlier part of the first half reads : "dhario amarisa-pasaro" (dhRto'marSa-prasaraH). This quarter eminently suits the context. 13) dhIreNa mANabhaMgo mANakkhalaNeNa garua-dhIrAraMbho / tullai tullijjaMte egammi vi se thiraM Na laggai hiaaM // [dhairyeNa mAnabhaGgo mAna-skhalanena guruka-dhairyArambhaH / tolyate tolyamAne ekasminnapyasyAH sthiraM na lagati hRdayam // ] -zRGgAra. pR. 840 14) paDhama-pahAe puhakkio paosa-paDisiddha-dhIrAraMbho / pecchai gamaNaddhapahe caMda-kara-samappie pie juai-jaNo // [prathamaprabhayA pRthaka-kRtaH pradopakAlapratiSiddhadhairyArambhaH / prekSate gamanArdhapathe candrakarasamarpitAn priyAn yuvatijanaH // ] -zRGgAra. pR. 969

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HARIVIJAYA OF SARVASENA TEXT : Part II 379 -zRGgAra. pR. 989 ---zRGgAra. pR. 989 --zRGgAra. pR. 990 -zRGgAra. pR. 990 15) thoArUDhamahu[ma]A khnn-pmhtttthaavraahdinnnnullaavaa| hasiUNa saMThavijjai pieNa saMbharia-lajjiA kAvi piA / [stokArUDhamadhumadA kSaNavismRtAparAdhadattollApA / hasitvA saMsthApyate priyeNa saMsmRta-lajjitA kApi priyA // ] 16) dUmei a me hiaaM puNo puNo vi raha-saMga-juttANuNaaM / rosa-parAhutta-ThiaM valaMta-NivvoliAharaM tIe muhaM // [dunoti ca me hRdayaM puna: punarapi rahassaGgayuktAnunayam / doSaparAGmukhasthitaM valanmanyumalinitAdharaM tasyA mukham // ] 17) patthaMti maaNa-pasara-ppasAa samuhA vilAsiNi-samullAvA / tIeN uNa tassa dIrai rosa-parAhutta-jaMpiehi vi hiaaM // [prArthyante madana-prasara-prasAda-saMmukhA vilAsinI-samullApAH / tayA punaH tasya dIryate roSaparAGmukhajalpitairapi hRdayam // ] 18) kIrai guNo vi doso sevaMtammi vi diNe Na dijjai diTThI / ajasassa Na bIhijjai jaha gahiaM taha pahuttaNaM ramaNijjaM // [kriyate guNo'pi doSaH sevamAne'pi dIne na dIyate dRSTiH / ayazaso na bhIyate yathA gRhItaM tathA prabhutvaM ramaNIyam // ] 19) taha baMdhaNa-aNurAe taha saMmoha-vialaMta-visamAlAve / te ccia tIeN maa-guNA rosa tti ThiA pasAavimuhammi muhe // [tathA bandhanAnurAgAn tathA saMmohavigalad-viSamAlApAn / / ta eva tasyA madaguNA roSa iti sthitAH prasAdavimukhe mukhe // ] 20) NaaNa-paholira-bAha-pphuriAharametta-NIsahaM ca aNIsaM / dUmei gharagaAe tIse rosa-viramAlaNa-paraM hiaaM / / [nayanapraghUrNanazIlabASpasphuritAdharamAtraniHsahaJcAnIzam / dunoti gRhagatAyAstasyA roSa-gopana-paraM hRdayam / / ] 21) sAhasu vilAsiNi-aNaM cia hIlaMti sarasAvarAhA piaA / kiM haa-dakkhiNNa-guNANaM pahavaMtANa suhaa esa sahAvo // [kathaya vilAsinIjanameva helante sarasAparAdhAH priyAH / ki hatadAkSiNyaguNAnAM prabhavatAM subhaga eSa svabhAvaH // ] 22) Na a sahi aNuNaa-bhaNiANa desi pasaraM Na hosi mukkAmarisA / kaha A ekkarasaM cia dUra-visaMvaia-NiTTharaM tuha hiaaN|| [na ca sakhi anunayabhaNitAnAM na dadAsi prasaraM na bhavasi muktAmarSA / katham AH (kathaM vA) ekarasameva dUravisaMvaditaniSThuraM tava hRdayam // ] 23) takkhaNa-jaNia-paharisaM sNbhriavraahsNgltaannusaN| tIe garueN Nisammai oNiattaM pi amarise ccia hiaaM // -zRGgAra. pR. 990 ---zRGgAra. pR. 990 -zRGgAra. pR. 992 -zRGgAra. pR. 993

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380 STUDIES IN JAIN LITERATURE -zRGgAra. pR. 994 --zRGgAra. pR. 995 --zRGgAra. pR. 998 -zRGgAra. pR. 1002 [tatkSaNajanitapraharSaM saMsmRtAparAdhasaMghaTamAnAnuzayam / tasyA gurUke niSIdati, apanivRttamapi amarSa eva hRdayam // ] 24) avarajjhasu ettAhe vIsaddhaM ccia jaNammi Nipphala-maue / kAuM Nikkiva dukkhaM pattia sahau a ekkassa ccia hiaaM // [aparAdhyedAnI vizrabdhameva jane niSphalamRduke / kRtvA niSkapa duHkhaM pratIhi sahatu caikasyaiva hRdayam // ] 25) dukkhaMtaria-maNasuhaM pieNa vimaNa-vilioNaeNa pulaiaM / rosAgama-paDipellia-visama-virajjaMta-loaNaM tIeN muhaM // [duHkhAntaritamanassukhaM priyeNa vimanovrIDitAvanatena pralokitam / / roSAgamaparipreritaviSamavirajyamAnalocanaM tasyA mukham / / ] 26) hattha-salilAhaAe avahIraMtIeN diNNa-sahi-saMlAvaM / kalahaMtariAe~ piaM aNAhaNaMtIe~ dUmio paDivakkho // [hastasalilAhatayA avadhIrayantyA dattasakhIsaMlApam / kalahAntaritayA priyamaghnatyA dUnaH pratipakSaH // ] 27) Nimmavia-maMDaNANa vi sohA vAsaa-vimANiANa vimaliA / mohaM NevacchamiNaM parioso ccia pasAhaNaM juaINaM // [nirmApitamaNDanAnAmapi zobhA vAsakavimAnitAnAM vimarditA / moghaM nepathyametat paritoSa eva prasAdhanaM yuvatInAm // ] 28) uggAhia-pamhaTThA dara-jaMpaNa-mukka-nahala-[uNha-]NIsAsA / sAhati viraha-dukkhaM asamatta-paDikkharA vi se ullAvA // [ugrAhitaprasmRtA ISajjalpanamuktabahaloSNaniHzvAsAH / / kathayanti virahaduHkhamasamAptapratikUlA api tasyA ullApAH // ] 29) asamatto vi samappai apariggahia-lahuo paraguNAlAvo / tarasa piA-paDibaddhA Na samappai raisuhAsamattA vi kahA / / [asamApto'pi samApyate'parigRhItalaghuka: paraguNAlApaH / / tasya priyApratibaddhA na samApyate ratisukhAsamAptA'pi kathA // ] 30) jaha jaha tIe bhavaNaM pAvai kaa-dUsahAvarAha-vilakkho / taha taha se ahiaaraM hiaaM garuammi saMsaammi NisaNNaM / / [yathA yathA tasyA bhavanaM prApnoti kRtaduHsahAparAdhavilakSaH / tathA tathA tasyAdhikataraM hRdayaM guruke saMzaye niSaNNam // ] 31) kIsa a imesu bahuso visama-ppaMta(?ppatta)-taliNaMjaNa-cchavi-kalusA / dIhAvaMgesu tuhaM parivarlDati/parigholaMti NaaNesu bAhuppIDA // [kasmAccAnaryorbahuzo viSamaprApta(?) talinAJjanacchavikaluSAH / dIrghApAGgayostava parivardhante/parighUrNanti nayanayorbASpotpIDAH // ] --zRGgAra. pR. 1002 -zRGgAra. pR. 1006 -zRGgAra. pR. 1006 -zRGgAra. pR. 1006 --zRGgAra. pR. 1011

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HARIVIJAYA OF SARVASENA TEXT : Part II 381 32) kIsa maliAvaaMsaM vannnnnniisaas-pNdduraahr-raaaN| vaaNaM vahasi kisoari kara-saMkAmia-kaola-pattAlekkhaM // [kasmAnmalinAvaMtaMsaM vadana-niHzvAsa-pANDurAdhara-rAgam / / vadanaM vahasi kRzodari kara-saMkrAmita-kapola-patrAlekhyam / / ] -zRGgAra. pR. 1011 33) taNuaM pi aNivvaDiaM puNo puNo vevirAharoTTha-pisuNiaM / vaaNabbhaMtara-bhariaM hiaaThiaM kiM tuhaM pasammai vaaNaM // [tanukamapyaspaSTIbhUtaM puna:punarvepanazIlAdharoSThapizunitam / vadanAbhyantarabhRtaM hRdaya-sthitaM kiM tava prazAmyati vacanam // ] --zRGgAra. pR. 1011 34) akkhaMDie vi paNae akaammi vi vippie akajje vi mahaM / jAaM cia vaaNijjaM, tuha rosammi daie NimittaM pi piaM (? pie) // [akhaNDite'pi praNaye'kRte'pi vipriye'kArye'pi mama / jAtameva vacanIyaM tava roSe dayite nimittamapi priyam (? priye) // -zRGgAra. pR. 1013 35) aparikkhi adosa-guNaM avamaNNia ciraparUDha-vIsaMbha-rasaM / avahIriANurAaM tume vi maha rUsiuM jaNeNa va khiNNaM / / [aparIkSya doSaguNam avamatya ciraprarUDhavizrambharasam / avadhIryAnurAgaM tvayApi mama ruSTvA janeneva khinnam / / ] ---zRGgAra. pR. 1013 36) avahAreUNa ciraM bhaNasu tumaM cia amukkarosA vi phuDaM / kiM agaNeUNa imaM hojjA tumammi majjha ppamAa-khalaNaM / / [avadhArya ciraM bhaNa tvamevAmuktaroSApi sphuTam / kimagaNayitvedaM bhavettvayi mama pramAdaskhalanam // ] -zRGgAra. pR. 1013 37) dUragaaM pi Niattai dUra-NiattaM puNo paattai pemmaM / kaha hoi parINAmo mANassa imo maha tti vimuhijjaMti // [dUragatamapi nivartate dUranivRttaM punaH pravartate prema / kathaM bhavati pariNAmo mAnasya ayam asmAkamiti vimuhyanti // ] -zRGgAra. pR. 1015 38) paDivakkhe dUmijjai jIe Na vIsavai garua-maMtu-paDihaA / tIse kahavi sahi-aNe khaMDia--pemmalahiA Nisammai diTThI // [pratipakSe dUyate yasyA na vizrAmyati gurukamantu(manyu)pratihatA / tasyAH kathamapi sakhIjane khaNDitapremalabdhA niSIdati dRSTiH / / ] -zRGgAra. pR. 1016 39) sahiaM mANa-kkhalaNaM NAo paDivakkha-vippiatthANa raso / sahio a tuha vioo mA lajjasu suhaa lajjiavvammi (? lajjiavvaM pi) mae // [soDhaM mAnasvalanaM jJAtaH pratipakSavipriyArthAnAM rasaH / soDhazca tava viyogo mA lajjasva subhaga lajjitavyam api mayA // ] -zRGgAra. pR. 1017 40) dUsaha-kaAvarAhe avarAhe vi garue pasAAhimuhaM / appacchaMda-paattaM piaM ca pemmaM ca doNNi vi jugucchaMti / /

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382 STUDIES IN JAIN LITERATURE ---zRGgAra. pR. 1024 -zRGgAra. pR. 1025 -zRGgAra. pR. 1027 --zRGgAra. pR. 1027 [duHsahakRtAparAdhamaparAdhe'pi guruke prasAdAbhimukham / AtmacchandapravRttaM priyaM ca prema ca dve api jugupsante / / ] 41) agghai gotta-kkhalaNe pcckkh-nniglia-sNglNt-visaao| eMta-Niattia-vAho-Netta-Niattadaiuttaro juai-jaNo / / [rAjate gotraskhalane pratyakSanigaDitasaMghaTamAnaviSAdaH / AyanivartitabASpo netranivRttadayitottaro yuvatijanaH // ] 42) dUsaha-maMtu-paatto, muhatta-saMgAlia-dhIra-paDiNivvatto / teNa a Netta-parikkhalio Na paDai tIeN mauavva hoi bAho // [duHsahamantupravRtto muhUrtasaMghaTitadhairyapratinivRttaH / tena ca netra-pariskhalito na patati tasyA mRduka iva bhavati bASpaH // 43) dhIra-kkhalia-NiattA (? pauttA) dUra-viaMbhaMta-rosa-paDibajhaMtA / pasaraMti khea-garuA vIsamiUNaM piammi se NIsAsA / / [dhairyaskhalitanivRttA (? pravRttA) dUravijRmbhamANaroSapratibadhyamAnAH / prasaranti khedagurukA vizramya priye tasyA ni:zvAsAH // ] 44) sarisa-paDivakkha-purao hiaammi auvva-mANa-bhaMga-kalusie / sama-suha-dukkhammi jaNe virikka-seso vi se Na mAi amariso // [sadRzapratipakSapurato hRdaye'pUrvamAnabhaGgakaluSite / samasukhaduHkhe jane vibhaktazeSo'pi tasyA na mAtyamarSaH // ] 45) gotta-kkhaliammi pie maNNe pAaDioM sahi-Nivesia-NaaNaM / AUramANa-bAhaM kIeN vi Ni0voliAharaM NIsasi // [gotraskhalite priye manye prakaTaM sakhInivezitanayanam / ApUryamANabASpaM kayApi malinAdharaM ni:zvasitam // ] 46) dheppaMti appaNa ccia kaAvarAhA vi kAmiNIhi piaamA / ki ia sikkhAveMto avarajjhaI(vi)piaM karei mahamao // [gRhyante Atmanaiva kRtAparAdhA api kAminIbhiH priyatamAH / kimiti zikSayannaparAdhyati(api)priyaM karoti madhu-madaH // ] 47) jA aNuNaaM Na geNhai mANa--kkhalaNammi sahiaNeNa vi bhaNiA / pAapaDaNehi NetaM sa ccia kaAvi piaM NivArei piA / [yAnunayaM na gRhNAti mAnaskhalane sakhIjanenApi bhaNitA / pAdapatanairniryantaM(nirgacchanta)saiva kadApi priyaM nivArayati priyA // ] 48) avalaMbiovaAraM abhagga-mANa-pasaraM patt-phrisN| ekaM ca ekarAjAoM se daia-daMsaNe ccia hiaaN|| [avalambitopacAram abhagnamAnaprasaraM pravRttapraharSam / ekaM caikarAgaM [jAtaM] tasyA dayitadarzana eva hRdayam // ] -zRGgAra. pR. 1028 ----zRGgAra. pR. 1028 -zRGgAra. pR. 1038 --zRGgAra. pR. 1039 -zRGgAra. pR. 1040

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HARIVIJAYA OF SARVASENA TEXT : Part II 383 -zRGgAra. pR. 1041 -~-zRGgAra. pR. 1041 -zRGgAra. pR. 1041 -zRGgAra. pR. 1043 49) tIe~ vialaMta-dhIraM abbhuTuMtIeN khaNa-paholira-vAhaM / dUrosaraMta-saraNaM dUraara-valagga-veaNaM NIsasi // [tayA vigaladhairyamabhyuttiSThantyA kSaNa-praghUrNanazIla-bASpam / dUrApasaratsmaraNaM dUratarArUDhavedanaM niHzvasitam // ] 50) daiAloa-paattA aMtocchINa pasaraMta-vAha-vialiA / maulia-aMbua-pasarA tIse daMsaNa-suhaM Na pAvai diTThI // [dayitAloka-pravRttA anto'kSNoHprasarad-bAppa-vikalitA / mukulitAmbuja-prasarA tasyA darzana-sukhaM na prApnoti dRSTiH / / ] 51) Aloie ccia pie Thavio tIeN maaNeNa mohaNa-suhao / kusuma-dhaNummi vi bANo valaia-vibbhama-guNe muhammi pahariso / [Alokita eva priye sthApitastasyA madanena mohana-subhagaH / kusumadhanuSyapi bANo valayita-vibhrama-guNe mukhe praharSaH / / ] 52) agahia-daiANuNao pacchA aNuNei annusavisNvlio| kaiava-NirUvia-mao Nikkaiava-maaNa-lahaio juai-jaNo // [agRhIta-dayitAnunayaH pazcAdanunayati anuzayavisaMvalitaH / / kaitava-nirUpita-mado'pi niSkaitava-madana-laghUkRto yuvati-janaH // ] 53) paNaa-paripUraNeNa viaa-bhUsia-piaamAgameNa a gruo| pasarai ladva-sthAmo aNNaNNa-rasaMtarehi~ tIe~ pahariso // [praNaya-paripUraNena vijaya-bhUSita-priyatamAgamena ca gurukaH / prasarati labdhasthAmA'nyonya-rasAntaraistasyAH praharSaH / / 54) pUreu paNaa-bhaMge[Na] gaA vi maNorahA savattINa mahaM / aNaho NAma Niattau akaattho vi bahUNaM puNNehi pio // [pUrayatu praNaya-bhaGgena gatAnapi manorathAn sapatnInAM mama / anagho nAma nivartatAm, akRtArtho'pi bahvInAM puNyaiH priyH||] viasaMteNa muNijjai sisiro hi gao aggaNa vaudda(?)NiacchAo / kamalamuheNa surabhiNA Ahiu mahumAsa-saMgo tti kamaliNINa // [vikasatA jJAyate ziziro hi gato...(?) nijacchAyaH / / kamalamukhena surabhiNA Ahito madhumAsasaGga iti kamalinInAm // ] 56) dUra-paDibaddha-rAe avaUhaMtammi diNaare avara-disaM / asahaMti 0va kilimmai piaama-paccakkha-dUsaNaM diNalacchI / / [dUra-pratibaddharAge'vagRhamAne dinakare'paradizam / asahamAneva klAmyati priyatamapratyakSadUSaNaM dinalakSmIH // ] 57) oratta-paMkaa-muhi vammaha-NaDiaM va salila-saaNa-NisaNNaM / alliai tIra-NaliNi vAAe~ gamei sahaariM cakkAo // -zRGgAra. pR. 1047 --zRGgAra. pR. 1052 55) vita -zRGgAra. pR. 1174 -zRGgAra. pR. 1174

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384 STUDIES IN JAIN LITERATURE [apa/uparaktapaGkajamukhI manmathaparivaJcitA (kheditA) miva salilazayananiSaNNAm / AliGgati/upasarpati tIranalinI vAcA gamayati sahacarI cakravAkaH // ] -zRGgAra. pR. 1175 58) tAva a suvela-dharAhara-kaDa-taDaMtaria-sasi-ara-pariggahiA / dIsai thoa-thiA aMsamAruhaMti 0va NahaalaM puvvadisA // [tAvacca suveldhraadhrktttttaantritshshikrprigRhiitaa| dRzyate stokasthitA aMsaM samArohantIva nabhastalaM pUrvadizA // ] -zRGgAra. pR. 1186 59) viduma-valaaddha-NihAra-hiroggaA avarA Nu dADhA suhaa| sohai asoa-Nimmia-vammaha-cAva-taNuI-miaMkassa kalA // [vidrumavalayArdhanIhArahIrodgatAparA nu daMSTrA subhagA / zobhate'zokanirmitamanmathacApatanvI mRgAGkasya kalA // ] --zRGgAra. pR. 1186 60) joNhA-rasa-cuNNaiaM kara-vicchUDha-timirAia-parikkhevaM / raia-maa-pattalehaM muhaM va raaNIeN dAvi sasi-biMbaM // [jyotsnArasacUrNitaM (=dhavalitaM) karavikSiptatimirAyitaparikSepama / racitamadapatralekhaM mukhamiva rajanyA darzitaM zazibimbam // ] --zRGgAra. pR. 1176 61) paDhamaM viduma-appo pacchA hoi savisesa-dhavala-cchAo / maa-pallaviavilAsiNi-muha-paDimAmukka-dappaNo vva miaMko / [prathamaM vidrumakalpa: pazcAd bhavati savizeSadhavalacchAyaH / madapallavitavilAsinImukhapratimAmuktadarpaNa iva mRgAGkaH / / / / ] -zRGgAra. pR. 1186 62) caMdAavammi jAai mArua-vihua-viDavaMtara samovaiaM / kumuuppalavAvINa va rUvaM(rUaM)dhavala-kasiNa-duma-cchAANaM // [candrAtape jAyate mArutavidhUtaviTapAntarasamavapatitam / kumudotpalavApInAmiva rUpaM dhavalakRSNadrumacchAyAnAm // ] -zRGgAra. pR. 1186 63) dIpAava-piMjariA kAmiNi-hasia-ppahA pariggaha-suhaA / hoMti gavakkhovagaA kAlAara[-daddha] dhUsarA sasi-kiraNA || [dIpAtapapiJjaritAH kAminIhasitaprabhAH parigrahasukhadAH / bhavanti gavAkSopagatAH kAlAgaru[-dagdha-dhUsarAH zazikiraNAH // ] . -zRGgAra. pR. 1186 64) sajjijjai uvaAro aho raiaM pi puNo raijjai saaNaM / saMbharia vANi-atthA appAhia-patthiA vi rubhai dUI // [sajjIkriyate upacAraH, aho racitamapi punA racyate zayanam / saMsmRtya vANyarthAn, saMdiSTaprasthitApi rudhyate dUtI / / ] --zRGgAra. pR. 1186 65) pijjai pIaM pi mahuM dIsai diTTho vi dappaNe appANo / aNuANa rAga-pasarA pucchijjai pucchiA puNo vi pia-kahA // [pIyate pItamapi madhu dRzyate dRSTo'pi darpaNa AtmA / anugAnAM rAgaprasarA pRcchyate pRSTA punarapi priyakathA // ] -zRGgAra. pR. 1186

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HARIVIJAYA OF SARVASENA TEXT : Part II 385 -zRGgAra. pR. 1187 ---zRGgAra. pR. 1187 -zRGgAra. pR. 1188 -zRGgAra. pR. 1196 66) aMjei loaNAiM baMdhai rasaNaM raei tilaAlekkhaM / jAo hoMta-samAgama-suhekka-rasio vi vAulo juai-jaNo / [anakti locane badhnAti razanAM racayati tilakAlekhyam / / jAto bhaviSyatsamAgamasukhaikarasiko'pi vyAkulo yuvatijanaH // 67) tAva a raaNi-vahUe pariattaMtI' malia-tArA-kusumo / jAo parimala-pisuNo aNaddhaMto(0va?) pAaDo paccUso // . [tAvacca rajanIvadhvAM parivartamAnAyAM mRditatArAkusumaH / jAtaH parimala-pizunaH....? prakaTaH pratyUSaH // ] 68) bhUmiNimiekkacalaNaM piaam-htt-priattiaannnn-kmlN| sohai pemma-NialiaMsaaNaddhaMta-dara-patthiaMjuaINaM / / [bhUminyastaikacaraNaM priyatamAbhimukhaparivartitAnanakamalam / zobhate premanigaDitaM zayanaparyanteSatprasthitaM yuvatInAm // ] 69) raiaM pi tA Na sohai raijoggaM kAmiNINa chaNa-NevacchaM / kaNNe jA Na raijjai kaola-gholaMta-pallavaM sahaAraM // [racitamapi tAvanna zobhate ratiyogyaM kAminInAM kSaNanepathyam / karNe yAvanna racyate kapola-ghUrNatpallavaM sahakAram // ] 70) pariuMbaNeNa aharo agghai-hiaa-hariseNa NaaNa-cchAA / sohaM kuNai pio ccia viraei muhA pasAhaNaM juai-aNo / [paricumbanenAdharo rAjate hRdayaharSeNa nayanacchAyA / zobhAM karoti priya eva viracayati mudhA prasAdhanaM yuvatijanaH // ] 71) dara-matta-pattaleho mhgghvia-piaamovuuhnn-suhio| paI(?)muha-TThia-hiao jAai pajjatta-maMDaNo juai-jaNo // [ISanmAtrapatralekho mahaghitapriyatamopagUhanasukhitaH / pati(?) mukhasthitahRdayo jAyate paryAptamaNDano yuvati-janaH / / ] 72) Nevaccha-diNNa-hiao osaria-sahiaNo aMtaTThioM nnihuaN| pecchai AiMta-pahaM pia-paDivatti-rasio vilAsiNi-sattho // [nepathyadattahRdayo'pasRtasakhIjano'ntaHsthito nibhRtam / prekSate AyatpathaM priyapratipattirasiko vilAsinIsArthaH // ] 73) Alihai piaamA AsaNNa-vioaM vmmh-aaur-hiaaN| pulauggameNa pisuNia-keava-mANa-vimuhaM vilAsiNi-satthaM // [Alikhati priyatamA AsannaviyogaM manmathAtarahadayama / pulakodgamena pizunitakaitavamAnavimukhaM vilAsinIsArtham // ] 74) appei a juvai-jaNo tAvia-daiANa samuha-dasaNa-diNNaM / hiaa-ppahutta-mahiaM maaNa-pahuppaMta-loaNo pariosaM // -zRGgAra. pR. 1198 -zRGgAra. pR. 1198 -zRGgAra. pR. 1199 -zRGgAra. pR. 1199 Stud.-49

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386 STUDIES IN JAIN LITERATURE -zRGgAra. pR. 1199 -zRGgAra. pR. 1199 -zRGgAra. pR. 1200 -zRGgAra. pR. 969. 1200 [arpayati ca yuvatijanaH tApitadayitAnAM saMmukhadarzanadattam / hRdayaprabhUtamahitaM madanaprabhavamAnalocanaH paritoSam // ] 75) ahisAraNaTTha-patthie~ cira-gamaNuvvAa-NIsahANa samaaNaM / vIsamiuM paDhama-gaaM Na dei juvaINa suraa-turiaM hiaaM // [abhisAraNArthaprasthite ciragamanakhinnani:sahAnAM samadanam / vizramituM prathamagataM na dadAti yuvatInAM suratatvaritaM hRdayam / / ] 76) vicchidijjai dhIraM dAragaA paDivahaM Na Nijjai diTThI / gammai hiaammi gae piANa gaa-dUi-maggau ccia vasahi // [vicchidyate dhairya dvAragatA pratipathaM na nIyate dRSTiH / gamyate hRdaye gate priyANAM gatadUtImArgata eva (? pazcAdeva) vasatim // ] 77) paDhama-ppahA-puhakkio paosa-kAla-paDisiddha-dhIrAraMbho / pecchai gamaNaddha-pahe caMdakarAaDDie pie juai-jaNo / / [prathamaprabhApRthakkRtaH pradoSakAlapratiSiddhadhairyArambhaH / prekSate gamanArdhapathe candrakarAkRSTAn priyAn yuvatijanaH // ] 78) jaNia-harisANa takkhaNa-hiaApaDiaMpi piaamabbhuTANaM / aMgehiM kAmiNINaM saMbhAveuM maAlasehiM Na caai // [janitaharSANAM tatkSaNahRdayApatitAmapi priyatamAbhyutthAnam / aGgaiH kAminInAM saMbhAvayituM madAlasaina zakyate // ] 79) kAmiNi-jaNassa sahasA pia-dNsnn-vitthrNt-hris-vimuhiaa| diasa-gaNiA vi hiae Na hoti paDivatti-bhara-sahA ullAvA // [kAminIjanasya sahasA priyadarzanavistRNvadharSavimukhitAH / divasaguNitA api hRdaye na bhavanti pratipattibharasahA ullApAH // ] 80) tAmarasa-komalAo piakaMThAliMgaNe smukkhittaao| pariammAvelamao (?) juaINa dharei vammaho vAhAo / [tAmarasakomalAn priyakaNThAliGgane samutkSiptAn / parikarmApIDamayo(?) yuvatInAM dhArayati manmatho bAhUn // ] 81) tIe~ aNurAa-pasaria-suha-paDibajhaMta-bahala-palaubbheo / uvvAsia-harisuggAro saMdUroNamia-savatti-hiAe // [tasyA anurAgaprasRtasukhaprativadhyamAnabahalapulakodbhedaH / udvAsitaharSodgAra: saMdUrAvanamita-sapatnI-hRdayAt // ] 82) uggAhia-pamhaTuM khaNa-saMbhariAvarAha-laMbhia-lajjaM / khalaMta-mahu-maa-suhaaM aparipphuDa-jaMpiaM vilAsavaINaM / / [udgrAhitaprasmRtaM kSaNasaMsmRtAparAdhalabdhalajjam / / skhalanmadhumadasubhagam aparisphuTajalpitaM vilAsavatInAm // ] -zRGgAra. pR. 1200 -zRGgAra. pR. 1201 ---zRGgAra. pR. 1201 -zRGgAra. pR. 1209 -zRGgAra. pR. 1210

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HARIVIJAYA OF SARVASENA TEXT : Part II 387 -zRGgAra. pR. 1210 ---zRGgAra. pR. 1210 --zRGgAra. pR. 1212 -zRGgAra. pR. 1213 83) mANaMsiNIe~ ahiNava-mairAmoa-paDibaddha-(? parivaDDha)-vammaha-pasaraM / daia-jaNa-diNNa-NaaNaM vialia-dhIra-lahuaM ciraM NIsasi / / [manasvinyA abhinavamadirAmodapratibaddha (? parivRddha)manmathaprasaram / dayitajanadattanayanaM vigalitadhairyalaghukaM ciraM ni:zvasitam // ] 84) Navari a karAvalaMbaNa-suha paDibajjhata-sea pulau [bbheA] / (saccA) tAva ccea akia-uvvariaM pi piaamaM allINA // [anantaraM ca karAvalambanasukhapratibadhyamAnasvedapulakoi~dA / satyA tAvadeva akRtorvaritamapi priyatamamAlInA // ] 85) harisa-viasaMta-vaaNaM kaloa-ala-saMgalaMta-pulaunbheaM / apasAhiaM pi jAaM pasAhiabbhahia-maNaharaM tIe~ muhaM / / [harSavikasadvadanaM kapolatalasaMghaTamAnapulakodbhedam / aprasAdhitamapi z2AtaM prasAdhitAbhyadhikamanoharaM tasyA mukham // 86) uggAhiNa bhaNi hiae cira-ciMtiaM pi rosa-pariNaaM / mANaMsiNIeN piaama-sarahasa-kaa-ggahiammi mANaggahaNe // [udgrAhitaM na bhaNitaM hRdaye ciracintitamapi roSapariNatam / manasvinyA priyatamasarabhasakacagRhIte mAnagrahaNe // ] 87) rosa-pusiAharAo rahasAliMgaNa-viiNNa-vammaha-pasaro / hoi ramiavva-joggo daia-valAmoDi-cuMbio juai-jaNo / [roSaproJchitAdharo rabhasAliGganavitIrNamanmathaprasaraH / bhavati rantavyayogyo dayitabalAtkAracumbito yuvatijanaH / ] 88) agghai galaMta-dhIraM daia-haDhAliMgiANa NaaNaccuMbiaM / visama-pariattia-muhaM samuha-valaMta-hiaaM vilAsavaINaM / / [rAjate galadhairya dayitahaThAliGgitAnAM nayanacumbitam / viSamaparivartitamukhaM saMmukhavaladhRdayaM vilAsavatInAm // ] 89) vAsa-TThiammi sohA-pariosa-pasAhiANaNAe~ maNaharo / appuTThasoa-vimalo sahi-sattho tIe~ dappaNammi vi diTTho / [vAsasthite zobhAparitoSaprasAdhitAnanayA manoharaH / aspRSTazokavimala: sakhIsArthastayA darpaNe'pi dRSTaH / / ] 90) dUra-viaMbhia-pasaro ka-kjj-nniatt-dia-dsnn-jnnio| hiae Na mAi lakkhia-reia--soa-viaDe vi se parioso / [dUravijRmbhitaprasaraH kRtakAryanivRttadayitadarzanajanitaH / hRdaye na mAti lakSitarecitazokavikaTe'pi tasyAH paritoSaH / 91) rattuppaladalasohA tIa vi casaammi surahivAruNibharie / maataMbehi maNaharA paDimA-paDiehi loaNehi lahuiA // [raktotpaladalazobhA tasyA api caSake surabhivAruNIbhRte / madatAmrAbhyAM manoharA pratimApatitAbhyAM locanAbhyAM ladhvIkRtA / ] -zRGgAra. pR. 1214 -zRGgAra. pR. 1214 -zRGgAra. pR. 1221 --zRGgAra. pR. 1221 -sarasvatI pR. 438

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388 STUDIES IN JAIN LITERATURE 92) dhIraM harai visAo viNaaM jovvaNa-mao aNaMgo lajjaM / ekaMta-gahia-vakkho ki sesau jaM Thavei vaa-pariNAmo // [dhairyaM harati viSAdo vinayaM yauvanamado'naGgo lajjAm / ekAntagRhItapakSaH kiM ziSyatAM yaM sthApayati vaya:pariNAmaH // ] -sarasvatI. pR. 509 93) viaDe gaaNa-samudde diase sureNa maMdareNa va mahie / NIi mairavva saMjhA tissA maggeNa amaa-kalaso 0va sasI // [vikaTe gaganasamudre divase sUryeNa mandareNeva mathite / niryAti madireva sandhyA tasyA mArgeNAmRta (? pazcAdamRta-) kalaza iva zazI ||]-srsvtii. pR. 521 94) raia-muNAlAharaNo nnlinn-dl-tthia-piivr-tthnn-also| vahai piasaMgamammi vi maaNAappappasAhaNaM juai-jaNo // [racitamaNAlAbharaNo nalinadalasthagitapIvarastanakalaza: / vahati priyasaGgame'pi madanAkalpaprasAdhanaM yuvati-janaH // ] -sarasvatI. pR. 521 avibhAvia-raaNi-muhaM tassa a saccaria-vimala-caMdujjoaM / jAaM piA-virohe vaTuMtANusaamUDha-lakkhaM hiaaN|| [avibhAvitarajanImukhaM tasya ca saccaritavimalacandrodyotam / jAtaM priyAvirodhe vardhamAnAnuzayamUDhalakSyaM hRdayam / / -sarasvatI. pR. 630 95) Text as presented in the Mysore edition of sp and the 'Nirnaya Sagar edition of SK. 1. avaUhiapuppadisaimaaM jehrAese via paosamuhe / / mAirajhintau raaNIaparadisAbhuttapatthiammi miaMke || -zRGgAra, pR. 230 avaUhiapubbadise samaaM joNhAe seviapao samuhe / mAi Na jhijjau raaNI varadi sAita pacchiammi miaGke / [avagUhitapUrvadize samakaM jyotsnayA sevitapradoSamukhe / mAtarna kSIyate rajanI aparadizAbhimukhaprasthite mRgAGke // ] -zRGgAra, pR. 417 avaUhiapubbadIse samaaM juNhAi se piapaosamukhe / mAira jhijjhavu raaNI avaradisAhuttapatthiammi miaMke // -zRGgAra. pR. 1174 avaUhiapubbadise samaaM joNhAe seviapaosamuhe / mAi Na jhijjau raaNI varadisAitapacchiammi miaGke / / [avagRhitapUrvadize samakaM jyotsnayA sevitapradoSamukhe / mAtarna kSIyate rajanI aparAdizAbhimukhaprasthite mRgAGke // ] -sarasvatI. pR. 679 2. ento vi Na saccavio gose psrttpllvaarunncchaao| majjaNataMbesu mao taha maataMbesu loaNesu amariso / / -zRGgAra. pR. 401 [Agacchannapi na dRSTaH prAtaH prasaratpallavAruNacchAyaH / majjanatAmrayormadastathA madatAmrayorlocanayoramarSaH // ] -sarasvatI. pR. 372

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HARIVIJAYA OF SARVASENA TEXT : Part II 389 eMtopiNasa 0cavio jahame vijasatapa0lavAruNa raao| ma0 jaNata0 vesamao kalarAmaaloaNe saasariso / / -zRGgAra. pR. 998 3. SP (p.414) reads in the second half of the skandhaka faulfat (?fquifa) and renders it into Sanskrit as fasulet. SK (p. 425) reads faufa (? fquifer) and renders it into Sanskrit as vijJAyante. 4. SP (p. 415) and SK (p. 427) read the text and its Sanskrit chaya as given above. 5. SP (p. 417) and SK (p. 456) read ruhiraM vva and sirammia in the second half of the skandhaka. These are rendered into Sanskrit as ferina and for a respectively. 6. jaMca aliovaAraM jaNa0sada0khi0NaAe dhe0pahia / jaha sovisiNehociaNaNAmasa0bhAvakai avANaviseso // -zRGgAra. pR. 603 jaMvi aliovaAra para0 sada0 khi0NaAi ghe0 paihiaaM / jai se vi siNeho0 liaNaNAmasa0bhAva kaiavabiseso // --zRGgAra, pR. 1010 jaMpi aliopaAraM varassadakkhiNapAe kheppaihiaaM / jai so vi siNeho cciaNaNAmasaMbhAvakaiavANa viseso / -zRGgAra, pR. 1208 7. taM naM dhijasahiaNobhaNe japeMchaMkhama0tu dUmia hiMaa0 / aNuNejaaja0 paMto jaiNavara0va0mahomia0koMvacia0 // -zRGgAra. pR. 729 ta0Nasa jaMsahiaNo bhaNe0japa0ce. khamaMtu dumiahiaaN| aNuNa0jaajaMpato jaiNaparava0mahociaMko 0 vaviaM / / / -zRGgAra. pR. 999 8. aNuNaasuhaM Na pattaM piAhi daiesu khijjai vi Na claN| osAriaMmi paDamaM dUIe vadosiAe...gahaNe // [anunayasukhaM na prAptaM priyAbhirdayiteSu... / apasArite prathamaM dUtyA... |] -zRGgAra. pR. 798 aNuNaasuhaM Napa 0taM piAhi hIesuvi0bhiu0piNacalao / osAriaMmipaDhamaM ru0NavadosiNAemANa0gahaNe // -zRGgAra, pR. 1039 9. NimmariasaMdhiaMmA tAvaa dUrapaDibaddhavaMmahapasarA / garuaM suraucchAhaM dAUNa sahi 0va jAmiNI tie gaA // [nirma...mA tAvacca dUra-pratibaddhamanmathaprasarA / gurukaM suratotsAhaM dattvA sakhIva yAminI tasyA gatA // ] -zRGgAra. pR. 799 NimmariasaMdhiammA tAvaadUrapaDibaddhavammahapasarA / garuaM suraucchAaM dAUNasahi0vajjAmiNI tIe gaA // -zRGgAra. pR. 1212 10. olotaaMmi tuli...piAhi gahiaMmi saMbhameNa valaiaM / paDicakkhiaM pi a kaaM capae saMdhiasaraM aNaMgeNa dhaNuM // [avalokite...gRhIte saMbhrameNa valayitaM / pratyAkhyAtamapi ca kRtaM...saMhitazaraM anaGgena dhanuH // ] -zRGgAra. pR. 799 11. diNNataNuaMjaNAI juaijaNassa (daI ?) taMboTAI / AsaNNaraisuhAI ahivAsajjaMti vammaheNa muhAI // [dattatanvaJjanAni yuvatijanasya...tAmroSThAni / AsannaratisukhAni adhivAsyante manmathena mukhAni // ] -zRGgAra. pR. 803

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390 STUDIES IN JAIN LITERATURE diNNataNUaMjaNAI juaIaNassadararattatavoggAi / AsaNNaraisuhAI ahivAsijjati vammaheNa muhAI / / -zRGgAra. pR. 1198 12. Na kao vi ra(rAa)moba0kho mANakkhalaNe vi Na paDio ccia bAho / tIe NavaraM piaamo gao ttiattitaloaNaM ? nniissiaN|| ni kRto'pi(rAga)mokSo, mAnaskhalane'pi patita eva bASpaH / / tasyAH kevalaM priyatamo gata iti locanaM nizvasitam // ] ---zRGgAra. pR. 839 dhario amarisapasaro mANa0 khalaNeviNapaDio0 cia vAho / tIeNa varaM piaame gahio Nianta0 loaNaM nniissiaN|| ---zRGgAra. pR. 986 13. dhIrANa mANabhaMge mANakkhalaNeNa garuadhIrAraMbhe / ullalai tulijjaMte ekkaM pi vi se dhiraM Na laMghai hiaaN|| [dhIrANAM mAnabhaGge mAnaskhalanena gurudhairyAraMbhe / ullalati tolyamAne ekamapi...na laGghayati hRdayaM / / ] ---zRGgAra. pR. 840 dhIreNa mANabhaMgo mANakhalaNeNa garuadhIrAraMbhe / ullai....kama0 pise dhira 0Nala gihiaaN|| -zRGgAra. pR. 998 dhIreNa mANabhaMgo mANakkhalaNeNa garua dhIrArambho / ullalai tulijjate ekammi vi se thiraMNa laggai hiaaM // -sarasvatI. pR. 727 Note : The text and its Sanskrit chaya are the same as given above. 14. ...pahAiaosakAlapaDisiddhadhIrAraM / / bhe pe0caimaNa0dha caMdaahAadhiejuaijaNo | -zRGgAra. pR. 969 pddhmphaa...puhinyjoposaalvpiiddsiddhviiraabhe| pecchai gamaNaMdhavahe caMdakarAappie pie juaijaNo // -zRGgAra. pR. 1200 15. dhoArUDhamahuAkhaNa0pahu0dhovarAhadi0NalAva / hasiUNa sa0Navi0jai pieNa sa0 bharipula0jaA kAvi // -zRGgAra. pR. 989 dhoArUDhamahumaA khaNapa0bha0ThAvarAhadi0NulAvA / hasiUNasa0Navi0jai pieNa sa0 bharia la0jiA kAvi piA // -zRGgAra, pR. 1044 thoArUDhamahumaA khaNapajhaTThAvarAhadiNNullAvA / hasiUNa saNNavijjai cieNasaMbharialajjiAkAvipiA // -zRGgAra, pR. 1215 The text and its Sanskrit chaya in (SK) (pp 670-71) are the same as given above-in the main body, except the incorrect chaya : kSaNavismRtiraparAdha0 16. dUmeiamehiaM punnopunnovirhsNgju0taannunnaN| do saparApu0taThiaM vaLataNi0voliahara0tiemuhaM / / -zRGgAra. pR. 989 17. pa0ThaMti maaNapasara0pasAasamuhA vilAsiNIsamu lavaM / tIe uNa ta0sadIrairosaparApu0taja0piehivihiaaM / -zRGgAra. pR. 990 18. kIraiguNovidoso sevata0mividiNe Na di0jai di0tthi| ajasa0saNabhIbhi0jai jaha gAhiaMtaha pahu0taNaM ramaNijaM // -zRGgAra, pR. 990 kIraiguNovidoso Nija -zRGgAra. pR. 1018

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HARIVIJAYA OF SARVASENA TEXT : Part II 391 19. tahabaMdhaNaaNurAe ta hasaMmohavialatavisAmA / lAvete-cia tIe maaguNA rosa0ti0ThiA pasAavimuhaMmi muhe / . -zRGgAra, pR. 990 20. NayaNapaholirabAha0puriAhara me0tnniish0vvianniisaa| saMdUmeidharagaoaMtIse rosvirimaalnn0mhiaaN|| -zRGgAra. pR. 990 21. sAhasu vilAsiaNije hila0 tisarasAvarAhapiaAkiM / __ araha0kha0NaguNAo pahavaMtANa surAae sasahAo / / -zRGgAra. pR. 992, pR. 1018 sAha suvilAsiNiaNaM je ahilaMti sarasAvarAhA piA / kiMahada0khiNe guNao pahavaMtANae sahasAo // -zRGgAra. pR. 1029 22. NasahiaNuNaabhaNi Na desi pasara0 Thahosa mu0kAmarisaM / kahaAekaraciadUravi sa0 vaia0NiThura0tuha hiaaM / / -zRGgAra. pR. 993 NaaNaNaabhaNiaMNadesipasaraMNahosimu0kAmarisakahaA / e0karasaM cia dUravisaMvaiaNi0ThuraM tuha hiaaN|| -zRGgAra. pR. 1013 23. ta0khaNajaNi aparipasabharia virodhasaMgaju0tANusaaMtIe / garu...oliataM piamarise0ciahiaaM // -zRGgAra. pR. 994 takkhaNajaNiapahassi saMbhariavarohasaMgalattANaM saaMtIe / garuaMNisaMmalagao attaMpiamarisacciahiaaM // -zRGgAra. pR. 1209 24. apara jhasuattAhe vIsa0 dha0ciajaNaMmiNi phalamaue / kAuMNi0khivadu0khaMpa0tiasahiaMu0ca e0ks0ciahiaaN|| --zRGgAra. pR. 995 apara0jhasu e0 tAhe vIsa0 dho0 ciajaNa0 miNaphalagurue / kAuNi0 kivagurua0 pa0 tIasahiu * pi e0 kasi.ji // -zRGgAra. pR. 1036 25. duHkhaMtariamaNasuhaMghieNa vimnnvilionnennpuliaN| rosAgamapaDive0laevisamavirajaMtaloaNatimuhaMa / / ----zRGgAra. pR. 998 26. ha0dhasalilAhaAe avhr0tiedi0nnshis0laavN| kalahaMtariAevia0aNAhaNa0tIe dUmiopaDivakkho / -zRGgAra. pR. 1002 27. Ni0maviamaMDaNANavisohAvAsaamANiANavimaliA / moha0Neva0calaNo pariosocia pasAhaNaM juvaINaM / / --zRGgAra. pR. 1002 nnimmviamNddnnaannvisohaavaasaNpimaanniaannviliaa| mohaMgaNevacchaiNe parioso ccia pasAhaNaM aMaINa / / ---zRGgAra. pR. 1198 28. u0gAhiapaMhu0ThA darajaMpaamu0kabahulaNIsAsA / sAhativirahiduHkhaM asama0tapai0khirAviseu0lAvA / / -zRGgAra. pR. 1006 29. asamato visama0pai apari0gahialahao paraguNAlAo / ta0sa piApaDibaMdhANa samapaisuhA... || --zRGgAra. pR. 1006 SK (pp. 675-676) agrees with the text and chaya given above except at one place. It reads paDivaDDA in place of paDibaddhA but renders it into Sanskrit as pratibaddhA ! 30. jahajahatIebhavaNaM pAvai kahadhUsahAvarAhavila0 kho| tahataha seahiaaharahiaaMru0mi saMsaa0miNisa0NaM // -zRGgAra. pR. 1006

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392 STUDIES IN JAIN LITERATURE -zRGgAra. pR. 1011 -zRGgAra. pR. 1207 -zRGgAra. pR. 1011 -zRGgAra, pR. 1027 --zRGgAra. pR. 1011 --zRGgAra, pR. 1013 ---zRGgAra. pR. 1208 -zRGgAra. pR. 1013 ---zRGgAra. pR. 1046 31. kIsa imesubahuso vism000tNtnn0jnn0cviklusaa| dehAva0gesutuhaM pariva0ghaMtu(tI)NaaNesu bAhu0pIDA // kIsaaime subahuso visamappaMtataliNaMjaNacchavikalasA / dIhAvaMgesu tumaM parigolaMtiNaaNe subAhuppIDA / 32. kIsamaliAvaaMsaM vaaNaNIsAsapa0NuAhararAaM / vaaNaM vaha0NikasoariarasaMkAmiakaolapa0tAle0khaM // kiismiliaapaNsNv0lnniisaaspunniaahrtaa| vaaNaMvahasi kisoarikara saMkAmiakapolapa0tAle khaM // 33. taNuaMpiaNivvaDaaM puNo puNovevirAharo0dhae suNiaM / vaaNabhaMtarabhariaM hiaa0chiakiMtuha0pasa0maivaaNaM // 34. a0khaMDievi paNae akaaMmivi0pie aka0 jepimahaM jAaM / ciavaaNali jaM tuharosa0mihiaeNia0temi piaN|| akkhaMDie vi aNae akaaMmi vivippie akajje vi mahaM / jAaM ciaNiraaNijjaM tuharosaMmivaaNe Nimittammi paN|| 35. apari0khiadosaguNaM ava0maNiacirapa0rUDhavIsaMharasaM / avabhariAnurAaM tumevima...rUsiu0jaNa khi0NaM // aparikkhiadosaguNaM avama....parUDhavIsaMbharasaM / apahiriANudUaM tume vimaharUsi ujjaNeNa vitihaNaM / / 36. avarAheNa UNacira0 bhaNasu tumahiaau0karosAvi ! puDakaM agaeUNaimaM tuho0jaituha0mipasAaM khaliaM // avahAre uNaciraM bhaNasu tuma cia amukkarosAvi / puDhaki citteUNaimaM ohajjalamaMmimahapamAakkhalaNa // 37. dUragaa0piNia0tai dUraNia0taMpuNopauntaipe0maM / kaha hoi pariNAmo mANasaimo haMtimuhijaMti // dUragaammi NiattaladUraNivutaM puNA paattaimaM / ma kaha hoi pariNAmo mANassa lamo mahaMti vimuhijjati // 38. paDiva0khe dUmi0jaijieNavIsavaiguruamaMtupaDihaa / tIsa kahavi sahiaNekha0 Di 0 pe 0malahaiNisa0mai di0 tthi|| 39. sahiaM mANa0khalaNaM NAo paDiva0khavippia0dhANaraso / sahio a tui vioe mAi0asuhaala0jia0va0mi mae // sahiaM mANa0khalaNaMNAopaDiva0khavisia0pANaraso / gamio...suhaau0jia0pa0mIe // sahiNaM mANakkhalaNaM nnaaopddivkkhvihaaas0baannrso| sahio tuhatuha vioo mAlajjasusuhaa lajjia0vaMmi mae / 40. dUsahakaAvarAhaM avasAheviguruepasAAhihimuhaM / a0pa0 caMdavaa0taM piacape0 maMcajo0 Navijuu0 caMti // -zRGgAra. pR. 1013 --zRGgAra. pR. 1208 -zRGgAra. pR. 1015 -~-zRGgAra. pR. 1210 -zRGgAra, pR. 1015 --zRGgAra, pR. 1017 -~-zRGgAra. pR. 1028 --zRGgAra. pR. 1212 -zRGgAra. pR. 1024

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HARIVIJAYA OF SARVASENA TEXT : Part II 393 dUsahakaAvarAha avarAhe vigaruevasAiAahimuhaM / appacchaMtapaattaM aMvapembhava hoti vijuutti / / ---zRGgAra. pR. 1210 41. a0ghaigo0ta0khalaNe khalapialiasaMgalaMtavisAo / etaNia0tiavAho 0talia0tadaiu0taro juaijaNo // -zRGgAra. pR. 1025 42. dUsaha-maMtu-paaMtomuhu0tasaMgaliadhIrapaDiu0ta / teNaaNaMtapariNa0khalioNapauitIemauaMvaholaivAho // -zRGgAra. pR. 1027 43. dhIra0khaliaNiaMtAdUraviaMbhatarosapaDiva0jhaMta / pasaraMti seagaruAvIsamiUNavia0miseNIsAsA / / -zRGgAra. pR. 1027 44. sarisapaDive0khapurao hiaa.miau0vamANabhaMgakalusie / samasukhaduHkha0mijaNe viri0 kasesoviseNamAlaamariso / / ---zRGgAra. pR. 1028 45. go0talkhalia0mipiema0NapAuliMasahiNivesiaNaaNaM / aauurmaannvaahNkiievini-0boliaahrNnniissiaN|| -zRGgAra. pR. 1028 46. khe0pa0tia0paNe0ciakaAvarAhAvikAmiNIhivia / a0mAkiM iasi0 khAvaMto avara jhaipiaMkarei mahumae / -zRGgAra. pR. 1038 ...cati appaNa cciakaAvarAhAhiM kAmiNihiM / piaamAkilaasikkhAto avarijjhaioriaMroimahumao // -zRGgAra. pR. 1213 47. jA aNuNaaMNageNhaimANa khalaNaMmi sahiaNeNa vihaNiA / pAapaDaNehi Ne0taMsaMsaciakaApipiaMNivAreipiA // --zRGgAra. pR. 1039 48. avalambiovaAraM a0bha0gamANapasara0pa0tapaharIsaM / e0kaMekkarAaM se daiadaMsaNaciahiaaM / / -zRGgAra. pR. 1040 49. tIeviala0tadhIraM a0bha0ThaMtIeghaNavaloviravAhaM / duurosantrann0vlgvesnninnsisiaN|| -zRGgAra. pR. 1041 tIe vialaMtadhIraM abbhattataekhaNapaholiravAhaM dUrosaraMtasaraNaMdUrapakhalaggaveA nniissi| -zRGgAra. pR. 1210 evialaMtavIraM abbhuDhtIe khaNapaholiracAha / dUrosaraMtasaraNaMdUraaravalaggaveaNaM NIsasi / / -zRGgAra. pR. 1213 50. daiAloapaa0tAa0po0cINa pasaraMtavAhavialiA / mauraiabbudhapasarAtIseda0saNamuha0NapAvaidi0ThI / / -zRGgAra. pR. 1041 51. Aloe0ciapieThaviotiemaaNeNa mohaNasuhao / kusumavaNammivaNovalaiavi0 bhamauNemuha0mi prihriso|| -zRGgAra. pR. 1041 Aloiacciapie viotIemaaNeNamohaNasuhao / kusumadhaNummivivANo laiavibbhamaguNammipaharIsau // . -zRGgAra, pR. 1211 52. agahia-daiANuNao pa0vAaNuNeiaNuNaaapisavalao / kaiavaNIruviamao li0kaavamaaNaubhalio juvajaijaNo // -zRGgAra. pR. 1043 agahiadaiANuNao pacchANuNeiaNusaavIsaMvaio / kaiavaNarUvi...maaNalahuio juaijaNo // -zRGgAra. pR. 1216 53. paNaaparipUraNeNaviraabhUsiapiaamAgameNa0 garuo / pasaraila00dhAmo a0No0Navasitaresahi tIe pahariso // -zRGgAra. pR. 1047 Stud.-50

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394 STUDIES IN JAIN LITERATURE -zRGgAra. pR. 1221 -zRGgAra. pR. 1052 -zRGgAra. pR. 1174 -zRGgAra. pR. 1174 -sarasvatI. pR. 453 -zRGgAra. pR. 1175 -sarasvatI. pR. 679 paNaaparipUraNeNaaviraAsuapiaAgameNaagaruo / pasarai laddhaddhAmoaNNuNNarasaMtarehiM tIe pahariso // 54. pUratupaNaabhaMgegaAvimaNorahA svttiinnmhN|| aNahoNAma Niattai akaatthovibahuINa pulehipio|| 55. viasatteNa muNijjai sisiroaggaNa vauddaNiacchAA / kamalamuheNa surabhiNA AdhiamahumAsa saMgamaMtikamaliNINa // 56. dUrapaDibaddharAe AliMgaMtammi diaavaradisaM / asahatiM makilammai piamapaccakkhadUmaNaddiNalacchi / / dUrapaDibaddharAe avauhattammi diNaare avaradisam / asahantivva kilimmai piaamapaccakkhadUsaNaM diNalacchI / / [dUra-pratibaddharAge'vagUhamAne dinakare'paradizam / asahamAneva klAmyati priyatama-pratyakSadUSaNaM dinalakSmI:] / / 57. orattapaMruamuhi pammahaNaDia0salilasaaNaNisaNNaM / alliai tIraNaliNI pAAe gamei sahaarI cakkAo // orattapaGkaamurhi vammahaNaDiaM va salilasaaNaNisaNNaM / alliai tIraNAliNi vAAi gamei sahacariM cakkAo / [uparaktapaGkajamukhIM manmathanaTitAmiva salilazayananiSaNNAm / AliGgati tIranalinI vAcA gamayati sahacarI cakravAkaH // 58. taavsuleaadhraahrkddatddNtriassiarpaariighiaa| dIsai thoathitAaMsamAruhaMtivvaNavialaMpuvvadisA // 59. vidumvladdhnnihaarhiroggiapraadaaddhaasuhaa| sohaiasoaNammiavammahacAvataNuI miaMkassakalA // 60. joNhArasacuNNaiaM karabhicchUDhatimirAiaparikkhevaM / raiamaapattalehaM muhaMvaraANIedAvi sasibiMbaM / 61. paDhamaM vidumaaMpo pcchaahohisvisedhvlcchaao| ____ maapallaviavikAsiNi muhapaDimAmukkadappaNovvamiaMko // 62. caMdAavaMmi jAaimAruavihuavihapaMtarasAmovaie / kumuuppavApINaparUaMdhavalakasaNaMdumacchAANaM / 63. dIpAavapiMjariAkAmiNihasiavvahA prigghsuaa| hoti gavakkhovalaA kAlAarudhUsarAsasikiraNA || 64. sijjujjai uvaAroM roraiaMvipuNo raijjaisaaNaM / saMhariapANiavvAappAhiapacciAvirubbhai dUI // 65. pijjaipIaMpi muhaM dIsai diTTho vi dappaNe appANo / aNuANarAgapasrarA acchijjaipucchiA puNovipiakahA / / 66. ajjeulloaNAI baMdhairAsaNaMraeitilaAlokkhaM / jAohotasamAgamasuhaMkarasiovivAuloaNuijao // 67. tAvaAraaNivahUe pariattaMtIemaliatArA / kusurojAu parimalapIsuNo aNaddhaMtovva pAaDo paccUso / / -zRGgAra. pR. 1186 --zRGgAra. pR. 1186 ---zRGgAra. pR. .1186 -zRGgAra. pR. 1186 -zRGgAra. pR. 1186 --zRGgAra. pR. 1186 --zRGgAra. pR. 1186 -zRGgAra. pR. 1186 -zRGgAra, pR. 1187 -zRGgAra. pR. 1187 .

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HARIVIJAYA OF SARVASENA TEXT : Part II 395 -zRGgAra pR. 1188 -~~-zRGgAra, pR. 1196 --sarasvatI. pR. 666 -~-zRGgAra. pR. 1198 ---zRGgAra. pR. 1198 ---zRGgAra. pR. 1199 -zRGgAra. pR. 1199 --zRGgAra. pR. 1199 68. bhUmiNimiaMkacalaNaMpiaapahuttapariattiANaNakamalaM / sohai. pemmaNialiaMjaaNaddhaMtadarapatthiaMjuaINaM // 69. raiaM pi taNNa sohai raijoggakAmiNINa NevacchaM / kaNNe jAvaNa rajjai kaolabolItapallavaM sahaAraM // raiaM pi tA Na sohai raijoggaM kAmiNINa chaNaNevacchaM / kaNNe jA Na raijjai kavolagholaMtasahaAraM (pA-bhe--kavoladhoNaMtapallavasahaAraM // racitamapi tAvanna zobhate ratiyogyaM kAminInAM kSaNanepathyam / karNe yAvanna racyate kapolaghUrNamAnasahakAram // 70. pariuMbaNeNa aharo aMdyaihiaahariseNaNaaNacchAA / sohaM kuNai pio ccia viraei muhAvasAhaNaM jujyaijaNo // 71. dttmpttlehomggaagviaamovhuunnsuhio| paTThimuhaTThiahiao jAaipaMjaMtamaMDaNo juaijaNo / / 72. Nevaccha-diNNa-hiao osaariashiiannNttthiannihuaN| cucchaiAi tti pahaM viapaDivatirasiovilAsiNIsatyo / / 73. AlihadipiaamA AsaNNavioavammAhAurahiaaM / pulaupagameNa visuNiakeamANavimuhavikAsiNIsatthaM // 74. appeiajuvaijaNo tapiadaiAesamuhadasadiNNaM / hiaapahuttabhahiaMmuhaNavahuppaMtaloaNo pariosaM // 75. ahisAraNaTupattheciragamaNuccA aNIsahAisamaaNaM / vIsamauM paDamagaaMNa dei juvarINa suraaturiaM hiaaM // 76. vicchiDijjaidhIraM dAragaApaDivahaMNaNijjadiTThI / gammai hiaammi gae piANagaadUimaggaucchiaavasahi // 77. ...pahAiaosakAlapaDisi0dhadhIrAraM / bhepe0caimaNadha caMdaahAadhiejuaijaNo // paDhamapahA...puhiJjaopaosaAlavapIDasiddhavIrAbhe / pecchai gamaNaMghavahe caMdakarAappie pie juaijaNo / 78. jaNiaharisANatakkhahiaApaDiaMpi pi piaamabbhudvANaM / aMgehi kAmiNINaM saMbhAveuM maANaseNa claN|| 79. kAmiNijaNassa shsaapiadNsnnvitthnnNthrisvimuhisaa| divasaguNiA vi hiaeNahoMtipaDivattibharasahA ullAvA / / 80. tAmarasakomalAopiakaMThAliMgaNesamukkhitAo / parizramAvelamao juaINadhareivammaho vAhAo // 81. tIe annuraaapsriasuhpddivjhNtbhlpulddbbhoo| upaNAsiasaharisaggArisaMdUroNAmiasavattihiAe / 82. uggAmihiaapammaTuM khnn-sNbhriaavraahlbbhialiaN| assalamahumaasuhaaM aparipuDajaMpiaM vilAsavalaNaM / / -zRGgAra. pR. 1199 -zRGgAra. pR. 1200 -~-zRGgAra. pR. 969 -zRGgAra. pR. 1200 -zRGgAra. pR. 1200 --zRGgAra. pR. 1201 -zRGgAra. pR. 1201 -zRGgAra. pR. 1209 -zRGgAra, pR. 1210

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396 STUDIES IN JAIN LITERATURE 83. mANaM siNIe ahiNavamairAmo... ... paDibaddhavammahapasaradaiajaNadiNNaNaaNaM vialiadhIralahuaM ciraMNIsasi // -~~-zRGgAra. pR. 1210 84. NavariakarAvalaMbaNa suhapaDivajjaMtasseapulau... / tAccia akiu0variaMpi piaamaM akkINo // ----zRGgAra. pR. 1210 85. harisaviasaMtavaaNaM kvolalsNglNtpulubbheaN| avasAhiaM pi jaaM pasAhiabbhahia-maNaharaM tIe muhaM // -zRGgAra. pR. 1212 86. uggAhiaMNa bhaNiaM hiaeciraciMtiaM rAapariNAmaM / mANaMsiNIeviaaMbhu rahasaka raggAhiaMmi mANaggahaNe // -zRGgAra. pR. 1213 87. lNbhpusiaadhraabhorhaasliignnviinnnnvmmhpsro| hoiramiavvajoggo daiavakAmoDiaMvau juaijaNo // ----zRGgAra. pR. 1214 88. agghai valaMtadhIraM diahtthaaliNgaannnnaliiuNvriaN| visamapariaNNiamuhaMsamuhavalaMtahiaaMvikArAvaiNaM // -zRGgAra. pR. 1214 89. vasaTThiammisohApapariosapasAhiANaNAemaNaharA / appuTThasoavimale sahisatthadIedappaNammividihro / / -zRGgAra. pR. 1221 90. dUraviaMbhiapasaro kaakajjaNiaMdaiadaMsaNajaNio / hiaeNamAalacchiareiasoaviaDeviseparioso // --zRGgAra. pR. 1221 88. The text and its chaya are correctly presented in the NS edn with this difference-we have changed athust to arsful for metrical requirement. 92-95. The Prakrit text and its Sanskrit chaya are correctly presented in the NS edn-but for the solitary misreading : bar3hatANuamUDhalakkhaM (p. 630); the chaya, however, correctly renders the expression as 'vardhamAnAnuzayamUDhalakSya'

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SAMARAICCAKAHA (BHAVA-II) OF HARIBHADRASURI : A STUDY (A Study with particular reference to Bhava-II) INTRODUCTION The Age of Haribhadra "History in the ordinary sense of the word is almost unknown in Indian Literature." And this is particularly true of great poets like Kalidasa, the prince among poets, and Prakrit celebrities like Bhadrabahu, Umasvati and our Haribhadra. It is by no means easy to settle the date of Haribhadra. It is still disputed in what century he lived. Scholars differ with regard to his age; and the divergence in their opinion is indeed very great. The period embraced extends from the beginning of the 6th century A. D. to the 12th century A. D. The Jain tradition mentions Vira samvat 1055 (529 A. D.) as the date of Haribhadra's death. Siddharsi, who completed his Upamitibhavaprapanca katha on may 1, 906 A. D. calls Haribhadra as his 'dharmabodhakaro guruh : Prof. Abhyankar in his Sanskrit Introduction to Vimsativimsika discusses the date of Haribhadra, and puts him in the last decades (Vikrama era 950, C. 894 A. D.) of the 9th century. His chief arguments are (i) Siddharsi's statement mentioned above. (ii) Haribhadra's works reveal his acquaintance with Sarirabhasyam (C. A. D. 800). Saka referred to by Kuvalayamala (which will be presently discussed) must be other than salivahana. Dr. Vidyabhusana (History of the Indian Logic) places him in the 12th century A. D. Jinavijayaji in his article on 'The date of Haribhadra' assigns him to the

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398 STUDIES IN JAIN LITERATURE 8th century (700 to 770 A. D.) His arguments are accepted in toto by Dr. Jacobi. These may be summarized thus : Uddyotana's Kuvalayamala mentions in its prasasti that Haribhadra was the teacher of Uddyotana in philosophy. This Kuvalayamala was finished on the last day but one of the Saka year 700 (21st March, 779 A. D.) Uddyotana's statement conflicts with that of Siddharsi stated above. But this inconsistency could be removed by interpreting 'Dharmabodhakaro guruh as the Paramparaguruh. (ii) Haribhadra quotes many of the celebrities, who flourished in the century preceding his own, such as Dinnaga, Dharmakirti, Bharthari and Kumarila. He however does not quote Sankara who rose so high above all his comtemporaries that Haribhadra could not have ignored him, if he had lived at his time. Nor does he discuss Samkara's Mayavada. So it is certain that Haribhadra is earlier than Samkara (788-820). Of these, the Jain tradition which puts Haribhadra in the early half of the 6th century is clearly wrong as Haribhadra quotes Dharmakirti who flourished about 650 A. D. Dr. Vidyabhusana's view also is untenable from the two statements of Kuvalayamala and Upamitibhavaprapanca katha. It is not easy to say which of the remaining two views is nearer the truth. As there is no strong and unassailable evidence about Haribhadra's date, scholars are apt to hold divergent views. So one must content oneself with merely restating their opinions. Haribhadra's Life It is a misfortune that we have no biographical records of our famous ancient poets and writers. The lack of reliable personal history produces a sense of void, of something missing. All that our Haribhadra chooses to tell us is that: (i) he obeyed the command of Jinabhata, an Acarya of the Sitambaras, (Svetambaras); (ii) he was the pupil of Acarya Jinadatta, an ornament of the Vidyadhara Kula; and (iii) he was the spiritual son of the nun Yakinimahattara. When we look in his works for knowledge about the facts of his life, we gather from them that he was deeply learned in literature and philosophy not only Jain but of other schools of thought also; the use, in the last verse of most of his works, of the word 'Viraha' may have reference to some tragic event in his life. Regarding this point there is a legend full of miraculous and wholly incredible incidents. The external sources, which profess to depict Haribhadra, such as Prabhavakacarita, Upadesapadatika and others are discussed by Dr. Jacobi. The

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SAMARAICCAKAHA (BHAVA-II) OF HARIBHADRASURI : A STUDY 399 following account of Haribhadra's life is based on Dr. Jacobi's conclusions. Haribhadra was born at Citrakuta, the modern Chitor, where he probably lived until his initiation. He was a Brahmin by caste and had mastered all the Brahmanical learning. He is said to have been the familypriest of King Jitari (or Jitasatru). Proud of his erudition, he proclaimed that he would become the pupil of any one whose proposition he could not understand, and this vow was engraved on a golden plate he wore on his belly. Once a mast elephant having got loose and causing great havoc in the street, Haribhadra fled before him and climbed a Jain temple to save himself. At the sight of the image of Tirthakara, he composed a verse to deride him. Next day, he heard an old nun reciting a gatha, which baffled his understanding. The gatha was : cakkidugaM haripaNagaM paNagaM cakkINa kesavo cakkI / kesava cakkI kesava ducakkI kesI acakkI ya // He asked her to explain its meaning, but she referred him to her Guru. On his way to that Guru, he passed by the temple and pronounced the same stanza, changing one word so that now it was in Jina's praise. There he met Jinabhatasuri, who promised to teach him after initiation. Haribhadra agreed and acknowledged Yakini Mahattara as his spiritual mother. Later on he was so well versed in the Jain agamas, and his conduct was such, that the Guru appointed him his successor. He thus became a yuga-pradhana. The scene of his later life as a monk seems to have been chiefly the neighbouring parts of Rajaputana and the kingdom of Gujarat. His wanderings as a yati' probably extended to far distant parts of India. Samaraiccakaha suggests that he had acquaintance with Northern India and Eastern India between Ayodhya and Campa. Beyond this we know nothing of Haribhadra, the circumstances of his birth, education, society, details about his literary activity and his passing away. Haribhadra's Works Haribhadra is a very versatile and voluminous writer. Tradition credits him with the authorship of 1400 Prakaranas. Kalyanavijaya has drawn up a list of all his works actually preserved or known from quotations only; his list shows 88 entries. About 27 works of Haribhadra are available. The number 1400 is only an exaggeration. If we mean by Prakarana a chapter and not a systematic treatise, the number 1400 could possibly be explained. All the same, his extant works bear ample testimony to his versatile genius. The works due to him may be classified as follows :

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400 STUDIES IN JAIN LITERATURE (1) Vrttis and ?ikas On Agama sutras (1) Dasvaikalikam (2) Avasyaka (3) Prajnapana (4) Anuyogadvara and (5) Nandi; on Agamabahyasutras-(6) Pancavastuprakaranatika (7) Pancasutta and (8) Caityavandana (II) Prakaranas :- (9) Ashtakam (10) Sodasakam (11) Vimsativimsika (12) Pancasaka (13) Sambodha (14) Dharmabindu (15) Dharmasamgrahani (16) Sravakajnapti (III) Darsanas :- (17) Anekantajayapataka (18) Lokatattvanirnaya (19) Saddarsanasamuccaya (20) Sastravartasamuccaya (IV) Yogasastra (21) Yogabindu, Yogadrstisamuccaya (V) Dharmakatha : (23) Samaraiccakaha (VI) (24) Dhurtakhyana-(A satire) and (25) his Vrtti on Nyayapravesa of Dinnaga. This classification of Haribhadra's important works at once shows how he has tried his hand at the various branches of literature. A study of these works reveals that they contain besides an exposition of the Jain tenets, information about and discussions or refutations of the doctrines of opponents' schools, Brahmanical and Buddhist. He wrote both in verse and prose, in Sanskrit and Prakrit. He was the pioneer in composing Sanskrit commentaries on Sutra texts. His fame as a Yuga-pradhana chiefly rests on his literary activity for the sake of Jainism It appears, says Prof. Abhyankar in his Introduction to Vimsativimsika, that tikas or commentaries were written first, next Dharmakatha (Romance, religious novel), then works like Anekantajayapataka, Lokatattvanirnaya which give an exposition of Jain tenets, and next philosophical works like Saddarsanasamuccaya and lastly Yogabindu, Yogadrstisamuccaya works on Yoga system of philosophy. A Brief Survey of Jain Narrative Literature Before proceeding to a critical study of the text, it may not be out of place, if we take here a cursory and passing survey of Jain narrative literature, which has seen the light of the day. It is indeed very vast in extent and varied in scope. It may conveniently be divided into six broad categories as follows : (i) Narrative elements in the Jain Canon : (ii) The stories contained in the niryuktis, curnis, bhasyas, tikas (iii) The Puranas and Mahapuranas (iv) The kathas, akhyanas, caritras; (v) The prabandhas and

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SAMARAICCAKAHA (BHAVA-II) OF HARIBHADRASURI : A STUDY 401 (vi) The Kathakosas (i) The extant Jain canon which consists of 45 texts (11 angas, 12 upargas, 10 prakirnas, 6 Chedasutras 4 mulasutras and 2 individual texts), contains considerable narrative portion which is marked by didactic and edifying outlook : "It covers biographies of religious heroes such as Tirthankaras and their ascetic disciples, explanatory similes, parables and dialogues and didactic and exemplary tales and pattern stories of men and women turning into monks and nuns and attaining better births in the next life". Some of the legends occurring in the canon are specifically Jain and others are special editions of common Indian legends with religious bias towards Jainism. (ii) There are niryuktis on ten canonical texts, and some independent ones also. "Niryuktis themselves have many significant contexts and references which necessitated the subsequent curnis, bhasyas and tikas to give elaborate kathanakas for a clear and full explanation". Sometimes catchwords only are given which give sense only when the legends are added in details. Consequently the curnis, bhasyas and tikas abound with kathanakas, Sanskrit as well as Prakrit, and the greater number of these stories is indeed astonishing. The commentators such as Haribhadra, Silanka, santyacarya and others give not only the stories referred to in the texts but add stories from external sources. Naturally their commentaries have become the repositories of Jain tales of varied length and various interests. The works of Digambara authors like Kundakunda, Vattakera, Samantabhadra, Vasunandi and others also refer to many stories of absorbing interest. (iii) The Puranas are chiefly concerned with the biographies of 63 salakapurusas (eminent personalites of Jain Mythology). They are often allied to the Epics and the Puranas of the Hindus. "They are evidently designed to attract to the Jain faith greater following from among the public at large and are intended to disseminate moral and religious instruction among the Jain adherents through the popular and attractive medium of fables, stories and legends of ancient mythical heroes." (iv) In this type we have the biographies of individual Tirthankaras and other celebrated personalities of their times. These are composed in Sanskrit, Prakrit or Apabhramsa; their authors mind only the narration of events and their style is epical. Gadyacintamani, Tilakamanjari, Yasastilakacampu are "fine specimens of high poetic ability and ornate expression." The kathas are religious tales presented in a romantic form, Samaraiccakaha, which is an excellent romance in prose and verse, is a good example. In it Haribhadra shows what an important Stud.-51

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402 STUDIES IN JAIN LITERATURE bearing nidana has on one's life. Sometimes imaginary tales are made an excuse for attacking rival schools of thought and their mythology. Haribhadra's Dhurtakhyana is a striking example in point. (V) The prabandhas are semihistorical works dealing with the lives of great pontiffs who became the head of the Jain community after Mahavira and of royal patrons and merchant princes who eminently served the cause of Jainism. Here the historian has to separate facts from fiction in their mixture. (vi) Kathakosas or compilations of stories, such as Brhatkathakosa, Kumarapalapratibodha, which could be used as source books for constant reference, form the last type. In these different categories certain traits arrest our attention as they are not noticed in other branches of Indian literature : (1) "Pages after pages are devoted to the past and future births; (ii) the inexorable Law of Karma plays a very conspicuous role; (iii) sermons with dogmatic details are introduced; (iv) tales are inserted within a narrative; (v) illustrative tales are added here and there; and (vi) The spirit of asceticism is writ large throughout the text; and almost as a rule every hero retires from the world to attain better status in the next life." Summary of the Text (Note : There was a prince Gunasena. He had a friend Agnisarman who was very ugly. The prince enjoyed fun at his cost; as a result of this he turned an ascetic. Gunasena became the king, once met Agnisarman, repented for his past ill-treatment and invited him to take food at his place. He accepted the invitation. Thrice he went there but Gunasena for one reason or the other could not receive him. Agnisarman misunderstood Gunasena. He was inflamed with fury and resolved : "If I have acquired merit by my austerities may I then be born again and again to kill him in every one of his births." Accordingly the two were born in nine successive births as enemies. Samaraiccakaha narrates these nine births in nine chapters (bhavas). The second bhava narrates the 2nd existence in which they were born as Simha and Ananda, father and son.) In Jayapura there ruled King Purusadatta; his wife was Srikanta. Gunasena, at the end of his life in heaven, was born of them as the son named Simha. He grew up a model of a prince. Once he met in a park Kusumavali, the daughter of his maternal uncle Laksmikanta. Both fell in love with each other. Kusumavali is tormented by love. She is sick. Madarilekha worms the secret of distress out of her princess; she approves of Kusumavali's fitting choice; and

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SAMARAICCAKAHA (BHAVA-II) OF HARIBHADRASURI : A STUDY 403 acquaints her of the talks between Laksmikanta and Subuddhi which show that Laksmikanta is willing to offer his daughter to Simha (pp. 1-20). Now Madanalekha requests Kusumavali to draw the picture of a female lordly swan separated from her mate. And she takes the painting board and a few other presents to prince Simha and tells him that the presents were sent by Kusumavali. Simha accepts these readily. He in turn cuts the figure of a swan out of a leaf, and adds a verse with a tender meaning and sends it to his love. The lovers kept up the exchange of presents for some days till her father betrothed her on Simha, and on an auspicious day they were duly married (20-40). The prince and his wife lived together in happiness for a long, long time. Once, the prince chanced upon a young acarya Dharmaghosa. He asked him why he accepted, in the prime of youth, monkhood. Dharmaghosa related that while living in Rajapura there arrived Acarya Amaragupta who possessed avadhi knowledge. The king desired to know the history of the saint in this as well as in his former births. Thereupon Amaragupta narrated as follows : (Amaragupta's tale pp. 45-88) In the remote past, Amaragupta said, I was born in Campavasa as Soma; I was married to Rudradeva, a merchant's son. As a result of my acquaintance with a nun Balacandra, I was attracted towards the Jinadharma. Rudradeva asked me to give up that dharma. I refused. He started hating me, and even asked for Nagasri in marriage, but her father refused his request. Despairing of winning her during my life he resolved to kill me. He asked me to fetch a garland out of a pot in which he had placed a snake. I was bitten and I died. I was born as a god; Rudradeva married Nagasri; after his death he was born as a hellish being (45-49). After a palyopama we were reborn, I as an elephant and he as a parrot. In this birth also he was responsible to bring about my death. In the next birth, I became a Vyantara god, and he descended into hell (53). After a palyopama we were reborn in Cakravalapura, I as Cakradeva and he as Yajnadeva. I loved him sincerely but he only feigned love for me; he secretly tried to bring ruin on me. He plundered the house of Candana, and asked me to guard the goods, but informed the King that I had stolen Candana's goods. My house was searched. I was taken to the king. For this crime I was banished. Unable to put up with the disgrace, I resolved to commit suicide.But the Nagaradevata took compassion on me; she revealed the truth to the king. The king ordered Yajnadeva to be taken prisoner and hastened to save me. He explained how he came to know the truth and implored my forgiveness. I pleaded in Yajnadeva's favour and got him released. I was disgusted towards the life and hearing a sermon from Agnibhuti I became a nun. After my death I became a Vaimanika god; the

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404 STUDIES IN JAIN LITERATURE other on his death descended into hell (68). After a huge period of time, I was born in Ratnapura as Candrasara and my enemy as Anahaka. Once Vindhyaketu, the Sabara chief, abducted a number of people among whom was my wife. With a view to ransom my wife, Anahaka and I started to go to the Sabaras (68-70). Meanwhile, my wife afraid of being ravished, finding an opportunity jumped in a well. Luckily she did not die; she found a shelter in a recess of the well. Shortly we arrived at the place, I carrying the provision for the journey and Anahaka the valuables. Anahaka desirous of having the valuables to himself, asked me to look into the well to see if it contained water; and as I was leaning over it, he pushed me in. As luck would have it I met my wife. We were saved by a caravan on its way to Ratnapura. On our way back we found Anahaka killed by a lion. My sad experience concerning Anahaka induced me to take vows. After his death he became a denizen of hell and I, a god. (70-76). We were reborn in Rathavirapura, I as the merchant Anangadeva and my enemy as the merchant Dhanadeva. Once we had amassed wealth in Ratnadvipa and were on our way home when Dhanadeva resolved to poison me. He prepared cakes and put a strong poison in one of them. But through mistake he ate the poisoned one and died. Although I got all the wealth, I became averse to wordly life and took the vows. After my death, I became a god and Dhanadeva a denizen of hell (7679). In the next birth, we viere born as Jain merchants in Hastinapura. My name was Viradeva, his Dronaka. I lent him capital trading on which he became very rich, and built a fine mansion. In the uppermost story a projection was so constructed that it should crash when somebody was on it. His guile was that I should enter it and meet my death. He however got into such a confusion when he showed me over his villa, that he was the first to enter the projection. It crashed and with it Dronaka. I was so affected by this accident that I turned a monk. After my death I was born as a god and he as hellish being (79-83). Descending from heaven, I was born in Campavasa, as the son of Manibhadra and his wife Harini. I was named Purnabhadra but I was also called Amaragupta, because the first word I uttered had been Amara. Dronaka was born as Nandayanti a merchant-daughter. I was married to her. Once she pretended to have lost a most valuable pair of earrings. I presented her with new earrings and consoled her. Once I happened to open her jewel-box, when to my surprise, I discovered in it the lost earrings. Just then Nandayanti entered the room, and knowing that I had detected the earrings, she was confounded with shame. In order to avoid disgrace she prepared a poisonous charm for me. But before she could administer it to me she was bitten by a snake, and passed away in spite of my best endeavours to save her. Grief and despair, Amaragupta

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SAMARAICCAKAHA (BHAVA-II) OF HARIBHADRASURI : A STUDY 405 concluded, induced him to adopt the yatidharma(83-88). (Main story continued) Dharmaghosa was initiated in the order by Amaragupta as he told the prince. The latter asked him to explain the nature of the samsara. In the course of his sermon, the saint related : The apologue or parable of the man in the well. A man, stricken with poverty, left his country and wandered about. Once he entered a huge forest, where he was pursued by a furious elephant while in front he was opposed by a dreadful Raksasi. For life he fled towards a banyan tree but could not climb it. Near it there was a well; desperately he jumped into it, and got hold of a clump of reeds which grew out of its wall. He perceived on the foursides of the well, hissing snakes; and at the botton of it a huge boa (Ajagara). At the root of the clump of reeds, there were gnawing in turn a white and a black mouse. The elephant, unable to reach the man, gave violent shocks to the tree, whereby a beehive on a branch just above the well was so shaken, that the bees issued from it and stung the man, while drops of honey fell on his face. He licked them up and was so pleased with their sweet taste that he forgot the dangerous position in which he was placed. The man is likened to the soul (Jiva); the forest to samsara; the Raksasi to old age; the elephant to death; the Banyan tree to moksa (liberation); the well to human life; the four snakes to four passions; the clump of reeds to the lengh or duration of human life; the white and the black mice to the bright and dark fortnights; the bees to the diseases; the huge boa to a hell, the drops of honey to the pleasures of sense (pp. 89-96). Dharmaghosa asked prince Simha to devote himself to Dharma and not to be carried away by trivial pleasures of sense, and then gave a short description of the yatidharma. Those who cannot follow it, should turn sravakas (pp. 96100). Simha as well as Kusumavali adopted the sravakadharma. About this time King Purusadatta took the vows after having installed Simha on the throne (100101). Now the soul of Agnisarman was conceived in the womb of Kusumavali. At the moment she dreamt that a snake had entered her body and issuing from it had bitten the king, who thereupon fell from his throne. Since then she began to dislike the King. Once she had a pregnancy-longing to eat the entrails of the King. This horrible desire made her hate her unborn child. She, therefore, tried to secure abortion, but in vain; she only grew worse every day. The King learnt from Madanalekha the whole truth of the queen's pitiable condition. The King

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406 STUDIES IN JAIN LITERATURE discussed the matter with his minister Matisagara, who proposed to deceive the queen by a trick, so that she should think her longing fulfilled. Matisagara succeeded, and afterwards he showed the queen that no injury had been done to the King. But he advised her, when the child would be born it should be given to the minister who would see that it was brought up somewhere else without the knowledge of the King. But the plan is frustrated and the King entrusted the child to the nurses of his confidence. The boy was named Ananda and when he was grown up, Simha declared him the heir-apparent; Ananda however entertained, as a result of his nidana, intense hatred against his father (101-108). Once, one of the King's vassals, Durmati by name, revolted. The King marched against the rebel. After three marches, he reached the bank of Indus, where he witnessed a curious scene : a snake devouring a frog, was being devoured by an osprey, which itself was being devoured by a boa. Reflecting on this incident he made up his mind to turn an ascetic. Next day Durmati came and implored the King's forgiveness which was granted (109-114). The King returned to Jayapura, informed his ministers of his resolution, and got their assent. A day was fixed for installing prince Ananda on the throne. Everything was made ready for the coronation (114-116). Ananda, however, conspired with Durmati to kill the King. When the King went to meet him, Ananda regarding it a splendid opportunity to execute his plan, suddenly drew his sword and wounded the King severely. The troops came to his rescue. The King however asked them to spare Ananda as he himself was to die very soon, and appoint him King. Then Ananda ordered Durmati to take the King prisoner and put him in a most horrid dungeon. There his queens met him and bewailed his cruel lot. The King however exhorted them to renounce the world which they did (116-121). The King resolved to starve himself to death. Ananda sent one of his noblemen to pursuade the King to take food. But the King was firm (121-123). Now Ananda rushed in and threatened Simha that it would cost his head, if he refused to take food. But Simha remained firm in his resolve; and he declared in many fine sentences, that it is foolish to be afraid of death. Thereupon Ananda wounded him with a sword and finished him to death. Simha became a god and Ananda a denizen of hell in their next birth. The Title of the Dharmakatha Nowhere Haribhadra refers to his work as Samaraiccakaha. In the introduction (Bhumika) he styles it as 'Cariyam samaraiccassa' and Cariyakaham.

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SAMARAICCAKAHA (BHAVA-II) OP HARIBHADRASURI : A STUDY 407 In the concluding verses of the work, too, he calls it 'Cariyam' and Mahanubhavacariyam'. This leads us to believe that Haribhadra had before his mind's eye the title Samaraiccacariyam. In the Bhumika, Haribhadra promises his readers that he will narrate divvamanusavatthugayam dhammakaham' after mentioning threefold 'kahavatthum' and 'cattari kahao'. It is not at all unlikely that this circumstance might have been responsible to replace 'cariyam' by kaha in the title. Uddyotana refers to this work as 'Samaramiyankakaha'. The word 'miyanka' raises a difficuly for how can miyanka (mrganka the moon) mean aicca (aditya-the sun) ? Punyavijayaji on the authority of a salutation-passage points out that sasanka meant the sun; and therefore mrganka and aditya are synonyms. This is hardly convincing. Dr. Upadhye's explanation of the title seems "The story of arka or aditya limited, qualified or prefixed (mita) by samara, i.e. the Samaradityakatha.3" The work is rightly and appropriately so called as it narrates elaborately the life of Samaraditya, The Hero of the romance-in his nine successive births. The Source and the Model of the Samaraiccakaha In the introduction (Bhumika) Haribhadra quotes 8 stanzas in which the argument of the main narrative is summarised very briefly. These gathas are ascribed to the ancient teachers, whence it follows that Haribhadra took the main theme from earlier sources. "In the numerous stories, parables and fairytales, inserted, we come across many themes which we find often in Indian narrative literature and some of which belong to universal literature."-Dr. Winternitz. Thus "the parable of the man in the well;" a king forcibly reminded, by some chance sight, of the vanity of existence and making a resolve to renounce the world; the king Yasodhara sees his first white hair and resolved to become a monk ; these and many others are common to Indian narrative literature. "Among the works which probably served Haribhadra as a model, may be mentioned the Tarangavati by Padaliptasuri, the most ancient and famous of Jain romances, The original text has been lost, but a later recasting of it, Tarangalola, has been preserved. The reader of it will be struck by the similarity of ideas in it and Haribhadra's work. But there is this difference that while in Tarangalola karma, remembrance of a previous birth and its consequence etc. serve to motivate the story, in the Samaraiccakaha the story serves to illustrate

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408 STUDIES IN JAIN LITERATURE those ideas and to impress the hearer with certain moral principles."-Dr. Jacobi. What are the Types of Kathas according to Haribhadra ? In the Introduction (Bhumika) Haribhadra mentions the division of the subjectmatter of kathas into divya or celestial, divyamanusa celestial-terrestrial and manusa-terrestrial. He divides kathas into artha (wealthstory). kama (love story), sarkirna (mixed story) and dharmakatha (a religious novel), on the ground that artha,.kama, and dharma are the principal themes, in the three kinds of stories respectively; as samkirna treats mainly of all the three : dharma, kama and artha, it is rightly so named. Haribhadra's Samaraiccakaha, according to this classification is a dharmakatha. Hemacandra, however, calls it sakalakatha meaning 'samastaphalantetivsttavarnana'. What is the central Idea or motif underlying the Samaraiccakaha ? The dominant idea or motif, underlying the main narrative and most of the tales inserted in it, is nidana. It is originally, a medical term which Haribhadra explains as 'the disorder of the humours of the body (dhatus). Metaphorically it means 'Bad Karma' which upsets the moral constitution of the jiva. The Tattvarthadhigamasutra mentions it as the 4th kind of arta dhyana; the Bhasya explains it thus : Kamopahatacittanam punarbhavavisayasukhagrddhanam nidanamartadhyanam bhavati. Pujyapada explains the words : bhogakanksaturas-yanagatavisayapraptim prati manahpranidhanam sankalpascintaprabandh-asturiyamartam nidanamityucyate. Siddhasena mentions it as one of the three salyas and explains it as an adhyavasayavisesa; "When somebody practises penance in order to get something in another life which is denied to him in the present birth.' He further adds : nidanamavakhandanam tapasascaritrasya va. Yadyasya tapaso mamasti phalam tato janmantare cakravarti syam etc. All this makes it crystalclear that nidana means. 'Bartering away one's austerities for sensual pleasures in a future birth, which are denied to him in the present one or for revenging oneself for insults or personal injuries in the subsequent births'. We see Agnisarman makes the dreadful resolve : "If I have acquired merit by keeping my vow, may I then be born again and again to kill him in every one of his births."

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SAMARAICCAKAHA (BHAVA-II) OF HARIBHADRASURI : A STUDY 409 This nidana on the part of Agnisarman is the underlying prinaple or basis of the whole of Samaraiccakaha. Samaraiccakaha : a dharmakatha Indian and Greek Romances "are totally different both in plan and spirit as even a cursory reading will show. The least part of the Sanskrit romance is the thread of the story or the adventures of its characters; all the stress is laid on rhetorical embellishment, minute descriptions of nature, detailed specification of exploits and of mental, moral and physical qualities. In the Greek romance, on the other hand, the story is everything. The reader is hurried from adventure to adventure the wilder and more improbable, the better; fine writing is practically disregarded; description and appreciation of nature are, to all intents and purposes, nonexistent."--Levi. Prakrit romances (Kathas) differ considerably from both Sanskrit and Greek romances in respect of their aims. To give pleasure is the chief aim of Sanskrit and Greek romances; the romance, on the other hand is, regarded by the Prakrit poets a didactic work, aiming at edification. Our Haribhadra is no exception. His is not a pure romance; he designates his work a dharmakatha and not katha merely (Katha and Akhyayika, we are told by Sanskrit writers on poetics, are two kinds of romances, the chief distinction between the two is that the akhyayika rests on tradition and the Katha on fancy.) That Haribhadra aims at imparting instruction through narratives of attractive character will be clear from what follows : Almost all Kathas. by Jain authors may be ranged in the same (i. e. dharmakatha) category : "whatever be the adventures of the hero or heroine, the end is always their renouncement of the world and entering the Order; and narrative is usually interspersed with a great deal of religious instruction" (Dr. Jacobi). And this is particularly true of the Samaradityakatha. We see our hero (King Simha) and his queens enter the Order. We also get the exposition of dharma by Dharmaghosa (pp. 97-99). The parable of the man in the well (pp. 92-96) also serves to enlighten the reader. The remaining eight bhavas of the work abound in many such illustrations. The character as a dharmakatha of our work is displayed also through the idea of Nemesis or retribution which is at the basis of the main narrative and most of the sub-narratives set forth in it. In the main narrative the retribution assumes the form of nidana. Agnisarman's dreadful resolve to revenge himself for the maltreatment at the hands of Gunasena, in future births supplies the Stud.-52

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410 STUDIES IN JAIN LITERATURE dominant motif for the main story. The sub-narrative of Amaragupta (2nd bhava) has for its motif maya deceit. Haribhadra illustrates by these narratives how good deeds are rewarded by pleasures of heaven and bad deeds are punished with tortures in hell or lower animal births. The Samaradityakatha "is evidently intended to illustrate the evil consequences of vices, sins, and all transgressions of the Jain code of morals and to warn the reader or hearer of it against carelessness in conduct."-Dr. Jacobi. Haribhadra achieves his purpose presenting us love stories, mariners' fairlytales, robbertales, strange adventures in far lands, and tales of the semi-divine Vidyadharas. So his claim that his Samaradityakatha is a dharmakatha-a religious romance is well-grounded and just. Language of Samaraiccakaha The language of the text is what is called Jain Maharastri, of which there are two kinds, one used in verses, the other in prose. In the verses the language is the same as that employed by all Svetambara authors in Prakrit poems and does not much differ from chassical Maharastri; in the prose the language is mingled here and there with peculiarities of Sauraseni. The Style of the Samaraiccakaha The Samaradityakatha is in prose with considerable number of stanzas interposed from time to time; and it is by no means badly written. Barring descriptions of forests, mountains etc., it is written in lucid, simple, fluent and delightful style. The sentences, especially in the purely narrative parts, are easy and not too long. It abounds in portions which are definitely models of best Prakrit prose style. Even a causal reader will notice such passages. Short, pithy and proverbial sayings abound in the work. A few may be stated here by way of illustration : avarAhesu guNesu ya nimittamettaM paro hoi / saccapainnA khu tavassiNo havanti / devvavasayANaM pANiNaM visamA kajjagaI / saraNAgayavacchalA ceva rAiNo havaMti / dukkhaM pAvassa phalaM / AvAyamettamahurA vivAgavirasA visovamA farm in the other facts 7 gaifa gratia fa 377 (Bhava II). egurii (c) 27544FUTET TUTTI V Tren 7A TEC Tarhai (Bhava VI). Haribhadra makes judicious use of figures of speech. Similes (Upama), poetical fancies (Utpreksa)", metaphors (Rupaka) and Exclusion (Parisamkhya) seem to be favourite with him. He is fond of introducing parables and fables and thus enlightening his readers, e.g. the parable of the man in the well (pp. 91-96), apologue of the two roads (5th Bhava) apologue of the lover in the sinkhole, apologue of the four men, apologue of the merchant's six sons; of the robber and the four queens, and of the Savage in the royal Palace (9th Bhava).

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SAMARAICCAKAHA (BHAVA-II) OF HARIBHADRASURI : A STUDY 411 He uses a large number of Deshi words?. He employs the device of inserting tale within a tale, but sometimes he loses a sense of proportion; e.g. in the 2nd Bhava the sub-narrative of Amargupta occupies more space than it really ought to have. His style, at some places, betrays the influence of classical Sanskrit writers, especially Bana. From our present text may be pointed out the following passages as instances in point : Toi FE FTA Traci fua quot; athai fua ch4C; f4 4 714074 3914fm 9 HIVY...; and da, canli yifurui fait ... He follows very closely the conventional ideas, and there is a stereotyped atmosphere about them. The description of the advent of the spring-season and the love-sick condition of Kusumavali are good examples in point. The sermons and dogmatic details which Haribhadra introduces on the slightest excuse render the work dull and uninteresting. But as it is not a romance pure and simple but a religious one, we must make some allowance, and not harshly criticise Haribhadra. In descriptions of forests, mountains, islands etc. the sentences are occasionally of considerable size, abounding in long compounds and ornamented with Alankaras. That Haribhadra revels in giving such long sentences is perhaps to be attributed to the fact that vigour (Ojas-abundance of compounds) was considered then as the very soul of prose. In the verses, "the style is of course more elevated though rarely intricate." Although Haribhadra does not affect the highly ornamented classical style of Bana or Subandhu, yet he displays his proficiency in a few popular artifices : the three Prasnottaras (8th Bhava), the three gudhacaturthas (8th Bhava) and Srnkhala (2nd Bhava). Haribhadra does not exhibit any variety of metres in the Samaradityakatha. The majority of the verses are in the Arya metre. In the 2nd Bhava we get a Dwipadikhanda. "On the whole the style is well adapted to the understanding of an audience of some culture than of great learning." Haribhadra as an Artist In the galaxy of Prakrit writers, Haribhadra is a star of the first magnitude. An eminent logician, a master-satirist, a witty critic, a consummate artist, a profound "psychologist,' a learned commentator, an adept story-teller, a

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412 STUDIES IN JAIN LITERATURE gifted poet--these are the diverse facets of this versatile genius. He wields a fluent pen and displays command of language, both Prakrtt and Sanskrit. By far the work with which Haribhadra's literary glory is associated, is his splndid romance Samaradityakatha. In its literary merit Samaradityakatha is supreme. It is a masterpiece which at once reveals Haribhadra's merits as well as faults. "Haribhadra is an adept story-teller. If we casually glance through his Samaraiccakaha, we find that he is well-informed about the workings of human mind and about the human behaviour in general. His experience is wide; naturally he creates characters and situations of engrossing interest. The Samaraiccakaha gives many counter tales which go to confirm the central idea of the main story. He possesses a special liking for symbolical apologues, apparently meaningless but full of significance and instruction when they are explained. Enlightenment by absurd stories and situations is a fine weapon which Haribhadra brandishes quite successfully. Arhaddatta (Sixth Bhava), for instance was enlightened when he was incurably attached to the pleasures of body by telling him that he was as foolish as a person extinguishing fire with grass. Absurd situations are presented illustrating such motifs_-"Dr. Upadhye (Dhurtakhyana, a critical study). In Samaradityakatha we meet with "some interesting tales, romantic love stories, such as that of Sanat-Kumara and Vilasavati who are reunited after a long separation and after inexpressibly sorrowful adventures (ship-wrecks etc.) The story, too of Dharana and Laksmi is a pretty fairy romance, full of adventures on land and sea, with many familiar fairy tale motifs. Thus we find here the motif of the ungrateful wife : Dharana and Laksmi are wandering in the forest. The woman is nearly dying of thirst. Dharana draws blood from his arm, and cuts off some flesh from his thigh, so as to nourish his wife. Soon afterwards, nevertheless, she tries to get rid of her husband, in order to follow a robber, to whom she had taken a fancy." --Dr. Winternitz Incidentally, Haribhadra presents in his stories a graphic and vivid picture of Indian life in the 8th century; the descriptions of the dance of women to celebrate the birthday festival, the music parties and the displaying of castepride (1st Bhava), the descriptions of marriage-ceremonies, of conducting a search in the suspect's house, of journeys and sea-voyages fraught with dangers and difficulties, of the raids on the towns (2nd Bhava), of court-life, of the sabaras and candalas, the coronation of the crown-prince, are some outstanding features which even an ultra-modern reader will find interesting.

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SAMARAICCAKAHA (BHAVA-II) OF HARIBHADRASURI : A STUDY 413 Although Haribhadra shows partiality for long compounds in descriptions, his is, on the whole, fluent and simple, lucid and delightful style. Even at a cursory glance, one would notice portions in the Samaradityakatha which are models of best Prakrit prose style. (Devasarman's advice to the king king's advice to his harem Simha's reflections on rajyam are a few illustrations in point). Keen observation of human life in its varied aspects is another excellence of Haribhadra's art. And even a causal reader can easily find out his own illustrations at random. Haribhadra's skill in delineation of characters is remarkable. With broad touches he has imparted life to many of his characters although it is equally true that a few of his characters are shadowy. He has invested Simha with life, reality and individuality. His Madanlekha is vivacious and ingenious. Ananda's perversity and wickedness is well depicted. Kusumavali however is, especially in early parts of the story 'a mere shadow.' In Samaradityakatha there is intermingling of prose and verse. A study of his poetry shows that he is a poet of no mean ability. Here the style is elevated more than in prose, contains figures such as upama (simile), utpreksa (poetical fancy), rupaka (metaphor) and a few others. In spite of these merits Haribhadra has some grave defects in respect of style and structure : The box-arrangement of tale within tale causes serious injury to the "verisimilitude and artistic effect of the romance." Lack of a sense of proportion is another serious defect of Haribhadra. The sub-narrative of Amargupta almost threatens to overshadow the main-story. The poet spends his energy on descriptions, leaving the plot to take care of itself. Insertion of too many sermons and dogmatic details seriously mars the action, and makes reading rather dull. Another serious blemish is that the villain (Ananda) is kept back for a very long time. Shadowy nature of personages is one more grave defect of Haribhadra; this is however true of only a few characters. Haribhadra is more often conventional than original. Thus the description of spring Kusumavali's lovesick condition, etc. are highly conventional. His partiality for long compounds in descriptions is another demerit of

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414 STUDIES IN JAIN LITERATURE his. But this is perhaps the vice of the age'; and we should remember that it is not fair to apply modern tests and judge a work like Samaradityakatha. He renders his stories tiresome as they "follow the wanderings of the same persons from one rebirth to another, the one always killing the other, the one going to heaven and the other to hell or being born as an animal." Amargupta's sub-story is a fine instance in point. In the numerous stories, parables and fairy tales inserted, we come across many themes which we find often in Indian narrative literature and some of which belong to universal literature. This detracts not little from his originality. The parable of the man in the well madhu-bindu-drstanta, the motif of ungrateful wife, the dialogue between Pingakesa and Vijayasimha (3rd bhava) which recalls to one's mind the one between king Paesi and Kesi (Rajaprasniyasutra), Kusumavali's strange pregnancy longing and what follows is closely modelled on that of Cellana (Nirayavaliyao), are some striking examples. With all these demerits, it must be admitted that Haribhadra ranks high as an artist. If we bear in mind to our Indian authors, form was more important than matter, and partiality for long sentences and compounds was looked upon as a sign of scholarship, we cannot regard these as Haribhadra's drawbacks; and we will unhesitatingly admit his claim to a very high place among Prakrit writers. Society depicted in the Samaraiccakaha It is not possible to get a full picture of contemporary society from a 'romance' like our Samaraiccakaha. We, however, get a few glimpses here and there of contemporary life and an attempt is made here to give a picture of Indian life in the 8th century as depicted by Haribhadra. The king was of course an absolute monarch and was assisted by his ministers; and the kingship was hereditary. The king had several nobles and feudatory princes under him. Vassals sometimes revolted, and the king used to send expeditions against the rebels; and if occasion demanded, he himself led the expedition. When mercy was sought, the king granted it to the concerned. The kings took great interest in religious matters; they attended sermons and often accepted the duties of a householder. They maintained courtezans and had harems consisting of hundreds of beautiful women. At times the princes rose against their fathers, conspired with the enemies, made them prisoners and usurped the throne. The grieved persons gave information to the king of offences committed. We get an interesting description of a search of Cakradeva's house by judges and leading

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SAMARAICCAKAHA (BHAVA-II) OF HARIBHADRASURI : A STUDY 415 citizens on the king's command. A capital offender was reprieved, if a magnificent present was paid; prisoners were set free, if a great event such as the birth of a son by the queen occurred. Candalas (low caste people) were employed as hangmen or executioners. Savage punishments such as tearing out of the eyes, amputation of the tongue, roasting a man alive (9th bhava) and others were inflicted on the criminals. By favour of the king the executioners were allowed to satisfy the last wish of their victims before executing them. Although the king was despotic and autocratic, he well governed the state; and people loved and respected him. The education of princes was well looked after. Hunting, riding etc. were their favourite pastimes. On festival-occasions they visited gardens and attended to the sports enjoyed by the public. Religion had an amazing hold on the people. Jain monks wandered from place to place delivering sermons and thus enlightening the public. Religious debates were held (e.g. the one between Jain Guru Vijayasimha and Pingakesa, a nastikavadin, 3rd bhava). People had belief in gods and goddesses and the custom of presenting human offerings to favourite deities was prevalent among the lower strata of society; and in one place we see the mother of Surendradatta proposing him to immolate a number of animals to the kuladevata for the prevention of evil consequences. Belief in Ksetrapala, Ksetradevata (7th bhava) Kuladevata and Nagaradevata (4th bhava) prevailed among the public. Belief in the efficacy of dreams, in the possession of human beings by evil spirits, deities and supernatural beings were shared by all. Festivals in honour of Madana, the god of love and the Yaksa-Dhanadeva were celebrated. People believed in rebirths and the doctrine of inexorable Karma or fatalism offered them consolation in adversity. Good and bad omens such as throbbing of the left or right eye, the sight of sramanaka were superstitiously believed. Belief in astrology or the influence of stars had a firm hold upon the people. Caravans of merchants moved from place to place for the purpose of trade and often carried over-sea trade. The journey either by land or sea was fraught with dangers. The caravans of merchants were attacked and looted in the forest by sabaras; while ship-wreck was their lot, when they embarked on sea-voyage. Jugglery was credited with the power of producing wonderful and charming illusive phenomena. References to snake bite and snake-charms, kidnapping, abduction, ransom, gamblers, robbers, burglars, magicians, selling of kidnapped women, a young widow eloping with a garland-maker, the husband neglecting his wife who had no children, administering poison to one's enemy,

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416 STUDIES IN JAIN LITERATURE attempts at abortion, sorcery, capturing travellers as victims for a sacrifice, entertaining a guest with a meal and liquor, woman falling in love with her servant : all these are eloquent of the state of society in Haribhadra's days. Candalas were employed as executioners. At the request of a Candala, king Viradhavala stopped this practice and assigned to Candalas land for a settlement. In Samaraiccakaha it is the kings and merchants that figure prominently. And the author being himself a Jain shows partiality for his own dharma. 2nd bhava contains a very interesting description of marriage ceremonies. Fixing the day for marriage in consultation with astrologers, the anointing of the bride, her toilet, dressing of the bride-groom, his riding in great pomp to the marriage-pavilion, elderly women stopping him at the door and asking of him the customary present, touching of his brow with a gold-pestle equipped with a ring at its head, his being taken to the bride by the bride's maids, the various kautukas he performed, the unveiling of the bride's face, panigrahana to the accompaniment of auspicious songs, bride's being brought to the 'altar' by the bride-groom, presents to the people, their circumambulating fire, the presents given to the bride-groom by his father-in-law, and to the bride by her father-inlaw are of great interest to a student of the antiquities of the Indian society. We also meet with references to all fine arts. It appears singing, dancing and painting were carried to perfection; and there are copious references to pregnancy-longings, their satisfaction; the festivities in connection with the birth of a son, the ceremony of naming the child, and to sraddha ceremony; hunting, game of chess, riding, dancing and music were the means of entertainment. Such is the picture of Indian life as depicted in the Samaraiccakaha. Notes and References : 1. Pt. Sukhalalji, however supports Muni Jina Vijayaji's date see Samadarsi Acarya Haribhadra (pp 8-10). 2. For details the reader is referred to pp. 17-39 of the very learned and masterly Introduction to Brhat-Kathakosa edited by Dr. A. N. Upadhye, M.A., D. Litt. 3. For a full discussion of the title the reader may consult Dr. Upadhye's paper (pp. 23 24) in the Bharatiya Vidya [January, 1947] 4. e.g. Here aa Hogar (all) etc. 5. e.g. the description of the advent of spring : A rRTE a cife 755371 etc. 6. gre I agreftrifa fatima (franit) etc. 7. FE, facten, fauer, 451, Gym, gujas

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MALLIKAMAKARANDA CHARACTERS IN THE DRAMA Men The Hero Makaranda Vaisravana Citrangada Sresthi - A sea-trader, transformed into a suka (parrot) by Candralekha and restored to his original form by Makaranda. - The rival of the Hero, a Vidyadhara-prince. - A merchant, named Brahmadatta, foster-father of Mallika, the Heroine. - A sea- trader, by name Vaisravana, who was transformed into a parrot (Suka) by Candralekha. Suka Sundaraka - 'Purusa', an attendant of Mallika, the Heroine, and of her father, Brahmadatta. Karala Koraka - An attendant of Citrangada. An employee of the merchant Brahmadatta (Sresthi) An attendant of Candralekha, mother of the Heroine (Mallika). Devalaka Kapinjala - Companion of Citrangada. Tamarasa An employee of Candralekha, mother of the heorine (Mallika). Batu - A 'Chap', announcing the approach of the time fixed upon (by astrologers), as auspicious for the performance of marriage. Stud.-53

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418 STUDIES IN JAIN LITERATURE Brahmadatta - The name of a merchant, the foster-father of the Heroine Makanda - An inmate of Gandhamusika's asrama Yaksa - Kadamba (or Kadambaka), the lord of the Yakasas, who waits upon the revered Varisena. The idol of this Lord of the Yaksas is duly replaced by Makaranda at the time of wedding of Mallika with the Yaksa. Tapasa or -- Mallika, transformed into a Tapasa (or Tapasakumara) by Tapasakumara the use of a magic pill by her mother Candralekha (with a view to protecting her from abduction). Dyutakarah - Gamblers, the creditors of Makaranda, the Hero. Mallika -- The Heroine, the daughter of Candralekhama Vidyadhara queen, born of Kirata (forester) youth, deserted immediately on her birth and brought up by the foster-parents, the merchant Brahmadatta and his wife, Bandhumati or Bandhusundari. Candralekha - The Chief queen of the Vidyadhara sovereign ruler Vainateya, banished on account of her misconduct. Bandhumati or -- The wife of merchant Brahmadatta and the foster mother of Bandhusundari Mallika. Manorama -- The wife of the sea-trader Vaisravana who was transformed, by use of magic, into a Suka (parrot). Yuvati - Mallika herself is referred to as Yuvati before the story of her birth and bringing up is disclosed to Makaranda, the Hero. Bandhula - Name of the maid of Mallika (referred to as Yuvati). Ceti Maid to Yuvati (Mallika), named Bandhula. Ceti Maid of Mallika, named Magadhika. - Maid of Mallika, named Lavangika. Gandhamusika -- Name of a revered Parivrajika highly respected by Candra lekha, mother of Mallika (the Heroine) and Citrangada, a Vidyadhara prince, suitor of Mallika (the Heroine) and Makaranda's (the Hero's) rival. Ceti

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MALLIKAMAKARANDA 419 Characters mentioned or persons referred to Vainateya - Name of a Vidyadhara King, lord of Rathanupuracakra valanagara, the husband of Candralekha whom he banished for her misconduct. Kirata-yuva -- A Forester-youth with whom Candralekha enjoyed love's dalliance. Jinadatta -- Name of a merchant, resident of Suvarnadvipa, and the father of Makaranda (the Hero). INTRODUCTION Ramacandra : His Life, Date and Works? Ramacandra was the chief disciple of the great Acarya Hemacandra (A. D. 1089-1173). He takes pride in mentioning this fact in the prologues of some of his plays.? The title "Kavikataramalla' was conferred on him by Siddharaja Jayasimha for his power of composing poems speedily or quickly. He had, it is said, lost one eye, although its precise cause is not known. He was a devout votary of Jainism, a fact attested to by the number of 'stotras' he wrote in praise of the Jinas. He was fearless. In spite of the orders of king Ajaypala he refused to impart knowledge to his fellow student Balacandra whom he considered to be an unworthy pupil. His works bear testimony to his love of freedom here on earth and ardent desire for freedom from the cycle of birth and death.3 Although he was a 'muni', whose chief essence is prasama (quietude) he had a keen aesthetic sense, he was a lover of literature, scientific as well as artistic. It appears from his stout defence of writing plays that he was severely criticised by his contemporary critics for writing plays treating of love, laughter, heroism, etc. It also appears that he was charged of plagiarism in his own days by his spiteful critics whom he effectively replies to and silences. He was a very learned monk as he was proficient in Grammar, Logic and Poetics. He was conversant with the art of singing, music and dance and was well versed in the ways of the world.? He proudly refers to himself as 'Prabandha-sata-karta'. But the works he wrote do not make the number '100'. We should interpret the "title' to mean 'an author who wrote a large number of works'. He wrote sastra(scientific) works like Dravyalamkara (with a commentary) and Natyadarpana (with a commentary) in collaboration with Gunacandra, and independently Haimabrahadvettinyasa. He wrote plays with a view to bringing round dull

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420 STUDIES IN JAIN LITERATURE headed men or the foolish people to the right path. He was an indefatigable and industrious poet and polymath. He was very proud of his learning and poetic genius. It is perfectly understandable if one is justly proud of his abilities and achievements. Some of his utterances, however, indicate that he was boastful.8 After the death of Hemacandra, Ramacandras' great preceptor, in A. D. 1173, King Kumarapala too died (within a period of six months or so). Ajayapala, who succeeded Kumarapala to the throne, was hostile to Ramacandra-as he believed that Ramacandra was against his succeeding to the throne--and was responsible for his untimely, unnatural and very tragic death. A Detailed Summary of the plot Prologue : After the Nandi verse paying homage to Lord Jina, the Sutradhara enters the stage and announces his intention to please the appreciative audience. Staging a play before inappreciative spectators is simply ridiculous.' His Assistant (Nata) appeals to him not to enrage the aesthetesrasikas--but to think of presenting some play before them. The Sutradhara informs -him that he has already decided to stage the play Mallikamakaranda of Ramacandra, a worthy pupil of that great Hemacandra. The Assistant scornfully says that the 'munis' (sages, monks) are solely devoted to Prasama (quietude) that they are eloquent in delivering religious sermons but in other matters maintain rigid silence and that they are unworthy of dramatic compositions which abound in sentiments like the erotic, the comic, and the heroic. (Such an objection was most probably raised against the dramatist Ramacandra himself, a Jain monk, writing such plays.) The Sutradhara brushes aside the objection saying that although gods are born in heaven, they move about throughout the three worlds. He suggests thereby that it is perfectly legitimate for (gifted) munis who are devoted to prasama (quietude) to take to the pastime of writing plays and or witnessing their performance and appreciating them. Thereupon the Assistant angrily points out how there are numberless (playwrights and) poets who commit literary theft and pass others' poems as their own. The Sutradhara firmly replies that the dramatist himself has silenced the dull-headed critics in this matter : "We are determined to take all pains and spare no efforts in writing plays and poems. It is an old 'vyasana' (1 vice 2 close or intent application or assiduous devotion) with us : and we need not at all blame others for it." The attor, playing the role of Makaranda (the hero of the play), speaks from behind the scenes agreeing with the statement of the Sutradhara to look sharp as all the actors are excited and that he himself is eager to let the audience have pleasure

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MALLIKAMAKARANDA 421 of enjoying the play. The Sutradhara advises him not to make haste as every great success is attended with troubles. He, who bears physical and mental fatigue obtains the bride of knowledge. It is announced from behind-the-scenes that this 'upasruti (or deva-prasna') indicates that he is sure to win a bride as well as great success. The Sutradhara and the Nata then leave the stage to attend to some other business and with their exit the Amukha (Prastavana, Introduction) comes to an end. Act 1 : Makaranda repeating the words of the Sutradhara "When our vyasana' is very old why should we blame others ?-enters the stage. He informs the spectators that he is addicted to gambling since long. He is now full of repentance for his vice as it is a great stigma on his great family, his study of scriptures and the instruction received from his preceptor. The thought of committing suicide crosses his mind. On second thoughts, however, he thinks that following the right path is the real atonement (prayascitta). He therefore decides to spend the night in a rather secluded garden and to leave for an altogether new place at daybreak giving to the gamblers, his creditors the slip, and lead there a good life. He sees in front of him a temple dedicated to the god of love, illuminated by a bright lamp. There arrives at that time a young maiden (who later turns out to be Mallika, the heroine of the play), supported by her maid (Bandhula) and an attendant carrying a sword in his hand. Fearing that the maiden would not act freely if she were to see him in the light of the lamp Makaranda puts off the light, and hides himself behind a mango tree in the court-yard of the temple. From the conversation of the two girls he comes to know that the maiden is overcome with terrible grief-although she comes from a rich family--and that she intends to put an end to her life in fear of an impending danger. In view of her dangerous mood the attendant requests her to return home. She, however, conceals her feelings and with a smile on her face asks him not to worry about her. She sends both of them away under some pretext. She then attempts to commit suicide by hanging herself. Makaranda however comes out of his hiding, shouts loudly for her maid and attendant to rush up as their mistress is about to kill herself. He takes the initiative, cuts off the noose with his sword. The maiden falls down in a swoon. Makaranda tries to fan her with the end of his garment and shampooes her breast. The maid and the attendant both greatly excited return to the scene of action. The attendant takes him to be a thief. The maid appeals to him to take the ornaments but spare her mistress's life. Makaranda informs them that he is neither a thief nor a paramour. The maiden and Makaranda deeply fall in love with each other. As a token of their first meeting the maiden presents him her pair of earrings.

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422 STUDIES IN JAIN LITERATURE Makaranda gladly accepts it. The maid and the attendant disapprove of this act. The attendant angrily depricates her action saying that it is against the code of conduct for a trader's daughter to offer her pair of earrings as present to a stranger. He threatens to bring policemen and get back by force the earrings from the stranger. He leaves the scene of action. Bandhula is afraid that he might act on his threat and therefore her mistress should tell the stranger of her impending calamity. Just at that moment gamblers arrive there in search of Makaranda, their debtor. He advises the maiden to go home by the back-door and to see him at that very place the next day at midnight. The maiden with the maid leaves the stage. Makaranda, realising that he has been seen by the gamblers with the help of a lamp now hides himself in the hinder part of the temple. Act II : The conversation between Lavangika, a female servant of Mallika, and Koraka, an attendant of the merchant Brahmadatta (the foster-father of Mallika) informs us that Mallika has been suffering for the last eight days from love's fever. At his master's behest Koraka gets an announcement made by the beating of drum that the person who would protect Mallika from being (mysteriously) abducted would be paid five hundred dinars. A rogue (Kitava, in the present case, a gambler) has taken upon himself to protect Mallika. Koraka informs the merchant Brahmadatta and his wife Bandhumati, the foster-parents of Mallika, that they have succeeded in finding a 'rescuer' of Mallika. The merchant asks another servant of his. Sundaraka by name, to bring in his presence the rogue (gambler) who is a debtor and other gamblers, his creditors who are holding him up. The merchant promises the creditors that he would pay off the debts to them the next morning. The creditors, satisfied with his assurance free the debtor and leave the merchant's residence. He learns from the gambler that his name is Makaranda. The merchant and his wife try to dissuade this young, handsome man from his resolve to protect Mallika from being abducted by some unknown agency but he remains firm. The merchant then tells him how sixteen years ago he came across a deserted newly-born girl with a signet-ring on her finger and a bhurjakandaka' (a piece of birch-leaf or amulet) on her forearm. He took up the girl and entrusted her to the care of his wife Bandhumati. As the child was found in the shade of Jasmine plants she has been named as Mallika by them. The signet-ring bears the name of the Vidyadhara king Vainateya by name, and birch-leaf bears one sentence : "At the end of sixteen years on the fourteenth day of the dark half of the month of Caitra she would be forcibly taken away by killing her husband-cum-protector." Makaranda now realizes that it is impossible to rescue the girl but puts up appearances and tells

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MALLIKAMAKARANDA 423 the parents not to worry as he would protect their daughter by his magical power. He asks the merchant Brahmadatta to get the material 'for worshipping the charmed-circle' before the performance of the religious ceremony proper. The merchant directs Sundaraka to get the things required for the worshipas ordered by Makaranda. In the meantime the parents along with Makaranda go to see Mallika who is suffering from fever. Makaranda infers from Mallika's condition that she is suffering from love's fever. Mallika and Makaranda both are attracted to each other out of overpowering emotion of love; and both feel guilty as both had already fallen in love with a young man and a youthful damsel respectively exactly eight days ago at midnight in the court-yard of the Cupid's temple. The name of the maid 'Bandhula' and the voice of Mallika lead Makaranda to identify his beloved who is no other than Mallika herself. The materials for worshipping the charmed circle are now brought there. Makaranda helps Mallika to rise from her sick bed. His touch immediately reminds her of the touch of his hand when he had shampooed her breast in the garden of Cupid. Makaranda bows down to the charmed circle and worships it with the pair of earrings which he had received from the youthful maiden who had been saved by him from committing suicide. The sight of the pair of her earrings leaves no doubt in Mallika's mind that the young man with whom she had fallen in love is no other than Makaranda. The parents of Mallika come to know now of the mutual love between Mallika and Makaranda. It is already night. Makaranda asks all but Mallika to leave the place. They do so. Mallika vows in the presence of Makaranda that she either marries him or remains unmarried. She then requests him not to commit suicide out of love for her nor to persist in preventing her being abducted. He however tells her there is no greater happiness than dying for one's own beloved. Just then a voice from behind-thescenes is heard--inquiring whether he is her protector or husband. He replied that he is both, the husband and protector. The voice ridicules the very idea that a contemptible human being should be the protector and husband of a Vidyadhara damsel. The voice further says "Here I abduct this damsel" and asks the damsel not to be sorry at all as she will be made a Vidyadhara queen. Mallika cries helplessly as she is being abducted in a mysterious way. Her abduction comes as a rude shock to Makaranda. He faints. Regaining consciousness he decides to leave by the back-door and do what befits his deep love for Mallika. Prelude (to Act III) : Before the third act proper commences we have a Viskambhaka containing a dialogue between Ceti (a female servant) and Devalaka (an attendant upon an idol, who subsists on the offering made to it). This dialogue informs us that Mallika is not prepared at all to accept Citrangada,

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424 STUDIES IN JAIN LITERATURE a Vidyadhara prince as her husband as she has already fallen in love with a man (called Makaranda). Citrangada every day tries to please Mallika with diverse acts of courtesy, courting and offering of various means of decoration, gifts and promises of his love but in vain. Candralekha, the mother of Mallika would rather kill her daughter than marry her to some one else (other than Citrangada). Mallika too is firm who would prefer death to marrying some one else (other than Makaranda). Devalaka gives the Ceti a wonderful news that in the morning he saw at the siddhayatana (a Jain temple) a man. The Ceti is interested in knowing about him as she has been directed by Candralekha to get his whereabouts. Devalaka asks her to go to the siddhayatana where he is resting and he himself proceeds to meet Mallika and give her divine fruits. Act III : The main scene opens with Makaranda, who has fainted on account of a sudden fall from high above. After recovering consciousness he wonders where he is. From the various indications he infers that he is in heavenly region. In front of him he sees the everlasting idol of Jina and pays homage. From behind-the-scenes a voice resembling that of Mallika is heard by Makaranda. He wants to ascertain whether his guess is correct. He comes across Tapasakumara and Manorama, seated in an arbour. Makaranda is simply struck with wonder at the striking resemblance between Tapasakumara and Mallika. He bows down to Tapasakumara. Tapasakumara wants to know how he happened to come to this celestial region (the mountain Meru). He pleads ignorance. Makaranda desires to know about Tapasakumara's family and why in the prime of life with such a handsome form he has taken to this ascetic life. Thereupon he narrates his account : "This mountain Meru is a part of the Vaitadhya Mountain. Once, Candralekha, the wife of the Vidyadhara king Vainateya, who was ruling over Rathanupura, transgressed the top of this siddhayatana. As a result of this violation she forgot altogether her lore of flying through the sky and fell down here. She then practised austerities lasting for six months with a view to regaining her lost lore. At the end of the austerities she regained her lost lore. However, being overcome by passion she enjoyed love's pleasures with a young Kirata (forest dweller). As a result of the love affair she became pregnant. As soon as she delivered a child she deserted it by putting on its person a few but very valuable ornaments....... He stops half-way. On being questioned by Makaranda he replies that he was brought up on Pancasaila (Mountain)-no, no, not Panca saila mountain but here only. Makaranda knows that the latter part of the story is spurious. He believes that the deserted child is none other than Mallika and that this Tapasakumara must be her brother. Tapasakumara further tells him that realizing the objects of pleasure,

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MALLIKAMAKARANDA 425 especially, women, to be the source of grief he took to asceticism. Manorama knows that it is this man whom Candralekha wants to kill. She requests Makaranda to narrate his life story. He tells his account thus : "There was a merchant by name Jinadatta, who lived in 'Suvarnadvipa'. He was the best among highly religious persons. He had inherited immense wealth. I was his only son born to him in his late age. I was named Makaranda. Right from my boyhood I squandered away our ancestral wealth by gambling and I had to depend on others for even two meals a day. In the very prime of my life I started visiting harlots." Tapasakumara was disgusted with him to hear it and told him not to proceed further in his narration. When Manorama and Makaranda importunated him to allow him to narrate the rest of the account he relented. Makaranda then resumed narration : "As it was not possible for me to live amongst my own relations and people belonging to my caste I migrated from Suvarnadvipa to the mountain Pancasaila. There I was separated from my beloved by an unknown agency in a mysterious way. Then I decided to end my life by throwing myself into the ocean when I saw there a Bharunda bird that had arrived. What happened in between I do not know but I found myself this morning in the garden adjoining the siddhayatana." Tapasakumara (rightly) thinks that the Bharunda bird, greedy of flesh, must have brought him there and suddenly dropped him down from high above. Makaranda then requests Tapasakumara to suggest to him some way to put an end to his life. Just then Devalaka arrives there to offer Tapasakumara divine fruits. Tapasakumara learns from Devalaka that he has been asked by Candralekha to find out of what form the newly arrived man is and where he is seated'. Tapasakumara fears something untoward might happen to Makaranda. Just then Magadhika arrives there and excitedly says : "A great misfortune is about to visit them." She whispers into the ear of Tapasakumara what that misfortune is. Hearing her words Tapaskumara feels very much distressed at the hard-heartedness of his mother. He regards Magadhika like his own mother and requests her to show the way to save himself and Makaranda. She advises Makaranda to go to the siddhayatana and stay there as (even) minor calamities do not visit a person during his stay in the siddhayatana. Tapasakumara too advises him to go there and follow Magadhika's instructions scrupulously. Magadhika and Makaranda then leave for the siddhayatana.. From behind-the-scenes there is the sudden fall or throw of a huge slab of stone from above. It was the doing of Candralekha who was terribly angry with Makaranda for pursuing her daughter (Mallika) even in a different dvipa and wanted to kill him on the spot 'at one stroke'. She asks Devalaka to remove the slab of stone so that she could again kill him Stud.-54

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426 STUDIES IN JAIN LITERATURE although already dead. Devalaka removes the slab of stone but to his surprise none was to be found below it. Candralekha is sorry that her plot went awry. She gets enraged with Manorama for interefering in her planned strategy. Tapasakumara addresses his mother in these words : "O mother, why do you want to kill that innocent and high souled man ? You better kill me who is the real source of your agony." Candralekha is still angry, holds Tapasakumara by the hair and asks Devalaka to take Manorama with him. Thus they all leave the stage. Act IV : Makaranda, who is seated in the siddhayatana, thinks to himself as follows : "Although I am separated from my beloved, I do not die. On the contrary, seeing that Tapasakumara who bears close resemblance to Mallikamy beloved--I desire to live. Better I take to asceticism following the example of Tapasakumara so that in heaven at least, I shall be united with my beloved (Mallika). But why is Candralekha infuriated with me ? Certainly she must have abducted Mallika from her (foster-father) Brahmacatta's house. Magadhika could throw some light on this incident of abduction. From behind-the-scenes a voice is heard : "....O princess where are you now? Please reply to me. O pitiless Candralekha, what kind of turbulence or agitation is this of yours that you put obstacles in the way of your own daughter ?" Makaranda recognises the voice to be that of Magadhika. She then enters the stage. In her conversation with Makaranda she informs him thus : Mallika was abducted from Pancasaila and transformed into a male by the use of a magic pill by Candralekha. She was transformed into a male only to prevent her abduction by an inimical person (Makaranda ?)" Magadhika further informs him "she has been taken out from the arbour to her own mansion by Candralekha and she has been flogged for the simple reason that she still remembers you." Makaranda who is unable to save his beloved from the clutches of her cruel mother wishes to kill himself with a sword but his hand is as it were paralysed. A divine voice, however, prevents him from committing suicide. Magadhika explains the purpose of her visit : "I have been sent to offer to you these precious garments and ornaments by my princess (Mallika). [She actually offers them to him.] She had received them from Citrangada." She has in addition sent this message to you : "You are my husband. You, however protect yourself by becoming small. Even Hari (in his in carnation as Krsna) became an insignificant cowherd (boy) and killed Kamsa (his powerful enemy)." After delivering this message she adds that he should remain in the siddhayatana as no misfortunes overtake a person during his stay there. And if he feels dull and uninterested from the longings of love he might divert himself by visiting the pleasure lake in the garden. With these words she

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MALLIKAMAKARANDA 427 goes away. Being oppressed by the scorching heat of the sun, Makaranda takes a walk along the bank of the pleasure lake in the garden. After a while he comes across the camp of Citrangada. He therefore goes in another direction. He chances to see a secluded mansion. As soon as he enters, he hears a voice advising him not to enter the mansion which is the abode of great sins. Makaranda then notices a parrot, kept in a cage in the courtyard, talking in human voice. Makaranda desires to know the parrot's account. The parrot then narrates his account thus : There was a sea-trader, Vaisravana by name and a resident of Vaibhalanagara. He had a wife called Manorama. Once both of them got into a ship filled with precious goods of various kinds. On their way they got down to observe the beautiful trees in the forest. In the course of their wanderings they came across a middle-aged (lit. aged) lady. She welcomed them both to her own mansion. They stayed there for quite a few days. Once while Vaisravana was seated on a couch in a room on the top of the mansion, which was all bathed in moonlight, Candralekha, overcome by passion, invited him for amorous dalliance with her. He being a devout Jain and being devoted to abstinence from sexual intercourse with another's wife rejected her invitation. This infuriated her. Using magical power she transformed him into a parrot and kept him imprisoned in a cage. That Vaisravana is my own self; Candralekha made Manorama, my wife, work as a female servant with her own daughter Mallika, who was transformed into a male (Tapasakumara). Candralekha herself, with her retinue, now resides in the hermitage of Gandhamusika, who had come there from Vaibhala-nagara. Makaranda asks the parrot whether there is some way to get out of the wretched condition. He informs him that the touch of a human hand would restore him to his original form. Makaranda pulls him out of the cage and he is restored to his original form. Makaranda asks him to go to the siddhayatana for his own safety and that there is every chance of his meeting his wife Manorama there. The parrot (of course, now Vaisravana) leaves for the siddhayatana. Makaranda then overhears a conversation from behind-the-scenes. It is a conversation between Citrangada and Kapinjala. As directed by his master Citrangada, Kapinjala carries with him pomogranate and other fruits for the parrot. Kapinjala tells him that Mallika is deadly hostile to him. Makaranda wishes to retire to the siddhayatana. Kapinjala reports to his master that the parrot is no longer to be found in the cage Citrangada is taken aback at this for he does not know how to face Candralekha when the parrot has escaped from the custody. Just then Makaranda comes face to face with Citrangada. Kapinjala tells his master that it is Makaranda who is an obstacle in his path of love (to Mallika).

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428 STUDIES IN JAIN LITERATURE Citrangada and Makaranda get involved in a verbal contest. Citrangada finally asks Karala, his servant, to seize, Makaranda and take him to the camp. He himself (with Kapinjala) proceeds to go to the hermitage of Gandhamusika. Thus they all exit. Prelude to Act V: Manorana is grateful to Makaranda for restoring her husband to her. She expresses her resolve to help achieve Makaranda's desired object (Mallika with whom he has desparately fallen in love) even at the cost of her life. She decides to propitiate Gandhamusika and secure Mallika for Makaranda through her favour. As she proceeds to go to meet Gandhamusika she sees Devalaka arriving. He does not at all like Candralekha's hateful attitude towards Makaranda nor her angry behaviour towards Mallika, her own daughter. He does not see any alternative but death for Mallika, who has been abstaining from taking food or drink (as a protest against her mother's attitude.) Manorama asks Devalaka why Mallika does not wish to marry Citrangada, the Vidyadhara prince, who is handsome like Madana. Devalaka pities her ignorance of love's course. Manorama finds fault with Citrangada who wants to force his love on unwilling Mallika. She comes to know from Devalaka that Mallika is in the Palace garden. Devalaka goes away to call Citrangada as directed by Candralekha; and Manorama goes to see the revered Gandhamusika. Act V: The main scene opens with the entry of Mallika and Magadhika. Mallika wants to know how Makaranda fares. Magadhika, with the best of intentions, deliberately gives a false report about Makaranda just to keep her away from thoughts of death. Magadhika tries to persuade her to take food without bothering about the agony caused by the wicked. Mallika replies that none is cruel (or wicked) to her but she is cruel (or wicked) to all; and that she is prepared to do what her mother Candralekha wants her to do. A voice from behind-the-scene is heard "My beloved daughter, what is that desired thing" ? It is Candralekha, being aided by Tamarasa, who arrives and repeats the question. Mallika (cooly) replies "My death". Candralekha is dejected to hear this. She says to Tamarasa : "I bore the foetus in my womb; I suffered the pains of child-birth : planning deliberately I deserted her in the vicinity of Brahmadatta's house : I have been doing these calculated efforts to marry her to the Vidyadhara prince all these good things she is ignoring for one fault of mine, viz. I separated her from that contemptible trader with whom she is in love." Tamarasa, speaking aside to Candralekha, suggests to her to give up (lit. slacken) her insistence on marrying her to Citrangada; for, if something untoward (or unlucky) happens to Mallika it is bound to give rise to a great scandal. Candralekha is not at all worried about new public scandals. Tamarasa tells her not to be so very harsh

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MALLIKAMAKARANDA 429 to her own daughter. Candralekha tries to persuade her daughter to act as she (Candralekha, her mother) desires. But she is very firm and tauntingly speaks to her mother. She goes to the length of referring to her improper conduct (anacara). Tamarasa scolds her for making a mention of her own mother's misconduct. He tries to impress on her to act upon her mother's desire. She, is however, firm in her resolve (to marry Makaranda). Candralekha thereupon tells Tamarasa to stop arguing with Mallika and that Citrangada, her prospective husband, would do the rest to change her mind. A voice from behind-the-scenes is heard : "What room is there for any doubt in the matter ?" Knowing that Citrangada is approaching, Candralekha with Tamarasa leaves for an interview with Gandhamusika. Just then there arrives on the scene Citrangada with his retinue including Kapinjala. The dialogue between Citrangada and Mallika reveals the former's pathetic efforts to win Mallika's love and Mallika's deep love for Makaranda. Citrangada then whispers something into Kapinjala's ear. He goes off the stage. Citrangada then angrily asks Mallika : "What is your final decision ?" She replies : "I shall marry Makaranda and Makaranda alone, and never you." Just at the moment, Makaranda, with his hands tied and dragged by hair by Karala and, Kapinjala enter the stage. Makaranda says to Kapinjala : "Your master can deprive us-Mallika and Makaranda himself-of our life but not of our spontaneous bond of love." Mallika is very much distressed to see her lover in that condition. Makaranda asks her not to lose heart. For her sake he is prepared to face any misfortune or calamity. Mallika reaffirms her love for Makaranda in the presence of Citrangada : "I shall secure Makaranda as my husband if not in this birth at least in the next birth. Kapinjala says to her : '0 good girl, you are simple-hearted : All the beings in the world are born in various forms of existence in accordance with their good or evil deeds. So what relation possibly can be there of one being with another when they are born with different form and in different places in their future life ? So give up your obstinacy and accept the Vidyadhara prince as your husband and mounted in the celestial car (lit. lattice of the celestial car) enjoy the beautiful scenes presented by lovely rivers, oceans, mountains and islands.' Mallika remains silent. Citrangada asks Makaranda to give up his foolish obstinacy and not to court death at his hands. Makaranda replies; "Kill me and marry this Mallika." Citrangada asks his man to bring a sword. A servant brings it for him. Mallika, however, gets ready to be killed first. At this point Magadhika says. "I report this whole incident foreboding evil to Gandhamusika." Citrangada raises his sword and asks Makaranda to remember his (favourite) god. Makaranda remembers the feet of Lord Jina. Mallika addresses Citrangada first to kill her as she is the rootcause of the misfortune and stands stretching her neck before him. Just then

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430 STUDIES IN JAIN LITERATURE Makanda arrives on the scene with a message from Gandhamusika. She reminds him of his latest vow with a message from Gandhamusika. She reminds him of his latest vow-first to present the person to be killed before the idol of the Jina and then kill him. Citrangada is sorry for the lapse and sends a message back : "You personally come and show the man (Makaranda) before the idol of the Jina." Gandhamusika arrives on the scene and scolds Citrangada for his shortsightednesss, and assures him, speaking aside, "I shall myself kill Makaranda and persuade Mallika to love you." Citrangada regards this as a great favour and with his retinue he goes off the stage. Gandhamusika asks Makanda to bring with him Makaranda (with his hands tied) and Mallika as well. Prelude to act VI : Makanda is simply amazed at Gandhamusika's enmity to the innocent Makaranda, He is extremely sorry for Makaranda's fate. As directed by Gandhamusika he handed over Makaranda to Vaisravana who, he understands, killed him with a sword in the Tamoguha (a cave full of darkness). He wishes to go and report the matter to Gandhamusika that Vaisravana has accomplished the task, which she had assigned to him., Just then he sees Tamarasa approaching. Tamarasa is bewildered at Mallika's "about-turn." Forgetting her deep love for Makaranda and her hatred against Citrangada she nowadays propitiates Citrangada after inciting Candralekha and Gandhamusika to kill Makaranda. He comes to know of Makaranda's fate from Makanda : says Makanda : 'Last mid-night in accordance with Gandhamusika's orders I took Makaranda to Vaisravana, who stays at the siddhayatana. That very mid-night Vaisravana took Makaranda to the Tamoguha and with a sword....He leaves the sentence half-said. Tamarasa blames Vaisravana as well as Gandhamusika for the heinous crime. Makanda insinuates that Gandhamusika must have done it for money-through Vaisravana, who, according to Tamarasa, has been Gandhamusika's favourite as he is the husband of Manorama, her sister's daughter. Tamarasa then goes away to call Citrangada as ordered by Mallika; and Makanda too leaves the stage to report to Gandhamusika that the task assigned to Vaisravana has been duly carried out. Act VI : The main scene opens with the entry of Citrangada, Mallika and their retinue including Kapinjala, Devalaka, and Magadhika. Citrangada is curious to know how a clever girl like Mallika felt attracted towards an insignificant trader like Makaranda, leaving a Vidyadhara-prince like him. On her behalf Devalaka informs him that it was because Makaranda had bewitched her by the use of magic spells. Owing to his bewitchment, since that very day she began to disrespect her mother, hate her husband (Citrangada), disregard her female friends, throw away the means of decoration, and get angry with her

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MALLIKAMAKARANDA 431 servants. Day before, Gandhamusika, performing some rite, removed that bewitchment and restored Mallika to normalcy. Consequently, she now loves her husband, is affectionate towards her mother, female friends, and so on. Citrangada does not know how to repay his indebtedness to Gandhamusika. Mallika now gives expression to the spontaneous bond of love between the blessed (herself and Citrangada). Citrangada pays high compliments or Mallika's for her ravishing beauty. He has, however, some reason to believe that Mallika still secretly loves Makaranda and admonishes her., Now Manorama arrives there and conveys the message of Gandhamusika to Mallika as follows: "Everything has gone all right as per plan and it suits your desire. Now, with your husband you go through the 'Kautuka'-ceremonies preceding marriage. Mallika then asks her : "Where is now our revered mother Gandhamusika ?" She replies "Where you know." Thereupon Citrangada flares up : "That trader urchin is still nearest to you ?" Devalaka tells him : "When Mallika has begged your pardon for the offence committed by her, it is not proper for you to speak tauntingly to her. He however intermittently continues to taunt her in relation to Makaranda. Mallika angrily wishes to go away from Citrangada. Just then Tamarasa enters the stage and asks her not to go. He further says: "Gandhamusika and Candralekha have directed you and Citrangada, both as follows : "To the south of the "siddhayatana' there is a cave by name Tamoraji. Kadamba, the lord of Yaksas, who waits upon Lord Varisena resides there in the form of his idol. Both of you should go there." Citrangada says : "The muhurta for our marriage is fast approaching. Will it be proper on our part now to go there ?" Tamarasa says in reply : "First the marriage will take place there and then here." Citrangada angrily says : "Are we to go through marriage-ceremony twice ?" Tamarasa cooly replies : "I am only a messenger. You better ask Gandhamusika and Candralekha." Devalaka clarifies : "It is a custom prevalent among the Vidyadharas-first to marry the bride to the Kadambaka Yaksa and then to the bridegroom." Citrangada says : "If it be a family custom then I have nothing to say. Here we come." They then walk about and reach the siddhayatana' and then the Tamoraji. Because of intense darkness it is not possible for Citrangada to recognise the persons gathered there. Tamarasa guides him in the matter. As directed by Gandhamusika, Mallika and Citrangada bow down to (the idol of) the lord of Yaksas. Vaisravana becomes the attendant of Yaksaraja and Manorama of Mallika. Citrangada and Kapinjala act as witnesses. Tamarasa, Devalaka, and Magadhika are sent to the palace to keep ready the material for the marriage ceremony of Citrangada. They go off the stage.

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432 STUDIES IN JAIN LITERATURE A Batu (boy, lad, chap) arrives on the scene and says to Gandhamusika "It is now time for the wedding." As directed by Gandhamusika, Citrangada and Candralekha offer Mallika in marriage to the lord of the Yaksas. They join the hands of the lord of the Yaksas and Mallika. Just then Devalaka arrives on the scene and says : "It is time for Citrangada's wedding now; after the 'panimocana' (releasing of the hands by the bride and the bridegroom, the opposite of 'pani grahana') ceremony you all come quickly to the palace." Gandhamusika asks Citrangada to lift up (the idol of) the Yaksaraja and make him and Mallika to circumambulate the sacred fire. Citrangada is surprised to find that the touch of Yaksaraja's body is just like the touch of a human body. Gandhamusika says: "The idol is created by gods out of celestial earth; so what you say is quite possible." She then says to Candralekha "promise to pay something to the Yaksaraja for releasing Mallika's hand." Candralekha offers to pay 1000 gold coins. The Yaksaraja angrily says "Nonsense ! Is it proper to release the hand of one's wife ?" All are surprised to hear the Yaksaraja speaking in human voice. Taking a lamp near the Yaksaraja Candralekha discovers to her amazement that the Yaksaraja is no other than Makaranda himself. She says to Gandhamusika : "Revered lady, what is all this?" Being pressed by all, Vaisravana discloses the plot. I was obliged by Makaranda by restoring to me my original form. Out of love for me Manorama propitiated Gandhamusika who arranged to send Makaranda for acting as the Yaksaraja at the time of the wedding. Removing the idol of Kadamba I asked Makaranda to take the place of the idol. The rest all of you already know. In this matter Gandhamusika is not at fault, nor Manorama, but I am at fault". Citrangada says, "You too are not at fault as you are the crest-jewel amongst the great and grateful men". Gandhamusika admires Citrangada for his noble words. She impresses upon Candralekha to accept the meritorious Makaranda as son-in-law without bothering about the family from which Makaranda hails or the qualities he possesses. Candralekha is reconciled to the wedding of her daughter, Mallika, with Makaranda, brought about by the revered Gandhamusika. Gandhajnusika asks Makaranda : "What further favour can I bestow on you ?" He says : "Is there any further favour than this ? However, with your favour my desire are accomplished". Gandhamusika joyfully says, "Through the favour of Lord Jina (lit. of the feet of Lord Jina) may you (first) obtain glorious success as bright as the rays of the pleasing moon (also Ramacandra) and the petals of Kunda flower and (then) may you obtain ever-lasting freedom (from karma, i.e. Moksa-liberation)". Ramacandra, using mudralamkara cleverly suggests his own name in the concluding verse pronouncing blessing on the hero of the play.

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MALLIKAMAKARANDA 433 There are in all twenty-four characters in the play but only five of them arrest our attention prominently as they have their own marked individuality. The rest of them, although they exhibit one or the other individual trait, do not make any lasting impression on our mind. Although Makaranda's character is not attractive in the extreme like Carudatta's, still it is quite attractive. Like the conventional hero he is not a paragon of virtue. He is a perfect man of the world. Although born of a wealthy and highly pious merchant he squanders away all his inherited wealth by gambling. In the prime of youth he starts visiting prostitutes. He frankly speaks of these vices before others including Tapasakumara whom he takes to be Mallika's brother (but who, in fact, is Mallika in disguise.) He is however full of repentance and resolves to lead a virtuous life afresh. He is the milk of human kindness, ever ready to help people in distress. On being separated from his beloved he is ready to end his life. When he learns of his beloved's sad plight and her tortures at the hands of her own mother and finds himself helpless to rescue her he is again ready to kill himself hoping to be united with her in heaven at least. These incidents demonstrate how true and deep his love for Mallika is. He is bold, resourceful and readywitted. He is more than a match for Citrangada in their verbal contests. He is a devout Jain remembering Lord Jina whenever faced with insurmountable difficulties. Not less attractive is Mallika. Mortally afraid of being abducted by some unknown agency, she wishes to commit suicide. By mere chance Makaranda saves her. The two fall in love with each other at first sight. Mallika strongly hates her mother, refers to her (mother's) improper conduct even to her face as she (her mother) insists on getting her (Mallika) married to Citrangada, a Vidyadhara prince. Her love for Makaranda is true and profound for even after knowing that he was in his early life given to gambling and in the prime of youth he was visiting prostitutes, she continues to love him with the same intensity as before. She is outspoken, sarcastic, when occasion demands, and witty in her conversation with her mother or Citrangada. She outright repulses Citrangada's advances and overtures. When he threatens to kill Makaranda she intervenes and asks him to kill her first. She does not mince words and fearlessly and candidly tells Citrangada that she is determined not to marry him but Makaranda. At the bidding of Gandhamusika (a Parivrajika-nun) she only pretends to love Citrangada and outwardly shows readiness to marry him. Gandhamusika dupes him and Candralekha (the mother of Mallika) and succeeds in her plans to marry Mallika to Makaranda. Compared with Makaranda, the Hero, Citrangada, his rival fares badly. Stud.-55

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434 STUDIES IN JAIN LITERATURE He is a Vidyadhara prince possessing great treasures. Candralekha is determined on marrying her own daughter, Mallika, to him. Mallika's repulsion for him and preference for Makaranda outrages his sense of importance for he believes that his position as Vidyadhara prince and his wealth entitle him to receive Mallika's love. He is no match for Mallika or Makaranda in wordy or verbal warfare. His threat of killing Makaranda to frighten Mallika into loving him and not "that contemptible man' miserably fails. He displays some practical, worldly wisdom when he speaks of 'the one-sided love and consequent mental torture', or when he says, "It is not correct or proper to use force when the desired object could be achieved by peace or negotiations". The fact however remains that he is not shrewd enough to see through the plot of Gandhamusika or judge men and women correctly. Candralekha, although she belongs to the class of semi-divine Vidyadharas, has all the attributes of a mortal being. Blinded by passion she enjoys the delights of love with a forester youth. She deserts her new-born daughter. Her improper conduct invites the wrath of her husband and parents and is disowned by them. She is bent on marrying her daughter to a very rich Vidyadhara prince. She tries every means-persuasion, punishment, threats but her daughter remains firm in her resolve to marry her man, Makaranda. She is hard-hearted and attempts to remove her daughter's lover from the scene by killing him but she fails in her attempt. She unabashedly invites Vaisravana to enjoy love's dalliance with her. Ultimately, when the young lovers are married she is forced to acquiesce in their marriage. Compared with Kalidasa's Parivrajika in Malavikagnimitra or Bhavabhuti's Kamandaki in Malatimadhava Gandhamusika pales into insignificance. Ramacandra depicts her as 'Prakarinayaka.' She is held in high esteem by Candralekha and the Vidyadhara-prince, Citrangada, the powerful suitor of Mallika. Manorama, wife of the merchant Vaisravana, who is extremely grateful to Makaranda for restoring the 'parrot' to his original form as Vaisravana propitiates Gandhamusika. At her request she agrees to bring about the union of Makaranda with Mallika. Apparently she takes upon herself the task of doing away with Makaranda and marrying Mallika to Citrangada but secretly devises a plot to get the lovers united. She succeeds in her plot. Candralekha and Citrangada have no option left but to acquiesce in the lovers' union. Mallika Makaranda : A Prakarana The 'Nataka' (heroic comedy) is the highest of the ten main forms or types of drama. 'Prakarana' (the bourgeois comedy, the social play) stands next to it

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MALLIKAMAKARANDA 435 in rank. These two are, in the true sense of the word, the full-fledged 'rupakas'. The earliest 'prakarana', available--although in fragments-to us is Asvaghosa's Sariputra-prakarana or (its fuller title) Saradvatiputraprakarana'. It has nine acts. Next to this piece, we have Sudraka's Mscchakatika 10, a unique 'prakarana' drama finding place in the world literature. Next to Mrcchakatika we have Bhavabhuti's 'prakarana' drama, the well-known Malatimadhavall. The two 'prakarana' dramas, Tarangadattal2 and Puspadusitaka 13 are known only from quotations, cited from them by some writers on Sanskrit Dramaturgy. The authors of the Natyadarapana quote from the following less known 'prakarana' dramas-Anangasenaharinandi prakaranam 14 of Suktivasakumara RohiniMrganka-(prakaranam)15 Kaumudi-Mitrananda 16 (-prakaranam) and MallikaMakarandal? (-prakaranam) of Ramacandra himself. Singabhupala, the author of the Rasarnavasudhakara, cites from Kamadatta and describes it as a Dhurtaprakarana. Unfortunately the work has not survived. There is a servile redaction of the same idea as that of the Malatimadhava of Bhavabhuti in the Mallikamaruta, 18 wrongly thought to be Dandin's. Really it is the work of Uddandin or Uddandanatha, the court poet of the Zemindar of Kukkutakroda or Calicut in the middle of the 17th century A. D. The writers on dramaturgy define the type of drama called 'Prakarana.' Almost all the later theorists follow Bharata in their definitions of Prakarana. The Abhinavabharati, the renowned commentary of Bharata's Natyasastra, and the Natyadarpana which closely follows the Abhinavabharati in its exposition of their own Karikas (of course, based on the Natyasastra) help us a good deal in understanding and appreciating Bharata's definition of 'Prakarana'. We may note here the characteristics of a 'prakarana' in the light of the works of Bharata, Abhinavagupta and the authors of Natyadarpana : (I) Its subjectmatter is invented by the poet. It is not derived from the Ramayana, the Mahabharata, or any of the Puranas. It should be adopted from the Brhatkatha of Gunadhya (e.g., Muladeva and his life) or from earlier poetic works in which the subjectmatter is framed at his good pleasure by the poet (e.g., Samudradatta and his Doings). The playwright may effect necessary changes-additions, omissions or modifications to accord with the development of the sentiment or characterisation of the main characters. (ii) Its hero too should be invented. He should be a Brahmana, merchant, counsellor, a priest (purohita), minister or leader of a caravan (who has fallen on evil days). He should be neither an exalted king nor a god. There should be no place for enjoyment associated with a harem which is appropriate to a king

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436 STUDIES IN JAIN LITERATURE nor for a chamberlain. It may employ a slave in place of a chamberlain, a Vita in place of a Vidusaka, and the chief of a mercantile guild in place of a minister, (iii) The heroine of a prakarana may be a mandakulastri (mandagotrangana), a lady not of a great family or a lady whose character is not above reproach, or a courtesan or both. If the plot leads to the attainment of any one of the four principal objects of human life (purusarthas) suited to a householder then a kulastri alone should be introduced as, for example, Nandayanti in the play Puspadusitaka (now lost). If contrary be the case, a courtesan may be introduced as a heroine. If the hero be Vita then both a kulastri and a courtesan should be introduced. The poet, however, should take care to see that the two heroines never meet in the course of the drama. A prakarana with a 'kulastri' as heroine is pure, so too with a courtesan as heroine it is pure; and with both the types of heroine it is 'samkirna' (iv) The hero's life should abound in incidents and situations that give rise to a variety of sentiments. The governing sentiment of the prakarara should, however, be the erotic one. All other sentiments should be made subservient to the dominant or ruling or governing sentiment. (v) In accordance with a verse in the Natyasastra, like the Nataka, it should have not less than five nor more than ten acts. As regards the remaining characteristics they are as in the Nataka. In other words, Junctures, Introductory scenes, Sentiments and the like are as in the Nataka. Mallikamakaranda answers this description. The subjectmatter is, as will be evident from the detailed summary of the plot given above, not drawn from the Ramayana, the Mahabharata or mythology. It is at once novel and invented by the poet. The hero, Makaranda who is a merchant's son and who has lost all his ancestral wealth by gambling and who in the prime of youth frequented prostitutes and who is now full of repentance belongs to the middle class of society. The heroine Mallika is 'mandakulastri', a lady not of a great family as she happens to be the illegitimate daughter born of her mother Candralekha, a Vidyadhara queen and a Kirata youth. The ruling sentiment of the play is the spontaneous love at first sight between Mallika and Makaranda and after undergoing many hardships, calamities and almost insurmountable obstacles the two lovers are united. Naturally, the erotic sentiment prevails throughout the play and the sentiment of fear, of heroism and the marvellous arising out of a variety of incidents serve only to strengthen the principal erotic sentiment. The

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MALLIKAMAKARANDA 437 play has six acts which accords perfectly with the rule of the sastra. It would thus seem that the play fulfils all the requirements of a prakarana. The Poet's Personality as revealed by his works Ramacandra is the reputed author of a hundred works including no less than eleven dramas. When one studies thoroughly and deeply all the writings of a poet one might be able to infer his personality more or less correctly. It may even then be hazardous to infer the man from his works if the author keeps throughout a purely objective attitude. But one will not go far wrong in the case of a self-conscious poet like Bhavabhuti, Rajasekhara or our author, Ramacandra. An attempt is made here to have a mere glimpse of Ramacandra's personality from his play MallikaMakaranda and the Prologues and the Epilogues of a few other plays of his that are so far published and of his Natyadarpana (in collaboration with Gunacandra). Ramcandra was a devout Jain'' and devoted pupil20 of the great Acarya Hemacandra. He was proficient in the three sciences21 : Grammar, Logic and Poetics (including Dramaturgy). He was indefatigably engaged in creative, literary activity22 writing poems or plays or 'stotra's or scientific works. It is perfectly understandable if one takes pride in his literary art and learning. Ramacandra, however, goes a step further and indulges in boasting23. He declares: "There are many great poets like Murari who diligently write plays that excel in striking modes of speech only, whereas he alone is expert in writing plays, imbued with sentiments which are the very soul (the essence) of drama."24 Generally, the works (of other poets), like sugar-cane, progressively diminish in rasa (1 sentiment 2 juice) but Ramacandra's whole work grows progressively sweeter and sweeter still.25 He proudly declares : 1. The good sayings (suktis or subhasitas) of Ramacandra, 2. the spring, 3. melodious songs, 4. Freedom and, 5. union with one's beloved person--these five (things) are veritable showers of joy26 It seems that in the days of Ramacandra there was an army of poetasters who thrived on the poetic works of their predecessors. They unabashedly committed literary theft and passed the poems of their predecessors with some changes here and there as their own. Naturally, people, in general, were fed up with them and did not trust them at all; on the contrary they held these poetasters in utter contempt. Probably this charge of plagiarism was levelled, by some of his contemporary critics, against Ramacandra. He stoutly defends

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438 STUDIES IN JAIN LITERATURE himself against this baseless and mischievous charge in the Prologues to Nalavilasa and Mallikamakaranda. The relevant dialogue between the Assistant and the Stage-Manager that occurs in the Prologue to Nalavilasa may be reproduced here : Nata (=Assistant). (Reflecting) Sir, is this poet himself a creative playwright or just a borrower ? Sutradhara (=Stage-Manager) : In this matter the poet himself has already given a reply : "We compose poems with words and senses in accordance with the dictates of our own poetic genius-Creative genius. Let them say that we imitate others (or commit literary theft). This is the way of talking (prevalent among people) : They say that the moon, lotuses which bloom even on the day of 'amavasya' (the night of new moon, when the sun and the moon dwell together, the 15th day of the dark half of every lunar month) have bloomed on account of the contact of the rays of the moon (though it is easy to see that there could be no moon-rise that day)."27 Moreover, finding that people love poems which defy any logical connection between its words and their senses the poet became dejected and said : 'They generally like poetry which is uneven with naturally crooked sense clothed in old and extremely blunted words. We cannot persuade ourselves to follow this course. This thought always troubles our mind." In the Prologue to Mallikamakaranda too he raises this issue and silences his critics.28 It also seems that some people professing to guard jealously the dignity and high position of 'muni's--especially Jain munis-must have severely criticised Ramacandra, for writing plays portraying the sentiments of love, laughter, etc. For peace or quietude is of the essence to the munis and the erotic and the comic sentiments are harmful to maintain and develop the attitude of quietude. A common man too is puzzled to find a 'muni', who has renounced the world, depicting scenes of love between young men and women and describing approvingly the charms of young beautiful damsels. The Prologue to Mallikamakaranda tries to meet this criticism. The relevant dialogue is reproduced here below : Natah : (disdainfully) Sir, the 'muni's are solely devoted to peace or quietude and owing to the resultant wisdom they employ their dignified speech solely in the exposition of dharma; otherwise they maintain rigid silence. They

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MALLIKAMAKARANDA 439 are absolutely unworthy of writing plays imbued with sentiments like the erotic, the comic and the heroic. Sutradhara : 0 worthy friend, now, you speak things which betray that you do not have the cleverness of (even) a villager! The whole world knows that sama (peace or quietude) is the very essence of great sages (monks). (Don't you however forget the fact that) although gods are born in heaven they move about in all the three worlds.29 The suggestion is : 'Munis (sages, monks) too should occasionally leave the high pedestal and come down on earth and should write plays and appreciate them when staged. Just as the gods do not lose their godhead or divine nature simply because they move about in the three worlds even so the 'munis who write plays and aesthetically appreciate them do not lose their sageness or monkhood." It is, however, doubtful if this reply silenced Ramacandra's critics. Another striking trait of his personality was his love of freedom(here on earth as well freedom from the cycle of birth and death). He frankly says that he would anyday prefer the free life of a street-dog to the overlordship of the three worlds, that is dependent on another30. At another place he observes : "If there be life-long freedom useless is heaven and the wealth of this world31 A hurried glance at the epilogues to his plays would immediately bring to our notice his intense desire for freedom from the cycle of birth and death32 Although Ramacandra had renounced the world he had well retained his aesthetic sense. He had read and mastered thoroughly the plays of the great poets (like Bhasa, Kalidasa, Sudraka and Bhavabhuti)33. He had, it seems, good knowledge of the arts of singing, music and dance and that he was very well conversant with the ways of the world 34. His aim in writing the different kinds of plays was to impress upon the people that they should always follow the right path35 Ramacandra intrudes on his own work and indulges in self-praise oradmiration. His self-consciousness is apparent in remarks like (i) vAgmI khalvasi, etAvataiva bhavato vAcAM vilAsena vayamatyantamAmoditA: 136 (ii) 3T), 4-antalah orani Der fast: 137 (iii) et leshoirt femifidat: 138 Such remarks reveal Ramacandra's egotism.

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440 STUDIES IN JAIN LITERATURE Ramacandra's firm faith in the inexorable law of karma finds expression in his plays. For example, we have the following passage : bhinna-bhinna-vartmani saMbhaviSNavaH sarve'pi jantavastaistaiH zubhairazubhairo karmabhiH / vibhinnarUpadezAnAM janmAntareSu janminAM kasya kenAbhisambandhaH 139 The personality of Ramacandra that emerges mainly from his play Mallikamakaranda and the Prologues and Epilogues of some plays, is certainly magnetic. Ramacandra as a Dramatist If we take into consideration merely the total number of plays written by a Sanskrit dramatist Ramacandra, with his eleven plays, stands next only to Bhasa who is believed to have written thirteen plays. In the galaxy of Sanskrit dramatists, Ramacandra is a star of the second magnitude only. It would be unfair, however, to compare him with the early master dramatists like Bhasa, Sudraka, kalidasa or Bhavabhuti. He may very well be compared with later dramatists of decadent period like Murari, Rajasekhara, and Jayadeva (with his Prasannaraghava). A close and critical study of the available plays of Ramacandra would show that he equals if not excels them. Here it is proposed to judge him as a dramatist with reference to his play MallikaMakaranda. The story of the play is invented by the poet himself. It is based on the time-worn theme of love triumphant over many obstacles. Makaranda, a merchant's son, who was in his early life a gambler and who frequented prostitutes, later becomes full of repentance and resolves to lead a virtuous life afresh. He is the hero of the play. He saves the damsel Mallika from committing suicide. She loves him and he returns her love. It is thus a case of love at first sight. The path of their love is full of obstacles. Overcoming these obstacles the two lovers are united towards the end of the play. Their story forms the main plot (adhikarika vastu). The story of Manorama and Vaisravana forms the subplot (pataka). For, the hero Makaranda restores Vaisravana, who was transformed into a parrot (by Candralekha) to his original form. Both Vaisravana and his wife Manorama are very grateful to him. They, on their part, plan to win the favour of Gandhamusika, a (Jain) nun and through her grace get the two lovers married. The incident to Gandhamusika who, through clever intrigue helps Makaranda and Mallika get married constitutes what is technically called 'prakari' for she comes in only to help the hero and heroine without any expectation of a good turn in return. It would seem that the poet has skilfully intertwined the main plot and the sub-plot. A hurried glance at the story

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MALLIKAMAKARANDA 441 summarised act by act would show that though it treats of a time worn theme, it is at once very interesting and original. The poet has succeeded in portraying the principal characters of Mallika, Makaranda, Candralekha, Citrangada (and Gandhamusika) investing each one of them with a distinct individuality4o. The minor charactors among the twentyfour in all are such as would hardly linger in the reader's memory. The poet is proficient in portraying the sentiments of love, heroism and wonder. The love at first sight between the lovers grows more firm and secure, Makaranda continues to love Mallika even after knowing the fact that she was born as an illegitimate child; and Mallika too loves him as before even after knowing that Makaranda was given to gambling and that he was frequenting prostitutes in prime of youth. Ill-treatment and even flogging and the temptation offered by Gitrangada, the Vidyadhara prince, who woos her, fail to change Mallika's mind. Imprisonment and threats of death by the Vidyadhara-prince have no effect at all on Makaranda. The two lovers are prepared to face death as they hope they would be united in heaven. In the concluding act when everybody (excepting the member of the plot, contrived by Gandhamusika) is under the impression that Makaranda has been finished to death and that Mallika and Citrangada are about to be married to each other they find, to their surprise, that Mallika and Makaranda are married and that Candralekha and Citrangada are out-manoeuvred by Gandhamusika. The sentiment of love is the governing sentiment of the play. The sentiments of fear, heroism and wonder are portrayed as subservient to the sentiment of love. The sentiment of wonder is mainly depicted in the 'Conclusion'. Ramacandra rightly says in his Nalavilasa : "Rasa is of the essence of a drama. Those who are fond of showing their skill in figures of word and sense even in compositions to be staged and neglect rasa may rightly be called as learned men but not dramatists. In a dramatic composition a striking variety of incidents (and metres) does not deserve so much praise as rasa does. A mango, though lovely with ripeness, afflicts you if it be devoid of rasa (juice)". 41 He strictly adheres to the well-known rules of dramaturgy : "One should not make the subject-matter too disconnected by the excessive (use of) sentiment, nor should one overwhelm the sentiment with the subject-matter, figures of speech and laksanas". One sentiment, either the Heroic or the Erotic, is to be made the prevalent Stud.-56

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442 STUDIES IN JAIN LITERATURE sentiment; all the other sentiments (should be made) subordinate. The Marvellous Sentiment should be employed (only) in the Conclusion."42 The Midnight scene showing Mallika's attempted suicide, Makaranda rushing to save her and shampooing her breast when she falls in a swoon in the first act and the marriage-scene between Mallika and the idol of Kadambaka, the chief of Yaksas in the Tamoraji valley in the last act would prove highly successful and tremendously popular even on a modern stage. The play reveals the poet's skill in presenting lively and brilliant dialogues unfolding the traits of the speakers involved. The dialogues between Yuvati(=Mallika) and Makaranda (pp. 7-8, p. 21). Suka and Makaranda (pp.3840), Citrangada and Makaranda (pp. 41-42), Candralekha and Mallika (pp. 47-48) are instances in point. We may now turn to his defects. The scene of the action in the first two acts of the play is the Pancasailadvipa whereas in the remaining five Acts it is the mountain Ratnasanu (=Meru), the region of the Vidyadharas. It is not made clear why Gandhamusika, the nun, and her party, who are human beings go to the heavenly region of Vidyadharas, and what made Candralekha and Citrangada (themselves Vidyadhara and Vidyadhari) repose full faith in this nun, a human. Again, when 'mere disguise' would have served the purpose we do not see any point in Ramacandra representing the Vidyadhari queen Candralekha as transforming Mallika into a male form by the use of a magic pill. Again, the action is dependent to a great degree on accident; Candralekha through mere accident loses her power of flying through the sky, Regaining that power after six-months' austerities she, being sex-starved, enjoys love's dalliance with a Kirata youth. With her newly-acquired lore she could have reached her home within no time and enjoyed love's dalliance with her own husband. Her new-born babe she deserts. By sheer chance the merchant Jinadatta comes across this deserted newly-born child and entrusts it to the care of his wife Bandhusundari. Makaranda accidentally saves Mallika from killing herself by hanging from a tree. Mallika is mysteriously and unseen, taken away by force from Makaranda who was keeping guard. Makaranda, at the separation from his beloved wants to put an end to his life by throwing himself into the sea when by the merest chance he is lifted up by a 'Bharunda' bird and thrown down on the mountain Ratnasanu (=Meru). By mere chance he comes across Tapasakumara whom he takes to be Mallika's brother but who, in fact, is

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MALLIKAMAKARANDA 443 Mallika herself. transformed by the use of a magic pill by her mother. On learning about the sad and miserable plight of his beloved and finding himself unable to help her out Makaranda wants to end his life but is prevented from doing so by a divine voice. By sheer chance Makaranda is saved from being crushed to death under a huge slab of stone hurled down by Candralekha with a view to killing him. Again Makaranda who is about to be killed by Citrangada is saved by the timely arrival of a messenger from the nun Gandhamusika. The element of chance cannot be entirely ruled out of a drama, as out of life, but its frequent occurrence severely taxes our credulity and is surely a reflection on the poet's dramatic art. The poet does depict a few situations and give passages which contain the element of irony. The meeting between Tapasakumara and Makaranda and the incident of Mallika's marriage with the idol of the) Yaksaraja and the conversation between Citrangada and Makaranda (towards the end of Act IV) attest to the poet's fine sense of irony. The play, as a whole, however, is devoid of humour and the poet tries to make up for it by introducing the element of the supernatural. Another defect of Ramacandra is his lack of sense of proportion. He thus indulges in sentimental prolixity by putting six verses in the mouth of Citrangada to describe the beauty of the heroine in the concluding Act of the play. Exuberance or preponderence of verse in the play also attests to his lack of sense of proportion or restraint-although it is possible to seek justification for the dramatist in his modeis like Mrcchakatika and Malatimadhava. Ramacandra's Style Vaidarbhi and Gaudi are the two main kinds of style. The distinguishing features of the Vaidarbhi style are clearness (clarity, lucidity, perspicuity-- prasada) and sweetness (madhurya). The quality of clearness causes the sense to become intelligible on merely hearing the words. The quality of sweetness is produced by the use of consonants other than cerebrals, with their appropriate nasals, r' and 'n' with short vowels, and no compounds or short compounds. The characteristic of the Gaudi style is force or strength or vigour (ojas). It results from the use of compound letters, doubled letters, conjunct consonants of which 'r' forms part, cerebrals other than 'n' palatal and cerebral sibilants, and long compounds and high-sounding expressions. No poet, in fact, can confine himself entirely to only one kind of style. He has to employ one or the other style in consonance with the sentiments to be portrayed. The Vaidarbhi style is appropriate in the sentiments of love in enjoyment (sambhoga srngara), pathos

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444 STUDIES IN JAIN LITERATURE (karuna), love in separation (vipralamba-srngara) and calm (santa). The Gaudi style is appropriate in the sentiments of heroism, the terrible, fury and wonder (vira, khayanaka, raudra, and adbhuta). The sentiments in Mallika Makaranda are mainly those of love, heroism, horror and wonder. Excepting some passages, both in prose and in verse, and some dialogues in the Vaidarbhi style, the play as a whole is written in the Gaudi style. He has a large command of the Sanskrit vocabulary. The language is, as a rule, dignified. Whatever be his meaning, Ramacandra generally writes with force. His style is forceful and powerful and not polished or graceful. The story of Mallikamakaranda centres round the spontaneous love at first sight, between the two lovers Mallika and Makaranda. Usually the sentiment of love is portrayed by poets in the Vaidarbhi style. But as the path of love between these two lovers never runs smooth and is beset with difficulties, dangers and calamities the poet has, in the main, employed the Gaudi style. There is hardly any scope for the depiction of the sentiment of laughter. The one-sided love of Citrangada for Mallika giving rise to the comic sentiment, the ironical conversation between Citrangada and Makaranda, and the final scene of marriage between Mallika and Makaranda (representing Candralekha and Citrangada as duped) are only exceptions. Some of the passages, both in prose and verse lack simplicity and intelligibility and can be fully comprehended only after careful study and a good deal of reflection. In quite a few cases the difficulty arises on account of scribal blunders. In this regard the attention of the readers is drawn to the following verses I. 20, V. 3, V. 8, VI. 14, VI. 17. To modern taste Ramacandra is naturally attractive when he is simple and not grandiose or pompous or inflated as he can be when he chooses. The dialogues, barring the Amukha, and a good many elegant and attractive verses are simple and easily intelligible. The verbal contest between Citrangada and Makaranda (towards the close of Act I) is at once brief and brilliant. The dialogue between Candralekha, Mallika and Tamarasa (pp. 46-48) is also splendid. Ramacandra uses a large number of figures of speech to decorate his style (Vide the parisistam_7 to the present edition). He is very fond of arthantaranyasas and subhasitas. A few of these may be reproduced here : (i) Hafsfq went falas: parfasyari --P.3(I. 9) (ii) 379791 44 FNCE P. 13 (iii) 7 other trafiya II. 20

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MALLIKAMAKARANDA 445 --P. 38 (iv) Alfa Hifad fefac sea forfeta 47: #9: 1 --III. 10 (v) lap a sta gtry: fot1489: --P. 33 (vi) 3Toft Hot Hivi nifata faci --IV. 2 (vii) 311-EU TE ARE977 metai y rafat i (viii) fu riteni ghi Hea olur yaft i --P. 28 (ix) RIO Takain aftal: 1 -V. 16 (x) Beatahtsf9 747 71941: 47: I -VI. 14 (xi) ZTET Mar Jai -VI. 15 In this play Ramacandra employs a large number of metres (Vide Parisistam-6 to this edition. He greatly favours sloka which is suitable for rapidity and directness of style. The Prakrit passages show Ramacandra's proficiency in Prakrit. He occasionally introduces vernacular words in the Sanskrit speeches. Thus he writes arief, Ta: 1992741 p. 13. The word 'Katari' is used in Apabhramsa in the sense of 'ascaryam'; 'Curaya pratikalam pratyuha-vajrargalah'-III.7 where Ramacandra, it would seem, uses the Prakrit root 'cura' (to reduce to powder, pulverise, crush). The form vidhyapya' is probably due to Prakrit influence for in Prakrit we have the root vijjha meaning to extinguish. On p. 63 we have the expression madana-kadakam. Kadagam' (or 'Kadakam') is a Prakrit form of 'Katakam'. The forms vaccha, vacchara (p. 14) for Sanskrit vatsa' and 'vatsara' are, as they stand, Prakrit. Ramcandra adopts four or five verses (vide Parisistam-5 to the edition) from Bhartphari's Srngarasataka. It is rather curious that he should adopt the verses in this way without giving any indication of their source. The play contains a few situations and scenes which strongly remind us of their counterparts in the works of Ramacandra's predecessors like Bana, Harsa, Bhavabhuti, and Bhatta Narayana (Vide Notes). It contains verbal reminiscences of a few earlier texts. Ramacandra has quite a few readymade verses which he repeats in his play, probably following in the footsteps of Bhavabhuti. Some Technical Terms in the Sanskrit Drama 1. Nandi : Most Sanskrit dramas open with a verse (or verses) of the form of a salutation or benediction, which is usually suggestive of the story of the drama, followed by the remark, 'At the close of the Nandi the

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446 STUDIES IN JAIN LITERATURE Sutradhara enters'. But in Bhasa's dramas we find the play begun with these words, and a verse or verses following. Visvanatha adopts as the definition of Nandi what is recited in praise of a deity, Brahmana, King or the like, and is accompanied by a benediction, consisting of twelve inflected words (with nominal or verbal endings) or eight lines (quarter-verses); Abhinavagupta, however, permits of a greater variety of forms. In Visvanatha's view the Nandi is part of the preliminaries (Purvaranga), and it must be preserved, however much these are shortened. The Nandi is recited by Sutradhara (or Sthapaka) behind the curtain, and then he comes on stage, It is called Nandi because it is a source of delight to the gods. 2. Sutradhara : The name Sutradhara literally means "the holder of the string and perhaps indicates his origin from the 'puppet show wherein the puppets or dolls are made to perform by holding and pulling the strings attached to them. Or the name Sutradhara denotes him as primarily the architect of the theatre, the man who secures the erection of the temporary stage. He is the principal stage-manager or director who arranges the cast of characters, instructs them in their art (Natyacarya). For this high position as Sutradhara (Natyacarya) "his qualifications were to be numerous; he was supposed to be learned in all the arts and sciences, to be acquainted with the habits and customs of all lands, to combine the completeness of technical knowledge with practical skill, and to be possessed of all the normal qualities which an Indian genius can enumerate. To him falls not merely the very important function of introducing the play, but also of taking one of the chief parts. He is normally the husband of one of the actresses (nati), who aids in the opening scene. 3. Amukha : Immediately after the preliminaries (Purvaranga), according to the Natyasastra, another person, similar in appearance and qualities to the Sutradhara, is to enter and introduce the play, a function which gives him the style of introducer, Sthapaka. But later on, these preliminaries were considerably shortened, and the Sutradhara alone performed both the functions of the preliminaries and of the prologue (amukha, prastavana, sthapana). The essential feature of the prologue is a dialogue between the stage-director and his attendant, or rather, his Assistant (pariparsvika) or an actress (Nati--who happens to be his wife) or the Vidusaka on some personal business which indirectly hints at the drama. This dialogue propitiates the audience by verse or verses alluding to the subject of the play, mentions the name of the author and the play. The mode of connection between the prologue and the play is given by Dhanamjaya as

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MALLIKAMAKARANDA 447 threefold and by Visvanatha as fivefold; and accordingly the 'amukha' (prastavana) is said to be threefold or fivefold. Of the three (or five) varieties of this prologue we are concerned with the Kathodghata--for the prologue of Mallikamakaranda is of this variety in which a character in the play catches up the words (or their sense) of the stage-manager (or director)and enterscomes on the stage from behind the curtain. 4. Viskambhaka : It is essential that the events or matters as are appropriate for presentation must be presented in Acts. The events described must not be disconnected. It is neither necessary nor usual that Act should follow Act without interval. To reveal to the audience the events during such intervals the Natyasastra permits a choice of five forms of scenes of introduction (arthopaksepaka) which serve also to narrate things, whose performance on the stage is forbidden. One of these five is Viskambha or Viskambhaka, an explanatory scene. It is so called from its concisely compressing (fa+ Vict, 197) into a short space those subordinate parts of the story, not enacted before the spectators, but a knowledge of which is quite essential to the comprehending of the action of the play. It serves to explain the events or incidents that have already taken place or are about to take place in the near) future. It is generally performed by not more than two persons, never of chief rank. It is pure (suddha) if the performers are of middle rank and speak Sanskrit; mixed (samkirna) when the characters are of middle and inferior class and use also Prakrit. It may be used, at the beginning of a drama where it is not desired to arouse sentiment at the very outset. 5. Nepathye (From behind-the-scenes or the curtain); The word nepathya means (i) the curtain : (ii) the dressing room or greenroom; (iii) the toilet or decoration, (iv) the actor's costume. As stage-direction it means 'from behind the scenes'. It is used (i) when a character is represented as speaking while approaching the stage but before actually entering on the stage and (ii) when the utterance of character, whose entrance on the stage is not required, is to be made known to the characters who are present on the stage. 6. Prakasam (Aloud) When the speech is to be heard by all those on the stage, and of course by the audience the actors speak aloud. 7. Svagatam or Atmagatam (Aside, to one self) : When the speech is to be heard by the audience alone and not by any actor on the stage, the actor speaks to himself.

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448 STUDIES IN JAIN LITERATURE 8. Janantikam and Apavarya (= Apavaritam) : Janantikam (a private conversation) is a mutual conversation in the presence of other actors by shutting out the others in the middle of the story by the hand with three fingers raised, the thumb and ring finger being curved inwards. Apavaritam (or Apavarya=aside) is a secret told to anoter by turning around to him. It is understood to be heard only by the actor addressed to. Both these stagedirections are, however, indifferently or indiscriminately used by the Sanskrit playwrights. These speeches are of course meant to be heard by the audience as well. 9. Akase (In the air) : When one actor alone, without another actor on the stage pretends to see somebody in the distance, and speaks in the air "Do you say so ?" or the like, as if hearing something, though it is really not spoken, that is called conversation with imaginary persons.. This device of (speech in the air) is employed with a view to carrying forward the action of the drama but at the same time economising characters. This device is frequently used in the Bhana (or Monologue) the actor speaks in the air, repeating answer supposed to be received. 10. Karne evameva: With a view to avoiding repetition (if what is whispered in the ear is already known to the audience) or if the plot or plans are going to be unfolded later, the concerned actor whispers into the ear of another actor (who is also concerned) "it is like this" or "it is so." At the instance of Prof. D. D. Malvania, formerly Director, and Dr. N. J. Shah, the present Director, L. D. Institute of Indology, Ahmedabad I gladly undertook the work of writing a critical Introduction and Critical and Comparative Notes to MallikaMakaranda, the text of which was already and ably edited by the late lamented Munisri Punyavijayaji Maharaja. I personally knew this distinguished scholar and saint and held him in great reverence. I therefore readily accepted the suggestion of completing the work left unfinished by him. I tender my sincere thanks to Prof. D. D. Malvania, Dr. H. C. Bhayani and Dr. N. J. Shah for their keen interest in my work and their useful suggestions in tackling a few knotty phrases and lines from the text. I tender grateful thanks to Prof. R. B. Athavale who spared time for me for discussing with him some tough passages from the text of the present play. In conclusion, I pay my tearful tribute to my wife who is no more. In spite of her serious illness, she had encouraged me to continue the critical study of this play.

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MALLIKAMAKARANDA 449 Notes and References : 1. For a derailed account vide (i) L. B. Gandhi's Introduction (in Sanskrit, pp. 22-39) to Nalavilasa, pub. in GOS as No XXIX, Baroda, 1926 and (ii) The Natyadarpana of Ramacandra and and Gunacandra : A Critical Study (pp. 209-237) by Dr. K. H. Trivedi, pub. in L. D. series as No. 9. Ahmedabad, 1966). 2. Vide Prologues to Nalavilasa, Kaumudimitrananda and Mallikamakaranda. 3. Svatantryami yadi jivitavadhi mudha svarbhurbhuvo vaibhavam - Nalavilasa 1.2.c Suktayo Ramacandrasya-svatantryam...Harsayr(sr)stayah -Satyahariscandra 1.5 ___--Nirbhayabhima I-2 And, concluding benediction in his various plays 4. naTa:-(sAvajJam) bhAva, prazamarasikavaiduSyeNa dharmadezanAvidhAnaikapragalbhavAco vAcaMyamAH zRGgAra-hAsya-vIra pramukharasamayAnAmanarhAH khalu nATyaprabandhAnAm / sUtradhAra:-mArSa sAMprataM grAmINacAturIvandhyamabhidadhAsi / zamastattvaM munIndrANAM jAnate tu jagantyapi / janmaiva divi devAnAM vihAro bhuvaneSvapi / -Mallikamakaranda, 1.6 5. Vide naTa: (sAvahelam)bhAva, paropanItazabdArthAH svanAmnA kRtakIrtayaH / nibandhAro'dhunA tena vizrambhasteSu kaH satAm / / -Mallikamakaranda, I.7 sUtradhAra:-mArSa nAsya paryanuyogasya vayaM pAtram / atrArthe prabandhavidhAnasamAnakAlAH sumedhasa eva pramANam / -Kaumudimitrananda 1.5 Also vide : Mallikamakaranda I. 7-8 6. Vide : zabdalakSma-pramAlakSma-kAvyalakSma-kRtazramaH / vAgvilAsastrimArgo nau, pravAha iva jAhanujaH // -~-Natyadarapana, p. 103 v. 4 And, na gIta-vAdya-nRttajJAH lokasthitivido na ye / abhinetuM ca kartuM ca prabandhAste bahirmukhAH / / -~-Ibid, p. 21 c. 4 And also, paJcaprabandhamiSapaJcamukhAnakena vidvanmanaHsadasi nRtyati yasya kIrtiH / vidyAtrayIcaNamacumbitakAvyatandraM kastaM na veda sukRtI kila rAmacandram / / -Raghuvilasa, I.3 prANAH kavitvaM vidyAnAM lAvaNyamiva yoSitAm / traividyavedino'pyasmai tato nityaM kRtaspRhAH // -~-Natyadarpana. p. 22 v, 9 7. Cf : nATakena rAjAdiruttamaprakRtiyutpAdyate...vaNigAdimadhyamaprakRtiH prakaraNena / durmedhasAM hi nyAyye vartmani vRttyarthaM __kavayo'bhineyaprabandhAn granantIti / -Natyadarpana. p. 106 8. Cf : kaviH kAvye rAmaH sarasavacasAmekavasatiH / -Nalavilasa I. 2.a. And, prabandhAnAdhAtuM navabhaNitivaidagdhyamadhurAn kavIndrA nistandrAH kati na hi murAriprabhRtayaH / Rte rAmAnnAnyaH kimuta parakoTau ghaTayituM rasAn nATyaprANAn paTuriti vitarko manasi naH / / -Nalvavilasa I. 3 --Kaumudimitrananda I. 3 And also, Stud.-57

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450 STUDIES IN JAIN LITERATURE vyutpattirmukhameva nATakaguNavyAse tu kiM vaya'te saurabhyaprasavA navA bhaNitirapyastyeva kAcit kvacit / yaM prANAn dazarUpakasya sa karotkSepaM samAcakSate sAhityopaniSadvidaH sa tu raso rAmasya vAcAM paraH / / -Satyahariscandra 1-3 And also further, prabandhA ikSuvat prAyo hIyamAnarasAH kramAt / kRtistu rAmacandrasya sarvA svAduH puraH puraH / / - Nalavilasa I. 4 ---Satyahariscandra I. 4 --Kaumudimitrananda, I. 4 And also still further, suktayo rAmacandrasya vasantaH kalagItayaH / svAtantryamiSTayogazca paJcaite harSavR(sa)STayaH // -Satyahariscandra, I. 5 -Nirbhayabhima, I. 2 9. Keith : The Sanskrit Drama, (pp. 80-83) 10. Ibid, pp. 131-142; Dasgupta : A History of Sanskrit Literature, Vol. I, pp. 239-248 11. Keith : The Sanskrit Drama, pp. 187-203. ___Dasgupta : A History of Sanskrit Literature Vol. I, pp. 208-298. 12. Introduction (Sanskrit) to the Natyadarpana, p. 42. 13. Ibid, p. 47. 14. Ibid, p. 32. 15. Ibid, p. 55. 16. Ed. Muni Punyavijaya, Jaina atmananda Granthamala, Bhavnagar, 1917. 17. Text published for the first time in Sambodhi Vol. 7, April, 1978-January 1979, Nos. 1-4. 18. Keith : The Sanskrit Drama, p. 221, pp. 257-258. Dasgupta : A History of Sanskrit Literature, Vol I, p. 474, p. 686. 19. At the commencement of his works he pays homage to the Jinas or their Speech. 20. He speaks with reverence of his great Acarya : zabda-pramANa-sAhitya-chando-lakSmavidhAyinAm / / zrIhemacandrapAdAnAM prasAdAya namo namaH // 21. He calls himself 'Vidyatrayicanam' in his prologue to Raghuvilasa, and 'Traividyavedin' in the introductory portion of the Natya-darpana-vivarana. The three Vidyas', meant by Ramacandra are : zabdalakSma-pramAlakSma-kAvyalakSma-kRtazramaH / vAgvilAsastrimArgo nau pravAha iva jAhujaH // 22. He calls himself 'Acumbita-kavya-tandram' (prologue to Raghuvilasa) and 'Visirna kavya-nirmana-tandra' (Prologue to Kaumudimitrananda.) He refers to his firm resolve to compose original works in his Prologue to Mallikamakaranda (I. 8).

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MALLIKAMAKARANDA 451 23. Read : kaviH kAvye rAmaH sarasavacasAmekavasatiH / -Nalavilasa I. 2. 24. prabandhAnAdhAtuM navabhaNitivaidagdhyamadhurAn kavIndrA nistandrAH kati nahi murAriprabhRtayaH / Rte rAmAnnAnyaH kimuta parakoTau ghaTayituM rasAn nATyaprANAn paTuriti vitarko manasi naH // ---Ibid I. 3 --Kaumudi I. 3 25. prabandhA ikSuvat prAyo hIyamAnarasAH kramAt / kRtistu rAmacandrasya sarvA svAduH puraH puraH // --Ibid I. 4 ---Kaumudi I. 4 -- Satyahariscandra I. 4 26. sUktayo rAmacandrasya vasantaH kalagItayaH / svAtantryamiSTayogazca paJcaite harSavRSTayaH / / ---Satyahariscandra 1. 5 --Nirbhayabhima I. 2 27. Nalavilasa I. 7 and 8 28. Mallikamakaranda I. 7 and 8 29. zamastattvaM munIndrANAM jAnate tu jagantyapi / janmaiva divi devAnAM vihAro bhuvaneSvapi // 30. svatantro deva bhUyAsaM sArameyo'pi vartmani / mAsma bhUvaM parAyattastrilokasyApi nAyakaH / / 31. svAtantryaM yadi jIvitAvadhi mudhA svarbhUrbhuvo vaibhavaM -Nalavilasa II. 2(C) 32. Read ajAtagaNanAH samAH paramata: svatantro bhava / --Nalavilasa prApya svAtantryalakSmI mudamatha vahatAM zAzvatI yAdavendraH / --Satyahariscandra prApya svAtantryalakSmImanubhavatu mudaM zAzvatI bhImasenaH / -Yadavabhyudaya AsAdya yazolakSmI parAM svatantrAzciraM bhUyAH / -Nirbhayabhima ---Kaumadi, Mallikamakaranda 33. Read mahAkavinibaddhAni dRSTvA rUpANi bhUrizaH / svayaM ca kRtvA svopajJaM nATyalakSma vivRNvahe // -Natyadarpana I (Introductory v. n. 2) 34. Read na gIta-vAdya-nRtajJAH lokAsthitivido na ye / abhinetuM ca kartuM ca prabandhAste bahirmukhAH // -Ibid. v. n. 3 35. Read durmedhasAM hi nyAyye vartmani vRttyarthaM kavayo'bhineya-prabandhAn grananti / -Ibid, p. 106 36. Amukha to Mallikamakaranda (p. 1) 37. Mallikamakaranda (p. 27) 38. Ibid, (p. 38) 39. Mallikamakaranda, (p. 52). A passage of similar import occurs in Nalavilasa (p. 82). 40. Vide the section on Characters supra. 41. rasaprANo nATyavidhiH / varNArthabandhavaidagdhIvAsitAntaHkaraNA ye punarabhineyeSvapi prabandheSu rasamapajahati vidvAMsa eva te na kavayaH / na tathA vRttavaicitrI zlAghyA nATye yathA rasaH //

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452 STUDIES IN JAIN LITERATURE vipAkakamramapyAmramudvejayati nIrasam // -VI. 23 Ramacandra's statement 'rasapraNo nATyavidhiH' reminds one of Bharata's dictum : nahi rasAd Rte kazcidarthaH pravartate42. na cAtirasato vastu dUraM vicchinnatAM nayet / rasaM vA na tirodadhyAd vastvalaGkAralakSaNaiH / / eko raso'GgIkartavyo vIraH zRGgAra eva vA / aGgamanye rasAH sarve kuryAnnirvahaNe'dbhutam // --Dasarupaka III. 33-34 000

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PRAKRIT VERSES IN SANSKRIT WORKS ON POETICS 1. The Need For A Critical Edition : When scholars of eminence and learned Pandits have edited the various texts on Sanskrit poetics, one should not have felt the need for bringing out a critical edition of "Prakrit Verses In Sanskrit Works On Poetics." With due deference to these learned scholars and Pandits, I cannot help making a remark that Prakrit verses have received far less attention than they deserve. At many places the text is corrupt, sometimes very corrupt. In some places the Sanskrit Chaya does not agree with the corresponding Prakrit passages, often partly and sometimes wholly. There is a large number of Prakrit verses drawn as illustrations from works which are lost and are yet to be discovered. In the footnotes to their texts the editors simply remark 'Durbodha or avisada or aspasta iyam gatha' and express their helplessness in rendering the Prakrit gatha intelligible. They only remain content by adding a questionmark when they are confronted with a corrupt reading. Owing to want of sufficient knowledge of Prakrit some perpetrate ludicrous blunders while translating Prakrit verses into English or modern Indian languages, and do injustice to Prakrit poets. It is the duty of modern research scholars to present the text of the Prakrit verses as correctly as possible by undertaking a comparative study. Vigorous efforts must be made to trace their primary sources and where that is not possible--on account of the irretrievable loss of Prakrit poetic works--to hunt secondary sources such as works on Prakrit Grammar, Prosody Prakrit Anthologies and other works on Poetics to find if any of the corrupt verses have been cited in any of these works. References to the primary or secondary sources often help a curious reader to refer to the context in which the verses occur and thus facilitate understanding. Many scholars believed that the number of these Prakrit verses could not be large since a good many of them are repeated from early standard works like Dhvanyaloka and Kavyaprakasa. When I first undertook the work of restoring the text of the illustrative Prakrit verses I was myself not

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454 STUDIES IN JAIN LITERATURE aware of the stupendous nature of my task. No doubt, a large number of these verses are repeated by various writers on poetics; still the fact remains that the total number of Prakrit verses cited as illustrations far exceeds the general belief of scholars. Bhoja's Sarasvatikanthabharana alone quotes over 380 Prakrit (and Apabhramsa) passages and his Srngaraprakasa has earned the enviable distinction of quoting the largest number of Prakrit (and Apabhramsa) verses or passages which come to about 1650 in number. Of all the works on Poetics Srngaraprakasa and the Sahityamimamsa pose a true challenge to one's critical ability, scholarship, patience and industry. For a very large majority of Prakrit (and Apabhramsa) verses (and passages) are presented in a very corrupt and confounding form--some (of the verses) are indeed corrupt beyond recognition. I have endeavoured to restore the corrupt Prakrit verses in Srrgaraprakasa and Sahityamimamsa and other works on Poetics tracing them to their primary or secondary sources. As regards the restoration of such passages there is hardly any room for doubt, for the restoration is based on a substantial basis. But a considerable number of Prakrit verses are such as cannot be traced to their sources, primary or secondary. Their sources are irretrievably lost, and they are not cited in any other work on Poetics, Prosody or Grammar or Anthologies. Naturally, the restoration of such Prakrit passages may not be unanimously or universally acceptable. There is scope for other and more competent and better equipped scholars to suggest better or more meaningful emendations. In spite of my best efforts, over a hundred out of 2896 Prakrit verses (and Apabhramsa passages) covered in this volume still remain to be restored. I leave these verses to such scholars. 2. Corrupt Text : The Prakrit text of many verses, is, in many places, corrupt or shows small or big gaps and in some cases it is so hopelessly corrupt that it is unintelligible. In many cases the exact context from which they are drawn is not known and consequently they remain obscure. As the Prakrit text is carelessly transcribed in the Manuscripts, it becomes the responsibility of the editors of these works to present the Prakrit verses as correctly as possible, by tracing them to their sources or by referring to other works on Poetics (Alamkara) Grammar or Prosody or Anthologies wherever they are quoted. One must concede, however, that in spite of the best of efforts on the part of editors some verses still remain obscure, as their sources are irretrievably lost and they are not cited elsewhere. Dr. Weber has edited some gathas from the works, on Sanskrit poetics and incorporated them, by way of an Appendix, in his critical edition of

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PRAKRIT VERSES IN SANSKRIT WORKS ON POETICS 455 Gathasaptasati : Uber dap Sapta Satakam des Hala. Dr. A. M. Ghatage has corrected some Prakrit verses in the footnotes to his article on Maharastri Language and Literature. Dr. A. N. Upadhye has corrected one very obscure Apabhramsa verse from Dhanika's Avaloka on Dasarupaka which correction is incorporated by T. Venkatacharya? in his paper entitled 'An Appraisal of the Hindi Dasarupaka' in Journal, University of Gauhati XI : Arts. Dr. H. C. Bhayani has presented a philological discussion of the Prakrit illustrations cited in 'Anandavardhana's Dhvanyaloka in his two papers (in Gujarati) published in VIDYA, Journal of Gujarat University, Vol. XIII : No.2, August 1970, (pp 9-17) and Vol. XIV : No.1, January 1971, (pp. 1-10). He has contributed three papers, devoted to restoration of the Apabhramsa passages from Bhoja's Srigaraprakasa : (i) "The Apabhramsa Passages From Bhoja's srrgaraprakasa, 1- VIII, "The Journal of Oriental Institute Vol.XXV, March-June 1976, Nos. 3-4. (ii) "Apabhramsa Passages From Bhoja's srngaraprakasa" (IX-XIV), VIDYA : Languages Vol. XVIII (I) (pp. 1-12), January 1976, and (iii) "The Apabhramsa Passages From Bhoja's Srngaraprakasa XV- XXXVI, Bulletin of The Chunilal Gandhi Vidyabhavan, No. 20, August 1976 (pp 1-13). He has also contributed, a paper to (MM Dr. P. V. Kane Birth Centenary Volume) Journal of the Asiatic Society of Bombay, Volumes 52-53/1977-78 (New Series) : "Restoration of the text of some Corrupt Apabhraisa and Prakrit citations in Dhanika's Avaloka on the Dasarupaka and in Kuntaka's Vakroktijivita" (pp. 4954). I contributed a number of papers to various Journals with a view to restoring or reconstructing the Prakrit text of a very large number of verses. As the present volume covers all these papers, with corrections of misprints and emendations wherever necessary, I do not list them here. Of the Alamkara works covered in the present volume Bhoja's Srngaraprakasa (Coronation Press, Mysore edn. in four volumes) and The Sahitya Mimamsa (Trivandrum Sanskrit Series No. CXIV, 1934) present the text of Prakrit illustrative verses and passages very carelessly and in a highly corrupt form. Sometimes they present the verses as prose passages ! To give an idea of how corrupt the text is a few typical cases are discussed below : The passage "Ahape.... anurao" in srrgaraprakasa Vol. I, p. 120 has been considered very corrupt. The significant word 'anurao' and the word 'asvasaka' following this passage in the text led me to seek the source of these two verses in Setubandha and I succeeded in tracing the two verses as Setubandha IX.1 and IX 96 respectively. -

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456 STUDIES IN JAIN LITERATURE The passage "Devaaiti lunahi ..gumariphellaparanya". (?) in Locana on Dhvanyaloka 1.16 was considered extremely corrupt and absolutely unintelligible. The commentator "Balapriyakara" confesses his inability to restore the original passage. I came across a corresponding passage in Abhinavabharati (Vol. I, Ch. VI, p. 305) which reads "Vardhate' lunahi... landha." This too is absolutely corrupt. Parisistam to the Volume (p. 383) notes : Dhvanyalokalocanasya talapatradarse... "Paluddisi.. dolvapaittha (?)" This, too proved of little use in tracing the original verse. Somesvara's Samketa on Kavyaprakasa (II-14, p.24) quotes part of the relevant passage from Locana wherein the Apabhramsa verse occurs and correctly presents a half of the verse : "Lavannujjalangu ghari dhollu paittha". The whole verse, however, is for the first time cited correctly in Kalpalataviveka (p. 123, lines 26-27) as follows : Divadi tellu nahi palu drammi gamittha 1 Lavannujjalangu ghari dhollu paittha 11 (Sanskrit chaya : Dipake tailam nasti palam dramam gavesitam | Lavanyojjvalango glhe priyatamah pravistah 11 One more passage from Locana may be cited here in this connection. Locana (p. 176) reads : "Osuru sumthi...tena !!" The text of the first quarter of this Apabhramsa verse is obviously corrupt. Kalpalataviveka (p.127, line 17) records the pratika of this verse as "Usurusumbhiyae". Desisaddasamgaha (p. 55) reads : 'UsuMbhiya-UsurusuMbhiyA ya ruddhagalaruNNammi' The editor explains "usumbhiyam tatha usuru-sumbhiyam ruddhagalam rodanam". In the light of these two relevant and useful suggestions the verse could be restored as : Usurusumbhiyae muhu cumbiu jena | Amiarasaghontanu padijaniu tena || Sanskrit chaya : Ruddhagalam rudatyah mukham cumbitam yena 1 Amstarasaghotanam parijnatam tena ||

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PRAKRIT VERSES IN SANSKRIT WORKS ON POETICS 457 A part of the chaya given by the commentator, viz., "irsyasrusobhitaya is inaccurate. From the commentary of Ratnesvara on Bhoja's Sarasvatikanthabharana we reproduce for consideration two verses. The first verse is on p. 81 : uccai Agamahi AvaDDa sijjaMtaro sapariAram / pANaupasarantamattAcaMvaphalihacasaammuhaM bAlA // The Sanskrit chaya, added in the footnotes by the editors is as follows : 'ucyArAgaccherAvardhaya sidhyantaraH saparivAram / pANau prasaranta...bAlA'.... iticchAyA. Now, the Prakrit verse which is highly corrupt, especially in its first half, is unintelligible. The Sanskrit chaya, which is erroneous and incomplete, hardly helps us to understand the import of the verse. The verse, cited as an illustration, is drawn from Vakpati's Gaudavaho v.no. 690 and reads as follows : uvvahai daia-gahiAharo?-jhijjaMta-rosa-paDirAaM / pANosaraMta-mairaM va phaliha-casaaM imA bAlA // [udvahati dayitagRhItAdharoSThakSIyamANaroSapratirAgam / pAnApasaranmadiramiva sphaTikacaSakamiyaM bAlA / / ] Note : The printed text reads ima vaanam' (Sk. iyam vadanam' in place 'muham bala'. The reading adopted here is supported by Srigaraprakasa (p. 623, p. 771 & p. 1040). The second verse, which is an excellent example of the corrupt text occurs on p. 121 (lines 3-4). It reads as follows : dhavalAI galetti dhavalehi aNaJjaNasAmalehiM NisAlaAe / NaravavattakusumAI NahaalAo osarAi / As the passage is extremely corrupt the editors have not added the Sanskrit chaya. In fact, the text of this passage is a medley of fragmented lines belonging to different gathas : Some words from the two lines, presented as one verse by the editors, when properly rearranged, make the second hemistich of a gatha which we come across in Lilavai (Gatha No. 1091) : paccUsa-gaya-varummUliyAe~ uDDINa-sasi-vihaMgAe / dhavalAi~ galaMti NisA-layAe~ Nakkhatta-kusumAI / / (pratyUSagajavaronmUlitAyA uDDInazazivihaGgAyAH / dhavalAni galanti nizAlatAyA nakSatrakusumAni // ) Stud.-58

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458. STUDIES IN JAIN LITERATURE In dhavalaim galetti, galetti' is obviously a scribal error, or misreading of galamti on the part of the editor. Dr. Upadhye, the editor of Lilavai, says in a footnote to this gatha : "This gatha is not given by B, but is found only in PJ" (p. 164. fn. 2). In his Notes on this gatha (p. 372) Dr. Upadhye observes : "This is a beautiful gatha describing the morning scene and quite independent by itself". We find that Hemacandra has quoted this to illustrate that 'e' (and 'o') could be short at the end of a pada (Egreat p. la. Bombay 1912) : edotau padAnte prAkRte husvau vA / padAnte vartamAnAvekoraukarau prAkRta-bhASAyAM isvau vA bhavataH / yathApaccUsagayavarummUliAe uDDINasasivihaMgAe / dhavalAI gati nisAlayAe nakkhattakusumAi // ua o (-po) marAyamaragayasaMvaliA NahayalAu oyarai / NahasirikaMThabhaTTha vva kaMThiA kIrarIcholA (= 0lI) // i~ hiM ityetayohasvatvaM zabdAnuzAsane nirNItamiti nehocyate / The second quotation 'Ua' etc. comes from the GS (I.75) but the first is not traced there. This gatha, with its second line read somewhat differently, is found included in the Surasumdaricariya III. 245, where it stands thus : paccUsagayavarummUliyAe uDDINasasivihaMgAe / rayaNilayAe galaMti va kusumAi tArayaniheNa // " Now a close look at the second gatha reveals that it contains the two words "nahayalau oyarai" which correspond to "nahaalao osarai" of the medley text of Ratnesvara's commentary on SK. Still the two padas "dhavalehim ananjana" from Ratnesvara's text remain untraced. But the whole riddle of this medley passage is solved when we turn to Svayambucchandah. Its gathadividhi reads : hiAro biMdujuo paAvasANammi lahU / chaillANa jahA(hikAro binduyutaH padAvasAne laghuH / chailasya (? vidagdhasya) yathA -) dhavalehi aNaMjaNasAmalehi peraMtataNuataNuehiM / NiddAetti uveMdo gaaNiddAehiM acchIhi // 1.2 // (dhavalAbhyAmanaJjanazyAmalAbhyAM paryantatanukatanukaiH / nidrAyate upendraH gatanidrAbhyAmakSibhyAm // 1.2 // eAro suddho pAvasANammi lahU / vammauttasya (0ssa) jahA(ekAra: zuddhaH padAvasAne laghuH / varmaputrasya yathA-) paccUsagaavaramaliAe uddddiinnssivihNgaae| dhavalAI gati NisAlaAe~ NakkhattakusumAI // 1.3 / / (pratyUSagajavaramRditAyA:uDDInazazivihaMgAyAH / dhavalAni galanti nizAlatAyAH nakSatrakusumAni // 1.3 // )

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PRAKRIT VERSES IN SANSKRIT WORKS ON POETICS 459 oAro suddho paAvasANammi lahU a / pAlittassa jahA(okAraH zuddhaH padAvasAne laghuzca / pAdaliptasya yathA-) , ua pommarAamaragaasaMvaliA NahaalAo oarai / NahasirikaMThabhaTTha vva kaMThiA kIrariMcholI // 1.4 // (pazya padmarAgamarakatasaMvalitA nabhastalAdavatarati / nabhaH zrIkaNThabhraSTeva kaNThikA zukapaGktiH / ) The context in SK (I. Karika. 123) and Ratnesvara's comments thereon (pp. 120-121) leave no doubt that Ratnesvara had in mind these three illustrations. Bhoja's Srngaraprakasa cites the highest number of Prakrit passages. The printed text (Mysore edn.) presents a large number of them in a very corrupt form. A few typical examples may be taken up for consideration : caM chaM ravAhiparoMkha0 kahavatuggaghaDiAhiAgamasuMdhassaM / cAliaNi ka0 pa0 aNuhUAhivimahaM suacciagaruaM // Now, this passage, as presented in the printed text hardly makes any sense. If we keep in mind the context of sastrabhimana and read the text again and again we get some hints. It speaks of 'parokkha' agama', 'anuhuau', 'sua' and we are made to think that the terms are most probaby drawn from Nyayasastra, and we are led to emend the corrupt term 'camchamkhahi' to fpaccakkhahi' and this word serves as a key to trace the corrupt verse to Setubandha IV. 27. paccakkhA hi parokkhaM kaha vi tulaggaghaDiAhi hi AgamasuddhaM / saMcAliaNikaMpaM aNuhUA vi mahaM suaM cia garuaM // [pratyakSAtparokSaM kathamapi tulAgra (? kAkatAlIya) ghaTitAdAgamazuddham / saMcAlitaniSkampamanubhUtAdapi mama zrutameva gurukam (=guru) // (ii) vairi jaMto puvaMkaehi ka0mehi kehivarAo suma0chaMto du0saha jaNANarAe jaNe parai / araMbho ja0sa imoNIsAsAAsasosiasarIro pariNAhekahaM hohiiNa ANimo da0Dhape0ma0sa / / -Vol. IV p. 901. These four lines, as printd in the text, lead us to believe that they form the four quarters of one single stanza. On a closer look, however, they are seen to be in the Arya metre (with 12, 18, 12 and 15 matras in the four quarters respectively) and actually form two independent stanzas. perijjaMto puvvakaehi kammehi kehi varAo / suhamicchaMto dullahajaNANurAe jaNo paDai / /

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460 STUDIES IN JAIN LITERATURE [preryamANaH pUrvakRtaiH karmabhiH kairapi varAkaH / sukhamicchan durlabhajanAnurAge janaH patati // ] This stanza is found in the Lilavai (V. No. 569). As the next verse follows this without any introductory words such as "yatha va", which Bhoja frequently adds while giving an additional example, one would expect to find this next verse also in the Lilavas in the same context. The printed edition of the Lilavai, however, does not contain it. This verse when corrected would read as : AraMbho jassa imo NIsAsAAsasosiasarIro / pariNAho (? pariNAmo) kahaM hohii Na ANimo daDapemmassa // [Arambho yasyAyaM niHzvAsAyAsazoSitazarIraH / pariNAmaH kathaM bhaviSyati na jAnImo dagdhapremNaH // ] Now this verse is found quoted in the Vajjalagga with a few variant readings : AraMbho jassa imo AsanAsAsasosiyasarIro / pariNAmo kaha hosai na yANimo tassa pemmassa // The words in bold type present variant readings; hosai and hohihi are just two different forms identical in meaning; na animo and na yanimo are (almost) identical. The reading asannasasa however, is not happy. Ratnadeva, the commentator, renders it as asannasvasa and Prof. M. V. Patwardhan says in his Notes : "31111 = 3THAGUT, BURHAN 3THE FUTUT 3THAFE (= SHARE = 5aard:-..... " It would be better to read asannusasa." The reading nisasasa of the SP is decidedly better and eminently suits the context. From the point of view of grammatical construction the reading tassa found in the Vajjalagga seems to be more appropriate. The reading daddhapemmassa conveys in a telling manner the virahavisurana (distress or sorrow caused by separation) which is being illustrated. (iii) ja fa ga3tup. 953. The printed text gives only this much portion of the verse. Nor has the verse been cited in full earlier or later in the text. One is left only with a speculation as to what verse Bhoja must have had in mind. Although the context immediately preceding the printed portion of the verse is not given, we gather from the introductory portion of Chapter XXIX that the intended verse is cited to illustrate priyasandesah. As dutasampresanam, etc., are each illustrated with two verses, it is clear that the present incomplete verse and the immediately

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PRAKRIT VERSES IN SANSKRIT WORKS ON POETICS 461 succeeding one are cited to illustrate 'priyasandesah. A gatha with these very opening words is included by Weber in his edition of Saptasatakam. It suits admirably the context of priyasandesah. The nayaka conveys through this duti a message to the nayika. The message contains flattering or coaxing words praising the beautiful moonlike face, lotus-stalk-like arms and blue lotus-like eyes of the nayika. The gatha in full is as follows : caMdo vi caMdavaaNe muNAlabAhAlae muNAlAI / iMdIvarAi iMdIvaracchi tAveMti tuha virahe / / [candro'pi candravadane mRNAlabAhA (=bAhu-)late mRNAlAni / indIvarANIndIvarAkSi tApayanti tava virahe // ] The Sahityamimamsa has been edited very carelessly and the printed text bristles with innumerable errors and corrupt readings. We take up here a few out of 120 passages for discussion : (i) NibhuaM khuNaM sasijairuvai...rassutaM piNi / sadaM va kaAparAhAhiaa ccia piNhavijjati // The text is undoubtedly corrupt. When restored it reads as follows : (ii) NihuaM khu NIsasijjai, ruvvai rAIsu taM pi NIsadaM / paimmi kaAvarAhe, hia-icchiANi NhuvijaMti // [nibhRtaM khalu niHzvasyate rudyate rAtriSu tadapi ni:zabdam / patyau kRtAparAdhe hRdayepsitAni nUyante // ] (iii) alaaM jaNAMti dakahakattharassarAhacasarAsarIrajIvi / aMjaNaa AthaNaappaM samaaM aha karalAviddhA (?) // Note: The text of this verse is highly corrupt. It is, however, cited in Bhoja's Sarasvatikanthabharana (V. v. no. 13, p. 576) and Narendraprabha's Alamkaramahodadhi as an example of rasabhasa. Metrically these two quotations are imperfect. There the text makes a clear mention of 'Dasakandhara'. 'Raghava' and 'Janakasuta' and these names lead us to trace the verse to Setubandha. Although its Nirnayasagar edition does not include it, the Calcutta edition (Ravanavahamahakavyam) presents it at XV. 66. K. K. Handiqui (Introduction p. 113, Pravarasena's Setubandha, Translation, Prakrit Text Society, Ahmedabad-9, 1976) rightly observes : "But not a few commentators from different parts of India seem to have rejected it because of the unpleasant idea involving Sita in the description." pulaaMjaNeti dasakaMdharassa rAhava-sarA sarIra-aDaMtA / jaNaa-taNaA-paohara-phaMsa-mahagghavia-kara-juala-NivvUDhA / /

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462 STUDIES IN JAIN LITERATURE [pulakaM janayanti dazakandharasya rAghavazarAH zarIrapatantaH / janakatanayApayodharasparzamaharSitakarayugalanirmUDhAH // ] (iii) 'saMkhakulami' tti sa (?) - p. 121. Only the pratika 'Samkhakula' is given here, on its basis and taking into consideration the context of "samudre pankajam varnyam'- although lotuses do not exist in an ocean they should be so described--we identify the intended full verse to be : saMkha-ula-dhavala-kamale, phuDa-maragaa-haria-pattabhaMga-NihAe / vidduma-milia-kisalae uhaataDAbaddhasaMkamammi Nalavahe // [zaDkhakuladhavalakamale sphuTamarakataharitapatrabhaGganidhAte / vidrumamilitakisalaye ubhayataTAbaddhasaMkrame nalapathe // ] --Setu VIII. 100 (iv) "aasnnnnkudduggjnnnn-vaahinniigolo|" -p.150 This passage, although printed as prose, is really not inprose. Through scribal error four independent gathas illustrating the festival of navapatrika are presented as prose. The whole passage is adopted by the author of Sahityamimamsa from Srigaraprakasa (Ch. XXXIV, pp. 1192-1193, Mysore edition) : (i) AsaNNa-kuDuMge juNNadeule bahu-juANa-saMkiNNe / thero pai tti mA ruasu putti diNNAsi suggAme / / [AsannalatAgRhe jIrNadevakule bahuyuvasaMkIrNe / sthaviraH patiriti mA rudihi putri dattAsi sugrAme // ] -Cf. SP Vol. IV, p. 1192. (ii) tA kuNaha kAlaharaNaM tuvaraMtammi vi vare vivAhassa / jA paMDuNahavaAI, hoti kumArIe~ aMgAI // [tAvat kuruta kAlaharaNaM tvaramANe'pi vare vivAhasya / yAvat pANDunakhapadAni bhavanti kumAryA aGgAni // ] -Cf. SP Vol. IV, p. 1193, SK V. v. no. 311. (iii) kaiA jAA kaiA Nu sikkhiA mAiA haakumArI / taM taM jANai savvaM jaM jaM mahilAo jANAMti // [kadA jAtA kadA nu zikSitA mAtaH, hatakumArI / tattajjAnAti sarvaM yadyad mahilA jAnanti // ] -Cf. SP Vol. IV p. 1193; GS (W) 825. (iv) tattha vi hoMti sahIo puttali mA ruvasu jattha diNNA si / tattha vi NiuMja-lIlA tattha vi girivAhiNI golA / [tatrApi bhavanti sakhyaH putrike mA rudihi yatra dattAsi / tatrApi nikuJjalIlA tatrApi girivAhinI godA |] -Cf. Saptasatisara v. no. 78, GS (W) 885.

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PRAKRIT VERSES IN SANSKRIT WORKS ON POETICS 463 These few examples will give a knowledgeable reader some idea of the stupendous task that restoring corrupt passages involves. 3. Praise Of Prakrit Poetry In Vajjalaggam : How do those who do not know how to recite and hear (appreciate) Prakrit poetry, which is (like) nectar (itself)--not feel ashamed while pretending to carry on gossip about the nature of love ? The utterances (of fair women), full of half-pronounced (indistinctly uttered) letters, (their) charming and coquettish smiles and (oblique) glances shot through half-closed and half-opened eyes--these to be sure can hardly be understood without an acquaintance with the gathas4. In the absence of the gathas adorned with figures of speech, characterised by literary excellences (or adherence to the rule of grammar-laksana), and rendered enchanting by diverse emotions and also in the absence of loving sweethearts, adorned with ornaments, characterised by auspicious physical qualities (laksana) and fascinating with the diverse display of emotions, the mind is very much ill at ease (or is deeply distressed)5. This is only too obvious that the hidden meaning of the gathas and the heart of women cannot be followed by men who are devoid of literary appreciation (devoid of emotional excitement), just as riches cannot be obtained in the absence of virtue (practised in a previous life). The gatha clad in metre, possessing an attractive form, adorned with figures of speech and full of charming utterances, yields pleasure (only) when it is recited, just as a beautiful woman, self-willed, possessing an attractive form, adorned with ornaments and full of pleasing utterances, yields much delight (only) when she is (properly) approached (for amorous dalliance)?. Whose hearts are not fascinated (ravished) by the emotional appeal of the gathas, by the coquettish gestures of women, by the utterances of poets and by the lisping words (indistinct babble) of children ? Failure to appreciate the charm of the gathas, of songs (vocal music), of the notes of the lutes and of grown-up ladies-well, that itself is a great punishment We never become satiated with the delight which springs from Prakrit poetry, from the utterances of clever people and from the drinking of cool and fragrant water10. Prakrit poetry which is marked by the use of Desya (provincial, regional)

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464 STUDIES IN JAIN LITERATURE words, which has sweet (pleasing) sounds, which is cast in metrical form, which is graceful and whose sense is clear (sphuta) obvious (vikata) and transparent (prakata) deserves to be studied (read) (by all)11. While Prakrit poetry, charming, full of (lifting word music) adored by young ladies and enriched by the sentiment of love is at hand, who will care to go'in for Sanskrit (poetry) 12 ? 4. Various Poet's Praise Of Prakrit Poetry : (a) Vakpati "The charm of Sanskrit speech blooms in its Prakritic shadow, while the (innate) glory of the Prakrit is heightened when touched up by its Sanskritization13. It is only in Prakrit that we can have in an abundant measure, ever fresh themes presented in a rich variety of styles, refreshingly cool and caressingly sweet. This will continue to be till the end of the world 14. All languages merge in it (Prakrit) and emerge (nemti) from it. Waters pour into the sea and flow out of it!S. A peculiar delight which dilates and closes the eyes, thrills the heart, rushing inwards and outwards 16."--Gaudavaho : v 65, v 92, v 93, 194. (As translated by N. G. Suru.) (b) Rajasekhara "Sanskrit compositions are harsh, while a composition in Prakrit sounds so soft. The difference between the two is as between the masculine and the feminine."17 In other words, You may respect Sanskrit but you will fall in love with Prakrit. -Karpuramanjari 1.7 Sanskrit speech is praiseworthy whereas Prakrit speech is naturally sweet... 18 ---Balaramayana 1.11 It (i.e. Prakrit) is the source of Sanskrit; it dances on the tongues of ladies of lovely eyes; when one hears it the words of Sanskrit language grate upon one's ears; its prose is easy, does not contain hard letters and has very few compounds; and it is the abode of the god of love...919 -Balaramayana I. 11" (c) A commentator of Prakrit-Prakasa

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PRAKRIT VERSES IN SANSKRIT WORKS ON POETICS 465 0, how marvellous ! The Prakrit, which is lovely like the moonlike face of the beloved, is fascinating. It sparkles with suktis (good sayings) imbued with nectar-like rasaso. (d) Ajnatakavih Away with Sanskrit poetry and the poets who composed it. For Sanskrit, when read, sounds like 'tad-tad-tatta' like a house of bamboos on fire21. The Pandita, who replies in Sanskrit when Prakrit poetry is recited, pelts stones at the bed of flowers and destroys it22. The topic which follows about "Praise of Prakrit Poets" is in a way related to the topic under discussion as it contains indirect praise of Prakrit poetry. 5. Poetry In Maharastri Prakrit : Prakrit literature is vast and varied. It is composed in different languages like Ardhamagadhi, Maharastri, Jain Maharastri. Sauraseni, Jain Sauraseni, Paisaci and Apabhramsa. I confine myself to poetry in Maharastri Prakrit for writers on Sanskrit poetics mostly draw upon poetic works in Maharastri for their illustrations. The principal works in this Prakrit are : (a) Hala's Sattasai or Saptasatakam or Gahakoso or better known as Gathasaptasati (GS)23 (C. first century A. D., but according to some scholars second or third century A. D.) is the earliest known anthology of Prakrit, to be precise, of Maharastri verses comprising some seven hundred gathas. It is the most famous and best known of Maharastri works. Its value as an anthology is high and it also affords evidence to show that Maharastri literature was once very extensive and widespread24. Its popularity is attested by the large number of commentaries on it and scores of quotations from it in works on Poetics and the use made of it by the Prakrit grammarians. Eminent poets like Bana, Uddyotanasuri, Abhinanda and Soddhala25 bestow high praise on it. And if imitation is an index of popularity we have its imitation in Sanskrit in Govardhana's Aryasaptasati which is certainly modelled on Hala's Gathasaptasati. The work is divided, as is clear from the title, into seven satakas, centuries, collections of hundred gathas each, which however differ very much in various MSS. This anthology is mostly erotic. Each gatha presents a miniature picture complete in itself. These gathas mainly depict village life and the peasantry. The family life of the lower strata of the society is portrayed in its various contexts, but the erotic aspect dominates. These gathas are not Stud.-59

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466 STUDIES IN JAIN LITERATURE specimens of ancient songs of Indians dealing with the joys and sorrows of their lives but only artistic poems closely modelled on them. Next to the gathas portraying love in its various aspects we have some lovely pictures of nature. We also get a few glimpses of the town and court life as some of the gathas are composed by kings and their court poets. The anthology is rich in maxims and popular sayings and sheds light on the customs and conventions prevalent in those times. There are allusions to divine beings like Siva, Parvati, Gauri, Ganapati, Visnu, Laksmi, etc. and to mythological events from the epics. The references to Vindhya, Sahya and Goda indicate that the locality of the composition of the majority of these gathas, is the Deccan, particularly Maharastra 26. (b) Ravanavijaya (now lost) : Although this kavya is ranked by Bhoja, and after him, by Hemacandra, as high as Harivijaya and Setubandha, nothing is known about its author or its contents beyond a solitary citation27 by Bhoja in his Srigaraprakasa and after him by Hemacandra in his Kavyanusasana. (c) Sarvasena's Harivijaya 28 (now lost) : Sarvasena composed his Harivijaya in the first half of the fourth century A. D.,29 about a hundred years earlier than the Setubandha. Eminent Sanskrit Alamkarikas, viz. Anandavardhana and Kuntaka 30 speak appreciatively of his Harivijaya, and Bhoja draws verses copiously from it to illustrate various points of poetics in the course of his writing Sarasvatikanthabharana and Srngaraprakasa. Bhoja in his Srrgaraprakasa and following him, Hemacandra in his Kavyanusasana give us the following information about this work : It was fasvasakabandha.' Its prevailing metre was Skandhaka, (and 'Galitakas' were employed at the end of the Asvasakas.) It was marked by the word 'utsaha' in the last verse of each Asvasaka. It contained descriptions of city, mountain, seasons, the sunset, the hero, his vehicle, Garutmat (= Garuda), his duta Satyakah (? Satyakih, his (Hari's) march, (against Indra) for securing the Parijata tree, his rise in the form of the conquest of the enemy who himself surrenders, drink party and the removal of Satyabhama's jealous anger by effort (by Hari by winning from Indra the Parijata tree and planting it in front of Satyabhama's palace. By a study of the verses quoted by Anandavardhana and Bhoja from this epic we gather the following information regarding its story : Hari is the hero of this epic. Rukmini is the senior (iyestha) and exalted (udatta) heroine (nayika). Satyabhama is the junior (kanistha) and haughty (uddhata) heroine. Hari offers a garland of fragrant flowers of the celestial Parijata tree to Rukmini. This arouses the jealousy of Satyabhama. Her face,

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PRAKRIT VERSES IN SANSKRIT WORKS ON POETICS 467 marked with anger, looked beautiful like the moon, marked with its dark spot, and delighted Hari. In order to soften her anger Hari decides to fall prostrate at her feet. Clasping his own crown with both the hands he throws himself down prostrate. Tears of joy fall from her eyes, in spite of her best efforts to check them, on his back. He then promises her to get her the Parijata tree itself from Indra's garden. He mounts Garuda and sets out on his march against Indra. Now Satyabhama, although perfectly confident of Hari's valour, feels greatly worried. This speaks of her deep and abiding love for him. Hari, in accordance with the rules of state-craft, sends first Satyaka (= Satyaki) his own charioteer as an envoy to Indra. He advises Indra to accept Hari's hand of friendship and honour the Yadavas by gifting away the celestial Parijata tree. Indra, however, does not pay any heed to his advice. Then a fight takes place between the two. Hari forces ultimately Indra to surrender and wins the cherished Parijata tree from him. Hari, the victorious, returns home with the Parijata tree. Satyabhama's heart is captivated by the sweet fragrance of the Parijata flowers, yet her gaze first rests on Hari and only later on the Parijata tree. Hari plants the tree in the garden in front of Satyabhama's residence and thus succeeds in removing her sulky wrath. She infers from this gift that Hari's love for her is a thousand times more intense than for Rukmani whom he had given only a garland. Rukmini has every reason to be angry with Hari for his partiality towards her co-wife but when she meets him only joy and not anger pervades her heart. It is this episode of Hari's conquest of (Indra and his) Parijata tree which accounts for the title Harivijaya of the present epic. The statement of the Dhvanikara that if in a story adopted from a well-known source, the poet is faced with situations conflicting with the intended aesthetic emotion (rasa), he should leave out those situations, inventing in their place even imaginary ones, in conformity with the intended rasa... ... ... as has been done by Sarvasena in Harivijaya, and Abhinavagupta's comment on it in his Locana indicate that the main story of the epic was something different and the conquest of the Parijata tree from Indra's custody formed only one-although important-episode in it. The available citations from HV do not throw any light on the principal story but from the references of Bhoja and Hemacandra we may conjecture that it was mainly descriptive and not narrative. As regards its extent, we might further hazard a guess that it contained as many Asvasakas as are found in Setubandha which is modelled on it. From the citations we find that Harivijaya was composed in a graceful

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468 STUDIES IN JAIN LITERATURE style. Its language and style are, as compared to Setubandha, more easy and less involved. Like Pravarasena Sarvasena too shows the use of long compounds and figures of speech. Kuntaka's praise for graceful style and Dhvanikara's compliment for imaginative handling of the Parijata episode and Bhoja's appreciation of his work (by profusely quoting from it) Sarvasena very well deserves. (d) Pravarasena's Setubandha31 also known as Ravanavaho, (C. first half of the 5th century A. D.) : This work is completely available with Sanskrit commentaries Setutattvacandrika (Anonymous, ed. Basak, Calcutta, 1959) and Ramasetupradipa (of Ramadasa, NS edn, Bombay 1935). There are eight more commentaries which are still unpublished. Some of them are incomplete and fragmentary. The Setubandha deals with a portion of the story of Rama from the return of Hanumat from Lanka with the whereabouts of Sita to the death of Ravana, with special emphasis on the construction of the great causeway between the mainland and the island. It follows the story of Rama as related in the Ramayana with only a few minor variations. The designations of the different cantos of the Setubandha listed below from the commentary of Ramadasa give an adequate idea of its contents. 1. Rama-prasthanam (Rama's March). 2. Samudrotkarsah (The Glory of the Ocean). 3. Sugriva-praudhih (Sugriva's war-like speech and boastful claims of his own powers). 4. Rama-sadgunyam (Rama's application of the six political expedients--Consecrating Vibhisana as the future ruler of Lanka). 5. Samudraquathah (The boiling-rage of the Ocean). 6. Parvatoddharah (The uprooting of mountains). 7. Setorudyogah (Active preparations for the construction of causeway). 8. Setunispattih (The successful building of the causeway). 9. Suvelotkarsah (The glory of the Suvela mountain). 10. Kamini-kelih (The gaieties of love of the young women of Lanka). 11. Mayottamangam (The exhibition of the severed head of Rama by magic and the lamentation of Sita and Trijata's consolatory speech). 12. Sainyasanghattah (The battle of the two armies of the Vanaras and the Raksasas. 13. Dvandvasangramah (Single Combats between leaders of the Vanaras and the Raksasas). 14. Raksoviksobhah (The convulsions of the Raksasas) and 15. Sitasampraptih (Reunion with Sita after the slaying of Ravana). The Setubandha is the only extant mahakavya written in Prakrit. Its affinity to the Sanskrit mahakavya is one of the main causes of its popularity through the centuries32.

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PRAKRIT VERSES IN SANSKRIT WORKS ON POETICS 469 (e. and f.) Vakpatiraja's Mahumahaviaa (Sk : Madhumathavijaya) and Gaudavaho (Sk. Gaudavadha)--these two poems were composed in the first half of the eighth century A. D. Of these two kavyas, Mahumahaviaa is now lost. Vakpati himself refers to this work in his 'Gaudavaho. "How can my robust (flowery) language (employed) in the Madhumathavijaya shrink to the size of a (compact) bud ? (But then, the later blossoming of the wild creepers is much thinner and softer than its first."33 Abhinavagupta while commenting on Dhvanyaloka34 cites the following gatha as forming a part of Pancajanya's speech : 0, (Madhu-matha (-mathana, Visnu), you once as a boar carried with ease the entire terrestrial on the tip of your tusk; then how is it that today you find even this (very light) ornament of lotusfibre too heavy to carry35 ?" The following gatha in Maharastri, cited by Anandavardhana in his Dhvanyaloka, is most probably drawn from this mahakavya (now lost). For in its content and expression it has very close resemblance with Gaudavaho v. no. 66. The two gathas in their translation are as follows: One, "The literary art of great poets is all conquering. For it causes various ideas to enter the heart (of the reader) and appear (there) in a form which is different, as it were, from their real form." (Translation by Masson and Patwardhan) 36. and two, "What is real appears as unreal and what is unreal appears as if it were real, and (sometimes) a thing appears exactly as it is--these are the ways (prakrtayah or padavyah) of good poets." (Translation by Masson and Patwardhan) 37 Vakpati's second work is available in its entirety38. It is a unique historical poem in Maharastri Prakrit. It is a stupendous work comprising over 1200 gathas. It is no doubt a mahakavya having a wide variety of topics but unlike its prototype Ravanavaho (better known as Setubandha) it has no divisions called Asvasakas. It is just one long, continuous composition with kulakas appearing here and there. The purpose of this poem is to celebrate the glory of his patron, King Yasovarman, with particular reference to his slaying of the Gauda King. This important event, however, has been only cursorily mentioned in the whole poem. The principal topics dealt with in this long poem may briefly be touched upon : The opening sixty one gathas present by way of margalacarana (invocations) word-pictures of the various devatas (divinities) like Brahma,

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470 STUDIES IN JAIN LITERATURE Visnu, his incarnations, Siva, Gauri, Kumara. Parvati, Sarasvati, the Moon, the Sun, the Sea, etc. Verses 62-98 treat of Kaviprasamsa (Praise of Poets). The poem begins with verse 99 which glorifies his patron, King Yasovarman, and the verses 100-160 sing of his glory and greatness and how even Indra, who clipped the wings of flying mountains, honours him. The poet then gives a picturesque description of Pralaya. Then follows a description of the lamentable condition of the wives of the King's enemies. Verse 192 informs us of the King's expedition for world-conquest; his visit to the temple of the Vindhyavasini Goddess, his reflections at the sight of a dead body, the summer, the rainy season, his slaying of a Magadha King, his victory over the King of the Vangas and a Southern King, the defeat of the Parasikas, the march across the Marudesa (Marwar), the visit to the famous lake in Kuruksetra, the visit to the Mandara mountain and tracts in the North, the desolation of the enemies' cities, the King's amorous dalliance with his beloved, his playful acts of gallantry, etc., are then described (w 193796). W 797-803 give us some details of the poet's personal life. His listeners request him to describe to them how the Magadha King was slain by King Yasovarman. He agrees, but first describes the ways of the world in 150 gathas. Then he describes his patron King's virtues, the evening, the moonrise, the Night Life of lovers, the advent of dawn, the sunrise, and then announces his intention to describe the life of the great king and with this the poem ends. Vakpatiraja claims that his graceful literary composition is : picturesque, steeped in sentiments, easy to recite, full of substance, of permanent value and brilliant all over39. His claim is more or less justifiable. He is a masterpoet bringing to light all the poetry that is in ordinary things. He is a true poet of nature and his depiction of the rural scene is very charming. He presents mythical events with imagination. His style is highly cultivated and pregnant with meaning. He chiefly delights in two figures of speech, the Upama and the Utpreksa. If Kalidasa is a master of Upama Vakpati is a master of Utpreksa. His partiality for long compounds detracts, however, from the merits of his otherwise excellent poem. However, he remained unnoticed, for centuries, just because he wrote in Prakrit. (g) Lilavai40 (Sk. Litavati) : is a Katha (a romance) in Maharastri Prakrit verse. Its composition is assigned to c A. D. 800. The poet does not disclose his name although he gives his father's name as Bhusanabhatta and his grandfather's name as Bahuladitya (gathas 19, 21 and 23). According to the commentator of this Katha, however, the word 'Kouhalena (Sk. Kautuhalena) in gatha 23 refers to the poet's name (Kautuhala = Kutuhala).

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PRAKRIT VERSES IN SANSKRIT WORKS ON POETICS 471 This Katha consists of 1333 gathas. At the beginning of the work the poet invokes Puranic deities like Hari, Madhumathana, Gauri, Candi and others. The main story deals with the love of Hala, the very famous king of Pratisthana in Maharastra, wellknown as a Prakrit poet and renowned for his preference for Prakrit, and Lilavati, a princess of Simhaladvipa who is prophesied to make her husband a monarch of the whole world. The main story contains sub-stories of Kuvalayavali (daughter of King Vipulasaya and the celestial nymph Rambha) and Citrangada, a Gandharva prince, and of Mahanumati (daughter of Alakapuri and his wife Vasantasri, born of the Vidyadhara King Hamsa and his wife Padma) and Madhavanila, (the son of the Siddha King Malayanila and his queen Kamala). It is a secular and romantic poem mostly in gathas interspersed with prose lines and verses in other metres; its structure is complex like that of Bana's Kadambari. The poet himself is the chief narrator, and addresses the entire poem, leaving out, Invocation and Introductory portion, to his wife. In the body of the plot the chief characters or their companions are made to unfold various details about themselves, thus supplying the reader, stage after stage, with various threads of the story which get duly joined in the concluding portion of the poem. The ruling sentiment is that of srngara (eroticism). The characters drawn from the semi-divine beings like the Vidyadharas, the Siddhas, the Yaksas add the element of the supernatural add the feeling of awe to the atmosphere of the poem. Destiny and Chance play a major role in the whole story. The poem shows close affinity with Brhatkatha in regard to legendary background, characters, motifs, episodes and stray events. The religious background, which is positively Saivite, is also not different from that of Brhatkatha. Further, the poem shows influence of literary works like the Abhijnanasakuntalam the Vasavadatta, and the Ratnavali in depicting characters and situations. The literary merits of this poem are certainly high although only a few gathas from it are cited by Sanskrit writers on poetics. (h) Visamabanalita : Anandavardhana (c. 850 A. D.), the famous author of Dhvanyaloka, a poet of considerable merit, wrote both in Sanskrit and Prakrit. The only Prakrit work of his that we know is the Visamabanalila (now lost). We have only a few gathas quoted from this work by Anandavardhana himself in his Dhvanyaloka and by Abhinavagupta in his commentary on it called Locana. In one gatha41 the poet says : "Merits become merits when they are appreciated by the cultured critics. Lotuses become Lotuses when they are favoured by the rays of the sun." From a reference in Dhvanyaloka and Locana on it we come to know

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472 STUDIES IN JAIN LITERATURE that the work contains speeches of the god of love and his companions like Spring, Youth, Wind from the Malaya mountain, and others 42. In another gatha Anandavardhana says : "There is no limit to them and they never look like repetitions; (They stand for) the sportive graces of the beloveds and the meanings of the words of good poets. "43 "The heart of the Asuras was solely intent on seizing the Kaustubha jewel which was churned out of the ocean along with the goddess Laksmi. But the god of love set it on the bimba-like red lower lips of their beloveds."44 From the contents of these gathas and from the title itself : "The Sports of Cupid" it is reasonable to infer that the work must have dealt with the subject of love. 6. Praise of Prakrit Poets : In his introductory verses to Harsacarita the poet, Banabhatta praises Satavahana, also known as Salivahana and Hala, for his (Gatha) Kosa better known as Gathasaptasati, in these glowing terms : Satavahana made a treasury of fine sayings as of jewels, avinasinam (1. immortal; 2. indestructible) agramyam (1. not vulgar or indecent, i.e. refined; 2. not produced in villages--for jewels are found in the sea or in mines, not in villages) visuddha-jati (1. containing description of nature or objects that are not vulgar; 2. of purest character)45. Uddyotanasuri, the author of Kuvalayamala, (a unique Campu in Prakrit), extols Hala (and his (Gathakosa) in these words : "What is the use of composing poetry after the passing away of Hala whose poetry was on the tongues of even farmers (while ploughing their fields) ? (Or who made even the peasants skilful in clever conversation by mastery over beautiful expressions ?) when the intoxicating effect of the wine is no more, what is the of meat (kavva : 1 kavya 2 kravya)*6. The popularity of Gahasattasai can also be seen from the large number of commentaries it gave rise to and the vast number of quotations from it found in later works on Sanskrit poetics; in this context it is worth noting that Govardhanacarya modelled his Aryasaptasati in Sanskrit on Hala's Gahasattasai in Prakrit. Anandavardhana ranks Sarvasena with Kalidasa when he compliments him for inventing new episodes to supplement the original story and infusing it with a suitable rasa47,

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PRAKRIT VERSES IN SANSKRIT WORKS ON POETICS 473 Abhinavagupta explains in his commentary, Locana, that he invented the episodes like those of Parijataharana and introduced them in his Harivijaya although they have no basis in the Itihasa48. Kuntaka mentions Sarvasena next in order to Kalidasa as a poet of the Sukumara (graceful), popularly known as Vaidarbhi, style of composition49 Although Hemacandra assumes Sarvasena to have composed the galitakas, he, following Bhoja, mentions the view that some literary critics regarded these galitakas as interpolations made by self-styled Pandits. If that view is correct Hemacandra's criticism loses all its force. But for this single critical reference Hemacandra is, like Bhoja, all praise for Sarvasena and his Harivijaya. Like Bhoja he mentions Harivijaya with Ravanavijaya and Setubandha as the three well-known Prakrit mahakavyas, and mentions it approvingly several times with other well-known Sanskrit and Prakrit kavyas, while illustrating the salient features of a mahakavya. Bhoja shows his high esteem for Sarvasena's Harivijaya by drawing on it for exquisite examples on more than forty five occasions in the course of his exposition of poetics. Banabhatta eulogizes Pravarasena's Setubandha, like Hala Satavahana's (Gatha-) Kosa, in equally glowing terms : Pravarasena's fame bright like the white water lily, crossed over to the other shore of the ocean by Setu (1. bridge; 2. his Setukavya composed in Prakrit) like the army of monkeys, glorified with Kumuda, a Commander-inchief of monkeys, crossed over to the other shore of the ocean50. It is held by some that the Setubandha was composed by Kalidasa and that Pravarasena was only the patron of that great poet. This tradition itself linking Pravarasena's Setubandha with the name of Kalidasa speaks volumes for its high literary merit. * Dandi, the renowned author of Kavyadarsa, bestows high praise on Setubandha when he says : "The Maharastri is the best of all Prakrits. Setubandha (and other poetic compositions) composed in this Prakrit are verily an ocean of jewel-like subhasitas (fine witty sayings)."51 Two centuries before the Harivijaya of Sarvasena was appreciated by Anandavardhana, the Setubandha was extolled by eminent writers like Bana and Dandi. This fact clearly shows that Setubandha was regarded as the best among the Prakrit mahakavyas. That Setubandha of Pravarasena was well known in literary circles in Stud.-60

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474 STUDIES IN JAIN LITERATURE Cambodia in the ninth century A. D. is attested by a verse from an inscription of the Cambodian King Yasovarman who reigned in the last decade of the ninth century A. D. The verse makes a comparison between Yasovarman and Pravarasena. The former is also pravara-sena 'one that has an excellent army'; but while he built a bridge of piety-dharmasetu-consisting of his religious foundations, the other Pravarasena made only a Prakrit-Setu, which apparently means 'an ordinary bridge', but really means the Setu kavya composed in Prakrit52. Numerous Sanskrit commentaries on this Prakrit epic also attest to its immense popularity. (The eminent German scholar Jacobi refers to this work (also known as Ravanavaho) as "The most famous mahakavya of the Prakrit literature." The eminent and erudite scholar S. P. Pandit, who first drew the attention of scholars, both in India and abroad, to the Prakrit Kavya (Gaudavaho) by bringing out its edition, extols it as a 'most excellent poem.' 7. Claims of Prakrit Poetry S. P. Pandit sets forth the claims of Prakrit poetry in these words : "Prakrit poetry rightly boasts of certain charms which are peculiarly its own. It possesses a softness and sweetness which comes nearer home to us than the artificial adornments in Sanskrit. It justly lays claim to a larger amount of reality of thought and expression than ought to be assigned to later Sanskrit, as nearly the whole of the literature written in the latter was composed in a language foreign to the writers. And using, as they did, a language rich in forms and conventional phrases and figures, they naturally cared less for personal observation and personal sentiments than did their Prakrit brother poets. The latter, having to use a language less rich, less plastic, less conventional, less used by poets and writers, less learned and less esteemed, had necessarily to study their matter more carefully, in order to make up thereby the deficiencies and the disadvantages attendant upon the use of the vulgar tongues. Accordingly, we find much less conventionalism, less commonplace verse, less ready-at-hand set phrases, set ideas and set sentiments, to suit set circumstances in their poetry, than in the Sanskrit compositions of the corresponding class of writers."53 The editors of Jinesvarasuri's Gaharayanakosa extol the glory of Prakrit Subhasitas, Prakrit Language and Prakrit writers : - "In Sanskrit we find Subhasitas in abundance. There is no doubt about it. But as Sanskrit was mainly confined to the elite, we almost miss in the Sanskrit Subhasitas the wisdom, experience and sentiments of the common

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PRAKRIT VERSES IN SANSKRIT WORKS ON POETICS 475 man. Prakrit was the language of the people. So, Prakrit language and Prakrit writers had the opportunity to be in close contact with the people. The vista which was almost closed to Sanskrit language and Sanskrit writers was open to Prakrit language and Prakrit writers. This is the reason why those elements that capture the hearts of the common man predominate in Prakrit literary works. Elasticity or suggestivenss of Prakrit language is even greater than that of Sanskrit. This is to be considered a strong point in the world of poetry. Today, it is not unusual to find common men reciting verses from Biharisatasai, Vrndasatasai etc. Similarly, in old days the verses from the Gathasaptasati of that great Prakrit poet were current among the people. Even farmers, while ploughing their fields, took delight in reciting them. Their hearts were charmed by their recitation. This has been stated by Ac. Uddyotanasuri in the gathas devoted to the respectful memory of the previous poets, in the beginning of his well-known Kuvalayamalakatha (saka Samvat 701-780 A. D.) The gatha in point is as follows : bhaNiivisesavaittabollikke jo karei halie vi / kavveNa ki pautthe hAle hAlA-viyAre vva // The gist of the gatha is : When Hala whose poetry was on the tongues of even farmers is no more, what is the use of our composing poems ? When the intoxicating effect of the wine is no more, what is the use of meat ? There is a pun on the word 'kavva' in the gatha. When construed with Hala, it means 'kavya'. When construed with halavikara, it means 'kravya'54. 8. How far are the claims of Prakrit Poetry just ? The above claims forcefully put forward by S. P. Pandit, and many other scholars whose partiality for Prakriit language and literature is well known, deserve consideration. These claims are undoubtedly just in the case of Prakrit poetry as represented by Gathasaptasati, Vajjalaggam and other Prakrit Anthologies. But when we think of poetic works like Setubandha and Gaudavaho an impartial and dispassionate reader or critic will have to admit that the above claims are, if not preposterous, and wholly unjustified, are at least highly exaggerated and unwarranted. R. Pischel has rightly observed : . "Maharastri is also the language of artificial epics, of which up till now two have been published, the Ravanavaho and the Gaudavaho... They are very strongly influenced by Sanskrit patterns and are written in thoroughly high-flown and artificial language, with unending compounds, as are found in the dramas of Bhavabhuti and occasionally in Mrcchakatika as well."55

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476 STUDIES IN JAIN LITERATURE S. P. Pandit explains away Vakpati's partiality for long compounds 'as a vice of the age' and adds in his defence that we must not judge him independently of what the scholarship of his age considered as essential and beautiful56. The fact, however, remains that the major portion of the poem is difficult to comprehend even for advanced students of Prakrit without the help of Sanskrit commentary. N. G. Suru's comments regarding the pompous style (of a major portion) of Gaudavaho are apposite : "When one reads portions of the Poem given in an ornate, high-flown style, full of long compounds, one gets the impression that this is all Sanskrit Prakritised by the poet to cater to the literary tastes of his times. It is Prakrit distorted...He probably first put his ideas in a Sanskrit draft...and then dressed them in a Prakrit garb in verse57." 9. Mention of Prakrit Literature in Alamkara Works Bhamahas8 speaks of three literatures : Sanskrit, Prakrit and Apabhramsa. Dandis' speaks of four by adding Misra to Bhamaha's list. Rudrata alludes to six : 1. Prakrit, 2. Sanskrit, 3. Magadhi, 4. Paisaci, 5. Suraseni (= Sauraseni) and. Apabhramsa. Rudrata61 quotes some of his own Prakrit verses in his Kavyalamkara. It is Anandavardhana62 who, for the first time, sets the tradition of freely quoting Prakrit verses. He quotes some forty five, a few of his own composition, and others from well-known works, to illustrate various types of Dhvani, Alamkara, etc. Abhinavagupta, his celebreated commentator follows his lead in his Locana. Dhanika, the well-known commentator of Dasarupaka quotes some 26 Prakrit verses in his Avaloka. The distinction of quoting hundreds of Prakrit verses in his Sarasvatikanthabharana and Srngaraprakasa however, goes to Bhoja63. The first work contains over 350 and the second, about 1650 Prakrit verses. Among other reputed Alamkarikas, we find Kuntaka, Mahimabhatta, Mammata, Ruyyaka, and his commentator, Jayaratha, Hemacandra, Sobhakara and Visvanatha quote 15, 28, 64, 15, 38, 80, 163 and 23 Prakrit verses respectively. Some of these are reproduced from Dhvanyaloka and Locana, A large number of verses cited by Bhoja in his two treatises are repetitions. 10. No Separate Work on Prakrit Poetics : In the History of Prakrit Literature we come across works on Prakrit Grammar, Prakrit Metrics, Prakrit Lexicons, but not on Prakrit Poetics. In his Index of authors and works on Sanskrit Poetics to The History of Sanskrit Poetics, P. V. Kane refers to a solitary work Alamkaradarpana (anonymous) in Prakrit, consisting of 134 slokas (to be precise, gathas) treating of poetic figures. Catalogue of Sanskrit And Prakrit Manuscripts, Jesalmer Collection 64 gives a

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PRAKRIT VERSES IN SANSKRIT WORKS ON POETICS 477 description of a manuscript of this work and reproduces a few gathas that occur at the beginning and at the end of the work65. It is hardly a work of value or importance. Namisadhu, who wrote his commentary on Rudrata's Kavyalamkara in 1069 A. D. mentions one Hari. When commenting on Rudrata II. 19 he quotes a gatha from Hari which speaks of eight varieties of anuprasa (vrttis) : 7911 et Eriuileht: | 77977 - mahuraM parusaM / pharusaM komalamojassi niTTharaM ca laliyaM ca / gaMbhIraM sAmaNNaM ca addhabhaNiti u nAyaccA (? aTTha bhaNiIo~ nAyavvA) // They are as follows : 1. sweet (madhura), 2. harsh (parusa), 3. gentle (komala), 4. vigorous (ojasvi), 5. jarring (nisthura), 6. graceful (lalita), 7. deep (gambhira), and 8. common or miscellaneous (samanya). Now, P. V. Kane, in his Index of Authors and Works on Sanskrit Poetics (1951 edn, p. 422) makes the following note : "Hari mentioned by Namisadhu on Rudrata's Kavyalamkara II. 19 as a Writer on Poetics in Prakrit" (Italics ours). V. Raghavan, however, writes (Bhoja's Srngaraprakasa, 1978 edn p. 821) : "The verse (mentioning eight Anuprasa varieties, vritis) is evidently from the preliminary part of the opening chapter of some Prakrit poem by one Hari." (Italics ours). The nature of the quotation is such as to allow Kane and Raghavan to draw their respective inferences about its source. In the absence of any other supporting evidence it would be rash on our part to accept or reject either inference, The Anuyogadvarasutra 66 (Anuogaddaraim) which claims to be old (before third century A. D. ?) contains a Prakrit passage on nine kavya rasas67. It is extremely difficult to say whether this passage is adopted from an early independent Prakrit text on Poetics or whether it is composed by the author himself keeping in view Sanskrit texts on Dramaturgy and Poetics. No Prakrit work on Poetics except the later solitary work mentioned above and Hari's problematic work) is so far known. It is not unlikely that the author of the Anuyogadvarsutra himself added this passage. The reference to nine kavya rasas including the (pra-) santa tempts one to assign the author of this Prakrit passage to post-Udbhata period. The absence of a Prakrit work of value on poetics needs an explanation which is, however, not far to seek. Notwithstanding the difference in language

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478 STUDIES IN JAIN LITERATURE the alamkarikas (literary thinkers) made no difference between Sanskrit and Prakrit literatures. They studied and appreciated both. Some of them wrote in both Sanskrit and Prakrit. Anandavardhana, the author of the far-famed Dhvanyaloka has written a Prakrit poem, called Visamabanalita and Rajasekhara, the author of Kavyamimamsa, a unique work on Sanskrit Poetics, (which does not directly concern itself with the exposition of rasas, gunas, or alamkaras, and is rather in the nature of a siksagrantha) has written, among other plays, Karpuramanjari entirely in Prakrit which is cited as a model of the type of plays called Sattaka. Anandavardhana and all the later alamkarikas freely cite Sanskrit as well as Prakrit passages to illustrate various points of poetics. The norms laid down in their works were equally applicable to both and, indeed, till recently to literatures even in modern Indian languages like Marathi, Gujarati, Hindi, and so on. Even a scholar of the eminence of Acarya Hemacandra, who has to his credit books on Prakrit grammar and prosody did not feel the necessity of preparing a treatise on Prakrit Poetics. The fact, however, remains that the Sanskrit critical thought took little note of some of the interesting and peculiar aspects of the vast and varied literature in Prakrit. The alamkarikas, generally speaking, contented themselves merely with quoting Prakrit passages for illustrative purposes or alluding to certain works for illustrating the types of composition. 11. Influence of Prakrit Poetry on Sanskrit poeticians : Although we do not find Prakrit illustrations in the early works on Poetics like Bhamaha's Kavyalamkara, Dandi's Kavyadarsa, etc., they clearly state the fact of the existence of Prakrit literature along with Sanskrit and Apabhramsa literature. The absence of Prakrit quotations in their works is due to the practice of composing their own examples instead of quoting examples from the works of other authors. The few Prakrit examples we come across in Rudrata are his own compositions. The fact that over two thousand and eight hundred verses from Prakrit works are cited by later alaskarikas beginning with Anandavardhana is a clear and definite proof of the great influence of Prakrit poetry. Of all the writers on Sanskrit Poetics it is Anandavardhana who is considerably influenced by the Setubandha and the Gaudavaho. He and Kuntaka, the author of Vakroktijivita, frequently use the expression bandhacchaya (beauty of composition) in expounding their poetical theories68. Anandavardhana refers to the objectives of 'bandhacchaya' and 'ahinava atthagai' (Sk abhinava arthagatih, a new range of meaning or the novelty of ideas) mentioned by Pravarasena in his Setubandha in almost identical language : "Novelty of ideas as

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PRAKRIT VERSES IN SANSKRIT WORKS ON POETICS 479 well as great beauty of composition is achieved by adopting a single sentiment as predominant in any poem as a whole"69. Vakpati, taking his cue from Pravarasena, also speaks of new ideas and beauty of composition in his Gaudavaho70 before Anandavardhana : "It is only in Prakrit that we shall have in abundant measure, till (the end) of the world's duration, a presentation of ever fresh themes and a rich variety of compositions that are cool and pleasing in their arrangement."71 Anandavardhana quotes Gaudavaho v, no. 416 to illustrate atyantatiraskrta-vacya (dhvani) : "How charming when the clouds reel in the sky; how lovely when in the woods the white Arjuna trees are torn (shaken ?) by great downpours of rain. Though in the sky the moon has lost all pride yet these black nights have a haunting beauty of their own."72 Here the words "reel" and "has lost all pride" are full of suggestion with the literal meaning completely lost. Anandavardhana seems to have quoted another Prakrit gatha most probably from Vakpati's Mahumahaviaa (Sk Madhumathavijaya) as pointed out earlier72. As pointed out by Dr. Masson and Prof. Patwardhan73 several of Anandavardhana's (or Karikakara's) most cherished ideas come from this great poem (Gaudavaho) : In his Vrtti on Karika II. 16 Anandavardhana observes : "In the case of a poet who is intent upon suggesting rasas and who has imaginative genius (pratibhanavat), even figures of speech which may appear (to the reader) difficult (to create) clamour to present themselves to him." This statement is very similar to Vakpati's observation. "The minds of other (i. e. ordinary) poets wander about frantically searching for subjectmatter. (But) in the case of great poets the themes themselves rush to their hearts, without any effort on their part"74. Again, Anandavardhana's long discussion on anantya, the endlessness of poetic themes, is certainly influenced by Vakpati's some of the fine gathas dealing with 'The praise of poets.' Anandavardhana's discussion may briefly be summarised as follows : "For literature (vani) that is embellished with any one of these varieties (of suggestion) though it reproduces ideas already treated, appears fresh (navarvam). By using rasa in a poem even subjects seen time and again will appear new, just as do trees in the month of March-with the advent of spring.

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480 STUDIES IN JAIN LITERATURE By using dhvani and gunibhuta vyangya in this manner, there will be no end to the subjectmatter of poetry as long as there is the gift of poetic imagination. "By its very nature (even without the help of a suggested sense), the purely denoted sense is inexhaustible because of difference of circumstance, place, time etc. If the subjectmatter (Vastugati) that is diversified according to time, place etc. is used in accordance with (the doctrine of) propriety and is associated with rasa, bhava, etc., "Though assiduously written about by thousands of thousands of (poets similar to) Vacaspati, it cannot be exhausted any more than the primordial matter (Prakrti) of the universe."75 "Earlier poets through the virtue of their times (i. e. because they were born in ancient times) were able to wander on virgin paths but some others (i. e. modern poets) are guided on difficult paths by the imitation of the genius of the earlier poets."76 "It is true that there is nothing that has not been seen on the well-trodden paths of poetry. But actually this is true for only the very beginnings of the path. All else is new."77 Glorious is the poet's speech pulsating with inspiration ! Though every day great poets have drained its essence from tbe beginning of creation yet it still seems as if its seal remains unbroken-intact (i.e., its riches have barely been tapped)."78 Again, Anandavardhana's discussion of prakrtyaucitya (propriety in relation to the nature of characters) which is divided into propriety relating to high, middle and low characters as well as propriety relating to divya (divine), manusa (human) and divya-manusa characters strongly reminds us of the threefold katha (story): divya, divya-manusi and manusi spoken of by the author of Lilava779 Further, Anandavardhana's specific reference to Satavahana's superhuman exploit of going to the netherworld of Nagas which has been described in Lilavai indicates that he knew this Prakrit work and has utilised it in the context of describing Prakrti-aucitya. The whole discussion would show how, the Prakrt works Setubandha, Gaudavaho and Lilavai have greatly influenced Anandavardhana, the greatest writer on Sanskrit Poetics80

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PRAKRIT VERSES IN SANSKRIT WORKS ON POETICS 481 12. A Few Illustrative Verses : (i) From Gathasaptasati It is extremely difficult, almost impossible to select only a few of the exquisitely beautiful verses selected and cited by the alamkarikas. But as this cannot be avoided I do so with great diffidence. This anthology is highly popular with the writers on Sanskrit poetics beginning with Anandavardhana. It is, however,' Bhoja, the author of Sarasvatikanthabharana and Srngarprakasa, who most amply quotes the gathas from this anthology. We may refer here to only a few of these quotations : The maiden in love begs the moon to touch her with the same rays which have touched her lover81. Another maiden begs of the night to stay for ever, when the morning comes she will have to bear her lover's departure82. The lover who is on his travels bids the thunder and lightning do their worst on him, if they but spare his beloved at home 83. A tender (-hearted) wife rejoicing at her husband's return does not put on gay dress lest she adds to the grief of her neighbour whose husband has not yet come home84.. One of the loveliest gathas, steeped in pathos, says : "When of the two who have long shared joy and sorrow together, one dies, the one that dies is really alive, the other is dead"85. This beautiful sentiment has a distant parallel in Bhasa's line : "Vasavadatta (lit. Mahasena's daughter) who is dead is not dead if the King (Udayana) has such a soft feeling for her86; and also in Bhavabhuti's line, 'He is not dead of whom a beloved thinks, in other words, surely he is not dead who lives in the memory of a loved person87. But absence may be a joy where the heart is false; "the faithless one bemoans her unprotected state, and begs her (neighbour-) friend to come to her house, merely to ensure her safety"88. Another gatha tells us of a naughty wife who pretends to be bitten by a scorpian in order to go to the house of the physician-her paramour89. Another gatha brilliantly describes the removal of anger of the offended woman; "The wife who is overpowered with sulky wrath at the offence of faithlessness of her husband (suddenly) laughs as their little boy crawls on his father's back, when he falls prostrate at her feet in penitence for his offence. Another gatha presents a graphic picture of a traveller and a maid (who provides water to travellers) who fall in love at first sight : "Looking upwards Stud.-61

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482 STUDIES IN JAIN LITERATURE and with his slender fingers (not tightly closed) the traveller drinks water for long and the girl makes thinner and thinner the already thin stream of water that she pours in the hollow of his hando. In another gatha the poet beautifully brings out Parvati's 'untutored cleverness' in not allowing Siva to gaze at her unclothed beauty : "In the course of enjoying love's delights Parvati has her garment stripped off; immediately she closes the pair of Siva's eyes with her tender arms, and closes the third eye of Siva by planting a kiss on it." This gatha strongly reminds us of Kalidasa's famous verse from Kumarasambhava92. The poet of this gatha it would seem, has improved upon Kalidasa's lovely description of the situation. In another gatha the poet graphically describes how a cow in the cowshed rubs her eye on the horn of a wicked bull. This description finds a parallel in Kalidasa's picture in sakuntala wherein he desires to represent a doe rubbing her left eye on the horn of a black antelope 93 (ii) From Harivijaya : Anandavardhana cites the following verse from Harivijaya to illustrate a variety of suggestion. Apparently it describes the advent of spring which causes restlessness in the minds of young people : "Madhulaksmi had bedecked her ears with mango sprouts; and her mouth carried the sweet fragrance of wine taken in celebration of the (Spring)festival. Kusumasara (the god of love) caught hold of her face, although not offered (i.e. by force) (in order to kiss it). "Here we have a beautiful samasokti. Bhoja cites the following verses from among many from Harivijaya : The topic of manini (The offended woman) is a popular subject in Sanskrit as well as Prakrit poetry. The offence consists in the faithlessness of her lover. Here are a few verses dealing with a manini : "With a view to giving his beloved (Satyabhama) the highest enjoyment of love's delights, not even conceived of or dreamt of by her, Hari with a smile on his face and with both of his hands holding his mukuta in its place fell at her feet." "Hari in order to appease the anger of his beloved (Satyabhama) fell prostrate at her feet; and what a wonder ! Drops of tears of joy, which welled up in her eyes, and which she did her best to suppress fell on his back."

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PRAKRIT VERSES IN SANSKRIT WORKS ON POETICS 483 (iii) From Setubandha : Here are a few more examples of manini (the offended woman) from Setubandha : "The anger of the proud women, heightened by love, died away slowly in their hearts, gratified for a moment by the entreaties of the lovers, but saddened and perturbed again by the remembrance of the offence given." "The young women, who greeted their lovers even without being appeased by them, were abashed when covertly admonished by their maiden friends with severe looks. As they stood scared their lovers knew that they only pretended to be angry." [They pretended anger to please theirs sakhis(girl friends) who had advised them to practise mana, and silently reproved them for being cordial to the lovers without waiting to be appeased by them for their past offences.] "They spoke in one way before their maiden friends, and in another way while instructing the messenger girls, and something quite different, excitedly, at the sight of the beloved."94 (iv) From Gaudavaho : Here is a verse from Vakpati describing a manini : The lady was angry; but when her man held her lower lip between his own lips, the flush of anger began wearing away, like red wine in a crytstal cup which goes on subsiding when sipped, after being seized between the two lips by the drinker (v. no. 690). 13. Principal theme and governing sentiment : Prakrit verses quoted in works on Alaskarasastra are mostly erotic, love in its various phases and stages being the dominant sentiment. No doubt there are some verses cited which contain maxims, popular sayings, subhasitas and some others which deal with nature, seasons, etc; and some others expressing heroism. But as a rule Prakrit poems and anthologies from which these verses are drawn deal mainly with love : Young women, the blossoming of love, the messages from young women to their absent lovers, the efforts of a duti (gobetween) to bring about the union of lovers, their actual meeting their kisses, embraces, nailmarks, toothbites, and actual intercourse are described the manini (woman offended), love in separation, the asati (an unmarried woman who is not chaste, or an adulteress, a wanton woman) a puspini, etc., are portrayed with charm in these works. The Prakrit poets are proud of the fact that their poetry mainly deals with love, and that they are mainly interested in

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484 STUDIES IN JAIN LITERATURE evoking the beautiful sentiment of srngara. Impersonality is a striking feature of this love poetry in Prakrit. In his Introduction to An Anthology of Sanskrit Court Poetry Daniel H. H. Ingalls makes the following observation : "In the five hundred or so verses that deal with love in Vidyakara's anthology one will not find the name of a single lover. In Vidyakara's section on villains one finds no villain's name; in the section on good men no individual good man is so identified that we could know him from other good men. We know nothing of the personal lives of Sanskrit poets. The persons here have melted into the types of poet. One may remark that impersonality appears in its extreme form in India only in Sanskrit." This observation of H. H. Ingalls with reference to Sanskrit love poetry in Subhasitaratnakosa is equally true of Prakrit love poetry as represented in Gathasaptasati, Vajjalaggam and other Prakrit anthologies. This preference for the theme of love and the erotic sentiment should be easy to understand on psychological grounds : Love is the most dominant of all feelings, and is easily within the experience of allo. Anandavardhana was fully conversant with human psychology so well expressed by Bhamaha : "They (say, princes undergoing instruction or pupils in general) study sastras if they are mixed with sweet pleasurable rasa. Children who first lick honey easily take a bitter dose of medicine."97 Keeping in mind this aspect of human psychology Anandavardhana most probably chose to cite erotic Prakrit gathas to illustrate the theory of dhvani and its varieties. His lead is enthusiastically followed by later alamkarikas, particularly by Bhoja who cited in his two alamkara works about two thousand Prakrit verses. 14. Prakrit Poetry highly erotic but not obscene : In some quarters it is alleged that the alamkarikas cite Prakrit verses which are full of obscenity and vulgarity and which glorify illicit or clandestine love, as illustrations because the obscenity remains hidden under the garb of the Prakrit language. This allegation, on the face of it, is false. For the very purpose of citing illustrations is defeated if the verses are unintelligible. The fact is that in the classical period there was no compartmentalisation or bifurcation of studies into Sanskrit and Prakrit. The long-standing practice of writing dramas in Sanskrit and Prakrit will easily bear out this statement. Again, eminent Sanskrit writers like Bana, Dandi, Kuntaka, Anandavardhana, Bhoja have paid handsome tributes to Hala Satavahana, Sarvasena, Pravarsena for their exquisite Prakrit works. This fact corroborates, the statement that there was integration of Sanskrit and Prakrit studies. Naturally, the alamkarikas

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PRAKRIT VERSES IN SANSKRIT WORKS ON POETICS 485 appreciated first-rate Prakrit works and freely drew upon them as they did in the case of Sanskrit works for illustrations in their alamkara works. It is therefore an insult to the intelligence of these alamkarikas to allege that they quoted Prakrit verses with an ulterior motive. Now let us examine the charge of obscenity against the Prakrit verses. The alamkarikas have defined in their works what constitutes the poetic blemish of obscenity. Use of words which give rise to feelings of shame, of disgust or convey the sense of inauspiciousness is condemned as obscene and vulgar. They have, with their sharp intellect, recorded and denounced as obscene even particular combination of letters giving rise to words meaning the names of the private parts of the human body. So there is no question of defending obscenity in literature whether Sanskrit or Prakrit. These Prakrit verses fall into two groups : Those which are highly erotic and those which portray illicit, clandestine or adulterous love. We must clearly distinguish between the erotic and the obscene. The writings of great poets, both Sanskrit and Prakrit, are highly erotic and artistic or poetic. To brand them as obscene, as impatient critics of Prakrit verses do, would mean putting these great works out of the reach of the sensitive sahrdayas. We must not be carried away by highly erotic descriptions and mistake the highly erotic for the obscene. The Prakrit poets, as a rule, remain strictly within the bounds of propriety and refinement and avoid vulgarity and obscenity. According to the European scholars of the Victorian age or nineteenth century Western morals, the descriptions of ratikalaha (love's battle), the lover's wounding his mistress with nails (nakhaksata), and biting her (lower) lip (dantaksata), inverted intercourse where the woman takes the man's position above while the man lies below (viparitarata) depart very far from standards of propriety and taste and therefore are offensive. But Indian rasikas or sahrdayas have all along been enjoying these descriptions; they register their dissent or disapproval only when they overstep the bounds of aucitya (propriety or decorum) according to their standards. Thus Anandavardhana, Ksemendra, and Panditaraja Jagannatha would like to censure Kalidasa and Jayadeva for frankly describing the amorous sports of Siva and Parvati--the parents of the whole world-and the amours of Radha and Krsna in Kumarasambhava and Gitagovinda respectively. As far as Gathasaptasati is concerned the renowned poet Banabhasta unequivocally states that it is not vulgar (agramyam). The verses dealing with cauryarata are fine specimens of dhvani kavya. There is a class of literary critics who hold the view that art is for the sake of art. According

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486 STUDIES IN JAIN LITERATURE to them we must never mix up aesthetics with ethics. In the realm of literature and its appreciation we must be solely guided by aesthetics and we must refuse to be influenced by extraneous considerations of morality and its effect or impact on society. As literary critics our sole duty is to appreciate the beauty of the literary creation and experience aesthetic rapture. To censor passages from works on grounds of morality or their evil influence on Society is the job of lawcourts. Viewed in this light the amours of Radha and Krsna and the amorous sports of Siva and Parvati and the descriptions of Cauryarata in Gathasaptasati would not appear improper or obscene. According to these critics, the theme of art may be anything which has a basis in life; if it is beautifully presented by the poet it is enough for us; we appreciate it whole-heartedly. Dhanamjaya rightly observes in his Dasarupa : "There is nothing in this world, a poetic mind cannot appreciate--may it be beautiful or disgusting, great or mean, terrifying or pleasing, incomprehensible or obvious, real or fictitious."98 In other words, life in all its aspects has a place in literature. It is for the poet to present it in a beautiful form. 15. Conclusion : In conclusion, it may be said categorically that poetic works in Maharastri Prakrit exhibit excellences and literary beauty of a high order. They easily bear comparison with their counterparts in Sanskrit literature, Notwithstanding the differences in language the Sanskrit alamkarikas (writers on Sanskrit Poetics) made no difference between Sanskrit and Prakrit literatures. They appreciated both and freely quoted from both. Some of them like Anandavardhana and Rajasekhara wrote in both. The norms laid down in the Sanskrit works on Poetics are equally applicable to both. That is why even a scholar of Hemacandra's eminence who has to his credit works on Sanskrit and Prakrit grammar and prosody did not feel the necessity of preparing an independent work exclusively dealing with Prakrit poetics. In fact, till recently before the impact of Western literature and literary criticism was felt--the poetry in Indian languages like Marathi, Gujarati, Hindi, etc. was being judged by the norms laid down by Sanskrit literary thinkers. So leaving aside the controversy as to whether Sanskrit is the source of Prakrit or vice versa, and realizing that the two languages are closely allied and that the literatures in both of these languages, in spite of their own distinguishing features, bear close affinity we should always strive for integrating the Sanskrit and Prakrit studies99.

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PRAKRIT VERSES IN SANSKRIT WORKS ON POETICS 487 Notes and References : 1. Vide the seection on Corrupt Text, infra. 2. Vide also his edition of the Dasarupaka with the commentary Avaloka by Dhanika and the sub-commentary Laghutika by Bhatta Nrsimha, Introduction: pp xlx-lix, text: pp. 296-299. Note : Pp: 296-297, and Dr. Bhayani's paper in MM Dr. P.V. Kane Birth Centenary Volume mentioned infra. 3. amayaM pAiyakavvaM paDhiDaM souM ca je na jANaMti / kAmassa tattavattiM kuNaMti te kaha na lajaMti // [amRtaM prAkRtakAvyaM paThituM zrotuM ca ye na jAnanti / kAmasya tattvavArtA kurvanti te kathaM na lajjante / / ] 4. addhakkharabhaNiyAiM nRNaM svilaas-muddh-hsiyaaii| addhacchipecchiyAI gAhAhi viNA na najaMti / / [ardhAkSarabhaNitAni nUnaM savilAsamugdhahasitAni / ardhAkSiprekSitAni gAthAbhivinA na jJAyante / / ] 5. sAlaMkArAhi salakkhaNAhi annannarAyarasiyAhi / gAhAhi paNaiNIhi ya khijjai cittaM aiMtIhi // [sAlaGkArAbhiH salakSaNAbhiranyAnyarAgarasitA(kA)bhiH / gAthAbhiH praNayinIbhizca khidyate cittamanAgacchantIbhiH // ] 6. eyaM ciya navari phuDaM hiyayaM gAhANa mahiliyANaM ca / aNarasiehi na labbhai daviNaM va vihINapuNNehiM / / [etadeva kevalaM sphuTaM hRdayaM gAthAnAM mahilAnAM ca / arasikairna labhyate draviNAmiva vihInapuNyaiH // ] 7. sacchaMdiyA sarUvA sAlaMkArA ya sarasa-ullAvA / varakAmiNi bva gAhA gAhijjatI rasaM dei / / [sacchandaskA (svacchandikA) sarUpA sAlaGkArA ca sarasollApA / varakAminIva gAthA gIyamAnA (gAhyamAnA) rasaM dadAti // ] 8. gAhANa rasA mahilANa vibbhamA kaijaNANa ullAvA / kassa na haraMti hiyayaM bAlANa ya mammaNullAvA // . [gAthAnAM rasA mahilAnAM vibhramAH kavijanAnAmullApAH / kasya na haranti hRdayaM bAlAnAM ca manmanollApAH // ] 9. gAhANaM gIyANaM taMtIsaddANa poDhamahilANaM / tANaM ciya so daMDo je tANa rasaM na yANaMti // [gAthAnAM gItAnAM tantrIzabdAnAM prauDhamahilAnAm / teSAmeva sa daNDo ye teSAM rasaM na jAnanti / / ] 10. pAiyakavvammi raso jo jAyai taha ya cheyabhaNiehiM / uyayassa ya vAsiyasIyalassa titti na vaccAmo / [prAkRtakAvye raso yo jAyate tathA ca cchekabhaNitaiH / udakasya ca vAsitazItalasya tRpti na vrajAmaH // ]

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488 STUDIES IN JAIN LITERATURE 11. desiyasaddapaloTTaM mahurakkharachaMdasaMThiyaM laliyaM / phuDaviyaDapAyaDatthaM pAiyakavvaM paDheyavvaM / / [dezIyazabdapravRttaM madhurAkSaracchandaHsaMsthitaM lalitam / sphuTavikaTaprakATayarthaM prAkRtakAvyaM paThanIyam // ] 12. lalie mahurakkharae juvaIjaNavallahe sasiMgAre / saMte pAiyakavve ko sakkai sakkayaM paDhiuM / / [lalite madhurAkSare yuvitajanavallabhe sazRGgAre / sati prAkRtakAvye kaH SvaSkate/zaknoti saMskRtaM paThitum / / ] 13. ummillai lAyaNNaM paaa-cchAAe~ sakkaa-vaANaM / sakkaa-sakkArukkarisaNeNa paaassa vi pahAvo // [unmIlati lAvaNyaM prAkRtacchAyayA saMskRtapadAnAm / saMskRtasaMskArotkarSeNa prAkRtasyApi prabhAvaH // ] 14. NavamatthadaMsaNaM saMNivesa-sisirAo vNdh-riddhiio| aviralamiNamo AbhuvaNa-baMdhamiha Navara paaammi // [navamarthadarzanaM saMnivezazizirA bandhayaH / aviralametadAbhuvanabandhamiha kevalaM prAkRte // ] 15. saalAo imaM vAA visaMti etto a Neti vaaaao| eMti samudaM cia Neti sAarAo ccia jalAI // [sakalA idaM vAco vizantItazcaH niryanti vAcaH / enti samudrameva niryanti sAgarAdeva jalAni // ] 16. harisa-viseso viasAvao a maulAvao a acchINa / iha bahihatto aMtomuho ahiaassa vipphurai // [harSavizeSo vikAsako mukulIkArakazcAkSNoH / iha bahirmukho'ntarmukhazca hRdayasya visphurati / / 17. parusA sakkaabaMdhA pAuabaMdho vi hoi suumaaro| purisamahilANaM jettiamihaMtaraM tettiamimANaM / / [paruSAH saMskRtabandhAH prAkRtabandho'pi bhavati sukumAraH / puruSamahilayoryAvadihAntaraM tAvadanayoH / / ] 18. giraH zravyA divyAH prakRtimadhurAH prAkRtagiraH / 19. yad yoniH kila saMskRtasya sudRzAM, jihvAsu yanmodate yatra zrotrapathAvatAriNi kaTurbhASAkSarANAM rasaH / gadyaM cUrNapadaM padaM ratipatestatprAkRtaM yadvaca - stAllATA~ lalitAGgi pazya nudatI dRSTenimeSavratam // 20. aho tatprAkRtaM hAri priyAvakondusundaram / sUktayo yatra rAjante sudhAni:SyandanirbharAH // 21. ujjhau sakkayakavvaM sakkayakavvaM ca nimmiyaM jeNa / vaMsaharaM va palittaM, tar3ayar3ataTTattaNaM kuNai / / [ujjhyatAM saMskRtakAvyaM, saMskRtakAvyaM ca nirmitaM yena / vaMzagRhamiva pradIptaM taDataDataTTatvaM karoti / /

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PRAKRIT VERSES IN SANSKRIT WORKS ON POETICS 489 Note : Vajjalaggam (v.no. 31 x 3, p. 217) reads dajjhau (Sk dahyatam) for 'ujjhau' and 'vamsaharammi palitte' (Sk vamsagrhe pradipte) in the second half. 22. pAiyakavvullAve paDivayaNaM sakkaeNa jo dei / so kusumasattharaM patthareNa daliuM viNAsei / / [prAkRtakAvyollApe prativacanaM saMskRtena yo dadAti / sa kusumatrastaraM prastareNa dalitvA vinAzayati / / ] 23. A. Weber : Ueber das Saptasatakam des Hala, Leipzig 1870; Das Saptasatakam of Hala, Leipzig 1881; the Gathasaptasati, Kavyamala 21, 2nd edn, 1911; Ibid 3rd edn, Bombay 1933. Keith : A History of Sanskrit Literature, Oxford 1928, pp.223 ff.; A. M. Ghatage : "Maharastri Language and Literature", Journal of the University of Bombay, IV.6, May 1936. 24. Cf. satta saAI kaivacchaleNa koDIa majjhaArammi / hAleNa viraiAiM sAlaMkArANa gAhANaM // --GS I.3 25. Vide, infra, 'Praise of Prakrit poets.' 26. Vide : A. M. Ghatage : "Maharastri Language and Literature" Journal of the University of Bombay, IV, part 6 (pp. 19-70) May 1936; Keith : A History of Sanskrit Literature, Oxford 1928, pp. 223 ff. 27. A. N. Upadhye : Prakrit Literature, Encyclopedia of Literature I, New York 1946. 28. For a detailed study of this work vide my paper : "The Harivijaya of Sarvasena" first published in the Annals of the Bhandarkar Oriental Research Institute (Diamond Jubilee Volume), pp. 691-710 and now included in Studies In Sanskrit Sahityasastra (pp. 162 179), published by B. L. Institute of Indology, Patan (North Gujarat) PIN : 384 266. 29. Vide Pravarasena's Setubandha tr. by Handique, p. 50. 30. (1) Anandavardhana observes in his Dhvanyaloka (III. 11-12. pp. 335-36): itivRttavazAyAtAM kathaJcidrasAnanuguNAM sthiti tyaktvA punarutprekSyapyAntarAbhISTarasocitakathotrayo vidheyaH yathA kAlidAsaprabandheSu / yathA ca sarvasenaviracite hrivijye| Abhinavagupta thus explains in his Locana (p. 335) : ... harivijaye kAntAnunayanAGgatvena pArijAtaharaNAdinirUpitamitihAseSvadRSTamapi / (ii) In his Vakroktijivita (De's Edn., 71) Kuntaka ranks Sarvasena along with Kalidasa for his graceful style of composition : evaM sahajasaukumAryasubhagAni kAlidAsasarvasenAdInAM kAvyAni dRzyante / tatra sukumArasvarUpaM carcaNIyam / (iii) The very fact that Bhoja cites scores of verses from Sarvasena's HV to illustrate various points of poetics is eloquent of his high appreciation of Sarvasena's work. 31. Ravanavaho oder Setubandha Prakrit and deutseh herausge geben von Siegfried Goldschimidt I. Lieferung : Text, Index. Strassburg, 1880; Second edition, with Ramadasa's commentary Nirnaya Sagar Press, Bombay, 1935; Pravarasena RavanavahaMahakavyam edited by Dr. Radhagovinda Basak, Sanskrit College, Calcutta, 1959; Pravarasena's Setubandha, Translated by K. K. Handiqui, Prakrit Text Society, L. D. Institute of Indology, Ahmedabad-9. Stud.-62

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490 STUDIES IN JAIN LITERATURE 32. For its popularity and its influence on writers on Sanskrit poetics vide infra "Praise of Prakrit Poets" and "Influence of Prakrit Poetry on Sanskrit Writers on Poetics." 33. mahumaha-viaa-pauttA vAA kaha NAma maulau imammi / paDhamakusumAhi taliNaM pacchA kusumaM vaNalaANa // [madhumatha [na] vijayaprayuktA vAk kathaM nAma mukulayatvasmin / prathamakusumAttalinaM pazcAtkusumaM vanalatAnAm // ] -Gaudavaho-60 34. tadyathA madhumathanavijaye pAJcajanyoktiSu -Dhvanyaloka III.15, P. 345 35. lIlAdADhagguvvUDhasaalamahimaMDalassa cia ajja / kIsa muNAlAharaNaM pi tujjha garuAi aMgammi / (lIlAdaMSTrAgrodvyUDhasakalamahImaNDalasyaivAdya / kasmAd mRNAlAbharaNamapi tava gurUyate'Gge // ) 36. atahaTThie vi tahasaMThie vva hiaammi jA Nivesei / atthavisese sA jaai viaDa-kai-goarA vANI / / (atathAsthitAnapi tathAsaMsthitAniva hRdaye yA nivezayati / arthavizeSAn sA jayati vikaTakavigocarA vANI / ) 37. ThiamaTThiaM va dIsai aThiaMpi pariTThiaM va paDihAi / jahasaMThiaM ca dIsai sukaINa imAo payaIo // (sthitamasthitamiva dRzyate'sthitamapi pariSThitamiva pratibhAti / yathAsaMsthitaM ca dRzyate sukavInAmetAH padavyaH // ) 38. Gaudavaho by Vakpatiraja, edited with an Introduction, Sanskrit Charya, English Translation, Notes, Appendices, and Glossary by Prof. N. G. Suru, pub. by Prakrit Text Society, Ahmedabad-9. 39. AlekkhiaM ca sarasaM ca parisaloNaM ca sAravaMtaM ca / thiramujjalaM ca chAyAdhaNaM ca gIvilasiaM ca / / (AlekhyaM ca sarasaM ca sparzalavaNaM ca sArakhacca / sthiramujjvalaM ca chAyAghanaM ca gIvilasitaM ca / / ) - Gaudavaho v. no. 801 40. Lilavai of Kouhala with the Sanskrit Vrtti of a Jain author, edited by Prof. A. N. Upadhye, Bharatiya Vidya Bhavan, Bombay-7, 1949 A.D. 41. tAlA jAaMti guNA jAlA te sahiaehi gheppaMti / raikiraNANuggahiAi~ hoMti kamalAi~ kamalAi~ // [tadA jAyante guNA yadA te sahRdayairgRhyante / / ravikiraNAnugRhItAni bhavanti kamalAni kamalAni // ] --Dhvanyaloka II, p. 170. 42. yathA vA mamaiva kAmadevasya sahacarasamAgame vissmbaannliilaayaam| -Dhvanyaloka III. pp. 345-346. ....sahacarAH vasantayauvanamalayAnilAdayastaiH saha samAgame / humi avahatthia-reho NiraMkuso aha vivea-rahio vi| siviNe vi tujjha samae, pattia (pA. bhe, pattihi) bhattiM Na pamhasami // (bhavAmyapahastitarekho niraGkuzo'tha vivekrhito'pi|| svapne'pi tava samakaM (=sama) pratIhi bhaktiM na vismarAmi ||) -Locana p. 346

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PRAKRIT VERSES IN SANSKRIT WORKS ON POETICS . 491 491 43. dazitameva caitad viSamabANalIlAyAm Na a tANa ghaDai ohI Na a te dIsaMti kaha vi puNaruttA / je vibbhamA piANaM atthA vA sukaivANINaM // [na ca teSAM ghaTate'vadhiH, na ca te dRzyante kathamapi punaruktAH / ye vibhramAH priyANAmarthA vA sukavivANInAm / / ] -~-Dhvanyaloka IV, p. 539 44. yathA vA mamaiva viSamabANalIlAyAmasuraparAkramaNe kAmadevasya - taM tANa sirisahoararaaNAharaNammi hiaamekarasaM / biMbAhare piANaM, NivesiaM kusumabANeNa / / [tatteSAM zrIsahodaratnAbharaNe hRdayamekarasam / bimbAdhare priyANAM nivezitaM kusumabANena / / ] --Dhvanyaloka II, P. 265 45. avinAzinamagrAmyamakarot sAtavAhanaH / vizuddhajAtibhiH kozaM rattairiva subhASitaiH // --Harsacarita I. 13 46. bhaNii-vilAsa-vaittaNa-collike (pA. bhe. vokkille) jo karei halie vi| kavveNa kiM pautthe hAle hAla-viyAre vva // -Kuvalayamala P. 3, II 21-22 47. itivRttavazAyAtAM kathaJcid rasAnanuguNAM sthiti tyaktvA punaH utprekSyApi abhISTarasocitakathonnayo vidheyaH / yathA kAlidAsaprabandheSu, yathA ca sarvasenaviracite hrivijye| -Dhvanyaloka III, pp. 335-336 48. harivijaye kAntAnunayanAGgatvena pArijAtaharaNAdi nirUpitamitihAseSu adRSTamapi / --Locana, P. 335 49. evaM sahajasaukumAryasubhagAni kAlidAsasarvasenAdInAM kAvyAni dRzyante / tatra sukumArasvarUpaM carcanIyam / -Vakroktijivita I. 52-53, Dharwad edn. p. 66 50. kIrtiH pravarasenasya prayAtA kumudojjvalA / sAgarasya paraM pAraM kapiseneva setunA / / -~-Harsacarita I. 14 51. mahArASTrAzrayAM bhASAM prakRSTaM prAkRtaM viduH / / sAgaraH sUktiratnAnAM setubandhAdi yanmayam / / -Kavyadarsa I. 34 52. yena pravarasenena dharmasetuM vivaNvatA / paraH pravaraseno'pi jitaH prAkRtasetukRt / / -Cited by Handiqui in his Introduction to his Translation of Pravarasena's Setubandha, pp. 17-18. 53. Introduction to Gaudavaho by Vakpati, ed. by S. P. Pandit, B.O.R, Institute, POONA, 1927 edn, p.11. 54. Introduction to Jinesvarasuri's Gaharayanakosa, ed. by Pandit Amritlal M. Bhojak, Nagin J. Shah, Pub. by L. D. Institute of Indology, Ahmedabad-9. 1975, PP. 8-9. 55. Comparative Grammar of the Prakrit Languages, pp. 13-14; italics (ours). 56. Introduction to Gaudavaho, B.O.R. Institute, Poona, 1927 edition, p. Liv, 57. Introduction to Gaidavaho, Prakrit Text Series No. 18, 1975, p. xcix 58. Kavyalamkara I.16. 59. Kavyadarsa I.32. 60. Kavyalamkara II. 11-12. 61. Kavyalamkara IV. 11-15, 17-21.

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492 STUDIES IN JAIN LITERATURE 62. Dhvanyaloka. 63. Incidentally, it may be noted that Bhoja's classification of Prakrit and Apabhramsa languages is unique. It may be shown in a tabular form as follows : Prakrit Sahaja Laksita Slista Sanskrit-sama Desya Maharastra Saurasena. Paisaca Magadha Apabhrajsa Uttama Madhyama Kanistha Avantya Latiya (etc.) Abhira Gaurjara (etc.) Kasmira Paurastya (etc.) 64. Compiled by Munishri Punyavijayaji, L. D. Institute of Indology, Ahmedabad-9 (Serial ___No. 326-2, p. 138). 65. The following three gathas out of the six, reproduced in the Catalogue, expressly inform us that the work deals with only figures of speech : savvAI kavvAi, savvAI jeNa hoMti bhavvAiM / tamalaMkAraM bhaNimo'laMkAraM kukavi (? khu kavi-) kavvANaM / accaMtasuMdaraM pi hu niralaMkAraM jaNammi kIraMtaM / kAmiNimuhaM va kavvaM hoi pasaNNaM pi vicchaaaN|| tA jANiUNa NiuNaM lakkhijjaha bahuvihe alaMkAre / jehiM alaMkariAi bahumaNNijjaMti kavvAiM // 66. Nandisuttam and the Anuogaddaraim, Jaina Agama Series No. 1 Sri Mahavira Jaina ____ Vidyalaya Bombay 1968. 67. Ibid, pp. 121-124. 68. abhinavA pUrvairanuktA arthagatiH abhidheyapaddhatiH bandhacchAyayA kRcchrAt saMdarbhazobhayA duHkhaM saMpAdyate / Krsnavipra on Setu I.11 ("It is hard to combine new ideas (lit. a new range of meaning) with beauty of composition.") And, aGgIbhUtarasAdyAzrayeNa kAvye kriyamANe navArthalAbho bhavati bandhacchAyA ca mahatI saMpadyata iti / Dhvanyaloka IV. 5-6 69. See footnote (14) supra. 70. Gatidavaho was composed probably about A. D. 736. The period of Anandavardhana's literary activity lies between 860-890 A. D. 71. Translation adopted from N. G. Suru's edition mentioned in footnote (7) supra. 72. Translation by J. L. Masson and M.V. Patwardhan in their paper referred to in f.n. no. 73 infra. gaaNaM ca mattamehaM dhArAluliajjuNAi~ a vaNAI / NirahaMkAramiaMkA haraMti NIlAo a (?vi) NisAo / /

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PRAKRIT VERSES IN SANSKRIT WORKS ON POETICS 493 [gaganaM ca mattameghaM dhArAlulitArjunAni ca vanAni / nirahaGkAramRgAGkA haranti nIlAzca (? nIlA api) nizAH // ] For a brilliant and highly poetic exposition of this gatha read Locana, p. 173. 73. The Dhvanyaloka and the Gaudavaho, Prof. D. D. Kosambi Commemoration Volume, Science and Human Progress, Popular Prakashan. 74. Translation by J. L. Masson and M. V. Patwardhan in their paper referred to in f.n. No. 73 supra. Read Gaudavaho, verse 86 atthAloaNa-taralA iara-kaINa bhamaMti buddhiio| atthaccea NirAraMbhameMti hiaaM kaiMdANa // [arthAlokanataraletarakavInAM bhrAmyanti buddhayaH / arthA eva nirArambhamenti hRdayaM kavIndrANAm // ] 75. ato hyanyatamenApi prakAreNa vibhUSitA / vANI navatmAyAti pUrvArthAnvayavatyapi // dRSTapUrvA api hyAH kAvye rasaparigrahAt / sarve navA ivAbhAnti madhumAsa iva drumAH / / dhvaneritthaM guNIbhUtavyaGgyasya ca samAzrayAt / na kAvyArthavirAmo'sti yadi syAt pratibhAguNaH // avasthAdezakAlAdivizeSairapi jAyate / / Anantyameva vAcyasya zuddhasyApi svabhAvataH / / rasabhAvAdisambaddhA yadyaucityAnusAriNI / anvIyate vastugatirdezakAlAdibhedinI / / vAcaspatisahasrANAM sahastrairapi yatnataH / nibaddhA sA kSayaM naiti prakRtirjagatAmiva / / -Dhvanyaloka IV. Karikas 2, 4, 6, 7, 9 & 10. 76. kAlaguNA paDhamakaIhiM bhamiamapariggahesu maggesu / iharA maIhi hIraMti dukkaraM ke vi kANaM pi|| [kAlaguNAt prathamakavibhintamaparigraheSu mArgeSu / idAnIM matibhihiyante duSkaraM ke'pi keSAmapi // ] 77. Translation by J. L. Masson and M. V. Patwardhan, Ibid, p. 181. katto NAma Na diTuM saccaM kavi-seviesu maggesu / sImaMte uNa mukkammi tammi savvaM NavaM cea|| [kuto nAma na dRSTaM satyaM kaviseviteSu mArgeSu / sImante punarmukte tasmin sarvaM navameva // ] 78. Translation by J. L. Masson and M. V. Patwardhan, Ibid, p. 182. AsaMsAraM kai-puMgavehi taddiaha-gahia-sAro vi| ajja vi abhiNNamuddo vva jaai vAA-paripphaMdo // [AsaMsAraM kavipuGgavaiH pratidivasagRhItasAro'pi / adyApyabhinnamudra iva jayati vAkparispandaH / / ] -~~Gaudavaho. 84, 85, 87.

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494 STUDIES IN JAIN LITERATURE 79. -tivihA kahA bhaNiyA / taM jaha divvA taha divvamANusI mANusI taha cceya / ---Lilaval, v. 35. NAyajjuNa-bhikkhu-purassareNa Nai-tIra-saMThio rAyA / vijaANaMdeNa samaM vivarAhuttaM parikato / / -Lilavai, v. 1021. 80. bhAvaucityaM tu prakRtyaucityAt / prakRtiryuttamamadhyamAdhamabhAvena divyamAnuSAdibhAvena ca vibhedinI / nanu nAgalokagamanAdayaH sAtavAhanaprabhRtInAM zrUyante tadalokasAmAnyaprabhAvAtizayavarNane kimanaucityaM sarvorvIbharaNakSamANAM kSamAbhujAmiti / ---Dhvanyaloka III. 14-15. 81. I.16. 82. I.46. 83. VI.66. 84. I. 39. 85. sama-sokkha-dukkha-parivaDiANaM kAleNa rUDha-pemmANaM / ___ mihuNANa marai jaM taM khu jiai iaraM muaM hoi ! [samasaukhyaduHkhaparivardhitayoH kAlena rUDhapremNoH / mithunayomriyate yat tat khalu jIvati itaranmRtaM bhavati // ] -GS II. 42. 86. uparatApyanuparatA mahAsenaputrI evamanukampyamAnAryaputreNa / -Svapnavasavadattam V1.9-10. 87. Na hu so uvarado jassa vallaho sumaredi / [na khalu sa uparato yasya vallabhaH smarati / ] -Malatimadhava V. 24-25. 88. GS IV. 35. 89. III. 37. 90. I.12 Note : The translation of many of these gathas is adopted, with slight changes, from A History of Sanskrit Literature by A. B. Keith. Oxford, 1928, pp. 224-25. 91. uddhaccho piai jalaM jaha jaha viralaMgulI ciraM pahio / pAvAliA vi taha taha dhAraM taNuI pi taNuei / / [UrdhvAkSaH pibati jalaM yathA yathA viralAGgalizciraM pathikaH / prapApAlikApi tathA tathA dhArAM tanukAmapi tanUkaroti // ] -GS II. 61. 92. raikeli-hia-NiaMsaNa-kara-kisalaa-ruddha-NaaNa-jualassa / ruddassa taia-NaaNaM pavvai-paricuMbiaM jaai // [ratikelihatanivasanakarakisalayaruddhanayanayugalasya / rudrasya tRtIyanayanaM pArvatIparicumbitaM jayati // ] Cf. zUlinaH karataladvayena sA saMnirudhya nayane hRtAMzukA / tasya pazyati lalATalocane moghayatnavidhurA rahasyabhUt // ] --Kumarasambhava VIII. 7. 93. Gathasaptasati v. 60 and, - zRGge kRSNamRgasya vAmanayanaM kaNDUyamAnAM mRgIm / --Sakuntala VI. 17. 94. anyaditi 'kiM tena zaThena' ityAdi sakhIjanapurataH / dUtIjanaM saMdizan cAnyatheti 'yathAzakti dayitamAnaya iti vimuktadhairya yuvatijano jalpati / anyadeva dayitadarzane / sabahumAnamiti bhAvaH / -Kulanatha on Setu X. 75. 95. Vidyakara's Subhasitaratnakosa translated by Daniel H.H. Ingalls, Harward University

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PRAKRIT VERSES IN SANSKRIT WORKS ON POETICS 495 Press, 1965. 96. tatra kAmasya sakalajAtisulabhatayAtyantaparicitatvena sarvAn prati hRdyatA / ---Abhinavabharati Vol. I, p. 267. And, bhAvAntarebhya: sarvebhyo ratibhAvaH prakRSyate / -Srigara-Prakasa XIII, p. 565. And also, zRGgArarase hi saMsAriNAM niyamenAnubhavaviSayatvAt sarvarasebhyaH kamanIyatayA pradhAnabhUtaH / ---Dhvanyaloka III. 29-30. 97. svAdukAvyarasonmizraM zAstramapyupayuJjate / prathamAlIDhamadhavaH pibanti kaTubheSajam / / ----Bhamaha : Kavyalamkara V. 3. 98. ramyaM jugupsitamudAramathApi nIca mugraM prasAdi gahanaM vikRtaM (?vivRta) ca vastu / yadvApyavastu kavibhAvakabhAvyamAnaM / tannAsti yanna rasabhAvamupaiti loke // -Dasarupaka IV. 85. 99. I am grateful to the Editors of Sambodhi for their courtesy in allowing me to incorporate in this Introduction my paper, with some changes, "Prakrit Poetry And Sanskrit Poetics" appearing in Vol. 10 April 1981-January 1982, (pp. 145-168). 000

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A BRIEF SURVEY OF JAIN LITERATURE (IN PRAKRIT AND SANSKRIT LANGUAGES) (i) Canonical Literature of the "vetambaras According to the belief of the Jains themselves, their religion is eternal and it has been revealed again and again in different ages of the world by 24 Tirthankaras. Rsabha was the first Tirthankara and Vardhamana Mahavira was the last. Of the 24 Tirthankaras the last two, viz., Parsvanatha and Mahavira are unanimously accepted as historical personages. The rest of them are said to belong to mythology. The 22nd Tirthankara, Aristanemi, is connected with the legend of Krsna as his cousin and some scholars are inclined to accept him as a historical personage. The sacred works of the Jains-variously called as agama, sruta, siddhanta, dvadasangi--are not composed by a Tirthankara (say Mahavira) himself. But they are based on the discourses delivered by him to his disciples who arranged them in the form of sutras (scriptures or canonical texts). The sacred literature of the (svetambara) Jains at present comprises 45 texts : (i) 11 angas : Acara, Sutrakrta, Sthana, Samavaya, Bhagavati, Jnatadharm akathas, Upasakadasas, Antakrddasas, Anuttaraupapatikadasas, Prasnavya karana and Vipaka (Drstivada the 12th anga being no longer extant). (ii) 12 upangas : Aupapatika, Rajaprasniya, Jivabhigama, Prajnapana, Jambudvipaprajnapti, Candraprajnapti Suryaprajnapti, Nirayavali, Kalpavatamsika, Puspika, Puspaculika and Vrsnidasas. (iii) 10 prakirnakas : Catuhsarana, (or Samstaraka), Aturapratyakhyana, Bhaktaparijna, Tandulavaicarika, Camdavijjhaya (Candravedhyaka), Devendrastava, Ganividya, Mahapratyakhyana and Virastava. (iv) 6 Chedasutras : Nisitha, Mahanisitha, Vyavahara, Dasasrutaskandha, Brhatkalpa and Pancakalpa or Jitakalpa.

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A BRIEF SURVEY OF JAIN LITERATURE.... 497 (v) 2 Culika texts : Nandisutra and Anuyogadvarasutra?. (vi) 4 Mulasutras : Uttaradhyayana, Avasyaka, Dasavaikalika and Pindaniryukti. Originally there were 14 purvas which were reckoned to form 12th anga called Drstivada but these purvas, and consequently, the 12th anga too, were gradually lost altogether. (ii) Pro-canonical Literature of the Digambara Jains According to the Digambara tradition, all the twelve Angas, excepting the portions of the 12th Anga, namely, Ditthivaya, have been lost. These portions have been preserved in the Dhavala, Jayadhavala and Mahadhavala Siddhantas. The Satkhandagama, composed by the two Acaryas, Puspadanta and Bhutabali, on the basis of the second Purva text and the Kasayapahuda, composed by Acarya Ganadhara, on the basis of the fifth Purva text, are regarded as authoritative and sacred. According to the Svetambaras, on the contrary, the first eleven Angas are preserved while the twelfth Anga, the Ditthivaya is completely lost. It would seem that the two traditions to a certain extent complement each other. Besides the Angas, the Digambaras hold that 14 texts which were composed by sthaviras ("Elders") formed part of the Canon but these too have been irretrievably lost. These texts are as follows: 1. Samayika, 2. Caturvimsatistava, 3. Vandana, 4. Pratikramana, 5. Vainayika, 6. Krti-karma, 7. Dasavaikalika, 8. Uttaradhyayana, 9. Kalpavyavahara, 10. Kalpakalpika, 11. Mahakalpika, 12. Pundarika, 13. Mahapundarika and 14. Nisithika. The svetambaras, however, claim that most of these texts are well preserved in the Angabahya ("standing outside the Angas") or Anangapavittha ("not belonging to the Angas") independent texts or their sections or chapters. In addition to the two works, Satkhandagama and Kasayapahuda the Digambaras accept later works composed by eminent Digambara writers as authoritative. They describe these works forming a "substitute canon" as "the four Vedas". These works are classified into four groups : (1) Prathamanuyoga, legendary works, to which belong the Puranas (Padma-, Harivamsa-, Trisastilaksana-, Maha-and Uttara- Purana); (2) Karananuyoga, cosmological works : Suryaprajnapti, Candraprajnapti and Jayadhavala; (3) Dravyanuyoga, philosophical works of Kundakunda, Umasvati's/Umasvami's Stud.-63

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498 STUDIES IN JAIN LITERATURE Tattvarthadhigamasutra with the commentaries of Samantabhadra, Pujyapada, Akalanka, Vidyananda, etc., and Samantabhadra's Aptamimamsa with the commentaries of Akalanka, Vidyananda, etc., and (4) Carananuyoga, ritual works; Vattakera's Mulacara and Trivarnacara and Samantabhadra's Ratnakarandasravakacara. Both the sects, the svetambaras ("Those clad in white) and the Digambaras ("Sky-clad" or naked") are however unanimous in calling the eleven (or twelve) angas, i.e., "limbs" (of the body of Srutapurusa) the first and most important part of their canon. The eleven angas of the Svetambara canon are the oldest part of the canon. The redaction of the canon took place under Devarddhigani in 980 after the Nirvana of Mahavira (A. D. 454). Before that time the sacred texts were handed down by oral transmission (without being committed to writing). The language of the Canon is a Prakrit which is known as 'Arsa' or Ardhamagadhi. Mahavira himself preached in this language of the masses. The sacred texts are of different origin and age so they differ in character. Some are in prose, some in verse, some in prose and verse. The older prose works are diffuse and repetitive; some contain succinct rules, some contain lengthy descriptions as well as systematic expositions of different dogmatic problems. The most archaic language is to be found in the Acarangasutra, and next to it, in the Sutrakrtangasutra and the Uttaradhyayanasutra. The language of the non-Canonical Jain texts of the Svetambara authors is known as Jain Maharastri and of the Digambara authors as Jain Sauraseni. A large literature of the nature of glosses, expository treatises, commentaries has grown up round the more important texts of the Canon. The earliest commentaries, the Niryuktis, consist of very concise explanations in Arya verses and Jain Maharastri. They served as an aid to the memory of the teachers in their oral interpretation of the sacred texts. In some instances they are very closely interwoven with the sutras or they even supplanted the latter. The Pinda-Niryukti appears in the Canon itself. At a later date these Niryuktis were extended to form exhaustive commentaries in Prakrit (Bhasyas and Curnis). These in their turn formed the foundation for the Sanskrit commentaries (Tikas, Vsttis, Avacurnis) which were compiled between the 8th and 12th centuries A. D. These commentaries serve as a repositary of many ancient, historical or semi-historical traditions and a great mass of popular narrative themes. The Jain monks delighted in adorning their sermons with the telling of stories, in converting worldly stories into legends of saints, in

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A BRIEF SURVEY OF JAIN LITERATURE.... 499 elucidating Jain doctrines by means of examples. They.exploited the inborn Indian love for stories in order to win over adherents for their religion. The narrative literature imbedded in the commentaries contains many popular themes. It contains some themes which occur also in other Indian and nonIndian literatures, and form part of the common treasury of universal literature. The commentaries on the Uttaradhyayana are remarkable for their wealth of narrative themes. The most important of these commentaries are those by Santi Suri and Devendraganin. In his commentary called Sisyahita santi Suri retells the narratives in quite a short form. Devendraganin, however, tells these stories in a leisurely manner. One of the most charming romances which Devendra has preserved for posterity is that of Muladeva and the courtesan Devadatta. (iii) Counterparts of Ramayana, Mahabharata (and Harivamsa) The Jains did not rest content with adopting popular epic themes such as the story of Krsna, the story of Draupadi, and others into their sacred literature and the commentaries on some of the sacred works, but they also wrote whole kavyas on the story of Rama and of the Kauravas and Pandavas, which were stories immensely popular among the Vedic Hindus. The oldest Jain Prakrit Kavya (perhaps of the 4th century A. D. or even later), the Paumacariya (Padmacarita) by the poet Vimala Suri is a Jain version of the Ramayana. It is in pure Jain Maharastri and in the gatha metre. The life of Padma-Padma is another name of Rama-is told in 118 cantos; they are only in partial agreement with Valmiki's Ramayana. From the contents of this Prakrit epic it is evident that Vimala Suri knew Valmiki's Ramayana. He finds fault with Valmiki for misrepresenting the true narrative of Rama and claims that his version is a faithful representation. Vimala's work served as a model for most of the Jain versions of the story of Rama presented in later works such as Padmapurana of Ravisena3 (678 A. D.), Paumacariu of Svayambhu (middle of the 8th century A. D.), Cauppannamahapurisacariya of Silacarya (868 A. D.), Mahapurana of Puspadanta (965 A. D.), Kahavali of Bhadresvara (11th century A. D.) Trisastisalakapurusacarita of Hemacandra (latter half of the 12th century A. D.) and others. Some salient features of the Jain Ramayanas may be mentioned here : Whereas the hero of Valmiki's Ramayana moves in an entirely Vedic Hindu atmosphere, in the Jain Ramayanas the religion of the Jina is very much to the fore. The Tirthankara Rsabha is glorified. The Vedic animal sacrifices are denounced and so too the priestly class. The kings are generally pious laymen who retire from the world in their old age and become Jain monks. The stories of the previous births of the heroes are told with a great wealth of detail. Sermons are inserted on the dreadful consequences of killing and of the eating

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500 STUDIES IN JAIN LITERATURE of meat with a description of hells added. The Raksasas are not man-eating demons with fearful and hideous appearances. Nor are the Vanaras animals having long tails living on fruits etc., and using their nails and teeth as weapons. They are a race of the Vidyadharas,--a class of beings endowed with many supernatural qualities, though not human beings in the correct sense of the term. They are depicted as having been highly civilized adherents to the vow of Ahimsa. The dynasty of Vidyadharas of Lanka came to be called Raksasas after the great and celebrated Vidyadhara hero named Raksasa, and also because they guarded the islands. The Vidyadharas of Kiskindhipura received the name of Vanaras because of their custom of wearing the pictures of monkeys as symbols or totems on their banners and crowns. Ravana's epithet Dasamukha is explained in a realistic way : Ravana's mother hangs around his neck a wondrous necklace of ratnas, in which his face is reflected nine times, hence his epithet Dasamukha--"The man with ten faces". The characters of Kaikeyi, Ravana, Valin, are elevated. Almost all the principal characters are represented as pious Jain laymen who retire from the world at the end and become Jain monks and attain to heaven or liberation. The version of Sanghadasa as presented in Vasudevahindi is, generally speaking, more in agreement with the Ramayana of Valmiki or the Ramopakhyana of the Mahabharata than with Paumacariya. Gunabhadra's version as found in Uttarapurana (9th century A. D.) is largely dependent on Valmiki. It contains some features which have their parallels in the Dasarathajataka and the version of Sanghadasa and some traits peculiar to the Jain forms of the story of Rama. This conglomeration of different elements gives Gunabhadra's version a new look and form. As this version of Gunabhadra has many important divergencies with Paumacariya it is regarded as forming another independent version. The Jains have their own version of the Mahabharata (and the Harivamsa) as well. The earliest version that has come down to us is the Harivassa-Purana in 66 sargas by Jinasena (783 A. D.). In this Purana not only are the stories of Krsna and Balarama told in a Jain setting, but Gautama, the pupil of Mahavira, is made the narrator of the story, and in many places sermons on the Jain doctrine are inserted. The legend of Rsabha, the first Tirthankara, is told by way of introduction, and, connected with the story of Krsna, the story of Aristanemi, Krsna's cousin, is presented. The story of the Kauravas and the Pandavas and the descendants of Balarama and Krsna is also told. The Kauravas (and Karna) are converted to Jainism. Finally, the Pandavas also become ascetics and like Aristanemi, attain to liberation.

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A BRIEF SURVEY OF JAIN LITERATURE.... 501 In early Jain works Pandavas are not given the prominence and importance which is accorded to them in the Mahabharata; nor Krsna is deified as in the Mahabharata; he is presented as a brave and noble Ksatriya hero only. The Ardhamagadhi Canon of the Svetambaras gives some information about Krsna and his clan and the Pandavas. The Vasudevahindi (not later than A. D. 609) which deals with the wanderings and adventures of Vasudeva, the father of Krsna, gives us only at the beginning a few facts of the story of Harivamsa. In a sense, the earliest complete account of the whole of Harivamsa is to be found in the Cauppannamahapurisacariya of Silanka also known as Silacarya. The work was composed in A. D. 968. It deals with all the great men ('mahapurisa'), later known as 'Salakapurusas' and is a precursor of the later and more famous Trisastisalakapurusacarita of the great Hemacandra (A. D. 1088-1172). Silanka relates the story of Aristanemi, Krsna Vasudeva; Baladeva (and the Pandavas), i.e., the Harivassa of the Jains which is a kind of their counterpart to both the Mahabharata and the Harivamsa of the Vedic Hindus. Silanka relates the story of the Harivamsa in its fully developed form, putting together the numerous incidents and events known from earlier sources. In him we observe that much of Vasudevahindi is briefly referred to, while most of the story of the Pandavas is left out. Maladharin Hemacandra Suri (beginning of the 12th century) wrote his Bhavabhavana with its commentary in A. D. 1113. The first part of the work contains a detailed life of Nemi in 4042 gathas and relates the whole story of the Harivamsa. The great Hemacandra follows Maladharin Hemacandra in his treatment of the narrative but gives more space to the lives of the Pandavas and includes the life of Nala and Damayanti in the Vasudevacarita. In about 1200 A. D. the Maladharin Devaprabha Suri wrote a Pandavacarita in 18 sargas, in which the contents of the 18 Parvas of the Mahabharata are given in a concise form, although remodelled in many of their details. The 6th sarga contains the story of the game of dice and the Nala Episode (Upakhyana)--it is here called "Story of Nala and Kubara", the latter being the name of Nala's brother--is related by Vidura as a warning example. The 16th sarga tells the story of the Jina Aristanemi and the 18th sarga relates how Baladeva attains to heaven and Aristanemi and the Pandavas attain to liberation. In the 15th century Sakalakirti and his pupil Jinadasa wrote their Harivamsa in 39 sargas. Hiralal's Catalogue (pp. 715 f., 760 ff, 768) also mentions Harivamsapurana by Ravisena, Sribhusana Dharmakirti and Ramacandra. These epics are in Sanskrit. Subhacandra wrote his Pandavapurana (also known as Jain Mahabharata) in 1551 A. D. In 1603 A. D.

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502 STUDIES IN JAIN LITERATURE Devavijaya Ganin rendered Devaprabha's epic into prose with inserted verses. Among the verses many have been taken literally from Devaprabha's epic, while many others belong to the gnomic poetry and are known from other sources. (iv) Caritas, Puranas and Mahapuranas of 63 salakapurusas The two Arsa mahakavyas, the Ramayana and the Mahabharata, and the Puranas of the Vedic Hindus have their counterparts among the lives of 63 'salakapurusas' (Great Men) that is to say the 24 Tirthankaras, and their contemporaries, the 12 Cakravartins (rulers of the world) and 27 heroes of antiquity, viz. 9 Baladevas, 9 Vasudevas and 9 Prativasudevas. The earlier Jain tradition as recorded in Samavayangasutra knows only 54 "excellent men" ('uttamapurisa'). It does not count the 9 Prativasudevas as "excellent men". The works treating of the lives of these great men are usually called 'Caritas' by the Svetambaras while among the Digambaras they go by the name of 'Puranas'. Among the earliest of these Puranas is the Trisastilaksana-Mahapurana (The Gunabhadra (9th century), containing the lives of all the 63 men. It consists of the Adipurana (dealing with the life of Rsabha, the first Tirthankara, and of the first Cakravartin) and of the Uttarapurana (describing the lives of all the remaining Great Men). The work in addition gives a "history of the world" and Jain and that is worthy of his knowledge. Thus it describes, for instance, the Samskaras (which accompany the individual from his conception to his death), the interpretation of dreams, town-planning, the duties of the warrior and the art of governing (Niti). One of the favourite stories in the Uttarapurana is that of Jivandhara, which has also been told several times by later poets. The story of the twins Kuberadatta and Kuberadatta, the children of the courtesan Kuberasena is a kind of Oedipus tragedy. Side by side with such stories there are also purely Jain legends, some of which read like historical or biographical accounts. The Caritas which relate the life of individual Tirthankaras are quite numerous. Among these, Rsabha Santinatha, Aristanemi or Neminatha, Parsva and Mahavira are especially honoured by the Jains and their lives are among the most popular themes of Jain narrative poetry. Gunacandra Ganin wrote his Mahaviracariyam (in Prakrit) in 1082 A. D. Hemacandra's Mahaviracarita (in Sanskrit) forms the 10th Parvan of his voluminous work Trisastisalakapurusacarita.

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A BRIEF SURVEY OF JAIN LITERATURE... 503 The life of Rsabha is told in the introductory sections of the Rama epics. The lives of Krsna and the Pandavas, the contemporaries of the Tirthankara Neminatha, are told in the Jain counterparts of the Mahabharata. We have more than a dozen life-stories of Neminatha. The number of poetical lifestories of Parsvanatha is very great. Jinasena, the author of Adipurana, wrote his Parsvabhyudaya in the 9th century A. D. It incorporates the entire Meghaduta of Kalidasa by inserting one or two lines from it in each verse. It serves as an example of Samasyapurana (a poetical exercise consisting of one or two lines of a stanza being given and the completion of it by the poet). The Parsvanathacaritra by Bhavadeva Suri was composed in 1255 A. D. It tells with a wealth of detail not only the lifestory of Parsvanatha in his last birth but also his previous nine births. The poet inserts in the narrative numerous stories, fables and fairytales. He also adds many gnomic sayings both on morality and on worldly wisdom. A santinathacaritra in Sanskrit verses was composed by Deva Suri in 1282 A. D. Somaprabha (latter half of the 12th century A. D.) wrote his Sumatinatha-carita in Prakrit. The work treats of the life of the 5th Jina. Some of the Caritas by the svetambara poets describe the lives of individual Jinas while some others treat of the lives of all the 63 'salaka purusas together. The Cauppannamahapurisacariya of Silanka, mentioned above, relates the lifestories of 54 great men and the 9 Prativasudevas together in one volume. Another important work of this type is the Trisastisalakapurusacarita by the celebrated Jain Acarya Hemacandra (latter half of the 12th century A. D.). It consists of ten Parvans in simple and unaffected Sanskrit. Hemacandra himself describes the work as a mahakavya. The main purpose of the work is, however, instruction and edification. The narrative is often interrupted by long instructive discourses on the subjects of dharma (religion) and morality. The doctrine of karma is illustrated by describing the destinies in the former births of each one of the salakapurusas. In the first parvan we have the life of Rsabha, the first Tirthankara in his previous births. The tenth parvan relates the Life of Mahavira. It is of some significance from the historical point of view as it supplies detailed data regarding King Srenika Bimbisara, the contemporary of Mahavira and Buddha. Hemacandra also describes in the form of a prophecy of Mahavira the ideal reign of his pious pupil King Kumarapala. The Parisistaparvan or Sthaviravalicarita i.e.,: "Appendix-Section" or

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504 STUDIES IN JAIN LITERATURE "Lives of the Series of the Elders" which forms the appendix to the Trisastisalakapurusacarita has a profusion of fairytales and stories of all kinds. While with the exception of the last two Tirthankaras, Parsvanatha and Mahavira, the personages of the Trisastisalakapurusacarita belong to mythology, the Sthaviravalicarita contains the life-stories of the Sthaviras or Theras (Elders), i.e., the disciples of Mahavira. There are many interesting parallels to be found among the stories of the Parisistaparvan not only to familiar stories from other Indian works but also to stories forming part of universal literature of the life of the 5th Jina. Laksmana Ganin composed a voluminous Prakrit poem Supasanaha. cariyam in 1143 A. D. It deals with the life of the 7th Jina. Like the Tirthankaras other holy men too have been glorified in caritras. Dharmakumara's epic Salibhadra-carita (1277 A. D.) is an instance in point. It treats of Salibhadra, a famous legendary hero, a contemporary of Mahavira and King Srenika. The work calls itself a 'Danadharma-katha' and also a Danavadana' (story of notable deeds of alms-giving). The Mahapuranas, Puranas and Caritas, are, as a rule, purely legendary and belong to the realm of mythology. The lives of Parsva and Mahavira which present many historical elements are exceptions. (v) Counterpart of BIhatkatha The Vasudevahindi of Sanghadasa mentioned above, represents the Jain counterpart of the Brhatkatha of Gunadhya, a work which ranked beside the Mahabharata and the Ramayana as one of the great storehouses of Indian literary art. It is a very extensive prose work interspersed with verses. It is less popularly styled as Vasudevacariya. It deals mainly with the wanderings and adventures of Vasudeva, the father of Krsna. At the beginning of the work we get a few facts of the story of Harivamsa. It is a great storehouse of a number of heroic legends, popular stories, edifying narratives extended over many births, and sectarian and didactic tales. Many of the narratives, such as those of Carudatta, Agadadatta, Pippalada, Sagara-princes, Narada, Parvata and Vasu, etc., which are repeated over and over again in later literature are to be found in this work almost in the same form. (vi) Quasi-historical Prabandhas The Prabandhas which deal with historical personages are also no real biographies or history. These Prabandhas contain the "life-stories" or rather stories, legends, and anecdotes associated with historical and literary

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A BRIEF SURVEY OF JAIN LITERATURE.... 505 personages-prominent patriarchs, saints, authors, royal patrons and merchant princes who helped the cause of Jains and Jainism in different contexts and centuries. Although they should not be rejected outright as unreliable historical sources they could be 'used only with great caution and circumspection. The Prabhavakacarita, "Life of the Prominent" composed by Prabhacandra or Candraprabha and revised by Pradyumna Suri in 1277 A. D., the Prabandhacintamani "Wishing-jewel of Stories" by Merutunga (1306 A. D.) and the Prabandhakosa "Treasury of Stories" by Rajasekhara (1349 A. D.) are the typical examples of quasi-historical-biographical works. Another semi-historical work is the Tirtha-Kalpa by Jinaprabha Suri (between) 1326 and 1331 A. D.). It gives a description of the Jain places of pilgrimage together with the names of their founders, the kings by whom they were restored, and also the dates. It contains a lot of legendary matter but possesses some slight historical significance as it is based on earlier sources and in part deals with events belonging to the author's own period. (vii) Dharmakathas The 'dharma-kathas' (religious romances/novels and romantic epics) of the Jain authors and poets introduce a new genre in Indian literature. These romances are never intended for giving mere pleasure or delight. They give pleasure and at the same time provide religious instruction and enlightenment. The earliest dharmakatha was Tarangavati by Padalipta Suri (2nd or 3rd century A. D.). The original has not come down to us but a later recasting of it, Tarangalola, has been preserved. This Tarangavati most probably served as a model, for Haribhadra's Samaraiccakaha (8th century A. D.), a magnificent religious romance. Haribhadra's literary glory primarily rests on this work. The poet traces the fate of a hero and his opponent through nine births. The dominant idea underlying the main narrative and most of the tales inserted in it is nidana, a special phase of karma (Bartering away one's austerities for sensual pleasures in a future birth, which are denied to him in the present one, or for revenging oneself for insults or personal injuries in the subsequent births). In the numerous stories and fairy tales and parables inserted, we come across some which we find in Indian narrative literature, and a few which belong to universal literature. Uddyotanasuri, a disciple of Haribhadrasuri of Samaraiccakaha fame wrote his Kuvalayamala, a dharmakatha' or rather a 'Sankirnakatha,' in A. D. 779. The Samaraiccakaha is centred round the motif of karma and transmigration used as a literary device : the story follows the fates of two 'Jivas' Stud.-64

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506 STUDIES IN JAIN LITERATURE (souls) connected by a nidana through nine 'bhavas' (births). Uddyotana has outdone his Guru by increasing the number of Jivas, whose histories are marked by vicissitudes in the course of various births, to five. As these histories are not connected at the beginning of the story but interlace only at a later stage and as these are not told in a systematic manner or chronological order, the plot as a whole becomes highly involved and so very difficult to follow. But for this serious defect the literary merit of Kuvalayamala is very high. It ranks high among the masterpieces of the vast Katha literature of the Jains. It presents us with valuable specimens of a number of Prakrit, Apabhramsa and Paisaci dialects. It gives a vivid and graphic picture of Indian life in the eighth century. It is important also from the point of view of the basic ethical values and its wealth of cultural data. This genre, the dharmakatha, reaches its culmination in Upamitibhavaprapanca Katha, an allegorical Sanskrit romance which presents the manifoldness of existence in a parable. It was composed by Siddharsi in 906 A. D. The poet introduces many stories and sermons in the narrative. He informs us that he chose the allegory in order to attract the readers and that he wrote in Sanskrit with a view to winning over the educated to the Jain doctrine. His language is smooth and clear. His writing reveals Prakritisms and popular expressions. This work enjoyed great popularity among the Jains. An unknown poet has worked up in his Malayasundarikatha popular fairy tale themes into a Jain legend. The work is of the nature of a romantic epic. (viii) Campus Distinct from these religious romances and romantic epics are the Campus in prose and verse imitating the style of Bana's Kadambari. Foremost among these is the Yasastilakacampu by the Digambara poet Somadeva Suri written in about 959 A. D. Poems of the same category are Tilakamanjari by the Svetambara poet Dhanapala who wrote about 970 A. D., and Gadya-cintamani by the Digambara poet Odeyadeva Vadibhasimha (beginning of the 11th century A. D.). The work deals with the famous legend of Jivandhara. This very legend forms the subjectmatter of Jivandharacampu by the Digambara poet Haricandra. (ix) Ornate Poems Like the legends of the Tirthankaras, other legends and fairy tale themes, also have been worked up into ornate epics. The Yasodharacarita by Vadiraja is an epic in four cantos. It is based on Uttarapurana of Gunabhadra. Another Yasodharacarita by Manikya Suri is based on Haribhadra's Samaraiccakaha.

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A BRIEF SURVEY OF JAIN LITERATURE.... 507 Dhanesvara's Surasundaricariam (end of the eleventh century A. D.) is a voluminous romantic epic in Prakrit. Maladharin Devaprabha's Mrgavati-caritra containing one of the versions of the legend of Udayana and his two queens Vasavadatta and Padmavati is another fairy tale epic. Caritrasundara's Mahipalacaritra (middle of the 15th century A. D.) is an ornate epic in 14 cantos. We have a few Kathanakas (lit., little stories) developed into independent works or ornate poems. The Kalakacaryakathanaka is probably based on an old tradition and possibly contains an historical nucleus. It is the story of the King's son Kalaka, who is converted to Jainism. His younger sister was abducted by Gardabhilla, ruler of Ujjayini. Kalaka incites rulers of Sakakula to go to war against Gardabhilla and conquer Ujjayini. Another noteworthy work of the Kathanaka type is the Campakasresthikathanaka (Story of the merchant Campaka) by Jinakirti (middle of the 15th century A. D.). It presents the tale of the lucky child that is saved from destruction by the fatal letter exchanged at the last moment. This tale is widely known both in the East and the West. (x) Kathakosas The Jains, who are unsurpassed in the art of story-telling, compiled various books of stories (Kathakosas) in later times. They are in Sanskrit, Prakrit and Apabhramsa languages. Some of the compilers of these stories are known while others are unknown. Some Kathakosas are already published, some others lie in the form of MSS in Jain Bhandaras. Most of them are noted in the Jinaratnakosa. A few of these Kathakosas may be noticed here : A Kathakosa (Treasury of Stories) collected by an unknown compiler is a vertiable mine of tales, some of which also belong to universal literature. The language of the tales is bad Sanskrit with verses in Prakrit. Everywhere there is a strong Jinistic tendency. For example, a seafarer's story full of wonderful adventures is transformed into a Jain legend. The last story in the Kathakosa is a curious Jain adaptation of the Nala-episode of the Mahabharata. Harisena's (Brhat) Kathakosa (931-32 A. D.) presents a series of tales which illustrate the allusions found in the Bhagavatiaradhana. The text contains over 150 stories in Sanskrit. The chief object of most of these tales is to glorify Jainism and impress on the minds of the readers the greatness of Jainism and thus propagate in the Society the religio-moral ideals upheld by Jainism. Devabhadra composed his Kathakosa (Katharatnakosa) in 1101 A. D. Religious and ethical instruction through stories is the main purpose of this composition. Subhasila wrote his Pancasatiprabodhasambandha "Book of 500 stories serving to awaken the Faith" in 1464 A. D. In spite of the title the work contains nearly 600 stories, anecdotes, legends, fables,

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508 STUDIES IN JAIN LITERATURE fairy tales, etc., some of which allude to historical personages, kings and authors of both ancient and modern times, such as Nanda, Satavahana, Bhartrhari, Bhoja, Kumarapala, Hemasuri and others. Devendra composed his Kathamanikosa (Akhyanaamanikosa) in Prakrit verses (latter half of the 11th century A. D.). Jinesvara composed his Kathanakakosa in the second quarter of the 11th century. Somacandra composed his Kathamahodadhi "The great ocean of stories" in 1448 A. D. Rajasekhara wrote his Antarakathasamgraha "Collection of various narratives" in the 14th century. The stories are written in simple Sanskrit prose, quite in a conversational style, the expression being often contaminated with vernacularisms. In many cases, the style, format and contents remind us of the Pancatantra. Some of the stories are primarily meant for instruction, ethical and religious, and others for amusement by their wit and humour. In 1600 Hemavijaya Suri wrote his Katharatnakosa "Treasury of Stories". The author informs us that some of the stories are traditional, some are imaginary, some are compiled from other sources, and some are taken from scriptures. There are 258 stories distributed over ten Tarangas. Most of them are written in simple Sanskrit prose. Some are written in elaborate Sanskrit prose; and only a few are metrical narratives. "Most of the narratives are similar to those in the Pancatantra and other books of stories of this kind, tales of the artfulness of women, tales of rogues, tales of fools, fable and fairy tales, anecdotes of all descriptions, including some which hold up Brahmanas and other holy men to scorn". As in the Pancatantra the tales are interspersed with numerous wise sayings. The tales are, however, loosely strung together. The Jain narratives are very precious as they go beyond the kings and the priests and give a picture of the real life of the Indian society in all its different classes. Salient characteristics of Jain Narrative Literature : In the various types of works, excepting some of the semi-historical works (prabandhas) certain traits arrest our attention as they are hardly noticed in other branches of Indian literature : "(i) Pages after pages are devoted to the past and future births; (ii) the inexorable law of karma plays a very conspicuous role, (iii) Sermons with dogmatic details are introduced; (iv) Parables and illustrative tales are added here and there". "The spirit of asceticism is writ large throughout the text; and almost as a rule every hero retires from the world to attain better status in the next life". (xi) Stotras Like the poets of other sects, the Jain poets have composed a large

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A BRIEF SURVEY OF JAIN LITERATURE.... 509 number of hymns (Stutis, Stotras) in praise of the Jinas and ancient Jain teachers, both in Sanskrit and Prakrit. Some of these hymns are written for particular cults; some others are meant to be appreciated as lyrical poems too. Many of the hymns are short and some are of considerable length. One of the most famous Stotras is the Bhaktamarastotra in 44 verses by Manatunga, an early poet, claimed by both the Svetambaras and Digambaras as belonging to their own sect. It is an ornate poem extolling the first Jina (Rsabha) as the incomparable saint and divinity and his name is invoked as a protection in all calamities. Another famous stotra is Kalyanamandirastotra of Siddhasena Divakara who is also claimed by both the Svetambaras and the Digambaras as belonging to their sect. It is a hymn, in 44 stanzas, to parsvanatha. It abounds in Slesas' and is quite artificial. Siddasena is credited with the writting of Dvatrimsad-Dvatrimsika "32 Sets of 32 verses each". Samantabhadra wrote his Brhatsvayambhustotra or Caturvimsatijinastavana, a hymn in praise of all the 24 Jinas, beginning with the praise of the first Jina who is here called Svayambhu (the Self-existent). There are a number of stotras in which all the 24 Jinas are praised. The most famous is the "Sobhana stuti" (Hymn of Sobhana' or alternatively 'Beautiful hymn') by the poet Sobhana (2nd half of the 10th century A. D.). Dhanapala, Sobhana's brother wrote his Rsabha-Pancasika, a hymn in honour of Rsabha, in 50 Prakrit stanzas. Though the style is artificial it does not lack in warmth and beautiful metaphors. Another noteworthy Stotra is the Vitaragastotra (A poem in praise of the Vitaraga, i.e., the Passionless one" viz., Mahavira). It consists of 20 short stavas or Prakasas (Sections) generally of 8 or 9 slokas each. The language of this poem is exceptionally simple and lucid. The Jain stotras exhibit the same form, style and characteristics as are found in the Hindu and the Buddhist stotras. Some of the Jain stotras are popular on account of religious interest but only a few are noteworthy for their religious interest as well as for their literary merit. As the glorification of Jinas and Saints does not admit of much variation in subjectmatter some stotras are artificially constructed to show tricks of language in the use of Yamaka and other figures of speech in the regular kavya style. (xii) Didactic poems Didactic poetry is instructive and mainly deals with the well-known themes of Niti (practical sagacity) and Vairagya (the mood which is based on the realisation of the futility of human effort and which leads to noble reflections on the sorrows of life). It gives poetical expression to traditional wisdom or to wisdom springing from close observation of men and manners. One of the

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510 STUDIES IN JAIN LITERATURE earliest non-canonical didactic poems is Prasnottara-Ratnamala (The JewelGarland of Questions and Answers), which has its Brahmanical counterpart ascribed to samkaracarya himself. It is written in slokas in the very simple and lucid style. The morality taught here is the general human morality. Another early work is Uvaesamala "Garland of Instructions". It consists of 540 verses containing moral instructions for laymen and monks by the poet Dharmadasa (before 9th century A. D.). The didactic poems of the Digambara poet, Amitagati are highly popular among the Jains. His Subhasitaratnasamdoha (994. A. D.) "The Collections of Gems of Beautiful Aphorisms" deals with the entire ethics of the Digambara Jains, giving rules of conduct for both householders and monks. His second great work, Dharmapariksa--"Examination of the Religion"-is a dogmatic-polemical work. It aims at instructing and converting as well as entertaining at the expense of adherents of other religions. His third book, Yogasara treats of various aspects of religion but it mainly consists of moral instructions. His Dvatrimsika (a poem in 32 stanzas) is of high ethical value. The Yogasastra of Hemacandra (2nd half of the 12th century) is one of the most important didactic poems of the Jains. "Yoga does not mean merely "meditation" or "absorption" but "religious exercise" in general, the whole "effort" which the picus must make. The work contains a complete doctrine of duties." Somaprabha's Kumarapalapratibodha (1184 A. D.) "Awakening of Kumarapala" is also an important didactic poem and a collection of tales, in verse and prose, for the most part in Prakrit, but also partly in Sanskrit and Apabhramsa. It shows how Hemacandra converted king Kumarapala to Jainism. (xiii) Anthologies The Jains have composed Anthologies which include the Subhasitas concerned with the three goals of human life, viz. dharma (morality or righteousness), artha (worldly success) and kama (pursuit of worldly pleasures). Vajjalagga by Jayavallabha (later than 750 A. D.) a Svetambara author, is of a general character and not specifically Jinistic. The Gatha-Kosa by Municandra Suri (died 1122) is a book of Prakrit verses containing remarkable sayings. Gathasahasri by Samayasundara (1630) is a comprehensive anthology. All of these "thousand stanzas" partly in Sanskrit and partly in Prakrit are compiled from the earlier works by Haribhadra. Devendra and others. Bhavavairagyasataka "A Collection of a hundred verses on complete indifference to worldly objects" is an anthology of Prakrit verses. It treats of vanity of existence, the inconstancy of all worldly goods, the wretchedness of samsara,

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A BRIEF SURVEY OF JAIN LITERATURE.... 511 etc., and recommends the Jain Dharma as the sole remedy against them. (xiv) Dramas As poets the Jains have contributed their share to the literature of the Drama. Only a few of these dramas can be described as actually Jinistic. Ramacandra (12th Century A. D.), the pupil of Hemacandra wrote eleven plays. Only four of them are so far published. They are: (1) Nalavilasa, (2) Satyahariscandra, (3) Nirbhayabhimavyayoga and Kaumudimitrananda. These plays are of moderate merit. Vijayapala (a contemporary of Kumarapala) wrote a drama called Draupadisvayamvara. In South India towards the end of the 13th century Hastimalla wrote several plays including Vikrantakaurava, in six acts and Maithilikalyana (a Rama-Sita-drama) in five acts. Yasascandra (first half of the twelfth century A. D.) wrote his drama called MudritaKumudacandraPrakarana--"The Drama of Kumudacandra who was silenced", in five acts. It is a genuine Jinistic drama. It describes the defeat of the. Digambara teacher Kumudacandra by the Svetambara teacher Devasuri in a controversy. The Jain poet Jayasimha Suri wrote in the 13th century his play Hammiramadamardana (The Breaking of the Pride of Hammira). This play depicts in five acts Viradhavala's conflicts with the Mleccha ruler Hammira (Amir Shikar), Vastupala's skill in diplomacy and the repulsion of the Muslim invasion of Gujarat. The main incident is historical. In this play the playwright makes a sustained attempt to write a drama of martial and political strategy. The drama as a whole is however of mediocre merit. Yasahpala wrote an allegorical drama (between 1229 and 1232 A. D.) MohaRajaParajaya, "The Defeat of King Delusion", in five acts in which the conversion of King Kumarapala to Jainism by the famous Acarya Hemacandra and the King's marriage with Krpasundari, a real personage who is depicted as the incarnation of Beautiful Compassion are presented. The title of the play itself indicates the influence of Krsnamisra's Prabodhacandrodaya ("The Moonrise of True Knowledge"). There is some historical interest in the delineation of the activities of Jainism and Kumarapala's beneficent regulations. Its literary merit is, however, not high. Ramabhadra Muni wrote a Prakarana called PrabuddhaRauhineya (end of 12th century or the 13th century). In six acts it dramatises the Jain story of the misdeeds, incarceration and penitence of a robber, named Rauhineya. The plot, however, is meagre and the play is wholly undramatic. (xv) Jain Philosophy The number of the purely erudite works on the dogmas of Jainism, on

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512 STUDIES IN JAIN LITERATURE philosophy, and on logic is indeed great. Here some of the more important and popular works only are briefly surveyed. The Jains play a significant part in the history of Indian philosophy with their doctrines of Anekantavada and, its corollaries, Syadvada and Nayavada which are found in germ in the canonical literature. The Tattvarthadhigamasutra, "The Manual for the Understanding of the True Nature of Things", of Umasvati, according to the Svetambaras, or Umasvamin, according to the Digambaras, treats of the dogmas, logic, psychology, cosmography, ontology and ethics of the Jains in a systematic sutrastyle in Sanskrit and serves to date as an excellent summary of Jain dogmatics. These topics are explained by him in his own Bhasya on it. The Svetambaras as well as the Digambaras claim the author as their own, a fact which indicates that he belongs to a period when the gulf between the two sects was not wide. The work has been commented upon by both Svetambaras and Digambaras. The large number of commentaries including those of eminent teachers like Siddhasena, Pujyapada Devanandin, Akalanka and Vidyananda bear testimony to the great popularity of the work. Kundakunda (2nd half of the 1st century BC according to tradition but latest researches of modern scholars place him later than Umasvati who is assigned to 3rd or 4th century A. D.) is credited with the authorship of many texts. If Umasvati was the first writer to compose his Tattvarthadhigamasutra in Sanskrit and in the sutra style, Kundakunda was the first writer to compose all his works in Prakrit in the argumentative style. To him goes the credit of supplying the Digambaras, the long-felt need for a Secondary or Substitute Canon. Three of his most important works viz. Pancastikaya, Pravacanasara and Samayasara are, on the analogy of the Prasthanatrayi of the Vedantins, known as Prabhrtatrayi or Nataka-trayi, "Trilogy of Treatises or Dramas". The first consists of two parts. The first one contains an exposition of the five 'astikaya's (Magnitudes) 1. Jiva (souls), 2. Pudgala (Matter), 3. and 4. Principles of Motion and Rest and 5. Akasa (Space). The second one treats of the path to salvation (moksa). Pravacanasara is a much prized book and contains an "Exposition of the truth as to Knowledge, as to the Knowable and hints on Conduct. Samayasara deals with the "Kernel or Essence of the Doctrine". This work is studied with devotion by Digambaras, Svetambaras and Sthanakavasins alike. Niyamasara is a work on the discipline to which the seeker after liberation must submit himself. It gives an exposition of and discussion on three jewels which necessarily form the path of liberation. Vattakera (of an early age) wrote his Prakrit works Mulacara (The Conduct of Jain monks) and Trivarnacara (The conduct of pious Jains).

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A BRIEF SURVEY OF JAIN LITERATURE... 513 According to his commentator it was the intention of Vattakera to give in his work a brief summary of Acaranga for his pupils. Karttikeya Svamin (of an early age) wrote Karttikeyanupreksa treating in twelve chapters of the twelve Anupreksas (meditations), to which both the layman and the monk must devote themselves in order to get rid of Karma. These are reflections on the transitoriness of all things, the helplessness of all beings and other topics. In Chapter 12 the author sets forth the duties of laymen and monks. The work enjoys a great reputation among the Jains. Siddhasena Divakara, like Umasvati, is claimed by both Svetambaras and Digambaras as one of their own. He is said to have written 32 Dvatrimsikas (sets of 32 verses each), 21 of which are available. Logic was combined with metaphysics and religion in the ancient writing of the Jains as in those of other religions in India. He is the first Jain writer on Pure Logic; the work is called Nyayavatara. He is the famous author of Sanmati or Sammatitarkasutra, which is a Prakrit work on Philosophy mainly dealing with the various nayas, Anekantavada and the problem of the difference and sameness of jnana and darsana and the principles of logic. Samantabhadra's work is entitled Aptamimamsa in which the doctrine of Syadyada is explained. His Ratnakarandasravakacara is a manual of conduct for the householder, in 150 Sanskrit verses. Next to him, Akalanka wrote his commentary "Tattvartharajavarttika' on Tattvarthadhigamasutra and Astasati a commentary on Aptamimamsa. He is also the author of works on logic, Nyayaviniscaya, Laghiyastraya and Svarupasambodhana. Akalanka ably refuted the great Buddhist logician Dharmakirti and his pupils Dharmottara and Prajnakara and firmly established the Jain view of the two pramanas : pratyaksa and paroksa. Vidyananda wrote his commentary Astasahasri on Astasati and Tattvarthailokavarttika on Umasvati's work. Pramanapariksa and Aptapariksa are his independent works. Manikyanandin wrote his Pariksamukha, a work on logic and Prabhacandra wrote his famous work on logic, Prameyakamalamartanda, a commentary on Pariksamukha. Among the Svetambaras, besides Umasvati, mention must be made of the celebrated Haribhadra who wrote many works on general philosophy and the Jain doctrine. In his Saddarsanasamuccaya he treats of the six philosophical systems of Buddhism, Nyaya, Samkhya, Vaisesika, Jaimini and Carvaka and devotes only one short section to Jain metaphysics. In Lokatattvanirnaya he undertakes investigation of the True Nature of the World. He wrote a commentary on Dignaga's Nyayapravesa. His two works-Yogabindu and Yogadrstisamuccaya--contain an exposition of the Jain doctrine of Yoga. The Stud.-65

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514 STUDIES IN JAIN LITERATURE Anekantajayapataka and the sastravarttasamuccaya are perhaps the most important of his works. Amrtacandra wrote some independent works on philosophy and commentaries on Kundakunda's works (beginning of the 10th century). In 933 A. D. Devasena wrote two works Darsanasara (A manual of the Digambara faith) and Sravakacara (A manual of rules of life for the householder). These works are written in Prakrit verses. Nemicandra, a very learned Digambara writer, wrote his Dravyasamgraha in Prakrit verses. It deals with jiva, ajiva, moksa, meditation, etc. Gommatasara is a voluminous work giving an exposition of the Essence of Jainism for Gommataraya (better known as Camundaraya, the famous minister and general of the Ganga, princes, 10th century A. D.). The great Hemacandra (12th century A. D.) wrote his Pramanamimamsa4 an excellent text on logic and Dialectics. Vadidevasuri's Syadvadaratnakara is also a noteworthy contribution to Jain Logic and Philosophy. Another valuable contribution to this subject is Mallisena's Syadvadamanjari written in chaste Sanskrit. It frequently levels criticism at other philosophical systems. Finally we must make a mention of Yasovijaya (1624-1688 A. D.), a prominent Jain teacher, reformer and author. The credit of presenting Jain doctrines (Anekantavada and others) in navya-nyaya style goes to this great and gifted scholar. To sum up, "There is in fact, hardly any branch of Sanskrit literature which is not enriched by the Jains. They have composed grammars, lexicons, works on poetics, dramaturgy, metrics, mathematics and poems and plays, stories and stotras, campus, caritas, puranas and mahapuranas. In the sphere of Nyaya literature they have produced eminent Nyaya works either as commentaries or independent treatises giving exposition of Jain doctrines in the context of contemporary controversies both in the Southern and Western India. They specially preserved and developed the Prakrit (and Apabhramsa) languages and literature. They also cultivated and promoted the development of Tamil, Telugu, and Kannada, and also enriched Gujarati, Hindi and Marvari. The achievements of the Jains in the secular sastras are indeed glorious especially when we remember that they form a small minority in the whole of India. They occupy, all would agree, an important position in the history of Sanskrit and Prakrit literature and Indian thought". THE DOCTRINES OF JAINISM (i) The World Uncreated The Jain God is only the highest, the noblest, and the fullest manifestation

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A BRIEF SURVEY OF JAIN LITERATURE.... 515 of all the powers which lie latent in one's soul-the embodiment of infinite darsana (right faith, vision) jnana (Knowledge), virya (Energy) and sukha (Bliss). It does not accept the popular notion of God as one who creates, protects and destroys the world, who bestows reward and gives punishment and thus intervenes in the affairs of the world. The world is eternal without a beginning or an end. It is made up of six dravyas (substances) which are uncreated and indestructible. These are : (1) jiva (Soul) characterised by consciousness (2) pudgala (Matter) which is devoid of consciousness and which can be touched, tasted, seen, and smelt (3) dharma (Principle of Motion) (4) adharma (Principle of Rest) (5) akasa (Space) which includes our universe and the Beyond (loka and aloka). The five substances are found in the universe only. (6) Kala (time) is the cause or circumstance of the modification of soul and other substances. (ii) The Five Astikayas Of these, the first five are called astikayas (Magnitudes) having constituent parts. Time is the only continuous substance which does not consist of many pradesas (space-points). It has only one pradesa. Hence it is not included among the astikayas (Magnitudes). (iii) Eight Kinds of Karma The most important among these magnitudes are the following two : Soul and Matter. The other four dravyas are a sort of setting for these two. Matter is moulded by the soul. The connection of these two is material and beginningless, and it is caused by the soul's activity. The karma binds the soul to the samsara. The eight kinds of karma are: (1) Jnanavaraniya, that which obscures knowledge (2) Darsanavaraniya, that which obscures faith or intuition (3) Antaraya--, that which obstructs the inborn energy of the soul (4) Mohaniya-, that which deludes or infatuates. These four are called ghati-karmas (destructive karmas). (5) Nama, determines the character of one's body, one's size, complexion height, etc., (6) Ayuh-, determines the duration of existence (7) Gotra , determines the high or low family and nationality (8) Vedaniya-, produces pain or pleasure. The last four are called aghati (non-destructive) karmas. (iv) Lesyas Another doctrine connected with the karma-theory is that of the six lesyas. The karmic influx into the soul gives it a colour or tint which cannot be perceived by our eyes. There are six suck colours : black, blue, grey, red, lotuspink and white. They have a moral bearing for the lesya indicates the character of the individual who owns it. The first three belong to bad characters

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516 STUDIES IN JAIN LITERATURE and the last three to good characters. (v) The Seven Tattvas (Principles) The seven principles of Jainism are : (1) the soul (jiva) (2) non-soul (ajiva), (3) influx of karma (asrava), (4) bondage of karma (bandha), (5) stoppage of karma (samvara), (6) shedding of karma (nirjara), and (7) liberation (moksa). When the soul, which is tied to the samsara, stops the karmic influx by practising self-control (samyama), and destroys the already accumulated karma by means of tapas and finally sheds off all kinds off karma and is completely freed from karma, it attains the highest goal of moksa. In the condition of moksa the soul attains to its natural condition and enjoys perfect faith, knowledge, power and bliss. (vi) The Nine Padarthas (Categories) The above seven tattvas together with merit (punya), and demerit (papa) constitute the nine Padarthas (Categories) of Jainism. Punya is meritorious deed and papa, sinful deed. JAIN LOGIC According to the Vedic Hindus Being is permanent, absolute and uniform. The Buddhists on the other hand insisted on the transitoriness of all things and regarded existence as a mere succession of originating and perishing. The Vedic Hindus and the Buddhists entertained opposite opinions on the problems of Being because they approched it from two different standpoints. The Jains maintain a distinct position apart from both the rival systems : Being is connected with origination, annihilation and continuation or stability or permanence. They call their theory the theory of non-absolutism (anekantavada) in contradistinction to the theory of permanency of the Vedic Hindus and to the theory of transitoriness of the Buddhists. The Jain view comes to this : existent things are permanent and unchanging only as regards their substance; but their qualities and modifications originate and perish. A material thing continues to exist for ever as matter; but this matter may assume any modification and quality. Thus clay as substance may be regarded as permanent, but the form of a jar of clay, or its colour may come into existence and go out of existence. To take another instance, the atoms of which gold is inade are permanent and unchanging, but its form as a chain or a ring or a bangle originates and perishes. This is the case with everything that exists. The significance of this doctrine comes out more clearly when we regard it in relation to the doctrines of Syadvada and the Nayas.

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A BRIEF SURVEY OF JAIN LITERATURE.... 517 The idea underlying the Syadvada is briefly this : Since the nature of Being is intrinsically many-sided and made up of the contradictory attributes of origination, annihilation and permanence any proposition about the existing thing must somehow reflect only one of the many modes of Being. In other words, any metaphysical proposition is right from one point of view, and the contrary proposition is also right from another. We must however bear in mind that according to the Jain logic the doctrine of Syadvada is not applicable to absolute non-entities such as the sky-flower and rabbit's horns but only to existing reals. There are, according to this doctrine, seven forms of metaphysical propositions, and to emphasize this fact of relative predication the word 'syat' which means 'may be' 'somehow' (kathamcit) or 'from one point of view is prefixed to the predication. In order to speak of something in relation to its own substance, locality, time or mode, asti (affirmation) is needed, while in relation to another substance, locality, time or mode nasti (negation) is needed. If both the aspects are to be spoken of, then both asti and nasti are to be used, but one after another. Again, if both the aspects, affirmative and negative, in the same predication, are to be expressed, it becomes inexpressible (avaktavya). These are the four initial modes of predication in saptabhangi. By attaching the forth term avaktavya to each of first three, we arrive at the seven modes of predication : asti, nasti, astinasti, avaktavya, asti-avaktavya, nasti-avaktavya, and asti-nasti-avaktavya. Thus a man is the father, and is not the father, and is both, are perfectly intelligible statements if we understand the point of view from which they are made. In relation to a particular boy he is the father; in relation to another boy he is not the father; in relation to both the boys taken together he is the father and is not the father. Since both ideas cannot be conveyed in words at the same time he may be called indescribable; still he is the father and is indescribable and so on. The purpose of these seeming truisms is to guard against ekantavada, to accommodate in a harmonious manner different points of view of different perceiving minds and thus to promote an attitude of genuine tolerance and openmindedness. There is yet another approach to the proper understanding of things; and it is that of nayas. The nayas are ways of expressing the nature of things; all these ways of judgment are, according to the Jains, one-sided and partially true. There are seven nayas. The reason for this variety is that 'Sat (Being) is not simple but is of complicated nature. Therefore every statement and every denotation of a thing is necessarily incomplete and one-sided. There are the following seven nayas described by the Jains : (1) naigama-naya takes a co-ordinated view of things, (2) sangraha-naya is concerned with generalisation; (3) Vyavahara-naya is

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518 STUDIES IN JAIN LITERATURE concerned with particularization; (4) rjusutra-naya is concerned with a specific point or period of time; (5) sabda-naya is concerned with the usage of language and grammar; (6) samabhirudhanaya ignores derivative significance of words and deals with conventional meaning; and lastly, (7) evambhutanaya is concerned with the derivative sense and significance of words. Of these, the first three are grouped under dravya-naya, and the last four under paryaya-naya. JAIN ETHICS Jain ethics has for its end the realization of moksa (liberation). Right faith, right knowledge and right conduct, known as ratna-traya (the three jewels) together constitute the path leading to liberation. According to Jain ethics, there are two courses of conduct or moral discipline, one prescribed for the householder and the other for the homeless monk. Five anuvratas, three gunavratas and four siksavratas, in all 12 constitute the chief vows of a householder. The five vows of the Jains are : 1. ahimsa (not to kill), 2. satya (not to lie), 3. asteya (not to steal), 4. brahmacarya (to abstain from sexual intercourse), and 5. aparigraha (to renounce all interest in worldly things, especially not to possess property). Householders are to observe these vows as far as their conditions permit. That is why they are called anuvratas (minor vows). Thus for instance ahimsa is to be observed thoroughly without any exception or concession by a Jain monk; but a Jain houseliolder refrains only from intentionally killing living beings, whether for food, pleasure, gain or any such purpose. And so it is also with the other four vows. Their rigour is considerably less severe in the case of householders. The three gunavratas are special vows relating to the limitation and determination of his daily work, food, and enjoyment : (1) digvirati : he may limit the distance up to which he will go in this or that direction (2) anarthadandavirati : he may abstain from engaging in anything that does not strictly concern him, and (3) upabhogaparibhoga-parimana : he may set a limit to his food, drink, and the things he enjoys, besides avoiding gross enjoyments. The four siksa-vratas (disciplinary vows) are : (1) desavirati, reducing the area in which one will move (2) samayika, selfcontemplation and purification of one's ideas and emotions by sitting down motionless and meditating on holy things (3) pausadhopavasa observing fast on the 8th, 14th or 15th day of the lunar fortnight, at least once a month and (4) atithisamvibhaga, sharing food with guests, including providing the monks with what they need. Most of these vows for householders are intended to be practised in a measure and for some time without obliging them to renounce the world altogether. The state of a householder was preliminary and preparatory to the state of a homeless monk as would be evident from the similarity of their religious

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A BRIEF SURVEY OF JAIN LITERATURE.... 519 duties, differing not in kind, but in degree. The five anuvratas are preparatory as they are meant to prepare him for observing mahavratas. The discipline laid down for the householder is intended to liberate him from the domestic ties which bind him to his wife and children to his land and wealth. After completing the period of probation as it were, he quits the house, embarks upon the mahavratas which he observes strictly without any exception or concession. He disciplines his body and mind by overcoming 22 parisahas (troubles and sufferings, such as hunger, thirst, cold, heat, etc.). He observes five samitis, carefulness in walking (irya-for example, he avoids injury even to insects), in speech (bhasa, for instance, he avoids censure of others, self-praise, talk about women, etc.); while on his begging tour (esana samiti) he accepts food free from all impurities; he observes carefulness in taking up and placing his things (adana-niksepana) and in answering call of nature (uccara-prasravana). He cultivates 28 mulagunas, fundamental qualities, as are expected of a monk, and goes through 14 gunasthanas (stages of spiritual progress) and ultimately becomes a siddha, a soul liberated from the cycle of birth and death for all timess. Now, regarding the present anthology of selections from Jain texts : The Sahitya Akademi asked me to compile and edit a selection from Jain texts. As the Jain literature is vast and varied and the Jain texts are composed in Prakrit, Sanskrit and Apabhramsa languages, I wrote to the Sahitya Akademi seeking elucidation as to the scope for my anthology. I was informed that in the Sahitya Akademi Anthology Series, the Kavya, Nataka and Subhasita volumes include selections from poems, plays and Subhasitas from Jain writers and therefore I might leave out poems, plays, Alankara and Natya works and also general Niti and didactic works and that I might also leave out technical works like Mathematics, and that I might deal with Prakrit and Sanskrit Jain texts in Agama, Logic and Metaphysics, religious discipline, Puranic Literature on Tirthankaras and so on. Keeping the above guidelines in mind an attempt has been made in this anthology, to select the extracts in such a way as to cover some of the most important Jain texts in Prakrit and Sanskrit languages both of the Svetambaras and the Digambaras, the two principal sects of the Jains. The passages picked out are not necessarily the best but it is hoped that they very well illustrate the quality and variety of the Jain literature briefly surveyed in the Introduction. In conclusion, I tender grateful thanks to Prof. Dalsukhabhai D. Malvania for his valuable suggestions regarding the general plan of the anthology and to the authorities of the Sahitya Akademi for giving me an opportunity to compile this Anthology and for publishing it.

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520 STUDIES IN JAIN LITERATURE Notes and References : 1. Tava-niyama-nana-rukkham arudho kevali amiyanani | To muyai nana-vutthim bhaviya-jana-vibohanatthae || Tam buddhimaena padena ganahara ginhium niravasesam || Titthayara-bhasiyaim gamthamti tao pavayanattha 11 Atthai bhasai araha suttam gamthamti ganahara niunam | Sasanassa hiyatthae tao suttam pavattai || -Avasyaka-niryukti : 89-90, 192. 2. The Sthanakavasins, a recent sect of the Svetambaras accept 11 angas and 21 angabahya texts as authoritative. For details of these 21 texts vide Agama-yuga Ka Jain Darsana, (p.25) by Pt. Dalsukha Malvania. 3. In fact, Padmapurana is merely an enlarged recension of Paumacariya in Sanskrit, agreeing with it in all essential points. 4. Besides this work he wrote a complete Sanskrit and a Prakrit grammar, two Sanskrit Dictionaries (Abhidhana-cintamani and Anekarthakosa), a Dictionary of peculiar Prakrit words (Desinamamala), manuals of Poetics and Metrics (Kavyanusasana and Chando'nusasana), An Exposition of Ethics and of Yoga (Yogasastra). The counterpart of Ramayana and Mahabharata (Trisasti-salakapurusa-carita) and a number of minor treatises. In addition he composed detailed commentaries on most of these works and illustrated his theoretical rules in two poems, a Sanskrit and a Prakrit one, both called Dvyasrayakavya. Hemacandra's strength lies in encyclopaedical work. He has preserved enormous mass of varied information which he gathered from original sources, mostly lost to us. This circumstance makes his works highly valuable for philological and historical research. 5. In writing this Introduction I have made free use of the works of the authors mentioned herebelow and I gratefully acknowledge my deep indebtedness to them : (i) A History of Indian Literature by M. Winternitz. Vol. II, published by the University of Calcutta, 1933. (ii) Studies In Jainism by Dr. H. Jacobi, ed. by Jina Vijaya Muni, Gurjar Grantharatna Karyalaya, Gandhi Road, Ahmedabad, 1946 A. D. (iii) The Cultural Heritage of India, Vol. I. The Ramakrishna Mission Institute of Culture, Calcutta, 1958. (iv) Outlines of Jainism by J. Jaini, Cambridge, at the University Press, 1940. (v) H. Jacobi's article on Jainism in Encyclopaedia of Religion and Ethics, Vol. VIII. (vi) Brhat Kathakosa of Acarya Harisena ed. by Dr. A. N. Upadhye, Pub. by Bharatiya Vidya bhavan, Bombay, 1943. (vii) Kahanaya-Tigam (A Prakrit Reader), ed. by Dr. A. M. Ghatage, Pub. by Bharata Book Stall, Kolhapur, 1951. (viii) Jain Sahitya Ka Itihasa (Purva-Pithika) by Pt. Kailashchandra, Varanasi, 1963. ODO

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INDIAN NARRATIVE LITERATURE : A STUDY Keith in his well-known work, A History of Sanskrit Literature, deals with the katha literature in Sanskrit and Prakrit. In chapter XI he treats of the didactic fable (the Pancatantra, its derivative forms and the Hitopadesa); in chapter XII on the Brhatkatha and its descendants (Brhatkathaslokasamgraha of Budhasvamin, the Kashmirian Brhatkatha, Ksemendra's Brhatkathamanjari and Somadeva's Kathasaritsagara); in chapter XIII, of the romantic and the didactic tale-the former touching upon the Vetalapancavinsika, the Sukasaptalti and the Simhasanadvatrimsika, and the latter mentioning the Parisistaparvan a supplement to his epic Trisastisalakapurusa-carita by Hemacandra, the Upamitibhavaprapanca katha of Siddharsi, the Campakasresthikathanaka and the Palagopalakathanaka of Jinakirti; in chapter XIV of the great romances covering the Dasakumaracarita of Dandin, the Vasavadatta of Subandhu, the Harsacarita, the model of an akhyayika and the Kadambari, the model of a katha, the two famous works of Bana; and in chapter XV, of the later romances-Dhanapala's Tilakamanjari and Vadibhasimha's Gadyacintamani (and campus) Early writers on poetics deal with the salient features of a katha and an akhyayika, two principal types of prose works but do not take note of other types of prose writing. It is only later alamkarikas like Abhinavagupta, Bhoja, Hemacandra, etc., who define and illustrate upakhyana, akhyana, nidarsana, etc., and sub-varieties of katha like khandakatha, sakalakatha, etc. Anandavardhana and Abhinavagupta, it would seem, take note of only two types of Prakrit kathas : Khandakatha and sakalakatha. Prakrit writers like Haribhadra, Uddyotanasuri treat of some more types of kathas in Prakrit. Leaving aside great works like Brhatkath, and its descendants and wellknown works of Dandin, Subandhu and Bana we notice herebelow the descriptions or definitions of the various types of kathas noted by Prakrit writers of eminence and Sanskrit writers on poetics. Stud.-66

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522 STUDIES IN JAIN LITERATURE (A) Katha and its varieties as given in Prakrit Works According to the Sthananga-Sutral, katha has three varieties : 1. arthakatha, 2. dharmakatha and 3. kamakatha, whereas vikatha has four : 1. stri-katha, 2. bhaktakatha, 3. desakatha and 4. rajakatha. Each of these four is further sub-divided into four varieties. Further on, sutra 569 declares that there are seven vikathas and adds to the above four varieties the following three vikathas : 5. mrdukarunika, 6. darsana-bhedini and 7. caritra-bhedini. Sthananga (sutra 282) divides katha (or better dharmakatha) into four sub-varieties : 1. aksepani (aksepini), 2. viksepani (vi-ksepini) 3. samvegani (or samvejani) and 4. nirvejani (or nirvedani)4. According to the Vasudevahindi the katha is twofold : 1. carita (narrative based on tradition, biography, life) and 2. kalpita (work of imagination, fiction, invention). Carita is twofold : narrative of life of a woman or of a man. Carita is : whatever is seen, heard or experienced with regard to the achievement in the field of the three ends of human life, (dharma (virtue, sacred law or duty), 2. artha (wealth) and 3. kama (pleasure). But whatever is opposite of this, i.e., whatever is invented by the poet or story-teller and added to what has been told by the wise is called kalpita. Men and women are known to be : 1. uttama (exalted, excellent). 2. madhyama (middlemost) and 3. nikrsta (low or vile or debased). Narratives based on their lives (caritas) too are of the same kinds. Haribhadrasuri in his Introduction (bhumika) to his own Samaradityakatha informs us that according to the view of the ancient acaryas the subjectmatter of a story may relate to (1) only divine characters or (2) divine and human characters together or (3) all human characters. A story in general could have four : (1) wealth (artha)-playing a predominant role, or (2) love (kama)-playing a predominant role, or (3) religion--virtue, duty--(dharma). playing a predominant role. A mixed (misra or samkirna) story is the fourth type? A wealth story is one which has wealth as its predominant subjectmatter and which deals with war-fare, sending of letters, agriculture, trading and mechanical arts, the use of alchemy, making of alloys, etc., the use of expedients like conciliation (sama), dissension (bheda), bribery (upapradana) and punishment (danda)'. A love story treats of beautiful forms, proficiency in arts, which has for its essence respectful reception and union accompanied with horripilation caused by love, and which describes the activities of (maiden messengers or) gobetweens, amours and propitiation etc.

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INDIAN NARRATIVE LITERATURE : A STUDY 523 A religion (virtue, duty) story is one which has dharma for its principal theme, which treats of virtues like forgiveness, humility, straightforwardness, freedom from greed, self-control, truthfulness, purity, non-possession, celibacy and other religious matters like the five lesser vows, etc10. A mixed (samkirna) story is one which deals with all the three human ends of life--dharma, artha and kama in sutras and kavyas and is told in public (while reciting Ramayana etc.) in Vedas (in the course of performing a sacrifice) and in samaya (Tarangavati, etc.) and which is accompanied with illustrations and cause-effect relations! As distinguished from katha there is vikatha. It is so called because it is devoid of the distinguishing features of the katha (story) or because it is opposed to the katha and deserves to be shunned. (sutra 282) The four types of vikatha, as listed in Sthanarga (sutra 282), are quite easy to follow; a story or talk about (1) women, their charms, etc., (2) foodhow delicious' ! 'how tasty the food is', etc., (3) country or region or place 'how lovely' ! 'how beautiful it is !', etc., and (4) about the king or ruler of the land. The additional three, mentioned in Sthananga Sutra (569), mean : (5) a vikatha which is marked by tenderness and pity or compassion. (6) a vikatha which adversely affects one's right faith and (7) a vikatha which adversely affects one's right conduct. The Dasavaikalikasutra-niryukti (gatha no. 207) lists the following vikathas : 1. strikatha, 2. bhakta-katha, 3. rajakatha, 4. cora-janapadakatha, 5. nata-nartaka-jalla-mustika-katha. The first three types have already been explained. 4. talk about a thief-'a thief was caught today', 'he was thus hurt or oppressed'; talk about a janapada-that a particular region or place is so lovely, etc. and 5. talk about an actor, a rope-walker or (a person doing tight ropewalking) a rope dancer, or a wrestler. Uddyotanasuri (in his Kuvalayamala, 779 A. D.) lists five types of stories : 1. sakalakatha, 2. khandakatha, 3. ullapakatha, 4. parihasakatha and 5. samkirnakatha. The sakalakatha ('entire story) follows its hero through a series of lives. The working out of actions and their results through several lives of the hero forms its subjectmatter. It is, as the name suggests, of very great length. Hemacandra gives Haribhadrasuri's Samaradityakatha (8th century) as its example. The khandakatha ("short story) narrates an episode from a long narrative which is already known through some other work. Hemacandra gives

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524 STUDIES IN JAIN LITERATURE Indumati as its example. This work, however, is not extant. Both these types of katha are known to be written in Prakrit only. The Ullapakatha deals with a voyage or love between a young man and a young woman which demands adventures on their part. The parihasakatha is 'an amusing story The samkirnakatha is one which is distinguished by the characteristics of all the types of katha, which is charming with its erotic sentiment, which has its various constituent parts well-knit and which delights (the readers) with the display of knowledge of various arts. Uddyotanasuri declares that this samkirnakatha is threefold : 1. dharmakatha, 2. arthakatha and 3. kamakatha. The samkirnakatha is marked by all distinguishing features and, shows at the end the attainment of all the three ends of human life (trivarga : dharma, artha and kama). It deserves notice that as against the Dasavaikalika-niryukti which gives all the four dharma-katha, etc., as the four types of katha, the Kuvalayamala gives the three dharma-artha and kama-kathas as the three kinds of the samkirnakatha 12. Like Haribhadrasuri Uddyotansuri too gives the four sub-types or sub-varieties of the dharmakatha and briefly yet lucidly explains them. Tatra akkhevani mano'nukula, vikkhevani manopadikula, samveyajanani nanuppattikaranam, nivveyajanani puna veragguppatti "Of the four varieties, the first uksepani is pleasant or agreeable to the mind, the second viksepani, unpleasant or disagreeable to the mind, the third samvegajanani is the mother of, that is, the source or cause of right knowledge and the fourth nirvedajanani is the mother of that is, the cause of vairagya, indifference to worldly objects and to life. (B) Katha and its Varieties as given in Sanskrit Works on Poetics. We are not here interested in the main literary forms--akhyayika (Biography, e.g. Bana's Harsacarita), katha (Novel, e.g., Bana's Kadambari and campu (a literary composition in mixed prose and verse, e.g., Trivikrama Bhatta's nalacampu) but katha (short story) used in the general sense. Hence it would be proper for us to leave out of consideration here the great Brhatkatha of Gunadhya. Bhoja in his Songaraprakasa (Chapter Eleven) and Hemacandra, following Bhoja almost word for word, in his Kavyanusasana speak of the following sub-varieties of katha.

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INDIAN NARRATIVE LITERATURE : A STUDY 525 1. upakhyana, 2. akhyanaka (or akhyana), 3. nidarsana, 4. pravahlika, 5. manthulli (or manthallika) 6. manikulya, 7. parikatha, 8. khandakatha 9. upakatha. 10. Bhoja has omitted sakalakatha but Hemacandra has added it. Of these ten varieties, upakhyana and akhyana really belong to Tradition (History-Itihasa). Since Bhoja and Hemacandra have mentioned them as varieties of sravya kavya (katha), all these ten varieties may briefly be treated here : 1. Upakhyana (an episode) : That which occurs in the midst of a long literary composition and gives an account for enlightening some one else is called upakhyana. For example, the Nalopakhyana in the Mahabharata. 2. Akhyana : The upakhyana gets the name akhyana when a reciter (granthika) relates or narrates or expounds it by reciting, acting / gesticulating, and singing. Govindakhyana is an example. 3. Nidarsana : (Which literarly means 'illustration', 'example', or 'lesson') is a 'didactic fiction either direct or couched in parable'. It teaches through the actions or behaviour of animals or of men what is proper or improper to be done. (It is predominantly in prose). Its exainples are the famous Pancatantra, Dhurtavita (samvada), Kuttanimata and the like. 4. Pravahlika : Is that composition which is presented in an assembly as a dialogue between two persons in a mixture of Sanskrit and Prakrit discussing the merits etc. of the hero (pradhana). Its example is Cetaka--which is no longer extant. 5. Manhulli (or Manthallika) : is a ksudrakatha (short story) in Maharastri Prakrit as exemplified by two such stories (now lost), called Gorocan, and Anangavati. The titles are possibly the names of their heroines. Or, it may be a humorous story making fun of priests, ministers and hermits who undertake something but do not succeed in carrying it out.

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526 STUDIES IN JAIN LITERATURE 6. Manikulya : Is a story with mystery, the secret of which is revealed at the end. Its example is Matsyahasita (the laughter of a fish, or 'A laughing fish)'. No work of this name is available or extant. V. Raghavan observes : "...Manikulya, which is a mystery story, on the face of which one may not be able to see anything...it (matsyahasita) is the name of a story in a work or rather or a theme or motif." He further refers to two laughing fish' stories in other works : "Both are concerned with a secret affair of a queen, exposed by a clever person who penetrates the meaning of the laughter of a dead fish provoked by the absurdity of human behaviour (see e.g. Kathasaritsagara I, taranga 5; 14ff)"13 7. Parikatha : Is a new type of story heard for the first time in Anandavardhana's Dhvanyaloka (III.7. Vrtti, p.325). Anandavardhana is of the opinion that in regard to the composition of parikatha there is no specific rule regarding its samghatana-(texture, collocation). The simple reason behind this freedom is : in parikatha there is just a narration of the story and no intention at all of depicting sentiment. Abhinavagupta in his Locana (p.324) defines it as follows : "Parikatha is the narration of numerous anecdotes one after another in a variety of ways to inculcate one of the four purusarthas, dharma (virtue) and the like14." Bhoja defines it as follows : "That is called parikatha wherein "experts in narrating stories compete in the art one after another desiring to outshine each other by narrating a story each 15." Its example is a story called Sudraka. This Sudraka (parikatha) is lost. Nor any other work of the type of parikatha is now available. With reference to Keith's statement "He (Sudraka) is later the hero of a parikatha (The Sanskrit Drama, p. 129, f.n.4)", V. Raghavan remarks : "Dr. Keith says...that Sudraka is later the hero of a parikatha, the Sudrakavadha on the authority of an article on Rayamukuta... All the rare kavyas mentioned by Rayamukuta are borrowed from Bhoja's srngaraprakasa. Therefore the name Sudrakavadha is wrong. It should be Sudrakakatha. Sudraka was not killed (vadha); he himself entered fire '18 fra gfag:' as the prologue to the Mrcchakatika says"16. The definitions of parikatha given by Abhinavagupta and Bhoja somewhat differ. 'Putting Bhoja and Abhinavagupta together, Hemacandra says on p. 464 of his Kavyanusasana : eka dharmAdipuruSArthamuddizya prakAravaicitryeNAnantavRttAntavarNanapradhAnA zUdrakAdivat parikathA / V. Raghavan observes : "The meaning of 'Paryaya', which constitutes an

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INDIAN NARRATIVE LITERATURE : A STUDY 527 enlargement of 'pari' and is taken as the differentia of this type of katha, is different in Bhoja and Abhinavagupta. One thing is common to both and that is that the parikatha is a series of stories. 17" Regarding its language Abhinavagupta says in his Locana (iii. 7, p. 324) that it may be in any language (Sanskrit, Prakrit or Apabhramsa). Bhoja's commentator, Ratnesvara, however, says in the course of his commentary (Sarasvatikanthabharana II. 17, v.6) : "Qusahele (for Toneret 371413fu utoanhai Incidentally, we may note that Namisadhu while commenting on Rudrata (Kavyalamkara XVI.36, p.172, N.S.edn.) defines parikatha in a strikingly different way : bahUnAM chandasAmekavAkyatve tadvAkyAnAM ca samUhAvasthAne parikathA / 8. Khandakatha : In the history of Sanskrit poetics it is Rudrata (earlier part of the ninth century) who for the first time, gives description of the nature of a khandakatha : "It is a minor or short story. In it a happy hero meets with a disaster. There are other characters in it like the Brahmanas, servants and traders. The rasa that is depicted may be karuna, or pravasasrngara or prathamanuraga--all of them of the vipralambha type. The story, however ends happily with the success of the hero 18 Anandavardhana informs us that the khandakatha and the sakalakatha are well known in Prakrit literature and abound in kulakas (kulaka meaning a number of verses ranging from five to fifteen and the whole forming one sentence) thus suggesting that both of them are mixed in prose and verse. Bhoja and following him Hemacandra define khandakatha as follows: That in which an episode (or series of events) from a bigger story well known in or through another work, either from the middle or from near to the end, is described, is known as khandakatha (in other words, it is one episode from a very popular work retold separately or independently-) e.g., Indumati. This work, however, is not extant. Abhinavagupta in his Locana defines it thus : khandakatha is the narration or description of a part of the bigger story20. Sridhara in his commentary on Kavyaprakasa (p.121) identifies Vakpati's work in Prakrit, called Madhumathavijaya (now lost), as a Khandakatha21. From the title however it would seem that it was an epic poem like Ravanavijaya and Harivijaya of Sarvasena. In one of his introductory verses to his Gaudavaho

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528 STUDIES IN JAIN LITERATURE Vakpati refers to it thus : __ mahumahaviaapauttA vAA kaha NAma maulau imammi / paDhama-kusumAhi taliNaM pacchAkusumaM vaNalaANaM // 22 -V.69 9. Upakatha : Bhoja and, following him, Hemacandra define upakatha as follows : "An upakatha is what is very well known by that name, a sub-story coming up in the middle of a main story". The upakatha thus resembles the upakhyana. Bhoja cites Citralekha as an example. It is not known whether Citralekha is a separate composition or a chapter or section of another work. The latter is probable."23 Further on p. 821 V. Raghavan refers to it as a variety of a small story', and 'a tale which is introduced as an off-shoot of some well-known story'. A. K. Warder simply says : "The upakatha is apparently a supplement or sequel to a well-known older work". 24 10. Sakalakatha : Paryaya-(the same as parya-) bandha, parikatha and sakalakatha--these new types of composition are met with for the first time in Anandavardhana's Dhvanyaloka (III. 7. Vitti, p. 323). Anandavardhana combines khandakatha and sakalakatha together in dvandva compound. Abhinavagupta in his Locana explains : "Since these two types of katha are well known as written in Prakrit he has combined them together in a dvandva compound. Anandavardhana continues in the same Vrtti, regarding samghatana :.. parikathAyAM kAmacAraH / tatretivRttamAtropanyAsena nAtyantaM rasabandhAbhinivezAt / khaNDakathAsakalakathayostu prAkRtaprasiddhayoH kulakAdinibandhanbhUyastvAd dIrghasamAsAyAmapi na virodhaH / From these observations it is clear that (i) the khandakatha and the sakalakatha were well known in Prakrit literature; (ii) they abounded in kulakas, etc; (iii) there is no objection or harm if in composing them the poets adopt the samghatana involving long compounds; and (iv) since kulakas are mentioned we can assert that these two types were both in prose and verse. Anandavardhana says that "in parikatha; the real interest is in the story only. "V. Raghavan opines that it is also to be taken that this applies to the khandakatha and sakalakatha too."25 Abhinavagupta defines sakalakatha as follows : The narrative which ends with the attainment of all the desired aims is to be known as sakalakatha26. Bhoja has omitted this type. Hemacandra reproduces the above definition given

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INDIAN NARRATIVE LITERATURE : A STUDY 529 by Abhinavagupta and adds by way of example Samaradityadivat27. Hemacandra who follows Bhoja in describing various types of composition in Sanskrit, Prakrit, etc., occasionally expands Bhoja's definitions or descriptions of a few types. For example, the reader's attention may be drawn to Bhoja's description of the nature of akhyayika and katha in his Srngaraprakasa (Vol.II, p. 469) and Hemacandra's description in his Kavyanusasana (pp. 462-463). Regarding khandakatha, sakalakatha, upakatha and bihatkatha he observes : va TVAci yafa 7 yem miferat: 1 -(p. 465) Again in contradistinction to Abhinavagupta's naming one of the types of composition as 'paryayabandha' (Locana, p. 324) Hemacandra names it as parya 28. The Kalpalataviveka (p. 171) supports this reading. In Prakrit we have the term 'vajja'. It's Sanskrit equivalent is given as vrajya (=paddhati). It is perhaps possible that the word is derived from 'parya' (pajja-vaija); but, they say, phonetically the initial 'pa' of a Sanskrit word is never changed to 'ya' in Prakrit. With this information about the nature and definition of the different types of katha we now turn to the Jain katha literature for a very brief survey. For it is most pertinent to the subject of Jain Treasury of Tales. A Brief Survey of Jain Narrative Literature 29 The narrative literature of the Svetambaras is a veritable storehouse of folktales, fairy tales, beast fables, parables, illustrative examples, apologues, allegories, legends, novels, funny stories and anecdotes. A large number of such tales and parables and legends occur in the Jain Canon itself : and the number of tales occurring in the commentaries on the canon is legion ! The Jain writers have created new stories and legends of their own, no doubt. But generally speaking they relate the old stories as have been handed down to them by literary or popular tradition. The only significant addition they make is the sermon of the kevalin (accomplished monk, possesser of the perfect knowledge, the completely enlightened) at the end of the story explaining the cause or causes for the misfortunes suffered or prosperity enjoyed by the characters in the story. The Jain monks were very shrewd and practical-minded. They exploited the Indian people's inborn love for stories for the propagation of their Dharma. The Jain stories, folk tales, animal fables, parables, etc. are of great importance for a solution of the problem of migration of stories and for a Stud.-67

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530 STUDIES IN JAIN LITERATURE comparative study of fairy tale lore. Eminent scholars have shown in their studies that some of the stories in the canon and in the commentaries on the canon contain many popular themes and that some of them occur in other Indian and non-Indian literatures and that they form part of the common treasury of universal literature30. The Jain stories are also of great importance as they go beyond the kings and their body of courtiers and court-intrigues and describe the real life and manners of the various classes of the people. Jain narrative literature may conveniently be divided into ten broad types as follows : Narratives embodied in (i) canonical works, (2) commentaries on canonical works, (iii) counterparts of Ramayana and Mahabharata, (iv) caritas, puranas and mahapuranas, (v) counterpart of Brhatkatha, (vi) quasi-historical Prabandhas, (vii) dharmakathas, (viii) campus, (ix) ornate poems and (x) kathakosas. (i) Canonical Works Acaranga31 and Kalpasutra describe in a graphic manner the ascetic life of Mahavira and Bhagavati presents the dogmatics of Jainism. It gives a vivid picture of the life and work of Mahavira, his relationship to his disciples and contemporaries and his personality. The parable of the Lotus in the Sutrakrtanga suggests the importance of royal patronage for the propagation of dharma. Nayadhammakahao consists of two parts. Part I consists of 21 chapters, each containing an independent narrative. Most of these narratives or stories, lay more emphasis on some parable incorporated in them rather than on the story itself. Some of them e.g., the 7th chapter on Rohini, are just parables spun out and enlarged to form narratives. Side by side with stories and parables of this nature we also come across novelettes, tales of travellers' adventures, mariner's fairy tales, robber tales and the like. Chapter 8 relates the legend of Malli, the only female tirthankara; she is a princess of Mithila and of wondrous beauty. An artist has painted a portrait of this princess, after he had seen only her big toe. Seeing this portrait one prince falls in love with her. This picture motif reminds one of the Buddhist stories of famous artists like Kusa, the son of King Okkaka. The story of Jinapalita and Jinaraksita, two sea faring sons of the sarthavaha (merchant) called Makandi is indeed an excellent example of mariners' fairy tale. In this mariner's fairy tale the parable only appears in the form of a moral clumsily tacked on to the end. Incidentally, it may be noted that as in one Jataka (Valahassa Jataka, No.196) in this tale also a winged horse occurs. Chapter 16 relates the story of Draupadi, in the form of a story of rebirth. Winternitz observes .... This is a monkish corruption of the legend from the Mahabharata of

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INDIAN NARRATIVE LITERATURE : A STUDY 531 Draupadi's marriage to the five brothers."32 The text Upasakadasah (The Ten Chapters onthe duties of the Householder) relates legends of ten pious householders, most of them wealthy merchants. The legends are all told after a stereotyped pattern in the most monotonous manner imaginable, so much so that in the later stories there is often only a catchword given by way of allusion to the earlier stories."33 The story of Ananda, given in chapter 1, and in all details, claims our interest for he is, a model householder. The story of Saddalaputra, a wealthy potter and follower of Gosala, leader of the Ajivika sect, has equal claim on our interest. He deserts Gosala and joins the ranks of Mahavira's followers when convinced of the truth of Mahavira's doctrine. The eighth anga, Antakrd-dasah (The ten chapters on the pious ascetics who have made an end to samsara), relates the story of Gajasukumara which is quite interesting and edifying. Krsna also figures in this story. Regarding this anga Winternitz remarks : "This arga is of importance from the point of view of Indian mythology and history of religion, because it embodies the Krsna legend in a corrupted Jain version, related so as to suit Jain requirements. The story of the downfall of the city of Dvaravati and the death of Krsna is told as in the Mahabharata, only Krsna is made into a pious Jain."34 There is another story of Arjunaka, a gardener and his wife Bandhumati who were both devotees of a semi-divine yaksa by name Mudgarapani. It was originally a folk tale but effecting a few changes it has been used to establish the superiority of Mahavira's followers over the Yaksa, the village deity. The eleventh anga, Vipakasrutam (the text of the ripening of karmaactions) contains stories on the unhappy and happy consequences of wicked and pious deeds respectively. Gautama Indrabhuti sees various unhappy people, and at his request Mahavira explains the causes-their evil deeds in a former birth have been responsible for their misfortune. Similarly good deeds in a former birth bring their reward, namely their happiness and good fortune. The Uttaradhyayana, a mula-sutra contains among other things, parables, similes, examples, dialogues and ballads, and legends. Chapter 7 consists mainly of parables. Here we meet with the parable of the ram (edaka) and the parable of the three merchants, taken from common life. When applied to the Dharma it conveys : The capital is human life, the gain is heaven; the loss of that capital means birth as a denizen of hell or a brute animal. The leaf of the tree (chapter 10) is a discourse on the evanescent nature of human life and worldly pleasures. "The wicked bullocks (Chapter XXVII) is a simple but biting criticism against quarrelsome pupils who are a nuisance to the teacher. In Chapter 9 we come across the beautiful Itihasa-dialogue of King Nami. It

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532 STUDIES IN JAIN LITERATURE commends (=praises) the ideal of asceticism as against that of the ksatriya (warrior) ruler. In Chapter 12 we have a lively dialogue between a proud Brahmana and Harikesa, a despised ascetic, a candala by caste; it glorifies selfcontrol and the virtuous life of the pious monks and severely criticises the Vedic sacrifice and the vaingloriousness of the superiority of the Brahmanas. In Chapter 14 we have the vivacious dialogue between the Purohita and his sons in which the ascetic ideal is shown to be superior to the Brahmana ideal. This dialogue is met with also in the Mahabharata, the Puranas and Jataka (no. 509). The story of Citta and Sambhuta (Chapter 13) belongs to the great cycle of legends about King Brahmadatta and is a common property of the Vedic Hindus, the Buddhists and the Jains. In chapter 22 we have the legend of Rathanemi (and Princess Rajimati and Aristanemi). It is connected with the Krsna legend and it effectively portrays the following events : the bridegroom's great compassion towards many animals which were to be slaughtered for his marraige-feast; his resolve to take the vow of an ascetic, Rajimati the bride on learning of it resolves to become a nun. Once drenched in rain she takes refuge in a cave, undresses herself in order to dry her garments; Rathanemi, Aristanemi's elder brother had already taken refuge in the same cave. On seeing her naked beauty he is seized by passion and makes advances to her; she reproves him and enlightens him by her forceful speech. Rathanemi is thus steadied in dharma. (ii) Commentaries on Canonical Works. Various learned acaryas (teachers) have written commentaries on agama texts. These commentaries are varied in their character. They are variously named : Nijjuttis (niryuktis), curnis, laghubhasya, mahabhasya, vrttis, tikas, avacurnis, panjika, dipika, tippana (= tippana, tippanaka, tippani, tippani) visamapadaparyaya, etc. Some of these names need to be explained. The niryuktis are concise metrical explanations of certain parts to the canon; they "consist of very concise explanations in arya verses and Jain Maharastri. They are probably memorial verses which served as an aid to the memory of the teachers in their oral interpretation of the sacred texts. At a later date, these niryuktis were extended to form exhaustive commentaries in Prakrit (bhasyas and curnis). These in their turn formed the foundation for the Sanskrit commentaries (tikas, vritis, avacurnis), which were compiled between the 11th and 12th centuries A. D."35 Panjika is a commentary which analyses and explains words--hard or difficult to understand36. Tradition names Bhadrabahu as the author of niryuktis on ten works of

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INDIAN NARRATIVE LITERATURE : A STUDY 533 the agama : 1. Acaranga, 2. Sutrakstanga, 3. Suryaprajnapti, 4. Uttaradhyayana, 5. Avasyaka, 6. Dasavaikalika, 7. Dasasrutaskandha, 8. Kalpasutra, 9. Vyavahara and 10. Rsibhasita-sutra. Of these ten, the niryuktis on Suryaprajnapti and Rsibhasita-sutra are not extant. Besides the niryuktis mentioned above, there are two more niryuktis-Pinda-niryukti and Ogha-niryukti. They are independent, no doubt, but according to Muni Punyavijayaji, they originally formed part of the Dasavaikalika-niryukti and Avasyaka-niryukti, respectively. These niryuktis sometimes mention proper names or give some catchwords. By themselves they are unintelligible. The observations of Dr. Ghatage regarding the Dasavaikalika-niryukti are more or less true in the case of other niryuktis. "This niryukti contains the usual topics of such a commentary, but in addition it knows a large number of stories, which were closely associated with the verses of the Uttaradhyayana in its own days. The peculiar method in which the details of the stories are summarised by the author of the niryukti leaves no doubt that they (the stories) already existed before him in a fuller form, either in an oral or a written tradition; for, without such traditional information, the verses of the niryukti are quite unintelligible."37 Bhasyas and Mahabhasyas : Sanghadasa-gani Ksamasramana wrote Kalpalaghubhasya and Pancakalpa and Jinabhadragani Ksamasramana wrote Visesavasyakamahabhasya. Five other works of this type are Kalpabrhad-bhasya, Vyavahara-bhasya, Nisithabhasya, Jitakalpa bhasya and Oghaniryukti-mahabhasya. The authors of these works are however unknown. Some of the bhasyas are written keeping in view the original text as there were no niryuktis written on them. Curnis : Curnis on several agama texts are available today, for example, on Acaranga, Sutrakrtanga, Bhagavati, Avasyaka, Dasavaikalika, Uttaradhyayana, etc. On Dasavaikalika we have two curnis, one by sthavira Agastyasimha and another by an unknown author. Some of these curnis are extensive. The names of the authors of all the curnis are not known. Besides Agastyasimha, we have the names of Jinabhadragani Ksamasramana (on Angulapada in Anuyogadvara) and Sivanandi-vacaka (on Jyotiskarandaka) as curnikaras. Like the niryuktis the curnis too are commentaries in Prakrit. Dr. Ghatage's description of the curni on Uttaradhyayana might give a good idea of the nature of a curni as a commentary : "The stories of the curni are brief and in Prakrit prose, giving the main details of each and avoiding all elaboration, told in a very

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534 STUDIES IN JAIN LITERATURE terse language and often merely indicating the topics to be included in the fully told story.38" This curni, as pointed out by Dr. Ghatage39 generally follows the lead of the niryukti, sometimes merely elaborates the details hinted at in the niryukti and at times makes real additions to the stories and occasionally supplies a few details to the statement of the niryukti. Regarding the parables in chapterseven the Curni calls them kappiyam udaharanam' (kalpitamudaharanam) and vavahariyaditthanta (vyavaharidrstanta) indicating thereby that they are no stories in the real sense of the word. Vrttis : In the 8th century (c. 705-775 A. D.). Haribhadrasuri, the most distinguished and prolific Jain writer, wrote his commentaries to the canon in Sanskrit. Among his Vrttis, those on Avasyakasutra and Dasavaikalika are available. While utilising the old Prakrit commentaries, he retained the Kathanakas (stories, narratives) in their original Prakrit form. Muni Punyavijayaji observes Haribhadrasuri "has composed vrttis (commentaries in Sanskrit) on the following sacred texts of the Jains, viz., Avasyaka, Nandi, Anuyogadvara, Dasavaikalika, Prajnapana, Jivabhigama and Pindaniryukti, which are incomparable and original."40 Silankacarya (2nd half of the 9th century A. D.) wrote commentaries on the Acaranga and Sutrakstanga. santisuri (11th century A. D.) wrote his exhaustive commentary on the Uttaradhyayana called Sisyahita or Brhadyrtti. The illustrative stories of the commentary are "a verbal reproduction of the text of the Curni without any change, which santyacarya has simply copied; and the commentary adds nothing to our knowledge of the stories more than what is found in the Curni. "4This commentary "possesses merits which lie outside the field of narratives associated with the text. It is the foundation source of all the later commentaries on this text"--thus observes Muni Punyavijayaji. Devendra (11th century) wrote his comprehensive commentary on the Uttaradhyayana called Sukhabodha (Easy of understanding). It is also known by the name Laghuvetti with a view to distinguishing it from the more learned commentary Brhadyrtti (=Sisyahita) of his predecessor santisuri (or Santyacarya). Devendra informs us at the beginning of his work that his commentary is based on Santyacarya's commentary and that with a view to making it easy of understanding he has deliberately left out all variant readings and various interpretations, the whole of niryukti and its explanation. But his great merit is "Unlike Santyacarya he has added to his commentary many stories, told in full and often of great charm and interest. In this he draws his

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INDIAN NARRATIVE LITERATURE : A STUDY 535 material from the larger stock of narratives available to him. He thus enriched the story tradition of the Uttaradhyayana still more, though it was already formed in essentials long before him."42 Abhayadevasuri (2nd half of the 11th century A. D.) wrote his commentaries on nine augas (sacred texts) like Sthananga. He is therefore wellknown as 'Navanga-Vrttikara'. Maladhari Hemacandrasuri (beginning of the 12th century A. D.) wrote his commentaries on Anuyogadvarasutra, and on Haribhadrasuri's Vrtti on the Avasyaka and on the Visesavasyakamahabhasya. He was known for his great knowledge of the Jain agama texts. Acarya Malayagiri (2nd half of 12th century and first half of 13th century A. D.) wrote Vrttis---Commentaries-on several canonical works like Nandisutra, Rajaprasniya, Prajnapana, Avasyaka, Vyavaharasutra, etc. Muni Punyavijayaji observes in his essay "Jain agamadhara Aura Prakrit Vanmaya" : "Among the commentators he stands at the top."43 The niryuktis, bhasyas, mahabhasyas, curnis and tikas are a treasure house of folk tales or popular stories, parables, fables, fairy tales, romantic and adventurous tales, mariners' fairy tales and legends. The remaining types (iii) Counterparts of Ramayana, Mahabharata (and Harivamsa) to (x) Kathakosas have already been dealt with under "A Brief Survey of Jain Literature" preceding this article. So they have been skipped over here with a view to avoding repetition. The Jain narratives are very precious as they go beyond the kings and the priests and give a picture of the real life of the Indian society in all its different classes. Salient characteristics of Jain Narrative Literature : In the various types of works, excepting some of the semi-historical works (prabandhas) certain traits arrest our attention as they are hardly noticed in other branches of Indian literature : (1) "Pages after pages are devoted to the past and future births; (ii) the inexorable law of karma plays a very conspicuous role; (iii) Sermons with dogmatic details are introduced; (iv) Parables and illustrative tales are added here and there. The spirit of asceticism is writ large throughout the text; and almost as a rule every hero retires from the world to attain better status in the next life". A. N. Upadhye (The following comments come from my friend and colleague, Prof. G. S. Bedagkar, a non-Sanskritist, one who had not been exposed to any of the

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536 STUDIES IN JAIN LITERATURE Indological traditions of thought and feeling. They have been suggested by years of reading in Western literature. I am appending them to my introductory note because I thought it might help a review of our literature in the light of modern scholarship. These views struck me as most revealing at times even shocking but always stimulating.) We would like the reader to respond to whatever situation the following stories describe sympathetically because they are all genuinely human even when a certain story goes on to condemn in outright terms the common human weakness to submit to the pleasures of the senses or be willing to be carried away by worldly happenings and the feelings they arouse or when it highlights passions that hold the mind and soul of man in their tight grip, or when it openly recommends a path of self-abnegation. These stories present saintly characters caught up in moments of temptation as well as men and women of weaker mettle that would like to give up pleasures and live a life of simplicity and purity, but really can't. They also tell us of how very difficult it is to give up pleasures but to give up desire for them is just impossible. Brahmadatta is a long drawn story of an unfortunate prince who has failed to achieve what his friend has succeeded in achieving. The story however has chosen for treatment a theme that is daringly modern, chosen from the same branch of knowledge from which the French novelist Emil Zola chose his themes--Heredity. The story becomes a painful yet fascinating account of a tremendous human bondage. Many of the stories here are based on the typical Indian metaphysics of which karma is the sine qua non. This inevitably confines human life in a deterministic framework. Every such story spreads over an enormous time span that easily covers a couple of life times, and relies on Rebirth. Rebirth need not be dismissed as a form of Indian absurdity. It is possible to see here the gropings of the captive Indian soul towards not only freedom but a better way of life ahead in future. To modern readers rebirth may look as a prologue to the bigger theme of evolution. The other important assumption of this theory is long time scale; on this the Indian story operates. The story of Sanatkumara should illustrate the final reward of the enlarged perspective. His personality becomes well organized and he deserves the pleasures that come to him. It need not be therefore concluded that the Indian story looks down on the ephemeral happenings and passing moments. There are at least four stories here that describe to us how a man suddenly develops the wisdom of the Buddha through a casual event like the sight of a faded garland or of an old bull that was once a very picture of virility and youth. It causes enlightenment. A passing

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INDIAN NARRATIVE LITERATURE : A STUDY 537 moment transforms itself into a moment of discovery and a common man into a Near Buddha. The Story of the Makandi brothers' voyage should find a worthy place in the voyage literature of the world, by the side of Haklyut's voyages and many other Spanish and Italian accounts. The Indian woman mentioned in this story, the terrible woman who charms sailors by her beauty and youth but destroys them by her demands has her counterpart in Homer's Circe. The story also works up a fabulous atmosphere which clearly sends ripples of Arabian Nights in our minds. This collection of stories should prove how very inadequate it is to describe Prakrit writings as merely didactic and religious. It may mainly be so but not entirely. It presents quite a variety of situations that should remind readers of Boccaccio or Balzac. Read for instance the story called Water from the Roof. The story of Muladeva and the courtesan Devadatta is equally secular and sympathetically human. The story of Rohini that offers comments on the basic human types should not be read only as a defence of the Varna system in Indian sociology. The criminals that appear in some of the stories bring in a landscape that is rich in psychologically meaningful symbols such as underground dwellings, dilapidated temples, deep wells and beautiful but wicked women. Other stories describe retail traders that are not very scrupulous with simple minded villagers, cheats, unfaithful husbands and equally dishonest women...the whole lot of humanity has crowded up in this panorama of life and the Indian story literature has tried to capture for us the kaleidoscopic and elusive beauty that we call human nature. Two other women, besides Rohini stand out prominently in this display of the complex pattern of human contradiction. One of them is the poor young woman whom a king marries. She becomes an object of satire of the other queens in the palace in spite of the dignity with which she conducts herself. But she is never lost to what she considers the basic reality of her life--everyday she spends some time in the privacy of her room and puts on once again the same old rags in which the king had picked her up, stands in front of her minor and reminds herself of the transitoriness of the surrounding pomp and glory and of the reality of the poverty in which she was born. The other remarkable lady is the famous Princess Malli who has the distinction of becoming the only female Tirthankara. She too has a firm hold on reality which teaches her that the golden sheen of the outside of the body very much depends on the unhampered, unrepressed and unhibited functioning of the internals. Her suitors were misguided as much as most of us. Actually she is a fully integrated personality for which, as Carl Jung would approvingly suggest, gold is the right symbol. No wonder Malli leaves behind her statue of gold, with no element of corrupt materials." Stud.-68

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538 STUDIES IN JAIN LITERATURE Notes and References : 1. tivihA kahA pannattA, taM jahA - atthakahA, dhammakahA, kAmakahA / -sthAnAGgasUtra, adhyayana 3, uddezaka- 3, sUtra 194, pR0 77 2. cattAri vikahAo pannattAo, taM jahA-itthikahA, bhattakahA, desakahA, rAyakahA / itthikahA cauvvihA pannattA, taM jahA itthINaM jAikahA, itthINaM kulakahA, itthINaM rUvakahA, itthINaM NevatthakahA / bhattakahA cauvvihA pannattA, taMjahAbhattassa AvAvakahA, bhattassa NivvAvakahA, bhattassa AraMbhakahA, bhattassa niTThANakahA / desakahA cauvvihA pannattA, taM jahA- desavihikahA, desavikappakahA, desacchaMdakahA, desanevatthakahA / rAyakahA cauvvihA pannattA, taM jahA.... sno atitANakahA ranno nijjANakahA, sno balavAhaNakahA, ranno kosakoTThAgArakahA / -sthAnAGgasUtra, adhyayana 4, uddezaka 2, sUtra 282 pR, 111-112 3. satta vikahAo pannattAo, taMjahA- itthikahA, bhattakahA, desakahA, rAyakahA, miThakAluNitA, daMsaNabheyaNI carittabheda (?ya)NI / 4. These varieties and sub-varieties are duly explained in the discussion that follows. 5. duvihA kahA- cariyA ya kappiyA ya / tattha cariyA duvihA- itthIe purisassa vA / dhammatthakAmakajjesu diTuM suyamaNubhUyaM cariyaM ti vuccati / jaM puNa vivajjAsiyaM kusalehiM uvadesiyapuvvaM samatIe jujjamANaM kahijjai taM kappiyA purisA itthIo ya tivihAvabuddhasu-uttimA majjhimA NikiTThA ya, tesiM cariyANi vi tavvihANi / tato so evaM vottUNa cariyakappiyANi akkhANayANi... vaNNeti / -Vasudevahindi, Lambha X, Bhavnagar, 1931, pp. 208-209. 6. tattha ya 'tivihaM kahAvatthu' ti puvvAyariyapavAo / taM jahA-divvaM divvamANusaM mANusaM ca / tattha divvaM nAma jattha kevalameva divvacariyaM vaNijjai, divvamANusaM puNa jattha doNhaM pi divvamANusANaM, mANusaM tu jattha kevalaM mANusacariyaM ti| -Samaradityakatha, Bhumika. 7. ettha sAmannao cattAri kahAo havaMti / taM jahA-atthakahA, kAmakahA, dhammakahA, saMkiNNakahA ya / -ibid. 8. jA atthovAyANapaDibaddhA asi-masi-kasi-vANijja-sippa-saMgayA vicittadhAUvAyAipamuhamahovAyasaMpauttA sAmabheya-uvappayANa-daMDAi-payattha-viraiyA sA atthakaha tti bhaNNai / --ibid 9. jA uNa kAmovAyANavisayA citta-vapuvvaya-kalA-dakkhiNNa-parigayA aNurAya-pulaiya-paDivatti-joyasArA dUIvAvAra-ramiyabhAvANuvattaNAi-payattha-saMgayA sA kAmakaha tti bhaNNai / --ibid 10. jA uNa dhammovAyANagoyarA khamA-maddavajjava-mutti-tava-saMjama-sacca-soyAkiMcaNNa-baMbhacera-pahANA aNuvvaya disidesANatthadaMDa-viraI-sAmAiya-posahovavAsovabhoga-paribhogAtihi-saMvibhAga-kaliyA-aNukaMpAkAmanijjarAipayattha- saMpauttA sA dhammakaha tti / ibid 11. jA uNa tivaggovAyANasaMbaddhA kavvakahAgaMthatthavitthara-viraiyA loiyaveyasamayapasiddhA uyAharaNa-heu-kAraNovaveyA sA saMkiNNakaha tti vuccai / Incidentally it may be noted that in the Dasaveyaliyanijjutti we find that the samkirnakatha is named there as misra. The following gathas may be read by way of comparison : atthakahA kAmakahA dhammakahA ceva mIsiyA ya kahA / etto ekkekkA vi ya NegavihA hoi NAyavvA // vijjAsippamuvAo aNiveo saMcao ya dakkhattaM / sAmaM daMDo bheo uvappayANaM ca atthakahA // rUvaM vao ya veso dakkhattaM sikkhiyaM ca visaesuM / diTuM suyamaNubhUyaM ca saMthavo ceva kAmakahA //

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INDIAN NARRATIVE LITERATURE : A STUDY 539 dhammakahA boddhavvA cauvvihA dhIrapurisapannattA / akkhevaNi vikkhevaNi saMvege ceva nivvee|| dhammo attho kAmo uvaisai jattha suttakavvesuM / loge vee samae sA u kahA mIsiyA NAma // ___-II gathas. 188, 189, 192, 193, 206. 12. tAo puNa paMca kahAo ! taM jahA-sayalakahA, khaMDakahA, ullAvakahA, parihAsakahA tahAvarA kahiya tti / eyAo savvAo vi ettha pasiddhAo suMdarakahAo / eyANa lakkhaNadharA saMkiNNakaha tti NAyavvA / ..puNo sA vi tivihA / taM jahA-dhammakahA, atthakahA kAmakahA / puNo savvalakkhaNA saMpAiyativaggA saMkiNNa tti / tA esA dhammakahA vi hoUNa kAmatthasaMbhave saMkiNNattaNaM pattA / 13. Indian Kavya Literature by A. K. Warder, Vol. I, paragraph 455, p. 196. 14. ekaM dharmAdipuruSArthamuddizya prakAravaicitryeNAnantavRttAntavarNanaprakArA parikathA / 15. paryAyeNa bahUnAM yatra pratiyoginAM kathAH kuzalaiH / / zrUyante kathyante zUdrakavat jigISubhiH parikathA sA tu // Vide Srngaraprakasa (Mysore edn., Ch. XI, p, 469 and Hemacandras Kavyanusasana (Mahavira Jaina Vidyalaya, Boinbay, 1964, edn., p. 464) 16. Bhoja's Srngara Prakasa by V. Raghavan, pp. 819-820. 17. Ibid, p. 624; on p. 819 he says : 'a round of tales', in place of 'a series of stories'. 18. kuryAt kSudre kAvye khaNDakathAyAM ca nAyakaM sukhinam / ApadgataM ca bhUyo dvijasevakasArthavAhAdim // atra rasaM karuNaM vA kuryAdathavA pravAsazRGgAram / prathamAnurAgamathavA punarante nAyakAbhyudayam / / -Kavyalamkara, XVI. 33-34. 19. granthAntaraprasiddhaM yasyAmitivRttamucyate vibudhaiH / madhyAdupAntato vA sA khaNDakathA yathendumatI // -Srngaraprakasa XI, p. 469. 20. ekadezavarNanA khaNDakathA // --Dhv. Locana III. 7, p. 324. 21. Kavyaprakasa with sridhara's commentary Viveka ed. by S. P. Bhattacharya and pub. ____ as Calcutta Sanskrit College Research Series VII, two parts, 1959, 1961. 22. madhumathavijayaprayuktA vAk kathaM nAma mukulayatvasmin / prathamakusumAttalinaM pazcAtkusumaM vanalatAnAm // --iti cchAyA 23. Bhoja's Srigara Prakasa by V. Raghavan, p. 625. 24. Indian Kavya Literature, Vol. I paragraph 446, p. 193. 25. Bhojas's Srngara Prakasa by V. Raghavan, p. 612. 26. samastaphalAntetivRttavarNanA sakalakathA / Locana, p. 324. 27. Haribhadrasuri's Samaradityakatha (Pk. : Samaraiccakaha) is a famous katha in Prakrit literature. He lived in the period 700-770 A. D. He calls his work a dharmakatha'. Hemacandra's description of it as sakalakatha is also justifiable. 28. muktakAnAmekapraghaTTakopanibandha:paryA / avAntaravAkyasamAptAvapi vasantAdyekavarNanIyoddezena muktakAnAmupanibandha:paryA / sA kozeSu pracuraM dRzyate / -- Kavyanusasana, p. 466. 29. This survey mainly confines itself to the story literature of the Svetambaras only as all

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540 STUDIES IN JAIN LITERATURE the tales in the present volume are drawn from it. In the introduction to another volume we intend to take a similar survey of the story literature of the Digambaras. 30. For example, See Winternitz, History of Indian Literature, Volume II, University of Calcutta, 1933, pp 484, 545, and Dr. Hertel : On the Literature of the Svetambaras of Gujarat, 1922, pp. 11f. 31. This survey is mainly based on A History of Indian Literature by Winternitz Volume II, Calcutta 1933, Introduction to Brhatkathakosa of Acarya Harisena by A. N. Upadhye and on Muni Punyavijayaji's essay "Jain Agamadhara aura Prakrit Vanmaya" pub. in Muni Sri-hajarimal Smotigrantha. 32. Ibid, p. 448. 33. Ibid, p. 449. 34. Ibid, p. 451. 35. Ibid, p. 483. 36. Rajasekhara in his Kavyamimamsa explains the names of some of these : tatra sUtraNAt sUtram / ... sUtrANAM sakalasAravivaraNaM vRttiH / sUtravRttivivecanaM paddhatiH / AkSipya bhASaNAd bhASyam / antarbhASyaM samIkSA / avAntarArthAvicchedazca sA / yathAsaMbhAvanamarjasya TIkanaM TIkA / viSamapadabhaJjikA paJjikA / arthapradarzanakArikA kArikA / uktAnuktaduruktacintA vArttikamiti zAstrabhedAH / Obviously, while explaining the terms Rajasekhara has before his mind's eye the works on vyakarana-sastra. -GOS edn., Baroda, 1934, Ch. 3, p.5, II. 1-8. 37. Kahanaya-Tigam, A Prakrit Reader, ed. by Dr. A. M.Ghatage, & pub, by Bharat Book Stall, Kolhapur, 1950, p. 25. 38. Ibid, pp. 28-29. 39. Ibid. p. 30. 40. Jain Agamadhara aura Prakrit Vanmaya, pub. in Muni Sri Hajarimala Smrtigrantha, p. 723. 41. Kahanaya-Tigam, A Prakrit Reader, ed by A. M. Ghatage, and pub. by Bharat Book Stall, Kolhapur, 1950, Introduction, p. 29. 42. Ibid, pp. 29-30. 43. "Teftf 5701 Fenn hatrone it" (190 639) -Muni Punyavijayaji 44. In fact, Padmapurana is merely an enlarged recension of Paumacariya in Sanskrit, agreeing with it in all essential points. DOO

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JINESVARSURI'S GAHARAYANAKOSA* Ancient Indian poets, as a class, were extremely reticent about their personal history, education, environment, the influences that shaped them, their family life, their successes and failures. Poets like Bhasa, Kalidasa hardly speak of anything about themselves. This suicidal indifference on the part of ancient Sanskrit and Prakrit poets and authors was most probably due to their strong belief that what really mattered was their poetic creation and not their own personality. The thought, idea or feeling embodied in a poem alone was important and not the poet who wrote it or the time when he composed it. Alamkarikas too held identical views as is clear from their works wherein they dealt with the poetic products as created and finished facts never bothering themselves about their authors. It is this colossal indifference which is responsible for not preserving the authentic names of poets or their works in the anthologies of Hala (Sattasai or Saptasatakam or Gathasaptasati), Jayavallabha (Vajjalaggam), Chappannaya (Chappannayagahao) or Jinesvarasuri (Gaharayanakosa). We should, however, be grateful to these anthologists for preserving at least some of the finest and highly poetic and subhasita-like verses of many unknown poets who are totally forgotten by posterity. All these Prakrit Kosas are compilations of stanzas of other poets barring, of course, a few stanzas of the anthologists themselves, The L. D. Institute of Indology (Ahmedabad) has recently brought out an unpublished Gaharayanakosa. This is compiled by Jinesvarasuri towards the close of the 12th Century A. D. In a short Preface Pt. Dalsukh Malvania, the Director of the Institute, points out the importance of the present volume which presents three gathasangrahas, published for the first time and thanks the joint Editors Pt. Amritlal M. Bhojak and Dr. Nagin J. Shah who have taken great pains to make the edition useful and have tried to present the text as flawlessly as possible. * Jinesvarsuri's Gaharayanakosa : edited by Pt. Amritlal M. Bhojak and Dr. Nagin J. Shah, Published by Pt. Dalsukh Malvania, Director, L. D. Institute of Indology, Ahmedabad 9, 1975. Price Rs. 12/

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542 STUDIES IN JAIN LITERATURE - In their brief but valuable introduction the Editors first give a description of MSS. They then dwell on the importance of subhasitasangrahas : Such anthologies rescued from the oblivion a large number of floating verses. They proved of help to religious teachers and preachers in their didactic works or lectures in clarifying and corroborating the point of discourse. The subhasitas had great appeal to the common mind. They constituted the strength or power of language. Looking to their usefulness scholars of olden days collected, carefully arranged and classified them subjectwise. Thus they produced anthologies. The Editors then note the glory of Prakrit subhasitas : Sanskrit was the language of the sistas, Prakrit was the language of the people. Prakrit writers were in close contact with the people. They naturally felt the pulse of the people, identified themselves with their joys and sorrows and reflected them in their verses. These verses have a spirit of closeness to life and common realities which we often miss in Sanskrit poetry. The Editors show on the authority of Uddyotanasuri (the author of Kuvalayamala) how in old days the verses from Hala's Gathasaptasati were recited even by farmers when ploughing their fields. For the importance and the general theme of the Prakrit subhasitas the Editors refer readers to the Introductions to the Gatha-Saptasati (ed. by Dr. Parmanand Shastri, Merath, 1965), the Vajjalagga (ed. by Prof. M. V. Patwardhan, Prakrit Text Society, Ahmedabad 9, 1969) and (Saptasatisara with Bhavadipika of Vema Bhupala, along with) Chappannaya-Gahao (ed. by Dr. A. N. Upadhye, Shivaji University, Kolhapur, 1970). They, then very briefly deal with Gaharayanakosa pointing out that though the compiler was a Jain there is nothing Jinistic about the work except the first section devoted to the prayer of Jina. This prayer is followed by that of Brahma, Visnu, Mahesvara, and Sarasvati respectively. They further point out how Gaharayanakosa contains material, arrangement and division of subjects similar to those of most other Sanskrit and Prakrit anthologies. According to the compiler's own statement the present Kosa contains 800 gathas. The Editors, however, point out that their lone MS contains 822 gathas and conclude that these 22 gathas are later additions. Finally, they describe Jinesvarasuri's spiritual lineage and give a few other details about him (pp. 8-11). Pages 12 to 14 set forth the table of contents in Sanskrit. Then follows the text of Gaharayanakosa (pp. 1-66), arranged according to the 58 different topics. They deal with a variety of topics such as Invocations, poetry, the ocean, the sub-marine Fire, Krsna, the Good, the Wicked, the Master, Laksmi, Charity, the miser, poverty, politics or statesmanship, the clever or shrewd, riddles, harlots, eroticism, eyes (glances), affection, female messenger,

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JINESVARSURI'S GAHARAYANAKOSA 543 love, jealous anger, lovers' flattery, manini (a woman offended with her husband), separation, the sunset, the Cakravaka bird, the glow-worm, the moon, night-lotus, dawn, the sunrise, day-lotus, bee and Malati flower (or creeper), the cycle of seasons, unchaste women, various trees, mountains, lion, elephant, camel, the excellent bull, miscellaneous things and finally santa rasa (the mood of quietude). More than 30 topics out of the 58 are common to Vajjalagga, and as pointed out by the Editors 'Nearly one hundred gathas are common to this Gaharayanakosa and the Vajjalagga'. After this Kosa the Editors present two, hitherto unpublished tiny collections of gathas, each based on a single MS. They bear the titles : Subhasiyagahasangaho (pp. 67-74) and Subhasiyapajjasangaho (pp. 75-82). They then add gatha-index of all three anthologies separately (pp. 83-98). Index No. 1 records over 35 Desi words that occur in these three anthologies and are rather difficult and of rare frequency along with their meanings in Sanskrit or Gujarati (pp 99-100). Index No. Il gives a Table of gathas that are common to Gaharayanakoso and Vajjalagga (pp. 101-102). At the end they give a list of corrections (pp. 103104). The Director of the Institute and, especially, the Joint Editors of this volume deserve warmest congratulations on their bringing out this excellent edition. It is no doubt a welcome addition to the existing anthologies in Prakrit. Having regard to the fact that the edition is based on a rare MS all would agree with this reviewer that the performance of the Editors is excellent. By adding Indexes the Editors have made the edition more useful. One, however, feels that the scope of the glossary could have been extended to accommodate a considerable number of other difficult and double-meaning words. As regards the second appendix, it passes one's comprehension why the order of serial number of gathas is disturbed in their Comparative Table. A few of the gathas which are common to Vajjalagga are left out inadvertently as will be seen presently. A Kosa (Treasure) by its very nature contains stanzas picked up from different works. Whenever the MS presents doubtful readings or gaps it is possible for us to hunt the sources of these stanzas and restore the original readings. The present edition contains about 1040 gathas. Most of them present no difficulties. Still a fair number of gathas contain doubtful readings (indicated with a question-mark by the Editors) or gaps. These make a careful reader

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544 STUDIES IN JAIN LITERATURE restless. He is anxious to get at the correct reading. It is too much to expect of the Editors to trace the sources of such gathas and restore the readings, especially when the anthologists have nowhere indicated their sources. As the Editors have pointed out about 100 verses are common to Gaharayanakosa and Vajjalagga. A comparison with Hala's Gathasaptasati would show that 55 gathas are common to Gaharayanakosa. This comparision would help us to restore some doubtful readings. For correcting the rest of the doubtful readings or filling in the gaps we will have to go to the very sources of these gathas of course, wherever possible. This kind of study would also reveal to us how far the anthologists themselves were well read and their power of selection and appreciation. It would also enable the readers to understand these gathas better with the help of commentaries on these sources or their translations in English or regional Indian languages. The scope of this review article does not permit a thorough or comprehensive or exhaustive study of this kind. What follows will indicate to the readers merely the direction in this regard. The following tables give verses that are common to Gaharayanakosa and Gathasaptasati, Vajjalagga (verses not included in the Table given in Appendix II). Gaudavaho, Lilavai and Kumarapalapratibodha : TABLE I Gaharayanakosa Gatha No. 14 135 266 293 303 332 334 Gathasaptasati Gatha No. I. 1 792 (Weber's edition) II. 73 954 (Weber's edition) III. 7 V. 21 I. 99 III. 100 IV. 6 IV. 24 I. 100 II. 99 I. 25 IV. 41 337 338 339 342 355 358 361

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JINESVARSURI'S GAHARAYANAKOSA 545 363 390 391 VI. 6 1. 91 II. 82 II. 6 1-53 404 409 410 III-4 II-24 411 419 II-42 420 446 447 451 453 455 456 467 468 469 470 471 473 475 480 483 485 494 1-10 1-74 II. 44 1-27 VI. 64 II. 92 VI. 21 VII. 15 I. 85 VII. 65 V. 89 903 (Weber's edition) IV. 76 V. 51 941 (Weber's edition) II. 47 I. 48 IV. 97 837 (Weber's edition) 1. 29 II. 53 III. 22 IV. 63 IV. 77 VI. 2 499 504 505 506 507 508 509 Stud.-69

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546 STUDIES IN JAIN LITERATURE 630 683 698 705 II. 39 VI. 42 III. 29 II. 64 No. 1004 (Jogalekar's edition) VI. 77 No. 1005 (Jogalekar's edition) III. 17 724 728 741 783 27 This table shows that the total number of common gathas comes to 55. TABLE II Gaharayanakosa Vajjalagga (Not included in the Gatha No. Gatha No. printed Table) 18 54 605* 1 35 118 P. 13 f. n. No. 1 133 155 581 178 270 617 272 616 283 567 702 511 746 159 751 195 175 759 225 67 782 The total number of common, but not identified, gathas is 15, TABLE III Gaharayanakosa Gaudavaho of Vakpatiraja Gatha No. Gatha No.

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JINESVARSURI'S GAHARAYANAKOSA 547 18 TO 16 127 931 173 976 281 959 593 1182 This table shows that the total number of gathas common to these two works comes to 9. TABLE IV Lilavai Gatha No. Gaharayanakosa Gatha No. 71 81 60 13 104 16 329 423 373 501 519 520 521 522 523 222 571 262 516 438 442 443 446 448 439 451 1071 31 524 525 526 528 529 557 558 470 559 526 560 528 581 1086

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548 STUDIES IN JAIN LITERATURE 1091 582 1090 584 585 1092 590 675 472 681 74* 1 684 The total number of gathas common to Gaharayanakosa and Lilavai comes to 28. 607 87 TABLE V Gaharayanakosa Gatha No. 24 65 Kumarapalapratibodha Page No. (Verse No.) 1 (9) 77 4 (41) 237 365 150 214 215 305 23 84 224 225 226 231 307 255 116 249 556 The total number of gathas common to Gaharayanakosa and Kumarapalapratibodha comes to 12. A few more gathas are identified with stray gathas : v. 12 This gatha is simply a Maharastri version of the Culika-Paisaci verse which occurs at the beginning of Brhatkatha of Gunalhya. The Culika-Paisaci passage is well preserved in Siddha-hema IV 326-327. v. 166 This Gatha is first cited by Anandavardhana in his Dhvanyaloka II (p. 262).

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JINESVARSURI'S GAHARAYANAKOSA 549 v. 418 v. 428 v. 443 V. 477 v. 703 707 v. 786 v. 236 2 v. 238 S This occurs in Surasundaricariya (II-V. 172) with minor variant readings : aivalhaM pi vIsarai mANUsaM desa-kAla-aMtariyaM / vallIsamaM hi pimmaM jaM AsannaM tarhi caDai // This gatha belongs to Ratnavali, the well-known play of Harsa. It occurs at II. v. 1 This gatha is cited in Kavyaprakasa (IV. v. 66, p. 141, Jhalakikar's edition). This gatha is cited in Kavyaprakasa (III. v. 16, p. 75, Jhalakikar's edition). This gatha is cited in Dhvanyaloka (III. P, 352, Banaras Ed. with Balapriya commentary). This gatha is cited in Dhvanyaloka (I. p. 76). This gatha is cited by Kuntaka in his Vakroktijivita (I. v. 20) These two gathas are found also in Chappannaya-gahas as gatha No. 74 (with variant readings) and gatha No. 48 respectively. This comparative study helps us to correct some of the doubtful readings indicated with a question-mark by the editors. This gatha which is drawn from Gaudavaho (v. 3) needs to be corrected. Even the correction noted in the list of corrections does not help. The gatha should read : taM paNamaha tigicchi-cchaleNa Nivasai Nivesa-kamalammi / jassa paramANu-Nivaho vva bhuvaNa-NimmANa-paDivaNNo // [taM praNamata padmarajacchalena nivasati niveza-kamale / yasya paramANu-nivaha iva bhuvana-nirmANa-pratipannaH / / ] Vakpatiraja commences his work with this gatha paying homage to the Self-born god (Brahma). The third quarter of this opening verse of Gaudavaho should be corrected to : hari-jaDhara-Niggamukkhitta-(NAla-suttaM piva sayaMbhuM) [hari-jaThara-nirgamotkSipta-(nAlasUtramiva svayaMbhuvam)] This gatha belongs to Gaudavaho (v. 18). Our text differs from the printed text of Gaudavaho as far as ya-sruti is concerned. P. 2 v. 5 P. 2. v. 6 P 2 v. 9

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550 STUDIES IN JAIN LITERATURE P 2. v. 10 This verse occurs in Gaudavaho (v. 6). The second half should be corrected as : hariNo hariNa-cchAaM vilAsa-parisaMThiaM jaai // [Eurotgrei farcra-FEIFESTO Gefa 11 ] P. 6 v. 54 The reading goce preserved in Vajjalagga (v. 605 * 1) is far superior to 34 376. P. 6 v, 55 (As pointed out by the editors) this gatha occurs in Vajjalagga (No. 600). The words fa and Hifi must be read together as failed (Sk. 1. fazifani-faci-name of a cowherdess, P. faarferon) P. 6 v. 56 This gatha, as pointed out by the Editors, occurs in Vajjalagga (v. 598). The second quarter of this gatha presents much more convincing reading than what we find in Vajjalagga. With these readings (CHITETT for FHET ) there is no need to emend the text of Vajjalagga as proposed by Prof. Patwardhan (vide his notes to (598), p. 546). The third quarter in Vajjalagga, however, presents better reading (saMte vi viNayataNae Sk satyapi vinatA-tanaye) than the corresponding quarter in the present Kosa does. Pretufqur 4031 is most probably a corruption of ICT-90737-74737T (FATECHART:) P. 6 v. 59 This gatha occurs, as pointed out by the editors, in Vajjalagga (v. 747). The second half of this gatha presents a far more satisfactory reading than what we find in the present Kosa : teNa puNa tassa ThANe na yANimo ko pariTuvio / [tena punastasya sthAne na jAnImaH kaH pratiSThApitaH / ] This line must be the original one for it also occurs in Rayanayara-vajja itself in gatha No. 756 with reference to another ratna (the moon) churned out of the ocean. P. 8 v. 91 This gatha is, as noted by the editors, common to Vajjalagga (No. 115). The reading "pera afs37t" in Vajjalagga is much better than our reading = (? 21) wa TA317. P. 8 v. 92 The reading "Fret" is obviously a printer's devil. It should read Husi (Sk. 7). P. 11 v. 127 This gatha belongs to Gaidavaho (No. 931). There the second quarter reads : "To for tai virgst 37". The reading in our Kosa stands thus :

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JINESVARSURI'S GAHARAYANAKOSA 551 "Turpferei ufifgai JO". "quefaqj" is patently a corrupt reading and hardly makes any sense. p. 12 v. 139 The reading '756' is obviously a printing mistake for afic. As it is not indicated in the list of corrections it is noted here. P. 15 v. 173 This gatha belongs to Gaudavaho (No. 976). There we have the reading "garuattaNeNa vihaDaMti" instead of "garuyattaNe na vihaDaMti" in the present Kosa. p. 16 v. 193 The original reading Gas (Vam to expand, bloom, open) suits the context all right as a bed or assemblage of lotuses blooms at sunrise. The editor's emendation 675 neither suits the context nor is happy. p. 17 v. 213 The gatha, as it stands, does not construe well. With slight emendations if it is rewritten, it yields good sense: lacchIe gADhamAligio ti (? si) iya ciMtiUNa kittIe (? kittIa) / IsAureva pecchasu nariMda bhuvaNe paribbhamai / / "Laksmi and Kirti are looked upon as King's two wives. Kirti thinks that the king is embraced by Laksmi; naturally, she is full of jealousy, as it were, (and out of jealousy, anger) she wanders over the whole earth. O King, look." It is a fine instance of Vyajastuti (helped by Utpreksa). p. 19 v. 236 The gatha, as presented here, does not yield a happy sense. The Kosa called Chappannayagahao presents it somewhat differently. We may profitably compare their text. tisu je avutthapuvvA rAyakule mahiyale ya sevAsu / fauurtat-7001-CEAuto a feu griecht Il Gaharayanakosa tisu je adiTThapuvvA rAyakule gurukule ya vesAsu / farm-770-2456 alle Eifa 11 Chappaannayagahao The three things, 1. Vijnana. 2. Jnana and 3. Saundarya are generally associated with rajakula, gurukula and Vesyas respectively. We will have to correct the text accordingly. p. 23 v. 285 The reading quragut is non-sensical. Probably, it is a corruption of or a printing mistake for 96m. p. 23 v. 293 The reading afPS449ER makes no sense. Many works such as Saptasatisara (V. 417, Kalpalataviveka (p. 18), Srngaraprakasa (p.

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552 STUDIES IN JAIN LITERATURE 818), Dhvanyaloka (p. 237, N. S. Ed.) contains this gatha. Weber too includes it in his edition of Gathasaptasati (No. 954). aNudiaha-kaAbhoA jaha jaha thaNaA viNiti kumarIe / bAlAe / taha taha laddhoAso / laddhAvAso vva vammaho hiaamAvisai // p. 26 v. 329 This gatha belongs to Lilavas (No. 423). There it opens with the words "to tassa miyaMkassa" whereas here it opens with "sA tassa miyaMkassa". The reading vAulliya vva (Sk puttalikA, cf/Mar. bAhulI) is perfectly all right and the emendation "vA(dhI)-ulliyyavva" is uncalled for. p. 27 v. 338 The reading 31713Fi is unintelligible. The reading given in the footnote too is equally unintelligible. Gathasaptasati (IV. 6) preserves the correct reading : avvo aNuNaasuha' p. 27 v. 339 There is no need to emend the text as Guit [? ] FUTT. Read in this connection the gloss of Mathuranath Shastri on G. S. VI. 24... " ga 074: (f45a:) gari la: 1" NS ed. p. 268. p. 27 v. 342 The reading in the present Kosa (F5478 helm needs to be corrected to (daiyanaha) dUmiyANa in accordance with the original reading in Gathasaptasati. p. 28 v. 355 In Gathasaptasati (II. 99) as well as in Sarasvatikanthabharana (p. 373) we have the reading "JE TA fogh' whereas here we have "jaha ahaM diTTho". The reading ahaM would mean the nayaka himself is the speaker whereas the reading Th would mean that the speaker is a female messenger pleading the cause of nayika. p. 29 v. 363 As stated above (Note to p. 27 v. 339) there is no need to emend the text as jaNo [? 5] jaNo here also. p. 30 v. 383 Ranaranayarujjaduccalaehim (?)- This gatha is cited in Srngaraprakasa (p. 1067). But there the text shows some gaps and presents a few incorrect readings. A comparision of these two texts helps us in restoring the original gatha. The reading "ranaranaarajja dovvala..." in SP gives us a clue to correct the doubtful reading in the present Kosa as 'ranaranaya-rujja dubbalaehim.' p. 31 v. 390 The editors proposed emendation well agrees with the corresponding reading in Gathasaptasati (Ta). p. 34 v. 430 The reading in Vajjalagga (v. 346) is fage 370 coda in place of 'TE

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JINESVARSURI'S GAHARAYANAKOSA 553 annajuvaineheNa" in the present Kosa. p. 35 v. 450 This gatha occurs in Gathasaptasati (VI. 18). There the text reads 'bahohabharia' and the reading 'bahulla-phuria' is recorded in the footnotes. The latter part of the second half in GS reads : 'Savahavattham gaam pemmam.' The Editors of the present Kosa read 'Satahavattham mae pimme' and add a question-mark. The SP (p. 1211) correctly reads: 'Savahavattham gae pemme.' p. 39 v 499 The opening words of this gatha present corrupt readings. The editors' emendation jaM pi ya [? piya] maMgalavAsaNAe too is not helpful. We should read with Weber (No. 837) : jaM pIaM maMgalavAsaNAe. "niTThai" in the second half of this gatha is obviously a misreading or misprint or scribal error for "ciTThai". p. 39 v. 501 The second half of this gatha reads differently in Lilavai from where this gatha is picked up : jANaM ciya piyaviraho jANasu dukkhINa te paDhamA / It is, of course, more meaningful. p. 39 v. 505 Gathasaptasati (No. II 53) presents somewhat different readings : viraha-karavatta-dUsaha-phAlijjaMtammi tIa hiaammi / aMsU kajjalamailaM pamANasuttaM vva paDihAi // These readings make better sense. p. 40 v. 516 The first half of these two gathas presents different readings : and pacchAmaho vi viyara paharahao aMbaraM pi mottUNa / p. 72 v. 73 pacchAbhimuho vaccai paharahao aMbaraM vimottUNa || The first half needs to be corrected as; pacchAbhimuho vaccai paharahao aMbaraM pi mottUNaM / p. 41 v. 519 [vA ?]saM should be corrected as : sesaM v. 521 ja(? u)Na vallaho should be corrected as jaNavallaho 'salilapAya[? raya]" ' ' salila-pAyaDiya. v. 522 saMcalaNamAsalA " " " saMgalaNamAsalA v. 524 The first half should be read as : muha-ghaDiya-viyaDa-ravi-kaNaya-piMDa-bhAroNAyagga-bhAeNa / v. 525 molAya(yaM)tammi should be corrected to maulAyaMtammi Stud.-70 522

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554 STUDIES IN JAIN LITERATURE v. 526 'pasariya' should be corrected to parisara-parisesa-palahuya-maUhaM Note : All these corrections are based on the source Lilavai. p. 43 v. 545 The expression EF 1913T is rather unusual. The present gatha is quoted in Alamkarakaustubha (p. 36). There we have the reading NahaNihAo (Sk nakhanighAto) in place of nahanivAo (Sk nakhanipAta). The svopajnacommentary of Visvesvara elucidates nakhanighAtapadamardhacandrAkhyanakhakSataparam / Visvesvara's reading seems to be preferable. p. 44 v. 557 The reading caMduccatAvayaMsaM needs to be corrected to caMdujjuyAvayaMsaM (Sk candrodyotAvataMsaM) p. 46 v. 584 Lilavai (No. 1091) reads paccUsa. instead of divasamuha in our Kosa. p. 46 v. 590 Lilavai (No. 675) reads NaliNoyara for kamaloyara and vihaDaMto for viuDito p. 46 v. 593 The text as printed in our Kosa, is corrupt, Gaudavaho (No. 1182) reads : iTTA-cuNNaM va kiraMtamuddhamaruNAavaM paripphurai / raviNo gaaNAsi-NisANa-cakka-valaovamaM biMbaM // [iSTakA-cUrNamiva kiradUrdhvamaruNAtapaM parisphurati / ravergaganAsinizAnacakravalayopamaM bimbam / / ] p. 48 v. 617 chappaha should be corrected to chappaya. p. 49 v. 625 The reading saMThiyaM found in Vajjalagga (v. 252) is far superior to saMciya in the present Kosa. p. 49 v. 630 Gathasaptasati (II.39) reads the second quarter thus : jaM kira so mahai - mahuaro pAuM / p. 49 v. 635 The third quarter in Vajjalagga is somewhat different 'naliNINa jeNa kaDDai' (Sk 'nalinInAM yena karSati') 53v. 680 The list of corrections advises us to correct samAvaho to samohavo. Most probably, it is a printing mistake for samAhavo. p. 58 v. 741 The reading flooc found in Jogalekar's edition of Gathasaptasati (No. 1005) yields much better sense than the reading fore in the present edition. p. 58 v. 746 Vajjalagga (v. 159) reads vihurasahAyA in place of vihurasahAvA of our Kosa. p. 59 v. 760 The reading "nIsasiya" in the present Kosa is not happy as it

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JINESVARSURI'S GAHARAYANAKOSA 555 offends symmetry. The reading HHA in Vajjalagga (No. 226. 3) must be the genuine reading. p. 61 v. 782 The fourth quarter presents difficulties. The emendation proposed by the editors hardly helps. Vajjalagga (No. 67) reads the quarter correctly. '31195 3119EUR 16'' (3414f& 341ada 4444') To trace the sources of the rest of the gathas in the present Kosa would prove an interesting and illuminating study, It would improve some doubtful or wrong readings. One would have to take into account some important Prakrit Maharastri/Jain Maharastri) works composed entirely in the gatha metreor works in prose and verse (containing gathas) or other Kosas like Chappannayagahao which were composed before the close of the 12th Century A. D. One would like to agree with the Editors' view that 'Prakrit language and Prakrit writers had the opportunity to be in close contact with the people. The vista which was almost closed to Sanskrit language and Sanskrit writers was open to Prakrit language and Prakrit writers. This is the reason why those elements that capture the hearts of common man predominate in Prakrit literary works.' This view, however, cannot claim to be universally true. If we take into consideration the topmost Prakrit poets and their Prakrit works, for instance, Pravarasena and his Setubandha, Vakpatiraja and his Gaudavaho, we have no alternative but to admit that long portions of these poems written in an ornate, pompous style full of long compounds, are all Sanskrit turned into Prakrit by the poets. These poets thought in Sanskrit, first put their ideas in a Sanskrit draft and then presented them in the form of Prakrit verses. Common people apart, even well educated post-graduate students of Prakrit languages and literatures would not properly and fully understand and appreciate these erudite, difficult portions without the help of Sanskrit commentaries or translations in English or a modern Indian language. The editors' view holds good in the case of poets like Hala Satavahana, Jayavallabha and their works Gathasaptasati and Vajjalagga. Notwithstanding few deficiencies and differences of opinion on a point or two, all lovers of Prakrit language and literature will welcome this valuable publication and extend very warm congratulations to the Director of the Institute and the joint editors for presenting to the world of scholars of Prakrit language and literature this treasury of the gems of the subhasitas. 000

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TARAYANA (Taragana) : . An Anthology of Bappabhatti* The Jain tradition claims Bappabhatti to have been an eminent Prakrit Poet. His Subhasitakosa, Tarayana (Taragana) was known to be his very important poetic work from references made to it by Dhanapala, Vadijanghala and Prabhacandra. The credit of bringing it to light with a masterly, although anonymous commentary goes to Prakrit Text Society. Dr. H. C. Bhayani, a veteran Indologist has ably edited it on the basis of its only available MS. He has added, below each gatha and its commentary, lucid English translation and prefaced the edition with a valuable Introduction. In his 17 page Introduction Dr. Bhayani gives a description of the Manuscript and briefly deals with the life and literary activity of the poet Bappabhatti Suri. Regarding the anthology he notes the literary references and gives information about its compiler (Sankuka), its general structure, its listing device, its subjectmatter and finally dwells upon its style and literary merit. Dr. Bhayani does not agree, and rightly so, with the scholars who disregard and denounce the traditional Jain accounts as unreliable. Making allowance for exaggerations, errors, their legendary and motivated nature he shows how the traditional account of Bappabhatti preserves some facts and how the discovery of Tarayana bears out the Jain account on such points as Bappabhatti's poetic powers and his close association with king Amma alias Nagavaloka as an eminent poet at the latter's court. * Tarayana (Taragana) : An Anthology of Bappabhatti's Prakrit Gathas, Compiled by Sankuka, with an anonymous Sanskrit commentary, edited by H. C. Bhayani, published by Dalsukh Malvania, Secretary, Prakrit Text Society, Ahmedabad, 1987, pp. 8+79. Price. Rs. 20/

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TARAYANA (Taragana) : An Anthology of Bappabhatti 557 The general neglect in which Bappabhatti has fallen, which to Dr. Bhayani is rather a mystery may be explained by his being what Dr. Bhayani calls 'a vidagdha poet' (a pandita-poet or scholar poet)-a scholar who has spoilt his lucidity by his wide-ranging allusiveness : "In several verses the idea is complex and the use of slesa makes it further complicated". These verses would not have become intelligible but for the anonymous commentary which "meticulously explains various compound expressions", clarifies both the meanings of double-meaning expressions" and "brings out the precise meaning and purport of the verses." In style and diction Bappabhatti is closely akin to Sarvasena (?), Pravarasena and Vakpati-raja and diametrically opposed to Hala. The difficulty of his writing is perhaps responsible for his remaining in obscurity for several centuries past. He was not, however, totally forgotten or ignored by later writers. Dr. Bhayani has pointed out how Bappabhatti's ideas contained in two of his verses are borrowed by Vira, the author of Jambusamicariya, an Apabhramsa text and one more verse has been cited, anonymously, by Bhoja, a standard authority on Alamkarasastra, in his Srrgaraprakasa. In this context it may be pointed out here that there are quite a few other citations of Bappabhatti's verses in Bhoja's Srngaraprakasa (S'P) and Sarasvatikanthabharana (SK) and in Jinesvarasuri's Gaharayanakosa: The gatha opening with "The HT 3481)" (Tg v 131) is cited by Bhoja in S'P Vol II, p. 458 v4, again Vol III, p. 619 V1 and once again, Vol IV p. 1175 v.6. Further, it is also cited by him in SK Ch IV p. 498 v 155, and again Ch V, P 679 v 354. There is still another gatha cited by Bhoja in his S'P Vol IV p 1091 v3. The corrupt text of this gatha when restored closely agrees with Tg v 161. It is very interesting to note that the said citation in SP closely resembles GS (W). 840. On the authority of Sankuka who unhesitatingly attributes it to Gajapati ( a nom de plume a pseudonym of Bappabhatti). We may be justified in saying that Bhoja has drawn upon Bappabhatti's muktakas. Compared with Bhoja Jinesvarasuri who compiled his GRK in VS. 1251, draws heavily on Bappabhatti's muktaka verses. On scrutiny we find that Jinesvarasuri has taken over from TG the following fifteen gathas :

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558 STUDIES IN JAIN LITERATURE __ Tg Page-S.no 15.32 GRK Page-S.no 52.666 20.42 17.204 22.45 17.216 24.48 The Pratika of the verse 1. gayaNacchiNo galaMtassa 2. tuha riuNo NAha suhatthiNo 3. paNaINa deva dito 4. bahulakkhaeNa bahuso 5. saMpuNNa-kosa-daMDaM 6. nUNaM dhaNummi tuha pahu 7. bahusohaggAu avihavAo 8. uvvahasi kIsa gavvaM 9. phuriya-payAvassa tuhaM 10. taM parivarlDati daDhaM 11. taiyacchi-sihi-sihA bhA0 12. suhau tti jiyai viddho 13. jiyau tti paya-saNAraM 14. Aloya-mitta-viyaMsata 15. rovaMtu nAma taM jaNama' 25.50 27.54 28.55 30.61 32.64 16.194 16.193; 46.592 16.192 17.205 16.191 32.65 46.591 8.82 25.317 39.78 40.79 29.370 45.89 61.151 31.395 47.603 39.502 64.156 In the light of these citations one may venture to hazard a guess that a few more verses from the last portion of Tarayana may have been cited by Bhoja in his two works on alamkara, SP and SK and by Jinesvarasuri in his GRK. This guess finds a sort of support in that Jinesvarasuri cites the following gatha (v.140) : je kei pahU mahimaMDalammi te ucchudaMDasAricchA / sarasA jaDINa majjhe visamA pattesu dIsaMti // -Which forms part of the seven gathas said to be sent by Bappabhatti as part of retort to Amma's verses....It is quite likely that these gathas also were included in the Tarayana and figured in that portion which is now lost (see p. 10)" (Introduction Tarayana, pp. 7-8) Incidentally, the text of Tarayana helps us to restore the missing words, corrupt readings in the corresponding verses taken over by Jinesvarasuri;

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TARAYANA (Taragana) : An Anthology of Bappabhatti 559 P.V. S.No GRK P.V. Tg 8.82 taM parivaTuMti khaNaM 32.65 taM parivarlDati daDhaM 16.191 naravai mahilAsaccA(?tthA) vi 30.61 naravara mahilA savvAvi 3. 16.193 da(?Dha) lai kamalavaNaM 25.50 dalai kamalavaNaM 46.592 dalai kamalavaNaM Note : The Editors have corrected the emended reading DhalaI to dalaI in the Errata they have added at the end of GRK. 4) 52.666 GRK reads. gayaNacchiNo galaMtassa kaalimaapihiy[taar]taarss| dei sarao siyabhaM [? ]payaDapaDalaM va // 15.32 TG however reads : gayaNacchiNo galaMtassa kAliyA-nIli-pihiya-tArassa / dei sarao siyabbhaM payagabbhaM rUya-paDalaM va // 5) 17.205 aMte urIo [] 28.55 kiM aMteuriyAo 6. 29.370 tahacchibANe hi 40.79 tuhacchi-bANehiM It is an unfortunate fact which is very obvious that almost every page of this otherwise excellent edition has been disfigured by errors in printing. Not much purpose can be served by commenting on the number of such errors. Most of the books of the nature of Tarayana which needs knowledge of two or three scripts and languages and of diacritical marks suffer from such misfortune inspite of a lot of care the printing press and the author who usually is the proof-reader take. To avoid such mistakes much better organization is needed than can be possible in our publication world. All that one can say at this stage is 'Bear with us.' Finally all lovers of Prakrit and Sanskrit poetry will warmly welcome this unique work and congratulate the Prakrit Text Society and Dr. H. C. Bhayani for presenting to the world of scholars "the sole preserved specimen of the Prakrit Muktaka Poetry of a known author, who flourished in the long interval between Hala Satavahana the author of Saptasataka or Gatha-Kosa and Jayavallabha, the author of Vajjalagga." PS I am happy to add that there is still one more gatha from Taragana which has been cited by Bhoja in SP (vol III, p 636, v.3). When restoring the

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560 STUDIES IN JAIN LITERATURE Prakrit verses from SP I had left it as it is adding the remark "This verse / gatha is highly corrupt and therefore obscure. Bhoja's text reads : cheAi muddhadiarassa laAtahavilANi vilAsA / saMDho tti-hari.....Na jahajaNeNa / / Taragana, verse 171 (p. 70) helps us to restore the corrupt text and render it intelligible. cheyAe~ muddha-diyarassa lAiyA taha vilAsiNi-vilAsA / saMDho tti pariharijjai kaNNAdANe jaha jaNeNa // [chekayA mugdha-devarasya lAgitA (nyastA) stathA vilAsinIvilAsAH / SaNDha iti parihiyate kanyAdAne yathA janena // ] DOO

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INDOLOGICAL STUDIES-I* The volume under review is a collection of 33 papers and articles pertaining to the areas of Literary and Performing Arts and of Prakrit and Apabhramsa studies by Dr. H. C. Bhayani (Bhayani). These papers and articles were published from time to time during the last four decades in various Oriental Research Journals. Part I deals with 14 topics relating to Literary and Performing Arts (pp. 3-126) and Part II with 19 topics concerning Prakrit and Apabhramsa studies (pp. 129-356). Pages 357 to 360 give us detailed information regarding their first publication. The Index added at the end covers pp. 361 to 365. As a scholar of Indology Bhayani has won international repute. His interests are varied. A mere glance at the Table of Contents is enough to give an idea of the range of his interests in the various branches of learning : the languages Sanskrit, Prakrit, Apabhramsa and Old Gujarati and their literatures, Sanskrit Poetics, Lexicography, Metrics and Grammar. This collection easily bears testimony to his profound and wideranging scholarship and critical ability of a high order. By his comparative and critical study he sheds new light on the topics chosen for study. Each and every paper is important in its own way. All readers may not find all papers of equal interest. Whatever papers however they choose, according to their own interest, predilection, for careful reading, are bound to enjoy them and enrich their knowledge. Some of the papers are of general interest and appealing to every reader. For instance, Kesna's early life and his childhood exploits, are of perennial interest. Bhayani's three papers, Part. II. 7, 8 and 9 dealing with the childhood exploits of Krsna, his unique relationship with his three less known sweethearts --Pali, Dhanya and Carukesi, and the sources of two of his puranic episodes 1. Gopivastraharana * INDOLOGICAL STUDIES-I (Literary and Performing Arts, Prakrit and Apabhramsa Studies) H. C. BHAYANI, published by Parshva Prakashan, Nisha Pole Naka, Jhaverivad, Relief Road, Ahmedabad-380 001, 1993, pp. 3-365, Rs. 250. Stud.-71

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562 STUDIES IN JAIN LITERATURE (Krsna steals Gopis' clothes) and 2. Krsnanvesana (Gopis' wanderings in the woodland in search of Krsna) respectively deserve special mention in this respect. Now, Valmiki's Ramayana and some other Ramayanas are wellknown throughout the world. Bhayani's paper "the Prakrit and Apabharamsa Ramayanas," introduces the reader to the less known Ramayanas especially the Jain versions of the story of Rama. Although less known, they present some interesting variations--modifications and innovations. Kalidasa's famous lyrical poem, called Meghaduta or Meghasandesa is universally known. But there is no unanimity among scholars and writers on Poetics regarding the type of kavya (poetry) to which it belongs, Bhoja cites it as an example of the type called Samghata. It is thus defined : "Samghata is a group of self-contained stanzas relating to a single theme and of single authorship like the Vrndavana and the Meghaduta." (Srngaraprakasa Vol. II, p. 470, Mysore edn. 1963). Hemacandra follows Bhoja and models his definition on Bhoja's definition and reproduces the same two illustrations (Kavyanusasana, Mahavira Jaina Vidyalaya, Bombay, 1964 edn. p. 466). Visvanatha in his Sahityadarpana, however calls it a Khandakavya : Khandakavyam bhavet kavyasyaikadesanusari ca yatha megha-dutadih ! -VI. 329. (Tr. That poem which partly follows the type named Kavya is called Khandakavya."). It is not possible to bring out the importance of each and every paper in the collection in a review like this. Suffice to say that each and every paper adds to our knowledge. We warmly congratulate Dr. Bhayani for making these papers easily available to interested scholars by collecting them in this volume and for his valuable contribution to different branches of learning. 000

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INDOLOGICAL STUDIES-II* Dr. H. C. Bhayani (Bhayani) is one of the topmost indologists in the century today. His first volume of Indological Studies was published in 1993. Now, the second volume is being presented to the world of Indological students. It contains Bhayani's research papers and notes relating to Prakrit, Apabhraiia, Gujarati, etc. They deal mostly with some historical problems, lexicological and exegetical matter and etymologies, and were published during the long period of 1945 to 1997. A few of the notes are translated from Gujarati. The paper, "The Prakrit of the Early Jain Canonical commentaries" aims at demonstrating how for the history of the Prakrit language, the early stratum of commentaries on the Jain Canon can provide us with quite valuable data. In this paper on "The Prakrit of the Nanapamcamikaha" Bhayani observes that the flexibility of the language of Jain Prakrit works imparts them a sort of fresh and living touch which is generally missed in other Prakrit works. Of all the papers his paper on the sources of Prakrit illustrations of Hemacandra's Prakrit Grammar is most outstanding. It attests to his profound scholarship, diligence, industry and careful application to his chosen work. His three papers relating to Apabhramsa language along with his small book Apabhramba Language and Literature, B. L. Institute of Indology, Delhi, 1989 constitute his invaluable contribution to Apabramsa studies. His note on Interpretation of some passages of Gaudavaho deserves our special attention. He writes : "N. G. Suru has rendered a great service to the students of Prakrit literature by giving a careful English translation along with explanatory notes, of the highly important but equally difficult mahakavya, the Gaudavaho of Vakpatiraja written about 730 A.C. He then discusses interpretation of eight of its verses and offers alternative renderings which are at once appropriate and convincing. Readers' attention may here be drawn to p. 142 (8) * INDOLOGICAL STUDIES-II (Literary and Performing Arts, Prakrit and Apabhramsa Studies) Volume 2, H. C. Bhayani, published by Parshva Publication, Nisha Pole Naka, Jhaverivad, Relief Road, Ahmedabad-380001, 1998, pp. 243, Rs. 250/

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564 STUDIES IN JAIN LITERATURE V.495. The sense of the verse is not correctly grasped by Suru. Goura=Gopura means 'the city-gate', not 'balcony'. Nisamanna means 'unique', not 'generality'. Pariha = Parikha means 'moat' (around the city), not 'rampart'... In a brief review it is not possible to dwell on the merits of each and every paper. So also there are many interesting notes on various words from some Prakrit and Sanskrit Texts. By way of example we may refer to two or three such notes. (1) Caitya' (pp. 186-87)- In Prakrit caitya (ceia) is widely used in the sense of a 'temple in general. But Hemacandra notes in his Abhidhanacintamani that 'caitya' and vihara' signify a Jain temple. Now this is a quite significant change of meaning when we consider that this meaning developed possibly after the disappearance of Buddhism from India. (2) 'Bhadanta' (pp. 206-207) : In Valmiki's Ramayana the expression 'bhadram te' occurs as a formula of blessing, of averting evil or formal greeting..... Bhadanta is quite well known in Pali as a term of respectable address or adjective with respect to a Buddhist mendicant, monk, etc. Its contracted form bhamte' (for bhaddamte) is frequently used similarly in the Jain Agamas..... The address thereby expresses his or her reverence and good wishes 'Bless you'! 'Let no evil visit you'. (3) 'Paradi : Upper garment (pp. 197-199) V. 238 in Hala's Saptasataka in translation means : "The farmer buys a bull in exchange of his upper garment during the month of Magha, keeping in view the breasts of his charming young wife that were veritable smokeless fire of rice-husks." Bhayani examines the occurrence of the Prakrit word in the various gathas cited by the various alaskarikas and concludes that the correct form of the word is 'paradi, derived from the Sanskrit word 'Pravara' (p. 198). One regrets this otherwise excellent work is disfigured by misprints. Scholars of Prakrit and Apabhramsa would congratulate with the reviewer, Bhayani for making these research papers and notes easily accessible by collecting them in this volume. 000

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SAPTASATISARA WITH BHAVADIPIKA* ALL students of Prakrit Literature and Sanskrit Poetics will welcome this volume. Dr Upadhye, the eminent Prakritist and Master Editor has critically edited the text of Saptasatisara along with the commentary Bhavadipika. In his valuable Introduction Dr. Upadhye treats of the relevant topics : 1. MSS Material And Text-Constitution, 2. Muktaka Poetry, 3. Kosas or Anthologies, 4. King Hala, 5. Hala's Sattasai, 6. Commentaries on the Gathasaptasati and 7. Vema Bhupala and his Bhavadipika. He then adds select Bibliography which is very useful for intensive study of the text. Saptasatisaratika, which is named Bhavadipika, is a commentary in Sanskrit on a select Century of Prakrit Gathas from the Gathasaptasati. Just as Hala selected, in the past, seven hundred out of one crore of gathas so Vema Bhupala selected one hundred even out of that seven hundred. He first gives the gatha; then adds his chaya; thereafter he supplies the context and explains the text often commenting on unusual Prakrit words; he then lucidates the alamkara and dhvani aspects of this gatha. It is this dhvani aspect which is of supreme importance and is responsible for the title of the commentary as Bhavadipika. At the end of the text are added four useful Indices : 1. Index of Gatha, 2. Bhavadipika's quotations from the sutras of Trivikrama, 3. quotations in the Bhavadipika from other standard works and finally, 4. Gatas from Saptasatisara, quoted in other works (on Poetics). The learned editor has spared no efforts to restore the version which must have been in front of Vema Bhupala. Occasionally however, we come across readings which do not agree with the Sanskrit Commentary. For instance, the Gatha (No. 88) reads a dry but the Sanskrit commentary on it gives its chaya as * Saptasatisara with Bhavadipika of Vema Bhupala Along with Chappannaya-Gahao (Text and Chaya) By Dr. A. N. Upadhye (Shivaji University Sanskrit and Prakrit Series Vol III), Shivaji University, Kolhapur, 1970, Rs. 7/

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566 STUDIES IN JAIN LITERATURE tAvatA. The word avirikAo (Gatha No 94) seems to be a misprint for aNirikkAo. Again, one does not feel very sure whether the reading act 07317 (Gatha No. 92) is correct or a scribal error for TISHU31). The Index "listing 18 verses from the text that are quoted in other works" mentions only one work, viz. Kavyanusasanam which is later compared to earlier standard works such as Dhvanyaloka., Sarasvatikanthabharana, Srngaraprakasa, and Kavyaprakasa that quote about fifty verses occurring in Saptasatisara. It is very likely that in selecting his century of Gathas Vema Bhupala was influenced by his study of these standard works on Poetics. At the end of this text and commentary the editor presents by way of Parisistam his excellent paper on Chappannayagahao which was first published in the Journal of the Oriental Institure, Baroda, Vol. IX, IV. June 1962. The value of this paper is greatly enhanced by the addition of Sanskrit Chaya by the Editor himself to the Prakrit text. We congratulate Dr. Upadhye on presenting this volume to the scholarly readers of Prakrit language and literature and of Sanskrit Poetics. DO

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WOMEN IN ANCIENT INDIAN TALES* This book presents fifteen Indian tales, drawn mostly from Jain Prakrit literature and a few from Sanskrit literature. They are drawn from (1) Vasudevahindi (3rd Century A. D.); Majjhimakhanda (4th century A. D. ?), (2) Dharmopadesamalavivarana; (3) Bhavabhavana (11th Century A. D.); (4) Kahanayakosa (11th century A. D.); (5) Kathasaritsagara (11th century A. D. in Sanskrit); (6) Yasastilakacampu (12th century A. D.) in Sanskrit; (7) Kumaravalapadiboha (12th century A. D.); (8) Paiyakahasamgaha (12-13th century A. D.); (9) Rayanaseharakaha (15th century A. D.); (10) Nammayasundarikaha (12th century A. D.) All the fifteen tales are very fascinating and interesting. Dr. Jain rightly observes : "Prakrit Jain Narrative Literature, having the elements of folklore is extremely rich in popular tales pertaining to real life. Unfortunately, it has not been fully explored or properly rendered into English or modern Indian languages. It contains valuable narrative literature describing the social and cultural life of ancient men and women in different ages and social spheres" (Introduction, p. xvii) Dr. Jain himself first translated these tales from Prakrit and Sanskrit into Hindi. Mrs. Margaret Walter has rendered a majority of these tales from Hindi into English; and quite a few tales have been translated from Hindi into English by Mrs. Manju Jain, Dr. Jain's daughter-in-law. These tales vividly portray the life and manners of contemporary men and women. Women maintaining their chastity at whatever cost, wealthy merchants, princes, courtesans (ganikas), women messengers (dutis) prominently figure in these tales. They delight and at the same time teach. Dr. Jain's Introduction briefly deals with the position of women from the times of Rgveda down to the 15th Century A. D. The collection particularly brings out the richness of Prakrit * By : Jagadishchandra Jain and Margaret Walter, Published by K. M. Mittal, Mittal Publications. B-2/19-B, Lawrence Road, Dehli-110035, 1987, pp.xix, 110; Price Rs. 65/

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568 STUDIES IN JAIN LITERATURE narrative literature vis-a-vis Sanskrit narrative literature. It is regrettable that the translators have not made use of diacritical marks and that the book is disfigured by a large number of queer expressions, funny English structures and even spelling mistakes as noted below : p. ix lost dependence (for independence), heroin (for heroine). p. xiv employes (for employs), loveable (for lovable), in [the] habit of p.xvi lightening (for lightning), oppointed (for appointed). P.xvii greatful (for grateful) p. 11, p. 12 marchant (for merchant) p. 27 para 5 weiled (for wailed) p. 38 p. 19 did not head (for heed) p. 39 She is willful (? a wilful) child....bucky thing I am saving (? protecting) my son from her presence !" P. 41 paras 2 and 4 massengers (for messengers) p. 53 (last but one line) does. not leaves (for leave) p. 62 para 2 Seeing his wife's sad state, they both decided....the deity was very happy as their wish was granted. p. 63 para 3 II. 7-8 or drink (? swallow) your humiliation. In spite of these deficiencies, Dr. Jain and Margaret Walter deserve warm congratulations on making accessible these charming tales to readers, who are not acquainted with Prakrit or Sanskrit language. Their work will delight students of comparative literature and comparative myths. 000

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VIDYASTAKAM Poetry, Poetry with the pictorial figures). In this kind of poetry the letters are arranged in particular ways in the form of a sword (khadga) or a drum (muraja) or a lotus (padma) and so forth. This type of poetry is extremely difficult. It is therefore called kastakavya, a sort of acrobatics in poetry. Generally speaking, it exhibits the poet's sakti-pratibha or rather the flexibility of his pratibha only; and is of no use for instruction in the means to the achievement of the four ends of human life (purusarthas). Ancient Sanskrit poets like Bharavi, Magha, etc., took delight in composing such citrabandhas. There is a sort of vaicitrya (strikingness) in them but they are, with rare exceptions, devoid of rasa. The pundits of those days used to appreciate this kind of kavya. And to win their applause and admiration the poets used to write such laboured poetry. Niyam Sagarji has composed this work with the avowed purpose of expressing his deep devotion to his own revered guru. He deserves praise for successfully carrying out his strenuous undertaking. Being fully aware how difficult laboured kavyas are, the poet has himself added a Sanskrit commentary as well as a Hindi commentary to his kavya. For the benefit and easy understanding of his readers he has also added pictures of the different bandhas. At the end he has added two useful appendices : 1. dealing with the technical terms and 2. another describing the way of life (acara) of a Digambara muni (monk). The work is prefaced with an Introduction (named * VIDYASTAKAM : Shri Pradeep Jain, Pradeep Cutpiece, Ashok Nagar (PH. 22462, 22746) MP. 1994, pp, XXXVII + 200. Rs. 100.

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570 STUDIES IN JAIN LITERATURE Sampadakiya) by the renowned Sanskrit scholar, Dr. P. N. Kavthekar. It mainly deals with the two topics of gurubhakti and citrakavya. This work is unique in the sense that it represents an attempt to revive the old tradition of citrakavyas. It would not be out of place if we express here our wish that the poet undertakes a Sanskrit mahakavya mainly portraying santarasa. OOO

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APPENDIX HARIVIJAYA OF SARVASENA (TENTATIVE and FREE) TRANSLATION (Part 1) 1. Quite at the outset of the season Madana (the God of Love) caught hold of the face of the Goddess of Spring whose ears were decked with mangoblossom which particularly pleases him; it marks the beginning of the festival and its heady fragrances. 2. (Hari, i. e., Krsna says :) It fascinates me the colouring which Satyabhama's lovely face gets from her anger over my offence of love-beautiful as the moon looks beautiful with muskdeer. 3. You prize friendship with Krsna, O, Indra, and yet you are reluctant to part with Parijata, the jewel (i. e. best) among trees. 4. Although Satyabhama and the other wives of Krsna were equally hurt, Satyabhama alone was angry and felt jealous : both the feelings, were proportionately related to her love and regard (for Hari). They (anger and jealousy) essentially are reflections of her love. 5. Krsna gave to Rukmini the garland of celestial (Parijata) flowers spreading fragrant smell and perfume, although not solicited (or requested for) by her; thereby causing pain to Satyabhama's heart. 6. You are hurt because I gave the celestial flowers to Rukmini, but if I were to bring back the very flowers to gratify you it wouldn't be in keeping with my love for you, my delicate one, nor with my offence. 7. I will soon get you the celestial (Parijata) tree with its leaves moist (or wet) with spray of the rut of Airavata, the elephant of Indra, and with its flowers mounted upon by bees greedy of nectar-like honey.

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572 STUDIES IN JAIN LITERATURE 8. Rukmini felt highly flattered by her dear husband's visit to her which quite thrilled her and gave immense pleasure though she had reason to feel displeased with him who still showed on him signs of dalliance with her rival (Satyabhama). 9. Out of profound love for Hari Sri (i. e. Laksmi) treated herself trivially, when from her own place on Hari's chest she saw him courting angry Satyabhama or when she found herself smothered by the hugs of thousands (of dairy-maidens). 10. Her (Satyabhama's) heart was overpowered by joy and owing to the excitement thus caused, tears gathered in her eyes and in spite of her attempts to suppress them, they still rolled down and fell on the back of Hari (i. e. Krsna) who was lying prostrate at her feet. 11. You (O, Hari) have favoured her (Rukmini) with a bunch of celestial flowers and me (Satyabhama) with your visit. You have done favour to both of your women. It looks correct, doesn't it? 12. As the night advanced Hari (i. e. Krsna) who has been separated from his beloved, saw the moon rising high in the sky as an impending calamity and as the God of Love threatening with his bow. 13. The rays of the moon, blended with the lustre of the sparkling Kaustubha gem, which should (normally) have increased her joy actually aggravated her agony and made it just unbearable (because Hari did not offer the celestial Parijata flowers to her but simply called on her empty-handed.) 14. Hari then appeased whatever little anger still was there in her heart by his conciliatory gesture viz., falling prostrate at her feet--the feet of his beloved (Satyabhama) whose heart was still half-closed against him : he had preferred to give to Rukmini the celestial Parijata flowers, 15. Her face promises to beam out any time now-the shades of displeasure are receding, a glow of joy is gradually spreading and the mixture of the two contrasting moods is increasing the beauty of her face. 16. "Here he comes"__this announcement of her maids Satyabhama only heard, but even though he was very close to her, she didn't see him as her eyes were dimmed by tears. 17. She was much ahead of her rival in the charms that make men desire women and in her love she caused as much torment to her rival-his other wife-as her husband admired her.

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APPENDIX 573 18. That very residence of hers (i.e. of Satyabhama) with the celestial Parijata planted at its entrance and full of the decorative arrangement of its flowers and with attendants plunged in joy, now looked quite different from what it was. 19. Now, when Hari (Krsna) marched against Indra in order to secure the celestial tree (Parijata), Satyabhama, although she had seen (known) his valour, distressed at the great calamity she feared out of great love (for him), (began to reflect or ponder over)--felt anxious. 20. With a view to giving his beloved, Satyabhama, the rapture of sexual union far exceeding her wildest of desire, Hari, with a smile on his face, and with both of his hands holding his mukuta (crown) in its place fell at her feet. 21. While Satyabhama was increasingly full of regrets for causing separation from Hari by her own self, he, on the other hand achieved her desired object and came back (safe and sound) home (in Dvaraka). 22. At the sight of Hari, Satyabhama's heart leaped with joy and her eyes, filled to the brim with happiness wandered all over with pleasure; both of them spread on her face an expression of unique grace. 23. Satyabhama's eye, tremulous like a swarm of black bees although her heart was enchanted by the fragrance of flowers, first rested on her beloved (Hari) and then only on the celestial (Parijata) tree (that spread the fragrance). 24. Then her eye, lovely like lotus, overflowing with the feeling of love, tremulous through (or under the influence of) love, first rested on her beloved (Hari) and then only on the excellent tree, namely Parijata. 25. "Look here at this your own excellent tree (Parijata)" when her dear husband uttered these words, indicative of his profound love (for her), her immense satisfaction found free scope to spread (over her whole body).

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Part II As noted above Bhoja speaks of three Prakrit Mahakavyas current in his time : Ravanavijaya, Harivijaya and Setubandha composed in asvasakas in the skandhaka metre. Of these the first two are irretrievably lost. Very little is known about the Ravanavijaya. The Harivijaya of Sarvasena is noted by way of appreciation (and criticism) by Sanskrit writers on Poetics : (Dandin), Anandavardhana (-his commentator Abhinavagupta--), Kuntaka, Bhoja and Hemacandra. Setubandha is the only extant Prakrit Mahakavya. The Srngaraprakasa and the Sarasvatikanthabharana have cited a very large number of skandhakas as illustrations while explaining various points of Poetics. Some of these clearly belong to Setubandha. Some others belong to, as shown above (in part I) to Harivijaya. Over and above these skandhakas (and one skandhaka from Ravanavijaya) there are nearly one hundred others which are anonymous. It is not possible to say definitely that they are quoted either from Harivijaya and / or Ravanavijaya. Bhoja quotes only one skandhaka from Ravanavijaya as an illustration of Kavi-prasarisa, whereas he quotes, as shown above in Part I, not less than twenty five skandhakas which definitely belong to Harivijaya. Again, it deserves our notice that these twenty five verses which belong to Harivijaya and many of the anonymous skandhakas bear close similarity of ideas, phrases, turns of expression, diction and style. Further, Pravarasena's Setubandha which is modelled on Sarvasena's Harivijaya treats in Canto X of the sunset, the nightfall, moonrise, the gaieties and amorous activities of the young women, aided by their errand-girls, their maiden friends, their pride and jealous anger-mana in its various aspects, Many of the anonymous skandhakas deal with these and kindred topics from the Science of Erotics. In view of these considerations we would venture a guess that these anonymous skandhakas, if not all of them, at least a large number of them, are cited from Sarvasena's Harivijaya. With this brief introduction we now set down these anonymous skandhakas :

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APPENDIX 575 (TENTATIVE and FREE) TRANSLATION (Part II) 1. Why should the night not pine away when she sees in the evening her lover, the Moon embracing the East after kissing the face of the beginning) of the Night-fall and then going in the company of Jyotsna (Moonlight) to meet the West, his other sweetheart ? 2. As the eyes reddened by the early morning bath fail to show the colour of passion, soft like that of young foliage, even so the eyes dimmed by doting passion fail to show signs of anger in them. 3. There rose the columns of smoke, the shock of hair of the rows of trees, fluttering banners of Madana spreading fragrance, the sailing clouds screening the moon's rays, deputies of darkness. 4. The long day bright with the jewel of the sun in its hood slithered away to the West sloughing off the oppressive heat of the noon. 5. The day falls like a trunk; the sun looks bloody like the throat slit with a knife; the twilight drips blood; and the darkness rolls away like a severed head, a black hairy ball. 6. If outward show of courtesy pleases, and if it is mistaken for true affection then indeed there is no difference between genuine affection and pretended affection. 7. Her friends are pretty helpless; they cannot speak for me. She has clearly seen with her own eyes the love's offence I was committing. Naturally it has caused her terrible pain. Now Madana (the God of love) and the Moon (light) alone can come to my help and appease her anger in their silent persuasive way. 8. The beloveds were deprived of the pleasure of being appeased by their man; they couldn't even pain their feet by kicking their lovers. All their anger was dissolved by the moonlight as errand-girls normally do. 9. In the meantime, the night that had patched up her quarrel with her husband, given free scope to her repressed desires and like a friend greatly encouraged her to enjoy the pleasure of sex, passed. 10. When the beloved damsels looked at the wine, the god of Love lifted up his bow, when in excitement they took it up he bent and slipped the loop of the bow-string into the notch ready for use and when they had a sip he fitted

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576 STUDIES IN JAIN LITERATURE the arrow to the bow aiming at their lovers. 11. The God of Love takes for his abode the faces of young women with eyes, touched with a pencil of collyrium, the naturally red lips slightly painted red and are eager for the pleasures of love. 12. She did not give up her (deep) attachment (for her dear husband); even though she was subjected to humiliation, she shed no tears. With her eyes not satisfied (?) she heaved a (long) sigh when she found that her husband had gone. (With the reading dhario amarisa-pasaro (in place of na kaovi raa-mokkha in the earlier part of the first half, the meaning would be : 'Her rising anger she controlled.') 13. The lady can't make up her mind. Does she tilt the balance in favour of her pride or prefer to lose her face ? 14. After going half way the young women turned round to have a look at their lovers who were now clearly visible in the first rays of the moon-they couldn't launch on their adventures of love in the later part of the evening but the light of the moon induced them (or was the inspiration), 15. In a slightly intoxicated state the young woman forgot the offence her lover had given her and started talking to him, but suddenly felt ashamed of herself remembering the offence and stopped talking, but he (the lover) smiled and comforted her. 16. However repentant I was and firmly set against any more such lapses on my part, she was not convinced and in spite of my long pleadings in our privacy she still presented her face that was distorted by her anger. How much it torments me ! 17. Lovers generally long to hear from their charming women words that move their hearts but the way she turned her face in anger and spoke, quite broke his heart to pieces. 18. Wealth and position command admiration. They are no way bothered by infamy, they look down upon good things as undesirable and refuse to appreciate good services because they come from the lowly ones, 19. Her resentful face is flushed red, her speech falters through (infatuation or) intoxication as well as jealous anger. 20. Her heart which had tried to conceal her tormenting pain felt helpless as she

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APPENDIX 577 came home, tears gathered in her eyes and her lower lip would not stop quivering. 21. O charming one, please tell me whether this is the characteristic of your celebrated courtesy that you go back to your wives soon after your fresh act of faithlessness. 22. But, my dear girl, you don't let me say anything I would explain--nor do you give up your anger. I wonder how you could have become so hardhearted--so pitiless and so distant. At one time you doted on me so much. 23. Her heart was gratified for a moment (by the entreating of her lover, but it became heavy with intense anger at the remembered offence and although turned back (from jealous anger for a moment) sinks down again in jealous anger. 24. You wicked man (rastal, rogue), you don't hesitate to misbehave and cause pain to a fruitless ineffective) and gentle person like me. Well, go ahead and enjoy yourself. Of the duo (two) let only one suffer. 25. Her lover who was himself sad, mortified and downcast saw her unhappy face completely clouded by sorrow with its eyes lurid with terrible anger. 26. The young man splashed water in the face of his wife who had quarrelled with him, but she didn't respond in a similar way but disregarded him and engaged herself with her maiden friends--this way she caused pain to her rivals in love. 27. How much of beauty can jewellery lend to young women when they are insulted or humiliated in their bedroom ? Contentment or inner satisfaction is the only real ornamentation compared to which all the elaborate jewellery is just nothing ! 28. We know how much agony she suffered on account of separation : Once she was trying to say something but the words were completely lost, she tried to smatter a few but ended in only deep sighs. Any talk about the good qualities of others, though not a full list of all of them does come to an end-even if it is an abrupt end. But his talk about his beloved though it makes no mention of the delights of their love making together, never comes to an end. 30. The nearer he (Krsna) approached her (Satyabhama's) mansion, the deeper his heart sank in nervousness and the guiltier he felt over the offence he had given her (lit. his heart sank in serious apprehension and uncertainty). Stud.-73 29

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578 STUDIES IN JAIN LITERATURE 32. 31. My dear, why should these oblong eyes of yours be pouring forth tears tinged with the pigment of your thin collyrium in such a profuse flow ? O, slender-waisted girl, why do you sit and mope like this, the floral decorations of your ears are crushed, your lustrous lower lip is all blanched by the breath of your mouth and the paintings on your cheek done with fragrant and colourful material are transferred on the palms of your hands? 33. Why is it that what you want to say remains unsaid ? It only moves around inside your mouth, doesn't even get an indistinct utterance though it comes again and again upto your lips and sets them quivering. 34. O, my dear, although my love for you is unbroken (or uninterrupted, the same all along) although I haven't given you any cause for anger, although I have done nothing unworthy or bad, still there has been a scandal which caused your displeasure with me (or your anger for me.) 35. You have not examined the position carefully nor have you shown any consideration for mutual trust which has grown over the years. You have been causing me pain. 36. You may take your own time over it, you may not give up your angry feelings against me, but please tell me in clear terms whether you think I would be guilty of any such lapse, disregarding this (our deep love) ? 37. The course of love is indeed uncertain : if it moves ahead boldly, it is restrained and pushed back and vice versa. Is there any point in being resentful ? One doesn't really know what to do with such a mood (or feeling). Such thoughts quite perplex the minds of women. 38. The eyes of the disillusioned young wife looked for a while painfully at her rival in love with whom her husband had seriously misbehaved, and finally settled on her friend. 39. I have put up with all the humiliation, I know of my rival's interest in the offences done to me and I patiently bore the pangs of separation from you. Now why should you feel bad about it ? Really speaking it should be me to feel so. 40. The dear one as well as his love who (which) has committed an unbearable offence (against the other party), who (which) in spite of the serious offence is inclined to appease (the other party) and who (which, proceeded in a self-willed manner (while committing the offence) are both of them [i.

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APPENDIX 579 he dear one ii. love] looked down upon (by people). 41. Young women whose dejected looks are just brightening on their lover's appearing around, feel suddenly overpowered by disillusionment and turn their looks away when they hear themselves addressed with other women's names. 42. Her husband's misbehaviour was so unbearable to her that she broke down for a while but the next moment she regained firmness and the only tear that gathered in her eye did not rolldown-it died right there. 43. She felt weak and her sighs were checked (? sighs proceeded) on account of the loss of her firmness but soon her anger against her husband rose sharply and the sighs which became heavy with (drops of) perspiration became rapid. 44. The extraordinary humiliation to which she was subjected in the presence of her worthy rival in love hurt her so much and so much anger rose in her heart that it could not quite hold it although she had divided it among her friends (although it was shared by her friends) who had always shared her joys and sorrows. 45. When the lover addressed (or called) his beloved by the name of some other woman, she looked towards her friend, with tears welling up in her eyes and heaved (hot) sighs darkening her lower lip. 46. Under the influence of wine women, on their own, welcome their offending lovers in their embrace. In the light of this how could it be said that wine leads only to harmful ends and not pleasing ones ? 47. The very lady who, when hurt wouldn't take any notice of the entreaties of her husband in spite of her (maiden) friends' advice to do so, would fall at his feet again and again to prevent his going away on long journeys. 48. Meaning to show nothing more than the formal courtesy, still nursing her pride, she felt overwhelmed by joy when she actually saw her husband and had nothing but sheer devotion for him. 49. As she rose to receive him with usual courtesy, she heaved a deep sigh which couldn't conceal her nervous feeling nor the tears gathering in her eyes. She was fighting against the memory of an earlier offence he had given her. 50. Her eyes roving around to catch the glimpse of her beloved husband couldn't take him in owing to the continuous flow of tears and like a closed lotus they remained shut and were deprived of the pleasure (of his darsanaStud.-74

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580 STUDIES IN JAIN LITERATURE sight). 51. As soon as she saw her dear (husband), there spread extreme joy on her face, marked with coquetry, that was fascinating charming, and Madana, the God of Love, fixed beautiful Mohana (Infatuating)-one of his five arrows-- on his flowery bow with its graceful (flowery) string strung. 52. The young women who didn't first respond to the conciliatory gestures of their men, later were overcome with repentance, felt humbled by their genuine love and themselves, started appeasing them, pretending intoxication as an excuse. 53. Two moods commingled and enhanced her joy which made her body its abode : her longing for the celestial Parijata tree was satisfied and her dear husband came back resplendent with victory over Indra, the lord of the gods. 54. Let him (my dear husband, by his faithlessness fulfil even the unfulfilled desires of my rivals in love. (But) let him-my dear husband--return quite safe, even without securing the desired object (the Parijata tree ?), on the strength of merit acquired by his numerous beloveds. 55. One can easily see that the winter is on its way out and the lotus plant has mated with the Spring from the way its face is beaming and emanating fragrance. 56. When the Sun, who was excessively red in colour (also, who was greatly in love with) embraced the Western Direction, the Day-Beauty becomes sad (or melancholy or dejected) unable to bear, as it were, the offence given by her beloved husband in her very presence. 57. As the Cakravaka embraces the love lorn Lotus-creeper that has stretched out on the watery bed along the bank of the lake and has the face of a fully blown red lotus, he seeks his mate with doleful cries. 58. In the early hours of the evening, when the moon is rising, the East is seen to be trying to help herself us towards the centre of the sky holding the hands (kara also rays) of the moon that is still on the other side of the Suvela range. 59. The crescent of the moon looks charming like Madana's (Madana, the God of Love) slender bow of Asoka or is it a cute little tusk made of a coral or of a frosty patch or of a diamond ? 60. The disc of the moon appeared like face of the night whitened by its rays

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APPENDIX 581 62. and decorated by streaks outlining the musk deer after dispelling the surrounding darkness. 61. The moon as it rises first looks like a coral, then like a mirror in which the ruddy face of an excited young girl is reflected and finally completely white. "When the light of the moon descends (on the earth) the shadows cast by the trees, the interstices of whose branches are gently shaken by the (evening) breeze, put on (assume) the dark-white appearance of ponds (art) full of blue and white (night blooming) lotuses (lilies 3744, 25). 63. Ah ! the pleasing touch of the white rays of the rising moon, radiant like the laughter of a young, charming woman, which looked brownish when on coming in through the round windows, they mingled with the light of the lamps and also dusky on account of the sandal wood that was burning there. 64. All the things necessary to welcome him are already at hand, the bed has been made still she tries to make it again; the message is carefully couched in correct words and the girl who had started to go to convey it, is stopped again. 65. She would still have one more sip of wine and another look at herself in the mirror and ask the messenger girl to repeat over again the talk with the lover, thus repeated it excited her feeling. 66. The merry young women apply collyrium to their eyes; fasten girdles on their waists, and paint a mark with sandal paste on their forehead; and although they are solely absorbed in thoughts of the raptures of their prospective sexual union with their lovers, they nevertheless feel disturbed by their anxious fears. 67. As the Night-bride withdrew and the starlets fell from her hair under his feet, the Daybreak arrived to the announcements of the fragrance of the flowers in tripping steps (? or driving away darkness ?). 68. As a young woman is leaving the bed with one foot planted on the ground (at the early hour of the day) and the lotusface turned towards the lover at whom she casts a side glance--still heavy with desire through the corner of the eye-My, my, what a glance ! 69. The carefully decked up ladies for the Festival of Love do not look really beautiful till the mango blossom with its spray overhanging the cheeks is not worn in the ears.

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582 STUDIES IN JAIN LITERATURE 70. The lower lip looks beautiful with kissing, the sparkling eyes look beautiful with heart felt joy; it is the lover alone who really decorates a young woman. In vain do young women decorate themselves with other aids of beauty. 71. A few decorations painted on the face, followed by the lover's passionate embrace should be enough for young women whose minds are set on their lovers. 72. The young women with their due attention to their costume, without their maiden companions and keen on receiving their lovers, stand inside unperceived and gaze at the pathway by which their lovers are expected to come. 73. My beloved has drawn in a picture young women whose hearts are affected by the passion of love and faced with immediate separation, they seem to have turned away from their assumed jealous anger as their goose-flesh (=horripilation) indicates. 74. The young women, with their eyes full of passion look at their lovers without any constraint and their tormented lovers feel tremendously satisfied by these looks which they prize very much in their hearts. 75. The young women set out to meet their lovers but grew tired by the long walk; they would have liked to rest for a while but their amorous hearts were so set on meeting their lovers who had already gone ahead to their meeting place that they would not allow themselves any rest. 76. When the lovers for some reason turn away from their women, these despondent women who could not take their eyes off their doors, send first their messenger girls to their residence but in their impatience themselves follow them. 77. After going halfway the young women turned round to have a look at their lovers who were now clearly visible in the first rays of the moon--they couldn't launch on their adventures of love in the later part of the evening but the light of the moon induced them or was the inspiration. 78. Although the idea of rising from their seats to do honour to their lovers crossed the mind of the young lovely women who were delighted by their (unexpected) visit, at the very moment (of their visit), their bodies (the bodies of the young lovely women) which were languid on account of intoxication were not able to put it in practice. 79. At the unexpected arrival of their lovers, the young women, who were

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APPENDIX 583 waiting with words of welcome rolling throughout the day in their mouths, felt so overwhelmed by their joy that they couldn't keep to the usual formalities of reception. 80. The God of Love supports the drooping arms of the young women which are tender like stalks of red lotuses and are adorned with garlands as personal decoration (?), as they are raised to embrace their lovers. 81. The dense or thick horripilation (or goose-flesh) produced by the happiness (or rapture) caused by love on her person thoroughly or completely banished the highest joy from the heart of her rival who was greatly humbled. 82. The indistinct (or halting) speech of the gay (merry) woman in an inebriated state, which is given up half way as forgotten, or may be, on account of the sudden remembrance of her young man's grave lapse causing shame to her, impresses as charming. 83. The proud lady fixed her eyes on her beloved, and kept on heaving sighs for long, short gasping sighs, carrying the fragrance of a freshly made wine, weakly heaved--that indicated that the onslaught of Madana, the God of Love, had now weakened. 84. Immediately afterwards [Satyabhama] with perspiration and horripilation appearing on her body) due to the pleasure of [Hari's] holding her by the hand, without waiting for Hari's adopting the remaining modes of reconciliation or appeasement clung to him. 85. Her (Satyabhama's ?) face which was blooming with joy, with cheeks showing excitement all over, looked more lovely (even though undecorated) than it would have been with decorations, 86. When her beloved violently seized her by her hair, the resentful lady couldn't speak out what she all the while wanted to say. It transformed itself into an expression of annoyance. 87. The young women angrily wiped their lips (as they were forcibly kissed by their men), but gave free scope to their passion of love when forcibly embraced, and became fit, for enjoying the joys of love. 88. The kissing of the eyes of amorous women, embraced by their lovers, looks charming--the kissing in which they obliquely turn their faces aside though their hearts drop the will to resist and feel well disposed. 89. The charming looking mistress (Satyabhama) happy in her own contentment

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584 STUDIES IN JAIN LITERATURE saw in a mirror in her chamber how her maiden friends and her maids reflected happiness on their faces that were entirely untouched by grief. 90. The joy she (Satyabhama) felt at the sight of her beloved, who returned home (safe and sound) after securing the desired object, was so much that her large heart, quite emptied of sorrow, could not quite contain it and it spread all over around her. 91. Her eyes looked more charming than the petals of a red lotus, reddish on account of the wine she was drinking as they were reflected in her glass full of fragrant wine. 92. Despondency deprives one of courage, intoxication of youth (deprives one) of modesty, and love (deprives one) of shame. What then is left for old age which robs one of every precious thing to steady ? 93. As the Mandara mountain had churned the vast ocean, the Sun churned up the vast sky in the course of his day's journey when ruddy Sandhya like madira (wine) bubbled out, followed by (the moon like a goblet or pitcher) of nectar. 94. The young damsels deck themselves up with lotus fibres and their round breasts with lotus leaves to tease and excite their lovers. 95. When he noticed some resentment in his wife his mind felt confused on account of his attachment to her and he vacillated between the gloomy mood of the evening twilight and the cheerful mood of the moonlit night (Note this translation is rather doubtful). ODO

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AUTHORS' INDEX Compiled by Mrs. Mrudula P. Joshi Apare, 280, 282n. Abhayadevasuri, 115, 121n., 164. 173. Appayya Diksita, 182. 535. Asanga, 128. Abhinanda, 465 Asvaghosa, 112, 115, 121n., 145, 354, Abhinavagupta, 158, 184, 185, 190. 192. 355, 356, 435. Athavale ( 198n., 200, 201, 202, 207, 208, 209, 210, 212, 214, 215, 223, 224, 225, 226, 227, 228, 251, 254, 255, 256, 257, 276, 279, 280, 281n., 282n., 288, 295, 297, Balkrishnamurti, 284, 293n. 300, 301, 305, 307, 308, 310, 311, 357, Balzac, 537. 358, 360, 363, 366, 435, 467, 469, 471, Bana, 158, 411, 445, 465, 484, 506, 521, 473, 476, 489n., 521, 526, 527, 528, 524. 529, 574. Banabhatta, 216, 472, 473, 485. Abhyankar (K. V.), 111n., 129, 130, 131, Banhatti, 274. 147n., 397, 400. Bappabhattasuri, 556. Adikavi, 20, 63, 76. Bappabhatti, 556, 557, 558. Agastyasimha, 533. Basak (Dr. Radhagovinda), 489n. Ajnatakavih, 465. Basham, 115, 116, 120n., 121n. Akalanka, 498, 512, 513. Belvalkar (S. K.), 54n. Aksapada, 189, 191n. Bhadrabahu, 397, 531. Ambaprasada, 190, 229, 237, 297, 300. Bhadresvara, 27, 29, 57, 60, 62, 68, 75, Amitagati, 29, 64n., 74, 510. 499. Amrtscandra, 514. Bhamaha, 180, 181, 182, 238, 244, 245, Amotanandayogin, 284, 288, 289, 293n. 262, 263, 264, 265, 266, 269, 269n., Anandavardhana, 181, 183, 190, 194, 223, 270n., 271, 272, 273, 274, 274n., 287, 295, 296, 300, 301, 305, 308, 310, 311, 476, 484, 495n. 355, 358, 360, 361, 363, 365, 366, 455, Bhandarkar (R. G.), 150. 466. 469, 471, 472. 473. 476. 478. 479. Bharata, 65, 150, 151, 182, 183, 184, 190, 480, 481, 482, 484, 485, 486, 489n., 192, 200, 201, 202, 204, 205n., 207, 492n., 521, 526, 527, 528, 548, 574. 208, 209, 214, 215, 223, 225, 226, 237, Annambhatta, 111n. 247, 251, 254, 259, 276, 295, 296, 305,

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586 STUDIES IN JAIN LITERATURE 311n., 435, 452. Caritrasundara, 507. Bharavi, 195, 354, 356, 357, 361, 569. Carl Jung, 537. Bharthari, 26n., 398, 445. Cavundaraya, 54n. Bhasa, 66, 310, 355, 440, 541. Chakravarti (C.), 25n. Bhattacharya (Siva Prasad), 179, 199n., Chandra (K. R.), 172, 173, 174, 175, 176. 236n., 539n. Cirantanacarya, 131. Bhatta Narayana, 445. Bhatta Nayaka, 224, 255. Bhattarota, 280, 282n. Dandin, 172, 180, 181, 182, 186, 192, Bhatta Tauta, 254, 255. 225, 238, 240, 241, 284, 289, 290, Bhattotpala, 119n. 293n., 311, 354, 367, 521, 574. Bhatta Utpala, 113. Dandi, 473, 476, 478, 484. Bhavabhuti, 66, 435, 437, 439, 440, 445, Dange (Sindhu S.), 96n. 475. Dasgupta, 450. Bhavadevasuri, 12n., 503. De, 197, 242. Bhayani (H. C.), 77, 77n., 174, 304, Deshpande (G. T.), 263. 368n., 556, 557, 561, 561n., 562, 563, Devabhadra, 507 563n., 564. Devaprabha Suri, 501. Bhoja, 65, 158, 192, 193, 195, 197, 198n., Devaprabha (Maladharin), 507. 223, 225, 255, 284, 289, 290, 299, 302, Devarddhi Ganin, 172. 305, 307, 308, 310, 357, 358, 359, 363, Devavijaya, 27. 364, 366, 367, 454, 455, 457, 459, 460, Devavijayaganin, 61. 461, 466, 467, 473, 476, 481, 484, 489, Devasena, 514. 521, 524, 526, 527, 528, 529, 557, 558, Deva Suri, 503. 559, 560, 562, 564. Devendra, 499, 508, 510, 534. Bhojaraja 312n. Devendraganin, 499. Bhojak (A. M.), 163, 491n. Dhanamjaya, 192, 284, 289, 295, 446. Bhujabali Shastri (K.), 24n. Dhananjaya, 211. Bhutabali (Acarya), 497. Dhanapala, 506, 509, 521, 556. Bhuvanapala, 367. Dhanesvara, 27, 29, 74, 507. Boccaccio, 537. Dhanesvara Suri, 60, 61. Brahmayasahsvamin, 281n. Dhanika, 192, 197, 295, 455, 476. Budhasvamin, 521. Dharmadasa, 510. Bulcke (C.), 54n., 64n., 70n. Dharmakirti, 42, 187, 269, 270n., 398, 513. Dharmottara, 513. Candrasuri, 144. Dhruva, 196. Canakyacarya, 280, 282n. Dhruva (A. B.), 81, 104n., 105n., 107.

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AUTHORS' INDEX 587 Dhruva (K. H.), 16. Hala, 66, 367, 455, 465, 472, 541, 557, Dhvanikara, 467. 564. Dignaga, 513. Hala Satavahana, 484, 555, 559. Dinnaga, 128, 265, 266, 268, 269, 270n., Handiqui, 355, 358, 361, 365n., 489n., 398, 400. 491n. Doshi (Bechardasji), 111n. Handiqui (K. K.), 95, 103, 104n., 105n., 154, 461, 489n. E Hari, 477. Emil Zola, 536. Haribhadra, 29, 64n., 131, 139, 143, 144, 145, 146n., 155, 157, 161, 164, 166, 397, 398, 399, 400, 401, 402, 406, 407, Gandhi (L. B.), 449. 408, 409, 410, 411, 412, 413, 414, 416, Ganghi (Virchand R.), 177, 178. 505, 510, 513, 521. Gaudapada, 113. Haribhadrasuri, 56, 57, 60, 115, 125, 127, Gautama, 112, 115. 128, 130, 130n., 522, 523, 524, 534, Ghantaka, 280. 539n. Ghantuka, 280. Haricandra, 506. Ghatage (A. M.), 4, 174, 455, 489, 520, Harisena, 29, 50, 59, 68, 100, 104n., 507. 533, 534, 540. Harisena (Acarya), 540n. Glasenapp, 3, 12n. Harsa, 445, 549. Gnoli (R.), 224, 251, 252, 253, 255, 256, Harsopadhyaya, 288. 257, 271, 272. Hastimalla, 511. Gore (Prof.), 25n. Hemacandra, 12n., 27, 29, 30, 41, 42, 58, Govardhana, 66, 465. 60, 61, 75, 90, 100, 101, 103n., 104n., Govardhanacarya, 472. 105n., 117, 139, 144, 149, 151n., 157, Grierson (G. A.), 46, 54n. 158, 179, 180, 181, 182, 183, 185, 186, Gunabhadra, 27, 28, 29, 45, 46, 48, 49, 187, 188, 189, 190, 192, 193, 194, 195, 50, 54n., 58, 59, 62, 68, 73, 90, 104n., 196, 197, 198, 198n., 199n., 202, 204, 500, 502, 506. 205, 212, 215, 223, 224, 225, 226, 227, Gunacandra, 185, 190, 229, 251, 297, 228, 229, 229n., 230, 232, 234, 235, 306, 419, 437. 236, 236n., 239, 251, 254, 255, 258, Gunacandraganin, 502. 272, 275n., 277, 296, 297, 301, 303, Gunadhya, 435, 504, 524, 548. 306, 307, 308, 310, 312n., 357, 358, Gunaratna, 114, 120n., 121n. 359, 364, 365, 366, 366n., 408, 420, Gunavarman, 284. 458, 466, 467, 473, 476, 486, 499, 501, 510, 511, 514, 521, 523, 524, 525, 526, H 527, 528, 529, 562, 563, 564, 574. Haklyut, 537. Hemacandra (Acarya), 419, 437, 478, 503.

Page #606
588 STUDIES IN JAIN LITERATURE Hemacandra (Maladharin), 501. Hemavijaya, 508. Hieun Tsang, 169. Hiriyanna, 114, 115. Homer, 537. Homer's Circe, 537. Hopkins, 35. Jinasena, 1, 12n., 14, 24n., 46, 54n., 90, 104n., 105n., 152, 500, 502, 503. Jinesvara, 508. Jinesvarasuri, 474, 491n., 541, 541n., 542, 557, 558. Jinavijayaji, 397. Jnanavimala, 115, 120n. Johnston, 355. Jogalekar, 546, 554. Ingalls (Daniel H. H.), 484, 494n. K Jacobi (H.), 3, 5, 12n., 13, 35, 54n., 111n., 147n., 162n., 174, 398, 399, 409, 410, 474, 520. Jagaddhara, 296. Jagannatha, 182, 183, 186, 194. Jagannatha (Panditaraja), 485. Jaimini, 102, 189, 191n. Jain (J. C.), 64n., 105n., 169, 171, 567, 567n., 568. Jain (Jyotiprasad), 25n. Jaini (J.), 520. Jambuvijayaji, 131, 143. Jarl Charpentier, 105n., 138. Jayadeva, 66, 181, 289, 440, 485. Jayanta, 117, 122n., 189, 199n. Jayantabhatta Jayaratha, 295, 297, 476. Jayasekharasuri, 102. Jayasimhasuri, 511. Jayavallabha, 510, 541, 555, 559. Jinabhadra, 93, 95. Jinabhadragani, 116, 533. Jinadasa, 501. Jinakirti, 507, 521. Jinamandanagani, 102. Jinaprabha, 505. Kailashchandra, 520. Kalidasa, 66, 275n., 310, 311, 354, 355, 356, 357, 358, 359, 360, 361, 364, 397, 439, 440, 470, 472, 473, 482, 485, 503, 541, 562 Kamalasila, 117. Kamandaki (Bhavabhuti's), 434. Kanada, 191n., 269. Kane, 197, 222n., 236n., 262, 270n., 275n., 284. Kane (P. V.), 205n., 476, 477. Kangle (Prof.), 229n. Kapila, 90. Karttikeya Svamin, 513. Katyayana, 226. Kavikulacakravarti, 280, 282n. Kavi Paramesthi, 46. Kavi Paramesvara, 46. Kavthekar (P. N.), 570. Kayyata, 195. Keith, 355, 450, 489n., 521, 526. Keith (A. B.), 70n., 185, 211, 222n. Kern, 5. Kosambi (D. D.), 186, 187, 362n. Krsnadasa, 28, 29, 59, 61. Krishnamacharya (V.), 293n. Krsnamisra, 511.

Page #607
AUTHORS' INDEX 589 Krishnamoorthy (K.), 271, 275n. 195, 197, 223, 229, 238, 240, 284, 290, Kesnavipra, 492n. 291, 296, 357, 476. Ksemendra, 192, 223, 485. Manatunga, 509. Kulanatha, 493n. Mangala, 225. Kulkarni (V. M.), 70n., 151n. Manu, 91, 102. Kumarasvamin, 204, 205, 212, 213, 215, Manikyacandra, 226, 229, 234, 275. 225. Manikyanandin, 513. Kumarila, 398, Manikyasuri, 506. Kundakunda, 401, 497, 512, 514. Margaret Walter (Mrs.), 567, 567n., 568. Kunhan Raja (C.), 284. Masson (J. L.), 214, 251, 254, 255, 256, Kuntaka, 182, 192, 195, 238, 240, 244, 258, 281n., 306, 360, 469, 479, 492n., 245, 304, 308, 310, 311n., 358, 359, 493n. 362n., 363, 364, 365, 366, 368n., 455, Meghavijaya, 61. 473, 476, 478, 484, 489n., 549, 574. Merutunga, 505. Kautuhala, 470. Mitra (Rajendralal), 61. Kutuhala, 470. Moderns, 186, 334. Monier-Williams (M.), 54n. Mukulabhatta, 295. Laddu (Prof.), 25n. Municandra, 510. Laksmanaganin, 504. Murari, 437, 440. Levy, 409. Lolata (Acarya), 256, 257. Lollata, 184, 186, 256. Naganatha Sastry (P. V.), 262, 264, 265, Ludwig (A.), 35. 267, 269n. Nami, 240. Namisadhu, 148, 233, 234, 235, 250, 295, Magha, 354, 356, 357, 361, 569. 299, 300, 477. Maharastriya, 54n., 70n. Naraharisuri, 212, 215. Mahimabhasta, 192, 194, 223, 476. Narasimhachar (Dr.), 35, 46, 58, 64n. Maladhari Hemacandra, 113, 117, 119n., Narayana, 247. 165, 166. Narayanabhatta, 287. Maladhari Hemacandrasuri, 535. Narendraprabha, 461. Malayagiri, 164, 173. Navina, 191n. Mallisena, 80, 93, 101, 102, 104n., 105n., Navinas, 334. 107, 108, 514. Nayaka, 184. Malvania Datsukhbhai, 111n., 114, 119, Nemicandra, 514. 163, 174, 270n. Niyam Sagarji, 569. Mammata, 179, 180, 181, 182, 189, 194, Nrsimha (Bhatta), 487. Stud.-75 N M

Page #608
590 STUDIES IN JAIN LITERATURE Raghavan V., 54n., 162n., 193, 194, 195, Odeyadeva Vadibhasimha, 506. 198n., 209, 211, 225, 229n., 255, 257, 258, 259, 263, 270n., 271, 288, 294n., 299, 307, 311n., 358, 364, 368n., 477, Padalipta, 505. 526, 528, 539n. Padaliptasuri, 160, 407. Rajasekhara, 66, 145, 149, 192, 194, 223, Pampa, 24n. 225, 226, 287, 290, 295, 354, 437, 440, Panini, 137, 189, 191n. 464, 478, 486, 505, 508, 540n. Pandit (S. P.), 474, 476, 491. Rajasekharavijayaji, 146n. Paramanand Shastri, 542. Ramabhadramuni, 511. Parikh (R. C.), 151n., 179, 196, 235. Ramacandra, 185, 187, 190, 229, 251 236n., 295, 296. 297, 306, 419, 420, 432, 435, 437, 438, Parivrajika (Kalidasa's), 434. 439, 440, 443, 444, 445, 452, 511. Patwardhan (M. V.), 147n., 202, 210, 214, Ramachandra Sarma (K.), 293n. 215, 222n., 251, 254, 255, 256, 258, Ramadasa, 468. 281n., 306, 360, 469, 479, 492n., Ramakrisna Kavi (M.), 190, 297. 493n., 542, 550. Ramasaraka, 300. Pingala, 189, 191n. Ratnesvara, 296, 302, 303, 304, 457, 458, Pippalada, 92. 459, 527. Pischel (R.), 475. Ravisena, 27, 29, 45, 56, 59, 64, 68, 73, Pitambara, 367n. 74, 90. Prabhacandra, 505, 513, 556. Ravisenacarya, 62, 103n., 104n., 105n., Prabhakara, 213. 152. Prajnakara, 513. Rayamukuta, 526. Pravarasena, 310, 355, 358, 359, 361, Rucaka, 192, 196. 362n., 363, 364, 366, 468, 473, 478, Rudrata, 151n., 192, 195, 233, 234, 240, 479, 484, 491n., 555, 557, 574. 250, 289, 290, 294n., 295, 299, 476, Pratiharenduraja, 274. 477, 478, 527. Premi, 46. Ruyyaka, 181, 182, 192, 196, 234, 235, Pujyapada, 408. 236, 295, 296, 476. Pujyapada (Devanandin), 498, 512. S Punyavijayaji, 163, 172, 407, 450, 492n., 533, 534, 540. Sakalakirti, 501. Puspadanta, 1, 12n., 14, 29, 58, 59, 64, Sakya, 280. 68, 74, 100, 103n., 104n., 105n., 497. (Socya ?) Sakya, 282n. Sakyacarya (Rahula), 282n. R Samantabhadra, 401, 498, 513. Radhakrishnan S., 91, 96n. Samayasundara, 510.

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AUTHORS' INDEX 591 Samkara, 398. Somadevasuri, 100, 103n., 104n., 105n., Samkaracarya, 112, 113, 178. 154, 506, 521. Samkhya, 280. Somaprabha, 503, 510. Sanghadasa, 29, 48, 50, 55, 56, 57, 58, 60, Somesvara, 456. 62, 68, 73, 90, 103n., 152, 500, 504. Somesvarabhatta, 179, 196, 198n., 226, Sanghadasagani, 103n., 104n., 533. 230, 232, 234, 235, 236, 236n., 249, Sankuka, 184, 255, 556, 557. 295, 296, 300. Santaraksita, 117, 118. Sricandra, 164. santisuri, 499, 534. Sridhara, 527. Santyacarya, 401, 534. Sriharsa, 354, 356, 357. Saradatanaya, 211. Srinandi Muni, 54n. Sarvasena, 299, 305, 307, 308, 310, 311, Srisankuka, 280. 358, 359, 363, 364, 365, 366, 367, 466, Stcherbatsky (TH), 268. 467, 472, 473, 484, 489, 527, 557, 574. Subandhu, 411, 521. Sastri Bhujabali K., 283, 291n. subhacandra, 501. Sastri Nemicandra, 284, 291n. Subhasila, 507. Satavahana, 472, 480. Sudraka, 435, 439, 440. Schubring (Walter), 175. Sukhlalji (Pt.), 416. Sen (D. C.), 41, 42, 44, 54n. Sukhlalji Sanghavi, 111n., 130n., 1:47n. Shah (Nagin J.), 177, 178. Sukthankar, 35, 54n. Shah (V. M.), 146n., 147n. suktivasakumara, 435. Shilachandravijayaji, 131. Suru (N. G.), 151n., 476, 490n., 492n., Siddharsi, 161, 397, 398, 506, 521. 563, 564. Siddhasena, 408, 512. Svayambhu, 27, 29, 64, 303, 499. Siddhasena Divakara, 115, 509, 513. Svayambhudeva, 57, 68. Siddhicandragani, 186. silacarya, 5, 12n., 27, 29, 57, 58, 68, 73, t 501. Tarkika, 280. silanka, 115, 116, 120n., 121n., 122n., Tatacharya (D. T.), 262, 264, 267, 270n. 401, 501, 503. Tikakara, 280, 281n. silankacarya, 534. Trivedi (K. H.), 449. Singabhupala, 435. Trivikrama, 565. Sivanandi Vacaka, 533. Trivikramabhatta, 158, 524. Sobhakara, 476. Sobhakaramitra, 297. Sobhana, 509. Udbhata, 181, 195, 248, 262, 271, 274, Soddhala, 465. 274n. Somacandra, 508. Uddandanatha, 435.

Page #610
592 STUDIES IN JAIN LITERATURE Uddandin, 435. Vidyananda, 498, 512, 513. Uddyotana, 398, 506. Vidyanatha, 229n., 287, 289, 290, 292n., Uddyotanasuri, 157, 465, 472, 475, 505, 294n. 521, 523, 524. Vijayapala, 511. Umasvami, 499. Vijayavarni, 283, 284, 287, 288, 289, 290, Umasvamin, 512. 291, 291n., 293n., 294n. Umasvati, 110, 397, 497, 512, 513. Vimala, 362, 499. Vimalarya, 25n. Vimalasuri, 3, 13, 14, 16, 17, 18, 19, 23, Vadibhasimha, 521. 27, 28, 32, 33, 34, 35, 36, 37, 38, 39, Vadicandra, 502. 40, 41, 43, 44, 45, 48, 50, 52, 53n., Vadiraja, 506. 54n., 55, 56, 57, 58, 59, 62, 67, 68, 71, Vadijangha, 556. 72, 73, 74, 75, 90, 99, 103n., 105n., Vaidya (C. V.), 54n. 152, 153, 499. Vaidya (P. L.), 146n. Vira, 557. Vakpati, 359, 360, 361, 367, 368n., 457, Visvanatha, 270n., 447, 476, 562. 464, 469, 470, 476, 479, 491n., 527, Visvesvara, 240, 242, 554. 528. Vora (Prof.), 237, 238, 239, 240, 240n. Vakpatiraja, 149, 151n., 358, 359, 469, Vyasa, 3, 44, 45, 51, 55, 59, 73, 74. 470, 490n., 546, 549, 555, 557, 563. Valmiki, 3, 17, 20, 27, 30, 33, 35, 36, 38, 40, 41, 42, 44, 45, 48, 49, 50, 51, 52, Warder (A. K.), 311n., 358, 361n., 528. 55, 57, 58, 59, 60, 61, 62, 63, 64, 66. Weber, 54n., 461. 67, 68, 69, 70, 71, 73, 74, 76, 499, 500. Weber (A.), 489n. Vamana, 192, 225, 238, 289, 290, 294n., Wilson, 5. 295. Winternitz (M.), 3, 9, 12n., 23n., 35, 41, Vasubandhu, 128, 265, 268, 269, 270n. 54n., 58, 70n., 104n., 105n., 146n., Vasunandi, 401. 147n., 162, 162n., 412, 520, 530, 531, Vatsyayana, 112, 115. 540n. Vattakera, 401, 498, 512, 513.. Velankar (H. D.), 355. Vemabhupala, 542, 565, 565n., 566. Yasahpala, 511. Vidyabhusana (Dr.), 397, 398. Yasascandra, 511. Vidyadhara, 287. Yasovijaya, 514. Vidyakara, 484, 494n. W 000

Page #611
INDEX OF WORKS Compiled by Mrs. Mrudula P. Joshi Abhidhanacintamani, 4, 520, 564. Abhidharmasamuccaya, 128. Abhidhavsttimatyka, 295. Abhijnanasakuntalam, 471. Abhinavabharati, 184, 185, 189, 190, 202, 205, 210, 224, 225, 227, 229n., 238, 249, 250, 251, 276, 280, 281n., 288, 293n., 295, 296, 297, 299, 300, 302, 305, 306, 307, 311, 311n., 435, 456, 495n. Acara, 496. Acaranga, 176, 513, 530, 533, 534. Acaranga (-curni), 533. Acarangasutra, 498. Adbhuta-Ramayana, 46, 48, 49, 54n., 62, 66, 69. Adi-purana, 1, 9, 12n., 15, 24n., 46, 54n., . 502, 503. Aesthetic Experience According to Abhinavagupta, (The), 251. Aesthetic Rapture, 214, 251, 254, 255. Agama-yugaka Jain Darsana, 520. Agnipurana, 289. Akhyanamanikosa, 508. Alamkaracunamani, 202, 215, 220, 223. Alamkaradarpana, 476. Alaskarakaustubha, 554. Alamkaramahabodhi, 461. Alamkara-Ratnakara, 297. Alamkarasamgraha, 284, 285, 287, 290, 293n. Alamkarasarvasva, 181, 234, 235, 236, 288, 295, 297. Amarusataka, 219, 307. Ananda, 63, 66, 69. Anandaramayana, 62, 63. Anangasenaharinandi (prakarana), 435. Anekantajayapataka, 400, 514. Anekarthakosa, 520. Amtagadadasao, 71. Antagadadasao, 30, 53n. Antakrddasas, 496. Antarakathasamgraha, 508. Anthology of Sanskrit Court Poetry, (An), 484. Anuogaddaraim, 138, 163, 492n. Anutaraupapatikadasas, 496. Anuyogadvara, 533, 534. Anuyogadvarasutra, 53n., 71, 164, 165, 166, 167, 477, 492n., 497, 535. Anyayogavyavacchedika, 101. Apabhramsa Language and Literature, 563. Aptamimamsa, 498, 513. Aptaparikna, 513. Arabian Nights, 537. Aryasaptasati, 66, 465, 472. Arthasamgraha, 129. Astakam, 400. Astadhyayi, 137, 146n.

Page #612
594 STUDIES IN JAIN LITERATURE Astasahasri 513. Bhavartha-Ramayana (Marathi), 62, 69. Astasati, 513. Bhavavairagyasataka, 510. Atharva Veda, 92, 95. Bhoja's Stngaraprakasa, 162n., 229n., 255, Aturapratyakhyana, 496. 256, 270n., 311n., 477, 539n. Aupapatika, 496. Biharasattasai, 475. Avaloka, 193, 195, 295, 455, 476, 487n. Brahmasutras, 83. Avantisundari, 367. Brahmavaivartapurana, 12n., 13. Avasyaka, 166, 400, 497, 533, 535. Brhadaranyaka, 94, 95. Avasyakabhasya, 2. Bshadvitti, 534. Avasyaka(-curni), 533. Brhatkatha, 158, 169, 435, 471, 504, 524, Avasyakaniryukti, 145, 520. 548. Avasyakasutra, 145, 166. Bihatkathakosa, 12n., 68, 100, 104n., Avasyaka (-vrtti), 534. 162n., 402, 416, 520. Ayara, 175. Brhatkathamanjari, 521. Ayaranga, 173, 174. Brhatkathaslokasamgraha, 521. Bihatsamgrahani, 145. Brhatsamhita, 113, 119n. Balapriya, 249, 300, 301. Brhatsvayambhustotra, 509. Balaramayana, 149, 464. Brhattippanika, 139. Bengali Ramayanas, (The), 41, 54n., 62, Buddhacarita, 112; 118n., 145, 354, 355: 69. Buddhist Logic, 270n. Bhagavadgita, 26n., 78, 82n., 83, 87, 91, 114, 117, 120n. Bhagavatapurana, 62, 69, 358. Caityavandana, 400. Bhagavati, 496, 530. Camdavijjhaya, 496. Bhagavatiaradhana, 507. Campakasresthikathanaka, 507, 521. Bhagavati (-curni), 533. Candraloka, 181, 289. Bhagavatisutra, 88, 145, 164. Candraprajnapti, 496, 497. Bhaktamarastotra, 509. Candravedhyaka, 496. Bhaktaparijna, 496. Catuhsarana, 496. Bhamahavivarana, 190, 271, 274, 275n. Catuhsutri, 146n. Bharata, 26n., 53n., 71 Caturvimsatistava, 497. Bharatiya Natyasastra (Marathi), 214, 215. Caturvinsatijinastavana, 509. Bharatiya Sahitya Sastra (Marathi), 270n. Cauppannamahapurisacariya, 12n., 29, 57, Bhatti, 233, 234. 58, 68, 73, 74, 499, 501, 503. Bhavabhavana, 501, 567. Cetaka, 525. Bhavadipika, 542, 565. Chando'nusasana, 303, 520. Bhavaprakasana, 212. Chappannayagahao, 541, 542, 551, 565n.

Page #613
INDEX OF WORKS 595 Chappannayagahas, 549. 300, 301, 305, 306, 312n., 355, 360, Cultural Heritage of India, Vol. I, (The), 362n., 366, 369, 372, 453, 455, 469, 520. 471, 490n., 491n., 492n., 493n., 494n., 495n., 526, 528, 548, 549, 566. D Dhvanyalokalocana, 189, 190, 205, 297, Darsanasara, 514. 539n. Dasakumaracarita, 521. Draupadisvayamvara, 511. Dasaratha Jataka, 35, 48, 49, 54n., 58, Dravyalamkara, 419. 500. Dravyasamgraha, 514. Das Ramayana, 54n. Drstivada, 496. Dasarupaka, 293n., 295, 452, 455, 487, Dvadasadhyayi, 146n. 495n. Dvadasaranayacakra, 164. Dasarupakavaloka, 212. Dvatrimsad-Dvatrimsika, 509. Dasarupakavidhana, 202. Dvatrimsika, 510. Dasavaikalika, 89n., 497, 534. Dasavaikalika (-curni) Dasavaikalikam, 400. Ekavali, 287. Dasavaikalikasutra, 145. Encyclopedia of Literature, I, 489n. Dasavaikalikasutra : (A Study), (The), Encyclopaedia of Religion and Ethics, 147n. 111n., 520. Dasavaikalikasutraniryukti, 157, 523, 533. Dasaveyaliya, 175. Dasaveyaliyanijjutti, 538n. Gadyacintamani, 401, 506, 521. Dasasrutaskandha, 496, 533. Gahakoso, 465. Desinamamala, 249, 520. Gaharayanakosa, 474, 491n., 541, 541n., Desisabdasamgraha, 301. 542, 543, 544, 546, 547, 548, 557. Desisaddasamgaha, 456. Gahasattasai, 472. Devendrastava, 496. Ganadharavada, 93, 96, 111n., 114, 116, Devi Bhagavata, 91. 119n., 121n. Devisataka, 195. Ganividya, 496. Dharmabindu, 128, 143, 469. Gathakosa, 472, 510, 559. Dharmapariksa, 29, 64n., 74, 139, 510. (Gatha) Kosa, 472. Dharmasamgrahani, 400. Gathasahasri, 510. Dharmopadesamalavivarana, 567. Gathasaptasati, 66, 166, 302, 303, 367, Dhavala, 497. 455, 465, 472, 475, 541, 542, 544, 552, Dhurtakhyana, 29, 64n., 400, 402, 412. 553, 554, 555, 565. Dhvanyaloka, 181, 183, 190, 219, 239, Gaudapadabhasya, 119n. 248, 249, 251, 262, 279, 295, 296, 297, Gaudavadha, 358, 359, 360, 469.

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596 STUDIES IN JAIN LITERATURE Gaudavaho, 149, 151n., 359, 360, 368n., 457, 464, 469, 475, 476, 479, 480, 483, 490n., 491n., 492n., 493n., 527, 546, 549, 550, 551, 554, 555, 563. Gita, 88n., 89n., 117. Gitagovinda, 485. Gommatasara, 514. Gorocana, 525. Index of Authors and Works on Sanskrit Poetics, 477. Indian Kavya Literature, Vol. III, The Early Medieval Period, 311n. Indian Kavya Literature, 362, 539n. Indological Studies I, 561n. Indological Studies, Part II, 563n. Isibhasiyaim, 175. E Haimabrhadvittinyasa, 419. Halaharacariya, 16. Hammiramadamardana, 511. Harivamsa, 359, 500, 501, 535. Harivamsa-(purana), 9, 104n., 105n., 152, 497, 500, 501. Harivijaya, 299, 305, 307, 308, 310, 311, 357, 358, 359, 363, 364, 365, 366, 367, 466, 473, 482, 527, 574. Harsacarita, 158, 216, 472, 491n., 521, 524. Hayagrivavadha, 274. Hetu-bindu, 270n. History and Doctrines of Ajivikas, 121n. History of Indian Literature (A), Vol. I, 54n. History of Indian Literature, (A), Vol. II, 9, 12n., 23n., 41, 70n., 104n., 105n., 146n., 147n., 162n., 520. History of the Indian Logic, 397. History of Sanskrit Literature, (A), 70n., 355, 361n., 489, 521. History of Sanskrit Poetics, (The), 198n., 205n., 236n., 270n., 275n., 476. Hitopadesa, 521. Hrdayadarpana, 224. Jaiminiya Asvamedha, 63. Jain Agamadhara aura Prakrit Vanmaya, 540n. Jain Mahabharata, 501. Jain Ramayana, 41, 42. Jaina Philosophy, (The), 177. Jain Sahitya aura Itihasa, 54n. Jain Sahitya ka Itihasa (Purva Pithika), 520. Jambudvipaprajnapti, 496. Jambusamicariya, 557. Jasahara-cariu, 100. Jayadhavala, 497. Jitakalpa, 496. Jitakalpabhasya, 533, Jivabhigama. 496. 534. Jivandharacampu, 506. Jnatadharmakathas, 496. Jyotiskarandaka, 533. K Kadambari, 158, 506, 521, 524. Kahanayakosa, 567. Kahanaya-T'igam, 520, 540n. Kahavali, 29, 60, 68, 69, 75, 499. Kalakacaryakathanaka, 507. Kalpabrhadbhasya, 533.

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INDEX OF WORKS 597 Kalpakalpika, 497. Kavyalamkarasutravitti, 290, 293n., 294n. Kalpalaghubhasya, 533. Kavyamimamsa, 145, 225, 287, 290, 295, Kalpalata, 237, 238, 281n. 540n. Kalpalatapallava, 282n. Kavyanusasana, 149, 151n., 158, 179, Kalpalataviveka, 190, 229, 237, 238, 239, 182, 185, 186, 188, 189, 190, 192, 193, 240, 241, 242, 246, 249, 250, 251, 262, 194, 195, 197, 198n., 205n., 210, 212, 264, 269, 270n., 271, 272, 276, 277, 215, 223, 224, 225, 228, 229n., 230, 278, 297, 300, 301, 304, 306, 307, 372, 234, 235, 236, 239, 251, 272, 277, 296, 456, 529, 551. 297, 306, 307, 312n., 362n., 364, Kalpa-sutra, 2, 530, 533. 368n., 372, 383, 453, 466, 520, 526, Kalpavatamsika, 496. 529, 539n., 562. Kalpavyavahara, 497. Kavyanusasanam, 566. Kalyanamandirastotra, 509. Kavyaprakasa, 179, 189, 194, 198n., 226, Kamadatta (Dhurtaprakarana), 435. 229, 235, 236, 236n., 291, 295, 456, Kamasastra, 355. 527, 549, 566. Kanagasattari, 167. Kavyaprakasa (Part II), 198n., 226, 275n., Karma Philosophy, (The), 177. 291, 296. Karpuramanjari, 464, 478. Kavyaprakasakhandana, 186. Karttikeyanupreksa, 513. Kavyaprakasa with sridhara's Kasayapahuda, 497. Commentary, 539n. Kashmiri Ramayana, 62, 63. Kaumudimitrananda (prakarana), 435, Kathamahodadhi, 508. 449, 450, 451, 511. Kathamanikosa, 508. Kautiliya-Arthasastra, 2. Kathanakakosa, 508. Kirata., 242, 244, Katharatnakosa, 507, 508. Kiratarjuniya, 355, 361, 366. Kathasaritsagara, 63, 521, 526, 567. Ketikarma, 497. Kathavali, 75. Kstyaravana, 252. Kavik(anthabharana), 192. Kumarapala-Prabandha, 102. Kavyadarsa, 172, 180, 289, 290, 293n., Kumarapalapratibodha, 402, 510, 548. 294n., 354, 357, 473, 478, 491n. Kumarasambhava, 64, 66, 219, 233, 234, Kavyadarsasamketa, 230. 245, 275n., 354, 355, 356, 359, 364, Kavyakautuka, 195. 366, 482, 485, 494n. Kavyalamkara (Bhamaha's), 478. Kumaravalapadiboha, 567. Kavyalamkara, 151n., 180, 263, 269n., Kuttanimata, 233, 234, 525. 270n., 271, 274, 274n., 293n., 295, Kuvalayamala, 157, 398, 472, 491n., 505, 299, 491n., 495n., 539n. 506, 523, 524. Kavyalamkara (Rudrata's), 477, 527. Kavyalamkarasutrani, 295.

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598 STUDIES IN JAIN LITERATURE Malati-Madhava, 434, 435, 494n. Laghiyastraya, 513. Malavikagnimitra, 434. Laghutika, 487n. Malayasundarikatha, 506. Laghutrisasti, 61. Mallikamakaranda, 187, 420, 435, 437, Laghuvstti, 274, 534. 438, 440, 444, 447, 448, 449, 450, 451. Lalitavistara, 145. Mallikamaruta, 435. Lankavatara-sutra, 42. Mathara Vrtti, 90, 113, 119n. Lilavai, 303, 457, 458, 460, 470, 480, Matsya Purana, 111n. 490n., 494n., 547, 548, 552, 553, 554. Meghaduta, 355, 503, 562. Locana, 192, 193, 195, 198, 219, 238, Meghasandesa, 562. 239, 247, 248, 249, 251, 255, 262, 279, Moha-Raja-Parajaya, 511. 295, 297, 300, 305, 306, 311, 312n., Mrcchakatika, 435, 475, 526. 358, 360, 362n., 363, 366, 467, 471, Mrgavaticaritra, 507. 473, 476, 489n., 490n., 493n., 527, Mudritakumudacandra-Prakarana, 511. 528, 529, 539n. Mulacara, 498, 512. Lokatattvanirnaya, 145, 400, 513. N M Naisadhacarita, 354, 357. Madhumathavijaya, 358, 367, 368n., 469, Naisadhiya, 354, 357. 527. Nalacampu, 158, 524. Mahumaaviaa, 469. Nalavilasa, 438, 441, 449, 450, 451, 511. Mahabhagavata (Devi-) Purana, 62, 69. Nalopakhyana, 525. Mahabharata, 9, 35, 39, 43, 52, 71, 78, 80, Nammayasundarikaha, 567. 100, 102, 114, 120n., 152, 158, 225, Nanapancamikaha, 563. 435, 436, 500, 501, 502, 504, 507, 520, Nandi, 53n., 71, 164, 400, 534. 525, 530, 531, 532, 535. Nandisutra, 164, 497, 535. Mahadhavala, 497. Nandisutra-Devavacaka, 165. Mahakalpika, 497. Nandisuttam, 138, 163, 492n. Mahanisitha, 496. Natyadarpana, 185, 186, 190, 210, 229, Mahapratyakhyana, 496. 251, 277, 278, 297, 306, 419, 435, 437, Mahapundarika, 497. 449, 450, 451. Mahapurana, 9, 12n., 14, 29, 54n., 68, 74, Natyadarpanavivarana, 450. 90, 103n., 104n., 105n., 497, 499. Naryasastra, 65, 150, 151, 183, 190, 200, Mahaviracarita (Hemacandra's), 502. 204, 207, 211, 224, 225, 227, 249, 251, Mahaviracariyam, 502. 276, 288, 295, 296, 297, 299, 302, 305, Mahipalacaritra, 507. 306, 311n., 435, 447. Maithili-Kalyana, 62, 511. Natyavedavivsti, 295, 296. Majjhimakhanda, 567. Nayadhammakahao, 530.

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INDEX OF WORKS 599 Nirayavaliyao, 414. Nirbhayabhima, 449, 450, 451. Nirbhayabhima-vyayoga, 511. Nisitha, 496. Nisithabhasya, 145, 533. Nisithika, 497. Niyamasara, 512. Notices of Sanskrit MSS., Vol. VI, 61. Nssimha-purana, 62, 69. Number of Rasas, (The), 259, 293n. Nyayabindu, 128, 270n. Nyayamanjari, 117, 122n., 189, 199n. Nyayapravesa, 513. Nyayapravesa (vrtti), 400. Nyayasutra, 112, 113. Nyayasutra-Bhasya, 115, 118n. Nyayavatara, 513. O Pancasutra Pancasutraka, 131, 138, 139, 143, 144. Pancasutram, (The), 147n. Pancasutri, 139. Pancasutta, 400. Pancasuttam, 146n., 147n. Pancatantra, 146n., 508, 521. Pancatantraka, 146n. Pancavastuprakaranatika, 400. Pandavacarita, 501. Pandavapurana, 501, 502. Pariknamukha, 513. Parisistaparvan, 503, 521. Parsvanathacarita, 12n. Parsvanathacaritra, 503. Paumacariu, 29, 57, 68, 499. Paumacariya, 3, 12n., 13, 14, 15, 16, 17, 19, 20, 25n., 30, 34, 43, 55, 56, 58, 60, 67, 68, 69, 71, 73, 74, 75, 90, 98, 103n., 104n., 105n., 152, 154, 362, 499, 500, 520, 540n. Pindaniryukti, 497, 498, 533, 534. Prabandhacintamani, 505. Prabandhakosa, 505. Prabhavakacarita, 398, 505. Prabhitatrayi, 512. Prabodhacandrodaya, 511. Prabodhacintamani, 102. Prabuddha-rauhineya, 511. Prajnapana, 400, 496, 534, 535. Prakrit-candrika, 148. Prakrit Grammar (Hemacandra's), 563. Prakrit-Prakasa, 464. Prakritsanjivani, 148. Prakritsarvasva, 148. Prakrit Verses in Sanskrit Works On Poetics, 299, 453. Prakriyakaumudi, 129. Oghaniryukti, 145, 533. Oghaniryuktimahabhasya, 533. On the Ramayana, 54n. Outlines of Indian Philosophy, 121n. Outlines of Jainism, 520. P Padmacarita, 71, 73, 362, 499. Padma-(purana), 9, 16, 29, 56, 60, 62, 68, 74, 90, 103n., 104n., 105n., 152, 497, 520, 540n. Paiyakahasamgaha, 567. Palagopalakathanaka, 521. Pallava, 237, 276, 281n. Pamcasuttam, 138. Pancakalpa, 496, 533. Pancasaka, 145, 400. Pancasatiprabodhasambandha, 507. Pancastikaya, 512.

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600 STUDIES IN JAIN LITERATURE Pramanamimamsa, 187, 188, 199n., 514. Ramacandra and Gunacandra : A Critical Pramanaparikna, 513. Study, 449. Pramanasamuccaya, 128, 266, 269, 270n. Ramacaritra, 61. Prameyakamalamartanda, 513. Ramacariya, 16. Prasamarati, 145. Rama-Katha (Hindi), 70n. Prasannaraghava, 440. Rama's Later History, Part I, 54n. Prasastisamgraha, 283, 291n. Ramayana, 3, 9, 10, 16, 17, 18, 26n., 30, Prasnavyakarana, 115, 120n., 496. 33, 35, 36, 38, 39, 40, 41, 44, 48, 51, Prasnavyakaranasutra, 121n. 52, 53n., 55, 58, 60, 61, 63, 64n., 68, Prasnottara-Ratnamala, 510. 71, 72, 74, 75, 76, 78, 158, 225, 358, Prataparudrayasobhusana, 284, 292n., 435, 436, 468, 500, 502, 504, 520, 523, 293n. 530, 535. Prataparudriya, 204, 212, 225, 229n. Ramayana (Valmiki-), 361, 499, 562, 564. Prataparudriya-Ratnapana, 222n. Ramayana Samalocana (Sri), (Marathi), Pratikramana, 497. 70n. Praudhalocanatippani, 300. Rasabhavavicara (Marathi), 229n. Pravacanasara, 512. Rasanirupana, 212. Pravarasena's Setubandha (Translation), Rasapradipa, 213, 222n. 461, 489n. Rasaratnadipika, 222n. Principal Upanisads (The), 91, 96n. Rasaratnapradipika, 213. Pundarika, 497. Rasarnavasudhakara, 435. Punyacandrodaya Purana, 29, 59, 61. Rasatarangini, 213, 214. Purva (texts), 3, 30. Ratnakara, 297. Purvas, 497. Ratnakarandasravakacara, 498, 513. Purvamimamsa, 102. Ratnapana, 204, 212, 225, 229n., 292n. Puspaculika, 496. Ratnavali, 549. Puspadusitaka, 281n., 435. Ravanavaho, 468, 469, 474, 475. Puspika, 496. Ravanavahamahakavyam, 461, 489n. Ravanavaho Oder Setubandha, 489n. Ravanavaho oder Setubandha (with Raghu (vamsa), 26n. Ramadasa's Commentary), 489n. Raghuvarsa, 64, 218, 307, 354, 355, 356, Ravanavijaya, 357, 358, 359, 363, 364, 358, 359, 361, 364, 366. 366, 367, 466, 473, 527, 574. Raghuvilasa, 449, 450. Rayanaseharakaha, 567. Rgveda, 94, 95, 106, 110n., 111n., 567. Rk (-Veda), 83. Rahavacariya, 15, 16. Rohinimrganka (prakarana), 435. Rajaprasniya, 496, 535. Rsabhapancasika, 509. Rajaprasniyasutra, 414. Rsibhasitasutra, 533. R

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INDEX OF WORKS 601 Sacrifice in India, 96n. Sadbhasacandrika, 148. Saddarsanasamuccaya, 114, 120n., 121n., 127, 128, 400, 513. Sahityadarpana, 270n., 562. Sahityamimamsa, 297, 454, 455, 461, 462. Sakuntala, 243, 307, 482, 494n. Salibhadra-carita, 504. Samadarsi Acarya Haribhadra, 130n., 147n., 416. Saman, (Veda), 83. Samaraditya, 529. Samaradityakatha, 125, 157, 161, 198n., 409, 410, 412, 413, 414, 522, 523, 538n., 539n. Samaraiccakaha, 100, 147n., 162n., 399, 400, 401, 402, 406, 407, 408, 409, 412, 414, 416, 505, 506. Samavaya, 496. Samavayangasutra, 5, 164, 502. Samayasara, 512. Samayika, 497. Sambodha, 400. Samketa, 179, 192, 196, 198n., 226, 229. 230, 235, 236, 236n., 249, 295, 296, 300, 456. Sanketa, 226, 275n. Samkhyakarika, 90, 113. Sammatitarkasutra, 513. Samstaraka, 496. Sanmati, 513. Sanmati-Tarka, 111n. Sanskrit Drama (The), 70n., 185, 222n., 450, 526. santarasa, 220n. santarasa and Abhinavagupra's Philosophy of Aesthetics, 281n., 306. Santinathacaritra, 503. Saptasataka, 559, 564. Saptasarakam, 461, 465, 541. Saptasati, 239. Saptasatisara, 462, 542, 551, 565. Saptasatisara with Bhavadipika, 565n. Saradvatiputraprakarana, 435. Sarasvati, 375, 387, 388, 390. Sarasvatikanthabharana, 65, 190, 236, 289, 290, 296, 297, 302, 307, 363, 367, 454, 457, 461, 466, 476, 481, 527, 552, 557, 566, 574. Sariputraprakarana, 435. Sarirabhasyam, 397. Sarvadarsanasangraha, 119n. Sarva-Siddhanta-Sangraha, 113, 119n. Sastravartasamuccaya, 128, 400, 514. Sackhandagama, 497. Satrunjaya-Mahatmya, 29, 60, 69, 74. Sattasai, 465, 541, 565. Satyahariscandra; 449, 450, 451, 511. Saundarananda, 145, 354. Setu., 462, 474, 475, 478, 480, 492n., 494n. Setubandha, 218, 307, 310, 355, 357, 358, 359, 361, 362n., 363, 366, 367, 368n., 455, 459, 461, 466, 468, 469, 473, 483, 489n., 491n., 555, 574. Setutattvacandrika, 468. Siddhahaima-vyakarana, 148. Siddhahema, 548. Siddhantabindu, 129. Siddhanta-Kaumudi, 129. Simhasanadvatrimsika, 128, 521. sisu, 240. sisupalavadha, 355, 356, 359, 361, 364, 366. Sisyahita, 499, 534.

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602 STUDIES IN JAIN LITERATURE Siva Purana, 111n. Supasanahacariyam, 504. Sobhanastuti, 509. Suryaprajnapti, 496, 497. Sodasakam, 400. Sutraksta, 496. Some Concepts of Alaskarasastra, 294n. Sutrakstanga, 115, 120n., 121n., 122n., Sravakacara, 514. 530, 533, 534. Sravakaprajnapti, 145, 400. Sutrakrtanga (-curni), 533. Srimad-Bhagavata-Mahapurana, 23n. Sutrakstangasutra, 498. Srngara., 369, 370, 371, 372, 373, 374, Surasundaricariam, 507. 375, 376, 377, 378, 379, 380, 381, 382, Surasundaricariya, 458, 549. 383, 384, 385, 386, 387, 388, 389, 390, Suyagada, 82n., 175. 391, 392, 393, 394, 395, 396. Suyagadamga, 82n. Srngaraprakasa, 158, 190, 198, 202, 225, Svapnavasavadattam, 494n. 252, 256, 297, 299, 305, 312n., 362n., Svarupasambodhana, 513. 363, 367, 368n., 454, 455, 459, 462, Svetasvatara, 94, 95, 111n., 112, 118n. 466, 476, 481, 495n., 524, 526, 529, svetasvatara Upanisad, 106. 539n., 551, 552, 557, 562, 566, 574. Syadvadamanjari, 80, 93, 101, 102, 104n., Srngararnavacandrika, 283, 284, 285. 105n., 107, 514. Srngarasataka, 445. Syadvadaratnakara, 514. Sthana, 496. Svayambhucchandah, 303, 458. Sthananga, 535. Sthananga-sutra, 155, 156, 162n., 522, T 538n. Tamila Ramayana, 62. Sthaviravalicarita, 503. Tandulavaicarika, 496. Story of Rama in Jain Literature (The), Tapasavatsaraja, 252. 70n. Taragana, 556, 556n., 559, 560. Studies in the History of Sanskrit Poetics, Tarangadatta, 435. 199n. Tarangalola, 160, 407, 505. Studies in Jainism, 520. Tarangavati, 160, 407, 505, 523. Studies in Sanskrit Sahitya-sastra, 205n., Tarayana, 556, 556n., 558, 559. 229n., 299, 489n. Tarkarahasyadipika, 121n. Subhasitaratnakosa, 494n. Tarkasamgraha, 111n., 129. Subhasitaratnasamdoha, 510. Tattvartha, 145, 146n. Subhasiyagahasangaho, 543. Tattvarthadhigamasutra, 110, 111n., 498, Subhasiyapajjasangaho, 543. 512, 513. Sukasaptati, 521. Tattvartharajavarttika, 513. Sukhabodha, 534. Tattvarthaslokavarttika, 513. Sukhabodha-Laghuvitti, 119n. Tattvarthasutra, 146n. Sumatinathacarita, 503. Tattvasangraha. 117.

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INDEX OF WORKS 603 Telugu Ramayana, 62, 63. Tilakamanjari, 401, 521. Vada-Vidhana, 268, 270n. Tiloyapannatti, 2, 3. Vadavidhi, 270n. Tippana, 295. Vagartha-samgraha, 46. Tirthakalpa, 505. Vainayika, 497. Trimsika, 128. Vairagyasataka, 26n. Tripitakas, 166. Vajjalagga, 460, 475, 489n., 510, 550, Trisastilaksana- (purana), 9, 497. 552, 554, 555, 559. Trisastilaksana-Mahapurana, 502. Vajjalaggan, 463, 489n., 541, 542, 543, Trisastisalakapurusa-carita, 9, 12n., 27, 544, 546. 29, 60, 61, 69, 75, 90, 103n., 104n., Vakroktijivita, 182, 189, 198, 205, 232, 105n., 499, 501, 502, 503, 504, 520, 238, 240, 241, 244, 245, 304, 311n., 521. 359, 362n., 368n., 455, 478, 489n., Trivarnacara, 498, 512. 491n., 549. Valmiki-Ramayana, 13, 18, 19, 20, 31, 34, 35, 36, 37, 40, 41, 43, 44, 50, 51, 52, Uber dass Sapta Satakam des Hala, 455, 53n., 541., 55, 64, 66, 67, 71, 73, 74, 489n. 75. Das Saptasatakam of Hala, 489n. Vandana, 497. Udyana, 262. Vasavadatta (The), 471, 521. Upadesapada, 56, 57, 69. Vasudevacariya, 504. Upadesapadatika, 398. Vasudevahindi, 55, 68, 69, 73, 90, 92, Upamitibhavaprapanca Katha, 161, 397, 103n., 104n., 105n., 152, 155, 162n., 398, 506, 521. 169, 500, 501, 504, 522, 538n., 567. Upasakadasah, 416, 531. Vayupurana, 62, 69, 111n. Uttara, 83, 84, 85, 89n., Veda, 90, 95, 165. Uttaradhyayana, 80, 90, 91, 93, 97, 98, Vedas, 78, 79, 81, 83, 85, 91, 92, 93 101, 99, 497, 499, 531, 533, 534, 535. 165, 166, 189. Uttaradhyayana(-curni), 533. Vetalapancavimsika, 521. Uttaradhyayanasutra, 78, 81, 83, 105n., Vikramorvasiya, 244, 245, 282n., 511. 119n., 126, 138, 498. Vimarsini, 295, 297. Uttarajjhaya, 175. Vimsati-Vimsika, 111n., 129, 130n., 397, Uttara-Ramacarita, 63, 75, 244. 400. Uttara-purana, 3, 9, 29, 46, 48, 58, 68, 73, Vimsika, 128. 104n., 497, 500, 502, 506. Vipaka, 496. Uvaesamala, 510. Vipakasutram, 531. Virastava, 496. Visamabanalila, 300, 471, 478.

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604 STUDIES IN JAIN LITERATURE Visesavasyakabhasya, 93, 113, 145. Visesavasyakamahabhasya, 533, 535. Visnupurana, 62, 69, 358. Vitaragastotra, 144, 509. Vivaranaket, 274. Viveka, 196, 198, 203, 216, 217, 224, 226, 238. Vrndasatasai, 475. Vrsnidasas, 496. Vyaktiviveka, 198, 232, 236n., 295. Vyavahara, 496, 533. Vyavaharabhasya, 533. Vyavaharasutra, 535. Yadavabhyudaya, 451. Yajus (Veda), 83. Yasastilaka, 100, 103n., 104n., 105n. Yasastilakacampu, 506, 567. Yasastilaka And Indian Culture, 95, 104n., 105n., 154. Yogabindu, 128, 139, 145, 400, 513. Yogadrstisamuccaya, 145, 400, 513. Yogasara, 510. Yogasastra, 75, 100, 103n., 105n., 144, 400, 510, 520. Yogasastra-svopajna-vrtti, 27, 29, 60, 69. OOO

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About the author Dr. V. M. Kulkarni, formerly Professor of Sanskrit and Prakrit (Maharashtra Educational Service, Class I), Director of Languages, Maharashtra State, Mumbai, Director, B. L. Institute of Indology, Patan (now shifted to Delhi), Hon. Director, MM. Dr. P. V. Kane Institute, Asiatic Society of Bombay has taught Sanskrit and Prakrit Literature, Sanskrit Poetics and Aesthetics to Postgraduate students of various universities for several years. As an Author or Editor he has to his credit several publications. Some of them are : (i) Studies in Sanskrit Sahitya-Sastra (ii) More Studies in Sanskrit Sahitya-Sastra (iii-iv) Prakrit Verses in Sanskrit Works on Poetics, Vol. I and II (v) Some Aspects of the Rasa Theory (vi) Jayadeva's Gitagovinda with King Mananka's Commentary (vii) Kavyanusasana of Acarya Hemacandra (in collaboration) (viii) Natyasastra of Bharatamuni with the Commentary Abhinavabharati, Vol. II, Second Revised edition in collaboration) (ix) The Story of Rama in Jain Literature (x) Bhoja and the Harivijaya of Sarvasena (xi) Outline of Abhinavagupta's Aesthetics. ODD For Private & Personal use only

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9000 ain Education International