Tale of Elephant Driver in Avashyaka Version

Author(s): Edhild Maite
Publisher: Z_Kailashchandra_Shastri_Abhinandan_Granth_012048.pdf
Catalog link: https://jainqq.org/explore/211146/1

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THE TALE OF THE ELEPHANT DRIVER IN ITS AVASYAKA VERSION Adelheid Mette University of Munich, W. Germany The tale of the elephant driver (mintha) better known after its first and last part under the title cf "The cunning woman with the anklet and the jackal" was composed in Sanskrit slokas by Hemacandra in his Parisistaparvan (II 446-640). This version (written between 1159 and 1173 A. D) was edited, translated, retold and compared with its parallels known till 1914 by H. JACOBI. J. HERTEL and J. J. MEYER.2 A condensed summary of its six parts should be good enough to recall the outlines of the story. I: A young man falls in love with a married woman whom he caught sight of while she was bathing. By means of a semantic message which is transmitted by a wandering nun (parivrajika) she calls him to a rendezvous, In the night of love the sleepers are discovered by the lady's fatherin-law who steals one of her anklets (nupura) for evidence. But she succeeds in convincing her husband of her innocence and she is even able to deceive the yaksa through whose legs she has to pass as an ordeal.4 III: The deceived father-in-law can't sleep any more being so grieved by all that has happened. For this reason he is well fit to guard the king's harem by night. Here he notices that one of the queens betrays the king with an elephant driver. While the old man, comforted by this event, regains his sleep, the adulteress discloses her identity when she unsuccessfully manoeuvres to conceal her fault to the inquiring king." IV She and her lover succeed in avoiding penalty of death because of his skill in handling an elephant whom he is capable of turning back after standing on only one foot above an abyss. The lovers are sent in exile." V: The queen betrays and leaves the elephant driver and runs off with a robber. The robber forsakes her at the shore of a river and leaves her taking all her goods with him. The elephant driver is taken as the robber and consequently condemned to death. After his death he becomes a vyantara god." My English translation was supervised by Miss stud. phil Barbara Fraenkel. -549

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VI The vyantara god sees his former lover sitting forsaken in the reeds. To lead her on to the right path of the Jaina religion he gives her an example of her misbehaviour: by magic he creates a jackal who looses his prey because he is greedy for a tastier meal. For HERTEL it was clear that Hemacandra was the first author to join the motifs to this tale from different literary sources where they occurred, and also JACOBI was not able to find a single original text which Hemacandra could have used. In 1962 The Prakrit Text Society has published the Akhyanakamanikosa of Nemicandra with the vrtti composed in 1135 A. D. by Amradeva. This commentry also contains an account of parts I-V of our story in 117 Prakrit arya stanzas written at least 25 years earlier than the Parisistaparvan. But of far greater interest is another text, likewise inaccessible at the times of JACOBI and HERTEL and doubtlessly the source for Amradeva and Hemacandra as well. This is the Avasyaka commentary in its divided tradition of carni and tika (the latter represented by Haribhadra and Malayagiri). In the treasure of stories, which this tradition presents to us, there is also included an older version of the mintha-katha in its complexity (parts I-VI) by which this can be dated back to at least the 7th century A. D. (at that time the Avaiyaka-curni attained its literary form)10 But already in verse 846 of the Avasyaka-niryukti to which the concerning passage of the prose commentaries (carni and tika) belongs, the catchword mintha is mentioned. The purpose of this catchword was to give a hint how the technical term akama-nirjara 'unvoluntary extinction of karman'11 should be explained by the expounders of Jain doctrine: the elephant driver of our story, when condemned to death, suffers from thirst. A Jain believer promises to bring him water if in the meantime he would invoke the arhats. While doing so the mintha dies thus performing akama-nirjara. The compiler of the niryukti-several centuries older than the literary wording of the carni1 while choosing the catchword mintha must have been acquainted at least with those parts of the story in which the elephant driver figures. To get a more qualified judgement of the age if not of the whole composition but at least of the formulation of its single parts in Prakrit language we must examine the text itself as given in the Avasyaka-curai. The inserted stanzas, whose high number in this generally rather plain set-up is astonishing, deserve our special interest. There are 11 stanzas spread all over the text: vv. 1 seq. are composed in the arya meter,13 v. 3 is a sloka (sanskrit), v. 4 a prthvi (sanskrit), v. 5 an arya of the older type, v. 6 a sloka (sanskrit, a well-known subhasita), v. 7 a vaitaliya, vv.8 seq. are tristubhs, vv. 10 seq. slokas. The variety of meters is of course an indicator of the undeniable fact that the whole of the story was a contamination. On the other hand some of the verses prove to be of a considerable age as they are counterparts to verses of the Pali jataka - 550 -

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(vv.8-11) or composed in meters not used in more recent poetry (vv.5 and 7). The most conspicious of the meters is the older form of the arya as represented by v.5, which belongs to the second part of the story. Although not recognized by the editor of the curni and requiring the slight alteration from vilakkho (=vilaksah 'confused', a late adjective) to vilakkha ( - vilaksya 'being confused, baffled', absolutive) in its first pada this stanza is nevertheless unmistakable: the form ahayam for aham and the particle khu show clearly that a metrical feature is intended. In this way we are able to trace this very rare type of meter in a non-canonical Jain text for the first time. It was known so far as "restricted to the very oldest Jain texts, viz. Ayara 1, 9, Suyagala 1, 4 and (partly) Uttarajjhaya 8"14 and to some likewise very old poems of the Buddhist Pali canon; here ALSDORF counted 43 instances, one of them in the Telapatta-jataka (no 96)15, that means in respect of its source comparable to the verse discovered in our text. In later times this meter was forgotten. By good luck the curni has preserved it in our case; at the same time it is characteristic for the development of the Avasyaka text tradition that in the tika the stanza has become unrecognizable. The context of the stanza shows that it is not inserted here as a quotation but belongs to the tale rightly. Its contents is the reaction of the yaksa when the lover "disguised as a pisaca has grasped the sari" of the perfidious woman and she has spoken the formula which is meant to prove her innocence, namely: "besides him who was given to me by my parents (for being my husband) if I know (i. e. if I am sexually touched by) any other man with the exeption of the pisaca, then you (the yaksa) know me". Here follows the stanza : "The yaksa, being baffled, pondered : look here, which sort of things she is contriving. Even I myself am deceived by her, there is indeed no decency in this impudent woman". (Verse 5, in the text.) If by means of the meter this part of the tale can be supposed to have been existing in the third century B.C., then this would be by far the oldest instance of the later on famous motif of 'the falsified ordeal'16 and not, as was presumed up to this time, the Greek romance of Leukippe and Kleitophon written by Achilleus Tatios 17. Here the adulterous Melite has to descend into the waters of the Styx that ascend up to the throat of a faithless woman but recede from a pure one. She is able to conquer the ordeal because in her oath sherefers to a date earlier than the adultery had happened. On behalf of its earliest papyrus manuscripts this romance can be assumed to have been written at the end of the second century A. D.18 The tale of the Andabhutajataka (no. 62), where the wife of a brahmana promises to go through a fire ordeal and uses the same trick as our Nupurapandita, does not yield an earlier date because it is accounted only in the prose text, not referred to in the verses of the Jataka Pali. When Achilleus Tatios and the author of jataka 62 as well as later poets who used the motif of the falsified ordeal let the women prove their innocence by - 551 -

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water or fire, then they possibly recurred to the regular procedure of an ordeal. However, the kind of a trial chosen in the Napurapanditakatha has an exact meaning. In Jain tales yaksas often appear as cruel demons to whom, for instance, young girls must be offered So it is according to the yaksa's nature that the woman, if she cannot stand the proof, is to be taken by him as a prey, laggai antar' andena, as the curni says with a coarse expression (only the younger texts peak of his shanks, jangha, instead of anda). Also the phrase 'then you know me", which the Nupurapandita uses in her oath (see above) is to be understood in the sense of touching sexually likewise as of course if I know any other man' in the same sentence THEODOR ZACHARIAE in his article Scheingeburt, 19101", had already called attention to this special kind of ordeal known to him from the later versions of our tale in Sukasaptati and Parisistaparvan. In connection with other instances of 'creeping through the legs' he was inclined to regard the action as an imitation of the occurrence of birth. Obviously he did not see that the point of our tale is not the coming free of the successful but, on the contrary, the imprisonment of the unsuccessful endurer. The third part of our story appearently belongs to the same layer of litera. ture: like the earlier type of the arya meter, also the vaitaliya, the so-called 'bard's meter', with a variable opening part as used in v. 7 disappeared after the period of early Buddhist and Jain literature. 20 In this case, too, the tika has not preserved the metrical feature of the first half of the stanza failing to understand the nominative aruhantiya (derivative from aruhanti like for instance dadantika from dadanti in Buddhist Hybrid Sanskrit, cf. EDGERTON, Dictionary). The king recites the stanza after the dicovery of the guilty queen: Used to climb on the maddened elephant you are afraid of the elephant made of straw. Here swooning while beaten by a lotus stalk there she does not swoon being beaten by a chain. (Verse 7, for the text see below.) The fourth part has no verses in it. It is quoted in nearly the same words by Santisari and Devendra/Nemicandra in their explanation of Uttarajjhaya 22, 46 as an example for a well-trained elephant21. The four last verses (8-11) correspond to the verses 1 seq. and 4 seq. of the Culladhanuggahajataka (no. 374). In general it can be said that parallels of this kind point to an early common source lying outside of the sphere of both religions. But a closer examination of the stanzas reveals that the relationship between the two versions is complicated. The first stanza is spoken by the woman, who has forsaken her former lover (in the jataka: her husband), addressing the robber. According to the Prakrit version she says: The river appears full of water, (so that) the crows are able to drink. All my goods, my friend, are in your hand. As you wish to cross over to the other side, surely you wish to get hold of my goods. (Verse 8, for the text see below.) -552

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This tristtubh ought to have been spoken before the robber left the queen, in fact (I cannot see why, if not due to influence of the Pali version or its forerunner) our text cites it after the flight of the robber. The corresponding Pali sloka is better adapted to the situation: Having taken all the goods you have crossed to the other side, oh brahmana. Come back quickly; instantly you must let me too cross the river now," The resemblance between both versions of the first half of the next tristubh is close, but here the Prakrit text shows a difficulty in its wording it is hard to understand the form mellevi in pada b; we would expect a passive form of the verb millai, mellai muncati. So perhaps it will be allowed to read mellavio va instead of the transmitted aksaras mellevitava. The form janeppi in pada c surely is the absolutive, actually an Apabhramia form (cf. PISCHEL, Prakrit Grammar SS 588) and consequently indicating a more recent poetry if compared with vv. 5 and 7. The robber answers in the Prakrit text: He who was (your) intimate since long is forsaken for the sake of another made intimate through a lie, he who is reliable for the sake of an unreliable. Knowing your innate behaviour which reasonable man could trust you? (Verse 9, for the text see below). In the Pali version the robber's word are : For the sake of me the not intimate you exchanged your intimate, my lady, for the sake of the unreliable, the reliable one; me too, my lady, you might exchange for the sake of another man,-I shall go far away from here. 28 If we compare both version of these stanzas a difference jumps to the eye: while in the Avasyaka text the vv. 8 seq. are tristubhs, in the Jataka only the meter of v. 2 is tristubh v. 1 being a sloka. However, the couple of verses forming a dialogue between the woman and the robber can be expected to have been composed originally in the same meter. It might be too bold to recommend. the one or the other of the possible assumptions about the original shape of the tale.24 The tristubh verse of the jataka is transmitted also as verse 4 of the Kanaverajataka (no. 318, cf. note 7, supra),25 here forming the concluding stanza after a series of slokas. Has it replaced in jataka 374 an original loka? The remaining stanzas of this jataka all are slokas. HERTEL already had compared the vv. 4 seq. of jataka 374 with vv. II 635 seq. of Hemachandra's Parisistaparvan; the older model which Hemachandra made use of and which we possess in the Avasayaka tradition (vv. 10 and 11, belonging to the sixth part of the story) is more closely connected with those Pali verses. The woman says in the jataka : Oh jackal, you foolish, you stupid, unwise are you, oh jackal (jambuka ). Having lost fish and flesh seeming wretched you stand reflecting20, 70 553

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The jackal answers : Easy to see the fault of others one's own is difficult to see. Bereaved of husband and lover, you too, I think, stand reflecting27. In Prakrit the corresponding verses are : Having let down the piece of flesh you strived for the fish, oh jackal (jambuga ). Deprived of fish and flesh you stand reflecting miserably, oh jackal ( kolhuga ). ( Verse 10, for the text see below). Oh you, wrapped in a covering of leafs, oh you, covered with reeds, deprived of husband and jackal you stand reflecting miserably, you bitch. (Verse 11, for the text see below ). Pada a of verse 11 shows the feature of the first three ganas of the arya meter, interchangeable with the first and third sloka pada in later Prakrit poetry. The first half of this verse displays a trait which is missing in the Prakrit prose tale and in the Pali prose and verse as well, but which belongs to the fable in the Pancatantra and Parisistaparvan : the robber has stolen the clothes of the woman, therefore she has to cover herself with reeds. As already HERTEL, referring to Hemachandra's version, had remarked the complier of our story has not bothered to alter the expression 'husband' (pai) in pada c. thus revealing that the incident of the mocking jackal originally did not belong to the former parts of the tale. The omission in the Akhyanakamanikosavstti gives further confirmation of this fact. The remaining stanzas of our text (vv. 3. 4. 6), all composed in Sanskrit, are to be considered as quotations. Haribhadra omits vv. 4 and 6, Malayagiri omits v. 6, but also in the curni quotations of this kind are rare; the transmission of a prthvi (v.4) probably is unique here. Like v. 3 this stanza should belong to the field of Kamajastra literature, while v. 6 has its source in the Canakya-niti.28 As there does not exist a critical edition of the Avasyaka curni, I here present the text of the mintha-katha according to the print of the Jainabandhu Printing Press (Indore 1928 ) with the necessary emendations made with the help of the tika?'. Supplemented words or aksaras are marked by acute brackets. (<..>). akAmanijjarAe / I: vasaMtapuraM nagaraM / tatthegA inbhavahugA naIe vhaai| anno ya taruNo taM daThU bhaNai suNhAyaM te pucchai esa naI mattavANakaroru / ee ya naIrukkhA . bayaM ca pAesu te paNayA // 1 // tAhe sA vi taM bhaNai subhagA hoMtu naImo ciraM ca jIvaMtu je naIrukkhA / genna i TIEMT fyri 413 11211 - 554 -

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tAhe so tIe NaM gharaM vA bAraM vA na jANai-tti annapAnairharedvAlAM vezyAM strImupacAreNa tIse ya bIijjagANi ceDarUvANi rukkhe palotANi acchaMti / teNa tesi puphphANi phalANi ya dinnANi / pucchiyANi ya--kA esA / kassa vA tehi bhaNiyaM - amugasma sunhA / tA so tIse aiyAraM no labhei / citei - carigA bhikkhassa ei / sAya yauvanasthAM vibhUSayAM / kusumbhasadRzaprabhaM tanu sukhaM paTaM prAvRtA navAgaruvilepanena zaradindulekhA iva | yathA hasati bhikSuNI sulalitaM viTairvanditA dhruvaM suratagocare carati gocarAnveSiNI // 4 // patto lagANi ghovaMtIe sAgayA sAhai jahA taM laggai / sA tuTTA bhaNai - kiM karomi / - amugasma ( suhAe ) maM bhaNAhi / sA gayA ( tIe sagAsaM ) / bhaNiyA ya jahA - amugo te evaMguNAI pucchai / tIe ruTTAe masilitteNa hattheNa paTThIe AhayA paMcaguliyaM / pacchAdAreNa ya nicchUDhA / nAmaM pi na sahai / teNa NAyaM jahA - kAla paMcamIe / tAhe paMcamadivase puNaravi patthariyA pavesajANaNAnimittaM / tAe salajjAe AhaNiUNaM asogavaNiyAe chiMDiyAe nicchUDhA / sAgayA sAha jahA - nAmapi na sahai AhaNittA ya avaradAreNa dhADiyA mi / teNa NAo paveso / teNa so avaddAreNa aigao | asogavaNiyAe suttANi / vRddhAM karkazasevayA // 3 // II: jAva sasureNa diTThANi teNa NAyaM jahAna hoi mama putto--tti / tAhe se pAyAo neuraM gahiyaM / veiyaM ca tAe / bhaNio ya so-nAsa lahuM / sahAyakiccaM karejjAsi / parachA iyarI gaMtUNa bhattAraM bhai - mo ettha / asogavaNiyaM jAmo / gayANi ya suttANi ya / jAhe so sutto tAhe uTThave / uTThavettA bhaNai - tubbhaM eyaM kulANurUvaM jaM mamaM suttiyAe sasuro pAyAo neuraM geNhai / so bhaisuyAhi / pabhAe labhihisi / thereNa siddhaM / so rUTTo bhaNai -- vivarIo si therA / so bhaNai-mae anno diTTho / tAhe vivAe sA bhaNai - ahaM sohemi / evaM karehi / tAhe vhAyA jakkhagharaM gayA / jo kArI so laggai aMtaraNDeNa vorletao / akArI mucca i / sA pahAviyA tAhe so pisAyarUpaM kAUNaM sADaeNaM geNhai / tAhe sA tattha jakkhaM bhaNai - jo mama mAyApiIhi dinnellao taM ca pisAyaM mottUNa jai annaM jANami to me tumaM jANasi-tti / jAva citei tAva sA jhaDitti niphphaDiyA / jakkho vilakkha citei - ahayaM pi vaMcio jAe pecchaha jArisANi maMtei / natthi saittaNaM khu dhuttI // 5 // tAhe thero sanveNa logeNa hIlio / III: tassa tAe addhiIe niddA naTTA / tAI raNNo kaSNaM gayaM / sAhe raNNA aMteurapAlago kao / AbhisekkaM ca hatthirayaNaM vAsadyarassa hetthA baddhaM acchai / devI hatthimiTheNa AsattiyA / navari rati hatthA tyo gavakkheNa pasArio / sA otAriyA / puNarabi pabhAe paDivilaiyA / bavaM vaccai dhattIhAmo : ghattihAmo Haribhadra, disregarding the meter ( yatiSyAma: Chaya) ceiyaM Curni, sariDitti Curni, vilakkho Curni, - 555

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kaalo| annayA-ciraM jAyaM-ttihathimiTheNa hatthisaMkalAe aahyaa| sA bhaNai-so erisao tArisao thero na suyi| mA rUsaha / taM thero pecchai so ciMtei-jai eyAo vi erisIo ki nu tAo aibhaddiyAmo-tti / evaM citeto sutto| pabhAe logo savo uttttiyo| so na udvei / raNNo sittuN| rAyA bhaNai-suvau / sattame divase uttio| raNNA pucchio| kakiyaM jahA-egA devI / na jANAmi kayara-tti / evaM saMvavaharai / tAhe raNNA bhiNDamao hatthI kaario| savvAo aMteuriyAo bhaNiyAo-eyasA aracaNiyaM karettA olaNDeha savvA hi olnnddio| sA necchai / bhaNai --ahaM bIhemi / ki ca zakaTaM paJcahastena dazahastena zRGgiNam / hastinaM zatahastena dezatyAgena durjanam // 6 // tAhe rayyA uppalanAleNa aahyaa| mucchiyA kila pddiyaa| tAhe se uvagayaM jahA-esA kAri-tti / bhaNiyA ya mattaM gayamArUhatiyA bhiNDamayassa gayassa bhAyasI / iha mucchiya uppalAhayA tattha na murachai saMkalAyA // 7 // puTThI se joiyA / jAva saMkalappahAro diTTho tAhe IV : raNNA miNTho sA ya tinni vi chinnakaDae vila iyANi / miNTho bhaNio-pADehi hatthi / dohiM pAsehiM veluyaggAhA tthiyaa| jAva ego pAo AgAse ko jaNo bhaNai-ki esa tirio jANai / eyANi mAreyavvANi / tahA vi rAyA rosaM na muyai / to do pAyA AgAse / taiyavArAe tinni aagaase| egeNa tthio| tAhe logeNa avakaMdo ko| bhaNio (rAyA)-ki eyaM rayaNaM viNAseha / tAhe raNNo cittaM yogaliyaM / bhaNio (miTho)-tarasi hatthi niytte| bhaNai-jai abhayaM desi / dinnaM / teNa aMkuseNa niyattio jahA bhamettA thale tthio| tANi otArettA nivisayANi kayANi / V : egattha paccaMtagAmeM sunnaghare tthiyaanni| tattha ya ratti gAmellayapAraddho coro taM sunnagharaM aigao / tehiM bhaNiyaM-veDhe acchAmo mA koi pavisau / gose pecchaamo| so vi coro loTTato kiha vi tIse ddhkko| tIe phAso veio| so Dhakko pacchio-ko si tamaM / -coro hN| tIe bhaNio-tuma mama paI hohi / eyaM sAhAmo jahA-coro-tti / tehiM pabhAe miTho gahio eyAe uvaiTTho-tti / vicaDhaMto sUlAe bhinno / teNa samaM sA baccai jAva aMtarA naI / tAhe sA teNa bhaNiyA-ettha saratthaMbe accha jAva ahaM eyANi vatthANi AbharaNANi ya uttAremi / so gao / uttiNNo pahAvibho / sA bhaNai puNNA naI dIsai kAgapejjA savvaM piyA bhaMDaga tujjha hatthe / jahA tumaM pAramaIukAmo dhuvaM tumaM bhaMDagaheukAmo // 7 // baddhaM] va i Curni, utAritA Curni, olaNDIyo Curni, bhaNDamayassa Curni, paraddho Corni, loto Carni, gahenu kAmo] 0gahaMtukAmo Curni, mellevitAva dhruva adhruveNaM Curni, -556

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so bhaNaI cirasaMdhuoM vA'kriya saMyue mellAvio va dhuva adbhuveNaM / jAkepi tujhaM pagaissabhAva paNNo naro ko tuhu vissA ||9|| sA bhagai kahi jAti iya tattha viddho udagaM udagassa aTThA gayo / jAya paMmi saDDo Arakkhiyapurisehi gahio / vibvaittA moei | teNa bhaNNai so bhaNada-jahA so marAvio evaM mamaM pi kahici mArAvehisi / maggai tatva ego saTTo bhaNai jai namokkAraM karesi to te demi / so eMte caiva namokkAraM karato kAlagao vANamaMtaro jaao| so ya so ohi pauMjai / jAva pecchai taM sarIragaM saGkaM ca baddhaM tAhe silaM 1 VI: taM ca saratthaMbamajjhe pecchai / tAhe se ghiNA utpnnaa| sivAlarUvaM viubvettA maMsapesI (e) hatyagayA (e) udagatIreNa volei / jAva macchagaM pecchai taM maMsapesi mottuM tassa macchassa pahAvio / taM pi seNeNa hariyaM / maccho vi jalaM aigao / tAhe siyAlo jhAyada / tIe bhaNiyaM maMsapesi pariccajja cukko macchaM ca maMsaM ca kahi vi Corpi to] vA Carni saratyaMbe va pAue Carpi, macchaM patthesi jaMbugA / kalu jhAsi pattapuDiparicchanne saratthaMbeNa pAue / cukkA pahuMca jAraM ca kalaNaM jhAyasi baMdhugI // 11 // evaM bhaNiyA viliyA jAyA / tAhe so sayaM rUvaM daMsei / paNNAviyA bhaNiyA-pavvayAhi-tti / teNa sorAyA tajjio / teNa paDivannA / sakkAreNa nikkaMtA / diyalogaM gayA / evaM akAmanijjarAe miThassa // kolhUgA // 10 // saGghaM ca vaddhaM] taM saGgha vajjhaM Curni, ( jaNayasya ajasakArie Haribhadra ). References 1. nupura paNDitAyAzca gomAyozca kathA Hemacandra, Parisistaparvan II 445. 2. The text was edited with an introduction by HERMANN JACOBI, Calcutta 11891, 1932. JOHANNES HERTEL published his German translation in Ausgewahlte Erzahlungen aus Hemacandras Parisistaparvan, Leipzig 1908. He also dealt with our tale in his article Der kluge Vezier, Zeitschrift des Vereins fuer Volkskunde 18, Berlin 1908, p. 66 seqq. JOHANN JACOB MEYER in his book Isoldes Gottesurteil in seiner erotischen Bedeutnng, Berlin 1914, scrutinized all available versions of the single motifs of the tale. 3. The well-known parallel to this part is the first table of the Vetalapancavisati in all its versions. -557

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4. The oldest parallel preserved in Indian literature is contained in Pali jataka no. 62 (see below). Another early buddhist version is preserved in chinese translation in TAISHO 206 (cf. E. CHAVANNES, Cinq cents contes et alpogues extraits du Tripitaka chinois, Paris 1910-1934, vol. 1, p. 387, no. 116). The 15th tale of the Sukasaptati (ed. RICHARD SCHMIDT, Leipzig 1893) comes closest to Hemacandra's version. 5. As the closest parallel to this part of the story HERTEL has shown Sukasaptati textus simplicior 9, textus ornatior (ed. R. SCHMIDT, Muenchen 1898). 6. The well-trained elephant is the theme of Pali jataka no. 122. 7. Cf. Pali jataka no. 318: A courtesan lets her lover been hanged in exchange for a robber to whom she suddenly feels affection (see below). To part V and VI corresponds Pali jataka no. 374 and in later literature Palcatantra textus simplicior (Jaina Pancatantra) IV 10 (11); textus ornatior IV 8. 9. Acarya Nemicandra's Akhyanaka manikosa with acarya Amradeva's Commentary ed. by Muni Shri Punyavijaya, Benares 1962, p. 188-191. 10. Cf. JACOBI, Parisistaparvan p. VII seq. 11. Cf. WALTHER SCHUBRING, Doctrine of the Jainas (English transl. 1962) SS 86, p. 179: Extinction or consumption of karman so far as it is not brought about by ascetic methods is called akamanirjara (cl. Aupapatikasutra SS 65, p. 61, ed. LEUMANN). 12. JACOBI, Parteistaparvan p. VII and ERNST LEUMANN, Uebersicht uber die Avasyaka-Literatur, Hamburg 1934, p. 28 b, assumed the date of about 80 A. D. for composition of the collection of niryuktis. 13. These two verses are quoted as vv 10 and 12 in the Nupurapandita version of the Akhyanakamanikosavrtti. Vv. 5 and 7 of the Avasyaka text are recognizable in the aryas 62 and 89 of that version 14. Cf. L. ALSDORF, Itthiparinna, Indo-Iranian Journal 2, 1958, 250= Kleine Schriften, Wiesbaden 1974, p. 194. 15. Cf. L. ALSDORF, Die Arya-Strophen des Pali-Kanons, Abh. Mainzer Akademie, Geistes-und Sozialwiss. KI, 1967, 4; especially p. 18. In this article ALSDORF presents a detailed description of the arya meter. Our stanza is built exactly to the normal pattern. 16. Cf. J. J. MEYER, 1. c. (supra, note 2). For further literature see The Types of Folktale, A Classification and Bibliography, Anti Aarne's Verzeichnis der Maerchentypen, transl. enlarg. by STITH THOMPSON, FF Communications Vol. 75, No. 184, Helsinki 1973, p. 417 seq. no. 1418 (The equivocal oath). For the reference to this literature I thank LASZLO VAJDA. -558

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17. Achilles Tatius, Leucippe and Clitophon ed. by Erbe Vilborg, Goteborg 1955, VIII 11.12.14. (Cf. ERWIN ROHDE, Griechischer Roman, 1Leipzig 1876, p. 484; "Hildesheim 1961, 515 seq.) . 18. Cf. R. A. PACK, The Greek and Latin Literary Texts from Greco Roman Egypt, Ann Arbor 1965, no. 1-3.2258. 19. Zeitschrift des Vereins fuer Volkskunde 20, 141-181 - Kleine Schriften, Bonn und Leipzig 1920, 245-293, cf. p, 283. 20. CF, L. ALSDORF, Das Jataka vom weisen Vindhura, Wiener Zeitschrift fuer die Kunde Suedasiens J5, 1971, 27 =Kleine Schriften, S. 884%3; A. K. WARDER, Pali Metre, London 1967, 106. 21. The quotation is introduced with the following words : atra ca vRddhasaMpradAyaH / neurapaNDiyakkhANayaM bhaNiUNa jAva tao ruTeNa rAiNa" / 22. sabbaM bhaNDaM samAdAya pAraM tiNNo si brAhmaNa / pacchA gaccha lahuM khippaM mampi tArehi daanito|| Jat. III 221 v. I FAUSBLL) 23. asanyutaM maM cirasanyutena niminni motI adhuvaM dhuvena / mayApi motI nimine yya ajJa itI ahaM dUrataraM gamissaM // Jat. III 221 seq. v 2 (FAUSBLL) 24. By the way, the Pancatantra version (see note 8 supra ) does not supply us with a versified dialogue in the corresponding passage ( which indeed, if it did, would not be true to style ). 25. The stanza appears also in the Mahavastu-version of the same tale (Vol. II, p. 176, SENART ), which, however, in this text has lost much of its resemblance to the mintha-katha. 26. sigAsa bAla dummedha appapaJosi jumbuka / jIno maccha pesiJca kapaNoviya jhAyasasi | Jat. III. 223, v. 4 ( FAUSBLL ) 27. sudassaM vajjaM asaM attane pana dUdRsaM / jIno patiJca jArazca tvamapi maJce va jhAyasi | Jat. III. 223, 5 ( FAUSBLL ) 28. Cf. L. STERNBACH, Canakya-Niti-Text-Tradition, Vishveshvaranand Indological Series 27, Vol. I. Part 1,7,7(Vrddha-Canakya-prarambhah; cf. also BOEHTLINGK, Indische Sprueche no. 6341 ) 29. Curni Vol. 1, p. 461-465; cf. Haribhadra's tika, Agamodaya Samiti 1916, p.349a-352a and Malayagiri's tika, Sheth Devchand Lalbhai Jain Pustakoddhar Fund Series no. 85, Vol. 3, 1936, p. 461b-463b. -559

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lekhasAra Avazyaka pATha meM mahAvata kI kathA DA. eDelahIDa maiTe, myUnikha vizvavidyAlaya, pazcima jarmanI mahAvata kI kathA ko hemacaMdra ne pariziSTaparva (1959-1173 I0) meM 'nUpurapaMDitAyAzca gomAyozca kathA' ke nAma se saMskRta zlokoM meM nibaddha kiyA hai / ise jarmana vidvAnoM ne saMpAdita kara 1891 va 1932 meM prakAzita kiyA thA / ina vidvAnoM kA vicAra thA ki isa kathA ke mUlakartA hemacaMdra hI hI haiN| lekina jaba 1962 meM amaradeva kI vRtti ke sAtha nemicandra kA AkhyAnakamaNikoza prakAzita huA, to usameM bhI yaha kathA milI / yaha kathA hemacaMdra se kama se kama 25 varSa pUrva likhI gaI thii| lekina isa kathA ko trIta isase bhI prAcIna hai| yaha Avazyaka TIkAoM meM bhI prApta hotI hai| isase yaha kathA sAtavIM sadI kI ThaharatI hai| yaha 'mintha kathA' ke nAma se zrAvakoM ko akAmanirjarA ke nidarzana ke rUpa meM likhI gaI hai / eka zrAvaka eka maraNAsanna pyAse mahAvata ko kahatA hai, "tuma arihanta kA dhyAna karo, tabataka maiM tamhAre liye pAnI lAtA huuN|' para pAnI lAne ke pahale hI mahAvata kI mRtyu ho jAtI hai| isa isa prakAra mahAvata ko akAma nirjarA hotI hai / Avazyaka niyukti meM dI gaI 'mintha kathA' cUNiyoM meM dI gaI kathA se prAcInatara hai / cUNiyo meM dI gaI kathA usake vividha chandoM ke AdhAra para mizrita mAlUma par3atI hai| phira bhI isa kathA ke kucha aMza pUrvavartI viziSTa AryAchanda meM nibaddha haiM aura pAlI jAtakoM meM bhI pAye jAte haiN| ye hI chanda jainoM ke paryApta prAcIna granthoM-sUyagar3a tathA uttarajjhayaNa meM bhI pAye jAte haiN| isase isa kathA kI prAcInatA IsApUrva tIsarI sadI taka jAtI hai / isa prakAra yaha ekilasa Teriosa kI kathA se bhI prAcIna ThaharatI hai jo dvitIya sadI kI hai / aMDabhUtajAtaka meM bhI yaha kathA hai, para vaha uttaravartI samaya kI hai| lekhaka ne ina sabhI srotoM kA tulanAtmaka parizIlana kiyA hai| unhoMne kathA ko chaha aMzoM meM vibhAjita kara usake pratyeka aMza kI chanda-racanA, kathAvastu kI vizeSatA tathA anya AdhAroM se Avazyaka niyukti kI kathA ko prAcIna siddha kiyA hai| unhoMne yaha AzA bhI vyakta kI hai ki isa kathA kA dhArmika uddezya hone ke kAraNa isakA eka acchA saMpAdita saMskaraNa prakAzita kiyA jAnA cAhiye / --560 -